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<posthistory>
  <row Id="65" PostHistoryTypeId="2" PostId="18" RevisionGUID="7105b450-bd1e-4b90-86a6-be74dc9d4ccf" CreationDate="2010-02-22T16:46:22.670" UserId="4" Text="Hi Andrew,&#xD;&#xA;&#xD;&#xA;Thanks for your tutorial - &quot;How to Set Up Arduino with Max/MSP&quot; (http://www.soundplusdesign.com/?p=1305). I’m new to Arduino and Max but I’ve used your tutorial to get digital inputs into max working – great start as I failed with several other tutorials!&#xD;&#xA;&#xD;&#xA;Now I’m stuck what to do next in Max. What I want to do eventually is have my sensors on arduino play instruments in Ableton Live (be able to use them to play notes or map to effect/synth parameters etc). Could you please provide some basic instruction on next steps or point me towards another tutorial if you know of one?&#xD;&#xA;&#xD;&#xA;Thanks again,&#xD;&#xA;AndyJ" ContentLicense="CC BY-SA 2.5" />
  <row Id="66" PostHistoryTypeId="1" PostId="18" RevisionGUID="7105b450-bd1e-4b90-86a6-be74dc9d4ccf" CreationDate="2010-02-22T16:46:22.670" UserId="4" Text="Using Arduino sensors &amp; Max to play &amp; control instruments in Ableton Live" ContentLicense="CC BY-SA 2.5" />
  <row Id="67" PostHistoryTypeId="3" PostId="18" RevisionGUID="7105b450-bd1e-4b90-86a6-be74dc9d4ccf" CreationDate="2010-02-22T16:46:22.670" UserId="4" Text="&lt;max-msp&gt;&lt;arduino&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="68" PostHistoryTypeId="5" PostId="18" RevisionGUID="5787c8fa-a86c-4efa-a549-2907e3a626d8" CreationDate="2010-02-22T16:49:08.423" UserId="2" Comment="deleted 16 characters in body" Text="&#xD;&#xA;I just did the tutorial &quot;How to Set Up Arduino with Max/MSP&quot; (http://www.soundplusdesign.com/?p=1305). I’m new to Arduino and Max but I’ve used the tutorial to get digital inputs into max working – great start as I failed with several other tutorials!&#xD;&#xA;&#xD;&#xA;Now I’m stuck what to do next in Max. What I want to do eventually is have my sensors on arduino play instruments in Ableton Live (be able to use them to play notes or map to effect/synth parameters etc). Could you please provide some basic instruction on next steps or point me towards another tutorial if you know of one?&#xD;&#xA;&#xD;&#xA;Thanks again,&#xD;&#xA;AndyJ" ContentLicense="CC BY-SA 2.5" />
  <row Id="69" PostHistoryTypeId="5" PostId="18" RevisionGUID="4816d9dc-3e8a-4bc8-a86c-93204d8d6521" CreationDate="2010-02-22T17:50:51.897" UserId="2" Comment="added 13 characters in body" Text="I just did the tutorial &quot;[How to Set Up Arduino with Max/MSP][1]&quot;. I’m new to Arduino and Max but I’ve used the tutorial to get digital inputs into max working – great start as I failed with several other tutorials!&#xD;&#xA;&#xD;&#xA;Now I’m stuck what to do next in Max. What I want to do eventually is have my sensors on arduino play instruments in Ableton Live (be able to use them to play notes or map to effect/synth parameters etc). Could you please provide some basic instruction on next steps or point me towards another tutorial if you know of one?&#xD;&#xA;&#xD;&#xA;Thanks again,&#xD;&#xA;AndyJ&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundplusdesign.com/?p=1305" ContentLicense="CC BY-SA 2.5" />
  <row Id="70" PostHistoryTypeId="2" PostId="19" RevisionGUID="b8fc7e38-0d7a-4a7b-9d6b-6d06fe52f201" CreationDate="2010-02-23T11:01:28.930" UserId="2" Text="Hey AndyJ, &#xD;&#xA;&#xD;&#xA;Once you get values from your sensor into Max/MSP, you will need to scale your sensor's range to the range of the parameter you want to map. &#xD;&#xA;&#xD;&#xA;Here's a very basic way you could go about it:&#xD;&#xA;&#xD;&#xA;- You'll need to find the range from your sensor. One way is to use the objects [peak] and [trough] to see the highest and lowest value. Try get your sensor to output the minimum and the maximum value. Here's the Max patch:&#xD;&#xA;&lt;pre&gt;&lt;code&gt;&#xD;&#xA;----------begin_max5_patcher----------&#xD;&#xA;558.3oc2VEsaaBCE8Y3qvxOyhvl.jr252QW0DAbS7FXi.iV1p5+9LWSRnqDj&#xD;&#xA;SAQp1K1wWbN5bN2qu1u35f2IOxpwnuhdD437hqiCDpMfS2ZGbQxwz7jZXa3T&#xD;&#xA;YQASnvdluoXGUPb8l3EMEeSTkH1yN84btfkJaDvdncAEMExFUNSAH52EsrhU&#xD;&#xA;qANQwkhuWwRUFVEudkuGhDBS9cCnm59SOKEpZ9eXs6kPWcFqDU5AtXeebBL3&#xD;&#xA;PZmh.zBV2CIdFHC4te7EJE2CdQRA.O9gJdRN9hF3hSRfzF6UW21Auo5ibwz7&#xD;&#xA;Q6sjsFGIvBGgbGcj15BEdlzLIHDDpuQ6vD0eXUS1t.pdWiRIECKORWTSH0uK&#xD;&#xA;YFQf2oqMvmo7PxjDeQlzwUY7roEA6WZDeWBToOxNt.uR96c594bYhxFgGtAj&#xD;&#xA;b7nBObARuZFqwXX0S+Pp2yhzeDHbR.E7hwS+z+ecA6MA+6X+M8sd0xJDWT1L&#xD;&#xA;as4fx+0Vzia8mvrOMbUbjOIb6LUBPga31B9PPzv9vlEvGtV6wJYy9CWsGYvG&#xD;&#xA;87AWbdZLKxb+OwOnWeyqTrbqsJnymIUxR94cyhh56Pi2HYBNDfG7Ru+4A4.i&#xD;&#xA;Zi+VaqV1TkdRRmtIGcgVYrZEW.umt+lBeylNvyxXh9MYJ3YkRsizQBzSClDs&#xD;&#xA;lSgVvIccEh74hRjEkRarzjtg7FIbUnGZST6XD8zumHOo13b2HQMjiXdqVbz4&#xD;&#xA;EKfkRV1iB1vH+IPI8hWc+KPfpZpm&#xD;&#xA;-----------end_max5_patcher-----------&#xD;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA;- You will then need to set the range you want to scale. If for example, the range you got from step 1 is 0.0 to 19.5 and you want to change the pitch of a synth from middle C (264Hz) to one octave above (528Hz), you would setup the scale object like this: [scale 0. 19.5 264 528]. Here's the Max patch:   &#xD;&#xA;&lt;pre&gt;&lt;code&gt;&#xD;&#xA;----------begin_max5_patcher----------&#xD;&#xA;403.3ocyTEsaCBBE8Y8qfvycMhJVcusuiklEpRaYQAihacqo+6Ctpc1MWqMK&#xD;&#xA;qYu.gKWN2y8vA165fWo1wqwn6QOhbb1653.grAb5V6fKX6RyY0PZ3TUQAWpw&#xD;&#xA;yZ2Sy2og3uvxa3HsBUvJQ86JaJTM5btFNqWWzxJdsABlVnjOUwS0s02OZt2L&#xD;&#xA;Dg3Ym5GPK6NzZkTWKdmayk3O+HVLc5VgbyPbB.bBAHHTXxeHThLfwpUOeW.d&#xD;&#xA;.7RVA.O9gJAKePOHj8s.wF6fqqcX1DUr04JCFiKI9WPRBgdvO4hRhOc9hHOB&#xD;&#xA;Moau1Zneqj2hjkELysFBuhI2fOhwX5GAJpGLk.UMHZb4idCjuexvYzqZUERH&#xD;&#xA;Kazm2uc0VmjI3bB+m3b9SMAAwW1CDeCDBI+USo9tEHkkyMOIr2XTy+GgHpe7&#xD;&#xA;3xE47dguoTSPbVrn8wI8b1DxUpNQCTG.ObtP90enAJYiepjUqZpR6afthi9j&#xD;&#xA;UY7ZsPBewLHG5I4rUjkwkCe7THxJUBotiBnkid8MUFEOAFQ9ELxr3f6GhRXk&#xD;&#xA;7B&#xD;&#xA;-----------end_max5_patcher-----------&#xD;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA;This approach will get you started. The hard bit is the tweaking and smoothing of the data. &#xD;&#xA;&#xD;&#xA;I recommend you especially go through the &quot;[Data Scaling][1]&quot; Max tutorial, but the more tutorials you can get through, the better. If you specifically want to use Ableton Live, then [Max for Live][2] is perfect for your needs. A great resource is [Max4Live.info][3], and of course the Max for Live tutorials. &#xD;&#xA;&#xD;&#xA;I hope this gets you started.  &#xD;&#xA;&#xD;&#xA;  [1]: http://cycling74.com/docs/max5/tutorials/max-tut/datachapter02.html&#xD;&#xA;  [2]: http://www.ableton.com/maxforlive&#xD;&#xA;  [3]: http://www.max4live.info" ContentLicense="CC BY-SA 2.5" />
  <row Id="71" PostHistoryTypeId="16" PostId="19" RevisionGUID="b8fc7e38-0d7a-4a7b-9d6b-6d06fe52f201" CreationDate="2010-02-23T11:01:28.930" UserId="2" />
  <row Id="72" PostHistoryTypeId="2" PostId="20" RevisionGUID="81b4f9b2-1e20-4991-a0ab-a2881e8dc053" CreationDate="2010-02-26T13:06:02.150" UserId="6" Text="First off, hat's off to whomever decided this was a good idea, because it rocks!  &#xD;&#xA;&#xD;&#xA;I have a question about Max MSP and triggering samples with the computer keyboard.  I know this can be done fairly easily, but I feel like a dimly lit bulb when trying to do so.  My Max abilities are still sub par at best.&#xD;&#xA;&#xD;&#xA;I am looking to create a patch that will have each key on the keyboard trigger a sample and then that keystroke represented in a note pad of some sort. &#xD;&#xA;&#xD;&#xA;Perhaps someone has a taste for the pint and barter system?&#xD;&#xA;&#xD;&#xA;-Chris" ContentLicense="CC BY-SA 2.5" />
  <row Id="73" PostHistoryTypeId="1" PostId="20" RevisionGUID="81b4f9b2-1e20-4991-a0ab-a2881e8dc053" CreationDate="2010-02-26T13:06:02.150" UserId="6" Text="Max MSP and Computer Keyboard stuff" ContentLicense="CC BY-SA 2.5" />
  <row Id="74" PostHistoryTypeId="3" PostId="20" RevisionGUID="81b4f9b2-1e20-4991-a0ab-a2881e8dc053" CreationDate="2010-02-26T13:06:02.150" UserId="6" Text="&lt;max-msp&gt;&lt;msp&gt;&lt;computer&gt;&lt;keyboard&gt;&lt;samples&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="75" PostHistoryTypeId="2" PostId="21" RevisionGUID="fbce1016-edab-4d65-973a-7e0558ddfce3" CreationDate="2010-02-26T23:34:05.123" UserId="7" Text="If im guessing correct you want to connect your keyboard and trigger something. If yes then u might need a ctlin object and then connect it to a select object (sel 1) so you will get only the notes on. the select object gives you bangs as output. and then sorry i cant understand what you want to do...my english sucks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="76" PostHistoryTypeId="2" PostId="22" RevisionGUID="78028c89-641f-4a54-b763-24da8f67680a" CreationDate="2010-02-27T05:36:52.807" UserId="8" Text="Aduino, Max, and Ableton - all at once?&#xD;&#xA;&#xD;&#xA;I've only tried Arduino to Max (&lt;a href&quot;http://www.maxuino.org/&quot;&gt;Maxuino&lt;/a&gt; is very useful), which works very well, but does add significant lag time.&#xD;&#xA;&#xD;&#xA;Might it make real-time manipulation difficult if you add another programme into the mix?&#xD;&#xA;&#xD;&#xA;MaxMSP purists might argue that there's nothing you can do in Ableton that you can't do in Max..." ContentLicense="CC BY-SA 2.5" />
  <row Id="77" PostHistoryTypeId="5" PostId="22" RevisionGUID="cc70de8a-05eb-4528-9b3d-522552946b44" CreationDate="2010-02-27T05:43:19.697" UserId="8" Comment="added 113 characters in body; added 5 characters in body" Text="Aduino, Max, and Ableton - all at once?&#xD;&#xA;&#xD;&#xA;I've only tried Arduino to Max ([Maxuino][1] is very useful) and it works well, but does add significant lag time.&#xD;&#xA;&#xD;&#xA;Could it make real-time manipulation even less reactive if you were to add another programme into the mix (i.e Ableton)?&#xD;&#xA;&#xD;&#xA;MaxMSP purists might argue that there's nothing you can do in Ableton that you can't do in Max...&#xD;&#xA;&#xD;&#xA;Let me know how you get on with this, it'd be great to be proven wrong.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.maxuino.org" ContentLicense="CC BY-SA 2.5" />
  <row Id="78" PostHistoryTypeId="2" PostId="23" RevisionGUID="6ea4bdac-b2cd-4b18-8005-f8225acbb135" CreationDate="2010-02-27T09:47:02.420" UserId="2" Text="When wanting to map your computer's keyboard, the important objects are: **[key]**, **[keyup]** and **[select]**. In the patches I gave you below, look inside the yellow objects to see how to use them. &#xD;&#xA;&#xD;&#xA;I've put two patches together, one is using your keyboard to trigger MIDI notes, and the other is to trigger samples. I've recycled bits from other patches I had made so some of the programming here is a bit pointless in this context.&#xD;&#xA;&#xD;&#xA;To copy this code into Max/MSP, copy (ctr+C) all the code that is in the gray box. In Max/MSP, go **File** &gt;&gt; **New From Clipboard** and it will paste the patch for you. &#xD;&#xA;&#xD;&#xA;- MIDI triggered by keyboard:&#xD;&#xA;&#xD;&#xA;    &lt;pre&gt;&lt;code&gt;&#xD;&#xA;----------begin_max5_patcher----------&#xD;&#xA;2397.3oc6ct0aiaiEG+YmOED9ot.dB3MQJUzW11m1G18wEK11AAx1LIpQVxv&#xD;&#xA;RNYRK528kWjskbjrorrmgb0DfXac+O+QdH44HQw+7tISmm+EQwTvOB9UvjI+&#xD;&#xA;4cSlnWkZESpVdxzUweYQZbgd2ltHe0JQV4zYlsUJ9Rod8qRVl.1s1rsqRxRE&#xD;&#xA;k5CAUsx0wkKdNI6oG1HVTZtjHD7d3LP0mj.0Wrv6gfOWcLIK0m774+9mX3Zm&#xD;&#xA;87sk6N8vp09XdVYV7Jg9.96aRhSmVaKEI+gdKAj6wjvPVjZS+0c2o9XlkI8L&#xD;&#xA;waRg7gTdZd7xUhhBPDruo+HpNgiMIbrdAV6IeT6odzYS8lct780By0b5z8m9&#xD;&#xA;5fI7dJAFQBudbYM3UQZ9hjx2aEK3twRfgDbcwBFR8IF1NVvAWMtjHKU2JZPJ&#xD;&#xA;4TSrhMUvnhFx8NIU7pXSQRdVsK9jo0RR5zRU9sImFGwOjljL9IIrdQrrVY5I&#xD;&#xA;SWJdrOmi70hrC6ud2a7Qy8LIa8FQgzXNtrR30utwaSKencLzb6OFuPz4A2J6&#xD;&#xA;mL8oMIKyyThnwQpV8tKmr1AsYg5yC5VuGYwqa4fKyySmGu40jhj4ohF4Cxxu&#xD;&#xA;wYIqhKEkIF8fg6OtjUq2ny6qctDYwxywyEK1jml13TY1xqsrkkhWSVHdKYY4&#xD;&#xA;y5y0AZ0nR1ZkaZXY0X8mxBqoUVIXd802VMOcYlwCpU6CldrY1wlZzitNezZ6&#xD;&#xA;zVbsa0MON6ooMtjGWla2Vz0JY9wraAGgWJGM1kVyQxMgi0q85aHFKDo.HHbn&#xD;&#xA;rDp+R1X8YXItaVRFXYxYG91E.aRmDEakUNiq9hfuO3zDk48kN0joSZAso7GU&#xD;&#xA;+YkAcP2vBEZGsNOO10sZ0Ydpq.ivv9.CLw0gg4JewUMw01NTtk33DsWB6Qh8&#xD;&#xA;PeeRSx5paDZ4p1d6TnHe6lE6vckUNnoxWJJJSx12Sve8Ph3nc74jkKa1yKMm&#xD;&#xA;SVtNWlQVoOvmsJaquxlZorYNkpI9IrwjdPaj6H6Onl1U8EBaNSUK.Bqc+Jjt&#xD;&#xA;egaXpwl7.hSUzQ0tncE4uhxtZkR8a7UuH9UwxGjWEYM3ODWVtIY91RSEnM7c&#xD;&#xA;+DdollOONsxm+86yTqbBtyUdN2o6PKc4Q9cGnv0JrMuHdun0P1.6NjMXTk8f&#xD;&#xA;pa6lNLf6HPVcDwF7kEwlYmJvMj6oHXXXT01l+zh7z7M6hNRDM.FEpBLRDhvw&#xD;&#xA;ApeQg7PJQZSWS7WbPeHgUjfYbpwDWKBKpew8wpSy2C8yHLzOb7kG0Bztfuiz&#xD;&#xA;FsTz470FAi5tGs3g4a3LmI.FRnhF.TglvUaOTQvwATgCApHVOgJZT.UVzkC0&#xD;&#xA;np3BYOSwiClFN.lRH8jojwAS4WNSCi5aEpzwASYCfozvdxzfwASCF.Sg8sbJ&#xD;&#xA;abvT5kyTdPeKmxGGLkL.l169RENNX5.bkhw6a69iCOoXCvSJFom0mhGGNRwF&#xD;&#xA;fiTAg8r9T7XvOJ0ir.BikXIP9MT8vG.hhjKFJ+IADo9hpdTEUd2K+OBPoWbs&#xD;&#xA;ulddQizQvCFc9bfS30Ehd8dDGtUe6HQe.OjGIEbiVL4m8YRANVBS1kyTJm2K&#xD;&#xA;lNRbpiOjGcJJA2OlFLVBR1kyTRynObdlxFKAIa.L0z5m8LkOVBR1.XJrm0mF&#xD;&#xA;NVBR1kyTLi1OlFMVBR1.XJpmkSIikfjc4LEw6W4T5nIHYCfoj90tOMXrDjrv&#xD;&#xA;Abmb5GRoikXjMD2n5GRIikPjM.j1Ohh+d.xtpAHCwQ8J.YgeO7XCM68Ew6aW&#xD;&#xA;eoCQD9takr9A+L5bitnSTmN8pXtLy0Ldjz8RYaksfsrk7+mrcXCZGZUc3lJz&#xD;&#xA;G1fXB57CQINjzqTKg4viQI0XHfZy.4f6Ti8AkrI1H6.mS1XajM04jsUi1Ghy&#xD;&#xA;IaaFeLTr6QaaJkntGXNltYVHaUH7bLYysQ1gNmrCsQ1tWE2Q1Hal6YSZScIH&#xD;&#xA;2qAGjMUcibuVbBrQ1tUKN5dIYCtIL2S2VMTRcLdG3o7NvS4M0S4M0S4MwS4M&#xD;&#xA;wS4M1S4M1S4skxV+DZ5gurQbKWFz9K5gktawOWunzs1QWOj2s3ftev6POk2g&#xD;&#xA;dJu8TucPdp2NHlmxalmxaO06Rjm5cIxS8tD4odWh7TuKQdp2ks4ESW96fbPk&#xD;&#xA;aUbjcraJkQ41b2zPN18kxnbhUJOzAUN0JkycPka0MdvwtAUFka0se0wtEUFk&#xD;&#xA;a0cf0wtIUFka0MgE4hsDY08gEgcwVhrpQTjS1HpUshhbwVQs5gRQ+BLzojNx&#xD;&#xA;S6kaK8AzS5lKzWItuFnYuMRydanl81XM6sAa1ai1r2FtYuMdyda.m81HN6sg&#xD;&#xA;b1ai4r2FzYuMpydaXmQXek3Xek39pOmHe0mSju5yIxW84D5q9bB+l3y42m3j&#xD;&#xA;52DmTWSA5kOK.4KJkzC7Ttn3GA+2h+yxe4e+zO+7+52+mf7Lv6xLb0rqz773&#xD;&#xA;MKA+vh30Ef3MBvuM8smSJE+1T8TuzLPwp3zzpsLOMdwKUa4us6RpJSsHeqYD&#xD;&#xA;4h64jNt4kULWOt8wl2HrDZGyUSzqwbt9NZekmt0CfvdOgqiXl2nDlYCU9Imw&#xD;&#xA;0Ct4y35XXDKH35glr7Rg7h2JTHm.JlAJNw7pbH3zy253ugkH5xv6m9zm.EhR&#xD;&#xA;vxsazUTBxeDnXAHICrp3dv+3QkoGnnLeMPMuWUHS+J6QkAqztZFHoDT7Vhp1&#xD;&#xA;pB4w9HHN682hkquHGjlK2W0IyXpNWlwJ1zpcXPOKKV8tPCGVMWWYLKC5f6vu&#xD;&#xA;kVhaWM+Phtu1ZMlT35pXE5ZOov0XdEui1OjsNlkrZ6JMHudlgqheQnJwbo1g&#xD;&#xA;lI+LF4T.a+KavgCrGk0npQl4GcxrafA6qhz7EIkuC9AHnLWdU3Wml3PTyqrY&#xD;&#xA;ptB9H3Iaii6cVVQlWRUTKLrBus1UxDyNCHYl2M0X6khzjkcvJ74lXJwZc.vz&#xD;&#xA;fSUT.GxNMtrZFn7YYSJMlmIoHDmomcI4zHHV8ivpUUeZlbijr5yKaGwz8J73&#xD;&#xA;yVHS9GeView4LJG07z83l7+Pj8fDpG0GdorqtTetV1f93Z95awjqbrSLU4Me&#xD;&#xA;z4k5djXyfN5idrzt2JenbhsJJzBEgaDV6atjBrQRnupTRWn+rhp4cC87hh.0&#xD;&#xA;utpBB0SPxD59ktJpEYiZ6QtJNfUWt0VZnx0pL7iRSmUtLj4cAVEiY6WZnpEY&#xD;&#xA;aIAr8hEw0Pk.Mrs1RCTsGUjrC1h+pZLcTAuSnIT+InYBaAE.2uzPUq8kN+Jh&#xD;&#xA;v.aPXv.zjbg+5t+GKn85P&#xD;&#xA;-----------end_max5_patcher-----------&#xD;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA;- Samples triggered by keyboard&#xD;&#xA;    &lt;pre&gt;&lt;code&gt;&#xD;&#xA;----------begin_max5_patcher----------&#xD;&#xA;1910.3oc6a0saihCF85zmBqr6koU3e3uUqzpU6U6KvpU6nQUNAmTZI3Hvoc5&#xD;&#xA;LZlm8EaSRfDHXHjTR6bCDrA6y2we19y1m7saFMdJ+KrzwfeC7IvnQe6lQiTI&#xD;&#xA;ISXT9yiFuj9kYQzT0qMdFe4RVrX7DcdB1WDpzSoKWEkUT4oGudYXbDSn9HXd&#xD;&#xA;hqnhYODFu39D1LgtRw12YMA3IuffpaNYWAeN+KBCTENe5i25fKT170hMEtUd&#xD;&#xA;py4whX5Rl5C9yjPZz3B4jF9UUN136PXOOGeYVe+lajWlbhl9ue6sf+F735TA&#xD;&#xA;XIc0JV.3+R+2f+5el.dkuFLiFClyih3u.DOv.Y7DCrJILdVXFeADb42nx4kG&#xD;&#xA;3YI7D60obZRvlZIJLlMiuNVUUnVxtPhijRgPKEAa6JugIUSv198AACQ2Y0At&#xD;&#xA;Ml8RFFNzqJbwO.v15T4qrVhx0hfUOXUiM6VsMCazl0ur30ULccJgZbV1aqky&#xD;&#xA;GoH.oBZhHhyW0VlwQ4A.IPUOsiSMj9iZ1B29jcpq6nrh9i1RLPeMYfrZ1og3&#xD;&#xA;9F1QQvWrHh0ZyyEWXHVsQVq4Ye7F9CZdCkCN84NXKKYoozErJaAA+Z0c6QMa&#xD;&#xA;jZuaakQBqY1DBt27tuHN0x4XnAAxYTR.7WhA4y2BdfkzduAKEQ45oYHxw7Fv&#xD;&#xA;CvYEVAltd9bVR0QaXUugqmNTa25ICq0r6s93EQCKI2Xys1r2NLh8blkDxiKz&#xD;&#xA;nMZ7NLiTSi4nlSygnGdxq.py3vEQ7YOwBJfuQiCXyaSYvWwh289p2nzkxuYX&#xD;&#xA;7pDVZleJUjC7h0Kccj39pogx4OmNiU6GWI6NZ7hjv.drDDk9RYxaptLGbk8J&#xD;&#xA;utC2p2HltphOVv4QSoIOGlFNMhUpcHy+jFGtjJXhPMdPVa+tvkx.4DkJKVLM&#xD;&#xA;qLdHcVRVLekJJcNOWQNArmCmwdILP7fpr1wVkBOufeSodNkR+X8f1eTVZvTZ&#xD;&#xA;7hhYV0HH00YJe.VK0MmClR4fdTN6UQGNp6w6YU8nuJKnTcV03Ni1L1i9GS5H&#xD;&#xA;aVdBqxzYBaUTl+L34vorzaov6ngyqkZQGmZgVpwjwNHc3616OU1AjK5rPtCJ&#xD;&#xA;hkFK3w8AqBUi7662HoBe+SpOxiWD8ZOvpH2hCGbTZ058OslPCiSEgyd5zX17&#xD;&#xA;0jniSChahYQ9u+YVYPT7mXrSiX0Lpa9tiz3HAHuqah8HQAnij9G4qmvoqAC.&#xD;&#xA;sTyQg8T27caJZ.zQhF.0cFcdVPMYKd5BGVfwzqc2oW8TW5EvX.8R9HRujSz6&#xD;&#xA;E44ZH8h+HRu3Sz6EoWwPyzKz6iH8hNQ5E56YH89dZrWShYHHY8R4dJ1Cg4BQ&#xD;&#xA;PCiY.h+fDy.7T8aIl52BGf9s61fI4I0Uyd0nLdY9Uy6o70Iy1.mM9Nfx7P.K&#xD;&#xA;a8Dwa2usOsiR16EeHLHn79aoZZCCVwCiE4.Tuc8M5ozVbKiS1Lb6Lrvsuo31&#xD;&#xA;aPga4RoMB2H7vB2PSwMYXgajo3dX4eicL0+Fechaj2UJt8uNwcEC7bcfa3UJ&#xD;&#xA;tQ8HtySLy.zGMYJ8YVv8YUSVjY2SEhjvoqE5PYJcTkG4P4h3SoQ4Gw412YrQ&#xD;&#xA;m4WsI1zoGVCVp6.HuYGKzSxTHkI5fJEbTagCBC2Izj5Do.lLLEo.6qAzY+ns&#xD;&#xA;FNQq9Lr5LsxEmkc0FdcG9d+IgfEIb9yrsKgAfpzZvMYMHOqB6MeshInZyA2Y&#xD;&#xA;QlMohecADd1Jo5DSuUyYsV6EZomku06VP8QaTMggplvPcQ5YRQxsQdpN0vR3&#xD;&#xA;6HY.yyOOuoKlwi3IazBgOw1x2SJCBeH1EYK+Ewx0ifyLjBFPmk3AV6EgPZ4o&#xD;&#xA;XiztVv1IxCSJkeJyiObx7PpVzsBEs06QCRq.ArZ7MRyh737nCAkEbo13Kcse&#xD;&#xA;ZDFJmpr2bsKZLnXbcazEnJtpdzXKq2vC0b3lsPUO94u.l9pRq5x1N.et524Z&#xD;&#xA;wSI1cZBCrNMiQ.EKwRZXG2U4FoU2YtV1gt53m5nNCrL1W7sYGVEm54wR7yYq&#xD;&#xA;ZT58EZ2p2eZ2A.k14yfk.cZEktUl3mCJ0dHQoc9bWwX21Qo1mQJkLjnzNeVq&#xD;&#xA;HmbcX4ZHkRNiTJdHQoc+7U0hZIWNVFPomywRQCIJs6G8WtX1zm.nATJ5LRov&#xD;&#xA;g.klxhxpMjTruY2sjBoD36m8nWmGIXiP+0KRxqIN9Hhtv8D0m8DyuODZKdh8&#xD;&#xA;555WwjkIK.PK0Ea+6ravwtdRmzcRWtZ0IUcaXPtclZI4ysYF2heexsm15Sgt&#xD;&#xA;ZsXAIls.0iI0s1r.02VcRLzN+aCgs204oeOvNkMxawgr0CvFcc5bStR6TRHW&#xD;&#xA;o319JE2tWm3VNnr80mVZLUZdDzfC1PSf8visQl.axfC1XSfs8fC1DSfs6OkQ&#xD;&#xA;SuKiFEcVNpdsFC1uULWoAGp91hMJ0EaVo24fFspavNP0CsAQvlPDocPBh8TK&#xD;&#xA;XUu+.t1ae3BfU6tgUHVsHQWmsObhXEa.VcK8NMCUKrDcXnZ6.7PaenGfpkAP&#xD;&#xA;8x4TtmC2PneBA2+PBpaCk+exytY6r8gSEq1FfUxkk+rOCMo48V871QepGNUn&#xD;&#xA;5dNZp0Mtps+eSKMduQYxd3627+7OuiSK&#xD;&#xA;-----------end_max5_patcher-----------&#xD;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA;Hope this helps. " ContentLicense="CC BY-SA 2.5" />
  <row Id="79" PostHistoryTypeId="2" PostId="24" RevisionGUID="c95713cf-1e9e-4d1b-a239-9538bf3e4a7c" CreationDate="2010-02-27T15:27:31.940" UserId="9" Text="Recently I shot a short film but needed to do this film with NO budget. I was able to get a camera for free as well as someone to shoot it - Sound however became a problem. Very few sound guys are eager or willing to &quot;sponsor&quot; equipment for a day and then further than that to work and on-set and mix for free. I ended up using a [Sony IC Recorder][1] icd mx20 - I took this route partly for budget reasons (I got it for free) but mostly as an experiment in independent film making. Im not really happy with the sound I got from it, actually its terrible, so I was wondering what other alternative or innovative ways there are to record sound (read dialogue) on a small film set.&#xD;&#xA;&#xD;&#xA;Things that I did like about the recorder though was the versatility of such a small device - I [taped it to a boom pole][2], dropped it in the actors pocket or could go hand-held at any moment - I am looking for something like this that actually records good sound! &#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sonystyle.com/webapp/wcs/stores/servlet/ProductDisplay?catalogId=10551&amp;storeId=10151&amp;langId=-1&amp;productId=11037529&#xD;&#xA;  [2]: http://www.flickr.com/photos/35029200@N00/4208838261/in/set-72157623058761608/" ContentLicense="CC BY-SA 2.5" />
  <row Id="80" PostHistoryTypeId="1" PostId="24" RevisionGUID="c95713cf-1e9e-4d1b-a239-9538bf3e4a7c" CreationDate="2010-02-27T15:27:31.940" UserId="9" Text="Sound Recording for Film" ContentLicense="CC BY-SA 2.5" />
  <row Id="81" PostHistoryTypeId="3" PostId="24" RevisionGUID="c95713cf-1e9e-4d1b-a239-9538bf3e4a7c" CreationDate="2010-02-27T15:27:31.940" UserId="9" Text="&lt;sounrecording&gt;&lt;filmset&gt;&lt;independentfilm&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="82" PostHistoryTypeId="5" PostId="24" RevisionGUID="5e0cb5ba-0f7f-4236-bf19-293c396c3e15" CreationDate="2010-02-27T15:39:33.940" UserId="9" Comment="deleted 4 characters in body" Text="Recently I shot a short film but needed to do this film with NO budget. I was able to get a camera for free as well as someone to shoot it - Sound however became a problem. Very few sound guys are eager or willing to &quot;sponsor&quot; equipment for a day and then further than that to work on-set and mix for free. I ended up using a [Sony IC Recorder][1] icd mx20 - I took this route partly for budget reasons (I got it for free) but mostly as an experiment in independent film making. Im not really happy with the sound I got from it, actually its terrible, so I was wondering what other alternative or innovative ways there are to record sound (read dialogue) on a small film set.&#xD;&#xA;&#xD;&#xA;Things that I did like about the recorder though was the versatility of such a small device - I [taped it to a boom pole][2], dropped it in the actors pocket or could go hand-held at any moment - I am looking for something like this that actually records good sound! &#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sonystyle.com/webapp/wcs/stores/servlet/ProductDisplay?catalogId=10551&amp;storeId=10151&amp;langId=-1&amp;productId=11037529&#xD;&#xA;  [2]: http://www.flickr.com/photos/35029200@N00/4208838261/in/set-72157623058761608/" ContentLicense="CC BY-SA 2.5" />
  <row Id="83" PostHistoryTypeId="2" PostId="25" RevisionGUID="6a3d9c28-f9fd-406d-a17f-1798b680719e" CreationDate="2010-02-28T10:33:31.657" UserId="2" Text="If you're looking for a very cheap option without compromising too much on quality, then I think the [Zoom H2][1] could be a good option. Here's why: &#xD;&#xA;&#xD;&#xA; - It costs around $150&#xD;&#xA; - It's very small&#xD;&#xA; - it can record at high quality: 24bit; 96kHz&#xD;&#xA; - Apparently the battery life is good&#xD;&#xA; - Your only limitation on recording space is the size of the SD card you put in&#xD;&#xA; - You can screw it onto a boompole or tripod, no need to tape it :-)&#xD;&#xA; - You can hook up an external mic. This way you can add a mic more suited to recording dialogue (such as a shotgun mic or a lapel)&#xD;&#xA; - The on-board mics sound pretty good. Not ideal for dialogue as they are stereo, but usable. &#xD;&#xA; - The on-board mics pickup patterns are 90º, 180º or 360º. &#xD;&#xA; - You can record nice ambiances with it, or plug it directly into your computer to record VO&#xD;&#xA; - It records up to 4 channels (it mixes them onto 2 channels though)&#xD;&#xA;&#xD;&#xA;Here's a video of someone using this setup, however I really don't recommend using the stereo mics for dialogue recording unless you have to. And I don't think you need that fancy mount as the Zoom H2 has a standard tripod connector at the bottom, you might need an adapter ring to get the right size thread for the boom. &#xD;&#xA;&#xD;&#xA;[youtube]TCn28Ke1tm0[/youtube]&#xD;&#xA;&#xD;&#xA;So considering your needs, I think it could be a good recorder to have as an independent filmmaker. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.zoom.co.jp/english/products/h2/" ContentLicense="CC BY-SA 2.5" />
  <row Id="86" PostHistoryTypeId="2" PostId="28" RevisionGUID="45e54786-16bb-44f3-9e14-d2d488d3a747" CreationDate="2010-03-01T23:06:02.563" UserId="14" Text="I use a Zoom H2, for the price and what it does, it's pretty ace. Like Mr. Spitz said, not ideal for dialogue recording, but with a tight budget, I think it would work. As he said, the battery life is pretty awesome. I record lectures at school with it, and I get about three hours out of one fully charged set of Nickel Metal Hydrides. It's robust, too. Mine's been dropped *several times*, and it's still tickin'. It's not going to sound like a SD744T with a Neumann RSM 191 plugged into it, but for entry level gear that sounds good, it'll work pretty darned well.&#xD;&#xA;&#xD;&#xA;As well, if you're using Pro Tools, and have an MBox, the MBox + an SM58 + a notebook with a good battery life can act as a recorder in a pinch." ContentLicense="CC BY-SA 2.5" />
  <row Id="87" PostHistoryTypeId="2" PostId="29" RevisionGUID="72e332a2-96df-4c9e-8fc6-b98850ca72f1" CreationDate="2010-03-01T23:32:55.707" UserId="13" Text="I'm interested in learning more about surround sound. Can anyone recommend a comprehensive book that will be appropriate for someone who has basic knowledge but wants to get into surround studio, recording, and mixing? Looking for something that covers the basics but then gets in depth.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;Joy" ContentLicense="CC BY-SA 2.5" />
  <row Id="88" PostHistoryTypeId="1" PostId="29" RevisionGUID="72e332a2-96df-4c9e-8fc6-b98850ca72f1" CreationDate="2010-03-01T23:32:55.707" UserId="13" Text="Book recommendations on surround sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="89" PostHistoryTypeId="3" PostId="29" RevisionGUID="72e332a2-96df-4c9e-8fc6-b98850ca72f1" CreationDate="2010-03-01T23:32:55.707" UserId="13" Text="&lt;books&gt;&lt;surround-sound&gt;&lt;5.1&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="90" PostHistoryTypeId="2" PostId="30" RevisionGUID="fd35fd41-0d82-4c17-88e8-e5f165c49938" CreationDate="2010-03-01T23:45:17.113" UserId="16" Text="During the next month in Valencia (Spain) is taking place a fest in which the main act everyday is a massive burst of firecrackers in the main city square. This event called &quot;Mascletá&quot; is widely regarded as a really loud event (100 to 130 dBs aprox.). &#xD;&#xA;&#xD;&#xA;I want to record it in many different ways (since is happening everyday during three weeks) but the only thing that worries me is the security of my modest gear.&#xD;&#xA;&#xD;&#xA;I have a Zoom H2 and Zoom H4 and a pair of in-ear mics Soundman OKM to use and a bunch of homemade contact mics.&#xD;&#xA;&#xD;&#xA;So the question is: it is safe to use the Zoom H2 or H4 and the binaural mics under those circumstances? or should I take precautions?&#xD;&#xA;&#xD;&#xA;And another question more open would be: how would you record this kind of event??&#xD;&#xA;&#xD;&#xA;;)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="91" PostHistoryTypeId="1" PostId="30" RevisionGUID="fd35fd41-0d82-4c17-88e8-e5f165c49938" CreationDate="2010-03-01T23:45:17.113" UserId="16" Text="recording extremely loud sound sources" ContentLicense="CC BY-SA 2.5" />
  <row Id="92" PostHistoryTypeId="3" PostId="30" RevisionGUID="fd35fd41-0d82-4c17-88e8-e5f165c49938" CreationDate="2010-03-01T23:45:17.113" UserId="16" Text="&lt;field&gt;&lt;recording&gt;&lt;fireworks&gt;&lt;loudness&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="93" PostHistoryTypeId="6" PostId="18" RevisionGUID="38b59659-e2f0-4830-852a-81c79d42da63" CreationDate="2010-03-01T23:52:05.683" UserId="17" Comment="edited tags" Text="&lt;max-msp&gt;&lt;arduino&gt;&lt;abletonlive&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="94" PostHistoryTypeId="6" PostId="18" RevisionGUID="3977359f-409c-4324-b1f8-8a1eaa20d464" CreationDate="2010-03-01T23:52:25.620" UserId="17" Comment="edited tags" Text="&lt;max-msp&gt;&lt;arduino&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="95" PostHistoryTypeId="6" PostId="24" RevisionGUID="aee92f00-ded8-4628-91a6-9b8f1a4a24cb" CreationDate="2010-03-01T23:53:36.477" UserId="17" Comment="edited tags" Text="&lt;sound-recording&gt;&lt;film-set&gt;&lt;independent-film&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="96" PostHistoryTypeId="6" PostId="24" RevisionGUID="ab005a0b-d0e0-4de2-8efc-6415873118e3" CreationDate="2010-03-01T23:54:10.500" UserId="17" Comment="edited tags" Text="&lt;recording&gt;&lt;film&gt;&lt;independent-film&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="97" PostHistoryTypeId="2" PostId="31" RevisionGUID="1cc41468-d665-41b3-846d-3dba312d4521" CreationDate="2010-03-02T00:00:38.350" UserId="18" Text="First, 100db is really not that loud.  That is about as loud as a subway train passing by 3 meters away.&#xD;&#xA;&#xD;&#xA;Second, you gear is not going to get damaged.  The worst that will happen is the recordings will be distorted.  I've recorded guns (160db+) and other loud sources numerous times and never damaged my gear.&#xD;&#xA;&#xD;&#xA;What is the max SPL rating on the mics?  If they spec'd at over 130db, then the mics SHOULD not crap out.&#xD;&#xA;&#xD;&#xA;The Zoom H4 could be an issue because you don't have a lot of control of the gain.  The low or medium setting would probably be ok.&#xD;&#xA;&#xD;&#xA;I would try and run a test before the event.  Try and find a train or something else really loud and see what your recordings sound like.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="98" PostHistoryTypeId="2" PostId="32" RevisionGUID="ec413404-e540-4f63-9829-d0383a6cb809" CreationDate="2010-03-02T00:02:45.473" UserId="18" Text="5.1 Surround Sound Up and Running by Holman is the only book I know of on the topic:&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/5-1-Surround-Sound-Up-Running/product-reviews/0240803833/ref=dp_top_cm_cr_acr_txt?ie=UTF8&amp;showViewpoints=1" ContentLicense="CC BY-SA 2.5" />
  <row Id="99" PostHistoryTypeId="2" PostId="33" RevisionGUID="0240637a-ec94-411e-a602-c9cc11477f82" CreationDate="2010-03-02T05:04:11.840" UserId="10" Text="Another could be this one: http://www.amazon.com/Tools-Surround-Sound-Mixing-Book/dp/087930832X/ref=sr_1_4?ie=UTF8&amp;s=books&amp;qid=1267506145&amp;sr=1-4&#xD;&#xA;&#xD;&#xA;Is more focused on Mixing, but has great general concepts on surround sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="100" PostHistoryTypeId="2" PostId="34" RevisionGUID="8a82cbf6-9c55-4c91-8516-384953dcfa7a" CreationDate="2010-03-02T06:25:46.777" UserId="19" Text="You can use an air horn to test the high SPL response of your mics before you go record." ContentLicense="CC BY-SA 2.5" />
  <row Id="101" PostHistoryTypeId="2" PostId="35" RevisionGUID="069b2bf7-68f6-474d-8eaf-f28c3bc5b28b" CreationDate="2010-03-02T09:52:44.773" UserId="2" Text="As Chuck says, you're equipment should be safe. The worst will be some distortion on your recording. &#xD;&#xA;&#xD;&#xA;I think the OKMs have a pretty high SPL rating, so you should be safe. Does the OKM not have a pad included? I seem to remember that you have a -20db attenuation pad. If yours does, then definitely switch it on. &#xD;&#xA;&#xD;&#xA;Don't forget to protect your ears too... &#xD;&#xA;&#xD;&#xA;For the question on how to record the event with your equipment. I'd use the Zoom H4 to record specific angles/areas with it's on-board mics, and use the binaurals to get the reflections, decays and surrounding space. But because it will handle the loud bang of the fireworks probably better the the H4, I'd use them to get right up close (out of your ears though) so you can have added layers for when editing the sounds. Just some ideas.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="104" PostHistoryTypeId="2" PostId="38" RevisionGUID="7db181af-f924-45c5-904a-2dc1bb780384" CreationDate="2010-03-02T15:24:07.367" UserId="22" Text="I've enjoyed recording samples and playing with audio as a hobby for quite a while now. Recently I purchased a zoom h2 and the quality of the recordings are just great. What I'm curious about, is how to get my foot in the door for making money with sound design / field recordings?&#xD;&#xA;&#xD;&#xA;I don't mean on the scale of making a career out of sound design, but how can someone get started with making money on the side -- turning a hobby into something slightly economical. What avenues of income exist? Where / who do you sell your services to? Etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="105" PostHistoryTypeId="1" PostId="38" RevisionGUID="7db181af-f924-45c5-904a-2dc1bb780384" CreationDate="2010-03-02T15:24:07.367" UserId="22" Text="How to make money with sound design." ContentLicense="CC BY-SA 2.5" />
  <row Id="106" PostHistoryTypeId="3" PostId="38" RevisionGUID="7db181af-f924-45c5-904a-2dc1bb780384" CreationDate="2010-03-02T15:24:07.367" UserId="22" Text="&lt;money&gt;&lt;recording&gt;&lt;income&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="107" PostHistoryTypeId="2" PostId="39" RevisionGUID="035053ec-4930-4f2e-bf7a-7a59f14f0f2a" CreationDate="2010-03-02T15:56:36.850" UserId="24" Text="You could always make a sound library and sell it. Personally I'm getting a bit sick of the [Sound Ideas][1] and [Hollywood Edge][2] libraries, as versatile and massive as they are.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sound-ideas.com/&#xD;&#xA;  [2]: http://www.hollywoodedge.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="108" PostHistoryTypeId="2" PostId="40" RevisionGUID="dfd4f038-36bc-4c60-a0b3-20583f608a11" CreationDate="2010-03-02T16:06:59.133" UserId="10" Text="Another way is to make your own sound fx website and distribute your content there. But, if you want to do that and have success you need to get a lot of high quality on your samples to sell them well.&#xD;&#xA;&#xD;&#xA;There are also services such as http://www.soundsnap.com/ where you can upload your sound effects and they sell them on the website.&#xD;&#xA;&#xD;&#xA;If your goal is to offer services of sound design for visual media, you need to read and practice a lot first. Then you could have stronger skills." ContentLicense="CC BY-SA 2.5" />
  <row Id="109" PostHistoryTypeId="2" PostId="41" RevisionGUID="79cb6db6-19ef-4a87-ac13-14b593c220d0" CreationDate="2010-03-02T17:25:37.397" UserId="28" Text="[Audio Jungle][1] is another stock sound effect site. (Much like iStockPhoto, but for audio clips.) &#xD;&#xA;&#xD;&#xA;Content creators can upload their own sound effects. People can browse the database and purchase single clips as microtransactions. A percentage goes to the creator. The rest goes to the stock site. &#xD;&#xA;&#xD;&#xA;I have no personal experience of this service. Just thought I'd point it out. Passive income is a delicious idea, but... I'm not sure what the success rate is really like. **SOMEBODY'**s gotta be making money off this. Likely the first fish in the pond.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audiojungle.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="110" PostHistoryTypeId="2" PostId="42" RevisionGUID="fd96d028-0ef4-41eb-8315-df82a8f89481" CreationDate="2010-03-02T17:38:00.477" UserId="28" Text="*Not so secret if you share!*&#xD;&#xA;&#xD;&#xA;And how do you use it?&#xD;&#xA;&#xD;&#xA;-=-&#xD;&#xA;&#xD;&#xA;I LOVE [Paul's Extreme Sound Stretch][1]. I used to run it in my Windows XP days, but when I switched to an Intel Mac, there wasn't a working binary. [Until recently!][2] This UB isn't quite as stable as the Windows version, but it still works.&#xD;&#xA;&#xD;&#xA;Paul's Stretch is old school. You set the settings, and then hit render, and wait for it to chug out your sound. Not good for short stretches, such as you might warp in Ableton. This is for creating surreal, extreme stretches. Take a 10 second clip and make it 20 minutes, 20 hours, 20 days. Etc.&#xD;&#xA;&#xD;&#xA;I love to use this as a starting point, and then hack up the stretch with tremolo or gating effects in a DAW.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hypermammut.sourceforge.net/paulstretch/&#xD;&#xA;  [2]: http://music.cornwarning.com/2009/04/29/paul-stretch-extreme-audio-time-stretching-for-os-x-to-download/" ContentLicense="CC BY-SA 2.5" />
  <row Id="111" PostHistoryTypeId="1" PostId="42" RevisionGUID="fd96d028-0ef4-41eb-8315-df82a8f89481" CreationDate="2010-03-02T17:38:00.477" UserId="28" Text="What is your software secret weapon?" ContentLicense="CC BY-SA 2.5" />
  <row Id="112" PostHistoryTypeId="3" PostId="42" RevisionGUID="fd96d028-0ef4-41eb-8315-df82a8f89481" CreationDate="2010-03-02T17:38:00.477" UserId="28" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="113" PostHistoryTypeId="2" PostId="43" RevisionGUID="cdc87497-e9e8-41cd-85b2-2209ba3ad76f" CreationDate="2010-03-02T18:02:19.457" UserId="10" Text="Without talking of plugins, I think MetaSynth would be my special weapon. The way you tweak the sounds there is simply amazing!&#xD;&#xA;&#xD;&#xA;Take a look: http://www.uisoftware.com/MetaSynth/index.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="114" PostHistoryTypeId="2" PostId="44" RevisionGUID="aae0aae2-5218-4c84-92ca-b32b7db16915" CreationDate="2010-03-02T18:03:59.227" UserId="29" Text="I shall nevah divulge zee sekrets! :-) Actually, I will, it's just that there are too many!&#xD;&#xA;&#xD;&#xA;- Sculpture physical modeler in Apple Logic Pro: Harmonically-rich source tones that stand up to massive filtering.&#xD;&#xA;- The Random button in Logic's ES2 synth: Great for getting unstuck creatively.&#xD;&#xA;- Thonk for MacOS9: Sounds like how you use Paul's Stretch. Why do you think this G4 tower is sitting under my desk?&#xD;&#xA;- SoundHack: Great for convolving and cross-processing two sounds at massively high sample rates.&#xD;&#xA;- Michael Norris' realtime spectral effects plugins: Spooky, flowy magic.&#xD;&#xA;- GleetchLab: A nightmare to use but some great digital mayhem.&#xD;&#xA;&#xD;&#xA;+1 on MetaSynth. EPIC." ContentLicense="CC BY-SA 2.5" />
  <row Id="115" PostHistoryTypeId="2" PostId="45" RevisionGUID="1923a6bf-b49b-4405-9c69-6ee67fab642e" CreationDate="2010-03-02T18:14:33.870" UserId="29" Text="I own and love a Zoom H2, *and* a Sound Devices 702, which I also love but for totally different reasons. The biggest problem with putting an H2 on a boom pole is that you can't effectively ride the levels to prevent maximum gain without clipping, because your level meters are way out there on the pole with your mics! The H2 would do best with a mic run to the end of the pole, but do know that the H2's built-in mics have lower noise than the external mic input...the H4n is better noise-wise. It's really just a question of ergonomics more than anything else. Be sure to put a windscreen, like the foam bit and a Rycote mini windjammer, if you're gonna swing it on a boom!" ContentLicense="CC BY-SA 2.5" />
  <row Id="116" PostHistoryTypeId="2" PostId="46" RevisionGUID="70d9a373-5b7d-464a-80e5-b14e1986abdc" CreationDate="2010-03-02T18:27:47.717" UserId="32" Text="this book is a very simple, basic, easy-and-fast-to-read beginners' book on the topic, but after you have a good grasp on the subject I'd move on to the Holman book:&#xD;&#xA;http://www.amazon.com/Instant-Surround-Sound-Jeffrey-Fisher/dp/1578202469/ref=sr_1_3?ie=UTF8&amp;s=books&amp;qid=1267554314&amp;sr=1-3" ContentLicense="CC BY-SA 2.5" />
  <row Id="117" PostHistoryTypeId="2" PostId="47" RevisionGUID="be4b154b-f8b4-4f2d-87f4-5fcfc51f8dd7" CreationDate="2010-03-02T19:06:16.777" UserId="33" Text="from amateur to pro!" ContentLicense="CC BY-SA 2.5" />
  <row Id="118" PostHistoryTypeId="1" PostId="47" RevisionGUID="be4b154b-f8b4-4f2d-87f4-5fcfc51f8dd7" CreationDate="2010-03-02T19:06:16.777" UserId="33" Text="10 best sites for sound design tips &amp; tricks???" ContentLicense="CC BY-SA 2.5" />
  <row Id="119" PostHistoryTypeId="3" PostId="47" RevisionGUID="be4b154b-f8b4-4f2d-87f4-5fcfc51f8dd7" CreationDate="2010-03-02T19:06:16.777" UserId="33" Text="&lt;tips&gt;&lt;tricks&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="120" PostHistoryTypeId="5" PostId="38" RevisionGUID="4c1aefd0-6669-4c6d-966f-e1d83f4b09d6" CreationDate="2010-03-02T19:26:57.500" UserId="22" Comment="Clarifying the type of contract work that is of interest." Text="I've enjoyed recording samples and playing with audio as a hobby for quite a while now. Recently I purchased a zoom h2 and the quality of the recordings are just great. What I'm curious about, is how to get my foot in the door for making money with sound design / field recordings?&#xD;&#xA;&#xD;&#xA;I don't mean on the scale of making a career out of sound design, but how can someone get started with making money on the side -- turning a hobby into something slightly economical. What avenues of income exist? Where / who do you sell your services to? Etc.&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;Edit: Some great suggestions on sampling / letting the files sit there for passive income (soundsnap / audio jungle / etc). Is there any notion similar to contract work for web / code design? Sites like [FossFactory][1] allow bounties to be placed on programming requests. Do any sites host requests for sample packs?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fossfactory.org/browse.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="121" PostHistoryTypeId="2" PostId="48" RevisionGUID="44f666b7-970d-4dea-b8da-7464ec4d6b1f" CreationDate="2010-03-02T19:27:40.663" UserId="34" Text="http://designingsound.noisepages.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="122" PostHistoryTypeId="2" PostId="49" RevisionGUID="1c9f147f-5853-4b15-aa93-23505ada7b54" CreationDate="2010-03-02T19:31:07.413" UserId="34" Text="I'm an absolute newbie. &#xD;&#xA;&#xD;&#xA;I'd like to buy a portable recorder but i don't know which is the best. I read about zoom h2, zoom h4n and tascam dr-07 but there are also a lot of other models...&#xD;&#xA;&#xD;&#xA;Any suggestions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="123" PostHistoryTypeId="1" PostId="49" RevisionGUID="1c9f147f-5853-4b15-aa93-23505ada7b54" CreationDate="2010-03-02T19:31:07.413" UserId="34" Text="Best entry-level portable recorder" ContentLicense="CC BY-SA 2.5" />
  <row Id="124" PostHistoryTypeId="3" PostId="49" RevisionGUID="1c9f147f-5853-4b15-aa93-23505ada7b54" CreationDate="2010-03-02T19:31:07.413" UserId="34" Text="&lt;portable-recorder&gt;&lt;newbie&gt;&lt;zoom&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="125" PostHistoryTypeId="2" PostId="50" RevisionGUID="3652e8e0-8d8f-4219-b869-c00b3933718f" CreationDate="2010-03-02T19:41:15.240" UserId="2" Text="I like this question! I'm curious to hear what people use. &#xD;&#xA;&#xD;&#xA;Off the top of my head, I'd have to choose [SoundHack][1] as well. The quality is very high, and the interface is so raw that it actually does make me feel like I'm hacking. How do I use it? Randomly most of the time. It can get pretty wild.  It's non real-time, so no previews but that's what makes it fun. Just as in Paul's Extreme Time Stretch, you can turn your tiny sound into loooong sounds. But you can do much much more then just stretch. &#xD;&#xA;&#xD;&#xA;Also +1 on [MetaSynth][2]. It's got a great sound and interface. It's a bit pricey, so I don't yet have a copy. &#xD;&#xA;&#xD;&#xA;I really enjoy [Absynth][3]. I just love working with the envelopes, although the effects it has can make it sound very generic. &#xD;&#xA;&#xD;&#xA;I'm sure there are a lot more that I'm not thinking about. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundhack.com/freeware.php&#xD;&#xA;  [2]: http://www.uisoftware.com/MetaSynth/index.php&#xD;&#xA;  [3]: http://www.native-instruments.com/#/en/products/producer/absynth-5/" ContentLicense="CC BY-SA 2.5" />
  <row Id="126" PostHistoryTypeId="2" PostId="51" RevisionGUID="a6bffc99-0cc6-44c6-8da9-1a0bd26c6868" CreationDate="2010-03-02T19:54:01.690" UserId="22" Text="Definitely consider the zoom h2. If it's in your price range, you won't be disappointed. It takes SD cards so you can arbitrary bring more storage with you, and it does an amazing job." ContentLicense="CC BY-SA 2.5" />
  <row Id="127" PostHistoryTypeId="2" PostId="52" RevisionGUID="d13047de-015a-44fa-a42b-47c5df8b9627" CreationDate="2010-03-02T21:12:39.590" UserId="37" Text="sony PCM-M10. &#xD;&#xA;here's a review [http://esem.name/?pcmm10][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://esem.name/?pcmm10" ContentLicense="CC BY-SA 2.5" />
  <row Id="128" PostHistoryTypeId="2" PostId="53" RevisionGUID="298f739a-fb07-4d85-93a8-6680f71a0067" CreationDate="2010-03-02T21:45:52.913" UserId="2" Text="My current setup is not as portable as I would like. I'm looking to put together a very portable kit for field recording. However, I'd rather not compromise too much on quality for portability. &#xD;&#xA;&#xD;&#xA;I'm thinking of combining the [Sony PCM-D50][1] with the [Core Sound Mic2496][2]. I hear the the pre-amps and the analogue-to-digital converter are really nice, so my thinking is that because the Sony recorder has digital inputs, I can use it as a &quot;bit bucket&quot; bypassing the pre-amps and the lack of XLR inputs. I also keep hearing how the on-board mics of the Sony are really nice, which is always an added bonus. This way I don't always need to have the Core Sound and external mics to record a quick sound. &#xD;&#xA;&#xD;&#xA;  [1]: http://digitalmedia.oreilly.com/2008/01/10/sony-pcm-d50-recorder-review.html&#xD;&#xA;  [2]: http://www.core-sound.com/Mic2496/1.php&#xD;&#xA;&#xD;&#xA;My question is whether anyone has used the Mic2496 and can provide some information on it. Specifically regarding the quality of the sound. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="129" PostHistoryTypeId="1" PostId="53" RevisionGUID="298f739a-fb07-4d85-93a8-6680f71a0067" CreationDate="2010-03-02T21:45:52.913" UserId="2" Text="Has anyone used the Core Sound Mic2496?" ContentLicense="CC BY-SA 2.5" />
  <row Id="130" PostHistoryTypeId="3" PostId="53" RevisionGUID="298f739a-fb07-4d85-93a8-6680f71a0067" CreationDate="2010-03-02T21:45:52.913" UserId="2" Text="&lt;field-recording&gt;&lt;recorder&gt;&lt;gear&gt;&lt;sony-pcm-d50&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="131" PostHistoryTypeId="2" PostId="54" RevisionGUID="0e4268ff-84d7-43e3-b903-d00d06773b4b" CreationDate="2010-03-02T22:03:02.537" UserId="2" Text="Here's a list of [10 Essential Sound Design Blogs][1]. Not all of them are about tips and tricks. But it's a good start in the right direction. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.blastwavefx.com/blog/2009/12/08/10-essential-sound-design-blogs/" ContentLicense="CC BY-SA 2.5" />
  <row Id="132" PostHistoryTypeId="2" PostId="55" RevisionGUID="0bc911a4-552d-4e77-a25c-14c79510a221" CreationDate="2010-03-02T22:21:18.787" UserId="2" Text="The Zoom H2 is a great little machine for the price range. Check out [this related question][1], it has an answer that talks about the Zoom H2. &#xD;&#xA;&#xD;&#xA;Georgi's mention of the PCM-M10 a good one. I saw it as the AES convention last year and it looked like a nice and small recorder. I don't know about the quality though.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/24/sound-recording-for-film" ContentLicense="CC BY-SA 2.5" />
  <row Id="133" PostHistoryTypeId="2" PostId="56" RevisionGUID="8a42a23e-de72-4305-90aa-1bf44ec65142" CreationDate="2010-03-02T23:20:47.653" UserId="10" Text="H2 is great to get started. I also have a dedicated recorder for heavy recording sessions, use of different mics etc... but the little H2 is always in my pocket. It's a fantastic machine and a really good value for the money.&#xD;&#xA;&#xD;&#xA;If you're interested to get better quality on your pocket recorder, I would recommend you a Sony PCM-M10. Anyway if you are thinking to buy a better recorder in the future, having a little one with you all the time is great." ContentLicense="CC BY-SA 2.5" />
  <row Id="134" PostHistoryTypeId="2" PostId="57" RevisionGUID="9002258a-abef-4c9b-bc51-b7c98bf6a29c" CreationDate="2010-03-02T23:24:07.807" UserId="10" Text="http://designingsound.org/2009/06/sound-design-essentials-websites/ ;-) I made that list some time ago. Maybe you could find useful info there." ContentLicense="CC BY-SA 2.5" />
  <row Id="135" PostHistoryTypeId="2" PostId="58" RevisionGUID="64440086-5cca-4d45-983c-994847d64657" CreationDate="2010-03-03T02:32:44.587" UserId="14" Text="If you want to go as cheap as possible, the 'Zoom H2 Handy Recorder', as is it's long and actual name, is actually quite handy. Even if you do end up buying something better, it's so small you'll definitely find uses for it. It's really easy to toss in a shoulder bag (or a man purse, or just man purse, 'cause that's what a shoulder bag is, a man purse), or toss in your pocket. As well, it can always be used as a back up. It's a self contained unit, mics, power, and storage are all on board, so it's super easy to toss on a tripod and set up next to your other field recording mics.&#xD;&#xA;&#xD;&#xA;I've never held an H4, so I can't say much about it, if someone else has one, chime in! I've also only used a PCM-M10 for like, an hour, so I can't say much about that, either. I think it sounded better than my H2, but I didn't have my H2 on me when I got to borrow it, so I couldn't do any A-Bing with what I was recording.&#xD;&#xA;&#xD;&#xA;But H2s are pretty awesome, mine goes everywhere with me. If you pick one up, you'll probably take it everywhere you go, even if you get something better, it's just so darned handy!" ContentLicense="CC BY-SA 2.5" />
  <row Id="136" PostHistoryTypeId="2" PostId="59" RevisionGUID="3faf3bfe-0c3b-47bb-bf1b-fbecf6122c42" CreationDate="2010-03-03T04:34:44.910" UserId="40" Text="I have some great stories about sounds that I originally used for one thing, then was able to completely change, and re-use as a completely different sound.&#xD;&#xA;&#xD;&#xA;For example:  I recently did a bunch of high speed (192k) recordings of shooting pennies out of a slingshot.  I was able to use it as a ricochet sound for a bullet, and then I repurposed it as the sound of an airplane engine (not for an actual project, just to show someone that I could do it).&#xD;&#xA;&#xD;&#xA;Anyone else have similar stories?  Maybe some funny ones about using very unconventional sounds for something you'd never expect?  (Wilhelm scream anyone? ;-)  )" ContentLicense="CC BY-SA 2.5" />
  <row Id="137" PostHistoryTypeId="1" PostId="59" RevisionGUID="3faf3bfe-0c3b-47bb-bf1b-fbecf6122c42" CreationDate="2010-03-03T04:34:44.910" UserId="40" Text="What's your best story about repurposing a sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="138" PostHistoryTypeId="3" PostId="59" RevisionGUID="3faf3bfe-0c3b-47bb-bf1b-fbecf6122c42" CreationDate="2010-03-03T04:34:44.910" UserId="40" Text="&lt;192k&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="139" PostHistoryTypeId="2" PostId="60" RevisionGUID="ded01155-8ca5-424c-8213-9abb1fa4ba2b" CreationDate="2010-03-03T04:53:13.983" UserId="40" Text="Izotope RX.&#xD;&#xA;&#xD;&#xA;This software does miracles.  It has a fairly large learning curve for the more advanced features, but it's a very powerful software suite, especially for the price.&#xD;&#xA;&#xD;&#xA;I use it mostly for getting rid of my noise floor in recordings, but I have also used it for removing audience coughing in live music performances, clipping noise, etc...  Works as RTAS, AU, VST, Audio Suite, and Stand Alone.  Freaking awesome!" ContentLicense="CC BY-SA 2.5" />
  <row Id="140" PostHistoryTypeId="2" PostId="61" RevisionGUID="89cd9e84-02fd-46a7-bc22-881166c48d30" CreationDate="2010-03-03T05:18:49.080" UserId="40" Text="I have a number of headphones that I use for different purposes:&#xD;&#xA;&#xD;&#xA; - The obligatory Sony MDR7506s: Love these, they're like the NS10s of headphones. I use them for as much as possible when external SPL allows.  I use them for any critical listening I might have to do.&#xD;&#xA; - Sennheiser HD280s: I have 4 or 5 of these.  I use them when the external SPL is too loud for my 7506s (because they isolate so well).  I also use them in the vocal booth because they limit bleed so much. I try not to use them if I can help it, since I think they sound fairly &quot;muffled&quot;&#xD;&#xA; - When listening to classical music or the such, I love my Grado SR80i headphones, but they get uncomfortable after a while.  Great natural sound though.&#xD;&#xA; - For in-ears, I have a pair of M-Audio IE-40s (made my Ultimate ears, distributed by M-Audio).  They don't have traditional drivers - they use a triple armature driver system, and have an amazing bass response, and incredible isolation.  I can be listening to my ipod at half volume and a subway will go by, I won't even hear the subway. (In NYC).  I use these for listening only.  Biking, walking, all the time in NYC, etc...&#xD;&#xA; - I've saved my favorites for last.  My Beyerdynamic DT990pro cans.  Pure bliss.  Amazing.  Slightly hyped, but amazing low end response, super smooth high end, and AMAZING localization.  Almost sounds like you're listening to speakers.  I like using these for listening to a final product.  Its my equivalent of pumping the mains for a client versus critical mixing on the near fields.  Gotta love these guys :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What's your headphone collection like?" ContentLicense="CC BY-SA 2.5" />
  <row Id="141" PostHistoryTypeId="1" PostId="61" RevisionGUID="89cd9e84-02fd-46a7-bc22-881166c48d30" CreationDate="2010-03-03T05:18:49.080" UserId="40" Text="What are your favorite headphones and why?" ContentLicense="CC BY-SA 2.5" />
  <row Id="142" PostHistoryTypeId="3" PostId="61" RevisionGUID="89cd9e84-02fd-46a7-bc22-881166c48d30" CreationDate="2010-03-03T05:18:49.080" UserId="40" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="143" PostHistoryTypeId="2" PostId="62" RevisionGUID="eae75d80-9af8-433e-b62d-52f961d7b022" CreationDate="2010-03-03T07:06:13.170" UserId="40" Text="+1 for the Zoom H4N (for the money).  Not a big fan of the H2 (with no XLR inputs and all).  The H4N is a great value for the price($300).  It sounds good enough on its own (great for those times when you used to say &quot;Crap, that sound it awesome, I wish I had a recorder on me!).  I love the XLR jacks too.  That's the biggest selling point for me.  Real XLR jacks with real phantom power.  However, the sound quality fails in comparison to my Sound Devices 702T (my sound effects recorder of choice), although it hardly falls into the &quot;Entry Level&quot; category.&#xD;&#xA;&#xD;&#xA;I love my 702.  Don't have a single complaint about it.  Amazing recorder, great battery life, extremely easy to use and very flexible, with an amazingly in-depth menu.  Doesn't provide bias power for lavs though, so you either need to go wireless on the lav (which I'd usually do anyways) or get a dedicated power supply for the lav.  I do all of my effects recording on a 702 or a Zaxcom Deva V (if I'm doing a large session with tons of mics).&#xD;&#xA;&#xD;&#xA;The Sony PCM-D50 is great too, but again, no XLR connectivity. Of course you can adapt, but it just doesn't ever work out too well...  Decent sounding recorder though. I'm of the opinion that the mics built in sound a little better than the Zoom's mics, but then again, they should, because its $150 more.&#xD;&#xA;&#xD;&#xA;I had a Korg MR-1 for a while. It sounded amazing, when it worked. I went through 3 of them (all replaced for free). They liked dying on me.  I haven't heard that from anyone else though, so maybe I just had some bad luck.  In general, I'm a fan of DSD (1-bit) recording, but it's not widely supported, so ended up being more of a hassle than anything. It's a great sounding recorder, but again, I had to use adapters to be able to use any real mics.  The thing I like about the Korg over most other portables that lack XLR jacks is that it had two balanced mono 1/8&quot; mic inputs instead of a single unbalanced stereo mic input.  Easily adaptable to XLR (no funky splitting from 1/8&quot; stereo to dual XLR or anything).  It also provided Bias power (for lavs) or 48v phantom which was nice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My two cents :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT: I also have one of those [Olympus LS-10][1] recorders.  Decent sound for quick recordings (the whole &quot;crap I wish I had a recorder&quot; thing again...).  Also, freakin awesome because of how small it is and easy it is to use.  Price came down a lot since I bought it.  I'd say go with the Zoom over the Olympus though for the same price, unless size is a factor for you (the Zoom is fairly large for a Handheld recorder).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/538924-REG/Olympus_141970_LS_10_Linear_PCM_Field.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="144" PostHistoryTypeId="2" PostId="63" RevisionGUID="a20c6086-5e76-4333-b595-f5b5b4264f0f" CreationDate="2010-03-03T07:23:10.933" UserId="18" Text="I too have a lot of different headphones that I've collected over the years:&#xD;&#xA;&#xD;&#xA; - Sony MDR7506's.  I have multiple pairs of these (6, I think) back from when I used to record bands.  They were under $100 when I bought them, so I consider them good, cheap throw around headphones.  They sound pretty good and work great in the field. For many years they were my main recording headphone. I also have a pair that I removed the drivers from and installed into a shooters headset so that I now have a pair of headphones that provide ear protection when recording the super loud stuff.&#xD;&#xA;&#xD;&#xA;- Sennheiser PX200-II.  I use these as a small, light-weight headphone, when doing more discreet/stealthy field recording.  Also a great ipod headphone.&#xD;&#xA;&#xD;&#xA;- Sennheiser HD600.  I love these for studio work.  They are open back, so you can't record with them.  But, if you need some great headphones for editing/sound design.  You can actually mix on these (though, I wouldn't recommend that!).  Also comfortable to wear for a long while.&#xD;&#xA;&#xD;&#xA;- Beyerdynamic DT770pro.  I love these.  I picked them up a few years ago to replace the Sony's as my main cans in the field.  The Sony's can get uncomfortable after wearing for long periods of time.  I don't find this to be the case with the Beyers.  Great sound, comfortable, but you don't really want to kick these around because they are not cheap. " ContentLicense="CC BY-SA 2.5" />
  <row Id="145" PostHistoryTypeId="5" PostId="61" RevisionGUID="64f08c43-7c29-47a4-8dc9-f3bebd8e16d3" CreationDate="2010-03-03T08:47:57.297" UserId="40" Comment="added 205 characters in body" Text="I have a number of headphones that I use for different purposes:&#xD;&#xA;&#xD;&#xA; - The obligatory Sony MDR7506s: Love these, they're like the NS10s of headphones. I use them for as much as possible when external SPL allows.  I use them for any critical listening I might have to do.&#xD;&#xA; - Sennheiser HD280s: I have 4 or 5 of these.  I use them when the external SPL is too loud for my 7506s (because they isolate so well).  I also use them in the vocal booth because they limit bleed so much. I try not to use them if I can help it, since I think they sound fairly &quot;muffled&quot;&#xD;&#xA; - When listening to classical music or the such, I love my Grado SR80i headphones, but they get uncomfortable after a while.  Great natural sound though.&#xD;&#xA; - For in-ears, I have a pair of M-Audio IE-40s (made my Ultimate ears, distributed by M-Audio).  They don't have traditional drivers - they use a triple armature driver system, and have an amazing bass response, and incredible isolation.  I can be listening to my ipod at half volume and a subway will go by, I won't even hear the subway. (In NYC).  I use these for listening only.  Biking, walking, all the time in NYC, etc...&#xD;&#xA; - I've saved my favorites for last.  My Beyerdynamic DT990pro cans.  Pure bliss.  Amazing.  Slightly hyped, but amazing low end response, super smooth high end, and AMAZING localization.  Almost sounds like you're listening to speakers.  I like using these for listening to a final product.  Its my equivalent of pumping the mains for a client versus critical mixing on the near fields. Also one of the most comfortable pairs of headphones I've ever worn.  6, 7+ hours no problem.  They're open back, so they have nice ventilation, and of course they have the famous velour ear pads.  Fuzzy!  Gotta love these guys :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What's your headphone collection like?" ContentLicense="CC BY-SA 2.5" />
  <row Id="146" PostHistoryTypeId="2" PostId="64" RevisionGUID="a1ad9197-696c-414a-ae71-682cb0e2e731" CreationDate="2010-03-03T10:35:18.967" UserId="42" Text="Another book worth considering is Spatial Audio by Francis Rumsey:&#xD;&#xA;&#xD;&#xA;http://www.amazon.co.uk/Spatial-Audio-Technology-Francis-Rumsey/dp/0240516230&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="147" PostHistoryTypeId="2" PostId="65" RevisionGUID="f2fcd49b-104f-4507-b10e-259b72bfd454" CreationDate="2010-03-03T11:49:18.107" UserId="14" Text="I don't think I'm going to have much new to add to the discussion, but I'll add my headphone choices to the mix;&#xD;&#xA;&#xD;&#xA;In the field, the HD280 pros have wicked isolation, and sound pretty good, something in this price range might be throw around headphones for some people, but for me, they're my primary field headphones.&#xD;&#xA;&#xD;&#xA;I can talk about Beyer DT770's a bit, too. I've used a couple pairs, borrowed from a couple different friends, and like Mr. Russom said, they're very comfortable. They feel really good, I can wear them forever- okay, not forever, but for a long time before I have to take them off. I haven't done any field recording with them, I only used them in my house and in a lobby environment, so I didn't have a lot of time to figure out just how good the isolation is.&#xD;&#xA;&#xD;&#xA;For listening to music, my Grado SR60s are my go-to cans. They're cheap, and sound better than anything in their price range. They're totally open, though. Absolutely no isolation, if you put them on, and don't have anything playing, you'll hear everything around you. They're not something you'll use in the field, but they're awesome for listening to music.&#xD;&#xA;&#xD;&#xA;And on my MP3 player, I have some Sennheiser CX300s. They have good isolation, and I listen to 64kbs podcasts with them." ContentLicense="CC BY-SA 2.5" />
  <row Id="148" PostHistoryTypeId="2" PostId="66" RevisionGUID="80991685-008c-47bb-8d72-c275531ecba8" CreationDate="2010-03-03T11:55:53.687" UserId="37" Text="I use HD280. They have their flaws but you can learn their sound. The isolation is great so you can totally be in your world even with other people around. There are spare parts available. CX300s too for mp3 listening in the city. " ContentLicense="CC BY-SA 2.5" />
  <row Id="149" PostHistoryTypeId="2" PostId="67" RevisionGUID="3f69c55b-f76f-42af-8924-c53a134fea0d" CreationDate="2010-03-03T13:51:00.437" UserId="37" Text="SD is a career path and you can start small and take it very far, provided you have incredible amounts of patience and time to devote. it's as tough as any other specialised field, but also because it requires a lot of creativity and ability to interpret others' information and come up with ideas out of thin air for things that don't necessarily exist. &#xD;&#xA;&#xD;&#xA;one field that has become (i think) more accessible is game sound for devices such as iphone/ipodtouch where you can work with an independent developer who may also do this on the side. game sound is as much about creativity as it is about sheer hacking and maximising what little you have of your allocated resource. &#xD;&#xA;&#xD;&#xA;pre-recorded sfx libraries are something you might try and put out, but this field too is getting saturated.&#xD;&#xA;&#xD;&#xA;there was at some point a post-production job-bidding website. can't remember the name but i don't think it took off.. not hard to see why. &#xD;&#xA;&#xD;&#xA;i think in general you should rule out passive income." ContentLicense="CC BY-SA 2.5" />
  <row Id="150" PostHistoryTypeId="2" PostId="68" RevisionGUID="f5cc2956-3552-40b5-8d77-c147b3a1eb74" CreationDate="2010-03-03T17:43:43.103" UserId="29" Text="Yet another vote for MDR's in the field and Sennheiser open-backs in the studio! :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="151" PostHistoryTypeId="2" PostId="69" RevisionGUID="97c3e6e0-8a1f-4227-bf1d-b8b31c1272cb" CreationDate="2010-03-03T17:56:01.457" UserId="29" Text="So, folks, what's the dirt on contemporary noise reduction for things like hiss, hum, and background drone noise? Are folks still using DiNR, third-party plug-ins, artful gating? &#xD;&#xA;&#xD;&#xA;My two cents is that different algorithms are good for different things, and I've had good results with SoundSoap and even Soundtrack Pro, but for specific things and certain circumstances. Certainly haven't found the One NR Ring to rule them all.&#xD;&#xA;&#xD;&#xA;Howzabout y'all?" ContentLicense="CC BY-SA 2.5" />
  <row Id="152" PostHistoryTypeId="1" PostId="69" RevisionGUID="97c3e6e0-8a1f-4227-bf1d-b8b31c1272cb" CreationDate="2010-03-03T17:56:01.457" UserId="29" Text="Sound off on Noise Reduction!" ContentLicense="CC BY-SA 2.5" />
  <row Id="153" PostHistoryTypeId="3" PostId="69" RevisionGUID="97c3e6e0-8a1f-4227-bf1d-b8b31c1272cb" CreationDate="2010-03-03T17:56:01.457" UserId="29" Text="&lt;noisereduction&gt;&lt;processing&gt;&lt;postproduction&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="154" PostHistoryTypeId="2" PostId="70" RevisionGUID="9c557db6-f031-4ae5-a2ff-f8e76e7602b9" CreationDate="2010-03-03T18:17:27.573" UserId="46" Text="You're definitely right when you say that different tools work for different things - always good to have a handful at your disposal!&#xD;&#xA;&#xD;&#xA;In addition to some carefully drawn volume automation, I handle a lot of hiss using the Waves C1 plug. &#xD;&#xA;&#xD;&#xA;iZotope RX is also worthwhile for hum, hiss, etc - and at $350 or so for the basic bundle, it's a great deal! Their spectral repair plug is amazing as well - a must-have.&#xD;&#xA;&#xD;&#xA;Additionally, Sony Oxford makes some good NR plugs - their old de-click is amazing, and I've also had some good results with their de-buzz...&#xD;&#xA;&#xD;&#xA;Word is that Cedar is releasing their DNS-One plug-in in the next month or two - should be amazing!" ContentLicense="CC BY-SA 2.5" />
  <row Id="155" PostHistoryTypeId="2" PostId="71" RevisionGUID="2904f06b-3646-4065-989a-33e52b5305a4" CreationDate="2010-03-03T19:44:29.590" UserId="2" Text="Great question! &#xD;&#xA;&#xD;&#xA;I have one that popped straight into my mind when reading your question. I was at film school, on one of my first films I ever did sound on. We shot a little film set in a skate park. I recorded a skateboarder costing along slowly from left to right. It sounded very similar to a distant airplane. And with a tiny bit of processing, that's how I got my first clean-ish recording of an airplane. This layer came in handy many times to build backgrounds or as a narrative tool.&#xD;&#xA;&#xD;&#xA;This was almost 10 years ago, and was recorded on a mini-disk. I wish I still had that recording.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="156" PostHistoryTypeId="2" PostId="72" RevisionGUID="082f8695-acab-44af-801c-bfcd1906a504" CreationDate="2010-03-03T19:46:31.530" UserId="40" Text="I stand by my iZotope RX suite.  Love it for hum, hiss, noise floor reduction, etc...  as I said in my post on the &quot;Secret Software Weapon&quot; thread, I've also used the spectral repair to take audience coughing, etc out of live music recordings and all.  Also very useful to reduce the crackling of distortion / clipping.&#xD;&#xA;&#xD;&#xA;I have DiNR, Soundsoap pro, and the Waves Restoration suite as well.  DiNR is pretty decent, don't use it too much though.  Soundsoap Pro hasn't ever yeilded any results I've been happy with.  The Waves suite is pretty nice.  Great for basic noise floor reduction and hum removal.  None of these are as powerful as the RX suite though.&#xD;&#xA;&#xD;&#xA;Above all though, nothing has ever come close to comparing with the [Cedar Audio][1] unit (DNS 1500) on the Dubbing Stage.  Ridiculous.  Absolutely amazing real-time noise reduction (latency is only about 1/400th of a frame!)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cedar-audio.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="157" PostHistoryTypeId="2" PostId="73" RevisionGUID="aa46c9b7-e110-4556-a8f2-3dc38224854c" CreationDate="2010-03-03T19:58:44.937" UserId="40" Text="I'm in production audio.  I do a lot of sound effects recording and production sound mixing.  As you probably know, this is a very small industry.  Because of this, I can't ever get enough of seeing other people's rigs.  The other thing that it leads to - and this is my favorite part - is that there's often something that you want to do on your rig that either involves a piece of gear that doesn't exist or isn't meant to run off 12V dc power, or involves a piece of gear that you can't possibly afford, which in turn leads to a significant amount of &quot;MacGuyvering&quot; and custom jobs.&#xD;&#xA;&#xD;&#xA;I think this would be an awesome place to share pictures of rigs and pictures of custom jobs and such.&#xD;&#xA;&#xD;&#xA;Here's a pic from a TV pilot I worked on recently:&#xD;&#xA;&#xD;&#xA;![Deva Mix 12 Rig][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://colinhartonline.com/wordpress/wp-content/uploads/2010/02/afmset.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="158" PostHistoryTypeId="1" PostId="73" RevisionGUID="aa46c9b7-e110-4556-a8f2-3dc38224854c" CreationDate="2010-03-03T19:58:44.937" UserId="40" Text="The Obligatory &quot;Post Your Rig&quot; thread..." ContentLicense="CC BY-SA 2.5" />
  <row Id="159" PostHistoryTypeId="3" PostId="73" RevisionGUID="aa46c9b7-e110-4556-a8f2-3dc38224854c" CreationDate="2010-03-03T19:58:44.937" UserId="40" Text="&lt;production-mixing&gt;&lt;gear&gt;&lt;deva&gt;&lt;lectrosonics&gt;&lt;cart-rig&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="160" PostHistoryTypeId="2" PostId="74" RevisionGUID="5a8ab415-60a7-4c90-963b-d850791da6ad" CreationDate="2010-03-03T20:41:41.600" UserId="2" Text="**Sony MDR-7506**&#xD;&#xA;&#xD;&#xA;Subjective pros:&#xD;&#xA;&#xD;&#xA; - I absolutely love my MDR-7506! It might be because I'm so used to them, but they sound really great (as in flat). I don't like when headphones enhance the bass, unless it's for listening to music casually. &#xD;&#xA;&#xD;&#xA; - To me, they are really comfortable. They aren't too tight and claustrophobic, but also aren't too loose that the &quot;real&quot; and the &quot;monitored&quot; get mushed up. &#xD;&#xA;&#xD;&#xA; - Decently priced&#xD;&#xA;&#xD;&#xA;Subjective cons:&#xD;&#xA;&#xD;&#xA; - The padding of the cushion deteriorates quite quickly, and it's not pretty when it does. There are little pieces of fake leather that go all over the show.   &#xD;&#xA; &#xD;&#xA; - They get really warm when recording in the field during summer time. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Beyerdynamic DT770pro**&#xD;&#xA;&#xD;&#xA;My answer is the exact opposite to the others. Last year I bought myself a pair and proceeded to selling them soon after. I did give them a few months though. &#xD;&#xA;&#xD;&#xA;Subjective pros:&#xD;&#xA;&#xD;&#xA; - A solid build&#xD;&#xA;&#xD;&#xA;Subjective cons:&#xD;&#xA; &#xD;&#xA; - They felt very tight and claustrophobic, so I couldn't wear them long without going a bit coo coo. &#xD;&#xA; &#xD;&#xA; - I would also get the sound of the cans themselves, the closest way I can describe what I mean is by comparing it to putting a sea shell by your ear to &quot;hear the sea&quot;. So if I'd move my jaw slightly, I would become hyper-aware of the headphones. &#xD;&#xA;&#xD;&#xA; - They felt a bit bassy for my liking, but that might have been biased by the fact that I was really used to my MDR-7506 headphones.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="161" PostHistoryTypeId="2" PostId="75" RevisionGUID="1eb60f03-1c3d-42e5-a52a-f0b4c96f7b22" CreationDate="2010-03-03T21:00:27.997" UserId="47" Text="I'd take a good look at the policy of audiojungle and the likes. See what the best selling sound designer is making. Than calculate how much goes to the website etc.&#xD;&#xA;&#xD;&#xA;You might wanna consider releasing some sample packs for free under a creative commons license. If its any good it will get picked up by blogs etc, generating traffic to your site. From there on you can try and monetize your &quot;even better&quot; sounding sample collection.&#xD;&#xA;&#xD;&#xA;Whatever you choose to do, i hope it works out! (would be interesting to see some results if you choose to upload stuff to audiojungle or soundsnap)" ContentLicense="CC BY-SA 2.5" />
  <row Id="162" PostHistoryTypeId="5" PostId="74" RevisionGUID="9da422e2-4a6f-45f0-afc3-fbe25d5aac14" CreationDate="2010-03-03T21:16:57.437" UserId="2" Comment="added 48 characters in body" Text="**Sony MDR-7506**&#xD;&#xA;&#xD;&#xA;Subjective pros:&#xD;&#xA;&#xD;&#xA; - I absolutely love my MDR-7506! It might be because I'm so used to them, but they sound really great (as in flat). I don't like when headphones enhance the bass, unless it's for listening to music casually. &#xD;&#xA;&#xD;&#xA; - To me, they are really comfortable. They aren't too tight and claustrophobic, but also aren't too loose that the &quot;real&quot; and the &quot;monitored&quot; get mushed up. &#xD;&#xA;&#xD;&#xA; - Decently priced&#xD;&#xA;&#xD;&#xA;Subjective cons:&#xD;&#xA;&#xD;&#xA; - The padding of the cushion deteriorates quite quickly, and it's not pretty when it does. There are little pieces of fake leather that go all over the show.   &#xD;&#xA; &#xD;&#xA; - They get really warm when recording in the field during summer time. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Beyerdynamic DT770pro**&#xD;&#xA;&#xD;&#xA;My answer is the exact opposite to the others. Last year I bought myself a pair and proceeded to selling them soon after. I did give them a few months though. &#xD;&#xA;&#xD;&#xA;Subjective pros:&#xD;&#xA;&#xD;&#xA; - A solid build&#xD;&#xA;&#xD;&#xA;Subjective cons:&#xD;&#xA; &#xD;&#xA; - They felt very tight and claustrophobic, so I couldn't wear them long without going a bit coo coo. &#xD;&#xA;&#xD;&#xA; - They are quite bulky, and don't fold up.  &#xD;&#xA;&#xD;&#xA; - I would also get the sound of the cans themselves, the closest way I can describe what I mean is by comparing it to putting a sea shell by your ear to &quot;hear the sea&quot;. So if I'd move my jaw slightly, I would become hyper-aware of the headphones. &#xD;&#xA;&#xD;&#xA; - They felt a bit bassy for my liking, but that might have been biased by the fact that I was really used to my MDR-7506 headphones.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="163" PostHistoryTypeId="2" PostId="76" RevisionGUID="2d884ae8-e11f-4b68-b1c7-37d0fe69819d" CreationDate="2010-03-03T21:36:13.487" UserId="48" Text="I have two headphones, both by Beyerdynamic.&#xD;&#xA;&#xD;&#xA;The DT 880: I love these because they I found them less tiring. (Ear fatigue... I could work for hours and hours...) I found them relatively neutral in colouring sounds. Unfortunately they're over 10 years old and properly worn. I don't use them much these days. They need a good refurb, but can't afford it now.&#xD;&#xA;&#xD;&#xA;The DT770Pro: The reasons why I chose this headphone over Sennheiser's HD 25 MK II are:&#xD;&#xA; - I found it more comfortable (circumaural design)&#xD;&#xA; - I believe it colours the sounds less. If you want to comapre it to chairs: Sennheiser HD 25=a big enough leather armchair. Beyer DT 770PRO=IKEA Pöang armchair. It's a bit harsh, not so bassy.&#xD;&#xA;&#xD;&#xA;Altough I find that this closed design makes my ears getting tired sooner. Unfortunately the environment I'm working in is not exactly like an unechoic chamber, so I get odd noises bleeding in from outside, hence the closed design.&#xD;&#xA;&#xD;&#xA;I am planning on buying an AKG K 271 MK II (the 55ohm version) in the future, purely for listening to music. Sticking to the chair comparison: this one is like a 3 seater textile coated, very spongy sofa. They sound very nice, I like the warmth of those cans. An open or semi open design would be much better, but I have to do my research first. I'll look into AKG products, that's for sure. I compared all mentioned headphones in a shop before I made a choice. I don't regret it." ContentLicense="CC BY-SA 2.5" />
  <row Id="164" PostHistoryTypeId="2" PostId="77" RevisionGUID="8005dd18-5677-4b20-ad03-c284c9ca2321" CreationDate="2010-03-03T21:47:54.250" UserDisplayName="user49" Text="I recorded the sound of an old barely working clothes washing machine and used it as a ship motor on a short film! Admittedly I recorded it with my contact mic so it sounded huge.... The best bit was when the washing machine had been in spin mode &amp; switched off, so it went from a huge rapid spinning mechanical sound through deceleration.... I doppler processed it &amp; used it when the ship passed by... made me smile to think the ship was powered by my old washing machine!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="165" PostHistoryTypeId="2" PostId="78" RevisionGUID="735b6959-1646-48f5-9241-f89fecab1438" CreationDate="2010-03-03T21:57:46.630" UserDisplayName="user49" Text="A good example of repurposing a sound technique ... I was sitting eating dinner in the kitchen one night, which is beside the laundry. I had some clothes in the spin drier &amp; I noticed that all the wine glasses were resonating/rattling (they hang upside down on a rack attached to the wall) I thought hmmmmm..... I was working on a horror film at the time &amp; I wondered, what if every time evil entered the room, everything started to vibrate? Hmmmmm....&#xD;&#xA;So the next morning I got one of my analog synths, made a really subby resonant bass sound on it, got my subwoofer &amp; lay it on its back &amp; then put objects on it eg a tray with glasses &amp; cutlery etc... No matter what object I put on it, by bending the pitch on the analog synth i could find resonance &amp; make it vibrate, and I could easily control the envelope of the vibrations. So I re-recorded lots of different performances with lots of different objects vibrating, and then later edited them in surround &amp; it became one of the signature sounds in the film... I used the same technique recently when recreating an earthquake for a film with a scene set in someones kitchen/lounge... I edited &amp; placed the sounds so you could hear the earthquake pass through the house, resonating different objects as it went...&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="166" PostHistoryTypeId="2" PostId="79" RevisionGUID="cbd801c2-1d7c-45b0-a540-15c8fdd12a78" CreationDate="2010-03-03T22:07:30.807" UserDisplayName="user49" Text="In my opinion some of the best film sound is not loud or overt, and I've used silence many times in film soundtracks myself but I am interested to know what your favorite use of silence or near-silence is in a film?" ContentLicense="CC BY-SA 2.5" />
  <row Id="167" PostHistoryTypeId="1" PostId="79" RevisionGUID="cbd801c2-1d7c-45b0-a540-15c8fdd12a78" CreationDate="2010-03-03T22:07:30.807" UserDisplayName="user49" Text="Best use of Silence in a film?" ContentLicense="CC BY-SA 2.5" />
  <row Id="168" PostHistoryTypeId="3" PostId="79" RevisionGUID="cbd801c2-1d7c-45b0-a540-15c8fdd12a78" CreationDate="2010-03-03T22:07:30.807" UserDisplayName="user49" Text="&lt;film&gt;&lt;sounddesign&gt;&lt;silence&gt;&lt;dynamics&gt;&lt;quiet&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="169" PostHistoryTypeId="2" PostId="80" RevisionGUID="3e6025fe-c165-4619-9223-869bb6befccb" CreationDate="2010-03-03T22:07:53.133" UserId="2" Text="Also a mega fan of [iZotope RX Suite][1]! Especially the spectral repair, it's an amazing tool for getting rid of unwanted sounds within your clip (such as the squeak of a chair over your dialogue). &#xD;&#xA;&#xD;&#xA;I only tried the demo and that was a while back, but the [Wave Arts Master Restoration Suite][2] is also quite a good one. It's quick and easy to use.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.izotope.com/products/audio/RX/&#xD;&#xA;  [2]: http://wavearts.com/products/suites/master-restoration-suite/" ContentLicense="CC BY-SA 2.5" />
  <row Id="170" PostHistoryTypeId="5" PostId="23" RevisionGUID="655aaadc-6b18-43cc-9d03-937d7f9c132b" CreationDate="2010-03-03T23:05:43.347" UserId="2" Comment="I added an updated patch that doesn't stop playback when leting keyboard go. Also a length of press to volume relationship" Text="When wanting to map your computer's keyboard, the important objects are: **[key]**, **[keyup]** and **[select]**. In the patches I gave you below, look inside the yellow objects to see how to use them. &#xD;&#xA;&#xD;&#xA;I've put two patches together, one is using your keyboard to trigger MIDI notes, and the other is to trigger samples. I've recycled bits from other patches I had made so some of the programming here is a bit pointless in this context.&#xD;&#xA;&#xD;&#xA;To copy this code into Max/MSP, copy (ctr+C) all the code that is in the gray box. In Max/MSP, go **File** &gt;&gt; **New From Clipboard** and it will paste the patch for you. &#xD;&#xA;&#xD;&#xA; - MIDI triggered by keyboard:&#xD;&#xA;&#xD;&#xA;    &lt;pre&gt;&lt;code&gt;&#xD;&#xA;----------begin_max5_patcher----------&#xD;&#xA;2397.3oc6ct0aiaiEG+YmOED9ot.dB3MQJUzW11m1G18wEK11AAx1LIpQVxv&#xD;&#xA;RNYRK528kWjskbjrorrmgb0DfXac+O+QdH44HQw+7tISmm+EQwTvOB9UvjI+&#xD;&#xA;4cSlnWkZESpVdxzUweYQZbgd2ltHe0JQV4zYlsUJ9Rod8qRVl.1s1rsqRxRE&#xD;&#xA;k5CAUsx0wkKdNI6oG1HVTZtjHD7d3LP0mj.0Wrv6gfOWcLIK0m774+9mX3Zm&#xD;&#xA;87sk6N8vp09XdVYV7Jg9.96aRhSmVaKEI+gdKAj6wjvPVjZS+0c2o9XlkI8L&#xD;&#xA;waRg7gTdZd7xUhhBPDruo+HpNgiMIbrdAV6IeT6odzYS8lct780By0b5z8m9&#xD;&#xA;5fI7dJAFQBudbYM3UQZ9hjx2aEK3twRfgDbcwBFR8IF1NVvAWMtjHKU2JZPJ&#xD;&#xA;4TSrhMUvnhFx8NIU7pXSQRdVsK9jo0RR5zRU9sImFGwOjljL9IIrdQrrVY5I&#xD;&#xA;SWJdrOmi70hrC6ud2a7Qy8LIa8FQgzXNtrR30utwaSKencLzb6OFuPz4A2J6&#xD;&#xA;mL8oMIKyyThnwQpV8tKmr1AsYg5yC5VuGYwqa4fKyySmGu40jhj4ohF4Cxxu&#xD;&#xA;wYIqhKEkIF8fg6OtjUq2ny6qctDYwxywyEK1jml13TY1xqsrkkhWSVHdKYY4&#xD;&#xA;y5y0AZ0nR1ZkaZXY0X8mxBqoUVIXd802VMOcYlwCpU6CldrY1wlZzitNezZ6&#xD;&#xA;zVbsa0MON6ooMtjGWla2Vz0JY9wraAGgWJGM1kVyQxMgi0q85aHFKDo.HHbn&#xD;&#xA;rDp+R1X8YXItaVRFXYxYG91E.aRmDEakUNiq9hfuO3zDk48kN0joSZAso7GU&#xD;&#xA;+YkAcP2vBEZGsNOO10sZ0Ydpq.ivv9.CLw0gg4JewUMw01NTtk33DsWB6Qh8&#xD;&#xA;PeeRSx5paDZ4p1d6TnHe6lE6vckUNnoxWJJJSx12Sve8Ph3nc74jkKa1yKMm&#xD;&#xA;SVtNWlQVoOvmsJaquxlZorYNkpI9IrwjdPaj6H6Onl1U8EBaNSUK.Bqc+Jjt&#xD;&#xA;egaXpwl7.hSUzQ0tncE4uhxtZkR8a7UuH9UwxGjWEYM3ODWVtIY91RSEnM7c&#xD;&#xA;+DdollOONsxm+86yTqbBtyUdN2o6PKc4Q9cGnv0JrMuHdun0P1.6NjMXTk8f&#xD;&#xA;pa6lNLf6HPVcDwF7kEwlYmJvMj6oHXXXT01l+zh7z7M6hNRDM.FEpBLRDhvw&#xD;&#xA;ApeQg7PJQZSWS7WbPeHgUjfYbpwDWKBKpew8wpSy2C8yHLzOb7kG0Bztfuiz&#xD;&#xA;FsTz470FAi5tGs3g4a3LmI.FRnhF.TglvUaOTQvwATgCApHVOgJZT.UVzkC0&#xD;&#xA;np3BYOSwiClFN.lRH8jojwAS4WNSCi5aEpzwASYCfozvdxzfwASCF.Sg8sbJ&#xD;&#xA;abvT5kyTdPeKmxGGLkL.l169RENNX5.bkhw6a69iCOoXCvSJFom0mhGGNRwF&#xD;&#xA;fiTAg8r9T7XvOJ0ir.BikXIP9MT8vG.hhjKFJ+IADo9hpdTEUd2K+OBPoWbs&#xD;&#xA;ulddQizQvCFc9bfS30Ehd8dDGtUe6HQe.OjGIEbiVL4m8YRANVBS1kyTJm2K&#xD;&#xA;lNRbpiOjGcJJA2OlFLVBR1kyTRynObdlxFKAIa.L0z5m8LkOVBR1.XJrm0mF&#xD;&#xA;NVBR1kyTLi1OlFMVBR1.XJpmkSIikfjc4LEw6W4T5nIHYCfoj90tOMXrDjrv&#xD;&#xA;Abmb5GRoikXjMD2n5GRIikPjM.j1Ohh+d.xtpAHCwQ8J.YgeO7XCM68Ew6aW&#xD;&#xA;eoCQD9takr9A+L5bitnSTmN8pXtLy0Ldjz8RYaksfsrk7+mrcXCZGZUc3lJz&#xD;&#xA;G1fXB57CQINjzqTKg4viQI0XHfZy.4f6Ti8AkrI1H6.mS1XajM04jsUi1Ghy&#xD;&#xA;IaaFeLTr6QaaJkntGXNltYVHaUH7bLYysQ1gNmrCsQ1tWE2Q1Hal6YSZScIH&#xD;&#xA;2qAGjMUcibuVbBrQ1tUKN5dIYCtIL2S2VMTRcLdG3o7NvS4M0S4M0S4MwS4M&#xD;&#xA;wS4M1S4M1S4skxV+DZ5gurQbKWFz9K5gktawOWunzs1QWOj2s3ftev6POk2g&#xD;&#xA;dJu8TucPdp2NHlmxalmxaO06Rjm5cIxS8tD4odWh7TuKQdp2ks4ESW96fbPk&#xD;&#xA;aUbjcraJkQ41b2zPN18kxnbhUJOzAUN0JkycPka0MdvwtAUFka0se0wtEUFk&#xD;&#xA;a0cf0wtIUFka0MgE4hsDY08gEgcwVhrpQTjS1HpUshhbwVQs5gRQ+BLzojNx&#xD;&#xA;S6kaK8AzS5lKzWItuFnYuMRydanl81XM6sAa1ai1r2FtYuMdyda.m81HN6sg&#xD;&#xA;b1ai4r2FzYuMpydaXmQXek3Xek39pOmHe0mSju5yIxW84D5q9bB+l3y42m3j&#xD;&#xA;52DmTWSA5kOK.4KJkzC7Ttn3GA+2h+yxe4e+zO+7+52+mf7Lv6xLb0rqz773&#xD;&#xA;MKA+vh30Ef3MBvuM8smSJE+1T8TuzLPwp3zzpsLOMdwKUa4us6RpJSsHeqYD&#xD;&#xA;4h64jNt4kULWOt8wl2HrDZGyUSzqwbt9NZekmt0CfvdOgqiXl2nDlYCU9Imw&#xD;&#xA;0Ct4y35XXDKH35glr7Rg7h2JTHm.JlAJNw7pbH3zy253ugkH5xv6m9zm.EhR&#xD;&#xA;vxsazUTBxeDnXAHICrp3dv+3QkoGnnLeMPMuWUHS+J6QkAqztZFHoDT7Vhp1&#xD;&#xA;pB4w9HHN682hkquHGjlK2W0IyXpNWlwJ1zpcXPOKKV8tPCGVMWWYLKC5f6vu&#xD;&#xA;kVhaWM+Phtu1ZMlT35pXE5ZOov0XdEui1OjsNlkrZ6JMHudlgqheQnJwbo1g&#xD;&#xA;lI+LF4T.a+KavgCrGk0npQl4GcxrafA6qhz7EIkuC9AHnLWdU3Wml3PTyqrY&#xD;&#xA;ptB9H3Iaii6cVVQlWRUTKLrBus1UxDyNCHYl2M0X6khzjkcvJ74lXJwZc.vz&#xD;&#xA;fSUT.GxNMtrZFn7YYSJMlmIoHDmomcI4zHHV8ivpUUeZlbijr5yKaGwz8J73&#xD;&#xA;yVHS9GeView4LJG07z83l7+Pj8fDpG0GdorqtTetV1f93Z95awjqbrSLU4Me&#xD;&#xA;z4k5djXyfN5idrzt2JenbhsJJzBEgaDV6atjBrQRnupTRWn+rhp4cC87hh.0&#xD;&#xA;utpBB0SPxD59ktJpEYiZ6QtJNfUWt0VZnx0pL7iRSmUtLj4cAVEiY6WZnpEY&#xD;&#xA;aIAr8hEw0Pk.Mrs1RCTsGUjrC1h+pZLcTAuSnIT+InYBaAE.2uzPUq8kN+Jh&#xD;&#xA;v.aPXv.zjbg+5t+GKn85P&#xD;&#xA;-----------end_max5_patcher-----------&#xD;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA; - Samples triggered by keyboard&#xD;&#xA;    &lt;pre&gt;&lt;code&gt;&#xD;&#xA;----------begin_max5_patcher----------&#xD;&#xA;1910.3oc6a0saihCF85zmBqr6koU3e3uUqzpU6U6KvpU6nQUNAmTZI3Hvoc5&#xD;&#xA;LZlm8EaSRfDHXHjTR6bCDrA6y2we19y1m7saFMdJ+KrzwfeC7IvnQe6lQiTI&#xD;&#xA;ISXT9yiFuj9kYQzT0qMdFe4RVrX7DcdB1WDpzSoKWEkUT4oGudYXbDSn9HXd&#xD;&#xA;hqnhYODFu39D1LgtRw12YMA3IuffpaNYWAeN+KBCTENe5i25fKT170hMEtUd&#xD;&#xA;py4whX5Rl5C9yjPZz3B4jF9UUN136PXOOGeYVe+lajWlbhl9ue6sf+F735TA&#xD;&#xA;XIc0JV.3+R+2f+5el.dkuFLiFClyih3u.DOv.Y7DCrJILdVXFeADb42nx4kG&#xD;&#xA;3YI7D60obZRvlZIJLlMiuNVUUnVxtPhijRgPKEAa6JugIUSv198AACQ2Y0At&#xD;&#xA;Ml8RFFNzqJbwO.v15T4qrVhx0hfUOXUiM6VsMCazl0ur30ULccJgZbV1aqky&#xD;&#xA;GoH.oBZhHhyW0VlwQ4A.IPUOsiSMj9iZ1B29jcpq6nrh9i1RLPeMYfrZ1og3&#xD;&#xA;9F1QQvWrHh0ZyyEWXHVsQVq4Ye7F9CZdCkCN84NXKKYoozErJaAA+Z0c6QMa&#xD;&#xA;jZuaakQBqY1DBt27tuHN0x4XnAAxYTR.7WhA4y2BdfkzduAKEQ45oYHxw7Fv&#xD;&#xA;CvYEVAltd9bVR0QaXUugqmNTa25ICq0r6s93EQCKI2Xys1r2NLh8blkDxiKz&#xD;&#xA;nMZ7NLiTSi4nlSygnGdxq.py3vEQ7YOwBJfuQiCXyaSYvWwh289p2nzkxuYX&#xD;&#xA;7pDVZleJUjC7h0Kccj39pogx4OmNiU6GWI6NZ7hjv.drDDk9RYxaptLGbk8J&#xD;&#xA;utC2p2HltphOVv4QSoIOGlFNMhUpcHy+jFGtjJXhPMdPVa+tvkx.4DkJKVLM&#xD;&#xA;qLdHcVRVLekJJcNOWQNArmCmwdILP7fpr1wVkBOufeSodNkR+X8f1eTVZvTZ&#xD;&#xA;7hhYV0HH00YJe.VK0MmClR4fdTN6UQGNp6w6YU8nuJKnTcV03Ni1L1i9GS5H&#xD;&#xA;aVdBqxzYBaUTl+L34vorzaov6ngyqkZQGmZgVpwjwNHc3616OU1AjK5rPtCJ&#xD;&#xA;hkFK3w8AqBUi7662HoBe+SpOxiWD8ZOvpH2hCGbTZ058OslPCiSEgyd5zX17&#xD;&#xA;0jniSChahYQ9u+YVYPT7mXrSiX0Lpa9tiz3HAHuqah8HQAnij9G4qmvoqAC.&#xD;&#xA;sTyQg8T27caJZ.zQhF.0cFcdVPMYKd5BGVfwzqc2oW8TW5EvX.8R9HRujSz6&#xD;&#xA;E44ZH8h+HRu3Sz6EoWwPyzKz6iH8hNQ5E56YH89dZrWShYHHY8R4dJ1Cg4BQ&#xD;&#xA;PCiY.h+fDy.7T8aIl52BGf9s61fI4I0Uyd0nLdY9Uy6o70Iy1.mM9Nfx7P.K&#xD;&#xA;a8Dwa2usOsiR16EeHLHn79aoZZCCVwCiE4.Tuc8M5ozVbKiS1Lb6Lrvsuo31&#xD;&#xA;aPga4RoMB2H7vB2PSwMYXgajo3dX4eicL0+Fechaj2UJt8uNwcEC7bcfa3UJ&#xD;&#xA;tQ8HtySLy.zGMYJ8YVv8YUSVjY2SEhjvoqE5PYJcTkG4P4h3SoQ4Gw412YrQ&#xD;&#xA;m4WsI1zoGVCVp6.HuYGKzSxTHkI5fJEbTagCBC2Izj5Do.lLLEo.6qAzY+ns&#xD;&#xA;FNQq9Lr5LsxEmkc0FdcG9d+IgfEIb9yrsKgAfpzZvMYMHOqB6MeshInZyA2Y&#xD;&#xA;QlMohecADd1Jo5DSuUyYsV6EZomku06VP8QaTMggplvPcQ5YRQxsQdpN0vR3&#xD;&#xA;6HY.yyOOuoKlwi3IazBgOw1x2SJCBeH1EYK+Ewx0ifyLjBFPmk3AV6EgPZ4o&#xD;&#xA;XiztVv1IxCSJkeJyiObx7PpVzsBEs06QCRq.ArZ7MRyh737nCAkEbo13Kcse&#xD;&#xA;ZDFJmpr2bsKZLnXbcazEnJtpdzXKq2vC0b3lsPUO94u.l9pRq5x1N.et524Z&#xD;&#xA;wSI1cZBCrNMiQ.EKwRZXG2U4FoU2YtV1gt53m5nNCrL1W7sYGVEm54wR7yYq&#xD;&#xA;ZT58EZ2p2eZ2A.k14yfk.cZEktUl3mCJ0dHQoc9bWwX21Qo1mQJkLjnzNeVq&#xD;&#xA;HmbcX4ZHkRNiTJdHQoc+7U0hZIWNVFPomywRQCIJs6G8WtX1zm.nATJ5LRov&#xD;&#xA;g.klxhxpMjTruY2sjBoD36m8nWmGIXiP+0KRxqIN9Hhtv8D0m8DyuODZKdh8&#xD;&#xA;555WwjkIK.PK0Ea+6ravwtdRmzcRWtZ0IUcaXPtclZI4ysYF2heexsm15Sgt&#xD;&#xA;ZsXAIls.0iI0s1r.02VcRLzN+aCgs204oeOvNkMxawgr0CvFcc5bStR6TRHW&#xD;&#xA;o319JE2tWm3VNnr80mVZLUZdDzfC1PSf8visQl.axfC1XSfs8fC1DSfs6OkQ&#xD;&#xA;SuKiFEcVNpdsFC1uULWoAGp91hMJ0EaVo24fFspavNP0CsAQvlPDocPBh8TK&#xD;&#xA;XUu+.t1ae3BfU6tgUHVsHQWmsObhXEa.VcK8NMCUKrDcXnZ6.7PaenGfpkAP&#xD;&#xA;8x4TtmC2PneBA2+PBpaCk+exytY6r8gSEq1FfUxkk+rOCMo48V871QepGNUn&#xD;&#xA;5dNZp0Mtps+eSKMduQYxd3627+7OuiSK&#xD;&#xA;-----------end_max5_patcher-----------&#xD;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA; - Sample triggered by keyboard, but no need to stay pressed. Staying pressed changes the volume. read the comments in the patch for more details.  &#xD;&#xA;    &lt;pre&gt;&lt;code&gt;&#xD;&#xA;----------begin_max5_patcher----------&#xD;&#xA;2681.3oc6cs0iqhiD94z+JrxtiVsyltE1lqiVoUi1mlmWoQq1ybzQNAmzLMA&#xD;&#xA;GAjtOYFMme6qu.ogDf3.DZHZdnSB2Le9qJWtbUEz+9Cyluj8UZxbvO.9DX1r&#xD;&#xA;e+gYyj6RriYYaOa9VxWWERRjm17UrsaoQoyWnNVJ8qox8GwRAoOSAKoIof2H&#xD;&#xA;GV.VtOE7S+sWE6hFARdlwRCh1HOo2dlERA9jC.RjO+j1BRYL.8qOS1mjR84a&#xD;&#xA;wOsfnW.6hY6nwgG.+vi+87aYXPDcEaej79hy1YfuDErk+5iNl4m4ZVTZDYKU&#xD;&#xA;dneLNfDlejcjzU7avluDSWkp59XL7IiE.j7SSCr3KGimL.eN6Zh1uMHJjlJ4&#xD;&#xA;AXgaQRvuIuEP2mvtXCr26W.aeZ9UXH14e7vChOVzQx9e93iff0fCr8bpNRQ7&#xD;&#xA;7KD7JKb+Vpf9VRAIrsTAKtAPCSnK.AQxy6SbXsjF+Y91I638dVL3W4rNX0yj&#xD;&#xA;nMz7lJX69s.N52wEhBoAiKoNnZskzz2DRTCovCZXXznjYWLMg2GHoArnhzsm&#xD;&#xA;qfgwlRh1H6iijcQ4IrUxSjskTd5oDqdlR4p6UIPQ7q4VKK+Obg0AE6KXWDGk&#xD;&#xA;B45JRTQQRRJINMS99DnRBG0LgaZIIYjq4EIbi1M.B4IuAVRIJBaqjueXD95P&#xD;&#xA;FuQxArpwROripPq3vDtz.LeImjmWEOX60NEOKjpmKU7xXcidgFP8rMDglEx.&#xD;&#xA;7LMlBBR.DPrTgislO3lOjWL19ItcDkoC9IrhHLjvuhsTRTB.8chSMWo7GyrF&#xD;&#xA;HZoui+irCr.vsvvoheI5WhpTu0rBl2nSlvMbKnAZi9vz.inuw6Mmw7IAa9Vs&#xD;&#xA;pk7CFw6jUoOhaGqfflEzGw3dTeD1ejRJGS0RJABMkJXDDtcLhmWA8jbklwFi&#xD;&#xA;78B6yFvKX.qJZA1I8DnbXioWyrB5CSOYYsLRsVxQVsiQbkJHPGGIWX9QqmHc&#xD;&#xA;bqwAImMcVlqbxaI21bETCpKJKHOznXRtZTVBtdKJszFqkZ3hijHvnmrFiic9&#xD;&#xA;GWMc.85j1gsyXlNjdfPiECLtzfp7+pkmb6DOgk7jyELvXcM7jYeZx85mYF5z&#xD;&#xA;JBAprm.yFNYNV8UAd8DhcK0PviIBIksYSH8567VZzEcO14zoKdyDtaoowL9L&#xD;&#xA;ZWuWFPbWDwYdiZ4NN8656a0RVZmRODplF0EMlm9ncLR67D0FOlHj5BoPBY6t&#xD;&#xA;PZx7JzCZ2PCkek1p3xJGXXeUAvyB+DB65ZOLQj8mTARcKY2NpO3+k7e8+2+7&#xD;&#xA;6AyaMKLj8lJXd79OXWbPzp.NeIhzB+ZJDX7WnGVxHw9MFluh5TsyKMnsbkuv&#xD;&#xA;rvkX47AGvtFBWRCS31zXs14DR1rrpHSaNZiWhLjvgL1t5olimQkrS6xSB2aY&#xD;&#xA;oVioL751ezzScCHEc6+UEVhLaoioYKwEg5ckBigyOLyl7CChy5hFCqeXaoII&#xD;&#xA;jMzJkff+Z8C7qtG1tIZx66JAqRVCcGcSvJlkg36KlSIFvdKBjMiqLB9Unria&#xD;&#xA;4DCp4ZcrOwu7w07B6.K2udMMtJ+MvsaTtZBQU+VMcX8caiqpaW7dRiy5rY8V&#xD;&#xA;daDDRek2SBXQEXzYyKFfIo0V4p.sMMT4xr.13b3lP1pWn9Etcyl6SWeMsAaG&#xD;&#xA;M58y2nXhBKksP0YFDULUimdeI6CS+R0jS4iulrhV6EWona17MwA9rHAHJckh&#xD;&#xA;cme6D1rUKctHtkmQDYWEWbJiEtjD+ZPRvxPZI4.W+jDErkjRSCT3AYb75B1J&#xD;&#xA;bkKsTaQiH7134jUwbu9J0Tpi7ZEGwm9ZvJ5aA9oOKaq2YqREoQA8lRibJs+l&#xD;&#xA;FAcpUVhubEsENXyK48rwZ1Eu15EZM5ielWE1mMqSs1aZXvWcVgmka6Q8iEsj&#xD;&#xA;MKOgUY5LltKjqOCdMXIM4QB7IRv5Fo15oUTmnUngJaN1p.pkMVvsIhEMEHVR&#xD;&#xA;TJKpCrJrWXUnbxAUZDuCH0ekEsI7PGXUi9fUyxdR9BLl9zZLIHJIMX0KsmYQ&#xD;&#xA;dcjYUqTAoRjYdjVm7LqvIJ1KTZGHV2NRrYoFV4iLbJXInAu.TdR+sr0SX2Hk&#xD;&#xA;VcgScF+Z2Q90REwS4WdN2H2BPeDzqUePul8x7Xl12ezqYePu39P6E45b+Qu3&#xD;&#xA;dfdgt8h+BpkNbeQun9fds6C5EppP6IA8piOC9w62JhoX68Y.h6EdU8HFbm4y&#xD;&#xA;.rOza6kEmAMGd812CvjHWc0DqFIjEGuZdOgsOdUNgkGXEPYz6S4qmH5X719z&#xD;&#xA;6gJ3jS74.e+xw2RJZC72wBhRy.H3yZoob6vMbhhaioItEKlbRha2oItEyWLl&#xD;&#xA;vMRW91dbgant31bbgaCcw83ROoByD0neOtFWVgYhZv83R+tByD0f69b9xrcx&#xD;&#xA;6.pTSlPdk5+E9sg6O0WHoowAK2mpbkoXpJ6Zl6Z3PWJogaBYKIgYoP8XaTpk&#xD;&#xA;OCQm1VO7NKzSkoPBM8pqRAb6J8FGjpZwMduFT9.KRA5u4SV8sJR9tyEKjQSC&#xD;&#xA;0yXjU9mM2EtYkPvlXF6U5wkv.PWpJyVTwupT.2txOPIecJFr95K.A70Hfw8Y&#xD;&#xA;cW7B8PxiJN6RO3D4Q7rxm0lNPRPkFDzP8v6gtTUZrbyJVHKNuvF7LsL7bE0z&#xD;&#xA;fGD6frD+xzvw0DuP7rpdrsJws3mLgFttUWLontVgGX2rxuR1wbTODwHW30Ui&#xD;&#xA;G5zJ+YUdbeVkGJsw45j36pp5UkphptfTkJDxR2fmTY0NIORdorImptGCLU4R&#xD;&#xA;j67xjKOpeJCP+Ew6XAQAVKzzDOz5xWUIpxGSVg1jXJXeh3EvPwVrpWnE8btu&#xD;&#xA;sbTyiqdjGfNvSeMUzSQsxXXBJXpVoPL+btQAZ0zKiSgUWhxivZJRCJ0RCJ0p&#xD;&#xA;VJ8XcO2RJEZeGRolZPol0SoVchRwpm5y6LJEqAkhqmR6VZsQ1YUPjy8Dkhzf&#xD;&#xA;RQ0SocLoUpJvHqPhtWnTnFTJrdJsiklYVYXoRW0TmRSngbbfDkXJ+aCQ46A7&#xD;&#xA;7DOCAWtjhWn+20JL5VoDfxqCd0hHbuQxBmgQVvWX99cMR6YKK+7upUWuazag&#xD;&#xA;WOHVdm9XqV6x0uNx0bvH29kZw8glKb5vsMt9zxUbUUVMyd8Xj8JyXvVf5MI0&#xD;&#xA;9hLUXpQD+EdsOhxTg.1Xcfs0nC1Hcfs4nC1PcfMdzAacxlkIZzAaqoWR8qvB&#xD;&#xA;wjHIyUXhXZfayIJtwSTbiln3dhVCbZBa2oYETzqJI+YETnxmrjNK6crJ8xmJ&#xD;&#xA;FyRx74EtSIoRcy65UzcnyEamJxvFtx0DkEeEUvVkaojamkLbsQqkFn8jtzEQ&#xD;&#xA;aGwDTCHY6M5fT4Jj6lCIDRG8rgkk7zQYZfoIiavvwtxSt5howlrCMrXRKSot&#xD;&#xA;Cq9jktXBMb7jVXZXMhi0Ybm00MrCgvhYAwNxubU+OYPrwPfU6tfUn5MUee.V&#xD;&#xA;aMvpy0gUwSukk5+SL7u7bOtQGgpkiNSadcpkXIFQpRKg+Y9FcEpl8OTgFRZE&#xD;&#xA;pTATXE1CZ.VZpALbC1M0ARlCqAHS7MPhhUolv18cIpbitZ.5Fn80UHUxDR8l&#xD;&#xA;DGVDoyDJCnu.ZvQmXX4xpXVYSXnd7OyLgndQldyAKtkf0QNdvEdbid.qWzeF&#xD;&#xA;mQmrFNrCHf5L8JxZ7gI3.iI6aMl3a7GO7+cDAb4D&#xD;&#xA;-----------end_max5_patcher-----------&#xD;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Hope this helps. " ContentLicense="CC BY-SA 2.5" />
  <row Id="171" PostHistoryTypeId="2" PostId="81" RevisionGUID="19bce35f-c3c4-4706-b64a-e469fce465e3" CreationDate="2010-03-04T00:26:51.620" UserId="19" Text="Contact...  Not a huge fan of the movie, but the scene in the opening where the camera pans away from the Earth through all of the radio broadcasts through our history.  It eventually gets farther and farther out until it reaches total silence.  I've always thought that was one of the best uses of silence in film." ContentLicense="CC BY-SA 2.5" />
  <row Id="172" PostHistoryTypeId="2" PostId="82" RevisionGUID="54ead764-fb06-4a0a-ae73-63fb333540a8" CreationDate="2010-03-04T02:47:59.173" UserId="50" Text="I am interested in sounds and how they relate to our memories and I'd like to know:&#xD;&#xA;&#xD;&#xA;1.) What are some of your favourite sounds?               &#xD;&#xA;2.) What are some sounds that you relate strongly with memories of your childhood?       &#xD;&#xA;3.) What are some sounds that, in your opinion, are strongly evocative of the city/town that you are currently living in?       &#xD;&#xA;4.) What are some sounds that you can hear right now as you read this text?&#xD;&#xA;&#xD;&#xA;Thank you!&#xD;&#xA;&#xD;&#xA;S" ContentLicense="CC BY-SA 2.5" />
  <row Id="173" PostHistoryTypeId="1" PostId="82" RevisionGUID="54ead764-fb06-4a0a-ae73-63fb333540a8" CreationDate="2010-03-04T02:47:59.173" UserId="50" Text="What are your favourite sounds?" ContentLicense="CC BY-SA 2.5" />
  <row Id="174" PostHistoryTypeId="3" PostId="82" RevisionGUID="54ead764-fb06-4a0a-ae73-63fb333540a8" CreationDate="2010-03-04T02:47:59.173" UserId="50" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="175" PostHistoryTypeId="2" PostId="83" RevisionGUID="cb5870d1-a030-425c-9219-976b4fcaa724" CreationDate="2010-03-04T02:54:33.007" UserId="50" Text="Akira.&#xD;&#xA;&#xD;&#xA;It's amazing how a sense of great power was communicated in some scenes of this film by using silence through out many parts of this film. The first time I watched this movie on the big screen I felt as if the whole room was hanging in suspended animation for an eternity. Incredibly affecting.&#xD;&#xA;&#xD;&#xA;S" ContentLicense="CC BY-SA 2.5" />
  <row Id="176" PostHistoryTypeId="2" PostId="84" RevisionGUID="89966e47-0acf-446b-99a9-4c7547d69de5" CreationDate="2010-03-04T03:34:11.567" UserId="40" Text=" 1. Some of my favorite sounds: Hard hits (like a percussion hit with a heavy LFE), classical piano, cats meowing, the sound of a fan at night, the ocean, seagulls, the sound of a sailboat fully under way.  Generally, I like musical or soothing sounds.  Although I do like the sound of a good gun shot or explosion from time to time.&#xD;&#xA; 2. Sounds that strongly remind me of my childhood: The high pitched sound of a tube television turning on, the sound of a Volvo car horn, Sounds from video games I used to play when I was young, seagulls&#xD;&#xA; 3. Currently I live in Orlando. The sounds you hear here (heh...): Airplanes (we have like 5 airports), sirens, traffic, thunder, wind, heavy rain.  Nothing too distinctive though.&#xD;&#xA; 4. As I was typing this, I could hear my fan next to me, but that's about it.  Now I can hear my fan and myself typing, and nothing else.  No one else is home and I'm resting my ears after a long day..." ContentLicense="CC BY-SA 2.5" />
  <row Id="177" PostHistoryTypeId="2" PostId="85" RevisionGUID="a0c32d9b-63e3-4ec4-a757-083a4e6f4fd4" CreationDate="2010-03-04T07:46:26.390" UserId="52" Text="1.  Some of my favourite sounds are birds twittering, palm leaves bristling in the wind, children laughing in the distance.  I am a fan of calm sounds!&#xD;&#xA;2.  My childhood?  Sounds of a busy swimming pool where I spent most of my childhood, dogs barking, crickets and cicadas chirping away in the bushes at night!  &#xD;&#xA;3.  I live in the outskirts of a Manchester so generally I hear lots of sirens, harsh voices and accents, brash music played loudly on mobile phone speakers at the back of the bus.&#xD;&#xA;4.  As I was reading and now while I'm typing, I hear cars going past (travelling quickly, so I know rush hour hasn't started yet!) and classical music from my radio!" ContentLicense="CC BY-SA 2.5" />
  <row Id="178" PostHistoryTypeId="2" PostId="86" RevisionGUID="2b4b9107-9c9b-4cb4-9f7b-1c1fe5e704a3" CreationDate="2010-03-04T07:52:34.460" UserId="2" Text="I'm jogging my memory here, but some of my favorite scenes with relative silence are: &#xD;&#xA;&#xD;&#xA; - The Pianist. The scene where an explosion goes off while he is playing piano. He deafens, and we hear this from his point of audition (POA?). All we hear is a high pitch ring and some low bass. Very disconcerting. &#xD;&#xA; &#xD;&#xA; - Saving Private Ryan: Similar thing after an explosion goes off. &#xD;&#xA;&#xD;&#xA;I guess this kind of design has become somewhat of a sound cliche. But that's because it works well. &#xD;&#xA;&#xD;&#xA; - Book  of Eli: I very recently watched it. One of the characters (won't say who in case you haven't seen it) gets shot. All that is kept is the decay/reverb of the gunshot. No other sounds are heard. The sound slowly pans around the audience. This relative silence makes time slow right down, and brought me right into the moment. &#xD;&#xA;&#xD;&#xA;I can't think of an exact example, but going under water seems to be used quite effectively. Didn't Saving Private Ryan have this? &#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="179" PostHistoryTypeId="2" PostId="87" RevisionGUID="e91e2001-fe9c-4c9d-9725-cf26be7904e0" CreationDate="2010-03-04T08:30:25.260" UserDisplayName="user49" Text="1. some of my favorite sounds are those that occur midway between sound &amp; music... sound FX that repitched or altered have the emotional pull of music and vice versa...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;2. two sounds from my childhood, first I grew up on a farm which produced grain (wheat, barley etc) and the natural reverb in the empty grain silos before the harvest was AWESOME - you could jump &amp; make thunder!! I played in there a lot! &#xD;&#xA;Second sound, there were massive bluegum trees near the sheds on the farm and their branches hung over the shed. At certain times of the year they would drop their bluegum nuts, and if you were in the shed you would hear them hit the roof and roll down the big roof &amp; drop off..... &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;3. i live in wellington, new zealand - a very windy city, and i have recorded many many winds here... scary 120+ kmph gail force winds and lovely slow warm winds... i used to live in a house up on the cliffs looking out to sea &amp; when there was a strong southerly wind, if I opened the doors on one side of the house &amp; let the wind in, i could open a door on the other side just a fraction and 'play' the wind as it exited - I have a big library of tuned wind drafts...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;4. i can hear traffic, 4 stories below... &amp; i can hear internal sounds, like my neck clicking &amp; popping as I roll my head around &amp; the sound of me swallowing lovely cabernet sauvignon...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="180" PostHistoryTypeId="2" PostId="88" RevisionGUID="72feb005-6a4d-4832-b580-ea2beb78d872" CreationDate="2010-03-04T08:37:08.747" UserDisplayName="user49" Text="My favorite software is called &quot;an open mind&quot; - I have it installed in my brain...&#xD;&#xA;&#xD;&#xA;But you cant just buy it, it must come to you&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It, combined with a recorder &amp; mic, is capable of anything!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="181" PostHistoryTypeId="2" PostId="89" RevisionGUID="1b4faef8-fff1-4566-8654-dd83d8cdf372" CreationDate="2010-03-04T08:48:48.863" UserId="37" Text="[Notam Mammut][1]. &#xD;&#xA;&#xD;&#xA;it's quite cryptic, maybe buggy and unreliable, but once you get your hands dirty, it's back to childhood and mud really ;)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.notam02.no/index.php?/eng/Technology-and-text/Software/Mammut" ContentLicense="CC BY-SA 2.5" />
  <row Id="182" PostHistoryTypeId="2" PostId="90" RevisionGUID="64ba0d99-7128-4962-a372-37f6f7d78116" CreationDate="2010-03-04T08:59:25.920" UserId="37" Text="1. the delicate noise of leaves rustling on large and very old trees. &#xD;&#xA;2. the sound of kids playing, echoing between buldings + distant traffic noise. &#xD;&#xA;3. descending airplanes and suburban rail trains.&#xD;&#xA;4. traffic, tv+high-pitched whine, laptop fans, keyboard, quiet hiss of monitors. &#xD;&#xA;&#xD;&#xA;this morning something was making the most interesting sound outside, but there was so much background noise, also a large truck engine left idling, that i just gave up and didn't record it :/" ContentLicense="CC BY-SA 2.5" />
  <row Id="183" PostHistoryTypeId="2" PostId="91" RevisionGUID="78ae0973-bb08-43b3-8867-08a3e5f182f2" CreationDate="2010-03-04T09:30:22.337" UserId="53" Text="Awesome question, first thing I thought of was this:&#xD;&#xA;&#xD;&#xA;I recorded my dog growling and barking to use as the sound for a monster in a video-game. A few months later I used it again, augmenting it with envelopes and pitch shifting to create agressive sounding, futuristic bike revs. &#xD;&#xA;&#xD;&#xA;It was only meant to be used as a temporary sound for a tech demo but ended up staying in the game.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="184" PostHistoryTypeId="2" PostId="92" RevisionGUID="c0db1bb5-80ea-475f-a211-72f46fb1669d" CreationDate="2010-03-04T10:55:09.753" UserId="9" Text="Personally I loved There will be Blood for its minimalism regarding the sound and music. I think the contrast the film makers created made the film amazing to watch. I agree Book of Eli used  sound design in an incredible fashion. I actually told my on-set sound guy to go and watch the film the next day. &#xD;&#xA;&#xD;&#xA;If I remember correctly Three Colors Blue was also a very quiet film but extremely moving.&#xD;&#xA;&#xD;&#xA;It suddenly jumped to mind, BABEL has a deaf character in the film who lives in Hong Kong - that was done with such sensitivity, truly amazing again to see (and hear) how the pictures and the sound contrast. &#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="185" PostHistoryTypeId="5" PostId="92" RevisionGUID="1cc67f86-7dd8-4901-91ea-649a460f3f5e" CreationDate="2010-03-04T11:03:02.147" UserId="9" Comment="added a film" Text="Personally I loved There will be Blood for its minimalism regarding the sound and music. I think the contrast the film makers created made the film amazing to watch. I agree Book of Eli used  sound design in an incredible fashion. I actually told my on-set sound guy to go and watch the film the next day. &#xD;&#xA;&#xD;&#xA;If I remember correctly Three Colors Blue was also a very quiet film but extremely moving.&#xD;&#xA;&#xD;&#xA;It suddenly jumped to mind, BABEL has a deaf character in the film who lives in Hong Kong - that was done with such sensitivity, truly amazing again to see (and hear) how the pictures and the sound contrast. &#xD;&#xA; &#xD;&#xA;Of coarse the opening scene for 2001 a Space Odyssey, TOTAL SILENCE. " ContentLicense="CC BY-SA 2.5" />
  <row Id="186" PostHistoryTypeId="2" PostId="93" RevisionGUID="71cbb7c1-5968-4c66-b441-5946b05949fb" CreationDate="2010-03-04T11:36:09.747" UserId="54" Text="Hello. I'm curious to know what people are using as a stereo pair of microphones for their recordings? I've been looking at the usual suspects, but was curious to know if there is any underdogs in the microphone world that are reasonably priced but do a good job?&#xD;&#xA;&#xD;&#xA;Ideally, I'm wanting to record not only foley sounds, but sounds for me to mangle further, for recording instruments like piano and acoustic guitar etc.." ContentLicense="CC BY-SA 2.5" />
  <row Id="187" PostHistoryTypeId="1" PostId="93" RevisionGUID="71cbb7c1-5968-4c66-b441-5946b05949fb" CreationDate="2010-03-04T11:36:09.747" UserId="54" Text="A decent stereo pair of microphones at a reasonable price?" ContentLicense="CC BY-SA 2.5" />
  <row Id="188" PostHistoryTypeId="3" PostId="93" RevisionGUID="71cbb7c1-5968-4c66-b441-5946b05949fb" CreationDate="2010-03-04T11:36:09.747" UserId="54" Text="&lt;microphone&gt;&lt;recording&gt;&lt;instruments&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="189" PostHistoryTypeId="2" PostId="94" RevisionGUID="b5defabe-8e93-4607-a124-c9758ab904c6" CreationDate="2010-03-04T11:56:10.300" UserId="55" Text="I've done a lot of work with Rode NT-5s, and I think they're absolutely brilliant. I've recorded entire albums with them, they're super flexible and sound great on guitar and piano and pretty much everything else (although vocals are a bit of a stretch). Very cheap too!" ContentLicense="CC BY-SA 2.5" />
  <row Id="190" PostHistoryTypeId="2" PostId="95" RevisionGUID="dfe07eaf-6adb-4834-87de-342dca609bbd" CreationDate="2010-03-04T12:00:38.853" UserId="54" Text="I love my Sennheiser HD280 Pro headphones. They sound excellent, isolate really well and are built to a high standard. I'd recommend them to anyone." ContentLicense="CC BY-SA 2.5" />
  <row Id="191" PostHistoryTypeId="2" PostId="96" RevisionGUID="d2e88750-4d9f-4555-b294-f9c86f0f3695" CreationDate="2010-03-04T12:03:05.590" UserId="55" Text="My favorites have to be the AKG K240 ...whenever I have them on I completely forget that I'm wearing them, to me they sound like speakers. Lovely. They are pretty open, though, so everyone around you hears everything too!&#xD;&#xA;&#xD;&#xA;although strangely I don't like the newer versions they've made, give me the old school ones any day." ContentLicense="CC BY-SA 2.5" />
  <row Id="192" PostHistoryTypeId="2" PostId="97" RevisionGUID="a55bc7ad-c86c-4d14-9af7-69620c361630" CreationDate="2010-03-04T12:06:02.340" UserId="55" Text="Just a quick thing I wanted to add...you mention using MIDIyoke to send midi data from Max/MSP to Ableton, but that strikes me as needlessly complicated! if you scale your data to 0-127 like Andrew mentioned, you can just use the ctlout or noteout objects in Max to send the data out the native Max/MSP MIDI port, which Ableton can respond to.&#xD;&#xA;&#xD;&#xA;Apologies if I misunderstood, just thought I'd point that out." ContentLicense="CC BY-SA 2.5" />
  <row Id="193" PostHistoryTypeId="2" PostId="98" RevisionGUID="91d94473-1ca5-48ef-b68d-54c6be3cb710" CreationDate="2010-03-04T13:41:43.800" UserId="10" Text="Not a film.. but I personally love the way Greg P. Russell use the silence in his mixes... One of my favorites today. &#xD;&#xA;&#xD;&#xA;Another recent would be &quot;The Hurt Locker&quot;, Ottosson did an amazing work by combining silence on a deep and stressful soundscape :)&#xD;&#xA;&#xD;&#xA;Horror films also use silence a lot to generate tension and contrast the silence with an specific sound in a specific moment. There are a lot of great of these. I would recommend the work of Gary Rydstrom on &quot;The Haunting&quot; or Ren Klyce on &quot;Panic Room&quot;." ContentLicense="CC BY-SA 2.5" />
  <row Id="194" PostHistoryTypeId="2" PostId="99" RevisionGUID="a51eb320-a18f-4711-8027-636bc25fa9f5" CreationDate="2010-03-04T15:34:44.097" UserId="23" Text="Hi guys,&#xD;&#xA;I have my first big shoot starting tomorrow and have just been given a late equipment list. We've been given an HHB PDR 1000 TC, has anyone used this before? We'll be using 2 lavalier's along with a shotgun condenser for production sound. Long story short it is not possible to obtain a hard disk recorder and the essential issues are my inexperience with DAT and such a machine and the editor's request for hard disk data. Does anyone know if it's possible to transfer the data from this machine to my computer at home without relying on a company to do it for me? I have a personal h4n which I may rely on tomorrow as there is little dialogue.&#xD;&#xA;If anyone has any tips or advice on using this gear It'd be greatly appreciated.&#xD;&#xA;I am a noob with this gear so if i've asked something stupid advanced apologies!&#xD;&#xA;Also advanced thanks for any help anyone can give, will provide more info if needed.&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="195" PostHistoryTypeId="1" PostId="99" RevisionGUID="a51eb320-a18f-4711-8027-636bc25fa9f5" CreationDate="2010-03-04T15:34:44.097" UserId="23" Text="Using DAT for the first time..." ContentLicense="CC BY-SA 2.5" />
  <row Id="196" PostHistoryTypeId="3" PostId="99" RevisionGUID="a51eb320-a18f-4711-8027-636bc25fa9f5" CreationDate="2010-03-04T15:34:44.097" UserId="23" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="197" PostHistoryTypeId="2" PostId="100" RevisionGUID="ba6280e4-25cd-4090-a02b-92d89299eadc" CreationDate="2010-03-04T15:37:27.030" UserId="57" Text="Hi-&#xD;&#xA;&#xD;&#xA;Thanks for the information about how to communicate from Arduino to max/msp.  I have had success with digital and analog input but now I want to send messages back out to Arduino&#xD;&#xA;from Max.  &#xD;&#xA;&#xD;&#xA;For instance, I have a counter object tracking the amount of time someone stands on a floor switch.  I want to set off a piezo buzzer if the person stands there for a certain length of time.  How would I program the patch to trigger a digital pin on the Arduino high or low?&#xD;&#xA;&#xD;&#xA;Any suggestions would be greatly appreciated!&#xD;&#xA;&#xD;&#xA;Lisa Marie" ContentLicense="CC BY-SA 2.5" />
  <row Id="198" PostHistoryTypeId="1" PostId="100" RevisionGUID="ba6280e4-25cd-4090-a02b-92d89299eadc" CreationDate="2010-03-04T15:37:27.030" UserId="57" Text="Sending messages to Arduino " ContentLicense="CC BY-SA 2.5" />
  <row Id="199" PostHistoryTypeId="3" PostId="100" RevisionGUID="ba6280e4-25cd-4090-a02b-92d89299eadc" CreationDate="2010-03-04T15:37:27.030" UserId="57" Text="&lt;max-msp&gt;&lt;msp&gt;&lt;arduino&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="200" PostHistoryTypeId="2" PostId="101" RevisionGUID="ba28b27d-ab03-4a61-9443-2781a2071b3d" CreationDate="2010-03-04T15:50:56.660" UserId="37" Text="you can connect DAT to computer via s/pdif. will need to record at 48khz/16bit. mind, the tape tends to stretch at the beginning so best to stay away from recording for the first few minutes. how long does the battery last with p48 on? not sure what will happen with TC once you transfer back to computer, the editor might well be after TC too.. good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="201" PostHistoryTypeId="2" PostId="102" RevisionGUID="35650df6-b346-4367-bf76-696200ab6722" CreationDate="2010-03-04T16:15:06.857" UserId="5" Text="You can get a lot of gain out of the Coresound.  It is a low noise, solid sounding pre-amp.  It is pretty portable and what I like best about it is that it goes straight to coax or optical so you can record to anything with a digital input.  This helps with the sound quality, you are going straight from preamp to ADC in one unit.  When I've done more tests on it, I'll let you know more about the quality.&#xD;&#xA;&#xD;&#xA;The unit is lightweight, runs off a single 9 volt battery although you'll need to get powerful rechargeables to do any good in the field.  It will also run off a 9v. power supply unit.&#xD;&#xA;&#xD;&#xA;The box itself is homemade-looking and probably won't last long in the hands of students but if you are careful with the flakey looking switches, you should be fine. I'd definitely get the settings you like with the switches and put it in a case, run leads to your other device and keep the knobs handy for setting levels. &#xD;&#xA;&#xD;&#xA;The box has a handy headphone volume knob and reasonable metering which can be turned off to save battery power. I'd prefer notched volume knobs to get exact balance between left and right channels.  No pads or filters just high or low gain switch.&#xD;&#xA;&#xD;&#xA;It was a total pain to get one and the taxes on import to the UK were annoying adding weeks more to the delivery time.  You also need to make sure you order a break out cable as the inputs are not XLR. &#xD;&#xA;&#xD;&#xA;In summary, in the right hands, this is a great little unit.  Sounds very good in my opinion.  Once you've bought the break cables and batteries and power chargers and a portable recording device with a digital input, you might not be saving much money on a basic sound devices 2 channel setup but if you've already got a laptop with optical in, an maudio microtrack, a sony or marantz with digital input then this is a nifty way to get quality audio in there from any 48v hungry mic on the road. " ContentLicense="CC BY-SA 2.5" />
  <row Id="202" PostHistoryTypeId="2" PostId="103" RevisionGUID="56e5ae60-2b05-454d-8ff1-33697a467b1b" CreationDate="2010-03-04T19:15:20.053" UserId="48" Text="I'm just adding a few thoughts to Andrew Spitz's post.&#xD;&#xA;Yes, indeed silence is very unusual in films and the 3 examples you give, Andrew, are based on building up an intense soundscape and then dropping everything. Interesting climax, but it is becoming overused. Another example of the same kind is in Jarhead (2005) at 78 minutes, when the explosion goes off in the desert and the troop wets himself. (Sorry, can't remember names, but here it is on http://www.megavideo.com/?v=F5BIO6X)&#xD;&#xA;&#xD;&#xA;The Director wanted solely the voice over. Pat Jackson (supervising sound editor on Jarhead) was against this idea and she asked a collegue to come up with a subtle sound that contrast well with the sound of explosions. It was decided to &quot;give voice&quot; to the sand particles and Pat's recordist collegue started to experiment with different materials. What ended up in the final mix is a type of fine sand slowly dropped on a movie light diffusion paper.&#xD;&#xA;&#xD;&#xA;Watching this sequence in its context I think produces a good but now perhaps cliché effect.&#xD;&#xA;&#xD;&#xA;The other film which people might want to have a look at is more drastical in using silence as a storytelling tool. &quot;Leaving Las Vegas&quot; by Mike Figgis is the only film I know which uses _TOTAL_ silence in one of the scenes. It is around the time when Sera gets raped. As far as I remember the visuals show a waterfall around this time, too. It's been a long time since I saw this film last, excuse me for my rather vague memories." ContentLicense="CC BY-SA 2.5" />
  <row Id="203" PostHistoryTypeId="2" PostId="104" RevisionGUID="042d37bf-ce16-42dc-9752-8320864e9ad5" CreationDate="2010-03-04T19:27:50.453" UserId="2" Text="How you could do it is by using the PWM of the digital pins on the Arduino. PMW means [Pulse Width Modulation][1], and what happens is that it switches on and off very quickly. This way you can control the piezzo buzzer. The faster the pulse, the higher the pitch.&#xD;&#xA;&#xD;&#xA; - **Step 1:**&#xD;&#xA;Check on your Arduino board which digital pins accept PWM. For now, let's say you use pin number 2. &#xD;&#xA;&#xD;&#xA; - **Step 2:**&#xD;&#xA;Put the + (red) side of the piezzo into pin 2 (or the one you chose with PWM). And put the - (black) side on ground. [Check this tutorial][2] for a bit more details. &#xD;&#xA;&#xD;&#xA; - **Step 3:**&#xD;&#xA;In the Max patch that talks to your Arduino ([arduino_test.maxpat][3]), the first section is called digital Pin mode, there you want to set the pin you chose on your Arduino to be set to PWM.&#xD;&#xA;&#xD;&#xA;  ![alt text][4] &#xD;&#xA;&#xD;&#xA; - **Step 4:** &#xD;&#xA;In the PWM section of the arduino_test patch, select pin number 2 from the [Umenu].&#xD;&#xA;&#xD;&#xA;  ![alt text][5]&#xD;&#xA;&#xD;&#xA; - **Step 5:**&#xD;&#xA;Set up your trigger that happens from the person standing on the floor switch to activate the slider for the PWM. Maybe connect the counter to the PWM slider so that the longer the person stands on the switch, the higher the value of the slider, and thus the pitch of the buzzer. &#xD;&#xA;&#xD;&#xA;Does this work for you? Let me know if it doesn't. Good luck. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Pulse-width_modulation&#xD;&#xA;  [2]: http://www.arduino.cc/en/Tutorial/PlayMelody&#xD;&#xA;  [3]: http://digitalcoleman.blogspot.com/2009/11/maxuino-v007-for-arduino.html&#xD;&#xA;  [4]: http://soundplusdesign.com/SSD/digitalPinMode.png&#xD;&#xA;  [5]: http://soundplusdesign.com/SSD/PWM.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="204" PostHistoryTypeId="2" PostId="105" RevisionGUID="636e70b5-5fba-45b4-a8e1-08f30140070a" CreationDate="2010-03-04T20:19:17.727" UserId="54" Text="Where are good, solid places to purchase sounds from on the internet? Nine times out of ten buying CDs/DVDs full of sounds results in many of them not being used or not appropriate... I'm wanting to find a few decent places where I can browse for sounds and purchase only the ones I want.&#xD;&#xA;&#xD;&#xA;Of course, a lot of the sound design I want to create myself... But there is times where this isn't possible.&#xD;&#xA;&#xD;&#xA;Any ideas for places like this?" ContentLicense="CC BY-SA 2.5" />
  <row Id="205" PostHistoryTypeId="1" PostId="105" RevisionGUID="636e70b5-5fba-45b4-a8e1-08f30140070a" CreationDate="2010-03-04T20:19:17.727" UserId="54" Text="Decent places to purchase sounds for sound design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="206" PostHistoryTypeId="3" PostId="105" RevisionGUID="636e70b5-5fba-45b4-a8e1-08f30140070a" CreationDate="2010-03-04T20:19:17.727" UserId="54" Text="&lt;libraries&gt;&lt;resources&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="207" PostHistoryTypeId="2" PostId="106" RevisionGUID="99904d20-4e5b-4a95-8bfb-5752ef80e655" CreationDate="2010-03-04T20:33:56.873" UserId="2" Text="1: **Resonance**. I love hitting on objects and hearing their tone. It works on everything (I avoid people)... I do it all the time! &#xD;&#xA;&#xD;&#xA;2: **Formula 1 sounds**. I grew up in Monaco, and once a year they have the Grand Prix in the streets. The intensity of all these incredibly power machines racing throughout the city is just indescribable, and it keeps going and going for four days. &#xD;&#xA;&#xD;&#xA;Here's a video so you can get an idea:&#xD;&#xA;&#xD;&#xA;[youtube]kQKH-6foXFY[/youtube]&#xD;&#xA;&#xD;&#xA;3: **Taxis hooting** (honking). I'm in Johannesburg, South Africa at the moment. The taxi drivers hoot at people in the street to pick them up, but also to get other drivers out of the way. &#xD;&#xA;&#xD;&#xA;Here's a video, it's insane but not uncommon:&#xD;&#xA;&#xD;&#xA;[youtube]ddwTM1Hkc-s[/youtube]&#xD;&#xA;&#xD;&#xA;4: The worst **music** ever and it's drowning everything (including my soul)! I'm sitting at a coffee shop, and if I try to switch off to the music, I can hear: **cars**. It's not busy streets so it's not like a wash of traffic, each car is distinct; **chit-chatting**; **Cutlery** (crockery); A powerful **Coffee machine**. Massive air con or **air vent** in the distance. &#xD;&#xA;&#xD;&#xA;Here's an audio clip recorded now from my iPhone and posted on [audioBoo][1]. Forgive the copyright violation for recording the music. But it's worth hearing how overpowering it is! How I wish the world wouldn't slap on music over everything, especially bad music.&#xD;&#xA; &#xD;&#xA;[audioboo]102525-the-worst-cafe-ambience[/audioboo]&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;  [1]: http://audioboo.fm" ContentLicense="CC BY-SA 2.5" />
  <row Id="208" PostHistoryTypeId="2" PostId="107" RevisionGUID="5d67bc52-a99b-48a7-9b3d-4194ef9dc82f" CreationDate="2010-03-04T20:50:30.197" UserId="2" Text="There are a quite a few. &#xD;&#xA;&#xD;&#xA;- Blastwave FX offers [Power Packs][1], which you can download (click on the power packs at the bottom of the link). They are $25 each and are categorised by groups of sounds.&#xD;&#xA;&#xD;&#xA;- On [SoundSnap][2] you can download each sounds separately, and browse all you want. You pay for a membership and are allowd X amount of sounds per month. &#xD;&#xA;&#xD;&#xA;- [Freesound][3] is free and you can often find some really nice sounds. &#xD;&#xA;&#xD;&#xA;- [Audio Jungle][4]&#xD;&#xA;&#xD;&#xA;- [iStockPhoto][5] has got sounds as well. &#xD;&#xA;&#xD;&#xA;I'm sure there are a ton more. But here are a few to get you started. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.blastwavefx.com/Download%20Packs/c26/index.html&#xD;&#xA;  [2]: http://www.soundsnap.com&#xD;&#xA;  [3]: http://www.freesound.org&#xD;&#xA;  [4]: http://audiojungle.net/&#xD;&#xA;  [5]: http://www.istockphoto.com/index.php?view=full" ContentLicense="CC BY-SA 2.5" />
  <row Id="209" PostHistoryTypeId="2" PostId="108" RevisionGUID="2f648727-17d4-4d17-8796-300d99cf3615" CreationDate="2010-03-04T21:13:45.840" UserId="10" Text="Two more:&#xD;&#xA;&#xD;&#xA;http://www.soundrangers.com/&#xD;&#xA;&#xD;&#xA;http://www.sounddogs.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="210" PostHistoryTypeId="2" PostId="109" RevisionGUID="e9a793b0-69c2-479d-a615-8503ba3beb56" CreationDate="2010-03-04T21:44:33.707" UserDisplayName="user49" Text="Audiosculpt is a brilliant program, the only problem being you cant buy it, you must license it by the year from ircam in France.... Like Kyma it can do spectral processing eg i time stretched a bell sound 1000% and it did it beautifully! Its also great for drawing pitch bends &amp; curves on the waveform and rendering them in very high quality... it does cross-synthesis too&#xD;&#xA;&#xD;&#xA;http://forumnet.ircam.fr/691.html?L=1&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=9AZBMjGgA9s&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="211" PostHistoryTypeId="2" PostId="110" RevisionGUID="7970d0db-63e1-40e7-8de1-e3e8a16fda9e" CreationDate="2010-03-04T21:45:27.187" UserId="4" Text="My dad was a sound engineer in the 1960's and 70's. My mum wants a clear out and my dad would like to listen again to his old recordings. I'd like to help him and make a digital archive of the recordings which he could access easily. The tapes include music as well as plenty of film dialogue including A Clockwork Orange on which he was sound recordist. All the recordings were made on his Nagra which is still in good working order.&#xD;&#xA;&#xD;&#xA;I'm wondering what would be the best way to digitally archive his recordings. Should I buy an audio interface for my laptop and record to my laptop? Should I buy a digital recorder (which I could use standalone on other occasions)? What other options are there?&#xD;&#xA;&#xD;&#xA;Thanks for any thoughts." ContentLicense="CC BY-SA 2.5" />
  <row Id="212" PostHistoryTypeId="1" PostId="110" RevisionGUID="7970d0db-63e1-40e7-8de1-e3e8a16fda9e" CreationDate="2010-03-04T21:45:27.187" UserId="4" Text="How to archive 1960's Nagra tapes to digital recordings?" ContentLicense="CC BY-SA 2.5" />
  <row Id="213" PostHistoryTypeId="3" PostId="110" RevisionGUID="7970d0db-63e1-40e7-8de1-e3e8a16fda9e" CreationDate="2010-03-04T21:45:27.187" UserId="4" Text="&lt;nagra&gt;&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="214" PostHistoryTypeId="2" PostId="111" RevisionGUID="a5382278-98d8-4252-956d-7f3292cfb288" CreationDate="2010-03-04T22:37:37.670" UserId="58" Text="You might also want to have a peek at The Guide to Sound Effects at http://www.epicsound.com/sfx" ContentLicense="CC BY-SA 2.5" />
  <row Id="215" PostHistoryTypeId="5" PostId="110" RevisionGUID="2c44f47e-ae87-4f94-be40-333f9d254df5" CreationDate="2010-03-05T00:36:18.147" UserId="4" Comment="added 3 characters in body" Text="My father was a sound engineer in the 1960's and 70's. My mum wants a clear out and my dad would like to listen again to his old recordings. I'd like to help him and make a digital archive of the recordings which he could access easily. The tapes include music as well as plenty of film dialogue including A Clockwork Orange on which he was sound recordist. All the recordings were made on his Nagra which is still in good working order.&#xD;&#xA;&#xD;&#xA;I'm wondering what would be the best way to digitally archive his recordings. Should I buy an audio interface for my laptop and record to my laptop? Should I buy a digital recorder (which I could use standalone on other occasions)? What other options are there?&#xD;&#xA;&#xD;&#xA;Thanks for any thoughts." ContentLicense="CC BY-SA 2.5" />
  <row Id="216" PostHistoryTypeId="2" PostId="112" RevisionGUID="ba821a14-694e-41a6-af7d-88faa7b6067d" CreationDate="2010-03-05T02:13:34.720" UserId="18" Text="I would record them into a laptop @ 24bit 96K.  Then you will have them as wav files, you can burn them to DVD for archiving (burn multiple copies).  You could also do any kind of clean up, editing, restoration, etc work that you might want to do in a sample editor.  You could also make audio CDs or MP3s for you dad, as it might be easier to listen to the material in those formats." ContentLicense="CC BY-SA 2.5" />
  <row Id="217" PostHistoryTypeId="2" PostId="113" RevisionGUID="2eeaaddf-13a8-4b89-bb1f-4a998b90a77f" CreationDate="2010-03-05T03:00:44.157" UserId="59" Text="+1 for the H4N&#xD;&#xA;&#xD;&#xA;I recently bought it after massive research.  I love the core functionality and the interface is solid.  For the price I think it's the best deal right now." ContentLicense="CC BY-SA 2.5" />
  <row Id="218" PostHistoryTypeId="2" PostId="114" RevisionGUID="38c918be-378e-48f9-8a8c-49b95742f962" CreationDate="2010-03-05T05:05:23.977" UserId="29" Text="1.) What are some of your favourite sounds?&#xD;&#xA;&#xD;&#xA;The resonance of vibrating metal and flowing water.&#xD;&#xA;&#xD;&#xA;2.) What are some sounds that you relate strongly with memories of your childhood?&#xD;&#xA;&#xD;&#xA;One above all others: The sound of an American kickball. Nothing sounds like it.&#xD;&#xA;&#xD;&#xA;3.) What are some sounds that, in your opinion, are strongly evocative of the city/town that you are currently living in?&#xD;&#xA;&#xD;&#xA;At home, birds and freeway noise (think American Beauty). At work, crazy people yelling and ambulances (think Seven).&#xD;&#xA;&#xD;&#xA;4.) What are some sounds that you can hear right now as you read this text?&#xD;&#xA;&#xD;&#xA;My cat purring and Autechre on the hi-fi. :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="219" PostHistoryTypeId="2" PostId="115" RevisionGUID="16fe87ed-d4dc-4952-845e-6bc0412000bb" CreationDate="2010-03-05T07:12:33.517" UserId="61" Text="1.) What are some of your favourite sounds?&#xD;&#xA;&#xD;&#xA;Rain and distant thunder, metal resonances, tires on snow and my children laughing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;2.) What are some sounds that you relate strongly with memories of your childhood?&#xD;&#xA;&#xD;&#xA;Growing up in Maine, I have vivid memories of very specific sounds, including:&#xD;&#xA;Blue Jays screaming, Chickadees deep in the forest, tractors in the field, loons on the lake and whipporwills singing with crickets at night.&#xD;&#xA;&#xD;&#xA;3.) What are some sounds that, in your opinion, are strongly evocative of the city/town that you are currently living in?&#xD;&#xA;&#xD;&#xA;Burbank, CA, has the same blanket of urban noise common to most other metro cities. What sets Burbank apart from all the rest? The wild parrots at sunrise and sunset, and the crows vocalizing in the trees, among other things.&#xD;&#xA;&#xD;&#xA;4.) What are some sounds that you can hear right now as you read this text?&#xD;&#xA;&#xD;&#xA;The PALAOA hydrophones underneath the Antarctic ice streaming thru iTunes.&#xD;&#xA;http://www.awi.de/de/aktuelles_und_presse/hintergrund/palaoa_wie_klingt_das_suedpolarmeer/livestream/" ContentLicense="CC BY-SA 2.5" />
  <row Id="220" PostHistoryTypeId="2" PostId="116" RevisionGUID="6f5eead3-9ab4-4870-88ba-f570858188c7" CreationDate="2010-03-05T08:42:16.410" UserId="2" Text="What might be a good option for you is to get a handy recorder like the [Zoom H4n][1] which also doubles up as a sound card. So you can have a descent portable recorder and a sound card for the price of one. &#xD;&#xA;&#xD;&#xA;If I remember correctly, the analogue Nagra uses banana jacks. So if using the Zoom h4n, you'll need an adapter from the banana jacks to either mini stereo jacks or 2 mono 1/4 inch jacks. &#xD;&#xA;&#xD;&#xA;Awesome that your father was the recordists on Clockwork Orange. You'll find some amazing stuff! &#xD;&#xA;&#xD;&#xA;  [1]: http://www.zoom.co.jp/english/products/h4n/" ContentLicense="CC BY-SA 2.5" />
  <row Id="221" PostHistoryTypeId="2" PostId="117" RevisionGUID="fd156591-db13-4a31-8af8-654b94a6a866" CreationDate="2010-03-05T09:36:44.927" UserId="55" Text="I see...well, ctlout is definitely what you need! You'll need to give the ctlout object a channel number and value, and assign the MIDI output to &quot;From Max/MSP 1&quot; (using the midiinfo object). Also, set Ableton to listen out for that midi port. This patch might help?&#xD;&#xA;&lt;pre&gt;&lt;code&gt;&#xD;&#xA;----------begin_max5_patcher----------&#xD;&#xA;855.3oc2W00aaBCE84jeEWwyoQXf.g8Vj5KUpQpRU6o0oIGvIwqfMBLsoqp+&#xD;&#xA;220FHKYMzjPR6p1KP7Gw2y8bteXdteOqYxUrBK3Kv2fd8dteudlozSzqdbOq&#xD;&#xA;T5pnDZgYaVQxzTlPYMnZMEakxLeJ8dFTTly.0RpB3BXxrDlRJfmjkvR5C5EX&#xD;&#xA;vzqt7Jnfo.kDnQQrLEbm07bYJLktZ5s2.j6rf4xbHRJT4xjF6jvErHYovXrQ&#xD;&#xA;0SlkyJPrPUbo3G4rHUkiDPHCsG.dtlW10OfuW+u3wF.Km8yKbHMm+bzbBZJy&#xD;&#xA;rzjbNcskynpnkbwhVM.wIT+JXzF1PTlxEn6a3LxF1nf+KiMHN3+Y8dkkplMa&#xD;&#xA;qm7k980OF7+il3E3YnLh2d0D6NoIaafOuZhliKJ3KDH0yKLTNjQyQ2Twx0Rz&#xD;&#xA;07GXCfER8R5eCTQLDsTJKXviZYTqcOREF4pVQFB2fzdAnMJt8KlpWq5HRoYY&#xD;&#xA;HSAoxX7XwMvfYzn6gkr7lilJVvpPC51yX4C2o.O90REIrSRUHwHNDWeyqQUi&#xD;&#xA;HAe5zpBVBBZSNRJOlCnYxJ2QxwN4Km2NgXjN1b.3DDruDBxnNwxaaf5DBWu+&#xD;&#xA;Yjrf8H5MuhiiTI3ACDXco3MccuN459gFe1MTienJ9xwtMO28ejmWDQSXnnCD&#xD;&#xA;aGugfMZzflMUYQ0SYrJOxxZmQFtchdF6a5a4L1tJwaO7i+wvOjNvOkXxWYqd&#xD;&#xA;NWmXhDvf1HAmNQBtg9UoGUEgBHuhDzXn9pQmgTllnLthkVepVS9Jb402B29j&#xD;&#xA;PsTG+CVCzO1p5xNm0AYhyWfXhjFOCaBzpDXVbmbu8ov8j.Sjmu8aG+Qdui+l&#xD;&#xA;Upv6Dc7de3ADdQVGWcHt3o6KsHw51Wbwb4wUeI3jxr7LN8Hm210cduU24IR7&#xD;&#xA;PZ0wwkolBLsJy9mRQVBopGz4LF24LdEmpa7AlhKSxiK4BI9o.hBY9NZG2sJs&#xD;&#xA;gN08YpREHmSpXy1wliybGr+5CZMXRO+17SgrLOpILnocJ7GTEyJTbg4daatI&#xD;&#xA;us1zRdbLyrdC.wTsLI1zpFDiCrGNBuKRvXyGjX6udTKkvOXzhpAdsoyKZ8FS&#xD;&#xA;L3y0dSz5Zexn0+PnV2iCrmHjBNDH47gBIc+z8hovOTHEd.HJ3DPDN3k9+Ffn&#xD;&#xA;NtFZ&#xD;&#xA;-----------end_max5_patcher-----------&#xD;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="222" PostHistoryTypeId="2" PostId="118" RevisionGUID="7a358181-c2b5-41ae-ad40-12bddb8c41aa" CreationDate="2010-03-05T11:07:47.860" UserId="63" Text="wow! this site epicsounds is awesome place to get started with sounddesign!!!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="223" PostHistoryTypeId="2" PostId="119" RevisionGUID="c3b48b46-caa6-4705-9ec7-f726e0fec4f2" CreationDate="2010-03-05T11:11:50.900" UserId="63" Text="i would go for AKG c451's. they are really great as over mics for drums and whatever else i have recorded on them. also i have heard really good words about m-audio's pulsars as a cheaper choise " ContentLicense="CC BY-SA 2.5" />
  <row Id="224" PostHistoryTypeId="2" PostId="120" RevisionGUID="38fb8707-e083-4979-9526-6efd319045f8" CreationDate="2010-03-05T11:17:36.947" UserId="63" Text="I would like to try some ideas for some really wierd sounds and i think a good contact mic would give me better results at that! &#xD;&#xA;&#xD;&#xA;Also i would like to ask if you think its a good idea to plug this mic or any mic on a zoom H2 or H4N to get the sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="225" PostHistoryTypeId="1" PostId="120" RevisionGUID="38fb8707-e083-4979-9526-6efd319045f8" CreationDate="2010-03-05T11:17:36.947" UserId="63" Text="Can you suggest a good contact mic for sound design? (average cost of proposal would be much appreciated)" ContentLicense="CC BY-SA 2.5" />
  <row Id="226" PostHistoryTypeId="3" PostId="120" RevisionGUID="38fb8707-e083-4979-9526-6efd319045f8" CreationDate="2010-03-05T11:17:36.947" UserId="63" Text="&lt;contact&gt;&lt;mic&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="227" PostHistoryTypeId="2" PostId="121" RevisionGUID="67ceb4aa-c1ee-47b1-b9d9-41f8be055136" CreationDate="2010-03-05T12:43:53.177" UserId="9" Text="I dont use my headset to record but I listen to music all the time - I walk everywhere and my best thing is to listen to tjunes while walking in the city. So my needs may be different to the pro's. &#xD;&#xA;&#xD;&#xA;For me the Sennheiser Px 100 are great because of their non-intrusive nature and mobility. I just got to use my friends HD 202 set and its got great sound without being to bulky. In-ear sets come in handy but they hurt y ears after listening for too long.Im still looking for a good in-ear pair of headphones - any ideas?&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="228" PostHistoryTypeId="2" PostId="122" RevisionGUID="2676277e-2afa-47c6-aea3-a3cedae0f6ff" CreationDate="2010-03-05T14:10:58.147" UserId="54" Text="I'm looking into having a sound library search engine for my sounds. My organised folders and filenames work to a point, but I can see soon it will get a little too much. I've looked at some of the professional sound library search engines, like Sound Miner and NetMix but they all seem very expensive for what I need.&#xD;&#xA;&#xD;&#xA;I'm basically after just a sound library search engine which allows for meta tags to be added to allow easier searching. Does a more good value solution exist for the Mac?" ContentLicense="CC BY-SA 2.5" />
  <row Id="229" PostHistoryTypeId="1" PostId="122" RevisionGUID="2676277e-2afa-47c6-aea3-a3cedae0f6ff" CreationDate="2010-03-05T14:10:58.147" UserId="54" Text="A good value sound library search engine for the Mac?" ContentLicense="CC BY-SA 2.5" />
  <row Id="230" PostHistoryTypeId="3" PostId="122" RevisionGUID="2676277e-2afa-47c6-aea3-a3cedae0f6ff" CreationDate="2010-03-05T14:10:58.147" UserId="54" Text="&lt;library&gt;&lt;search&gt;&lt;engine&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="231" PostHistoryTypeId="2" PostId="123" RevisionGUID="ab981158-513b-4ba3-a542-30ee2d254a23" CreationDate="2010-03-05T14:45:03.750" UserId="64" Text="I think the best for you is Audio Finder from Iced Audio. http://www.icedaudio.com/ It's not expansive and works well. &#xD;&#xA;Soundminer is too expansive, and crash too often for me, but it's really powerfull with the spot and metadatas editing. " ContentLicense="CC BY-SA 2.5" />
  <row Id="232" PostHistoryTypeId="2" PostId="124" RevisionGUID="63e8fa72-10cb-45f4-9663-fcb0bf58f3ba" CreationDate="2010-03-05T15:14:34.583" UserId="37" Text="Audiofinder. There's a new version coming out (5 and soon I hope), and feels faster and like a proper database now. Shame it doesn't support plugin chains (yet?). " ContentLicense="CC BY-SA 2.5" />
  <row Id="233" PostHistoryTypeId="2" PostId="125" RevisionGUID="869a8079-3a07-443b-b458-9b1151a50bec" CreationDate="2010-03-05T16:01:09.720" UserId="29" Text="[Cold Gold][1] is a pretty well known maker of piezo-style mics, as is [Jeff Thompson][2]. I have two that Jeff made with XLR conenctors, and they're pretty good; some ground loop hum on my SD 702, but if the audio source is loud enough it's workable. Piezo's are small and you can tape them to anything; google &quot;DIY contact mic&quot; and you'll find tutorials galore if you're handy with a soldering iron and have more time than money.&#xD;&#xA;&#xD;&#xA;My hydrophone actually makes an incredible contact microphone. The [Aquarian Audio H2a-XLR][3] is available with an [optional rubber cup][4] that turns it into a contact mic with low noise, hot output, and good dynamic range. It's too heavy to effectively tape upside down to much, unlike the weighs-nothing piezo elements, but it has its uses.&#xD;&#xA;&#xD;&#xA;[Chuck Russom][5] and [Tim Prebble][6] use [Barcus Berry Planar Wave contact mics][7], and there are many contact microphones like the BB that are intended for use on instruments that are pretty professional, albeit at a higher price.&#xD;&#xA;&#xD;&#xA;Hope this helps you get started in your research!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://contactmicrophones.com/&#xD;&#xA;  [2]: http://www.contactmics.com/&#xD;&#xA;  [3]: http://www.aquarianaudio.com/product.php?productid=4&amp;cat=4&amp;page=1&#xD;&#xA;  [4]: http://www.aquarianaudio.com/product.php?productid=11&amp;cat=10&amp;page=2&#xD;&#xA;  [5]: http://www.russom.net/&#xD;&#xA;  [6]: http://www.musicofsound.co.nz/blog/barcus-berry-planar-wave-contact-mic-review-part-1&#xD;&#xA;  [7]: http://www.activemusician.com/item--MC.4000" ContentLicense="CC BY-SA 2.5" />
  <row Id="234" PostHistoryTypeId="6" PostId="110" RevisionGUID="d6eae62e-e467-4cd2-83eb-df0626e3d892" CreationDate="2010-03-05T16:15:13.330" UserId="29" Comment="edited tags" Text="&lt;nagra&gt;&lt;film&gt;&lt;audiorestoration&gt;&lt;archiving&gt;&lt;backups&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="235" PostHistoryTypeId="2" PostId="126" RevisionGUID="d0e590ad-4551-4369-8ed8-33ab471ca2cc" CreationDate="2010-03-05T16:18:22.483" UserId="29" Text="In addition to the excellent examples previously mentioned, I thought that &quot;No Country for Old Men&quot; had great use of &quot;silence:&quot; Long sequences of ultra-subtle foley and natural ambiences instead of music, dialog, or any other hard-source sound. The sequence where the main character is first sussing out the figure beneath the tree, early on, was a great example of many. &#xD;&#xA;&#xD;&#xA;Carter Burwell scored, what, only 15 minutes of music in that film, or something along those lines?" ContentLicense="CC BY-SA 2.5" />
  <row Id="236" PostHistoryTypeId="2" PostId="127" RevisionGUID="4e04bbd2-4668-4918-8d86-7ec1839e7f8c" CreationDate="2010-03-05T16:18:36.470" UserId="65" Text="I often use paired [Oktava MK-012][1], for shorts movies, documentary and a lot of stuff. Interior + exterior. Very good russian microphones. [Here][2] is a review.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.oktava-online.com/mk012.htm&#xD;&#xA;  [2]: http://recordinghacks.com/2008/07/17/oktava-mk012-capsules/" ContentLicense="CC BY-SA 2.5" />
  <row Id="237" PostHistoryTypeId="2" PostId="128" RevisionGUID="d528cb21-387d-461a-a050-846611032f67" CreationDate="2010-03-05T16:26:30.277" UserId="25" Text="Hi, I' m doing some research right now for a movie i ll be doing in a couple of months. Can you recommend me any movie where a sound &quot;POV&quot; from a deaf character is used? I d like to see different approaches to this situation.&#xD;&#xA;Thanks a lot!" ContentLicense="CC BY-SA 2.5" />
  <row Id="238" PostHistoryTypeId="1" PostId="128" RevisionGUID="d528cb21-387d-461a-a050-846611032f67" CreationDate="2010-03-05T16:26:30.277" UserId="25" Text="Movies with &quot;POV&quot; of deaf characters" ContentLicense="CC BY-SA 2.5" />
  <row Id="239" PostHistoryTypeId="3" PostId="128" RevisionGUID="d528cb21-387d-461a-a050-846611032f67" CreationDate="2010-03-05T16:26:30.277" UserId="25" Text="&lt;deaf&gt;&lt;pov&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="240" PostHistoryTypeId="6" PostId="110" RevisionGUID="465dd348-bd3e-46db-a8be-86068dc8f0ea" CreationDate="2010-03-05T17:09:57.087" UserId="2" Comment="tag" Text="&lt;nagra&gt;&lt;film&gt;&lt;audio-restoration&gt;&lt;archiving&gt;&lt;backups&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="241" PostHistoryTypeId="2" PostId="129" RevisionGUID="18598595-6cc7-40aa-b0d6-fa280e9dfff2" CreationDate="2010-03-05T17:50:10.340" UserId="18" Text="Basehead is currently in Beta for Mac.  Final release is supposed to be very soon.  It is under $300 and every bit as good (and better in some ways) as Soundminer." ContentLicense="CC BY-SA 2.5" />
  <row Id="242" PostHistoryTypeId="2" PostId="130" RevisionGUID="f950c2c3-3499-4188-98be-c77af59b4ab7" CreationDate="2010-03-05T18:05:53.203" UserId="66" Text="It really depends what you want it for.  Figure that out, then find the recorder that fits your needs. They all have different benefits.&#xD;&#xA;&#xD;&#xA;I highly recommend the Sony PCM D50, particularly for stereo sound fx recording and music.&#xD;&#xA;&#xD;&#xA;I was hesitant to purchase it because there weren't XLR inputs, but I was mainly looking for high quality mics and preamps, and for the money this one became a no brainer.&#xD;&#xA;&#xD;&#xA;If you're more interested in finding a handheld recorder to act as a storage device (meaning you want to plug other mics into them), then the cheaper Zoom models may be the way to go. (Though I can't vouch for their preamps).  But for an all in one recorder AND stereo microhpones AND preamps, you can't beat this. I've recorded ambiences from China to Sweden to the icy streams in New Hampshire, and the sounds are crisp, clean and beautiful.&#xD;&#xA;&#xD;&#xA;Also, I have used it for dialogue recording going from the tape out from my mixer to the Line Input on the PCMD50.  So there's that option as well..." ContentLicense="CC BY-SA 2.5" />
  <row Id="243" PostHistoryTypeId="2" PostId="131" RevisionGUID="c62b5b52-83e1-4e85-92b6-a752102d9209" CreationDate="2010-03-05T18:17:22.877" UserId="67" Text="I recently took a trip to Hawaii and decided to bring some of my recording gear with me to record some ambiances, whales and other things I don't get the chance to hear in Southern California.  I went to my insurance agent (with one of the big agencies) and inquired about getting a ryder on my policy to cover my gear when it's out of my house and on location.  I wrote a check and thought everything would be fine.  That is until I got home and found out they don't insure recording gear.  After many conversations, I was told that it was too &quot;high risk&quot; and they decided long ago not to insure recording gear.  They're looking into a broker to see if they can find anyone that will but so far no luck.&#xD;&#xA;&#xD;&#xA;My question to you guys is, do you (and if so, how) insure your gear for additional coverage other than theft while in your home?&#xD;&#xA;&#xD;&#xA;I've done multiple searches before and no luck.  Thanks in advance and love the forum!" ContentLicense="CC BY-SA 2.5" />
  <row Id="244" PostHistoryTypeId="1" PostId="131" RevisionGUID="c62b5b52-83e1-4e85-92b6-a752102d9209" CreationDate="2010-03-05T18:17:22.877" UserId="67" Text="How do you insure your gear?  Or do you?" ContentLicense="CC BY-SA 2.5" />
  <row Id="245" PostHistoryTypeId="3" PostId="131" RevisionGUID="c62b5b52-83e1-4e85-92b6-a752102d9209" CreationDate="2010-03-05T18:17:22.877" UserId="67" Text="&lt;recording&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="246" PostHistoryTypeId="2" PostId="132" RevisionGUID="ea07850b-eab3-47fe-898f-0e82af4ae15c" CreationDate="2010-03-05T18:19:36.443" UserId="55" Text="Make your own! Commercial contact mics are insanely overpriced. You can make exactly the same thing for 1/10th of the price. Here's one set of instructions:&#xD;&#xA;http://brokenpants.com/?page_id=94&#xD;&#xA;&#xD;&#xA;or another:&#xD;&#xA;http://home.earthlink.net/~erinys/contactmic.html&#xD;&#xA;&#xD;&#xA;One thing that these tutorials are missing is a way to protect them once you've made them. The best way I've seen is to use something like Plasti-Dip to seal off the transducer:&#xD;&#xA;http://www.plastidip.co.uk/index2.cfm?page=products&amp;prodId=9&#xD;&#xA;&#xD;&#xA;Check out how Leafcutter John uses piezos:&#xD;&#xA;http://leafcutterjohn.com/?p=894&#xD;&#xA;&#xD;&#xA;And I've never tried this, but he suggests building this preamp to make the piezo transducer sound much better:&#xD;&#xA;http://www.alexrice.co.uk/content/piezo-preamp&#xD;&#xA;&#xD;&#xA;And yes, recording a contact mic into a Zoom recorder will probably sound fine." ContentLicense="CC BY-SA 2.5" />
  <row Id="247" PostHistoryTypeId="2" PostId="133" RevisionGUID="329911b1-5100-489f-8e93-475f50a775e2" CreationDate="2010-03-05T18:50:20.453" UserId="61" Text="You almost always get what you pay for. That being said, although it is slightly pricey, my vote goes to Soundminer. Not only is it an excellent search engine with comprehensive metadata and networkcapabilities, it's also a great sound design tool:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/02/charles-deenen-special-quick-sound-design-with-soundminer-and-plugins/" ContentLicense="CC BY-SA 2.5" />
  <row Id="248" PostHistoryTypeId="2" PostId="134" RevisionGUID="a8467e15-b226-415d-b6b5-37fa48af1adc" CreationDate="2010-03-05T21:55:36.880" UserDisplayName="user49" Text="I use a Trance Audio Inducer and a Barcus Berry Planar Wave, and the Trance Audio is definitely my favorite, but the thing to bear in mind with both these mics is they aren't just a contact mic, they also come with a perfectly matched preamp and there is a very good reason why. People who build their own contact mics definitely get sound from them, but their sensitivity &amp; frequency response is often limited by plugging them into a normal mic preamp. This article explains the issue of impedance matching and includes a basic preamp circuit:&#xD;&#xA;&#xD;&#xA;http://bit.ly/contactmicpreamp&#xD;&#xA;&#xD;&#xA;&quot;The problem with piezo guitar pickups and contact mics is that they are not well matched to typical audio inputs. By their nature they can generate a lot of signal, but cannot drive a 50 kilohm typical line input. The pickup needs to work into a much higher impedance, typically 1 megohm or so....&quot;&#xD;&#xA;&#xD;&#xA;So if you are going the DIY route &amp; want good results, spend the time to build a matched preamp for it...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="249" PostHistoryTypeId="5" PostId="134" RevisionGUID="3b351256-1ae4-4a01-a5f2-705ff10af3fc" CreationDate="2010-03-05T22:00:52.080" UserDisplayName="user49" Comment="added 577 characters in body" Text="I use a Trance Audio Inducer and a Barcus Berry Planar Wave, and the Trance Audio is definitely my favorite, but the thing to bear in mind with both these mics is they aren't just a contact mic, they also come with a perfectly matched preamp and there is a very good reason why. People who build their own contact mics definitely get sound from them, but their sensitivity &amp; frequency response is often limited by plugging them into a normal mic preamp. This article explains the issue of impedance matching and includes a basic preamp circuit:&#xD;&#xA;&#xD;&#xA;http://bit.ly/contactmicpreamp&#xD;&#xA;&#xD;&#xA;&quot;The problem with piezo guitar pickups and contact mics is that they are not well matched to typical audio inputs. By their nature they can generate a lot of signal, but cannot drive a 50 kilohm typical line input. The pickup needs to work into a much higher impedance, typically 1 megohm or so....&quot;&#xD;&#xA;&#xD;&#xA;So if you are going the DIY route &amp; want good results, spend the time to build a matched preamp for it...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And re &quot;commercial contact mics are insanely overpriced.&quot; &#xD;&#xA;Do you cost out the time involved in making your own contact mic and high quality preamp?&#xD;&#xA;Even on minimum wage this can be a false economy... I've had my Trance Audio contact mic for more than 5 years and have never once felt it was over-priced, quite the opposite it was actually a phenomenally good investment... I totally respect the DIY approach, especially if you are time rich &amp; cash poor, but long term the issues of quality &amp; reliability are what drive my decision making when investing in gear....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="250" PostHistoryTypeId="2" PostId="135" RevisionGUID="e02e10a2-6a46-420b-bdf8-3ac4e86068b8" CreationDate="2010-03-05T22:13:30.793" UserDisplayName="user49" Text="I did a short film a few years ago where the lead character was deaf and point of view was an important device in the sound design. The film was called CLOSER and was directed by David Rittey... Its available on this DVD collection of short films&#xD;&#xA;http://www.waikato.ac.nz/film/NAME/ShortReels/ShortReels_info.html&#xD;&#xA;&#xD;&#xA;The film Babel features a Japanese actress who is deaf (in the film, not in reality) although I remember thinking there were missed opportunities in its sound design. Eg she goes to a night club &amp; they played her point of view as mute, when it obviously wouldn't be... Sound is vibration and anyone who has ever been in a nightclub knows you feel the bass through your whole body, not just through your ears... In the short film Closer we used this device at times ie creating low frequency vibrational versions of real effects eg a normal car pass became a low frequency wind gust... &#xD;&#xA;&#xD;&#xA;Another valuable reference might be the documentary about deaf percussionist Evelyn Glenny, Touch The Sound - there are excerpts from it on youtube including a beautiful improv with Fred Frith...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="251" PostHistoryTypeId="2" PostId="136" RevisionGUID="95c32452-7acd-4635-b184-adc43ac2cfb8" CreationDate="2010-03-05T23:35:41.940" UserId="2" Text="I insure all my gear, and it's covered even while overseas. I often travel with my sound equipment to places where theft is a reality. And a few years back my house burnt down and lost everything, so I know things happen. &#xD;&#xA;&#xD;&#xA;I don't know what to suggest about your insurance as I don't know the U.S system, but there has got to be companies or policies that will insure you, even if it's pricier.  I find that smaller and more specialized insurance companies to be more lenient with policies. Whether they pay up or not is a different story. &#xD;&#xA;&#xD;&#xA;You could maybe call up a gear house and ask how they handle their insurance. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="252" PostHistoryTypeId="6" PostId="131" RevisionGUID="d2fd16a0-14ac-4cd1-9754-ca7eac617ed3" CreationDate="2010-03-05T23:38:09.147" UserId="2" Comment="added &quot;insurance&quot; tag" Text="&lt;recording&gt;&lt;field-recording&gt;&lt;insurance&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="253" PostHistoryTypeId="2" PostId="137" RevisionGUID="b083151e-54af-472c-821c-81bf67bb9c75" CreationDate="2010-03-06T00:01:49.233" UserId="29" Text="Lots of production mixers in and around LA seem to use Kat Wong at https://www.buymyinsurancenow.com/OnlinePrograms (aka insuremyequipment.com)." ContentLicense="CC BY-SA 2.5" />
  <row Id="254" PostHistoryTypeId="2" PostId="138" RevisionGUID="b4f08190-83c0-4ea9-8376-0e6cf2709de9" CreationDate="2010-03-06T00:45:02.880" UserId="2" Text="This question is mainly aimed at generic ambiences. So for instance, the type you'd find in a library rather than recorded specifically for a scene.  &#xD;&#xA;&#xD;&#xA;I'm curious as to what microphones and stereo setup you use to record ambiences? And maybe how you go about recording the space, in other words do you set up two stereo mics one set in front and one at the rear and mix them down? Or just stick to one angle? &#xD;&#xA;&#xD;&#xA;I usually use a Mid-Side stereo setup, and the microphone is the [Sennheiser MKH 418s][1]. I like that once I'm editing the sounds I am able to control how much of the mid or the sides I use. &#xD;&#xA;&#xD;&#xA;I've been recommended to look into the [Røde NT4][2] to record ambiences as it is supposed to be very good. Any experiences with this?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_camera-mics-mkh-418-s&#xD;&#xA;  [2]: http://www.rodemic.com/microphone.php?product=NT4" ContentLicense="CC BY-SA 2.5" />
  <row Id="255" PostHistoryTypeId="1" PostId="138" RevisionGUID="b4f08190-83c0-4ea9-8376-0e6cf2709de9" CreationDate="2010-03-06T00:45:02.880" UserId="2" Text="How do you record your ambiences? " ContentLicense="CC BY-SA 2.5" />
  <row Id="256" PostHistoryTypeId="3" PostId="138" RevisionGUID="b4f08190-83c0-4ea9-8376-0e6cf2709de9" CreationDate="2010-03-06T00:45:02.880" UserId="2" Text="&lt;ambience&gt;&lt;recording&gt;&lt;stereo&gt;&lt;microphone&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="257" PostHistoryTypeId="2" PostId="139" RevisionGUID="efb91642-d805-45fd-8cb0-0a856fab6526" CreationDate="2010-03-06T01:19:34.210" UserId="29" Text="I'm still using a Røde NT-4 for stereo ambiences. It's single-unit construction makes set up really easy, it's pretty low-noise, and the sounds are, I don't know...*articulate*, well-defined. It's also quite heavy and since it's coincident X-Y, you naturally can't alter the stereo spread during recording or post (without &quot;stereo spread&quot; trickery in post, anyway). It's been dropped a few times and seems to have survived OK, and I've not had any humidity problems yet.&#xD;&#xA;&#xD;&#xA;I'm slowly working towards what seems to be the standard in outdoor ambience recording: An MKH pair (40 or 50 center, 30 for side). Lowest-noise small condenser M-S system out there, to hear the nature recording pro's tell it, and what samples I've heard are very, very impressive.&#xD;&#xA;&#xD;&#xA;I've heard an M-S Oktava rig and it was pretty noisy. The Schoeps M-S rigs I've heard are very nice, but I've usually not heard 'em for outdoors stuff.&#xD;&#xA;&#xD;&#xA;Definitely want to hear from others, too, on their M-S adventures!" ContentLicense="CC BY-SA 2.5" />
  <row Id="258" PostHistoryTypeId="2" PostId="140" RevisionGUID="7b9f31db-a419-4fce-9fb3-4127388037c5" CreationDate="2010-03-06T05:34:08.550" UserDisplayName="user49" Text="Be aware with old tapes that they can shed oxide like crazy - if they haven't been stored well you may only get one or two plays of them before they deteriorate beyond repair... I have heard of archival people baking analog tape in a last ditch effort to get a single transfer of it... even if yours aren't that bad be very aware that the heads will gum up as the tape sheds oxide and you will need to check the heads &amp; probably clean them with isopropyl alcohol after every tape...&#xD;&#xA;&#xD;&#xA;How many tapes are there? How many hours of material? You may only get one chance to transfer them so you want to do it properly... Buying a secondhand MBox is going to be cheaper than a portable recorder and then you have the software to do the editing &amp; prepare the files for output to CD and archiving... If it was me I would also send a copy of all the material to your local archive....&#xD;&#xA;&#xD;&#xA;When you do the transfers make sure you line up the input levels properly using the 1k tones that will be on the tapes... &#xD;&#xA;&#xD;&#xA;What a fascinating project!" ContentLicense="CC BY-SA 2.5" />
  <row Id="259" PostHistoryTypeId="2" PostId="141" RevisionGUID="fbc5b5c9-e56d-4c50-b2bd-2855c62ea7cc" CreationDate="2010-03-06T06:53:47.383" UserId="18" Text="I used to use a Rode NT4, which is a great mic, especially for the price.  Like Nathan said, it is heavy.  I really haven't used it much in years, but I seem to remember the stereo field is not as wide as some, and of course, it is not adjustable (the capsules are fixed in place).&#xD;&#xA;&#xD;&#xA;Now I have a few different setups.  I often use my Neumann 191 stereo shotgun.  It is one of those great &quot;what you hear, is what you get&quot; mics.  Also, very convienient to use a single mic setup.  The only issues with the Neumann are that it is a little noisey for the quiet stuff, and being a shotgun, it can really pull things in close, which you don't always want for ambience recording.  I generally run the Neumann in XY (you can select on the matrix box XY or MS).  I've also heard there can be issues in high-humidity (like with Schoeps).  I've stuck the Neumann out in the middle of rain with no issues, so, I don't know.&#xD;&#xA;&#xD;&#xA;I also have a couple of Sennheiser MKH setups.  I have 2 MKH800s that are multipattern.  Depending on how I need to set up, I can run XY, MS, dual omni, or anything else.  If I need to hand-hold, I'll use on of the 800's as a side and run an MKH40 as a mid.  The 800's are side address, so they can be a pain when hand-held.  When I'm doing MS, I tend to decode in post versus during the recording.  MKH mics are amazingly quiet.  Probably the lowest self noise out there.  They also pick up an insane amount of low end, so you'll want to watch that when recording and maybe use low cuts when doing ambient stuff.  I think the MKH series are the &quot;dream team&quot; of ambience mics.&#xD;&#xA;&#xD;&#xA;Now since I've gone and wrote a book about mics, I'll try an address the rest of you question :)&#xD;&#xA;&#xD;&#xA;When I'm recording ambiences, I generally try to setup and record for at least five mintues without moving the mics.  I will often try a few different perspectives in the same area (facing different directions, moving 10 feet away, etc) to give me options, it really depends on how much time I have.  I'll move the mics around listening, until I find the spots that sound the best.  The real key is to record as long as you can without touching the mics, moving the mics, moving yourself, breathing near the mics, etc.  I use the stopwatch on my iPhone and read through Twitter/Facebook while I'm recording :)  And never adjust levels once you hit record, or the take is trash.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="260" PostHistoryTypeId="2" PostId="142" RevisionGUID="a011d6d1-4488-45a0-93f5-ec40982f59ee" CreationDate="2010-03-06T06:56:47.443" UserId="18" Text="Listen to Tim, he knows his stuff :)  He's the one who turned me on to the Barcus Berry that I am using.  In no way is it insanely expensive, it is just over $200 USD including a preamp with phantom power and a -12db pad.  Plus, it is well made." ContentLicense="CC BY-SA 2.5" />
  <row Id="261" PostHistoryTypeId="2" PostId="143" RevisionGUID="2ff3b0be-ce0c-4d48-b2d6-c60089d8990b" CreationDate="2010-03-06T07:42:47.430" UserId="61" Text="I've been very happy with the Zoom H2 for both background and fx recordings, and have had no problem using those recordings in my work on major feature films and video games. Of course, at its price point there are a few pretty major limitations, such as preamp noise at high gain levels, less than sturdy case construction and lack of XLR jacks, but I'm a firm believer that having a recording of something, even if it's not the best recording ever, is better than not having that recording at all.&#xD;&#xA;&#xD;&#xA;Can the Zoom H2 be the only unit you use to gather new sounds? No. But, if your budget is very tight or you are just getting into location recording, you cannot go wrong." ContentLicense="CC BY-SA 2.5" />
  <row Id="262" PostHistoryTypeId="2" PostId="144" RevisionGUID="8f93e691-fc1b-4e1b-9e25-2ba917b7fc86" CreationDate="2010-03-06T10:05:37.130" UserId="56" Text="Just consider the use you wanna do of it. Zoom H2 is the best choice for portability and price but you won't have xlr input connections. I've used H2 with a shotgun mic (rode NTG-2), an autobuilt stereo mic with electret capsules (it provides plug-in power) and with a Rode NT4 stereo mic through its minijack input and it works pretty well. &#xD;&#xA;H2 capsules are good and maybe you will never use it with an external mic because with it you can have several configurations 90, 120 degrees, front, rear and quadriphonic...&#xD;&#xA;Moreover: H2 can be used as a Audiocard, H2 can save your audio in wav format up to 96khz-24bit and in every level of mp3 compression - no other portable recorder can do that.&#xD;&#xA;&#xD;&#xA;This one is in italian but maybe can help someone: http://www.sounday-times.com/it/arrige-aures/registratori-digitali-portatili.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="263" PostHistoryTypeId="16" PostId="144" RevisionGUID="8f93e691-fc1b-4e1b-9e25-2ba917b7fc86" CreationDate="2010-03-06T10:05:37.130" UserId="56" />
  <row Id="264" PostHistoryTypeId="6" PostId="49" RevisionGUID="c85bda5f-6fdb-472e-a2e2-d6369300b77e" CreationDate="2010-03-06T11:39:54.257" UserId="37" Comment="edited tags" Text="&lt;portable-recorder&gt;&lt;newbie&gt;&lt;zoom&gt;&lt;sony&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="266" PostHistoryTypeId="2" PostId="146" RevisionGUID="f3e4956a-e04e-4080-85ee-5861e63c44d4" CreationDate="2010-03-06T13:43:21.540" UserId="63" Text="+1 FOR DT 770 Pro (80ohms)&#xD;&#xA;i have them for 3 days now and they are awesome, from mixing music in Logic to field recording. they have very good isolation" ContentLicense="CC BY-SA 2.5" />
  <row Id="267" PostHistoryTypeId="2" PostId="147" RevisionGUID="e4cbdf71-82b4-4c47-847e-c8a767bcc34a" CreationDate="2010-03-06T14:53:46.983" UserId="63" Text="i came accross a very interesting article about demo reels and that if you want to start somewhere try to do one! &#xD;&#xA;ok so far everything is good! the problem is the choise of the video for me. what would be a great demo reel for an employer? something that has &quot;unique&quot; effects, or something that has the usual and all-time-classic sounds (walking, knocking, breathing, etc, you get the picture right?)??? &#xD;&#xA;and after this decision do you have to suggest a good place to pick up interesting-for-sound-design-videos? or is it clearly a matter of personnal choise and point of view?" ContentLicense="CC BY-SA 2.5" />
  <row Id="268" PostHistoryTypeId="1" PostId="147" RevisionGUID="e4cbdf71-82b4-4c47-847e-c8a767bcc34a" CreationDate="2010-03-06T14:53:46.983" UserId="63" Text="hmm... Demo Reel??? yeah right!" ContentLicense="CC BY-SA 2.5" />
  <row Id="269" PostHistoryTypeId="3" PostId="147" RevisionGUID="e4cbdf71-82b4-4c47-847e-c8a767bcc34a" CreationDate="2010-03-06T14:53:46.983" UserId="63" Text="&lt;demo-reel&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="270" PostHistoryTypeId="5" PostId="74" RevisionGUID="2f61fe01-39f4-43de-813f-192a0430a937" CreationDate="2010-03-06T16:40:28.407" UserId="2" Comment="added 216 characters in body" Text="**Sony MDR-7506**&#xD;&#xA;&#xD;&#xA;Subjective pros:&#xD;&#xA;&#xD;&#xA; - I absolutely love my MDR-7506! It might be because I'm so used to them, but they sound really great (as in flat). I don't like when headphones enhance the bass, unless it's for listening to music casually. &#xD;&#xA;&#xD;&#xA; - To me, they are really comfortable. They aren't too tight and claustrophobic, but also aren't too loose that the &quot;real&quot; and the &quot;monitored&quot; get mushed up. &#xD;&#xA;&#xD;&#xA; - Decently priced&#xD;&#xA;&#xD;&#xA;Subjective cons:&#xD;&#xA;&#xD;&#xA; - The padding of the cushion deteriorates quite quickly, and it's not pretty when it does. There are little pieces of fake leather that go all over the show.   &#xD;&#xA; &#xD;&#xA; - They get really warm when recording in the field during summer time. &#xD;&#xA;&#xD;&#xA; - When these headphones are new, the plastic from the headphones make a subtle crackle sound when one moves. It's a bit disturbing for monitoring and can be heard on a quiet recording. It's not a big deal though. &#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Beyerdynamic DT770pro**&#xD;&#xA;&#xD;&#xA;My answer is the exact opposite to the others. Last year I bought myself a pair and proceeded to selling them soon after. I did give them a few months though. &#xD;&#xA;&#xD;&#xA;Subjective pros:&#xD;&#xA;&#xD;&#xA; - A solid build&#xD;&#xA;&#xD;&#xA;Subjective cons:&#xD;&#xA; &#xD;&#xA; - They felt very tight and claustrophobic, so I couldn't wear them long without going a bit coo coo. &#xD;&#xA;&#xD;&#xA; - They are quite bulky, and don't fold up.  &#xD;&#xA;&#xD;&#xA; - I would also get the sound of the cans themselves, the closest way I can describe what I mean is by comparing it to putting a sea shell by your ear to &quot;hear the sea&quot;. So if I'd move my jaw slightly, I would become hyper-aware of the headphones. &#xD;&#xA;&#xD;&#xA; - They felt a bit bassy for my liking, but that might have been biased by the fact that I was really used to my MDR-7506 headphones.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="271" PostHistoryTypeId="2" PostId="148" RevisionGUID="d028e376-0b80-436d-bb3d-649be3809cf9" CreationDate="2010-03-06T16:40:35.630" UserId="69" Text="I love Gus van Sants &quot;Gerry&quot; soundtrack for its silence. His &quot;Elephant&quot; is also a quiet one.&#xD;&#xA;Andrei Zvyagintsevs &quot;Return&quot; (&quot;Vozvrashchenie&quot;) is a great example of silence in film. &#xD;&#xA;Final scene (very dramatic)  &amp; titles are only with subtle rain. It's not silence of course, but many directors would put there very emotional music. One of the best movies I have seen." ContentLicense="CC BY-SA 2.5" />
  <row Id="272" PostHistoryTypeId="2" PostId="149" RevisionGUID="398ac1cf-fdb3-4d19-8816-fbec3b4323f6" CreationDate="2010-03-06T17:39:18.960" UserId="70" Text="I'm a home theatre fan (see my website link in my profile), but very much an amateur. When I watch a movie it is to relax and switch off.&#xD;&#xA;&#xD;&#xA;By profession I'm in IT, and find whenever I use a computer outside work, I'm always aware of UI issues or poor programming (and cringe endlessly at Movie &quot;computers&quot;).&#xD;&#xA;&#xD;&#xA;Do you find that you are listening critically when watching movies/TV for entertainment, or can you switch off when you leave the office?" ContentLicense="CC BY-SA 2.5" />
  <row Id="273" PostHistoryTypeId="1" PostId="149" RevisionGUID="398ac1cf-fdb3-4d19-8816-fbec3b4323f6" CreationDate="2010-03-06T17:39:18.960" UserId="70" Text="Do you ever switch off when watching a movie or are you always listening like a pro?" ContentLicense="CC BY-SA 2.5" />
  <row Id="274" PostHistoryTypeId="3" PostId="149" RevisionGUID="398ac1cf-fdb3-4d19-8816-fbec3b4323f6" CreationDate="2010-03-06T17:39:18.960" UserId="70" Text="&lt;movies&gt;&lt;home-theatre&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="275" PostHistoryTypeId="2" PostId="150" RevisionGUID="0a875227-f8df-4ffe-93e4-3354f417c51d" CreationDate="2010-03-06T17:46:40.987" UserId="70" Text="I'm interested in finding out the 'professional view' on audiophile equipment. Based on your professional experience, would you spend hundreds on an HDMI lead, thousands on an amp etc?" ContentLicense="CC BY-SA 2.5" />
  <row Id="276" PostHistoryTypeId="1" PostId="150" RevisionGUID="0a875227-f8df-4ffe-93e4-3354f417c51d" CreationDate="2010-03-06T17:46:40.987" UserId="70" Text="As a sound designer, do you buy 'audiophile' equipment for home use?" ContentLicense="CC BY-SA 2.5" />
  <row Id="277" PostHistoryTypeId="3" PostId="150" RevisionGUID="0a875227-f8df-4ffe-93e4-3354f417c51d" CreationDate="2010-03-06T17:46:40.987" UserId="70" Text="&lt;consumer&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="278" PostHistoryTypeId="2" PostId="151" RevisionGUID="054dfbe9-5557-45e8-ad56-61400d946f8e" CreationDate="2010-03-06T18:25:25.160" UserId="71" Text="This may not be precisely what you're looking for, but at about 35 minutes 20 seconds into Elem Klimov's 'Come and See' (Idi i smotri). A bombshell explodes close to the main character. For about 20 minutes, the sound flows in and out of the characters 'deafened' perspective.&#xD;&#xA;&#xD;&#xA;This, as I said may not be entirely what you're after, but it is a very interesting sequence and overall the film has an extremely affecting and rather disturbing implementation of the sound design, particularly POV sound.&#xD;&#xA;&#xD;&#xA;Hope this is helpful." ContentLicense="CC BY-SA 2.5" />
  <row Id="279" PostHistoryTypeId="2" PostId="152" RevisionGUID="40edbfaf-a2bc-406a-ba61-9cdf8b85079d" CreationDate="2010-03-06T18:58:42.860" UserId="40" Text="I do.&#xD;&#xA;&#xD;&#xA;I would, and do, spend a lot of money on speakers, amps, a decent television, etc...  but all within reason.  I wouldn't drop $40k on a pair of &quot;perfect speakers&quot;, even if I could afford it.  I might spend $400 on a pair of headphones, $2000 on speakers, etc...&#xD;&#xA;&#xD;&#xA;I would also never spend more than $30 or $40 on an HDMI cable. It's all 1's and 0's.  No analog signal, no EM interference.  Expensive HDMI cables are a bunch of crap.  As are $500 IEC cables for your amps. And $500 speaker cable to do a 10 foot run.&#xD;&#xA;&#xD;&#xA;I spend a lot of money on audio equipment, but there's some stuff that just isn't worth it.  A/B an amp run with a normal IEC cable vs. one of those hundred of dollars ones... you won't hear the difference.  People who do have fallen victim to their own mind thinking they hear a difference.&#xD;&#xA;&#xD;&#xA;What it all comes down to, however, is living within your means.  I'm not going to buy a pair of $5000 speakers if it means I'm going to struggle to eat or pay my bills for the next few months..." ContentLicense="CC BY-SA 2.5" />
  <row Id="280" PostHistoryTypeId="2" PostId="153" RevisionGUID="06121e9d-0319-4f8a-ba33-39a0483f4bc1" CreationDate="2010-03-06T19:01:40.267" UserId="40" Text="I find it very difficult to switch off my &quot;poor sound radar&quot;, especially when it comes to dialogue.  If I notice poor quality sound effects or something, I can usually push that to the back of my mind, but if the dialogue is off, there's bad ADR, ambience is wacky, or certain sounds are particularly bad, I can't overlook it.  It doesn't really bother me though, since I enjoy picking apart films and TV shows so I can learn from others' mistakes" ContentLicense="CC BY-SA 2.5" />
  <row Id="281" PostHistoryTypeId="2" PostId="154" RevisionGUID="16a1fa83-2f44-4a7e-aa36-34aad2164867" CreationDate="2010-03-06T19:19:02.633" UserId="40" Text="I often use both the Rode NT4 and a Sanken CSS-5.  The Rode gets the job done, but it has a slight bit of noise to it.  As Chuck and Nathan mentioned, it is heavy and you can't change the pattern, but it's a nice mic for the price.&#xD;&#xA;&#xD;&#xA;I love the Sanken.  Changeable pattern, and it'll go mono if you need it.  Sounds nice and smooth.  Again, though, it's rather large, and can be a bit bulky once you add the cable and pistol grip.  Difficult to use on a pole, although the grip comes with the mount, since it uses a 5pin XLR&#xD;&#xA;&#xD;&#xA;If I'm going to do an M/S recording, I'll often use one or both of my AKG C414s.  Sometimes I'll use one as mid and one as side, sometimes I'll just use one of them as the side and use an MKH50 as my mid.  Depends on the sound I'm looking for.  I generally will bring both so I can play with them in the field.&#xD;&#xA;&#xD;&#xA;As Chuck mentioned, it can be tricky getting long, clean ambiences.  I find it hard to stay still without making any noises (I always get an itch or something...) for more than a minute or two, so I try to get as far away from my mic setup as possible.  This is especially difficult when I'm trying to capture a particularly quiet ambience.&#xD;&#xA;&#xD;&#xA;Another thing I'm conscious of when I'm prepping to go out is which preamps I'll be using.  I find the 744T's built in preamps to be quite quiet.  I also like the Wendt X5 for quiet recordings.  Nice quiet preamps.  If I'm going to be doing loud recordings, I like the Sound Devices 302 better - I like the saturation on it a bit better for whatever reason, but I think the 302's preamps have a bit more self noise than the X5.&#xD;&#xA;&#xD;&#xA;My 2 cents..." ContentLicense="CC BY-SA 2.5" />
  <row Id="282" PostHistoryTypeId="2" PostId="155" RevisionGUID="05a83561-1e09-4f74-b940-04f3daf57cbf" CreationDate="2010-03-06T20:32:24.100" UserId="18" Text="You need a demo that shows what you are good at.  There are a lot of sound people out there an a lot of demos.  Think about what makes you different from other sound designers and present that in your demo.  Stay away from walking, knocking, breathing (unless you've found a cool new way to do Darth Vader type breaths).  Everyone will assume that you already have the skills to cover the basic stuff.  You need to show what is unique about you and what you can offer that no one else can." ContentLicense="CC BY-SA 2.5" />
  <row Id="283" PostHistoryTypeId="2" PostId="156" RevisionGUID="8d202123-58cc-436d-b967-9bf0b80c8eb6" CreationDate="2010-03-06T20:34:26.677" UserId="40" Text="I have renter's insurance (which is about $300 a year), which covers my house (which I currently rent), everything in it (up to an amount that you specify to them), and anything that is with me on trips (as long as you have the proper documentation).&#xD;&#xA;&#xD;&#xA;So, a little over a year ago, when a cab driver in NYC sped off with my gear in his trunk (a few custom mics, my portable PT rig (including my Mac Book Pro) a recorder, $500 worth of headphones, and a few other odds and ends), my insurance company (Geico at that point) paid up, and quickly.  Got an $8000 check in the mail about 3 weeks later.  The only hassle I had was getting the proper paperwork from NYPD.  The insurance company was extremely easy and surprisingly pleasant to deal with.&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;BTW, they don't cover anything that you accidentally lose or break, just stuff that's stolen from you..." ContentLicense="CC BY-SA 2.5" />
  <row Id="284" PostHistoryTypeId="2" PostId="157" RevisionGUID="5b877975-ea87-4052-bb8d-425984b9e7c1" CreationDate="2010-03-06T21:13:48.633" UserId="18" Text="If I'm watching a movie or tv show or playing a game, if it is good and sucks me in with the story, I find it hard to pay attention to the sound.  I'll notice little bits here and there, but I am more interested in enjoying good media then being a sound geek.  I'll tell people about a game or movie that I really enjoyed, people ask me how the sound was, I usually say I don't know, I was too busy enjoying the movie.&#xD;&#xA;&#xD;&#xA;If there is something bad about the sound/music/dialog, usually I'll pick up on it and it will end up distracting me and hindering my enjoyment of the movie/tv/game.&#xD;&#xA;&#xD;&#xA;If the sound is really good something will catch my ear.  Then I'll need to revisit the movie/tv/game a least a second or third time to focus on the sound.&#xD;&#xA;&#xD;&#xA;If someone was to ask me what the best sounding movie I've seen in the last year, my answer would have to be something that I've watched more then once.  I actually can't think of anything I've seen in the last year that I remember the sound in, except maybe Star Trek, because I've watched it a few times :)  Take Avatar for example.  I really enjoyed the movie (saw it in 3D) I don't remember the sound, was it good?  &#xD;&#xA;&#xD;&#xA;Remember, if we do our jobs well, no one should ever know we were there...." ContentLicense="CC BY-SA 2.5" />
  <row Id="285" PostHistoryTypeId="2" PostId="158" RevisionGUID="27d1f705-ddc9-40e9-9d63-497a41bd06c9" CreationDate="2010-03-06T21:17:11.220" UserId="2" Text="It takes a **very good** film for me to stop concentrating on the sound. By good, I don't necessarily mean a well crafted movie, but rather a gripping narrative. My attention will be stolen as much by a great piece of sound design than a bad one. My love for it makes it hard to be just an audience member. I find myself often not enjoying watching movies or listening to music because either the sound is too loud, or the quality too low, or the listening environment not right. I've gotten better lately though, forcing myself to let go a bit. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="287" PostHistoryTypeId="2" PostId="160" RevisionGUID="790be964-4dd7-4831-b931-0d31e0766c7f" CreationDate="2010-03-06T22:17:50.540" UserId="72" Text="Copland comes to mind - there's a brilliant sequence towards the end. Sylvester Stallone's character loses his hearing due to a shotgun blast next to his ear and the scene that follows puts the spectator in the same state of deafness. Very interesting. Another wonderful and more recent example would be the explosion in There Will Be Blood where Daniel Day-Lewis' child loses his hearing. &#xD;&#xA;&#xD;&#xA;There's also a French film by the name of Sur mes lèvres (Read My Lips) where the main character is almost deaf and lip-reads. This is told very eloquently through the sound design.&#xD;&#xA;&#xD;&#xA;I'd love to hear of more examples..." ContentLicense="CC BY-SA 2.5" />
  <row Id="288" PostHistoryTypeId="2" PostId="161" RevisionGUID="f831016b-49db-4c57-b85b-b4a16efa7ee2" CreationDate="2010-03-06T22:23:11.930" UserId="2" Text="I currently have a DIY M-S decoder, which is **very** noisy and the stereo image is wrong. The mid is much lower than it should and the sides are overbearing. Basically, it is impossible for me to monitor properly. &#xD;&#xA;&#xD;&#xA;I don't want to decode before going into the recorder, this is just to monitor accurately. Do you know of a good option for me? &#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="289" PostHistoryTypeId="1" PostId="161" RevisionGUID="f831016b-49db-4c57-b85b-b4a16efa7ee2" CreationDate="2010-03-06T22:23:11.930" UserId="2" Text="Looking for a good but cheap hardware mid-side decoder. " ContentLicense="CC BY-SA 2.5" />
  <row Id="290" PostHistoryTypeId="3" PostId="161" RevisionGUID="f831016b-49db-4c57-b85b-b4a16efa7ee2" CreationDate="2010-03-06T22:23:11.930" UserId="2" Text="&lt;mid-side&gt;&lt;decoder&gt;&lt;recording&gt;&lt;stereo&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="291" PostHistoryTypeId="2" PostId="162" RevisionGUID="155abd46-00c2-4d1e-8a26-154e7910959d" CreationDate="2010-03-06T22:51:26.023" UserId="2" Text="Here's an attempt to put a list together of films that are either from the POV of a deaf character or have a moment where they go deaf. &#xD;&#xA;&#xD;&#xA;**This is under Community Wiki, so feel free to add to the list!** &#xD;&#xA;&#xD;&#xA;What we have so far:&#xD;&#xA;&#xD;&#xA; 1. The Pianist&#xD;&#xA; 2. Touch The Sound&#xD;&#xA; 3. [CLOSER][1]&#xD;&#xA; 4. Come and See (Idi i smotri)&#xD;&#xA; 5. Copland&#xD;&#xA; 6. There Will Be Blood&#xD;&#xA; 7. Sur mes lèvres (Read My Lips)&#xD;&#xA; 8. Saving Private Ryan&#xD;&#xA; 9. Babel&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;  [1]: http://www.waikato.ac.nz/film/NAME/ShortReels/ShortReels_info.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="292" PostHistoryTypeId="16" PostId="162" RevisionGUID="155abd46-00c2-4d1e-8a26-154e7910959d" CreationDate="2010-03-06T22:51:26.023" UserId="2" />
  <row Id="293" PostHistoryTypeId="2" PostId="163" RevisionGUID="d90bb5ea-996e-4a49-8053-dac0812ecfbc" CreationDate="2010-03-07T00:26:16.180" UserId="40" Text="I'm usually pretty good at imagining what I want something to sound like.  I helps that I don't do a whole lot of work that require any fancy sound design, so most of my sound design so far is for my own edification.&#xD;&#xA;&#xD;&#xA;However, I'm just about to start work on a horror / ghost film, and I expect to run into a few problems. The whole &quot;sound design writer's block&quot; is sometimes hard to get by.  I've run into a few of these in the past.  I've always found a way around them, but it can be especially difficult if you're under a tight deadline.  There have been times where I've delivered a project that I wasn't pleased with because my &quot;writer's block&quot; left me scrambling for second best, only to think of the perfect solution a day or two after delivery.&#xD;&#xA;&#xD;&#xA;What do you do inspire yourself when you hit your mental blocks?  What do you do when you need a quick fix so you can hit a deadline?" ContentLicense="CC BY-SA 2.5" />
  <row Id="294" PostHistoryTypeId="1" PostId="163" RevisionGUID="d90bb5ea-996e-4a49-8053-dac0812ecfbc" CreationDate="2010-03-07T00:26:16.180" UserId="40" Text="Getting past your sound design &quot;writing blocks&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="295" PostHistoryTypeId="3" PostId="163" RevisionGUID="d90bb5ea-996e-4a49-8053-dac0812ecfbc" CreationDate="2010-03-07T00:26:16.180" UserId="40" Text="&lt;sound-design&gt;&lt;mental-health&gt;&lt;creative-inspiration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="296" PostHistoryTypeId="2" PostId="164" RevisionGUID="76496031-6b4a-452e-ab8c-de17ae81a674" CreationDate="2010-03-07T01:09:01.210" UserId="74" Text="I have a Zoom h4n. I think it is the way to go for preapmps, quality and price. It's really easy to use and you can quickly access all its features (many)in every moment. The sony is the top for the quality of mics." ContentLicense="CC BY-SA 2.5" />
  <row Id="297" PostHistoryTypeId="2" PostId="165" RevisionGUID="4b7a0d16-dee3-4805-a00d-3a7f04c6dde9" CreationDate="2010-03-07T01:40:33.313" UserId="40" Text="I know AEA used to make one, but Wes pretty much dropped all projects other than strictly Ribbon mics, but you can probably find one used somewhere for fairly not expensive...&#xD;&#xA;&#xD;&#xA;Millennia and Dangerous make expensive ones, but obviously those won't work...&#xD;&#xA;&#xD;&#xA;Most field mixers have m/s decoding built in.  I know the Wendt X5, Sound Devices 302, and PSC ProMix 6 all have it. There may be a less expensive mixer that has it built in, you might be able to find one, or something used (on Coffey Sound or Trew Audio maybe?)&#xD;&#xA;&#xD;&#xA;I haven't seen a stand alone decoder under a grand though.&#xD;&#xA;&#xD;&#xA;Alternatively, you could use a y-split XLR cable to go into 2 channels (on your side channel) and use 3 channels and decode manually.  You could either phase reverse the splitter manually or phase reverse on your inputs if your mixer supports it.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="298" PostHistoryTypeId="2" PostId="166" RevisionGUID="52df169e-ab18-4204-a71b-32ded90116e7" CreationDate="2010-03-07T02:06:24.983" UserId="29" Text="Everyone's creativity runs on different cycles, so everyone's answer might be totally different. For me, beyond the obvious (playing with fresh/new gear, plug-ins, or soundmaking objects), there are three tricks that usually help. &#xD;&#xA;&#xD;&#xA;The first is to get in tune with my own creative rhythms. I've noticed that my creativity increases under certain conditions and times of day, so I'll rejigger my schedule to best accomodate when I know I'm at my most mentally fluid; it certainly isn't the middle of the afternoon, I'll tell you that much. I'll save my afternoons for repetitive tasks, and let myself really rip, say, first thing in the morning, when I'm still groggy, can free-associate easily, and can think creatively with fewer preconceptions or distractions.&#xD;&#xA;&#xD;&#xA;The second is to get away from the problem for a while. I learned in art school to work on multiple pieces at once, and literally to turn the canvas of one piece against the wall, out of sight, while working on another. In this way, I purposefully interleave tasks, errands, and even projects so that I don't grind down on one thing for hours and hours. Taking a bike ride in the middle of the day, running an errand, or even taking a shower can give some distance from the challenge at hand. Distance = perspective = objectivity. For me, exercise almost always helps.&#xD;&#xA;&#xD;&#xA;Finally, I free associate in order to **re-frame** the problem. Sometimes this is mind-mapping, sometimes it's just lists of words. But for me, working BACKWARDS from the desired emotional outcome and working towards the solution is the best way to go. &#xD;&#xA;&#xD;&#xA;There are a variety of interesting unblocking &quot;accessories&quot; out there that some use, from Eno's &quot;Oblique Strategies&quot; to [Thinkertoys][1]. I've not used them myself, but they serve the same function of giving you some perspective and helping to re-frame the problem to facilitate fresh thinking.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Thinkpak-Michael-Michalko/dp/0898156076" ContentLicense="CC BY-SA 2.5" />
  <row Id="299" PostHistoryTypeId="2" PostId="167" RevisionGUID="15e8d2e9-e284-446c-86d1-6e89f2290ce1" CreationDate="2010-03-07T02:13:14.490" UserId="29" Text="Here here, Colin. Well said.&#xD;&#xA;&#xD;&#xA;I realize that my home is also where others need to live and inhabit, so I won't acoustically treat my living room, thus the point of diminishing returns on home audio gear starts to be reached a lot faster. I'm listening to a 5.1 mix now in my living room with an exercise bike, reflective tiles, etc. etc. ... in such an environment, really nice speakers make a huge difference, but the truly mega-expensive speakers or cables won't. Too many other variables. Most of my audio pumping through my house is encoded as MP3's, for cryin' out loud! :-)&#xD;&#xA;&#xD;&#xA;I strive for *value* above all else. Some cheap stuff is a great value, and some pricey stuff can also be a great value. Obscenely pricey stuff is often not such a great value, price:performance wise." ContentLicense="CC BY-SA 2.5" />
  <row Id="300" PostHistoryTypeId="2" PostId="168" RevisionGUID="7f5de8f9-ead0-4339-8f52-cd25123b0322" CreationDate="2010-03-07T05:18:14.797" UserId="76" Text="I wouldnt think of spending money on audiophile gear unless I had a room which was purpose constructed for monitoring." ContentLicense="CC BY-SA 2.5" />
  <row Id="301" PostHistoryTypeId="2" PostId="169" RevisionGUID="f05945e2-ffe4-4255-9367-3af2d7513879" CreationDate="2010-03-07T07:20:02.900" UserDisplayName="user49" Text="I think you should be clear before you make the reel what kind of work you are hoping to attract eg I have done a few BIG overt sounding VFX heavy films but those aren't on my show reel because it is not the kind of work I wish to spend my future doing....&#xD;&#xA;&#xD;&#xA;I've read articles online about the 'right' duration for a show reel, but it totally depends on what your skill is &amp; what you wish to demonstrate. For example think how different your show reel would be if you were pitching to sound design a dialogue driven art film vs pitching to be weapons designer on Star Wars XYZ...&#xD;&#xA;&#xD;&#xA;In both cases if the video has great production values &amp; your sound contributes to the drama, story telling &amp; action, then they should reflect well... But its up to you to know what it is you are aiming to present to a future director, producer, employer etc... &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="302" PostHistoryTypeId="2" PostId="170" RevisionGUID="d55ff08d-0a4c-4205-a845-16c6a827f896" CreationDate="2010-03-07T07:26:54.553" UserDisplayName="user49" Text="I suspect there is an 'artists delusion' that says inspiration strikes and then you work. I personally find the opposite - if you don't feel inspired choose the most banal aspect to work on and do it. By the time you have finished it inspiration will appear!&#xD;&#xA;Theres a great Laurie Anderson quote:&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicofsound.co.nz/zimages/sndadvice002.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="303" PostHistoryTypeId="2" PostId="171" RevisionGUID="d32a0442-c7d1-4a25-949e-afedec0478db" CreationDate="2010-03-07T14:31:24.403" UserId="2" Text="Check out[Sound Design Strategies][1]. It's based on brian Eno's Oblique Strategies. Who knows, it might just work. &#xD;&#xA;&#xD;&#xA;A good blog on this kind of stuff is [The 99%][2]. It's by the guys from [Behance][3]&#xD;&#xA;&#xD;&#xA;&gt; The 99% provides insights on productivity, organization, and leadership -- all designed to help creative people take action and push their ideas forward.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/03/web-based-tool-for-creative-sound-design-ideas-inspired-by-brian-enos-oblique-strategies/&#xD;&#xA;  [2]: http://the99percent.com/&#xD;&#xA;  [3]: http://www.behance.net" ContentLicense="CC BY-SA 2.5" />
  <row Id="304" PostHistoryTypeId="2" PostId="172" RevisionGUID="5a426338-806f-4dbb-84f8-19af854d2c86" CreationDate="2010-03-07T14:47:00.490" UserId="2" Text="For a movie I'm working on, I need some small rugby crowd ambiences. So I went to a pub to record some, but the TV was up a bit too present. It's non-distinct, but audible nonetheless.&#xD;&#xA;&#xD;&#xA;My question is whether sport on TV (so a presenter, some crowds and some names of players and teams) is okay to record or are there legal implications?    &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 2.5" />
  <row Id="305" PostHistoryTypeId="1" PostId="172" RevisionGUID="5a426338-806f-4dbb-84f8-19af854d2c86" CreationDate="2010-03-07T14:47:00.490" UserId="2" Text="Legalities of sport TV in background? " ContentLicense="CC BY-SA 2.5" />
  <row Id="306" PostHistoryTypeId="3" PostId="172" RevisionGUID="5a426338-806f-4dbb-84f8-19af854d2c86" CreationDate="2010-03-07T14:47:00.490" UserId="2" Text="&lt;copyright&gt;&lt;background&gt;&lt;ambience&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="307" PostHistoryTypeId="5" PostId="162" RevisionGUID="0d98936a-71f1-4230-9f5d-9cd471d92fb9" CreationDate="2010-03-07T19:29:10.950" UserId="2" Comment="added 32 characters in body" Text="Here's an attempt to put a list together of films that are either from the POV of a deaf character or have a moment where they go deaf. &#xD;&#xA;&#xD;&#xA;**This is under Community Wiki, so feel free to add to the list!** &#xD;&#xA;&#xD;&#xA;What we have so far:&#xD;&#xA;&#xD;&#xA; 1. The Pianist&#xD;&#xA; 2. Touch The Sound&#xD;&#xA; 3. [CLOSER][1]&#xD;&#xA; 4. Come and See (Idi i smotri)&#xD;&#xA; 5. Copland&#xD;&#xA; 6. There Will Be Blood&#xD;&#xA; 7. Sur Mes Lèvres (Read My Lips)&#xD;&#xA; 8. Saving Private Ryan&#xD;&#xA; 9. Babel&#xD;&#xA; 10. It's All Gone Pete Tong&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;  [1]: http://www.waikato.ac.nz/film/NAME/ShortReels/ShortReels_info.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="308" PostHistoryTypeId="2" PostId="173" RevisionGUID="15577799-9cc8-4773-a4e0-6fafe8e65e06" CreationDate="2010-03-07T20:58:28.863" UserId="77" Text="There's a really good article by Kyle Vande Slunt over at http://audiocookbook.org. In it, he provides a list of 12 guidelines for creating a sound design demo reel. Here's the link:&#xD;&#xA;&#xD;&#xA;http://audiocookbook.org/sound_design/guidelines-for-making-a-sound-design-demo-reel/" ContentLicense="CC BY-SA 2.5" />
  <row Id="309" PostHistoryTypeId="2" PostId="174" RevisionGUID="86151f0f-0de8-4f12-8a9b-c73232030936" CreationDate="2010-03-07T21:16:26.443" UserId="77" Text="I produced, edited and mixed the first Keston and Westdal album on a $400 JVC shelf system. Mind you, I did a lot of comparisons to other music using that system. Although it was cheap and not intended for professional use, it had a &quot;direct&quot; button that I could use to turn off all the crappy DSP built into the the unit. I also listened carefully to the mixes in other environments. Finally, I had it professionally mastered by Tom Garneau of Audioactive. Although I wouldn't think of using it to mix now, at the time it's what I could afford and the record was a success never-the-less." ContentLicense="CC BY-SA 2.5" />
  <row Id="310" PostHistoryTypeId="2" PostId="175" RevisionGUID="c661646c-50e0-4da6-b1e7-fba89e44e492" CreationDate="2010-03-07T22:11:02.803" UserId="78" Text="Leafcutter John (who has a great blog btw) went through it a year or so ago and did a great job of not only blogging it, but engineering his emergence from the doldrums by kicking off some projects via the blog as well.&#xD;&#xA;&#xD;&#xA;See &quot;I thought you used to be a musician once?&quot;&#xD;&#xA;http://leafcutterjohn.com/?p=598&#xD;&#xA;&#xD;&#xA;and &quot;Goodbye Curse of Greatness&quot;&#xD;&#xA;http://leafcutterjohn.com/?p=612&#xD;&#xA;&#xD;&#xA;The 99% looks good, cheers Andrew!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="311" PostHistoryTypeId="2" PostId="176" RevisionGUID="e4ad6247-b590-4c55-9801-531bc584500b" CreationDate="2010-03-07T23:31:23.847" UserId="37" Text="The audiophiles I've got to know all care about gear that sounds musical (often at the cost of looking weird) to their ears. The sound people that I know all care about equipment being truthful, reliable, and razor-sharp, if not sterile, in terms of quality (sometimes gear that audiophiles smirk at). To me this looks like two different groups of people who therefore want different things. &#xD;&#xA;&#xD;&#xA;anyone who'd spend hundreds on a HDMI lead ought to read [this page][1], if not for the outcome, at least for how funny the idea sounds. &#xD;&#xA;&#xD;&#xA;myself, I prefer gear that I know to gear that costs a ton, any day.  &#xD;&#xA;as for home, if I'm the only one who can operate it, it's the wrong piece of equipment.  &#xD;&#xA;oh and don't get me started on the looks of these things....&#xD;&#xA;&#xD;&#xA;  [1]: http://consumerist.com/2008/03/do-coat-hangers-sound-as-good-monster-cables.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="312" PostHistoryTypeId="2" PostId="177" RevisionGUID="6242ef52-ea65-4932-ba39-2fecb3108cff" CreationDate="2010-03-08T00:26:04.917" UserId="18" Text="At least in the US (probably the same everywhere), you can't use it unless you can obtain permission from broadcaster who owns the rights, which you probably will not be able to do without some sort of contract and payment to the rights holder." ContentLicense="CC BY-SA 2.5" />
  <row Id="316" PostHistoryTypeId="2" PostId="179" RevisionGUID="e6f1911b-4238-4e09-ba4d-f50558099f8f" CreationDate="2010-03-08T09:56:09.660" UserDisplayName="user80" Text="1.) What are some of your favourite sounds?&#xD;&#xA;&#xD;&#xA;Rain, gentle waves at seashore, wife and cat breathing when sleeping&#xD;&#xA;&#xD;&#xA;2.) What are some sounds that you relate strongly with memories of your childhood?&#xD;&#xA;&#xD;&#xA;Funfair, children at swimming pool (splashing, running, shouting)&#xD;&#xA;&#xD;&#xA;3.) What are some sounds that, in your opinion, are strongly evocative of the city/town that you are currently living in?&#xD;&#xA;&#xD;&#xA;one o'clock gun, bagpipes, wind&#xD;&#xA;&#xD;&#xA;4.) What are some sounds that you can hear right now as you read this text?&#xD;&#xA;&#xD;&#xA;Typing, computer fan distant traffic, breathing, chair creaks" ContentLicense="CC BY-SA 2.5" />
  <row Id="317" PostHistoryTypeId="2" PostId="180" RevisionGUID="846726cd-092c-4e33-ad6d-21cd35a655d0" CreationDate="2010-03-08T10:01:19.583" UserId="79" Text="There is also an explosion in &quot;The Pianist&quot;, after which Aidren Brody's character suffers temporary hearing shift, achieved startlingly well through sound design.&#xD;&#xA;There was also a recnet Australian film called &quot;Noise&quot; (written and directed by Mathew Saville if you go looking for it), in which the main character is a policeman suffering from increasingly bad tinnitus. The sound design is by Emma Bortignon, and it really makes the film special!" ContentLicense="CC BY-SA 2.5" />
  <row Id="318" PostHistoryTypeId="5" PostId="162" RevisionGUID="0e14aba6-4a71-4fd4-bc14-18451d513754" CreationDate="2010-03-08T10:03:31.327" UserId="2" Comment="added 30 characters in body" Text="Here's an attempt to put a list together of films that are either from the POV of a deaf character or have a moment where they go deaf. &#xD;&#xA;&#xD;&#xA;**This is under Community Wiki, so feel free to add to the list!** &#xD;&#xA;&#xD;&#xA;What we have so far:&#xD;&#xA;&#xD;&#xA; 1. The Pianist&#xD;&#xA; 2. Touch The Sound&#xD;&#xA; 3. [CLOSER][1]&#xD;&#xA; 4. Come and See (Idi i smotri)&#xD;&#xA; 5. Copland&#xD;&#xA; 6. There Will Be Blood&#xD;&#xA; 7. Sur Mes Lèvres (Read My Lips)&#xD;&#xA; 8. Saving Private Ryan&#xD;&#xA; 9. Babel&#xD;&#xA; 10. It's All Gone Pete Tong&#xD;&#xA; 11. Noise (by Mathew Saville)&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;  [1]: http://www.waikato.ac.nz/film/NAME/ShortReels/ShortReels_info.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="319" PostHistoryTypeId="2" PostId="181" RevisionGUID="19890a1a-71f4-43d9-8b88-8995cd85b2cc" CreationDate="2010-03-08T10:16:19.097" UserDisplayName="user80" Text="Children of a Lesser God is a good place to start.&#xD;&#xA;&#xD;&#xA;Evelyn Glennie has given some really interesting interviews and talks about her deafness and how she listens using her body.  Her TED talk starts referring to this at about 08:00.  &#xD;&#xA;&#xD;&#xA;http://www.ted.com/talks/evelyn_glennie_shows_how_to_listen.html&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="320" PostHistoryTypeId="2" PostId="182" RevisionGUID="9f51df65-4d00-4f01-a212-9a75de5a2fc9" CreationDate="2010-03-08T10:41:40.697" UserDisplayName="user80" Text="I am afraid that it is the same in the UK, you can not include any broadcast content without it being licensed.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="322" PostHistoryTypeId="2" PostId="184" RevisionGUID="ade44c5f-dbc8-4ce1-baa9-f4446471d281" CreationDate="2010-03-08T12:38:51.403" UserId="81" Text="A few suggestions from me;&#xD;&#xA;&#xD;&#xA;**Keep it short:** Try to make it shorter than 1 minute. People will not want to go through a 5 minute demo reel so probably they will end up with fast forwarding in which they can miss your best parts.&#xD;&#xA;&#xD;&#xA;**Emphasize your strengths:**  Do not include everything you have done. Include your best works and the ones that showcases your unique skills. You have to give the audience a reason to choose you.&#xD;&#xA;&#xD;&#xA;**Have sub-reels:** One demo reel can never cover everything. Have one main reel and have sub-reels such as &quot;Motion Graphics Sound Design Reel&quot;, &quot;Game Sound Design Reel&quot; etc. Use them whenever you are communicating with the people of that area." ContentLicense="CC BY-SA 2.5" />
  <row Id="323" PostHistoryTypeId="2" PostId="185" RevisionGUID="ce7b983a-5ab4-473a-92cd-4c9d614efba1" CreationDate="2010-03-08T13:28:00.023" UserId="82" Text="Tim Prebble alluded to this above but I wanted to emphasize it.  I have tried to use the Zoom H2 to record very loud sounds (racecars... IndyCar, F1, Dragsters, etc.) and have found that it's not up to the task.  The reason is that it does not have an analog limiter.  Any limiting is done after A/D conversion and is therefore fairly useless.  The solution, as Tim mentioned, would be to pad the source before it even got to the H2.&#xD;&#xA;&#xD;&#xA;I'm not sure what the recorder market is like now, but two years ago I found that I would have to spend quite a bit more money to get a recorder with a true analog limiter built in (which I did... I went with a Marantz PMD620)." ContentLicense="CC BY-SA 2.5" />
  <row Id="324" PostHistoryTypeId="2" PostId="186" RevisionGUID="da0beffa-b4ef-457d-8fdd-1f4ab40afb73" CreationDate="2010-03-08T15:24:48.517" UserId="54" Text="I'm curious to what peoples opinions are on using Ableton software for professional sound design. I'm a budding sound designer and I want to let my imagination go wild with creating and designing sounds - using any techniques that work.&#xD;&#xA;&#xD;&#xA;But I'm also conscious that I would eventually like to do this as a full time job and I wouldn't want to waste my time too much using techniques or software that wouldn't be relavant to me in the long run.&#xD;&#xA;&#xD;&#xA;I'm a big fan of Ableton software, as well as Native Instruments. I use these for all my sound stuff, as well as using Logic Pro. I want to throw myself into using Max For Live (the Cycling '74 Max environment inside Ableton Live) for true control over sound. &#xD;&#xA;&#xD;&#xA;...but ultimately would I be wasting my time? I hear big talk on sound design with Kyma and Soundminer and MetaSynth etc. But surely it doesn't necessarily matter how you get the eventual sounds? Surely getting the job done is the most important thing in a professional environment?" ContentLicense="CC BY-SA 2.5" />
  <row Id="325" PostHistoryTypeId="1" PostId="186" RevisionGUID="da0beffa-b4ef-457d-8fdd-1f4ab40afb73" CreationDate="2010-03-08T15:24:48.517" UserId="54" Text="Would Ableton/NI/Max For Live be considered as professional choices for sound design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="326" PostHistoryTypeId="3" PostId="186" RevisionGUID="da0beffa-b4ef-457d-8fdd-1f4ab40afb73" CreationDate="2010-03-08T15:24:48.517" UserId="54" Text="&lt;ableton-live&gt;&lt;max-msp&gt;&lt;sound-design&gt;&lt;tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="327" PostHistoryTypeId="2" PostId="187" RevisionGUID="8ff99390-c530-48a4-a6fa-7850ea519577" CreationDate="2010-03-08T15:52:55.193" UserId="77" Text="I'd suggest learning all that you can. Max is a vast integrated development environment, difficult to learn, but rewarding once you realize the potential. I do think it's important to be well versed in a professional DAW like Pro Tools and Logic, but I agree that it's the end result not how you got there; whether it's jumping on a ripe melon in combat boots, or writing a Max patch to generate waveforms using probabilistic modeling. So, in my view, you are not wasting your time with Ableton, NI, or Max. The more you work with the easier it is to pick up and go with unfamiliar platforms. " ContentLicense="CC BY-SA 2.5" />
  <row Id="328" PostHistoryTypeId="2" PostId="188" RevisionGUID="d520b178-bc1d-4585-8357-9118701a3f4b" CreationDate="2010-03-08T15:58:06.017" UserId="29" Text="I think that if you create brilliant work that can be brought into ProTools - truly (in some cases, I'd argue sadly) the industry standard tool for digital pro audio - it doesn't matter what your tools are. The real question is: Can you make people feel something in a .wav or .aif file? Some can do so with field recording and minimal processing, while others do so wholly within the computer. It's hard to argue with killer results, regardless of the tools used. For what it's worth, I agree with John, above: No one tool will do it all, and the broader your tool and technology knowledge is, the better.&#xD;&#xA;&#xD;&#xA;Tools can always be learned. In my opinion, good creative instincts and study of the medium are where the real differences, and the real learning challenges, lie. " ContentLicense="CC BY-SA 2.5" />
  <row Id="329" PostHistoryTypeId="2" PostId="189" RevisionGUID="f3c24c09-fc98-48f4-af4b-428de89305b1" CreationDate="2010-03-08T15:58:21.083" UserId="84" Text="I totally agree.  IMO, if it makes a sound, it's useful for sound design." ContentLicense="CC BY-SA 2.5" />
  <row Id="330" PostHistoryTypeId="2" PostId="190" RevisionGUID="71f04ab1-cd17-4c8f-a6f7-8f995238e089" CreationDate="2010-03-08T16:00:16.777" UserId="29" Text="Agreed with above, but it sounds like a great reason to ply a bunch of friends with some foamy libations and record rugby walla, probably also doing a separate semi-ADR session with someone doing the play-by-play. I'd volunteer my voice and liver if I lived closer to ya. :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="331" PostHistoryTypeId="2" PostId="191" RevisionGUID="3cf4800c-8017-40b1-83e8-e95393cf965d" CreationDate="2010-03-08T16:04:58.453" UserId="64" Text="I'm using a lot ableton and native instruments software (specialy Reaktor and Massive) but I think ableton need more features for the editing of sound, shortcuts, organisations of soundfx to be a good software for the sounddesign.&#xD;&#xA;You can use it as rewire software and record your sounds in Protools, that's what I'm doing. &#xD;&#xA;For me the best is to use a software for editing like Nuendo, Protools and discover other softwares and effects when you have time.&#xD;&#xA;&#xD;&#xA;PS; For Max, Reaktor, Kyma... They are good softwares but to learn properly who to create instruments and effects, you need to be unemployed or insomniac... :D&#xD;&#xA;&#xD;&#xA;Sorry for my english" ContentLicense="CC BY-SA 2.5" />
  <row Id="332" PostHistoryTypeId="2" PostId="192" RevisionGUID="b3e63983-5952-4011-a9e7-92aaf86aac62" CreationDate="2010-03-08T16:10:54.977" UserId="2" Text="It's a cliche, but nothing is a waste of time. The principles are the same. And the more tools you get to know and the more you experiment, the better. There is a difference between being an operator, where knowing how to operate your system quickly is very important, and being a sound designer where the outcome is what matters. That said, it's really good to know a few tools really well than have a ton that you only ever scratch the surface of. &#xD;&#xA;&#xD;&#xA;Ableton can be great for churning out stuff quickly, but I can often pick out a track made with it. The effects tend to sound quite distinct (because they are really nice and they are often used). But if you are using it as a place to record your sound design, such as building effects using Max/MSP or VST plugins, there is no reason why it's not as legitimate as &quot;industry standards&quot;. I just had to design a mosquito sound for a movie, and I built the basic mosquito sound using synthesis in Max/MSP and recorded it in Ableton Live (with Max for Live). I then brought it into Nuendo to automate some plugins, edit and mix to picture. &#xD;&#xA;&#xD;&#xA;I think learning a DAW (Pro Tools, Nuendo, Logic...) really well is super important! Whatever toys you use to design your sound should finish off in a DAW. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="334" PostHistoryTypeId="2" PostId="194" RevisionGUID="531ae10c-62f3-403c-bba5-21483f192365" CreationDate="2010-03-08T18:24:19.670" UserId="30" Text="Unless the sound is somehow annoying, I get drawn in and am a complete punter if the movie is good.   In fact, I sometimes think if I don't notice the sound, it's because it was well done." ContentLicense="CC BY-SA 2.5" />
  <row Id="335" PostHistoryTypeId="2" PostId="195" RevisionGUID="db47ee28-e503-47d1-8264-c15bc1ca1fd7" CreationDate="2010-03-08T18:29:10.627" UserId="30" Text="I second the &quot;decode manually&quot; suggestion.  It's not complicated, and you'll have full control over the image. &#xD;&#xA;&#xD;&#xA;If you don't know how to do that, there's a little article about it here:&#xD;&#xA;http://www.wikirecording.org/Mid-Side_Microphone_Technique&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="336" PostHistoryTypeId="2" PostId="196" RevisionGUID="362bded0-e811-42c1-b665-2feeb1b55656" CreationDate="2010-03-08T19:38:09.583" UserDisplayName="user49" Text="What do you mean by the term 'sound design'?&#xD;&#xA;&#xD;&#xA;If you mean film sound design then ableton LIVE isn't the best program for editing sound to picture... Anything can be used for making sounds, but for editing sound to picture you need software that has post production features, which ableton LIVE currently lacks" ContentLicense="CC BY-SA 2.5" />
  <row Id="337" PostHistoryTypeId="2" PostId="197" RevisionGUID="5b06eab4-6c37-448e-92d8-54be29cdea1e" CreationDate="2010-03-08T19:53:08.197" UserId="54" Text="Hello.&#xD;&#xA;&#xD;&#xA;I'm curious to where I can find good visual source material to practice sound design on and maybe get a sound reel out of it to show off later?&#xD;&#xA;&#xD;&#xA;Currently I have composed music to an image. I've done a few sound reels which are purely audio and are just me doing random sounds that I've made from scratch... &#xD;&#xA;&#xD;&#xA;...I've looked at sites such as [GameTrailers.com][1] which is good for some things, but not ideal. I've also just purchased the films [Baraka / Chronos][2] and [Koyaanisqatsi / Powaqqatsi][3] as I remember seeing these a while back and thought they'd be good to do sound too...&#xD;&#xA;&#xD;&#xA;But I'm curious to know if there is any other visual sources that are easily obtainable to practice sound design. I need 'projects' to work on to be most productive.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gametrailers.com/&#xD;&#xA;  [2]: http://www.amazon.co.uk/Baraka-Chronos-Boxset-DVD-Fricke/dp/B000U51ZHC/ref=sr_1_3?ie=UTF8&amp;s=dvd&amp;qid=1268077922&amp;sr=1-3&#xD;&#xA;  [3]: http://www.amazon.co.uk/Koyaanisqatsi-Powaqqatsi-DVD-Ted-Koppel/dp/B00007DWRI/ref=sr_1_4?ie=UTF8&amp;s=dvd&amp;qid=1268077888&amp;sr=8-4" ContentLicense="CC BY-SA 2.5" />
  <row Id="338" PostHistoryTypeId="1" PostId="197" RevisionGUID="5b06eab4-6c37-448e-92d8-54be29cdea1e" CreationDate="2010-03-08T19:53:08.197" UserId="54" Text="Good visual source material to practice sound design on?" ContentLicense="CC BY-SA 2.5" />
  <row Id="339" PostHistoryTypeId="3" PostId="197" RevisionGUID="5b06eab4-6c37-448e-92d8-54be29cdea1e" CreationDate="2010-03-08T19:53:08.197" UserId="54" Text="&lt;resources&gt;&lt;visuals&gt;&lt;practice&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="340" PostHistoryTypeId="2" PostId="198" RevisionGUID="ef1f5e48-c5c1-4268-929a-e71a9119b3c2" CreationDate="2010-03-08T20:20:11.870" UserId="2" Text="For a narrative context (I guess I mean film), you could look on an archive website such as www.archive.org, especialy [their open source movies][1] . Also, there must be some  websites or forums where animators or filmmakers need sound design done. You could also approach some film schools in your area or online, and offer your services as a sound designer. There are always more productions being made then sound designers available (we're like hot bread in film school). I know lots of people use existing movies to do sound to and then put them on their real. Check out this video, where [Csaba][2] did just that, it got lots of attention:&#xD;&#xA;&#xD;&#xA;[youtube]NwvjAzh6CiI[/youtube]&#xD;&#xA;&#xD;&#xA;For non-narrative sound design (as in designing sounds), I'm sure you could use some of the awesome slow-motion footage going around. I've been wanting to do that forever now, but never did... Blastwave FX just had a competition using some slow-mo. &#xD;&#xA;&#xD;&#xA;[youtube]lsR9tQLgq14[/youtube]&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.archive.org/details/opensource_movies&#xD;&#xA;  [2]: http://www.csabawagner.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="341" PostHistoryTypeId="2" PostId="199" RevisionGUID="84e107a1-4e70-4d41-85a3-4b8f4450a64e" CreationDate="2010-03-08T21:49:24.937" UserId="10" Text="In game trailers and gameplay stuff you also can find a lot of material. On gameplays you'll practice more the sound effects creation, and in a trailer/cinematic/animation you could practice also the storytelling and deal with sound in a story or sequence.&#xD;&#xA;&#xD;&#xA;You could find animations from schools portfolios or channels in Vimeo with a lot of content of animations. Just download them and practice with it. If you can rip an animation or film from a DVD and re-design the sound, is great too.&#xD;&#xA;&#xD;&#xA;Film trailers could be good too. They have a lot of cuts and you could practice that kind of &quot;progression&quot;. Another way to practice sound (in a conceptual way) would be on sites such as http://videohive.net and make sound to transitions, motion graphics, tittles, etc.&#xD;&#xA;&#xD;&#xA;Think also to TV commercials, TV shows and series, etc. That could help you to re-design different types of visual sources and styles. Think about what kind of sound or story you want to deal with.&#xD;&#xA;&#xD;&#xA;Always try to give your unique factor on each re-design, and don't listen to the material if it's possible. That would help to have a clean view about the sound you're gonna do and don't be influenced by the original work.&#xD;&#xA;&#xD;&#xA;Finally... If you want to show your work, make sure you haven't legal problems for showing it, and if the material have any rights, remember to give credit to the original creators." ContentLicense="CC BY-SA 2.5" />
  <row Id="342" PostHistoryTypeId="2" PostId="200" RevisionGUID="f35cb947-3fa4-432b-a7f9-2d0c3287c989" CreationDate="2010-03-08T21:56:12.207" UserId="2" Text="There are so many great books on sound design. I'm interested in hearing about a book that has been your faithful companion. You can pick one per discipline you're involved in. &#xD;&#xA;&#xD;&#xA;My selection is:&#xD;&#xA;&#xD;&#xA;**sound design for film**: *[Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema][1]* by David Sonnenschein. &#xD;&#xA;&#xD;&#xA;Yes, the one from the SSD competition. &#xD;&#xA;This was one of the first books on sound design I've ever read. It gave me a way of thinking about sound design for film, which still serves me to this day. Fantastic!&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**procedural audio**:&#xD;&#xA;*[Designing Sound][3]* by Andy farnell. &#xD;&#xA;&#xD;&#xA;This book is amazing! If you're into synthesis, physics, procedural audio, or PD and Max/MSP type programming languages, I really recommend it! It is truly ground breaking. The way he uses physics to break down each sound makes for a really great read (gotta be into this kind of stuff though, as it can get pretty heavy).  &#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;**theory of computer sound/music**:&#xD;&#xA;*[The Computer Music Tutorial][5]* by Curtis Roads.&#xD;&#xA;&#xD;&#xA;This is a seriously fat book that covers everything you could dream of about &quot;computer music&quot; (and thus sound). Maybe you want to know the theory behind granular synthesis so you can build one, or you're just curious to know how a convolution reverb works, this book will give you **all** the theory and math you'd need. I only recently purchased this, and I'm super happy to have it in my library. It is quite an old book, but the theories still apply. It is so in depth that even if I studied it for the rest of my life, I'd probably only absorb %10 of it.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][7]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Miguel from the great blog Designing Sound, put together a list of [essential sound design books][6], in case you're interested in checking out more...  &#xD;&#xA;&#xD;&#xA;**What have been your most influential sound design books?** &#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Sound-Design-Expressive-Effects-Cinema/dp/0941188264&#xD;&#xA;  [2]: http://filmsound.org/bibliography/sounddesignbook-small.jpg&#xD;&#xA;  [3]: http://aspress.co.uk/ds/index.html&#xD;&#xA;  [4]: http://www.filmsound.org/designingsounds.jpg&#xD;&#xA;  [5]: http://www.amazon.com/Computer-Music-Tutorial-Curtis-Roads/dp/0262680823&#xD;&#xA;  [6]: http://designingsound.org/2009/06/sound-design-essentials-books/&#xD;&#xA;  [7]: http://www.fileformat.info/resource/book/0262680823/fullscreen_s.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="343" PostHistoryTypeId="1" PostId="200" RevisionGUID="f35cb947-3fa4-432b-a7f9-2d0c3287c989" CreationDate="2010-03-08T21:56:12.207" UserId="2" Text="What sound design books have influenced you the most? " ContentLicense="CC BY-SA 2.5" />
  <row Id="344" PostHistoryTypeId="3" PostId="200" RevisionGUID="f35cb947-3fa4-432b-a7f9-2d0c3287c989" CreationDate="2010-03-08T21:56:12.207" UserId="2" Text="&lt;sound-design&gt;&lt;books&gt;&lt;theory&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="345" PostHistoryTypeId="2" PostId="201" RevisionGUID="175ac50c-a3a6-4ad9-987a-dfbb397a79fe" CreationDate="2010-03-08T22:15:07.130" UserId="28" Text="My mind went straight to Archive.org, as Andrew already mentioned. But there was a specific Public Domain collection; I had to dig in my memory and bookmarks to find it.&#xD;&#xA;&#xD;&#xA;Check out the [Prelinger Archives][1]. There is so much ridiculous footage here.  You don't have to look far to find ridiculously dated, but captivating footage.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.archive.org/details/prelinger" ContentLicense="CC BY-SA 2.5" />
  <row Id="346" PostHistoryTypeId="2" PostId="202" RevisionGUID="979218ad-309c-4cc6-a06f-af3f10554cbb" CreationDate="2010-03-08T23:08:31.633" UserId="10" Text="My favorites:&#xD;&#xA;&#xD;&#xA;**[Soundscape][1]** by Larry Sider&#xD;&#xA;&#xD;&#xA;**[Sound-On-Film][2]** by Vincent LoBrutto&#xD;&#xA;&#xD;&#xA;**[Audio-Vision][3]** by Michel Chion, Claudia Gorbman and Walter Murch&#xD;&#xA;&#xD;&#xA;**[Sound Design][4]** by David Sonnenschein&#xD;&#xA;&#xD;&#xA;**[The Complete Guide to Game Audio][5]** by Aaron Marks&#xD;&#xA;&#xD;&#xA;Also recomend:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2009/06/sound-design-essentials-books/&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/02/sound-design-essentials-6-recommended-books-and-11-google-books-links/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Soundscape-Larry-Sider/dp/1903364590/ref=sr_1_3?ie=UTF8&amp;s=books&amp;qid=1266418926&amp;sr=1-3&#xD;&#xA;  [2]: http://www.amazon.com/Sound-Film-Interviews-Creators-Sound/dp/0275944433/ref=pd_sim_b_4&#xD;&#xA;  [3]: http://www.amazon.com/Audio-Vision-Michel-Chion/dp/0231078994/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1245777761&amp;sr=1-1&#xD;&#xA;  [4]: http://www.amazon.com/Sound-Design-Expressive-Effects-Cinema/dp/0941188264/ref=pd_sim_b_12&#xD;&#xA;  [5]: http://www.amazon.com/Complete-Guide-Game-Audio-Second/dp/0240810740/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1245777130&amp;sr=1-1" ContentLicense="CC BY-SA 2.5" />
  <row Id="347" PostHistoryTypeId="2" PostId="203" RevisionGUID="cb502d6e-efdb-43c6-a8dc-61f8193b1911" CreationDate="2010-03-08T23:26:10.247" UserId="88" Text="By default, I watch movies like most anyone else does -- get immersed in the story, subconsciously appreciate the component aspects like cinematography, editing, sound design, etc.  If **any** part of the movie is particularly bad (writing, acting, camera work, any aspect of the soundtrack), causing me to fall out of the story and back into the theater seat (or couch), there's a chance that I'll start scrutinizing the components that make up the film, including sound.  If the film is excellent all around, I may consciously appreciate some component of it for a moment or two before getting back into the story.  &#xD;&#xA;&#xD;&#xA;On good films like those, if the element that grabbed my attention is a great sound moment, I always watch the film again later to do nothing **but** scrutinize the sound.  I did this most recently with Avatar to the tune of yet another $18 3D IMAX ticket -- ouch.  (Chuck, yes, the sound was good - I loved the mix and there was plenty of killer FX work.)&#xD;&#xA;&#xD;&#xA;If the movie is just horrendously awful, I'll try to make the best of it by turning it into a listening exercise and scrutinize every last iota of sound work that I can.&#xD;&#xA;&#xD;&#xA;I find it harder to stay in &quot;story mode&quot; when gaming - possibly because I have to listen critically while gaming day in, day out at work.  Habit, I guess." ContentLicense="CC BY-SA 2.5" />
  <row Id="348" PostHistoryTypeId="2" PostId="204" RevisionGUID="faa0b084-320b-49b8-b1ae-6f3181b2b63f" CreationDate="2010-03-08T23:47:42.730" UserId="18" Text="The Practical Art of Motion Picture Sound by David Yewdall&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/Practical-Motion-Picture-Sound-Third/dp/0240808657/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1268092001&amp;sr=8-1" ContentLicense="CC BY-SA 2.5" />
  <row Id="349" PostHistoryTypeId="2" PostId="205" RevisionGUID="1cec0957-686e-48c7-93a1-135750c2f331" CreationDate="2010-03-08T23:51:28.947" UserId="89" Text="Just adding my 5 cents, I believe it's quite clear learning the softwares you mentioned it's really worth it, so I'll jump on to another aspect of your question. Two things are really important, and you should bear that in mind when choosing your tools:&#xD;&#xA;&#xD;&#xA;- keep your production chain streamlined, that will save you lots of time - your most precious asset right behind your ears and your brain. Playing around with different software will help to show you who works better with whom, just make sure it all fits together in the end (or preferrably, at the beginning of every new job).&#xD;&#xA;&#xD;&#xA;- know your sounds. having 400 different rain sounds under your belt makes no difference if you don't know how they sound in comparsion to each other. Think of it as &quot;streamlined soundbanks&quot;." ContentLicense="CC BY-SA 2.5" />
  <row Id="350" PostHistoryTypeId="2" PostId="206" RevisionGUID="943d7a8f-ad56-46ea-81af-85098cae02be" CreationDate="2010-03-09T01:20:28.647" UserId="63" Text="From my experience with MAX, well its awesome for some kind of things but awfull for some others... mr.Benoit above said that you have to be insomniac or unemployed to learn MAX. TRUE. its basicly a programing language more than software. &#xD;&#xA;&#xD;&#xA;But! its a very powerfull tool to make some effects for you that you can control real time. with MIDI code you can play with anything in the program and control everything (PAN/POT in 5.1 for example), or make your own sampler that responds to whatever you want it to respond... Anyways MAX/MSP is practicly infinite, you can do whatever you want from amateur to pro stuff, i suggest you start from the tutorials of the program and from cycling74 site that has some very interesting ideas in the form of user contributed patches other people share online (free of course). &#xD;&#xA;&#xD;&#xA;http://www.cycling74.com/share.html &#xD;&#xA;&#xD;&#xA;http://cycling74.com/category/projects/ (check this also for some really crazy stuff...)&#xD;&#xA;&#xD;&#xA;also check this really usefull site if you want to go deep in MAX, it has all of the externals for max (i think) and with externals i usualy go creative :) &#xD;&#xA;&#xD;&#xA;ps. i would suggest that if you want to learn this kind of programming though go for PD (pure data) thats like a max lite... and free :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="351" PostHistoryTypeId="2" PostId="207" RevisionGUID="2d186c4e-be90-41c4-94d1-edf98f19cd9c" CreationDate="2010-03-09T03:05:25.190" UserId="90" Text="([Copied from BPM StackExchange][1])&#xD;&#xA;&#xD;&#xA;I assume that buying CDs at shows or from the artist's own record label website directly would be the best way.  True, or not?&#xD;&#xA;&#xD;&#xA;What's the second best way?&#xD;&#xA;&#xD;&#xA;For instance, how much money do artists get when you buy mp3s on iTunes or Amazon.com?&#xD;&#xA;&#xD;&#xA;Is it true that musicians make most of their money from selling merchandise?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://bpm.stackexchange.com/questions/34" ContentLicense="CC BY-SA 2.5" />
  <row Id="352" PostHistoryTypeId="1" PostId="207" RevisionGUID="2d186c4e-be90-41c4-94d1-edf98f19cd9c" CreationDate="2010-03-09T03:05:25.190" UserId="90" Text="How to buy music so that the greatest proportion of the money goes to the artist?" ContentLicense="CC BY-SA 2.5" />
  <row Id="353" PostHistoryTypeId="3" PostId="207" RevisionGUID="2d186c4e-be90-41c4-94d1-edf98f19cd9c" CreationDate="2010-03-09T03:05:25.190" UserId="90" Text="&lt;sales&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="354" PostHistoryTypeId="2" PostId="208" RevisionGUID="aa9dd789-a906-4d61-93cc-021d6a9478cb" CreationDate="2010-03-09T03:06:35.327" UserId="91" Text="GRADO SR-125 - a great full &amp; open sound. i remember comparing with sony, akg, and sennheiser in store and the grados stood out significantly to me.  i like how they have a very light, minimal design as well so i forget i'm wearing them!" ContentLicense="CC BY-SA 2.5" />
  <row Id="355" PostHistoryTypeId="2" PostId="209" RevisionGUID="fa48b72e-308a-43ed-8d30-684e1d71de93" CreationDate="2010-03-09T03:07:26.510" UserId="90" Text="It's probably illegal, but, then again, so is everything else.&#xD;&#xA;&#xD;&#xA;If there's no likelihood of being sued, you should use it illegally to protest against the ever-encroaching tentacles of copyright law." ContentLicense="CC BY-SA 2.5" />
  <row Id="357" PostHistoryTypeId="2" PostId="211" RevisionGUID="3b09246d-851f-421b-9de4-d0bcf092b372" CreationDate="2010-03-09T05:14:44.963" UserId="61" Text="I would propose the final climatic scene from &quot;Treasure Planet&quot;, a vastly underrated animated film with brilliant sound design courtesy of Dane Davis. The planet is about to explode, the ship is nearly on top of the as-yet unopened portal to safety…and then…silence! Beautifully constructed." ContentLicense="CC BY-SA 2.5" />
  <row Id="358" PostHistoryTypeId="2" PostId="212" RevisionGUID="4ccf5f2a-3d8f-419a-9df8-8f029553f4b8" CreationDate="2010-03-09T06:35:13.257" UserId="61" Text="To echo Tim's question/comment, what field of sound design do you intend on pursuing? Film, theatre, live sound, other?&#xD;&#xA;&#xD;&#xA;As someone who works in the post-production sound for film business every day, I strongly recommend you become very familiar with Pro Tools first as it is the industry standard (at least here in LA). It is the tool you will use to edit music, dialog, ADR, sound effects, and foley, and very often it is the platform you will employ to temp, predub and final the mix. You can learn MAX, Logic or Abelton all day, but if you don't know how to use Pro Tools you will have a *very* difficult time securing a full-time sound design career in the film industry.&#xD;&#xA;&#xD;&#xA;That being said, I agree with most of the other posts in that these are all **tools**, and each tool is best used for a specific purpose. Some programs are ideally suited for creating abstract and subjective-types of sound design elements, while others are more utilitarian in nature. Many sound designers I have worked with use Logic or Omnisphere to create new sounds, then integrate them into the Pro Tools environment. Others, like myself, enjoy using the plethora of plug-ins available through TDM, RTAS and VST programs like PT and Soundminer.&#xD;&#xA;&#xD;&#xA;Bottom-line: First, make sure you can seamlessly participate in the workflow of your industry. Second, be creative and experiment! Third, *have fun!*&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="359" PostHistoryTypeId="2" PostId="213" RevisionGUID="4d229e47-aeac-4010-980e-9ca0bb1de0a3" CreationDate="2010-03-09T06:36:23.547" UserId="40" Text="I've read a number of the books listed here already, so rather than repeat them, I'll just say +1 for all of them and then I'll add a few:&#xD;&#xA;&#xD;&#xA;Although it's not a book about Sound Design, [&quot;The Writers Journey&quot;][1] by Christopher Vogler is an incredible book about character development and storytelling, which are, in my opinion, two very important aspects of Sound Design. The more you know about character development, the more you can help your audience get to know the characters through the sounds that they make.&#xD;&#xA;&#xD;&#xA;Also, I'm a big fan of Walter Murch's [&quot;In The Blink of an Eye&quot;][2].  Murch is one of the greatest film editors of all time, but he is also a great sound designer (who can forget the sound from THX1138!?).  The two of them have a ton in common. Becoming familiar with the theory behind editing helped me develop my sound design skills a lot more.&#xD;&#xA;&#xD;&#xA;And of course I have to throw in [&quot;The Microphone Book&quot;][3] by John Eargle.  It covers, very extensively, microphone theory, microphone construction, and the physics behind how it all works. I bought this book when I wanted to know more than just &quot;what does a hyper-cardioid sound like?&quot; and dive into &quot;why and how does it sound that way?&quot; etc...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/gp/product/193290736X/ref=pd_lpo_k2_dp_sr_1?pf_rd_p=486539851&amp;pf_rd_s=lpo-top-stripe-1&amp;pf_rd_t=201&amp;pf_rd_i=0941188132&amp;pf_rd_m=ATVPDKIKX0DER&amp;pf_rd_r=0SQ0PWSWMYS5C1NC10HN&#xD;&#xA;  [2]: http://www.amazon.com/Blink-Eye-Revised-2nd/dp/1879505622/ref=sr_1_3?ie=UTF8&amp;s=books&amp;qid=1268116087&amp;sr=1-3&#xD;&#xA;  [3]: http://www.amazon.com/Microphone-Book-Second-microphone-application/dp/0240519612/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1268116252&amp;sr=1-1" ContentLicense="CC BY-SA 2.5" />
  <row Id="360" PostHistoryTypeId="2" PostId="214" RevisionGUID="9b520026-ff5d-4011-9fba-29a90c19b6cf" CreationDate="2010-03-09T07:36:12.567" UserId="40" Text="I have, from time to time, experienced opposition to my recording at a certain location.  Anyone who has done any significant amount of sound recording probably has.  The only way to get around this sometimes is to go through the right channels - getting permission, permits, etc... and sometimes that costs money and it always costs time.  Sometimes I don't want to spend either of those, so I often find myself sneaking around with my recorder, hiding my mic to try to get certain sounds. This happens most often while trying to get certain ambiences, but sometimes while trying to get other things too.  It has often led to some cool stories involving getting chased out of somewhere, getting dirty looks, accidentally ending up somewhere I wasn't supposed to be, etc...&#xD;&#xA;&#xD;&#xA;Anyone else out there have any cool stories about &quot;gorilla&quot; sound recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="361" PostHistoryTypeId="1" PostId="214" RevisionGUID="9b520026-ff5d-4011-9fba-29a90c19b6cf" CreationDate="2010-03-09T07:36:12.567" UserId="40" Text="&quot;Gorilla&quot; sound recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="362" PostHistoryTypeId="3" PostId="214" RevisionGUID="9b520026-ff5d-4011-9fba-29a90c19b6cf" CreationDate="2010-03-09T07:36:12.567" UserId="40" Text="&lt;recording&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="363" PostHistoryTypeId="5" PostId="214" RevisionGUID="528bb163-bb4b-4fe5-b19d-66b9ba56db47" CreationDate="2010-03-09T07:44:59.663" UserId="40" Comment="added 984 characters in body" Text="I have, from time to time, experienced opposition to my recording at a certain location.  Anyone who has done any significant amount of sound recording probably has.  The only way to get around this sometimes is to go through the right channels - getting permission, permits, etc... and sometimes that costs money and it always costs time.  Sometimes I don't want to spend either of those, so I often find myself sneaking around with my recorder, hiding my mic to try to get certain sounds. This happens most often while trying to get certain ambiences, but sometimes while trying to get other things too.  It has often led to some cool stories involving getting chased out of somewhere, getting dirty looks, accidentally ending up somewhere I wasn't supposed to be, etc...&#xD;&#xA;&#xD;&#xA;I remember one time early in my career I was traipsing around Central Park in NYC with my recorder, mic, headphones and portabrace bag grabbing some ambiences for a short I was working on.  I stumbled upon a row of 3 massive Paramount Pictures big rigs and some random crew.  Curious, I followed a few of the crew members back to the set.  There were PA's all around turning curious onlookers away and keeping the perimeter &quot;safe&quot;.  I had my headphones around my neck and my bag over my shoulder.  I made sure my mic was visible, and walked over as if I belonged there.  I nodded to the PA as I walked past her.  She nodded back and I was on the set.  I thought this was amazing, since I was 19 and had never been on a film set before.  I spent the day there, and ended up talking to the audio guy (all Run and Gun that day), a few other crew members, and a bunch of the cast, and I snagged some crafty too!  All in all, I learned a lot that day.&#xD;&#xA;&#xD;&#xA;Anyone else out there have any cool stories about stumbling across something or a &quot;gorilla&quot; recording session?" ContentLicense="CC BY-SA 2.5" />
  <row Id="365" PostHistoryTypeId="2" PostId="216" RevisionGUID="28dfb73c-25df-4f85-af9c-f6e487fdf980" CreationDate="2010-03-09T08:07:30.773" UserDisplayName="user80" Text="I have active studio monitors plugged in to everything, TV, laptop and iPod and it works great when the source is high quality.  But sometimes it is actually a pain, too much sibilance on the presenter of a national broadcaster's documentary, phase issues on a mainstream classical recording, seat squeaks and plosive popping on the same broadcaster's flagship radio news programme.  You can also play spot the ADR and library sound effects, when it is like that I tend to prefer much lower quality reproduction systems (earbuds, hi-fi system) which 'smear' the sound so that the mistakes are hidden, then I can go back to just listening to the excellent content. " ContentLicense="CC BY-SA 2.5" />
  <row Id="366" PostHistoryTypeId="2" PostId="217" RevisionGUID="8c11dd80-58e9-4a68-aeb2-374fb5ad67a3" CreationDate="2010-03-09T08:18:43.527" UserDisplayName="user80" Text="I would concur with the MBox and a laptop, although you will need the Pro version to be able to record at 24 bit 96 kHz.  Whatever you do make sure that you use 24 bit WAVs and keep two versions of the files.  One should be an exact copy of what is on the tape without any editing or signal processing, and the other should have whatever changes you have made.  If your father does not want the tapes any more, once they have been transferred I am certain that your national library or museum would want them.  In the UK both the National Library and National Media Museum would be the places to approach. Personally I would hang on to them yourself, especially as you still have the recorder." ContentLicense="CC BY-SA 2.5" />
  <row Id="367" PostHistoryTypeId="2" PostId="218" RevisionGUID="d1bd31d9-98d8-4bf5-ab08-6bf7cb8e99e5" CreationDate="2010-03-09T08:31:40.350" UserDisplayName="user80" Text="The HHB is a really good DAT recorder and it can output via AES/EBU which can easily be transferred complete with timecode if you are using a Pro Tools HD rig, but for home use this is way too expensive.  I would use the spdif as suggested above.  One thing I would be very careful with is the brand of tape and making sure that you have fast forwarded and rewound it all the way through before 'striping' it.  Also give the tape plenty of time to eject otherwise you might find that it gets caught in the mechanism.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="369" PostHistoryTypeId="2" PostId="220" RevisionGUID="7e6402cd-2ba4-40b1-ad72-4e0de741f24a" CreationDate="2010-03-09T08:55:38.150" UserId="96" Text="Hi there!&#xD;&#xA;&#xD;&#xA;A while ago I was surfing some nerdy geeky website and found that a company had designed that mic that could capture really low volume sounds like the sound emitted by the filaments of a light bulb for example. I cannot find that page again but how do you guys would go about recording sounds that no-one can ear? piezo mic? what techniques?&#xD;&#xA;&#xD;&#xA;thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="370" PostHistoryTypeId="1" PostId="220" RevisionGUID="7e6402cd-2ba4-40b1-ad72-4e0de741f24a" CreationDate="2010-03-09T08:55:38.150" UserId="96" Text="How to capture very low volume sounds?" ContentLicense="CC BY-SA 2.5" />
  <row Id="371" PostHistoryTypeId="3" PostId="220" RevisionGUID="7e6402cd-2ba4-40b1-ad72-4e0de741f24a" CreationDate="2010-03-09T08:55:38.150" UserId="96" Text="&lt;volume&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="372" PostHistoryTypeId="2" PostId="221" RevisionGUID="6615a067-dfe4-4a91-ace6-f1f46f1a023a" CreationDate="2010-03-09T09:03:59.437" UserId="79" Text="A great friend and mentor of mine snuck his DAT recorder and binaural rig into a concert hall performance of Marcel Marceau &quot;in concert&quot;. He ended up with the most extrordinary audience reaction, applause and laughter tracks, but in the process, had to hide the rig from several ushers and fellow patrons. I've also had some &quot;issues&quot; in the past doing playground and schoolyard recordings for various productions. Nothing looks more suspect than a guy hunched behind a tree wearing headphones and pointing a big stick at a bunch of 6 year olds! I've resorted to requesting a chaperone if I'm at a school, or taking my wife with me to temper the overall appearance of the situation. " ContentLicense="CC BY-SA 2.5" />
  <row Id="373" PostHistoryTypeId="2" PostId="222" RevisionGUID="2e4ab003-337b-41f9-84e9-f1ec14dcded5" CreationDate="2010-03-09T09:40:52.043" UserId="37" Text="nothing like stealth mics ;) [DPA][1], [Core Sound][2], [Church Audio][3], etc. &#xD;&#xA; &#xD;&#xA;placement is an interesting topic though. backpacks? hats? what is your technique?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dpamicrophones.com/en&#xD;&#xA;  [2]: http://www.core-sound.com/&#xD;&#xA;  [3]: http://stores.shop.ebay.ca/CHURCH-AUDIO" ContentLicense="CC BY-SA 2.5" />
  <row Id="374" PostHistoryTypeId="2" PostId="223" RevisionGUID="ed5d9451-364e-4bd3-af6e-9a443f3117b5" CreationDate="2010-03-09T10:08:21.837" UserId="2" Text="That's a good question. I guess contact mics would be a good option. [Check out this question][1] for some info on contact mics. If the sound is so low that one can't record it without a lot of noise, I'd probably just try design it from scratch using alternative and louder materials . &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/120/can-you-suggest-a-good-contact-mic-for-sound-design-average-cost-of-proposal-wo" ContentLicense="CC BY-SA 2.5" />
  <row Id="375" PostHistoryTypeId="2" PostId="224" RevisionGUID="02c99bda-8e41-4b54-95f9-84634dd5eca9" CreationDate="2010-03-09T11:05:17.587" UserId="99" Text="Most clients attention is short when asked to listen to sound alone. So I'm presume its better to associate sound work with image. Without having to shoot a film just to showcase your sound and composition work, what is an effective way for showcasing the aesthetics and style of your work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="376" PostHistoryTypeId="1" PostId="224" RevisionGUID="02c99bda-8e41-4b54-95f9-84634dd5eca9" CreationDate="2010-03-09T11:05:17.587" UserId="99" Text="Whats the best way of presenting sound design showreel ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="377" PostHistoryTypeId="3" PostId="224" RevisionGUID="02c99bda-8e41-4b54-95f9-84634dd5eca9" CreationDate="2010-03-09T11:05:17.587" UserId="99" Text="&lt;showreel&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="378" PostHistoryTypeId="5" PostId="224" RevisionGUID="448339f0-527b-4600-8eb2-6506a0613a87" CreationDate="2010-03-09T11:15:53.553" UserId="99" Comment="added 2 characters in body" Text="Most clients attention is short when asked to listen to sound alone. So I'm presuming its better to associate sound work with image. Without having to shoot a film just to showcase your sound and composition work, what is an effective way for showcasing the aesthetics and style of your work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="379" PostHistoryTypeId="2" PostId="225" RevisionGUID="63001313-23ee-4ba4-8405-3a7463f719ed" CreationDate="2010-03-09T11:43:38.337" UserId="81" Text="1)Try to find an imaginary place, an ambience that you think your sound design fits to. &#xD;&#xA;&#xD;&#xA;2)Try to relate your sounds to a color pattern. (eg. A happy sequence shown with pink color patterns) &#xD;&#xA;&#xD;&#xA;3)Either ask for a help or pay a motion graphic artist to combine these elements or simply support your design with Stock photos or videos that you think suits best.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="381" PostHistoryTypeId="2" PostId="227" RevisionGUID="abbcbf0f-107e-4f60-89ee-20c711e38674" CreationDate="2010-03-09T12:07:28.867" UserId="37" Text="then there are a few very quiet microphones.. but they require quiet rooms.." ContentLicense="CC BY-SA 2.5" />
  <row Id="382" PostHistoryTypeId="2" PostId="228" RevisionGUID="573e1c4b-70a7-457f-bbb1-cde662163882" CreationDate="2010-03-09T12:19:13.773" UserId="14" Text="Ripping a cutscene from a game, and re-doing the sound for that can be a lot of fun." ContentLicense="CC BY-SA 2.5" />
  <row Id="383" PostHistoryTypeId="2" PostId="229" RevisionGUID="abc0d91a-f567-4610-b1b4-166e43035484" CreationDate="2010-03-09T14:18:11.290" UserId="81" Text="There are many stock footage websites out there giving away free footage on daily or weekly basis. &#xD;&#xA;&#xD;&#xA;For example; http://www.artbeats.com/ is one of them. I'm sure you'll come across many others when you google it." ContentLicense="CC BY-SA 2.5" />
  <row Id="384" PostHistoryTypeId="2" PostId="230" RevisionGUID="36d17962-02dd-4af5-9fee-0b6186ebe342" CreationDate="2010-03-09T15:31:43.243" UserId="29" Text="Equipment wise, I have three approaches for very quiet sound sources: Contact mics (picking up mechanical vibrations rather than air), a large condenser mic (inherently lower self-noise than small condensers), and Sennheiser MKH mics (lowest noise mics I can afford).&#xD;&#xA;&#xD;&#xA;Technique-wise, more than half of it's listening. When I hear tiny, delicate sounds, I grab them, regardless of what makes them, because really subtle sounds can be used for many different things. Fluorescent lights that produce a rolling series of clicks as they're turned on are my favorites.&#xD;&#xA;&#xD;&#xA;Selcuk provides really important advice, though: Sound design is a mix of capturing, editing, and recontextualization. Making it sound right doesn't mean making it sound *accurate*. This also takes the pressure off of trying to record the impossible.&#xD;&#xA;&#xD;&#xA;Georgi is also painfully correct: Rooms, and even what's outside those rooms, starts to matter a whole lot once the sound source gets super quiet. Can't tell you how much I cringe when I can hear exterior noise in the backgrounds of what I record indoors. :-(&#xD;&#xA;&#xD;&#xA;All this said, there are scientific devices and techniques that record infrasound and ultrasound, but the recordists I know don't have access to such gear." ContentLicense="CC BY-SA 2.5" />
  <row Id="385" PostHistoryTypeId="2" PostId="231" RevisionGUID="5c98e189-6754-4ebb-b1c9-d329bb8fd875" CreationDate="2010-03-09T15:45:30.020" UserId="29" Text="There are a ton of folks on the Yahoo! Phonography list who do a lot of guerilla recording. Most, myself included, just try to focus on hiding lavs without muffling the sound, and having them between ear's width (for binaural) or shoulder's width (for more spaced-pair style) apart. Hats are popular hiding places; I use a very loosely-knit wool hat to hide lavs with windscreens. Mounting on the inside of jacket lapels is very subtle and works well if you can boost the mid-high freq's with different caps or similar.&#xD;&#xA;&#xD;&#xA;I have this weird obsession with rigging lavs...some kind of weird ritual thing. Knowing how to hide a lav on an actor is very helpful for rigging lavs on yourself for stealth recording!&#xD;&#xA;&#xD;&#xA;I'll freely admit that I've taken an audio recorder to dance performances, but what I was after was crowd walla and applause recording (and it worked great). I've never recorded live or recorded music performances, taper/bootleg style. That'd be pretty bad form. :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="386" PostHistoryTypeId="2" PostId="232" RevisionGUID="efcf5997-ad48-420b-8f4f-f090782e49cc" CreationDate="2010-03-09T15:50:40.477" UserId="29" Text="I don't have the numbers, but I asked this same question of a longtime musician pal of mine, whose album I wanted to pay for to support his band. He suggested going to iTunes. Short of paying someone in person at a merchandise table at a show, that's what he recommended. I'm afraid that I don't know the exact math on the revenue split.&#xD;&#xA;&#xD;&#xA;Small bands don't even make *merch* per se, but they usually sell actual CD's or even vinyl. (My friend mentioned above released a 12&quot; with a download code inside the jacket sleeve for 320kbps MP3 files online, nice way to split the difference.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="387" PostHistoryTypeId="2" PostId="233" RevisionGUID="95de445c-712d-4ba2-9c31-ca0580c070c6" CreationDate="2010-03-09T17:15:07.283" UserId="46" Text="I agree with Charles... while I might spend some good dollars on a nice set of headphones, my living room speaker system is pretty run of the mill (good for their price, but nothing crazy). &#xD;&#xA;&#xD;&#xA;Since I do a lot of mixing for TV, I feel I have to listen to my mixes back off the air in the same way most of the audience will be listening (straight from the TV or simple consumer products) - best to try and hear what they're hearing (ambient noise and all!)" ContentLicense="CC BY-SA 2.5" />
  <row Id="388" PostHistoryTypeId="2" PostId="234" RevisionGUID="b85f4ba8-df5a-4c5e-b931-f51fe1b49f2c" CreationDate="2010-03-09T17:27:37.037" UserId="109" Text="I once knew an engineer who had to go record insects overseas. He had custom microphones created for him from a very reputable pro mic company in order to capture the ever so quiet sounds of the insects he was documenting. Hope that helps" ContentLicense="CC BY-SA 2.5" />
  <row Id="389" PostHistoryTypeId="2" PostId="235" RevisionGUID="ef5d352c-8383-47ec-be88-bef8c426bd7e" CreationDate="2010-03-09T17:31:20.710" UserId="109" Text="Id does not look like anyone has mentioned the SFX Bible. This is highly recommended and covers the art of recording, processing and cataloging pro hollywood style SFX &#xD;&#xA;&#xD;&#xA;LIVE BY THIS BOOK.&#xD;&#xA;&#xD;&#xA;http://www.soundeffectsbible.com/sfx/" ContentLicense="CC BY-SA 2.5" />
  <row Id="390" PostHistoryTypeId="4" PostId="214" RevisionGUID="a09f322b-2105-45fa-98fa-9b89940cf68d" CreationDate="2010-03-09T18:20:33.463" UserId="40" Comment="edited title" Text="&quot;Guerilla&quot; (not &quot;Gorilla&quot;) sound recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="391" PostHistoryTypeId="2" PostId="236" RevisionGUID="abad334e-3fa3-4bb9-aa98-5d5092ad6d28" CreationDate="2010-03-09T18:50:49.350" UserId="40" Text="Just was reminded of the time I took my Korg MR-1 and a pair of binaural mics I made out of audio technica lavs on the &quot;Dueling Dragons&quot; roller coaster at Islands of Adventure in Orlando.  I thought it'd be an awesome idea because I could keep the recorder in my pocket and the mics looked like headphones, so nobody would ask questions.&#xD;&#xA;&#xD;&#xA;Got on the ride, hit record.  Everything sounded awesome until we started to really move.  The wind was overpowering quite quickly (not enough wind protection...).  Not that it really mattered though, because the hard drive stalled after the first turn.  Luckily, it saved what I had so far, so I got to listen to a bit of it.  I went out the next day and bought a handheld flash recorder to replace it.&#xD;&#xA;&#xD;&#xA;I'll try to find the recording.  If I can, I'll post it tonight or tomorrow.&#xD;&#xA;&#xD;&#xA;Here's a pic of the mics:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://colinhartonline.com/wordpress/wp-content/uploads/2010/03/IMG00043-e1268160570841.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="392" PostHistoryTypeId="2" PostId="237" RevisionGUID="71fd54ac-640b-4838-ac7f-ae9c5ba377f6" CreationDate="2010-03-09T19:03:06.437" UserId="61" Text="You may find some answers from the scientific community, especially those folks working wildlife. Just this morning I watched a program about elephants and the different sounds they use to communicate with each other. Scientists have discovered that the elephants use subsonic frequencies to send signals over long distances, over 110 sq. miles. These sounds are not audible by the human ear, they can only be captured with recording equipment:&#xD;&#xA;&#xD;&#xA;http://www.elephanttag.org/Professional/professional_elephant%20vocalizations%20and%20behavior.html&#xD;&#xA;&#xD;&#xA;On a similar note, researchers have discovered that trees can &quot;sing&quot;; using specialty microphones (similar to hydrophones, I think) and recording at insanely high sample rates, they can hear the trees &quot;vocalizing&quot; as the weather changes:&#xD;&#xA;&#xD;&#xA;http://emusician.com/daw/emusic_going_wild/" ContentLicense="CC BY-SA 2.5" />
  <row Id="393" PostHistoryTypeId="2" PostId="238" RevisionGUID="bea4507b-8901-4766-8871-8d27ae0583b6" CreationDate="2010-03-09T19:07:07.627" UserDisplayName="user49" Text="Sanken make a contact mic that can record ants footsteps or termite activity but it costs US$3000... From their website- In 1999, very special contact mic, called “Insect Mic” (MO-64) was introduced. It can pick up sound of ants’ footsteps or heart beat of snail.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="394" PostHistoryTypeId="2" PostId="239" RevisionGUID="2caaf901-49b9-4bd3-9e54-2d70691da223" CreationDate="2010-03-09T19:15:04.397" UserId="61" Text="Part of the problem in answering this question is its vagueness. Is your client a film producer? An ad agency creative director? A theatre owner? A club owner looking for a DJ? A museum curator looking for the next interactive exhibit?&#xD;&#xA;&#xD;&#xA;Your demo reel depends on how you answer the above. For film or TV, I'd recommend finding an exciting sequence from a movie or TV show and creating new sound design that is compelling, original and unique. Try to stay away from clichéd ideas and stock library sounds. The people judging your work want to be pleasantly surprised, and they don't want to necessarily watch the entire 2:30 demo to the end to have that response.&#xD;&#xA;&#xD;&#xA;Designing to particle fountains or colors? Eh, that really depends on your target audience. For theatre or museums, maybe, but I believe most potential clients/employers want to experience something the can relate to.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="395" PostHistoryTypeId="2" PostId="240" RevisionGUID="f3c21ae7-9b95-4d15-b327-4c039f13a53e" CreationDate="2010-03-09T19:26:25.387" UserDisplayName="user80" Text="Beyer DT-770 Pro 80 ohm&#xD;&#xA;&#xD;&#xA;They provide a consistent sound in a robust form with a good degree of isolation and comfort.  I also have the M version for noisy environments.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="396" PostHistoryTypeId="2" PostId="241" RevisionGUID="5e7f48c7-01ba-433c-88b7-8e9f71832a77" CreationDate="2010-03-09T19:58:44.387" UserId="77" Text="It depends on how you distribute your music to iTunes. Some e-distributors take up to 50%. I use Tunecore who charge a delivery fee and a yearly storage fee only. This way you get to keep all of the money from iTunes, etc. without another party taking a cut. For example, we get around $7 for selling a $10 album after the iTunes fee. With an older service we no longer use (who I won't name) we would have received $3.50 or less. Unfortunately, buying a CD at a show usually doesn't go into the SoundScan database, therefor not contributing to the artist's sales numbers.&#xD;&#xA;&#xD;&#xA;More info on SoundScan:&#xD;&#xA;http://en.wikipedia.org/wiki/Nielsen_SoundScan&#xD;&#xA;&#xD;&#xA;More info on Tunecore.com:&#xD;&#xA;http://www.kqzyfj.com/click-3702579-10491979" ContentLicense="CC BY-SA 2.5" />
  <row Id="397" PostHistoryTypeId="2" PostId="242" RevisionGUID="d64fd477-ec78-449f-ad5d-40b3f5f1ed6b" CreationDate="2010-03-09T20:14:33.333" UserId="112" Text="Seconds on Sound Effects Bible by Ric Viers, a fantastic resource for the budding and professional sound designer" ContentLicense="CC BY-SA 2.5" />
  <row Id="398" PostHistoryTypeId="2" PostId="243" RevisionGUID="6670dbf6-acee-4ad1-b510-ed5d0116a0bd" CreationDate="2010-03-09T20:17:45.967" UserId="112" Text="just read a post on [video forums][1] in which a musician in a similar situation asked filmmakers for short pieces they've produced to practice scoring to .. and the community seemed quite responsive ... just make some requests on film forums and you'll find some takers who will give you clips to work to&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.videoforums.co.uk/" ContentLicense="CC BY-SA 2.5" />
  <row Id="399" PostHistoryTypeId="2" PostId="244" RevisionGUID="dd98dd8f-cf6e-4eb2-8394-e4e0fac3f60a" CreationDate="2010-03-09T20:23:26.397" UserId="40" Text="I'm a +1 on the contact mics.  If there's something too quiet for me to be able to record with a conventional mic (which is because I don't have access to an anechoic chamber...) I usually grab a contact mic.  It's basically the equivalent of putting your ear directly on something, and then some...&#xD;&#xA;&#xD;&#xA;One of the biggest challenges to recording quiet sounds is Medium Transfer.  As sounds transfer from medium to medium (such as a gas to a solid, or a liquid to a gas), you lose SPL. Let's say you're trying to record a lightbulb filament. The sound has to transfer from the filament to the gas in the bulb, then transfers from the gas to the glass bulb, then transfers from the glass to the air around it, then to the microphone element.  That's 4 transfers between a solid and a gas, hence a lot of lost SPL. If you take 2 transfers out of the equation by attaching a contact mic directly to the glass, you have a lot more SPL to work with, and therefore can get a much better signal to noise ratio.&#xD;&#xA;&#xD;&#xA;Now obviously you can't always attach a contact mic to a specific surface, but usually you can find a way to.  I've been playing with the one I just made a lot lately.  Lots of fun!  You can make one from parts from radio shack for under $8 (as long as you already own a soldering kit)" ContentLicense="CC BY-SA 2.5" />
  <row Id="400" PostHistoryTypeId="2" PostId="245" RevisionGUID="c724d684-d91d-4fb3-964b-92a112fc81b9" CreationDate="2010-03-09T20:30:59.293" UserId="112" Text="you can definitely pay some bills by distributing quality sfx online, though it takes a good amount of sfx to make it worth while.  I made about 4,000 and they sell multiple times daily through about 8 different online sound sites&#xD;&#xA;&#xD;&#xA;though its competitive and yes, saturated, so you want to try and create new sfx that aren't redundant (ie no more dog barking sounds :)&#xD;&#xA;&#xD;&#xA;ringtones, too, is a massive industry with millions of monthly sales worldwide, plus they're an awful lot of fun to make&#xD;&#xA;&#xD;&#xA;if you ever do build up a sound catalog, hit me up and you're welcome to distribute them through my site [SFXsource Sound FX Library][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sfxsource.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="401" PostHistoryTypeId="2" PostId="246" RevisionGUID="0d02b2a7-6965-48b2-a7c3-441785a1bbf9" CreationDate="2010-03-09T20:32:24.487" UserId="112" Text="m-audio sells a -10db pad which is useful in such circumstances" ContentLicense="CC BY-SA 2.5" />
  <row Id="402" PostHistoryTypeId="2" PostId="247" RevisionGUID="e5421101-4c5e-4289-8002-a067ef7d7204" CreationDate="2010-03-09T20:34:18.840" UserId="112" Text="[SFXsource Sound Library][1] ... all pro sounds across 645 subcategories and downloadable as aiff, wav, and .mp3&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sfxsource.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="403" PostHistoryTypeId="2" PostId="248" RevisionGUID="e9c4a729-9632-4f7e-9041-459d8a8bc703" CreationDate="2010-03-09T20:35:35.593" UserId="112" Text="Soundsoap by Bias&#xD;&#xA;&#xD;&#xA;brilliant at noise reduction for audio sweetening" ContentLicense="CC BY-SA 2.5" />
  <row Id="406" PostHistoryTypeId="2" PostId="251" RevisionGUID="c45a8f5c-e15e-4eac-b219-1dfdc9501af3" CreationDate="2010-03-10T02:32:01.977" UserId="115" Text="I'm an absolute newbie and bought myself a Zoom H4n and Rode M3 mike.  Before this purchase I was using my iTouch and the mini mike on the Apple earbud set to record dialogue.  Wow - chalk and cheese - BUT I still have a lot to learn - not just about the equipment but about sound and how to record it properly......  Equipment does not solve that issue :)&#xD;&#xA;&#xD;&#xA;Next lesson to learn, NEVER pay MRP/RRP.  The list price on the H4n was $899 (Australian) and I got it for $499.  Haggle for the best deal because markups on this equipment are huge (maybe different in larger markets liek the UK and the States)&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;David" ContentLicense="CC BY-SA 2.5" />
  <row Id="407" PostHistoryTypeId="2" PostId="252" RevisionGUID="7ed2b4bc-76c8-4282-b4a2-bd2b09775695" CreationDate="2010-03-10T03:09:11.100" UserId="29" Text="Yes, yes, we've all got preamps and recorders and mics and cables and hoary marmots in our field recording sound bags. But what else is in your bag? What are the little bits and bobs you really shouldn't leave home without? (Don't include what you can't carry, or all the extras you leave in the car just in case...we'll save &quot;What's in your Grip Truck?&quot; for another day! :-p)&#xD;&#xA;&#xD;&#xA;My list includes:&#xD;&#xA;&#xD;&#xA; - Gaffer's, medical, electrical and paper tape in various colors (rerolled on small 1/2&quot; PVC pipe segments and hung on shock cord attached to a carabiner, or wrapped around pens)&#xD;&#xA; - Sharpie and regular pens&#xD;&#xA; - At least one extra battery&#xD;&#xA; - At least one extra memory card&#xD;&#xA; - One spare cable in every length I bring (usually just 1-2 lengths per outing)&#xD;&#xA; - Variable In-Line Attenuation Pad&#xD;&#xA; - In-Line Phase Inverter&#xD;&#xA; - Extra o-rings and mic clips for windscreen/zeppelin/blimp&#xD;&#xA; - Comb for fuzzy windscreen cover&#xD;&#xA; - Shower Cap (for rain, in case my weather covers don't fit or wet out)&#xD;&#xA; - Lav mounting kit, if applicable (blue tacky gunk, medical tape, topstick strips, self-adhesive moleskin, and standard lav mounts)&#xD;&#xA; - Black twist-ties&#xD;&#xA; - Black zip ties&#xD;&#xA; - Bongo Cords&#xD;&#xA; - 2 pairs of latex or nitrile gloves&#xD;&#xA; - Sometimes a small folding tripod stool&#xD;&#xA;&#xD;&#xA;For extra credit: What do you keep all this stuff in while in the field? (For me, it's a LowePro Magnum 200 AW and a PortaBrace field recorder bag with RM pouch.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="408" PostHistoryTypeId="1" PostId="252" RevisionGUID="7ed2b4bc-76c8-4282-b4a2-bd2b09775695" CreationDate="2010-03-10T03:09:11.100" UserId="29" Text="What are the small bits in your field recording bag?" ContentLicense="CC BY-SA 2.5" />
  <row Id="409" PostHistoryTypeId="3" PostId="252" RevisionGUID="7ed2b4bc-76c8-4282-b4a2-bd2b09775695" CreationDate="2010-03-10T03:09:11.100" UserId="29" Text="&lt;field-recording&gt;&lt;sound-effects&gt;&lt;accessories&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="410" PostHistoryTypeId="2" PostId="253" RevisionGUID="b669a729-4fc6-4789-a0d4-3d52109b91ef" CreationDate="2010-03-10T03:34:12.210" UserId="116" Text="When &quot;nature recording&quot; I carry the following:&#xD;&#xA;a cheap $2 shop rain poncho in my backpack, handy to sit on so I don't get a wet butt in the forest.. can also throw it over the mixer/recorder in an emergency.&#xD;&#xA;Many other items including: torch , some sort of snack food bar , collapsable water bottle , paint brush to remove any dirt that gets on the mixer , local bird ID book , moleskine journal for writing recording notes and interesting t/c points , several pens/pencils , map to mark the location on. and much more...&#xD;&#xA;I have a small backpack with all these things ready to go. If I want to, I can be out the door ready to roll in about 3 minutes. (my day job is as a tv location recordist and that kit is always ready to go too) &#xD;&#xA;&#xD;&#xA;Grant." ContentLicense="CC BY-SA 2.5" />
  <row Id="411" PostHistoryTypeId="2" PostId="254" RevisionGUID="5909ac6b-26ca-4572-b6c9-5e7d2707c40a" CreationDate="2010-03-10T03:52:13.987" UserId="40" Text="Depends on where I'm going and what I'm doing, but here's a general overview:&#xD;&#xA;&#xD;&#xA; - Extra batteries (I usually bring 2x NP1s and then internally battery everything so I can pull an NP1 on the fly without powering down)&#xD;&#xA; - Gaff Tape (usually 1/2&quot; B and W, sometimes 2&quot;)&#xD;&#xA; - Extra cables&#xD;&#xA; - Rain coverings and a poncho if the weather is threatening, and usually a spare pair of socks&#xD;&#xA; - Water&#xD;&#xA; - Granola bar or power bar of sorts&#xD;&#xA; - Leatherman (Wave)&#xD;&#xA; - Utility Knife (Smith and Wesson S.W.A.T. semi-serrated 4&quot;)&#xD;&#xA; - Torch (Surefire w/ extra batts)&#xD;&#xA; - Motrin IB&#xD;&#xA; - Ear Plugs&#xD;&#xA; - Trick Line&#xD;&#xA; - Sunscreen / Bug Repellant&#xD;&#xA; - Rycote collapsable brush&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;Sometimes I throw in something extra if the day calls for it.  I carry my main rig in a portabrace bag with a back harness, and everything else in my backpack." ContentLicense="CC BY-SA 2.5" />
  <row Id="412" PostHistoryTypeId="2" PostId="255" RevisionGUID="9a40ac32-8605-4d75-8cd5-fad41a64c5f1" CreationDate="2010-03-10T04:17:00.717" UserId="18" Text="I used to carry anything and everything, and 2 of everything!  Even just for day to day recording.  I still do if I'm doing something big like a gun shoot.&#xD;&#xA;&#xD;&#xA;Lately, I've really slimmed the rig down.  I bought a Timbuk2 messenger bag that can hold my recorder (744T), 191 in the zeppelin (with cable), the 191 Matrix box, and my Beyer headphones.  I have everything in the bag, ready to go.  All I need to do is open the bag, turn the 744 on, pull the mic out, and I'm rolling. &#xD;&#xA;&#xD;&#xA;That's all I carry most days.  Way more important to me these days to be fast and light vs prepared for anything.  Again, on a big shoot (guns, animals, etc) it is a very different story, I load up the truck!  What I back is not all that different from what you guys have already mentioned.&#xD;&#xA;&#xD;&#xA;Oh, and I've finally stopped using Portabrace bags.  Got so sick of all the noisy velco and how non ergonomic they have become.  I remember my Tascam DAP1 bag was awesome.  The bag for the Fostex FR2 is terrible, and the 744 bag is only marginally better.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="413" PostHistoryTypeId="2" PostId="256" RevisionGUID="46fd5379-2b2d-4355-843e-b8a141e0d7ee" CreationDate="2010-03-10T04:37:00.783" UserDisplayName="user49" Text="A few things I have in my bag that no one has mentioned are:&#xD;&#xA;&#xD;&#xA;- a tiny lightweight mic stand (about six inches long)&#xD;&#xA;- a tiny LED torch&#xD;&#xA;- a tiny point &amp; shoot stills/video camera (for documenting every recording)&#xD;&#xA;- iPod Touch (can be handy to compile a low rez reference video of the material you are capturing sound for eg vehicle moves)&#xD;&#xA;- a bird caller (a tiny wooden rod object with a brass rotating centre which can be used to perform squeaks like a bird - it came with a little bottle of rosin, some birds like it)&#xD;&#xA;http://audubonbirdcall.com/&#xD;&#xA;&#xD;&#xA;Totally agree re velcro on bags - nothings scares birds away like the rip of velcro!&#xD;&#xA;&#xD;&#xA;ps I've always wanted to get a GPS logger for geo-tagging all recordings..." ContentLicense="CC BY-SA 2.5" />
  <row Id="414" PostHistoryTypeId="2" PostId="257" RevisionGUID="df80f96b-f707-43a0-9df9-f0a7e3430627" CreationDate="2010-03-10T04:49:41.053" UserDisplayName="user49" Text="http://www.hissandaroar.com&#xD;&#xA;&#xD;&#xA;soon!" ContentLicense="CC BY-SA 2.5" />
  <row Id="415" PostHistoryTypeId="2" PostId="258" RevisionGUID="897a36fe-88e0-4fe4-8b8b-65efb02d0c2a" CreationDate="2010-03-10T05:00:34.873" UserId="10" Text="Another toys that I carry usually are tiny elements and tools such as sticks, wires and things that could help me to interact with a specific surface or element and record some &quot;reactions&quot; to that.&#xD;&#xA;&#xD;&#xA;And if you don't have a hydrophone... don't forget to carry a condom! ^_^ You don't know when you need to submerge your mic into the water, so be safe :)&#xD;&#xA;&#xD;&#xA;A blanket or thin rug are also great to have for those moments when you need to leave your gear in an unclean place or need to protect it from dirt or sand, etc..&#xD;&#xA;&#xD;&#xA;Agree too on the velcro side. I'm still using Porta brace but I have to take a look to another option." ContentLicense="CC BY-SA 2.5" />
  <row Id="416" PostHistoryTypeId="5" PostId="258" RevisionGUID="cfbbe12b-9730-4e90-b578-257c4e2d0555" CreationDate="2010-03-10T05:10:03.030" UserId="10" Comment="deleted 106 characters in body" Text="Another toys that I carry usually are tiny elements and tools such as sticks, wires and things that could help me to interact with a specific surface or element and record some &quot;reactions&quot; to that.&#xD;&#xA;&#xD;&#xA;And if you don't have a hydrophone... don't forget to carry a condom! ^_^ You don't know when you need to submerge your mic into the water, so be safe :)&#xD;&#xA;&#xD;&#xA;A blanket or thin rug are also great to have for those moments when you need to leave your gear in an unclean place or need to protect it from dirt or sand, etc.." ContentLicense="CC BY-SA 2.5" />
  <row Id="417" PostHistoryTypeId="2" PostId="259" RevisionGUID="3b813e2d-b35b-4dcd-b80c-927a9b48ec6c" CreationDate="2010-03-10T08:33:18.630" UserId="2" Text="To add to this already fantastically useful list...&#xD;&#xA;&#xD;&#xA;**Cash:** By far one of the most useful tid bit. It can come in handy to: &#xD;&#xA;&#xD;&#xA; - buy a cup of coffee and sit down to record an ambience.&#xD;&#xA; - Paying a property owner or guard to get into somewhere. &#xD;&#xA; - buying an urgent piece of equipment.&#xD;&#xA; - Giving a few karma bucks to a school, or street performers etc. &#xD;&#xA; - Paying someone a little for their time, maybe they switched off the music in their shop, or kept customers out for a few minutes. &#xD;&#xA; - In more corrupt countries, bribing a cop. This is not even for illegal trespassing, it's just the way it is done in some places. In Mozambique for example, you cannot drive a car more then 1 hour without being stopped and threatened to be arrested for things you haven't done. The best here is to have enough cash in different locations (pocket left, pocket right, gear bag, etc.), this way you don't part with all the money on the first cop. &#xD;&#xA;&#xD;&#xA;**GPS Logger:** I'm also seriously on the market for a GPS logger. Some GPS logging apps on the iPhone work okay in cities, but the second I'm in a slightly remote area it either won't work or will take way too long to locate me. On a side note, I'm in the process of building a Max/MSP patch which will combine my sounds, photos and metadata somewhat automatically. &#xD;&#xA;&#xD;&#xA;**Camera Tripod**: I actually prefer using a camera tripod than a mic tripod. I find them better built for the road, better value for money, lighter, more stable on uneven ground (as you can change the height of each leg significantly). For this to work, I need a adapter thread.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="418" PostHistoryTypeId="2" PostId="260" RevisionGUID="f4fc2a9b-feb7-4d10-bed9-44b95c42b2a2" CreationDate="2010-03-10T10:16:28.760" UserId="119" Text="I'm studying audio design looking to buy my first pair of headphones for mixing and recording. My budget is around $100-150. &#xD;&#xA;&#xD;&#xA;My friend has a pair of Creative Aurvana Live! that sound good although a bit bass heavy.&#xD;&#xA;http://www.audioholics.com/reviews/speakers/headphones/creative-aurvana-live-headphones-review&#xD;&#xA;&#xD;&#xA;The Sennheiser HD 280 cost a bit more but are more travel friendly and seem more optimized for working with audio.&#xD;&#xA;http://www.onheadphones.com/product-reviews/audiophile/sennheiser-hd-280-pro.html&#xD;&#xA;&#xD;&#xA;Would be great to hear some of your impressions or if you have other recommendations." ContentLicense="CC BY-SA 2.5" />
  <row Id="419" PostHistoryTypeId="1" PostId="260" RevisionGUID="f4fc2a9b-feb7-4d10-bed9-44b95c42b2a2" CreationDate="2010-03-10T10:16:28.760" UserId="119" Text="First recording/mixing headphones?" ContentLicense="CC BY-SA 2.5" />
  <row Id="420" PostHistoryTypeId="3" PostId="260" RevisionGUID="f4fc2a9b-feb7-4d10-bed9-44b95c42b2a2" CreationDate="2010-03-10T10:16:28.760" UserId="119" Text="&lt;headphones&gt;&lt;sennheiser&gt;&lt;guide&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="421" PostHistoryTypeId="2" PostId="261" RevisionGUID="9e97ed8e-3331-41b1-8ecd-1901f8efd54b" CreationDate="2010-03-10T11:19:30.757" UserId="2" Text="[Check out this question][1]. There has been some fantastic answers regarding headphones. &#xD;&#xA;&#xD;&#xA;To answer specifically to your budget, I'd recommend the [Sony MDR7506][2]. But read the question I gave you the link to, and see what other people think about these so you can decide whether or not they fit your needs. I just love these headphones! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/61/what-are-your-favorite-headphones-and-why&#xD;&#xA;  [2]: http://pro.sony.com/bbsc/ssr/product-MDR7506/" ContentLicense="CC BY-SA 2.5" />
  <row Id="422" PostHistoryTypeId="2" PostId="262" RevisionGUID="3a3d726b-6635-40de-a372-16d594a9ff01" CreationDate="2010-03-10T12:16:23.980" UserId="122" Text="I recently bought a pair of Sony MDR7506's and I'm loving it! Great for mixing, sound recording in the field and things like dialogue editing and so on.Very comfortable too so highly recomennded." ContentLicense="CC BY-SA 2.5" />
  <row Id="423" PostHistoryTypeId="2" PostId="263" RevisionGUID="cdd8f583-e95b-41f2-868a-212dba9f9e5f" CreationDate="2010-03-10T12:54:37.850" UserId="82" Text="I just recently got the Sennheiser HD 280 Pros.  I am very new to all of this and am in no way qualified to comment on their overall quality except to say that they sound great to me.  I needed more noise isolation than the 7506s apparently provide so that was a major factor.&#xD;&#xA;&#xD;&#xA;Two things I wanted to mention though... they are very wide (the headband does not conform to the shape of your head - they &quot;stick out&quot; more than others - Google for some photos of people wearing them and you'll see what I mean).  Also, I got mine from Amazon (US) for just $74 which seemed like a great deal and made the decision to grab them a little easier.  Though now I see that you are in Sweden so I assume they may be more expensive there. Good luck... I don't think there is any one right answer to this question!" ContentLicense="CC BY-SA 2.5" />
  <row Id="424" PostHistoryTypeId="2" PostId="264" RevisionGUID="3482918c-3b35-4d76-9a3b-d59ef8f7d2d5" CreationDate="2010-03-10T12:55:56.150" UserId="124" Text="I've been using the Sennheiser HD280 Pro for about five years. I daresay I read some reviews before I bought them, but I really can't remember what influenced me in my decision. I wanted something reasonable without entering into silly money territory (hardly necessary for internet releases)&#xD;&#xA;&#xD;&#xA;They're comfortable to wear: not too heavy, and isolate you from background sounds effectively.&#xD;&#xA;&#xD;&#xA;As for their audiophilic qualities, I'd say they OK for rough mixing: if I compare them with a pair of Genelec 8040A powered monitors, there's less bass obviously, but there's adequate representation of the mid- and top-range frequencies. If I fiddle with the EQ on the desk I can get the information I need from them without troubling the neighbours.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="425" PostHistoryTypeId="16" PostId="264" RevisionGUID="3482918c-3b35-4d76-9a3b-d59ef8f7d2d5" CreationDate="2010-03-10T12:55:56.150" UserId="124" />
  <row Id="426" PostHistoryTypeId="2" PostId="265" RevisionGUID="57023f68-74d5-4a4a-b99a-7c8b60099cd3" CreationDate="2010-03-10T14:16:22.847" UserId="22" Text="In the world of online sample packs, some sounds are far too easy to find (read: overload of the same thing in many sample packs). This may be dog barks, running water, etc. What I have found is that some samples are quite rare, and as such draw a lot of attention.&#xD;&#xA;&#xD;&#xA;What sound samples are missing from the spectrum of sample packs out there?" ContentLicense="CC BY-SA 2.5" />
  <row Id="427" PostHistoryTypeId="1" PostId="265" RevisionGUID="57023f68-74d5-4a4a-b99a-7c8b60099cd3" CreationDate="2010-03-10T14:16:22.847" UserId="22" Text="What sound samples haven't been recorded?" ContentLicense="CC BY-SA 2.5" />
  <row Id="428" PostHistoryTypeId="3" PostId="265" RevisionGUID="57023f68-74d5-4a4a-b99a-7c8b60099cd3" CreationDate="2010-03-10T14:16:22.847" UserId="22" Text="&lt;sampling&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="429" PostHistoryTypeId="2" PostId="266" RevisionGUID="8276fe02-0ea1-485a-8684-5f02b31c7516" CreationDate="2010-03-10T14:26:35.943" UserId="125" Text="where u studying? which country, school?" ContentLicense="CC BY-SA 2.5" />
  <row Id="430" PostHistoryTypeId="2" PostId="267" RevisionGUID="e52849bb-fe31-4f11-94f6-e65b63218a15" CreationDate="2010-03-10T15:33:54.470" UserId="64" Text="Normaly when samples are missing, I create it or record it. So i don't think I realy need something.  &#xD;&#xA;&#xD;&#xA;But sometimes i just need more movements from the same sound (for exemple; a car) or more channels 5.1... " ContentLicense="CC BY-SA 2.5" />
  <row Id="431" PostHistoryTypeId="6" PostId="265" RevisionGUID="cf568d78-e728-4a80-90e1-bda5381f9b57" CreationDate="2010-03-10T15:40:28.380" UserId="64" Comment="edited tags" Text="&lt;sampling&gt;&lt;field-recording&gt;&lt;library&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="432" PostHistoryTypeId="2" PostId="268" RevisionGUID="daa9b83d-bab1-4ba0-bfbb-1453128ee092" CreationDate="2010-03-10T15:50:31.423" UserId="29" Text="FWIW, +1 on the 7506's, but just be sure that you don't use headphones as your sole &quot;source of truth.&quot; They're great for getting the basics down, but testing mixes and EQ on more than one set of speakers/cans, especially if you'll spend most of your time wearing cans, is critical. Don't overlook your own (or a friend's) car stereo as the ultimate lowest-common-denominator audio output testing platform..." ContentLicense="CC BY-SA 2.5" />
  <row Id="433" PostHistoryTypeId="2" PostId="269" RevisionGUID="3797d5b3-65cf-4220-a5fb-23849dd92c77" CreationDate="2010-03-10T15:56:50.210" UserId="29" Text="Nerd alert! Olson's &quot;Music, Physics, and Engineering&quot; isn't a book I pull off the shelf often, but it runs down the basic physics of every orchestral instrument, lists a ton of keys, and explains a lot about sound and how instruments create it, providing a lot of transferrable knowledge. Almost charmingly out of date in its layout and language, the science ain't goin' outta style any time soon. " ContentLicense="CC BY-SA 2.5" />
  <row Id="434" PostHistoryTypeId="2" PostId="270" RevisionGUID="407f0c39-52b6-47a1-b004-e1a26a776e91" CreationDate="2010-03-10T16:39:13.680" UserId="29" Text="There are *so many* unrecorded sounds...and even a lot of recorded sounds that aren't available for purchase. That's why most of us love what we do, right?&#xD;&#xA;&#xD;&#xA;But in the spirit of answering your question, I'd like to see more collections based on scientific recordings (geological processes, outer space recordings, etc.). They're out there, often public domain, but hard to pull together or find, and some of the most interesting ones are packaged as acoustic ecology recordings rather than discrete samples. (Not a criticism, some of them make for totally amazing listening!)" ContentLicense="CC BY-SA 2.5" />
  <row Id="435" PostHistoryTypeId="2" PostId="271" RevisionGUID="5f6e790e-1dee-4b7d-b355-d298492c8e08" CreationDate="2010-03-10T16:50:09.787" UserId="33" Text="+1 for the sennheiser HD280 pro &#xD;&#xA;&#xD;&#xA;and also +++1 for Beyer DT 770 Pro for midprice headphones that i am currently using and i find them fabulous" ContentLicense="CC BY-SA 2.5" />
  <row Id="438" PostHistoryTypeId="2" PostId="274" RevisionGUID="b11f5057-b91e-484d-bf6c-75e84368b819" CreationDate="2010-03-10T20:21:58.270" UserDisplayName="user49" Text="http://www.soundmountain.com/&#xD;&#xA;&#xD;&#xA;Sound Mountain is a fantastic boutique sound FX Library run by Anne Kroeber, who manages her &amp; Alan Splets library" ContentLicense="CC BY-SA 2.5" />
  <row Id="439" PostHistoryTypeId="5" PostId="23" RevisionGUID="0353e1a7-b018-4255-919b-43e4003268eb" CreationDate="2010-03-10T20:31:37.740" UserId="2" Comment="added a subpatch to change samples if a key is repeated." Text="When wanting to map your computer's keyboard, the important objects are: **[key]**, **[keyup]** and **[select]**. In the patches I gave you below, look inside the yellow objects to see how to use them. &#xD;&#xA;&#xD;&#xA;I've put two patches together, one is using your keyboard to trigger MIDI notes, and the other is to trigger samples. I've recycled bits from other patches I had made so some of the programming here is a bit pointless in this context.&#xD;&#xA;&#xD;&#xA;To copy this code into Max/MSP, copy (ctr+C) all the code that is in the gray box. In Max/MSP, go **File** &gt;&gt; **New From Clipboard** and it will paste the patch for you. &#xD;&#xA;&#xD;&#xA; - MIDI triggered by keyboard:&#xD;&#xA;&#xD;&#xA;    &lt;pre&gt;&lt;code&gt;&#xD;&#xA;----------begin_max5_patcher----------&#xD;&#xA;2397.3oc6ct0aiaiEG+YmOED9ot.dB3MQJUzW11m1G18wEK11AAx1LIpQVxv&#xD;&#xA;RNYRK528kWjskbjrorrmgb0DfXac+O+QdH44HQw+7tISmm+EQwTvOB9UvjI+&#xD;&#xA;4cSlnWkZESpVdxzUweYQZbgd2ltHe0JQV4zYlsUJ9Rod8qRVl.1s1rsqRxRE&#xD;&#xA;k5CAUsx0wkKdNI6oG1HVTZtjHD7d3LP0mj.0Wrv6gfOWcLIK0m774+9mX3Zm&#xD;&#xA;87sk6N8vp09XdVYV7Jg9.96aRhSmVaKEI+gdKAj6wjvPVjZS+0c2o9XlkI8L&#xD;&#xA;waRg7gTdZd7xUhhBPDruo+HpNgiMIbrdAV6IeT6odzYS8lct780By0b5z8m9&#xD;&#xA;5fI7dJAFQBudbYM3UQZ9hjx2aEK3twRfgDbcwBFR8IF1NVvAWMtjHKU2JZPJ&#xD;&#xA;4TSrhMUvnhFx8NIU7pXSQRdVsK9jo0RR5zRU9sImFGwOjljL9IIrdQrrVY5I&#xD;&#xA;SWJdrOmi70hrC6ud2a7Qy8LIa8FQgzXNtrR30utwaSKencLzb6OFuPz4A2J6&#xD;&#xA;mL8oMIKyyThnwQpV8tKmr1AsYg5yC5VuGYwqa4fKyySmGu40jhj4ohF4Cxxu&#xD;&#xA;wYIqhKEkIF8fg6OtjUq2ny6qctDYwxywyEK1jml13TY1xqsrkkhWSVHdKYY4&#xD;&#xA;y5y0AZ0nR1ZkaZXY0X8mxBqoUVIXd802VMOcYlwCpU6CldrY1wlZzitNezZ6&#xD;&#xA;zVbsa0MON6ooMtjGWla2Vz0JY9wraAGgWJGM1kVyQxMgi0q85aHFKDo.HHbn&#xD;&#xA;rDp+R1X8YXItaVRFXYxYG91E.aRmDEakUNiq9hfuO3zDk48kN0joSZAso7GU&#xD;&#xA;+YkAcP2vBEZGsNOO10sZ0Ydpq.ivv9.CLw0gg4JewUMw01NTtk33DsWB6Qh8&#xD;&#xA;PeeRSx5paDZ4p1d6TnHe6lE6vckUNnoxWJJJSx12Sve8Ph3nc74jkKa1yKMm&#xD;&#xA;SVtNWlQVoOvmsJaquxlZorYNkpI9IrwjdPaj6H6Onl1U8EBaNSUK.Bqc+Jjt&#xD;&#xA;egaXpwl7.hSUzQ0tncE4uhxtZkR8a7UuH9UwxGjWEYM3ODWVtIY91RSEnM7c&#xD;&#xA;+DdollOONsxm+86yTqbBtyUdN2o6PKc4Q9cGnv0JrMuHdun0P1.6NjMXTk8f&#xD;&#xA;pa6lNLf6HPVcDwF7kEwlYmJvMj6oHXXXT01l+zh7z7M6hNRDM.FEpBLRDhvw&#xD;&#xA;ApeQg7PJQZSWS7WbPeHgUjfYbpwDWKBKpew8wpSy2C8yHLzOb7kG0Bztfuiz&#xD;&#xA;FsTz470FAi5tGs3g4a3LmI.FRnhF.TglvUaOTQvwATgCApHVOgJZT.UVzkC0&#xD;&#xA;np3BYOSwiClFN.lRH8jojwAS4WNSCi5aEpzwASYCfozvdxzfwASCF.Sg8sbJ&#xD;&#xA;abvT5kyTdPeKmxGGLkL.l169RENNX5.bkhw6a69iCOoXCvSJFom0mhGGNRwF&#xD;&#xA;fiTAg8r9T7XvOJ0ir.BikXIP9MT8vG.hhjKFJ+IADo9hpdTEUd2K+OBPoWbs&#xD;&#xA;ulddQizQvCFc9bfS30Ehd8dDGtUe6HQe.OjGIEbiVL4m8YRANVBS1kyTJm2K&#xD;&#xA;lNRbpiOjGcJJA2OlFLVBR1kyTRynObdlxFKAIa.L0z5m8LkOVBR1.XJrm0mF&#xD;&#xA;NVBR1kyTLi1OlFMVBR1.XJpmkSIikfjc4LEw6W4T5nIHYCfoj90tOMXrDjrv&#xD;&#xA;Abmb5GRoikXjMD2n5GRIikPjM.j1Ohh+d.xtpAHCwQ8J.YgeO7XCM68Ew6aW&#xD;&#xA;eoCQD9takr9A+L5bitnSTmN8pXtLy0Ldjz8RYaksfsrk7+mrcXCZGZUc3lJz&#xD;&#xA;G1fXB57CQINjzqTKg4viQI0XHfZy.4f6Ti8AkrI1H6.mS1XajM04jsUi1Ghy&#xD;&#xA;IaaFeLTr6QaaJkntGXNltYVHaUH7bLYysQ1gNmrCsQ1tWE2Q1Hal6YSZScIH&#xD;&#xA;2qAGjMUcibuVbBrQ1tUKN5dIYCtIL2S2VMTRcLdG3o7NvS4M0S4M0S4MwS4M&#xD;&#xA;wS4M1S4M1S4skxV+DZ5gurQbKWFz9K5gktawOWunzs1QWOj2s3ftev6POk2g&#xD;&#xA;dJu8TucPdp2NHlmxalmxaO06Rjm5cIxS8tD4odWh7TuKQdp2ks4ESW96fbPk&#xD;&#xA;aUbjcraJkQ41b2zPN18kxnbhUJOzAUN0JkycPka0MdvwtAUFka0se0wtEUFk&#xD;&#xA;a0cf0wtIUFka0MgE4hsDY08gEgcwVhrpQTjS1HpUshhbwVQs5gRQ+BLzojNx&#xD;&#xA;S6kaK8AzS5lKzWItuFnYuMRydanl81XM6sAa1ai1r2FtYuMdyda.m81HN6sg&#xD;&#xA;b1ai4r2FzYuMpydaXmQXek3Xek39pOmHe0mSju5yIxW84D5q9bB+l3y42m3j&#xD;&#xA;52DmTWSA5kOK.4KJkzC7Ttn3GA+2h+yxe4e+zO+7+52+mf7Lv6xLb0rqz773&#xD;&#xA;MKA+vh30Ef3MBvuM8smSJE+1T8TuzLPwp3zzpsLOMdwKUa4us6RpJSsHeqYD&#xD;&#xA;4h64jNt4kULWOt8wl2HrDZGyUSzqwbt9NZekmt0CfvdOgqiXl2nDlYCU9Imw&#xD;&#xA;0Ct4y35XXDKH35glr7Rg7h2JTHm.JlAJNw7pbH3zy253ugkH5xv6m9zm.EhR&#xD;&#xA;vxsazUTBxeDnXAHICrp3dv+3QkoGnnLeMPMuWUHS+J6QkAqztZFHoDT7Vhp1&#xD;&#xA;pB4w9HHN682hkquHGjlK2W0IyXpNWlwJ1zpcXPOKKV8tPCGVMWWYLKC5f6vu&#xD;&#xA;kVhaWM+Phtu1ZMlT35pXE5ZOov0XdEui1OjsNlkrZ6JMHudlgqheQnJwbo1g&#xD;&#xA;lI+LF4T.a+KavgCrGk0npQl4GcxrafA6qhz7EIkuC9AHnLWdU3Wml3PTyqrY&#xD;&#xA;ptB9H3Iaii6cVVQlWRUTKLrBus1UxDyNCHYl2M0X6khzjkcvJ74lXJwZc.vz&#xD;&#xA;fSUT.GxNMtrZFn7YYSJMlmIoHDmomcI4zHHV8ivpUUeZlbijr5yKaGwz8J73&#xD;&#xA;yVHS9GeView4LJG07z83l7+Pj8fDpG0GdorqtTetV1f93Z95awjqbrSLU4Me&#xD;&#xA;z4k5djXyfN5idrzt2JenbhsJJzBEgaDV6atjBrQRnupTRWn+rhp4cC87hh.0&#xD;&#xA;utpBB0SPxD59ktJpEYiZ6QtJNfUWt0VZnx0pL7iRSmUtLj4cAVEiY6WZnpEY&#xD;&#xA;aIAr8hEw0Pk.Mrs1RCTsGUjrC1h+pZLcTAuSnIT+InYBaAE.2uzPUq8kN+Jh&#xD;&#xA;v.aPXv.zjbg+5t+GKn85P&#xD;&#xA;-----------end_max5_patcher-----------&#xD;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA; - Samples triggered by keyboard&#xD;&#xA;    &lt;pre&gt;&lt;code&gt;&#xD;&#xA;----------begin_max5_patcher----------&#xD;&#xA;1910.3oc6a0saihCF85zmBqr6koU3e3uUqzpU6U6KvpU6nQUNAmTZI3Hvoc5&#xD;&#xA;LZlm8EaSRfDHXHjTR6bCDrA6y2we19y1m7saFMdJ+KrzwfeC7IvnQe6lQiTI&#xD;&#xA;ISXT9yiFuj9kYQzT0qMdFe4RVrX7DcdB1WDpzSoKWEkUT4oGudYXbDSn9HXd&#xD;&#xA;hqnhYODFu39D1LgtRw12YMA3IuffpaNYWAeN+KBCTENe5i25fKT170hMEtUd&#xD;&#xA;py4whX5Rl5C9yjPZz3B4jF9UUN136PXOOGeYVe+lajWlbhl9ue6sf+F735TA&#xD;&#xA;XIc0JV.3+R+2f+5el.dkuFLiFClyih3u.DOv.Y7DCrJILdVXFeADb42nx4kG&#xD;&#xA;3YI7D60obZRvlZIJLlMiuNVUUnVxtPhijRgPKEAa6JugIUSv198AACQ2Y0At&#xD;&#xA;Ml8RFFNzqJbwO.v15T4qrVhx0hfUOXUiM6VsMCazl0ur30ULccJgZbV1aqky&#xD;&#xA;GoH.oBZhHhyW0VlwQ4A.IPUOsiSMj9iZ1B29jcpq6nrh9i1RLPeMYfrZ1og3&#xD;&#xA;9F1QQvWrHh0ZyyEWXHVsQVq4Ye7F9CZdCkCN84NXKKYoozErJaAA+Z0c6QMa&#xD;&#xA;jZuaakQBqY1DBt27tuHN0x4XnAAxYTR.7WhA4y2BdfkzduAKEQ45oYHxw7Fv&#xD;&#xA;CvYEVAltd9bVR0QaXUugqmNTa25ICq0r6s93EQCKI2Xys1r2NLh8blkDxiKz&#xD;&#xA;nMZ7NLiTSi4nlSygnGdxq.py3vEQ7YOwBJfuQiCXyaSYvWwh289p2nzkxuYX&#xD;&#xA;7pDVZleJUjC7h0Kccj39pogx4OmNiU6GWI6NZ7hjv.drDDk9RYxaptLGbk8J&#xD;&#xA;utC2p2HltphOVv4QSoIOGlFNMhUpcHy+jFGtjJXhPMdPVa+tvkx.4DkJKVLM&#xD;&#xA;qLdHcVRVLekJJcNOWQNArmCmwdILP7fpr1wVkBOufeSodNkR+X8f1eTVZvTZ&#xD;&#xA;7hhYV0HH00YJe.VK0MmClR4fdTN6UQGNp6w6YU8nuJKnTcV03Ni1L1i9GS5H&#xD;&#xA;aVdBqxzYBaUTl+L34vorzaov6ngyqkZQGmZgVpwjwNHc3616OU1AjK5rPtCJ&#xD;&#xA;hkFK3w8AqBUi7662HoBe+SpOxiWD8ZOvpH2hCGbTZ058OslPCiSEgyd5zX17&#xD;&#xA;0jniSChahYQ9u+YVYPT7mXrSiX0Lpa9tiz3HAHuqah8HQAnij9G4qmvoqAC.&#xD;&#xA;sTyQg8T27caJZ.zQhF.0cFcdVPMYKd5BGVfwzqc2oW8TW5EvX.8R9HRujSz6&#xD;&#xA;E44ZH8h+HRu3Sz6EoWwPyzKz6iH8hNQ5E56YH89dZrWShYHHY8R4dJ1Cg4BQ&#xD;&#xA;PCiY.h+fDy.7T8aIl52BGf9s61fI4I0Uyd0nLdY9Uy6o70Iy1.mM9Nfx7P.K&#xD;&#xA;a8Dwa2usOsiR16EeHLHn79aoZZCCVwCiE4.Tuc8M5ozVbKiS1Lb6Lrvsuo31&#xD;&#xA;aPga4RoMB2H7vB2PSwMYXgajo3dX4eicL0+Fechaj2UJt8uNwcEC7bcfa3UJ&#xD;&#xA;tQ8HtySLy.zGMYJ8YVv8YUSVjY2SEhjvoqE5PYJcTkG4P4h3SoQ4Gw412YrQ&#xD;&#xA;m4WsI1zoGVCVp6.HuYGKzSxTHkI5fJEbTagCBC2Izj5Do.lLLEo.6qAzY+ns&#xD;&#xA;FNQq9Lr5LsxEmkc0FdcG9d+IgfEIb9yrsKgAfpzZvMYMHOqB6MeshInZyA2Y&#xD;&#xA;QlMohecADd1Jo5DSuUyYsV6EZomku06VP8QaTMggplvPcQ5YRQxsQdpN0vR3&#xD;&#xA;6HY.yyOOuoKlwi3IazBgOw1x2SJCBeH1EYK+Ewx0ifyLjBFPmk3AV6EgPZ4o&#xD;&#xA;XiztVv1IxCSJkeJyiObx7PpVzsBEs06QCRq.ArZ7MRyh737nCAkEbo13Kcse&#xD;&#xA;ZDFJmpr2bsKZLnXbcazEnJtpdzXKq2vC0b3lsPUO94u.l9pRq5x1N.et524Z&#xD;&#xA;wSI1cZBCrNMiQ.EKwRZXG2U4FoU2YtV1gt53m5nNCrL1W7sYGVEm54wR7yYq&#xD;&#xA;ZT58EZ2p2eZ2A.k14yfk.cZEktUl3mCJ0dHQoc9bWwX21Qo1mQJkLjnzNeVq&#xD;&#xA;HmbcX4ZHkRNiTJdHQoc+7U0hZIWNVFPomywRQCIJs6G8WtX1zm.nATJ5LRov&#xD;&#xA;g.klxhxpMjTruY2sjBoD36m8nWmGIXiP+0KRxqIN9Hhtv8D0m8DyuODZKdh8&#xD;&#xA;555WwjkIK.PK0Ea+6ravwtdRmzcRWtZ0IUcaXPtclZI4ysYF2heexsm15Sgt&#xD;&#xA;ZsXAIls.0iI0s1r.02VcRLzN+aCgs204oeOvNkMxawgr0CvFcc5bStR6TRHW&#xD;&#xA;o319JE2tWm3VNnr80mVZLUZdDzfC1PSf8visQl.axfC1XSfs8fC1DSfs6OkQ&#xD;&#xA;SuKiFEcVNpdsFC1uULWoAGp91hMJ0EaVo24fFspavNP0CsAQvlPDocPBh8TK&#xD;&#xA;XUu+.t1ae3BfU6tgUHVsHQWmsObhXEa.VcK8NMCUKrDcXnZ6.7PaenGfpkAP&#xD;&#xA;8x4TtmC2PneBA2+PBpaCk+exytY6r8gSEq1FfUxkk+rOCMo48V871QepGNUn&#xD;&#xA;5dNZp0Mtps+eSKMduQYxd3627+7OuiSK&#xD;&#xA;-----------end_max5_patcher-----------&#xD;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA; - Sample triggered by keyboard, but no need to stay pressed. Staying pressed changes the volume. read the comments in the patch for more details.  &#xD;&#xA;    &lt;pre&gt;&lt;code&gt;&#xD;&#xA;----------begin_max5_patcher----------&#xD;&#xA;2681.3oc6cs0iqhiD94z+JrxtiVsyltE1lqiVoUi1mlmWoQq1ybzQNAmzLMA&#xD;&#xA;GAjtOYFMme6qu.ogDf3.DZHZdnSB2Le9qJWtbUEz+9Cyluj8UZxbvO.9DX1r&#xD;&#xA;e+gYyj6RriYYaOa9VxWWERRjm17UrsaoQoyWnNVJ8qox8GwRAoOSAKoIof2H&#xD;&#xA;GV.VtOE7S+sWE6hFARdlwRCh1HOo2dlERA9jC.RjO+j1BRYL.8qOS1mjR84a&#xD;&#xA;wOsfnW.6hY6nwgG.+vi+87aYXPDcEaej79hy1YfuDErk+5iNl4m4ZVTZDYKU&#xD;&#xA;dneLNfDlejcjzU7avluDSWkp59XL7IiE.j7SSCr3KGimL.eN6Zh1uMHJjlJ4&#xD;&#xA;AXgaQRvuIuEP2mvtXCr26W.aeZ9UXH14e7vChOVzQx9e93iff0fCr8bpNRQ7&#xD;&#xA;7KD7JKb+Vpf9VRAIrsTAKtAPCSnK.AQxy6SbXsjF+Y91I638dVL3W4rNX0yj&#xD;&#xA;nMz7lJX69s.N52wEhBoAiKoNnZskzz2DRTCovCZXXznjYWLMg2GHoArnhzsm&#xD;&#xA;qfgwlRh1H6iijcQ4IrUxSjskTd5oDqdlR4p6UIPQ7q4VKK+Obg0AE6KXWDGk&#xD;&#xA;B45JRTQQRRJINMS99DnRBG0LgaZIIYjq4EIbi1M.B4IuAVRIJBaqjueXD95P&#xD;&#xA;FuQxArpwROripPq3vDtz.LeImjmWEOX60NEOKjpmKU7xXcidgFP8rMDglEx.&#xD;&#xA;7LMlBBR.DPrTgislO3lOjWL19ItcDkoC9IrhHLjvuhsTRTB.8chSMWo7GyrF&#xD;&#xA;HZoui+irCr.vsvvoheI5WhpTu0rBl2nSlvMbKnAZi9vz.inuw6Mmw7IAa9Vs&#xD;&#xA;pk7CFw6jUoOhaGqfflEzGw3dTeD1ejRJGS0RJABMkJXDDtcLhmWA8jbklwFi&#xD;&#xA;78B6yFvKX.qJZA1I8DnbXioWyrB5CSOYYsLRsVxQVsiQbkJHPGGIWX9QqmHc&#xD;&#xA;bqwAImMcVlqbxaI21bETCpKJKHOznXRtZTVBtdKJszFqkZ3hijHvnmrFiic9&#xD;&#xA;GWMc.85j1gsyXlNjdfPiECLtzfp7+pkmb6DOgk7jyELvXcM7jYeZx85mYF5z&#xD;&#xA;JBAprm.yFNYNV8UAd8DhcK0PviIBIksYSH8567VZzEcO14zoKdyDtaoowL9L&#xD;&#xA;ZWuWFPbWDwYdiZ4NN8656a0RVZmRODplF0EMlm9ncLR67D0FOlHj5BoPBY6t&#xD;&#xA;PZx7JzCZ2PCkek1p3xJGXXeUAvyB+DB65ZOLQj8mTARcKY2NpO3+k7e8+2+7&#xD;&#xA;6AyaMKLj8lJXd79OXWbPzp.NeIhzB+ZJDX7WnGVxHw9MFluh5TsyKMnsbkuv&#xD;&#xA;rvkX47AGvtFBWRCS31zXs14DR1rrpHSaNZiWhLjvgL1t5olimQkrS6xSB2aY&#xD;&#xA;oVioL751ezzScCHEc6+UEVhLaoioYKwEg5ckBigyOLyl7CChy5hFCqeXaoII&#xD;&#xA;jMzJkff+Z8C7qtG1tIZx66JAqRVCcGcSvJlkg36KlSIFvdKBjMiqLB9Unria&#xD;&#xA;4DCp4ZcrOwu7w07B6.K2udMMtJ+MvsaTtZBQU+VMcX8caiqpaW7dRiy5rY8V&#xD;&#xA;daDDRek2SBXQEXzYyKFfIo0V4p.sMMT4xr.13b3lP1pWn9Etcyl6SWeMsAaG&#xD;&#xA;M58y2nXhBKksP0YFDULUimdeI6CS+R0jS4iulrhV6EWona17MwA9rHAHJckh&#xD;&#xA;cme6D1rUKctHtkmQDYWEWbJiEtjD+ZPRvxPZI4.W+jDErkjRSCT3AYb75B1J&#xD;&#xA;bkKsTaQiH7134jUwbu9J0Tpi7ZEGwm9ZvJ5aA9oOKaq2YqREoQA8lRibJs+l&#xD;&#xA;FAcpUVhubEsENXyK48rwZ1Eu15EZM5ielWE1mMqSs1aZXvWcVgmka6Q8iEsj&#xD;&#xA;MKOgUY5LltKjqOCdMXIM4QB7IRv5Fo15oUTmnUngJaN1p.pkMVvsIhEMEHVR&#xD;&#xA;TJKpCrJrWXUnbxAUZDuCH0ekEsI7PGXUi9fUyxdR9BLl9zZLIHJIMX0KsmYQ&#xD;&#xA;dcjYUqTAoRjYdjVm7LqvIJ1KTZGHV2NRrYoFV4iLbJXInAu.TdR+sr0SX2Hk&#xD;&#xA;VcgScF+Z2Q90REwS4WdN2H2BPeDzqUePul8x7Xl12ezqYePu39P6E45b+Qu3&#xD;&#xA;dfdgt8h+BpkNbeQun9fds6C5EppP6IA8piOC9w62JhoX68Y.h6EdU8HFbm4y&#xD;&#xA;.rOza6kEmAMGd812CvjHWc0DqFIjEGuZdOgsOdUNgkGXEPYz6S4qmH5X719z&#xD;&#xA;6gJ3jS74.e+xw2RJZC72wBhRy.H3yZoob6vMbhhaioItEKlbRha2oItEyWLl&#xD;&#xA;vMRW91dbgant31bbgaCcw83ROoByD0neOtFWVgYhZv83R+tByD0f69b9xrcx&#xD;&#xA;6.pTSlPdk5+E9sg6O0WHoowAK2mpbkoXpJ6Zl6Z3PWJogaBYKIgYoP8XaTpk&#xD;&#xA;OCQm1VO7NKzSkoPBM8pqRAb6J8FGjpZwMduFT9.KRA5u4SV8sJR9tyEKjQSC&#xD;&#xA;0yXjU9mM2EtYkPvlXF6U5wkv.PWpJyVTwupT.2txOPIecJFr95K.A70Hfw8Y&#xD;&#xA;cW7B8PxiJN6RO3D4Q7rxm0lNPRPkFDzP8v6gtTUZrbyJVHKNuvF7LsL7bE0z&#xD;&#xA;fGD6frD+xzvw0DuP7rpdrsJws3mLgFttUWLontVgGX2rxuR1wbTODwHW30Ui&#xD;&#xA;G5zJ+YUdbeVkGJsw45j36pp5UkphptfTkJDxR2fmTY0NIORdorImptGCLU4R&#xD;&#xA;j67xjKOpeJCP+Ew6XAQAVKzzDOz5xWUIpxGSVg1jXJXeh3EvPwVrpWnE8btu&#xD;&#xA;sbTyiqdjGfNvSeMUzSQsxXXBJXpVoPL+btQAZ0zKiSgUWhxivZJRCJ0RCJ0p&#xD;&#xA;VJ8XcO2RJEZeGRolZPol0SoVchRwpm5y6LJEqAkhqmR6VZsQ1YUPjy8Dkhzf&#xD;&#xA;RQ0SocLoUpJvHqPhtWnTnFTJrdJsiklYVYXoRW0TmRSngbbfDkXJ+aCQ46A7&#xD;&#xA;7DOCAWtjhWn+20JL5VoDfxqCd0hHbuQxBmgQVvWX99cMR6YKK+7upUWuazag&#xD;&#xA;WOHVdm9XqV6x0uNx0bvH29kZw8glKb5vsMt9zxUbUUVMyd8Xj8JyXvVf5MI0&#xD;&#xA;9hLUXpQD+EdsOhxTg.1Xcfs0nC1Hcfs4nC1PcfMdzAacxlkIZzAaqoWR8qvB&#xD;&#xA;wjHIyUXhXZfayIJtwSTbiln3dhVCbZBa2oYETzqJI+YETnxmrjNK6crJ8xmJ&#xD;&#xA;FyRx74EtSIoRcy65UzcnyEamJxvFtx0DkEeEUvVkaojamkLbsQqkFn8jtzEQ&#xD;&#xA;aGwDTCHY6M5fT4Jj6lCIDRG8rgkk7zQYZfoIiavvwtxSt5howlrCMrXRKSot&#xD;&#xA;Cq9jktXBMb7jVXZXMhi0Ybm00MrCgvhYAwNxubU+OYPrwPfU6tfUn5MUee.V&#xD;&#xA;aMvpy0gUwSukk5+SL7u7bOtQGgpkiNSadcpkXIFQpRKg+Y9FcEpl8OTgFRZE&#xD;&#xA;pTATXE1CZ.VZpALbC1M0ARlCqAHS7MPhhUolv18cIpbitZ.5Fn80UHUxDR8l&#xD;&#xA;DGVDoyDJCnu.ZvQmXX4xpXVYSXnd7OyLgndQldyAKtkf0QNdvEdbid.qWzeF&#xD;&#xA;mQmrFNrCHf5L8JxZ7gI3.iI6aMl3a7GO7+cDAb4D&#xD;&#xA;-----------end_max5_patcher-----------&#xD;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA;**UPDATE:**&#xD;&#xA;&#xD;&#xA; - To make the sample change (or rotate through a bunch) when repeating the same key, then check the code below. I only gave you the [p keys-sample] subpatch, so you'd replace the one from above with this one. Also, i only showed you one example. You'd have to repeat the same logic for all of them. If you want the sounds to start from the first sample every time, you'll have to add some programming. You could use the object [thresh] to reset if the key is not pressed for X amount of time and make that reset the [counter] object. Here's the patch: &#xD;&#xA;&#xD;&#xA;    &lt;pre&gt;&lt;code&gt;&#xD;&#xA;----------begin_max5_patcher----------&#xD;&#xA;1086.3ocyXt0ipaCDG+Y3SwnzG5K.J9VtTUUo9cnOzpUqpLDyR5lKnDy4rzi&#xD;&#xA;Ne2quD1k8f2Rf0jvCfwNNN+meY73Y3aSmDrr9EQa.7KvCvjIea5jIlgzCLoq&#xD;&#xA;+jfR9KqJ3sloErptrTTIClYulT7hzLd9ZXe8N3q7JIH2Hf15cUYsfrFZk7FI&#xD;&#xA;rtotzbg04MsRP7EQydYdoXl9194hBXC+KB8z4YYpatT.aapepgWVlW8zB3uT&#xD;&#xA;q8p5cEYvtVgYcpW9OhUR3A4lFQa6i5aU8CgDTJQe8mE6g7VnpVpVI0LDYv55&#xD;&#xA;F3OAdoRZRnVMM0yeA7GaDUPI+YA7vJ8UDMOZWoC1XQdkvbEsgF0MX0N0xHKD&#xD;&#xA;RCVB6FccckrhWJLH42ax4EGVjsb4pMJS4uaTp1BbFZQ3L.gi0MXaSR5hP3wt&#xD;&#xA;6IOyrNJKcNBEbzinM+eMOBDdQ3a5Iu5fbP5w99zo5ul8IewJ2nnnFOsG+dso&#xD;&#xA;VxkBX97eKve.AkPMDIjYZRSMfIzMQRGKf3xgUQFkaYKubagv3zqlSCrb250h&#xD;&#xA;lCdpGwp24Qg8H.IgFjYvfBmlFB8Cbohu0DrTssi+jvsGB5ZLPB05gPI5FVn0&#xD;&#xA;LOx9rO.49sB6MDD3zzYWhoiuBSuR7U0C5DemVQADBH.6lIzqgI33HCFHlvIr&#xD;&#xA;zEreXSyILYIu5ofYm15lU3asaxGvptfwdkUj3tHLFjESNI.yIrJWGAPgltO5&#xD;&#xA;ttnTzk.Il+fjrKnCZoO2kEZACxzDkddJ8pHbwF1H4.8Ja3djM3T6o1ogWHa3&#xD;&#xA;NYCdzXiWcXraqhSLzfddlXh33LZyslGVo7+mzhSKzXTLls4v2tLABJvoX6F7&#xD;&#xA;PZE5oG3wzR904yUostsfu5PhH+DrbuImM86QS9tpeayIo0jrNuQnRmVYnfyD&#xD;&#xA;SH9KwjjntcM1lXSCM4C.X3HGvHxiaMhiSONVJouwKhbu8fLxng4SzDhuJzvb&#xD;&#xA;hFZ7HiFpGQSDlbUng5FMi8IvDOhFFMxRizKCMD2ngNxnA6QzPswUw15m6OZv&#xD;&#xA;tQyXGqA4yz15JRhkbYnA4FMiUZa55GQXLfPLUqpRxvPHMU0MwMqhuJ2nv32p&#xD;&#xA;tlPY8LctY8u0ITSFIl9rX+tsdsFSiKFquUi2Ug4oMN87tDHE5UH4QD04gY+a&#xD;&#xA;p7NiH2ZFck0PPYlirHo8nHBL4pJhvrTlr3+g+Teibzi+dypsdWypCPtqdT3M&#xD;&#xA;AkIZk4UbYdc0wyg7tIsIOKSTcrsWlmssV81oSCviNYbekD69SRHx8ml5ijRF&#xD;&#xA;TEQ6ghzEKOjR5V3eiSXlHXwlCLoQIu16yp16P2LJ8NTS2ggHzkiduoI81e1Y&#xD;&#xA;jDZ3kD5LRhN7RBeNIQGbIQNmjXCtjnmSRwCtjN2Ntg83FTOTTzfpnn9vH7kI&#xD;&#xA;IRBQehGBa+6+smFZ58YwWeNslhupSqQzT+nuyE8BOrdb3dD8hc+4xwdGIuLI&#xD;&#xA;o578o+G.igaYz&#xD;&#xA;-----------end_max5_patcher-----------&#xD;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Hope this helps. " ContentLicense="CC BY-SA 2.5" />
  <row Id="441" PostHistoryTypeId="2" PostId="276" RevisionGUID="eaddad2f-4464-4616-a1ca-3460c4f7de7d" CreationDate="2010-03-10T21:02:24.373" UserId="81" Text="For recording and mixing purposes, stay away from Creative and that kind of brands because they will give you a polished sound for &quot;better gaming experience&quot;. &#xD;&#xA;&#xD;&#xA;What you need is a headphone/speaker that has flat sound response. (Does not polish or add characteristics to your mixes.) Sennheiser HD280 Pro  and Beyer DT 770 Pro two of the good options out there." ContentLicense="CC BY-SA 2.5" />
  <row Id="442" PostHistoryTypeId="2" PostId="277" RevisionGUID="4778b84c-f45f-487a-be3a-472485723c27" CreationDate="2010-03-10T22:13:19.000" UserDisplayName="user49" Text="sound is infinite!" ContentLicense="CC BY-SA 2.5" />
  <row Id="443" PostHistoryTypeId="5" PostId="239" RevisionGUID="691e8374-90ef-40d1-9699-50da86d62a75" CreationDate="2010-03-10T22:13:24.970" UserId="61" Comment="edited body" Text="Part of the problem in answering this question is its vagueness. Is your client a film producer? An ad agency creative director? A theatre owner? A club owner looking for a DJ? A museum curator looking for the next interactive exhibit?&#xD;&#xA;&#xD;&#xA;Your demo reel depends on how you answer the above. For film or TV, I'd recommend finding an exciting sequence from a movie or TV show and creating new sound design that is compelling, original and unique. Try to stay away from clichéd ideas and stock library sounds. The people judging your work want to be pleasantly surprised, and they don't necessarily want to watch the entire 2:30 demo to the end to get that response.&#xD;&#xA;&#xD;&#xA;Designing to particle fountains or colors? Eh, that really depends on your target audience. For theatre or museums, maybe, but I believe most potential clients/employers want to experience something they can relate to.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="444" PostHistoryTypeId="2" PostId="278" RevisionGUID="ad4f0b34-1ad1-4ae5-8daa-09666384411d" CreationDate="2010-03-10T22:28:58.283" UserId="40" Text="I'm glad everything can't be recorded!  I'd be out of a job!&#xD;&#xA;&#xD;&#xA;There are so many different ways to record something, and so many different ways to make a sound - so many infinite variables...&#xD;&#xA;&#xD;&#xA;Although it would be nice to have access to a library of sounds that are less accessible or not practical to record (say, sounds 1 mile deep in the ocean, or outer space recordings that Nathan mentioned.)&#xD;&#xA;&#xD;&#xA;That's what keeps it interesting!  I'm not a huge fan of libraries anyways.  Truly organic and original sound is what, in my mind, separates the boring from the tantalizing (although something is to be said for the quick and easy library sound in a pinch or a tight deadline...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="445" PostHistoryTypeId="2" PostId="279" RevisionGUID="7577599a-2c2b-412a-857e-2d89ead10b24" CreationDate="2010-03-10T23:36:35.010" UserId="128" Text="Look into: www.googootools.com (tools for freelancers) they have links to various sound effects libraries. &#xD;&#xA;&#xD;&#xA;cheers. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="446" PostHistoryTypeId="2" PostId="280" RevisionGUID="e08d68be-7cb2-4a75-8c0b-aabe98193fe3" CreationDate="2010-03-10T23:38:14.910" UserId="103" Text="I second the Sound effects bible, the practical art of motion picture sound and raise a Dialogue editing for motion pictures by John Purcell" ContentLicense="CC BY-SA 2.5" />
  <row Id="447" PostHistoryTypeId="2" PostId="281" RevisionGUID="515ff47b-f0b2-4b30-8adb-00c03800085d" CreationDate="2010-03-11T05:05:57.067" UserId="40" Text="Anyone ever seen one of these or played with one before?  Its been floating around for quite some time now.  I found it a few years ago and just stumbled upon it a few days ago.  I'd imagine if you took one of these in a public area you'd probably get some funny looks and perhaps a bit of trouble...&#xD;&#xA;&#xD;&#xA;The physics behind how it works is awesome.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;The PDF gives cross sections and rough instructions on how to build one.  I'd love to hear one sometime, but it looks like quite the project to build one.&#xD;&#xA;&#xD;&#xA;Download the pdf [here][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://colinhartonline.com/wordpress/wp-content/uploads/2010/03/Snooper1.png&#xD;&#xA;  [2]: http://colinhartonline.com/wordpress/wp-content/uploads/2010/03/Snooper2.png&#xD;&#xA;  [3]: http://colinhartonline.com/wordpress/wp-content/uploads/2010/03/ShotGunMike.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="448" PostHistoryTypeId="1" PostId="281" RevisionGUID="515ff47b-f0b2-4b30-8adb-00c03800085d" CreationDate="2010-03-11T05:05:57.067" UserId="40" Text="Really weird DIY shotgun mic (old, yes, but I just found it again...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="449" PostHistoryTypeId="3" PostId="281" RevisionGUID="515ff47b-f0b2-4b30-8adb-00c03800085d" CreationDate="2010-03-11T05:05:57.067" UserId="40" Text="&lt;microphone&gt;&lt;diy&gt;&lt;vintage&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="450" PostHistoryTypeId="2" PostId="282" RevisionGUID="232369d7-116b-490b-833a-e1d09dc1d48f" CreationDate="2010-03-11T11:49:38.420" UserId="81" Text="Looks amazing!&#xD;&#xA;&#xD;&#xA;Whenever I start a DIY project, it usually ends up being a RIY (Ruin it Yourself) Project. So I always prefer an industry standart equivalent which is a better investment in the long-run." ContentLicense="CC BY-SA 2.5" />
  <row Id="451" PostHistoryTypeId="2" PostId="283" RevisionGUID="203fcf4b-4dc2-4468-a723-f132f4237658" CreationDate="2010-03-11T14:36:10.943" UserId="2" Text="I need a bunch of sounds of rugby balls being kicked. I need big, I need small, and everything in between. In the movie, the kicks always happen on the field outdoors. &#xD;&#xA;&#xD;&#xA;I have an idea as to how I want to approach this, but I don't have much time to experiment so I want to get it right the first time. I'm sure there will be some great tips here, even maybe people that have already recorded kicked balls and can advise with specifics.&#xD;&#xA;&#xD;&#xA;**What to Record?** &#xD;&#xA;&#xD;&#xA;Does an actual ball being kicked sound good enough? Would I need to layer with many other sounds? I'm sure slapping the ball with my hand will allow me to get the resonance of the ball. Maybe a nice thump from hitting a bag of sorts, and a slap-ish sounding surface/object would give me the initial contact. Is this enough layers to play with and create lots of varied and full sounds? Any advice? &#xD;&#xA;&#xD;&#xA;**Recording Location** &#xD;&#xA;&#xD;&#xA;Should I go into a studio or quiet outdoors? I have access to a relatively spacious studio and I can empty it out, so I can kick balls all I want. I'm thinking I should go outdoors for the big kicks, and in the studio for the layers mentioned above? Even though the studio is quite well treated, I'm a little worried that I might pickup some slight reflections. &#xD;&#xA;&#xD;&#xA;**Mic Choice and Setup** &#xD;&#xA;&#xD;&#xA;To record the actual kick, does this make sense: Dynamic up close, a shotgun a few feet back, and if outdoors a nice stereo mic a bit further back? &#xD;&#xA;&#xD;&#xA;I would really appreciate some pointers. &#xD;&#xA;&#xD;&#xA;Thanks. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="452" PostHistoryTypeId="1" PostId="283" RevisionGUID="203fcf4b-4dc2-4468-a723-f132f4237658" CreationDate="2010-03-11T14:36:10.943" UserId="2" Text="Tips for recording/designing ball kicks " ContentLicense="CC BY-SA 2.5" />
  <row Id="453" PostHistoryTypeId="3" PostId="283" RevisionGUID="203fcf4b-4dc2-4468-a723-f132f4237658" CreationDate="2010-03-11T14:36:10.943" UserId="2" Text="&lt;sound-effects&gt;&lt;recording&gt;&lt;sport&gt;&lt;kick&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="454" PostHistoryTypeId="2" PostId="284" RevisionGUID="0424f0f7-e040-4fe7-935e-ef2bddd9ba7f" CreationDate="2010-03-11T18:52:29.343" UserId="131" Text="Hi, I currently work in web development, but my most satisfying work experience to date was doing sound production for a band. I'm curious what the path into the sound design industry today is, considering the music industry is broken, and the entertainment industry has a bajillion gatekeepers. I really want to invest in gear, but I'm concerned that it will become an expensive hobby. &#xD;&#xA;Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="455" PostHistoryTypeId="1" PostId="284" RevisionGUID="0424f0f7-e040-4fe7-935e-ef2bddd9ba7f" CreationDate="2010-03-11T18:52:29.343" UserId="131" Text="Paths to Pro work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="456" PostHistoryTypeId="3" PostId="284" RevisionGUID="0424f0f7-e040-4fe7-935e-ef2bddd9ba7f" CreationDate="2010-03-11T18:52:29.343" UserId="131" Text="&lt;finding-work&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="457" PostHistoryTypeId="2" PostId="285" RevisionGUID="7fe13f96-3486-48ee-9ccd-d5b8d39a4fdc" CreationDate="2010-03-11T19:19:16.917" UserId="61" Text="Hi Andrew,&#xD;&#xA;&#xD;&#xA;A few years back I worked on a film with lots and lots of balls being thrown, caught, impacting, etc. Granted it was not a rugby film but I think some of the same principles may apply. The best results came from in-studio recordings with balls of different sizes and densities, ie. kickballs, exercise balls (the really big ones), etc. You can even experiment with items that have similar properties, ie. balloons, to give you a tonality that you may not be able to achieve from just a regular ball.&#xD;&#xA;&#xD;&#xA;Regarding indoor vs. outdoor, I think there is merit to both approaches, but you will probably have more luck with indoor recordings simply due to the quiet nature of a studio vs. having to battle urban noise pollution, birds, etc.&#xD;&#xA;&#xD;&#xA;Mics? Experiment! If you're in-studio, try all of the usual suspects, and maybe even a contact mic somewhere?&#xD;&#xA;&#xD;&#xA;Have fun!" ContentLicense="CC BY-SA 2.5" />
  <row Id="458" PostHistoryTypeId="5" PostId="285" RevisionGUID="4c3ba91d-dd6c-405c-8eba-a747fbc2bfc9" CreationDate="2010-03-11T20:31:27.527" UserId="61" Comment="additional information" Text="Hi Andrew,&#xD;&#xA;&#xD;&#xA;A few years back I worked on a film with lots and lots of balls being thrown, caught, impacting, etc. Granted it was not a rugby film but I think some of the same principles may apply. The best results came from in-studio recordings with balls of different sizes and densities, ie. kickballs, exercise balls (the really big ones), etc. You can even experiment with items that have similar properties, ie. balloons, to give you a tonality that you may not be able to achieve from just a regular ball.&#xD;&#xA;&#xD;&#xA;Regarding indoor vs. outdoor, I think there is merit to both approaches, but you will probably have more luck with indoor recordings simply due to the quiet nature of a studio vs. having to battle urban noise pollution, birds, etc.&#xD;&#xA;&#xD;&#xA;Mics? Experiment! If you're in-studio, try all of the usual suspects, and maybe even a contact mic somewhere?&#xD;&#xA;&#xD;&#xA;Have fun!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;PS&gt; As an addendum to my previous post, I should mention that the balls recorded in-studio were mostly stationary, ie. not being kicked against the wall or something. Find a way to anchor it to the floor and pound on it. You could also try suspending it from a rope or cable and then hit it; that way you'll get longer resonance and some motion." ContentLicense="CC BY-SA 2.5" />
  <row Id="459" PostHistoryTypeId="2" PostId="286" RevisionGUID="f7085b68-d9ef-4fc0-bec6-64f57c69546e" CreationDate="2010-03-11T20:56:08.660" UserDisplayName="user49" Text="If you mean film sound design, it tends to go like this:&#xD;&#xA;&#xD;&#xA; - step 1. do some film and audio education (one to three years)&#xD;&#xA; - step 2. do work experience (one week to one year)&#xD;&#xA; - step 3. attain trainnee position (six months to one year)&#xD;&#xA; - step 4. become assistant sound editor on TV series (one to three years)&#xD;&#xA; - step 5. become sound editor on TV series (one to three years)&#xD;&#xA; - step 6. become assistant sound editor for film (one to five years)&#xD;&#xA; - step 7. become sound editor for film (three to five years)&#xD;&#xA; - step 8. become sound designer for film&#xD;&#xA;&#xD;&#xA;note: &#xD;&#xA; - some people never advance past being a TV sound editor &#xD;&#xA; - some people never advance past being an assistant sound editor &#xD;&#xA; - many people never advance past being a sound editor &#xD;&#xA;&#xD;&#xA;None of these are judgements or criticisms. Anyone with experience will tell you every person in the team is crucial eg an incompetent assistant sound editor can do an awful lot of damage!&#xD;&#xA;&#xD;&#xA;I know of rare cases where eg someone went straight into a trainnee assistant sound editor on films, but the most important factor involved in the years of commitment to an artform such as film sound design is finding out what you are actually good at. It may turn out you are an awesome foley editor &amp; that becomes your artform, or it may be dialogue editing is the one for you...  &#xD;&#xA;&#xD;&#xA;Sound Design, like mixing films requires knowledge &amp; experience of all roles in film sound post and in film making itself, from screenwriting though production &amp; editing to post... &#xD;&#xA;&#xD;&#xA;The merit of investing in gear in the early days is you need to learn to use the tools, so that when you get work experience or a trainnee position you aren't still learning how to use the software etc - you are learning why you should do certain things certain ways. In that sense your most important mission is to find an experienced mentor and/or team to become a part of. Most sound designers &amp; supervising sound editors tend to evolve a tight team of people they prefer to work with on every project.&#xD;&#xA;&#xD;&#xA;Note: every person who works in the film industry got there via a unique path, so I am obviously generalising but this is all just what I have observed over the years... &#xD;&#xA;&#xD;&#xA;Ahhhh overnight success, its takes decades!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(me personally: went to film school in 1990, sound designer on feature film for first time 1997 - in those seven years I was totally focused on becoming a sound editor ie I stopped all music projects, moved cities to be where the work was etc...)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="460" PostHistoryTypeId="2" PostId="287" RevisionGUID="24fc2dd7-58cb-4e4b-8e61-18541d41085f" CreationDate="2010-03-11T21:06:35.170" UserId="134" Text="As one of the ppl on the Maxuino team, it might be helpful to know that we actually are doing a couple things that you will find most useful. First, we are writing the translation from the current javascript for max over to compiled Max externals and are expecting/hoping for a 10fold increase in speed.  Currently anything changing quicker than every 20ms starts to become shakey.  SO that problem should get much better.  Secondly Ali Momeni has done a great job making a maxuino GUI that you can use in Max for Live, just add it to the rack!  We will roll these changes out very soon, in the next week or so.  The GUI change might be ready even sooner.  We look forward to any and all feedback on the patch and programming, we are actively trying to make this a great and easy way to bridge the Max &lt;-&gt; Arduino gap.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="461" PostHistoryTypeId="2" PostId="288" RevisionGUID="1a284897-892e-423e-bd3e-e56fea9d4c0f" CreationDate="2010-03-12T00:40:27.683" UserDisplayName="user49" Text="I would definitely do both (ie indoors &amp; outdoors)&#xD;&#xA;&#xD;&#xA;Outdoors &amp; standing back a bit from the kick may well capture more low end &amp; impact... And depending on the action onscreen, having a wider stereo recording could be very valuable for reinforcing perspective.. When you get there do some hand claps &amp; see if there are any interesting slap echos off near buildings etc....&#xD;&#xA;&#xD;&#xA;I would also try doing the kicks with a partially flat ball as it will have more oompf to it (obviously do all your recording with the normally inflated ball first) - try 1/4 flat, 1/3 flat etc... I have a soccer ball that sounds way better half flat....&#xD;&#xA;&#xD;&#xA;Also worth trying while you are outdoors: I would record some grass swishes to optionally layer under the kick, partly leading into the kick as a swish of the leg moving &amp; kick, but they may be handy for other things too.. If you are outdoors its quite easy to get interesting stereo movement in such a swish, try using a branch or a stick and do fast drags across the ground, or around the mic (without moving yourself)&#xD;&#xA;I did a rugby movie a few years ago &amp; took a hammer out into a paddock &amp; recorded various grass clawing sounds with it - it was a very useful sound for the traction in scrums ie the boots tearing into the ground when the pressure comes on....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="462" PostHistoryTypeId="2" PostId="289" RevisionGUID="eba74245-08c1-44ed-ac10-7a4011de2cc4" CreationDate="2010-03-12T01:23:54.873" UserId="28" Text="[The Fat Man on Game Audio][1] by George Sanger&#xD;&#xA;&#xD;&#xA;This book is surreal and fantastic. Such worthwhile advice for musicians, engineers, and anyone wanting to work as a professional creator. Not to mention, it is wildly amusing.&#xD;&#xA;&#xD;&#xA;Good luck finding a copy, though. I bought mine through an Amazon used vendor, and it arrived with a library barcode stuck on it! Oops.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Fat-Man-Game-Audio-Goodness/dp/1592730094" ContentLicense="CC BY-SA 2.5" />
  <row Id="463" PostHistoryTypeId="2" PostId="290" RevisionGUID="c3445d70-429f-402b-90f6-220264b44ece" CreationDate="2010-03-12T03:47:40.567" UserId="132" Text="For some reason, I always have an abundance of zip ties." ContentLicense="CC BY-SA 2.5" />
  <row Id="464" PostHistoryTypeId="2" PostId="291" RevisionGUID="ba8d6a88-c455-4dbb-940d-6ff5085f520e" CreationDate="2010-03-12T06:04:46.690" UserId="40" Text="So, I felt rather adventurous today, and, having successfully made a hydrophone earlier this week, I felt fairly confident in my building skills as well.  So, I decided to attempt to make one of these. The article calls for aluminum tubing, but although I felt confident, I didn't feel confident enough to drop $200 on this project.  I, like Selcuk, often turn my DIY projects into RIY projects.  So I decided to make a prototype out of PVC pipe (which dropped the construction price to $25 - a admission fee worth the fun even if I fail...).  So, if it works, and fairly well, I may venture into making one out of aluminum.  We'll see...&#xD;&#xA;&#xD;&#xA;I bought the pipes today, as well as epoxy and such.  I've gotten the main pipe system almost put together, but I ran out of epoxy around midnight, so I'll give it a rest til I can get some more tomorrow.&#xD;&#xA;&#xD;&#xA;Here's what I have so far:&#xD;&#xA;![alt text][1]&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;Once I'm done with the project, I'll post a blog about the whole process, as well as recordings (however they turn out...)&#xD;&#xA;&#xD;&#xA;Wish me luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://colinhartonline.com/wordpress/wp-content/uploads/2010/03/SnooperConstmed1.jpg&#xD;&#xA;  [2]: http://colinhartonline.com/wordpress/wp-content/uploads/2010/03/SnooperConstmed2.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="465" PostHistoryTypeId="2" PostId="292" RevisionGUID="19b2defc-2294-40a6-a708-8d6897953387" CreationDate="2010-03-12T06:23:42.680" UserId="40" Text="Not that I can top Tim's answer (nice), but one rule seems to be universal in almost every seasoned sound designer's story (that I've heard); start out by doing work for free.  Working for free sucks, but it gets you experience, a resumé, and a reputation (hopefully a good one).  After doing that for a while (a few months to a year), you can start getting referred, getting paid, etc...&#xD;&#xA;&#xD;&#xA;That's just the first stepping stone though.  Refer to Tim's post for the rest..." ContentLicense="CC BY-SA 2.5" />
  <row Id="466" PostHistoryTypeId="2" PostId="293" RevisionGUID="c6d55321-5f6d-4cc3-80ca-24b3c0a939e6" CreationDate="2010-03-12T12:19:43.563" UserId="37" Text="&gt;  I really want to invest in gear, but I'm concerned that it will become an expensive hobby.&#xD;&#xA;&#xD;&#xA;Maybe yes, comparatively expensive, but compared to what? Web development is ultra-cheap, compared to everything else. apart from computer and software there are hardly any other expenses. In sound you will eventually *have* to invest in microphones, recording equipment, and more often than not - niche software. And even then, it's still cheap, compared to what, say, video people need to invest in. When you get to the point of having a place to do this in, that's when things can become more expensive than not.&#xD;&#xA;&#xD;&#xA;Myself, I'm taking purchases slow and thinking twice before each one. I've had the luck to see what's used by the pros very early. I believe it is possible to end up with all the essential gear even on a really tight budget. It won't cover all the tasks, but it's not my aim anyway. The same brand names come up over and over again, but a) there are alternatives and b) successful designs tend to get imitated, replicated, or plain stolen by vendors willing to offer them at a lower price. Then there's that specific client mindset, so more often than not one would be wise not to say what they use :) &#xD;&#xA;&#xD;&#xA;In any case it is essential to think of gear as an investment. some will last, some won't. Least you can do is have it pay for itself before it's out of service.&#xD;&#xA;&#xD;&#xA;I think of time as the most expensive element. I mean, 10 years! So any journey, any idle time, any downtime, becomes valuable: reading is high on the list of activities, so is learning and experimenting with the tools, building and organising a library, and so on. In my book, knowledge and flexible thinking are the superpowers for this activity. For everything else there's a way around. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="467" PostHistoryTypeId="2" PostId="294" RevisionGUID="0a79834f-889a-459f-a144-ebc28cfaa581" CreationDate="2010-03-12T20:34:00.817" UserId="112" Text="yes recording can get you some weird looks for sure&#xD;&#xA;&#xD;&#xA;I've used the Microtrack before for guerilla recording.. placed in a coat pocket with the T-shaped mic sticking out, but of course you have to remain very still&#xD;&#xA;&#xD;&#xA;Other times I've pretended its a cell phone, like I'm looking at it scrolling through messages, no one knows the difference :)&#xD;&#xA;&#xD;&#xA;Or, walked into a store to capture ambiance and just placed it on a shelf behind some soap or whatever and walked away for a few minutes&#xD;&#xA;&#xD;&#xA;Once I turned it on and put it in my coat as it went through the X-ray machine at the airport .. haha, came out the other side still recording, probably one of the only recordings of the insides of a working x-ray machine " ContentLicense="CC BY-SA 2.5" />
  <row Id="468" PostHistoryTypeId="2" PostId="295" RevisionGUID="582f4c0f-d6b4-4535-879c-f0b68461eff3" CreationDate="2010-03-12T22:27:49.433" UserId="28" Text="For anyone who is a big library user, (like me) you might appreciate this website. It is an online database of libraries from around the world. It will tell you how far away are the nearest copies of any book.&#xD;&#xA;&#xD;&#xA;[Webcat.org][1]&#xD;&#xA;&#xD;&#xA;It's especially useful if you live near colleges and universities where you can at the least go and peruse for a couple of hours.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.worldcat.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="469" PostHistoryTypeId="2" PostId="296" RevisionGUID="5db98099-3506-46d9-b46d-40a71c9148de" CreationDate="2010-03-12T23:20:13.900" UserId="81" Text="Recorded some football kicks a while ago. I can say sometimes barefoot without shoes gives you a better &quot;thump&quot;. I have also filled a sports bag with wet clothes and hit that with a thick stick. That worked good as well as covering the ball with a thin wet towel and hitting it. Definitely increases the &quot;squash&quot; factor. :)&#xD;&#xA;&#xD;&#xA;These worked for my situation but in your case you might have to consider which angle the kicker is hitting the ball since a rugby ball is not sphere and you would expect different sounds from different sides of the ball. &#xD;&#xA;&#xD;&#xA;I used a combination of a dynamic and a condenser mic together." ContentLicense="CC BY-SA 2.5" />
  <row Id="470" PostHistoryTypeId="5" PostId="293" RevisionGUID="69e149e2-2d05-4c59-b8e1-1a8214705993" CreationDate="2010-03-13T01:19:33.580" UserId="37" Comment="deleted 22 characters in body" Text="&gt;  I really want to invest in gear, but I'm concerned that it will become an expensive hobby.&#xD;&#xA;&#xD;&#xA;Maybe yes, comparatively expensive, but compared to what? Web development is ultra-cheap, compared to everything else. Apart from computer and software there are hardly any other expenses. In sound you will eventually *have* to invest in microphones, recording equipment, and sometimes niche software. And even then, it's still cheap, compared to what, say, video people need to invest in. When you get to the point of having a place to do this in, that's when things can become more expensive than not.&#xD;&#xA;&#xD;&#xA;Myself, I'm taking purchases slowly and thinking twice before each one. I've had the luck to see what's used by the pros very early. I believe it is possible to end up with all the essential gear even on a really tight budget. It won't cover all the tasks, but it's not my aim anyway. The same brand names come up over and over again, but a) there are alternatives and b) successful designs tend to get imitated, replicated, or plain stolen by vendors willing to offer them at a lower price. Then there's that specific client mindset, so  often one would be wise not to say what they use :) &#xD;&#xA;&#xD;&#xA;In any case it is essential to think of gear as an investment. some will last, some won't. Least you can do is have it pay for itself before it's out of service.&#xD;&#xA;&#xD;&#xA;I think of time as the most expensive element. I mean, 10+ years! So any journey, any idle time, any downtime, becomes valuable: reading is high on the list of activities, so is learning and experimenting with the tools, building and organising a library, and so on. In my book, knowledge and flexible thinking are the superpowers for this activity. For everything else there's a way around. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="471" PostHistoryTypeId="2" PostId="297" RevisionGUID="a629c80a-6a71-4cd6-99f7-7b5220c8d3fc" CreationDate="2010-03-13T01:23:12.340" UserId="137" Text="Highly recommend using various flat and inflated balls with leather and synthetic coverings. I ended up using a mixture of barefoot kicks (hurts by the 20th time you have done it) and soft leather shoes as well as a punching bag impacts." ContentLicense="CC BY-SA 2.5" />
  <row Id="472" PostHistoryTypeId="2" PostId="298" RevisionGUID="85a166c9-2ea5-4ad4-b181-ff46d5e8435f" CreationDate="2010-03-13T10:10:25.867" UserId="2" Text="Just to clarify, we're not talking about recording bands or doing their live sound. Also, sound design is not just for film. I will be generalizing a bit here, and making it &quot;earning money in sound&quot; (on-set recording, building synth presets, sonnifying websites, game sound, sound to picture, etc.)&#xD;&#xA;&#xD;&#xA;My perspective is different, I'm not working in high-end productions (big-ish for South Africa though), and I did not follow the traditional route mentioned above. I 'm definitely following a legitimate and common path for today though. Bare in mind that I'm not even remotely close to the level of Tim. If Tim where the size of the earth, in comparison, I'm a pea cut in four. However, I'm doing exactly what I want to be doing in sound, and I'm earning decently (for my age, with no kids or bonds or serious stuff like that). &#xD;&#xA;&#xD;&#xA;There is a really wide spectrum of opportunities in sound. Thanks to the move to digital, film-making (and other mediums) has become somewhat democratized. Anyone with a bit of equipment can get going to quite an okay standard. So this means that small independent directors will probably want a small independent sound designer. Or an iPhone app might need a few sounds. You're currently a web developer, so it's an industry you know and you can probably find work designing sounds for websites. You could even charge a bit extra to your current clients to have their site sonnified. These are all small steps towards building a portfolio, practice and connections. You will grow with these connections, make sure they keep coming back to you and years down the line you will have a steady income from projects coming your way. &#xD;&#xA;&#xD;&#xA;With a small investment of a [DAW][1], a sound card, a mic, and monitors you are well on your way to being able to offer a service that people will pay for. You can't charge much, but you can try earn enough to pay back the gear and invest into better gear. There are free or cheap alternatives to almost every piece of software and plugin. For hardware, as georgi.m says, you can find cheaper alternatives. &#xD;&#xA;&#xD;&#xA;As Collin says, working for free is a great way to get experience without a huge amount of worry of screwing up. That said, I think it's better to charge a nominal fee like $50, this will give the person you're working with a feeling that you have value, and the next time a job will come in he might hire you for $100. If you work for free too much, that jump to becoming a paid professional might be a bit harder. It took me a long time to get over the &quot;I have no value and I should work for free&quot; attitude.  &#xD;&#xA;&#xD;&#xA;I think studying is really important. It gives you first of all an introduction of what you should know, also a playground to practice, but most important of all -- it gives you connections. Almost all paid work I have gotten has come from connections (directly or indirectly) I had made in film school. During my studies I worked super hard and people liked working with me, they are all working in the industry now and this brings me a fair amount of work. &#xD;&#xA;&#xD;&#xA;Last point, some places are harder to succeed in than others. I think Caesar said something along the lines that he'd rather be the emperor of a small unknown town than be a common citizen in Rome. But we have internet now so good sound design opportunities may arise easier :-) &#xD;&#xA;&#xD;&#xA;Good luck. &#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Digital_audio_workstation" ContentLicense="CC BY-SA 2.5" />
  <row Id="475" PostHistoryTypeId="2" PostId="300" RevisionGUID="2c6f67a3-083f-4e3d-95b0-461e57969d4f" CreationDate="2010-03-13T12:32:26.300" UserId="54" Text="Hello everyone.&#xD;&#xA;&#xD;&#xA;My budget isn't large and I'm looking to get together a little on location sound get together quickly for a possible job that is coming up. Now, as usual with me, I jump before I can even walk, so I may of landed myself with a small on location sound job, before even having proper kit. It's for a local documentary media company that seems to deal mostly with interviews and mini multimedia pieces surrounding different locations (mostly inside locations it seems from their promo videos). Doesn't look like anything too taxing (I hope).&#xD;&#xA;&#xD;&#xA;Now, I know this stuff is expensive. I'm presuming I need the option to have a portable mixer to go into a camera as well as a digital recorder to record seperately. I'm presuming I need a shotgun mic of some sort which has minimal handling noise and definitely wind protection. But I don't have much money here and am looking for practical solutions that are a combination of decent enough quality, portability and value.&#xD;&#xA;&#xD;&#xA;At present I own the Zoom H2 (for recording ambiances and stereo sound effects and used for my sound design), I have a Mac laptop, Apogee Duet with a AKG C414 and Shure SM58 microphone... this is for my music and sound design... I'm presuming none of this will be usual on a set.&#xD;&#xA;&#xD;&#xA;Any help, advice, information, experiece at all to help me get together some kit... Or especially advice on something that can mix, record (or both?) into a camera (or not) would be great!" ContentLicense="CC BY-SA 2.5" />
  <row Id="476" PostHistoryTypeId="1" PostId="300" RevisionGUID="2c6f67a3-083f-4e3d-95b0-461e57969d4f" CreationDate="2010-03-13T12:32:26.300" UserId="54" Text="Budget not large, really need to get an on location sound kit together for a possible job!" ContentLicense="CC BY-SA 2.5" />
  <row Id="477" PostHistoryTypeId="3" PostId="300" RevisionGUID="2c6f67a3-083f-4e3d-95b0-461e57969d4f" CreationDate="2010-03-13T12:32:26.300" UserId="54" Text="&lt;location&gt;&lt;recording&gt;&lt;equipment&gt;&lt;budget&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="478" PostHistoryTypeId="2" PostId="301" RevisionGUID="0d9e8e9c-89ed-4174-b9e3-047d570e38fc" CreationDate="2010-03-13T13:24:40.697" UserId="103" Text="If possible have a talk with the director to assess what kind of shoot and location you're going to be working, to avoid buying or renting gear that is not indispensable for the gig.&#xD;&#xA;If they want to just record to the camera or to a recorder as well; is it a guy talking to the camera? If it is maybe you can get away with renting a lav, or if its mostly tight shots, renting a rode ntg3 + blimp might be a good option.&#xD;&#xA;&#xD;&#xA;There's nothing wrong with using a laptop, but if you'll be moving a lot this can get cumbersome, especially outside without a cart.&#xD;&#xA;&#xD;&#xA;Can you give more details about the shoot?" ContentLicense="CC BY-SA 2.5" />
  <row Id="479" PostHistoryTypeId="2" PostId="302" RevisionGUID="85262c8b-2c7a-44d5-b6c7-849b548e9b00" CreationDate="2010-03-13T15:10:26.643" UserId="132" Text="For very loud sound sources I am a big fan of these:  http://www.remoteaudio.com/high_noise_headset/&#xD;&#xA;&#xD;&#xA;If you are out in the field recording anything they enable you to keep the volume low and still hear everything.  All too often recordists are cranking their headphones." ContentLicense="CC BY-SA 2.5" />
  <row Id="480" PostHistoryTypeId="2" PostId="303" RevisionGUID="d67bcd33-1288-4b1d-b0f9-3c581da482e9" CreationDate="2010-03-13T15:16:55.857" UserId="132" Text="I often pop my DPA 4060s in my hat.  I have a hat with mesh sides that does the trick fairly well.  I'll often wear earbuds and run the cables down the same path.  It seems to do the trick fairly well.&#xD;&#xA;&#xD;&#xA;I recently took them to do laundry and no one was the wiser:&#xD;&#xA;&#xD;&#xA;http://sepulchra.com/blog/?p=904&#xD;&#xA;&#xD;&#xA;M." ContentLicense="CC BY-SA 2.5" />
  <row Id="481" PostHistoryTypeId="2" PostId="304" RevisionGUID="0eb4c18f-612b-4c23-a9ed-33a4e11b69c9" CreationDate="2010-03-13T15:31:13.660" UserId="132" Text="I've have a set Schoeps CMC5's with a variety of different capsules.  I am most often running them in an MS configuration with an MK4 (card) as the mid, but sometimes I like to mix things up with the MK41 (super-card).  I love my schoeps rigs and I've had them in all sort of weather conditions without issue.  I love em.  I just wish they had the hot output the MKHs do." ContentLicense="CC BY-SA 2.5" />
  <row Id="482" PostHistoryTypeId="2" PostId="305" RevisionGUID="3729253e-cadb-4480-ade3-f6d112078302" CreationDate="2010-03-13T16:04:29.950" UserId="132" Text="I love the sound of the AEA decoders, but I'm often just doing it in software these days." ContentLicense="CC BY-SA 2.5" />
  <row Id="483" PostHistoryTypeId="2" PostId="306" RevisionGUID="b3cfef62-0ffa-4c47-8419-a1ae868aa855" CreationDate="2010-03-13T18:06:54.667" UserId="40" Text="Where are you located (UK I assume from your web address)?  I know here in the US you can rent production gear for pretty cheap.  A few years ago I rented a Sound Devices 302 mixer with a MKH416 shotgun w/ Zeppelin system in NYC for about US$50/day.  Very cheap, considering it would cost about $3000 to buy that gear.&#xD;&#xA;&#xD;&#xA;Also, most production companies are used to paying gear rental on top of your rate.  If you don't own the gear, they just pay for the rental from the rental house.  If you do own the gear, they usually pay a rental fee to rent it from you.  So you'd get your day rate + rental rate, which around here can start getting up to $750 - $1000 / day on bigger gigs. Since its low budget, this may not apply, but it could be worth asking about.&#xD;&#xA;&#xD;&#xA;Renting is the cheapest way to do it if it's only a 1 or 2 day shoot.&#xD;&#xA;&#xD;&#xA;From what you're saying about the shoot, I'd probably bring a small mixer, such as a Wendt X3 or Sound Devices 302, a shotgun (I prefer the Sennheiser MKH416 or Sanken CS-3e for location interviews, as they reject the most ambient noise for their size), and 2 lav kits.&#xD;&#xA;&#xD;&#xA;Is the crew planning to record straight to camera?  If so, I'd go hard wire.  Nothing can screw you up more than trying to do a wireless hop to camera, unless you have an extremely high end camera hop (~$5000+).  From what you're describing though, it wouldn't seem to be a problem to hard wire.  If they don't want to go to camera, for whatever reason, you'll need a recorder too.  Your Zoom could do the trick, but you'll be sacrificing some fidelity, and you won't have Time Code and Meta Data, so it'll cost you a bit in post.  If you need TC and Meta Data, go with something like a Sound Devices 702T, which you can usually rent for around $100/day.  Again, you probably don't need this, as I'm guessing they'll want to record directly into the camera.&#xD;&#xA;&#xD;&#xA;Hope this helps!  Let me know what you end up doing, as I'll probably have a few more things to add depending on which route to go." ContentLicense="CC BY-SA 2.5" />
  <row Id="484" PostHistoryTypeId="2" PostId="307" RevisionGUID="4d44fdb6-7304-42d7-8490-4af1cf8f9dff" CreationDate="2010-03-13T19:53:34.940" UserId="131" Text="Awesome, thanks guys. I should go link up with some film students about working with them. I really can't afford to go back to college, I've poured over the Yamaha Sound Reinforcement book several times, I much prefer learning on my own as opposed to forced education. &#xD;&#xA;&#xD;&#xA;Linking it up with what I do now is an interesting idea. Most of the time, I find sound on websites to be completely annoying. One company I worked for demanded to have a stream of audio AND an autoplay youtube on their home page! It's no wonder they had &lt; 100 hits a day, and people tended to leave instantly. But, linking up with apps and games seems to be a good path.&#xD;&#xA;&#xD;&#xA;Overall, I would like to get into making music, of course, but my tastes run a little niche for commercial appeal. Creating sound effects, etc, is something I think I could do very well at. I currently live in Minneapolis, having fled joblessness in the east coast. There seems to be a ton of sound industry here, so lets see where it can go.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="485" PostHistoryTypeId="2" PostId="308" RevisionGUID="0d651d4e-9511-48d2-bd99-a6b1d7c1ec04" CreationDate="2010-03-13T22:11:18.577" UserDisplayName="user49" Text="I mostly use a Sanken CSS5 as thats what I have but I plan to buy an MKH 80X0 rig (so i can do MS and discrete stereo) sometime in the not too distant future..... but I do also sometimes take my MKH70 which is a long shotgun mic  and is very directional so can be good for extracting a specific element from a locations ambience....&#xD;&#xA;&#xD;&#xA;Back in the day I used to use two MKH416s and although I don't like that mic now I did like the idea of having two discrete mics which I could listen and manually choose the stereo field I wanted to record. If you stand still &amp; slowly move each mic you defintiely find sweet spots for each mic so the stereo image is 'interesting'&#xD;&#xA;&#xD;&#xA;Its often the thing with recording ambiences - you aren't there to document what a location sounds like; you are there to record an interesting version of it to later layer with other elements... The number of times I've been to the location a scene was shot and despite the location looking great, the natural ambience was not so interesting...&#xD;&#xA;&#xD;&#xA;Having a mic stand or two can be very useful for long takes, as can having spare cables - I recorded some great swamp ambiences down south but on take one I got eaten alive by sandflies (local version of mosquito) - take two I ran cable &amp; sat in the car with the windows up!&#xD;&#xA;&#xD;&#xA;I consider it the ultimate form of meditation - there's nothing like setting up your mics in a forest, lieing down &amp; slowing your breathing while you listen! A number of times I've flinched when recording because I heard a bird launch &amp; swoop me, only to open my eyes &amp; realise its 100m away!&#xD;&#xA;&#xD;&#xA;Also worth noting - as any nature photographer will tell you, it can take up to 20 minutes of quiet before normal bird life returns.. so don't go stomping into a location, slamming car doors etc and expect to immediately hear pristine nature!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="486" PostHistoryTypeId="2" PostId="309" RevisionGUID="c12fbc8b-3e89-4f62-888c-e73d6d5c4c9f" CreationDate="2010-03-13T22:13:59.180" UserDisplayName="user49" Text="the 'strange' aspect can be the context it was recorded in, or the actual sound recorded..&#xD;&#xA;come on - weird me out!" ContentLicense="CC BY-SA 2.5" />
  <row Id="487" PostHistoryTypeId="1" PostId="309" RevisionGUID="c12fbc8b-3e89-4f62-888c-e73d6d5c4c9f" CreationDate="2010-03-13T22:13:59.180" UserDisplayName="user49" Text="What's the strangest sound you've recorded?" ContentLicense="CC BY-SA 2.5" />
  <row Id="488" PostHistoryTypeId="3" PostId="309" RevisionGUID="c12fbc8b-3e89-4f62-888c-e73d6d5c4c9f" CreationDate="2010-03-13T22:13:59.180" UserDisplayName="user49" Text="&lt;record&gt;&lt;strange&gt;&lt;weird&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="489" PostHistoryTypeId="2" PostId="310" RevisionGUID="82fc5c6d-e7d6-4927-a6ee-d35f15784963" CreationDate="2010-03-13T22:18:20.873" UserDisplayName="user49" Text="I often read of the UK police overstepping the mark with photographers in public places, in the name of anti-terrorism... How about you? Any of the constabulary ever hassled you? Vigilantes? Yokels with pitchforks?" ContentLicense="CC BY-SA 2.5" />
  <row Id="490" PostHistoryTypeId="1" PostId="310" RevisionGUID="82fc5c6d-e7d6-4927-a6ee-d35f15784963" CreationDate="2010-03-13T22:18:20.873" UserDisplayName="user49" Text="Have you ever had trouble with the authorities while recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="491" PostHistoryTypeId="3" PostId="310" RevisionGUID="82fc5c6d-e7d6-4927-a6ee-d35f15784963" CreationDate="2010-03-13T22:18:20.873" UserDisplayName="user49" Text="&lt;field&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="492" PostHistoryTypeId="2" PostId="311" RevisionGUID="336b2f08-d14e-4aee-8d48-96f279701cba" CreationDate="2010-03-13T22:35:54.753" UserId="40" Text="Every time I go through airport security with my mbox, I get stopped and they swab it and put it in that explosives testing machine.  For about a year and a half, every time they did that, it came up positive for dynamite.  The first time this happened, I was put in this holding area and the TSA guys called an FBI agent down who questioned me for like 30 minutes before they let me know.  Still have no idea why this happened.  The only thing I could think of is that I lived a block away from a building demo in NYC at the time.&#xD;&#xA;&#xD;&#xA;I've also been asked to demonstrate the functionality of my Sanken CSS-5 a few times to prove it wasn't a weapon, since it looks quite like a gun with it's pistol grip on.&#xD;&#xA;&#xD;&#xA;I've been pulled over before while handing a fishing rod with a mic on it hanging 10 feet off the back of a panel van to get a medium perspective exhaust sound.&#xD;&#xA;&#xD;&#xA;I've been chased away from train tracks while trying to use a contact mic to get rail sounds&#xD;&#xA;&#xD;&#xA;That's all I can think of right now.  I've heard some great stories about authorities before.  Hopefully we'll get some good ones here!" ContentLicense="CC BY-SA 2.5" />
  <row Id="493" PostHistoryTypeId="2" PostId="312" RevisionGUID="84df889f-c53a-4987-8393-1e1193e4ccb7" CreationDate="2010-03-14T01:28:28.907" UserId="76" Text="Wow- I have a mic box which has a small cardboard box (about the size of an average hardcover book) that I keep my inline attenuators, a Shure stereo mount, a Behringer cable tester, mic stand thread adaptors and wrap ties (amoungst bits of foam and other junk). It is a part of my general load out bin which usually has 4 zeppelins, a SASS, the CSS5, VP88 and 3 Oktavas.&#xD;&#xA;&#xD;&#xA;As to what I always carry- It depends on where I am really. If I am in the city or on federal property it will be very different from being in the desert.&#xD;&#xA;&#xD;&#xA;the things to always have though are a knife and water." ContentLicense="CC BY-SA 2.5" />
  <row Id="494" PostHistoryTypeId="2" PostId="313" RevisionGUID="8e6800fb-e3c7-4ba7-a2e6-df86784e7982" CreationDate="2010-03-14T02:27:10.833" UserId="18" Text="Strangest thing was probably when I was recording big cats.  One of the cougars started choking on a piece of meet and vomited it up.  Wasn't expecting to get that!" ContentLicense="CC BY-SA 2.5" />
  <row Id="495" PostHistoryTypeId="2" PostId="314" RevisionGUID="9849544f-7b14-458a-b8b4-540dc5449a58" CreationDate="2010-03-14T02:30:11.777" UserId="18" Text="It wasn't me, but when I worked on the Quantum of Solace game, one of our sound designers went to the LA airport (LAX) to get ambiences.  He was just walking the streets near the airport, not even on airport grounds, but it didn't take long for airport security to stop him, check his ID, and tell him to move on.  That's the reason he was the one recording there and not me :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="496" PostHistoryTypeId="5" PostId="255" RevisionGUID="87a489c0-64e6-4c9b-bf4b-56e12b7ab7fb" CreationDate="2010-03-14T07:17:30.390" UserId="18" Comment="edited body" Text="I used to carry anything and everything, and 2 of everything!  Even just for day to day recording.  I still do if I'm doing something big like a gun shoot.&#xD;&#xA;&#xD;&#xA;Lately, I've really slimmed the rig down.  I bought a Timbuk2 messenger bag that can hold my recorder (744T), 191 in the zeppelin (with cable), the 191 Matrix box, and my Beyer headphones.  I have everything in the bag, ready to go.  All I need to do is open the bag, turn the 744 on, pull the mic out, and I'm rolling. &#xD;&#xA;&#xD;&#xA;That's all I carry most days.  Way more important to me these days to be fast and light vs prepared for anything.  Again, on a big shoot (guns, animals, etc) it is a very different story, I load up the truck!  What I pack is not all that different from what you guys have already mentioned.&#xD;&#xA;&#xD;&#xA;Oh, and I've finally stopped using Portabrace bags.  Got so sick of all the noisy velco and how non ergonomic they have become.  I remember my Tascam DAP1 bag was awesome.  The bag for the Fostex FR2 is terrible, and the 744 bag is only marginally better.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="497" PostHistoryTypeId="2" PostId="315" RevisionGUID="5d19d5b3-2151-44cb-8d1f-52e8a8a99dab" CreationDate="2010-03-14T10:20:08.420" UserId="96" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;Thanks for all your answers!  :) I found a guy that builds its own contact mics, they seem rugged enought to be plunged into some soda water so that sort of mics would be interesting I guess to capture very quiet sounds or sounds you find in unusual environments. here is the link: http://www.getlofi.com/?page_id=1479&#xD;&#xA;&#xD;&#xA;Watch the video, pretty cool&#xD;&#xA;&#xD;&#xA;@Selcuk Can Guven&#xD;&#xA;&#xD;&#xA;By sounds you cannot ear I'm talking about their volume being so quiet that you cannot ear them, or sounds that exist in environments that sound technology don't have access to (yet) not sounds that fall out of the human earring range in which case yes it would be absurd to try. Check that cool Nasa link:http://www.nasa.gov/vision/universe/features/halloween_sounds.html&#xD;&#xA;That's just to illustrate that sounds that you cannot ear can indeed be captured and played back.&#xD;&#xA;&#xD;&#xA;I'm still trying to find that link about those guys that invented that suction mic I'm talking about above but with no luck... " ContentLicense="CC BY-SA 2.5" />
  <row Id="498" PostHistoryTypeId="2" PostId="316" RevisionGUID="7a6424a2-e714-4d03-8a2b-36658ec61041" CreationDate="2010-03-14T10:41:36.017" UserDisplayName="user80" Text="This is obviously going to change from project to project.  But in general how much freedom do you have within your porjects?  Are the budgets and schedules so tight that you just have to go with what you can within the constraints, or are you given free range in order to make sound 50% of the final experience?  Do differing budgets make a difference, or is the role necessarily creative and therefore cannot be anything but creative?" ContentLicense="CC BY-SA 2.5" />
  <row Id="499" PostHistoryTypeId="1" PostId="316" RevisionGUID="7a6424a2-e714-4d03-8a2b-36658ec61041" CreationDate="2010-03-14T10:41:36.017" UserDisplayName="user80" Text="How creative can you be as a working sound designer?" ContentLicense="CC BY-SA 2.5" />
  <row Id="500" PostHistoryTypeId="3" PostId="316" RevisionGUID="7a6424a2-e714-4d03-8a2b-36658ec61041" CreationDate="2010-03-14T10:41:36.017" UserDisplayName="user80" Text="&lt;creativity&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="501" PostHistoryTypeId="2" PostId="317" RevisionGUID="4b96424a-b328-4560-9b81-c6111d821b42" CreationDate="2010-03-14T10:57:06.597" UserDisplayName="user80" Text="I would recommend the Beyerdynamic DT770pro 80 ohms. They are accurate, comfy and have a good level of isolation.  I would stick with industry standard manufacturers like Beyer, AKG, Sennheiser or Sony, all of whom make excellent products that are designed to be both accurate and consistent over their lifespan." ContentLicense="CC BY-SA 2.5" />
  <row Id="502" PostHistoryTypeId="2" PostId="318" RevisionGUID="4f9d225f-3b7f-4221-8990-00678288cfe6" CreationDate="2010-03-14T11:13:33.323" UserDisplayName="user80" Text="The mac laptop is becoming more normal on set, the apogee duet is a bit more unusual, but no one will notice, and even if they do it has such an excellent reputation it won't matter if they look it up.  You can rig up the H2 as a back up, it is definitely not a standard recorder as it is consumer quality, but a backup system is considered essential when using a laptop. I would purchase your own shotgun mic, wind protection and boom pole and hire wireless lavaliere mics as necessary, you can get these from theatre and PA hire companies as well as traditional video hire companies.  You can then also hire the appropriate size of mixer at the same time as this will obviously vary according to the number of lavalieres." ContentLicense="CC BY-SA 2.5" />
  <row Id="503" PostHistoryTypeId="2" PostId="319" RevisionGUID="42ed10b2-c058-4f05-a5f0-9b9718bfbe9f" CreationDate="2010-03-14T11:31:36.280" UserId="2" Text="I must put together a wishlist of [RØDE][1] equipment (I can't yet say why). I'm okay on the accessories side, it's the mic choices my main concern. My priority is to have a descent kit to record sound effects (in the field mostly and in the studio secondly). Any advice? &#xD;&#xA;&#xD;&#xA;So far, the [NT4][2] is definitely on my list. Added to that, I'm looking for a mic that would be good for high SPL, maybe along the lines of the [SM57][3]. I'm also looking for a nice shotgun. Does RØDE not do Lavaliers? &#xD;&#xA;&#xD;&#xA;On the boompole front. Not sure whether to get the [mini][4] one or the [normal][5] one, the mini one would be good for the road, while the normal one would be good to double up for on-set uses. They both are the same size folded up but the mini is lighter. Any other crucial differences you know of?&#xD;&#xA;&#xD;&#xA;Apart from the normal accessories like wind kits and cables, are there any specific items I should be looking at that RØDE does well? Do they not make inline pads? &#xD;&#xA;&#xD;&#xA;Thanks for any tips.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://usa.rodemic.com/index.php&#xD;&#xA;  [2]: http://usa.rodemic.com/microphone.php?product=NT4&#xD;&#xA;  [3]: http://www.shure.com/proaudio/products/wiredmicrophones/us_pro_sm57-lc_content&#xD;&#xA;  [4]: http://usa.rodemic.com/accessory.php?product=Mini-Boompole&#xD;&#xA;  [5]: http://usa.rodemic.com/accessory.php?product=Boompole" ContentLicense="CC BY-SA 2.5" />
  <row Id="504" PostHistoryTypeId="1" PostId="319" RevisionGUID="42ed10b2-c058-4f05-a5f0-9b9718bfbe9f" CreationDate="2010-03-14T11:31:36.280" UserId="2" Text="RØDE wishlist - What would you recommend? " ContentLicense="CC BY-SA 2.5" />
  <row Id="505" PostHistoryTypeId="3" PostId="319" RevisionGUID="42ed10b2-c058-4f05-a5f0-9b9718bfbe9f" CreationDate="2010-03-14T11:31:36.280" UserId="2" Text="&lt;rode&gt;&lt;gear&gt;&lt;microphone&gt;&lt;boom-pole&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="506" PostHistoryTypeId="2" PostId="320" RevisionGUID="3ed99817-d813-4cdf-b3a9-1db5038f112b" CreationDate="2010-03-14T12:37:24.843" UserId="140" Text="Well I'm not good with microphones but on the Boom pole front, I suggest you get the mini.  As you say, it's lighter and better for travelling, and you can use on set for very quick things if need be - at least you have it.  Then should you need a better one specifically for on-set then further on down the line you can get a normal boom pole?  Just a suggestion!" ContentLicense="CC BY-SA 2.5" />
  <row Id="507" PostHistoryTypeId="2" PostId="321" RevisionGUID="b8675b4b-c2ea-47d0-a21b-ca21489877d3" CreationDate="2010-03-14T12:46:41.340" UserId="2" Text="Factors that I find might dictate how much creativity I have on a particular project are:&#xD;&#xA;&#xD;&#xA; 1. Time &#xD;&#xA; 2. Budget&#xD;&#xA; 3. Director/producer/client I'm working with/for. &#xD;&#xA;&#xD;&#xA;I think a really important part of getting hired again is to know when to put creativity and perfection aside to satisfy the budgetary constraints of the project. If the director is sitting next to you while you work, he or she might get annoyed with you if you spend too much time experimenting and being creative for something that doesn't need it. &#xD;&#xA;&#xD;&#xA;Also, if you do a fantastic job for a badly paid project, they'll definitively hire you next time but will again expect a top quality design, and as you get busy with more work it can get problematic. What I usually do, is offer different pricing options before starting. The higher the budget the more I offer a quality package and a unique sound design. The lesser, might be for generic library music and sounds and a simple mix. This way, the person paying knows that they are getting what they are paying for and are not disappointed if it's a basic design. If they pay more for your expertise as a sound designer, then they'll expect lots of creativity and a tailored sound design. &#xD;&#xA;&#xD;&#xA;This is my personal experience and I'm sure it differs for each and their particular roles... As you say, you'll always use creativity but how much experimentation or uniqueness you can do  really does depends on the project and the team. &#xD;&#xA;&#xD;&#xA;It's a fine line that I'm trying to figure out. I guess it depends on how busy one is. &#xD;&#xA;    " ContentLicense="CC BY-SA 2.5" />
  <row Id="508" PostHistoryTypeId="2" PostId="322" RevisionGUID="b387dd1a-0ad0-4150-8dba-a718398e68e3" CreationDate="2010-03-14T16:57:26.147" UserId="40" Text="I'd get an NTG3 shotgun.  Sounds comparable to something like the Sanken CS-1 or 416 (even looks a bit like a 416 or KM81i).  I'd get the wind package they make for it too, unless you can pull off getting a rycote kit.&#xD;&#xA;&#xD;&#xA;The NT4 is a nice mic, although I find myself wishing I could change polar patterns on it, and its heavy!! 9v power option on it is nice though, for the times I don't want to bring something as big as a 744T out with me. (and it comes with the 5pin XLR to 2x XLR output cable AND the 5pin xlr to 1/8&quot; cable, which is nice.  So many companies make you buy accessories like that...)&#xD;&#xA;&#xD;&#xA;I'd also get a pair of NT5s (they make a stereo matched pair) so you can do a stereo pattern other than the NT4's coincident X-Y.  Also always nice to have a few pencil mics laying around. Unfortunately, they don't make a stereo bar to go with it.&#xD;&#xA;&#xD;&#xA;I'd get an NT2000 LDC.  Nice for studio work, such as studio sfx, VO, etc...  It's a very useful mic because it's so flexible (has continuously variable polar pattern). If you have carte blanche over all their products, I'd go ahead and get a Classic II as well. Really nice sounding tube LDC (although I can't think of much to use it for in a film setting other than VO work.  I suppose it might make for some nice studio sfx recordings.  Can't use it in the field though because of the power supply.&#xD;&#xA;&#xD;&#xA;As far as accessories go, I'd stock up on their softies (WS7), maybe get a blimp kit with a windjammer (blimp / deadcat).  If you get an NT4, I'd also get the &quot;Dead Kitten&quot;.  That mic is a really weird size and it's a pain to get a good windshield on it, so I'm sure it would prove itself quite useful.&#xD;&#xA;&#xD;&#xA;They also make a nice little tripod mic stand that could come in handy.  As far as which boom pole to go with, I can't really help you there without knowing what it's for.  The small one limits what you can do, but is easier to travel with.&#xD;&#xA;&#xD;&#xA;Hope this helps.  I've had a fair amount of experience with RØDE products, so let me know if you have any questions specific to a certain mic or something." ContentLicense="CC BY-SA 2.5" />
  <row Id="509" PostHistoryTypeId="2" PostId="323" RevisionGUID="f20cca8d-8db1-4d9f-ab88-6331f1a2e237" CreationDate="2010-03-14T18:48:06.923" UserId="56" Text="You have to add NTG2 shotgun mic on your wishlist and the mini boom pole suggested by Fiona Fung. The N4 is a good choise too." ContentLicense="CC BY-SA 2.5" />
  <row Id="510" PostHistoryTypeId="2" PostId="324" RevisionGUID="73abc50a-8892-48b9-a3b3-8554bc7bb429" CreationDate="2010-03-14T20:59:32.830" UserId="132" Text="It is fun to get outside and record, but I often have to get super motivated to edit and catalogue a bunch of my recordings.  My blog has helped me with that, but I'm curious how folks catalogue their sounds and what library tools they are using." ContentLicense="CC BY-SA 2.5" />
  <row Id="511" PostHistoryTypeId="1" PostId="324" RevisionGUID="73abc50a-8892-48b9-a3b3-8554bc7bb429" CreationDate="2010-03-14T20:59:32.830" UserId="132" Text="Organizing Libraries" ContentLicense="CC BY-SA 2.5" />
  <row Id="512" PostHistoryTypeId="3" PostId="324" RevisionGUID="73abc50a-8892-48b9-a3b3-8554bc7bb429" CreationDate="2010-03-14T20:59:32.830" UserId="132" Text="&lt;field-recording&gt;&lt;libraries&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="513" PostHistoryTypeId="2" PostId="325" RevisionGUID="bbf99758-1033-48cd-8389-6322696bfa3a" CreationDate="2010-03-14T21:00:12.080" UserId="132" Text="I currently use this scheme:&#xD;&#xA;&#xD;&#xA;General to specific for example:&#xD;&#xA;&#xD;&#xA;Tank, M60, Treads, Close, Away&#xD;&#xA;&#xD;&#xA;As of now I am just using the finder on my mac, and I'm adding metadata with Sound Devices Wave Agent" ContentLicense="CC BY-SA 2.5" />
  <row Id="514" PostHistoryTypeId="2" PostId="326" RevisionGUID="e7624ae2-639d-42e4-b55a-c9f0d4914bc9" CreationDate="2010-03-14T21:03:06.743" UserId="144" Text="I use Audiofile Engineering's Sample Manager. It is designed great, but at this point has become almost useless. It must have a hard time managing very large banks of soundfiles. Prior to lately, I have loved it for cataloging and batch processing. " ContentLicense="CC BY-SA 2.5" />
  <row Id="515" PostHistoryTypeId="2" PostId="327" RevisionGUID="c9522d57-20fd-4e59-8780-688f484bc56e" CreationDate="2010-03-14T21:21:17.213" UserId="61" Text="Throwing your sounds into a library program is easy, it's developing and sticking to a meaningful naming scheme that's hard. Some common conventions are:&#xD;&#xA;&#xD;&#xA;• Use an alpha-numeric code derived from the project as a prefix, such as SW001 for Star Wars, recording session #1; then add a short description afterwards (SW001 Laser Shot 06).&#xD;&#xA;&#xD;&#xA;• Your initials as a prefix so you can immediately find your own material amongst others, such as JWJ02 Laser Shot 06.&#xD;&#xA;&#xD;&#xA;• Code your sounds by catergory, such as TRAF_Pacific Coast Highway Busy (for Traffic), or CRWD_Shopping Mall (for Crowd).&#xD;&#xA;&#xD;&#xA;• Or skip coding all together and just use a concise description of 3 or 4 words, such as Expressway Traffic Busy, or Dog Barks Distant Night.&#xD;&#xA;&#xD;&#xA;(As a sidebar, I believe the coding techinque was most valuable when sounds were stored on film or tape and the &quot;library programs&quot; were nothing more than 3-ring binders. Also when computers had a max file length of 31 characters.)&#xD;&#xA;&#xD;&#xA;Regarding library software, I use Soundminer exclusively and find it to be not only and excellent for that express purpose but also as a sound design tool. (There is a thread addressing that topic on the SSD site.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="516" PostHistoryTypeId="2" PostId="328" RevisionGUID="6cc394db-7afe-4856-9084-9224bf8b2c8a" CreationDate="2010-03-14T21:27:01.997" UserId="145" Text="hello there again.  I have, with the huge amount of help of Andrew S., figured out how to have a bank of samples triggered by the keys on the keyboard.  However, I cannot seem to get the samples to cycle.  &#xD;&#xA;&#xD;&#xA;I am using umenu and prepend play to set the root folder.  Yet, it seems to make me choose which sample I want to trigger.  I have tried using urn, random, and both cycle and cycle~, with no luck at all :(&#xD;&#xA;&#xD;&#xA;I simply want to trigger sounds in a directory with the computer's keyboard with certain keys triggering certain directories.  I know this is doable, but my brain is fried, and my Max abilities are crap.&#xD;&#xA;&#xD;&#xA;-Chris &#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 2.5" />
  <row Id="517" PostHistoryTypeId="1" PostId="328" RevisionGUID="6cc394db-7afe-4856-9084-9224bf8b2c8a" CreationDate="2010-03-14T21:27:01.997" UserId="145" Text="triggering samples with a computer keyboard" ContentLicense="CC BY-SA 2.5" />
  <row Id="518" PostHistoryTypeId="3" PostId="328" RevisionGUID="6cc394db-7afe-4856-9084-9224bf8b2c8a" CreationDate="2010-03-14T21:27:01.997" UserId="145" Text="&lt;max-msp&gt;&lt;msp&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="519" PostHistoryTypeId="2" PostId="329" RevisionGUID="99b5297c-939f-4421-a03d-798c2cbe0402" CreationDate="2010-03-14T21:39:35.607" UserId="132" Text="I would have to go with Baby ostriches.  Boy do hey make a crazy sound.  I was ask to go record adults hooting  . . . sort of make a guttural sound, but the babies make this weird trill like chirp:&#xD;&#xA;&#xD;&#xA;http://sepulchra.com/blog/?p=16" ContentLicense="CC BY-SA 2.5" />
  <row Id="520" PostHistoryTypeId="2" PostId="330" RevisionGUID="3a710f8d-dc44-482d-b0a7-ff2285dd16c9" CreationDate="2010-03-14T22:45:44.550" UserId="2" Text="[Basehead][1] is currently in Beta for Mac. I've been playing with it, and it seems quite nice and affordable. I can't really tell fully because not all the features are yet implemented in the beta. &#xD;&#xA;&#xD;&#xA;The guy Steve, has been super friendly and responsive with email -- that's always a good sign. I just wish I could run plugins or re-wire directly from within Basehead, unless I can and I haven't yet found how. You can open a wave editor but it's not the same as running a batch process or running a standard plugin directly from the software. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.baseheadinc.com/basehead-feature-overview" ContentLicense="CC BY-SA 2.5" />
  <row Id="521" PostHistoryTypeId="2" PostId="331" RevisionGUID="6e162330-0140-4e17-bc12-8f1cb535b63d" CreationDate="2010-03-14T23:21:38.597" UserDisplayName="user49" Text="The most important aspect of file naming is so that you can find the material later... &amp; possibly much much later ie decades.... I have a chronological library so as I record new material it just gets added to, and then I add additional copies of material as I clean it up &amp; master/output it... so the original recordings will more likely be tagged with the location or recording session but the main naming is as per Sepulchras ie broad term -&gt; specific... I also sometimes name files with a short abbreviation at the front eg AMB for ambience etc..&#xD;&#xA;&#xD;&#xA;I use SoundMiner to access the library, which works well (although I wish they would keep developing it) and use it to add metadata to files, especially if the sounds were used in a specific film eg I usually transfer all the ambiences from each film back into the library as a self contained section &amp; tag it with the films name, as that can be a quick way of finding something....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="522" PostHistoryTypeId="2" PostId="332" RevisionGUID="d3d650cf-f72e-4f2d-9783-4ef274753454" CreationDate="2010-03-14T23:22:03.497" UserId="132" Text="I just found an extra flash card and a threaded stand adapter for my rycote.  What do you know, I have other stuff besides zip ties in there." ContentLicense="CC BY-SA 2.5" />
  <row Id="523" PostHistoryTypeId="2" PostId="333" RevisionGUID="95d16b93-22de-44f2-8e99-d1800c96f2e0" CreationDate="2010-03-14T23:51:06.777" UserDisplayName="user49" Text="The main two factors for me are the actual script/film and the director&#xD;&#xA;&#xD;&#xA;Every director wants the best soundtrack possible (best meaning fully realised, emotionally engaging, supporting the story and characters etc) and most directors that I work with are generally open as to how that is achieved. The purpose of a spotting session at the start of a project is to make sure the intent &amp; priorities of each scene and moment is clear &amp; that, along with the film itself provides the inspiration &amp; framework for creating the elements. But generally speaking directors like to direct ie to respond to something &amp; steer it. So no matter how simple or complex a moment is, the role of being a collaborator is to provide approaches and options and evolve them with the director...&#xD;&#xA;&#xD;&#xA;The main benefit larger budgets provide is more time &amp; resources/people to develop &amp; evolve the elements, which can be essential especially when VFX and a lot of conforming is involved..&#xD;&#xA;&#xD;&#xA;But regardless of budget I think a crucial methodology is to attempt versions of the most complex and/or subjective material early in the schedule ie in the first few weeks, because it is that material that will benefit the most from evolution.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="524" PostHistoryTypeId="2" PostId="334" RevisionGUID="bd8a7fad-d643-4068-93fe-6606b2e51f38" CreationDate="2010-03-15T04:09:31.543" UserId="19" Text="I am always searching for new combination of sounds to run as the source and impulse in a convolution plugin. I'm not looking for reverbs so much as cool sfx.  &#xD;&#xA;&#xD;&#xA;I once heard a flame whoosh sent through a glass breaking and it ended up sounding ice fireball!    Got any good suggestions?  Do you have better success with shorter longer impulses?  Recorded sounds or synth tones?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="525" PostHistoryTypeId="1" PostId="334" RevisionGUID="bd8a7fad-d643-4068-93fe-6606b2e51f38" CreationDate="2010-03-15T04:09:31.543" UserId="19" Text="Best Convolution Impulse Response combos for SFX?" ContentLicense="CC BY-SA 2.5" />
  <row Id="526" PostHistoryTypeId="3" PostId="334" RevisionGUID="bd8a7fad-d643-4068-93fe-6606b2e51f38" CreationDate="2010-03-15T04:09:31.543" UserId="19" Text="&lt;convolution&gt;&lt;sfx&gt;&lt;impulseresponse&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="527" PostHistoryTypeId="2" PostId="335" RevisionGUID="cc4cdfd8-1824-4793-ac3f-fd0741225c65" CreationDate="2010-03-15T04:37:47.023" UserId="61" Text="Try everything and anything - you never know what sounds will react with each other in interesting ways. I've had good luck with metal impacts, such as light taps on thin and thick metal, large hits inside of an oven, and cooling racks. Glass is good as well, such as light dings on regular glass, crystal bowls or large jars." ContentLicense="CC BY-SA 2.5" />
  <row Id="528" PostHistoryTypeId="2" PostId="336" RevisionGUID="34eee780-2e62-49ad-a9de-0c00fdda764b" CreationDate="2010-03-15T04:44:27.917" UserDisplayName="user49" Text="One aspect to remember is that convolution reinforces the frequencies that the source &amp; IR have in common.... I've bought a few collections of IRs and it can be quite interesting listening to just the IRs, apart from delays &amp; reverbs some more stylised IRs are quite harmonically dense and I think this is why - if the IR has a lot of interesting frequency content then it will 'bring out' many frequencies in the source file.... Convolve violins &amp; thunder and you probably won't get much, but who knows - the 'not much' part may be very interesting!&#xD;&#xA;I recorded a group of people whispering in an ADR studio years ago &amp; its been useful a few times eg making wind gusts whisper etc...." ContentLicense="CC BY-SA 2.5" />
  <row Id="529" PostHistoryTypeId="5" PostId="335" RevisionGUID="0254a7ec-5f3e-41ae-85df-03e84aae8c46" CreationDate="2010-03-15T04:46:30.033" UserId="61" Comment="correct spelling" Text="Try everything and anything - you never know what sounds will react with each other in interesting ways. I've had good luck with metal impacts, such as light taps on thin and thick metal, large hits inside of an oven, and cooling racks. Glass is good as well, such as light dings on regular glass, crystal bowls or large jars.&#xD;&#xA;&#xD;&#xA;This is also a great way to experiment with sound design ideas since it's very easy to execute, depending on your convolution engine/software. With Altiverb, for example, all you need to do is make sure to append the correct suffix on your sound file, drop it in the folder hierarchy, and you're good to go." ContentLicense="CC BY-SA 2.5" />
  <row Id="530" PostHistoryTypeId="6" PostId="334" RevisionGUID="6ef58ac7-b681-4f1a-9189-b4c03479ce5d" CreationDate="2010-03-15T08:07:26.680" UserId="2" Comment="seperated a tag" Text="&lt;convolution&gt;&lt;sfx&gt;&lt;impulse-response&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="531" PostHistoryTypeId="2" PostId="337" RevisionGUID="6ba5288f-6b32-4bed-9513-5306dff6eed1" CreationDate="2010-03-15T14:14:16.190" UserId="103" Text="The Nt2a's are quite nice, for the price, for being multi pattern and the self noise is reaaally low. I really like them for ambiance recording, usually as a spaced omni pair, especially when there is no wind or when you can get away with just a sock. " ContentLicense="CC BY-SA 2.5" />
  <row Id="532" PostHistoryTypeId="2" PostId="338" RevisionGUID="95133ffb-c917-43a1-b240-d2dd41cc8130" CreationDate="2010-03-15T14:24:50.450" UserId="2" Text="For the film I'm working on, the on-set recordist recorded some very nice and useful crowds and chants. But these where recorded in mono and with a group smaller than the films requires. &#xD;&#xA;&#xD;&#xA;Currently I'm combining various takes and panning the sounds to different stereo fields. It's getting there, but it's not sounding as good as I'd like. I also tried Nuendo's MonoToStereo plug-in, but it doesn't sound so nice. Having even less luck with a chorus plug-in.  &#xD;&#xA;&#xD;&#xA;Do you know of any good techniques or free/cheap plug-ins to turn a small mono crowd into a full stereo crowd? &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 2.5" />
  <row Id="533" PostHistoryTypeId="1" PostId="338" RevisionGUID="95133ffb-c917-43a1-b240-d2dd41cc8130" CreationDate="2010-03-15T14:24:50.450" UserId="2" Text="Techniques for making a crowd sound bigger and fuller" ContentLicense="CC BY-SA 2.5" />
  <row Id="534" PostHistoryTypeId="3" PostId="338" RevisionGUID="95133ffb-c917-43a1-b240-d2dd41cc8130" CreationDate="2010-03-15T14:24:50.450" UserId="2" Text="&lt;post-production&gt;&lt;techniques&gt;&lt;stereo&gt;&lt;crowd&gt;&lt;plug-in&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="535" PostHistoryTypeId="2" PostId="339" RevisionGUID="b15beaa8-1cd3-4055-9169-e6fc2511ee4d" CreationDate="2010-03-15T14:41:38.600" UserId="103" Text="http://www.quikquak.com/Prod_CrowdChamber.html&#xD;&#xA;&#xD;&#xA;I've remembered seeing this mentioned on gear slutz&#xD;&#xA;&#xD;&#xA;The examples dont sound natural, but maybe it can sound&#xD;&#xA;not as &quot;washy&quot; with not as severe settings; i've never tried&#xD;&#xA;it myself" ContentLicense="CC BY-SA 2.5" />
  <row Id="536" PostHistoryTypeId="2" PostId="340" RevisionGUID="9ed130dc-627e-43d2-8de2-5a9b8c96088a" CreationDate="2010-03-15T14:51:20.357" UserId="132" Text="I know waves has some plugins that can do the trick, but I don't know satisfying I have ever found them.  Do you have the time to get a group of people together and augment the crowd recordings you have?  You will probably end up with more interesting results.  If you need to go the plug in route, you might not need fancy plugins either.  Have you tried sending the crowd to a stereo aux and using a stereo eq?  If you eq each channel in slightly different ways you might get a similar effect.  Maybe that Nuendo plug will sound different if you play with it that way?&#xD;&#xA;&#xD;&#xA;M." ContentLicense="CC BY-SA 2.5" />
  <row Id="537" PostHistoryTypeId="2" PostId="341" RevisionGUID="2485854b-aefd-46cb-84a1-f72c11635080" CreationDate="2010-03-15T15:10:17.173" UserId="63" Text="hmmm, i would try to copy/paste the crowd i have recorded and put it in different pan/pot positions with a slightly different phase, eq, and reverb (each one) and see what goes best... " ContentLicense="CC BY-SA 2.5" />
  <row Id="538" PostHistoryTypeId="2" PostId="342" RevisionGUID="3997ea96-e173-4891-8f2f-e6f591dc0d4f" CreationDate="2010-03-15T15:51:38.243" UserId="84" Text="Added to that, some slight delay on certain tracks creates depth." ContentLicense="CC BY-SA 2.5" />
  <row Id="539" PostHistoryTypeId="2" PostId="343" RevisionGUID="d06e696d-93e6-4b71-9657-f8b97a8cedb7" CreationDate="2010-03-15T16:05:23.103" UserDisplayName="user80" Text="There are a number of tricks you can use.  The first is to make a copy of the original file chop it up and re-sequence it remembering to use cross-fades to hide the gaps.  Copy it again and repeat, obviously each clip becomes shorter but the trick is then to time stretch them back up to the original length each time.  You are altering the rhythm each time as well as the tempo.  Use pan and EQ to simulate the effect that some of the crowd is muffled as they shout into the back of the crowd in from of them as well as increasing the ratio of indirect to direct sound for the tracks which represent the depth.  The last trick is very simple add a 15ms delay to the left channel and a 35ms to the right and the two tracks will spread out a little bit.  Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="540" PostHistoryTypeId="2" PostId="344" RevisionGUID="6fff7006-403b-4c21-ac4c-59ca89eed79a" CreationDate="2010-03-15T16:11:12.577" UserId="81" Text="In this situation, I would suggest you to lay down different crowd samples, apply Unison effects which can be replicated by some Chorus filters, make small changes in the delay times of each and try to EQ them so that they are not overlapped and you get full use of the frequency spectrum.&#xD;&#xA;&#xD;&#xA;For these kinds of &quot;human voice fattening&quot;, I am using a free plug-in called &quot;Clone Ensemble&quot;. Though haven't tried it with crowd samples, I think it has enough parameters to achieve a good result.&#xD;&#xA;&#xD;&#xA;Good luck! " ContentLicense="CC BY-SA 2.5" />
  <row Id="541" PostHistoryTypeId="5" PostId="343" RevisionGUID="7ffaa3e5-70be-4f4c-87bb-28030054cac4" CreationDate="2010-03-15T16:18:26.193" UserDisplayName="user80" Comment="Clarified language" Text="There are a number of tricks you can use.  The first is to make a copy of the original file chop it up and re-sequence it remembering to use cross-fades to hide the gaps.  Copy it again and repeat, obviously each clip becomes shorter but the trick is then to time stretch them back up to the original length each time.  You are altering the rhythm each time as well as the tempo.  Keep on repeating this until you have reached a sufficient size.  Use pan and EQ to simulate the effect that some of the crowd is muffled as they shout into the back of the crowd in front of them as well as increasing the ratio of indirect to direct sound for the tracks which represent the depth.  The last trick is very simple add a 15ms delay to the left channel and a 35ms to the right and the two tracks will spread out a little bit.  Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="542" PostHistoryTypeId="2" PostId="345" RevisionGUID="bfe05a1e-7305-497e-b3dc-dcf808bdf794" CreationDate="2010-03-15T16:28:14.147" UserId="147" Text="This list looks a lot like the Five Sound Questions I ask sound artists and sound designers on my blog [Everyday Listening][1]. &#xD;&#xA;&#xD;&#xA;Did it inspire you or did we think of the same questions at the same time? &#xD;&#xA;&#xD;&#xA;  [1]: http://www.everydaylistening.com/articles/category/5-questions/" ContentLicense="CC BY-SA 2.5" />
  <row Id="543" PostHistoryTypeId="2" PostId="346" RevisionGUID="11d9b120-9130-4e01-89ef-3c8091a64cbe" CreationDate="2010-03-15T16:28:33.300" UserId="61" Text="Wow, my first thought was to forego plugins altogether and instead find recordings of bigger crowds to layer underneath what you have already. Assuming you have a library to pull from, the resulting sounds should be much more natural and rich than what you'll get from constantly processing the same batch of sounds over and over again.&#xD;&#xA;&#xD;&#xA;Also, try finding sounds that aren't &quot;walla&quot; per se, but maybe the movement of people in a large space, ie. crowds on bleachers, people milling about before an event begins, crowds exiting an arena, etc. This would add size and movement without further muddying the track." ContentLicense="CC BY-SA 2.5" />
  <row Id="544" PostHistoryTypeId="2" PostId="347" RevisionGUID="14b3a35e-fbfc-40b2-b067-51a85884afab" CreationDate="2010-03-15T16:42:20.733" UserId="147" Text="Most galleries and museums have concrete walls which cause a lot of reflection and standing waves. Most of the time a lot of effort is put into making a place look good, but does it also sound good? &#xD;&#xA;&#xD;&#xA;An exhibition of multiple sound installations also will not work, as the sounds will interefere with each other. So it seems like a venue created to show visual art is not suitable for sound art. &#xD;&#xA;&#xD;&#xA;Can you think of a solution for this?" ContentLicense="CC BY-SA 2.5" />
  <row Id="545" PostHistoryTypeId="1" PostId="347" RevisionGUID="14b3a35e-fbfc-40b2-b067-51a85884afab" CreationDate="2010-03-15T16:42:20.733" UserId="147" Text="What is the best setting for exhibiting sound art?" ContentLicense="CC BY-SA 2.5" />
  <row Id="546" PostHistoryTypeId="3" PostId="347" RevisionGUID="14b3a35e-fbfc-40b2-b067-51a85884afab" CreationDate="2010-03-15T16:42:20.733" UserId="147" Text="&lt;sound-art&gt;&lt;sound-installations&gt;&lt;locations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="547" PostHistoryTypeId="6" PostId="338" RevisionGUID="377896f6-6a23-48d8-9108-2feb1a48fb91" CreationDate="2010-03-15T17:01:28.263" UserDisplayName="user80" Comment="edited tags" Text="&lt;post-production&gt;&lt;techniques&gt;&lt;editing&gt;&lt;crowd&gt;&lt;plug-in&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="548" PostHistoryTypeId="2" PostId="348" RevisionGUID="a6a99563-888e-4a4f-bf90-3ca22e6e16b0" CreationDate="2010-03-15T17:32:35.983" UserDisplayName="user80" Text="Sound art can still be displayed effectively in traditional galleries.  The first method is obviously to create the sound art for the space and embrace the problems with reflective surfaces and acoustic spill.  Installation artists routinely consider what can be seen through and past their work.  The second approach is similar to the use of portable iso booths in recording studios where absorption panels or materials are erected at strategic points to isolate the piece from the complex auditory backdrop.  A third approach is to use headphones, which sounds obvious but is still effective, has been used regularly and is often requested by gallery visitors.  The final approach is to keep everything quiet, encourage the listener to get closer to the source and really listen. " ContentLicense="CC BY-SA 2.5" />
  <row Id="549" PostHistoryTypeId="2" PostId="349" RevisionGUID="89fc9220-386c-4519-b574-e4f7f9161b6e" CreationDate="2010-03-15T18:06:51.780" UserId="148" Text="I'd go with birdhousesound's reco, but also, consider this: if you have a crowd chanting, you can layer another (larger) crowd under it chanting something completely different and if you edit and balance correctly it will appear that everyone's chanting the same thing. There are some big chanting political rally crowds on Sound Ideas 6013 that might work layed under your on-set crowds to thicken them up." ContentLicense="CC BY-SA 2.5" />
  <row Id="550" PostHistoryTypeId="5" PostId="343" RevisionGUID="4281f5cd-d65f-4e5c-b0f3-0d7a7591477f" CreationDate="2010-03-15T18:41:45.853" UserDisplayName="user80" Comment="Additional point" Text="There are a number of tricks you can use.  The first is to make a copy of the original file chop it up and re-sequence it remembering to use cross-fades to hide the gaps.  Copy it again and repeat, obviously each clip becomes shorter but the trick is then to time stretch them back up to the original length each time.  You are altering the rhythm each time as well as the tempo.  Keep on repeating this until you have reached a sufficient size, you can also apply a small amount of pitch shift at this stage.  Use pan and EQ to simulate the effect that some of the crowd is muffled as they shout into the back of the crowd in front of them as well as increasing the ratio of indirect to direct sound for the tracks which represent the depth.  The last trick is very simple add a 15ms delay to the left channel and a 35ms to the right and the two tracks will spread out a little bit.  Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="551" PostHistoryTypeId="2" PostId="350" RevisionGUID="9d9925c7-39a1-4aa7-91e9-79bb21f1ed1f" CreationDate="2010-03-15T18:42:03.847" UserDisplayName="user49" Text="you might be more likely to receive an answer to such a application-specific question on the Max forum?&#xD;&#xA;&#xD;&#xA;http://www.cycling74.com/forums/index.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="552" PostHistoryTypeId="2" PostId="351" RevisionGUID="72ce990d-b8ec-4643-a629-71a714593d1b" CreationDate="2010-03-15T19:53:25.547" UserId="147" Text="I own an Edirol R-09, but I am seriously considering buying the Sony PCM-D50, as I would like to have a recorder with good enough built-in microphones to eliminate the need for an external mic. I use the Røde NT4 with the Edirol, but I would really like to have a setup that is a bit more portable, so I can have it with all the time.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="553" PostHistoryTypeId="16" PostId="351" RevisionGUID="72ce990d-b8ec-4643-a629-71a714593d1b" CreationDate="2010-03-15T19:53:25.547" UserId="147" />
  <row Id="554" PostHistoryTypeId="2" PostId="352" RevisionGUID="76585bb0-15dd-4c64-9040-be0255390080" CreationDate="2010-03-15T20:12:57.507" UserId="2" Text="Tim might be right, this is leaning quite a bit more towards a programmatic question than a sound design one and might be more suited to the [Max/MSP forum][1]. I'm all up for Max/MSP related questions as it's one of my favorite programmes and I want SSD to cover all areas of sound, but it must relate closely to sound design. However borderline it is, I'm more than happy to answer your question as it is to trigger a sound :-) &#xD;&#xA;&#xD;&#xA;To answer your questions, do you really need the sounds to be in separate directories?  As long as your sound files are in Max/MSP's search path, they will be found. Check the patch below, and see if it works for you. Basically, I used [coll] to write some sound file names, and the KeyToMidi patch I did for you in [this question][2] will trigger each samples one after the other. This is just one way, the first one that came to mind, for any given problem there are many solutions. &#xD;&#xA;&#xD;&#xA;**patch to cycle through sound files:**&#xD;&#xA;    &#xD;&#xA;   &lt;code&gt;&#xD;&#xA;----------begin_max5_patcher----------&#xD;&#xA;895.3oc0Ws0aaBCE9YxuBK1C6ERDFHIj1oIsmm1depaJxAbRbKXivl1jV09a&#xD;&#xA;e9BNMoBHj1trMoVi8wNmy241GlGF33tfsAycAW.tB337v.GGsHk.m50Nt4nM&#xD;&#xA;IYHt9XtT7crEW65Y1Rf2HzhE.nUVARjrlPWMuDmHLpNHd1HeOPHDpdDDoG8G&#xD;&#xA;4C9U8ugjp0hTyCgyrJhVkypDYXg1xvZoFQhsEXitcIToUrJZIiJnnb8dteoj&#xD;&#xA;fxb2aGN4d8Nv.IB1YDBcmMTxdbv.0fWOCH36SQIO0gyG5OU67S0tczX6XiNe&#xD;&#xA;byNeinM3Uf1VRe7kEYnsOAB5geDpykim0YRbZy9QXaIQNYEUkq1e1BDc06Ul&#xD;&#xA;MnVHGcq0je36ZyY7b0T4+AdRM3Oahz07MRbuTBgWQfNgkmikUluLR+ogCADJ&#xD;&#xA;3pDVV1u.aYUf6PTAPv.EUxGqw.kSBXK0y4rJZJXIICyO3rhRxpU3xQfevpJM&#xD;&#xA;mhCxq3BvBrR8eCs4ib.GiJSVCz4xQfuhwEFkpLvRVYNR.tiHVeA3mTnm1JJa&#xD;&#xA;eoEyYDJNQpZMvi5nvHLvTKDtW8wjfVpLlzcE94uAtkVhhRbAVF7Yxwi2UDDq&#xD;&#xA;6qMis1UDchTa+M40ZIrbeFfmQRvcy2OwvNLVGaLisFTfMGTBZMn389EXdMTn&#xD;&#xA;KpDBF83dOr1ug1wl793Srh3PNw2bRtMVpDFU16a3izdnhzohiUjPkfava4.j&#xD;&#xA;7OKOjZ203RLX3vO2H6QP6QKHTSa.izjHvo5GgQMGt9eg7P.npoGuFYZr95.9&#xD;&#xA;c0gbprFZS+uGyg5Md8fyvOn95Ei6fyn4HRTmTFduuTG1vuxslmhDn5HRcHQs&#xD;&#xA;Qcw+XuZI1Sck9b6NobGYG0d5TI4VTVkE9okU4YLVwHDYY8sQbrIjF0SPy5IQ&#xD;&#xA;1ixtAi6sdBaVOxKgvn8VIQMqjqYzUYa6sVF2rVJQDJWPRt4kJpdpTiOewuz4&#xD;&#xA;xhGYA2bjPRbI4wMe5y9IMb9Bb5tBeSkus9WW3n40dwWLoqlUxOroPdsrxDKP&#xD;&#xA;qajAOWOmhk.mhDD4KSd9LvCNyZRZJltOEWNIsfI+jmZHzxcS6Khh6AhhNqHB&#xD;&#xA;1mXz4MHoMG7XX5LGl5UszzyKll1GLEe9wDrOXB1eLEFNQ81ovISL2UIX2pyR&#xD;&#xA;Vc1oEACgFzJ+PE0qTmEua0aEsy9CTCZwm7FfpG0XWs5.zJW73feC0xLSL.&#xD;&#xA;-----------end_max5_patcher-----------&#xD;&#xA;&lt;/code&gt;&lt;/pre&gt; &#xD;&#xA;&#xD;&#xA;PS. Everything I've learned in Max has been through grueling hours of trial and error. Even now I had to double check Coll's help file to see how to cycle through the data. The more one does it the quicker one knows where and how to find solutions, but there is no escaping the tutorials and help files and forum. &#xD;&#xA;&#xD;&#xA;Hope the patch helps and good luck. &#xD;&#xA;  [1]: http://www.cycling74.com/forums/index.php&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/20/max-msp-and-computer-keyboard-stuff" ContentLicense="CC BY-SA 2.5" />
  <row Id="555" PostHistoryTypeId="2" PostId="353" RevisionGUID="f05cd5ea-c9e9-4470-9370-a8a42c645703" CreationDate="2010-03-15T20:43:24.510" UserId="2" Text="Nice question. I often go to sound art exhibitions to only feel frustrated with the sound quality. The space can really hurt a good sounding piece.&#xD;&#xA;&#xD;&#xA;Iain's suggestions are good ones. Here are a few more similar thoughts:&#xD;&#xA;&#xD;&#xA; - A sound art space does not need to replicate the look and feel of a visual art installation, so the white hard and reflective walls could be replaced with carpets and curtains.  &#xD;&#xA; - Using near-field monitors may help a bit with reflections.&#xD;&#xA; - Acoustic panels could blend in quite nicely in an art space and either go unnoticed or used to compliment. An other artist could even use the panels and bass traps as a canvas for their art. Could be interesting. &#xD;&#xA; - The artist could use dryer sounds as it's source material, so the room would give it the reverberation or the space for the sound to live in. If visiting the space before starting the commission is an option, it could help during the creation process. &#xD;&#xA; - I like the quiet idea too. If the exhibition is quiet, not only may the audience be more attentive but the neighboring installation will not be disturbed (or not as much).&#xD;&#xA; - Educating the curator about the difficulties of controlling sound. &#xD;&#xA;  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="556" PostHistoryTypeId="4" PostId="328" RevisionGUID="ff25bbaa-0692-4281-ab17-a10c83f73d08" CreationDate="2010-03-15T20:51:44.320" UserId="2" Comment="edited title" Text="triggering samples with a computer keyboard (in Max/MSP)" ContentLicense="CC BY-SA 2.5" />
  <row Id="557" PostHistoryTypeId="2" PostId="354" RevisionGUID="a210ea2b-f774-4897-9f10-5a9351e1ff58" CreationDate="2010-03-16T04:41:34.763" UserId="61" Text="I don't know as I've ever had the pleasure of experiencing a sound art exhibit, but this sprang to mind: House your work inside a series of sound deadening passages, ie. have the listeners pass through a small &quot;maze&quot; of gobos (what we called iso panels back in school) to get to the exhibit space, then exit through a symmetrical baffle on the opposite end. Two immediate problems would be crowding and fire code issues, but you could really cut down on the ambient noise if your audio space was located in its own &quot;room&quot;. Make sense?" ContentLicense="CC BY-SA 2.5" />
  <row Id="558" PostHistoryTypeId="2" PostId="355" RevisionGUID="2b392c4f-b53e-4e16-a62d-812f5286c0dd" CreationDate="2010-03-16T06:16:38.063" UserId="10" Text="Check: http://www.spiritcanyonaudio.com/index.php&#xD;&#xA;&#xD;&#xA;Those guys have lots of great impulse responses collection with lots of different approaches." ContentLicense="CC BY-SA 2.5" />
  <row Id="559" PostHistoryTypeId="2" PostId="356" RevisionGUID="dbba666d-9d4e-429f-b8da-3755fdd2c752" CreationDate="2010-03-16T06:26:28.147" UserId="10" Text="I use Basehead and totally fits my needs. The next option would be Soundminer, but Basehead works well for me for now...&#xD;&#xA;&#xD;&#xA;Also, recently West Latta published a nice article on &quot;library organizing&quot; at Audiotuts... Check it here: http://audio.tutsplus.com/articles/general/the-good-librarian/" ContentLicense="CC BY-SA 2.5" />
  <row Id="560" PostHistoryTypeId="2" PostId="357" RevisionGUID="b6170000-33d1-4112-a5fc-f025f9c73001" CreationDate="2010-03-16T06:29:16.480" UserId="61" Text="If you're anything like me you spend up to 12 hours a day sitting at an audio workstation, toiling away at your craft. Very often these workstations are set up in an office-type setting, ie. desk, keyboard, monitor and mouse, which arguably is *not* the best setup for this sort of thing. I mean really, is the QWERTY keyboard the best input device for a sound designer?!&#xD;&#xA;&#xD;&#xA;So, who has devised good ergonomic strategies? Who's using tablets or scroll wheels, control surfaces or touchscreens? How many video monitors is enough? Quickeys or other software automation packages?" ContentLicense="CC BY-SA 2.5" />
  <row Id="561" PostHistoryTypeId="1" PostId="357" RevisionGUID="b6170000-33d1-4112-a5fc-f025f9c73001" CreationDate="2010-03-16T06:29:16.480" UserId="61" Text="Best use of ergonomics in an Pro Tools editing environment?" ContentLicense="CC BY-SA 2.5" />
  <row Id="562" PostHistoryTypeId="3" PostId="357" RevisionGUID="b6170000-33d1-4112-a5fc-f025f9c73001" CreationDate="2010-03-16T06:29:16.480" UserId="61" Text="&lt;gear&gt;&lt;equipment&gt;&lt;techniques&gt;&lt;post-production&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="563" PostHistoryTypeId="2" PostId="358" RevisionGUID="6a96f4ab-f447-43b3-8e0f-4552b8e8568a" CreationDate="2010-03-16T06:53:37.913" UserId="61" Text="24-bit 48kHz is the norm in film post-production here in LA, with new recordings and foley coming in at 96k or 192k. I'm recording at 96k most of the time and occasionally work with 192k samples when creating new sound design. &#xD;&#xA;&#xD;&#xA;But what about 1-bit? Seems the recorders are coming down in price and becoming attainable. What's the best mic match for a 1-bit rig? How best to archive the recordings? And which workstations will let you work with such a file?&#xD;&#xA;&#xD;&#xA;No one that I work with currently records at 1-bit, although I can imagine the incredible flexibility you could have with that resolution." ContentLicense="CC BY-SA 2.5" />
  <row Id="564" PostHistoryTypeId="1" PostId="358" RevisionGUID="6a96f4ab-f447-43b3-8e0f-4552b8e8568a" CreationDate="2010-03-16T06:53:37.913" UserId="61" Text="1-bit recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="565" PostHistoryTypeId="3" PostId="358" RevisionGUID="6a96f4ab-f447-43b3-8e0f-4552b8e8568a" CreationDate="2010-03-16T06:53:37.913" UserId="61" Text="&lt;recording&gt;&lt;field-recording&gt;&lt;equipment&gt;&lt;portable-recorder&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="566" PostHistoryTypeId="6" PostId="38" RevisionGUID="cb1a109f-7c4e-4616-9082-b8da3e885cf2" CreationDate="2010-03-16T08:40:20.660" UserDisplayName="user80" Comment="edited tags" Text="&lt;money&gt;&lt;recording&gt;&lt;income&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="567" PostHistoryTypeId="6" PostId="93" RevisionGUID="78106ded-adf1-4c65-9329-563d650dbabd" CreationDate="2010-03-16T08:41:14.037" UserDisplayName="user80" Comment="edited tags" Text="&lt;microphone&gt;&lt;recording&gt;&lt;instruments&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="568" PostHistoryTypeId="2" PostId="359" RevisionGUID="03bf4281-6272-4fd9-8e96-4144b37ef825" CreationDate="2010-03-16T09:33:23.800" UserId="2" Text="Do you maybe mean 32-bit on field recorders? 1-bit is extremely low and would mean the resolution of the sound is very bad (or great if you're into chip music). The higher the bit depth, the higher the signal to noise ratio and the better the dynamic range. So if we record at 24 bit, we can record a little softer (safer to avoid clipping) and then bring it up in post without increasing too much noise. &#xD;&#xA;&#xD;&#xA;**Sample Rate** is time based, and means how many times per second will the sound be sampled or recorded onto the recorder (eg: 96000 times/second or 96kHz). In the 'real' world, sound is continuous but digital processes information in chunks. To digitize the sound, it needs to be changed into discrete-time signal, these chunks of sounds give the illusion of a continuous signal, this is much like film running through a camera - this process is called quantization. &#xD;&#xA;&#xD;&#xA;**Bit depth** is the resolution of your recording. In other words, how many bits are recorded per sample. If our sample rate is 48000/sec (48kHz) and our bit depth is 24-bit, then 1/48000th of a second is one sample and each one of these samples has got 24 bits of information.   &#xD;&#xA;&#xD;&#xA;Does this make sense? Or is it even more confusing? I know I didn't answer your question at all, but if you meant 32-bit, then I'm pretty sure we will soon have it on our recorders. &#xD;&#xA;&#xD;&#xA;If you want to hear what 1-bit sounds like, check out this little [1-bit synth][1] I made at a handmade music event.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundplusdesign.com/?p=3070" ContentLicense="CC BY-SA 2.5" />
  <row Id="569" PostHistoryTypeId="5" PostId="359" RevisionGUID="7b5fa2b9-eba3-44f3-bd97-0052724d0c88" CreationDate="2010-03-16T10:26:25.643" UserId="2" Comment="added 331 characters in body" Text="**EDIT:** Turns out, I totally misunderstood your question. It's [1 bit DSD][1] you where talking about (thanks Kibibu for pointing that out). So my answer is totally void. I'll leave it here, just in case anyone else got confused. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;**Old and wrong answer:**&#xD;&#xA;&#xD;&#xA;Do you maybe mean 32-bit on field recorders? 1-bit is extremely low and would mean the resolution of the sound is very bad (or great if you're into chip music). The higher the bit depth, the higher the signal to noise ratio and the better the dynamic range. So if we record at 24 bit, we can record a little softer (safer to avoid clipping) and then bring it up in post without increasing too much noise. &#xD;&#xA;&#xD;&#xA;**Sample Rate** is time based, and means how many times per second will the sound be sampled or recorded onto the recorder (eg: 96000 times/second or 96kHz). In the 'real' world, sound is continuous but digital processes information in chunks. To digitize the sound, it needs to be changed into discrete-time signal, these chunks of sounds give the illusion of a continuous signal, this is much like film running through a camera - this process is called quantization. &#xD;&#xA;&#xD;&#xA;**Bit depth** is the resolution of your recording. In other words, how many bits are recorded per sample. If our sample rate is 48000/sec (48kHz) and our bit depth is 24-bit, then 1/48000th of a second is one sample and each one of these samples has got 24 bits of information.   &#xD;&#xA;&#xD;&#xA;Does this make sense? Or is it even more confusing? I know I didn't answer your question at all, but if you meant 32-bit, then I'm pretty sure we will soon have it on our recorders. &#xD;&#xA;&#xD;&#xA;If you want to hear what 1-bit sounds like, check out this little [1-bit synth][2] I made at a handmade music event.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Super_Audio_CD&#xD;&#xA;  [2]: http://www.soundplusdesign.com/?p=3070" ContentLicense="CC BY-SA 2.5" />
  <row Id="570" PostHistoryTypeId="2" PostId="360" RevisionGUID="798896a1-05a8-41b3-9308-3595999753cf" CreationDate="2010-03-16T10:48:32.040" UserId="2" Text="This is the bane of my existence! Posture Posture Posture...&#xD;&#xA;&#xD;&#xA;I got so fed up with my bad posture that I created a solution that fit my needs. It is not ergonomics per se, but rather a piece of software I built that tracks my posture and reminds me if I am slouching. I'm planning on sharing it, I just need to find some time to make it go from 'for personal use' to 'for the public'. &#xD;&#xA;&#xD;&#xA;On the hardware side, equipment that has helped me has been:&#xD;&#xA;&#xD;&#xA; - A good chair&#xD;&#xA; - A table at the right height&#xD;&#xA; - DAW control surface and Mixer&#xD;&#xA; - A nice mouse&#xD;&#xA; - Monitors (video) placed straight a head or even a bit higher to force me to look up&#xD;&#xA; - regular breaks (not quite hardware)&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="571" PostHistoryTypeId="2" PostId="361" RevisionGUID="45d717ae-a842-4aad-92fe-6b948e9fafb5" CreationDate="2010-03-16T14:02:53.947" UserId="29" Text="I had a Røde mini boompole and hated it, despite loving my NT1a, NTG2, and NT4 (with the limitations Colin outlined above). Overbuilt and way too heavy. I kicked it to the curb and went with a K-Tek aluminum boom that, while a tad shorter, is plenty for SFX gathering, still is a good price:performance value, and the knurling on the locking rings is easier on the hands/fingers. Røde's sweet spot, IMO, is in the large condenser area, which they do very well at very low prices." ContentLicense="CC BY-SA 2.5" />
  <row Id="572" PostHistoryTypeId="2" PostId="362" RevisionGUID="d84485a3-3fa2-4a81-8d3f-341a103382cf" CreationDate="2010-03-16T14:11:46.560" UserId="29" Text="Andrew's three factors are completely true in a tactical sense. In a broader creative sense I might reframe the challenges thusly (and grow out of what Tim lists as well):&#xD;&#xA;&#xD;&#xA; 1. The emotional content of the moment being designed&#xD;&#xA; 2. The ability to communicate intent (on your part and on those above you)&#xD;&#xA; 3. Your ability to creatively embrace constraints&#xD;&#xA; 4. Ability to execute&#xD;&#xA;&#xD;&#xA;The last one is especially important, and why there are artists vs. illustrators in the world. Some folks chafe under constraints, while others use them as focus to tune out the irrelevant possibilities and more quickly arrive at creative solutions.&#xD;&#xA;&#xD;&#xA;As with any other form of design (industrial, product, graphic), logical arguments always help. When logic fails, it's usually a subjective disagreement about the aesthetic result. But the aesthetic result is always going to be easier to retool and refine than the underlying goals, story logic, and emotional response you're trying to engineer.&#xD;&#xA;&#xD;&#xA;There can be a huge amount of creativity under any sort of constraints, from time to dictatorial directors to budget, if you're willing to embrace the constraints as a means of creative focus." ContentLicense="CC BY-SA 2.5" />
  <row Id="573" PostHistoryTypeId="2" PostId="363" RevisionGUID="d07d9b3b-b767-4ce2-82c0-c4aa152e3b9e" CreationDate="2010-03-16T14:45:54.763" UserId="46" Text="+1 on a good chair. Spending $600-$900 for an Aeron may seem like a big investment, but consider that you're living in it 12 plus hours a day. You definitely need something that can give you good lumbar support and sit your arm comfortably level with your keyboard and mouse or else you'll suffer shoulder/wrist problems. &#xD;&#xA;&#xD;&#xA;As for the QWERTY keyboard, no, it's probably not the most appropriate interface for sound design, but if you know your keyboard shortcuts well, you can zip around your DAW lightning quick.&#xD;&#xA;&#xD;&#xA;I use two monitors side by side and a TV above for video ref. Working in the box, I use a tailored Kensington mouse for quick tool switching - probably not the best for my right hand, but it gets the job done." ContentLicense="CC BY-SA 2.5" />
  <row Id="574" PostHistoryTypeId="2" PostId="364" RevisionGUID="91d73bab-06d7-45aa-a2f7-4b4478010198" CreationDate="2010-03-16T15:42:59.860" UserId="37" Text="I don't mean to water down the discussion but the idea of 1-bit sounds totally like someone needed a new and proprietary technology for licensing purposes. I am sure [AES 5935][1] (the opposition's reasoning) is well conservative but I still cannot find a serious flaw with traditional PCM 192kHz/24bit. &#xD;&#xA;&#xD;&#xA;Also, PCM does not *require* noise-shaping. PDM can't do without it. Adding noise? I thought we were trying to get rid of it in the first place.&#xD;&#xA;&#xD;&#xA;At this time I'm much more concerned with what the best match for a 96k-192k rig is. For sheer Nyquist mischief that's a mic that can handle up to 96kHz frequency range. &#xD;&#xA;Mmm.. new and intricate sounds =)&#xD;&#xA;&#xD;&#xA;  [1]: http://sjeng.org/ftp/SACD.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="575" PostHistoryTypeId="5" PostId="364" RevisionGUID="21245a0d-b895-4f1d-ab4f-fd3851e978af" CreationDate="2010-03-16T15:48:07.430" UserId="37" Comment="added 27 characters in body" Text="I don't mean to water down the discussion but the idea of 1-bit sounds totally like someone needed a new and proprietary technology for licensing purposes. I am sure [AES 5935][1] (the opposition's reasoning) is well conservative (and proven controversial) but I still cannot find a serious flaw with traditional PCM 192kHz/24bit. &#xD;&#xA;&#xD;&#xA;Also, PCM does not *require* noise-shaping. PDM can't do without it. Adding noise? I thought we were trying to get rid of it in the first place.&#xD;&#xA;&#xD;&#xA;At this time I'm much more concerned with what the best match for a 96k-192k rig is. For sheer Nyquist mischief that's a mic that can handle up to 96kHz frequency range. &#xD;&#xA;Mmm.. new and intricate sounds =)&#xD;&#xA;&#xD;&#xA;  [1]: http://sjeng.org/ftp/SACD.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="576" PostHistoryTypeId="2" PostId="365" RevisionGUID="b2020774-d639-4f88-87d3-c67b16ad2965" CreationDate="2010-03-16T18:16:06.100" UserId="40" Text="I used to have a Korg DSD recorder.  Sounded amazing.  As far as mics go, any mic that sounds great on a normal recorder will sound great on a 1 bit recorder - often times better...&#xD;&#xA;&#xD;&#xA;I never found a good solution to working with these files though.  They aren't particularly large files, but I never found a DAW that supported it, so I ended up converting the files to wavs or aiffs before manipulating anyways.  (speaking of which, I have an awesome DSD recording that I'd love to listen to again but can't convert because I don't have my software anymore!  Does anyone have Korg's Audiogate?!)  Granted they sounded slightly different, but that may have had as much to do with the machine and it's preamps as it did the 1-bit recording.&#xD;&#xA;&#xD;&#xA;If, say, Pro Tools or Logic would support 1-bit (don't know if Nuendo supports it), I would totally get one of those recorders again.  You're right, there would be incredible flexibility with the resolution involved...&#xD;&#xA;&#xD;&#xA;That said, try to stay away from the Korg MR-1 if you can.  I went through 3 or 4 of them (all under warranty - hard drive kept dying on me)." ContentLicense="CC BY-SA 2.5" />
  <row Id="577" PostHistoryTypeId="2" PostId="366" RevisionGUID="dfd1b6a3-ee36-43ff-b905-7cea70d70e12" CreationDate="2010-03-16T18:47:44.497" UserId="40" Text="Another +1 on the chair.  I have an Aeron - best investment ever.  I have my 2 just at eye level (would mind them being a few inches higher).  My Edirol 49 key controller is directly under my monitors, and my two gear racks are off to either side.  I have a small 7&quot; monitor connected to the VO booth camera right above the right monitor.  I have an L-shaped desk, which is awesome too, because I have my Mac workstation in front of me, and my laptop and PC on my side  All in all, I have 7 monitors surrounding me :-).&#xD;&#xA;&#xD;&#xA;I tend to work on different halves of the desk, so I have video on both sides - if I'm editing on my left screen, I tend to move my chair to the left so I'm more centered in front of it, and there's video just to the left of it. If I'm mixing on my right screen, I move to the right, and there's video just to the right of it.&#xD;&#xA;&#xD;&#xA;I don't have a control surface, but I do have a Frontier Alpha Track, which give me a bit of a tactile feel to the mix.  I don't use it much though.  I'm most likely going to sell it and get a larger surface.&#xD;&#xA;&#xD;&#xA;I also have a Kensington Expert Mouse track ball (has 4 macro buttons).  The buttons allow me to get in and out of expose, significantly increasing my productivity and speed around the computer, and it's fairly ergonomic.&#xD;&#xA;&#xD;&#xA;What I do want is a Wacom Cintiq to work on.  I think it would be awesome to be able to use one to draw in automation and sample-level editing and all.  Probably would be pretty cool for mixing and plugin editing as well (especially if you can use it without a stylus!)&#xD;&#xA;&#xD;&#xA;I've heard the Jazz Mutant stuff is pretty sweet to use as a controller for plugins as well, but I've never been able to play with one :-(  " ContentLicense="CC BY-SA 2.5" />
  <row Id="578" PostHistoryTypeId="2" PostId="367" RevisionGUID="c0a6b6d6-7298-4a62-976f-0a8422815a94" CreationDate="2010-03-16T22:25:39.283" UserId="64" Text="Very often in public place, I use sticker from the most famous and public radio in France. Everybody think that i'm a journalist, i never had problems, expect people who tried to speak in my microphone...&#xD;&#xA;&#xD;&#xA;In public place like airport, the best is to use 2 DPA 4060 or 4061 or... and stick it on your bag near your soulders.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="579" PostHistoryTypeId="2" PostId="368" RevisionGUID="2fc73f9d-b172-4e3e-a069-d1ab7c188654" CreationDate="2010-03-17T05:36:34.870" UserId="10" Text="For screens I'd recommend you: Two monitors + TV (centered for video playback).&#xD;&#xA;&#xD;&#xA;For control there are a lot of control surfaces such as Mackie Control, Digi 003, Command8, C24, MC Control, MC Mix, BCF2000, Lemur + Dexter App, etc... We always need  to feel the faders! :)&#xD;&#xA;&#xD;&#xA;There are also smaller and useful controllers such as ShuttlePro, AlphaTrack, FaderPort, MCS Panner, FaderMaster 4/100, Nocturn, etc... An Expert Mouse is also a really nice gadget to implement!&#xD;&#xA;&#xD;&#xA;Don't forget about your chair. You could have killer faders but if your chair isn't comfortable, everything will be crazy there :P" ContentLicense="CC BY-SA 2.5" />
  <row Id="580" PostHistoryTypeId="2" PostId="369" RevisionGUID="32103f77-10cb-4a4f-9165-a34daa5cc4b5" CreationDate="2010-03-17T06:50:46.163" UserId="61" Text="This wonderful little device has stood the test of time but rarely does it make its way into my sound design bag o' tricks. Who has good tips or stories?&#xD;&#xA;&#xD;&#xA;Btw, my version of a vocoder comes by way of Pro Tools plug-ins…what are you folks using?" ContentLicense="CC BY-SA 2.5" />
  <row Id="581" PostHistoryTypeId="1" PostId="369" RevisionGUID="32103f77-10cb-4a4f-9165-a34daa5cc4b5" CreationDate="2010-03-17T06:50:46.163" UserId="61" Text="Who is using a vocoder these days and how?" ContentLicense="CC BY-SA 2.5" />
  <row Id="582" PostHistoryTypeId="3" PostId="369" RevisionGUID="32103f77-10cb-4a4f-9165-a34daa5cc4b5" CreationDate="2010-03-17T06:50:46.163" UserId="61" Text="&lt;sound-design&gt;&lt;gear&gt;&lt;sound-effects&gt;&lt;processing&gt;&lt;creativity&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="583" PostHistoryTypeId="2" PostId="370" RevisionGUID="3573dfa9-d462-4212-bc33-43ee384266fd" CreationDate="2010-03-17T10:45:22.940" UserId="154" Text="I've worked on some scenes with massive crowds chanting and I agree with 'birdhousesound' approach of sweetening your recordings with real large crowd recordings. &#xD;&#xA;&#xD;&#xA;Pan and lightly pitch all takes you currently have. Its good to have the 20-40 type crowd chanting for mid range body, then the close 5-10 layer also to help with clarity, but use multiple layers of this. Stack them up as much as you can and micro edit to keep the clarity of the chant.&#xD;&#xA;&#xD;&#xA;I then used bounce this out and do an 'amplitude fit' with with a massive crowd recording. This would just sit under the actual chants and provide mass and body. On top of this you can pitch down some of the chants quite a bit and treat with some sort of verb, light saturation or resonance to become a deep layer. Put them all in the same slap or verb and bingo...&#xD;&#xA;&#xD;&#xA;This worked for me anyways... Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="584" PostHistoryTypeId="2" PostId="371" RevisionGUID="68b54b36-b153-49f3-9d85-ccbc04f94adc" CreationDate="2010-03-17T17:13:27.017" UserId="112" Text="You can always go the simple route and maintain an excel sheet. Columns for category, sub-category, filename, title, description&#xD;&#xA;&#xD;&#xA;Name each file beginning with a sku and brief title&#xD;&#xA;&#xD;&#xA;That's what I do to manage about 4,000 sfx and it works well" ContentLicense="CC BY-SA 2.5" />
  <row Id="585" PostHistoryTypeId="2" PostId="372" RevisionGUID="50bd43f8-03dc-41a7-b77b-e55cc6d4acc8" CreationDate="2010-03-17T19:11:33.497" UserId="2" Text="I don't often use a vocoder, but when I do I quite enjoy it. &#xD;&#xA;&#xD;&#xA;Things I've used it for:&#xD;&#xA;&#xD;&#xA; - Adding noise to an explosion, so that the blow and decay sound a bit harsher. &#xD;&#xA; - Giving rhythm to a sound. I wanted a cartoony sound of train, so I put together a 'farty' motorbike sound and, if I remember correctly, a rock falling and bouncing in a metal bin, then looped it. It worked quite well. &#xD;&#xA; - Unconsciously, whenever I time stretch without pitch shifting and vice versa. I think that uses phase vocoding. &#xD;&#xA; - The usual instrument stuff... Including to fatten up drum sounds. &#xD;&#xA; - No robot voices though :-) &#xD;&#xA;&#xD;&#xA;I use the [Vokator][1] by Native Instruments. Although lately I've mainly been using Max/MSP and it's [FFT][2] objects, there is a nice external by [Tap.Tools][3] called [tap.vocoder~]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.native-instruments.com/index.php?id=k3vokator&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Fast_Fourier_transform&#xD;&#xA;  [3]: http://shop.electrotap.com/products/taptools" ContentLicense="CC BY-SA 2.5" />
  <row Id="586" PostHistoryTypeId="2" PostId="373" RevisionGUID="df37f757-4b7a-4971-8863-4bf6da57b3bd" CreationDate="2010-03-17T19:17:30.520" UserId="155" Text="In a perfect world, I name them with my initials, then a code, AMB, FOLEY, VEHICLE, HORR, PAD, Perc, ect. Then a Short description of the sound, and then I go ghetto style and drop the sounds into itunes and add a better meta-data. I also keep my Commercial library's in the same place. &#xD;&#xA;&#xD;&#xA;Unfortunately, for many of my projects, I just have a project folder with Hundereds of sounds organized with in subfolders. The folders are named well, but the files often get named too generic. I. E.  ControlPointStart001.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="587" PostHistoryTypeId="2" PostId="374" RevisionGUID="b5037997-03e8-4971-a466-316adcbce074" CreationDate="2010-03-17T21:06:44.153" UserId="2" Text="I'm looking for a cheap wave editor (as in not the $600 for Peak) to use with [Basehead][1]. [Wave Editor][2] seems very nice! I'm playing with the demo now and although I'm only getting started, I'm already enjoying it. I can see it being useful, especially for the price of $79.&#xD;&#xA;&#xD;&#xA;My editing, mixing and mastering of sound effects is done in Nuendo, I think Wave Editor will be a good first pass at editing my sounds. With Wave Editor, I could directly from within Basehead run a mid-side decoder, normalize, trim, add some metadata etc.  &#xD;&#xA;&#xD;&#xA;Can anyone comment? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.baseheadinc.com/&#xD;&#xA;  [2]: http://www.audiofile-engineering.com/waveeditor/" ContentLicense="CC BY-SA 2.5" />
  <row Id="588" PostHistoryTypeId="1" PostId="374" RevisionGUID="b5037997-03e8-4971-a466-316adcbce074" CreationDate="2010-03-17T21:06:44.153" UserId="2" Text="Does anyone use Wave Editor by Audiofile Engineering? " ContentLicense="CC BY-SA 2.5" />
  <row Id="589" PostHistoryTypeId="3" PostId="374" RevisionGUID="b5037997-03e8-4971-a466-316adcbce074" CreationDate="2010-03-17T21:06:44.153" UserId="2" Text="&lt;wave-editor&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="590" PostHistoryTypeId="2" PostId="375" RevisionGUID="b0c1f52b-5cc9-4e25-acb8-d100030f59a8" CreationDate="2010-03-17T22:35:41.727" UserId="37" Text="oh this is a sore spot. &#xD;&#xA;I come from Cool Edit on PC and have tried pretty much everything in the lower price bracket on the Mac, including Wave Editor, DSP Quattro, Sound Studio, Peak LE/Express and others.&#xD;&#xA;&#xD;&#xA;For being straightforward my heart is with [Sound Studio][1]. It's a terrible hack of an app by  Freeverse who have virtually dropped support for it (, focused on the iPhone, and were recently acquired by ngmoco, a  large game developer). Still, I haven't found anything on the Mac that allows me to chop sounds quicker than SS. Yet it's full of bugs, and lacks basic features such as (wait for it).. meters.&#xD;&#xA;&#xD;&#xA;[Wave Editor][2] is strong and keeps getting better, but for me it lacks the immediacy of Sound Studio (which has the immediacy of Cool Edit). The multiple window interface makes it feel scattered. If you come from Sound Forge on the PC then it will probably make more sense. I like its extensive support of markers, and niche functions (m/s decoding etc), but it still lacks on the ergonomic front (shortcut keys, quick access to functions). I don't think the idea of Layers translates too well and for me the interface feels sluggish. And then there's the trouble with fades (single click on SS, 3 levels deep menu on WE). For all the nice features, WE feels inconsistent and convoluted.&#xD;&#xA;&#xD;&#xA;[DSP Quattro][3] puzzled me with the strange choice of just 4 plugins per track. I heartily recommend to the makers to drop the idea and limit the legacy to just its name. &#xD;&#xA;&#xD;&#xA;The one software I could never get into was [Soundtrack Pro][4]. &#xD;&#xA;I haven't tried [Amadeus][5] either. &#xD;&#xA;There's also [Wavepad][6] but I feel an inexplicable discomfort with it. Same with [TwistedWave][7]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I really wish Adobe would port Audition to OSX, and there is a fair chance of them actually doing so, seeing how SoundBooth has progressed so far, and the recent changes to the interface across CS4.&#xD;&#xA;&#xD;&#xA;There's also talk of WaveLab coming to the Mac, which might sweep the market if Steinberg can better Bias on price.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;All in all, it feels like no (Mac) developer actually did research on what we use these things for. And even then I can imagine companies not feeling very motivated with desktop software at the moment, given the portable app market goldmine. The one title that could make some change, without coming from an iphone-obsessed vendor, is Audacity, but that team have no idea what they're doing (pardon the bluntness).&#xD;&#xA;&#xD;&#xA;Another problem is that it takes more than just a few launches to evaluate a product and it takes many months to get an idea of how committed a company is to developing their product.  In my case with SoundStudio I feel bad but also I still haven't found anything snappier.&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;p.s. I'd love if someone who's tried the higher end (soundblade, peak pro, etc) chimed in with their comments.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freeverse.com/soundstudio/&#xD;&#xA;  [2]: http://www.audiofile-engineering.com/waveeditor/&#xD;&#xA;  [3]: http://www.i3net.it/&#xD;&#xA;  [4]: http://www.apple.com/finalcutstudio/soundtrackpro/&#xD;&#xA;  [5]: http://www.hairersoft.com/AmadeusPro/AmadeusPro.html&#xD;&#xA;  [6]: http://www.nch.com.au/wavepad/&#xD;&#xA;  [7]: http://twistedwave.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="591" PostHistoryTypeId="6" PostId="310" RevisionGUID="65fc8fbe-6816-4126-9702-8a9858b0cb1a" CreationDate="2010-03-18T10:53:57.197" UserDisplayName="user80" Comment="edited tags" Text="&lt;field&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="592" PostHistoryTypeId="2" PostId="376" RevisionGUID="9f411273-7f80-4b70-addc-b3ea38ced5e6" CreationDate="2010-03-18T11:12:22.680" UserId="64" Text="Hello&#xD;&#xA;I use TwistedWave. It's work well and the developper is very very reactive. " ContentLicense="CC BY-SA 2.5" />
  <row Id="593" PostHistoryTypeId="2" PostId="377" RevisionGUID="ceb1144f-ae0c-4b65-8fb6-899ca8f5ccf0" CreationDate="2010-03-18T15:27:34.627" UserId="108" Text="Curious if there's any notable difference between a binaural recording and a typical stereo miking pattern when listening in a studio environment. Is there anything that needs to be compensated for? Obviously I've listened to binaural recordings on my personal gear, but I want to get a professional perspective on this." ContentLicense="CC BY-SA 2.5" />
  <row Id="594" PostHistoryTypeId="1" PostId="377" RevisionGUID="ceb1144f-ae0c-4b65-8fb6-899ca8f5ccf0" CreationDate="2010-03-18T15:27:34.627" UserId="108" Text="How do binaural recordings sound is a typical stereo situation?" ContentLicense="CC BY-SA 2.5" />
  <row Id="595" PostHistoryTypeId="3" PostId="377" RevisionGUID="ceb1144f-ae0c-4b65-8fb6-899ca8f5ccf0" CreationDate="2010-03-18T15:27:34.627" UserId="108" Text="&lt;binaural&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="596" PostHistoryTypeId="2" PostId="378" RevisionGUID="5c8ff3ea-bf11-4a31-a9a6-008d364a57d7" CreationDate="2010-03-18T19:46:18.560" UserId="2" Text="For me, there is a big difference. When listening with headphones, the spatial reproduction of binaural recordings sound incredibly accurate (not quite that accurate in front though). When listening back on speakers, the middle of the stereo field is quite dead. It really doesn't portray a good stereo image. It's a pity because it would be a great way to record inconspicuously without sacrificing a nice stereo image.&#xD;&#xA;&#xD;&#xA;This is just my experience. Anyone with another view point?    " ContentLicense="CC BY-SA 2.5" />
  <row Id="597" PostHistoryTypeId="4" PostId="377" RevisionGUID="3b00d0f5-fff1-42d8-b62a-10a312e19928" CreationDate="2010-03-18T19:47:03.913" UserId="2" Comment="changed 'is' to 'in' in the title" Text="How do binaural recordings sound in a typical stereo situation?" ContentLicense="CC BY-SA 2.5" />
  <row Id="598" PostHistoryTypeId="2" PostId="379" RevisionGUID="c2d2533a-6a4b-4a61-82ac-d6c7af035cc7" CreationDate="2010-03-18T22:14:21.817" UserId="160" Text="As A Artist and also Software developer I have always Loved the idea of computer generated music I was just wondering all the types there are I have written several myself in ruby..&#xD;&#xA;&#xD;&#xA;that converts number patterns and Text into Music along with images ect.. &#xD;&#xA;&#xD;&#xA;like to here what others use if anything... " ContentLicense="CC BY-SA 2.5" />
  <row Id="599" PostHistoryTypeId="1" PostId="379" RevisionGUID="c2d2533a-6a4b-4a61-82ac-d6c7af035cc7" CreationDate="2010-03-18T22:14:21.817" UserId="160" Text="Types of Computer Generated Music Software" ContentLicense="CC BY-SA 2.5" />
  <row Id="600" PostHistoryTypeId="3" PostId="379" RevisionGUID="c2d2533a-6a4b-4a61-82ac-d6c7af035cc7" CreationDate="2010-03-18T22:14:21.817" UserId="160" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="601" PostHistoryTypeId="2" PostId="380" RevisionGUID="8dd65a71-2b62-4e2e-9e95-f070946754bc" CreationDate="2010-03-18T22:28:39.743" UserId="83" Text="Don't forget a few of the elastic pony tail things with a ball on each end.&#xD;&#xA;They can secure cables etc and are cheap to lose.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="602" PostHistoryTypeId="2" PostId="381" RevisionGUID="f7183b0e-4476-463c-8d18-3335aa75518f" CreationDate="2010-03-18T22:54:30.613" UserId="40" Text="Binaural recording and playback is awesome because of the spacial localization reproduction.  It's almost true 3D.  Left, right, up, down, forward, back, and distance are all reproduced fairly well.  The only catch is that you have to listen to it in headphones.  Earbuds actually work better, since the shape of the outer ear (Pinnae) is already accounted for in the recording, so if you use cans, you are just going through the outer ear again.  That fact aside, an unaltered binaural recording is going to sound funky through studio monitors.  This is because the recorded binaural signal already has localization &quot;imprinted&quot; on it, and when you listen to speakers, your ears are going to localize the sound again.  You cannot prevent the right ear from hearing the left speaker and the left ear from hearing the right speaker.  This isolation is only possible with the use of headphones.&#xD;&#xA;&#xD;&#xA;You can, however, CONVERT binaural to stereo for playback on a pair of speakers using a loudspeaker crosstalk canceling system.  This can be either software conversion or a hardware converter  You can pull it off with most binaural recordings fairly well, but it works best with a Binaural Impulse Response (or BIR).  There's a good article about it [here][1].  AES has an article about it as well, but you have to purchase it.  If you're interested, it's located [here][2].  I've done a ton of work with binaural, so if you want to know more about it, let me know.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://pcfarina.eng.unipr.it/Aurora/crostalk.htm&#xD;&#xA;  [2]: http://www.aes.org/e-lib/browse.cfm?elib=5744" ContentLicense="CC BY-SA 2.5" />
  <row Id="603" PostHistoryTypeId="2" PostId="382" RevisionGUID="4a3402a2-0cff-49a6-9128-c2b927368bf3" CreationDate="2010-03-18T23:08:03.843" UserId="135" Text="SuperCollider is a very interesting software which uses code to create sounds: http://en.wikipedia.org/wiki/SuperCollider" ContentLicense="CC BY-SA 2.5" />
  <row Id="604" PostHistoryTypeId="2" PostId="383" RevisionGUID="283ac221-bbe6-4f21-ae16-65ed0e7937db" CreationDate="2010-03-19T00:38:15.237" UserId="159" Text="All the above are good workarounds.  Headphones can be used inventively: Gertrude Art Spaces here in Melbourne, Australia had a show of 100 sound art works recently in a space about the size of a small house, pretty much by hanging 100 sets of headphones from the ceiling.&#xD;&#xA;&#xD;&#xA;The ideal solution, though, would be for future galleries to be designed with acoustics in mind too.  &#xD;&#xA;&#xD;&#xA;Traditionally sound-based works and visual art occupy different spaces and regulate movement differently.  Places designed with sound in mind - theatres, concert halls, cinemas - assume a seated audience with their attention in one spot.  If there are multiple works these are ordered in time, not space, and the audience encounters them in order.  Architecturally they're designed to broadcast a single work throughout a large space.&#xD;&#xA;&#xD;&#xA;Most art galleries, on the other hand, assume a mobile audience and multiple works ordered in space, not time.  (It'd be entertaining to set up a gallery on the broadcast model, where the audience walks in, sits down, and stares at, say, a painting without being able to wander around.  Heh.)&#xD;&#xA;&#xD;&#xA;It gets tricky when artists start wanting to use a gallery setting to present works where the sound is important, especially when there's more than one work with sound at a time.  But then I think about my local multi-screen arthouse cinema, which manages to have about 8 rooms, none of them all that big, which are sonically isolated from each other and sound decent.  It makes me think of a space something like a tiny multi-screen cinema with 80% of the seats removed.&#xD;&#xA;&#xD;&#xA;The ideal space would have non-parallel walls, a mix of absorbent and reflective surfaces and, I guess, doors between different exhibits.  Plus relatively soundproof walls.  It'd cost a lot more than an ordinary art gallery to build but probably a lot less than a concert hall.  I daydream about setting a place like this up one day!  How it would fund itself is a tricky question: sound-based works seem harder to sell than paintings and sculptures, and government funding can be erratic.  Dreams are cheap though.." ContentLicense="CC BY-SA 2.5" />
  <row Id="605" PostHistoryTypeId="2" PostId="384" RevisionGUID="cb21821b-1d52-4071-b771-6566a4371e10" CreationDate="2010-03-19T00:47:31.807" UserId="28" Text="I would recommend Amadeus. It's the closest thing I've found to resemble SoundForge, (which is the only Windows app that I miss with all my heart. *::tear::*)&#xD;&#xA;&#xD;&#xA;It helped that Amadeus was used as a teaching tool by one of my profs in Electroacoustics. The incredible things he could demonstrate (and compose, on a microscopic level) by only using: copy, paste, fade and gain commands. Once you learn the shortcuts, it's a zippy little app.&#xD;&#xA;&#xD;&#xA;Not too stiff on the wallet, either.&#xD;&#xA;&#xD;&#xA;Amadeus by Hairersoft.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="606" PostHistoryTypeId="2" PostId="385" RevisionGUID="f2bb46bc-3ff5-475f-b2ee-52975c81782a" CreationDate="2010-03-19T00:49:57.377" UserId="29" Text="There are a lot of options depending on what you want to do, how much you think/implement in code, and the level of complexity you're ready to opt into...the more complex, usually, the more control you have when you're tackling the tricky bits (talking to homebuilt MIDI devices, sensors, sonifying realtime data, etc.)&#xD;&#xA;&#xD;&#xA;Here are some of the other packages you might want to check out.&#xD;&#xA;&#xD;&#xA;cSound is a classic if you're not afraid of code. Max/MSP/Jitter is more graphical and insanely powerful. Pd (pure data) is an open source take on the Max/MSP paradigm. Reaktor is a more commercialized, easier-to-use, but maybe not-as-powerful modular synthesis/sequencing environment. U&amp;I Software's famous Metasynth software can be sequenced with its companion product, Xx, for a very different kind of graphical computer music experience." ContentLicense="CC BY-SA 2.5" />
  <row Id="607" PostHistoryTypeId="2" PostId="386" RevisionGUID="a0075f56-677e-4c12-93ab-1c00e40aa92e" CreationDate="2010-03-19T01:05:53.323" UserId="29" Text="In the US, only with photography so far. Photogs often carry small cards with the legal guidelines around taking photos (er, sorry, *making* photos) in public places in case they get hassled. This doesn't win the argument every time, but it helps you from backing down every time. The trick is that often what appears to be a public space isn't, and people's paranoia makes them think that standing on public land but shooting a private building is illegal...it's not. Depending on the context, though, doing so can seem creepy, invasive, or innocent, and you'll probably be asked to stop anyway, legal or not. (Photographing PEOPLE has a whole different set of laws and issues.)&#xD;&#xA;&#xD;&#xA;But back to the audio side of things. The other industry that knows a lot about audio laws are radio journalists. A great URL to reference is the &quot;[Can We Tape&quot; guide][1] to taping conversations, in person and on the phone. Turns out a lot of it is like photographing people. This suggests that general audio recording will probably follow the legal guidelines of both photography and videography, as a general rule, especially since surreptitious audio picked up by a video camera is often covered under wiretapping and eavesdropping laws. There will be exceptions, and I'm no lawyer, so take my opinion at your own risk. :-) Even in the US, every jurisdiction is different in what laws it has and how they're interpreted.&#xD;&#xA;&#xD;&#xA;But we, as sound recordists, mixers, and sound designers, are often recording all sorts of random crap. Our actions are *very* hard to interpret when compared to photography, and it's our responsibility to be sensitive to this without being bullied by those with ignorance of the law. Showing credentials is important, getting permission on private property is vital. The rest sadly appears legally murky.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rcfp.org/taping/" ContentLicense="CC BY-SA 2.5" />
  <row Id="608" PostHistoryTypeId="6" PostId="310" RevisionGUID="e62521eb-af83-4bde-b87b-3c48525e2338" CreationDate="2010-03-19T01:11:50.073" UserId="29" Comment="edited tags" Text="&lt;field&gt;&lt;recording&gt;&lt;legality&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="609" PostHistoryTypeId="2" PostId="387" RevisionGUID="e4d138bd-76d1-449f-a54a-389e1886dfed" CreationDate="2010-03-19T01:25:21.590" UserId="29" Text="As the march of virtualization continues, I've ditched most of my effects boxes and pedals in favor of plug-ins. Who hasn't, right?&#xD;&#xA;&#xD;&#xA;But some mad scientists' creations just can't (or simply aren't) be replicated in software, and I get the impression that they're not a common tool for many sound designers. (Terminator: Salvation is one notable exception.)&#xD;&#xA;&#xD;&#xA;For example, I'm still partial to the Sherman Filterbank, the Electro-Harmonix Electric Mistress, and the weirder pedals by Z-Vex. I've used all of them in signal chains for sound design (as well as music, of course), or sometimes just for &quot;sketching&quot; ideas (as you can tell, ideas where signal to noise ratio isn't as important). I'm just dying to get an [Ekdahl Moisturizer][1].&#xD;&#xA;&#xD;&#xA;Does anyone have any favorite outboard processors or effects pedals that actually get used for sound design or any wacky techniques?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sdiy.org/knas/products/moisturizer/moisturizer.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="610" PostHistoryTypeId="1" PostId="387" RevisionGUID="e4d138bd-76d1-449f-a54a-389e1886dfed" CreationDate="2010-03-19T01:25:21.590" UserId="29" Text="Outboard Processing/Pedals?" ContentLicense="CC BY-SA 2.5" />
  <row Id="611" PostHistoryTypeId="3" PostId="387" RevisionGUID="e4d138bd-76d1-449f-a54a-389e1886dfed" CreationDate="2010-03-19T01:25:21.590" UserId="29" Text="&lt;effects&gt;&lt;hardware&gt;&lt;gear&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="612" PostHistoryTypeId="2" PostId="388" RevisionGUID="e6b6f844-46fd-4ddb-9aa0-bc862bbbb6e6" CreationDate="2010-03-19T02:43:46.033" UserId="161" Text="I love this question! Sound design was something I fell into as a result of constantly messing around with non-musical sounds during tracking sessions as a recording engineer.&#xD;&#xA;Probably my two favorite guitar pedals I love for sound design are the Micro-Synthesizer made by Electro-Harmonix and of coarse Moog's Low pass filter. Now there is a Plug-in version of the low pass filter, but the Micro Synthesizer is great for bullet whizzes, ricco's and and anything with movement.&#xD;&#xA;&#xD;&#xA;Some of my other favorite pedals are the &quot;Soul Bender&quot; which is great for adding strangeness, &#xD;&#xA;Akai's &quot;Deep Impact&quot; pedal (great for bass players) awesome for filtering with a fat warm tone. Z-Vex pedals are always alot of fun, using the Ooh Wah and the Probe Wah together is just out there.&#xD;&#xA;&#xD;&#xA;Some non-pedal effects that are fun are the Eventide H3000, which does alot of great things, the Rev 7 (especially the tones generator setting and even Alesis Air FX, which is cheap and crappy, but it has a performance element to it and can be great as a weird side-chain effect.&#xD;&#xA;I could go on and on but those are some goodies that come to mind. " ContentLicense="CC BY-SA 2.5" />
  <row Id="613" PostHistoryTypeId="2" PostId="389" RevisionGUID="9597461b-c002-4208-b9e8-e8ef41bbd913" CreationDate="2010-03-19T04:43:16.713" UserId="137" Text="I am a huge fan of the pen and tablet. Have been using a Wacom for about 5 years now and love it. I have a scroll mouse for my other hand if scrolling through PT Workspace as I find holding a pen down and scrolling down the tablet for prolonged periods can get pretty painful. The pen positioning allows for your hand and wrist to be in a more neutral (drop your arm down by your side when standing and see the natural position your hand and wrist fall into - I guarantee it's not one in which you could use a mouse) and sustainable position.&#xD;&#xA;&#xD;&#xA;For a chair I always use a Gregory chair with the dual density foam in the seat to keep your bum from shifting forward. I get the chair without arms otherwise it encourages me to lean. It doesn't matter how good your chair is though pay $$$$$$ and still slouch it won't matter.&#xD;&#xA;&#xD;&#xA;Yet to find a mixer/control surface that is great ergonomically, you are always reaching over them in weird sustained positions just to get that EQ right." ContentLicense="CC BY-SA 2.5" />
  <row Id="614" PostHistoryTypeId="2" PostId="390" RevisionGUID="12a671ba-9d6d-4bcd-8363-a561159c3d25" CreationDate="2010-03-19T05:14:43.247" UserId="132" Text="write now, after hours of editing, my neck really hurts, so I clearly need to start taking some of this advice.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="615" PostHistoryTypeId="2" PostId="391" RevisionGUID="ddee722f-5327-4e7d-bbff-32345deea0d4" CreationDate="2010-03-19T05:45:26.837" UserId="61" Text="We used a really crazy pedal called a Snarling Dog while designing sounds for Terminator Salvation. Some really strange sounds came out of that thing!" ContentLicense="CC BY-SA 2.5" />
  <row Id="616" PostHistoryTypeId="2" PostId="392" RevisionGUID="f78ff3a0-1d75-4b5b-a7c8-bfd3d10a3e95" CreationDate="2010-03-19T08:41:26.260" UserId="56" Text="All the software mentioned by NoiseJokey is perfect for the purpose.&#xD;&#xA;I personally suggest Puredata. It's free and has a great community ready to help you with answers and patches. Maybe it's a little harsh at the beginning understanding how this software works...&#xD;&#xA;You could try Max/MSP. There's a one month working demo at Cycling74. It's the puredata rich cousin with a beautiful GUI and it's much more easy to learn, you have to pay for it...but you can use it with Ableton Live too (max4live).&#xD;&#xA;You'll find many videos of both sw on youtube." ContentLicense="CC BY-SA 2.5" />
  <row Id="617" PostHistoryTypeId="2" PostId="393" RevisionGUID="575ff9d2-9ec9-4880-82f2-1472e1177313" CreationDate="2010-03-19T10:54:25.277" UserId="118" Text="Hadn't heard of quikquak and clone ensemble - interested to try them out. On 'centurion' I needed to fatten up some crowds and basically got as much production crowd and crowd ADR that I could and layered them into Lcr tracks then in amongst these tracks I used Antares avox choir to make the crowd seem bigger. With any of these plugins you can't leave the results too exposed, they have to be mixed in judiciously to be most effective." ContentLicense="CC BY-SA 2.5" />
  <row Id="618" PostHistoryTypeId="2" PostId="394" RevisionGUID="b69c31a4-0fb8-461a-9d7e-98aaaf1cdaaa" CreationDate="2010-03-19T11:15:20.520" UserId="157" Text="I am currently working on a project for an advertising agency that will require super nice accessible sound design, Its a bit out of my comfort zone (i like it evil (muh hu hu hu ha)).&#xD;&#xA;&#xD;&#xA;So my question to you guys is about adverts, what are your favourite sounding adverts?&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=i2JWIcgu7Ag&#xD;&#xA;&#xD;&#xA;I love this one, the sound throughout is beautiful and of course the hang drum at the end is lovely. " ContentLicense="CC BY-SA 2.5" />
  <row Id="619" PostHistoryTypeId="1" PostId="394" RevisionGUID="b69c31a4-0fb8-461a-9d7e-98aaaf1cdaaa" CreationDate="2010-03-19T11:15:20.520" UserId="157" Text="Really nice sound!" ContentLicense="CC BY-SA 2.5" />
  <row Id="620" PostHistoryTypeId="3" PostId="394" RevisionGUID="b69c31a4-0fb8-461a-9d7e-98aaaf1cdaaa" CreationDate="2010-03-19T11:15:20.520" UserId="157" Text="&lt;nice&gt;&lt;inspiration&gt;&lt;happy&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="621" PostHistoryTypeId="2" PostId="395" RevisionGUID="407c9ef1-96b7-4043-bf37-82a9915cdcdd" CreationDate="2010-03-19T11:25:24.607" UserId="118" Text="Parallel processing can work well with ball kicks, ie heavily compress the ball kick to make it really thump but play it together with the original recording at an appropriate level so you can control the amount of impact without it sounding unnatural. " ContentLicense="CC BY-SA 2.5" />
  <row Id="622" PostHistoryTypeId="2" PostId="396" RevisionGUID="ef090557-2dfc-4b9a-82aa-062ea95f1f9a" CreationDate="2010-03-19T11:35:32.390" UserId="118" Text="There was a good article in Sound on Sound a few months back comparing different models.&#xD;&#xA;http://www.soundonsound.com/sos/jan10/articles/studioheadphones.htm&#xD;&#xA;One thing that's obvious from the article though is that (obviously within reason) opinions on headphones are VERY personal and subjective. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="623" PostHistoryTypeId="2" PostId="397" RevisionGUID="8e2de437-4101-4425-add7-2b81522f8543" CreationDate="2010-03-19T13:48:26.700" UserId="157" Text="Gotta be absynth for me, the options for the 'oscillators' and those envelopes..... so many possibilities!" ContentLicense="CC BY-SA 2.5" />
  <row Id="624" PostHistoryTypeId="5" PostId="394" RevisionGUID="6e0dcb2f-3074-4fd9-a2bd-0c883907b53a" CreationDate="2010-03-19T13:52:31.613" UserId="2" Comment="added emebeded youtube video" Text="I am currently working on a project for an advertising agency that will require super nice accessible sound design, Its a bit out of my comfort zone (i like it evil (muh hu hu hu ha)).&#xD;&#xA;&#xD;&#xA;So my question to you guys is about adverts, what are your favorite sounding adverts?&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=i2JWIcgu7Ag&#xD;&#xA;&#xD;&#xA;[youtube]i2JWIcgu7Ag[/youtube]&#xD;&#xA;&#xD;&#xA;I love this one, the sound throughout is beautiful and of course the hang drum at the end is lovely. " ContentLicense="CC BY-SA 2.5" />
  <row Id="625" PostHistoryTypeId="2" PostId="398" RevisionGUID="fab451c8-a6b4-4420-828f-127746b81a25" CreationDate="2010-03-19T15:01:10.530" UserId="163" Text="Audiomulch - due to its nonlinear way of processing/composition. plus insane possibilities of audio creation &amp; sound abuse. Able to create intricate sound sculptures and complex textures yet it's all very clear and straightforward. Excellent both for studio and live purposes. I even mix with it. My software of choice, way above the others. &#xD;&#xA;http://www.audiomulch.com/&#xD;&#xA;&#xD;&#xA;Ixi software - particular applications are rather limited, yet capable of putting together some serious textures and unpredictable sounds. More a toy than but fun to play with. Yet still solid players in my setup when used combined. ixiQuarks highly recommended. Able to pull off real sound stunts. &#xD;&#xA;http://www.ixi-software.net/content/software.html&#xD;&#xA;&#xD;&#xA;The list of my audio toys, found here and there, is long. Maybe one more I've been using lately. Forester. Simple and fun. Ver.2 coming someday soon.&#xD;&#xA;http://leafcutterjohn.com/?page_id=14&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="626" PostHistoryTypeId="2" PostId="399" RevisionGUID="c0e3762e-cec5-4cd7-9950-ecab365cbfaf" CreationDate="2010-03-19T19:26:30.117" UserId="164" Text="One exhibition I visited used speakers housed in parabolic domes suspended from the ceiling.  You only heard the sound when you were directly below.  It was stereo too, I think.  I don't remember if there were carpets to absorb sound reflected from the floor.  The sound pieces sometimes associated with video, other times not.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="627" PostHistoryTypeId="2" PostId="400" RevisionGUID="32850fc9-a72f-4316-8dbb-199422004430" CreationDate="2010-03-19T23:15:51.987" UserId="63" Text="ok i ll try to change the typical &quot;whats the best mic, best recorder, etc&quot; question and ask something about Sound Design!!!&#xD;&#xA;&#xD;&#xA;To the point now! i have to make a sound like jet engines (airplane fight scene), and i want to achieve that characteristic Shoooooooshhhhh effect with NO field recording at all and i was thinking that maybe white noise with a sweepable band pass filter might get the basic sound right! what do you think or have to propose instead? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="628" PostHistoryTypeId="1" PostId="400" RevisionGUID="32850fc9-a72f-4316-8dbb-199422004430" CreationDate="2010-03-19T23:15:51.987" UserId="63" Text="hmmm what about Sound Design talk? (jet engines)" ContentLicense="CC BY-SA 2.5" />
  <row Id="629" PostHistoryTypeId="3" PostId="400" RevisionGUID="32850fc9-a72f-4316-8dbb-199422004430" CreationDate="2010-03-19T23:15:51.987" UserId="63" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="630" PostHistoryTypeId="2" PostId="401" RevisionGUID="5d09a79a-1887-49f5-93a2-95661abdd5f3" CreationDate="2010-03-19T23:17:52.113" UserId="165" Text="One particular scene in 'The Fountain'; Hugh Jackman's character leaves a hospital after his wife has died, out onto a busy city street scene in total silence, and after a few moments steps out to cross the road and the silence is broken by a car horn and screeching tyres.  Really beautiful scene in a really beautiful movie, which was apparently &quot;borrowed&quot; from a Kurosawa film, 'Ikiru'." ContentLicense="CC BY-SA 2.5" />
  <row Id="631" PostHistoryTypeId="2" PostId="402" RevisionGUID="f7882dc8-ef75-484a-97ae-69136631caf3" CreationDate="2010-03-19T23:36:29.223" UserId="28" Text="+1 for There Will Be Blood (jozua already mentioned it.) The long, establishing shot at the top comes to mind.&#xD;&#xA;&#xD;&#xA;Jonny Greenwood's score for that movie made me very uncomfortable. At first, I thought I just didn't like it. But by the end of the movie, my perception tweaked to think of the score as a character... a character whose villainy I did not like. And that, as a concept, I VERY MUCH like.&#xD;&#xA;&#xD;&#xA;So often movie scores are literal and on the nose about what you're seeing. In There Will Be Blood, they were willing to risk subverting expectations. Playing against the grain. The music was in a sense, an unreliable narrator.&#xD;&#xA;&#xD;&#xA;I digress.&#xD;&#xA;And love Radiohead." ContentLicense="CC BY-SA 2.5" />
  <row Id="632" PostHistoryTypeId="2" PostId="403" RevisionGUID="a0382e16-0d0b-46ee-8c6d-99e420d0eabb" CreationDate="2010-03-20T00:20:05.070" UserId="40" Text="I've gotten a pretty cool jet sound (interior perspective) from two industrial fans that were on the set of an airplane interior shot.  Sounded pretty real.&#xD;&#xA;&#xD;&#xA;But I'm assuming you meant exterior Jet sounds (dog fight style?). One that I've had some success with is using a pencil and a desk fan.  If you put the pencil in the fan while it's on medium or high, you get a really cool buzzing sound that sounds almost exactly like a prop plane.  You can change the pitch based on where you hold the pencil and how hard you push it into the fan.  I've never tried it, but I'd imagine if you pitch it up and layer it with some wooshes and wind sounds you could get close to the whine of an engine.  Maybe also layer in some fans/hard drive noises from the back of a computer for the high pitched whine part of a plane?  You should be able to do it with about 10-15 layers I'd imagine.  Once you get a sound you like, you can automate pans, volumes, and doppler to match the Jet Bys on the screen.&#xD;&#xA;&#xD;&#xA;Other mechanical sounds might be helpful for layering, such as a pitched refrigerator motor or air conditioning compressor.&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="633" PostHistoryTypeId="2" PostId="404" RevisionGUID="3e25733e-346a-4fbb-90b4-6ea9abadbea5" CreationDate="2010-03-20T00:26:17.063" UserDisplayName="user49" Text="calling it sound design &amp; then stating no field recording seems somewhat at odds but anyway...&#xD;&#xA;&#xD;&#xA;first, disregarding movement for a minute, a real jet engine doesn't sound like white noise. If you looked at the spectrum of of a jet engine it would have very pronounced harmonics so recreating those would be a starting point whether its by comb filtering white noise or by adding very narrow band whines etc to white noise... Also if you band pass it you may lose the bottom end and jet engines have a lot of low frequency energy, so I'd be more inclined to low pass filter it with lots of resonance&#xD;&#xA;&#xD;&#xA;second, the reason it goes whoosh is based on physics so I would then mess with doppler and possibly flanging or phasing.... but that depends on the perspective: are we onboard? is it passing by? or has it already gone by &amp; its the away sound you are after? or is it approaching? each of these are totally different scenarios... &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="634" PostHistoryTypeId="2" PostId="405" RevisionGUID="8a99f70e-03ce-4fe6-b545-2a2d0639259f" CreationDate="2010-03-20T00:32:21.867" UserDisplayName="user49" Text="I rarely listen to ads (thats what the mute button is for) but I love the beautiful attention to detail &amp; characterful sounds for this Honda ad (605 takes apparently)&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=EEF0cg1j35o&#xD;&#xA;&#xD;&#xA;&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/EEF0cg1j35o&amp;hl=en_US&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/EEF0cg1j35o&amp;hl=en_US&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="635" PostHistoryTypeId="2" PostId="406" RevisionGUID="bf2cd7e4-4d57-42cc-b0b4-ba9dc79d2cf4" CreationDate="2010-03-20T00:34:31.037" UserId="103" Text="I've done this before, with white noise, sweeping the frequency of a low pass filter and with a really short delay, automating the right and left times between 2 and 10m/s to create the phasing that Tim mentioned, it worked out well with some more layers mixed in, although you might have nasty clicks if you automate the delay times to fast." ContentLicense="CC BY-SA 2.5" />
  <row Id="636" PostHistoryTypeId="2" PostId="407" RevisionGUID="c83d3ee8-355e-4b62-a562-7ade5c0ade9f" CreationDate="2010-03-20T00:44:20.607" UserDisplayName="user49" Text="I'll never part with my DBX Subharmonic Synth&#xD;&#xA;&#xD;&#xA;All my other outboard I use for music &amp; similarly unrelated as its music, I had an analog synth rebirth a few years ago when I got the first 3 modules for my modular synth. I didnt have an oscillator so I hooked my Kaossilator into it, through a waveshaper module &amp; Moog LPF and out to mixer..... OMFG!!!! The Kaossilator is a fun little synth but like most plugins its sound is 'polite' whereas through a few modules it could tear your speakers apart! The raw power of pure analog circuits completely stopped me in my tracks &amp; I reassessed everything I had presumed about plugins vs analog... Plugins are convenient but nothing beats the real thing" ContentLicense="CC BY-SA 2.5" />
  <row Id="637" PostHistoryTypeId="2" PostId="408" RevisionGUID="af5a2e50-3501-4a88-aa22-216ee36887dc" CreationDate="2010-03-20T01:04:27.117" UserId="136" Text="Recently on designingsound.org/ Erik Aadahl talked about his blimp catching on fire and watching fellow recordists nearly get torched by fighter jets.&#xD;&#xA;&#xD;&#xA;I was wondering if anyone else had had their own misfortunes while recording?&#xD;&#xA;&#xD;&#xA;I had a near miss with a Hippo nearly chomping my mic, but that's about it!&#xD;&#xA;&#xD;&#xA;Looking forward to hearing some stories." ContentLicense="CC BY-SA 2.5" />
  <row Id="638" PostHistoryTypeId="1" PostId="408" RevisionGUID="af5a2e50-3501-4a88-aa22-216ee36887dc" CreationDate="2010-03-20T01:04:27.117" UserId="136" Text="Sound Recording Disaster Stories!" ContentLicense="CC BY-SA 2.5" />
  <row Id="639" PostHistoryTypeId="3" PostId="408" RevisionGUID="af5a2e50-3501-4a88-aa22-216ee36887dc" CreationDate="2010-03-20T01:04:27.117" UserId="136" Text="&lt;recording&gt;&lt;stories&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="640" PostHistoryTypeId="2" PostId="409" RevisionGUID="30cddc40-3cca-4102-b386-2a14be88f6d1" CreationDate="2010-03-20T02:02:05.940" UserId="61" Text="I'm in agreement with Tim, definitely look into using doppler, flangers and amplitude modulation plug ins on a wide variety of source material. Gather all sorts of stuff, from constant noise-based sounds to high-pitched whines and low growls and rumbles. Speaking of whines, that is one characteristic of a jet engine that will really play to your favor as they emit several different frequencies of whines depending on where you are in relation to what the engine is doing (taxiing, taking off, high speed passbys, etc)." ContentLicense="CC BY-SA 2.5" />
  <row Id="641" PostHistoryTypeId="2" PostId="410" RevisionGUID="2993f375-0f72-4cf7-9c1b-94728cd07b67" CreationDate="2010-03-20T02:03:08.137" UserId="166" Text="I've had a couple. I climbed over a fence one dark and moonless night to get recordings of some cows I had seen earlier that day. Inexplicably, the cows in that field had been replaced by horses which decided to stampede me (probably for the apple slices I had in my pocket to tempt the cows with).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I fell through the ice on a lake once, trying to get an authentic ice cracking sound. It was only thigh deep and I kept the 722 and mic out of the water, but it was a long, cold, mile back to the car. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="642" PostHistoryTypeId="2" PostId="411" RevisionGUID="5e88fd61-e249-4261-a9d8-83cada07661f" CreationDate="2010-03-20T02:04:59.273" UserId="61" Text="I was recording a thunderstorm in Maine once when lightning struck a tree about 30 feet from where I was standing. The electricity traveled down the trunk of the tree, under the foundation of the building I was in, up a power line and exploded a power strip right next to my ear, scattering debris all over the place.&#xD;&#xA;&#xD;&#xA;But I got the recording! Thank God I lived to tell the tale -- I think the soles of my shoes were smoking a little bit, though…" ContentLicense="CC BY-SA 2.5" />
  <row Id="643" PostHistoryTypeId="2" PostId="412" RevisionGUID="6fc35d2e-4594-4ea5-bc4f-803be8bb5e62" CreationDate="2010-03-20T02:12:42.270" UserId="40" Text="I've had an SM57 fall off of the wheel well mount I had on my car, get run over, than drag behind me until I stopped the car.  A few scratches on it, but the mic was actually perfectly fine.  So, not a disaster, but a near death experience for the mic.  At least its a cheap mic...&#xD;&#xA;&#xD;&#xA;Also blew up a contact mic while recording fire crackers the other day.  I sort of knew it would happen, since I taped it to a fire cracker, but I was hoping I had reinforced the side well enough.  I guess not.  I got a few takes out of it before it went though!  Again, cheap mic (a few bucks worth of parts and 5 minutes of soldering).&#xD;&#xA;&#xD;&#xA;The same day, I was playing with underwater explosions.  I wasn't quite thinking straight, and decided to put a fire cracker in a large, thick stemmed glass.  I lit it, submerged it, and decided to keep the glass in my hand.  Boom!  Glass everywhere, I was soaked...  Luckily the rain cover was over my 744T, plus I didn't actually get hurt - just very wet.  After that, I switched to metal containers, for obvious reasons.  Although, I would like to do the glass one again and get a some cool glass / water recordings.  Unfortunately I wasn't recording when this happened, just checking levels...&#xD;&#xA;&#xD;&#xA;Another time, I was testing out an optical mic I was building, and still had some alligator clips and bare connections and all.  I was plugged into my Mbox 2 and playing with my mic's response to a green laser, and I crossed some cable by accident.  Poof...channel 1 on my mbox gone.  Don't know why - must've sent a strong voltage down one of the lines by accident. That was an expensive mistake...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="644" PostHistoryTypeId="2" PostId="413" RevisionGUID="0576ab97-3e35-49c4-8531-67138e5f55f9" CreationDate="2010-03-20T02:16:08.097" UserId="37" Text="Andy Farnell has a [nice example][1] of jet engine noise done with Puredata. &#xD;&#xA;&#xD;&#xA;Render some of that and load it in a doppler plugin. :)&#xD;&#xA;&#xD;&#xA;  [1]: http://aspress.co.uk/sd/jetengine.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="645" PostHistoryTypeId="2" PostId="414" RevisionGUID="858ce611-1c4f-4315-bbe8-5846c2a1d7e2" CreationDate="2010-03-20T02:20:48.090" UserId="167" Text="No me but, Dane Davis killed a couple of MKH 800's recording for one of the Matrix sequels. Sennhieser must of thought it was pretty cool because they posted an article on their website about it... Couldn't find the original anymore so **[here's a link to a reprint.][1]** &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://proaudio.net/articles/viewarticle.jsp?id=19564&amp;afterinter=true" ContentLicense="CC BY-SA 2.5" />
  <row Id="646" PostHistoryTypeId="2" PostId="415" RevisionGUID="38ae808a-e28f-4cd6-be37-f5039b8cc00c" CreationDate="2010-03-20T04:25:38.017" UserId="40" Text="There are a ton of zombie movies and video games out there.  Lots of different types of zombies too.  Ones that can almost talk, some are silent, some sound like animals, some just gurgle.  Do you have any particular movie or game that you like the sound design of the zombies in?" ContentLicense="CC BY-SA 2.5" />
  <row Id="647" PostHistoryTypeId="1" PostId="415" RevisionGUID="38ae808a-e28f-4cd6-be37-f5039b8cc00c" CreationDate="2010-03-20T04:25:38.017" UserId="40" Text="Favorite Zombie Sounds?" ContentLicense="CC BY-SA 2.5" />
  <row Id="648" PostHistoryTypeId="3" PostId="415" RevisionGUID="38ae808a-e28f-4cd6-be37-f5039b8cc00c" CreationDate="2010-03-20T04:25:38.017" UserId="40" Text="&lt;sound-design&gt;&lt;zombies&gt;&lt;movies&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="649" PostHistoryTypeId="2" PostId="416" RevisionGUID="b5a81087-ec35-45b7-b4f9-c48884597857" CreationDate="2010-03-20T04:45:29.417" UserId="61" Text="Return of the Living Dead (&quot;BRAINS!&quot;) and the remake of Dawn of the Dead." ContentLicense="CC BY-SA 2.5" />
  <row Id="650" PostHistoryTypeId="2" PostId="417" RevisionGUID="c8e1d4f7-32b2-4997-8145-74733746dc66" CreationDate="2010-03-20T05:06:01.087" UserId="29" Text="I'm partial to Night of the Living Dead for nostalgia (first zombie flick I ever saw), Left 4 Dead for the variety, and Zombieland for those tiny little gurgly-bestial sounds of confusion - the undead version of a dog cocking its head and going, &quot;barroo?&quot; - that usually are in a beat of quiet before something, ahem, *untowards* befalls them. &#xD;&#xA;&#xD;&#xA;There are many other faves, but for non-aural reasons (design, storytelling, etc.)." ContentLicense="CC BY-SA 2.5" />
  <row Id="651" PostHistoryTypeId="2" PostId="418" RevisionGUID="4982551d-9012-4929-bac3-e79f5e0c3459" CreationDate="2010-03-20T05:28:44.370" UserId="167" Text="I don't know if they're necessarily zombies but the creatures from I am Legend sounded great to me. Though anytime Mike Patton is utilized for vocals I'm down...  **[Patton explaining what he did for the film][1]**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=dsK0GKajlsI" ContentLicense="CC BY-SA 2.5" />
  <row Id="652" PostHistoryTypeId="2" PostId="419" RevisionGUID="678e926f-26e6-4bbf-a6eb-0659793fd89d" CreationDate="2010-03-20T11:58:46.740" UserId="168" Text="First you can do the pitch and pan change as suggested by everyone else. Pan a copy of the master take left, pitch shift by 40 cents and delay by 15ms. Pan a second copy right, pitch shift by 30 cents and delay by 25 ms. Now you've got your main stereo field which you only need to make more dense and add depth.&#xD;&#xA;&#xD;&#xA;Make more copies and apply pitch and formant shifts (I love Logic's vocal transformer for this) and pan them around and probably drop them in level too. Some EQ on each of these tracks might help clean things a bit.&#xD;&#xA;&#xD;&#xA;Send all copies and the main take to a group channel (or Aux in Logic/PT). Drop a reverb plugin (a good IR would be nice) that can mimic the space well. Once you get this sound 'almost there' use a send on this group channel to send this signal to an FX Channel (Aux in Logic/PT). Drop a delay plugin on this FXchannel with around 10-15% feedback and delay time of 25-40ms (varying amounts on left and right). In Nuendo change the panner to the &quot;stereo combined panner&quot; and swap left and right channels. EQ and level this channel to 'taste'.&#xD;&#xA;&#xD;&#xA;You can control the amount of density. This worked for me well just last week when we had to re create a crowd singing." ContentLicense="CC BY-SA 2.5" />
  <row Id="653" PostHistoryTypeId="2" PostId="420" RevisionGUID="8539a869-ef73-4d1d-b155-2fdaac81fcd2" CreationDate="2010-03-20T13:50:04.960" UserId="90" Text="Your 24-bit 48kHz uses the same oversampling [sigma-delta modulation][1] internally.  Korg provides &quot;AudioGate&quot; software to convert 1-bit recordings to normal formats, which is what the 24-bit/96 kHz converter does internally anyway, so I don't see the point.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Delta-sigma_modulation#Analog_to_Digital_Conversion" ContentLicense="CC BY-SA 2.5" />
  <row Id="654" PostHistoryTypeId="2" PostId="421" RevisionGUID="65ae0240-f492-49cd-b26a-56d5ef93e954" CreationDate="2010-03-20T14:09:55.113" UserId="90" Text="If I didn't have such an overactive conscience, I'd definitely be in the audiophile business instead of the pro audio business.  [Ripping people off][1] seems far more lucrative.  ;)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://parseidon.com/general/ridiculous-audiophile-equipment" ContentLicense="CC BY-SA 2.5" />
  <row Id="655" PostHistoryTypeId="2" PostId="422" RevisionGUID="98a3ead6-f184-4d89-b168-4ef53377dd56" CreationDate="2010-03-20T15:18:08.237" UserId="166" Text="About the only time I carry a purse is when I'm stealth recording, but for this function it works great! Rides right at my hip so it's easy to get into to fiddle with recorder settings. I don't go the lav route, as I like a fuller sound, but I can hide a mic right where the strap meets the body of the purse--doesn't work very well when walking but for still shots it's great. &#xD;&#xA;&#xD;&#xA;Similarly, when infiltrating medieval or Civil War recreation groups a nice basket with a covering cloth serves the same purpose. &#xD;&#xA;&#xD;&#xA;For the guys out there, perhaps one of those shoulder strap satchels would work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="656" PostHistoryTypeId="2" PostId="423" RevisionGUID="8bca9bb3-30c3-4852-b112-ab6a6a1434dd" CreationDate="2010-03-20T15:23:11.447" UserId="166" Text="Took cave tour in Arkansas and the tour guide was talking about how he could play &quot;Greensleeves&quot; on the stalactites, the pitch was so pure. I arranged a private tour later that week for recording. Turns out he was exaggerating. There weren't enough of the right notes for that song, but there were plenty of pure tones. I recorded my samples, took them home and did some pitch correcting and eventually sent him a copy of Greensleeves on stalactites." ContentLicense="CC BY-SA 2.5" />
  <row Id="657" PostHistoryTypeId="2" PostId="424" RevisionGUID="7e97d0b4-a530-4bf4-ba09-ab9e7fae388f" CreationDate="2010-03-20T15:24:49.370" UserId="168" Text="I'm not sure who it was (I think it was Elliot Scheiner) who made a remark on Audiophiles judging music mixed on Yamaha NS10Ms/average studio equipment. Other than having a good pair of headphones (which I can always trust wherever I work) and having decent speakers at home I haven't invested in gold plated fuses (check this link out, hilarious, http://bit.ly/9jJMy3) or cables that would cost as much as a house! To me the home environment is a good place to listen to my/someone else's work just like the rest of the world." ContentLicense="CC BY-SA 2.5" />
  <row Id="658" PostHistoryTypeId="2" PostId="425" RevisionGUID="447a773d-5ebc-4302-aaf5-a0e9818416f6" CreationDate="2010-03-20T22:50:55.150" UserId="159" Text="Can you think of films where the distinction between score and sound design is creatively or accidentally undermined?  &#xD;&#xA;&#xD;&#xA;In a lot of films the distinction is really clear: score is orchestral music, electronic atmospheres or rock songs, and it comments on emotion or drama or something.  Sound design is usually recordings of non-musical things, and acts to anchor the image and make everything convincing.  (I'm simplifying a lot, but you know what I mean.)  Sometimes in a film, however, it's much harder to draw a clear distinction between score and sound design, and I always find it interesting when I come across this kind of blurring.&#xD;&#xA; &#xD;&#xA;Here's a couple of different examples of what I mean:&#xD;&#xA;&#xD;&#xA;1. In the electronic score for Forbidden Planet, the sounds are often ambiguous enough to blur the distinction between score and sound design.  Check out this clip of a spaceship landing: is the sound that accompanies it a sound effect - is it meant to *represent* the sound of the spaceship - or is it 'spaceship landing music'?  In Star Wars, for example, the distinction between the sound of a spaceship landing and the music which might accompany it is totally clear; here it's a much stranger and more ambiguous thing, which I quite like. &lt;http://www.youtube.com/watch?v=ZIuc1_Qg4A8&gt;&#xD;&#xA;&#xD;&#xA;2. Can't find a clip online, but in the Gus Van Sant film *Elephant*, there's a scene where a female character walks through the gym.  The score at that point is (Canadian soundscape composer) Hildegard Westerkamp's *Beneath The Forest Floor*, a piece built from field recordings of a forest.  So the character is walking through the gym and we hear music made from forest birds.  Again, there's no clear way to distinguish score or sound design here, it's just an example of creative organised sound (which is what score and sound design both are fundamentally anyway).&#xD;&#xA;&#xD;&#xA;3. I guess mickeymousing is also an example of this, because it's using score to do what foley can do: a character falls over and a cymbal crashes, for example.  It gets a bad name but I kind of like it because it builds an audiovisual language instead of treating sound and image as distinct.&#xD;&#xA;&#xD;&#xA;Anyway: I'm sure there's a whole bunch of other ways it can be done (deliberately or accidentally), can you think of any?" ContentLicense="CC BY-SA 2.5" />
  <row Id="659" PostHistoryTypeId="1" PostId="425" RevisionGUID="447a773d-5ebc-4302-aaf5-a0e9818416f6" CreationDate="2010-03-20T22:50:55.150" UserId="159" Text="Films which blur the distinction between score and sound design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="660" PostHistoryTypeId="3" PostId="425" RevisionGUID="447a773d-5ebc-4302-aaf5-a0e9818416f6" CreationDate="2010-03-20T22:50:55.150" UserId="159" Text="&lt;score&gt;&lt;sounddesign&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="661" PostHistoryTypeId="5" PostId="425" RevisionGUID="d3363dda-29ae-45b6-9d4d-312611b02461" CreationDate="2010-03-20T22:53:42.813" UserId="2" Comment="fix Youtube link" Text="Can you think of films where the distinction between score and sound design is creatively or accidentally undermined?  &#xD;&#xA;&#xD;&#xA;In a lot of films the distinction is really clear: score is orchestral music, electronic atmospheres or rock songs, and it comments on emotion or drama or something.  Sound design is usually recordings of non-musical things, and acts to anchor the image and make everything convincing.  (I'm simplifying a lot, but you know what I mean.)  Sometimes in a film, however, it's much harder to draw a clear distinction between score and sound design, and I always find it interesting when I come across this kind of blurring.&#xD;&#xA; &#xD;&#xA;Here's a couple of different examples of what I mean:&#xD;&#xA;&#xD;&#xA;1. In the electronic score for Forbidden Planet, the sounds are often ambiguous enough to blur the distinction between score and sound design.  Check out this clip of a spaceship landing: is the sound that accompanies it a sound effect - is it meant to *represent* the sound of the spaceship - or is it 'spaceship landing music'?  In Star Wars, for example, the distinction between the sound of a spaceship landing and the music which might accompany it is totally clear; here it's a much stranger and more ambiguous thing, which I quite like.&#xD;&#xA;&#xD;&#xA;[youtube]ZIuc1_Qg4A8[/youtube]&#xD;&#xA;&#xD;&#xA;2. Can't find a clip online, but in the Gus Van Sant film *Elephant*, there's a scene where a female character walks through the gym.  The score at that point is (Canadian soundscape composer) Hildegard Westerkamp's *Beneath The Forest Floor*, a piece built from field recordings of a forest.  So the character is walking through the gym and we hear music made from forest birds.  Again, there's no clear way to distinguish score or sound design here, it's just an example of creative organised sound (which is what score and sound design both are fundamentally anyway).&#xD;&#xA;&#xD;&#xA;3. I guess mickeymousing is also an example of this, because it's using score to do what foley can do: a character falls over and a cymbal crashes, for example.  It gets a bad name but I kind of like it because it builds an audiovisual language instead of treating sound and image as distinct.&#xD;&#xA;&#xD;&#xA;Anyway: I'm sure there's a whole bunch of other ways it can be done (deliberately or accidentally), can you think of any?" ContentLicense="CC BY-SA 2.5" />
  <row Id="662" PostHistoryTypeId="2" PostId="426" RevisionGUID="bf075322-a3a3-4c2a-bb14-9d0c2e38f666" CreationDate="2010-03-20T23:33:02.490" UserId="103" Text="On a master class, Skip Lievsay and Craig Berkey described how they've treated the wind tracks as music cues throughout No Country For Old Men, as the directors didn't want to have a score in a traditional way.&#xD;&#xA;Not quite the same thing, but i thought it was a cool idea anyway.&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=9mx52S8ZkUg][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]:  http://www.youtube.com/watch?v=9mx52S8ZkUg" ContentLicense="CC BY-SA 2.5" />
  <row Id="663" PostHistoryTypeId="2" PostId="427" RevisionGUID="07d21280-d585-4dee-a596-20eea3e9282e" CreationDate="2010-03-21T01:56:44.993" UserId="173" Text="I can think of a masterpiece by Andrey Tarkovsky called &quot;Stalker&quot;. Totally love how the sound design and score blend into eachother in this railroad to the zone sequence http://www.youtube.com/watch?v=Rk1PxpZ-hfE" ContentLicense="CC BY-SA 2.5" />
  <row Id="664" PostHistoryTypeId="2" PostId="428" RevisionGUID="ad59ede8-9f73-46ae-ac2b-46a989a040e6" CreationDate="2010-03-21T02:49:34.797" UserId="173" Text="Nunta Muta (A silent wedding), a Romanian film has a brilliant sequence where a wedding takes place silently because of the death of Stalin, as celebration was banned as a part of &quot;mourning&quot; for his death. It is a very funny sequence and in my opinion is a sonically strong. It also has this amusing scene where words are misheard and eventually change the meaning completely when communicated (in this case in whispers) from one person to another and then to another and so on. I can not find the clip on youtube though.. but try to get hold of this movie.. it is a brilliant one.&#xD;&#xA;&#xD;&#xA;cheers,&#xD;&#xA;HD" ContentLicense="CC BY-SA 2.5" />
  <row Id="665" PostHistoryTypeId="2" PostId="429" RevisionGUID="3fcbc5e2-a240-4007-a216-3eafa6da6be2" CreationDate="2010-03-21T03:25:34.643" UserId="174" Text="I've put together a home recording studio - MacBook, Logic, Puredata - I need some monitors - probably active, nearfield monitors. Money is an issue, but I only want to do this once. Any advice would be appreciated." ContentLicense="CC BY-SA 2.5" />
  <row Id="666" PostHistoryTypeId="1" PostId="429" RevisionGUID="3fcbc5e2-a240-4007-a216-3eafa6da6be2" CreationDate="2010-03-21T03:25:34.643" UserId="174" Text="nearfield monitors" ContentLicense="CC BY-SA 2.5" />
  <row Id="667" PostHistoryTypeId="3" PostId="429" RevisionGUID="3fcbc5e2-a240-4007-a216-3eafa6da6be2" CreationDate="2010-03-21T03:25:34.643" UserId="174" Text="&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="668" PostHistoryTypeId="2" PostId="430" RevisionGUID="2c4906e1-b7bd-4c1c-859f-789b9fc71c23" CreationDate="2010-03-21T05:06:22.963" UserId="40" Text="What size room are you using?  How are the acoustics?  Do you have carpet? Drapes? Lots of furniture in the room?  Will you be using an audio interface or just coming straight out of your Macbook's headphone jack?&#xD;&#xA;&#xD;&#xA;A Macbook with Logic is pretty powerful nowadays - lets get you setup with some sweet speakers to match!" ContentLicense="CC BY-SA 2.5" />
  <row Id="669" PostHistoryTypeId="2" PostId="431" RevisionGUID="455e8f71-0f11-4213-8e00-7dbb8eb70760" CreationDate="2010-03-21T05:17:12.430" UserId="40" Text="If you listen to some of the score from the original Pirates of the Caribbean, it almost seems like there are are few sound effects in the score, and if you are aware of them, then watch the movie, you'll notice that they are essentially functioning as sound effects as well.  There are even some vocalizations (almost something I would consider dialogue) in there. I didn't even know they were part of the score until I listened to the score separately some time after the movie. &#xD;&#xA;&#xD;&#xA;Not quite as ambiguous as your example, but still interesting.&#xD;&#xA;&#xD;&#xA;I am also reminded of old Sci Fi movies such as 3rd Encounter, 2001, THX1138, etc...  where many to most of the sound design was done on Arps and Synclaviers.  The sound design, especially related to the &quot;Space&quot; elements (aliens, ships, etc...) were so musical - since they came from a synth - that they often blended right in with the score.  Even the Ark scene from Raiders (Indiana Jones) reminds me of that.  That scene relied heavily on an Arp 2600." ContentLicense="CC BY-SA 2.5" />
  <row Id="670" PostHistoryTypeId="2" PostId="432" RevisionGUID="e4c06865-abb8-4f0a-9ed9-811588545930" CreationDate="2010-03-21T07:53:08.220" UserDisplayName="user49" Text="Pretty much every horror film" ContentLicense="CC BY-SA 2.5" />
  <row Id="671" PostHistoryTypeId="2" PostId="433" RevisionGUID="9d20b441-94c6-418b-b7e9-d83813167042" CreationDate="2010-03-21T08:26:44.210" UserId="175" Text="The Spacewalk scene in Kubrick's 2001 is not only scientifically accurate in its silence but extremely effective in creating tension. I find myself focusing on the characters' movements and actions and bracing myself for that menacing first sound.&#xD;&#xA;&#xD;&#xA;Great question. More of this please!" ContentLicense="CC BY-SA 2.5" />
  <row Id="672" PostHistoryTypeId="5" PostId="425" RevisionGUID="7547c837-22cc-4000-ab47-370c4685ea69" CreationDate="2010-03-21T09:02:32.170" UserId="2" Comment="sort of fixed ordered list" Text="Can you think of films where the distinction between score and sound design is creatively or accidentally undermined?  &#xD;&#xA;&#xD;&#xA;In a lot of films the distinction is really clear: score is orchestral music, electronic atmospheres or rock songs, and it comments on emotion or drama or something.  Sound design is usually recordings of non-musical things, and acts to anchor the image and make everything convincing.  (I'm simplifying a lot, but you know what I mean.)  Sometimes in a film, however, it's much harder to draw a clear distinction between score and sound design, and I always find it interesting when I come across this kind of blurring.&#xD;&#xA; &#xD;&#xA;Here's a couple of different examples of what I mean:&#xD;&#xA;&#xD;&#xA;1 . In the electronic score for Forbidden Planet, the sounds are often ambiguous enough to blur the distinction between score and sound design.  Check out this clip of a spaceship landing: is the sound that accompanies it a sound effect - is it meant to *represent* the sound of the spaceship - or is it 'spaceship landing music'?  In Star Wars, for example, the distinction between the sound of a spaceship landing and the music which might accompany it is totally clear; here it's a much stranger and more ambiguous thing, which I quite like.&#xD;&#xA;&#xD;&#xA;[youtube]ZIuc1_Qg4A8[/youtube]&#xD;&#xA;&#xD;&#xA;2 . Can't find a clip online, but in the Gus Van Sant film *Elephant*, there's a scene where a female character walks through the gym.  The score at that point is (Canadian soundscape composer) Hildegard Westerkamp's *Beneath The Forest Floor*, a piece built from field recordings of a forest.  So the character is walking through the gym and we hear music made from forest birds.  Again, there's no clear way to distinguish score or sound design here, it's just an example of creative organised sound (which is what score and sound design both are fundamentally anyway).&#xD;&#xA;&#xD;&#xA;3 . I guess mickeymousing is also an example of this, because it's using score to do what foley can do: a character falls over and a cymbal crashes, for example.  It gets a bad name but I kind of like it because it builds an audiovisual language instead of treating sound and image as distinct.&#xD;&#xA;&#xD;&#xA;Anyway: I'm sure there's a whole bunch of other ways it can be done (deliberately or accidentally), can you think of any?" ContentLicense="CC BY-SA 2.5" />
  <row Id="673" PostHistoryTypeId="5" PostId="426" RevisionGUID="54308c30-250f-4bb8-b9b2-b2cb5e8749ee" CreationDate="2010-03-21T09:04:25.317" UserId="2" Comment="fixed Youtube link" Text="On a master class, Skip Lievsay and Craig Berkey described how they've treated the wind tracks as music cues throughout No Country For Old Men, as the directors didn't want to have a score in a traditional way.&#xD;&#xA;Not quite the same thing, but i thought it was a cool idea anyway.&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=9mx52S8ZkUg][1]&#xD;&#xA;&#xD;&#xA;[youtube]9mx52S8ZkUg[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]:  http://www.youtube.com/watch?v=9mx52S8ZkUg" ContentLicense="CC BY-SA 2.5" />
  <row Id="674" PostHistoryTypeId="5" PostId="427" RevisionGUID="43bb74d4-d874-41bb-af80-fbe2aefb4376" CreationDate="2010-03-21T09:05:01.980" UserId="2" Comment="added emebeded youtube video" Text="I can think of a masterpiece by Andrey Tarkovsky called &quot;Stalker&quot;. Totally love how the sound design and score blend into eachother in this railroad to the zone sequence http://www.youtube.com/watch?v=Rk1PxpZ-hfE&#xD;&#xA;&#xD;&#xA;[youtube]Rk1PxpZ-hfE[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="675" PostHistoryTypeId="2" PostId="434" RevisionGUID="528d9f50-2e11-4a58-af0d-abe24551222d" CreationDate="2010-03-21T10:54:53.773" UserId="176" Text="Is that a remastered scene from Stalker? I remember that scene very, very well, and it's absolutely hypnotic, though I don't remember the sound to be quite as distinct as it is in the Youtube clip above - and I don't remember the snare sound! Hmm.&#xD;&#xA;&#xD;&#xA;Another example of the blurring between sound and music is the bathroom scene in Punch Drunk Love, where Adam Sandler smashes parts of it to pieces. The sounds sound like both effects and snippets of music, and it's fantastically well executed. Can't find it on YouTube, but the movie is so good you should watch the entire length of it anyways. :)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="676" PostHistoryTypeId="2" PostId="435" RevisionGUID="b3926049-09b8-4824-b781-51e3b01e785d" CreationDate="2010-03-21T12:14:44.097" UserId="171" Text="Eraserhead - I believe David Lynch created/recorded the industrial soundscapes and machine noises himself. The first example of a sound design score I've seen...except for the occasional 50's organ riff.&#xD;&#xA;&#xD;&#xA;The Jacket - Partially scored with non-musical (and musical) FM synthesis. Brian Eno...&#xD;&#xA;&#xD;&#xA;Last night I watched The Shining again and it is sometimes difficult to tell what is an instrument and what is a harsh piece of audio. Often a blur between I think.&#xD;&#xA;&#xD;&#xA;Interesting question!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="677" PostHistoryTypeId="2" PostId="436" RevisionGUID="528e7e70-cd2a-4b3e-a4fa-357287b7b802" CreationDate="2010-03-21T12:21:13.797" UserId="171" Text="There is a movie called &quot;Kôfuku no kane&quot; (English title: &quot;The Blessing Bell&quot;) which only uses music for the opening and closing titles. Lots and lots of silence and the main character doesn't even speak until the last couple of minutes in the film. Such a great movie, making wonderful use out of the quietness. http://www.imdb.com/title/tt0358559/&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="678" PostHistoryTypeId="2" PostId="437" RevisionGUID="bbaf88a9-259c-4761-b12d-b9bcfd1253db" CreationDate="2010-03-21T15:27:34.307" UserId="56" Text="That's a big question with too many variables. I can just suggest powered nearfield monitors and some brand name: genelec, adam audio, krk, yamaha, but there are loads of them...try to study datasheets and users experiences to find out the right choice for your money, place, space, power needed, etc..." ContentLicense="CC BY-SA 2.5" />
  <row Id="679" PostHistoryTypeId="2" PostId="438" RevisionGUID="6afe99f7-382c-4c54-9e6e-b9553f8bda84" CreationDate="2010-03-21T15:49:18.630" UserId="163" Text="I'd suggest checking Adam Audio monitors. For example the A7's are a great choice for relatively accessible price. The strongest argument is that they translate incredibly well to other systems. And they offer nice, clean, crisp and natural sound. No frequency is exaggerated or neglected. Very dependable, even in comparison to more expensive set-ups. Basically, it's difficult to make a mistake getting the A7's.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="680" PostHistoryTypeId="2" PostId="439" RevisionGUID="c61fd96a-73f8-4cbb-98a4-53bd94b7109c" CreationDate="2010-03-21T16:40:35.297" UserId="9" Text="Just watched Dead Snow - A Norwegian Zombie flick - great Zombie sounds, kind-of talkative and inquisitive - pretty funny some times.&#xD;&#xA;Dawn of the Dead (Zach Snider) does the Zombie flick great justice and I liked the gargle adn growl of the zombies there.&#xD;&#xA;Not so much a fan of the &quot;28 days later&quot; type roar in zombies, I dont think Zombies are need be so aggressive, although if they do catch you... its overs. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="681" PostHistoryTypeId="6" PostId="429" RevisionGUID="0e88703b-65e5-4af3-9687-a45094976fd1" CreationDate="2010-03-21T21:34:57.357" UserId="2" Comment="added tags" Text="&lt;gear&gt;&lt;monitors&gt;&lt;studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="682" PostHistoryTypeId="2" PostId="440" RevisionGUID="17bbad38-c6ef-4c1b-bab9-c7d85ce808da" CreationDate="2010-03-21T21:53:31.227" UserId="103" Text="I've had really good results on a veeeery small room with a pair of cheapo Alesis MKII; they translated surprisingly well to larger rooms! I know lots of people who dislike them though.&#xD;&#xA;Still, they work great for me, since i'm really used to them.&#xD;&#xA;&#xD;&#xA;That said, auditioning speakers should be a very informative for you, if you can borrow a couple of pairs; its a very personal and subjective piece of your rig." ContentLicense="CC BY-SA 2.5" />
  <row Id="683" PostHistoryTypeId="2" PostId="441" RevisionGUID="d01f7ede-9e46-47cf-a543-be023db7c18f" CreationDate="2010-03-22T07:03:44.583" UserId="168" Text="Do you have a budget?&#xD;&#xA;&#xD;&#xA;The best thing to do would be to audition speakers. Check with you local dealer (of Adam/Dynaudio/Genelec) and try get them to give you a home demo of the speakers that fit within your budget. Listen to music you know or your previous work and make judgements on what you hear and how comfortable you feel with what you hear. If they let you keep the demo piece for a couple of hours then even better - design some sounds or mix a song and see how it translates. Nothing can teach you more about your room and speakers than listening to how your work translates in an other studio/listening space.&#xD;&#xA;&#xD;&#xA;If you can't trust your judgement then get someone who's ears you can trust.&#xD;&#xA;&#xD;&#xA;Even the most expensive speaker can sound crappy in the wrong setup/room.&#xD;&#xA;&#xD;&#xA;Also try investing in a good pair of headphones which you can use for cross referencing. I never travel without mine." ContentLicense="CC BY-SA 2.5" />
  <row Id="684" PostHistoryTypeId="2" PostId="442" RevisionGUID="68ef89bd-6cbd-4c1c-b00b-7948f2d033a2" CreationDate="2010-03-22T07:10:34.873" UserDisplayName="user80" Text="How much of an overlap is there between the two industries?  Some games companies promote the fact that their sound designers worked in the film industry.  Do you work in both industries and what are the main similarities and differences?  Obviously there is no re-recording stage, as everything is mixed on the fly, and there is no production sound, but foley and sound design appear, to an outsider, to be similar.   " ContentLicense="CC BY-SA 2.5" />
  <row Id="685" PostHistoryTypeId="1" PostId="442" RevisionGUID="68ef89bd-6cbd-4c1c-b00b-7948f2d033a2" CreationDate="2010-03-22T07:10:34.873" UserDisplayName="user80" Text="Do you design sound for video games as well as film and television?" ContentLicense="CC BY-SA 2.5" />
  <row Id="686" PostHistoryTypeId="3" PostId="442" RevisionGUID="68ef89bd-6cbd-4c1c-b00b-7948f2d033a2" CreationDate="2010-03-22T07:10:34.873" UserDisplayName="user80" Text="&lt;video-games&gt;&lt;sound-design&gt;&lt;foley&gt;&lt;film&gt;&lt;television&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="687" PostHistoryTypeId="2" PostId="443" RevisionGUID="80afc1fc-d475-46dc-b79f-8c0bdfab383b" CreationDate="2010-03-22T07:23:03.153" UserDisplayName="user80" Text="I am a huge Genelec fan, they are on the more expensive end of the scale, but more than reliable enough to purchase second hand.  I have a pair of 1029As that were bought new and have been used almost everyday for seven years.  I find them to be accurate and not at all tiring on the ears.   I also use the newer 8030As, they are amazingly consistent, as I have access to 11 pairs and they all behave identically." ContentLicense="CC BY-SA 2.5" />
  <row Id="688" PostHistoryTypeId="6" PostId="79" RevisionGUID="2d189ddc-0c59-482d-b084-815426b40a89" CreationDate="2010-03-22T07:24:22.307" UserDisplayName="user80" Comment="edited tags" Text="&lt;film&gt;&lt;sound-design&gt;&lt;silence&gt;&lt;dynamics&gt;&lt;quiet&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="689" PostHistoryTypeId="6" PostId="425" RevisionGUID="cab555cf-a946-4fdb-8e65-2c5f124383c3" CreationDate="2010-03-22T07:25:47.250" UserDisplayName="user80" Comment="edited tags" Text="&lt;score&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="690" PostHistoryTypeId="6" PostId="425" RevisionGUID="94adb167-c586-4306-a210-6cfaba330115" CreationDate="2010-03-22T07:26:18.560" UserDisplayName="user80" Comment="edited tags" Text="&lt;score&gt;&lt;sound-design&gt;&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="691" PostHistoryTypeId="6" PostId="283" RevisionGUID="01ecb432-5f78-4095-8e5a-9df6e517790e" CreationDate="2010-03-22T07:29:05.683" UserDisplayName="user80" Comment="edited tags" Text="&lt;sound-effects&gt;&lt;recording&gt;&lt;sport&gt;&lt;kick&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="692" PostHistoryTypeId="6" PostId="334" RevisionGUID="4051121f-5aff-430c-b20c-6c44923149a9" CreationDate="2010-03-22T07:30:15.337" UserDisplayName="user80" Comment="edited tags" Text="&lt;convolution&gt;&lt;sfx&gt;&lt;impulse-response&gt;&lt;reverb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="693" PostHistoryTypeId="6" PostId="429" RevisionGUID="2ab85c90-dbe4-46b6-8730-3bdc8c67819e" CreationDate="2010-03-22T07:46:42.200" UserDisplayName="user80" Comment="edited tags" Text="&lt;gear&gt;&lt;nearfield&gt;&lt;monitors&gt;&lt;studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="694" PostHistoryTypeId="5" PostId="442" RevisionGUID="69d18ffc-11f0-446f-8be5-292cbce5279e" CreationDate="2010-03-22T07:50:07.980" UserDisplayName="user80" Comment="Tidied up language" Text="How much of an overlap is there between the two industries?  Some games companies promote the fact that their sound designers worked in the film industry.  If you work in both industries what are the main similarities and differences?  Obviously there is no re-recording stage, as everything is mixed on the fly, and there is no production sound, but foley and sound design appear, to an outsider, to be similar.   " ContentLicense="CC BY-SA 2.5" />
  <row Id="695" PostHistoryTypeId="2" PostId="444" RevisionGUID="8258a4d3-fc67-44c6-89b6-e379d15024d7" CreationDate="2010-03-22T12:31:03.673" UserId="63" Text="-for a low budget option i would go for yamahas HS50m's (5&quot; woofer cause you have a relative small room so 8&quot; woofer is mostly problems), cause they really give you crisp highs and in sound design i think you want clarity in high frequencies first of all. of course you have to get some headphones (for example DT-770Pro) that offer very good low frequencies.&#xD;&#xA;&#xD;&#xA;-for a medium budget option i think Adams are THE option for me at least... &#xD;&#xA;&#xD;&#xA;-and for a high budget i would definitely go for genelecs... anythink of this brand is awesome (i have worked with every monitor they make and i loved em...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="696" PostHistoryTypeId="2" PostId="445" RevisionGUID="87b96903-3dcd-41fc-b123-a57e52439cf0" CreationDate="2010-03-22T14:49:34.140" UserId="61" Text="My experiences in game sound design have often been more challenging than film, primarily due to the absence of a visual reference when creating individual sound events. In film you are almost always creating sounds to a fixed picture, be it a car chase, gun battle, etc, with cuts that don't vary in length . With games those situations are often dealt with *in isolation* from the picture. This happens in film as well, usually with CGI-heavy movies where the final graphics don't come in until much later, but generally the film picture is locked down.&#xD;&#xA;&#xD;&#xA;This &quot;in isolation&quot; approach seems to exercise a different part of the creative brain process. It forces you to think in film terms (meaning &quot;big&quot;, full-fidelity sounds associated with movie soundtracks) but create in the near-abstract. It's quite a different thing to create sound design from a list of 140 or so &quot;sound emitters&quot; than to a full-motion film reel." ContentLicense="CC BY-SA 2.5" />
  <row Id="697" PostHistoryTypeId="2" PostId="446" RevisionGUID="106806b4-5bf2-49b2-a853-9ea7e7f5a02c" CreationDate="2010-03-22T15:47:21.783" UserId="56" Text="how to use the H2 on a set with a boom pole.&#xD;&#xA;http://www.youtube.com/watch?v=TCn28Ke1tm0&amp;feature=player_embedded&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="698" PostHistoryTypeId="2" PostId="447" RevisionGUID="d22048f3-49a0-48f9-981c-2bbb674e0327" CreationDate="2010-03-22T16:42:28.583" UserId="2" Text="Check out this blog entry by Designing Sound: [Games Meet Films: What the Two Industries Can Learn From Each Other][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/02/games-meet-films-what-the-two-industries-can-learn-from-each-other/" ContentLicense="CC BY-SA 2.5" />
  <row Id="699" PostHistoryTypeId="2" PostId="448" RevisionGUID="90018517-f923-4094-942e-a11de5de5d78" CreationDate="2010-03-22T17:34:22.640" UserId="178" Text="Consider the Mackie HR824. Those are something of a de facto standard in project studios. I have a pair, and I like them very much. Make sure to listen to anything before you buy it though." ContentLicense="CC BY-SA 2.5" />
  <row Id="700" PostHistoryTypeId="2" PostId="449" RevisionGUID="7ffa7d43-8bfd-4b31-9f31-eea08178614f" CreationDate="2010-03-22T18:12:21.927" UserId="81" Text="Though an ITB solution, I am using Reason's vocoder a lot.&#xD;&#xA;&#xD;&#xA; I usually use vocoder to create unusual rhythmic elements when I need an uptempo track for chase scenes or high intensity moments in the video footage." ContentLicense="CC BY-SA 2.5" />
  <row Id="701" PostHistoryTypeId="2" PostId="450" RevisionGUID="8c73f13c-24ee-4ef9-a880-3ba9d5d83a7b" CreationDate="2010-03-22T18:22:02.623" UserId="81" Text="Sherman Filterbank is like a paint bucket spilling a bunch of colors on my monochromatic sounds.&#xD;&#xA;&#xD;&#xA;Nord Wave synth has also amazing sound shaping capabilities with the power of using your own samples as an Oscillator source." ContentLicense="CC BY-SA 2.5" />
  <row Id="702" PostHistoryTypeId="6" PostId="377" RevisionGUID="53c3b308-6096-45df-ab7a-bc516aaa19b8" CreationDate="2010-03-22T18:29:31.517" UserDisplayName="user80" Comment="edited tags" Text="&lt;binaural&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="703" PostHistoryTypeId="6" PostId="377" RevisionGUID="c9bc6f53-2d7e-480f-9ead-f46052426843" CreationDate="2010-03-22T18:30:09.660" UserDisplayName="user80" Comment="edited tags" Text="&lt;binaural&gt;&lt;recording&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="704" PostHistoryTypeId="2" PostId="451" RevisionGUID="bef265a0-728d-4d69-8f16-cd7a8e6b301f" CreationDate="2010-03-22T18:50:30.443" UserId="81" Text="The game &quot;Plants vs. Zombies&quot; had some nice old school zombie sounds.&#xD;&#xA;&#xD;&#xA;I always love the meaty squash sound they make while walking, with all due respect to MJ's Thriller.&#xD;&#xA;&#xD;&#xA;(I thought we shouldn't have a zombie sounds discussion without mentioning Thriller. After all they are the best sounding zombies ever, eh?) :)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="705" PostHistoryTypeId="2" PostId="452" RevisionGUID="0b86664f-12bb-4c29-a442-ac8828a68d63" CreationDate="2010-03-22T20:30:28.310" UserId="179" Text="Anything other than the original Russian mono version of Stalker has extra sound overdubbed that the Director never intended!&#xD;&#xA;&#xD;&#xA;Kwaidan (1964) and Zatoichi (2003) are other good examples of the blurring of the lines. Japanese sensibilities in particular are very suited to this style, David Toop talks about this kind of thing in Japanese Cinema and Sound Art in his wonderful book 'Haunted Weather'." ContentLicense="CC BY-SA 2.5" />
  <row Id="706" PostHistoryTypeId="5" PostId="452" RevisionGUID="02e966cb-4b7c-45ad-b913-b1c27a2368de" CreationDate="2010-03-22T20:39:24.057" UserId="179" Comment="added note about American Graf'" Text="Anything other than the original Russian mono version of Stalker has extra sound overdubbed that the Director never intended!&#xD;&#xA;&#xD;&#xA;Kwaidan (1964) and Zatoichi (2003) are other good examples of the blurring of the lines. Japanese sensibilities in particular are very suited to this style, David Toop talks about this kind of thing in Japanese Cinema and Sound Art in his wonderful book 'Haunted Weather'.&#xD;&#xA;&#xD;&#xA;Also another response to the original question (perhaps less sexy or exotic) is Walter Murch's use of Worldizing in American Grafitti, how music from Car and Cafe/Diner radios constantly glide between diegetic and non-diegetic, foreground and background." ContentLicense="CC BY-SA 2.5" />
  <row Id="707" PostHistoryTypeId="2" PostId="453" RevisionGUID="784a55b6-3527-4e36-977a-b53be8014d89" CreationDate="2010-03-22T21:16:43.757" UserId="180" Text="I'm a big fan of Wave Editor. In fact, I used to loath sample editors until I started using it a couple years ago (around v1.2... they're at 1.4.6 now) and did all my sample editing inside a multi-track DAW. The developers themselves are studio guys and are not only responsive to the needs of users (they participate in the forums), but they themselves keep in mind what the product is being used for and try not to overload it with frivolity, mainly so they can keep their own sessions flowing. The support desk built into their apps is pretty cool, too, with someone getting back usually in 3-4 hours, sometimes up to a day.&#xD;&#xA;&#xD;&#xA;In keeping with your needs you stated above, all of the developer's products support both VSTs and AUs. While you can't make a &quot;layer&quot; template *per se*, you CAN create a .wedt file (wave editors native file format, which includes all the layer, non-destructive editing, effects, &amp; etc. info) with as many pre-built layers and effects and markers as you want. Save that and open a copy every time you want to use it as a template (or check &quot;Stationary Pad&quot; in the finder Get Info window, which will cause the opening program to request you save a duplicate of the file before editing).&#xD;&#xA;&#xD;&#xA;Editing's pretty quick and painless. Just be sure to enable whatever you want or need from the view options menu, otherwise you might think (quite justifiably) you're missing something. While they are lacking on shortcut keys for some basic editing function, they have a shortcut key editor that allows you to customize the keys and add a shortcut for ever menu item.&#xD;&#xA;&#xD;&#xA;One thing that throws newcomers off is fades. They get bogged down with the fade editor (in the layers menu-&gt;add fade), thinking it's the only way to create and/ or edit fades. While it is pretty powerful, don't overlook the corners of the smart edits which, depending upon your shortcut key, allow you to simply click and drag to create basic linear or logarithmic fades of any length up to that of the smart edit itself. You can also adjust and create cross fades in the same single-click and drag manner. There's a lot buried in the program and chances are if think there's an easier way to do something, there probably is.&#xD;&#xA;&#xD;&#xA;BTW, Andrew, I just stumbled across your sound + design podcast on itunes not two days ago. For the three episodes you popped out it was very interesting. Will we see/ hear anymore?" ContentLicense="CC BY-SA 2.5" />
  <row Id="708" PostHistoryTypeId="2" PostId="454" RevisionGUID="bb9bb933-32de-4a29-8ac8-b1b28dc5e89b" CreationDate="2010-03-23T06:11:52.197" UserId="181" Text="Lighting yellow polyrope on fire...drips makes a neat almost &quot;zippy&quot; whoosh as they hit the ground..." ContentLicense="CC BY-SA 2.5" />
  <row Id="709" PostHistoryTypeId="2" PostId="455" RevisionGUID="6621ae18-c1c4-4ad9-95ab-8dce9758d780" CreationDate="2010-03-23T09:32:37.197" UserId="62" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I'm curious how other people do this. I've never actually had to mix an M&amp;E before as it was all done for me in the mixer routing in ProTools (I also had totally clean dialogue as the shows were all animations).&#xD;&#xA;&#xD;&#xA;Now I'm doing a live-action show that will have all the footsteps etc replaced to create the M&amp;E track.&#xD;&#xA;&#xD;&#xA;I'm thinking of either mixing all the extra sfx/foley along with the dialogue so that it will be at an appropriate level with regards to the actual mix, or would it be better to just mix it as a seperate thing so it sounds correct and imagine how it would work underneath dialogue.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="710" PostHistoryTypeId="1" PostId="455" RevisionGUID="6621ae18-c1c4-4ad9-95ab-8dce9758d780" CreationDate="2010-03-23T09:32:37.197" UserId="62" Text="How to approach M&amp;E Mixing" ContentLicense="CC BY-SA 2.5" />
  <row Id="711" PostHistoryTypeId="3" PostId="455" RevisionGUID="6621ae18-c1c4-4ad9-95ab-8dce9758d780" CreationDate="2010-03-23T09:32:37.197" UserId="62" Text="&lt;mix&gt;&lt;me&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="712" PostHistoryTypeId="2" PostId="456" RevisionGUID="285d26e3-1aae-4a98-936c-7f6a59c38fac" CreationDate="2010-03-23T12:53:10.133" UserId="168" Text="When you watch a film with temp editorial sound or read a script or look at the artwork/pre build material of an upcoming job, how do you make audio based decisions? &#xD;&#xA;&#xD;&#xA;Do you have a structure or flow of thoughts/questions that you ask yourself or do you go with what your mind hears instinctively?&#xD;&#xA;&#xD;&#xA;Of course, the brief will play a role in influencing your thoughts.&#xD;&#xA;&#xD;&#xA;It would interesting to know how each of us approach the creative process." ContentLicense="CC BY-SA 2.5" />
  <row Id="713" PostHistoryTypeId="1" PostId="456" RevisionGUID="285d26e3-1aae-4a98-936c-7f6a59c38fac" CreationDate="2010-03-23T12:53:10.133" UserId="168" Text="What's your approach to being creative?" ContentLicense="CC BY-SA 2.5" />
  <row Id="714" PostHistoryTypeId="3" PostId="456" RevisionGUID="285d26e3-1aae-4a98-936c-7f6a59c38fac" CreationDate="2010-03-23T12:53:10.133" UserId="168" Text="&lt;creativity&gt;&lt;techniques&gt;&lt;planning&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="715" PostHistoryTypeId="2" PostId="457" RevisionGUID="67c793ff-8432-46e3-8ec8-e6c0e5f92ff9" CreationDate="2010-03-23T13:36:11.340" UserId="62" Text="Where I work I have yet to be given an opportunity to speak to the Director. I also have someone above me in our hierarchy who is responsible for the sound from a creative point of view. He doesn't actually do any of the work, but it is responsible and approves all the work before clients hear it.&#xD;&#xA;&#xD;&#xA;So, today I've been beefing up some tracklay to make it all sound a bit more interesting (cooler too?). I'm the dialogue editor and mixer but am pretty much given carte blanche to do as I will as the results are usually liked during the review where the Director will be present.&#xD;&#xA;&#xD;&#xA;I think as one progresses and gains more of a reputation you are given more freedom to do as you please.&#xD;&#xA;&#xD;&#xA;I'm not sure about temp sound effects. They can be useful as a guide for something to be at a specific place but they are usually full of very bad sounds that are thrown in just to make the show more alive but with little thought if it's actually any good.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="716" PostHistoryTypeId="2" PostId="458" RevisionGUID="f609449b-9fb5-4209-a1d0-772b74d7503a" CreationDate="2010-03-23T13:39:00.710" UserId="62" Text="I try to move around a lot as sitting still for long periods isn't good for me.&#xD;&#xA;&#xD;&#xA;The only things I've bought are a mouse mat with a wrist rest and the flat metal keyboard by Apple when it came out. I find I don't need a wrist rest for it as it's so flat.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="717" PostHistoryTypeId="2" PostId="459" RevisionGUID="b311c38d-a505-41fd-94be-392b5cb4468a" CreationDate="2010-03-23T15:50:44.750" UserId="81" Text="When I am preparing for a work, I usually watch it or read it over and over and note down &quot;keywords&quot;.&#xD;&#xA;&#xD;&#xA;It generally saves a lot of time to search my library with a proper list of keywords like &quot;dark, foggy, futuristic, anxious, etc.&quot; Then I usually discuss these keywords and the project with the director. This I think is the most crucial step before you begin doing something in the wrong direction.&#xD;&#xA;&#xD;&#xA;Some directors wants to play safe and some of them wants to push the limits and be experimental. An important part of my preparation goes to understanding this attitude of the directors so that I can shape my audio plans upon that. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="718" PostHistoryTypeId="2" PostId="460" RevisionGUID="8f01defa-4dca-475e-a56d-47aba34a378d" CreationDate="2010-03-23T17:45:52.300" UserId="46" Text="Hey Ian,&#xD;&#xA;&#xD;&#xA;Do you have all the production FX split out for use in your M&amp;E? That'd be my first step, if it's not already done - see what you can salvage.&#xD;&#xA;&#xD;&#xA;Normally I mix my M&amp;E's without the dialogue, while constantly checking back to the original mix to get as close of a duplicate as I can... Having some of those production FX mixed in with the new stuff can also help determine your relative levels with any new material, provided you adjust for shifts in room tone.&#xD;&#xA;&#xD;&#xA;Setting up your session/monitor chain to quickly A/B your M&amp;E with the original is really helpful.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="719" PostHistoryTypeId="6" PostId="369" RevisionGUID="28630e4a-0e1b-4ebc-9ff1-a905b6441993" CreationDate="2010-03-23T21:23:26.570" UserDisplayName="user80" Comment="edited tags" Text="&lt;sound-design&gt;&lt;vocoding&gt;&lt;sound-effects&gt;&lt;processing&gt;&lt;creativity&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="720" PostHistoryTypeId="2" PostId="461" RevisionGUID="bb1049c1-2e6a-4f8d-81d9-c814a6fff7db" CreationDate="2010-03-23T21:33:11.267" UserId="25" Text="From a low budget perspective, I ve heard a lot of good things about Blue Sky and KRK. Genelec are great from my point of view. &#xD;&#xA;Since 2006 I m using a Klein and Hummel 0300D 5.1 system and I really love it. If you have the budget, you should check it out.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="721" PostHistoryTypeId="2" PostId="462" RevisionGUID="73aa98f6-9efa-49fc-a485-1748cbb8f914" CreationDate="2010-03-24T03:49:16.257" UserDisplayName="user49" Text="Despite the trees not liking it I tend to print out scripts so I can scribble notes on them &amp; tag them with small post-its, coloured coded based on content. At a glance it means I can tell how much of each element there is which can be crucial when scheduling/budgeting etc...&#xD;&#xA;&#xD;&#xA;The first time you get to watch the cut is CRUCIAL - I can't understate how important it is. You only ever get one first impression and your instincts are often based on it. That first screening should occur with no distractions...&#xD;&#xA;&#xD;&#xA;Once we have QTs of the first cut I tend to use ProTools markers a lot, to mark up scenes &amp; I use the comments field of the markers to tag the critical sounds TO RECORD.... thankfully PT markers can be conformed as new cuts arrive....&#xD;&#xA;&#xD;&#xA;The other thing I have learned is to take your first attempt at a scene seriously - some times the initial shape &amp; ideas that go into that first attempt will make it to the final mix (refined obviously) - if your instincts are good they should be treated carefully &amp; trusted...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicofsound.co.nz/zimages/scriptexTP.jpg&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="722" PostHistoryTypeId="2" PostId="463" RevisionGUID="9bac0cf2-42d3-4348-8444-94a947c145c7" CreationDate="2010-03-24T04:35:57.823" UserDisplayName="user49" Text="My understanding is that the two fields share some of the same techniques, but the motives for why those techniques are applied are completely different.&#xD;&#xA;&#xD;&#xA;When you consider film, story and point of view is created by the writer &amp; director and reinforced by every aspect of the film making process, in the aid of helping the audience emotionally engage &amp; empathise with the characters....&#xD;&#xA;&#xD;&#xA;In games there is only one point of view, the players... and (of course I am generalising but) games tend to be action based....&#xD;&#xA;&#xD;&#xA;As a film sound designer I personally think I have more in common with film picture editors and directors, than I do with game sound designers" ContentLicense="CC BY-SA 2.5" />
  <row Id="723" PostHistoryTypeId="6" PostId="369" RevisionGUID="30c29b88-870a-4c83-a3df-c3afea770868" CreationDate="2010-03-24T06:08:35.887" UserDisplayName="user80" Comment="edited tags" Text="&lt;sound-design&gt;&lt;vocoding&gt;&lt;sound-effects&gt;&lt;signal-processing&gt;&lt;creativity&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="724" PostHistoryTypeId="2" PostId="464" RevisionGUID="f93142a1-ee4b-4808-b55f-c01080a01a18" CreationDate="2010-03-24T09:27:39.010" UserId="62" Text="As I go through cleaning up the dialogue I am stripping out as much of the production sound as possible and using it. The guys in tracklay are matching the production sound as best they can, otherwise they are ditching the production sound for the M&amp;E.&#xD;&#xA;&#xD;&#xA;Huh, I like the idea of referring you mentioned, kind of like mixing my two ideas together (forgive the completely intentional pun).&#xD;&#xA;&#xD;&#xA;I'm leaning towards mixing it without the dialogue, the more I think about it it seems the most sensible and quickest. I will already have the bulk of the M&amp;E already done as there's wall to wall music and lots of sound effects that I will be working with that come from the main mix.&#xD;&#xA;&#xD;&#xA;Cheers Joel&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="725" PostHistoryTypeId="2" PostId="465" RevisionGUID="af39918a-7f7a-4c39-8c9e-02c6211bc1fc" CreationDate="2010-03-24T13:31:44.420" UserId="185" Text="Hi,&#xD;&#xA;&#xD;&#xA;As a starting sound designer I want to record my own foley. But for that I need a good microphoone to record foley. I don't have a big budget for expensive microphone, so I am looking for a microhone for foley for a nice price.&#xD;&#xA;&#xD;&#xA;Any suggestions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="726" PostHistoryTypeId="1" PostId="465" RevisionGUID="af39918a-7f7a-4c39-8c9e-02c6211bc1fc" CreationDate="2010-03-24T13:31:44.420" UserId="185" Text="Best budget microphone to record foley" ContentLicense="CC BY-SA 2.5" />
  <row Id="727" PostHistoryTypeId="3" PostId="465" RevisionGUID="af39918a-7f7a-4c39-8c9e-02c6211bc1fc" CreationDate="2010-03-24T13:31:44.420" UserId="185" Text="&lt;recording&gt;&lt;foley&gt;&lt;microphone&gt;&lt;budget&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="728" PostHistoryTypeId="2" PostId="466" RevisionGUID="3bdbc55c-c766-4810-9354-292c178da302" CreationDate="2010-03-24T13:50:43.380" UserId="37" Text="Røde NT1-A? &#xD;&#xA;&#xD;&#xA;(5dBA self noise so it will challenge your room and preamps.)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="729" PostHistoryTypeId="2" PostId="467" RevisionGUID="6756f342-a5cc-400e-a6b2-99e2a951e8c9" CreationDate="2010-03-24T13:51:16.147" UserId="103" Text="What's a nice price for you?&#xD;&#xA;&#xD;&#xA;I've compared a rode ntg3 to my neumann kmr81 and didn't feel the neumann was much better, if at all, which is awesome for a 700us$/475€&#xD;&#xA;It's good for field recording as well.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="730" PostHistoryTypeId="2" PostId="468" RevisionGUID="08b6cf92-7cbe-4dcf-bae5-dfda4c6b53d0" CreationDate="2010-03-24T15:17:19.127" UserId="166" Text="For really low budget, I have been happy with the MXL microphones like the 770 (around $100) or the v87 (around $200). Both will stand you in good stead as long as you are not planning on doing any super quiet recording.  I strongly recommend that you invest in a shockmount whichever microphone you buy, and windscreens if you intend on doing any field recording. " ContentLicense="CC BY-SA 2.5" />
  <row Id="731" PostHistoryTypeId="2" PostId="469" RevisionGUID="208814d9-7825-4968-9666-dc35c9c591d9" CreationDate="2010-03-24T16:43:01.190" UserDisplayName="user80" Text="I would suggest the Rode NT1A, I believe that it still comes with a shock mount.  It has a low noise floor and a fairly flat frequency response." ContentLicense="CC BY-SA 2.5" />
  <row Id="732" PostHistoryTypeId="6" PostId="456" RevisionGUID="db113197-bd0a-4fe5-914e-48eb6c82d3b6" CreationDate="2010-03-24T16:44:38.333" UserDisplayName="user80" Comment="edited tags" Text="&lt;creativity&gt;&lt;techniques&gt;&lt;planning&gt;&lt;creative-inspiration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="733" PostHistoryTypeId="6" PostId="328" RevisionGUID="f8c572dd-2a70-48a7-9f28-b7ff62c9af30" CreationDate="2010-03-24T16:47:18.033" UserDisplayName="user80" Comment="edited tags" Text="&lt;max-msp&gt;&lt;msp&gt;&lt;keyboard&gt;&lt;samples&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="734" PostHistoryTypeId="2" PostId="470" RevisionGUID="b6fa6d4d-b188-410c-9f84-759604f6224a" CreationDate="2010-03-24T19:36:43.693" UserId="28" Text="I wonder if anyone would like to weigh in on their experience using firewire interfaces.&#xD;&#xA;&#xD;&#xA;I have a MOTU Ultralite mk1. I would be EXTREMELY happy with it, if it didn't flake out and lose contact with my laptop every now and then. I could be tracking in Logic, and all of a sudden Cuemix disappears because the device has dropped its connection.&#xD;&#xA;&#xD;&#xA;I'm going to start performing with my laptop soon, and I feel pretty nervous about taking the Ultralite onstage. I'm wondering if I would be better off getting a simple little USB interface. (I'll be using max 4 channels out. Nothing too taxing.)&#xD;&#xA;&#xD;&#xA;I understand that fw is better suited than USB for multiple channel tracking. But what have people's experiences been with stability? Do I just have a dud unit? Can others attest that Firewire might not be the most reliable thing to bring on stage?" ContentLicense="CC BY-SA 2.5" />
  <row Id="735" PostHistoryTypeId="1" PostId="470" RevisionGUID="b6fa6d4d-b188-410c-9f84-759604f6224a" CreationDate="2010-03-24T19:36:43.693" UserId="28" Text="Do you trust Firewire Audio Interfaces for live performance?" ContentLicense="CC BY-SA 2.5" />
  <row Id="736" PostHistoryTypeId="3" PostId="470" RevisionGUID="b6fa6d4d-b188-410c-9f84-759604f6224a" CreationDate="2010-03-24T19:36:43.693" UserId="28" Text="&lt;motu&gt;&lt;hardware&gt;&lt;gear&gt;&lt;performance&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="737" PostHistoryTypeId="2" PostId="471" RevisionGUID="f0512b22-65fc-4b80-8ad4-08d85eacd172" CreationDate="2010-03-24T19:40:50.110" UserId="37" Text="I have an Echo Audiofire 4. it's rock solid and I've trusted it for live performance on a number of times. check for electrical problems, more often than not they are the source of glitches." ContentLicense="CC BY-SA 2.5" />
  <row Id="738" PostHistoryTypeId="2" PostId="472" RevisionGUID="a94886b3-6a3b-4f33-a567-84d8ed83f757" CreationDate="2010-03-24T19:50:37.920" UserId="2" Text="Are you powering the MOTU only via Firewire or do you use an external power source? If you have a choice to power it up with an adapter, I'd go for that. It would probably be more reliable. " ContentLicense="CC BY-SA 2.5" />
  <row Id="739" PostHistoryTypeId="2" PostId="473" RevisionGUID="e32c123f-95e6-4b42-aea8-f418f4c70c91" CreationDate="2010-03-24T21:35:49.143" UserId="40" Text="Yeah, I'm guessing your problem is power.  I've used 2 Motu Travelers for live stuff for a while, and I've never had a problem.  But then again, I'm using external power.  If you're using a laptop and bus powering, make sure that your FW bus is actually providing full voltage.  Some laptops skimp on the voltage on FW and USB ports.  You might want to try changing ports.  Speaking of which, I've also run into bandwidth and resource limitations when trying to run my Digi 002 and FW DV video output on the same firewire channel.  Same symptoms - my 002 would chug along fine for a while, then just drop out. This is universal for both desktops and laptops.  Try to figure out which port is on which channel and make sure that you're not pulling any resources from the channel with the Motu on it.&#xD;&#xA;&#xD;&#xA;I have seen a Motu or two develop a bad firewire port. You may want to have yours checked out if you can't fix it some other way.&#xD;&#xA;&#xD;&#xA;Hope some of this helps.  Let me know if you need any clarification!" ContentLicense="CC BY-SA 2.5" />
  <row Id="740" PostHistoryTypeId="2" PostId="474" RevisionGUID="34802008-d786-480b-9134-c73de4826a44" CreationDate="2010-03-24T21:56:27.823" UserId="81" Text="I have used Focusrite's Saffire Pro 10 interface for 3 years and it has been rock solid. One important thing to consider may be, making sure that your laptop's firewire has a TI (Texas Instruments) Chipset. &#xD;&#xA;&#xD;&#xA;Firewire problems I came across so far were mostly because of chipset incompatibality." ContentLicense="CC BY-SA 2.5" />
  <row Id="741" PostHistoryTypeId="5" PostId="470" RevisionGUID="84c40509-7ef2-48a2-866e-fe196d7eeefc" CreationDate="2010-03-25T00:10:41.127" UserId="28" Comment="added 404 characters in body" Text="I wonder if anyone would like to weigh in on their experience using firewire interfaces.&#xD;&#xA;&#xD;&#xA;I have a MOTU Ultralite mk1. I would be EXTREMELY happy with it, if it didn't flake out and lose contact with my laptop every now and then. I could be tracking in Logic, and all of a sudden Cuemix disappears because the device has dropped its connection.&#xD;&#xA;&#xD;&#xA;I'm going to start performing with my laptop soon, and I feel pretty nervous about taking the Ultralite onstage. I'm wondering if I would be better off getting a simple little USB interface. (I'll be using max 4 channels out. Nothing too taxing.)&#xD;&#xA;&#xD;&#xA;I understand that fw is better suited than USB for multiple channel tracking. But what have people's experiences been with stability? Do I just have a dud unit? Can others attest that Firewire might not be the most reliable thing to bring on stage?&#xD;&#xA;&#xD;&#xA;-=-&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;Thanks for all the help, friends. I can clarify the power situation. I am using the power supply that came with the device, plugged into a power strip, plugged into a Furman PL-8 Series II.&#xD;&#xA;&#xD;&#xA;The Ultarlite does have two ports, and I should judiciously keep track of whether it is just one of them that cacks out. I've had the device for a couple of years, so I'm way beyond warranty." ContentLicense="CC BY-SA 2.5" />
  <row Id="742" PostHistoryTypeId="2" PostId="475" RevisionGUID="202b0b34-7e26-400c-9f45-19c64cc4c8cd" CreationDate="2010-03-25T01:09:06.913" UserId="132" Text="I've played with Wave Editor a fair bit, but I can't seem to get in the flow with the app.  I keep going back to it from time to time, but i've found app oddly processor intensive for no reason.  It has been a bit more functional for me since I mapped better shortcuts, but it is still growing on me." ContentLicense="CC BY-SA 2.5" />
  <row Id="743" PostHistoryTypeId="5" PostId="375" RevisionGUID="15466983-109d-41c0-97b4-ffe59ddf1971" CreationDate="2010-03-25T01:28:27.820" UserId="37" Comment="added Wavelab link" Text="oh this is a sore spot. &#xD;&#xA;I come from Cool Edit on PC and have tried pretty much everything in the lower price bracket on the Mac, including Wave Editor, DSP Quattro, Sound Studio, Peak LE/Express and others.&#xD;&#xA;&#xD;&#xA;For being straightforward my heart is with [Sound Studio][1]. It's a terrible hack of an app by  Freeverse who have virtually dropped support for it (, focused on the iPhone, and were recently acquired by ngmoco, a  large game developer). Still, I haven't found anything on the Mac that allows me to chop sounds quicker than SS. Yet it's full of bugs, and lacks basic features such as (wait for it).. meters.&#xD;&#xA;&#xD;&#xA;[Wave Editor][2] is strong and keeps getting better, but for me it lacks the immediacy of Sound Studio (which has the immediacy of Cool Edit). The multiple window interface makes it feel scattered. If you come from Sound Forge on the PC then it will probably make more sense. I like its extensive support of markers, and niche functions (m/s decoding etc), but it still lacks on the ergonomic front (shortcut keys, quick access to functions). I don't think the idea of Layers translates too well and for me the interface feels sluggish. And then there's the trouble with fades (single click on SS, 3 levels deep menu on WE). For all the nice features, WE feels inconsistent and convoluted.&#xD;&#xA;&#xD;&#xA;[DSP Quattro][3] puzzled me with the strange choice of just 4 plugins per track. I heartily recommend to the makers to drop the idea and limit the legacy to just its name. &#xD;&#xA;&#xD;&#xA;The one software I could never get into was [Soundtrack Pro][4]. &#xD;&#xA;I haven't tried [Amadeus][5] either. &#xD;&#xA;There's also [Wavepad][6] but I feel an inexplicable discomfort with it. Same with [TwistedWave][7]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I really wish Adobe would port Audition to OSX, and there is a fair chance of them actually doing so, seeing how SoundBooth has progressed so far, and the recent changes to the interface across CS4.&#xD;&#xA;&#xD;&#xA;There's also talk of WaveLab coming to the Mac, which might sweep the market if Steinberg can better Bias on price. edit: [Here it is - version 7][8].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;All in all, it feels like no (Mac) developer actually did research on what we use these things for. And even then I can imagine companies not feeling very motivated with desktop software at the moment, given the portable app market goldmine. The one title that could make some change, without coming from an iphone-obsessed vendor, is Audacity, but that team have no idea what they're doing (pardon the bluntness).&#xD;&#xA;&#xD;&#xA;Another problem is that it takes more than just a few launches to evaluate a product and it takes many months to get an idea of how committed a company is to developing their product.  In my case with SoundStudio I feel bad but also I still haven't found anything snappier.&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;p.s. I'd love if someone who's tried the higher end (soundblade, peak pro, etc) chimed in with their comments.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freeverse.com/soundstudio/&#xD;&#xA;  [2]: http://www.audiofile-engineering.com/waveeditor/&#xD;&#xA;  [3]: http://www.i3net.it/&#xD;&#xA;  [4]: http://www.apple.com/finalcutstudio/soundtrackpro/&#xD;&#xA;  [5]: http://www.hairersoft.com/AmadeusPro/AmadeusPro.html&#xD;&#xA;  [6]: http://www.nch.com.au/wavepad/&#xD;&#xA;  [7]: http://twistedwave.com/&#xD;&#xA;  [8]: http://www.steinberg.net/en/products/audioediting_product/wavelab7_preview0.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="744" PostHistoryTypeId="2" PostId="476" RevisionGUID="165f0483-32fc-4329-9abe-21702de8186b" CreationDate="2010-03-25T04:51:50.773" UserId="29" Text="+1 on the NT1a. It's my go-to for delicate, quiet sounds unless the character better fits my MKH-50; comparing those price points between the two mics, I'd say the Røde represents a rather screaming value. Heck, some take a pair out into the field for ultra-low-noise stereo ambiences!" ContentLicense="CC BY-SA 2.5" />
  <row Id="745" PostHistoryTypeId="2" PostId="477" RevisionGUID="d44a30a3-d5a2-4fec-9d12-da7bcc9052af" CreationDate="2010-03-25T04:59:37.497" UserId="29" Text="I'm on my third MOTU 828mkII, but the pattern was odd: Problems with my first unit, then a second replacement unit, and this third one has been utterly problem-free, now I've had it for years. Very, very weird. In addition, about 75% of gear failures I've had are power-supply related, even devices with external transformers/wall warts.&#xD;&#xA;&#xD;&#xA;The lesson is that problems do happen and if you're serious about doing anything live, invest in redundancy. That said, modern gear should generally be *relatively* problem-free unless there are just basic manufacturing or software compatibility issues." ContentLicense="CC BY-SA 2.5" />
  <row Id="746" PostHistoryTypeId="2" PostId="478" RevisionGUID="4ed33b76-774a-4c5f-a40f-fa01d8f3ed99" CreationDate="2010-03-25T10:06:04.307" UserId="56" Text="I encountered the same problem you had with a m-audio ozonic fw interface and with a m-audio 410. it seems the cause is a voltage drop in the electric circuit.&#xD;&#xA;you can try to solve it with a voltage regulator. i had to try it too but a strange thing happened: i updated the (ozonic) driver to the new version and the problem almost disappeared.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="747" PostHistoryTypeId="2" PostId="479" RevisionGUID="4c1b7371-920b-48a5-a80d-347f866ae6a6" CreationDate="2010-03-25T11:42:38.483" UserId="150" Text="I have a satchel that I wear on my back with the strap across my chest. That strap has a pocket which is juuuust big enough for my Sony PCM-D50. The mics stick out, but they're covered with a homemade wind guard that matches the bag.&#xD;&#xA;&#xD;&#xA;I often stick it in, turn it on, and take walks in busy areas. One time I walked by a bike/car accident which just occurred, and got some great eyewitness descriptions without them getting suspicious of my recording device." ContentLicense="CC BY-SA 2.5" />
  <row Id="748" PostHistoryTypeId="2" PostId="480" RevisionGUID="1dcc8714-41d6-46a2-84c5-94fc9060bf61" CreationDate="2010-03-25T11:46:24.733" UserId="150" Text="I've loved sound ever since I was a kid, and for the past few years, I've been taking Electroacoustic courses at Concordia University and writing music and making sound effects for small animations, films, flash games, and Xbox games. Lately, I've also been building up both courage and a sound effect portfolio to apply at various big-name game studios here in Montreal for a sound effect designer position.&#xD;&#xA;&#xD;&#xA;Any advice for someone who hasn't applied at a sound effect job at a huge company before? What has more weight - versatility and talent or job experience? What kind of portfolio would really stand out? I've never made anything for games whose gameplay is longer than 30 minutes. :(&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="749" PostHistoryTypeId="1" PostId="480" RevisionGUID="1dcc8714-41d6-46a2-84c5-94fc9060bf61" CreationDate="2010-03-25T11:46:24.733" UserId="150" Text="Just a young guy with a dream." ContentLicense="CC BY-SA 2.5" />
  <row Id="750" PostHistoryTypeId="3" PostId="480" RevisionGUID="1dcc8714-41d6-46a2-84c5-94fc9060bf61" CreationDate="2010-03-25T11:46:24.733" UserId="150" Text="&lt;sound-effects&gt;&lt;job&gt;&lt;career&gt;&lt;intern&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="751" PostHistoryTypeId="2" PostId="481" RevisionGUID="0112917b-30a6-4c14-a46f-67b56a5838eb" CreationDate="2010-03-25T12:23:14.800" UserId="150" Text="Try using the same sound as both the modulator and carrier. I get some great ringy,spacey effects with that." ContentLicense="CC BY-SA 2.5" />
  <row Id="752" PostHistoryTypeId="2" PostId="482" RevisionGUID="43fd35b5-af65-44f3-91fe-b82a347bcc9d" CreationDate="2010-03-25T12:56:33.050" UserId="103" Text="You're better off than a lot of people, you ***worked*** on stuff with a gameplay shorter than 30 minutes ;)&#xD;&#xA;&#xD;&#xA;Do video capture of cool gameplay moments, make a reel and go for it!" ContentLicense="CC BY-SA 2.5" />
  <row Id="753" PostHistoryTypeId="2" PostId="483" RevisionGUID="933bc8a6-7b54-4178-ac4f-a393a45d56f3" CreationDate="2010-03-25T15:50:04.913" UserId="147" Text="I've been using an M-Audio Firewire 410 for some time. I like its functionality but I don't like it for reliability. And the fact that you have to turn off your computer when you connect it is just too annoying. I once had a live performance with it, using an old white iBook, and it started to act strange just before the show. Maybe I hot-swapped it against the rules, but I had to restart the iBook and somehow it took 10 minutes to come back to life. I wouldn't use it in such a situation again. &#xD;&#xA;&#xD;&#xA;So I bought an Apogee Duet, and never had any problems with it. It just works fine all the time, and it integrates with (Apple) software nicely. So I absolutely prefer the Duet to the 410, and would use the Duet on stage without hesitation." ContentLicense="CC BY-SA 2.5" />
  <row Id="754" PostHistoryTypeId="2" PostId="484" RevisionGUID="2133e4a4-6bee-4920-867e-9bfc1035064d" CreationDate="2010-03-25T19:22:38.697" UserId="178" Text="Watch out for the working conditions there. You may be held in higher regard as a creative person, but I understand that a lot of programmers that do game development work long hours for less pay than they could receive elsewhere. I think it's on the theory that it's supposed to be &quot;fun&quot;, and therefore not worth paying competitively as compared to, say, writing business applications.&#xD;&#xA;&#xD;&#xA;This may not apply to sound at all, I have no idea. It's just something to be aware of." ContentLicense="CC BY-SA 2.5" />
  <row Id="755" PostHistoryTypeId="2" PostId="485" RevisionGUID="633ae369-7245-492c-8de6-797a1373c0d5" CreationDate="2010-03-25T22:27:50.350" UserId="81" Text="Arrange the best of the works you have done so far in a showreel. Make it available online. Cut it short because usually big fishes out there has hundreds of those kinds of applications daily and they will not spend time reading/watching how you started on your Casio Keyboard when you were 5.&#xD;&#xA;&#xD;&#xA;Continue your education, and never quit dreaming my friend. After all, it is our dreams that keep us going..." ContentLicense="CC BY-SA 2.5" />
  <row Id="759" PostHistoryTypeId="2" PostId="487" RevisionGUID="1f8ac910-f1b5-4ab0-92c8-4a77c782214c" CreationDate="2010-03-26T13:41:57.943" UserId="188" Text="what is best way to record a doublebass in a home studio enviroment?&#xD;&#xA;what type of mic?&#xD;&#xA;what kind of processing? (compression? eq?)" ContentLicense="CC BY-SA 2.5" />
  <row Id="760" PostHistoryTypeId="1" PostId="487" RevisionGUID="1f8ac910-f1b5-4ab0-92c8-4a77c782214c" CreationDate="2010-03-26T13:41:57.943" UserId="188" Text="what is best way to record a doublebass in a home studio enviroment?" ContentLicense="CC BY-SA 2.5" />
  <row Id="761" PostHistoryTypeId="3" PostId="487" RevisionGUID="1f8ac910-f1b5-4ab0-92c8-4a77c782214c" CreationDate="2010-03-26T13:41:57.943" UserId="188" Text="&lt;recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="762" PostHistoryTypeId="2" PostId="488" RevisionGUID="6fed0112-1949-4d05-8d35-08095f39b6d6" CreationDate="2010-03-26T13:50:30.157" UserId="103" Text="I have a session coming up and have been reading a lot about this to.&#xD;&#xA;The strangest yet most practical and cheaper technique, is a sm57 with the body and cable wrapped in a washcloth tucked in the bridge aiming upwards.&#xD;&#xA;(the washcloth is so that you can fit the mic into the bridge)&#xD;&#xA;&#xD;&#xA;[http://www.gearslutz.com/board/remote-possibilities-acoustic-music-location-recording/474365-unusual-upright-bass-micing-technique.html][1]&#xD;&#xA;lots of ideas there&#xD;&#xA;&#xD;&#xA;Fun :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]:  http://www.gearslutz.com/board/remote-possibilities-acoustic-music-location-recording/474365-unusual-upright-bass-micing-technique.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="763" PostHistoryTypeId="2" PostId="489" RevisionGUID="5680ba10-b121-4104-8d25-9f7370d8d1e8" CreationDate="2010-03-26T15:38:59.720" UserId="189" Text="I have been using this Miniature Binaural Microphones for some time and I think that in general they are good, depends on what you want to record with them. ( but for the price you don't get wrong )&#xD;&#xA;&#xD;&#xA;http://www.soundprofessionals.com/binaural_microphone.html&#xD;&#xA;&#xD;&#xA;If you want some samples, contact me offline ;)&#xD;&#xA;Michel" ContentLicense="CC BY-SA 2.5" />
  <row Id="764" PostHistoryTypeId="2" PostId="490" RevisionGUID="58217e4d-2099-4c82-a87d-f285870f12a9" CreationDate="2010-03-26T16:33:31.523" UserId="147" Text="This might not be the right place to get an objective answer to this question, as I assume most of us value sound higher than the average person, but could we even say sound is just as important as what we see, and if we take away or change the sound from a movie, the overall experience will be changed completely? " ContentLicense="CC BY-SA 2.5" />
  <row Id="765" PostHistoryTypeId="1" PostId="490" RevisionGUID="58217e4d-2099-4c82-a87d-f285870f12a9" CreationDate="2010-03-26T16:33:31.523" UserId="147" Text="Is what we hear as important as what we see in contemporary media experience?" ContentLicense="CC BY-SA 2.5" />
  <row Id="766" PostHistoryTypeId="3" PostId="490" RevisionGUID="58217e4d-2099-4c82-a87d-f285870f12a9" CreationDate="2010-03-26T16:33:31.523" UserId="147" Text="&lt;experience&gt;&lt;media&gt;&lt;perception&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="767" PostHistoryTypeId="2" PostId="491" RevisionGUID="f7304e8d-8820-4d30-945d-438f7459935d" CreationDate="2010-03-26T17:11:09.723" UserId="40" Text="I am of the belief that in contemporary media sound is just as important, if not more important than it used to be, as well as equally important as the visual.&#xD;&#xA;&#xD;&#xA;You can have the most impressive, most advanced graphics in the world (take Avatar, or Transformers), but without sound that is equally as impressive a feat, you can't sell the graphics, and the viewer is taken out of the experience.&#xD;&#xA;&#xD;&#xA;The more that big pictures up the ante with visual effects, the more sound has to step up to match it.  Think back to when Star Wars came out.  It was incredible.  Nobody had ever seen anything like it before.  Nobody had really been a sound designer before either.  If they had just put every day sounds to Star Wars, the audience wouldn't have believed it.  What Ben Burtt did was create sounds than nobody had ever heard before to go with the picture that nobody had ever heard before.  That was the only way to make it remotely believable.  And what a fantastic job he did!&#xD;&#xA;&#xD;&#xA;Now that anywhere from 30% to 100% of the picture is CG in most blockbusters, sound is the &quot;Glue&quot; that holds the picture together.  A giant CG robot can only look so lifelike.  It can't be perfect.  What takes your mind off of the imperfections is the organic sound it makes.&#xD;&#xA;&#xD;&#xA;Stepping away from movies from a minute and touching on mobile and internet media, I think sound is just as important.  Sound has become a sort of tactile feedback.  You roll over something on the internet or press a button on a device and it makes a sound, however subtle it might be.  You take that away, and it completely changes the experience.  Sound is immersive, it's what completes an otherwise incomplete media experience.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My 2 cents" ContentLicense="CC BY-SA 2.5" />
  <row Id="768" PostHistoryTypeId="2" PostId="492" RevisionGUID="ca0477d0-4aa4-4e2d-bcf2-3ad7c35a0aa6" CreationDate="2010-03-26T17:53:49.550" UserId="29" Text="Colin makes some great points, the most important of which that context is supremely important. I've seen films so visually arresting that the sound wasn't needed for long stretches, and I've seen films (animated, usually) that would have been meaningless without sound. &#xD;&#xA;&#xD;&#xA;Sound adds context to the image, and vice-versa. I think it's hard to not just watch visuals without sound, but also to listen to sound without visuals (which I often do, when I study film sound design). The mind craves both to make sense of a moment, in media and real life - we're evolutionarily hardwired to do so. Both will change the emotional content of, and the subjective &quot;truth&quot; of, a moment. The best image/sound artists know how to exploit this without seeming overly &quot;clever&quot; (I'm looking at you, *Atonement*). &#xD;&#xA;&#xD;&#xA;Outside of film and games, sound is almost always the bastard child of temporal media. No one budgets for sound in an interactive piece and then complain when it's absent. Of course, the same is true of film/game directors/producers who don't budget well and then complain about sound quality. &#xD;&#xA;&#xD;&#xA;Our ears and eyes both operate logarithmically, but our ears have far greater dynamic range than our eyes. There are some psychological studies that suggest that auditory input can significantly enhance long-term memory, thereby helping with the sublimation of conscious learning into intuition. I'd love to understand that more, as I could use more space in my brain that isn't taken up with advertising jingles and Monty Python sketches." ContentLicense="CC BY-SA 2.5" />
  <row Id="769" PostHistoryTypeId="2" PostId="493" RevisionGUID="d9bec431-8553-4a13-ad96-8ed9fb4866f9" CreationDate="2010-03-26T22:50:08.013" UserId="188" Text="&quot;THX 1138&quot; for me this whole movie is surely THE best example of a movie which blurs the distinction between score and sound design.&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=2fwwT5jp-dA][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=2fwwT5jp-dA" ContentLicense="CC BY-SA 2.5" />
  <row Id="770" PostHistoryTypeId="5" PostId="493" RevisionGUID="34b922e2-b9a8-4cce-bdd8-209007792b5e" CreationDate="2010-03-26T23:28:33.317" UserId="2" Comment="added emebeded youtube video" Text="&quot;THX 1138&quot; for me this whole movie is surely THE best example of a movie which blurs the distinction between score and sound design.&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=2fwwT5jp-dA][1]&#xD;&#xA;&#xD;&#xA;[youtube]2fwwT5jp-dA[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=2fwwT5jp-dA" ContentLicense="CC BY-SA 2.5" />
  <row Id="771" PostHistoryTypeId="2" PostId="494" RevisionGUID="ed5f2b15-6cc2-48b6-94cc-3f0c835fc012" CreationDate="2010-03-27T10:47:13.417" UserDisplayName="user80" Text="My favourite way is with an Rode NT1A pointed at the player's left f hole just over 12&quot;s away.  If I am capturing it live on a stage I will use an Audio-Technica AT803b attached using the tieclip to the strings, just below the bridge.  This also works for cello , viola and violin.   " ContentLicense="CC BY-SA 2.5" />
  <row Id="772" PostHistoryTypeId="6" PostId="487" RevisionGUID="70e9b742-0d0a-4d8a-b2a2-0fe1f6ab8db9" CreationDate="2010-03-27T10:47:30.297" UserDisplayName="user80" Comment="edited tags" Text="&lt;recording&gt;&lt;microphone&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="773" PostHistoryTypeId="2" PostId="495" RevisionGUID="a2111497-2f50-4386-aedc-bb7fa5cbf45e" CreationDate="2010-03-27T10:56:32.947" UserDisplayName="user80" Text="I find that Digidesign's 003R works really well, I use a Focusrite Octopre for the mic preamps and have never had a problem.  I used the 002R before and found it to be just as reliable, and when I need to go mains free I use the MBox pro, which is again rock solid.  I have always found Firewire to be extremely reliable." ContentLicense="CC BY-SA 2.5" />
  <row Id="774" PostHistoryTypeId="6" PostId="470" RevisionGUID="8a4be739-5db8-49fd-ad46-97e8866b5f90" CreationDate="2010-03-27T10:57:04.070" UserDisplayName="user80" Comment="edited tags" Text="&lt;motu&gt;&lt;hardware&gt;&lt;gear&gt;&lt;performance&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="775" PostHistoryTypeId="2" PostId="496" RevisionGUID="0d09cf37-b8ab-455a-9eb5-37bf89cd23e2" CreationDate="2010-03-27T12:11:04.237" UserDisplayName="user80" Text="I love watching videos about sound designers' work.  I particularly enjoy anything about or by Ben Burtt.  What videos would you recommend?  It is always great to see other's working environments as well as hear about their motivation and techniques.  Please post any links to videos that you have enjoyed.&#xD;&#xA;&#xD;&#xA;http://www.in.com/videos/watchvideo-ben-burtt-lecture-2-2548419.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="776" PostHistoryTypeId="1" PostId="496" RevisionGUID="0d09cf37-b8ab-455a-9eb5-37bf89cd23e2" CreationDate="2010-03-27T12:11:04.237" UserDisplayName="user80" Text="What behind the scenes videos about sound design would you recommend watching on the web?" ContentLicense="CC BY-SA 2.5" />
  <row Id="777" PostHistoryTypeId="3" PostId="496" RevisionGUID="0d09cf37-b8ab-455a-9eb5-37bf89cd23e2" CreationDate="2010-03-27T12:11:04.237" UserDisplayName="user80" Text="&lt;behind-the-scenes&gt;&lt;online&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="778" PostHistoryTypeId="2" PostId="497" RevisionGUID="74d2578e-4c77-4c3b-bba0-372b106e6c6f" CreationDate="2010-03-27T12:57:54.883" UserId="103" Text="Everything from [http://soundworkscollection.com/][1]&#xD;&#xA;&#xD;&#xA;And [http://designingsound.org/category/videos/][2]&#xD;&#xA;&#xD;&#xA;Everything from designingsound.org is great: the interviews the sound designer profiles etc&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/&#xD;&#xA;  [2]: http://designingsound.org/category/videos/" ContentLicense="CC BY-SA 2.5" />
  <row Id="779" PostHistoryTypeId="2" PostId="498" RevisionGUID="383a65e4-1049-4223-839e-69fc91ea0514" CreationDate="2010-03-27T14:25:54.063" UserId="2" Text="So far I have never declared or had issues on arrival but as I'm getting more gear, I'm getting a little apprehensive when going through customs. All this expensive electronics could amount to a serious set back if one has to pay import duties. &#xD;&#xA;&#xD;&#xA;I'm very unclear as to how it all works. What am I supposed to do on departure and arrival. Must I always declare when I leave any country, or is it a once off thing to be done when leaving the country where I purchased the gear from? I don't have any receipts for my older gear. &#xD;&#xA;&#xD;&#xA;Any experience or knowledge you would like to share would be hugely appreciated. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;This a little variant of my question... My girlfriend is visiting me from the US, and equipment is literally double in South Africa so I want her to bring me back some needed gear. If she declares it on her way out, will she not need to pay on her way into SA (if she says it's her personal gear)? What about on her way back with no more gear, will they check?&#xD;&#xA;&#xD;&#xA;My question is a bit unclear because I don't understand this world, I tried to find answers online but it's impossible.  &#xD;&#xA;&#xD;&#xA;Thanks for your help. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="780" PostHistoryTypeId="1" PostId="498" RevisionGUID="383a65e4-1049-4223-839e-69fc91ea0514" CreationDate="2010-03-27T14:25:54.063" UserId="2" Text="Travelling with gear (customs)" ContentLicense="CC BY-SA 2.5" />
  <row Id="781" PostHistoryTypeId="3" PostId="498" RevisionGUID="383a65e4-1049-4223-839e-69fc91ea0514" CreationDate="2010-03-27T14:25:54.063" UserId="2" Text="&lt;gear&gt;&lt;travel&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="782" PostHistoryTypeId="2" PostId="499" RevisionGUID="94bf9bdb-e56f-4f3e-bee0-3baad26f74c3" CreationDate="2010-03-27T14:47:57.650" UserId="61" Text="Although not a video, I highly recommend this interview with sound designer Alan Splet, one of the great pioneers of our craft:&#xD;&#xA;&#xD;&#xA;http://www.substation.co.nz/nzsndata/DUNEFX.html&#xD;&#xA;&#xD;&#xA;Since it's from the early '80s you will find that much of the tech talk is quite dated; that being said, I believe that many of the most powerful tools used by sound designers are timeless. &#xD;&#xA;&#xD;&#xA;It is a long one but worth every minute of your time." ContentLicense="CC BY-SA 2.5" />
  <row Id="783" PostHistoryTypeId="2" PostId="500" RevisionGUID="d67fc5f3-7bdc-4779-8163-d16edf710b11" CreationDate="2010-03-27T15:27:09.010" UserId="132" Text="Hey Folks,&#xD;&#xA;&#xD;&#xA;I am looking for some affordable DA for monitoring.  I have an MBOX Pro at home, and I want something a bit better for monitoring.  At this point I'm looking at the following which are all in the $850-1100.00 price range:&#xD;&#xA;&#xD;&#xA;BENCHMARK DAC-1&#xD;&#xA;LAVRY DA-10&#xD;&#xA;MYTEK STEREO96DAC&#xD;&#xA;APOGEE MINI_DAC&#xD;&#xA;&#xD;&#xA;I'm leaning toward the benchmark, but I'm willing to be swayed.  A few of the above have usb or firewire add ons, but I won't need them.  If I am working the Pro Tools I'll be taking the spdif output and any other core audio app I'll just take the optical output on my Mac Book Pro.  So hit me with your opinions please.&#xD;&#xA;&#xD;&#xA;M." ContentLicense="CC BY-SA 2.5" />
  <row Id="784" PostHistoryTypeId="1" PostId="500" RevisionGUID="d67fc5f3-7bdc-4779-8163-d16edf710b11" CreationDate="2010-03-27T15:27:09.010" UserId="132" Text="Affordable D to A" ContentLicense="CC BY-SA 2.5" />
  <row Id="785" PostHistoryTypeId="3" PostId="500" RevisionGUID="d67fc5f3-7bdc-4779-8163-d16edf710b11" CreationDate="2010-03-27T15:27:09.010" UserId="132" Text="&lt;dtoa&gt;&lt;gear&gt;&lt;converstion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="786" PostHistoryTypeId="2" PostId="501" RevisionGUID="f7b2c384-2523-4bdb-9a2e-73eb6430ec7d" CreationDate="2010-03-27T16:12:52.897" UserId="191" Text="&#xD;&#xA;  The DVD for &quot;Castaway&quot; has a commentary track that heavily features Randy Thom discussing the sound design for that movie.  I've never heard of any other dvd with a commentary track by the sound designer.  As for on the web stuff I think Designing Sound (mentioned above) has the most exhaustive selection of videos that have been posted to the web.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="787" PostHistoryTypeId="2" PostId="502" RevisionGUID="27a84b02-e15c-4abf-bf94-372f9c26e7a0" CreationDate="2010-03-27T16:41:56.060" UserId="29" Text="Every country will be a little different, but the solution usually amounts to paperwork, for carrying any significant amount of equipment.&#xD;&#xA;&#xD;&#xA;Governments are usually concerned about local reselling that evade proper import duties. The key seems to be having complete documentation around ownership of the equipment, and paperwork that states that this gear is for a specific use and will not be resold. Customs, therefore, would logically assume that your gear would be leaving the country when you do.&#xD;&#xA;&#xD;&#xA;It's a totally valid question about your significant other leaving the country without said gear; I'm usually an optimist on such things, but the forms she'd have on the way out would logically be also checked on the way out. But I've not had specific experience with that, so I can't say for certain.&#xD;&#xA;&#xD;&#xA;Bigger productions usually ship gear separately than the personnel. People carry the basics just in case, but use &quot;shipping expeditors&quot; or even FedEx to ship the gear, all insured, of course. Raises the cost but gets around the carrying of large amounts of gear. Some production mixer on another board reported that he overnights his kit via FedEx to the hotel he'll be staying at. (In the US, I've never had lost luggage on nonstops, but add one stop to an itinerary and it's practically 50/50 if the gear will follow you properly and ontime!)&#xD;&#xA;&#xD;&#xA;Hopefully some other members of SSD will chime in with even more experiences and insights..!" ContentLicense="CC BY-SA 2.5" />
  <row Id="788" PostHistoryTypeId="2" PostId="503" RevisionGUID="a9e9df2d-ee03-4980-9e1e-a369c0ccdb58" CreationDate="2010-03-27T17:42:38.420" UserDisplayName="user80" Text="It is now common practice to ship equipment rather than carry it as hand luggage, especially from country to country.  It is surprisingly safe and reliable, pelican cases are the best to use.  http://www.pelican.com/case_category.php?CaseSize=%&amp;New=%. I'd still purchase the insurance, although I don't know anyone that has had to make a claim yet." ContentLicense="CC BY-SA 2.5" />
  <row Id="789" PostHistoryTypeId="5" PostId="494" RevisionGUID="6cd8f95f-af69-4813-8ac8-40e8c2376225" CreationDate="2010-03-27T17:46:32.067" UserDisplayName="user80" Comment="deleted 1 characters in body" Text="My favourite way is with an Rode NT1A pointed at the player's left f hole just over 12&quot;s away.  If I am capturing it live on a stage I will use an Audio-Technica AT803b attached using the tieclip to the strings, just below the bridge.  This also works for cello, viola and violin.   " ContentLicense="CC BY-SA 2.5" />
  <row Id="790" PostHistoryTypeId="2" PostId="504" RevisionGUID="cf80b812-05f7-46a0-89b2-ee428217d174" CreationDate="2010-03-27T17:58:17.107" UserId="10" Text="Not web videos, but here are some DVDs with sound sesign extras:&#xD;&#xA;&#xD;&#xA; - THX 1138 &#xD;&#xA; - The Conversation &#xD;&#xA; - Apocalypse&#xD;&#xA; - Now Star Wars &#xD;&#xA; - Indiana Jones&#xD;&#xA; - Lord of the Rings &#xD;&#xA; - Australia&#xD;&#xA; - Matrix &#xD;&#xA; - Artifical Intelligence&#xD;&#xA; - The Bourne Identity  &#xD;&#xA; - Hitman &#xD;&#xA; - Sixth Sense&#xD;&#xA; - Panic Room &#xD;&#xA; - Dark Water&#xD;&#xA; - Aliens &#xD;&#xA; - Master and Commander: The Far Side of the World &#xD;&#xA; - Toy Story 1&#xD;&#xA; - Toy Story 2   &#xD;&#xA; - Monsters Inc &#xD;&#xA; - A Bugs Life &#xD;&#xA; - Kung Fu Panda &#xD;&#xA; - Wall·E &#xD;&#xA; - Transformers &#xD;&#xA; - Terminator &#xD;&#xA; - Underlworld&#xD;&#xA;   &#xD;&#xA;Note that some of them are on the &quot;Collectors Edition&quot; of the film, or something like that. Also, if anyone have more to add to the list, tell us!" ContentLicense="CC BY-SA 2.5" />
  <row Id="791" PostHistoryTypeId="2" PostId="505" RevisionGUID="da6e4b1e-54af-4d69-a357-d025cba8c59b" CreationDate="2010-03-27T18:00:53.177" UserId="100" Text="+1 on Soundworks Collection&#xD;&#xA;&#xD;&#xA;Another +1 on the Lord of the Rings Extended DVD sound feature&#xD;&#xA;&#xD;&#xA;King Kong (Seven Parts)&#xD;&#xA;http://www.youtube.com/watch?v=XCpFtGCAgfI&#xD;&#xA;&#xD;&#xA;Rob Nokes Seminar (Two Parts)&#xD;&#xA;http://www.youtube.com/watch?v=jqU-oKlsGaA" ContentLicense="CC BY-SA 2.5" />
  <row Id="792" PostHistoryTypeId="6" PostId="487" RevisionGUID="f7b7a586-dbf0-4068-a415-1c230733bdfb" CreationDate="2010-03-27T18:13:29.157" UserDisplayName="user80" Comment="edited tags" Text="&lt;recording&gt;&lt;microphone&gt;&lt;home-studio&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="793" PostHistoryTypeId="5" PostId="494" RevisionGUID="27d89f72-6997-4034-8205-635083c0708c" CreationDate="2010-03-27T18:14:26.037" UserDisplayName="user80" Comment="added 108 characters in body" Text="My favourite way is with an Rode NT1A pointed at the player's left f hole just over 12&quot;s away.  If I am capturing it live on a stage I will use an Audio-Technica AT803b attached using the tieclip to the strings, just below the bridge.  This also works for cello, viola and violin.   With regards to processing, some gentle compression and a light touch of reverb is usually more than enough." ContentLicense="CC BY-SA 2.5" />
  <row Id="794" PostHistoryTypeId="2" PostId="506" RevisionGUID="082cf266-8fc4-4e48-988b-419b15950d29" CreationDate="2010-03-28T09:26:36.920" UserId="2" Text="I can't really give real input on this one. However, I Apogee makes lovely ADC, so I can only assume their DAC will be of top quality!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="795" PostHistoryTypeId="2" PostId="507" RevisionGUID="3c1f8beb-25b7-42de-87f5-f30f6adf8976" CreationDate="2010-03-28T11:33:44.520" UserId="135" Text="interesting documentaries from the Vancouver Film Schools students: &#xD;&#xA;&#xD;&#xA; - Game Audio: http://www.vfs.com/gallery.php?id=11&amp;category_id=64&amp;project_id=1023&amp;show=all&#xD;&#xA; - Foley: http://www.vfs.com/gallery.php?id=11&amp;category_id=64&amp;project_id=1022&amp;show=all&#xD;&#xA; - Location sound: http://www.vfs.com/gallery.php?id=11&amp;category_id=64&amp;project_id=1021&amp;show=all&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="796" PostHistoryTypeId="2" PostId="508" RevisionGUID="01859943-6b9f-4e6d-8558-8b6d7ad11da2" CreationDate="2010-03-28T18:36:58.783" UserId="194" Text="I generally believe that creativity stems from technical mastery, so I'm always working to make sure I know *how* to do the things that I would like to do.  I also spend a lot of time recording and cataloging, so that I can have a deep and high quality set of tools to use when it comes time to make sounds happen.  Then once a project comes in the door I'll record some more.&#xD;&#xA;&#xD;&#xA;Given all of that, here's my process:&#xD;&#xA;&#xD;&#xA; - If the film hasn't been bid and accepted yet, I'll watch it through first and give my input on how much sound design needs to happen.  We'll agree on a bid and submit.&#xD;&#xA; - If we get the bid, I'm typically the one in charge of opening and sorting the OMFs or AAFs that come from picture editorial.  The process of sorting all of the audio gets me more intimately familiar with the overall story and the location sound elements that I have available to me.&#xD;&#xA; - Once the reels are sorted I'll pre-spot the ADR and schedule a spotting session with the director&#xD;&#xA; - During the director's spotting session I'll generally take some time to discuss my ideas for how certain things should sound, and I'll get further input into any non-obvious sounds needed.  At [DAPG][1] we use [EdiCue][2] to spot things, so my process is to spot regions into a protools session with a track labeled for the SFX dept.  This is useful both from a process and a political standpoint because the director sees me taking notes at his suggestions, and my notes are stored in a time-matched track that I can just import into my sfx sessions later on.&#xD;&#xA;&#xD;&#xA;(As an aside, I've found reading screenplays to be kind of hit-or-miss with regards to sussing out non-obvious context for sounds.  I recently completed a film where in the screenplay the main creatures were these electrical eel kinds of worms that pre-empted their strikes with this sparking crackling sound.  The director never really signed off on any concepts that I sent before seeing VFX.  Once the VFX came in, I found that the creatures weren't electrical looking at all, so I ditched that aspect of the design and went straight organic.  The director was very happy with the end result - which included zero electrical sounding elements.)&#xD;&#xA;&#xD;&#xA; - After the spotting session I'll often make a conscious effort to watch a couple of high quality films that could server as influence or inspiration for the type of sounds that I'll need to create for the project.  For example: Ninja Assasin is good for gore and stylized stuff, The Cell is fun for head-trippy stuff, and No Country for Old Men is a great minimalist foly film.&#xD;&#xA; - Now that I have a good idea of *what* I'll need to make and a general idea of *how* to make those sounds, I'll tend to put a sound palette session together for the more stylized things.  In this session I'll be free to go nuts with mics, plug ins, and routing craziness, and I'll often print sounds as I go along.  Here its all about removing specific sync issues and being creative.  The moment I do something cool sounding, it gets printed and labeled - regardless of if it will work for this specific project.&#xD;&#xA; - Time permitting, I'll also try to go through the sound rolls and find anything from the set that will be useful.  If the script supervisor was good, I can just jump to the scenes with the most potential and scout those specific soundrolls for treasure.  This is particularly useful with crowd scenes or remote locations.&#xD;&#xA; - With all of that in place, I'll begin the sound design in earnest.  &#xD;&#xA;&#xD;&#xA;Some general tips:&#xD;&#xA;&#xD;&#xA; 1. Never be afraid to use your tools.  If you have mics, EQs, reverbs, empty tracks and pitch shifting tools available to you, then break them out liberally to achieve the sounds that you want.  &#xD;&#xA; 2. Don't burn bridges for the mix.  If you want to print a specific reverb, delay, or EQ to make the sound work, always keep a  muted original copy of the sound close by.  Your mixer will thank you.&#xD;&#xA; 3. Try to isolate 3-4 hour chunks of uninterrupted time to do your work.  This will allow you to get into the creative flow and to stay there.  &#xD;&#xA; 4. Don't make decisions out of fear.  If you're worried the director won't buy it, but you know its cool, give it to him the cool way.  People aren't stupid, much as we like to paint them that way.  :)&#xD;&#xA;&#xD;&#xA;There's more here, but that's enough for now.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://dallasaudiopost.com/&#xD;&#xA;  [2]: http://soundsinsync.com/index.php?option=com_content&amp;task=view&amp;id=55&amp;Itemid=81" ContentLicense="CC BY-SA 2.5" />
  <row Id="797" PostHistoryTypeId="5" PostId="504" RevisionGUID="90da1b03-cb97-4211-848a-cfef4dca5a83" CreationDate="2010-03-29T03:37:37.237" UserId="10" Comment="edited body" Text="Not web videos, but here are some DVDs with sound sesign extras:&#xD;&#xA;&#xD;&#xA; - THX 1138 &#xD;&#xA; - The Conversation &#xD;&#xA; - Apocalypse Now&#xD;&#xA; - Star Wars &#xD;&#xA; - Indiana Jones&#xD;&#xA; - Lord of the Rings &#xD;&#xA; - Australia&#xD;&#xA; - Matrix &#xD;&#xA; - Artifical Intelligence&#xD;&#xA; - The Bourne Identity  &#xD;&#xA; - Hitman &#xD;&#xA; - Sixth Sense&#xD;&#xA; - Panic Room &#xD;&#xA; - Dark Water&#xD;&#xA; - Aliens &#xD;&#xA; - Master and Commander: The Far Side of the World &#xD;&#xA; - Toy Story 1&#xD;&#xA; - Toy Story 2   &#xD;&#xA; - Monsters Inc &#xD;&#xA; - A Bugs Life &#xD;&#xA; - Kung Fu Panda &#xD;&#xA; - Wall·E &#xD;&#xA; - Transformers &#xD;&#xA; - Terminator &#xD;&#xA; - Underlworld&#xD;&#xA;   &#xD;&#xA;Note that some of them are on the &quot;Collectors Edition&quot; of the film, or something like that. Also, if anyone have more to add to the list, tell us!" ContentLicense="CC BY-SA 2.5" />
  <row Id="798" PostHistoryTypeId="2" PostId="509" RevisionGUID="666aebac-be97-42cc-8919-4e857b56dcb3" CreationDate="2010-03-29T09:59:15.127" UserId="125" Text="Im just wondering, which DAW or software is the best and cheapest way to designing sound.&#xD;&#xA;Im work in a studio, and we use Steinberg Nuendo on PC. its quiet good, and comfortable software. U can manipulate the events (volume,fades, u can process effect to each events), it can be open lots of video format.....atc.. but is to expencive&#xD;&#xA;So im use a mac at home, and i try many softwares on mac, but i still perplexity to which DAW is the best for macs.&#xD;&#xA;&#xD;&#xA;DP6 is the best for music recording and writeing, but not to designing sound, like sound track pro, but the last one is to cake-walk to do some professional work. Pro Tools is god, but to expencive to buy a PT HD to a home studio.&#xD;&#xA;&#xD;&#xA;So anyway.....which DAW do u use? what kinds of DAWs in the line? i wanna chose one, and start to learn..." ContentLicense="CC BY-SA 2.5" />
  <row Id="799" PostHistoryTypeId="1" PostId="509" RevisionGUID="666aebac-be97-42cc-8919-4e857b56dcb3" CreationDate="2010-03-29T09:59:15.127" UserId="125" Text="Which DAW do u use?" ContentLicense="CC BY-SA 2.5" />
  <row Id="800" PostHistoryTypeId="3" PostId="509" RevisionGUID="666aebac-be97-42cc-8919-4e857b56dcb3" CreationDate="2010-03-29T09:59:15.127" UserId="125" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="801" PostHistoryTypeId="2" PostId="510" RevisionGUID="f2097bad-a869-4b9d-95c2-67a403ef0fb5" CreationDate="2010-03-29T10:17:14.643" UserId="103" Text="At least when Nuendo was in version 3 and cubase was SX3, you could open cubase sessions in Nuendo and vice versa, so it would probably be a good and cheap option for you.&#xD;&#xA;&#xD;&#xA;I personally own and use protools LE. Cant afford and dont really need HD for the time being&#xD;&#xA;The only thing i really miss from HD is the advanced automation stuff&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="804" PostHistoryTypeId="2" PostId="513" RevisionGUID="bc4bb816-5eb7-4132-ac8c-e044a708cb7d" CreationDate="2010-03-29T11:40:11.653" UserDisplayName="user80" Text="I use Pro Tools LE at Home and Pro Tools HD at work.  For designing sounds themselves I prefer to use Synthesizer and Sampler plug-ins within Pro Tools, and then layer the sounds within the Pro Tools session." ContentLicense="CC BY-SA 2.5" />
  <row Id="805" PostHistoryTypeId="6" PostId="509" RevisionGUID="ccc2f2ad-a8bc-41fa-bd38-960a9fb27505" CreationDate="2010-03-29T11:42:41.357" UserDisplayName="user80" Comment="edited tags" Text="&lt;daw&gt;&lt;software&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="806" PostHistoryTypeId="2" PostId="514" RevisionGUID="885e6918-b770-48e1-a760-a349ba547f7c" CreationDate="2010-03-29T13:53:23.007" UserDisplayName="user80" Text="I would recommend the TC Electronic BMC-2 which is only £229, it has an excellent reputation.  http://www.tcelectronic.com/bmc-2.asp" ContentLicense="CC BY-SA 2.5" />
  <row Id="807" PostHistoryTypeId="2" PostId="515" RevisionGUID="35e6adc9-da34-4599-8dba-981e5f73cd10" CreationDate="2010-03-29T13:54:20.673" UserId="40" Text="I use both PT LE8 and Logic 9.  Logic is extremely powerful, and right out of the box it has a lot of very useful and very flexible plugins and instruments.  I would consider using it as my full time DAW if it wasn't so annoying to edit in.  I'm slowly getting used to the editing workflow, but it is much slower and more cumbersome than PTLE.  What I generally end up doing is editing in PT and exporting to Logic to mix.  Then again, sometimes I stay in PT.  Just depends on what plugins I need and how big my session is.  PTLE is much more processor intensive on a Mac, so I can run MUCH bigger sessions in Logic (20-40 tracks more, depending on my plugin load) without too much trouble.&#xD;&#xA;&#xD;&#xA;Logic is a great value for the price ($500).  You get a pretty large royalty free library (music and SFX), which may be useful to some people (not as good as well known libraries).  It also comes with a ton of great plugins, some other useful programs, etc...  It's my second choice to PT" ContentLicense="CC BY-SA 2.5" />
  <row Id="808" PostHistoryTypeId="6" PostId="500" RevisionGUID="9bf0d204-6d2a-4fe6-b5c3-42d3833d871a" CreationDate="2010-03-29T13:56:45.923" UserDisplayName="user80" Comment="edited tags" Text="&lt;dtoa&gt;&lt;gear&gt;&lt;conversion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="809" PostHistoryTypeId="6" PostId="500" RevisionGUID="b3200d43-968f-429c-bdad-f089e0ce1bee" CreationDate="2010-03-29T13:57:20.403" UserDisplayName="user80" Comment="edited tags" Text="&lt;dtoa&gt;&lt;gear&gt;&lt;conversion&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="810" PostHistoryTypeId="2" PostId="516" RevisionGUID="60c958c7-609d-43ca-b2c7-cf2a15f8e858" CreationDate="2010-03-29T14:09:23.130" UserId="189" Text="In Toy Story 2 (Extended Version, 2 DVDs ) They put a fxs only Mix, no music, no voices.&#xD;&#xA;Is great to hear and learn what they do. Anyone Know another DVD with this feature ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="811" PostHistoryTypeId="2" PostId="517" RevisionGUID="ee60967b-c13c-4d11-86d9-05fd1f08d632" CreationDate="2010-03-29T15:54:18.160" UserId="37" Text="Logic is brilliant for music composition, but lacks the immediacy of Pro Tools for sound editing. Logic Pro + Pro Tools LE here. " ContentLicense="CC BY-SA 2.5" />
  <row Id="812" PostHistoryTypeId="2" PostId="518" RevisionGUID="c371fb14-f81e-4a9d-845d-b8365a3b8805" CreationDate="2010-03-29T16:20:26.447" UserId="195" Text="in Italy, I'm quite often mistaken for someone from the NHS controlling noise levels...it happened when I was recording sounds from a porhpyry construction site. In 15 minutes I've been quite angrly addressed by: the major, the council first engineer, the council major, everybody screaming that the construction site noise level was not THEIR responsibility. Once explained, the offered my a drink and apologised." ContentLicense="CC BY-SA 2.5" />
  <row Id="813" PostHistoryTypeId="2" PostId="519" RevisionGUID="1ad27870-bab6-4781-831c-8efc728443b0" CreationDate="2010-03-29T17:01:09.863" UserId="196" Text="Title says all..." ContentLicense="CC BY-SA 2.5" />
  <row Id="814" PostHistoryTypeId="1" PostId="519" RevisionGUID="1ad27870-bab6-4781-831c-8efc728443b0" CreationDate="2010-03-29T17:01:09.863" UserId="196" Text="What makes a sound funny?" ContentLicense="CC BY-SA 2.5" />
  <row Id="815" PostHistoryTypeId="3" PostId="519" RevisionGUID="1ad27870-bab6-4781-831c-8efc728443b0" CreationDate="2010-03-29T17:01:09.863" UserId="196" Text="&lt;sound-design&gt;&lt;film&gt;&lt;techniques&gt;&lt;sound-effects&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="816" PostHistoryTypeId="2" PostId="520" RevisionGUID="43957e6a-e4de-460b-ba3b-a174c56cb504" CreationDate="2010-03-29T17:44:17.697" UserId="61" Text="Context, context, context.              " ContentLicense="CC BY-SA 2.5" />
  <row Id="817" PostHistoryTypeId="2" PostId="521" RevisionGUID="32dad25d-d72b-42b5-b4e1-c3e6216472cf" CreationDate="2010-03-29T17:52:33.563" UserDisplayName="user80" Text="Contradiction and exaggeration.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="818" PostHistoryTypeId="2" PostId="522" RevisionGUID="b1bfc018-3114-40b5-8949-1bb223839527" CreationDate="2010-03-29T20:07:11.747" UserId="152" Text="Pro Tools 8 LE with the Complete Production Toolkit and Logic 8 for me.&#xD;&#xA;&#xD;&#xA;Almost all of my work is feature work, so I am in Pro Tools 90% of the time. I use Logic for some of its plugs and synths, which are great! Crappy editor and work-flow though. I have to admit I need to put some time into the software still.&#xD;&#xA;&#xD;&#xA;There are lost of great DAW's out there, but in post-audio almost 99% of all the work in town is done in Pro Tools. I know of one stage in LA using a Fairlight based system and one house that uses Nuendo and that's about it!&#xD;&#xA;&#xD;&#xA;Music/Video Game production is still open to whatever DAW suits you best...&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="819" PostHistoryTypeId="2" PostId="523" RevisionGUID="0d5d04c0-f36d-4aed-bc94-583379be1956" CreationDate="2010-03-29T22:37:46.663" UserId="197" Text="anyone know anything about Avantone microphones?...more specificaly the Avantone CK-40....seems like a nice stereo mic....seems like it has some of the features of Neumann RSM-191...for a fraction of the price..." ContentLicense="CC BY-SA 2.5" />
  <row Id="820" PostHistoryTypeId="2" PostId="524" RevisionGUID="bc024f3c-b70d-4625-932d-e9f2d386b7c5" CreationDate="2010-03-29T23:03:47.773" UserId="29" Text="It's a challenge, investment-wise, deciding on having &gt;1 DAW, as there is a lot of functional overlap and they can be pricey. But there's no harm in doing so, as each one is good at different things.&#xD;&#xA;&#xD;&#xA;Like Colin and Georgi, I use ProTools LE and Logic. (I really like Soundtrack Pro for certain things, especially on my own projects where I'm in Final Cut and can round-trip from it to STP, but the workflow isn't as smooth.) Logic's virtual instruments are pretty amazing, especially for sound design. I struggled with Digital Performer for years and couldn't deal with its non-unified UI. Even Logic 7 was scary. With Logic 8 and 9, though, the UI matured a lot and I now find it the easiest DAW I've ever used. (My &quot;DAW&quot; was Metro, written by Carl Sagan's son(!), and Deck II, slaved together. Yikes.) &#xD;&#xA;&#xD;&#xA;DAW-wise, I do think that ProTools' supremacy causes many to overlook alternative tools, just like Photoshop in the imaging market. That said, ProTools is really good at audio post of all flavors, and like Photoshop, its reputation is deserved." ContentLicense="CC BY-SA 2.5" />
  <row Id="821" PostHistoryTypeId="2" PostId="525" RevisionGUID="04d257f5-972e-4b04-9465-8553c4efd2a3" CreationDate="2010-03-30T00:44:52.100" UserDisplayName="user49" Text="I use ProTools and have done since it was Sound Tools, back in 1991...&#xD;&#xA;&#xD;&#xA;The first dozen films I worked on as a sound editor I used ProTools LE and then bought an HD system... I still use LE at home and the only reason I really need HD is due to supervising &amp; needing to assemble all elements for run throughs/working in context. Anyone who tells you that you must have HD is probably a salesman or someone trying to protect their investment... Of course its nice to be able to handle 5.1 and play 192 tracks (I would actually like twice that number) but I could still do all my sound editing on an LE system... There are many ways of getting around limited track count and lack of 5.1 support...&#xD;&#xA;&#xD;&#xA;But for film the most important deciding factor is what does the mix facility use&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="822" PostHistoryTypeId="2" PostId="526" RevisionGUID="95fba151-c1d9-4891-90b2-dce35c1fa118" CreationDate="2010-03-30T00:47:20.023" UserDisplayName="user49" Text="context, timing, character, juxtaposition, tradition, history....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;humour, like beauty, is in the eye/ear of the beholder" ContentLicense="CC BY-SA 2.5" />
  <row Id="823" PostHistoryTypeId="2" PostId="527" RevisionGUID="d51e96a8-a704-45ad-884c-1d08352eda51" CreationDate="2010-03-30T00:59:27.960" UserId="61" Text="Seems like it's all been done before…&#xD;&#xA;&#xD;&#xA;What do you do to create your own style/voice/signature? How do you avoid (or embrace) the clichéd and the tried-but-true approaches to give the impression of something new and original?&#xD;&#xA;&#xD;&#xA;Do you find technology working for or against you in this pursuit?" ContentLicense="CC BY-SA 2.5" />
  <row Id="824" PostHistoryTypeId="1" PostId="527" RevisionGUID="d51e96a8-a704-45ad-884c-1d08352eda51" CreationDate="2010-03-30T00:59:27.960" UserId="61" Text="How do you stay original?" ContentLicense="CC BY-SA 2.5" />
  <row Id="825" PostHistoryTypeId="3" PostId="527" RevisionGUID="d51e96a8-a704-45ad-884c-1d08352eda51" CreationDate="2010-03-30T00:59:27.960" UserId="61" Text="&lt;sound-design&gt;&lt;techniques&gt;&lt;creativity&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="826" PostHistoryTypeId="2" PostId="528" RevisionGUID="e24e88ff-1bc5-4210-8024-299ddcba9765" CreationDate="2010-03-30T05:01:39.717" UserId="29" Text="**This** will be a good one to see answers on..! :-)&#xD;&#xA;&#xD;&#xA;I've found the following to be true through every creative field I've tried. &#xD;&#xA;&#xD;&#xA;Style/signature: I've never sought a style or signature. (Hmm, hard to make that not sound self-aggrandizing!) I want every piece to reflect its emotional core and narrative. For a project to be interesting, I prefer to really vary the approach every time, a combination of Zen &quot;beginner's mind&quot; and drawing a subset of techniques from a superset of knowledge and experiences, which come from many disparate influences. But who knows, maybe it's that approach that's my &quot;signature,&quot; as opposed to the final output..?&#xD;&#xA;&#xD;&#xA;Avoiding cliché: Oh *man*, that's a hard one. In my experience it's through 90% hard work (75% of which is frustration) and 10% epiphanies (or happy accidents). It's largely about reframing the problem: Turn it upside-down, play it backwards, re-examine the goal or the moment...find some way to step away from the subjective art of it and gain some objectivity, even if that means taking some time to step away, even under massive deadline, to gain perspective. This usually points the way.&#xD;&#xA;&#xD;&#xA;Technology, For/Against: Both. It enables so much and yet creates effects that sound alike, or forces certain workflows. I fall into the trap of something sounding cool but not always pushing it to its proper conclusion. Technology provides a shortcut, but sometimes can cut the journey short.&#xD;&#xA;&#xD;&#xA;Not sure if any of that is helpful..." ContentLicense="CC BY-SA 2.5" />
  <row Id="827" PostHistoryTypeId="2" PostId="529" RevisionGUID="7fe08830-c492-45c0-be54-9565c61058bc" CreationDate="2010-03-30T05:36:46.330" UserId="198" Text="I often remind myself that it hasn't all been done before, as every recording/listening situation is unique. No matter how banal or typical something may appear there is always an infinite number of variations that can be done. Its only your own view that can prevent you from seeing (hearing) this. If you ever doubt this, challenge yourself to find to two pairs of ears on this planet that look or even hear the same way.&#xD;&#xA;&#xD;&#xA;Technology is just another tool. If you feel constrained by it, change it.&#xD;&#xA;&#xD;&#xA;What I find the most difficult to change are the ingrained perceptions, beliefs and expectations of audiences. Remember, it took years for people to even accept that sound should be added to film.&#xD;&#xA;&#xD;&#xA;Patience is work too." ContentLicense="CC BY-SA 2.5" />
  <row Id="828" PostHistoryTypeId="2" PostId="530" RevisionGUID="3ebb4ed0-4caa-48c0-9e0e-3be4b3e88e63" CreationDate="2010-03-30T06:23:17.377" UserId="198" Text="As sound is always connected to space and time, the question of exhibition qualities of &quot;sound art&quot; is somehow misleading. Firstly, I don't believe in the assumption that presenting sound as &quot;artwork&quot; means that it can necessarily stand on its own. Sound always needs to be understood within the context in which it is presented. This is why many works fail to communicate much of what they were intended to, because the artists and curators do not fully consider the context, that is the properties of the space, the technology and the materials used. Simply trying to isolate a sound based work in a special box or with headphones is not really a solution and more often than not leads to further frustration or confusion for audiences.&#xD;&#xA;&#xD;&#xA;To look at this from another angle lets consider that sound as a medium contains an inherent complexity. This becomes clear when you make a formula that combines the material elements that make up a sound work, the space in which it is contained, the mood or state of the observer and even the air that carries the waves. Therefor &quot;sound art&quot; cannot be reduced to a &quot;minimal&quot; format in the same way that visual work can be. In fact the whole notion of attempting to fit &quot;sound art&quot; into what is essentially a visual art world is rather absurd as I see working with sound much more related to architecture, social communication and more &quot;exotic&quot; fields like biology and cognitive science.&#xD;&#xA;&#xD;&#xA;Whether or not people are willing to accept this is another issue. It will take time and a good deal of discussion and inter-disciplinary research to find a suitable format for conducting and presenting sound based creative work." ContentLicense="CC BY-SA 2.5" />
  <row Id="829" PostHistoryTypeId="2" PostId="531" RevisionGUID="f6c6c1c5-effc-4028-b9ea-cdb042b66837" CreationDate="2010-03-30T12:44:52.297" UserId="28" Text="Repetition -&gt; Expectation --&gt; *Surprise!*&#xD;&#xA;&#xD;&#xA;Interesting question. You could probably study stand up comedy to learn a bit about comedic tension, release. Returning to a previous punchline. Playing with &quot;taboos&quot;. " ContentLicense="CC BY-SA 2.5" />
  <row Id="830" PostHistoryTypeId="6" PostId="527" RevisionGUID="2cb8f8e0-574d-4e1c-ac27-76d4b5573d28" CreationDate="2010-03-30T13:13:51.413" UserDisplayName="user80" Comment="edited tags" Text="&lt;sound-design&gt;&lt;techniques&gt;&lt;creativity&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="832" PostHistoryTypeId="2" PostId="533" RevisionGUID="e5e16614-5e72-4ee4-9aa8-b7509958d429" CreationDate="2010-03-30T14:50:54.983" UserId="28" Text="Whoa, partner. I think you would do best to pick one first. Focus your energy. Learn it as well as you can. Rtm.  Don't try to jump two hurdles in one leap.&#xD;&#xA;&#xD;&#xA;After you grok your first tool, you will have a foundation of knowledge that will speed up the process of learning the next. (For example, your third spoken language will likely come easier than your second.) &#xD;&#xA;&#xD;&#xA;IMHO, the benefits of Logic are the awesome soft synths and plug-ins. I don't use Pro Tools, but I imagine the benefits there are that you get to participate in conversations at the water cooler. (Kidding.) From the comments in this question, folks enjoy editing in Pro Tools. I hear over and over how solid it is. And like i joked, it is an industry standard. That is a benefit not to be overlooked.&#xD;&#xA;&#xD;&#xA;I use a wave editor (Amadeus) to prepare my sound objects, and then assemble them in either Logic or Ableton, depending on the project.&#xD;&#xA;&#xD;&#xA;Cheers." ContentLicense="CC BY-SA 2.5" />
  <row Id="833" PostHistoryTypeId="2" PostId="534" RevisionGUID="b34fadad-0974-416c-8a1e-f037b5d1fb6d" CreationDate="2010-03-30T15:45:37.033" UserId="199" Text="You can sell your work online. Works for me when doing sounds which can be used in music software. And a blog is a great way to show what you're capable of. I got many commissions because I made my music and sounds available online.&#xD;&#xA;&#xD;&#xA;But direct contact might be the best thing. I you think you know people who might be interested in your work, email them and point them to you blog and phone them up. " ContentLicense="CC BY-SA 2.5" />
  <row Id="834" PostHistoryTypeId="2" PostId="535" RevisionGUID="2c8aca89-12b9-40bd-b881-b844ca9c10dc" CreationDate="2010-03-30T15:51:13.467" UserId="199" Text="a documentary maker called me sound designer. at first I thought he forgot to mention my composer role. I told my girlfriend about it and she was like sound design is what you do, a composer feels like an old title.&#xD;&#xA;&#xD;&#xA;when I am doing music or sound I blend it all together. I might even play guitar, small percussion, record tweak everything. like doing sculpture. make new noise out of noise.&#xD;&#xA;&#xD;&#xA;uhm, but I am not sure. what's the difference?" ContentLicense="CC BY-SA 2.5" />
  <row Id="835" PostHistoryTypeId="1" PostId="535" RevisionGUID="2c8aca89-12b9-40bd-b881-b844ca9c10dc" CreationDate="2010-03-30T15:51:13.467" UserId="199" Text="composition versus sound design, what's the difference&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="836" PostHistoryTypeId="3" PostId="535" RevisionGUID="2c8aca89-12b9-40bd-b881-b844ca9c10dc" CreationDate="2010-03-30T15:51:13.467" UserId="199" Text="&lt;composition&gt;&lt;sounddesign&gt;&lt;old&gt;&lt;music&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="837" PostHistoryTypeId="2" PostId="536" RevisionGUID="e8792f76-c719-44cb-99cf-62b689eacf39" CreationDate="2010-03-30T16:41:06.800" UserId="61" Text="Depends who you are asking, I guess. In my opinion there is very little difference between the thought processes involved in composing and sound designing; it's really the instrumentation that is different. Composers historically have used traditional instruments to create their soundtrack, ie. violins, pianos, creative percussion, etc. Sound designers will use almost anything at their disposal, be it mountain wind, seal barks, or even a garbage *disposal*. The end result is still the same: A composition.&#xD;&#xA;&#xD;&#xA;What's the real difference between a composer and a sound designer? Composers make a LOT more money!" ContentLicense="CC BY-SA 2.5" />
  <row Id="838" PostHistoryTypeId="2" PostId="537" RevisionGUID="27a880de-0d7b-46b5-8dc1-63f7dc44fdd4" CreationDate="2010-03-30T18:21:20.923" UserId="40" Text="Out of all of those, I'd definitely go with the Apogee.  I love the mini-dac - it sounds awesome - plus I'm a long time fan of Apogee. Nice thing about the mini-dac is that you can get the firewire option and you can bypass your MBP optical output when not using the mbox. Lots of nice options on this guy, plus it'll go up to 192k.&#xD;&#xA;&#xD;&#xA;However, it won't make a huge difference for you if your room isn't treated for modes and reflections and if you don't have a nice set of speakers.  If it indeed is treated already, I'd get the mini-dac.  If it isn't, I'd spend the money to treat the room first.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="839" PostHistoryTypeId="2" PostId="538" RevisionGUID="31ba0e61-f8c7-4335-b310-2bb5a9572bc8" CreationDate="2010-03-30T18:22:13.223" UserId="10" Text="For sound design things, Pro Tools LE here. Also used Nuendo in the past in a friend's studio, but for me PT LE do the job very well and isn't so expensive. The next step would be to upgrade to HD, but I think I'll wait a little more to do that. Btw, I still in love with PT 7.4 :P Do you?&#xD;&#xA;&#xD;&#xA;And for electronic music I use Ableton Live for production and Pro Tools for the mix. Live is better to create things in real time, loop things and process everything quickly." ContentLicense="CC BY-SA 2.5" />
  <row Id="840" PostHistoryTypeId="5" PostId="538" RevisionGUID="03fddd79-0d54-4ab5-b5a3-28216709cbdd" CreationDate="2010-03-30T18:32:18.537" UserId="10" Comment="added 547 characters in body; deleted 9 characters in body; added 1 characters in body; added 24 characters in body" Text="For sound design things, Pro Tools LE here. Also used Nuendo in the past in a friend's studio, but for me PT LE do the job very well and isn't so expensive. The next step would be to upgrade to HD, mostly because the limit of tracks and those sync/automation facilities, but I think I can wait a little more to do that (and also wait for money :P).&#xD;&#xA;&#xD;&#xA;Why Pro Tools? For me is about the speed I can achieve working there. I work faster in Pro Tools, both in the editing and mixing processes... and also love it's clean interface and of course, the compatibility with studios and that &quot;industry standard&quot; factor. I know other DAWs have lots of more features than Pro Tools, but I just don't need those. I can do whatever I want with PT, quick edit, quick mix and quick processing. What else might I need?&#xD;&#xA;&#xD;&#xA;And for electronic music I use Ableton Live for production and Pro Tools for the mix. Live is better to create things in real time, loop things and process everything quickly.&#xD;&#xA;&#xD;&#xA;Btw, I still in love with PT 7.4 :P Do you?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="841" PostHistoryTypeId="2" PostId="539" RevisionGUID="8d87a35f-adab-4e9f-9222-22a0fb2ac605" CreationDate="2010-03-30T18:38:10.823" UserId="178" Text="The thing to realize, if you are new to digital audio workstations, is that they all do basically the same things. This same discussion comes up all the time with project studio owners and musicians. What it comes down to is pick one you like, and go with it, at least to start.&#xD;&#xA;&#xD;&#xA;Most of the current DAW systems are highly evolved and have been continuously developed and improved for a decade or more. Unless you need to specifically share project files with another studio in a specific format, you can use any of these systems to make a movie, an album, or a video game.&#xD;&#xA;&#xD;&#xA;That being said, ProTools seems to be pretty popular in the film world. ProTools is owned by Avid, and it shows. What I mean by that is that, like Avid, ProTools is more expensive for what you get, relies on more expensive proprietary hardware, and sort of got there first in the industry so a lot of people stuck with it. Continuing with this analogy, Final Cut Pro and all the other NLE systems can use most any suitable video hardware you can find, and many prefer the user interface of the other systems.&#xD;&#xA;&#xD;&#xA;All of the other DAWs besides ProTools can work with any decent audio interfaces, but ProTools will essentially lock you into their hardware. I got 8 channels of 24/96 capability at a price point that would have gotten me 2 channels of 24/48 capability with ProTools.&#xD;&#xA;&#xD;&#xA;I have nothing to urge either way, but just be aware of this distinction. When you buy ProTools, you're in it for the hardware and the software, and you're going to pay more. If you prefer the ProTools interface or need to advertise ProTools compatibility, this may be worth it to you. I have one friend who vastly prefers Nuendo, but keeps an old ProTools LE system around just so he can advertise ProTools and hope to convince them once they come in the door to just use OMF files and do the project on Nuendo." ContentLicense="CC BY-SA 2.5" />
  <row Id="842" PostHistoryTypeId="5" PostId="538" RevisionGUID="d667e574-ad74-4af1-bc19-58f3ea66836c" CreationDate="2010-03-30T18:40:02.860" UserId="10" Comment="added 161 characters in body" Text="For sound design things, Pro Tools LE here. Also used Nuendo in the past in a friend's studio, but for me PT LE do the job very well and isn't so expensive. The next step would be to upgrade to HD, mostly because the limit of tracks and those sync/automation facilities, but I think I can wait a little more to do that (and also wait for money :P).&#xD;&#xA;&#xD;&#xA;Why Pro Tools? For me is about the nice workflow I can achieve working there. I work faster in Pro Tools, both in the editing and mixing processes... and also love it's clean interface and of course, the compatibility with studios and that &quot;industry standard&quot; factor. I know other DAWs have lots of more features than Pro Tools, but I just don't need those. I can do whatever I want with PT, quick edit, quick mix and quick processing. What else might I need?&#xD;&#xA;&#xD;&#xA;Plugins are not a problem here. Every plugin and tool I need is on RTAS so, I don't need second DAW for sound design things. In my electronic music side I use Ableton Live for production and Pro Tools for the mix. Live is better to create things in real time, loop things and process everything quickly. You know, &quot;Live's style&quot;&#xD;&#xA;&#xD;&#xA;Btw, I still in love with PT 7.4 :P Do you?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="843" PostHistoryTypeId="2" PostId="540" RevisionGUID="0cbc7d5b-7ade-474e-aba6-5e97e9649c67" CreationDate="2010-03-30T18:48:27.473" UserId="199" Text="I am mainly using Ableton Live 8 with Reason 4 and Record 1 in Rewire mode. Ableton is superb for super fast sound design." ContentLicense="CC BY-SA 2.5" />
  <row Id="844" PostHistoryTypeId="2" PostId="541" RevisionGUID="88e0eb1c-d1ed-47a8-b8aa-7019249bf22b" CreationDate="2010-03-30T18:54:26.037" UserId="199" Text="I try to avoid believing the 'experts'.&#xD;&#xA;&#xD;&#xA;And break all rules. If it sounds right, it is right.&#xD;&#xA;&#xD;&#xA;There's really no right and wrong. If you know the rules of dynamics, loud and soft, high and low, you can do anything." ContentLicense="CC BY-SA 2.5" />
  <row Id="845" PostHistoryTypeId="2" PostId="542" RevisionGUID="02ad5640-86f0-462c-9305-66a4dfc07efc" CreationDate="2010-03-30T18:58:35.333" UserId="199" Text="CLOSED headphones you would use when for example micing a voice." ContentLicense="CC BY-SA 2.5" />
  <row Id="846" PostHistoryTypeId="1" PostId="542" RevisionGUID="02ad5640-86f0-462c-9305-66a4dfc07efc" CreationDate="2010-03-30T18:58:35.333" UserId="199" Text="Closed headphones, closed, the best for like $ 175 max, which ones?" ContentLicense="CC BY-SA 2.5" />
  <row Id="847" PostHistoryTypeId="3" PostId="542" RevisionGUID="02ad5640-86f0-462c-9305-66a4dfc07efc" CreationDate="2010-03-30T18:58:35.333" UserId="199" Text="&lt;headphones&gt;&lt;closed&gt;&lt;best&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="848" PostHistoryTypeId="2" PostId="543" RevisionGUID="d6618065-e1e8-4d13-9649-b5a17f73ed20" CreationDate="2010-03-30T19:11:10.933" UserDisplayName="user49" Text="In my opinion there are huge differences between composition and sound design&#xD;&#xA;&#xD;&#xA;The term sound designer was first created I think by Walter Murch or Ben Burt in reference to the older term sound director ie the person who oversees and/or creates the elements of a soundtrack ie dialogue, adr, loop group, ambiences, foley, sound effects etc... these are all primarily sounds that reinforce story telling and the reality of the film, and they are (mostly) in direct sync to picture (it seems in more recent times the term has become confused as meaning people who make weird/non-real/stylised sounds or who program synths)&#xD;&#xA;&#xD;&#xA;A composer writes music and a film composer writes music to picture. Music tends to be motivated by emotion in a scene (or action) and its sync relationship to picture is very different to sound effects, dialogue etc...&#xD;&#xA;&#xD;&#xA;Are there composers who use sound effects as elements in their music? Of course yes.&#xD;&#xA;&#xD;&#xA;Are there sound designers who use musical elements in their work? Of course yes.&#xD;&#xA;&#xD;&#xA;Maybe to clarify, if you register your works as musical compositions and receive royalties then its musical composition... &#xD;&#xA;&#xD;&#xA;On feature films it is rare for someone to do both sound design and composition, for many reasons: schedules are tight and all consuming - to be sound designer on a film takes ALL of the available time. To be composer on a film takes ALL of the available time. But its also about having people dedicated and specialising in fields that they excel in....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Specific to your question: were your compositions listed as music titles in the final credits? They are on every film, doco etc... with the music title &amp; who composed/owns each piece of music" ContentLicense="CC BY-SA 2.5" />
  <row Id="849" PostHistoryTypeId="2" PostId="544" RevisionGUID="258c3fd5-88e2-465c-b8c1-6a6a246fba27" CreationDate="2010-03-30T19:31:32.650" UserDisplayName="user49" Text="Ideally you are working to fully realise the film, not your &quot;style/signature&quot;&#xD;&#xA;&#xD;&#xA;In my opinion you should ask how you can realise the voice of *the film* - to base the question about establishing or imprinting your style/signature on a project makes me think there are ego issues to be dealt with...&#xD;&#xA;&#xD;&#xA;Cliches exist for a reason - they work and/or have worked in the past &amp; I think its like rules - if you learn them, know them and are aware of them, then you also know how to willfully break them, and why. Most films have schedules that allow you to explore the obvious solutions and then evolve past them to create work that uniquely suits the film. And who knows, sometimes the 'cliche' is what is actually required. It isn't always up to you - its the directors film, not yours... I've had to put cliched sounds into films at a directors insistence that I never would myself (eg the wilhelm, the desert hawk etc)&#xD;&#xA;&#xD;&#xA;*Seems like it's all been done before…*&#xD;&#xA;&#xD;&#xA;I couldn't disagree more with this statement - sound and music in the context of film is so incredibly deep - the more you do, the deeper you realise it goes. You only have to look at the incredibly rich &amp; vast range of films being made in the world to see how diverse and deep the contribution that sound and music have to make. Every film is a unique new world that requires unique new work from every person working on it.... &#xD;&#xA;&#xD;&#xA;But the bottom line is: what best serves the story?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;re technology: you own it, not vice versa - it exists to serve your sentient acts&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="850" PostHistoryTypeId="2" PostId="545" RevisionGUID="4f100cb4-ac69-4116-9607-cd57d7cc3e45" CreationDate="2010-03-30T21:05:29.613" UserId="135" Text="This is a customer problem, that's to say: It's very hard to explain the difference for people not involved in the Sound world (or universe, if you prefer).&#xD;&#xA;&#xD;&#xA;Anyway we think the sound designer as a professional dealing with the sound, from movies to music, form theatre to videogames, and then with all the stuff regarding brand identity, communication and new media.&#xD;&#xA;&#xD;&#xA;As a sound designer you are responsible for all those activities treating the sound as an important element of the process of creation of a product, a videogame, a movie, an installation and so on. Music is one of these products. Then if YOU are a &quot;modern&quot; composer YOU are a sound designer, indeed you think the sound as a part of a whole story. You compose to create the right audio experience for the user (listener). If you compose for film or for a videogame you must think about the objectives your sounds have to reach for.&#xD;&#xA;&#xD;&#xA;Sound designer: You are a problem solver!!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="851" PostHistoryTypeId="2" PostId="546" RevisionGUID="89474a00-07c9-4534-9852-886c31b8c089" CreationDate="2010-03-30T21:18:13.373" UserId="152" Text="What interface is everyone using for editing 192k audio files? I am using an mBox Pro at home but am limited to 96k, but want to start taking full advantage of the beauty if 192k recordings when I use my Sound Devices recorder.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="852" PostHistoryTypeId="1" PostId="546" RevisionGUID="89474a00-07c9-4534-9852-886c31b8c089" CreationDate="2010-03-30T21:18:13.373" UserId="152" Text="Best 192k interface" ContentLicense="CC BY-SA 2.5" />
  <row Id="853" PostHistoryTypeId="3" PostId="546" RevisionGUID="89474a00-07c9-4534-9852-886c31b8c089" CreationDate="2010-03-30T21:18:13.373" UserId="152" Text="&lt;gear&gt;&lt;sampling&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="854" PostHistoryTypeId="2" PostId="547" RevisionGUID="4c641feb-d301-4d4f-ae66-9630b3c8748f" CreationDate="2010-03-30T21:26:02.527" UserId="40" Text="For the talent who's being mic'd or the engineer who is doing the micing?&#xD;&#xA;&#xD;&#xA;If you want a pair of closed headphones with very little bleed to use for the vocal talent, I would most definitely go with the Sennheiser HD280s.  They're only $99, they have excellent isolation, for minimal bleed, and they sound fairly decent.  They take a bit of getting used to - some vocal artists think they isolate too much, so that it sounds a bit unnatural to the talent.&#xD;&#xA;&#xD;&#xA;If you're talking about phones for an engineer, I'd go with the Beyerdynamic DT770s for $199 (I'm sure you could find them somewhere for $175 or $180).  They sound amazing. The only problem is that they are high impedance, so you need a lot of power to drive them.&#xD;&#xA;&#xD;&#xA;The DT770's are slightly hyped - if you want flat response phones for the engineer, get a pair of Sony MDR7506s (the NS10s of headphones) or the nicer MDR7509HD." ContentLicense="CC BY-SA 2.5" />
  <row Id="855" PostHistoryTypeId="5" PostId="61" RevisionGUID="5c120cba-cd9f-4986-9a6b-075b52354f90" CreationDate="2010-03-30T21:26:54.333" UserId="40" Comment="edited body" Text="I have a number of headphones that I use for different purposes:&#xD;&#xA;&#xD;&#xA; - The obligatory Sony MDR7506s: Love these, they're like the NS10s of headphones. I use them for as much as possible when external SPL allows.  I use them for any critical listening I might have to do.&#xD;&#xA; - Sennheiser HD280s: I have 4 or 5 of these.  I use them when the external SPL is too loud for my 7506s (because they isolate so well).  I also use them in the vocal booth because they limit bleed so much. I try not to use them if I can help it, since I think they sound fairly &quot;muffled&quot;&#xD;&#xA; - When listening to classical music or the such, I love my Grado SR80i headphones, but they get uncomfortable after a while.  Great natural sound though.&#xD;&#xA; - For in-ears, I have a pair of M-Audio IE-40s (made my Ultimate ears, distributed by M-Audio).  They don't have traditional drivers - they use a triple armature driver system, and have an amazing bass response, and incredible isolation.  I can be listening to my ipod at half volume and a subway will go by, I won't even hear the subway. (In NYC).  I use these for listening only.  Biking, walking, all the time in NYC, etc...&#xD;&#xA; - I've saved my favorites for last.  My Beyerdynamic DT880pro cans.  Pure bliss.  Amazing.  Slightly hyped, but amazing low end response, super smooth high end, and AMAZING localization.  Almost sounds like you're listening to speakers.  I like using these for listening to a final product.  Its my equivalent of pumping the mains for a client versus critical mixing on the near fields. Also one of the most comfortable pairs of headphones I've ever worn.  6, 7+ hours no problem.  They're open back, so they have nice ventilation, and of course they have the famous velour ear pads.  Fuzzy!  Gotta love these guys :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What's your headphone collection like?" ContentLicense="CC BY-SA 2.5" />
  <row Id="856" PostHistoryTypeId="2" PostId="548" RevisionGUID="fc6b161d-dcca-4093-a11a-2c60cd247f23" CreationDate="2010-03-30T21:35:03.897" UserId="40" Text="Apogee, if you can afford it.  The Rosetta is an awesome interface.  Sounds amazing.  You'll need the firewire option to use it as a stand-alone AD-DA.  (Rosetta 200 w/ FW option - $2150, Rosetta 800 w/ FW option - $3050)&#xD;&#xA;&#xD;&#xA;If you can't afford it, I'd go with one of the MOTU units.  They have several units under $1000 that do 192k that are decent sounding.  Even the Ultralite does, which is a $550 USB interface." ContentLicense="CC BY-SA 2.5" />
  <row Id="857" PostHistoryTypeId="2" PostId="549" RevisionGUID="0d28d643-93ab-4ee4-ba24-ea2439eba71e" CreationDate="2010-03-30T22:25:28.520" UserId="29" Text="Are you looking to HEAR the difference or just use 192kHz for latitude in processing? My 7-year-old MOTU 828mkII plays 192khz files recorded on my SD702 in real time just fine, it just dithers them to 96khz, and in my home studio, my room won't let me hear the difference even if my aging ears could. If you're just looking to record at 192kHz for processing latitude, wouldn't most other ProTools-happy interfaces do the same?&#xD;&#xA;&#xD;&#xA;If you're looking to actually hear every bit of 192kHz, it does seem like the Apogee is the best value. I've worked with one but don't own one.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="858" PostHistoryTypeId="2" PostId="550" RevisionGUID="7e84d042-7d84-408b-b433-7c994ab82b52" CreationDate="2010-03-31T07:06:06.770" UserId="182" Text="Also, check out the January issue of Sound on Sound for a comparison of many studio headphones, both open and closed models.&#xD;&#xA;&#xD;&#xA;(Digital version of the article here, you have to have a subscription or buy the article for $1,49: http://www.soundonsound.com/sos/jan10/articles/studioheadphones.htm?print=yes)" ContentLicense="CC BY-SA 2.5" />
  <row Id="859" PostHistoryTypeId="2" PostId="551" RevisionGUID="a0bdb796-ee30-407d-b2e9-04954925bc1a" CreationDate="2010-03-31T13:55:57.360" UserId="99" Text="To create is to originate. Sound can´t exist in a vacuum, so sound and music recordings or ideas inevitably exist in and connect within a myriad of complex contexts and systems. Of course there is no absolute right or wrong, but there are questions of quality of sensation in listener and in creator. " ContentLicense="CC BY-SA 2.5" />
  <row Id="860" PostHistoryTypeId="2" PostId="552" RevisionGUID="377386e0-5222-4b5b-b946-ad7150ee4f78" CreationDate="2010-03-31T15:30:30.563" UserId="29" Text="Regardless of how you organize your library in databases like SoundMiner, Basehead, etc., how do you sanely file your recordings on your hard drive, especially between initial ingestion of the raw recordings and where the edited and mastered recordings go? Do you store them by date, by event/project, by sound type? Or do you store them &quot;flat,&quot; in a less organized way, and let your sound library sort it all out? &#xD;&#xA;&#xD;&#xA;To kick things off, I name all my raw recording sessions by date and event/subject (if for a project, with a 3-letter project code instead of an event or subject), and I never erase or over-write my raw originals. I then do have many separate subfolders for edited sounds by type, and I leverage my SFX library software/database for searching and cross-referencing sounds via metadata. While it feels like the organization system on the hard drive, in addition to the metadata entry, feels redundant, if my database ever becomes corrupted, I know that I've got some sensible hard-drive-level organization.&#xD;&#xA;&#xD;&#xA;I'm always assuming there's a better way, though. What methods do *you* use?&#xD;&#xA;&#xD;&#xA;*(Note: Related to [this earlier question][1], but focused on file-system-level organization, not the librarian software!)*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/324/organizing-libraries/327" ContentLicense="CC BY-SA 2.5" />
  <row Id="861" PostHistoryTypeId="1" PostId="552" RevisionGUID="377386e0-5222-4b5b-b946-ad7150ee4f78" CreationDate="2010-03-31T15:30:30.563" UserId="29" Text="Audio File Organization" ContentLicense="CC BY-SA 2.5" />
  <row Id="862" PostHistoryTypeId="3" PostId="552" RevisionGUID="377386e0-5222-4b5b-b946-ad7150ee4f78" CreationDate="2010-03-31T15:30:30.563" UserId="29" Text="&lt;metadata&gt;&lt;file-organization&gt;&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="863" PostHistoryTypeId="5" PostId="552" RevisionGUID="e9673d31-86f2-456e-af5c-5c81f782806a" CreationDate="2010-03-31T20:59:05.410" UserId="29" Comment="added 23 characters in body" Text="Regardless of how you organize your library in databases like SoundMiner, Basehead, etc., how do you sanely file your recordings on your hard drive, especially between initial ingestion of the raw recordings and where the edited and mastered recordings go? Do you store them by date, by event/project, by sound type? Or do you store them &quot;flat,&quot; in a less organized way, and let your sound library sort it all out? &#xD;&#xA;&#xD;&#xA;To kick things off, I name all my raw recording sessions by date and event/subject (if for a project, with a 3-letter project code instead of an event or subject), and I never erase or over-write my raw originals. I then do have many separate subfolders for edited sounds by type, and I leverage my SFX library software/database for searching and cross-referencing sounds via metadata. While this feels pretty redundant, having an organizational system in the file system in addition to all the metadata entry, at least I know that I've got some sensible hard-drive-level organization if my database ever becomes corrupted.&#xD;&#xA;&#xD;&#xA;But, I'm always assuming there's a better way, though. What methods do *you* use?&#xD;&#xA;&#xD;&#xA;*(Note: Related to [this earlier question][1], but focused on file-system-level organization, not the librarian software!)*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/324/organizing-libraries/327" ContentLicense="CC BY-SA 2.5" />
  <row Id="864" PostHistoryTypeId="2" PostId="553" RevisionGUID="1bc5354d-e839-41b9-9023-eadc6d8083a2" CreationDate="2010-03-31T21:37:36.257" UserId="103" Text="More for fun than anything else, i don't need to do it right now, but i was wondering&#xD;&#xA;if anybody here does it or ever tried it, on what kind of sounds? and what kind of playback system, as well as the environment, microphones etc&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="865" PostHistoryTypeId="1" PostId="553" RevisionGUID="1bc5354d-e839-41b9-9023-eadc6d8083a2" CreationDate="2010-03-31T21:37:36.257" UserId="103" Text="Worldizing experiences?" ContentLicense="CC BY-SA 2.5" />
  <row Id="866" PostHistoryTypeId="3" PostId="553" RevisionGUID="1bc5354d-e839-41b9-9023-eadc6d8083a2" CreationDate="2010-03-31T21:37:36.257" UserId="103" Text="&lt;worldizing&gt;&lt;process&gt;&lt;gear&gt;&lt;field&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="867" PostHistoryTypeId="6" PostId="542" RevisionGUID="c8fab3be-8694-46c7-8185-4e4e09931c5f" CreationDate="2010-04-01T00:18:11.720" UserId="28" Comment="edited tags" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="868" PostHistoryTypeId="2" PostId="554" RevisionGUID="f26195d1-5bb5-42eb-98d9-69ca8cfded42" CreationDate="2010-04-01T02:06:33.497" UserId="152" Text="Before I had Altiverb I needed to futz a few lines of dialogue to sound like they were coming from a closet. I tried various EQ'ing techniques but was not satisfied with the results. So I ended up putting a speaker in my closet and re-recording the audio through a SM-57 placed about 3 feet from the closet door. I had to tweak the audio a bit once back in Pro Tools but the method worked great!&#xD;&#xA;&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="869" PostHistoryTypeId="2" PostId="555" RevisionGUID="c4fefb95-83f8-4c54-9c83-39489bf643c3" CreationDate="2010-04-01T02:20:38.383" UserId="152" Text="I had a chance to collaborate with a librarian that worked for Soundelux for almost almost 15 years. He suggested the best way to organize a library was to be very specific and blunt in the folder structure, such as:&#xD;&#xA;&#xD;&#xA;Vehicles: Aircraft, Automobiles, Locomotives, Spacecraft, Water Craft&#xD;&#xA;          &#xD;&#xA;Then using sub-folders to list each type of vehicle in its suggested master. The glue that holds the entire system together is the meta-data. His goal was to be able to find any sound effect he wanted without having to use Soundminer. So if wanted a laser blaster it would be filed such as: Weapons/Guns/Sci_Fi/Laser&#xD;&#xA;&#xD;&#xA;As far as mastering is concerned I label every recording in my 702 before I record it and save the files to my &quot;To Be Mastered&quot; folder that is within my SFX library structure. This gives me access to the files even if I have not had a chance to master yet. I too save the originals to a separate folder outside of my database using the method used above.&#xD;&#xA;&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="870" PostHistoryTypeId="2" PostId="556" RevisionGUID="900e3bb6-8e82-46c1-a37e-cf77f22651b6" CreationDate="2010-04-01T02:21:02.810" UserId="40" Text="I've been playing around lately with some &quot;worldizing&quot; techniques, but more for sound design than actual &quot;worldizing&quot;.  I loved Murch's interview where he talked about playing back a sound at 4x the speed over a speaker, and recording it back at 4x the speed.  When you play back the recording at normal speed, the sound is very close to the original sound, except that the reverb in the room is now 4x bigger than it would have been if you recorded it at a normal speed.  Pretty awesome idea.  Works really well if you want to really beef something up and want it to be completely organic.  I suppose you can do it fairly well with a Convolution reverb, such as IR or whatever your flavor is, plus a little eq and all, however there's something rewarding about doing it this way.&#xD;&#xA;&#xD;&#xA;I've also done a lot of re-amping with guitars and snare drums and stuff when working on music projects, which isn't really Worldizing, but it's a very similar concept." ContentLicense="CC BY-SA 2.5" />
  <row Id="871" PostHistoryTypeId="2" PostId="557" RevisionGUID="5c25e179-449d-4571-a7ce-ce9cb232628d" CreationDate="2010-04-01T08:57:32.533" UserDisplayName="user49" Text="What are your favorite software tools for spectral analysis/manipulation? &#xD;&#xA;And what do you use them for?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="872" PostHistoryTypeId="1" PostId="557" RevisionGUID="5c25e179-449d-4571-a7ce-ce9cb232628d" CreationDate="2010-04-01T08:57:32.533" UserDisplayName="user49" Text="What are your favorite spectral tools?" ContentLicense="CC BY-SA 2.5" />
  <row Id="873" PostHistoryTypeId="3" PostId="557" RevisionGUID="5c25e179-449d-4571-a7ce-ce9cb232628d" CreationDate="2010-04-01T08:57:32.533" UserDisplayName="user49" Text="&lt;spectral&gt;&lt;spectrum&gt;&lt;frequency&gt;&lt;analysis&gt;&lt;domain&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="874" PostHistoryTypeId="2" PostId="558" RevisionGUID="f5489fc7-bb90-4d04-a3f1-fe9c33779a7d" CreationDate="2010-04-01T09:53:03.480" UserId="37" Text="Mammut for OSX. it has saved my arse in a number of situations already. also love to just sit down and aimlessly mangle sounds until they are both far from the original point and not resemble anything anymore. just textures. some sort of meditation. " ContentLicense="CC BY-SA 2.5" />
  <row Id="875" PostHistoryTypeId="2" PostId="559" RevisionGUID="d793fd6e-6d8a-458f-8685-44ffcc450864" CreationDate="2010-04-01T11:27:36.253" UserId="201" Text="The term &quot;Sound Designer&quot; is used to mean vastly different things by many arms of the arts / entertainment industries. It can get a bit confusing for those, like myself, who work across the boundaries of these divisions.&#xD;&#xA;&#xD;&#xA;In Film/TV, Tim's description of Walter Murch and his associates wanting it to mean something like &quot;Sound Director&quot; is correct - though nowadays common usage is often much narrower - the person who creates sounds to match images of fantasy / scifi / animated subjects that can't just be recorded in real life.&#xD;&#xA;&#xD;&#xA;In Live Theatre (specifically &quot;Straight Plays&quot; - ie NOT Musicals) the Sound Designer is more often than not, also the Composer when Music is being created to order, as well as being responsible for spot Sound Effects and Ambiences. Whether such a person is credited as Composer or Sound Designer is often a matter of personal preference (or that of the Theatre Company). That same person may or may not involve themselves in the specification of the physical sound system (Speaker positions, processing, playback equipment).&#xD;&#xA;&#xD;&#xA;In the Musical Theatre side of the Live Theatre business, the primary role of the Sound Designer is in fact the specification of the reinforcement system, and 'tuning' it to the venue (usually including backstage Comms and CCTV systems). Then they are the person responsible for steering the artistic approach the show's Sound Operators take to the actual mixing of the show. On top of that, they create &amp; plot all required Sound Effects and Ambience. They are never the Composer!&#xD;&#xA;&#xD;&#xA;In Games - the Sound Design role is narrowing to a similar 'creating specific sounds to image' meaning as currently used in Film/TV - with a new role of &quot;Technical Sound Design&quot; being the person(s) who look after implementing those sound elements or 'assets' into the programming framework that runs the game and triggers the sounds when appropriate. the Walter Murch&quot; version of sound design in the Games world would be the &quot;Audio Director&quot; or some similar title - many of whom do 'sound design' work on their projects as well. Except in possibly the smallest teams, the Composer is a separate role, though usually under the direction of the Audio Director (distinctly different to Film/TV - where the Composer answers directly to the film's Director)&#xD;&#xA;&#xD;&#xA;In Electronic Music, a Sound Designer is quite specifically the person who either (1) Creates sound presets for Hardware Synths or Virtual Instruments - often for the manufacturer of those instruments, or (2) creates sound resources to be used on such instruments. 'Sound Design' is also used as a description of what a Composer, Musician or Producer is doing whenever he/she 'tweaks' a preset, or ignores the presets altogether and creates sounds using the instrument's controls, their own samples etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="876" PostHistoryTypeId="5" PostId="559" RevisionGUID="852d9c2d-6b35-4469-a3a8-1b502ed33123" CreationDate="2010-04-01T11:34:08.533" UserId="201" Comment="correct spelling" Text="The term &quot;Sound Designer&quot; is used to mean vastly different things by many arms of the arts / entertainment industries. It can get a bit confusing for those, like myself, who work across the boundaries of these divisions.&#xD;&#xA;&#xD;&#xA;In Film/TV, Tim's description of Walter Murch and his associates wanting it to mean something like &quot;Sound Director&quot; is correct, and to my mind the ideal usage - though nowadays common usage is often much narrower - the person who creates sounds to match images of fantasy / scifi / animated subjects that can't just be recorded in real life.&#xD;&#xA;&#xD;&#xA;In Live Theatre (specifically &quot;Straight Plays&quot; - ie NOT Musicals) the Sound Designer is more often than not, also the Composer when Music is being created to order, as well as being responsible for spot Sound Effects and Ambiences. Whether such a person is credited as Composer or Sound Designer is often a matter of personal preference (or that of the Theatre Company). That same person may or may not involve themselves in the specification of the physical sound system (Speaker positions, processing, playback equipment).&#xD;&#xA;&#xD;&#xA;In the Musical Theatre side of the Live Theatre business, the primary role of the Sound Designer is in fact the specification of the reinforcement system, and 'tuning' it to the venue (usually including backstage Comms and CCTV systems). Then they are the person responsible for steering the artistic approach the show's Sound Operators take to the actual mixing of the show. On top of that, they create &amp; plot all required Sound Effects and Ambience. They are never the Composer!&#xD;&#xA;&#xD;&#xA;In both forms of Live Theatre, the term was adopted (in the early '70s at around the same time as Murch et al adopted it in Film) - allegedly by Abe Jacob on Broadway, specifically to gain a 'seat at the table' on an equal footing to the other creative team members (Set Designer, Lighting Designer, Costume Designer) who create the show one level below the Director. Before that, Sound was seen as a technical task only - usually an annoying sub-responsibility of the Electrical department.&#xD;&#xA;&#xD;&#xA;In Games - the Sound Design role is narrowing to a similar 'creating specific sounds to image' meaning as currently used in Film/TV - with a new role of &quot;Technical Sound Design&quot; being the person(s) who look after implementing those sound elements or 'assets' into the programming framework that runs the game and triggers the sounds when appropriate. the Walter Murch&quot; version of sound design in the Games world would be the &quot;Audio Director&quot; or some similar title - many of whom do 'sound design' work on their projects as well. Except in possibly the smallest teams, the Composer is a separate role, though usually under the direction of the Audio Director (distinctly different to Film/TV - where the Composer answers directly to the film's Director)&#xD;&#xA;&#xD;&#xA;In Electronic Music, a Sound Designer is quite specifically the person who either (1) Creates sound presets for Hardware Synths or Virtual Instruments - often for the manufacturer of those instruments, or (2) creates sound resources to be used on such instruments. 'Sound Design' is also used as a description of what a Composer, Musician or Producer is doing whenever he/she 'tweaks' a preset, or ignores the presets altogether and creates sounds using the instrument's controls, their own samples etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="877" PostHistoryTypeId="2" PostId="560" RevisionGUID="f1fe6b9f-ce58-4cae-90c7-28d3c2a2ea09" CreationDate="2010-04-01T13:36:01.207" UserId="176" Text="DT770 Pro is an excellent piece of gear, you can't really go wrong with it. Bass is perhaps a bit too much, at least for accurate monitoring, but I guess you'll learn to correct it once you get used to them.&#xD;&#xA;&#xD;&#xA;Buy the 80 ohm version, it can easily be driven by an iPod or the headphone output of a Macbook." ContentLicense="CC BY-SA 2.5" />
  <row Id="878" PostHistoryTypeId="2" PostId="561" RevisionGUID="f187b3c0-ecb2-41a1-9833-ef830f3ef30a" CreationDate="2010-04-01T13:44:15.380" UserId="176" Text="I was using Logic Express 8 then 9, lately I have been trying to adapt my working style to Ableton Live 8.1. It's not easy, that's for sure.&#xD;&#xA;&#xD;&#xA;As a DAW I find several little annoyances with Live, particularly in the Arrangement window, and it's not nearly mature enough - for my working style, at least - to use as my main arrangement/composition tool.&#xD;&#xA;&#xD;&#xA;However, as a sound design tool it's pretty fantastic. They have done a great job simplifying some things that others struggle with (using OSC with Live through Osculator is so much easier to configure than with Logic!), and it's really intuitive for designing sounds.&#xD;&#xA;&#xD;&#xA;I think will probably use Logic Express 9 and Live 8.1 together via Rewire in the future. Rewire is great, and since these two apps sync so well, I could use Live to make sounds, then Logic to record the output from Live, before putting it into the Logic Arrangement window.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="879" PostHistoryTypeId="2" PostId="562" RevisionGUID="819230d3-07cb-4cde-9399-fc8ad2b62566" CreationDate="2010-04-01T13:52:39.507" UserId="182" Text="Izotope RX. &#xD;&#xA;&#xD;&#xA;The detail of the sonogram and spectrogram displays, the restoration tools and algorithms are unparallelled in my opinion. Add to that a clear interface, in-depth settings and ease of use. I use it all the time when surgical spectral editing is needed.&#xD;&#xA;&#xD;&#xA;http://izotope.com/products/audio/rx/" ContentLicense="CC BY-SA 2.5" />
  <row Id="880" PostHistoryTypeId="2" PostId="563" RevisionGUID="34d82da6-1c7a-4146-86f9-d1352ac27320" CreationDate="2010-04-01T14:24:45.850" UserId="90" Text=" - [Adobe Audition][1] - *Spectral&#xD;&#xA;   Frequency Display* produces a&#xD;&#xA;   spectrogram for existing waveforms&#xD;&#xA;   and *Frequency Analysis* can show a&#xD;&#xA;   real-time spectrum&#xD;&#xA; - [Sonic&#xD;&#xA;   Visualiser][2] - spectrum or spectrogram for pre-existing waveforms&#xD;&#xA; - [Visual Analyzer][3] can show a realtime spectrum, too, though I don't trust the THD measurement.&#xD;&#xA;&#xD;&#xA;As an engineer, I use them to see [distortion][4], glitches or errors in sinusoidal waveforms (which may not be obvious on a waveform view, but show up as a bright vertical line in a spectrogram), [aliasing][5] in ADCs, etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.adobe.com/products/audition/&#xD;&#xA;  [2]: http://www.sonicvisualiser.org/&#xD;&#xA;  [3]: http://www.sillanumsoft.org/&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Distortion#Electronic_signals&#xD;&#xA;  [5]: http://en.wikipedia.org/wiki/Aliasing" ContentLicense="CC BY-SA 2.5" />
  <row Id="881" PostHistoryTypeId="5" PostId="563" RevisionGUID="1f88b7f7-9bb5-4e80-83ae-fd3325c542c3" CreationDate="2010-04-01T14:31:52.873" UserId="90" Comment="added 40 characters in body; added 20 characters in body" Text=" - [Adobe Audition][1] (commercial) - *Spectral&#xD;&#xA;   Frequency Display* produces a&#xD;&#xA;   spectrogram for existing waveforms&#xD;&#xA;   and *Frequency Analysis* can show a&#xD;&#xA;   real-time spectrum&#xD;&#xA; - [Sonic&#xD;&#xA;   Visualiser][2] (open source) - spectrum or spectrogram for pre-existing waveforms&#xD;&#xA; - [Visual Analyser][3] (freeware) - can show a realtime spectrum, too, though I don't trust the THD measurement.&#xD;&#xA;&#xD;&#xA;As an engineer, I use them to see [distortion][4], glitches or errors in sinusoidal waveforms (which may not be obvious on a waveform view, but show up as a bright vertical line in a spectrogram), [aliasing][5] in ADCs, estimate frequency, etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.adobe.com/products/audition/&#xD;&#xA;  [2]: http://www.sonicvisualiser.org/&#xD;&#xA;  [3]: http://www.sillanumsoft.org/&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Distortion#Electronic_signals&#xD;&#xA;  [5]: http://en.wikipedia.org/wiki/Aliasing" ContentLicense="CC BY-SA 2.5" />
  <row Id="882" PostHistoryTypeId="2" PostId="564" RevisionGUID="89ecc910-965f-493e-a68d-12ef58c2b13e" CreationDate="2010-04-01T15:01:57.530" UserId="202" Text="Kyma X.&#xD;&#xA;I just started diggin it... and it's deep! really! :) but the sound quality it's amazing and you can do almost everything you could imagine!&#xD;&#xA;&#xD;&#xA;davide &#xD;&#xA;ps. Ciao to all of you. :) Really nice site!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="883" PostHistoryTypeId="2" PostId="565" RevisionGUID="3ad4bcf8-576d-4c72-8b3f-bbfbb7a001ac" CreationDate="2010-04-01T15:48:08.727" UserId="199" Text="I have used Beyerdynamic DT250 for some years and like it, but they're worn out. I will probably go for the Sennheiser this time, seem to be durable as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="884" PostHistoryTypeId="2" PostId="566" RevisionGUID="e326a7ac-997c-4613-b651-7975a504ae31" CreationDate="2010-04-01T16:34:02.893" UserId="56" Text="I use iZotpe RX. It's great for sound restoration and useful to clean unwanted noises in general. For creative uses give a look to [Spear][1], it does interesting things.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.klingbeil.com/spear/" ContentLicense="CC BY-SA 2.5" />
  <row Id="885" PostHistoryTypeId="2" PostId="567" RevisionGUID="c39adcbb-d94b-4b30-8a74-0ff42a259058" CreationDate="2010-04-01T16:36:32.037" UserId="46" Text="I had your typical phone scene in a short film and my phone filtering/distortion attempts weren't working too convincingly... I ended up calling up the studio on my cell phone and playing back the required dialogue lines from the monitors into my cell and back to the DAW via our phone patch box. Worked great and no mics needed (unless you count the cell phone!) - good fix for a pinch.&#xD;&#xA;&#xD;&#xA;Not worldizing in the traditional sense, but it made it convincing." ContentLicense="CC BY-SA 2.5" />
  <row Id="886" PostHistoryTypeId="4" PostId="553" RevisionGUID="d813fc35-fb1b-4045-9bf3-ef31897b7c4a" CreationDate="2010-04-01T16:57:43.843" UserId="103" Comment="edited title" Text="Worldizing and reamping experiences?" ContentLicense="CC BY-SA 2.5" />
  <row Id="887" PostHistoryTypeId="2" PostId="568" RevisionGUID="34f68238-7388-4a14-a879-7632fa0b2346" CreationDate="2010-04-01T20:58:31.577" UserId="103" Text="[http://www.youtube.com/watch?v=cKPGzX5kZd0][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=cKPGzX5kZd0&#xD;&#xA;&#xD;&#xA;I completely forgot about this wonderful program from BBC about the early days of sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="888" PostHistoryTypeId="2" PostId="569" RevisionGUID="624c3fdd-09e4-423b-bfe9-7c78719d2988" CreationDate="2010-04-01T21:43:38.357" UserId="40" Text="Another +1 for Izotope RX.  I use it on a ton of my outdoor recordings to remove general ambience, etc...  I'll often use it with my hydrophone as well to remove machine hiss from the times I have to crank the pre-amps way up.  I've also successfully removed audience coughs from a live music performance (that took a while, but it sounded awesome!).&#xD;&#xA;&#xD;&#xA;Fantastically easy to use and fairly inexpensive.  Love it.&#xD;&#xA;&#xD;&#xA;I really want to play with Kyma X a lot more.  I used to work with an engineer that had a copybara that I played with a bit, but I want one of my own.  Gotta save up my pennies...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="889" PostHistoryTypeId="2" PostId="570" RevisionGUID="4c2fa186-7478-4918-a56d-c9b885b78e98" CreationDate="2010-04-02T10:42:35.720" UserId="81" Text="I usually re-amp my synths and record back the sound coming from the speakers, to get rid of the harshness because of the cold synth outputs. &#xD;&#xA;&#xD;&#xA;On one occasion I was working with a bathroom scene, and the character was moving around the bathroom as he was talking. I could not achieve a good result with the reverb plug-ins I wanted because the actuall bathrooms are not totally empty places the plug-ins simulate, but has towels, closets, etc, which effects the overall characteristic of the sound.&#xD;&#xA;&#xD;&#xA;So I ended up hugging one of my referance speakers, feeding the raw dialogue through it, and X/Y recording in my bathroom while i was walking around with the speakers.&#xD;&#xA;&#xD;&#xA;The result was pretty satisfying for me. " ContentLicense="CC BY-SA 2.5" />
  <row Id="890" PostHistoryTypeId="2" PostId="571" RevisionGUID="476a2744-dedc-487e-8c39-b6eda52f3ae6" CreationDate="2010-04-02T10:56:06.317" UserId="81" Text="Everyone has different searching habits and based on these its easier to create your own system.&#xD;&#xA;&#xD;&#xA;My system for my folder maintenance is purely based on project coding. I have created a legend and started labeling them according to the legend which made my life easier. &#xD;&#xA;&#xD;&#xA;When I am in the folder Project ClientName, I have sub-folders like 100221_FR_Pr which stands for the Processed Fields Recorings made in 21st of February. I also have codes for the studio recordings, raw files, mixed and mastered files, etc.&#xD;&#xA;&#xD;&#xA;The funny thing is it gets some time to get used to your own system but it really works after a while. For me this really helped when I had to pick up a specific audio when talking to a client. " ContentLicense="CC BY-SA 2.5" />
  <row Id="892" PostHistoryTypeId="5" PostId="563" RevisionGUID="23fc367e-ffb3-4f10-869c-b085fb79a077" CreationDate="2010-04-02T18:18:57.147" UserId="90" Comment="added 298 characters in body" Text=" - [Adobe Audition][1] (commercial) - *Spectral&#xD;&#xA;   Frequency Display* produces a&#xD;&#xA;   spectrogram for existing waveforms&#xD;&#xA;   and *Frequency Analysis* can show a&#xD;&#xA;   real-time spectrum&#xD;&#xA; - [Sonic&#xD;&#xA;   Visualiser][2] (open source) - spectrum or spectrogram for pre-existing waveforms&#xD;&#xA; - [Visual Analyser][3] (freeware) - can show a realtime spectrum, too, though I don't trust the THD measurement.&#xD;&#xA;&#xD;&#xA;As an engineer, I use them to see [distortion][4], glitches or errors in sinusoidal waveforms (which may not be obvious on a waveform view, but show up as a bright vertical line in a spectrogram), [aliasing][5] in ADCs, estimate frequency, etc.&#xD;&#xA;&#xD;&#xA;The latest version of Audition is really powerful, letting you draw lassos around parts of a spectrogram and then applying filters, gain, etc to only that portion of the time-frequency space.  You can even import and export as image files, so that you can edit your recordings in Photoshop.  :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.adobe.com/products/audition/&#xD;&#xA;  [2]: http://www.sonicvisualiser.org/&#xD;&#xA;  [3]: http://www.sillanumsoft.org/&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Distortion#Electronic_signals&#xD;&#xA;  [5]: http://en.wikipedia.org/wiki/Aliasing" ContentLicense="CC BY-SA 2.5" />
  <row Id="893" PostHistoryTypeId="2" PostId="572" RevisionGUID="b4dc1277-fa46-4d8f-90c1-95e3e890e840" CreationDate="2010-04-02T19:40:26.603" UserId="135" Text="mmm...this is a digital library problem....&#xD;&#xA;&#xD;&#xA;people with a computer science background organize files with the following structure:&#xD;&#xA;&#xD;&#xA;root / project / sources OR deploy / libraries / soundA / ...&#xD;&#xA;&#xD;&#xA;where:&#xD;&#xA;root is the name first level directory;&#xD;&#xA;project the name of the project you are working for;&#xD;&#xA;sources OR deploy, two directories at the same level containing raw material or finalized one;&#xD;&#xA;libraries is the name of a sounds library;&#xD;&#xA;soundA is the name of a sound of yours.&#xD;&#xA;&#xD;&#xA;examples: &#xD;&#xA;//nike_commercial/sources/voices/male.aiff is a male voice used for the project of your nike commercial and you want to use it only for that project&#xD;&#xA;&#xD;&#xA;//special_effects/sources/explosions/boom_03132010.aiff&#xD;&#xA;&#xD;&#xA;is the boom effect of an explosion you created at 13th march 2010, it is part of a general directory called special_effects, in which you archive all these kind of sounds, created not for a specific project, but you can use it freely anywhere.&#xD;&#xA;&#xD;&#xA;anyway all this structure could be more searchable if you use metadata, such as tags, in which you add information about the natutre of the sound.&#xD;&#xA;&#xD;&#xA;examples: boom_03132010.aiff some tags: loud, synthetized, recorded, london, stereo, ...&#xD;&#xA;&#xD;&#xA;but to achieve this you have to use a specified software to manage metadata, you can't do that using directories&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="894" PostHistoryTypeId="2" PostId="573" RevisionGUID="029cf228-5012-4c56-b146-b0f7b347d297" CreationDate="2010-04-02T20:13:43.620" UserId="100" Text="I have an independent gig coming up where they're editing in Adobe Premiere Pro CS4. Has anyone had any experience passing files between Premiere and Pro Tools (8.0.1)? Would you record to camera or could a portable recorder suffice (doesn't have time code, film length 5-10 min.)?&#xD;&#xA;&#xD;&#xA;If you've had any compatibility or sync issues between the two, I'd love to know. It would be nice to prevent any problems before shooting begins to lessen my frustration later on.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Matt Cavanaugh" ContentLicense="CC BY-SA 2.5" />
  <row Id="895" PostHistoryTypeId="1" PostId="573" RevisionGUID="029cf228-5012-4c56-b146-b0f7b347d297" CreationDate="2010-04-02T20:13:43.620" UserId="100" Text="Pro Tools and Adobe Premiere" ContentLicense="CC BY-SA 2.5" />
  <row Id="896" PostHistoryTypeId="3" PostId="573" RevisionGUID="029cf228-5012-4c56-b146-b0f7b347d297" CreationDate="2010-04-02T20:13:43.620" UserId="100" Text="&lt;protools&gt;&lt;adobe&gt;&lt;compatibility&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="897" PostHistoryTypeId="2" PostId="574" RevisionGUID="d80bbe78-39df-460d-832c-70294fc21fc3" CreationDate="2010-04-02T22:39:25.590" UserId="103" Text="Generally speaking audio recorders generate better audio than video cameras, although sometimes in indie production the director or picture editor request that audio is recorded in the camera to skip the syncing process, in that case, use a portable mixer, don't go straight to the camera.&#xD;&#xA;You can also use a mixer to feed both a portable audio recorder as well as the camera for safety purposes. &#xD;&#xA;All shots have to be slated of course, if so is not possible a tail slate at the end of the take **MUST** be recorded before the picture and audio cuts.&#xD;&#xA;&#xD;&#xA;As far as the picture editing software, the work flow for me has been exactly the same, wether the picture was cut in Avid, Final cut, or premiere; You get the picture and the omf or aaf from the picture editor. Remember to ask the picture editor to export the omf or aaf with &quot;infinite&quot; handles so that you have access to the whole takes, not just the bits that the picture editor used. Also make sure to setup your frame rate to the picture frame rate in the session menu (apple+2- on the numeric pad)&#xD;&#xA;&#xD;&#xA;Not sure if i've answered the question..." ContentLicense="CC BY-SA 2.5" />
  <row Id="898" PostHistoryTypeId="2" PostId="575" RevisionGUID="ed9e137b-9207-4eb6-b9da-cee0777ef3a7" CreationDate="2010-04-03T15:55:46.237" UserId="66" Text="Just bought the Beyerdynamic DT 770 last week. Was going to replace a lost pair of Sony's 7506 ($99), which are a staple for location sound mixers, but I was convinced to try these since they were more for studio monitoring (specifically listening to voice over recordings) and not only location sound recording. The 7506 have a slightly boosted mid range (most location sound mixers are focusing on recording dialogue out in the field, and battling other exterior sounds, so this makes sense).&#xD;&#xA;&#xD;&#xA;The DT 770 ($179) are *supposedly* flatter, more even. I see that my info is the opposite of what other posts have said, so I guess I need to look at a frequency response chart. &#xD;&#xA;&#xD;&#xA;I have to say, the feel so good on your head and ears. They're like sinking down into a bed full of fluffy down pillows. I could listen to Ravel all day with these headphones.&#xD;&#xA;&#xD;&#xA;Interestingly, I didn't find the Sound on Sound article that helpful. It felt quite subjective and the details almost too application-specific, which I know is unavoidable, but rendered it un-useful for me personally. Still probably worth a read if you're shopping around." ContentLicense="CC BY-SA 2.5" />
  <row Id="899" PostHistoryTypeId="2" PostId="576" RevisionGUID="4095b1d4-2d17-467e-98a0-dc959b60340a" CreationDate="2010-04-03T18:04:33.357" UserId="204" Text="+1 for iZoptope RX. &#xD;&#xA;&#xD;&#xA;We do a huge amount of restoration work for major studios and wouldn't be able to get the amount of 'fine-tuned', detailed cleaning without it. Nothing compares in simplicity, efficiency, and ease of use with it's spectral analysis. &#xD;&#xA;&#xD;&#xA;http://izotope.com/products/audio/rx" ContentLicense="CC BY-SA 2.5" />
  <row Id="900" PostHistoryTypeId="2" PostId="577" RevisionGUID="a07873a7-5cc8-4864-bda7-412b90712be5" CreationDate="2010-04-03T21:19:58.883" UserId="72" Text="I think it's a really interesting question.&#xD;&#xA;&#xD;&#xA;The sound is almost always a key element in making a horror movie scary and a thriller intense. But in comedies sound is quite often a bit of a neglected art. &#xD;&#xA;&#xD;&#xA;I often think of a quote from Randy Thom saying something like this: &quot;There's an infinite amount of sounds that can portray the negative feelings in the human condition. But there's only one positive sound: Birds singing.&quot; A quite thought-provoking statement (which, of course, is tongue-in-cheek but very thought-provoking anyway).&#xD;&#xA;&#xD;&#xA;For me, Jacques Tati did some of the funniest comedies and his humour was totally sound-based. Check out Playtime, which is a masterpiece of foley, in my opinion. Tati never recorded sound on set as he wanted to be able to control every element of the soundtrack.&#xD;&#xA;&#xD;&#xA;There's also lots of humour in the old Looney Tunes cartoons. Treg Brown was a master of his craft and extremely inventive.&#xD;&#xA;&#xD;&#xA;What's the funniest soundtrack you guys have experienced?" ContentLicense="CC BY-SA 2.5" />
  <row Id="903" PostHistoryTypeId="2" PostId="579" RevisionGUID="65a5ac31-adf2-4ac9-9784-a482fba044e8" CreationDate="2010-04-05T16:53:16.743" UserId="46" Text="Does anyone have some suggestions for a small and portable tripod or grip for a basic handheld field recorder with tripod mount?&#xD;&#xA;&#xD;&#xA;I'm mainly looking for something that will help reduce handling noise..." ContentLicense="CC BY-SA 2.5" />
  <row Id="904" PostHistoryTypeId="1" PostId="579" RevisionGUID="65a5ac31-adf2-4ac9-9784-a482fba044e8" CreationDate="2010-04-05T16:53:16.743" UserId="46" Text="Tripods/Grips for Handheld Recorders" ContentLicense="CC BY-SA 2.5" />
  <row Id="905" PostHistoryTypeId="3" PostId="579" RevisionGUID="65a5ac31-adf2-4ac9-9784-a482fba044e8" CreationDate="2010-04-05T16:53:16.743" UserId="46" Text="&lt;field-recording&gt;&lt;equipment&gt;&lt;gear&gt;&lt;tripod&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="906" PostHistoryTypeId="2" PostId="580" RevisionGUID="ed321879-6add-4364-8b2a-3673cc926717" CreationDate="2010-04-05T18:15:29.317" UserId="182" Text="For a tripod, I'd recommend one of [those][2], with flexible legs and a ball head.&#xD;&#xA;Use it all the time for my little photo camera, and it also holds a Zoom recorder easily. I don't know if handling noise will be really lower, but the collapsed mini tripod also works great as a simple grip.&#xD;&#xA;&#xD;&#xA;If that's not for you, there are lots of mini tripods ranging from $ 0,99 to $ 40,-.&#xD;&#xA;[Small overview][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.com/products?hl=en&amp;q=flexible+mini+tripod&amp;rlz=1B3GGGL_enNL240NL240&amp;um=1&amp;ie=UTF-8&amp;ei=vSa6S7vnLpSnOK6MkaEL&amp;sa=X&amp;oi=product_result_group&amp;ct=title&amp;resnum=1&amp;ved=0CBQQrQQwAA &quot;Small overview&quot;&#xD;&#xA;  [2]: http://www.amazon.com/Smith-Victor-PG820MT-Tripod-Multi-position/dp/B000IN9CV2 &quot;Flexible mini tripod&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="907" PostHistoryTypeId="2" PostId="581" RevisionGUID="e25fa9c5-525f-438e-9733-01f091bd423f" CreationDate="2010-04-05T18:22:38.660" UserId="147" Text="What about the [Gorillapod][1]? I haven't used it myself, but I think it is a great little tripod which is extremely flexible so you can even fold it around the branches of a tree. This would be my choice. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://joby.com/gorillapod" ContentLicense="CC BY-SA 2.5" />
  <row Id="908" PostHistoryTypeId="5" PostId="580" RevisionGUID="6dee8565-94bb-4955-9fc6-1014d648b944" CreationDate="2010-04-05T19:17:43.683" UserId="182" Comment="formatting." Text="For a tripod, I'd recommend one of [those][2]. Cheap, with flexible legs and a ball head.&#xD;&#xA;Use it all the time for my little photo camera, and it also holds a Zoom recorder easily. I don't know if handling noise will be really lower, but the collapsed mini tripod also works great as a simple grip.&#xD;&#xA;&#xD;&#xA;If that's not for you, there are lots of mini tripods ranging from $ 0,99 to $ 40,-.&#xD;&#xA;[Small overview][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.com/products?hl=en&amp;q=flexible+mini+tripod&amp;rlz=1B3GGGL_enNL240NL240&amp;um=1&amp;ie=UTF-8&amp;ei=vSa6S7vnLpSnOK6MkaEL&amp;sa=X&amp;oi=product_result_group&amp;ct=title&amp;resnum=1&amp;ved=0CBQQrQQwAA &quot;Small overview&quot;&#xD;&#xA;  [2]: http://www.amazon.com/Smith-Victor-PG820MT-Tripod-Multi-position/dp/B000IN9CV2 &quot;Flexible mini tripod&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="909" PostHistoryTypeId="2" PostId="582" RevisionGUID="0d856a18-a1ed-47c4-8b6b-e321bc364a98" CreationDate="2010-04-05T20:02:24.000" UserId="2" Text="For a mini tripod, I'd also go for the [Gorillapod][1]. &#xD;&#xA;&#xD;&#xA;If you're looking for something that will give you height too then you would need a proper tripod with expendable legs. I just bought myself a really nice and small one, it's super light and I can hook up one mic on top and one at the bottom. I don't have it on me so I can't check the name, but let me know if you want it and I'll check. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://joby.com/gorillapod" ContentLicense="CC BY-SA 2.5" />
  <row Id="910" PostHistoryTypeId="2" PostId="583" RevisionGUID="f4c1b1ef-fbf8-4ba6-8073-db71e70f8efd" CreationDate="2010-04-05T23:56:18.163" UserDisplayName="user49" Text="relatedly, Rycote make Windjammers for specific models of portable recorders - a good investment if you are recording outdoors a lot&#xD;&#xA;&#xD;&#xA;http://www.rycote.com/products/families/mini-windjammers-handheld-recorder&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="911" PostHistoryTypeId="2" PostId="584" RevisionGUID="c21a245f-3c6b-48dc-9bf4-74b2bc3ef06c" CreationDate="2010-04-06T08:15:52.460" UserDisplayName="user80" Text="I use a Manfrotto 001B nano stand, it collapses down to 48 cm and can extend up to 1.9 m.  It can carry 1.5 kg and weighs only 0.93 kg.  It is also reliable and does not look out of place on a set.&#xD;&#xA;&#xD;&#xA;http://www.manfrotto.com/Jahia/site/manfrotto/cache/off/pid/2489?livid=24&amp;idx=28" ContentLicense="CC BY-SA 2.5" />
  <row Id="913" PostHistoryTypeId="6" PostId="542" RevisionGUID="ef8b0aac-6744-4202-876a-af0ef567be7b" CreationDate="2010-04-06T08:19:18.530" UserDisplayName="user80" Comment="edited tags" Text="&lt;headphones&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="914" PostHistoryTypeId="2" PostId="586" RevisionGUID="cacf0e3e-fb90-486c-93f0-d4008a637fde" CreationDate="2010-04-06T08:26:37.483" UserDisplayName="user80" Text="I recommend the Beyerdynamic DT770 pro 80 ohms, they are a safe bet.&#xD;&#xA;&#xD;&#xA;http://www.soundonsound.com/sos/mar99/articles/sessentials.htm&#xD;&#xA;&#xD;&#xA;http://www.beyerdynamic.de/en/broadcast-studio-video-production/products/headphonesheadsets/headphones.html?tx_sbproductdatabase_pi1%5BshowUid%5D%5BshowUID%5D=44&amp;tx_sbproductdatabase_pi1%5BshowUid%5D%5BbackPID%5D=93&amp;cHash=cd6f9075a1" ContentLicense="CC BY-SA 2.5" />
  <row Id="915" PostHistoryTypeId="2" PostId="587" RevisionGUID="66872c2b-107b-4732-8e3f-e09f08020854" CreationDate="2010-04-06T15:15:31.213" UserId="2" Text="**Background:**&#xD;&#xA;&#xD;&#xA;My main focus is sound effects recording. A very close second at the moment is onset recording (no huge productions though).&#xD;&#xA;&#xD;&#xA;I own a [Fostex FR2][1] but it is slowly dying on me. It won't switch off unless I cut it's power supply, and it has a serious hard time importing the files and gives me the spinning wheel (Mac) forever. I have no doubt I will loose precious files one day. All and all, I'm always a bit nervous before taking it out in the field or doing onset recording.&#xD;&#xA;&#xD;&#xA;**Comparison:**&#xD;&#xA;&#xD;&#xA;The [552 Mixer][2] has a built-in recorder for 2 of the 5 channels. This is awesome, however the A-to-D converter has a dynamic range of 103db. This is still slightly better than my Fostex FR2. The [702 Recorder][3] has a dynamic range of 114db. Does this actually make a noticeable difference? &#xD;&#xA;&#xD;&#xA;I've been reading [this great article][4] on the Sound Devices website that should answer all my questions, but I'm worried that they are being slightly biased to protect themselves from people purchasing the 552 instead of a 7-series. I'm also not very good at reading tech-specs so maybe someone here can help decode it :-)  &#xD;&#xA;&#xD;&#xA;Because it's not worth fixing my FR2, I will keep it as a second recorder. Now my question is do I buy the 702 and not own a mixer but have two independent recorders, or do I get the 552 mixer and use it's built-in recorder for 2 channels and the Fostex FR2 for 2 other channels (using it through the mixer too). In both cases I would end up with four separate channels. &#xD;&#xA;&#xD;&#xA;If recording onto camera, can the 702 be used as a basic mixer? ie. use the 702's preamps and A-to-D converters and go via the outputs into the camera without adding much noise?  &#xD;&#xA;&#xD;&#xA;*I keep oscillating between getting the 702 or forking out the extra money and owning the great 552. Any advice would be MASSIVELY appreciated!* &#xD;&#xA;&#xD;&#xA;  [1]: http://www.zzounds.com/item--FOSFR2&#xD;&#xA;  [2]: http://www.sounddevices.com/products/552.htm&#xD;&#xA;  [3]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;  [4]: http://www.sounddevices.com/notes/general/552-or-7-series/" ContentLicense="CC BY-SA 2.5" />
  <row Id="916" PostHistoryTypeId="1" PostId="587" RevisionGUID="66872c2b-107b-4732-8e3f-e09f08020854" CreationDate="2010-04-06T15:15:31.213" UserId="2" Text="552 Mixer or 702 Recorder? (Sound Devices) " ContentLicense="CC BY-SA 2.5" />
  <row Id="917" PostHistoryTypeId="3" PostId="587" RevisionGUID="66872c2b-107b-4732-8e3f-e09f08020854" CreationDate="2010-04-06T15:15:31.213" UserId="2" Text="&lt;field-recorder&gt;&lt;mixer&gt;&lt;sound-devices&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="918" PostHistoryTypeId="5" PostId="582" RevisionGUID="610e91b9-70b4-4b90-9fee-98d3e8e1ab22" CreationDate="2010-04-06T15:27:32.180" UserId="2" Comment="added 281 characters in body" Text="For a mini tripod, I'd also go for the [Gorillapod][1]. &#xD;&#xA;&#xD;&#xA;If you're looking for something that will give you height too then you would need a proper tripod with expendable legs. I just bought myself a really nice and small one, it's super light and I can hook up one mic on top and one at the bottom. The legs also bend into pretty wide angles so if you don't have much space you can lift one leg up against a ledge or have the tripod very low. The tripod is the [Hahnel Triad 30 Lite][2].&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://joby.com/gorillapod&#xD;&#xA;  [2]: http://www.hahnel.ie/index.cfm?page=tripods&amp;id=57&amp;pId=57&#xD;&#xA;  [3]: http://www.hahnel.ie/contentFiles/genericProducts/Tripod_A4_Triad_30Lite(1).jpg?uid=1252502980402" ContentLicense="CC BY-SA 2.5" />
  <row Id="919" PostHistoryTypeId="2" PostId="588" RevisionGUID="f4d2ca85-ae28-41bd-8fd2-1dbcf8839f2a" CreationDate="2010-04-06T15:30:47.777" UserId="46" Text="Thanks for the suggestions, everyone - very helpful!" ContentLicense="CC BY-SA 2.5" />
  <row Id="921" PostHistoryTypeId="2" PostId="590" RevisionGUID="7ff32dae-4286-4182-be0c-81253896182a" CreationDate="2010-04-06T16:59:32.030" UserId="29" Text="Some quick observations on the differences:&#xD;&#xA;&#xD;&#xA;The 552 won't record higher than 96kHz, so the 702 is the way to go if you want to record 192kHz audio.&#xD;&#xA;&#xD;&#xA;The limiters and per-channel controls on the 552 are superior to the 702 - and faster to operate, IMO - but if you're going to be just getting raw recordings in the field and not doing production mixing, I find the fewer controls per channel speeds field recording...I focus on fiddling in post. (For production mixing, it's about the best tracks possible in the moment, a very different need.)&#xD;&#xA;&#xD;&#xA;The 552 has very impressive routing options and riding-the-levels knob ergonomics the 702 lacks. The 702, though, is just fine as a 2-channel device if your mixing needs are just about riding levels and recording to the 702 itself. If you need to feed a camera, you can do so with the 702, but the 552 has way more options for this. I've recorded double-system for HD DSLR shoots with my 702 with zero issues. (FWIW, any preamp or A/D converter from Sound Devices is generally going to be top-notch at its price point.)&#xD;&#xA;&#xD;&#xA;The 702 has an LCD screen and a visible menu system. The 552 has no such thing; in fact, it has an audio menu interface using voice synthesis. Most people get used to &quot;Sven,&quot; as he's called, but some have trouble understanding the voice at first. (This is better than using the levels meters for menu settings on the 442, though. Ugh.)&#xD;&#xA;&#xD;&#xA;The 552 won't render out isolated tracks, but rather a mix. If you're doing multi-track effects recording, IMO it's a bad idea to mix all the tracks to 2 channels in the field. If you want iso's for sound design and later mixing, look at a 744 instead.&#xD;&#xA;&#xD;&#xA;I don't think the dynamic range differences between the two matter a whole lot, but that could be my aging ears.&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="922" PostHistoryTypeId="2" PostId="591" RevisionGUID="33b4c55b-5c88-4fe4-87c6-20a2989e76e8" CreationDate="2010-04-06T19:36:14.747" UserId="40" Text="I agree with everything Nathan said, but I also want to add a few things.&#xD;&#xA;&#xD;&#xA;First off, do you need a mixer?  If you don't, I'd go with the 702.  It's cheaper, and it has more flexibility when talking about just straight recording, plus you have the high sample rates.  If you do need mixing, can the 552 do what you need?  It doesn't have any meta data  or Time code in it, so you'll have to keep a meticulous sound report, and you can't do any sync, other than manual sync.&#xD;&#xA;&#xD;&#xA;What are you recording, mainly?  The dynamic range won't really matter if you're always doing dialogue.  If you're doing sound effects, it will matter.&#xD;&#xA;&#xD;&#xA;I'm a fan of the 702, but then again, I do mostly sound effects recording.  When I do production audio, I'll throw a mixer (usually a Wendt X5) in front of it.  The 552 doesn't really appeal to me, since I'm a big fan of meta data and 192k recording.&#xD;&#xA;&#xD;&#xA;My 2 cents." ContentLicense="CC BY-SA 2.5" />
  <row Id="923" PostHistoryTypeId="2" PostId="592" RevisionGUID="07bc7cdb-2966-4b7f-8e3c-d4f6e88d26b3" CreationDate="2010-04-06T19:57:01.363" UserId="2" Text="I'm just curious to see how many sound designers here are colorblind. I am red/green colorblind, and over the years I have met quite a few sound designers and musicians that are also colorblind. I wonder if this little genetic wobble has maybe given me (and you?) a friendly little nudge towards sound.&#xD;&#xA;&#xD;&#xA;I know that this T-shirt would be my favorite if I could read it:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tshirthell.vo.llnwd.net/e1/shirts/products/a559/a559_bm.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="924" PostHistoryTypeId="1" PostId="592" RevisionGUID="07bc7cdb-2966-4b7f-8e3c-d4f6e88d26b3" CreationDate="2010-04-06T19:57:01.363" UserId="2" Text="Are you colorblind? [survey]" ContentLicense="CC BY-SA 2.5" />
  <row Id="925" PostHistoryTypeId="3" PostId="592" RevisionGUID="07bc7cdb-2966-4b7f-8e3c-d4f6e88d26b3" CreationDate="2010-04-06T19:57:01.363" UserId="2" Text="&lt;survey&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="926" PostHistoryTypeId="2" PostId="593" RevisionGUID="c7dbac7a-41da-46a0-ba8a-6a5f29b17fbd" CreationDate="2010-04-06T20:12:25.530" UserId="135" Text="I see it very clear!!! :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="927" PostHistoryTypeId="2" PostId="594" RevisionGUID="4d8a2993-1963-48a3-ac55-ebb23458f874" CreationDate="2010-04-06T21:05:13.980" UserId="182" Text="I can read it, but I would give a beer to any colorblind person I encounter wearing that T-shirt.&#xD;&#xA;&#xD;&#xA;Self-mockery for the win." ContentLicense="CC BY-SA 2.5" />
  <row Id="928" PostHistoryTypeId="2" PostId="595" RevisionGUID="c6935c26-d10d-4e2b-9966-d83aaf8b2216" CreationDate="2010-04-06T21:59:19.177" UserId="178" Text="I went with an inexpensive little AKG stand:&#xD;&#xA;&#xD;&#xA;http://www.bhphotovideo.com/c/product/286148-REG/AKG_KM231_1_231_1_Miniature_Tripod_Microphone.html&#xD;&#xA;&#xD;&#xA;I also find that with this plus a shock mount, I can fold the legs up and hold it like a pistol grip without any handling noise." ContentLicense="CC BY-SA 2.5" />
  <row Id="929" PostHistoryTypeId="2" PostId="596" RevisionGUID="47b28823-aade-49fb-bca9-6e4574d53944" CreationDate="2010-04-06T22:36:29.350" UserId="40" Text="I am indeed not colorblind.  I did, however, get some kind of &quot;friendly&quot; nudge towards sound.  I just haven't figured out what that nudge is yet...&#xD;&#xA;&#xD;&#xA;Here's to trying to figure it out!" ContentLicense="CC BY-SA 2.5" />
  <row Id="930" PostHistoryTypeId="2" PostId="597" RevisionGUID="788eb010-756e-4473-8d2b-bd756105cbaf" CreationDate="2010-04-06T23:14:30.163" UserDisplayName="user49" Text="We all get them; projects that have been shot with no budget or self funded, which have been cut on a friends Final Cut system in a spare room &amp; suddenly they want to finish the film &amp; need sound editorial &amp; a mix... But they have no budget - how do you respond? And what success (&amp; horror) stories can you share?" ContentLicense="CC BY-SA 2.5" />
  <row Id="931" PostHistoryTypeId="1" PostId="597" RevisionGUID="788eb010-756e-4473-8d2b-bd756105cbaf" CreationDate="2010-04-06T23:14:30.163" UserDisplayName="user49" Text="How do you respond to requests to work for free?" ContentLicense="CC BY-SA 2.5" />
  <row Id="932" PostHistoryTypeId="3" PostId="597" RevisionGUID="788eb010-756e-4473-8d2b-bd756105cbaf" CreationDate="2010-04-06T23:14:30.163" UserDisplayName="user49" Text="&lt;film&gt;&lt;lowbudget&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="933" PostHistoryTypeId="2" PostId="598" RevisionGUID="1db43890-c9b7-45ad-90c8-d1b9818f886c" CreationDate="2010-04-07T01:05:39.757" UserId="29" Text="A man long ago told me, &quot;You'll be asked to work for free, because 'It'll be great exposure.' Exposure won't feed you or pay your rent. As any explorer will tell you, you can die from exposure.&quot;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;This is a very important question, and a great topic, Tim. I think any reasonable answer must be nuanced, as it's not just going to be different for every person, but every gig is different. I used to think it was bad 100% of the time to work for free, but not anymore.&#xD;&#xA;&#xD;&#xA;In my experience, it boils down to if you feel like you're being taken advantage of, and that if you work for free, you are entitled to set the terms of such an engagement.&#xD;&#xA;&#xD;&#xA;People *should* work for free if they don't need the money, or if they want to make an investment in a project that's supposed to be fun, ultra-creative, or a good cause. Sometimes it's necessary to break into a new field, or market vertical. It needs to be the decision of the artist/designer, though, to work for all parties. If you think it's worth working for free, make it worth your while, and don't get abused. It could lead to something big, fun, or just plain different. *Free gigs have paid off for me in this regard.*&#xD;&#xA;&#xD;&#xA;**Drawing boundaries is key.** Be super-explicit: Don't have them expect immediate turnarounds, they can't call you at all hours of the day, they must have respect for your craft, they must exhibit patience. If the &quot;please work for free&quot; asker balks at any of that, walk the %$&amp;#! away immediately. Your life will be hell. Having no money exchange hands is *more* reason to have workflow, process, and schedules, not less of a reason.&#xD;&#xA;&#xD;&#xA;People *should not* work for free if it would otherwise be a real, paying gig. No one should pressure you to do so. Read any online forum and you'll see that very few people are ever really paid &quot;deferred wages.&quot; Assumptions around super-professional services for free can lead to unrealistic expectations and clients who nag worse than paid ones. *Free gigs have killed me in this regard.*&#xD;&#xA;&#xD;&#xA;Professional work should yield professional pay. Everyone owes it to their current and future clients to underscore it's not about price, it's about value, and decent schedules and proper pay benefits the final product, yielding greater value.&#xD;&#xA;&#xD;&#xA;In my opinion, no professional should casually work for free - it should be a strategic decision and not a desperate one. This can deflate wages by altering the perception of the value of one's services. In the US, our union-centric industries really frown upon the practice, but even in non-unionized industries, it is indeed true. Look at the commoditization of Web design skills as a good example of downward price pressure - a quick read on [Clients From Hell][1] reveals many classic &quot;But my dog will design my website for free, why won't you?&quot; stories that we'll all probably find disturbingly familiar.&#xD;&#xA;&#xD;&#xA;But that's just me! :-) What do others think?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://clientsfromhell.tumblr.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="934" PostHistoryTypeId="5" PostId="598" RevisionGUID="a87d0d07-dfa5-455c-ae82-a86b50f32b07" CreationDate="2010-04-07T01:12:06.023" UserId="29" Comment="added 86 characters in body" Text="A man long ago told me, &quot;You'll be asked to work for free, because 'It'll be great exposure.' Exposure won't feed you or pay your rent. As any explorer will tell you, you can die from exposure.&quot;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;This is a very important question, and a great topic, Tim. I think any reasonable answer must be nuanced, as it's not just going to be different for every person, but every gig is different. I used to think it was bad 100% of the time to work for free, but not anymore.&#xD;&#xA;&#xD;&#xA;In my experience, it boils down to if you feel like you're being taken advantage of, and that if you work for free, you are entitled to set the terms of such an engagement.&#xD;&#xA;&#xD;&#xA;People *should* work for free if they don't need the money, or if they want to make an investment in a project that's supposed to be fun, ultra-creative, or a good cause. Sometimes it's necessary to break into a new field, or market vertical. It needs to be the decision of the artist/designer, though, to work for all parties. If you think it's worth working for free, make it worth your while, and don't get abused. It could lead to something big, fun, or just plain different. *Free gigs have paid off for me in this regard.*&#xD;&#xA;&#xD;&#xA;**Drawing boundaries is key.** Be super-explicit: Don't have them expect immediate turnarounds, they can't call you at all hours of the day, they must have respect for your craft, they must exhibit patience. If the &quot;please work for free&quot; asker balks at any of that, walk the %$&amp;#! away immediately. Your life will be hell. Having no money exchange hands is *more* reason to have workflow, process, and schedules, not less of a reason. (If they balk, remind them that's why you pay the &quot;big bucks&quot; for professional work.)&#xD;&#xA;&#xD;&#xA;People *should not* work for free if it would otherwise be a real, paying gig. No one should pressure you to do so. Read any online forum and you'll see that very few people are ever really paid &quot;deferred wages.&quot; Assumptions around super-professional services for free can lead to unrealistic expectations and clients who nag worse than paid ones. *Free gigs have killed me in this regard.*&#xD;&#xA;&#xD;&#xA;Professional work should yield professional pay. Everyone owes it to their current and future clients to underscore it's not about price, it's about value, and decent schedules and proper pay benefits the final product, yielding greater value.&#xD;&#xA;&#xD;&#xA;In my opinion, no professional should casually work for free - it should be a strategic decision and not a desperate one. This can deflate wages by altering the perception of the value of one's services. In the US, our union-centric industries really frown upon the practice, but even in non-unionized industries, it is indeed true. Look at the commoditization of Web design skills as a good example of downward price pressure - a quick read on [Clients From Hell][1] reveals many classic &quot;But my dog will design my website for free, why won't you?&quot; stories that we'll all probably find disturbingly familiar.&#xD;&#xA;&#xD;&#xA;But that's just me! :-) What do others think?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://clientsfromhell.tumblr.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="935" PostHistoryTypeId="6" PostId="597" RevisionGUID="aa9a535e-8d28-4420-838c-cc5ed3081b80" CreationDate="2010-04-07T01:14:07.330" UserId="29" Comment="edited tags" Text="&lt;film&gt;&lt;lowbudget&gt;&lt;business&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="936" PostHistoryTypeId="5" PostId="597" RevisionGUID="5d8d009f-c946-4365-80f1-56b1237ee6ed" CreationDate="2010-04-07T02:23:57.987" UserDisplayName="user49" Comment="added 172 characters in body" Text="We all get them; projects that have been shot with no budget or self funded, which have been cut on a friends Final Cut system in a spare room &amp; suddenly they want to finish the film &amp; need sound editorial &amp; a mix... But they have no budget - how do you respond? And what success (&amp; horror) stories can you share?&#xD;&#xA;&#xD;&#xA;my question was partly prompted by this article about the Australian sound post industry:&#xD;&#xA;http://www.encoremagazine.com.au/sound-post-freebies-hurt-the-industry-2047&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="937" PostHistoryTypeId="5" PostId="597" RevisionGUID="ef43e15d-4227-4858-ae7a-158f7de5cbfc" CreationDate="2010-04-07T03:08:53.393" UserDisplayName="user49" Comment="deleted 168 characters in body" Text="We all get them; projects that have been shot with no budget or self funded, which have been cut on a friends Final Cut system in a spare room &amp; suddenly they want to finish the film &amp; need sound editorial &amp; a mix... But they have no budget - how do you respond? And what success (&amp; horror) stories can you share?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="939" PostHistoryTypeId="2" PostId="600" RevisionGUID="bd8c7060-e90d-42f8-8622-2c96b6a36d07" CreationDate="2010-04-07T08:32:14.500" UserId="62" Text="I started out many years ago by working for free. Then came the occasional very low paid job. I was able to build on this with the same clients and picking up news one to create a nice little CV of projects to my name, all built on hard work and very little money.&#xD;&#xA;&#xD;&#xA;I think that starting out you need to pay your dues and working for free can be seen as an investment on your part. You need to build your experience and reputation before you can start asking people to part with large sums of money.&#xD;&#xA;&#xD;&#xA;Now I work as a full time employee for a post-production company. I still work for free for some people as they became friends and their projects are great fun to work on from a creative point of view. My day job is more mundane than I'd like it to be so this gives me an outlet to have some fun.&#xD;&#xA;&#xD;&#xA;This is my limit though as I don't need to work on lots of short films to add to my CV anymore. I still get many requests from random people wanting me to work on their &quot;amazing&quot; or &quot;innovative&quot; or &quot;creative&quot; short film. I say a firm no but do point them to people who might be interested. I see giving advice to people starting out my way of giving back to the industry. Any more can be damaging as I agree it can be detrimental to the industry.&#xD;&#xA;&#xD;&#xA;After all, you get what you pay for." ContentLicense="CC BY-SA 2.5" />
  <row Id="940" PostHistoryTypeId="2" PostId="601" RevisionGUID="f42f87d1-9d78-4ee8-a497-649b52d1c9c0" CreationDate="2010-04-07T12:01:25.483" UserId="135" Text="NoiseJokey's words are perfect for me. I could summarize them as definitve laws:&#xD;&#xA;&#xD;&#xA; 1. You should not work for free if you are a professional&#xD;&#xA; 2. You must work for free if you don't need money, want to have fun, be ultra-creative,  or be involved in good cause project (no profit, etc.)&#xD;&#xA; 3. impose boundaries to your client immediately: draw schedules, time, access to you phone or chat or whatever&#xD;&#xA; 4. you can't always be a strategic hero, just decide how many free projects per year you want to accept&#xD;&#xA; 5. if the project supposes even a little budget for other professionals, you have to refuse it&#xD;&#xA; 6. read Clients from Hell eveyday, but don't laugh about it&#xD;&#xA;&#xD;&#xA;best :)&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="941" PostHistoryTypeId="2" PostId="602" RevisionGUID="ca206669-5ecc-4d2a-bb05-7c0371391e71" CreationDate="2010-04-07T12:29:36.517" UserId="208" Text="Hi &#xD;&#xA;&#xD;&#xA;Thanks for another great forum. Really appreciate it!&#xD;&#xA;&#xD;&#xA;When delivering sfx for sound fx library companies like Sound-ideas, and Hollywood edge, and not being able to bring the material to a real dubstage, what would you all recomment being used as Converters, eq´s, comps, noise reduction etc. in the mastering process?&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 2.5" />
  <row Id="942" PostHistoryTypeId="1" PostId="602" RevisionGUID="ca206669-5ecc-4d2a-bb05-7c0371391e71" CreationDate="2010-04-07T12:29:36.517" UserId="208" Text="Recommendations on hardware and software" ContentLicense="CC BY-SA 2.5" />
  <row Id="943" PostHistoryTypeId="3" PostId="602" RevisionGUID="ca206669-5ecc-4d2a-bb05-7c0371391e71" CreationDate="2010-04-07T12:29:36.517" UserId="208" Text="&lt;sound-devices&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="944" PostHistoryTypeId="2" PostId="603" RevisionGUID="e1075c9e-1c79-4a0d-a89f-5897f14e1f8e" CreationDate="2010-04-07T13:15:53.973" UserId="182" Text="That is a very open question. To enable people to come up with useful advice, can you give a little more info on: &#xD;&#xA;&#xD;&#xA; - your envisioned workflow?&#xD;&#xA; - your budget? (important!)&#xD;&#xA; - your experience with certain tools (knowing how to use the tools you have can be more valuable than having access to 'the best' equipment)" ContentLicense="CC BY-SA 2.5" />
  <row Id="945" PostHistoryTypeId="2" PostId="604" RevisionGUID="0e7bed71-54bf-4790-87a0-193f63c26e43" CreationDate="2010-04-07T13:44:31.313" UserId="194" Text="I think that there are certainly times when professionals can and should donate services.&#xD;&#xA;&#xD;&#xA;I use the term &quot;donate services&quot; as opposed to &quot;work for free&quot; because that's really the perspective that one needs to have in order to do it well.  With that said, the circumstances in which I'll donate significant services tend to be pretty unique.  If a project comes in the door and the guys have no money, I'll evaluate it as follows:&#xD;&#xA;&#xD;&#xA; - Do I have or want to have a relationship with this person or organization?&#xD;&#xA; - Is this person being up front about the fact that the job doesn't pay anything?&#xD;&#xA; - Is the project worthy of me donating services?  Is it interesting/important enough?&#xD;&#xA; - Am I capable of doing this job at the high level I expect for myself?&#xD;&#xA; - Do I have the bandwidth to do the job well?&#xD;&#xA; - Is the rest of the production up to par with the level of sound work that I intend to deliver?&#xD;&#xA;&#xD;&#xA;I find that very few projects can provide clear &quot;yes&quot; answers to all of the above, but if one comes around that does then I really must consider donating services to bring the project into respectability.  I recently had a great little short film come across my radar made by a friend of mine that met all of the criteria.  My friend was upfront about money, the short was very impressive, and I had some nights and weekends free to get it done. &#xD;&#xA;&#xD;&#xA;The end result turned out great, and the short has won in several festivals both in the US and in Mexico since it came out last year.  My relationship with the director and the rest of the production staff became rock solid, and the quality of the short will definitely get him financed properly for his next endeavor.&#xD;&#xA;&#xD;&#xA;With all that said the number of projects that can meet all of the above criteria is pretty darn small.  The reason being that the people and projects that can have their acts enough together to get yeses from me on all of those criteria generally are together enough to have or to be able to acquire an audio post budget.  &#xD;&#xA;&#xD;&#xA;When a no-budget project comes across that is not good enough, or the producers are not straightforward enough, or I do not have the time to do a good job on it, I'll politely turn it down.  &#xD;&#xA;&#xD;&#xA;I'll also echo noiseJockey here:&#xD;&#xA;&#xD;&#xA;&gt; no professional should casually work&#xD;&#xA;&gt; for free - it should be a strategic&#xD;&#xA;&gt; decision and not a desperate one. This&#xD;&#xA;&gt; can deflate wages by altering the&#xD;&#xA;&gt; perception of the value of one's&#xD;&#xA;&gt; services. In the US, our union-centric&#xD;&#xA;&gt; industries really frown upon the&#xD;&#xA;&gt; practice, but even in non-unionized&#xD;&#xA;&gt; industries, it is indeed true.&#xD;&#xA;&#xD;&#xA;Amen brutha." ContentLicense="CC BY-SA 2.5" />
  <row Id="946" PostHistoryTypeId="5" PostId="602" RevisionGUID="19cb9462-73f4-4e92-86de-68eab2f9ad46" CreationDate="2010-04-07T13:51:37.180" UserId="208" Comment="added 7 characters in body" Text="Hi &#xD;&#xA;&#xD;&#xA;Thanks for another great forum. Really appreciate it!&#xD;&#xA;&#xD;&#xA;When delivering sfx for sound fx library companies like Sound-ideas, and Hollywood edge, and not being able to bring the material to a real dubstage, what would you all recomment being used as Converters, eq´s, comps, noise reduction etc. in the mastering process?&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel&#xD;&#xA;&#xD;&#xA;   " ContentLicense="CC BY-SA 2.5" />
  <row Id="947" PostHistoryTypeId="2" PostId="605" RevisionGUID="83fce8b6-a535-47a1-8079-ec4e65a81811" CreationDate="2010-04-07T19:21:41.900" UserId="178" Text="This kind of seems like a solution (spending money) in search of a problem (will it sound good enough?)&#xD;&#xA;&#xD;&#xA;I can't speak for those sound effects companies you mentioned, perhaps they have some technical guidelines for submissions.&#xD;&#xA;&#xD;&#xA;Once you've conquered the basic problems like preamp hiss and that sort of thing, how does it sound to you? Prosumer gear in the right hands will sound better than top of the line gear used in a sub-optimal manner.&#xD;&#xA;&#xD;&#xA;Generally speaking, the price/performance curve is almost logarithmic. Hardware has gotten really good (and affordable) in the last ten years or so. Ask yourself if there is a particular problem that you are trying to solve, and then approach it from that angle. The differences between preamps and converters are possible to hear, but they are far more subtle than you would think if you're just browsing forums where people are often times blowing things way out of proportion. You're going to go into the next order of magnitude on price for a 2% improvement.&#xD;&#xA;&#xD;&#xA;Consider renting gear that you're looking at, or see if you can hear a true A/B comparison. Most moderately priced gear available these days sounds pretty excellent." ContentLicense="CC BY-SA 2.5" />
  <row Id="948" PostHistoryTypeId="2" PostId="606" RevisionGUID="62ea44ba-1847-4065-b9e6-fb70e8198a4e" CreationDate="2010-04-07T21:08:34.173" UserId="40" Text="Ok, so, there are a million different format, framerate, bit depth, sample rate, etc combinations out there, especially now that you have DSLRs shooting video, prosumer cameras that shoot in &quot;24P&quot; (which isn't actually 24fps) etc...&#xD;&#xA;&#xD;&#xA;How do you deal with this as a professional?  What resources do you use to keep yourself up to date on these ever changing standards? (I heard a good joke today at a post production seminar:  &quot;We love standards. That's why we have so many of them!)  Heh :-)&#xD;&#xA;&#xD;&#xA;What are the most common flubs / mismatches you come across, and how do you deal with them?  Do you do external syncing?  Hardware gear ups / downs?  Change the metadata on a file to force a pulldown (Avid users, I'm looking at you...)?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="949" PostHistoryTypeId="1" PostId="606" RevisionGUID="62ea44ba-1847-4065-b9e6-fb70e8198a4e" CreationDate="2010-04-07T21:08:34.173" UserId="40" Text="Timecode Standards" ContentLicense="CC BY-SA 2.5" />
  <row Id="950" PostHistoryTypeId="3" PostId="606" RevisionGUID="62ea44ba-1847-4065-b9e6-fb70e8198a4e" CreationDate="2010-04-07T21:08:34.173" UserId="40" Text="&lt;timecode&gt;&lt;rate&gt;&lt;sync&gt;&lt;sample&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="951" PostHistoryTypeId="2" PostId="607" RevisionGUID="76b1e7df-f509-420d-b73f-b2e1edb43ecb" CreationDate="2010-04-08T05:02:16.950" UserId="29" Text="I usually track the developments of such best practices on [Jeff Wexler's forum][1], which seems to be where people are going when they tire of the craziness on [RAMPS][2]. :-) The amount of info there can get very camera-specific, which is very handy for search purposes. It seems like most people there usually work backwards from the film speed and the telecine company's needs, make heavy use of smart slates, run at the appropriate 23.976 or 29.97 rates, and seem to prefer TOD (time of day) timecode, while admitting that free-run and rec-run have their uses. When last I checked. :-)&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;SIDENOTE: Me, though, I've recently been avoiding timecode altogether! :-) I only pitch in for production sound help on HDSLR shoots (or when I do such shoots myself as camera operator or director). We shoot double-system and use a manual slate for sync (following proper practice and tail-slating when appropriate). With Sound Devices recorders, we don't lose sync for at least 10 minutes, two minutes shorter than the max HDSLR clip length and way longer than any single take I've seen on-set under normal circumstances. Handy, that. We shoot audio at 24b96k for latitude. When manual sync in post isn't time-efficient (despite that it's pretty easy), we use the PluralEyes plugin to auto-sync to the on-camera scratch track. For sync sound for longer takes like interviews, we mix externally and then feed the camera bypassing its preamps. FCP is used for post, which isn't really that timecode savvy. No time code needed in that workflow! (I was both a grip and 2nd AC back in my video days, so I'm loving being TC free for a while.)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jwsound.net/SMF/&#xD;&#xA;  [2]: http://groups.google.com/group/rec.arts.movies.production.sound/topics" ContentLicense="CC BY-SA 2.5" />
  <row Id="952" PostHistoryTypeId="2" PostId="608" RevisionGUID="a52599af-48d2-4dcc-aabc-582170f94809" CreationDate="2010-04-08T10:22:03.130" UserId="2" Text="I'm looking to get an in-line pad to have part of my gear, no specific needs. My main mic I would be using it with is the [MKH 418s][1]. I have a few questions:&#xD;&#xA;&#xD;&#xA; - Does a cheaper pad add much noise to the signal? &#xD;&#xA; - Does one get stereo (5 pin) pads? Or do I need to buy two separate 3 pin XLR ones? &#xD;&#xA; - I'm getting other gear from B&amp;H, so [out of their stock][2] what would you recommend? &#xD;&#xA; - If you had to only get one, how many db attenuation would you go for? &#xD;&#xA;&#xD;&#xA;The cheaper the better, but I really don't want to add noise to my signal. &#xD;&#xA;&#xD;&#xA;Thanks for your input. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_camera-mics-mkh-418-s&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/search?Ntt=inline+pad&amp;N=0&amp;InitialSearch=yes" ContentLicense="CC BY-SA 2.5" />
  <row Id="953" PostHistoryTypeId="1" PostId="608" RevisionGUID="a52599af-48d2-4dcc-aabc-582170f94809" CreationDate="2010-04-08T10:22:03.130" UserId="2" Text="In-line Pad Recommendation" ContentLicense="CC BY-SA 2.5" />
  <row Id="954" PostHistoryTypeId="3" PostId="608" RevisionGUID="a52599af-48d2-4dcc-aabc-582170f94809" CreationDate="2010-04-08T10:22:03.130" UserId="2" Text="&lt;gear&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="955" PostHistoryTypeId="2" PostId="609" RevisionGUID="19337b7e-1ede-4b1e-bafd-98cc223713bd" CreationDate="2010-04-08T14:21:17.557" UserId="40" Text="When I worked at Electric Lady Studios, we used the Shure A15AS barrel adapters.  They didn't effect the signal noticeably (except for the expected padding of course...), and are switchable, so you aren't stuck with a certain value.&#xD;&#xA;&#xD;&#xA;A 5-pin stereo pad would be sweet, but I've never seen one before.  If they make one, that'd lighten your load, but would also limit you to using it with your 418s (nice mic, btw).&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="956" PostHistoryTypeId="2" PostId="610" RevisionGUID="97c1251e-c6f2-4c68-bfd5-334c1251986a" CreationDate="2010-04-08T14:43:53.607" UserId="46" Text="Hey Tim,&#xD;&#xA;&#xD;&#xA;Great thread! Since you asked for some successes/horrors, I'll post a few of my own.&#xD;&#xA;&#xD;&#xA;A few years back I mixed my first feature film for free, squeezing it in late nights/weekends between my other duties at work. A few months later, the film debuted at SXSW, got a distribution deal with IFC Films, and the director came back and said, &quot;Hey, check it out, now I have some money for you! Thanks again!&quot; Success! A great experience, some exposure and even some money!&#xD;&#xA;&#xD;&#xA;Here's an epic fail:&#xD;&#xA;&#xD;&#xA;Last summer I agreed to mix a friend's short film at a time where I was extremely busy with paying gigs. I pushed it off for months until she pressured me to spend some time with it.&#xD;&#xA;&#xD;&#xA;The production sound was pretty terrible - the lavs were unusable with earth-shattering hiss and tons of clothing rustle, dropouts, etc, so before I began digging in to a dialogue edit, I told her, &quot;Just so you know, I'm going to use the boom mics for your film - there's a little more ambient highway noise, but the tonal quality of their voice is much more consistent and natural.&quot; So I proceed and mix her film over the next few days, send it to her and get a laundry list of changes - fine, acceptable. She comes in, spends a day with me and we address those changes, sometimes dipping into the lav tracks to salvage a line, etc.&#xD;&#xA;&#xD;&#xA;A few days later, she comes back with another laundry list of notes and says that she'd like to start over and see what we can do with the lav mics. I tell her no way - I TOLD you why I decided to use the booms, if you don't trust my professional judgment, that's fine, you can take it to someone else, but I can't continue working on your film for free any longer.&#xD;&#xA;&#xD;&#xA;So she questions my motives (apparently I only do what I do for the money...?) and my integrity - I make a few of her fixes and send her on her way - friendship ruptured. Fail.&#xD;&#xA;&#xD;&#xA;So lesson learned - I would tend to agree with a lot of the above. Work for free if it will cultivate  a lasting relationship, if you are excited about the project or if you need some experience in a new field you don't have exposure to. DON'T work for free because of guilt. That will never work." ContentLicense="CC BY-SA 2.5" />
  <row Id="957" PostHistoryTypeId="2" PostId="611" RevisionGUID="3564a705-1dcc-4b21-947c-f7c02d6520eb" CreationDate="2010-04-08T14:50:15.103" UserId="29" Text="I always keep at least one [Audio-Technica AT8202][1] in my bag. I've used them on my hydrophone and even the MKH50, and I can't hear much (any?) additional noise. the AT8202 is switchable betweeen -10, -20, and -30 dB; pretty darned spiffy.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/68085-REG/Audio_Technica_AT8202_AT8202_In_Line_Attenuator.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="958" PostHistoryTypeId="2" PostId="612" RevisionGUID="0dd5082c-29b5-469f-a572-bcca1c544e28" CreationDate="2010-04-08T16:43:42.600" UserId="29" Text="I'm about to embark on a sound design project for an interactive piece that will be a public installation. It will always be surrounded by people in a large space (think a trade show floor or lounge-type area), so human background &quot;walla&quot; and environmental noise will always be present. The speakers themselves are a pair of small, one-driver units built into the device.&#xD;&#xA;&#xD;&#xA;While I have my own research and guesses as to how to approach this (and am prepared to do lots and lots of tests/testing), does anyone have any techniques or theories that could help guide sound design that would cut through such human mid-range background noise as to be audible? (The goal here is aural feedback of touch interactions, not the creation of super-detailed sound effects.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="959" PostHistoryTypeId="1" PostId="612" RevisionGUID="0dd5082c-29b5-469f-a572-bcca1c544e28" CreationDate="2010-04-08T16:43:42.600" UserId="29" Text="Sound design that cuts through crowd noise" ContentLicense="CC BY-SA 2.5" />
  <row Id="960" PostHistoryTypeId="3" PostId="612" RevisionGUID="0dd5082c-29b5-469f-a572-bcca1c544e28" CreationDate="2010-04-08T16:43:42.600" UserId="29" Text="&lt;sound-design&gt;&lt;interactive&gt;&lt;acoustics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="961" PostHistoryTypeId="2" PostId="613" RevisionGUID="a5a4f1f6-bea7-49b7-90b7-3186476813ff" CreationDate="2010-04-08T19:07:46.897" UserId="152" Text="+1 for the Shure A15AS, been using those for years without a hitch.&#xD;&#xA;&#xD;&#xA;In answer to your cheaper pad question, make sure that if you use an off brand besides Shure or Audio Technica that it has a good following. I've made mistakes in my youth by chincing on cheaper gear that ended up costing me more money and time in the long run.&#xD;&#xA;&#xD;&#xA;My 2-cents...&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="962" PostHistoryTypeId="2" PostId="614" RevisionGUID="27c12904-e0ea-4d61-8ac8-60dd10501af7" CreationDate="2010-04-08T19:26:23.693" UserId="152" Text="You could approach this from a music mix standpoint. Such as using EQ techniques to boost sound design elements as well as cutting what you can from your ambiance to make room for the sound design. You could then use something like Waves S1 to narrow the stereo field of one aspect of the final mix, such as the sound design aspect of the audio, then widen the ambiance tracks using the same technique. &#xD;&#xA;&#xD;&#xA;You could also try using Waves Center as well...&#xD;&#xA;&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="963" PostHistoryTypeId="2" PostId="615" RevisionGUID="74257eb3-24da-4fdf-a9f5-0e922468ebc7" CreationDate="2010-04-08T19:43:21.253" UserId="2" Text="These might be a bit obvious, but high frequencies will be more easily heard, especially with small speakers. &#xD;&#xA;&#xD;&#xA;Another approach is to design sounds that are inorganic, if the sounds don't fit into the environment then people will probably notice them more. &#xD;&#xA;&#xD;&#xA;As you say, your design is for aural feedback and (maybe) secondary to the interaction itself, so it shouldn't need a full bandwidth design.  &#xD;&#xA;&#xD;&#xA;I'm curious, is this for [TouchTones][1]? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2010/03/12/the-sound-design-of-touchtones/" ContentLicense="CC BY-SA 2.5" />
  <row Id="964" PostHistoryTypeId="2" PostId="616" RevisionGUID="4085ae34-8f07-4f66-9731-c3276fffee41" CreationDate="2010-04-08T19:51:53.913" UserId="182" Text="I have some experience with (interactive) sound design, interaction design and interactive product design and in general and I learned that it pays off to look at how we perceive sound: what type of sounds do we notice easily, or even distract us? What sounds make us turn our heads?&#xD;&#xA;&#xD;&#xA;From a psychoacoustic standpoint, you could focus on those sound characteristics that make it stand out from the crowd (-noise):&#xD;&#xA;*Sharp attacks, pitch modulation, amplitude modulation, tonal rather than broad-spectrum noisy timbres, deliberate rythm, strong dynamics etc.*&#xD;&#xA;&#xD;&#xA;For a project I did the exact opposite: design sounds that would very easily blend in with the environment. Sounds that people quickly forget are there, yet can convey information to those specifically focussing on them." ContentLicense="CC BY-SA 2.5" />
  <row Id="965" PostHistoryTypeId="2" PostId="617" RevisionGUID="b29324d5-93fb-49d8-b821-ff4238e5b729" CreationDate="2010-04-08T20:13:00.930" UserDisplayName="user49" Text="This very subject is why it is so important on films to have a meeting BEFORE the shoot between the production sound recordist, picture editor &amp; assistant &amp; the dialogue editor and to do a sync camera test &amp; to verify the workflow from shoot through to post. This also requires that the sound post team be confirmed before the shoot, which is also very important.&#xD;&#xA;&#xD;&#xA;In the last few years all the films I do are 23.976 but depends on camera as to sample rate &amp; timecode in the field (film vs digital etc)" ContentLicense="CC BY-SA 2.5" />
  <row Id="966" PostHistoryTypeId="2" PostId="618" RevisionGUID="2ad0f6cc-87f2-4275-aab9-e09f64c63658" CreationDate="2010-04-08T20:58:50.143" UserId="2" Text="I just mixed a documentary for TV broadcast and the clients told me that it should not peak higher than -6db and the reference tones should be at -12db. I did just that but then when they where dumping down to [DVCPRO][1] for broadcast, turns out they had to drop the mix another 4db. Apperently they went through [Digibeta][2] first, could they have messed up the levels there? I wasn't there to check though so I'm wondering if it's on my side or theirs. &#xD;&#xA;&#xD;&#xA;Anyone with similar experiences or expertise that could maybe share some info? &#xD;&#xA;&#xD;&#xA;Thanks! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/DVCPRO#DVCPRO&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Digibeta#Digital_Betacam" ContentLicense="CC BY-SA 2.5" />
  <row Id="967" PostHistoryTypeId="1" PostId="618" RevisionGUID="2ad0f6cc-87f2-4275-aab9-e09f64c63658" CreationDate="2010-04-08T20:58:50.143" UserId="2" Text="TV Broadcast Levels" ContentLicense="CC BY-SA 2.5" />
  <row Id="968" PostHistoryTypeId="3" PostId="618" RevisionGUID="2ad0f6cc-87f2-4275-aab9-e09f64c63658" CreationDate="2010-04-08T20:58:50.143" UserId="2" Text="&lt;television&gt;&lt;broadcast&gt;&lt;levels&gt;&lt;standard&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="969" PostHistoryTypeId="2" PostId="619" RevisionGUID="309690c1-6d8f-465e-beca-c26d1ea6d971" CreationDate="2010-04-08T22:25:03.373" UserId="37" Text="I recently did a short programme for TV to UK standard (PPM 4 -18dBFS ref, PPM 6 max). The video had no bars or countdown (nowhere to put tone at reference level?), so I included a separate file with 10sec of 1khz tone at reference level, just to make sure.." ContentLicense="CC BY-SA 2.5" />
  <row Id="970" PostHistoryTypeId="2" PostId="620" RevisionGUID="82752be9-dac6-4c7e-a60b-62afcfa714ad" CreationDate="2010-04-09T01:14:04.317" UserId="46" Text="Perhaps they had their specs wrong? Most but not all US stations require peaks limited to -10... Which network is it airing on?" ContentLicense="CC BY-SA 2.5" />
  <row Id="971" PostHistoryTypeId="2" PostId="621" RevisionGUID="68447d42-f4c5-466a-899c-821cb42fa217" CreationDate="2010-04-09T08:34:39.993" UserId="62" Text="Going to expand Georgi.m's comments....&#xD;&#xA;&#xD;&#xA;The UK use PPM to check levels, he's right about PPM6 being as high as you can go. If you output 1KHz tone at PPM6 it should equal -10dB on a VU (I use an RTW Portamonitor).&#xD;&#xA;&#xD;&#xA;From the BBC specs &quot;Peak sound levels within the programme must not exceed PPM6: that is +dB with respect to the reference level of -18dBFS&quot;. Your tone should be 1KHz -18dBFS/PPM4. It will start at 09:58:30:00 and finish at 09:59:30:00.&#xD;&#xA;&#xD;&#xA;We work in NTSC as well as PAL, and the tone here is -20dBFS/PPM3.5, at 00:58:30:00 to 00:59:39:00. I've only ever mastered NTSC to Digibeta where the top limit is normally -10dBFS. That gives headroom for extremely brief peaks above -10 as at digital meter like an RTW will react much quicker than a PPM which has a relatively slow response. Mastering to HDCAM/HDCAMSR is the same as Digibeta PAL/NTSC respectively.&#xD;&#xA;&#xD;&#xA;I've not come across any broadcast specs that are so high. In fact the likes of Discovery/PBS are lower than that and would use another type of meter." ContentLicense="CC BY-SA 2.5" />
  <row Id="972" PostHistoryTypeId="2" PostId="622" RevisionGUID="1ffb735d-39bc-4e52-8580-fa9446db7686" CreationDate="2010-04-09T15:20:58.410" UserId="212" Text="In terms of blurring the distinction between score and sound design I'm reminded of Hitchcock's The Birds: Bernard Hermann, ordinarily tasked with writing a convention score, is given the role of supervising an electronic soundtrack of bird sounds. There is also a publicity photograph of Hitchcock listening, in mock (?) agony to the sounds on headphones. There is no non-diegetic music in the film, yet the bird sounds were being presented in terms of music, I believe. So I suppose the question, in this instance, is whether the soundtrack is a score or sound effects, or a new category. I like to think it's a new category that offers the potential for a creative marriage of sound and image; one that answers the concerns that purists held when the soundtrack was introduced to the film medium in the late '20s." ContentLicense="CC BY-SA 2.5" />
  <row Id="973" PostHistoryTypeId="2" PostId="623" RevisionGUID="eddb15cc-8f4d-42a5-b8ad-4bdca7efc968" CreationDate="2010-04-09T15:37:11.093" UserId="178" Text="Here's another perspective, for whatever it's worth.&#xD;&#xA;&#xD;&#xA;In a studio or post-production environment, your mix generally represents the entirety of what people will hear. With this project, you are only adding sound into an existing space, where your mix must compete with other sounds.&#xD;&#xA;&#xD;&#xA;There are obviously differences, but live sound engineers have to deal with this sort of thing all the time. A live mix at a concert, especially in a small to mid sized club, is really only half a mix, if you think about it. To put it another way, if the sound system is turned off entirely, you will still hear the drums and guitar amps coming from the stage. That's why vocals are always way louder than everything else on sound board recordings.&#xD;&#xA;&#xD;&#xA;Also in a recording studio environment, a lot of times when you solo a track it might not sound right by itself, but it will work within the context of a mix.&#xD;&#xA;&#xD;&#xA;I understand the Skywalker Sound people added a &quot;popcorn noise&quot; fader channel to their sound board, so they could see how their quiet dialog sections compete with people whispering to each other in the theater, eating popcorn, getting up to go out to the lobby, and so on.&#xD;&#xA;&#xD;&#xA;You might think of the sound coming out of your device as only part of the &quot;mix&quot; of sounds that people will hear. If you have some extra speakers, consider recording some typical background noise to play back alongside your device, and see how it sounds in an environment similar to where it will end up." ContentLicense="CC BY-SA 2.5" />
  <row Id="974" PostHistoryTypeId="6" PostId="612" RevisionGUID="7971abe0-d87b-47ce-bbce-be82316b2076" CreationDate="2010-04-10T07:16:29.147" UserDisplayName="user80" Comment="edited tags" Text="&lt;sound-design&gt;&lt;interactive&gt;&lt;acoustics&gt;&lt;sound-installations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="975" PostHistoryTypeId="6" PostId="602" RevisionGUID="abf9758d-603f-42a8-9ae2-302bacd7b3bf" CreationDate="2010-04-10T10:43:22.967" UserDisplayName="user80" Comment="edited tags" Text="&lt;equipment&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="976" PostHistoryTypeId="6" PostId="602" RevisionGUID="044b1e31-b84c-4ae6-8de0-3d178f429884" CreationDate="2010-04-10T10:44:02.147" UserDisplayName="user80" Comment="edited tags" Text="&lt;equipment&gt;&lt;gear&gt;&lt;sound-design&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="978" PostHistoryTypeId="2" PostId="625" RevisionGUID="2c43ea99-9096-4fa0-b3f7-b554dfded287" CreationDate="2010-04-10T19:47:03.590" UserId="214" Text="There is a small book (in French) that is a continuous source of inspiration and it helps me to thinking about working with sound: &quot;DE L'ÉCRITURE SONORE&quot; of Daniel Deshays (Éditions entre/vues, Marseille, 1999)" ContentLicense="CC BY-SA 2.5" />
  <row Id="979" PostHistoryTypeId="6" PostId="573" RevisionGUID="dd088115-1f40-4392-9c38-d2036b7dc0f6" CreationDate="2010-04-11T00:11:22.287" UserDisplayName="user80" Comment="edited tags" Text="&lt;protools&gt;&lt;adobe&gt;&lt;compatibility&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="980" PostHistoryTypeId="2" PostId="626" RevisionGUID="5e444ef6-a07e-4f34-ab4b-c8346c473683" CreationDate="2010-04-11T00:19:08.393" UserDisplayName="user80" Text="How important is musical training to a sound designer?  What, if any, instruments do you play, and has this affected the way you 'compose' a design?  I play the cello and piano,nowhere near as well as I would like to, and I like to think that this benefits my work." ContentLicense="CC BY-SA 2.5" />
  <row Id="981" PostHistoryTypeId="1" PostId="626" RevisionGUID="5e444ef6-a07e-4f34-ab4b-c8346c473683" CreationDate="2010-04-11T00:19:08.393" UserDisplayName="user80" Text="Do you play an instrument?" ContentLicense="CC BY-SA 2.5" />
  <row Id="982" PostHistoryTypeId="3" PostId="626" RevisionGUID="5e444ef6-a07e-4f34-ab4b-c8346c473683" CreationDate="2010-04-11T00:19:08.393" UserDisplayName="user80" Text="&lt;instruments&gt;&lt;sound-design&gt;&lt;survey&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="983" PostHistoryTypeId="2" PostId="627" RevisionGUID="e7815997-cb90-4bbe-b149-cd1efd385e3b" CreationDate="2010-04-11T00:32:46.413" UserId="103" Text="In my humble opinion, to being an instrument virtuoso and having the dexterity, is not going to make a noticeable improvement in the way you design, edit mix, wathever.&#xD;&#xA;However, i think the rhythmic sensitivity and &quot;soul&quot; that goes into playing an instrument, can make a significant difference, as far as knowing what &quot;moves&quot; the listener.&#xD;&#xA;Its also definitely useful to have musical instruments kicking around to squeeze sounds out of them! Not necessarily musical sounds.&#xD;&#xA;&#xD;&#xA;Just the opinion as someone who doesn't master an instrument, but looks forward to read from people that do!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="984" PostHistoryTypeId="2" PostId="628" RevisionGUID="f028ed0d-fe26-4e3f-8182-34dba4addb98" CreationDate="2010-04-11T03:10:49.247" UserId="100" Text="Jazz drummer here. While I've used my percussive experience to better &quot;pull&quot; sounds out of an object, or to help pace the sound to the scene, I think playing as an ensemble has been the most helpful. Knowing what sounds I can contribute that will work best with others, trying to compliment and not compete, knowing when to drive the tune or pull back, and knowing when to be creative and when to back off and just keep the time." ContentLicense="CC BY-SA 2.5" />
  <row Id="985" PostHistoryTypeId="2" PostId="629" RevisionGUID="bcbdc372-a874-40df-a119-1c88b889da61" CreationDate="2010-04-11T09:01:56.567" UserId="215" Text="&#xD;&#xA;Hi there, &#xD;&#xA;&#xD;&#xA;I'm currently doing a dialogue edit for a film, and there's a substantial amount of voice over. Knowing the studio where the recording was to take place well, I asked the recording engineer to be very careful with mic choice, placement and general position of talent within the booth to eliminate the horrible room reflections the studio is known for. Unfortunately... the recordings arrived today, and all I hear is that damn room.&#xD;&#xA;&#xD;&#xA;The narrator is male, fairly deep voice, with nice character. But he sounds like he's speaking inside a box. I've done some eq to highlight his tone, but can't seem to get rid of the room altogether. &#xD;&#xA;&#xD;&#xA;There's no possibility of re-recording at this time.&#xD;&#xA;&#xD;&#xA;Anybody have any success with this problem before? I usually do my own voice over recordings, so I haven't run into this problem a lot.&#xD;&#xA;&#xD;&#xA;Any help would be greatly appreciated.  &#xD;&#xA;&#xD;&#xA;Thanks, &#xD;&#xA;&#xD;&#xA;NB" ContentLicense="CC BY-SA 2.5" />
  <row Id="986" PostHistoryTypeId="1" PostId="629" RevisionGUID="bcbdc372-a874-40df-a119-1c88b889da61" CreationDate="2010-04-11T09:01:56.567" UserId="215" Text="Getting rid of room sound on a voice recording? " ContentLicense="CC BY-SA 2.5" />
  <row Id="987" PostHistoryTypeId="3" PostId="629" RevisionGUID="bcbdc372-a874-40df-a119-1c88b889da61" CreationDate="2010-04-11T09:01:56.567" UserId="215" Text="&lt;voice&gt;&lt;narration&gt;&lt;dialogue&gt;&lt;room&gt;&lt;reflection&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="988" PostHistoryTypeId="2" PostId="630" RevisionGUID="06cc5408-905e-4b00-a015-73f2c1e7de5b" CreationDate="2010-04-11T09:20:54.793" UserId="81" Text="I play guitar. A knowledge of harmony and music theory can get you a long way towards a better sound design. &#xD;&#xA;&#xD;&#xA;Anything I have done within the context of music had been beneficial to my designs, like going to a symphonic concert and trying to understand the acoustics.&#xD;&#xA;&#xD;&#xA;In most cases, there is an emotional bond between the instrument and the player, and instrument translates its player's emotions into something beautiful. I get bored listening to someone talking about a break up with his girlfriend but i can listen to love ballads all day.  &#xD;&#xA;&#xD;&#xA;So being an instrument player helped me a lot to analyze the emotional dynamics of a scene during sound design/composition. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="989" PostHistoryTypeId="2" PostId="631" RevisionGUID="34da2e4b-fcec-4de8-8915-f76c7f8cf619" CreationDate="2010-04-11T10:00:29.573" UserId="216" Text="We all know what happens when the recording level goes too high during Analog to Digital conversion: harsh non-musical sound covering everything else (ok, on occasion it might be sort of musical, but that's not the point here). It may also happens for no apparent reason with a buggy soundcard (my case here)&#xD;&#xA;&#xD;&#xA;I assume that a totally distorded material will be unrecoverable, but most of the time, only peaks here and there will be. &#xD;&#xA;&#xD;&#xA;So, do you know any tools that might be of help to erase or soften the digital distorsion? " ContentLicense="CC BY-SA 2.5" />
  <row Id="990" PostHistoryTypeId="1" PostId="631" RevisionGUID="34da2e4b-fcec-4de8-8915-f76c7f8cf619" CreationDate="2010-04-11T10:00:29.573" UserId="216" Text="How to clean a digitally-distorded recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="991" PostHistoryTypeId="3" PostId="631" RevisionGUID="34da2e4b-fcec-4de8-8915-f76c7f8cf619" CreationDate="2010-04-11T10:00:29.573" UserId="216" Text="&lt;digital&gt;&lt;conversion&gt;&lt;distorsion&gt;&lt;cleaning&gt;&lt;tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="992" PostHistoryTypeId="2" PostId="632" RevisionGUID="cf142696-4b9a-4d0b-b7e5-0b9633ace754" CreationDate="2010-04-11T11:39:27.740" UserId="62" Text="iZotope's RX software is an excellent suite of Noise Reduction tools. They all work really rather well. However, two of them stand out for me as for background noise over dialogue it doesn't compete with the likes of Cedar.&#xD;&#xA;&#xD;&#xA;DeClipper - it is able to extrapolate a clipped waveform, therefore removing distortion from a recording. It is quite amazing and does a great job. Now, it doesn't work 100% of the time, especially if the entire recording is distorted. e.g. bust stylus on a record player.&#xD;&#xA;&#xD;&#xA;My other favourite is the Spectral Analyzer. Being able to see a graph that displays time and frequency has been a real eye opener and I've been able to use takes that would otherwise sound awful and turn them into perfectly usable ones.&#xD;&#xA;&#xD;&#xA;http://izotope.com/products/audio/rx&#xD;&#xA;&#xD;&#xA;There's a demo available and the basic version costs $350.&#xD;&#xA;&#xD;&#xA;Hope this helps and good luck.&#xD;&#xA;&#xD;&#xA;Ian&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="993" PostHistoryTypeId="2" PostId="633" RevisionGUID="684843d9-ded5-4372-90ac-3fb2243cd8fd" CreationDate="2010-04-11T11:47:55.253" UserId="62" Text="Nick,&#xD;&#xA;&#xD;&#xA;I've been working on a show that was shot on greenscreen in a soundstage. Fine for the indoor scenes but some take place outside.&#xD;&#xA;&#xD;&#xA;From a little searching I found a plugin called [De-Verb][1] made by SPL. I use it as a plugin and automate it during the mix as sometimes I can get away with less of it when there's lots of sound and music going on.&#xD;&#xA;&#xD;&#xA;Have to say I've been really impressed. It works really well, unless you push it too far then it starts to destroy the dialogue. If used subtly then the results are quiet excellent. Best of all it only cost €60/$80.&#xD;&#xA;&#xD;&#xA;Ian&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.spl.info/en/software/microplugs/de-verb.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="994" PostHistoryTypeId="2" PostId="634" RevisionGUID="1abb5c1a-bc04-490f-b0d5-5fa96d45299b" CreationDate="2010-04-11T12:52:23.707" UserId="2" Text="Also +1 for [iZotope's RX][1]. I just had to use in a mix archive footage of terrible quality. It was very noisy and mostly clipped. I used both the [denoiser][2] and and the [declipper][3] and achieved some good results. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://izotope.com/products/audio/rx/#features&#xD;&#xA;  [2]: http://izotope.com/products/audio/rx/__denoiser.html&#xD;&#xA;  [3]: http://izotope.com/products/audio/rx/__declipper.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="995" PostHistoryTypeId="6" PostId="626" RevisionGUID="f1752be2-0a5a-4432-bd74-4a4af1bd9061" CreationDate="2010-04-11T13:13:41.823" UserDisplayName="user80" Comment="edited tags" Text="&lt;instruments&gt;&lt;sound-design&gt;&lt;survey&gt;&lt;musician&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="996" PostHistoryTypeId="2" PostId="635" RevisionGUID="8b18ab7c-10a0-4c74-8739-1e16685de104" CreationDate="2010-04-11T17:04:17.320" UserId="90" Text="Cool Edit/Adobe Audition has a Clip Restoration tool." ContentLicense="CC BY-SA 2.5" />
  <row Id="997" PostHistoryTypeId="2" PostId="636" RevisionGUID="9e7b404f-12cb-41fc-8d47-b2c98ee5dae9" CreationDate="2010-04-11T20:29:40.857" UserId="100" Text="I've got an independent short film project where I'm the only sound person involved. I've had to do everything from pre-production to post. What would be appropriate for credit(s)? Is there a blanket-term for someone who performs multiple roles?" ContentLicense="CC BY-SA 2.5" />
  <row Id="998" PostHistoryTypeId="1" PostId="636" RevisionGUID="9e7b404f-12cb-41fc-8d47-b2c98ee5dae9" CreationDate="2010-04-11T20:29:40.857" UserId="100" Text="Appropriate Film Credits" ContentLicense="CC BY-SA 2.5" />
  <row Id="999" PostHistoryTypeId="3" PostId="636" RevisionGUID="9e7b404f-12cb-41fc-8d47-b2c98ee5dae9" CreationDate="2010-04-11T20:29:40.857" UserId="100" Text="&lt;independent-film&gt;&lt;credit&gt;&lt;production-mixing&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1000" PostHistoryTypeId="2" PostId="637" RevisionGUID="d5bbff66-050c-4712-8a9c-7e8a82e29e25" CreationDate="2010-04-11T20:46:22.750" UserId="2" Text="I'm also a drummer, although lately I haven't really been playing. I never had proper musical training, but I don't feel like I'm missing out. If anything, using my gut feeling rather than theory might be well suited to my personality. I tend to think logically about the story, but then let the process of designing the sound happen organically. &#xD;&#xA;&#xD;&#xA;That said, to answer your question, when the project calls for it I do feel that my penchant for rhythm influences my design. Actually, now that I think about it, I just spent today designing the sound for an animation where the whole thing was heavily rhythmic and full of percussion instruments :-) " ContentLicense="CC BY-SA 2.5" />
  <row Id="1001" PostHistoryTypeId="2" PostId="638" RevisionGUID="87ca29eb-7c9c-429f-8cb4-2eaeb9444783" CreationDate="2010-04-11T20:50:07.757" UserId="2" Text="I think *sound designer* would be what you're looking for. It's the blanket term for the person in charge of the sound. Especially if it's an independent film where you a one-man department. " ContentLicense="CC BY-SA 2.5" />
  <row Id="1002" PostHistoryTypeId="2" PostId="639" RevisionGUID="4fa7c11c-214e-4bc3-b5d2-151b8b8e7bf5" CreationDate="2010-04-11T21:53:18.473" UserId="118" Text="I'd have thought that simply putting 'Sound' would cover all bases? I still think of 'sound designer' as a post term for a sound fx designer rather than the way many people see it which is as some sort of sound director or supervisor. " ContentLicense="CC BY-SA 2.5" />
  <row Id="1003" PostHistoryTypeId="2" PostId="640" RevisionGUID="dce0b395-7aba-4dc1-a5dd-43ad374bb4d9" CreationDate="2010-04-11T23:13:51.613" UserId="29" Text="I think some knowledge of music theory can't hurt, but I certainly don't think it's a prerequisite. I think a lot people with backgrounds as engineers sublimate a lot of musical knowledge from constant exposure to it without getting any formal training, forming a more intuitive sense of what works/doesn't work for mixing, music, rhythm, and more.&#xD;&#xA;&#xD;&#xA;In response to your very first question, I've played saxophone, guitar, and piano, for many years at various levels of averageness and ineptitude." ContentLicense="CC BY-SA 2.5" />
  <row Id="1004" PostHistoryTypeId="2" PostId="641" RevisionGUID="77f39738-2e16-4238-80f8-5e16092d357c" CreationDate="2010-04-12T01:10:27.350" UserDisplayName="user49" Text="I'd ask for two credits&#xD;&#xA;&#xD;&#xA;- production sound recordist or mixer&#xD;&#xA;listed with the production crew&#xD;&#xA;&#xD;&#xA;- sound editor&#xD;&#xA;listed with post production&#xD;&#xA;&#xD;&#xA;Its not unheard of to have 2 credits, maybe check on IMDb to see what other people have done... if other film film makers see the credits and are looking for someone for either role then it would work better for you than one term to cover both, which doesn't exist afaik" ContentLicense="CC BY-SA 2.5" />
  <row Id="1005" PostHistoryTypeId="2" PostId="642" RevisionGUID="051a076d-19ec-4609-9854-095deef2cae5" CreationDate="2010-04-12T01:18:57.950" UserDisplayName="user49" Text="I'm a bassplayer (electric &amp; double bass) - also piano, synth, melodica, basic drums &amp; guitar...&#xD;&#xA;&#xD;&#xA;I think having good relative pitch &amp; a sense of rhythm is hugely beneficial to sound editing/design, both for its own sake &amp; also collaborating with composers, pitching FX to relative to score etc... &#xD;&#xA;&#xD;&#xA;I was reading a book about music &amp; the brain, and one benefit of music lessons as a child that it sited was that it also trains your ear to listen - which is beneficial irrespective of if you ever play that instrument again as an adult... And it is self evident that critical listening is a hugely important skill which not everyone has - some people just hear a sound &amp; cannot discern individual elements etc...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1006" PostHistoryTypeId="2" PostId="643" RevisionGUID="a6ddf817-b715-444b-b9b9-5555426803e3" CreationDate="2010-04-12T05:14:42.107" UserId="61" Text="Depending on your budget there are several noise reduction tools you can try:&#xD;&#xA;&#xD;&#xA;1. [Z-Noise][1] from Waves. Does a great job at a reasonable price but the algorithm doesn't hold up very well against too much reduction (ie. your dialog will start to sound &quot;underwater&quot;)&#xD;&#xA;&#xD;&#xA;2. [WNS][2] from Waves. More advanced than Z-Noise, approaching the quality of a CEDAR. Is very impressive, but beware dialog pumping from too much processing.&#xD;&#xA;&#xD;&#xA;3. [CEDAR][3]. It's what the pros use. Very expensive, but if you can borrow one for a while or if you know someone who owns once and can do a test-pass on some of your material it would be worth your while.&#xD;&#xA;&#xD;&#xA;Best of luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waves.com/Content.aspx?id=259&#xD;&#xA;  [2]: http://www.waves.com/Content.aspx?id=9943&#xD;&#xA;  [3]: http://www.cedar-audio.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1007" PostHistoryTypeId="2" PostId="644" RevisionGUID="37f01ef4-9524-4e5e-9f74-dec4cd25fee4" CreationDate="2010-04-12T05:20:53.983" UserId="61" Text="Try the [Waves Restoration][1] tools. X-Click and X-Crackle are your friend for repairing transient distortion and digital (or analog) clicks and static. I believe there is a demo available.&#xD;&#xA;&#xD;&#xA;If you have longer bits of distortion, however, you may be out of luck as no software package will be able to extrapolate entire passages of audio from the surrounding regions.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waves.com/Content.aspx?id=197" ContentLicense="CC BY-SA 2.5" />
  <row Id="1008" PostHistoryTypeId="2" PostId="645" RevisionGUID="da975eb6-124e-49fc-aca5-824feddfc617" CreationDate="2010-04-12T05:25:45.847" UserId="61" Text="You are firmly entrenched in a gray area. The terms that come to my mind regarding film credit are *Supervising Sound Editor* (traditional) or *Supervising Sound Designer* (more contemporary), although I really like the simplicity of *Sound* or *Sound Design*.&#xD;&#xA;&#xD;&#xA;To tag on to Tim's answer, indeed is not uncommon to have more than one credit, so you should feel free to award yourself as many titles as you see appropriate. " ContentLicense="CC BY-SA 2.5" />
  <row Id="1009" PostHistoryTypeId="2" PostId="646" RevisionGUID="5331da6d-04ee-46ab-a93d-5b1ba06a7549" CreationDate="2010-04-12T05:57:51.397" UserId="61" Text="If money were no object I'm sure we would all be recording our stuff with the highest-end gear at the highest bit &amp; sample rates. But when it comes down to the real world, most of that super-high detail is converted down to 24bit/48kHz and jammed into an already full soundtrack of music, dialog, foley and sound effects. Which begs the question: How useful are your &quot;budget&quot; recordings? IMO, a well-recorded sound is a useful sound, no matter the mic or the medium. So much of the success depends on the context in which the sound is used.&#xD;&#xA;&#xD;&#xA;Rather than a discussion of the pros and cons of high-end or low-end gear, I'd love to hear success stories of your guerrilla recordings actually making it all the way through to the final mix of your film (or other project)." ContentLicense="CC BY-SA 2.5" />
  <row Id="1010" PostHistoryTypeId="1" PostId="646" RevisionGUID="5331da6d-04ee-46ab-a93d-5b1ba06a7549" CreationDate="2010-04-12T05:57:51.397" UserId="61" Text="Usefulness of &quot;guerrilla&quot; vs. &quot;pro&quot; recordings" ContentLicense="CC BY-SA 2.5" />
  <row Id="1011" PostHistoryTypeId="3" PostId="646" RevisionGUID="5331da6d-04ee-46ab-a93d-5b1ba06a7549" CreationDate="2010-04-12T05:57:51.397" UserId="61" Text="&lt;recording&gt;&lt;field-recording&gt;&lt;film&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1012" PostHistoryTypeId="2" PostId="647" RevisionGUID="022b48e2-9519-4244-aa30-eba8713c642e" CreationDate="2010-04-12T08:22:42.543" UserId="62" Text="I'm agreeing with all the guys above, it's not a requirement but it can be highly beneficial.&#xD;&#xA;&#xD;&#xA;I studied music at University before I did an MA in Sound for film and it certainly helped me. It will give you a link between emotion and sound, certainly useful in story telling. It will also help train your ear. Honing your skills in analytical listening and being able to break apart music into its constituent parts is extremely useful.&#xD;&#xA;&#xD;&#xA;I personally focused on composition and music technology. Put me on a stage with an instrument and I'll fall apart, even though I got quite good. Composition was especially useful as not only does it help train your hearing through analysis it also gave me an appreciation of structure but also the arrangement. Why do 150 odd people in a full orchestra and choir sound so good, cohesive and not at all muddy? It's because thought was applied to how each section interacts with each other, both horizontally (what note is played in relation to the one before and after) and vertically (what instruments are playing which note at the same time? What will that sound like combined and which instrument is the most important and should play loudest out of the group).&#xD;&#xA;&#xD;&#xA;It is things like this that help inform my work in sound.&#xD;&#xA;&#xD;&#xA;Also isn't post production sound an alternative career for us failed musicians? :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1013" PostHistoryTypeId="2" PostId="648" RevisionGUID="908e92f0-ee92-43bb-8043-ad6d991fe8a4" CreationDate="2010-04-12T09:32:51.790" UserId="219" Text="Hi,&#xD;&#xA;&#xD;&#xA;I recently worked on a self-funded (no budget) project and I am looking for feedback on my work. A questionnaire is online for you to fill in. Below, you can find three links; a link to the finished movie (1), a link to the picture edit before any audio post work was carried out (2) and a link to a questionnaire I would ask you to fill in (3).&#xD;&#xA;&#xD;&#xA;For reasons you will understand, the director does not want the movie to be openly distributed. Both videos are password protected and you will therefore need to send me a private message before I can send you the password to watch the video.&#xD;&#xA;&#xD;&#xA;However, I am monitoring my emails most of the day and am quite responsive (within 10 minutes in average) so please ask for access! Thanks in advance for your time and comments.&#xD;&#xA;&#xD;&#xA;(1) [Final Version (after postproduction)][1]&#xD;&#xA;&#xD;&#xA;(2) [Picture Edit and OMF (before postproduction)][2]&#xD;&#xA;&#xD;&#xA;(3) [Feedback Sheet (questionnaire)][3]&#xD;&#xA;&#xD;&#xA;Any comment is appreciated!&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/10400372&#xD;&#xA;  [2]: http://vimeo.com/10402932&#xD;&#xA;  [3]: https://spreadsheets.google.com/viewform?formkey=dGRkMkd0NG9EVl8ya2VDTGZOem9MYVE6MA" ContentLicense="CC BY-SA 2.5" />
  <row Id="1014" PostHistoryTypeId="1" PostId="648" RevisionGUID="908e92f0-ee92-43bb-8043-ad6d991fe8a4" CreationDate="2010-04-12T09:32:51.790" UserId="219" Text="Loneliness Lies in Twos - Looking for Feedback" ContentLicense="CC BY-SA 2.5" />
  <row Id="1015" PostHistoryTypeId="3" PostId="648" RevisionGUID="908e92f0-ee92-43bb-8043-ad6d991fe8a4" CreationDate="2010-04-12T09:32:51.790" UserId="219" Text="&lt;post-production&gt;&lt;postproduction&gt;&lt;editing&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1016" PostHistoryTypeId="6" PostId="648" RevisionGUID="4632821d-9990-40b6-9993-d83aa0a328c4" CreationDate="2010-04-12T10:12:14.823" UserId="2" Comment="added 'feedback' tag" Text="&lt;post-production&gt;&lt;postproduction&gt;&lt;editing&gt;&lt;mix&gt;&lt;feedback&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1017" PostHistoryTypeId="2" PostId="649" RevisionGUID="c7c15a5e-770d-4976-acd2-96cbc60d1932" CreationDate="2010-04-12T10:27:34.363" UserId="219" Text="I think the DT770's are ok however I own a pair of DT770 M's. The M's tended to crush my skull a little bit but they got softer with the time. I play the drums, which is why I decided to go with these rather than the 770's.&#xD;&#xA;&#xD;&#xA;I recently used my M's for dialogue recording on a short (Loneliness Lies in Twos, I posted about it earlier today) and I could still sometimes be bothered by background noise despite the pretty good isolation of the headphones. I then tried the 770's and found they isolate a lot less than the M's, therefore if I had the choice between DT770's or DT770 M's for field recording, I would go for the M's for the better isolation." ContentLicense="CC BY-SA 2.5" />
  <row Id="1018" PostHistoryTypeId="2" PostId="650" RevisionGUID="07d04783-883d-4af3-9910-92013ded40a2" CreationDate="2010-04-12T10:58:41.020" UserId="103" Text="I would gladly fill out the questionnaire.&#xD;&#xA;If you can shoot me an email at filipe.chagas@gmail.com  " ContentLicense="CC BY-SA 2.5" />
  <row Id="1019" PostHistoryTypeId="2" PostId="651" RevisionGUID="88a688d6-93d8-433e-a043-a376182b7ab1" CreationDate="2010-04-12T11:12:32.277" UserId="2" Text="Great idea... Would love to! andrew [at] soundplusdesign [dot] com" ContentLicense="CC BY-SA 2.5" />
  <row Id="1020" PostHistoryTypeId="2" PostId="652" RevisionGUID="0e9e1edf-a6f2-4da4-ace3-5f9405fb1508" CreationDate="2010-04-12T12:28:23.543" UserDisplayName="user80" Text="I have just completed the survey, well done on an excellent start." ContentLicense="CC BY-SA 2.5" />
  <row Id="1021" PostHistoryTypeId="2" PostId="653" RevisionGUID="b2425136-3ec8-481a-94d1-1c951d2acde8" CreationDate="2010-04-12T13:50:16.993" UserId="220" Text="Sounds good.  Email me at (colin at vcprod . com)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1022" PostHistoryTypeId="2" PostId="654" RevisionGUID="fd125f00-ea5e-4b2d-91c8-1d2945270f32" CreationDate="2010-04-12T14:05:38.867" UserId="220" Text="I've played guitar for many years.  It's hard to say how much it influences how I work or if it just made me more aware of my ear.&#xD;&#xA;&#xD;&#xA;I went from guitar player, to live sound mixer, to production film mixer, to post production mixer.  I think along the way, everything I've picked up has helped me form the tool set that I have now." ContentLicense="CC BY-SA 2.5" />
  <row Id="1023" PostHistoryTypeId="2" PostId="655" RevisionGUID="2280fc8a-e4f4-42ae-be1d-409d121c68c5" CreationDate="2010-04-12T14:16:41.463" UserId="220" Text="It sounds like you're trying to get rid of echo, not noise specifically.&#xD;&#xA;&#xD;&#xA;**Echo** Other than clipped audio, it's one of the hardest things to fix. The reflections are coming in at the same frequency as the vocals, so you can't EQ them out.  Try setting a noise gate pretty agressively so you can get just the higher level vocals, not the reflections.&#xD;&#xA;&#xD;&#xA;**Noise** For noise reduction, as birdhousesound has pointed out, there are lots of very nice tools.  Most of what I come across I can fix with Adobe Audition 3.0's built in adaptive noise reduction.  It's a great tool bundled with a reasonably priced software.  Adobe's help files have good instructions on how to avoid the warbly/underwater sounds.&#xD;&#xA;&#xD;&#xA;Can you possibly post a short clip so we can hear what you're hearing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1024" PostHistoryTypeId="2" PostId="656" RevisionGUID="fe269a30-9487-4071-b880-e3ca5be09b41" CreationDate="2010-04-12T14:40:13.893" UserId="219" Text="I second VCProd. My experience is little however I worked on a 13 minutes movie with roomy sound, and I went about it as follows:&#xD;&#xA;&#xD;&#xA; - I first EQed out critical reverberation frequency. If you have a not-too-long-to-come reverberation (which is the case in normal size rooms as opposed to cathedrals), the frequencies the room accentuates will be heard as the talent is emitting sound. What happens? For this particular freq, well there is twice more! The amount of freq from the voice plus the reverb. You can tame that down and you'll lose some echo without impairing the body of the voice too much.&#xD;&#xA;&#xD;&#xA; - you then expand. Set your expander so that it glides down at the end of the words of the character. If I was to paint what I'm trying to explain, I'll paint the side of a mountain with a person and a kite gliding down, 3 feet off the ground, accompanying the shape of the terrain all the way down. Well, the mountain is the waveform of your voice, and the kite is your expander accompanying the waveform in its rises and its falls from very close.&#xD;&#xA;&#xD;&#xA;The production tracks I got were hyper roomy and I tamed them! The funny thing is that I was just suggested to add a little bit more reverb. Well, I'll just have my kite flying a little higher :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1025" PostHistoryTypeId="2" PostId="657" RevisionGUID="22cbbadb-b2f9-4ab5-8b73-7600a646803c" CreationDate="2010-04-12T15:13:50.530" UserId="46" Text="To echo Tim, I would probably do multiple titles - &quot;Production Sound&quot; and then &quot;Supervising Sound Editor/Re-recording Mixer&quot; - might be worth checking out what other &quot;multiple hat wearers&quot; are doing as well... was the director also the DP, for instance, and how is he/she wanting to be credited?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1026" PostHistoryTypeId="2" PostId="658" RevisionGUID="9c6dc7cf-2b13-4ed9-a674-733c7f059232" CreationDate="2010-04-12T15:41:04.480" UserId="220" Text="When I do multiple sound-related duties for a project, I usually just ask for one credit specific to what I am focus on.  &quot;Sound Editor&quot; is usually what I ask for.&#xD;&#xA;&#xD;&#xA;Maybe I'm the only one, but when I see multiple credits for one person, it gives me a negative feeling towards the project.  Perhaps it's all the terrible movies I watch on &quot;watch it now&quot; that have one person as the writer, director, editor, and star! I don't think it's fair to categorize sound like this, because on a low budget project it makes sense to have someone who knows sound to do all of it.  On short films, I prefer to be the production recordist or boom op when I'm going to do the post production.  But I digress....&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1027" PostHistoryTypeId="2" PostId="659" RevisionGUID="973e87e0-2f36-4bfc-9daf-6404d2287577" CreationDate="2010-04-12T16:04:50.353" UserId="2" Text="What are the exact tasks that a sound effects editor is expected to fulfill? Apart from choosing the effect and editing it, are we expected to also mix, place the SFX in a space, EQ to context, etc.? I'm in a smaller team so I do a lot more than just edit, but it's sometimes had for me to know the expected boundaries from one team member to the next. &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 2.5" />
  <row Id="1028" PostHistoryTypeId="1" PostId="659" RevisionGUID="973e87e0-2f36-4bfc-9daf-6404d2287577" CreationDate="2010-04-12T16:04:50.353" UserId="2" Text="What is expected from a sound effects editor? " ContentLicense="CC BY-SA 2.5" />
  <row Id="1029" PostHistoryTypeId="3" PostId="659" RevisionGUID="973e87e0-2f36-4bfc-9daf-6404d2287577" CreationDate="2010-04-12T16:04:50.353" UserId="2" Text="&lt;sound-effects&gt;&lt;editing&gt;&lt;team&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1030" PostHistoryTypeId="2" PostId="660" RevisionGUID="83486081-a235-4df1-8559-b39d17f37eb3" CreationDate="2010-04-12T16:15:31.110" UserId="103" Text="Generally speaking, you would just place your layers on the timeline and do a very rough mix, just overall volume so that the effects don't blow everybody's head of on the screenings and stuff.&#xD;&#xA;For the drastic &quot;special&quot; stuff you can print reverbs and stuff on a different track to &quot;tell&quot; the mixer what your idea was.&#xD;&#xA;&#xD;&#xA;But in the end it all depends on the project, you should check with the sound editing supervisor and/or with the mixer." ContentLicense="CC BY-SA 2.5" />
  <row Id="1031" PostHistoryTypeId="2" PostId="661" RevisionGUID="868cbbf7-cbdf-4389-9eae-9d331609fea7" CreationDate="2010-04-12T18:09:21.077" UserId="219" Text="Hi everyone, sudden thought: is it &quot;textures&quot; I like?&#xD;&#xA;&#xD;&#xA;I know in the game industry a texture is not different from a texture in CGI, it's just something that covers a certain area (in our case an auditory area, which I imagine being measured on multiple scales at once; time, bandwidth, level, etc.).&#xD;&#xA;&#xD;&#xA;Now what I am talking about is how a sound is perceived by a person and how it feels to us. For example, I love John Petrucci's guitar sound because it sounds both gritty and very smooth (if you know Dream Theater's song [The Glass Prison][1]). It feels both solid and liquid.&#xD;&#xA;&#xD;&#xA;Am I describing what we would call the &quot;texture&quot; of a sound?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch#!v=P0wk7pw5pqA" ContentLicense="CC BY-SA 2.5" />
  <row Id="1032" PostHistoryTypeId="1" PostId="661" RevisionGUID="868cbbf7-cbdf-4389-9eae-9d331609fea7" CreationDate="2010-04-12T18:09:21.077" UserId="219" Text="What term am I looking for?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1033" PostHistoryTypeId="3" PostId="661" RevisionGUID="868cbbf7-cbdf-4389-9eae-9d331609fea7" CreationDate="2010-04-12T18:09:21.077" UserId="219" Text="&lt;texture&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1034" PostHistoryTypeId="2" PostId="662" RevisionGUID="f17db567-c193-4a84-b2cd-1f8ec2c29c62" CreationDate="2010-04-12T18:32:44.387" UserId="40" Text="I would say that is accurate.  Or you could say &quot;Timbre&quot; (pronounced Tamber) &quot;tone&quot;, etc...&#xD;&#xA;&#xD;&#xA;Texture seems more of an encompassing term though.&#xD;&#xA;&#xD;&#xA;When it comes to sound, I've heard a bunch of weird adjectives; Blue, green, shiny, bubbley, shimmery, etc...  Producers come up with some interesting ones...  Pretty much anything goes as long as the person you're talking to understands you..." ContentLicense="CC BY-SA 2.5" />
  <row Id="1035" PostHistoryTypeId="2" PostId="663" RevisionGUID="fd5f106d-7ecf-4b2d-b836-907b952b6e3f" CreationDate="2010-04-12T18:39:21.190" UserId="37" Text="This is pretty subjective. I'd say we can talk about &quot;character&quot; in broad terms, where &quot;texture&quot; is one of a few things that define it. Much of how we perceive a sound is defined by the transient part in the beginning (&quot;crispness&quot;? &quot;contrast&quot;?), as well as the &quot;space&quot; context of the sound (e.g. the way it echoes out if it does at all). Then there's the internal motion of a sound that can change its texture from one to another...&#xD;&#xA;&#xD;&#xA;The beauty of audio is how interconnected these things are ;)  I'm a big fan of textures. A sound with a great texture can feed my imagination and sparkle creativity out of nowhere. And having said all of the above, I'd go with &quot;texture&quot; just like you.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1036" PostHistoryTypeId="2" PostId="664" RevisionGUID="8ed31747-e7dd-4d04-971f-77af4c0d97d1" CreationDate="2010-04-12T19:20:47.020" UserDisplayName="user49" Text="It depends on the project &amp; the team: thats part of collaboration&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;- spot the requirements/intent with director &amp; supervisor&#xD;&#xA;- research &amp; source sounds&#xD;&#xA;- record sound effects &amp; ambiences, in studio &amp; on location&#xD;&#xA;- inherit &amp; prepare any production sound effects from dialogue editor, along with checking alt takes&#xD;&#xA;- edit &amp; prepare sound effects &amp; ambiences&#xD;&#xA;- volume graph/balance your work so it plays coherently&#xD;&#xA;- cut for perspective and panning where appropriate&#xD;&#xA;- conform your work to new picture cuts&#xD;&#xA;- seek feedback &amp; approval from director via supervisor&#xD;&#xA;- coordinate with foley on any sounds that may overlap&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In my experience, EQ is best left for the predub when it is done in a mix facility (EQ on nearfield is quite different to on film dub stage) unless the EQ is essential for the sound to function (eg removing wind rumble)&#xD;&#xA;&#xD;&#xA;Same goes for reverb, although for temp mixes (or again where it is crucial for the sound to function) printing reverbs in some cases can be helpful, even just as a guide&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1037" PostHistoryTypeId="2" PostId="665" RevisionGUID="58c778cd-e30b-4749-96a9-8c6fec4ec37d" CreationDate="2010-04-12T19:56:28.523" UserId="221" Text="This is a no brainer the Sony MDR7509. Great in all sorts of settings, clean and trustworthy, well worth the price." ContentLicense="CC BY-SA 2.5" />
  <row Id="1038" PostHistoryTypeId="2" PostId="666" RevisionGUID="a5ffcf63-60fd-41f9-b5f3-e24126e25eb6" CreationDate="2010-04-12T20:01:15.143" UserId="222" Text="Izotope Rx has saved many a project around the office." ContentLicense="CC BY-SA 2.5" />
  <row Id="1039" PostHistoryTypeId="2" PostId="667" RevisionGUID="15996993-36e1-4720-90c3-538e58ffdba2" CreationDate="2010-04-12T20:01:44.230" UserId="221" Text="Waves De-crackle does an OK job of helping to repair clipped audio but the iZotope RX is brilliant. It has saved many of my clients lives. I did a series of shootouts and reviews in Sound on Sound a while back.&#xD;&#xA;&#xD;&#xA;http://www.soundonsound.com/sos/aug05/articles/ptrestoration.htm&#xD;&#xA;&#xD;&#xA;http://www.soundonsound.com/sos/nov07/articles/restoration2.htm&#xD;&#xA;&#xD;&#xA;http://www.soundonsound.com/sos/jul08/articles/izotoperx.htm&#xD;&#xA;&#xD;&#xA;Hope that  helps,&#xD;&#xA;&#xD;&#xA;Mike." ContentLicense="CC BY-SA 2.5" />
  <row Id="1040" PostHistoryTypeId="2" PostId="668" RevisionGUID="57de1e9d-615b-4dad-afb3-43e5ed8ac1fb" CreationDate="2010-04-12T20:10:25.167" UserId="221" Text="I would argue it is very hard to mix music without having a good understanding of the theory and structure of music in terms of rhythm, bass, harmony and melody. Being able to play an instrument is an added advantage as it helps you to communicate effectively with the musicians and to be able to read music is even better so that when there is an issue or you need to edit, referring to the score can make it much easier. So basic theory, non-negotiable, playing helps and reading music helps some more.&#xD;&#xA;&#xD;&#xA;Mike." ContentLicense="CC BY-SA 2.5" />
  <row Id="1041" PostHistoryTypeId="2" PostId="669" RevisionGUID="f7f907d7-02a1-4758-b792-60b1fb00f130" CreationDate="2010-04-12T20:14:55.213" UserId="221" Text="Consider your sound palette. Let me give you an example. I mixed and edited a programme for just this sort of setting and the video had a lot of seaside shots, so in the studio I laid up appropriate sea wash sound effects and it all sounded fine. I had the option to do the final mix 'in-situ' before uploading it to the venues playout system and what I found was that the sea wash was lost in the noise of the venue. So I replaced it with seagulls which had the same signposting effect but unlike the sea wash cut through the noise of the venue.&#xD;&#xA;&#xD;&#xA;Hope that helps,&#xD;&#xA;&#xD;&#xA;Mike.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1042" PostHistoryTypeId="2" PostId="670" RevisionGUID="edbaaa4e-4b46-463c-a9fb-8db66e5ad7b4" CreationDate="2010-04-12T20:20:12.087" UserDisplayName="user80" Text="Just add sonic in front of it and almost everyone will understand you.  &#xD;&#xA;&#xD;&#xA;Timbre normally refers to the balance of harmonics within a single sound source or group of related sources.  Whereas texture includes a more complex range of sources normally with different timings and intensities (ADSR, Attack Decay, Sustain, Release)." ContentLicense="CC BY-SA 2.5" />
  <row Id="1043" PostHistoryTypeId="6" PostId="659" RevisionGUID="c19d2590-ffe6-4431-b6ca-5c311363651e" CreationDate="2010-04-12T20:22:21.117" UserDisplayName="user80" Comment="edited tags" Text="&lt;sound-effects&gt;&lt;editing&gt;&lt;team&gt;&lt;sfx&gt;&lt;roles&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1044" PostHistoryTypeId="6" PostId="69" RevisionGUID="046024d3-cc04-4122-9933-85062b670b7f" CreationDate="2010-04-12T20:24:01.990" UserDisplayName="user80" Comment="edited tags" Text="&lt;noise-reduction&gt;&lt;processing&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1045" PostHistoryTypeId="6" PostId="648" RevisionGUID="49420747-2934-4f8b-8773-ca3d22698e4d" CreationDate="2010-04-12T20:24:34.110" UserDisplayName="user80" Comment="edited tags" Text="&lt;post-production&gt;&lt;editing&gt;&lt;mix&gt;&lt;feedback&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1046" PostHistoryTypeId="6" PostId="648" RevisionGUID="63a02156-2ea1-4cff-9642-594588b59f95" CreationDate="2010-04-12T20:25:14.407" UserDisplayName="user80" Comment="edited tags" Text="&lt;post-production&gt;&lt;editing&gt;&lt;mix&gt;&lt;feedback&gt;&lt;survey&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1047" PostHistoryTypeId="5" PostId="670" RevisionGUID="d708d0a3-52fc-43f9-90fa-0866ee34cdbd" CreationDate="2010-04-12T20:45:36.947" UserDisplayName="user80" Comment="deleted 258 characters in body; added 30 characters in body" Text="Just add sonic in front of it the first time you mention it and almost everyone will understand you.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="1048" PostHistoryTypeId="2" PostId="671" RevisionGUID="2a33ea48-42bf-41c4-8d4d-cc946a580fae" CreationDate="2010-04-12T21:16:00.330" UserId="61" Text="Very gray area here. In the strictest sense of the job description, a sound effects editor is expected to take sounds that have been pre-pulled for him by his supervising sound edtior and edit them against the picture. *That's it*. Anything else and you're not really talking about a sound effects editor anymore - at least, not in the most traditional way.&#xD;&#xA;&#xD;&#xA;What sound effects editors are expected to do nowadays is quite different from what it used to be; it's really an amalgamation of all the disciplines, from recording sounds to designing new sounds to basic mixing and advanced mixing. This requires knowledge of and experience with microphones, recording techniques, librarian skills, sound editorial, sound synthesis and sampling, reverbs and EQ techniques, mixing and mastering.&#xD;&#xA;&#xD;&#xA;This is the case with both big budget and independent films, in my experience." ContentLicense="CC BY-SA 2.5" />
  <row Id="1049" PostHistoryTypeId="2" PostId="672" RevisionGUID="2a8f0bb8-6643-4040-81d6-7d01ed969af1" CreationDate="2010-04-13T00:41:33.573" UserId="152" Text="I have been lucky enough to have used almost every product in the arsenal and there is no one-stop noise removal tool in my opinion.&#xD;&#xA;&#xD;&#xA;Izotope RX is probably the best bang for the buck. The stand alone version is absolutely amazing though the plugin-in version is not as powerful and requires an extreme amount of DSP.&#xD;&#xA;&#xD;&#xA;Waves Restoration is very powerful as both plug-ins and an audio-suite application. When I have a large project with a large amount of pops and clicks I revert to insert versions of X-Click and X-Noise.&#xD;&#xA;&#xD;&#xA;The king of ambiance/dialogue cleanup for year has been the Ceder DNS, which is extremely powerful and efficient in DSP usage as it is an external box, which is probably also its greatest weakness as you cannot us it unless you have an interface that can handle AES in/outs.&#xD;&#xA;&#xD;&#xA;The new Waves DNS plug-in is in my opinion 95% as powerful as the Ceder box but does not require external processing and can be used on as many tracks as you like, where the Ceder is limited to an AES pair.&#xD;&#xA;&#xD;&#xA;I personally own Waves Restoration and Izotop RX. Though next year when I upgrade my Waves and grab the DNS plug I will rely mostly on the Waves plug-ins and sell my RX...&#xD;&#xA;&#xD;&#xA;As always, my 2-cents,&#xD;&#xA;&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="1050" PostHistoryTypeId="2" PostId="673" RevisionGUID="c4374e0c-a846-4fce-b39a-a0ead4cb1e95" CreationDate="2010-04-13T03:38:45.133" UserId="224" Text="Can't read it. Red/Green colour blind here.&#xD;&#xA;&#xD;&#xA;So, anyone want to share what the shirt says?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1051" PostHistoryTypeId="5" PostId="672" RevisionGUID="06377f50-32b3-4e8b-9b72-d0c8fdfe0444" CreationDate="2010-04-13T05:08:13.940" UserId="152" Comment="added 2 characters in body" Text="I have been lucky enough to have used almost every product in the arsenal and there is no one-stop noise removal tool in my opinion.&#xD;&#xA;&#xD;&#xA;Izotope RX is probably the best bang for the buck. The stand alone version is absolutely amazing though the plugin-in version is not as powerful and requires an extreme amount of DSP.&#xD;&#xA;&#xD;&#xA;Waves Restoration is very powerful as both plug-ins and an audio-suite application. When I have a large project with a large amount of pops and clicks I revert to insert versions of X-Click and X-Noise.&#xD;&#xA;&#xD;&#xA;The king of ambiance/dialogue cleanup for years has been the Ceder DNS, which is extremely powerful and efficient in DSP usage as it is an external box, which is probably also its greatest weakness as you cannot use it unless you have an interface that can handle AES in/outs.&#xD;&#xA;&#xD;&#xA;The new Waves DNS plug-in is in my opinion 95% as powerful as the Ceder box but does not require external processing and can be used on as many tracks as you like, where the Ceder is limited to an AES pair.&#xD;&#xA;&#xD;&#xA;I personally own Waves Restoration and Izotop RX. Though next year when I upgrade my Waves and grab the DNS plug I will rely mostly on the Waves plug-ins and sell my RX...&#xD;&#xA;&#xD;&#xA;As always, my 2-cents,&#xD;&#xA;&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="1052" PostHistoryTypeId="2" PostId="674" RevisionGUID="0069e0d5-0218-4f6f-8a83-451f7b831936" CreationDate="2010-04-13T05:19:12.923" UserId="198" Text="I recently went for a Benro TRA068 which looks similar to that Hahnel posted above. So far I'm satisfied with it. I like it because it can be used for photography or as a mic stand and its very light and portable.&#xD;&#xA;http://www.benro.com/products_details_TRA068.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1053" PostHistoryTypeId="6" PostId="629" RevisionGUID="4a8ce928-2ca1-4ed8-a2a3-2f73960b9354" CreationDate="2010-04-13T05:40:17.113" UserId="61" Comment="edited tags" Text="&lt;voice&gt;&lt;dialogue&gt;&lt;room&gt;&lt;reflection&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1054" PostHistoryTypeId="5" PostId="646" RevisionGUID="f15e6c21-0dc2-4230-9a0b-af1ef91cb624" CreationDate="2010-04-13T06:54:14.617" UserId="61" Comment="restructured the question to garner an answer or two…" Text="Many of the sounds used in feature films have been recorded by professional recordists using professional gear, ie. expensive mics, multiple mic setups, multichannel recorders, and multiple days on location.&#xD;&#xA;&#xD;&#xA;I believe that a well-recorded sound is a useful sound, no matter the mic or the medium. So much of the success depends on the context in which the sound is used. If money were no object I'm sure we would all be recording our stuff with the highest-end gear at the highest bit &amp; sample rates. But when it comes down to the real world, most of that super-high detail is converted down to 24bit/48kHz and jammed into an already full soundtrack of music, dialog, foley and sound effects. &#xD;&#xA;&#xD;&#xA;Which begs the question: How useful are your &quot;guerrilla&quot; recordings?&#xD;&#xA;&#xD;&#xA;Rather than a discussion of the pros and cons of high-end or low-end gear, I'd love to hear success stories of your guerrilla recordings actually making it all the way through to the final mix of your film (or other project)." ContentLicense="CC BY-SA 2.5" />
  <row Id="1055" PostHistoryTypeId="5" PostId="670" RevisionGUID="8017cbb9-4e01-4d28-a191-0b09b3aafb09" CreationDate="2010-04-13T07:21:59.497" UserDisplayName="user80" Comment="added 5 characters in body" Text="Just add sonic in front of texture the first time you mention it and almost everyone will understand you.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="1056" PostHistoryTypeId="2" PostId="675" RevisionGUID="0c6a243f-7cd6-4155-a03d-5e6f30bf6393" CreationDate="2010-04-13T11:37:20.650" UserDisplayName="user80" Text="How do you currently evaluate your sound designs?  &#xD;&#xA;&#xD;&#xA;We all receive comments (verbal and written) from our colleagues (Supervising sound editor, Re-recording engineer, Director etc.), but does anyone have use a formal evaluation system? &#xD;&#xA;&#xD;&#xA;If you do what is it, and how useful do you find it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1057" PostHistoryTypeId="1" PostId="675" RevisionGUID="0c6a243f-7cd6-4155-a03d-5e6f30bf6393" CreationDate="2010-04-13T11:37:20.650" UserDisplayName="user80" Text="Evaluation of sound designs." ContentLicense="CC BY-SA 2.5" />
  <row Id="1058" PostHistoryTypeId="3" PostId="675" RevisionGUID="0c6a243f-7cd6-4155-a03d-5e6f30bf6393" CreationDate="2010-04-13T11:37:20.650" UserDisplayName="user80" Text="&lt;evaluation&gt;&lt;feedback&gt;&lt;survey&gt;&lt;sound-design&gt;&lt;collaboration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1059" PostHistoryTypeId="6" PostId="661" RevisionGUID="209edccc-f1f9-43a0-a60c-d7eb167c0616" CreationDate="2010-04-13T11:48:20.820" UserDisplayName="user80" Comment="edited tags" Text="&lt;texture&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1060" PostHistoryTypeId="2" PostId="676" RevisionGUID="be783964-c65a-4a7b-8df0-f8f7b4a3eb79" CreationDate="2010-04-13T12:13:39.197" UserId="62" Text="When I was a teenager I hung around a recording studio and got chatting to the owner many times. His advice was this....&#xD;&#xA;&#xD;&#xA;If you think your music is crap everyone else will think it's the most awful thing they've ever heard.&#xD;&#xA;If you think your music is good everyone else will think it's crap.&#xD;&#xA;If you think your music excellent everyone else will think it's good.&#xD;&#xA;If you think your music is the work of genius everyone else will think it's excellent.&#xD;&#xA;&#xD;&#xA;I try to be my worst critic. That said it's also healthy to evaluate your own work by comparing it to your peers and influences.&#xD;&#xA;&#xD;&#xA;At this point in my career I can confidently say I'm rather good at what I do. BUT, I still have a lot to learn.&#xD;&#xA;&#xD;&#xA;Never knock yourself too much but beware your ego too." ContentLicense="CC BY-SA 2.5" />
  <row Id="1061" PostHistoryTypeId="2" PostId="677" RevisionGUID="12fa0c8a-b665-45d3-91f7-7576745dd079" CreationDate="2010-04-13T14:26:56.573" UserId="2" Text="I always keep my [Zoom H4n][1] on me so I can record useful or cool sounds along the way. Just the other day, while doing sound for a documentary, I used an ambience I had recorded of a plane. It worked well and I was glad I had it. &#xD;&#xA;&#xD;&#xA;I often hear these kinds of stories where top notch sound designers use sounds from their little handy recorders and the sound finds it's way in a big productions.  &#xD;&#xA;&#xD;&#xA;I think that in general, these kinds of recordings might be more useful as a layer than as *the* main sound, but who knows. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.zoom.co.jp/english/products/h4n/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1062" PostHistoryTypeId="2" PostId="678" RevisionGUID="c38683dc-479c-40a3-8e24-393187504d6d" CreationDate="2010-04-13T15:22:58.757" UserId="29" Text="To paraphrase Chase Jarvis, &quot;The best recorder is the one you have with you.&quot; Lower-end gear does just fine on some material, as Andrew points out, and sometimes it's the only way you'll capture a killer sonic moment. As long as the signal-to-noise ratio is clean enough, I think guerilla recordings are every bit as &quot;valid&quot; as highly produced recordings." ContentLicense="CC BY-SA 2.5" />
  <row Id="1063" PostHistoryTypeId="2" PostId="679" RevisionGUID="61b46c01-2396-4152-b87b-07c1b33f1d17" CreationDate="2010-04-13T15:26:52.003" UserId="29" Text="I always encourage feedback to be offered in terms of emotions and what's right for the brand/story/experience, and to not let a shred of feedback slip by without forcing the critic to get at the &quot;why&quot; behind their comments (make no mistake, that can be very difficult). That gets the conversation, usually, out of the tactical and micro-managing phase and back on track with letting me do what I do best, while never belittling or invalidating the feedback itself, and letting me better understand what the critic is trying to achieve. &#xD;&#xA;&#xD;&#xA;It's often the case that what is *said* in terms of feedback isn't always what's *meant*." ContentLicense="CC BY-SA 2.5" />
  <row Id="1064" PostHistoryTypeId="2" PostId="680" RevisionGUID="e00fbd1f-9d17-49b4-a83f-cf3d2de04e42" CreationDate="2010-04-13T15:59:11.980" UserId="46" Text="I have a lot of luck with the Sony Oxford Declicker, especially for dialogue - really softens up the harshness of the distortion, if not removing it completely..." ContentLicense="CC BY-SA 2.5" />
  <row Id="1065" PostHistoryTypeId="6" PostId="377" RevisionGUID="9a41a556-92da-432d-bb07-c9d47638a0bd" CreationDate="2010-04-13T16:07:39.253" UserDisplayName="user80" Comment="edited tags" Text="&lt;binaural&gt;&lt;recording&gt;&lt;stereo&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1066" PostHistoryTypeId="2" PostId="681" RevisionGUID="16f001cb-5a6b-455b-90c0-ebdef7345a57" CreationDate="2010-04-13T16:48:12.520" UserId="220" Text="For quick cleanup, I've had great success with Adobe Audition 3.0.  I don't mix in it, but it's great for bouncing clips out for cleanup.  Has a great set of tools that include hiss reduction, noise reduction, ANR, spectral spot healing, iZotope time stretch, all for a good price.  I believe the ANR tool is a dumbed down version of something from RX, but don't quote me on that." ContentLicense="CC BY-SA 2.5" />
  <row Id="1067" PostHistoryTypeId="2" PostId="682" RevisionGUID="423afddb-a407-4604-a45f-0e6bf9f2d0ad" CreationDate="2010-04-13T17:07:50.663" UserId="220" Text="This question is more for me to understand the uses of convolution reverb, how to perform it, and clear up any misconceptions I have.&#xD;&#xA;&#xD;&#xA;As I understand it, to create a convolution impulse you:&#xD;&#xA;&#xD;&#xA; - Set up a speaker and measurement mic in the space you wish to model&#xD;&#xA; - Play an impulse from the speaker and record the result.  I was told to use a sound file that is a click followed by a sine sweep, followed by another click.&#xD;&#xA; - Load the original file and the recorded file into a deconvolver and create an output file.&#xD;&#xA; - Use the output file with your convolution reverb plugin&#xD;&#xA;&#xD;&#xA;Convolution reverb should be the ideal way to process your ADR, but I've never been on a project that used it.  I've only played with the built in profiles that come with the plug-in.  &#xD;&#xA;&#xD;&#xA;My questions are:&#xD;&#xA;&#xD;&#xA; - What kind of equipment do you use to record in the field?&#xD;&#xA; - What deconvolver program do you use?&#xD;&#xA; - What kinds of applications do you the profile for?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1068" PostHistoryTypeId="1" PostId="682" RevisionGUID="423afddb-a407-4604-a45f-0e6bf9f2d0ad" CreationDate="2010-04-13T17:07:50.663" UserId="220" Text="Understanding Convolution Reverb" ContentLicense="CC BY-SA 2.5" />
  <row Id="1069" PostHistoryTypeId="3" PostId="682" RevisionGUID="423afddb-a407-4604-a45f-0e6bf9f2d0ad" CreationDate="2010-04-13T17:07:50.663" UserId="220" Text="&lt;convolution&gt;&lt;field-recording&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1070" PostHistoryTypeId="2" PostId="683" RevisionGUID="5521135b-72be-49fa-9873-3b423e0bfbfd" CreationDate="2010-04-13T17:31:49.880" UserId="61" Text="You have a pretty thorough understanding of the process. To answer your questions:&#xD;&#xA;&#xD;&#xA;*• What kind of equipment do you use to record in the field?*&#xD;&#xA;&#xD;&#xA;There are no hard and fast rules but you should try to use as professional a product as you can get your hands on. A powered speaker is a must, so be sure you have a source of power wherever you are planning on recording. Re. microphones, many folks use DPAs or Earthworks, but Schoeps, ATs and Neumanns are all great choices. If you don't have access to any of those, use what you do have! You also have a choice as to how many channels you are going to record, ie. mono, stereo, quad or higher. What configuration you choose will depend on your recorder, how much time you allot for setup, and of course your application. If you are preparing for strictly ADR purposes then stereo would more than suffice.&#xD;&#xA;&#xD;&#xA;*• What deconvolver program do you use?*&#xD;&#xA;&#xD;&#xA;[Altiverb][1] is the most popular in film post-production (at least here in LA). Another choice is [TL Space][2]. Still another is [IR-L][3] from Waves (although I've not used it). [Here's][4] an excellent article from Sound on Sound regarding the various apps and how they compare.&#xD;&#xA;&#xD;&#xA;*• What kinds of applications do you [use] the profile for?*&#xD;&#xA;&#xD;&#xA;Totally depends on what you **want** to use if for! You could stay strictly within the constraints of treating ADR to match dialog (or whatever space you are trying to match into), or use it on music or sound effects to simulate a desired real-space. I often use Altiverb to change the original file altogether, to design it into something new. Also, remember that convolution reverbs do not have to use only impulse responses from real spaces; they can use any sound sample that you throw into it to convolve against something else, ie. an anvil hit used as an impulse response will impart a metallic characteristic into whatever sound you process.&#xD;&#xA;&#xD;&#xA;Experiment and have fun!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audioease.com/Pages/Altiverb/AltiverbMain.html&#xD;&#xA;  [2]: http://www.avid.com/US/products/TL-Space-TDM-Edition&#xD;&#xA;  [3]: http://www.waves.com/Content.aspx?id=270&#xD;&#xA;  [4]: http://www.soundonsound.com/sos/jun06/articles/qa0606_1.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="1071" PostHistoryTypeId="5" PostId="683" RevisionGUID="88f4e768-e9a1-46f8-a8bf-74e14884ab7d" CreationDate="2010-04-13T17:51:43.827" UserId="61" Comment="added 220 characters in body" Text="You have a pretty thorough understanding of the process. To answer your questions:&#xD;&#xA;&#xD;&#xA;*• What kind of equipment do you use to record in the field?*&#xD;&#xA;&#xD;&#xA;There are no hard and fast rules but you should try to use as professional a product as you can get your hands on. A powered speaker is a must, so be sure you have a source of power wherever you are planning on recording. Re. microphones, many folks use DPAs or Earthworks, but Schoeps, ATs and Neumanns are all great choices. If you don't have access to any of those, use what you do have! You also have a choice as to how many channels you are going to record, ie. mono, stereo, quad or higher. What configuration you choose will depend on your recorder, how much time you allot for setup, and of course your application. If you are preparing for strictly ADR purposes then stereo would more than suffice.&#xD;&#xA;&#xD;&#xA;*• What deconvolver program do you use?*&#xD;&#xA;&#xD;&#xA;[Altiverb][1] is the most popular in film post-production (at least here in LA). Another choice is [TL Space][2]. Still another is [IR-L][3] from Waves (although I've not used it). [Here's][4] an excellent article from Sound on Sound regarding the various apps and how they compare.&#xD;&#xA;&#xD;&#xA;*• What kinds of applications do you [use] the profile for?*&#xD;&#xA;&#xD;&#xA;Totally depends on what you **want** to use if for! You could stay strictly within the constraints of treating ADR to match dialog (or whatever space you are trying to match into), or use it on music or sound effects to simulate a desired real-space. I often use Altiverb to change the original file altogether, to design it into something new. Also, remember that convolution reverbs do not have to use only impulse responses from real spaces; they can use any sound sample that you throw into it to convolve against something else, ie. an anvil hit used as an impulse response will impart a metallic characteristic into whatever sound you process.&#xD;&#xA;&#xD;&#xA;Experiment and have fun!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;PS. There are many 3rd party impulse response libraries out there for users of convolution reverbs. [Here's one][5] that I've enjoyed using from time to time.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audioease.com/Pages/Altiverb/AltiverbMain.html&#xD;&#xA;  [2]: http://www.avid.com/US/products/TL-Space-TDM-Edition&#xD;&#xA;  [3]: http://www.waves.com/Content.aspx?id=270&#xD;&#xA;  [4]: http://www.soundonsound.com/sos/jun06/articles/qa0606_1.htm&#xD;&#xA;  [5]: http://www.1-1-1-1.net/pages/impulses/index.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="1072" PostHistoryTypeId="5" PostId="646" RevisionGUID="8c8ef75e-c893-471a-9220-0de75e053ee3" CreationDate="2010-04-13T18:15:40.860" UserId="61" Comment="grammar" Text="Many of the sounds used in feature films are recorded by professional recordists using professional gear, ie. expensive mics, multiple mic setups, multichannel recorders, and multiple days on location.&#xD;&#xA;&#xD;&#xA;I believe that a well-recorded sound is a useful sound, no matter the mic or the medium. So much of the success depends on the context in which the sound is used. If money were no object I'm sure we would all be recording our stuff with the highest-end gear at the highest bit &amp; sample rates. But when it comes down to the real world, most of that super-high detail is converted down to 24bit/48kHz and jammed into an already full soundtrack of music, dialog, foley and sound effects. &#xD;&#xA;&#xD;&#xA;Which begs the question: How useful are your &quot;guerrilla&quot; recordings?&#xD;&#xA;&#xD;&#xA;Rather than a discussion of the pros and cons of high-end or low-end gear, I'd love to hear success stories of your guerrilla recordings actually making it all the way through to the final mix of your film (or other project)." ContentLicense="CC BY-SA 2.5" />
  <row Id="1073" PostHistoryTypeId="2" PostId="684" RevisionGUID="12d6defb-531a-4e14-9335-f84ff0af5b2d" CreationDate="2010-04-13T19:02:45.660" UserId="90" Text="&quot;I was told to use a sound file that is a click followed by a sine sweep, followed by another click.&quot;&#xD;&#xA;&#xD;&#xA;Hmmm... Who told you that?  If you record the response to a click, then that *is* the impulse response.  It's literally the response of a room to an impulsive noise, like a click.  No deconvolution or other processing necessary.  You then convolve your music with the impulse response, and it will sound as if you had played the music in the space instead of the click.&#xD;&#xA;&#xD;&#xA;You can also derive the impulse response from a sine sweep or other signal by deconvolving first, but (ideally) it's going to produce the same thing as the straight impulse response.  See [Wikipedia][1]&#xD;&#xA;&#xD;&#xA;And remember you can record from two microphones at once to get a stereo image of the response.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Convolution_reverb#Creation_of_impulse_responses" ContentLicense="CC BY-SA 2.5" />
  <row Id="1074" PostHistoryTypeId="5" PostId="684" RevisionGUID="c5e19f75-0dd4-4b3f-ad14-244f76c65645" CreationDate="2010-04-13T19:17:26.533" UserId="90" Comment="added 422 characters in body" Text="&quot;I was told to use a sound file that is a click followed by a sine sweep, followed by another click.&quot;&#xD;&#xA;&#xD;&#xA;Hmmm... Who told you that?  If you record the response to a click, then that *is* the impulse response.  It's literally the response of a room to an impulsive noise, like a click.  No deconvolution or other processing necessary.  You then convolve your music with the impulse response, and it will sound as if you had played the music in the space instead of the click.  &#xD;&#xA;&#xD;&#xA;You probably want to use a dedicated clicker, though, rather than a speaker.  You want the sound as close to an ideal impulse as possible, not filtered through a speaker's frequency and phase response.  You want it to sound as if your performer is actually in the cathedral, not like you're playing a boombox of their CD inside a cathedral.&#xD;&#xA;&#xD;&#xA;You can also derive the impulse response from a sine sweep or other signal by deconvolving first, but (ideally) it's going to produce the exact same thing as the straight impulse response.  Practically, one method might produce better results than the other.  See [Wikipedia][1]&#xD;&#xA;&#xD;&#xA;And remember you can record from two microphones at once to get a stereo image of the response.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Convolution_reverb#Creation_of_impulse_responses" ContentLicense="CC BY-SA 2.5" />
  <row Id="1075" PostHistoryTypeId="6" PostId="682" RevisionGUID="5d05b4f5-cec3-4495-8be9-3ea13fe75456" CreationDate="2010-04-13T21:43:43.477" UserId="61" Comment="edited tags" Text="&lt;convolution&gt;&lt;field-recording&gt;&lt;signal-processing&gt;&lt;reverb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1076" PostHistoryTypeId="2" PostId="685" RevisionGUID="6e2f5c26-5299-4128-9388-db64a98f1823" CreationDate="2010-04-14T06:10:52.957" UserId="198" Text="Some distance is always needed. I see all too often how people go too deeply into tweaking details and lose sight of what their original intentions were. I think this is related to what NoiseJockey said above.&#xD;&#xA;&#xD;&#xA;To get distance you need other people to listen to your work and give some form of personal qualitative feedback. Rather than the banal 'this sound good or bad' or bland comparisons of 'sounds like this' or 'sounds like that', listeners need to articulate their experiences, which is not always easy.&#xD;&#xA;&#xD;&#xA;But in the end, good feedback tends to go a long way." ContentLicense="CC BY-SA 2.5" />
  <row Id="1077" PostHistoryTypeId="2" PostId="686" RevisionGUID="dd17bff9-20e4-42f0-8c83-469ef7c2e641" CreationDate="2010-04-14T09:41:43.880" UserId="227" Text="I also had the impression that one could use just a static click for the impulse sound. I was thinking of using a start pistol for recording convolution impulses.&#xD;&#xA;&#xD;&#xA;Now that I think of the click-sweep-click-theory, it could have the idea of gathering attack - pre delay - frequency response of the reflections - and lastly decay information.&#xD;&#xA;&#xD;&#xA;Would be nice to know more on this approach. Anyone?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1078" PostHistoryTypeId="2" PostId="687" RevisionGUID="71047080-c3ce-4ae4-85e5-5ba58696f675" CreationDate="2010-04-14T09:49:42.303" UserId="227" Text="Hi!&#xD;&#xA;  &#xD;&#xA;Using a contact microphone for field recordings seems to be popular and there's loads of tutorials for building one on the web.&#xD;&#xA;&#xD;&#xA;I bought the parts and am thinking of the adapter and amplification I want to use. I've got a Zoom H2 recorder that has a line-level and mic input.&#xD;&#xA;&#xD;&#xA;Question:&#xD;&#xA;&#xD;&#xA; - What kind of amplification does a contact microphone need to be able to connect to a line-level input? Or could a simple 3,5mm jack mic input provide enough gain?&#xD;&#xA;&#xD;&#xA; - I also understood that piezo's have a unnatural frequency response because of their high impedance. Will a line level preamplifier be the easiest way to amplify the signal with a more natural frequency response?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="1079" PostHistoryTypeId="1" PostId="687" RevisionGUID="71047080-c3ce-4ae4-85e5-5ba58696f675" CreationDate="2010-04-14T09:49:42.303" UserId="227" Text="DIY contact microphone" ContentLicense="CC BY-SA 2.5" />
  <row Id="1080" PostHistoryTypeId="3" PostId="687" RevisionGUID="71047080-c3ce-4ae4-85e5-5ba58696f675" CreationDate="2010-04-14T09:49:42.303" UserId="227" Text="&lt;field-recording&gt;&lt;contact&gt;&lt;diy&gt;&lt;electronics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1081" PostHistoryTypeId="2" PostId="688" RevisionGUID="59175ae0-d28b-4287-84a9-526a2405a26b" CreationDate="2010-04-14T11:04:42.623" UserId="37" Text="assuming you've bought a piezo element and are looking to connect it to your portable recorder: &#xD;&#xA;&#xD;&#xA;- just wire the element to a jack and treat it as a dynamic microphone - i.e. no phantom or plug-in power is required, but you need to stick it into a microphone input and will mostly need to turn up the gain quit a bit. &#xD;&#xA;- you will run into response curve problems more due to the way you're attaching the element to the surface you want to record, so i'd say it's safe to postpone this worry for later :)&#xD;&#xA;&#xD;&#xA;one thing you might want to try is to wire one end of the element to both tip and ring (left+right), then after recording sum the channels to mono - this may yield better results in terms of noise.&#xD;&#xA;&#xD;&#xA;p.s. have fun destroying the mic =) with some care when re-soldering naked piezo elements have more than one life." ContentLicense="CC BY-SA 2.5" />
  <row Id="1082" PostHistoryTypeId="5" PostId="688" RevisionGUID="87ce06be-29fe-47b8-aef4-0e77c8123b02" CreationDate="2010-04-14T11:22:51.703" UserId="37" Comment="deleted 6 characters in body" Text="assuming you've bought a piezo element and are looking to connect it to your portable recorder: &#xD;&#xA;&#xD;&#xA;- just wire the element to a jack and treat it as a dynamic microphone - i.e. no phantom or plug-in power is required, but you need to stick it into a microphone input and will need to turn up the gain quite a bit. &#xD;&#xA;- you will run into response curve problems more due to the way you're attaching the element to the surface you want to record, so i'd say it's safe to postpone this worry for later :)&#xD;&#xA;&#xD;&#xA;one thing you might want to try is to wire one end of the element to both tip and ring (left+right), then after recording sum the channels to mono - this may yield better results in terms of noise.&#xD;&#xA;&#xD;&#xA;p.s. have fun destroying the mic =) with some care when re-soldering naked piezo elements have more than one life." ContentLicense="CC BY-SA 2.5" />
  <row Id="1083" PostHistoryTypeId="2" PostId="689" RevisionGUID="fc6394e4-f8dc-4de5-9ada-9c3dc8396409" CreationDate="2010-04-14T13:13:24.437" UserId="229" Text="Hi&#xD;&#xA;&#xD;&#xA;just thought I should post this graph from Adtoox, it is very useful when working with PPM vs dBFS and VU. &#xD;&#xA;&#xD;&#xA;http://twitpic.com/122j1c&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For commercials and promos broadcasters all have different specs, some refers to the dBFS scale, some to PPM and for example commercials for Adtoox have these requirements:&#xD;&#xA;&#xD;&#xA;&quot;No programme peak is allowed to exceed +4 dBu using a PPM meter with the EBU digital scale...The commercial's loudness should be within the range of -22 to -18 dBFS according to Leq (A) (IEC 60804), measured with Dolby LM100 in short mode, digital input.&quot;&#xD;&#xA;&#xD;&#xA;Full specs at:&#xD;&#xA;https://ecexpress.adtoox.com/help/data/Robohelp/!SSL!/WebHelp/File_Technical_Specification.htm&#xD;&#xA;&#xD;&#xA;Peter&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://twitpic.com/122j1c" ContentLicense="CC BY-SA 2.5" />
  <row Id="1084" PostHistoryTypeId="5" PostId="682" RevisionGUID="532cfb89-c12b-4c60-a493-05b74d1f5b67" CreationDate="2010-04-14T16:44:45.150" UserDisplayName="user80" Comment="updating tags and minor edit to question" Text="This question is more for me to understand the uses of convolution reverb, how to perform it, and clear up any misconceptions I have.&#xD;&#xA;&#xD;&#xA;As I understand it, to create a convolution impulse you:&#xD;&#xA;&#xD;&#xA; - Set up a speaker and measurement mic in the space you wish to model&#xD;&#xA; - Play an impulse from the speaker and record the result.  I was told to use a sound file that is a click followed by a sine sweep, followed by another click.&#xD;&#xA; - Load the original file and the recorded file into a deconvolver and create an output file.&#xD;&#xA; - Use the output file with your convolution reverb plugin&#xD;&#xA;&#xD;&#xA;Convolution reverb should be the ideal way to process your ADR, but I've never been on a project that used it.  I've only played with the built in profiles that come with the plug-in.  &#xD;&#xA;&#xD;&#xA;My questions are:&#xD;&#xA;&#xD;&#xA; - What kind of equipment do you use to record in the field?&#xD;&#xA; - What deconvolver program do you use?&#xD;&#xA; - What kinds of applications do you profile for?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1085" PostHistoryTypeId="6" PostId="682" RevisionGUID="532cfb89-c12b-4c60-a493-05b74d1f5b67" CreationDate="2010-04-14T16:44:45.150" UserDisplayName="user80" Comment="updating tags and minor edit to question" Text="&lt;convolution&gt;&lt;field-recording&gt;&lt;signal-processing&gt;&lt;reverb&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1086" PostHistoryTypeId="6" PostId="646" RevisionGUID="5e9367be-232e-4950-bea6-a638e2010a88" CreationDate="2010-04-14T16:50:54.343" UserDisplayName="user80" Comment="additional tag" Text="&lt;recording&gt;&lt;field-recording&gt;&lt;film&gt;&lt;microphone&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1087" PostHistoryTypeId="2" PostId="690" RevisionGUID="74261ef8-0615-4524-90cb-c164cb16de17" CreationDate="2010-04-14T19:06:39.347" UserId="48" Text="Interesting question. I backpacked around Europe for two months and I took my H4n. (My friend brought a camera.) I was recording ambiances, sound effects for two reasons:&#xD;&#xA;&#xD;&#xA; - It's a nicer way for me to remember how I felt at the time&#xD;&#xA; - Perhaps I can use some recordings in the future. (If I do, I'll post it here)&#xD;&#xA;&#xD;&#xA;***SPOILER ALERT*** --[Watch &quot;Elephant&quot; (2003) before reading any further!]-- ***SPOILER ALERT***&#xD;&#xA;&#xD;&#xA;As an interesting fact: Gus Van Sant used a few recordings by Hildegard Westerkamp in &quot;Elephant&quot;. These originated from the material which Westerkampf recorded in the 70's. If you listen at around 11minutes and 30seconds into the film, you are going to hear the recording which was made in Vienna at a train station. It's worth looking for the synchornisation (door bangs).&#xD;&#xA;&#xD;&#xA;Another Westerkamp recording was used around 66 minutes.&#xD;&#xA;&#xD;&#xA;These were my unrelated two pieces of interesting facts for you. :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1088" PostHistoryTypeId="2" PostId="691" RevisionGUID="70f52b15-73c7-4529-9760-31b36dfcf604" CreationDate="2010-04-14T19:13:48.040" UserId="90" Text="It's not a matter of gain, it's a matter of impedance.  Piezos have a very high (capacitive) output impedance, so they need to see an even higher impedance at the input of your preamp, or they'll be prone to interference and high-frequency roll-off.  Just an FET-input buffer will do.  It shouldn't need any gain.  Piezos can produce very high voltages on their own." ContentLicense="CC BY-SA 2.5" />
  <row Id="1089" PostHistoryTypeId="5" PostId="691" RevisionGUID="6843af45-185f-4545-86a8-93feb304dd34" CreationDate="2010-04-14T19:20:08.293" UserId="90" Comment=":)" Text="It's not a matter of gain, it's a matter of impedance.  Piezos have a very high (capacitive) output impedance, so they need to see an even higher impedance at the input of your preamp, or they'll be prone to interference and low-frequency roll-off.  Just an FET-input buffer will do.  It shouldn't need any gain.  Piezos can produce very high voltages on their own." ContentLicense="CC BY-SA 2.5" />
  <row Id="1090" PostHistoryTypeId="5" PostId="688" RevisionGUID="0b9f7cde-ca44-48b3-825b-abc7c7e1384a" CreationDate="2010-04-14T19:29:46.373" UserId="37" Comment="added 11 characters in body" Text="assuming you've bought a piezo element and are looking to connect it to your portable recorder: &#xD;&#xA;&#xD;&#xA;- just wire the element to a jack and treat it as a dynamic microphone - i.e. no phantom or plug-in power is required, but you need to stick it into a microphone input &lt;del&gt;and will need to turn up the gain quite a bit&lt;/del&gt;. &#xD;&#xA;- you will run into response curve problems more due to the way you're attaching the element to the surface you want to record, so i'd say it's safe to postpone this worry for later :)&#xD;&#xA;&#xD;&#xA;one thing you might want to try is to wire one end of the element to both tip and ring (left+right), then after recording sum the channels to mono - this may yield better results in terms of noise.&#xD;&#xA;&#xD;&#xA;p.s. have fun destroying the mic =) with some care when re-soldering naked piezo elements have more than one life." ContentLicense="CC BY-SA 2.5" />
  <row Id="1091" PostHistoryTypeId="2" PostId="692" RevisionGUID="bd0178fa-32dc-4af4-afaa-eab04939f6fc" CreationDate="2010-04-14T20:15:44.747" UserId="230" Text="Before attaching yourself to a project credit see how it turns out first. Under know circumstances do you want a credit to something that has compromsied sound due to budget.&#xD;&#xA;&#xD;&#xA;If it is decent you would be favourite going down as sound supervisor as that post covers start to finish.&#xD;&#xA;&#xD;&#xA;But in reality be true to yourself, if the job didnt require much planning or delegation I would as the chap above said and stick with 'sound'" ContentLicense="CC BY-SA 2.5" />
  <row Id="1093" PostHistoryTypeId="6" PostId="687" RevisionGUID="e8ab1853-3707-4156-bf8d-73940e5170ad" CreationDate="2010-04-15T05:50:09.983" UserDisplayName="user80" Comment="modified tags" Text="&lt;field-recording&gt;&lt;contact-mic&gt;&lt;diy&gt;&lt;electronics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1094" PostHistoryTypeId="5" PostId="120" RevisionGUID="9beea74b-17a4-407d-b92d-381bee87982e" CreationDate="2010-04-15T05:52:34.420" UserDisplayName="user80" Comment="Added tags" Text="I would like to try some ideas for some really wierd sounds and I think a good contact mic would give me better results at that! &#xD;&#xA;&#xD;&#xA;Also I would like to ask if you think its a good idea to plug this mic or any mic on a zoom H2 or H4N to get the sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="1095" PostHistoryTypeId="6" PostId="120" RevisionGUID="9beea74b-17a4-407d-b92d-381bee87982e" CreationDate="2010-04-15T05:52:34.420" UserDisplayName="user80" Comment="Added tags" Text="&lt;contact-mic&gt;&lt;recommendation&gt;&lt;microphone&gt;&lt;zoom&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1096" PostHistoryTypeId="5" PostId="379" RevisionGUID="81eb9594-b1c0-4557-94d6-2709611038f0" CreationDate="2010-04-15T05:56:32.443" UserDisplayName="user80" Comment="Added tags" Text="As an Artist and also a Software developer I have always Loved the idea of computer generated music I was just wondering all the types there are I have written several myself in ruby..&#xD;&#xA;&#xD;&#xA;that converts number patterns and Text into Music along with images etc.. &#xD;&#xA;&#xD;&#xA;like to here what others use if anything... " ContentLicense="CC BY-SA 2.5" />
  <row Id="1097" PostHistoryTypeId="6" PostId="379" RevisionGUID="81eb9594-b1c0-4557-94d6-2709611038f0" CreationDate="2010-04-15T05:56:32.443" UserDisplayName="user80" Comment="Added tags" Text="&lt;software&gt;&lt;music&gt;&lt;recommendation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1098" PostHistoryTypeId="5" PostId="400" RevisionGUID="bb113ed9-f845-4c8f-8de3-4ae1026213d5" CreationDate="2010-04-15T06:22:08.193" UserDisplayName="user80" Comment="Tidied up language and added tags" Text="OK I'll try to change the typical &quot;what's the best mic, best recorder, etc.&quot; question and ask something about Sound Design!!!&#xD;&#xA;&#xD;&#xA;To the point now! I have to make a sound like jet engines (airplane fight scene), and I want to achieve that characteristic Shoooooooshhhhh effect with NO field recording at all and I was thinking that maybe white noise with a sweepable band pass filter might get the basic sound right! What do you think, or have to propose instead? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1099" PostHistoryTypeId="4" PostId="400" RevisionGUID="bb113ed9-f845-4c8f-8de3-4ae1026213d5" CreationDate="2010-04-15T06:22:08.193" UserDisplayName="user80" Comment="Tidied up language and added tags" Text="Hmmm what about Sound Design talk? (jet engines)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1100" PostHistoryTypeId="6" PostId="400" RevisionGUID="bb113ed9-f845-4c8f-8de3-4ae1026213d5" CreationDate="2010-04-15T06:22:08.193" UserDisplayName="user80" Comment="Tidied up language and added tags" Text="&lt;sound-design&gt;&lt;techniques&gt;&lt;signal-processing&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1101" PostHistoryTypeId="5" PostId="535" RevisionGUID="bb4c17ee-cf13-4021-bcd6-d5dc3b387904" CreationDate="2010-04-15T06:25:01.720" UserDisplayName="user80" Comment="Tidied up language and added a tag" Text="A documentary maker called me a sound designer. At first I thought he forgot to mention my composer role. I told my girlfriend about it and she was like sound design is what you do, a composer feels like an old title.&#xD;&#xA;&#xD;&#xA;When I am doing music or sound I blend it all together. I might even play guitar, small percussion, record and tweak everything. Like doing sculpture. Make new noise out of noise.&#xD;&#xA;&#xD;&#xA;Uhm, but I am not sure. What's the difference?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1102" PostHistoryTypeId="4" PostId="535" RevisionGUID="bb4c17ee-cf13-4021-bcd6-d5dc3b387904" CreationDate="2010-04-15T06:25:01.720" UserDisplayName="user80" Comment="Tidied up language and added a tag" Text="Composition versus sound design, what's the difference?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1103" PostHistoryTypeId="6" PostId="535" RevisionGUID="bb4c17ee-cf13-4021-bcd6-d5dc3b387904" CreationDate="2010-04-15T06:25:01.720" UserDisplayName="user80" Comment="Tidied up language and added a tag" Text="&lt;composition&gt;&lt;sound-design&gt;&lt;old&gt;&lt;music&gt;&lt;roles&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1104" PostHistoryTypeId="6" PostId="687" RevisionGUID="02d4ee7a-5691-4f64-99ac-4c9b38a1a67d" CreationDate="2010-04-15T06:37:04.187" UserDisplayName="user80" Comment="Updated tag" Text="&lt;field-recording&gt;&lt;contact-mic&gt;&lt;microphone&gt;&lt;diy&gt;&lt;electronics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1105" PostHistoryTypeId="6" PostId="636" RevisionGUID="89d52d67-d6a1-4032-8059-a51844340b9a" CreationDate="2010-04-15T06:38:31.393" UserDisplayName="user80" Comment="Added tag" Text="&lt;independent-film&gt;&lt;credit&gt;&lt;production-mixing&gt;&lt;post-production&gt;&lt;roles&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1106" PostHistoryTypeId="6" PostId="631" RevisionGUID="6a311b44-d4f7-48a0-b831-2940686ecc12" CreationDate="2010-04-15T06:40:06.917" UserDisplayName="user80" Comment="Spelling correction within a tag" Text="&lt;digital&gt;&lt;conversion&gt;&lt;distortion&gt;&lt;cleaning&gt;&lt;tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1107" PostHistoryTypeId="5" PostId="375" RevisionGUID="edc57674-e24b-4640-9f22-c35cd3174195" CreationDate="2010-04-15T11:24:28.323" UserId="37" Comment="amadeus, cs5; added 4 characters in body; added 6 characters in body" Text="oh this is a sore spot. &#xD;&#xA;I come from Cool Edit on PC and have tried pretty much everything in the lower price bracket on the Mac, including Wave Editor, DSP Quattro, Sound Studio, Peak LE/Express and others.&#xD;&#xA;&#xD;&#xA;For being straightforward my heart is with [Sound Studio][1]. It's a terrible hack of an app by  Freeverse who have virtually dropped support for it (, focused on the iPhone, and were recently acquired by ngmoco, a  large game developer). Still, I haven't found anything on the Mac that allows me to chop sounds quicker than SS. Yet it's full of bugs, and lacks basic features such as (wait for it).. meters.&#xD;&#xA;&#xD;&#xA;EDIT: I just tried [Amadeus Pro][5] and it feels promising, and with some getting-used-to it could be my editor of choice. It has all the necessary basics, some odd shortcuts, and some interface inconsistencies (sonogram view). The meters are buried in the Transport window, which is not visible by default (don't ask me..) But at this cost these are no troubling features. &#xD;&#xA;&#xD;&#xA;[Wave Editor][2] is strong and keeps getting better, but for me it lacks the immediacy of Sound Studio (which has the immediacy of Cool Edit). The multiple window interface makes it feel scattered. If you come from Sound Forge on the PC then it will probably make more sense. I like its extensive support of markers, and niche functions (m/s decoding etc), but it still lacks on the ergonomic front (shortcut keys, quick access to functions). I don't think the idea of Layers translates too well and for me the interface feels sluggish. And then there's the trouble with fades (single click on SS, 3 levels deep menu on WE). For all the nice features, WE feels inconsistent and convoluted.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[DSP Quattro][3] puzzled me with the strange choice of just 4 plugins per track. I heartily recommend to the makers to drop the idea and limit the legacy to just its name. &#xD;&#xA;&#xD;&#xA;The one software I could never get into was [Soundtrack Pro][4]. &#xD;&#xA;There's also [Wavepad][6] but I feel an inexplicable discomfort with it. Same with [TwistedWave][7]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I really wish Adobe would port Audition to OSX, and there is a fair chance of them actually doing so, seeing how SoundBooth has progressed so far, and the recent changes to the interface across CS4. Unfortunately CS5 did not bring much news re sound to the table. No mention of Audition 4 either.&#xD;&#xA;&#xD;&#xA;There's also talk of WaveLab coming to the Mac, which might sweep the market if Steinberg can better Bias on price. edit: [Here it is - version 7][8].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;All in all, it feels like no (Mac) developer actually did research on what we use these things for. And even then I can imagine companies not feeling very motivated with desktop software at the moment, given the portable app market goldmine. The one title that could make some change, without coming from an iphone-obsessed vendor, is Audacity, but that team have no idea what they're doing (pardon the bluntness).&#xD;&#xA;&#xD;&#xA;Another problem is that it takes more than just a few launches to evaluate a product and it takes many months to get an idea of how committed a company is to developing their product.  In my case with SoundStudio I feel bad but also I still haven't found anything snappier.&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;p.s. I'd love if someone who's tried the higher end (soundblade, peak pro, etc) chimed in with their comments.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freeverse.com/soundstudio/&#xD;&#xA;  [2]: http://www.audiofile-engineering.com/waveeditor/&#xD;&#xA;  [3]: http://www.i3net.it/&#xD;&#xA;  [4]: http://www.apple.com/finalcutstudio/soundtrackpro/&#xD;&#xA;  [5]: http://www.hairersoft.com/AmadeusPro/AmadeusPro.html&#xD;&#xA;  [6]: http://www.nch.com.au/wavepad/&#xD;&#xA;  [7]: http://twistedwave.com/&#xD;&#xA;  [8]: http://www.steinberg.net/en/products/audioediting_product/wavelab7_preview0.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1108" PostHistoryTypeId="6" PostId="626" RevisionGUID="3cc6f40c-13ba-4af6-bdfd-0ab73dd6bb5b" CreationDate="2010-04-15T11:35:35.563" UserDisplayName="user80" Comment="Added tag" Text="&lt;instruments&gt;&lt;sound-design&gt;&lt;survey&gt;&lt;musician&gt;&lt;training&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1109" PostHistoryTypeId="5" PostId="379" RevisionGUID="171d2e55-c88d-4b6f-85f2-6f498a00288c" CreationDate="2010-04-15T11:39:09.933" UserDisplayName="user80" Comment="Grammar and added tag" Text="As an Artist and also a Software developer I have always Loved the idea of computer generated music. I was just wondering about all of the types that there are. I have written several myself in ruby..&#xD;&#xA;&#xD;&#xA;That converts number patterns and Text into Music along with images etc.. &#xD;&#xA;&#xD;&#xA;Like to here what others use if anything... " ContentLicense="CC BY-SA 2.5" />
  <row Id="1110" PostHistoryTypeId="6" PostId="379" RevisionGUID="171d2e55-c88d-4b6f-85f2-6f498a00288c" CreationDate="2010-04-15T11:39:09.933" UserDisplayName="user80" Comment="Grammar and added tag" Text="&lt;software&gt;&lt;music&gt;&lt;recommendations&gt;&lt;sonification&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1111" PostHistoryTypeId="6" PostId="120" RevisionGUID="584d8432-25f4-4ff1-85f7-8698e235a71d" CreationDate="2010-04-15T11:40:04.747" UserDisplayName="user80" Comment="Edited tag" Text="&lt;contact-mic&gt;&lt;recommendations&gt;&lt;microphone&gt;&lt;zoom&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1112" PostHistoryTypeId="6" PostId="69" RevisionGUID="b3eee262-4f64-4299-a083-f762b94bd843" CreationDate="2010-04-15T11:42:20.033" UserDisplayName="user80" Comment="Added tags" Text="&lt;noise-reduction&gt;&lt;processing&gt;&lt;post-production&gt;&lt;software&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1113" PostHistoryTypeId="6" PostId="338" RevisionGUID="9f97456a-69d8-448b-b914-d1fb146b197d" CreationDate="2010-04-15T11:42:58.907" UserDisplayName="user80" Comment="Edited tag" Text="&lt;post-production&gt;&lt;techniques&gt;&lt;editing&gt;&lt;crowd&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1114" PostHistoryTypeId="5" PostId="377" RevisionGUID="a526bafa-27b2-4b0d-b86c-57c6e7ddf3dd" CreationDate="2010-04-15T11:44:49.867" UserDisplayName="user80" Comment="added 4 characters in body; edited tags" Text="I'm curious if there's any notable difference between a binaural recording and a typical stereo miking pattern when listening in a studio environment. Is there anything that needs to be compensated for? Obviously I've listened to binaural recordings on my personal gear, but I want to get a professional perspective on this." ContentLicense="CC BY-SA 2.5" />
  <row Id="1115" PostHistoryTypeId="6" PostId="377" RevisionGUID="a526bafa-27b2-4b0d-b86c-57c6e7ddf3dd" CreationDate="2010-04-15T11:44:49.867" UserDisplayName="user80" Comment="added 4 characters in body; edited tags" Text="&lt;binaural&gt;&lt;recording&gt;&lt;stereo&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1116" PostHistoryTypeId="6" PostId="592" RevisionGUID="e4d0e48f-e812-470b-9872-2d2b4cc41766" CreationDate="2010-04-15T11:47:06.137" UserDisplayName="user80" Comment="edited tags" Text="&lt;survey&gt;&lt;career&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1117" PostHistoryTypeId="2" PostId="694" RevisionGUID="edd49397-1f94-4788-b236-777598d40e5d" CreationDate="2010-04-15T15:54:19.410" UserId="29" Text="What have people found to be the most reliable brands of hard drives and hard drive enclosures, specifically for A/V work? (Note: Specifically looking at reliability of inexpensive 7200rpm drives, preferably FireWire.) &#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;I woke up to a dead mirrored RAID disk today...but, that's what mirroring is for. My literal life's work of photography and audio from the remaining RAID disk is being backed up to a second RAID as I type. I'm paranoiacally redundant like that.&#xD;&#xA;&#xD;&#xA;Despite the fact that my data seems OK, this plunges me into needing to replace at least one hard disk, possibly the whole RAID. I've been buying LaCie D2 drives because they're inexpensive and individually rack-mountable without needing to buy a big, spendy (and overly deep) dedicated rack mount enclosure. I buy in identical pairs and then stripe them as RAIDs.&#xD;&#xA;&#xD;&#xA;In a house with eight of these things lying around, the failures are starting to mount (i'd say 50/50 split between power supplies dying and disks themselves dying) and I'm looking to hear about folks' experience with other brands of drives." ContentLicense="CC BY-SA 2.5" />
  <row Id="1118" PostHistoryTypeId="1" PostId="694" RevisionGUID="edd49397-1f94-4788-b236-777598d40e5d" CreationDate="2010-04-15T15:54:19.410" UserId="29" Text="More Reliable Hard Drives?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1119" PostHistoryTypeId="3" PostId="694" RevisionGUID="edd49397-1f94-4788-b236-777598d40e5d" CreationDate="2010-04-15T15:54:19.410" UserId="29" Text="&lt;storage&gt;&lt;backups&gt;&lt;hard-drive&gt;&lt;archiving&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1120" PostHistoryTypeId="2" PostId="695" RevisionGUID="c24b62ca-1992-4aa4-bd1a-e57e17631ebd" CreationDate="2010-04-15T16:10:28.050" UserDisplayName="user80" Text="Have you ever tried a Drobo?  &#xD;&#xA;&#xD;&#xA;http://www.drobo.com/&#xD;&#xA;&#xD;&#xA;I have one under my desk and use 1 TB Seagates inside it.  We have two here and haven't had anything die ever since we got them, which is well over a year ago." ContentLicense="CC BY-SA 2.5" />
  <row Id="1121" PostHistoryTypeId="6" PostId="694" RevisionGUID="78d2d0a4-c376-461d-b5be-8c629cfaa599" CreationDate="2010-04-15T16:10:54.540" UserDisplayName="user80" Comment="edited tags" Text="&lt;storage&gt;&lt;backups&gt;&lt;hard-drive&gt;&lt;archiving&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1122" PostHistoryTypeId="2" PostId="696" RevisionGUID="3220444c-a442-4dde-9dcf-3cb790848cd7" CreationDate="2010-04-15T16:26:11.823" UserId="182" Text="The variation in personal experiences makes people's opinion on what is the most reliable drive wildly different. One person can say &quot;I have had 3 samsung disks fail on me in the last year, so I'll only buy Western Digital now&quot; while the next has experienced the exact opposite.&#xD;&#xA;Individual accounts don't say anything.&#xD;&#xA;&#xD;&#xA;When deciding how you continue your storage strategy, keep the following in mind:&#xD;&#xA;&#xD;&#xA;- Mirrored raid is not backup: both drives are doing the exact same thing – writing, spinning and therefore wearing at the same speed. Both are working every time data is requested. Yes, the chances of two drives failing at the same time are smaller than those of one drive failing, but because the raid disks have so much in common, they can't be seen as independent so the risk of data loss is not halved by using two disks.&#xD;&#xA;&#xD;&#xA;- Putting identical drives in raid increases the risk of them simultaneously failing even more. They share the design, come from the same manufacturing batch and are shipped and handled together. Getting same-capacity, but different brand disks might impact performance a bit, but it reduces the risk of double drive failure.&#xD;&#xA;&#xD;&#xA;- Consider getting a 'real' backup solution: a separate external disk that is physically located somewhere else (in the house, office, whatever), is only used for writing backups rather than daily access of data, preferably spins down or is turned off altogether when not in use and does automated (daily) backups over ethernet or firewire.&#xD;&#xA;This can be a raid system, just make sure you don't use it as daily storage." ContentLicense="CC BY-SA 2.5" />
  <row Id="1123" PostHistoryTypeId="5" PostId="695" RevisionGUID="5cbc0cdf-bb6c-488c-a978-b331225092ce" CreationDate="2010-04-15T16:28:21.100" UserDisplayName="user80" Comment="Clarified meaning" Text="Have you ever tried a Drobo?  &#xD;&#xA;&#xD;&#xA;http://www.drobo.com/&#xD;&#xA;&#xD;&#xA;I have one under my desk and use 1 TB Seagates inside it.  We have two Drobos here and haven't had anything die ever since we got them, which is well over a year ago." ContentLicense="CC BY-SA 2.5" />
  <row Id="1124" PostHistoryTypeId="5" PostId="696" RevisionGUID="14b61e73-d1f4-459e-9c11-959a665c9afb" CreationDate="2010-04-15T16:43:35.177" UserId="182" Comment="added 278 characters in body" Text="The variation in personal experiences makes people's opinion on what is the most reliable drive wildly different. One person can say &quot;I have had 3 samsung disks fail on me in the last year, so I'll only buy Western Digital now&quot; while the next has experienced the exact opposite.&#xD;&#xA;Individual accounts don't say anything.&#xD;&#xA;&#xD;&#xA;When deciding how you continue your storage strategy, keep the following in mind:&#xD;&#xA;&#xD;&#xA;- Mirrored raid is not backup: both drives are doing the exact same thing – writing, spinning and therefore wearing at the same speed. Both are working every time data is requested. Yes, the chances of two drives failing at the same time are smaller than those of one drive failing, but because the raid disks have so much in common, they can't be seen as independent so the risk of data loss is not halved by using two disks.&#xD;&#xA;&#xD;&#xA;- Putting identical drives in raid increases the risk of them simultaneously failing even more. They share the design, come from the same manufacturing batch and are shipped and handled together. Getting same-capacity, but different brand disks might impact performance a bit, but it reduces the risk of double drive failure.&#xD;&#xA;&#xD;&#xA;- Consider getting a 'real' backup solution: a separate external disk that is physically located somewhere else (in the house, office, whatever), is only used for writing backups rather than daily access of data, preferably spins down or is turned off altogether when not in use and does automated (daily) backups over ethernet or firewire.&#xD;&#xA;This can be a raid system, just make sure you don't use it as daily storage.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;As a side note, [storagereview.com][1] runs a hard drive reliability survey (registration required) which might give a slightly better overview of failure rates than individual stories.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.storagereview.com/php/survey/survey_mfr.php &quot;storagereview.com&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1125" PostHistoryTypeId="2" PostId="697" RevisionGUID="41f77af6-899c-46b5-b8fc-d1023f1a2716" CreationDate="2010-04-15T17:00:41.343" UserId="220" Text="They say the difference between RAID 1 and RAID 0 is the number of files you'll be able to recover when a drive fails.  &#xD;&#xA;&#xD;&#xA;I edit directly off of my computer hard drives.  When I am finished with a session, I do a manual backup to two identical WD 1tb MyBook USB drives.  Write time is slow, but I just walk away and it's done by the time I'm back to editing.  I've had good success with those, and terrible success with Seagate drives.  I know people that hate WD and swear by Seagate.  I don't trust any hard drive any more and prefer to manually archive everything.  It could have the same sort risk as RAID setups, for the reasons EMV said, but the drives are only used briefly for backup and power down.  WD MyBooks have a nice little processor that actively manages the drives, so you can have them plugged in at all times and know they're not spinning." ContentLicense="CC BY-SA 2.5" />
  <row Id="1126" PostHistoryTypeId="2" PostId="698" RevisionGUID="232ca33e-d8b2-46e3-94e0-fe8d47960778" CreationDate="2010-04-15T17:05:30.870" UserId="10" Text="Glyph drives are great. Very quiet, solid and fast! They have different options... Take a look: http://www.glyphtech.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1127" PostHistoryTypeId="2" PostId="699" RevisionGUID="42b07be0-7241-4eb9-a46a-5b88f41aa74b" CreationDate="2010-04-15T17:22:09.793" UserId="178" Text="All hard drives will fail, eventually. I like Seagate and Western Digital, but that is entirely beside the point. I wouldn't trust a single drive from any manufacturer, since I just assume that they are going to fail on me. Working as a programmer (and therefore a de facto system administrator), I have personally had to deal with dozens of drive failures over the years. It didn't matter which brand they were.&#xD;&#xA;&#xD;&#xA;A RAID-0 is worse for data protection than even a single disk. If any of the disks in the array fail, the whole ship goes down irrecoverably. They sure are fast though!&#xD;&#xA;&#xD;&#xA;A single disk will fail on you eventually too. Have a serious backup plan. What will you do when that drive goes south? If you're like me, you'll just restore your backups onto a new drive and keep going.&#xD;&#xA;&#xD;&#xA;A RAID-1 is the next step up. This will protect you against a good number of drive failures, but you can still have power spikes, file system corruption (mirrored identically to both drives), etc. What happens if you accidentally delete a file from your RAID-1? The same file gets deleted on both drives at once. It's not coming back.&#xD;&#xA;&#xD;&#xA;The only way to truly keep your data safe is to have multiple copies of it, in multiple locations, and not all plugged in at the same time.&#xD;&#xA;&#xD;&#xA;If you are using a Mac, use Time Machine, and then also do weekly backups to two separate removable drives, where only one of them is plugged in at the same time. Ideally keep the two drives in separate locations. This way Time Machine can save you when your main drive dies, but if there's a lightning storm or flood or something, you will also have two other copies of your data in two separate locations to restore from." ContentLicense="CC BY-SA 2.5" />
  <row Id="1129" PostHistoryTypeId="2" PostId="701" RevisionGUID="d5caa1c4-d7db-4a5d-91f0-043aebdf6e6f" CreationDate="2010-04-15T17:49:56.310" UserId="90" Text="None.  I've owned Seagate, Western Digital, and Hitachi, and had probably half of each brand fail prematurely.  They're all crap, and even the good ones will always fail eventually.  Focus on having multiple copies of your data, not on a particular brand.&#xD;&#xA;&#xD;&#xA;Warranty time is one way to choose.  I think Seagate's is longer.  I've sent in both Seagate and WD drives for replacement after they failed young.  It's a hassle, but it's better than buying a new drive." ContentLicense="CC BY-SA 2.5" />
  <row Id="1130" PostHistoryTypeId="5" PostId="691" RevisionGUID="3171e567-68ed-49e2-8d1c-cbec2482d1d7" CreationDate="2010-04-15T19:28:54.673" UserId="90" Comment="example; added 4 characters in body; added 99 characters in body" Text="It's not a matter of gain, it's a matter of impedance.  Piezos have a very high (capacitive) output impedance, so they need to see an even higher impedance at the input of your preamp, or they'll be prone to interference and low-frequency roll-off.  &#xD;&#xA;&#xD;&#xA;(A 500 pF pickup, for instance, has a 6 MΩ output impedance at 50 Hz, so even if you plug it into a high-impedance 1 MΩ guitar input, it will be attenuated by -17 dB.)&#xD;&#xA;&#xD;&#xA;Just an FET-input buffer will do.  It shouldn't need any gain.  Piezos can produce very high voltages on their own." ContentLicense="CC BY-SA 2.5" />
  <row Id="1131" PostHistoryTypeId="2" PostId="702" RevisionGUID="0b04ac66-f2dc-45d5-bad5-d54bf1849e1f" CreationDate="2010-04-15T19:33:50.313" UserId="37" Text="Plan for failure. Certainly keep your important data at two or more locations. Some people even go for off-site backup. RAID 1 is sort of a solution. RAID 0 is basically more than double risk (since you can be 100% certain you won't recover anything). &#xD;&#xA;&#xD;&#xA;All hard drives fail. Some fail more often than others. WD had an engineering design flaw just before their green series came out. Hitachi acquired IBM, makers of the &quot;Deathstar&quot; model. Before them Quantum failed, so did Maxtor. The one brand I haven't yet had fail is Seagate, but that's just me. &#xD;&#xA;&#xD;&#xA;Curiously an entire class of hard drives I have yet to see break is 2.5&quot; drives for laptops. Had Toshiba, Seagate, Fujitsu, all running for ages at high loads. &#xD;&#xA;&#xD;&#xA;With the cost of flash memory always going down, that may be a backup option too.&#xD;&#xA;&#xD;&#xA;A specific note about LaCie drives. I've had to service a few of their products for friends on the verge of losing their data. Spare yourself the trouble, and don't buy that brand. &#xD;&#xA;&#xD;&#xA;A backup drive has a different usage pattern. If you spin it once a week and sync files to it, it won't work as often as your main storage system. Mean time between failures really comes into play there.. &#xD;&#xA;&#xD;&#xA;In a way the rate at which we generate data has gone beyond the point of being manageable without good habits - garbage collection of sorts. We might as well start talking about data ecology given the issue of drive reliability..&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1132" PostHistoryTypeId="2" PostId="703" RevisionGUID="85b58719-e1d4-4475-8da4-903ac843e912" CreationDate="2010-04-15T20:01:14.060" UserId="219" Text="Glyph Tech is the way to go. At the moment I'm using only Seagate Barracuda 7200.11's, and I use 500Gb ones. I'm not in RAID yet so that way if I lose a drive I only use half of my data, that's why it's a big no no for me to sizes over 500Gb. I'm living dangerously, I know, but to be fair I haven't got much professional content yet.&#xD;&#xA;&#xD;&#xA;Anyway, Glyph Tech gets brilliant reviews and it feels solid when you grab it, not like LaCie... I unfortunately find LaCie particularly bad after lots of people around me saw theirs die in less than 12 months!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1133" PostHistoryTypeId="2" PostId="704" RevisionGUID="bd44b0e3-dd04-4bcf-9305-2fcfd9dbdbab" CreationDate="2010-04-15T21:51:24.213" UserId="28" Text="**When enjoying media for entertainment purposes, what specific sounds shatter your suspension of disbelief?**&#xD;&#xA;&#xD;&#xA;For me, it is the call of a loon. I grew up in Muskoka, which is a cottage district in Ontario. My ears prick up whenever I hear that bird song. I am immediately transported to memories of starry nights camping, or sitting on a dock at dusk.&#xD;&#xA;&#xD;&#xA;Yesterday, while watching 24 S01E02, I heard a loon call out in the Mojave desert. Maybe they migrate that far... maybe... but still - it made me chuckle.&#xD;&#xA;&#xD;&#xA;The biggest example of a bird song that ALWAYS cracks me up is approximately 3 minutes into Thriller by Michael Jackson.&#xD;&#xA;&#xD;&#xA;&quot;They're out to get you. Demons closing in on every side.&quot; CUE LOON." ContentLicense="CC BY-SA 2.5" />
  <row Id="1134" PostHistoryTypeId="1" PostId="704" RevisionGUID="bd44b0e3-dd04-4bcf-9305-2fcfd9dbdbab" CreationDate="2010-04-15T21:51:24.213" UserId="28" Text="What sound bursts your bubble?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1135" PostHistoryTypeId="3" PostId="704" RevisionGUID="bd44b0e3-dd04-4bcf-9305-2fcfd9dbdbab" CreationDate="2010-04-15T21:51:24.213" UserId="28" Text="&lt;cliche&gt;&lt;sound-effects&gt;&lt;verisimilitude&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1136" PostHistoryTypeId="2" PostId="705" RevisionGUID="702456ed-b057-483a-912a-b0481632948d" CreationDate="2010-04-15T23:25:13.247" UserId="100" Text="I'm very happy with my G-Drive.&#xD;&#xA;&#xD;&#xA;http://www.g-technology.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1137" PostHistoryTypeId="2" PostId="706" RevisionGUID="52122214-f443-4cdb-808c-a70777a7e4a5" CreationDate="2010-04-16T06:26:19.750" UserId="61" Text="That accursed doppler horn used for every big rig truck in every movie. Period. (You know the one from the Premiere Edition CD library.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1138" PostHistoryTypeId="2" PostId="707" RevisionGUID="d9c31e85-1951-47a7-9808-1c42e05aa20a" CreationDate="2010-04-16T06:42:58.847" UserId="232" Text="1:Favourite sounds, rain on the roof, fire crackling, crickets, champagne cork popping, my husbands car coming up the drive.&#xD;&#xA;2:Bikes on dusty roads, rivers flowing, people having fun at the beach in the distance, tractors.&#xD;&#xA;3:Church bells on Sunday, school bells during the week, children playing, apple trucks in the early morning, fire sirens on Monday evenings, the local donkey.&#xD;&#xA;4:The kids playing an imaginary game, eating oranges, tommy making motor bike noise's, the fire roaring, me swallowing and breathing." ContentLicense="CC BY-SA 2.5" />
  <row Id="1139" PostHistoryTypeId="5" PostId="695" RevisionGUID="4f4bdd98-cdb3-499b-bdb3-1358be9ccf1e" CreationDate="2010-04-16T07:05:06.750" UserDisplayName="user80" Comment="Added content" Text="Have you ever tried a Drobo?  &#xD;&#xA;&#xD;&#xA;http://www.drobo.com/&#xD;&#xA;&#xD;&#xA;I have one under my desk and use 1 TB Seagates inside it.  We have two Drobos here and haven't had anything die ever since we got them, which is well over a year ago.&#xD;&#xA;&#xD;&#xA;The beauty of the system is that you can mix your hard drives within the Drobo.  You can use any brand and any size.  You start with two drives and then build up to four, or there is a pro version with eight bays.  There is built in redundancy, one drive can die without losing any data, all you do is replace the faulty drive and it will &quot;heal&quot; itself.&#xD;&#xA;&#xD;&#xA;Hard drive manufacturers really only expect hard drives to last as long as the guarantee.  If you treat them as disposable you won't be disappointed.&#xD;&#xA;&#xD;&#xA;Long term we all need to move to flash drives, which also die, but what normally happens is that the ability to write to cells dies but the ability to read from the damaged cells does not.&#xD;&#xA;&#xD;&#xA;I personally have complete hourly hard drive backups at home and work as well as daily flash and cloud backups, and weekly optical backups.  &#xD;&#xA;&#xD;&#xA;I expect everything to break and regularly surprised when things don't." ContentLicense="CC BY-SA 2.5" />
  <row Id="1140" PostHistoryTypeId="6" PostId="704" RevisionGUID="9a12f140-7e2c-45e1-b076-565b0a6cf93f" CreationDate="2010-04-16T07:08:19.920" UserDisplayName="user80" Comment="Added tags" Text="&lt;cliche&gt;&lt;sound-effects&gt;&lt;verisimilitude&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1141" PostHistoryTypeId="6" PostId="612" RevisionGUID="b8e48762-3594-44d5-a5e0-f5718931b6c0" CreationDate="2010-04-16T07:12:55.793" UserDisplayName="user80" Comment="edited tags" Text="&lt;sound-design&gt;&lt;interactive&gt;&lt;acoustics&gt;&lt;sound-installations&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1142" PostHistoryTypeId="5" PostId="695" RevisionGUID="33c859c8-dc16-4e75-98f3-be4409259576" CreationDate="2010-04-16T07:16:07.057" UserDisplayName="user80" Comment="added 14 characters in body; added 3 characters in body" Text="Have you ever tried a Drobo?  &#xD;&#xA;&#xD;&#xA;http://www.drobo.com/&#xD;&#xA;&#xD;&#xA;I have one under my desk and use 1 TB Seagates inside it.  We have two Drobos here and haven't had anything die ever since we got them, which is well over a year ago.&#xD;&#xA;&#xD;&#xA;The beauty of the system is that unlike a RAID you can mix your hard drives within the Drobo.  You can use any brand and any size.  You start with two drives and then build up to four, or there is a pro version with eight bays.  There is built in redundancy, one drive can die without losing any data, all you do is replace the faulty drive and it will &quot;heal&quot; itself.&#xD;&#xA;&#xD;&#xA;Hard drive manufacturers really only expect hard drives to last as long as the guarantee.  If you treat them as disposable you won't be disappointed.&#xD;&#xA;&#xD;&#xA;Long term we all need to move to flash drives, which also die, but what normally happens is that the ability to write to cells dies but the ability to read from the damaged cells does not.&#xD;&#xA;&#xD;&#xA;I personally have complete hourly hard drive backups at home and work as well as daily flash and cloud backups, and weekly optical backups.  &#xD;&#xA;&#xD;&#xA;I expect everything to break and am regularly surprised when things don't." ContentLicense="CC BY-SA 2.5" />
  <row Id="1143" PostHistoryTypeId="5" PostId="695" RevisionGUID="2a40188f-764c-4820-842b-b35aed709a0b" CreationDate="2010-04-16T07:21:33.810" UserDisplayName="user80" Comment="added 207 characters in body" Text="Have you ever tried a Drobo?  &#xD;&#xA;&#xD;&#xA;http://www.drobo.com/&#xD;&#xA;&#xD;&#xA;I have one under my desk and use 1 TB Seagates inside it.  We have two Drobos here and haven't had anything die ever since we got them, which is well over a year ago.&#xD;&#xA;&#xD;&#xA;The beauty of the system is that unlike a RAID you can mix your hard drives within the Drobo.  You can use any brand and any size.  You start with two drives and then build up to four, or there is a pro version with eight bays.  There is built in redundancy, one drive can die without losing any data, all you do is replace the faulty drive and it will &quot;heal&quot; itself.&#xD;&#xA;&#xD;&#xA;Hard drive manufacturers really only expect hard drives to last as long as the guarantee.  If you treat them as disposable you won't be disappointed.&#xD;&#xA;&#xD;&#xA;Long term we all need to move to flash drives, which also die, but what normally happens is that the ability to write to cells dies but the ability to read from the damaged cells does not.&#xD;&#xA;&#xD;&#xA;I personally have complete hourly hard drive backups at home and work as well as daily flash and cloud backups, and weekly optical backups.  &#xD;&#xA;&#xD;&#xA;I expect everything to break and am regularly surprised when things don't.&#xD;&#xA;&#xD;&#xA;Check out this podcast from the AudioNowcast where they talk about data storage at NASA, it  also has some really interesting content about Audio.&#xD;&#xA;&#xD;&#xA;http://nowcastnetwork.com/NowcastNetwork/nfblog/?p=44" ContentLicense="CC BY-SA 2.5" />
  <row Id="1144" PostHistoryTypeId="2" PostId="708" RevisionGUID="9175057e-211f-451b-b3b3-e9c2f1a4f823" CreationDate="2010-04-16T07:31:38.283" UserDisplayName="user80" Text="I regularly listen to a number of audio related podcasts, and I was wondering how popular they are and if I have missed any.&#xD;&#xA;&#xD;&#xA;Here's what I currently listen to: AudioNowcast, EM Podcasts, Fistful of Cables, Gameaudio Podcast, The Home Recording Show, Inside Home Recording, NewMedia Gear, Recording Lounge, Ronan's Recording Show, Sessions with Slau, Shure Cast, Sine Language, Sonic Talk, Sound on Sound: the voice of Music Technology and Sounds Good podcast.&#xD;&#xA;&#xD;&#xA;I enjoy listening to them all for different reasons.  &#xD;&#xA;&#xD;&#xA;What podcasts would you recommend?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1145" PostHistoryTypeId="1" PostId="708" RevisionGUID="9175057e-211f-451b-b3b3-e9c2f1a4f823" CreationDate="2010-04-16T07:31:38.283" UserDisplayName="user80" Text="Do you listen to any podcasts about sound design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1146" PostHistoryTypeId="3" PostId="708" RevisionGUID="9175057e-211f-451b-b3b3-e9c2f1a4f823" CreationDate="2010-04-16T07:31:38.283" UserDisplayName="user80" Text="&lt;podcasts&gt;&lt;survey&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1147" PostHistoryTypeId="5" PostId="143" RevisionGUID="d43c20a0-f1b4-41f8-88e8-90456aa9d661" CreationDate="2010-04-16T07:50:38.883" UserId="61" Comment="deleted 27 characters in body" Text="I've been very happy with the Zoom H2 for both background and fx recordings, and have had no problem using those recordings in my work on films and video games. Of course, at its price point there are a few limitations, such as preamp noise at high gain levels, less than sturdy case construction and lack of XLR jacks, but I'm a firm believer that having a recording of something, even if it's not the best recording ever, is better than not having that recording at all.&#xD;&#xA;&#xD;&#xA;Can the Zoom H2 be the only unit you use to gather new sounds? No. But, if your budget is very tight or you are just getting into location recording, it's a great choice." ContentLicense="CC BY-SA 2.5" />
  <row Id="1148" PostHistoryTypeId="6" PostId="546" RevisionGUID="42d23e93-905c-4cbe-b0fe-131a0948a094" CreationDate="2010-04-16T08:12:51.960" UserDisplayName="user80" Comment="edited tags" Text="&lt;gear&gt;&lt;sampling&gt;&lt;hardware&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1149" PostHistoryTypeId="2" PostId="709" RevisionGUID="4dac35cc-bb69-4990-8716-ae583413aa34" CreationDate="2010-04-16T08:22:43.360" UserId="62" Text="For me it's The Wilhelm Scream. I don't find it annoying but it always makes me laugh whenever I come across it in a film.&#xD;&#xA;&#xD;&#xA;I currently use it as my text message sound which is hilarious if you're in say a shop and suddenly someone screams. Cue everyone looking around wondering did I just hear a scream?&#xD;&#xA;&#xD;&#xA;+1 for the big rig horn. There's also an overly used telephone that appears in almost every television show - 2 examples are &quot;Friends&quot; and &quot;Spaced&quot; (UK Version)." ContentLicense="CC BY-SA 2.5" />
  <row Id="1150" PostHistoryTypeId="2" PostId="710" RevisionGUID="a21dad78-0192-4316-b603-bb2ee15b4975" CreationDate="2010-04-16T10:55:52.783" UserId="2" Text="In general, when I recognize a sound that I have used from a library I get propelled out of the story, it just jumps out at me like crazy. &#xD;&#xA;&#xD;&#xA;One specific example: There's a certain door from Sound Ideas, which is used **everywhere**.  You know the one with the squeak... in The Simpsons it's used for every door (indoor, outdoor, massive, metallic etc.). I think it's a joke, it has to be. " ContentLicense="CC BY-SA 2.5" />
  <row Id="1151" PostHistoryTypeId="5" PostId="695" RevisionGUID="c33c8ae6-ea69-4ce4-b6c5-3df3539a774e" CreationDate="2010-04-16T11:04:41.280" UserDisplayName="user80" Comment="added 6 characters in body" Text="Have you ever tried a Drobo?  &#xD;&#xA;&#xD;&#xA;http://www.drobo.com/&#xD;&#xA;&#xD;&#xA;I have one under my desk and use 1 TB Seagates inside it.  We have two Drobos here and haven't had anything die ever since we got them, which is well over a year ago.&#xD;&#xA;&#xD;&#xA;The beauty of the system is that unlike a RAID you can mix your hard drives within the Drobo.  You can use any brand and any size.  You start with two drives and then build up to four, or there is a pro version with eight bays.  There is built in redundancy, one drive can die without losing any data, all you do is replace the faulty drive and it will &quot;heal&quot; itself.&#xD;&#xA;&#xD;&#xA;Hard drive manufacturers really only expect hard drives to last much longer than the guarantee.  If you treat them as disposable you won't be disappointed.&#xD;&#xA;&#xD;&#xA;Long term we all need to move to flash drives, which also die, but what normally happens is that the ability to write to cells dies but the ability to read from the damaged cells does not.&#xD;&#xA;&#xD;&#xA;I personally have complete hourly hard drive backups at home and work as well as daily flash and cloud backups, and weekly optical backups.  &#xD;&#xA;&#xD;&#xA;I expect everything to break and am regularly surprised when things don't.&#xD;&#xA;&#xD;&#xA;Check out this podcast from the AudioNowcast where they talk about data storage at NASA, it  also has some really interesting content about Audio.&#xD;&#xA;&#xD;&#xA;http://nowcastnetwork.com/NowcastNetwork/nfblog/?p=44" ContentLicense="CC BY-SA 2.5" />
  <row Id="1152" PostHistoryTypeId="2" PostId="711" RevisionGUID="893a6845-119e-4b17-b283-fe9808933a4c" CreationDate="2010-04-16T11:07:57.800" UserId="2" Text="*That's a good list, thanks... I only know a few from there. I'll have to update my subscriptions.* &#xD;&#xA;&#xD;&#xA;Sound Ideas had a little series on the [sound effects][1]. It sounds a bit like a big ad for them and isn't a great podcast, but worth a listen nonetheless. &#xD;&#xA;&#xD;&#xA;To **not** answer your question, [RadioLab][2] is not sound design related, but it has really good sound design. The way they use sound to help explain complicated concepts is very well done. It's one of my favorite.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://itunes.apple.com/gb/podcast/sound-ideas-sound-effects/id288810923&#xD;&#xA;  [2]: http://itunes.apple.com/gb/podcast/wnycs-radiolab/id152249110" ContentLicense="CC BY-SA 2.5" />
  <row Id="1153" PostHistoryTypeId="2" PostId="712" RevisionGUID="32761d4c-b41c-43e7-aaf6-b2aed43b924c" CreationDate="2010-04-16T11:24:18.827" UserId="136" Text="What about that crowd/audience surprised 'oh' gasp reaction?&#xD;&#xA;&#xD;&#xA;I always notice it when someone does something obscene in a crowded place e.g. restaurant, sporting match. &#xD;&#xA;&#xD;&#xA;It drives me crazy!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1154" PostHistoryTypeId="6" PostId="200" RevisionGUID="19413747-c084-445e-b3a8-4ae3398f4f02" CreationDate="2010-04-16T13:14:53.063" UserDisplayName="user80" Comment="edited tags" Text="&lt;sound-design&gt;&lt;books&gt;&lt;theory&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1155" PostHistoryTypeId="2" PostId="713" RevisionGUID="e2d92e2d-b3b8-4ef5-9b68-1e4ca8246177" CreationDate="2010-04-16T13:22:06.427" UserId="6420" Text="I like The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament and Soundscape: School of Sound Lectures 1998-2001 books in addition to the other ones mentioned already!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1156" PostHistoryTypeId="2" PostId="714" RevisionGUID="9ac45ff5-46c5-44ca-91f7-aa0f344204eb" CreationDate="2010-04-16T13:32:25.203" UserId="6420" Text="&#xD;&#xA;Hi all!&#xD;&#xA;&#xD;&#xA;I'm looking to collaborate on some projects so I can update my showreel with a few more recent works. Anyone know of any sites where it might be useful to post some sound design/editing requests? I enjoy animation and computer visual effects stuff, as well as film. Would be interesting to hear anyones suggestions as to where the best places are to offer services. Of course it'd be great to get paid for them, but at the moment I'd be happy to do some free collaborating for the right projects.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;A.L." ContentLicense="CC BY-SA 2.5" />
  <row Id="1157" PostHistoryTypeId="1" PostId="714" RevisionGUID="9ac45ff5-46c5-44ca-91f7-aa0f344204eb" CreationDate="2010-04-16T13:32:25.203" UserId="6420" Text="Any good sites for collaborating on small projects? ie animations, short films etc?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1158" PostHistoryTypeId="3" PostId="714" RevisionGUID="9ac45ff5-46c5-44ca-91f7-aa0f344204eb" CreationDate="2010-04-16T13:32:25.203" UserId="6420" Text="&lt;collaboration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1159" PostHistoryTypeId="2" PostId="715" RevisionGUID="77d8383e-b27c-4c21-abe4-5874685f1361" CreationDate="2010-04-16T14:10:07.223" UserId="220" Text="You know, it's less about sounds that are present than sounds that are missing.  Very quiet restaurants and crowded bars, quiet airports, etc.  One set of sounds that bothers me is from coffee shops - the constant air hose-sounding HISSSSSS of an espresso machine, but nothing else related to making espresso like grinders, clicks, bubbling milk.&#xD;&#xA;&#xD;&#xA;The other thing that really brings me out of the movie is poorly matched ADR.  When someone is in a long concrete hallway and they sound like they're in a padded box, it's very distracting." ContentLicense="CC BY-SA 2.5" />
  <row Id="1160" PostHistoryTypeId="5" PostId="714" RevisionGUID="638d0eed-576e-4929-8125-af23e6cde9c1" CreationDate="2010-04-16T14:19:26.197" UserDisplayName="user80" Comment="deleted 2 characters in body; edited tags" Text="Hi all!&#xD;&#xA;&#xD;&#xA;I'm looking to collaborate on some projects so I can update my showreel with a few more recent works. Anyone know of any sites where it might be useful to post some sound design/editing requests? I enjoy animation and computer visual effects stuff, as well as film. Would be interesting to hear anyones suggestions as to where the best places are to offer services. Of course it'd be great to get paid for them, but at the moment I'd be happy to do some free collaborating for the right projects.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;A.L." ContentLicense="CC BY-SA 2.5" />
  <row Id="1161" PostHistoryTypeId="6" PostId="714" RevisionGUID="638d0eed-576e-4929-8125-af23e6cde9c1" CreationDate="2010-04-16T14:19:26.197" UserDisplayName="user80" Comment="deleted 2 characters in body; edited tags" Text="&lt;collaboration&gt;&lt;recommendations&gt;&lt;websites&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1162" PostHistoryTypeId="2" PostId="716" RevisionGUID="acc80095-c9a0-4616-9e2f-a4e49411f7bf" CreationDate="2010-04-16T15:03:21.443" UserId="225" Text="Same here. Stack doesn't have a messaging system, so please e-mail me at mark[dot]a[dot]cartwright[at]gmail if this is still open." ContentLicense="CC BY-SA 2.5" />
  <row Id="1163" PostHistoryTypeId="2" PostId="717" RevisionGUID="1309a7b0-0ec7-4963-81dd-b6c18b475b86" CreationDate="2010-04-16T17:16:40.053" UserId="2" Text="I also hear good things about Glyph drives. &#xD;&#xA;&#xD;&#xA;What about [Amazon S3][1]? I've been thinking about using this as a super safe backup solution for my very important data. By this I mean purely backup rather than accessing and transferring data back and forth. To store 500GB/month costs $75/month, it's expensive but the data will be totally safe. Just something I've been thinking about. Anyone got experience with this? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://aws.amazon.com/s3/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1164" PostHistoryTypeId="2" PostId="718" RevisionGUID="375f65a8-e64d-4e56-b87c-dac94eabfb7f" CreationDate="2010-04-16T17:45:16.883" UserId="61" Text="The [Craigslist Film/TV job board][1] is a good resource for finding first-time or student filmmakers looking for sound designers. I'm sure that 95 out of 100 projects are pretty crappy and not worth doing, but the other 5? Well, you never know who the next Spielberg will be…&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://london.craigslist.co.uk/tfr/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1165" PostHistoryTypeId="2" PostId="719" RevisionGUID="24753853-d527-4702-9673-ce2e7057316e" CreationDate="2010-04-16T18:27:46.770" UserId="194" Text="I hear amazon has a good offsite backup solution - pay by usage with no minimums." ContentLicense="CC BY-SA 2.5" />
  <row Id="1166" PostHistoryTypeId="2" PostId="720" RevisionGUID="a06f7d0c-0370-42e2-a914-9a33db14a828" CreationDate="2010-04-16T18:28:58.860" UserId="46" Text="+1 for Glyphs - you can find good deals every now and then. Tekserve was recently selling 1TB drives for $200.&#xD;&#xA;&#xD;&#xA;Used to love the G-Technology drives but then had a string of them end up in total failure - something in their production must have shifted when they got popular." ContentLicense="CC BY-SA 2.5" />
  <row Id="1167" PostHistoryTypeId="2" PostId="721" RevisionGUID="ea0da33b-7da9-4087-b304-5309107958f3" CreationDate="2010-04-16T18:30:58.813" UserId="46" Text="Guru.com sometimes has audio related stuff come up, but it's rare (and super lo-budg when it does come up). &#xD;&#xA;&#xD;&#xA;That said, I won a bid and gained a pretty awesome client (and project) in the process. Worth a shot to throw your name in the mix at least..." ContentLicense="CC BY-SA 2.5" />
  <row Id="1168" PostHistoryTypeId="2" PostId="722" RevisionGUID="17d8c98c-f62a-4087-a62b-f684b06f7939" CreationDate="2010-04-16T19:13:26.563" UserId="46" Text="There's a great list of these at filmsound.org: http://www.filmsound.org/cliche/&#xD;&#xA;&#xD;&#xA;Mic feedback whenever someone uncomfortably steps up to the mic always seems to get on my nerves..." ContentLicense="CC BY-SA 2.5" />
  <row Id="1169" PostHistoryTypeId="2" PostId="723" RevisionGUID="dc35bc25-3061-4e4d-aa50-42bf0d0cf172" CreationDate="2010-04-16T21:04:46.843" UserId="222" Text="H4n is a godsend.  I work for a pro post house, and we have four of them as backups to our sound devices rigs. They always produce usable recordings." ContentLicense="CC BY-SA 2.5" />
  <row Id="1170" PostHistoryTypeId="2" PostId="724" RevisionGUID="8b2fb81c-39ce-497e-b48c-a423e28065c9" CreationDate="2010-04-16T21:46:47.900" UserId="100" Text="+1 on Craigslist. I subscribe to an RSS from their gigs page for results with &quot;sound design&quot;. I see a couple of postings each day here in Burbank. 99% contain some variation of &quot;We already spent our budget on stuff we thought was more important than audio, so you won't be getting paid.&quot;&#xD;&#xA;&#xD;&#xA;Another place is Mandy.com in their jobs tab. They have a post-production option in the search. I haven't seen many results for my area, but maybe you'll have better results across the pond.&#xD;&#xA;&#xD;&#xA;I wish I knew of more reliable sources for paying projects. Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="1171" PostHistoryTypeId="2" PostId="725" RevisionGUID="a4c3a821-99c4-416b-a1b1-005372745d26" CreationDate="2010-04-16T22:32:47.157" UserId="40" Text="Great answers so far!  One thing you need to be VERY careful of is the potentially high output of the piezo!  Under normal circumstances, a piezo element will output a decently normal level when connected to a mic pre.  However, if you drop it, flick it, or hit it hard in some other way, many piezos are often capable of outputting over 30v!  That can blow up a pre if you're not careful!&#xD;&#xA;&#xD;&#xA;I've had a lot of luck improving the overall frequency response of my contact mics by terminating them 1/4&quot; and plugging them into an inline impedance matcher, then straight into a 744T.  Might also be interesting in playing with plugging one into a DI box. However, I'd be VERY interested in hearing the results of connecting one into a variable impedance mic pre (I used to own one of the ART preamps that had this function, but I since upgraded to my Chandler Germanium...)&#xD;&#xA;&#xD;&#xA;Another possibility (which I've thought about doing but never done):  if you have Logic Studio, there is an EQ plugin called &quot;Match EQ&quot;.  Quite possibly, if you could find a surface that resonates at a fairly flat frequency (maybe an NS-10?), you could shoot pink noise through it, record it's response, and then match that to a direct measurement of the pink noise with the EQ (internally in the software).  This would account for the abnormal frequency response.  You could then save your new EQ setting and apply it in post to every recording on the mic, which would essentially &quot;decode&quot; your mic.  Of course, all this is assuming you can find a surface with a fairly flat response.&#xD;&#xA;&#xD;&#xA;I have other ideas up my sleeve about how to accomplish this with Match EQ if anyone is interested...  let me know.&#xD;&#xA;&#xD;&#xA;Hope this helps!!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1172" PostHistoryTypeId="6" PostId="687" RevisionGUID="cfe19a06-57a0-4493-87f3-a4cb2558c8a5" CreationDate="2010-04-16T22:34:24.643" UserId="40" Comment="edited tags" Text="&lt;field-recording&gt;&lt;contact-mic&gt;&lt;microphone&gt;&lt;diy&gt;&lt;macgyver&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1173" PostHistoryTypeId="6" PostId="73" RevisionGUID="3f9fbac0-59fc-4c93-9d57-ccc5c33d11d4" CreationDate="2010-04-16T22:34:59.400" UserId="40" Comment="edited tags" Text="&lt;production-mixing&gt;&lt;gear&gt;&lt;deva&gt;&lt;lectrosonics&gt;&lt;macgyver&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1174" PostHistoryTypeId="2" PostId="726" RevisionGUID="7296a5ac-fa7e-4ae1-a25f-45e82d009a95" CreationDate="2010-04-16T22:39:15.060" UserId="40" Text="Lots of schools out there have students who are also looking to build a demo reel.  You could start posting on school forums, contacting placement departments, etc...&#xD;&#xA;&#xD;&#xA;Most students get very excited about outside projects, no matter how small, and I'm sure most, if not all students are willing to work for free as well.  Often times you can find some very gifted students out there.  You would be building your demo reel, and helping to build theirs as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="1175" PostHistoryTypeId="2" PostId="727" RevisionGUID="448b20ba-7b01-4e56-ba34-84065fad2447" CreationDate="2010-04-17T02:53:59.747" UserId="201" Text="Darren Blondin wrote a short series of articles a few years ago - one of them went into quite a bit of detail on just this subject. Find it here:&#xD;&#xA;http://www.dblondin.com/032308.html&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1176" PostHistoryTypeId="6" PostId="602" RevisionGUID="8f53d54b-4235-4fdc-a9bf-3cbb374ba946" CreationDate="2010-04-17T05:58:35.787" UserDisplayName="user80" Comment="edited tags" Text="&lt;equipment&gt;&lt;gear&gt;&lt;sound-design&gt;&lt;recommendations&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1177" PostHistoryTypeId="5" PostId="714" RevisionGUID="9b1fc9e6-9624-4607-9510-c2a45fac0c02" CreationDate="2010-04-17T06:03:36.890" UserDisplayName="user80" Comment="added 1 characters in body; edited tags" Text="Hi all!&#xD;&#xA;&#xD;&#xA;I'm looking to collaborate on some projects so I can update my showreel with a few more recent works. Anyone know of any sites where it might be useful to post some sound design/editing requests? I enjoy animation and computer visual effects stuff, as well as film. Would be interesting to hear anyone's suggestions as to where the best places are to offer services. Of course it'd be great to get paid for them, but at the moment I'd be happy to do some free collaborating for the right projects.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;A.L." ContentLicense="CC BY-SA 2.5" />
  <row Id="1178" PostHistoryTypeId="6" PostId="714" RevisionGUID="9b1fc9e6-9624-4607-9510-c2a45fac0c02" CreationDate="2010-04-17T06:03:36.890" UserDisplayName="user80" Comment="added 1 characters in body; edited tags" Text="&lt;collaboration&gt;&lt;recommendations&gt;&lt;websites&gt;&lt;showreel&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1179" PostHistoryTypeId="5" PostId="708" RevisionGUID="1754b14d-e860-445a-95e5-e271b272c331" CreationDate="2010-04-17T06:12:39.760" UserDisplayName="user80" Comment="added 95 characters in body; edited tags" Text="I regularly listen to a number of audio related podcasts, and I was wondering how popular they are and if I have missed any out.&#xD;&#xA;&#xD;&#xA;Here's what I currently listen to: [AudioNowcast](http://nowcastnetwork.com/), [EM Podcasts](http://emusician.com/podcasts/), [Fistful of Cables](http://ffoc.tumblr.com/), Gameaudio Podcast, The Home Recording Show, Inside Home Recording, NewMedia Gear, Recording Lounge, Ronan's Recording Show, Sessions with Slau, Shure Cast, Sine Language, Sonic Talk, Sound on Sound: the voice of Music Technology and Sounds Good podcast.&#xD;&#xA;&#xD;&#xA;I enjoy listening to them all for different reasons.  &#xD;&#xA;&#xD;&#xA;What podcasts would you recommend?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1180" PostHistoryTypeId="6" PostId="708" RevisionGUID="1754b14d-e860-445a-95e5-e271b272c331" CreationDate="2010-04-17T06:12:39.760" UserDisplayName="user80" Comment="added 95 characters in body; edited tags" Text="&lt;podcasts&gt;&lt;survey&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1181" PostHistoryTypeId="5" PostId="708" RevisionGUID="e8be4bae-f2b9-401f-b313-f1127073e1e1" CreationDate="2010-04-17T06:31:45.280" UserDisplayName="user80" Comment="added 229 characters in body; edited tags" Text="I regularly listen to a number of audio related podcasts, and I was wondering how popular they are and if I have missed any out.&#xD;&#xA;&#xD;&#xA;Here's what I currently listen to: [AudioNowcast][1], [EM Podcasts][2], [Fistful of Cables][3], [Gameaudio Podcast][4], [The Home Recording Show][5], [Home Studio Corner Podcast][6], Inside Home Recording, NewMedia Gear, Project Studio Network Recording Podcast, Recording Lounge, Ronan's Recording Show, Sessions with Slau, Shure Cast, Sine Language, Sonic Talk, Sound on Sound: the voice of Music Technology and Sounds Good podcast.&#xD;&#xA;&#xD;&#xA;I enjoy listening to them all for different reasons.  &#xD;&#xA;&#xD;&#xA;What podcasts would you recommend?&#xD;&#xA;&#xD;&#xA;[1]: http://nowcastnetwork.com/&#xD;&#xA;[2]: http://emusician.com/podcasts/&#xD;&#xA;[3]: http://ffoc.tumblr.com/&#xD;&#xA;[4]: http://www.gameaudiopodcast.com/&#xD;&#xA;[5]: http://www.homerecordingshow.com/&#xD;&#xA;[6]: http://www.homestudiocorner.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1182" PostHistoryTypeId="6" PostId="708" RevisionGUID="e8be4bae-f2b9-401f-b313-f1127073e1e1" CreationDate="2010-04-17T06:31:45.280" UserDisplayName="user80" Comment="added 229 characters in body; edited tags" Text="&lt;podcasts&gt;&lt;survey&gt;&lt;recommendations&gt;&lt;education&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1183" PostHistoryTypeId="5" PostId="714" RevisionGUID="c43e6fff-8d55-4d3a-b759-7e0bf8afb543" CreationDate="2010-04-17T09:07:42.890" UserDisplayName="user80" Comment="added 10 characters in body; edited tags" Text="Hi all!&#xD;&#xA;&#xD;&#xA;I'm looking to collaborate on some projects so that I can update my showreel with a few more recent works. Does anyone know of any sites where it might be useful to post some sound design/editing requests? I enjoy animation and computer visual effects stuff, as well as film. Would be interesting to hear anyone's suggestions as to where the best places are to offer services. Of course it'd be great to get paid for them, but at the moment I'd be happy to do some free collaborating for the right projects.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;A.L." ContentLicense="CC BY-SA 2.5" />
  <row Id="1184" PostHistoryTypeId="6" PostId="714" RevisionGUID="c43e6fff-8d55-4d3a-b759-7e0bf8afb543" CreationDate="2010-04-17T09:07:42.890" UserDisplayName="user80" Comment="added 10 characters in body; edited tags" Text="&lt;collaboration&gt;&lt;recommendations&gt;&lt;websites&gt;&lt;showreel&gt;&lt;projects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1185" PostHistoryTypeId="5" PostId="708" RevisionGUID="5f741a3f-4a8e-4bd5-9460-e7cc16b9f220" CreationDate="2010-04-17T09:09:54.930" UserDisplayName="user80" Comment="added 47 characters in body; edited tags" Text="I regularly listen to a number of audio related podcasts, and I was wondering how popular they are and if I have missed any out.&#xD;&#xA;&#xD;&#xA;Here's what I currently listen to: [AudioNowcast][1], [EM Podcasts][2], [Fistful of Cables][3], [Gameaudio Podcast][4], [The Home Recording Show][5], [Home Studio Corner Podcast][6], [Inside Home Recording][7], NewMedia Gear, Project Studio Network Recording Podcast, Recording Lounge, Ronan's Recording Show, Sessions with Slau, Shure Cast, Sine Language, Sonic Talk, Sound on Sound: the voice of Music Technology and Sounds Good podcast.&#xD;&#xA;&#xD;&#xA;I enjoy listening to them all for different reasons.  &#xD;&#xA;&#xD;&#xA;What podcasts would you recommend?&#xD;&#xA;&#xD;&#xA;[1]: http://nowcastnetwork.com/&#xD;&#xA;[2]: http://emusician.com/podcasts/&#xD;&#xA;[3]: http://ffoc.tumblr.com/&#xD;&#xA;[4]: http://www.gameaudiopodcast.com/&#xD;&#xA;[5]: http://www.homerecordingshow.com/&#xD;&#xA;[6]: http://www.homestudiocorner.com/&#xD;&#xA;[7]: http://www.insidehomerecording.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1186" PostHistoryTypeId="6" PostId="708" RevisionGUID="5f741a3f-4a8e-4bd5-9460-e7cc16b9f220" CreationDate="2010-04-17T09:09:54.930" UserDisplayName="user80" Comment="added 47 characters in body; edited tags" Text="&lt;podcasts&gt;&lt;survey&gt;&lt;recommendations&gt;&lt;education&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1187" PostHistoryTypeId="6" PostId="597" RevisionGUID="1258bc2e-391b-4ee6-ae36-b4fb66784d2c" CreationDate="2010-04-17T09:17:40.483" UserDisplayName="user80" Comment="edited tags" Text="&lt;film&gt;&lt;low-budget&gt;&lt;business&gt;&lt;free&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1188" PostHistoryTypeId="5" PostId="692" RevisionGUID="81609906-099d-4222-93f0-5047f1be0e4e" CreationDate="2010-04-17T09:21:44.763" UserDisplayName="user80" Comment="edited body" Text="Before attaching yourself to a project credit see how it turns out first. Under no circumstances do you want a credit to something that has compromsied sound due to budget.&#xD;&#xA;&#xD;&#xA;If it is decent you would be favourite going down as sound supervisor as that post covers start to finish.&#xD;&#xA;&#xD;&#xA;But in reality be true to yourself, if the job didn't require much planning or delegation I would as the chap above said and stick with 'sound'." ContentLicense="CC BY-SA 2.5" />
  <row Id="1189" PostHistoryTypeId="5" PostId="708" RevisionGUID="d2734b5d-bc90-4d3f-b178-a911f2d626b9" CreationDate="2010-04-17T10:45:07.587" UserDisplayName="user80" Comment="added 41 characters in body" Text="I regularly listen to a number of audio related podcasts, and I was wondering how popular they are and if I have missed any out.&#xD;&#xA;&#xD;&#xA;Here's what I currently listen to: [AudioNowcast][1], [EM Podcasts][2], [Fistful of Cables][3], [Gameaudio Podcast][4], [The Home Recording Show][5], [Home Studio Corner Podcast][6], [Inside Home Recording][7], [New Media Gear][8], Project Studio Network Recording Podcast, Recording Lounge, Ronan's Recording Show, Sessions with Slau, Shure Cast, Sine Language, Sonic Talk, Sound on Sound: the voice of Music Technology and Sounds Good podcast.&#xD;&#xA;&#xD;&#xA;I enjoy listening to them all for different reasons.  &#xD;&#xA;&#xD;&#xA;What podcasts would you recommend?&#xD;&#xA;&#xD;&#xA;[1]: http://nowcastnetwork.com/&#xD;&#xA;[2]: http://emusician.com/podcasts/&#xD;&#xA;[3]: http://ffoc.tumblr.com/&#xD;&#xA;[4]: http://www.gameaudiopodcast.com/&#xD;&#xA;[5]: http://www.homerecordingshow.com/&#xD;&#xA;[6]: http://www.homestudiocorner.com/&#xD;&#xA;[7]: http://www.insidehomerecording.com/&#xD;&#xA;[8]: http://www.newmediagear.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1192" PostHistoryTypeId="6" PostId="546" RevisionGUID="1a656b50-c3f2-46aa-8854-9c140f643027" CreationDate="2010-04-17T10:56:04.647" UserDisplayName="user80" Comment="edited tags" Text="&lt;gear&gt;&lt;sampling&gt;&lt;hardware&gt;&lt;interface&gt;&lt;192khz&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1193" PostHistoryTypeId="5" PostId="59" RevisionGUID="ae6157d8-b2b3-481d-89ce-8aab49961eaf" CreationDate="2010-04-17T10:57:57.997" UserDisplayName="user80" Comment="added 2 characters in body; edited tags" Text="I have some great stories about sounds that I originally used for one thing, then was able to completely change, and re-use as a completely different sound.&#xD;&#xA;&#xD;&#xA;For example:  I recently did a bunch of high speed (192kHz) recordings of shooting pennies out of a slingshot.  I was able to use it as a ricochet sound for a bullet, and then I repurposed it as the sound of an airplane engine (not for an actual project, just to show someone that I could do it).&#xD;&#xA;&#xD;&#xA;Anyone else have similar stories?  Maybe some funny ones about using very unconventional sounds for something you'd never expect?  (Wilhelm scream anyone? ;-)  )" ContentLicense="CC BY-SA 2.5" />
  <row Id="1194" PostHistoryTypeId="6" PostId="59" RevisionGUID="ae6157d8-b2b3-481d-89ce-8aab49961eaf" CreationDate="2010-04-17T10:57:57.997" UserDisplayName="user80" Comment="added 2 characters in body; edited tags" Text="&lt;192khz&gt;&lt;sound-design&gt;&lt;experiences&gt;&lt;stories&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1196" PostHistoryTypeId="2" PostId="728" RevisionGUID="02906041-389c-4ab9-beee-c1a571c35784" CreationDate="2010-04-17T13:22:31.133" UserId="234" Text="For me... &quot;Dr. Forest please Dial 118, Dr. Forest please dial on,one, eight...&quot;. I hear this in EVERY SINGLE HOSPITAL HALLWAY on TV, and I KNOW what library it comes from. Always pulls me out of the moment. I mean really, how hard is it to hop on a mic and record custom pages? I've had directors, producers, and even my cats paged in hospitals! " ContentLicense="CC BY-SA 2.5" />
  <row Id="1197" PostHistoryTypeId="2" PostId="729" RevisionGUID="f3a0a18a-d2f0-4467-9d88-7efec18dbf6f" CreationDate="2010-04-17T17:17:34.367" UserId="235" Text="&#xD;&#xA;Nope. No idea what that says. Red/Green color blind as well.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="1198" PostHistoryTypeId="6" PostId="592" RevisionGUID="937b1b22-089b-42d0-8b79-39a3de3c1a74" CreationDate="2010-04-17T17:54:21.143" UserDisplayName="user80" Comment="edited tags" Text="&lt;survey&gt;&lt;career&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1199" PostHistoryTypeId="5" PostId="708" RevisionGUID="7074f6da-949b-4e68-a004-a9c0dcbfec54" CreationDate="2010-04-18T06:36:32.537" UserDisplayName="user80" Comment="Added weblinks" Text="I regularly listen to a number of audio related podcasts, and I was wondering how popular they are and if I have missed any out.&#xD;&#xA;&#xD;&#xA;Here's what I currently listen to: [AudioNowcast][1], [EM Podcasts][2], [Fistful of Cables][3], [Gameaudio][4], [The Home Recording Show][5], [Home Studio Corner][6], [Inside Home Recording][7], [New Media Gear][8], [Project Studio Network][9], [Recording Lounge][10], [Ronan's Recording Show][11], [Sessions with Slau][12], [Shure Cast][13], [Sine Language][14], [Sonic Talk][15], [Sound on Sound][16], and [Sounds Good][17].&#xD;&#xA;&#xD;&#xA;I enjoy listening to them all for different reasons.  &#xD;&#xA;&#xD;&#xA;What podcasts would you recommend?&#xD;&#xA;&#xD;&#xA;[1]: http://nowcastnetwork.com/&#xD;&#xA;[2]: http://emusician.com/podcasts/&#xD;&#xA;[3]: http://ffoc.tumblr.com/&#xD;&#xA;[4]: http://www.gameaudiopodcast.com/&#xD;&#xA;[5]: http://www.homerecordingshow.com/&#xD;&#xA;[6]: http://www.homestudiocorner.com/&#xD;&#xA;[7]: http://www.insidehomerecording.com/&#xD;&#xA;[8]: http://www.newmediagear.com/&#xD;&#xA;[9]: http://projectstudionetwork.com/&#xD;&#xA;[10]: http://www.recordinglounge.blogspot.com/&#xD;&#xA;[11]: http://ronansrecordingshow.com/&#xD;&#xA;[12]: http://sessionswithslau.com/&#xD;&#xA;[13]: http://shure.libsyn.com/&#xD;&#xA;[14]: http://www.sinelanguagepodcast.com/&#xD;&#xA;[15]: http://www.sonicstate.com/video/index.cfm?keyword=Sonic%20Talk&#xD;&#xA;[16]: http://www.soundonsound.com/podcast&#xD;&#xA;[17]: http://37hz.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1200" PostHistoryTypeId="5" PostId="704" RevisionGUID="5275380d-4eed-4cc0-804b-8a40556e3554" CreationDate="2010-04-18T06:57:32.530" UserDisplayName="user80" Comment="Added weblinks and image" Text="**When enjoying media for entertainment purposes, what specific sounds shatter your suspension of disbelief?**&#xD;&#xA;&#xD;&#xA;For me, it is the call of a [loon][1]. I grew up in [Muskoka][2], which is a cottage district in Ontario. My ears prick up whenever I hear that bird song. I am immediately transported to memories of starry nights camping, or sitting on a dock at dusk.&#xD;&#xA;&#xD;&#xA;Yesterday, while watching [24 S01E02][3], I heard a loon call out in the Mojave desert. Maybe they migrate that far... maybe... but still - it made me chuckle.&#xD;&#xA;&#xD;&#xA;The biggest example of a bird song that ALWAYS cracks me up is approximately 3 minutes into [Thriller by Michael Jackson][4].&#xD;&#xA;&#xD;&#xA;&quot;They're out to get you. Demons closing in on every side.&quot; [CUE LOON][5].&#xD;&#xA;&#xD;&#xA;![alt text][6]&#xD;&#xA;&#xD;&#xA;[1]: http://en.wikipedia.org/wiki/Loon&#xD;&#xA;[2]: http://www.muskokaontario.com/&#xD;&#xA;[3]: http://www.fox.com/24/recaps/season-1/episode-2.htm&#xD;&#xA;[4]: http://www.youtube.com/watch?v=p_MuUcxHATo&#xD;&#xA;[5]: http://www.fws.gov/video/sounds/44loons.mp3&#xD;&#xA;[6]: http://upload.wikimedia.org/wikipedia/commons/e/ef/PacificLoon24.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1201" PostHistoryTypeId="5" PostId="709" RevisionGUID="9b2a02e2-4049-41a5-9465-370c9721d090" CreationDate="2010-04-18T07:10:39.473" UserDisplayName="user80" Comment="added 87 characters in body; added 54 characters in body" Text="For me it's [The Wilhelm Scream][1]. I don't find it annoying but it always makes me laugh whenever I come across it in a [film][2].&#xD;&#xA;&#xD;&#xA;I currently use it as my text message sound which is hilarious if you're in say a shop and suddenly someone screams. Cue everyone looking around wondering did I just hear a scream?&#xD;&#xA;&#xD;&#xA;+1 for the big rig horn. There's also an overly used telephone that appears in almost every television show - 2 examples are &quot;Friends&quot; and &quot;Spaced&quot; (UK Version).&#xD;&#xA;&#xD;&#xA;[1]: http://www.youtube.com/watch?v=_PxALy22utc&amp;NR=1&#xD;&#xA;[2]: http://www.youtube.com/watch?v=cdbYsoEasio&amp;feature=player_embedded#!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1202" PostHistoryTypeId="5" PostId="709" RevisionGUID="575a8700-69a7-465c-9172-9c0ca9fcec6c" CreationDate="2010-04-18T07:23:21.890" UserDisplayName="user80" Comment="Added weblinks and image; deleted 83 characters in body" Text="For me it's [The Wilhelm Scream][1]. I don't find it annoying but it always makes me laugh whenever I come across it in a [film][2].&#xD;&#xA;&#xD;&#xA;I currently use it as my text message sound which is hilarious if you're in say a shop and suddenly someone screams. Cue everyone looking around wondering did I just hear a scream?&#xD;&#xA;&#xD;&#xA;+1 for the big rig horn. There's also an overly used telephone that appears in almost every television show - 2 examples are &quot;Friends&quot; and &quot;Spaced&quot; (UK Version).&#xD;&#xA;&#xD;&#xA;![Wilhelm Scream][3]&#xD;&#xA;&#xD;&#xA;[1]: http://www.youtube.com/watch?v=_PxALy22utc&amp;NR=1&#xD;&#xA;[2]: http://www.youtube.com/watch?v=cdbYsoEasio&amp;feature=player_embedded#!&#xD;&#xA;[3]: http://upload.wikimedia.org/wikipedia/commons/5/59/Wilhelm_scream_WikiWorld.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="1203" PostHistoryTypeId="5" PostId="695" RevisionGUID="be601c6e-acbf-4ef9-9886-1f90aaf7afd1" CreationDate="2010-04-18T07:31:44.610" UserDisplayName="user80" Comment="added 23 characters in body; added 1 characters in body" Text="Have you ever tried a [Drobo][1]?  &#xD;&#xA;&#xD;&#xA;I have one under my desk and use 1 TB Seagates inside it.  We have two Drobos here and haven't had anything die ever since we got them, which is well over a year ago.&#xD;&#xA;&#xD;&#xA;The beauty of the system is that unlike a RAID you can mix your hard drives within the Drobo.  You can use any brand and any size.  You start with two drives and then build up to four, or there is a pro version with eight bays.  There is built in redundancy, one drive can die without losing any data, all you do is replace the faulty drive and it will &quot;heal&quot; itself.&#xD;&#xA;&#xD;&#xA;Hard drive manufacturers really don't expect hard drives to last much longer than the guarantee.  If you treat them as disposable you won't be disappointed.&#xD;&#xA;&#xD;&#xA;Long term we all need to move to flash drives, which also die, but what normally happens is that the ability to write to cells dies but the ability to read from the damaged cells does not.&#xD;&#xA;&#xD;&#xA;I personally have complete hourly hard drive backups at home and work as well as daily flash and cloud backups, and weekly optical backups.  &#xD;&#xA;&#xD;&#xA;I expect everything to break, and am regularly surprised when things don't.&#xD;&#xA;&#xD;&#xA;Check out this podcast from the [AudioNowcast][2] where they talk about data storage at NASA, it  also has some really interesting content about audio.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[1]: http://www.drobo.com/&#xD;&#xA;&#xD;&#xA;[2]: http://nowcastnetwork.com/NowcastNetwork/nfblog/?p=44" ContentLicense="CC BY-SA 2.5" />
  <row Id="1204" PostHistoryTypeId="5" PostId="71" RevisionGUID="b30d7231-51a1-4c36-aad6-0fa1c4356bbf" CreationDate="2010-04-18T09:16:05.357" UserDisplayName="user80" Comment="added 51 characters in body" Text="Great question! &#xD;&#xA;&#xD;&#xA;I have one that popped straight into my mind when reading your question. I was at film school, on one of my first films I ever did sound on. We shot a little film set in a skate park. I recorded a skateboarder coasting along slowly from left to right. It sounded very similar to a distant airplane. And with a tiny bit of processing, that's how I got my first clean-ish recording of an airplane. This layer came in handy many times to build backgrounds or as a narrative tool.&#xD;&#xA;&#xD;&#xA;This was almost 10 years ago, and was recorded on a [Minidisc][1]. I wish I still had that recording.  &#xD;&#xA;&#xD;&#xA;[1]: http://en.wikipedia.org/wiki/MiniDisc" ContentLicense="CC BY-SA 2.5" />
  <row Id="1205" PostHistoryTypeId="5" PostId="404" RevisionGUID="55064efa-3144-4df3-bf77-22666b755868" CreationDate="2010-04-18T10:44:39.467" UserDisplayName="user80" Comment="added 4 characters in body" Text="Calling it sound design &amp; then stating no field recording seems somewhat at odds but anyway...&#xD;&#xA;&#xD;&#xA;First, disregarding movement for a minute, a real jet engine doesn't sound like white noise. If you looked at the spectrum of of a jet engine it would have very pronounced harmonics, so recreating those would be a starting point, whether its by comb filtering white noise, or by adding very narrow band whines etc. to white noise. Also if you band pass it you may lose the bottom end, and jet engines have a lot of low frequency energy, so I'd be more inclined to use a low pass filter with lots of resonance&#xD;&#xA;&#xD;&#xA;Second, the reason it goes whoosh is based on physics so I would then mess with doppler and possibly flanging or phasing.... but that depends on the perspective: are we onboard? Is it passing by? Or has it already gone by &amp; its the away sound you are after? Or is it approaching? Each of these are totally different scenarios. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1206" PostHistoryTypeId="2" PostId="730" RevisionGUID="81e43a77-51ec-454a-8206-2c3a86f67d22" CreationDate="2010-04-18T11:43:01.390" UserId="182" Text="Have you thought about recording a vacuum cleaner? Some of them already sound a lot like jet engines. They might have a speed control, and by partially 'choking' the hose you can make the motor work harder - emit higher pitched sounds." ContentLicense="CC BY-SA 2.5" />
  <row Id="1207" PostHistoryTypeId="5" PostId="708" RevisionGUID="d5b14026-2f52-41e7-a47d-4cc4d1e2a3ff" CreationDate="2010-04-18T11:51:37.760" UserDisplayName="user80" Comment="Added image" Text="I regularly listen to a number of audio related podcasts, and I was wondering how popular they are and if I have missed any out.&#xD;&#xA;&#xD;&#xA;Here's what I currently listen to: [AudioNowcast][1], [EM Podcasts][2], [Fistful of Cables][3], [Gameaudio][4], [The Home Recording Show][5], [Home Studio Corner][6], [Inside Home Recording][7], [New Media Gear][8], [Project Studio Network][9], [Recording Lounge][10], [Ronan's Recording Show][11], [Sessions with Slau][12], [Shure Cast][13], [Sine Language][14], [Sonic Talk][15], [Sound on Sound][16], and [Sounds Good][17].&#xD;&#xA;&#xD;&#xA;I enjoy listening to them all for different reasons.  &#xD;&#xA;&#xD;&#xA;What podcasts would you recommend?&#xD;&#xA;&#xD;&#xA;![podcast icon][18]&#xD;&#xA;&#xD;&#xA;[1]: http://nowcastnetwork.com/&#xD;&#xA;[2]: http://emusician.com/podcasts/&#xD;&#xA;[3]: http://ffoc.tumblr.com/&#xD;&#xA;[4]: http://www.gameaudiopodcast.com/&#xD;&#xA;[5]: http://www.homerecordingshow.com/&#xD;&#xA;[6]: http://www.homestudiocorner.com/&#xD;&#xA;[7]: http://www.insidehomerecording.com/&#xD;&#xA;[8]: http://www.newmediagear.com/&#xD;&#xA;[9]: http://projectstudionetwork.com/&#xD;&#xA;[10]: http://www.recordinglounge.blogspot.com/&#xD;&#xA;[11]: http://ronansrecordingshow.com/&#xD;&#xA;[12]: http://sessionswithslau.com/&#xD;&#xA;[13]: http://shure.libsyn.com/&#xD;&#xA;[14]: http://www.sinelanguagepodcast.com/&#xD;&#xA;[15]: http://www.sonicstate.com/video/index.cfm?keyword=Sonic%20Talk&#xD;&#xA;[16]: http://www.soundonsound.com/podcast&#xD;&#xA;[17]: http://37hz.net/&#xD;&#xA;[18]: http://upload.wikimedia.org/wikipedia/commons/4/43/Feed-icon.svg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1208" PostHistoryTypeId="5" PostId="721" RevisionGUID="4a0223d2-ee0b-4f4e-9571-672e5caa5818" CreationDate="2010-04-18T11:57:03.000" UserDisplayName="user80" Comment="Added weblink" Text="[Guru.com][1] sometimes has audio related stuff come up, but it's rare (and super lo-budg when it does come up). &#xD;&#xA;&#xD;&#xA;That said, I won a bid and gained a pretty awesome client (and project) in the process. Worth a shot to throw your name in the mix at least...&#xD;&#xA;&#xD;&#xA;[1]: http://www.guru.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1209" PostHistoryTypeId="4" PostId="694" RevisionGUID="967cd060-3dee-498e-8bf5-c48e298a0c5c" CreationDate="2010-04-18T11:58:37.600" UserDisplayName="user80" Comment="edited title" Text="More reliable hard drives?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1210" PostHistoryTypeId="2" PostId="731" RevisionGUID="8438fcd1-ad52-4b9e-a3d6-98284b66c48a" CreationDate="2010-04-18T13:07:54.307" UserDisplayName="user80" Text="Why did you choose sound design as a career?&#xD;&#xA;&#xD;&#xA;I know quite a few studio recording engineers who wanted to be musicians first and &quot;fell into&quot; the job as a &quot;backup&quot;.&#xD;&#xA;&#xD;&#xA;In my case I started as a live music sound engineer just after school, became a theatre sound designer whilst still working as a live engineer, and then broadened out from there.&#xD;&#xA;&#xD;&#xA;What was your experience?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1211" PostHistoryTypeId="1" PostId="731" RevisionGUID="8438fcd1-ad52-4b9e-a3d6-98284b66c48a" CreationDate="2010-04-18T13:07:54.307" UserDisplayName="user80" Text="Why sound design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1212" PostHistoryTypeId="3" PostId="731" RevisionGUID="8438fcd1-ad52-4b9e-a3d6-98284b66c48a" CreationDate="2010-04-18T13:07:54.307" UserDisplayName="user80" Text="&lt;career&gt;&lt;musician&gt;&lt;career-choices&gt;&lt;sound-design&gt;&lt;survey&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1214" PostHistoryTypeId="5" PostId="587" RevisionGUID="06a64afc-a2f3-4669-9b52-f54087e8bbd7" CreationDate="2010-04-18T13:19:11.980" UserDisplayName="user80" Comment="added 290 characters in body; edited tags" Text="**Background:**&#xD;&#xA;&#xD;&#xA;My main focus is sound effects recording. A very close second at the moment is onset recording (no huge productions though).&#xD;&#xA;&#xD;&#xA;I own a [Fostex FR2][1] but it is slowly dying on me. It won't switch off unless I cut it's power supply, and it has a serious hard time importing the files and gives me the spinning wheel (Mac) forever. I have no doubt I will loose precious files one day. All and all, I'm always a bit nervous before taking it out in the field or doing onset recording.&#xD;&#xA;&#xD;&#xA;![Fostex FR2][5]&#xD;&#xA;&#xD;&#xA;**Comparison:**&#xD;&#xA;&#xD;&#xA;The [552 Mixer][2] has a built-in recorder for 2 of the 5 channels. This is awesome, however the A-to-D converter has a dynamic range of 103db. This is still slightly better than my Fostex FR2. The [702 Recorder][3] has a dynamic range of 114db. Does this actually make a noticeable difference? &#xD;&#xA;&#xD;&#xA;![Sounddevices 552][6]&#xD;&#xA;&#xD;&#xA;![Sounddevices 702][7]&#xD;&#xA;&#xD;&#xA;I've been reading [this great article][4] on the Sound Devices website that should answer all my questions, but I'm worried that they are being slightly biased to protect themselves from people purchasing the 552 instead of a 7-series. I'm also not very good at reading tech-specs so maybe someone here can help decode it :-)  &#xD;&#xA;&#xD;&#xA;Because it's not worth fixing my FR2, I will keep it as a second recorder. Now my question is do I buy the 702 and not own a mixer but have two independent recorders, or do I get the 552 mixer and use it's built-in recorder for 2 channels and the Fostex FR2 for 2 other channels (using it through the mixer too). In both cases I would end up with four separate channels. &#xD;&#xA;&#xD;&#xA;If recording onto camera, can the 702 be used as a basic mixer? ie. use the 702's preamps and A-to-D converters and go via the outputs into the camera without adding much noise?  &#xD;&#xA;&#xD;&#xA;*I keep oscillating between getting the 702 or forking out the extra money and owning the great 552. Any advice would be MASSIVELY appreciated!* &#xD;&#xA;&#xD;&#xA;  [1]: http://www.zzounds.com/item--FOSFR2&#xD;&#xA;  [2]: http://www.sounddevices.com/products/552.htm&#xD;&#xA;  [3]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;  [4]: http://www.sounddevices.com/notes/general/552-or-7-series/&#xD;&#xA;  [5]: http://www.fostexinternational.com/images/product_img/mid/fr_2_ad_strap_6.jpg&#xD;&#xA;  [6]: http://www.sounddevices.com/images/products/552-450px.jpg&#xD;&#xA;  [7]: http://www.sounddevices.com/images/products/702-359px.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1215" PostHistoryTypeId="6" PostId="587" RevisionGUID="06a64afc-a2f3-4669-9b52-f54087e8bbd7" CreationDate="2010-04-18T13:19:11.980" UserDisplayName="user80" Comment="added 290 characters in body; edited tags" Text="&lt;field-recorder&gt;&lt;mixer&gt;&lt;sound-devices&gt;&lt;gear&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1216" PostHistoryTypeId="5" PostId="731" RevisionGUID="9d436450-13bf-4353-8d1e-441431205049" CreationDate="2010-04-18T13:20:42.807" UserDisplayName="user80" Comment="deleted 6 characters in body; edited title" Text="Why did you choose sound design as a career?&#xD;&#xA;&#xD;&#xA;I know quite a few studio recording engineers who wanted to be musicians and &quot;fell into&quot; the job as a &quot;backup&quot;.&#xD;&#xA;&#xD;&#xA;In my case I started as a live music sound engineer just after school, became a theatre sound designer whilst still working as a live engineer, and then broadened out from there.&#xD;&#xA;&#xD;&#xA;What was your experience?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1217" PostHistoryTypeId="4" PostId="731" RevisionGUID="9d436450-13bf-4353-8d1e-441431205049" CreationDate="2010-04-18T13:20:42.807" UserDisplayName="user80" Comment="deleted 6 characters in body; edited title" Text="Why did you choose sound design as a career?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1218" PostHistoryTypeId="5" PostId="731" RevisionGUID="639ca17b-3d8f-4cac-8dc7-718a3cf4ca4e" CreationDate="2010-04-18T13:32:03.603" UserDisplayName="user80" Comment="added 256 characters in body; deleted 47 characters in body" Text="I know quite a few studio recording engineers who wanted to be musicians and &quot;fell into&quot; the job as a &quot;backup&quot;.&#xD;&#xA;&#xD;&#xA;When I was about 15 I went to a school rock concert and fell in love with all of the equipment.  The sound engineer let me load the van afterwards and I was hooked.  I then started 'programming' synths, samplers and sequencers, and managed to get a job as a trainee live music sound engineer just after school.  After a while I became a theatre sound designer whilst still working as a live engineer, and then broadened out from there.&#xD;&#xA;&#xD;&#xA;What was your experience?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1219" PostHistoryTypeId="5" PostId="666" RevisionGUID="1d32d8f0-51e4-4b5f-8a11-36e37839dead" CreationDate="2010-04-18T13:43:27.727" UserDisplayName="user80" Comment="Added weblink" Text="[Izotope RX][1] has saved many a project around the office.&#xD;&#xA;&#xD;&#xA;[1]: http://www.izotope.com/products/audio/RX/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1220" PostHistoryTypeId="5" PostId="725" RevisionGUID="ff684f1b-13d9-47c6-90a4-0e8e80379208" CreationDate="2010-04-18T13:55:56.817" UserDisplayName="user80" Comment="added 59 characters in body" Text="Great answers so far!  One thing you need to be VERY careful of is the potentially high output of the piezo!  Under normal circumstances, a piezo element will output a decently normal level when connected to a mic pre.  However, if you drop it, flick it, or hit it hard in some other way, many piezos are often capable of outputting over 30v!  That can blow up a pre if you're not careful!&#xD;&#xA;&#xD;&#xA;I've had a lot of luck improving the overall frequency response of my contact mics by terminating them 1/4&quot; and plugging them into an inline impedance matcher, then straight into a [744T][1].  Might also be interesting in playing with plugging one into a DI box. However, I'd be VERY interested in hearing the results of connecting one into a variable impedance mic pre (I used to own one of the ART preamps that had this function, but I since upgraded to my Chandler Germanium...)&#xD;&#xA;&#xD;&#xA;Another possibility (which I've thought about doing but never done):  if you have Logic Studio, there is an EQ plugin called &quot;Match EQ&quot;.  Quite possibly, if you could find a surface that resonates at a fairly flat frequency (maybe an NS-10?), you could shoot pink noise through it, record it's response, and then match that to a direct measurement of the pink noise with the EQ (internally in the software).  This would account for the abnormal frequency response.  You could then save your new EQ setting and apply it in post to every recording on the mic, which would essentially &quot;decode&quot; your mic.  Of course, all this is assuming you can find a surface with a fairly flat response.&#xD;&#xA;&#xD;&#xA;I have other ideas up my sleeve about how to accomplish this with Match EQ if anyone is interested...  let me know.&#xD;&#xA;&#xD;&#xA;Hope this helps!!!&#xD;&#xA;&#xD;&#xA;[1]: http://www.sounddevices.com/products/744t.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="1221" PostHistoryTypeId="2" PostId="732" RevisionGUID="a5862618-97ff-4cab-b35f-ee60993e50f1" CreationDate="2010-04-18T14:36:42.063" UserId="227" Text="Thanks,&#xD;&#xA;  the software EQ &quot;decoding&quot; seems like an interesting idea. I was alright with soldering a piezo and a plug, but I'm not sure I'll understand the schematics for building a FET buffer.&#xD;&#xA;&#xD;&#xA;A second question concerning voltage is about Phantom power and piezos. I was going to try and amplify a piezo's signal with my MOTU Ultralite's 48V phantom mic pre, but somehow that didn't seem like a good idea, just by my instincts. The piezo plate and wires I made is completely open so I guess my instincts said 48V isn't a good combination with this. &#xD;&#xA;&#xD;&#xA;How about it? Any more scientific explanations concerning the use of piezos with phantom power?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1222" PostHistoryTypeId="5" PostId="500" RevisionGUID="8990e383-2f9a-467c-81b3-68d2304a4584" CreationDate="2010-04-18T15:35:40.413" UserDisplayName="user80" Comment="added 332 characters in body; edited tags" Text="Hey Folks,&#xD;&#xA;&#xD;&#xA;I am looking for some affordable DA for monitoring.  I have an MBOX Pro at home, and I want something a bit better for monitoring.  At this point I'm looking at the following which are all in the $850-1100.00 price range:&#xD;&#xA;&#xD;&#xA;[BENCHMARK DAC1][1], &#xD;&#xA;[LAVRY DA 10][3],&#xD;&#xA;MYTEK STEREO96DAC&#xD;&#xA;APOGEE MINI_DAC&#xD;&#xA;&#xD;&#xA;I'm leaning toward the benchmark, but I'm willing to be swayed.  A few of the above have usb or firewire add ons, but I won't need them.  If I am working the Pro Tools I'll be taking the spdif output and any other core audio app I'll just take the optical output on my Mac Book Pro.  So hit me with your opinions please.&#xD;&#xA;&#xD;&#xA;M.&#xD;&#xA;&#xD;&#xA;![Benchmark DAC1][2]&#xD;&#xA;![Lavry DA-10][4]&#xD;&#xA;&#xD;&#xA;[1]: http://www.benchmarkmedia.com/system1/digital-analog-converter/dac1&#xD;&#xA;[2]: http://www.benchmarkmedia.com/system1/files/productgallery/dac1-black.jpg&#xD;&#xA;[3]: http://www.lavryengineering.com/productspage_da_10.html&#xD;&#xA;[4]: http://www.lavryengineering.com/lrg_images/da_10.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1223" PostHistoryTypeId="6" PostId="500" RevisionGUID="8990e383-2f9a-467c-81b3-68d2304a4584" CreationDate="2010-04-18T15:35:40.413" UserDisplayName="user80" Comment="added 332 characters in body; edited tags" Text="&lt;da&gt;&lt;gear&gt;&lt;conversion&gt;&lt;monitoring&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1224" PostHistoryTypeId="5" PostId="500" RevisionGUID="2f618ecf-d441-4d86-bd28-3f5a2967e06d" CreationDate="2010-04-18T15:41:01.763" UserDisplayName="user80" Comment="edited body; edited tags" Text="Hey Folks,&#xD;&#xA;&#xD;&#xA;I am looking for some affordable DA for monitoring.  I have an MBOX Pro at home, and I want something a bit better for monitoring.  At this point I'm looking at the following which are all in the $850-1100.00 price range:&#xD;&#xA;&#xD;&#xA;[BENCHMARK DAC1][1], &#xD;&#xA;[LAVRY DA10][3],&#xD;&#xA;MYTEK STEREO96DAC,&#xD;&#xA;APOGEE MINI_DAC&#xD;&#xA;&#xD;&#xA;I'm leaning toward the benchmark, but I'm willing to be swayed.  A few of the above have usb or firewire add ons, but I won't need them.  If I am working the Pro Tools I'll be taking the spdif output and any other core audio app I'll just take the optical output on my Mac Book Pro.  So hit me with your opinions please.&#xD;&#xA;&#xD;&#xA;M.&#xD;&#xA;&#xD;&#xA;![Benchmark DAC1][2]&#xD;&#xA;![Lavry DA-10][4]&#xD;&#xA;&#xD;&#xA;[1]: http://www.benchmarkmedia.com/system1/digital-analog-converter/dac1&#xD;&#xA;[2]: http://www.benchmarkmedia.com/system1/files/productgallery/dac1-black.jpg&#xD;&#xA;[3]: http://www.lavryengineering.com/productspage_da_10.html&#xD;&#xA;[4]: http://www.lavryengineering.com/lrg_images/da_10.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1225" PostHistoryTypeId="6" PostId="500" RevisionGUID="2f618ecf-d441-4d86-bd28-3f5a2967e06d" CreationDate="2010-04-18T15:41:01.763" UserDisplayName="user80" Comment="edited body; edited tags" Text="&lt;d-to-a&gt;&lt;gear&gt;&lt;conversion&gt;&lt;monitoring&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1226" PostHistoryTypeId="5" PostId="731" RevisionGUID="cbe73484-fb76-42b8-ab9a-a8dbd4ee2796" CreationDate="2010-04-18T16:36:42.153" UserDisplayName="user80" Comment="added 3 characters in body; deleted 14 characters in body" Text="I know quite a few studio recording engineers who wanted to be musicians and &quot;fell into&quot; the job.&#xD;&#xA;&#xD;&#xA;When I was about 15 I went to a school rock concert and was fascinated by all of the PA equipment.  The sound engineer let me load the van afterwards and I was hooked.  I then started 'programming' synths, samplers and sequencers, and managed to get a job as a trainee live music sound engineer just after school.  After a while I became a theatre sound designer whilst still working as a live engineer, and then broadened out from there.&#xD;&#xA;&#xD;&#xA;What was your experience?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1227" PostHistoryTypeId="5" PostId="732" RevisionGUID="97d846ef-81bb-43b7-95e1-14cd158b5d3d" CreationDate="2010-04-18T19:04:27.487" UserId="227" Comment="Edited to make slightly more sense :)" Text="Thanks,&#xD;&#xA;  the software EQ &quot;decoding&quot; seems like an interesting idea. I'd like to hear more ideas on how to record a good flat reference EQ impulse. I don't own the NS-10's and my Genelec monitors' body seem too sturdy to vibrate well. Or do you think I could get a good &quot;natural&quot; frequency response by laying the piezo on the Genelec's wire mesh and recording the noise?&#xD;&#xA;&#xD;&#xA;Hardware-wise, I was alright with soldering a piezo and a plug, but I'm not sure I'll understand the schematics for building a FET buffer.&#xD;&#xA;&#xD;&#xA;A second question concerning voltage is about Phantom power and piezos. I was going to try and amplify a piezo's signal with my MOTU Ultralite's 48V phantom mic pre, but somehow that didn't seem like a good idea, just by my instincts. The piezo plate and wires I made is completely open so I guess my instincts said 48V isn't a good combination with this. &#xD;&#xA;&#xD;&#xA;How about it? Any more scientific explanations concerning the use of piezos with phantom power to amplify the signal? Naturally phantom power gives additional volts for a mic and it won't change the frequency response, or will it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1228" PostHistoryTypeId="5" PostId="731" RevisionGUID="21147c00-07ce-4ee8-893e-89e0c349ba3c" CreationDate="2010-04-18T20:32:52.347" UserDisplayName="user80" Comment="added 55 characters in body" Text="I know quite a few studio recording engineers who wanted to be musicians and &quot;fell into&quot; the job.&#xD;&#xA;&#xD;&#xA;When I was about 15 I went to a school rock concert and was fascinated by all of the PA equipment.  The sound engineer let me load the van afterwards and I was hooked.  I then started 'programming' synths, samplers and sequencers, and managed to get a job as a trainee live music sound engineer just after school.  After a while I became a theatre sound designer whilst still working as a live engineer, and then broadened out from there.&#xD;&#xA;&#xD;&#xA;I just seem to think in sound rather than pictures.&#xD;&#xA;&#xD;&#xA;What was your experience?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1229" PostHistoryTypeId="5" PostId="609" RevisionGUID="162bef44-34de-4843-b73a-04b3f3ac2c3f" CreationDate="2010-04-18T21:13:08.227" UserDisplayName="user80" Comment="added 245 characters in body" Text="When I worked at Electric Lady Studios, we used the [Shure A15AS][1] barrel adapters.  They didn't effect the signal noticeably (except for the expected padding of course...), and are switchable, so you aren't stuck with a certain value.&#xD;&#xA;&#xD;&#xA;A 5-pin stereo pad would be sweet, but I've never seen one before.  If they make one, that'd lighten your load, but would also limit you to using it with your 418s (nice mic, btw).&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;&#xD;&#xA;![Shure switchable inline attenuator][2]&#xD;&#xA;&#xD;&#xA;[1]: http://store.shure.com/store/shure/en_US/DisplayProductDetailsPage/productID.104210500&#xD;&#xA;[2]: http://drh1.img.digitalriver.com/DRHM/Storefront/Company/shure/images/product/detail/a15as.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1230" PostHistoryTypeId="5" PostId="611" RevisionGUID="c394a7c2-e8c0-480d-b35e-4535b9c3af30" CreationDate="2010-04-18T21:16:45.660" UserDisplayName="user80" Comment="added 133 characters in body" Text="I always keep at least one [Audio-Technica AT8202][1] in my bag. I've used them on my hydrophone and even the MKH50, and I can't hear much (any?) additional noise. the AT8202 is switchable betweeen -10, -20, and -30 dB; pretty darned spiffy.&#xD;&#xA;&#xD;&#xA;![Audio-Technica in-line attenuator][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/68085-REG/Audio_Technica_AT8202_AT8202_In_Line_Attenuator.html&#xD;&#xA;[2]: http://eu.audio-technica.com/en/resources/medium/medium_a90ddc3e9116d298_at8202.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1231" PostHistoryTypeId="5" PostId="500" RevisionGUID="db5ebe69-8436-4932-b822-48bbb9165964" CreationDate="2010-04-19T07:24:45.930" UserDisplayName="user80" Comment="added 343 characters in body" Text="Hey Folks,&#xD;&#xA;&#xD;&#xA;I am looking for some affordable DA for monitoring.  I have an MBOX Pro at home, and I want something a bit better for monitoring.  At this point I'm looking at the following which are all in the $850-1100.00 price range:&#xD;&#xA;&#xD;&#xA;[Benchmark DAC1][1], &#xD;&#xA;[Lavry Engineering DA10][3],&#xD;&#xA;[Mytek STEREO96 DAC][5],&#xD;&#xA;[Apogee Mini-DAC][7]&#xD;&#xA;&#xD;&#xA;I'm leaning toward the benchmark, but I'm willing to be swayed.  A few of the above have usb or firewire add ons, but I won't need them.  If I am working the Pro Tools I'll be taking the spdif output and any other core audio app I'll just take the optical output on my Mac Book Pro.  So hit me with your opinions please.&#xD;&#xA;&#xD;&#xA;M.&#xD;&#xA;&#xD;&#xA;![Benchmark DAC1][2]&#xD;&#xA;![Lavry Engineering DA-10][4]&#xD;&#xA;![Myteck STEREO98 DAC][6]&#xD;&#xA;![Apogee Mini-DAC][8]&#xD;&#xA;&#xD;&#xA;[1]: http://www.benchmarkmedia.com/system1/digital-analog-converter/dac1&#xD;&#xA;[2]: http://www.benchmarkmedia.com/system1/files/productgallery/dac1-black.jpg&#xD;&#xA;[3]: http://www.lavryengineering.com/productspage_da_10.html&#xD;&#xA;[4]: http://www.lavryengineering.com/lrg_images/da_10.jpg&#xD;&#xA;[5]: http://www.mytekdigital.com/products/stereo96dac.htm&#xD;&#xA;[6]: http://www.mytekdigital.com/images/products%20300dpi/stereo96dac-300dpi.jpg&#xD;&#xA;[7]: http://www.apogeedigital.com/products/mini-dac.php&#xD;&#xA;[8]: http://www.apogeedigital.com/images/minidac_fp_sm.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1232" PostHistoryTypeId="5" PostId="514" RevisionGUID="99c73abc-d63a-4758-a775-f91de9270445" CreationDate="2010-04-19T07:27:24.807" UserDisplayName="user80" Comment="added 101 characters in body" Text="I would recommend the [TC Electronic BMC-2][1] which is only £229, and has an excellent reputation.  &#xD;&#xA;&#xD;&#xA;![TC  Electronic BMC-2][2]&#xD;&#xA;&#xD;&#xA;[1]: http://www.tcelectronic.com/bmc-2.asp&#xD;&#xA;[2]: http://www.tcelectronic.com/media/bmc-2_persp.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1233" PostHistoryTypeId="5" PostId="493" RevisionGUID="068a80c5-5d5a-4d60-b3b4-bc7bc21a3fd0" CreationDate="2010-04-19T07:33:36.827" UserDisplayName="user80" Comment="added 5 characters in body; added 45 characters in body" Text="[&quot;THX 1138&quot;][2] for me this whole movie is surely THE best example of a movie which blurs the distinction between score and sound design.&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=2fwwT5jp-dA][1]&#xD;&#xA;&#xD;&#xA;[youtube]2fwwT5jp-dA[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=2fwwT5jp-dA&#xD;&#xA;  [2]: http://www.imdb.com/title/tt0066434/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1234" PostHistoryTypeId="2" PostId="733" RevisionGUID="f77e81e7-a953-43c8-8261-a99cd1c70b9f" CreationDate="2010-04-19T07:51:28.667" UserId="100" Text="I started as a musician. I've always loved movies and sound and tech stuff, but I didn't think there was a career that involved them all. During my last couple years of college I worked in radio production. It was great fun, but I felt it was missing something. Later, while in an unsatisfying career in the US Air Force, I was watching the special features for sound on The Lord of the Rings. Seeing them piece all the sounds together from sticks and rocks and cheese graters lit me on fire. When I finished my military contract I moved my family to Burbank to get close to the film industry and to go to school for audio engineering.&#xD;&#xA;&#xD;&#xA;I'm very interested to see how others went about getting into sound design as well. Anyone fortunate enough to have an uncle in the business that helped get them in?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1235" PostHistoryTypeId="2" PostId="734" RevisionGUID="91eeb8f5-59e7-4550-b7fe-bfbc6509640d" CreationDate="2010-04-19T08:30:54.653" UserId="62" Text="Another failed musician here. I ended up choosing modules in composition and music technology during my music degree. Really wanted to write music for film and TV. I heard about a course that specialised in this at Bournemouth University so I applied. The professor told me he didn't think I'd be any good at the course but suggested that I might be more suited to the Sound Design for the Screen course. I applied and got in (didn't want to get a job and didn't know what I wanted to do anyway) and quickly became obsessed with making noise!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1236" PostHistoryTypeId="5" PostId="552" RevisionGUID="5889ca6d-fbb3-4e91-aa40-26d6f1016107" CreationDate="2010-04-19T10:44:59.417" UserDisplayName="user80" Comment="Added weblinks; edited tags" Text="Regardless of how you organize your library in databases like [SoundMiner][2], [Basehead][3], etc., how do you sanely file your recordings on your hard drive, especially between initial ingestion of the raw recordings and where the edited and mastered recordings go? Do you store them by date, by event/project, by sound type? Or do you store them &quot;flat,&quot; in a less organized way, and let your sound library sort it all out? &#xD;&#xA;&#xD;&#xA;To kick things off, I name all my raw recording sessions by date and event/subject (if for a project, with a 3-letter project code instead of an event or subject), and I never erase or over-write my raw originals. I then do have many separate subfolders for edited sounds by type, and I leverage my SFX library software/database for searching and cross-referencing sounds via metadata. While this feels pretty redundant, having an organizational system in the file system in addition to all the metadata entry, at least I know that I've got some sensible hard-drive-level organization if my database ever becomes corrupted.&#xD;&#xA;&#xD;&#xA;But, I'm always assuming there's a better way, though. What methods do *you* use?&#xD;&#xA;&#xD;&#xA;*(Note: Related to [this earlier question][1], but focused on file-system-level organization, not the librarian software!)*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/324/organizing-libraries/327&#xD;&#xA;  [2]: http://www.soundminer.com/SM_Site/Home.html&#xD;&#xA;  [3]: http://www.baseheadinc.com/basehead-feature-overview" ContentLicense="CC BY-SA 2.5" />
  <row Id="1237" PostHistoryTypeId="6" PostId="552" RevisionGUID="5889ca6d-fbb3-4e91-aa40-26d6f1016107" CreationDate="2010-04-19T10:44:59.417" UserDisplayName="user80" Comment="Added weblinks; edited tags" Text="&lt;metadata&gt;&lt;file-organization&gt;&lt;sound-libraries&gt;&lt;database&gt;&lt;file-naming&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1238" PostHistoryTypeId="5" PostId="555" RevisionGUID="3af5d2ea-108e-450c-a66b-aa4dce610bd1" CreationDate="2010-04-19T10:47:13.830" UserDisplayName="user80" Comment="Added weblinks" Text="I had a chance to collaborate with a librarian that worked for [Soundelux][1] for almost almost 15 years. He suggested the best way to organize a library was to be very specific and blunt in the folder structure, such as:&#xD;&#xA;&#xD;&#xA;Vehicles: Aircraft, Automobiles, Locomotives, Spacecraft, Water Craft&#xD;&#xA;          &#xD;&#xA;Then using sub-folders to list each type of vehicle in its suggested master. The glue that holds the entire system together is the meta-data. His goal was to be able to find any sound effect he wanted without having to use [Soundminer][3]. So if wanted a laser blaster it would be filed such as: Weapons/Guns/Sci_Fi/Laser&#xD;&#xA;&#xD;&#xA;As far as mastering is concerned I label every recording in my [702][2] before I record it and save the files to my &quot;To Be Mastered&quot; folder that is within my SFX library structure. This gives me access to the files even if I have not had a chance to master yet. I too save the originals to a separate folder outside of my database using the method used above.&#xD;&#xA;&#xD;&#xA;[1]: http://www.soundelux.com/&#xD;&#xA;[2]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;[3]: http://www.soundminer.com/SM_Site/Products.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1239" PostHistoryTypeId="5" PostId="496" RevisionGUID="3ef25c86-765b-4764-965b-c0fadce19ed3" CreationDate="2010-04-19T12:21:52.680" UserDisplayName="user80" Comment="Added tag" Text="I love watching videos about sound designers' work.  I particularly enjoy anything about or by [Ben Burtt][1].  What videos would you recommend?  It is always great to see other's working environments as well as hear about their motivation and techniques.  Please post any links to videos that you have enjoyed.&#xD;&#xA;&#xD;&#xA;[1]: http://www.in.com/videos/watchvideo-ben-burtt-lecture-2-2548419.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1240" PostHistoryTypeId="6" PostId="496" RevisionGUID="3ef25c86-765b-4764-965b-c0fadce19ed3" CreationDate="2010-04-19T12:21:52.680" UserDisplayName="user80" Comment="Added tag" Text="&lt;behind-the-scenes&gt;&lt;online&gt;&lt;sound-design&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1241" PostHistoryTypeId="5" PostId="497" RevisionGUID="3775e5d2-697b-44de-a11f-32ba45178df9" CreationDate="2010-04-19T13:00:33.070" UserDisplayName="user80" Comment="Added images" Text="Everything from [http://soundworkscollection.com/][1]&#xD;&#xA;&#xD;&#xA;And [http://designingsound.org/category/videos/][2]&#xD;&#xA;&#xD;&#xA;Everything from designingsound.org is great: the interviews the sound designer profiles etc&#xD;&#xA;&#xD;&#xA;![Soundworks Collections][3]&#xD;&#xA;![Designing sound][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/&#xD;&#xA;  [2]: http://designingsound.org/category/videos/&#xD;&#xA;  [3]: http://designingsound.noisepages.com/files/2009/11/SoundWorksLogo.jpg&#xD;&#xA;  [4]: http://designingsound.noisepages.com/files/2010/01/cropped-header_ds3.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1242" PostHistoryTypeId="5" PostId="497" RevisionGUID="31fc95d3-d97d-461b-bf02-2b537b8b0970" CreationDate="2010-04-19T13:13:06.313" UserDisplayName="user80" Comment="added 5 characters in body; added 5 characters in body" Text="Everything from [http://soundworkscollection.com/][1]&#xD;&#xA;&#xD;&#xA;And [http://designingsound.org/category/videos/][2]&#xD;&#xA;&#xD;&#xA;Everything from designingsound.org is great: the interviews the sound designer profiles etc&#xD;&#xA;&#xD;&#xA;[![Soundworks Collections][3]][1]&#xD;&#xA;[![Designing sound][4]][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/&#xD;&#xA;  [2]: http://designingsound.org/category/videos/&#xD;&#xA;  [3]: http://designingsound.noisepages.com/files/2009/11/SoundWorksLogo.jpg&#xD;&#xA;  [4]: http://designingsound.noisepages.com/files/2010/01/cropped-header_ds3.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1243" PostHistoryTypeId="2" PostId="735" RevisionGUID="c60bffef-41a8-4fca-aca5-ed048dbb3b97" CreationDate="2010-04-19T14:15:05.610" UserId="90" Text="Here's an infographic on the proportion of money that goes to the artist and label for different types of music sales:&#xD;&#xA;&#xD;&#xA;[![alt text][1]][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mashable.com/wp-content/uploads/2010/04/selling_out_small.png&#xD;&#xA;  [2]: http://mashable.com/2010/04/15/music-artists-earn-online-infographic/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1244" PostHistoryTypeId="5" PostId="586" RevisionGUID="d8310d8e-1406-48fa-ace0-3c14ef31b0f2" CreationDate="2010-04-19T14:36:34.383" UserDisplayName="user80" Comment="Added image" Text="I recommend the [Beyerdynamic DT770 pro 80 ohms][1], they are a safe bet.&#xD;&#xA;&#xD;&#xA;Check out the [Sound on Sound article][2] for further information.&#xD;&#xA;&#xD;&#xA;![Beyerdynamic DT770s][3]&#xD;&#xA;&#xD;&#xA;[1]: http://www.beyerdynamic.de/en/broadcast-studio-video-production/products/headphonesheadsets/headphones.html?tx_sbproductdatabase_pi1%5BshowUid%5D%5BshowUID%5D=44&amp;tx_sbproductdatabase_pi1%5BshowUid%5D%5BbackPID%5D=93&amp;cHash=cd6f9075a1&#xD;&#xA;[2]: http://www.soundonsound.com/sos/mar99/articles/sessentials.htm&#xD;&#xA;[3]: http://www.beyerdynamic.de/typo3temp/pics/321d688cb1.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1245" PostHistoryTypeId="5" PostId="547" RevisionGUID="06a6c175-6318-4fbd-a59d-c903f6653c6e" CreationDate="2010-04-19T14:46:27.000" UserDisplayName="user80" Comment="Added tags and image; added 5 characters in body" Text="For the talent who's being mic'd or the engineer who is doing the micing?&#xD;&#xA;&#xD;&#xA;If you want a pair of closed headphones with very little bleed to use for the vocal talent, I would most definitely go with the [Sennheiser HD280 PRO][1].  They're only $99, they have excellent isolation, for minimal bleed, and they sound fairly decent.  They take a bit of getting used to - some vocal artists think they isolate too much, so that it sounds a bit unnatural to the talent.&#xD;&#xA;&#xD;&#xA;If you're talking about phones for an engineer, I'd go with the [Beyerdynamic DT770 PRO][2] for $199 (I'm sure you could find them somewhere for $175 or $180).  They sound amazing. The only problem is that they are high impedance, so you need a lot of power to drive them.&#xD;&#xA;&#xD;&#xA;The DT770's are slightly hyped - if you want flat response phones for the engineer, get a pair of [Sony MDR7506s][3] (the [NS10s][5] of headphones) or the nicer [MDR7509HD][4].&#xD;&#xA;&#xD;&#xA;[![Sennheiser HD280 PRO][6]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_headphones-headsets_headphones_004974&#xD;&#xA;[2]: http://www.beyerdynamic.de/en/broadcast-studio-video-production/products/headphonesheadsets/headphones.html?tx_sbproductdatabase_pi1%5BshowUid%5D%5BshowUID%5D=44&amp;tx_sbproductdatabase_pi1%5BshowUid%5D%5BbackPID%5D=93&amp;cHash=cd6f9075a1&#xD;&#xA;[3]: http://pro.sony.com/bbsc/ssr/product-MDR7506/&#xD;&#xA;[4]: http://pro.sony.com/bbsc/ssr/product-MDR7509HD/&#xD;&#xA;[5]: http://www.ns-10.net/&#xD;&#xA;[6]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/7FE507DDB7ABB9D9C1257482003BEA93/$File/HD_280_Pro.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1246" PostHistoryTypeId="5" PostId="586" RevisionGUID="6995104d-a3d5-4e19-b19c-751c30a345d0" CreationDate="2010-04-19T14:47:13.850" UserDisplayName="user80" Comment="added 5 characters in body" Text="I recommend the [Beyerdynamic DT770 pro 80 ohms][1], they are a safe bet.&#xD;&#xA;&#xD;&#xA;Check out the [Sound on Sound article][2] for further information.&#xD;&#xA;&#xD;&#xA;[![Beyerdynamic DT770s][3]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.beyerdynamic.de/en/broadcast-studio-video-production/products/headphonesheadsets/headphones.html?tx_sbproductdatabase_pi1%5BshowUid%5D%5BshowUID%5D=44&amp;tx_sbproductdatabase_pi1%5BshowUid%5D%5BbackPID%5D=93&amp;cHash=cd6f9075a1&#xD;&#xA;[2]: http://www.soundonsound.com/sos/mar99/articles/sessentials.htm&#xD;&#xA;[3]: http://www.beyerdynamic.de/typo3temp/pics/321d688cb1.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1247" PostHistoryTypeId="5" PostId="665" RevisionGUID="574c17e0-d6bb-491b-ba93-d56543d9e2ba" CreationDate="2010-04-19T14:52:25.473" UserDisplayName="user80" Comment="Added weblinks and image" Text="This is a no brainer the [Sony MDR7509HD][1]. Great in all sorts of settings, clean and trustworthy, well worth the price.&#xD;&#xA;&#xD;&#xA;[![Sony MDR7509HD][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://pro.sony.com/bbsc/ssr/product-MDR7509HD/&#xD;&#xA;[2]: http://ws.sel.sony.com/PIPWebServices/RetrievePublicAsset/StepID/SEL-asset-70574/370x251" ContentLicense="CC BY-SA 2.5" />
  <row Id="1248" PostHistoryTypeId="6" PostId="82" RevisionGUID="2ba31d0e-409e-477d-a5ae-154fe0d6f744" CreationDate="2010-04-19T14:54:09.177" UserDisplayName="user80" Comment="edited tags" Text="&lt;survey&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1249" PostHistoryTypeId="2" PostId="736" RevisionGUID="1bd85a07-7508-4643-a433-f7dc89f0cc73" CreationDate="2010-04-19T16:35:22.333" UserId="220" Text=" 1.  What are some of your favorite sounds?*&#xD;&#xA;I love the sound of water - rivers running hard after a big rain, waves at the beach at night with no other sounds.  I also really like the ambiant sound of fields and forests in the dead of winter with a lot of snow on the ground, crisp air with muffled every other sound.&#xD;&#xA; 2. What are some sounds that you relate strongly with memories of your childhood?*&#xD;&#xA;Bees!  I used to watch bees pollinate the bushes in front of our house for hours.  The buzzing and then the sudden stop as they land.  I also really loved the sound of tree frogs at night.  They just came out in the past few weeks here and it's a great sound.  Can't wait for the bullfrogs.&#xD;&#xA; 3. What are some sounds that, in your opinion, are strongly evocative of the city/town that you are currently living in?*&#xD;&#xA;I'm in a small coastal city, so I feel like sea gulls, boat horns, lots of foot traffic, tourists murmoring are what I feel match the town.&#xD;&#xA; 4.  What are some sounds that you can hear right now as you read this text?*&#xD;&#xA;Lots of white noise from the office sound masking system.  Occasional footsteps or paper shuffling, but not much besides that." ContentLicense="CC BY-SA 2.5" />
  <row Id="1250" PostHistoryTypeId="2" PostId="737" RevisionGUID="8767fd67-d593-4a4a-925c-cc7074e75698" CreationDate="2010-04-19T16:59:31.193" UserId="208" Text="This page has most dvds with sound design docs. mentioned:&#xD;&#xA;www.dvdsurround.ch/sounddokumentationen/&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 2.5" />
  <row Id="1251" PostHistoryTypeId="5" PostId="737" RevisionGUID="d012709a-6b17-4e5e-9eab-e2c3a3209cda" CreationDate="2010-04-19T18:18:33.673" UserId="208" Comment="added 51 characters in body" Text="This page has most dvds with sound design docs. mentioned:&#xD;&#xA;http://translate.google.com/translate?hl=en&amp;u=http://www.dvdsurround.ch/sounddokumentationen/&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 2.5" />
  <row Id="1252" PostHistoryTypeId="6" PostId="542" RevisionGUID="1ac2c036-3e89-450f-91ca-a7ab30721b01" CreationDate="2010-04-19T19:33:24.240" UserDisplayName="user80" Comment="edited tags" Text="&lt;headphones&gt;&lt;equipment&gt;&lt;recommendations&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1253" PostHistoryTypeId="5" PostId="649" RevisionGUID="6e79b04d-4001-41fc-aedc-ca8eaf1a087c" CreationDate="2010-04-19T19:41:29.060" UserDisplayName="user80" Comment="Added weblinks and image" Text="I think the DT770 PRO's are ok however I own a pair of [DT770 M's][1]. The M's tended to crush my skull a little bit but they got softer with the time. I play the drums, which is why I decided to go with these rather than the 770 PRO's.&#xD;&#xA;&#xD;&#xA;I recently used my M's for dialogue recording on a short (Loneliness Lies in Twos, I posted about it earlier today) and I could still sometimes be bothered by background noise despite the pretty good isolation (35 dBA) of the headphones. I then tried the 770 PRO's and found they isolate a lot less (18 dBA) than the M's, therefore if I had the choice between DT770 Pro's or DT770 M's for field recording, I would go for the M's for the better isolation.&#xD;&#xA;&#xD;&#xA;[![Beyerdynamic DT770 M][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.beyerdynamic.de/en/broadcast-studio-video-production/products/headphonesheadsets/headphones.html?tx_sbproductdatabase_pi1%5BshowUid%5D%5BshowUID%5D=223&amp;tx_sbproductdatabase_pi1%5BshowUid%5D%5BbackPID%5D=93&amp;cHash=31870a78d0&#xD;&#xA;[2]: http://www.beyerdynamic.de/typo3temp/pics/242fa81658.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1254" PostHistoryTypeId="5" PostId="550" RevisionGUID="f7f23e27-85b7-46c3-a6e8-32d27e4a0de1" CreationDate="2010-04-19T19:43:19.043" UserDisplayName="user80" Comment="Added weblink" Text="Also, check out the January issue of [Sound on Sound][1] for a comparison of many studio headphones, both open and closed models.&#xD;&#xA;&#xD;&#xA;(Digital version of the article here, you have to have a subscription or buy the article for $1,49: http://www.soundonsound.com/sos/jan10/articles/studioheadphones.htm?print=yes)&#xD;&#xA;&#xD;&#xA;[1]: http://www.soundonsound.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1255" PostHistoryTypeId="2" PostId="738" RevisionGUID="4e1c6044-465e-4588-81c2-6dbdcf1504c2" CreationDate="2010-04-20T04:47:19.947" UserId="159" Text="Proximity effect on dialogue when characters are outdoors.  There's something about seeing characters walk through a desert, say, and having their voices sound like their lips are just by your ear." ContentLicense="CC BY-SA 2.5" />
  <row Id="1256" PostHistoryTypeId="5" PostId="720" RevisionGUID="b7232d8e-b136-4666-a40e-f80a2d32533b" CreationDate="2010-04-20T06:48:38.203" UserDisplayName="user80" Comment="Added weblinks" Text="+1 for [Glyphs][1] - you can find good deals every now and then. [Tekserve][2] was recently selling 1TB drives for $200.&#xD;&#xA;&#xD;&#xA;I used to love the [G-Technology][3] drives, but then had a string of them end up in total failure - something in their production must have shifted when they became popular.&#xD;&#xA;&#xD;&#xA;[1]: http://www.glyphtech.com/&#xD;&#xA;[2]: http://www.tekserve.com/&#xD;&#xA;[3]: http://www.g-technology.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1257" PostHistoryTypeId="5" PostId="694" RevisionGUID="83f31325-34cc-40a7-8108-e1acfaa37a7c" CreationDate="2010-04-20T07:10:55.113" UserDisplayName="user80" Comment="Added weblinks and image" Text="What have people found to be the most reliable brands of hard drives and hard drive enclosures, specifically for A/V work? (Note: Specifically looking at reliability of inexpensive 7200rpm drives, preferably FireWire.) &#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;I woke up to a dead mirrored RAID disk today... but, that's what mirroring is for. My literal life's work of photography and audio from the remaining RAID disk is being backed up to a second RAID as I type. I'm paranoiacally redundant like that.&#xD;&#xA;&#xD;&#xA;Despite the fact that my data seems OK, this plunges me into needing to replace at least one hard disk, possibly the whole RAID. I've been buying [LaCie d2][1] drives because they're inexpensive and individually rack-mountable without needing to buy a big, spendy (and overly deep) dedicated rack mount enclosure. I buy in identical pairs and then stripe them as RAIDs.&#xD;&#xA;&#xD;&#xA;In a house with eight of these things lying around, the failures are starting to mount (I'd say 50/50 split between power supplies dying and disks themselves dying) and I'm looking to hear about folks' experience with other brands of drives.&#xD;&#xA;&#xD;&#xA;[![Lacie d2][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.lacie.com/us/products/product.htm?pid=11156&#xD;&#xA;[2]: http://www.lacie.com/imgstore/product_medium/hd_d2quadranext.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1258" PostHistoryTypeId="5" PostId="695" RevisionGUID="7957bb38-cde9-4f3b-a173-8877f1192e52" CreationDate="2010-04-20T07:16:01.410" UserDisplayName="user80" Comment="Added weblinks and image" Text="Have you ever tried a [Drobo][1]?  &#xD;&#xA;&#xD;&#xA;I have one under my desk and use 1 TB Seagates inside it.  We have two Drobos here and haven't had anything die ever since we got them, which is well over a year ago.&#xD;&#xA;&#xD;&#xA;The beauty of the system is that unlike a RAID you can mix your hard drives within the Drobo.  You can use any brand and any size.  You start with two drives and then build up to four, or there is a pro version with eight bays.  There is built in redundancy, one drive can die without losing any data, all you do is replace the faulty drive and it will &quot;heal&quot; itself.&#xD;&#xA;&#xD;&#xA;Hard drive manufacturers really don't expect hard drives to last much longer than the guarantee.  If you treat them as disposable you won't be disappointed.&#xD;&#xA;&#xD;&#xA;Long term we all need to move to flash drives, which also die, but what normally happens is that the ability to write to cells dies but the ability to read from the damaged cells does not.&#xD;&#xA;&#xD;&#xA;I personally have complete hourly hard drive backups at home and work as well as daily flash and cloud backups, and weekly optical backups.  &#xD;&#xA;&#xD;&#xA;I expect everything to break, and am regularly surprised when things don't.&#xD;&#xA;&#xD;&#xA;Check out this podcast from the [AudioNowcast][2] where they talk about data storage at NASA, it  also has some really interesting content about audio.&#xD;&#xA;&#xD;&#xA;[![Drobo][3]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.drobo.com/&#xD;&#xA;[2]: http://nowcastnetwork.com/NowcastNetwork/nfblog/?p=44&#xD;&#xA;[3]: http://www.drobo.com/images/inside/products/Drobo_S_Open_Hi.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1259" PostHistoryTypeId="2" PostId="739" RevisionGUID="012740d2-3d34-483b-813a-5bf95f82adf1" CreationDate="2010-04-20T08:20:49.840" UserId="62" Text="I just want to share this experience I had yesterday and hear others' stories.&#xD;&#xA;&#xD;&#xA;I got asked to do a short film yesterday. It was shot on DSLR and looks lovely. There's no dialogue and concerns a recently bereaved mother. I used two sounds to have a particular effect.&#xD;&#xA;&#xD;&#xA;I added in the sound of thunder for no other reason than to highlight an internal emotion from the central character. It signified the beginning of her grief and it's outpouring in the last scene. It also fitted into the dull grey colour of the outdoor scenes (rural mountainous Ireland). I'm not talking huge claps but that gentle rumble of an impending storm.&#xD;&#xA;&#xD;&#xA;The other sound was that of of air conditioning in a huge echoey bunker throughout the scenes that take place within the small cottage. It's mixed very low but is intended on making the audience feel uncomfortable. I think it creates the sense of a large empty space, the obvious link being the mother's son who is now not in her life.&#xD;&#xA;&#xD;&#xA;I've used sounds for their dual meaning before but never so consciously. How has anyone else used a sound for a dual meaning in their films?&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="1260" PostHistoryTypeId="1" PostId="739" RevisionGUID="012740d2-3d34-483b-813a-5bf95f82adf1" CreationDate="2010-04-20T08:20:49.840" UserId="62" Text="Emotional sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="1261" PostHistoryTypeId="3" PostId="739" RevisionGUID="012740d2-3d34-483b-813a-5bf95f82adf1" CreationDate="2010-04-20T08:20:49.840" UserId="62" Text="&lt;design&gt;&lt;meaning&gt;&lt;subconcsious&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1262" PostHistoryTypeId="6" PostId="739" RevisionGUID="a6ccfb04-28c9-4418-97ba-b3b25077e52f" CreationDate="2010-04-20T10:51:48.947" UserDisplayName="user80" Comment="Added tag" Text="&lt;design&gt;&lt;meaning&gt;&lt;subconcsious&gt;&lt;emotions&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1263" PostHistoryTypeId="2" PostId="740" RevisionGUID="3c51a40c-c5e8-45b0-aaed-4f7c06e99c95" CreationDate="2010-04-20T12:04:12.737" UserId="159" Text="I rarely work on film, but when I do stuff for theatre, sure.  All the time!  I like doing it quietly, it sneaks under the 'wait, you're manipulating me aren't you?' radar.  Quiet rain, traffic, softly dripping taps, lawnmowers.  All these kinds of things can bring an emotional layer to a scene that doesn't feel as heavy handed as overtly emotional music." ContentLicense="CC BY-SA 2.5" />
  <row Id="1264" PostHistoryTypeId="2" PostId="741" RevisionGUID="24b050c6-67ac-46a1-82bd-c6ba94aa6273" CreationDate="2010-04-20T14:08:34.610" UserId="29" Text="Three words: DESERT HAWK SCREECH. It's so bad that I hear red-tailed hawks outside, for real, in nature (a common occurrence), and I at least crack a smile if not start laughing outright. Film has made nature a cliché!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1265" PostHistoryTypeId="2" PostId="742" RevisionGUID="b3f9c611-6f66-40e1-ad74-4d5f05c557f9" CreationDate="2010-04-20T16:39:30.563" UserId="238" Text="www.mandy.com can be a useful resource. Here is a direct link to the [UK job page][1]. Most sound design offers are either unpaid or low / profit share but I have worked on some interesting projects that were advertised on mandy, all of which led to further job opportunities. Another useful site is [Talent Circle][2]&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mandy.com/1/jobs2.cfm?t=ukew&#xD;&#xA;  [2]: http://www.talentcircle.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1266" PostHistoryTypeId="5" PostId="742" RevisionGUID="bf97180b-21ff-4aa0-97d9-d56e568a9779" CreationDate="2010-04-20T17:04:15.910" UserId="238" Comment="added 245 characters in body" Text="www.mandy.com can be a useful resource. Here is a direct link to the [UK job page][1]. The website is for all aspects of the film and television industry and a lot of jobs are advertised so you may have to search through a number of pages before you find any sound design offers, but it's well worth checking regularly as they do often pop up. Most sound design offers are either unpaid or low / profit share but I have worked on some interesting projects, all of which led to further job opportunities after completion. Another useful site is [Talent Circle][2].&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mandy.com/1/jobs2.cfm?t=ukew&#xD;&#xA;  [2]: http://www.talentcircle.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1267" PostHistoryTypeId="2" PostId="743" RevisionGUID="8eafa6a4-768b-46a7-a5dc-19896371a8f5" CreationDate="2010-04-20T17:35:39.703" UserId="238" Text="A few years back I did some extensive research before writing my dissertation on *the use of ambiences and sound effects in film* so here's my penny's worth:&#xD;&#xA;&#xD;&#xA; - &#xD;&#xA;Altman, T., ***Sound Theory, Sound Practice*** (New York/London: Routledge, 1992)&#xD;&#xA; - Chion, M., ***Audio Vision*** (New York: Columbia University Press, 1994)&#xD;&#xA; - Freeman, D., Sider J. and Sider L. (ed.), ***Soundscape – The School of Sound Lectures*** (London: Wallflower Press, 2003)&#xD;&#xA; - Gibbs, T., ***The Fundamentals of Sonic Art &amp; Sound Design*** (Lausanne: AVA Publishing SA,  2007)&#xD;&#xA; - Holman, T., ***Sound for Film and Television*** (Boston, Massachusetts: Focal Press, 2002)&#xD;&#xA; - LoBrutto, V., ***Sound on Film – Interviews with Creators of Film Sound*** (Westport CT: Praeger  Publishers, 1994)&#xD;&#xA; - Schafer, R. M., ***The Soundscape: Our Environment and the Tuning of the World*** (Rochester,  Vermont: Destiny Books, 1994)&#xD;&#xA; - Sonnenschein, D., ***Sound Design: The expressive Power of Music, Voice and Sound Effects in  Cinema*** (Studio City, California: Michael Wiese Productions, 2001)&#xD;&#xA; - Yewdall, D., ***Practical Art of Motion Picture Sound*** (Boston, Massachusetts: Focal Press,  1999)&#xD;&#xA;&#xD;&#xA;*Soundscape - The Scool of Sound Lectures* and Michel Chion's *Audio Vision* were particularly interesting&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1268" PostHistoryTypeId="5" PostId="743" RevisionGUID="a88d16b5-a85c-4dcf-ae15-a031ee6e3bcd" CreationDate="2010-04-20T17:40:40.793" UserId="238" Comment="deleted 159 characters in body; added 59 characters in body" Text="Copied straight from the bibliography of my dissertation: &#xD;&#xA;&#xD;&#xA;- &#xD;&#xA;Altman, T., ***Sound Theory, Sound Practice*** (New York/London: Routledge, 1992)&#xD;&#xA; - Chion, M., ***Audio Vision*** (New York: Columbia University Press, 1994)&#xD;&#xA; - Freeman, D., Sider J. and Sider L. (ed.), ***Soundscape – The School of Sound Lectures*** (London: Wallflower Press, 2003)&#xD;&#xA; - Gibbs, T., ***The Fundamentals of Sonic Art &amp; Sound Design*** (Lausanne: AVA Publishing SA,  2007)&#xD;&#xA; - Holman, T., ***Sound for Film and Television*** (Boston, Massachusetts: Focal Press, 2002)&#xD;&#xA; - LoBrutto, V., ***Sound on Film – Interviews with Creators of Film Sound*** (Westport CT: Praeger  Publishers, 1994)&#xD;&#xA; - Schafer, R. M., ***The Soundscape: Our Environment and the Tuning of the World*** (Rochester,  Vermont: Destiny Books, 1994)&#xD;&#xA; - Sonnenschein, D., ***Sound Design: The expressive Power of Music, Voice and Sound Effects in  Cinema*** (Studio City, California: Michael Wiese Productions, 2001)&#xD;&#xA; - Yewdall, D., ***Practical Art of Motion Picture Sound*** (Boston, Massachusetts: Focal Press,  1999)&#xD;&#xA;&#xD;&#xA;*Soundscape - The Scool of Sound Lectures* and Michel Chion's *Audio Vision* are particularly interesting!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1269" PostHistoryTypeId="5" PostId="237" RevisionGUID="b7c41884-214d-49a2-acef-f39341d6b2b9" CreationDate="2010-04-20T21:46:08.520" UserId="61" Comment="clean up" Text="You may find some answers from the scientific community, especially those folks working wildlife. Just this morning I watched a program about elephants and the different ways they communicate with each other. Scientists have discovered that the elephants use subsonic frequencies to send signals over long distances, covering more than 110 sq. miles::&#xD;&#xA;&#xD;&#xA;http://www.elephanttag.org/Professional/professional_elephant%20vocalizations%20and%20behavior.html&#xD;&#xA;&#xD;&#xA;Similarly, researchers have discovered that trees &quot;sing&quot;. Using specialty microphones (similar to hydrophones, I think) and recording at insanely high sample rates, they can hear the trees &quot;vocalizing&quot; as the weather changes:&#xD;&#xA;&#xD;&#xA;http://emusician.com/daw/emusic_going_wild/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1270" PostHistoryTypeId="2" PostId="744" RevisionGUID="7a7ae754-34ba-4411-b75a-65b09f880e55" CreationDate="2010-04-21T05:03:23.120" UserId="61" Text="I choose not to label myself as a &quot;failed&quot; musician because I believe my musical sensibilities and training come into play all the time as a sound designer. &#xD;&#xA;&#xD;&#xA;I began my education with the intent of becoming a professional drummer/percussionist but quickly learned that I had neither the self-discipline nor the true grit to make that happen. It was a that point that I gravitated back to my first fascination, that being the tech side of making music.&#xD;&#xA;&#xD;&#xA;My years studying and practicing audio post-production and sound design have taught me that a musical &quot;ear&quot;, background and/or education are invaluable tools. Each new film soundtrack is a blank canvas, an empty page of music notation paper waiting to be scribbled on and experimented with." ContentLicense="CC BY-SA 2.5" />
  <row Id="1271" PostHistoryTypeId="5" PostId="731" RevisionGUID="58c2fb29-5636-46af-b679-d434c2621b2f" CreationDate="2010-04-21T06:08:39.373" UserDisplayName="user80" Comment="added 1 characters in body" Text="I know quite a few studio recording engineers who wanted to be musicians and &quot;fell into&quot; the job.&#xD;&#xA;&#xD;&#xA;When I was about 15 I went to a school rock concert and was fascinated by all of the PA equipment.  The sound engineer let me load the van afterwards and I was hooked.  I then started 'programming' synths, samplers and sequencers, and managed to get a job as a trainee live music sound engineer just after school.  After a while I became a theatre sound designer, whilst still working as a live engineer, and then broadened out from there.&#xD;&#xA;&#xD;&#xA;I just seem to think in sound rather than pictures.&#xD;&#xA;&#xD;&#xA;What was your experience?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1272" PostHistoryTypeId="2" PostId="745" RevisionGUID="c468b2b7-0d92-47d6-be5c-80587ab5db75" CreationDate="2010-04-21T06:32:03.253" UserId="61" Text="Have you been in this situation? You spend days (and possibly weeks) creating your sound design masterpiece but find that it lacks that certian…something. It's hard to put your finger on it. The best way I can describe it is &quot;sparkle&quot; - it just has that magic quality about it, it leaps off the screen and becomes real. It has an &quot;air&quot; about it.&#xD;&#xA;&#xD;&#xA;Some recent examples of film sound design sequences that have this &quot;sparkle&quot;, in my opinion:&#xD;&#xA;&#xD;&#xA;District 9 •&#xD;&#xA;Saving Private Ryan •&#xD;&#xA;The Matrix •&#xD;&#xA;Wall-E&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It is that artful combining of frequencies and dynamics that make it sound so cool. Sometimes it is a certain processing chain or piece of outboard gear. Who's got magic tricks they want to share?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1273" PostHistoryTypeId="1" PostId="745" RevisionGUID="c468b2b7-0d92-47d6-be5c-80587ab5db75" CreationDate="2010-04-21T06:32:03.253" UserId="61" Text="Making your track &quot;sparkle&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1274" PostHistoryTypeId="3" PostId="745" RevisionGUID="c468b2b7-0d92-47d6-be5c-80587ab5db75" CreationDate="2010-04-21T06:32:03.253" UserId="61" Text="&lt;composition&gt;&lt;mastering&gt;&lt;processing&gt;&lt;dynamics&gt;&lt;emotions&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1275" PostHistoryTypeId="2" PostId="746" RevisionGUID="68ffc7b9-2ac2-4a76-9c5a-d3d9c8270f4a" CreationDate="2010-04-21T07:54:13.277" UserId="100" Text="My sound fixes usually make me feel newbier than usual, but I'll share anyway. My first magic bullet is iZotope Ozone set to &quot;4 Band Master with Excitation and Widening&quot; with a couple of adjustments. I'll also exaggerate the panning more, and depending on what I'm doing, I'll sometimes throw Lowender in there too (dbx 120 for the cool kids)." ContentLicense="CC BY-SA 2.5" />
  <row Id="1276" PostHistoryTypeId="2" PostId="747" RevisionGUID="6bdfe177-867e-4d76-9850-9634e7f93caf" CreationDate="2010-04-21T10:38:48.813" UserId="239" Text="I've used this in the background sounds before. Like the choice of birds in either happy/sad moments in a story.  eg, crows = bad, morning birds = happy.  Thinking about the neighborhood they're in.. if its good, you hear kids playing in a playground, sprinklers, light/no traffic, a bike-by or two, ice cream truck, etc.  If its bad, maybe construction, heavier/industrial traffic, a police siren, a baby crying, dog barking.  Sometimes it sounds cliche and you take it out, but most of the time just mixed low, people don't consciously notice and are still affected, but don't know why." ContentLicense="CC BY-SA 2.5" />
  <row Id="1277" PostHistoryTypeId="2" PostId="748" RevisionGUID="513c0a91-7149-4c33-8c9f-af170a37b3b1" CreationDate="2010-04-21T13:53:01.717" UserId="220" Text="One specific &quot;trick&quot; that I use when a sound feels very flat is setting a bit of delay on an effect or dialog.  If you set a delay on track of 15 - 30ms at 20 - 30%, you can let the sound spill into the next sound cycles that the ear is processing.  It creates a subtle &quot;beef&quot; to the sound.  You can obviously go a lot higher, but then it'll sound too echoey.  You can use the same technique when applying reverb.  &#xD;&#xA;&#xD;&#xA;I use this a lot of times on live vocals that sound very lifeless, even with reverb or other effects applied, post compression.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="1278" PostHistoryTypeId="2" PostId="749" RevisionGUID="9dc2f096-4387-4cea-869c-b8c97011fdec" CreationDate="2010-04-21T14:43:24.943" UserId="81" Text="I play with the pitches of non-musical elements in my sound design for improving scene emotions.&#xD;&#xA;&#xD;&#xA;Here is an example from one of my recent projects; A break up scene of a couple. They are in a crowded street. A lot of background noise, city noise, etc. I pitchshifted &quot;car horns&quot; to E, G and B to get an Em. The only challenge was distributing them randomly so that it does not sound artificial.&#xD;&#xA;&#xD;&#xA;This approach also helps me connect the scenes to music more easily. As you can guess, if the music is in Em key, this provides a feel of completeness.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="1279" PostHistoryTypeId="5" PostId="295" RevisionGUID="92e73cdb-626f-44e0-8fa4-8f476b9c238f" CreationDate="2010-04-21T18:07:41.977" UserId="28" Comment="Fixing link." Text="For anyone who is a big library user, (like me) you might appreciate this website. It is an online database of libraries from around the world. It will tell you how far away are the nearest copies of any book.&#xD;&#xA;&#xD;&#xA;[Worldcat.org][1]&#xD;&#xA;&#xD;&#xA;It's especially useful if you live near colleges and universities where you can at the least go and peruse for a couple of hours.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.worldcat.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1280" PostHistoryTypeId="2" PostId="750" RevisionGUID="36bd3349-524f-467e-a490-540ecf9797db" CreationDate="2010-04-21T19:24:47.603" UserDisplayName="user49" Text="Can I ask: what resources are involved in making your track?&#xD;&#xA;&#xD;&#xA;The films that you list have large teams of very clever very experienced people developing all of the elements over many months &amp; are then mixed in the best film mix stages by Oscar winning mixers, again over many weeks &amp; months... And all of their work is driven by the actual requirements of the project ie the context &amp; the creative vision of the director&#xD;&#xA;&#xD;&#xA;I'm not sure there is a 'trick' that is a substitute for that....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1281" PostHistoryTypeId="2" PostId="751" RevisionGUID="07a77d19-4003-4876-8180-c99ab7f943ec" CreationDate="2010-04-21T19:31:21.123" UserDisplayName="user49" Text="Ambiences are very valuable territory for achieving this, as they can evoke emotion in a more subtle way than music often does in film...&#xD;&#xA;&#xD;&#xA;I recently did a film where two thirds of the way through, a major event shatters some kids lives (their goat gets killed) and from that moment on I removed all life from the ambiences, so at night there was no night crickets and during the day no birds, just wind in trees etc... I sincerely doubt that anyone watching the film will go: HEY! How come there are no birds anymore??? But the effect is powerful as it made the soundtrack feel subdued, and you empathised with the kids sadness, so it was working from their perspective... Only when circumstances resolved near the end of the film did we reintroduce living ambiences...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1282" PostHistoryTypeId="5" PostId="745" RevisionGUID="242be8b8-b5ca-40d6-a9f8-b9c930b540b9" CreationDate="2010-04-22T03:58:48.217" UserId="61" Comment="spelling" Text="Have you been in this situation? You spend days (and possibly weeks) creating your sound design masterpiece but find that it lacks that certain…something. It's hard to put your finger on it. The best way I can describe it is &quot;sparkle&quot; - it just has that magic quality about it, it leaps off the screen and becomes real. It has an &quot;air&quot; about it.&#xD;&#xA;&#xD;&#xA;Some recent examples of film sound design sequences that have this &quot;sparkle&quot;, in my opinion:&#xD;&#xA;&#xD;&#xA;District 9 •&#xD;&#xA;Saving Private Ryan •&#xD;&#xA;The Matrix •&#xD;&#xA;Wall-E&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It is that artful combining of frequencies and dynamics that make it sound so cool. Sometimes it is a certain processing chain or piece of outboard gear. Who's got magic tricks they want to share?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1283" PostHistoryTypeId="2" PostId="752" RevisionGUID="9757ca29-f0fd-4e62-bdcd-2346b713e513" CreationDate="2010-04-22T11:05:27.857" UserId="241" Text="An easy way to a solve the problem of outside noises in your room while recording something quiet -- try doing it in the middle of the night. At 12-5am there usually no traffic, yelling, walking, etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="1284" PostHistoryTypeId="2" PostId="753" RevisionGUID="36e48288-d2b1-4af6-b3a7-7b0466f676b4" CreationDate="2010-04-23T08:59:44.750" UserId="62" Text="I love putting on Touch Radio's podcast. A great mixture of nature recordings (from the likes of Chris Watson) to hour long ambient soundscapes.&#xD;&#xA;&#xD;&#xA;Great stuff." ContentLicense="CC BY-SA 2.5" />
  <row Id="1285" PostHistoryTypeId="2" PostId="754" RevisionGUID="526b9c9a-181c-4193-81f3-dcd92707a095" CreationDate="2010-04-23T17:22:58.863" UserId="182" Text="I just stumbled across the [Binaural Airwaves][1] podcast, which purely features binaural recordings made by one guy in a load of different places. Seems interesting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://itpc://www.cyberears.com/podcasts/podcast_5392.xml &quot;Binaural Airwaves&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1286" PostHistoryTypeId="2" PostId="755" RevisionGUID="bea09507-c176-4be7-a832-0e5a510012f9" CreationDate="2010-04-24T00:56:42.430" UserId="100" Text="Another one you're not necessarily looking for is Apple's [Meet the Filmmaker][1]. Though sound is rarely featured, most episodes offer great insight into the cinematic process. What I like best is hearing straight from directors what they were trying to achieve from certain parts of a story, then checking myself to see how close the sound team was to portraying it through the film's soundscape.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://itunes.apple.com/us/podcast/meet-the-filmmaker/id301899522" ContentLicense="CC BY-SA 2.5" />
  <row Id="1287" PostHistoryTypeId="2" PostId="756" RevisionGUID="afa4d83b-ea2b-4913-b3ad-d4c966733514" CreationDate="2010-04-24T11:40:54.393" UserId="100" Text="I can't remember who's sound blog I saw this posted on first, but I figured I'd pass it on here for those who haven't seen it yet.&#xD;&#xA;&#xD;&#xA;[youtube]R2a8TRSgzZY[/youtube]&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=R2a8TRSgzZY&#xD;&#xA;&#xD;&#xA;I think it would be funnier if it didn't happen to me all the time." ContentLicense="CC BY-SA 2.5" />
  <row Id="1288" PostHistoryTypeId="5" PostId="745" RevisionGUID="8754a18d-ef75-43f2-be06-00533faeb4d9" CreationDate="2010-04-24T12:11:37.607" UserDisplayName="user80" Comment="Added weblinks and image" Text="Have you been in this situation? You spend days (and possibly weeks) creating your sound design masterpiece but find that it lacks that certain…something. It's hard to put your finger on it. The best way I can describe it is &quot;sparkle&quot; - it just has that magic quality about it, it leaps off the screen and becomes real. It has an &quot;air&quot; about it.&#xD;&#xA;&#xD;&#xA;Some recent examples of film sound design sequences that have this &quot;sparkle&quot;, in my opinion:&#xD;&#xA;&#xD;&#xA;[District 9][1] • [Saving Private Ryan][2] •  [The Matrix][3] • [Wall•E][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It is that artful combining of frequencies and dynamics that make it sound so cool. Sometimes it is a certain processing chain or piece of outboard gear. Who's got magic tricks they want to share?&#xD;&#xA;&#xD;&#xA;[![Wall•E][5]][6]&#xD;&#xA;&#xD;&#xA;[1]: http://www.imdb.com/title/tt1136608/&#xD;&#xA;[2]: http://www.imdb.com/find?s=all&amp;q=saving+private+ryan&#xD;&#xA;[3]: http://www.imdb.com/title/tt0133093/&#xD;&#xA;[4]: http://www.imdb.com/title/tt0910970/&#xD;&#xA;[5]: http://soundworkscollection.com/wp-content/plugins/simple-post-thumbnails/timthumb.php?src=/wp-content/thumbnails/32.jpg&amp;w=200&amp;h=&amp;zc=1&amp;ft=jpg&#xD;&#xA;[6]: http://soundworkscollection.com/wall" ContentLicense="CC BY-SA 2.5" />
  <row Id="1289" PostHistoryTypeId="2" PostId="757" RevisionGUID="93a32ed2-73d6-437c-bd1d-be5b67f1862d" CreationDate="2010-04-24T13:55:36.993" UserId="243" Text="Can I get a VST plugin of a denoiser for cubase 5? Sternberg products like nuendo and cubase are very similair, I would like to use cubase5 like I use neundo3 for dialgoue editting and cleaning." ContentLicense="CC BY-SA 2.5" />
  <row Id="1290" PostHistoryTypeId="1" PostId="757" RevisionGUID="93a32ed2-73d6-437c-bd1d-be5b67f1862d" CreationDate="2010-04-24T13:55:36.993" UserId="243" Text="denoiser for cubase5?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1291" PostHistoryTypeId="3" PostId="757" RevisionGUID="93a32ed2-73d6-437c-bd1d-be5b67f1862d" CreationDate="2010-04-24T13:55:36.993" UserId="243" Text="&lt;denoiser&gt;&lt;cubase5&gt;&lt;nuendo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1292" PostHistoryTypeId="5" PostId="757" RevisionGUID="379012c6-168b-430c-8a6a-d20a698e3a1a" CreationDate="2010-04-24T18:25:20.220" UserDisplayName="user80" Comment="Tidied up language and added tags" Text="Can I get a VST plugin of a denoiser for cubase 5? Steinberg products like Nuendo and Cubase are very similair, I would like to use Cubase 5 like I use Neundo 3 for dialgoue editing and cleaning." ContentLicense="CC BY-SA 2.5" />
  <row Id="1293" PostHistoryTypeId="4" PostId="757" RevisionGUID="379012c6-168b-430c-8a6a-d20a698e3a1a" CreationDate="2010-04-24T18:25:20.220" UserDisplayName="user80" Comment="Tidied up language and added tags" Text="Denoiser for Cubase 5?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1294" PostHistoryTypeId="6" PostId="757" RevisionGUID="379012c6-168b-430c-8a6a-d20a698e3a1a" CreationDate="2010-04-24T18:25:20.220" UserDisplayName="user80" Comment="Tidied up language and added tags" Text="&lt;denoiser&gt;&lt;cubase5&gt;&lt;nuendo&gt;&lt;software&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1295" PostHistoryTypeId="5" PostId="757" RevisionGUID="c4f31173-9e41-41c4-98fb-a4da1d0357e0" CreationDate="2010-04-24T18:30:50.023" UserDisplayName="user80" Comment="added 443 characters in body; edited tags" Text="Can I get a VST plugin of a denoiser for cubase 5? [Steinberg][1] products like [Nuendo][2] and [Cubase][3] are very similar, I would like to use [Cubase 5][3] like I use [Neundo 3][2] for dialgoue editing and cleaning.&#xD;&#xA;&#xD;&#xA;[![Steinberg Cubase][4]][3]&#xD;&#xA;&#xD;&#xA;[1]: http://www.steinberg.net/en/home.html&#xD;&#xA;[2]: http://www.steinberg.net/en/products/audiopostproduction_product/nuendo4.html&#xD;&#xA;[3]: http://www.steinberg.net/en/products/musicproduction/cubase5_product.html&#xD;&#xA;[4]: http://www.steinberg.net/index.php?eID=tx_nawsecuredl&amp;u=0&amp;file=uploads/pics/visual_products_cubase5_jhdregfhjegsh_82.jpg&amp;t=1272223782&amp;hash=3b7ca1c696bf874e6bc6c6e0b574deed" ContentLicense="CC BY-SA 2.5" />
  <row Id="1296" PostHistoryTypeId="6" PostId="757" RevisionGUID="c4f31173-9e41-41c4-98fb-a4da1d0357e0" CreationDate="2010-04-24T18:30:50.023" UserDisplayName="user80" Comment="added 443 characters in body; edited tags" Text="&lt;noise-reduction&gt;&lt;cubase&gt;&lt;nuendo&gt;&lt;software&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1297" PostHistoryTypeId="2" PostId="758" RevisionGUID="cde22f8f-3355-4ffc-acbb-670f34f70125" CreationDate="2010-04-25T10:17:11.633" UserDisplayName="user80" Text="At the bottom end of the scale you might want to try [Voxengo's Redunoise][1] ($100), and at the top there is [Sonnox Restore] [$1900][5]. Personally I would stick with [Nuendo] or purchase [Wavelab 7][5] when it is released later this year, as it will have the [Sonnox Restore][6] tools built in for about $700.&#xD;&#xA;&#xD;&#xA;[![Redunoise][2]][1]&#xD;&#xA;[![Restore][6]][5]&#xD;&#xA;&#xD;&#xA;[1]: http://www.voxengo.com/product/redunoise/&#xD;&#xA;[2]: http://www.voxengo.com/files/scrn/redunoise16-large1024.jpg&#xD;&#xA;[3]: http://www.steinberg.net/en/products/audiopostproduction_product/nuendo4.html&#xD;&#xA;[4]: http://www.steinberg.net/en/products/audioediting_product/wavelab7_preview0.html&#xD;&#xA;[5]: http://www.sonnoxplugins.com/pub/plugins/products/restore.htm&#xD;&#xA;[6]: http://www.sonnoxplugins.com/pub/plugins/images/restore-suite-600w.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1298" PostHistoryTypeId="4" PostId="631" RevisionGUID="cf05e680-4fe1-4239-a8a3-48e5a3ee34d0" CreationDate="2010-04-25T10:24:51.267" UserDisplayName="user80" Comment="Spelling corrections" Text="How to clean a digitally-distorted recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1299" PostHistoryTypeId="5" PostId="758" RevisionGUID="ba44737a-92b3-455a-9484-e6be092526e2" CreationDate="2010-04-25T10:25:52.373" UserDisplayName="user80" Comment="added 230 characters in body" Text="At the bottom end of the scale you might want to try [Voxengo's Redunoise][1] ($100), and at the top there is [Sonnox Restore] [$1900][5]. Personally I would stick with [Nuendo] or purchase [Wavelab 7][5] when it is released later this year, as it will have the [Sonnox Restore][6] tools built in for about $700.&#xD;&#xA;&#xD;&#xA;There are further excellent comments about noise removal software within the post [&quot;How to clean a digitally distorted recording][7]&#xD;&#xA;&#xD;&#xA;[![Redunoise][2]][1]&#xD;&#xA;[![Restore][6]][5]&#xD;&#xA;&#xD;&#xA;[1]: http://www.voxengo.com/product/redunoise/&#xD;&#xA;[2]: http://www.voxengo.com/files/scrn/redunoise16-large1024.jpg&#xD;&#xA;[3]: http://www.steinberg.net/en/products/audiopostproduction_product/nuendo4.html&#xD;&#xA;[4]: http://www.steinberg.net/en/products/audioediting_product/wavelab7_preview0.html&#xD;&#xA;[5]: http://www.sonnoxplugins.com/pub/plugins/products/restore.htm&#xD;&#xA;[6]: http://www.sonnoxplugins.com/pub/plugins/images/restore-suite-600w.jpg&#xD;&#xA;[7]: http://socialsounddesign.com/questions/631/how-to-clean-a-digitally-distorted-recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="1300" PostHistoryTypeId="5" PostId="631" RevisionGUID="cf05e680-4fe1-4239-a8a3-48e5a3ee34d0" CreationDate="2010-04-25T10:24:51.267" UserDisplayName="user80" Comment="Spelling corrections" Text="We all know what happens when the recording level goes too high during Analog to Digital conversion: harsh non-musical sound covering everything else (ok, on occasion it might be sort of musical, but that's not the point here). It may also happen for no apparent reason with a buggy soundcard (my case here).&#xD;&#xA;&#xD;&#xA;I assume that a totally distorded material will be unrecoverable, but most of the time, only peaks here and there will be affected. &#xD;&#xA;&#xD;&#xA;So, do you know any tools that might be of help to erase or soften the digital distortion? " ContentLicense="CC BY-SA 2.5" />
  <row Id="1301" PostHistoryTypeId="2" PostId="759" RevisionGUID="8a9da260-fd95-48d7-8758-5f6783dc85df" CreationDate="2010-04-25T10:47:46.707" UserId="245" Text="Have a look at [iZotope RX][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.izotope.com/products/audio/RX/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1302" PostHistoryTypeId="2" PostId="760" RevisionGUID="93b4f832-4053-4f76-8a20-4d9d27181a3b" CreationDate="2010-04-25T11:14:04.313" UserId="56" Text="I usually use iZotope's RX and Waves Restoration Tools. In some cases I found useful the Uncompressor of the Waves C4, combined with some phase inversion triks." ContentLicense="CC BY-SA 2.5" />
  <row Id="1303" PostHistoryTypeId="2" PostId="761" RevisionGUID="1d7d45cf-6b7b-4a8c-8eee-d977c202faf3" CreationDate="2010-04-25T11:23:19.830" UserId="56" Text="There's the Waves Boundle with all its restoration tools that works great with Cubase and Nuendo (vst, Dx, Rtas)." ContentLicense="CC BY-SA 2.5" />
  <row Id="1304" PostHistoryTypeId="5" PostId="759" RevisionGUID="bf2227b8-85f1-46d6-82fc-b65ec1e9c33c" CreationDate="2010-04-25T13:37:03.383" UserDisplayName="user80" Comment="Added image" Text="Have a look at [iZotope RX][1] ($349).&#xD;&#xA;&#xD;&#xA;[![iZotope RX][2]][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.izotope.com/products/audio/RX/&#xD;&#xA;  [2]: http://www.izotope.com/products/audio/RX/images/denoiser_ss.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1305" PostHistoryTypeId="5" PostId="761" RevisionGUID="279d10ce-a13e-4e0a-85ef-f732fb1fe6cc" CreationDate="2010-04-25T13:42:07.197" UserDisplayName="user80" Comment="Added weblinks and image; added 7 characters in body" Text="There's the [Waves Bundle][1] with all its restoration tools that works great with Cubase and Nuendo (VST, Dx, RTAS)($1860).&#xD;&#xA;&#xD;&#xA;[![Waves Noise suppressor][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.waves.com/content.aspx?id=91#Restoration&#xD;&#xA;[2]: http://www.waves.com/objects/images/large_screenshots/large_WNS.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1306" PostHistoryTypeId="5" PostId="758" RevisionGUID="8b9f6fb2-c0bd-4cde-80ad-a3697acb0812" CreationDate="2010-04-25T13:43:08.833" UserDisplayName="user80" Comment="added 1 characters in body" Text="At the bottom end of the scale you might want to try [Voxengo's Redunoise][1] ($100), and at the top there is [Sonnox Restore] [$1900][5]. Personally I would stick with [Nuendo] or purchase [Wavelab 7][5] when it is released later this year, as it will have the [Sonnox Restore][6] tools built in for about $700.&#xD;&#xA;&#xD;&#xA;There are further excellent comments about noise removal software within the post &quot;[How to clean a digitally distorted recording][7]&quot;&#xD;&#xA;&#xD;&#xA;[![Redunoise][2]][1]&#xD;&#xA;[![Restore][6]][5]&#xD;&#xA;&#xD;&#xA;[1]: http://www.voxengo.com/product/redunoise/&#xD;&#xA;[2]: http://www.voxengo.com/files/scrn/redunoise16-large1024.jpg&#xD;&#xA;[3]: http://www.steinberg.net/en/products/audiopostproduction_product/nuendo4.html&#xD;&#xA;[4]: http://www.steinberg.net/en/products/audioediting_product/wavelab7_preview0.html&#xD;&#xA;[5]: http://www.sonnoxplugins.com/pub/plugins/products/restore.htm&#xD;&#xA;[6]: http://www.sonnoxplugins.com/pub/plugins/images/restore-suite-600w.jpg&#xD;&#xA;[7]: http://socialsounddesign.com/questions/631/how-to-clean-a-digitally-distorted-recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="1307" PostHistoryTypeId="5" PostId="758" RevisionGUID="35300c1c-a0fe-49e8-b0a6-a6b19f6414e1" CreationDate="2010-04-25T16:59:10.163" UserDisplayName="user80" Comment="added 1 characters in body" Text="At the bottom end of the scale you might want to try [Voxengo's Redunoise][1] ($100), and at the top there is [Sonnox Restore] [$1900][5]. Personally I would stick with [Nuendo] or purchase [Wavelab 7][5] when it is released later this year, as it will have the [Sonnox Restore][6] tools built in for about $700.&#xD;&#xA;&#xD;&#xA;There are further excellent comments about noise removal software within the post &quot;[How to clean a digitally distorted recording.][7]&quot;&#xD;&#xA;&#xD;&#xA;[![Redunoise][2]][1]&#xD;&#xA;[![Restore][6]][5]&#xD;&#xA;&#xD;&#xA;[1]: http://www.voxengo.com/product/redunoise/&#xD;&#xA;[2]: http://www.voxengo.com/files/scrn/redunoise16-large1024.jpg&#xD;&#xA;[3]: http://www.steinberg.net/en/products/audiopostproduction_product/nuendo4.html&#xD;&#xA;[4]: http://www.steinberg.net/en/products/audioediting_product/wavelab7_preview0.html&#xD;&#xA;[5]: http://www.sonnoxplugins.com/pub/plugins/products/restore.htm&#xD;&#xA;[6]: http://www.sonnoxplugins.com/pub/plugins/images/restore-suite-600w.jpg&#xD;&#xA;[7]: http://socialsounddesign.com/questions/631/how-to-clean-a-digitally-distorted-recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="1308" PostHistoryTypeId="5" PostId="503" RevisionGUID="0d9846f3-053e-4b06-a1e7-a487c31af26d" CreationDate="2010-04-26T07:36:16.137" UserDisplayName="user80" Comment="Added image" Text="It is now common practice to ship equipment rather than carry it as hand luggage, especially from country to country.  It is surprisingly safe and reliable, [Pelican][1] cases are the best to use. I'd still purchase the shipping insurance, although I don't know anyone that has had to make a claim yet.&#xD;&#xA;&#xD;&#xA;[![Pelican cases][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.pelican.com/case_category.php?CaseSize=%&amp;New=%&#xD;&#xA;[2]: http://www.pelican.com/media/archive/images/imagearch_photo.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1309" PostHistoryTypeId="5" PostId="498" RevisionGUID="a52f8fd9-0f24-44ad-82e2-42f6909cd840" CreationDate="2010-04-26T07:40:50.577" UserDisplayName="user80" Comment="added 61 characters in body; edited tags; deleted 61 characters in body" Text="So far I have never declared or had issues on arrival but as I'm getting more gear, I'm getting a little apprehensive when going through customs. All this expensive electronics could amount to a serious set back if one has to pay import duties. &#xD;&#xA;&#xD;&#xA;I'm very unclear as to how it all works. What am I supposed to do on departure and arrival. Must I always declare when I leave any country, or is it a once off thing to be done when leaving the country where I purchased the gear from? I don't have any receipts for my older gear. &#xD;&#xA;&#xD;&#xA;Any experience or knowledge you would like to share would be hugely appreciated. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;This a little variant of my question... My girlfriend is visiting me from the US, and equipment is literally double in South Africa so I want her to bring me back some needed gear. If she declares it on her way out, will she not need to pay on her way into SA (if she says it's her personal gear)? What about on her way back with no more gear, will they check?&#xD;&#xA;&#xD;&#xA;My question is a bit unclear because I don't understand this world, I tried to find answers online but it's impossible.  &#xD;&#xA;&#xD;&#xA;Thanks for your help. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1310" PostHistoryTypeId="6" PostId="498" RevisionGUID="a52f8fd9-0f24-44ad-82e2-42f6909cd840" CreationDate="2010-04-26T07:40:50.577" UserDisplayName="user80" Comment="added 61 characters in body; edited tags; deleted 61 characters in body" Text="&lt;gear&gt;&lt;travel&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1311" PostHistoryTypeId="6" PostId="527" RevisionGUID="c2001c5e-6fd4-485b-9d84-62c7dac727a0" CreationDate="2010-04-26T09:01:21.550" UserDisplayName="user80" Comment="edited tags" Text="&lt;sound-design&gt;&lt;techniques&gt;&lt;creativity&gt;&lt;creative-inspiration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1312" PostHistoryTypeId="5" PostId="509" RevisionGUID="e730fc7a-0e00-4547-b880-84af2b1fe732" CreationDate="2010-04-26T10:35:28.787" UserDisplayName="user80" Comment="added 36 characters in body; edited tags" Text="I'm just wondering, which DAW or software is the best and cheapest for designing sound.&#xD;&#xA;I'm working in a studio, and we use Steinberg Nuendo on a PC. It's quite good and comfortable software. You can manipulate the events (volume, fades, you can process effects on each event), it can open lots of video formats... etc.. but is too expensive.&#xD;&#xA;&#xD;&#xA;I use a mac at home, and have tried many different DAWs, but am still perplexed as to which is the best for running on a mac.&#xD;&#xA;&#xD;&#xA;DP6 is the best for music recording and writing, but not to designing sound, like soundtrack pro, but the last one is similar to cake-walk to do some professional work. Pro Tools is good, but is too expencive to buy a PT HD for a home studio.&#xD;&#xA;&#xD;&#xA;So anyway.....which DAW do you use? What kinds of DAWs in the line? I want to chose one, and start to learn..." ContentLicense="CC BY-SA 2.5" />
  <row Id="1313" PostHistoryTypeId="6" PostId="509" RevisionGUID="e730fc7a-0e00-4547-b880-84af2b1fe732" CreationDate="2010-04-26T10:35:28.787" UserDisplayName="user80" Comment="added 36 characters in body; edited tags" Text="&lt;daw&gt;&lt;software&gt;&lt;sound-design&gt;&lt;recommendations&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1314" PostHistoryTypeId="5" PostId="510" RevisionGUID="35155cb5-a5f0-4f46-aae6-ee623590a37b" CreationDate="2010-04-26T10:36:29.893" UserDisplayName="user80" Comment="added 4 characters in body" Text="At least when Nuendo was in version 3 and cubase was SX3, you could open cubase sessions in Nuendo and vice versa, so it would probably be a good and cheap option for you.&#xD;&#xA;&#xD;&#xA;I personally own and use protools LE. Can't afford and don't really need HD for the time being.  The only thing I really miss from HD is the advanced automation stuff.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1315" PostHistoryTypeId="4" PostId="509" RevisionGUID="08c84523-fd8b-4127-949e-1b189562cf30" CreationDate="2010-04-26T14:26:35.470" UserDisplayName="user80" Comment="edited title" Text="Which DAW do you use?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1316" PostHistoryTypeId="5" PostId="510" RevisionGUID="4db80e07-f224-428c-914f-b5c1010e8999" CreationDate="2010-04-26T14:52:28.887" UserDisplayName="user80" Comment="Added weblinks and image" Text="At least when Nuendo was in version 3 and cCubase was SX3, you could open Cubase sessions in Nuendo and vice versa, so it would probably be a good and cheap option for you.&#xD;&#xA;&#xD;&#xA;I personally own and use [Pro Tools LE][1]. I can't afford and don't really need [Pro Tools HD][2] for the time being.  The only thing I really miss from the HD version is the advanced automation stuff.&#xD;&#xA;&#xD;&#xA;[![Pro Tools LE][3]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.avid.com/US/products/family/Pro-Tools/Pro-Tools-LE&#xD;&#xA;[2]: http://www.avid.com/US/products/family/Pro-Tools/Pro-Tools-HD&#xD;&#xA;[3]: http://www.avid.com/Static/resources/images/families/hero_900x200_protoolsLE.png&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1318" PostHistoryTypeId="5" PostId="509" RevisionGUID="b1b2ee9a-256c-410e-96d6-8c8219fd7b85" CreationDate="2010-04-26T14:54:21.063" UserDisplayName="user80" Comment="added 135 characters in body; added 108 characters in body" Text="I'm just wondering, which DAW or software is the best and cheapest for designing sound.&#xD;&#xA;I'm working in a studio, and we use Steinberg Nuendo on a PC. It's quite good and comfortable software. You can manipulate the events (volume, fades, you can process effects on each event), it can open lots of video formats... etc.. but is too expensive.&#xD;&#xA;&#xD;&#xA;I use a mac at home, and have tried many different DAWs, but am still perplexed as to which is the best for running on a mac.&#xD;&#xA;&#xD;&#xA;DP6 is the best for music recording and writing, but not to designing sound, like soundtrack pro, but the last one is similar to cake-walk to do some professional work. Pro Tools is good, but is too expencive to buy a PT HD for a home studio.&#xD;&#xA;&#xD;&#xA;And what about Logic pro 9. is practical for sound design for films, or does it it have some flaws when used for sound design work?&#xD;&#xA;&#xD;&#xA;So anyway.....which DAW do you use? What kinds of DAWs in the line? I want to chose one, and start to learn...  Can somebody tell me about other DAWs? Are there just these three software (nuendo,logic,protools) to use?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1321" PostHistoryTypeId="2" PostId="762" RevisionGUID="0e5b8e24-ee55-47ba-a58e-f8d79ff7e0d7" CreationDate="2010-04-26T16:21:26.313" UserId="247" Text="I've always wondered how long it took other sound designers to finish a single sound effect. Sure there are those 2 min wonders, but I know sometimes a sound effect can be so frustratingly obscure (I work in videogames) that it takes me more then a few hours to get it right. I think it usually takes me anywhere from 20-30 min on average for a sound effect.&#xD;&#xA;&#xD;&#xA;Dont forget to factor in the recording session time if u had one." ContentLicense="CC BY-SA 2.5" />
  <row Id="1322" PostHistoryTypeId="1" PostId="762" RevisionGUID="0e5b8e24-ee55-47ba-a58e-f8d79ff7e0d7" CreationDate="2010-04-26T16:21:26.313" UserId="247" Text="How long do u usually take on a effect/on a track?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1323" PostHistoryTypeId="3" PostId="762" RevisionGUID="0e5b8e24-ee55-47ba-a58e-f8d79ff7e0d7" CreationDate="2010-04-26T16:21:26.313" UserId="247" Text="&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1324" PostHistoryTypeId="2" PostId="763" RevisionGUID="d90b8cd3-d297-4059-aa97-445991e4cfc1" CreationDate="2010-04-26T18:04:31.210" UserId="100" Text="I'm straying a bit from strict sound design, but I really admire everyone's expansive knowledge of all things audio and would love to hear people's experiences with how their sounds end up in the mix. I'm starting a mix in 5.1 surround that is very effects heavy. Jets, explosions, crashes, beeps, buzzes, servos, and more, as well as foley and backgrounds. Having only mixed in stereo, I'm curious as to what people like in their surround mixes.&#xD;&#xA;&#xD;&#xA;So far I've concluded I'm not a big fan of surround for surround's sake, or rather, I would like to avoid using it as a gimmick. As far as ideas go, for sounds that &quot;appear&quot; in the front, perhaps bleeding some reverb to the rear? What else would work well?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1325" PostHistoryTypeId="1" PostId="763" RevisionGUID="d90b8cd3-d297-4059-aa97-445991e4cfc1" CreationDate="2010-04-26T18:04:31.210" UserId="100" Text="Sounds in Surround" ContentLicense="CC BY-SA 2.5" />
  <row Id="1326" PostHistoryTypeId="3" PostId="763" RevisionGUID="d90b8cd3-d297-4059-aa97-445991e4cfc1" CreationDate="2010-04-26T18:04:31.210" UserId="100" Text="&lt;5.1&gt;&lt;surround-sound&gt;&lt;mix&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1327" PostHistoryTypeId="2" PostId="764" RevisionGUID="f8e62755-dfe2-46c5-a873-a2147723e61b" CreationDate="2010-04-26T18:10:38.280" UserId="100" Text="My oldest daughter throwing a tantrum when she was 3. It's a dual tone shriek that sounds very much like a Ringwraith. I use it in everything like my own Wilhelm scream." ContentLicense="CC BY-SA 2.5" />
  <row Id="1328" PostHistoryTypeId="2" PostId="765" RevisionGUID="77a60e8b-6c6b-408e-a224-3a884d72501b" CreationDate="2010-04-27T01:59:19.000" UserId="61" Text="Great question. One thing I've found effective in 5.1 film mixes is moving sounds away from the center channel to make room for whatever the showcase event happens to be at the time. For example, you have a helicopter in the center of the screen with gunmen on board firing automatic weapons (also in the center) with bullets hitting a vehicle (in the center) causing an explosion (in the center). One way to approach this might be:&#xD;&#xA;&#xD;&#xA;• Helicopter gets panned mostly in the surrounds&#xD;&#xA;• Gunfire in the center&#xD;&#xA;• Riccos off to the left or right, favoring into the center of the room (ie. pulling back to the rear speakers a bit)&#xD;&#xA;• Explo in all speakers&#xD;&#xA;&#xD;&#xA;Your mileage may vary -- the key is to experiment and see what works best for your project!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1329" PostHistoryTypeId="5" PostId="509" RevisionGUID="a96b07a4-f8d2-4f9f-82e7-9dd04cf46e73" CreationDate="2010-04-27T04:52:31.417" UserDisplayName="user80" Comment="added 142 characters in body" Text="I'm just wondering, which DAW or software is the best and cheapest for designing sound.&#xD;&#xA;I'm working in a studio, and we use Steinberg Nuendo on a PC. It's quite good and comfortable software. You can manipulate the events (volume, fades, you can process effects on each event), it can open lots of video formats... etc.. but is too expensive.&#xD;&#xA;&#xD;&#xA;I use a mac at home, and have tried many different DAWs, but am still perplexed as to which is the best for running on a mac.&#xD;&#xA;&#xD;&#xA;DP6 is the best for music recording and writing, but not to designing sound, like soundtrack pro, but the last one is similar to cake-walk to do some professional work. Pro Tools is good, but is too expencive to buy a PT HD for a home studio.&#xD;&#xA;&#xD;&#xA;And what about Logic pro 9. is practical for sound design for films, or does it it have some flaws when used for sound design work?&#xD;&#xA;&#xD;&#xA;So anyway.....which DAW do you use? What kinds of DAWs in the line? I want to chose one, and start to learn...  Can somebody tell me about other DAWs? Are there just these three software (nuendo,logic,protools) to use?&#xD;&#xA;&#xD;&#xA;So the conclusion is that I need to learn and use 2 or more DAWs or sound manipulation software...&#xD;&#xA;&#xD;&#xA;Thanks for everything &quot;colleagues&quot;:)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1331" PostHistoryTypeId="6" PostId="763" RevisionGUID="170a6a83-106d-4c56-9f0c-b115897bffb1" CreationDate="2010-04-27T04:55:40.457" UserDisplayName="user80" Comment="edited tags" Text="&lt;5.1&gt;&lt;surround-sound&gt;&lt;mix&gt;&lt;sound-effects&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1332" PostHistoryTypeId="5" PostId="762" RevisionGUID="d413541e-ffe7-4a08-b28e-d5562609bd76" CreationDate="2010-04-27T04:59:17.380" UserDisplayName="user80" Comment="added 2 characters in body; edited tags; edited title" Text="I've always wondered how long it took other sound designers to finish a single sound effect. Sure there are those 2 min wonders, but I know sometimes a sound effect can be so frustratingly obscure (I work in videogames) that it takes me more then a few hours to get it right. I think it usually takes me anywhere from 20-30 min on average for a sound effect.&#xD;&#xA;&#xD;&#xA;Dont forget to factor in the recording session time if you had one." ContentLicense="CC BY-SA 2.5" />
  <row Id="1333" PostHistoryTypeId="4" PostId="762" RevisionGUID="d413541e-ffe7-4a08-b28e-d5562609bd76" CreationDate="2010-04-27T04:59:17.380" UserDisplayName="user80" Comment="added 2 characters in body; edited tags; edited title" Text="How long do you usually take on a effect/on a track?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1334" PostHistoryTypeId="6" PostId="762" RevisionGUID="d413541e-ffe7-4a08-b28e-d5562609bd76" CreationDate="2010-04-27T04:59:17.380" UserDisplayName="user80" Comment="added 2 characters in body; edited tags; edited title" Text="&lt;techniques&gt;&lt;sound-design&gt;&lt;sound-effects&gt;&lt;efficiency&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1335" PostHistoryTypeId="5" PostId="509" RevisionGUID="b5a634c0-3f96-4cf8-bcb5-585ffd114a85" CreationDate="2010-04-27T05:23:59.463" UserDisplayName="user80" Comment="added 664 characters in body" Text="I'm just wondering, which DAW or software is the best and cheapest for designing sound.&#xD;&#xA;I'm working in a studio, and we use [Steinberg Nuendo][1] on a PC. It's quite good and comfortable software. You can manipulate the events (volume, fades, you can process effects on each event), it can open lots of video formats... etc.. but it is too expensive.&#xD;&#xA;&#xD;&#xA;I use a [Mac][5] at home, and have tried many different DAWs, but am still perplexed as to which is the best for running on a [Mac][5].&#xD;&#xA;&#xD;&#xA;[Digital Performer][2] is the best for music recording and writing, but not for designing sound, like [Soundtrack Pro][6], but the last one is too similar to [Cakewalk][8] (now called [Sonar Home Studio][9]) to do professional work. [Pro Tools][4] is good, but it is too expencive to buy the HD system for a home studio.&#xD;&#xA;&#xD;&#xA;And what about [Logic Pro 9][3]. Is it practical for sound design for films, or does it have some flaws when used for sound design work?&#xD;&#xA;&#xD;&#xA;So anyway.....which DAW do you use? What other DAWs are available? I want to choose one, and start to learn...  Can somebody tell me about other DAWs? Are there just these three ([Nuendo][1],[Logic Pro][3],[Pro Tools][4]) to use?&#xD;&#xA;&#xD;&#xA;So the conclusion is that I need to learn and use 2 or more DAWs or sound manipulation software...&#xD;&#xA;&#xD;&#xA;Thanks for everything &quot;colleagues&quot;:)&#xD;&#xA;&#xD;&#xA;[![Mac][7]][5]&#xD;&#xA;&#xD;&#xA;[1]: http://www.steinberg.net/en/products/audiopostproduction_product/nuendo4.html&#xD;&#xA;[2]: http://www.motu.com/products/software/dp/&#xD;&#xA;[3]: http://www.apple.com/logicstudio/logicpro/&#xD;&#xA;[4]: http://www.avid.com/US/products/Pro-Tools-8-Software&#xD;&#xA;[5]: http://www.apple.com/mac/&#xD;&#xA;[6]: http://www.apple.com/logicstudio/soundtrackpro/&#xD;&#xA;[7]: http://images.apple.com/getamac/whichmac/images/desktops_imac20091020.jpg&#xD;&#xA;[8]: http://en.wikipedia.org/wiki/Cakewalk_(sequencer)&#xD;&#xA;[9]: http://www.cakewalk.com/products/homestudio/english/default.asp" ContentLicense="CC BY-SA 2.5" />
  <row Id="1336" PostHistoryTypeId="2" PostId="766" RevisionGUID="c31aea7f-c577-4404-99f9-b054e267cf7c" CreationDate="2010-04-27T05:41:35.923" UserId="29" Text="It ***so*** depends. Depends on everything. I've recorded for hours to get one sound, and recorded for a few minutes and got dozens of sounds. Editing-wise, the same applies. It also depends on how much I know about what I need to accomplish, and then subsequent revisions based on client input. I think all of us have moments when the planets align to get a decent sound designed in &lt;30 minutes, and moments where it seems to take hours...and sometimes it really does. (all this including recording, library diving, mixing, a bit of editing to picture/event, etc. etc.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1337" PostHistoryTypeId="2" PostId="767" RevisionGUID="f5029185-8ce2-4c2f-893e-2e06ef01c477" CreationDate="2010-04-27T05:49:07.680" UserId="29" Text="Ooooh, well, hehe...As much as I hesitate to even admit this, I record myself when I'm sick. I got some amazing phlegmatic goodness during one bad cold (I sounded like an Orc), and some very strange things recording my gut with a hydrophone used as a contact mic when I had food poisoning (sounded like...well, I don't know what. It sure was weird!).&#xD;&#xA;&#xD;&#xA;No, I don't record myself actually *being* sick. I'd make myself ill just listening to it!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1338" PostHistoryTypeId="5" PostId="309" RevisionGUID="ee9e5ea5-917d-4e03-816a-a5a9cb2bfe1b" CreationDate="2010-04-27T06:37:23.567" UserDisplayName="user80" Comment="edited body; edited tags" Text="The 'strange' aspect can be the context it was recorded in, or the actual sound recorded..&#xD;&#xA;come on - weird me out!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1339" PostHistoryTypeId="6" PostId="309" RevisionGUID="ee9e5ea5-917d-4e03-816a-a5a9cb2bfe1b" CreationDate="2010-04-27T06:37:23.567" UserDisplayName="user80" Comment="edited body; edited tags" Text="&lt;record&gt;&lt;strange&gt;&lt;weird&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1340" PostHistoryTypeId="5" PostId="200" RevisionGUID="9ea41ba1-a6c8-4bd2-881c-c1e9ff19349a" CreationDate="2010-04-27T07:25:07.990" UserDisplayName="user80" Comment="Added weblinks" Text="There are so many great books on sound design. I'm interested in hearing about a book that has been your faithful companion. You can pick one per discipline you're involved in. &#xD;&#xA;&#xD;&#xA;My selection is:&#xD;&#xA;&#xD;&#xA;**Sound design for film**: *[Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema][1]* by David Sonnenschein. &#xD;&#xA;&#xD;&#xA;Yes, the one from the SSD competition. &#xD;&#xA;This was one of the first books on sound design I've ever read. It gave me a way of thinking about sound design for film, which still serves me to this day. Fantastic!&#xD;&#xA;&#xD;&#xA;[![Sound Design for Film and Television by David Sonnenschein][2]][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Procedural audio**:&#xD;&#xA;*[Designing Sound][3]* by Andy Farnell. &#xD;&#xA;&#xD;&#xA;This book is amazing! If you're into synthesis, physics, procedural audio, or PD and Max/MSP type programming languages, I really recommend it! It is truly ground breaking. The way he uses physics to break down each sound makes for a really great read (gotta be into this kind of stuff though, as it can get pretty heavy).  &#xD;&#xA;&#xD;&#xA;[![Designing Sound by Andy Farnell][4]][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;**Theory of computer sound/music**:&#xD;&#xA;*[The Computer Music Tutorial][5]* by Curtis Roads.&#xD;&#xA;&#xD;&#xA;This is a seriously fat book that covers everything you could dream of about &quot;computer music&quot; (and thus sound). Maybe you want to know the theory behind granular synthesis so you can build one, or you're just curious to know how a convolution reverb works, this book will give you **all** the theory and math you'd need. I only recently purchased this, and I'm super happy to have it in my library. It is quite an old book, but the theories still apply. It is so in depth that even if I studied it for the rest of my life, I'd probably only absorb %10 of it.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[![The Computer Music Tutorial by Curtis Roads][7]][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Miguel from the great blog Designing Sound, put together a list of [essential sound design books][6], in case you're interested in checking out more...  &#xD;&#xA;&#xD;&#xA;**What have been your most influential sound design books?** &#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Sound-Design-Expressive-Effects-Cinema/dp/0941188264&#xD;&#xA;  [2]: http://filmsound.org/bibliography/sounddesignbook-small.jpg&#xD;&#xA;  [3]: http://aspress.co.uk/ds/index.html&#xD;&#xA;  [4]: http://www.filmsound.org/designingsounds.jpg&#xD;&#xA;  [5]: http://www.amazon.com/Computer-Music-Tutorial-Curtis-Roads/dp/0262680823&#xD;&#xA;  [6]: http://designingsound.org/2009/06/sound-design-essentials-books/&#xD;&#xA;  [7]: http://www.fileformat.info/resource/book/0262680823/fullscreen_s.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1341" PostHistoryTypeId="6" PostId="200" RevisionGUID="9ea41ba1-a6c8-4bd2-881c-c1e9ff19349a" CreationDate="2010-04-27T07:25:07.990" UserDisplayName="user80" Comment="Added weblinks" Text="&lt;sound-design&gt;&lt;books&gt;&lt;theory&gt;&lt;recommendations&gt;&lt;influences&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1342" PostHistoryTypeId="5" PostId="204" RevisionGUID="40c17c23-f37f-4f37-81e0-17880e63b14e" CreationDate="2010-04-27T07:26:20.153" UserDisplayName="user80" Comment="added 10 characters in body" Text="[The Practical Art of Motion Picture Sound][1] by David Yewdall&#xD;&#xA;&#xD;&#xA;[1]: http://www.amazon.com/Practical-Motion-Picture-Sound-Third/dp/0240808657/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1268092001&amp;sr=8-1" ContentLicense="CC BY-SA 2.5" />
  <row Id="1343" PostHistoryTypeId="2" PostId="768" RevisionGUID="683a9858-2344-4cac-8d68-9d175ad60ba0" CreationDate="2010-04-27T07:26:46.783" UserId="173" Text="I recently recorded hundreds of frogs croaking in a pond.. sounds like an orchestra of weird noise.. i used it in my electroacoustic composition.. it was great" ContentLicense="CC BY-SA 2.5" />
  <row Id="1345" PostHistoryTypeId="5" PostId="235" RevisionGUID="3af14896-62d9-4ece-8276-29ab1696e6ab" CreationDate="2010-04-27T07:32:59.970" UserDisplayName="user80" Comment="added 11 characters in body" Text="Id does not look like anyone has mentioned the [SFX Bible][1]. This is highly recommended and covers the art of recording, processing and cataloging pro hollywood style SFX. &#xD;&#xA;&#xD;&#xA;LIVE BY THIS BOOK.&#xD;&#xA;&#xD;&#xA;[1]: http://www.soundeffectsbible.com/sfx/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1346" PostHistoryTypeId="5" PostId="269" RevisionGUID="83a5be08-f574-44ab-a48e-b7e66d656a56" CreationDate="2010-04-27T08:28:18.713" UserDisplayName="user80" Comment="Added weblinks and image; added 6 characters in body; deleted 94 characters in body" Text="Nerd alert! Olson's &quot;[Music, Physics, and Engineering][1]&quot; isn't a book I pull off the shelf often, but it runs down the basic physics of every orchestral instrument, lists a ton of keys, and explains a lot about sound and how instruments create it, providing a lot of transferrable knowledge. Almost charmingly out of date in its layout and language, the science ain't goin' outta style any time soon. &#xD;&#xA;&#xD;&#xA;[![Music, Physics and Engineering by Harry F. Olson][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://store.doverpublications.com/0486217698.html&#xD;&#xA;[2]: http://ep.yimg.com/ca/I/doverpublications_2101_8961906" ContentLicense="CC BY-SA 2.5" />
  <row Id="1347" PostHistoryTypeId="5" PostId="743" RevisionGUID="6301030b-d276-46a2-8b77-86e144fab564" CreationDate="2010-04-27T08:30:23.997" UserDisplayName="user80" Comment="added 1 characters in body" Text="Copied straight from the bibliography of my dissertation: &#xD;&#xA;&#xD;&#xA;- &#xD;&#xA;Altman, T., ***Sound Theory, Sound Practice*** (New York/London: Routledge, 1992)&#xD;&#xA; - Chion, M., ***Audio Vision*** (New York: Columbia University Press, 1994)&#xD;&#xA; - Freeman, D., Sider J. and Sider L. (ed.), ***Soundscape – The School of Sound Lectures*** (London: Wallflower Press, 2003)&#xD;&#xA; - Gibbs, T., ***The Fundamentals of Sonic Art &amp; Sound Design*** (Lausanne: AVA Publishing SA,  2007)&#xD;&#xA; - Holman, T., ***Sound for Film and Television*** (Boston, Massachusetts: Focal Press, 2002)&#xD;&#xA; - LoBrutto, V., ***Sound on Film – Interviews with Creators of Film Sound*** (Westport CT: Praeger  Publishers, 1994)&#xD;&#xA; - Schafer, R. M., ***The Soundscape: Our Environment and the Tuning of the World*** (Rochester,  Vermont: Destiny Books, 1994)&#xD;&#xA; - Sonnenschein, D., ***Sound Design: The expressive Power of Music, Voice and Sound Effects in  Cinema*** (Studio City, California: Michael Wiese Productions, 2001)&#xD;&#xA; - Yewdall, D., ***Practical Art of Motion Picture Sound*** (Boston, Massachusetts: Focal Press,  1999)&#xD;&#xA;&#xD;&#xA;*Soundscape - The School of Sound Lectures* and Michel Chion's *Audio Vision* are particularly interesting!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1349" PostHistoryTypeId="5" PostId="235" RevisionGUID="e2feaa38-6d24-4d1a-a1e7-82e4ee35c6c8" CreationDate="2010-04-27T12:34:02.007" UserDisplayName="user80" Comment="Added image" Text="Id does not look like anyone has mentioned the [SFX Bible][1]. This is highly recommended and covers the art of recording, processing and cataloging pro hollywood style SFX. &#xD;&#xA;&#xD;&#xA;LIVE BY THIS BOOK.&#xD;&#xA;&#xD;&#xA;[![The Sound Effects Bible by Ric viers][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.soundeffectsbible.com/sfx/&#xD;&#xA;[2]: http://74.220.215.208/~soundeff/sfx/themes/sfx/images/book.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1350" PostHistoryTypeId="5" PostId="202" RevisionGUID="29a01f3f-ce8c-4974-b866-acd598185915" CreationDate="2010-04-27T13:07:29.523" UserDisplayName="user80" Comment="added 178 characters in body" Text="My favorites:&#xD;&#xA;&#xD;&#xA;**[Soundscape][1]** Edited by Larry Sider&#xD;&#xA;&#xD;&#xA;[![Soundscape: The School of Sound Lectures, 1998–2001][6]][1]&#xD;&#xA;&#xD;&#xA;**[Sound-On-Film][2]** by Vincent LoBrutto&#xD;&#xA;&#xD;&#xA;**[Audio-Vision][3]** by Michel Chion, Claudia Gorbman and Walter Murch&#xD;&#xA;&#xD;&#xA;**[Sound Design][4]** by David Sonnenschein&#xD;&#xA;&#xD;&#xA;**[The Complete Guide to Game Audio][5]** by Aaron Marks&#xD;&#xA;&#xD;&#xA;Also recomend:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2009/06/sound-design-essentials-books/&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/02/sound-design-essentials-6-recommended-books-and-11-google-books-links/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Soundscape-Larry-Sider/dp/1903364590/ref=sr_1_3?ie=UTF8&amp;s=books&amp;qid=1266418926&amp;sr=1-3&#xD;&#xA;  [2]: http://www.amazon.com/Sound-Film-Interviews-Creators-Sound/dp/0275944433/ref=pd_sim_b_4&#xD;&#xA;  [3]: http://www.amazon.com/Audio-Vision-Michel-Chion/dp/0231078994/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1245777761&amp;sr=1-1&#xD;&#xA;  [4]: http://www.amazon.com/Sound-Design-Expressive-Effects-Cinema/dp/0941188264/ref=pd_sim_b_12&#xD;&#xA;  [5]: http://www.amazon.com/Complete-Guide-Game-Audio-Second/dp/0240810740/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1245777130&amp;sr=1-1&#xD;&#xA;  [6]: http://www.wallflowerpress.co.uk/thumb.php?src=prod_images%2Fthumbs%2Fsoundscape.jpg&amp;w=109&amp;h=163" ContentLicense="CC BY-SA 2.5" />
  <row Id="1351" PostHistoryTypeId="2" PostId="769" RevisionGUID="a89e2872-9047-488b-b31c-8e28b64e779f" CreationDate="2010-04-27T14:53:42.720" UserId="220" Text="When I first started in film, I was coming from a music production angle and could pretty much work on any DAW I wanted, since nothing ever left the program.  I was blissfully unaware of the problems with FCP talking with some PC-based products.  To make things worse, I'm invested in two of the most unfriendly pieces of software when it comes to playing with others - Sony Vegas and Adobe Audition. For a variety of reasons, I prefer PC over MAC and will continue to work off of PC-based software. &#xD;&#xA;&#xD;&#xA;After searching tirelessly on the internet, I feel like these are my options:&#xD;&#xA;&#xD;&#xA; - Continue working with what I have and risk appearing unprofessional when I can't import OMF files and can't export back out via OMF.  Most little indie projects don't know any better and I can get away with pushing full tracks back to them.  Sony Vegas 8 was fine bringing in AAF from FCP, but seems to have troubles exporting to AAF.  I'm at v.9 now, so I may just have to find a FCP buddy to test with.&#xD;&#xA; - Invest in new DAW software.  Cubase 5 supports OMF, but not AAF and appears to be very unstable on the Windows platform.  Sonar supports both, but I know nothing about it.  Protools and Nuendo are expensive and I'd rather invest in production hardware than software at this point for ROI.&#xD;&#xA; - Use [Pro-Convert PC][1] to take FCP projects or OMF and translate into Vegas formatted projects.  Again, I don't know much about this product.  I assume it's like the Automatic Duck for PC.&#xD;&#xA;&#xD;&#xA;Questions, questions!&#xD;&#xA;&#xD;&#xA;Am I just out of luck and need to either spend a lot of money, or continue to work at diminished capabilities?&#xD;&#xA;&#xD;&#xA;Does anybody else use PC for their editing? &#xD;&#xA;&#xD;&#xA;Is there any other way to work between FCP and Vegas? XML?&#xD;&#xA;&#xD;&#xA;Thanks so much for the advice help!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;By the way, wiki had this great [DAW comparison chart][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.solid-state-logic.com/Music/Pro-Convert/index.asp&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Comparison_of_multitrack_recording_software#File_format_support" ContentLicense="CC BY-SA 2.5" />
  <row Id="1352" PostHistoryTypeId="1" PostId="769" RevisionGUID="a89e2872-9047-488b-b31c-8e28b64e779f" CreationDate="2010-04-27T14:53:42.720" UserId="220" Text="How to deal with OMF/AAF on PC platforms" ContentLicense="CC BY-SA 2.5" />
  <row Id="1353" PostHistoryTypeId="3" PostId="769" RevisionGUID="a89e2872-9047-488b-b31c-8e28b64e779f" CreationDate="2010-04-27T14:53:42.720" UserId="220" Text="&lt;daw&gt;&lt;pc&gt;&lt;omf&gt;&lt;aaf&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1354" PostHistoryTypeId="5" PostId="202" RevisionGUID="34fcf4dd-6f3e-4a00-8ea6-ad6080eb4333" CreationDate="2010-04-27T16:02:23.100" UserDisplayName="user80" Comment="added 181 characters in body" Text="My favorites:&#xD;&#xA;&#xD;&#xA;**[Soundscape][1]** Edited by Larry Sider&#xD;&#xA;&#xD;&#xA;[![Soundscape: The School of Sound Lectures, 1998–2001][6]][1]&#xD;&#xA;&#xD;&#xA;**[Sound-On-Film][2]** by Vincent LoBrutto&#xD;&#xA;&#xD;&#xA;[![Sound on Film: interviews with Creators of Film Sound by Vincent LoBrutto][7]][2]&#xD;&#xA;&#xD;&#xA;**[Audio-Vision][3]** by Michel Chion, Claudia Gorbman and Walter Murch&#xD;&#xA;&#xD;&#xA;**[Sound Design][4]** by David Sonnenschein&#xD;&#xA;&#xD;&#xA;**[The Complete Guide to Game Audio][5]** by Aaron Marks&#xD;&#xA;&#xD;&#xA;Also recomend:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2009/06/sound-design-essentials-books/&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/02/sound-design-essentials-6-recommended-books-and-11-google-books-links/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Soundscape-Larry-Sider/dp/1903364590/ref=sr_1_3?ie=UTF8&amp;s=books&amp;qid=1266418926&amp;sr=1-3&#xD;&#xA;  [2]: http://www.amazon.com/Sound-Film-Interviews-Creators-Sound/dp/0275944433/ref=pd_sim_b_4&#xD;&#xA;  [3]: http://www.amazon.com/Audio-Vision-Michel-Chion/dp/0231078994/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1245777761&amp;sr=1-1&#xD;&#xA;  [4]: http://www.amazon.com/Sound-Design-Expressive-Effects-Cinema/dp/0941188264/ref=pd_sim_b_12&#xD;&#xA;  [5]: http://www.amazon.com/Complete-Guide-Game-Audio-Second/dp/0240810740/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1245777130&amp;sr=1-1&#xD;&#xA;  [6]: http://www.wallflowerpress.co.uk/thumb.php?src=prod_images%2Fthumbs%2Fsoundscape.jpg&amp;w=109&amp;h=163&#xD;&#xA;  [7]: http://www.praeger.com/_net.templates/showImage.aspx?imgName=9780275944438.jpg&amp;s=135" ContentLicense="CC BY-SA 2.5" />
  <row Id="1355" PostHistoryTypeId="6" PostId="769" RevisionGUID="65510b13-1cad-4078-96f0-c64cbda7104a" CreationDate="2010-04-27T16:06:06.757" UserDisplayName="user80" Comment="edited tags" Text="&lt;daw&gt;&lt;pc&gt;&lt;omf&gt;&lt;aaf&gt;&lt;file-conversion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1356" PostHistoryTypeId="6" PostId="763" RevisionGUID="74aa7fe8-cb22-40d3-9d24-fa8110306886" CreationDate="2010-04-27T16:59:53.913" UserId="61" Comment="edited tags" Text="&lt;5.1&gt;&lt;surround-sound&gt;&lt;mix&gt;&lt;panning&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1357" PostHistoryTypeId="2" PostId="770" RevisionGUID="f6c5da0d-0aa5-47ac-910c-c7ed640f2461" CreationDate="2010-04-27T18:09:46.370" UserId="61" Text="This is probably not what you want to hear, but I'd advise migrating to one of the two major platforms commonly used in film post-production sound, which are **ProTools** or **Nuendo**. If you're planning to work in film as a career and build productive, long-term relationships with picture editors and picture departments, then AAF &amp; OMF conversion needs to not be a struggle / science project for you, since you will be doing a lot of it over the course of a movie. ProTools is set up to do that (and I believe Nuendo is as well, although I have no experience with that DAW).&#xD;&#xA;&#xD;&#xA;Yes, ProTools is expensive, but it's also the industry standard. Nuendo is less expensive but less commonly used. I have not heard of anyone using Sony Vegas for film post-production sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="1358" PostHistoryTypeId="2" PostId="771" RevisionGUID="55e0afc0-aac9-40c9-9b3d-9a8835121077" CreationDate="2010-04-27T19:15:38.453" UserDisplayName="user49" Text="Most panning &amp; spot localisation of sound in film 5.1 is driven by the images ie where the sound generating objects are on screen, and if/when they move offscreen where are they moving to... If an object pans off L, then it could be continued L to surrL, or if the object is coming from deep within the screen and moves past the camera then it could go entirely LCR -&gt; surrLR&#xD;&#xA;&#xD;&#xA;- Reverbs &amp; slap delays can be spread into surround&#xD;&#xA;&#xD;&#xA;- pulling some sounds 'off the screen' can help  a lot in dense complex moments, this doesn't mean panning them entirely to the rear, but even 10% offscreen or 20% can help&#xD;&#xA;&#xD;&#xA;- Use point of view as a motive for panning eg i've done scenes with guns where within the scene the point of view cut between the gun being onscreen, offscreen left and offscreen surround. In each case the location of the gun fire, the bullet whizzes &amp; the bullet impacts all were specificly located...&#xD;&#xA;So eg if the gun is in surround, the bullets whizzes were panned from surrLR-&gt; LCR, the bullet impacts were LCR and the source of the gun was surrLR (the only issue with this was that there is no sub in surrLR)&#xD;&#xA;Within the same scene at times the gun was C (&amp;sub) bullets whizzes went from C-&gt; surrL or R, and bullet impacts were surr L or R...&#xD;&#xA;&#xD;&#xA;- sometimes it is easier &amp; better to cut surround panning, than to use pan automation. Fast movement like bullet whizzes are a good example; you can simply cut a bullet whizz at the peak of the passby, play the first half from say L and the second half from surr R - then you have a bullet whizz that passes thru the audience from onscreen L-&gt; surr R (again this depends on onscreen action for logic) - printing Waves or GRM Doppler moves &amp; then cutting them this way can also be a useful technique...&#xD;&#xA;&#xD;&#xA;Note: you have to be constantly aware of issues regarding the fact that the audience is distributed in the theatre, so if you have a loud helicopter in the surrounds for very long, it may mask important dialogue for people sitting at the back ie near the surround speakers... This is why heavy use of surround is often momentary &amp; not sustained&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1359" PostHistoryTypeId="2" PostId="772" RevisionGUID="fe3bbe73-ce47-42ed-b17d-ddc9edadc653" CreationDate="2010-04-27T19:42:23.687" UserId="118" Text="I think this ties in very closely with a Randy Thom interview I saw recently on the Designing Sound website (I think it was called 'Meet the CAS Winners').  &#xD;&#xA;Basically he talked a bit about the need to not be afraid of making mistakes, especially early on in the project when there's time to recover from any dead end paths you may have taken.  I hope I'm not distorting Randy Thom's comments here but in this way I think it is important not to set yourself too rigid a time limit to produce an effect - if it's an important one of course.  I don't know exactly what your time constraints are, but think about what the big fx moments are in the project and then give yourself a bit of room to breathe with those:  experiment, take a risk, follow that hunch.  If necessary, you can recover some lost time by being a bit more methodical with less important fx.  But if you're not flexible with how much time you allow yourself, you'll find yourself saying 'that'll do' a lot which, as well as not producing great work, becomes very demoralising for a creative sound designer. " ContentLicense="CC BY-SA 2.5" />
  <row Id="1361" PostHistoryTypeId="2" PostId="773" RevisionGUID="33d1e06e-b227-45de-9153-cc4df4658cfc" CreationDate="2010-04-28T21:08:13.357" UserId="248" Text="I can't see it either." ContentLicense="CC BY-SA 2.5" />
  <row Id="1362" PostHistoryTypeId="2" PostId="774" RevisionGUID="9a948457-772b-455b-af44-639e004560e8" CreationDate="2010-04-28T21:27:30.883" UserId="222" Text="I'm in the market for a quality shotgun mic for field recording, foley, ADR, etc.... I currently use a Zoom H4n, but plan on upgrading to a Sound Devices 702.  Budget:  less than $1,200.  I really like the MKH 416, but haven't had a chance to try too many others. Chuck, Tim, NoiseJockey, Andrew, Colin, Nic, i read all your blogs and would love some advice." ContentLicense="CC BY-SA 2.5" />
  <row Id="1363" PostHistoryTypeId="1" PostId="774" RevisionGUID="9a948457-772b-455b-af44-639e004560e8" CreationDate="2010-04-28T21:27:30.883" UserId="222" Text="My first field mic." ContentLicense="CC BY-SA 2.5" />
  <row Id="1364" PostHistoryTypeId="3" PostId="774" RevisionGUID="9a948457-772b-455b-af44-639e004560e8" CreationDate="2010-04-28T21:27:30.883" UserId="222" Text="&lt;field-recording&gt;&lt;microphone&gt;&lt;recommendations&gt;&lt;recording&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1365" PostHistoryTypeId="2" PostId="775" RevisionGUID="2104b926-388d-418b-9025-75890d038ff7" CreationDate="2010-04-28T23:42:30.417" UserId="40" Text="Are you looking for a stereo shotgun mic or a mono shotgun mic?&#xD;&#xA;&#xD;&#xA;I'm assuming mono, but let me know if otherwise...&#xD;&#xA;&#xD;&#xA;The 416 is a fantastic mic, plus the price just dropped to $999.  Great deal!  It's incredibly durable, so you can put it through some tough stuff and not worry too much about it.  It's not quite as versatile as some of the other ones though, plus it's not very flat.  It's got that permanent bump in the 2k- 6k range, which sounds fantastic on dialogue, and some sfx, but if you have a particularly bright sound effect, it can really exaggerate the sound.&#xD;&#xA;&#xD;&#xA;If you want to go for something flatter, the MKH60 is awesome, although slightly above your price range, although you could probably find a used one for $1200.  Nice thing about this mic is that it has a built in HPF, pad, and presence filter.  The main purpose of the presence filter is to negate the effects of a zeppelin with a dead cat on it, however, it does make the mic sound a bit more like a 416.  The flatter response of this mic makes is a bit more versitile.  It's a bit more fragile than the 416, but not extremely fragile like, say, a Schoeps CMIT or something.&#xD;&#xA;&#xD;&#xA;I also like Sanken's stuff.  The CS1 and CS-3e are nice mics.  Very tight polar patterns for their size, so you get a lot of side rejection, which is useful for recording in louder areas.  The CS-3e actually uses 3 microphone capsules and a lot of phase cancellation techniques to achieve this, so it's incredibly effective, even with rear rejection.&#xD;&#xA;&#xD;&#xA;Before buying, I would try to see if you can rent or borrow some shotguns to try out.  A lot of it comes down to personal preference and what works for you with your specific technique.&#xD;&#xA;&#xD;&#xA;Hope this is helpful.  Let me know if there's anything else I can help you with!  And thanks for reading the blog!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1366" PostHistoryTypeId="2" PostId="776" RevisionGUID="ac7f3202-88f2-4872-9365-99f9f2eec05b" CreationDate="2010-04-29T02:04:22.730" UserDisplayName="user49" Text="In some ways a mic is a more important investment than the recorder, because as technology advances the price &amp; facilities of recorders will continue to evolve whereas a good mic will last a long time... So 5 years from now you may well have replaced even the 702 that you haven't bought yet, but you may still be using the same mic...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The 416 was my first mic and its ok but I grew to dislike it, as it has a bump in its frequency response, as Colin mentions... the MKH60 is a nice idea and if you were to buy one I'd look at buying an MS Rycote for it, even if you can't afford the S mic immediately... that would give you a great upgrade path as funds allow... I like single point stereo mics, whether they are a stereo shotgun mic (like my Sanken) or an M/S rig....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'd also look out for secondhand mics eg I bought a Sanken CSS5 stereo shotgun mic immediately after the Americas Cup yacht race finished in NZ, as the mic was apparently a spec mic for some foreign crews, so the local rental company bought lots of them, rented them out &amp; then sold some of them off afterwards... It was still quite an investment &#xD;&#xA;&#xD;&#xA;Similarly I recently picked up an MKH70 (long, very directional shotgun mic) in a Rycote w fluffy secondhand for US$600 - BH list the mic alone for US$1,750!&#xD;&#xA;&#xD;&#xA;My last advice would be to spend a little money renting (or borrowing) a few mics &amp; do some test recordings (eg some dialogue, some quiet ambiences, loud FX etc) so that you know what to expect before you part with serious $$$... Someone gave me good advice a long time ago: trust your own ears only!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1367" PostHistoryTypeId="2" PostId="777" RevisionGUID="222bd3b2-e5e2-417a-a05f-45b5ddc61442" CreationDate="2010-04-29T02:06:49.557" UserDisplayName="user49" Text="For me it varies wildly...&#xD;&#xA;&#xD;&#xA;minimum time? less than a minute&#xD;&#xA;&#xD;&#xA;maximum time? 5 months" ContentLicense="CC BY-SA 2.5" />
  <row Id="1369" PostHistoryTypeId="2" PostId="779" RevisionGUID="f7d0b137-9af3-4180-b5be-a21630a60e05" CreationDate="2010-04-29T03:54:06.063" UserId="100" Text="Great question. You beat me to it, Josh, verbatim. I'm also wondering about even less expensive shotguns, like the [NTG-3][1] or even the [AT8015][2]. Is it another case of &quot;you get what you pay for&quot;, or are there some winners among the cheaper mics?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/563798-REG/Rode_NTG_3_NTG_3_Precision_RF_Biased_Shotgun.html&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/product/97710-REG/Audio_Technica_AT8015_AT8015_Shotgun_Microphone.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1370" PostHistoryTypeId="2" PostId="780" RevisionGUID="a444748f-3e32-4389-95d4-7656107dd5d1" CreationDate="2010-04-29T04:23:19.777" UserId="18" Text="Hey Josh,&#xD;&#xA;&#xD;&#xA;I didn't read the other answers, so I may just say the same things as them:&#xD;&#xA;&#xD;&#xA;First, having a $1200 for a mic is a great place to be in.  I always tell people to buy the best mic they can afford as it will be with you long after your recorded is obsolete.&#xD;&#xA;&#xD;&#xA;Second, you are looking for a field mic, so you need wind protection.  A rycote system is going to run $700ish new.  The Rode systems are around $300ish.  I've never used the Rode, but it seems like a good deal for the money.&#xD;&#xA;&#xD;&#xA;Third, you can't go wrong with a 416.  It was my first filed mic and I still love it.  At the time (10 years or more ago) I was thinking of buying a less expensive mic, but I opted to go for the mic I wanted, and I'm glad I did.  I would also look at the MKH60, it may end up more versatile a mic for you.  If you don't need a shotgun, the MKH40 and MKH50 are great as well.  Neumann KMR81 is another shotgun to consider, or the Neumann KM100 series if you opt for a non-shotgun.&#xD;&#xA;&#xD;&#xA;Fourth, Ebay is your friend.  Buy used.  You can get crazy deals quite often.  If you can't find a crazy deal, you should be able to get a used 416 in good shape for at most $600.  You might even find an MKH60 for a similar price.&#xD;&#xA;&#xD;&#xA;Hope that helps.  Sorry if I just repeated everyone else, I wanted to give you my input, but don't have a lot of time for reading these days...." ContentLicense="CC BY-SA 2.5" />
  <row Id="1371" PostHistoryTypeId="2" PostId="781" RevisionGUID="8ecbf836-fad5-4a77-bea3-b7ad96bb3b01" CreationDate="2010-04-29T04:43:47.760" UserId="100" Text="These aren't so much about designing sounds as sound designers, design theory, and stuff that could help to go pro.&#xD;&#xA;&#xD;&#xA;How several sound guys got their start:&#xD;&#xA;http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=2090280&#xD;&#xA;&#xD;&#xA;Mix Magazine's article on breaking into the audio industry:&#xD;&#xA;http://mixguides.com/education/articles/breaking-in/&#xD;&#xA;&#xD;&#xA;Some videos about sound designers:&#xD;&#xA;http://www.recordbetteraudio.com/recording/sound/design.php&#xD;&#xA;&#xD;&#xA;Sven's entire site:&#xD;&#xA;http://filmsound.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1372" PostHistoryTypeId="6" PostId="47" RevisionGUID="969c5257-593e-40a0-a618-e0828d4c40bc" CreationDate="2010-04-29T08:50:10.507" UserDisplayName="user80" Comment="Added tags" Text="&lt;tips&gt;&lt;tricks&gt;&lt;sound-design&gt;&lt;websites&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1373" PostHistoryTypeId="5" PostId="774" RevisionGUID="1323c6f5-a4be-49db-ae46-dea19f54615b" CreationDate="2010-04-29T08:58:27.850" UserDisplayName="user80" Comment="added 403 characters in body" Text="I'm in the market for a quality shotgun mic for field recording, foley, ADR, etc.... I currently use a [Zoom H4n][1], but plan on upgrading to a [Sound Devices 702][2].  Budget:  less than $1,200.  I really like the [Sennheiser MKH 416][3], but haven't had a chance to try too many others. Chuck, Tim, NoiseJockey, Andrew, Colin, Nic, i read all your blogs and would love some advice.&#xD;&#xA;&#xD;&#xA;[![Sennheiser MKH416][4]][3]&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;[2]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;[3]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511&#xD;&#xA;[4]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/B905568D10D34331C125743200802EDD/$File/MKH416_ProductImage.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1374" PostHistoryTypeId="2" PostId="782" RevisionGUID="00e38931-128d-4060-8aa5-34da06a88037" CreationDate="2010-04-29T13:48:14.350" UserId="29" Text="There's so much science being dropped it's like the Nobel awards in here! :-) Awesome responses thus far. Mic choice is *such* a personal thing, but notice the consistency of opinion here! I wholeheartedly agree with everything stated here, with only a few other bits to add.&#xD;&#xA;&#xD;&#xA;A photography mentor once told me, &quot;Camera bodies are expenses, and lenses are investments.&quot; The same can be said for recorders and microphones, as per Chuck and others above. Sage advice.&#xD;&#xA;&#xD;&#xA;Josh:&#xD;&#xA;Tim brings up the point of flexibility. Unless you throw down for the spendier shotguns, they'll often sound tubby indoors in acoustically &quot;live&quot; spaces due to how they're constructed. I personally got an NTG-2 as my first field mic, and upon reflection, I would have gotten more use and value out of a hypercardioid for my first mic. The MKH50 has turned into an incredibly versatile mic for me. But that's because I record a LOT of stuff, including very quiet, small sounds, where the MKH series excels (also has major low-end whomp when needed). (Yer gonna plotz when you step up to the 702, by the way. It's The Awesome.)&#xD;&#xA;&#xD;&#xA;Matt:&#xD;&#xA;The NTG-2 and NTG-3 are widely seen as screaming values for the performance they offer among the &quot;prosumer&quot; market. Pair this with a Blimp and you've got money to spare for cabling, boom pole/mic support, etc. IMO, though, the lower cost usually brings a higher noise floor, which is basically the worst thing ever. :-) Caveat: I've neither traveled with them nor used them in high-humidity conditions." ContentLicense="CC BY-SA 2.5" />
  <row Id="1375" PostHistoryTypeId="2" PostId="783" RevisionGUID="1f8e4391-c501-4c51-a98e-d5836ceb66d9" CreationDate="2010-04-29T14:06:10.430" UserId="178" Text="Different types of microphones have different uses, obviously. Here is what I have found works best in various situations. Before delving headlong into shotgun mic comparison shopping, ask yourself what will suit your needs the best.&#xD;&#xA;&#xD;&#xA;If you want to record specific point sounds at a distance outdoors, including outdoor boom mic dialog recording for film and TV, a short shotgun such as the Sennheiser 416 and friends is going to be your best bet. I wouldn't recommend the Rode NTG-2 unless you're really on a budget, but the NTG-3 appears to have nearly identical specs to the 416. The NTG-3 is a relative newcomer, while the 416 has been _the_ short shotgun mic for at least a couple decades or so now.&#xD;&#xA;&#xD;&#xA;If you want to record interior dialog for film and TV, and do a passable job at exterior dialog provided you get the mic a little closer, then a hypercardioid mic is your best bet. Shotgun mics have weird off-axis frequency response as you go farther down the spectrum. Basically the shotgun pattern is only for mid to high frequencies, while the lower frequencies still come in from nearly all directions. Indoors in a normal untreated room, you end up with weird boominess in a lot of cases. This is just down to the various pickup patterns and physics.&#xD;&#xA;&#xD;&#xA;If you are recording a scripted independent film and just need a single mic, I would go with the hypercardiod. The Schoeps CMC641 seems to be the gold standard, but it's about $2000. I got an Audix SCX1-HC and have been very happy with it. For indoor dialog I think it sounds better than a Sennheiser 416.&#xD;&#xA;&#xD;&#xA;Make sure and check out this video by Ty Ford where he compares various types of microphones. You can get an intuitive sense of a lot just by watching it:&#xD;&#xA;http://cinemasound.ning.com/video/ty-ford-mic-tutorial-video" ContentLicense="CC BY-SA 2.5" />
  <row Id="1376" PostHistoryTypeId="5" PostId="783" RevisionGUID="acacc20d-5341-4dd3-bd85-79f6e3f35cc1" CreationDate="2010-04-29T14:12:55.333" UserId="178" Comment="added 866 characters in body" Text="Different types of microphones have different uses, obviously. Here is what I have found works best in various situations. Before delving headlong into shotgun mic comparison shopping, ask yourself what will suit your needs the best.&#xD;&#xA;&#xD;&#xA;If you want to record specific point sounds at a distance outdoors, including outdoor boom mic dialog recording for film and TV, a short shotgun such as the Sennheiser 416 and friends is going to be your best bet. I wouldn't recommend the Rode NTG-2 unless you're really on a budget, but the NTG-3 appears to have nearly identical specs to the 416. The NTG-3 is a relative newcomer, while the 416 has been _the_ short shotgun mic for at least a couple decades or so now.&#xD;&#xA;&#xD;&#xA;If you want to record interior dialog for film and TV, and do a passable job at exterior dialog provided you get the mic a little closer, then a hypercardioid mic is your best bet. Shotgun mics have weird off-axis frequency response as you go farther down the spectrum. Basically the shotgun pattern is only for mid to high frequencies, while the lower frequencies still come in from nearly all directions. Indoors in a normal untreated room, you end up with weird boominess in a lot of cases. This is just down to the various pickup patterns and physics.&#xD;&#xA;&#xD;&#xA;If you are recording a scripted independent film and just need a single mic, I would go with the hypercardiod. The Schoeps CMC641 seems to be the gold standard, but it's about $2000. I got an Audix SCX1-HC and have been very happy with it. For indoor dialog I think it sounds better than a Sennheiser 416.&#xD;&#xA;&#xD;&#xA;Depending on what field recording means to you, exactly, you may also want a stereo mic of some sort to record ambiences and the like. The Rode NT4 is pretty good at this, and there are several other pricier options from other manufacturers as well. The NT4 is essentially two cardioid mics in an X/Y pattern, so it picks up a much wider field of sound and is less directional than a hypercardioid or a shotgun mic. This sort of mic does a pretty good job of getting a &quot;you are here&quot; sort of ambience with great stereo imaging.&#xD;&#xA;&#xD;&#xA;One more note about the Rode mics... their true condenser mics are generally very quiet. The NTG-1 and NTG-2 (but not the NTG-3) are electret condenser mics though, which generally results in higher noise. If a microphone can be powered by a single AA battery, it's generally not going to be a true condenser. Accept no imitations!&#xD;&#xA;&#xD;&#xA;Make sure and check out this video by Ty Ford where he compares various types of microphones. You can get an intuitive sense of a lot just by watching it:&#xD;&#xA;http://cinemasound.ning.com/video/ty-ford-mic-tutorial-video" ContentLicense="CC BY-SA 2.5" />
  <row Id="1377" PostHistoryTypeId="5" PostId="774" RevisionGUID="52c02cf6-4cfc-4897-bbc3-2aab0501b2c4" CreationDate="2010-04-29T17:40:29.380" UserDisplayName="user80" Comment="added 47 characters in body; added 47 characters in body" Text="I'm in the market for a quality shotgun mic for field recording, foley, ADR, etc.... I currently use a [Zoom H4n][1], but plan on upgrading to a [Sound Devices 702][2].  Budget:  less than $1,200.  I really like the [Sennheiser MKH 416][3], but haven't had a chance to try too many others. [Chuck][5], [Tim][6], NoiseJockey, Andrew, Colin, Nic, i read all your blogs and would love some advice.&#xD;&#xA;&#xD;&#xA;[![Sennheiser MKH416][4]][3]&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;[2]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;[3]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511&#xD;&#xA;[4]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/B905568D10D34331C125743200802EDD/$File/MKH416_ProductImage.jpg&#xD;&#xA;[5]: http://www.chuckrussom.com/blog.php&#xD;&#xA;[6]: http://www.musicofsound.co.nz/blog/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1378" PostHistoryTypeId="5" PostId="724" RevisionGUID="c1e185ea-96f9-45f7-b07a-d138c6d837a2" CreationDate="2010-04-30T02:24:47.280" UserId="100" Comment="New thought....; deleted 323 characters in body" Text="+1 on Craigslist. I subscribe to an RSS from their gigs page for results with &quot;sound design&quot;. I see a couple of postings each day here in Burbank. 99% contain some variation of &quot;We already spent our budget on stuff we thought was more important than audio, so you won't be getting paid.&quot;&#xD;&#xA;&#xD;&#xA;Another place is Mandy.com in their jobs tab. They have a post-production option in the search. I haven't seen many results for my area, but maybe you'll have better results across the pond.&#xD;&#xA;&#xD;&#xA;I wish I knew of more reliable sources for paying projects. Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="1379" PostHistoryTypeId="5" PostId="774" RevisionGUID="2cfd040e-c716-44b2-b110-874cb84b9168" CreationDate="2010-04-30T07:35:42.973" UserDisplayName="user80" Comment="added 132 characters in body" Text="I'm in the market for a quality shotgun mic for field recording, foley, ADR, etc....   Budget: less than $1,200. I really like the [Sennheiser MKH 416][3], but haven't had a chance to try many others.  I currently use a [Zoom H4n][1], but plan on upgrading to a [Sound Devices 702][2].&#xD;&#xA;&#xD;&#xA;[Chuck][5], [Tim][6], [NoiseJockey][7], [Andrew][8], [Colin][9], Nic, I read all of your blogs and would love some advice.&#xD;&#xA;&#xD;&#xA;[![Sennheiser MKH416][4]][3]&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;[2]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;[3]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511&#xD;&#xA;[4]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/B905568D10D34331C125743200802EDD/$File/MKH416_ProductImage.jpg&#xD;&#xA;[5]: http://www.chuckrussom.com/blog.php&#xD;&#xA;[6]: http://www.musicofsound.co.nz/blog/&#xD;&#xA;[7]: http://www.noisejockey.net/blog/&#xD;&#xA;[8]: http://www.soundplusdesign.com/&#xD;&#xA;[9]: http://www.colinhartonline.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1380" PostHistoryTypeId="5" PostId="780" RevisionGUID="b1c80bbf-9b1c-43ba-a595-d16f374c8d64" CreationDate="2010-04-30T10:15:07.280" UserDisplayName="user80" Comment="Added weblinks and image" Text="Hey Josh,&#xD;&#xA;&#xD;&#xA;I didn't read the other answers, so I may just say the same things as them:&#xD;&#xA;&#xD;&#xA;First, having a $1200 for a mic is a great place to be in.  I always tell people to buy the best mic they can afford as it will be with you long after your recorded is obsolete.&#xD;&#xA;&#xD;&#xA;Second, you are looking for a field mic, so you need wind protection.  A [Rycote system][1] is going to run $700ish new.  The [Rode systems][2] are around $300ish.  I've never used the Rode, but it seems like a good deal for the money.&#xD;&#xA;&#xD;&#xA;Third, you can't go wrong with a [Sennheiser MKH 416][3].  It was my first field mic and I still love it.  At the time (10 years or more ago) I was thinking of buying a less expensive mic, but I opted to go for the mic I wanted, and I'm glad I did.  I would also look at the [MKH60-1][4], it may end up more versatile a mic for you.  If you don't need a shotgun, the [MKH40][5] and [MKH50][6] are great as well.  The [Neumann KMR81][7] is another shotgun to consider, or the [Neumann KM100][8] series if you opt for a non-shotgun.&#xD;&#xA;&#xD;&#xA;Fourth, [ebay][9] is your friend.  Buy used.  You can get crazy deals quite often.  If you can't find a crazy deal, you should be able to get a [used MKH416][10] in good shape for at most $600.  You might even find an [MKH60][11] for a similar price.&#xD;&#xA;&#xD;&#xA;Hope that helps.  Sorry if I just repeated everyone else, I wanted to give you my input, but don't have a lot of time for reading these days....&#xD;&#xA;&#xD;&#xA;[![Sennhesier MKH60-1][12]][4]&#xD;&#xA;&#xD;&#xA;[1]: http://www.rycote.com/products/families/full-windshield-kits/&#xD;&#xA;[2]: http://usa.rodemic.com/accessory.php?product=Blimp&#xD;&#xA;[3]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511&#xD;&#xA;[4]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_003148&#xD;&#xA;[5]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_studio-recording-mics_mkh-classics_002645&#xD;&#xA;[6]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_studio-recording-mics_mkh-classics_003109&#xD;&#xA;[7]: http://www.neumann.com/?lang=en&amp;id=current_microphones&amp;cid=kmr81i_description&#xD;&#xA;[8]: http://www.neumann.com/?lang=en&amp;id=current_microphones&amp;cid=km100_description&#xD;&#xA;[9]: http://www.ebay.com/&#xD;&#xA;[10]: http://shop.ebay.com/i.html?_nkw=Sennheiser+MKH416+used&amp;_sacat=0&amp;_odkw=Sennheiser+MKH416&amp;_osacat=0&amp;bkBtn=&amp;_trksid=p3286.m270.l1313&#xD;&#xA;[11]: http://shop.ebay.com/i.html?_nkw=Sennheiser+MKH60+used&amp;_sacat=0&amp;_odkw=Sennheiser+MKH416+used&amp;_osacat=0&amp;bkBtn=&amp;_trksid=p3286.m270.l1313&#xD;&#xA;[12]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/82833CD356706AD1C125743200802F10/$File/MKH60-1_ProductImage.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1381" PostHistoryTypeId="2" PostId="784" RevisionGUID="010905b0-807c-439e-b9c4-0996fc06a136" CreationDate="2010-04-30T10:15:32.243" UserId="100" Text="I'm with Colin. [iZotope RX][1], all day, everyday. My little Pro Tools LE rig only supports 48kHz max, and RX affords me spectacular cleanup at 96kHz. This way I can keep my personal library at the resolution I recorded at instead of Pro Tools cutting it down for me.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.izotope.com/products/audio/rx/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1382" PostHistoryTypeId="6" PostId="42" RevisionGUID="894c0a93-145f-48d1-993b-767d8206c9d2" CreationDate="2010-04-30T10:18:05.673" UserDisplayName="user80" Comment="edited tags; edited tags" Text="&lt;software&gt;&lt;recommendations&gt;&lt;plug-ins&gt;&lt;sampling&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1383" PostHistoryTypeId="2" PostId="785" RevisionGUID="57544c9d-4c90-478d-ae0b-89cea8b41c50" CreationDate="2010-04-30T10:21:05.967" UserId="100" Text="+2 for iZotope RX. It's saved many recordings for me, especially production dialog. Trucks backing up, birds chirping, no problem. Is that cheating to use the &quot;visuals&quot; of sound, rather than to design based just on what you can hear?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1384" PostHistoryTypeId="2" PostId="786" RevisionGUID="cb511f87-c740-47c6-86c2-14cb27c97cc5" CreationDate="2010-04-30T10:36:08.933" UserId="100" Text="I'm a little late on this one, but I'll mention it anyway. I wasn't sure what kind of music you're playing, but I can comment about jazz more than classical. I've played with guys who loved [these][1] kinds of double bass pickups. There are dozens out there, usually between $100-300. As for EQ, I prefer subtle touches, just enough to compliment the bass's natural sound. I would mic the neck as well, but that's 'cause I really like hearing the slap of the strings.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.zzounds.com/item--FSMPBP100B" ContentLicense="CC BY-SA 2.5" />
  <row Id="1385" PostHistoryTypeId="5" PostId="487" RevisionGUID="86eb3d71-5741-48e4-8c51-126222a0daa6" CreationDate="2010-04-30T10:52:18.507" UserDisplayName="user80" Comment="Added weblinks and image" Text="What is best way to record a [Doublebass][2] in a home studio enviroment?&#xD;&#xA;&#xD;&#xA;What type of mic?&#xD;&#xA;&#xD;&#xA;What kind of processing? (compression? eq?)&#xD;&#xA;&#xD;&#xA;[![Double bass][1]][2]&#xD;&#xA;&#xD;&#xA;[1]: http://upload.wikimedia.org/wikipedia/commons/thumb/d/d3/AGK_bass1_full.jpg/177px-AGK_bass1_full.jpg&#xD;&#xA;[2]: http://en.wikipedia.org/wiki/Double_bass" ContentLicense="CC BY-SA 2.5" />
  <row Id="1386" PostHistoryTypeId="4" PostId="487" RevisionGUID="86eb3d71-5741-48e4-8c51-126222a0daa6" CreationDate="2010-04-30T10:52:18.507" UserDisplayName="user80" Comment="Added weblinks and image" Text="What is best way to record a doublebass in a home studio enviroment?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1388" PostHistoryTypeId="5" PostId="775" RevisionGUID="04f5892a-feb6-40c3-8fc8-7e7437758226" CreationDate="2010-04-30T12:33:28.660" UserDisplayName="user80" Comment="added 324 characters in body" Text="Are you looking for a stereo shotgun mic or a mono shotgun mic?&#xD;&#xA;&#xD;&#xA;I'm assuming mono, but let me know if otherwise...&#xD;&#xA;&#xD;&#xA;The [416][1] is a fantastic mic, plus the price just dropped to $999.  Great deal!  It's incredibly durable, so you can put it through some tough stuff and not worry too much about it.  It's not quite as versatile as some of the other ones though, plus it's not very flat.  It's got that [permanent bump in the 2k-6k range][2], which sounds fantastic on dialogue, and some sfx, but if you have a particularly bright sound effect, it can really exaggerate the sound.&#xD;&#xA;&#xD;&#xA;If you want to go for something flatter, the MKH60 is awesome, although slightly above your price range, although you could probably find a used one for $1200.  Nice thing about this mic is that it has a built in HPF, pad, and presence filter.  The main purpose of the presence filter is to negate the effects of a zeppelin with a dead cat on it, however, it does make the mic sound a bit more like a [416][1].  The flatter response of this mic makes is a bit more versitile.  It's a bit more fragile than the [416][1], but not extremely fragile like, say, a Schoeps CMIT or something.&#xD;&#xA;&#xD;&#xA;I also like Sanken's stuff.  The CS1 and CS-3e are nice mics.  Very tight polar patterns for their size, so you get a lot of side rejection, which is useful for recording in louder areas.  The CS-3e actually uses 3 microphone capsules and a lot of phase cancellation techniques to achieve this, so it's incredibly effective, even with rear rejection.&#xD;&#xA;&#xD;&#xA;Before buying, I would try to see if you can rent or borrow some shotguns to try out.  A lot of it comes down to personal preference and what works for you with your specific technique.&#xD;&#xA;&#xD;&#xA;Hope this is helpful.  Let me know if there's anything else I can help you with!  And thanks for reading the blog!&#xD;&#xA;![Sennhesier MKH416-1 Frequency Response][2]&#xD;&#xA;&#xD;&#xA;[1]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_camera-mics-mkh-416-p48u3&#xD;&#xA;[2]: http://www.sennheiser.com/sennheiser/products.nsf/resources/B905568D10D34331C125743200802EDD/$File/MKH416-P48U3_FrequencyResponse.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1389" PostHistoryTypeId="5" PostId="775" RevisionGUID="58786e70-df60-4fbf-9902-d2f677abd5de" CreationDate="2010-04-30T12:42:14.837" UserDisplayName="user80" Comment="added 413 characters in body" Text="Are you looking for a stereo shotgun mic or a mono shotgun mic?&#xD;&#xA;&#xD;&#xA;I'm assuming mono, but let me know if otherwise...&#xD;&#xA;&#xD;&#xA;The [416][1] is a fantastic mic, plus the price just dropped to $999.  Great deal!  It's incredibly durable, so you can put it through some tough stuff and not worry too much about it.  It's not quite as versatile as some of the other ones though, plus it's not very flat.  It's got that permanent [bump in the 2k-6k range][2], which sounds fantastic on dialogue, and some sfx, but if you have a particularly bright sound effect, it can really exaggerate the sound.&#xD;&#xA;[![Sennhesier MKH416-1 Frequency Response][2]][1]&#xD;&#xA;&#xD;&#xA;If you want to go for something flatter, the [MKH60][3] is awesome, although slightly above your price range, although you could probably find a used one for $1200.  Nice thing about this mic is that it has a built in HPF, pad, and presence filter.  The main purpose of the presence filter is to negate the effects of a zeppelin with a dead cat on it, however, it does make the mic sound a bit more like a [416][1].  The flatter response of this mic makes is a bit more versitile.  It's a bit more fragile than the [416][1], but not extremely fragile like, say, a [Schoeps CMIT 5 U][5] or something.&#xD;&#xA;&#xD;&#xA;[![Sennhesier MKH60-1 Frequency Response][4]][3]&#xD;&#xA;&#xD;&#xA;I also like [Sanken's][6] stuff.  The CS1 and CS-3e are nice mics.  Very tight polar patterns for their size, so you get a lot of side rejection, which is useful for recording in louder areas.  The CS-3e actually uses 3 microphone capsules and a lot of phase cancellation techniques to achieve this, so it's incredibly effective, even with rear rejection.&#xD;&#xA;&#xD;&#xA;Before buying, I would try to see if you can rent or borrow some shotguns to try out.  A lot of it comes down to personal preference and what works for you with your specific technique.&#xD;&#xA;&#xD;&#xA;Hope this is helpful.  Let me know if there's anything else I can help you with!  And thanks for reading the blog!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[1]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_camera-mics-mkh-416-p48u3&#xD;&#xA;[2]: http://www.sennheiser.com/sennheiser/products.nsf/resources/B905568D10D34331C125743200802EDD/$File/MKH416-P48U3_FrequencyResponse.jpg&#xD;&#xA;[3]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_003148&#xD;&#xA;[4]: http://www.sennheiser.com/sennheiser/products.nsf/resources/82833CD356706AD1C125743200802F10/$File/MKH60-1_FrequencyResponse.jpg&#xD;&#xA;[5]: http://www.schoeps.de/en/products/cmit5u&#xD;&#xA;[6]: http://www.sanken-mic.com/en/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1390" PostHistoryTypeId="5" PostId="775" RevisionGUID="f995a58e-1891-4ad8-8fd8-880034523d2e" CreationDate="2010-04-30T12:48:40.627" UserDisplayName="user80" Comment="Added weblinks and image" Text="Are you looking for a stereo shotgun mic or a mono shotgun mic?&#xD;&#xA;&#xD;&#xA;I'm assuming mono, but let me know if otherwise...&#xD;&#xA;&#xD;&#xA;The [416][1] is a fantastic mic, plus the price just dropped to $999.  Great deal!  It's incredibly durable, so you can put it through some tough stuff and not worry too much about it.  It's not quite as versatile as some of the other ones though, plus it's not very flat.  It's got that permanent [bump in the 2k-6k range][2], which sounds fantastic on dialogue, and some sfx, but if you have a particularly bright sound effect, it can really exaggerate the sound.&#xD;&#xA;&#xD;&#xA;[![Sennhesier MKH416-1 Frequency Response][2]][1]&#xD;&#xA;&#xD;&#xA;If you want to go for something flatter, the [MKH60][3] is awesome, although slightly above your price range, although you could probably find a used one for $1200.  Nice thing about this mic is that it has a built in HPF, pad, and presence filter.  The main purpose of the presence filter is to negate the effects of a zeppelin with a dead cat on it, however, it does make the mic sound a bit more like a [416][1].  The flatter response of this mic makes is a bit more versitile.  It's a bit more fragile than the [416][1], but not extremely fragile like, say, a [Schoeps CMIT 5 U][5] or something.&#xD;&#xA;&#xD;&#xA;[![Sennhesier MKH60-1 Frequency Response][4]][3]&#xD;&#xA;&#xD;&#xA;I also like [Sanken's][6] stuff.  The [CS1][7] and [CS-3e][8] are nice mics.  Very tight polar patterns for their size, so you get a lot of side rejection, which is useful for recording in louder areas.  The [CS-3e][8] actually uses 3 microphone capsules and a lot of phase cancellation techniques to achieve this, so it's incredibly effective, even with rear rejection.&#xD;&#xA;&#xD;&#xA;[![Sanken CS-3e][10]][8]&#xD;&#xA;&#xD;&#xA;Before buying, I would try to see if you can rent or borrow some shotguns to try out.  A lot of it comes down to personal preference and what works for you with your specific technique.&#xD;&#xA;&#xD;&#xA;Hope this is helpful.  Let me know if there's anything else I can help you with!  And thanks for reading the [blog][9]!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[1]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_camera-mics-mkh-416-p48u3&#xD;&#xA;[2]: http://www.sennheiser.com/sennheiser/products.nsf/resources/B905568D10D34331C125743200802EDD/$File/MKH416-P48U3_FrequencyResponse.jpg&#xD;&#xA;[3]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_003148&#xD;&#xA;[4]: http://www.sennheiser.com/sennheiser/products.nsf/resources/82833CD356706AD1C125743200802F10/$File/MKH60-1_FrequencyResponse.jpg&#xD;&#xA;[5]: http://www.schoeps.de/en/products/cmit5u&#xD;&#xA;[6]: http://www.sanken-mic.com/en/&#xD;&#xA;[7]: http://www.sanken-mic.com/en/product/product.cfm/8.1001400&#xD;&#xA;[8]: http://www.sanken-mic.com/en/product/product.cfm/8.1001500&#xD;&#xA;[9]: http://www.colinhartonline.com/&#xD;&#xA;[10]: http://www.sanken-mic.com/upload/prd/img/1001500_pola_01.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1391" PostHistoryTypeId="5" PostId="714" RevisionGUID="9d98227f-2d8c-4cf7-a30c-e62960efe2b3" CreationDate="2010-04-30T12:55:06.153" UserDisplayName="user80" Comment="added 67 characters in body; deleted 4 characters in body" Text="Hi all!&#xD;&#xA;&#xD;&#xA;I'm looking to collaborate on some projects so that I can update my showreel with a few more recent works. Does anyone know of any sites where it might be useful to post some sound design/editing requests? I enjoy animation and computer visual effects stuff, as well as film. Would be interesting to hear anyone's suggestions as to where the best places are to offer services. Of course it'd be great to get paid for them, but at the moment I'd be happy to do some free collaborating for the right projects.&#xD;&#xA;&#xD;&#xA;I live in the Southwest of England(Bournemouth) at present!&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;A.L." ContentLicense="CC BY-SA 2.5" />
  <row Id="1395" PostHistoryTypeId="2" PostId="788" RevisionGUID="6a5db403-2549-441e-ae5d-41d407f4b7f5" CreationDate="2010-04-30T15:48:24.780" UserId="250" Text="If you want to easily translate OMFs to Vegas ... with a lot of control, then use AATranslate: http://aatranslator.com.au/. I just completed a major project that was edited in FCP and did ALL the sound work in Vegas giving them a stereo render when done. You get the OMF, translate, drop in a render of the video with its soundtrack for sync ref, and go.&#xD;&#xA;&#xD;&#xA;--Jeffrey P. Fisher" ContentLicense="CC BY-SA 2.5" />
  <row Id="1396" PostHistoryTypeId="2" PostId="789" RevisionGUID="48068df7-891e-4e3d-a8b5-026eb7294e0e" CreationDate="2010-04-30T16:15:06.687" UserId="61" Text="I'm planning on a short indoor recording session of shattering long fluorescent tubes. Who has done this and has sage advice to share? Mic choices? Best way to contain debris while not coloring the sound too much? Surfaces? Thanks in advance, all -" ContentLicense="CC BY-SA 2.5" />
  <row Id="1397" PostHistoryTypeId="1" PostId="789" RevisionGUID="48068df7-891e-4e3d-a8b5-026eb7294e0e" CreationDate="2010-04-30T16:15:06.687" UserId="61" Text="Recording Glass Shatters" ContentLicense="CC BY-SA 2.5" />
  <row Id="1398" PostHistoryTypeId="3" PostId="789" RevisionGUID="48068df7-891e-4e3d-a8b5-026eb7294e0e" CreationDate="2010-04-30T16:15:06.687" UserId="61" Text="&lt;recording&gt;&lt;glass&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1399" PostHistoryTypeId="6" PostId="789" RevisionGUID="09c0252a-89b5-43ca-9377-baf4dbdbce5f" CreationDate="2010-04-30T16:59:26.243" UserDisplayName="user80" Comment="Added tags" Text="&lt;recording&gt;&lt;glass&gt;&lt;microphone&gt;&lt;techniques&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1400" PostHistoryTypeId="2" PostId="790" RevisionGUID="f56a432b-7fe1-4478-973e-a8c201617911" CreationDate="2010-04-30T17:09:23.800" UserDisplayName="user80" Text="I like to use old bed sheets for this type of job. They catch all of the bits, are silent and can be easily wrapped up with all of the shards and disposed of in one go.  &#xD;&#xA;&#xD;&#xA;With regards to the mic choice I would use a inexpensive large diaphragm condenser like a Rodes NT1A, with a windshield, positioned nice and close.  Afterwards I would use some compressed air to clean the windshield.  &#xD;&#xA;&#xD;&#xA;Remember to wear goggles and heavy gloves and have lots of fun.  If you are brave, squeezing them prior to snapping them can sound great, as well as smashing them on top of the existing debris.  You'll need lots though." ContentLicense="CC BY-SA 2.5" />
  <row Id="1401" PostHistoryTypeId="2" PostId="791" RevisionGUID="1381e242-e763-4e1f-a578-958b326ed4a7" CreationDate="2010-04-30T17:10:28.313" UserId="40" Text="I've not done too many recording sessions of shattered glass, but I've done a few.  If I were to do a big session, this is how I would design it:&#xD;&#xA;&#xD;&#xA;1. Find a nice clean cement floor, with a decent area to work with.&#xD;&#xA;&#xD;&#xA;2. If the room that contains this nice area adds a lot of character to sound (like reverb, annoying modes, flutter, etc...), make some time to treat some of these problems&#xD;&#xA;&#xD;&#xA;3. Outline the area you are going to be breaking the glass in with some kind of boarder.  It might be 2x6 pieces of wood, metal, etc... that create a boundary to stop most of the broken glass.  In my opinion, the best way to do this would be to surround the area almost completely with hanging furny pads (from the ceiling or on mic stands), with maybe a foot or so on the ground to prevent glass from sliding under them.  You can secure the sides together too so that nothing gets between them.  The furny pads will not only keep the glass contained and leave the sound uncolored, but they will also provide you a makeshift &quot;booth&quot;, sheltered from room reverb.&#xD;&#xA;&#xD;&#xA;4. Set up your mics (probably good to put foam or a furry on them to prevent the glass that hits the mics from making pinging in your recordings).&#xD;&#xA;&#xD;&#xA;As for mics, I'd try a few LDCs, maybe a shotgun to add some sweetness in post, a stereo mic, etc...  I'd probably try to stay away from brighter mics, such as a 416, a C414, and such.  A ribbon mic would probably sound cool.  But be sure to protect it!&#xD;&#xA;&#xD;&#xA;Hope I explained myself well enough.  If I need to clarify anything, let me know!&#xD;&#xA;&#xD;&#xA;~Colin" ContentLicense="CC BY-SA 2.5" />
  <row Id="1402" PostHistoryTypeId="5" PostId="790" RevisionGUID="bef58349-614d-4b89-826e-98d1176af908" CreationDate="2010-04-30T17:15:15.440" UserDisplayName="user80" Comment="added 354 characters in body" Text="I like to use old bed sheets for this type of job. They catch all of the bits, are silent and can be easily wrapped up with all of the shards and disposed of in one go.  &#xD;&#xA;&#xD;&#xA;With regards to the mic choice I would use a inexpensive large diaphragm condenser like a Rodes NT1A, with a windshield, positioned nice and close.  Afterwards I would use some compressed air to clean the windshield.  &#xD;&#xA;&#xD;&#xA;Remember to wear goggles and heavy gloves and have lots of fun.  If you are brave, squeezing them prior to snapping them can sound great, as well as smashing them on top of the existing debris.  You'll need lots though.&#xD;&#xA;&#xD;&#xA;Before you start, check out [You Tube][1] as there are some excellent examples of all the different sounds you can make.  Obviously all of the self-exhibitionists had another purpose in mind, but it is still a great resource for planning what sounds you want to capture.&#xD;&#xA;&#xD;&#xA;[1]: http://www.youtube.com/results?search_query=smash+fluorescent+tube&amp;aq=f" ContentLicense="CC BY-SA 2.5" />
  <row Id="1403" PostHistoryTypeId="5" PostId="790" RevisionGUID="5aca0fac-4081-42f1-9f0f-70059c0e30b0" CreationDate="2010-04-30T17:22:30.403" UserDisplayName="user80" Comment="added 63 characters in body" Text="I like to use old bed sheets for this type of job. They catch all of the bits, are silent and can be easily wrapped up with all of the shards and disposed of in one go.  &#xD;&#xA;&#xD;&#xA;With regards to the mic choice I would use a inexpensive large diaphragm condenser like a [Rode NT1-A][2], with a windshield, positioned nice and close.  Afterwards I would use some compressed air to clean the windshield.  &#xD;&#xA;&#xD;&#xA;Remember to wear goggles and heavy gloves and have lots of fun.  If you are brave, squeezing them prior to snapping them can sound great, as well as smashing them on top of the existing debris.  You'll need lots though.&#xD;&#xA;&#xD;&#xA;Before you start, check out [You Tube][1] as there are some excellent examples of all the different sounds you can make.  Obviously all of the self-exhibitionists had another purpose in mind, but it is still a great resource for planning what sounds you want to capture.&#xD;&#xA;&#xD;&#xA;[1]: http://www.youtube.com/results?search_query=smash+fluorescent+tube&amp;aq=f&#xD;&#xA;[2]: http://www.rode.com.au/microphone.php?product=NT1-A" ContentLicense="CC BY-SA 2.5" />
  <row Id="1405" PostHistoryTypeId="5" PostId="790" RevisionGUID="16c6b78b-d069-4d87-a5c9-f4e607a6fcba" CreationDate="2010-04-30T17:41:04.937" UserDisplayName="user80" Comment="added 20 characters in body" Text="I like to use old bed sheets for this type of job. They catch all of the bits, are silent and can be easily wrapped up with all of the shards and disposed of in one go.  &#xD;&#xA;&#xD;&#xA;With regards to the mic choice I would use a inexpensive large diaphragm condenser like a [Rode NT1-A][2], with a windshield, positioned nice and close.  Afterwards I would use some compressed air to clean the windshield.  &#xD;&#xA;&#xD;&#xA;Remember to wear goggles, a protective mask and heavy gloves, and have lots of fun.  If you are brave, squeezing them prior to snapping them can sound great, as well as smashing them on top of the existing debris.  You'll need lots though.&#xD;&#xA;&#xD;&#xA;Before you start, check out [You Tube][1] as there are some excellent examples of all the different sounds you can make.  Obviously all of the self-exhibitionists had another purpose in mind, but it is still a great resource for planning what sounds you want to capture.&#xD;&#xA;&#xD;&#xA;[1]: http://www.youtube.com/results?search_query=smash+fluorescent+tube&amp;aq=f&#xD;&#xA;[2]: http://www.rode.com.au/microphone.php?product=NT1-A" ContentLicense="CC BY-SA 2.5" />
  <row Id="1407" PostHistoryTypeId="5" PostId="774" RevisionGUID="1a8ffd9e-95d5-44ed-83e2-d95d2d238d14" CreationDate="2010-04-30T17:53:37.117" UserDisplayName="user80" Comment="added 48 characters in body" Text="I'm in the market for a quality shotgun mic for field recording, foley, ADR, etc....   Budget: less than $1,200. I really like the [Sennheiser MKH 416][3], but haven't had a chance to try many others.  I currently use a [Zoom H4n][1], but plan on upgrading to a [Sound Devices 702][2].&#xD;&#xA;&#xD;&#xA;[Chuck][5], [Tim][6], [NoiseJockey][7], [Andrew][8], [Colin][9], [Nic][10], I read all of your blogs and would love some advice.&#xD;&#xA;&#xD;&#xA;[![Sennheiser MKH416][4]][3]&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;[2]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;[3]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511&#xD;&#xA;[4]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/B905568D10D34331C125743200802EDD/$File/MKH416_ProductImage.jpg&#xD;&#xA;[5]: http://www.chuckrussom.com/blog.php&#xD;&#xA;[6]: http://www.musicofsound.co.nz/blog/&#xD;&#xA;[7]: http://www.noisejockey.net/blog/&#xD;&#xA;[8]: http://www.soundplusdesign.com/&#xD;&#xA;[9]: http://www.colinhartonline.com/&#xD;&#xA;[10]: http://nickmeade.com/blog_tesd.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="1408" PostHistoryTypeId="2" PostId="794" RevisionGUID="3604b7b2-2e33-423e-a748-b786524024bb" CreationDate="2010-04-30T18:26:05.503" UserId="100" Text="One of my first field recordings was shattering glass. These are some things I remembered:&#xD;&#xA;&#xD;&#xA;* Laying down a tarp is great for cleanup, but can color the sound quite a bit if you're not careful.&#xD;&#xA;* Wear thick gloves at all times, preferably leather.&#xD;&#xA;* Have Band-Aids ready anyway.&#xD;&#xA;* Your local home improvement store all buckets full of glass cuttings leftover from customers, and if you ask nice, they'll give you the whole thing :)&#xD;&#xA;* Recording in an empty field at night in North Carolina with an H4n is lousy for unwanted sounds like bugs and occasional traffic, but amazing for helping the decay of the glass sounds.&#xD;&#xA;* Big pieces ring, small pieces sparkle.&#xD;&#xA;* Holding the glass with one hand and hammering with the other sound decent if the hammer's head is smaller.&#xD;&#xA;* My favorite sounds can from cracking smaller pieces over the corner of a raised cinderblock, and from pouring all of the glass back into a box from the tarp (like pouring the pieces from a board game back into the box).&#xD;&#xA;&#xD;&#xA;Good luck and be safe." ContentLicense="CC BY-SA 2.5" />
  <row Id="1409" PostHistoryTypeId="5" PostId="789" RevisionGUID="8fdd1e7b-96df-4893-86f5-71cd84fe5438" CreationDate="2010-04-30T19:00:47.840" UserId="61" Comment="added PS" Text="I'm planning on a short indoor recording session of shattering long fluorescent tubes. Who has done this and has sage advice to share? Mic choices? Best way to contain debris while not coloring the sound too much? Surfaces? Thanks in advance, all -&#xD;&#xA;&#xD;&#xA;ADDITIONAL: No one has yet commented on the potential perils of shattering light bulbs that may or may not contain harmful gases or chemicals. I believe this was a concern with CRT monitors as well. Thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1410" PostHistoryTypeId="5" PostId="794" RevisionGUID="64913265-3fdf-4e6c-97d2-356ccdf8b01f" CreationDate="2010-04-30T20:15:35.367" UserId="100" Comment="Spelling" Text="One of my first field recordings was shattering glass. These are some things I remembered:&#xD;&#xA;&#xD;&#xA;* Laying down a tarp is great for cleanup, but can color the sound quite a bit if you're not careful.&#xD;&#xA;* Wear thick gloves at all times, preferably leather.&#xD;&#xA;* Have Band-Aids ready anyway.&#xD;&#xA;* Your local home improvement store has buckets full of glass cuttings leftover from customers, and if you ask nice, they'll give you the whole thing :)&#xD;&#xA;* Recording in an empty field at night in North Carolina with an H4n is lousy for unwanted sounds like bugs and occasional traffic, but amazing for helping the decay of the glass sounds.&#xD;&#xA;* Big pieces ring, small pieces sparkle.&#xD;&#xA;* Holding the glass with one hand and hammering with the other sound decent if the hammer's head is smaller.&#xD;&#xA;* My favorite sounds can from cracking smaller pieces over the corner of a raised cinderblock, and from pouring all of the glass back into a box from the tarp (like pouring the pieces from a board game back into the box).&#xD;&#xA;&#xD;&#xA;Good luck and be safe." ContentLicense="CC BY-SA 2.5" />
  <row Id="1411" PostHistoryTypeId="2" PostId="795" RevisionGUID="8207035e-108a-4613-8535-0ae87a7bb385" CreationDate="2010-04-30T22:36:16.210" UserId="29" Text="Health-wise, the scarier flavor seems to be compact fluorescent bulbs - tubes seem to be better. I've read that vacuuming debris is bad - keep stuff from getting too airborne in a small space. Ventilate well and just be careful and for longer tubes it doesn't sound like the risks are that high. Avoid contact and breathing particles directly and most sources I found seem to suggest you'll be fine. Ventilate the area afterwards, use a wet paper towel for clean up and - most importantly - dispose of the shards as hazardous waste (drop it off at the appropriate place), don't just put it in the trash.&#xD;&#xA;&#xD;&#xA;Birdhousesound, you should comment or post an answer to share how things go and anything you learn from the session!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1412" PostHistoryTypeId="2" PostId="796" RevisionGUID="6768f2d7-705d-444c-883f-303b6f00e110" CreationDate="2010-05-01T02:21:37.097" UserId="40" Text="If you were asked to work post audio on a film, one man band style, and you knew the budget was $150,000, what would you think a fair price would be?  This is just for your services.  No dolby stuff or anything fancy, no music licensing, etc..., just your editing and mix.&#xD;&#xA;&#xD;&#xA;On a similar note, what would you want to get paid for production audio?  My normal rate is $250 / day just for me to mix, plus $150 for the boom op, but I've had a ton of people with a $150k - $200k budget baulk at that.  Big production guys in the industry charge up to $1500 a day to mix (including gear) plus anywhere from $200 - $500 / day for the boom op, and $200 for an A2.&#xD;&#xA;&#xD;&#xA;Just thinking about this for a project I have coming up, and this stuff was on my mind, having recently read that article that's been floating around on working for free.  Link anybody?&#xD;&#xA;&#xD;&#xA;Thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1413" PostHistoryTypeId="1" PostId="796" RevisionGUID="6768f2d7-705d-444c-883f-303b6f00e110" CreationDate="2010-05-01T02:21:37.097" UserId="40" Text="Indie Feature Production and Post Production Audio Budgets" ContentLicense="CC BY-SA 2.5" />
  <row Id="1414" PostHistoryTypeId="3" PostId="796" RevisionGUID="6768f2d7-705d-444c-883f-303b6f00e110" CreationDate="2010-05-01T02:21:37.097" UserId="40" Text="&lt;production-audio&gt;&lt;post-production&gt;&lt;rates&gt;&lt;low-budget&gt;&lt;budget&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1415" PostHistoryTypeId="2" PostId="797" RevisionGUID="da625c9c-f012-4f53-816a-fe9173a3b657" CreationDate="2010-05-01T03:51:48.573" UserId="222" Text="General starting point for me is 10% of the total budget, it's never that simple though. Depends on how confident i am that i'll get the project and how demanding it is.  Also, what kind of mix environment i can package for the client seems to make a big difference in how much i can charge." ContentLicense="CC BY-SA 2.5" />
  <row Id="1416" PostHistoryTypeId="5" PostId="797" RevisionGUID="48fa19ba-d1d5-4ed5-8ffe-b2e6719289a6" CreationDate="2010-05-01T08:33:11.623" UserDisplayName="user80" Comment="edited body" Text="General starting point for me is 10% of the total budget, it's never that simple though. Depends on how confident I am that I'll get the project and how demanding it is.  Also, what kind of mix environment I can package for the client seems to make a big difference in how much I can charge." ContentLicense="CC BY-SA 2.5" />
  <row Id="1417" PostHistoryTypeId="5" PostId="776" RevisionGUID="934d718b-efd7-4cda-94d6-abc29968d1ca" CreationDate="2010-05-01T09:10:22.890" UserDisplayName="user80" Comment="Added weblinks and image; added 1 characters in body" Text="In some ways the mic is a more important investment than the recorder, because as technology advances the price &amp; facilities of recorders will continue to evolve, whereas a good mic will last a long time. So five years from now you may well have replaced even the [702][1] that you haven't bought yet, but you may still be using the same mic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The [416][2] was my first mic and its ok but I grew to dislike it, as it has a bump in its frequency response, as Colin mentions... the [MKH60][3] is a nice idea and if you were to buy one I'd look at buying an [M/S][5](mid/side) [Rycote][4] for it, even if you can't afford the S (side/figure of eight) mic immediately... that would give you a great upgrade path as funds allow... I like single point stereo mics, whether they are a stereo shotgun mic (like my [Sanken CSS-5][6]) or an [M/S][5] rig....&#xD;&#xA;&#xD;&#xA;[![Rycote Full windshield kit][12]][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'd also look out for secondhand mics eg I bought a [Sanken CSS-5][6] stereo shotgun mic immediately after the Americas Cup yacht race finished in NZ, as the mic was apparently a spec mic for some foreign crews, so the local rental company bought lots of them, rented them out &amp; then sold some of them off afterwards... It was still quite an investment.&#xD;&#xA;&#xD;&#xA;[![Sanken CSS-5][7]][6]&#xD;&#xA;&#xD;&#xA;Similarly I recently picked up a [Sennheiser MKH70][8] (long, very directional shotgun mic) in a Rycote with [windjammer][10] secondhand for US$600 - BH list the mic alone for US$1,750!&#xD;&#xA;[![Sennheiser MKH70-1][9]][8]&#xD;&#xA;[![Rycote Windjammer][11]][10]&#xD;&#xA;&#xD;&#xA;My last advice would be to spend a little money renting (or borrowing) a few mics &amp; do some test recordings (eg some dialogue, some quiet ambiences, loud FX etc) so that you know what to expect before you part with serious $$$... Someone gave me good advice a long time ago: trust your own ears only!&#xD;&#xA;&#xD;&#xA;[1]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;[2]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511&#xD;&#xA;[3]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_003148&#xD;&#xA;[4]: http://www.rycote.com/products/families/full-windshield-kits/&#xD;&#xA;[5]: http://en.wikipedia.org/wiki/Microphone_practice#M.2FS_technique:_Mid.2FSide_stereophony&#xD;&#xA;[6]: http://www.sanken-mic.com/en/product/product.cfm/8.1001600&#xD;&#xA;[7]: http://www.sanken-mic.com/upload/prd/img/img.php?photo=1001600.jpg&#xD;&#xA;[8]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_003149&#xD;&#xA;[9]: http://www.sennheiser.com/sennheiser/products.nsf/resources/51355EBF284F5B5BC125743200802F30/$File/MKH70-1_ProductImage.jpg&#xD;&#xA;[10]: http://www.rycote.com/products/families/windjammers/&#xD;&#xA;[11]: http://www.rycote.com/media/imagestore/thumbs/windshield_jpg_429x250_upscale_q85.jpg&#xD;&#xA;[12]: http://www.rycote.com/media/imagestore/thumbs/windshield_kit-lyres_jpg_429x250_upscale_q85.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1418" PostHistoryTypeId="5" PostId="779" RevisionGUID="1bb3df97-1fe0-4c5e-adf0-2482304bebd1" CreationDate="2010-05-01T11:11:17.577" UserDisplayName="user80" Comment="Added weblinks and images" Text="Great question. You beat me to it, Josh, verbatim. I'm also wondering about even less expensive shotguns, like the Rode [NTG-3][1] or even the Audio Technica [AT8015][2]. Is it another case of &quot;you get what you pay for&quot;, or are there some winners among the cheaper mics?&#xD;&#xA;&#xD;&#xA;[![Rode NTG-3][3]][4]&#xD;&#xA;[![Audio Technica AT8014][5]][6]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/563798-REG/Rode_NTG_3_NTG_3_Precision_RF_Biased_Shotgun.html&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/product/97710-REG/Audio_Technica_AT8015_AT8015_Shotgun_Microphone.html&#xD;&#xA;  [3]: http://uk.rodemic.com/images/mics/ntg-3_quarter_front.jpg&#xD;&#xA;  [4]: http://uk.rodemic.com/microphone.php?product=NTG-3&#xD;&#xA;  [5]: http://eu.audio-technica.com/en/resources/medium/medium_AT8015.jpg&#xD;&#xA;  [6]: http://eu.audio-technica.com/en/products/product.asp?catID=2&amp;subID=16&amp;prodID=1323" ContentLicense="CC BY-SA 2.5" />
  <row Id="1419" PostHistoryTypeId="2" PostId="798" RevisionGUID="e64f077f-e407-4333-9ec6-034fb709023e" CreationDate="2010-05-01T13:31:40.453" UserId="40" Text="I had also posted this question over at Gearslutz in the Post Production forum.  Here's a great answer from &quot;Big Andy&quot;.&#xD;&#xA;&#xD;&#xA;&gt; I am doing a 90 minute film for a&#xD;&#xA;&gt; friend in a couple weeks that is only&#xD;&#xA;&gt; dialogue, BGs and Music with a similar&#xD;&#xA;&gt; budget and I'm still making my union&#xD;&#xA;&gt; base for all editorial and dubbing&#xD;&#xA;&gt; plus DNS One as a perk. &#xD;&#xA;&gt; &#xD;&#xA;&gt; VERY MINIMUM you should take on a&#xD;&#xA;&gt; $100k project is $15k [IMO]. In truth,&#xD;&#xA;&gt; the amount of work, time spent&#xD;&#xA;&gt; finagling once the director decides&#xD;&#xA;&gt; the crickets sound too Blue, and&#xD;&#xA;&gt; relationship strain that you will be&#xD;&#xA;&gt; dealing with is not worth anything&#xD;&#xA;&gt; less. I've done plenty of &quot;one man&#xD;&#xA;&gt; band&quot; projects and if you aren't VERY&#xD;&#xA;&gt; STRICT with your clients, you'll end&#xD;&#xA;&gt; up working for less than $10 / hr.&#xD;&#xA;&gt; &#xD;&#xA;&gt; The &quot;Rule&quot; or guideline is that post&#xD;&#xA;&gt; sound gets between 2-5% of the budget.&#xD;&#xA;&gt; But that is assuming it is a film with&#xD;&#xA;&gt; a budget. If the producer is at all&#xD;&#xA;&gt; experienced s/he will know what the&#xD;&#xA;&gt; real costs of post sound are and will&#xD;&#xA;&gt; hopefully plan the production with at&#xD;&#xA;&gt; least a base cost sound budget. If&#xD;&#xA;&gt; they don't know what the costs are,&#xD;&#xA;&gt; PLEASE let them know. Everything from&#xD;&#xA;&gt; your electricity, insurance, paper,&#xD;&#xA;&gt; DVDs and whatever else.&#xD;&#xA;&gt; &#xD;&#xA;&gt; Most sound packages I build for&#xD;&#xA;&gt; clients are six figures and even with&#xD;&#xA;&gt; those numbers, things run tight a lot&#xD;&#xA;&gt; of the time. Figure out what your&#xD;&#xA;&gt; studio's operating costs are... figure&#xD;&#xA;&gt; out what you need to live on and then&#xD;&#xA;&gt; figure in a profit margin as well as&#xD;&#xA;&gt; pay yourself to look for a new job&#xD;&#xA;&gt; once the current one is over." ContentLicense="CC BY-SA 2.5" />
  <row Id="1420" PostHistoryTypeId="5" PostId="779" RevisionGUID="70740d6e-6a5e-4320-8a36-f6e1c70f7b14" CreationDate="2010-05-01T13:36:45.903" UserDisplayName="user80" Comment="deleted 199 characters in body" Text="Great question. You beat me to it, Josh, verbatim. I'm also wondering about even less expensive shotguns, like the Rode [NTG-3][1] or even the Audio Technica [AT8015][2]. Is it another case of &quot;you get what you pay for&quot;, or are there some winners among the cheaper mics?&#xD;&#xA;&#xD;&#xA;[![Rode NTG-3][3]][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/563798-REG/Rode_NTG_3_NTG_3_Precision_RF_Biased_Shotgun.html&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/product/97710-REG/Audio_Technica_AT8015_AT8015_Shotgun_Microphone.html&#xD;&#xA;  [3]: http://uk.rodemic.com/images/mics/ntg-3_quarter_front.jpg&#xD;&#xA;  [4]: http://uk.rodemic.com/microphone.php?product=NTG-3" ContentLicense="CC BY-SA 2.5" />
  <row Id="1421" PostHistoryTypeId="2" PostId="799" RevisionGUID="fd11b6e0-c30b-44c0-91a4-a5dd3b206bfc" CreationDate="2010-05-01T13:43:25.903" UserId="234" Text="As both a sound designer and mixer, I'll put a few bugs in your ear, none which are &quot;magic&quot;.&#xD;&#xA;&#xD;&#xA;First, be careful with processing if you are NOT the mixer... something that sounds amazing in your edit suite can fall apart very quickly on the dub stage. Always consider the greater mix when your building sounds. The most amazing sound by itself, is not always the most amazing in a mix. Also if you're finding that your  sounds are great in your room, but not at the dub stage, then consider looking at your monitor chain (and all that entails).&#xD;&#xA;&#xD;&#xA;If you are both the mixer and the designer (as is very likely these days), and you're happy with the sounds themselves, then it boils down to the mix. Having spent the last 10 years mixing a LOT of shows, I can say that 90% of battle is level, the other 10% being processing (EQ, Verbs, etc). Making sound effects &quot;real&quot; and sound like they belong in the track rather than added on is an art that takes a lot of time to master. My best education came from sitting with some experienced mixers on my early stuff and watching how they dealt with things.&#xD;&#xA;&#xD;&#xA;Finally, always be aware of the &quot;I suck&quot; phenomenon. Not that you ACTUALLY suck, but it's easy to compare your work to someone else (especially people you admire) and find it lacking, when everyone actually thinks it's good. I remember talking to a fellow mixer and commenting that I always found his mixes so much better than mine, and he turned to me and said &quot;Funny, I always think YOURS sound so much better&quot;. Sometimes getting an unbiased opinion shows helps a lot." ContentLicense="CC BY-SA 2.5" />
  <row Id="1422" PostHistoryTypeId="5" PostId="782" RevisionGUID="7c681b41-0a91-4394-931b-5dc788487b28" CreationDate="2010-05-01T13:46:47.613" UserDisplayName="user80" Comment="Added weblinks and images" Text="There's so much science being dropped it's like the Nobel awards in here! :-) Awesome responses thus far. Mic choice is *such* a personal thing, but notice the consistency of opinion here! I wholeheartedly agree with everything stated here, with only a few other bits to add.&#xD;&#xA;&#xD;&#xA;A photography mentor once told me, &quot;Camera bodies are expenses, and lenses are investments.&quot; The same can be said for recorders and microphones, as per Chuck and others above. Sage advice.&#xD;&#xA;&#xD;&#xA;Josh:&#xD;&#xA;Tim brings up the point of flexibility. Unless you throw down for the spendier shotguns, they'll often sound tubby indoors in acoustically &quot;live&quot; spaces due to how they're constructed. I personally got an [NTG-2][1] as my first field mic, and upon reflection, I would have gotten more use and value out of a hypercardioid for my first mic. The [MKH 50][2] has turned into an incredibly versatile mic for me. But that's because I record a LOT of stuff, including very quiet, small sounds, where the MKH series excels (also has major low-end whomp when needed). (Yer gonna plotz when you step up to the [702][4], by the way. It's Awesome.)&#xD;&#xA;&#xD;&#xA;[![Sennheiser MKH 50][3]][2]&#xD;&#xA;&#xD;&#xA;Matt:&#xD;&#xA;The [NTG-2][1] and [NTG-3][5] are widely seen as screaming values for the performance they offer among the &quot;prosumer&quot; market. Pair this with a [Blimp][7] and you've got money to spare for cabling, boom pole/mic support, etc. IMO, though, the lower cost usually brings a higher noise floor, which is basically the worst thing ever. :-) Caveat: I've neither traveled with them nor used them in high-humidity conditions.&#xD;&#xA;&#xD;&#xA;[![Rode Blimp][6]][7]&#xD;&#xA;&#xD;&#xA;[1]: http://www.rode.com.au/microphone.php?product=NTG-2&#xD;&#xA;[2]: http://www.sennheiserusa.com/professional_wired-microphones_studio-recording-mics_mkh-classics_003109&#xD;&#xA;[3]: http://www.sennheiserusa.com/media/productImages/proMain/MKH50_ProductPro.jpg&#xD;&#xA;[4]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;[5]: http://www.rodemic.com/microphone.php?product=NTG-3&#xD;&#xA;[6]: http://www.rodemic.com/images/accessories/blimp2.jpg&#xD;&#xA;[7]: http://www.rodemic.com/accessory.php?product=Blimp" ContentLicense="CC BY-SA 2.5" />
  <row Id="1423" PostHistoryTypeId="5" PostId="776" RevisionGUID="29c1697f-1f9a-49d5-a5d4-97c8226dc671" CreationDate="2010-05-01T13:55:59.373" UserDisplayName="user80" Comment="deleted 124 characters in body" Text="In some ways the mic is a more important investment than the recorder, because as technology advances the price &amp; facilities of recorders will continue to evolve, whereas a good mic will last a long time. So five years from now you may well have replaced even the [702][1] that you haven't bought yet, but you may still be using the same mic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The [416][2] was my first mic and its ok but I grew to dislike it, as it has a bump in its frequency response, as Colin mentions... the [MKH60][3] is a nice idea and if you were to buy one I'd look at buying an [M/S][5](mid/side) [Rycote][4] for it, even if you can't afford the S (side/figure of eight) mic immediately... that would give you a great upgrade path as funds allow... I like single point stereo mics, whether they are a stereo shotgun mic (like my [Sanken CSS-5][6]) or an [M/S][5] rig....&#xD;&#xA;&#xD;&#xA;[![Rycote Full windshield kit][11]][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'd also look out for secondhand mics eg I bought a [Sanken CSS-5][6] stereo shotgun mic immediately after the Americas Cup yacht race finished in NZ, as the mic was apparently a spec mic for some foreign crews, so the local rental company bought lots of them, rented them out &amp; then sold some of them off afterwards... It was still quite an investment.&#xD;&#xA;&#xD;&#xA;[![Sanken CSS-5][7]][6]&#xD;&#xA;&#xD;&#xA;Similarly I recently picked up a [Sennheiser MKH70][8] (long, very directional shotgun mic) in a Rycote with [windjammer][10] secondhand for US$600 - BH list the mic alone for US$1,750!&#xD;&#xA;[![Sennheiser MKH70-1][9]][8]&#xD;&#xA;&#xD;&#xA;My last advice would be to spend a little money renting (or borrowing) a few mics &amp; do some test recordings (eg some dialogue, some quiet ambiences, loud FX etc) so that you know what to expect before you part with serious $$$... Someone gave me good advice a long time ago: trust your own ears only!&#xD;&#xA;&#xD;&#xA;[1]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;[2]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511&#xD;&#xA;[3]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_003148&#xD;&#xA;[4]: http://www.rycote.com/products/families/full-windshield-kits/&#xD;&#xA;[5]: http://en.wikipedia.org/wiki/Microphone_practice#M.2FS_technique:_Mid.2FSide_stereophony&#xD;&#xA;[6]: http://www.sanken-mic.com/en/product/product.cfm/8.1001600&#xD;&#xA;[7]: http://www.sanken-mic.com/upload/prd/img/img.php?photo=1001600.jpg&#xD;&#xA;[8]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_003149&#xD;&#xA;[9]: http://www.sennheiser.com/sennheiser/products.nsf/resources/51355EBF284F5B5BC125743200802F30/$File/MKH70-1_ProductImage.jpg&#xD;&#xA;[10]: http://www.rycote.com/products/families/windjammers/&#xD;&#xA;[11]: http://www.rycote.com/media/imagestore/thumbs/windshield_kit-lyres_jpg_429x250_upscale_q85.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1424" PostHistoryTypeId="2" PostId="800" RevisionGUID="da11f712-50b8-4562-a77d-690c29b88dbe" CreationDate="2010-05-01T14:49:46.333" UserId="208" Text="Hi all&#xD;&#xA;&#xD;&#xA;Been given an offer on a used 744t, which has spend much of its time in a lab, but also some work in the field.&#xD;&#xA;The price is about $500 more then a new 702.&#xD;&#xA;I dont know if these units gets too worned out with some years on its back, so I figured I wanted to ask around here, what to do.&#xD;&#xA;All of my field work has been two channels only, up until now, but the extra two seems tempting (I know they dont have the pres like 1&amp;2).&#xD;&#xA;&#xD;&#xA;What would you do?&#xD;&#xA;&#xD;&#xA;I guess the Sounddevices recorders is the way to go if one would like top notch recordings.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks to all.&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 2.5" />
  <row Id="1425" PostHistoryTypeId="1" PostId="800" RevisionGUID="da11f712-50b8-4562-a77d-690c29b88dbe" CreationDate="2010-05-01T14:49:46.333" UserId="208" Text="Sounddevices 702, or a used 744t?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1426" PostHistoryTypeId="3" PostId="800" RevisionGUID="da11f712-50b8-4562-a77d-690c29b88dbe" CreationDate="2010-05-01T14:49:46.333" UserId="208" Text="&lt;portable-recorder&gt;&lt;recorder&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1427" PostHistoryTypeId="2" PostId="801" RevisionGUID="a8bd5c16-7b34-4c63-8e9a-548da6b81f71" CreationDate="2010-05-01T15:01:20.367" UserId="40" Text="I'm a bit partial to the 744T, but you'll have to invest in a mixer or pre, if you haven't already, to make the second two channels useful.  I find that I'm always wanting a third channel when recording in the field (my most common setup is a stereo mic and a shotgun, simultaneously, so I need three channels).  Occasionally I'll want a forth.&#xD;&#xA;&#xD;&#xA;The battery life isn't as good as the 702, but it's still fairly decent, especially if you're using an NP1 battery.  I can usually get three, maybe four hours on a large Sony Infolithium battery in a 702, maybe cut 45 min to an hour out for a 744T.  With the NP1, I can get 5 to 7 hours out of the 702, maybe 4 to 5 for the 744.&#xD;&#xA;&#xD;&#xA;In my experience, Sound Devices gear holds up to a ton of abuse, so I wouldn't even flinch at buying a used one.  I might send it in to SD for a once over / tune up when you first get it, but it's most likely perfectly fine.&#xD;&#xA;&#xD;&#xA;I agree, Sound Devices is the way to go." ContentLicense="CC BY-SA 2.5" />
  <row Id="1428" PostHistoryTypeId="5" PostId="801" RevisionGUID="991cd423-85dd-44a5-aab5-4d8306c3ca36" CreationDate="2010-05-01T15:03:11.620" UserDisplayName="user80" Comment="added 1 characters in body" Text="I'm a bit partial to the 744T, but you'll have to invest in a mixer or pre, if you haven't already, to make the second two channels useful.  I find that I'm always wanting a third channel when recording in the field (my most common setup is a stereo mic and a shotgun, simultaneously, so I need three channels).  Occasionally I'll want a fourth.&#xD;&#xA;&#xD;&#xA;The battery life isn't as good as the 702, but it's still fairly decent, especially if you're using an NP1 battery.  I can usually get three, maybe four hours on a large Sony Infolithium battery in a 702, maybe cut 45 min to an hour out for a 744T.  With the NP1, I can get 5 to 7 hours out of the 702, maybe 4 to 5 for the 744.&#xD;&#xA;&#xD;&#xA;In my experience, Sound Devices gear holds up to a ton of abuse, so I wouldn't even flinch at buying a used one.  I might send it in to SD for a once over / tune up when you first get it, but it's most likely perfectly fine.&#xD;&#xA;&#xD;&#xA;I agree, Sound Devices is the way to go." ContentLicense="CC BY-SA 2.5" />
  <row Id="1429" PostHistoryTypeId="5" PostId="800" RevisionGUID="812515f2-76f8-40e7-9392-614afff715a9" CreationDate="2010-05-01T15:17:30.823" UserDisplayName="user80" Comment="Tidied up language, added tags, weblinks and images" Text="Hi, all&#xD;&#xA;&#xD;&#xA;I've been offered a used [744T][1], which has spend much of its time in a lab, but also some work in the field.  The price is about $500 more then a new [702][2].  All of my field work has been two channels only up until now, but the extra two seem tempting (I know they don't have the mic pre's on channels 3 &amp; 4).&#xD;&#xA;&#xD;&#xA;I don't know if these units gets too worn out with some years on its back, so I figured I wanted to ask here about what to do.  What would you do?&#xD;&#xA;&#xD;&#xA;I guess the Sound Devices recorders is the way to go if one would like top notch recordings.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks to all.&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel&#xD;&#xA;&#xD;&#xA;[![Sound Devices 7 series][3]][4]&#xD;&#xA;&#xD;&#xA;[1]: http://www.sounddevices.com/products/744t.htm&#xD;&#xA;[2]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;[3]: http://www.sounddevices.com/images/products/recorders-500px.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1430" PostHistoryTypeId="4" PostId="800" RevisionGUID="812515f2-76f8-40e7-9392-614afff715a9" CreationDate="2010-05-01T15:17:30.823" UserDisplayName="user80" Comment="Tidied up language, added tags, weblinks and images" Text="Sound Devices New 702, or Used 744T?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1431" PostHistoryTypeId="6" PostId="800" RevisionGUID="812515f2-76f8-40e7-9392-614afff715a9" CreationDate="2010-05-01T15:17:30.823" UserDisplayName="user80" Comment="Tidied up language, added tags, weblinks and images" Text="&lt;portable-recorder&gt;&lt;recorder&gt;&lt;sound-devices&gt;&lt;recommendations&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1432" PostHistoryTypeId="5" PostId="757" RevisionGUID="181f69f1-5645-49b2-803d-a7ac65a165b4" CreationDate="2010-05-01T15:21:38.327" UserDisplayName="user80" Comment="edited body" Text="Can I get a VST plugin of a denoiser for cubase 5? [Steinberg][1] products like [Nuendo][2] and [Cubase][3] are very similar, I would like to use [Cubase 5][3] like I use [Neundo 3][2] for dialgoue editing and cleaning.&#xD;&#xA;&#xD;&#xA;[![Steinberg Cubase][4]][3]&#xD;&#xA;&#xD;&#xA;[1]: http://www.steinberg.net/en/home.html&#xD;&#xA;[2]: http://www.steinberg.net/en/products/audiopostproduction_product/nuendo4.html&#xD;&#xA;[3]: http://www.steinberg.net/en/products/musicproduction/cubase5_product.html&#xD;&#xA;[4]: http://www.steinberg.net/index.php?eID=tx_nawsecuredl&amp;u=0&amp;file=uploads/pics/visual_products_cubase5_jhdregfhjegsh_82.jpg&amp;t=1272817273&amp;hash=d1967a4b1eb868e93e69162a3fa1491b" ContentLicense="CC BY-SA 2.5" />
  <row Id="1433" PostHistoryTypeId="5" PostId="783" RevisionGUID="5496f260-be63-4bd3-99e0-cdf6884e6f4e" CreationDate="2010-05-01T17:33:35.300" UserDisplayName="user80" Comment="added 563 characters in body" Text="Different types of microphones have different uses, obviously. Here is what I have found works best in various situations. Before delving headlong into shotgun mic comparison shopping, ask yourself what will suit your needs the best.&#xD;&#xA;&#xD;&#xA;If you want to record specific point sounds at a distance outdoors, including outdoor boom mic dialog recording for film and TV, a short shotgun such as the [Sennheiser MKH 416][1] and friends is going to be your best bet. I wouldn't recommend the [Rode NTG-2][2] unless you're really on a budget, but the [Rode NTG-3][3] appears to have nearly identical specs to the 416. The NTG-3 is a relative newcomer, while the 416 has been _the_ short shotgun mic for at least a couple decades or so now.&#xD;&#xA;&#xD;&#xA;If you want to record interior dialog for film and TV, and do a passable job at exterior dialog provided you get the mic a little closer, then a hypercardioid mic is your best bet. Shotgun mics have weird off-axis frequency response as you go farther down the spectrum. Basically the shotgun pattern is only for mid to high frequencies, while the lower frequencies still come in from nearly all directions. Indoors in a normal untreated room, you end up with weird boominess in a lot of cases. This is just down to the various pickup patterns and physics.&#xD;&#xA;&#xD;&#xA;[![ Sennheiser MKH 416 Polar Pattern][4]][5]&#xD;&#xA;&#xD;&#xA;If you are recording a scripted independent film and just need a single mic, I would go with the hypercardiod. The Schoeps CMC641 seems to be the gold standard, but it's about $2000. I got an Audix SCX1-HC and have been very happy with it. For indoor dialog I think it sounds better than a Sennheiser 416.&#xD;&#xA;&#xD;&#xA;Depending on what field recording means to you, exactly, you may also want a stereo mic of some sort to record ambiences and the like. The Rode NT4 is pretty good at this, and there are several other pricier options from other manufacturers as well. The NT4 is essentially two cardioid mics in an X/Y pattern, so it picks up a much wider field of sound and is less directional than a hypercardioid or a shotgun mic. This sort of mic does a pretty good job of getting a &quot;you are here&quot; sort of ambience with great stereo imaging.&#xD;&#xA;&#xD;&#xA;One more note about the Rode mics... their true condenser mics are generally very quiet. The NTG-1 and NTG-2 (but not the NTG-3) are electret condenser mics though, which generally results in higher noise. If a microphone can be powered by a single AA battery, it's generally not going to be a true condenser. Accept no imitations!&#xD;&#xA;&#xD;&#xA;Make sure and check out this video by Ty Ford where he compares various types of microphones. You can get an intuitive sense of a lot just by watching it:&#xD;&#xA;http://cinemasound.ning.com/video/ty-ford-mic-tutorial-video&#xD;&#xA;&#xD;&#xA;[1]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511&#xD;&#xA;[2]: http://uk.rodemic.com/microphone.php?product=NTG-2&#xD;&#xA;[3]: http://www.rodemic.com/microphone.php?product=NTG-3&#xD;&#xA;[4]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/B905568D10D34331C125743200802EDD/$File/MKH416-P48U3_ClockfaceDiagram.jpg&#xD;&#xA;[5]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511?Open&amp;row=2" ContentLicense="CC BY-SA 2.5" />
  <row Id="1434" PostHistoryTypeId="5" PostId="783" RevisionGUID="da67518b-68c6-458f-94ad-fc32227e89f6" CreationDate="2010-05-01T17:46:37.253" UserDisplayName="user80" Comment="added 319 characters in body" Text="Different types of microphones have different uses, obviously. Here is what I have found works best in various situations. Before delving headlong into shotgun mic comparison shopping, ask yourself what will suit your needs the best.&#xD;&#xA;&#xD;&#xA;If you want to record specific point sounds at a distance outdoors, including outdoor boom mic dialog recording for film and TV, a short shotgun such as the [Sennheiser MKH 416][1] and friends is going to be your best bet. I wouldn't recommend the [Rode NTG-2][2] unless you're really on a budget, but the [Rode NTG-3][3] appears to have nearly identical specs to the 416. The NTG-3 is a relative newcomer, while the 416 has been _the_ short shotgun mic for at least a couple decades or so now.&#xD;&#xA;&#xD;&#xA;If you want to record interior dialog for film and TV, and do a passable job at exterior dialog provided you get the mic a little closer, then a hypercardioid mic is your best bet. Shotgun mics have weird off-axis frequency response as you go farther down the spectrum. Basically the shotgun pattern is only for mid to high frequencies, while the lower frequencies still come in from nearly all directions. Indoors in a normal untreated room, you end up with weird boominess in a lot of cases. This is just down to the various pickup patterns and physics.&#xD;&#xA;&#xD;&#xA;[![ Sennheiser MKH 50 Polar Pattern][4]][5][![ Sennheiser MKH 416 Polar Pattern][6]][7]&#xD;&#xA;&#xD;&#xA;If you are recording a scripted independent film and just need a single mic, I would go with the hypercardiod. The Schoeps CMC641 seems to be the gold standard, but it's about $2000. I got an Audix SCX1-HC and have been very happy with it. For indoor dialog I think it sounds better than a Sennheiser 416.&#xD;&#xA;&#xD;&#xA;Depending on what field recording means to you, exactly, you may also want a stereo mic of some sort to record ambiences and the like. The Rode NT4 is pretty good at this, and there are several other pricier options from other manufacturers as well. The NT4 is essentially two cardioid mics in an X/Y pattern, so it picks up a much wider field of sound and is less directional than a hypercardioid or a shotgun mic. This sort of mic does a pretty good job of getting a &quot;you are here&quot; sort of ambience with great stereo imaging.&#xD;&#xA;&#xD;&#xA;One more note about the Rode mics... their true condenser mics are generally very quiet. The NTG-1 and NTG-2 (but not the NTG-3) are electret condenser mics though, which generally results in higher noise. If a microphone can be powered by a single AA battery, it's generally not going to be a true condenser. Accept no imitations!&#xD;&#xA;&#xD;&#xA;Make sure and check out this video by Ty Ford where he compares various types of microphones. You can get an intuitive sense of a lot just by watching it:&#xD;&#xA;http://cinemasound.ning.com/video/ty-ford-mic-tutorial-video&#xD;&#xA;&#xD;&#xA;[1]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511&#xD;&#xA;[2]: http://uk.rodemic.com/microphone.php?product=NTG-2&#xD;&#xA;[3]: http://www.rodemic.com/microphone.php?product=NTG-3&#xD;&#xA;[4]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/C96939268CC4941EC125743200802EF7/$File/MKH50-P48_ClockfaceDiagram.jpg&#xD;&#xA;[5]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_studio-recording-mics_mkh-classics_003109?Open&amp;row=2&#xD;&#xA;[6]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/B905568D10D34331C125743200802EDD/$File/MKH416-P48U3_ClockfaceDiagram.jpg&#xD;&#xA;[7]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511?Open&amp;row=2" ContentLicense="CC BY-SA 2.5" />
  <row Id="1435" PostHistoryTypeId="2" PostId="802" RevisionGUID="82b204a0-b183-438f-8b72-61c7f5fb78b8" CreationDate="2010-05-01T17:47:06.380" UserId="252" Text="I was just wondering, if you record a metal band with a vocalist who screams, which microphones do you find to be the cleanest and most applicable?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1436" PostHistoryTypeId="1" PostId="802" RevisionGUID="82b204a0-b183-438f-8b72-61c7f5fb78b8" CreationDate="2010-05-01T17:47:06.380" UserId="252" Text="Mics for metal (screaming vocals)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1437" PostHistoryTypeId="3" PostId="802" RevisionGUID="82b204a0-b183-438f-8b72-61c7f5fb78b8" CreationDate="2010-05-01T17:47:06.380" UserId="252" Text="&lt;microphone&gt;&lt;metal&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1438" PostHistoryTypeId="2" PostId="803" RevisionGUID="355ce44e-7329-447b-b342-ace6e30f5f0d" CreationDate="2010-05-01T18:00:22.650" UserId="37" Text="i worked on a music project a while back that involved the vocalist screaming into the mic and a u47-clone tube mic did a great job. (so did the vocalist:) if you're on a budget and that's an overkill in price, look into techniques rather than models?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1439" PostHistoryTypeId="2" PostId="804" RevisionGUID="260cf70b-bcd7-4a81-bb98-547332878e5d" CreationDate="2010-05-01T18:40:38.987" UserId="241" Text="Also if you're looking into ever doing production sound in TV or Film, having timecode on the 744T is a very nice feature." ContentLicense="CC BY-SA 2.5" />
  <row Id="1440" PostHistoryTypeId="5" PostId="756" RevisionGUID="b9047f29-7913-4462-8e99-0cdcc3907738" CreationDate="2010-05-01T19:13:13.837" UserId="100" Comment="Spelling" Text="I can't remember who's sound blog I saw this posted on first, but I figured I would pass it on here for those who haven't seen it yet.&#xD;&#xA;&#xD;&#xA;[youtube]R2a8TRSgzZY[/youtube]&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=R2a8TRSgzZY&#xD;&#xA;&#xD;&#xA;I think it would be funnier if it didn't happen to me all the time." ContentLicense="CC BY-SA 2.5" />
  <row Id="1441" PostHistoryTypeId="2" PostId="805" RevisionGUID="6df7a6e7-799f-4021-8cb7-e4eb86518e22" CreationDate="2010-05-01T19:30:23.077" UserId="29" Text="I don't think I've seen this asked yet - apologies if so! *[cringe]*&#xD;&#xA;&#xD;&#xA;Short version:&#xD;&#xA;For those times you can't record your own material, what are your best go-to sources for libraries that don't cramp your style, assuming one might be starting a library of commercial effects from scratch?&#xD;&#xA;&#xD;&#xA;Long version:&#xD;&#xA;Tim and Chuck have released small libraries at high sample rates that are specifically not over-designed, adding up to a lot of processing and mixing latitude. This is a great approach.&#xD;&#xA;&#xD;&#xA;Given that, who's putting out the most USABLE big libraries these days? There's so many, but without naming names, some are so old and overused that they're utterly hackneyed, some are so pre-mixed/processed that they don't sit well in a mix or are too recognizable, some just aren't high-def enough for significant processing.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1442" PostHistoryTypeId="1" PostId="805" RevisionGUID="6df7a6e7-799f-4021-8cb7-e4eb86518e22" CreationDate="2010-05-01T19:30:23.077" UserId="29" Text="Best Broad Effects Library?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1443" PostHistoryTypeId="3" PostId="805" RevisionGUID="6df7a6e7-799f-4021-8cb7-e4eb86518e22" CreationDate="2010-05-01T19:30:23.077" UserId="29" Text="&lt;sound-libraries&gt;&lt;stock-effects&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1444" PostHistoryTypeId="2" PostId="806" RevisionGUID="cad6b3e2-7023-4874-82ce-6eb745644693" CreationDate="2010-05-01T19:31:18.150" UserId="102" Text="A friend of mine used an AKG D112 for vocals once before, and they turned out brilliantly. Of course this mic would be great for screaming vocals because it's used to a bit of a battering anyhow.&#xD;&#xA;&#xD;&#xA;It might be worth a try.&#xD;&#xA;&#xD;&#xA;It's all about how you play with the sound afterwards I guess.&#xD;&#xA;&#xD;&#xA;Good luck :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1445" PostHistoryTypeId="2" PostId="807" RevisionGUID="602f485c-96ab-4f1e-9e3a-eb41174c1f02" CreationDate="2010-05-01T20:12:17.587" UserId="2" Text="I have [the BLASTDRIVE][1] by Blastwave FX, it serves me pretty well when I don't have time to get my own sounds. One cool aspect is that they update the content of their library every three months, which you can then download for free. They call it [*Comprehensive Lifetime Sound Design Solutions*][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.blastwavefx.com/p2/The%20BLASTDRIVE%20HD%20Sound%20Effects%20Library/product_info.html&#xD;&#xA;  [2]: http://www.blastwavefx.com/i46/Comprehensive-Lifetime-Sound-Design-Solutions/information.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1446" PostHistoryTypeId="2" PostId="808" RevisionGUID="07bd4f1d-95f3-43a4-a5d2-e9c97bd2df58" CreationDate="2010-05-01T20:25:05.383" UserId="18" Text="I find the Soundstorm library the most useful these days.  But it is no where near cheap (around $6K).  If I was building a library from scratch, that is where I would start.  It won't cover everything, but it is a good foundation to build from." ContentLicense="CC BY-SA 2.5" />
  <row Id="1447" PostHistoryTypeId="2" PostId="809" RevisionGUID="f3f0e496-9923-4b3e-b931-edf8f2f5013b" CreationDate="2010-05-01T20:38:55.957" UserId="102" Text="Hey,&#xD;&#xA;&#xD;&#xA;In June I'm exhibiting a piece of work with a group of sound artists in a gallery in South London. My work relies heavily on the use of headphones but because the space is going to be extremely noisy due to all the other pieces being exhibited I'm looking for a fairly decent pair of noise reducing headphones to filter out - as much as possible anyway - the ambient noise of the exhibition.&#xD;&#xA;&#xD;&#xA;I have a small budget, so ideally I'd like to keep around the £150 level, however, I'm not looking for a perfect pair of noise cancelling headphones for this price as I realise it may not be possible, but something that will at least help.&#xD;&#xA;&#xD;&#xA;I'm hoping someone has been in a situation like this before :)&#xD;&#xA;&#xD;&#xA;Warm regards,&#xD;&#xA;&#xD;&#xA;Simon&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1448" PostHistoryTypeId="1" PostId="809" RevisionGUID="f3f0e496-9923-4b3e-b931-edf8f2f5013b" CreationDate="2010-05-01T20:38:55.957" UserId="102" Text="Noise Cancelling Headphones" ContentLicense="CC BY-SA 2.5" />
  <row Id="1449" PostHistoryTypeId="3" PostId="809" RevisionGUID="f3f0e496-9923-4b3e-b931-edf8f2f5013b" CreationDate="2010-05-01T20:38:55.957" UserId="102" Text="&lt;noise-reduction&gt;&lt;headphones&gt;&lt;exhibition&gt;&lt;noise-cancelling&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1450" PostHistoryTypeId="2" PostId="810" RevisionGUID="bd217058-6584-477f-81f5-d489e1571afe" CreationDate="2010-05-01T23:29:13.427" UserDisplayName="user49" Text="How about thinking of it from this angle?&#xD;&#xA;&#xD;&#xA;1. You are effectively being asked to be an investor in the project, so cost it out at your normal rates &amp; first give the producer that budget... Make them appreciate what it actually costs to do it 'properly' &#xD;&#xA;call this total $A&#xD;&#xA;&#xD;&#xA;2. Once they've recovered offer them an X% deferment option, so that you are not throwing away X%: that debt/investment will remain until it is paid, but you will have to be happy that you may never see the X% ever, so go into it resolved about this...&#xD;&#xA;&#xD;&#xA;How to work out what X% is?&#xD;&#xA;&#xD;&#xA;Add up your hard costs - if it will take you Y weeks to edit &amp; prep it all &amp; Z weeks to mix it, you are going to have to at least break even for Y+Z weeks, otherwise it is actually costing you money to work on the film... And will you turn down any full paying jobs during the Y+Z weeks? Or does the low budget project get done on weeks when you definitely have nothing on?&#xD;&#xA;&#xD;&#xA;So add up (Y+Z) weeks of&#xD;&#xA;&#xD;&#xA;- rent/mortgage payments (home + studio)&#xD;&#xA;- electricity/phone/internet (home + studio)&#xD;&#xA;- insurance (home + studio)&#xD;&#xA;- transport&#xD;&#xA;- food etc....&#xD;&#xA;&#xD;&#xA;Total = $B&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So ($A-$B)/$A = MAXIMUM possible % deferment/investment&#xD;&#xA;&#xD;&#xA;And that should tell you whether you can actually do the project for what they offer....&#xD;&#xA;&#xD;&#xA;I'm all for supporting projects that I love and/or dear friends, but if you are going to commit to it for 2 or 3 months, you shouldn't end up personally in debt for it&#xD;&#xA;&#xD;&#xA;(I dont do production sound so cant help with shoot side of it all)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1451" PostHistoryTypeId="2" PostId="811" RevisionGUID="faff72f0-a56f-4d28-abe5-a6689b04ad52" CreationDate="2010-05-01T23:38:56.370" UserId="253" Text="Once i've killed all the noise i can with eq and RX/NoNoise/&lt;insert broadband noise reduction of choice&gt;, i like to run it through Waves C4 set to multiband noise reduction). Whether you tune it to individual scenes with automation or set a general expansion setting, it does a great job of wiping out what's left." ContentLicense="CC BY-SA 2.5" />
  <row Id="1452" PostHistoryTypeId="5" PostId="764" RevisionGUID="47d7e982-247b-4924-afe9-01d971f6ade4" CreationDate="2010-05-01T23:45:21.443" UserId="100" Comment="Improved Formatting" Text="My oldest daughter throwing a tantrum when she was 3. It's a dual tone shriek that sounds very much like a Ringwraith. I use it in everything like my own Wilhelm scream.&#xD;&#xA;&#xD;&#xA;[soundcloud]cavanaudio/tantrum[/soundcloud]&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/cavanaudio/tantrum" ContentLicense="CC BY-SA 2.5" />
  <row Id="1454" PostHistoryTypeId="2" PostId="813" RevisionGUID="23b68294-396e-48b4-8934-e7e77fbf97ac" CreationDate="2010-05-01T23:52:25.420" UserId="40" Text="If you're planning on doing any mixing with the headphones, I'd stay as far away from noise canceling headphones as possible.  They have the most whacked out frequency responses ever.&#xD;&#xA;&#xD;&#xA;Instead, go with extreme isolation headphones.  I know Chuck was talking about wiring Sony MDR7506s into a pair of shooting muffs.  This would probably be the best sounding and most isolated possibility.  You could ask him how he did it, or I'm sure Remote Audio would do it for you.  For a simpler solution, go with the Sennheiser HD280pros.  They have quite a bit of isolation, but are fairly decent sounding, plus they're cheap.  Just know that they are lacking a bit of high frequency response.&#xD;&#xA;&#xD;&#xA;If you're just looking to listen, and critical listening isn't involved, just grab a pair of Bose or Sony noise canceling headphones.  The good Bose ones cancel the best out of any I've heard.  But again, DO NOT attempt to do any critical listening over them.  They'll sound AWESOME to you, then your mix won't even come close to translating on other systems.&#xD;&#xA;&#xD;&#xA;My two cents&#xD;&#xA;&#xD;&#xA;P.S.  The Bose headphones sound pretty good for listening to music and such, but they have the world's thinnest cable, so if you get them, make sure to be very careful with them!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1455" PostHistoryTypeId="5" PostId="811" RevisionGUID="29190f09-82c5-4656-827a-55ca74aef075" CreationDate="2010-05-01T23:58:55.940" UserId="253" Comment="deleted 1 characters in body" Text="Once i've killed all the noise i can with eq and RX/NoNoise/(your broadband noise reduction of choice), i like to run it through Waves C4 (set to multiband noise reduction). Whether you tune it to individual scenes with automation or set a general expansion setting, it does a great job of wiping out what's left." ContentLicense="CC BY-SA 2.5" />
  <row Id="1456" PostHistoryTypeId="2" PostId="814" RevisionGUID="72d7107a-cd24-4ab2-b630-8e3fc50955a0" CreationDate="2010-05-02T00:01:48.320" UserId="40" Text="I have the Hollywood Edge Premiere Edition.  Probably about 20gb worth (48k 16b).  It's pretty decent.  It covers pretty much everything you can think of.  It just doesn't have a whole lot of each thing.  It's been good to me for the past 6 years.  Time to upgrade though.&#xD;&#xA;&#xD;&#xA;I'm looking into Blastwave's stuff, making my own stuff, and I'll be buying some of your guys' stuff (Tim and Chuck, etc..).  IMHO, Hollywood Edge, Sound Ideas, Soundstorm, etc... are too expensive.&#xD;&#xA;&#xD;&#xA;I'm more inline with buying my sfx in the manner your most prosumerism article covered.  Cheaper, and often better and more unique." ContentLicense="CC BY-SA 2.5" />
  <row Id="1457" PostHistoryTypeId="2" PostId="815" RevisionGUID="e7e5f141-8859-41ad-9c82-3c8d3f6e0cbc" CreationDate="2010-05-02T01:23:05.863" UserId="46" Text="See also: http://yoursite.xtgem.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1458" PostHistoryTypeId="2" PostId="816" RevisionGUID="ad933691-5fd4-431d-bc5b-dac941557539" CreationDate="2010-05-02T02:23:09.253" UserId="100" Text="The opening sequence to Sergio Leone's Once Upon a Time in the West comes to mind. Like some other examples mentioned here, there is no music. Instead, there is a kind of orchestration of natural sound elements. A fly, dripping water, and, oh man, that windmill! Fun stuff.&#xD;&#xA;&#xD;&#xA;[youtube]bW-jSa9_k3M[/youtube]&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=bW-jSa9_k3M" ContentLicense="CC BY-SA 2.5" />
  <row Id="1459" PostHistoryTypeId="2" PostId="817" RevisionGUID="cc41d6c4-49dc-4abf-94e5-9ee529eaaedb" CreationDate="2010-05-02T03:31:59.143" UserId="40" Text="I'm most likely going to buy a Zoom H2 recorder to keep with me.  I'm always hearing awesome sounds, but I don't carry my 744 with me (for obvious reasons).  I have the Olympus portable, but I really don't like it.  I've heard some great stuff from the H2 (Miguel recently posted a recording from it on his blog: http://miguelisaza.com/files/the-little-creaking-door.html ) and I'm pretty much sold on it.&#xD;&#xA;&#xD;&#xA;However, when I'm looking at the specs, it mentions that the frequency response is 70hz to 20khz.  That's pretty much like having an HPF built in.  Does anyone know if that's referring only to the built in microphones or to the actual recorder itself?  For example, if I plugged my RØDE NT4 in to the ext mic input, would I be able to record 20hz - 70hz information?  The specs aren't very comprehensive.&#xD;&#xA;&#xD;&#xA;If someone out there owns one and could test it for me (if you don't already know), I would be greatly appreciative!!!&#xD;&#xA;&#xD;&#xA;Thanks so much!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1460" PostHistoryTypeId="1" PostId="817" RevisionGUID="cc41d6c4-49dc-4abf-94e5-9ee529eaaedb" CreationDate="2010-05-02T03:31:59.143" UserId="40" Text="Zoom H2 Frequency Response - 70hz?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1461" PostHistoryTypeId="3" PostId="817" RevisionGUID="cc41d6c4-49dc-4abf-94e5-9ee529eaaedb" CreationDate="2010-05-02T03:31:59.143" UserId="40" Text="&lt;portable-recorder&gt;&lt;sound-design&gt;&lt;gear&gt;&lt;tech-specs&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1462" PostHistoryTypeId="5" PostId="817" RevisionGUID="44953533-a5a4-4f3d-91ac-cc3ac766687e" CreationDate="2010-05-02T03:44:23.557" UserId="40" Comment="added 258 characters in body" Text="I'm most likely going to buy a Zoom H2 recorder to keep with me.  I'm always hearing awesome sounds, but I don't carry my 744 with me (for obvious reasons), so I either have to remember where they are and make a special effort to record them later, or sulk away knowing that another great sound has escaped the mighty magnetic forces of my hard drives.  I have the Olympus portable, but I really don't like it.  Never liked the sound of it (it is, however, nice and tiny).  I've heard some great stuff from the H2 (Miguel recently posted a recording from it on his blog: http://miguelisaza.com/files/the-little-creaking-door.html ) and I'm pretty much sold on it.&#xD;&#xA;&#xD;&#xA;However, when I'm looking at the specs, it mentions that the frequency response is 70hz to 20khz.  That's pretty much like having an HPF built in.  Does anyone know if that's referring only to the built in microphones or to the actual recorder itself?  For example, if I plugged my RØDE NT4 in to the ext mic input, would I be able to record 20hz - 70hz information?  The specs aren't very comprehensive.&#xD;&#xA;&#xD;&#xA;If someone out there owns one and could test it for me (if you don't already know), I would be greatly appreciative!!!&#xD;&#xA;&#xD;&#xA;Thanks so much!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1463" PostHistoryTypeId="2" PostId="818" RevisionGUID="66504d36-afac-4531-8778-bd7c70d32d7c" CreationDate="2010-05-02T05:33:13.343" UserId="29" Text="Colin, I just loaded some samples recorded with my H2, from power tools to subways to a rock drum kit to Belizean live drumming, and found that there are tones &lt;70 Hz...but with massive attenuation. In my quick, non-scientific filtering tests, I was getting -20 to -25dB attenuation of frequencies below 80-100Hz or so, down to -35dB in the 60-70Hz range. The frequency response in this frequency range is clearly non-linear.&#xD;&#xA;&#xD;&#xA;Why this is could, of course, be due to the capsules, or the preamp, or something else...I've been so disappointed in the mic inputs that I've never recorded anything that I kept using an external mic. Zoom only shows polar patterns for 1kHz test tones.&#xD;&#xA;&#xD;&#xA;The Zoom H2 still rocks for those odd sounds you'd otherwise miss; its light weight and small size are its greatest advantages. Many pro's I know carry one, just like many pro photogs carry point-and-shoot cameras, for the same reasons. But, like a point and shoot camera, it sure has its limitations.&#xD;&#xA;&#xD;&#xA;Hopefully someone with more time than I can drop more science on this issue." ContentLicense="CC BY-SA 2.5" />
  <row Id="1464" PostHistoryTypeId="2" PostId="819" RevisionGUID="cf2c8f43-7fb9-4516-b587-2cdab756e8be" CreationDate="2010-05-02T06:02:00.313" UserId="100" Text="NoiseJockey beat me to it. This may not be what you're looking for, but for I love learning, so I'll post it anyway. I have an [H4n][1] that I've been very happy with. I did some quick and dirty recordings in my noisy with that using my cheap (cheap) home theater sub with both the built-in mics, as well as an external [MXL V63M][2] (also cheap). I tried both mic setups with multiple sine tones and this is what I got:&#xD;&#xA;&#xD;&#xA;Built-in mics at 70Hz&#xD;&#xA;&#xD;&#xA;![Built-in mics at 70Hz][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Built-in mics at 45Hz&#xD;&#xA;&#xD;&#xA;![Built-in mics at 45Hz][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;V63M at 70Hz&#xD;&#xA;&#xD;&#xA;![V63M at 70Hz][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;V63M at 45Hz&#xD;&#xA;&#xD;&#xA;![V63M at 45Hz][6]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/600761-REG/Zoom_H4N_H4n_Handy_Mobile_4_Track.html&#xD;&#xA;  [2]: http://www.guitarcenter.com/MXL-V63M-Condenser-Studio-Microphone-770694-i1126976.gc?source=4WFRWXX&amp;CAWELAID=439928932&#xD;&#xA;  [3]: http://www.cavanaudio.com/images/ssd/builtin70hzsm.tiff&#xD;&#xA;  [4]: http://www.cavanaudio.com/images/ssd/builtin45hzsm.tiff&#xD;&#xA;  [5]: http://www.cavanaudio.com/images/ssd/v63m70hzsm.tiff&#xD;&#xA;  [6]: http://www.cavanaudio.com/images/ssd/v63m45hzsm.tiff" ContentLicense="CC BY-SA 2.5" />
  <row Id="1465" PostHistoryTypeId="5" PostId="819" RevisionGUID="9faff187-a81c-4727-8fcd-0fbaaf00eac9" CreationDate="2010-05-02T06:09:56.250" UserId="100" Comment="Improved Formatting" Text="NoiseJockey beat me to it. This may not be what you're looking for, but for I love learning, so I'll post it anyway. I have an [H4n][1] that I've been very happy with. I did some quick and dirty recordings in my noisy with that using my cheap (cheap) home theater sub with both the built-in mics, as well as an external [MXL V63M][2] (also cheap). I tried both mic setups with multiple sine tones. I would have gone lower, but my sub dies at about 32Hz and the casing rattles too much. Anyway, this is what I got:&#xD;&#xA;&#xD;&#xA;Built-in mics at 70Hz&#xD;&#xA;&#xD;&#xA;[![Built-in mics at 70Hz][3]][7]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Built-in mics at 45Hz&#xD;&#xA;&#xD;&#xA;[![Built-in mics at 45Hz][4]][8]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;V63M at 70Hz&#xD;&#xA;&#xD;&#xA;[![V63M at 70Hz][5]][9]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;V63M at 45Hz&#xD;&#xA;&#xD;&#xA;[![V63M at 45Hz][6]][10]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/600761-REG/Zoom_H4N_H4n_Handy_Mobile_4_Track.html&#xD;&#xA;  [2]: http://www.guitarcenter.com/MXL-V63M-Condenser-Studio-Microphone-770694-i1126976.gc?source=4WFRWXX&amp;CAWELAID=439928932&#xD;&#xA;  [3]: http://www.cavanaudio.com/images/ssd/builtin70hzsm.tiff&#xD;&#xA;  [4]: http://www.cavanaudio.com/images/ssd/builtin45hzsm.tiff&#xD;&#xA;  [5]: http://www.cavanaudio.com/images/ssd/v63m70hzsm.tiff&#xD;&#xA;  [6]: http://www.cavanaudio.com/images/ssd/v63m45hzsm.tiff&#xD;&#xA;  [7]: http://www.cavanaudio.com/images/ssd/builtin70hz.tiff&#xD;&#xA;  [8]: http://www.cavanaudio.com/images/ssd/builtin45hz.tiff&#xD;&#xA;  [9]: http://www.cavanaudio.com/images/ssd/v63m70hz.tiff&#xD;&#xA;  [10]: http://www.cavanaudio.com/images/ssd/v63m45hz.tiff" ContentLicense="CC BY-SA 2.5" />
  <row Id="1466" PostHistoryTypeId="2" PostId="820" RevisionGUID="5f3a70e1-cea3-4f04-9709-f03b5ffaf1d8" CreationDate="2010-05-02T06:34:45.747" UserId="118" Text="It may not win on best sound quality (though, judging by widely differing opinions / reviews of portable recorders, this is obviously a very subjective issue) but for the ultimate in portability has anyone else considered / tried the Blue Mikey mic with an iPhone using software like FiRe or McDSP Retro recorders?  I'm still waiting for the UK release of the updated Blue Mikey 2 but I've read good reviews of it online.&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="1467" PostHistoryTypeId="5" PostId="783" RevisionGUID="67b6c5d3-acc2-4324-8fb2-24c8af8cb049" CreationDate="2010-05-02T06:49:41.927" UserDisplayName="user80" Comment="added 584 characters in body; deleted 92 characters in body" Text="Different types of microphones have different uses, obviously. Here is what I have found works best in various situations. Before delving headlong into shotgun mic comparison shopping, ask yourself what will suit your needs the best.&#xD;&#xA;&#xD;&#xA;If you want to record specific point sounds at a distance outdoors, including outdoor boom mic dialog recording for film and TV, a short shotgun such as the [Sennheiser MKH 416][1] and friends is going to be your best bet. I wouldn't recommend the [Rode NTG-2][2] unless you're really on a budget, but the [Rode NTG-3][3] appears to have nearly identical specs to the 416. The NTG-3 is a relative newcomer, while the 416 has been _the_ short shotgun mic for at least a couple decades or so now.&#xD;&#xA;&#xD;&#xA;If you want to record interior dialog for film and TV, and do a passable job at exterior dialog provided you get the mic a little closer, then a hypercardioid mic is your best bet. Shotgun mics have weird off-axis frequency response as you go farther down the spectrum. Basically the shotgun pattern is only for mid to high frequencies, while the lower frequencies still come in from nearly all directions. Indoors in a normal untreated room, you end up with weird boominess in a lot of cases. This is just down to the various pickup patterns and physics.&#xD;&#xA;&#xD;&#xA;[![ Sennheiser MKH 50 Polar Pattern][4]][5][![ Sennheiser MKH 416 Polar Pattern][6]][7]&#xD;&#xA;&#xD;&#xA;If you are recording a scripted independent film and just need a single mic, I would go with the hypercardiod. The [Schoeps CMC641][8] seems to be the gold standard, but it's about $2000. I got an [Audix SCX1-HC][9] and have been very happy with it. For indoor dialog I think it sounds better than a [Sennheiser 416][1].&#xD;&#xA;&#xD;&#xA;[![Audix ScX-HC][10]][9]&#xD;&#xA;&#xD;&#xA;Depending on what field recording means to you, exactly, you may also want a stereo mic of some sort to record ambiences and the like. The [Rode NT4][11] is pretty good at this, and there are several other pricier options from other manufacturers as well. The NT4 is essentially two cardioid mics in an X/Y pattern, so it picks up a much wider field of sound and is less directional than a hypercardioid or a shotgun mic. This sort of mic does a pretty good job of getting a &quot;you are here&quot; sort of ambience with great stereo imaging.&#xD;&#xA;&#xD;&#xA;[![Rode NT4][12]][11]&#xD;&#xA;&#xD;&#xA;One more note about the Rode mics... their true condenser mics are generally very quiet. The [NTG-1][13] and [NTG-2][2] (but not the [NTG-3][3]) are electret condenser mics though, which generally results in higher noise. If a microphone can be powered by a single AA battery, it's generally not going to be a true condenser. Accept no imitations!&#xD;&#xA;&#xD;&#xA;Make sure and check out this [video by Ty Ford][14] where he compares various types of microphones. You can get an intuitive sense of a lot just by watching it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[1]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511&#xD;&#xA;[2]: http://uk.rodemic.com/microphone.php?product=NTG-2&#xD;&#xA;[3]: http://www.rodemic.com/microphone.php?product=NTG-3&#xD;&#xA;[4]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/C96939268CC4941EC125743200802EF7/$File/MKH50-P48_ClockfaceDiagram.jpg&#xD;&#xA;[5]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_studio-recording-mics_mkh-classics_003109?Open&amp;row=2&#xD;&#xA;[6]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/B905568D10D34331C125743200802EDD/$File/MKH416-P48U3_ClockfaceDiagram.jpg&#xD;&#xA;[7]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511?Open&amp;row=2&#xD;&#xA;[8]: http://www.schoeps.de/en/products/mk41/overview&#xD;&#xA;[9]: http://www.audixusa.com/docs/products/SCX1-C.shtml&#xD;&#xA;[10]: http://www.audixusa.com/phpThumb/phpThumb.php?src=../images/highrez_img/SCX-one_str.jpg&amp;w=300&amp;h=300&#xD;&#xA;[11]: http://www.rode.com.au/microphone.php?product=NT4&#xD;&#xA;[12]: http://www.rode.com.au/images/mics/nt4_001.jpg&#xD;&#xA;[13]: http://www.rode.com.au/microphone.php?product=NTG-1&#xD;&#xA;[14]: http://cinemasound.ning.com/video/ty-ford-mic-tutorial-video" ContentLicense="CC BY-SA 2.5" />
  <row Id="1468" PostHistoryTypeId="5" PostId="783" RevisionGUID="faad5719-31f2-4107-9846-ba8e4eed5f55" CreationDate="2010-05-02T06:56:16.657" UserDisplayName="user80" Comment="added 90 characters in body" Text="Different types of microphones have different uses, obviously. Here is what I have found works best in various situations. Before delving headlong into shotgun mic comparison shopping, ask yourself what will suit your needs the best.&#xD;&#xA;&#xD;&#xA;If you want to record specific point sounds at a distance outdoors, including outdoor boom mic dialog recording for film and TV, a short shotgun such as the [Sennheiser MKH 416][1] and friends is going to be your best bet. I wouldn't recommend the [Rode NTG-2][2] unless you're really on a budget, but the [Rode NTG-3][3] appears to have nearly identical specs to the 416. The NTG-3 is a relative newcomer, while the 416 has been _the_ short shotgun mic for at least a couple decades or so now.&#xD;&#xA;&#xD;&#xA;If you want to record interior dialog for film and TV, and do a passable job at exterior dialog provided you get the mic a little closer, then a hypercardioid mic is your best bet. Shotgun mics have weird off-axis frequency response as you go farther down the spectrum. Basically the shotgun pattern is only for mid to high frequencies, while the lower frequencies still come in from nearly all directions. Indoors in a normal untreated room, you end up with weird boominess in a lot of cases. This is just down to the various pickup patterns and physics.&#xD;&#xA;&#xD;&#xA;[![ Sennheiser MKH 50 Polar Pattern][4]][5][![ Sennheiser MKH 416 Polar Pattern][6]][7]&#xD;&#xA;&#xD;&#xA;If you are recording a scripted independent film and just need a single mic, I would go with the hypercardiod. The [Schoeps CMC641][8] seems to be the gold standard, but it's about $2000. I got an [Audix SCX1-HC][9] and have been very happy with it. For indoor dialog I think it sounds better than a [Sennheiser 416][1].&#xD;&#xA;&#xD;&#xA;[![Audix ScX-HC][10]][9]&#xD;&#xA;&#xD;&#xA;Depending on what field recording means to you, exactly, you may also want a stereo mic of some sort to record ambiences and the like. The [Rode NT4][11] is pretty good at this, and there are several other pricier options from other manufacturers as well. The NT4 is essentially two cardioid mics in an X/Y pattern, so it picks up a much wider field of sound and is less directional than a hypercardioid or a shotgun mic. This sort of mic does a pretty good job of getting a &quot;you are here&quot; sort of ambience with great stereo imaging.&#xD;&#xA;&#xD;&#xA;[![Rode NT4][12]][11]&#xD;&#xA;&#xD;&#xA;One more note about the Rode mics... their true condenser mics are generally very quiet. The [NTG-1][13] and [NTG-2][2] (but not the [NTG-3][3]) are electret condenser mics though, which generally results in higher noise. If a microphone can be powered by a single AA battery, it's generally not going to be a true condenser. Accept no imitations!&#xD;&#xA;&#xD;&#xA;[![Rode NTG-1 and NTG-2][15]][2]&#xD;&#xA;&#xD;&#xA;Make sure and check out this [video by Ty Ford][14] where he compares various types of microphones. You can get an intuitive sense of a lot just by watching it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[1]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511&#xD;&#xA;[2]: http://uk.rodemic.com/microphone.php?product=NTG-2&#xD;&#xA;[3]: http://www.rodemic.com/microphone.php?product=NTG-3&#xD;&#xA;[4]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/C96939268CC4941EC125743200802EF7/$File/MKH50-P48_ClockfaceDiagram.jpg&#xD;&#xA;[5]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_studio-recording-mics_mkh-classics_003109?Open&amp;row=2&#xD;&#xA;[6]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/B905568D10D34331C125743200802EDD/$File/MKH416-P48U3_ClockfaceDiagram.jpg&#xD;&#xA;[7]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511?Open&amp;row=2&#xD;&#xA;[8]: http://www.schoeps.de/en/products/mk41/overview&#xD;&#xA;[9]: http://www.audixusa.com/docs/products/SCX1-C.shtml&#xD;&#xA;[10]: http://www.audixusa.com/phpThumb/phpThumb.php?src=../images/highrez_img/SCX-one_str.jpg&amp;w=300&amp;h=300&#xD;&#xA;[11]: http://www.rode.com.au/microphone.php?product=NT4&#xD;&#xA;[12]: http://www.rode.com.au/images/mics/nt4_001.jpg&#xD;&#xA;[13]: http://www.rode.com.au/microphone.php?product=NTG-1&#xD;&#xA;[14]: http://cinemasound.ning.com/video/ty-ford-mic-tutorial-video&#xD;&#xA;[15]: http://www.rode.com.au/images/mics/ntg-1&amp;2.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1469" PostHistoryTypeId="5" PostId="783" RevisionGUID="de0fd755-01fb-4d51-b675-9b3ca2f598a7" CreationDate="2010-05-02T07:04:57.010" UserDisplayName="user80" Comment="added 108 characters in body; added 1 characters in body; added 646 characters in body; deleted 677 characters in body" Text="Different types of microphones have different uses, obviously. Here is what I have found works best in various situations. Before delving headlong into shotgun mic comparison shopping, ask yourself what will suit your needs the best.&#xD;&#xA;&#xD;&#xA;If you want to record specific point sounds at a distance outdoors, including outdoor boom mic dialog recording for film and TV, a short shotgun such as the [Sennheiser MKH 416][1] and friends is going to be your best bet. I wouldn't recommend the [Rode NTG-2][2] unless you're really on a budget, but the [Rode NTG-3][3] appears to have nearly identical specs to the 416. The NTG-3 is a relative newcomer, while the 416 has been _the_ short shotgun mic for at least a couple decades or so now.&#xD;&#xA;&#xD;&#xA;If you want to record interior dialog for film and TV, and do a passable job at exterior dialog provided you get the mic a little closer, then a hypercardioid mic is your best bet. Shotgun mics have weird off-axis frequency response as you go farther down the spectrum. Basically the shotgun pattern is only for mid to high frequencies, while the lower frequencies still come in from nearly all directions. Indoors in a normal untreated room, you end up with weird boominess in a lot of cases. This is just down to the various pickup patterns and physics.&#xD;&#xA;&#xD;&#xA;[![ Sennheiser MKH 50 Polar Pattern][4]][5][![ Sennheiser MKH 416 Polar Pattern][6]][7]&#xD;&#xA;&#xD;&#xA;If you are recording a scripted independent film and just need a single mic, I would go with the hypercardiod. The [Schoeps CMC641][8] seems to be the gold standard, but it's about $2000. I got an [Audix SCX1-HC][9] and have been very happy with it. For indoor dialog I think it sounds better than a [Sennheiser 416][1].&#xD;&#xA;&#xD;&#xA;[![Audix ScX-HC][10]][9]&#xD;&#xA;&#xD;&#xA;Depending on what field recording means to you, exactly, you may also want a stereo mic of some sort to record ambiences and the like. The [Rode NT4][11] is pretty good at this, and there are several other pricier options from other manufacturers as well. The NT4 is essentially two cardioid mics in an X/Y pattern, so it picks up a much wider field of sound and is less directional than a hypercardioid or a shotgun mic. This sort of mic does a pretty good job of getting a &quot;you are here&quot; sort of ambience with great stereo imaging.&#xD;&#xA;&#xD;&#xA;[![Rode NT4][12]][11]&#xD;&#xA;&#xD;&#xA;One more note about the Rode mics... their true condenser mics are generally very quiet. The [NTG-1][13] and [NTG-2][2] (but not the [NTG-3][3]) are electret condenser mics though, which generally results in higher noise. If a microphone can be powered by a single AA battery, it's generally not going to be a true condenser. Accept no imitations!&#xD;&#xA;&#xD;&#xA;[![Rode NTG-1 and NTG-2][15]][2]&#xD;&#xA;&#xD;&#xA;Make sure and check out this [video by Ty Ford][14] where he compares various types of microphones. You can get an intuitive sense of a lot just by watching it.&#xD;&#xA;&#xD;&#xA;[1]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511&#xD;&#xA;[2]: http://uk.rodemic.com/microphone.php?product=NTG-2&#xD;&#xA;[3]: http://www.rodemic.com/microphone.php?product=NTG-3&#xD;&#xA;[4]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/C96939268CC4941EC125743200802EF7/$File/MKH50-P48_ClockfaceDiagram.jpg&#xD;&#xA;[5]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_studio-recording-mics_mkh-classics_003109?Open&amp;row=2&#xD;&#xA;[6]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/B905568D10D34331C125743200802EDD/$File/MKH416-P48U3_ClockfaceDiagram.jpg&#xD;&#xA;[7]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511?Open&amp;row=2&#xD;&#xA;[8]: http://www.schoeps.de/en/products/mk41/overview&#xD;&#xA;[9]: http://www.audixusa.com/docs/products/SCX1-C.shtml&#xD;&#xA;[10]: http://www.audixusa.com/images/thumb_img/SCX-one_str.jpg&#xD;&#xA;[11]: http://www.rode.com.au/microphone.php?product=NT4&#xD;&#xA;[12]: http://www.rode.com.au/images/mics/nt4_001.jpg&#xD;&#xA;[13]: http://www.rode.com.au/microphone.php?product=NTG-1&#xD;&#xA;[14]: http://cinemasound.ning.com/video/ty-ford-mic-tutorial-video&#xD;&#xA;[15]: http://www.rode.com.au/images/mics/ntg-1&amp;2.jpg&#xD;&#xA;[16]: http%3A%2F%2Fcinemasound.ning.com%2Fvideo%2Fvideo%2FshowPlayerConfig%3Fid%3D985656%253AVideo%253A11747%26ck%3D-&amp;amp" ContentLicense="CC BY-SA 2.5" />
  <row Id="1470" PostHistoryTypeId="5" PostId="49" RevisionGUID="56842340-3e9b-4bfc-a136-814223088ba4" CreationDate="2010-05-02T07:17:16.433" UserDisplayName="user80" Comment="Added weblinks and image; edited body" Text="I'm an absolute newbie. &#xD;&#xA;&#xD;&#xA;I'd like to buy a portable recorder but I don't know which is the best. I read about [Zoom H2][1], [Zoom H4n][2] and [Tascam DR-07][3] but there are also a lot of other models...&#xD;&#xA;&#xD;&#xA;Any suggestions?&#xD;&#xA;&#xD;&#xA;[![Tascam DR-07][4]][3]&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;[2]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;[3]: http://www.tascam.com/products/dr-07.html&#xD;&#xA;[4]: http://www.tascam.com/i-3715-146-64-1-113A1619.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1471" PostHistoryTypeId="5" PostId="51" RevisionGUID="f6c5426f-783b-4de6-8da5-e873dd38f134" CreationDate="2010-05-02T09:43:45.540" UserDisplayName="user80" Comment="Added weblinks and image; added 3 characters in body; added 72 characters in body" Text="Definitely consider the [Zoom H2][1]. If it's in your price range, you won't be disappointed. It takes [SD (Secure Digital) cards][3], so you can easily bring more storage with you, and it does an amazing job.&#xD;&#xA;&#xD;&#xA;[![Zoom H2][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;[2]: http://www.zoom.co.jp/english/products/h2/h2_01.jpg&#xD;&#xA;[3]: http://en.wikipedia.org/wiki/Secure_Digital" ContentLicense="CC BY-SA 2.5" />
  <row Id="1472" PostHistoryTypeId="6" PostId="49" RevisionGUID="d24db534-f9a2-4aab-b0fc-be67c0dd2f3e" CreationDate="2010-05-02T09:46:17.293" UserDisplayName="user80" Comment="edited tags" Text="&lt;portable-recorder&gt;&lt;newbie&gt;&lt;zoom&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1473" PostHistoryTypeId="2" PostId="821" RevisionGUID="7f6e7c88-2441-4a0f-82e4-4db4eed822f1" CreationDate="2010-05-02T10:35:08.447" UserId="230" Text="So the editor of this period drama says to me last week, the sync is out, and also commented that the 2nd unit recordist was as much as 5 frames out of sync.... now first of all lets says theres a 2 frame offset.. that still leaves 3 frames a drift.&#xD;&#xA;&#xD;&#xA;I use the ambient lockit boxes on arri d21 cams, the master clock however is a ambient acc501... so I tune the lockit boxes to the  501.... half way thorugh the day I re-jam and at most the difference is around 0.04 - 0.25 of a frame out.&#xD;&#xA;&#xD;&#xA;My mixers box is a denecke and I jam this too, however it does not have a timecode out so I cannot check the diffence.&#xD;&#xA;&#xD;&#xA;So with such tight sync between all devices, basiclly less than a frame how is it possible that the editors, bless them, are saying the sync is out by more than 3 frames in some cases?&#xD;&#xA;&#xD;&#xA;Later on they told us, doesnt matter if its out, its out.... I wonder do they really know what timecode is and are they syncing it in post correctly?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I use time of day free run, 25fr, 48khz non dp. &#xD;&#xA;&#xD;&#xA;I wonder if the problem could be with the mixers fostex recorder as this is the only mixer to have a setting where you set the frequency to 48048 but it gets stamped at 48k, making the playback of the recorded audio 0.1% slower?&#xD;&#xA;&#xD;&#xA;The 2nd unit mixer uses the same Fostex dv824&#xD;&#xA;&#xD;&#xA;Any comments?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Sharpy" ContentLicense="CC BY-SA 2.5" />
  <row Id="1474" PostHistoryTypeId="1" PostId="821" RevisionGUID="7f6e7c88-2441-4a0f-82e4-4db4eed822f1" CreationDate="2010-05-02T10:35:08.447" UserId="230" Text="Timecode irregularity post" ContentLicense="CC BY-SA 2.5" />
  <row Id="1475" PostHistoryTypeId="3" PostId="821" RevisionGUID="7f6e7c88-2441-4a0f-82e4-4db4eed822f1" CreationDate="2010-05-02T10:35:08.447" UserId="230" Text="&lt;timecode&gt;&lt;fun&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1476" PostHistoryTypeId="2" PostId="822" RevisionGUID="4c9f7e5b-92ad-4362-8e5c-84627df99118" CreationDate="2010-05-02T10:40:17.437" UserId="230" Text="To be honest, to keep up to date with timecode just check on ambients new products every so often.... theyre are pretty much the leaders in timecode products. &#xD;&#xA;&#xD;&#xA;but tbh it wont change so much&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1477" PostHistoryTypeId="2" PostId="823" RevisionGUID="0989b7c9-0655-4c9a-b128-c46377c4433e" CreationDate="2010-05-02T10:52:09.317" UserId="230" Text="Hey folks&#xD;&#xA;&#xD;&#xA;I couldt pass on sticking my nose in on this.&#xD;&#xA;&#xD;&#xA;I have discussed a lot with Joe ramos from SD, these machines are designed to go anywhere in the world and survive.&#xD;&#xA;&#xD;&#xA;744t is the way forward... 788t is naturally the top end on par with the fusion 12 but thats really for drama and multi booms :D&#xD;&#xA;&#xD;&#xA;timecide option is very valuable on the 744t and if you get a mixer you can utilise it well&#xD;&#xA;&#xD;&#xA;track 1 mono mix, and 3 ISO tracks... of course this would leave one input redundant track wise.&#xD;&#xA;&#xD;&#xA;However a great setup I use.. all 4 tracks as ISOs and then you can send a mix out of the 744t to the cam so they have the mono mix on tape, which is great for post :D&#xD;&#xA;&#xD;&#xA;It would have been nice if the 744t was a 4 in 6 track recorder so you can save a mix track  onboard as well as the ISOs but hey I spose thats the incentive to get a 788 as it was 8in to 10 track and now its upgraded to 8in 12 track :D&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Sorry I digress... 744T!!! :DDD&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1478" PostHistoryTypeId="5" PostId="52" RevisionGUID="46205fef-4d43-469b-92d3-e4dd052dfdbb" CreationDate="2010-05-02T11:38:07.717" UserId="37" Comment="added 58 characters in body" Text="sony PCM-M10. &#xD;&#xA;here's a review [http://esem.name/?pcmm10][1]&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://dot.cult.bg/esem/i/pcmm10_dark2.jpg&quot; /&gt;&#xD;&#xA;&#xD;&#xA;  [1]: http://esem.name/?pcmm10" ContentLicense="CC BY-SA 2.5" />
  <row Id="1479" PostHistoryTypeId="2" PostId="824" RevisionGUID="2d775dce-aeea-4a24-bc79-c268d35e1f46" CreationDate="2010-05-02T14:07:10.950" UserId="208" Text="Thanks to all whos been helping out. Much appreciated:)&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 2.5" />
  <row Id="1480" PostHistoryTypeId="5" PostId="818" RevisionGUID="d6694202-0b9f-4b36-bcdc-dfa06d07dd6f" CreationDate="2010-05-02T17:18:48.180" UserId="29" Comment="Fixing my horrible late-night, post-cocktail grammar." Text="Colin, I just loaded some samples recorded with my H2, from power tools to subways to a rock drum kit to Belizean live drumming, and found that there are tones &lt;70 Hz...but with massive attenuation. In my quick, non-scientific filtering tests, I was getting -20 to -25dB attenuation of frequencies below 80-100Hz or so, down to -35dB in the 60-70Hz range. The frequency response in this frequency range is clearly non-linear.&#xD;&#xA;&#xD;&#xA;This could be due to the capsules, or the preamp, or something else...I've been so disappointed in the mic inputs that I've never recorded anything that I kept using an external mic. Zoom only shows polar patterns for 1kHz test tones.&#xD;&#xA;&#xD;&#xA;The Zoom H2 still rocks for those odd sounds you'd otherwise miss; its light weight and small size are its greatest advantages. Many pro's I know carry one, just like many pro photogs carry point-and-shoot cameras, for the same reasons. But, like a point and shoot camera, it sure has its limitations.&#xD;&#xA;&#xD;&#xA;Hopefully someone with more time than I can drop more science on this issue." ContentLicense="CC BY-SA 2.5" />
  <row Id="1481" PostHistoryTypeId="2" PostId="825" RevisionGUID="a1ff9746-8cca-4c14-87c7-d4e35e8581aa" CreationDate="2010-05-02T17:25:26.370" UserId="29" Text="Just to clarify: Is the offset **consistent** or does the sync drift more and more **over time**? In my (admittedly limited) experience, consistent timecode offsets of 1-2 frames even with top-notch kit isn't uncommon...but it's pretty easy to fix. Drifting sync over time could absolutely signify a mismatch in sample rate that you yourself diagnosed, or someone's sync box or internal clock not set to match drop vs. non-drop. How much post will complain or be willing to fix it depends on how consistent the problems are - if it's all over the place, they're right to have conniption fits.&#xD;&#xA;&#xD;&#xA;Colin's got a lot of experience doing production audio, he might be able to chime in with more knowledge." ContentLicense="CC BY-SA 2.5" />
  <row Id="1482" PostHistoryTypeId="2" PostId="826" RevisionGUID="a1f38a4d-8a72-46bf-b9b0-035c2cd1e5a6" CreationDate="2010-05-02T18:01:35.747" UserId="238" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I am looking for a little bit of advice on DAWs. I am Mac-based and have exclusively used Logic Studio for my work which, so far, I have found to be sufficient. But I am beginning to wonder whether I should invest in Pro Tools as my main DAW. I cannot afford the full HD version but am looking at Pro Tools M-Powered (I already use a compatible M Audio sound card). Generally I am developing sound design for relatively small productions: editing, Foley (ADR when required) and mixing. Recently I am working more and more with production agencies who produce online content and advertising for TV. &#xD;&#xA;&#xD;&#xA;So my questions to you guys out there are: &#xD;&#xA;&#xD;&#xA; - Do you think Pro Tools M-Powered is a worthwhile investment?&#xD;&#xA; - If not Pro Tools, what DAWs do you use?&#xD;&#xA; - What is the most compatible DAW for our industry?&#xD;&#xA; - Are there any obvious advantages to using Pro Tools versus Logic?&#xD;&#xA;&#xD;&#xA;I know that most big studios are using Pro Tools HD systems but I am working independently and am not quite at that level yet. From what I can see, one advantage with Pro Tools is that all versions are inter-compatible, therefore if I run Pro Tools M Powered on my system I can open my project on another studio's HD system if required. &#xD;&#xA;&#xD;&#xA;Any feedback would be appreciated.&#xD;&#xA;&#xD;&#xA;Thanks in advance.&#xD;&#xA;&#xD;&#xA;Colin&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1483" PostHistoryTypeId="1" PostId="826" RevisionGUID="a1f38a4d-8a72-46bf-b9b0-035c2cd1e5a6" CreationDate="2010-05-02T18:01:35.747" UserId="238" Text="Pro Tools vs Logic..." ContentLicense="CC BY-SA 2.5" />
  <row Id="1484" PostHistoryTypeId="3" PostId="826" RevisionGUID="a1f38a4d-8a72-46bf-b9b0-035c2cd1e5a6" CreationDate="2010-05-02T18:01:35.747" UserId="238" Text="&lt;protools&gt;&lt;daw&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1485" PostHistoryTypeId="2" PostId="827" RevisionGUID="b590106e-7b5f-4c6d-bc0e-1a08b872f8b5" CreationDate="2010-05-02T18:37:19.467" UserId="18" Text="I used Protools TDM/HD for many years.  When I went freelance I bought Protools Mpowered to work with my Maudio interface.  It runs nothing like the HD version.  I had a host of problems, much of it was related to the interface and how Protools interfaces with it.  I've had problems where I open a session and Protools tells me that the interface doesn't support 96K sample rate (yes it does!), other times it has said that the interface doesn't support 48K sample rate (what!?), once it even told me that it doesn't support 44.1K (WTF?!).  I will say that not all of the MAudio interface/drivers are created equal.  The Profire 2626 seems a lot less problematic than the older firewire series.&#xD;&#xA;&#xD;&#xA;Add to that, you must have DV Toolkit or Total Production Toolkit if you are doing post.  Good luck working with video without one of those.  If you really must get Protools, Protools LE was much less problematic than Protools Mpowered for me.  I never had issue with the hardware/software playing nice together with LE.  But again, you need the toolkits.  I've had issues opening sessions from other people, then I installed a toolkit, and the session opened.  Might have to do with track count or some other voodoo thing.&#xD;&#xA;&#xD;&#xA;In the end, I made made the move to Nuendo.  I keep the Mpowered rig around to open old sessions or sessions from other people.  If you can, wait it out a bit.  Rumor has it that there is a big Protools shake up coming soon.  Protools may finally offer an un-crippled native version.    " ContentLicense="CC BY-SA 2.5" />
  <row Id="1486" PostHistoryTypeId="2" PostId="828" RevisionGUID="71087c48-f456-4638-a829-a905070b0341" CreationDate="2010-05-02T19:56:40.680" UserId="37" Text="I use both platforms.&#xD;&#xA;&#xD;&#xA;If you plan to work to picture and work with other people, then I'm afraid it's Pro Tools you will need. Protools LE will allow you to explore the platform without investing a huge sum. The other common alternative, Nuendo, is costly right from the start.&#xD;&#xA;&#xD;&#xA;However, if you compose music, you might want to go the Logic route. Of the two, Logic got there first for computer-based composition. PT is still ahead for audio editing and productivity. &#xD;&#xA;&#xD;&#xA;Have bought a number of M-audio's products over the years, and while the earlier ones were great, I'm afraid their latest offerings have disappointed me in terms of quality and stability. With M-Powered you will depend on an M-Audio interface (or a Mackie Onyx series mixer!). With Protools you would be in the hands of Digidesign (not necessarily better, but the support path should be shorter).&#xD;&#xA;&#xD;&#xA;Bottomline, there's a clear benefit from investing in PT. But you're likely to stay close with Logic too ;)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1487" PostHistoryTypeId="5" PostId="827" RevisionGUID="f888ba6a-6159-4882-a837-b180728fa576" CreationDate="2010-05-03T05:49:32.930" UserDisplayName="user80" Comment="added 14 characters in body" Text="I used Pro Tools TDM/HD for many years.  When I went freelance I bought Protools M-Powered to work with my M-Aaudio interface.  It runs nothing like the HD version.  I had a host of problems, much of it was related to the interface and how Pro Tools interfaces with it.  I've had problems where I open a session and Pro Tools tells me that the interface doesn't support 96K sample rate (yes it does!), other times it has said that the interface doesn't support 48K sample rate (what!?). Once it even told me that it doesn't support 44.1K (WTF?!).  I will say that not all of the M-Audio interface/drivers are created equal.  The Profire 2626 seems a lot less problematic than the older firewire series.&#xD;&#xA;&#xD;&#xA;Add to that, you must have DV Toolkit or Total Production Toolkit if you are doing post.  Good luck working with video without one of those.  If you really must get Pro Tools, Pro Tools LE was much less problematic than Pro Tools M-Powered for me.  I never had issue with the hardware/software playing nice together with LE.  But again, you need the toolkits.  I've had issues opening sessions from other people, then I installed a toolkit, and the session opened.  Might have to do with track count or some other voodoo thing.&#xD;&#xA;&#xD;&#xA;In the end, I made made the move to Nuendo.  I keep the M-Powered rig around to open old sessions or sessions from other people.  If you can, wait it out a bit.  Rumor has it that there is a big Pro Tools shake up coming soon.  Pro Tools may finally offer an un-crippled native version.    " ContentLicense="CC BY-SA 2.5" />
  <row Id="1488" PostHistoryTypeId="5" PostId="828" RevisionGUID="21620444-1659-43ce-9d15-02952a7d30fd" CreationDate="2010-05-03T05:51:21.700" UserDisplayName="user80" Comment="added 7 characters in body" Text="I use both platforms.&#xD;&#xA;&#xD;&#xA;If you plan to work to picture and work with other people, then I'm afraid it's Pro Tools you will need. Pro Tools LE will allow you to explore the platform without investing a huge sum. The other common alternative, Nuendo, is costly right from the start.&#xD;&#xA;&#xD;&#xA;However, if you compose music, you might want to go the Logic route. Of the two, Logic got there first for computer-based composition. PT is still ahead for audio editing and productivity. &#xD;&#xA;&#xD;&#xA;Have bought a number of M-Audio's products over the years, and while the earlier ones were great, I'm afraid their latest offerings have disappointed me in terms of quality and stability. With M-Powered you will depend on an M-Audio interface (or a Mackie Onyx series mixer!). With Pro Tools you would be in the hands of Digidesign/Avid (not necessarily better, but the support path should be shorter).&#xD;&#xA;&#xD;&#xA;Bottomline, there's a clear benefit from investing in PT. But you're likely to stay close with Logic too ;)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1489" PostHistoryTypeId="6" PostId="826" RevisionGUID="93debaa9-6ac1-4baa-88be-854a4c0e0b40" CreationDate="2010-05-03T05:52:18.250" UserDisplayName="user80" Comment="edited tags" Text="&lt;pro-tools&gt;&lt;daw&gt;&lt;editing&gt;&lt;software&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1490" PostHistoryTypeId="6" PostId="573" RevisionGUID="6b107e1d-29ae-4e88-83ac-4340069d8744" CreationDate="2010-05-03T05:52:56.000" UserDisplayName="user80" Comment="edited tags" Text="&lt;pro-tools&gt;&lt;adobe&gt;&lt;compatibility&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1491" PostHistoryTypeId="5" PostId="821" RevisionGUID="7f694f5a-615e-4fb8-a819-639df98071f5" CreationDate="2010-05-03T05:57:03.647" UserDisplayName="user80" Comment="added 6 characters in body; edited tags; edited tags" Text="So the editor of this period drama says to me last week, the sync is out, and also commented that the 2nd unit recordist was as much as 5 frames out of sync.... now first of all let's says there's a 2 frame offset.. that still leaves 3 frames adrift.&#xD;&#xA;&#xD;&#xA;I use the ambient lockit boxes on arri d21 cams, the master clock however is a ambient acc501... so I tune the lockit boxes to the  501.... half way thorugh the day I re-jam and at most the difference is around 0.04 - 0.25 of a frame out.&#xD;&#xA;&#xD;&#xA;My mixer's box is a denecke and I jam this too, however it does not have a timecode out so I cannot check the diffence.&#xD;&#xA;&#xD;&#xA;So with such tight sync between all devices, basiclly less than a frame how is it possible that the editors, bless them, are saying the sync is out by more than 3 frames in some cases?&#xD;&#xA;&#xD;&#xA;Later on they told us, doesn't matter if it's out, it's out.... I wonder do they really know what timecode is and are they syncing it in post correctly?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I use time of day free run, 25fr, 48khz non dp. &#xD;&#xA;&#xD;&#xA;I wonder if the problem could be with the mixer's fostex recorder as this is the only mixer to have a setting where you set the frequency to 48048 but it gets stamped at 48k, making the playback of the recorded audio 0.1% slower?&#xD;&#xA;&#xD;&#xA;The 2nd unit mixer uses the same Fostex dv824&#xD;&#xA;&#xD;&#xA;Any comments?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Sharpy" ContentLicense="CC BY-SA 2.5" />
  <row Id="1492" PostHistoryTypeId="6" PostId="821" RevisionGUID="7f694f5a-615e-4fb8-a819-639df98071f5" CreationDate="2010-05-03T05:57:03.647" UserDisplayName="user80" Comment="added 6 characters in body; edited tags; edited tags" Text="&lt;timecode&gt;&lt;fun&gt;&lt;sync&gt;&lt;offsets&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1493" PostHistoryTypeId="5" PostId="52" RevisionGUID="e0fd131b-204d-4243-9c74-6ce85f6ccda4" CreationDate="2010-05-03T06:02:38.747" UserDisplayName="user80" Comment="added 119 characters in body" Text="[Sony PCM-M10][2]. &#xD;&#xA;Here's a review [http://esem.name/?pcmm10][1]&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://dot.cult.bg/esem/i/pcmm10_dark2.jpg&quot; /&gt;&#xD;&#xA;&#xD;&#xA;  [1]: http://esem.name/?pcmm10&#xD;&#xA;  [2]: http://pro.sony.com/bbsc/ssr/cat-audio/resource.solutions.bbsccms-assets-cat-audio-solutions-pcmm10.shtml" ContentLicense="CC BY-SA 2.5" />
  <row Id="1494" PostHistoryTypeId="5" PostId="55" RevisionGUID="3e376256-10dd-46c3-bc5b-d1097d48fd9f" CreationDate="2010-05-03T06:05:52.133" UserDisplayName="user80" Comment="Added weblinks and image" Text="The [Zoom H2][2] is a great little machine for the price range. Check out [this related question][1], it has an answer that talks about the Zoom H2. &#xD;&#xA;&#xD;&#xA;Georgi's mention of the [PCM-M10] a good one. I saw it as the [AES convention][4] last year and it looked like a nice and small recorder. I don't know about the quality though.&#xD;&#xA;&#xD;&#xA;[![AES convention][5]][4]  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/24/sound-recording-for-film&#xD;&#xA;  [2]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;  [3]: http://pro.sony.com/bbsc/ssr/cat-audio/resource.latest.bbsccms-assets-cat-audio-solutions-pcmm10.shtml&#xD;&#xA;  [4]: http://www.aes.org/events/conventions/&#xD;&#xA;  [5]: http://www.aes.org/images/cms/landing/0539.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1495" PostHistoryTypeId="6" PostId="802" RevisionGUID="82e5c466-b291-494b-96e7-4fca5c417ec4" CreationDate="2010-05-03T06:10:19.007" UserDisplayName="user80" Comment="edited tags" Text="&lt;microphone&gt;&lt;metal&gt;&lt;recommendations&gt;&lt;vocals&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1497" PostHistoryTypeId="2" PostId="830" RevisionGUID="d808a133-2494-4675-9aa4-db0163ee525e" CreationDate="2010-05-03T13:54:28.793" UserId="255" Text="The only software i can think of that can use DSD/ support 1bit is Pyramix, which also has some very useful functions for working with video. Ive never used the DSD abilities of it so i cant comment on it really, but considering what else it can do im sure its worth a look.&#xD;&#xA;&#xD;&#xA;http://www.merging.com/products/show?product=1&amp;page=11" ContentLicense="CC BY-SA 2.5" />
  <row Id="1498" PostHistoryTypeId="2" PostId="831" RevisionGUID="844e9f0c-f291-40a3-98d9-6d68be3f1712" CreationDate="2010-05-03T14:31:48.603" UserId="220" Text="Hands down for price and response, the Audix OM7.  You can get one for $150 Z-stock from Rat Sound.  They don't do too well if you're not running at high levels and if the singer does not eat the mic, but most screaming singers fit the bill." ContentLicense="CC BY-SA 2.5" />
  <row Id="1499" PostHistoryTypeId="12" PostId="831" RevisionGUID="646ca31f-9490-4c6b-a444-9193afc05245" CreationDate="2010-05-03T14:35:57.060" UserId="220" Text="[{&quot;Id&quot;:220,&quot;DisplayName&quot;:&quot;VCProd&quot;}]" />
  <row Id="1500" PostHistoryTypeId="13" PostId="831" RevisionGUID="eb0e772a-bd0b-436c-8077-0ebc670e681b" CreationDate="2010-05-03T14:36:00.537" UserId="220" Text="[{&quot;Id&quot;:220,&quot;DisplayName&quot;:&quot;VCProd&quot;}]" />
  <row Id="1501" PostHistoryTypeId="2" PostId="832" RevisionGUID="cebe9e9d-d3c8-4388-afe6-d2006b233065" CreationDate="2010-05-03T14:48:02.893" UserId="194" Text="I'd go away from the H2 and run either the H4 or the Sony PCM-D50 for that specific application.&#xD;&#xA;&#xD;&#xA;I own both, but I keep the PCM-D50 on me at all times in case I run across something awesome sounding.  I also use it constantly for recording ambiances on the fly.&#xD;&#xA;&#xD;&#xA;IMO, given that you're going to be using the built-in mics when recording spontaneously most of the time, I'd advise to go with the PCM-D50 - better built in mics, better preamps, and built in storage.  In my bag I have the Zoom H4 as a capture device for my contact mics, and the Sony for the actual built in mic recordings.  Used in tandem they can be pretty incredible.&#xD;&#xA;&#xD;&#xA;Also, battery life on the PCM is 100x better (not exaggerating) than battery life in the Zoom devices.  I ran mine on the 4 AA batteries that came in the box for over a week before replacing - and this includes 4 straight hours of recording a crowd at a hockey game.  My zoom can suck its 2 AAs dry in just over an hour using built in mics and headphones.   &#xD;&#xA;&#xD;&#xA;Also, the Sony also gives you a 5 second prerecord buffer that can you can put into record seamlessly.  This means that if you think something cool is going to happen but you're not sure, you can just arm the track and when it occurs you have 5 seconds to hit record and not miss it.  I use this feature in sporting events frequently as well - in device editing  :)&#xD;&#xA;&#xD;&#xA;My.02" ContentLicense="CC BY-SA 2.5" />
  <row Id="1502" PostHistoryTypeId="5" PostId="831" RevisionGUID="c348693d-0227-409a-8f39-49d1c657c312" CreationDate="2010-05-03T14:49:03.500" UserId="220" Comment="spelling" Text="I originally responded with the Audix OM7 before realizing you were looking for something studio, not live.  Don't ever record with mics intended for live performances.  &#xD;&#xA;&#xD;&#xA;I would go with a solid standard - AT4040 or 4047, Shure SM7, Neumann U87 if you want to pay a bit more - and put two pop filters in front. I've heard the RODE NTK is really solid for rock vocals, but have not heard it myself. &#xD;&#xA;&#xD;&#xA;Don't limit yourself to one mic - it may take a while before you find the right mic for the these specific vocals.  Also be aware of the space you're working in.  Most mics do not sound good in an iso booth, they need a larger air space to sound right." ContentLicense="CC BY-SA 2.5" />
  <row Id="1503" PostHistoryTypeId="2" PostId="833" RevisionGUID="a49de196-6c66-44dd-82e5-a9065764f48d" CreationDate="2010-05-03T14:51:20.613" UserId="256" Text="Hey Colin. I would just add that Chuck is right. To work with the LE systems you really need the DV toolkit. I use PT HD and LE with the Toolkits-but they are pricey and its really not a good time to make that investment-because protools looks like its is finally going native. I would also add that I am a sound designer that loves using logic, but much of what id do is non-reality based stuff. Using Logic for tenuous editorial in my opinion is not ideal because that is not what Logic is about. BUt what alot of people dont realize is that you can sync Logic to pro-tools and run it as a slave synced machine (something I do often). This gives you the power of having a powerful waveform editor (Like PT) and a powerful instrument based sequencer like Logic. So its never really one or the other. And like Chuck you might want to give Nuendo a try. It actually has alot of features I wish pro-tools had and is a very well engineered platform. &#xD;&#xA;&#xD;&#xA;In the Film and video world- Pro-tools IS the industry standard. But its about the timing. With Pro-tools on the verge of going native I would just recommend that you wait. There are lots of good alternatives that can tie you over.  &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1504" PostHistoryTypeId="2" PostId="834" RevisionGUID="816a5b38-1e8c-4895-aac9-47bdb383019e" CreationDate="2010-05-03T15:13:57.337" UserId="220" Text="At the time of recording, conditions were so severe on set that recording on-set foley was out of the question, much less getting clean dialog.  Lo and behold, it's now May, all the snow is gone, and I still don't have my footsteps in the snow.  I have some library effects, but I'd rather create my own.&#xD;&#xA;&#xD;&#xA;I have heard that cornstarch makes decent snow sounds, as well as course sand.  &#xD;&#xA;&#xD;&#xA;What have you used to create snow-based foley effects without having the real stuff on hand?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1505" PostHistoryTypeId="1" PostId="834" RevisionGUID="816a5b38-1e8c-4895-aac9-47bdb383019e" CreationDate="2010-05-03T15:13:57.337" UserId="220" Text="How do I record snow-based foley without real snow?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1506" PostHistoryTypeId="3" PostId="834" RevisionGUID="816a5b38-1e8c-4895-aac9-47bdb383019e" CreationDate="2010-05-03T15:13:57.337" UserId="220" Text="&lt;foley&gt;&lt;snow&gt;&lt;footsteps&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1507" PostHistoryTypeId="2" PostId="835" RevisionGUID="6b242665-63e9-4886-a3f0-1f4d1e20d3bc" CreationDate="2010-05-03T15:47:07.257" UserId="61" Text="You're correct, corn starch is a tried-and-true substitute and has been used for years by many foley artists." ContentLicense="CC BY-SA 2.5" />
  <row Id="1508" PostHistoryTypeId="2" PostId="836" RevisionGUID="9382d345-7cce-436f-bd65-34b4e13535c7" CreationDate="2010-05-03T15:57:57.113" UserId="29" Text="+1: I've got a tiny ziplock of corn starch in a leather pouch, and just manipulating that sounds pretty good. Hands right in cornstarch works, too, but is messy. Depending on the scene, though, sweetening with styrofoam might add some icy-surface crunch if the snow's not recently fallen, or if the emotion demands a more aggressive sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="1509" PostHistoryTypeId="2" PostId="837" RevisionGUID="7c263248-f922-4f9d-a840-73589cd3168c" CreationDate="2010-05-03T17:44:57.793" UserId="37" Text="wildtrack foley? :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1510" PostHistoryTypeId="5" PostId="835" RevisionGUID="df3d26fe-9b18-4adb-a192-4805ef6719f0" CreationDate="2010-05-03T19:12:45.847" UserId="61" Comment="added 428 characters in body" Text="You're correct, corn starch is a tried-and-true substitute and has been used for years by many foley artists.&#xD;&#xA;&#xD;&#xA;**UPDATE:** May I also suggest possibly contacting your local ice company? I have known of at least one film that took place almost entirely in the snow, and the foley artist arranged to have **LOTS** of real snow delivered to his stage for authenticity. May cost you a little more than the cornstarch but I'll bet you'd be much happier with the results, plus you get to build out your library with some great snow material." ContentLicense="CC BY-SA 2.5" />
  <row Id="1511" PostHistoryTypeId="2" PostId="838" RevisionGUID="06b093ef-52ee-4aa0-a357-440afc4d25b6" CreationDate="2010-05-03T19:43:00.713" UserDisplayName="user49" Text="It depends on the depth &amp; form of the snow - nothing will replace the real thing, especially for deep snow... for footsteps &amp; movement on 30 Days of Night we often used 3 layers: the initial impact was from rock salt that had been wet &amp; left to dry so it formed a crust, then the deeper crunch was from a mix of rock salt &amp; corn starch, plus the foley editor had a big library of real snow footsteps which he cut in sync with the foley performances... As it was summer in NZ when we worked on the project, we got a couple of sound recordists in Europe to go recording for us, which was essential especially for body falls &amp; dragging etc... &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1512" PostHistoryTypeId="5" PostId="836" RevisionGUID="dcdf6e1a-30a1-4304-8bc6-24495e937cfc" CreationDate="2010-05-03T20:01:54.110" UserId="29" Comment="added 308 characters in body" Text="+1: I've got a tiny ziplock of corn starch in a leather pouch, and just manipulating that sounds pretty good. Hands right in cornstarch works, too, but is messy. Depending on the scene, though, sweetening with styrofoam might add some icy-surface crunch if the snow's not recently fallen, or if the emotion demands a more aggressive sound.&#xD;&#xA;&#xD;&#xA;[EDIT for the original poster: Photo below. OK, it's, uh...&quot;pleather,&quot; and yes, it looks like I'm smuggling contraband. Bit, *sniff*, no no it really works really, *sniff*, lifelike*VERY*lifelikeOhYeahOhYeah...*sniff*...]&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/stuff/cornstarchPouch.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1513" PostHistoryTypeId="2" PostId="839" RevisionGUID="8db6b296-ef95-4275-ae0b-21efdb71eed3" CreationDate="2010-05-03T21:46:11.387" UserId="257" Text="Hello guys, i've recently bought an Edirol R-4, after my first recorde, the Zomm H2 which i still use for recording quick sketches. I am the happiest sound recordist ever with that R-4, i must say. 4 tracks, portable, 96khz....for a while i finished my search. I suggest it if you need to record with different microphones but you have only one chance. I use it with the Rode NT-4 and a couple of Neumann km 184 for a recording session of the popular italian game, &quot;la morra&quot;. not totally cheap, I had it for some 500 euros." ContentLicense="CC BY-SA 2.5" />
  <row Id="1514" PostHistoryTypeId="5" PostId="836" RevisionGUID="4211e0e2-f1eb-48dd-b144-d0380518da33" CreationDate="2010-05-03T22:06:02.720" UserId="29" Comment="added 103 characters in body; edited body" Text="+1: I've got a tiny ziplock of corn starch in a leather pouch, and just manipulating that sounds pretty good. Hands right in cornstarch works, too, but is messy. Depending on the scene, though, sweetening with styrofoam might add some icy-surface crunch if the snow's not recently fallen, or if the emotion demands a more aggressive sound.&#xD;&#xA;&#xD;&#xA;[EDIT for the original poster: Photo below. I think the bag was originally from a wilderness signaling mirror, if I recall correctly. OK, it's, uh...&quot;pleather,&quot; not leather, and yes, it looks like I'm smuggling contraband. But, *sniff*, no no it really works really, *sniff*, lifelike*VERY*lifelikeOhYeahOhYeah...*sniff*...]&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/stuff/cornstarchPouch.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1515" PostHistoryTypeId="2" PostId="840" RevisionGUID="df55fd4a-7cdd-464e-9428-3f0c3ac1647a" CreationDate="2010-05-04T03:08:55.693" UserId="132" Text="I've also seen the G_technology failures.  If you go into Tekserve in new york, they won't even recommend them anymore.  I've have a few OWC enclosures that I put Seagates in, and I am now moving to system where I'll be using do working drives in enclosures and all of my backups, library material will be on bare drives.  I've recently discovered http://www.hudzee.com/ and I'll be backing up with a drive dock.  Say goodbye to 8 different power supplies on the floor." ContentLicense="CC BY-SA 2.5" />
  <row Id="1516" PostHistoryTypeId="2" PostId="841" RevisionGUID="a9643c48-105e-49bb-8363-adf32c5f83af" CreationDate="2010-05-04T05:26:45.260" UserId="40" Text="I've been long wanting a tablet to use as an input device (drawing in automation, etc...), and I'd love to have a Jazz Mutant control surface, and lots of other stuff.  But I just came across this:  http://www.thinkgeek.com/computing/keyboards-mice/77ba/&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Some of you may have seen it before (because I'm betting most of you are thinkgeek fans...), but I haven't, and now I want one.  You can just stick a button anywhere (plug and play, as it were...), and quickly assign it a macro.  That means you can have 25 programmable macros in whatever configuration you want.  Sweet!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.thinkgeek.com/images/products/zoom/dx1.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1517" PostHistoryTypeId="1" PostId="841" RevisionGUID="a9643c48-105e-49bb-8363-adf32c5f83af" CreationDate="2010-05-04T05:26:45.260" UserId="40" Text="Sound Design Input Devices" ContentLicense="CC BY-SA 2.5" />
  <row Id="1518" PostHistoryTypeId="3" PostId="841" RevisionGUID="a9643c48-105e-49bb-8363-adf32c5f83af" CreationDate="2010-05-04T05:26:45.260" UserId="40" Text="&lt;ergonomics&gt;&lt;input&gt;&lt;sound-design&gt;&lt;computer&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1519" PostHistoryTypeId="2" PostId="842" RevisionGUID="347b8f0d-747f-42ea-b914-12d5cb7996bf" CreationDate="2010-05-04T05:32:21.777" UserId="61" Text="Wow, that's great! **EXCEPT**, no Mac support…boo -- thanks for the post, tho. It dovetails off a topic I posted a while back:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/357/best-use-of-ergonomics-in-an-pro-tools-editing-environment&#xD;&#xA;&#xD;&#xA;Lots of folks answered with the fairly typical setup of keyboard-trackball mouse, but this input device you're talking about it really what I was hoping people would start chatting about. +1 for you!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1520" PostHistoryTypeId="5" PostId="56" RevisionGUID="475de245-7e80-4026-aba1-95abe8aa6339" CreationDate="2010-05-04T06:02:42.433" UserDisplayName="user80" Comment="Added weblinks and image" Text="The [Zoom H2][1] is great to get started. I also have a dedicated recorder for heavy recording sessions, use of different mics etc... but the little H2 is always in my pocket. It's a fantastic machine and a really good value for the money.&#xD;&#xA;&#xD;&#xA;If you're interested in better quality for your pocket recorder, I would recommend a [Sony PCM-M10/R][2]. Anyway even if you are thinking to buy a better recorder in the future, having a little one with you all the time is great.&#xD;&#xA;&#xD;&#xA;[![Sony PCM-M10/R][3]][2]&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;[2]: http://pro.sony.com/bbsc/ssr/cat-audio/cat-recorders/product-PCMM10%2FR/&#xD;&#xA;[3]: http://ws.sel.sony.com/PIPWebServices/RetrievePublicAsset/StepID/SEL-asset-168439/370x251" ContentLicense="CC BY-SA 2.5" />
  <row Id="1521" PostHistoryTypeId="2" PostId="843" RevisionGUID="754afb94-b9fb-4098-8af0-f59e7f93e63e" CreationDate="2010-05-04T06:09:57.690" UserId="100" Text="I've used my [Bamboo tablet][1] (no touch on mine, but looks like it would be cool) with [µ MIDI Controller][2] to control sampled recordings. I stole the idea from Ben Burtt in about how he designed some of the sounds for WALL·E (see 1:11). He was using [Kyma][3] to translate the tablet moves into Motu's [MachFive][4] sampler. Thinkgeek is a great site. That's where I was first introduced to the [Kaossilator][5]. Any other cool controllers out there?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[youtube]vS1EjVQbMWk[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wacom.com/bamboo/bamboo_pen_touch.php&#xD;&#xA;  [2]: http://www.musicunfolding.com/MU_MIDI_Controller.html&#xD;&#xA;  [3]: http://www.symbolicsound.com/cgi-bin/bin/view/Company/WebHome&#xD;&#xA;  [4]: http://www.bhphotovideo.com/c/product/512042-REG/MOTU_5950_MachFive_2_Universal.html&#xD;&#xA;  [5]: http://www.thinkgeek.com/electronics/musical-instruments/a02a/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1522" PostHistoryTypeId="6" PostId="29" RevisionGUID="03f2d5bf-f5e8-4232-bdc7-0bf52a4b816b" CreationDate="2010-05-04T06:12:55.973" UserDisplayName="user80" Comment="edited tags" Text="&lt;books&gt;&lt;surround-sound&gt;&lt;5.1&gt;&lt;recommendations&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1523" PostHistoryTypeId="5" PostId="53" RevisionGUID="94df35b0-6ca5-41eb-a9ce-a07e16af0218" CreationDate="2010-05-04T06:15:44.943" UserDisplayName="user80" Comment="Added image" Text="My current setup is not as portable as I would like. I'm looking to put together a very portable kit for field recording. However, I'd rather not compromise too much on quality for portability. &#xD;&#xA;&#xD;&#xA;I'm thinking of combining the [Sony PCM-D50][1] with the [Core Sound Mic2496][2]. I hear the the pre-amps and the analogue-to-digital converter are really nice, so my thinking is that because the Sony recorder has digital inputs, I can use it as a &quot;bit bucket&quot; bypassing the pre-amps and the lack of XLR inputs. I also keep hearing how the on-board mics of the Sony are really nice, which is always an added bonus. This way I don't always need to have the Core Sound and external mics to record a quick sound. &#xD;&#xA;&#xD;&#xA;  [1]: http://digitalmedia.oreilly.com/2008/01/10/sony-pcm-d50-recorder-review.html&#xD;&#xA;  [2]: http://www.core-sound.com/Mic2496/1.php&#xD;&#xA;  [3]: http://www.core-sound.com/Mic2496/V2-front-640.jpg&#xD;&#xA;&#xD;&#xA;My question is whether anyone has used the Mic2496 and can provide some information on it. Specifically regarding the quality of the sound. &#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;[![Core sound Mic2496][3]][2]" ContentLicense="CC BY-SA 2.5" />
  <row Id="1524" PostHistoryTypeId="5" PostId="646" RevisionGUID="054c5f80-5f19-438f-8eeb-155e5bb754db" CreationDate="2010-05-04T07:41:03.043" UserId="61" Comment="additional information" Text="Many of the sounds used in feature films are recorded by professional recordists using professional gear, ie. expensive mics, multiple mic setups, multichannel recorders, and multiple days on location.&#xD;&#xA;&#xD;&#xA;I believe that a well-recorded sound is a useful sound, no matter the mic or the medium. So much of the success depends on the context in which the sound is used. If money were no object I'm sure we would all be recording our stuff with the highest-end gear at the highest bit &amp; sample rates. But when it comes down to the real world, most of that super-high detail is converted down to 24bit/48kHz and jammed into an already full soundtrack of music, dialog, foley and sound effects. &#xD;&#xA;&#xD;&#xA;Which begs the question: *How useful are your &quot;guerrilla&quot; recordings?*&#xD;&#xA;&#xD;&#xA;Rather than a discussion of the pros and cons of high-end or low-end gear, I'd love to hear success stories of your guerrilla recordings actually making it all the way through to the final mix of your film (or other project)." ContentLicense="CC BY-SA 2.5" />
  <row Id="1525" PostHistoryTypeId="6" PostId="646" RevisionGUID="054c5f80-5f19-438f-8eeb-155e5bb754db" CreationDate="2010-05-04T07:41:03.043" UserId="61" Comment="additional information" Text="&lt;recording&gt;&lt;field-recording&gt;&lt;microphone&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1526" PostHistoryTypeId="5" PostId="843" RevisionGUID="8365ce85-39d7-4b11-83c7-dbb2b8cda476" CreationDate="2010-05-04T07:51:40.837" UserId="100" Comment="Spelling" Text="I've used my [Bamboo tablet][1] (no touch on mine, but looks like it would be cool) with [µ MIDI Controller][2] to control sampled recordings. I stole the idea from Ben Burtt from how he designed some of the sounds for WALL·E (see 1:11 in the video). He was using [Kyma][3] to translate the tablet moves into Motu's [MachFive][4] sampler. Thinkgeek is a great site for geeky instruments. That's where I was first introduced to the [Kaossilator][5]. Any other cool controllers out there?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[youtube]vS1EjVQbMWk[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wacom.com/bamboo/bamboo_pen_touch.php&#xD;&#xA;  [2]: http://www.musicunfolding.com/MU_MIDI_Controller.html&#xD;&#xA;  [3]: http://www.symbolicsound.com/cgi-bin/bin/view/Company/WebHome&#xD;&#xA;  [4]: http://www.bhphotovideo.com/c/product/512042-REG/MOTU_5950_MachFive_2_Universal.html&#xD;&#xA;  [5]: http://www.thinkgeek.com/electronics/musical-instruments/a02a/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1527" PostHistoryTypeId="2" PostId="844" RevisionGUID="07dd9937-c3a8-419d-8b9b-25f2231789b6" CreationDate="2010-05-04T07:52:53.613" UserId="61" Text="Lots to choose from out there…&#xD;&#xA;&#xD;&#xA;I've found the integration between ProTools and [Structure][1] very smooth; it's easy to wrap my head around and actually produce some decent sounding patches in a short amount of time, which is really important to me since my schedules often don't allow for as much pre-build design as I would like.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Chime in, all!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=RBEXXNvysmo" ContentLicense="CC BY-SA 2.5" />
  <row Id="1528" PostHistoryTypeId="1" PostId="844" RevisionGUID="07dd9937-c3a8-419d-8b9b-25f2231789b6" CreationDate="2010-05-04T07:52:53.613" UserId="61" Text="SAMPLERS: What are you using?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1529" PostHistoryTypeId="3" PostId="844" RevisionGUID="07dd9937-c3a8-419d-8b9b-25f2231789b6" CreationDate="2010-05-04T07:52:53.613" UserId="61" Text="&lt;sound-design&gt;&lt;sampler&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1530" PostHistoryTypeId="2" PostId="845" RevisionGUID="698d8b4f-a36e-417e-8e90-affca5a2ae63" CreationDate="2010-05-04T08:18:54.027" UserId="197" Text="I'm a fan of Kontakt" ContentLicense="CC BY-SA 2.5" />
  <row Id="1531" PostHistoryTypeId="2" PostId="846" RevisionGUID="0a127589-2692-4ca8-a9ef-561385af4f63" CreationDate="2010-05-04T08:20:47.937" UserId="100" Text="Structure is a lot of fun, and is simple enough to navigate. Much easier, I think, than [SampleTank][1]. I didn't find it very sound design-friendly, as far as loading my own samples from recordings, but it was simple enough loading 3rd party libraries. Although not as famous (infamous?) as other programs, I had fun using 112dB's [Morgana][2]. Much easier to navigate than SampleTank, in my opinion, and certainly less trance/house looking. What I really want to try, though, is [MachFive][3]. There's no demo available, though, so I suppose I'll have to save up for it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ikmultimedia.com/sampletank/features/&#xD;&#xA;  [2]: http://www.112db.com/vintage/morgana/&#xD;&#xA;  [3]: http://www.motu.com/products/software/machfive" ContentLicense="CC BY-SA 2.5" />
  <row Id="1532" PostHistoryTypeId="2" PostId="847" RevisionGUID="2ff77291-2bf2-4675-a3c7-920e43b446b1" CreationDate="2010-05-04T08:40:37.430" UserId="100" Text="Having only recently begun my sound design quest, I don't really own any high end, professional gear. An MBox Mini on a Mac Mini, Zoom H4n, and a couple of $60 mics (maybe I should post that on [Colin's post][1] that's been empty for months). In that regard, I feel like all of my recordings are guerrilla. I suppose the trick with less-than-professional sound isn't so much what you use, but how you use it; Handling the guerrilla recording with the same respect that you would a professional one. Does that sound too &quot;Care Bears&quot;?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/73/the-obligatory-post-your-rig-thread" ContentLicense="CC BY-SA 2.5" />
  <row Id="1534" PostHistoryTypeId="2" PostId="848" RevisionGUID="255b3cc1-9948-498d-bd3d-07c832b529ef" CreationDate="2010-05-04T12:29:03.057" UserId="182" Text="With [Max/MSP][1] as a layer between hardware and software, I've used and built a variety of controllers for sound design, some of that in interactive products:&#xD;&#xA;&#xD;&#xA; - A [Monome][2] (basically a boutique version of the Novation Launchpad, that's where the concept of the Launchpad came from)&#xD;&#xA; - Wiimote, using the [Max external by aka][3].&#xD;&#xA; - iPhone multitouch controller apps like Fantastick, TouchOSC and now [c74][5].&#xD;&#xA; - [Arduino][6] prototyping board with various sensors and controls attached to it&#xD;&#xA; - [Phidgets][7]&#xD;&#xA; - A webcam for real-time camera tracking and image recognition using the [cv.jit][8] library&#xD;&#xA;&#xD;&#xA;The controller mentioned by Colin looks awesome, it's probably speedier to work with than virtual keys because they provide physical (tactile) feedback.&#xD;&#xA;&#xD;&#xA;When the iPad comes out in Europe I'll get one and run the iPhone controller apps on there, again using Max/MSP as interpretation layer between the hardware and the sound-generating software.&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;(c74 app)&#xD;&#xA;&#xD;&#xA;  [1]: http://cycling74.com &quot;Max/MSP&quot;&#xD;&#xA;  [2]: http://monome.org &quot;monome&quot;&#xD;&#xA;  [3]: http://www.iamas.ac.jp/~aka/max/ &quot;aka.wiimote&quot;&#xD;&#xA;  [4]: http://www.nr74.org/c74_files/mainscreen.jpg&#xD;&#xA;  [5]: http://www.nr74.org/c74.html &quot;c74&quot;&#xD;&#xA;  [6]: http://arduino.cc &quot;arduino&quot;&#xD;&#xA;  [7]: http://www.phidgets.com &quot;Phidgets&quot;&#xD;&#xA;  [8]: http://www.iamas.ac.jp/~jovan02/cv/ &quot;cv.jit&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1535" PostHistoryTypeId="5" PostId="848" RevisionGUID="e9789c98-b5d1-45a6-9fed-45585730c008" CreationDate="2010-05-04T12:36:06.813" UserId="182" Comment="added 623 characters in body; deleted 2 characters in body" Text="With [Max/MSP][1] as a layer between hardware and software, I've used and built a variety of controllers for sound design, some of that in interactive products:&#xD;&#xA;&#xD;&#xA;![c74 app][8] ![monome][9] ![phidgets][10] ![arduino][11]&#xD;&#xA;&#xD;&#xA;(c74 app)              (monome)           (phidgets)                 (arduino)&#xD;&#xA;&#xD;&#xA; - A [Monome][2] (basically a boutique version of the Novation Launchpad, that's where the concept of the Launchpad came from)&#xD;&#xA; - Wiimote, using the [Max external by aka][3].&#xD;&#xA; - iPhone multitouch controller apps like Fantastick, TouchOSC and now [c74][4].&#xD;&#xA; - [Arduino][5] prototyping board with various sensors and controls attached to it&#xD;&#xA; - [Phidgets][6]&#xD;&#xA; - A webcam for real-time camera tracking and image recognition using the [cv.jit][7] library&#xD;&#xA;&#xD;&#xA;The controller mentioned by Colin looks awesome, it's probably speedier to work with than virtual keys because they provide physical (tactile) feedback.&#xD;&#xA;&#xD;&#xA;When the iPad comes out in Europe I'll get one and run the iPhone controller apps on there, again using Max/MSP as interpretation layer between the hardware and the sound-generating software.&#xD;&#xA;&#xD;&#xA;  [1]: http://cycling74.com &quot;Max/MSP&quot;&#xD;&#xA;  [2]: http://monome.org &quot;monome&quot;&#xD;&#xA;  [3]: http://www.iamas.ac.jp/~aka/max/ &quot;aka.wiimote&quot;&#xD;&#xA;  [4]: http://www.nr74.org/c74.html &quot;c74&quot;&#xD;&#xA;  [5]: http://arduino.cc &quot;arduino&quot;&#xD;&#xA;  [6]: http://www.phidgets.com &quot;Phidgets&quot;&#xD;&#xA;  [7]: http://www.iamas.ac.jp/~jovan02/cv/ &quot;cv.jit&quot;&#xD;&#xA;  [8]: http://t1.gstatic.com/images?q=tbn:T041jaTImNlH0M:http://createdigitalmusic.com/images/2010/02/c74iphone.jpg &quot;c74 app&quot;&#xD;&#xA;  [9]: http://t1.gstatic.com/images?q=tbn:e3U5JQ5SBxtKGM:http://www.engadget.com/media/2006/04/monome2.jpg &quot;phidgets&quot;&#xD;&#xA;  [10]: http://t2.gstatic.com/images?q=tbn:pTZGDSXYM7b0VM:http://www.techchee.com/wp-content/uploads/2007/05/phidget-analog-sensors-leds-switches-18052007.jpg &quot;phidgets&quot;&#xD;&#xA;  [11]: http://t1.gstatic.com/images?q=tbn:ZzppIN2M_G0u-M:http://www.glacialwanderer.com/_blog/blog2008/04_April/hr_arduino_sht15.jpg &quot;arduino&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1536" PostHistoryTypeId="5" PostId="848" RevisionGUID="d0b5ec6c-a6e2-4df3-a6c4-fb983f0e592a" CreationDate="2010-05-04T13:46:30.967" UserId="182" Comment="added 376 characters in body" Text="With [Max/MSP][1] as a layer between hardware and software, I've used and built a variety of controllers for sound design, some of that in interactive products:&#xD;&#xA;&#xD;&#xA;![c74 app][2] ![monome][3] ![phidgets][4] ![arduino][5]&#xD;&#xA;&#xD;&#xA;(c74 app)              (monome)           (phidgets)                 (arduino)&#xD;&#xA;&#xD;&#xA; - A [Monome][6] (basically a boutique version of the Novation Launchpad, that's where the concept of the Launchpad came from)&#xD;&#xA; - Wiimote, using the [Max external by aka][7].&#xD;&#xA; - iPhone multitouch controller apps like Fantastick, TouchOSC and now [c74][8].&#xD;&#xA; - [Arduino][9] prototyping board with various sensors and controls attached to it&#xD;&#xA; - [Phidgets][10]&#xD;&#xA; - A webcam for real-time camera tracking and image recognition using the [cv.jit][11] library&#xD;&#xA;&#xD;&#xA;The controller mentioned by Colin looks awesome, it's probably speedier to work with than virtual keys because they provide physical (tactile) feedback.&#xD;&#xA;&#xD;&#xA;When the iPad comes out in Europe I'll get one and run the iPhone controller apps on there, again using Max/MSP as interpretation layer between the hardware and the sound-generating software.&#xD;&#xA;&#xD;&#xA;Edit: and then there is of course the very expensive [Optimus Maximus][12] keyboard that has a mini oled screen inside each key allowing dynamic switching of key functions, macros and icons. Awesome.&#xD;&#xA;![optimus maximus][13]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://cycling74.com &quot;Max/MSP&quot;&#xD;&#xA;  [2]: http://t1.gstatic.com/images?q=tbn:T041jaTImNlH0M:http://createdigitalmusic.com/images/2010/02/c74iphone.jpg &quot;c74 app&quot;&#xD;&#xA;  [3]: http://t1.gstatic.com/images?q=tbn:e3U5JQ5SBxtKGM:http://www.engadget.com/media/2006/04/monome2.jpg &quot;phidgets&quot;&#xD;&#xA;  [4]: http://t2.gstatic.com/images?q=tbn:pTZGDSXYM7b0VM:http://www.techchee.com/wp-content/uploads/2007/05/phidget-analog-sensors-leds-switches-18052007.jpg &quot;phidgets&quot;&#xD;&#xA;  [5]: http://t1.gstatic.com/images?q=tbn:ZzppIN2M_G0u-M:http://www.glacialwanderer.com/_blog/blog2008/04_April/hr_arduino_sht15.jpg &quot;arduino&quot;&#xD;&#xA;  [6]: http://monome.org &quot;monome&quot;&#xD;&#xA;  [7]: http://www.iamas.ac.jp/~aka/max/ &quot;aka.wiimote&quot;&#xD;&#xA;  [8]: http://www.nr74.org/c74.html &quot;c74&quot;&#xD;&#xA;  [9]: http://arduino.cc &quot;arduino&quot;&#xD;&#xA;  [10]: http://www.phidgets.com &quot;Phidgets&quot;&#xD;&#xA;  [11]: http://www.iamas.ac.jp/~jovan02/cv/ &quot;cv.jit&quot;&#xD;&#xA;  [12]: http://www.artlebedev.com/portfolio/optimus/ &quot;Optimus Maximus&quot;&#xD;&#xA;  [13]: http://media.techeblog.com/images/maximus_1.jpg &quot;optimus maximus&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1537" PostHistoryTypeId="2" PostId="849" RevisionGUID="2f053213-378c-417c-81ca-5f390ca7eefc" CreationDate="2010-05-04T14:14:32.663" UserId="220" Text="Being relatively new to production sound mixing and post production sound, I've been wandering my way through the indie world not doing too much studio work.  How important will it be for me to be a union member to begin working on large-scale projects?  What are the unions or professional societies that I need to focus on?  Are they a source of work, or more of a source of credentials?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1538" PostHistoryTypeId="1" PostId="849" RevisionGUID="2f053213-378c-417c-81ca-5f390ca7eefc" CreationDate="2010-05-04T14:14:32.663" UserId="220" Text="How important is union membership for sound designers and production sound mixers?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1539" PostHistoryTypeId="3" PostId="849" RevisionGUID="2f053213-378c-417c-81ca-5f390ca7eefc" CreationDate="2010-05-04T14:14:32.663" UserId="220" Text="&lt;unions&gt;&lt;post-production&gt;&lt;production-mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1540" PostHistoryTypeId="2" PostId="850" RevisionGUID="8432bf22-f066-4382-92cd-073cb3252e3b" CreationDate="2010-05-04T14:17:33.760" UserId="208" Text="I use Structure. Fits my needs." ContentLicense="CC BY-SA 2.5" />
  <row Id="1541" PostHistoryTypeId="2" PostId="851" RevisionGUID="6305a30c-d090-4cd0-a945-bd5e23d22ff7" CreationDate="2010-05-04T14:35:35.607" UserId="40" Text="Production Sound Mixers - very important - if you want to be playing with the big boys (Devlin, Novik, Ulano, etc...) on union sets.  Union sets generally won't hire you unless you're union.  The only catch is, once you're union, you're only allowed to work on one or two non-union sets a year.  So you'd better make sure you're good and are plugged in before you go union, or you'll be out of work!&#xD;&#xA;&#xD;&#xA;As for Sound Designers, I don't think its really that important.  I don't know of many that are union.  There are organizations, such as CAS, that a lot of Sound Designers (and Production Mixers) join, but those aren't usually unions.&#xD;&#xA;&#xD;&#xA;Personally, I think unions have outstayed their welcome.  They were very useful pre-war, but I think they do more damage than good anymore, IMHO." ContentLicense="CC BY-SA 2.5" />
  <row Id="1542" PostHistoryTypeId="6" PostId="849" RevisionGUID="fb535d30-b82c-4894-924e-d1ca99dbbe1f" CreationDate="2010-05-04T14:47:52.693" UserDisplayName="user80" Comment="Added tags" Text="&lt;unions&gt;&lt;post-production&gt;&lt;production-mixing&gt;&lt;professional-societies&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1543" PostHistoryTypeId="2" PostId="852" RevisionGUID="a4348621-39bd-42af-bb95-f3c75cbbf7f2" CreationDate="2010-05-04T14:48:15.983" UserId="19" Text="I am in the market for a portable, battery-powered microphone preamp for my shotgun.  My Zoom H4N portable recorder does not seem to be driving my Rode NT2 well enough, I would like to give it more juice through an external pre.&#xD;&#xA;&#xD;&#xA;The main one I have found is a Sound Devices MM-1. Anyone have any experience with this pre?  I know a lot of people record straight into their Sound Devices recorders, so I am thinking this would be a solid option.&#xD;&#xA;&#xD;&#xA;I am also open to exploring DIY options.  Are there any kits available for this sort of thing?&#xD;&#xA;&#xD;&#xA;Any suggestions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1544" PostHistoryTypeId="1" PostId="852" RevisionGUID="a4348621-39bd-42af-bb95-f3c75cbbf7f2" CreationDate="2010-05-04T14:48:15.983" UserId="19" Text="Portable Mic Preamp...Suggestions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1545" PostHistoryTypeId="3" PostId="852" RevisionGUID="a4348621-39bd-42af-bb95-f3c75cbbf7f2" CreationDate="2010-05-04T14:48:15.983" UserId="19" Text="&lt;microphone&gt;&lt;field-recording&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1546" PostHistoryTypeId="6" PostId="852" RevisionGUID="f605e360-5ac6-4491-b399-80d9a28c7fed" CreationDate="2010-05-04T14:49:42.407" UserDisplayName="user80" Comment="Added weblinks and image; added 3 characters in body" Text="&lt;microphone&gt;&lt;field-recording&gt;&lt;pre-amp&gt;&lt;recommendations&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1547" PostHistoryTypeId="5" PostId="852" RevisionGUID="f605e360-5ac6-4491-b399-80d9a28c7fed" CreationDate="2010-05-04T14:49:42.407" UserDisplayName="user80" Comment="Added weblinks and image; added 3 characters in body" Text="I am in the market for a portable, battery-powered microphone preamp for my shotgun.  My [Zoom H4n][1] portable recorder does not seem to be driving my [Rode NT2-A][2] well enough, I would like to give it more juice through an external pre.&#xD;&#xA;&#xD;&#xA;The main one I have found is a [Sound Devices MM-1][3]. Anyone have any experience with this pre?  I know a lot of people record straight into their Sound Devices recorders, so I am thinking this would be a solid option.&#xD;&#xA;&#xD;&#xA;[![Sound Devices MM-1][4]][3]&#xD;&#xA;&#xD;&#xA;I am also open to exploring DIY options.  Are there any kits available for this sort of thing?&#xD;&#xA;&#xD;&#xA;Any suggestions?&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;[2]: http://www.rode.com.au/microphone.php?product=NT2-A&#xD;&#xA;[3]: http://www.sounddevices.com/products/mm1master.htm&#xD;&#xA;[4]: http://www.sounddevices.com/images/products/mm-1_large.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1548" PostHistoryTypeId="4" PostId="852" RevisionGUID="f605e360-5ac6-4491-b399-80d9a28c7fed" CreationDate="2010-05-04T14:49:42.407" UserDisplayName="user80" Comment="Added weblinks and image; added 3 characters in body" Text="Portable Mic Preamp... Suggestions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1549" PostHistoryTypeId="5" PostId="58" RevisionGUID="966e9a2c-6ec2-4e29-a57f-c57c7ac2efa5" CreationDate="2010-05-04T14:59:04.070" UserDisplayName="user80" Comment="Added weblinks and image" Text="If you want to go as cheap as possible, the '[Zoom H2 Handy Recorder][1]', as is it's long and actual name, is actually quite handy. Even if you do end up buying something better, it's so small you'll definitely find uses for it. It's really easy to toss in a shoulder bag (or a man purse, or just man purse, 'cause that's what a shoulder bag is, a man purse), or toss in your pocket. As well, it can always be used as a back up. It's a self contained unit, mics, power, and storage are all on board, so it's super easy to toss on a tripod and set up next to your other field recording mics.&#xD;&#xA;&#xD;&#xA;[![Zoom H2][2]][1]&#xD;&#xA;&#xD;&#xA;I've never held a [Zoom H4][3], so I can't say much about it, if someone else has one, chime in! I've also only used a {Sony PCM-M10][4] for like, an hour, so I can't say much about that, either. I think it sounded better than my [H2][1], but I didn't have my H2 on me when I got to borrow it, so I couldn't do any A-B'ing with what I was recording.&#xD;&#xA;&#xD;&#xA;But H2s are pretty awesome, mine goes everywhere with me. If you pick one up, you'll probably take it everywhere you go, even if you get something better, it's just so darned handy!&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;[2]: http://www.zoom.co.jp/english/products/h2/h2_07.jpg&#xD;&#xA;[3]: http://www.zoom.co.jp/english/products/h4/&#xD;&#xA;[4]: http://pro.sony.com/bbsc/ssr/cat-audio/resource.latest.bbsccms-assets-cat-audio-solutions-pcmm10.shtml" ContentLicense="CC BY-SA 2.5" />
  <row Id="1550" PostHistoryTypeId="2" PostId="853" RevisionGUID="c5133a77-9d53-4445-afba-1c5ea30235e7" CreationDate="2010-05-04T15:05:40.263" UserId="222" Text="Kontakt is king!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1551" PostHistoryTypeId="2" PostId="854" RevisionGUID="1ccf7ff8-9fce-4c0a-a437-99fd833a346a" CreationDate="2010-05-04T15:20:38.963" UserId="29" Text="Sound Devices preamps FTW. What is there to say? Best value for the dough, considering how great (transparent, low-noise) they sound and how well built they are. They're not the cheapest, but value doesn't always mean low price: It means buy once and get years of use and great results for the price." ContentLicense="CC BY-SA 2.5" />
  <row Id="1552" PostHistoryTypeId="2" PostId="855" RevisionGUID="05ff234b-81da-41cd-b244-e12b2851e33c" CreationDate="2010-05-04T16:13:04.577" UserId="194" Text="I love our MM1.  love it.  Love it!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1553" PostHistoryTypeId="2" PostId="856" RevisionGUID="c413659b-14ef-4404-b5c2-3f96e8c050c2" CreationDate="2010-05-04T16:22:10.627" UserId="221" Text="I have a Mic Pre which I love, the limiter is brilliant and to have MS decoding on board is really useful too. Well worth the money.&#xD;&#xA;&#xD;&#xA;Hope that helps,&#xD;&#xA;&#xD;&#xA;Mike.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1554" PostHistoryTypeId="2" PostId="857" RevisionGUID="698305ab-b228-441d-9177-c2cf18b01a26" CreationDate="2010-05-04T16:28:30.157" UserId="221" Text="+1 for iZotope, excellent value for money, works as a plug-in or stand alone. See my review [here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/jul08/articles/izotoperx.htm&#xD;&#xA;&#xD;&#xA;Hope that helps&#xD;&#xA;&#xD;&#xA;Mike." ContentLicense="CC BY-SA 2.5" />
  <row Id="1555" PostHistoryTypeId="2" PostId="858" RevisionGUID="3f106f53-0fde-471d-b93c-ae4fc88e143c" CreationDate="2010-05-04T16:37:20.493" UserId="221" Text="Take a look at the Audio Technica [here on their web site][1] or [pdf spec sheet here][2] I have its predestor and love it, however I am based in the UK but here is a US link for it at [BH Audio Video][3]. &#xD;&#xA;&#xD;&#xA;Hope it helps,&#xD;&#xA;&#xD;&#xA;Mike.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audio-technica.com/cms/wired_mics/9087c643d6d7530f/index.html/&#xD;&#xA;  [2]: http://eu.audio-technica.com/en/resources/ddfb3230cdd56993_bp4029_ss_e.pdf&#xD;&#xA;  [3]: http://www.bhphotovideo.com/c/product/215893-REG/Audio_Technica_BP4029_BP4029_AT835ST_Stereo.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1556" PostHistoryTypeId="5" PostId="858" RevisionGUID="5400c8cf-6559-4aae-a8fa-571143599f51" CreationDate="2010-05-04T16:45:34.330" UserDisplayName="user80" Comment="Spelling correction and added image" Text="Take a look at the [Audio Technica BP4029 Stereo Shotgun Mic][1] or [pdf spec sheet here][2] I have its predecessor and love it, however I am based in the UK but here is a US link for it at [BH Audio Video][3]. &#xD;&#xA;&#xD;&#xA;Hope it helps,&#xD;&#xA;&#xD;&#xA;Mike.&#xD;&#xA;&#xD;&#xA;[![Audio Technica BP4029][4]][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audio-technica.com/cms/wired_mics/9087c643d6d7530f/index.html/&#xD;&#xA;  [2]: http://eu.audio-technica.com/en/resources/ddfb3230cdd56993_bp4029_ss_e.pdf&#xD;&#xA;  [3]: http://www.bhphotovideo.com/c/product/215893-REG/Audio_Technica_BP4029_BP4029_AT835ST_Stereo.html&#xD;&#xA;  [4]: http://www.audio-technica.com/cms/resource_library/product_images/4f7186fa2dd7e016/large/bp4029.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1557" PostHistoryTypeId="2" PostId="859" RevisionGUID="57997a27-91b2-411d-bf14-c4019e6c9dc4" CreationDate="2010-05-04T17:07:54.820" UserId="132" Text="I think the MM1 is great.  If you need 2 channels look at the mix-pre.  Also great." ContentLicense="CC BY-SA 2.5" />
  <row Id="1558" PostHistoryTypeId="2" PostId="860" RevisionGUID="07a68bde-5472-4879-87ee-f28595bc9fc7" CreationDate="2010-05-04T17:33:34.490" UserId="37" Text="&lt;a href=&quot;http://www.sounddevices.com/products/mx2master.htm&quot;&gt;Sound Devices MixPre&lt;/a&gt;? &#xD;&#xA;&lt;br /&gt;Well worth the money." ContentLicense="CC BY-SA 2.5" />
  <row Id="1559" PostHistoryTypeId="5" PostId="860" RevisionGUID="7cc184d2-685a-4841-acb2-2abb69c21822" CreationDate="2010-05-04T17:49:24.190" UserDisplayName="user80" Comment="Added image" Text="&lt;a href=&quot;http://www.sounddevices.com/products/mx2master.htm&quot;&gt;Sound Devices MixPre&lt;/a&gt;? &#xD;&#xA;&lt;br /&gt;Well worth the money.&#xD;&#xA;&#xD;&#xA;[![Sound Devices MixPre][1]][2]&#xD;&#xA;&#xD;&#xA;[1]: http://www.sounddevices.com/images/products/mixpre_large.jpg&#xD;&#xA;[2]: http://www.sounddevices.com/products/mx2master.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="1560" PostHistoryTypeId="2" PostId="861" RevisionGUID="8f1a030b-0341-4b48-bd90-f75afd43cbb6" CreationDate="2010-05-04T18:39:58.887" UserId="40" Text="IMHO, anything you buy with the name &quot;Sound Devices&quot; on it is well worth your money, and you'll never regret it.  Both the MM-1 and the MixPre (and the MP-1 for that matter) are amazingly quiet preamps that are built like tanks.  There's always the 302 as well if you want to start getting fancy.&#xD;&#xA;&#xD;&#xA;PSC makes the DV Promix1 which is a great preamp that's the same price.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Nice to have a choice, but I'd still go with the MM-1.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/images/images345x345/368001.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1561" PostHistoryTypeId="2" PostId="862" RevisionGUID="a0aa60f9-f789-4d38-b020-510607fd0d61" CreationDate="2010-05-04T21:53:33.527" UserId="258" Text="Hey everybody - this is my first post/question here - thanks to @noisejunkie and the other folks at twitter.&#xD;&#xA;&#xD;&#xA;Before I start I have to admit: I am far, far away from being a pro - in fact, I am not even making sounds/music for a living. It´s what I love to do in my leisure time and that´s why my budget is max. 700 Dollars.&#xD;&#xA;&#xD;&#xA;I have an obsession for sounds that can be found in our everyday surroundings - not really &quot;ambient&quot; sounds but sounds with very specific sources like our voice, a pneumatic hammer, all kinds of instruments, animals, the tiktok of a clock that is so often overheard, the paper shredder in my office - as you know: the list is endless.&#xD;&#xA;NoiseJockey´s awesome &quot;Fun with Bikes&quot;-Video covers exactly what I am talking about.&#xD;&#xA;&#xD;&#xA;Since I know that there are so much interesting textures and tones hidden inside them I want to get really &quot;close&quot; to those interesting sound sources and record them.&#xD;&#xA;&#xD;&#xA;So I kept my eyes and ears open to what might be a small-budget-solution for my aspirations - but since the market is so full of portable recorders, microphones...&#xD;&#xA;I might need advice by you pros. &#xD;&#xA;&#xD;&#xA;I already own an AudioFire 4 Interface: http://www.echoaudio.com/Products/FireWire/AudioFire4/index.php but no mic (yet, but that´s another story) but I don´t want to carry my laptop etc. with me so I am looking for a portable solution.&#xD;&#xA;&#xD;&#xA;Thanks for your advices!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1562" PostHistoryTypeId="1" PostId="862" RevisionGUID="a0aa60f9-f789-4d38-b020-510607fd0d61" CreationDate="2010-05-04T21:53:33.527" UserId="258" Text="Small budget solution for portable recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="1563" PostHistoryTypeId="3" PostId="862" RevisionGUID="a0aa60f9-f789-4d38-b020-510607fd0d61" CreationDate="2010-05-04T21:53:33.527" UserId="258" Text="&lt;recording&gt;&lt;field-recorder&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1564" PostHistoryTypeId="2" PostId="863" RevisionGUID="d348e8f9-e528-4c61-9928-b1df0a7cb708" CreationDate="2010-05-04T22:06:00.347" UserId="61" Text="Welcome, P. Lockhead! Let me direct you to a few posts that may address your question:&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/49/best-entry-level-portable-recorder    http://socialsounddesign.com/questions/687/diy-contact-microphone    http://socialsounddesign.com/questions/774/my-first-field-mic    http://socialsounddesign.com/questions/646/usefulness-of-guerrilla-vs-pro-recordings&#xD;&#xA;&#xD;&#xA;My advice would be to purchase one of the entry-level recorders favored by many folks on this site, the [Zoom H2][1]. You get a pretty decent 4-channel recorder capable of 96kHz for a relatively small amount of cash.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Zoom-H2-Portable-Stereo-Recorder/dp/B000VBH2IG" ContentLicense="CC BY-SA 2.5" />
  <row Id="1565" PostHistoryTypeId="2" PostId="864" RevisionGUID="fc4441be-59b8-4fdf-84a4-6857d72897b0" CreationDate="2010-05-04T22:13:34.530" UserId="100" Text="Hey, Lockhead, welcome to the group. Your question is a very common one, as birdhousesound pointed out. For $700 you could get a Zoom and some goodies to go with it, although the recorder itself is often sufficient for gathering sounds. I went with Zooms [H4n][1] and I've been very pleased with it. If you have specific questions after reading some of the other posts on the matter, feel free to ask.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/600761-REG/Zoom_H4N_H4n_Handy_Mobile_4_Track.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1566" PostHistoryTypeId="2" PostId="865" RevisionGUID="316d9c26-0d7a-49d4-9892-2b3e474398c3" CreationDate="2010-05-04T22:15:05.167" UserId="37" Text="For recording indoors, the Audiofire makes a usable preamp with separate gains on each mic input. You can run it without a computer, provided you use Echo's Console software to do the necessary settings first (hard pan inputs 1&amp;2, turn phantom power on), and power it via the DC adapter. &#xD;&#xA;&#xD;&#xA;If you go for a line-in portable recorder such as e.g. Sony PCM-M10 you can use the AF4, or another preamp (including portable) and analogue i/o. But a Microtrack or equivalent s/pdif equipped recorder makes a neat bit-bucket for the AF (remember to set sampling rates before disconnecting from computer). Finally there are XLR-input, phantom-power-capable units such as Zoom H4n, which can power microphones by themselves.&#xD;&#xA;&#xD;&#xA;My favourite for sustained textures with objects that you can safely touch has to be the DIY contact mic solution - cheap-o-matic piezo transducer, wires, jack, and a touch of soldering can get you hours of fun, with often amazing results at quite literally no cost. &#xD;&#xA;&#xD;&#xA;There are a few low-cost, battery-powered, microphones out there that don't require external power, such as Røde's NT3, NT4 or NTG-2. Many serious pros smirk at them but try beating Røde on value. For ambiences you can explore stealthy microphones, but first see what the folk at Taperssection, as well as nature recordists, have to say. From what I've read in the links @birdhousesound listed above, there's a wealth of information on this very site.&#xD;&#xA;&#xD;&#xA;good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1567" PostHistoryTypeId="2" PostId="866" RevisionGUID="47c0985d-2325-4294-a3d9-a30e99690f6b" CreationDate="2010-05-04T22:17:26.267" UserId="61" Text="Hi VCD,&#xD;&#xA;&#xD;&#xA;The union here in Los Angeles ([MPEG Local 700][1]) doesn't recognize the title &quot;sound designer&quot; as an official classification. The closest you would get would be either a sound editor or a re-recording mixer. (Guess the &quot;sound designer&quot; fits somewhere between those two.) So with that in mind, you'd need to figure which of those best fits your skill set. &#xD;&#xA;&#xD;&#xA;You'll quickly find that without a union membership, you will not be working on *any* union jobs. None. It's a closed network. That gives you the option of working only on non-union jobs until you have accumulated 100 hours of edting/mixing time; then you can go back to the union with those hours under your belt, pay your initiation dues, and hit the pavement looking for a union job.&#xD;&#xA;&#xD;&#xA;As a &quot;PS&quot; to Colin's opinion, I'll say that although the union certainly isn't perfect, it is the way the industry works. On the plus side, the health benefits are great - and that can be worth more than money.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.editorsguild.com/Index.cfm" ContentLicense="CC BY-SA 2.5" />
  <row Id="1568" PostHistoryTypeId="5" PostId="866" RevisionGUID="627b6a21-1da5-4b8d-8975-40dfd3f8b04c" CreationDate="2010-05-04T23:24:15.590" UserId="61" Comment="amended info" Text="Hi VCD,&#xD;&#xA;&#xD;&#xA;The union here in Los Angeles ([MPEG Local 700][1]) doesn't recognize the title &quot;sound designer&quot; as an official classification. The closest you would get would be either a sound editor or a re-recording mixer. (Guess the &quot;sound designer&quot; fits somewhere between those two.) So with that in mind, you'd need to figure which of those best fits your skill set. &#xD;&#xA;&#xD;&#xA;**AMENDED:** Without a union membership you're not able to be on union payroll. That being said, I think independent sound designers can work on union shows but cannot accumulate hours towards pension, health benefits, etc . &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;As a &quot;PS&quot; to Colin's opinion, I'll say that although the union certainly isn't perfect, it is the way the industry works. On the plus side, the health benefits are great - and that can be worth more than money.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.editorsguild.com/Index.cfm" ContentLicense="CC BY-SA 2.5" />
  <row Id="1569" PostHistoryTypeId="2" PostId="867" RevisionGUID="87722700-4d38-4639-8e68-9df4e07e1f87" CreationDate="2010-05-04T23:53:35.963" UserId="260" Text="Wilhem scream cos it is overused and puts me out of the movie. The overused whistle sound for arrows and the effected whip sound for a fireball. (though it was really cool when I first heard it)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1570" PostHistoryTypeId="2" PostId="868" RevisionGUID="31d8918a-3db4-4a7e-85b8-78f0072622da" CreationDate="2010-05-05T00:24:48.330" UserId="40" Text="I know a lot about running a post production studio from home.  I've done it for a long time, and I've developed a method and workflow that works for me in my studio.  But I've never worked in a large dubbing stage before.  I'm going to be working in one off and on starting later this month.  The stage is running on 5 PT HD systems on a Harrison Console.&#xD;&#xA;&#xD;&#xA;Pic of the stage I'll be working on:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;For those of you that work in large stages:&#xD;&#xA;&#xD;&#xA;Can you give me a basic workflow from the project entering the stage to the finished product?  How do you handle the stems?  To what extent are the designed sounds broken down into parts vs given to you as a single sound?  How much is Avid used on the stage (apparently it is used a decent amount on this one)?  Any other comments on the differences between mixing in a home studio (in the box) vs working on a stage?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://farm4.static.flickr.com/3649/3361126106_75d82f19c3.jpg?v=0" ContentLicense="CC BY-SA 2.5" />
  <row Id="1571" PostHistoryTypeId="1" PostId="868" RevisionGUID="31d8918a-3db4-4a7e-85b8-78f0072622da" CreationDate="2010-05-05T00:24:48.330" UserId="40" Text="Dubbing Stage Workflow" ContentLicense="CC BY-SA 2.5" />
  <row Id="1572" PostHistoryTypeId="3" PostId="868" RevisionGUID="31d8918a-3db4-4a7e-85b8-78f0072622da" CreationDate="2010-05-05T00:24:48.330" UserId="40" Text="&lt;post-production&gt;&lt;dubbing-stage&gt;&lt;gear&gt;&lt;pro-tools&gt;&lt;avid&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1573" PostHistoryTypeId="5" PostId="864" RevisionGUID="06a0245e-1de6-4cd1-92a6-6c6647cfb059" CreationDate="2010-05-05T00:40:15.507" UserId="100" Comment="Grammar" Text="Hey, Lockhead, welcome to the group. Your question is a very common one, as birdhousesound pointed out. For $700 you could get a Zoom and some goodies to go with it, although the recorder itself is often sufficient for gathering sounds. I went with Zoom's [H4n][1] and I've been very pleased with it. If you have specific questions after reading some of the other posts on the matter, feel free to ask.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/600761-REG/Zoom_H4N_H4n_Handy_Mobile_4_Track.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1574" PostHistoryTypeId="2" PostId="869" RevisionGUID="d884e0e3-1b0c-4ab4-86a9-4f344dd9b818" CreationDate="2010-05-05T00:56:39.887" UserId="61" Text="Colin, you're in for a great experience! The dub stage is my favorite part of the process because it's where everything comes together, collaboration takes place and the final vision is achieved. The flip side: Personalities (read: egos), long hours, junk food, time away from your family and many dBs hammering away at your skull. But those are not *all* necessarily bad things…  :)&#xD;&#xA;&#xD;&#xA;Some notes on workflow from my experiences:&#xD;&#xA;&#xD;&#xA;***MACHINE ROOM:*** The backroom person is your friend! He/she is your point person, making sure that all the correct sync/frame rate/bussing issues are taken care of, coordinating any plug-in needs and version snafus, directing you to servers and informing you of how the stage operates.&#xD;&#xA;&#xD;&#xA;***WHERE YOU WILL LIVE:*** Depending on your job title, you will find yourself hanging out on one side of the console most of the time, either the Dialog/Music side or the FX side. Or, if you're supervising, you'll be in the middle.&#xD;&#xA;&#xD;&#xA;***TRACK DELIVERY:*** This varies widely, with some crews sending traditional mono/stereo tracks to the stage for predubbing, and others delivering virtual 5.1 premixes with live plug-in automation running. It is **CRITICAL** to discuss this with your mixers, engineers &amp; post-production supervisor ahead of time so there are no surprises. If you go the virtual route you have to be sure that the stage has all the same plug-ins that you have!&#xD;&#xA;&#xD;&#xA;***CUE SHEETS:*** Your mixers will be expecting these. Make sure you know how to generate them from your session and double-check them before you arrive for legibility or potential mixing problems (ie. same material is not on the same track, not enough room between events for the mixer to make his moves, etc.) Often you don't see that kind of problem on the editing screen but it becomes evident on paper.&#xD;&#xA;&#xD;&#xA;***STEMS:*** Traditional configuration is DIA stem (LCR or 5.0), FX stem (5.1), BG stem (5.0 or 5.1), FOLEY stem (LCR), MX stem (5.1). Channel assignments depend on the complexity of the project, ie. 5.0 DIA stem vs. LCR DIA stem. Also, some of the busier shows will have an extra stem for a particular item in the movie, say a MONSTER 5.1 stem or a WATER 5.1 stem.&#xD;&#xA;&#xD;&#xA;***AVID/PICTURE CREW:*** I have yet to work on a film where the picture crew actually had the Avid on stage. They are often nearby (sometimes across town) but very seldom are they set up on stage. Projecting the image is normally done through a projector room and not off the Avid. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1575" PostHistoryTypeId="5" PostId="868" RevisionGUID="327a73e9-ce58-4cd8-b66a-0a07cd25bff4" CreationDate="2010-05-05T00:56:46.547" UserId="40" Comment="added 61 characters in body" Text="I know a lot about running a post production studio from home, and even in larger post suites, with digi surfaces and such.  I've done it for a long time, and I've developed a method and workflow that works for me in my studio.  But I've never worked in a large dubbing stage before.  I'm going to be working in one off and on starting later this month.  The stage is running on 5 PT HD systems on a Harrison Console.&#xD;&#xA;&#xD;&#xA;Pic of the stage I'll be working on:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;For those of you that work in large stages:&#xD;&#xA;&#xD;&#xA;Can you give me a basic workflow from the project entering the stage to the finished product?  How do you handle the stems?  To what extent are the designed sounds broken down into parts vs given to you as a single sound?  How much is Avid used on the stage (apparently it is used a decent amount on this one)?  Any other comments on the differences between mixing in a home studio (in the box) vs working on a stage?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://farm4.static.flickr.com/3649/3361126106_75d82f19c3.jpg?v=0" ContentLicense="CC BY-SA 2.5" />
  <row Id="1576" PostHistoryTypeId="2" PostId="870" RevisionGUID="32317770-b9bf-4119-9a11-9422b7e22d8c" CreationDate="2010-05-05T01:24:19.557" UserId="100" Text="Wilhelm doesn't bother me so much. Maybe I'm just forgiving because Ben Burtt is the coolest. This scream does burst my bubble, though:&#xD;&#xA;&#xD;&#xA;[youtube]L_818rcC0DA[/youtube]&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=L_818rcC0DA" ContentLicense="CC BY-SA 2.5" />
  <row Id="1577" PostHistoryTypeId="2" PostId="871" RevisionGUID="52029b20-09d3-49f7-bfa4-160b25484b2c" CreationDate="2010-05-05T04:19:17.090" UserId="109" Text="I should also mention, most of the very &quot;quiet&quot; sounds you hear on nature programs (like ants footsteps, insect wings ect) are not the actual sounds being emitted by the &quot;source&quot; seen by the camera. Most of these sounds are created by Foley artists in a studio with household items!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1578" PostHistoryTypeId="5" PostId="733" RevisionGUID="3f8f0fba-592c-4e16-9867-95ca694582e7" CreationDate="2010-05-05T04:27:48.873" UserId="100" Comment="Added Video" Text="I started as a musician. I've always loved movies and sound and tech stuff, but I didn't think there was a career that involved them all. During my last couple years of college I worked in radio production. It was great fun, but I felt it was missing something. Later, while in an unsatisfying career in the US Air Force, I was watching the special features for sound on The Lord of the Rings. Seeing them piece all the sounds together from sticks and rocks and cheese graters lit me on fire. When I finished my military contract I moved my family to Burbank to get close to the film industry and to go to school for audio engineering.&#xD;&#xA;&#xD;&#xA;I'm very interested to see how others went about getting into sound design as well. Anyone fortunate enough to have an uncle in the business that helped get them in?&#xD;&#xA;&#xD;&#xA;[youtube]t5cOgj4RsWg[/youtube]&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=t5cOgj4RsWg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1579" PostHistoryTypeId="2" PostId="872" RevisionGUID="9cf3a3ed-205e-4f84-bef7-fd804e502913" CreationDate="2010-05-05T04:35:51.067" UserId="29" Text="Definitely start small, reserve some budget for a case/pouch and what cables you might need, and do your research. But all that said, buy the best you can afford. Ease of use is also critical: The harder it is to set up, the less you're going to want to use it, which'll stop you before you've started.&#xD;&#xA;&#xD;&#xA;For the smallest, lower-end recorders, I look at them with an eye towards always using the built-in mics. For me, carrying around a separate microphone takes away from the spontaneity of their use...plus, their preamps are usually not great, and it increases set-up time. Others are different and buy such devices based on the mic pre's, an equally valid approach, so it depends on your style and the results you want to get.&#xD;&#xA;&#xD;&#xA;If you get a unit you like - D50, M10, H4n, H2, etc. - then you can always get an external preamp and a mic and still have a tight, small rig as an upgrade someday - very common approach that's great for stealthier recordings. Even if/when you move beyond that, you'll still find that even that older, cheaper gear still has its uses. And that's where price and value differ!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1580" PostHistoryTypeId="5" PostId="862" RevisionGUID="5e7191fb-5266-4694-a50e-1f1784e0e75e" CreationDate="2010-05-05T05:21:54.230" UserDisplayName="user80" Comment="Added weblinks and image" Text="Hey everybody - this is my first post/question here - thanks to [@noisejockey][4] and the other folks at [Twitter][3].&#xD;&#xA;&#xD;&#xA;Before I start I have to admit: I am far, far away from being a pro - in fact, I am not even making sounds/music for a living. It´s what I love to do in my leisure time and that´s why my budget is a maximum of 700 Dollars.&#xD;&#xA;&#xD;&#xA;I have an obsession for sounds that can be found in our everyday surroundings - not really &quot;ambient&quot; sounds but sounds with very specific sources like our voice, a pneumatic hammer, all kinds of instruments, animals, the tiktok of a clock that is so often overheard, the paper shredder in my office - as you know: the list is endless.&#xD;&#xA;[NoiseJockey´s][6] awesome &quot;[Fun with Bikes][5]&quot;-Video covers exactly what I am talking about.&#xD;&#xA;&#xD;&#xA;Since I know that there are so much interesting textures and tones hidden inside them I want to get really &quot;close&quot; to those interesting sound sources and record them.&#xD;&#xA;&#xD;&#xA;So I kept my eyes and ears open to what might be a small-budget-solution for my aspirations - but since the market is so full of portable recorders, microphones...&#xD;&#xA;&#xD;&#xA;I might need advice from you pros. &#xD;&#xA;&#xD;&#xA;I already own an [Echo AudioFire4][1] interface, but no mic (yet, but that´s another story) but I don´t want to carry my laptop etc. with me so I am looking for a portable solution.&#xD;&#xA;&#xD;&#xA;Thanks for your advice!&#xD;&#xA;&#xD;&#xA;[![Echo AudioFire4][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.echoaudio.com/Products/FireWire/AudioFire4/index.php&#xD;&#xA;[2]: http://www.echoaudio.com/Products/FireWire/AudioFire4/audiofire4_front.jpg&#xD;&#xA;[3]: http://twitter.com/&#xD;&#xA;[4]: http://twitter.com/noisejockey&#xD;&#xA;[5]: http://www.noisejockey.net/blog/2010/04/05/fun-with-bikes/&#xD;&#xA;[6]: http://www.noisejockey.net/blog/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1581" PostHistoryTypeId="6" PostId="862" RevisionGUID="5e7191fb-5266-4694-a50e-1f1784e0e75e" CreationDate="2010-05-05T05:21:54.230" UserDisplayName="user80" Comment="Added weblinks and image" Text="&lt;recording&gt;&lt;field-recorder&gt;&lt;field-recording&gt;&lt;recommendations&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1582" PostHistoryTypeId="2" PostId="873" RevisionGUID="c71fd4a8-69ae-430b-9264-0413278e1d4d" CreationDate="2010-05-05T06:28:40.563" UserId="40" Text="Got a little more info on the console:&#xD;&#xA;&#xD;&#xA;It's a Harrison MPC-3D.  Here's an official description: &quot;It has 448 digital inputs, 336 AES Inputs, 224 AES Outputs, 112 D/A converters and 112 A/D converters. Fifty-six pec/direct channels and a 112 x 16 output PreDub “stem / Monitor Summing Matrix plus a router 1344 x 1344 rounds out this system.&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1583" PostHistoryTypeId="2" PostId="874" RevisionGUID="ad17ba5e-7677-46d7-b9d7-16066707d913" CreationDate="2010-05-05T08:05:58.123" UserId="56" Text="Plus 1 for Native Instruments Kontakt. " ContentLicense="CC BY-SA 2.5" />
  <row Id="1584" PostHistoryTypeId="2" PostId="875" RevisionGUID="c92cbd49-b654-4434-bf96-f3a410dab700" CreationDate="2010-05-05T10:10:25.140" UserId="100" Text="For those of you who have made sound design your career, is there anything you would have done differently along the way? Are there certain choices you're especially glad you made? Would you rather have gone freelance/studio, film/games, east coast/west coast, local/international, analog/digital, etc.? What mistakes should a newcomer avoid (or not avoid)?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1585" PostHistoryTypeId="1" PostId="875" RevisionGUID="c92cbd49-b654-4434-bf96-f3a410dab700" CreationDate="2010-05-05T10:10:25.140" UserId="100" Text="Professional Advice for Beginners" ContentLicense="CC BY-SA 2.5" />
  <row Id="1586" PostHistoryTypeId="3" PostId="875" RevisionGUID="c92cbd49-b654-4434-bf96-f3a410dab700" CreationDate="2010-05-05T10:10:25.140" UserId="100" Text="&lt;beginner&gt;&lt;career&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1587" PostHistoryTypeId="2" PostId="876" RevisionGUID="123f14a9-19c7-40a6-bb1c-051da1f5a23e" CreationDate="2010-05-05T10:56:01.417" UserId="2" Text="I just answered some questions on the [soundesign blog][1], and one question relates loosely to your question. The questions was:&#xD;&#xA;&#xD;&#xA;&gt; **What would you suggest to young people wishing to become a sound&#xD;&#xA;&gt; designer? Which one is the&#xD;&#xA;&gt; never-without tool?**&#xD;&#xA;&gt; &#xD;&#xA;&gt; This is a question that I can&#xD;&#xA;&gt; personally relate to as I recently&#xD;&#xA;&gt; have reached a point in my career&#xD;&#xA;&gt; where I am working on projects that I&#xD;&#xA;&gt; find personally and professionally&#xD;&#xA;&gt; fulfilling.&#xD;&#xA;&gt; &#xD;&#xA;&gt; Things I have learned: Always have a&#xD;&#xA;&gt; sound design project to work on; try&#xD;&#xA;&gt; get it out there and seek feedback;&#xD;&#xA;&gt; share your knowledge; call yourself a&#xD;&#xA;&gt; sound designer; charge for your sound&#xD;&#xA;&gt; design (even just a bit); the web can&#xD;&#xA;&gt; be your mentor.&#xD;&#xA;&gt; &#xD;&#xA;&gt; - The best way to learn is by doing. By participating in projects, you will&#xD;&#xA;&gt; learn new techniques and develop&#xD;&#xA;&gt; skills for future projects. If you&#xD;&#xA;&gt; work in a team, you also can build&#xD;&#xA;&gt; working relationships.&#xD;&#xA;&gt; - Sharing knowledge forces you to absorb and apply what you have learned&#xD;&#xA;&gt; and encourages other people to share&#xD;&#xA;&gt; their knowledge with you.&#xD;&#xA;&gt; - If you call yourself a sound designer, people will treat you as a&#xD;&#xA;&gt; sound designer.&#xD;&#xA;&gt; - Don’t be shy to charge for your skills as a sound designer. People&#xD;&#xA;&gt; will try to get you to work for free,&#xD;&#xA;&gt; but you are offering a valuable&#xD;&#xA;&gt; service. Once you start charging for&#xD;&#xA;&gt; your skills, you are considered a&#xD;&#xA;&gt; professional sound designer. Initially&#xD;&#xA;&gt; it’s difficult to get away from the&#xD;&#xA;&gt; free work. It took me a long time to&#xD;&#xA;&gt; get over the I have no value and I&#xD;&#xA;&gt; should work for free attitude.&#xD;&#xA;&gt; - Mentors are sadly hard to find, but we are lucky to have the web. There is&#xD;&#xA;&gt; a huge online community that is eager&#xD;&#xA;&gt; to help. There is a huge amount of&#xD;&#xA;&gt; knowledge that is distributed for&#xD;&#xA;&gt; free, it is up to you to find and make&#xD;&#xA;&gt; something out of it.&#xD;&#xA;&gt; &#xD;&#xA;&gt; The main tool in your arsenal is your&#xD;&#xA;&gt; ability to work with others. Becoming&#xD;&#xA;&gt; the sound designer people want to work&#xD;&#xA;&gt; with will serve you well. If you’re&#xD;&#xA;&gt; that person, you will work your way up&#xD;&#xA;&gt; quickly. As sound designer you will&#xD;&#xA;&gt; more than likely be dependent on a&#xD;&#xA;&gt; team. You need to have a production to&#xD;&#xA;&gt; earn money, or you need a good script&#xD;&#xA;&gt; to do a good sound design. This should&#xD;&#xA;&gt; get the ball rolling: When people want&#xD;&#xA;&gt; to work with you, you will earn money&#xD;&#xA;&gt; to buy equipment. When you have the&#xD;&#xA;&gt; equipment, people will hire you for&#xD;&#xA;&gt; bigger projects and you will get&#xD;&#xA;&gt; better at sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There are also some really good answers [on this thread][2] if you haven't seen it and care to read more. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundesign.info/interviews/an-interview-to-andrew-spitz-social-sound-design#more-2500&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/284/paths-to-pro-work" ContentLicense="CC BY-SA 2.5" />
  <row Id="1588" PostHistoryTypeId="2" PostId="877" RevisionGUID="c4fddc0a-e1bf-4a51-b474-609d253c87cf" CreationDate="2010-05-05T13:30:06.393" UserId="81" Text="One important thing I have learned during my adventure is &quot;Focus&quot;&#xD;&#xA;&#xD;&#xA;Instead of being jack of all trades, and do the foley record, overdub, sound cleaning, video games, animations, short movies; just concentrating on one thing made me a better sound designer, instead of being average in each.&#xD;&#xA;&#xD;&#xA;I don't mean that you should not learn or try the other things but in my opinion knowing your weaknesses and strengths and sharing them honestly with a client will emphasize your professionalism " ContentLicense="CC BY-SA 2.5" />
  <row Id="1589" PostHistoryTypeId="2" PostId="878" RevisionGUID="70058ca5-f536-49d9-a67f-1c6c8fe423ec" CreationDate="2010-05-05T13:36:36.907" UserId="258" Text="Thank you so much for you advices.&#xD;&#xA;&#xD;&#xA;I will keep my ears open for a low-end recorder with good built-in mics and an input option for external mics.&#xD;&#xA;&#xD;&#xA;I have read raving reviews about the Sony PCM-M10 - maybe I´ll get an NTG-2 (this seems to be a low-end shotgun mic for and a way to get &quot;close&quot; to the sound sources without recording too much ambience.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1590" PostHistoryTypeId="2" PostId="879" RevisionGUID="fd5269f1-a51c-4a73-b4ed-4d25f2018ce8" CreationDate="2010-05-05T15:54:21.797" UserId="122" Text="I recently was in the same situation as yourself and was originally going for the Sound Devices 702 recorder. However I finally decided go down the second hand route and which allowed me to go for a 744T and I don't regret that one bit! Although second hand it is like new and I couldn't have told it was used at all! The extra two tracks have not really been of much use ...yet...as most of my work with it so far has been sound fx recording. However, with a production sound gig coming up in the summer I'm sure the extra two channels and the timecode features will have made my decision to get the 744T a worthwile one! &#xD;&#xA;&#xD;&#xA;Just had the recorder for a few months now and must say Sound devices make some really really nice pieces of gear!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1591" PostHistoryTypeId="5" PostId="878" RevisionGUID="912af7be-0797-4f50-8500-b0206491a911" CreationDate="2010-05-05T17:12:51.893" UserDisplayName="user80" Comment="deleted 3 characters in body" Text="Thank you so much for you advice.&#xD;&#xA;&#xD;&#xA;I will keep my ears open for a low-end recorder with good built-in mics and an input option for external mics.&#xD;&#xA;&#xD;&#xA;I have read rave reviews about the Sony PCM-M10 - maybe I´ll get an NTG-2 (this seems to be a low-end shotgun mic for and a way to get &quot;close&quot; to the sound sources without recording too much ambience.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1592" PostHistoryTypeId="5" PostId="875" RevisionGUID="2458cbe8-a68f-4b52-86cd-209fa2d7f69a" CreationDate="2010-05-05T19:42:31.907" UserId="100" Comment="Title Change, Clarification" Text="For those of you who have made sound design your career, is there anything you would have done differently along the way? Are there certain choices you're especially glad you made? Would you rather have gone freelance/studio, film/games, east coast/west coast, local/international, analog/digital, etc.? What mistakes should a newcomer avoid (or not avoid)? More than anything, I'm interested in hindsight." ContentLicense="CC BY-SA 2.5" />
  <row Id="1593" PostHistoryTypeId="4" PostId="875" RevisionGUID="2458cbe8-a68f-4b52-86cd-209fa2d7f69a" CreationDate="2010-05-05T19:42:31.907" UserId="100" Comment="Title Change, Clarification" Text="What would you have done differently?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1594" PostHistoryTypeId="2" PostId="880" RevisionGUID="80d1ad27-1849-4c80-b00b-1b4daf8beadc" CreationDate="2010-05-05T21:32:41.077" UserId="178" Text="Your mileage may vary, but here's what's in my indie film recording kit:&#xD;&#xA;&#xD;&#xA;Marantz PMD661 recorder (great preamps for the price, mediocre built in stereo mics)&#xD;&#xA;&#xD;&#xA;Rode NT4 (for stereo location and ambient recordings)&#xD;&#xA;&#xD;&#xA;Audix SCX1-HC (hypercardioid mic for mono and boom mic applications)&#xD;&#xA;&#xD;&#xA;If you want to use external mics (and you probably will), be aware that not all preamps are created equal. The biggest difference you will find is in the noise floor. Here is a great comparison of a lot of popular recorders on the market:&#xD;&#xA;&#xD;&#xA;  http://www.wingfieldaudio.com/portable-recorder-noise.html&#xD;&#xA;&#xD;&#xA;Also, I think Rode actually makes pretty good stuff, but I'd only really recommend the true condenser mics (NT3, NT4, NT1, NTG-3, etc) and not the lower end electret condenser mics (NTG-1, NTG-2, etc). Electret condensers are a different sort of technology that results in more noise and worse performance than true condensers. If it can be powered by a AA battery, it's not a real condenser mic.&#xD;&#xA;&#xD;&#xA;My setup is highly optimized for my particular needs, so take all of these comments with a grain of salt. For me, I wanted something that could cover ambient stereo backgrounds, stereo concert/music recordings, foley, film boom mic work and ADR, and sound crisp, clean, and free of noise. For these purposes, my setup is great. For someone else with different goals and budgets, it could be all the wrong stuff. Do enough research until you know you're getting the best stuff for you." ContentLicense="CC BY-SA 2.5" />
  <row Id="1595" PostHistoryTypeId="6" PostId="220" RevisionGUID="f6e533cc-6570-4003-a5eb-65b268fbae99" CreationDate="2010-05-05T21:55:01.103" UserId="100" Comment="edited tags" Text="&lt;volume&gt;&lt;recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1596" PostHistoryTypeId="2" PostId="881" RevisionGUID="af11b62f-f4df-48a7-84ba-c948c5ca6c15" CreationDate="2010-05-05T22:59:49.090" UserId="61" Text="Anyone have experience using this mic for all-purpose FX and/or ambience recording? How's the noise floor? All info is, as usual, much appreciated. Thanks, group -&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiorents.com/photos/front/KMR82i_Z.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1597" PostHistoryTypeId="1" PostId="881" RevisionGUID="af11b62f-f4df-48a7-84ba-c948c5ca6c15" CreationDate="2010-05-05T22:59:49.090" UserId="61" Text="Neumann KMR82i for FX recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="1598" PostHistoryTypeId="3" PostId="881" RevisionGUID="af11b62f-f4df-48a7-84ba-c948c5ca6c15" CreationDate="2010-05-05T22:59:49.090" UserId="61" Text="&lt;microphone&gt;&lt;neumann&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1599" PostHistoryTypeId="5" PostId="881" RevisionGUID="b9cc74c3-3b16-449d-8c81-81af5d5f09f0" CreationDate="2010-05-05T23:09:06.637" UserId="61" Comment="added 166 characters in body; edited tags" Text="Anyone have experience using this mic for all-purpose FX and/or ambience recording? How's the noise floor? All info is, as usual, much appreciated. Thanks, group -&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**ALSO:** Also, how about the Sennheiser MKH415 T?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiorents.com/photos/front/KMR82i_Z.jpg&#xD;&#xA;  [2]: http://www.saturn-sound.com/images%20-%20microphones/sennheiser%20mkh415t.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1600" PostHistoryTypeId="6" PostId="881" RevisionGUID="b9cc74c3-3b16-449d-8c81-81af5d5f09f0" CreationDate="2010-05-05T23:09:06.637" UserId="61" Comment="added 166 characters in body; edited tags" Text="&lt;microphone&gt;&lt;neumann&gt;&lt;sennheiser&gt;&lt;mkh415-t&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1601" PostHistoryTypeId="2" PostId="882" RevisionGUID="96a4f9af-d25b-4173-96bf-0c0b0c3acca5" CreationDate="2010-05-05T23:18:22.607" UserId="262" Text="I have an opportunity to do some editing (and possibly some mastering) of some lines for a video game. it's all broken down in such a way that it will all be cut into single line sound files. there will be a given number of lines, say in the thousands. I'm also sure that there will be very specific instructions involved. My question is, as I have never done this before, how much should I charge? For editing? For mastering? For both? Per line? Per hour? for the job?&#xD;&#xA;Any insight would be helpful, as I am just starting my career and this could be a great boost resume, demo reel and bank account.&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 2.5" />
  <row Id="1602" PostHistoryTypeId="1" PostId="882" RevisionGUID="96a4f9af-d25b-4173-96bf-0c0b0c3acca5" CreationDate="2010-05-05T23:18:22.607" UserId="262" Text="How much should I charge to edit dialogue for a video game?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1603" PostHistoryTypeId="3" PostId="882" RevisionGUID="96a4f9af-d25b-4173-96bf-0c0b0c3acca5" CreationDate="2010-05-05T23:18:22.607" UserId="262" Text="&lt;recommendations&gt;&lt;editing&gt;&lt;video-games&gt;&lt;newbie&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1604" PostHistoryTypeId="2" PostId="883" RevisionGUID="866e7f37-5193-499a-848e-42b674417a92" CreationDate="2010-05-05T23:28:25.163" UserId="61" Text="You're looking at about $650/day max, but with a bulk amount of work you may be offered a flat fee instead, say $5000. all in, or something like that. Totally depends on the company you're working for. The larger companies, such as EA, Sony or Blizzard, will be able to pay more than the smaller ones." ContentLicense="CC BY-SA 2.5" />
  <row Id="1605" PostHistoryTypeId="2" PostId="884" RevisionGUID="ab529ddc-f685-4546-9c80-796d76c793e6" CreationDate="2010-05-06T00:16:47.120" UserId="40" Text="The Neumann is one of the most incredible mics I've ever listened to.  Practically no noise floor.  Sounds absolutely amazing.  I've heard of people being able to pick up sounds from very far away (100ft+) without too much noise.  Obviously you'd be getting a lot of ambient noise with that, but it's a testament to how quiet it is.&#xD;&#xA;&#xD;&#xA;I've never used the 415t, but I absolutely love the 416 (don't know how similar they are...).  Sennheisers are known for their low noise floor though." ContentLicense="CC BY-SA 2.5" />
  <row Id="1606" PostHistoryTypeId="2" PostId="885" RevisionGUID="953d31a9-249d-4089-abb0-a3134bbc4018" CreationDate="2010-05-06T02:29:39.757" UserId="18" Text="I wouldn't use the Kmr82 for ambience, as it is only mono.  Also, keep in mind that it is pretty long.  Long guns and Rycotes can sometimes be a bit much to lug around.&#xD;&#xA;&#xD;&#xA;I've never used the 82 myself, but John Fasal has a 82 and I have seen him use it on gun recordings a lot.  It sounded great to me.&#xD;&#xA;&#xD;&#xA;I've never used the 415T either, but I would try to get a 416 p48 instead.  That way you won't have to worry about using a T Power - Phantom power converter (assuming your mixers/recorders are all phantom and not T Power).  Also, those old Sennheisers used Tuschel connectors instead of regular XLR connectors.  Which means you'll need to buy yourself some connectors and build your own cables, instead of just grabbing an XLR off the shelf.  Not a problem if you can soldier, but more added work.  &#xD;&#xA;&#xD;&#xA;I owned a Sennheiser 816T for a while, I sold it because it was too long to lug around, I had trouble fitting it and the rycote into any of my cases, and hated having to remember to use a T-Power converter.  I also had to build my own cables because it had a Tuschel connector.  &#xD;&#xA;&#xD;&#xA;Unless you really need a long gun, a Sennheiser 416 or MKH60 or a Neumann KMR81 will be much more friendly to you.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="1609" PostHistoryTypeId="5" PostId="62" RevisionGUID="3fe3ece5-6c0b-4dd7-ae07-b336f5dba02c" CreationDate="2010-05-06T05:16:49.570" UserDisplayName="user80" Comment="added 57 characters in body" Text="+1 for the [Zoom H4N][2] (for the money).  Not a big fan of the H2 (with no XLR inputs and all).  The H4N is a great value for the price($300).  It sounds good enough on its own (great for those times when you used to say &quot;Crap, that sound it awesome, I wish I had a recorder on me!).  I love the XLR jacks too.  That's the biggest selling point for me.  Real XLR jacks with real phantom power.  However, the sound quality fails in comparison to my Sound Devices 702T (my sound effects recorder of choice), although it hardly falls into the &quot;Entry Level&quot; category.&#xD;&#xA;&#xD;&#xA;I love my 702.  Don't have a single complaint about it.  Amazing recorder, great battery life, extremely easy to use and very flexible, with an amazingly in-depth menu.  Doesn't provide bias power for lavs though, so you either need to go wireless on the lav (which I'd usually do anyways) or get a dedicated power supply for the lav.  I do all of my effects recording on a 702 or a Zaxcom Deva V (if I'm doing a large session with tons of mics).&#xD;&#xA;&#xD;&#xA;The Sony PCM-D50 is great too, but again, no XLR connectivity. Of course you can adapt, but it just doesn't ever work out too well...  Decent sounding recorder though. I'm of the opinion that the mics built in sound a little better than the Zoom's mics, but then again, they should, because its $150 more.&#xD;&#xA;&#xD;&#xA;I had a Korg MR-1 for a while. It sounded amazing, when it worked. I went through 3 of them (all replaced for free). They liked dying on me.  I haven't heard that from anyone else though, so maybe I just had some bad luck.  In general, I'm a fan of DSD (1-bit) recording, but it's not widely supported, so ended up being more of a hassle than anything. It's a great sounding recorder, but again, I had to use adapters to be able to use any real mics.  The thing I like about the Korg over most other portables that lack XLR jacks is that it had two balanced mono 1/8&quot; mic inputs instead of a single unbalanced stereo mic input.  Easily adaptable to XLR (no funky splitting from 1/8&quot; stereo to dual XLR or anything).  It also provided Bias power (for lavs) or 48v phantom which was nice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My two cents :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT: I also have one of those [Olympus LS-10][1] recorders.  Decent sound for quick recordings (the whole &quot;crap I wish I had a recorder&quot; thing again...).  Also, freakin awesome because of how small it is and easy it is to use.  Price came down a lot since I bought it.  I'd say go with the Zoom over the Olympus though for the same price, unless size is a factor for you (the Zoom is fairly large for a Handheld recorder).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/538924-REG/Olympus_141970_LS_10_Linear_PCM_Field.html&#xD;&#xA;  [2]: http://www.zoom.co.jp/english/products/h4n/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1613" PostHistoryTypeId="5" PostId="62" RevisionGUID="875cebea-e0b0-482b-a1c0-41035739b15a" CreationDate="2010-05-06T05:56:49.707" UserDisplayName="user80" Comment="added 193 characters in body" Text="+1 for the [Zoom H4n][2] (for the money).  Not a big fan of the [H2][4] (with no XLR inputs and all).  The H4n is a great value for the price($300).  It sounds good enough on its own (great for those times when you used to say &quot;Crap, that sound it awesome, I wish I had a recorder on me!).  I love the XLR jacks too.  That's the biggest selling point for me.  Real XLR jacks with real phantom power.  However, the sound quality fails in comparison to my [Sound Devices 702T][5] (my sound effects recorder of choice), although it hardly falls into the &quot;Entry Level&quot; category.&#xD;&#xA;&#xD;&#xA;[![Zoom H4n][3]][2]&#xD;&#xA;&#xD;&#xA;I love my 702.  Don't have a single complaint about it.  Amazing recorder, great battery life, extremely easy to use and very flexible, with an amazingly in-depth menu.  Doesn't provide bias power for lavs though, so you either need to go wireless on the lav (which I'd usually do anyways) or get a dedicated power supply for the lav.  I do all of my effects recording on a 702 or a Zaxcom Deva V (if I'm doing a large session with tons of mics).&#xD;&#xA;&#xD;&#xA;The Sony PCM-D50 is great too, but again, no XLR connectivity. Of course you can adapt, but it just doesn't ever work out too well...  Decent sounding recorder though. I'm of the opinion that the mics built in sound a little better than the Zoom's mics, but then again, they should, because its $150 more.&#xD;&#xA;&#xD;&#xA;I had a Korg MR-1 for a while. It sounded amazing, when it worked. I went through 3 of them (all replaced for free). They liked dying on me.  I haven't heard that from anyone else though, so maybe I just had some bad luck.  In general, I'm a fan of DSD (1-bit) recording, but it's not widely supported, so ended up being more of a hassle than anything. It's a great sounding recorder, but again, I had to use adapters to be able to use any real mics.  The thing I like about the Korg over most other portables that lack XLR jacks is that it had two balanced mono 1/8&quot; mic inputs instead of a single unbalanced stereo mic input.  Easily adaptable to XLR (no funky splitting from 1/8&quot; stereo to dual XLR or anything).  It also provided Bias power (for lavs) or 48v phantom which was nice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My two cents :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT: I also have one of those [Olympus LS-10][1] recorders.  Decent sound for quick recordings (the whole &quot;crap I wish I had a recorder&quot; thing again...).  Also, freakin awesome because of how small it is and easy it is to use.  Price came down a lot since I bought it.  I'd say go with the Zoom over the Olympus though for the same price, unless size is a factor for you (the Zoom is fairly large for a Handheld recorder).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/538924-REG/Olympus_141970_LS_10_Linear_PCM_Field.html&#xD;&#xA;  [2]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;  [3]: http://www.zoomh4.net/images/H4n-front-new.png&#xD;&#xA;  [4]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;  [5]: http://www.sounddevices.com/products/702t.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="1614" PostHistoryTypeId="2" PostId="890" RevisionGUID="d4e758d5-cfc6-43de-aa24-a40c77f4686b" CreationDate="2010-05-06T06:02:17.313" UserId="18160" Text="I use Pro Tools, and I use the Pencil Tool or cutting out a cycle of the waveform." ContentLicense="CC BY-SA 2.5" />
  <row Id="1615" PostHistoryTypeId="1" PostId="890" RevisionGUID="d4e758d5-cfc6-43de-aa24-a40c77f4686b" CreationDate="2010-05-06T06:02:17.313" UserId="18160" Text="While editing Dialogue, what tool do you use to eliminate clicks within words?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1616" PostHistoryTypeId="3" PostId="890" RevisionGUID="d4e758d5-cfc6-43de-aa24-a40c77f4686b" CreationDate="2010-05-06T06:02:17.313" UserId="18160" Text="&lt;pro-tools&gt;&lt;dialogue&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1617" PostHistoryTypeId="2" PostId="891" RevisionGUID="08f90c2d-fba9-4ce1-8d16-488bd0b1cb5d" CreationDate="2010-05-06T06:10:16.140" UserId="18160" Text="I have just recently started to record ADR.&#xD;&#xA;&#xD;&#xA;I have a Sanken COS-11 lapel mic.&#xD;&#xA;&#xD;&#xA;Recently, an ADR Supervisor told me he loves this mic and uses it as often as I can.&#xD;&#xA;&#xD;&#xA;I listened back to the recordings we did that day with the actor and I was not happy with the tonality at ALL. I tried placing it on a mic stand and about 6 inches from his mouth - about chin height. Then I tried clamping it onto his shirt about 8 inches below his chin... Both sounded horrible compared to my MK41 and MHK50 and U87.. But, I guess you want to match the production sound, yea?&#xD;&#xA;&#xD;&#xA;Any of you have any tricks to get a lapel to sound good on a voice?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1618" PostHistoryTypeId="1" PostId="891" RevisionGUID="08f90c2d-fba9-4ce1-8d16-488bd0b1cb5d" CreationDate="2010-05-06T06:10:16.140" UserId="18160" Text="How do I make a lapel mic sound good?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1619" PostHistoryTypeId="3" PostId="891" RevisionGUID="08f90c2d-fba9-4ce1-8d16-488bd0b1cb5d" CreationDate="2010-05-06T06:10:16.140" UserId="18160" Text="&lt;adr&gt;&lt;lapel&gt;&lt;microphone&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1620" PostHistoryTypeId="2" PostId="892" RevisionGUID="5cf86526-fd2b-4977-bcfb-63b8828d32eb" CreationDate="2010-05-06T06:18:39.960" UserId="18160" Text="I just did a mix on a video that had a clip from a newscast from TV. We re-recorded the line (ADR).&#xD;&#xA;&#xD;&#xA;I used a lapel mic as that is what they probably used on set..&#xD;&#xA;&#xD;&#xA;Do any of you have a preset or certain compression techniques to make the voice sound like a mashed-up news broadcast sound?&#xD;&#xA;&#xD;&#xA;I spent a bit trying to figure out how to get it to sound that horrible - compressed and dull but still clear at the same time..&#xD;&#xA;&#xD;&#xA;I took the Lapel mic and sent it through 1980 in Izotope Vinyl and mashed it a bit with Renaissance Axe and then EQed to taste... But it still didn't have that &quot;TV&quot; sound I wanted.." ContentLicense="CC BY-SA 2.5" />
  <row Id="1621" PostHistoryTypeId="1" PostId="892" RevisionGUID="5cf86526-fd2b-4977-bcfb-63b8828d32eb" CreationDate="2010-05-06T06:18:39.960" UserId="18160" Text="Futz to make a good newscast sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1622" PostHistoryTypeId="3" PostId="892" RevisionGUID="5cf86526-fd2b-4977-bcfb-63b8828d32eb" CreationDate="2010-05-06T06:18:39.960" UserId="18160" Text="&lt;television&gt;&lt;mix&gt;&lt;dialogue&gt;&lt;futz&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1623" PostHistoryTypeId="2" PostId="893" RevisionGUID="55eebf4e-9555-499e-bb5b-74c802b05f64" CreationDate="2010-05-06T06:23:09.347" UserId="40" Text="Hmmmm, that sounds very strange to me.  The Cos-11 is a great sounding mic.  It's no U87 or MKH50, but it should still sound very good.&#xD;&#xA;&#xD;&#xA;What was wrong with the tonality?  Tubby? Crunchy? Wonky?  Tinny?&#xD;&#xA;&#xD;&#xA;What kind of connection were you using?  Wireless?  XLR adapter?&#xD;&#xA;&#xD;&#xA;In general, clamping a lav to the outside of someone's shirt between the second and third button should sound great.&#xD;&#xA;&#xD;&#xA;Did you get a chance to listen to the production audio to compare the original quality?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1624" PostHistoryTypeId="2" PostId="894" RevisionGUID="62c5eb27-c348-401d-a34f-d90191ad26a5" CreationDate="2010-05-06T06:26:02.077" UserId="237" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am operating as a freelancer, and under the NEIS program in Sydney, which means I get an allowance to start my business but under their terms - the main one being I NEED to have Public Liability Insurance.&#xD;&#xA;I figured I might as well be insured for my equipment (laptop, protools, ilok and plugins, my drives, marantz)&#xD;&#xA;&#xD;&#xA;I also work from home - so I need an insurance policy that covers mainly equipment under portable policy, with fire and theft and public liability.&#xD;&#xA;&#xD;&#xA;So many insurers can't even categorise me though, or simply don't offer it.&#xD;&#xA;&#xD;&#xA;I got a quote from AAMI and from Latitude, but wanted to hear your thoughts before signing up to anything." ContentLicense="CC BY-SA 2.5" />
  <row Id="1625" PostHistoryTypeId="1" PostId="894" RevisionGUID="62c5eb27-c348-401d-a34f-d90191ad26a5" CreationDate="2010-05-06T06:26:02.077" UserId="237" Text="Insurance for Post- Production" ContentLicense="CC BY-SA 2.5" />
  <row Id="1626" PostHistoryTypeId="3" PostId="894" RevisionGUID="62c5eb27-c348-401d-a34f-d90191ad26a5" CreationDate="2010-05-06T06:26:02.077" UserId="237" Text="&lt;insurance&gt;&lt;budget&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1627" PostHistoryTypeId="2" PostId="895" RevisionGUID="984030bc-b6b8-4dcf-a732-6faa2fe48a8a" CreationDate="2010-05-06T06:29:05.040" UserId="40" Text="Check out the Cosmonaut Voice plugin.  It has some great presets, and I think one gets close to that one.  I believe IK Multimedia's T-Racks has a few decent presets for stuff like that as well.&#xD;&#xA;&#xD;&#xA;You could just do it manually with a bit of eq, a TON of compression (I'd even venture into multiband compression), and a brickwall limiter. (Probably in the order of Comp --&gt; EQ --&gt; Limiter)  This gives you the most flexibility to get exactly the sound you want.&#xD;&#xA;&#xD;&#xA;Good luck!  Maybe post a demo of what you come up with?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1628" PostHistoryTypeId="2" PostId="896" RevisionGUID="525ccebe-8e16-4813-ada7-5085df5bb205" CreationDate="2010-05-06T06:29:44.773" UserId="61" Text="Try [Speakerphone][1] from AudioEase. It will do exactly what you're asking. If that's out of your price range, simply dial-in a high end and low end shelf to taste on your favorite EQ, use a good voiceover preset on your favorite compressor, and you're basically there.&#xD;&#xA;&#xD;&#xA;PS: I would not use a lapel mic in the future since you may risk introducing unintended clothing rustle. A standard ADR mic setup is better, really, even if you plan on making it sound futzed in the end.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audioease.com/Pages/Speakerphone/speakerphone.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1629" PostHistoryTypeId="2" PostId="897" RevisionGUID="38452f1a-4c8f-4ed6-b527-a20f151fecb3" CreationDate="2010-05-06T06:34:10.153" UserId="61" Text="Try these:&#xD;&#xA;&#xD;&#xA;Waves [X-Click and X-Crackle][1]&#xD;&#xA;&#xD;&#xA;[Izotope Rx][2]&#xD;&#xA;&#xD;&#xA;Note: Izotope has a full-featured demo that you can audition before you buy to see if it will work for your needs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waves.com/content.aspx?id=197&#xD;&#xA;  [2]: http://www.izotope.com/products/audio/rx/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1630" PostHistoryTypeId="2" PostId="898" RevisionGUID="4249f216-9dee-4dd1-a4e1-dac922fbc486" CreationDate="2010-05-06T06:35:36.737" UserId="40" Text="Most of what I say might not apply at all to you, since I live in the USA, but I'll tell you what I do anyways.&#xD;&#xA;&#xD;&#xA;I am a freelancer as well, and my studio is out of my house.  I rent a house here in Florida and I have renter's insurance.  When I set up the insurance, I made sure that I had pictures, records, receipts and all on file, and I totaled up the replacement value and reported it to the insurance company.&#xD;&#xA;&#xD;&#xA;About a year later, I was up in NYC, and a cabbie sped off with a suitcase full of mics, recording equipment, one of my recorders, my laptop (luckily it was backed up!), etc... totaling about $7k of equipment.  I called my insurer, and since the equipment was with me when it was stolen, even though I was 1500 miles away from the house that I was renting, they cut me a check for the amount (after proving some things and providing the receipts and pictures).&#xD;&#xA;&#xD;&#xA;So I don't know if that helps you out at all.  Maybe it might help someone else living here in the US?  As a freelancer, you could probably be protected under something like this.  If you actually start a company, it is most likely different.  Again, I'm not familiar with Aussie law...&#xD;&#xA;&#xD;&#xA;Hope this helps a little!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1631" PostHistoryTypeId="2" PostId="899" RevisionGUID="44ae8b58-dc16-4298-8a6c-8945b47b69e8" CreationDate="2010-05-06T06:39:02.197" UserId="40" Text="I'm all about Izotope RX.  It's such a lifesaver for me.  I do everything from lowering the noise floor on recordings, to removing clicks and clipping, to removing a cough from a live music performance (I actually got that one to work perfectly!!  I'll have to see if I can find the original and final to let you guys A/B the two).&#xD;&#xA;&#xD;&#xA;If it's something really tiny and don't want to spend time in RX (it can be very time consuming for more complex fixes), I'll go with the old pencil tool trick." ContentLicense="CC BY-SA 2.5" />
  <row Id="1632" PostHistoryTypeId="2" PostId="900" RevisionGUID="127dc341-e61c-4c99-a1ba-8b1e200c99f0" CreationDate="2010-05-06T08:03:03.267" UserId="182" Text="One sound that bursts my bubble is a specific SHIOUFFF sound that is often used for the ignition of fuel fires, molotov cocktails, fireballs or fire rushing towards something. It's also mixed in with car crashes a lot. Don't know where it comes from, but I used to have it in some library as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="1633" PostHistoryTypeId="6" PostId="844" RevisionGUID="f1dd59c7-c72f-46ef-96c4-f214723229a2" CreationDate="2010-05-06T08:08:04.780" UserId="182" Comment="edited tags" Text="&lt;sound-design&gt;&lt;sampler&gt;&lt;editing&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1634" PostHistoryTypeId="2" PostId="901" RevisionGUID="d7d7b3d9-5e4b-4877-a34d-018379a525e5" CreationDate="2010-05-06T08:57:08.980" UserId="62" Text="I started out with the pencil tool like the other guys until where I work bought iZotope RX. To clean up clicks etc it is an amazing tool and worth every penny if you can buy it." ContentLicense="CC BY-SA 2.5" />
  <row Id="1635" PostHistoryTypeId="5" PostId="890" RevisionGUID="79bbf8f7-fe84-4f0d-ad41-253288438c57" CreationDate="2010-05-06T13:46:11.837" UserDisplayName="user80" Comment="Addeed=" Text="I use Pro Tools, and I use the Pencil Tool or cutting out a cycle of the waveform?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1636" PostHistoryTypeId="4" PostId="890" RevisionGUID="79bbf8f7-fe84-4f0d-ad41-253288438c57" CreationDate="2010-05-06T13:46:11.837" UserDisplayName="user80" Comment="Addeed=" Text="While editing dialogue, what tool do you use to eliminate clicks within words?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1637" PostHistoryTypeId="6" PostId="890" RevisionGUID="79bbf8f7-fe84-4f0d-ad41-253288438c57" CreationDate="2010-05-06T13:46:11.837" UserDisplayName="user80" Comment="Addeed=" Text="&lt;pro-tools&gt;&lt;dialogue&gt;&lt;editing&gt;&lt;techniques&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1638" PostHistoryTypeId="5" PostId="890" RevisionGUID="eabbf64e-3677-4f74-ba5a-0a7f1e4f824a" CreationDate="2010-05-06T13:46:11.423" UserDisplayName="user80" Comment="Addeed=" Text="I use Pro Tools, and I use the Pencil Tool or cutting out a cycle of the waveform?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1639" PostHistoryTypeId="4" PostId="890" RevisionGUID="eabbf64e-3677-4f74-ba5a-0a7f1e4f824a" CreationDate="2010-05-06T13:46:11.423" UserDisplayName="user80" Comment="Addeed=" Text="While editing dialogue, what tool do you use to eliminate clicks within words?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1640" PostHistoryTypeId="6" PostId="890" RevisionGUID="eabbf64e-3677-4f74-ba5a-0a7f1e4f824a" CreationDate="2010-05-06T13:46:11.423" UserDisplayName="user80" Comment="Addeed=" Text="&lt;pro-tools&gt;&lt;dialogue&gt;&lt;editing&gt;&lt;techniques&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1641" PostHistoryTypeId="5" PostId="62" RevisionGUID="e6cc4be5-31a1-4ec7-a7af-859358e0b721" CreationDate="2010-05-06T13:49:59.433" UserDisplayName="user80" Comment="Added weblinks and image; added 71 characters in body" Text="+1 for the [Zoom H4n][2] (for the money).  Not a big fan of the [H2][4] (with no XLR inputs and all).  The H4n is a great value for the price($300).  It sounds good enough on its own (great for those times when you used to say &quot;Crap, that sound it awesome, I wish I had a recorder on me!).  I love the XLR jacks too.  That's the biggest selling point for me.  Real XLR jacks with real phantom power.  However, the sound quality fails in comparison to my [Sound Devices 702T][5] (my sound effects recorder of choice), although it hardly falls into the &quot;Entry Level&quot; category.&#xD;&#xA;&#xD;&#xA;[![Zoom H4n][3]][2]&#xD;&#xA;&#xD;&#xA;I love my [Sound Devices 702][8].  Don't have a single complaint about it.  Amazing recorder, great battery life, extremely easy to use and very flexible, with an amazingly in-depth menu.  Doesn't provide bias power for lavs though, so you either need to go wireless on the lav (which I'd usually do anyway) or get a dedicated power supply for the lav.  I do all of my effects recording on a 702 or a [Zaxcom Deva V][6] (if I'm doing a large session with tons of mics).&#xD;&#xA;&#xD;&#xA;[![Zaxcom Deva V][7]][6]&#xD;&#xA;&#xD;&#xA;The Sony PCM-D50 is great too, but again, no XLR connectivity. Of course you can adapt, but it just doesn't ever work out too well...  Decent sounding recorder though. I'm of the opinion that the mics built in sound a little better than the Zoom's mics, but then again, they should, because its $150 more.&#xD;&#xA;&#xD;&#xA;I had a Korg MR-1 for a while. It sounded amazing, when it worked. I went through 3 of them (all replaced for free). They liked dying on me.  I haven't heard that from anyone else though, so maybe I just had some bad luck.  In general, I'm a fan of DSD (1-bit) recording, but it's not widely supported, so ended up being more of a hassle than anything. It's a great sounding recorder, but again, I had to use adapters to be able to use any real mics.  The thing I like about the Korg over most other portables that lack XLR jacks is that it had two balanced mono 1/8&quot; mic inputs instead of a single unbalanced stereo mic input.  Easily adaptable to XLR (no funky splitting from 1/8&quot; stereo to dual XLR or anything).  It also provided Bias power (for lavs) or 48v phantom which was nice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My two cents :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT: I also have one of those [Olympus LS-10][1] recorders.  Decent sound for quick recordings (the whole &quot;crap I wish I had a recorder&quot; thing again...).  Also, freakin awesome because of how small it is and easy it is to use.  Price came down a lot since I bought it.  I'd say go with the Zoom over the Olympus though for the same price, unless size is a factor for you (the Zoom is fairly large for a Handheld recorder).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/538924-REG/Olympus_141970_LS_10_Linear_PCM_Field.html&#xD;&#xA;  [2]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;  [3]: http://www.zoomh4.net/images/H4n-front-new.png&#xD;&#xA;  [4]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;  [5]: http://www.sounddevices.com/products/702t.htm&#xD;&#xA;  [6]: http://www.zaxcom.com/Deva-5.htm&#xD;&#xA;  [7]: http://www.zaxcom.com/images/Deva_v.jpg&#xD;&#xA;  [8]: http://www.sounddevices.com/products/702.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="1642" PostHistoryTypeId="5" PostId="839" RevisionGUID="8402153e-5ca6-470f-816c-3f9ce6e9d6be" CreationDate="2010-05-06T14:11:59.360" UserDisplayName="user80" Comment="edited body" Text="Hello guys, i've recently bought an Edirol R-4, after my first recorde, the Zoom H2 which i still use for recording quick sketches. I am the happiest sound recordist ever with that R-4, i must say. 4 tracks, portable, 96khz....for a while i finished my search. I suggest it if you need to record with different microphones but you have only one chance. I use it with the Rode NT-4 and a couple of Neumann km 184 for a recording session of the popular italian game, &quot;la morra&quot;. not totally cheap, I had it for some 500 euros." ContentLicense="CC BY-SA 2.5" />
  <row Id="1643" PostHistoryTypeId="2" PostId="902" RevisionGUID="e3deef94-ce4e-4514-956a-644732c3afe7" CreationDate="2010-05-06T14:18:20.950" UserId="220" Text="To make dialog sound &quot;old&quot; or junky, you usually can just do as birdhousesound said and roll off everything above probably 12kHz and below 350Hz.  That will keep your critical vocal range (4kHz to 9kHz or so) intact and clear.  If you still feel it's not junky enough, put a brickwall limiter on the track that's almost always on.&#xD;&#xA;&#xD;&#xA;If you're going for a specific example, take a look at it in a spectral analyzer (like Sonic Visualizer) and see what kind of frequencies it's highlighting.  You can model your EQ off of that." ContentLicense="CC BY-SA 2.5" />
  <row Id="1644" PostHistoryTypeId="5" PostId="62" RevisionGUID="91967ad9-fa4c-489f-9997-7d0882bf4e31" CreationDate="2010-05-06T14:53:53.020" UserDisplayName="user80" Comment="Added weblinks and image" Text="+1 for the [Zoom H4n][2] (for the money).  Not a big fan of the [H2][4] (with no XLR inputs and all).  The H4n is a great value for the price($300).  It sounds good enough on its own (great for those times when you used to say &quot;Crap, that sound it awesome, I wish I had a recorder on me!).  I love the XLR jacks too.  That's the biggest selling point for me.  Real XLR jacks with real phantom power.  However, the sound quality fails in comparison to my [Sound Devices 702T][5] (my sound effects recorder of choice), although it hardly falls into the &quot;Entry Level&quot; category.&#xD;&#xA;&#xD;&#xA;[![Zoom H4n][3]][2]&#xD;&#xA;&#xD;&#xA;I love my [Sound Devices 702][8].  Don't have a single complaint about it.  Amazing recorder, great battery life, extremely easy to use and very flexible, with an amazingly in-depth menu.  Doesn't provide bias power for lavs though, so you either need to go wireless on the lav (which I'd usually do anyway) or get a dedicated power supply for the lav.  I do all of my effects recording on a 702 or a [Zaxcom Deva V][6] (if I'm doing a large session with tons of mics).&#xD;&#xA;&#xD;&#xA;[![Zaxcom Deva V][7]][6]&#xD;&#xA;&#xD;&#xA;The [Sony PCM-D50][9] is great too, but again, no XLR connectivity. Of course you can adapt, but it just doesn't ever work out too well...  Decent sounding recorder though. I'm of the opinion that the built-in mics in sound a little better than the Zoom's mics, but then again, they should, because it's $150 more.&#xD;&#xA;&#xD;&#xA;[![Sony PCM-D50][10]][9]&#xD;&#xA;&#xD;&#xA;I had a Korg MR-1 for a while. It sounded amazing, when it worked. I went through 3 of them (all replaced for free). They liked dying on me.  I haven't heard that from anyone else though, so maybe I just had some bad luck.  In general, I'm a fan of DSD (1-bit) recording, but it's not widely supported, so ended up being more of a hassle than anything. It's a great sounding recorder, but again, I had to use adapters to be able to use any real mics.  The thing I like about the Korg over most other portables that lack XLR jacks is that it had two balanced mono 1/8&quot; mic inputs instead of a single unbalanced stereo mic input.  Easily adaptable to XLR (no funky splitting from 1/8&quot; stereo to dual XLR or anything).  It also provided Bias power (for lavs) or 48v phantom which was nice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My two cents :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT: I also have one of those [Olympus LS-10][1] recorders.  Decent sound for quick recordings (the whole &quot;crap I wish I had a recorder&quot; thing again...).  Also, freakin awesome because of how small it is and easy it is to use.  Price came down a lot since I bought it.  I'd say go with the Zoom over the Olympus though for the same price, unless size is a factor for you (the Zoom is fairly large for a Handheld recorder).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/538924-REG/Olympus_141970_LS_10_Linear_PCM_Field.html&#xD;&#xA;  [2]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;  [3]: http://www.zoomh4.net/images/H4n-front-new.png&#xD;&#xA;  [4]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;  [5]: http://www.sounddevices.com/products/702t.htm&#xD;&#xA;  [6]: http://www.zaxcom.com/Deva-5.htm&#xD;&#xA;  [7]: http://www.zaxcom.com/images/Deva_v.jpg&#xD;&#xA;  [8]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;  [9]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=PCM-D50&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Mixers&#xD;&#xA;  [10]: http://assets.sonybiz.net/products/PCM-D50(img1).jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1645" PostHistoryTypeId="2" PostId="903" RevisionGUID="cbfaed37-cc79-4a87-9b64-268cea7f67aa" CreationDate="2010-05-06T15:20:32.913" UserId="234" Text="Try using your favourite distortion plug (I like lo-fi, and SansAmp) set to taste, followed by EQ (6k and 400 cut filters, and then a bump at around 2.5K -adjust to taste). Also there are a fair amount of speaker IRs out there, so use your favourite Convolution Reverb. TLSpace has some great speaker IRs with it... Again, EQ to taste." ContentLicense="CC BY-SA 2.5" />
  <row Id="1646" PostHistoryTypeId="2" PostId="904" RevisionGUID="1bc52262-1a87-4247-b5f2-00961efae7ae" CreationDate="2010-05-06T16:05:16.063" UserId="56" Text="I check if the job can be done with iZotope RX. It works very well. If I have more serious problems I use the pencil tool in Sony Sound Forge." ContentLicense="CC BY-SA 2.5" />
  <row Id="1647" PostHistoryTypeId="5" PostId="62" RevisionGUID="915b559d-4f6e-4745-a41d-4bddfcbb4e54" CreationDate="2010-05-06T16:17:07.883" UserDisplayName="user80" Comment="Added weblinks and image" Text="+1 for the [Zoom H4n][2] (for the money).  Not a big fan of the [H2][4] (with no XLR inputs and all).  The H4n is a great value for the price($300).  It sounds good enough on its own (great for those times when you used to say &quot;Crap, that sound it awesome, I wish I had a recorder on me!).  I love the XLR jacks too.  That's the biggest selling point for me.  Real XLR jacks with real phantom power.  However, the sound quality fails in comparison to my [Sound Devices 702T][5] (my sound effects recorder of choice), although it hardly falls into the &quot;Entry Level&quot; category.&#xD;&#xA;&#xD;&#xA;[![Zoom H4n][3]][2]&#xD;&#xA;&#xD;&#xA;I love my [Sound Devices 702][8].  Don't have a single complaint about it.  Amazing recorder, great battery life, extremely easy to use and very flexible, with an amazingly in-depth menu.  Doesn't provide bias power for lavs though, so you either need to go wireless on the lav (which I'd usually do anyway) or get a dedicated power supply for the lav.  I do all of my effects recording on a 702 or a [Zaxcom Deva V][6] (if I'm doing a large session with tons of mics).&#xD;&#xA;&#xD;&#xA;[![Zaxcom Deva V][7]][6]&#xD;&#xA;&#xD;&#xA;The [Sony PCM-D50][9] is great too, but again, no XLR connectivity. Of course you can adapt, but it just doesn't ever work out too well...  Decent sounding recorder though. I'm of the opinion that the built-in mics in sound a little better than the Zoom's mics, but then again, they should, because it's $150 more.&#xD;&#xA;&#xD;&#xA;[![Sony PCM-D50][10]][9]&#xD;&#xA;&#xD;&#xA;I had a [Korg MR-1][11] for a while. It sounded amazing, when it worked. I went through 3 of them (all replaced for free). They liked dying on me.  I haven't heard that from anyone else though, so maybe I just had some bad luck.  In general, I'm a fan of DSD (1-bit) recording, but it's not widely supported, so ended up being more of a hassle than anything. It's a great sounding recorder, but again, I had to use adapters to be able to use any real mics.  The thing I like about the Korg over most other portables that lack XLR jacks is that it had two balanced mono 1/8&quot; mic inputs instead of a single unbalanced stereo mic input.  Easily adaptable to XLR (no funky splitting from 1/8&quot; stereo to dual XLR or anything).  It also provided Bias power (for lavs) or 48v phantom which was nice.&#xD;&#xA;&#xD;&#xA;[![Korg MR-1][12]][11]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My two cents :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT: I also have one of those [Olympus LS-10][1] recorders.  Decent sound for quick recordings (the whole &quot;crap I wish I had a recorder&quot; thing again...).  Also, freakin awesome because of how small it is and easy it is to use.  Price came down a lot since I bought it.  I'd say go with the Zoom over the Olympus though for the same price, unless size is a factor for you (the Zoom is fairly large for a Handheld recorder).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/538924-REG/Olympus_141970_LS_10_Linear_PCM_Field.html&#xD;&#xA;  [2]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;  [3]: http://www.zoomh4.net/images/H4n-front-new.png&#xD;&#xA;  [4]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;  [5]: http://www.sounddevices.com/products/702t.htm&#xD;&#xA;  [6]: http://www.zaxcom.com/Deva-5.htm&#xD;&#xA;  [7]: http://www.zaxcom.com/images/Deva_v.jpg&#xD;&#xA;  [8]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;  [9]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=PCM-D50&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Mixers&#xD;&#xA;  [10]: http://assets.sonybiz.net/products/PCM-D50(img1).jpg&#xD;&#xA;  [11]: http://www.korg.com/product.aspx?pd=284&#xD;&#xA;  [12]: http://www.korg.com/uploads/Images/MR1_main_633784311037790000.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="1650" PostHistoryTypeId="5" PostId="891" RevisionGUID="c34a30d6-6b3f-4ab5-8572-7a2f4b0e6872" CreationDate="2010-05-06T17:03:35.880" UserId="18160" Comment="added 24 characters in body" Text="I have just recently started to record ADR.&#xD;&#xA;&#xD;&#xA;I have a Sanken COS-11 lapel mic.&#xD;&#xA;&#xD;&#xA;Recently, an ADR Supervisor told me he loves this mic and uses it as often as he can. I couldn't believe it.&#xD;&#xA;&#xD;&#xA;I listened back to the recordings we did that day with the actor and I was not happy with the tonality at ALL. I tried placing it on a mic stand and about 6 inches from his mouth - about chin height. Then I tried clamping it onto his shirt about 8 inches below his chin... Both sounded horrible compared to my MK41 and MHK50 and U87.. But, I guess you want to match the production sound, yea?&#xD;&#xA;&#xD;&#xA;Any of you have any tricks to get a lapel to sound good on a voice?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1653" PostHistoryTypeId="2" PostId="908" RevisionGUID="f10b5584-379f-4942-9148-28e7ec45c9ee" CreationDate="2010-05-06T17:36:35.143" UserId="18160" Text="I am new to ADR recording. I have a question specifically for beeps/stremers software:&#xD;&#xA;&#xD;&#xA;I have seen on DVD extras that show the ADR recordings and I have noticed that their software is able to give beeps and streamers at each paragraph or new &quot;cue&quot; while it rolls on recording.&#xD;&#xA;&#xD;&#xA;The software I have and use is ADR Studio Pro by Gallery. This software does not have the option of continuing to record and give streamers as it records.&#xD;&#xA;&#xD;&#xA;Does anyone know of software that is able to send streamers as it records without having to stop to give the next cue?&#xD;&#xA;&#xD;&#xA;The last actor I recorded asked for this and I looked unprofessional saying &quot;Sorry, I can't do that with the software I have&quot;.&#xD;&#xA;&#xD;&#xA;So what do they use on the big studio ADR stages?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1654" PostHistoryTypeId="1" PostId="908" RevisionGUID="f10b5584-379f-4942-9148-28e7ec45c9ee" CreationDate="2010-05-06T17:36:35.143" UserId="18160" Text="ADR Recording Software" ContentLicense="CC BY-SA 2.5" />
  <row Id="1655" PostHistoryTypeId="3" PostId="908" RevisionGUID="f10b5584-379f-4942-9148-28e7ec45c9ee" CreationDate="2010-05-06T17:36:35.143" UserId="18160" Text="&lt;adr&gt;&lt;software&gt;&lt;recording&gt;&lt;beeps&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1656" PostHistoryTypeId="2" PostId="909" RevisionGUID="91c37b4e-d6e8-411b-a4d4-b849c5b861fe" CreationDate="2010-05-06T17:49:18.543" UserId="61" Text="[Figure 53][1] may work for your needs, although I have no experience with it.&#xD;&#xA;&#xD;&#xA;The major ADR stages usually use a proprietary system designed exclusively for them.&#xD;&#xA;&#xD;&#xA;Here's a little blurb about how [Doc Kane][2] at Disney runs his stage. And yet another article about how the excellent tech crew at Warner Bros developed a [mobile ADR studio][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://figure53.com/streamers/&#xD;&#xA;  [2]: http://studioservices.go.com/postproduction/adr_stage_b.html&#xD;&#xA;  [3]: https://www.editorsguild.com/Magazine.cfm?ArticleID=813" ContentLicense="CC BY-SA 2.5" />
  <row Id="1657" PostHistoryTypeId="2" PostId="910" RevisionGUID="7c8ed993-64dc-4ba9-81e6-d6ec5513fb11" CreationDate="2010-05-06T17:53:33.647" UserId="266" Text="I've only done ADR in small studios here in NYC, using Pro-Tools. Don't know about the streamers, but beeps just take a little prep-work before your session and pretty much every actor I've worked with is fine with just beeps (three beeps, one frame each, first 2 at 1k, 3rd at 2k)." ContentLicense="CC BY-SA 2.5" />
  <row Id="1658" PostHistoryTypeId="2" PostId="911" RevisionGUID="a7775905-2a02-4950-a351-3df6f9db35c5" CreationDate="2010-05-06T18:06:27.420" UserId="267" Text="Anyone out there familiar with up convert software like Waves UM260 or TC Tools Unwrap and the Broadcaster's (likes of Discovery or NG) exceptance/knowledge therein?&#xD;&#xA;Thx much" ContentLicense="CC BY-SA 2.5" />
  <row Id="1659" PostHistoryTypeId="1" PostId="911" RevisionGUID="a7775905-2a02-4950-a351-3df6f9db35c5" CreationDate="2010-05-06T18:06:27.420" UserId="267" Text="Sound Mixer/Designer" ContentLicense="CC BY-SA 2.5" />
  <row Id="1660" PostHistoryTypeId="3" PostId="911" RevisionGUID="a7775905-2a02-4950-a351-3df6f9db35c5" CreationDate="2010-05-06T18:06:27.420" UserId="267" Text="&lt;um260&gt;&lt;unwrap&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1666" PostHistoryTypeId="2" PostId="914" RevisionGUID="9df2dfe2-8e2e-467e-8f26-743e676d094f" CreationDate="2010-05-06T21:11:22.787" UserId="18160" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I have done a lot of sound design using some punches, body falls, kicks, etc. that were mashed and mastered and normalized and compressed and every-which-way processed.&#xD;&#xA;&#xD;&#xA;Does anyone have a trick to make them sound less compressed and mashed?&#xD;&#xA;&#xD;&#xA;Is it pretty much hopeless?&#xD;&#xA;&#xD;&#xA;They're pretty good sounds.. I'd hate to not be able to use them. But, I think wherever they came from went a little too happy on the processing side of things. There's just no dynamics at all.&#xD;&#xA;&#xD;&#xA;Thanks - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="1667" PostHistoryTypeId="1" PostId="914" RevisionGUID="9df2dfe2-8e2e-467e-8f26-743e676d094f" CreationDate="2010-05-06T21:11:22.787" UserId="18160" Text="How to widen a sound effects dynamics? Uncompression?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1668" PostHistoryTypeId="3" PostId="914" RevisionGUID="9df2dfe2-8e2e-467e-8f26-743e676d094f" CreationDate="2010-05-06T21:11:22.787" UserId="18160" Text="&lt;compression&gt;&lt;dynamics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1669" PostHistoryTypeId="2" PostId="915" RevisionGUID="e0118010-eeff-44cb-8d49-8536e94d3bf1" CreationDate="2010-05-06T21:22:58.333" UserId="61" Text="For impact sounds I'd first try to shape some dynamics back into the sound using a combination of volume graphing and EQ spikes on the transients. Also, work with dramatic fade ins and outs to create dynamic range that has been lost through overcompression. Also, I've had great luck with [Z-Noise][1], removing background hiss and &quot;hash&quot; that muddies up the sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waves.com/Content.aspx?id=259" ContentLicense="CC BY-SA 2.5" />
  <row Id="1670" PostHistoryTypeId="6" PostId="914" RevisionGUID="106df9b8-edd4-4275-b94f-784cf698f2dd" CreationDate="2010-05-06T21:25:04.620" UserId="61" Comment="edited tags" Text="&lt;compression&gt;&lt;dynamics&gt;&lt;editing&gt;&lt;sound-effects&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1671" PostHistoryTypeId="2" PostId="916" RevisionGUID="3b21f292-e23b-4c14-b7ca-399fed9d7baa" CreationDate="2010-05-06T21:28:06.063" UserId="18160" Text="If you were offered a job as Sound Designer, Re-recording Mixer, SFX editor, or anything to do in sound on a feature film with a director who knows nothing or cares nothing about sound (or not enough to give it much importance in his script or actions or budget), would you take the job?&#xD;&#xA;&#xD;&#xA;And, say you did take the job, would you push the point with the Director that sound is important, and how would you go about it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1672" PostHistoryTypeId="1" PostId="916" RevisionGUID="3b21f292-e23b-4c14-b7ca-399fed9d7baa" CreationDate="2010-05-06T21:28:06.063" UserId="18160" Text="Director knows nothing about sound. Take the job?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1673" PostHistoryTypeId="3" PostId="916" RevisionGUID="3b21f292-e23b-4c14-b7ca-399fed9d7baa" CreationDate="2010-05-06T21:28:06.063" UserId="18160" Text="&lt;directors&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1674" PostHistoryTypeId="2" PostId="917" RevisionGUID="43a62c3d-9303-407b-9d9a-9eae3c4238e2" CreationDate="2010-05-06T21:33:29.390" UserId="268" Text="Editing out a cycle using protools in shuffle mode is efficient. *Unless you are working with picture.*&#xD;&#xA;&#xD;&#xA;I switch to the Pencil tool only when the above method doesn't cut the mustard." ContentLicense="CC BY-SA 2.5" />
  <row Id="1675" PostHistoryTypeId="2" PostId="918" RevisionGUID="d5f5eb43-3308-4858-b2e5-3f9f584c2bf0" CreationDate="2010-05-06T21:34:53.477" UserId="61" Text="Welcome to the world of mass-produced cinema. Hate to break it to you, but many directors fit this description. Sound is an afterthought most of the time, seldom entering into the script as a story point; production audio is often polluted with background noise and can be unusable at times because no one wants to allow the onset sound crew the latitude to capture good tracks; budgets are shrinking for post-production sound editorial and mixing; and - here's the capper - sometimes the director doesn't show up for the mix until the last couple of days for playbacks. And THEN they have notes!&#xD;&#xA;&#xD;&#xA;Well, what can you do? Start by educating the director that sound is a critical part of his/her film. Not by lecturing or over-pontificating, but rather through sound budgeting practices, solid and creative tracks, and organized delivery to the stage for mixing.&#xD;&#xA;&#xD;&#xA;In short, take the job. It's good practice for the future.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1676" PostHistoryTypeId="2" PostId="919" RevisionGUID="2e2f8a4c-0dec-4a99-8d1f-d94bb0b7f89f" CreationDate="2010-05-06T21:40:26.173" UserId="268" Text="Two positive things.&#xD;&#xA;&#xD;&#xA;a. They probably will realize how much your work improves the film.&#xD;&#xA;b. They will most likely not be an overbearing and nit picking client." ContentLicense="CC BY-SA 2.5" />
  <row Id="1677" PostHistoryTypeId="2" PostId="920" RevisionGUID="1fc3f64b-2930-41c3-b0ff-0cef41f705f9" CreationDate="2010-05-06T21:44:04.157" UserId="2" Text="Personally, what I've encountered in smaller productions is that most directors (that have already directed), realize how important good sound is. It may often feel like it isn't their priority, but that's maybe because of them having so many other things to worry about or have been close to the film for soooo long that they just can't face watching it anymore.&#xD;&#xA;&#xD;&#xA;Generalizing here a bit, but most the time, when they hear/see their film without the sound design, they start panicking that it's dry or lacks emotion... then they hear your sound and they get happy and give a sigh of relief. &#xD;&#xA;&#xD;&#xA;If they didn't care about sound, I'd probably try get them excited and involved vs. trying to make a point. Sounds lame, but people like passion, and if you show some passion for it then they might just get a glimpse of what gets you ticking.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="1680" PostHistoryTypeId="2" PostId="922" RevisionGUID="7d61cd0d-91b6-4ec3-bee6-7308df9b1306" CreationDate="2010-05-06T23:55:01.883" UserId="37" Text="Take the job and elegantly educate them. What can go wrong? " ContentLicense="CC BY-SA 2.5" />
  <row Id="1681" PostHistoryTypeId="2" PostId="923" RevisionGUID="6bd028fd-17e6-4760-bd82-b4609d8b8b71" CreationDate="2010-05-07T01:13:52.773" UserId="29" Text="Glad you're taking the challenge, Ryan. You never hear a photographer say, &quot;My client knows nothing about actual photography, I'm gonna pass on this gig,&quot; or a designer say, &quot;God, this client knows NOTHING about finely-kerned typography, forget it!&quot; :-)&#xD;&#xA;&#xD;&#xA;For better or worse, as specialists and creative professionals of any sort, there's always an element of client education in our role(s). Doing a great job and helping to educate *without* being a diva about it, or being condescending/pedantic (often by simply being awesome and humble about your contributions), is a sure sign of future success!&#xD;&#xA;&#xD;&#xA;Knock 'em dead, man!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1682" PostHistoryTypeId="2" PostId="924" RevisionGUID="e07d6f77-b51c-4bee-9a0e-40e887cdf586" CreationDate="2010-05-07T01:20:27.583" UserId="29" Text="Someone at work just got one of the new [Wacom Bamboo tablets][1]; while small, you can get one that acts both as a stylus input device and a multi-touch input device, like a MacBook Pro touchpad.&#xD;&#xA;&#xD;&#xA;They're REALLY goofy-lookin', but the [joystick-form-factor mice][2] (mouses?) have their adherents too, because of the neutral wrist position they encourage. I never got used to them, but it really clicks for some people.&#xD;&#xA;&#xD;&#xA;Your health is *far* more important than any job you will ever have. Always remember that!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wacom.com/bamboo/bamboo_pen_touch.php&#xD;&#xA;  [2]: http://www.amazon.com/3M-Ergonomic-Mouse-SMALL-MEDIUM/dp/B00008KWWG" ContentLicense="CC BY-SA 2.5" />
  <row Id="1684" PostHistoryTypeId="2" PostId="926" RevisionGUID="b9bcbfd5-6e37-41d7-aa8c-0207a6f4ae74" CreationDate="2010-05-07T01:29:24.373" UserId="29" Text="I sometimes get really boxy, weird sounding dialog if the lav's too close to the chin, whereby the chin acts like an audio shadow. Like Colin, 2nd button down for me usually does the trick. The sibilance I'm not sure of...could totally depend on your levels and even the pose of the talent; looking right at the lav, they could be exhaling on the capsule. *shrug*" ContentLicense="CC BY-SA 2.5" />
  <row Id="1686" PostHistoryTypeId="2" PostId="928" RevisionGUID="a828da9b-4143-4bbc-9813-b95838f5b52a" CreationDate="2010-05-07T02:01:08.410" UserId="40" Text="A bit topic of the past few weeks has been smaller &quot;[prosumer][1]&quot; sfx collections.  Chuck made one, Tim has two out, I'm working on a few, and I know others are two.  Earlier today Nathan called them &quot;Boutique&quot; SFX collections.  I like this term better than &quot;[prosumer][2]&quot;, since most people (including me until Nathan's article) are using the wrong definition of that word.&#xD;&#xA;&#xD;&#xA;Having said that, what collections would you like to buy?  What sounds do you always need but never have, or at least never have enough of?  What types of sounds would you pay $35 - $50 for (assuming you received a decent collection - 1500+ sounds).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2010/04/30/prosumerism/&#xD;&#xA;  [2]: http://www.noisejockey.net/blog/2010/04/30/prosumerism/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1687" PostHistoryTypeId="1" PostId="928" RevisionGUID="a828da9b-4143-4bbc-9813-b95838f5b52a" CreationDate="2010-05-07T02:01:08.410" UserId="40" Text="What &quot;Boutique&quot; SFX collections would you like to see made available?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1688" PostHistoryTypeId="3" PostId="928" RevisionGUID="a828da9b-4143-4bbc-9813-b95838f5b52a" CreationDate="2010-05-07T02:01:08.410" UserId="40" Text="&lt;sfx&gt;&lt;sound-libraries&gt;&lt;prosumer&gt;&lt;boutique&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1691" PostHistoryTypeId="2" PostId="930" RevisionGUID="7ec7b2f6-06c2-487d-871b-5252e503e3de" CreationDate="2010-05-07T02:29:27.970" UserId="18160" Text="Recently I had to create some doppler effects of certain sounds and I'm working on Pro Tools 7.4.  I saw at NAB that Pro Tools 8 has a Doppler plug-in, but due to hardware considerations (expansion chassis are a pretty penny) are there any plug-ins that do a good job that work in PT 7.4?&#xD;&#xA;&#xD;&#xA;I do have Adobe Audition and had to use that for the effect. It didn't work too bad, but I'd rather keep the workflow on one station (Pro Tools is on a Mac and Audition is on a PC.)&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="1692" PostHistoryTypeId="1" PostId="930" RevisionGUID="7ec7b2f6-06c2-487d-871b-5252e503e3de" CreationDate="2010-05-07T02:29:27.970" UserId="18160" Text="Favorite Doppler plug-in or software?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1693" PostHistoryTypeId="3" PostId="930" RevisionGUID="7ec7b2f6-06c2-487d-871b-5252e503e3de" CreationDate="2010-05-07T02:29:27.970" UserId="18160" Text="&lt;doppler&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1694" PostHistoryTypeId="2" PostId="931" RevisionGUID="262cc9c8-42ce-4aba-9725-ecfbbd598253" CreationDate="2010-05-07T02:34:30.527" UserId="61" Text="Waves Doppler and GRM Tools are my go-to plugs." ContentLicense="CC BY-SA 2.5" />
  <row Id="1696" PostHistoryTypeId="2" PostId="933" RevisionGUID="3d6c7196-4f07-4ea5-81e5-91377d9294a6" CreationDate="2010-05-07T02:43:46.907" UserId="264" Text="Also, you may be able to layer in other sounds, like a stronger impact, while keeping the original sound for the character." ContentLicense="CC BY-SA 2.5" />
  <row Id="1697" PostHistoryTypeId="2" PostId="934" RevisionGUID="162ec5e5-85ae-4835-8def-b6d8f8357e3e" CreationDate="2010-05-07T02:49:09.777" UserId="264" Text="Curious. Do any of you know exactly what went into that sound? I've heard a variety of things, namely elephants, lions and washing machines; I imagine it might be a combination of all three.&#xD;&#xA;&#xD;&#xA;~Cheers&#xD;&#xA;Miles" ContentLicense="CC BY-SA 2.5" />
  <row Id="1698" PostHistoryTypeId="1" PostId="934" RevisionGUID="162ec5e5-85ae-4835-8def-b6d8f8357e3e" CreationDate="2010-05-07T02:49:09.777" UserId="264" Text="Jurassic Park - Classic Roar" ContentLicense="CC BY-SA 2.5" />
  <row Id="1699" PostHistoryTypeId="3" PostId="934" RevisionGUID="162ec5e5-85ae-4835-8def-b6d8f8357e3e" CreationDate="2010-05-07T02:49:09.777" UserId="264" Text="&lt;jurassic&gt;&lt;roar&gt;&lt;dinosaur&gt;&lt;rex&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1700" PostHistoryTypeId="2" PostId="935" RevisionGUID="b53fdcc3-e00c-4d5a-be64-209c05bf428b" CreationDate="2010-05-07T02:57:31.227" UserId="18160" Text="The rumor I heard is that it was a baby elephant that had been taken away from it's mother... Don't know how true that is...&#xD;&#xA;&#xD;&#xA;Gary says one element is a Koala Bear. Other elements are lions, tigers, alligators, and yes a baby elephant from Marine World. He used a whale's blowhole for the breathing.&#xD;&#xA;&#xD;&#xA;Then he loaded them all on a synclav and played them so they were in the same key. This made them mesh well together.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I also know that the Veloceraptor is a walrus and dolphin scream mixed together." ContentLicense="CC BY-SA 2.5" />
  <row Id="1701" PostHistoryTypeId="2" PostId="936" RevisionGUID="f9efae8a-7a85-44e9-b8c5-57bba53c3568" CreationDate="2010-05-07T03:07:52.427" UserId="264" Text="I'm headed down to Pennsylvania to help on a shoot this weekend, and I'm really excited because I'll be recording gunfire courtesy of a local Civil War reenactment group. I've never tried recording gunshots before, so I'd like some tips. The max number of tracks that I can record are 4, as I'll be working on a 744T, so my current plan is to use a dynamic mic to grab the impact, and a m/s mic to grab the decay. What setups have you folks used? Placements? Thanks for your replies.&#xD;&#xA;&#xD;&#xA;~Cheers&#xD;&#xA;&#xD;&#xA;Miles &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1702" PostHistoryTypeId="1" PostId="936" RevisionGUID="f9efae8a-7a85-44e9-b8c5-57bba53c3568" CreationDate="2010-05-07T03:07:52.427" UserId="264" Text="Those loud things called Guns" ContentLicense="CC BY-SA 2.5" />
  <row Id="1703" PostHistoryTypeId="3" PostId="936" RevisionGUID="f9efae8a-7a85-44e9-b8c5-57bba53c3568" CreationDate="2010-05-07T03:07:52.427" UserId="264" Text="&lt;guns&gt;&lt;boom&gt;&lt;loud&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1704" PostHistoryTypeId="4" PostId="936" RevisionGUID="f00b4fd5-383c-46cd-8e53-5d21a48b5c66" CreationDate="2010-05-07T03:17:25.500" UserId="264" Comment="edited title" Text="Tips on Recording Gunshots" ContentLicense="CC BY-SA 2.5" />
  <row Id="1706" PostHistoryTypeId="2" PostId="938" RevisionGUID="94eccb97-8ed8-4245-875a-a82746d00e63" CreationDate="2010-05-07T03:45:46.450" UserId="10" Text="Check: http://designingsound.org/2010/04/chuck-russom-special-gun-recording-guide/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1707" PostHistoryTypeId="2" PostId="939" RevisionGUID="72900a91-ca95-4065-a230-3e6eb59b5844" CreationDate="2010-05-07T03:47:17.573" UserId="40" Text="They went out and recorded a T-Rex.... duuuuuuuuhh..........&#xD;&#xA;&#xD;&#xA;.&#xD;&#xA;&#xD;&#xA;.&#xD;&#xA;&#xD;&#xA;.&#xD;&#xA;&#xD;&#xA;.&#xD;&#xA;&#xD;&#xA;.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But seriously,&#xD;&#xA;&#xD;&#xA;Ryan is right.  Koala bear, alligator, a whale, lizards, etc...&#xD;&#xA;&#xD;&#xA;Here's a great interview with Gary about it:&#xD;&#xA;&#xD;&#xA;[Gary Rydstrom on Jurassic Park][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mpse.org/education/bigmovierydstrom.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1708" PostHistoryTypeId="2" PostId="940" RevisionGUID="40f850da-92d1-4c8f-a748-86b400d869d9" CreationDate="2010-05-07T03:51:57.400" UserId="10" Text="http://www.mpse.org/education/bigmovierydstrom.html&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=qwWvO4UgJiU" ContentLicense="CC BY-SA 2.5" />
  <row Id="1711" PostHistoryTypeId="2" PostId="942" RevisionGUID="63ea904b-6df1-4bdf-ae7a-6c4d0561fa40" CreationDate="2010-05-07T04:02:06.200" UserId="18" Text="Not sure what mics you have access to, but if I had only 4 channels I would use a Sennheiser 416, Neumann RSM 191 stereo, depending on the situation, the 4th channel may be a dynamic or another condenser." ContentLicense="CC BY-SA 2.5" />
  <row Id="1712" PostHistoryTypeId="2" PostId="943" RevisionGUID="99c8123f-3fb2-449c-897f-9d30f29bd5a6" CreationDate="2010-05-07T04:04:00.050" UserId="61" Text="I'm interested to know as well, but I have to say: Some secrets are better left unexplained. :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1714" PostHistoryTypeId="6" PostId="936" RevisionGUID="aaa94203-f880-457d-9042-1c455bec6366" CreationDate="2010-05-07T04:08:19.490" UserId="61" Comment="edited tags" Text="&lt;guns&gt;&lt;techniques&gt;&lt;field-recording&gt;&lt;microphone&gt;&lt;planning&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1715" PostHistoryTypeId="2" PostId="944" RevisionGUID="49526c84-3afb-4565-91c8-be49b91ec3f9" CreationDate="2010-05-07T04:24:04.583" UserId="61" Text="I'm really excited about this type of collaboration between sound designers across the globe, and I applaud you guys for getting it off the groud. (I'm hoping to offer a few sets as well, if you'll all have them!) Although not a new idea (sound folks have been sharing material for years), it seems fresh in that you are using technology in a previously untapped way (96k and 192k fx) as well as cutting out the middleman (CD library companies) and marketing directly to the folks who will be using the material. Plus, the instant download is a no-brainer and super convenient.&#xD;&#xA;&#xD;&#xA;That being said, I'm interested in the following &quot;boutique&quot; sounds:&#xD;&#xA;&#xD;&#xA; - plastic manipulation&#xD;&#xA; - small metal manipulation (stress,&#xD;&#xA;   taps, tonal)&#xD;&#xA; - large metal manipulation (creaks,&#xD;&#xA;   ronks, rubs, tonal)&#xD;&#xA; - glass friction and rubs&#xD;&#xA; - wood friction and rubs&#xD;&#xA; - tiny electronics&#xD;&#xA; - world nature ambiences&#xD;&#xA; - world society ambiences&#xD;&#xA; - hard-to-access area ambiences&#xD;&#xA;   (deserts, jungles, local factories,&#xD;&#xA;   etc)&#xD;&#xA;&#xD;&#xA;What I'm also interested in *but not so much in this area* of &quot;boutique&quot; sounds:&#xD;&#xA;&#xD;&#xA; - vehicle sets&#xD;&#xA; - explosions &amp; gun shoots&#xD;&#xA; - design elements (whooshes, stingers, etc)&#xD;&#xA;&#xD;&#xA;You can tell from my list that I value well-recorded foley at high sample rates that can be infinitely manipulated. It's the kind of stuff that I always want to do myself but either don't have the time or gear.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1716" PostHistoryTypeId="2" PostId="945" RevisionGUID="13cb3134-8f62-4684-9760-327fbe7d9d98" CreationDate="2010-05-07T05:14:40.510" UserId="10" Text="Another great read on Guns, specially Bullets: http://www.firearmsid.com/Feature%20Articles/soundofbullets/soundofbullets2.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="1717" PostHistoryTypeId="2" PostId="946" RevisionGUID="9b1f2d54-3583-4b52-92ff-075a92a956d0" CreationDate="2010-05-07T05:18:18.673" UserId="18" Text="You know, I've done polls like this too.  And the funny thing is that you almost get a different answer from every person (besides the constant guns and explosions requests).  People are also going to request stuff that is difficult to pull off on the cheap.  I'd love to do a gun library. I have some great ideas for one, and many people have asked for one, but there is no way I can do it at a $50 price point and there is no way I'm putting out a $200+ library.  Vehicles is something else that get requested often that would be cool, but would require a lot of legwork and cash.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What I'm doing with my libraries is recording and releasing stuff that I need or find cool.  If they don't sell, then at least I have a couple hundred new sounds I can use.  That's not to say that everything I'm doing will be done on the cheap.  I have some things planned that will change the way people look at Boutique libraries.  I just need to figure out how to keep them within my target price point.  And that is the hardest part, doing cool stuff that you can sell for &lt;$50 and recoup your investment and maybe make a profit.&#xD;&#xA;&#xD;&#xA;I think a good starting point is to find and record ambiences that are unique.  People always need new ambiences.  They are relatively easy to record but really difficult to track down.  But it is something that will just cost you time and gas." ContentLicense="CC BY-SA 2.5" />
  <row Id="1718" PostHistoryTypeId="2" PostId="947" RevisionGUID="96fdfc70-a473-40b5-81fe-2242df6a5629" CreationDate="2010-05-07T06:25:45.730" UserId="270" Text="I believe sea birds were also used to create the raptor sounds&#xD;&#xA;&#xD;&#xA;Jurassic Park has my favourite creature sound design, brilliant sounding film :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1719" PostHistoryTypeId="5" PostId="62" RevisionGUID="3b0331f5-6c04-4a27-a3d2-d838dee2f508" CreationDate="2010-05-07T06:51:25.480" UserDisplayName="user80" Comment="Added weblinks and image" Text="+1 for the [Zoom H4n][2] (for the money).  Not a big fan of the [H2][4] (with no XLR inputs and all).  The H4n is a great value for the price($300).  It sounds good enough on its own (great for those times when you used to say &quot;Crap, that sound it awesome, I wish I had a recorder on me!).  I love the XLR jacks too.  That's the biggest selling point for me.  Real XLR jacks with real phantom power.  However, the sound quality fails in comparison to my [Sound Devices 702T][5] (my sound effects recorder of choice), although it hardly falls into the &quot;Entry Level&quot; category.&#xD;&#xA;&#xD;&#xA;[![Zoom H4n][3]][2]&#xD;&#xA;&#xD;&#xA;I love my [Sound Devices 702][8].  Don't have a single complaint about it.  Amazing recorder, great battery life, extremely easy to use and very flexible, with an amazingly in-depth menu.  Doesn't provide bias power for lavs though, so you either need to go wireless on the lav (which I'd usually do anyway) or get a dedicated power supply for the lav.  I do all of my effects recording on a 702 or a [Zaxcom Deva V][6] (if I'm doing a large session with tons of mics).&#xD;&#xA;&#xD;&#xA;[![Zaxcom Deva V][7]][6]&#xD;&#xA;&#xD;&#xA;The [Sony PCM-D50][9] is great too, but again, no XLR connectivity. Of course you can adapt, but it just doesn't ever work out too well...  Decent sounding recorder though. I'm of the opinion that the built-in mics in sound a little better than the Zoom's mics, but then again, they should, because it's $150 more.&#xD;&#xA;&#xD;&#xA;[![Sony PCM-D50][10]][9]&#xD;&#xA;&#xD;&#xA;I had a [Korg MR-1][11] for a while. It sounded amazing, when it worked. I went through 3 of them (all replaced for free). They liked dying on me.  I haven't heard that from anyone else though, so maybe I just had some bad luck.  In general, I'm a fan of [DSD][13] (1-bit/Direct Stream Digital) recording, but it's not widely supported, so ended up being more of a hassle than anything. It's a great sounding recorder, but again, I had to use adapters to be able to use any real mics.  The thing I like about the Korg over most other portables that lack XLR jacks is that it had two balanced mono 1/8&quot; mic inputs instead of a single unbalanced stereo mic input.  Easily adaptable to XLR (no funky splitting from 1/8&quot; stereo to dual XLR or anything).  It also provided Bias power (for lavs) or 48v phantom which was nice.&#xD;&#xA;&#xD;&#xA;[![Korg MR-1][12]][11]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My two cents :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT: I also have one of those [Olympus LS-10][1] recorders.  Decent sound for quick recordings (the whole &quot;crap I wish I had a recorder&quot; thing again...).  Also, freakin awesome because of how small it is and easy it is to use.  Price came down a lot since I bought it.  I'd say go with the Zoom over the Olympus though for the same price, unless size is a factor for you (the Zoom is fairly large for a Handheld recorder).&#xD;&#xA;&#xD;&#xA;[![Olympus LS-10][15]][14]&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/538924-REG/Olympus_141970_LS_10_Linear_PCM_Field.html&#xD;&#xA;  [2]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;  [3]: http://www.zoomh4.net/images/H4n-front-new.png&#xD;&#xA;  [4]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;  [5]: http://www.sounddevices.com/products/702t.htm&#xD;&#xA;  [6]: http://www.zaxcom.com/Deva-5.htm&#xD;&#xA;  [7]: http://www.zaxcom.com/images/Deva_v.jpg&#xD;&#xA;  [8]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;  [9]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=PCM-D50&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Mixers&#xD;&#xA;  [10]: http://assets.sonybiz.net/products/PCM-D50(img1).jpg&#xD;&#xA;  [11]: http://www.korg.com/product.aspx?pd=284&#xD;&#xA;  [12]: http://www.korg.com/uploads/Images/MR1_main_633784311037790000.gif&#xD;&#xA;  [13]: http://en.wikipedia.org/wiki/Direct_Stream_Digital&#xD;&#xA;  [14]: http://www.olympus.co.uk/consumer/2581_digital_recorder_ls-10_18555.htm&#xD;&#xA;  [15]: http://www.olympus.co.uk/consumer/images/products/mediando/LS-10-front_M.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1720" PostHistoryTypeId="5" PostId="113" RevisionGUID="f7e608c1-cea0-4a8e-8cea-142e912c81ee" CreationDate="2010-05-07T06:54:34.463" UserDisplayName="user80" Comment="Grammar" Text="+1 for the [Zoom H4n][1]&#xD;&#xA;&#xD;&#xA;I recently bought one after a massive research.  I love the core functionality, and the interface is solid.  For the price I think it's the best deal right now.&#xD;&#xA;&#xD;&#xA;[![Zoom H4n][2]][1][![Zoom H4n][3]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;[2]: http://www.zoom.co.jp/english/products/h4n/h4n_10.jpg&#xD;&#xA;[3]: http://www.zoom.co.jp/english/products/h4n/h4n_13.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1721" PostHistoryTypeId="2" PostId="948" RevisionGUID="a3067e62-1843-4a31-a8b1-a1dc0fc7f70f" CreationDate="2010-05-07T07:14:50.360" UserId="152" Text="I know that on the average gun shoot I'll take around 12 to 18 channels: 3 x 744's and a few 702/722/FR2 placed around the site left recording all day. Since you only have 4 channels make sure to capture as many perspectives as you can:&#xD;&#xA;&#xD;&#xA;Contact mics on the gun itself; SM57 on the firing mechanism/pin&#xD;&#xA;Muzzle Recording with a 416 and a SM57&#xD;&#xA;&#xD;&#xA;Medium perspective with both mono and Stereo mics&#xD;&#xA;&#xD;&#xA;Distant perspective; try to record in many directions if you can. Hills, flat lands, rocks, forests all make the crack/decay of the recording sound very different.&#xD;&#xA;&#xD;&#xA;Don't forget to try and record some bullet bys. Maybe bring a mellon or two for splatters??? (A melon filled with water/juice/pudding/jello sounds great when hit by a bullet!)&#xD;&#xA;&#xD;&#xA;The combination of all these recordings is what makes an awesome library to create your gun sounds from.&#xD;&#xA;&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="1722" PostHistoryTypeId="5" PostId="948" RevisionGUID="622178cb-8de4-41af-8c21-144c0ae05f2e" CreationDate="2010-05-07T07:20:39.253" UserId="152" Comment="added 123 characters in body" Text="I know that on the average gun shoot I'll take around 12 to 18 channels: 3 x 744's and a few 702/722/FR2 placed around the site left recording all day. Since you only have 4 channels make sure to capture as many perspectives as you can:&#xD;&#xA;&#xD;&#xA;Contact mics on the gun itself; SM57 on the firing mechanism/pin&#xD;&#xA;Muzzle Recording with a 416 and a SM57&#xD;&#xA;&#xD;&#xA;Medium perspective with both mono and Stereo mics&#xD;&#xA;&#xD;&#xA;Distant perspective; try to record in many directions if you can. Hills, flat lands, rocks, forests all make the crack/decay of the recording sound very different.&#xD;&#xA;&#xD;&#xA;Don't forget to try and record some bullet bys. Maybe bring a mellon or two for splatters??? (A melon filled with water/juice/pudding/jello sounds great when hit by a bullet!)&#xD;&#xA;&#xD;&#xA;The combination of all these recordings is what makes an awesome library to create your gun sounds from.&#xD;&#xA;&#xD;&#xA;Nick&#xD;&#xA;&#xD;&#xA;PS - Do not forget hearing protection! Earplugs or a set if these from BH Photo work great! http://tinyurl.com/2ce2gq8 " ContentLicense="CC BY-SA 2.5" />
  <row Id="1723" PostHistoryTypeId="2" PostId="949" RevisionGUID="2b81bf62-32a1-4ce3-a13b-2c44e8b49fd5" CreationDate="2010-05-07T08:16:45.270" UserId="168" Text="I'm working a film which has got one of the main characters moving around in a wheel chair (which is not electric) all the time. My plan is to keep it simple and record samples that match the scenes/locations with a single boom.&#xD;&#xA;&#xD;&#xA;Any ideas, mic suggestions, techniques? I obviously also want to record cleaner samples and archive them.&#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 2.5" />
  <row Id="1724" PostHistoryTypeId="1" PostId="949" RevisionGUID="2b81bf62-32a1-4ce3-a13b-2c44e8b49fd5" CreationDate="2010-05-07T08:16:45.270" UserId="168" Text="Recording a wheel chair" ContentLicense="CC BY-SA 2.5" />
  <row Id="1725" PostHistoryTypeId="3" PostId="949" RevisionGUID="2b81bf62-32a1-4ce3-a13b-2c44e8b49fd5" CreationDate="2010-05-07T08:16:45.270" UserId="168" Text="&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1726" PostHistoryTypeId="5" PostId="948" RevisionGUID="d4aba909-455c-4ea1-b94e-a72bb05db5dc" CreationDate="2010-05-07T08:32:35.203" UserId="152" Comment="edited body" Text="I know that on the average gun shoot I'll take around 12 to 18 channels: 3 x 744's and a few 702/722/FR2 placed around the site left recording all day. Since you only have 4 channels make sure to capture as many perspectives as you can:&#xD;&#xA;&#xD;&#xA;Contact mics on the gun itself; SM57 on the firing mechanism/pin&#xD;&#xA;Muzzle Recording with a 416 and a SM57&#xD;&#xA;&#xD;&#xA;Medium perspective with both mono and Stereo mics&#xD;&#xA;&#xD;&#xA;Distant perspective; try to record in many directions if you can. Hills, flat lands, rocks, forests all make the crack/decay of the recording sound very different.&#xD;&#xA;&#xD;&#xA;Don't forget to try and record some bullet bys. Maybe bring a mellon or two for splatters??? (A melon filled with water/juice/pudding/jello sounds great when hit by a bullet!)&#xD;&#xA;&#xD;&#xA;The combination of all these recordings is what makes an awesome library to create your gun sounds from.&#xD;&#xA;&#xD;&#xA;Nick&#xD;&#xA;&#xD;&#xA;PS - Do not forget hearing protection! Earplugs or a set of these from BH Photo work great! http://tinyurl.com/2ce2gq8 " ContentLicense="CC BY-SA 2.5" />
  <row Id="1727" PostHistoryTypeId="2" PostId="950" RevisionGUID="725d182a-1c0d-4a31-aa15-6039fbf474ec" CreationDate="2010-05-07T09:00:56.327" UserId="168" Text="You could try using an envelope tool/transient designer - maybe the SPL Transient Designer  or Logic's Enveloper is pretty good too. There are quite a few freebies available. Run a search on kvraudio.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="1728" PostHistoryTypeId="2" PostId="951" RevisionGUID="694aa7d7-5932-4a4c-9379-1089930e246c" CreationDate="2010-05-07T09:34:37.867" UserId="81" Text="In these kinds of situations, my main aim is to IMPRESS the director with sound design, before starting the work.&#xD;&#xA;&#xD;&#xA;I request short samples of diverse scenes, and I try to make the director understand how important sound design is and how vital can it be for the overall mood of the scene by preparing demos.&#xD;&#xA;&#xD;&#xA;After a good impression, it is easy to educate them. They listen to you more carefully and take you more seriously because they know that your input is good for the whole project." ContentLicense="CC BY-SA 2.5" />
  <row Id="1729" PostHistoryTypeId="2" PostId="952" RevisionGUID="60867256-425a-4d5c-a84a-2f9e10954834" CreationDate="2010-05-07T10:04:04.963" UserId="81" Text="I have recorded an instructional video for disabled people with a Rode Nt4 some time ago. &#xD;&#xA;&#xD;&#xA;I suggest you to pre-observe the operation of a wheel chair before recording it. With observation you can decide easily about your recording techniques.&#xD;&#xA;&#xD;&#xA;Wheel chairs are not noisy and squeeky unless they are very old or some mechanicals parts are rusty. I recorded the friction of rubber wheels on different kinds of surfaces (wood, stone, etc.) Because when they want to turn left or right they turn on the wheels. Watch paralympic basketball from YouTube and you will see what I mean.&#xD;&#xA;&#xD;&#xA;There are also some mechanisms to stabilize the wheel chair when the person wants to stop. This locks the wheels and you might want to record these kinds of &quot;click&quot; sounds where two metal parts gently hit each other." ContentLicense="CC BY-SA 2.5" />
  <row Id="1730" PostHistoryTypeId="5" PostId="130" RevisionGUID="f1d6220e-9e69-4c3b-bec9-2e39e296931e" CreationDate="2010-05-07T10:04:39.703" UserDisplayName="user80" Comment="Added weblinks and image" Text="It really depends what you want it for.  Figure that out, then find the recorder that fits your needs. They all have different benefits.&#xD;&#xA;&#xD;&#xA;I highly recommend the [Sony PCM-D50][1], particularly for stereo sound fx recording and music.&#xD;&#xA;&#xD;&#xA;I was hesitant to purchase it because there weren't XLR inputs, but I was mainly looking for high quality mics and preamps, and for the money this one became a no brainer.&#xD;&#xA;&#xD;&#xA;If you're more interested in finding a handheld recorder to act as a storage device (meaning you want to plug other mics into them), then the cheaper [Zoom][3] models may be the way to go. (Though I can't vouch for their pre-amps).  But for an all in one recorder AND stereo microhpones AND preamps, you can't beat this. I've recorded ambiences from China to Sweden to the icy streams in New Hampshire, and the sounds are crisp, clean and beautiful.&#xD;&#xA;&#xD;&#xA;Also, I have used it for dialogue recording going from the tape out from my mixer to the Line Input on the [PCM-D50][1].  So there's that option as well...&#xD;&#xA;&#xD;&#xA;[![Sony PCM-D50][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=PCM-D50&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Mixers&#xD;&#xA;[2]: http://assets.sonybiz.net/products/AD-PCM1(img1).jpg&#xD;&#xA;[3]: http://www.zoomh2.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1731" PostHistoryTypeId="5" PostId="52" RevisionGUID="b2ff5377-24a9-4bac-83da-b5d86dab5e33" CreationDate="2010-05-07T10:07:17.787" UserDisplayName="user80" Comment="deleted 24 characters in body; edited body" Text="[Sony PCM-M10][2]. &#xD;&#xA;Here's a [review][1].&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://dot.cult.bg/esem/i/pcmm10_dark2.jpg&quot; /&gt;&#xD;&#xA;&#xD;&#xA;  [1]: http://esem.name/?pcmm10&#xD;&#xA;  [2]: http://pro.sony.com/bbsc/ssr/cat-audio/resource.solutions.bbsccms-assets-cat-audio-solutions-pcmm10.shtml" ContentLicense="CC BY-SA 2.5" />
  <row Id="1732" PostHistoryTypeId="5" PostId="58" RevisionGUID="33c6429f-5c43-4040-b91f-c104472173eb" CreationDate="2010-05-07T10:08:22.687" UserDisplayName="user80" Comment="edited body" Text="If you want to go as cheap as possible, the '[Zoom H2 Handy Recorder][1]', as is it's long and actual name, is actually quite handy. Even if you do end up buying something better, it's so small you'll definitely find uses for it. It's really easy to toss in a shoulder bag (or a man purse, or just man purse, 'cause that's what a shoulder bag is, a man purse), or toss in your pocket. As well, it can always be used as a back up. It's a self contained unit, mics, power, and storage are all on board, so it's super easy to toss on a tripod and set up next to your other field recording mics.&#xD;&#xA;&#xD;&#xA;[![Zoom H2][2]][1]&#xD;&#xA;&#xD;&#xA;I've never held a [Zoom H4][3], so I can't say much about it, if someone else has one, chime in! I've also only used a [Sony PCM-M10][4] for like, an hour, so I can't say much about that, either. I think it sounded better than my [H2][1], but I didn't have my H2 on me when I got to borrow it, so I couldn't do any A-B'ing with what I was recording.&#xD;&#xA;&#xD;&#xA;But H2s are pretty awesome, mine goes everywhere with me. If you pick one up, you'll probably take it everywhere you go, even if you get something better, it's just so darned handy!&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;[2]: http://www.zoom.co.jp/english/products/h2/h2_07.jpg&#xD;&#xA;[3]: http://www.zoom.co.jp/english/products/h4/&#xD;&#xA;[4]: http://pro.sony.com/bbsc/ssr/cat-audio/resource.latest.bbsccms-assets-cat-audio-solutions-pcmm10.shtml" ContentLicense="CC BY-SA 2.5" />
  <row Id="1733" PostHistoryTypeId="2" PostId="953" RevisionGUID="000c75ed-1d8c-49b3-ab68-b0875a615689" CreationDate="2010-05-07T10:50:55.723" UserDisplayName="user80" Text="I would suggest foley for this, it will save you hours of work and you can easily worldise the tracks afterwards.  Just pop a friend of a similar weight in the wheel chair used on the set and use an omnidirectional condenser mic and wheel it in a circle round the mic." ContentLicense="CC BY-SA 2.5" />
  <row Id="1734" PostHistoryTypeId="5" PostId="143" RevisionGUID="89e5806a-8e86-4e99-afb7-94496113aa5c" CreationDate="2010-05-07T10:56:44.380" UserDisplayName="user80" Comment="Added weblink; added 1 characters in body" Text="I've been very happy with the [Zoom H2][1] for both background and fx recordings, and have had no problem using those recordings in my work on films and video games. Of course, at its price point there are a few limitations, such as pre-amp noise at high gain levels, less than sturdy case construction and lack of XLR jacks, but I'm a firm believer that having a recording of something, even if it's not the best recording ever, is better than not having that recording at all.&#xD;&#xA;&#xD;&#xA;Can the [Zoom H2][1] be the only unit you use to gather new sounds? No. But, if your budget is very tight, or you are just getting into location recording, it's a great choice.&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h2/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1735" PostHistoryTypeId="5" PostId="953" RevisionGUID="bca518f4-d44d-4f0d-95b5-48461e19fe07" CreationDate="2010-05-07T10:59:10.510" UserDisplayName="user80" Comment="edited body; added 72 characters in body" Text="I would suggest foley for this, it will save you hours of work and you can easily worldise the tracks afterwards.  Just pop a friend of a similar weight in the wheelchair used on the set, and use an omnidirectional condenser mic and push the wheelchair in a circle round the mic.  That way you can match up all of the actions really easily." ContentLicense="CC BY-SA 2.5" />
  <row Id="1736" PostHistoryTypeId="4" PostId="949" RevisionGUID="21bee58a-2491-48d2-86d7-2f8c70efe760" CreationDate="2010-05-07T11:00:30.760" UserDisplayName="user80" Comment="Added tags; edited tags" Text="Recording a wheelchair" ContentLicense="CC BY-SA 2.5" />
  <row Id="1737" PostHistoryTypeId="6" PostId="949" RevisionGUID="21bee58a-2491-48d2-86d7-2f8c70efe760" CreationDate="2010-05-07T11:00:30.760" UserDisplayName="user80" Comment="Added tags; edited tags" Text="&lt;recording&gt;&lt;techniques&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1738" PostHistoryTypeId="5" PostId="916" RevisionGUID="752615fa-805d-4446-9d1d-aa84c5af8e99" CreationDate="2010-05-07T11:05:39.183" UserDisplayName="user80" Comment="Added tags" Text="If you were offered a job as Sound Designer, Re-recording Mixer, SFX editor, or anything to do with sound on a feature film with a director who knows nothing or cares nothing about sound (or not enough to give it much importance in his script or actions or budget), would you take the job?&#xD;&#xA;&#xD;&#xA;And, say you did take the job, would you push the point with the Director that sound is important, and how would you go about it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1739" PostHistoryTypeId="6" PostId="916" RevisionGUID="752615fa-805d-4446-9d1d-aa84c5af8e99" CreationDate="2010-05-07T11:05:39.183" UserDisplayName="user80" Comment="Added tags" Text="&lt;directors&gt;&lt;experiences&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1740" PostHistoryTypeId="2" PostId="954" RevisionGUID="e5a13143-bc6f-4641-a63c-b1d17160ce41" CreationDate="2010-05-07T12:22:44.390" UserId="2" Text="I also Waves now, but before getting Waves I used [Panorama][1] by [WaveArts][2]. I still really like their plugins. &#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://wavearts.com/products/plugins/panorama/&#xD;&#xA;  [2]: http://wavearts.com&#xD;&#xA;  [3]: http://wavearts.com/images/products/cache/pan5-580x245.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1741" PostHistoryTypeId="5" PostId="940" RevisionGUID="30b68115-3ebe-4a64-bddd-320d539d664a" CreationDate="2010-05-07T12:28:00.207" UserId="2" Comment="added emebeded youtube video" Text="http://www.mpse.org/education/bigmovierydstrom.html&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=qwWvO4UgJiU&#xD;&#xA;[youtube]v=qwWvO4UgJiU[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="1742" PostHistoryTypeId="5" PostId="144" RevisionGUID="ee4b05bd-3fb3-4153-ba46-c82b9e946329" CreationDate="2010-05-07T13:23:57.997" UserDisplayName="user80" Comment="Added weblinks and images" Text="Just consider the use you want do with it. The [Zoom H2][1] is the best choice for portability and price, but you won't have XLR input connections. I've used H2 with a shotgun mic ([Rode NTG-2][2]), an autobuilt stereo mic with electret capsules (it provides plug-in power) and with a [Rode NT4][4] stereo mic through the H2's minijack input and it works pretty well. &#xD;&#xA;&#xD;&#xA;[![Rode NTG-2][3]][2]&#xD;&#xA;&#xD;&#xA;The H2 built-in microphones are good, and maybe you will never need an external miic as you can set several configurations 90, 120 degrees, front, rear and quadriphonic...&#xD;&#xA;Moreover: H2 can be used as a Audio-card, The H2 can save your audio in wav format up to 96khz-24bit and in every level of mp3 compression - no other portable recorder can do that.&#xD;&#xA;&#xD;&#xA;[![Zoom H2][6]][1]&#xD;&#xA;&#xD;&#xA;This [link][5] is in Italian but may be of some help. &#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h2/ &#xD;&#xA;[2]: http://www.rode.com.au/microphone.php?product=NTG-2&#xD;&#xA;[3]: http://www.rode.com.au/images/mics/ntg-2_002.jpg&#xD;&#xA;[4]: http://www.rode.com.au/microphone.php?product=NT4&#xD;&#xA;[5]: http://www.sounday-times.com/it/arrige-aures/registratori-digitali-portatili.html&#xD;&#xA;[6]: http://www.zoom.co.jp/english/products/h2/h2_04.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="1743" PostHistoryTypeId="2" PostId="955" RevisionGUID="f4c977de-4e3b-4868-b482-0174b433b2a7" CreationDate="2010-05-07T14:44:34.743" UserId="61" Text="Both Iain's and Selcuk's approaches are valid. I imagine you will end up using a combination of both methods to great effect. If it were me, I would record a couple of different wheelchairs in any important location, such as a lobby, basketball court, etc. Having the real ambience on your tracks will go a long way to selling the authenticity of the performance. Then cover the same moves in foley for added detail.&#xD;&#xA;&#xD;&#xA;Treat it much the same as you would record a vehicle set." ContentLicense="CC BY-SA 2.5" />
  <row Id="1744" PostHistoryTypeId="2" PostId="956" RevisionGUID="58201924-6e63-41b7-8bd1-d253ff1ad3e7" CreationDate="2010-05-07T14:54:18.157" UserId="220" Text="I am definitely interested in the following:&#xD;&#xA;&#xD;&#xA; - Gun manipulation - I've got plenty of gunshots, not enough unholstering (nylon, leather, out of pocket), moving around in the hand, flipping safety on and off, etc.&#xD;&#xA; - Ambiance - good outdoors ambiance in various natural settings, airplane ambiance, food and retail store ambiance.  Can't say enough about having a large variety of ambiance to choose from.&#xD;&#xA; - IRs for ambiance environments - I think it would be a great pairing to have an ambiance, and then a reverb library to correspond with each space so you could match up dry foley, SFX, dialog with the space.&#xD;&#xA; - Clothing foley - jeans, khakis, shoes being taken on and off, adjusting shirts, digging in pockets, general movement without footsteps." ContentLicense="CC BY-SA 2.5" />
  <row Id="1745" PostHistoryTypeId="2" PostId="957" RevisionGUID="cba61f8e-5871-4942-9e37-ab1a133fe1df" CreationDate="2010-05-07T15:18:44.587" UserId="194" Text="here's another article by Charles Maynes&#xD;&#xA;&#xD;&#xA;http://www.gamasutra.com/features/20070104/maynes_01.shtml" ContentLicense="CC BY-SA 2.5" />
  <row Id="1746" PostHistoryTypeId="2" PostId="958" RevisionGUID="cb1fca87-4262-449e-85c3-a710b02149d5" CreationDate="2010-05-07T15:40:53.610" UserId="255" Text="Ive got to say, im loving these &quot;Boutique&quot; libraries you guys are doing, being a poor student i havnt got round to buying them all yet, but i definitely will be! The pricing is very reasonable and the quality is top notch with some really unique sounds.&#xD;&#xA;&#xD;&#xA;VC Prod - i like the idea IRs to go with ambiance collections, i think they could be really cool.&#xD;&#xA;&#xD;&#xA;Im also with Birdhousesound on &quot;boutique&quot; libraries with -&#xD;&#xA;&#xD;&#xA;    * plastic manipulation&#xD;&#xA;    * small metal manipulation (stress, taps, tonal)&#xD;&#xA;    * large metal manipulation (creaks, ronks, rubs, tonal)&#xD;&#xA;    * glass friction and rubs&#xD;&#xA;    * wood friction and rubs&#xD;&#xA;    * tiny electronics&#xD;&#xA;&#xD;&#xA;Would anyone be interested in a library of Lamborghini sounds? Im quite lucky in having access to their workshop after-hours to record as much as i want, im thinking all the usual interior/exterior sounds and a bunch of tools and stuff i can find around the workshop. &#xD;&#xA;&#xD;&#xA;What would be important to you guys in a &quot;boutique&quot; vehicles set? I want to make sure i get everything covered.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1747" PostHistoryTypeId="2" PostId="959" RevisionGUID="1467d988-d7ca-4eec-9b16-bda06d73472a" CreationDate="2010-05-07T15:53:01.577" UserId="194" Text="the things that I need to buy are the things that are too difficult or costly to record myself on a whim.  That said, I do own both of Tim's libraries.  :)&#xD;&#xA;&#xD;&#xA;as such:&#xD;&#xA;&#xD;&#xA; - explosions&#xD;&#xA; - fire&#xD;&#xA; - big cats&#xD;&#xA; - other unique sounding animals&#xD;&#xA; - vintage vehicles&#xD;&#xA; - remote ambiances&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also, I don't mind borrowing from the creativity of others so I'd be very interested in designed and stylized versions of:&#xD;&#xA;&#xD;&#xA; - hits and impacts&#xD;&#xA; - whooshes&#xD;&#xA; - computer UI&#xD;&#xA; - communication noises&#xD;&#xA; - servos&#xD;&#xA; - horror screeches&#xD;&#xA; - etc&#xD;&#xA;&#xD;&#xA;Also, having the stylized stuff broken out into layers would be pretty cool.&#xD;&#xA;&#xD;&#xA;thx!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1749" PostHistoryTypeId="2" PostId="961" RevisionGUID="7806d672-aff3-4037-a029-4fb36edc1fd2" CreationDate="2010-05-07T17:00:32.777" UserId="18160" Text="One thing I personally hate but which I know will be inevitable are fixes from the director, or producer, or even actors/producers in some cases.&#xD;&#xA;&#xD;&#xA;How do you guys prepare/go about doing fixes on the dub stage?&#xD;&#xA;&#xD;&#xA;Do you bring a separate rig and have a copy of the session to do them?&#xD;&#xA;&#xD;&#xA;Do you destructive-punch on your predubs which are on a server that the mix rig is referencing to so that you don't have to relink?&#xD;&#xA;&#xD;&#xA;I'll be doing a **very** time sensitive project very soon and would like to soak in any tips you guys have on the matter.&#xD;&#xA;&#xD;&#xA;Thanks a lot in advance and I love this site." ContentLicense="CC BY-SA 2.5" />
  <row Id="1750" PostHistoryTypeId="1" PostId="961" RevisionGUID="7806d672-aff3-4037-a029-4fb36edc1fd2" CreationDate="2010-05-07T17:00:32.777" UserId="18160" Text="Fixes during the mix. How to go about it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1751" PostHistoryTypeId="3" PostId="961" RevisionGUID="7806d672-aff3-4037-a029-4fb36edc1fd2" CreationDate="2010-05-07T17:00:32.777" UserId="18160" Text="&lt;mix&gt;&lt;fixes&gt;&lt;dub&gt;&lt;stage&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1752" PostHistoryTypeId="5" PostId="961" RevisionGUID="36dd65e8-1bd5-46bc-88e8-89ce25ce48a3" CreationDate="2010-05-07T17:06:18.000" UserId="18160" Comment="deleted 28 characters in body" Text="One thing I know will be inevitable are fixes from the director, or producer, or even actors/producers in some cases.&#xD;&#xA;&#xD;&#xA;How do you guys prepare/go about doing fixes on the dub stage?&#xD;&#xA;&#xD;&#xA;Do you bring a separate rig and have a copy of the session to do them?&#xD;&#xA;&#xD;&#xA;Do you destructive-punch on your predubs which are on a server that the mix rig is referencing to so that you don't have to relink?&#xD;&#xA;&#xD;&#xA;I'll be doing a **very** time sensitive project very soon and would like to soak in any tips you guys have on the matter.&#xD;&#xA;&#xD;&#xA;Thanks a lot in advance and I love this site." ContentLicense="CC BY-SA 2.5" />
  <row Id="1753" PostHistoryTypeId="5" PostId="164" RevisionGUID="59eab366-7310-4900-b2d8-61cce74a3526" CreationDate="2010-05-07T17:15:03.953" UserDisplayName="user80" Comment="Corrected grammar, added weblinks and image" Text="I have a [Zoom H4n][1]. I think it is the way to go for the pre-amps, audio quality and price. It's really easy to use, and you can quickly and easily access all its many functions. The [Sony PCM-D50][3] is the top for the quality of the built-in microphones.&#xD;&#xA;&#xD;&#xA;![Zoom H4n][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;[2]: http://www.zoom.co.jp/english/products/h4n/h4n_02.jpg&#xD;&#xA;[3]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=PCM-D50&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Mixers" ContentLicense="CC BY-SA 2.5" />
  <row Id="1754" PostHistoryTypeId="5" PostId="961" RevisionGUID="05616ce8-c39c-48d8-a61e-465897bcfa96" CreationDate="2010-05-07T17:54:57.430" UserId="18160" Comment="deleted 21 characters in body" Text="One thing I know will be inevitable are fixes from the director, or producer, or even actors/producers in some cases.&#xD;&#xA;&#xD;&#xA;How do you guys prepare/go about doing fixes on the dub stage?&#xD;&#xA;&#xD;&#xA;Do you bring a separate rig and have a copy of the session to do them?&#xD;&#xA;&#xD;&#xA;Do you destructive-punch on your predubs which are on a server that the mix rig is referencing to so that you don't have to relink?&#xD;&#xA;&#xD;&#xA;I'll be doing a **very** time sensitive project very soon and would like to soak in any tips you guys have on the matter.&#xD;&#xA;&#xD;&#xA;Thanks a lot in advance!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1755" PostHistoryTypeId="2" PostId="962" RevisionGUID="59360863-e232-4caa-970a-dbcd46d99e16" CreationDate="2010-05-07T18:06:08.723" UserId="61" Text="Ryan,&#xD;&#xA;&#xD;&#xA;Here's a couple of possible approaches:&#xD;&#xA;&#xD;&#xA; - Have a separate stage rig that&#xD;&#xA;   provides direct 1-to-1 outputs to the&#xD;&#xA;   console (best approach if you've made actual predubs);&#xD;&#xA; - Cut within your session (if you're&#xD;&#xA;   going virtual)&#xD;&#xA;&#xD;&#xA;Be sure you don't destroy any of the original audio or automation when doing your fixes, just in case the director wants to go back to the way it was." ContentLicense="CC BY-SA 2.5" />
  <row Id="1756" PostHistoryTypeId="5" PostId="351" RevisionGUID="442db778-8fcd-4711-8970-fd24018b994e" CreationDate="2010-05-07T19:28:27.747" UserDisplayName="user80" Comment="Added weblinks" Text="I own an [Edirol R-09][1], but I am seriously considering buying the [Sony PCM-D50][2], as I would like to have a recorder with good enough built-in microphones to eliminate the need for an external mic. I use the Røde NT4 with the Edirol, but I would really like to have a setup that is a bit more portable, so I can have it with all the time. &#xD;&#xA;&#xD;&#xA;[1]: http://www.rolandus.com/products/productdetails.php?ProductId=757 &#xD;&#xA;[2]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=PCM-D50&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Mixers" ContentLicense="CC BY-SA 2.5" />
  <row Id="1757" PostHistoryTypeId="2" PostId="963" RevisionGUID="b0eae6d2-aa9b-4009-8d84-b9cb25bbb61c" CreationDate="2010-05-07T21:00:43.987" UserId="255" Text="I was just wondering if anyone had any tips on recording car engines/cars in general? &#xD;&#xA;&#xD;&#xA;I'm thinking of hiring Marantz PMD671 to record with, and as for mics i was going to hire a few different ones to test, mainly a Neumann RSM191. &#xD;&#xA;&#xD;&#xA;But im not really sure what would be the best choice for cars, especially particularly loud cars such as Lamborghinis. Im thinking possibly a dynamic mic of some sort aswell, but also a DPA 4011TL condenser. Would these be sensible choices?&#xD;&#xA;&#xD;&#xA;Also does anyone have any tips or tricks on mic positioning for cars? I thinking it might be best to have them up on ramps to minimize any reflections off the tiled workshop floor?&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1758" PostHistoryTypeId="1" PostId="963" RevisionGUID="b0eae6d2-aa9b-4009-8d84-b9cb25bbb61c" CreationDate="2010-05-07T21:00:43.987" UserId="255" Text="Tips on Car Recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1759" PostHistoryTypeId="3" PostId="963" RevisionGUID="b0eae6d2-aa9b-4009-8d84-b9cb25bbb61c" CreationDate="2010-05-07T21:00:43.987" UserId="255" Text="&lt;cars&gt;&lt;sound-effects&gt;&lt;sound-libraries&gt;&lt;engines&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1760" PostHistoryTypeId="2" PostId="964" RevisionGUID="becd8856-6147-4a15-81b7-1889af9453cb" CreationDate="2010-05-07T21:10:54.627" UserId="40" Text="Charles Deenan special on recording cars for Need for Speed:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/02/charles-deenen-special-car-recording-guide/&#xD;&#xA;&#xD;&#xA;He's also going to be doing a web seminar with Waves in June.  I know a few people said it was full, but they will be recorded and made available afterwards.  Should be some good stuff in there.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I've done a bit of car recording here and there, but only when I needed a specific sound.  One thing to note is that it takes quite a few mics to get the sounds you will need, and it takes a VERY long time to do a full workup of a vehicle, so make sure to plan for that.&#xD;&#xA;&#xD;&#xA;As far as Lamborghinis go...  they are very loud cars, so make sure to have plenty of dynamics and high spl handling condensers.  Also, does this workshop you were talking about have a dyno?  Useful for getting rev sounds and all without having to take the cars on the road... (talked about extensively in the article I linked to above)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1761" PostHistoryTypeId="2" PostId="965" RevisionGUID="678d20e9-2db3-46ec-87ca-10d21edc2302" CreationDate="2010-05-07T22:20:58.727" UserId="18160" Text="Recently I had to create sounds for tiny people, about as tall as a pencil.&#xD;&#xA;&#xD;&#xA;I couldn't figure out a good sound for footsteps so I used my fingers on bare wood (because they ran across a bar).&#xD;&#xA;&#xD;&#xA;Anyone know of something that would sound good for tiny footsteps? I may have to do some more design in the future.&#xD;&#xA;&#xD;&#xA;Thanks! - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="1762" PostHistoryTypeId="1" PostId="965" RevisionGUID="678d20e9-2db3-46ec-87ca-10d21edc2302" CreationDate="2010-05-07T22:20:58.727" UserId="18160" Text="Tiny footsteps/foley?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1763" PostHistoryTypeId="3" PostId="965" RevisionGUID="678d20e9-2db3-46ec-87ca-10d21edc2302" CreationDate="2010-05-07T22:20:58.727" UserId="18160" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1764" PostHistoryTypeId="2" PostId="966" RevisionGUID="9bafa218-a197-4093-90c3-1b76d31ba7c7" CreationDate="2010-05-07T22:37:26.677" UserId="61" Text="Rent a flea circus. &#xD;&#xA;&#xD;&#xA;(just kidding).&#xD;&#xA;&#xD;&#xA;Bare fingers is a great way to do it. Also, a tried and true foley method for animal feet could work: Leather gloves with paperclips taped to the fingers. Instant claws!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1765" PostHistoryTypeId="2" PostId="967" RevisionGUID="0b9a1fe2-5563-4418-a5c0-b2daac51f20d" CreationDate="2010-05-07T23:37:20.423" UserId="246" Text="If you're comfortable with synthesis Audiokinetic has a plug-in for Wwise called soundseed &quot;impact&quot; which they claim is suited for this sort of situation.&#xD;&#xA;[link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiokinetic.com/video/video.php?target=tutorials/SoundSeed/01&#xD;&#xA;&#xD;&#xA;Just a different option to think about for the future." ContentLicense="CC BY-SA 2.5" />
  <row Id="1766" PostHistoryTypeId="2" PostId="968" RevisionGUID="aaca5e4a-52cc-49ae-8448-30243024440f" CreationDate="2010-05-08T00:12:14.837" UserId="29" Text="*[Shucks, thanks for the article links, Colin!]*&#xD;&#xA;&#xD;&#xA;Boutique effects collections are indeed the Right Way given where things are going.&#xD;&#xA;&#xD;&#xA;Chuck's right: People ask for what's hard to do themselves. That's what I'd ask for!&#xD;&#xA;&#xD;&#xA; - Deep, thorough, varied recordings of large animals (one or two per collection)&#xD;&#xA; - Sure, guns, what the heck. I never get to record 'em.&#xD;&#xA; - Foreign ambiences are indeed rare and nice to have.&#xD;&#xA; - Hits and impacts are always useful, esp. if it's a collection of just one kind*&#xD;&#xA;      *Yes, I'd even be excited by 1000+ samples of dirt impacts.&#xD;&#xA;&#xD;&#xA;What I *would **not*** expect is that the collections that are harder to coordinate, create, and edit would cost the same as those that are easier (not that any recording session is ever easy). Guns, animals, and those sorts of things *should* carry a premium cost. It's only fair, and it does reflect the relative market value of those effects. &#xD;&#xA;&#xD;&#xA;Boutique = awesome, and right now it means inexpensive, but those three terms needn't be synonymous all the time, based on what the actual content is. My prediction is that everyone's sound collections will vary in price, the market (that's us, people) will help drive what price points we'll accept, and standards for certain types of sounds will probably start to solidify.&#xD;&#xA;&#xD;&#xA;But for the indie SFX artists releasing their collections: Please, keep them coming, keep them reasonably priced, and keep the quality high...just don't sell yourself short if and when you do make big investments in effects collections.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1774" PostHistoryTypeId="2" PostId="970" RevisionGUID="fb131818-08d9-4d7e-bcfe-10055f8b26ce" CreationDate="2010-05-08T07:10:34.817" UserId="264" Text="Apocalypse Now - Ride of the Valkyrie + Helicopters vs. the near-silent village. Also the silence leading up to the tiger." ContentLicense="CC BY-SA 2.5" />
  <row Id="1775" PostHistoryTypeId="5" PostId="143" RevisionGUID="fb144b9b-bfcb-48e4-ba41-d4b189351614" CreationDate="2010-05-08T07:22:41.333" UserDisplayName="user80" Comment="Added image" Text="I've been very happy with the [Zoom H2][1] for both background and fx recordings, and have had no problem using those recordings in my work on films and video games. Of course, at its price point there are a few limitations, such as pre-amp noise at high gain levels, less than sturdy case construction and lack of XLR jacks, but I'm a firm believer that having a recording of something, even if it's not the best recording ever, is better than not having that recording at all.&#xD;&#xA;&#xD;&#xA;[![Zoom H2][2]][1]&#xD;&#xA;&#xD;&#xA;Can the [Zoom H2][1] be the only unit you use to gather new sounds? No. But, if your budget is very tight, or you are just getting into location recording, it's a great choice.&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;[2]: http://www.zoom.co.jp/english/products/h2/h2_18.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="1776" PostHistoryTypeId="5" PostId="251" RevisionGUID="89319fab-954e-4de1-ad72-2c94ab8e08d1" CreationDate="2010-05-08T07:32:55.887" UserDisplayName="user80" Comment="Added weblinks and image" Text="I'm an absolute newbie and bought myself a [Zoom H4n][1] and [Rode M3][2] mic.  Before this purchase I was using my [Apple iPod touch][4] and the [Apple Earphones with Remote and Mic][5] to record dialogue.  Wow - chalk and cheese - BUT I still have a lot to learn - not just about the equipment but about sound, and how to record it properly...  Equipment does not solve that issue :)&#xD;&#xA;&#xD;&#xA;[![Rode M3][3]][2]&#xD;&#xA;&#xD;&#xA;The next lesson to learn, NEVER pay MRP/RRP.  The list price on the H4n was $899 (Australian) and I got it for $499.  Haggle for the best deal, because markups on this type of equipment are huge (might be different in larger markets like the UK and the States).&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;David&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;[2]: http://www.rodemic.com/microphone.php?product=M3&#xD;&#xA;[3]: http://www.rodemic.com/images/mics/m3_001.jpg&#xD;&#xA;[4]: http://www.apple.com/ipodtouch/&#xD;&#xA;[5]: http://store.apple.com/us/product/MB770G/A" ContentLicense="CC BY-SA 2.5" />
  <row Id="1777" PostHistoryTypeId="5" PostId="351" RevisionGUID="af804da5-fa2f-4efe-9050-a4553a136399" CreationDate="2010-05-08T07:39:41.550" UserDisplayName="user80" Comment="Grammar, weblinks and image" Text="I own an [Edirol R-09][1], but I am seriously considering buying the [Sony PCM-D50][2], as I would like to have a recorder with good enough built-in microphones to eliminate the need for an external mic. I use the [Røde NT4][4] with the Edirol, but I would really like to have a setup that is a bit more portable, so that I can have it with me all of the time. &#xD;&#xA;&#xD;&#xA;[![Edirol R-09][3]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.roland.com/products/en/R-09/&#xD;&#xA;[2]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=PCM-D50&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Mixers&#xD;&#xA;[3]: http://www.roland.com/products/com/R-09/images/top_M.jpg&#xD;&#xA;[4]: http://www.rodemic.com/microphone.php?product=nt4" ContentLicense="CC BY-SA 2.5" />
  <row Id="1778" PostHistoryTypeId="2" PostId="971" RevisionGUID="3d20dd4b-151c-4334-aee7-6289d6950916" CreationDate="2010-05-08T09:49:41.260" UserDisplayName="user49" Text="One of the most important skills as a supervising sound editor is to be able to decide whether a fix can be done then &amp; there (ie very rapidly without holding up progress) or it should be done off the stage &amp; revisited later (in ten minutes, an hour, a day etc)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For adding fixes during the mix the two crucial aspects for me are:&#xD;&#xA;&#xD;&#xA;1. naming convention&#xD;&#xA;2. colour coding whether a fix has been mixed in&#xD;&#xA;&#xD;&#xA;On VFX heavy films sound editors are constantly working at the same time as the final mix, so you need to have a good naming convention that everyone uses so that you are clear about what version a fix is &amp; who it is from... I also request the timecode to be included in the file name. I never want to have to import whole tracks (Import session data) as that means taking a Protools offline from the mix. And I also do not want to spot to timestamp because if the tracks are full I do not want to spot it on top of existing material. So with a properly named file I can bring it into any of the live PT sessions, place it roughly in sync, verify there is space for it &amp; then nudge it into place, all without stopping playback.&#xD;&#xA;&#xD;&#xA;Adding new material to a live session must be done very carefully - you can't go adding new material to a reel without knowing it has been mixed in, or that new material could be accidentally screened to the director etc unmixed. So I use colour coding - everything exisiting is one colour, anything new is bright red until its mixed. I also try to drop markers on every fix until its mixed in, so if its a case of having ten minutes free to zip back &amp; mix in fixes, I can jump to markers &amp; tell the mixer where to locate...&#xD;&#xA;&#xD;&#xA;I always have a laptop PT system on the stage with drives with all material from the mix on them, so I can dive in &amp; cut a fix myself offline.... I also have netwrok access to ym whole library.... The laptop is also handy when getting mix notes, for quickly referring to TC points...&#xD;&#xA;&#xD;&#xA;I'll cut stems if a fix or replacement is required on the PT playback dubber but never destructively... I also keep all predub source material on hidden tracks on the live PT sessions incase that material needs to be revisited and/or borrowed for other fixes..&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1779" PostHistoryTypeId="2" PostId="972" RevisionGUID="85384646-e2ee-440b-af01-9f8b1a2d84f8" CreationDate="2010-05-08T09:57:44.407" UserDisplayName="user49" Text="Foley is about capturing a performance, so you will want to try using objects that you can get in character &amp; perform with... experiment! Male or female? what kind of shoes? Maybe two pencils will work... maybe pencils with erasers on the end.... maybe 2 lego blocks... maybe your finger nails.... maybe the sharp end of two kitchen knives for high heels....&#xD;&#xA;&#xD;&#xA;I had to foley a little robot dog on mars once, I ended up performing them using drill bits in a tray of sand.... As with human foley, once I had a sound that was right the most important thing was getting the 'feel' of the performance right for each walk...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1780" PostHistoryTypeId="2" PostId="973" RevisionGUID="6c7842ea-f61a-4ac6-bbf3-4f8e4e2bbab4" CreationDate="2010-05-08T10:24:51.663" UserDisplayName="user49" Text="The mixers will be your main source of answers in terms of how they want material presented &amp; in what order.... for me its usually:&#xD;&#xA;&#xD;&#xA;1. Dialogue/ADR predub 5+ days&#xD;&#xA;2. Ambience predub 2+ days&#xD;&#xA;3. Foley predub 2-3 days&#xD;&#xA;4. FX predubs 2-8 days&#xD;&#xA;&#xD;&#xA;Then&#xD;&#xA;&#xD;&#xA;5. Final mix (reel a day) 5+ days&#xD;&#xA;6. Double head screening (dummy print master, stitch + screen)&#xD;&#xA;7. Fixes... and possibly another doublehead screening 2+ days&#xD;&#xA;8. Print master Digital &amp; LtRt 2 days&#xD;&#xA;9. M&amp;E&#xD;&#xA;10. Deliveries/TV Mix etc....&#xD;&#xA;&#xD;&#xA;You &amp; the mixers will decide how many stems to predub to for most things (eg current film Ambience was predubbed to 4 x 5.0 and 2 x LCR) &amp; you will defintiely need to provide guidance on how many stems FX predubs go out to. Smaller films here tend to be 4 or 6 5.1 FX predub stems, larger films can go past 15.... The main aim is to reduce the number of source tracks down while also retaining control in the final mix by not locking anything  that might conflict together. Its a big waste of time if you have to go back into stems to solve a problem.... This is obviously helped/avoided by having final run throughs with the director before predubs start so that all source material has been signed off on.&#xD;&#xA;&#xD;&#xA;Usually the mix techs handle the dubber in terms of managing the predub stems, so once predubs are finished the playback dubber will handle playback of the Ambience, Foley &amp; FX Predub stems in the final mix, in one big session..... but again thats dependent on how the stage/mixers like to work....&#xD;&#xA;&#xD;&#xA;I always also run a live PT session (ie un-predubbed) of material in the final mix which contains the most subjective elements, and anything that might clash with score... This session is also where I add any fixes....&#xD;&#xA;&#xD;&#xA;Check the delivery requirements for the project with the post supervisor - depending on the producer/studio I am often responsible to provide a copy of everything that went into the final mix (ie all predub stems &amp; the live PT session) and in some cases we also have to provide all elements thats went into the predubs... This process can take days &amp; may well be over 100GB of material....&#xD;&#xA;&#xD;&#xA;We dont use cue sheets at all &amp; havent in the last decade due to the mixers having cloned monitors displaying all PT tracks.... but again check with your mixers, some still request them....&#xD;&#xA;&#xD;&#xA;In the final mix here, aside from the mixers, there are usually 3 sound editors constantly present: myself managing the FX/Ambience/Foley PT, dialogue supervisor handling Dialogue/ADR/loopgroup/crowds PT and the music editor managing the score/source music PT...&#xD;&#xA;&#xD;&#xA;- Make sure all data is being backed up every night&#xD;&#xA;- Make sure all sessions have picture cut version number in their filename&#xD;&#xA;- Don't let yourself get too tired during the mix - it is intense focused work&#xD;&#xA;- Be selfless &amp; be prepared to sacrifice your best work for the sake of the film&#xD;&#xA;- No one can ever predict context 100%, so be prepared for some surprises &#xD;&#xA;- Have fun! Its as good as it gets - you are present the first time the director gets to see &amp; hear their film come together! They may well have spent the last ten years of their life making that film - it is truely magic to experience!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1781" PostHistoryTypeId="5" PostId="973" RevisionGUID="be132bb5-7baf-459b-8414-72fce3b8c166" CreationDate="2010-05-08T10:30:05.500" UserDisplayName="user49" Comment="added 135 characters in body" Text="The mixers will be your main source of answers in terms of how they want material presented &amp; in what order.... for me its usually:&#xD;&#xA;&#xD;&#xA;1. Dialogue/ADR predub 5+ days&#xD;&#xA;2. Ambience predub 2+ days&#xD;&#xA;3. Foley predub 2-3 days&#xD;&#xA;4. FX predubs 2-8 days&#xD;&#xA;&#xD;&#xA;Then&#xD;&#xA;&#xD;&#xA;5. Final mix (reel a day) 5+ days&#xD;&#xA;6. Double head screening (dummy print master, stitch + screen)&#xD;&#xA;7. Fixes... and possibly another doublehead screening 2+ days&#xD;&#xA;8. Print master Digital &amp; LtRt 2 days&#xD;&#xA;9. M&amp;E&#xD;&#xA;10. Deliveries/TV Mix etc....&#xD;&#xA;&#xD;&#xA;You &amp; the mixers will decide how many stems to predub to for most things (eg current film Ambience was predubbed to 4 x 5.0 and 2 x LCR) &amp; you will defintiely need to provide guidance on how many stems FX predubs go out to. Smaller films here tend to be 4 or 6 5.1 FX predub stems, larger films can go past 15.... The main aim is to reduce the number of source tracks down while also retaining control in the final mix by not locking anything  that might conflict together. Its a big waste of time if you have to go back into stems to solve a problem.... This is obviously helped/avoided by having final run throughs with the director before predubs start so that all source material has been signed off on.&#xD;&#xA;&#xD;&#xA;Usually the mix techs handle the dubber in terms of managing the predub stems, so once predubs are finished the playback dubber will handle playback of the Ambience, Foley &amp; FX Predub stems in the final mix, in one big session..... but again thats dependent on how the stage/mixers like to work....&#xD;&#xA;&#xD;&#xA;I always also run a live PT session (ie un-predubbed) of material in the final mix which contains the most subjective elements, and anything that might clash with score... This session is also where I add any fixes....&#xD;&#xA;&#xD;&#xA;Check the delivery requirements for the project with the post supervisor - depending on the producer/studio I am often responsible to provide a copy of everything that went into the final mix (ie all predub stems &amp; the live PT session) and in some cases we also have to provide all elements thats went into the predubs... This process can take days &amp; may well be over 100GB of material....&#xD;&#xA;&#xD;&#xA;We dont use cue sheets at all &amp; havent in the last decade due to the mixers having cloned monitors displaying all PT tracks.... but again check with your mixers, some still request them....&#xD;&#xA;&#xD;&#xA;In the final mix here, aside from the mixers, there are usually 3 sound editors constantly present: myself managing the FX/Ambience/Foley PT, dialogue supervisor handling Dialogue/ADR/loopgroup/crowds PT and the music editor managing the score/source music PT...&#xD;&#xA;&#xD;&#xA;- Make sure all data is being backed up every night&#xD;&#xA;- Make sure all sessions have picture cut version number in their filename&#xD;&#xA;- Don't let yourself get too tired during the mix - it is intense focused work&#xD;&#xA;- Be selfless &amp; be prepared to sacrifice your best work for the sake of the film&#xD;&#xA;- No one can ever predict context 100%, so be prepared for some surprises &#xD;&#xA;- Have fun! Its as good as it gets - you are present the first time the director gets to see &amp; hear their film come together! They may well have spent the last ten years of their life making that film - it is truely magic to experience!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also see my comment re fixes in final mix here:&#xD;&#xA;http://socialsounddesign.com/questions/961/fixes-during-the-mix-how-to-go-about-it&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1782" PostHistoryTypeId="5" PostId="723" RevisionGUID="345c66c1-7913-47b3-894d-3ab23d60607d" CreationDate="2010-05-08T10:38:03.877" UserDisplayName="user80" Comment="Added weblinks and image" Text="The [Zoom H4n][1] is a godsend.  I work for a pro post house, and we have four of them as backups to our [Sound Devices][2] rigs. They always produce usable recordings.&#xD;&#xA;&#xD;&#xA;[![Zoom H4n][3]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;[2]: http://www.sounddevices.com/products/7.htm&#xD;&#xA;[3]: http://www.zoom.co.jp/english/products/h4n/h4n_19.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1783" PostHistoryTypeId="2" PostId="974" RevisionGUID="d5ba1148-46ff-4ea0-9f42-851b2659203d" CreationDate="2010-05-08T12:21:22.383" UserId="258" Text="The opening sequence of Akira, those seconds before the bomb goes off and destroys Tokyo is just awesome. Some people mentioned Kubrick´s &quot;2001&quot; and the way silence is used to portrait space in a realistic way... Goosebumps." ContentLicense="CC BY-SA 2.5" />
  <row Id="1784" PostHistoryTypeId="5" PostId="820" RevisionGUID="6b3487c8-cf6b-47e4-adc8-d8c07d7044a7" CreationDate="2010-05-08T12:23:18.187" UserDisplayName="user80" Comment="Added weblinks and image" Text="Has anyone else considered / tried the [Blue Microphones Mikey][1] with an iPhone using software like FiRe or McDSP Retro recorders?  It may not win on best sound quality (though, judging by widely differing opinions and reviews of portable recorders, this is obviously a very subjective issue) but it is the ultimate in portability.  I'm still waiting for the UK release of the updated [Blue Microphones Mikey 2][3] but I've read good reviews of it online.&#xD;&#xA;&#xD;&#xA;[![Blue Microphones Mikey][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.bluemic.com/mikey/original/&#xD;&#xA;[2]: http://www.bluemic.com/mikey/original/pics/3.jpg&#xD;&#xA;[3]: http://www.bluemic.com/mikey/new/&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="1785" PostHistoryTypeId="5" PostId="820" RevisionGUID="bbdba37e-e231-4c58-9e3a-41415ff5fd9b" CreationDate="2010-05-08T12:31:16.847" UserDisplayName="user80" Comment="Added weblinks and image" Text="Has anyone else considered / tried the [Blue Microphones Mikey][1] with an [Apple iPhone][4] using software like [FiRe][5] or [McDSP Retro][6] recorders?  It may not win on best sound quality (though, judging by widely differing opinions and reviews of portable recorders, this is obviously a very subjective issue) but it is the ultimate in portability.  I'm still waiting for the UK release of the updated [Blue Microphones Mikey 2][3] but I've read good reviews of it online.&#xD;&#xA;&#xD;&#xA;[![Blue Microphones Mikey][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.bluemic.com/mikey/original/&#xD;&#xA;[2]: http://www.bluemic.com/mikey/original/pics/1.jpg&#xD;&#xA;[3]: http://www.bluemic.com/mikey/new/&#xD;&#xA;[4]: http://www.apple.com/iphone/&#xD;&#xA;[5]: http://www.audiofile-engineering.com/#&#xD;&#xA;[6]: http://www.retrorecorder.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1786" PostHistoryTypeId="5" PostId="839" RevisionGUID="77c19c19-312e-4be9-a6ab-5555f98f8fa7" CreationDate="2010-05-08T14:32:20.687" UserDisplayName="user80" Comment="Corrected grammar, added weblinks and image" Text="Hello guys, I've recently bought an [Edirol R-4][1], after my first recorder, the [Zoom H2][2] which I still use for recording quick sketches. I am the happiest sound recordist ever with that [R-4][1], I must say. Four tracks, portable, 96khz...  For a while I have finished my search. I recommend the [R-4][1] if you need to record with multiple microphones, but you have only one chance. I use it with the [Rode NT-4][3] and a couple of Neumann KM 184s for a recording session of the popular Italian game, &quot;la morra&quot;.  It is not cheap, as it cost me 500 euros.&#xD;&#xA;&#xD;&#xA;[![Edirol R-4][5]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.edirol.com/index.php?option=com_content&amp;task=view&amp;id=56&amp;Itemid=390&#xD;&#xA;[2]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;[3]: http://www.rode.com.au/microphone.php?product=NT4&#xD;&#xA;[4]: http://www.neumann.com/?lang=en&amp;id=current_microphones&amp;cid=km180_description&#xD;&#xA;[5]: http://www.edirol.com/images/stories/products/r4/r4_main.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1787" PostHistoryTypeId="2" PostId="975" RevisionGUID="8c35ef7c-828a-4a93-9f77-8690c2afe56b" CreationDate="2010-05-08T14:47:57.917" UserDisplayName="user80" Text="Use your fingers again, but this time cut two finger tips off a pair of old leather gloves and put your first two fingers into them.  You will have instant 'booties' and will still be able to easily match the action.  &#xD;&#xA;&#xD;&#xA;The reason for using just the finger tips is that you will avoid the rubbing sound if you wear a whole glove.  If you cut off a second pair of finger tips you can harden them in the oven to make them sound more squeaky, and you can also apply leather feed to make a set softer.  You can also use the thumb tips to make it sound like the character is walking out of their shoes.&#xD;&#xA;&#xD;&#xA;[![Old leather gloves][1]][2]&#xD;&#xA;&#xD;&#xA;[1]: http://thisoldhouse.typepad.com/.a/6a00d8341cae1553ef0120a7f2e613970b-450wi&#xD;&#xA;[2]: http://hardwareaisle.thisoldhouse.com/2010/01/new-life-for-old-leather-gloves.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1788" PostHistoryTypeId="5" PostId="965" RevisionGUID="769271a7-234a-4740-a724-2d4778365e41" CreationDate="2010-05-08T14:49:53.127" UserDisplayName="user80" Comment="Added tags" Text="Recently I had to create sounds for tiny people, they were about as tall as a pencil.&#xD;&#xA;&#xD;&#xA;I couldn't figure out a good sound for footsteps so I used my fingers on bare wood (because they ran across a bar).&#xD;&#xA;&#xD;&#xA;Anyone know of something that would sound good for tiny footsteps? I may have to do some more design in the future.&#xD;&#xA;&#xD;&#xA;Thanks! - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="1789" PostHistoryTypeId="6" PostId="965" RevisionGUID="769271a7-234a-4740-a724-2d4778365e41" CreationDate="2010-05-08T14:49:53.127" UserDisplayName="user80" Comment="Added tags" Text="&lt;foley&gt;&lt;techniques&gt;&lt;sound-design&gt;&lt;foley-artist&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1790" PostHistoryTypeId="5" PostId="975" RevisionGUID="68cde9bb-139d-4775-8bde-ac939507b4d8" CreationDate="2010-05-08T14:59:28.580" UserDisplayName="user80" Comment="deleted 1 characters in body" Text="Use your fingers again, but this time cut two finger tips off a pair of old leather gloves and put the offcuts on your 'walking' fingers.  You will have instant 'booties' and will be able to easily match the action.  &#xD;&#xA;&#xD;&#xA;The reason for using just the finger tips is that you will avoid the rubbing sound if you wear a whole glove.  If you cut off a second pair of finger tips you can harden them in the oven to make them sound more squeaky, and you can also apply leather feed to make a set softer.  You can also use the thumb tips to make it sound like the character is walking out of their shoes.&#xD;&#xA;&#xD;&#xA;[![Old leather gloves][1]][2]&#xD;&#xA;&#xD;&#xA;[1]: http://thisoldhouse.typepad.com/.a/6a00d8341cae1553ef0120a7f2e613970b-450wi&#xD;&#xA;[2]: http://hardwareaisle.thisoldhouse.com/2010/01/new-life-for-old-leather-gloves.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1791" PostHistoryTypeId="2" PostId="976" RevisionGUID="8eca028e-4c9b-46b9-ae5b-fdffb939f37e" CreationDate="2010-05-08T15:02:52.197" UserId="255" Text="Having given it more thought and research, I think i have decided on a rough plan of action for recording-&#xD;&#xA;&#xD;&#xA;Recorder - Marantz PMD671 recording in 96kHz&#xD;&#xA;&#xD;&#xA;Mics - Neumann RSM 191, DPA 4011TL, Sure SM58 and possible a either a Rode NTG-1 or NTG-2&#xD;&#xA;&#xD;&#xA;As the Marantz only has two channels im planning on separating my engine recordings into 4 main categories: Exhaust Pipe Perspective, Engine Perspective, Grill perspective and Interior Perspective. I rang them up and checked they have a dyno, and luckily they do :D The dyno they have also allows me to get under the car and record from below, so i'm hoping that might provide some nice gear changes and other sounds. &#xD;&#xA;&#xD;&#xA;I'm planning on using combinations of those mics on each category going through various engine revs/starting sounds/idling etc. Possibly recording stereo versions with RSM 191 and then try various mono combinations.&#xD;&#xA;&#xD;&#xA;Then go for everything inside the car that makes a noise, buttons/switches/ac/seat-belts etc.&#xD;&#xA;And then record everything on the outside of the car that makes a noise, doors/windows/windshield wipers. Then also anything i can find around the workshop i can record like tools etc.&#xD;&#xA;&#xD;&#xA;I think i'm going to have to draw myself up a master list of everything i want to record to make sure i don't forget anything. There's definitely alot to record, much more than i originally thought!&#xD;&#xA;&#xD;&#xA;But does this sound like a good approach to getting a vehicle set together?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I also found some more links, i thought id post them here just incase anyone else was after more stuff on recording cars-&#xD;&#xA;&#xD;&#xA; - &#xD;&#xA;[http://jalopnik.com/5478591/inside-forza-motorsport-part-ii-making-the-cars-sound-awesome][1]&#xD;&#xA; - [http://jalopnik.com/5478644/gallery-inside-forza-motorsport-part-ii-making-the-cars-sound-awesome][2]&#xD;&#xA;&#xD;&#xA;They have some good tips, and pictures of their mic setups on the cars.&#xD;&#xA;&#xD;&#xA;Loads of other pictures of car recording setups (not that much detail)-&#xD;&#xA;&#xD;&#xA; - [http://www.youtube.com/watch?v=-WIbztcj8c4][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://jalopnik.com/5478591/inside-forza-motorsport-part-ii-making-the-cars-sound-awesome&#xD;&#xA;  [2]: http://jalopnik.com/5478644/gallery-inside-forza-motorsport-part-ii-making-the-cars-sound-awesome&#xD;&#xA;  [3]: http://www.youtube.com/watch?v=-WIbztcj8c4&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1792" PostHistoryTypeId="2" PostId="977" RevisionGUID="5d30425e-f4e0-4ce9-ae04-5625657f2825" CreationDate="2010-05-08T15:06:39.233" UserId="273" Text="A bunch of teens in a car were continuously driving past and hurling abuse at me one time.&#xD;&#xA;I was in the park trying to record the sounds of owls.&#xD;&#xA;&quot;There are no owls here buddy!&quot; they kept yelling, they said i was crazy&#xD;&#xA;&quot;Get outtttta here!&quot; I would yell back &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I took all the recordings to the police shop with the voices of the youths,&#xD;&#xA;one of the officers told me to calm down.....but that he would look into it&#xD;&#xA;i remarked that it would be more like, he would be &quot;listening into it&quot; hahaha&#xD;&#xA;&#xD;&#xA;So if anyone has any good owl sounds, let me know &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1793" PostHistoryTypeId="6" PostId="408" RevisionGUID="37e1c032-0903-49dc-8a79-96c765896713" CreationDate="2010-05-08T16:28:23.440" UserDisplayName="user80" Comment="edited tags" Text="&lt;recording&gt;&lt;stories&gt;&lt;experiences&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1794" PostHistoryTypeId="2" PostId="978" RevisionGUID="73e26e76-8872-432a-aa5b-30bc4c4f353d" CreationDate="2010-05-08T16:48:51.543" UserDisplayName="user80" Text="Knock the gain down a bit and then apply a downward expander set for the average (RMS) level.  Then repeat with an upward expander again set at the average (RMS) level.  It will not be perfect but at least it will sound more dynamic.  Both these tools can be found in most mastering packages, and are standard techniques for mastering engineers when they have to deal with over-compressed mixes.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1795" PostHistoryTypeId="5" PostId="978" RevisionGUID="49306860-883e-49f6-b8eb-2dfad07f4bd5" CreationDate="2010-05-08T17:01:34.110" UserDisplayName="user80" Comment="added 1 characters in body" Text="Knock the gain down a bit and then apply a downward expander set for the average (RMS) level.  Then repeat with an upward expander again set at the average (RMS) level.  It will not be perfect, but at least it will sound more dynamic.  Both these tools can be found in most mastering packages, and are standard techniques for mastering engineers when they have to deal with over-compressed mixes.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1796" PostHistoryTypeId="5" PostId="911" RevisionGUID="b4d1fbd6-012c-40eb-9541-df984ba92197" CreationDate="2010-05-08T17:24:04.097" UserDisplayName="user80" Comment="Corrected grammar, added weblinks and image; edited title" Text="Is anyone out there familiar with stereo-to-surround (upmixing) software like Waves UM226 or [TC Electronics Unwrap][3] and the Broadcasters' ([Discovery][4] or [National Geographic][5]) acceptance/knowledge therein?&#xD;&#xA;&#xD;&#xA;Thx much&#xD;&#xA;&#xD;&#xA;[![Waves UM226][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.waves.com/Content.aspx?id=8760&#xD;&#xA;[2]: http://www.waves.com/objects/Images/Screenshots/um226_sshot_small.jpg&#xD;&#xA;[3]: http://www.tcelectronic.com/UnwrapTDM.asp&#xD;&#xA;[4]: http://dsc.discovery.com/&#xD;&#xA;[5]: http://natgeotv.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1797" PostHistoryTypeId="6" PostId="911" RevisionGUID="b4d1fbd6-012c-40eb-9541-df984ba92197" CreationDate="2010-05-08T17:24:04.097" UserDisplayName="user80" Comment="Corrected grammar, added weblinks and image; edited title" Text="&lt;stereo-to-surround&gt;&lt;conversion&gt;&lt;upmixing&gt;&lt;surround-sound&gt;&lt;broadcasting&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1798" PostHistoryTypeId="4" PostId="911" RevisionGUID="b4d1fbd6-012c-40eb-9541-df984ba92197" CreationDate="2010-05-08T17:24:04.097" UserDisplayName="user80" Comment="Corrected grammar, added weblinks and image; edited title" Text="Stereo to surround mixing software advice." ContentLicense="CC BY-SA 2.5" />
  <row Id="1799" PostHistoryTypeId="5" PostId="976" RevisionGUID="3a5afa5a-1d40-4390-b1a0-52d5a77900f1" CreationDate="2010-05-08T17:34:52.147" UserDisplayName="user80" Comment="added 5 characters in body" Text="Having given it more thought and research, I think i have decided on a rough plan of action for recording-&#xD;&#xA;&#xD;&#xA;Recorder - Marantz PMD671 recording in 96kHz&#xD;&#xA;&#xD;&#xA;Mics - Neumann RSM 191, DPA 4011TL, Sure SM58 and possible a either a Rode NTG-1 or NTG-2&#xD;&#xA;&#xD;&#xA;As the Marantz only has two channels I'm planning on separating my engine recordings into 4 main categories: Exhaust Pipe Perspective, Engine Perspective, Grill perspective and Interior Perspective. I rang them up and checked they have a dyno, and luckily they do :D The dyno they have also allows me to get under the car and record from below, so i'm hoping that might provide some nice gear changes and other sounds. &#xD;&#xA;&#xD;&#xA;I'm planning on using combinations of those mics on each category going through various engine revs/starting sounds/idling etc. Possibly recording stereo versions with RSM 191 and then try various mono combinations.&#xD;&#xA;&#xD;&#xA;Then go for everything inside the car that makes a noise, buttons/switches/ac/seat-belts etc.&#xD;&#xA;&#xD;&#xA;And then record everything on the outside of the car that makes a noise, doors/windows/windshield wipers. Then also anything i can find around the workshop i can record like tools etc.&#xD;&#xA;&#xD;&#xA;I think I'm going to have to draw myself up a master list of everything I want to record to make sure I don't forget anything. There's definitely alot to record, much more than I originally thought!&#xD;&#xA;&#xD;&#xA;But does this sound like a good approach to getting a vehicle set together?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I also found some more links, I thought I'd post them here just in case anyone else was after more stuff on recording cars-&#xD;&#xA;&#xD;&#xA; - &#xD;&#xA;[http://jalopnik.com/5478591/inside-forza-motorsport-part-ii-making-the-cars-sound-awesome][1]&#xD;&#xA; - [http://jalopnik.com/5478644/gallery-inside-forza-motorsport-part-ii-making-the-cars-sound-awesome][2]&#xD;&#xA;&#xD;&#xA;They have some good tips, and pictures of their mic setups on the cars.&#xD;&#xA;&#xD;&#xA;Loads of other pictures of car recording setups (not that much detail)-&#xD;&#xA;&#xD;&#xA; - [http://www.youtube.com/watch?v=-WIbztcj8c4][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://jalopnik.com/5478591/inside-forza-motorsport-part-ii-making-the-cars-sound-awesome&#xD;&#xA;  [2]: http://jalopnik.com/5478644/gallery-inside-forza-motorsport-part-ii-making-the-cars-sound-awesome&#xD;&#xA;  [3]: http://www.youtube.com/watch?v=-WIbztcj8c4&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1800" PostHistoryTypeId="5" PostId="911" RevisionGUID="f1f52536-f34a-4152-8d94-0fbe85b87d59" CreationDate="2010-05-08T17:50:10.600" UserDisplayName="user80" Comment="added 5 characters in body" Text="Is anyone out there familiar with stereo-to-surround (upmixing) software like [Waves UM226][1] or [TC Electronics Unwrap][3] and the Broadcasters' ([Discovery][4] or [National Geographic][5]) acceptance/knowledge therein?&#xD;&#xA;&#xD;&#xA;Thx much&#xD;&#xA;&#xD;&#xA;[![Waves UM226][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.waves.com/Content.aspx?id=8760&#xD;&#xA;[2]: http://www.waves.com/objects/Images/Screenshots/um226_sshot_small.jpg&#xD;&#xA;[3]: http://www.tcelectronic.com/UnwrapTDM.asp&#xD;&#xA;[4]: http://dsc.discovery.com/&#xD;&#xA;[5]: http://natgeotv.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1801" PostHistoryTypeId="2" PostId="979" RevisionGUID="0a01e178-412d-43a3-857c-9d9a2a8724a2" CreationDate="2010-05-08T19:12:05.233" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;This might be a random question, but I want to ask it anyway:&#xD;&#xA;&#xD;&#xA;I never went to film school or any type of post production school. I've basically taught myself by 1. watching enough movies to know what other sound designers do and what is appropriate sound design and 2. just doing it and making mistakes (sometimes bigger than I'd want them to be) but I learned from them and survived to use it as experience on what NOT to do.&#xD;&#xA;&#xD;&#xA;Now, I'm in my 8th year in the business and I've gotten a steady resident mixer/recordist/sound designer job, and I was wondering if it's possible to work out doing an apprenticeship with one of the studios or teams. Have you heard of something like that happening? I'm always set back by &quot;only students can do internships&quot;. Is this true?&#xD;&#xA;&#xD;&#xA;What are your thoughts? How did you go about learning your craft?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1802" PostHistoryTypeId="1" PostId="979" RevisionGUID="0a01e178-412d-43a3-857c-9d9a2a8724a2" CreationDate="2010-05-08T19:12:05.233" UserId="18160" Text="Apprenticeship for Sound Designers?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1803" PostHistoryTypeId="3" PostId="979" RevisionGUID="0a01e178-412d-43a3-857c-9d9a2a8724a2" CreationDate="2010-05-08T19:12:05.233" UserId="18160" Text="&lt;film&gt;&lt;school&gt;&lt;apprenticeship&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1804" PostHistoryTypeId="2" PostId="980" RevisionGUID="9f4321cc-84bb-4c61-954e-ceed1d2d60e0" CreationDate="2010-05-08T20:10:46.563" UserId="37" Text="check out &lt;a href=&quot;http://www.gearslutz.com/board/post-production-forum/434235-stereo-5-1-a.html&quot;&gt;this thread&lt;/a&gt; and &lt;a href=&quot;http://www.gearslutz.com/board/post-production-forum/479388-upmix-plug-ins.html&quot;&gt;this thread&lt;/a&gt; at Gearslutz, which discuss upmix solutions." ContentLicense="CC BY-SA 2.5" />
  <row Id="1805" PostHistoryTypeId="2" PostId="981" RevisionGUID="d2c6817e-9fd8-4ba2-a88c-ff0dcffee467" CreationDate="2010-05-08T21:29:07.100" UserDisplayName="user49" Text="hey Ryan&#xD;&#xA;each year I take on a virtual intern/s - this year i've had 4 scattered across the globe &amp; their 12 months ends in July, so keep an eye on blog for requests for applications...&#xD;&#xA;More info from last application here:&#xD;&#xA;http://www.musicofsound.co.nz/blog/need-a-mentor&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1806" PostHistoryTypeId="2" PostId="982" RevisionGUID="abcef426-efb6-4efa-baf2-5a6e7c8ca066" CreationDate="2010-05-08T21:34:07.257" UserId="10" Text="Tim's initiative is just amazing!&#xD;&#xA;&#xD;&#xA;Answering you answer it isn't so important... at least for many studios, audio directors, etc. I know stories from some people how doesn't studied in any school o something like that, and just by showing his work, they can obtain a job in the industry. If you have the talent and know how this thing works, you have the job.&#xD;&#xA;&#xD;&#xA;Charles Deenen once said something about it:&#xD;&#xA;&#xD;&#xA;&gt; &quot;The work will speak for yourself. If&#xD;&#xA;&gt; your work rocks, the developer or&#xD;&#xA;&gt; post-house would be crazy not to hire&#xD;&#xA;&gt; you. Tools and processes can be&#xD;&#xA;&gt; taught, but talent is hard to brew.&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1807" PostHistoryTypeId="2" PostId="983" RevisionGUID="72e7fa06-1217-4bd6-b678-5d45bc530b5d" CreationDate="2010-05-08T22:00:20.957" UserId="62" Text="I can only speak for my own experience but I've certainly heard many different ways people have ended up in post-sound.&#xD;&#xA;&#xD;&#xA;I did a BA in music and pop music where I focused on composition and music tech. At the end I didn't know what to do, certainly didn't want a normal job unrelated to music. I heard about an MA in film music but was rejected. However, the professor also ran an MA in Sound Design and thought I'd do well. I got my MA and a wife from the course and moved to Belfast where I did short films for free until I started getting some paid TV work. I ended up doing everything from ADR records and editing to mixing entire TV shows in my spare bedroom. A few years ago I got a full time job as a mixer in a post-production facility.&#xD;&#xA;&#xD;&#xA;I have to say that I went in to the job thinking I knew a lot. Even now I am still learning, which I have come to understand is a good thing.&#xD;&#xA;&#xD;&#xA;There are some things I would never have known not working in a facility with people to tell you how things work. Take PPMs for example. I'd never heard of them until a short film I mixed failed the QC when it was mastered to tape. A quick bit of research and a remix later it passed and the director couldn't tell the difference.&#xD;&#xA;&#xD;&#xA;In hindsight I have to say that learning about sound in uni did wonders for my knowledge and passion. Actually working in the industry for myself then in a company has honed those things and added experience into it. I think I've said before on here (although it might be the DUC) but I find that taking from many sources is the most beneficial method. I've learnt a lot from teachers and collegues but also from listening to films and finding my own way and making mistakes." ContentLicense="CC BY-SA 2.5" />
  <row Id="1810" PostHistoryTypeId="2" PostId="985" RevisionGUID="366ec44a-ab41-4c82-99b9-c4c034a69889" CreationDate="2010-05-09T01:09:01.550" UserId="253" Text="When i really want to get that click out manually, i cut and paste. Each phoneme tends to have a repeating wave cycle, so i zoom in til i see the wave and grab one of the cycles before or after, and paste it over. A small crossfade may be necessary. The pencil tool only lowers the amplitude of the click, it doesn't completely get rid of it.&#xD;&#xA;&#xD;&#xA;It's only really good for glitchy clicks, as clicks recorded in the space will have a reverb tail." ContentLicense="CC BY-SA 2.5" />
  <row Id="1811" PostHistoryTypeId="2" PostId="986" RevisionGUID="4a90e05d-0ed1-4f61-b479-add459c12436" CreationDate="2010-05-09T04:21:55.587" UserId="274" Text="Everyone's responses we so awesome. As a fellow foley artist I am glad to have such rad cohorts!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1812" PostHistoryTypeId="2" PostId="987" RevisionGUID="2d0280a5-e7e4-452a-826c-cf3ae3c027e7" CreationDate="2010-05-09T04:32:24.120" UserId="274" Text="For my first gear purchase I got the Zoom H4n for $299 on Sweetwater. I've used it for field recordings and sfx and it's great. Not only idiot-proof but the 2 XLRs are great. I'm saving up for a proper shotgun mic and boom but it's good to know in a pinch, the Zoom has got my back. " ContentLicense="CC BY-SA 2.5" />
  <row Id="1813" PostHistoryTypeId="2" PostId="988" RevisionGUID="8ca51f99-f32c-42cd-addf-68a71dfb1712" CreationDate="2010-05-09T04:56:05.397" UserId="274" Text="I am a burgeoning sound designer and am busting with creativity and a drive to work. I have done work on countless school projects and friend's films and am 100% certain I've found my lifelong passion and craft. However, finding job opportunities for sound designers with minimal professional experience is slim to none. &#xD;&#xA;&#xD;&#xA;Long story short, what do you recommend for a starting sound designer dying to get her feet wet? Do many post production houses offer mentor/apprenticeships? I am willing to work for free, as the more I do, the better I get. However, as with everyone else, at the end of the day, I do have rent to pay. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1814" PostHistoryTypeId="1" PostId="988" RevisionGUID="8ca51f99-f32c-42cd-addf-68a71dfb1712" CreationDate="2010-05-09T04:56:05.397" UserId="274" Text="Working/Apprenticing in post houses" ContentLicense="CC BY-SA 2.5" />
  <row Id="1815" PostHistoryTypeId="3" PostId="988" RevisionGUID="8ca51f99-f32c-42cd-addf-68a71dfb1712" CreationDate="2010-05-09T04:56:05.397" UserId="274" Text="&lt;new&gt;&lt;sound&gt;&lt;designers&gt;&lt;internships&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1816" PostHistoryTypeId="6" PostId="988" RevisionGUID="adc375b1-3746-4396-92e7-01b75fa3ae97" CreationDate="2010-05-09T05:10:04.573" UserId="61" Comment="edited tags" Text="&lt;new&gt;&lt;sound&gt;&lt;designers&gt;&lt;internships&gt;&lt;app&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1817" PostHistoryTypeId="6" PostId="988" RevisionGUID="57c4808d-5f74-416d-81b3-b131547871e4" CreationDate="2010-05-09T05:10:15.753" UserId="61" Comment="edited tags" Text="&lt;new&gt;&lt;sound&gt;&lt;designers&gt;&lt;internships&gt;&lt;apprenticeship&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1818" PostHistoryTypeId="2" PostId="989" RevisionGUID="73166d6a-dcd7-4e1e-8347-8acb9ae9daca" CreationDate="2010-05-09T05:24:07.313" UserId="61" Text="This is the $64,000 question, isn't it! Speaking from my own experience, I've found that post houses will grant you an internship if you have the drive to stick it out. Many people desire to be there and say they'll do whatever it takes, but when it comes right down to it only a few will see the value and persevere.&#xD;&#xA;&#xD;&#xA;Internships are not neat and tidy. Often times they are unpaid. Most of the time interns are making coffee, cleaning the place, answering the phones and running lunches. And if they do those things very well, *then* they get the privilege of sitting in on sessions and learning the trade. Personally, I think this is an excellent method; not only do you weed out the folks who don't really want it, but you also create a character-building experience for the people who do.&#xD;&#xA;&#xD;&#xA;Apprenticeships at larger facilities (like movie studios) are a different subject, since you're involving parties like unions and guilds, but the payoff is potentially huge. Landing a seat next to an A-list feature film sound designer - priceless!&#xD;&#xA;&#xD;&#xA;The most important thing to remember is this: Be realistic. Success will NOT happen overnight. Find the most creative people at a facility and court them. Befriend them. Pursue your passion with after-hours and weekend projects, but earn your paycheck by answering phones. *Be committed - and don't give up!*&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1819" PostHistoryTypeId="6" PostId="988" RevisionGUID="927b1a25-9dfd-4241-a962-344130bb9c5a" CreationDate="2010-05-09T05:24:42.633" UserId="61" Comment="edited tags" Text="&lt;newbie&gt;&lt;sound-design&gt;&lt;internships&gt;&lt;apprenticeship&gt;&lt;beginner&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1820" PostHistoryTypeId="5" PostId="989" RevisionGUID="0046d741-e01a-4194-8b25-d6cb4fea1ef8" CreationDate="2010-05-09T05:30:58.963" UserId="61" Comment="added 778 characters in body" Text="This is the $64,000 question, isn't it! Speaking from my own experience, I've found that post houses will grant you an internship if you have the drive to stick it out. Many people desire to be there and say they'll do whatever it takes, but when it comes right down to it only a few will see the value and persevere.&#xD;&#xA;&#xD;&#xA;**Internships are not neat and tidy.** Often times they are unpaid. Most of the time interns are making coffee, cleaning the place, answering the phones and running lunches. And if they do those things very well, *then* they get the privilege of sitting in on sessions and learning the trade. Personally, I think this is an excellent method; not only do you weed out the folks who don't really want it, but you also create a character-building experience for the people who do.&#xD;&#xA;&#xD;&#xA;Apprenticeships at larger facilities (like movie studios) are a different subject, since you're involving parties like unions and guilds, but the payoff is potentially huge. Landing a seat next to an A-list feature film sound designer - priceless!&#xD;&#xA;&#xD;&#xA;How do you secure these positions? **Ask the folks around you for introductions**. Draft a resumé and personally deliver it to all the facilities you are interested in. Buy lunches for mangers and studio owners. Buy lunches for the creative types that work there. Bring some homemade cookies - whatever gets the point across that you really want this.&#xD;&#xA;&#xD;&#xA;Another thing to note is that it's not all about the tech savvy skills; **personality is king.** If you can't get along with people or have an ego, then you may as well throw in the towel right now because no one wants to be around somebody like that, especially when they're first getting started in the biz. (If I had a nickel for every 4-year grad with a degree in music tech who moaned about making coffee…)&#xD;&#xA;&#xD;&#xA;The most important thing to remember is this: **Be realistic**. Success will NOT happen overnight. Find the most creative people at a facility and court them. Befriend them. Pursue your passion with after-hours and weekend projects, but earn your paycheck by answering phones. *Be committed - and don't give up!*&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1821" PostHistoryTypeId="5" PostId="875" RevisionGUID="16bca220-9bb8-49e9-94d4-0fa5daf578f7" CreationDate="2010-05-09T06:10:23.577" UserId="100" Comment="Improved Formatting" Text="For those of you who have made sound design your career, is there anything you would have done differently along the way? Are there certain choices you're especially glad you made? Would you rather have gone freelance/studio, film/games, east coast/west coast, local/international, analog/digital, etc.? What mistakes should a newcomer avoid (*or not avoid*)? More than anything, I'm interested in hindsight." ContentLicense="CC BY-SA 2.5" />
  <row Id="1822" PostHistoryTypeId="2" PostId="990" RevisionGUID="d3b34748-f252-446d-9add-2f9ac7e864b8" CreationDate="2010-05-09T06:20:01.473" UserDisplayName="user49" Text="Have you tried analysing it to find out for yourself? &#xD;&#xA;&#xD;&#xA;Sample the roar/s off the DVD and pitch up half an octave or an octave &#xD;&#xA;&amp; see what it reminds you of.... try playing it backwards etc...&#xD;&#xA;&#xD;&#xA;if someone tells you the answer you learn very little.... &#xD;&#xA;if you discover it for yourself you learn a LOT!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1823" PostHistoryTypeId="2" PostId="991" RevisionGUID="f4433be9-339c-4005-ae39-c3f5ee1bcc1c" CreationDate="2010-05-09T06:25:02.547" UserId="275" Text="I'm working on another feature film this summer and I need to record a lot of sound to be used in post.  On set we'll have very unique planes, tanks, armored personnel carriers, weapons, etc that we won't have easy access to in post.  So, I want to get a stereo mic setup that can be put in a Rycote blimp.  I'm thinking a Sennheiser cardioid like the MKH8040 but I don't know which Fig-8 mic to get with it.  Any suggestions?  Anything else better out there? My budget is probably around $2K-$2.5K." ContentLicense="CC BY-SA 2.5" />
  <row Id="1824" PostHistoryTypeId="1" PostId="991" RevisionGUID="f4433be9-339c-4005-ae39-c3f5ee1bcc1c" CreationDate="2010-05-09T06:25:02.547" UserId="275" Text="M/S mic options" ContentLicense="CC BY-SA 2.5" />
  <row Id="1825" PostHistoryTypeId="3" PostId="991" RevisionGUID="f4433be9-339c-4005-ae39-c3f5ee1bcc1c" CreationDate="2010-05-09T06:25:02.547" UserId="275" Text="&lt;stereo&gt;&lt;microphone&gt;&lt;setup&gt;&lt;ms&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1826" PostHistoryTypeId="2" PostId="992" RevisionGUID="8dae5b3e-ac01-42b8-9595-c8e2ba20d76f" CreationDate="2010-05-09T06:29:13.343" UserId="275" Text="I can post a picture tomorrow but my basic kit includes a SD 442, SD 744t, Sanken CS-3E, Rycote blimp and windjammer, Sennheiser 2000 wireless units with Sanken COS-11's, a small A-T condenser mic that I forget which model number, and a ton of accessories to put the mics nearly anywhere anytime.  I'll be adding a stereo mic setup very soon and also a Midas Venice 160 as a cart mixer.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="1827" PostHistoryTypeId="2" PostId="993" RevisionGUID="2332ed4d-7362-4855-be7b-d0a335b55b31" CreationDate="2010-05-09T06:46:17.680" UserId="61" Text="A couple of options:&#xD;&#xA;&#xD;&#xA;1. $2500 will buy you a pretty decent combination of quality used gear (mic) and new inexpensive gear (recorder). Scour the net for good deals.&#xD;&#xA;&#xD;&#xA;2. $2500 will also get you a few days with a professional field recordist who already owns all of the gear you want and need (and then some), not to mention all of the experience and talent to use that gear wisely. Names like John Fasal and Charles Maynes come to mind.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1828" PostHistoryTypeId="2" PostId="994" RevisionGUID="7e945a4d-7da5-4885-b4fc-e96cc2af8dfd" CreationDate="2010-05-09T07:19:45.913" UserId="100" Text="Aside from what sounds went into creating the T-Rex roar (which is one of my favorite movie sounds ever - Gary Rydstrom FTW!) is how it was mixed. Whether intentional or not, and I'm guessing it was, the roaring is distorted, almost as though the dino would have overloaded the mic on the set or the mixer wouldn't have been able to adjust for it. The only thing I would have done differently to emphasize this overloading effect would be to side-chain the roar to a heavy compression on the other tracks. I've always wanted to try that on monsters, bullets, explosions, etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="1829" PostHistoryTypeId="2" PostId="995" RevisionGUID="782846ec-69d1-463a-9a01-7e6cb8ffa1a8" CreationDate="2010-05-09T07:35:53.027" UserId="221" Text="Take a look at the [Audio Technica BP4029 Stereo Shotgun Mic][1] or [pdf spec sheet here][2]. You get both mics in one body like the 418 but I am not aware that the BP4029 has the same problems as the 418. Also the 4029 has the added advantage of not needing a larger Rycote that you would need for 2 seperate mics. I have its predecessor and love it, however I am based in the UK but here is a US link for it at [BH Audio Video][3]. &#xD;&#xA;&#xD;&#xA;Hope it helps,&#xD;&#xA;&#xD;&#xA;Mike.&#xD;&#xA;&#xD;&#xA;[![Audio Technica BP4029][4]][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audio-technica.com/cms/wired_mics/9087c643d6d7530f/index.html/&#xD;&#xA;  [2]: http://eu.audio-technica.com/en/resources/ddfb3230cdd56993_bp4029_ss_e.pdf&#xD;&#xA;  [3]: http://www.bhphotovideo.com/c/product/215893-REG/Audio_Technica_BP4029_BP4029_AT835ST_Stereo.html&#xD;&#xA;  [4]: http://www.audio-technica.com/cms/resource_library/product_images/4f7186fa2dd7e016/large/bp4029.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1830" PostHistoryTypeId="5" PostId="987" RevisionGUID="8ea802a6-ea36-4fe2-8b78-0bbb763e8844" CreationDate="2010-05-09T08:02:02.757" UserDisplayName="user80" Comment="added 158 characters in body" Text="For my first gear purchase I got the [Zoom H4n][1] for $299 on [Sweetwater][2]. I've used it for field recordings and sfx and it's great. Not only idiot-proof but the 2 XLRs are great. I'm saving up for a proper shotgun mic and boom but it's good to know in a pinch, the Zoom has got my back. &#xD;&#xA;&#xD;&#xA;[youtube]KrHCE8kWV2w&amp;rel[/youtube]&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;[2]: http://www.sweetwater.com/store/detail/H4N/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1831" PostHistoryTypeId="5" PostId="991" RevisionGUID="0b8cfa1e-ab59-4f3e-abfa-1de62ec90041" CreationDate="2010-05-09T08:10:23.007" UserDisplayName="user80" Comment="Added tag, weblinks and image" Text="I'm working on another feature film this summer and I need to record a lot of sound to be used in post.  On set we'll have unique planes, tanks, armored personnel carriers, weapons etc. that we won't have easy access to in post.  So, I want to get a stereo mic setup that can be put in a [Rycote blimp][1].  I'm thinking of a [Sennheiser][2] cardioid like the [MKH 8040][3] but I don't know which Fig-8 mic to get with it.  Any suggestions?  Anything else better out there? My budget is probably around $2K-$2.5K.&#xD;&#xA;&#xD;&#xA;[![Sennheiser MKH 8040][4]][3]&#xD;&#xA;&#xD;&#xA;[1]: http://79.170.44.127/rycote.com/products/full_windshield_kit/&#xD;&#xA;[2]: http://www.sennheiser.com/sennheiser/home_en.nsf&#xD;&#xA;[3]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_studio-recording-mics_mkh-8000-8040&#xD;&#xA;[4]: http://www.sennheiser.com/sennheiser/products.nsf/resources/4B8FFC9E656746B5C125743200803106/$File/MKH8040_ProductImage.jpg&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1832" PostHistoryTypeId="6" PostId="991" RevisionGUID="0b8cfa1e-ab59-4f3e-abfa-1de62ec90041" CreationDate="2010-05-09T08:10:23.007" UserDisplayName="user80" Comment="Added tag, weblinks and image" Text="&lt;stereo&gt;&lt;microphone&gt;&lt;setup&gt;&lt;ms&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1833" PostHistoryTypeId="2" PostId="996" RevisionGUID="bf142545-460a-466f-b039-1435b35475bb" CreationDate="2010-05-09T08:29:19.037" UserId="2" Text="I have the [Sennheiser MKH 418s][1], and I can only talk from my own experience with this mic. Are you doing the location recording too? Or are you only going to be there to gather sfx? &#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;**general**&#xD;&#xA;&#xD;&#xA;I'm in two minds about it. I love the sound of it and that it records dialogue as well as it does ambiences or some SFX. It's great that it can handle heat, humidity, cold and all that, but I find it very **very** noisy. Any recording that isn't too quiet is fine, but if I have to crank up the gain then the noise is just too much. It's to the point where I'm even wondering if it's damaged. &#xD;&#xA;&#xD;&#xA;Are the weapons and planes and all that going to be shot and flown? If so this mic doesn't like high SPL, so you'll definitively need to purchase two [inline pads][3]. &#xD;&#xA;&#xD;&#xA;**mid**&#xD;&#xA;&#xD;&#xA;From what I hear, the mid is basically an [MKH 416][4], so if you are there recording dialogue as well, then it can double up in it's use. When I decode the MS and only keep the mid, I find it quite quiet. Although as I write this, I'm remembering recording in the studio with the [NT2A][5] in one channel and the MKH418s' mid in the other channel and that made me **really** notice how much noisier it is. &#xD;&#xA;&#xD;&#xA;**side**&#xD;&#xA;&#xD;&#xA;This is where the problem seems to mainly be... If I only listen to the side (fig-8) then all the noise seems to be located there. This means that you probably can put some noise reduction on the sides whilst keeping the mid intact, and your quiet recordings should be clean enough. &#xD;&#xA;&#xD;&#xA;**suggestion**&#xD;&#xA;&#xD;&#xA;If I had the cash, what I'd do is get the [Schoeps MS stereo set][6]...&#xD;&#xA;&#xD;&#xA;![alt text][7]&#xD;&#xA;&#xD;&#xA;...and later on I'd upgrade to the Double MS. I'm not sure if it's just a matter of purchasing the second half or not. &#xD;&#xA;&#xD;&#xA;![alt text][8]&#xD;&#xA;&#xD;&#xA;Has anyone got the same experience with the MKH 418s? I really would like to know if it's just my mic or if it's normal. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sennheiserusa.com/professional_wired-microphones_broadcast-eng-film_005284&#xD;&#xA;  [2]: http://www.sennheiserusa.com/media/productImages/proMain/MKH418S_ProductPro.jpg&#xD;&#xA;  [3]: http://socialsounddesign.com/questions/608/in-line-pad-recommendation&#xD;&#xA;  [4]: http://www.sweetwater.com/store/detail/MKH416/&#xD;&#xA;  [5]: http://www.rode.com.au/microphone.php?product=NT2-A&#xD;&#xA;  [6]: http://www.schoeps.de/en/products/ms_stereo_set&#xD;&#xA;  [7]: http://www.schoeps.de/IMG/products/product_pics/ms-stereo-set.gif&#xD;&#xA;  [8]: http://www.schoeps.de/IMG/product_categories/doppel-ms-kl.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="1834" PostHistoryTypeId="2" PostId="997" RevisionGUID="fb91a692-2b5f-4f77-ba85-8285fb39738c" CreationDate="2010-05-09T08:32:44.403" UserId="18" Text="Sadly, Sennheiser doesn't make a Fig 8 in the MKH8000 series.  A Sennheiser MKH40/30 combo would work well, and should fall into the under $2500 budget.  If you look around at the used market, you may be able to find a Schoeps MS rig, a Neumann RSM191 Stereo Shotgun, or a Neumann KM120/KM140 MS rig for under $2500. Any of these would be a great MS SFX setup." ContentLicense="CC BY-SA 2.5" />
  <row Id="1835" PostHistoryTypeId="2" PostId="998" RevisionGUID="d6899eb9-0330-48bf-a67f-bfa35a02aefd" CreationDate="2010-05-09T08:37:37.847" UserId="18" Text="Check out these Rob Nokes videos:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/user/sounddogs#p/u/14/hgCp2uU029o&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/user/sounddogs#p/u/12/0gDLDLtxXJA" ContentLicense="CC BY-SA 2.5" />
  <row Id="1836" PostHistoryTypeId="2" PostId="999" RevisionGUID="01c284df-8f0c-49e0-85cd-e2ee866220eb" CreationDate="2010-05-09T09:05:02.997" UserId="62" Text="The company I work for takes on 2 or 3 people every year over the summer. My boss (head of sound) usually recruits from a nearby University. That said if you fancy a summer in the west coast of Ireland I don't see why he would opposed to other people.&#xD;&#xA;&#xD;&#xA;If you want to email me your CV I will gladly pass it on to him.&#xD;&#xA;&#xD;&#xA;+1 to Jay's comments.&#xD;&#xA;&#xD;&#xA;IIan" ContentLicense="CC BY-SA 2.5" />
  <row Id="1837" PostHistoryTypeId="5" PostId="998" RevisionGUID="460fcaee-833f-415d-8fea-1e2fb9a05e8f" CreationDate="2010-05-09T09:25:11.897" UserId="2" Comment="added emebeded youtube video" Text="Check out these Rob Nokes videos:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/user/sounddogs#p/u/14/hgCp2uU029o&#xD;&#xA;&#xD;&#xA;[youtube]hgCp2uU029o[/youtube]&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/user/sounddogs#p/u/12/0gDLDLtxXJA&#xD;&#xA;&#xD;&#xA;[youtube]0gDLDLtxXJA[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="1838" PostHistoryTypeId="5" PostId="963" RevisionGUID="017e64f9-dccf-48a6-95c6-28072bfe33c0" CreationDate="2010-05-09T09:44:07.817" UserDisplayName="user80" Comment="Added tag, weblinks and images" Text="I was just wondering if anyone had any tips on recording car engines/cars in general? &#xD;&#xA;&#xD;&#xA;I'm thinking of hiring a [Marantz PMD671][1] to record with, and as for mics, I was going to hire a few different ones to test, mainly a [Neumann RSM 191][2].&#xD;&#xA;&#xD;&#xA;[![Neumann RSM 191][3]][2]&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;But I'm not really sure what would be the best choice for cars, especially particularly loud cars such as Lamborghinis. I'm thinking possibly a dynamic mic of some sort as well, but also a [DPA 4011-TL][4] condenser. Would these be sensible choices?&#xD;&#xA;&#xD;&#xA;[![DPA 4011-TL][5]][4]&#xD;&#xA;&#xD;&#xA;Also does anyone have any tips or tricks on mic positioning for cars? I was thinking it might be best to have them up on ramps to minimize any reflections from the tiled workshop floor?&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;[1]: http://www.dm-pro.eu/en/marantz/products/18/pmd671-professional-24-bit96khz-digital-audio-recorder/&#xD;&#xA;[2]: http://www.neumann.com/?lang=en&amp;id=current_microphones&amp;cid=rsm191_description&#xD;&#xA;[3]: http://www.neumann.com/img/photosGraphics/Zooms/RSM191AS_Z.jpg&#xD;&#xA;[4]: http://www.dpamicrophones.com/en/products.aspx?c=item&amp;category=187&amp;item=24013&#xD;&#xA;[5]: http://www.dpamicrophones.com/en/news/archive/press%20releases/~/media/Images/Content/Press/Press%20Releases/METAlliance_DPA4011.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1839" PostHistoryTypeId="6" PostId="963" RevisionGUID="017e64f9-dccf-48a6-95c6-28072bfe33c0" CreationDate="2010-05-09T09:44:07.817" UserDisplayName="user80" Comment="Added tag, weblinks and images" Text="&lt;cars&gt;&lt;sound-effects&gt;&lt;sound-libraries&gt;&lt;engines&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1840" PostHistoryTypeId="5" PostId="997" RevisionGUID="983b3962-471d-4325-8a81-2efca7aab0d4" CreationDate="2010-05-09T11:23:07.030" UserDisplayName="user80" Comment="Added tag, weblinks and image" Text="Sadly, Sennheiser doesn't make a Fig 8 in the [MKH8000][1] series.  A Sennheiser [MKH40][2]/[30][3] combo would work well, and should fall into the under $2500 budget.  If you look around at the used market, you may be able to find a [Schoeps M/S set][4], a [Neumann RSM191][6] Stereo Shotgun, or a [Neumann KM120/KM140 MS rig][7] for under $2500. Any of these would be a great MS SFX setup.&#xD;&#xA;&#xD;&#xA;[![Schoeps M/S set][5]][4]&#xD;&#xA;&#xD;&#xA;[1]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_studio-recording-mics_mkh-8000&#xD;&#xA;[2]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_studio-recording-mics_mkh-classics_002645&#xD;&#xA;[3]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_studio-recording-mics_mkh-classics_002872&#xD;&#xA;[4]: http://www.schoeps.de/en/products/cmit-ms-set&#xD;&#xA;[5]: http://www.schoeps.de/IMG/products/product_pics/cmit-ms-set.gif&#xD;&#xA;[6]: http://www.neumann.com/?lang=en&amp;id=current_microphones&amp;cid=rsm191_description&#xD;&#xA;[7]: http://www.neumann.com/?lang=en&amp;id=current_microphones&amp;cid=km100_description#" ContentLicense="CC BY-SA 2.5" />
  <row Id="1841" PostHistoryTypeId="5" PostId="940" RevisionGUID="de5451f7-54ed-4e9a-a1cc-ad5ca4035cf0" CreationDate="2010-05-09T12:48:48.490" UserDisplayName="user80" Comment="deleted 2 characters in body" Text="http://www.mpse.org/education/bigmovierydstrom.html&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=qwWvO4UgJiU&#xD;&#xA;[youtube]qwWvO4UgJiU[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="1842" PostHistoryTypeId="6" PostId="934" RevisionGUID="ec64f907-c127-4e05-a134-1194172d8fc0" CreationDate="2010-05-09T12:50:42.627" UserDisplayName="user80" Comment="edited tags" Text="&lt;jurassic-park&gt;&lt;techniques&gt;&lt;sound-design&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1843" PostHistoryTypeId="2" PostId="1000" RevisionGUID="b6e5efa2-060d-4329-9aec-4504c9a076d3" CreationDate="2010-05-09T14:34:15.977" UserId="208" Text="Dont know if this one is as good as the ones mentioned, but I use it togeher with a 416. Great results so far.&#xD;&#xA;http://www.ambient.de/produkte/mikrofone/emesser/emesser_e.html&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ambient.de/produkte/mikrofone/emesser/ate_aktuell.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="1844" PostHistoryTypeId="5" PostId="996" RevisionGUID="f5e6d71f-6a59-4d45-925b-49e80f663e33" CreationDate="2010-05-09T14:34:27.850" UserId="2" Comment="deleted 35 characters in body" Text="I have the [Sennheiser MKH 418s][1], and I can only talk from my own experience with this mic. Are you doing the location recording too? Or are you only going to be there to gather sfx? &#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;**general**&#xD;&#xA;&#xD;&#xA;I'm in two minds about it. I love the sound of it and that it records dialogue as well as it does ambiences or some SFX. It's great that it can handle heat, humidity, cold and all that, but I find it very **very** noisy. Any recording that isn't too quiet is fine, but if I have to crank up the gain then the noise is just too much. It's to the point where I'm even wondering if it's damaged. &#xD;&#xA;&#xD;&#xA;Are the weapons and planes and all that going to be shot and flown? If so you'll definitively need to purchase two [inline pads][3]. &#xD;&#xA;&#xD;&#xA;**mid**&#xD;&#xA;&#xD;&#xA;From what I hear, the mid is basically an [MKH 416][4], so if you are there recording dialogue as well, then it can double up in it's use. When I decode the MS and only keep the mid, I find it quite quiet. Although as I write this, I'm remembering recording in the studio with the [NT2A][5] in one channel and the MKH418s' mid in the other channel and that made me **really** notice how much noisier it is. &#xD;&#xA;&#xD;&#xA;**side**&#xD;&#xA;&#xD;&#xA;This is where the problem seems to mainly be... If I only listen to the side (fig-8) then all the noise seems to be located there. This means that you probably can put some noise reduction on the sides whilst keeping the mid intact, and your quiet recordings should be clean enough. &#xD;&#xA;&#xD;&#xA;**suggestion**&#xD;&#xA;&#xD;&#xA;If I had the cash, what I'd do is get the [Schoeps MS stereo set][6]...&#xD;&#xA;&#xD;&#xA;![alt text][7]&#xD;&#xA;&#xD;&#xA;...and later on I'd upgrade to the Double MS. I'm not sure if it's just a matter of purchasing the second half or not. &#xD;&#xA;&#xD;&#xA;![alt text][8]&#xD;&#xA;&#xD;&#xA;Has anyone got the same experience with the MKH 418s? I really would like to know if it's just my mic or if it's normal. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sennheiserusa.com/professional_wired-microphones_broadcast-eng-film_005284&#xD;&#xA;  [2]: http://www.sennheiserusa.com/media/productImages/proMain/MKH418S_ProductPro.jpg&#xD;&#xA;  [3]: http://socialsounddesign.com/questions/608/in-line-pad-recommendation&#xD;&#xA;  [4]: http://www.sweetwater.com/store/detail/MKH416/&#xD;&#xA;  [5]: http://www.rode.com.au/microphone.php?product=NT2-A&#xD;&#xA;  [6]: http://www.schoeps.de/en/products/ms_stereo_set&#xD;&#xA;  [7]: http://www.schoeps.de/IMG/products/product_pics/ms-stereo-set.gif&#xD;&#xA;  [8]: http://www.schoeps.de/IMG/product_categories/doppel-ms-kl.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="1845" PostHistoryTypeId="2" PostId="1001" RevisionGUID="90ba9c68-8be0-41d6-a83e-572f87e2acc5" CreationDate="2010-05-09T14:56:33.237" UserId="222" Text="They rarely do!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1846" PostHistoryTypeId="2" PostId="1002" RevisionGUID="fa05026e-7dde-48bd-a4d1-a285b04b4822" CreationDate="2010-05-09T14:57:53.140" UserId="222" Text="My studio is straight Pro-Tools, the beeps and streamers are generated using a Midi track." ContentLicense="CC BY-SA 2.5" />
  <row Id="1847" PostHistoryTypeId="5" PostId="900" RevisionGUID="3d1f2363-00ef-4ecc-bc92-5d42fea3dfbe" CreationDate="2010-05-09T15:12:05.637" UserId="182" Comment="added 249 characters in body" Text="One sound that bursts my bubble is a specific SHIOUFFF sound that is often used for the ignition of fuel fires, molotov cocktails, fireballs or fire rushing towards something. It's also mixed in with car crashes a lot. Don't know where it comes from, but I used to have it in some library as well.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;A tribute to the Wilhelm Scream, a sound that apparently Burtts bubbles even outside the sound design world:&#xD;&#xA;&#xD;&#xA;[That Calls for a Wilhelm Scream rap][1]&#xD;&#xA;&#xD;&#xA;  [1]: http://www.collegehumor.com/moogaloop/moogaloop.swf?clip_id=1933551&amp;fullscreen=1" ContentLicense="CC BY-SA 2.5" />
  <row Id="1848" PostHistoryTypeId="5" PostId="706" RevisionGUID="537088ad-35dd-41b9-a4a1-71a2e42a5080" CreationDate="2010-05-09T15:48:04.583" UserDisplayName="user80" Comment="Added weblinks and image" Text="That accursed [truck doppler horn][1] used for every big rig truck in every movie. Period. (You know the one from the Premiere Edition CD library.)&#xD;&#xA;&#xD;&#xA;[![Premiere Edition Library][2]][1]&#xD;&#xA;&#xD;&#xA;[1]:http://www.hollywoodedge.com/Truck-Doppler-Horn-P119332C9523.aspx&#xD;&#xA;[2]: https://www.hollywoodedge.com/downloadsfx/art/PE.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1849" PostHistoryTypeId="5" PostId="706" RevisionGUID="8cc3290b-77d6-44fc-8145-7f2e70ff0549" CreationDate="2010-05-09T15:53:28.373" UserDisplayName="user80" Comment="added 64 characters in body" Text="That accursed [semi doppler horn][1] used for every big rig truck in every movie. Period. (You know the one from the [Premiere Edition CD library][3].)&#xD;&#xA;&#xD;&#xA;[![Premiere Edition Library][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.hollywoodedge.com/Doppler-Horn-By-Left-To-Right-Semi-P103018.aspx&#xD;&#xA;[2]: https://www.hollywoodedge.com/downloadsfx/art/PE.jpg&#xD;&#xA;[3]: http://www.hollywoodedge.com/Default.aspx" ContentLicense="CC BY-SA 2.5" />
  <row Id="1850" PostHistoryTypeId="5" PostId="909" RevisionGUID="5b306e05-08f2-425c-bc47-375082342ac1" CreationDate="2010-05-09T16:34:24.030" UserDisplayName="user80" Comment="Added image" Text="[Figure 53][1] may work for your needs, although I have no experience with it.&#xD;&#xA;&#xD;&#xA;[![Figure 53][4]][1]&#xD;&#xA;&#xD;&#xA;The major ADR stages usually use a proprietary system designed exclusively for them.&#xD;&#xA;&#xD;&#xA;Here's a little blurb about how [Doc Kane][2] at Disney runs his stage. And yet another article about how the excellent tech crew at Warner Bros developed a [mobile ADR studio][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://figure53.com/streamers/&#xD;&#xA;  [2]: http://studioservices.go.com/postproduction/adr_stage_b.html&#xD;&#xA;  [3]: https://www.editorsguild.com/Magazine.cfm?ArticleID=813&#xD;&#xA;  [4]: http://figure53.com/streamers/images/screenshot.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1851" PostHistoryTypeId="5" PostId="908" RevisionGUID="e20f1cb4-22e3-4a9e-a14a-236f32bae605" CreationDate="2010-05-09T16:35:13.440" UserDisplayName="user80" Comment="added 1 characters in body" Text="I am new to ADR recording. I have a question specifically for beeps/streamers software:&#xD;&#xA;&#xD;&#xA;I have seen on DVD extras that show the ADR recordings and I have noticed that their software is able to give beeps and streamers at each paragraph or new &quot;cue&quot; while it rolls on recording.&#xD;&#xA;&#xD;&#xA;The software I have and use is ADR Studio Pro by Gallery. This software does not have the option of continuing to record and give streamers as it records.&#xD;&#xA;&#xD;&#xA;Does anyone know of software that is able to send streamers as it records without having to stop to give the next cue?&#xD;&#xA;&#xD;&#xA;The last actor I recorded asked for this and I looked unprofessional saying &quot;Sorry, I can't do that with the software I have&quot;.&#xD;&#xA;&#xD;&#xA;So what do they use on the big studio ADR stages?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1852" PostHistoryTypeId="2" PostId="1003" RevisionGUID="db064302-26ce-4b47-b079-20806dcb56c6" CreationDate="2010-05-09T17:38:48.093" UserDisplayName="user80" Text="Never push any point with a director.  Just do your job really well, within the time and budget constraints.  Never complain, no matter how bad it gets.  What you will find is that somebody, other than the Director, notices how professional you are and recommends you to someone else." ContentLicense="CC BY-SA 2.5" />
  <row Id="1853" PostHistoryTypeId="5" PostId="1000" RevisionGUID="d843bf48-ba74-403f-b397-d280179353cc" CreationDate="2010-05-09T17:44:22.243" UserDisplayName="user80" Comment="Added weblinks" Text="Dont know if the [Ambient Recordings Emesser][1] is as good as the ones mentioned, but I use it together with a [Sennheiser MKH 416][2]. It has produced great results so far.&#xD;&#xA;&#xD;&#xA;[![Ambient Recording Emesser][3]][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ambient.de/produkte/mikrofone/emesser/emesser_e.html&#xD;&#xA;  [2]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_broadcast-eng-film_001511&#xD;&#xA;  [3]: http://www.ambient.de/produkte/mikrofone/emesser/ate_aktuell.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="1854" PostHistoryTypeId="5" PostId="996" RevisionGUID="645c44ee-9371-4b54-9f2c-528dfbc556b6" CreationDate="2010-05-09T17:45:59.917" UserDisplayName="user80" Comment="added 1 characters in body" Text="I have the [Sennheiser MKH 418s][1], and I can only talk from my own experience with this mic. Are you doing the location recording too? Or are you only going to be there to gather sfx? &#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;**general**&#xD;&#xA;&#xD;&#xA;I'm in two minds about it. I love the sound of it and that it records dialogue as well as it does ambiences or some SFX. It's great that it can handle heat, humidity, cold and all that, but I find it very **very** noisy. Any recording that isn't too quiet is fine, but if I have to crank up the gain then the noise is just too much. It's to the point where I'm even wondering if it's damaged. &#xD;&#xA;&#xD;&#xA;Are the weapons and planes and all that going to be shot and flown? If so you'll definitively need to purchase two [in-line pads][3]. &#xD;&#xA;&#xD;&#xA;**mid**&#xD;&#xA;&#xD;&#xA;From what I hear, the mid is basically an [MKH 416][4], so if you are there recording dialogue as well, then it can double up in it's use. When I decode the MS and only keep the mid, I find it quite quiet. Although as I write this, I'm remembering recording in the studio with the [NT2A][5] in one channel and the MKH418s' mid in the other channel and that made me **really** notice how much noisier it is. &#xD;&#xA;&#xD;&#xA;**side**&#xD;&#xA;&#xD;&#xA;This is where the problem seems to mainly be... If I only listen to the side (fig-8) then all the noise seems to be located there. This means that you probably can put some noise reduction on the sides whilst keeping the mid intact, and your quiet recordings should be clean enough. &#xD;&#xA;&#xD;&#xA;**suggestion**&#xD;&#xA;&#xD;&#xA;If I had the cash, what I'd do is get the [Schoeps MS stereo set][6]...&#xD;&#xA;&#xD;&#xA;![alt text][7]&#xD;&#xA;&#xD;&#xA;...and later on I'd upgrade to the Double MS. I'm not sure if it's just a matter of purchasing the second half or not. &#xD;&#xA;&#xD;&#xA;![alt text][8]&#xD;&#xA;&#xD;&#xA;Has anyone got the same experience with the MKH 418s? I really would like to know if it's just my mic or if it's normal. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sennheiserusa.com/professional_wired-microphones_broadcast-eng-film_005284&#xD;&#xA;  [2]: http://www.sennheiserusa.com/media/productImages/proMain/MKH418S_ProductPro.jpg&#xD;&#xA;  [3]: http://socialsounddesign.com/questions/608/in-line-pad-recommendation&#xD;&#xA;  [4]: http://www.sweetwater.com/store/detail/MKH416/&#xD;&#xA;  [5]: http://www.rode.com.au/microphone.php?product=NT2-A&#xD;&#xA;  [6]: http://www.schoeps.de/en/products/ms_stereo_set&#xD;&#xA;  [7]: http://www.schoeps.de/IMG/products/product_pics/ms-stereo-set.gif&#xD;&#xA;  [8]: http://www.schoeps.de/IMG/product_categories/doppel-ms-kl.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="1855" PostHistoryTypeId="5" PostId="988" RevisionGUID="a4dc3d98-7f3d-4ce1-860a-2a387f067923" CreationDate="2010-05-09T17:49:00.010" UserDisplayName="user80" Comment="Changed burgeoning to budding; added 1 characters in body" Text="I am a budding sound designer and am bursting with creativity and a drive to work. I have done work on countless school projects and friend's films and am 100% certain I've found my lifelong passion and craft. However, finding job opportunities for sound designers with minimal professional experience is slim to none. &#xD;&#xA;&#xD;&#xA;Long story short, what do you recommend for a starting sound designer dying to get her feet wet? Do many post production houses offer mentor/apprenticeships? I am willing to work for free, as the more I do, the better I get. However, as with everyone else, at the end of the day, I do have rent to pay. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1856" PostHistoryTypeId="5" PostId="992" RevisionGUID="a2c1b180-45a7-44ee-99ba-b0800693d629" CreationDate="2010-05-09T18:01:57.053" UserDisplayName="user80" Comment="Added weblinks and image" Text="I can post a picture tomorrow but my basic kit includes a [Sound Devices 442][1], [Sound Devices 744T][2], [Sanken CS-3e][3], [Rycote blimp and windjammer][6], [Sennheiser 2000][7] wireless units with [Sanken COS-11's][8], a small [Audio Technica][9] condenser mic, I forget which model number, and a ton of accessories to put the mics nearly anywhere, anytime.  I'll be adding a stereo mic setup very soon and also a [Midas Venice 160][4] as a cart mixer.  &#xD;&#xA;&#xD;&#xA;[![Midas Venice 160][5]][4]&#xD;&#xA;&#xD;&#xA;[1]: http://www.sounddevices.com/products/442master.htm&#xD;&#xA;[2]: http://www.sounddevices.com/products/744t.htm&#xD;&#xA;[3]: http://www.sanken-mic.com/en/product/product.cfm/8.1001500&#xD;&#xA;[4]: http://www.midasconsoles.com/venice.php&#xD;&#xA;[5]: http://www.10outof10.co.uk/acatalog/venice160.jpg&#xD;&#xA;[6]: http://79.170.44.127/rycote.com/products/full_windshield_kit/&#xD;&#xA;[7]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wireless-microphone-systems_broadcast-eng-film_2000-series&#xD;&#xA;[8]: http://www.sanken-mic.com/en/product/product.cfm/5.1107000&#xD;&#xA;[9]: http://eu.audio-technica.com/en/products/category.asp?catID=2" ContentLicense="CC BY-SA 2.5" />
  <row Id="1857" PostHistoryTypeId="5" PostId="980" RevisionGUID="6f25969d-dc32-42b2-84f3-7072a2012322" CreationDate="2010-05-09T18:03:00.673" UserDisplayName="user80" Comment="edited body" Text="Check out &lt;a href=&quot;http://www.gearslutz.com/board/post-production-forum/434235-stereo-5-1-a.html&quot;&gt;this thread&lt;/a&gt; and &lt;a href=&quot;http://www.gearslutz.com/board/post-production-forum/479388-upmix-plug-ins.html&quot;&gt;this thread&lt;/a&gt; at Gearslutz, which discuss upmix solutions." ContentLicense="CC BY-SA 2.5" />
  <row Id="1858" PostHistoryTypeId="5" PostId="877" RevisionGUID="dc50bfaf-9272-4dfe-affc-4357b6942a0b" CreationDate="2010-05-09T19:31:40.947" UserDisplayName="user80" Comment="Grammar" Text="One important thing I have learned during my adventure is to &quot;**Focus**&quot; on one thing.&#xD;&#xA;&#xD;&#xA;Instead of being jack of all trades, and doing the foley, recording, overdubbing, sound cleaning, video games, animations, short movies; just concentrating on one thing made me a better sound designer, instead of being average in each field.&#xD;&#xA;&#xD;&#xA;I don't mean that you should not learn or try the other things, but in my opinion knowing your strengths and  weaknesses, and sharing them honestly with a client will emphasize your professionalism. " ContentLicense="CC BY-SA 2.5" />
  <row Id="1859" PostHistoryTypeId="5" PostId="965" RevisionGUID="27ac59b0-c00b-4dc2-9896-2783a3459e4e" CreationDate="2010-05-09T19:32:35.767" UserDisplayName="user80" Comment="Grammar" Text="Recently I had to create sounds for tiny people, they were about as tall as a pencil.&#xD;&#xA;&#xD;&#xA;I couldn't figure out a good sound for footsteps so I used my fingers on bare wood (because they ran across a bar).&#xD;&#xA;&#xD;&#xA;Does anyone know of something that would sound good for tiny footsteps? I may have to do some more design in the future.&#xD;&#xA;&#xD;&#xA;Thanks! - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="1860" PostHistoryTypeId="5" PostId="890" RevisionGUID="136bd594-da6f-404f-a61d-5966ec386024" CreationDate="2010-05-09T19:35:11.663" UserDisplayName="user80" Comment="Clarified question; added 47 characters in body" Text="In order to eliminate clicks in words in Pro Tools, and I use either the Pencil Tool or cut out a cycle of the waveform.&#xD;&#xA;&#xD;&#xA;What would software tool would you recommend?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1861" PostHistoryTypeId="5" PostId="899" RevisionGUID="ba2cffd2-ab43-45bd-9b5c-1e7d922e17e3" CreationDate="2010-05-09T19:39:52.123" UserDisplayName="user80" Comment="Added weblink and image" Text="I'm all about [iZotope RX][1].  It's such a lifesaver for me.  I do everything from lowering the noise floor on recordings, removing clicks and clipping, to removing a cough from a live music performance (I actually got that one to work perfectly!!  I'll have to see if I can find the original and final to let you guys A/B the two).&#xD;&#xA;&#xD;&#xA;[![iZotope RX][2]][1]&#xD;&#xA;&#xD;&#xA;If it's something really tiny and don't want to spend time in RX (it can be very time consuming for more complex fixes), I'll go with the old pencil tool trick.&#xD;&#xA;&#xD;&#xA;[1]: http://www.izotope.com/products/audio/RX/&#xD;&#xA;[2]: http://www.izotope.com/products/audio/RX/images/declicker_ss.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1862" PostHistoryTypeId="2" PostId="1004" RevisionGUID="bda89062-480e-41bd-afd7-6a3cd4da09a1" CreationDate="2010-05-09T20:17:42.527" UserId="18160" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;This isn't exactly a question but I thought it was cool information to know about Schoeps mics:&#xD;&#xA;&#xD;&#xA;I was at NAB this year and I saw the new SuperCMIT shotgun (digital shotgun which is super-directional with different noise canceling settings)&#xD;&#xA;&#xD;&#xA;Anyway, the Schoeps staff member there said it was specifically made for the World Cup games so the TV broadcast could hear the ball being kicked. That's the only reason they made it in the first place. They ordered 50 of them. Then, they decided to release it on the market.&#xD;&#xA;&#xD;&#xA;The soccer sound guys were trying to figure out how to get a mic near the ball or around it and even inside the ball (which was my suggestion) but as we know the ball is sacred and must not be messed with. So they asked Schoeps to design a mic that was super-directional and so now we have the SuperCMIT.&#xD;&#xA;&#xD;&#xA;I just thought that was kind of cool trivia." ContentLicense="CC BY-SA 2.5" />
  <row Id="1863" PostHistoryTypeId="1" PostId="1004" RevisionGUID="bda89062-480e-41bd-afd7-6a3cd4da09a1" CreationDate="2010-05-09T20:17:42.527" UserId="18160" Text="Schoeps Microphone Trivia" ContentLicense="CC BY-SA 2.5" />
  <row Id="1864" PostHistoryTypeId="3" PostId="1004" RevisionGUID="bda89062-480e-41bd-afd7-6a3cd4da09a1" CreationDate="2010-05-09T20:17:42.527" UserId="18160" Text="&lt;schoeps&gt;&lt;microphone-trivia&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1865" PostHistoryTypeId="2" PostId="1005" RevisionGUID="23f667fa-d630-4f04-94f9-3d65b6fe50c2" CreationDate="2010-05-09T20:51:44.587" UserId="222" Text="Slice out the click, then cut and time stretch (TCE) the region before to cover the whole and xfade." ContentLicense="CC BY-SA 2.5" />
  <row Id="1866" PostHistoryTypeId="2" PostId="1006" RevisionGUID="9fd04d41-532b-49e8-ba69-18e4e011141c" CreationDate="2010-05-09T20:56:47.517" UserId="29" Text="I art directed a shoot where we used a CMIT (not the super) for all the dialog, inside. It bucked the &quot;don't use a shotgun inside&quot; advice and it sounded **AMAZING**. Can't imagine how the SuperCMIT would sound in real-world production.&#xD;&#xA;&#xD;&#xA;I'm kinda surprised that the obvious answer - use a parabolic mic, like a [Telinga][1] - wasn't the way the World Cup people went. Anyone have a technical reason why that wouldn't be a good idea?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.telinga.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1871" PostHistoryTypeId="2" PostId="1011" RevisionGUID="919b9e68-94db-42e6-825f-0b018d073fdc" CreationDate="2010-05-10T05:08:55.613" UserId="18" Text="I've been using Waves WNS lately, but I really try not to use any NR if I can help it.  I prefer to use editing and EQ to fix problems.  I'll use WNS or the other Waves NR plugins as a last resort." ContentLicense="CC BY-SA 2.5" />
  <row Id="1872" PostHistoryTypeId="5" PostId="69" RevisionGUID="da903c25-185c-407a-9efd-3fdb5be2d493" CreationDate="2010-05-10T06:22:24.017" UserDisplayName="user80" Comment="Added weblinks and images" Text="So, folks, what's the dirt on contemporary noise reduction for things like hiss, hum, and &#xD;&#xA;background drone noise? Are folks still using [DINR][1], third-party plug-ins, artful gating? &#xD;&#xA;&#xD;&#xA;[![Avid DiNR][2]][1]&#xD;&#xA;&#xD;&#xA;My two cents is that different algorithms are good for different things, and I've had good results with [SoundSoap][3] and even [Soundtrack Pro][4], but for specific things and certain circumstances. Certainly haven't found the One NR Ring to rule them all.&#xD;&#xA;&#xD;&#xA;[![Bias SoundSoap][5]][3]&#xD;&#xA;&#xD;&#xA;Howzabout y'all?&#xD;&#xA;&#xD;&#xA;[1]: http://www.avid.com/US/products/DINR&#xD;&#xA;[2]: http://www.avid.com/static/resources/images/products/cw_m700xm700_dinr.jpg&#xD;&#xA;[3]: http://www.bias-inc.com/products/soundSoapPro/&#xD;&#xA;[4]: http://www.apple.com/finalcutstudio/soundtrackpro/&#xD;&#xA;[5]: http://www.bias-inc.com/images06/productPages/soundSoapPro/home/overview.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1873" PostHistoryTypeId="5" PostId="455" RevisionGUID="1cddf463-5922-48bd-9ef7-58c692be2984" CreationDate="2010-05-10T06:26:09.287" UserDisplayName="user80" Comment="Added tags" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I'm curious how other people do this. I've never actually had to mix an M&amp;E before as it was all done for me in the mixer routing in ProTools (I also had totally clean dialogue as the shows were all animations).&#xD;&#xA;&#xD;&#xA;Now I'm doing a live-action show that will have all the footsteps etc. replaced to create the M&amp;E track.&#xD;&#xA;&#xD;&#xA;I'm thinking of either mixing all the extra sfx/foley along with the dialogue so that it will be at an appropriate level with regards to the actual mix, or would it be better to just mix it as a seperate thing so it sounds correct and imagine how it would work underneath dialogue.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="1874" PostHistoryTypeId="6" PostId="455" RevisionGUID="1cddf463-5922-48bd-9ef7-58c692be2984" CreationDate="2010-05-10T06:26:09.287" UserDisplayName="user80" Comment="Added tags" Text="&lt;mix&gt;&lt;m-and-e&gt;&lt;techniques&gt;&lt;stems&gt;&lt;re-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1875" PostHistoryTypeId="5" PostId="1003" RevisionGUID="e921406d-a9d0-476d-8cb0-ac3a6405a84c" CreationDate="2010-05-10T07:31:58.813" UserDisplayName="user80" Comment="edited body" Text="Never push any point with a director.  Just do your job really well, within the time and budget constraints.  Never complain, no matter how bad it gets.  What you will find is that somebody, other than the Director, notices how professional you are and recommends you for another job." ContentLicense="CC BY-SA 2.5" />
  <row Id="1876" PostHistoryTypeId="5" PostId="72" RevisionGUID="4fc661a4-f4bc-4ac0-8c78-2e0eda149a36" CreationDate="2010-05-10T07:41:11.250" UserDisplayName="user80" Comment="Added weblinks and images" Text="I stand by my [iZotope RX][1] suite.  Love it for hum, hiss, noise floor reduction, etc...  as I said in my post on the &quot;Secret Software Weapon&quot; thread, I've also used the spectral repair to take audience coughing, etc out of live music recordings and all.  Also very useful to reduce the crackling of distortion / clipping.&#xD;&#xA;&#xD;&#xA;[![iZotope RX][2]][1]&#xD;&#xA;&#xD;&#xA;I have [DINR][3], [Soundsoap pro][4], and the Waves Restoration suite as well.  [DINR][3] is pretty decent, don't use it too much though.  [Soundsoap Pro][4] hasn't ever yeilded any results I've been happy with.  The [Waves Restoration][5] suite is pretty nice.  Great for basic noise floor reduction and hum removal.  None of these are as powerful as the [RX][1] suite though.&#xD;&#xA;&#xD;&#xA;[![Waves Restoration][6]][5]&#xD;&#xA;&#xD;&#xA;Above all though, nothing has ever come close to comparing with the [Cedar Audio][7] unit ([DNS 1500][8]) on the Dubbing Stage.  Ridiculous.  Absolutely amazing real-time noise reduction (latency is only about 1/400th of a frame!)&#xD;&#xA;&#xD;&#xA;[![Cedar Audio DNS 1500][9]][8]&#xD;&#xA;&#xD;&#xA;[1]: http://www.izotope.com/products/audio/rx/  &#xD;&#xA;[2]: http://www.izotope.com/products/audio/rx/images/denoiser_ss.jpg&#xD;&#xA;[3]: http://www.avid.com/US/products/DINR&#xD;&#xA;[4]: http://www.bias-inc.com/products/soundSoapPro/&#xD;&#xA;[5]: http://www.waves.com/content.aspx?id=197&#xD;&#xA;[6]: http://www.waves.com/objects/images/large_screenshots/ss_x-noise_large.jpg&#xD;&#xA;[7]: http://www.cedar-audio.com/&#xD;&#xA;[8]: http://www.cedaraudio.com/products/dns/dns_1500.html&#xD;&#xA;[9]: http://www.cedaraudio.com/products/dns/dns1500web.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1877" PostHistoryTypeId="2" PostId="1012" RevisionGUID="61f250df-2083-44e2-8dc6-e109a939c32f" CreationDate="2010-05-10T08:48:13.050" UserId="62" Text="Totally forgot to reply to my own question. I was a total idiot about this. Of course I didn't need to start from nothing as I had all the sfx and music already mixed. I simply muted the production sound/dialogue and mixed in the foley/footsteps so they balanced with the already existing sound. D'OH!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1878" PostHistoryTypeId="5" PostId="1004" RevisionGUID="7e4dc880-4e56-4507-962a-3776cdcf1fee" CreationDate="2010-05-10T11:26:58.130" UserDisplayName="user80" Comment="Added weblink and image" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;This isn't exactly a question but I thought it was cool information to know about Schoeps mics:&#xD;&#xA;&#xD;&#xA;I was at NAB this year and I saw the new [SuperCMIT][1] shotgun (digital shotgun which is super-directional with different noise cancelling settings)&#xD;&#xA;&#xD;&#xA;Anyway, the Schoeps staff member there said it was specifically made for the World Cup games so the TV broadcasters could hear the ball being kicked. That's the only reason they made it in the first place. They ordered 50 of them. Then, they decided to release it on the market.&#xD;&#xA;&#xD;&#xA;The soccer sound guys were trying to figure out how to get a mic near the ball or around it and even inside the ball (which was my suggestion) but as we know the ball is sacred and must not be messed with. So they asked Schoeps to design a mic that was super-directional and so now we have the SuperCMIT.&#xD;&#xA;&#xD;&#xA;I just thought that was kind of cool trivia.&#xD;&#xA;&#xD;&#xA;[![Schoeps SuperCMIT][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://digital.schoeps.de/en/products/supercmit&#xD;&#xA;[2]: http://digital.schoeps.de/IMG/products/product_pics/SuperCMIT.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="1879" PostHistoryTypeId="6" PostId="1004" RevisionGUID="7e4dc880-4e56-4507-962a-3776cdcf1fee" CreationDate="2010-05-10T11:26:58.130" UserDisplayName="user80" Comment="Added weblink and image" Text="&lt;schoeps&gt;&lt;trivia&gt;&lt;microphone&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1880" PostHistoryTypeId="5" PostId="1006" RevisionGUID="24ba91da-e836-4fc9-8383-176b7082ec8a" CreationDate="2010-05-10T13:46:55.800" UserDisplayName="user80" Comment="Added weblinks and images" Text="I art directed a shoot where we used a [Schoeps CMIT][3] (not the super) for all the dialog, inside. It bucked the &quot;don't use a shotgun inside&quot; advice and it sounded **AMAZING**. Can't imagine how the SuperCMIT would sound in real-world production.&#xD;&#xA;&#xD;&#xA;[![Schoeps CMIT][4]][3]&#xD;&#xA;&#xD;&#xA;I'm kinda surprised that the obvious answer - use a parabolic mic, like a [Telinga][1] - wasn't the way the World Cup people went. Anyone have a technical reason why that wouldn't be a good idea?&#xD;&#xA;&#xD;&#xA;[![Telinga parabolic microphone][2]][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.telinga.com/&#xD;&#xA;  [2]: http://www.telinga.com/gallery/bild2.JPG&#xD;&#xA;  [3]: http://www.schoeps.de/en/products/cmit5u&#xD;&#xA;  [4]: http://www.schoeps.de/IMG/products/product_pics/cmit5u.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="1882" PostHistoryTypeId="5" PostId="313" RevisionGUID="d0a6960d-b05f-4155-b425-aa5d59cc8c5c" CreationDate="2010-05-10T13:51:18.730" UserDisplayName="user80" Comment="Added weblink and image" Text="Strangest thing was probably when I was recording big cats.  One of the [cougars][1] started choking on a piece of meet and vomited it up.  Wasn't expecting to get that!&#xD;&#xA;&#xD;&#xA;[![Cougar][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://en.wikipedia.org/wiki/Cougar&#xD;&#xA;[2]: http://upload.wikimedia.org/wikipedia/commons/d/de/Mountain_lion.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1884" PostHistoryTypeId="5" PostId="897" RevisionGUID="0b080d81-6128-4329-aa4e-e00bb5cba794" CreationDate="2010-05-10T16:48:32.390" UserDisplayName="user80" Comment="Added images" Text="Try these:&#xD;&#xA;&#xD;&#xA;Waves [X-Click and X-Crackle][1]&#xD;&#xA;&#xD;&#xA;[Izotope Rx][2]&#xD;&#xA;&#xD;&#xA;Note: Izotope has a full-featured demo that you can audition before you buy to see if it will work for your needs.&#xD;&#xA;&#xD;&#xA;[![Waves X-Click][3]][1]&#xD;&#xA;[![Waves X-Crackle][4]][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waves.com/content.aspx?id=197&#xD;&#xA;  [2]: http://www.izotope.com/products/audio/rx/&#xD;&#xA;  [3]: http://www.waves.com/objects/Images/Screenshots%5Csshot_big_x_click01.jpg&#xD;&#xA;  [4]: http://www.waves.com/objects/Images/Screenshots%5Csshot_big_x_crackle01.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1885" PostHistoryTypeId="2" PostId="1014" RevisionGUID="1393e894-1744-41e3-97b8-4ab476f55dbd" CreationDate="2010-05-10T16:50:36.520" UserId="220" Text="I've been trying to find the specs on the physical connection of the SuperCMIT.  As I understand from the website it's 2 standard XLR connectors with a processed signal one one cable, untouched signal on the other. &#xD;&#xA;&#xD;&#xA;It's interesting seeing the electronics that go into new microphones.  Reminds me of the Neumann TLM 103 D - fully digital, no need for preamps, A/D conversion, etc.  It would be very cool to see digital field mics as well.  Instead of XLR cables, we'll be running fiber, or using something wireless. " ContentLicense="CC BY-SA 2.5" />
  <row Id="1886" PostHistoryTypeId="5" PostId="408" RevisionGUID="c94915a1-eba3-45b2-9e19-0ea58e165ef2" CreationDate="2010-05-10T16:56:15.473" UserDisplayName="user80" Comment="Added weblink and image" Text="Recently on [designingsound.org/ Erik Aadahl talked about his blimp catching on fire][1] and watching fellow recordists nearly get torched by fighter jets.&#xD;&#xA;&#xD;&#xA;[![Erik Aadahl][2]][1]&#xD;&#xA;&#xD;&#xA;I was wondering if anyone else had had their own misfortunes while recording?&#xD;&#xA;&#xD;&#xA;I had a near miss with a Hippo nearly chomping my mic, but that's about it!&#xD;&#xA;&#xD;&#xA;Looking forward to hearing some stories.&#xD;&#xA;&#xD;&#xA;[1]: http://designingsound.org/2010/03/erik-aadahl-special-sound-recording-and-design/&#xD;&#xA;[2]: http://designingsound.noisepages.com/files/2010/03/Erik_Aadahl_Recording.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="1887" PostHistoryTypeId="5" PostId="1014" RevisionGUID="dceb2ab7-cb60-4e80-bd02-b113af9a8c1e" CreationDate="2010-05-10T17:00:47.920" UserDisplayName="user80" Comment="Added weblinks and images" Text="I've been trying to find the specs on the physical connection of the [Schoeps SuperCMIT][3].  As I understand from the website it's 2 standard XLR connectors with a processed signal one one cable, untouched signal on the other. &#xD;&#xA;&#xD;&#xA;It's interesting seeing the electronics that go into new microphones.  Reminds me of the [Neumann TLM 103 D][1] - fully digital, no need for preamps, A/D conversion, etc.  It would be very cool to see digital field mics as well.  Instead of XLR cables, we'll be running fiber, or using something wireless. &#xD;&#xA;&#xD;&#xA;[![Neumann TLM 103 D][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.neumann.com/?lang=en&amp;id=current_microphones&amp;cid=tlm103d_description&#xD;&#xA;[2]: http://www.neumann.com/img/photosGraphics/Zooms/TLM103D_Z.jpg&#xD;&#xA;[3]: http://digital.schoeps.de/en/products/supercmit" ContentLicense="CC BY-SA 2.5" />
  <row Id="1888" PostHistoryTypeId="5" PostId="979" RevisionGUID="6663b5c8-8791-4dea-bb90-ec7c697cd341" CreationDate="2010-05-10T18:07:39.573" UserDisplayName="user80" Comment="Added tags" Text="Dear All,&#xD;&#xA;&#xD;&#xA;This might be a random question, but I want to ask it anyway:&#xD;&#xA;&#xD;&#xA;I never went to film school or any type of post production school. I've basically taught myself by:&#xD;&#xA;&#xD;&#xA; 1. Watching enough movies to know what other sound designers do and what is appropriate sound design&#xD;&#xA; 2. Just doing it and making mistakes (sometimes bigger than I'd want them to be) but I learned from them and survived to use it as an experience of what NOT to do.&#xD;&#xA;&#xD;&#xA;Now, I'm in my 8th year in the business and I've gotten a steady resident mixer/recordist/sound designer job, and I was wondering if it's possible to work out doing an apprenticeship with one of the studios or teams. Have you heard of something like that happening? I'm always set back by &quot;only students can do internships&quot;. Is this true?&#xD;&#xA;&#xD;&#xA;What are your thoughts? How did you go about learning your craft?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1889" PostHistoryTypeId="6" PostId="979" RevisionGUID="6663b5c8-8791-4dea-bb90-ec7c697cd341" CreationDate="2010-05-10T18:07:39.573" UserDisplayName="user80" Comment="Added tags" Text="&lt;film-school&gt;&lt;apprenticeship&gt;&lt;sound-design&gt;&lt;career&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1890" PostHistoryTypeId="5" PostId="81" RevisionGUID="89ae0bb1-4cc3-424f-aaee-2fe235929b69" CreationDate="2010-05-10T19:51:14.973" UserDisplayName="user80" Comment="added 33 characters in body; edited body; added 1 characters in body" Text="Contact...  Not a huge fan of the movie, but the scene in the opening where the camera pans away from the Earth through all of the radio broadcasts through our history.  It eventually gets farther and farther out until it reaches total silence.  I've always thought that was one of the best uses of silence in film.&#xD;&#xA;&#xD;&#xA;[youtube]kNAUR7NQCLA[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="1891" PostHistoryTypeId="2" PostId="1015" RevisionGUID="d6108b97-c23d-4f9b-9d7c-7935b66dcabd" CreationDate="2010-05-10T22:35:24.807" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;Mainly what I do is record dialogue and voice-over and ADR.&#xD;&#xA;&#xD;&#xA;I was wondering what your favorite mic/mics are for recording voice-over or dialogue for whatever type of project you guys are sound designing - video games, films, etc.&#xD;&#xA;&#xD;&#xA;Additionally, do you have a specific mic for different applications? Like a mic you use mainly for screechy cartoony voice talents? And then another mic for bassy, intimate narration recordings?&#xD;&#xA;&#xD;&#xA;Also, for something like a video-game, do you go to great lengths to get it to sound authentic - i.e. as if it were set-sound? Like, place the mic a bit further than a regular &quot;dead VO&quot;? For example, the sound team for Fantastic Mr. Fox actually went out to a farm and had George Clooney rolling around and running on the farm and recording his lines as opposed to an air-conditioned dead studio. OR do you record it clean and up-close with a U87 and then &quot;dirty it up&quot; afterwards to make it sound like set-sound?&#xD;&#xA;&#xD;&#xA;Anyway, just curious as to how you go about recording your dialogue and narration for your projects. Feel free to include your preamp setup and any acoustical peculiarities about your studios as well!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1892" PostHistoryTypeId="1" PostId="1015" RevisionGUID="d6108b97-c23d-4f9b-9d7c-7935b66dcabd" CreationDate="2010-05-10T22:35:24.807" UserId="18160" Text="Favorite Mic for Dialogue" ContentLicense="CC BY-SA 2.5" />
  <row Id="1893" PostHistoryTypeId="3" PostId="1015" RevisionGUID="d6108b97-c23d-4f9b-9d7c-7935b66dcabd" CreationDate="2010-05-10T22:35:24.807" UserId="18160" Text="&lt;dialogue&gt;&lt;microphone&gt;&lt;recording&gt;&lt;voice-over&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1894" PostHistoryTypeId="5" PostId="1015" RevisionGUID="0a499ae2-9e26-4d32-8cdb-fbf1918519c6" CreationDate="2010-05-10T22:41:09.687" UserId="18160" Comment="added 152 characters in body" Text="Dear All,&#xD;&#xA;&#xD;&#xA;Mainly what I do is record dialogue and voice-over and ADR.&#xD;&#xA;&#xD;&#xA;I was wondering what your favorite mic/mics are for recording voice-over or dialogue for whatever type of project you guys are sound designing - video games, films, etc.&#xD;&#xA;&#xD;&#xA;Additionally, do you have a specific mic for different applications? Like a mic you use mainly for screechy cartoony voice talents? And then another mic for bassy, intimate narration recordings?&#xD;&#xA;&#xD;&#xA;Also, for something like a video-game, do you go to great lengths to get it to sound authentic - i.e. as if it were set-sound? Like, place the mic a bit further than a regular &quot;dead VO&quot;? For example, the sound team for Fantastic Mr. Fox actually went out to a farm and had George Clooney rolling around and running on the farm and recording his lines as opposed to an air-conditioned dead studio. OR do you record it clean and up-close with a U87 and then &quot;dirty it up&quot; afterwards to make it sound like set-sound?&#xD;&#xA;&#xD;&#xA;What I use is mainly a U-87. I have an MK41, MKH50, Sanken COS-11, CMTS501, KMR81, AKG 414, among others but those are what I mainly use for voices.&#xD;&#xA;&#xD;&#xA;Anyway, just curious as to how you go about recording your dialogue and narration for your projects. Feel free to include your preamp setup and any acoustical peculiarities about your studios as well!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1895" PostHistoryTypeId="2" PostId="1016" RevisionGUID="c8896349-bf13-4cb1-80c4-bf39099bf687" CreationDate="2010-05-10T23:33:33.593" UserId="18160" Text="I'll be working on a project very soon that's going to be translated into 5 major languages.&#xD;&#xA;&#xD;&#xA;I will be doing lots of group walla and such for this project as well as ADR lines for characters in the ambience which are meant to be able to be heard and understood in English.&#xD;&#xA;&#xD;&#xA;I will also be handling the Foreign version recording and mixing of the dialogue.&#xD;&#xA;&#xD;&#xA;Has anyone had any experience of doing sound design on a movie which you knew was going to be translated and dubbed into another language and if so, did you make a completely separate stem of dialogue as well as crowd lines which you knew were going to need to be dubbed as well?&#xD;&#xA;&#xD;&#xA;For example, what if there is a scene where someone in a crowd says something out loud and you needed to hear it clearly and it was on the effects track. If it's mixed in with the effects stem, then when you go to do the foreign versions you couldn't really use the effects stem because the crowd line is mixed in with it.&#xD;&#xA;&#xD;&#xA;Just curious if anyone has figured out a work-around yet for this sort of thing. I guess I'll just keep track of anything needed to be dubbed from the beginning and keep them on separate tracks so it's easy to convert it into a foreign with no English dialogue?&#xD;&#xA;&#xD;&#xA;Thanks! - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="1896" PostHistoryTypeId="1" PostId="1016" RevisionGUID="c8896349-bf13-4cb1-80c4-bf39099bf687" CreationDate="2010-05-10T23:33:33.593" UserId="18160" Text="Foreign Versions" ContentLicense="CC BY-SA 2.5" />
  <row Id="1897" PostHistoryTypeId="3" PostId="1016" RevisionGUID="c8896349-bf13-4cb1-80c4-bf39099bf687" CreationDate="2010-05-10T23:33:33.593" UserId="18160" Text="&lt;dubbing&gt;&lt;dialogue&gt;&lt;mixing&gt;&lt;re-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1898" PostHistoryTypeId="2" PostId="1017" RevisionGUID="235a1ab6-0f6c-4179-9a49-bca13c60619a" CreationDate="2010-05-11T00:36:41.847" UserId="61" Text="Ryan,&#xD;&#xA;&#xD;&#xA;Usually you split out any language-specific crowd wallas or reactions to a separate predub so it's easier to find and mute when creating the M&amp;E. If doing this leaves a noticeable hole in the track, simply prepare an ALT that you can open up on the day, ie. another bit of indistinguishable walla from the same track, something reversed, etc. " ContentLicense="CC BY-SA 2.5" />
  <row Id="1899" PostHistoryTypeId="2" PostId="1018" RevisionGUID="8a6b6207-c782-4295-98ba-4e3e44705a84" CreationDate="2010-05-11T02:48:38.697" UserId="253" Text="This may be a bit of a beginner's question, but i moved to NYC from australia and left my second oktava cardioid behind. I need to record some ambiences for a film, and i was wondering what you seasoned pros think is the best setup for this application.&#xD;&#xA;&#xD;&#xA;I've had satisfactory results using AB spaced omnis, and ORTF cardioids. So my options are buying another oktava for ORTF; buying a relatively cheap MS; or getting hold of some omnis to do AB recordings. Does anyone have an opinion on MS for ambience recording? It seems to me that'd be mainly useful for spot FX.&#xD;&#xA;&#xD;&#xA;Also, how does this affect the quality of an ambience for stereo, as well as 5.1 diverged slightly to the center?&#xD;&#xA;&#xD;&#xA;Many thanks for your input!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1900" PostHistoryTypeId="1" PostId="1018" RevisionGUID="8a6b6207-c782-4295-98ba-4e3e44705a84" CreationDate="2010-05-11T02:48:38.697" UserId="253" Text="Atmos recording: MS vs. AB vs. XY vs. ORTF" ContentLicense="CC BY-SA 2.5" />
  <row Id="1901" PostHistoryTypeId="3" PostId="1018" RevisionGUID="8a6b6207-c782-4295-98ba-4e3e44705a84" CreationDate="2010-05-11T02:48:38.697" UserId="253" Text="&lt;stereo&gt;&lt;recording&gt;&lt;atmos&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1903" PostHistoryTypeId="5" PostId="1015" RevisionGUID="9edf35f9-b885-43eb-b2eb-466cb64a2748" CreationDate="2010-05-11T03:01:13.090" UserId="18160" Comment="deleted 215 characters in body" Text="Dear All,&#xD;&#xA;&#xD;&#xA;I was wondering what your favorite mic/mics are for recording voice-over or dialogue for whatever type of project you guys are sound designing - video games, films, etc.&#xD;&#xA;&#xD;&#xA;Additionally, do you have a specific mic for different applications? Like a mic you use mainly for screechy cartoony voice talents? And then another mic for bassy, intimate narration recordings?&#xD;&#xA;&#xD;&#xA;Also, for something like a video-game, do you go to great lengths to get it to sound authentic - i.e. as if it were set-sound? Like, place the mic a bit further than a regular &quot;dead VO&quot;? For example, the sound team for Fantastic Mr. Fox actually went out to a farm and had George Clooney rolling around and running on the farm and recording his lines as opposed to an air-conditioned dead studio. OR do you record it clean and up-close with a U87 and then &quot;dirty it up&quot; afterwards to make it sound like set-sound?&#xD;&#xA;&#xD;&#xA;Anyway, just curious as to how you go about recording your dialogue and narration for your projects. Feel free to include your preamp setup and any acoustical peculiarities about your studios as well!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1905" PostHistoryTypeId="6" PostId="1018" RevisionGUID="05e4f271-c3db-4afc-88c3-18b1bc7ae312" CreationDate="2010-05-11T04:17:14.400" UserId="61" Comment="edited tags" Text="&lt;stereo&gt;&lt;recording&gt;&lt;atmos&gt;&lt;ambience&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1908" PostHistoryTypeId="5" PostId="1018" RevisionGUID="c91e241b-74fe-4e22-bfcf-92aa40381363" CreationDate="2010-05-11T07:54:13.413" UserDisplayName="user80" Comment="Added weblinks and image" Text="This may be a bit of a beginner's question, but I moved to NYC from australia and left my second [Oktava][1] cardioid behind. I need to record some ambiences for a film, and I was wondering what you seasoned pros think is the best setup for this application?&#xD;&#xA;&#xD;&#xA;I've had satisfactory results using [A-B spaced omnis][2], and [ORTF cardioids][3]. So my options are buying another oktava for [ORTF][3]; buying a relatively cheap [M/S][4]; or getting hold of some omnis to do [A-B][2] recordings. Does anyone have an opinion on [M/S] for ambience recording? It seems to me that'd be mainly useful for spot FX.&#xD;&#xA;&#xD;&#xA;Also, how does this affect the quality of an ambience for stereo, as well as 5.1 diverged slightly to the center?&#xD;&#xA;&#xD;&#xA;Many thanks for your input!&#xD;&#xA;&#xD;&#xA;[![ORTF][5]][3]&#xD;&#xA;&#xD;&#xA;[1]: http://www.oktava-online.com/&#xD;&#xA;[2]: http://en.wikipedia.org/wiki/Stereophonic_sound#A-B_technique:_time-of-arrival_stereophony&#xD;&#xA;[3]: http://en.wikipedia.org/wiki/ORTF_stereo_technique&#xD;&#xA;[4]: http://en.wikipedia.org/wiki/Microphone_practice#M.2FS_technique:_Mid.2FSide_stereophony&#xD;&#xA;[5]: http://upload.wikimedia.org/wikipedia/commons/6/67/ORTF-Stereo.svg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1910" PostHistoryTypeId="2" PostId="1021" RevisionGUID="e9a64a9a-5a77-40a0-831d-7339f7202e42" CreationDate="2010-05-11T08:23:15.550" UserId="62" Text="Most of the shows I do are for the international market. We work with the dialogue and Walla so that they are all going through to the Dialogue Stem. If the Walla is generic enough so that no language is discernible I'd probably leave it on the FX tracks.&#xD;&#xA;&#xD;&#xA;I set up my mix so that I can mix a show and have all the routing done in the one session to generate all my stems (Mix, M&amp;E, Music, FX &amp; Dial) so all I do is record the stems once an episode is finished. It also means I don't have to remix anything for the M&amp;E (we pretty much only do animation so every sound is re-done, we have an exception in house at the moment which is live action and requires a remix for the M&amp;E).&#xD;&#xA;&#xD;&#xA;If you plan it out in your session it should be simple. I would agree that you ought to get confirmation from the producer as to the exact requirements though too.&#xD;&#xA;&#xD;&#xA;Good luck&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="1911" PostHistoryTypeId="5" PostId="1016" RevisionGUID="28389dcf-e3cb-4d93-b8ed-ccab8d25e534" CreationDate="2010-05-11T09:50:30.080" UserDisplayName="user80" Comment="Added tag" Text="I'll be working on a project very soon that's going to be translated into five different languages.&#xD;&#xA;&#xD;&#xA;I will be doing lots of group walla and such for this project as well as ADR lines for characters in the ambience which are meant to be able to be heard and understood in English.&#xD;&#xA;&#xD;&#xA;I will also be handling the Foreign version recording and mixing of the dialogue.&#xD;&#xA;&#xD;&#xA;Has anyone had any experience of doing sound design on a movie which you knew was going to be translated and dubbed into another language, and if so, did you make a completely separate stem of dialogue as well as crowd lines which you knew were going to need to be dubbed as well?&#xD;&#xA;&#xD;&#xA;For example, what if there is a scene where someone in a crowd says something out loud and you needed to hear it clearly, and it was on the effects track. If it's mixed in with the effects stem, then when you go to do the foreign versions you couldn't really use the effects stem because the crowd line is mixed in with it.&#xD;&#xA;&#xD;&#xA;Just curious if anyone has figured out a work-around yet for this sort of thing. I guess I'll just keep track of anything needed to be dubbed from the beginning and keep them on separate tracks so it's easy to convert it into a foreign with no English dialogue?&#xD;&#xA;&#xD;&#xA;Thanks! - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="1912" PostHistoryTypeId="6" PostId="1016" RevisionGUID="28389dcf-e3cb-4d93-b8ed-ccab8d25e534" CreationDate="2010-05-11T09:50:30.080" UserDisplayName="user80" Comment="Added tag" Text="&lt;dubbing&gt;&lt;dialogue&gt;&lt;mixing&gt;&lt;re-recording&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1913" PostHistoryTypeId="2" PostId="1022" RevisionGUID="027cec16-6f42-4730-bbd9-9721106927a5" CreationDate="2010-05-11T10:34:47.257" UserDisplayName="user80" Text="I like to use a large diaphragm condenser for most voices, and then a large diaphragm dynamic for any voices that have to sound a 'bit rough' or shout, as I really don't want them to back off from the mic and introduce room acoustics.  The budget dictates the manufacturer and model of mic, if it's a tight budget then it's a [Rode NT1-A][1] and a [Shure SM58][2].  If there is a more generous budget a [Neumann U87][3] and a [Electro-Voice RE27N/D][4].&#xD;&#xA;&#xD;&#xA;Although if it was just based on my own taste and not what clients expected to see I would use a DPA, I started my career with my own matched pair of B&amp;K [4003s][5], and have never come across a nicer mic to use, this is probably nostalgia though.&#xD;&#xA;&#xD;&#xA;[1]: http://www.rode.com.au/microphone.php?product=NT1-A&#xD;&#xA;[2]: http://www.shure.com/americas/products/microphones/sm/sm58-vocal-microphone&#xD;&#xA;[3]: http://www.neumann.com/?lang=en&amp;id=current_microphones&amp;cid=u87_description&#xD;&#xA;[4]: http://www.electrovoice.com/product.php?id=92&#xD;&#xA;[5]: http://www.dpamicrophones.com/en/products.aspx?c=Item&amp;category=188&amp;item=24008" ContentLicense="CC BY-SA 2.5" />
  <row Id="1914" PostHistoryTypeId="2" PostId="1023" RevisionGUID="74f60a5d-a718-4c10-9460-4baa8d3506f2" CreationDate="2010-05-11T12:38:34.343" UserId="103" Text="Hi everybody&#xD;&#xA;&#xD;&#xA;I've been looking into getting a pair of good in ear headphones, preferably providing decent isolation. This is to use with handheld recorders, if possible to avoid people asking stuff like &quot;are you recording sound?&quot; or &quot;are you looking for radiation?&quot;. I'm sure all of you have been there tons of times :D&#xD;&#xA;What do you guys use for this? Under 150€/180$ would be nice&#xD;&#xA;I've been looking into the [SHURE SCL2-K][1]   &#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.thomann.de/gb/shure_scl2k.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="1915" PostHistoryTypeId="1" PostId="1023" RevisionGUID="74f60a5d-a718-4c10-9460-4baa8d3506f2" CreationDate="2010-05-11T12:38:34.343" UserId="103" Text="In ear headphones for stealth street recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="1916" PostHistoryTypeId="3" PostId="1023" RevisionGUID="74f60a5d-a718-4c10-9460-4baa8d3506f2" CreationDate="2010-05-11T12:38:34.343" UserId="103" Text="&lt;field&gt;&lt;stealth&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1917" PostHistoryTypeId="2" PostId="1024" RevisionGUID="27657f60-55b3-4257-8684-5dbad8c8a15a" CreationDate="2010-05-11T13:10:50.563" UserId="220" Text="If you're on a budget, I HIGHLY recommend the Altec Lansing UHP336 in-ears.  They are $40 on amazon.com here.  They are rebranded Ultimate Ears Super.Fi 3 Studio in-ears, which normally sell for $99 or more.  For the price, you can't beat them.  I've owned the Super.Fi 3's for a few years now and really enjoyed the full range they have.&#xD;&#xA;&#xD;&#xA;The only caveat would be the size of the part that goes in your ear canal - it's a little larger in this model than it would be in Shures.  It will only be a problem if you have extremely tiny ear canals, but I thought I would mention it." ContentLicense="CC BY-SA 2.5" />
  <row Id="1918" PostHistoryTypeId="2" PostId="1025" RevisionGUID="1d16bbf6-167a-4ae5-885e-d3f0a968e0bb" CreationDate="2010-05-11T13:30:03.690" UserId="194" Text="Our workhorse commercial VO mic is the AT4050 straight on about 4-6&quot; away with a pop filter.  That mic sounds good on everyone and has a pleasant upper mid push that helps VOs cut through.  It usually requires some de-essing, but that's never really an issue.  It also matches great from session to pickup session.  With female voices you don't ever want any brighter than this mic though.  Mics like the 416 are unpleasant on women to my ear.&#xD;&#xA;&#xD;&#xA;For the huge male voices we tend to go with the MKH60 shooting down through the mouth at the chest at about 45 degrees from above with no pop filter and no rolloff.  That mic and position scoops the mids some and gives a natural smiley curve that the big voices can take advantage of.&#xD;&#xA;&#xD;&#xA;For filmic sounding VO we use the schoepps CMC 6 with the cardioid capsule about 8-10&quot; away with no pop filter.  Pristine perfect film sounding VO that sounds like it belongs.  We recorded [Laura Bush's upcoming book][1] this way.&#xD;&#xA;&#xD;&#xA;I recorded a session with James Mardsen for [Cats and Dogs 2][2] where we used a pair of Sennheiser MHK 40s - one 6&quot; away and one 18&quot; away.  That also sounded great.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Spoken-Heart-Laura-Bush/dp/1439155208/ref=pd_sim_b_2&#xD;&#xA;  [2]: http://vodpod.com/watch/2685673-cats-and-dogs-2the-revenge-of-kitty-galore-trailer" ContentLicense="CC BY-SA 2.5" />
  <row Id="1919" PostHistoryTypeId="2" PostId="1026" RevisionGUID="9f70f404-058a-49c7-aa86-2e0741140480" CreationDate="2010-05-11T13:30:06.053" UserId="103" Text="One microphone that i've tried and really was pleasantly surprised was the SE electronics 2200.&#xD;&#xA;I've compared it side by side with a neumann TLM 103, liked the 2200 better, a very defined present sound but without the sibilance i was getting with the 103. This was for narration with a female voice.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1920" PostHistoryTypeId="2" PostId="1027" RevisionGUID="1dbc7084-b9c0-429f-b7b6-972d8c9536dd" CreationDate="2010-05-11T14:02:42.290" UserId="37" Text="Sennheiser CX-300 if you find other inner-ear headphones intrusive.." ContentLicense="CC BY-SA 2.5" />
  <row Id="1921" PostHistoryTypeId="2" PostId="1028" RevisionGUID="0e4fdb93-a630-4412-aaef-cb9fee976165" CreationDate="2010-05-11T15:28:56.777" UserId="29" Text="There are a lot of options listed here, but remember that each is good at a different thing. I'd work backwards not just from what you have and can afford, gear-wise, but what kind of spatial-imaging results you need for how the sounds will be finally used. (Remember that you can always rent exactly what you need without buying!)&#xD;&#xA;&#xD;&#xA;I like X-Y for general ambiences because, frankly, it's easy and fast to set up. Total no-brainer, even doable with one mic if you're willing to accept a fixed width. X-Y tends to have less of a central image, which is actually perfect when you need space for dialog or other sound sources coming from the center channel. ORTF's great if I have the time and space to do a proper set-up. I like spaced-pair for this same reason, but with even less of a detailed center, I find it's best for deep background ambiences that just need spread without a lot of directionality to specific sounds (which can be distracting at times).&#xD;&#xA;&#xD;&#xA;When doing ambiences that need some central imaging figure, like birdsong in the wild, then MS can't be beat for flexiblity, and with the right mics an MS rig can be contained in a single windshield for easy carry and setup.&#xD;&#xA;&#xD;&#xA;(These points of view would be totally different if the stereo miking was to be done for music rather than ambiences!)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1922" PostHistoryTypeId="2" PostId="1029" RevisionGUID="644ffae4-6a53-453c-87a1-de8c9014888b" CreationDate="2010-05-11T15:32:00.863" UserId="29" Text="Absolutely essential reading on this topic: Dan Brockett's fairly definitive [small-diaphragm condenser mic][1] shootout article, with audio samples and lots and lots of commentary. He doesn't get into studio mics like the U87 or NT1a, but he focuses on voice recording, and while I've not used all the mics in that list (oh, if only!), I've found myself largely agreeing with his assertions for those mics I have actually used.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.kenstone.net/fcp_homepage/right_mic_brockett.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1923" PostHistoryTypeId="5" PostId="1025" RevisionGUID="07f38d2f-ff0b-43da-9e01-3a22bfa305ee" CreationDate="2010-05-11T16:23:52.023" UserId="194" Comment="edited body" Text="Our workhorse commercial VO mic is the AT4050 straight on about 4-6&quot; away with a pop filter.  That mic sounds good on everyone and has a pleasant upper mid push that helps VOs cut through.  It usually requires some de-essing, but that's never really an issue.  It also matches great from session to pickup session.  With female voices you don't ever want any brighter than this mic though.  Mics like the 416 are unpleasant on women to my ear.&#xD;&#xA;&#xD;&#xA;For the huge male voices we tend to go with the MKH60 shooting down through the mouth at the chest at about 45 degrees from above with no pop filter and no rolloff.  That mic and position scoops the mids some and gives a natural smiley curve that the big voices can take advantage of.&#xD;&#xA;&#xD;&#xA;For filmic sounding VO we use the schoepps CMC 6 with the cardioid capsule about 8-10&quot; away with no pop filter.  Pristine perfect film sounding VO that sounds like it belongs.  We recorded [Laura Bush's upcoming book][1] this way.&#xD;&#xA;&#xD;&#xA;I recorded a session with James Mardsen for [Cats and Dogs 2][2] where we used a pair of Sennheiser MHK 50s - one 6&quot; away and one 18&quot; away.  That also sounded great.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Spoken-Heart-Laura-Bush/dp/1439155208/ref=pd_sim_b_2&#xD;&#xA;  [2]: http://vodpod.com/watch/2685673-cats-and-dogs-2the-revenge-of-kitty-galore-trailer" ContentLicense="CC BY-SA 2.5" />
  <row Id="1924" PostHistoryTypeId="5" PostId="1018" RevisionGUID="5dab9f17-1e6a-4039-b69b-1369e597f665" CreationDate="2010-05-11T17:47:16.073" UserDisplayName="user80" Comment="added 3 characters in body" Text="This may be a bit of a beginner's question, but I moved to NYC from australia and left my second [Oktava][1] cardioid behind. I need to record some ambiences for a film, and I was wondering what you seasoned pros think is the best setup for this application?&#xD;&#xA;&#xD;&#xA;I've had satisfactory results using [A-B spaced omnis][2], and [ORTF cardioids][3]. So my options are buying another oktava for [ORTF][3]; buying a relatively cheap [M/S][4]; or getting hold of some omnis to do [A-B][2] recordings. Does anyone have an opinion on [M/S][4] for ambience recording? It seems to me that'd be mainly useful for spot FX.&#xD;&#xA;&#xD;&#xA;Also, how does this affect the quality of an ambience for stereo, as well as 5.1 diverged slightly to the center?&#xD;&#xA;&#xD;&#xA;Many thanks for your input!&#xD;&#xA;&#xD;&#xA;[![ORTF][5]][3]&#xD;&#xA;&#xD;&#xA;[1]: http://www.oktava-online.com/&#xD;&#xA;[2]: http://en.wikipedia.org/wiki/Stereophonic_sound#A-B_technique:_time-of-arrival_stereophony&#xD;&#xA;[3]: http://en.wikipedia.org/wiki/ORTF_stereo_technique&#xD;&#xA;[4]: http://en.wikipedia.org/wiki/Microphone_practice#M.2FS_technique:_Mid.2FSide_stereophony&#xD;&#xA;[5]: http://upload.wikimedia.org/wikipedia/commons/6/67/ORTF-Stereo.svg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1925" PostHistoryTypeId="6" PostId="1015" RevisionGUID="ab31ea69-3194-4fac-81e2-b144ff6e1a33" CreationDate="2010-05-11T19:01:13.967" UserDisplayName="user80" Comment="edited tags" Text="&lt;dialogue&gt;&lt;microphone&gt;&lt;recording&gt;&lt;voice-over&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1926" PostHistoryTypeId="2" PostId="1030" RevisionGUID="1b6b1b41-c5fe-453d-95f3-e7afdff90de3" CreationDate="2010-05-11T19:01:55.060" UserId="19" Text="I love living vicariously through other people experiences on this site.  So, I was wondering if anybody had any interesting stories of dangerous recording experiences.  Either harmful to yourself, your gear, or to anybody else.  Maybe you got a little to close to the explosion you were recording, or you were chased by a bear in full field recording gear. :)&#xD;&#xA;&#xD;&#xA;Most of my recordings were done in the relative safety of the studio. Maybe some bumps and bruises, but not much more. That is why I ask if any of you had more risky experiences?&#xD;&#xA;&#xD;&#xA;Who knows maybe we will learn a few things NOT to do while recording." ContentLicense="CC BY-SA 2.5" />
  <row Id="1927" PostHistoryTypeId="1" PostId="1030" RevisionGUID="1b6b1b41-c5fe-453d-95f3-e7afdff90de3" CreationDate="2010-05-11T19:01:55.060" UserId="19" Text="Got any good stories of dangerous recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1928" PostHistoryTypeId="3" PostId="1030" RevisionGUID="1b6b1b41-c5fe-453d-95f3-e7afdff90de3" CreationDate="2010-05-11T19:01:55.060" UserId="19" Text="&lt;experiences&gt;&lt;rawr&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1929" PostHistoryTypeId="2" PostId="1031" RevisionGUID="b9615848-8b31-4e07-8aa5-0c29531532c1" CreationDate="2010-05-11T19:07:56.530" UserId="194" Text="The [implosion of Texas Stadium][1] was...interesting.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/post-production-forum/483127-tx-stadium-implosion.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1931" PostHistoryTypeId="6" PostId="1030" RevisionGUID="8d784b07-354c-4c79-add2-6f34ed2d4536" CreationDate="2010-05-11T19:32:08.350" UserDisplayName="user80" Comment="edited tags" Text="&lt;experiences&gt;&lt;rawr&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1932" PostHistoryTypeId="2" PostId="1033" RevisionGUID="81cdf759-e8bc-4ddc-8e66-ac5a62f37a07" CreationDate="2010-05-11T19:39:25.330" UserId="61" Text="You'll find more stories on [this thread][1], including my own of a lightning strike at 30ft. God was good to me that day.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/408/sound-recording-disaster-stories" ContentLicense="CC BY-SA 2.5" />
  <row Id="1933" PostHistoryTypeId="2" PostId="1034" RevisionGUID="a4a8a70e-4afe-41e2-aabb-6d0e51a5cbfd" CreationDate="2010-05-11T22:32:10.330" UserId="40" Text="I'm not a huge fan of XY ambience recording.  Sounds very boring to me - not wide enough.&#xD;&#xA;&#xD;&#xA;I'm a big fan of ORTF for more intricate ambience recordings (although, as Nathan said, it can be a bit distracting).&#xD;&#xA;&#xD;&#xA;My favorite single point microphone is the Sanken CSS-5.  It has 3 different settings, 1 mono, 2 stereo.  The normal stereo mode is 115 degrees, which is a little wider than ORTF.  It sounds amazing.  The second setting is a &quot;wide&quot; setting, at 150 degrees.  The wide mode just about completely eliminates the center image, which is very useful at times.&#xD;&#xA;&#xD;&#xA;Also a big fan of M/S for it's flexibility.  You can increase or decrease the center image as necessary.  It can be difficult to get an M/S rig portable though if you don't have a dedicated M/S rig.  I usually use 2 AKG C414s for my M/S rig.  It's not very portable, but it sounds great.  I'd like to get a DPA or Gefell rig though.&#xD;&#xA;&#xD;&#xA;A/B, Spaced Pair, Blumlein, baffled pair, Decca Tree, NOS, Binaural, etc... are all great as well.  What you choose should be based on your application and the gear available to you.&#xD;&#xA;&#xD;&#xA;There's a great resource on DPA's site on the different types of stereo recording:&#xD;&#xA;&#xD;&#xA;http://www.dpamicrophones.com/en/Microphone-University/StereoTechniques.aspx&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For Surround Ambiance recording, you'll probably utilize some sort of holophone, or a Decca Tree, Double M/S, Fukada Tree, etc....  DPA also has a great resource on that:&#xD;&#xA;&#xD;&#xA;http://www.dpamicrophones.com/en/Microphone-University/Surround%20Techniques.aspx" ContentLicense="CC BY-SA 2.5" />
  <row Id="1934" PostHistoryTypeId="2" PostId="1035" RevisionGUID="65559c75-56bd-42e7-bca2-a1fe5127c546" CreationDate="2010-05-12T00:11:55.203" UserId="40" Text="I love my IE30s and IE 40s made by Ultimate Ears (distributed by M-audio).&#xD;&#xA;&#xD;&#xA;Really cool design because they use armature drivers instead of traditional drivers.  My IE40s are nearly as accurate (frequency wise) as my Beyerdynamics.  I can't say that sound quite as good spatially, but you'll lose that with any in-ear solution.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The IE30s cost US$250, and the IE40s cost US$450.  For a bit of a cheaper solution with near the same quality, they also make IE10s and IE20s for $100 and $200.  Extremely comfortable, replaceable cable, changeable ear gels / foams, and great sound!&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Good stuff.  I had an old pair of Shures that I never liked.  Very uncomfortable.  Sounded decent.  I've heard good things about the Klipsche in-ears, but never listened to them.  The best, in my book, are the custom fitted ones.  You can go through Ultimate Ears to get custom molded in-ears.  Crazy nice stuff.  Also crazy expensive...&#xD;&#xA;&#xD;&#xA;So, all that being said, I'd go with the M-Audio IE-20xb for you.  US$200, very comfortable, and sounds amazing...&#xD;&#xA;&#xD;&#xA;  [1]: http://www.m-audio.com/images/global/product_pics/th/IE_40custom_parts_big.jpg&#xD;&#xA;  [2]: http://www.m-audio.com/images/global/product_pics/th/IE_30_custom.jpg&#xD;&#xA;  [3]: http://images.guitarcenter.com/products/optionlarge/MAudio/448245.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1935" PostHistoryTypeId="2" PostId="1036" RevisionGUID="21d02452-0fbb-440c-938f-fa9f24155b8d" CreationDate="2010-05-12T01:01:23.440" UserId="29" Text="What do you use in your home studios for ProTools hardware? Some people seem to just want to use the hardware as a dongle, others need better D/A converters, yet others need ProTools-oriented hardware to work with other software DAWs like Nuendo and Logic. For some, the home studio's ProTools instance is all they have, while others have higher-end systems at work or the mixing rooms/stages where they work.&#xD;&#xA;&#xD;&#xA;How do you navigate these waters?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1936" PostHistoryTypeId="1" PostId="1036" RevisionGUID="21d02452-0fbb-440c-938f-fa9f24155b8d" CreationDate="2010-05-12T01:01:23.440" UserId="29" Text="ProTools Hardware in the Home Studio" ContentLicense="CC BY-SA 2.5" />
  <row Id="1937" PostHistoryTypeId="3" PostId="1036" RevisionGUID="21d02452-0fbb-440c-938f-fa9f24155b8d" CreationDate="2010-05-12T01:01:23.440" UserId="29" Text="&lt;protools&gt;&lt;audio-interfaces&gt;&lt;inhardware&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1938" PostHistoryTypeId="2" PostId="1037" RevisionGUID="66e0d451-a430-4765-9174-732e6288e1c3" CreationDate="2010-05-12T01:13:46.880" UserId="61" Text="I've been very happy with my PT8.0.3 HD3 and 192 interface. Gives me the same level of horsepower and flexibility I'm used to at the big studio sound departments. For samplers I'm staying in the box with Structure for now." ContentLicense="CC BY-SA 2.5" />
  <row Id="1939" PostHistoryTypeId="2" PostId="1038" RevisionGUID="e61debe3-dd9e-4e88-9ac1-5651a8841e97" CreationDate="2010-05-12T01:27:59.947" UserId="253" Text="Back in my student days, we shot a short film on a prawn trawler. The people who ran the equipment store at uni would have flipped if they knew we were taking that gear out to sea. I remember lowering the 416 on a boom pole, at nearly full extension, to get close waves lapping. The whole time i was thinking &quot;if a rogue wave comes, or if anything comes undone, i'm screwed&quot;. I kept recording though, i was on a mission!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1940" PostHistoryTypeId="2" PostId="1039" RevisionGUID="ee9e4d4d-9d12-48ac-b0b1-545b64d0ccb1" CreationDate="2010-05-12T02:13:25.503" UserId="40" Text="I have my 002 Rack just so I can run PT8.0.  I also have an MBox 2 for random mobile stuff.  Cool thing about the Mbox is that if I'm running logic, I can trick it into running at 192k.  Haven't tried it with the 002 yet, but I should.  I also use a MOTU Traveller for other things.&#xD;&#xA;&#xD;&#xA;I'd like an HD system with an Apogee front end, but I don't have that kind of cash floating around right now.  Apogee stuff sounds amazing!&#xD;&#xA;&#xD;&#xA;For now, my 002 is working for my.  I don't actually use it's preamps (I have outboard pres, and I generally record straight into a 744T anyways).  Sometimes I use it's A to D, but rarely.  If I was consistently using it's A/D, I'd probably be more proactive about procuring a new interface.&#xD;&#xA;&#xD;&#xA;BTW, I don't use it's D/A either.  I have the JBL LSR series monitors, which have D/A converters in them.  Worked for me pretty well so far." ContentLicense="CC BY-SA 2.5" />
  <row Id="1942" PostHistoryTypeId="2" PostId="1041" RevisionGUID="6a4527c6-978d-4ce6-b5f4-d850c3badaa8" CreationDate="2010-05-12T03:38:29.043" UserId="100" Text="I'm a small timer here with just [MBox Mini][1] running 8.0.1., and it gets used as a dongle-type setup 99% of the time. The only time I use it as an i/o is sometimes foley on the input, and monitoring a mix on the outputs. Instead of using the Pro Tools inputs to get sounds in, I just drag and drop from my [H4n][2] through USB, which keeps my files at 96kHz for cleaning in [RX][3] without my MBox taking it down to 48kHz. Otherwise, Editing, cleaning, designing, and basic mixing all get done from the software end of it.&#xD;&#xA;&#xD;&#xA;For what I use Pro Tools for, the MBox Mini is the most practical and affordable option. It would be nice to have a controller, or even just a fader or two, but I get along fine without it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/US/products/Mbox-2-Mini&#xD;&#xA;  [2]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;  [3]: http://www.izotope.com/products/audio/rx/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1943" PostHistoryTypeId="2" PostId="1042" RevisionGUID="30b80772-f1df-41d9-b7de-30b1df01c071" CreationDate="2010-05-12T04:42:24.970" UserId="18160" Text="I'm curious if anyone else uses a smaller speaker system or near-fields along with your main monitors to mix or cut effects on.&#xD;&#xA;&#xD;&#xA;I personally have a smaller system to listen to my mixes on along with a pair of standard Apple white ear-buds to hear things on (because that's unfortunately what 90% of the people will listen to my work on.)&#xD;&#xA;&#xD;&#xA;But when I cut effects, I use the principle of making it jumpin' on the big speakers and make tweaks on the smaller system.&#xD;&#xA;&#xD;&#xA;What are you all working on?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1944" PostHistoryTypeId="1" PostId="1042" RevisionGUID="30b80772-f1df-41d9-b7de-30b1df01c071" CreationDate="2010-05-12T04:42:24.970" UserId="18160" Text="Near-Fields or Secondary Monitors?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1945" PostHistoryTypeId="3" PostId="1042" RevisionGUID="30b80772-f1df-41d9-b7de-30b1df01c071" CreationDate="2010-05-12T04:42:24.970" UserId="18160" Text="&lt;speakers&gt;&lt;monitors&gt;&lt;headphones&gt;&lt;systems&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1946" PostHistoryTypeId="5" PostId="1036" RevisionGUID="d9ff1e12-1c87-4f25-b854-973167a00dac" CreationDate="2010-05-12T05:08:33.573" UserDisplayName="user80" Comment="Added tags" Text="What do you use in your home studios for Pro Tools hardware? Some people seem to just want to use the hardware as a dongle, others need better D/A converters, yet others need Pro Tools-oriented hardware to work with other software DAWs like Nuendo and Logic. For some, the home studio's ProTools instance is all they have, while others have higher-end systems at work or the mixing rooms/stages where they work.&#xD;&#xA;&#xD;&#xA;How do you navigate these waters?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1947" PostHistoryTypeId="4" PostId="1036" RevisionGUID="d9ff1e12-1c87-4f25-b854-973167a00dac" CreationDate="2010-05-12T05:08:33.573" UserDisplayName="user80" Comment="Added tags" Text="Pro Tools Hardware in the Home Studio" ContentLicense="CC BY-SA 2.5" />
  <row Id="1948" PostHistoryTypeId="6" PostId="1036" RevisionGUID="d9ff1e12-1c87-4f25-b854-973167a00dac" CreationDate="2010-05-12T05:08:33.573" UserDisplayName="user80" Comment="Added tags" Text="&lt;pro-tools&gt;&lt;audio-interfaces&gt;&lt;hardware&gt;&lt;d-to-a&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1949" PostHistoryTypeId="2" PostId="1043" RevisionGUID="e8a6a081-8726-48f2-b407-59a0b4a3ad8f" CreationDate="2010-05-12T05:12:46.193" UserDisplayName="user80" Text="I use Pro Tools 7.4.2 LE with either a Mbox 2 micro, mini, or pro at home, depending on what I am doing.  At work it is Pro Tools 7.4.2 HD3 on a Mac Pro, as well as a 003R for my laptop." ContentLicense="CC BY-SA 2.5" />
  <row Id="1950" PostHistoryTypeId="2" PostId="1044" RevisionGUID="b4db3c89-e855-4330-88ad-ff6c503ac0a8" CreationDate="2010-05-12T05:23:28.377" UserDisplayName="user80" Text="[Genelec  2029A's][1] at home.&#xD;&#xA;&#xD;&#xA;[Genelec 8030A's][2] with [Genelec 7070A's][3] at work.&#xD;&#xA;&#xD;&#xA;[Beyerdynamic DT770Pro 250 ohms][4] at home and work.&#xD;&#xA;&#xD;&#xA;[![Genelec 8030A][5]][2]&#xD;&#xA;&#xD;&#xA;[1]: http://www.genelec.com/products/previous-models/2029a/&#xD;&#xA;[2]: http://www.genelec.com/products/2-way-monitors/8030a/&#xD;&#xA;[3]: http://www.genelec.com/products/subwoofers/7070a/&#xD;&#xA;[4]: http://www.beyerdynamic.de/en/music-performance/products/headphones.html?tx_sbproductdatabase_pi1%5BshowUid%5D%5BshowUID%5D=44&amp;tx_sbproductdatabase_pi1%5BshowUid%5D%5BbackPID%5D=68&amp;cHash=ea6cb3ee29&#xD;&#xA;[5]: http://www.genelec.com/documents/images/products/8030a.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1951" PostHistoryTypeId="2" PostId="1045" RevisionGUID="bb17ec46-ff77-45f1-a026-5c1c2815d529" CreationDate="2010-05-12T05:25:41.217" UserId="40" Text="I have my mains (which are nearfields) plus a few different secondary systems.  I use JBL LSRs as my mains, then I have my rig hooked up to a consumer home theater system in the neighboring room, a pair of Altec Lansing speakers, an assortment of headphones, etc...  I also like listening to any music I do on my car system, since I know that one the best when it comes to music...&#xD;&#xA;&#xD;&#xA;I always try to figure out what my listener is going to be listening on and try to mimic that with what I have to hear the end result.&#xD;&#xA;&#xD;&#xA;Also, when it comes to editing, I often put on phones to hear the minute details of what I'm working on.  Things that might not come through as well on my mains." ContentLicense="CC BY-SA 2.5" />
  <row Id="1952" PostHistoryTypeId="5" PostId="1023" RevisionGUID="5a0766a5-887f-405c-8e51-d002cbc62f7b" CreationDate="2010-05-12T06:27:07.683" UserDisplayName="user80" Comment="added 84 characters in body; edited tags" Text="Hi everybody&#xD;&#xA;&#xD;&#xA;I've been looking into getting a pair of good in ear headphones, preferably providing decent isolation. This is to use with handheld recorders, if possible to avoid people asking stuff like &quot;are you recording sound?&quot; or &quot;are you looking for radiation?&quot;. I'm sure all of you have been there tons of times :D&#xD;&#xA;What do you guys use for this? Under 150€/180$ would be nice&#xD;&#xA;I've been looking into the [SHURE SCL2-K][1]   &#xD;&#xA;&#xD;&#xA;[![Shure SCL2-K][2]][1]&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.thomann.de/gb/shure_scl2k.htm&#xD;&#xA;  [2]: http://images1.thomann.de/pics/prod/119528.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1953" PostHistoryTypeId="6" PostId="1023" RevisionGUID="5a0766a5-887f-405c-8e51-d002cbc62f7b" CreationDate="2010-05-12T06:27:07.683" UserDisplayName="user80" Comment="added 84 characters in body; edited tags" Text="&lt;field&gt;&lt;stealth&gt;&lt;recording&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1954" PostHistoryTypeId="2" PostId="1046" RevisionGUID="1ec0be66-94fe-4a4c-b8c4-75c4fe3e5f5e" CreationDate="2010-05-12T07:58:37.263" UserId="221" Text="My post studio is an HD2 with a 192 interface. I could do most of what I do with an LE rig but prefer the security of the HD rig. In the studio I have 2 Focusrite Trackmaster Pro units for recordings voiceovers etc. &#xD;&#xA;&#xD;&#xA;The other reason I prefer my HD rig is when I do music recording, not having latency to battle with makes tracking so much easier. I have a Focusrite Octopre for mics when I a recording music and again I prefer the hassle of taking my HD rig with me rather than work with an LE rig.&#xD;&#xA;&#xD;&#xA;I have an LE rig based around a MacBook Pro with an Mbox Pro and a 002R. For simple speech work I will often use the mic preamps in the 002R but if it is more complex then I will use the Octopre and go into the 002R via the optical port.&#xD;&#xA;&#xD;&#xA;As to monitoring I use BBC LS3/5a speakers together with a small active sub to cover the low end. On the road I will either take a pair of the LS3/5a speakers or I use my Sony MDR-7509 headphones.&#xD;&#xA;&#xD;&#xA;Regarding outboard gear I have very little now. I don't use a mixer at all now other than a Behringer line mixer as a 'soft router' on the rare occasions I need to play something into Pro Tools in real time.&#xD;&#xA;&#xD;&#xA;When I do an ISDN session I have a template session in Pro Tools to create the appropriate clean feed and monitoring. With plug-ins and a reasonable amount of I/O there is very little need for any other outboard gear.&#xD;&#xA;&#xD;&#xA;I hope that helps.&#xD;&#xA;&#xD;&#xA;Mike." ContentLicense="CC BY-SA 2.5" />
  <row Id="1955" PostHistoryTypeId="2" PostId="1047" RevisionGUID="6bfc3940-36f2-4822-beed-1f9f35c85de8" CreationDate="2010-05-12T08:02:13.317" UserId="221" Text="My room isn't big enough for anything other than nearfields. Working in the UK, I use BBC LS 3/5a speakers with a small active sub to supplement the low end and it works well. On the road I either take a pair of the BBC boxes or use my Sony MDR-709 headphones." ContentLicense="CC BY-SA 2.5" />
  <row Id="1956" PostHistoryTypeId="2" PostId="1048" RevisionGUID="9935ea3b-cddb-4959-8d6c-06bc7f1b4bf4" CreationDate="2010-05-12T08:30:14.367" UserId="142" Text="I think some of you may find this video interesting for the sound recording &#xD;&#xA;[link text][1]&#xD;&#xA;My question is, does anybody use Earthworks microphones on here as I am thinking of investing in a pair. On this vid they can apparently pic up the sounds of ants walking on foil and squeaking. Also I am told they have zero handling noise which would be very useful. The ones I am interested in are the QTC30 and M30 models. Thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=VFWgJjKQ2Jo&amp;feature=related" ContentLicense="CC BY-SA 2.5" />
  <row Id="1957" PostHistoryTypeId="1" PostId="1048" RevisionGUID="9935ea3b-cddb-4959-8d6c-06bc7f1b4bf4" CreationDate="2010-05-12T08:30:14.367" UserId="142" Text="Has anybody used Earthworks microphones for sound effects" ContentLicense="CC BY-SA 2.5" />
  <row Id="1958" PostHistoryTypeId="3" PostId="1048" RevisionGUID="9935ea3b-cddb-4959-8d6c-06bc7f1b4bf4" CreationDate="2010-05-12T08:30:14.367" UserId="142" Text="&lt;recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1959" PostHistoryTypeId="2" PostId="1049" RevisionGUID="0b0216f3-1ae4-4f28-999f-f4a9cdbe00c5" CreationDate="2010-05-12T08:41:14.753" UserId="40" Text="They did make a custom mic once for the ants walking thing.  If you're looking to capture low volume sounds, there was a thread about that here:&#xD;&#xA;[http://socialsounddesign.com/questions/220/how-to-capture-very-low-volume-sounds][1]&#xD;&#xA;&#xD;&#xA;I haven't used an Earthworks mic for SFX before, but I've used them for many other things.  I've never been disappointed.  Basically no self noise.  Never noticed if it did or didn't have any handling noise.  I have a TC30.  I may try it out on some SFX.  Do you have anything specific you were wondering if it worked with?  I can try some demo stuff for you if you're interested.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/220/how-to-capture-very-low-volume-sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="1960" PostHistoryTypeId="2" PostId="1050" RevisionGUID="521ead31-57c0-4460-aefa-2ae6632e709c" CreationDate="2010-05-12T08:42:33.477" UserId="61" Text="Timely post - I have been considering these as well. The [specs][1] look amazing. One thing to note is that the [original TC versions][2] apparently have high self-noise, so it's good that you're looking into the QTC series instead.&#xD;&#xA;&#xD;&#xA;I have no experience with them but can't imagine why they wouldn't be outstanding for FX, Foley, or ambience recording.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.earthworksaudio.com/6.html&#xD;&#xA;  [2]: http://www.earthworksaudio.com/9.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="1961" PostHistoryTypeId="5" PostId="1049" RevisionGUID="91aa5c9f-7e64-4b7e-8b99-019fb8c4072b" CreationDate="2010-05-12T08:46:32.367" UserId="40" Comment="edited body" Text="They did make a custom mic once for the ants walking thing.  If you're looking to capture low volume sounds, there was a thread about that here:&#xD;&#xA;[http://socialsounddesign.com/questions/220/how-to-capture-very-low-volume-sounds][1]&#xD;&#xA;&#xD;&#xA;I haven't used an Earthworks mic for SFX before, but I've used them for many other things.  I've never been disappointed.  Basically no self noise.  Never noticed if it did or didn't have any handling noise.  I have an M30.  I may try it out on some SFX.  Do you have anything specific you were wondering if it worked with?  I can try some demo stuff for you if you're interested.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/220/how-to-capture-very-low-volume-sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="1962" PostHistoryTypeId="2" PostId="1051" RevisionGUID="6fc10c18-c30b-4c2a-9f59-3754113166db" CreationDate="2010-05-12T08:47:01.727" UserId="62" Text="My mix studio at work is a HD2 PT8.0.3 system with a ProControl, 192, SyncHD, Focusrite8 pre-amp, BSS DPR-402 compressor and use either Neumann TLM103 or 170 mics and ATC monitoring. It's a mixing system for large format cartoons and television and does a great job in my opinion.&#xD;&#xA;&#xD;&#xA;At home I have my own iMac G5, PT7.3LE, MBox2 and a pair of Genelec 8030s. It doesn't have the power of my work system but only recently I did the sound design and mix on it for a friend's short film and it performed excellently.&#xD;&#xA;&#xD;&#xA;I also do some editing work from home for work and use their MacBook Pro with an MBox2 Mini and Genelec 8020s on my kitchen table and for basic things like cutting sound it's a great way to be at home and still work. It's especially useful when I need to work late or look after my ill wife.&#xD;&#xA;&#xD;&#xA;To me all those systems have their advantages, it depends on what I need to do. I wouldn't dream of cleaning up location recordings at home as I don't have the monitoring for example. I think the cheaper systems are great for giving me some flexibility in where I work and also to do my own personal projects on the side. If I need lots of power then there are ways to use a small LE system (powerful computers and use RTAS plugins) to do jobs but I believe in the right tool for the right job." ContentLicense="CC BY-SA 2.5" />
  <row Id="1963" PostHistoryTypeId="2" PostId="1052" RevisionGUID="8d0304b9-93ad-4306-9cd8-90b03b71c182" CreationDate="2010-05-12T08:47:14.433" UserId="202" Text="&#xD;&#xA;I used the waves one and now i'm trying the Eiosis E2deesser: i found its approch really interesting and natural sounding. I use a combination of that plugin and multiband compression.&#xD;&#xA;I read about the sonnox, but used only for few hours.&#xD;&#xA;&#xD;&#xA;what do you use?&#xD;&#xA;davide&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1964" PostHistoryTypeId="1" PostId="1052" RevisionGUID="8d0304b9-93ad-4306-9cd8-90b03b71c182" CreationDate="2010-05-12T08:47:14.433" UserId="202" Text="What's your preferred de-esser plugin?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1965" PostHistoryTypeId="3" PostId="1052" RevisionGUID="8d0304b9-93ad-4306-9cd8-90b03b71c182" CreationDate="2010-05-12T08:47:14.433" UserId="202" Text="&lt;plug-ins&gt;&lt;deesser&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1966" PostHistoryTypeId="2" PostId="1053" RevisionGUID="596dd082-c4bb-4fa5-a119-2a000f870b9d" CreationDate="2010-05-12T08:49:38.217" UserId="62" Text="In my mix studio I have a pair of ATC SCM100s but I always spot check my work on the TV and in mono. I don't check my work in lots of places as I don't have time. I did some checking like that when I started work here but now I just trust that what I do will work as I know how my mixes sound elsewhere." ContentLicense="CC BY-SA 2.5" />
  <row Id="1967" PostHistoryTypeId="2" PostId="1054" RevisionGUID="bf69e459-8c28-49ce-a509-f6f2f0f7c274" CreationDate="2010-05-12T08:49:42.320" UserId="61" Text="Seems our sound design forum is leaning more and more towards gear and technique these days…which is actually pretty great because sound design occurs not only in the box but out in the world.&#xD;&#xA;&#xD;&#xA;Has anyone had much experience with PZMs in the field? My objective is to record ambiences and ambient FX using a pair of PZMs but don't know of the proper way to go about it. One way would be to tape them together, back-to-back, with a large boundary between them (say a piece of plywood, an old door, etc.) From what I remember, the larger the boundary, the more bass response you'll achieve. Another approach would be to lay them on the ground with a fixed distance between them, kind of simulating a spaced-pair effect.&#xD;&#xA;&#xD;&#xA;Thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1968" PostHistoryTypeId="1" PostId="1054" RevisionGUID="bf69e459-8c28-49ce-a509-f6f2f0f7c274" CreationDate="2010-05-12T08:49:42.320" UserId="61" Text="PZMs for ambience recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1969" PostHistoryTypeId="3" PostId="1054" RevisionGUID="bf69e459-8c28-49ce-a509-f6f2f0f7c274" CreationDate="2010-05-12T08:49:42.320" UserId="61" Text="&lt;recording&gt;&lt;microphone&gt;&lt;techniques&gt;&lt;pzm&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1970" PostHistoryTypeId="6" PostId="1048" RevisionGUID="37aa05e2-5b89-4e2b-8726-86d155710f48" CreationDate="2010-05-12T08:50:25.627" UserId="61" Comment="edited tags" Text="&lt;recording&gt;&lt;microphone&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1971" PostHistoryTypeId="2" PostId="1055" RevisionGUID="5cd686ae-326f-4c3f-94b3-ed1a9636efc1" CreationDate="2010-05-12T08:51:12.960" UserId="62" Text="For my student film I needed the sound of someone falling down a set of stairs in a house. I tried everything I could think of to recreate but nothing sounded any good. So I threw myself down and recorded that. Sounded great.&#xD;&#xA;&#xD;&#xA;One needs to suffer for their art after all ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="1972" PostHistoryTypeId="2" PostId="1056" RevisionGUID="5b7a9069-7296-433a-8944-ce592c3a33ab" CreationDate="2010-05-12T08:55:50.557" UserId="40" Text="I used to use PZMs in the studio a lot, taping them to the glass about 4 feet apart.  Got a pretty cool stereo image, and great response.  Might translate well into the world.  If you find somewhere that'll let you gaff two PZMs to a window and grab ambience in that area.  If not, you could try taping them to your car windows.&#xD;&#xA;&#xD;&#xA;Placing them on the ground might be an interesting technique.  Don't know how much different the ambience would sound from that perspective.  I'd be interested to hear it.&#xD;&#xA;&#xD;&#xA;Which PZMs do you use?  I have the most experience with Crowns" ContentLicense="CC BY-SA 2.5" />
  <row Id="1973" PostHistoryTypeId="2" PostId="1057" RevisionGUID="b0f4b0b7-538e-4b1d-9a09-a69e50bbccb1" CreationDate="2010-05-12T08:56:58.713" UserId="185" Text="This is also a really nice article:&#xD;&#xA;&#xD;&#xA;http://www.schoeps.de/PDFs/SCHOEPS_surround-brochure.pdf&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1974" PostHistoryTypeId="2" PostId="1058" RevisionGUID="e4d09ab4-7155-4d05-842f-75b3d700e367" CreationDate="2010-05-12T08:57:29.510" UserId="40" Text="Only ever used the Waves one and the one built into Logic.  Don't really use a de-esser that often, but I've always liked the one built into Logic better.&#xD;&#xA;&#xD;&#xA;If I'm doing music, I often manually de-ess in PT.&#xD;&#xA;&#xD;&#xA;What are you using it for?  Dialogue or singing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="1975" PostHistoryTypeId="2" PostId="1059" RevisionGUID="282402a5-b1af-4f65-b89a-d38740a33058" CreationDate="2010-05-12T09:58:48.527" UserDisplayName="user80" Text="My favourite boundary mics are the [Crown PCC 160][1], it is a slightly different principle from the PZM in that the angle is different (parallel rather than right angled).  I have suspended them in mid air, gaffa/duck taped them to walls, stage floors, pieces of wood on music stands, piano lids, doors.  When I want to use them for stereo I treat them as an AB pair, but you could try treating them like a [Jecklin disc][2] or [Optimum Stereo Signal][3] but removing the absorption.&#xD;&#xA;&#xD;&#xA;[![Jecklin disc][4]][3]&#xD;&#xA;&#xD;&#xA;[1]: http://www.akg.com/site/products/powerslave,id,1097,pid,1097,nodeid,2,_language,EN.html&#xD;&#xA;[2]: http://en.wikipedia.org/wiki/Jecklin_Disk&#xD;&#xA;[3]: http://www.josephson.com/tn5.html&#xD;&#xA;[4]: http://www.josephson.com/jdisk.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="1976" PostHistoryTypeId="5" PostId="1052" RevisionGUID="4029cf66-9703-4b5f-9cb3-8261e99a7e7e" CreationDate="2010-05-12T10:16:32.870" UserDisplayName="user80" Comment="Added tags" Text="I used the waves one and now i'm trying the Eiosis E2deesser: I found its approach really interesting and natural sounding. I use a combination of that plugin and multiband compression.&#xD;&#xA;&#xD;&#xA;I have read about the sonnox, but used it only for a few hours.&#xD;&#xA;&#xD;&#xA;What do you use?&#xD;&#xA;&#xD;&#xA;Davide&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1977" PostHistoryTypeId="6" PostId="1052" RevisionGUID="4029cf66-9703-4b5f-9cb3-8261e99a7e7e" CreationDate="2010-05-12T10:16:32.870" UserDisplayName="user80" Comment="Added tags" Text="&lt;plug-ins&gt;&lt;de-esser&gt;&lt;mix&gt;&lt;software&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1978" PostHistoryTypeId="2" PostId="1060" RevisionGUID="c055d50c-e734-448b-bf69-07aa529487f6" CreationDate="2010-05-12T10:17:15.507" UserId="221" Text="Wave Renaissance De-esser is my favourite.&#xD;&#xA;&#xD;&#xA;Mike.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1979" PostHistoryTypeId="2" PostId="1061" RevisionGUID="fe77b0b2-228a-4557-8526-a789a468d308" CreationDate="2010-05-12T13:02:33.417" UserId="29" Text="I did this with a pair of DPA 4060 lavs in boundary layer mounts to record urban ambience on a city block. You can read the results [here][1]. Not the same as dedicated PZMs but perhaps a similar enough principle that this could get you thinking about the possibilities.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2010/04/18/ambiences-with-boundary-mics/" ContentLicense="CC BY-SA 2.5" />
  <row Id="1980" PostHistoryTypeId="2" PostId="1062" RevisionGUID="2e2be9a1-f626-4fe0-91f6-5f4a8b29f381" CreationDate="2010-05-12T13:06:03.600" UserId="29" Text="The entirety of the field recordings for Amon Tobin's Foley Room LP were made with a Nagra and a pair of Earthworkds QTCs, all handheld. Seems like a killer tool for certain purposes...huh, wonder why these didn't come up in the [Recording Low Volume Sounds][1] thread...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/220/how-to-capture-very-low-volume-sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="1981" PostHistoryTypeId="5" PostId="1048" RevisionGUID="1af1d259-b8bc-4d6c-8053-0754eb707900" CreationDate="2010-05-12T13:55:48.767" UserDisplayName="user80" Comment="Added weblinks and image" Text="I think some of you may find this video interesting for the sound recording &#xD;&#xA;[link text][1]&#xD;&#xA;&#xD;&#xA;My question is, does anybody use [Earthworks][4] microphones on here as I am thinking of investing in a pair. On this video they can apparently pic up the sounds of ants walking on foil and squeaking. Also I am told they have zero handling noise which would be very useful. The ones I am interested in are the [QTC30][2] and [M30][3] models. Thanks&#xD;&#xA;&#xD;&#xA;[![Earthworks][5]][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=VFWgJjKQ2Jo&amp;feature=related&#xD;&#xA;  [2]: http://www.earthworksaudio.com/8.html&#xD;&#xA;  [3]: http://www.earthworksaudio.com/27.html&#xD;&#xA;  [4]: http://www.earthworksaudio.com/&#xD;&#xA;  [5]: http://www.earthworksaudio.com/graphics/8qtc30.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="1982" PostHistoryTypeId="6" PostId="1048" RevisionGUID="1af1d259-b8bc-4d6c-8053-0754eb707900" CreationDate="2010-05-12T13:55:48.767" UserDisplayName="user80" Comment="Added weblinks and image" Text="&lt;recording&gt;&lt;microphone&gt;&lt;techniques&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1983" PostHistoryTypeId="5" PostId="1062" RevisionGUID="4f48e4da-a20b-491d-bb2b-b97b4278ba44" CreationDate="2010-05-12T14:53:18.153" UserId="29" Comment="Added Amon Tobin video link" Text="The entirety of the field recordings for Amon Tobin's Foley Room LP ([behind the scenes video][1])were made with a Nagra and a pair of Earthworkds QTCs, all handheld. Seems like a killer tool for certain purposes...huh, wonder why these didn't come up in the [Recording Low Volume Sounds][2] thread...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=VFWgJjKQ2Jo&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/220/how-to-capture-very-low-volume-sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="1984" PostHistoryTypeId="2" PostId="1063" RevisionGUID="256d76a2-ad80-46cb-a109-f8294059da48" CreationDate="2010-05-12T15:26:27.213" UserId="250" Text="I actually just started using iZotope Alloy and find its de-esser to be quite good and versatile (for more than just Ss).&#xD;&#xA;&#xD;&#xA;--jpf&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1985" PostHistoryTypeId="2" PostId="1064" RevisionGUID="44edd4ae-1aee-49cf-ba97-7544a8148b77" CreationDate="2010-05-12T15:27:39.350" UserId="250" Text="The Avantone Mix Cubes are my mono and real-world reference of choice.&#xD;&#xA;&#xD;&#xA;--jpf&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1986" PostHistoryTypeId="2" PostId="1065" RevisionGUID="5f7ecbcd-aae3-4ebb-abcd-0afa6c4bdf64" CreationDate="2010-05-12T15:30:07.293" UserId="202" Text="hi&#xD;&#xA;is it possible to create fake 3d sound panning (like with headphone and htrs) with a standard 5.1 system?  &#xD;&#xA;i think no, never heard of any tool or technique that can allow that... &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1987" PostHistoryTypeId="1" PostId="1065" RevisionGUID="5f7ecbcd-aae3-4ebb-abcd-0afa6c4bdf64" CreationDate="2010-05-12T15:30:07.293" UserId="202" Text="3d sound from 5.1 (dolby cinema) speaker system" ContentLicense="CC BY-SA 2.5" />
  <row Id="1988" PostHistoryTypeId="3" PostId="1065" RevisionGUID="5f7ecbcd-aae3-4ebb-abcd-0afa6c4bdf64" CreationDate="2010-05-12T15:30:07.293" UserId="202" Text="&lt;5.1&gt;&lt;3d&gt;&lt;panning&gt;&lt;dolby&gt;&lt;cinema&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1989" PostHistoryTypeId="2" PostId="1066" RevisionGUID="25f94ea1-1ecf-460a-9e60-8bbf4df9545f" CreationDate="2010-05-12T15:31:12.220" UserId="250" Text="I've had some success with binaural using some stealthy mics from Core Sound. It's not for everything, but good for sneaky ambience recordings and such.&#xD;&#xA;&#xD;&#xA;--jpf" ContentLicense="CC BY-SA 2.5" />
  <row Id="1990" PostHistoryTypeId="2" PostId="1067" RevisionGUID="95d39602-80c9-4ca2-8a41-8bdf48cdeded" CreationDate="2010-05-12T15:49:10.123" UserId="40" Text="No, you really need a binaural system to allow that.  You can simulate the illusion of height on a 5.1 system with different EQ techniques and delays (which is how binaural audio works), but since every speaker in a 5.1 system reaches both of your ears, and you can never truly isolate them without headphones, you cannot fully create height." ContentLicense="CC BY-SA 2.5" />
  <row Id="1991" PostHistoryTypeId="2" PostId="1068" RevisionGUID="07b1fb2c-c1d5-4998-a2b1-421c2cf73eb2" CreationDate="2010-05-12T15:59:30.850" UserId="62" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I'm wondering if anyone has made use of a library that contains lots of nice large rock slides, scrapes and impacts? We have the 6000 and DigiSeries at work and although they are pretty comprehensive I'm so bored of them.&#xD;&#xA;&#xD;&#xA;We're doing a cartoon that's going to need a lot of them. I had suggested we bought the Sound Ideas Skywalker library but it'd be good to demo them all first (plus they are low audio spec).&#xD;&#xA;&#xD;&#xA;My question might be answered if anyone had had the idea and was about to release a prosumer/boutique library that fitted my requirements (I'm too busy to make my own extensive one at the moment or I would)?&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="1992" PostHistoryTypeId="1" PostId="1068" RevisionGUID="07b1fb2c-c1d5-4998-a2b1-421c2cf73eb2" CreationDate="2010-05-12T15:59:30.850" UserId="62" Text="Sound effects library that is full of big rocks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1993" PostHistoryTypeId="3" PostId="1068" RevisionGUID="07b1fb2c-c1d5-4998-a2b1-421c2cf73eb2" CreationDate="2010-05-12T15:59:30.850" UserId="62" Text="&lt;library&gt;&lt;rocks&gt;&lt;prosumer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="1994" PostHistoryTypeId="2" PostId="1069" RevisionGUID="024bf0d9-0275-4a83-be72-2b40c2d68441" CreationDate="2010-05-12T16:08:02.110" UserId="40" Text="Chuck Russom ([http://www.chuckrussomfx.com/][1] is releasing one next week in the &quot;Boutique&quot; library format.  Small, specialized, and affordable.  He just posted a few behind the scenes videos here:  [http://www.vimeo.com/crussom][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.chuckrussomfx.com/&#xD;&#xA;  [2]: http://www.vimeo.com/crussom" ContentLicense="CC BY-SA 2.5" />
  <row Id="1995" PostHistoryTypeId="2" PostId="1070" RevisionGUID="b07ec152-74eb-4062-a5b9-5a4829e414f0" CreationDate="2010-05-12T17:09:21.870" UserId="100" Text="That's a interesting goal, since my first solution would be to really pan in 3D, since it's 5.1. Moving to 7.1, or even Tomlinson Holman's 10.2 setup would allow for even more manipulation of 3D panning.&#xD;&#xA;&#xD;&#xA;![10.2 Surround Diagram][1]&#xD;&#xA;&#xD;&#xA;As far as tools to fake 3D in surround, I found something by AstoundSound that they call [4D Technology][2] which they claim can replicate 3D sound in dual channel, as well as multi-channel sources ([demo available for download][3]).&#xD;&#xA;&#xD;&#xA;As always, [my favorite, never-wrong source of information][4] offers more places you can look.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://upload.wikimedia.org/wikipedia/commons/thumb/4/48/Sound-10_2.svg/300px-Sound-10_2.svg.png&#xD;&#xA;  [2]: http://www.genaudioinc.com/technology.php&#xD;&#xA;  [3]: http://www.genaudioinc.com/download/&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/3D_audio_effect#Some_products" ContentLicense="CC BY-SA 2.5" />
  <row Id="1996" PostHistoryTypeId="2" PostId="1071" RevisionGUID="c4964fba-10d7-4c2d-b907-c94baaa38c30" CreationDate="2010-05-12T17:11:07.837" UserId="61" Text="Definitely check out Chuck's library when it is released. But I would also urge you to record as much as you can yourself. With rocks, you're dealing with something that you can do indoors on a foley stage by yourself, so it's not too labor intensive or expensive. Or go out and find a remote area where you can push a bunch of rocks around or over cliffs, etc. (without hurting anyone or yourself!). If you record at 192k with a couple of decent mics you'll get some great material and build your library at the same time. Nothing beats a kit of custom recorded sounds.&#xD;&#xA;&#xD;&#xA;Also remember that the biggest rocks will not always make the biggest sounds. I've learned this through experience - sometimes it's the small stuff, recorded at high resolutions and then pitched down, that will yield the monster sound you're looking for. " ContentLicense="CC BY-SA 2.5" />
  <row Id="1997" PostHistoryTypeId="2" PostId="1072" RevisionGUID="dadaef09-6d76-4f02-aeac-6da4e959e938" CreationDate="2010-05-12T17:28:02.257" UserId="18" Text="To echo what the other guys said. I'm putting the finishing touches on my rock library now for release next week. If you sign up for my mailing list, you'll get an email as soon as it is ready: chuckrussomfx.com/mail.php I went out to the desert on 2 occasions, recorded at 192K, and tried to get as much rock action as I could, so there should be at lease a few hundred rock sounds in the finished library.  It was very tiring!" ContentLicense="CC BY-SA 2.5" />
  <row Id="1998" PostHistoryTypeId="2" PostId="1073" RevisionGUID="8d252426-b0ae-48b0-93ca-008addb698f7" CreationDate="2010-05-12T20:36:24.057" UserId="246" Text="This one seems to use meta-control of common spatial cues to &quot;fake&quot; 3D on surround setups.&#xD;&#xA;[link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://im-research.com/products/designer/&#xD;&#xA;Haven't tried it myself" ContentLicense="CC BY-SA 2.5" />
  <row Id="1999" PostHistoryTypeId="2" PostId="1074" RevisionGUID="00d2c2a1-a5ac-4605-a933-002b13911230" CreationDate="2010-05-12T23:16:45.467" UserId="18160" Text="I use Oxford Suppressor.&#xD;&#xA;&#xD;&#xA;I also use VST Dynamic EQ on offending frequencies.&#xD;&#xA;&#xD;&#xA;I also use outboard DBX 902 as I mainly mix in Analog. The summing of my board still sounds better than Pro Tools' summing mixer.&#xD;&#xA;&#xD;&#xA;But, my favorite De-Esser is either the Oxford EQ (manually EQing each S, T, K and C) or the Gain plug-in to manually bring down the volume.&#xD;&#xA;&#xD;&#xA;Adobe Audition has an awesome Dynamic Processor which you can compress a specific range and leave the rest untouched.&#xD;&#xA;&#xD;&#xA;At the moment, I am experimenting with all sorts of strip-silence and beat-detective and region-group macros in Pro Tools to be able to get the quality of manual de-essing in a long-format like an Audiobook or long narration VO.&#xD;&#xA;&#xD;&#xA;On a 3 minute song or a 1-minute radio ad, I manually shape the sibilance the way I want it because an auto-de-essing plugin/equipment messes with the voice too much IMO.&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="2001" PostHistoryTypeId="2" PostId="1076" RevisionGUID="ba57e9df-d082-41bc-bbf5-74bf8dec9c5d" CreationDate="2010-05-13T04:34:12.797" UserId="275" Text="A couple years back I was working on a movie in northern Minnesota about a grandfather teaching his grandson how to harvest wild rice.  We had a couple shots where the two guys delivered some dialogue while paddling their canoe through a rice paddy.  Originally the plan was to put the camera and audio folks on a pontoon boat and get close enough for the shot.  But, the lake water was a bit too choppy for a smooth video shot and we had some trouble with getting close enough for the shot due to the rice fields.  So, the DP/Camera op and myself put on waders, grabbed a couple 6 step ladders and trekked out about 300 feet into the lake.  Luckily nothing got dropped into the water and we got the shot with clean dialogue!&#xD;&#xA;&#xD;&#xA;I have a photo of it on my website:  www.matthewfreed.com&#xD;&#xA;Go to photos and it's the 5th one down.  &#xD;&#xA;&#xD;&#xA;This summer I'll be working on a movie that has both WWII and Iraq battle scenes with planes, tanks, armored personnel carriers, guns, and lots of explosions.  I hope I don't hurt myself or my gear! " ContentLicense="CC BY-SA 2.5" />
  <row Id="2002" PostHistoryTypeId="5" PostId="1024" RevisionGUID="7d966232-9fba-4470-8d62-3e7f51ebc162" CreationDate="2010-05-13T05:30:22.250" UserDisplayName="user80" Comment="Added weblinks and images" Text="If you're on a budget, I HIGHLY recommend the [Altec Lansing UHP336][1] in-ears.  They are [$40 on amazon.com][3] here.  They are rebranded [Ultimate Ears SuperFi 3 Studio][4] in-ears, which normally sell for [$99 or more on amazon.com][5].  For the price, you can't beat them.  I've owned the [SuperFi 3's][4] for a few years now and really enjoyed the full range they have.&#xD;&#xA;&#xD;&#xA;[![Altec Lansing UHP336][2]][1]&#xD;&#xA;&#xD;&#xA;The only caveat would be the size of the part that goes in your ear canal - it's a little larger in this model than it would be in [Shures][7].  It will only be a problem if you have extremely tiny ear canals, but I thought I would mention it.&#xD;&#xA;&#xD;&#xA;[![Ultimate Ears SuperFi 3 Studio][6]][5]&#xD;&#xA;&#xD;&#xA;[1]: http://www.alteclansing.com/index.php?file=north_product_detail&amp;iproduct_id=uhp336&#xD;&#xA;[2]: http://www.alteclansing.com/image_na.php?image=uhp336.jpg&#xD;&#xA;[3]: http://www.amazon.com/Altec-Lansing-UHP336-Snugfit-Earphone/dp/B000Q7IA5E/ref=sr_1_1?ie=UTF8&amp;s=electronics&amp;qid=1273728182&amp;sr=8-1&#xD;&#xA;[4]: http://www.ultimateears.com/_ultimateears/store/products/superfi3studio.php&#xD;&#xA;[5]: http://www.amazon.com/Ultimate-Ears-SuperFi-Isolating-Earphones/dp/B000B5XU06/ref=sr_1_1?ie=UTF8&amp;s=electronics&amp;qid=1273728335&amp;sr=1-1&#xD;&#xA;[6]: http://ecx.images-amazon.com/images/I/41ok%2BdAAPsL._AA300_.jpg&#xD;&#xA;[7]: http://www.shure.com/europe/products/earphones-headphones/se-models/index.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="2003" PostHistoryTypeId="2" PostId="1077" RevisionGUID="1a6839b1-432f-4d95-af88-d4c43b698921" CreationDate="2010-05-13T07:07:23.660" UserId="275" Text="I've been using Nuendo on a PC for quite a few years. Nuendo is a fantastic program and blows away Protools when doing audio for video. The inherent tools in Nuendo (OMF, EQ, lanes, SFX search) are far better than PT. Nuendo is about $1800 new for the software and you can use any hardware with it. PC's can be tricky and I do prefer Mac's operating system for stability and usability. &#xD;&#xA;&#xD;&#xA;If you plan on doing much audio for video down the road investing in either PT or Nuendo will save you time, money, and headaches. Not to mention clients will take you more seriously. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2004" PostHistoryTypeId="2" PostId="1078" RevisionGUID="26abcef2-f05d-4d80-8602-22faf563724d" CreationDate="2010-05-13T08:18:11.927" UserId="62" Text="Genius! Perfect timing. Will tell my boss that we should buy it. Already subscribed to your list after you posted your metal library.&#xD;&#xA;&#xD;&#xA;I have to say I'm am loving this idea of mini-libraries. If you need a specific thing it's perfect as you don't need to spend hundreds on a large all encompassing library when you're only after a few. Especially true if you've already got some of those large libraries.&#xD;&#xA;&#xD;&#xA;Cheers guys!&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="2005" PostHistoryTypeId="5" PostId="1037" RevisionGUID="76a515ff-6f8a-49fd-bace-d87bd41fa3e5" CreationDate="2010-05-13T10:19:11.183" UserDisplayName="user80" Comment="Added weblinks and image" Text="I've been very happy with my [Pro Tools 8.0.3][1] [HD3][2] and [192 I/O][3]. It gives me the same level of horsepower and flexibility that I'm used to at the big studio sound departments. For samplers I'm staying in the box with [Structure][4] for now.&#xD;&#xA;&#xD;&#xA;[![Avid Structure][5]][4]&#xD;&#xA;&#xD;&#xA;[1]: http://www.avid.com/US/products/Pro-Tools-8-Software&#xD;&#xA;[2]: http://www.avid.com/US/products/Pro-Tools-HD-3-Accel-Systems&#xD;&#xA;[3]: http://www.avid.com/US/products/192-IO&#xD;&#xA;[4]: http://www.avid.com/US/products/Structure/&#xD;&#xA;[5]: http://www.avid.com/static/resources/images/products/cw_m700xm700_structure.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2006" PostHistoryTypeId="2" PostId="1079" RevisionGUID="b405f390-cfe2-47fc-a634-ac8e4b0b3bf3" CreationDate="2010-05-13T13:10:25.987" UserId="255" Text="Ambisonics is quite an interesting one when it comes to &quot;3D&quot; sound, it allows you to create a full 3 dimensional sound field. It is essentially kindov an extension of the Blumlien ideas for stereo.&#xD;&#xA;&#xD;&#xA;It can use nearly any number of speakers to recreate the sound field, and probably more interesting for film it can easily be decoded to 5.1 and also create a stereo version with relative ease.&#xD;&#xA;&#xD;&#xA;Definitely worth a look at it anyway. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2007" PostHistoryTypeId="2" PostId="1080" RevisionGUID="dad2407b-1df7-4373-9857-7c7d7a3eb1d5" CreationDate="2010-05-13T13:12:37.483" UserId="142" Text="Just purchased iZotope RX and have to say that for the price this software is simply amazing. Would recommend it to anyone. A+" ContentLicense="CC BY-SA 2.5" />
  <row Id="2008" PostHistoryTypeId="2" PostId="1081" RevisionGUID="cf7af264-9b5c-4fad-8d1a-b7377a2c6b7f" CreationDate="2010-05-13T15:15:48.393" UserId="109" Text="Since 3d sound technically works on two speakers it can be used in 5.1 systems via 3d processing on either the front LR speakers or rear LsRs. I am using wavearts panorama 3d to create hight feel with sound effects in surround and using only the stereo field for these sounds with maybe a little wet reverb in opposite speakers. &#xD;&#xA;&#xD;&#xA;So I will have to disagree, 3d sound IS possible in a surround field. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2009" PostHistoryTypeId="5" PostId="875" RevisionGUID="9a15cac3-c3d5-43d2-80b5-4d457dcbcdaa" CreationDate="2010-05-13T17:06:14.520" UserId="100" Comment="Improved Formatting" Text="For those of you who have made sound design your career of choice, is there anything you would have done differently along the way? Are there certain choices you're especially glad you made? Would you rather have gone freelance/studio, film/games, east coast/west coast, local/international, analog/digital, etc.?&#xD;&#xA;&#xD;&#xA;More than anything, I'm interested in hindsight." ContentLicense="CC BY-SA 2.5" />
  <row Id="2010" PostHistoryTypeId="2" PostId="1082" RevisionGUID="837d4513-d5bc-4f92-8298-6afd6d0b86dd" CreationDate="2010-05-13T18:45:03.793" UserId="61" Text="Who has a favorite bracket for a pair of condensers they'd like to recommend? I'm thinking about either Oktavas or Earthworks, and would like the flexibility of recording in X-Y, ORTF and spaced pair in the field. Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2011" PostHistoryTypeId="1" PostId="1082" RevisionGUID="837d4513-d5bc-4f92-8298-6afd6d0b86dd" CreationDate="2010-05-13T18:45:03.793" UserId="61" Text="Favorite bracket for you favorite mics" ContentLicense="CC BY-SA 2.5" />
  <row Id="2012" PostHistoryTypeId="3" PostId="1082" RevisionGUID="837d4513-d5bc-4f92-8298-6afd6d0b86dd" CreationDate="2010-05-13T18:45:03.793" UserId="61" Text="&lt;microphone&gt;&lt;gear&gt;&lt;field-recording&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2013" PostHistoryTypeId="5" PostId="1082" RevisionGUID="e54eb34e-d2fd-430f-b204-f923896d71ab" CreationDate="2010-05-13T19:20:06.083" UserId="61" Comment="spelling, add'l info" Text="Who has a favorite bracket for a pair of condensers they'd like to recommend? I'm thinking about either Oktavas or Earthworks, and would like the flexibility of recording in X-Y, ORTF and spaced pair in the field. Zeppelins and Rycote fuzzies would be good to accommodate, as well. Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2014" PostHistoryTypeId="4" PostId="1082" RevisionGUID="e54eb34e-d2fd-430f-b204-f923896d71ab" CreationDate="2010-05-13T19:20:06.083" UserId="61" Comment="spelling, add'l info" Text="Favorite bracket for your favorite mics" ContentLicense="CC BY-SA 2.5" />
  <row Id="2015" PostHistoryTypeId="5" PostId="684" RevisionGUID="364f9354-3d53-4387-882f-19cdd13a2e99" CreationDate="2010-05-13T19:24:54.250" UserId="90" Comment="added 330 characters in body" Text="&quot;I was told to use a sound file that is a click followed by a sine sweep, followed by another click.&quot;&#xD;&#xA;&#xD;&#xA;Hmmm... Who told you that?  If you record the response to a click, then that *is* the impulse response.  It's literally the response of a room to an impulsive noise, like a click.  No deconvolution or other processing necessary.  You then convolve your music with the impulse response, and it will sound as if you had played the music in the space instead of the click.  &#xD;&#xA;&#xD;&#xA;You probably want to use a dedicated clicker, though, rather than a speaker.  You want the sound as close to an ideal impulse as possible, not filtered through a speaker's frequency and phase response.  You want it to sound as if your performer is actually in the cathedral, not like you're playing a boombox of their CD inside a cathedral.  You also want it as loud as possible (without clipping), so that the signal-to-noise ratio of your recording is high.&#xD;&#xA;&#xD;&#xA;You can also derive the impulse response from a sine sweep or other signal by deconvolving first, but (ideally) it's going to produce the exact same thing as the straight impulse response.  Practically, one method might produce better results than the other.  See [Wikipedia][1]&#xD;&#xA;&#xD;&#xA;See [here][2] for the use of maximum-length sequences to measure impulse responses.  These work like a chirp, but better.&#xD;&#xA;&#xD;&#xA;And remember you can record from two microphones at once to get a stereo image of the response.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Convolution_reverb#Creation_of_impulse_responses&#xD;&#xA;  [2]: http://www.silcom.com/~aludwig/Signal_processing/Maximum_length_sequences.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="2016" PostHistoryTypeId="5" PostId="684" RevisionGUID="7905983b-60f8-4969-8ff8-80a82911330c" CreationDate="2010-05-13T19:33:29.593" UserId="90" Comment="added 57 characters in body" Text="&quot;I was told to use a sound file that is a click followed by a sine sweep, followed by another click.&quot;&#xD;&#xA;&#xD;&#xA;Hmmm... Who told you that?  If you record the response to a click, then that *is* the impulse response.  It's literally the response of a room to an impulsive noise, like a click.  No deconvolution or other processing necessary.  You then convolve your music with the impulse response, and it will sound as if you had played the music in the space instead of the click.  &#xD;&#xA;&#xD;&#xA;You probably want to use a dedicated clicker, though, rather than a speaker.  You want the sound as close to an ideal impulse as possible, not filtered through a speaker's frequency and phase response.  You want it to sound as if your performer is actually in the cathedral, not like you're playing a boombox of their CD inside a cathedral.  You also want it as loud as possible (without clipping), so that the signal-to-noise ratio of your recording is high.&#xD;&#xA;&#xD;&#xA;You can also derive the impulse response from a sine sweep or other signal by deconvolving first, but (ideally) it's going to produce the exact same thing as the straight impulse response.  Practically, one method might produce better results than the other.  See [Wikipedia][1]&#xD;&#xA;&#xD;&#xA;See [here][2] and [here][3] for the use of maximum-length sequences to measure impulse responses.  These work like a chirp, but better.&#xD;&#xA;&#xD;&#xA;And remember you can record from two microphones at once to get a stereo image of the response.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Convolution_reverb#Creation_of_impulse_responses&#xD;&#xA;  [2]: http://www.silcom.com/~aludwig/Signal_processing/Maximum_length_sequences.htm&#xD;&#xA;  [3]: http://www.libinst.com/mlsmeas.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="2017" PostHistoryTypeId="2" PostId="1083" RevisionGUID="e9241ffe-8336-4ff3-b703-6708e8aeec3a" CreationDate="2010-05-14T03:11:06.543" UserId="18160" Text="Here is a general question for field recording:&#xD;&#xA;&#xD;&#xA;Do you go to great length to try to position whatever you are recording for best acoustics and mic position?&#xD;&#xA;&#xD;&#xA;Let's say you're recording an elephant. He's in a pen and at one end of it there's a big barn. Would you try to get the elephant near the barn to get some early refs and &quot;liveness&quot; to the sound or would you try to bring him more out in the open?&#xD;&#xA;&#xD;&#xA;What mic position techniques do you have to record specific things? Or is it always dead-on? Do you go off-axis for recording a chainsaw for instance? How about a lion roar?&#xD;&#xA;&#xD;&#xA;For very loud SPL stuff do you walk closer/farther until it sounds good in your headphones? Do you use noise-cancelling headphones for field-recording?&#xD;&#xA;&#xD;&#xA;Music recording is my main background and I want to know if my knowledge of acoustics can help apply to field recording.&#xD;&#xA;&#xD;&#xA;Thanks - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="2018" PostHistoryTypeId="1" PostId="1083" RevisionGUID="e9241ffe-8336-4ff3-b703-6708e8aeec3a" CreationDate="2010-05-14T03:11:06.543" UserId="18160" Text="Mic Position and Acoustics" ContentLicense="CC BY-SA 2.5" />
  <row Id="2019" PostHistoryTypeId="3" PostId="1083" RevisionGUID="e9241ffe-8336-4ff3-b703-6708e8aeec3a" CreationDate="2010-05-14T03:11:06.543" UserId="18160" Text="&lt;field-recording&gt;&lt;recording&gt;&lt;acoustics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2020" PostHistoryTypeId="2" PostId="1084" RevisionGUID="3e3a7ee0-0436-489e-9500-a11156060728" CreationDate="2010-05-14T03:47:13.467" UserId="40" Text="Ok... Lots of questions in there...&#xD;&#xA;&#xD;&#xA;&gt; Do you go to great length to try to&#xD;&#xA;&gt; position whatever you are recording&#xD;&#xA;&gt; for best acoustics and mic position?&#xD;&#xA;&#xD;&#xA;Yes - I go to great length to get the best possible sound from the raw recording.  Yes, you can fix things in post, but these &quot;Fixes&quot; should only be used if something is &quot;broken&quot; about the recording.  Playing with the mic position to get the best recording can save you a ton of time in post, and yield a much better, much more natural sounding recording.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&gt; Let's say you're recording an&#xD;&#xA;&gt; elephant. He's in a pen and at one end&#xD;&#xA;&gt; of it there's a big barn. Would you&#xD;&#xA;&gt; try to get the elephant near the barn&#xD;&#xA;&gt; to get some early refs and &quot;liveness&quot;&#xD;&#xA;&gt; to the sound or would you try to bring&#xD;&#xA;&gt; him more out in the open?&#xD;&#xA;&#xD;&#xA;It all depends.  Where does it sound best?  Where are you getting the least amount of background noise?  Does the Elephant settle down near the barn but get more energetic away from the barn?  It's all about experimenting to figure out what sounds best.&#xD;&#xA;&#xD;&#xA;&gt; What mic position techniques do you&#xD;&#xA;&gt; have to record specific things? Or is&#xD;&#xA;&gt; it always dead-on? Do you go off-axis&#xD;&#xA;&gt; for recording a chainsaw for instance?&#xD;&#xA;&gt; How about a lion roar?&#xD;&#xA;&#xD;&#xA;Never recorded a lion, so I'll leave that one for Chuck.&#xD;&#xA;&#xD;&#xA;As for position, you generally want to record with the mic on-axis.  Basically, you want to keep the sound within the polar pattern of the microphone.  There are a few exceptions, but they can only be done in VERY quiet environments (e.g. vocal booth, foley room, etc...).  I wouldn't go off-axis for a chain saw, I would just use a high SPL level mic.  If it sounds too &quot;tinny&quot; or &quot;metallic&quot;, try a different mic.&#xD;&#xA;&#xD;&#xA;&gt; For very loud SPL stuff do you walk&#xD;&#xA;&gt; closer/farther until it sounds good in&#xD;&#xA;&gt; your headphones?&#xD;&#xA;&#xD;&#xA;How loud are we talking?  Generally, I'll start with my mic at a safe distance and audition the sound, checking my levels, then adjust from there.  I generally get the mic as close as possible without distorting the pre's.  In-line pads are your friend for this.  But make sure you know what your mic can handle first!&#xD;&#xA;&#xD;&#xA;Also, for most sounds I have multiple mics at multiple perspectives, so if I'm using a mic close up on a loud sound, I'll also have a mic (or a few) back a bit to capture ambience, different sound characteristics, etc...&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&gt; Do you use noise-cancelling headphones&#xD;&#xA;&gt; for field-recording?&#xD;&#xA;&#xD;&#xA;NEVER!!!!  Noise-canceling headphones have some of the worst frequency responses on the face of the planet!  You'll never actually get an accurate representation of what your sound actually sounds like, then you'll get back home and wonder why your recording sounds so strange over speakers but great in headphones.  I'd stick to the standards - the Sony MDR7506, MDR7509, or one of the Beyerdynamic ones (DT770, DT880).&#xD;&#xA;&#xD;&#xA;![Bose Quiet Comfort][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&gt; Music recording is my main background&#xD;&#xA;&gt; and I want to know if my knowledge of&#xD;&#xA;&gt; acoustics can help apply to field&#xD;&#xA;&gt; recording.&#xD;&#xA;&#xD;&#xA;Very much so!  My original background is music recording as well. Let me know if there's any other way I can help you!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://graphs.headphone.com/graphCompare.php?graphType=0&amp;graphID%5B%5D=1743" ContentLicense="CC BY-SA 2.5" />
  <row Id="2021" PostHistoryTypeId="5" PostId="1039" RevisionGUID="f64aa508-ea0b-4824-88f6-00e912e5a9df" CreationDate="2010-05-14T05:41:22.580" UserDisplayName="user80" Comment="Added weblinks and images" Text="I have my [002 Rack][1] just so I can run [PT8.0][3].  I also have an [Mbox 2][4] for random mobile stuff.  Cool thing about the Mbox is that if I'm running [Logic][6], I can trick it into running at 192k.  Haven't tried it with the [002R][1] yet, but I should.  I also use a [MOTU Traveler][7] for other things.&#xD;&#xA;&#xD;&#xA;[![Digidesign Mbox 2][5]][4]&#xD;&#xA;&#xD;&#xA;I'd like an [HD system][8] with an [Apogee][9] front end, but I don't have that kind of cash floating around right now.  [Apogee][9] stuff sounds amazing!&#xD;&#xA;&#xD;&#xA;For now, my [002R][1] is working for me.  I don't actually use its preamps (I have outboard pres, and I generally record straight into a [Sound Devices 744T][10] anyways).  Sometimes I use it's A to D, but rarely.  If I was consistently using it's A/D, I'd probably be more pro-active about procuring a new interface.&#xD;&#xA;&#xD;&#xA;[![Digidesign 002R][2]][1]&#xD;&#xA;&#xD;&#xA;BTW, I don't use it's D/A either.  I have the [JBL LSR series monitors][11], which have D/A converters in them.  They have worked pretty well for me so far.&#xD;&#xA;&#xD;&#xA;[![JBL MSC1][12]][11]&#xD;&#xA;&#xD;&#xA;[1]: http://www.soundonsound.com/sos/oct03/articles/digi002rack.htm&#xD;&#xA;[2]: http://www.ntbbb.com/digi002rack_big.jpg&#xD;&#xA;[3]: http://www.avid.com/US/products/family/Pro-Tools/Pro-Tools-LE&#xD;&#xA;[4]: http://www.avid.com/US/products/Mbox-2&#xD;&#xA;[5]: http://www.avid.com/static/resources/images/products/cw_m260xm260_mbox2.png&#xD;&#xA;[6]: http://www.apple.com/logicstudio/&#xD;&#xA;[7]: http://www.motu.com/products/motuaudio/traveler-mk3&#xD;&#xA;[8]: http://www.avid.com/US/products/family/Pro-Tools/Pro-Tools-HD&#xD;&#xA;[9]: http://www.apogeedigital.com/products/&#xD;&#xA;[10]: http://www.sounddevices.com/products/744t.htm&#xD;&#xA;[11]: http://www.jblpro.com/catalog/general/ProductFamily.aspx?FId=73&amp;MId=5&#xD;&#xA;[12]: http://www2.jblpro.com/BackOffice/ProductPictures/9e040962-48b3-404d-a1da-a2367f532a35.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2022" PostHistoryTypeId="2" PostId="1085" RevisionGUID="2af2f88d-aefa-47d7-932a-413c9910cf34" CreationDate="2010-05-14T05:52:06.447" UserId="18" Text="I approach everything I record like I am recording The Beatles.  Your knowledge of recording technique from your music recording background is completely applicable in field recording.  As you record more in the field, you will learn what knowledge you need to forget about, and learn some new field recording specific tricks and techniques.  Knowing the fundamentals of audio recording is extremely important, and something a lot of people don't learn.&#xD;&#xA;&#xD;&#xA;As for acoustics, except for guns/explos, I always try to record in the most acoustically neutral environment as I can (ex: record the elephant in a field vs a barn).  Unless I am looking for a specific environmental sound (like rocks in a cave).  It is usually much easier to fake the environment/acoustics later in post.  It is impossible to remove environment/acoustics from a recording.  For guns/explos, the environment is a big part of the sound, so I am looking for certain characteristics in the location I am recording.  I never record that stuff in-doors though.  Having said all that, sometimes you don't have much choice, and if the sound is unique enough, just grab it where it is.&#xD;&#xA;&#xD;&#xA;For the high SPL stuff, I will move the mics away from the source or turn off axis as needed to avoid distortion.  &#xD;&#xA;&#xD;&#xA;As for mic placement, it depends on how much I want the sound to breathe, how much background noise there is, and how I want the recording to sound.  Often I will record something from multiple perspectives to give me options.  Usually I record in less-than ideal locations, so I try to get as close as possible to the source.  The rock library I am finishing up was not recorded in the quietest location, but with the mic placement I used and my editing, you'd think it was done in a studio." ContentLicense="CC BY-SA 2.5" />
  <row Id="2023" PostHistoryTypeId="2" PostId="1086" RevisionGUID="147c6d86-16ea-4afc-890d-4f82f18158b9" CreationDate="2010-05-14T11:18:58.670" UserId="281" Text="I'm trying to build my showreel as a sound designer but mainly have short films to show. I wonder if anyone knows of where I could find good animations licensed under Creative Commons (free to use with my own sound design)&#xD;&#xA;&#xD;&#xA;John" ContentLicense="CC BY-SA 2.5" />
  <row Id="2024" PostHistoryTypeId="1" PostId="1086" RevisionGUID="147c6d86-16ea-4afc-890d-4f82f18158b9" CreationDate="2010-05-14T11:18:58.670" UserId="281" Text="Free to use (CCL) animations to sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="2025" PostHistoryTypeId="3" PostId="1086" RevisionGUID="147c6d86-16ea-4afc-890d-4f82f18158b9" CreationDate="2010-05-14T11:18:58.670" UserId="281" Text="&lt;sound-design&gt;&lt;animation&gt;&lt;effects&gt;&lt;creative-commons&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2026" PostHistoryTypeId="2" PostId="1087" RevisionGUID="1f7f593b-157c-4ae7-9a23-dcd8aaa7869c" CreationDate="2010-05-14T11:29:07.760" UserId="2" Text="You might get lucky on the [Internet Archive][1] site. The link will bring you to the animation section.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.archive.org/search.php?query=collection%3Aanimationandcartoons" ContentLicense="CC BY-SA 2.5" />
  <row Id="2027" PostHistoryTypeId="2" PostId="1088" RevisionGUID="5768402d-3ee7-4492-acdd-4c16e0c39935" CreationDate="2010-05-14T12:06:43.110" UserId="282" Text="For my showreel I also used mainly short films I worked on but edited just sections that I thought were the best bits.  I think it can work well as a montage." ContentLicense="CC BY-SA 2.5" />
  <row Id="2028" PostHistoryTypeId="5" PostId="1086" RevisionGUID="da6c2686-3951-438c-831f-69d846669db9" CreationDate="2010-05-14T14:16:22.880" UserDisplayName="user80" Comment="added 20 characters in body; edited tags" Text="I'm trying to build my showreel as a sound designer, but I mainly only have short films to show. I was wondering if anyone knew where I could find good quality animations licensed under Creative Commons (free to use with my own sound design).&#xD;&#xA;&#xD;&#xA;John" ContentLicense="CC BY-SA 2.5" />
  <row Id="2029" PostHistoryTypeId="6" PostId="1086" RevisionGUID="da6c2686-3951-438c-831f-69d846669db9" CreationDate="2010-05-14T14:16:22.880" UserDisplayName="user80" Comment="added 20 characters in body; edited tags" Text="&lt;sound-design&gt;&lt;animation&gt;&lt;effects&gt;&lt;creative-commons&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2030" PostHistoryTypeId="5" PostId="1088" RevisionGUID="0aaa7a64-9d1d-42e5-bf14-a68ad467a483" CreationDate="2010-05-14T14:17:32.687" UserDisplayName="user80" Comment="added 23 characters in body" Text="For my showreel I also used mainly short films that I worked on, but I edited it down to just the sections that I thought were the best bits.  I think it can work well as a montage." ContentLicense="CC BY-SA 2.5" />
  <row Id="2031" PostHistoryTypeId="2" PostId="1089" RevisionGUID="513270f5-e341-470c-bc0f-f9b1c247a3a3" CreationDate="2010-05-14T14:54:39.413" UserId="250" Text="Recorded a small outboard motor outside of water and used it for the 'character' of a crappy car idling.&#xD;&#xA;&#xD;&#xA;I have to say that I often use a sound for something other than its source/name. To me it's all about the sound itself, not what it's called or even what it actualy is. If it sounds cool and/or supports the narrative, I work it in.&#xD;&#xA;&#xD;&#xA;--JPF" ContentLicense="CC BY-SA 2.5" />
  <row Id="2032" PostHistoryTypeId="2" PostId="1090" RevisionGUID="2deb9f4f-ed6c-48d0-8b13-070269bceb62" CreationDate="2010-05-14T15:02:09.227" UserId="250" Text="The [Wilhelm Scream][1] may be the most famous sound in history. I've never used it in a project, but I DO have a sound that I try to work into everything. It's my personal Wilhelm Scream. It's a mono recording called 'Suburban Neighborhood' that has birds, dog barks, and light traffic and wind ambience. Nothing special, but it's fun to work in somehow (often layered with other sounds) into nearly every project I work on.&#xD;&#xA;&#xD;&#xA;And I know other sound designers use some sound or sounds often, mostly as an inside joke. So, my question is ... what's your Wilhelm Scream?&#xD;&#xA;&#xD;&#xA;C'mon, 'fess up ...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;--JPF&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Wilhelm_scream" ContentLicense="CC BY-SA 2.5" />
  <row Id="2033" PostHistoryTypeId="1" PostId="1090" RevisionGUID="2deb9f4f-ed6c-48d0-8b13-070269bceb62" CreationDate="2010-05-14T15:02:09.227" UserId="250" Text="What's YOUR &quot;Wilhelm Scream?&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2034" PostHistoryTypeId="3" PostId="1090" RevisionGUID="2deb9f4f-ed6c-48d0-8b13-070269bceb62" CreationDate="2010-05-14T15:02:09.227" UserId="250" Text="&lt;wilhelmscream&gt;&lt;soundeffects&gt;&lt;creative&gt;&lt;library&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2035" PostHistoryTypeId="2" PostId="1091" RevisionGUID="b135c61a-5c6e-4dae-9410-0a8c48a6edf2" CreationDate="2010-05-14T16:29:25.337" UserId="61" Text="&quot;Breakwater Cannon&quot; is my Wilhelm, I guess. It's a recording I captured of my dad's black powder cannon shooting off a round. Of course, a cannon shot is not appropriate for *every* movie, but anytime there are guns or explosions I always try to work it in." ContentLicense="CC BY-SA 2.5" />
  <row Id="2037" PostHistoryTypeId="2" PostId="1093" RevisionGUID="def8f931-3290-4d78-a6d3-91c82c3f63b9" CreationDate="2010-05-14T17:14:07.903" UserId="6435" Text="I used to do lots of battle scenes for games, and there was a sound clip of my co-sound-designer yelling &quot;my leg! my leg!&quot; that we found funny, so we'd put it into every battle sequence we built. the &quot;my leg my leg&quot; guy has shown up in quite a few productions, though he hasn't been heard from in several years.&#xD;&#xA;&#xD;&#xA;I think there are probably other sounds that I really like that come back to again and again, certain screams and such. &#xD;&#xA;&#xD;&#xA;I have used the Wilhelm, the Goofy Holler and the red-tailed hawk in theater sound designs when the director has had the mindset to make a pop culture joke. I had one director tell me before she even hired me that the Goofy Holler *must* be in the design someplace!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2038" PostHistoryTypeId="2" PostId="1094" RevisionGUID="21e51e1a-4563-4cd2-85bd-e5560fbf9c32" CreationDate="2010-05-14T17:24:45.547" UserId="6435" Text="In the mid-90s my company released 4 CDs of sound effects aimed at folks who play RPGs--Dungeons &amp; Dragons, Call of Cthulhu and so on. The discs included ambience tracks of settings in which gamers might find themselves. While we were editing a wilderness ambience we grabbed a bunch of wind blasts buffeting the mic, the stuff you'd normally bin. We added the wind blasts to a motor sound we'd recorded, called the track &quot;Dirigible&quot; and it became many customers' favorite track on the CD.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2040" PostHistoryTypeId="2" PostId="1096" RevisionGUID="5b02389d-522f-4b09-915a-b8a3c5069e14" CreationDate="2010-05-14T17:57:41.237" UserId="6435" Text="All the above, plus wear safety glasses." ContentLicense="CC BY-SA 2.5" />
  <row Id="2041" PostHistoryTypeId="2" PostId="1097" RevisionGUID="750c21d0-e76d-4b49-b8fc-cd665507a6fc" CreationDate="2010-05-14T18:05:38.490" UserId="6435" Text="also audiosparx.com." ContentLicense="CC BY-SA 2.5" />
  <row Id="2042" PostHistoryTypeId="2" PostId="1098" RevisionGUID="53134b6b-22b8-4b31-abd9-c65071ca1ea6" CreationDate="2010-05-14T18:07:54.463" UserId="285" Text="Just wondering what people are using for archiving/backup?&#xD;&#xA;&#xD;&#xA;I have worked at studios in the past that use Retrospect (Exabyte tapes still haunt me) but I was just wondering what others are using as I am running my own post sound edit suite now and I am looking for an automated backup system to keep me safe from drive crashes.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2043" PostHistoryTypeId="1" PostId="1098" RevisionGUID="53134b6b-22b8-4b31-abd9-c65071ca1ea6" CreationDate="2010-05-14T18:07:54.463" UserId="285" Text="Archiving Solutions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2044" PostHistoryTypeId="3" PostId="1098" RevisionGUID="53134b6b-22b8-4b31-abd9-c65071ca1ea6" CreationDate="2010-05-14T18:07:54.463" UserId="285" Text="&lt;archive&gt;&lt;backups&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2045" PostHistoryTypeId="2" PostId="1099" RevisionGUID="8fda7805-3455-4f2a-890b-633ba7a96a8b" CreationDate="2010-05-14T18:57:48.760" UserId="62" Text="I have a mouth pop sound I did with my finger that I've used on every show (not every episode) in the last 2 years.&#xD;&#xA;&#xD;&#xA;It's a really rather useful sound that can be both comical and practical. I just have a thing for it now.&#xD;&#xA;&#xD;&#xA;There's loads of stuff I've recorded or created that I'd love to use in more than the project they were done for but the need has never sadly arisen." ContentLicense="CC BY-SA 2.5" />
  <row Id="2047" PostHistoryTypeId="2" PostId="1101" RevisionGUID="0ef300f1-fcb1-4b6d-98c6-4f6d2ba2cc68" CreationDate="2010-05-14T21:42:26.423" UserId="221" Text="I archive onto drives using a file sync software package called Synchronize Plus from Qdea. I also run Apple's Time Machine and include my media drives so that works without assistance. Drives now are so cheap that it has become a very cost effective system and has the advantage of you being able to open up the session on the backup media which you can't do with tape drives.&#xD;&#xA;&#xD;&#xA;Mike." ContentLicense="CC BY-SA 2.5" />
  <row Id="2048" PostHistoryTypeId="2" PostId="1102" RevisionGUID="76410fd8-98cb-47ac-9f05-822934be879f" CreationDate="2010-05-14T22:48:39.477" UserId="29" Text="Like Mike, I use hard drives. I've found tapes too pricey and slow, DVD-R's too unstable, and I still feel weird about using nothing but HD's, but it's the best price per megabyte going. My system is like this:&#xD;&#xA;&#xD;&#xA; 1. Production RAID: This is a 2-disk mirrored RAID that holds all my working files. I use a fast single HD for a scratch disk. I don't do enough work that the write speed of this RAID gets in the way too much.&#xD;&#xA; 2. Backup RAID: This is another 2-disk mirrored RAID that does nothing but clone the Production RAID, at the end of every day.&#xD;&#xA; 3. Offsite RAID: Once a month I bring yet another 2-disk RAID in from another location, clone the Production RAID, and take it back offsite. This is usually on a Friday, and I return it to its offsite location on Monday. &#xD;&#xA; 4. I also do daily clones of my app/system folder internal HD to a single-disk bootable clone. &#xD;&#xA;&#xD;&#xA;Rackmounting your HD's makes this a lot less messy than it sounds. :-)&#xD;&#xA;&#xD;&#xA;When one gets low on space, I upgrade all 6 disks at once, keep the offsite RAIDs as permanent archives, and rotate the other drives into service as field HD's for recording or to replace my scratch disks, or to just serve as emergency backups...this major upgrade cycle only happens once every 3 years or so. &#xD;&#xA;&#xD;&#xA;As long as my house doesn't explode on a weekend, this has saved my bacon a number of times. It could still be better, and I'm looking into high-capacity cloud backups this year as another tier of safety." ContentLicense="CC BY-SA 2.5" />
  <row Id="2049" PostHistoryTypeId="2" PostId="1103" RevisionGUID="eab8d884-d750-4e2e-b062-a2c3ea24e852" CreationDate="2010-05-14T22:51:02.160" UserId="29" Text="The eerie whine of a BART train (Bay Area Rapid Transit, subway system in the San Francisco Bay Area). Good god, that gets processed ten ways 'til Sunday and I can put it in almost anything." ContentLicense="CC BY-SA 2.5" />
  <row Id="2050" PostHistoryTypeId="2" PostId="1104" RevisionGUID="8da8f5e7-50ef-4c42-8b52-5a2e6e73cdb8" CreationDate="2010-05-14T23:21:10.180" UserId="18160" Text="Scenario: Animated feature from Pixar. No production sound except actor dialogue/effects.&#xD;&#xA;&#xD;&#xA;Scenes are outside. Suburban and desert.&#xD;&#xA;&#xD;&#xA;Lots of foley/moving actions. Different perspectives.&#xD;&#xA;&#xD;&#xA;How would you build the soundscape?&#xD;&#xA;&#xD;&#xA;Background to foreground?&#xD;&#xA;&#xD;&#xA;Foreground to background?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Look forward to your answers." ContentLicense="CC BY-SA 2.5" />
  <row Id="2051" PostHistoryTypeId="1" PostId="1104" RevisionGUID="8da8f5e7-50ef-4c42-8b52-5a2e6e73cdb8" CreationDate="2010-05-14T23:21:10.180" UserId="18160" Text="Building a Soundscape" ContentLicense="CC BY-SA 2.5" />
  <row Id="2052" PostHistoryTypeId="3" PostId="1104" RevisionGUID="8da8f5e7-50ef-4c42-8b52-5a2e6e73cdb8" CreationDate="2010-05-14T23:21:10.180" UserId="18160" Text="&lt;soundscapes&gt;&lt;sound-design&gt;&lt;building&gt;&lt;outdoors&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2053" PostHistoryTypeId="5" PostId="1104" RevisionGUID="8c9bc94c-8f63-4e44-89f3-1d0b09ce7905" CreationDate="2010-05-15T01:10:12.413" UserId="18160" Comment="added 168 characters in body; added 200 characters in body" Text="Scenario: Animated feature from Pixar. No production sound except actor dialogue/effects.&#xD;&#xA;&#xD;&#xA;Scenes are outside. Suburban and desert.&#xD;&#xA;&#xD;&#xA;Lots of foley/moving actions. Different perspectives.&#xD;&#xA;&#xD;&#xA;How would you build the soundtrack?&#xD;&#xA;&#xD;&#xA;Background to foreground?&#xD;&#xA;&#xD;&#xA;Foreground to background?&#xD;&#xA;&#xD;&#xA;Low frequencies to High frequencies?&#xD;&#xA;&#xD;&#xA;When would you consider surrounds?&#xD;&#xA;&#xD;&#xA;Would you spend more time on a featured story element, like a specific sword the character uses, and leave the ambiences for last?&#xD;&#xA;&#xD;&#xA;Assume you were doing it all yourself and had no supervisors/editors to delegate to. Also, assume the Director is ignorant and has no say in the matter.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Look forward to your answers." ContentLicense="CC BY-SA 2.5" />
  <row Id="2054" PostHistoryTypeId="5" PostId="1104" RevisionGUID="c1b9f879-1b8c-4dea-b1d1-c1eca54ffbfb" CreationDate="2010-05-15T01:16:14.707" UserId="18160" Comment="added 121 characters in body" Text="Scenario: Animated feature from Pixar. No production sound except actor dialogue/effects.&#xD;&#xA;&#xD;&#xA;Scenes are outside. Suburban and desert.&#xD;&#xA;&#xD;&#xA;Lots of foley/moving actions. Different perspectives.&#xD;&#xA;&#xD;&#xA;How would you build the soundtrack?&#xD;&#xA;&#xD;&#xA;Background to foreground?&#xD;&#xA;&#xD;&#xA;Foreground to background?&#xD;&#xA;&#xD;&#xA;Low frequencies to High frequencies?&#xD;&#xA;&#xD;&#xA;When would you consider surrounds?&#xD;&#xA;&#xD;&#xA;Would you spend more time on a featured story element, like a specific sword the character uses, and leave the ambiences for last?&#xD;&#xA;&#xD;&#xA;Do you prefer to create a sub-library and create a series of effects for a character before spotting them to picture?&#xD;&#xA;&#xD;&#xA;Assume you were doing it all yourself and had no supervisors/editors to delegate to. Also, assume the Director is ignorant and has no say in the matter.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Look forward to your answers." ContentLicense="CC BY-SA 2.5" />
  <row Id="2055" PostHistoryTypeId="5" PostId="1104" RevisionGUID="d765265b-5a9f-4673-ae01-411e17734333" CreationDate="2010-05-15T01:47:29.893" UserId="18160" Comment="added 93 characters in body" Text="Scenario: Animated feature from Pixar. No production sound except actor dialogue/effects.&#xD;&#xA;&#xD;&#xA;Scenes are outside. Suburban and desert.&#xD;&#xA;&#xD;&#xA;Lots of foley/moving actions. Different perspectives.&#xD;&#xA;&#xD;&#xA;How would you build the soundtrack?&#xD;&#xA;&#xD;&#xA;Background to foreground?&#xD;&#xA;&#xD;&#xA;Foreground to background?&#xD;&#xA;&#xD;&#xA;Low frequencies to High frequencies?&#xD;&#xA;&#xD;&#xA;When would you consider surrounds?&#xD;&#xA;&#xD;&#xA;Would you spend more time on a featured story element, like a specific sword the character uses, and leave the ambiences for last? What would you do on a tight schedule? What would you do if you had all the time you wanted?&#xD;&#xA;&#xD;&#xA;Do you prefer to create a sub-library and create a series of effects for a character before spotting them to picture?&#xD;&#xA;&#xD;&#xA;Assume you were doing it all yourself and had no supervisors/editors to delegate to. Also, assume the Director is ignorant and has no say in the matter.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Look forward to your answers." ContentLicense="CC BY-SA 2.5" />
  <row Id="2056" PostHistoryTypeId="2" PostId="1105" RevisionGUID="f712c623-a859-4639-867c-74c255debd25" CreationDate="2010-05-15T05:42:43.247" UserDisplayName="user49" Text="How I would approach it, &amp; what I would prioritise, totally depends on the story, context, characters, point of view, mood, meaning, directors intent (I have yet to meet an ignorant director who has no say in their own film) the picture cut, pacing, drama... and the story..&#xD;&#xA;(I know I said that twice)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2057" PostHistoryTypeId="2" PostId="1106" RevisionGUID="6b4be44d-6886-40ee-ac3e-b39d5c89a9de" CreationDate="2010-05-15T14:20:22.873" UserId="288" Text="So I am currently busy doing the sound design on a student film which has a character snapping another characters neck with her hands, and thus far I have put in a folley I found of someone taking a bite out of celery, which hasnt worked perfectly, a pitch change to the sound helped a little but its still not right chicken bones has not worked for me either. Can anybody tell me a good idea to create this sound or tell me where i can go to find it I will be very great full. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2058" PostHistoryTypeId="1" PostId="1106" RevisionGUID="6b4be44d-6886-40ee-ac3e-b39d5c89a9de" CreationDate="2010-05-15T14:20:22.873" UserId="288" Text="How can I create or where can i find a decent neck breaking sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="2059" PostHistoryTypeId="3" PostId="1106" RevisionGUID="6b4be44d-6886-40ee-ac3e-b39d5c89a9de" CreationDate="2010-05-15T14:20:22.873" UserId="288" Text="&lt;neck&gt;&lt;break&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2060" PostHistoryTypeId="2" PostId="1107" RevisionGUID="87299dad-5f19-4186-b22f-6a3ef211c59a" CreationDate="2010-05-15T15:22:04.193" UserId="61" Text="Hi Gaelan,&#xD;&#xA;&#xD;&#xA;It's interesting that the idea of celery foley for bone snapping has become so ingrained in people's minds. Many films and TV shows have used this approach, but it cannot be the end-all be-all sound; *they key is layering*.&#xD;&#xA;&#xD;&#xA;How you create the sound design depends on the way the scene was shot, the amount of effort being exerted, the drama of the scene, etc. That being said, a few general comments about this type of sound:&#xD;&#xA;&#xD;&#xA; - An impact sound may be necessary to convey the idea of violence. Try a punch or body blow that precedes the snap;&#xD;&#xA; - Try other foods, like cabbage, watermelon rind or broccoli. Perhaps your should check out [Tim's library][1];&#xD;&#xA; - An effort (grunt, exhale, etc) from either person will help attach your design to the image and make it more believable. Often times these sorts of sounds feel disembodied without the proper reaction from one of the characters.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hissandaroar.com/sd001-vegetable-violence/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2061" PostHistoryTypeId="2" PostId="1108" RevisionGUID="d2e1c84f-520a-4ff7-b2cb-ccf5744725b6" CreationDate="2010-05-15T17:29:23.053" UserId="46" Text="Hey Ryan,&#xD;&#xA;&#xD;&#xA;In general, left to my own devices with a fairly tight deadline, I like to start with some basic ambience to establish a mood. That way, I don't feel like I'm designing the more synchronous sounds in a vacuum...&#xD;&#xA;&#xD;&#xA;If there is a defining character, then yes, you'll probably spend more time on their signature sounds...&#xD;&#xA;&#xD;&#xA;As for some of your other questions and how to get to a &quot;full done,&quot; I just try to keep listening with a critical ear and refining as I build. Do multiple passes, take some breaks, give yourself some time to step away and come back with fresh ears..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2062" PostHistoryTypeId="2" PostId="1109" RevisionGUID="31155644-c0a5-4628-9cd2-485aa10359cf" CreationDate="2010-05-15T17:59:16.763" UserId="289" Text="I just want to find out if anyone knows how to create the &quot;ghostly dialogue&quot; in 13 Ghosts. What effects are used and how did they mix it together?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2063" PostHistoryTypeId="1" PostId="1109" RevisionGUID="31155644-c0a5-4628-9cd2-485aa10359cf" CreationDate="2010-05-15T17:59:16.763" UserId="289" Text="&quot;13 Ghosts&quot; voice effect " ContentLicense="CC BY-SA 2.5" />
  <row Id="2064" PostHistoryTypeId="3" PostId="1109" RevisionGUID="31155644-c0a5-4628-9cd2-485aa10359cf" CreationDate="2010-05-15T17:59:16.763" UserId="289" Text="&lt;dialogue&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2065" PostHistoryTypeId="2" PostId="1110" RevisionGUID="6be8e35b-a8ab-4868-ac56-91ae054602ce" CreationDate="2010-05-15T18:10:16.200" UserId="142" Text="I have been asked to be a sound man on a short independent film. I have only recorded dialogue in studio before in perfect conditions and all my field recording has been for SFX or atmospheres so this should be a good challenge. I understand basic boompole tecniques to get good results but if anyone could add on that could be usefull for myself and others.&#xD;&#xA;Some of the dialogue will be recorded outside near the sea and in other locations, for this I have an Audio Technica BP4071 or an AT897 condenser mono shotgun mic I can use on a boompole with a professional Rycote wind jammer going into sound devices 702T. I presume this will be sufficient and that I am right in thinking that most film dialogue is done from boom with shotgun mics when the space allows? &#xD;&#xA;Now with the indoor scenes I have been told there are a lot of large glass surfaces (big windows etc) which I am thinking could be a problem. Would different mics be used here e.g hyper cardiods or can I get a good result with the equipment I have by micing as close as I can to the actors.&#xD;&#xA;There will also be a scene in a car recording an actor talking and atmosphere. I was going to use an NT4 for the atmosphere, I am guessing this would not cut it for any dialogue in the car as it is stereo, mabye I could set up the AT897 in there or would you recommend lav mics for these kind of situations?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2066" PostHistoryTypeId="1" PostId="1110" RevisionGUID="6be8e35b-a8ab-4868-ac56-91ae054602ce" CreationDate="2010-05-15T18:10:16.200" UserId="142" Text="Recording location dialogue" ContentLicense="CC BY-SA 2.5" />
  <row Id="2067" PostHistoryTypeId="3" PostId="1110" RevisionGUID="6be8e35b-a8ab-4868-ac56-91ae054602ce" CreationDate="2010-05-15T18:10:16.200" UserId="142" Text="&lt;dialogue&gt;&lt;location&gt;&lt;boom-pole&gt;&lt;shotgun&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2068" PostHistoryTypeId="2" PostId="1111" RevisionGUID="8d51c49e-069c-4b0e-9c83-d01c004d9631" CreationDate="2010-05-15T18:28:38.867" UserId="62" Text="I like to do a mixture of things.&#xD;&#xA;&#xD;&#xA;Firstly I would watch it and spot it for sounds. Then I'd make a start and create the atmos/ambience tracks. Put in all your spot sound effects. Then I'd go back through and see what is missing.&#xD;&#xA;&#xD;&#xA;You might find nothing is. However with large (animated) feature films you will find that there is a tremendous amount of layering involved. All those little details that would leave the film sounding empty if they were not present.&#xD;&#xA;&#xD;&#xA;When I first started I didn't break the sound down into components, now I would struggle if I didn't. All my mixes are colour coded in ProTools depending on what part of the structure the sound belongs to.&#xD;&#xA;&#xD;&#xA;My usual list is....&#xD;&#xA;Dialogue&#xD;&#xA;Music&#xD;&#xA;FX&#xD;&#xA;Foley&#xD;&#xA;Footsteps&#xD;&#xA;Atmos&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2069" PostHistoryTypeId="2" PostId="1112" RevisionGUID="50fb523b-769f-44fc-8c79-04d61a662784" CreationDate="2010-05-15T18:46:20.937" UserId="62" Text="I'm curious about how other people work. I did start writing about this is on the Soundscape building question but I think it deserves a separate thread (correct word as this isn't really a forum in the traditional sense?).&#xD;&#xA;&#xD;&#xA;Recently I did the sound design and mix for a short film. Whenever I start layering up sounds I always take time to roughly mix them to achieve the sound I want. I find this very important for either atmos/ambience tracks or layered spot effects (e.g. a crash). Even a slight change in that premix can drastically alter the final sound.&#xD;&#xA;&#xD;&#xA;I work mainly as a mixer and really enjoy how much creative freedom I am given to the overall sound design without having any input into the sounds used in a show until it enters my studio." ContentLicense="CC BY-SA 2.5" />
  <row Id="2070" PostHistoryTypeId="1" PostId="1112" RevisionGUID="50fb523b-769f-44fc-8c79-04d61a662784" CreationDate="2010-05-15T18:46:20.937" UserId="62" Text="Mixing and Design" ContentLicense="CC BY-SA 2.5" />
  <row Id="2071" PostHistoryTypeId="3" PostId="1112" RevisionGUID="50fb523b-769f-44fc-8c79-04d61a662784" CreationDate="2010-05-15T18:46:20.937" UserId="62" Text="&lt;mix&gt;&lt;mixing&gt;&lt;sound-design&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2074" PostHistoryTypeId="2" PostId="1115" RevisionGUID="5d10b32a-0dea-4248-a72d-06a0667f50a2" CreationDate="2010-05-15T20:34:54.970" UserId="290" Text="I'd be weary of just using the shot on the beach. Your goal is for the dialog editor to love you enough that s/he'll beg of your name. In an outdoor situation, using a good shotgun mic is ideal if the noise level allows. But the problem with a beach is the noise level (and texture) is totally inconsistent. Unless you're only dealing with closeups far away from any waves, it'll be a total nightmare to edit.&#xD;&#xA;&#xD;&#xA;Everyone knows lavs sound awful, but I'd really recommend it for the beach. And be a hard-ass on production about getting good audio. Editing background waves is hard. I've done it. It sucks. Sucks sucks sucks. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2075" PostHistoryTypeId="2" PostId="1116" RevisionGUID="d7d8ce3a-4e0a-4977-8d9d-a6de50ef4122" CreationDate="2010-05-15T20:48:30.933" UserDisplayName="user49" Text="Think of the physical layers in the actual action eg flesh &amp; skin ripping, cartilage twisting, spine twisting &amp; then breaking - cut layers for each action with careful sync so the action quickly develops to follow the onscreen action &amp; pacing...&#xD;&#xA;&#xD;&#xA;It depends how overt it needs to be, but for breaking internal bones try wrapping objects in towelling eg the celery as one element, wrapped in a light towell &amp; twisted can produce interesting 'internal' breakage sounds that are different to EQing... grab the free VEGETABLE VIOLENCE sounds from http://hissandaroar.com and experiment - maybe towelled celery + pumpkin + a little bit of orange? &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2076" PostHistoryTypeId="5" PostId="1105" RevisionGUID="2a958542-37cb-4410-acd4-d7b060e9fb24" CreationDate="2010-05-15T20:59:00.213" UserDisplayName="user49" Comment="added 955 characters in body" Text="How I would approach it, &amp; what I would prioritise, totally depends on the story, context, characters, point of view, mood, meaning, directors intent (I have yet to meet an ignorant director who has no say in their own film) the picture cut, pacing, drama... and the story..&#xD;&#xA;(I know I said that twice)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I would start on the most difficult sounds first - presuming you can access or record the right sounds, things like foley, movement, ambiences etc are relatively straight forward and can be done in a fixed amount of time. The most difficult sounds are the subjective ones, the ones directors will have strong opinions on. These sounds will benefit the most from evolution ie attempting a first quick version, then trying again later, and again, and again... Subjective sounds might be creature/character vocalisations or specific characterful actions, it depends on the film but with Wall E it would be his (&amp; the other characters) vocaalisations &amp; mechanics/actions&#xD;&#xA;&#xD;&#xA;I would probably then do an ambience pass to create the world the characters inhabit (which will give you an evocative background to mesh the onscreen actions into) and then move on to other FX... Then continue revisiting all elements, revising &amp; updating with new material..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2077" PostHistoryTypeId="2" PostId="1117" RevisionGUID="9e357087-8e6e-43cd-b64b-d7003adee514" CreationDate="2010-05-15T21:11:18.330" UserDisplayName="user49" Text="I think its inevitable sound editors build up a mix as they work, because its essential to knowing that their material is working... And when you present your work to the director for input you want it to play as well as possible ie as close to the final context in the film...&#xD;&#xA;&#xD;&#xA;But in a final mix a lot of the work involved is balancing overall groups of elements (eg dialogue vs score vs ambience vs effects) for best dramatic/emotional effect so in that sense I think as a sound editor I tend to more build up premixes than a version of the final mix.&#xD;&#xA;&#xD;&#xA;Towards the end of the schedule I will have temp versions of the actual score to work against &amp; a good dialogue/ADR guidetrack, and I bring all my elements into one session so I can build up context (ie all ambiences, effects, design elements etc) This also helps the director to think about how each scene will play in the final mix...&#xD;&#xA;&#xD;&#xA;I dont attempt to do a pretend final mix while editing though - I am focused on getting the individual elements as good as possible, and working out how many stems we need to premix to etc.. but I do work with VCA faders in ProTools, so during a run through with the director if there is an element they want to hear relatively quieter (or louder) I can quickly show them...&#xD;&#xA;&#xD;&#xA;When we start premixing I usually ask the mixer to play the scene we are about to premix with 'flat faders' so they can hear the balance I built up while editing &amp; then follow their instincts on how to improve on it. This objectivity is why I personally prefer to edit &amp; not mix - a good mixer brings a lot of creativity &amp; objectivity to how your work will play in the final mix...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2078" PostHistoryTypeId="2" PostId="1118" RevisionGUID="23582dac-3f19-4240-b742-785bccb7632f" CreationDate="2010-05-16T03:09:36.180" UserId="291" Text="First question, can you hire a good boom operator? An experienced boom op can make a huge difference. And here is a bit of wisdom I received when I was a trainee operator. Don't really worry about reflections, or for that matter shadows. All that matters is that shadows and reflections should not be visible in the camera's frame. Befriend the art department, the gaffer, and the camera operator. They can help your boom op chase shadows and reflection just outside the edge of the frame, if it comes to it. Mostly it wont.&#xD;&#xA;&#xD;&#xA;Ryan is right. Try not to use shotgun mics indoors especially with hard reflective surfaces. Much better off using a cardioid.&#xD;&#xA;&#xD;&#xA;Also, try not to use too many different mic types and techniques within a singe scene. This includes alternating microphone positions (from above, below, sideways etc). Consistency is sometime more valuable than individual shots sounding perfectly noise-free. A lav mic shot will not cut very well with a boom.&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 2.5" />
  <row Id="2080" PostHistoryTypeId="2" PostId="1120" RevisionGUID="b9d5d830-01fe-42b1-b2b9-1dd96eebf7c5" CreationDate="2010-05-16T07:27:47.323" UserId="2" Text="I haven't seen 13 Ghosts, but if you can find the clip let us know and we'll try decipher how they did it.&#xD;&#xA;&#xD;&#xA;In the mean time, [Jim Stout on Designing Sound][1] shares a classic trick for creating scary voices. &#xD;&#xA;&#xD;&#xA;[youtube]3_d9uwPj0t4[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/05/jim-stout-special-making-a-scary-voice-effect/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2081" PostHistoryTypeId="5" PostId="1110" RevisionGUID="def337d7-2bcf-47e8-959c-482a2b70f764" CreationDate="2010-05-16T09:47:33.587" UserDisplayName="user80" Comment="Tidied up language" Text="I have been asked to be a sound man on a short independent film. I have only recorded dialogue in a studio before under perfect conditions. All of my field recording has been for SFX or atmospheres, so this should be a good challenge. I understand the basics of boom operation, but can anyone provide advice that could be useful for myself and others?&#xD;&#xA;&#xD;&#xA;Some of the dialogue will be recorded outside near the sea and in other locations.  For this I have an Audio Technica BP4071 or an AT897 condenser mono shotgun mic that I can use on a boompole with a professional Rycote wind jammer going into sound devices 702T. I presume this will be sufficient and that I am right in thinking that most film dialogue is captured with shotgun mics on a boom, when the space allows? &#xD;&#xA;&#xD;&#xA;Now with the indoor scenes I have been told there are a lot of large glass surfaces (big windows etc) which I am thinking could be a problem. Would different mics be used here e.g hyper-cardioids or can I get a good result with the equipment I have by micing as close as I can to the actors?&#xD;&#xA;&#xD;&#xA;There will also be a scene in a car recording an actor talking and atmosphere. I was going to use an NT4 for the atmosphere, I am guessing this would not cut it for any dialogue in the car as it is stereo, mabye I could set up the AT897 in there, or would you recommend lav mics for these kind of situations?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2082" PostHistoryTypeId="2" PostId="1121" RevisionGUID="8bdd7e18-de02-4448-b59a-325e3aed0733" CreationDate="2010-05-16T10:15:01.323" UserId="289" Text="Does Pro Tools 8 HD plug-ins work on Pro Tools 8 LE? What Plug-ins will work on Pro Tools 8 LE that you dont get with your Pro Tools LE package that are free ware and acceptable with Mac Os x?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2083" PostHistoryTypeId="1" PostId="1121" RevisionGUID="8bdd7e18-de02-4448-b59a-325e3aed0733" CreationDate="2010-05-16T10:15:01.323" UserId="289" Text="Pro Tools Plug-ins" ContentLicense="CC BY-SA 2.5" />
  <row Id="2084" PostHistoryTypeId="3" PostId="1121" RevisionGUID="8bdd7e18-de02-4448-b59a-325e3aed0733" CreationDate="2010-05-16T10:15:01.323" UserId="289" Text="&lt;pro-tools&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2085" PostHistoryTypeId="2" PostId="1122" RevisionGUID="9a0aabce-2f38-43ac-a00c-b5d0b86c1a69" CreationDate="2010-05-16T16:08:31.880" UserId="221" Text="Hi Wesley,&#xD;&#xA;&#xD;&#xA;Here are some suggestions of free plug-in that play nice with Pro Tools on a Mac...&#xD;&#xA;&#xD;&#xA;FreeG from Sonalkiss&#xD;&#xA;http://www.sonalksis.com/freeg.htm&#xD;&#xA;&#xD;&#xA;Mid-Side Suite from reFUSE Software&#xD;&#xA;http://www.refusesoftware.com/products/feature/10&#xD;&#xA;&#xD;&#xA;Flipper from reFUSE Software&#xD;&#xA;http://www.refusesoftware.com/products/feature/12&#xD;&#xA;&#xD;&#xA;Vinyl from iZotope&#xD;&#xA;http://www.izotope.com/products/audio/vinyl/&#xD;&#xA;&#xD;&#xA;BitterSweet 2 from Flux&#xD;&#xA;http://www.fluxhome.com/products/Freewares/bittersweet2&#xD;&#xA;&#xD;&#xA;StereoTools from Flux&#xD;&#xA;http://www.fluxhome.com/products/Freewares/stereotool&#xD;&#xA;&#xD;&#xA;bx_solo from Brainworx&#xD;&#xA;http://www.brainworx-music.de/en/plugins/bx_solo&#xD;&#xA;&#xD;&#xA;bx_cleansweep v2 from Brainworx&#xD;&#xA;http://www.brainworx-music.de/en/plugins/bx_cleansweep_v2&#xD;&#xA;&#xD;&#xA;More these help,&#xD;&#xA;&#xD;&#xA;Mike.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2086" PostHistoryTypeId="5" PostId="1122" RevisionGUID="8aa0d7df-8dcf-4864-a01b-c3d248b2b3d2" CreationDate="2010-05-16T16:16:12.570" UserId="221" Comment="added some more links" Text="Hi Wesley,&#xD;&#xA;&#xD;&#xA;Here are some suggestions of free plug-in that play nice with Pro Tools on a Mac...&#xD;&#xA;&#xD;&#xA;FreeG from Sonalkiss&#xD;&#xA;http://www.sonalksis.com/freeg.htm&#xD;&#xA;&#xD;&#xA;Mid-Side Suite from reFUSE Software&#xD;&#xA;http://www.refusesoftware.com/products/feature/10&#xD;&#xA;&#xD;&#xA;Flipper from reFUSE Software&#xD;&#xA;http://www.refusesoftware.com/products/feature/12&#xD;&#xA;&#xD;&#xA;Vinyl from iZotope&#xD;&#xA;http://www.izotope.com/products/audio/vinyl/&#xD;&#xA;&#xD;&#xA;BitterSweet 2 from Flux&#xD;&#xA;http://www.fluxhome.com/products/Freewares/bittersweet2&#xD;&#xA;&#xD;&#xA;StereoTools from Flux&#xD;&#xA;http://www.fluxhome.com/products/Freewares/stereotool&#xD;&#xA;&#xD;&#xA;bx_solo from Brainworx&#xD;&#xA;http://www.brainworx-music.de/en/plugins/bx_solo&#xD;&#xA;&#xD;&#xA;bx_cleansweep v2 from Brainworx&#xD;&#xA;http://www.brainworx-music.de/en/plugins/bx_cleansweep_v2&#xD;&#xA;&#xD;&#xA;More these help,&#xD;&#xA;&#xD;&#xA;Mike.&#xD;&#xA;&#xD;&#xA;ps.&#xD;&#xA;&#xD;&#xA;After a little more research I found this page from MusicFormation.com&#xD;&#xA;http://musformation.com/free-rtas-plugins.html&#xD;&#xA;&#xD;&#xA;There is the SoundHack bundle as well&#xD;&#xA;http://www.soundhack.com/freeware.php&#xD;&#xA;&#xD;&#xA;Audio Geek Zine have a list of their top 10 which includes most of the above&#xD;&#xA;http://www.audiogeekzine.com/2010/03/top-10-free-pro-tools-rtas-plugins/&#xD;&#xA;&#xD;&#xA;and I wrote about some of them in Sound on Sound back in 2008&#xD;&#xA;http://www.soundonsound.com/sos/feb08/articles/ptfeature_0208.htm&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2087" PostHistoryTypeId="2" PostId="1123" RevisionGUID="dab193ad-8be7-4ed1-a228-67d92b139f80" CreationDate="2010-05-16T19:54:24.280" UserId="258" Text="Okay, I´ve been into local stores, checked out a lot of mobile recorders and think I have found 2 units that I like: Olympus LS-11 and Sony PCM-M10 (the LS-11 sounded &quot;thicker&quot;/&quot;better&quot; to me, but the sony is cheaper and already comes with wind protection - I could save 100 Euros). Sadly, both don´t support XLR, so external mics (something I would get - in the future...) that need phantom power are not an option.&#xD;&#xA;&#xD;&#xA;Sooooo... what would be the the better choice: get one of those mobile recorders and just start recording the stuff I am looking (NOT ambience but specific sound sources) for OR save the money and get an external mic (Noisejockey mentioned Røde NT3 or Oktava MK-012) and a unit that supports XLR, hoping to get better results? It´ll take months to save the money for a bigger budget." ContentLicense="CC BY-SA 2.5" />
  <row Id="2089" PostHistoryTypeId="2" PostId="1124" RevisionGUID="3e6331a8-f818-4cbf-b85e-67c92b80ae2d" CreationDate="2010-05-16T22:19:35.040" UserId="289" Text="I have no idea if this might be relevant or if my advice will count as I am only a student but what I have heard from another person working in the industry is to use a Hyper-cardioid mic and to get as close as possible to the talent with enough space for the sound to breath. Booming for above aiming at the sweet spot (just below the throat and above the chest) seems to be the best option as booming from below causes the dialogue to have more bass as you find yourself closer to the chest. As for recording in a car I worked on the pilot episodes for a series and had to record a couple inside a car. I rigged one Lav mic on each of the visors of the car and got great dialogue.       " ContentLicense="CC BY-SA 2.5" />
  <row Id="2090" PostHistoryTypeId="2" PostId="1125" RevisionGUID="036a45ce-64b6-4205-96dd-e97a80541ab3" CreationDate="2010-05-16T23:20:47.750" UserId="234" Text="13 Ghosts is a guilty pleasure of mine! :) The effect used is the classic &quot;reverse reverb&quot;. It doesn't really work in real time, but it easy enough to creat. Take your voice clip and reverse it. Now add a nice reverb to it - reasonably long decay, not too much early reflection, predelay to taste, keep the low end tame. Be sure to include enough time after the sample to get the whole tail of the reverb. Now reverse that whole mess AGAIN. Voila, the reverb comes from BEFORE the voice and gives you that effect. I've used that effect on a number of indie horror flicks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2091" PostHistoryTypeId="2" PostId="1126" RevisionGUID="0a46d0fd-6548-4006-94c1-3c6205d2d6b6" CreationDate="2010-05-17T08:35:49.840" UserId="62" Text="A classic effect. I've never seen Poltergeist but by experimenting came up with the exact same effect many years ago. I love using it but rarely do my projects need such an effect.&#xD;&#xA;&#xD;&#xA;My tool of choice at the moment is MondoMod to create a fluttery effect to a voice. Add on a phaser and instant computer voice.&#xD;&#xA;&#xD;&#xA;UltraPitch can be used to create some cool effects beyond simply adding the harmonics to a voice." ContentLicense="CC BY-SA 2.5" />
  <row Id="2092" PostHistoryTypeId="6" PostId="1109" RevisionGUID="3c18c2e2-98f7-4b53-bcd6-b4f4138c3428" CreationDate="2010-05-17T09:39:17.243" UserDisplayName="user80" Comment="Added tags" Text="&lt;dialogue&gt;&lt;sound-effects&gt;&lt;techniques&gt;&lt;sound-design&gt;&lt;voice-manipulation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2093" PostHistoryTypeId="2" PostId="1127" RevisionGUID="b5fa7e37-46f7-44cc-8a0b-5ad49e07e362" CreationDate="2010-05-17T14:25:27.513" UserId="220" Text="Here are some tips based on what you asked (and some you may not have thought of yet):&#xD;&#xA;&#xD;&#xA; - Shotgun mic outdoors, hypercardoid indoors or in a location with a lot of reflections.  Schoeps MK41, as Ryan said, sounds great.  I have an AT897 and I've been happy with it - not the greatest pickup pattern due to its size, but it does pretty good. Don't use wind suppresion unless you need it.  Anything you put on as a filter effects the quality of the sound. &#xD;&#xA; - You've got another input on that recorder - use it!  Get a pair of wireless lavs and a 2 channel mixer.  Or get one lav.  Or get a wired lav - anything to get as much coverage as possible.  If your director doesn't have the budget for a boom-op, he won't have the budget for ADR.&#xD;&#xA; - Capture ambiance and SFX seperate from shooting.  If you try to get everything at once, you'll end up with poor quality of everything.  Leave lunch 10 minutes early and go capture some sound.  Talk to the director or 1st AD about keeping the set locked down for a few minutes when there's a break so you can get what you need.&#xD;&#xA; - For recording in the car, there are a lot of methods as mentioned.  I've seen lapels (like the Countrymans) taped to the dash, in the hairline, etc.  Use your hypercardoid.  It's going to be noisy.  If at all possible, ask them to do a few sound only takes with the car off and in a quiet location.  Those few wild lines could save you in post.&#xD;&#xA; - On booming specifics - get in close.  Work with the DP on finding the top of frame.  Always be moving your mic to get that &quot;sweet spot&quot; of sound.&#xD;&#xA; - Last of all, make sure you have and maintain respect as the production sound person.  Talk to the director ahead of time and make sure he knows the importance of what you're doing.  Make sure if you say &quot;Hold for sound&quot; he doesn't overrule you.  Once the director stops giving you respect, you will get none from the rest of the crew.  If there is a noisy piece of equipment, make sure it gets moved, muted, or removed before you continue.  There's no excuse for getting bad sound when the problem sources are fixable.&#xD;&#xA;&#xD;&#xA;Hope that helps, and please ask any other questions when you think of them.  Also, if you wouldn't mind, give us a report on what you learned and any followup questions after the shoot.  I learn something new on every set!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2094" PostHistoryTypeId="2" PostId="1128" RevisionGUID="ab0c89da-1cec-4884-984b-04e009df0636" CreationDate="2010-05-17T17:51:26.057" UserId="40" Text="Great links Mike.&#xD;&#xA;&#xD;&#xA;Also, to answer the first part of the question, all RTAS plugins are compatible with BOTH PTLE and PTHD.&#xD;&#xA;&#xD;&#xA;TDM and TDM-HD plugins are compatible only with PTHD." ContentLicense="CC BY-SA 2.5" />
  <row Id="2095" PostHistoryTypeId="2" PostId="1129" RevisionGUID="3dd927c2-657b-4d4b-bd4b-40add10fc1fc" CreationDate="2010-05-17T19:26:06.657" UserId="18160" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I know I asked a similar question earlier and I really don't mean to beat a dead horse,&#xD;&#xA;&#xD;&#xA;But, I would like to create a custom ADR cueing program.&#xD;&#xA;&#xD;&#xA;Basically, all I really need is the ability to send beeps and streamers at specific time-code points that are triggerable at whatever point of the recording process. Most importantly, as Pro Tools rolls so I don't have to stop recording and re-punch the actor in to give him beeps/streamers. Let me be more specific:&#xD;&#xA;&#xD;&#xA;I have done a few feature films so far (ADR and foley recording) and I have been using ADR Studio Pro. This program is okay but it doesn't send cues as it records. For example, an actor I recorded requested beeps and streamers at the beginning of each paragraph (he says 3 paragraphs in a row) and I had to tell him I couldn't do that because ADR Studio only sends one beep/streamer at a time (I.E. only when you initiate the recording). What he wanted to do is continue recording through the whole scene and be sent beeps/streamers at each of the beginning of a paragraph.&#xD;&#xA;&#xD;&#xA;Is there something I could buy (midi or whatever) that could read Pro Tools markers or midi events ahead of time in order for it to send beeps/streamers as it records? Like if the actor wants to record all 3 paragraphs in a row?&#xD;&#xA;&#xD;&#xA;It's also specifically asked for when I record Foley and the sound designer wants to record foley for a whole scene (Robin Hood for example) and he wants cues at each time the actor begins walking and wants beeps/streamers there and not have to stop and have me re-punch on the spot?&#xD;&#xA;&#xD;&#xA;Any information on this is extremely valuable as I am having another recording session soon.&#xD;&#xA;&#xD;&#xA;Thanks a lot in advance. Your help is much appreciated.&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="2096" PostHistoryTypeId="1" PostId="1129" RevisionGUID="3dd927c2-657b-4d4b-bd4b-40add10fc1fc" CreationDate="2010-05-17T19:26:06.657" UserId="18160" Text="Custom ADR Software" ContentLicense="CC BY-SA 2.5" />
  <row Id="2097" PostHistoryTypeId="3" PostId="1129" RevisionGUID="3dd927c2-657b-4d4b-bd4b-40add10fc1fc" CreationDate="2010-05-17T19:26:06.657" UserId="18160" Text="&lt;adr&gt;&lt;software&gt;&lt;custom&gt;&lt;recording&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2098" PostHistoryTypeId="2" PostId="1130" RevisionGUID="a3b79f16-a244-4ce2-9e99-c9b702c2d4d3" CreationDate="2010-05-17T20:10:44.577" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;I saw Robin Hood last night.&#xD;&#xA;&#xD;&#xA;Overall the sound design was great, however one particular aspect of the soundtrack struck me as odd:&#xD;&#xA;&#xD;&#xA;The foley footsteps for one of the bad guys I think was way too-closely miced. One element of the footstep sounded almost like a spur jingle, and it sounded like the mic was within 6 inches to a foot away from it. As a result, I think it sounded a bit too present and detracted my attention whenever the character would walk around on screen. Only because the spur jingle sounded more present than the actor's dialogue, and because the frame only went down to the character's waist and was not showing his footwear.&#xD;&#xA;&#xD;&#xA;Do any of you tend to place the mic for perspective? Like if the person's feet are off screen, would you place the mic high or further away to make it less &quot;in your face&quot;?&#xD;&#xA;&#xD;&#xA;In my experience, trying to record something &quot;close so there are no room reflections&quot; so that you can &quot;fix perspective in the mix&quot; doesn't ever work. Like if you want to make a close-miced dialogue line sound distant, I find that a low-pass filter just makes it sound dull and doesn't sound realistically farther away at all.&#xD;&#xA;&#xD;&#xA;I'm curious to what you sound designers do and if you constantly change perspective of the mic based on what you see on screen." ContentLicense="CC BY-SA 2.5" />
  <row Id="2099" PostHistoryTypeId="1" PostId="1130" RevisionGUID="a3b79f16-a244-4ce2-9e99-c9b702c2d4d3" CreationDate="2010-05-17T20:10:44.577" UserId="18160" Text="Mic Position for Footsteps" ContentLicense="CC BY-SA 2.5" />
  <row Id="2100" PostHistoryTypeId="3" PostId="1130" RevisionGUID="a3b79f16-a244-4ce2-9e99-c9b702c2d4d3" CreationDate="2010-05-17T20:10:44.577" UserId="18160" Text="&lt;foley&gt;&lt;microphone-positioning&gt;&lt;perspective&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2101" PostHistoryTypeId="2" PostId="1131" RevisionGUID="fbc0517a-5606-4103-93b7-f1f4caa640a6" CreationDate="2010-05-17T20:39:16.607" UserId="6435" Text="+1 on the reverse-reverb trick, and with the short delays as seen in Jim Stout's video it's extra creepy. I've done the reverse-verb thing a bunch, and plan to play with delays a bunch on the next project that needs it. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2102" PostHistoryTypeId="2" PostId="1132" RevisionGUID="d0662986-acc6-42ae-9060-b2617e2c8c9c" CreationDate="2010-05-17T21:08:05.103" UserId="275" Text="I'm working on a commercial spot and need to come up with a good sound effect to go with a visual effect.  Here is the best way I can describe the visual effect:&#xD;&#xA;&#xD;&#xA;The camera was on a circle dolly track moving around a family sitting on a couch.  At various times the dolly speeds up and we also ramped up the frame rate to speed up the visual.  It blurs (intentionally) then slows back to real time.  &#xD;&#xA;&#xD;&#xA;So, any ideas on a cool motion sound for a ramp up/ramp down of the frame rate and the camera move?  Hopefully this makes sense somewhat!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2103" PostHistoryTypeId="1" PostId="1132" RevisionGUID="d0662986-acc6-42ae-9060-b2617e2c8c9c" CreationDate="2010-05-17T21:08:05.103" UserId="275" Text="whoosh and blur sound effects" ContentLicense="CC BY-SA 2.5" />
  <row Id="2104" PostHistoryTypeId="3" PostId="1132" RevisionGUID="d0662986-acc6-42ae-9060-b2617e2c8c9c" CreationDate="2010-05-17T21:08:05.103" UserId="275" Text="&lt;sound&gt;&lt;design&gt;&lt;motion&gt;&lt;blur&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2105" PostHistoryTypeId="2" PostId="1133" RevisionGUID="95590ce1-e44a-4fa6-bcee-d145d82f1986" CreationDate="2010-05-17T21:09:39.617" UserId="61" Text="Mic placement techniques vary depending on the context. Sometimes it makes sense to mic for perspective, say if you are recording a car set to match a filmed chase scene (distant swerving, MCU in &amp; skid stop) or weapons (distant battlefield, OS skirmish, etc). When you make the decision to mic this way you are locking yourself in to the resulting colored sound and there's not much you can do to change it later. But ultimately you'll be saving time by not having to process dry sounds, and the authentic recording will most likely fit the sequence better.&#xD;&#xA;&#xD;&#xA;Regarding foley or hard fx, most of the time I'll record things close and process them later, say for footsteps, doors, gun handling, buttons, etc. If you need to sell perspective later on it's easy to achieve with filtering, reverbs and delays. But this is not always the case; sometimes you want the sound of the room (or other environment) - that's part of what makes the sound unique. For instance, if you know you're going to want the sound of exterior footsteps in a forest, it may behoove you to just get outside and record in a forest, rather than trying to dress up a foley stage and add some exterior Altiverb in post." ContentLicense="CC BY-SA 2.5" />
  <row Id="2106" PostHistoryTypeId="2" PostId="1134" RevisionGUID="78597e48-ec0f-4bdb-bf53-b6ecfa1e0ccc" CreationDate="2010-05-17T21:23:23.493" UserId="62" Text="I sometimes do a mixture.&#xD;&#xA;&#xD;&#xA;Recently a collegue asked me to help him recreate someone running down some stairs in a normal house. He was going to record them and fake the perspective.&#xD;&#xA;&#xD;&#xA;I suggested that we watch the clip on an iPod, place the mic at the top of the stairs and run down them and try to match the rhythm of the steps. Now we were a bit out as far as sync was concerned but the change in perspective and the reverb of the stairwell at work matched perfectly. A clean recording that needed to further work or processing.&#xD;&#xA;&#xD;&#xA;It wont work every time as I agree that it can be a creative issue. In our case there wasn't so we just needed the realism for an M&amp;E of a live action show." ContentLicense="CC BY-SA 2.5" />
  <row Id="2107" PostHistoryTypeId="2" PostId="1135" RevisionGUID="b6a37f0d-8bc1-42c1-a398-2eb38a38d3e3" CreationDate="2010-05-17T21:29:36.753" UserId="62" Text="My first instinct would say to experiment with pitch bending some wind sounds. I know it might be a cliche but knowing the quick turnaround of commercials it could work." ContentLicense="CC BY-SA 2.5" />
  <row Id="2108" PostHistoryTypeId="2" PostId="1136" RevisionGUID="5e3f974e-e90c-4f56-9427-f64eabd26d37" CreationDate="2010-05-17T21:35:55.443" UserId="285" Text="You should check out the &quot;Swishes&quot; library from Hiss and a Roar (http://hissandaroar.com/).  It might not have exactly what you are looking for but if you start with that as a base and put select ones through some processing (pitch shifting, time stretching, verb ect..) you will start to find what you are looking for I bet.  Good Luck. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2109" PostHistoryTypeId="2" PostId="1137" RevisionGUID="01e9303b-154c-4dce-89cf-c88f9ca567aa" CreationDate="2010-05-17T21:49:34.507" UserId="62" Text="Now, I've never used streamers but whenever I've done ADR the actors have been happy with beeps. I simply create a track within PT and place my pre-made beeps region so it's end is where their line begins. Add markers in and I can slide or copy the region about quiet happily to keep up with actor as needs be.&#xD;&#xA;&#xD;&#xA;I demo'd VoiceQ a couple of years ago and it offered a streamers visual cue on the QT movie you load up. I loved the software apart from its seeming instability. I know that many swear by it but I just couldn't get it to be happy on any of the Mac PT systems, either HD or LE, G5 or Intel.&#xD;&#xA;&#xD;&#xA;A quick Google search just gave me http://figure53.com/streamers. I might have a proper look at this tomorrow." ContentLicense="CC BY-SA 2.5" />
  <row Id="2110" PostHistoryTypeId="5" PostId="1134" RevisionGUID="2fac93a1-cffb-4a06-bc91-24b5527c5a8c" CreationDate="2010-05-17T21:51:49.687" UserId="61" Comment="spelling, grammar" Text="I sometimes do a mixture.&#xD;&#xA;&#xD;&#xA;Recently a collegue asked me to help him recreate someone running down some stairs in a normal house. He was going to record them and fake the perspective.&#xD;&#xA;&#xD;&#xA;I suggested that we watch the clip on an iPod, place the mic at the top of the stairs and run down them and try to match the rhythm of the steps. Now we were a bit out as far as sync was concerned but the change in perspective and the reverb of the stairwell at work matched perfectly. A clean recording that needed no further work or processing.&#xD;&#xA;&#xD;&#xA;It won't work every time as I agree that it can be a creative issue. In our case there wasn't so we just needed the realism for an M&amp;E of a live action show." ContentLicense="CC BY-SA 2.5" />
  <row Id="2111" PostHistoryTypeId="2" PostId="1138" RevisionGUID="96047a75-5fb5-4a36-bdb7-fba5981c2b29" CreationDate="2010-05-17T22:20:09.453" UserId="6435" Text="Or try the Whoosh Anthology: http://thewhooshanthology.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2112" PostHistoryTypeId="6" PostId="1106" RevisionGUID="de3edebb-2ba8-444d-a2ea-8ab4cd072c51" CreationDate="2010-05-17T22:31:32.973" UserId="272" Comment="edited tags" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2113" PostHistoryTypeId="2" PostId="1139" RevisionGUID="433ccd90-7969-4c3d-8e91-fcb187c5a270" CreationDate="2010-05-18T02:17:47.823" UserId="18160" Text="Wow. I'm surprised this post has gone so long unanswered.&#xD;&#xA;&#xD;&#xA;Here's my two cents:&#xD;&#xA;&#xD;&#xA;M/S recording with a CMIT 5U and a CCM 8 on a KMSC double clip. You can see this configuration in the user manual of the CMIT 5U. It's awesome.&#xD;&#xA;&#xD;&#xA;Just gotta make sure all the slits of the tube on the shotgun are not covered and that the capsules are lined up (it's at the bottom of the interference tube, not at the tip like some people think it is) exactly and it gives very good results.&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="2114" PostHistoryTypeId="5" PostId="1139" RevisionGUID="389dac56-4e80-440f-a164-a136fe640e53" CreationDate="2010-05-18T02:24:38.383" UserId="18160" Comment="added 214 characters in body" Text="Wow. I'm surprised this post has gone so long unanswered.&#xD;&#xA;&#xD;&#xA;Here's my two cents:&#xD;&#xA;&#xD;&#xA;[http://www.schoeps.de/en/products/ums20][1]&#xD;&#xA;&#xD;&#xA;[http://www.schoeps.de/en/products/stc][2]&#xD;&#xA;&#xD;&#xA;But I absolutely love M/S recording with a CMIT 5U and a CCM 8 on a KMSC double clip. You can see this configuration in the user manual of the CMIT 5U. It's awesome.&#xD;&#xA;&#xD;&#xA;Just gotta make sure all the slits of the tube on the shotgun are not covered and that the capsules are lined up (it's at the bottom of the interference tube, not at the tip like some people think it is) exactly and it gives very good results.&#xD;&#xA;&#xD;&#xA;- Ryan&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.schoeps.de/en/products/ums20&#xD;&#xA;  [2]: http://www.schoeps.de/en/products/stc" ContentLicense="CC BY-SA 2.5" />
  <row Id="2115" PostHistoryTypeId="2" PostId="1140" RevisionGUID="27947796-572e-45d9-ad69-fb0616e9a4ae" CreationDate="2010-05-18T03:09:18.800" UserDisplayName="user49" Text="I'd try reversing sounds with long decays &amp; layering them with the tail of the forward sound.... so you can vary/control how aggressively the sound ramps" ContentLicense="CC BY-SA 2.5" />
  <row Id="2116" PostHistoryTypeId="5" PostId="1122" RevisionGUID="ce6dbafb-d34f-4320-80bd-3cfa9f01f0a6" CreationDate="2010-05-18T03:28:18.253" UserId="61" Comment="grammar" Text="Hi Wesley,&#xD;&#xA;&#xD;&#xA;Here are some suggestions of free plug-in that play nice with Pro Tools on a Mac...&#xD;&#xA;&#xD;&#xA;FreeG from Sonalkiss&#xD;&#xA;http://www.sonalksis.com/freeg.htm&#xD;&#xA;&#xD;&#xA;Mid-Side Suite from reFUSE Software&#xD;&#xA;http://www.refusesoftware.com/products/feature/10&#xD;&#xA;&#xD;&#xA;Flipper from reFUSE Software&#xD;&#xA;http://www.refusesoftware.com/products/feature/12&#xD;&#xA;&#xD;&#xA;Vinyl from iZotope&#xD;&#xA;http://www.izotope.com/products/audio/vinyl/&#xD;&#xA;&#xD;&#xA;BitterSweet 2 from Flux&#xD;&#xA;http://www.fluxhome.com/products/Freewares/bittersweet2&#xD;&#xA;&#xD;&#xA;StereoTools from Flux&#xD;&#xA;http://www.fluxhome.com/products/Freewares/stereotool&#xD;&#xA;&#xD;&#xA;bx_solo from Brainworx&#xD;&#xA;http://www.brainworx-music.de/en/plugins/bx_solo&#xD;&#xA;&#xD;&#xA;bx_cleansweep v2 from Brainworx&#xD;&#xA;http://www.brainworx-music.de/en/plugins/bx_cleansweep_v2&#xD;&#xA;&#xD;&#xA;Hope these help,&#xD;&#xA;&#xD;&#xA;Mike.&#xD;&#xA;&#xD;&#xA;ps.&#xD;&#xA;&#xD;&#xA;After a little more research I found this page from MusicFormation.com&#xD;&#xA;http://musformation.com/free-rtas-plugins.html&#xD;&#xA;&#xD;&#xA;There is the SoundHack bundle as well&#xD;&#xA;http://www.soundhack.com/freeware.php&#xD;&#xA;&#xD;&#xA;Audio Geek Zine have a list of their top 10 which includes most of the above&#xD;&#xA;http://www.audiogeekzine.com/2010/03/top-10-free-pro-tools-rtas-plugins/&#xD;&#xA;&#xD;&#xA;and I wrote about some of them in Sound on Sound back in 2008&#xD;&#xA;http://www.soundonsound.com/sos/feb08/articles/ptfeature_0208.htm&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2117" PostHistoryTypeId="2" PostId="1141" RevisionGUID="ca1304f8-ce9f-4927-a2f8-218e152e2eb3" CreationDate="2010-05-18T04:15:58.130" UserId="18160" Text="I'm curious to who sits in on the mix of their Sound Design work on a movie?&#xD;&#xA;&#xD;&#xA;Do they let you in, usually?&#xD;&#xA;&#xD;&#xA;Does the Director invite you?&#xD;&#xA;&#xD;&#xA;Are you scorned at or frowned upon for being there and cheerleading for your effects to be turned up louder? Are you asked to get coffee and donuts so they can mix in peace?&#xD;&#xA;&#xD;&#xA;I know I like sitting in and making sure what I envisioned becomes a reality, and the mixers I work with are always happy to have me around - and I hope it isn't always just to ask &quot;what the hell did you put that sound there for?&quot;&#xD;&#xA;&#xD;&#xA;Obviously on that &quot;dayplayer&quot; job you get for sound designing the Cheers laundry detergent commercial or the one-off episodes of TV shows I don't expect you to sit in and spend more time rooting for your effects - or do you?&#xD;&#xA;&#xD;&#xA;And how about that job you get which is epic or artistically satisfying (Benjamin Button, Assassination of Jesse James, those types of movies), would you go to great lengths to make sure what you Sound Designed for 6 months goes through to a spectacular finish?&#xD;&#xA;&#xD;&#xA;What's the usual protocol on this type of thing? Would you take on the job of Sound Supervision as well as Sound Designer just to babysit the mix?&#xD;&#xA;&#xD;&#xA;Anyway, I'm curious to know what you do during the mix!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2118" PostHistoryTypeId="1" PostId="1141" RevisionGUID="ca1304f8-ce9f-4927-a2f8-218e152e2eb3" CreationDate="2010-05-18T04:15:58.130" UserId="18160" Text="Do you sit in on the mix?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2119" PostHistoryTypeId="3" PostId="1141" RevisionGUID="ca1304f8-ce9f-4927-a2f8-218e152e2eb3" CreationDate="2010-05-18T04:15:58.130" UserId="18160" Text="&lt;sound-design&gt;&lt;mixing&gt;&lt;dubbing&gt;&lt;care&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2120" PostHistoryTypeId="2" PostId="1142" RevisionGUID="0ab712b9-6c7d-4333-ae47-be99b408e370" CreationDate="2010-05-18T04:24:18.693" UserId="18160" Text="I had a musical ear growing up and found my ability to recognize pitch made me a perfect candidate for becoming a sound engineer. Though, I hate the term &quot;sound engineer&quot; because that encompasses many specific jobs. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2121" PostHistoryTypeId="2" PostId="1143" RevisionGUID="0822e867-e78a-4c27-912d-e5f49de49dfd" CreationDate="2010-05-18T05:35:16.323" UserId="290" Text="  Hey folks!&#xD;&#xA;&#xD;&#xA;I'm deeply interesting in purchasing a Paca. I use Max/MSP a lot, and while that's super powerful for tool creation, it's also super difficult to get something to sound awesome.&#xD;&#xA;&#xD;&#xA;Oh, yeah, and super time consuming.&#xD;&#xA;&#xD;&#xA;What can you say about your experience with Kyma? How does it fit into your workflow? Your answers will help me decide where to put this $3k I was otherwise going to spend on things like eating and rent." ContentLicense="CC BY-SA 2.5" />
  <row Id="2122" PostHistoryTypeId="1" PostId="1143" RevisionGUID="0822e867-e78a-4c27-912d-e5f49de49dfd" CreationDate="2010-05-18T05:35:16.323" UserId="290" Text="How (Do you?) use Kyma?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2123" PostHistoryTypeId="3" PostId="1143" RevisionGUID="0822e867-e78a-4c27-912d-e5f49de49dfd" CreationDate="2010-05-18T05:35:16.323" UserId="290" Text="&lt;paca&gt;&lt;kyma&gt;&lt;max&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2124" PostHistoryTypeId="2" PostId="1144" RevisionGUID="742bc6ac-0eab-4680-81dd-82e235a4c5fd" CreationDate="2010-05-18T05:43:22.280" UserDisplayName="user49" Text="I sit in on the premixes and final mix on all the films I've done for the last dozen years or more, either as Sound Designer or Supervising Sound Editor.... Its not a matter of being let in, its an essential part of the workflow of efficiently mixing the film.&#xD;&#xA;&#xD;&#xA;The foley editor also attends the foley premix &amp; manages the PT for it, and same for FX Editor for ambiences &amp; sound effects predubs...&#xD;&#xA;&#xD;&#xA;So also does the Dialogue/ADR Editor (or Supervisor if its a bigger film) and so does the Music Editor.... We each manage the ProTools systems associated with our work in the premixes and also in the final mix (I manage the dubber with all FX/Ambience/Foley predubs as well as the PT I have for running FX/SD/fixes live)&#xD;&#xA;&#xD;&#xA;Its not so much to insure the soundtrack comes out &quot;as you imagined&quot;, its to insure the soundtrack is fully realised. That means asking for sound effects, ambience or foley to be turned down as much as up - its clarity of emotional direction that you are after, as determined by the director. &#xD;&#xA;&#xD;&#xA;Because myself &amp; the dialogue editor have spent the previous 2-5 months working with the director clarifying their intent and making sure we have all content &amp; options fully prepared, sometimes we have unique insight... But most times its the objectivity, dramatic story telling &amp; mixing skills of the mixers that provide the driving force....Its a collaborative effort between everyone attending the mix.&#xD;&#xA;&#xD;&#xA;No one can ever predict the final context of the final mix - where you combine all the elements (Score/Source music/Dialogue/ADR/Crowds/Loop group/Ambiences/Foley/Sound FX, SD) and then find the best path through every scene.&#xD;&#xA;&#xD;&#xA;On the films I do all of the sound editorial team is invited to the double head mix screening, where we watch the film and check the mix in a different theatre than where we're mixing in. We then discuss the mix and get notes from the director, producer, editor, mixers and all of the team (usually in that order) and then spend 2 more days doing mix updates, fixes and additions....&#xD;&#xA;&#xD;&#xA;I personally believe its an essential part of every sound editors development, to at least attend your own premixes and to also attend the double head screening....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2125" PostHistoryTypeId="2" PostId="1145" RevisionGUID="97f7046b-632e-4082-9002-042cf2e6ecda" CreationDate="2010-05-18T07:04:55.750" UserId="295" Text="I've only been at this professionally for a couple of years, but here's my 2 cents...&#xD;&#xA;&#xD;&#xA;I've also been able to sit in on the mixes for the films that I've done.  Granted, a lot of the work I've done has been on smaller projects where I am the lead (if not the only) sound editor on the project.  &#xD;&#xA;&#xD;&#xA;I strongly agree that this is a crucial element for efficient film mixing (especially on compressed &quot;money-saving&quot; schedules).  By the time we go into the mix, I can identify nearly every region in the session by sight because that's what I've be working with for weeks or months.  By mix time I also have a rapport with the director.&#xD;&#xA;&#xD;&#xA;I always plan on attending the mix and this has been appreciated by everyone I've worked with (or at least no one's complained).  I've learned as much or more about my work while watching it being mixed as I have by doing the actual editing/designing.  It's always satisfying to see the elements come together to support the story in a way that your contribution cannot on its own.  This as often as not means nixing or mixing down elements you've put a lot of work into.&#xD;&#xA;&#xD;&#xA;If nothing else, I can prepare fixes and answer questions like, &quot;why the hell did you put this here?&quot;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2126" PostHistoryTypeId="6" PostId="1141" RevisionGUID="7a84e155-4818-4443-b989-487ec00aaed2" CreationDate="2010-05-18T07:40:37.027" UserDisplayName="user80" Comment="edited tags" Text="&lt;sound-design&gt;&lt;mixing&gt;&lt;dubbing&gt;&lt;re-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2127" PostHistoryTypeId="2" PostId="1146" RevisionGUID="e84a11f0-ca33-43ea-a1c2-61b01d9074dd" CreationDate="2010-05-18T08:15:39.427" UserId="202" Text="Hi&#xD;&#xA;i'm bought my paca just few months ago... and had used only a little in two projects. but it's a terrific machine. &#xD;&#xA;You need to invest a lot of time (other than money) but it's a real pleasure: always find something inspiring. I use max as well, but I found that in kyma is much easier to come up with something exciting; and it sounds gorgeous.&#xD;&#xA;I used it to create some fill for production tracks (a trick that you can find in the kyma guide) and to process voices (making fire and waves &quot;speaks&quot;).&#xD;&#xA;but the incredibile thing is how fast you could create your library of process that you can use and use again. &#xD;&#xA;I'm creating some patches to process sounds with doppler fx/ panning/realtime stretching an picth, all controlled with the wacom tablet.&#xD;&#xA;Carla and Kurt, the owner and maker of kyma, are really helpfull and great at answer questions and sort out problem.&#xD;&#xA;it isn't the most user fiendly tool, but it's amazing... and i have just scratched the surface :)  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2128" PostHistoryTypeId="2" PostId="1147" RevisionGUID="0f903bd0-fc2c-4723-bc93-75add6b29677" CreationDate="2010-05-18T09:02:37.503" UserDisplayName="user49" Text="I love the boundary between sound &amp; music, always have since I was a kid who preferred playing in empty grain silos on the farm than doing my piano practice... But its not either/or - I love both, and I remember early on in my career as a film sound effects editor hearing a mixer describe his realisation that the difference between making/mixing music vs film was that 'with film, music is just one aspect of the soundtrack'&#xD;&#xA;&#xD;&#xA;When I turned 30 I went through some of the same existential thoughts that we all do, sooner or later, and questioned if 'this' was what i wanted to spend the rest of my life doing...&#xD;&#xA;&#xD;&#xA;conclusion: HELL YES!&#xD;&#xA;The more you do, the more you realise how much deeper it gets...&#xD;&#xA; &#xD;&#xA;20 years after film school I still feel like I am just scratching the surface&#xD;&#xA;&#xD;&#xA;Sound is infinite.... &#xD;&#xA;&#xD;&#xA;Music is infinite....&#xD;&#xA;&#xD;&#xA;Their relationship to cinematic art is infinite to the power of infinite!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&quot;After silence, that which comes nearest to expressing the inexpressible is music&quot;&#xD;&#xA;&#xD;&#xA;Aldous Huxley&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2129" PostHistoryTypeId="5" PostId="1146" RevisionGUID="ffba5aef-4570-4855-9ce0-f54ae1f6560e" CreationDate="2010-05-18T10:27:48.650" UserId="202" Comment="added 1 characters in body" Text="Hi&#xD;&#xA;i'm bought my paca just few months ago... and had used only a little in two projects. but it's a terrific machine. &#xD;&#xA;You need to invest a lot of time (other than money) but it's a real pleasure: always find something inspiring. I use max as well, but I found that in kyma is much easier to come up with something exciting; and it sounds gorgeous.&#xD;&#xA;I used it to create some fill for production tracks (a trick that you can find in the kyma guide) and to process voices (making fire and waves &quot;speaks&quot;).&#xD;&#xA;but the incredibile thing is how fast you can create your library of processes that you can use and use again. &#xD;&#xA;I'm creating some patches to process sounds with doppler fx/ panning/realtime stretching and pitch, all controlled with the wacom tablet.&#xD;&#xA;Carla and Kurt, the owner and maker of kyma, are really helpfull and great at answer questions and sort out problem.&#xD;&#xA;it isn't the most user fiendly tool, but it's amazing... and i have just scratched the surface :)  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2130" PostHistoryTypeId="2" PostId="1148" RevisionGUID="1b2ffc96-033b-49a7-a878-dc76f1f62eff" CreationDate="2010-05-18T10:35:33.630" UserDisplayName="user80" Text="I would like to start a series of discussions about roles within the sound team for new comers to the industry.&#xD;&#xA;&#xD;&#xA;I am hoping that users who have professional experience within this role can explain what the job involves, as well as relay their personal experiences.&#xD;&#xA;&#xD;&#xA;Thank you&#xD;&#xA;&#xD;&#xA;Iain&#xD;&#xA;&#xD;&#xA;[Wikipedia][1], [Jobs4u][3]&#xD;&#xA;&#xD;&#xA;[![Boom operator Wikipedia][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://en.wikipedia.org/wiki/Boom_operator_(media)&#xD;&#xA;[2]: http://upload.wikimedia.org/wikipedia/commons/8/80/Tournage_de_film.JPG&#xD;&#xA;[3]: http://www.connexions-direct.com/jobs4u/index.cfm?pid=57&amp;catalogueContentID=796" ContentLicense="CC BY-SA 2.5" />
  <row Id="2131" PostHistoryTypeId="1" PostId="1148" RevisionGUID="1b2ffc96-033b-49a7-a878-dc76f1f62eff" CreationDate="2010-05-18T10:35:33.630" UserDisplayName="user80" Text="What does a boom operator do?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2132" PostHistoryTypeId="3" PostId="1148" RevisionGUID="1b2ffc96-033b-49a7-a878-dc76f1f62eff" CreationDate="2010-05-18T10:35:33.630" UserDisplayName="user80" Text="&lt;roles&gt;&lt;boom-operator&gt;&lt;definitions&gt;&lt;experiences&gt;&lt;websites&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2133" PostHistoryTypeId="5" PostId="1121" RevisionGUID="40199a63-ec21-4079-9178-e4973b87cf91" CreationDate="2010-05-18T10:38:23.743" UserDisplayName="user80" Comment="Tidied up language and added tags" Text="Do Pro Tools 8 HD plug-ins work on Pro Tools 8 LE? What Plug-ins will work on Pro Tools 8 LE that you don't get with your Pro Tools LE package that are freeware and acceptable with Mac OSX?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2134" PostHistoryTypeId="6" PostId="1121" RevisionGUID="40199a63-ec21-4079-9178-e4973b87cf91" CreationDate="2010-05-18T10:38:23.743" UserDisplayName="user80" Comment="Tidied up language and added tags" Text="&lt;pro-tools&gt;&lt;plug-ins&gt;&lt;freeware&gt;&lt;mac&gt;&lt;osx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2136" PostHistoryTypeId="5" PostId="1106" RevisionGUID="383531e3-e958-41ff-ab8d-38b92528c6c8" CreationDate="2010-05-18T11:19:18.407" UserDisplayName="user80" Comment="Tidied up language and added tags; edited tags; edited title" Text="So I am currently busy doing the sound design on a student film which has a character snapping another character's neck with her hands.  Thus far I have cut in a sound effect that I found of someone taking a bite out of celery.  The sound effect hasn't worked perfectly, a pitch change to the sound helped a little, but it's still not right.  Chicken bones have not worked for me either. Can anybody tell me a good idea to create this sound, or tell me where I can go to find it, I will be very grateful? " ContentLicense="CC BY-SA 2.5" />
  <row Id="2137" PostHistoryTypeId="6" PostId="1106" RevisionGUID="383531e3-e958-41ff-ab8d-38b92528c6c8" CreationDate="2010-05-18T11:19:18.407" UserDisplayName="user80" Comment="Tidied up language and added tags; edited tags; edited title" Text="&lt;sound-effects&gt;&lt;techniques&gt;&lt;foley&gt;&lt;sound-design&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2138" PostHistoryTypeId="4" PostId="1106" RevisionGUID="383531e3-e958-41ff-ab8d-38b92528c6c8" CreationDate="2010-05-18T11:19:18.407" UserDisplayName="user80" Comment="Tidied up language and added tags; edited tags; edited title" Text="How can I create, or where can I find a decent neck breaking sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2139" PostHistoryTypeId="5" PostId="1146" RevisionGUID="5777b69c-f1e5-46b3-9881-6b7a3f2440f7" CreationDate="2010-05-18T11:22:17.073" UserId="202" Comment="added 12 characters in body" Text="Hi&#xD;&#xA;i'm bought my paca just few months ago... and had used only a little in two projects. but it's a terrific machine. &#xD;&#xA;You need to invest a lot of time (other than money) but it's a real pleasure: always find something inspiring. I use max as well, but I found that in kyma is much easier to come up with something exciting; and it sounds gorgeous.&#xD;&#xA;I used it to create some fill for production tracks (a trick that you can find in the kyma guide) and to process voices (making fire and waves &quot;speaks&quot;).&#xD;&#xA;but the incredibile thing is how fast you can create your library of processes that you can use and use again. &#xD;&#xA;I'm creating some patches to process sounds with doppler fx/ panning/realtime stretching and pitch, all controlled with the wacom tablet.&#xD;&#xA;Carla and Kurt, the owner and maker of kyma, are really helpfull and great at answer questions and sort out problem.&#xD;&#xA;it isn't the most user fiendly tool, but it's amazing... and i have just scratched the surface :)  &#xD;&#xA;&#xD;&#xA;Davide F" ContentLicense="CC BY-SA 2.5" />
  <row Id="2140" PostHistoryTypeId="2" PostId="1149" RevisionGUID="fcb9ff76-ef38-4af2-8248-75fd63543de3" CreationDate="2010-05-18T11:27:55.130" UserId="14" Text="First, they record dialogue, ideally, they'll be recording usable dialogue, to do this you have to keep your mic relatively close to the actor, so if I were going to be a boom op, I'd definitely show up for any blocking sessions. You might be selecting what mic's you're using, or it might be up to the production sound mixer, and you might be placing lav mics. Which can be tricky when you're working with an attractive newslady or actress.&#xD;&#xA;&#xD;&#xA;I would definitely be recording room tone before the set gets populated. If your production sound mixer forgets to do it, and you tell them you got it before they showed up, they will love you for it.&#xD;&#xA;&#xD;&#xA;You might be expected to bring your own gear, don't always count on the people hiring you to have gear. If you don't have gear, you can always rent it. Never go to a set without gear unless you have been told to do so, if you don't have gear, and you're calling people, let them know. I'm pretty sure a good way to sully your reputation in a hurry is to show up on a set without mics when they want to shoot in a few hours. Also, if a wardrobe person shows up to mess with someones, well, wardrobe, double check any lav mics. They don't care about your mics, they just care how the actors look, so any lavs you had probably got displaced.&#xD;&#xA;&#xD;&#xA;Levels might be adjusted by you (if you have your own recorder strapped to your chest, or otherwise on you), or the production sound mixer.&#xD;&#xA;&#xD;&#xA;Stay out of the shot, be aware of cables around the set (those are a good way to trip and smack a mic on someones head) and watch your boom shadows. Those are easy to forget, but if you're working on set, scope out the lighting.&#xD;&#xA;&#xD;&#xA;I'm not a boom op, I've just boom opped for some college film students, so if I said something inane, you're all free to correct me." ContentLicense="CC BY-SA 2.5" />
  <row Id="2143" PostHistoryTypeId="6" PostId="1132" RevisionGUID="8135c5b0-910a-497c-8ecc-4ff73fe5ab15" CreationDate="2010-05-18T12:19:50.900" UserDisplayName="user80" Comment="edited tags" Text="&lt;sound-design&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2144" PostHistoryTypeId="2" PostId="1151" RevisionGUID="9a5e9916-e306-4dd3-8dad-e160c396a2c0" CreationDate="2010-05-18T14:02:42.413" UserId="298" Text="Hi&#xD;&#xA;&#xD;&#xA;I live in not well progressive country, especially when touching such specialisations like sound design. Its north-east europe. And after all my research i found out that there is no right place to get good education with professional perspective.&#xD;&#xA;&#xD;&#xA;So the question is - &#xD;&#xA;&#xD;&#xA;Dear pros here, can you recommend best higher, full time education institutions in the field of sound design, around Europe and US ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2145" PostHistoryTypeId="1" PostId="1151" RevisionGUID="9a5e9916-e306-4dd3-8dad-e160c396a2c0" CreationDate="2010-05-18T14:02:42.413" UserId="298" Text="Sound design courses and full education programs" ContentLicense="CC BY-SA 2.5" />
  <row Id="2146" PostHistoryTypeId="3" PostId="1151" RevisionGUID="9a5e9916-e306-4dd3-8dad-e160c396a2c0" CreationDate="2010-05-18T14:02:42.413" UserId="298" Text="&lt;sound&gt;&lt;design&gt;&lt;education&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2147" PostHistoryTypeId="2" PostId="1152" RevisionGUID="61cb74a4-2d82-42fb-a60f-a31958776666" CreationDate="2010-05-18T14:13:02.647" UserId="208" Text="Hi there&#xD;&#xA;&#xD;&#xA;Got my Paca a few months ago too, and have been digging my way through the manual, and just tried out experimenting on my own.&#xD;&#xA;&#xD;&#xA;As said earlier, this unit, and program can do things no other program can, but one has to beware of the fact that it takes alot of time to get into (At least it does for me.&#xD;&#xA;Im on to page 100 in the manual, and have not touched it in a few weeks because of a big project tht needed to be done, but Im eager to dig in again.&#xD;&#xA;&#xD;&#xA;Its exiting to use the different sounds with the Wacom tablet, and it makes the sound tweaking so much more natural, then mousing does.&#xD;&#xA;&#xD;&#xA;Up until now, I think I get most satifying results on treating voices. Here you can easily get weird starwars like accents. When I try to use the patches on winds, machine sounds synths, I have a tendency to go to far, and suddenly it all sounds bad, distorted, or non-character like (is that a word???)&#xD;&#xA;&#xD;&#xA;On thing I really like, and find very well thought out, is that you can take a prebuild sound and look at each of the building blocks it consits of. This gives me some insight in how to get more different and exiting results.&#xD;&#xA;&#xD;&#xA;Oh, and the TAU editor is nuts!!! When analysing a sample,( again a voice) you can get results you never imagined was possible!&#xD;&#xA;&#xD;&#xA;Customer support is as mentioned earlier. Super. Carla and Kurt are great.&#xD;&#xA;&#xD;&#xA;Im using the PAca on a macbook pro 2,26, and the Konnekt8 soundcard. I wish I had the money to get a bigger and faster mac, since the opening of timelines etc. can take a bit of time sometimes. The Konnekt8 soundcard is ok. Nothíng special. Using the Spdifs as inserts into my Protools setup.&#xD;&#xA;&#xD;&#xA;I say go for it if you got time, but be prepared to spend months and months and then some, if you are using it a few hours a day. Its deep, really deep.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 2.5" />
  <row Id="2148" PostHistoryTypeId="5" PostId="1151" RevisionGUID="7f2ff41d-2e91-4695-9ccc-7936fa42bd92" CreationDate="2010-05-18T14:33:41.410" UserDisplayName="user80" Comment="Tidied up language and added tags" Text="I live in a not very progressive country, especially with regards to specialisms like sound design. It is in north-eastern europe. And after researching the web I can not find out if there is a place to receive a good education in sound design from a professional perspective.&#xD;&#xA;&#xD;&#xA;So my question is: can you recommend the best higher full time education institutions in the field of sound design, within Europe and US?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2149" PostHistoryTypeId="4" PostId="1151" RevisionGUID="7f2ff41d-2e91-4695-9ccc-7936fa42bd92" CreationDate="2010-05-18T14:33:41.410" UserDisplayName="user80" Comment="Tidied up language and added tags" Text="Sound design courses and full education programs." ContentLicense="CC BY-SA 2.5" />
  <row Id="2150" PostHistoryTypeId="6" PostId="1151" RevisionGUID="7f2ff41d-2e91-4695-9ccc-7936fa42bd92" CreationDate="2010-05-18T14:33:41.410" UserDisplayName="user80" Comment="Tidied up language and added tags" Text="&lt;sound-design&gt;&lt;course&gt;&lt;recommendations&gt;&lt;degree&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2151" PostHistoryTypeId="2" PostId="1153" RevisionGUID="625d8a2e-1882-4e95-8e6b-65807d2f51e3" CreationDate="2010-05-18T14:39:54.147" UserDisplayName="user80" Text="The [MSc in Sound Design][1] at [The University of Edinburgh][2] has an excellent reputation. &#xD;&#xA;&#xD;&#xA;[![The University of Edinburgh][3]][2]&#xD;&#xA;&#xD;&#xA;[1]: http://sd.caad.ed.ac.uk/mscsounddesign/&#xD;&#xA;[2]: http://www.ed.ac.uk/home&#xD;&#xA;[3]: http://www.ed.ac.uk/images/homeCrest.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="2152" PostHistoryTypeId="5" PostId="1143" RevisionGUID="2cfabf92-a063-4759-a749-9cded6ad3e89" CreationDate="2010-05-18T14:44:00.147" UserDisplayName="user80" Comment="Added weblink and image; edited tags" Text="Hey folks!&#xD;&#xA;&#xD;&#xA;I'm deeply interesting in purchasing a [Pacarana][1]. I use Max/MSP a lot, and while that's super powerful for tool creation, it's also super difficult to get something to sound awesome.&#xD;&#xA;&#xD;&#xA;Oh, yeah, and super time consuming.&#xD;&#xA;&#xD;&#xA;What can you say about your experience with Kyma? How does it fit into your workflow? Your answers will help me decide where to put this $3k I was otherwise going to spend on things like eating and rent.&#xD;&#xA;&#xD;&#xA;[![Pacarana][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.symbolicsound.com/cgi-bin/bin/view/Products/Pacarana&#xD;&#xA;[2]: http://ssc-media.com/Pictures/Pacarana/Front%20(full%20res).JPG" ContentLicense="CC BY-SA 2.5" />
  <row Id="2153" PostHistoryTypeId="4" PostId="1143" RevisionGUID="2cfabf92-a063-4759-a749-9cded6ad3e89" CreationDate="2010-05-18T14:44:00.147" UserDisplayName="user80" Comment="Added weblink and image; edited tags" Text="How (do you?) use Kyma?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2154" PostHistoryTypeId="6" PostId="1143" RevisionGUID="2cfabf92-a063-4759-a749-9cded6ad3e89" CreationDate="2010-05-18T14:44:00.147" UserDisplayName="user80" Comment="Added weblink and image; edited tags" Text="&lt;kyma&gt;&lt;max-msp&gt;&lt;gear&gt;&lt;hardware&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2155" PostHistoryTypeId="2" PostId="1154" RevisionGUID="b2717b3b-76a0-4793-a7f7-bde973f0bbe8" CreationDate="2010-05-18T14:58:53.117" UserId="61" Text="I received a well-rounded education in music and technology at [Berklee College of Music][1]. If you cannot attend in the States, they also offer an [online curriculum][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.berklee.edu/&#xD;&#xA;  [2]: http://www.berkleemusic.com/?pid=3126" ContentLicense="CC BY-SA 2.5" />
  <row Id="2156" PostHistoryTypeId="2" PostId="1155" RevisionGUID="4fed6e7b-0a0d-4740-83c7-e16055b7c880" CreationDate="2010-05-18T15:39:12.147" UserId="299" Text="I wrote this as an email response to someone asking for thoughts on KYMA, so thought I'd repost here for others benefits.&#xD;&#xA;&#xD;&#xA;&gt;&gt;&#xD;&#xA;&#xD;&#xA;Ok, first off, here's a really good post on Kyma vs MAX/MSP vs Nord Modular by Anthony Bisset. &#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/343085-kyma-compared-max-msp-nord-modular.html&#xD;&#xA;&#xD;&#xA;I too use MAX/MSP. I also use it for tool and workflow creation. Aka SevenUpLive 2.0 for the monome.&#xD;&#xA;&#xD;&#xA;MAX is really good at connecting stuff and controlling stuff. I don't find it particularly well suited to designing sounds.&#xD;&#xA;&#xD;&#xA;KYMA on the other hand has a primary purpose of being almost a definitive platform for sound design. Supporting everything from nice sounding patches and straight subtractive stuff to very esoteric and bizarre forms of synthesis. You pretty much can combine anything with anything so a lot of times you create mashups of a bunch of different higher level patches. This is far more productive at actually creating interesting sound design than MAX/MSP.&#xD;&#xA;&#xD;&#xA;The sound quality is untouchable. It's immediately apparent when you start working with it. This all stems from the fact that all sound computations happen in realtime within one clock cycle or sample. So KYMA is sample accurate. You are not doing sound computations on vectors of samples, unless you want to.&#xD;&#xA;&#xD;&#xA;Another aspect of KYMA is the ability to have hot values for outside control of the patch. This is very easy to do. These hot values can connect to controls or can be controlled via midi or now OSC which gives you a nice connection to the outside world. the new OSC support is great, especially to connect MAX to KYMA.  &#xD;&#xA;&#xD;&#xA;The flow of a KYMA patch is a directed graph of signal flow. This is of course very different than MAX but very familiar in synthesis since signals flow from left to right. The components in the flow can be very low level or very high level prototypes for synthesis. &#xD;&#xA;&#xD;&#xA;It's ridiculously easy to put a filterband of 32 bands for example in a flow controlled by other aspects of a patch. It's also easy to resynthesize a sound by using an oscillator band of 1000 sine waves controlled by the spectra of another sound. &#xD;&#xA;&#xD;&#xA;But then you might be using something very simple like a VCA or an ADSR envelope.  &#xD;&#xA;&#xD;&#xA;But to answer your specific questions&#xD;&#xA;&#xD;&#xA;Everything I hear about kyma is really interesting to me. I love the semi-programming interface. What I wonder though is how &quot;useful&quot; it is. I mean, it's one thing for it to be an amazing tool for very infrequent occasions. It's another thing entirely to be a system that can contribute to every project I work on, and allow me to be more creative and think outside of the box in more than just the exceptional situations. That's what I'm looking for! Not that I don't love the lucid nightmares about buffer size and envelope shape etc. that Max/MSP gives me.&#xD;&#xA;&#xD;&#xA;So my question to you: How do you use Kyma? How valuable is it to you, creatively? How do you fit it into your workflow?&#xD;&#xA;&#xD;&#xA;First of all, I'm not a sound designer by profession, I just have an interest in music and synthesis. If I was though I think I'd be all over KYMA for a few reasons. &#xD;&#xA;&#xD;&#xA;#1 It's a tool for learning. You can do or prototype just about any idea in sound fairly quickly with sometimes surprising results. For example, here's a fun patch I was playing with that sounded like a digeridoo.&#xD;&#xA;&#xD;&#xA;http://createdigitalmusic.com/2010/03/15/osc-files-play-that-funky-music-hexagons/&#xD;&#xA;&#xD;&#xA;Modular synth controlling KYMA http://www.vimeo.com/10943340&#xD;&#xA;&#xD;&#xA;#2 You can build your own library of building blocks and keep combining them into new things. For example, let's say you want to create crazy engine, mechanical drones.  You could build a patch that uses various methods of using detuned oscillator banks to create you own drone machine. &#xD;&#xA;&#xD;&#xA;#3 Kind of a secret weapon for sound design. If that was my profession. I'd be all over it.&#xD;&#xA;&#xD;&#xA;So my workflow for KYMA is like so. Firstly, I use it for effects. Granular reverbs. Pitch/Time shifting, Filterbanks etc... &#xD;&#xA;&#xD;&#xA;Sometimes I use KYMA to recreate an idea I found on the modular synth. Maybe I was playing with some interesting FM concept and I want to build a patch that recreates an aspect of that for reuse later.&#xD;&#xA;&#xD;&#xA;It's a learning tool for discovering new concepts. Someone mentioned Karplus strong algorithmns. I looked it up on Wikipedia, found a prototype in KYMA. Built a patch to recreate hitting metallic tubes. You can experiment for the full range of pretty much any synthesis technique ever developed, or maybe invent your own. That is just cool.&#xD;&#xA;&#xD;&#xA;I can do things in KYMA I just cannot do in other systems. So it complements other techniques. More fun to patch subtractive stuff on modular, but then I can do stuff like put the sound through a 32 band fixed filterbank whose bands are keying of notes in another sequence or something. &#xD;&#xA;&#xD;&#xA;Cons:&#xD;&#xA;While you can use preexisting effects and sound out of the box. That would not be enough to justify KYMA.&#xD;&#xA;There is a learning curve for sure. If you have already learned MAX then I'm not worried but plan to invest 100 hours in this before you get over the hump.&#xD;&#xA;If you just want say an environment to do subtractive synth stuff. It definitely does this but it would be faster in an environment that was optimized to be a modular synth. The open ended nature means sometimes you have to discover which tool to use to get there. There are over 200 prototype components, so takes a bit to find the best path. There are usually a lot of solutions to the same problem.&#xD;&#xA;&#xD;&#xA;For example, simple square wave, use an Oscillator that uses a square wave table, OR use two saws offset by a delay line and combined together. Now I can adjust the delay to morph smoothly from saw to square. I can put in a hot variable for Pulse Width, or I just grab a prototype that implements PWM. You can get to the metal or work at a much higher level than you can in MAX. &#xD;&#xA;&#xD;&#xA;Use Tao editor to create smooth spectral morphs between two completely different sounds, human to cat to dog etc... Resynthesis and morphing? The are a half dozen ways to do this in KYMA that are different. &#xD;&#xA;&#xD;&#xA;Last advise. If you are serious, but the book!! KYMA revealed $35. It's a great read even without KYMA. If you feel drawn to the concepts there, you will likely enjoy the system.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2157" PostHistoryTypeId="5" PostId="1155" RevisionGUID="c6546f77-5b2c-46c1-833d-164b7d32c774" CreationDate="2010-05-18T15:49:54.627" UserId="299" Comment="added 49 characters in body" Text="I wrote this as an email response to someone asking for thoughts on KYMA, so thought I'd repost here for others benefits.&#xD;&#xA;&#xD;&#xA;&gt;&gt;&#xD;&#xA;&#xD;&#xA;Ok, first off, here's a really good post on Kyma vs MAX/MSP vs Nord Modular by Anthony Bisset. &#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/343085-kyma-compared-max-msp-nord-modular.html&#xD;&#xA;&#xD;&#xA;I too use MAX/MSP. I also use it for tool and workflow creation. Aka SevenUpLive 2.0 for the monome.&#xD;&#xA;&#xD;&#xA;MAX is really good at connecting stuff and controlling stuff. I don't find it particularly well suited to designing sounds.&#xD;&#xA;&#xD;&#xA;KYMA on the other hand has a primary purpose of being almost a definitive platform for sound design. Supporting everything from nice sounding patches and straight subtractive stuff to very esoteric and bizarre forms of synthesis. You pretty much can combine anything with anything so a lot of times you create mashups of a bunch of different higher level patches. This is far more productive at actually creating interesting sound design than MAX/MSP.&#xD;&#xA;&#xD;&#xA;The sound quality is untouchable. It's immediately apparent when you start working with it. This all stems from the fact that all sound computations happen in realtime within one clock cycle or sample. So KYMA is sample accurate. You are not doing sound computations on vectors of samples, unless you want to.&#xD;&#xA;&#xD;&#xA;Another aspect of KYMA is the ability to have hot values for outside control of the patch. This is very easy to do. These hot values can connect to controls or can be controlled via midi or now OSC which gives you a nice connection to the outside world. the new OSC support is great, especially to connect MAX to KYMA.  &#xD;&#xA;&#xD;&#xA;The flow of a KYMA patch is a directed graph of signal flow. This is of course very different than MAX but very familiar in synthesis since signals flow from left to right. The components in the flow can be very low level or very high level prototypes for synthesis. &#xD;&#xA;&#xD;&#xA;It's ridiculously easy to put a filterband of 32 bands for example in a flow controlled by other aspects of a patch. It's also easy to resynthesize a sound by using an oscillator band of 1000 sine waves controlled by the spectra of another sound. &#xD;&#xA;&#xD;&#xA;But then you might be using something very simple like a VCA or an ADSR envelope.  &#xD;&#xA;&#xD;&#xA;But to answer your specific questions&#xD;&#xA;&#xD;&#xA;&gt; Everything I hear about kyma is really&#xD;&#xA;&gt; interesting to me. I love the&#xD;&#xA;&gt; semi-programming interface. What I&#xD;&#xA;&gt; wonder though is how &quot;useful&quot; it is. I&#xD;&#xA;&gt; mean, it's one thing for it to be an&#xD;&#xA;&gt; amazing tool for very infrequent&#xD;&#xA;&gt; occasions. It's another thing entirely&#xD;&#xA;&gt; to be a system that can contribute to&#xD;&#xA;&gt; every project I work on, and allow me&#xD;&#xA;&gt; to be more creative and think outside&#xD;&#xA;&gt; of the box in more than just the&#xD;&#xA;&gt; exceptional situations. That's what&#xD;&#xA;&gt; I'm looking for! Not that I don't love&#xD;&#xA;&gt; the lucid nightmares about buffer size&#xD;&#xA;&gt; and envelope shape etc. that Max/MSP&#xD;&#xA;&gt; gives me.&#xD;&#xA;&gt;So my question to you: How do you use Kyma? How valuable is it to you, creatively? How do you fit &gt;it into your workflow?&#xD;&#xA;&#xD;&#xA;First of all, I'm not a sound designer by profession, I just have an interest in music and synthesis. If I was though I think I'd be all over KYMA for a few reasons. &#xD;&#xA;&#xD;&#xA;#1 It's a tool for learning. You can do or prototype just about any idea in sound fairly quickly with sometimes surprising results. For example, here's a fun patch I was playing with that sounded like a digeridoo.&#xD;&#xA;&#xD;&#xA;http://createdigitalmusic.com/2010/03/15/osc-files-play-that-funky-music-hexagons/&#xD;&#xA;&#xD;&#xA;Modular synth controlling KYMA http://www.vimeo.com/10943340&#xD;&#xA;&#xD;&#xA;#2 You can build your own library of building blocks and keep combining them into new things. For example, let's say you want to create crazy engine, mechanical drones.  You could build a patch that uses various methods of using detuned oscillator banks to create you own drone machine. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;#3 Kind of a secret weapon for sound design. If that was my profession. I'd be all over it.&#xD;&#xA;&#xD;&#xA;So my workflow for KYMA is like so. Firstly, I use it for effects. Granular reverbs. Pitch/Time shifting, Filterbanks etc... &#xD;&#xA;&#xD;&#xA;Sometimes I use KYMA to recreate an idea I found on the modular synth. Maybe I was playing with some interesting FM concept and I want to build a patch that recreates an aspect of that for reuse later.&#xD;&#xA;&#xD;&#xA;It's a learning tool for discovering new concepts. Someone mentioned Karplus strong algorithmns. I looked it up on Wikipedia, found a prototype in KYMA. Built a patch to recreate hitting metallic tubes. You can experiment for the full range of pretty much any synthesis technique ever developed, or maybe invent your own. That is just cool.&#xD;&#xA;&#xD;&#xA;I can do things in KYMA I just cannot do in other systems. So it complements other techniques. More fun to patch subtractive stuff on modular, but then I can do stuff like put the sound through a 32 band fixed filterbank whose bands are keying of notes in another sequence or something. &#xD;&#xA;&#xD;&#xA;Cons:&#xD;&#xA;While you can use preexisting effects and sound out of the box. That would not be enough to justify KYMA.&#xD;&#xA;There is a learning curve for sure. If you have already learned MAX then I'm not worried but plan to invest 100 hours in this before you get over the hump.&#xD;&#xA;If you just want say an environment to do subtractive synth stuff. It definitely does this but it would be faster in an environment that was optimized to be a modular synth. The open ended nature means sometimes you have to discover which tool to use to get there. There are over 200 prototype components, so takes a bit to find the best path. There are usually a lot of solutions to the same problem.&#xD;&#xA;&#xD;&#xA;For example, simple square wave, use an Oscillator that uses a square wave table, OR use two saws offset by a delay line and combined together. Now I can adjust the delay to morph smoothly from saw to square. I can put in a hot variable for Pulse Width, or I just grab a prototype that implements PWM. You can get to the metal or work at a much higher level than you can in MAX. &#xD;&#xA;&#xD;&#xA;Use Tao editor to create smooth spectral morphs between two completely different sounds, human to cat to dog etc... Resynthesis and morphing? The are a half dozen ways to do this in KYMA that are different. &#xD;&#xA;&#xD;&#xA;Last advise. If you are serious, but the book!! KYMA revealed $35. It's a great read even without KYMA. If you feel drawn to the concepts there, you will likely enjoy the system.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2158" PostHistoryTypeId="2" PostId="1156" RevisionGUID="ccd2354e-f037-4e52-8b14-6cf207dd7cf8" CreationDate="2010-05-18T16:34:40.357" UserId="6435" Text="I think quite a high percentage of people who get into sound engineering come to it from being a musician, or wanting to record rock and roll bands. Of course, there's not enough jobs recording rock and roll bands so many of them find other work within the larger sound world. And many of them find they enjoy it, sometimes more than they would enjoy recording rock and roll bands. That's more or less what happened to me. No jobs in music studios, got a job doing radio ads, that led (long story short) to doing more sound design as part of my career." ContentLicense="CC BY-SA 2.5" />
  <row Id="2159" PostHistoryTypeId="2" PostId="1157" RevisionGUID="f7919062-be14-4d8c-84a6-a987881378a8" CreationDate="2010-05-18T16:56:43.347" UserId="18160" Text="Sorry, I don't have much time right now to write a detailed answer (I'll be around later to) but I want to stress this:&#xD;&#xA;&#xD;&#xA;Consistency in tonality.&#xD;&#xA;&#xD;&#xA;Today we have no clue what shot will be edited against what other shot and I know from personal experience mixing that consistency in production sound saves hours of time for the dialogue editors/mixers.&#xD;&#xA;&#xD;&#xA;By this I mean 2 people having a conversation with each other that you know will be edited together back and forth but may be shot hours apart to have a similar relative distance from the boom/lav. You don't want someone with proximity effect and someone far away from the mic.&#xD;&#xA;&#xD;&#xA;Do your homework. Look to see what may be needed for the shoot and bring it - like the answer Edward gave. You never know what will come up or what you may be asked for.&#xD;&#xA;&#xD;&#xA;I personally never back down or compromise quality by one inch. If you consider that what your microphones are picking up is 90% of what you will be putting out the theater speakers, this is a correct estimation of importance to production sound. Do not let yourself be &quot;bullied&quot; around on set. Fight for your quality of sound. If you don't, it's like the Director of Photography saying &quot;Well, the lights really couldn't get too close tot the subject today so we're going to have to re-shoot the scenes we filmed today&quot;. Carefully analyzing Avatar and The Hurt Locker led me to believe that the sound oscars went to The Hurt Locker because the production sound was so phenomenal (they only ADRed 4 lines or something on the principal characters).&#xD;&#xA;&#xD;&#xA;In my experience in doing ADR, unless you are working with a brilliant actor, the original production sound will ALWAYS be the better delivery on the actor's part. It will also be better sync,  match the projection, match the emotion the actor has on his face, BECAUSE IT'S THE ORIGINAL. Pardon me but I think the fact you have to do ADR on 98% of a movie is a criticism to the production sound team (unless there are weather or ambient sounds you have no control over like planes, ocean, rain, etc.) But, doing ADR for an indoor talky scene on a sound stage is absolutely doable to keep the production sound - DO IT RIGHT THE FIRST TIME.&#xD;&#xA;&#xD;&#xA;The mic is the most important element in tonality and getting the position right is of the utmost importance to the quality of the mix. Done correctly, mixing is a breeze.&#xD;&#xA;&#xD;&#xA;You need to know your microphones capabilities like the back of your hand and what will be the best microphone in which situation. Know what they sound like off axis, at far distances, in close.&#xD;&#xA;&#xD;&#xA;Those are my 2 cents and I'll think of more things to add later." ContentLicense="CC BY-SA 2.5" />
  <row Id="2160" PostHistoryTypeId="2" PostId="1158" RevisionGUID="ee3b6943-a424-4825-b2ec-ce34c0c29315" CreationDate="2010-05-18T16:57:37.760" UserId="62" Text="I did the MA in Sound Design for the Screen at Bournemouth University, however after just having a look they now offer a BA (Hons) in Soundtrack Production.&#xD;&#xA;&#xD;&#xA;[http://onlineservices.bournemouth.ac.uk/courses/course.aspx?course=644][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]:  http://onlineservices.bournemouth.ac.uk/courses/course.aspx?course=644&#xD;&#xA;&#xD;&#xA;The Media School was truly excellent. Great facilities and great staff. I really enjoyed the philosophy that theory informs practice and practice informs theory.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="2162" PostHistoryTypeId="5" PostId="1157" RevisionGUID="dc4a2b7d-617f-47e1-be5e-e53636c9a702" CreationDate="2010-05-18T17:07:09.493" UserId="18160" Comment="added 922 characters in body; added 1128 characters in body" Text="Sorry, I don't have much time right now to write a detailed answer (I'll be around later to) but I want to stress this:&#xD;&#xA;&#xD;&#xA;Consistency in tonality.&#xD;&#xA;&#xD;&#xA;Today we have no clue what shot will be edited against what other shot and I know from personal experience mixing that consistency in production sound saves hours of time for the dialogue editors/mixers.&#xD;&#xA;&#xD;&#xA;By this I mean 2 people having a conversation with each other that you know will be edited together back and forth but may be shot hours apart to have a similar relative distance from the boom/lav. You don't want someone with proximity effect and someone far away from the mic.&#xD;&#xA;&#xD;&#xA;Do your homework. Look to see what may be needed for the shoot and bring it - like the answer Edward gave. You never know what will come up or what you may be asked for.&#xD;&#xA;&#xD;&#xA;I personally never back down or compromise quality by one inch. If you consider that what your microphones are picking up is 90% of what you will be putting out the theater speakers, this is a correct estimation of importance to production sound. Do not let yourself be &quot;bullied&quot; around on set. Fight for your quality of sound. If you don't, it's like the Director of Photography saying &quot;Well, the lights really couldn't get too close tot the subject today so we're going to have to re-shoot the scenes we filmed today&quot;. Carefully analyzing Avatar and The Hurt Locker led me to believe that the sound oscars went to The Hurt Locker because the production sound was so phenomenal (they only ADRed 4 lines or something on the principal characters).&#xD;&#xA;&#xD;&#xA;In my experience in doing ADR, unless you are working with a brilliant actor, the original production sound will ALWAYS be the better delivery on the actor's part. It will also be better sync,  match the projection, match the emotion the actor has on his face, BECAUSE IT'S THE ORIGINAL. Pardon me but I think the fact you have to do ADR on 98% of a movie is a criticism to the production sound team (unless there are weather or ambient sounds you have no control over like planes, ocean, rain, etc.) But, doing ADR for an indoor talky scene on a sound stage is absolutely doable to keep the production sound - DO IT RIGHT THE FIRST TIME.&#xD;&#xA;&#xD;&#xA;The mic is the most important element in tonality and getting the position right is of the utmost importance to the quality of the mix. Done correctly, mixing is a breeze.&#xD;&#xA;&#xD;&#xA;You need to know your microphones capabilities like the back of your hand and what will be the best microphone in which situation. Know what they sound like off axis, at far distances, in close. Learn and drill a LOT on pointing the mic on the end of a pole toward a subject's mouth. Especially when using a shotgun mic - they are so directional and it is actually extremely difficult to judge exactly where your mic is pointing when it's on the edge of a pole pointing down. I tried it yesterday with my CMIT 5U - depth perception comes into play on this. I thought of maybe installing a micro-video camera on the tip of the boom pole which is pointed the same direction as the mic and wearing one of those pairs of glasses that have a little screen in the edge of the lens so you can see what your mic is pointing at all the time.&#xD;&#xA;&#xD;&#xA;Get wild lines from the actors when they're standing around - coordinate with the director ahead of time. Get some wild lines that are not even part of the script that you think you might need, and effort grunts and such, so you have them in a library for that actor. I know that The Hurt Locker used many lines and pieces of words from other takes that weren't used in the movie. This is for example, the actor cussing because he's frustrated, or efforts doing something physical, etc.&#xD;&#xA;&#xD;&#xA;Grow eyes in the back of your head: The best boom operator I have ever met (said to be the best in the business) walked backwards while keeping his eyes on his mic and actor while stepping over cables and generators and equipment while walking backwards - if he tripped he would have ruined the scene.&#xD;&#xA;&#xD;&#xA;Stay alert. Especially when you're shooting on film. Film is extremely expensive when you have to re-take things. It's a lot more expensive than hard-drive space or DVDs when you're shooting on HD.&#xD;&#xA;&#xD;&#xA;Work out your arms - especially doing incline benching. Buy a light mic. The Schoeps CMIT 5U weighs possibly less than a 4th of the weight of a standard SM57. It actually weighs about as heavy as an expensive ball-point pen. That can help your arm fatigue enormously. If you don't believe me on the importance of working out and getting your arms in shape, try painting your ceiling with a roller - IT'S TIRING!!&#xD;&#xA;&#xD;&#xA;Those are my 2 cents and I'll think of more things to add later." ContentLicense="CC BY-SA 2.5" />
  <row Id="2163" PostHistoryTypeId="5" PostId="1157" RevisionGUID="4e5bf517-c62c-43e6-8050-02b6f309f5fe" CreationDate="2010-05-18T17:12:57.687" UserId="18160" Comment="added 26 characters in body; added 927 characters in body" Text="Sorry, I don't have much time right now to write a detailed answer (I'll be around later to) but I want to stress this:&#xD;&#xA;&#xD;&#xA;Consistency in tonality.&#xD;&#xA;&#xD;&#xA;Today we have no clue what shot will be edited against what other shot and I know from personal experience mixing that consistency in production sound saves hours of time for the dialogue editors/mixers.&#xD;&#xA;&#xD;&#xA;By this I mean 2 people having a conversation with each other that you know will be edited together back and forth but may be shot hours apart to have a similar relative distance from the boom/lav. You don't want someone with proximity effect and someone far away from the mic.&#xD;&#xA;&#xD;&#xA;Do your homework. Look to see what may be needed for the shoot and bring it - like the answer Edward gave. You never know what will come up or what you may be asked for.&#xD;&#xA;&#xD;&#xA;I personally never back down or compromise quality by one inch. If you consider that what your microphones are picking up is 90% of what you will be putting out the theater speakers, this is a correct estimation of importance to production sound. Do not let yourself be &quot;bullied&quot; around on set. Fight for your quality of sound. If you don't, it's like the Director of Photography saying &quot;Well, the lights really couldn't get too close tot the subject today so we're going to have to re-shoot the scenes we filmed today&quot;. Carefully analyzing Avatar and The Hurt Locker led me to believe that the sound oscars went to The Hurt Locker because the production sound was so phenomenal (they only ADRed 4 lines or something on the principal characters).&#xD;&#xA;&#xD;&#xA;In my experience in doing ADR, unless you are working with a brilliant actor, the original production sound will ALWAYS be the better delivery on the actor's part. It will also be better sync,  match the projection, match the emotion the actor has on his face, BECAUSE IT'S THE ORIGINAL. Pardon me but I think the fact you have to do ADR on 98% of a movie is a criticism to the production sound team (unless there are weather or ambient sounds you have no control over like planes, ocean, rain, etc.) But, doing ADR for an indoor talky scene on a sound stage is absolutely doable to keep the production sound - DO IT RIGHT THE FIRST TIME.&#xD;&#xA;&#xD;&#xA;The mic is the most important element in tonality and getting the position right is of the utmost importance to the quality of the mix. Done correctly, mixing is a breeze.&#xD;&#xA;&#xD;&#xA;You need to know your microphones capabilities like the back of your hand and what will be the best microphone in which situation. Know what they sound like off axis, at far distances, in close. Learn and drill a LOT on pointing the mic on the end of a pole toward a subject's mouth. Especially when using a shotgun mic - they are so directional and it is actually extremely difficult to judge exactly where your mic is pointing when it's on the edge of a pole pointing down. I tried it yesterday with my CMIT 5U - depth perception comes into play on this. I thought of maybe installing a micro-video camera on the tip of the boom pole which is pointed the same direction as the mic and wearing one of those pairs of glasses that have a little screen in the edge of the lens so you can see what your mic is pointing at all the time. How slick would that be??&#xD;&#xA;&#xD;&#xA;Get wild lines from the actors when they're standing around - coordinate with the director ahead of time. Get some wild lines that are not even part of the script that you think you might need, and effort grunts and such, so you have them in a library for that actor. I know that The Hurt Locker used many lines and pieces of words from other takes that weren't used in the movie. This is for example, the actor cussing because he's frustrated, or efforts doing something physical, etc.&#xD;&#xA;&#xD;&#xA;Grow eyes in the back of your head: The best boom operator I have ever met (said to be the best in the business) walked backwards while keeping his eyes on his mic and actor while stepping over cables and generators and equipment while walking backwards - if he tripped he would have ruined the scene.&#xD;&#xA;&#xD;&#xA;Stay alert. Especially when you're shooting on film. Film is extremely expensive when you have to re-take things. It's a lot more expensive than hard-drive space or DVDs when you're shooting on HD.&#xD;&#xA;&#xD;&#xA;Work out your arms - especially doing incline benching. Buy a light mic. The Schoeps CMIT 5U weighs possibly less than a 4th of the weight of a standard SM57. It actually weighs about as heavy as an expensive ball-point pen. That can help your arm fatigue enormously. If you don't believe me on the importance of working out and getting your arms in shape, try painting your ceiling with a roller - IT'S TIRING!!&#xD;&#xA;&#xD;&#xA;OH AND I ALMOST FORGOT!!! I'm doing ADR today and the production mixer was kind enough to send me data on EXACTLY what mic was used and EXACTLY how that mic was set up!! My god it is so helpful. I cannot tell you how frustrating it is when you get an ADR job and you have no clue what mic was used on set. And more importantly, what kind of wind protection or setting of the mic was used. PLEASE PLEASE PLEASE jot down in an e-mail or ANYTHING this information:&#xD;&#xA;&#xD;&#xA;Microphone used.&#xD;&#xA;Pre-amp used.&#xD;&#xA;Recorder or converters used.&#xD;&#xA;Settings on the mic: 80 Hz high pass? Presence boost? Proximity lessener?&#xD;&#xA;Wind protection used: Stock wind sock? Rycote wind-jammer?&#xD;&#xA;&#xD;&#xA;That will help me match ADR much easier and help the sound team match in the ADR better - I think most of the time when you scoff at &quot;Bad ADR&quot; is simply because there was no information given to the ADR recordist on how to match the production sound exactly.&#xD;&#xA;&#xD;&#xA;Those are my 2 cents and I'll think of more things to add later." ContentLicense="CC BY-SA 2.5" />
  <row Id="2164" PostHistoryTypeId="4" PostId="1143" RevisionGUID="3540c32e-f0f1-4854-a113-7b97c76c457d" CreationDate="2010-05-18T17:14:14.087" UserDisplayName="user80" Comment="edited title" Text="How (do you) use Kyma?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2165" PostHistoryTypeId="5" PostId="1155" RevisionGUID="c0762f06-f1d4-4995-b5a4-975f3e7c0f2f" CreationDate="2010-05-18T17:16:02.240" UserDisplayName="user80" Comment="edited body" Text="I wrote this as an email response to someone asking for thoughts on KYMA, so thought I'd repost here for others benefits.&#xD;&#xA;&#xD;&#xA;&gt;&gt;&#xD;&#xA;&#xD;&#xA;Ok, first off, here's a really good post on Kyma vs MAX/MSP vs Nord Modular by Anthony Bisset. &#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/343085-kyma-compared-max-msp-nord-modular.html&#xD;&#xA;&#xD;&#xA;I too use MAX/MSP. I also use it for tool and workflow creation. Aka SevenUpLive 2.0 for the monome.&#xD;&#xA;&#xD;&#xA;MAX is really good at connecting stuff and controlling stuff. I don't find it particularly well suited to designing sounds.&#xD;&#xA;&#xD;&#xA;KYMA on the other hand has a primary purpose of being almost a definitive platform for sound design. Supporting everything from nice sounding patches and straight subtractive stuff to very esoteric and bizarre forms of synthesis. You pretty much can combine anything with anything so a lot of times you create mashups of a bunch of different higher level patches. This is far more productive at actually creating interesting sound design than MAX/MSP.&#xD;&#xA;&#xD;&#xA;The sound quality is untouchable. It's immediately apparent when you start working with it. This all stems from the fact that all sound computations happen in realtime within one clock cycle or sample. So KYMA is sample accurate. You are not doing sound computations on vectors of samples, unless you want to.&#xD;&#xA;&#xD;&#xA;Another aspect of KYMA is the ability to have hot values for outside control of the patch. This is very easy to do. These hot values can connect to controls or can be controlled via midi or now OSC which gives you a nice connection to the outside world. the new OSC support is great, especially to connect MAX to KYMA.  &#xD;&#xA;&#xD;&#xA;The flow of a KYMA patch is a directed graph of signal flow. This is of course very different than MAX but very familiar in synthesis since signals flow from left to right. The components in the flow can be very low level or very high level prototypes for synthesis. &#xD;&#xA;&#xD;&#xA;It's ridiculously easy to put a filterband of 32 bands for example in a flow controlled by other aspects of a patch. It's also easy to resynthesize a sound by using an oscillator band of 1000 sine waves controlled by the spectra of another sound. &#xD;&#xA;&#xD;&#xA;But then you might be using something very simple like a VCA or an ADSR envelope.  &#xD;&#xA;&#xD;&#xA;But to answer your specific questions&#xD;&#xA;&#xD;&#xA;&gt; Everything I hear about kyma is really&#xD;&#xA;&gt; interesting to me. I love the&#xD;&#xA;&gt; semi-programming interface. What I&#xD;&#xA;&gt; wonder though is how &quot;useful&quot; it is. I&#xD;&#xA;&gt; mean, it's one thing for it to be an&#xD;&#xA;&gt; amazing tool for very infrequent&#xD;&#xA;&gt; occasions. It's another thing entirely&#xD;&#xA;&gt; to be a system that can contribute to&#xD;&#xA;&gt; every project I work on, and allow me&#xD;&#xA;&gt; to be more creative and think outside&#xD;&#xA;&gt; of the box in more than just the&#xD;&#xA;&gt; exceptional situations. That's what&#xD;&#xA;&gt; I'm looking for! Not that I don't love&#xD;&#xA;&gt; the lucid nightmares about buffer size&#xD;&#xA;&gt; and envelope shape etc. that Max/MSP&#xD;&#xA;&gt; gives me.&#xD;&#xA;&gt;So my question to you: How do you use Kyma? How valuable is it to you, creatively? How do you fit &gt;it into your workflow?&#xD;&#xA;&#xD;&#xA;First of all, I'm not a sound designer by profession, I just have an interest in music and synthesis. If I was though I think I'd be all over KYMA for a few reasons. &#xD;&#xA;&#xD;&#xA;#1 It's a tool for learning. You can do or prototype just about any idea in sound fairly quickly with sometimes surprising results. For example, here's a fun patch I was playing with that sounded like a digeridoo.&#xD;&#xA;&#xD;&#xA;http://createdigitalmusic.com/2010/03/15/osc-files-play-that-funky-music-hexagons/&#xD;&#xA;&#xD;&#xA;Modular synth controlling KYMA http://www.vimeo.com/10943340&#xD;&#xA;&#xD;&#xA;#2 You can build your own library of building blocks and keep combining them into new things. For example, let's say you want to create crazy engine, mechanical drones.  You could build a patch that uses various methods of using detuned oscillator banks to create you own drone machine. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;#3 Kind of a secret weapon for sound design. If that was my profession. I'd be all over it.&#xD;&#xA;&#xD;&#xA;So my workflow for KYMA is like so. Firstly, I use it for effects. Granular reverbs. Pitch/Time shifting, Filterbanks etc... &#xD;&#xA;&#xD;&#xA;Sometimes I use KYMA to recreate an idea I found on the modular synth. Maybe I was playing with some interesting FM concept and I want to build a patch that recreates an aspect of that for reuse later.&#xD;&#xA;&#xD;&#xA;It's a learning tool for discovering new concepts. Someone mentioned Karplus strong algorithmns. I looked it up on Wikipedia, found a prototype in KYMA. Built a patch to recreate hitting metallic tubes. You can experiment for the full range of pretty much any synthesis technique ever developed, or maybe invent your own. That is just cool.&#xD;&#xA;&#xD;&#xA;I can do things in KYMA I just cannot do in other systems. So it complements other techniques. More fun to patch subtractive stuff on modular, but then I can do stuff like put the sound through a 32 band fixed filterbank whose bands are keying of notes in another sequence or something. &#xD;&#xA;&#xD;&#xA;Cons:&#xD;&#xA;While you can use preexisting effects and sound out of the box. That would not be enough to justify KYMA.&#xD;&#xA;There is a learning curve for sure. If you have already learned MAX then I'm not worried but plan to invest 100 hours in this before you get over the hump.&#xD;&#xA;If you just want say an environment to do subtractive synth stuff. It definitely does this but it would be faster in an environment that was optimized to be a modular synth. The open ended nature means sometimes you have to discover which tool to use to get there. There are over 200 prototype components, so takes a bit to find the best path. There are usually a lot of solutions to the same problem.&#xD;&#xA;&#xD;&#xA;For example, simple square wave, use an Oscillator that uses a square wave table, OR use two saws offset by a delay line and combined together. Now I can adjust the delay to morph smoothly from saw to square. I can put in a hot variable for Pulse Width, or I just grab a prototype that implements PWM. You can get to the metal or work at a much higher level than you can in MAX. &#xD;&#xA;&#xD;&#xA;Use Tao editor to create smooth spectral morphs between two completely different sounds, human to cat to dog etc... Resynthesis and morphing? The are a half dozen ways to do this in KYMA that are different. &#xD;&#xA;&#xD;&#xA;Last advise. If you are serious, buy the book!! KYMA revealed $35. It's a great read even without KYMA. If you feel drawn to the concepts there, you will likely enjoy the system.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2166" PostHistoryTypeId="5" PostId="1157" RevisionGUID="f451691b-d11b-4ce4-93df-c9b80e1d250d" CreationDate="2010-05-18T17:19:30.300" UserId="18160" Comment="added 299 characters in body; added 86 characters in body" Text="Sorry, I don't have much time right now to write a detailed answer (I'll be around later to) but I want to stress this:&#xD;&#xA;&#xD;&#xA;Consistency in tonality.&#xD;&#xA;&#xD;&#xA;Today we have no clue what shot will be edited against what other shot and I know from personal experience mixing that consistency in production sound saves hours of time for the dialogue editors/mixers.&#xD;&#xA;&#xD;&#xA;By this I mean 2 people having a conversation with each other that you know will be edited together back and forth but may be shot hours apart to have a similar relative distance from the boom/lav. You don't want someone with proximity effect and someone far away from the mic.&#xD;&#xA;&#xD;&#xA;Do your homework. Look to see what may be needed for the shoot and bring it - like the answer Edward gave. You never know what will come up or what you may be asked for.&#xD;&#xA;&#xD;&#xA;I personally never back down or compromise quality by one inch. If you consider that what your microphones are picking up is 90% of what you will be putting out the theater speakers, this is a correct estimation of importance to production sound. Do not let yourself be &quot;bullied&quot; around on set. Fight for your quality of sound. If you don't, it's like the Director of Photography saying &quot;Well, the lights really couldn't get too close tot the subject today so we're going to have to re-shoot the scenes we filmed today&quot;. Carefully analyzing Avatar and The Hurt Locker led me to believe that the sound oscars went to The Hurt Locker because the production sound was so phenomenal (they only ADRed 4 lines or something on the principal characters).&#xD;&#xA;&#xD;&#xA;In my experience in doing ADR, unless you are working with a brilliant actor, the original production sound will ALWAYS be the better delivery on the actor's part. It will also be better sync,  match the projection, match the emotion the actor has on his face, BECAUSE IT'S THE ORIGINAL. Pardon me but I think the fact you have to do ADR on 98% of a movie is a criticism to the production sound team (unless there are weather or ambient sounds you have no control over like planes, ocean, rain, etc.) But, doing ADR for an indoor talky scene on a sound stage is absolutely doable to keep the production sound - DO IT RIGHT THE FIRST TIME.&#xD;&#xA;&#xD;&#xA;The mic is the most important element in tonality and getting the position right is of the utmost importance to the quality of the mix. Done correctly, mixing is a breeze.&#xD;&#xA;&#xD;&#xA;You need to know your microphones capabilities like the back of your hand and what will be the best microphone in which situation. Know what they sound like off axis, at far distances, in close. Learn and drill a LOT on pointing the mic on the end of a pole toward a subject's mouth. Especially when using a shotgun mic - they are so directional and it is actually extremely difficult to judge exactly where your mic is pointing when it's on the edge of a pole pointing down. I tried it yesterday with my CMIT 5U - depth perception comes into play on this. I thought of maybe installing a micro-video camera on the tip of the boom pole which is pointed the same direction as the mic and wearing one of those pairs of glasses that have a little screen in the edge of the lens so you can see what your mic is pointing at all the time. How slick would that be??&#xD;&#xA;&#xD;&#xA;Get wild lines from the actors when they're standing around - coordinate with the director ahead of time. Get some wild lines that are not even part of the script that you think you might need, and effort grunts and such, so you have them in a library for that actor. I know that The Hurt Locker used many lines and pieces of words from other takes that weren't used in the movie. This is for example, the actor cussing because he's frustrated, or efforts doing something physical, etc.&#xD;&#xA;&#xD;&#xA;Grow eyes in the back of your head: The best boom operator I have ever met (said to be the best in the business) walked backwards while keeping his eyes on his mic and actor while stepping over cables and generators and equipment while walking backwards - if he tripped he would have ruined the scene.&#xD;&#xA;&#xD;&#xA;Stay alert. Especially when you're shooting on film. Film is extremely expensive when you have to re-take things. It's a lot more expensive than hard-drive space or DVDs when you're shooting on HD.&#xD;&#xA;&#xD;&#xA;Work out your arms - especially doing incline benching. Buy a light mic. The Schoeps CMIT 5U weighs possibly less than a 4th of the weight of a standard SM57. It actually weighs about as heavy as an expensive ball-point pen. That can help your arm fatigue enormously. If you don't believe me on the importance of working out and getting your arms in shape, try painting your ceiling with a roller - IT'S TIRING!!&#xD;&#xA;&#xD;&#xA;Become inventive. Mics are small and can be hidden other places than on a boom pole. Put it inside a plant. Put it inside someone's baseball cap. Cleverly work out how to mic someone in a bikini. Always check out a scene before-hand if you have to time and work out the best position of the mic.&#xD;&#xA;&#xD;&#xA;OH AND I ALMOST FORGOT!!! I'm doing ADR today and the production mixer was kind enough to send me data on EXACTLY what mic was used and EXACTLY how that mic was set up!! My god it is so helpful. I cannot tell you how frustrating it is when you get an ADR job and you have no clue what mic was used on set. And more importantly, what kind of wind protection or setting of the mic was used. PLEASE PLEASE PLEASE jot down in an e-mail or ANYTHING this information:&#xD;&#xA;&#xD;&#xA;Microphone used.&#xD;&#xA;Pre-amp used.&#xD;&#xA;Recorder or converters used.&#xD;&#xA;Settings on the mic: 80 Hz high pass? Presence boost? Proximity lessener?&#xD;&#xA;Wind protection used: Stock wind sock? Rycote wind-jammer? Was the mic out in front of the subject, above and pointing down? In close? Far away?&#xD;&#xA;&#xD;&#xA;That will help me match ADR much easier and help the sound team match in the ADR better - I think most of the time when you scoff at &quot;Bad ADR&quot; is simply because there was no information given to the ADR recordist on how to match the production sound exactly.&#xD;&#xA;&#xD;&#xA;Those are my 2 cents and I'll think of more things to add later." ContentLicense="CC BY-SA 2.5" />
  <row Id="2167" PostHistoryTypeId="5" PostId="1157" RevisionGUID="884ac9e2-21f9-4493-a87b-a5d1317f851a" CreationDate="2010-05-18T17:25:55.437" UserId="18160" Comment="added 340 characters in body; added 60 characters in body" Text="Sorry, I don't have much time right now to write a detailed answer (I'll be around later to) but I want to stress this:&#xD;&#xA;&#xD;&#xA;Consistency in tonality.&#xD;&#xA;&#xD;&#xA;Today we have no clue what shot will be edited against what other shot and I know from personal experience mixing that consistency in production sound saves hours of time for the dialogue editors/mixers.&#xD;&#xA;&#xD;&#xA;By this I mean 2 people having a conversation with each other that you know will be edited together back and forth but may be shot hours apart to have a similar relative distance from the boom/lav. You don't want someone with proximity effect and someone far away from the mic.&#xD;&#xA;&#xD;&#xA;Do your homework. Look to see what may be needed for the shoot and bring it - like the answer Edward gave. You never know what will come up or what you may be asked for.&#xD;&#xA;&#xD;&#xA;I personally never back down or compromise quality by one inch. If you consider that what your microphones are picking up is 90% of what you will be putting out the theater speakers, this is a correct estimation of importance to production sound. Do not let yourself be &quot;bullied&quot; around on set. Fight for your quality of sound. If you don't, it's like the Director of Photography saying &quot;Well, the lights really couldn't get too close tot the subject today so we're going to have to re-shoot the scenes we filmed today&quot;. Carefully analyzing Avatar and The Hurt Locker led me to believe that the sound oscars went to The Hurt Locker because the production sound was so phenomenal (they only ADRed 4 lines or something on the principal characters).&#xD;&#xA;&#xD;&#xA;In my experience in doing ADR, unless you are working with a brilliant actor, the original production sound will ALWAYS be the better delivery on the actor's part. It will also be better sync,  match the projection, match the emotion the actor has on his face, BECAUSE IT'S THE ORIGINAL. Pardon me but I think the fact you have to do ADR on 98% of a movie is a criticism to the production sound team (unless there are weather or ambient sounds you have no control over like planes, ocean, rain, etc.) But, doing ADR for an indoor talky scene on a sound stage is absolutely doable to keep the production sound - DO IT RIGHT THE FIRST TIME.&#xD;&#xA;&#xD;&#xA;The mic is the most important element in tonality and getting the position right is of the utmost importance to the quality of the mix. Done correctly, mixing is a breeze.&#xD;&#xA;&#xD;&#xA;You need to know your microphones capabilities like the back of your hand and what will be the best microphone in which situation. Know what they sound like off axis, at far distances, in close. Learn and drill a LOT on pointing the mic on the end of a pole toward a subject's mouth. Especially when using a shotgun mic - they are so directional and it is actually extremely difficult to judge exactly where your mic is pointing when it's on the edge of a pole pointing down. I tried it yesterday with my CMIT 5U - depth perception comes into play on this. I thought of maybe installing a micro-video camera on the tip of the boom pole which is pointed the same direction as the mic and wearing one of those pairs of glasses that have a little screen in the edge of the lens so you can see what your mic is pointing at all the time. How slick would that be??&#xD;&#xA;&#xD;&#xA;Get wild lines from the actors when they're standing around - coordinate with the director ahead of time. Get some wild lines that are not even part of the script that you think you might need, and effort grunts and such, so you have them in a library for that actor. I know that The Hurt Locker used many lines and pieces of words from other takes that weren't used in the movie. This is for example, the actor cussing because he's frustrated, or efforts doing something physical, etc.&#xD;&#xA;&#xD;&#xA;Grow eyes in the back of your head: The best boom operator I have ever met (said to be the best in the business) walked backwards while keeping his eyes on his mic and actor while stepping over cables and generators and equipment while walking backwards - if he tripped he would have ruined the scene.&#xD;&#xA;&#xD;&#xA;Stay alert. Especially when you're shooting on film. Film is extremely expensive when you have to re-take things. It's a lot more expensive than hard-drive space or DVDs when you're shooting on HD.&#xD;&#xA;&#xD;&#xA;Work out your arms - especially doing incline benching. Buy a light mic. The Schoeps CMIT 5U weighs possibly less than a 4th of the weight of a standard SM57. It actually weighs about as heavy as an expensive ball-point pen. That can help your arm fatigue enormously. If you don't believe me on the importance of working out and getting your arms in shape, try painting your ceiling with a roller, or simply just hold your hands and arms up above your head - IT'S TIRING!!&#xD;&#xA;&#xD;&#xA;Become inventive. Mics are small and can be hidden other places than on a boom pole. Put it inside a plant. Put it inside someone's baseball cap. Cleverly work out how to mic someone in a bikini. Always check out a scene before-hand if you have to time and work out the best position of the mic.&#xD;&#xA;&#xD;&#xA;Now more than ever with multi-camera shooting it's most important to coordinate with the cameramen and director on exactly where you can be and still be out of frame because of the cross-framing that happens. Sometimes there can be 4 cameras going at once and you need to know exactly where they will be to be able to stay out of frame.&#xD;&#xA;&#xD;&#xA;OH AND I ALMOST FORGOT!!! I'm doing ADR today and the production mixer was kind enough to send me data on EXACTLY what mic was used and EXACTLY how that mic was set up!! My god it is so helpful. I cannot tell you how frustrating it is when you get an ADR job and you have no clue what mic was used on set. And more importantly, what kind of wind protection or setting of the mic was used. PLEASE PLEASE PLEASE jot down in an e-mail or ANYTHING this information:&#xD;&#xA;&#xD;&#xA;Microphone used.&#xD;&#xA;Pre-amp used.&#xD;&#xA;Recorder or converters used.&#xD;&#xA;Settings on the mic: 80 Hz high pass? Presence boost? Proximity lessener?&#xD;&#xA;Wind protection used: Stock wind sock? Rycote wind-jammer? Was the mic out in front of the subject, above and pointing down? In close? Far away?&#xD;&#xA;&#xD;&#xA;That will help me match ADR much easier and help the sound team match in the ADR better - I think most of the time when you scoff at &quot;Bad ADR&quot; is simply because there was no information given to the ADR recordist on how to match the production sound exactly.&#xD;&#xA;&#xD;&#xA;Those are my 2 cents and I'll think of more things to add later." ContentLicense="CC BY-SA 2.5" />
  <row Id="2168" PostHistoryTypeId="2" PostId="1160" RevisionGUID="c76f036c-d800-4cfb-9ade-017fdaf59706" CreationDate="2010-05-18T17:31:46.987" UserId="255" Text="There's also LIPA in the UK, im currently in my 2nd year of a BA(Hons) in Sound Technology there, it is a really good course. It is not specifically in sound design, although there is a module in it and a optional video production module in the third year, but it does provide a very well rounded curriculum.&#xD;&#xA; &#xD;&#xA;They have really amazing facilities, and the lecturers know their stuff inside out.&#xD;&#xA;&#xD;&#xA;[LIPA BA(hons) Sound Technology Undergraduate Course][1]&#xD;&#xA;&#xD;&#xA;If you have any questions about it, or want any more details let me know.&#xD;&#xA;&#xD;&#xA;Another really good one in the UK is the Tonnmeister course at Surrey -&#xD;&#xA;&#xD;&#xA;[Surrey Tonmeister][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.lipa.ac.uk/content/Courses/UndergraduateCourses2/BAHonsSoundTechnology.aspx&#xD;&#xA;  [2]: http://www.surrey.ac.uk/soundrec/php/tonmeister.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="2169" PostHistoryTypeId="5" PostId="1155" RevisionGUID="c7eda23f-a436-4048-bfa9-cbb773aecc15" CreationDate="2010-05-18T17:44:58.907" UserId="299" Comment="edited body" Text="I wrote this as an email response to someone asking for thoughts on KYMA, so thought I'd repost here for others benefits.&#xD;&#xA;&#xD;&#xA;&gt;&gt;&#xD;&#xA;&#xD;&#xA;Ok, first off, here's a really good post on Kyma vs MAX/MSP vs Nord Modular by Anthony Bisset. &#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/343085-kyma-compared-max-msp-nord-modular.html&#xD;&#xA;&#xD;&#xA;I too use MAX/MSP. I also use it for tool and workflow creation. Aka SevenUpLive 2.0 for the monome.&#xD;&#xA;&#xD;&#xA;MAX is really good at connecting stuff and controlling stuff. I don't find it particularly well suited to designing sounds.&#xD;&#xA;&#xD;&#xA;KYMA on the other hand has a primary purpose of being almost a definitive platform for sound design. Supporting everything from nice sounding patches and straight subtractive stuff to very esoteric and bizarre forms of synthesis. You pretty much can combine anything with anything so a lot of times you create mashups of a bunch of different higher level patches. This is far more productive at actually creating interesting sound design than MAX/MSP.&#xD;&#xA;&#xD;&#xA;The sound quality is untouchable. It's immediately apparent when you start working with it. This all stems from the fact that all sound computations happen in realtime within one clock cycle or sample. So KYMA is sample accurate. You are not doing sound computations on vectors of samples, unless you want to.&#xD;&#xA;&#xD;&#xA;Another aspect of KYMA is the ability to have hot values for outside control of the patch. This is very easy to do. These hot values can connect to controls or can be controlled via midi or now OSC which gives you a nice connection to the outside world. the new OSC support is great, especially to connect MAX to KYMA.  &#xD;&#xA;&#xD;&#xA;The flow of a KYMA patch is a directed graph of signal flow. This is of course very different than MAX but very familiar in synthesis since signals flow from left to right. The components in the flow can be very low level or very high level prototypes for synthesis. &#xD;&#xA;&#xD;&#xA;It's ridiculously easy to put a filterbank of 32 bands for example in a flow controlled by other aspects of a patch. It's also easy to resynthesize a sound by using an oscillator bank of 1000 sine waves controlled by the spectra of another sound. &#xD;&#xA;&#xD;&#xA;But then you might be using something very simple like a VCA or an ADSR envelope.  &#xD;&#xA;&#xD;&#xA;But to answer your specific questions&#xD;&#xA;&#xD;&#xA;&gt; Everything I hear about kyma is really&#xD;&#xA;&gt; interesting to me. I love the&#xD;&#xA;&gt; semi-programming interface. What I&#xD;&#xA;&gt; wonder though is how &quot;useful&quot; it is. I&#xD;&#xA;&gt; mean, it's one thing for it to be an&#xD;&#xA;&gt; amazing tool for very infrequent&#xD;&#xA;&gt; occasions. It's another thing entirely&#xD;&#xA;&gt; to be a system that can contribute to&#xD;&#xA;&gt; every project I work on, and allow me&#xD;&#xA;&gt; to be more creative and think outside&#xD;&#xA;&gt; of the box in more than just the&#xD;&#xA;&gt; exceptional situations. That's what&#xD;&#xA;&gt; I'm looking for! Not that I don't love&#xD;&#xA;&gt; the lucid nightmares about buffer size&#xD;&#xA;&gt; and envelope shape etc. that Max/MSP&#xD;&#xA;&gt; gives me.&#xD;&#xA;&gt;So my question to you: How do you use Kyma? How valuable is it to you, creatively? How do you fit &gt;it into your workflow?&#xD;&#xA;&#xD;&#xA;First of all, I'm not a sound designer by profession, I just have an interest in music and synthesis. If I was though I think I'd be all over KYMA for a few reasons. &#xD;&#xA;&#xD;&#xA;#1 It's a tool for learning. You can do or prototype just about any idea in sound fairly quickly with sometimes surprising results. For example, here's a fun patch I was playing with that sounded like a digeridoo.&#xD;&#xA;&#xD;&#xA;http://createdigitalmusic.com/2010/03/15/osc-files-play-that-funky-music-hexagons/&#xD;&#xA;&#xD;&#xA;Modular synth controlling KYMA http://www.vimeo.com/10943340&#xD;&#xA;&#xD;&#xA;#2 You can build your own library of building blocks and keep combining them into new things. For example, let's say you want to create crazy engine, mechanical drones.  You could build a patch that uses various methods of using detuned oscillator banks to create you own drone machine. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;#3 Kind of a secret weapon for sound design. If that was my profession. I'd be all over it.&#xD;&#xA;&#xD;&#xA;So my workflow for KYMA is like so. Firstly, I use it for effects. Granular reverbs. Pitch/Time shifting, Filterbanks etc... &#xD;&#xA;&#xD;&#xA;Sometimes I use KYMA to recreate an idea I found on the modular synth. Maybe I was playing with some interesting FM concept and I want to build a patch that recreates an aspect of that for reuse later.&#xD;&#xA;&#xD;&#xA;It's a learning tool for discovering new concepts. Someone mentioned Karplus strong algorithmns. I looked it up on Wikipedia, found a prototype in KYMA. Built a patch to recreate hitting metallic tubes. You can experiment for the full range of pretty much any synthesis technique ever developed, or maybe invent your own. That is just cool.&#xD;&#xA;&#xD;&#xA;I can do things in KYMA I just cannot do in other systems. So it complements other techniques. More fun to patch subtractive stuff on modular, but then I can do stuff like put the sound through a 32 band fixed filterbank whose bands are keying of notes in another sequence or something. &#xD;&#xA;&#xD;&#xA;Cons:&#xD;&#xA;While you can use preexisting effects and sound out of the box. That would not be enough to justify KYMA.&#xD;&#xA;There is a learning curve for sure. If you have already learned MAX then I'm not worried but plan to invest 100 hours in this before you get over the hump.&#xD;&#xA;If you just want say an environment to do subtractive synth stuff. It definitely does this but it would be faster in an environment that was optimized to be a modular synth. The open ended nature means sometimes you have to discover which tool to use to get there. There are over 200 prototype components, so takes a bit to find the best path. There are usually a lot of solutions to the same problem.&#xD;&#xA;&#xD;&#xA;For example, simple square wave, use an Oscillator that uses a square wave table, OR use two saws offset by a delay line and combined together. Now I can adjust the delay to morph smoothly from saw to square. I can put in a hot variable for Pulse Width, or I just grab a prototype that implements PWM. You can get to the metal or work at a much higher level than you can in MAX. &#xD;&#xA;&#xD;&#xA;Use Tao editor to create smooth spectral morphs between two completely different sounds, human to cat to dog etc... Resynthesis and morphing? The are a half dozen ways to do this in KYMA that are different. &#xD;&#xA;&#xD;&#xA;Last advise. If you are serious, buy the book!! KYMA revealed $35. It's a great read even without KYMA. If you feel drawn to the concepts there, you will likely enjoy the system.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2170" PostHistoryTypeId="2" PostId="1161" RevisionGUID="3340cf4a-51fc-4e5f-88d6-c58e5d0903f3" CreationDate="2010-05-18T18:19:56.173" UserId="37" Text="In the UK, Ravensbourne run a fantastic course called &quot;Sound Design&quot; - it's a down-to-earth, hands-on, vocational, course: lots of work, and just about enough theory. It's very realistic - you don't get lots of perks and top gear, but you do get access to industry standard stuff, and a tight broadcasting/AV community with a lot of common sense. The tutors know what they're talking about and many of them work on real-life non-academic projects. &#xD;&#xA;Highly recommended." ContentLicense="CC BY-SA 2.5" />
  <row Id="2171" PostHistoryTypeId="2" PostId="1162" RevisionGUID="8f5c29b3-0c8e-4073-8893-a95c1b94ec33" CreationDate="2010-05-18T19:02:12.470" UserId="289" Text="Just to add a little of what I heard and experienced is that yes, boom ops are usually just there to record the dialogue of the talent as clean and clear as possible onset as everyone knows ADR just sometimes feels so unnatural. The rest of the sounds are created by Foley artists, SFX artists and so forth. Boom operators have many things to take into consideration-temperature (hot air rises,cold air drops- this effects dialogue), the reverberation of the location, placement of the microphones so that you get the best dialogue recordings, Checking that boom shadow is not in shot, making sure that you get in as close as possible with enough space to let the sound breath and to not get boom in shot as what I have seen in a lot of nollywood films, making sure that the ambience on and around the location is dead quiet to have clear recordings.&#xD;&#xA;&#xD;&#xA;People that are onset when the shot is taken does have an effect on the roomtone. If one takes the roomtone when there is one or two people onset and you then take the recording of the shot when there is a lot more people present there is a major change in the roomtone what I have usually done is to take the roomtone just before they are ready to take the shot with more or less the same amount of people present during the shots taken. Reverb can be placed in post but taking it out when you don't want it is so much more difficult when it comes from the recording onset. So even though some people wont agree but boom operators do have a very hard job to do onset.             " ContentLicense="CC BY-SA 2.5" />
  <row Id="2172" PostHistoryTypeId="2" PostId="1163" RevisionGUID="77c18dc8-1f19-4614-83a5-399b5351ea61" CreationDate="2010-05-18T20:06:29.863" UserId="295" Text="Having a good boom op is as important as (if not more important than) having a good production mixer.  Being a good boom op requires talent and experience.  Having performed the job myself (or attempted to) and having worked with great boom ops as a production mixer, I have massive amounts of respect for a good boom op.  Whenever a filmmaker asks for my advice regarding production sound, I always tell them to find and hire a good boom operator.&#xD;&#xA;&#xD;&#xA;The job requires strength, agility, patience, and keen observation skills.  A good op will know the strengths and weaknesses of the mic they're swinging (distances, angles, pick up patterns).  Boom ops also benefit from an understanding of lighting (watch out for shadows), lenses, and framing.  Communication skills are key as the boom op may need to act as the face and voice of the sound department when dealing with other cast and crew on set (the mixer might be squirreled away in another room)." ContentLicense="CC BY-SA 2.5" />
  <row Id="2173" PostHistoryTypeId="2" PostId="1164" RevisionGUID="e2e98f03-fafe-4fef-b192-7109528fb0ba" CreationDate="2010-05-18T20:16:29.020" UserId="295" Text="Savannah College of Art and Design in Savannah Georgia USA also has a sound design program.  I believe their sound program is fairly new so it doesn't have the reputation of a place like USC.&#xD;&#xA;Nevertheless, it might be worth looking into.&#xD;&#xA;&#xD;&#xA;[SCAD sound design][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.scad.edu/sound-design/index.cfm" ContentLicense="CC BY-SA 2.5" />
  <row Id="2174" PostHistoryTypeId="2" PostId="1165" RevisionGUID="dc46667b-d1d6-4ee7-ab7d-3e2530157c26" CreationDate="2010-05-18T21:39:29.620" UserId="295" Text="I'm thinking specifically for pro tools but feel free to chime in if you use another DAW.&#xD;&#xA;&#xD;&#xA;I'm curious to see how many and what kinds of templates you all have set up for day to day work.  Any info or comments you have along these lines are welcome.  I find track organization to be crucial for efficiency and resources.&#xD;&#xA;&#xD;&#xA;I'm using:&#xD;&#xA;- Surround mix template: DX, FX, BG, MX all in one template to take to the mix stage.&#xD;&#xA;- Stereo mix template&#xD;&#xA;- Backgrounds template: Groups of mono, stereo, and quad tracks for building up backgrounds (with guide track for reference).&#xD;&#xA;- FX: Groups of FX tracks for editing.&#xD;&#xA;- ADR record template&#xD;&#xA;- Foley record session template&#xD;&#xA;- Sound design: This is my sandbox template with VIs and plugins to try weird and wonderful things before moving them over to another session.&#xD;&#xA;&#xD;&#xA;These templates are set up with EQs in the places I need them, reverb sends, etc...&#xD;&#xA;&#xD;&#xA;As a side note, I've been using memory locations as shortcuts too.  Here are a few that my templates are usually set up with:&#xD;&#xA;&#xD;&#xA;.1. = all tracks micro&#xD;&#xA;.2. .3. .4. .5. = group X small, others micro (so I can focus on editing for a group of tracks)&#xD;&#xA;.6. = all tracks small&#xD;&#xA;.7. .8. .9. = various edit/mix groups enabled&#xD;&#xA;.10. = full session zoom&#xD;&#xA;.11. = default window configuration&#xD;&#xA;.13. = scopes and meters window configuration." ContentLicense="CC BY-SA 2.5" />
  <row Id="2175" PostHistoryTypeId="1" PostId="1165" RevisionGUID="dc46667b-d1d6-4ee7-ab7d-3e2530157c26" CreationDate="2010-05-18T21:39:29.620" UserId="295" Text="Templates and workflow" ContentLicense="CC BY-SA 2.5" />
  <row Id="2176" PostHistoryTypeId="3" PostId="1165" RevisionGUID="dc46667b-d1d6-4ee7-ab7d-3e2530157c26" CreationDate="2010-05-18T21:39:29.620" UserId="295" Text="&lt;workflow&gt;&lt;protools&gt;&lt;templates&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2181" PostHistoryTypeId="6" PostId="1165" RevisionGUID="dc0a7549-15a4-4497-810e-cf99c0c205b6" CreationDate="2010-05-18T21:48:17.733" UserDisplayName="user80" Comment="Added tags" Text="&lt;workflow&gt;&lt;pro-tools&gt;&lt;templates&gt;&lt;techniques&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2182" PostHistoryTypeId="2" PostId="1166" RevisionGUID="86c78ac3-cff0-47cf-94e6-51671d15113c" CreationDate="2010-05-18T22:17:46.640" UserId="295" Text="I've done a fair bit of dialogue recording in vehicles.  Watch a rehearsal if at all possible to see which way the actors turn their heads.&#xD;&#xA;&#xD;&#xA;Make sure the A/C in the vehicle is OFF (double check before rolling on every take as actors like to fiddle with the console between takes).&#xD;&#xA;&#xD;&#xA;Make sure the radio is OFF (see above).&#xD;&#xA;&#xD;&#xA;Make sure widows are up (when appropriate of course).&#xD;&#xA;&#xD;&#xA;If the vehicle is not moving for a scene (parked, etc.), shut the engine off where appropriate.  You can always record engine idle and other sounds wild for use later on.&#xD;&#xA;&#xD;&#xA;I've used everything from plant mics in the visors (good until the actor turns their head away from the mic) to actually booming the actors while sitting in the back of a Suburban.  I've also been able to get a decent recording of two actors by mounting a cardioid between the two of them (again watch out when they turn off mic).&#xD;&#xA;&#xD;&#xA;In any situation, you should use multiple mics (usually a boom and lav(s)).  You never know when one mic will be unusable for one reason or another.  Laving the actors in most situations is a good idea." ContentLicense="CC BY-SA 2.5" />
  <row Id="2183" PostHistoryTypeId="5" PostId="1166" RevisionGUID="8c624306-e533-4572-9586-4ce9bce9463c" CreationDate="2010-05-18T22:43:27.923" UserId="295" Comment="added 52 characters in body" Text="I've done a fair bit of dialogue recording in vehicles.  Watch a rehearsal if at all possible to see which way the actors turn their heads.&#xD;&#xA;&#xD;&#xA;Make sure the A/C in the vehicle is OFF (double check before rolling on every take as actors like to fiddle with the console between takes).&#xD;&#xA;&#xD;&#xA;Make sure the radio is OFF (see above).&#xD;&#xA;&#xD;&#xA;Make sure widows are up (when appropriate of course).&#xD;&#xA;&#xD;&#xA;If the vehicle is not moving for a scene (parked, etc.), shut the engine off where appropriate.  You can always record engine idle and other sounds wild for use later on.  This can also apply if the vehicle is being towed.&#xD;&#xA;&#xD;&#xA;I've used everything from plant mics in the visors (good until the actor turns their head away from the mic) to actually booming the actors while sitting in the back of a Suburban.  I've also been able to get a decent recording of two actors by mounting a cardioid between the two of them (again watch out when they turn off mic).&#xD;&#xA;&#xD;&#xA;In any situation, you should use multiple mics (usually a boom and lav(s)).  You never know when one mic will be unusable for one reason or another.  Laving the actors in most situations is a good idea." ContentLicense="CC BY-SA 2.5" />
  <row Id="2184" PostHistoryTypeId="2" PostId="1167" RevisionGUID="ad45a0de-ae44-472f-aacf-31361376fbd7" CreationDate="2010-05-18T22:44:17.343" UserId="300" Text="Hi Iain,&#xD;&#xA;&#xD;&#xA;Something that I have found extremely useful in my FX template is to have window configurations for all my most-used audiosuite plugins. Also, and this is mainly because I only have two computer monitors (with one playing the quicktime) I'll have configs that open up program-specific folders or catalogs, resizing my quicktime temporarily as they use the second screen as a browser window. I usually import these window configs in to every new project now because it makes printing audiosuite's so fast." ContentLicense="CC BY-SA 2.5" />
  <row Id="2185" PostHistoryTypeId="5" PostId="1167" RevisionGUID="215a9652-bd0e-415c-840c-7e42cdbac0bd" CreationDate="2010-05-18T22:53:34.320" UserId="61" Comment="added 1 characters in body" Text="Hi Glenn,&#xD;&#xA;&#xD;&#xA;Something that I have found extremely useful in my FX template is to have window configurations for all my most-used audiosuite plugins. Also, and this is mainly because I only have two computer monitors (with one playing the quicktime) I'll have configs that open up program-specific folders or catalogs, resizing my quicktime temporarily as they use the second screen as a browser window. I usually import these window configs in to every new project now because it makes printing audiosuite's so fast." ContentLicense="CC BY-SA 2.5" />
  <row Id="2186" PostHistoryTypeId="5" PostId="1165" RevisionGUID="bdab5e6e-55c9-43e0-8c13-14b155366cb7" CreationDate="2010-05-18T23:06:50.240" UserId="295" Comment="Clean up formatting to enhance readability.; edited body" Text="I'm thinking specifically for pro tools but feel free to chime in if you use another DAW.&#xD;&#xA;&#xD;&#xA;I'm curious to see how many and what kinds of templates you all have set up for day to day work.  Any info or comments you have along these lines are welcome.  I find track organization to be crucial for efficiency and resources.&#xD;&#xA;&#xD;&#xA;I'm using:&#xD;&#xA;&#xD;&#xA;- Surround mix template: DX, FX, BG, MX all in one template to take to the mix stage.&#xD;&#xA;- Stereo mix template&#xD;&#xA;- Backgrounds template: Groups of mono, stereo, and quad tracks for building up backgrounds (with guide track for reference).&#xD;&#xA;- FX: Groups of FX tracks for editing.&#xD;&#xA;- ADR record template&#xD;&#xA;- Foley record session template&#xD;&#xA;- Sound design: This is my sandbox template with VIs and plugins to try weird and wonderful things before moving them over to another session.&#xD;&#xA;&#xD;&#xA;These templates are set up with EQs in the places I need them, reverb sends, etc...&#xD;&#xA;&#xD;&#xA;As a side note, I've been using memory locations as shortcuts too.  Here are a few that my templates are usually set up with:&#xD;&#xA;&#xD;&#xA;.1. = all tracks micro&#xD;&#xA;&#xD;&#xA;.2. .3. .4. .5. = group X small, others micro (so I can focus on editing for a group of tracks)&#xD;&#xA;&#xD;&#xA;.6. = all tracks small&#xD;&#xA;&#xD;&#xA;.7. .8. .9. = various edit/mix groups enabled&#xD;&#xA;&#xD;&#xA;.10. = full session zoom&#xD;&#xA;&#xD;&#xA;.11. = default window configuration&#xD;&#xA;&#xD;&#xA;.33. = scopes and meters window configuration." ContentLicense="CC BY-SA 2.5" />
  <row Id="2187" PostHistoryTypeId="2" PostId="1168" RevisionGUID="39023432-7b8b-40ff-9644-e47724bc6eb7" CreationDate="2010-05-19T05:37:34.457" UserId="118" Text="One trick I've messed about with in the past makes use of the Massey TD5 Tape Delay plugin (I'm sure there's plenty of other tools that do the same thing though). If you play some production sound or added sound fx from the scene through it 100% wet and then quickly move the delay amount slider when the whoosh happens you get a kind of vinyl spinback effect (if there's enough substance to the sound obviously) which can be quite effective sometimes, whether played by itself or alongside other whoosh fx." ContentLicense="CC BY-SA 2.5" />
  <row Id="2189" PostHistoryTypeId="2" PostId="1169" RevisionGUID="774be5ff-b7d2-4368-931c-d5da07bb0704" CreationDate="2010-05-19T08:31:35.847" UserId="62" Text="I use 2 templates. I have 2 PT sessions with tone setup for PAL, NTSC and HD. Easy to drop tone into a mix session and not have to worry about any levels, routing or generating tone all the time.&#xD;&#xA;&#xD;&#xA;The other template I have is for the large mix sessions for animation. With the sheer amount of tracks and plugins needs, not to mention all the signal routing it'd take far too long to set it up. It's evolved over the years as I've changed how I mix and got better, but the basics are the same." ContentLicense="CC BY-SA 2.5" />
  <row Id="2190" PostHistoryTypeId="2" PostId="1170" RevisionGUID="f1c5751e-bab0-42aa-a3ee-5efd17730698" CreationDate="2010-05-19T09:33:17.727" UserId="202" Text="I have (mainly) two ProTools templates.&#xD;&#xA;&#xD;&#xA;one is for dialogue editing: work tracks (where i do edits and import files), production tracks, adr tracks, pd fx and special fx tracks and tracks for junk and bits that I don't want to see and listen but I may need during the mix. I also set up some memory locations for zooming tracks, see only some of them, etc.&#xD;&#xA;&#xD;&#xA;the other is for sound sfx design. lots of plugins, routing to/from kyma, tracks ready for recording the sound fx after processing, etc.&#xD;&#xA;&#xD;&#xA;I have some other small session that have memory location that I can import, or tracks already named that i can import and duplicate.&#xD;&#xA;&#xD;&#xA;I have some I/O setups that I re-use a lot&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="2191" PostHistoryTypeId="2" PostId="1171" RevisionGUID="8be1ffbc-1cbd-4a97-a821-6c069b5b06b0" CreationDate="2010-05-19T10:13:43.903" UserId="202" Text="Hi&#xD;&#xA;&#xD;&#xA;I think that [Quickeys][1] is a great tool to speed up the workflow in Protools: it fill some hole in PT keycommand and some more.&#xD;&#xA;&#xD;&#xA;If you use it, how? which are your preferred shortcuts and macros?&#xD;&#xA;&#xD;&#xA;Here some of mine: &#xD;&#xA;&#xD;&#xA;- A key that zoom at sample level and select pencil; when I release the key, PT zoom out and select smart tool. while the key is pressed i can do my pencil edits with the mouse/tablet&#xD;&#xA;&#xD;&#xA;- Another is like shuffle-cut but only for the next region: i can cut a part a bit in the middle of a region, and have the rest of it that snap with the tail of the previous region&#xD;&#xA;&#xD;&#xA;- a few are for some tricks with the fades (remove fades, extend the region head and tail and then do fades,  etc)&#xD;&#xA;&#xD;&#xA;- Display or not name in regions&#xD;&#xA;&#xD;&#xA;These ones come from [Mike Thornton:][2]&#xD;&#xA;&#xD;&#xA;- move selected region(s) up/down 1/2/3/4/5/6 etc tracks&#xD;&#xA;&#xD;&#xA;- open plugins and do some standard stuff (gain +6db, reverse, HP filter, etc) and the close the plugin&#xD;&#xA;&#xD;&#xA;(is it possible to attach a file, here? or I can put it in my dropbox)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://startly.com/&#xD;&#xA;  [2]: http://www.osd-uk.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2192" PostHistoryTypeId="1" PostId="1171" RevisionGUID="8be1ffbc-1cbd-4a97-a821-6c069b5b06b0" CreationDate="2010-05-19T10:13:43.903" UserId="202" Text="How are your Quickeys workflows?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2193" PostHistoryTypeId="3" PostId="1171" RevisionGUID="8be1ffbc-1cbd-4a97-a821-6c069b5b06b0" CreationDate="2010-05-19T10:13:43.903" UserId="202" Text="&lt;pro-tools&gt;&lt;workflow&gt;&lt;software&gt;&lt;keycommand&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2194" PostHistoryTypeId="2" PostId="1172" RevisionGUID="12d4b324-337a-4ec5-a473-c8db87db3260" CreationDate="2010-05-19T16:33:50.477" UserId="221" Text="Hi Davide,&#xD;&#xA;&#xD;&#xA;Thanks for the link. Davide knows this, but for other folk I wrote an article on using QuicKeys with Pro Tools back in May 2008 in Sound on Sound [here][1] in which I suggested a number of shortcuts I had developed for Pro Tools as well as using Mac OSX to do shortcuts. &#xD;&#xA;&#xD;&#xA;Hope it helps folk,&#xD;&#xA;&#xD;&#xA;Mike.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/may08/articles/ptworkshop_0508.htm#top" ContentLicense="CC BY-SA 2.5" />
  <row Id="2195" PostHistoryTypeId="2" PostId="1173" RevisionGUID="5ace4e15-f73e-4591-a0f1-ac514686fa41" CreationDate="2010-05-19T17:53:03.403" UserId="272" Text="Try Massey [www.masseyplugins.com][1].  They have a free unlimited demo period with no beeps.  The only problem with the demo is that it does not remember your settings (i.e. next time you start session your settings on the plugin will revert back to it's defaults).&#xD;&#xA;&#xD;&#xA;I can't wait to dig into some of the items on Mike's list above.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.masseyplugins.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="2196" PostHistoryTypeId="2" PostId="1174" RevisionGUID="004d0907-6c30-464a-8cd3-45a7e89cab48" CreationDate="2010-05-19T18:48:25.643" UserId="18160" Text="I recently had an ADR session and turned it over to the production company.&#xD;&#xA;&#xD;&#xA;The original production sound was quite echoey and had a bit of a tail on the audio.&#xD;&#xA;&#xD;&#xA;I gave the company 2 raw mics and one with a reverb printed on it that I thought matched nicely, though I know it's going to need more EQ to match perfectly.&#xD;&#xA;&#xD;&#xA;Is what I did correct? I'm a bit worried about the match and that I'll get word back from the company that I blew the whole thing and ruined their project.&#xD;&#xA;&#xD;&#xA;Or am I safe to say that the mixer will deal with it? I have no clue where they will mix it or what will happen beyond this point - all I know is that it will require a bit of clever editing and EQing to match.&#xD;&#xA;&#xD;&#xA;I really hope the mixers and editors they use are competent.&#xD;&#xA;&#xD;&#xA;What would you do in a situation like this? Turn over ONLY a treated track and not give them the raws in anticipation that it won't match well if they end up using the raws?&#xD;&#xA;&#xD;&#xA;I turned over the raws so they had something to go back to if they needed to.&#xD;&#xA;&#xD;&#xA;I hope it works out..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2197" PostHistoryTypeId="1" PostId="1174" RevisionGUID="004d0907-6c30-464a-8cd3-45a7e89cab48" CreationDate="2010-05-19T18:48:25.643" UserId="18160" Text="Turning over ADR" ContentLicense="CC BY-SA 2.5" />
  <row Id="2198" PostHistoryTypeId="3" PostId="1174" RevisionGUID="004d0907-6c30-464a-8cd3-45a7e89cab48" CreationDate="2010-05-19T18:48:25.643" UserId="18160" Text="&lt;adr&gt;&lt;matching&gt;&lt;eq&gt;&lt;equalizing&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2199" PostHistoryTypeId="2" PostId="1175" RevisionGUID="4f70294e-2992-4bb7-85a3-967c081e9f1e" CreationDate="2010-05-19T19:00:09.293" UserId="194" Text="Nope, you should assume that the mixers will mix the dialogue - inclusive of matching tonality and verbs.&#xD;&#xA;&#xD;&#xA;If they don't that's their fault, not yours.  ADR cutting is all about getting good, dry, synced performances that are well-documented.  Get that right and your job is done." ContentLicense="CC BY-SA 2.5" />
  <row Id="2200" PostHistoryTypeId="5" PostId="1174" RevisionGUID="6523c9e9-4b51-4fda-aa45-b3fadb44b7ea" CreationDate="2010-05-19T19:03:29.950" UserId="18160" Comment="added 158 characters in body" Text="I recently had an ADR session and turned it over to the production company.&#xD;&#xA;&#xD;&#xA;The original production sound was quite echoey and had a bit of a tail on the audio.&#xD;&#xA;&#xD;&#xA;I gave the company 2 raw mics and one with a reverb printed on it that I thought matched nicely, though I know it's going to need more EQ to match perfectly.&#xD;&#xA;&#xD;&#xA;Is what I did correct? I'm a bit worried about the match and that I'll get word back from the company that I blew the whole thing and ruined their project.&#xD;&#xA;&#xD;&#xA;Or am I safe to say that the mixer will deal with it? I have no clue where they will mix it or what will happen beyond this point - all I know is that it will require a bit of clever editing and EQing to match.&#xD;&#xA;&#xD;&#xA;I really hope the mixers and editors they use are competent.&#xD;&#xA;&#xD;&#xA;What would you do in a situation like this? Turn over ONLY a treated track and not give them the raws in anticipation that it won't match well if they end up using the raws?&#xD;&#xA;&#xD;&#xA;I turned over the raws so they had something to go back to if they needed to.&#xD;&#xA;&#xD;&#xA;I hope it works out...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;P.S. - My oh my does the CMIT 5U do wonders on room tone rejection. It sounded so dead in my room which is a bit more live than a traditional ADR stage." ContentLicense="CC BY-SA 2.5" />
  <row Id="2201" PostHistoryTypeId="2" PostId="1176" RevisionGUID="41824e15-1b15-488b-bba3-c8caeff2735a" CreationDate="2010-05-19T19:32:23.690" UserId="289" Text="What is your Favorite sound you have created? How did you create it and where did you use  it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2202" PostHistoryTypeId="1" PostId="1176" RevisionGUID="41824e15-1b15-488b-bba3-c8caeff2735a" CreationDate="2010-05-19T19:32:23.690" UserId="289" Text="Your Favorite Sound to create " ContentLicense="CC BY-SA 2.5" />
  <row Id="2203" PostHistoryTypeId="3" PostId="1176" RevisionGUID="41824e15-1b15-488b-bba3-c8caeff2735a" CreationDate="2010-05-19T19:32:23.690" UserId="289" Text="&lt;sound-effects&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2204" PostHistoryTypeId="2" PostId="1177" RevisionGUID="5c49bdcc-280c-4f17-a0af-be8d7bb22dbe" CreationDate="2010-05-19T19:48:48.557" UserDisplayName="user49" Text="my 3 most used Quikeys:&#xD;&#xA;&#xD;&#xA;- display/hide volume graphs&#xD;&#xA;- display/hide pan automation&#xD;&#xA;- display Audiosuite plugins (Gain, Reverse, Pitch etc)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2205" PostHistoryTypeId="2" PostId="1178" RevisionGUID="9fcffb55-2adb-462f-8572-7f86de0a25fb" CreationDate="2010-05-19T20:13:48.070" UserId="62" Text="Whenever I've done ADR I simply hand over the dry synced recordings, including all the usable takes.&#xD;&#xA;&#xD;&#xA;1x vocal mic and 1x boom mic on separate channels and in the correct place. I did make sure what the dialogue editor wanted before the record session though and they were watching/listening via Source Connect so everyone was happy (well apart from SC not syncing).&#xD;&#xA;&#xD;&#xA;I certainly wouldn't start making decisions without asking the dialogue editor or mixer first. At the very least I would agree with you by sending a copy of the raw recordings, a wise move." ContentLicense="CC BY-SA 2.5" />
  <row Id="2206" PostHistoryTypeId="2" PostId="1179" RevisionGUID="e268b4e6-422b-46da-a5fa-bcff7306eace" CreationDate="2010-05-19T22:40:51.607" UserId="275" Text="Your best bet is to simply ask what they want and don't assume.  99% of the time the ADR engineer is simply tasked with recording accurate, appropriate ADR and then turning over those tracks to the mixer, whose responsibility it is to mix it appropriately with the picture.  The mixers job includes adding reverb.  It was good that you gave them raw files in addition to the affected files.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2207" PostHistoryTypeId="2" PostId="1180" RevisionGUID="12fc7969-4193-4d6a-8789-933c59f3b362" CreationDate="2010-05-20T05:39:15.400" UserId="18160" Text="Dear Guys,&#xD;&#xA;&#xD;&#xA;I apologize ahead of time if this is a totally beginner question, however I had some trouble in my last ADR session that I would like to solve and completely handle.&#xD;&#xA;&#xD;&#xA;I receive sometimes random video files which I am somehow supposed to be able to play back and sync audio to for ADR sessions, foley sessions, mixing, etc.&#xD;&#xA;&#xD;&#xA;Is there some easy rule of thumb I can use to find out exactly what frame-rate the video is at?&#xD;&#xA;&#xD;&#xA;Here is what happened in the last session:&#xD;&#xA;&#xD;&#xA;I got a MOV file which I opened in QuickTime to see what framerate it was. It told me &quot;29.97&quot;. I set it up as 29.97 in Pro Tools and VVTR and suddenly my streamers and beeps were not working - at all. They just didn't show up.&#xD;&#xA;&#xD;&#xA;After restarting 4 times and tearing my hair out because the client was going to be in my studio in 30 minutes, I finally tried setting everything to 29.97 DF. This handled it, though I could not find any sign or anything that would be able to tell me for sure that this was the frame rate - so how am I supposed to know?&#xD;&#xA;&#xD;&#xA;How do I find out quickly what frame-rate a video-file is at if there is no time-code burn-in on the file?&#xD;&#xA;&#xD;&#xA;Is there a third party program I can use that can tell me this?&#xD;&#xA;&#xD;&#xA;Sometimes I get 25 frames, 29.97 DF, etc.&#xD;&#xA;&#xD;&#xA;Is there a rule-of-thumb, like TV is ALWAYS 29.97 DF?&#xD;&#xA;&#xD;&#xA;Maybe if you could point me in the direction of a basic, basic, basic article or book about digital video and frame rates etc. without all of the nomenclature. That would smoke.&#xD;&#xA;&#xD;&#xA;Please help!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2208" PostHistoryTypeId="1" PostId="1180" RevisionGUID="12fc7969-4193-4d6a-8789-933c59f3b362" CreationDate="2010-05-20T05:39:15.400" UserId="18160" Text="Video Files, Frame Rates and Codecs Oh My" ContentLicense="CC BY-SA 2.5" />
  <row Id="2209" PostHistoryTypeId="3" PostId="1180" RevisionGUID="12fc7969-4193-4d6a-8789-933c59f3b362" CreationDate="2010-05-20T05:39:15.400" UserId="18160" Text="&lt;video&gt;&lt;frame-rate&gt;&lt;quicktime&gt;&lt;adr&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2210" PostHistoryTypeId="2" PostId="1181" RevisionGUID="d9381185-bb6d-4c17-83ea-e0ef14a1a821" CreationDate="2010-05-20T05:59:18.753" UserId="253" Text="I know this probably doesn't help with your situation now, but i think we need to be very firm on the clients delivering vision files with burnt in TC. If they don't do it, throw the tape at them and say &quot;Do it again!!!&quot; Or tactfully explain why it's necessary.&#xD;&#xA;You may already know this, but i can't resist a vent. Best of luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2211" PostHistoryTypeId="2" PostId="1182" RevisionGUID="a9f9cb23-594e-49bf-84a1-6c8dc319064f" CreationDate="2010-05-20T06:08:25.590" UserId="301" Text="I use QuicKeys with nearly all the applications I use on a regular basis. For example, when I launch, MarsEdit I have a QuicKeys shortcut that automatically launches other items that I use along with MarsEdit. I also have shortcuts that help me get things done faster in MarsEdit, such as embedding a link with one hot key. &#xD;&#xA;&#xD;&#xA;I use QuicKeys to resize and move windows on my dual display. The program also quits  selected applications when they are inactive in the background for a certain amount of time.&#xD;&#xA;&#xD;&#xA;QuicKeys is highly essential in my workflow. Here’s my blog where I throw up posts about how I use the program: http://macautomationtips.wordpress.com/ " ContentLicense="CC BY-SA 2.5" />
  <row Id="2212" PostHistoryTypeId="2" PostId="1183" RevisionGUID="262310d5-f119-4197-aece-38621d1f90bf" CreationDate="2010-05-20T08:41:45.123" UserId="62" Text="I robbed the end piece of a metal shelving unit from a skip at University. Got some great stuff out of it that still has a place of pride in my library. It was shaken and hit and dropped. Large bendy piece of metal + endless reverb rocks!&#xD;&#xA;&#xD;&#xA;Used many times over the years in a couple of short films. Used it last year in a show called Hero:108 and my wife sometimes nicks it for her composition work." ContentLicense="CC BY-SA 2.5" />
  <row Id="2213" PostHistoryTypeId="2" PostId="1184" RevisionGUID="5718e4ab-b893-4c54-8c47-48a4a804f4d0" CreationDate="2010-05-20T14:39:05.023" UserId="62" Text="I'd agree with burnt in TC, it's something I always ask for, then there's no problems.&#xD;&#xA;&#xD;&#xA;I've obviously heard of 29.97 but have only ever used 29.97DF on any NTSC projects." ContentLicense="CC BY-SA 2.5" />
  <row Id="2214" PostHistoryTypeId="2" PostId="1185" RevisionGUID="b0934459-7823-4126-a4dc-068a360fa2ff" CreationDate="2010-05-20T15:23:23.783" UserId="81" Text="Ryan, this came in handy for me. [Audio Post Production for Television and Film][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/reader/0240519477?_encoding=UTF8&amp;ref_=sib_dp_bod_toc&amp;page=6#reader-link&#xD;&#xA;&#xD;&#xA;There is a whole chapter devoted to synchronization which also covers frame rates.&#xD;&#xA;&#xD;&#xA;As far as I know there is no rule-of-thumb for this. I thought knowing frame rates for PAL and NTSC would be enough but today with all these new web codecs and different formats, its almost impossible to generalize. &#xD;&#xA;&#xD;&#xA;For my projects, I &quot;make sure&quot; I ask about the frame rate. Believe me that's easier than any software or method. I request the contact information of the After Effects compositor, camera-man, etc. from the director so that there is always someone else to confirm.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2215" PostHistoryTypeId="2" PostId="1186" RevisionGUID="92264b40-069e-4047-9c66-23b00c7cd3b0" CreationDate="2010-05-20T19:57:37.700" UserId="103" Text="For me, it was the sound for a blob that gives birth to a kind of planet, to hard to explain lol [http://www.youtube.com/watch?v=Ig01-wSIxUY][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=Ig01-wSIxUY&#xD;&#xA;starts at 0:22s&#xD;&#xA;&#xD;&#xA;Used lemons, eggs, a jar of marmalade, and a couple of synths&#xD;&#xA;Used pitch shifting and a bit of maxxBass" ContentLicense="CC BY-SA 2.5" />
  <row Id="2216" PostHistoryTypeId="2" PostId="1187" RevisionGUID="672fafb8-ad2c-45d4-bd86-b99b051888d5" CreationDate="2010-05-20T20:39:47.983" UserId="29" Text="This is a perennial issue, because it relies on that most fragile of workflows: Human communication. I've got a background in video and motion graphics, so I've been b*$&amp;*-slapped into being really anal about specs.&#xD;&#xA;&#xD;&#xA;My list of vital stats I won't start work (aural or visual) without is: frame rate (to 2 decimals, not integer &quot;shorthand&quot;), drop vs. non-drop (most of my gigs have been NDF, unlike Ian), actual frame size (in pixels), pixel aspect ratio (1.00 or 0.9), and interleaved vs. progressive (eg, 1080i vs. 1080p), sycn sound or MOS (if the former, # of channels, bit rate, sample rate), whether the footage has been pulled up/down (or needs to be), and of course total running time (TRT) after the 2-pop. That's pretty much the bare minimum I need to get started in confidence. IMHO, you're also entitled to know what device was used to capture the footage, as this can explain potentially odd frame rates.&#xD;&#xA;&#xD;&#xA;For what it's worth, anyone with After Effects can open footage and tell you a lot of this stuff, more than one can usually get with most NLE (nonlinear editing) software (correct me via comments if I'm wrong, though). " ContentLicense="CC BY-SA 2.5" />
  <row Id="2217" PostHistoryTypeId="5" PostId="1186" RevisionGUID="0e39168c-e1a8-4307-af7f-9eb88d1d6c42" CreationDate="2010-05-20T21:10:18.557" UserId="2" Comment="added emebeded youtube video" Text="For me, it was the sound for a blob that gives birth to a kind of planet, to hard to explain lol [http://www.youtube.com/watch?v=Ig01-wSIxUY][1]&#xD;&#xA;&#xD;&#xA;[youtube]Ig01-wSIxUY[/youtube]&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=Ig01-wSIxUY&#xD;&#xA;starts at 0:22s&#xD;&#xA;&#xD;&#xA;Used lemons, eggs, a jar of marmalade, and a couple of synths&#xD;&#xA;Used pitch shifting and a bit of maxxBass" ContentLicense="CC BY-SA 2.5" />
  <row Id="2218" PostHistoryTypeId="2" PostId="1188" RevisionGUID="3c2cb2b7-9f1c-44c1-a321-b7766fda7024" CreationDate="2010-05-21T06:35:57.800" UserId="275" Text="You absolutely have every right to ask the editor, or whomever is the project manager, to get you all of the information you need. They should know enough to get you sample rate, bit depth, time code info, frame rates, etc. If they don't tell you all of those things and you have to ask them for it you're essentially doing their job for them, or at least part of their job. &#xD;&#xA;&#xD;&#xA;Yes, 29.97 is standard for broadcast but who is to say the camera ops and editor know that?  They may very well have messed up during shooting or editing and just not admitted it. &#xD;&#xA;&#xD;&#xA;I always ask the project manager and/or editor what the frame rate SHOULD be and then I double check it in QT and Nuendo. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2219" PostHistoryTypeId="5" PostId="1049" RevisionGUID="679fdbb0-2188-4ff4-bb7b-a5b91295df70" CreationDate="2010-05-21T07:12:26.697" UserDisplayName="user80" Comment="Added tag, weblinks and image" Text="They did make a custom mic once for the ants walking thing.  If you're looking to capture low volume sounds, there was a [thread about that here.][1]&#xD;&#xA;&#xD;&#xA;I haven't used an [Earthworks][2] mic for SFX before, but I've used them for many other things.  I've never been disappointed.  Basically no self noise.  Never noticed if it did or didn't have any handling noise.  I have an [M30][3].  I may try it out on some SFX.  Do you have anything specific you were wondering if it worked with?  I can try some demo stuff for you if you're interested.&#xD;&#xA;&#xD;&#xA;[![Earthworks M30][4]][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/220/how-to-capture-very-low-volume-sounds&#xD;&#xA;  [2]: http://www.earthworksaudio.com/&#xD;&#xA;  [3]: http://www.earthworksaudio.com/27.html&#xD;&#xA;  [4]: http://www.earthworksaudio.com/graphics/27M30.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="2220" PostHistoryTypeId="12" PostId="1153" RevisionGUID="91f6f334-e1b5-41ef-a656-9523f20ac4bb" CreationDate="2010-05-21T07:20:08.380" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="2222" PostHistoryTypeId="12" PostId="442" RevisionGUID="1965aeb0-d3ce-40be-abe0-b1ca66b2f728" CreationDate="2010-05-21T07:21:51.873" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="2223" PostHistoryTypeId="12" PostId="316" RevisionGUID="97d0fa24-e6d5-4cc4-8989-7bb7fa8b90da" CreationDate="2010-05-21T07:22:17.163" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="2224" PostHistoryTypeId="12" PostId="675" RevisionGUID="264ca243-cb5c-4384-8cbb-0cb9b5073809" CreationDate="2010-05-21T07:22:38.397" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="2225" PostHistoryTypeId="12" PostId="731" RevisionGUID="1e445f8c-8b70-4ad0-ae53-8a435604d2fb" CreationDate="2010-05-21T07:23:17.850" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="2226" PostHistoryTypeId="12" PostId="626" RevisionGUID="375c23b8-c248-4eed-93d1-390b065bd52e" CreationDate="2010-05-21T07:23:34.650" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="2228" PostHistoryTypeId="12" PostId="708" RevisionGUID="76c417d8-5865-453c-a697-ed640b008800" CreationDate="2010-05-21T07:24:22.467" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="2232" PostHistoryTypeId="2" PostId="1189" RevisionGUID="3c308ead-b091-443c-842e-13b56487c7c3" CreationDate="2010-05-21T09:06:04.547" UserId="61" Text="What I wish I had done more of:&#xD;&#xA;&#xD;&#xA; - Take more risks&#xD;&#xA; - Do more free work&#xD;&#xA; - Record more material on my own time to build up my FX library early&#xD;&#xA; - Invest in quality microphones that will always be useful&#xD;&#xA; - Ask more questions&#xD;&#xA; - Heed more advice&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What I'm glad I did:&#xD;&#xA;&#xD;&#xA; - Take on an unpaid internship&#xD;&#xA; - Ask the questions that I did ask&#xD;&#xA; - Befriend the most talented people I worked under&#xD;&#xA; - Learn and become fluent in several workstations&#xD;&#xA; - Listen more and speak less&#xD;&#xA; - Write things down&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2235" PostHistoryTypeId="2" PostId="1191" RevisionGUID="a4bc15ca-d804-402d-a6bb-57069917ca20" CreationDate="2010-05-21T14:37:26.323" UserDisplayName="user80" Text="I wish that I had concentrated on the one thing.  &#xD;&#xA;&#xD;&#xA;If I were to do it again I would buy a perfect little boom op rig and work on as many paid and unpaid jobs as I could get hold of.  I would not do anything else until I was perfect at that role.  Only then would I look for sound mixer work, as everything is about the dialogue, you're either cleaning it or supporting it, through the music or sound effects, and once you understand that everything else is so much easier." ContentLicense="CC BY-SA 2.5" />
  <row Id="2236" PostHistoryTypeId="13" PostId="626" RevisionGUID="0d32f12e-806b-4a9e-b403-8ce85e069fcf" CreationDate="2010-05-21T14:38:44.700" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="2238" PostHistoryTypeId="13" PostId="708" RevisionGUID="589088a6-d48d-4a35-83ff-21b5dca9cfca" CreationDate="2010-05-21T14:39:36.257" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="2239" PostHistoryTypeId="13" PostId="675" RevisionGUID="d7a142d6-e42c-42ff-8187-35ff7800fd1f" CreationDate="2010-05-21T14:39:53.997" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="2240" PostHistoryTypeId="13" PostId="731" RevisionGUID="11368943-41f4-4c59-b1e5-6dc3837fc1fb" CreationDate="2010-05-21T14:40:09.253" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="2241" PostHistoryTypeId="13" PostId="442" RevisionGUID="559bb44f-b8fa-45a5-8594-9eda5527b613" CreationDate="2010-05-21T14:40:34.133" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="2242" PostHistoryTypeId="13" PostId="316" RevisionGUID="2bf4c96d-84cb-4832-83b2-71b489611ca0" CreationDate="2010-05-21T14:40:48.517" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="2244" PostHistoryTypeId="5" PostId="240" RevisionGUID="19d36036-b425-45ec-b6d1-de520a2d8a4e" CreationDate="2010-05-21T14:42:45.473" UserDisplayName="user80" Comment="added 1 characters in body" Text="Beyer DT-770 Pro 250 ohm&#xD;&#xA;&#xD;&#xA;They provide a consistent sound in a robust form with a good degree of isolation and comfort.  I also have the M version for noisy environments.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2245" PostHistoryTypeId="5" PostId="61" RevisionGUID="0e671d91-fa54-46b8-b393-78770a4d2820" CreationDate="2010-05-21T15:02:39.823" UserDisplayName="user80" Comment="Added tags, weblinks and image" Text="I have a number of headphones that I use for different purposes:&#xD;&#xA;&#xD;&#xA; - The obligatory [Sony MDR7506s][1]: Love these, they're like the [NS-10Ms][3] of headphones. I use them for as much as possible when external SPL allows.  I use them for any critical listening I might have to do.&#xD;&#xA;&#xD;&#xA;[![Sony MDR7506][2]][1]&#xD;&#xA;&#xD;&#xA; - Sennheiser HD280s: I have 4 or 5 of these.  I use them when the external SPL is too loud for my 7506s (because they isolate so well).  I also use them in the vocal booth because they limit bleed so much. I try not to use them if I can help it, since I think they sound fairly &quot;muffled&quot;&#xD;&#xA; - When listening to classical music or the such, I love my Grado SR80i headphones, but they get uncomfortable after a while.  Great natural sound though.&#xD;&#xA; - For in-ears, I have a pair of M-Audio IE-40s (made my Ultimate ears, distributed by M-Audio).  They don't have traditional drivers - they use a triple armature driver system, and have an amazing bass response, and incredible isolation.  I can be listening to my ipod at half volume and a subway will go by, I won't even hear the subway. (In NYC).  I use these for listening only.  Biking, walking, all the time in NYC, etc...&#xD;&#xA; - I've saved my favorites for last.  My Beyerdynamic DT880pro cans.  Pure bliss.  Amazing.  Slightly hyped, but amazing low end response, super smooth high end, and AMAZING localization.  Almost sounds like you're listening to speakers.  I like using these for listening to a final product.  Its my equivalent of pumping the mains for a client versus critical mixing on the near fields. Also one of the most comfortable pairs of headphones I've ever worn.  6, 7+ hours no problem.  They're open back, so they have nice ventilation, and of course they have the famous velour ear pads.  Fuzzy!  Gotta love these guys :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What's your headphone collection like?&#xD;&#xA;&#xD;&#xA;[1]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=MDR-7506%2F1&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Headphones&#xD;&#xA;[2]: http://assets.sonybiz.net/products/MDR-7506-1(img1).jpg&#xD;&#xA;[3]: http://www.ns-10.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2246" PostHistoryTypeId="6" PostId="61" RevisionGUID="0e671d91-fa54-46b8-b393-78770a4d2820" CreationDate="2010-05-21T15:02:39.823" UserDisplayName="user80" Comment="Added tags, weblinks and image" Text="&lt;headphones&gt;&lt;gear&gt;&lt;survey&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2247" PostHistoryTypeId="2" PostId="1192" RevisionGUID="0785becf-34e4-4ec9-8c0f-04706daed894" CreationDate="2010-05-21T15:20:22.033" UserId="29" Text="I wanted to explore something this thread hasn't drilled into too much thus far: Being drawn towards this discipline by &quot;design&quot; part of &quot;sound design.&quot;&#xD;&#xA;&#xD;&#xA;The Blank Canvas Problem (being creative with no set starting point and no boundaries) is a classic creative conundrum, and as a visual artist, I leaned immediately towards illustration and design: Creative disciplines that are rife with limitations and boundaries that focus my creative energies towards solving specific challenges. Indeed, getting great creative results within those constraints is the name of the game. The constant struggle between the right literal sound and the proper emotional sound is endlessly fascinating, and the conversations between the artist and the client is always a challenge...ideally, it's rewarding and collaborative. Even when it's less ideal, there are constant lessons to be learned.&#xD;&#xA;&#xD;&#xA;For me, it's the creation of an extensible and emotionally-right sonic vocabulary for a given audience experience that is equally as lovely as the art and science of sound itself.&#xD;&#xA;&#xD;&#xA;Being a great designer of any stripe takes communication, patience, respect, and empathy as much as it does audio production skills. It's that part of this discipline's challenge that I embrace in equal measure to field recording, plug-ins, gear lust, and all the other things we all obsess over...er, *ahem*, I mean that we all enjoy. :-)&#xD;&#xA;&#xD;&#xA;(BTW, for me, it all started with making mashups on dual cassette decks as a kid and then being exposed to analog synths in college and various jobs that sealed my love of sound.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2248" PostHistoryTypeId="2" PostId="1193" RevisionGUID="7cb8e070-8fcb-4e5f-a853-fdf6f69c7a39" CreationDate="2010-05-21T16:47:44.617" UserId="6435" Text="Another vote for the Sony MDR7506. I don't know that I'd call them &quot;flat,&quot; but I know them well enough to trust them, and they're good 'n loud. I have been meaning to buy or build the shooter-iso rig for awhile now. One day...&#xD;&#xA;&#xD;&#xA;I do tend to gravitate towards open-back phones for studio vocals. Depends on the session and the part." ContentLicense="CC BY-SA 2.5" />
  <row Id="2249" PostHistoryTypeId="2" PostId="1194" RevisionGUID="7690286f-794b-4845-9749-7ecb45d7d10a" CreationDate="2010-05-21T19:27:47.327" UserId="37" Text="I would have started earlier. &#xD;&#xA;&#xD;&#xA;Not sure it becomes clear how involved, abstract, and broad, this subject can get. &#xD;&#xA;The technical knowledge can be accumulated fairly quickly but lateral thinking, trained ears, aesthetics, and the necessary cultural background don't come as quick. Not to mention the need for people skills and the attitude required towards a sometimes unrewarding job. There's also the issue of having to experiment for a couple of years just to get the basic stuff out of the way and find one's own niche.. And build a library. So yeah. Encourage experiments." ContentLicense="CC BY-SA 2.5" />
  <row Id="2250" PostHistoryTypeId="5" PostId="1191" RevisionGUID="2d230a88-2c49-4239-9466-19e317e38e90" CreationDate="2010-05-21T20:39:09.120" UserDisplayName="user80" Comment="added 1 characters in body" Text="I wish that I had concentrated on the one thing.  &#xD;&#xA;&#xD;&#xA;If I were to do it again I would buy a perfect little boom op rig and work on as many paid and unpaid jobs as I could get hold of.  I would not do anything else until I was perfect at that role.  Only then would I look for sound mixer work, as everything is about the dialogue, you're either cleaning it or supporting it, through the music or sound effects, and once you understand that, everything else is so much easier." ContentLicense="CC BY-SA 2.5" />
  <row Id="2251" PostHistoryTypeId="5" PostId="61" RevisionGUID="5e218276-3875-45e1-aed6-35bef1053650" CreationDate="2010-05-21T21:13:01.990" UserDisplayName="user80" Comment="Added weblinks and image" Text="I have a number of headphones that I use for different purposes:&#xD;&#xA;&#xD;&#xA; - The obligatory [Sony MDR7506s][1]: Love these, they're like the [NS-10Ms][3] of headphones. I use them for as much as possible when external SPL allows.  I use them for any critical listening I might have to do.&#xD;&#xA;&#xD;&#xA;[![Sony MDR7506][2]][1]&#xD;&#xA;&#xD;&#xA; - [Sennheiser HD280s][4]: I have 4 or 5 of these.  I use them when the external SPL is too loud for my [7506s][1] (because they isolate so well).  I also use them in the vocal booth because they limit bleed so much. I try not to use them if I can help it, since I think they sound fairly &quot;muffled&quot;&#xD;&#xA;&#xD;&#xA;[![Sennheiser HD280][5]][4]&#xD;&#xA;&#xD;&#xA; - When listening to classical music or the such, I love my Grado SR80i headphones, but they get uncomfortable after a while.  Great natural sound though.&#xD;&#xA; - For in-ears, I have a pair of M-Audio IE-40s (made my Ultimate ears, distributed by M-Audio).  They don't have traditional drivers - they use a triple armature driver system, and have an amazing bass response, and incredible isolation.  I can be listening to my ipod at half volume and a subway will go by, I won't even hear the subway. (In NYC).  I use these for listening only.  Biking, walking, all the time in NYC, etc...&#xD;&#xA; - I've saved my favorites for last.  My Beyerdynamic DT880pro cans.  Pure bliss.  Amazing.  Slightly hyped, but amazing low end response, super smooth high end, and AMAZING localization.  Almost sounds like you're listening to speakers.  I like using these for listening to a final product.  Its my equivalent of pumping the mains for a client versus critical mixing on the near fields. Also one of the most comfortable pairs of headphones I've ever worn.  6, 7+ hours no problem.  They're open back, so they have nice ventilation, and of course they have the famous velour ear pads.  Fuzzy!  Gotta love these guys :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What's your headphone collection like?&#xD;&#xA;&#xD;&#xA;[1]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=MDR-7506%2F1&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Headphones&#xD;&#xA;[2]: http://assets.sonybiz.net/products/MDR-7506-1(img1).jpg&#xD;&#xA;[3]: http://www.ns-10.net/&#xD;&#xA;[4]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_headphones-headsets_headphones_004974&#xD;&#xA;[5]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/7FE507DDB7ABB9D9C1257482003BEA93/$File/HD_280_Pro.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2253" PostHistoryTypeId="2" PostId="1196" RevisionGUID="a92c506a-9ed7-4f42-a522-169c6309fd96" CreationDate="2010-05-21T22:37:47.177" UserId="298" Text="All AKG stuff for me is the best !&#xD;&#xA;My first pro headphones was AKG 141 studio - modern version of 141 monitor (they had 600ohm impedance) with only 55ohm and brilliant sound in a semiopen case. But my ears was hurting after non longer sessions. &#xD;&#xA;&#xD;&#xA;Next and present - AKG k240mk2 - best sound for a mixing with a cosy velvet ambouchures.&#xD;&#xA;Their sound is not coloured.&#xD;&#xA;&#xD;&#xA;and several pairs of portable AKG headphones for wav and flac playback =)&#xD;&#xA;&#xD;&#xA;and important note that they are still assembling strictly in Austria, not China as many manufacturers." ContentLicense="CC BY-SA 2.5" />
  <row Id="2254" PostHistoryTypeId="2" PostId="1197" RevisionGUID="1d58aecb-e60e-48c7-bc63-9126c37c3dcb" CreationDate="2010-05-22T01:42:28.890" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;I own a Neumann KMR81i and I am trying to get the roll-off and pad switches to work. I am trying to move it up with a paperclip and it just sort of half-way moves up and I'm afraid if I try to nudge it past that I'll forcibly break it.&#xD;&#xA;&#xD;&#xA;They are not working...&#xD;&#xA;&#xD;&#xA;The manual doesn't even mention them and I am a bit worried that the other people who have used this mic have destroyed the mechanism simply because they don't know how to use them.&#xD;&#xA;&#xD;&#xA;The switches can be seen in this product sheet here:&#xD;&#xA;&#xD;&#xA;[http://www.dcaudiovisuel.com/pages/Neumann/Neumann_KMR80_oview.htm][1]&#xD;&#xA;&#xD;&#xA;The mic also sounds thin and harsh... Even 6 inches from my mouth.&#xD;&#xA;&#xD;&#xA;Please help!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dcaudiovisuel.com/pages/Neumann/Neumann_KMR80_oview.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="2255" PostHistoryTypeId="1" PostId="1197" RevisionGUID="1d58aecb-e60e-48c7-bc63-9126c37c3dcb" CreationDate="2010-05-22T01:42:28.890" UserId="18160" Text="Neumann KMR 81i" ContentLicense="CC BY-SA 2.5" />
  <row Id="2256" PostHistoryTypeId="3" PostId="1197" RevisionGUID="1d58aecb-e60e-48c7-bc63-9126c37c3dcb" CreationDate="2010-05-22T01:42:28.890" UserId="18160" Text="&lt;microphone&gt;&lt;neumann&gt;&lt;filters&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2257" PostHistoryTypeId="5" PostId="1197" RevisionGUID="8a1d41f6-bf5b-47c0-8667-166a231db782" CreationDate="2010-05-22T02:23:53.470" UserId="18160" Comment="deleted 528 characters in body; edited tags" Text="Dear All,&#xD;&#xA;&#xD;&#xA;Does anyone have any experience with the KMR81i? I know it's mainly a dialogue short-shotgun, but do you use it for any other application?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dcaudiovisuel.com/pages/Neumann/Neumann_KMR80_oview.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="2258" PostHistoryTypeId="6" PostId="1197" RevisionGUID="8a1d41f6-bf5b-47c0-8667-166a231db782" CreationDate="2010-05-22T02:23:53.470" UserId="18160" Comment="deleted 528 characters in body; edited tags" Text="&lt;microphone&gt;&lt;neumann&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2259" PostHistoryTypeId="5" PostId="1197" RevisionGUID="b414cc42-01dd-4d16-8d4d-cace8c3f78b3" CreationDate="2010-05-22T02:37:07.273" UserId="18160" Comment="added 43 characters in body" Text="Dear All,&#xD;&#xA;&#xD;&#xA;Does anyone have any experience with the KMR81i? I know it's mainly a dialogue short-shotgun, but do you use it for any other application? Foley? In combination for a M/S? Ambience?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dcaudiovisuel.com/pages/Neumann/Neumann_KMR80_oview.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="2260" PostHistoryTypeId="2" PostId="1198" RevisionGUID="acbf32ea-988a-40ec-af34-6557d60269bf" CreationDate="2010-05-22T03:58:21.413" UserId="40" Text="Hey guys,  sorry for absence from the forum lately...  crazy times...&#xD;&#xA;&#xD;&#xA;I'd like to know what your favorite blood-curdling screams from film or television are.&#xD;&#xA;&#xD;&#xA;And nobody better say the Wilhelm scream!  I'm talking about bone chilling, brutal screams!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2261" PostHistoryTypeId="1" PostId="1198" RevisionGUID="acbf32ea-988a-40ec-af34-6557d60269bf" CreationDate="2010-05-22T03:58:21.413" UserId="40" Text="Wht is your favorite scream?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2262" PostHistoryTypeId="3" PostId="1198" RevisionGUID="acbf32ea-988a-40ec-af34-6557d60269bf" CreationDate="2010-05-22T03:58:21.413" UserId="40" Text="&lt;screams&gt;&lt;sound-design&gt;&lt;horror&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2263" PostHistoryTypeId="2" PostId="1199" RevisionGUID="f59273dc-29b1-4ac1-ac6c-509e2a859be9" CreationDate="2010-05-22T04:14:53.463" UserId="18160" Text="The first time you hear the Ringwraiths in Lord of the Rings - Fellowship is a good one.&#xD;&#xA;&#xD;&#xA;The Ring had some good screams in it from Naomi Watts - especially at the end.&#xD;&#xA;&#xD;&#xA;Not that it's a scream, but a sound that disturbed me when I was young was from the Pet Cemetary franchise. One of the bullies at school gets pulled over by the zombified dad and when he flips the motorcycle over to play with him - the sound the kid makes is just horrible. I can still hear it. Disturbing." ContentLicense="CC BY-SA 2.5" />
  <row Id="2264" PostHistoryTypeId="2" PostId="1200" RevisionGUID="2c15fa01-5387-47e2-8495-32cc42ca9eb8" CreationDate="2010-05-22T05:01:05.647" UserId="61" Text="Jaws: When the little boy, Alex Kitner, gets attacked and eaten on the beach. His underwater screams are beyond horrifying." ContentLicense="CC BY-SA 2.5" />
  <row Id="2265" PostHistoryTypeId="5" PostId="1197" RevisionGUID="15a22ff2-d950-42c8-bc98-f4fb4cb1d07d" CreationDate="2010-05-22T05:08:11.433" UserId="18160" Comment="deleted 13 characters in body" Text="Does anyone have any experience with the KMR81i? I know it's mainly a dialogue short-shotgun, but do you use it for any other application? Foley? In combination for a M/S? Ambience?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dcaudiovisuel.com/pages/Neumann/Neumann_KMR80_oview.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="2266" PostHistoryTypeId="5" PostId="1199" RevisionGUID="31017eb0-fad8-41bf-b183-540184bd70db" CreationDate="2010-05-22T05:12:20.543" UserId="18160" Comment="added 220 characters in body; edited body" Text="The first time you hear the Ringwraiths in Lord of the Rings - Fellowship is a good one.&#xD;&#xA;&#xD;&#xA;The Ring had some good screams in it from Naomi Watts - especially at the end.&#xD;&#xA;&#xD;&#xA;Not that it's a scream, but a sound that disturbed me when I was young was from the Pet Cemetary franchise. One of the bullies at school gets pulled over by the zombified dad and when he flips the motorcycle over to play with him - the sound the kid makes is just horrible. I can still hear it. Disturbing.&#xD;&#xA;&#xD;&#xA;Original Texas Chainsaw Massacre had some good ones from the main girl.&#xD;&#xA;&#xD;&#xA;Jaime Lee Curtis in Halloween was great.&#xD;&#xA;&#xD;&#xA;Hate to say it, but Blair Witch Project had some good male screams from the guy who goes missing." ContentLicense="CC BY-SA 2.5" />
  <row Id="2267" PostHistoryTypeId="2" PostId="1201" RevisionGUID="91759292-6391-4b5b-9342-d9559c6ba4b1" CreationDate="2010-05-22T06:17:11.660" UserId="18" Text="I've never directly used the 81 as an engineer, but it has been used on several sessions that I've been part off.  &#xD;&#xA;&#xD;&#xA;I worked with one of the Foley stages on the Sony lot a few years ago.  The Foley mixer used an 81.  He told me about how he preferred it to other shotguns he's used.  I was happy with the results.&#xD;&#xA;&#xD;&#xA;One of the recordists on a gun shoot I was on had an 81, though, I can't remember the sound off hand.  I also think that an 81 was used on a vegetable abuse or a metal impact session I did several years ago.&#xD;&#xA;&#xD;&#xA;I have a good friend who has one, and I plan on borrowing it for some SFX sessions in the near future.  I really want to compare the sound directly to my RSM191, which I love.&#xD;&#xA;&#xD;&#xA;Also, I'm not sure if John Fasal uses a KMR81 at all, but he often uses a KMR82 (the long gun).  He's pretty picky about his mic choices." ContentLicense="CC BY-SA 2.5" />
  <row Id="2268" PostHistoryTypeId="2" PostId="1202" RevisionGUID="96fe75c7-3462-4fae-be32-31dbfb4f4c72" CreationDate="2010-05-22T09:11:58.460" UserId="62" Text="Patrick Bateman screaming down the stairwell at the woman he just dropped a chainsaw on does it for me. Full of hate and anger which makes a nice change from fear I suppose." ContentLicense="CC BY-SA 2.5" />
  <row Id="2269" PostHistoryTypeId="4" PostId="1198" RevisionGUID="ecb4bcf0-0ca1-497a-a170-85b3b62f5749" CreationDate="2010-05-22T09:48:11.203" UserId="2" Comment="fixed spelling in title " Text="What is your favorite scream?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2270" PostHistoryTypeId="2" PostId="1203" RevisionGUID="8428facb-f2e1-498e-acaf-f10a5e4edd64" CreationDate="2010-05-22T10:12:10.053" UserId="238" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I know there are a few posts already discussing kit bags, but I'm wondering if anyone out there really has found the perfect bag yet? Organisation has to be one of the most important aspects of our industry so is there a bag out there that can help us? It seems that many of you are less and less happy with the Porta Brace range, mainly due to noisy velcro. But are there really other options that are durable, will keep your kit organised and more importantly, safe! I'm looking for a case for a sound devices 702t rig, plus a larger kit bag to hold all my kit together. Any suggestions? Perhaps there's a gap in the market that has yet to be filled?&#xD;&#xA;&#xD;&#xA;On another note, I'm curious to know how you go about preparing your kit bags (in terms of organisation) before you go out to record? Lets say you're about to head out to a field recording session. Do you have all your kit set up and ready to go before you set off or do you do a fair amount of setting up once on location? I guess everyone has there own style but maybe you have some tips that we could all benefit from...&#xD;&#xA;&#xD;&#xA;Colin" ContentLicense="CC BY-SA 2.5" />
  <row Id="2271" PostHistoryTypeId="1" PostId="1203" RevisionGUID="8428facb-f2e1-498e-acaf-f10a5e4edd64" CreationDate="2010-05-22T10:12:10.053" UserId="238" Text="How to get organised..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2272" PostHistoryTypeId="3" PostId="1203" RevisionGUID="8428facb-f2e1-498e-acaf-f10a5e4edd64" CreationDate="2010-05-22T10:12:10.053" UserId="238" Text="&lt;kit-bag&gt;&lt;organisation&gt;&lt;field-recording&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2273" PostHistoryTypeId="5" PostId="61" RevisionGUID="10e3b840-366f-4cd3-817b-e97d1cb66280" CreationDate="2010-05-22T10:48:40.727" UserDisplayName="user80" Comment="Added weblinks and image" Text="I have a number of headphones that I use for different purposes:&#xD;&#xA;&#xD;&#xA; - The obligatory [Sony MDR7506s][1]: Love these, they're like the [NS-10Ms][3] of headphones. I use them for as much as possible when external SPL allows.  I use them for any critical listening I might have to do.&#xD;&#xA;&#xD;&#xA;[![Sony MDR7506][2]][1]&#xD;&#xA;&#xD;&#xA; - [Sennheiser HD280s][4]: I have 4 or 5 of these.  I use them when the external SPL is too loud for my [7506s][1] (because they isolate so well).  I also use them in the vocal booth because they limit bleed so much. I try not to use them if I can help it, since I think they sound fairly &quot;muffled&quot;&#xD;&#xA;&#xD;&#xA;[![Sennheiser HD280][5]][4]&#xD;&#xA;&#xD;&#xA; - When listening to classical music or the such, I love my [Grado SR80i][6] headphones, but they get uncomfortable after a while.  Great natural sound though.&#xD;&#xA;&#xD;&#xA;[![Grado SR80i][7]][6]&#xD;&#xA;&#xD;&#xA; - For in-ears, I have a pair of M-Audio IE-40s (made my Ultimate ears, distributed by M-Audio).  They don't have traditional drivers - they use a triple armature driver system, and have an amazing bass response, and incredible isolation.  I can be listening to my ipod at half volume and a subway will go by, I won't even hear the subway. (In NYC).  I use these for listening only.  Biking, walking, all the time in NYC, etc...&#xD;&#xA; - I've saved my favorites for last.  My Beyerdynamic DT880pro cans.  Pure bliss.  Amazing.  Slightly hyped, but amazing low end response, super smooth high end, and AMAZING localization.  Almost sounds like you're listening to speakers.  I like using these for listening to a final product.  Its my equivalent of pumping the mains for a client versus critical mixing on the near fields. Also one of the most comfortable pairs of headphones I've ever worn.  6, 7+ hours no problem.  They're open back, so they have nice ventilation, and of course they have the famous velour ear pads.  Fuzzy!  Gotta love these guys :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What's your headphone collection like?&#xD;&#xA;&#xD;&#xA;[1]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=MDR-7506%2F1&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Headphones&#xD;&#xA;[2]: http://assets.sonybiz.net/products/MDR-7506-1(img1).jpg&#xD;&#xA;[3]: http://www.ns-10.net/&#xD;&#xA;[4]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_headphones-headsets_headphones_004974&#xD;&#xA;[5]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/7FE507DDB7ABB9D9C1257482003BEA93/$File/HD_280_Pro.jpg&#xD;&#xA;[6]: http://www.gradolabs.com/product_pages/sr80.htm&#xD;&#xA;[7]: http://www.gradolabs.com/09_images/sr80i.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="2274" PostHistoryTypeId="2" PostId="1204" RevisionGUID="a56b1d1c-952e-4359-86d3-8e89adce6aab" CreationDate="2010-05-22T11:26:23.257" UserId="238" Text="I'm thinking of investing in a pair of Beyerdynamic DT770 Pros. I'm guessing that all of you that are already using these have the 80 ohms version, right? Anyone using the 250 ohm version or do they require too much drive? I'll primarily be using them for monitoring field recordings with a Sound Devices 702t." ContentLicense="CC BY-SA 2.5" />
  <row Id="2275" PostHistoryTypeId="5" PostId="61" RevisionGUID="54425a7e-670b-41fb-87ba-e3ef88fbffcf" CreationDate="2010-05-22T13:10:10.700" UserDisplayName="user80" Comment="Added weblinks and image" Text="I have a number of headphones that I use for different purposes:&#xD;&#xA;&#xD;&#xA; - The obligatory [Sony MDR7506s][1]: Love these, they're like the [NS-10Ms][3] of headphones. I use them for as much as possible when external SPL allows.  I use them for any critical listening I might have to do.&#xD;&#xA;&#xD;&#xA;[![Sony MDR7506][2]][1]&#xD;&#xA;&#xD;&#xA; - [Sennheiser HD280s][4]: I have 4 or 5 of these.  I use them when the external SPL is too loud for my [7506s][1] (because they isolate so well).  I also use them in the vocal booth because they limit bleed so much. I try not to use them if I can help it, since I think they sound fairly &quot;muffled&quot;&#xD;&#xA;&#xD;&#xA;[![Sennheiser HD280][5]][4]&#xD;&#xA;&#xD;&#xA; - When listening to classical music or the such, I love my [Grado SR80i][6] headphones, but they get uncomfortable after a while.  Great natural sound though.&#xD;&#xA;&#xD;&#xA;[![Grado SR80i][7]][6]&#xD;&#xA;&#xD;&#xA; - For in-ears, I have a pair of [M-Audio IE-40s][8] (made my [Ultimate Ears][10], distributed by [M-Audio][11]).  They don't have traditional drivers - they use a triple armature driver system, and have an amazing bass response, and incredible isolation.  I can be listening to my [iPod][12] at half volume and a subway will go by, I won't even hear the subway in New York City (NYC).  I use these for listening only while biking, walking, all the time in NYC, etc...&#xD;&#xA;&#xD;&#xA;[![M-Audio IE-40][9]][8]&#xD;&#xA;&#xD;&#xA; - I've saved my favorites for last.  My Beyerdynamic DT880pro cans.  Pure bliss.  Amazing.  Slightly hyped, but amazing low end response, super smooth high end, and AMAZING localization.  Almost sounds like you're listening to speakers.  I like using these for listening to a final product.  Its my equivalent of pumping the mains for a client versus critical mixing on the near fields. Also one of the most comfortable pairs of headphones I've ever worn.  6, 7+ hours no problem.  They're open back, so they have nice ventilation, and of course they have the famous velour ear pads.  Fuzzy!  Gotta love these guys :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What's your headphone collection like?&#xD;&#xA;&#xD;&#xA;[1]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=MDR-7506%2F1&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Headphones&#xD;&#xA;[2]: http://assets.sonybiz.net/products/MDR-7506-1(img1).jpg&#xD;&#xA;[3]: http://www.ns-10.net/&#xD;&#xA;[4]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_headphones-headsets_headphones_004974&#xD;&#xA;[5]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/7FE507DDB7ABB9D9C1257482003BEA93/$File/HD_280_Pro.jpg&#xD;&#xA;[6]: http://www.gradolabs.com/product_pages/sr80.htm&#xD;&#xA;[7]: http://www.gradolabs.com/09_images/sr80i.png&#xD;&#xA;[8]: http://www.m-audio.com/products/en_us/IE40.html&#xD;&#xA;[9]: http://www.m-audio.com/images/global/product_pics/th/IE40_explodedview_custom_v2008.jpg&#xD;&#xA;[10]: http://www.ultimateears.com/_ultimateears/&#xD;&#xA;[11]: http://www.m-audio.com/&#xD;&#xA;[12]: http://www.apple.com/ipod/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2276" PostHistoryTypeId="5" PostId="1200" RevisionGUID="f47d90b5-740f-49a0-8980-1bd265cd91ce" CreationDate="2010-05-22T14:22:25.170" UserId="61" Comment="added 2 characters in body" Text="Jaws: When the little boy, Alex Kitner, gets attacked and eaten near the beach. His underwater screams are beyond horrifying." ContentLicense="CC BY-SA 2.5" />
  <row Id="2277" PostHistoryTypeId="5" PostId="61" RevisionGUID="5a868616-bcd8-46dc-9b2f-e5551062b3a0" CreationDate="2010-05-22T14:53:10.013" UserDisplayName="user80" Comment="Added weblinks and image" Text="I have a number of headphones that I use for different purposes:&#xD;&#xA;&#xD;&#xA; - The obligatory [Sony MDR7506s][1]: Love these, they're like the [NS-10Ms][3] of headphones. I use them for as much as possible when external SPL allows.  I use them for any critical listening I might have to do.&#xD;&#xA;&#xD;&#xA;[![Sony MDR7506][2]][1]&#xD;&#xA;&#xD;&#xA; - [Sennheiser HD280s][4]: I have 4 or 5 of these.  I use them when the external SPL is too loud for my [7506s][1] (because they isolate so well).  I also use them in the vocal booth because they limit bleed so much. I try not to use them if I can help it, since I think they sound fairly &quot;muffled&quot;&#xD;&#xA;&#xD;&#xA;[![Sennheiser HD280][5]][4]&#xD;&#xA;&#xD;&#xA; - When listening to classical music or the such, I love my [Grado SR80i][6] headphones, but they get uncomfortable after a while.  Great natural sound though.&#xD;&#xA;&#xD;&#xA;[![Grado SR80i][7]][6]&#xD;&#xA;&#xD;&#xA; - For in-ears, I have a pair of [M-Audio IE-40s][8] (made my [Ultimate Ears][10], distributed by [M-Audio][11]).  They don't have traditional drivers - they use a triple armature driver system, and have an amazing bass response, and incredible isolation.  I can be listening to my [iPod][12] at half volume and a subway will go by, I won't even hear the subway in New York City (NYC).  I use these for listening only while biking, walking, all the time in NYC, etc...&#xD;&#xA;&#xD;&#xA;[![M-Audio IE-40][9]][8]&#xD;&#xA;&#xD;&#xA; - I've saved my favorites for last.  My [Beyerdynamic DT880 PRO][13] cans.  Pure bliss.  Amazing.  Slightly hyped, but amazing low end response, super smooth high end, and AMAZING localization.  Almost sounds like you're listening to speakers.  I like using these for listening to a final product.  Its my equivalent of pumping the mains for a client versus critical mixing on the near fields. Also one of the most comfortable pairs of headphones I've ever worn.  6, 7+ hours no problem.  They're semi-open back, so they have nice ventilation, and of course they have the famous velour ear pads.  Fuzzy!  Gotta love these guys :-)&#xD;&#xA;&#xD;&#xA;[![Beyerdynamic DT880 PRO][14]][13]&#xD;&#xA;&#xD;&#xA;What's your headphone collection like?&#xD;&#xA;&#xD;&#xA;[1]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=MDR-7506%2F1&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Headphones&#xD;&#xA;[2]: http://assets.sonybiz.net/products/MDR-7506-1(img1).jpg&#xD;&#xA;[3]: http://www.ns-10.net/&#xD;&#xA;[4]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_headphones-headsets_headphones_004974&#xD;&#xA;[5]: http://www.sennheiser.co.uk/sennheiser/products.nsf/resources/7FE507DDB7ABB9D9C1257482003BEA93/$File/HD_280_Pro.jpg&#xD;&#xA;[6]: http://www.gradolabs.com/product_pages/sr80.htm&#xD;&#xA;[7]: http://www.gradolabs.com/09_images/sr80i.png&#xD;&#xA;[8]: http://www.m-audio.com/products/en_us/IE40.html&#xD;&#xA;[9]: http://www.m-audio.com/images/global/product_pics/th/IE40_explodedview_custom_v2008.jpg&#xD;&#xA;[10]: http://www.ultimateears.com/_ultimateears/&#xD;&#xA;[11]: http://www.m-audio.com/&#xD;&#xA;[12]: http://www.apple.com/ipod/&#xD;&#xA;[13]: http://europe.beyerdynamic.com/shop/hah/headphones-and-headsets/studio-and-stage/studio-headphones/dt-880-pro.html&#xD;&#xA;[14]: http://europe.beyerdynamic.com/typo3temp/pics/f3f37e592a.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2278" PostHistoryTypeId="5" PostId="240" RevisionGUID="13111bab-2e14-40d8-8a68-a8f831fd80a7" CreationDate="2010-05-22T14:53:39.083" UserDisplayName="user80" Comment="added 7 characters in body" Text="Beyerdynamic DT-770 Pro 250 ohm&#xD;&#xA;&#xD;&#xA;They provide a consistent sound in a robust form with a good degree of isolation and comfort.  I also have the M version for noisy environments.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2279" PostHistoryTypeId="5" PostId="63" RevisionGUID="3b63d0b9-f8d0-47d3-8a03-e1d01e745255" CreationDate="2010-05-22T16:59:55.647" UserDisplayName="user80" Comment="Added weblinks and image" Text="I too have a lot of different headphones that I've collected over the years:&#xD;&#xA;&#xD;&#xA; - [Sony MDR7506's][1].  I have multiple pairs of these (6, I think) back from when I used to record bands.  They were under $100 when I bought them, so I consider them good, cheap throw around headphones.  They sound pretty good and work great in the field. For many years they were my main recording headphone. I also have a pair that I removed the drivers from and installed into a shooters headset so that I now have a pair of headphones that provide ear protection when recording the super loud stuff.&#xD;&#xA;&#xD;&#xA;- [Sennheiser PX200-II][2].  I use these as a small, light-weight headphone, when doing more discreet/stealthy field recording.  Also a great iPod headphone.&#xD;&#xA;&#xD;&#xA;[![Sennheiser PX200-II][3]][2]&#xD;&#xA;&#xD;&#xA;- Sennheiser HD600.  I love these for studio work.  They are open back, so you can't record with them.  But, if you need some great headphones for editing/sound design.  You can actually mix on these (though, I wouldn't recommend that!).  Also comfortable to wear for a long while.&#xD;&#xA;&#xD;&#xA;- Beyerdynamic DT770pro.  I love these.  I picked them up a few years ago to replace the Sony's as my main cans in the field.  The Sony's can get uncomfortable after wearing for long periods of time.  I don't find this to be the case with the Beyers.  Great sound, comfortable, but you don't really want to kick these around because they are not cheap. &#xD;&#xA;&#xD;&#xA;[1]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=MDR-7506%2F1&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Headphones&#xD;&#xA;[2]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/private_headphones_classic-line_pxseries_502817&#xD;&#xA;[3]: http://www.sennheiser.com/sennheiser/products.nsf/resources/BC508C18BC2BF57AC12576240048A99C/$File/PX_200_II_DetailImage_white.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2280" PostHistoryTypeId="2" PostId="1205" RevisionGUID="c48a72d6-270d-49e6-974a-ee70253b60d2" CreationDate="2010-05-22T18:07:16.583" UserId="29" Text="There's no one perfect bag, but there are bags that are great for different things.&#xD;&#xA;&#xD;&#xA;For me, I need three things in every field session: Something to hold the recording hardware, something for utility items, and something for my windshield (and the mic(s) therein) and mic boom, if I'm carrying one. Usually a regular ol' recorder/mixer bag with a large pouch solves the first two, but I often need either A) solid connection points (d-rings, carabiners, and/or webbing) to secure my windshield (and boom pole), or B) a backpack tall enough to carry my windshield and pole. If I use a backpack, it's gotta also be able to carry a few mic stands (I use lightweight photo stands, [described here][1]). What I, and others, generally find helpful in the field can be seen in [this thread][2].&#xD;&#xA;&#xD;&#xA;Another thing I do is to repackage tape for the field. I got into repackaging things like toothpaste when I got into ultra-light backpacking, the idea being that for one field session, do you really need a whole roll of gaffer's tape? I cut 1/2&quot; PVC piping to the right widths and just re-wrap various kinds of tape and store them on a shock cord with a carabiner. Lighter, &quot;refillable,&quot; and just easier to cart around. If you do any work with contact mics or lavs, you can't have enough types of tape in the field.&#xD;&#xA;&#xD;&#xA;I often hike into locations for field recording, so I need a backpack that can store clothes, water, etc. Sometimes I just pile gear into a small trailrunning backpack, sometimes I use a full-on camera backpack (esp. if it might rain). When I actually need to backpack into a location, I wear the recorder on my chest; real audio harnesses are over-padded for concurrent use with a backpack, so I use the chest straps (webbing only) that came with my LowePro camera bag (also [available separately][3]). Sometimes a messenger bag or more urban backpack is better in urban settings where stealth and hiding one's pricey gear is more important.&#xD;&#xA;&#xD;&#xA;Just some thoughts!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2009/07/07/lightweight-mic-stands-in-the-field/&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/252/what-are-the-small-bits-in-your-field-recording-bag&#xD;&#xA;  [3]: http://www.bhphotovideo.com/c/product/98677-REG/Lowepro_LP35352_0EU_Chest_Harness_for_Topload.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="2281" PostHistoryTypeId="2" PostId="1206" RevisionGUID="b2177873-c7f4-420b-ad0c-1a98ac579c48" CreationDate="2010-05-22T18:13:28.820" UserId="29" Text="I recall a lot of interesting yells, screams, and fear vocalizations by the character of Tetsuo in *Akira*. Impressive given the fact it's all in a vocal booth somewhere. +1, also, on Ms. Watt's pipes in *The Ring*. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2282" PostHistoryTypeId="5" PostId="63" RevisionGUID="763c0078-3f6a-4647-9906-ceb02f5b5817" CreationDate="2010-05-22T20:59:11.513" UserDisplayName="user80" Comment="Added weblinks and image" Text="I too have a lot of different headphones that I've collected over the years:&#xD;&#xA;&#xD;&#xA; - [Sony MDR7506's][1].  I have multiple pairs of these (6, I think) back from when I used to record bands.  They were under $100 when I bought them, so I consider them good, cheap throw around headphones.  They sound pretty good and work great in the field. For many years they were my main recording headphone. I also have a pair that I removed the drivers from and installed into a shooters headset so that I now have a pair of headphones that provide ear protection when recording the super loud stuff.&#xD;&#xA;&#xD;&#xA;- [Sennheiser PX200-II][2].  I use these as a small, light-weight headphone, when doing more discreet/stealthy field recording.  Also a great iPod headphone.&#xD;&#xA;&#xD;&#xA;[![Sennheiser PX200-II][3]][2]&#xD;&#xA;&#xD;&#xA;- [Sennheiser HD600][4].  I love these for studio work.  They are open back, so you can't record with them.  But, if you need some great headphones for editing/sound design.  You can actually mix on these (though, I wouldn't recommend that!).  Also comfortable to wear for a long while.&#xD;&#xA;&#xD;&#xA;[![Sennheiser HD600][5]][4]&#xD;&#xA;&#xD;&#xA;- Beyerdynamic DT770pro.  I love these.  I picked them up a few years ago to replace the Sony's as my main cans in the field.  The Sony's can get uncomfortable after wearing for long periods of time.  I don't find this to be the case with the Beyers.  Great sound, comfortable, but you don't really want to kick these around because they are not cheap. &#xD;&#xA;&#xD;&#xA;[1]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=MDR-7506%2F1&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Headphones&#xD;&#xA;[2]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/private_headphones_classic-line_pxseries_502817&#xD;&#xA;[3]: http://www.sennheiser.com/sennheiser/products.nsf/resources/BC508C18BC2BF57AC12576240048A99C/$File/PX_200_II_DetailImage_white.jpg&#xD;&#xA;[4]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/private_headphones_audiophile-headphone-hd600-quality&#xD;&#xA;[5]: http://www.sennheiser.com/sennheiser/products.nsf/resources/F3634ABF3DD2DD71C125743200800CAA/$File/HD_600_ProductImage.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2283" PostHistoryTypeId="2" PostId="1207" RevisionGUID="f3555966-68d5-494f-a7ac-ce3b214c5db3" CreationDate="2010-05-23T02:37:05.000" UserId="220" Text="Ever since I saw the movie as a kid, the screams of the men in *The Lives of the Bengal Lancers* while being tortured with bamboo under their fingernails has always turned my stomach a bit.&#xD;&#xA;&#xD;&#xA;I also get the same feeling from Wesley's screams during *The Princess Bride*.  &#xD;&#xA;&#xD;&#xA;There's just something about a man screaming that's unsettling...." ContentLicense="CC BY-SA 2.5" />
  <row Id="2284" PostHistoryTypeId="2" PostId="1208" RevisionGUID="2c91419e-e33d-48e0-9028-ced46ecb7187" CreationDate="2010-05-23T02:50:32.903" UserId="275" Text="I've used the 81i quite a bit and it's a great sounding mic. I also have a Sanken CS3E. The Sanken has a bit more reach and a little more richness on the low end than the 81i but it is definitely a fantastic sounding mic and I would take it over a 416 any day.  The 81i does well both on location for dialogue and in the studio for Foley.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2285" PostHistoryTypeId="2" PostId="1209" RevisionGUID="fc507116-d032-413f-b502-f5944e0bc7d0" CreationDate="2010-05-23T07:15:07.253" UserId="253" Text="The 81 is great for foley, as everyone seems to agree. &#xD;&#xA;I've also found it very useful for ADR as it sounds close to most location shotguns, while having a wider (supercardioid) pickup pattern; which helps avoid any problems with overexcited talent drifting off mic." ContentLicense="CC BY-SA 2.5" />
  <row Id="2286" PostHistoryTypeId="2" PostId="1210" RevisionGUID="dc903cc3-42bb-442f-a8d6-8c633896bbff" CreationDate="2010-05-23T13:47:18.483" UserId="305" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I'm working on an art project (http://ll.frey.co.nz) and I'd like to synthesize something that sounds like this. It's a low deep bass thud, as heard on Mark Lanegan's glorious cover of 'Man in the Long Black Coat' from the 'I'm Not There' soundtrack:&#xD;&#xA;&#xD;&#xA;[soundcloud]damian/long-black-coat[/soundcloud]&#xD;&#xA;&#xD;&#xA;(Four samples of the sound.) I assume it was constructed by passing a lowpass filtered kick drum through a reverb with a long delay. &#xD;&#xA;&#xD;&#xA;I need to re-make this in a generative fashion, so I can trigger it with parametric variations. I am currently using Pure Data as a sound engine, with a view to internalising the DSP code using a C/C++ library (TBD). I have been playing around with an Roman Hafaeli's 808 kick drum simulator but i can't get anything that sounds as nice as this. &#xD;&#xA;&#xD;&#xA;Any tips about how to synthesize something like this appreciated." ContentLicense="CC BY-SA 2.5" />
  <row Id="2287" PostHistoryTypeId="1" PostId="1210" RevisionGUID="dc903cc3-42bb-442f-a8d6-8c633896bbff" CreationDate="2010-05-23T13:47:18.483" UserId="305" Text="How can I make this deep thud sound, like a cannon in the distance?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2288" PostHistoryTypeId="3" PostId="1210" RevisionGUID="dc903cc3-42bb-442f-a8d6-8c633896bbff" CreationDate="2010-05-23T13:47:18.483" UserId="305" Text="&lt;synthesis&gt;&lt;bass&gt;&lt;thud&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2289" PostHistoryTypeId="2" PostId="1211" RevisionGUID="b49dd5a0-29ab-4fab-acdf-288f54086fb0" CreationDate="2010-05-23T17:00:42.133" UserId="270" Text="I mainly use Sennheiser 650s and Sony MDR7509HDs and prefer the sound of the Sonys, but I dont think either are comfortable to wear ;)&#xD;&#xA;&#xD;&#xA;If I'm monitoring during field recording I use small earphones and wear a pair of Peltor ear protectors on top for isolation.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2290" PostHistoryTypeId="2" PostId="1212" RevisionGUID="401687bd-7e41-4259-96c1-55a90eff0476" CreationDate="2010-05-23T18:44:34.297" UserId="2" Text="Keeping it to the basics so that it doesn't involve too much programming, here is what I think might be good starting points:  &#xD;&#xA;&#xD;&#xA; - Your main ingredient will probably be some oscillators: sine/triangle wave (or probably a mix), those at a pretty low frequency and playing with different harmonics and volume. Based on your example, I'd say a sine wave will be your main source. &#xD;&#xA;&#xD;&#xA; -  Next is an ADSR, this will give you a lot of sound shaping options with just few parameters. &#xD;&#xA;&#xD;&#xA; - You might want to add a low click or a higher frequency at the beginning of the sound to get the thump your example seems to have. This will have to be a very short sound, just a little layer.&#xD;&#xA;&#xD;&#xA; - A pinch of overdrive, this works better on the triangle rather than the sine wave. &#xD;&#xA;&#xD;&#xA; - You can also play with some delay and create a controllable feedback loop, to help give it space and distance. It can sound like a cheap reverb. This is really easy to programme in and might help shape your sound, while again adding some interesting parameters.  &#xD;&#xA;&#xD;&#xA; - And of course a good old fashion LFO might be useful. &#xD;&#xA;&#xD;&#xA;There's also the noise approach, using a bandpass filter to hone on the right frequency range. Or using subtractive synthesis to create your harmonics.  &#xD;&#xA;&#xD;&#xA;You might want to check the *explosion* tutorial in the book [Designing Sound][1]. You can download the patch here: http://aspress.co.uk/sd/explosions.html The reason I say that is that the *fireball* subpatch sounds somewhat in the vain of what you're after (just kill the decay and the other stuff). This can at least provide a good base for a generative approach.&#xD;&#xA;&#xD;&#xA;I hope this helps a little.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Designing-Sound-Andy-Farnell/dp/0956088600" ContentLicense="CC BY-SA 2.5" />
  <row Id="2291" PostHistoryTypeId="2" PostId="1213" RevisionGUID="e0dc44a1-8bae-4271-bbb5-7af95372cb89" CreationDate="2010-05-23T18:46:59.157" UserId="29" Text="A cannon has an intense transient, and then the rest of the sound really is of the echoes from the surrounding environment. If it's a cannon in the distance, you'll need a volume envelope with a fast/immediate attack, short sustain, and a long release, possibly running it through reverb and fairly diffuse delay(s). Design something with a fair amount of frequency content first, then use a low-pass filter to tune that stuff out...starting with an 808 kick or similar isn't going to generate initial bright reflections that'll sound good once filtered.&#xD;&#xA;&#xD;&#xA;If it were me, I'd use a resynthesis approach by using something as simple as a firecracker, load it into a software sampler, then layer the effects and envelopes above, and play it back at a lower pitch, and then add a LPF as the final sauce, as opposed to doing direct synthesis from scratch.&#xD;&#xA;&#xD;&#xA;But that's just me!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2292" PostHistoryTypeId="5" PostId="1212" RevisionGUID="c9543142-8b7d-47a9-a517-8261828e16ec" CreationDate="2010-05-23T19:08:15.620" UserId="2" Comment="added Pure Data" Text="Keeping it to the basics so that it doesn't involve too much programming, here is what I think might be good starting points:  &#xD;&#xA;&#xD;&#xA; - Your main ingredient will probably be some oscillators: sine/triangle wave (or probably a mix), those at a pretty low frequency and playing with different harmonics and volume. Based on your example, I'd say a sine wave will be your main source. &#xD;&#xA;&#xD;&#xA; -  Next is an ADSR, this will give you a lot of sound shaping options with just few parameters. &#xD;&#xA;&#xD;&#xA; - You might want to add a low click or a higher frequency at the beginning of the sound to get the thump your example seems to have. This will have to be a very short sound, just a little layer.&#xD;&#xA;&#xD;&#xA; - A pinch of overdrive, this works better on the triangle rather than the sine wave. &#xD;&#xA;&#xD;&#xA; - You can also play with some delay and create a controllable feedback loop, to help give it space and distance. It can sound like a cheap reverb. This is really easy to programme in and might help shape your sound, while again adding some interesting parameters.  &#xD;&#xA;&#xD;&#xA; - And of course a good old fashion LFO might be useful. &#xD;&#xA;&#xD;&#xA;There's also the noise approach, using a bandpass filter to hone on the right frequency range. Or using subtractive synthesis to create your harmonics.  &#xD;&#xA;&#xD;&#xA;You might want to check the *explosion* tutorial in the book [Designing Sound][1]. You can download the Pure Data patch here: http://aspress.co.uk/sd/explosions.html The reason I say that is that the *fireball* subpatch sounds somewhat in the vain of what you're after (just kill the decay and the other stuff). This can at least provide a good base for a generative approach.&#xD;&#xA;&#xD;&#xA;I hope this helps a little.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Designing-Sound-Andy-Farnell/dp/0956088600" ContentLicense="CC BY-SA 2.5" />
  <row Id="2293" PostHistoryTypeId="2" PostId="1214" RevisionGUID="e5542083-2d56-4ee3-a1b7-9c846c63fc18" CreationDate="2010-05-23T19:32:29.830" UserDisplayName="user49" Text="I second or third the KMR81 for foley - it has a natural tone to it which means it matches into production audio easily... " ContentLicense="CC BY-SA 2.5" />
  <row Id="2294" PostHistoryTypeId="2" PostId="1215" RevisionGUID="8f56eb1e-b701-43c5-9eac-69b44090e33a" CreationDate="2010-05-23T19:53:13.743" UserId="291" Text="Getting into this discussion late. Good boom ops are like dancers. To be able to stay ahead of the actor is also key. It can get very tricky if a boom operator is forced to tail the actor, so to understand how an actors holds themselves and moves is important. Understand foot work, watch the shoulders, and try to predict head turns.&#xD;&#xA;&#xD;&#xA;Most productions dont have the luxury of a second operator, so one must learn to swing and not miss. Many techniques like easing in after getting the actor on-axis from farther away ensure a smoother sounding production track. So yes, a good boom operator should not only be like a dancer, he or she should have the instincts of a good actor; to go closer, to pull back, to time responses, to move gracefully and hit marks, and to learn their lines and cues.&#xD;&#xA;&#xD;&#xA;Good boom ops also make friends with the camera operator and the gaffer. Just so they can help one out when things get a little tough. Boom ops are the ones wiring up actors. So take the actors and costume people into confidence.&#xD;&#xA;&#xD;&#xA;The best way to train to be a boom op (and I value all those months of cleaning cables) is to be the cable guy. Shadowing and watching an experienced operator while ensuring they dont trip on their cables is the best way to learn the job. It is learning to walk all over again.&#xD;&#xA;&#xD;&#xA;All this is basic stuff. Working around pillars, walking backwards in corridors with overhanging fixtures, working with wide angles lenses all come with experience. Understanding how lighting works is useful, so is understanding lensing and volumes. More often than not shots appear trickier than they turn out to be. There is always an optimum spot for the operator to stand in. And please please, learn to hold the pole properly, understand where your centre of gravity is and dont regularly get into fancy poses where you have to lunge or stretch awkwardly.&#xD;&#xA;&#xD;&#xA;Dress appropriately. Dark colours wherever possible and clothes than permit rapid movements. My best investments were in cagoules and a pair of nice golfing gloves. Obviously, squeaky sneakers on vinyl floors are a no-no.&#xD;&#xA;&#xD;&#xA;Careful while working with little children and animals. They can alternatively get distracted by or terrified of furry bobbing windscreens." ContentLicense="CC BY-SA 2.5" />
  <row Id="2295" PostHistoryTypeId="5" PostId="63" RevisionGUID="ea9a1453-63b6-41f8-b7d5-6740b0a8ff46" CreationDate="2010-05-24T05:33:04.243" UserDisplayName="user80" Comment="Added weblinks and image; added 43 characters in body" Text="I too have a lot of different headphones that I've collected over the years:&#xD;&#xA;&#xD;&#xA; - [Sony MDR7506's][1].  I have multiple    pairs of these (6, I think) back from    when I used to record bands.  They    were under $100 when I bought them,    so I consider them good, cheap throw    around headphones.  They sound pretty    good and work great in the field. For    many years they were my main    recording headphone. I also have a    pair that I removed the drivers from    and installed into a shooters headset    so that I now have a pair of    headphones that provide ear    protection when recording the super    loud stuff.&#xD;&#xA;&#xD;&#xA; - [Sennheiser PX200-II][2].  I use these as a small, light-weight headphone, when doing more discreet/stealthy field recording.  Also a great iPod headphone.&#xD;&#xA;&#xD;&#xA;[![Sennheiser PX200-II][3]][2]&#xD;&#xA;&#xD;&#xA;- [Sennheiser HD600][4].  I love these for studio work.  They are open back, so you can't record with them.  But, if you need some great headphones for editing/sound design.  You can actually mix on these (though, I wouldn't recommend that!).  Also comfortable to wear for a long while.&#xD;&#xA;&#xD;&#xA;[![Sennheiser HD600][5]][4]&#xD;&#xA;&#xD;&#xA;- [Beyerdynamic DT770 PRO][6].  I love these.  I picked them up a few years ago to replace the Sony's as my main cans in the field.  The Sony's can get uncomfortable after wearing for long periods of time.  I don't find this to be the case with the Beyers.  Great sound, comfortable, but you don't really want to kick these around because they are not cheap. &#xD;&#xA;&#xD;&#xA;[![Beyerdynamic DT770 PRO][7]][6]&#xD;&#xA;&#xD;&#xA;[1]: http://www.sony.co.uk/biz/view/ShowProduct.action?product=MDR-7506%2F1&amp;site=biz_en_GB&amp;pageType=Overview&amp;category=Headphones&#xD;&#xA;[2]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/private_headphones_classic-line_pxseries_502817&#xD;&#xA;[3]: http://www.sennheiser.com/sennheiser/products.nsf/resources/BC508C18BC2BF57AC12576240048A99C/$File/PX_200_II_DetailImage_white.jpg&#xD;&#xA;[4]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/private_headphones_audiophile-headphone-hd600-quality&#xD;&#xA;[5]: http://www.sennheiser.com/sennheiser/products.nsf/resources/F3634ABF3DD2DD71C125743200800CAA/$File/HD_600_ProductImage.jpg&#xD;&#xA;[6]: http://europe.beyerdynamic.com/shop/hah/headphones-and-headsets/studio-and-stage/headphones-for-live-applications/dt-770-pro.html&#xD;&#xA;[7]: http://europe.beyerdynamic.com/shop/media/catalog/product/cache/5/small_image/146x/5e06319eda06f020e43594a9c230972d/d/t/dt770pro_80.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2296" PostHistoryTypeId="5" PostId="65" RevisionGUID="65b14fc9-005c-453b-9a0a-5bebfb385335" CreationDate="2010-05-24T08:56:04.113" UserDisplayName="user80" Comment="Added weblinks and image" Text="I don't think I'm going to have much new to add to the discussion, but I'll add my headphone choices to the mix;&#xD;&#xA;&#xD;&#xA;In the field, the [Sennheiser HD280 PROs][1] have wicked isolation, and sound pretty good, something in this price range might be throw around headphones for some people, but for me, they're my primary field headphones.&#xD;&#xA;&#xD;&#xA;I can talk about [Beyerdynamic DT770 PRO's][2] a bit, too. I've used a couple pairs, borrowed from a couple different friends, and like Mr. Russom said, they're very comfortable. They feel really good, I can wear them forever - okay, not forever, but for a long time before I have to take them off. I haven't done any field recording with them, I only used them in my house and in a lobby environment, so I didn't have a lot of time to figure out just how good the isolation is.&#xD;&#xA;&#xD;&#xA;For listening to music, my [Grado SR60i's][3] are my go-to cans. They're cheap, and sound better than anything in their price range. They're totally open, though. Absolutely no isolation, if you put them on, and don't have anything playing, you'll hear everything around you. They're not something you'll use in the field, but they're awesome for listening to music.&#xD;&#xA;&#xD;&#xA;And on my MP3 player, I have some [Sennheiser CX300s][4]. They have good isolation, and I listen to 64kbs podcasts with them.&#xD;&#xA;&#xD;&#xA;[![Sennheiser CX300s][5]][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[1]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_headphones-headsets_headphones_004974&#xD;&#xA;[2]: http://europe.beyerdynamic.com/shop/hah/headphones-and-headsets/studio-and-stage/headphones-for-live-applications/dt-770-pro.html&#xD;&#xA;[3]: http://www.gradolabs.com/product_pages/sr60.htm&#xD;&#xA;[4]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/private_headphones_classic-line_cxseries_502737&#xD;&#xA;[5]: http://smoothsound.files.wordpress.com/2009/04/sennheiser_cx300.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2297" PostHistoryTypeId="5" PostId="875" RevisionGUID="188c4523-f69d-472a-a462-5d788d121fd4" CreationDate="2010-05-24T10:03:17.587" UserId="100" Comment="Spelling" Text="For those of you who have made sound design your career of choice, is there anything you would have done differently along the way? Are there certain choices you're especially glad you made? Would you rather have gone freelance/studio, film/games, east coast/west coast, local/international, analog/digital, etc.?&#xD;&#xA;&#xD;&#xA;More than anything, I'm interested in hindsight.&#xD;&#xA;&#xD;&#xA;And to make things more interesting, I've included a bounty.&#xD;&#xA;&#xD;&#xA;![Bounty Hunter][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cavanaudio.com/images/ssd/bobafett12inbobblebank.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2298" PostHistoryTypeId="5" PostId="66" RevisionGUID="122e875b-00af-4e2b-985e-d55f1d4b51b8" CreationDate="2010-05-24T10:49:57.333" UserDisplayName="user80" Comment="Added weblinks" Text="I use [Sennheiser HD280 PRO's][1]. They have their flaws but you can learn their sound. The isolation is great so you can totally be in your world even with other people around. There are [spare parts][2] available (ear pads, headphone cable). [Sennhesier CX300-II's][3] too for mp3 listening in the city. &#xD;&#xA;&#xD;&#xA;[1]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_headphones-headsets_headphones_004974&#xD;&#xA;[2]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_headphones-headsets_headphones_004974?Open&amp;row=5&#xD;&#xA;[3]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/private_headphones_classic-line_cxseries_502737" ContentLicense="CC BY-SA 2.5" />
  <row Id="2299" PostHistoryTypeId="2" PostId="1216" RevisionGUID="96606fba-b113-4f01-99a4-e19595a18454" CreationDate="2010-05-24T13:17:04.773" UserId="208" Text="Hi all&#xD;&#xA;&#xD;&#xA;I´ve often wondered how everybody else feels like, when listening to sound they have done for animations, games, features etc.&#xD;&#xA;I have a tendency to feel like my work is not very interesting when listening back to it. Like it misses creativity and personality.&#xD;&#xA;Its almost like listening to my own voice, recorded. I get that...&quot;whats that.. Its that my voice? DO I sound like that? &quot;.&#xD;&#xA;&#xD;&#xA;It could just be poor sound design, but it could hopefuly be beacause I have listened to the piece a thousands times, and know every building block in the track.&#xD;&#xA;&#xD;&#xA;What do you feel like?&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 2.5" />
  <row Id="2300" PostHistoryTypeId="1" PostId="1216" RevisionGUID="96606fba-b113-4f01-99a4-e19595a18454" CreationDate="2010-05-24T13:17:04.773" UserId="208" Text="Listening to your own work." ContentLicense="CC BY-SA 2.5" />
  <row Id="2301" PostHistoryTypeId="3" PostId="1216" RevisionGUID="96606fba-b113-4f01-99a4-e19595a18454" CreationDate="2010-05-24T13:17:04.773" UserId="208" Text="&lt;self-esteem&gt;&lt;own&gt;&lt;voice&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2302" PostHistoryTypeId="2" PostId="1217" RevisionGUID="3ca3096c-4652-485e-81b8-c60f4456f3f1" CreationDate="2010-05-24T14:45:51.127" UserId="308" Text="Going Damiens route, good colourful impulsive sources are a towel snap, leather belt, or just a hand clap. Take them at 192k or at least 96k if you can. &#xD;&#xA;&#xD;&#xA;Otherwise, the distancing effect upon a large explosion over several kilometers is due&#xD;&#xA;to dispersive and other non-linear propagation effects. &#xD;&#xA;&#xD;&#xA;The synthesis trick is to set up a bank of FIR low pass filters, and hit it with &#xD;&#xA;an N-Wave.&#xD;&#xA;&#xD;&#xA;An N-wave is a bipolar transient, actually a single cycle of a sawtooth, starting and &#xD;&#xA;ending on zero. If you're after high quality it might be best to additively composit&#xD;&#xA;this into a table first to have a band limted source (the Gibbs effect can actually &#xD;&#xA;be desirable and makes the end transients even higher than normal.&#xD;&#xA;&#xD;&#xA;The FIR type is more desirable than IIR which will ring too much at the kind &#xD;&#xA;of resonance you want, and sound liek a drum.&#xD;&#xA;&#xD;&#xA;What you get after several passes is an elongated &quot;Whump&quot; like an overpressure&#xD;&#xA;wave that has been spread by distance.&#xD;&#xA;&#xD;&#xA;A more direct approach is to wrap up a short line line segment&#xD;&#xA;into a chirp by taking its square and then the cosine of that&#xD;&#xA;&#xD;&#xA;Try this into a soft, short reverb&#xD;&#xA;&#xD;&#xA;    [1, 0 50(&#xD;&#xA;    |&#xD;&#xA;    [vline~]&#xD;&#xA;    |\&#xD;&#xA;    [*~]&#xD;&#xA;    |&#xD;&#xA;    [*~ 2]&#xD;&#xA;    |&#xD;&#xA;    [+~ 0.25]&#xD;&#xA;    |&#xD;&#xA;    [cos~]&#xD;&#xA;    |\&#xD;&#xA;    [dac~]&#xD;&#xA;&#xD;&#xA;a.&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="2303" PostHistoryTypeId="2" PostId="1218" RevisionGUID="0c6d89b3-9fbf-4f4a-bc50-09934aec1e14" CreationDate="2010-05-24T15:06:55.147" UserId="103" Text="Exactly like what you describe.&#xD;&#xA;When it comes to that i try to get someone to give&#xD;&#xA;me honest feedback and try to move on." ContentLicense="CC BY-SA 2.5" />
  <row Id="2304" PostHistoryTypeId="2" PostId="1219" RevisionGUID="87617425-0790-4ebf-97be-4b14f0218c26" CreationDate="2010-05-24T15:14:43.387" UserId="2" Text="I know the feeling all too well... it's weird because sometimes I feel pleasantly surprised when listening to it, but most the time I cringe. No idea if that's my gut feeling being right, or just a delusion. &#xD;&#xA;&#xD;&#xA;Often, when I'm showing someone my work, I feel hypercritical at that specific moment, and hate it and feel embarrassed. Then if I listen to it again months down the line I don't mind it. As you say, it's probably due to knowing the material all to well. With time it starts feeling fresh again. &#xD;&#xA;&#xD;&#xA;Curious to see what others have to say. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2305" PostHistoryTypeId="2" PostId="1220" RevisionGUID="4929a323-1593-43e0-8e7b-4789c6087a24" CreationDate="2010-05-24T15:56:23.553" UserId="220" Text="Like Andrew said, often when I view my own work (with other people), I feel embarrassed for no real reason. Inevitably in every piece there's one part that I really love - an explosion that just rocks you in your seat, a fight scene with natural sounding punches - but for the most part, I'm just tired of hearing the same effect and especially the same dialog over and over.  My wife says she can quote every movie I've mixed since we've been together since she usually has to hear the dialog looping for hours on end as well.&#xD;&#xA;&#xD;&#xA;The other thing that tends to skew my experience is where the film is being shown.  Everything sound good through my sound setup, and I know it's correct. Some theaters, expecially the smaller film festival setups in hotel ball rooms, etc, are not so good.  For example, I did a nice mix for an action short.  The director (without my knowledge), put in a piece of music that was 1) integrated into the mixed too loud, and 2) was very bass heavy.  The room we screened in was completely skewed towards the low end resulting in not just the nuances of the mix being lost, but the dialog itself was nearly impossible to hear.  I was mortified since I had been introducing myself as the post-production sound guy before the screening.&#xD;&#xA;&#xD;&#xA;Regardless of how you feel, get some ears - both experienced and novice - on your work to make sure you're as on track as you feel." ContentLicense="CC BY-SA 2.5" />
  <row Id="2306" PostHistoryTypeId="2" PostId="1221" RevisionGUID="be49fad5-7e2f-4976-9485-6579cd5a7c5f" CreationDate="2010-05-24T15:57:37.937" UserId="253" Text="I think it's really helpful to listen to your work with someone else. I find it boosts my critical thinking. The same way you could see yourself topless in the mirror every day, but then go to the beach and think &quot;wow i need to work out&quot;.&#xD;&#xA;&#xD;&#xA;After a while one tends to lose perspective, so it's vital to bring in the director, fellow sound professionals; the editor is another great person to consult as they've crafted the rhythm and tempo of the piece.&#xD;&#xA;&#xD;&#xA;In the end, i find that the jobs i feel the most insecure about in the mix end up being the best. The more you put your work under a critical microscope, the more you get out of it." ContentLicense="CC BY-SA 2.5" />
  <row Id="2307" PostHistoryTypeId="2" PostId="1222" RevisionGUID="d545d652-6dc3-4fc1-b63a-4dd58026d4f8" CreationDate="2010-05-24T18:20:10.283" UserId="238" Text="It's funny that everyone seems to have the same feeling. Like others, I often think my work is missing a certain punch. But to some extent we are all perfectionists looking to create the perfect soundtrack, whether it be for film, games or other platforms. I think the fundamental problem is that when working on a project we listen to the same thing hundreds, even thousands of times and often make minor tweaks and adjustments along the way. The audience will perceive the sound in a completely different way, heavily influenced by the fact that it is all new to their ears, whereas we have listened to it over and over again. &#xD;&#xA;&#xD;&#xA;When time permits I find it's a good idea to walk away from what you're doing and come back hopefully refreshed. This can often help in hearing the work more objectively. Also, I often find pleasure in listening to something I've done a long time after it has been completed (i.e. after having worked on many other projects). Most of the time I will prefer what I hear at this much later stage than just after completing the work. &#xD;&#xA;&#xD;&#xA;I'm not sure if it's entirely related but there is a very interesting book by Daniel Levitin called [This is Your Brain on Music][1] that covers a lot on how our brain interprets sound. If I remember correctly there's a section on repetition that could be related to how some of us feel about our own work. Anyway, it's a fascinating read and, although predominantly covering music, a lot of what is discussed can be applied to our work. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.yourbrainonmusic.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2308" PostHistoryTypeId="2" PostId="1223" RevisionGUID="d6577ef8-fecc-4852-a694-b20f7d1d3cb7" CreationDate="2010-05-24T19:17:36.313" UserId="2" Text="First off, if you don't know what contrapuntal music in film is (correct me if I'm not explaining correctly): *Music opposite to the emotion expected from the narrative. So for example, to put it plainly, fun music over a sad scene.*  &#xD;&#xA;&#xD;&#xA;I just watched [&quot;9&quot;][1] and I loved the sound. Specifically, I loved one scene where they used contrapuntal music. The song was [(somewhere) Over The Rainbow][2], which was *[stop reading here if you haven't watched it]* used [diagetically][3] when they where celebrating their victory and everything is hunky-dory but then they get attacked again but the beautiful music keeps playing over part of the attack. I thought it was a very well crafted scene.   &#xD;&#xA;&#xD;&#xA;Over The Rainbow: http://www.youtube.com/watch?v=F0-um0pHTAg&#xD;&#xA;&#xD;&#xA;[youtube]F0-um0pHTAg[/youtube] &#xD;&#xA;&#xD;&#xA;Trailer for &quot;9&quot;:&#xD;&#xA;http://www.youtube.com/watch?v=OnoJecu9e7c&#xD;&#xA;&#xD;&#xA;[youtube]OnoJecu9e7c[/youtube]&#xD;&#xA;&#xD;&#xA;At film school, I went through a contrapuntal phase, but I haven't had the opportunity to use it since. So my question is: &#xD;&#xA;&#xD;&#xA;**Have you used this technique for your films (any thoughts on it)? And what are your favorite films that use it?** &#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0472033/&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Over_the_Rainbow&#xD;&#xA;  [3]: http://filmsound.org/terminology/diegetic.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="2309" PostHistoryTypeId="1" PostId="1223" RevisionGUID="d6577ef8-fecc-4852-a694-b20f7d1d3cb7" CreationDate="2010-05-24T19:17:36.313" UserId="2" Text="Best uses of contrapuntal music in film? " ContentLicense="CC BY-SA 2.5" />
  <row Id="2310" PostHistoryTypeId="3" PostId="1223" RevisionGUID="d6577ef8-fecc-4852-a694-b20f7d1d3cb7" CreationDate="2010-05-24T19:17:36.313" UserId="2" Text="&lt;music&gt;&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2312" PostHistoryTypeId="2" PostId="1225" RevisionGUID="782d88e6-484b-4056-9ad7-eae4d82dbb83" CreationDate="2010-05-24T19:49:10.790" UserId="208" Text="Thanks alot all, for chiming in. Means alot to me, seeing that Im not lone on this. Also nice to hear about how to get around it.&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 2.5" />
  <row Id="2313" PostHistoryTypeId="2" PostId="1226" RevisionGUID="9f7e91de-57a0-4954-8c0d-6dd1b6a8f695" CreationDate="2010-05-24T19:49:37.263" UserId="270" Text="Great topic :)&#xD;&#xA;&#xD;&#xA;My favourite film music is from Alfred Hitchcock's 'The Birds', when the school children are singing and you see crows slowly gathering on a climbng frame in the background.&#xD;&#xA;&#xD;&#xA;The images you see make you feel pretty tense but the music is completely childlike &amp; carefree.  The childrens voices are source music (i.e. within the diegesis) which I think increases the tension because they are unaware of the danger.&#xD;&#xA;&#xD;&#xA;Its a childrens roundelay song, and every time they reach the end of a verse and start the next one it sends shivers down my spine!&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=FVDT4bWPypk" ContentLicense="CC BY-SA 2.5" />
  <row Id="2314" PostHistoryTypeId="5" PostId="1226" RevisionGUID="28202b09-03a3-40d9-a914-6634035a9453" CreationDate="2010-05-24T20:04:27.047" UserId="2" Comment="added emebeded youtube video" Text="Great topic :)&#xD;&#xA;&#xD;&#xA;My favourite film music is from Alfred Hitchcock's 'The Birds', when the school children are singing and you see crows slowly gathering on a climbng frame in the background.&#xD;&#xA;&#xD;&#xA;The images you see make you feel pretty tense but the music is completely childlike &amp; carefree.  The childrens voices are source music (i.e. within the diegesis) which I think increases the tension because they are unaware of the danger.&#xD;&#xA;&#xD;&#xA;Its a childrens roundelay song, and every time they reach the end of a verse and start the next one it sends shivers down my spine!&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=FVDT4bWPypk&#xD;&#xA;&#xD;&#xA;[youtube]FVDT4bWPypk[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="2317" PostHistoryTypeId="2" PostId="1227" RevisionGUID="ec9c863a-fc94-4b9c-a532-bb15a08aa6b7" CreationDate="2010-05-24T20:21:11.163" UserId="255" Text="Cant say ive ever used contrapuntal music myself, but i think this is my all time favorite use:&#xD;&#xA;&#xD;&#xA;Reservoir Dogs - The Ear Scene&#xD;&#xA;http://www.youtube.com/watch?v=LLTqecGbdCc&#xD;&#xA;&#xD;&#xA;It just makes this scene so much more brutal." ContentLicense="CC BY-SA 2.5" />
  <row Id="2318" PostHistoryTypeId="5" PostId="1227" RevisionGUID="f6f226cd-ff90-4528-982d-a05d590113e0" CreationDate="2010-05-24T20:32:41.410" UserId="2" Comment="added emebeded youtube video" Text="Cant say ive ever used contrapuntal music myself, but i think this is my all time favorite use:&#xD;&#xA;&#xD;&#xA;Reservoir Dogs - The Ear Scene&#xD;&#xA;http://www.youtube.com/watch?v=LLTqecGbdCc&#xD;&#xA;&#xD;&#xA;It just makes this scene so much more brutal.&#xD;&#xA;&#xD;&#xA;[youtube]LLTqecGbdCc[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="2319" PostHistoryTypeId="5" PostId="684" RevisionGUID="f4d5dd04-2ed3-4669-bbc5-1227764b5793" CreationDate="2010-05-24T20:38:19.960" UserId="90" Comment="added 191 characters in body" Text="&quot;I was told to use a sound file that is a click followed by a sine sweep, followed by another click.&quot;&#xD;&#xA;&#xD;&#xA;Hmmm... Who told you that?  If you record the response to a click, then that *is* the impulse response.  It's literally the response of a room to an impulsive noise, like a click.  No deconvolution or other processing necessary.  You then convolve your music with the impulse response, and it will sound as if you had played the music in the space instead of the click.  &#xD;&#xA;&#xD;&#xA;You probably want to use a dedicated clicker, though, rather than a speaker.  You want the sound as close to an ideal impulse as possible, not filtered through a speaker's frequency and phase response.  You want it to sound as if your performer is actually in the cathedral, not like you're playing a boombox of their CD inside a cathedral.  You also want it as loud as possible (without clipping), so that the signal-to-noise ratio of your recording is high.&#xD;&#xA;&#xD;&#xA;You can also derive the impulse response from a sine sweep or [maximum-length sequence][1] or other signal by [deconvolving][2] first.  This improves the signal to noise ratio, but (ideally) it's going to produce the exact same thing as the straight impulse response.  Practically, one method might produce better results than the other.  See [Wikipedia][3]&#xD;&#xA;&#xD;&#xA;See [here][4] and [here][5] for the use of maximum-length sequences to measure impulse responses.  These work like a chirp, but better.&#xD;&#xA;&#xD;&#xA;And remember you can record from two microphones at once to get a stereo image of the response.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Maximum_length_sequence&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Deconvolution&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Convolution_reverb#Creation_of_impulse_responses&#xD;&#xA;  [4]: http://www.silcom.com/~aludwig/Signal_processing/Maximum_length_sequences.htm&#xD;&#xA;  [5]: http://www.libinst.com/mlsmeas.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="2320" PostHistoryTypeId="2" PostId="1228" RevisionGUID="915236fa-7741-4904-a8b9-9a22435eba20" CreationDate="2010-05-24T21:41:18.623" UserId="290" Text="My favorite use of contrapuntal music ever isn't in film, but in a fairly recent game, Fallout 3. If you've played the game, you know what I mean ;-) Here's the opening cinematic:&#xD;&#xA;&#xD;&#xA;http://www.metacafe.com/watch/3166237/fallout_3_opening_cinematic/&#xD;&#xA;&#xD;&#xA;That generation of optimistic, romantic music is a constant backdrop on the default radio station through the game. Very. Very. Eerie." ContentLicense="CC BY-SA 2.5" />
  <row Id="2322" PostHistoryTypeId="2" PostId="1229" RevisionGUID="c39ff8b1-bba7-402a-8ebd-d34d0b85665e" CreationDate="2010-05-24T22:59:52.027" UserId="279" Text="I just used it as my main mic on a short film. I thought the quality of the dialog was excellent. I would highly recommend it! We also completed the ADR with the 81 as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="2324" PostHistoryTypeId="2" PostId="1230" RevisionGUID="8d0b7b2a-9948-4913-867d-f373428b7430" CreationDate="2010-05-24T23:45:49.097" UserId="118" Text="Is it possible to embed / attach a jpg file (or any picture file format for that matter) to a WAV file?  I read somewhere ages ago that you can but have been unable to remember where.  I'm in the process of cataloguing a batch of recordings and was wondering if I should just include a photo I have of the location (which I thought might be useful) in a folder with the relevant WAV files or whether there's a more permanent way of linking the two.  Does anyone else do anything like this when they're cataloguing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2325" PostHistoryTypeId="1" PostId="1230" RevisionGUID="8d0b7b2a-9948-4913-867d-f373428b7430" CreationDate="2010-05-24T23:45:49.097" UserId="118" Text="Embedding or attaching a picture when cataloguing sound FX" ContentLicense="CC BY-SA 2.5" />
  <row Id="2326" PostHistoryTypeId="3" PostId="1230" RevisionGUID="8d0b7b2a-9948-4913-867d-f373428b7430" CreationDate="2010-05-24T23:45:49.097" UserId="118" Text="&lt;cataloguing&gt;&lt;library&gt;&lt;file-naming&gt;&lt;file-organization&gt;&lt;database&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2327" PostHistoryTypeId="2" PostId="1231" RevisionGUID="9f67e296-5bf9-4402-aa08-28440f4bff71" CreationDate="2010-05-25T03:12:10.413" UserId="29" Text="Half of the scenes in Terry Gilliam's *Brazil*." ContentLicense="CC BY-SA 2.5" />
  <row Id="2328" PostHistoryTypeId="2" PostId="1232" RevisionGUID="a511e266-500b-41cc-8034-ded800a21d2e" CreationDate="2010-05-25T06:32:16.967" UserId="275" Text="I used a version of &quot;WHat a Wonderful World&quot; sung by Sarah Brightman for a WWII movie trailer. The scenes were mostly gun shots, explosions, and general mayhem. So, the song was in stark contrast to the visuals.  &#xD;&#xA;&#xD;&#xA;I also just watched &quot;9&quot; and was very impressed with the sound design!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2329" PostHistoryTypeId="2" PostId="1233" RevisionGUID="738af49a-8552-4145-b965-e73ced8473fc" CreationDate="2010-05-25T06:35:43.657" UserId="61" Text="Check out [Soundminer][1] - it allows you to assign image data when cataloging audio files, and then recalls the image in a sidebar when said audio comes up in a search. Definitely a handy feature for anything you may record and want a visual reminder of later. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundminer.com/SM_Site/Home.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="2330" PostHistoryTypeId="5" PostId="1232" RevisionGUID="c9f8a05b-7d04-4e84-a2c7-d4bccb8c0c82" CreationDate="2010-05-25T06:38:44.780" UserId="275" Comment="edited body" Text="I used a version of &quot;What a Wonderful World&quot; sung by Sarah Brightman for a WWII movie trailer. The scenes were mostly gun shots, explosions, and general mayhem. So, the song was in stark contrast to the visuals.  &#xD;&#xA;&#xD;&#xA;I also just watched &quot;9&quot; and was very impressed with the sound design!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2331" PostHistoryTypeId="6" PostId="1223" RevisionGUID="4d688473-f752-471d-bef8-760e39236dd9" CreationDate="2010-05-25T09:52:31.320" UserDisplayName="user80" Comment="edited tags" Text="&lt;music&gt;&lt;film&gt;&lt;best-practice&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2332" PostHistoryTypeId="2" PostId="1234" RevisionGUID="1907248d-977d-4949-9366-5bcb294fbaf2" CreationDate="2010-05-25T15:29:51.390" UserId="160" Text="I wrote a article on this subject at my blog and was wondering people thoughts on it.&#xD;&#xA;&#xD;&#xA; As in do you think that these forms of experimental music will they ever be able to build a real following like other types of experimental Music have ?&#xD;&#xA;&#xD;&#xA;&lt;a href=&quot;http://compositions-of-alphacore.blogspot.com/2010/05/composition-music-created-from-images.html&quot;&gt; composition music &lt;/a&gt; created with Images." ContentLicense="CC BY-SA 2.5" />
  <row Id="2333" PostHistoryTypeId="1" PostId="1234" RevisionGUID="1907248d-977d-4949-9366-5bcb294fbaf2" CreationDate="2010-05-25T15:29:51.390" UserId="160" Text="converting Images into music masterpieces " ContentLicense="CC BY-SA 2.5" />
  <row Id="2334" PostHistoryTypeId="3" PostId="1234" RevisionGUID="1907248d-977d-4949-9366-5bcb294fbaf2" CreationDate="2010-05-25T15:29:51.390" UserId="160" Text="&lt;composition&gt;&lt;music&gt;&lt;computer-generated-music&gt;&lt;images&gt;&lt;to&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2335" PostHistoryTypeId="16" PostId="1234" RevisionGUID="1907248d-977d-4949-9366-5bcb294fbaf2" CreationDate="2010-05-25T15:29:51.390" UserId="160" />
  <row Id="2336" PostHistoryTypeId="2" PostId="1235" RevisionGUID="f2f8dcce-aa08-47a7-afdb-9db1fce4fec4" CreationDate="2010-05-25T15:36:35.477" UserId="160" Text="well my secret weapon is a old cassette tape recorder it captures sound great yet gives it that old rough recorded sound i use it all the time for field recording.. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2338" PostHistoryTypeId="2" PostId="1236" RevisionGUID="85504dd9-9e90-45e9-b973-18b98e57f36f" CreationDate="2010-05-25T20:12:52.470" UserId="2" Text="I guess it depends: &#xD;&#xA;&#xD;&#xA; 1. Is the music good/popular, which means that how it got produced (ie: from an image) shouldn't matter. &#xD;&#xA;&#xD;&#xA; 2. On the flip side, geeks (like me) that love the process almost as much as the end product might climb on board and it could gain momentum. &#xD;&#xA;&#xD;&#xA;I've come across many [Max/MSP][1] patches that explore this idea. Although they mostly use brightness/color/saturation of images to affect sounds either through [FFT][2] or other sound manipulating techniques. Apart from the [software][3] linked on [your article][4], I haven't seen MIDI being utilized. Interesting. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://cycling74.com/products/maxmspjitter/&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Fast_Fourier_transform&#xD;&#xA;  [3]: http://mac.softpedia.com/get/Audio/Sound-of-an-Image.shtml&#xD;&#xA;  [4]: http://compositions-of-alphacore.blogspot.com/2010/05/composition-music-created-from-images.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="2339" PostHistoryTypeId="16" PostId="1236" RevisionGUID="85504dd9-9e90-45e9-b973-18b98e57f36f" CreationDate="2010-05-25T20:12:52.470" UserId="-1" />
  <row Id="2340" PostHistoryTypeId="6" PostId="1234" RevisionGUID="85f1350e-c072-4f84-a7ad-c6d08f277043" CreationDate="2010-05-25T20:35:01.007" UserId="2" Comment="tags" Text="&lt;composition&gt;&lt;music&gt;&lt;image&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2341" PostHistoryTypeId="2" PostId="1237" RevisionGUID="f8fc9993-d438-4531-9c91-20b23cdadd07" CreationDate="2010-05-25T22:07:37.580" UserId="309" Text="For me it's Max/MSP. I work with it almost everyday and do everything with it. It's great for sample manipulation but it's also really great for synthesis. Since Ableton has adopted it as a plugin it's awesome. Now Max has the timeline it never had.&#xD;&#xA;&#xD;&#xA;I also enjoy working with CamelAudio Alchemy. Has a very nice granular engine which you can control in real-time." ContentLicense="CC BY-SA 2.5" />
  <row Id="2342" PostHistoryTypeId="5" PostId="1233" RevisionGUID="40675b40-24e4-42d2-a1ee-5f9f51828c9e" CreationDate="2010-05-26T06:36:33.473" UserId="61" Comment="grammar" Text="Check out [Soundminer][1] - it lets you assign image data when cataloging audio files, and then recalls that image in a sidebar when said audio comes up in a search. Definitely a handy feature for anything you may want a visual reference of later. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundminer.com/SM_Site/Home.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="2343" PostHistoryTypeId="6" PostId="1216" RevisionGUID="3367b5ab-3369-4d1b-a86c-56366329ffbb" CreationDate="2010-05-26T06:39:13.380" UserId="61" Comment="retags" Text="&lt;experiences&gt;&lt;techniques&gt;&lt;creativity&gt;&lt;collaboration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2344" PostHistoryTypeId="2" PostId="1238" RevisionGUID="baa0503c-ba6d-4dae-8663-f00d60b9c286" CreationDate="2010-05-26T09:39:12.817" UserId="202" Text="Ciao&#xD;&#xA;&#xD;&#xA;How do you protect our most valuable property: our ears? &#xD;&#xA;&#xD;&#xA;Especially, what's your behavior during editing/mixing sessions? I'll try to take a brake every our or so, even only for a few minutes, but it isn't always easy when you have clients or when you're focused on your work.&#xD;&#xA;&#xD;&#xA;And I don't smoke, so no need for nicotine! ;)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2345" PostHistoryTypeId="1" PostId="1238" RevisionGUID="baa0503c-ba6d-4dae-8663-f00d60b9c286" CreationDate="2010-05-26T09:39:12.817" UserId="202" Text="Ears protection during editing/mixing sessions" ContentLicense="CC BY-SA 2.5" />
  <row Id="2346" PostHistoryTypeId="3" PostId="1238" RevisionGUID="baa0503c-ba6d-4dae-8663-f00d60b9c286" CreationDate="2010-05-26T09:39:12.817" UserId="202" Text="&lt;mixing&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2347" PostHistoryTypeId="5" PostId="1197" RevisionGUID="4c61444c-f3fe-4267-be84-8f8cd758270f" CreationDate="2010-05-26T10:54:39.267" UserDisplayName="user80" Comment="added 5 characters in body" Text="Does anyone have any experience with the [KMR81i][1]? I know it's mainly a dialogue short-shotgun, but do you use it for any other application? Foley? In combination for a M/S? Ambience?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dcaudiovisuel.com/pages/Neumann/Neumann_KMR80_oview.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="2348" PostHistoryTypeId="6" PostId="1238" RevisionGUID="a838fba9-c474-4e7b-bba3-25b65f45e1e0" CreationDate="2010-05-26T11:07:21.440" UserDisplayName="user80" Comment="Added tags" Text="&lt;mixing&gt;&lt;recommendations&gt;&lt;ear-protection&gt;&lt;hearing-damage&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2349" PostHistoryTypeId="2" PostId="1239" RevisionGUID="c1520755-3cde-42d9-b5dc-176234d26428" CreationDate="2010-05-26T12:54:56.403" UserId="40" Text="During mix sessions, I takes breaks as often as possible.  If I'm doing panning and general levels and nothing extremely critical like EQ and fine level control, I'll put in flat response ear plugs (custom molds).  They don't change my hearing too much, so they allow me to do some work with them in.&#xD;&#xA;&#xD;&#xA;I also make sure I have them in for screenings or if I'm showing anybody else my work." ContentLicense="CC BY-SA 2.5" />
  <row Id="2350" PostHistoryTypeId="2" PostId="1240" RevisionGUID="c4a7ad5a-e973-4ab6-95dd-2a59640f16ec" CreationDate="2010-05-26T13:59:23.697" UserId="220" Text="I take breaks as soon as I start to notice a diminished ability to hear the difference in frequencies, usually for about half hour every 2 - 3 hours.  Remember that 85 decibels for 8 hours is roughly equivalent to 110 decibels for about 2 minutes.  You can still get some hearing damage at 80db and above, even if it takes a long time.  Remember that the longer the exposure, the longer recovery time you need, so it's better to take breaks more frequently than have to stop work for several hours after a long mixing session.&#xD;&#xA;&#xD;&#xA;Like Colin said, if you're dealing with clients, pop in some EQd ear plugs.  It's a great investment and you can get them in several db levels.  Usually the -15 db have better EQ responses than -10 db or less.  Most people want the sound cranked up because &quot;it sounds better that way.&quot;  &#xD;&#xA;&#xD;&#xA;There should probably be another question that covers standard mixing levels and room calibration for film, tv, video games, etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="2352" PostHistoryTypeId="2" PostId="1242" RevisionGUID="c6cf746d-675d-4ed4-8609-d30429a39e24" CreationDate="2010-05-26T20:00:33.707" UserDisplayName="user49" Text="Its easy enough to control your monitoring level &amp; take breaks in your own edit room but its predubs &amp; final mixing on films that can be damaging, with the necessity for going over &amp; over loud sequences refining them... Under such circumstances I tend to wear ear plugs and only remove them occasionally to check a final balance, but I'm not the mixer... I'd imagine people who mix a lot of loud horror or action films will be buying hearing aids in later life, as aside from damage from sudden over-loud moments its also the cumulative effect that is damaging... Relatedly theres a good thread at gearslutz about this very subject that has some great strategies, especially with regards to predubbing loud FX like guns &amp; explosions.. worth a read:&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/post-production-forum/196425-forbidden-subject-hearing-damage.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="2353" PostHistoryTypeId="2" PostId="1243" RevisionGUID="dafef1d8-5ffc-4190-ad34-195d88a23bd8" CreationDate="2010-05-26T20:18:00.423" UserDisplayName="user49" Text="Working on films I don't tend to have this problem too much, not because of the work I personally do but because of the process. Let me explain: I work hard for months preparing sounds, but I know the only value they have is in the context of the final mix. So no matter how hard I work on any one sound, it may turn out in the final mix that the scene plays better without it. It means you have to constantly care passionately about doing your best work, but also be open minded about how it will be used.&#xD;&#xA;&lt;/br&gt;&#xD;&#xA;Another important part of the process is working with experienced re-recording mixers, eg during predubs: I have worked hard to achieve balances within my elements while editing but great re-recording mixers take that work and make it so much better. I love hearing a mixer rework my tracks and fully realising them... But that is still just stage 1.&#xD;&#xA;&lt;/br&gt;&#xD;&#xA;Stage 2 is the final mix, and no matter how I thought a scene would play, or even what was discussed with the director previously, now we are all hearing it all for real and the mix decisions are a group effort with the director leading the re-recording mixers to dramatically focus the soundtrack, moment by moment, scene by scene. Again the sounds I've spent ages preparing become more &amp; more interesting. The quietest sound might become a pivotal element or the absence of 'real' sound may emotionally say more than a barrage of loud FX.&#xD;&#xA;&lt;/br&gt;&#xD;&#xA;So a month after we started predubs, 'my' sound design has been melded with all the elements into 'our' soundtrack and it is very, very rare for that to be less than what I imagined, simply because it is so much more complex and highly evolved, and the director has clarified the emotional intent of all of the elements. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2354" PostHistoryTypeId="2" PostId="1244" RevisionGUID="e33d98dc-0c50-4f41-9a65-8ab55710c150" CreationDate="2010-05-26T20:40:37.900" UserId="37" Text="i find it valuable to visit one's work after sufficient time has passed so the wiring to the mental patterns which lead to one's creative choices has been altered or altogether destroyed. the more detached from your own work, the more you're likely to find it fascinating (or bad if it is so). i hope this makes sense, as it's only a recent conclusion i've reached (i guess i'm a bit slow), and am still refining it in my own thoughts.... if anyone has an example of philosophical theory behind this kind of thinking, please share.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2356" PostHistoryTypeId="2" PostId="1245" RevisionGUID="ba8bc202-29a2-437a-851e-b061ffc4da33" CreationDate="2010-05-26T23:46:23.490" UserId="202" Text="Ear plugs is something that I have been thinking about for a long time but... here in Italy (i would love to be corrected), I never saw anybody using them on a mixing stage (and I've been in quite a few mixing stage in Rome). On the other side, I know lots of people working in the live music industry that use them daily.&#xD;&#xA;&#xD;&#xA;And one more thing: when you put ear plugs, isn't like mixing at 4 (on a dolby scale(CP650))? But you cannot mix at that level; cinema theater doesn't have a flat response (nor our ears): mixing at lower level affect the EQ response of the mix, doesn't it? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2357" PostHistoryTypeId="2" PostId="1246" RevisionGUID="4027dab5-5cd4-40db-9378-e5082eab45ec" CreationDate="2010-05-27T01:22:57.907" UserId="40" Text="I was looking at a few different SPL meters, as I need to buy one, and I noticed that every one of them measured from 31.5hz to 8khz.  Why?  Why not 20 - 20?  I'm guessing it has to do with the equal loudness curve, but I can't find a definitive answer anywhere.&#xD;&#xA;&#xD;&#xA;Thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2358" PostHistoryTypeId="1" PostId="1246" RevisionGUID="4027dab5-5cd4-40db-9378-e5082eab45ec" CreationDate="2010-05-27T01:22:57.907" UserId="40" Text="SPL Meter Question" ContentLicense="CC BY-SA 2.5" />
  <row Id="2359" PostHistoryTypeId="3" PostId="1246" RevisionGUID="4027dab5-5cd4-40db-9378-e5082eab45ec" CreationDate="2010-05-27T01:22:57.907" UserId="40" Text="&lt;levels&gt;&lt;loudness&gt;&lt;dubbing-stage&gt;&lt;tech-specs&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2360" PostHistoryTypeId="2" PostId="1247" RevisionGUID="bb70d606-bf18-4d93-be7a-65d096e066a3" CreationDate="2010-05-27T01:30:15.687" UserId="40" Text="You are recording yourself typing right now.&#xD;&#xA;&#xD;&#xA;You've just destroyed an expensive piece of equipment during a session, but your ok with that because it sounded cool.&#xD;&#xA;&#xD;&#xA;You accidentally dropped a bottle of something and it broke, smashing everywhere, and the first thought through your head was &quot;Man, I wish I had recorded that...&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;These are just a few off the top of my head... Let's start an amazing list!!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2361" PostHistoryTypeId="1" PostId="1247" RevisionGUID="bb70d606-bf18-4d93-be7a-65d096e066a3" CreationDate="2010-05-27T01:30:15.687" UserId="40" Text="You might be a sound recordist if..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2362" PostHistoryTypeId="3" PostId="1247" RevisionGUID="bb70d606-bf18-4d93-be7a-65d096e066a3" CreationDate="2010-05-27T01:30:15.687" UserId="40" Text="&lt;humor&gt;&lt;sound-effects&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2363" PostHistoryTypeId="2" PostId="1248" RevisionGUID="c1d05b54-8c97-4d62-ab7c-33290a2df71d" CreationDate="2010-05-27T01:33:29.650" UserId="220" Text="All the SPL meters I've worked with have both A and C weighting.  A weighting is measured from 500 Hz to 10kHz.  C weighting is measured from 32 Hz to 10KHz.  Sounds like you have one that is C weighted, but it should go to 10k.  The cheapo Radio Shack one follows the specifications above.  Might be that the response starts to diminish after 8kHzk, so they just stop there.&#xD;&#xA;&#xD;&#xA;If you have one that goes to 8k, try running a pure 10k tone and see if it responds.  I wonder if they're just listing the prime range, not the full range.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2364" PostHistoryTypeId="2" PostId="1249" RevisionGUID="c2d7d065-5977-4fbe-9644-2b23a76f4ce0" CreationDate="2010-05-27T01:54:12.430" UserDisplayName="user49" Text="... you make mental mix notes during real situations, for later reference&#xD;&#xA;&#xD;&#xA;eg i walked past a building/construction site a few years ago - they were pouring concrete into a second story floor space &amp; the whole thing collapsed. I distinctly remember the moment of peaceful silence after the collapsing sounds stopped, but before the shouting &amp; sirens started... (thankfully no one died)&#xD;&#xA;&#xD;&#xA;eg kissing a girl in a bar &amp; listening to see if the background music goes away/alters...&#xD;&#xA;&#xD;&#xA;eg walking along streets looking to peoples feet &amp; trying to decide how well mixed their foley is...&#xD;&#xA;&#xD;&#xA;eg listening to distant impacts and trying to decide if anyone would let you cut sound FX so out of sync...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2365" PostHistoryTypeId="2" PostId="1250" RevisionGUID="41f2b7f7-3079-4013-b0a1-946b56bd00ec" CreationDate="2010-05-27T01:58:26.033" UserDisplayName="user49" Text="... you've ever been caught by normal human beings while recording sounds in odd ways&#xD;&#xA;&#xD;&#xA;eg I got caught stomping &amp; jumping on the roof of a car, late at night by a neighbour&#xD;&#xA;&#xD;&#xA;(it was a donated car &amp; I had mics inside, but how do you explain that easily?)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2366" PostHistoryTypeId="2" PostId="1251" RevisionGUID="e0cf28b5-b881-4667-a8b9-87380495962d" CreationDate="2010-05-27T02:22:35.833" UserId="100" Text="... your friends and family call you before throwing stuff away because they know you'll be disappointed if it had noise-making potential and didn't let you know about it." ContentLicense="CC BY-SA 2.5" />
  <row Id="2367" PostHistoryTypeId="2" PostId="1252" RevisionGUID="903d7c5b-dcf0-4527-a593-cccd4e3300ce" CreationDate="2010-05-27T03:37:14.033" UserId="29" Text="...you keep your ear to the ground to check for cool LFE.&#xD;&#xA;&#xD;&#xA;...you are a good listener to everything except the content of what's being said. (That'd make you a production mixer, too, for the record.)&#xD;&#xA;&#xD;&#xA;...you wear your cans just to keep your hat from falling off.&#xD;&#xA;&#xD;&#xA;...your fists sound like whooshing bamboo during bar brawls.&#xD;&#xA;&#xD;&#xA;...when you move slowly or carefully, you pitch your voice down by an octave.&#xD;&#xA;&#xD;&#xA;...you're not happy to see her/him, that really *is* a boompole in your pocket.&#xD;&#xA;&#xD;&#xA;...back in Soviet Russia, the sounds recorded *you*! `&lt;/smirnoff&gt;`" ContentLicense="CC BY-SA 2.5" />
  <row Id="2368" PostHistoryTypeId="2" PostId="1253" RevisionGUID="d7209600-a819-4fb2-9604-2ce4b3665141" CreationDate="2010-05-27T04:25:49.647" UserId="10" Text="...you are in a serious moment talking with someone, you hear a weird sound in the background (like a crash or something). Your brain start thinking about the sound, and you think something like &quot;oh my... I'd like to record that lovely noise!&quot;. When the lapse finishes, you realize that you stopped to listen the person in front of you and don't know what to say now&#xD;&#xA;&#xD;&#xA;...you're working building something with a drill, and it gets burned and you see sparks. You think oh, great sound! Press the trigger again and hear the sparks again. You go for your recorder, press record... and there no sparks anymore. Now you realize that your drill is broken and you can't continue with the initial plan.&#xD;&#xA;&#xD;&#xA;...you think about masking of different sounds in your environment, something like want to have faders for everything or a MUTE button to shut up your neighbors.&#xD;&#xA;&#xD;&#xA;...you're with someone, an airplane passes by, and you say something like: hey, did you hear that nice doppler, dude!?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2369" PostHistoryTypeId="2" PostId="1254" RevisionGUID="211db33b-279d-4aaa-af95-1181a2f8d8fe" CreationDate="2010-05-27T05:25:47.263" UserId="303" Text="I'm looking to add metadata to my library of effects.  Which program are you using to embed metadata in wav files?  Is this metadata readable by most database programs? (Soundminer, Basehead, etc.)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2370" PostHistoryTypeId="1" PostId="1254" RevisionGUID="211db33b-279d-4aaa-af95-1181a2f8d8fe" CreationDate="2010-05-27T05:25:47.263" UserId="303" Text="Which program are you using to embed metadata in wav files?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2371" PostHistoryTypeId="3" PostId="1254" RevisionGUID="211db33b-279d-4aaa-af95-1181a2f8d8fe" CreationDate="2010-05-27T05:25:47.263" UserId="303" Text="&lt;metadata&gt;&lt;biaspeak&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2372" PostHistoryTypeId="2" PostId="1255" RevisionGUID="c14b056a-33d5-4438-8891-e0ee07311175" CreationDate="2010-05-27T05:52:29.777" UserId="61" Text="Hi Bruce,&#xD;&#xA;&#xD;&#xA;You may want to reference [this thread][1], [this thread][2] and [this thread][3] for ground already covered on the topic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/1230/embedding-or-attaching-a-picture-when-cataloguing-sound-fx&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/552/audio-file-organization&#xD;&#xA;  [3]: http://socialsounddesign.com/questions/324/organizing-libraries" ContentLicense="CC BY-SA 2.5" />
  <row Id="2373" PostHistoryTypeId="6" PostId="1254" RevisionGUID="8479bc0a-ee64-4781-b21e-af229173b26c" CreationDate="2010-05-27T05:53:26.237" UserId="61" Comment="retags" Text="&lt;metadata&gt;&lt;organization&gt;&lt;database&gt;&lt;libraries&gt;&lt;embed&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2374" PostHistoryTypeId="2" PostId="1256" RevisionGUID="8c760e59-2c30-442a-81ba-f27f22223b12" CreationDate="2010-05-27T06:52:36.520" UserId="2" Text="Birdhousesound's links are definitely good spots to start, but If you are purely interested in programmes dedicated to embedding metatadata, without having all the other bells and whistles... then you have these options that I know of: &#xD;&#xA;&#xD;&#xA; - [Wave Agent][1]: Free; made by Sound Devices; you can manually add the metadata yourself to each file. It's quick and easy to use, but although you can batch process, you are still limited to doing one file at a time if you have different metadata per file. &#xD;&#xA;&#xD;&#xA; - [Injector Pro][2]: $199; made by the same guys as Basehead; what's really nice about this is that you can have all your metadata in an Excel sheet and it will combine your X number of lines of metadata with your X number of audio files... Basically you can spend years building up a library and adding the metadata to your Excel file and then when your files are done and mastered, you can just &quot;inject&quot; them. &#xD;&#xA;&#xD;&#xA; - Your DAW: Chances are, when exporting your file out of your DAW you will be able to add some metadata too... quite painful though. &#xD;&#xA;&#xD;&#xA;There are a million other pieces of software that do this too, but as Birdhousesound said, you can read about them in other threads. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sounddevices.com/products/waveagent.htm&#xD;&#xA;  [2]: http://www.baseheadinc.com/injectorpro-feature-overview" ContentLicense="CC BY-SA 2.5" />
  <row Id="2375" PostHistoryTypeId="2" PostId="1257" RevisionGUID="c8d3fd38-8aaa-48e4-b484-7f557728e349" CreationDate="2010-05-27T06:52:49.677" UserId="18160" Text="... You make your kids play out in the cold to get them sick so you can record their flegmy throats.&#xD;&#xA;&#xD;&#xA;... You look for an EQ knob on your mother in-law because when she's angry that 2.5K is too harsh for you.&#xD;&#xA;&#xD;&#xA;... You have a road case for your wallet and your pencil.&#xD;&#xA;&#xD;&#xA;... You turn to your date in the movie theater while watching Titanic and ask her &quot;why did they mic Leo with a lapel when he's neck-high in water?&quot;&#xD;&#xA;&#xD;&#xA;... You stop a wedding vow as the minister says &quot;you may now kiss the bride&quot; to adjust the SM57 to be pointed more directly at the minister while he's at the podium.&#xD;&#xA;&#xD;&#xA;... You constantly are being stopped at the airport security check because you have 10 mics and a portable recorder in your backpack.&#xD;&#xA;&#xD;&#xA;... You move someone you are having a casual conversation with to a different corner of the room so there is better acoustics.&#xD;&#xA;&#xD;&#xA;... You tell your wife to stop chewing so loudly because you can't stand mouth noise.&#xD;&#xA;&#xD;&#xA;... You get in fights with teenagers at the movies to secure the middle of the theater because it's the &quot;sweet spot&quot;&#xD;&#xA;&#xD;&#xA;... You ask for your money back because the theater's right speaker was down .5 dB in the high-end.&#xD;&#xA;&#xD;&#xA;... Your license plate says &quot;MS OR DIE&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2376" PostHistoryTypeId="5" PostId="1257" RevisionGUID="164ab03c-5f6d-4d08-ad6e-bf1b95ea6112" CreationDate="2010-05-27T07:01:07.240" UserId="18160" Comment="added 51 characters in body; added 67 characters in body; added 56 characters in body" Text="... You make your kids play out in the cold to get them sick so you can record their flegmy throats.&#xD;&#xA;&#xD;&#xA;... You look for an EQ knob on your mother in-law because when she's angry that 2.5K is too harsh for you.&#xD;&#xA;&#xD;&#xA;... You have a road case for your wallet and your pencil.&#xD;&#xA;&#xD;&#xA;... You turn to your date in the movie theater while watching Titanic and ask her &quot;why did they mic Leo with a lapel when he's neck-high in water?&quot;&#xD;&#xA;&#xD;&#xA;... You stop a wedding vow as the minister says &quot;you may now kiss the bride&quot; to adjust the SM57 to be pointed more directly at the minister while he's at the podium.&#xD;&#xA;&#xD;&#xA;... You constantly are being stopped at the airport security check because you have 10 mics and a portable recorder in your backpack.&#xD;&#xA;&#xD;&#xA;... You move someone you are having a casual conversation with to a different corner of the room so there is better acoustics.&#xD;&#xA;&#xD;&#xA;... You tell your wife to stop chewing so loudly because you can't stand mouth noise.&#xD;&#xA;&#xD;&#xA;... You get in fights with teenagers at the movies to secure the middle of the theater because it's the &quot;sweet spot&quot;&#xD;&#xA;&#xD;&#xA;... You ask for your money back because the theater's right speaker was down .5 dB in the high-end.&#xD;&#xA;&#xD;&#xA;... Your license plate says &quot;MS OR DIE&quot;&#xD;&#xA;&#xD;&#xA;... Your kid's names are &quot;Pink Noise&quot; and &quot;1K&quot;.&#xD;&#xA;&#xD;&#xA;... You leave the beach because &quot;you can't take the tape hiss&quot;.&#xD;&#xA;&#xD;&#xA;... Your bedroom and bathroom is lined with aurolex." ContentLicense="CC BY-SA 2.5" />
  <row Id="2377" PostHistoryTypeId="5" PostId="1253" RevisionGUID="5cf428c8-014c-470f-b0c4-9bf584e441e9" CreationDate="2010-05-27T07:18:31.603" UserId="10" Comment="added 5 characters in body" Text="...you are in a serious moment talking with someone, you hear a weird sound in the background (like a crash or something). Your brain start thinking about the sound, and you think something like &quot;oh my... I'd like to record that lovely noise!&quot;. When the lapse finishes, you realize that you stopped to listen the person in front of you and now you don't know what to say.&#xD;&#xA;&#xD;&#xA;...you're working building something with a drill, and it gets burned and you see sparks. You think oh, great sound! Press the trigger again and hear the sparks again. You go for your recorder, press record... and there no sparks anymore. Now you realize that your drill is broken and you can't continue with the initial plan.&#xD;&#xA;&#xD;&#xA;...you think about masking of different sounds in your environment, something like want to have faders for everything or a MUTE button to shut up your neighbors.&#xD;&#xA;&#xD;&#xA;...you're with someone, an airplane passes by, and you say something like: hey, did you hear that nice doppler, dude!?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2378" PostHistoryTypeId="5" PostId="356" RevisionGUID="8d154a49-5ddd-4a08-9ede-c810923b076a" CreationDate="2010-05-27T07:20:58.410" UserId="10" Comment="added 120 characters in body" Text="On Windows I use Basehead and totally fits my needs. The next option would be Soundminer, but Basehead works well for me for now... On Mac I use AudioFinder and like it a lot. MY main machine is on Mac, so it's a program I use all the time.&#xD;&#xA;&#xD;&#xA;Also, recently West Latta published a nice article on &quot;library organizing&quot; at Audiotuts... Check it here: http://audio.tutsplus.com/articles/general/the-good-librarian/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2379" PostHistoryTypeId="2" PostId="1258" RevisionGUID="23d18268-0034-4126-b49f-1c421345ee8f" CreationDate="2010-05-27T07:36:18.027" UserId="40" Text="I use Pro Tools.  It seems to be one of the few programs (that you most likely already have, hence free) that can imbed metadata that is fairly universal.  Other programs I've used seem to only work some of the time.&#xD;&#xA;&#xD;&#xA;PT all the way..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2380" PostHistoryTypeId="2" PostId="1259" RevisionGUID="1cb0755f-f636-4d75-a2df-9d3d3321d8fb" CreationDate="2010-05-27T07:47:19.910" UserId="40" Text="Ok, this is kind of a tandem question to Davide's question yesterday, but I felt it needed a separate question.&#xD;&#xA;&#xD;&#xA;What are &quot;standard&quot; levels for a mix down on a big stage? (the stage I'm on is a Dolby Print Master Approved stage, if that means anything)&#xD;&#xA;&#xD;&#xA;I've been doing some editing and mix on a huge stage this week, and I've got to say, it's RIDICULOUSLY LOUD!!!  MUCH louder than any theater would ever play back.  I didn't have an SPL meter with me, but I'd venture to say it's somewhere between 102 and 104 db.  We're talking crazy loud, as in my ears are hurting loud.  And that's with the faders at unity, and with someone extremely competent running the room.  I've heard that most stages are run very loud.&#xD;&#xA;&#xD;&#xA;Why does it have to be this loud?  I'll ask the mixer tomorrow, but I'm curious as to what you guys have to say." ContentLicense="CC BY-SA 2.5" />
  <row Id="2381" PostHistoryTypeId="1" PostId="1259" RevisionGUID="1cb0755f-f636-4d75-a2df-9d3d3321d8fb" CreationDate="2010-05-27T07:47:19.910" UserId="40" Text="SPL During Mix Sessions on a Stage" ContentLicense="CC BY-SA 2.5" />
  <row Id="2382" PostHistoryTypeId="3" PostId="1259" RevisionGUID="1cb0755f-f636-4d75-a2df-9d3d3321d8fb" CreationDate="2010-05-27T07:47:19.910" UserId="40" Text="&lt;dubbing-stage&gt;&lt;sound-design&gt;&lt;sound-effects&gt;&lt;levels&gt;&lt;spl&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2383" PostHistoryTypeId="2" PostId="1260" RevisionGUID="2b266489-5f29-49f0-87d7-7651c4659b0b" CreationDate="2010-05-27T08:36:31.323" UserId="100" Text="I'm not sure what's typical on the stage, but I heard that THX standard is 75dB on C weighting. You can't always trust the [MultiMax][1] (or other EXR controller) for actual levels, either. Our studios are almost always too loud because folks are setting the controllers to 75dB instead of pulling out an SPL meter and adjusting them. If I have no control over the levels, I always have some [good earplugs][2] to save what hearing I have left.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.martinsound.com/pd_mmu.htm&#xD;&#xA;  [2]: http://www.amazon.com/Etymotic-Research-High-Fidelity-Earplugs-Clear/dp/B0015WJQ7A/ref=sr_1_9?ie=UTF8&amp;s=electronics&amp;qid=1274949238&amp;sr=8-9" ContentLicense="CC BY-SA 2.5" />
  <row Id="2384" PostHistoryTypeId="2" PostId="1261" RevisionGUID="bb2c565f-74eb-4b53-bc2a-05105ce1b2f7" CreationDate="2010-05-27T08:37:11.853" UserId="62" Text="You end recognizing sounds at 1K. My studio phone's button beeps are 1K, always makes me smile.&#xD;&#xA;&#xD;&#xA;You have famous sound effects as your ring tone/text alert on your phone. I love the strange looks I get from people when my phone (Wilhelm) screams when I get a text.&#xD;&#xA;&#xD;&#xA;Physically injure yourself because you just had to get the sound right. I found it impossible to find the right object to get the sound of someone falling down some stairs." ContentLicense="CC BY-SA 2.5" />
  <row Id="2385" PostHistoryTypeId="2" PostId="1262" RevisionGUID="9b6260fe-7d24-4c26-9515-c3f29708c5a2" CreationDate="2010-05-27T10:15:00.297" UserDisplayName="user80" Text="85dBFS = -20 dB FS, 0 dB VU, +4 dBu &#xD;&#xA;&#xD;&#xA;Measurement of single speaker at listening position using pink noise.&#xD;&#xA;L, C, R = 85 dBC&#xD;&#xA;LS, RS = 82 dBC&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2386" PostHistoryTypeId="2" PostId="1263" RevisionGUID="02b70c5f-04e2-4008-9ddc-f0dbab74a36c" CreationDate="2010-05-27T10:39:19.877" UserId="202" Text="As Ian write, 85 db is the Dolby allignement level. &#xD;&#xA;I think that the problem is that we are always asked to push everything, to be punchy, to slam the listener,sometimes trying to solve writing or directing problem with a &quot;in your face&quot; sound.&#xD;&#xA;Here in Italy, the production is mainly comedy and drama, no big action movie. But even in those kind of movie, the music level, the dialogue is often too loud. &#xD;&#xA;One thing that always happen, is that projectionists in cinema, lower the level from 7 to 6or even 5.3: they to this because of the level of advertising and the level of the Hollywood action movies and to try to &quot;please&quot; the older audience. So re-recording mixers try to solve this problem rising the level... It's a mouse and cat gAme. :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2387" PostHistoryTypeId="5" PostId="1262" RevisionGUID="6eb2df36-116b-4a31-9d3e-9dd13454079b" CreationDate="2010-05-27T10:45:04.823" UserDisplayName="user80" Comment="added 4 characters in body" Text="85dBFS = -20 dB FS, 0 dB VU, +4 dBu &#xD;&#xA;&#xD;&#xA;Measurement of single speaker at listening position using pink noise.&#xD;&#xA;&#xD;&#xA;L, C, R = 85 dBC&#xD;&#xA;&#xD;&#xA;LS, RS = 82 dBC&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2388" PostHistoryTypeId="5" PostId="1263" RevisionGUID="e246f787-4ae3-4f94-91eb-be53130babf1" CreationDate="2010-05-27T11:42:07.600" UserId="202" Comment="Fixed grammar" Text="As Ian write, 85 db is the Dolby allignement level. &#xD;&#xA;I think that the problem is that we are always asked to push everything, to be punchy, to slam the listener,sometimes trying to solve writing or directing problems with a &quot;in your face&quot; sound.&#xD;&#xA;Here in Italy, the productions are mainly comedy and drama, no big action movies. But even in those kind of movie, the music level, the dialogue is often too loud. &#xD;&#xA;One thing that always happen, is that projectionists in cinema lower the level from 7 to 6or even 5.3: they do this because of the level of advertising and the level of the Hollywood action movies and to try to &quot;please&quot; the older audience. So re-recording mixers try to solve this problem rising the level... It's a mouse and cat game. :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2389" PostHistoryTypeId="5" PostId="1262" RevisionGUID="54a63ba9-7bf8-4cc4-8dfe-62a71f8a4f98" CreationDate="2010-05-27T12:30:35.783" UserDisplayName="user80" Comment="added 1 characters in body; added 1 characters in body" Text="85dB SPL = -20 dB FS, 0 dB VU, +4 dBu &#xD;&#xA;&#xD;&#xA;Measurement of single speaker at listening position using pink noise.&#xD;&#xA;&#xD;&#xA;L, C, R = 85 dBC&#xD;&#xA;&#xD;&#xA;LS, RS = 82 dBC&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2390" PostHistoryTypeId="5" PostId="1262" RevisionGUID="f516dc4c-f74b-4bcd-88b0-17fc7aad06d2" CreationDate="2010-05-27T12:46:53.070" UserDisplayName="user80" Comment="added 1 characters in body" Text="85dBC SPL = -20 dB FS, 0 dB VU, +4 dBu &#xD;&#xA;&#xD;&#xA;Measurement of single speaker at listening position using pink noise.&#xD;&#xA;&#xD;&#xA;L, C, R = 85 dBC&#xD;&#xA;&#xD;&#xA;LS, RS = 82 dBC&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2391" PostHistoryTypeId="2" PostId="1264" RevisionGUID="0fe71b6b-4e3a-4182-ade9-4b5a6733c429" CreationDate="2010-05-27T14:55:01.223" UserId="2" Text="...you read this and giggle. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2392" PostHistoryTypeId="2" PostId="1265" RevisionGUID="f54ebb81-aec2-4db7-b1fc-cf78d3f1a567" CreationDate="2010-05-27T15:42:04.180" UserId="182" Text="The 31.5 Hz to 8 KHz is the standardised 1/3 octave division range of frequency analysers, noise regulation standards and rules are based on this range.&#xD;&#xA;&#xD;&#xA;Most analyzers are sensitive to the entire spectrum though, the 31.5-8000 range is just a setting.&#xD;&#xA;&#xD;&#xA;Here at my work we regularly use Bruel &amp; Kjaer meters and analyzers, and they are linear across the human hearing range, even beyond that.&#xD;&#xA;For example, the [Bruel &amp; Kjaer 2260][1], which can measure from 6.3 Hz to 20 KHz.&#xD;&#xA;&#xD;&#xA;The disadvantage of these devices is the price, which is in the five figure range.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bksv.com/Products/SoundLevelMeters/AdvancedSoundLevelMeters/2260Investigator.aspx" ContentLicense="CC BY-SA 2.5" />
  <row Id="2393" PostHistoryTypeId="5" PostId="1265" RevisionGUID="58d53283-6f3d-4a05-9ed7-9d88be0d0087" CreationDate="2010-05-27T15:48:21.493" UserId="182" Comment="added 203 characters in body" Text="The 31.5 Hz to 8 KHz is the standardised 1/3 octave division range of frequency analysers, noise regulation standards and rules are based on this range.&#xD;&#xA;&#xD;&#xA;Proper analyzers are sensitive to the entire spectrum, the 31.5-8000 range is just a setting.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Here at my work we regularly use Bruel &amp; Kjaer meters and analyzers, and they are linear across the human hearing range, even beyond that.&#xD;&#xA;For example, the [Bruel &amp; Kjaer 2260][2], which can measure from 6.3 Hz to 20 KHz.&#xD;&#xA;&#xD;&#xA;The disadvantage of these devices is the price, which is in the five figure range.&#xD;&#xA;I'm afraid a decent, calibrated SPL meter (no spectral analysis or other fancy stuff) will set you back several hundred dollars.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bksv.com/bksv/tbimg/2537/signature.jpg&#xD;&#xA;  [2]: http://www.bksv.com/Products/SoundLevelMeters/AdvancedSoundLevelMeters/2260Investigator.aspx" ContentLicense="CC BY-SA 2.5" />
  <row Id="2394" PostHistoryTypeId="2" PostId="1266" RevisionGUID="3fc39052-7bd4-419f-98bd-fafc31f55789" CreationDate="2010-05-27T15:59:05.957" UserId="6435" Text="You custom-make your 2-beeps at 900Hz instead of the default 1k because you think it sounds better that way." ContentLicense="CC BY-SA 2.5" />
  <row Id="2395" PostHistoryTypeId="5" PostId="1257" RevisionGUID="e17f199c-35aa-4b6d-a050-3e2b1b38da27" CreationDate="2010-05-27T16:46:52.527" UserId="18160" Comment="added 308 characters in body; added 224 characters in body" Text="... You make your kids play out in the cold to get them sick so you can record their flegmy throats.&#xD;&#xA;&#xD;&#xA;... You look for an EQ knob on your mother in-law because when she's angry that 2.5K is too harsh for you.&#xD;&#xA;&#xD;&#xA;... You have a road case for your wallet and another for your pencil.&#xD;&#xA;&#xD;&#xA;... You turn to your date in the movie theater while watching Titanic and ask her &quot;why did they mic Leo with a lapel when he's neck-high in water?&quot;&#xD;&#xA;&#xD;&#xA;... You stop a wedding vow as the minister says &quot;you may now kiss the bride&quot; to adjust the SM57 to be pointed more directly at the minister while he's at the podium.&#xD;&#xA;&#xD;&#xA;... You constantly are being stopped at the airport security check because you have 10 mics and a portable recorder in your backpack.&#xD;&#xA;&#xD;&#xA;... You move someone you are having a casual conversation with to a different corner of the room so there is better acoustics.&#xD;&#xA;&#xD;&#xA;... You tell your wife to stop chewing so loudly because you can't stand mouth noise.&#xD;&#xA;&#xD;&#xA;... You get in fights with teenagers at the movies to secure the middle of the theater because it's the &quot;sweet spot&quot;&#xD;&#xA;&#xD;&#xA;... You ask for your money back because the theater's right speaker was down .5 dB in the high-end.&#xD;&#xA;&#xD;&#xA;... Your license plate says &quot;MS OR DIE&quot;&#xD;&#xA;&#xD;&#xA;... Your kid's names are &quot;Pink Noise&quot; and &quot;1K&quot;.&#xD;&#xA;&#xD;&#xA;... You leave the beach because &quot;you can't take the tape hiss&quot;.&#xD;&#xA;&#xD;&#xA;... Your bedroom and bathroom is lined with aurolex.&#xD;&#xA;&#xD;&#xA;... You try to hit the undo button after you made a mistake while you're filling out a doctor's information form.&#xD;&#xA;&#xD;&#xA;... You mic your infant with a wireless lapel and record him 24/7 onto a Nagra because &quot;you can't miss his first words&quot;.&#xD;&#xA;&#xD;&#xA;... Your set up your alarm clock beeps in surround.&#xD;&#xA;&#xD;&#xA;... You're at a board meeting and the CEO just finished chewing you out for not selling enough Ke$ha records and all the time you're looking at a Radio Shack SPL meter and your only reply to him is &quot;Wow, you hit 110 dB!&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2396" PostHistoryTypeId="5" PostId="1265" RevisionGUID="ddfc2daa-0608-4d19-b3b9-b1ac250952fd" CreationDate="2010-05-27T16:47:38.377" UserId="182" Comment="typo, added picture" Text="The 31.5 Hz to 8 KHz is the standardised 1/3 octave division range of frequency analysers. Noise regulation standards and rules are based on this range.&#xD;&#xA;&#xD;&#xA;Proper analyzers are sensitive to the entire spectrum, the 31.5-8000 range is just a setting.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Here at my work we regularly use Bruel &amp; Kjaer meters and analyzers, and they are linear across the human hearing range, even beyond that.&#xD;&#xA;For example, the [Bruel &amp; Kjaer 2260][2], which can measure from 6.3 Hz to 20 KHz.&#xD;&#xA;&#xD;&#xA;The disadvantage of these devices is the price, which is in the five figure range.&#xD;&#xA;I'm afraid a decent, calibrated SPL meter (no spectral analysis or other fancy stuff) will set you back several hundred dollars.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bksv.com/bksv/tbimg/2537/signature.jpg&#xD;&#xA;  [2]: http://www.bksv.com/Products/SoundLevelMeters/AdvancedSoundLevelMeters/2260Investigator.aspx" ContentLicense="CC BY-SA 2.5" />
  <row Id="2397" PostHistoryTypeId="2" PostId="1267" RevisionGUID="49291063-7f3e-44aa-8999-333ee3e0d5cd" CreationDate="2010-05-27T16:52:38.607" UserDisplayName="user80" Text="You close your eyes and just listen.  No matter the medium." ContentLicense="CC BY-SA 2.5" />
  <row Id="2398" PostHistoryTypeId="5" PostId="1257" RevisionGUID="6023902b-023e-45b0-9231-dfb64cbfa40e" CreationDate="2010-05-27T17:00:19.120" UserId="18160" Comment="added 49 characters in body" Text="... You make your kids play out in the cold to get them sick so you can record their flegmy throats.&#xD;&#xA;&#xD;&#xA;... You look for an EQ knob on your mother in-law because when she's angry that 2.5K is too harsh for you.&#xD;&#xA;&#xD;&#xA;... You have a road case for your wallet and another for your pencil.&#xD;&#xA;&#xD;&#xA;... You turn to your date in the movie theater while watching Titanic and ask her &quot;why did they mic Leo with a lapel when he's neck-high in water?&quot;&#xD;&#xA;&#xD;&#xA;... You stop a wedding vow as the minister says &quot;you may now kiss the bride&quot; to adjust the SM57 to be pointed more directly at the minister while he's at the podium.&#xD;&#xA;&#xD;&#xA;... You constantly are being stopped at the airport security check because you have 10 mics and a portable recorder in your backpack.&#xD;&#xA;&#xD;&#xA;... You move someone you are having a casual conversation with to a different corner of the room so there is better acoustics.&#xD;&#xA;&#xD;&#xA;... You tell your wife to stop chewing so loudly because you can't stand mouth noise.&#xD;&#xA;&#xD;&#xA;... You get in fights with teenagers at the movies to secure the middle of the theater because it's the &quot;sweet spot&quot;&#xD;&#xA;&#xD;&#xA;... You ask for your money back because the theater's right speaker was down .5 dB in the high-end.&#xD;&#xA;&#xD;&#xA;... Your license plate says &quot;MS OR DIE&quot;&#xD;&#xA;&#xD;&#xA;... Your kid's names are &quot;Pink Noise&quot; and &quot;1K&quot;.&#xD;&#xA;&#xD;&#xA;... You leave the beach because &quot;you can't take the tape hiss&quot;.&#xD;&#xA;&#xD;&#xA;... Your bedroom and bathroom is lined with aurolex.&#xD;&#xA;&#xD;&#xA;... You try to hit the undo button after you made a mistake while you're filling out a doctor's information form.&#xD;&#xA;&#xD;&#xA;... You mic your infant with a wireless lapel and record him 24/7 onto a Nagra because &quot;you can't miss his first words&quot;.&#xD;&#xA;&#xD;&#xA;... Your set up your alarm clock beeps in surround.&#xD;&#xA;&#xD;&#xA;... You're at a board meeting and the CEO just finished chewing you out for not selling enough Ke$ha records and all the time you're looking at a Radio Shack SPL meter and your only reply to him is &quot;Wow, you hit 110 dB!&quot;&#xD;&#xA;&#xD;&#xA;... Your doorbell ring is the Wilhelm Scream." ContentLicense="CC BY-SA 2.5" />
  <row Id="2399" PostHistoryTypeId="5" PostId="1247" RevisionGUID="38e557d0-3d18-4b71-b9b3-65b57f306b14" CreationDate="2010-05-27T17:05:16.883" UserDisplayName="user80" Comment="Added image and weblink; deleted 180 characters in body" Text="You are recording yourself typing right now.&#xD;&#xA;&#xD;&#xA;You've just destroyed an expensive piece of equipment during a session, but your ok with that because it sounded cool.&#xD;&#xA;&#xD;&#xA;You accidentally dropped a bottle of something and it broke, smashing everywhere, and the first thought through your head was &quot;Man, I wish I had recorded that...&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;These are just a few off the top of my head... Let's start an amazing list!!!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2400" PostHistoryTypeId="2" PostId="1268" RevisionGUID="1e02c4e2-29bd-4c63-8e3d-b7aa269250f1" CreationDate="2010-05-27T18:18:07.943" UserId="40" Text="So, I did some tests today, and asked some questions.  Here's what I found out.&#xD;&#xA;&#xD;&#xA;The room is cal'd to 85db (as many of you have said it should be). We're monitoring at -5db right now, and the hits are hitting around 97db, 98db.  I was told that when Gary Rizzo brought the Dark Knight print master over to watch it, he said &quot;you guys have 24db of headroom above 85, right?&quot;  &quot;Yes..&quot;  &quot;Ok, good.&quot;  The meters on the board all pegged red and the room hit somewhere around 115db, 118db.  Apparently it sounded amazing though.&#xD;&#xA;&#xD;&#xA;I've been told that it's almost always just around the same level as it would be in a theater, but this week, because we're editing, we're pushing the levels on each individual sound just to hear specific details.  However, we're taking breaks every 30 or 40 minutes.&#xD;&#xA;&#xD;&#xA;Still not 100% clear on it, but it's starting to make sense..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2401" PostHistoryTypeId="2" PostId="1269" RevisionGUID="b48041f6-3d18-4b5b-9166-fa2a8e947d89" CreationDate="2010-05-27T18:27:57.123" UserId="314" Text="I use Abaltat Muse to 'compose' music for use behind video. It works reasonably well with some tweaking but perhaps this is because video already has a dynamic over time that a still image lacks.&#xD;&#xA;&#xD;&#xA;Indeed, Abaltat really just matches the dynamics of a few patterns to those of the moving image.&#xD;&#xA;&#xD;&#xA;That said, it is useful and generates results that seem to work well&#xD;&#xA;&#xD;&#xA;Mike" ContentLicense="CC BY-SA 2.5" />
  <row Id="2402" PostHistoryTypeId="16" PostId="1269" RevisionGUID="b48041f6-3d18-4b5b-9166-fa2a8e947d89" CreationDate="2010-05-27T18:27:57.123" UserId="-1" />
  <row Id="2403" PostHistoryTypeId="5" PostId="1248" RevisionGUID="60730085-1d30-46f3-bfe6-768580b118b3" CreationDate="2010-05-27T19:50:37.570" UserId="220" Comment="spelling problem" Text="All the SPL meters I've worked with have both A and C weighting.  A weighting is measured from 500 Hz to 10kHz.  C weighting is measured from 32 Hz to 10KHz.  Sounds like you have one that is C weighted, but it should go to 10k.  The cheapo Radio Shack one follows the specifications above.  Might be that the response starts to diminish after 8kHz, so they just stop there.&#xD;&#xA;&#xD;&#xA;If you have one that goes to 8k, try running a pure 10k tone and see if it responds.  I wonder if they're just listing the prime range, not the full range.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2404" PostHistoryTypeId="2" PostId="1270" RevisionGUID="098df5c5-743e-4d08-b449-906a9f0ebe34" CreationDate="2010-05-27T20:44:48.587" UserId="315" Text="Great answers so far.&#xD;&#xA;&#xD;&#xA;-Your girlfriend knows the exact meaning of &quot;the look&quot; (which she often sees come from your face when traveling abroad) and she immediately says &quot;you want to stop and record this don't you.&quot; You try to convince her that it is great for the soul to stop, sit quietly, and meditate on the sounds around you every once and awhile, while you whip out your pocket recorder and set levels. You record an ambience for five minutes and realize that if you go much longer, your relationship will be at risk.&#xD;&#xA;&#xD;&#xA;-You feel shame if you use a sound from the Hollywood Edge PE or Sound Ideas 6000 in your design.&#xD;&#xA;&#xD;&#xA;-When cooking, you go to pull a pair of thongs out of the kitchen gadget drawer. Instead of removing the near-burning food from the pan, you hold them up to your ears and imagine how you'd use them as a foley prop (as dinner gets ruined).&#xD;&#xA;&#xD;&#xA;-You've used more condoms for SM57 hydrophone experiments than their intended use.&#xD;&#xA;&#xD;&#xA;-You believe that it is important to record traffic in every city you visit. Because you honestly think that traffic in San Diego sounds different than traffic in Portland, and you want to tell the director that their ambiences are &quot;completely authentic.&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2405" PostHistoryTypeId="2" PostId="1271" RevisionGUID="0e490c67-5040-4c5d-872c-51a9499345ce" CreationDate="2010-05-27T21:08:44.023" UserId="317" Text="I'm Kyma user too. There's always something to investigate and you always make new discoveries every time you dig it. It's a money investment for sure but the biggest investment will probably be the time you'll spend learning how to get good sounds out of it. I think it takes about 6 months to get a palette of really interesting sounds and to justify the money you spent, but after those 6 months you'll never regret it!&#xD;&#xA;&#xD;&#xA;Realtime processing setup:&#xD;&#xA;- Pacarana with an Apogee Duet on a MacBook Pro with Wacom Intuos4 and soon an iPad with TouchOSC. (Analog In and Out From and To an iMac).&#xD;&#xA;&#xD;&#xA;- iMac with MBox 2 Pro / Pro Tools and SoundMiner.&#xD;&#xA;&#xD;&#xA;I'm always up to exchange sounds on Tweaky... You'll find me as JeanEdouardMiclot." ContentLicense="CC BY-SA 2.5" />
  <row Id="2406" PostHistoryTypeId="2" PostId="1272" RevisionGUID="d04588ca-6004-46ab-9650-147fe46bb238" CreationDate="2010-05-27T22:04:37.753" UserId="318" Text="ive had a drive fail in a Glyph Raid box, was advised by their tech dept of suitable replacement and when that didnt work i found there service pretty rubbish.&#xD;&#xA; One guy didnt know what he was talking about and put me on a wild goose chase saying &quot;it should just work&quot; until saying &quot;I honestly don't have a lot of experience with the hardware you're working with so I'm referring to him.&quot;&#xD;&#xA;the other guy never got back to me... that was 5 weeks ago.&#xD;&#xA;so YMMV.&#xD;&#xA;&#xD;&#xA;I use seagate and WD drives. Do backups everyday to 2.5&quot; portables that live in my man-bag, and weekly backups to 3.5s that live off site.&#xD;&#xA;&#xD;&#xA;I also have drives that just have an OS backup on them so if the OS goes down i just pull the drive and replace it with the backup and away i go again.&#xD;&#xA;&#xD;&#xA;use time machine and CCC.&#xD;&#xA;&#xD;&#xA;wow drives are cheap now!!!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2407" PostHistoryTypeId="2" PostId="1273" RevisionGUID="f2ed2d7f-d758-47b6-b304-ce5df783868f" CreationDate="2010-05-27T22:16:53.160" UserId="319" Text="I got a huge volume knob called the level pilot.  Let's me change the level very quickly and precisely.  My old mixer had problems at low levels, the level would be a little off between L and R.  &#xD;&#xA;&#xD;&#xA;Make sure you know what 80db sounds like - I think that's the level which will cause damage.  It's surprisingly low if you're used to blasting the monitors.&#xD;&#xA;&#xD;&#xA;iPhone has a cheap level meter which would at least give you a rough idea of where you are listening." ContentLicense="CC BY-SA 2.5" />
  <row Id="2408" PostHistoryTypeId="2" PostId="1274" RevisionGUID="8ac45d20-38d9-4356-ab32-6a75eab27704" CreationDate="2010-05-28T04:03:15.737" UserId="320" Text="When I first saw the question I thought you meant &quot;music that follows the rules of counterpoint&quot; since that's what contrapuntal means in music theory. But to answer the question, the first time I noticed this effect was at the end of Dr. Strangelove. As nuclear bombs destroy the world, the sappy sentimental song &quot;We'll Meet Again&quot; plays in the background. It's quite ironic and effective. It's used similarly in the video game Fallout 3 (as mentioned already), where the radio plays cheery oldies that lie in stark contrast to the nuclear wasteland before the player.&#xD;&#xA;&#xD;&#xA;I've also seen some mediocre films where it happened unintentionally, to comical effect." ContentLicense="CC BY-SA 2.5" />
  <row Id="2409" PostHistoryTypeId="2" PostId="1275" RevisionGUID="bdfc0311-3005-4003-9b23-ba743b2134ac" CreationDate="2010-05-28T06:02:40.573" UserId="152" Text="Being an engineer and an audio consultant I have had the chance to spend time with a number of persons/companies that perform room design as well as room tuning. EVERY person I have worked with or contracted has used the SPL meter from Radio Shack, this includes Dolby. The key is to go and have the meter calibrated for 85db, which is the SPL your going to be looking for most of the time, with the occasional 82/88 for surrounds and sub.&#xD;&#xA;&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="2410" PostHistoryTypeId="5" PostId="1272" RevisionGUID="2dcc3176-b72a-405f-a408-a58ed558160e" CreationDate="2010-05-28T06:14:04.600" UserDisplayName="user80" Comment="Tidied up language" Text="I've had a drive fail in a Glyph Raid box, and was advised by their tech department about a suitable replacement, and when that didn't work I found their service pretty rubbish.&#xD;&#xA;&#xD;&#xA;One guy didn't know what he was talking about and put me on a wild goose chase, saying &quot;it should just work&quot; until saying &quot;I honestly don't have a lot of experience with the hardware you're working with so I'm referring to him.&quot;&#xD;&#xA;&#xD;&#xA;The other guy never got back to me... that was 5 weeks ago.&#xD;&#xA;so YMMV.&#xD;&#xA;&#xD;&#xA;I use seagate and WD drives. Do backups everyday to 2.5&quot; portables that live in my man-bag, and weekly backups to 3.5's that live off site.&#xD;&#xA;&#xD;&#xA;I also have drives that just have an OS backup on them so if the OS goes down I just pull the drive and replace it with the backup and away I go again.&#xD;&#xA;&#xD;&#xA;Use time machine and CCC.&#xD;&#xA;&#xD;&#xA;Wow drives are cheap now!!!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2411" PostHistoryTypeId="5" PostId="1275" RevisionGUID="b59793f4-174e-4bdf-b47b-e787fca1e8fc" CreationDate="2010-05-28T08:04:12.090" UserDisplayName="user80" Comment="Added image and weblink" Text="Being an engineer and an audio consultant I have had the chance to spend time with a number of persons/companies that perform room design as well as room tuning. EVERY person I have worked with or contracted has used the SPL meter from [RadioShack][1], this includes Dolby. The key is to go and have the meter calibrated for 85db, which is the SPL your going to be looking for most of the time, with the occasional 82/88 for surrounds and sub.&#xD;&#xA;&#xD;&#xA;Nick&#xD;&#xA;&#xD;&#xA;[![RadioShack Digital-Display Sound-Level Meter][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.radioshack.com/product/index.jsp?productId=2103667#&#xD;&#xA;[2]: http://rsk.imageg.net/graphics/product_images/pRS1C-2266248w345.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2412" PostHistoryTypeId="5" PostId="1227" RevisionGUID="d583a576-2e4f-45bf-bb97-d0e459d121ba" CreationDate="2010-05-28T08:44:24.677" UserDisplayName="user80" Comment="added 2 characters in body; deleted 44 characters in body" Text="Can't say I've ever used contrapuntal music myself, but I think the Ear scene from Reservoir Dogs is my all time favorite instance:&#xD;&#xA;&#xD;&#xA;It just makes this scene so much more brutal.&#xD;&#xA;&#xD;&#xA;[youtube]LLTqecGbdCc[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="2413" PostHistoryTypeId="2" PostId="1276" RevisionGUID="54a3b9d6-cab5-4eb9-bc83-4db6ad2c1d29" CreationDate="2010-05-28T10:10:23.753" UserId="182" Text="[Interesting article I found on the Radio Shack SPL meter][1] (pdf). This guy has tested its accuracy using proper methodology and equipment.&#xD;&#xA;&#xD;&#xA;Short summary:&#xD;&#xA;&#xD;&#xA; - The device is surprisingly accurate for overall SPL measurements.&#xD;&#xA; - The digital meter deviates by several dB from the expected C-weighted low-frequency rolloff. The analog one is better at this.&#xD;&#xA; - The digital meter is less suitable for measuring low-frequency response, unless you compensate for the deviation.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audioxpress.com/magsdirx/ax/addenda/media/koya2811.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="2414" PostHistoryTypeId="6" PostId="1197" RevisionGUID="bd5c2b84-56af-45d8-bd88-df945d0d8d89" CreationDate="2010-05-28T13:21:10.340" UserDisplayName="user80" Comment="Added tags" Text="&lt;microphone&gt;&lt;neumann&gt;&lt;experience&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2415" PostHistoryTypeId="2" PostId="1277" RevisionGUID="849b5644-2394-4878-905d-fd13f963acf2" CreationDate="2010-05-28T15:17:41.763" UserId="323" Text="NI's absynth, psp nitro, ohmforce quadfrohmage, u-he zebra, camel-audio's alchemy, oligarc, izotope's trash/spectron to name a few.&#xD;&#xA;&#xD;&#xA;for wav editing - wavelab&#xD;&#xA;&#xD;&#xA;daw - cubase" ContentLicense="CC BY-SA 2.5" />
  <row Id="2416" PostHistoryTypeId="2" PostId="1278" RevisionGUID="557055ea-67cf-4352-8d68-aad75d032835" CreationDate="2010-05-28T16:27:43.307" UserId="274" Text="Anyone have any good brands for some home monitoring speakers for a small budget? Looking at Bose, but otherwise, I'm for a blank?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2417" PostHistoryTypeId="1" PostId="1278" RevisionGUID="557055ea-67cf-4352-8d68-aad75d032835" CreationDate="2010-05-28T16:27:43.307" UserId="274" Text="Decent and affordable home monitoring setup" ContentLicense="CC BY-SA 2.5" />
  <row Id="2418" PostHistoryTypeId="3" PostId="1278" RevisionGUID="557055ea-67cf-4352-8d68-aad75d032835" CreationDate="2010-05-28T16:27:43.307" UserId="274" Text="&lt;monitoring&gt;&lt;speakers&gt;&lt;afforable&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2419" PostHistoryTypeId="5" PostId="1270" RevisionGUID="e67f69a5-771b-4654-9e04-94ccd09d4780" CreationDate="2010-05-28T16:38:45.063" UserId="315" Comment="deleted 1 characters in body" Text="Great answers so far.&#xD;&#xA;&#xD;&#xA;-Your girlfriend knows the exact meaning of &quot;the look&quot; (which she often sees come from your face when traveling abroad) and she immediately says &quot;you want to stop and record this don't you.&quot; You try to convince her that it is great for the soul to stop, sit quietly, and meditate on the sounds around you every once and awhile, while you whip out your pocket recorder and set levels. You record an ambience for five minutes and realize that if you go much longer, your relationship will be at risk.&#xD;&#xA;&#xD;&#xA;-You feel shame if you use a sound from the Hollywood Edge PE or Sound Ideas 6000 in your design.&#xD;&#xA;&#xD;&#xA;-When cooking, you go to pull a pair of tongs out of the kitchen gadget drawer. Instead of removing the near-burning food from the pan, you hold them up to your ears and imagine how you'd use them as a foley prop (as dinner gets ruined).&#xD;&#xA;&#xD;&#xA;-You've used more condoms for SM57 hydrophone experiments than their intended use.&#xD;&#xA;&#xD;&#xA;-You believe that it is important to record traffic in every city you visit. Because you honestly think that traffic in San Diego sounds different than traffic in Portland, and you want to tell the director that their ambiences are &quot;completely authentic.&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2420" PostHistoryTypeId="5" PostId="1247" RevisionGUID="ccea6e8e-aa3a-4440-a17c-1e72d5e3e862" CreationDate="2010-05-28T16:52:04.770" UserDisplayName="user80" Comment="Added image and weblink" Text="You are recording yourself typing right now.&#xD;&#xA;&#xD;&#xA;You've just destroyed an expensive piece of equipment during a session, but your ok with that because it sounded cool.&#xD;&#xA;&#xD;&#xA;You accidentally dropped a bottle of something and it broke, smashing everywhere, and the first thought through your head was &quot;Man, I wish I had recorded that...&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;These are just a few off the top of my head... Let's start an amazing list!!!&#xD;&#xA;&#xD;&#xA;[![Shootfirst][1]][2]&#xD;&#xA;&#xD;&#xA;[1]: http://www.shootfirst.co.uk/lbmortencroc.jpg&#xD;&#xA;[2]: http://www.shootfirst.co.uk/lightbulbs.htm&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2421" PostHistoryTypeId="5" PostId="1249" RevisionGUID="a9edc93e-3364-4ccc-89b6-b4563360441f" CreationDate="2010-05-28T16:52:47.060" UserDisplayName="user80" Comment="added 1 characters in body" Text="... you make mental mix notes during real situations, for later reference&#xD;&#xA;&#xD;&#xA;eg i walked past a building/construction site a few years ago - they were pouring concrete into a second story floor space &amp; the whole thing collapsed. I distinctly remember the moment of peaceful silence after the collapsing sounds stopped, but before the shouting &amp; sirens started... (thankfully no one died)&#xD;&#xA;&#xD;&#xA;eg kissing a girl in a bar &amp; listening to see if the background music goes away/alters...&#xD;&#xA;&#xD;&#xA;eg walking along streets looking to people's feet &amp; trying to decide how well mixed their foley is...&#xD;&#xA;&#xD;&#xA;eg listening to distant impacts and trying to decide if anyone would let you cut sound FX so out of sync...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2422" PostHistoryTypeId="5" PostId="1267" RevisionGUID="b718c070-a7c2-42d4-919b-ecbb6f84d247" CreationDate="2010-05-28T16:54:18.073" UserDisplayName="user80" Comment="added 8 characters in body" Text="You close your eyes and just listen.  No matter what you are doing." ContentLicense="CC BY-SA 2.5" />
  <row Id="2423" PostHistoryTypeId="6" PostId="1278" RevisionGUID="583daf8b-5351-4f4c-bdb0-29c9bfd61baa" CreationDate="2010-05-28T16:57:30.100" UserDisplayName="user80" Comment="Added tags" Text="&lt;monitoring&gt;&lt;speakers&gt;&lt;recommendations&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2424" PostHistoryTypeId="2" PostId="1279" RevisionGUID="c8fc43c6-5ce6-46ac-a938-6996ebc8aabf" CreationDate="2010-05-28T17:04:55.103" UserId="324" Text="Well, it depends what you mean by &quot;small budget&quot;. I would go with a pair of small powered studio monitors, which would depend on the size of the area your are monitoring in (square footage, height, etc.) &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2425" PostHistoryTypeId="2" PostId="1280" RevisionGUID="6ccfecbb-3471-4d98-a244-66528647ebca" CreationDate="2010-05-28T17:15:11.230" UserId="28" Text="Check out KRK Rokits. Good bang for yer buck." ContentLicense="CC BY-SA 2.5" />
  <row Id="2426" PostHistoryTypeId="2" PostId="1281" RevisionGUID="2501593c-ec7a-47f9-9ca4-16b0b3667331" CreationDate="2010-05-28T17:17:04.953" UserId="62" Text="If Genelecs are in your price range you wont go far wrong at all." ContentLicense="CC BY-SA 2.5" />
  <row Id="2427" PostHistoryTypeId="2" PostId="1282" RevisionGUID="6a9b7a47-6ce5-4429-935b-63693c021a36" CreationDate="2010-05-28T18:01:02.957" UserId="315" Text="Check out Blue Sky, Mackie, and Tannoy for relatively cheap, but decent setups. You do need to provide more info, like the size of your room...stereo or surround monitoring etc.." ContentLicense="CC BY-SA 2.5" />
  <row Id="2428" PostHistoryTypeId="2" PostId="1283" RevisionGUID="d2445d4d-aec9-4d89-a8ac-9886008e22a5" CreationDate="2010-05-28T18:38:47.493" UserId="272" Text="After your first car accident all you could talk about was how cool it sounded and how you wish you could record it (and your second and third accident for that matter)." ContentLicense="CC BY-SA 2.5" />
  <row Id="2429" PostHistoryTypeId="2" PostId="1284" RevisionGUID="d4ac5e3a-532f-40b0-9b13-6cdf73c568a2" CreationDate="2010-05-28T19:50:29.513" UserId="289" Text="I have been experimenting with different layers to create a perfect gunshot but they all fail and sound like toy guns. What do I have to layer to create a deadly gunshot?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2430" PostHistoryTypeId="1" PostId="1284" RevisionGUID="d4ac5e3a-532f-40b0-9b13-6cdf73c568a2" CreationDate="2010-05-28T19:50:29.513" UserId="289" Text="How do you create the deadliest gunshots?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2431" PostHistoryTypeId="3" PostId="1284" RevisionGUID="d4ac5e3a-532f-40b0-9b13-6cdf73c568a2" CreationDate="2010-05-28T19:50:29.513" UserId="289" Text="&lt;sfx&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2433" PostHistoryTypeId="2" PostId="1286" RevisionGUID="094d59b1-50ec-4485-80ab-2a0472e5a6ce" CreationDate="2010-05-28T20:15:01.617" UserId="40" Text="Hey There,&#xD;&#xA;&#xD;&#xA;I have access to a Sony DRE-S777 Convolution Reverb, and we're trying to figure out how to sample for it.  Does anyone know what format the samples need to be?&#xD;&#xA;&#xD;&#xA;Do I need to to a sweep?  How long?  Speaker / Mic setup?  File Format?&#xD;&#xA;&#xD;&#xA;These guys are pretty rare, so I'd be surprised if anyone knows, but it's worth a shot!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;P.S.  I have both the user's manual and the quick start guide.  Neither touch on the subject :-/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2434" PostHistoryTypeId="1" PostId="1286" RevisionGUID="094d59b1-50ec-4485-80ab-2a0472e5a6ce" CreationDate="2010-05-28T20:15:01.617" UserId="40" Text="Sony DRE-777 Sampling Reverb" ContentLicense="CC BY-SA 2.5" />
  <row Id="2435" PostHistoryTypeId="3" PostId="1286" RevisionGUID="094d59b1-50ec-4485-80ab-2a0472e5a6ce" CreationDate="2010-05-28T20:15:01.617" UserId="40" Text="&lt;convolution&gt;&lt;reverb&gt;&lt;impulse-response&gt;&lt;gear&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2436" PostHistoryTypeId="5" PostId="1286" RevisionGUID="36c36e5a-e138-4d07-b7e4-def9a04aa040" CreationDate="2010-05-28T20:21:55.360" UserId="40" Comment="added 291 characters in body" Text="Hey There,&#xD;&#xA;&#xD;&#xA;I have access to a Sony DRE-S777 Convolution Reverb, and we're trying to figure out how to sample for it.  Does anyone know what format the samples need to be?&#xD;&#xA;&#xD;&#xA;Do I need to to a sweep?  How long?  Speaker / Mic setup?  File Format?&#xD;&#xA;&#xD;&#xA;These guys are pretty rare, so I'd be surprised if anyone knows, but it's worth a shot!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;P.S.  I have both the user's manual and the quick start guide.  Neither touch on the subject :-/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;To clarify, I know that the machine has a sampling function in it, but the unit is built in to the stage I'm working on, and I can't bring it around with me to sample environments.  I'd like to find a way to do the sample elsewhere, then bring it back to the machine later on." ContentLicense="CC BY-SA 2.5" />
  <row Id="2438" PostHistoryTypeId="2" PostId="1288" RevisionGUID="8424ce34-57e9-435f-911a-0cbe4a30ca2d" CreationDate="2010-05-28T20:43:18.137" UserId="286" Text="I personally like to add a nice mic element pop from an explosion a couple milliseconds before the actual shot and decay.  I work in video games and designing them can vary depending on how it feels during game play.  The decay also holds a great deal in making a gunshot sound huge.  Once you get those elements sounding good start mixing in mechanical/gun Foley.&#xD;&#xA;&#xD;&#xA;Funnily enough, I've used balloon pops in gun designs before." ContentLicense="CC BY-SA 2.5" />
  <row Id="2439" PostHistoryTypeId="2" PostId="1289" RevisionGUID="30980d8f-e4cc-49d1-9d70-8422b654f347" CreationDate="2010-05-28T20:44:38.190" UserId="315" Text="To me, the most important part of a gunshot sound is the decay. That's what makes them sound interesting, massive, and I suppose deadly. In what environment are your guns being shot? Do they ring off of walls, a building, or a hillside? Do you have distant recordings of guns in these environments? The best gun design in my opinion, starts with these type of field recordings.&#xD;&#xA;&#xD;&#xA;To make a music analogy, guns are like drums. The best drum sounds result from recording the drums interacting with the acoustic space. Part of the key to Jon Bonham's massive drum sound was the use of distant room mics in the studio and even a mic placed outside the studio door in a stairwell.&#xD;&#xA;&#xD;&#xA;That being said, you might want to layer your gun sounds with various sweeteners. In film, it's not uncommon to layer recordings of say a cannon, mortar shell firing, or even thunder under the sound of even a tiny handgun.  A little reverb, slap delay, compression, or sub can help thicken them up as well. If you're feeling avant garde...try layering them with the reversed sound of a pig squeal." ContentLicense="CC BY-SA 2.5" />
  <row Id="2441" PostHistoryTypeId="2" PostId="1291" RevisionGUID="a116cbc0-f1dc-4a6b-ad3b-8bde8e76510f" CreationDate="2010-05-28T21:14:02.823" UserId="2" Text=" - **Compression/multiband compression:** to make the sound really punch through the mix. &#xD;&#xA;&#xD;&#xA; - **Decay:** this helps with the size of the shot and space it lives in (obviously).&#xD;&#xA;&#xD;&#xA; - **A high pitch click/trigger/something:** as MikeQuell says, add it a few milliseconds prior to the main sound. This does wonders, I use this technique so often.&#xD;&#xA;&#xD;&#xA; - **A low frequency thump or layer:** just to give it more oomph. Often, recordings sound as you described and it needs that extra little cinematic kick. I often put this milliseconds after the attack of the main sound.&#xD;&#xA;&#xD;&#xA; - **After-shot:** The human vocal response, the bullet's ricochet (if there is), body fall, blood.&#xD;&#xA;&#xD;&#xA; - **Extra goodies:** The ambience might die out a little while the ears adjust. Or just prior to give emphasis to the &quot;deadliness&quot; of the moment. If from the character's POV, he/she may deafen and get the rigging. For examples on this check [this thread][1] and maybe [this thread][2].&#xD;&#xA;&#xD;&#xA;Hope this helps. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/128/movies-with-pov-of-deaf-characters&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/79/best-use-of-silence-in-a-film" ContentLicense="CC BY-SA 2.5" />
  <row Id="2442" PostHistoryTypeId="2" PostId="1292" RevisionGUID="b2205f5e-fb1a-4e0c-8994-bdcc7856038b" CreationDate="2010-05-28T21:20:43.090" UserDisplayName="user80" Text="Layer a detuned timpani sample underneath." ContentLicense="CC BY-SA 2.5" />
  <row Id="2443" PostHistoryTypeId="2" PostId="1293" RevisionGUID="582030fa-928b-494d-841f-fb24c450dd23" CreationDate="2010-05-28T21:42:11.870" UserDisplayName="user49" Text="&quot;a perfect gunshot&quot;&#xD;&#xA;&#xD;&#xA;maybe your problem is based on considering 'a gun' generically?&#xD;&#xA;&#xD;&#xA;what type of gun? &#xD;&#xA;(a pistol is not a rifle is not a shotgun is not an AK47 etc)&#xD;&#xA;&#xD;&#xA;what environment is it being shot in? &#xD;&#xA;(interior? exterior? close? wide? open field? canyon? inner city streets?)&#xD;&#xA;&#xD;&#xA;what is the point of view or perspective of the gun? and after its fired?&#xD;&#xA;(what does the gun shoot at? is the action real time?&#xD;&#xA;is there time for bullet whizzes/impacts?)&#xD;&#xA;&#xD;&#xA;what is the context of its use?&#xD;&#xA;(is the situation dangerous? kids firing air rifles at a park wont be dangerous,&#xD;&#xA;dirty harry/sniper fire in a battle zone is....)&#xD;&#xA;&#xD;&#xA;&quot;what sound can be layered to create a gunshot that gives that element of danger&quot;&#xD;&#xA;&#xD;&#xA;have you considered all the elements that make up a gun shot?&#xD;&#xA;- the trigger mechanism&#xD;&#xA;- the initial attack&#xD;&#xA;- the envelope of the explosion&#xD;&#xA;- the rapid evolution of the dense frequency impulse on its environment&#xD;&#xA;- the bullet exiting the barrell&#xD;&#xA;- the bullet travelling&#xD;&#xA;- the bullet impacting or ricocheting&#xD;&#xA;&#xD;&#xA;there is no magic answer eg &quot;just add an X and it will sound dangerous&quot; while being &quot;not fake&quot;&#xD;&#xA;&#xD;&#xA;&quot;normal gunshots really just sound like a balloon popping&quot;&#xD;&#xA;&#xD;&#xA;really?&#xD;&#xA;you've actually been to a firing range &amp; heard them like this?&#xD;&#xA;&#xD;&#xA;When in Beijing I visited a firing range where you could fire anything you liked, if you were happy to pay the $ - that place scared the living hell out of me - guys were firing automatic machine guns in the booth next to me and the low frequencies permeated my entire body..... a balloon popping they were not!&#xD;&#xA;&#xD;&#xA;Maybe some research for you to do (apart from visiting a firing range) is to assemble some scenes from movies with a variety of gunshots, and appreciate the range &amp; breadth of approach...&#xD;&#xA;Are Sergio Leones guns realistic? &#xD;&#xA;Saving Private Ryan? &#xD;&#xA;Inglourius Bastaerds?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2444" PostHistoryTypeId="5" PostId="162" RevisionGUID="1a6e97b4-da3e-417c-a4df-afc84aed520f" CreationDate="2010-05-28T22:00:52.917" UserId="182" Comment="added imdb links" Text="Here's an attempt to put a list together of films that are either from the POV of a deaf character or have a moment where they go deaf. &#xD;&#xA;&#xD;&#xA;**This is under Community Wiki, so feel free to add to the list!** &#xD;&#xA;&#xD;&#xA;What we have so far:&#xD;&#xA;&#xD;&#xA; 1. The Pianist&#xD;&#xA; 2. Touch The Sound&#xD;&#xA; 3. [CLOSER][1]&#xD;&#xA; 4. Come and See (Idi i smotri)&#xD;&#xA; 5. [Copland][2]&#xD;&#xA; 6. [There Will Be Blood][3]&#xD;&#xA; 7. Sur Mes Lèvres (Read My Lips)&#xD;&#xA; 8. [Saving Private Ryan][4]&#xD;&#xA; 9. Babel&#xD;&#xA; 10. [It's All Gone Pete Tong][5]&#xD;&#xA; 11. Noise (by Mathew Saville)&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waikato.ac.nz/film/NAME/ShortReels/ShortReels_info.html&#xD;&#xA;  [2]: http://www.imdb.com/title/tt0118887/&#xD;&#xA;  [3]: http://www.imdb.com/title/tt0469494/&#xD;&#xA;  [4]: http://www.imdb.com/title/tt0120815/&#xD;&#xA;  [5]: http://www.imdb.com/title/tt0388139/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2445" PostHistoryTypeId="2" PostId="1294" RevisionGUID="71188440-b10e-42fd-b747-f9638e98994f" CreationDate="2010-05-28T22:02:23.753" UserId="247" Text="... you walk down the street thinking man the world has really good surround sound! &#xD;&#xA;&#xD;&#xA;... you find every forment region along your path and take a moment to hit it. Regardless if their anyone with you or not (same goes for cool reverb and echoes)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2447" PostHistoryTypeId="5" PostId="1283" RevisionGUID="ca191206-1d1a-48c8-bb3a-9346e8d11879" CreationDate="2010-05-29T00:08:43.767" UserId="272" Comment="added 7 characters in body" Text="After your first car accident all you could talk about was how cool it sounded and how you wish you could have recorded it (and your second and third accident for that matter)." ContentLicense="CC BY-SA 2.5" />
  <row Id="2448" PostHistoryTypeId="2" PostId="1296" RevisionGUID="55479ddd-425d-46e7-b18e-faab1ee6f795" CreationDate="2010-05-29T00:34:02.140" UserId="18" Text="It looks like everyone has already given some great advice.  The biggest problem may be with the sources you are using.  Gun recordings don't always sound that interesting.  Especially handguns and shotguns, neither sound like what you expect.  Try adding a lot of compression or Waves L2 or even clipping and see if that gets you any closer.  Also, like Justin said, the decay is very important to the sound.  Do not neglect this aspect of the sound.&#xD;&#xA;&#xD;&#xA;Check out the articles I wrote for designingsound.org.  I'm not sure that I have many tips to offer that are not already in these articles:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/04/chuck-russom-special-gun-sound-design/&#xD;&#xA;http://designingsound.org/2010/04/chuck-russom-special-gun-recording-guide/&#xD;&#xA;&#xD;&#xA;There are some films that I often turn to for gun inspiration:&#xD;&#xA;&#xD;&#xA; - Saving Private Ryan &#xD;&#xA; - True Lies &#xD;&#xA; - Bad Boys 2&#xD;&#xA; - T2&#xD;&#xA; - Miami Vice" ContentLicense="CC BY-SA 2.5" />
  <row Id="2449" PostHistoryTypeId="2" PostId="1297" RevisionGUID="1af5ea9d-f7c5-46b1-8984-2746f0896c03" CreationDate="2010-05-29T05:45:30.013" UserId="18160" Text="I just mixed a commercial for TV and saw it air against other commercials and is it just me or is all TV audio smashed to hell with an L2?&#xD;&#xA;&#xD;&#xA;I mean, come on...&#xD;&#xA;&#xD;&#xA;My mix was smooth and had dynamic range and was at the level they told me to put it at: -10DB peak with an average peak of -15dB.&#xD;&#xA;&#xD;&#xA;The other commercial I saw next to mine must have been brick walled up to -10dB.&#xD;&#xA;&#xD;&#xA;What gives?&#xD;&#xA;&#xD;&#xA;Are all TV shows and commercials mixed with such lame dynamics?&#xD;&#xA;&#xD;&#xA;I feel like the layman is going to hear my mix and think it's of lesser quality compared to the smashed, bright, brittle, distorted junk that comes before and after it.&#xD;&#xA;&#xD;&#xA;Do any of you share the same viewpoint I do? Do you wish there were more dynamics in audio on TV?&#xD;&#xA;&#xD;&#xA;And how do I stop this from happening in the future? Do I have to master my broadcast audio like I have to master my music albums?&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="2450" PostHistoryTypeId="1" PostId="1297" RevisionGUID="1af5ea9d-f7c5-46b1-8984-2746f0896c03" CreationDate="2010-05-29T05:45:30.013" UserId="18160" Text="Mixing for Television" ContentLicense="CC BY-SA 2.5" />
  <row Id="2451" PostHistoryTypeId="3" PostId="1297" RevisionGUID="1af5ea9d-f7c5-46b1-8984-2746f0896c03" CreationDate="2010-05-29T05:45:30.013" UserId="18160" Text="&lt;television&gt;&lt;broadcast&gt;&lt;limiting&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2452" PostHistoryTypeId="6" PostId="1284" RevisionGUID="e077220c-babd-4c42-b04c-02acaadf7393" CreationDate="2010-05-29T06:02:38.447" UserDisplayName="user80" Comment="Added tags" Text="&lt;sfx&gt;&lt;sound-design&gt;&lt;techniques&gt;&lt;gunshot&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2453" PostHistoryTypeId="5" PostId="1294" RevisionGUID="66badffb-041b-4abc-a90a-0f696e719829" CreationDate="2010-05-29T06:07:40.883" UserDisplayName="user80" Comment="edited body" Text="... you walk down the street thinking man the world has really good surround sound! &#xD;&#xA;&#xD;&#xA;... you find every formant region along your path and take a moment to hit it. Regardless if their anyone with you or not (same goes for cool reverb and echoes)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2454" PostHistoryTypeId="2" PostId="1298" RevisionGUID="6ae6480e-7e55-4b2d-b66f-740a4a300198" CreationDate="2010-05-29T06:38:00.890" UserId="100" Text="I feel your pain, but I understand (unfortunately) why it's smashed. It's all about delivery. Most people watching TV (or listening to radio in the car, or hearing Muzak in the store) are being bombarded with other sounds. Yelling kids, traffic, *other* commercials; they're all competing for the listeners attention. The grand majority TV viewers aren't paying attention to the dynamics anyway. When I worked in radio, everything got run through special, magic compressors that squished everything to the same level as it was getting sent out. Something about FCC standards. My guess is TV does the same thing before transmission. Just to be safe, I would try to avoid delivering audio with too large of a dynamic range if it's going to be broadcasted. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2455" PostHistoryTypeId="2" PostId="1299" RevisionGUID="cfdd936e-e70a-4386-811c-ff18833b7ea2" CreationDate="2010-05-29T08:23:44.770" UserDisplayName="user80" Text="The audio for commercials is designed so that it can be clearly heard from another room.  It is assumed that people will leave the room, but leave the television on so that they can hear when the programme starts again.  They are also visually designed so that you still see the branding while you fast forward through it.&#xD;&#xA;&#xD;&#xA;The 'louder' you can make the advert, without causing pain, the more the ad agency will use you.  A similar approach is adopted in radio ads.  &#xD;&#xA;&#xD;&#xA;Basically the high levels is an anti-social practice, but unfortunately it has become the norm." ContentLicense="CC BY-SA 2.5" />
  <row Id="2456" PostHistoryTypeId="5" PostId="1299" RevisionGUID="b41200ea-ce4d-4480-a96c-2bc8ec25829d" CreationDate="2010-05-29T08:33:56.427" UserDisplayName="user80" Comment="added 111 characters in body" Text="The audio for commercials is designed so that it can be clearly heard from another room.  It is assumed that people will leave the room, but leave the television on so that they can hear when the programme starts again.  They are also visually designed so that you still see the branding while you fast forward through it.&#xD;&#xA;&#xD;&#xA;The 'louder' you can make the advert, without causing pain, the more the ad agency will use you.  A similar approach is adopted in radio ads.  &#xD;&#xA;&#xD;&#xA;Basically the high levels is an anti-social practice, but unfortunately it has become the norm.&#xD;&#xA;&#xD;&#xA;BBC News Magazine: [Why are TV adverts so loud?][1]&#xD;&#xA;&#xD;&#xA;[1]: http://news.bbc.co.uk/1/hi/magazine/7388473.stm" ContentLicense="CC BY-SA 2.5" />
  <row Id="2457" PostHistoryTypeId="2" PostId="1300" RevisionGUID="8ef5cb21-794e-4dcf-a165-24d9c445e91d" CreationDate="2010-05-29T08:57:07.967" UserId="202" Text="Adam a7, or the new a7x, if they are in your budget. Check the dynaudio bm5a too, same budget. You really need to listen and try them. Maybe you can ask a reseller to listen to some material that you know an compare the sound of different speaker." ContentLicense="CC BY-SA 2.5" />
  <row Id="2458" PostHistoryTypeId="2" PostId="1301" RevisionGUID="71b5e50c-96ab-4b2c-b664-41e1d8994cd2" CreationDate="2010-05-29T09:09:50.440" UserId="62" Text="You make odd clicking sounds in rooms just to hear the reverb response. Cue more odd looks from normal people." ContentLicense="CC BY-SA 2.5" />
  <row Id="2459" PostHistoryTypeId="2" PostId="1302" RevisionGUID="b32b604c-8530-4071-9a02-76493396de93" CreationDate="2010-05-29T09:21:04.193" UserId="62" Text="As much as I hate adverts and working on them I've been guilty of making it louder than normal TV mixing. Although ironically it was a TV ad for blind people who perhaps have better hearing than the rest of us.&#xD;&#xA;&#xD;&#xA;If I'm working on a show with ad breaks I always bring up the sound a little before the ad break so the sudden change in volume is less noticeable.&#xD;&#xA;&#xD;&#xA;As much as I love the L2 it is partly responsible for a lot of pain." ContentLicense="CC BY-SA 2.5" />
  <row Id="2460" PostHistoryTypeId="5" PostId="1300" RevisionGUID="aaf7a108-7468-4a70-9e2a-b3d6f1aa5124" CreationDate="2010-05-29T13:31:13.357" UserId="202" Comment="Fixed grammar" Text="Adam a7, or the new a7x, if they are in your budget. Check the dynaudio bm5a too, same budget. You really need to listen and try them. Maybe you can ask a reseller to listen to some material that you know an compare the sound of different speakers." ContentLicense="CC BY-SA 2.5" />
  <row Id="2461" PostHistoryTypeId="5" PostId="1299" RevisionGUID="22be0800-ff65-4aa3-8c75-f21939f40a91" CreationDate="2010-05-29T14:02:29.817" UserDisplayName="user80" Comment="added 115 characters in body" Text="The audio for commercials is designed so that it can be clearly heard from another room.  It is assumed that people will leave the room, but leave the television on so that they can hear when the programme starts again.  Adverts are also visually designed so that you still see the branding while you fast forward through them.&#xD;&#xA;&#xD;&#xA;The 'louder' you can make the advert, without causing pain, the more the ad agency will use you.  A similar approach is adopted in radio ads.  In the UK the broadcaster is responsible for reducing the 'average' level if an advertiser has been excessive.&#xD;&#xA;&#xD;&#xA;Basically the high levels is an anti-social practice, but unfortunately it has become the norm.&#xD;&#xA;&#xD;&#xA;BBC News Magazine: [Why are TV adverts so loud?][1]&#xD;&#xA;&#xD;&#xA;[1]: http://news.bbc.co.uk/1/hi/magazine/7388473.stm" ContentLicense="CC BY-SA 2.5" />
  <row Id="2462" PostHistoryTypeId="5" PostId="1300" RevisionGUID="2ae020e9-64b2-4597-a965-e1515c5aa512" CreationDate="2010-05-29T14:20:51.470" UserDisplayName="user80" Comment="Added weblink and image" Text="Adam A7, or the new [A7X][1], if they are in your budget. Check the [dynaudio BM 5A][3] too, same budget. You really need to listen and try them. Maybe you can ask a reseller to listen to some material that you know, and compare the sound of different speakers.&#xD;&#xA;&#xD;&#xA;[![Adam A7X][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.adam-audio.com/en/pro-audio/products/a7x/description&#xD;&#xA;[2]: http://www.adam-audio.com/files/images/speakers/main/A7X.jpg&#xD;&#xA;[3]: http://www.dynaudioacoustics.com/Default.asp?Id=3680" ContentLicense="CC BY-SA 2.5" />
  <row Id="2463" PostHistoryTypeId="5" PostId="1281" RevisionGUID="ce5cb5e1-646a-42aa-9c38-5af10c707166" CreationDate="2010-05-29T15:49:46.690" UserDisplayName="user80" Comment="added 1 characters in body" Text="If Genelecs are in your price range you won't go far wrong at all." ContentLicense="CC BY-SA 2.5" />
  <row Id="2464" PostHistoryTypeId="2" PostId="1303" RevisionGUID="de3dfaa6-fdcf-444b-853c-f2a4d246a8dd" CreationDate="2010-05-29T17:00:01.643" UserId="330" Text="I do a lot of TV and radio commercials.  I openly admit that I smash the crap out of my spots with the Massey 2007 Limiter.  At the end of the day I do it because that's what everyone else is doing and I need to compete with them.  While I don't like squashing my work to smithereens, at the end of the day this is advertising.  The job of advertising is to grab and hold people's attention.  Unfortunately in some cases I may be deafening them if they're listening to a really quiet program.  My bad.  &#xD;&#xA;&#xD;&#xA;I wish it wasn't this way but sadly it is.  :(  I hope that something does eventually get passed regulating loudness and limiting and so on but I doubt it will happen.  &#xD;&#xA;&#xD;&#xA;My two cents (well I may have chipped in 3 or 4 cents worth).  &#xD;&#xA;&#xD;&#xA;Paul&#xD;&#xA;aka @paulswaronlove&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2465" PostHistoryTypeId="2" PostId="1304" RevisionGUID="689a7342-804f-410a-8792-2d93480010ce" CreationDate="2010-05-29T17:12:22.507" UserId="331" Text="There's a great sc in Band of Brothers after a building in a town get a mortor through the window - think its the 5-6 ep if i remember correctly" ContentLicense="CC BY-SA 2.5" />
  <row Id="2466" PostHistoryTypeId="2" PostId="1305" RevisionGUID="a74d7228-774a-4e59-b776-fcea2176bd8f" CreationDate="2010-05-29T20:06:05.037" UserId="186" Text="I heard or read somewhere that one of the main elements was a recording of an aircraft simulator at NASA research facility. I've listened quite closely to these sounds and there is a machine-like tonality in there." ContentLicense="CC BY-SA 2.5" />
  <row Id="2468" PostHistoryTypeId="2" PostId="1307" RevisionGUID="8bd3a032-da41-4ff8-92a4-cfbb39096910" CreationDate="2010-05-30T06:10:09.080" UserId="6571" Text="I'm with KRK side" ContentLicense="CC BY-SA 2.5" />
  <row Id="2469" PostHistoryTypeId="2" PostId="1308" RevisionGUID="ec207dc7-20fa-49fa-84cc-6fd7a0d5fb37" CreationDate="2010-05-30T15:01:58.947" UserId="280" Text="Hi!&#xD;&#xA;Well...in my opinion you don't have to underestimate how much a good couple of monitors important is.&#xD;&#xA;Budget is the first important thing: I wouldn't take KRK Rokits and Genelec. It would be better to find a couple of KRK V8. They are very good and they let you hear many things that other monitors use to hide. Genelec are very boomy and not accurate. They are very good for listening to music but not for work. &#xD;&#xA;Adam too are very good, but for what they give are too expensive. On the other hand you could look for a couple of passive monitor, but it depends about your budget and if you have to move frequently. Yamaha NS-10 are a good standard but in my opinion are absolutely overestimated. If you look patiently on e-bay for a couple of B&amp;W 805 Matrix I can assure you that it's the best choice that you can make. They are celestial.&#xD;&#xA;What I must tell you is: buy used! Don't buy a new couple of monitor, beacuse you pay them too much and maybe in 6 months you decide to change them. &#xD;&#xA;Furthermore it's very important WHERE are you going to put your monitors. Even if you buy a couple of Zingali and you put them in a bad (acoustically) place they will sound as a couple of Ipod's speakers. &#xD;&#xA;&#xD;&#xA;Hope I've been usefull&#xD;&#xA;&#xD;&#xA;PS This is only my opinion, about speakers everyone has his own liking. If you can go to a store and try them with your own hears trying to understand by your self.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2470" PostHistoryTypeId="2" PostId="1309" RevisionGUID="1c2ca6cb-139a-4414-a1e4-a7c6f1e82e74" CreationDate="2010-05-30T21:33:40.973" UserId="331" Text="....your willing to spend hours just for a 2sec sfx eg. your willing to go through the pain of defrosting your freezer just so you can collect all the ice and record lots of ice stabs and grinding.  Just done it, wasn't fun but hugely rewarding...&#xD;&#xA;&#xD;&#xA;....you use a variation of &quot;when someone opens a door on screen, I go out and record the sound of a door opening' analogy to explain what exactly it is you do as a job...&#xD;&#xA;&#xD;&#xA;....your often seen loitering around with a phone to your ear while your actually doing some stealthy recording with your 'unusually bulky looking ipod'...&#xD;&#xA;&#xD;&#xA;....you take advantage of your surroundings and feed blurays into your $$$ Genelec 5.1 system  for 'research' purposes..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2471" PostHistoryTypeId="2" PostId="1310" RevisionGUID="853e5a32-26f7-4dd4-9545-54868edb47eb" CreationDate="2010-05-30T22:06:56.153" UserId="336" Text="I am surprised that none of the correspondents have mentioned the Jules Dassin classic, Rififi.It has one of the longest silences in a film." ContentLicense="CC BY-SA 2.5" />
  <row Id="2472" PostHistoryTypeId="2" PostId="1311" RevisionGUID="344437f6-b3ef-4cfe-95ff-fbb4458ad183" CreationDate="2010-05-30T23:25:24.260" UserId="337" Text="I also use an 81 for foley alot. It sounds great for feet I find." ContentLicense="CC BY-SA 2.5" />
  <row Id="2473" PostHistoryTypeId="2" PostId="1312" RevisionGUID="e1028385-3ffd-4105-83dc-cfcef6a68c95" CreationDate="2010-05-31T01:27:19.927" UserId="260" Text="I fell into it while I was doing voice editing for my voice overs. The clients had requests for ghost like voice, monster like and so on. I began with voice design and wanted to try sound design. It was video games and movies that just encouraged me to be a sound designer when I listened to the matrix, lord of the rings, indiana jones, star wars and so on. I recognized tidbits within sounds that made them amazing to listen to and I wanted to make stuff like that. I'm pretty new  but I'm having fun and learning a lot everyday." ContentLicense="CC BY-SA 2.5" />
  <row Id="2474" PostHistoryTypeId="2" PostId="1313" RevisionGUID="6344f344-668a-4b7b-9a4b-e949c6d47dae" CreationDate="2010-05-31T01:36:54.447" UserId="260" Text="every artist is somewhat skeptical to their own work. I am all the time. It also suck that general people don't notice sound within movies to give you valuable feedback. I listen to movies I worked on a long time ago and I am surprised at certain sounds I created, sounds I first really hated." ContentLicense="CC BY-SA 2.5" />
  <row Id="2475" PostHistoryTypeId="2" PostId="1314" RevisionGUID="4ad8e230-1347-4390-932a-98d3ce5ec7e0" CreationDate="2010-05-31T02:05:58.213" UserId="298" Text="Honestly... just because with my musical background and experience (in a lenght of life) im not see myself anywhere and anyone else. Lawyer ? sorry nooo - too organised. Sound engineer? too &quot;technical&quot;, with not so creative solutions to accomplish tasks.&#xD;&#xA;&#xD;&#xA;I see sound design as a well balansed work between creativity and technical skills - kinda between composer and engineer. Thats great! and no dress code (most important thing - i hate suits haha )" ContentLicense="CC BY-SA 2.5" />
  <row Id="2476" PostHistoryTypeId="2" PostId="1315" RevisionGUID="56aa24ce-fb1c-49c1-87ac-56090ff2c905" CreationDate="2010-05-31T03:00:39.053" UserId="264" Text="There's 11'09&quot;01, a collection of eleven shorts from eleven international directors reflecting on events around 9/11. The French short was from the perspective of a mostly deaf Frenchwoman living in NYC. Her boyfriend heads to work at the WTC, leaving her at home where she works on writing a Dear John letter. If I remember correctly most of the film is silent, from her perspective; A T.V. over her shoulder displays news feeds from that day, but of course since she's deaf she doesn't notice. Near the end there's a bassy but quiet rumble, which she notices but then shrugs off.&#xD;&#xA;&#xD;&#xA;I know of a second film... something to do with a cop who's losing his hearing and developing tinnitus. There's a few segments where his hearing drops out, unprovoked, and he's left with a loud ring in his ears. Sadly I can't remember the title." ContentLicense="CC BY-SA 2.5" />
  <row Id="2477" PostHistoryTypeId="5" PostId="1315" RevisionGUID="1d746149-e4ef-470b-93ef-a0f263225069" CreationDate="2010-05-31T03:12:02.493" UserId="264" Comment="added 24 characters in body" Text="There's 11'09&quot;01, a collection of eleven shorts from eleven international directors reflecting on events around 9/11. The French short was from the perspective of a mostly deaf Frenchwoman living in NYC. Her boyfriend heads to work at the WTC, leaving her at home where she works on writing a Dear John letter. If I remember correctly most of the film is silent, from her perspective; A T.V. over her shoulder displays news feeds from that day, but of course since she's deaf she doesn't notice. Near the end there's a bassy but quiet rumble, which she notices but then shrugs off.&#xD;&#xA;&#xD;&#xA;I know of a second film... something to do with a cop who's losing his hearing and developing tinnitus. There's a few segments where his hearing drops out, unprovoked, and he's left with a loud ring in his ears,which then are our ears. Sadly I can't remember the title." ContentLicense="CC BY-SA 2.5" />
  <row Id="2478" PostHistoryTypeId="2" PostId="1316" RevisionGUID="fb48c441-dc21-4fe1-8852-dd03db57f4c6" CreationDate="2010-05-31T16:48:16.523" UserId="243" Text="I've recently purchased the nuendo 4 pack after installing I was shocked to see there arent any denoisser or deesser plugins, where can i find them? I tried the steinberg site but I jsut want to knoew if im wasting time looking. Are there any if so where can i download them?  work on the new 15 inch macbook pro.&#xD;&#xA;&#xD;&#xA;regards sound samuris :D" ContentLicense="CC BY-SA 2.5" />
  <row Id="2479" PostHistoryTypeId="1" PostId="1316" RevisionGUID="fb48c441-dc21-4fe1-8852-dd03db57f4c6" CreationDate="2010-05-31T16:48:16.523" UserId="243" Text="nuendo 4 plugins" ContentLicense="CC BY-SA 2.5" />
  <row Id="2480" PostHistoryTypeId="3" PostId="1316" RevisionGUID="fb48c441-dc21-4fe1-8852-dd03db57f4c6" CreationDate="2010-05-31T16:48:16.523" UserId="243" Text="&lt;neundo&gt;&lt;4&gt;&lt;plug-ins&gt;&lt;denoiser&gt;&lt;deesser&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2481" PostHistoryTypeId="16" PostId="1316" RevisionGUID="fb48c441-dc21-4fe1-8852-dd03db57f4c6" CreationDate="2010-05-31T16:48:16.523" UserId="243" />
  <row Id="2482" PostHistoryTypeId="2" PostId="1317" RevisionGUID="65cf1bd1-873f-48c7-bef6-8da2d791c956" CreationDate="2010-05-31T17:45:39.057" UserId="2" Text="Same thing here... I don't usually use the Nuendo Restoration plugins but the other day I was teaching a workshop on Nuendo plugins and to my shock those two plugins weren't popping up. &#xD;&#xA;&#xD;&#xA;Are you on a Mac? What system? I'm on Snow Leopard (10.6), and wonder if that could be it. The uni I was teaching at had Leopard (10.5) and they where working...&#xD;&#xA;&#xD;&#xA;I think those plugins are VST 2, which might be struggling on the new OS running 64 bit - not sure though. It might also be conflicting plugins. I also checked the content of the Nuendo app's folder and they are definitively there. I even copied them into another place, but they weren't coming up either. &#xD;&#xA;&#xD;&#xA;If you can't find an answer here on SSD, it might be worth asking over on the www.steinberg.net forum. &#xD;&#xA;&#xD;&#xA;Good luck, and let me know if you come right. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2483" PostHistoryTypeId="16" PostId="1317" RevisionGUID="65cf1bd1-873f-48c7-bef6-8da2d791c956" CreationDate="2010-05-31T17:45:39.057" UserId="-1" />
  <row Id="2484" PostHistoryTypeId="6" PostId="1316" RevisionGUID="0f0eef44-700a-41d6-bdde-f3937a655037" CreationDate="2010-05-31T17:48:50.630" UserId="2" Comment="tags" Text="&lt;plug-ins&gt;&lt;denoiser&gt;&lt;deesser&gt;&lt;bugs&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2485" PostHistoryTypeId="2" PostId="1318" RevisionGUID="71308eeb-a73a-4f7e-b10d-a41704d50fb3" CreationDate="2010-05-31T18:39:14.257" UserId="202" Text="I've the opportunity to buy an used kmr81 for 600 € + tax. What do you think? How does it compare with the schoeps csc6 with mk4 or mk41 capsule( that I already own and love)??" ContentLicense="CC BY-SA 2.5" />
  <row Id="2486" PostHistoryTypeId="2" PostId="1319" RevisionGUID="185e9b29-072a-4ae4-9070-0d755e9a75e8" CreationDate="2010-05-31T21:00:21.600" UserId="2" Text="Crazy title. This is out of interest sakes, and maybe a stupid question:&#xD;&#xA;&#xD;&#xA;Theoretically, if one where to travel at the speed of sound with no air/wind (not a vacuum as there would be no sound) what would sound sound like? Imagining the sound propagates in a straight line and there are no reflections. Obviously it depends on the sound, but would one hear a sort of segment of time stuck (like a granular synth) or maybe some very slow oscillating and modulating mesh mash of frequencies? &#xD;&#xA;&#xD;&#xA;Thinking hats on... " ContentLicense="CC BY-SA 2.5" />
  <row Id="2487" PostHistoryTypeId="1" PostId="1319" RevisionGUID="185e9b29-072a-4ae4-9070-0d755e9a75e8" CreationDate="2010-05-31T21:00:21.600" UserId="2" Text="What would sound sound like at the speed of sound? " ContentLicense="CC BY-SA 2.5" />
  <row Id="2488" PostHistoryTypeId="3" PostId="1319" RevisionGUID="185e9b29-072a-4ae4-9070-0d755e9a75e8" CreationDate="2010-05-31T21:00:21.600" UserId="2" Text="&lt;physics&gt;&lt;trivia&gt;&lt;speed-of-sound&gt;&lt;theory&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2489" PostHistoryTypeId="2" PostId="1320" RevisionGUID="fba5e72e-bb12-4857-a0e4-c5c8283d9609" CreationDate="2010-05-31T21:45:44.683" UserDisplayName="user49" Text="People do travel at the speed of sound (eg Chuck Yeager) so this really isn't an abstract question... In this article Mano Ziegler describes &quot;transonic buffeting&quot; which relates to the extreme forces on the plane:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Sound_barrier&#xD;&#xA;&#xD;&#xA;But the fact you specify &quot;no air/wind&quot; means it isn't in a plane, in which case I think the sound you would hear, if you were truly ready to hear it would be &quot;aum&quot;&#xD;&#xA;&#xD;&#xA;&quot;the sound that is not made by two things striking together.&quot;&#xD;&#xA;&#xD;&#xA;http://www.spiritsound.com/aum.html&#xD;&#xA;http://www.messagefrommasters.com/Stories/Zen/Sound_of_one_Hand_Clapping.htm&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2490" PostHistoryTypeId="2" PostId="1321" RevisionGUID="660efd47-e42e-492e-a821-ace58834af69" CreationDate="2010-05-31T23:53:56.747" UserId="17" Text="This is the extreme limit of the doppler effect. You hear &quot;sound&quot; as the changes in pressure of the sound wave. If you are travelling along with the sound wave, then you won't get any changes in pressure so you won't hear it.&#xD;&#xA;&#xD;&#xA;One way to conceptualize it is that sound waves are like the grooves in a record. The normal situation is you (the needle) are standing still and the sound wave (record) travels past you at a fixed rate (the speed of sound in one case, the speed of the record in the other).&#xD;&#xA;&#xD;&#xA;Now imagine moving the needle along with the record - at the &quot;speed of sound&quot; as it were. This is what would happen if you travel along the path of a sound wave.&#xD;&#xA;&#xD;&#xA;Imagine the other way - move the needle in the opposite direction to the spinning record, and at the same speed. In this case, the *effective* speed of the record is twice as fast, and would sound an octave higher.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2491" PostHistoryTypeId="2" PostId="1322" RevisionGUID="02c0e594-6259-4c61-a882-d4bc0c2e3186" CreationDate="2010-06-01T00:22:48.603" UserId="90" Text="If there's no wind, then the air must be moving at the speed of sound alongside you, which would mean that you would hear in it normally, like the air carried in the cockpit of a supersonic plane." ContentLicense="CC BY-SA 2.5" />
  <row Id="2492" PostHistoryTypeId="2" PostId="1323" RevisionGUID="f442db72-3d39-4667-91be-fd149a66dbc9" CreationDate="2010-06-01T00:53:32.877" UserId="339" Text="Saludos a todos!&#xD;&#xA;&#xD;&#xA;I'm about to be sent as a Foley Recordist in a big movie that landed in the studio where I work. The fact is, I've already gathered some experience in different sound-oriented areas, and although I don't consider myself a top-player, I've had the luck to work with some of the greatest sound professionals from my country.&#xD;&#xA;All is great. Except that I never recorded foley.&#xD;&#xA;&#xD;&#xA;Not once.&#xD;&#xA;&#xD;&#xA;I've done a little ADR recording,&#xD;&#xA;I've Edited Foley,&#xD;&#xA;&#xD;&#xA;But I never went to work as a Foley Recordist.&#xD;&#xA;&#xD;&#xA;So, my question ( If you can call it a question) is, what things do I need to have in mind for this task?&#xD;&#xA;&#xD;&#xA;Any help, ranging from session templates to little tips and tricks is welcome.&#xD;&#xA;&#xD;&#xA;Thanks to everyone, and sorry for the bad english&#xD;&#xA;&#xD;&#xA;GMatijas.-" ContentLicense="CC BY-SA 2.5" />
  <row Id="2493" PostHistoryTypeId="1" PostId="1323" RevisionGUID="f442db72-3d39-4667-91be-fd149a66dbc9" CreationDate="2010-06-01T00:53:32.877" UserId="339" Text="Foley Recording Musts" ContentLicense="CC BY-SA 2.5" />
  <row Id="2494" PostHistoryTypeId="3" PostId="1323" RevisionGUID="f442db72-3d39-4667-91be-fd149a66dbc9" CreationDate="2010-06-01T00:53:32.877" UserId="339" Text="&lt;foley&gt;&lt;templates&gt;&lt;recordist&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2495" PostHistoryTypeId="2" PostId="1324" RevisionGUID="370c7d3c-9eec-4973-af9c-bc663613168b" CreationDate="2010-06-01T01:56:37.763" UserId="18160" Text="If you're doing stock Foley recording, meaning you have no picture you are matching and you are doing it for the sake of recording it, remember this:&#xD;&#xA;&#xD;&#xA;For every action you record, remember there is a range of emotions you will wish you recorded it in.&#xD;&#xA;&#xD;&#xA;For example,&#xD;&#xA;&#xD;&#xA;Opening and closing a door does not always happen at the same, conservative speed and &quot;normal&quot; way. When you go to cut the sad scene for your artsy talkie movie when the teenage girl slowly closes the door after having been dumped by her boyfriend, you'll want a slow and soft close. But for the horror zombie movie you want some loud scary slams of that door. Record as much variety as you can.&#xD;&#xA;&#xD;&#xA;I record doors in every possibly emotion: ranging from slow and sad, to fast and angry.&#xD;&#xA;&#xD;&#xA;Same thing goes for keys in locks, gun foley, footsteps, you name it.&#xD;&#xA;&#xD;&#xA;This of course doesn't apply when you have the action on screen to match because then it's obvious what sound you are looking for. This mainly applies to &quot;generic&quot; foley, those moments when you find something cool to record but don't have a project to use it for.&#xD;&#xA;&#xD;&#xA;Have fun!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2496" PostHistoryTypeId="2" PostId="1325" RevisionGUID="ab2ca893-258d-4344-87cb-c0eaaccc5751" CreationDate="2010-06-01T03:01:53.070" UserId="339" Text="Pencil or cycle copy-paste for me..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2497" PostHistoryTypeId="2" PostId="1326" RevisionGUID="6b64c73a-78d5-448b-8d90-b51f335fa7a4" CreationDate="2010-06-01T03:07:26.473" UserId="339" Text="I did some recording with the Sony PCM-90 and the quality really surprised me...don't really know how much is worth nowadays and where do you live." ContentLicense="CC BY-SA 2.5" />
  <row Id="2498" PostHistoryTypeId="2" PostId="1327" RevisionGUID="20665f8a-5820-40c4-9835-b7a0e6750b16" CreationDate="2010-06-01T04:06:22.147" UserId="275" Text="To record audio well, that is to say that the audio sounds as close to the original voice and is appropriate to the picture, it is very simple. A good mic + a good mic preamp + a good recorder = good audio. Now, that is at its very basic form. An experienced sound mixer is absolutely your best tool in the shed. A good sound mixer will know how to use good gear appropriately. I'm sorry but a Zoom H2 or H4 is NOT a good recorder. The mic preamps are crap, the clock is shaky, and the reliability is a joke. Do they record sound at 24 bit with high sample rates?  Sure. But, there is FAR more to getting a quality, true sound than sample rate and bit depth. &#xD;&#xA;&#xD;&#xA;So often I hear people ask &quot;how can I get a great sounding recording for cheap?&quot; The simple truth is, you can't. Good audio equipment isn't cheap. A good sound mixer/recordist isnt someone who was a boom op on a few student projects.  Cheap audio equipment is cheap, but not good. You can record HD video with a Flip cam but on a big screen it looks bad. &#xD;&#xA;&#xD;&#xA;Remember, nothing screams indie movie like bad audio!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2499" PostHistoryTypeId="2" PostId="1328" RevisionGUID="4570befb-8861-4c5e-99eb-5ba4e90c73e3" CreationDate="2010-06-01T04:12:30.490" UserId="275" Text="Make it appropriate to the picture. That means sound, perspective, emotion, and timing. Does that squishy orange sound mean some fruit just got squashed or did a brain just get smashed in?  Picture + sound tells the story. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2500" PostHistoryTypeId="2" PostId="1329" RevisionGUID="a3f545b9-ab72-4fe8-8ef9-51dc24e20159" CreationDate="2010-06-01T04:20:04.857" UserId="152" Text="There are definitely trends in what monitors are being used across town (Los Angeles) and the industry these days, mostly what is popular during the time of purchase. For example, when I was an intern at Danetracks almost every editing suite was using the Mackie HR824; they are extremely reasonably priced and translate exceptionally well, both on large format stage situations and television. The new HR824mk2 are another story, as it is said that they do not sound as good as there predecessors and I doubt the decision to purchase Mackies would be the same if these were the speakers available back at the original point of sale.&#xD;&#xA;&#xD;&#xA;I believe at one point M&amp;K speakers were favored at Skywalker Sound, but as M&amp;K is in a production slump because of legal issues at the moment, Dynaudio seems to be the choice now. (You can see what looks like BM6's with Ben Burtt in the special features section of Wall-E)&#xD;&#xA;&#xD;&#xA;The Genelecs are amazing speaker for one reason alone: They are nearly perfectly flat in response. GENELECS HAVE TO BE TUNED. Almost every other speaker in the market has some sort of curve to it, either making the product sound amazing or lousy. Genelec are an amazing speaker but can be to punchy or harsh if they are not tuned for the specific room they are installed in. There is a good reason why so many studios use Genelec on their stages...&#xD;&#xA;&#xD;&#xA;Where I am currently working we have a JBL 5672 5.1 system for mixing features, a 2.1 M&amp;K for music, and a small set of cheapo Yamaha's for TV emulation. They all sound amazing.&#xD;&#xA;&#xD;&#xA;The biggest point of advice I can give is this: Find out what your peers/co-workers/clients are using and emulate their setup. If I was working for Danetracks I would get a set of Mackies. For Skywalker I would purchase Dynaudios. If I was mixing strictly Television I would probably get a small pair of Genelec 8020's or 8030's.&#xD;&#xA;&#xD;&#xA;Hope my rant was useful...&#xD;&#xA;Nick&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2501" PostHistoryTypeId="5" PostId="1329" RevisionGUID="3b55f989-e188-4de8-a5ae-b74838a5c458" CreationDate="2010-06-01T04:26:22.683" UserId="152" Comment="added 332 characters in body" Text="There are definitely trends in what monitors are being used across town (Los Angeles) and the industry these days, mostly what is popular during the time of purchase. For example, when I was an intern at Danetracks almost every editing suite was using the Mackie HR824; they are extremely reasonably priced and translate exceptionally well, both on large format stage situations and television. The new HR824mk2 are another story, as it is said that they do not sound as good as there predecessors and I doubt the decision to purchase Mackies would be the same if these were the speakers available back at the original point of sale.&#xD;&#xA;&#xD;&#xA;I believe at one point M&amp;K speakers were favored at Skywalker Sound, but as M&amp;K is in a production slump because of legal issues at the moment, Dynaudio seems to be the choice now. (You can see what looks like BM6's with Ben Burtt in the special features section of Wall-E)&#xD;&#xA;&#xD;&#xA;The Genelecs are amazing speaker for one reason alone: They are nearly perfectly flat in response. GENELECS HAVE TO BE TUNED. Almost every other speaker in the market has some sort of curve to it, either making the product sound amazing or lousy. Genelec are an amazing speaker but can be to punchy or harsh if they are not tuned for the specific room they are installed in. There is a good reason why so many studios use Genelec on their stages...&#xD;&#xA;&#xD;&#xA;Where I am currently working we have a JBL 5672 5.1 system for mixing features, a 2.1 M&amp;K for music, and a small set of cheapo Yamaha's for TV emulation. They all sound amazing.&#xD;&#xA;&#xD;&#xA;The biggest point of advice I can give is this: Find out what your peers/co-workers/clients are using and emulate their setup. If I was working for Danetracks I would get a set of Mackies. For Skywalker I would purchase Dynaudios. If I was mixing strictly Television I would probably get a small pair of Genelec 8020's or 8030's. At home I have a Blue Sky 5.1 Media Desk system that I purchased used for $850. A great set of speakers for basic editing and basic panning. In my opinion you should refrain from Bose, not because it is a bad speaker, but because no one uses them for professional audio editing in our industry, that I know of or have seen so far. &#xD;&#xA;&#xD;&#xA;Hope my rant was useful...&#xD;&#xA;Nick&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2502" PostHistoryTypeId="2" PostId="1330" RevisionGUID="09caa769-2336-4ed7-b363-809c57a301cd" CreationDate="2010-06-01T06:05:32.170" UserId="40" Text="Ok, let's say, for my explanation's sake, that the sound can only travel along one plane (like you suggested in your question).  So only towards you or away from you.  Let's also assume this is happening at &quot;room&quot; temperature (68F) in dry air.  Therefore, it is assumed that the speed of sound will be 767mph (or 1125ft/s or 343 m/s)&#xD;&#xA;&#xD;&#xA;Say a sound is coming straight towards you.  It will get to you at a rate of 767 mph.  If you go straight towards the sound at the speed of sound, it will get to you twice as fast (343m/s + 343m/s = 686m/s), and you would get an amplified doppler effect.&#xD;&#xA;&#xD;&#xA;Take a look at this equation to figure out how much the doppler will effect your sound:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Where:&#xD;&#xA;(f) is the observed frequency&#xD;&#xA;(f0) is the emitted frequency&#xD;&#xA;(V) is the velocity of waves in the medium (343 in this case)&#xD;&#xA;(Vr) is the velocity of the receiver relative to the medium; positive if the receiver is moving towards the source.&#xD;&#xA;&#xD;&#xA;So, for a 1k tone:  f = ((343 + 343)/343)1000&#xD;&#xA;&#xD;&#xA;So f = 2000hz (or 2kHz).  So, basically, if you travel at the speed of sound directly at a sound, everything will be exactly one octave higher. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;However, if you travel at the speed of sound in the opposite direction of the sound coming towards you, the sound will never get to you, hence, you would never hear it, which is good, because I don't want to fight with any more equations...&#xD;&#xA;&#xD;&#xA;But...... (and I hesitate adding this in because I don't want to type and more equations, but apparently I must...)&#xD;&#xA;&#xD;&#xA;If you were to go JUST SHY (say by 3m/s for this example) of the speed of sound in the opposite direction of the sound, it would look like this: (same equation)&#xD;&#xA;&#xD;&#xA;Again, for the 1k tone:  f = ((343 + (-340))/343)1000&#xD;&#xA;&#xD;&#xA;So f = 8.746hz.  Basically, your 1k tone would cease to be in your hearing range. Sound would sound like it's slowing down until it stops as you approach 343 m/s in the opposite direction of the sound.&#xD;&#xA;&#xD;&#xA;NOW, if you are currently going the speed of sound, and you make a sound, that sound will now be going 686 m/s relative to ground.  So, anyone that hears you speak while you're going that speed will hear you at exactly 1 octave higher (unless they themselves are moving).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Cool question!  Let me know if you need me to clarify anything!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://upload.wikimedia.org/math/1/c/d/1cd3a66b1e60532b0c74a157018b1702.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="2503" PostHistoryTypeId="5" PostId="1330" RevisionGUID="6c13227c-3a4e-4811-805a-0b0bb026da4e" CreationDate="2010-06-01T06:11:20.077" UserId="40" Comment="added 354 characters in body; deleted 53 characters in body" Text="Ok, let's say, for my explanation's sake, that the sound can only travel along one plane (like you suggested in your question).  So only towards you or away from you.  Let's also assume this is happening at &quot;room&quot; temperature (68F) in dry air.  Therefore, it is assumed that the speed of sound will be 767mph (or 1125ft/s or 343 m/s)&#xD;&#xA;&#xD;&#xA;Say a sound is coming straight towards you.  It will get to you at a rate of 767 mph.  If you go straight towards the sound at the speed of sound, it will get to you twice as fast (343m/s + 343m/s = 686m/s), and you would get an amplified doppler effect.&#xD;&#xA;&#xD;&#xA;Take a look at this equation to figure out how much the doppler will effect your sound:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Where:&#xD;&#xA;(f) is the observed frequency (what you hear),&#xD;&#xA;(f0) is the emitted frequency (what the original sound is),&#xD;&#xA;(V) is the velocity of waves in the medium (343 in this case), and &#xD;&#xA;(Vr) is the velocity of the receiver relative to the medium; positive if the receiver (you) is moving towards the source.&#xD;&#xA;&#xD;&#xA;So, for a 1k tone:  f = ((343 + 343)/343)1000&#xD;&#xA;&#xD;&#xA;So f = 2000hz (or 2kHz).  So, basically, if you travel at the speed of sound directly at a sound, everything will be exactly one octave higher. &#xD;&#xA;&#xD;&#xA;However, if you travel at the speed of sound in the opposite direction of the sound coming towards you, the sound will never get to you, hence, you would never hear it, which is good, because I don't want to fight with any more equations...&#xD;&#xA;&#xD;&#xA;But......If you were to go JUST SHY (say by 3m/s for this example) of the speed of sound in the opposite direction of the sound, it would look like this: (same equation)&#xD;&#xA;&#xD;&#xA;Again, for the 1k tone:  f = ((343 + (-340))/343)1000&#xD;&#xA;&#xD;&#xA;So f = 8.746hz.  Basically, your 1k tone would cease to be in your hearing range. Sound would sound like it's slowing down until it stops as you approach 343 m/s in the opposite direction of the sound.&#xD;&#xA;&#xD;&#xA;So yes, in answer to your question - it would sound very strange and slow and all, because the sound would be arriving to you very slowly...&#xD;&#xA;&#xD;&#xA;NOW, if you are currently going the speed of sound, and you make a sound, that sound will now be going 686 m/s relative to ground.  So, anyone that hears you speak while you're going that speed will hear you at exactly 1 octave higher (unless they themselves are moving).&#xD;&#xA;&#xD;&#xA;Even with reflections and all, this pretty much stays the same.  However, temperature and medium (air, humidity, water, steel, etc...) would change the sound more drastically as the speed of sound would change.&#xD;&#xA;&#xD;&#xA;Cool question!  Let me know if you need me to clarify anything!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://upload.wikimedia.org/math/1/c/d/1cd3a66b1e60532b0c74a157018b1702.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="2504" PostHistoryTypeId="2" PostId="1331" RevisionGUID="0df594d4-bdc2-420f-a8e8-0754bfece8dc" CreationDate="2010-06-01T08:03:01.573" UserId="300" Text="Setting ProTools to punch record your pre-roll is a good one. J" ContentLicense="CC BY-SA 2.5" />
  <row Id="2505" PostHistoryTypeId="2" PostId="1332" RevisionGUID="5b636c0b-efdb-4cfa-9548-9e8ce3ba62e0" CreationDate="2010-06-01T10:38:20.167" UserId="18" Text="Monitors are very subjective and everyone will have their own opinion.  Your best bet is to figure out exactly what your budget is and what speakers are available in that range.  Look at sites like sweetwater.com or guitarcenter.com to see what is out there and get a good idea of price ranges.&#xD;&#xA;&#xD;&#xA;Since you mention that you are looking for monitors on a &quot;small budget&quot; that leads me to believe that you basically just need something that will play back sound.  In most cases, you do get what you pay for, so budget as much as you can.  Otherwise, you will see yourself upgrading very soon.  &#xD;&#xA;&#xD;&#xA;I've owned 3 pairs of monitors in my career: Event 20/20's, because they were cheap and I needed something to get started. Then I upgraded to Mackie HR824's, because I became familiar/comfortable with them through many of the game studios I worked at.  After 7 years with the Mackies, I just upgraded to JBL 6328P's, and it is a totally different world.&#xD;&#xA;&#xD;&#xA;Once you have narrowed down your budget, and have a few models picked out, you could ask for people's opinions on the specific models.  But, as a I said above, monitors are very subjective.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2506" PostHistoryTypeId="2" PostId="1333" RevisionGUID="03f923bb-4b00-4fff-ad4d-22cda1d783b8" CreationDate="2010-06-01T13:01:31.113" UserId="62" Text="Mic placement is important. Make sure the recording will work from the perspective of the shot. It's not always necessary to place the mic a few millimeters away from the prop." ContentLicense="CC BY-SA 2.5" />
  <row Id="2507" PostHistoryTypeId="2" PostId="1334" RevisionGUID="52648fc4-a2ec-4210-838b-106d1dd58d5c" CreationDate="2010-06-01T14:17:31.187" UserId="342" Text="+1 for the [Zoom H2][1]. I've had mine now for the last year and its never let me down. &#xD;&#xA;Its small in size and takes SD Card and regular AA batteries. &#xD;&#xA;&#xD;&#xA;Another thing about the Zoom H2 is just how easy it is to get recording and the features it comes with. MP3 and .WAV up to 96khz! Not to mention that it comes with 4 built in mic capsules for 360deg recording.&#xD;&#xA;&#xD;&#xA;Sure, the H2 doesn't have XLR inputs but I think most people would just use it in a simple manner and the price is just crazy!&#xD;&#xA;&#xD;&#xA;Anyways... my 2 cents. &#xD;&#xA;&#xD;&#xA;Bill&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hubpages.com/hub/Zoom-H2-Handy-Portable-Stereo-Field-Recorder" ContentLicense="CC BY-SA 2.5" />
  <row Id="2508" PostHistoryTypeId="2" PostId="1335" RevisionGUID="e7f4db4d-ffe7-4f31-a742-7716e5087c2f" CreationDate="2010-06-01T15:52:09.023" UserId="341" Text="Hello. I am covering all sound duties except for boom operator for a feature shooting in August. We have a Tascam stereo recorder for the shotgun but I have access to two quality radio lapel mics and want to use them for the two main characters in each scene - it's quite important that we get the best production dialogue as possible - these I will be recording either directly into pro tools or onto a DAT machine. Any advice on where to discreetly pin these radios would be appreciated. Any other comments or helpful advice for successful production dialogue recording would also be valued; I've been reading other threads here and have already picked up some tips, but the more the better!&#xD;&#xA;Cheers." ContentLicense="CC BY-SA 2.5" />
  <row Id="2509" PostHistoryTypeId="1" PostId="1335" RevisionGUID="e7f4db4d-ffe7-4f31-a742-7716e5087c2f" CreationDate="2010-06-01T15:52:09.023" UserId="341" Text="Location recording and best position for radio lapels?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2510" PostHistoryTypeId="3" PostId="1335" RevisionGUID="e7f4db4d-ffe7-4f31-a742-7716e5087c2f" CreationDate="2010-06-01T15:52:09.023" UserId="341" Text="&lt;location&gt;&lt;radio&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2511" PostHistoryTypeId="2" PostId="1336" RevisionGUID="2efc96f2-a081-4372-b762-e595475bce37" CreationDate="2010-06-01T16:45:15.590" UserId="315" Text="You'll get some great answers on this group. But here's where all of the pro production sound mixers hang out. A lot of seasoned experts on this group:&#xD;&#xA;&#xD;&#xA;http://groups.google.com/group/rec.arts.movies.production.sound/topics&#xD;&#xA;&#xD;&#xA;Generally lavs are pinned on the chest around the bottom of the ribcage. Other things to consider: try putting them in the actors hair, on the brim of a hat, on the top window visor of a car when doing car interiors, hiding them off of the actor in a prop such as a plant etc.. Whatever you do, avoid putting them under clothing as it creates what I like to call an &quot;audio perfect storm&quot;: a muffled voice with a bunch of cloth scraping on top of it. Very hard to remove cloth from dialog, especially if you have to add presence EQ to make the dialog more intelligible.&#xD;&#xA;&#xD;&#xA;I generally dislike the sound of lavs as they sound too dry, chesty, and unnatural. Whatever you do, don't ever just rely on them during a shot. Always boom.&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 2.5" />
  <row Id="2512" PostHistoryTypeId="2" PostId="1337" RevisionGUID="8748729e-d439-4bad-a046-309cf73f0696" CreationDate="2010-06-01T17:12:45.207" UserId="339" Text="Not quite an answer, but I hope to see some action in these respones. As a Sound Editor workings mostly on Walkie-Talkies, 90% of times Surround is used only for Amb and some reverbs. That's how we work here, too much Surr distracts audience form the story, one may say..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2513" PostHistoryTypeId="2" PostId="1338" RevisionGUID="c84d8ea2-a2f9-4501-a051-7fec48a145d3" CreationDate="2010-06-01T17:57:00.397" UserId="339" Text="Last year I worked on a film called ''Anita'' where the main character survives a bomb explosion, and she gets confused by the blast. We used lots of LFE to achieve the sense of lost hearing...Eq'd and pitched-down car pass-bys for traffic, Whirling low whoshes for people passing by, etc...Also, tinnitus is always a good option. I remember layering some crystal glasses ''played'' with the fingertips (sort of an analog sine-wave generator) for these particular scene." ContentLicense="CC BY-SA 2.5" />
  <row Id="2514" PostHistoryTypeId="2" PostId="1339" RevisionGUID="7fcf4fda-541a-4f56-a658-91af1fa91240" CreationDate="2010-06-01T19:54:15.053" UserId="275" Text="I've always preferred the sound of a good shotgun mic over a lav.  But, sometimes the framing doesn't allow for a shotgun mic.  If you need to use lavs here are a few tips for you:&#xD;&#xA;&#xD;&#xA;*Having the lav exposed and using a clip will definitely net better sound than placing it beneath clothing.&#xD;&#xA;*If the lav has to be hidden use a vampire clip on one side and a gaff tape triangle on the other.  That will help reduce clothing noise.  It won't eliminate clothing sound, it will simply reduce it.  &#xD;&#xA;*Use an omni lav, not a cardioid or other direction lav and place it somewhere on the chest, brim of a hat, etc.  &#xD;&#xA;*If the actor is stationary you might be able to place the mic on an object rather than on their body.  For example, if the actor is standing in a door way you could place the lav on the door jam instead of on them.  You'll get great sound, no clothing rustle, and the mic can easily be hidden.&#xD;&#xA;*When hiding the lav underneath clothing it helps to place it between two shirts as opposed to a shirt and the actors skin.  If the actor is only wearing one shirt use a gaff tape triangle on the side with the shirt and hypoallergenic surgical tape on the skin side.&#xD;&#xA;*In spite of what some people think a lav does NOT eliminate background noise!  I've had more than one director turn to me and say &quot;just put a lav on the actor and then we won't hear all of the planes/trains/automobiles in the background.&quot;  I then get to spend a few minutes educating them on signal to noise ratio and the way microphones actually work.  &#xD;&#xA;&#xD;&#xA;And on a separate note.  If your choices are between Protools on a laptop or a DAT go with Protools.  There are a million reasons to avoid DAT machines in this day and age.  &#xD;&#xA;&#xD;&#xA;Also, all wireless units are not created equally.  A Lectrosonics SMQV transmitter with a Lectro 411 receiver sounds good.  A Sennheiser G2 Tx/Rx do not sound good, even with the same capsules.  I recently did a thorough comparison of a Lectro SMQV/411, Sennheiser 2000 series, Sennheiser G2, and Lectro UM400a/401.  All transmitters had Sanken COS-11 capsules.  The Lectrosonics and Sennheiser 2000 series all had the same audio quality.  There were some differences in range and how the signal dropped out but that was about it.  The Sennheiser G2 series was dramatically lower in quality in comparison to all the other Tx/Rx combos.  Just an FYI.   " ContentLicense="CC BY-SA 2.5" />
  <row Id="2515" PostHistoryTypeId="2" PostId="1340" RevisionGUID="e9f4f566-5c09-48cf-920a-812e340b8eef" CreationDate="2010-06-01T21:18:34.443" UserId="343" Text="Beyerdynamic DT-770 (I have the 250 Ohm ones) are my first choice for field recording or noisy enviroments. A bit harsh if you want, not lightweight but very comfortable for long periods. Spare parts can be found if necessary.&#xD;&#xA;&#xD;&#xA;For postproduction I prefer Grado Labs SR-325is. They are supraural and not an example of ergonomy, but I wouldn´t change them. You can easily detect noise or clipping with them.&#xD;&#xA;&#xD;&#xA;I would recommend both of them. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2516" PostHistoryTypeId="2" PostId="1341" RevisionGUID="4d9045b0-943d-4595-9b84-dfc7d947e71e" CreationDate="2010-06-01T22:00:13.333" UserId="343" Text="A colleague once showed me a practice that has been working well for hidding omnis like MKE-2 between clothes. Cut 2 pieces of duct tape (about 6cm long) and make one cylinder with each, with the glue side outside. Now carefully stick this two cylinders in parallel with the last 5-6 centimeters of the cable alligned between them. If you look from the top side the two pieces of tape should look like an &quot;8&quot; with the capsule appearing in the center. This way you can attach it between two clothes avoiding friction noises.&#xD;&#xA;&#xD;&#xA;Be very careful with scarfs or foulards since they will attenuate the higher frequencies.&#xD;&#xA;&#xD;&#xA;Necklaces are a potential problem; always check that there is no way for them to hit the capsule." ContentLicense="CC BY-SA 2.5" />
  <row Id="2517" PostHistoryTypeId="2" PostId="1342" RevisionGUID="7ac05c28-b428-44a5-b5bd-e0fe46f92dc1" CreationDate="2010-06-01T22:26:45.710" UserId="344" Text="This can vary for different actors. Assuming your microphones are omnidirectional (I wouldn't use anything else), you have a number of options. I generally, stick DPA's in the centre of the actors' chest, about six inches below the chin, using a Rycote sticky and a DPA disk. That is a good starting point. Sticking to skin minimises rustle and gives a little more presence to the tone, especially if the actor doesn't have a strong voice. If the artist is wearing a neck tie, feeding the wire inside the shirt, into the back of the tie and having the end of the microphone *just* inside the knot of the tie sticking out of bottom of the knot. If a female artist is wearing a low cut top, a microphone on the centre of her bra at the front is a good starting point. Don't just dive in there, ask her to place the microphone where you want it. &#xD;&#xA;&#xD;&#xA;You're going to need some tape to stick the wire, and possibly microphone in place. Ask the costume department for some of their tape if possible, if you start using gaffer tape on costumes and messing up their work by leaving tape residue everywhere (even inside the costumes) they won't be happy. Use their tape, if it leaves marks, costume bought the wrong tape. Plus, Costume Dept will have double sided tape, which works great for keeping the wire in place, when used as single side tape. (I.E. Don't peel the back off.) Collect all access wire together and tape this up, with the transmitter. Remember to leave enough slack wire for the actor to move freely.&#xD;&#xA;&#xD;&#xA;If the artist is wearing a jacket with an inside pocket, that is usually a good place for the transmitter to go. If the transmitter has a clip, put the transmitter inside the waist of the skirt/trousers on the artist's back, tucking the shirt OVER the transmitter. If you don't have a clip on the transmitter, use an elasticated belt, inside the shirt. You basically need to put the transmitter somewhere which is convenient for the artist and Costume Dept. It shouldn't be noticeable on camera. If a female artist is wearing a fitted dress, you'll probably need an elasticated thigh belt to velcro the transmitter to on the inside leg. For me, the artist normally puts this on in costume and arrives on set with the microphone wire lose out of the top of the dress. Just position the microphone as above and ask costume to tuck the access wire where is convenient for them.&#xD;&#xA;&#xD;&#xA;You'll have more problems with actors who are softly spoken, or who don't project very well. Generally, actors don't mind if you ask them for more level in their performance. Clear this with the director forst though, but they should be fine with it. Use the rehearsal to listen to the microphone and decide if it needs moving. &#xD;&#xA;&#xD;&#xA;I wouldn't suggest putting microphones in hats or hair if you aren't experienced at working with lapel microphones, but for interior car scenes (with the windows closed), you could try the sun visor technique - or anywhere which is out of shot and sounds good in there.&#xD;&#xA;&#xD;&#xA;Be sure to use fresh cells as often as possible, no one wants to wait around for sound to change a battery. As mentioned earlier, always, always boom the scene (where possible) even if you're using radio microphones. Lastly, if you've tried everything and the microphone still isn't sounding ideal, then that is as good as it will get. If you've had a boom microphone on the scene, you should have enough tight dialogue from the tighter shots to cover your back. That should save the scene from needing ADR. Which is what the Line Producer will be pleased with - don't forget to mention it when you're discussing your next contract. :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2518" PostHistoryTypeId="2" PostId="1343" RevisionGUID="ea93f353-e49b-42be-9656-576909517ef8" CreationDate="2010-06-02T07:05:44.090" UserId="345" Text="Ironically, I've gotten into the habit of muting commercials because their offensive levels.  I believe the trend in making commercials as loud as possible has the opposite effect than what is intended.  I would imagine I'm not the only one.  There was a clever trend about ten years ago to make your commercial completely silent.  The effect being that people who were not paying attention would wonder why their tv was silent, think that something was wrong and perhaps notice what was on the screen.  I believe all advertising is, to use a cliché, taking shots in the dark to see what works.  In my opinion, commercials are generally ineffective.  More often than not, when someone recounts a commercial they enjoyed, they can't remember for what the commercial was.  &quot;Is it 'take the Nestea® plunge' or take the Lipton® plunge?'&quot;    " ContentLicense="CC BY-SA 2.5" />
  <row Id="2519" PostHistoryTypeId="6" PostId="1335" RevisionGUID="db6ce60f-3006-47d8-bbb6-85c7a7e00c6d" CreationDate="2010-06-02T09:24:05.280" UserDisplayName="user80" Comment="Added tag" Text="&lt;location&gt;&lt;radio&gt;&lt;microphone&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2520" PostHistoryTypeId="2" PostId="1344" RevisionGUID="2442547f-73e4-4002-bf6e-d97e09947b50" CreationDate="2010-06-02T11:37:16.380" UserDisplayName="user80" Text="This is the second in a series of discussions about roles within the sound team for new comers to the industry. A previous post is about the role of the [boom operator.][1]&#xD;&#xA;&#xD;&#xA;I am hoping that users who have professional experience within the role of utility sound technician can explain what the job involves, as well as relay their personal experiences.&#xD;&#xA;&#xD;&#xA;Thank you&#xD;&#xA;&#xD;&#xA;Iain&#xD;&#xA;&#xD;&#xA;[State University][2], [Wikipedia] [3]&#xD;&#xA;&#xD;&#xA;[![Utility sound technician][4]][5]&#xD;&#xA;&#xD;&#xA;[1]: http://socialsounddesign.com/questions/1148/what-does-a-boom-operator-do&#xD;&#xA;[2]: http://careers.stateuniversity.com/pages/100000184/SOUND-MUSIC-JOB-TITLE-CABLE-MAN-CABLER-SOUND-UTILITY.html&#xD;&#xA;[3]: http://en.wikipedia.org/wiki/Utility_sound_technician&#xD;&#xA;[4]: http://www.lectrosonics.com/PressReleases/flock/r_gere.jpg&#xD;&#xA;[5]: http://www.lectrosonics.com/PressReleases/flock/flock.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="2521" PostHistoryTypeId="1" PostId="1344" RevisionGUID="2442547f-73e4-4002-bf6e-d97e09947b50" CreationDate="2010-06-02T11:37:16.380" UserDisplayName="user80" Text="What does a utility sound technician do?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2522" PostHistoryTypeId="3" PostId="1344" RevisionGUID="2442547f-73e4-4002-bf6e-d97e09947b50" CreationDate="2010-06-02T11:37:16.380" UserDisplayName="user80" Text="&lt;roles&gt;&lt;definitions&gt;&lt;experiences&gt;&lt;websites&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2523" PostHistoryTypeId="5" PostId="1303" RevisionGUID="c4ab0bad-56f9-4c18-8180-4ab592d0fd6d" CreationDate="2010-06-02T11:56:05.733" UserDisplayName="user80" Comment="Added weblink and image" Text="I do a lot of TV and radio commercials.  I openly admit that I smash the crap out of my spots with the [Massey L2007 Limiter][1].  At the end of the day I do it because that's what everyone else is doing and I need to compete with them.  While I don't like squashing my work to smithereens, at the end of the day this is advertising.  The job of advertising is to grab and hold people's attention.  Unfortunately in some cases I may be deafening them if they're listening to a really quiet program.  My bad.  &#xD;&#xA;&#xD;&#xA;I wish it wasn't this way but sadly it is.  :(  I hope that something does eventually get passed regulating loudness and limiting and so on but I doubt it will happen.  &#xD;&#xA;&#xD;&#xA;My two cents (well I may have chipped in 3 or 4 cents worth).  &#xD;&#xA;&#xD;&#xA;Paul&#xD;&#xA;aka @paulswaronlove&#xD;&#xA;&#xD;&#xA;[![Massey L2007 Limiter][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.masseyplugins.com/?page=l2007&#xD;&#xA;[2]: http://www.masseyplugins.com/images/sml.l2007.jpg&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2524" PostHistoryTypeId="2" PostId="1345" RevisionGUID="cdc7f41c-9f77-4e39-ab58-f9f5641e9602" CreationDate="2010-06-02T15:16:18.247" UserId="298" Text="What was the most unusual and innovative technique of capruting or generating sounds in your entire experience with sound design ?&#xD;&#xA;What you has been forced to do, to achieve the goal ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2525" PostHistoryTypeId="1" PostId="1345" RevisionGUID="cdc7f41c-9f77-4e39-ab58-f9f5641e9602" CreationDate="2010-06-02T15:16:18.247" UserId="298" Text="Most unusual sound technique" ContentLicense="CC BY-SA 2.5" />
  <row Id="2526" PostHistoryTypeId="3" PostId="1345" RevisionGUID="cdc7f41c-9f77-4e39-ab58-f9f5641e9602" CreationDate="2010-06-02T15:16:18.247" UserId="298" Text="&lt;techniques&gt;&lt;sound-design&gt;&lt;exploration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2527" PostHistoryTypeId="2" PostId="1346" RevisionGUID="d0e73b6b-f9c0-4d08-be3c-1d8899706078" CreationDate="2010-06-02T15:23:41.720" UserId="194" Text="First off, see [this thread][1] about noise floor, mic choices and preamps.&#xD;&#xA;&#xD;&#xA;Second, be prepared to deal with headphone monitoring.  What goes through the cans can greatly affect the foly performance, so you have to have your routing set up ahead of time to make certain adjustments.&#xD;&#xA;&#xD;&#xA;Specifically, you'll probably want to break your session into a couple of stems for the purposes of monitoring - depending on what elements you have access to.  sync sound on one stem, spotted fx on another, music on another, foly on another.  When I work alone, I generally cut without music, but if the score is finished (its never finished) you can watch a shot back in context to get a better feel of where you are at.  I also usually cut with the rest of the stems down 10-15 db and the foly track at full res.  This is so that I can hear some context without the risk of headphone bleed.  I also usually cut with the sync track off, unless it looks like the characters are saying something relevant to the objects in their hands.&#xD;&#xA;&#xD;&#xA;One of my coworkers likes to cut into a cut track, then bump the files up into playback tracks as he moves along.  This allows him to do quick edits and makes layering easy.  it also allows him to turn down the playback tracks a notch or so, so that the artist can hear the cut track in a little more detail as he's performing.&#xD;&#xA;&#xD;&#xA;old cameras are great for guns.&#xD;&#xA;&#xD;&#xA;plastic trees can sound like real ones, and are more durable.  Also veggies work great.&#xD;&#xA;&#xD;&#xA;don't take anything into the booth that you're afraid to break.&#xD;&#xA;&#xD;&#xA;pay attention to when things sound &quot;boothy&quot; or when there is headphone bleed.  &#xD;&#xA;&#xD;&#xA;don't turn in crap.&#xD;&#xA;  [1]: http://www.gearslutz.com/board/post-production-forum/495903-foley-recordings-how-do-you-get-noise-floor-down.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="2528" PostHistoryTypeId="2" PostId="1347" RevisionGUID="0374e5d1-9f1a-47ec-b773-ecdc97baabbb" CreationDate="2010-06-02T15:56:29.620" UserId="29" Text="Neither of these are too extreme, but what the heck.&#xD;&#xA;&#xD;&#xA;I once placed my windscreen/zeppelin on guy wires while striking them, in order to both capture the in-air sound as well as the low-frequency mechanical vibrations, not unlike a contact microphone. Worked pretty well for that single purpose. &#xD;&#xA;&#xD;&#xA;I also tried using [boundary layer mics for recording urban stereo ambiences][1]. While not wholly successful, it was a great learning experience.&#xD;&#xA;&#xD;&#xA;(This is in addition to the standard silly things we all do: putting cheap mics in condoms for underwater recording, wearing minature mics in public, strapping mics to moving objects in dicey places, dangling mics in front of things that might eat them, et multiple cetera.)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2010/04/18/ambiences-with-boundary-mics/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2529" PostHistoryTypeId="2" PostId="1348" RevisionGUID="f79fa40d-e0a1-4a82-88d4-cd18ffde9f1a" CreationDate="2010-06-02T16:03:44.253" UserId="346" Text="putting cheap mics in condoms for underwater recording&#xD;&#xA;&#xD;&#xA;I LOVED this idea! Hahahaahahah&#xD;&#xA;&#xD;&#xA;I don't have that much recording experience - not to say none at all - but I'm looking forward to try something crazy, like the things they did when recording the sound design for the lightsaber." ContentLicense="CC BY-SA 2.5" />
  <row Id="2530" PostHistoryTypeId="5" PostId="1323" RevisionGUID="2406a6ab-4071-437a-9cc8-c76170372e4e" CreationDate="2010-06-02T16:04:41.990" UserDisplayName="user80" Comment="Added tags" Text="Saludos a todos!&#xD;&#xA;&#xD;&#xA;I'm about to be sent as a Foley Recordist in a big movie that landed in the studio where I work. The fact is, I've already gathered some experience in different sound-oriented areas, and although I don't consider myself a top-player, I've had the luck to work with some of the greatest sound professionals from my country.&#xD;&#xA;All is great. Except that I have never recorded foley.&#xD;&#xA;&#xD;&#xA;Not once.&#xD;&#xA;&#xD;&#xA;I've done a little ADR recording,&#xD;&#xA;I've Edited Foley,&#xD;&#xA;&#xD;&#xA;But I never went to work as a Foley Recordist.&#xD;&#xA;&#xD;&#xA;So, my question ( If you can call it a question) is, what things do I need to have in mind for this task?&#xD;&#xA;&#xD;&#xA;Any help, ranging from session templates to little tips and tricks is welcome.&#xD;&#xA;&#xD;&#xA;Thanks to everyone, and sorry for the bad english&#xD;&#xA;&#xD;&#xA;GMatijas.-" ContentLicense="CC BY-SA 2.5" />
  <row Id="2531" PostHistoryTypeId="6" PostId="1323" RevisionGUID="2406a6ab-4071-437a-9cc8-c76170372e4e" CreationDate="2010-06-02T16:04:41.990" UserDisplayName="user80" Comment="Added tags" Text="&lt;foley&gt;&lt;templates&gt;&lt;recordist&gt;&lt;techniques&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2532" PostHistoryTypeId="2" PostId="1349" RevisionGUID="272d2604-eb21-498e-9c45-9e45ee9bd099" CreationDate="2010-06-02T16:07:02.017" UserId="29" Text="In addition to Ryan's incredible advice, a few more tips from my experience:&#xD;&#xA;&#xD;&#xA; - Don't cheat too high up the chest; you'll get attenuation and odd tones if the chin blocks the mic capsule.&#xD;&#xA; - I love Dr. Scholl's moleskin for adhering and wrapping the mic itself, and either Topstick (wig/toupee tape) or 3M Propore medical tape for securing the cables to the talent and/or wardrobe.&#xD;&#xA; - Always form a loop on each end of the mic cable for strain relief, and tape down the loop nearest the mic.&#xD;&#xA; - I've also used inside-out loops of gaffer's tape made into triangles, like Inigo's suggestion, but I've found that (at least in the US) what we call duct tape will leave a ton of residue on wardrobe. Gaffer's tape is easier to handle and remove. (Paper tape, the type used for on-set spiking and setting of marks, isn't quite sticky enough.)&#xD;&#xA; - Every situation is different! Don't hone one technique - always keep experimenting! Some tricks are better than others in some situations." ContentLicense="CC BY-SA 2.5" />
  <row Id="2533" PostHistoryTypeId="2" PostId="1350" RevisionGUID="08f3ed42-2997-4d36-8311-a8707714efae" CreationDate="2010-06-02T16:31:48.237" UserId="62" Text="I once caused a large traffic jam in Belfast. I needed lots of different car horn sounds to recreate the sound of Mumbai. My wife and I stood next to a dual-carriageway, I had an MD recorder and my wife was carrying a sign asking people to toot their horn.&#xD;&#xA;&#xD;&#xA;Got loads of great toots. Even people from Mumbai have said that the film perfectly captured the atmosphere of the city.&#xD;&#xA;&#xD;&#xA;+1 for using condoms in microphones, works really well." ContentLicense="CC BY-SA 2.5" />
  <row Id="2534" PostHistoryTypeId="5" PostId="1345" RevisionGUID="64a844d1-16d1-4123-8878-cad61e2d0405" CreationDate="2010-06-02T16:59:32.450" UserDisplayName="user80" Comment="tidied up language" Text="What was the most unusual and innovative technique of capturing or generating sounds in your entire experience with sound design ?&#xD;&#xA;&#xD;&#xA;What you have you been forced to do, to achieve the goal?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2535" PostHistoryTypeId="6" PostId="1345" RevisionGUID="64a844d1-16d1-4123-8878-cad61e2d0405" CreationDate="2010-06-02T16:59:32.450" UserDisplayName="user80" Comment="tidied up language" Text="&lt;techniques&gt;&lt;sound-design&gt;&lt;exploration&gt;&lt;recording&gt;&lt;creativity&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2536" PostHistoryTypeId="2" PostId="1351" RevisionGUID="4f4025df-19c5-4fc6-8200-60bb291a5ebb" CreationDate="2010-06-02T17:22:38.447" UserId="260" Text="avoiding a clichè is kinda hard, the director who knows the clichès more than anyone, doesn't think them as **bad** but rather **normal**, and you just don't fight the one who hired you :) Though I try and give anyone an alternative. Though they decide in the end." ContentLicense="CC BY-SA 2.5" />
  <row Id="2537" PostHistoryTypeId="2" PostId="1352" RevisionGUID="9a6996cb-d5d7-4115-a17f-cc0741979b9c" CreationDate="2010-06-02T17:39:59.077" UserId="46" Text="Hey Ryan,&#xD;&#xA;&#xD;&#xA;You definitely DON'T want to master your commercial like you would master a music album, but you will probably end up compressing/limiting much harder in a spot than on a broadcast TV show. Unfortunately most spots don't have that room for dynamic range when their message is &quot;BUY ME! BUY ME! BUY ME!&quot; so you have to work within the medium.&#xD;&#xA;&#xD;&#xA;I usually anchor myself with my VO/dialogue RMS in the -20 to -18 dBFS range and build my spot around that. I end up hitting the limiter somewhat hard (at -10, of course), but it's mostly catching transients from the dialogue and MAYBE some of the music at the front/end of the spot.&#xD;&#xA;&#xD;&#xA;The reason that you can't master your commercial exactly like a music record is that if you do, you run the risk of the broadcast chain taking that flat (pseudo)waveform and compressing it so what you thought was extra loud ends up quieter on air than you had anticipated.&#xD;&#xA;&#xD;&#xA;There's a movement out there now to try to change these super loud ad practices (including legislation in DC), but it'll be slow to adopt because who's paying for the networks to stay on the air? The advertisers.&#xD;&#xA;&#xD;&#xA;It's extremely helpful that you were able to catch your spot on TV next to others - sometimes that's hard to do. All you can do is take what you learn from each mix and apply it to the next!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2538" PostHistoryTypeId="2" PostId="1353" RevisionGUID="f8d4003d-959b-4300-a8ba-5278bdb65991" CreationDate="2010-06-02T17:48:39.063" UserId="234" Text="My basic premise is this:&#xD;&#xA;&#xD;&#xA;&quot;Perfection consists not in doing extraordinary things, but in doing the ordinary extraordinarily well.&quot; - Angelique Arnauld&#xD;&#xA;&#xD;&#xA;The folks you mention, such as Burt and Thom all do this and it's part of their unique &quot;voice&quot;.&#xD;&#xA;&#xD;&#xA;Pardoxically, I found once I gave up TRYING to find my own voice, I found it. It's kind of a Zen thing I know, but once I just started DOING, my own &quot;sound&quot; came out. I don't hear it, but I've been told I do have one. Perhaps it's a matter of perspective...&#xD;&#xA;&#xD;&#xA;As far as technology goes, my belief has always been that you need three things for good sound design - two ears and a brain. Having said that, I really wouldn't WANT to give up my toys :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2539" PostHistoryTypeId="5" PostId="1352" RevisionGUID="bfd4f3fd-0270-458c-839a-e1c569c79ed6" CreationDate="2010-06-02T18:02:07.857" UserId="46" Comment="added 208 characters in body" Text="Hey Ryan,&#xD;&#xA;&#xD;&#xA;You definitely DON'T want to master your commercial like you would master a music album, but you will probably end up compressing/limiting much harder in a spot than on a broadcast TV show. Unfortunately most spots don't have that room for dynamic range when their message is &quot;BUY ME! BUY ME! BUY ME!&quot; so you have to work within the medium.&#xD;&#xA;&#xD;&#xA;I usually anchor myself with my VO/dialogue RMS in the -20 to -18 dBFS range and build my spot around that. I end up hitting the limiter somewhat hard (at -10, of course), but it's mostly catching transients from the dialogue and MAYBE some of the music at the front/end of the spot.&#xD;&#xA;&#xD;&#xA;The reason that you can't master your commercial exactly like a music record is that if you do, you run the risk of the broadcast chain taking that flat (pseudo)waveform and compressing it so what you thought was extra loud ends up quieter on air than you had anticipated.&#xD;&#xA;&#xD;&#xA;Also keep in mind that no spot is the same - you're not going to slam your mix for a geriatric product the same way you might for a teenage product - though maybe you might have to so they can hear it! :)&#xD;&#xA;&#xD;&#xA;There's a movement out there now to try to change these super loud ad practices (including legislation in DC), but it'll be slow to adopt because who's paying for the networks to stay on the air? The advertisers.&#xD;&#xA;&#xD;&#xA;It's extremely helpful that you were able to catch your spot on TV next to others - sometimes that's hard to do. All you can do is take what you learn from each mix and apply it to the next!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2540" PostHistoryTypeId="2" PostId="1354" RevisionGUID="50e6fb06-f025-4260-b042-15739423443a" CreationDate="2010-06-02T19:18:49.647" UserId="46" Text="For quick &quot;one click&quot; click removal, the old Sonnox Declicker is outstanding - haven't used their new one, though...&#xD;&#xA;&#xD;&#xA;For &quot;musical clicks&quot; I like to use iZotope's Spectral Repair - amazing flexibility in certain situations.&#xD;&#xA;&#xD;&#xA;Can't beat good old room tone fill for a lot of clicks... it all depends on the time you have and the &quot;type&quot; of click you're dealing with." ContentLicense="CC BY-SA 2.5" />
  <row Id="2541" PostHistoryTypeId="2" PostId="1355" RevisionGUID="ff06faa5-0139-46e6-9c66-fa5767016b38" CreationDate="2010-06-02T19:23:56.957" UserId="40" Text="A sound utility (also know as a Third or an A3) has a lot of responsibilities.&#xD;&#xA;&#xD;&#xA;Most of the time, he is responsible for setting up and storing the rig, laying and wrapping cables, gear maintenance, repair (soldering cables, etc..) and such.  Often times he will also become a second boom op, if one is needed.  He will also do runs and such for the boom op and mixer (coffee, snacks, runs to Radio Shack, etc...)&#xD;&#xA;&#xD;&#xA;It's fairly rare to see an A3 though.  Most sound teams (even on big gigs) will only use two people.  Really big ones will often use 3 though, but it's pretty expensive - an A3 will make $300+ a day on a pro gig." ContentLicense="CC BY-SA 2.5" />
  <row Id="2542" PostHistoryTypeId="5" PostId="1341" RevisionGUID="15e1fd21-0de6-4c3c-872d-63905d1cc67e" CreationDate="2010-06-02T21:00:50.323" UserId="343" Comment="added 77 characters in body; edited body" Text="A colleague once showed me a practice that has been working well for hidding omnis like MKE-2 between clothes. Cut 2 pieces of **gaffer** tape (about 6cm long) and make one cylinder with each, with the glue side outside. Now carefully stick this two cylinders in parallel with the last 5-6 centimeters of the cable alligned between them. If you look from the top side the two pieces of tape should look like an &quot;8&quot; with the capsule appearing in the center. This way you can attach it between two clothes avoiding friction noises.&#xD;&#xA;&#xD;&#xA;Be very careful with scarfs or foulards since they will attenuate the higher frequencies.&#xD;&#xA;&#xD;&#xA;Necklaces are a potential problem; always check that there is no way for them to hit the capsule.&#xD;&#xA;&#xD;&#xA;Edit: When I said &quot;duct&quot; I meant &quot;gaffer&quot;, as NoiseJockey suggests." ContentLicense="CC BY-SA 2.5" />
  <row Id="2543" PostHistoryTypeId="2" PostId="1356" RevisionGUID="e169172b-bbf2-45db-83ca-78543fd71e27" CreationDate="2010-06-02T21:14:41.240" UserId="315" Text="My first question to this group. Maybe a gear question is kind of a lame start, but here goes. &#xD;&#xA;&#xD;&#xA;I've been field recording for quite some time and have acquired over the years some Neumanns, DPAs, Sennheisers, and my beloved Schoeps pair. (My ears are happy, but my wallet not so much).&#xD;&#xA;&#xD;&#xA;Wondering what mics you use when you don't want to put your nice ones in harms way? I've tortured some SM57s and some cheap Audio Technicas in my time. But I'm looking to get a couple more &quot;guinea pig Chuck Yeager test pilot&quot; mics for mounting on vehicles, water/fire recording up close etc.. Just picked up a Sennheiser 835, but I'm looking for another dynamic and maybe a couple condensers. Any experience with low end mic gems would be appreciated. I've heard good things about torturing Marshall MXL and cheap lavs mics for example.&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="2544" PostHistoryTypeId="1" PostId="1356" RevisionGUID="e169172b-bbf2-45db-83ca-78543fd71e27" CreationDate="2010-06-02T21:14:41.240" UserId="315" Text="Nice SFX recording mics that are cheap enough that you wouldn't be too upset if they were blown apart in a freak recording accident?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2545" PostHistoryTypeId="3" PostId="1356" RevisionGUID="e169172b-bbf2-45db-83ca-78543fd71e27" CreationDate="2010-06-02T21:14:41.240" UserId="315" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2546" PostHistoryTypeId="2" PostId="1357" RevisionGUID="a41181de-c292-42cb-9ad9-5d4b4cfbb5f7" CreationDate="2010-06-02T21:41:50.147" UserId="343" Text="Since 2006 two ITU recommendations (ITU-R BS.1770 and BS.1771) have been draft to &quot;specify audio measurement algorithms for the purpose of determining subjective programme loudness, and true-peak signal level&quot;. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;At this moment there is a large group at EBU where a lot of talented engineers are working in a recommendation that will continue this work to the next step, where a Loudness Target Level is suggested and practice guidelines will be added too. This work will be presented during the next months.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2548" PostHistoryTypeId="2" PostId="1359" RevisionGUID="672c8e7d-9d17-49ef-baf3-31ab01697de3" CreationDate="2010-06-02T22:10:25.723" UserId="37" Text="&gt; &quot;I feel like the layman is going to hear my mix and think it's of lesser quality compared to the smashed, bright, brittle, distorted junk that comes before and after it.&quot;&#xD;&#xA;&#xD;&#xA;well, who is your target audience? what's an ad's purpose and whom does it need to reach?&#xD;&#xA;&#xD;&#xA;i know i'm being the devil's advocate here.." ContentLicense="CC BY-SA 2.5" />
  <row Id="2549" PostHistoryTypeId="2" PostId="1360" RevisionGUID="8263e0ea-99ff-413c-9903-232423f51561" CreationDate="2010-06-02T22:46:43.820" UserId="61" Text="Depends how you define &quot;cheap&quot;. I'd go with SM57s for sure, plus try some Radio Shack PZMs (the older Realistic ones) and possibly some DIY contact mics." ContentLicense="CC BY-SA 2.5" />
  <row Id="2550" PostHistoryTypeId="2" PostId="1361" RevisionGUID="6ea3d2ea-52b4-4c72-939d-9728e97a20f0" CreationDate="2010-06-02T23:30:32.113" UserId="343" Text="Three years ago I worked on post of a doc series about climbing through Anctartica. The camera operator waited for hours to record some images of a fracture of the Perito Moreno glacier. Just when he was leaving empty-handed a great fracture happend and he could record a great shot. The members of the team were so excited at the moment that they couldn´t control themshelves from clapping their hands and shouting to congratulate the cameraman for the great work.&#xD;&#xA;&#xD;&#xA;After editing this shot was part of a very quiet sequence and director proposed to remove the reaction of the team from the original soundrack. So we started from scratch to recreate a believable fracture using creakings of branches, snow avalanches sounds, down-pitched splashes and a large amount of ambiance layers. The sound we got was very similar to the original." ContentLicense="CC BY-SA 2.5" />
  <row Id="2551" PostHistoryTypeId="2" PostId="1362" RevisionGUID="cbc3cb69-6277-4b53-8e75-619b063c5afd" CreationDate="2010-06-03T00:25:59.987" UserId="18" Text="I've used MXL mics for bullet impacts and got good results.  The MXL's cost me $99 both for a small and large diaphragm condenser.  At that price, I would have actually been excited to see a bullet go through one, just to tell the stories!  They both lived, I actually haven't used them since.  One the same shoot, John Fasal used some old Radio Shack PZM's that I've also seen him drop cars onto.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2552" PostHistoryTypeId="5" PostId="1347" RevisionGUID="392e4c16-5554-4593-9bd2-bba482edba72" CreationDate="2010-06-03T02:38:03.073" UserId="29" Comment="added 27 characters in body" Text="Neither of these are too extreme, but what the heck.&#xD;&#xA;&#xD;&#xA;I once placed my windscreen/zeppelin on guy wires while striking them, in order to both capture the in-air sound as well as the low-frequency mechanical vibrations, not unlike a contact microphone. Worked pretty well for that single purpose. &#xD;&#xA;&#xD;&#xA;I also tried using [boundary layer mics for recording urban stereo ambiences][1]. While not wholly successful, it was a great learning experience.&#xD;&#xA;&#xD;&#xA;(This is in addition to the standard silly things we all do: putting cheap mics in condoms for underwater recording [EDIT: **unlubricated!!**], wearing minature mics in public, strapping mics to moving objects in dicey places, dangling mics in front of things that might eat them, et multiple cetera.)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2010/04/18/ambiences-with-boundary-mics/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2553" PostHistoryTypeId="2" PostId="1363" RevisionGUID="5bf109ab-6a02-4f22-84f4-e0d9739cee70" CreationDate="2010-06-03T02:43:19.973" UserId="18160" Text="Sound Designers go to great lengths designing their villains. Whether it be foley, pads, atmosphere, ambiences, etc.&#xD;&#xA;&#xD;&#xA;The one I can't get over is The Joker from Dark Knight.&#xD;&#xA;&#xD;&#xA;There's also the villain in The Lovely Bones.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What are some of the best examples you've come across of Sound Design for a villain?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2554" PostHistoryTypeId="1" PostId="1363" RevisionGUID="5bf109ab-6a02-4f22-84f4-e0d9739cee70" CreationDate="2010-06-03T02:43:19.973" UserId="18160" Text="Best Sound Design for a Villain" ContentLicense="CC BY-SA 2.5" />
  <row Id="2555" PostHistoryTypeId="3" PostId="1363" RevisionGUID="5bf109ab-6a02-4f22-84f4-e0d9739cee70" CreationDate="2010-06-03T02:43:19.973" UserId="18160" Text="&lt;villain&gt;&lt;sound-design&gt;&lt;mood&gt;&lt;examples&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2556" PostHistoryTypeId="2" PostId="1364" RevisionGUID="3c643c2c-6cfd-4a88-bdc8-5d76723339de" CreationDate="2010-06-03T03:19:12.333" UserId="6435" Text="I was always a fan of the pitch-shifting effects on &quot;The Gemini Killer&quot; Brad Dourif's voice in *Exorcist III*. Very creepy and effective." ContentLicense="CC BY-SA 2.5" />
  <row Id="2557" PostHistoryTypeId="2" PostId="1365" RevisionGUID="b00ff63c-d50b-44df-a2f7-de5ee76f6130" CreationDate="2010-06-03T04:35:20.913" UserId="29" Text="Jeez, I guess Darth Vader is too obvious..?&#xD;&#xA;&#xD;&#xA;I always liked the sound for Ian Holm's android character in the original *Alien*, after he's beheaded but revived for interrogation. Synthetic, gurgling, watery, quiet... No cliches but so perfect.   &#xD;&#xA;&#xD;&#xA;Jabba the Hutt has to go on the list, too.&#xD;&#xA;&#xD;&#xA;Can the Hypnotoad from Futurama qualify as a villain? That sound rocks! :-)&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="2558" PostHistoryTypeId="2" PostId="1366" RevisionGUID="f82a32a3-896b-465a-b722-9a15d4d2cc0a" CreationDate="2010-06-03T04:50:31.930" UserId="29" Text="Oktava MK-012 is just about the cheapest condenser mic that's worth a &amp;$#% that I'd put in a risky situation. I have dynamic mics cheaper than even the SM57 that I'd put on the front lines, but this thread *is* titled &quot;nice SFX recording mics,&quot; after all... The world's your oyster if you don't need low end! :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2559" PostHistoryTypeId="5" PostId="1365" RevisionGUID="f155f7c0-2558-4ef6-8d6c-aa55d7c42f75" CreationDate="2010-06-03T04:51:57.933" UserId="29" Comment="added 60 characters in body; added 16 characters in body" Text="Jeez, I guess Darth Vader is too obvious..?&#xD;&#xA;&#xD;&#xA;I always liked the sound for Ian Holm's android character in the original *Alien*, after he's beheaded but revived for interrogation. Synthetic, gurgling, watery, quiet... No cliches but so perfect.   &#xD;&#xA;&#xD;&#xA;Jabba the Hutt has to go on the list, too.&#xD;&#xA;&#xD;&#xA;Can [the Hypnotoad][1] from Futurama qualify as a villain? That sound rocks! :-)&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=8AOfbnGkuGc&amp;feature=related" ContentLicense="CC BY-SA 2.5" />
  <row Id="2560" PostHistoryTypeId="2" PostId="1367" RevisionGUID="b50a5a7f-d85b-42ea-8f91-e589e2751844" CreationDate="2010-06-03T05:38:51.787" UserId="61" Text="Yup, the Joker is way disturbing. That one's all in the acting.&#xD;&#xA;&#xD;&#xA;I'll vote for: &#xD;&#xA;&#xD;&#xA; - the Predator's click language&#xD;&#xA; - the Jaws theme (ok, it's music, but&#xD;&#xA;   you get my meaning)&#xD;&#xA; - the horrible shrieks and wonked-out&#xD;&#xA;   moans &amp; groans from John Carpenter's&#xD;&#xA;   The Thing.&#xD;&#xA; - Freddy Kruger's scraping blades&#xD;&#xA; - chi-chi-chi-hah-hah-hah (Friday the&#xD;&#xA;   13th)&#xD;&#xA;&#xD;&#xA;Yes, I'm leaning heavily into the '80s, but honestly those films were so influential and formative for me that they cannot be overlooked." ContentLicense="CC BY-SA 2.5" />
  <row Id="2561" PostHistoryTypeId="2" PostId="1368" RevisionGUID="67b7e654-315b-4195-ae9e-00dc3de6b59c" CreationDate="2010-06-03T05:55:47.137" UserId="6435" Text="I have a small pile of Realistic/Radio Shack Highball II mics that get lots of use in the field for just that reason--I don't really care if they get destroyed. As NoiseJockey said, I'm not sure you'd call them &quot;nice&quot; mics but I certainly have gotten bunches of good and useable sounds with them." ContentLicense="CC BY-SA 2.5" />
  <row Id="2562" PostHistoryTypeId="5" PostId="1367" RevisionGUID="43df33c0-c6bf-4c9f-bbaa-8123bcc27ed9" CreationDate="2010-06-03T06:57:19.050" UserId="61" Comment="deleted 1 characters in body" Text="Yup, the Joker is way disturbing. That one's all in the acting.&#xD;&#xA;&#xD;&#xA;I'll vote for: &#xD;&#xA;&#xD;&#xA; - the Predator's click language&#xD;&#xA; - the Jaws theme (ok, it's music, but&#xD;&#xA;   you get my meaning)&#xD;&#xA; - the horrible shrieks and wonked-out&#xD;&#xA;   moans &amp; groans from John Carpenter's&#xD;&#xA;   The Thing&#xD;&#xA; - Freddy Kruger's scraping blades&#xD;&#xA; - chi-chi-chi-hah-hah-hah (Friday the&#xD;&#xA;   13th)&#xD;&#xA;&#xD;&#xA;Yes, I'm leaning heavily into the '80s, but honestly those films were so influential and formative for me that they cannot be overlooked." ContentLicense="CC BY-SA 2.5" />
  <row Id="2563" PostHistoryTypeId="5" PostId="1360" RevisionGUID="55e41c58-4c48-4a48-9fc7-2a7aa6e8e439" CreationDate="2010-06-03T07:20:50.433" UserId="61" Comment="additional information" Text="Depends how you define &quot;cheap&quot;. I'd go with SM57s for sure, plus try some Radio Shack PZMs (the older Realistic ones) and possibly some DIY contact mics.&#xD;&#xA;&#xD;&#xA;PS&gt; I'd even put a Zoom H2 in this category as it's a great little 24/96 recorder for the money. But could you get the SD card out if it's been destroyed? :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2564" PostHistoryTypeId="2" PostId="1369" RevisionGUID="ce9ba4eb-49b1-4eaf-9a3f-6e0b6291e864" CreationDate="2010-06-03T07:40:58.240" UserId="270" Text="The sounds of the approaching German tanks in the final battle scene of Saving Private Ryan were great.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2565" PostHistoryTypeId="5" PostId="1367" RevisionGUID="050cce9f-f615-43bc-bbb2-67e0082e4f58" CreationDate="2010-06-03T07:45:17.530" UserId="61" Comment="additional information" Text="Yup, the Joker is way disturbing. That one's all in the acting.&#xD;&#xA;&#xD;&#xA;I'll vote for: &#xD;&#xA;&#xD;&#xA; - the Predator's click language&#xD;&#xA; - the Jaws theme (ok, it's music, but&#xD;&#xA;   you get my meaning)&#xD;&#xA; - the horrible shrieks and wonked-out&#xD;&#xA;   moans &amp; groans from John Carpenter's&#xD;&#xA;   The Thing&#xD;&#xA; - Freddy Kruger's scraping blades&#xD;&#xA; - chi-chi-chi-hah-hah-hah (Friday the&#xD;&#xA;   13th)&#xD;&#xA; - Donald Sutherland's &quot;silent scream&quot;&#xD;&#xA;   from 1978's &quot;Invasion of the Body&#xD;&#xA;   Snatchers&quot;&#xD;&#xA;&#xD;&#xA;Yes, I'm leaning heavily into the 70's and '80s, but honestly those films were so influential and formative for me that they cannot be overlooked." ContentLicense="CC BY-SA 2.5" />
  <row Id="2566" PostHistoryTypeId="5" PostId="1367" RevisionGUID="107ab210-0b24-4f49-a0ae-ba1954b8cdc3" CreationDate="2010-06-03T08:15:01.097" UserId="61" Comment="additional information" Text="Yup, the Joker is way disturbing. That one's all in the acting.&#xD;&#xA;&#xD;&#xA;I'll vote for: &#xD;&#xA;&#xD;&#xA; - the Predator's click language&#xD;&#xA; - the Jaws theme (ok, it's music, but&#xD;&#xA;   you get my meaning)&#xD;&#xA; - the horrible shrieks and wonked-out&#xD;&#xA;   moans &amp; groans from John Carpenter's&#xD;&#xA;   The Thing&#xD;&#xA; - Freddy Kruger's scraping blades&#xD;&#xA; - chi-chi-chi-hah-hah-hah (Friday the&#xD;&#xA;   13th)&#xD;&#xA; - Regan from &quot;The Exorcist&quot;&#xD;&#xA; - Donald Sutherland's &quot;silent scream&quot; from 1978's &quot;Invasion of the Body Snatchers&quot;&#xD;&#xA;&#xD;&#xA;Yes, I'm leaning heavily into the 70's and '80s, but honestly those films were so influential and formative for me that they cannot be overlooked." ContentLicense="CC BY-SA 2.5" />
  <row Id="2567" PostHistoryTypeId="2" PostId="1370" RevisionGUID="9b55d10a-96e8-4b0b-9ab8-77dc875239bd" CreationDate="2010-06-03T08:49:56.133" UserId="100" Text="HAL 9000 comes to mind. The lack of emotion is so creepy. Carry that over to other circuited characters, like WALL·E's Axiom co-pilot AUTO, and you have a classic scary computer (See also the Deus Ex Machina from Matrix: Revolutions and Vicki from Small Wonder).&#xD;&#xA;&#xD;&#xA;Also, having to routinely put on Disney's Beauty and the Beast for my kids has helpd me appreciate the blend of animal vocals and pitch-shifting/sub-harmonics done with the Beast's dialog during his more brutish moments." ContentLicense="CC BY-SA 2.5" />
  <row Id="2568" PostHistoryTypeId="5" PostId="1370" RevisionGUID="aa4efb97-4805-4dfb-b322-9fe42b775a44" CreationDate="2010-06-03T09:18:45.717" UserId="100" Comment="Added Text" Text="HAL 9000 comes to mind. The lack of emotion is so creepy. Carry that over to other circuited characters, like WALL·E's Axiom co-pilot AUTO, and you have a classic scary computer (See also the Deus Ex Machina from Matrix: Revolutions and Vicki from Small Wonder).&#xD;&#xA;&#xD;&#xA;Also, having to routinely put on Disney's Beauty and the Beast for my kids has helpd me appreciate the blend of animal vocals and pitch-shifting/sub-harmonics done with the Beast's dialog during his more brutish moments.&#xD;&#xA;&#xD;&#xA;Oh, and the Mouth of Sauron from Return of the King. Awesome visuals aside, the voice and that grapefruit-squish sound when he smiles is great." ContentLicense="CC BY-SA 2.5" />
  <row Id="2569" PostHistoryTypeId="2" PostId="1371" RevisionGUID="11f4fa35-94cd-4ee7-9a88-c0791c7d2958" CreationDate="2010-06-03T13:30:15.383" UserId="341" Text="Thanks so much everyone - so much good advice here. I've just broadened my knowledge hugely in a short period of time. I'm sure I will be back with more questions. This is a great forum and I'm quite sure I will attempt to exhaust it. This site is as useful and quick as any reference book. Thanks again everyone!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2570" PostHistoryTypeId="2" PostId="1372" RevisionGUID="cdbc1962-6bb4-4cfc-b817-7e9e4d2318fe" CreationDate="2010-06-03T14:43:38.620" UserId="298" Text="Have anyone using this ?&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicthingz.com/images/Marantz%20PMD661%20Portable%20SD%20Recorder.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2571" PostHistoryTypeId="2" PostId="1373" RevisionGUID="48f2afc1-018a-4b7a-95cf-aa5ebe26af04" CreationDate="2010-06-03T15:42:34.103" UserId="6435" Text="I don't know about *most* unusual, but I like to record things from the far end of long pieces of PVC pipe, to use the resonance of the pipe as a filter. Another good trick is to drag the mic through the pipe from one end to the other while recording, so the character of the filtering changes over time. Put it on a sock or something to reduce handling noise." ContentLicense="CC BY-SA 2.5" />
  <row Id="2572" PostHistoryTypeId="2" PostId="1374" RevisionGUID="0e250ded-47f3-4ecb-b534-b78991ce4727" CreationDate="2010-06-03T16:19:52.137" UserId="347" Text="Hi my name is Eric. I'm a 21 year old student and I'm going to Full Sail University here in Winter Park, FL. I'm getting my degree in Recording Arts, but I'm definitely more interested in audio post work rather than creating music. I've been doing a lot of research on different microphones, but I wanted to get some help from some &quot;SFX veterans,&quot; to create a diverse field mic. kit. I have a low budget since I'm a starving college student. So far I have my Zoom H4N and a Shure SM57. **My question is:** What other mics should I consider to purchase that doesn't break the bank? I'm looking to purchase a shotgun mic, 1 stereo mic, and 1 cardioid mic. Any input would be greatly appreciated! " ContentLicense="CC BY-SA 2.5" />
  <row Id="2573" PostHistoryTypeId="1" PostId="1374" RevisionGUID="0e250ded-47f3-4ecb-b534-b78991ce4727" CreationDate="2010-06-03T16:19:52.137" UserId="347" Text="What's a good basic mic set for recording SFX" ContentLicense="CC BY-SA 2.5" />
  <row Id="2574" PostHistoryTypeId="3" PostId="1374" RevisionGUID="0e250ded-47f3-4ecb-b534-b78991ce4727" CreationDate="2010-06-03T16:19:52.137" UserId="347" Text="&lt;post-production&gt;&lt;sfx&gt;&lt;low-budget&gt;&lt;microphone&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2575" PostHistoryTypeId="2" PostId="1375" RevisionGUID="1020675a-ca4c-4d5d-958b-bbab0c185de0" CreationDate="2010-06-03T16:42:47.493" UserId="37" Text="*this is the sound of the search field calling*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/tagged?tagnames=microphones&amp;sort=newest&amp;pagesize=50&#xD;&#xA;and start from the bottom&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2576" PostHistoryTypeId="2" PostId="1376" RevisionGUID="e6acd4aa-b1f9-4fe7-96ec-7f43b44bd072" CreationDate="2010-06-03T16:52:05.270" UserId="40" Text="Hey Eric,&#xD;&#xA;&#xD;&#xA;Welcome to SSD!&#xD;&#xA;&#xD;&#xA;When you say &quot;low budget&quot;, what price range are you looking for?  There are some great mics in various different pricing tiers.&#xD;&#xA;&#xD;&#xA;For instance, the MKH416 is half of the price of some of the other shotguns out there ($999), but it's one of the best, standby mics out there for the price.&#xD;&#xA;&#xD;&#xA;If you can't afford the $1k, try looking at Audio-Technica for shotguns.  Very good prices ($200+ range), and decent sound.  Obviously they won't sound like a $1000 mic, but they're some of the best mics in the price range.&#xD;&#xA;&#xD;&#xA;For a stereo mic, take a look at the Røde NT4.  Decent sounding XY pattern mic for $500ish.  There's also the Beyerdynamic MCE72 for a little under $300.  Also an XY mic.  I don't believe I've ever seen an inexpensive stereo mic that was anything other than XY.  It will get you started though.&#xD;&#xA;&#xD;&#xA;For condenser cardioid, are you looking for a small diaphragm?  I'm assuming so...  Try looking at something like the Røde M3 for $150.  Let me know what you think of that one, and I can recommend something else from there...&#xD;&#xA;&#xD;&#xA;Good Luck!  Let me know if you want me to elaborate on anything or suggest anything else.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2583" PostHistoryTypeId="2" PostId="1377" RevisionGUID="5ccd5a01-4387-4589-85ad-464589d157ba" CreationDate="2010-06-03T17:30:37.377" UserId="152" Text="One of my staple mic's for stereo recording is the Rode NT-4. Great sounding mic for backgrounds and general SFX recording. Contact me off list and I can point you to a few dealers that sell these mics fairly cheap if you are interested.&#xD;&#xA;&#xD;&#xA;You should definitely grab some sort of shotgun as well. I agree with Mr. Hart concerning the MKH416, and there are plenty of those floating around craigslist for $700 and lower...&#xD;&#xA;&#xD;&#xA;Just remember to purchase the best mic you can afford without destroying your budget. I would rather have ONE awesome shotgun then two cruddy mics. Plus a good microphone will last a lifetime if cared for properly.&#xD;&#xA;&#xD;&#xA;Hope this helps...&#xD;&#xA;&#xD;&#xA;Nick Meade" ContentLicense="CC BY-SA 2.5" />
  <row Id="2584" PostHistoryTypeId="2" PostId="1378" RevisionGUID="1940ff19-1e27-431c-984b-d1b4df75543a" CreationDate="2010-06-03T18:10:32.973" UserId="348" Text="Hi there. There are definitely alot of mics out there at various prices and various qualities. What I found was to search through the net and find suppliers and see what they are charging and see if they are selling good 2nd hand stuff. A good web site for this id www.locationsound.org. They have a great selection of industry standard equipment- both high and mid range as well as a section for good 2nd hand stuff.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2585" PostHistoryTypeId="2" PostId="1379" RevisionGUID="decca566-adae-4bb4-9d6f-5bb6b611edf9" CreationDate="2010-06-03T18:16:08.173" UserId="348" Text="Making the sound of elephants walking in studio using 2 10kg weights with lapel mics attached to them. Worked really well. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2586" PostHistoryTypeId="2" PostId="1380" RevisionGUID="8030f329-b46e-442c-b7be-67de83cbfbf1" CreationDate="2010-06-03T19:00:29.253" UserId="270" Text="It might be worth considering a M/S shotgun microphone (they have a built in figure of 8 mic to get stereo).&#xD;&#xA;&#xD;&#xA;That way you would have a shotgun, stereo, and you already have a cardioid with your 57.&#xD;&#xA;&#xD;&#xA;M/S is a relatively complicated stereo mic technique with some advantages &amp; some disadvantages, theres loads of info on the web if youre interested.&#xD;&#xA;&#xD;&#xA;Sennheiser make the MKH418S, I think Audio Tecnica make cheaper ones.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2587" PostHistoryTypeId="2" PostId="1381" RevisionGUID="a68187dd-4087-4cfe-9f07-1069189e68b3" CreationDate="2010-06-03T19:43:53.910" UserId="343" Text="+1 for the MKH416, one of my favourite mics. We use to mount them in booms or as ambience mics on sport matches. When they are not avalaible  my next choice is Beyerdynamic MCE 86II (don´t mistake it for the MC836). They sound good for me too and are less expensive than Sennheiser. &#xD;&#xA;I´ve been using the Beyer MCE72 mounted on cameras too. They are lightweigth but I haven´t have enough time to compare them with the 416.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I was going to buy a MKH418s until I discovered that it needed the two mics phantom-powered all the time. So I decided that a shotgun-figure 8 combination was more versatile. My personal stereo config is a mid-side pair, with a Sennheiser MKH406 and a MKH30. The first is the precursor of the cardioid MKH40 and the other one is a figure 8 condenser. They are mounted together into a Rode Blimp." ContentLicense="CC BY-SA 2.5" />
  <row Id="2588" PostHistoryTypeId="2" PostId="1382" RevisionGUID="75f7e6de-5a90-4b63-a04d-4751ba881518" CreationDate="2010-06-03T21:56:46.730" UserId="40" Text="57s!  And another +1 for MXL stuff too.  Depending on budget, you might be able to grab some Røde M3s or AKG C1000s's, etc...  Realistic PZMs are a good choice too.&#xD;&#xA;&#xD;&#xA;You might try going on Craigslist or Ebay and finding some of this stuff used, even roughly used, since you are planning on destroying them anyways.  You can often find 57s for $40 or so used.&#xD;&#xA;&#xD;&#xA;I'm also all for the DIY Contact Mics, as Jay suggested.  You can make them for under $4 a piece (cheaper if you already have connectors available).  I've done this a few times, when I taped my DIY contact mic onto a fire cracker...  It lasted about 4 takes...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2589" PostHistoryTypeId="2" PostId="1383" RevisionGUID="359f8529-eb81-4ff9-8b35-488d9aed22e7" CreationDate="2010-06-04T01:37:52.327" UserId="36" Text="Hey people,&#xD;&#xA;&#xD;&#xA;So I just fried my Zoom H2 by using the AC adaptor, it seems it can't handle New Zealand voltage... Replaced batteries inside and it still wont turn on so somethings fried inside. Just wondering, anyone opened one of these up before? Possible to replace the part inside? Or failing that, is their anything worth salvaging inside? Should I just auction it off no reserve...? Currently angry, disappointed, sad, and excited because i'm now upgrading to the H4.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Oliver" ContentLicense="CC BY-SA 2.5" />
  <row Id="2590" PostHistoryTypeId="1" PostId="1383" RevisionGUID="359f8529-eb81-4ff9-8b35-488d9aed22e7" CreationDate="2010-06-04T01:37:52.327" UserId="36" Text="Broken Zoom H2 Solutions" ContentLicense="CC BY-SA 2.5" />
  <row Id="2591" PostHistoryTypeId="3" PostId="1383" RevisionGUID="359f8529-eb81-4ff9-8b35-488d9aed22e7" CreationDate="2010-06-04T01:37:52.327" UserId="36" Text="&lt;zoom&gt;&lt;repair&gt;&lt;broken&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2592" PostHistoryTypeId="2" PostId="1384" RevisionGUID="ad4dfbb2-4b61-41b1-9df0-3668ff2f668e" CreationDate="2010-06-04T04:15:15.663" UserId="339" Text="While editing ''el secreto..'', we found ourselves in a situation like these...we needed the sound of 70.000 fans chanting at a football stadium, and of course, the actual wild track from the on-set recordist consisted in about 50 people chanting...&#xD;&#xA;We tried QuikQuak and obtained awful results...&#xD;&#xA;The final solution was to run the wild tracks + the sound of a stadium filled with people ( SFX library...it was just a kind of drone massive crowd noise in a baseball game) into a Vocoder. It turned out REALLY good. Plus, with different setups you could expand it to 5.1 easily." ContentLicense="CC BY-SA 2.5" />
  <row Id="2593" PostHistoryTypeId="2" PostId="1385" RevisionGUID="74fd035d-01d3-4454-8a51-8286e4bb87e2" CreationDate="2010-06-04T04:21:03.500" UserId="339" Text="everything Colin said plus keeping members of the team in silence ( Shouting ''silence please!'' some times does the trick).&#xD;&#xA;I've also was responsible for playback and music amplification in some gigs where I performed as an A3." ContentLicense="CC BY-SA 2.5" />
  <row Id="2594" PostHistoryTypeId="2" PostId="1386" RevisionGUID="3770e542-ac6b-4cec-889f-aaf797202d86" CreationDate="2010-06-04T09:08:54.307" UserId="37" Text="**you stand 3% chance of powering it via USB.** &#xD;&#xA;&#xD;&#xA;if that works, the unit can be somewhat likely fixed...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;about this false economy thing, time and effort into account, you might be better off just shelling out for a new one.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;very little online in terms of [pcb photos][2] , but from what i see as pcb design approach, your best bet is there -is- an element that was hopefully fried instead of the main IC in there..&#xD;&#xA;&#xD;&#xA;p.s. i would most definitely salvage these babies.&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;(images by [Mark Fontana][1])&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pianoworld.com/forum/ubbthreads.php/topics/24409/Re:%20Zoom%20H2%20problems.html#Post24409&#xD;&#xA;  [2]: http://www.frontiernet.net/~mfontana/zoom/zoom_h2_rework.jpg&#xD;&#xA;  [3]: http://www.frontiernet.net/~mfontana/zoom/zoom_h2_mics_side.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2595" PostHistoryTypeId="2" PostId="1387" RevisionGUID="04c85565-49e8-4f75-b661-cfbe45f26fe5" CreationDate="2010-06-04T10:07:07.380" UserId="351" Text="i would go for condenser - behringer stereo pair or just single (c1 , c2 or something like that) - condenser, small membrane, nice for sfx. bit noisy, but they are so cheap that you wont care if something happens to them - just get another one :)&#xD;&#xA;&#xD;&#xA;mikro" ContentLicense="CC BY-SA 2.5" />
  <row Id="2596" PostHistoryTypeId="2" PostId="1388" RevisionGUID="e56e38f4-0792-42a0-b466-71780b9fb758" CreationDate="2010-06-04T12:38:40.880" UserId="343" Text="In my honest opinion -12dB tone for allignment seems too high for me assuming that nominal programme level will be around this tone level. If the original -12dBFS tone was passed to DigiBeta without analog conversion it should have mantained these level to DigiBeta. Common allignment levels (and nominal programme levels) for DigiBeta are -20dBFS (SMPTE) or -18dBFS (EBU). Not sure but it sounds like they were asking to you a &quot;NLE&quot; signal level that, when passed to a DigiBeta recorder resulted too hot.&#xD;&#xA;&#xD;&#xA;When NLE and non-betacam cameras came into play we had to talk with editors in order to keep our levels the same. For example, Final Cut Tones were by defect at -12dBsFS and this was the nominal programme level editors used, so their work used to sound hot when going to transfer to Digibeta.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In my experience I´ve found 2 kind of problems regarding levels (3 if you have both them): &#xD;&#xA;&#xD;&#xA; 1. signal mantains digital from source to destiny. Recommended allignment levels for digital interexchange of material can vary from USA to Europe, for example, but it is easy to find out wich standard has been followed just by checking tones. &#xD;&#xA;&#xD;&#xA; 2. signal is converted digital to analog or viceversa in some stage. There are 2 main recommendations for analog to digital conversion values so the allignment issue can be tricky in this case. For example, a -12dBFS tone is recorded in a SMPTE DigiBeta VTR, then its analog outputs are connected to analog inputs of an &quot;EBU adjusted&quot; VTR recorder. The second one will meter -6dBFS. Of course, it is not your case.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Anyway, both of this main recommended allignment levels are near each other (-20 and -18dBFS) so -12dB would be too high for each of them.&#xD;&#xA;&#xD;&#xA;We have had some level issues in the last years since part of our signal chain was analog and the other was digital; some of our equipment was analog and some digital.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For international material exchange I´d recommend reading:&#xD;&#xA;ITU-R  BS.1726&#xD;&#xA;ITU-R  BR.777-3&#xD;&#xA;&#xD;&#xA;For analog to digital conversion levels:&#xD;&#xA;SMPTE  RP155&#xD;&#xA;EBU    R.68&#xD;&#xA;ITU-R  BS.645-2&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My English is not as good as my Basque or Spanish, but I hope this helps." ContentLicense="CC BY-SA 2.5" />
  <row Id="2597" PostHistoryTypeId="5" PostId="1388" RevisionGUID="532caff2-0d8e-4e68-959c-c50f80a91eb4" CreationDate="2010-06-04T12:58:29.543" UserId="343" Comment="added 6 characters in body" Text="In my honest opinion -12dB tone for allignment seems too high for me assuming that nominal programme level will be around this tone level. If the original -12dBFS tone was passed to DigiBeta without analog conversion it should have mantained these level to DigiBeta. Common allignment levels (and nominal programme levels) for DigiBeta are -20dBFS (SMPTE) or -18dBFS (EBU). Not sure but it sounds like they were asking to you a &quot;NLE&quot; signal level that, when passed to a DigiBeta recorder resulted too hot.&#xD;&#xA;&#xD;&#xA;When NLE and non-betacam cameras came into play we had to talk with editors in order to keep our levels the same. For example, Final Cut Tones were by defect at -12dBsFS and this was the nominal programme level editors used, so their work used to sound hot when going to transfer to Digibeta.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In my experience I´ve found 2 kind of problems regarding levels (3 if you have both them): &#xD;&#xA;&#xD;&#xA; 1. signal mantains digital from source to destiny. Recommended allignment levels for digital interexchange of material can vary from USA to Europe, for example, but it is easy to find out wich standard has been followed just by checking tones. &#xD;&#xA;&#xD;&#xA; 2. signal is converted digital to analog or viceversa in some stage. There are 2 main recommendations for analog to digital conversion values so the allignment issue can be tricky in this case. For example, a -12dBFS tone is recorded in a SMPTE DigiBeta VTR, then its analog outputs are connected to analog inputs of an &quot;EBU adjusted&quot; VTR recorder. The second one will meter -6dBFS. Of course, it is not your case.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Anyway, both of this main recommended allignment levels are near each other (-20 and -18dBFS) so -12dB would be too high for each of them.&#xD;&#xA;&#xD;&#xA;We have had some level issues in the last years since part of our signal chain was analog and the other was digital; some of our equipment was analog and some digital.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For international material exchange I´d recommend reading:&#xD;&#xA;ITU-R  BS.1726, &#xD;&#xA;ITU-R  BR.777-3&#xD;&#xA;&#xD;&#xA;For analog to digital conversion levels:&#xD;&#xA;SMPTE  RP155, &#xD;&#xA;EBU    R.68, &#xD;&#xA;ITU-R  BS.645-2&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My English is not as good as my Basque or Spanish, but I hope this helps." ContentLicense="CC BY-SA 2.5" />
  <row Id="2598" PostHistoryTypeId="2" PostId="1389" RevisionGUID="956bfbe4-289a-4a2a-bc35-9a43bfb45155" CreationDate="2010-06-04T14:23:13.387" UserId="220" Text="Contact these folks:&#xD;&#xA;Music Ways Ltd.&#xD;&#xA;P.O.Box 305-111, Triton Plaza, North Shore City, Ak 0757, New Zealand&#xD;&#xA;Tel: (64) 9-477-0384 Fax: (64) 9-476-0382&#xD;&#xA;http://www.musicways.co.nz&#xD;&#xA;E-mail:info@musicways.co.nz&#xD;&#xA;&#xD;&#xA;They do official service for Zoom in NZ and can probably get you schematics and help you with troubleshooting.  I would also ask them about refurbished units as a replacement." ContentLicense="CC BY-SA 2.5" />
  <row Id="2599" PostHistoryTypeId="2" PostId="1390" RevisionGUID="2e4919d9-a4a8-449f-8673-ea80994b8542" CreationDate="2010-06-04T18:24:18.567" UserId="339" Text="I once edited Foley in a film which had one of it's main characters in a wheelchair.&#xD;&#xA;The Foley artist added, apart from the wheelchair itself, the sound of a bowling ball rolling whenever the character moved...EXCELLENT results.&#xD;&#xA;Hope it helps." ContentLicense="CC BY-SA 2.5" />
  <row Id="2600" PostHistoryTypeId="2" PostId="1391" RevisionGUID="c9bc3699-6b9d-4ac5-844f-cc502ceb9ca0" CreationDate="2010-06-04T19:44:16.407" UserId="352" Text="I'm using a Sony MZ-M10 with the stock mic, and a sock wrapped around it (not much wind protection). I just recorded the recycling truck making its rounds, but the wind blew just before it drove off. I loaded it up on soundtrack pro to edit, but it hit me; I don't know how to take the wind out while keeping the it all balanced. &#xD;&#xA;&#xD;&#xA;[soundcloud]rodshields/recycling-truck[/soundcloud]" ContentLicense="CC BY-SA 2.5" />
  <row Id="2601" PostHistoryTypeId="1" PostId="1391" RevisionGUID="c9bc3699-6b9d-4ac5-844f-cc502ceb9ca0" CreationDate="2010-06-04T19:44:16.407" UserId="352" Text="How do you edit out wind?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2602" PostHistoryTypeId="3" PostId="1391" RevisionGUID="c9bc3699-6b9d-4ac5-844f-cc502ceb9ca0" CreationDate="2010-06-04T19:44:16.407" UserId="352" Text="&lt;outdoors&gt;&lt;wind&gt;&lt;editing&gt;&lt;spectrum&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2603" PostHistoryTypeId="2" PostId="1392" RevisionGUID="a853f904-f6b8-430c-887f-6ccb6e89a8df" CreationDate="2010-06-04T20:15:23.517" UserId="40" Text="Well, some wind noise you can't just get rid of, but I'd start with EQ.  Most wind noise is in the lower frequencies, so try an HPF and such.&#xD;&#xA;&#xD;&#xA;You might also try Izotope RX.  It has a few tools, such as spectral repair and noise reduction that might help you out a bit as well.&#xD;&#xA;&#xD;&#xA;Depending on how bad your wind noise is, you might try a multiband expander, if you have access to one.&#xD;&#xA;&#xD;&#xA;My last suggestion would be a Cedar unit.  Also not something that a lot of people have access to, but if you do, it could be a big help!&#xD;&#xA;&#xD;&#xA;Good Luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2604" PostHistoryTypeId="2" PostId="1393" RevisionGUID="4fdc69a7-a8d6-47f6-9721-31e5a9f2c37b" CreationDate="2010-06-04T20:19:11.137" UserId="315" Text="That's the bummer with most portable recorders. I have a Sony PCM D-1 with a wind furry which I carry around for the odd recording and I often struggle with wind distortion. &#xD;&#xA;&#xD;&#xA;A low cut EQ set somewhere around 60-200hz can often remove wind distortion. Often I'll just automate the eq so it's only on during the points where the distortion occurs. That way I'm not taking the low end out of the entire recording. Of course, you can also just edit those points out too. &#xD;&#xA;&#xD;&#xA;Using a multiband compressor or a Cedar DNS can also do wonders." ContentLicense="CC BY-SA 2.5" />
  <row Id="2605" PostHistoryTypeId="2" PostId="1394" RevisionGUID="e4aea4f4-423d-4832-8529-ab49988cf4f5" CreationDate="2010-06-04T20:38:39.913" UserId="40" Text="Cool question.  Very relevant to me right now because I'm actually starting design on a villain right now that you never actually see on screen.  You only hear him.  I'll definitely have to go through and take a look at some of the examples you guys posted...&#xD;&#xA;&#xD;&#xA;Some of mine: (some are repeats)&#xD;&#xA;- Darth Vader's ventilator&#xD;&#xA;- Sounds from the island in Lost (although I'm not a big fan of the sound of the black smoke.  Sounds too much like a point of sale receipt printer to me...)&#xD;&#xA;- Sounds from the island on Castaway (again, the environment being the villain)&#xD;&#xA;&#xD;&#xA;There are more, just can't remember them right now... I'll have to update my post later.&#xD;&#xA;&#xD;&#xA;Good stuff!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2606" PostHistoryTypeId="2" PostId="1395" RevisionGUID="1c125d18-7200-4916-b17a-6a11d4594f8e" CreationDate="2010-06-04T22:56:34.580" UserId="353" Text="Does anyone have any thoughts about the Savannah College of Arts and Design Graduate Sound Design program. It looks like the program had a good, rounded curriculum which could help train me for future jobs in audio? Any thoughts?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;pinman" ContentLicense="CC BY-SA 2.5" />
  <row Id="2607" PostHistoryTypeId="1" PostId="1395" RevisionGUID="1c125d18-7200-4916-b17a-6a11d4594f8e" CreationDate="2010-06-04T22:56:34.580" UserId="353" Text="SCAD - Graduate Sound Design Program" ContentLicense="CC BY-SA 2.5" />
  <row Id="2608" PostHistoryTypeId="3" PostId="1395" RevisionGUID="1c125d18-7200-4916-b17a-6a11d4594f8e" CreationDate="2010-06-04T22:56:34.580" UserId="353" Text="&lt;scad&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2609" PostHistoryTypeId="6" PostId="1395" RevisionGUID="3d0ef8ff-cebd-4132-86f8-684bcee2d1cd" CreationDate="2010-06-04T23:03:06.700" UserDisplayName="user80" Comment="added tag" Text="&lt;scad&gt;&lt;courses&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2610" PostHistoryTypeId="2" PostId="1396" RevisionGUID="75e22c4e-7aef-4135-a430-b5f14e303431" CreationDate="2010-06-04T23:30:15.447" UserId="100" Text="I was looking at SCAD's graduate program for sound design for a while. They have a great curriculum, and the school as a whole is very impressive. Few schools offer a masters program in sound design, and many schools will have a program more skewed toward music production than sound design. SCAD was certainly an exception to that. In my case, I ultimately went with a school that was a bit closer to where the jobs are, and where the instructors were still working on big-name projects, although David Stone is at the Savannah campus, and is pretty well recognized. Good luck with your decision." ContentLicense="CC BY-SA 2.5" />
  <row Id="2611" PostHistoryTypeId="2" PostId="1397" RevisionGUID="2b2c5d66-3e7d-4304-8cc9-519150289d89" CreationDate="2010-06-05T01:34:12.593" UserId="339" Text="I thought that the on-set recordist just made wild tracks with the dinosaurs while they were shooting..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2612" PostHistoryTypeId="6" PostId="1395" RevisionGUID="8d3f82eb-ffde-497c-b800-7370d7300287" CreationDate="2010-06-05T06:44:00.200" UserId="61" Comment="retags" Text="&lt;scad&gt;&lt;education&gt;&lt;sound-design&gt;&lt;training&gt;&lt;job&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2613" PostHistoryTypeId="2" PostId="1398" RevisionGUID="44388d86-2e92-4d34-82cf-38fe468dc7a1" CreationDate="2010-06-05T09:31:39.420" UserId="343" Text="Three of the control rooms where I use to mix have installed Genelec **8050, 8020** and older **2029A**. The last two ones are quite small so they may be cheap enough for a small budget. But I definitely wouldn´t recommend any of them. I wish I had Dynaudio BM6, but is not the case by now. One of this rooms have a pair of Yamaha **NS10m** so these are what I use when I mix there. I have a pair of Yamahas at home too.&#xD;&#xA;&#xD;&#xA;If you don´t want to spend a lot of money  **JBL Control 1** could work. They are passive although there is and active version. I´ve used the passive ones at postproduction a few times and I see them as a medium quality reference, a step under the Yamahas. &#xD;&#xA;&#xD;&#xA;I´ve used small active **Fostex 6301** but they are not detailed at mids so wouldn´t be a choice for me.&#xD;&#xA;&#xD;&#xA;If you want to mix with quality reference for a small amount headphones could be a solution too. For the price of a pair of medium quality speakers you could get some good cans: Beyer DT880, Sennheiser HD25...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2614" PostHistoryTypeId="5" PostId="1395" RevisionGUID="40c597f2-fb51-4951-8e27-769857b642c9" CreationDate="2010-06-05T09:50:27.407" UserDisplayName="user80" Comment="Added weblink and image" Text="Does anyone have any thoughts about the [Savannah College of Arts and Design Graduate Sound Design][1] program. It looks like the program had a good, rounded curriculum which could help train me for future jobs in audio? Any thoughts?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;pinman&#xD;&#xA;&#xD;&#xA;[![SCAD][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.scad.edu/sound-design/&#xD;&#xA;[2]: http://www.scad.edu/sound-design/images/quoteimage.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2615" PostHistoryTypeId="5" PostId="1280" RevisionGUID="6f792057-f9f1-43c2-85c1-1e91f7dfdba8" CreationDate="2010-06-05T10:43:19.593" UserDisplayName="user80" Comment="Added weblink and image" Text="Check out [KRK Rokits][1]. Good bang for yer buck.&#xD;&#xA;&#xD;&#xA;[![KRK Rokits][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.krksys.com/product_rokit.php&#xD;&#xA;[2]: http://www.krksys.com/images/main/index_main-rokit.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2616" PostHistoryTypeId="2" PostId="1399" RevisionGUID="dec1e4cd-c228-4348-b99e-2842fe879d43" CreationDate="2010-06-05T13:26:19.070" UserId="243" Text="I edit and master voice overs during the week, most of them are short questions, answers and statements. What I would like to know is if there is a quick way of exporting all of the events/sounds in the tracks to replace their original ones. This will save me time because I dont need to rename any of the sounds I fix, I just replace them with my version.&#xD;&#xA;&#xD;&#xA;Anyone? " ContentLicense="CC BY-SA 2.5" />
  <row Id="2617" PostHistoryTypeId="1" PostId="1399" RevisionGUID="dec1e4cd-c228-4348-b99e-2842fe879d43" CreationDate="2010-06-05T13:26:19.070" UserId="243" Text="how can I do a multiple track mix down on nuendo4?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2618" PostHistoryTypeId="3" PostId="1399" RevisionGUID="dec1e4cd-c228-4348-b99e-2842fe879d43" CreationDate="2010-06-05T13:26:19.070" UserId="243" Text="&lt;multiple&gt;&lt;track&gt;&lt;mix&gt;&lt;down&gt;&lt;nuendo4&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2619" PostHistoryTypeId="2" PostId="1400" RevisionGUID="27a04b67-58c3-449c-90f1-30ee59e0d2f7" CreationDate="2010-06-05T14:07:50.370" UserId="343" Text="There was a diagram at Jensen-Transformers of a &quot;Passive Stereo Matrix for M-S Mic Technique&quot; that might work:&#xD;&#xA;&#xD;&#xA;**http://www.jensentransformers.com/as/as065.pdf**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I was decided to test it but then I bought a Wendt X3 wich (has not Mid-Side decoder but) has 3 mic inputs so I use an adapter cable to connect Side mic to input 2 and 3 with phase inverted if necessary.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2620" PostHistoryTypeId="5" PostId="1400" RevisionGUID="5072f553-e52d-4ea3-b86b-544f587fe435" CreationDate="2010-06-05T14:23:57.603" UserDisplayName="user80" Comment="Added weblinks and image" Text="There was a diagram at Jensen-Transformers of a &quot;[Passive Stereo Matrix for M-S Mic Technique][1]&quot; that might work.&#xD;&#xA;&#xD;&#xA;I decided to test it, but then I bought a [Wendt X3][2] which, although it is not a Mid-Side decoder, has 3 mic inputs, so I use an adapter cable to connect Side (figure of eight) mic to inputs 2 and 3 with inverted phase, if necessary.&#xD;&#xA;&#xD;&#xA;[![Wendt x3][3]][2]&#xD;&#xA;&#xD;&#xA;[1]: http://www.jensentransformers.com/as/as065.pdf&#xD;&#xA;[2]: http://www.wendtinc.net/x3specs.htm&#xD;&#xA;[3]: http://www.wendtinc.net/images/x3new1.jpg&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2621" PostHistoryTypeId="5" PostId="1399" RevisionGUID="bca41a4c-ab0e-4a20-9283-13118f1d9264" CreationDate="2010-06-05T14:27:02.780" UserDisplayName="user80" Comment="Tidied up language and added tags" Text="I edit and master voice-overs during the week, most of them are short questions, answers or statements. What I would like to know is if there is a quick way of exporting all of the events/sounds in the tracks to replace their original ones? This would save me time as I would not need to rename any of the sounds that I fixed, I could just replace them with my version.&#xD;&#xA;&#xD;&#xA;Anyone? " ContentLicense="CC BY-SA 2.5" />
  <row Id="2622" PostHistoryTypeId="6" PostId="1399" RevisionGUID="bca41a4c-ab0e-4a20-9283-13118f1d9264" CreationDate="2010-06-05T14:27:02.780" UserDisplayName="user80" Comment="Tidied up language and added tags" Text="&lt;nuendo&gt;&lt;techniques&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2623" PostHistoryTypeId="2" PostId="1401" RevisionGUID="a1dfceef-b6f4-409c-ba4e-c56421878250" CreationDate="2010-06-05T20:58:30.323" UserId="339" Text="ka-pow. Two attacks, first one heavy, fat, and a little saturated + silence + actual gunshot (add reverb and such)." ContentLicense="CC BY-SA 2.5" />
  <row Id="2624" PostHistoryTypeId="2" PostId="1402" RevisionGUID="ede52af3-8e7b-4a97-8005-aa637151c8ea" CreationDate="2010-06-05T22:57:19.247" UserId="243" Text="I enjoy nuendo's de-esser, it works for me, however it is a plugin on 3 but not on nuendo 4, do i have to download it, if so from where? " ContentLicense="CC BY-SA 2.5" />
  <row Id="2625" PostHistoryTypeId="2" PostId="1403" RevisionGUID="40ab18d8-a6c1-4555-830e-74e350be7542" CreationDate="2010-06-05T23:44:36.193" UserId="2" Text="If I understand correctly, then there are two principle ways: &#xD;&#xA;&#xD;&#xA; - Solo the tracks you want to mixdown (ie: all the &quot;John&quot; voice talent tracks), Select all files you're interested in, press [**Apple + P**], then go [**file &gt; export &gt; audio mixdown**]. You can re-import and replace the files or select the option [**import into project** (or something along those lines)]. You'll have to delete or mute the old files though. Make sure you save the project as a new name just to be safe.  &#xD;&#xA;&#xD;&#xA; - If you are only interested in one track with multiple events, then [**press number &quot;2&quot;** (or second button in your tool bar) --&gt; **highlight all the files on the track** &gt; **right click** &gt;  **audio menu** &gt; **Bounce to Selection** &gt; **Replace**]&#xD;&#xA;&#xD;&#xA;That should do it. Let me know if I misunderstood. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2626" PostHistoryTypeId="5" PostId="1074" RevisionGUID="528a1a3e-7613-4582-8977-b460d7b92163" CreationDate="2010-06-06T00:00:15.837" UserId="18160" Comment="deleted 181 characters in body" Text="I use Oxford Suppressor.&#xD;&#xA;&#xD;&#xA;I also use VST Dynamic EQ on offending frequencies.&#xD;&#xA;&#xD;&#xA;I also use outboard DBX 902 as I mainly mix in Analog. The summing of my board still sounds better than Pro Tools' summing mixer.&#xD;&#xA;&#xD;&#xA;But, my favorite De-Esser is the Gain plug-in to manually bring down the volume.&#xD;&#xA;&#xD;&#xA;At the moment, I am experimenting with all sorts of strip-silence and beat-detective and region-group macros in Pro Tools to be able to get the quality of manual de-essing in a long-format like an Audiobook or long narration VO.&#xD;&#xA;&#xD;&#xA;On a 3 minute song or a 1-minute radio ad, I manually shape the sibilance the way I want it because an auto-de-essing plugin/equipment messes with the voice too much IMO.&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="2627" PostHistoryTypeId="2" PostId="1404" RevisionGUID="caf67097-0a5a-4ee0-99a9-3b7d4f8986c0" CreationDate="2010-06-06T05:15:04.803" UserId="168" Text="I either manually gain down the &quot;esses&quot; or use a multiband compressor with the band on the offending frequency set to high ratio, fast attack, fast release." ContentLicense="CC BY-SA 2.5" />
  <row Id="2628" PostHistoryTypeId="5" PostId="1052" RevisionGUID="ccda2fc2-df45-480b-aa52-927a78c794e8" CreationDate="2010-06-06T06:31:38.753" UserDisplayName="user80" Comment="added 5 characters in body" Text="I used the waves one and now i'm trying the Eiosis E2deesser: I found its approach really interesting and natural sounding. I use a combination of that plugin and multiband compression.&#xD;&#xA;&#xD;&#xA;I have read about the sonnox, but have only used it for a few hours.&#xD;&#xA;&#xD;&#xA;What do you use?&#xD;&#xA;&#xD;&#xA;Davide&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2629" PostHistoryTypeId="5" PostId="1399" RevisionGUID="06286697-09f1-48d7-8f8b-557c297caf7b" CreationDate="2010-06-06T06:32:33.667" UserDisplayName="user80" Comment="added 7 characters in body" Text="I edit and master voice-overs during the week, most of them are short questions, answers or statements. What I would like to know is if there is a quick way of exporting all of the events/sounds in the tracks to replace their original ones? This would save me time, as I would not need to rename any of the sounds that I fixed, I could just replace them with the new versions.&#xD;&#xA;&#xD;&#xA;Anyone? " ContentLicense="CC BY-SA 2.5" />
  <row Id="2630" PostHistoryTypeId="2" PostId="1405" RevisionGUID="cae8178f-3427-4be6-b0e1-e01b0ad406fc" CreationDate="2010-06-06T10:59:36.780" UserId="343" Text="I know that here is an dust-covered Sony reflector somewhere in the warehouse. It got lost when headquarters moved two years ago. I never used it so I´ve asked my boss to look for it in order to try it out outdoors. I will use with an MKE-2 (lavalier omni) and with my MKH-406 (cardioid). Does anyone have experience with this kind of reflectors?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2631" PostHistoryTypeId="1" PostId="1405" RevisionGUID="cae8178f-3427-4be6-b0e1-e01b0ad406fc" CreationDate="2010-06-06T10:59:36.780" UserId="343" Text="Have you ever used parabolic reflectors for field recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2632" PostHistoryTypeId="3" PostId="1405" RevisionGUID="cae8178f-3427-4be6-b0e1-e01b0ad406fc" CreationDate="2010-06-06T10:59:36.780" UserId="343" Text="&lt;field-recording&gt;&lt;techniques&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2633" PostHistoryTypeId="6" PostId="1405" RevisionGUID="b42f4bae-7f8c-4bf5-b2a0-16efd9a6db46" CreationDate="2010-06-06T12:30:05.927" UserDisplayName="user80" Comment="edited tags" Text="&lt;field-recording&gt;&lt;techniques&gt;&lt;gear&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2634" PostHistoryTypeId="2" PostId="1406" RevisionGUID="337f173c-73df-4c20-922f-91dc7121d22d" CreationDate="2010-06-06T14:11:51.367" UserId="343" Text="Although the Control24 has edit buttons I don´t use them because it is faster for to use the keyboard. It is not an very comfortable position for the left hand and after long periods of time it can be a pain. There are some peripherals made for gamers that I feel would work well in our enviroments:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[http://www.belkin.com/iwcatproductpage.process?product_id=390404][1]&#xD;&#xA;&#xD;&#xA;[http://www.cybersnipa.com/us/gaming-keyboards/gamepad.php][2]&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.belkin.com/iwcatproductpage.process?product_id=390404&#xD;&#xA;  [2]: http://www.cybersnipa.com/us/gaming-keyboards/gamepad.php&#xD;&#xA;  [3]: http://ecx.images-amazon.com/images/I/51pYw4BGYTL._SL500_AA300_.jpg&#xD;&#xA;  [4]: http://www.cybersnipa.com/images/products/game_pad/gamepad_f4_img.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2635" PostHistoryTypeId="5" PostId="390" RevisionGUID="55759ff9-e099-43e1-8b3f-7191cf3bc35c" CreationDate="2010-06-06T14:28:09.040" UserDisplayName="user80" Comment="Spelling correction" Text="Right now, after hours of editing, my neck really hurts, so I clearly need to start taking some of this advice.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2636" PostHistoryTypeId="5" PostId="1284" RevisionGUID="8141b51f-8373-46a9-adc1-d064ea4de1a7" CreationDate="2010-06-06T14:29:43.907" UserDisplayName="user80" Comment="Grammar" Text="I have been experimenting with different layers to create a perfect gunshot but they all fail and sound like toy guns. What do I have to layer in order to create a deadly sounding gunshot?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2637" PostHistoryTypeId="4" PostId="1284" RevisionGUID="8141b51f-8373-46a9-adc1-d064ea4de1a7" CreationDate="2010-06-06T14:29:43.907" UserDisplayName="user80" Comment="Grammar" Text="How do you create the deadliest sounding gunshots?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2638" PostHistoryTypeId="2" PostId="1407" RevisionGUID="4a08f88f-414a-4d63-bd23-ed14b67ae51f" CreationDate="2010-06-06T16:13:48.143" UserId="168" Text=" 1. GRM Tools&#xD;&#xA; 2. Sound Toys&#xD;&#xA; 3. IR Reverb with random impulses from my sound library&#xD;&#xA; 4. Flex/elastic time (in different modes)&#xD;&#xA; 5. And the most powerful of all: EQ!&#xD;&#xA;&#xD;&#xA;All in combination or separately = processing bliss!&#xD;&#xA;&#xD;&#xA;Oh and Omnisphere too if I'm looking for textural beds." ContentLicense="CC BY-SA 2.5" />
  <row Id="2639" PostHistoryTypeId="2" PostId="1408" RevisionGUID="183a5b3d-a41e-41d5-a19b-a29c4f018497" CreationDate="2010-06-06T18:48:00.780" UserId="182" Text="There is a big chance that you fried at least the voltage convertor and maybe more IC's.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;It's all tiny surface mount components inside, and replacing them can be very hard or even impossible. &#xD;&#xA;I've done my share of smd-(re)soldering, both on existing hardware (wii-remote) and DIY electronics projects and it wasn't fun at all. One wii-remote got destroyed in the process, even though I used a $2000+ high-precision soldering station and knew what I was doing.&#xD;&#xA;&#xD;&#xA;Besides, good luck finding the replacement components in singular quantities. Even Zoom themselves wouldn't start soldering smd stuff on their own devices, under warranty they simply replace the entire unit and the old one goes in the bin.&#xD;&#xA;(there are similar posts like yours on the zoom forum and other places as well, all answers state that DIY-repair is out of the question)&#xD;&#xA;&#xD;&#xA;Opening it up and saving the mic capsules is easy enough though, they are connected with little plastic snap-connectors. &#xD;&#xA;Even if you're no electronic wizard, carefully opening pieces of gear can do no harm to anything other than the warranty (watch for screws hidden behind stickers/seals - they void the warranty). I opened up many pieces of equipment I use regularly just because I was curious what's inside.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i50.tinypic.com/2dkbqti.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="2640" PostHistoryTypeId="2" PostId="1409" RevisionGUID="14c2e301-f697-44d0-883d-aae863fd8d35" CreationDate="2010-06-06T19:30:32.973" UserId="62" Text="If my boss could convince the powers to fork out the 3 grand, my weapon of choice would be Cedar's DNSOne. I tried it a couple of months ago for a couple of weeks. A truly great plugin. Now, I've never used the hardware versions but by all accounts it's just as good. Walks all over the Waves WNS too as I tried that at the same time.&#xD;&#xA;&#xD;&#xA;Did a review on my blog...&#xD;&#xA;http://postproductionsound.blogspot.com/2010/04/noise-reduction.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="2641" PostHistoryTypeId="2" PostId="1410" RevisionGUID="02f661d2-b3b7-4e52-a6e0-7d3919fd250a" CreationDate="2010-06-06T23:09:46.140" UserDisplayName="user49" Text="I've never used one but I know their frequency response is proportional to the size of the dish... &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.coe.montana.edu/ee/rmaher/publications/maher_aac_0805.pdf&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2642" PostHistoryTypeId="2" PostId="1411" RevisionGUID="14adfb02-97da-4281-9894-e455052a30ac" CreationDate="2010-06-07T04:39:01.260" UserId="6571" Text="It's a too late now, but in the future - it's better to turn on HP-filter on your recording device or mic if it possible - very helps against wind while recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="2643" PostHistoryTypeId="6" PostId="1391" RevisionGUID="3505c81d-3b6b-4764-9b90-c0f6f54959ff" CreationDate="2010-06-07T06:42:33.263" UserDisplayName="user80" Comment="Added tag" Text="&lt;outdoors&gt;&lt;wind&gt;&lt;editing&gt;&lt;spectrum&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2644" PostHistoryTypeId="5" PostId="1405" RevisionGUID="689865ab-a1c1-4f85-a5f1-c6fe15801df7" CreationDate="2010-06-07T11:38:33.260" UserDisplayName="user80" Comment="Added image and weblink" Text="I know that here is an dust-covered Sony reflector somewhere in the warehouse. It got lost when headquarters moved two years ago. I never used it so I´ve asked my boss to look for it in order to try it out outdoors. I will use with an MKE-2 (lavalier omni) and with my MKH-406 (cardioid). Does anyone have experience with this kind of reflectors?&#xD;&#xA;&#xD;&#xA;[![Sony Parabolic reflector][1]][2]&#xD;&#xA;&#xD;&#xA;[1]: http://1.bp.blogspot.com/_44dvHZ3XXO4/S68sWRaroCI/AAAAAAAAE7M/93wbld7j2uQ/s400/PBR-330.jpg&#xD;&#xA;[2]: http://surround2011.blogspot.com/2010/03/parabolic-reflector-sony-pbr-330.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="2645" PostHistoryTypeId="5" PostId="42" RevisionGUID="518b718d-b88a-4fd5-a32e-1375e7c98273" CreationDate="2010-06-07T14:28:16.333" UserDisplayName="user80" Comment="Added image and weblink" Text="*Not so secret if you share!*&#xD;&#xA;&#xD;&#xA;And how do you use it?&#xD;&#xA;&#xD;&#xA;-=-&#xD;&#xA;&#xD;&#xA;I LOVE [Paul's Extreme Sound Stretch][1]. I used to run it in my Windows XP days, but when I switched to an Intel Mac, there wasn't a working binary. [Until recently!][2] This UB isn't quite as stable as the Windows version, but it still works.&#xD;&#xA;&#xD;&#xA;Paul's Stretch is old school. You set the settings, and then hit render, and wait for it to chug out your sound. Not good for short stretches, such as you might warp in Ableton. This is for creating surreal, extreme stretches. Take a 10 second clip and make it 20 minutes, 20 hours, 20 days. Etc.&#xD;&#xA;&#xD;&#xA;I love to use this as a starting point, and then hack up the stretch with tremolo or gating effects in a DAW.&#xD;&#xA;&#xD;&#xA;[![Paul's extreme sound stretch][3]][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hypermammut.sourceforge.net/paulstretch/&#xD;&#xA;  [2]: http://music.cornwarning.com/2009/04/29/paul-stretch-extreme-audio-time-stretching-for-os-x-to-download/&#xD;&#xA;  [3]: http://hypermammut.sourceforge.net/paulstretch/paulstretch_html_me3a486c.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="2646" PostHistoryTypeId="5" PostId="1383" RevisionGUID="b9074860-b24d-4d75-988b-09d771b56ced" CreationDate="2010-06-07T14:30:23.133" UserDisplayName="user80" Comment="Grammar and added tags" Text="Hey people,&#xD;&#xA;&#xD;&#xA;I just fried my Zoom H2 by using the AC adaptor, it seems it can't handle New Zealand voltage... Replaced batteries inside and it still won't turn on, so something's fried inside. Just wondering, has anyone opened one of these up before? Is it possible to replace the internal parts? Or failing that, is their anything worth salvaging? Should I just auction it off no reserve...? Currently angry, disappointed, sad, and excited as I'm now upgrading to the H4.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Oliver" ContentLicense="CC BY-SA 2.5" />
  <row Id="2647" PostHistoryTypeId="6" PostId="1383" RevisionGUID="b9074860-b24d-4d75-988b-09d771b56ced" CreationDate="2010-06-07T14:30:23.133" UserDisplayName="user80" Comment="Grammar and added tags" Text="&lt;zoom&gt;&lt;repair&gt;&lt;broken&gt;&lt;h2&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2648" PostHistoryTypeId="2" PostId="1412" RevisionGUID="89fc1592-1fb0-4e56-a63e-59ac83aa967f" CreationDate="2010-06-07T14:31:54.310" UserId="242" Text="I am about to start some editing for some films and I wanted to find out what other people's methods are.. The track does not look uniform at all, and it is all recorded outdoors; the dialogues are recorded too loud and the ambience too quiet. Any tips?&#xD;&#xA;&#xD;&#xA;Many thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="2649" PostHistoryTypeId="1" PostId="1412" RevisionGUID="89fc1592-1fb0-4e56-a63e-59ac83aa967f" CreationDate="2010-06-07T14:31:54.310" UserId="242" Text="What is the best way of cleaning audio tracks for a film?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2650" PostHistoryTypeId="3" PostId="1412" RevisionGUID="89fc1592-1fb0-4e56-a63e-59ac83aa967f" CreationDate="2010-06-07T14:31:54.310" UserId="242" Text="&lt;clean&gt;&lt;audio&gt;&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2651" PostHistoryTypeId="5" PostId="1412" RevisionGUID="f6001689-77e3-4e50-a695-031c799cc961" CreationDate="2010-06-07T15:31:13.403" UserDisplayName="user80" Comment="Added tags" Text="I am about to start some editing for some films and I wanted to find out what other people's methods are.. The track does not look uniform at all, and it is all recorded outdoors; the dialogue was recorded too loud and the ambience too quiet. Any tips?&#xD;&#xA;&#xD;&#xA;Many thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="2652" PostHistoryTypeId="6" PostId="1412" RevisionGUID="f6001689-77e3-4e50-a695-031c799cc961" CreationDate="2010-06-07T15:31:13.403" UserDisplayName="user80" Comment="Added tags" Text="&lt;cleaning&gt;&lt;techniques&gt;&lt;audio-restoration&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2653" PostHistoryTypeId="2" PostId="1413" RevisionGUID="4e12fdf7-f38d-4048-b3d1-3fb176023dd2" CreationDate="2010-06-07T16:07:55.007" UserId="357" Text="The best gunshot scene, hands-down, is the shoot-out in the Raven in Raiders of the Lost Ark.  I believe they actually used a Winchester for Indy's revolver.  That scene is aided by the fact that there's no music, and there's clarity in the gunshots.  So much of the power of a gunshot comes from what's around it... ducking everything else out of the mix, etc.  In that scene you can tell they thought about what/where every gunshot was coming from.  It's not just a wall of gunshot stupidity.  &#xD;&#xA;&#xD;&#xA;Definitely the more 1-2-3 punch you can give to a gunshot the better... click, BANG, whooooosh/trail.  &#xD;&#xA;&#xD;&#xA;A high CRACK mixed in can help, a la the attack from a 21 gun salute, give a lower frequency gun more punch in a mix." ContentLicense="CC BY-SA 2.5" />
  <row Id="2654" PostHistoryTypeId="2" PostId="1414" RevisionGUID="545cd934-7425-45e4-904d-8e7aa58d57f8" CreationDate="2010-06-07T16:18:15.583" UserId="290" Text="There are two tools that I really like:&#xD;&#xA;&#xD;&#xA;1) My go-to for a quick-clean-up is Izotope RX. Izotope makes some AWESOME software, and the price tag is hard to flinch at. It's also very flexible, you can pretty easily do tricks like removing footfalls (over a line!) and clicks that have been bothering you. I have it set as my default wave editor from Reaper.&#xD;&#xA;&#xD;&#xA;2) If we're talking SERIOUS denoising, it may be worth tracking down a Cedar (i.e. Cedar 1000, Cedar 2000) - they rent for about $150 / day, and processes the audio in real time. It takes more fiddling, but does a remarkable job reducing noise without any space monkeys.&#xD;&#xA;&#xD;&#xA;Using the two in tandem has worked well for me in the past." ContentLicense="CC BY-SA 2.5" />
  <row Id="2655" PostHistoryTypeId="2" PostId="1415" RevisionGUID="a360c308-0698-462c-bfb8-48585ed40bf4" CreationDate="2010-06-07T16:44:01.920" UserId="358" Text="I graduated from the BFA program at SCAD in Sound Design about a year ago.  The program is great, you learn what you need to know and I was more prepared for LA then I could of ever imagined.  Now being in GA your not exposed to any of the industry except the few professors that have beefy resumes.  Although the school has an audio student organization which brings professionals in the Audio Post community to SCAD to lecture and talk about there experiences.  Its a great program with great facilities, not to mention SCAD also has music production classes if that's something your interested in.  It is quite expensive though so keep that in mind....&#xD;&#xA;&#xD;&#xA;@josh-phippin" ContentLicense="CC BY-SA 2.5" />
  <row Id="2656" PostHistoryTypeId="2" PostId="1416" RevisionGUID="49f44e9b-9b76-46d9-a568-7000d124142b" CreationDate="2010-06-07T16:52:40.367" UserId="2" Text="I see gear rental places charge 75% of the day rate for half a day. And at restaurants, half a pasta dish is also around 75%. How about post-production or location recording? &#xD;&#xA;&#xD;&#xA;For some reason, I have two half days this week and I'm wondering what the norm is? 75% of daily rate seem correct? &#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2657" PostHistoryTypeId="1" PostId="1416" RevisionGUID="49f44e9b-9b76-46d9-a568-7000d124142b" CreationDate="2010-06-07T16:52:40.367" UserId="2" Text="Usual half day rate? " ContentLicense="CC BY-SA 2.5" />
  <row Id="2658" PostHistoryTypeId="3" PostId="1416" RevisionGUID="49f44e9b-9b76-46d9-a568-7000d124142b" CreationDate="2010-06-07T16:52:40.367" UserId="2" Text="&lt;rate&gt;&lt;standard&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2659" PostHistoryTypeId="2" PostId="1417" RevisionGUID="c083244f-9317-452b-bc39-e451176ec3bd" CreationDate="2010-06-07T17:59:30.117" UserId="253" Text="Awesome answers from the other guys, so i'll just add something:&#xD;&#xA;When i QC'ed films, a lot of the M+E's were accompanied by both a dialogue track and an &quot;options&quot; track. The options track had the non verbal vocalisations (breaths, grunts, etc.) - anything that's borderline.&#xD;&#xA;&#xD;&#xA;I'm currently doing some work at a studio that does ultra fast turnaround foreign language dubs, and i'd give my left arm for an options track!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2660" PostHistoryTypeId="2" PostId="1418" RevisionGUID="037888b9-16b7-4531-afbd-c8ac23d4744e" CreationDate="2010-06-07T19:23:47.243" UserId="359" Text="Hello Everyone,&#xD;&#xA;&#xD;&#xA;This is my first post on this forum.  It looks like a great community and I look forward to chatting with you all.&#xD;&#xA;&#xD;&#xA;I have been looking for a good walla library lately.  Does anyone on here have any good suggestions?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;Scott" ContentLicense="CC BY-SA 2.5" />
  <row Id="2661" PostHistoryTypeId="1" PostId="1418" RevisionGUID="037888b9-16b7-4531-afbd-c8ac23d4744e" CreationDate="2010-06-07T19:23:47.243" UserId="359" Text="Good Walla Libraries" ContentLicense="CC BY-SA 2.5" />
  <row Id="2662" PostHistoryTypeId="3" PostId="1418" RevisionGUID="037888b9-16b7-4531-afbd-c8ac23d4744e" CreationDate="2010-06-07T19:23:47.243" UserId="359" Text="&lt;walla&gt;&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2663" PostHistoryTypeId="2" PostId="1419" RevisionGUID="b8ab4589-6745-4b32-866a-8ef92480a715" CreationDate="2010-06-08T02:08:15.347" UserId="234" Text="My personal favourite is the Massey Desser... great sounding and very flexible." ContentLicense="CC BY-SA 2.5" />
  <row Id="2664" PostHistoryTypeId="2" PostId="1420" RevisionGUID="92628802-8575-49a3-a4c7-9cb5444cbf73" CreationDate="2010-06-08T13:37:22.667" UserId="343" Text="Most of field mixers and portable recorders have basic limiters at least for the stereo output. Stereo linked, no threshold or release, just switch it on or off. When recording vocals I prefer recording without limiter even if I have to record at lower levels. For ambience or noise I will switch it on because a little harsh is better than a big digital distortion.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2665" PostHistoryTypeId="1" PostId="1420" RevisionGUID="92628802-8575-49a3-a4c7-9cb5444cbf73" CreationDate="2010-06-08T13:37:22.667" UserId="343" Text="How often do you use limiters during field recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2666" PostHistoryTypeId="3" PostId="1420" RevisionGUID="92628802-8575-49a3-a4c7-9cb5444cbf73" CreationDate="2010-06-08T13:37:22.667" UserId="343" Text="&lt;techniques&gt;&lt;field-recording&gt;&lt;dynamics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2667" PostHistoryTypeId="2" PostId="1421" RevisionGUID="2d7f4075-6473-46c2-b7b5-c194478870e6" CreationDate="2010-06-08T15:57:57.303" UserId="220" Text="I never use limiters on field recording.  I need the peaked audio from the slate hit to make syncing sound a bit easier, and I'd rather be diligent and make sure my audio is good than have a limited piece of audio.  I've found that peaked audio was either really important - someone screaming, something high energy or startling - and needs to be recorded cleanly, or is not important at all and is going to be removed anyway.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2668" PostHistoryTypeId="2" PostId="1422" RevisionGUID="b6c8197c-8633-4067-9189-0b47683b14b7" CreationDate="2010-06-08T16:08:31.230" UserId="18" Text="I always have the limiters on in my Sound Devices 744, Sound Devices MP2 preamp, and Fostex FR2.  On the preamp, I have the treshold set to the lowest setting, the recorders it is just an on or off choice.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2669" PostHistoryTypeId="6" PostId="1420" RevisionGUID="8c2fd55f-cabc-4510-ad42-67c51754bf0b" CreationDate="2010-06-08T16:52:21.767" UserDisplayName="user80" Comment="added tag" Text="&lt;techniques&gt;&lt;field-recording&gt;&lt;dynamics&gt;&lt;limiting&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2670" PostHistoryTypeId="2" PostId="1423" RevisionGUID="67652b06-b915-4c1b-b381-19957d9e75f4" CreationDate="2010-06-08T21:52:26.137" UserId="230" Text="Limiters are for the lazy.&#xD;&#xA;&#xD;&#xA;SQN have very harsh limiters kicking in very early with a 40:1 ratio which is a little mad as thats very strong.&#xD;&#xA;n&#xD;&#xA;Sound devices have softer limiters ad are also customisable which is much better.&#xD;&#xA;&#xD;&#xA;Considering location audio should be mainly around -20 to -10 this should really give ample room for peaks, making limiters obsolete but who knows there are moments where you go wow, shit wish my limiters were on.&#xD;&#xA;&#xD;&#xA;So set them t around 20dbu/0dbfs and you should be gravy... most hardware clips at 22dbu anyway so take note :D&#xD;&#xA;&#xD;&#xA;Remember this is the digital age.... we can record a lot quiter these days and fix it in post... at most try and get your peaks no higher than -6dbfs but dont worry if the bulk of audio is low, currently doing a period drama and the mixers levels on average hit -20dbfs with peaks at -8 :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2671" PostHistoryTypeId="2" PostId="1424" RevisionGUID="82fc8334-717c-4c01-a1f4-c365e28fb947" CreationDate="2010-06-08T22:51:51.423" UserId="354" Text="I'm working on a couple of mod projects and I sorely need some kind of a field recorder to get a lot of the sounds I need. I've read a lot about the Zoom H2 and H4, and I'm leaning towards the H2 due to limited budget but can anyone vouch for its preamps? In terms of budget I'm looking towards the $200-250 range. I need something that'll be able to capture a wide dynamic range without me having to turn up the input gain a lot.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2672" PostHistoryTypeId="1" PostId="1424" RevisionGUID="82fc8334-717c-4c01-a1f4-c365e28fb947" CreationDate="2010-06-08T22:51:51.423" UserId="354" Text="Low-budget field recorder with good pre-amp" ContentLicense="CC BY-SA 2.5" />
  <row Id="2673" PostHistoryTypeId="3" PostId="1424" RevisionGUID="82fc8334-717c-4c01-a1f4-c365e28fb947" CreationDate="2010-06-08T22:51:51.423" UserId="354" Text="&lt;newbie&gt;&lt;pre-amp&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2674" PostHistoryTypeId="2" PostId="1425" RevisionGUID="242a12d0-5e61-4dc0-a389-6f2f79f301ef" CreationDate="2010-06-09T00:33:40.307" UserId="338" Text="How would one go about creating a parachute sound?&#xD;&#xA;&#xD;&#xA;Ive tried flapping clothes in front of a microphone and processing them.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2675" PostHistoryTypeId="1" PostId="1425" RevisionGUID="242a12d0-5e61-4dc0-a389-6f2f79f301ef" CreationDate="2010-06-09T00:33:40.307" UserId="338" Text="Parachute Sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2676" PostHistoryTypeId="3" PostId="1425" RevisionGUID="242a12d0-5e61-4dc0-a389-6f2f79f301ef" CreationDate="2010-06-09T00:33:40.307" UserId="338" Text="&lt;creating&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2677" PostHistoryTypeId="2" PostId="1426" RevisionGUID="ce4b1754-4839-4dd3-97eb-4e928db85ef5" CreationDate="2010-06-09T00:36:45.920" UserId="324" Text="Everyone has a way of doing it, but Limiters are not for the lazy (IMO). If you have a limiter that you understand, and you work the input gain against it properly, it can be a wonderful thing. &#xD;&#xA;&#xD;&#xA;We are in the digital age,  but sound is converted from sound pressure to voltage, before its converted to 1's and 0's, and good capture practices are the same that they have always been (in general). &quot;Fixing it in post&quot; happens to be something that I would consider lazy to be honest. Record it correctly the first time, and at a good solid input level. The moment of capture is where the magic happens. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2678" PostHistoryTypeId="2" PostId="1427" RevisionGUID="ad963f16-205f-4358-9d64-58819ca441b6" CreationDate="2010-06-09T00:48:22.557" UserId="61" Text="For the $$ the Zoom H2 is really great. You get a ton of flexibility, portability and high resolution (96k 24bit) for a fraction of the cost of the other units out there. Also, battery life is long and you can beat it up pretty good before it dies. As for the preamps, suffice to say that you get what you pay for; it's no 722, but for a general purpose recorder you can stuff in your pants pocket, it's the way to go.&#xD;&#xA;&#xD;&#xA;[Here's][1] one (and [another][2]) thread that addresses this topic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/49/best-entry-level-portable-recorder&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/862/small-budget-solution-for-portable-recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="2679" PostHistoryTypeId="2" PostId="1428" RevisionGUID="93545d02-1a82-4cd4-9ea8-48825281cbd4" CreationDate="2010-06-09T00:52:05.580" UserId="40" Text="Try taking a big umbrella and flapping it up and down.  Do bigger, slower movements for wind gusts or the chute opening, and smaller, quick movements for fluttering in the wind.&#xD;&#xA;&#xD;&#xA;Another great, but less accessible sound would be the sound of luffing sails on a sailboat." ContentLicense="CC BY-SA 2.5" />
  <row Id="2680" PostHistoryTypeId="2" PostId="1429" RevisionGUID="77d86a14-0202-4705-a62f-4a3e9c12e6ce" CreationDate="2010-06-09T01:39:47.283" UserId="109" Text="We use the Edirol R-44. Its worth checking out!!! You can buy a modded one with superior quality pre-amps for only a little more than the factory model ." ContentLicense="CC BY-SA 2.5" />
  <row Id="2681" PostHistoryTypeId="2" PostId="1430" RevisionGUID="0b3494e2-34cd-415e-b9eb-b2f3587554e4" CreationDate="2010-06-09T02:30:06.727" UserId="122" Text="Naiant Audio make some EXTREMELY cheap microphones and though I havent used them I have heard good things from them! For about $50émic yuou cant go wrong!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;www.naiant.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="2684" PostHistoryTypeId="2" PostId="1432" RevisionGUID="607770c3-7347-4554-b5c5-e47853f8b197" CreationDate="2010-06-09T05:35:29.340" UserId="61" Text="It's difficult to advise without knowing what your visual requires (exaggerated drama vs realistic). Sail pops and furls are a great starting point because you'll get mass and depth. Bedsheets and smaller fabrics will provide the smaller, finer details, but I wouldn't rely on them alone. If you're working with a more dramatic visual I would look for an explosive element to sweeten the pop, like a gunshot, explosion or any sort of deep impact. Good luck and happy experimenting!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2685" PostHistoryTypeId="6" PostId="1425" RevisionGUID="44d97019-c22a-4d31-958a-e3f04626acad" CreationDate="2010-06-09T06:32:13.967" UserId="61" Comment="retags" Text="&lt;sound-design&gt;&lt;creativity&gt;&lt;sound-effects&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2686" PostHistoryTypeId="2" PostId="1433" RevisionGUID="bbda96ff-19d8-44d1-b62c-7820d69d40a6" CreationDate="2010-06-09T06:41:34.277" UserId="270" Text="For the sound of the chute opening I would try using a (un-erected) tent, with one person holding it at each end and shaking it to create a wave" ContentLicense="CC BY-SA 2.5" />
  <row Id="2687" PostHistoryTypeId="6" PostId="1356" RevisionGUID="de024019-7bdf-4007-a492-edb1aa08e7eb" CreationDate="2010-06-09T08:13:18.117" UserDisplayName="user80" Comment="added tags" Text="&lt;microphone&gt;&lt;recommendations&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2688" PostHistoryTypeId="2" PostId="1434" RevisionGUID="2b510f71-5bc4-4746-9858-4647c6bbed6e" CreationDate="2010-06-09T08:45:33.687" UserId="2" Text="My job during high school and college was skydiving cameraman and coach, I've done over 1200 skydives, so I know that sound pretty well :-) I don't know what your desired perspective is like, or if you want it realistic, but I'll give you the real world stuff so you can get an idea. &#xD;&#xA;&#xD;&#xA;**From the skydiver's perspective:** &#xD;&#xA;&#xD;&#xA;During free fall, there is loud **loud** wind, but you're pretty focused on what you're doing that you don't register it too much. Then, you open your parachute and it goes from super noisy to what feels dead quiet in about 2 to 3 seconds. The deceleration happens like a logarithmic curve, where it stays fast and noisy longer than slow and quiet as it opens. The beginning is very present with wind, but then it transitions to heavy rustling/shaking/flapping  material. That last moment, when you're parachute goes from half open to open, that's when you hear a big solid flap/bang mixed in with material sound. Once you're open, the relative silence is incredible. &#xD;&#xA;&#xD;&#xA;Under your open canopy, you hear a little wind and if there is some turbulence you get single flapping sounds every now and then. Most the time, it's very smooth though. If you're flying a fast canopy, then you hear stronger wind and almost no material flapping but the main sound is the wind cutting the lines (strings between the canopy and your risers), it creates this awesome whistling. There are many lines of different lengths, so they combine into some pretty rich sounds. Love it! This is the perceptive you'd want if the camera is following the skydiver. &#xD;&#xA;&#xD;&#xA;**From a ground perspective:** &#xD;&#xA;&#xD;&#xA;If there is no wind and the skydivers open above you, it sounds a lot like thunder. A sheet-ish kind of thunder. Depending on the environment it can echo. Sometimes you hear a big &quot;Whoohhoo&quot; scream of happiness. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Material:**&#xD;&#xA;&#xD;&#xA;The others have given great tips on creating the sound, but I'll give a little more info. The parachute material is called *zero porosity* and is very plasticey, and so the rustling won't sound so much like comfy cotton sheets but rather like the waterproof coats or the covering material of a tent. This is for the material itself, but most of the big sounds are created by the wind getting trapped in the cells and the wing being solid and then releasing the air and going soft quickly and vice-versa, so I guess that sheets and umbrellas flapping will sound good for the more heavy moments (not normal flight). &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2689" PostHistoryTypeId="2" PostId="1435" RevisionGUID="f6d72ac2-0e2b-4dc7-a806-4325b44cfaf2" CreationDate="2010-06-09T09:33:05.957" UserId="261" Text="@andrew-spitz&#xD;&#xA;&#xD;&#xA;Hey Andrew,&#xD;&#xA;&#xD;&#xA;Ja that seems about right. In my little experience, a half day of location recording is always more than half a day, what with travel, set-up and breakdown time when going onto set. But I always charge 2/3 or 66.6666...% of a full day for a 'half-day'.(Maybe I should up my half-day rate to 75%?)&#xD;&#xA;&#xD;&#xA;I'm trying to break into the sound design world now, and here the situation becomes more murky. How do I charge? Per hour? Per day? Flat rate on a task for task basis? Don't really know yet? I've tried talking to my lady( a freelance photographer) about it and we never seem to reach a point, as she has the same difficulty.&#xD;&#xA;What do you think a good model for post is? Let's say doing sound design on a 20 second channel ident, for instance?&#xD;&#xA;Sorry about the 'question-for-question' thing...&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 2.5" />
  <row Id="2690" PostHistoryTypeId="2" PostId="1436" RevisionGUID="4efb98b4-7662-47c4-965b-c5fb96c8e409" CreationDate="2010-06-09T09:58:03.033" UserId="261" Text="Hey All,&#xD;&#xA;&#xD;&#xA;We've had variations of this question before, but here goes:&#xD;&#xA;&#xD;&#xA;Let's say I've been hired to do the sound design for a company ident 20 secs long. The job requires a bit of composition, sound design and then of course, final mix is on my time too.&#xD;&#xA;I estimate that I sound have 2 or 3 demos for the client by the next day. We will then have a meeting, I will make tweaks and deliver the next morning.&#xD;&#xA;&#xD;&#xA;How do I charge for this? Per day? Per hour? Flat rate? Per second :)? &#xD;&#xA;[&#xD;&#xA;My little sound experience comes from location sound in South Africa. Let's say that I charged   ZAR2000 per day for a TV shoot with full gear(that I get from a rental company) &#xD;&#xA;]&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 2.5" />
  <row Id="2691" PostHistoryTypeId="1" PostId="1436" RevisionGUID="4efb98b4-7662-47c4-965b-c5fb96c8e409" CreationDate="2010-06-09T09:58:03.033" UserId="261" Text="How do I charge for sound design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2692" PostHistoryTypeId="3" PostId="1436" RevisionGUID="4efb98b4-7662-47c4-965b-c5fb96c8e409" CreationDate="2010-06-09T09:58:03.033" UserId="261" Text="&lt;rate&gt;&lt;sound-design&gt;&lt;money&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2693" PostHistoryTypeId="2" PostId="1437" RevisionGUID="7e3fe539-c5da-47ef-8b49-21bff215d589" CreationDate="2010-06-09T10:06:35.707" UserId="261" Text="Also, try Psst! Pass It On. Awesome animation series. Just be careful to mention that it's your demo work etc etc as all the owrks there a copyrighted...." ContentLicense="CC BY-SA 2.5" />
  <row Id="2694" PostHistoryTypeId="2" PostId="1438" RevisionGUID="08ba19a6-094a-4acd-87ee-73d756ece146" CreationDate="2010-06-09T10:32:22.327" UserId="62" Text="I can't state prices but I used to charge by the day when I was freelance. If it took me all day to create a single sound the client was happy with and it took me another to mix the project then both were the same rate. I always found it too complicated to start charging for different things. Worked out good for me as my regular clients always knew how much I would charge based on how long I thought it would take.&#xD;&#xA;&#xD;&#xA;I'm sure others do it differently though." ContentLicense="CC BY-SA 2.5" />
  <row Id="2695" PostHistoryTypeId="5" PostId="1437" RevisionGUID="6bf31417-50f8-48c7-b075-a927a6194920" CreationDate="2010-06-09T11:14:51.083" UserId="261" Comment="added 133 characters in body" Text="Also, try Psst! Pass It On. Awesome animation series. Just be careful to mention that it's your demo work etc etc as all the owrks there a copyrighted....&#xD;&#xA;&#xD;&#xA;So, Some good links:&#xD;&#xA;&#xD;&#xA;http://psstpassiton.com/&#xD;&#xA;&#xD;&#xA;idents.tv&#xD;&#xA;&#xD;&#xA;http://www.lucidmovement.com/&#xD;&#xA;&#xD;&#xA;Plenty footage there...&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 2.5" />
  <row Id="2696" PostHistoryTypeId="2" PostId="1439" RevisionGUID="1a6ff2cf-869a-449d-82a9-ba57cca22a35" CreationDate="2010-06-09T12:09:17.047" UserId="182" Text="Although I have very little experience with location sound, I would say that putting the limiters on when there is the possibility of clipping is not a bad thing.&#xD;&#xA;A bad thing would be to take less care setting your levels because you have the limiters on.&#xD;&#xA;&#xD;&#xA;Put on the limiters, and then try your best to not hit them. At 24 bit and with decent gear, recording at low level to achieve this is no problem." ContentLicense="CC BY-SA 2.5" />
  <row Id="2697" PostHistoryTypeId="2" PostId="1440" RevisionGUID="1a2059fa-753b-4945-b935-d6848b6de1a1" CreationDate="2010-06-09T12:26:31.337" UserId="37" Text="I find that limiters help with sounds that have a long attack time and go out of control such as public transport, especially trains... Typically recording at -24 to -12dbfs but every now and then something ugly pops up to eat all available headroom and ask for more. So the limiter switch stays at &quot;on&quot;, all the time. And having said that, i frown when it's engaged. =]" ContentLicense="CC BY-SA 2.5" />
  <row Id="2698" PostHistoryTypeId="2" PostId="1441" RevisionGUID="5b35ea68-5f6e-4e07-aa04-d361b3514ee8" CreationDate="2010-06-09T13:00:04.103" UserId="62" Text="Okay, I have a show where the 4 super hero characters are all doing press ups. Making me tired just watching them. Anyway it was a boom setup and from the way they're moving up and down it's creating a phase sound on the dialogue.&#xD;&#xA;&#xD;&#xA;Now, I fix things I didn't know I could a few months ago like distortion and reverb but I can't help thinking that this is unfixable. I suppose one could spend weeks adding a phaser plugin and try to inversely match the phase depth and frequency (okay, I've been watching far too much Star Trek recently).&#xD;&#xA;&#xD;&#xA;Sadly there's no money for ADR on this show so I'm stuck with the producion dialogue 100%. My current plan of attack is to simply push the music to cover the problem." ContentLicense="CC BY-SA 2.5" />
  <row Id="2699" PostHistoryTypeId="1" PostId="1441" RevisionGUID="5b35ea68-5f6e-4e07-aa04-d361b3514ee8" CreationDate="2010-06-09T13:00:04.103" UserId="62" Text="Is it possible to unphase something" ContentLicense="CC BY-SA 2.5" />
  <row Id="2700" PostHistoryTypeId="3" PostId="1441" RevisionGUID="5b35ea68-5f6e-4e07-aa04-d361b3514ee8" CreationDate="2010-06-09T13:00:04.103" UserId="62" Text="&lt;dialogue&gt;&lt;mixing&gt;&lt;phase&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2701" PostHistoryTypeId="6" PostId="1436" RevisionGUID="56bb5919-82c7-4486-ad07-5af478ec76bc" CreationDate="2010-06-09T13:15:02.760" UserId="182" Comment="edited tags" Text="&lt;rate&gt;&lt;sound-design&gt;&lt;money&gt;&lt;freelancing&gt;&lt;payment&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2702" PostHistoryTypeId="2" PostId="1442" RevisionGUID="96ef083f-df2a-4e64-aa49-50ad11d12173" CreationDate="2010-06-09T13:38:28.427" UserId="260" Text="I recommend if you got the time, to do sound design for mods in video games. There are plenty of video games that allow mods to be made, replacing their sound assets with your own. I do that plenty of times to teach myself new ways of doing sound designs not to mention learning how audio engines can work and be manipulated." ContentLicense="CC BY-SA 2.5" />
  <row Id="2703" PostHistoryTypeId="2" PostId="1443" RevisionGUID="921d6925-4a63-48f0-bdb9-cf4867656289" CreationDate="2010-06-09T14:25:30.157" UserId="362" Text=" I was just about to suggest that tent idea but you beat me to it!&#xD;&#xA;&#xD;&#xA;I've never parachuted, but you might want to also add in some rattling metal gear? maybe a few carbiners rattling together. The one thing that I would say is that depending on what your project is, chances are that a small percentage of your audience will have any experience skydiving. . . &#xD;&#xA;&#xD;&#xA;This means that the most realistic effect might not be the most effective one. It might make sense to create an effect that meets peoples exceptions of what parachuting sounds like, rather than create an effect that stays very true to being realistic but might go against what people would assume it sounds like. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2704" PostHistoryTypeId="2" PostId="1444" RevisionGUID="c87d841b-0414-4890-aa7e-c19f230f15bc" CreationDate="2010-06-09T14:42:25.930" UserId="37" Text="it is complex comb filtering, no? how many people will genuinely notice it? i know it's the eternal quest for perfection but am still trying to find out how people know where to stop. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2705" PostHistoryTypeId="2" PostId="1445" RevisionGUID="07f34aec-2fb0-494c-97d9-0e61c7275322" CreationDate="2010-06-09T15:40:07.800" UserId="339" Text="try EQing out the resonances of the room...Grab an EQ 3 , and with a notch selected with very low Q and high gain you start moving the frequency until you get a strong resonant band, then cut it in the 6dB range...and so on with all troublesome frequencies." ContentLicense="CC BY-SA 2.5" />
  <row Id="2706" PostHistoryTypeId="2" PostId="1446" RevisionGUID="fe74fa84-5dbc-4c19-8777-033af46560d9" CreationDate="2010-06-09T16:09:05.390" UserId="40" Text="Indeed phasing is a very complex problem to fix.  While it can probably be improved (albeit with an enormous amount of work), I don't know if it's worth it?  Your time is probably much better spent making the overall project sound better.  If they can't afford ADR, they almost definitely can't afford to pay you to sit around and tinker with comb filtering for an entire day...&#xD;&#xA;&#xD;&#xA;I agree with georgi.  Will people actually notice it?  I was talking to Marc Fishman yesterday who was saying that he tends to get caught up in small things that really bother him, and often times it is stuff that other people will never notice.  He said that his test is to bring someone in that doesn't know anything is wrong with the project and have them listen to it.  If they point out the problem (or anything else for that matter), then you need to figure out a way to address the problem.  If they don't, you're probably fine.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2707" PostHistoryTypeId="2" PostId="1447" RevisionGUID="05292e30-f03c-449b-92a5-f9082ab6e656" CreationDate="2010-06-09T16:16:48.153" UserId="40" Text="While I can't state specific amounts, since I'm unfamiliar with your economy and currency, I will tell you how I structure my rates.&#xD;&#xA;&#xD;&#xA;The first thing I consider is the type and scope of the project.  Is it a one-time, one day thing?  Is it a month long project? Week long? Ongoing?  From there I will decide how I will charge.&#xD;&#xA;&#xD;&#xA;Location sound I will always charge a flat day rate, plus rentals if it applies, and overtime after a specified number of hours.&#xD;&#xA;&#xD;&#xA;If it is just a one-time, one or two day design job, I will usually charge by the hour.  If I'm doing a longer project, say a week to a month, I'll either charge by the job (if it is a defined, simpler job) or by the day. However, like production sound, I will charge OT if it goes over a certain number of hours.&#xD;&#xA;&#xD;&#xA;I sometimes negotiate a half-day rate if I'm only working a few hours on a location gig or something.&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2708" PostHistoryTypeId="2" PostId="1448" RevisionGUID="d6f358e9-5463-41d1-a34e-836a8543e12e" CreationDate="2010-06-09T16:41:38.587" UserId="29" Text="Besides half-day and day rates, you can do what most services firms and design agencies do: Estimate based on hours of actual design work. &#xD;&#xA;&#xD;&#xA;This lets you get a bit more specific, exercise control over rounds of revisions (by scheduling the project based on how long it will take), and it lets the client dial up or down the number of revision cycles or complexity to fit their budget. An obvious other question is the schedule, and how much design work is *possible* in that timeframe.&#xD;&#xA;&#xD;&#xA;If this is done, I also pad the estimate not to gouge, but to reflect risk. If this is a known or repeat client, the risk may be zero. If this is a new client and there are a lot of stakeholders, I may assess a 10%-20% risk factor to my estimate. If there's a lot of meetings, I'll add 5% meeting overhead, too, if I'm only accounting for hours of design work. Finally, if it's a juicy gig or a good cause, I'll discount, while making sure it's a conscious decision to win the gig. Loss-leader projects are rare, but thin-margin projects to win the work are a little more common.&#xD;&#xA;&#xD;&#xA;I always start with a verbal range to start the conversation, explaining what the biggest cost drivers are, which are usually the amount of design time itself as well as the number of revision rounds. (Actually, I cut to the chase first, and ask if they have a specific budget in mind that I should be working backwards from. Most of the time they decline, but then it's not your bad if your estimate takes them by surprise.) Then I gauge the reaction, and negotiations ensue. I always go in with a fair number up front, but I do go into negotiations having a bottom number in mind, at which point I'll feel good about walking away.&#xD;&#xA;&#xD;&#xA;The biggest unspoken advice in the work-for-hire world is that gigs are 50% design and 50% expectations management. That latter 50% is vital to establish from the get-go, as it cements your position as the expert and what the client is expecting...this is also the main driver in your ability to keep your work schedule sane.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2709" PostHistoryTypeId="2" PostId="1449" RevisionGUID="51d7ff3a-e97b-478d-805a-263fc2447195" CreationDate="2010-06-09T17:09:15.710" UserId="331" Text="For impact I've used slowed-down grenade explosions.  Can't add much more for the actual material sounds - think I used a combination of an umbrella and multiple layers of foley with  poncho/wind stoppers.  Other thing i did was stick some of the material out a window whilst driving - you need good noise reduction and eq to work out the car/amb noises but you get decent flaps/wind rustle from it.  Alternatively a desktop fan might work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2711" PostHistoryTypeId="2" PostId="1451" RevisionGUID="818908a1-f180-4c0f-89ba-c063f4f4279b" CreationDate="2010-06-09T19:13:42.280" UserId="343" Text="2 mics are enough to create phasing so I can´t imagine if you have to deal with 5. Sometimes I prefer taking boom mic as main and adding lappels when needed. Boom track may need to be nudged some samples to be in phase with lavs, but once it´s done a little EQ at lavs to add presence can do it.&#xD;&#xA;&#xD;&#xA;Indeed when mixing only 2 lavs that are moving aroung critical distances I use to add a phase invert plug-in to one of them and then edit bypass automation; it is on and off but I can do it quite fast in ProTools and usually improves the mix.&#xD;&#xA;&#xD;&#xA;My advice is to first reduce the number of mics present in the mix at each moment, add them to the mix just when they are necessary with volume automation.&#xD;&#xA;It will become much easier to deal with phase issues when you have only 2 mics involved." ContentLicense="CC BY-SA 2.5" />
  <row Id="2712" PostHistoryTypeId="2" PostId="1452" RevisionGUID="6a96ab75-ef0b-4112-8cd6-23f2296d9374" CreationDate="2010-06-09T20:22:19.983" UserId="339" Text="+1 on Izotope RX" ContentLicense="CC BY-SA 2.5" />
  <row Id="2713" PostHistoryTypeId="2" PostId="1453" RevisionGUID="70a4555a-0105-4a0d-97b0-90dbc4efe88c" CreationDate="2010-06-10T02:16:59.057" UserId="40" Text="So, I'm a sound effects recordist that lives in downtown Orlando.  Now, for a huge city, Orlando isn't terribly noisy (compared to NYC or LA at least), but I do often find it difficult to capture clean sounds.  I've picked up a few tips, tricks, and techniques here and there that really help me out a lot in the urban environment such as mic choice, mic placement, and the aid of plugins, etc... but I'm always looking for ideas on how to improve my results.&#xD;&#xA;&#xD;&#xA;For those of you also located in Urban locations, how do you win the battle against your environment?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2714" PostHistoryTypeId="1" PostId="1453" RevisionGUID="70a4555a-0105-4a0d-97b0-90dbc4efe88c" CreationDate="2010-06-10T02:16:59.057" UserId="40" Text="Recording Sound Effects in Urban Environments" ContentLicense="CC BY-SA 2.5" />
  <row Id="2715" PostHistoryTypeId="3" PostId="1453" RevisionGUID="70a4555a-0105-4a0d-97b0-90dbc4efe88c" CreationDate="2010-06-10T02:16:59.057" UserId="40" Text="&lt;sound-effects&gt;&lt;sound-effects-recording&gt;&lt;microphone-technique&gt;&lt;urban&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2716" PostHistoryTypeId="2" PostId="1454" RevisionGUID="64532914-aed9-4032-9247-7018f2b76d25" CreationDate="2010-06-10T02:46:35.937" UserId="61" Text="Two simple techniques that work here in LA:&#xD;&#xA;&#xD;&#xA; - Record on Sunday mornings. There will be very little in the way of air traffic, road noise, walla, etc.&#xD;&#xA; - Record late at night or early in the morning (11pm-4am)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Or, learn to embrace your urban racket! (ie. sometimes it's simply unavoidable)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2717" PostHistoryTypeId="2" PostId="1455" RevisionGUID="bf59587b-e133-4515-8a0b-1142213453b0" CreationDate="2010-06-10T03:23:39.450" UserId="300" Text="Hi Colin,&#xD;&#xA;You may already be doing this because you mentioned you have some plugin tricks, but if I have a favourite plugin that has proved invaluable on that score, it's the McDSP ML4000nv. Using it as a multiband downward expander\gate, it's like a budget Cedar. I'm amazed at what I can pull out once the durge is swiftly forced down.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;J" ContentLicense="CC BY-SA 2.5" />
  <row Id="2718" PostHistoryTypeId="2" PostId="1456" RevisionGUID="b6a27093-45a2-4a74-bc7e-e921d7ae0b07" CreationDate="2010-06-10T03:36:57.317" UserId="300" Text="Can anyone shed some light on this one?&#xD;&#xA;&#xD;&#xA;ProTools can't seem to export .bwavs with a sync point embedded, but occasionally I will get a clip from someone else that *will* have one on it, and when I look at it in the workspace browser it's 'Duration' is set to a Bars|Beats as opposed to time in seconds.&#xD;&#xA;&#xD;&#xA;However, when I try copying (not exporting) one of these .wav files to another ProTools rig the sync point is not present..&#xD;&#xA;&#xD;&#xA;As an experiment I dug out Cool Edit and tried putting in Cue markers .. loops, etc, and still couldn't get ProTools to recognize any of these on import.&#xD;&#xA;&#xD;&#xA;It's always seemed like a really rudimentary function that appears to be missing... Or am I missing something?&#xD;&#xA;&#xD;&#xA;James&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2719" PostHistoryTypeId="1" PostId="1456" RevisionGUID="b6a27093-45a2-4a74-bc7e-e921d7ae0b07" CreationDate="2010-06-10T03:36:57.317" UserId="300" Text="Exporting clips with Sync Points in ProTools" ContentLicense="CC BY-SA 2.5" />
  <row Id="2720" PostHistoryTypeId="3" PostId="1456" RevisionGUID="b6a27093-45a2-4a74-bc7e-e921d7ae0b07" CreationDate="2010-06-10T03:36:57.317" UserId="300" Text="&lt;pro-tools&gt;&lt;sync&gt;&lt;points&gt;&lt;bung&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2721" PostHistoryTypeId="2" PostId="1457" RevisionGUID="39e8c7e5-a80f-46eb-9c1d-86d8e32a4b5f" CreationDate="2010-06-10T05:15:24.857" UserId="364" Text="I will attempt to answer this question.&#xD;&#xA;&#xD;&#xA;I think what you are trying to do is &quot;timestamp&quot; a file. In your Try this: Pull a file into PT and click on it so that it is highlighted. Go to the drop down menu of your audio bin (far upper right on the edit page). look for Time Stamp (shift+command+M  if you are on mac). A dialogue box should appear called User Time Stamp. It will show the name of the file at the top and at the very bottom the position of the file along the timeline. Next to it is an arrow. if you click on that arrow it will move the timecode position of the file to the top field. Timecode numbers will go from 00:00:00:00.00 to what ever the timecode of the file is.&#xD;&#xA;&#xD;&#xA;Now your file is Time Stamped. But this Time Stamped sync value that you have assigned the audio file is (at its current state) is only readable by protools..... In order to embed the sync point or Time Stamp into the file so that it is readable by all applications you must then do this.&#xD;&#xA;&#xD;&#xA;Again with the audio file highlighted click on the audio bin dropdown menu. Scroll down to Export Region Definitions (shift+command+Y  on mac). This will promt a dialogue box that explains the whole thing.&#xD;&#xA;&#xD;&#xA;Now your Sync Point- or Time Stamp information is embedded into the file and readable by any application.&#xD;&#xA;&#xD;&#xA;I hope this helps. Let me know if you run into any trouble" ContentLicense="CC BY-SA 2.5" />
  <row Id="2722" PostHistoryTypeId="5" PostId="1457" RevisionGUID="30078d39-de25-4b59-b994-16e222dd0ac6" CreationDate="2010-06-10T05:42:02.563" UserId="364" Comment="deleted 8 characters in body" Text="I will attempt to answer this question.&#xD;&#xA;&#xD;&#xA;I think what you are trying to do is &quot;timestamp&quot; a file. Try this: Pull a file into PT and click on it so that it is highlighted. Go to the drop down menu of your audio bin (far upper right on the edit page). look for Time Stamp (shift+command+M  if you are on mac). A dialogue box should appear called User Time Stamp. It will show the name of the file at the top and at the very bottom the position of the file along the timeline. Next to it is an arrow. if you click on that arrow it will move the timecode position of the file to the top field. Timecode numbers will go from 00:00:00:00.00 to what ever the timecode of the file is.&#xD;&#xA;&#xD;&#xA;Now your file is Time Stamped. But this Time Stamped sync value that you have assigned the audio file is (at its current state) is only readable by protools..... In order to embed the sync point or Time Stamp into the file so that it is readable by all applications you must then do this.&#xD;&#xA;&#xD;&#xA;Again with the audio file highlighted click on the audio bin dropdown menu. Scroll down to Export Region Definitions (shift+command+Y  on mac). This will promt a dialogue box that explains the whole thing.&#xD;&#xA;&#xD;&#xA;Now your Sync Point- or Time Stamp information is embedded into the file and readable by any application.&#xD;&#xA;&#xD;&#xA;I hope this helps. Let me know if you run into any trouble" ContentLicense="CC BY-SA 2.5" />
  <row Id="2723" PostHistoryTypeId="2" PostId="1458" RevisionGUID="b3a2edab-c300-4578-97c8-a7893e4522d5" CreationDate="2010-06-10T06:23:39.860" UserId="315" Text="Good advice so far. &#xD;&#xA;&#xD;&#xA;When I worked in Los Angeles, we'd often pack up the car and head out to the desert to record...really the best place to capture sound outside. I always look on Google maps to determine the places nearby that allow you to get the furthest away from cars.&#xD;&#xA;&#xD;&#xA;If you have to record in an urban environment, may I suggest heading to park, or a public University campus during off hours. Since most of them are designed for walking more than cars, it's possible to get some distance away from traffic. Hyper-cardiod mics are also your friend in the city, as you can point the rear end of the mic towards unwanted noise.&#xD;&#xA;&#xD;&#xA;If you're lucky enough to find a place well away from traffic, birds etc., you'll still find that most cities have a hum. In Los Angeles this hum is even present at 3AM. I've noticed that this usually resides around the 400-600kHz area. If you focus on eq-ing this area without digging into the body of the sound too much, or better yet hit it with a multi-band compressor, it's possible to tame the &quot;urban&quot; a bit. The place where I work recently picked up the new Cedar DNS-One plugin, and I must say it does wonders cleaning up this area...not cheap though.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2724" PostHistoryTypeId="2" PostId="1459" RevisionGUID="7c176d6f-6b00-4dfb-9a97-1c9cb78c8ba2" CreationDate="2010-06-10T07:42:55.323" UserId="56" Text="maybe this link can help http://www.showmeprotools.com/using-sync-points/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2725" PostHistoryTypeId="2" PostId="1460" RevisionGUID="b7a693e2-5cd0-4d85-acf4-abb8bf6ec41e" CreationDate="2010-06-10T07:58:20.830" UserId="18" Text="Pretty much what everyone else said.  I live in the LA area, I do a lot of recording outside.  Sometimes you'll find that different urban locations are quieter than others.  I recorded the cinderblocks in my Rocks library in my mom's backyard.  She is only 5 miles away from me, also in the middle of a city, but her yard is quieter than mine.  Otherwise, you just have to find the quietest times.&#xD;&#xA;&#xD;&#xA;The desert, mountains, hills, etc, are also good places to try to record in.  As most know, I recorded most of the rocks library in the desert outside of LA.  The problem with LA, is you run into 2 military bases in the desert here and even the hills and mountains are not far enough away from civilization.  People live everywhere around here.&#xD;&#xA;&#xD;&#xA;Mic selection and placement can help a great deal as well.  I really try to get as close as possible to the source.  Shotgun mics offer decent rejection and that can help.  I really only try to record loud stuff in the city.  Anything quiet just gets killed by the urban noise.&#xD;&#xA;&#xD;&#xA;You just can't escape noise in the big city!  I have to think that LA is better than NY.  I can't imagine trying to record anything in and around NYC..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2726" PostHistoryTypeId="2" PostId="1461" RevisionGUID="3f7e8e47-952f-4081-acda-acd8d764efd5" CreationDate="2010-06-10T08:33:21.743" UserId="62" Text="There was a thread on NR a while ago, it can be found [HERE][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/69/sound-off-on-noise-reduction&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I totally agree with RX, a great buy. However if you just need to remove general noise then you wont beat a Cedar. They've got a new RTAS plugin which is superb, although it's around 3 grand." ContentLicense="CC BY-SA 2.5" />
  <row Id="2727" PostHistoryTypeId="2" PostId="1462" RevisionGUID="5c888153-14c9-49c0-a90a-c44beea1e08f" CreationDate="2010-06-10T08:34:37.050" UserId="270" Text="When it snows in England everyone stops what theyre doing and waits for it to thaw, it only happens occasionally but its the best opportunity for me to record in my city without traffic noise.&#xD;&#xA;&#xD;&#xA;Sorry if that isnt much help to you in Orlando ;P" ContentLicense="CC BY-SA 2.5" />
  <row Id="2728" PostHistoryTypeId="2" PostId="1463" RevisionGUID="befaa9e2-5baf-4846-a9ec-6a07b2162630" CreationDate="2010-06-10T08:37:10.567" UserId="37" Text="I liken it to fishing. Lots of patience required and you won't catch every time you cast. And there are some really bad days when you're just out of luck. But there are delicious small fish dishes too. &#xD;&#xA;&#xD;&#xA;And really that [vid][1] of guys who wheeled a whole Citroën in their studio to record in the quiet, is like having your own fishing pond :)&#xD;&#xA;&#xD;&#xA;In London there's always a really low pitch rumble under anything I record, indoors or outdoors. Kinda worrying, just thinking about it..&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/05/driving-a-citroen-2cv-into-the-studio-designing-the-sound-of-johan-primero/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2729" PostHistoryTypeId="2" PostId="1464" RevisionGUID="56023f11-b0b2-480a-8b1b-ef62e7fa5db1" CreationDate="2010-06-10T09:08:29.880" UserDisplayName="user80" Text="If I am really pushed I use phase cancellation. &#xD;&#xA;&#xD;&#xA;Strap two identical mics together and record them to two separate channels.  In the DAW flip the phase (invert) on one channel, and then use aggressive EQ on the phase inverted channel to allow what you really want to hear from the first channel to pass through unaffected.  Make sure that the two tracks are both in mono and panned centre, otherwise it won't work.  You can also use technique from a single mic source, but it is not quite as successful.&#xD;&#xA;&#xD;&#xA;This is a last resort, and is not my standard way of working.&#xD;&#xA;&#xD;&#xA;This technique can also be used in an M/S rig to make the cardioid mic more directional.  The final output will be in mono, and you need to spend a lot of time refining the EQ on the figure of 8, but it does work." ContentLicense="CC BY-SA 2.5" />
  <row Id="2730" PostHistoryTypeId="2" PostId="1465" RevisionGUID="2c5fbaac-5fba-4424-9e84-fb545945b514" CreationDate="2010-06-10T10:15:53.140" UserId="261" Text="Hi All,&#xD;&#xA;&#xD;&#xA;A question regarding monitoring(again!)&#xD;&#xA;I went out listening to monitors the other day. I listened to to a variety of models in my price range of 800 - 1000 Swiss francs. I was particularly looking at small monitors as my 'studio' is the shared home office, which also doubles as a library and spare bedroom. It's a crowded room, 4 X 3 m. It has a wooden floor. Oh, and the only place my desk can be is slightly offset in one corner...&#xD;&#xA;&#xD;&#xA;I liked the KRK VXT4 A LOT. It seemed very clean, and produced a realistic bass sound will not being to harsh on the high end. What do you guys think of them? &#xD;&#xA;The salesman also recommended a pair of PMC DB1S, although the store doesn't stock them.&#xD;&#xA;Does anyone here have experience of PMCs?&#xD;&#xA;&#xD;&#xA;Also, have I overlooked another option in this price range?&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 2.5" />
  <row Id="2731" PostHistoryTypeId="1" PostId="1465" RevisionGUID="2c5fbaac-5fba-4424-9e84-fb545945b514" CreationDate="2010-06-10T10:15:53.140" UserId="261" Text="Your Opinion on KRK VXT4" ContentLicense="CC BY-SA 2.5" />
  <row Id="2732" PostHistoryTypeId="3" PostId="1465" RevisionGUID="2c5fbaac-5fba-4424-9e84-fb545945b514" CreationDate="2010-06-10T10:15:53.140" UserId="261" Text="&lt;monitoring&gt;&lt;monitors&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2733" PostHistoryTypeId="4" PostId="1465" RevisionGUID="761a07ac-acf0-4943-bd59-baf74c86d190" CreationDate="2010-06-10T10:22:47.643" UserId="261" Comment="edited title" Text="Small Monitors for a Small Room : KRK VXT4 or PMC DB1S ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2734" PostHistoryTypeId="5" PostId="1465" RevisionGUID="3092d1c9-a24a-4a6f-ac02-f9d31347899a" CreationDate="2010-06-10T11:10:21.563" UserId="261" Comment="added 366 characters in body" Text="Hi All,&#xD;&#xA;&#xD;&#xA;A question regarding monitoring(again!)&#xD;&#xA;I went out listening to monitors the other day. I listened to to a variety of models in my price range of 800 - 1000 Swiss francs. I was particularly looking at small monitors as my 'studio' is the shared home office, which also doubles as a library and spare bedroom. It's a crowded room, 4 X 3 m. It has a wooden floor. Oh, and the only place my desk can be is slightly offset in one corner...&#xD;&#xA;&#xD;&#xA;I liked the KRK VXT4 A LOT. It seemed very clean, and produced a realistic bass sound will not being to harsh on the high end. What do you guys think of them? &#xD;&#xA;The salesman also recommended a pair of PMC DB1S, although the store doesn't stock them.&#xD;&#xA;Does anyone here have experience of PMCs?&#xD;&#xA;&#xD;&#xA;Also, have I overlooked another option in this price range?&#xD;&#xA;&#xD;&#xA;In know that monitoring is a highly subjective issue, but there must be some kind of ball park for small monitors. Just like the headphone thread, every one has their own needs, prefs etc.(I use BeyerDynamic DT770s too...)&#xD;&#xA;&#xD;&#xA;I'd like to gather as much advice from you guys, hopefully including speaker names etc that I can listen to on my next test drive day.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 2.5" />
  <row Id="2735" PostHistoryTypeId="5" PostId="1464" RevisionGUID="a22d58ed-ec9d-49c8-9b37-b4d7e837c86f" CreationDate="2010-06-10T11:14:09.873" UserDisplayName="user80" Comment="added 130 characters in body" Text="If I am really pushed I use phase cancellation. &#xD;&#xA;&#xD;&#xA;Strap two identical mics together and record them to two separate channels.  In the DAW flip the phase (invert) on one channel, and then use aggressive EQ on the phase inverted channel to allow what you really want to hear from the first channel to pass through unaffected.  Make sure that the two tracks are both in mono and panned centre, otherwise it won't work.  You can also use this technique from a single mic source, but it is not quite as successful.  The technique can also be extended to include downward expansion and compression on very specific problems within a region.&#xD;&#xA;&#xD;&#xA;This is a last resort, and is not my standard way of working.&#xD;&#xA;&#xD;&#xA;This technique can also be used in an M/S rig to make the cardioid mic more directional.  The final output will be in mono, and you need to spend a lot of time refining the EQ on the figure of 8, but it does work." ContentLicense="CC BY-SA 2.5" />
  <row Id="2736" PostHistoryTypeId="2" PostId="1466" RevisionGUID="759411d0-2575-4c14-a55c-f02602db1329" CreationDate="2010-06-10T16:01:47.737" UserId="280" Text="hi!&#xD;&#xA;Considering your budget I would go for a couple of KRK V8 or V6. I would try to find something used because it happens very very often to find a good couple of monitors saving 200 euros...I've used the KRK v8 and what shocked me is how much detailed were that speakers! They let you hear all that troubles and mistakes that other speakers hide to you. &#xD;&#xA;But WHERE you are going to put your monitors is the most important choice. You don't have to think that as you buy them they wil sound good wherever you put them. If you put it in a corner you'll have a response completely unbalanced ad boomy. Be careful!!&#xD;&#xA;&#xD;&#xA;Hope it was helpfull :-)&#xD;&#xA;&#xD;&#xA;PS take a look on ebay, it will help you much more than me ;-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2737" PostHistoryTypeId="2" PostId="1467" RevisionGUID="8d020a9f-8c92-4843-866a-cba265ae6a92" CreationDate="2010-06-10T16:07:56.070" UserId="178" Text="You can compare the Zoom H2 and H4n preamps side by side here, along with over a dozen others. From what I've heard, the H4n has quieter preamps than the H4.&#xD;&#xA;&#xD;&#xA;http://www.wingfieldaudio.com/portable-recorder-noise.html&#xD;&#xA;&#xD;&#xA;I was going to get an H4n until I saw that page. I ended up spending the extra money and going with the Marantz PMD661, and haven't regretted it." ContentLicense="CC BY-SA 2.5" />
  <row Id="2738" PostHistoryTypeId="6" PostId="1465" RevisionGUID="c9af21cb-4db7-4da1-9f87-415fe95bc675" CreationDate="2010-06-10T16:12:20.380" UserDisplayName="user80" Comment="edited tags" Text="&lt;monitoring&gt;&lt;monitors&gt;&lt;recommendations&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2739" PostHistoryTypeId="6" PostId="1424" RevisionGUID="157037ca-065f-4ed7-b5d8-63a3818fba8b" CreationDate="2010-06-10T16:12:52.673" UserDisplayName="user80" Comment="edited tags" Text="&lt;newbie&gt;&lt;pre-amp&gt;&lt;field-recording&gt;&lt;portable-recorder&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2740" PostHistoryTypeId="2" PostId="1468" RevisionGUID="bde5ec68-edb0-4e54-a984-2743a14f0e8e" CreationDate="2010-06-10T17:30:33.807" UserId="290" Text="I'm a big fan of the VXT-4s. That's what I use. The one thing to be aware of with them though is that, for the size, you really can't push 'em too loud. They start to distort on the low end, but looking into the 6's or 8's may not be a bad idea. &#xD;&#xA;&#xD;&#xA;But for a small room, they're awesome." ContentLicense="CC BY-SA 2.5" />
  <row Id="2741" PostHistoryTypeId="2" PostId="1469" RevisionGUID="33b99b0e-5ab4-4f26-bffa-330daa378612" CreationDate="2010-06-10T18:21:33.950" UserId="19" Text="I've never known to be able to embed sync points and loop markers in the metadata of a file exported out of Pro Tools.  The only software that I have found to reliably make loop points is SoundForge.  &#xD;&#xA;&#xD;&#xA;Many game engines rely on loop points to create start-idle-stop sounds for weapons and vehicles.  I have always had to take my sound out of ProTools and into SoundForge to place markers and loop points in the file.  If you re-import those files back into ProTools the software ignores that metadata and does not recognize the markers or loop points." ContentLicense="CC BY-SA 2.5" />
  <row Id="2742" PostHistoryTypeId="5" PostId="1465" RevisionGUID="02780563-e1e2-4cff-94c9-ade7a96ac66c" CreationDate="2010-06-10T22:28:56.733" UserId="261" Comment="added 201 characters in body" Text="Hi All,&#xD;&#xA;&#xD;&#xA;A question regarding monitoring(again!)&#xD;&#xA;I went out listening to monitors the other day. I listened to to a variety of models in my price range of 800 - 1000 Swiss francs. I was particularly looking at small monitors as my 'studio' is the shared home office, which also doubles as a library and spare bedroom. It's a crowded room, 4 X 3 m. It has a wooden floor. Oh, and the only place my desk can be is slightly offset in one corner...&#xD;&#xA;&#xD;&#xA;I liked the KRK VXT4 A LOT. It seemed very clean, and produced a realistic bass sound will not being to harsh on the high end. What do you guys think of them? &#xD;&#xA;The salesman also recommended a pair of PMC DB1S, although the store doesn't stock them.&#xD;&#xA;Does anyone here have experience of PMCs?&#xD;&#xA;&#xD;&#xA;Also, have I overlooked another option in this price range?&#xD;&#xA;&#xD;&#xA;In know that monitoring is a highly subjective issue, but there must be some kind of ball park for small monitors. Just like the headphone thread, every one has their own needs, prefs etc.(I use BeyerDynamic DT770s too...)&#xD;&#xA;&#xD;&#xA;I'd like to gather as much advice from you guys, hopefully including speaker names etc that I can listen to on my next test drive day.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Kurt&#xD;&#xA;&#xD;&#xA;Update:&#xD;&#xA;&#xD;&#xA;Found a shop in Zurich that sells Adam A7X. Will pop by there tommorow morning to check them out. They came recommended by a producer friend, and seem to be universally highly regarded. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2743" PostHistoryTypeId="2" PostId="1470" RevisionGUID="b65bd1ca-046e-49e9-815e-49e61bb5b4db" CreationDate="2010-06-11T00:17:18.903" UserId="219" Text="This is an old topic but I'll chip in with my thoughts about the AT8015. I own it and have used it in various situations, for dialogue and sound effects recording. I'm afraid my recording technique is not yet mature and I couldn't tell how it compares to the famous ones.&#xD;&#xA;&#xD;&#xA;However, I have tested it against an NTG-3 and an AT835b. The NTG-3 is more present and I prefer it to the AT8015. The 835b has a higher bass response which I prefer. I don't believe it is worth trying. I wish I could have raised my budget to £400 to get the NTG-3, and for about the same price I wish I had got the AT835b." ContentLicense="CC BY-SA 2.5" />
  <row Id="2744" PostHistoryTypeId="2" PostId="1471" RevisionGUID="e87d4f14-e74c-4320-85bb-4f00c4439a49" CreationDate="2010-06-11T01:49:49.600" UserId="40" Text="Suspense Thrillers are a little bit about the visual, and a lot a bit about the audio.&#xD;&#xA;&#xD;&#xA;What is your favorite mix and/or sound design in a suspense thriller movie?  What really drew you in about it?  Was it more music based sound design or effect based?  What about the sound helped create the suspense?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2745" PostHistoryTypeId="1" PostId="1471" RevisionGUID="e87d4f14-e74c-4320-85bb-4f00c4439a49" CreationDate="2010-06-11T01:49:49.600" UserId="40" Text="What's your favorite mix / sound design from a Suspense Thriller?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2746" PostHistoryTypeId="3" PostId="1471" RevisionGUID="e87d4f14-e74c-4320-85bb-4f00c4439a49" CreationDate="2010-06-11T01:49:49.600" UserId="40" Text="&lt;sound-design&gt;&lt;mix&gt;&lt;suspense&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2747" PostHistoryTypeId="2" PostId="1472" RevisionGUID="8dae2758-a1d7-4f9e-ba40-eb1699ef3483" CreationDate="2010-06-11T02:22:07.813" UserId="253" Text="Aha! Awesome question, i actually did an essay about the use of silence in thriller/horror.&#xD;&#xA;I'll list a few of the ones i loved, with specific uses of sound that stood out:&#xD;&#xA;&#xD;&#xA;Dans ma Peau (Marina de Van) - About a woman who develops an obsession with mutilating/eating her skin. The skin specific foley makes it unbearable at times. It may not be to everyone's taste, but the fact that it evokes such affect is impressive.&#xD;&#xA;&#xD;&#xA;Cure (Kyoshi Kurosawa) - Japanese police serial killer film. In one scene, while the killer is hypnotising a victim by speaking softly as she watches water trickle along the floor, the soundtrack goes completely dead once he stops talking. No ambience, literally nothing. It's very unsettling.&#xD;&#xA;&#xD;&#xA;More as i remember them..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2748" PostHistoryTypeId="5" PostId="1472" RevisionGUID="7bd6131c-bc9d-43fb-ad76-001df1671d41" CreationDate="2010-06-11T02:32:57.150" UserId="253" Comment="added 339 characters in body" Text="Aha! Awesome question, i actually did an essay about the use of silence in thriller/horror.&#xD;&#xA;I'll list a few of the ones i loved, with specific uses of sound that stood out:&#xD;&#xA;&#xD;&#xA;Dans ma Peau (Marina de Van) - About a woman who develops an obsession with mutilating/eating her skin. The skin specific foley makes it unbearable at times. It may not be to everyone's taste, but the fact that it evokes such affect is impressive.&#xD;&#xA;&#xD;&#xA;Cure (Kyoshi Kurosawa) - Japanese police serial killer film. In one scene, while the killer is hypnotising a victim by speaking softly as she watches water trickle along the floor, the soundtrack goes completely dead once he stops talking. No ambience, literally nothing. It's very unsettling.&#xD;&#xA;&#xD;&#xA;Alien (Ridley Scott) - The scene where Brett is killed by the Alien has a great buildup. Lots of &quot;synonyms of silence&quot; (small detail sounds, eg. lightly clinking chains, water dripping) lull the audience before the shock is delivered.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The sound department can really flourish in these films because of sound's ability to affect us on a base, instinctual level." ContentLicense="CC BY-SA 2.5" />
  <row Id="2751" PostHistoryTypeId="2" PostId="1474" RevisionGUID="b6a0bc01-c62c-417f-aace-f707cbafb017" CreationDate="2010-06-11T03:23:10.753" UserId="61" Text="Both from Se7en:&#xD;&#xA;&#xD;&#xA; - When the police discover the &quot;john&quot;&#xD;&#xA;   who had been forced to wear the razor&#xD;&#xA;   (clear throat) with the prostitute (thus fulfilling the &quot;lust&quot; sin).&#xD;&#xA;   The way the club music builds and&#xD;&#xA;   climaxes with the man screaming.&#xD;&#xA;   Brilliant.&#xD;&#xA; - Silence as Pitt and Freeman search&#xD;&#xA;   the killer's apartment complex only&#xD;&#xA;   to be shattered by a completely&#xD;&#xA;   unexpected gunshot from down a flight&#xD;&#xA;   of stairs, exploding in a burst of&#xD;&#xA;   wood debris. Again, brilliant." ContentLicense="CC BY-SA 2.5" />
  <row Id="2752" PostHistoryTypeId="5" PostId="1474" RevisionGUID="9f1f2741-e30f-4748-8379-91ddc162b12e" CreationDate="2010-06-11T06:48:54.183" UserId="61" Comment="bullet" Text="Both from *Se7en*:&#xD;&#xA;&#xD;&#xA; - When the police discover the &quot;john&quot;&#xD;&#xA;   who had been forced to wear the razor&#xD;&#xA;   (clear throat) with the prostitute (thus fulfilling the &quot;lust&quot; sin).&#xD;&#xA;   The way the club music builds and&#xD;&#xA;   climaxes with the man screaming.&#xD;&#xA;   **Brilliant execution**.&#xD;&#xA; - Silence as Pitt and Freeman search&#xD;&#xA;   the killer's apartment complex only&#xD;&#xA;   to be shattered by a completely&#xD;&#xA;   unexpected gunshot from down a flight&#xD;&#xA;   of stairs, exploding in a burst of&#xD;&#xA;   wood debris. **Shockingly awesome in its simplicity**.&#xD;&#xA;&#xD;&#xA;And from *Jaws*:&#xD;&#xA;&#xD;&#xA; - When ol' Ben Gardner's head comes&#xD;&#xA;   rolling down to the hole in the hull&#xD;&#xA;   of the boat. **SILENCE AS A HORROR&#xD;&#xA;   ELEMENT.**" ContentLicense="CC BY-SA 2.5" />
  <row Id="2753" PostHistoryTypeId="2" PostId="1475" RevisionGUID="4522033b-bf4a-4383-9ddb-480f4ad59c4d" CreationDate="2010-06-11T07:18:27.887" UserId="365" Text="As far as shotguns go I've used the Sennheiser MKH-60, 416, and a few AT's, and the Rode NTG-3. It seems that a lot of people dismiss the Rode because of it's a lower cost and they knock it without trying it. &#xD;&#xA;&#xD;&#xA;I prefer the Rode because the sound is so clean and present and it has an extremely low noise floor unlike some of the AT mics. it doesn't have a pad or roll off but if you have a decent preamp it will likely have those options, plus I can afford two NTG-3's for around the price of one 416. &#xD;&#xA;&#xD;&#xA;Good Luck&#xD;&#xA;&#xD;&#xA;-Mike" ContentLicense="CC BY-SA 2.5" />
  <row Id="2754" PostHistoryTypeId="2" PostId="1476" RevisionGUID="fbb5bf50-fa3a-4608-9911-378c14b57cd8" CreationDate="2010-06-11T08:05:37.367" UserId="61" Text="OK, we've covered &quot;favorite sounds&quot; and &quot;best sound in a thiller&quot;, but what about **comedies**, where the sound effects usually cower in fear of dialog and music? And what is it about those moments that sell the comedic for you?&#xD;&#xA;&#xD;&#xA;A couple bold, in-your-face quickies for me are:&#xD;&#xA;&#xD;&#xA; - The diarrhea scene in &quot;Dumb &amp; Dumber&quot; -- it is SO gross and over the top, but perfect in its direction and timing.&#xD;&#xA; - The games in &quot;Dodgeball&quot; -- what can I say, I laugh every time!&#xD;&#xA;&#xD;&#xA;What say you, forum?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2755" PostHistoryTypeId="1" PostId="1476" RevisionGUID="fbb5bf50-fa3a-4608-9911-378c14b57cd8" CreationDate="2010-06-11T08:05:37.367" UserId="61" Text="Best use of sound design in a comedy?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2756" PostHistoryTypeId="3" PostId="1476" RevisionGUID="fbb5bf50-fa3a-4608-9911-378c14b57cd8" CreationDate="2010-06-11T08:05:37.367" UserId="61" Text="&lt;sound-design&gt;&lt;film&gt;&lt;sound-effects&gt;&lt;creativity&gt;&lt;emotions&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2757" PostHistoryTypeId="2" PostId="1477" RevisionGUID="c1835092-1631-43de-8b27-f01c6adcd24c" CreationDate="2010-06-11T08:20:30.117" UserId="270" Text="The Simpsons has brilliant sound design, almost every episode has some very funny sound design moments.&#xD;&#xA;&#xD;&#xA;A common technique they use for comedy is to repeat the same sound effect several times in quick succession, the obvious lack of variation makes it funny&#xD;&#xA;&#xD;&#xA;I think I saw a recent episode where Mr Burns was playing a WWII video game, all of the death screams were Wilhems :D&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT: An honourable mention should go to Monty Python &amp; the Holy Grail, King Arthur didnt have a horse so he used coconut shells instead" ContentLicense="CC BY-SA 2.5" />
  <row Id="2758" PostHistoryTypeId="2" PostId="1478" RevisionGUID="30c1f52c-eebc-44d9-99d6-19afb679c693" CreationDate="2010-06-11T08:25:58.013" UserId="62" Text="For me it has the Business Card duel scene from American Psycho.&#xD;&#xA;&#xD;&#xA;All those internal sounds from Bateman expressing his surprise and rage at being so quickly beaten in designing a tasteful card.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=cISYzA36-ZY&#xD;&#xA;&#xD;&#xA;Comic genius!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2759" PostHistoryTypeId="5" PostId="1478" RevisionGUID="97a3eea2-e770-4081-b82a-aa84a936b582" CreationDate="2010-06-11T09:25:34.677" UserId="2" Comment="added emebeded youtube video" Text="For me it has the Business Card duel scene from American Psycho.&#xD;&#xA;&#xD;&#xA;All those internal sounds from Bateman expressing his surprise and rage at being so quickly beaten in designing a tasteful card.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=cISYzA36-ZY&#xD;&#xA;&#xD;&#xA;[youtube]cISYzA36-ZY[/youtube]&#xD;&#xA;&#xD;&#xA;Comic genius!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2760" PostHistoryTypeId="2" PostId="1479" RevisionGUID="76bd8f4f-8e49-47d5-be9a-a4ecff0f8317" CreationDate="2010-06-11T10:15:58.843" UserId="219" Text="The first thing I would like to say is: if your dialogue was recorded too loud without clipping you're one hell of a lucky guy :) Ha ha Marco, I just realised it was your topic (Justin here).&#xD;&#xA;&#xD;&#xA;I'm afraid I don't really get what your problem is. Do you have only one track with dialogue AND sound effects on it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2761" PostHistoryTypeId="2" PostId="1480" RevisionGUID="236aed43-9005-4442-81ce-788ce192484f" CreationDate="2010-06-11T10:29:40.720" UserId="219" Text="For the opening you'll want to try with a thin shower curtain. I'm talking about the thin ones, 100% polyester. If you wet it'll sound a tiny bit heavier. And it flaps quite well." ContentLicense="CC BY-SA 2.5" />
  <row Id="2762" PostHistoryTypeId="2" PostId="1481" RevisionGUID="def272cc-5489-4798-bb36-ce4deade0d81" CreationDate="2010-06-11T10:33:10.657" UserId="142" Text="I own both an [Audio Technica BP4071][1] which I think fits around your price range £750 and the shorter [AT897][2] at around £250 which is a fantastic mic for the money. The BP4071 has been a great shotgun mic to use and have got great results for sound effect gathering, wildlife recording, use with boom etc. In regards to stereo mics I have a Rode Nt4 which is simply a great mic. I can also recommend a cheaper option which still gets decent results. Check out the [Superlux E523/D][3]. It is basically a carbon copy of the AT825 stereo mic but is about a third of the price, you can probably get even cheaper on ebay too.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audio-technica.com/cms/wired_mics/b9acff4025c432a9/index.html/&#xD;&#xA;  [2]: http://www.audio-technica.com/cms/wired_mics/9aeff7bd1ee954dc/index.html/&#xD;&#xA;  [3]: http://www.solidstatesound.co.uk/Superlux_E523_spec_sheet.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="2763" PostHistoryTypeId="2" PostId="1482" RevisionGUID="8d68a8a5-9a59-413e-ae66-c7c1ac1ec49d" CreationDate="2010-06-11T12:55:42.840" UserId="324" Text="Chris is correct , which is why I keep him around (lol). We have gone through scenarios where only Sound Forge sync point and loop markers would be recognized by the game engine. For instance, I have had several different Wavelab loop markers and sync points be ignored, but I am sure it depends on the particular engine you are implementing into.  &#xD;&#xA;&#xD;&#xA;Has anyone hear had good success with Wavelab marker and sync points? If so, what engine were you having those be recognized by? &#xD;&#xA;&#xD;&#xA;Anyways, get Sound Forge. I cant live without it anymore!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2764" PostHistoryTypeId="2" PostId="1483" RevisionGUID="e9caae10-c10c-4740-b09c-e25874ccfc50" CreationDate="2010-06-11T14:25:53.997" UserId="219" Text="Hey, I hope it's not too late. I reckon you should have a look at this guy: http://www.marblehead.net/foley/. No offense to anyone, but it sounds much simpler to me the way he presents it. However I don't have any experience with the subject and I may be missing a lot of points." ContentLicense="CC BY-SA 2.5" />
  <row Id="2765" PostHistoryTypeId="2" PostId="1484" RevisionGUID="03a89b77-0539-486a-bc6e-bee9044c40f4" CreationDate="2010-06-11T17:02:33.857" UserId="182" Text="Maybe I'm stating things you already know, but in case you don't:&#xD;&#xA;&#xD;&#xA;It sounds like you want to change the dynamics of the mix. Bring up the quiet ambient sounds, push down the dialogue, right? So it is impossible to obtain the dialogue and ambience as separate tracks?&#xD;&#xA;&#xD;&#xA;The tool for this is a compressor with little character (so very transparent), preferably a multi-band compressor or at least one with side-chain eq.&#xD;&#xA;&#xD;&#xA;Set the threshold so that it triggers on the dialogue and not on the ambience (if you have it, the sidechain-eq set to the most prominent frequency area of the vocal can help).&#xD;&#xA;Then you can bring up everything so that the vocals are at the same level as before, but the ambience is now louder.&#xD;&#xA;&#xD;&#xA;Tweak the ratio, threshold and release while listening for undesired pumping effects at points where someone starts or stops talking.&#xD;&#xA;&#xD;&#xA;With extreme settings this will make it very tiring to listen to. If the difference in dynamics is very big you will have to push the compressor very hard which will eventually make it a mushy mess.&#xD;&#xA;&#xD;&#xA;Another method that you could try if the above doesn't work is just automating the level by hand. Very time-consuming, but you have the most control." ContentLicense="CC BY-SA 2.5" />
  <row Id="2766" PostHistoryTypeId="2" PostId="1485" RevisionGUID="30e1bee5-ebb1-469d-b951-890b6dc0a2a7" CreationDate="2010-06-11T17:24:59.757" UserId="18160" Text="My favorite is the opening scene of Bolt.&#xD;&#xA;&#xD;&#xA;Favorite element of that is when the humongous explosion happens and it pulls out to a shot across the river to a park bench with an empty coffee cup and it tips over, so after this humongous explosion you hear this tiny tip-over of an empty paper starbucks cup. I laugh every time. This You-Tube video has it at 2:45.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=k-WzN1jCnMM&#xD;&#xA;&#xD;&#xA;The two cats who haze Bolt in his trailer...&#xD;&#xA;&#xD;&#xA;The pigeons - my god the acting and stereotypes for the voices as well as the pigeon sound effects were great.&#xD;&#xA;&#xD;&#xA;Then the sounds of the hampster's roller ball. The air-tight seal when he opens it, etc. etc. etc. You have to see the movie - comedic timing and sound effects are great.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But then again, there is always Up. I loved the kid's clunky boyscout attire and the bird's sound effects. I also loved the voice treatment on the big mean guard dog and Doug's voice. I love how the leader of the dog's voice gets pitched up too high when it malfunctions and he loses his intimidation.&#xD;&#xA;&#xD;&#xA;Oh yeah - and then there's the little guy in Ice Age who's always chasing the acorn. (I don't know it's name or species - forgive me, Mr. Thom)." ContentLicense="CC BY-SA 2.5" />
  <row Id="2767" PostHistoryTypeId="2" PostId="1486" RevisionGUID="b9c01b59-08d9-4c49-8313-4b7b97d158eb" CreationDate="2010-06-11T21:12:18.683" UserId="343" Text="I´ve founded this webpage that talks a bit about exporting region properties to parent files. I´ve tried &quot;Exporting Region Definition&quot; a region that has sync point. When importing this audio files, sync point is imported too.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[http://www.editorsguild.com/v2/magazine/Newsletter/pt-quicksd.html#sync_points][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.editorsguild.com/v2/magazine/Newsletter/pt-quicksd.html#sync_points" ContentLicense="CC BY-SA 2.5" />
  <row Id="2768" PostHistoryTypeId="2" PostId="1487" RevisionGUID="24e8dfa1-6176-40e9-ad91-d777a22cff2b" CreationDate="2010-06-11T21:39:08.153" UserId="40" Text="There are a number of different ways to make audio slow down.  I'm talking about sound that slows (and pitches) down to a stop, much like if you were to stop the motor on a record player without lifting up the needle.&#xD;&#xA;&#xD;&#xA;It's a lot easier to do now with elastic / flex audio.  Do you use these or do you have a different way of doing it?  What have you found to be the best sounding method?  Have you had success with lower sample rates?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2769" PostHistoryTypeId="1" PostId="1487" RevisionGUID="24e8dfa1-6176-40e9-ad91-d777a22cff2b" CreationDate="2010-06-11T21:39:08.153" UserId="40" Text="What's your method of making time slow down?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2770" PostHistoryTypeId="3" PostId="1487" RevisionGUID="24e8dfa1-6176-40e9-ad91-d777a22cff2b" CreationDate="2010-06-11T21:39:08.153" UserId="40" Text="&lt;sound-design&gt;&lt;sample-rate&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2773" PostHistoryTypeId="2" PostId="1489" RevisionGUID="404364b0-87b8-475e-a490-5930c28137fe" CreationDate="2010-06-11T23:10:11.213" UserId="366" Text="I reckon for me the best use of sound in comedy would have to be in the British 50s radio comedy the Goon Show, which was surreal to say the least. Sound designers were required to create the sounds of someone driving a piano or an organ, so they managed to make it sound as if it were changing gear and everything; the inside of someone's stomach, numerous explosions and crashes where after the commotion had died down there would be the tiny tinkle of the last bit falling over and many more. They had so little to work with and made so much of it. they managed to communicate the idea of depravity through the sound of a donkey and were always speeding things up and slowing things down. They never new what challenges they'd be faced with from week to week - from thrown batter-puddings to jet-propelled cafes. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2774" PostHistoryTypeId="2" PostId="1490" RevisionGUID="210c15a7-98fa-411e-a363-ed1089879ba4" CreationDate="2010-06-11T23:21:21.020" UserId="290" Text="&lt;3 Max MSP.&#xD;&#xA;&#xD;&#xA;I find myself warping stuff all the time, so made this max app:&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Probably not nearly as strong as Pitch'N'Time, but saved me a few bucks. And where P 'n T only works in Pro Tools, this works in everything except pro tools.&#xD;&#xA;&#xD;&#xA;I could be convinced to make this downloadable if it's a tool you'd be interested in.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.robinarnott.com/works/resources/Picture%203.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="2775" PostHistoryTypeId="2" PostId="1491" RevisionGUID="fe1d73ef-b174-4e10-a00d-ed49785fdeb3" CreationDate="2010-06-12T00:10:55.137" UserId="339" Text="I digitalize old Nagra recordings almost every week, every time I have nothing else to do in the studio...Because of the years and years of sound for film developed there, it's a never-ending task...but I do enjoy listening to old recordings and getting to use old analog tape recorders.&#xD;&#xA;For this job, we use a Nagra IV-S directly fed into a Digi 002.&#xD;&#xA;You should listen to what Tim says, old tapes get rusty, wet, gooey and a lot of other digusting and troublesome things, so bake them ( put them in the sun for a while, or in a closed cardboard box with a heater in it ) and play them right after they cool again. YOU HAVE ONE SHOT WITH REALLY DAMAGED ONES, so watch your gain.&#xD;&#xA;And yes Andrew, Nagra uses banana jacks..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2777" PostHistoryTypeId="2" PostId="1492" RevisionGUID="5bf7ae68-06ac-48b2-89e0-cd46bdfd3d1d" CreationDate="2010-06-12T01:34:31.417" UserId="18160" Text="Hey everyone:&#xD;&#xA;&#xD;&#xA;I've long since finished the project, however I want to know how you guys would go about designing the effects for this particular scene:&#xD;&#xA;&#xD;&#xA;A person drinks a potion and is shrunk to be 6 inches tall and runs around doing all sorts of stuff.&#xD;&#xA;&#xD;&#xA;Would you make everything &quot;real&quot; like tiny footsteps, and regular dialogue from &quot;normal&quot; size people when they talk?&#xD;&#xA;&#xD;&#xA;Or, would you play the fact that the person is shrunk and it's their POV and they hear &quot;normal&quot; size people as humongous giants with pitched down voices and thunderous footsteps?&#xD;&#xA;&#xD;&#xA;The second is much funner to do with sound as it's beyond ordinary, but what would you do?&#xD;&#xA;&#xD;&#xA;I know, I know, it depends on the &quot;feel&quot; and camera angles and all that good stuff, but just off your first instinct, what would you do - pretend the picture isn't edited to suggest either way.&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="2778" PostHistoryTypeId="1" PostId="1492" RevisionGUID="5bf7ae68-06ac-48b2-89e0-cd46bdfd3d1d" CreationDate="2010-06-12T01:34:31.417" UserId="18160" Text="Tiny Perspective" ContentLicense="CC BY-SA 2.5" />
  <row Id="2779" PostHistoryTypeId="3" PostId="1492" RevisionGUID="5bf7ae68-06ac-48b2-89e0-cd46bdfd3d1d" CreationDate="2010-06-12T01:34:31.417" UserId="18160" Text="&lt;perspective&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2780" PostHistoryTypeId="2" PostId="1493" RevisionGUID="dbef1da4-763b-41e0-a851-17afd1118973" CreationDate="2010-06-12T02:09:33.080" UserId="100" Text="It depends on the story. Is it a comedy, action, *drama*? That would dictate the sonic rules for me. Without know the story however, I would probably base the effects, foley, and maybe backgrounds on perspective. If the audience is viewing the world as the shrunken character, then I would make the character's sounds &quot;normal&quot;, and the big world sounds &quot;big&quot;. If I'm viewing the shrunken character from a big person's perspective, I would make tiny character sounds somewhat smaller. Dialog I wouldn't even touch until I knew the story, but my instinct would be to mostly leave it alone, i.e. no squeaky voices. Anyone else?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2781" PostHistoryTypeId="2" PostId="1494" RevisionGUID="66753721-f192-460a-8df2-dce9b2918051" CreationDate="2010-06-12T02:35:00.517" UserId="61" Text="Digidesign's [Vari-Fi][1] does two things and two things only: Emulate a record or tape deck slowing down or speeding up. Although it's a one-trick pony plug-in, I find it's super useful for quickie &quot;bullet time&quot; effects or just to spice something up that maybe isn't doing much for me.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/US/products/D-Fi" ContentLicense="CC BY-SA 2.5" />
  <row Id="2782" PostHistoryTypeId="5" PostId="1489" RevisionGUID="a2d65fec-ce65-416f-a200-ba15a22df4cc" CreationDate="2010-06-12T02:35:56.957" UserId="61" Comment="spelling" Text="I reckon for me the best use of sound in comedy would have to be in the British 50s radio comedy the Goon Show, which was surreal to say the least. Sound designers were required to create the sounds of someone driving a piano or an organ, so they managed to make it sound as if it were changing gear and everything; the inside of someone's stomach, numerous explosions and crashes where after the commotion had died down there would be the tiny tinkle of the last bit falling over and many more. They had so little to work with and made so much of it. they managed to communicate the idea of depravity through the sound of a donkey and were always speeding things up and slowing things down. They never knew what challenges they'd be faced with from week to week - from thrown batter-puddings to jet-propelled cafes. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2783" PostHistoryTypeId="5" PostId="1493" RevisionGUID="6ee9a74c-7067-4db8-a3b2-50105db7bc38" CreationDate="2010-06-12T06:06:19.667" UserDisplayName="user80" Comment="added 3 characters in body" Text="It depends on the story. Is it a comedy, action, *drama*? That would dictate the sonic rules for me. Without knowing the story however, I would probably base the effects, foley, and maybe backgrounds on perspective. If the audience is viewing the world as the shrunken character, then I would make the character's sounds &quot;normal&quot;, and the big world sounds &quot;big&quot;. If I'm viewing the shrunken character from a big person's perspective, I would make tiny character sounds somewhat smaller. Dialog I wouldn't even touch until I knew the story, but my instinct would be to mostly leave it alone, i.e. no squeaky voices. Anyone else?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2784" PostHistoryTypeId="2" PostId="1495" RevisionGUID="37209b25-510d-434f-a529-f09e06a8ce42" CreationDate="2010-06-12T07:14:06.343" UserId="253" Text="I like to use Propellerheads Reason for stuff like that. Just open Rewire, load the effect into a sampler and use the pitchbend wheel. &#xD;&#xA;&#xD;&#xA;I think the suspension (fading out) of the ambiences and/or transitioning to new, special slow ambiences doubles the effect of time slowing." ContentLicense="CC BY-SA 2.5" />
  <row Id="2785" PostHistoryTypeId="2" PostId="1496" RevisionGUID="f16c1a83-bb3a-461e-8cff-f60bc4e072c2" CreationDate="2010-06-12T09:50:19.220" UserId="37" Text="Could slowing things down *and* pitching them down at the same time get you in trouble with the digital generation? The casual young viewer/listener would ask &quot;why did the pitch go down? it sounds funny..&quot; &#xD;&#xA;&#xD;&#xA;Much as i love analogue sound, I'd be very interested if sound slowed down without the pitch going down and without the effect being too &quot;digital&quot;. All in sync to picture. I'd certainly try elastic before reaching for pitch.&#xD;&#xA;&#xD;&#xA;Are we at the point where DSP allows for &quot;fluidity&quot; while &quot;preserving transients&quot; at super high quality?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2786" PostHistoryTypeId="2" PostId="1497" RevisionGUID="b60614ef-082d-4d79-a1df-5b3744dd5f12" CreationDate="2010-06-12T15:11:57.887" UserId="4" Text="@GMatijas&#xD;&#xA;&#xD;&#xA;I'm still having difficulty in getting this project off the ground. I bought a Zoom H4N in the end which I've had some fun with but not success yet with the Nagra tapes. &#xD;&#xA;&#xD;&#xA;The first problem I've come up against is that the banana jack output is &quot; the line output voltage is 4.4 V into 600 Ohm while playing back a tape recorded at 0 dB. The Nagra 4.2 can record at a level 4 dB higher than this, thus the maximum line output voltage will be 7 V. Unloaded, these voltages will be 10% greater.&quot; (from the Nagra manual).&#xD;&#xA;&#xD;&#xA;I'm not sure how to use the dials on the nagra in combination with the recodring volume on the Zoom to set a recording level. Unless i set the &quot;Line and Playback&quot; dial on the Nagra to a very low level I find that I have to set the record volume on the Zoom to less than 1 to stop it redlining (where the zoom recording scale goes from 1 - 100). I seems the output from the Nagra is just too high for the Zoom to cope with.&#xD;&#xA;&#xD;&#xA;Do you have this problem with your Digi setup or do you have some form of attenuation in your line out?&#xD;&#xA;&#xD;&#xA;Thanks for any help" ContentLicense="CC BY-SA 2.5" />
  <row Id="2787" PostHistoryTypeId="2" PostId="1498" RevisionGUID="56dcf68d-d498-473d-9ee4-d43abc484ef7" CreationDate="2010-06-12T17:35:41.317" UserId="235" Text="  I use Ableton Live for all my envelope controlled pitch and time shifting.  It's a pain to shuttle files back and forth between Ableton and Pro Tools but I find Ableton's time stretching algorithms to be way better than PT elastic time and I'm still using Live 6!  &#xD;&#xA;  georgi.m raises an interesting question.  Should slowed down time be represented by lower pitched sounds or is that anachronistic now?  I'm fascinated by how cinema has created its own self referential reality and how the hallmarks and standards of the lexicon are largely the result of out dated technology.  Slow motion sounds pitched down because that's how we've heard it done in countless movies and countless movies have done it that way because for a long time that was the only way to do it.  Reminds me of the story about a girl who asks her mother why she always cut the pot roast in half even though the pot was big enough for a whole roast.  The mother answered &quot;because that's how my mother taught me to do it&quot;. And why did her mother do it that way?  Because she had a smaller pot.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2788" PostHistoryTypeId="5" PostId="656" RevisionGUID="0b251d7c-75f2-4e80-b6dc-8fb7127ed4d5" CreationDate="2010-06-13T19:26:11.433" UserId="219" Comment="15 minutes long movie, not 13" Text="I second VCProd. My experience is little however I worked on a 15 minutes movie with roomy sound, and I went about it as follows:&#xD;&#xA;&#xD;&#xA; - I first EQed out critical reverberation frequency. If you have a not-too-long-to-come reverberation (which is the case in normal size rooms as opposed to cathedrals), the frequencies the room accentuates will be heard as the talent is emitting sound. What happens? For this particular freq, well there is twice more! The amount of freq from the voice plus the reverb. You can tame that down and you'll lose some echo without impairing the body of the voice too much.&#xD;&#xA;&#xD;&#xA; - you then expand. Set your expander so that it glides down at the end of the words of the character. If I was to paint what I'm trying to explain, I'll paint the side of a mountain with a person and a kite gliding down, 3 feet off the ground, accompanying the shape of the terrain all the way down. Well, the mountain is the waveform of your voice, and the kite is your expander accompanying the waveform in its rises and its falls from very close.&#xD;&#xA;&#xD;&#xA;The production tracks I got were hyper roomy and I tamed them! The funny thing is that I was just suggested to add a little bit more reverb. Well, I'll just have my kite flying a little higher :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2789" PostHistoryTypeId="2" PostId="1499" RevisionGUID="fb5cf852-ea87-4a3a-b905-a5c3a296080f" CreationDate="2010-06-14T13:48:54.280" UserId="194" Text="I recently rediscovered Ren and Stimpy on my netflix.  Mixes were pretty rough, but man the sound design is genius throughout." ContentLicense="CC BY-SA 2.5" />
  <row Id="2790" PostHistoryTypeId="2" PostId="1500" RevisionGUID="6189cbd8-6bbc-4773-820e-5c9f581ec76b" CreationDate="2010-06-14T18:50:48.173" UserId="37" Text="My vote goes to IT Crowd, [episode 1][1], hilarious use of simple white noise at 17:30 and onwards.&#xD;&#xA;&#xD;&#xA;  [1]: http://multimedia-english.com/contenido/ficha/the-it-crowd-s1-e1/1245" ContentLicense="CC BY-SA 2.5" />
  <row Id="2791" PostHistoryTypeId="2" PostId="1501" RevisionGUID="a5ab550c-63f6-4547-a1cc-4771935fc3ab" CreationDate="2010-06-14T20:49:19.603" UserId="56" Text="If it is a momentary situation I reckon the caracter will be surprised and astonished by his new reality and the new dimensions of the objects, so i'd emphasize his poh (point of hearing). What and how do I hear if I'm 6 inches tall? Are there any video FX that already  emphasize the scene? " ContentLicense="CC BY-SA 2.5" />
  <row Id="2792" PostHistoryTypeId="2" PostId="1502" RevisionGUID="ef650af1-82d9-4717-b046-6269232c4699" CreationDate="2010-06-14T22:24:27.897" UserId="198" Text="I've got a DIY contact mic tutorial up on my site: http://maaheli.ee/main/archives/932&#xD;&#xA;&#xD;&#xA;The trick for me when using piezos is to build them durably to withstand a good deal of pressure. With sufficient contact regular old piezos can be really sensitive." ContentLicense="CC BY-SA 2.5" />
  <row Id="2796" PostHistoryTypeId="2" PostId="1504" RevisionGUID="69c2ca7b-b34c-45d3-a0dc-7c304327ce67" CreationDate="2010-06-14T22:41:53.723" UserId="18160" Text="I often hear about major films using thousands of tracks for a final mix.&#xD;&#xA;&#xD;&#xA;Do any of you have a rule of thumb while cutting effects for a particular piece of sound design such as &quot;if I don't get what I'm looking for with up to ____ elements, I'm going to start over&quot;?&#xD;&#xA;&#xD;&#xA;For example, you're making the effect of some sci-fi gun. You've thrown in 12 elements. It's still not working. How many elements would you try until you started from scratch? Or backed off a bit and kept the ones you liked and started throwing new ones in?&#xD;&#xA;&#xD;&#xA;I seem to remember Erik Aadahl mentioning that he stops after 8 elements. Or was it someone else...&#xD;&#xA;&#xD;&#xA;Anyway, I think you get what I mean.&#xD;&#xA;&#xD;&#xA;What do you guys do?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2797" PostHistoryTypeId="1" PostId="1504" RevisionGUID="69c2ca7b-b34c-45d3-a0dc-7c304327ce67" CreationDate="2010-06-14T22:41:53.723" UserId="18160" Text="Complexity in Cutting" ContentLicense="CC BY-SA 2.5" />
  <row Id="2798" PostHistoryTypeId="3" PostId="1504" RevisionGUID="69c2ca7b-b34c-45d3-a0dc-7c304327ce67" CreationDate="2010-06-14T22:41:53.723" UserId="18160" Text="&lt;sound-design&gt;&lt;elements&gt;&lt;complete&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2799" PostHistoryTypeId="2" PostId="1505" RevisionGUID="662dabe6-50d2-4c43-9152-b8a7fe93e9a6" CreationDate="2010-06-14T23:56:53.907" UserId="152" Text="I've learned through much process, head beating, migraines, etc, etc, that if the sound does not fit, then no amount of elements will make that sound fit.  personally keep a set of offline tracks in my session that I move the regions to, then begin the process of re-building the sound from the ground up.&#xD;&#xA;&#xD;&#xA;As far as track count is concerned I was able to sit in on some of the sessions from Dane Davis's work on Day the Earth Stood Still. I will not go into details but the scene with the micro-robots was at least a hundred channels wide to get the swarming sound needed. So in all reality, there is a limit and I love the idea of 8 elements being a limit, but remember the best sounds are composed of broken rules!&#xD;&#xA;&#xD;&#xA;My 2 cents,&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="2800" PostHistoryTypeId="5" PostId="1505" RevisionGUID="0253e9ce-998c-4ce8-b099-832d5c14287e" CreationDate="2010-06-15T00:27:49.530" UserId="152" Comment="added 108 characters in body" Text="I've learned through much process, head beating, migraines, etc, etc, that if the sound does not fit, then no amount of elements will make that sound fit. I personally keep a set of offline tracks in my session that I move the sound regions I am having an issue with to, then begin the process of re-building the sound from the ground up. If all else fails I have my original sound that I can revert to if needed.&#xD;&#xA;&#xD;&#xA;As far as track count is concerned I was able to sit in on some of the sessions from Dane Davis's work on Day the Earth Stood Still. I will not go into details but the scene with the micro-robots was at least a hundred channels wide to get the swarming sound needed. So in all reality, there is a limit and I love the idea of 8 elements being a limit, but remember the best sounds are composed of broken rules!&#xD;&#xA;&#xD;&#xA;My 2 cents,&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="2801" PostHistoryTypeId="2" PostId="1506" RevisionGUID="a222a13e-6483-4534-98f7-fe7d76672cc6" CreationDate="2010-06-15T03:06:03.670" UserId="370" Text="What schoold did you attend to get into the sound design field? Where your experiences good? I am looking at VHS. Any reccommendations for good sound design programs that will prepare me for the field?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2802" PostHistoryTypeId="1" PostId="1506" RevisionGUID="a222a13e-6483-4534-98f7-fe7d76672cc6" CreationDate="2010-06-15T03:06:03.670" UserId="370" Text="Sound design Education" ContentLicense="CC BY-SA 2.5" />
  <row Id="2803" PostHistoryTypeId="3" PostId="1506" RevisionGUID="a222a13e-6483-4534-98f7-fe7d76672cc6" CreationDate="2010-06-15T03:06:03.670" UserId="370" Text="&lt;education&gt;&lt;career&gt;&lt;recommendations&gt;&lt;program&gt;&lt;school&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2804" PostHistoryTypeId="2" PostId="1507" RevisionGUID="4d85b35f-e4ae-45e8-8c48-52493f3921a5" CreationDate="2010-06-15T04:08:43.133" UserDisplayName="user49" Text="There are too many possible variables to have a set rule eg&#xD;&#xA;- the complexity of the object generating sound&#xD;&#xA;- the perspectives/point of view/cutting for onscreen/offscreen panning/location&#xD;&#xA;- how many predubs/stems are planned etc&#xD;&#xA;&#xD;&#xA;In the end, I stop cutting when I 'believe' the composite sound&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But maybe what you elude to is this: there is nothing more frustrating &#xD;&#xA;than someone cutting a lot of tracks for an object or moment without &#xD;&#xA;having any clear idea of priorities or organisation...&#xD;&#xA;I've had people in the past play me heavily layered effects eg a vehicle &#xD;&#xA;where they have cut 64 tracks of material... and its a mush of sound.&#xD;&#xA;So I ask: play me the critical tracks - ONLY what has to be there for the&#xD;&#xA;scene to work ie none of the 'sweeteners' (i hate that word, but anyway)&#xD;&#xA;If they can't, then you know there is a problem&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2805" PostHistoryTypeId="2" PostId="1508" RevisionGUID="d117e874-7271-4f45-af27-9debebb62125" CreationDate="2010-06-15T05:44:32.947" UserId="371" Text="I'm attending to the IAV (www.iav.com.br - site in english available) school in Brazil, which is absolutely fantastic. It is focused in general audio, not just in Sound Design tho. Brazil lacks a great Sound Design school and the prices all over the world are unaffordable for a third world student. Really awful, gotta say." ContentLicense="CC BY-SA 2.5" />
  <row Id="2806" PostHistoryTypeId="2" PostId="1509" RevisionGUID="a7514645-165f-4b64-a708-ac6bbc4a8057" CreationDate="2010-06-15T06:56:33.987" UserDisplayName="user49" Text="What do you mean by Sound Design?&#xD;&#xA;&#xD;&#xA;I went to a film school (NZ Film &amp; TV Training School, Christchurch) because I specifically wanted to be a sound effects editor for film and understanding how films are made is very important. So I learned about every aspect of film making, which is why I ask what do you mean by Sound Design? for Film? Games? Music?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2807" PostHistoryTypeId="2" PostId="1510" RevisionGUID="8603ff98-a8ef-4fee-9e9a-7d0180f97e73" CreationDate="2010-06-15T07:11:03.613" UserId="372" Text="I was thinking more about video game and film sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="2808" PostHistoryTypeId="2" PostId="1511" RevisionGUID="37600507-38fd-4475-a158-2364e0a4e294" CreationDate="2010-06-15T10:59:08.207" UserId="14" Text="All right, I have been pegged with the task of describing the school I'm attending, though no one is asking me to do this, I feel I should iterate it's doings.&#xD;&#xA;&#xD;&#xA;I'm attending Metalworks Recording Institutes in Mississauga, Ontario, and am enrolled the Audio Production and Engineering course. It's not a sound design school, despite there, there's six hours worth of post production class a week. This involves mic'ing techniques for booming, field recording, mic's used for recording applications, and general terminology. As well, there's a post production class dedicated to sound design, and mixing, where you're in Pro Tools, doing the sound for film segments, from the ground up. &#xD;&#xA;&#xD;&#xA;It is NOT a school dedicated to sound design, or post production, that's one aspect of it. I would say the schools primary focus is split between mixing, and recording engineering. We spend a lot of time in a studio, getting our hands on an SSL, as well, in the second semester, you're tracking once a week. There's also a fair bit at the school about working as a producer, but a lot of that comes with learning the gear, and techniques for recoding and making music. If a producer can say 'I think the Tef47 sounds too clear going through the Neve Pre, let's run an AKG414 through the SSL's pres', that's valuable information for a producer. It seems I've digressed, let me explain the classes;&#xD;&#xA;&#xD;&#xA;Post production theory; What it sounds, mic'ing techniques for field recording, booming, mic selection, &#xD;&#xA;terminology used in post production, things like.&#xD;&#xA;Post produciton lab; Getting hands on in Pro Tools, doing post editing and mixing.&#xD;&#xA;Recording engineering theory; Learning about mics and mic selection for recording certain things, going over mic'ing techniques and how they sound, how different mics sound, and learning the ins and outs of an SSL.&#xD;&#xA;Recording engineering workshop; This is where you're hands on in a studio, on an SSL, with an HD rig, either mixing or tracking.&#xD;&#xA;Music production; Going over all the common instruments you'll find in a studio, and why they make the sounds that they do. They also go over tuning a drum kit, and setting up a guitar, and pretty much everything else you'd need to do make a shitty sound instrument sound not shitting.&#xD;&#xA;MIDI and synthesis theory; You learn about MIDI, on off note messages, least signifcant and most significant bytes, poly aftertouch, frequency modulation, tremolos, LFOs, resonators, oh my! It's a really cool course, which is complimented by...&#xD;&#xA;MIDI and synthesis; Lots of hands on time in Reason and Logic here.&#xD;&#xA;&#xD;&#xA;And soem odds and ends here and there, like business and contracts (valuable course if you want to start your own post production house like I do), Styles and Genres (more a class for the producers, so they can speak in music terms other people can understand), principles of acoustics, where you learn about the science of sound, oh, and a music theory class, which covers the first three tiers of the royal conservatory in on year, so, it's intense.&#xD;&#xA;&#xD;&#xA;I've yet to start the courses on studio design, and in a class I haven't started yet, you do a lands of hands on with soldering, and learning about how electrical circuits operate so you can mend DI boxes, guitar pedals, and fussy consoles. As well, I haven't started the final project, which is to find a band, bring them into Metalworks studio 6 and record them.&#xD;&#xA;&#xD;&#xA;It's a year long course, and it's pretty god damned intense. If you want more info about it, let me know" ContentLicense="CC BY-SA 2.5" />
  <row Id="2809" PostHistoryTypeId="2" PostId="1512" RevisionGUID="d9c89025-8c61-4dc0-9841-e99d39618fe8" CreationDate="2010-06-15T12:09:52.963" UserId="373" Text="I'm attempting to create a giant glass impact - a big hit on a thick glass tunnel, that doesn't break or crack from the force. The glass is part of a tunnel, similar to what you find in an aquarium. I've tried all sorts, and can't quite get the weight of the sound to feel right - any tips/ideas would be greatly appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2810" PostHistoryTypeId="1" PostId="1512" RevisionGUID="d9c89025-8c61-4dc0-9841-e99d39618fe8" CreationDate="2010-06-15T12:09:52.963" UserId="373" Text="giant glass impact" ContentLicense="CC BY-SA 2.5" />
  <row Id="2811" PostHistoryTypeId="3" PostId="1512" RevisionGUID="d9c89025-8c61-4dc0-9841-e99d39618fe8" CreationDate="2010-06-15T12:09:52.963" UserId="373" Text="&lt;effects&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2812" PostHistoryTypeId="2" PostId="1513" RevisionGUID="1ce1a91c-a3f8-4b51-a0e4-3668f4c642d5" CreationDate="2010-06-15T13:40:13.250" UserId="194" Text="sometimes the biggest sounds come from smaller sources.  Try to find a regular sized glass tube that resonates a little, and then run some contact mics.  slow it down and see what you come up with.&#xD;&#xA;&#xD;&#xA;You can also experiment with metal tubing and contact mics for different layers." ContentLicense="CC BY-SA 2.5" />
  <row Id="2813" PostHistoryTypeId="2" PostId="1514" RevisionGUID="53af47ea-823c-4d31-8e1a-372ac913ba6c" CreationDate="2010-06-15T14:42:07.793" UserId="219" Text="Mine is mildly unusual but I'm proud of it :) I can make rain on a window with only my fingers, and a glass pane (like a window...). I found that fingers tapping on the glass sound just like water drops if you find the right velocity. So for a light rain, just record your finger tapping for 2 minutes, then expand, split into four 30 seconds tracks and here's your light gently hitting the window.&#xD;&#xA;&#xD;&#xA;Heavy rain? Lay the glass pane flat, spread some water to give a bit more impact to your fingers and get on with the tapping. You can call in some friends to make the tapping a social activity and to vary finger textures :D" ContentLicense="CC BY-SA 2.5" />
  <row Id="2815" PostHistoryTypeId="2" PostId="1516" RevisionGUID="d7f5f28d-576c-4694-887e-cab6b5b72ca0" CreationDate="2010-06-15T15:16:38.543" UserId="374" Text="In the past I have used contact mics on Acrylic tubes and Plexiglass. you might also want to visit a junk yard and grab an old Windshield if you brace it right and support it you hit then pretty hard without them breaking or cracking. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2817" PostHistoryTypeId="2" PostId="1517" RevisionGUID="88b87f01-5851-47e9-82c5-0666a281a5bb" CreationDate="2010-06-15T15:42:04.283" UserId="261" Text="As above, I 'd suggest finding a thin-walled glass vase. What you do is then strike it so that  it rings. This sound can then be pitch down and combined with recorded impacts from acrylic and and metal tubes." ContentLicense="CC BY-SA 2.5" />
  <row Id="2818" PostHistoryTypeId="2" PostId="1518" RevisionGUID="6436b8dd-bdf5-4050-a936-e4900c26050f" CreationDate="2010-06-15T17:22:13.270" UserId="18160" Text="I would record at 192K hitting softly a large empty vase with a rubber mallet and play that back at 48K and possibly pitch it down further.&#xD;&#xA;&#xD;&#xA;Also try adding in detailed debris after the hit so you get that &quot;shaking feel&quot;. Also try some deep metal stresses like you hear in a submarine when it hits something - that might help. I don't know...&#xD;&#xA;&#xD;&#xA;I would go so far as to ask the video editor to add in a shaking effect on the visual as it hits so you see a shake - that's worked wonders for other movies and sounds to make it &quot;feel bigger&quot;.&#xD;&#xA;&#xD;&#xA;There are no cracks in the glass at all? Is it just going to be a solid thump? In that case, I would just find a lower-mid to mid frequency transient that sounds like glass (rolled off so it sounds like it's coming from outside) and adding in a lower thump - like a bass drum hit or explosion - cleverly edited and blended together so you get a big impact...&#xD;&#xA;&#xD;&#xA;Hard to give advice on this one - hope what I wrote helps you." ContentLicense="CC BY-SA 2.5" />
  <row Id="2819" PostHistoryTypeId="2" PostId="1519" RevisionGUID="2a467bee-deac-441a-a730-298ab455f41a" CreationDate="2010-06-15T18:02:27.290" UserId="194" Text="sometimes I do the opposite - I'll create a special protools session just to have more creative freedom when making a sound and I'll go nuts with layers and routing and plugins.  &#xD;&#xA;&#xD;&#xA;The key is to remember that this is ingredient based cooking - so the quality of the samples that you're cutting is going to have the most direct impact on the final sound.  This means lots of custom recording.&#xD;&#xA;&#xD;&#xA;My rules of thumb:&#xD;&#xA;&#xD;&#xA;- don't be afraid to use your tools.   Break out those eqs, verbs, tracks, dopplers, etc.&#xD;&#xA;- don't keep sounds in place that you don't want to hear.  If you find yourself with an unwieldy layer monster, start muting stuff and see what you don't miss.&#xD;&#xA;- don't add sounds for the sake of adding sounds - every layer you add needs to have a specific purpose in the overall effect.&#xD;&#xA;- pay attention to your frequency spectrum.  loudness does not equal tons of low end, it equals an even distribution of sound across the spectrum.&#xD;&#xA;- set loud sounds up with quietness&#xD;&#xA;- listen with your speakers at a good level.  Where you set your speakers can influence whether you want to cut that sound in or not.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2820" PostHistoryTypeId="2" PostId="1520" RevisionGUID="9f759232-e940-4781-9206-1e9d1aaf82b8" CreationDate="2010-06-15T21:00:52.200" UserId="62" Text="There's another thread on SSD about education here...&#xD;&#xA;&#xD;&#xA;[link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/1151/sound-design-courses-and-full-education-programs&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;As I said there, I did the MA in Sound Design for the Screen at Bournemouth University, UK.&#xD;&#xA;&#xD;&#xA;The Media School was truly excellent. Great facilities and great staff. I really enjoyed the philosophy that theory informs practice and practice informs theory. In addition to sound you also got Film Theory, Production Theory and even how to file a tax return for when you're employed.&#xD;&#xA;&#xD;&#xA;Ian&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2821" PostHistoryTypeId="2" PostId="1521" RevisionGUID="cd9f4f1b-4561-42ee-9496-977755384fc3" CreationDate="2010-06-16T14:09:58.607" UserId="219" Text="Adam's A7, Genelec's 80xx and Dynaudio's BM5A are discussed in this thread on GearSlutz: http://www.gearslutz.com/board/high-end/154894-adam-a7-vs-genelec-8030a.html. Even though this is the music production section it seems the A7 are more popular...&#xD;&#xA;&#xD;&#xA;I'm looking for them at the moment, it could be my 600 euros frenzy of the year :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2822" PostHistoryTypeId="2" PostId="1522" RevisionGUID="a50ad1dd-db16-4e97-8016-b10b4a1c0aba" CreationDate="2010-06-16T14:33:12.490" UserId="361" Text="If I have what I feel is a lot of elements to a single sound, like lets say more than 8 for example. I go through them and mute each one at a time and listen back. If I can't tell that element is missing, I delete it. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2823" PostHistoryTypeId="2" PostId="1523" RevisionGUID="fc2afb31-1e5e-47c0-b787-f405318d7705" CreationDate="2010-06-16T21:30:41.290" UserId="62" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I've been needing a portable sound recorder for a while now but due to personal circumstance I don't have the money to buy one (and the mics etc). IK multimedia have seemingly come to save me by releasing the [iRig][1] which means I can use my iPod Touch as a recorder.&#xD;&#xA;&#xD;&#xA;Before I buy one I've bodged together some cables to do the same job of mono in and stereo out.&#xD;&#xA;&#xD;&#xA;I want to know if anyone has used and can recommend an App for sound recording.&#xD;&#xA;&#xD;&#xA;I've had a quick scan on iTunes and one that stood out was [VC Audio Pro][2] or [microDAW][3]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I know it wont touch a decent unit and I could always borrow the DAT from work but it's a cumbersome thing that is rarely in the building for any length of time. I just want something to put in my manbag to grab things when they appear randomly.&#xD;&#xA;&#xD;&#xA;Ian&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ikmultimedia.com/irig/features/&#xD;&#xA;  [2]: http://itunes.apple.com/ca/app/vc-audio-pro/id354608007?mt=8&#xD;&#xA;  [3]: http://itunes.apple.com/ie/app/microdaw/id374190097?mt=8" ContentLicense="CC BY-SA 2.5" />
  <row Id="2824" PostHistoryTypeId="1" PostId="1523" RevisionGUID="fc2afb31-1e5e-47c0-b787-f405318d7705" CreationDate="2010-06-16T21:30:41.290" UserId="62" Text="iPod Apps to record sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="2825" PostHistoryTypeId="3" PostId="1523" RevisionGUID="fc2afb31-1e5e-47c0-b787-f405318d7705" CreationDate="2010-06-16T21:30:41.290" UserId="62" Text="&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2826" PostHistoryTypeId="2" PostId="1524" RevisionGUID="84645fd9-86c1-4d53-8c0d-c3a0bb2e30bf" CreationDate="2010-06-16T22:27:40.123" UserId="37" Text="Audiofile Engineering's [FiRe][1]? (itunes link and i haven't tested it)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://itunes.apple.com/app/fire-field-recorder/id309378684?mt=8" ContentLicense="CC BY-SA 2.5" />
  <row Id="2827" PostHistoryTypeId="2" PostId="1525" RevisionGUID="61bc3370-185f-4802-a32c-d4bfcf39150d" CreationDate="2010-06-16T22:38:28.773" UserId="118" Text="Coincidence!  I've just finished a post about recording with the iPhone on my blog (where there are links to some iPhone recordings).&#xD;&#xA;&#xD;&#xA;http://sonicskepsi.wordpress.com/2010/06/16/audioboo-and-iphone-recordings/&#xD;&#xA;&#xD;&#xA;Seems like you've done better than me in terms of discovering audio apps:  VC Audio Pro looks pretty cool in terms of editing functions, reckon I'll get that.  I've gone for FiRe and McDSP's Retro Recorder so far (no editing functions on these).....BUT, thought I'd check you knew about the Blue Microphones Mikey mic that you plug in to your iPhone / iPod which is supposed to improve things a lot.&#xD;&#xA;&#xD;&#xA;http://www.bluemic.com/mikey/new/&#xD;&#xA;&#xD;&#xA;A new version is being released soon (may already be released in States) - only about £60.  I too have been planning on getting a small portable recorder for my bag but at 200 to 300 quid for basic ones which don't sound great, I've decided to hold out for this Mikey and see how it sounds.  Plus I will never have any portable recorder on me as much as I have my iPhone with me!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2828" PostHistoryTypeId="2" PostId="1526" RevisionGUID="90fabcb8-46fc-496c-8b2f-57c52dd90216" CreationDate="2010-06-17T04:44:58.817" UserId="338" Text="There is probably a way to blend the two sounds together like morph a goo sound into a crawling sound so it sounds like crawling underwater in goo.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2829" PostHistoryTypeId="1" PostId="1526" RevisionGUID="90fabcb8-46fc-496c-8b2f-57c52dd90216" CreationDate="2010-06-17T04:44:58.817" UserId="338" Text="How do you go about making an underwater gooey sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2830" PostHistoryTypeId="3" PostId="1526" RevisionGUID="90fabcb8-46fc-496c-8b2f-57c52dd90216" CreationDate="2010-06-17T04:44:58.817" UserId="338" Text="&lt;creativity&gt;&lt;ideas&gt;&lt;inspiration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2831" PostHistoryTypeId="2" PostId="1527" RevisionGUID="9f89ceb9-e86d-4768-83f0-eeb2a780ac3b" CreationDate="2010-06-17T07:17:11.457" UserId="152" Text="One of the hard lessons I learned, and I do not believe this applies to every person, is that I wish I would not have gone to school for specifically audio or audio engineering. Study composition, phycology, musicianship and the like, all while keeping a finger or two in sound design.&#xD;&#xA;&#xD;&#xA;For example, study to be a composer, but also take some of the audio engineering classes offered by your school as well. There are plenty of amazing sound designers that went to school for sound design, Erik Aadahl comes to mind, but there are also sound designers and engineers that had other prosperous careers before moving to sound, such as Roger Nichols, who was a Nuclear Engineer before moving to a career in music and would produce award winning albums for Steely Dan.&#xD;&#xA;&#xD;&#xA;As always, my $.02&#xD;&#xA;&#xD;&#xA;Nick Meade&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2832" PostHistoryTypeId="2" PostId="1528" RevisionGUID="ffafb829-5278-435b-b36d-a2c7b7115d60" CreationDate="2010-06-17T08:58:45.177" UserId="331" Text="A bit vague on what exactly you want - is it big/small/human/animal etc etc but try cold pasta and sauce, squeezed and mushed up by hand for the goo.  SLowing it down, some short delay/rvb all help to thicken the sound.  As for underwater, try mic in a condom and squeeze out spunges underwater and then edit in the results to the picture movements.  Then blend with some eq/reverb/spatial plugs to help the underwater feel. &#xD;&#xA;&#xD;&#xA;Have you tried vocoding one sound with the other??" ContentLicense="CC BY-SA 2.5" />
  <row Id="2833" PostHistoryTypeId="2" PostId="1529" RevisionGUID="7ca0436e-efaf-40a0-8fe4-5e96b548be89" CreationDate="2010-06-17T09:43:54.840" UserId="270" Text="+1 for Izotope RX&#xD;&#xA;&#xD;&#xA;Only recently got the chance to use it properly, its a game changer!&#xD;&#xA;&#xD;&#xA;Im going out of my way to record badly just for the satisfaction of using RX to perform miracles ;]" ContentLicense="CC BY-SA 2.5" />
  <row Id="2835" PostHistoryTypeId="2" PostId="1530" RevisionGUID="cb09110f-c612-4f7a-8ae6-aa1b5b8876ab" CreationDate="2010-06-17T13:08:04.883" UserId="261" Text="http://www.klingbeil.com/spear/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2836" PostHistoryTypeId="6" PostId="1492" RevisionGUID="d2ba2400-a803-41d7-ad09-d5e5e5e80da8" CreationDate="2010-06-17T13:35:46.403" UserDisplayName="user80" Comment="added tag" Text="&lt;perspective&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2837" PostHistoryTypeId="2" PostId="1531" RevisionGUID="65f96aa8-66e5-4615-9528-c89ec8de1421" CreationDate="2010-06-17T17:28:03.077" UserId="261" Text="Hey&#xD;&#xA;&#xD;&#xA;Wet one of those extra thick/absorbent cleaning cloths or a towel. Squish away. Itmight sound a bit wet though...&#xD;&#xA;&#xD;&#xA;Make a mush with toilet paper and water. You can easily vary the wetness.&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;For underwater sounds, cover a make with a condom and record yourself squeezing water from a sports bottle/water pistol/super soaker...or like Dom Lawrence mentioned, playing with a sponge also gives great results...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2838" PostHistoryTypeId="2" PostId="1532" RevisionGUID="86fd93fd-becf-408e-9844-0c8db73da94f" CreationDate="2010-06-17T21:57:25.560" UserId="338" Text="Those are great ideas, I especially love the pasta sauce.  No experimenting has been done except this question." ContentLicense="CC BY-SA 2.5" />
  <row Id="2839" PostHistoryTypeId="2" PostId="1533" RevisionGUID="28c75512-adf8-4c89-b8be-069c159a5785" CreationDate="2010-06-18T02:10:36.607" UserId="220" Text="I recently completed a short film that needed a full dialog re-recording.  The only space we were able to find was in a musician's studio with a sound booth.  It sounds good as voice over, but for natural sounding dialog, I cannot make it sound like it is in the environment.  &#xD;&#xA;&#xD;&#xA;I need to make it sound as though it is outdoors in a large snowy field, and in a bus.  I've always struggled with making any sound feel &quot;outdoors&quot; and can't seem to dial in the right reverb to make the dialog on the bus sound right.  The ambiance and SFX outdoors and in the bus sound right, the dialog is the last unnatural sounding element.  &#xD;&#xA;&#xD;&#xA;Here is a sample of what I'm working with (none of the changes listed below have been applied - these are the raw recordings):  http://vcprod.com/testADR.wav&#xD;&#xA;&#xD;&#xA;I've currently:&#xD;&#xA;&#xD;&#xA; - Cut out much of the low end under 400Hz&#xD;&#xA; - Thinned out a lot of the mids&#xD;&#xA; - Put a low pass filter at 10k&#xD;&#xA; - Added very slight reverb, although it seems echoy when the actors yell.&#xD;&#xA;&#xD;&#xA;Specifically, what do you do to make ADR sound natural in its environment, and what suggestions would you have for better dialog re-recording in the future?&#xD;&#xA;&#xD;&#xA;Thank you so much!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2840" PostHistoryTypeId="1" PostId="1533" RevisionGUID="28c75512-adf8-4c89-b8be-069c159a5785" CreationDate="2010-06-18T02:10:36.607" UserId="220" Text="How do I make &quot;sound booth&quot; sounding ADR sound natural?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2841" PostHistoryTypeId="3" PostId="1533" RevisionGUID="28c75512-adf8-4c89-b8be-069c159a5785" CreationDate="2010-06-18T02:10:36.607" UserId="220" Text="&lt;adr&gt;&lt;editing&gt;&lt;matching&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2842" PostHistoryTypeId="2" PostId="1534" RevisionGUID="8e393cee-cf2b-42e0-a28f-d3fde6685e3b" CreationDate="2010-06-18T02:55:21.027" UserDisplayName="user49" Text="This will be difficult if you recorded everything close up in a non ideal room....&#xD;&#xA;&#xD;&#xA;This thread on DUC covers the main issues of ADR recording:&#xD;&#xA;&#xD;&#xA;http://duc.digidesign.com/showthread.php?t=270918&#xD;&#xA;&#xD;&#xA;For the bus, it depends what the perspective is but have you tried using IR verbs?&#xD;&#xA;Altiverb has specific vehicle IRs....  The other option if you can access the bus would be to go record your own impulse...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2843" PostHistoryTypeId="2" PostId="1535" RevisionGUID="e7c35458-6ec5-422a-817a-2f20bf36f053" CreationDate="2010-06-18T04:40:28.193" UserId="376" Text="Hi,&#xD;&#xA;before adding plugins and EQs I start recording the ADR with the same type of microphones and positioning as I would use in location sound, a Sennheiser 416 or MKH50 / 60 positioned above the head pointing the mouth or if you have have a boom operator for the ADR sessions is way better.&#xD;&#xA;The talent should try to act naturally not only with his voice but using all his body, just as he/she does in front of a camera. The key of convincing ADR starts with acting, then spatial location (right reverb and EQ) and then sync, in my humble experience.&#xD;&#xA;For yelling or loud passages try changing the microphone axis and if the sound &quot;colors&quot; the voice try a different booth or placement of the talent in the room, if he yells facing the glass you always will get those harmonics changing the natural timbre and destroying the illusion of outdoor.&#xD;&#xA;I'm in a tight deadline now, but I will give a listen to your files next week to see what can be done in this case.&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="2846" PostHistoryTypeId="6" PostId="1533" RevisionGUID="2c613207-cf20-47f0-b759-884a5c5f5e06" CreationDate="2010-06-18T08:34:21.373" UserDisplayName="user80" Comment="edited tags" Text="&lt;adr&gt;&lt;editing&gt;&lt;matching&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2847" PostHistoryTypeId="2" PostId="1537" RevisionGUID="77eb2e44-c9e1-4f83-94fe-819a696a22e5" CreationDate="2010-06-18T09:39:57.700" UserId="372" Text="Anyone recommend a specific sound design program or certificate or anything like that, that will help me prepare for video game sound design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2848" PostHistoryTypeId="1" PostId="1537" RevisionGUID="77eb2e44-c9e1-4f83-94fe-819a696a22e5" CreationDate="2010-06-18T09:39:57.700" UserId="372" Text="Video game sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="2849" PostHistoryTypeId="3" PostId="1537" RevisionGUID="77eb2e44-c9e1-4f83-94fe-819a696a22e5" CreationDate="2010-06-18T09:39:57.700" UserId="372" Text="&lt;video&gt;&lt;game&gt;&lt;design&gt;&lt;education&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2851" PostHistoryTypeId="2" PostId="1538" RevisionGUID="aa136e44-229e-4461-a9bb-e2358ad5e892" CreationDate="2010-06-18T12:48:36.383" UserId="324" Text="I don't know of any certificate that would really help in being prepared for Game Sound Design. What does matter is a complete knowledge on the topic of audio in general, and a passion for non linear sound design. &#xD;&#xA;&#xD;&#xA;You need to be educated and experienced in microphone techniques and recording, in hardware and software routing and processing, in acoustics and computer science as well. &#xD;&#xA;&#xD;&#xA;I would be skeptical of any educational program that was based around sound design as a main topic, unless it was a graduate level program. At the beginning, you should find something that teaches every aspect of sound production, and focus your practice and skills towards Gae Sound along the way. &#xD;&#xA;&#xD;&#xA;A good deal of indy level production of game sound will go along way. There is nothing to replace actually doing and practicing the craft. Get on a mod team, and put your heart and soul into the process. &#xD;&#xA;&#xD;&#xA;Good audio schools are very expensive, and do not guarantee you a job in the industry. However, the amount of information that you need to be a solid audio producer often goes beyond what you could possibly teach yourself. &#xD;&#xA;&#xD;&#xA;Have you taken a shot at any production yet? " ContentLicense="CC BY-SA 2.5" />
  <row Id="2852" PostHistoryTypeId="2" PostId="1539" RevisionGUID="4d714739-2d29-4d27-9391-f6fbada23885" CreationDate="2010-06-18T13:50:58.013" UserId="331" Text="Have you tried playing with tuning forks?  I've had great success for big resonating sounds by processing the tones.  Along with a solid impact it might work for your situation" ContentLicense="CC BY-SA 2.5" />
  <row Id="2853" PostHistoryTypeId="2" PostId="1540" RevisionGUID="0e7adf0f-b550-47dc-b736-64e9b7f84ff5" CreationDate="2010-06-18T14:42:44.410" UserId="261" Text="I took a B.A in Film, with classes in Sound and Scriptwriting. I do however wish that the sound side of things had been more technical and deeper. I tried to teach myself a lot about electronics and that sort of thing, but time time time at college....never seems to be enough. The good thing about the course, although being light on theory, is that I got to make a number of short films(some better than others). &#xD;&#xA;&#xD;&#xA;Thing is, I find myself now looking to do university courses in Engineering .... :)&#xD;&#xA;There's things I'd like to know that I just can't teach myself, which I feel would be of enormous benefit to me in the future. I'm especially interested in sonic interaction and product sound design.&#xD;&#xA;&#xD;&#xA;Like Nick Meade said above, learning something related to sound design can be enormously beneficial. Programming, Music, Electronics, Physics...&#xD;&#xA;&#xD;&#xA;Really IMHO &#xD;&#xA;&#xD;&#xA;Kurt&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2854" PostHistoryTypeId="2" PostId="1541" RevisionGUID="fbbcc35f-5b28-43a3-9f69-b97db0bff0af" CreationDate="2010-06-18T15:17:24.477" UserDisplayName="user80" Text="You have less to worry about than you think, as you are not having to match the ADR with production dialogue.&#xD;&#xA;&#xD;&#xA;Concentrate on adding all of the sounds that you might hear within the bus.&#xD;&#xA;&#xD;&#xA;Interior noises include &#xD;&#xA;&#xD;&#xA; - Powertrain/Propulsion: air intake, engine radiated, exhaust...&#xD;&#xA; - Wind/Aerodynamic: smoothness of air flow around vehicle, transmission loss of panels, seals, external features (signage etc.)&#xD;&#xA; - Road/Tyres: structureborne, airborne&#xD;&#xA; - Fellow passengers: movement and walla&#xD;&#xA; - Passing vehicles: engines and music&#xD;&#xA;&#xD;&#xA;If you are feeling brave go to a bus terminal and record an impulse response in a stationary bus, and then gently add the convolution reverb to the ADR track.&#xD;&#xA;&#xD;&#xA;With regards to the snow, it is highly absorbent as it is mostly air, so it should be acoustically dry.  &#xD;&#xA;&#xD;&#xA;You can suggest that they are standing in snow by adding some foley cornstarch underneath, as if the actors are moving from foot to foot gently as they stand.&#xD;&#xA;&#xD;&#xA;Try and be gentle with the EQ as the audience rarely wants to listen to reality, they are more concerned with clarity and 'not being distracted' by the sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="2855" PostHistoryTypeId="5" PostId="1538" RevisionGUID="8b3df0b6-d8ae-4615-915b-51d2c8b3f8e4" CreationDate="2010-06-18T15:23:56.967" UserId="324" Comment="added 148 characters in body" Text="I don't know of any certificate that would really help in being prepared for Game Sound Design. What does matter is a complete knowledge on the topic of audio in general, and a passion for non linear sound design. &#xD;&#xA;&#xD;&#xA;You need to be educated and experienced in microphone techniques and recording, in hardware and software routing and processing, in acoustics and computer science as well. &#xD;&#xA;&#xD;&#xA;I would be skeptical of any educational program that was based around sound design as a topic, before the world of sound and production were addressed correctly first, unless it was a graduate level program. At the beginning, you should find something that teaches every aspect of sound production, and focus your practice and skills towards Game Sound along the way. &#xD;&#xA;&#xD;&#xA;A good deal of indy level game sound will go along way. There is nothing to replace actually doing and practicing the craft. Get on a mod team, and put your heart and soul into the process. Make your sound design unique and original, and practice implementation as often as possible.&#xD;&#xA;&#xD;&#xA;Good audio schools are very expensive, and do not guarantee you a job in the industry. However, the amount of information that you need to be a solid audio producer often goes beyond what you could possibly teach yourself. &#xD;&#xA;&#xD;&#xA;Have you taken a shot at any production yet? " ContentLicense="CC BY-SA 2.5" />
  <row Id="2856" PostHistoryTypeId="2" PostId="1542" RevisionGUID="c7d1c55b-7d02-4b1e-8464-0a62dce0af96" CreationDate="2010-06-18T16:40:14.517" UserId="378" Text="The IASIG has been working on something. But it's not going to be &quot;out&quot; for a while." ContentLicense="CC BY-SA 2.5" />
  <row Id="2857" PostHistoryTypeId="2" PostId="1543" RevisionGUID="385f5eb4-aed6-47e7-85b5-a92f936a4de9" CreationDate="2010-06-18T17:07:57.250" UserId="379" Text="Howdy.  Does anyone have experience recording outdoor crowd walla?  I am planning for a session of 30+ people in an outdoor setting and was thinking of recording in quad using a sound devices 744t.  Looking for mic type and placement suggestions as well as any other crowd recording tips anyone might have.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;scott&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2858" PostHistoryTypeId="1" PostId="1543" RevisionGUID="385f5eb4-aed6-47e7-85b5-a92f936a4de9" CreationDate="2010-06-18T17:07:57.250" UserId="379" Text="recording outdoor crowd walla" ContentLicense="CC BY-SA 2.5" />
  <row Id="2859" PostHistoryTypeId="3" PostId="1543" RevisionGUID="385f5eb4-aed6-47e7-85b5-a92f936a4de9" CreationDate="2010-06-18T17:07:57.250" UserId="379" Text="&lt;walla&gt;&lt;crowd&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2863" PostHistoryTypeId="2" PostId="1546" RevisionGUID="2f6dc440-596d-41ba-a30a-eabedd621ae4" CreationDate="2010-06-18T23:47:42.053" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;I have a pretty urgent question here that I need to resolve in one of my record rooms:&#xD;&#xA;&#xD;&#xA;I have a small room about 13 feet by 10 feet with a 10 foot ceiling.&#xD;&#xA;&#xD;&#xA;The walls all have fabric on them that I can place something behind.&#xD;&#xA;&#xD;&#xA;I've got about 2 inches to the dry wall from the fabric to the dry-wall that I can place something in.&#xD;&#xA;&#xD;&#xA;This will be mainly be used as a voice recording booth and I'd like to deaden it as much as possible.&#xD;&#xA;&#xD;&#xA;I've been searching around and I found the &quot;Echo Eliminator&quot; cotton to be a good start to stuff behind the fabric.&#xD;&#xA;&#xD;&#xA;Does anyone know of another type of deadening material that's about 2 inches thick? Preferably on the cheaper side but still effective?&#xD;&#xA;&#xD;&#xA;What do you guys use in your studios?&#xD;&#xA;&#xD;&#xA;Thanks in advance!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2864" PostHistoryTypeId="1" PostId="1546" RevisionGUID="2f6dc440-596d-41ba-a30a-eabedd621ae4" CreationDate="2010-06-18T23:47:42.053" UserId="18160" Text="Acoustic Handlings in a Small Room" ContentLicense="CC BY-SA 2.5" />
  <row Id="2865" PostHistoryTypeId="3" PostId="1546" RevisionGUID="2f6dc440-596d-41ba-a30a-eabedd621ae4" CreationDate="2010-06-18T23:47:42.053" UserId="18160" Text="&lt;acoustic&gt;&lt;damping&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2866" PostHistoryTypeId="5" PostId="1546" RevisionGUID="7bb1dadb-e6ea-416c-8772-4727de326769" CreationDate="2010-06-18T23:57:13.027" UserId="18160" Comment="deleted 3 characters in body" Text="Dear All,&#xD;&#xA;&#xD;&#xA;I have a pretty urgent question here that I need to resolve in one of my record rooms:&#xD;&#xA;&#xD;&#xA;I have a small room about 13 feet by 10 feet with a 10 foot ceiling.&#xD;&#xA;&#xD;&#xA;The walls all have fabric on them that I can place something behind.&#xD;&#xA;&#xD;&#xA;I've got about 2 inches to the dry wall from the fabric to the dry-wall that I can place something in.&#xD;&#xA;&#xD;&#xA;This will mainly be used as a voice recording booth and I'd like to deaden it as much as possible.&#xD;&#xA;&#xD;&#xA;I've been searching around and I found the &quot;Echo Eliminator&quot; cotton to be a good start to stuff behind the fabric.&#xD;&#xA;&#xD;&#xA;Does anyone know of another type of deadening material that's about 2 inches thick? Preferably on the cheaper side but still effective?&#xD;&#xA;&#xD;&#xA;What do you guys use in your studios?&#xD;&#xA;&#xD;&#xA;Thanks in advance!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2867" PostHistoryTypeId="2" PostId="1547" RevisionGUID="669652ba-0ee2-4852-ac72-9c1c194c9dfb" CreationDate="2010-06-19T00:32:39.413" UserId="315" Text="I've done this several times. If you're going with 4 channels I suggest a different mic arrangement than quad. I'd go LCR, with the L and R mics pretty wide (over 8 feet) to get nice imaging. Use the fourth channel to get another mono track. Perhaps put that one much closer than the other mono so you can switch them for perspective changes. You can always double up takes and pan those to the surrounds if you're going for a large feel." ContentLicense="CC BY-SA 2.5" />
  <row Id="2868" PostHistoryTypeId="2" PostId="1548" RevisionGUID="07f56d06-bcea-42df-bc76-e572ef50f3f4" CreationDate="2010-06-19T00:36:42.870" UserId="37" Text="if you want to explore the technical aspect of game audio and make sure this is for you, grab a copy of Fmod or Wwise, get to know the concepts and start thinking. Of course, passion for games is a must, but game sound is as much about sound as it is about hacking. You can expect to work with other content people but also programmers and they have their own ways... mindset is not only important but gets a bit more specific on these projects... I agree with Ryan, it's entirely possible to be self-taught, but education can give you flying start and hook you up re work experience and such... " ContentLicense="CC BY-SA 2.5" />
  <row Id="2869" PostHistoryTypeId="2" PostId="1549" RevisionGUID="08616fa1-cc6e-40e3-90b2-5c78a094d5ab" CreationDate="2010-06-19T06:14:53.490" UserDisplayName="user80" Text="Have you thought of using stone wool, it is routinely used for just this purpose.  You can build up as many layers as you need.  It is normally used in loft insulation.&#xD;&#xA;&#xD;&#xA;http://www.rockwool.co.uk/about+rockwool/what+is+stone+wool-c7-" ContentLicense="CC BY-SA 2.5" />
  <row Id="2870" PostHistoryTypeId="6" PostId="1543" RevisionGUID="eec80fec-72c2-49d4-87c3-82edb377fb72" CreationDate="2010-06-19T06:15:41.477" UserDisplayName="user80" Comment="added tags" Text="&lt;walla&gt;&lt;crowd&gt;&lt;recording&gt;&lt;techniques&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2872" PostHistoryTypeId="2" PostId="1551" RevisionGUID="15b06359-b673-4baf-aa79-80a3a492cc36" CreationDate="2010-06-19T15:08:12.307" UserId="234" Text="95 percent of the time it boils down to PERFORMANCE. The reason ADR often sounds unnatural is because of the way people speak outside is different than the way they would speak inside. For example in a large snowy field there would actually be a fairly minimal reverb. However a person would talk much louder, because they are A) outside and B) usually farther away from the person they are speaking to then they are in a room. Also there's often more ambient sound outside a person has to speak over.&#xD;&#xA;&#xD;&#xA;Some good tricks I've found during the record:&#xD;&#xA;&#xD;&#xA;1. Turn down the Headphone feed... If the actor is hearing themselves in the cans loud, they'll often speak quieter. Doesn't always work, but often does.&#xD;&#xA;&#xD;&#xA;2. Feed ambience into the cans. I did an ADR session where the characters were on a pedestrian overpass, and there was a TON of traffic. We still wanted to keep the traffic bg, but obviously couldn't keep the production. In order to get the actor to project correctly, I fed a loud traffic ambience into his cans, which he was able to project over.&#xD;&#xA;http://www.zedfilmworks.com/films_interchange.php -check out the 7 minute mark...&#xD;&#xA;&#xD;&#xA;One trick I've found for AFTER is Pitch Shift. When you speak louder, your voice naturally takes on a higher pitch. I've used the DIGI TimeShift in Mono, to subtly (less than a semitone) pitch up a voice to make it &quot;fit&quot; better. Any Pitch Shift that allows you to pitch while keeping the formant constant should work." ContentLicense="CC BY-SA 2.5" />
  <row Id="2877" PostHistoryTypeId="2" PostId="1554" RevisionGUID="2cbf6cbb-993d-48ad-9be3-980656875bb2" CreationDate="2010-06-19T20:38:45.150" UserId="18" Text="My only rule is that every layer of a sound has to have a reason to be there.  If I have to work to justify the reason for adding a layer or keeping a layer, then it isn't needed.  As I design complex sounds, I will continually go back and solo each layer.  I find that it is easy to keep adding things while you are in the thick of it.  Later you find that multiple layers are doing the same thing, or competing against each other, or adding noise.  Before I call a sound done, I like to thin out layers that feel unneeded.&#xD;&#xA;&#xD;&#xA;There is a quote that I love and refer to often (I heard this on the Home and Garden channel, haha):&#xD;&#xA;&#xD;&#xA;Perfection is achieved not when there is nothing left to add, but when there is nothing left to take away." ContentLicense="CC BY-SA 2.5" />
  <row Id="2879" PostHistoryTypeId="2" PostId="1555" RevisionGUID="fc834cac-2070-4414-8b66-12ff0652e881" CreationDate="2010-06-20T00:25:44.093" UserId="18160" Text="With Toy Story 3 coming out in 7.1, are we going to see a flood of movies coming out with this new format? Sort of like what Avatar did to movies coming out in 3D?&#xD;&#xA;&#xD;&#xA;Most of the big blockbusters are mixed at Skywalker anyway, which is where Toy Story was mixed. So I guess we will see more 7.1 mixes very soon.&#xD;&#xA;&#xD;&#xA;Should I upgrade to 7.1 now because it will be the new standard?&#xD;&#xA;&#xD;&#xA;Or will 5.1 continue to hold strong for at least another 5 years?&#xD;&#xA;&#xD;&#xA;I know Dolby has made it easy for theaters to switch over to provide 7.1 on their systems, but do you think it will catch on?&#xD;&#xA;&#xD;&#xA;I personally love the idea and I think I will upgrade in the near future. What do you guys think?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2880" PostHistoryTypeId="1" PostId="1555" RevisionGUID="fc834cac-2070-4414-8b66-12ff0652e881" CreationDate="2010-06-20T00:25:44.093" UserId="18160" Text="7.1 going to be the new standard?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2881" PostHistoryTypeId="3" PostId="1555" RevisionGUID="fc834cac-2070-4414-8b66-12ff0652e881" CreationDate="2010-06-20T00:25:44.093" UserId="18160" Text="&lt;7.1&gt;&lt;surround-sound&gt;&lt;standard&gt;&lt;dolby&gt;&lt;upgrade&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2882" PostHistoryTypeId="2" PostId="1556" RevisionGUID="0c577fba-8358-4bde-a65d-7b4ec7cbffa8" CreationDate="2010-06-20T01:30:50.787" UserDisplayName="user49" Text="How do you mean you will 'upgrade to 7.1?'&#xD;&#xA;&#xD;&#xA;Its a mixing/delivery format...&#xD;&#xA;&#xD;&#xA;FWIW Avatar didn't cause any big flood of 3D films - lets face it, 3D is a technology that only suits a certain type of film (aka studio tent pole/blockbuster movies)&#xD;&#xA;&#xD;&#xA;Of course I welcome 7.1 as an advance in sound mixing &amp; replay, but the realities of what impact it will have remain to be seen, especially when there are many theatres that can't even replay 5.1 well....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2883" PostHistoryTypeId="2" PostId="1557" RevisionGUID="8598706b-a45e-4548-817d-b2c25420d459" CreationDate="2010-06-20T09:31:37.753" UserId="62" Text="I agree Tim. I see it as a small evolutionary step for sound mixing. It'll be a while before it filters through to mixing stages surely? Unless patches can be create by Dolby for their plugins or firmware upgrades for their hardware. Dolby kit is rather expensive. Adding a couple more speakers will be the cheapest part.&#xD;&#xA;&#xD;&#xA;Is it really that much of an improvement though? Human's ability to focus on sounds coming from behind us is limited. Our instinct to turn around to face the source being a clue here. It's not that I am being critical but I'd like more of an explanation or demonstration of it before I hail the upgrade as the best thing since sliced bread.&#xD;&#xA;&#xD;&#xA;I'm not personally keen on the 3D thing. I wear glasses and remember that every few minutes I had to push the 3D glasses back up my nose. I also found looking through the lenses at the screen a little unpleasant on my clearly crap vision (1 eye is fine, the other is extremely short sighted). Again I wonder how much of a standard it will be. Like HD, do I really want to watch the news in 3D? A small window in my browser is more than sufficient.&#xD;&#xA;&#xD;&#xA;Cynical rant over. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2884" PostHistoryTypeId="2" PostId="1558" RevisionGUID="9c807620-5835-4425-a609-59036354f534" CreationDate="2010-06-20T18:44:23.350" UserId="315" Text="I've heard several examples of 5.1 sequences remixed into 7.1. It is a big improvement in my opinion, especially for panning from the front to the back of the theater or panning off screen to the far left or right. Movement across three speakers just sounds more natural to me than moving from the front all the way to the back. It's also a great way to pull the music slightly out of the LR. &#xD;&#xA;&#xD;&#xA;It's also relatively easy (and a cheap upgrade) for theaters to convert their rooms from 5.1 to 7.1, and I know that several movie chains in the US and Europe have already agreed to do this. I wouldn't bother upgrading a cutting room system to 7.1 quite yet (these panning decisions should be made on a proper dub stage anyway). But I do think that 7.1 is here to stay." ContentLicense="CC BY-SA 2.5" />
  <row Id="2887" PostHistoryTypeId="2" PostId="1560" RevisionGUID="885d2f0c-84cf-4cb9-8645-9aed081edf80" CreationDate="2010-06-21T09:42:05.833" UserId="373" Text="What are your favourite foley props? The items that make the coolest sounds, or are just essential to get the sound right? Tripods for zimmer frames, fish slices for sword schwings - what prop do you constantly turn to that always delivers the stand out sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2888" PostHistoryTypeId="1" PostId="1560" RevisionGUID="885d2f0c-84cf-4cb9-8645-9aed081edf80" CreationDate="2010-06-21T09:42:05.833" UserId="373" Text="Favourite Foley Props" ContentLicense="CC BY-SA 2.5" />
  <row Id="2889" PostHistoryTypeId="3" PostId="1560" RevisionGUID="885d2f0c-84cf-4cb9-8645-9aed081edf80" CreationDate="2010-06-21T09:42:05.833" UserId="373" Text="&lt;foley&gt;&lt;foley-artist&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2890" PostHistoryTypeId="2" PostId="1561" RevisionGUID="da6c5ef0-6bed-4c75-9f85-e1c0152954a2" CreationDate="2010-06-21T09:56:11.720" UserId="331" Text="Most of you are probably on Gearslutz anyway but in case you missed it...http://www.gearslutz.com/board/post-production-forum/495367-article-about-new-dolby-format-3d.html&#xD;&#xA;Some interesting thoughts on the practicalities of actually producing content for 7.1 - eg. Protools doesn't actually support this updated 7.1 standard so how easy will the upgrade be disregarding the extra hardware...&#xD;&#xA;&#xD;&#xA;I would agree with most things said - Seating position is key (applies to 5.1 too..) so immersive/intricate panning will only work for some in the sweet sport - the z-plane would bring greater overall value to the experience. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2891" PostHistoryTypeId="6" PostId="1560" RevisionGUID="114ae3cd-c553-4e8a-8ee7-ed63cb2c50a7" CreationDate="2010-06-21T09:58:03.803" UserDisplayName="user80" Comment="Added tags" Text="&lt;foley&gt;&lt;foley-artist&gt;&lt;props&gt;&lt;recommendations&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2892" PostHistoryTypeId="2" PostId="1562" RevisionGUID="ebfa16f6-319c-4e5f-9417-032a36511912" CreationDate="2010-06-21T11:19:48.450" UserId="100" Text="For those may not have seen it yet, Michael Semanick has a great explaination panning in 7.1 for Toy Story 3 in this SoundWorks Collection piece:&#xD;&#xA;&#xD;&#xA;[vimeo]12685164[/vimeo]&#xD;&#xA;&#xD;&#xA;http://vimeo.com/12685164&#xD;&#xA;&#xD;&#xA;I'm willing to bet that 7.1's popularity will closely follow consumers' 3D TV trends. I'm also predicting, with very little disappointment, that neither are going away anytime soon." ContentLicense="CC BY-SA 2.5" />
  <row Id="2893" PostHistoryTypeId="2" PostId="1563" RevisionGUID="0f5cddaf-ebb4-4cd8-ae23-5de23156c3b9" CreationDate="2010-06-21T12:34:05.577" UserId="62" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I'm just mixing the first episode of an animated series. Unlike other shows I've done this one has a very specific location (in this case Vienna). The guys in tracklay gave me perfectly suited atmos tracks of a city.&#xD;&#xA;&#xD;&#xA;However, why not use the atmospheres from the actual city? How much of what you do is that authentic?&#xD;&#xA;&#xD;&#xA;I ask as I wrote my thesis on Saving Private Ryan when I did my Masters. I asked &quot;how realistic is the sound design in Omaha Beach landing sequence?&quot;. I concluded that on the one hand an awful lot of the sounds were 100% authentic (period ammo used in period weapons), some though were not and were present for the emotional content. After all it was not a documentary but a fictional narrative with a very clear point. Give the audience the experience of being in a battle.&#xD;&#xA;&#xD;&#xA;How far have you gone in trying to be authentic?&#xD;&#xA;&#xD;&#xA;Ian&#xD;&#xA;&#xD;&#xA;P.S. Does anyone has an atmos recording of Vienna?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2894" PostHistoryTypeId="1" PostId="1563" RevisionGUID="0f5cddaf-ebb4-4cd8-ae23-5de23156c3b9" CreationDate="2010-06-21T12:34:05.577" UserId="62" Text="authentic sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="2895" PostHistoryTypeId="3" PostId="1563" RevisionGUID="0f5cddaf-ebb4-4cd8-ae23-5de23156c3b9" CreationDate="2010-06-21T12:34:05.577" UserId="62" Text="&lt;realism&gt;&lt;atmosphere&gt;&lt;ambience&gt;&lt;authentic&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2900" PostHistoryTypeId="2" PostId="1566" RevisionGUID="8453f81f-7b9f-44f8-95bd-df9eadee5df7" CreationDate="2010-06-21T17:19:48.147" UserId="18160" Text="I'm a total stickler when it comes to quality.&#xD;&#xA;&#xD;&#xA;I hear a drop in quality going from 96K to 48K.&#xD;&#xA;&#xD;&#xA;I absolutely hate the fact that films are still mixed at 48K.&#xD;&#xA;&#xD;&#xA;When do you think it will be standard to mix a film at 96K or possibly 192K and have it stay at that sample-rate?&#xD;&#xA;&#xD;&#xA;What are your guys' thoughts on 48K as opposed to 96K? Am I alone when I say I can hear a difference in quality between 48K and 96K?&#xD;&#xA;&#xD;&#xA;Also, when you record dialogue or effects or foley, do you record straight to 48K or do you record at 192 or 96 and then downconvert? And how do you do the downconverting?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2901" PostHistoryTypeId="1" PostId="1566" RevisionGUID="8453f81f-7b9f-44f8-95bd-df9eadee5df7" CreationDate="2010-06-21T17:19:48.147" UserId="18160" Text="When will films be mixed at 96K?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2902" PostHistoryTypeId="3" PostId="1566" RevisionGUID="8453f81f-7b9f-44f8-95bd-df9eadee5df7" CreationDate="2010-06-21T17:19:48.147" UserId="18160" Text="&lt;96k&gt;&lt;sample-rate&gt;&lt;quality&gt;&lt;film-mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2903" PostHistoryTypeId="2" PostId="1567" RevisionGUID="01eb465d-9f7b-4841-8730-9ea7fcfa8dd0" CreationDate="2010-06-21T17:37:12.670" UserId="219" Text="I'm with you Ryan, if only Vienna was in Italy... :D Check your geography! No offense..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2908" PostHistoryTypeId="2" PostId="1569" RevisionGUID="71b2c204-7488-419c-a92a-1a714075b483" CreationDate="2010-06-22T04:31:04.093" UserId="253" Text="Good question, i'd like to A-B some 96k vs 48k myself.&#xD;&#xA;&#xD;&#xA;Although from a theoretical point of view, a sample rate of 96kHz means the signal can carry frequencies up to 48kHz (http://en.wikipedia.org/wiki/Nyquist_rate), and we can't really hear above 20kHz (most of us are lucky to hear up to 17kHz!). Whereas a sample rate of 48kHz can, theoretically, carry signal up to 24kHz, which is still beyond our range of hearing. Also, i don't think any widely used speakers are capable of reproducing any frequencies over 20kHz.&#xD;&#xA;&#xD;&#xA;As to whether a higher sample rate affects the frequencies we can hear, i can't say. It may be possible, but i think the benefits to a typical audience would be negligible.&#xD;&#xA;&#xD;&#xA;On the upside, FX recorded at high sample rates won't lose all their high frequencies when they're pitched down! (as far as i know...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2909" PostHistoryTypeId="2" PostId="1570" RevisionGUID="5359c70a-ae0a-40e8-88f9-dc752bfc7ea7" CreationDate="2010-06-22T07:19:56.207" UserId="202" Text="Actually, I don't feel the need of 96kHz mixes.&#xD;&#xA;Something that sometime I really need (and it's already here with digital cinema) is uncompressed audio. More than one time I found the (not so bad, for the time when it was born) Dolby data compression (the ac3 like compression that the DMU do for the MODisk) to be really annoying and changing a lot the sound. &#xD;&#xA;But in the end it really depends from the kind of movie; and actually, the real big deal is the sound system of cinema theater: 8 times out of 10, the cinema has wrong level, or outdated ampli and speakers, or wrong sound correction.&#xD;&#xA;Just my 2cent" ContentLicense="CC BY-SA 2.5" />
  <row Id="2910" PostHistoryTypeId="2" PostId="1571" RevisionGUID="84965ad3-43fe-4050-8bda-e5addf789050" CreationDate="2010-06-22T08:32:27.330" UserId="2" Text="Obviously it depends on the movie. I had a foley artist help me for some rugby scenes on a movie, and he had with him a camouflage net. It came in handy for so many of the sounds I needed. From the netting, we got layers for grass, dirt, crunchy stuff, scraping, textured muffling, etc. This was combined with footsteps, balls landing, falls, thumps, scrapes etc. It really provided a lot of options for layering a sound with a certain type of ground. You can fold it up to create different thickness and dryness of foliage, you can also place the camouflage netting on a concrete slab to get great dirty scrapes or on your lap to create a more muffled thump with an earthy texture. Anyway, you get the point, very useful!   &#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tankzone.co.uk/images/afvm/ac/net_OD.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2911" PostHistoryTypeId="2" PostId="1572" RevisionGUID="99a5968a-9abe-45dc-bf2d-92e5bf380bca" CreationDate="2010-06-22T14:25:55.697" UserId="384" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;Basically all the work I have done so far in University has been post production audio. I take clips from films, strip out all the original audio, and try adding it all back in.&#xD;&#xA;&#xD;&#xA;I've now decided the time is right to venture into the production aspect of the film and join forces with another section of my university &quot;Film and Media&quot;. I'm a Masters student and I have offered a Masters Film student the great thrill of having me as their post-production sound designer. However, to advance my skills I really want to be involved with the filming also!&#xD;&#xA;&#xD;&#xA;I have a shotgun mic, a DAT, XLR cables, Pro Tools, MBox2 etc etc BUT my main question is. .how do you actually go about shooting?&#xD;&#xA;&#xD;&#xA;Are the audio and film always two separate entities?? (we won't be using 3.5mm jacks on the HD camera as we want amazing sound). Is it just a case of before every single take we start recording video (hitting record at exactly the same time - him on his camera, me on my DAT), and audio and shout &quot;TAKE 5&quot; and then line up the audio and video in Post production?&#xD;&#xA;&#xD;&#xA;Thanks a lot for any advice!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2912" PostHistoryTypeId="1" PostId="1572" RevisionGUID="99a5968a-9abe-45dc-bf2d-92e5bf380bca" CreationDate="2010-06-22T14:25:55.697" UserId="384" Text="First EVER live-production student film...Audio and Video separate? " ContentLicense="CC BY-SA 2.5" />
  <row Id="2913" PostHistoryTypeId="3" PostId="1572" RevisionGUID="99a5968a-9abe-45dc-bf2d-92e5bf380bca" CreationDate="2010-06-22T14:25:55.697" UserId="384" Text="&lt;first&gt;&lt;production&gt;&lt;recording&gt;&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2914" PostHistoryTypeId="2" PostId="1573" RevisionGUID="64654e27-bdd0-47be-813e-a4ccce833fe1" CreationDate="2010-06-22T15:07:09.430" UserId="385" Text="Hey guys. I'm relatively new to sound design and audio for film but am extremely interested. Lately I've been downloading commercials, video game trailers  and movie trailers and just trying to recreate the audio and fill in with my own creations I think are appropriate. I was wondering if anyone had any suggestions or techniques/skills you could share with me to help me get started. How can I practice to get better? Or what did you do to get to where you are now?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2915" PostHistoryTypeId="1" PostId="1573" RevisionGUID="64654e27-bdd0-47be-813e-a4ccce833fe1" CreationDate="2010-06-22T15:07:09.430" UserId="385" Text="How do I practice Sound Design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2916" PostHistoryTypeId="3" PostId="1573" RevisionGUID="64654e27-bdd0-47be-813e-a4ccce833fe1" CreationDate="2010-06-22T15:07:09.430" UserId="385" Text="&lt;sound-design&gt;&lt;practice&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2917" PostHistoryTypeId="2" PostId="1574" RevisionGUID="4596b950-93b8-4cee-9f35-ebd88e48cd32" CreationDate="2010-06-22T15:30:51.103" UserId="90" Text="96 kHz and 32-bit floating point aren't for the final mix.  They're for intermediate processing.  In the final mix you shouldn't hear a difference between 48 kHz and 96 kHz (unless you're Batman or the mix was downsampled poorly).  Likewise, 20-bit is adequate to represent all of the 120 dB dynamic range you'll ever get out of a real system (blame physics).&#xD;&#xA;&#xD;&#xA;BUT, when putting a waveform through a lot of processing in a DAW, you want lots of headroom in both frequency and amplitude, to prevent unnecessary computation noise, aliasing, etc.  Like photocopying a photocopy, the better the quality of each copy, the less degradation there will be in the final product." ContentLicense="CC BY-SA 2.5" />
  <row Id="2918" PostHistoryTypeId="2" PostId="1575" RevisionGUID="e8552452-2f15-404a-a775-b7fb2ddb0085" CreationDate="2010-06-22T15:36:21.280" UserId="62" Text="Hello Aaron,&#xD;&#xA;&#xD;&#xA;I've not done much in the way of film shoots myself, however, I have worked on numerous shorts. What camera and format is being used to shoot the film? Tape formats such as Digibeta or HDCAM offer excellent sound quality, they are used in mastering for film/television. Just because the sound is recorded onto camera doesn't mean it will be bad.&#xD;&#xA;&#xD;&#xA;The only advice I would offer is to ensure you get clean dialogue. Make sure you speak up if you have a problem with a take and get the director to reshoot something. ADR is grand but can be tricky to match production sound.&#xD;&#xA;&#xD;&#xA;Secondly make sure you record a wildtrack of the location where the film is being shot. It will be extremely useful to patch over things and fix any problems in the dialogue edit.&#xD;&#xA;&#xD;&#xA;If you have a wildtrack and nice clean dialogue then your job in post will be made much easier.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2919" PostHistoryTypeId="2" PostId="1576" RevisionGUID="49296f21-7183-44fe-92b1-7eeb455a2a33" CreationDate="2010-06-22T15:41:34.987" UserId="62" Text="My advice would be to go out there, tout your services and get as much experience as possible. I can only speak from personal experience but I learned a hell of a lot from working on short films for free when I started out. A few years of that earned me a nice CV and the opportunity for bigger and well paid projects.&#xD;&#xA;&#xD;&#xA;You could also see if any post sound facilities need any runners or assistants and learn that way. This would be preferable as there are lots of tricks and things to learn about sound than can be explained here or even working on your own.&#xD;&#xA;&#xD;&#xA;In the meantime you have the right idea re-doing sound. Perhaps you can use that as a showreel to get work as a showcase of your skills.&#xD;&#xA;&#xD;&#xA;Good luck&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="2920" PostHistoryTypeId="2" PostId="1577" RevisionGUID="4c8558f7-f896-4c03-9d2b-c81506db7dfc" CreationDate="2010-06-22T15:51:05.843" UserId="387" Text="Van Ghog picture &quot; The Scream &quot;, it's stronger one!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2921" PostHistoryTypeId="2" PostId="1578" RevisionGUID="b605261e-09de-4057-8403-03ec13380908" CreationDate="2010-06-22T16:01:58.427" UserId="250" Text="&gt;&gt; Van Ghog picture &quot; The Scream &quot;, it's stronger one!&#xD;&#xA;&#xD;&#xA;Uh, actually that's Edvard Munch:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/The_Scream&#xD;&#xA;&#xD;&#xA;--jpf" ContentLicense="CC BY-SA 2.5" />
  <row Id="2922" PostHistoryTypeId="2" PostId="1579" RevisionGUID="f4a46126-4b7e-43ab-b87c-3f0622a9ad91" CreationDate="2010-06-22T16:04:33.320" UserId="250" Text="Different kinds of cloth. My wife sews so there are always a lot of different fabrics and such around that work well.&#xD;&#xA;&#xD;&#xA;I have some old, rusty tools and boxes, suitcases, and such, too.&#xD;&#xA;&#xD;&#xA;And mouth sounds are always a source of certain kinds of sounds. Got that tips from Gary Rydstrom!&#xD;&#xA;&#xD;&#xA;--jpf&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2923" PostHistoryTypeId="2" PostId="1580" RevisionGUID="873971ec-44f9-4ad7-868f-fc1fe006983e" CreationDate="2010-06-22T16:51:15.770" UserId="219" Text="Wow wow wow! One thing shocks me horribly:&#xD;&#xA;&lt;p&gt;&#xD;&#xA;*&quot;Is it just a case of before every single take we start recording video (hitting record at exactly the same time - him on his camera, me on my DAT), and audio and shout &quot;TAKE 5&quot; and then line up the audio and video in Post production?&quot;*&lt;/p&gt;&#xD;&#xA;Don't shout, voice is not transient enough. Clap with your hands at least, if not a clapperboard, but make sure the clapperboard is on camera. In post, you'll then sync the peak (clap) in the audio file with the frame where the two hands (or sticks) hit each other. Also, whatever you use as your clapping machine, it should ideally stay closed after the clap and not rebound, otherwise there might be no frame, in your video, of the two clapping things touching. There might be a frame just before and just after (when it's not fully closed) and this makes syncing harder. If your clapping device remains closed after the contact, then you'll have a clean visible clap to sync your audio to.&#xD;&#xA;&#xD;&#xA;Second, I'm no authority in this discipline, but the 1/4 inch jack vs XLR thing shouldn't make much difference. A TRS jack offers the same balancing as an 3-pin XLR.&#xD;&#xA;&#xD;&#xA;Now booming (cause a boom should be your main mic, radio mics as a backup if you're lucky enough to have any). From the Latin booma, boomae, boomorum...&#xD;&#xA;&lt;ul&gt;&#xD;&#xA;&lt;li&gt;Ideally you'll boom from the top down rather than the bottom up. That way your mic is further away from the chest and closer to the mouth and you get less low freqs from the chest.&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Try to point your mic not at the mouth directly, but rather about 6/8 inches down on the projection axis. Give the lows enough space to get formed.&lt;/li&gt;&#xD;&#xA;&lt;li&gt;If you're shooting a CU but the scene also requires a wider shot, you don't want to get your mic any closer during the CU take than you'll be able to get it in the wider shot. Otherwise you'll create an huge change in perspective (really close vs quite far) in the audio for the same scene. You'll curse your fool self in post.&lt;/li&gt;&#xD;&#xA;&lt;/ul&gt;&#xD;&#xA;&#xD;&#xA;&lt;p&gt;I'll edit this as it comes to me! Feel free to ask questions :)&lt;/p&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2924" PostHistoryTypeId="2" PostId="1581" RevisionGUID="0192147d-c558-4925-b652-33155392eff0" CreationDate="2010-06-22T16:53:20.117" UserId="37" Text="Call me old fashioned but I believe it starts with some heavy reading. There are a few very interesting books on the subject........ Then you can approach your sonic work with a sense of direction and understanding. Making mistakes pays off better that way?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2925" PostHistoryTypeId="5" PostId="1580" RevisionGUID="488366f7-eaef-465a-97b3-e1c31d7daa01" CreationDate="2010-06-22T17:14:10.043" UserId="219" Comment="book title in italic" Text="Wow wow wow! One thing shocks me horribly:&#xD;&#xA;&lt;p&gt;&#xD;&#xA;*&quot;Is it just a case of before every single take we start recording video (hitting record at exactly the same time - him on his camera, me on my DAT), and audio and shout &quot;TAKE 5&quot; and then line up the audio and video in Post production?&quot;*&lt;/p&gt;&#xD;&#xA;Don't shout, voice is not transient enough. Clap with your hands at least, if not a clapperboard, but make sure the clapperboard is on camera. In post, you'll then sync the peak (clap) in the audio file with the frame where the two hands (or sticks) hit each other. Also, whatever you use as your clapping machine, it should ideally stay closed after the clap and not rebound, otherwise there might be no frame, in your video, of the two clapping things touching. There might be a frame just before and just after (when it's not fully closed) and this makes syncing harder. If your clapping device remains closed after the contact, then you'll have a clean visible clap to sync your audio to.&#xD;&#xA;&#xD;&#xA;Second, I'm no authority in this discipline, but the 1/4 inch jack vs XLR thing shouldn't make much difference. A TRS jack offers the same balancing as an 3-pin XLR.&#xD;&#xA;&#xD;&#xA;Now booming (cause a boom should be your main mic, radio mics as a backup if you're lucky enough to have any). From the Latin booma, boomae, boomorum...&#xD;&#xA;&lt;ul&gt;&#xD;&#xA;&lt;li&gt;Ideally you'll boom from the top down rather than the bottom up. That way your mic is further away from the chest and closer to the mouth and you get less low freqs from the chest.&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Try to point your mic not at the mouth directly, but rather about 6/8 inches down on the projection axis. Give the lows enough space to get formed.&lt;/li&gt;&#xD;&#xA;&lt;li&gt;If you're shooting a CU but the scene also requires a wider shot, you don't want to get your mic any closer during the CU take than you'll be able to get it in the wider shot. Otherwise you'll create an huge change in perspective (really close vs quite far) in the audio for the same scene. You'll curse your fool self in post.&lt;/li&gt;&#xD;&#xA;&lt;/ul&gt;&#xD;&#xA;&#xD;&#xA;&lt;p&gt;I'll edit this as it comes to me! Feel free to ask questions :)&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&lt;ul&gt;&#xD;&#xA;&lt;li&gt;I assume you'll be the only audio guy there. And if the shoot is not too long or too intense, you'll likely remember what take was what and you'll know your material when postprod time comes. But don't take any bet, try to keep track of each take using a Sound Report. A sound report tracks, in a table, each take by providing sensible info: **scene/take number**, **file name** (if appropriate), **comments** (f*or this one I'd like somebody else to take over as I've never had the chance to write anything interesting there...*)&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Regular backups could save your butt (twice a day if possible).&lt;/li&gt;&#xD;&#xA;&lt;li&gt;If you're recording in noisy environments (city traffic, air con...), do wild lines with the actors. Find a spot around where you are that's quieter (but that still have the sonic character of the actual set) and record your actors without the camera, without moving. This saves you from doing ADR, and it's already matched to the audio from the takes since it's the same recording environment.&lt;/li&gt;&#xD;&#xA;&lt;/ul&gt;&#xD;&#xA;You also might want to check out John Purcell's *Dialogue Editing for Motion Pictures*, cause all that changes from what you did before is that you'll be working with production sound this time. So document yourself properly on these, and I recommend John's book, but as I said I'm not an authority, so you might feel reassured if I say that many people do recommend it ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2927" PostHistoryTypeId="2" PostId="1583" RevisionGUID="58cb8728-d094-458f-95d1-8f7af4aeed0a" CreationDate="2010-06-22T17:35:28.940" UserId="219" Text="Practicing and learning by oneself is important, but it'd be a shame to leave it all to you. There's a hundred years of cinema in books and you want to read some of them. I'll cite some of the ones that I know of and if you have a passion for it then you won't mind reading and re-reading them :)&#xD;&#xA;&lt;ul&gt;&#xD;&#xA;&lt;li&gt;Film Sound (Elisabeth Weis)&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Sound for Picture: Film Sound through the 90's (Tom Kenny)&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Sound Design: the Expressive Power of Music, Voice and Sound Effects in Cinema (David Sonnenschein)&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Audio Postproduction for Film and Video (Jay Rose)&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Practical Art of Motion Picture Sound (David Yewdall)&lt;/li&gt;&#xD;&#xA;&lt;/ul&gt;&#xD;&#xA;&#xD;&#xA;This is only a sample! (I tried to link every book to a page but it's not working, can't really work out why...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2928" PostHistoryTypeId="5" PostId="1583" RevisionGUID="f87fe1b5-bc58-4f03-8abe-1fd03b20d17f" CreationDate="2010-06-22T17:41:38.210" UserId="219" Comment="added 40 characters in body" Text="Practicing and learning by oneself is important, but it'd be a shame to leave it all to you. There's a hundred years of cinema in books and you want to read some of them. I'll cite some of the ones that I know of and if you have a passion for it then you won't mind reading and re-reading them :)&#xD;&#xA;&lt;ul&gt;&#xD;&#xA;&lt;li&gt;Film Sound (Elisabeth Weis)&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Sound for Picture: Film Sound through the 90's (Tom Kenny)&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Sound Design: the Expressive Power of Music, Voice and Sound Effects in Cinema (David Sonnenschein)&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Audio Postproduction for Film and Video (Jay Rose)&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Practical Art of Motion Picture Sound (David Yewdall)&lt;/li&gt;&#xD;&#xA;&lt;/ul&gt;&#xD;&#xA;&#xD;&#xA;This is only a sample! (I tried to link every book to a page but it's not working, can't really work out why... I'll leave the linking to you Iain! :) )" ContentLicense="CC BY-SA 2.5" />
  <row Id="2929" PostHistoryTypeId="2" PostId="1584" RevisionGUID="93eaf921-6b8f-4e1a-bb9f-2b66b606e608" CreationDate="2010-06-22T18:04:56.400" UserId="219" Text="If it does go out of sync, I doubt it would be even noticeable. I know some devices have crap clocks but still, in two or three minutes per take, I'd say not much can happen...&#xD;&#xA;&#xD;&#xA;As for the workflow, there are several ways to start.&#xD;&#xA;1. You're lucky, you've got DigiTranslator and you can open OMF files. In this case you're golden. The audio will be synced in the picture editing station and you'll get an OMF file with the audio nicely laid out in it.&#xD;&#xA;2. You're not so lucky and won't be able to open OMF's or the picture editing station can't create OMF's. That means you need to sync audio with each take PRIOR to the start of the editing. If you don't edit the video with the production sound synced you're buried even before you start. You'll end up with the takes split into dozens of cuts and syncing using the claps won't be possible anymore, you'll have to sync to plosive sounds if you're lucky enough to have some.&#xD;&#xA;&#xD;&#xA;But again, grab John Purcell's book, it's all in there.&#xD;&#xA;&#xD;&#xA;For the rest of the workflow: the picture edit is happening with the production sound attached to each take, so the picture cut already sounds as best as it can for now. If you're not using OMF's I suggest you wait for the picture to be locked before you start editing sound.&#xD;&#xA;&#xD;&#xA;Then I guess you know about the usual structure: edit, PREMIX, mix. Don't skip the premix. Work like a pro, don't start going around stuff ;) After all, you're trying to learn (just as I am)." ContentLicense="CC BY-SA 2.5" />
  <row Id="2930" PostHistoryTypeId="2" PostId="1585" RevisionGUID="a8827752-afc6-4bb8-b587-5e0d212ee9d4" CreationDate="2010-06-22T18:25:41.210" UserId="178" Text="Some Blu-Ray titles are offered at 24/96. So far, they mainly seem to be live concert recordings.&#xD;&#xA;&#xD;&#xA;Given that major movie theaters are playing back basically mp3 quality audio, and that the film festival circuit is even worse (Sundance only supports Stereo LoRo or LtRt encoding for a phasey LCRS mix!), I have resigned myself to the fact that 48kHz is just the standard." ContentLicense="CC BY-SA 2.5" />
  <row Id="2931" PostHistoryTypeId="2" PostId="1586" RevisionGUID="0aaa7538-151e-4ea7-88e0-bd435b5d57ac" CreationDate="2010-06-22T19:54:44.667" UserId="390" Text="I think you took a step in the right direction with replacing audio and creating your own sound design for film or game trailers. In fact, I did the same thing for a video game that I'll be posting for feedback here shortly.   Ultimately, you learn by doing and getting feedback from people you trust when possible." ContentLicense="CC BY-SA 2.5" />
  <row Id="2932" PostHistoryTypeId="2" PostId="1587" RevisionGUID="a141aee6-5103-4b00-99a7-ae24e403d547" CreationDate="2010-06-22T20:04:22.227" UserId="390" Text="Sound Reports were mentioned earlier. I second that. In Post production, you are going to rely, more than ever, on proper labelling of takes. Make sure that the name you give a scene on the clapboard is the same name you give the audio file. Otherwise, in post, your editor is going to have a hard time matching sound to picture. Worst case scenario, you'll be the guy digging through your audiofiles to find the ones that match the edited scene. That should not be your job. Your video editor should be able to quickly find the appropriate audio for the scene based on the file naming convention you have setup before the shoot." ContentLicense="CC BY-SA 2.5" />
  <row Id="2933" PostHistoryTypeId="2" PostId="1588" RevisionGUID="9372c252-d3d9-49e3-b684-e377246f1ac3" CreationDate="2010-06-22T20:20:30.743" UserId="390" Text="Last week, I spent several days working on replacing the sound for the recent F.E.A.R 3 trailer featured at E3 this year. My goal is to create a compelling soundscape that draws you in and gets you excited about the game. So far, I've gotten some decent responses but very few helpful tips on how I can improve it. &#xD;&#xA;&#xD;&#xA;I did however receive a decent suggestion to consider more clothing foley and anything else to liven up the trailer and make it breathless.  After listening to the video on a pair of great monitors, I found that I'm not quite there yet.  If you guys have any suggestions, I'd be most appreciative.&#xD;&#xA;&#xD;&#xA;&lt;http://Hubertcampbell.Blogspot.com&gt;&#xD;&#xA;&#xD;&#xA;[youtube]Pw2jnuDC7yw[/youtube] " ContentLicense="CC BY-SA 2.5" />
  <row Id="2934" PostHistoryTypeId="1" PostId="1588" RevisionGUID="9372c252-d3d9-49e3-b684-e377246f1ac3" CreationDate="2010-06-22T20:20:30.743" UserId="390" Text="F.E.A.R. 3 Sound Replacement Project - Feedback, please." ContentLicense="CC BY-SA 2.5" />
  <row Id="2935" PostHistoryTypeId="3" PostId="1588" RevisionGUID="9372c252-d3d9-49e3-b684-e377246f1ac3" CreationDate="2010-06-22T20:20:30.743" UserId="390" Text="&lt;video-games&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2936" PostHistoryTypeId="2" PostId="1589" RevisionGUID="b8d7c669-19ca-477d-8abe-e6fa0dbaf095" CreationDate="2010-06-22T22:32:15.960" UserId="391" Text="Cheers guys, I had to Google OMF's as I haven't worked with those.&#xD;&#xA;&#xD;&#xA;Before I have uploaded a final clip into Pro Tools and just added Audio tracks to do the project and then exported it as a Quicktime film (to hand in and upload to my site).&#xD;&#xA;&#xD;&#xA;Yes I see what you mean about scenes comprising of several cuts and thus me losing track of all the audio takes needed (as I might need small sections from each take).&#xD;&#xA;&#xD;&#xA;The initial editing of the visual aspect of the film will be done in Final Cut. I'm thinking that once my video editor imports all the video takes we've meed. . .I will import ALL of the audio takes in running alongside the video (so we'll have all the unedited footage audio and video synced and ready to edit). This way I can let him edit the entire film while always ensuring the audio is edited at exactly the same time? Does this sound like a reasonable approach? Then once the film is edited and we have the final film edit + dialogue. . .I can import that movie into Pro Tools, put ambient sound (that i'll have recorded in the scene space) over everything that isn't dialogue and then put in all the sound design of footsteps and all the other things that aren't related to audio into the scene. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;This is genuinely frightening, lol. ALL of my stuff has involved working on a final clip with a clear canvas without having to worry about the film editing process at all! :D (I put two little demo's on my website if you want to check it out / criticize me! :D). I think it's going to be a challenge to try and take out all the sounds I want to add via Sound Design (say in a scene an actor talks but a door opens as he's talking - it'll be difficult to decide whether to keep that door sound or try and remove and totally redo it. . .as you'll still hear the ORIGINAL door noise as it'll be present on the dialogue track). Scarey - but you have to put yourself out there to get experience so I'm just going for it! I'm going to check out the books given also! Thanks for the answers so far." ContentLicense="CC BY-SA 2.5" />
  <row Id="2939" PostHistoryTypeId="2" PostId="1591" RevisionGUID="808ef1b9-ebe9-4b71-a7b3-f326e4dc04f3" CreationDate="2010-06-22T23:03:18.340" UserId="315" Text="Good advice so far. I'd add:&#xD;&#xA;&#xD;&#xA;1) Find a film school and volunteer your services to up and coming filmmakers. Their films may not be as cool or interesting to design as the latest Hollywood Blockbuster or video game trailer, but you'll be working on something that will go out in the world with your name on it (yes this can be a bad thing too). You'll learn a ton about dialog editing as you clean up their horrible production sound, a lot about what type of effects cut nicely over said bad production sound, and you'll hone your mixing chops. Plus that filmmaker might (I stress might) end up being the next Coen brother/whatever director you admire. I learned a ton by doing this repeatedly...it was painful at times but worth it. Besides, great sound designers must learn how to collaborate.&#xD;&#xA;&#xD;&#xA;2) Field record. Most (if not all) sound designers I admire have worked over the years building a custom library of both interesting and mundane recordings. Build your library and a unique voice, and practice effects cutting/manipulation by mastering your recordings.&#xD;&#xA;&#xD;&#xA;3) Train your ears. Listen closely to the mixes you admire. Ask yourself: How are things panned? How are dynamics used? How does the sound design work with the music? How does the soundtrack help the storytelling?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2941" PostHistoryTypeId="2" PostId="1593" RevisionGUID="32fd2831-e5cc-456d-8b2b-d39286562bab" CreationDate="2010-06-23T00:55:35.273" UserId="390" Text="Your a brave man, Aaron. Fortunately, I think location audio requires a good set of balls anyway especially when you need to tell the director that the awesome scene he just filmed was ruined by the garbage truck that just pulled up down the down the block. So don't get too worried. You're saving yourself a lot of headaches just by thinking of these issues ahead of time.&#xD;&#xA;&#xD;&#xA;Since you have just one Mic for the shoot, do you have a wingman? Someone who is also familiar with audio that can operate the boom while you watch levels on your mixer? You can do it solo, of course. But it helps to bang these issues out with someone of equal or, perhaps, lesser skill.  Be mindful of how far you need to be from the actors to get consistently good audio. If you're behind the camera and the actor(s) are starting their dialogue as they walk into frame 15-20 ft away, then you're going to get more of the reverberation from the room before you get their direct voices. Many new filmmakers do not appreciate how sound is captured so be prepared if you get a couple quizzical looks as you figure out a way to manuever the your shotgun to the actors without getting into the shot.&#xD;&#xA;&#xD;&#xA;OH and don't leave anything to post! Try to capture all the audio as best as you can during the production. Don't leave anything to ADR. ADR should be a decision that's made in Post not during production (ideally).  &#xD;&#xA;&#xD;&#xA;Good luck on your shoot man. I wanna know how it goes. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2942" PostHistoryTypeId="2" PostId="1594" RevisionGUID="b540948d-6b64-4940-a787-577eb223bd2f" CreationDate="2010-06-23T00:57:30.370" UserId="390" Text="Freesound.org is a good site. You should check em out. They may have what you're looking for." ContentLicense="CC BY-SA 2.5" />
  <row Id="2943" PostHistoryTypeId="2" PostId="1595" RevisionGUID="9641f636-dae8-42cc-8588-f463336ff054" CreationDate="2010-06-23T01:06:06.267" UserId="253" Text="Hi Aaron,&#xD;&#xA;I think what you mentioned above seems a little more complicated than it needs to be.&#xD;&#xA;&#xD;&#xA;Do you have access to a small portable mixer? I think recording sound straight into camera would save you many headaches. Don't worry about quality, as long as you're going into camera via xlr (which an HD cam should have), the quality will be fine. And you'll save time synching everything in post (which is actually a picture editor/editor assistant's job btw).&#xD;&#xA;&#xD;&#xA;On the offchance you can't record into the camera, you can fix things in FCP. Once you've put your audio in sync with the video clip, delete the camera audio and link your audio to the vision. I'm not sure about the exact command, but you can make it so your audio will move with the vision.&#xD;&#xA;&#xD;&#xA;One more thing; you probably already have some kind of relationship with the director, try and get on the good side of the 1st AD (or equivalent) as well. They're the ones who you need to yell at people when they make noise during your 30 sec of room tone!&#xD;&#xA;&#xD;&#xA;I was in your shoes a few years ago, go for it! Film shoots can be long and gruelling, and sound can be rather downtrodden, but it's an important learning experience!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2944" PostHistoryTypeId="5" PostId="1595" RevisionGUID="876f57bf-919f-4e46-b71e-211f345c6a9e" CreationDate="2010-06-23T01:13:10.993" UserId="253" Comment="added 53 characters in body" Text="Hi Aaron,&#xD;&#xA;I think what you mentioned above seems a little more complicated than it needs to be.&#xD;&#xA;&#xD;&#xA;Do you have access to a small portable mixer? I think recording sound straight into camera would save you many headaches. Don't worry about quality, as long as you're going into camera via xlr (which an HD cam should have), the quality will be fine (just make sure the sound is going into the camera!). And you'll save time synching everything in post (which is actually a picture editor/editor assistant's job btw).&#xD;&#xA;&#xD;&#xA;On the offchance you can't record into the camera, you can fix things in FCP. Once you've put your audio in sync with the video clip, delete the camera audio and link your audio to the vision. I'm not sure about the exact command, but you can make it so your audio will move with the vision.&#xD;&#xA;&#xD;&#xA;One more thing; you probably already have some kind of relationship with the director, try and get on the good side of the 1st AD (or equivalent) as well. They're the ones who you need to yell at people when they make noise during your 30 sec of room tone!&#xD;&#xA;&#xD;&#xA;I was in your shoes a few years ago, go for it! Film shoots can be long and gruelling, and sound can be rather downtrodden, but it's an important learning experience!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2945" PostHistoryTypeId="2" PostId="1596" RevisionGUID="e88f365f-e746-45d8-9073-a448f8ea982f" CreationDate="2010-06-23T01:41:31.717" UserId="390" Text="What brand of camera is it? If it's something like a Panasonix HVX, then you could send the sound from the mic to the camera using the XLR cable especially if you don't have a mixer anyway. You need to do a practice run long before the shoot starts.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2947" PostHistoryTypeId="2" PostId="1598" RevisionGUID="c162f9ef-23e7-4b82-a109-79b5298f29a9" CreationDate="2010-06-23T06:01:46.887" UserId="315" Text="There are very few walla only libraries out there other than the Nightengale Voice Box series from Sound Ideas. You'll find walla tracks in general libraries (like the HE Premiere Edition and Sound Ideas 6000 etc.) which are useful if you're looking for a general bed, but they have been used to death and often sound really canned. &#xD;&#xA;&#xD;&#xA;Generally most films hire a loop group (usually 10-12 people, mixed gender) to record walla. In LA they're union, contracted by an ADR group leader, and  they're usually quick on their feet and good at improvising for whatever situation you need (I.E. if you need coffee house walla, they'll break out into intellectual conversations about lattes etc..) The place where I used to work did a film set in Saudi Arabia, and they ended up doing a group with Arabic speakers which sounded great. Of course, if you're working on more of a budget, you can also round up some friends who are willing to give it a go for a beer or two. A good loop group is like a great foley artist, they'll bring some real life to your project.&#xD;&#xA;&#xD;&#xA;I also suggest recording your own with a pocket recorder or a zepplin in a duffel bag. Much more fun than pulling from a library anyway. The pocket recorder works great in restaurants, malls etc., because they don't stand out too much in this world of pocket gadgets. After doing this for a awhile, you'll find that you become skilled at remembering what public places don't play music (which is often hard to avoid these days). When you master your recordings, just make sure you cut out distinctive/specific voices." ContentLicense="CC BY-SA 2.5" />
  <row Id="2948" PostHistoryTypeId="2" PostId="1599" RevisionGUID="d1605d84-3cbe-4723-8123-1bd4505c1cf8" CreationDate="2010-06-23T07:37:06.280" UserDisplayName="user49" Text="&quot;I'm a total stickler when it comes to quality.&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So.....&#xD;&#xA;&#xD;&#xA;you must have noticed the X Curve in every screening you have ever been to then?&#xD;&#xA;&#xD;&#xA;and if thats such a worry do you also notice the sync difference between the front row and the back row in a theatre?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2949" PostHistoryTypeId="2" PostId="1600" RevisionGUID="6de7ad1a-a362-49a7-aac1-d2142e8f669c" CreationDate="2010-06-23T08:39:09.767" UserId="2" Text="Very nice piece of design. Well done. I do agree with pretty much everything Ryan says. They are really good tips. &#xD;&#xA;&#xD;&#xA;I would definitively make space for some of the more &quot;real&quot; or onscreen sounds and concentrate on them. Your atmospheric sounds are awesome but as they are throughout, they tend to drown the mix a lot. Your style works super well for many moments, but for the design to have impact, it needs to breath. **Contrast is the key!**&#xD;&#xA;&#xD;&#xA;Even in a short trailer you have the protagonists and antagonists, and your design should make that clear. **Create conflict.** You should really try find a way to build up moments, but the build up works best if it has relative calm before and after.  &#xD;&#xA;&#xD;&#xA;Just my quick thoughts. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2950" PostHistoryTypeId="2" PostId="1601" RevisionGUID="410c4c09-1b2d-4736-badf-622752246afe" CreationDate="2010-06-23T10:09:40.847" UserId="219" Text="I'll just say a word on syncing when you're recording dual system. For a professional film shoot, there's a step at the end of each day called **syncing dailies**. The dailies are all the takes from the day.&#xD;&#xA;&#xD;&#xA;I think it's usually the production assistant (or the 1st Assistant Director maybe?) who's in charge of taking each video take, finding the audio take that goes with it (fortunately, as a production mixer, you created nice sound reports that show the scene/shot/take number and relate it to the file name in your recorder) and syncing up the two.&#xD;&#xA;&#xD;&#xA;Once the production process is over and postprod is ready to start, the picture editor will have solid picture with good audio. He/she can then take it away. When he/she's finished, he'll create a LOW RES render for you as well as an OMF.&#xD;&#xA;&#xD;&#xA;The advantage of the OMF is that when you import it into Pro Tools, you end up with all the discrete takes nicely laid out across several tracks and you can extend the handles of your regions to reveal the whole take if you want.&#xD;&#xA;&#xD;&#xA;If you were to work with a simple rendered audio then the only audio you get is the one that was rendered. You get no handles to play with (which means no J-cut for example) and no flexibility. The trick here is to get all the raw audio takes into Pro Tools and start syncing up manually, using the rendered audio as a guide track. To do this, you can invert the phase of the guide track, slide your new take along and when you hear nothing (phases cancel each other), you're synced to the guide track!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2951" PostHistoryTypeId="2" PostId="1602" RevisionGUID="73868d15-944a-4aa1-b9d4-acf006bb6c8c" CreationDate="2010-06-23T15:10:34.523" UserId="392" Text="i just purchased (an amazing deal, pay what you want for...) scanned synth by humanoid systems.  i'm curious about scanned synthesis...  i've read the wikipedia page on it, but i'm wondering if someone could explain it a bit more clearly. &#xD;&#xA;&#xD;&#xA;cheers!&#xD;&#xA;eric" ContentLicense="CC BY-SA 2.5" />
  <row Id="2952" PostHistoryTypeId="1" PostId="1602" RevisionGUID="73868d15-944a-4aa1-b9d4-acf006bb6c8c" CreationDate="2010-06-23T15:10:34.523" UserId="392" Text="Can you please explain &quot;Scanned Synthesis&quot;?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2953" PostHistoryTypeId="3" PostId="1602" RevisionGUID="73868d15-944a-4aa1-b9d4-acf006bb6c8c" CreationDate="2010-06-23T15:10:34.523" UserId="392" Text="&lt;scannedsynthesis&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2954" PostHistoryTypeId="6" PostId="1602" RevisionGUID="1c8e0326-1aed-42a4-b177-9dcd0d4a92b3" CreationDate="2010-06-23T16:17:45.467" UserId="182" Comment="edited tags" Text="&lt;synthesis&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2955" PostHistoryTypeId="2" PostId="1603" RevisionGUID="bb4c3e0e-9407-4f6d-b9e4-c67e8bc4d788" CreationDate="2010-06-23T16:36:24.007" UserId="393" Text="I need to get around to making my demo reel, but I don't have a lot of stuff to put in it -- a couple low-budget video games and one short film.  Is it acceptable to put redubs of stock and public domain footage into a demo reel?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2956" PostHistoryTypeId="1" PostId="1603" RevisionGUID="bb4c3e0e-9407-4f6d-b9e4-c67e8bc4d788" CreationDate="2010-06-23T16:36:24.007" UserId="393" Text="Stock Footage and Public Domain Redubs in a Demo Reel" ContentLicense="CC BY-SA 2.5" />
  <row Id="2957" PostHistoryTypeId="3" PostId="1603" RevisionGUID="bb4c3e0e-9407-4f6d-b9e4-c67e8bc4d788" CreationDate="2010-06-23T16:36:24.007" UserId="393" Text="&lt;demo&gt;&lt;reel&gt;&lt;demo-reel&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2958" PostHistoryTypeId="2" PostId="1604" RevisionGUID="543def2e-74e5-4845-a905-2a9b1bfa802f" CreationDate="2010-06-23T16:48:20.820" UserId="219" Text="I can't cite any sources, but reusing copyrighted stuff for personal use is not illegal, as long as you don't do commercial use of it. Now, a showreel can be seen as a bunch of things you've been exercising at, and you're not advertising it... I'd say &quot;cite your sources and get on with it!&quot;. If you hear from anybody, well, just remove your stuff but I'm sure that by this time you'll have had the time to build yourself a proper CV!&#xD;&#xA;&#xD;&#xA;Sometimes I wish issues were dealt by something more human than computerised people!&#xD;&#xA;&#xD;&#xA;&quot;Computer says nooo...&quot; - *Little Britain* :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2959" PostHistoryTypeId="2" PostId="1605" RevisionGUID="ee5b3c64-906a-40c1-8382-36d145f434b3" CreationDate="2010-06-23T16:48:58.090" UserId="390" Text="I've certainly seen my classmates do that for their reel. Someone used footage of the bustling city of San Fransisco in 1912. Another used the footage of atomic explosions out in the Nevada desert.&#xD;&#xA;&#xD;&#xA;I've also seen sound replacement demos of the movie, Aliens, somewhere on the interwebs. Plus, I'm doing one for a F.E.A.R. 3 game trailer. So, as it was mentioned, you could probably consider movies that are not in public domain as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="2960" PostHistoryTypeId="2" PostId="1606" RevisionGUID="6a92b202-f773-4bf3-b411-83b494978c1e" CreationDate="2010-06-23T16:49:21.000" UserId="393" Text="Being fresh out the gates, my sound library isn't very large, and most of it has a Creative Commons Attribution license.  Also, my primary resource for sound effects -- freesound.org -- has the same licensing on most of the community's sounds.&#xD;&#xA;&#xD;&#xA;Now, I know using those sound effects outright isn't sound design, and I'd never slap another person's sound effect in my project without manipulating it first, but is it acceptable to use sound effects with an Attribution license in a demo reel?&#xD;&#xA;&#xD;&#xA;And, if I do, how would that effect my appearance and reputation as a sound designer?  Would I be taken less seriously because I can't afford SFX libraries or mics to make my own?&#xD;&#xA;&#xD;&#xA;Finally, if I do use those sound effects, is it kosher to have a link at the end of the reel (like &quot;For Attribution credits, go to mysite.com/democredit&quot;), to keep it short and sweet, or should I fully list all the credits at the end?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2961" PostHistoryTypeId="1" PostId="1606" RevisionGUID="6a92b202-f773-4bf3-b411-83b494978c1e" CreationDate="2010-06-23T16:49:21.000" UserId="393" Text="Attribution-License Sounds in a Demo Reel" ContentLicense="CC BY-SA 2.5" />
  <row Id="2962" PostHistoryTypeId="3" PostId="1606" RevisionGUID="6a92b202-f773-4bf3-b411-83b494978c1e" CreationDate="2010-06-23T16:49:21.000" UserId="393" Text="&lt;demo-reel&gt;&lt;creative-commons&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2963" PostHistoryTypeId="2" PostId="1607" RevisionGUID="a62ec95f-6af8-4bc6-8ec0-172db2c57f99" CreationDate="2010-06-23T18:13:46.730" UserId="219" Text="Always reference your sources, on some of my projects I haven't and I don't sleep well since then :( I think it's fine to reuse the sound effects as they come (if they are clean enough of course) and I would feel thankful if one of my sound effects was used as it is in a production.&#xD;&#xA;&#xD;&#xA;Again (we're talking demoreel dos and don'ts [here][1]), I hope very few people care what material we're using for our demoreels because it's all about showing what you can do and it's not commercial.&#xD;&#xA;&#xD;&#xA;I reckon a sound designer (or any worker for that matter) will be taken seriously as soon as he/she does whatever it takes to get his/her stuff done. When you're building your demoreel (and I'm at that stage too) this goes by using the sound effects that you can legally get. Whether you recorded it or somebody offered it to you, you use it because it fits best your needs. I believe licensing only becomes a matter when you start doing commercial and public work and then you'll start using your studio's library!&#xD;&#xA;&#xD;&#xA;Just reference people that made your work possible :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/1603/stock-footage-and-public-domain-redubs-in-a-demo-reel" ContentLicense="CC BY-SA 2.5" />
  <row Id="2964" PostHistoryTypeId="5" PostId="1604" RevisionGUID="3c0229d8-a483-4a5f-8aa9-7952b00a5103" CreationDate="2010-06-23T18:15:29.533" UserId="219" Comment="added 10 characters in body" Text="I can't cite any sources, but I believe reusing copyrighted stuff for personal use is not illegal, as long as you don't do commercial use of it. Now, a showreel can be seen as a bunch of things you've been exercising at, and you're not advertising it... I'd say &quot;cite your sources and get on with it!&quot;. If you hear from anybody, well, just remove your stuff but I'm sure that by this time you'll have had the time to build yourself a proper CV!&#xD;&#xA;&#xD;&#xA;Sometimes I wish issues were dealt by something more human than computerised people!&#xD;&#xA;&#xD;&#xA;&quot;Computer says nooo...&quot; - *Little Britain* :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="2965" PostHistoryTypeId="2" PostId="1608" RevisionGUID="a31a8f07-1f78-4e4f-b81b-a63da4da9696" CreationDate="2010-06-23T18:56:43.783" UserId="62" Text="I wouldn't worry about buying a library straight away. It will take longer but recording sounds will teach you a lot and they are owned by you alone.&#xD;&#xA;&#xD;&#xA;I found that as long as I delivered the goods on time and to a good standard everyone was happy.&#xD;&#xA;&#xD;&#xA;There are ways to get those tricky sounds though that you may be able to afford. Several people on here have setup mini-libraries, or boutique libraries, for sale at a very affordable price ([Chuck][1] and [Tim][2] have created some great libraries! Also go to [Jim Stout][3]'s page where he's got very small librarys for $5.&#xD;&#xA;&#xD;&#xA;Another option you have is to buy individual sounds when you can't get them any other way.  [Soundsnap][4] is a site I've been using for years now that has built up a lot of obscure stuff. I use is most when I can't find the sound I am looking for in my [work][5]'s extensive library.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;Ian&#xD;&#xA;&#xD;&#xA;  [1]: http://chuckrussomfx.com&#xD;&#xA;  [2]: http://hissandaroar.com&#xD;&#xA;  [3]: http://stoutsound.com/cat.php?cat=118&amp;t=3&#xD;&#xA;  [4]: http://www.soundsnap.com&#xD;&#xA;  [5]: http://www.telegael.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="2966" PostHistoryTypeId="2" PostId="1609" RevisionGUID="d4f725e8-14aa-47e9-a33c-df8403097a5c" CreationDate="2010-06-23T19:58:39.010" UserId="393" Text="Rusty hinges... the longer it's sat in the sun, the better.&#xD;&#xA;&#xD;&#xA;But maybe I don't love the prop so much as the fun I get destroying things to scavenge the hinges." ContentLicense="CC BY-SA 2.5" />
  <row Id="2967" PostHistoryTypeId="2" PostId="1610" RevisionGUID="cdb4d06d-de2f-4c0f-8e2c-a237170d02ad" CreationDate="2010-06-23T20:10:45.477" UserId="393" Text="I honestly hope so.&#xD;&#xA;&#xD;&#xA;[Bobby Owsinski][1] said that 7.1 was never going to come, or at least never come to complete fruition, only a few months ago (and it's totally true to the home-media market).  If 3D can move sound forward to a more immersive standard, I'm all for it.&#xD;&#xA;&#xD;&#xA;Personally, I'd prefer 8.1, but since I've never mixed in anything but stereo, it's just a listening preference.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://bobbyowsinski.blogspot.com/2010/03/71-revolution-that-never-came.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="2968" PostHistoryTypeId="2" PostId="1611" RevisionGUID="56d70e0b-13c2-4ade-af7c-a4b2fa165dc4" CreationDate="2010-06-23T20:20:30.557" UserId="393" Text="Silent Hill, the first one. (Okay, it's not a movie, but hear me out)&#xD;&#xA;&#xD;&#xA;In the elementary school, there are ghost children that don't hurt you, but they made your radio go off.  They also walk through walls and objects, and follow you.  I probably wasted more time avoiding those completely harmless ghosts than ANY other monster in the game, all because they set off my radio, and I couldn't seem to kill them.&#xD;&#xA;&#xD;&#xA;It wasn't until my second play through that I realized they couldn't hurt me." ContentLicense="CC BY-SA 2.5" />
  <row Id="2969" PostHistoryTypeId="2" PostId="1612" RevisionGUID="bd2a3ac2-03df-4a54-bd28-6ff3908fbeaa" CreationDate="2010-06-23T20:37:00.307" UserId="62" Text="Well I just had a browse through my DVD collection and realised I am clearly not a fan of the genre. May just have to start a new thread for sci-fi and/or horror.&#xD;&#xA;&#xD;&#xA;That said I personally thing Panic Room is a great film with some truly excellent sound from Ren Klyce. I've been a fan of Fincher and Klyce ever since I saw Se7en. A pair of filmmakers made for each other.&#xD;&#xA;&#xD;&#xA;The atmosphere in the house, along with the best &quot;something happening in another room&quot; sound. Must watch the sledgehammer scene again, a wonderful thump.&#xD;&#xA;&#xD;&#xA;Another DVD worth getting as there's a really interesting doc on Klyce's work. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2970" PostHistoryTypeId="2" PostId="1613" RevisionGUID="832394ed-71bd-4f37-bbfb-59c98049d737" CreationDate="2010-06-23T23:22:37.067" UserId="331" Text="Panic Room is really good.  &#xD;&#xA;Its not technically a suspense thriller or the BEST moment but the lightsaber fight between Luke and Darth Vadar always kinda chills me - just the ominous ambience, vadar breaths and constant tone of the sabars followed by a quick, sharp intense sabar clash and back again - you can just feel the family tension!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="2971" PostHistoryTypeId="2" PostId="1614" RevisionGUID="7d060de0-e4b5-4637-ab58-7fc29a03911a" CreationDate="2010-06-24T00:01:23.093" UserId="385" Text="Hey guys. I just asked a question the other day (maybe yesterday) about how I can practice sound design. I got some really good feedback and saw a few people that had posted their videos to be reviewed on here so I thought I would do the same. &#xD;&#xA;&#xD;&#xA;This is a game called The Secret World that I found on youtube. &#xD;&#xA;&#xD;&#xA;Let me know what you think I could do better or focus on more. After listening to it in the studio I noticed the cry of the baby could have come down a bit and the headphones could been a bit more 'muffled.' &#xD;&#xA;&#xD;&#xA;[vimeo]12796980[/vimeo]&#xD;&#xA;&#xD;&#xA;Give me your thoughts.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;JM" ContentLicense="CC BY-SA 2.5" />
  <row Id="2972" PostHistoryTypeId="1" PostId="1614" RevisionGUID="7d060de0-e4b5-4637-ab58-7fc29a03911a" CreationDate="2010-06-24T00:01:23.093" UserId="385" Text="Video Game Trailer Critique?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2973" PostHistoryTypeId="3" PostId="1614" RevisionGUID="7d060de0-e4b5-4637-ab58-7fc29a03911a" CreationDate="2010-06-24T00:01:23.093" UserId="385" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;video-games&gt;&lt;feedback&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2974" PostHistoryTypeId="2" PostId="1615" RevisionGUID="db829597-d34a-4fd7-b565-3f21fc5d67ab" CreationDate="2010-06-24T00:19:11.337" UserId="219" Text="A tiny bit of Foley would certainly add character to the fight but otherwise it is GOOD. That's what I thought when I watched it :)&#xD;&#xA;&#xD;&#xA;Can I ask how you get access to a studio? Are you already a sound guy? Are you training in some school? I'm looking for this kind of opportunities myself..." ContentLicense="CC BY-SA 2.5" />
  <row Id="2975" PostHistoryTypeId="2" PostId="1616" RevisionGUID="ee82a1e3-56df-424e-a8d9-eed2c120ca71" CreationDate="2010-06-24T06:03:32.100" UserId="394" Text="From what I've learnt so far:&#xD;&#xA;&#xD;&#xA;1) imitate&#xD;&#xA;2) assimilate&#xD;&#xA;3) innovate&#xD;&#xA;&#xD;&#xA;Spend some years in the first step." ContentLicense="CC BY-SA 2.5" />
  <row Id="2976" PostHistoryTypeId="2" PostId="1617" RevisionGUID="ef75f58f-0330-4a5a-aae0-4b6f100fbbf0" CreationDate="2010-06-24T06:14:57.660" UserId="394" Text="Haven't heard the sound of it yet, looks interesting. Thanks for sharing...&#xD;&#xA;&#xD;&#xA;Picture that comes to my mind is that there is an independent dynamic system to be used as the &quot;material&quot; for the sound synthesis, and the &quot;movement&quot; of this dynamic system is determined by some wave function...think of the surface of waving water...sample the &quot;shape&quot; of this surface at regular intervals to give shape to the generated sound according to some other function that determine the pitch and the timbre...&#xD;&#xA;&#xD;&#xA;So it's much like turning something into something else...would like to see this kind of system work with real-world objects such as waves, wind, or some other dynamic surface...or even real-time data." ContentLicense="CC BY-SA 2.5" />
  <row Id="2977" PostHistoryTypeId="5" PostId="1602" RevisionGUID="70d3af8c-8b85-4183-a835-4cac982f17c6" CreationDate="2010-06-24T06:36:24.670" UserDisplayName="user80" Comment="Added image and weblinks" Text="I just purchased (an amazing deal, pay what you want for) [Scanned Synth][1] by Humanoid Systems.  I'm curious about scanned synthesis.  I've read the [Wikipedia page][2] on it, but I'm wondering if someone could explain it a bit more clearly. &#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;&#xD;&#xA;Eric&#xD;&#xA;&#xD;&#xA;[![Humanoid Sounds][3]][2]&#xD;&#xA;&#xD;&#xA;[1]: http://www.humanoidsounds.co.uk/&#xD;&#xA;[2]: http://en.wikipedia.org/wiki/Scanned_synthesis&#xD;&#xA;[3]: http://www.humanoidsounds.co.uk/scanned_synth_pro.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2978" PostHistoryTypeId="6" PostId="1602" RevisionGUID="70d3af8c-8b85-4183-a835-4cac982f17c6" CreationDate="2010-06-24T06:36:24.670" UserDisplayName="user80" Comment="Added image and weblinks" Text="&lt;synthesis&gt;&lt;theory&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2979" PostHistoryTypeId="5" PostId="1617" RevisionGUID="90602c3c-aa57-4993-afa8-5a2ba9b8fb76" CreationDate="2010-06-24T06:52:46.353" UserId="394" Comment="deleted 4 characters in body" Text="Haven't heard the sound of it yet, looks interesting. Thanks for sharing...&#xD;&#xA;&#xD;&#xA;Picture that comes to my mind is that there is an independent dynamic system to be used as the &quot;material&quot; for the sound synthesis, and the &quot;movement&quot; of this dynamic system is determined by some wave function...think of the surface of waving water...sample the &quot;shape&quot; of this surface at regular intervals to give shape to the generated sound according to some other function that determines the pitch and the timbre...&#xD;&#xA;&#xD;&#xA;So it's just turning something into something else...would like to see this kind of system work with real-world objects such as waves, wind, or some other dynamic surface...or even real-time data." ContentLicense="CC BY-SA 2.5" />
  <row Id="2980" PostHistoryTypeId="2" PostId="1618" RevisionGUID="5f4a29c4-7b3b-401b-9b7e-f2c000c4e25b" CreationDate="2010-06-24T06:59:51.003" UserId="390" Text="First... You found an AWESOME trailer. Great find, man. I'll share the same advice I received for my sound design project. I think you need a bigger contrast between the normal everyday world and the frightening event that occurs. The sound for when the monster appears doesnt necessarily have to be loud for the sake of being loud but it should be jarring nonetheless. I was more affected by the visual than by the sound in this take.  Perhaps, there's some wicked breathing going on or an uncomfortable whine that occurs when we see the bad guy suddenly appear. When she does her magic thing, that should be big as well.&#xD;&#xA;&#xD;&#xA;In order to setup the contrast, I think your sound design for the normal everyday section at the start of the trailer could benefit from more layers of sound design. Something that really lulls the viewer into thinking that this is just a simple, normal, everyday world. Good job with the music on the headphones. I think you should definitely build on this trailer! I would definitely like to see your progress on it." ContentLicense="CC BY-SA 2.5" />
  <row Id="2981" PostHistoryTypeId="2" PostId="1619" RevisionGUID="1c8d5fdf-508d-4e40-a504-5d6edb70be75" CreationDate="2010-06-24T07:41:10.560" UserId="2" Text="This is how I picture it, and I may be wrong. &#xD;&#xA;&#xD;&#xA;Imagine a piece of string attached from both sides, now add an LFO to make that string oscillate. The LFO doesn't have to be a simple wave (sine, square, saw, etc.) it has physics principles that allow it to have a user-defined life for a certain amount of time. Same as a guitar string, but with unlimited oscillating options. So, you can make the string be plucked at the center, and take X amount of time to die out, or that the string is very tight but a big plucking force is applied thus dying out quickly with a fast attack. Maybe this could be compared to a physics engine for string? And have a sort of ADSR type evolution?&#xD;&#xA;&#xD;&#xA;The scanning part, I think is how the pitch is controlled. So if the above gets scanned periodically at 440 times per second, then the frequency will be 440Hz. &#xD;&#xA;&#xD;&#xA;Now if you have control over the shape of the oscillation (timbre), and have a separate control over the speed of the scanning (pitch). You have a system that allows you to control the timbre and the pitch separately. &#xD;&#xA;&#xD;&#xA;Basically, you can use this to build a string vibrating physics model. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2982" PostHistoryTypeId="2" PostId="1620" RevisionGUID="8c3f1e35-ec6d-41aa-ab25-61c42a894530" CreationDate="2010-06-24T08:11:34.163" UserId="385" Text="I liked the way Andrew put it. I don't quite understand it but I found this [article][1] from cSounds to be a little more helpful than the wiki page. It also includes samples which is cool.&#xD;&#xA;&#xD;&#xA;Definitely something interesting worth looking into though. &#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.csounds.com/scanned/" ContentLicense="CC BY-SA 2.5" />
  <row Id="2983" PostHistoryTypeId="2" PostId="1621" RevisionGUID="575ea8c6-2939-433e-b011-5aa158d9321c" CreationDate="2010-06-24T08:40:38.833" UserId="2" Text="It works very well. Nicely done! One thing though (added to the other feedback), after the monster gets blasted out the window, which sounds awesome, I would emphasize the debris. I would also work on the introduction of the monster sound, maybe a nice deep growl and breath. I'm listening on really bad headphones and in a coffee shop, so as a mix, the beginning is very soft in relation to the rest, which is very loud. Have you tried adding a little compression on the master?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="2985" PostHistoryTypeId="2" PostId="1623" RevisionGUID="51b7bc38-058b-470f-a827-171b339e2420" CreationDate="2010-06-24T12:52:08.897" UserId="62" Text="What sound annoys you the most?&#xD;&#xA;&#xD;&#xA;I'm not a football fan at all and ever since walking through Galway last weekend and hearing that bloody annoying drone coming from every pub I've been enjoying the hilarity of the likes of Waves releasing ways to get rid of it. Sadly it's all gone down hill with this new button on YouTube. AAAAAAHHHHHHHHH!!!!!!!!!!&#xD;&#xA;&#xD;&#xA;I did suggest we got one at work to put on the match scenes of a football animation we're doing. Don't think my manager was impressed.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="2986" PostHistoryTypeId="1" PostId="1623" RevisionGUID="51b7bc38-058b-470f-a827-171b339e2420" CreationDate="2010-06-24T12:52:08.897" UserId="62" Text="most annoying sound ever" ContentLicense="CC BY-SA 2.5" />
  <row Id="2987" PostHistoryTypeId="3" PostId="1623" RevisionGUID="51b7bc38-058b-470f-a827-171b339e2420" CreationDate="2010-06-24T12:52:08.897" UserId="62" Text="&lt;annoying&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2988" PostHistoryTypeId="2" PostId="1624" RevisionGUID="f2c03d48-ed91-46f6-a1f3-3cf3e991ee93" CreationDate="2010-06-24T13:29:54.673" UserId="219" Text="Hello world!&#xD;&#xA;&#xD;&#xA;I'd like us to share our opinions on the best way(s) to start working in sound design and film sound in general. This is a recurring question that I am asking it to myself just now, and I've been for a while!&#xD;&#xA;&#xD;&#xA;How do you get started, where do you get started, who do you get started with?...&#xD;&#xA;&#xD;&#xA;I recently graduated in Digital Media, I have done some work in two years but now I'm done being a student, there is little time for me to begin getting serious! Now, I'm a person who sees all the problems, panics, and forgets about the potential solution :( I find the only cure is to shut up and get to work :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**The problem I identify** (hopefully others can relate to it): there's no postprod studios where I live. I can start working on my own, BUT I won't learn and develop as fast.&#xD;&#xA;&#xD;&#xA;**Potential solution**: there are some music studios around, BUT (again) music is not what I'm aiming at. It's ok, I'll keep working on my own, I might find a better opportunity later...&#xD;&#xA;&#xD;&#xA;**Discuss the solution**: music is not what I want to do, but at least I'd get to practice recording, editing, maybe mixing, and I get to network with sound people (BUT not film sound people).&#xD;&#xA;&#xD;&#xA;This is an example of how I go about never coming with a solution... So, what are you ready to do that's not a waste of time for you?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I've heard/read from a lot of people who came to film sound from the field of music production, but others took off in moviemaking right away. I also know that the techniques in music and film production are similar **to a certain extent**, but what is the limit for skills to remain transferrable from a field to the other? Knowledge and culture are one thing (and one should never draw a line to limit his learning) but isn't there a breaking point beyond which it's not worth going while in the early times of your career?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2989" PostHistoryTypeId="1" PostId="1624" RevisionGUID="f2c03d48-ed91-46f6-a1f3-3cf3e991ee93" CreationDate="2010-06-24T13:29:54.673" UserId="219" Text="How would you get your career started?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2990" PostHistoryTypeId="3" PostId="1624" RevisionGUID="f2c03d48-ed91-46f6-a1f3-3cf3e991ee93" CreationDate="2010-06-24T13:29:54.673" UserId="219" Text="&lt;career&gt;&lt;opportunity&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2991" PostHistoryTypeId="2" PostId="1625" RevisionGUID="6868d57f-8d0b-48dd-90cb-4297a5410e6c" CreationDate="2010-06-24T13:59:47.437" UserId="361" Text="The Sound on Sound review of the product from back in 2007, also links this PDF sheet about Scanned Synthesis. &#xD;&#xA;&#xD;&#xA;http://www.billverplank.com/ScannedSynthesis.PDF" ContentLicense="CC BY-SA 2.5" />
  <row Id="2992" PostHistoryTypeId="5" PostId="1625" RevisionGUID="8127ae1c-cfc9-40e1-a5f9-320da4cd50cd" CreationDate="2010-06-24T14:08:35.500" UserId="361" Comment="added 257 characters in body" Text="The Sound on Sound review of the product from back in 2007, also links this PDF sheet about Scanned Synthesis. &#xD;&#xA;&#xD;&#xA;http://www.billverplank.com/ScannedSynthesis.PDF&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&quot;Figure 1.  Scanned Synthesis consists of 1) manipulating &#xD;&#xA;a dynamic system and 2) scanning out a wave-shape from &#xD;&#xA;along a path.&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://web11.twitpic.com/img/120152534-e5bc23a8df86c1dd9531af3c702c3ea3.4c2364e0-full.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="2993" PostHistoryTypeId="2" PostId="1626" RevisionGUID="f01f9246-e4eb-4ab6-b9b5-a0ef6ce22321" CreationDate="2010-06-24T14:25:20.520" UserId="390" Text="I just received a phone call asking for my availability to work on my first MAJOR feature film production assistant. Normally, when I think of PAs, those are the guys wrangling extras or actors, securing the set, breaking it down and such. When I sent in my resume and cover letter for this position, I highlighted my training in location audio and Audio post production. &#xD;&#xA;&#xD;&#xA;I then spoke about how I may be able to assist the location audio team (preparing file names on 744T recorders, for example). In addition to being on time and being a hard and efficient worker, I would like any advice on perhaps getting into a Union for location audio in the future. &#xD;&#xA;&#xD;&#xA;More importantly, however, are there PAs that are attached to the Audio team only? Part of me feels like I just made that position up. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2994" PostHistoryTypeId="1" PostId="1626" RevisionGUID="f01f9246-e4eb-4ab6-b9b5-a0ef6ce22321" CreationDate="2010-06-24T14:25:20.520" UserId="390" Text="Duties of a Production Assistant" ContentLicense="CC BY-SA 2.5" />
  <row Id="2995" PostHistoryTypeId="3" PostId="1626" RevisionGUID="f01f9246-e4eb-4ab6-b9b5-a0ef6ce22321" CreationDate="2010-06-24T14:25:20.520" UserId="390" Text="&lt;location-audio&gt;&lt;location&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="2996" PostHistoryTypeId="2" PostId="1627" RevisionGUID="c23cba2a-257c-4a48-8268-6699b41f1f4b" CreationDate="2010-06-24T14:39:23.283" UserId="390" Text="I'm in the same shoes as you, brother. I'm also a recent graduate scanning indeed.com, Linkedin, and craigslist across all major cities almost everyday, taking up local film projects for free (currently working on sound design for two films produced by my former classmates). It's become a challenge trying to figure out how to make google efficiently search all of craigslist for the job I want. I did use a site called allofcraigs but even that site missed some jobs I found through other search techniques. " ContentLicense="CC BY-SA 2.5" />
  <row Id="2997" PostHistoryTypeId="2" PostId="1628" RevisionGUID="cd34fb07-de74-4064-8228-05186e4779dd" CreationDate="2010-06-24T15:44:32.513" UserId="220" Text="There was a question [here][1] a little bit ago asking about ear protection during mixing.  A broader question for us all that use our ears for a living is:  What do you do to maintain ear health?&#xD;&#xA;&#xD;&#xA;Do you go for regular checkups?  Clean ears with something specific?  Keep ear plugs with you at all times?  Do you have an audiologist?  Have you insured your ears?&#xD;&#xA;&#xD;&#xA;I also have a question specific to myself that maybe some of you have come across.  I wear headphones for many hours a day, as well as being on the phone with a headset.  My right ear (phone ear) tends to get a &quot;swimmers ear&quot; problem - holds water when I wash my ears, a lot of wax buildup.  I feel like the headphones/ear pieces I use don't breathe at all and cause moisture to build up in my ears.  Have any of you experienced this from a lot of headphone or in-ear use?  Is there anything I can do to prevent it in the future?  Are there better headphones that allow air flow?&#xD;&#xA;&#xD;&#xA;Thank you!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/1238/ears-protection-during-editing-mixing-sessions" ContentLicense="CC BY-SA 2.5" />
  <row Id="2998" PostHistoryTypeId="1" PostId="1628" RevisionGUID="cd34fb07-de74-4064-8228-05186e4779dd" CreationDate="2010-06-24T15:44:32.513" UserId="220" Text="How do you maintain good ear health?" ContentLicense="CC BY-SA 2.5" />
  <row Id="2999" PostHistoryTypeId="3" PostId="1628" RevisionGUID="cd34fb07-de74-4064-8228-05186e4779dd" CreationDate="2010-06-24T15:44:32.513" UserId="220" Text="&lt;health&gt;&lt;headphones&gt;&lt;hearing-damage&gt;&lt;ear-protection&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3000" PostHistoryTypeId="2" PostId="1629" RevisionGUID="2fcc559c-f7ac-4165-ace8-85b70bb4a132" CreationDate="2010-06-24T15:55:00.520" UserId="393" Text="I mix at a reasonable volume, and wear ear plugs whenever I'm doing something louder than my normal bedroom jamming, which includes going to Guitar Center or working on my house.&#xD;&#xA;&#xD;&#xA;I love Q-tips and hydrogen peroxide, and I pay close attention to the health of my ear-skin (having a couple hard-cartilage piercings makes that a must, anyway).&#xD;&#xA;&#xD;&#xA;I don't do regular checkups, and I haven't seen an ear-specialist, but I probably should.&#xD;&#xA;&#xD;&#xA;I noticed when I was wearing ear buds, my ear canals were ALWAYS tender, and had more buildup, and I felt like the SPLs were getting worse every day... In that case, having my iPod w/ ear buds stolen was probably a good thing.  I haven't had problems like that with cans." ContentLicense="CC BY-SA 2.5" />
  <row Id="3001" PostHistoryTypeId="2" PostId="1630" RevisionGUID="1f04c034-95d5-4e6a-a456-672039e3f8a4" CreationDate="2010-06-24T16:03:42.243" UserId="393" Text="I second taking up local film projects, open-source games or game mods (if you want to get into game audio.)&#xD;&#xA;&#xD;&#xA;If you're into game audio, join the IGDA, or at least go to your local chapter's meetings, and participate in the Global Game Jam and any game-in-a-day/weekend/week/month things that you can.&#xD;&#xA;&#xD;&#xA;The same goes for film... find your local film-makers groups, participate in the 48 Hour Film Project and other film projects.  &#xD;&#xA;&#xD;&#xA;Networking is key, and a lot of the game/film jams will bring out everyone from the kid with nothing but a cheap camera or free software to the local pros.  I've received a few offers for paid gigs simply by showing up and showing that I was interested and capable, without submitting anything formal.  Also, everyone locally knows someone regionally, and they know someone nationally... ect.  Do a good job for a local film studio and you may end up picking up a better gig from one of their peers or mentors." ContentLicense="CC BY-SA 2.5" />
  <row Id="3002" PostHistoryTypeId="2" PostId="1631" RevisionGUID="8413c07c-9d68-41a0-beaf-4d0a0ada26e0" CreationDate="2010-06-24T16:06:41.893" UserId="253" Text="A very smart mixer once told me that you should take grandma's advice and &quot;not put anything larger than your elbow into your ear&quot;, ie. nothing.&#xD;&#xA;I think it makes sense to respect your ears, and not meddle with them too much unless there's an obvious problem. Try to limit your exposure to excessive SPLs and NEVER EVER use earbud headphones. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3003" PostHistoryTypeId="2" PostId="1632" RevisionGUID="e8b8ba99-d12f-4b51-9319-5f8643f6c67c" CreationDate="2010-06-24T16:06:48.620" UserId="393" Text="The Wilhelm Scream, when it's not subtle.  It should be like a game of Where's Waldo (Where's Wilhelm?), and I think a lot of sound designers are playing &quot;Didja hear that, Ben Burtt?!  I used the Wilhelm Scream! Didja hear, didja hear?!&quot;, giving it almost a solo performance." ContentLicense="CC BY-SA 2.5" />
  <row Id="3004" PostHistoryTypeId="2" PostId="1633" RevisionGUID="7bcd9191-ba32-442c-a08b-af87e67b315a" CreationDate="2010-06-24T16:09:19.373" UserId="253" Text="It's interesting, what sounds physically distress people.&#xD;&#xA;I'm fine with fingernails on a blackboard, but the sounds that make my spine chill and my body tense up are: teeth brushing with a regular toothbrush; and a straw broom sweeping on concrete.&#xD;&#xA;&#xD;&#xA;Ugh, i feel uncomfortable even thinking about them!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3005" PostHistoryTypeId="2" PostId="1634" RevisionGUID="cefb5109-ed39-4ac9-adac-bcbf28ab08a9" CreationDate="2010-06-24T16:28:47.730" UserId="260" Text="Not a fan of wilhelm screams either as it is now overused. But I hate the sound of metal tearing. It has a very sicking feel to it." ContentLicense="CC BY-SA 2.5" />
  <row Id="3006" PostHistoryTypeId="2" PostId="1635" RevisionGUID="79bf911f-0e58-4d1b-b19d-dcbe3bcb272e" CreationDate="2010-06-24T17:01:48.443" UserId="18" Text="I take frequent breaks when working (every 1/2 hour to 1 hour if I can).  Not only do the breaks help with the ears, but they also help my back and wrists.  I try to listen at lower volume levels as much as I can.  I always wear ear plugs if I go to a loud event; concert, shooting range, etc.&#xD;&#xA;&#xD;&#xA;The fact of it is that we put our ears in danger because of our work.  There is no way around it.  What we do for a living is not the best thing for ear health.  Using common sense will help your ears last.  Listen at lower volumes, take lots of breaks, and learn to recognize when it is time to stop and give your ears a longer rest.&#xD;&#xA;&#xD;&#xA;Cleaning your ears is a bit of a controversial topic among doctors, or at least their may have been new research to contradict old ways of thinking.  I've had doctors tell me to clean my ears out daily with Q-tips and I've had other doctors to tell me to NEVER use Q-tips in the ear and not even worry about cleaning them at all.  Through research, I'm now of the opinion that frequent cleaning does more harm than good and you should never stick Q-tips in your ears.  If you have issues with excessive wax build up, talk to a doctor about other cleaning methods.&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Earwax#Cleaning" ContentLicense="CC BY-SA 2.5" />
  <row Id="3007" PostHistoryTypeId="2" PostId="1636" RevisionGUID="7c24c077-9eec-4a58-9de1-9adb62b5cf91" CreationDate="2010-06-24T17:24:11.860" UserId="219" Text="I always have two pairs of **foam earplugs** in my wallet. I've been told they are not ideal but at least you can fit them in something as flat as a wallet and go out without your little box of more sophisticated SPL attenuation system. I usually pull them out every time I go to a place there is loud/live music.&#xD;&#xA;&#xD;&#xA;I clean my ears with water under the shower by **getting water in** and **pressing on the tragus** repeatedly to agitate the liquid in the inside. I do that a couple of times and then I just **use an earbud** to dry the inside otherwise it keeps tickling, that involves **hardly any pressure** on the walls of the ear canal.&#xD;&#xA;&#xD;&#xA;Once I'm back to France I'll go to the &quot;ear-ologist&quot; to check my hearing and discuss the cleaning thing." ContentLicense="CC BY-SA 2.5" />
  <row Id="3012" PostHistoryTypeId="2" PostId="1639" RevisionGUID="b2b8fa32-65ee-4b62-9903-0b6723282cce" CreationDate="2010-06-24T18:05:53.680" UserId="2" Text="Drunk people! Especially while trying to sleep. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3013" PostHistoryTypeId="5" PostId="1626" RevisionGUID="7aed0041-ab49-4aa1-8337-5cb6ae91a436" CreationDate="2010-06-24T19:20:05.610" UserId="390" Comment="clarified question as it relates to sound design; added 5 characters in body" Text="I just received a phone call asking for my availability to work on my first MAJOR feature film as a production assistant. Normally, when I think of PAs, those are the guys wrangling extras or actors, securing the set, breaking it down and such. When I sent in my resume and cover letter for this position, I highlighted my training in location audio and Audio post production. &#xD;&#xA;&#xD;&#xA;I then spoke about how I may be able to assist the location audio team (preparing file names on 744T recorders, for example). In addition to being on time and being a hard and efficient worker, I would like any advice on perhaps getting into a Union for location audio in the future. &#xD;&#xA;&#xD;&#xA;More importantly, however, are there PAs that are attached to the Audio team only? Part of me feels like I just made that position up. &#xD;&#xA;&#xD;&#xA;PS - I should add that I did read the Wiki on Production Assistants. So I do have a general idea of what they do. But I was wondering if any had worked as a PA in their transition to becoming a sound designer or to work in Audio Post production... in fact, I think i'll change the heading." ContentLicense="CC BY-SA 2.5" />
  <row Id="3014" PostHistoryTypeId="4" PostId="1626" RevisionGUID="7aed0041-ab49-4aa1-8337-5cb6ae91a436" CreationDate="2010-06-24T19:20:05.610" UserId="390" Comment="clarified question as it relates to sound design; added 5 characters in body" Text="From PA to Location Audio or Sound Designer" ContentLicense="CC BY-SA 2.5" />
  <row Id="3015" PostHistoryTypeId="2" PostId="1640" RevisionGUID="52137c83-9a1c-42c4-a1db-43ebdad5f6b7" CreationDate="2010-06-24T19:34:52.923" UserId="315" Text="Honestly, PA is just a synonym for &quot;grunt.&quot; You can be a PA in almost any role in film production.&#xD;&#xA;&#xD;&#xA;I was an audio post PA on a major feature...just the title they gave me since I wasn't union yet. But that was on the post side of things, assisting the Supervising Sound Editor, Sound Editors, and Assistant Sound Editors. Although working in that role was pretty menial sometimes (LA traffic stinks), I did get the opportunity to shadow some seasoned pros, learn how to be a proper Assistant Sound Editor, and they even allowed me to cut fx on a couple sequences. It did lead to better roles in film down the line...although it was a major (but temporary) step back for me considering I had worked as a sound designer for TV commercials for a number of years before I took the position on.&#xD;&#xA;&#xD;&#xA;I think it'd be much more difficult to transition into audio post if you're assisting production sound though. The production mixer is usually off to their next job before audio post even starts. Find out who's doing the audio post on your film and try to get a gig with them. Really the best, if not only, way to get into Post. If you're hard working and loyal, they'll most likely call you for their next gig and maybe even assist you in getting in to the sound editors union." ContentLicense="CC BY-SA 2.5" />
  <row Id="3016" PostHistoryTypeId="2" PostId="1641" RevisionGUID="cbc8b0e0-5cae-4eef-8171-01576364ce9c" CreationDate="2010-06-24T19:39:08.327" UserId="315" Text="Being asked by the director to incorporate a cliche into a track. Doors don't always squeak, tires don't always squeal, and I can't remember ever hearing a red tail hawk in the desert...and I live in California.&#xD;&#xA;&#xD;&#xA;http://www.filmsound.org/cliche/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3017" PostHistoryTypeId="2" PostId="1642" RevisionGUID="fcb19c22-956f-4c3f-9a65-2b4ae97142e7" CreationDate="2010-06-24T20:20:59.740" UserDisplayName="user80" Text="Plosive popping and sibilance in 'professional' work." ContentLicense="CC BY-SA 2.5" />
  <row Id="3018" PostHistoryTypeId="2" PostId="1643" RevisionGUID="0a7f7619-4597-4f77-8816-7533c488fd81" CreationDate="2010-06-24T20:45:25.730" UserId="219" Text="Plastic bags, they always make me go &quot;eeek&quot; but worst when recording!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3020" PostHistoryTypeId="2" PostId="1645" RevisionGUID="f3e1fb59-5b0c-4964-b555-be6c8c5a5d4a" CreationDate="2010-06-24T21:07:35.767" UserId="37" Text="plastic bags....." ContentLicense="CC BY-SA 2.5" />
  <row Id="3021" PostHistoryTypeId="2" PostId="1646" RevisionGUID="db0043d4-59b5-4705-a107-012aed7eec37" CreationDate="2010-06-24T21:07:57.810" UserId="118" Text="I'd agree with Charles about getting someone milling around amongst the crowd.  A couple of DPAs on a rucksack or in a hat can work well, and don't tell the crowd what you're doing otherwise sometimes they overperform when you're near them!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3022" PostHistoryTypeId="2" PostId="1647" RevisionGUID="f26a811b-7351-4c2f-85b7-c8101e63c98c" CreationDate="2010-06-24T21:22:06.000" UserId="261" Text="Second on the bad ADR in big budget pictures. The first time I noticed it was in 'Entrapment'. Wow. Really blatant." ContentLicense="CC BY-SA 2.5" />
  <row Id="3023" PostHistoryTypeId="2" PostId="1648" RevisionGUID="75813441-9f1f-4774-9b8e-6a21ead5c148" CreationDate="2010-06-24T22:12:49.343" UserId="178" Text="Cheap guitars playing through Crate practice amps with the treble turned all the way up. Excessive tinny cymbals bleeding into vocal mics. I used to do live sound, and those were the bane of my existence." ContentLicense="CC BY-SA 2.5" />
  <row Id="3024" PostHistoryTypeId="2" PostId="1649" RevisionGUID="5e81bd06-0c7a-4a63-b592-0b0c8aad4ea0" CreationDate="2010-06-24T22:22:37.933" UserId="178" Text="I would respectfully disagree with the advice about keeping the boom mic farther out on close up shots as opposed to wide shots. When you go to do your dialog editing, the close up shots with the mic closer in will sound much better than the wide shots, because they will be much closer to the action and have far less distracting background noise.&#xD;&#xA;&#xD;&#xA;A lot of scenes are primarily close ups and medium shots with maybe a wide shot at the beginning to establish perspective. As a contrary way of looking at this, maybe you can get the bulk of your sound coverage from the close up shots, when the boom mic is closer, and sync that close up sound over the wide shots in post. It really is all down to how the coverage and editing is. If you watch big movies you will sometimes hear a perspective shift as the camera angle changes. As long as it's not too distracting, I would optimize for good sound quality. As long as you don't get the mic element closer than about 12&quot; from the person's mouth, you won't really run into any problems with proximity effect.&#xD;&#xA;&#xD;&#xA;Besides, if anything gets the ADR treatment in post, it's most likely to be the wide shots, on account of too much background noise. You don't want your whole movie to sound like that, do you?&#xD;&#xA;&#xD;&#xA;One other thing... prepare a proper shooting script before you start filming, and stick to it. It's so much easier if you know just from the audible slate at the beginning of a take that this is scene 3A take 4, than trying to guess where this file came from after the fact." ContentLicense="CC BY-SA 2.5" />
  <row Id="3025" PostHistoryTypeId="2" PostId="1650" RevisionGUID="de69cb1d-3527-41d4-aae3-d74e462a7f02" CreationDate="2010-06-25T01:22:30.780" UserId="393" Text="This is awesome.  I agree with what everyone else has said... make the monster and the combat bigger.  Or, conversely, make it closer to strict realism (there's not enough of that in video games, IMO).&#xD;&#xA;&#xD;&#xA;I feel like the monster needs something moist in his sounds, too." ContentLicense="CC BY-SA 2.5" />
  <row Id="3026" PostHistoryTypeId="2" PostId="1651" RevisionGUID="4f22d482-e827-4f51-b587-a5931a88110b" CreationDate="2010-06-25T01:27:32.737" UserId="393" Text="Get on a game mod, or swap out the sounds of an existing game (I still use Doom editors for this, even though Doom's 16 years old.)  It really helps to hear your sounds in a game environment, to see if they all mesh well together.  I'm not sure about WWise, but FMOD has in-game emulation, but I feel it doesn't do it justice until you can experience it as a player." ContentLicense="CC BY-SA 2.5" />
  <row Id="3027" PostHistoryTypeId="2" PostId="1652" RevisionGUID="1fcd5776-e3fd-4e59-9e51-bf28b0e17a14" CreationDate="2010-06-25T05:58:04.203" UserId="118" Text="I'd agree that if the character of the city isn't particularly important then I would be wary about investing too much time and money in portraying it's soundscape.  However, I'm intrigued how an animation could be set in such a specific location as Vienna and it not be necessary, at least a few times, to evoke a sense of place.&#xD;&#xA;&#xD;&#xA;For Kickass, I needed to provide a New York backdrop but it didn't warrant a recording trip to the States as we knew the director preferred very clean soundtracks rather than lots of busy (or potentially distracting) atmos FX. &#xD;&#xA;However, despite this, I still wanted to get some fresh authentic ny sounds for when a sense of place was called upon, however infrequently (I had good sirens and stuff but was relying a little too heavily on cititrax for good street voices / shouts). That's where this amazing online sound community that seems to have flourished over the last few years comes in! Basically, track down someone from that area (agreed, Vienna may be harder than NY but not impossible surely) then either trade fx or pay a relatively small amount (compared to foreign travel, that is) for them to get some sounds in their own backyard!   I talked in a bit more detail about this in a post a while back:&#xD;&#xA;&#xD;&#xA;http://sonicskepsi.wordpress.com/2010/03/26/kickass/&#xD;&#xA;&#xD;&#xA;However, even if you don't go this far, plain old research on the Internet about the city itself can throw up all kinds of ideas about what the city is really like, eg. What kind of transport? Trams? Is there a subway system? Heavily pedestrianised?  Even if the atmos isn't that important I tend to do this as at the very least it gets the creative juices going and at the very most it helps make sure you don't put in an incorrect sound that people WILL notice!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3028" PostHistoryTypeId="2" PostId="1653" RevisionGUID="e53cfd8a-58c4-4d60-93a9-cf7673ca7351" CreationDate="2010-06-25T07:47:25.350" UserId="348" Text="I have so many favorite props and am always trying to improve on the quality of the FX by experimenting. I recently used a bowling ball on gritty sand to make the sound of a dung beetle moving its dung ball imitating the perspective from that of a dog. Then I spiced it up by rubbing my hand (gloved) in circular motion in the dirt to get more of the ground. Lots of fun. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3029" PostHistoryTypeId="2" PostId="1654" RevisionGUID="03b1cace-b1c6-4271-a17b-abba2dd3ebc9" CreationDate="2010-06-25T07:54:55.360" UserId="348" Text="I had to do something similar and what I did was take the heels off of some shoes and then moving them against the applicable surface. Worked great. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3030" PostHistoryTypeId="2" PostId="1655" RevisionGUID="585ae3c2-3a39-4a10-8430-a503e3fd0f9a" CreationDate="2010-06-25T08:02:34.543" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;Just had a discussion with our local Nagra/Scheops supplier and he was raving about the new SuperCMIT shotgun microphone. It is currently been used here in the stadiums for the World Cup. There have been mixed reports about the quality of the mic and was just wondering if anyone has had the opportunity to use it? I am doing a trial run with it in a couple of weeks. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3031" PostHistoryTypeId="1" PostId="1655" RevisionGUID="585ae3c2-3a39-4a10-8430-a503e3fd0f9a" CreationDate="2010-06-25T08:02:34.543" UserId="348" Text="SuperCMIT from Scheops " ContentLicense="CC BY-SA 2.5" />
  <row Id="3032" PostHistoryTypeId="3" PostId="1655" RevisionGUID="585ae3c2-3a39-4a10-8430-a503e3fd0f9a" CreationDate="2010-06-25T08:02:34.543" UserId="348" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3033" PostHistoryTypeId="2" PostId="1656" RevisionGUID="d9325d03-b419-4801-a79f-a4c2d7b587f5" CreationDate="2010-06-25T08:25:14.710" UserId="261" Text="Thanks to both of you for the great question and great answer...&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 2.5" />
  <row Id="3034" PostHistoryTypeId="2" PostId="1657" RevisionGUID="7ad17ceb-8af8-4582-8c79-746170fa2fda" CreationDate="2010-06-25T08:33:57.993" UserId="2" Text="I have the opportunity to use a [Schoeps double M/S][1] system, but I don't have a recorder with enough channels. I have two 2-channel recorders, and I'm hoping I will be able to get away with this setup and use a clap to sync up the two recorders. If I had two [702 Sound Devices][2] I could link them up without worries, but my second recorder is a [Fostex FR-2][3], which doesn't seem to allow me to link units together.&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;My worry is that even the minuscule time difference between the clap being captured by the front M/S and back M/S and recorded on each recorder will create an inaccurate image and maybe cause some phasing and wrong decoding. Are my suspicions valid? &#xD;&#xA;&#xD;&#xA;If you advise me against this I'll just rent a recorder with enough channels... &#xD;&#xA;&#xD;&#xA;Also, has anyone recorded on this setup? Any tips would be much appreciated!  &#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.schoeps.de/en/products/categories/doublems&#xD;&#xA;  [2]: http://www.sounddevices.com/products/702.htm&#xD;&#xA;  [3]: http://www.proaudioreview.com/article/2366&#xD;&#xA;  [4]: http://www.schoeps.de/IMG/product_categories/doppel-ms-kl.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="3035" PostHistoryTypeId="1" PostId="1657" RevisionGUID="7ad17ceb-8af8-4582-8c79-746170fa2fda" CreationDate="2010-06-25T08:33:57.993" UserId="2" Text="Double M/S on seperate 2 channel recorders?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="3036" PostHistoryTypeId="3" PostId="1657" RevisionGUID="7ad17ceb-8af8-4582-8c79-746170fa2fda" CreationDate="2010-06-25T08:33:57.993" UserId="2" Text="&lt;double&gt;&lt;mid-side&gt;&lt;schoeps&gt;&lt;surround-sound&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3037" PostHistoryTypeId="5" PostId="1652" RevisionGUID="cbf9b21c-3744-407d-80d9-34cf4720579a" CreationDate="2010-06-25T08:51:45.103" UserId="118" Comment="added 313 characters in body" Text="I'd agree that if the character of the city isn't particularly important then I would be wary about investing too much time and money in portraying it's soundscape.  However, I'm intrigued how an animation could be set in such a specific location as Vienna and it not be necessary, at least a few times, to evoke a sense of place.&#xD;&#xA;&#xD;&#xA;For Kickass, I needed to provide a New York backdrop but it didn't warrant a recording trip to the States as we knew the director preferred very clean soundtracks rather than lots of busy (or potentially distracting) atmos FX. &#xD;&#xA;However, despite this, I still wanted to get some fresh authentic ny sounds for when a sense of place was called upon, however infrequently (I had good sirens and stuff but was relying a little too heavily on cititrax for good street voices / shouts). That's where this amazing online sound community that seems to have flourished over the last few years comes in! Basically, track down someone from that area (agreed, Vienna may be harder than NY but not impossible surely) then either trade fx or pay a relatively small amount (compared to foreign travel, that is) for them to get some sounds in their own backyard!   I talked in a bit more detail about this in a post a while back:&#xD;&#xA;&#xD;&#xA;http://sonicskepsi.wordpress.com/2010/03/26/kickass/&#xD;&#xA;&#xD;&#xA;However, even if you don't go this far, plain old research on the Internet about the city itself can throw up all kinds of ideas about what the city is really like, eg. What kind of transport? Trams? Is there a subway system? Heavily pedestrianised?  Even if the atmos isn't that important I tend to do this as at the very least it gets the creative juices going and at the very most it helps make sure you don't put in an incorrect sound that people WILL notice!&#xD;&#xA;&#xD;&#xA;Apologies for the perhaps long-winded answer:  In a nutshell, as the world gets smaller, authenticity is more easily achievable than ever before, so why not make it part of your creative journey, even if (as in the example of Saving Private Ryan that you mention) it isn't the exclusive and final destination?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3038" PostHistoryTypeId="2" PostId="1658" RevisionGUID="6512a5c3-1d61-4216-bfe2-8687900d2061" CreationDate="2010-06-25T09:16:13.463" UserId="219" Text="**What follows is only assumptions of what could go wrong.**&#xD;&#xA;&#xD;&#xA;Well, am I being naive when I say it'd just be a matter of nudging the audio to line up the recordings? In theory that'd seem to work, but I guess you need to take into account the **clocks of your two recorders** not being synced, not **sampling** the audio **at the same exact time** and your recorders not **using the same preamps**.&#xD;&#xA;&#xD;&#xA;Now let's hear/read from others' experiences! Hope I'm not polluting the topic here... just trying to participate by discussing." ContentLicense="CC BY-SA 2.5" />
  <row Id="3039" PostHistoryTypeId="5" PostId="1580" RevisionGUID="3aa1bf36-e7de-4cd4-82c5-2a7862a13b89" CreationDate="2010-06-25T09:24:01.247" UserId="219" Comment="added 188 characters in body" Text="Wow wow wow! One thing shocks me horribly:&#xD;&#xA;&#xD;&#xA;*&quot;Is it just a case of before every single take we start recording video (hitting record at exactly the same time - him on his camera, me on my DAT), and audio and shout &quot;TAKE 5&quot; and then line up the audio and video in Post production?&quot;*&#xD;&#xA;&#xD;&#xA;Don't shout, voice is not transient enough. Clap with your hands at least, if not a clapperboard, but make sure the clapperboard is on camera. In post, you'll then sync the peak (clap) in the audio file with the frame where the two hands (or sticks) hit each other. Also, whatever you use as your clapping machine, it should ideally stay closed after the clap and not rebound, otherwise there might be no frame, in your video, of the two clapping things touching. There might be a frame just before and just after (when it's not fully closed) and this makes syncing harder. If your clapping device remains closed after the contact, then you'll have a clean visible clap to sync your audio to.&#xD;&#xA;&#xD;&#xA;Second, I'm no authority in this discipline, but the 1/4 inch jack vs XLR thing shouldn't make much difference. A TRS jack offers the same balancing as an 3-pin XLR.&#xD;&#xA;&#xD;&#xA;Now booming (cause a boom should be your main mic, radio mics as a backup if you're lucky enough to have any). From the Latin booma, boomae, boomorum...&#xD;&#xA;&lt;ul&gt;&#xD;&#xA;&lt;li&gt;Ideally you'll boom from the top down rather than the bottom up. That way your mic is further away from the chest and closer to the mouth and you get less low freqs from the chest.&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Try to point your mic not at the mouth directly, but rather about 6/8 inches down on the projection axis. Give the lows enough space to get formed.&lt;/li&gt;&#xD;&#xA;&lt;li&gt;If you're shooting a CU but the scene also requires a wider shot, you don't want to get your mic any closer during the CU take than you'll be able to get it in the wider shot. Otherwise you'll create an huge change in perspective (really close vs quite far) in the audio for the same scene. You'll curse your fool self in post.&lt;/li&gt;&#xD;&#xA;&lt;/ul&gt;&#xD;&#xA;&#xD;&#xA;&lt;p&gt;I'll edit this as it comes to me! Feel free to ask questions :)&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&lt;ul&gt;&#xD;&#xA;&lt;li&gt;I assume you'll be the only audio guy there. And if the shoot is not too long or too intense, you'll likely remember what take was what and you'll know your material when postprod time comes. But don't take any bet, try to keep track of each take using a Sound Report. A sound report tracks, in a table, each take by providing sensible info: **scene/take number**, **file name** (if appropriate), **comments** (f*or this one I'd like somebody else to take over as I've never had the chance to write anything interesting there...*)&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Regular backups could save your butt (twice a day if possible).&lt;/li&gt;&#xD;&#xA;&lt;li&gt;If you're recording in noisy environments (city traffic, air con...), do wild lines with the actors. Find a spot around where you are that's quieter (but that still have the sonic character of the actual set) and record your actors without the camera, without moving. This saves you from doing ADR, and it's already matched to the audio from the takes since it's the same recording environment.&lt;/li&gt;&#xD;&#xA;&lt;/ul&gt;&#xD;&#xA;You also might want to check out John Purcell's *Dialogue Editing for Motion Pictures*, cause all that changes from what you did before is that you'll be working with production sound this time. So document yourself properly on these, and I recommend John's book, but as I said I'm not an authority, so you might feel reassured if I say that many people do recommend it ;)&#xD;&#xA;&#xD;&#xA;SECOND EDIT:&#xD;&#xA;I just remembered that Iain McGregor keeps telling me to clap at the start **and at the end of the take** to optimize your chances if ever your devices were to go out of sync!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3040" PostHistoryTypeId="5" PostId="1580" RevisionGUID="390f5d71-9936-4802-85c5-c1bc1a3a4921" CreationDate="2010-06-25T09:34:24.877" UserId="219" Comment="added warning" Text="Wow wow wow! One thing shocks me horribly:&#xD;&#xA;&#xD;&#xA;*&quot;Is it just a case of before every single take we start recording video (hitting record at exactly the same time - him on his camera, me on my DAT), and audio and shout &quot;TAKE 5&quot; and then line up the audio and video in Post production?&quot;*&#xD;&#xA;&#xD;&#xA;Don't shout, voice is not transient enough. Clap with your hands at least, if not a clapperboard, but make sure the clapperboard is on camera. In post, you'll then sync the peak (clap) in the audio file with the frame where the two hands (or sticks) hit each other. Also, whatever you use as your clapping machine, it should ideally stay closed after the clap and not rebound, otherwise there might be no frame, in your video, of the two clapping things touching. There might be a frame just before and just after (when it's not fully closed) and this makes syncing harder. If your clapping device remains closed after the contact, then you'll have a clean visible clap to sync your audio to.&#xD;&#xA;&#xD;&#xA;Second, I'm no authority in this discipline, but the 1/4 inch jack vs XLR thing shouldn't make much difference. A TRS jack offers the same balancing as an 3-pin XLR.&#xD;&#xA;&#xD;&#xA;Now booming (cause a boom should be your main mic, radio mics as a backup if you're lucky enough to have any). From the Latin booma, boomae, boomorum...&#xD;&#xA;&lt;ul&gt;&#xD;&#xA;&lt;li&gt;Ideally you'll boom from the top down rather than the bottom up. That way your mic is further away from the chest and closer to the mouth and you get less low freqs from the chest.&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Try to point your mic not at the mouth directly, but rather about 6/8 inches down on the projection axis. Give the lows enough space to get formed.&lt;/li&gt;&#xD;&#xA;&lt;li&gt;&lt;i&gt;!WARNING!&lt;/i&gt; If you're shooting a CU but the scene also requires a wider shot, you don't want to get your mic any closer during the CU take than you'll be able to get it in the wider shot. Otherwise you'll create an huge change in perspective (really close vs quite far) in the audio for the same scene. You'll curse your fool self in post. &lt;i&gt;!WARNING! Nathan disagrees and has a valuable reason (cf. his post further down).&lt;/i&gt;&lt;/li&gt;&#xD;&#xA;&lt;/ul&gt;&#xD;&#xA;&#xD;&#xA;&lt;p&gt;I'll edit this as it comes to me! Feel free to ask questions :)&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&lt;ul&gt;&#xD;&#xA;&lt;li&gt;I assume you'll be the only audio guy there. And if the shoot is not too long or too intense, you'll likely remember what take was what and you'll know your material when postprod time comes. But don't take any bet, try to keep track of each take using a Sound Report. A sound report tracks, in a table, each take by providing sensible info: **scene/take number**, **file name** (if appropriate), **comments** (f*or this one I'd like somebody else to take over as I've never had the chance to write anything interesting there...*)&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Regular backups could save your butt (twice a day if possible).&lt;/li&gt;&#xD;&#xA;&lt;li&gt;If you're recording in noisy environments (city traffic, air con...), do wild lines with the actors. Find a spot around where you are that's quieter (but that still have the sonic character of the actual set) and record your actors without the camera, without moving. This saves you from doing ADR, and it's already matched to the audio from the takes since it's the same recording environment.&lt;/li&gt;&#xD;&#xA;&lt;/ul&gt;&#xD;&#xA;You also might want to check out John Purcell's *Dialogue Editing for Motion Pictures*, cause all that changes from what you did before is that you'll be working with production sound this time. So document yourself properly on these, and I recommend John's book, but as I said I'm not an authority, so you might feel reassured if I say that many people do recommend it ;)&#xD;&#xA;&#xD;&#xA;SECOND EDIT:&#xD;&#xA;I just remembered that Iain McGregor keeps telling me to clap at the start **and at the end of the take** to optimize your chances if ever your devices were to go out of sync!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3041" PostHistoryTypeId="2" PostId="1659" RevisionGUID="697a1ed2-a85b-4b68-a20d-826b0818f0c2" CreationDate="2010-06-25T14:04:10.807" UserId="6411" Text="I think monitor arms are a must. Looking straight ahead rather than slightly down makes all the difference to me. And 2 computer monitors minimum, three if you don't have an external video screen (TV, projector).&#xD;&#xA;&#xD;&#xA;I have a Command 8 for home and use a D-Command at work. If I had waited, I'd probably have gotten the MC Command as opposed to the Command 8, just for it's ability to program macros and expandability. The D-Command is great with it's ability to dive into plug-ins, and have pretty much any control at my fingertips. On my most recent show I abandoned the mouse (almost unplugged it) just to see if I could get by without it. Not only was I faster using keyboard shortcuts and the control surface, but that annoying pain in my right shoulder decreased significantly!&#xD;&#xA;&#xD;&#xA;While I am looking at getting a new chair in the next month (at the recommendation of my chiropractor) my favorite ergonomic tool has been a stability ball. You simply can't slouch. I only bring it out once or twice a week, just to kinda readjust. But after a long day at the console, it's great for a stretch. And an added bonus, it has a nice deep ring to it when bounced off walls." ContentLicense="CC BY-SA 2.5" />
  <row Id="3042" PostHistoryTypeId="2" PostId="1660" RevisionGUID="6f0e2ec6-3b54-4e84-b121-d8ff57ade104" CreationDate="2010-06-25T14:06:34.157" UserId="81" Text="Here is my list I wrote down a few years ago and always try to follow. Ear is our most valuable investment in this occupation and it is neither upgradeable nor replaceable. &#xD;&#xA;&#xD;&#xA; - Always mix at a reasonable volume.&#xD;&#xA;   &#xD;&#xA; - Take frequent breaks when you need to&#xD;&#xA;   work/mix at loud volumes.&#xD;&#xA;&#xD;&#xA; - Carry ear-protection with you. Use them in loud places. (Clubs, stadiums. etc.)&#xD;&#xA;&#xD;&#xA; - Find a good audiologist and go for&#xD;&#xA;   regular check ups. (Every 6 months) Do not confuse&#xD;&#xA;   audiologist with Audiometrist or&#xD;&#xA;   Ear-Nose-Throat Specialist.&#xD;&#xA;&#xD;&#xA; - Do not clean your ear yourself with&#xD;&#xA;   chemicals or Q-tips. Ear cleans&#xD;&#xA;   itself." ContentLicense="CC BY-SA 2.5" />
  <row Id="3043" PostHistoryTypeId="2" PostId="1661" RevisionGUID="92441ee8-14cc-464e-87da-48f2576cc3ce" CreationDate="2010-06-25T14:21:04.873" UserId="315" Text="I've tried using two unlinked recorders for things like this. There will be some drift, especially on longer takes (even on identical recorders). If you're doing mission critical takes over 2 minutes, I'd recommend against it, since phase is so critical to proper MS.&#xD;&#xA;&#xD;&#xA;I've also tried Double MS with two Sound Devices 722s connected with C-link cables, and it worked great. If you can spring for this set up, you'll be golden. They'll sync up nicely and no claps.&#xD;&#xA;&#xD;&#xA;I also highly recommend this plug-in for decoding in post...works great...and it's free:&#xD;&#xA;&#xD;&#xA;http://www.schoeps.de/en/products/dms_plugin&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3044" PostHistoryTypeId="2" PostId="1662" RevisionGUID="94cda1d3-19d6-498d-912b-288bf98fd18a" CreationDate="2010-06-25T14:58:27.640" UserId="6411" Text="Firefox/Safari&#xD;&#xA;&#xD;&#xA;I get all kinds of ideas from sites like this, youtube, blogs, etc. Mash 'em all up and use the tools I have available to me." ContentLicense="CC BY-SA 2.5" />
  <row Id="3045" PostHistoryTypeId="2" PostId="1663" RevisionGUID="b57778ec-e853-457e-abdf-fa8e172011b8" CreationDate="2010-06-25T15:22:04.960" UserId="331" Text="Producers.....you know the ones!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3046" PostHistoryTypeId="2" PostId="1664" RevisionGUID="3cdb66d2-ab87-4fca-a0e6-077d238ad02d" CreationDate="2010-06-25T15:27:24.037" UserId="37" Text="Last time I did this, I ran into drift issues and reached for [Soundhack][1], trial&amp;error-style.&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundhack.com/freeware.php&#xD;&#xA;  [2]: http://i48.tinypic.com/25auuy0.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="3047" PostHistoryTypeId="2" PostId="1665" RevisionGUID="02344e86-8651-46b5-8aef-68f569fcd333" CreationDate="2010-06-25T16:09:28.760" UserId="398" Text="Hi there. After using field recordings prominently in my own creative work over the last couple of years and going on a few workshops I'm seriously considering it as a bread and butter work line. My only education is as an MA fine art graduate where all the guidance was based around ideas and I was left to find my own way with equipment. Consequently I have little understanding of sound recording as an industry and this seemed like the perfect place to ask for advice as to where to put my feet next. I'm willing to work for very little to build up experience if it's necessary and am happy to move anywhere in the world to get this going. Love nothing more than just putting on some headphones and exploring.&#xD;&#xA;&#xD;&#xA;Thanks for your time&#xD;&#xA;&#xD;&#xA;James" ContentLicense="CC BY-SA 2.5" />
  <row Id="3048" PostHistoryTypeId="1" PostId="1665" RevisionGUID="02344e86-8651-46b5-8aef-68f569fcd333" CreationDate="2010-06-25T16:09:28.760" UserId="398" Text="Career Potential in Field Recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="3049" PostHistoryTypeId="3" PostId="1665" RevisionGUID="02344e86-8651-46b5-8aef-68f569fcd333" CreationDate="2010-06-25T16:09:28.760" UserId="398" Text="&lt;field-recording&gt;&lt;job&gt;&lt;career&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3050" PostHistoryTypeId="2" PostId="1666" RevisionGUID="38d10794-dddb-493a-bea3-25058bfb0bb6" CreationDate="2010-06-25T16:12:20.020" UserId="103" Text="Hi everybody&#xD;&#xA;&#xD;&#xA;So, i was selected by the Portuguese ministry of culture for a scholarship, to get an internship in&#xD;&#xA;a foreign country and the offer i got was for a research project at Pompeu Fabra University in Barcelona, Spain.&#xD;&#xA;Went there a couple of days for an interview and got accepted, now the ball is on my cort, ie to accept or not &#xD;&#xA;to accept. The internship would last 9 months&#xD;&#xA;&#xD;&#xA;The project its a two parter&#xD;&#xA;1. To study the psychological and physiological response of subjects to audio stimulations&#xD;&#xA;2. To design a software program that generates and/or processes audio acording to the subjects&#xD;&#xA;   heart rate, brain waves and other parameters.&#xD;&#xA;&#xD;&#xA;Now, the project sounds very very interesting, and the labs are amazing, but what i´m worrying&#xD;&#xA;about is, will it help me to get a job in the film or video game industry? What would you think&#xD;&#xA;if you received an application with this sort of project?&#xD;&#xA;&#xD;&#xA;Thanks in advance everybody!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3051" PostHistoryTypeId="1" PostId="1666" RevisionGUID="38d10794-dddb-493a-bea3-25058bfb0bb6" CreationDate="2010-06-25T16:12:20.020" UserId="103" Text="To accept or not to accept..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3052" PostHistoryTypeId="3" PostId="1666" RevisionGUID="38d10794-dddb-493a-bea3-25058bfb0bb6" CreationDate="2010-06-25T16:12:20.020" UserId="103" Text="&lt;research&gt;&lt;internships&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3053" PostHistoryTypeId="2" PostId="1667" RevisionGUID="409d72c4-9f86-47c7-ba65-88c2de074abd" CreationDate="2010-06-25T16:22:40.213" UserId="393" Text="The first part probably won't help you get a job in the video game industry, but the second part totally will if you can apply it to procedurally generated audio.&#xD;&#xA;&#xD;&#xA;Another thought... If you don't take this internship, will you regret it and the experiences it will bring?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3054" PostHistoryTypeId="2" PostId="1668" RevisionGUID="60b919ea-ba34-45a4-a796-eb33130dedc2" CreationDate="2010-06-25T16:24:36.123" UserId="397" Text="&#xD;&#xA;I was checking Openlabs NekoEX5 on the net and I really loved it. So, I was wondering do you use keyboard when you do sound design, if so which one? Is it in occasional situations? I use my library and the computer for editorial( Pro Tools). Is it hard to shift from one system to the other? &#xD;&#xA;&#xD;&#xA;Best regards" ContentLicense="CC BY-SA 2.5" />
  <row Id="3055" PostHistoryTypeId="1" PostId="1668" RevisionGUID="60b919ea-ba34-45a4-a796-eb33130dedc2" CreationDate="2010-06-25T16:24:36.123" UserId="397" Text="Do you use keyboard to design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3056" PostHistoryTypeId="3" PostId="1668" RevisionGUID="60b919ea-ba34-45a4-a796-eb33130dedc2" CreationDate="2010-06-25T16:24:36.123" UserId="397" Text="&lt;design&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3057" PostHistoryTypeId="2" PostId="1669" RevisionGUID="ebab0818-332b-4db1-82ac-6ba29ab96446" CreationDate="2010-06-25T16:40:42.710" UserId="398" Text="After building performance patches with MAX/MSP for a fair while I picked up Nicolas Collins fantastic book &quot;Handmade Electronic Music&quot; and was surprised how fun, liberating and simple it was to build simple little CMOS oscillators and get really interesting results. I've really got to the point where I don't want to be looking at a screen when making sounds and love that with this stuff there's always a conversation going on between your hands and your ears. Consequently I'm trying to move completely away from the computer (a challenge as I use field recordings prominently - my best solution so far is sound files triggered from an SD card slot in an Arduino). &#xD;&#xA;&#xD;&#xA;I was wondering if anyone else is moving in this way or has found a really comfortable way to marry the two approaches to making sounds?&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;James" ContentLicense="CC BY-SA 2.5" />
  <row Id="3058" PostHistoryTypeId="1" PostId="1669" RevisionGUID="ebab0818-332b-4db1-82ac-6ba29ab96446" CreationDate="2010-06-25T16:40:42.710" UserId="398" Text="Computers vs. handmade equipment" ContentLicense="CC BY-SA 2.5" />
  <row Id="3059" PostHistoryTypeId="3" PostId="1669" RevisionGUID="ebab0818-332b-4db1-82ac-6ba29ab96446" CreationDate="2010-06-25T16:40:42.710" UserId="398" Text="&lt;max-msp&gt;&lt;performance&gt;&lt;electronics&gt;&lt;arduino&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3060" PostHistoryTypeId="2" PostId="1670" RevisionGUID="be469f0b-d1b1-40a6-a640-f37ad6db82a9" CreationDate="2010-06-25T17:00:22.607" UserId="315" Text="Not to sound negative, but I doubt you'll be able to make a living just field recording sound effects. While there are numerous talented field recordists out there that get hired to record and provide sounds, John Fasal and Eric Potter are the only people I know of that are making their bread and butter day to day just doing this alone:&#xD;&#xA;&#xD;&#xA;http://mixonline.com/mag/audio_location_sound_effects/index.html&#xD;&#xA;&#xD;&#xA;Of course, I would never say that it is impossible...just difficult. You can certainly sell or market your recordings in library form, but I think you'd have to consider other lines of income in sound, like sound editing/design or mixing to pay the bills.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3061" PostHistoryTypeId="2" PostId="1671" RevisionGUID="344565d4-032e-418b-b0df-25551f9e34a2" CreationDate="2010-06-25T17:05:45.870" UserId="62" Text="A couple of days ago I asked what your most annoying sound is.&#xD;&#xA;I thought that an opposite thread might be good too.&#xD;&#xA;&#xD;&#xA;Two of my favourite sounds are when you open the cap off of a beer bottle and cutting through a pepper.&#xD;&#xA;&#xD;&#xA;I wonder if it's more because of what they signify (beer and food) than the sounds themselves though.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="3062" PostHistoryTypeId="1" PostId="1671" RevisionGUID="344565d4-032e-418b-b0df-25551f9e34a2" CreationDate="2010-06-25T17:05:45.870" UserId="62" Text="your favourite sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="3063" PostHistoryTypeId="3" PostId="1671" RevisionGUID="344565d4-032e-418b-b0df-25551f9e34a2" CreationDate="2010-06-25T17:05:45.870" UserId="62" Text="&lt;favourite&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3064" PostHistoryTypeId="2" PostId="1672" RevisionGUID="52810968-8047-434a-b3bb-6573d63137d7" CreationDate="2010-06-25T17:52:50.113" UserId="398" Text="Water rushing underneath the grates of flood defences is certainly one of my favourite - a really nice pulsating churning sound that can sound amazing if recorded in stereo.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3065" PostHistoryTypeId="2" PostId="1673" RevisionGUID="5e867c13-2736-4076-ac49-1fbd1f94c7f8" CreationDate="2010-06-25T17:52:56.230" UserId="6411" Text="I recently started turning to my Axiom and Digi's Structure and NI's Absynth to do some design work. As it's all in the same box, the shift is more a mental one than a gear-based one." ContentLicense="CC BY-SA 2.5" />
  <row Id="3066" PostHistoryTypeId="2" PostId="1674" RevisionGUID="2f1b9dff-d691-489c-8c35-de41ad03f4a0" CreationDate="2010-06-25T18:06:45.110" UserId="14" Text="Prop planes from the 30s to 60s. That's a pretty final answer from me! Definitely my favourite sound. It's why I like The Sky Crawlers so much." ContentLicense="CC BY-SA 2.5" />
  <row Id="3067" PostHistoryTypeId="2" PostId="1675" RevisionGUID="9fe6cf10-7eae-40f7-bef6-2a568531a372" CreationDate="2010-06-25T18:06:59.447" UserId="109" Text="I am a big fan of nature and weather sounds. They are sometimes very difficult to properly record and are extremely calming to edit. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3068" PostHistoryTypeId="2" PostId="1676" RevisionGUID="6034b4d8-e664-41ab-b885-8ed5f6d26b12" CreationDate="2010-06-25T18:18:18.990" UserId="399" Text="Similar to people here, I love the sound of waterfalls (nature). Hoping to get out and record some soon!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3069" PostHistoryTypeId="2" PostId="1677" RevisionGUID="6305b60e-1c89-4cfa-ad24-28ff5dee1ba2" CreationDate="2010-06-25T19:20:13.930" UserId="253" Text="I remember, when i was a kid, it was definitely crinkly plastic or foil. That usually signified something full of sugar.&#xD;&#xA;&#xD;&#xA;Also, because it's summer, tonic water pouring into a glass full of ice. And gin, but you can't really hear that." ContentLicense="CC BY-SA 2.5" />
  <row Id="3070" PostHistoryTypeId="2" PostId="1678" RevisionGUID="53b1d97c-6076-447d-b30f-909cdc0d037f" CreationDate="2010-06-25T19:26:09.693" UserId="253" Text="That's a good response from Dave, although i'd like to add that what you learn about psychoacoustics and aural psychology will stay with you and help your creative process in the future. I'd love a chance to learn stuff about that!&#xD;&#xA;&#xD;&#xA;I don't think anyone will perceive you as too academic if you play it down. It may delay your starting out as a freelancer, but i think it'll be a great tool once you get started." ContentLicense="CC BY-SA 2.5" />
  <row Id="3071" PostHistoryTypeId="2" PostId="1679" RevisionGUID="c11b7483-fbae-44d8-8ee7-7994810f50b2" CreationDate="2010-06-25T19:34:19.360" UserId="378" Text="Easy. Vuvuzelas." ContentLicense="CC BY-SA 2.5" />
  <row Id="3072" PostHistoryTypeId="2" PostId="1680" RevisionGUID="ed785dc4-eede-4bcc-9e7c-b2479cadf778" CreationDate="2010-06-25T19:34:25.010" UserId="238" Text="Thunder may seem like an obvious choice but it is a phenomenon of nature that can produce some awesome sounds. The duration can vary immensely as can the timbre. Heard from a distance the low rumbles evoke a feeling of the impending. Heard at close range we feel the power of nature. And the low-end can really put your hairs on end. I once was about 50 meters from a strike and the sound literally tore the sky apart above my head - a really amazing tearing sound. Although the moment scared the hell out of me, the sound was something special.&#xD;&#xA;&#xD;&#xA;In terms of it's use in film, thunder is often overused and can appear very cliché. That said, it can be used effectively. But in terms of the actual sound itself I think it's definitely my favorite!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3073" PostHistoryTypeId="2" PostId="1681" RevisionGUID="bf78ff67-9f8b-4c97-b718-258f35d56679" CreationDate="2010-06-25T19:45:57.140" UserId="393" Text="I grew up, and now live, within 200 yards of a train track.  For most people, that's an annoyance, but for me, it's pure bliss.   I've learned to love graffiti from it, and it's also home to my favorite sound...  Trains.  Not train whistles, bells, or the engine, but the heavy sound of it just rolling along it's tracks.&#xD;&#xA;&#xD;&#xA;Sometimes at night, when I'm having trouble sleeping, I'll just lay in bed and hope for trains to pass." ContentLicense="CC BY-SA 2.5" />
  <row Id="3074" PostHistoryTypeId="2" PostId="1682" RevisionGUID="6fe8a0b1-cfa2-4e74-8654-a0a8af17dcc6" CreationDate="2010-06-25T20:07:38.600" UserId="378" Text="I use a keyboard (the Kork nano-key! I traded my big Novation for this tyke and don't regret it!) for synth stuff and sometimes Max/MSP control. But not often." ContentLicense="CC BY-SA 2.5" />
  <row Id="3076" PostHistoryTypeId="2" PostId="1684" RevisionGUID="cee1a86d-6fc5-4418-8053-738b0a2b38c7" CreationDate="2010-06-25T20:36:58.880" UserId="238" Text="Canal Plus in France has recently been promoting a new series called Carlos. The advert was very well produced in terms of sound design! I'm not sure exactly which agency did the sound but the ad agency was the giant, Euro RSCG, so they obviously had a fairly decent budget!&#xD;&#xA;&#xD;&#xA;    &lt;object id=&quot;iLyROoafvlEV&quot; type=&quot;application/x-shockwave-flash&quot; data=&quot;http://sll.kewego.com/swf/p3/epix.swf&quot; width=&quot;400&quot; height=&quot;300&quot;&gt;  &lt;param name=&quot;flashVars&quot; value=&quot;language_code=fr&amp;playerKey=51622196f0ba&amp;skinKey=&amp;sig=iLyROoafvlEV&amp;autostart=false&quot; /&gt;  &lt;param name=&quot;movie&quot; value=&quot;http://sll.kewego.com/swf/p3/epix.swf&quot; /&gt;  &lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot; /&gt;  &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot; /&gt;&lt;/object&gt;&#xD;&#xA;&#xD;&#xA;Whilst searching for the video I came across another very well made ad by Canal Plus that's great in terms of sound design and very funny at the same time! The clip is from youtube so it's out of sync and very compressed, but you get the idea...enjoy!&#xD;&#xA;&#xD;&#xA;    &lt;object width=&quot;480&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/yZTILiCksP4&amp;hl=en_US&amp;fs=1&amp;rel=0&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/yZTILiCksP4&amp;hl=en_US&amp;fs=1&amp;rel=0&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;480&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3077" PostHistoryTypeId="5" PostId="1684" RevisionGUID="4958cda7-ce0e-434d-b316-edf497a3f696" CreationDate="2010-06-25T20:43:33.513" UserId="238" Comment="tried to embed video but couldn't get embed code to work..." Text="Canal Plus in France has recently been promoting a new series called Carlos. The advert was very well produced in terms of sound design! I'm not sure exactly which agency did the sound but the ad agency was the giant, Euro RSCG, so they obviously had a fairly decent budget!&#xD;&#xA;&#xD;&#xA;http://series-tv.premiere.fr/News-video/VIDEO-Carlos-la-promo-explosive/(gid)/2314489&#xD;&#xA;&#xD;&#xA;Whilst searching for the video I came across another very well made ad by Canal Plus that's great in terms of sound design and very funny at the same time! The clip is from youtube so it's out of sync and very compressed, but you get the idea...enjoy!&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=yZTILiCksP4&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3078" PostHistoryTypeId="2" PostId="1685" RevisionGUID="5ff499c8-ced7-4341-b326-e5bd4b1f972e" CreationDate="2010-06-25T20:52:59.733" UserId="37" Text="I'll play the cynic. &#xD;&#xA;It's not what you know. It's who you know. &#xD;&#xA;Take the scholarship. It will be amazing." ContentLicense="CC BY-SA 2.5" />
  <row Id="3079" PostHistoryTypeId="2" PostId="1686" RevisionGUID="4db9c756-e250-4a9a-b838-a48fd50ffe89" CreationDate="2010-06-25T21:19:01.067" UserDisplayName="user80" Text="It is easy to test the drift between the two recordings, start and finish with a clapperboard.  Also do a test with the clapperboard, prior to recording on location, from different angles and you can then calculate the delay and compensate accordingly.  Just remember to do free-field (outdoor) tests or the results will be skewed.&#xD;&#xA;&#xD;&#xA;Personally I would hire the multi-track recorder, as matching mic pre-amps can be a real pain, you will find that there is a subtle difference in the EQ never mind the noise floor." ContentLicense="CC BY-SA 2.5" />
  <row Id="3080" PostHistoryTypeId="2" PostId="1687" RevisionGUID="6596aa37-d5e5-4ea6-b183-c4d733153a31" CreationDate="2010-06-25T23:12:00.797" UserId="390" Text="Take the scholarship!! If it helps any, I get a little sad when I see a job in audio that's very creative and speaks to the budding sound designer in me but requires programming knowledge. So, I think in the long run, this can only help you personally and professionally!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3081" PostHistoryTypeId="2" PostId="1688" RevisionGUID="220d774e-3efe-4dd0-9f03-23e85a52f90c" CreationDate="2010-06-25T23:17:08.883" UserId="390" Text="When it comes to messing with different tones, I use my keyboard when I fire up Absynth 5. But usually I step record a lot of the MIDI data with my trust lil mouse." ContentLicense="CC BY-SA 2.5" />
  <row Id="3082" PostHistoryTypeId="2" PostId="1689" RevisionGUID="8584c5c9-d203-492a-8bec-2f13622f84a0" CreationDate="2010-06-26T04:00:17.337" UserId="275" Text="Out of curiosity, what are you recording that two M/S setups are beneficial?  &#xD;&#xA;&#xD;&#xA;On the topic of using different recorders, I would highly recommend against it. The differences in sync, preamp sounds, etc will drive you bonkers. You're far better off using a 4 channel recorder with identical preamps. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3083" PostHistoryTypeId="2" PostId="1690" RevisionGUID="399135bb-9174-4a96-897e-49b1f8d17ff0" CreationDate="2010-06-26T06:18:04.827" UserId="6435" Text="My favorite sounding advert is whichever one I'm mixing at the moment!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3084" PostHistoryTypeId="2" PostId="1691" RevisionGUID="6575e674-08f5-49ff-b451-279a50305a46" CreationDate="2010-06-26T07:30:11.817" UserId="373" Text="+1 for basic midi keyboard and structure - its all ready to go and great for getting quick design ideas together." ContentLicense="CC BY-SA 2.5" />
  <row Id="3085" PostHistoryTypeId="2" PostId="1692" RevisionGUID="5f21982a-b198-44aa-9d69-45028155d9ef" CreationDate="2010-06-26T08:59:05.593" UserId="401" Text="Felt tip pen lid being popped off the end making a nice pop click sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="3086" PostHistoryTypeId="2" PostId="1693" RevisionGUID="82811165-3708-49e6-b6eb-c340df517aff" CreationDate="2010-06-26T09:59:42.517" UserId="219" Text="A **gas leak**, especially the one in *COD Modern Warfare 2* with a nice metallic reverb of the container (a tank in this case, but a pipe would be nice too)." ContentLicense="CC BY-SA 2.5" />
  <row Id="3087" PostHistoryTypeId="2" PostId="1694" RevisionGUID="b673c057-12e1-4f42-affa-dd66fd2e67f1" CreationDate="2010-06-26T11:22:01.290" UserId="261" Text="I can't go wrong with Ableton Sampler and an SL 49.&#xD;&#xA;Especially for morphing/flying/growing sounds it's great to twist knobs.&#xD;&#xA;Designing Sound has some great Jim Stout videos." ContentLicense="CC BY-SA 2.5" />
  <row Id="3088" PostHistoryTypeId="2" PostId="1695" RevisionGUID="4c8237ad-dc08-4c62-bc34-64f2215f6911" CreationDate="2010-06-26T11:23:59.463" UserId="182" Text="Aside from the fact that my favorite sound is music, for non-musical sounds the following spring to mind:&#xD;&#xA;&#xD;&#xA; - Thunder (as said above). As a kid I used to be frightened by it, but as my interest for sound grew, the fascination for thunder did as well.&#xD;&#xA; - Certain car engines. Sometimes coming very close to a mechanical version of thunder, the roar of for example a McLaren Mercedes SLR with its sidepipes, or the original Mustang Shelby GT500, also with sidepipes.&#xD;&#xA; - The various metal noises a cargo train can make when standing still for a moment like when the brakes engage or disengage on 40+ carriages at a time.&#xD;&#xA;&#xD;&#xA;With all these rather loud sounds in my head right now it's hard to think of quiet, subtle sounds that are also nice :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3090" PostHistoryTypeId="5" PostId="1686" RevisionGUID="6060d7ed-534e-4a6d-924a-8dab38399c7a" CreationDate="2010-06-26T15:13:02.850" UserDisplayName="user80" Comment="added 17 characters in body" Text="It is easy to test the drift between the two recordings, start and finish with a clapperboard.  Also do a test with the clapperboard, prior to recording on location, from different angles and you can then calculate the delay between the mics and compensate accordingly.  Just remember to do free-field (outdoor) tests or the results will be skewed.&#xD;&#xA;&#xD;&#xA;Personally I would hire the multi-track recorder, as matching mic pre-amps can be a real pain, you will find that there is a subtle difference in the EQ never mind the noise floor." ContentLicense="CC BY-SA 2.5" />
  <row Id="3092" PostHistoryTypeId="2" PostId="1697" RevisionGUID="59f2b902-cfc0-4d99-9a48-ada508e36cd7" CreationDate="2010-06-26T15:20:14.063" UserDisplayName="user80" Text="Gentle rhythmic breathing when someone is fast asleep, and gentle waves.  &#xD;&#xA;&#xD;&#xA;A common sound design trick is to speed either of them up to make the listener tense, and to slow them down to make the listener relax." ContentLicense="CC BY-SA 2.5" />
  <row Id="3093" PostHistoryTypeId="6" PostId="1671" RevisionGUID="a6fc31a8-c7c9-4413-8c6d-5ccada47ca18" CreationDate="2010-06-26T15:20:50.147" UserDisplayName="user80" Comment="Added tags" Text="&lt;favourite&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3094" PostHistoryTypeId="5" PostId="1425" RevisionGUID="d6546dc1-2a73-4297-bc8e-6e7eb0231226" CreationDate="2010-06-26T15:23:22.357" UserDisplayName="user80" Comment="added 1 characters in body" Text="How would one go about creating a parachute sound?&#xD;&#xA;&#xD;&#xA;I've tried flapping clothes in front of a microphone and processing them.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3095" PostHistoryTypeId="2" PostId="1698" RevisionGUID="cf8a7b57-0ee0-48ab-b192-35565b310511" CreationDate="2010-06-26T15:59:23.880" UserId="260" Text="My favorite sound is by far the sound of rain. &#xD;&#xA;&#xD;&#xA;When I was young, I had insomnia problems. &#xD;&#xA;My love for sound and facination for it, came from the fact that the tranquility of rain hitting the glass window - made me fall asleep. &#xD;&#xA;My mum bought me a recorder to record the sound of the rain hitting the window and inside of a car. I used to listen to the recordings when I couldn't sleep and sure enough, I fell asleep. When I edit takes of rain, I become very sleepy hehe.&#xD;&#xA;&#xD;&#xA;Other sounds would be birds and the reverb they can create while you're walking in a forest. Everything seems okay suddenly when you hear birds, and grim when you are not." ContentLicense="CC BY-SA 2.5" />
  <row Id="3096" PostHistoryTypeId="2" PostId="1699" RevisionGUID="249aef66-a9f5-4832-90b8-2b655cec5a0f" CreationDate="2010-06-26T16:02:51.417" UserId="393" Text="I've never been skydiving, so my only experience to it's sound is what I've seen other sound designers do.&#xD;&#xA;&#xD;&#xA;My initial thought was, for the pop of the chute opining, to use the pop of a plastic bag as you swing it downward, filling it with air (I honestly didn't know how to explain that), then pitch it down." ContentLicense="CC BY-SA 2.5" />
  <row Id="3097" PostHistoryTypeId="2" PostId="1700" RevisionGUID="9a53f7a2-c040-4692-b169-ac6b1beca957" CreationDate="2010-06-26T18:18:11.670" UserId="219" Text="Well, Ric Viers made it and says it in his book *The Sound Effects Bible*. I see one way to go about it: get out there and start doing it. I guess you'd find some sort of specialisation after a while (just like Charles Maynes specialises in weapons recordings).&#xD;&#xA;&#xD;&#xA;The first thing will be to start making sounds. You need a mic, a recorder and some sort of DSP environment and as you go you'll build up your gear and get a wider understanding and knowledge of it.&#xD;&#xA;&#xD;&#xA;The next thing is to sell them. With sources like Soundsnap and Sounddogs, or libraries like the ones that are around today, you'd need to be either recognized or fairly competitive to be mildly successful.&#xD;&#xA;&#xD;&#xA;I don't know how successful this can get. The way Viers puts it makes it sound like it was an easy thing to do... But it was more than 10 years ago! I'd say: use of your free time and start taunting the fish!&#xD;&#xA;&#xD;&#xA;Consider starting this with someone else you trust, it's healthier and you'll certainly get encouraging results faster! And you'll find out earlier whether it's going to work." ContentLicense="CC BY-SA 2.5" />
  <row Id="3099" PostHistoryTypeId="2" PostId="1702" RevisionGUID="b3154b19-6fd3-43f6-ac96-489207082ee1" CreationDate="2010-06-26T20:28:07.817" UserId="403" Text="sorry to have to ask but... need help please :)&#xD;&#xA;&#xD;&#xA;1 x Shure Beta 87A mic... check...1 x UX1 interface with software installed... check... &#xD;&#xA;&#xD;&#xA;trying to get mic feed right and not winning!!! Arrrggggg!!! Usb input into my Mac from UX1...POD Farm installed, mic in correctly to mic input on UX1, but still no mic signal coming through... &#xD;&#xA;&#xD;&#xA;Any assistance would be greatly appreciated.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Tamsin." ContentLicense="CC BY-SA 2.5" />
  <row Id="3100" PostHistoryTypeId="1" PostId="1702" RevisionGUID="b3154b19-6fd3-43f6-ac96-489207082ee1" CreationDate="2010-06-26T20:28:07.817" UserId="403" Text="Problem with Mic sound not coming through using UX1 interface" ContentLicense="CC BY-SA 2.5" />
  <row Id="3101" PostHistoryTypeId="3" PostId="1702" RevisionGUID="b3154b19-6fd3-43f6-ac96-489207082ee1" CreationDate="2010-06-26T20:28:07.817" UserId="403" Text="&lt;microphone&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3103" PostHistoryTypeId="2" PostId="1704" RevisionGUID="2976bfce-351d-4c7c-9315-09a0fc431aa1" CreationDate="2010-06-26T21:28:02.147" UserId="404" Text="The 87A is a condenser and requires phantom power. UX1 does not provide phantom." ContentLicense="CC BY-SA 2.5" />
  <row Id="3105" PostHistoryTypeId="2" PostId="1705" RevisionGUID="11471b1c-d361-4444-addc-9951331d9836" CreationDate="2010-06-27T01:21:59.533" UserId="361" Text="I am staring work on a full length feature, and one of the main characters is prone to anxiety/panic attacks. Can people help me compile a quick reference list of their favorite uses of this sort of sound design in film. &#xD;&#xA;&#xD;&#xA;ie. when a character is freaking out internally because of a strong emotional moment, so the external noise is either heightened, deadened, or some other brilliant option, depending on the design. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3106" PostHistoryTypeId="1" PostId="1705" RevisionGUID="11471b1c-d361-4444-addc-9951331d9836" CreationDate="2010-06-27T01:21:59.533" UserId="361" Text="Good examples of internal conflict in film, using sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="3107" PostHistoryTypeId="3" PostId="1705" RevisionGUID="11471b1c-d361-4444-addc-9951331d9836" CreationDate="2010-06-27T01:21:59.533" UserId="361" Text="&lt;film&gt;&lt;sound-design&gt;&lt;creative-inspiration&gt;&lt;reference&gt;&lt;examples&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3108" PostHistoryTypeId="2" PostId="1706" RevisionGUID="4e7167c5-4b3c-4405-9312-f1bf9cc2fa29" CreationDate="2010-06-27T01:27:42.300" UserId="361" Text="I have real soft spot for: &#xD;&#xA;&#xD;&#xA;-any kind of metal lighter. More in the zippo family than a bic. &#xD;&#xA;&#xD;&#xA;-squeaky bottle corks going in and getting popped out" ContentLicense="CC BY-SA 2.5" />
  <row Id="3111" PostHistoryTypeId="2" PostId="1709" RevisionGUID="4b17ba6f-df3c-41ef-bc1c-3b0def529517" CreationDate="2010-06-27T05:24:47.067" UserId="36" Text="I can't think of any specific scenes, but Fight Club or Donnie Darko could have some moments of inspiration.&#xD;&#xA;&#xD;&#xA;The scene in Jarhead where the narrator states that his 'combat action has commenced', is well done, almost complete silence, but i'm not sure it really fits what you're asking. I imagine silence + internal sounds like heavy breathing &amp; heart beating would work." ContentLicense="CC BY-SA 2.5" />
  <row Id="3112" PostHistoryTypeId="2" PostId="1710" RevisionGUID="42ce6afb-7053-4f99-9a33-4efabff33e48" CreationDate="2010-06-27T06:17:31.983" UserId="390" Text="Inglorious Basterds has some great sound design that's heavily influenced by music. One scene has Shoshanna/Emmanuelle Mimieux forced to have dessert with Nazi hunter Hanz Landa while he interrogates her. This is the first time she's seen him since he slaughtered her entire family when she was a young girl. He drops hints to Shoshanna that he's on to her ruse as the new &quot;Emmanuelle Mimieux&quot;, owner of a quaint movie house that will play host to Hitler's presentation of Goebbels' latest Nazi propaganda filmTarantino uses the song Bath Attack by Charles Bernstein (I think that's the song). The song represented her inner turmoil as she tries very hard to enjoy a strudel (Attendez la creme!) with this cold and vicious murderer." ContentLicense="CC BY-SA 2.5" />
  <row Id="3113" PostHistoryTypeId="2" PostId="1711" RevisionGUID="071b1e94-b250-4243-9424-0540d6dbe46f" CreationDate="2010-06-27T08:44:35.600" UserId="62" Text="Pi has some great sound design work. Its primary function is to portray the effect of the protagonist's migraine attacks." ContentLicense="CC BY-SA 2.5" />
  <row Id="3114" PostHistoryTypeId="2" PostId="1712" RevisionGUID="63e3953f-1adc-45d2-88bb-9a06a520f294" CreationDate="2010-06-27T10:28:42.937" UserId="2" Text="I sort of felt the same thing. I had spend so much time on the computer, and the physicality was lost. That's when I got a bit into physical computing, a little of circuit bending and lots of field recording. I still love doing software stuff, so I won't give that up quite yet :-) &#xD;&#xA;&#xD;&#xA;The way I have combined this is by building physical devices as an interface for stuff I programme in Max/MSP... I use motion tracking, sensors, buttons, etc. To me, it doesn't have to be one or the other, but rather a pick of the best of both worlds. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3115" PostHistoryTypeId="2" PostId="1713" RevisionGUID="764891f4-df27-4596-bf0d-016b308855e1" CreationDate="2010-06-27T10:35:33.820" UserId="2" Text="![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://lithe.files.wordpress.com/2008/05/nike-just-do-it.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3116" PostHistoryTypeId="2" PostId="1714" RevisionGUID="27cdc32a-f925-4cda-9c8c-e665ba097c6c" CreationDate="2010-06-27T11:20:41.370" UserId="219" Text="About SFX recordings, I've read a lot on here. About mics too. I still am surprised not to find anything on the Oktava being used for SFX. I'm in a situation where I have a bit of money, but not so much. Just bought a pair of Adam A7's and now I want a cardioid condenser mic.&#xD;&#xA;&#xD;&#xA;I've been told and I believe cardioid is good for SFX recordings so you can capture the bigness of the sounds (yes I did try recording a door slam with a shotgun, everyone makes mistakes! especially me...). I could even get a pair and have a stereo setup that XY at 90º just like at 120º.&#xD;&#xA;&#xD;&#xA;Now, the Rode NT4 is widely praised, so what's the advantages/inconvenients of a stereo pair of cardios VS a stereo mic? The stereo pair has definitely more uses and not only as a stereo pair.&#xD;&#xA;&#xD;&#xA;Please tell me what you think. Alternatives?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3117" PostHistoryTypeId="1" PostId="1714" RevisionGUID="27cdc32a-f925-4cda-9c8c-e665ba097c6c" CreationDate="2010-06-27T11:20:41.370" UserId="219" Text="Oktava MK-012 as a SFX recording mic?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3118" PostHistoryTypeId="3" PostId="1714" RevisionGUID="27cdc32a-f925-4cda-9c8c-e665ba097c6c" CreationDate="2010-06-27T11:20:41.370" UserId="219" Text="&lt;sound-effects-recording&gt;&lt;stereo&gt;&lt;microphone&gt;&lt;microphone-positioning&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3119" PostHistoryTypeId="2" PostId="1715" RevisionGUID="efbfe236-0540-4cac-98ca-42737ad8742e" CreationDate="2010-06-27T11:55:24.780" UserId="331" Text="When Frodo is under the Rings influence in the Lord of the Rings Films - obviously there's the voice of the 'ring' or the firey eye visuals going on in places but there's other spots when he's just feeling 'something', mainly anxiety or panic " ContentLicense="CC BY-SA 2.5" />
  <row Id="3120" PostHistoryTypeId="2" PostId="1716" RevisionGUID="eb481a41-0bed-4b96-ad6e-135c58e3c687" CreationDate="2010-06-27T12:28:40.703" UserId="103" Text="I don´t own either(unfortunatly) but i really like the oktavas and the rode.&#xD;&#xA;The oktavas sound really good, are physically small, and you can get a ton&#xD;&#xA;of different capsules. And if you can, you can always do the michael joly&#xD;&#xA;mod ([here][1])that puts them in a whole different level.&#xD;&#xA;&#xD;&#xA;I like the rode nt4 a lot to , as its easy to set up and to fit in a zeppelin&#xD;&#xA;although i never found rings that fit it perfectly, i had a pair of square rings&#xD;&#xA;to use with just the nt4, but i had to &quot;shove&quot; the mike in them and couldn´t ever&#xD;&#xA;quite relax or tilt it to much. Its also a heavy mike, and of course it has a fixed&#xD;&#xA;XY position. That said neither of these details would put me off using it.&#xD;&#xA;&#xD;&#xA;If i could choose one, personally i would go with the oktavas for the versatility.&#xD;&#xA;&#xD;&#xA;  [1]: http://oktavamod.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3121" PostHistoryTypeId="2" PostId="1717" RevisionGUID="9beb635d-6b6c-468f-addd-df43f1bec002" CreationDate="2010-06-27T13:56:52.250" UserId="62" Text="Good example. At the start of Return of the King we hear a screaming sound (not literally) when Smeagol kills his friend. Similar idea to The Godfather when Michael Corleone kills Sollozzo in the restaurant. The trains outside the building is actually Michael's emotions screaming as he is dragged into the mob way of life. &#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=1kTQFyMRSXk][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=1kTQFyMRSXk" ContentLicense="CC BY-SA 2.5" />
  <row Id="3122" PostHistoryTypeId="2" PostId="1718" RevisionGUID="0a768c9f-f91f-455e-b7d0-c17fede644dd" CreationDate="2010-06-27T16:06:33.593" UserId="312" Text="i need something similar to the MetaSynth , for PC daw, any recomendations??? i realy like MetaSynth, too bad that is not for pc" ContentLicense="CC BY-SA 2.5" />
  <row Id="3123" PostHistoryTypeId="1" PostId="1718" RevisionGUID="0a768c9f-f91f-455e-b7d0-c17fede644dd" CreationDate="2010-06-27T16:06:33.593" UserId="312" Text="MetaSynth 4 Pro" ContentLicense="CC BY-SA 2.5" />
  <row Id="3124" PostHistoryTypeId="3" PostId="1718" RevisionGUID="0a768c9f-f91f-455e-b7d0-c17fede644dd" CreationDate="2010-06-27T16:06:33.593" UserId="312" Text="&lt;recommendations&gt;&lt;sound-design&gt;&lt;sound-effects&gt;&lt;mix&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3125" PostHistoryTypeId="2" PostId="1719" RevisionGUID="d6666687-b4fb-4be2-a9ea-227e691ab830" CreationDate="2010-06-27T17:29:06.943" UserId="405" Text="Last month I searched like you something similar for PC.&#xD;&#xA;Nothing compares 100 % to Metasynth.&#xD;&#xA;&#xD;&#xA;The first thing I would try is  photosounder.&#xD;&#xA;http://photosounder.com/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;atmogen  http://www.sonorouscodes.net/&#xD;&#xA;There`s a demoversion in english.&#xD;&#xA;You can do many things with this demo version.&#xD;&#xA;Great prg, but don`t know if the company still in business.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Audiopaint    free prg&#xD;&#xA;&#xD;&#xA;coagala     free prg&#xD;&#xA;&#xD;&#xA;Reinhard&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3126" PostHistoryTypeId="2" PostId="1720" RevisionGUID="c803220b-96fc-440c-bebd-8c9863a3be3c" CreationDate="2010-06-27T20:14:49.253" UserId="372" Text="I am just learning more about the sound design field and want to teach myself before I start hacking out money for school. I was just wondering if anyone has any recommendations for a beginning field recording setup and maybe some recommendations for post as well such as software and mixers or what not. Nothing to fancy just the basics so I can learn the basics." ContentLicense="CC BY-SA 2.5" />
  <row Id="3127" PostHistoryTypeId="1" PostId="1720" RevisionGUID="c803220b-96fc-440c-bebd-8c9863a3be3c" CreationDate="2010-06-27T20:14:49.253" UserId="372" Text="Reccomendations for a begginer setup" ContentLicense="CC BY-SA 2.5" />
  <row Id="3128" PostHistoryTypeId="3" PostId="1720" RevisionGUID="c803220b-96fc-440c-bebd-8c9863a3be3c" CreationDate="2010-06-27T20:14:49.253" UserId="372" Text="&lt;reccomendations&gt;&lt;field&gt;&lt;recording&gt;&lt;hardware&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3129" PostHistoryTypeId="2" PostId="1721" RevisionGUID="1f92d5bc-90d7-4385-9326-624db692d14b" CreationDate="2010-06-27T20:44:44.147" UserId="390" Text="Grab yourself a Handy Zoom H2 Recorder. It's a small and easy to use recorder. If you want, you could keep it on you at all times in case you wanted to record something interesting right away. For example, if you're stuck in a huge traffic jam and everyone is honking their horns, you could be the guy with the hand outside the window holding his H2 above the roof recording all that chaos on 4 channels.&#xD;&#xA;&#xD;&#xA;Having just graduated, I'd say school is probably great for meeting with other like-minded individuals and finding projects to work on easier than scouring Craigslist or Mandys for a free job. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3130" PostHistoryTypeId="2" PostId="1722" RevisionGUID="90648b65-f2a2-49e6-a68a-16203b0237be" CreationDate="2010-06-27T21:01:33.673" UserId="373" Text="Punch Drunk Love has some great sound design when the central character loses his temper. Theres some great stuff in Elephant when the high school shooter is planning his route out in the school canteen. Also the tension that is built through the entire narrative in There Will Be Blood, as Day Lewis steadily loses the plot....." ContentLicense="CC BY-SA 2.5" />
  <row Id="3131" PostHistoryTypeId="5" PostId="1720" RevisionGUID="217a96f0-5ad8-44e6-bf19-963a3f5b1fff" CreationDate="2010-06-27T21:44:57.273" UserId="372" Comment="added 83 characters in body; edited tags" Text="I am just learning more about the sound design field and plan on going to school for it (1 year away from earning bachelors in English) but want to teach myself before I start hacking out money for school. I was just wondering if anyone has any recommendations for a beginning field recording setup and maybe some recommendations for post as well such as software and mixers or what not. Nothing to fancy just the basics so I can learn the basics." ContentLicense="CC BY-SA 2.5" />
  <row Id="3132" PostHistoryTypeId="6" PostId="1720" RevisionGUID="217a96f0-5ad8-44e6-bf19-963a3f5b1fff" CreationDate="2010-06-27T21:44:57.273" UserId="372" Comment="added 83 characters in body; edited tags" Text="&lt;reccomendations&gt;&lt;field-recording&gt;&lt;microphone&gt;&lt;software&gt;&lt;hardware&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3133" PostHistoryTypeId="2" PostId="1723" RevisionGUID="cb9fc589-de7a-4031-8896-c37af71a02a2" CreationDate="2010-06-27T23:31:22.617" UserId="324" Text="In most situations, you are going to require a mono mic. The NT4 is a great stereo mic for the price, and I am sure you could use one of the capsules specifically to get a mono sound. I have heard some people say that they record stereo and simply bounce the left and right together. In most cases, this is a bad idea. Unless you want extra reflections that create phase issues when summed together.&#xD;&#xA;&#xD;&#xA;I would concentrate on a good mono mic or a stereo pair, so you can pick and adjust the image yourself. I have a pair of MXL 603S's (the mogami version), that coast $80 for with the shockmounts and a little case. The guy I bought them from did the marrick mod to them, and they sound amazing. I never would have thought the such an inexpensive pair would work so well. http://www.prodigy-pro.com/diy/index.php?topic=5156.0&#xD;&#xA;&#xD;&#xA;I even used them on a choir recording session, and they were amazing on harmonically rich content as well as SFX recording. &#xD;&#xA;&#xD;&#xA;Here is a link to the omni caps for them as well, the price just cant be beat.&#xD;&#xA;&#xD;&#xA;http://www.frontendaudio.com/MXL-603-604-Omni-Caps-p/9659.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="3134" PostHistoryTypeId="2" PostId="1724" RevisionGUID="6876814a-dc5a-4322-b4f5-aa113bc77287" CreationDate="2010-06-28T00:00:39.187" UserId="219" Text="Then if you have a spare **£180** you could invest it in an **MBox 2 Mini with Pro Tools LE**. All the plugins that come with it will serve your education and you can do great stuff with! As a side note, I've had a better experience with Pro Tools on Mac than on Windows. Although I never tried running it on my 64bits Win 7 machine!&#xD;&#xA;&#xD;&#xA;What system do you have?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3135" PostHistoryTypeId="2" PostId="1725" RevisionGUID="8507586d-731b-435a-9991-fe4e342d349f" CreationDate="2010-06-28T03:19:55.837" UserId="29" Text="Hi, Justin! I own an Oktava MK-012, with omni, cardioid, and hypercardioid capsules. Mine was modded by [Michael Joly][1], so it's less noisy than stock ones. (Be sure you never get an MC-012, those tend to be Chinese knock-offs.)&#xD;&#xA;&#xD;&#xA;The MK-012 is best known as a low-cost condenser for use in the studio and for dialog. It's often called &quot;the poor man's Schoeps,&quot; but in my opinion, there's no comparison. Now, that said, it *does* deliver big bang for not a lotta dosh. I was about to say what I think it's good at, but then realized that everyone's got their own opinion. Remember: It won't sound like a $2000 mic. But, you might find that it sounds better than a $250 mic. (Yeesh. *That* was vague.)&#xD;&#xA;&#xD;&#xA;What's not up for debate are its frequency characteristics. The omni capsule is kinda flat, the cardioid has a big high frequency dip, and the hyper even more so. That's not unusual for condensers of those patterns. However, it's pronounced when you A/B the modules.&#xD;&#xA;&#xD;&#xA;I think that MK-012's are great tools for most professionals, even if it's simply to have a decent condenser mic that's &quot;expendable&quot; compared to higher-end models. I've attached mine to all sorts of sketchy mounts and moving objects without fear. I have absolutely used it in effects gathering, and on the human voice. However, for my personal taste, the noise floor is too high for subtle effects gathering, even with the Joly modifications...too much hiss. For louder sound objects, it's just fine (the 3-capsule kit usually comes with a -10dB pad).&#xD;&#xA;&#xD;&#xA;I also own a Røde NT4. If I were going to do XY recording of natural ambiences (birdsong, crickets, etc.), it'd be no contest: NT4 for the win. Even if I were to do A-B or Jecklin Disc recordings for that same use, I'd probably even then get two Røde NT5's instead of an MK-012 (options would be way wider at higher budgets). If I was gonna put a condenser downrange of a gun, get some warm vocal tones, record bright cymbals, mount it to a vehicle - but *still* wanted good sound and not some throw-away mic - the MK-012 would get some use.&#xD;&#xA;&#xD;&#xA;Just one person's opinion, though!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.oktavamodshop.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3136" PostHistoryTypeId="2" PostId="1726" RevisionGUID="cde0ea1a-19ec-4904-83a9-406b7e1f0fba" CreationDate="2010-06-28T03:32:28.977" UserId="29" Text="Justin's approach is a good one on the desktop/PC/Mac side of things. For better or worse, ProTools is the standard.&#xD;&#xA;&#xD;&#xA;I just spent a weekend with a bunch of nature recordists and two devices came to their minds when asked this very same question about field recorders: The Olympus LS11 and the Sony PCM-M10. This is a very critical group of folks who are all about the lowest-noise gear at the best value points. Me, I really don't care for the LS11, but the M10 is getting pretty good reviews, especially against its main competitor, the Zoom H2 (which I own and have grown dissatisfied with its sound quality - an M10 looks like a solid alternative).&#xD;&#xA;&#xD;&#xA;If you're looking to go really cheap, you should make an early call as to not just what you want to record, generally (IMHO, this is way more important than knowing what specific specs you want to chase/aim for), but also whether you want a recorder with an external mic or a built-in one. The all-in-ones - Zoom H2 &amp; H2n, Sony PCM-M10 and D50, et multiple cetera - give you major bang for your buck by putting it all in one package, but professionals usually prefer the flexibility and quality of external mics and a separate recorder, but the price curve there starts to get steep. That said, I am sure *many* on this board have both an all-in-one and a more serious rig, just so that one is never without a recorder for surprise spot effects, so even a small all-in-one might be a longer-term investment. That kind of immediacy *always* has a place.&#xD;&#xA;&#xD;&#xA;If you want to use external mics eventually, then you need to compare prices and features and determine if you want to get an all-in-one with preamps (which will be noisy, to varying degrees, based on the brand and model) or if you want to get an external preamp (like those made by Sound Devices, widely regarded as a standard for, uh, general awesomeness) that'd just run into the line input on your recorder.&#xD;&#xA;&#xD;&#xA;None of this advice really holds if you want to do production sound of any sort, but if you want to start collecting your own sound, it's a good place to start. At the end of the day, though, don't forget that you can rent or borrow this stuff - you don't need to buy in order to start building your collection and recording in the field!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3137" PostHistoryTypeId="5" PostId="1720" RevisionGUID="36c2a4bd-76d5-4b48-8bcb-23d33726d947" CreationDate="2010-06-28T06:44:40.243" UserDisplayName="user80" Comment="Spelling corrections" Text="I am just learning more about the sound design field and plan on going to school for it (1 year away from earning bachelors in English) but want to teach myself before I start hacking out money for school. I was just wondering if anyone has any recommendations for a beginning field recording setup and maybe some recommendations for post as well such as software and mixers or what not. Nothing too fancy just the basics so I can learn the basics." ContentLicense="CC BY-SA 2.5" />
  <row Id="3138" PostHistoryTypeId="4" PostId="1720" RevisionGUID="36c2a4bd-76d5-4b48-8bcb-23d33726d947" CreationDate="2010-06-28T06:44:40.243" UserDisplayName="user80" Comment="Spelling corrections" Text="Recommendations for a beginner setup" ContentLicense="CC BY-SA 2.5" />
  <row Id="3139" PostHistoryTypeId="5" PostId="1714" RevisionGUID="018340d1-3213-446e-9b3e-7180a5b293e2" CreationDate="2010-06-28T08:14:29.420" UserId="219" Comment="added 158 characters in body; added 13 characters in body; edited title" Text="About SFX recordings, I've read a lot on here. About mics too. I still am surprised not to find anything on the Oktava being used for SFX. I'm in a situation where I have a bit of money, but not so much. Just bought a pair of Adam A7's and now I want a cardioid condenser mic.&#xD;&#xA;&#xD;&#xA;I've been told and I believe cardioid is good for SFX recordings so you can capture the bigness of the sounds (yes I did try recording a door slam with a shotgun, everyone makes mistakes! especially me...). I could even get a pair and have a stereo setup that XY at 90º just like at 120º.&#xD;&#xA;&#xD;&#xA;Now, the Rode NT4 is widely praised, so what's the advantages/inconvenients of a stereo pair of cardios VS a stereo mic? The stereo pair has definitely more uses and not only as a stereo pair.&#xD;&#xA;&#xD;&#xA;Please tell me what you think. Alternatives?&#xD;&#xA;&#xD;&#xA;EDIT: Alternatives to the MK-012 for SFX recording (suggested in this thread or found somewhere else on the net):&#xD;&#xA;&#xD;&#xA; - AT3031 (discontinued)&#xD;&#xA; - Rode NT5&#xD;&#xA; - MXL 603S" ContentLicense="CC BY-SA 2.5" />
  <row Id="3140" PostHistoryTypeId="4" PostId="1714" RevisionGUID="018340d1-3213-446e-9b3e-7180a5b293e2" CreationDate="2010-06-28T08:14:29.420" UserId="219" Comment="added 158 characters in body; added 13 characters in body; edited title" Text="Oktava MK-012 as a SFX recording mic? Alternatives?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3141" PostHistoryTypeId="2" PostId="1727" RevisionGUID="ff78f9a1-63a3-4507-8e82-ce5edfcc16f0" CreationDate="2010-06-28T08:35:07.297" UserId="62" Text="I agree with all of the above.&#xD;&#xA;&#xD;&#xA;You could consolidate your options though to save money (if that's a major issue). If you bought an MBox Mini then with the addition of a laptop you have a setup that you can take out to record sound but can also do any post work on too.&#xD;&#xA;&#xD;&#xA;ProTools is pretty much the standard in post so the sooner you learn it the more chance you'll have to finding work. I use ProTools for sound but I started out using Cubase. Once you know one sequencer then you really know them all. The principles are the same.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="3142" PostHistoryTypeId="5" PostId="1714" RevisionGUID="0c8804ab-9802-40ce-9b12-c81159105c86" CreationDate="2010-06-28T09:00:52.207" UserDisplayName="user80" Comment="Grammar and added tag" Text="About SFX recordings, I've read a lot on here. About mics too. I still am surprised not to find anything on the Oktava being used for SFX. I'm in a situation where I have a bit of money, but not so much. Just bought a pair of Adam A7's and now I want a cardioid condenser mic.&#xD;&#xA;&#xD;&#xA;I've been told and I believe cardioid is good for SFX recordings so you can capture the bigness of the sounds (yes I did try recording a door slam with a shotgun, everyone makes mistakes! especially me...). I could even get a pair and have a stereo setup that XY at 90º just like at 120º.&#xD;&#xA;&#xD;&#xA;Now, the Rode NT4 is widely praised, so what's the advantages/disadvantages of a stereo pair of cardioids vs. a stereo mic? The stereo pair has definitely more uses and not only as a stereo pair.&#xD;&#xA;&#xD;&#xA;Please tell me what you think. Alternatives?&#xD;&#xA;&#xD;&#xA;EDIT: Alternatives to the MK-012 for SFX recording (suggested in this thread or found somewhere else on the net):&#xD;&#xA;&#xD;&#xA; - AT3031 (discontinued)&#xD;&#xA; - Rode NT5&#xD;&#xA; - MXL 603S" ContentLicense="CC BY-SA 2.5" />
  <row Id="3143" PostHistoryTypeId="6" PostId="1714" RevisionGUID="0c8804ab-9802-40ce-9b12-c81159105c86" CreationDate="2010-06-28T09:00:52.207" UserDisplayName="user80" Comment="Grammar and added tag" Text="&lt;sound-effects-recording&gt;&lt;stereo&gt;&lt;microphone&gt;&lt;microphone-positioning&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3144" PostHistoryTypeId="2" PostId="1728" RevisionGUID="21933fca-e232-4233-86bd-e15aab4dd069" CreationDate="2010-06-28T10:36:55.053" UserId="270" Text="Pro Tools is standard for film post sound, but i dont think there is any single standard bit of software for field recording or sound design.&#xD;&#xA;&#xD;&#xA;Learning Pro Tools would be very useful, as others have said the basics of sequencers are similar across the board, so once you have learnt one you can learn how to use others quickly.&#xD;&#xA;&#xD;&#xA;If you havent already got an audio editor I suggest Audacity, its free!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3146" PostHistoryTypeId="5" PostId="1728" RevisionGUID="3c6e100e-0a47-493d-be6b-89fa9160872d" CreationDate="2010-06-28T14:20:19.867" UserDisplayName="user80" Comment="Grammar" Text="Pro Tools is standard for film post sound, but I don't think there is any single standard bit of software for field recording or sound design.&#xD;&#xA;&#xD;&#xA;Learning Pro Tools would be very useful, as others have said the basics of sequencers are similar across the board, so once you have learnt one you can learn how to use others quickly.&#xD;&#xA;&#xD;&#xA;If you haven't already got an audio editor I suggest Audacity, its free!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3147" PostHistoryTypeId="2" PostId="1729" RevisionGUID="e9ed305a-61d5-4ff7-b555-ba6e39e43df5" CreationDate="2010-06-28T15:19:02.827" UserId="331" Text="I've been using Pro Tools for the last 9 years, was the first DAW I ever used and love it BUT when you balance up value for money, some of the plugins within Logic are fantastic and have no 'free' alternative within ProTools LE.  I've never used Logic but its on the list of things to explore.&#xD;&#xA;&#xD;&#xA;Also, Reaper is another great program, its stable and the cheapest of the bunch - has some pretty cool plugs too.  I use it a lot for sound design and virtual instruments&#xD;&#xA;&#xD;&#xA;One of these programs and a small portable recorder and your on your way&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3148" PostHistoryTypeId="2" PostId="1730" RevisionGUID="3853b07e-9afe-4fc1-9d68-9351252e8436" CreationDate="2010-06-28T17:46:02.533" UserId="90" Text="[Adobe Audition 3][1] does the sound-to-image-to-sound thing, and lets you do effects in the time-frequency plane using the lasso tool.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.adobe.com/products/audition/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3149" PostHistoryTypeId="2" PostId="1731" RevisionGUID="94cc8556-3af6-4d71-b1ba-6dca3141ef08" CreationDate="2010-06-28T18:22:37.547" UserId="219" Text="I'm after your experience here. Is there **any known issues** with Pro Tools on Windows? I'm considering selling my Mac but I need to be sure that Pro Tools will **run just as well** on my PC.&#xD;&#xA;&#xD;&#xA;I have very little time to experiment myself, hence this post. I'll be experimenting in the next few days, but I won't have time to come across all the potential problems there might exist.&#xD;&#xA;&#xD;&#xA;Thanks in advance for your help!&#xD;&#xA;&#xD;&#xA;PS: we're not talking specs here, rather plugins and overall system stability." ContentLicense="CC BY-SA 2.5" />
  <row Id="3150" PostHistoryTypeId="1" PostId="1731" RevisionGUID="94cc8556-3af6-4d71-b1ba-6dca3141ef08" CreationDate="2010-06-28T18:22:37.547" UserId="219" Text="Pro Tools on Windows vs. Mac: Any difference?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3151" PostHistoryTypeId="3" PostId="1731" RevisionGUID="94cc8556-3af6-4d71-b1ba-6dca3141ef08" CreationDate="2010-06-28T18:22:37.547" UserId="219" Text="&lt;pro-tools&gt;&lt;windows&gt;&lt;mac&gt;&lt;platform&gt;&lt;performance&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3154" PostHistoryTypeId="2" PostId="1733" RevisionGUID="e088d059-c3e5-4559-a9be-0891b00d6b64" CreationDate="2010-06-28T19:29:33.993" UserId="398" Text="It might sound an odd thing to say but professional quality minidisc equipment still rates well in sound quality and can be picked up for very reasonable prices on eBay. For a beginners setup I'd say it's ideal, (although not the best for portability). For a longer term investment get a flash recorder - the Sony ones are really well built, buy a Nagra if your really serious. Head over to microphonemadness.com and pick up a stereo pair of BSM-9s if you want a good omnidirectional mic- VERY reasonably priced. &#xD;&#xA;&#xD;&#xA;If you want to learn about the properties of sound and a valuable skill at the same time I'd suggest downloading MAX/Msp and go through the MSP tutorials (at least to see if it's for you).&#xD;&#xA;&#xD;&#xA;Don't worry too much about which DAW you use, just get an overview of a few of them (enough to make sure you could adapt if needed later on). They all do pretty much the same job. I've heard of professional sound recordists using Nuenedo, Cubase and even Audacity." ContentLicense="CC BY-SA 2.5" />
  <row Id="3155" PostHistoryTypeId="2" PostId="1734" RevisionGUID="e6620c35-8a8e-4edf-bcc7-2e5e297a689e" CreationDate="2010-06-28T19:46:48.130" UserId="331" Text="I presume you've tried looking in the DUC http://duc.digidesign.com/&#xD;&#xA;If there's issues with plugin compatibility or general bugs that are found, people are generally pretty quick at posting and letting others know.  There's different forums for both HD/LE or PC/Mac&#xD;&#xA;&#xD;&#xA;I've installed LE and HD on both Mac and PC's, Mac is easier to install, less fiddly and had less hitches.  In use, it all depends on how you set up your system - a badly configured computer isn't going to run software perfectly.  &#xD;&#xA;&#xD;&#xA;Personally, mac installations are preferred. The Hardware is designed for each other so theirs no conflicts with drivers etc, its rock-solid running 24hrs a day and the OS is regularly updated.  Theres a few plugins that are PC only but likewise, theres some that are Mac only so do a quick check on what you have/might need whichever way you decide.&#xD;&#xA;&#xD;&#xA;Don't forget the general user experience - do you prefer Finder to Explorer and the other 'general' programs you'll use day-in, day-out.  Since you've been using a mac, how long will it take to adjust key-commands to the pc layout etc - could be a bitch if your mid-project.&#xD;&#xA;&#xD;&#xA;No doubt there is a cost difference between mac/pc but (in my opinion), mac's are actually the better value in the long run.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="3156" PostHistoryTypeId="2" PostId="1735" RevisionGUID="960e6d76-f3e8-49a3-8d99-bc8097ef2333" CreationDate="2010-06-28T20:23:28.740" UserId="109" Text="I will add a +10 for mac here. &#xD;&#xA;&#xD;&#xA;I have been a &quot;PC&quot; guy and even &quot;anti-mac&quot; for most of my life. To make a long story short. I fought and fought with many PCs when starting my career in post audio. I lost months and months of work due to faulty software , drivers and hardware. Some may thing it was human error but I beg to differ. &#xD;&#xA;&#xD;&#xA;The mac is just so easy to use and is rock solid. When you have clients counting on you to deliver a product and there are tens of thousands of dollars on the line what would you rather? It really comes down to can you deliver with the tools you choose. &#xD;&#xA;&#xD;&#xA;I would also like to add that there is not much in terms pro level audio software from third parties available on the mac. It also has nice integration of metadata searching in finder where as explorer will leave you crying. &#xD;&#xA;&#xD;&#xA;Pro Tools has always run much better on the mac than on PC and I have seen, experienced and heard too many horror stories about trying to deliver and create using a PC. It just does not make any sense to use one from what I have seen. &#xD;&#xA;&#xD;&#xA;Your clients will also know you care and have invested a nice chunk of money up front however you are probably saving more in the long run. Think of how many PCs one has to replace during the life span of lets say the G5, probably 3-6 different PC systems. &#xD;&#xA;&#xD;&#xA;Mac is just cleaner and way more pro IMHO. We have been using them in the studio for a little more than two years now and it is just splendid!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3157" PostHistoryTypeId="2" PostId="1736" RevisionGUID="344e688d-7874-49a9-bd8a-7cc1a1bebfd1" CreationDate="2010-06-29T02:17:34.237" UserId="390" Text="Pro PC here!  I have always been a PC user and bought a mac laptop only because my school insisted on it. To date, I have rarely used the laptop for my post production work. Also, I have used my PC at home more than the Mac based DAW labs for my work. The only exception to that is when I really want to work in a mini suite or a sound design suite which are run on Macs. &#xD;&#xA;&#xD;&#xA;Honestly, my experience on either computer has been the same. I've had the same number of crashes on a Mac when compared to crashes on my Windows 7 setup.  In order to transfer my work  to and from a Mac laptop, I had to purchase MacDrive on my PC so that my external Hardrive can communicate well with both my PC and Mac.  I'm keeping my Mac around because I heard some good things about Logic Pro and MIDI which is what I've been getting into for quite some time now. &#xD;&#xA;&#xD;&#xA;So, I think the experience of using Pro Tools on a PC is on par with using the same DAW on a Mac. I just tend to use my PC way more often and so it feels more natural to me to use Pro Tools on a PC." ContentLicense="CC BY-SA 2.5" />
  <row Id="3158" PostHistoryTypeId="2" PostId="1737" RevisionGUID="3d3b61be-b70f-417b-84f3-3d2b82798c6b" CreationDate="2010-06-29T11:54:01.200" UserId="407" Text="I use Protools LE on a Vista PC for work - it is pretty solid, but there is one thing that really bugs me in the PC version of protools compared to the mac. Protools opens in a single window on PC. This means when you are using a duel monitor system you have to stretch the single parent window across both monitors so you can see the edit and mix window on seperate monitors. This can get messy if you are swapping between applications." ContentLicense="CC BY-SA 2.5" />
  <row Id="3159" PostHistoryTypeId="2" PostId="1738" RevisionGUID="4b80840b-4218-4fbd-9396-25b5478d5e99" CreationDate="2010-06-29T14:10:10.050" UserId="82" Text="I'm new to the world of sound recording, and one of my questions is: What are some good ways to develop &quot;critical listening skills&quot;?&#xD;&#xA;&#xD;&#xA;While I realize that &quot;listening&quot; is highly subjective, I'd like to learn to discern the more subtle characteristics of various sounds and become conversant in the &quot;language&quot; of audio professionals in order to adequately communicate about the things that I hear.&#xD;&#xA;&#xD;&#xA;Are there any book/cd combos out there that would walk you through the differences in sounds?  Or perhaps any educational websites?  What about other methods?  How did you personally &quot;train your ears&quot; and how would you recommend that someone else go about it?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3160" PostHistoryTypeId="1" PostId="1738" RevisionGUID="4b80840b-4218-4fbd-9396-25b5478d5e99" CreationDate="2010-06-29T14:10:10.050" UserId="82" Text="How to Develop Critical Listening Skills?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3161" PostHistoryTypeId="3" PostId="1738" RevisionGUID="4b80840b-4218-4fbd-9396-25b5478d5e99" CreationDate="2010-06-29T14:10:10.050" UserId="82" Text="&lt;listening&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3162" PostHistoryTypeId="2" PostId="1739" RevisionGUID="8bd96418-19a9-4510-b210-12aaea0d2e0a" CreationDate="2010-06-29T14:46:52.177" UserId="315" Text="Well a good place to start is becoming familiar with the spectrum of frequencies perceived by the human ear. A chart like this is a good visual representation:&#xD;&#xA;&#xD;&#xA;http://www.independentrecording.net/irn/resources/freqchart/main_display.htm&#xD;&#xA;&#xD;&#xA;At the bottom is a list of typical adjectives used by sound people, and a way to communicate with them.&#xD;&#xA;&#xD;&#xA;I like to use a parametric EQ plug-in to train my ear and reinforce a chart like this; sweeping it over different sounds/music to hear what different frequencies sound like isolated, boosted, or cut.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3163" PostHistoryTypeId="2" PostId="1740" RevisionGUID="8345b016-cc1c-4f21-aec9-b6a4292474f4" CreationDate="2010-06-29T15:53:56.160" UserId="398" Text="Hey. I'm looking  for a new pair of lightweight and compact (ideally closed back) headphones for field recording as my DT100s are a little bulky and I'm not happy with the quality with any other pair I have. Does anyone have a recommendation?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3164" PostHistoryTypeId="1" PostId="1740" RevisionGUID="8345b016-cc1c-4f21-aec9-b6a4292474f4" CreationDate="2010-06-29T15:53:56.160" UserId="398" Text="On the hunt for a new pair of ears " ContentLicense="CC BY-SA 2.5" />
  <row Id="3165" PostHistoryTypeId="3" PostId="1740" RevisionGUID="8345b016-cc1c-4f21-aec9-b6a4292474f4" CreationDate="2010-06-29T15:53:56.160" UserId="398" Text="&lt;listening&gt;&lt;headphones&gt;&lt;field-recording&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3166" PostHistoryTypeId="2" PostId="1741" RevisionGUID="7ad61918-30ad-4c55-aaa5-583fc5fae562" CreationDate="2010-06-29T16:01:14.893" UserId="255" Text="Id highly recommend F.Alton Everest's book - Critical Listening Skills for Audio Professionals&#xD;&#xA;&#xD;&#xA;http://www.amazon.co.uk/Critical-Listening-Skills-Audio-Professionals/dp/1598630237/ref=sr_1_2?ie=UTF8&amp;s=books&amp;qid=1277826811&amp;sr=8-2&#xD;&#xA;&#xD;&#xA;It gives a very focused approach to developing your hearing, i have been using it for the last year in uni, and i have noticed a significant improvement in my own ability to perceive some more of the subtle aspects of audio and also my ability to communicate effectively.&#xD;&#xA;&#xD;&#xA;Also ive found setting yourself a task for listening every week if you can, for example exploring the effects of various reverb parameters on a sound, then finding recordings with interesting use of reverb and analyzing them. Then research the theory behind what you are hearing and why. Ive found this has helped me tremendously over the past year. I am nowhere near where i want to be in my listening skills, but i think it probably take many many more years!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3167" PostHistoryTypeId="2" PostId="1742" RevisionGUID="796318c1-0f4a-4aa8-b52c-a4586e57d131" CreationDate="2010-06-29T16:04:07.670" UserId="409" Text="In IAV school we would raise and low at the maximum each of the graphic EQ filters so that we could hear what which region would affect in the instruments. We did it with percussive, strings, voices... and it totally helps you to understand where, as for an example, you will usually bring the kick out of the bass drum and lower the undesired plastic sound. Pretty cool!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3168" PostHistoryTypeId="2" PostId="1743" RevisionGUID="4a5f971d-f5e8-4423-b7d6-db828ac2b8fa" CreationDate="2010-06-29T16:30:58.177" UserId="29" Text="Listening is like any other skill: Reading about it helps, but practicing it is everything. &#xD;&#xA;&#xD;&#xA;Another well-regarded technique is sitting somewhere and writing down every sound you hear. I take that a step further create a description for each sound, both on a technical and emotional level. This can be done in a wooded forest glen, a concert, a coffee shop, the bus...anywhere. Personally, I keep a journal with me at all times to practice this skill (a smartphone with a note-taking app is good, too). On the technical side, I make guesses as to the frequency ranges of certain sounds, and check them against a sonogram or spectrograph when I get home (assuming I'm recording what I'm listening to). On the emotional side, it's just a personal heuristics thing, but forcing yourself to assign emotive descriptors to everything you hear can be challenging...and then figuring out why certain sounds make you feel a certain way is another introspective challenge unto itself.&#xD;&#xA;&#xD;&#xA;A recent workshop also reinforced a zen-like koan that I think is essential for all creative endeavors: Don't be disappointed if what you're hearing isn't what you're after. Bend your mind around the circumstances and embrace all sound. If you do that, everything is music and nothing is merely noise, and no recording outing will be disappointing (or at least every recording session will teach you something)." ContentLicense="CC BY-SA 2.5" />
  <row Id="3169" PostHistoryTypeId="2" PostId="1744" RevisionGUID="23c906a0-7031-4380-ab0b-17011edb4414" CreationDate="2010-06-29T16:45:55.977" UserId="29" Text="I think that it's easier to consider field recording as one way to earn income, but not to survive on alone. Many who seem to do it for a living still work in radio, editing, sound design, engineering, or any number of other fields (sometimes not even related to audio). I'm of the opinion that while specialization suits some, it's not for everyone, and those who can switch gears between different aspects of audio are more flexibly employable...especially early in their careers.&#xD;&#xA;&#xD;&#xA;I think the way to set yourself apart in field recording is to take the time, effort, and energy to either record things people haven't yet heard, haven't recorded well or deeply, haven't recorded enough of, or haven't recorded in certain techniques or contexts. This is not easy, but that's how you'll get noticed above the rest. Consider that a lifetime goal, not something to get into right out of the gate.&#xD;&#xA;&#xD;&#xA;How you use the field recordings may vary, too. Some field recordists are fine artists, sound designers, scientific researchers, musicians, et multiple cetera. This is perhaps the biggest variance in potential paycheck and how crowded the field is, competition-wise.&#xD;&#xA;&#xD;&#xA;If approached with zeal and enthusiasm, hobbies and side projects can absolutely lead to personal enrichment and career changes. It's just important to do it for the love of doing it, and set your expectations around earning potential accordingly. The intensity of what you put in usually pays you back in some way, just be open minded what form that payback takes." ContentLicense="CC BY-SA 2.5" />
  <row Id="3170" PostHistoryTypeId="2" PostId="1745" RevisionGUID="878eba36-6259-4c09-b453-cfa65623baa0" CreationDate="2010-06-29T19:36:11.557" UserId="178" Text="The Sony MDR-7506 headphones could be considered something of a de facto standard. You see them show up all the time on film sets, at live sound mixing consoles, used by ENG news teams, in recording studios for monitoring, etc.&#xD;&#xA;&#xD;&#xA;I haven't tried all of the headphones out there, but if you run across a pair of headphones on a gig, there's a reasonable chance it will be these.&#xD;&#xA;&#xD;&#xA;You wouldn't want to listen to them all day long, but they can really shine a microscope on things in your mix that your monitors may overlook." ContentLicense="CC BY-SA 2.5" />
  <row Id="3171" PostHistoryTypeId="2" PostId="1746" RevisionGUID="c62800c0-adba-4d17-83c3-65dd8f80c640" CreationDate="2010-06-29T19:37:46.863" UserId="298" Text="I can recommend to find and buy a bunch of CDs of Golden Ears Audiotraining program. &#xD;&#xA;This is very useful training where each cd dedicated to one of several audition and spectrum recognition exersises and contains audiotracks with differently EQsed materials and also calibration tests and prepairing listening.&#xD;&#xA;With those disks, attached test sheet on a back of the cover - so u can copy it and easily use for writing test answers suchwise learning critical listening." ContentLicense="CC BY-SA 2.5" />
  <row Id="3172" PostHistoryTypeId="2" PostId="1747" RevisionGUID="2a76537c-5eb5-490f-94eb-aed9747fd684" CreationDate="2010-06-29T20:40:55.903" UserId="25" Text="Hi! I m working on film where i have to design the POV of different animals. I have some ideas, but i m doing some research too. &#xD;&#xA;Do you remember any film with this kind of sound design? I ve seen some, but it s great to discover new films with your help.&#xD;&#xA;Thanks a lot!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3173" PostHistoryTypeId="1" PostId="1747" RevisionGUID="2a76537c-5eb5-490f-94eb-aed9747fd684" CreationDate="2010-06-29T20:40:55.903" UserId="25" Text="Animal POV Sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="3174" PostHistoryTypeId="3" PostId="1747" RevisionGUID="2a76537c-5eb5-490f-94eb-aed9747fd684" CreationDate="2010-06-29T20:40:55.903" UserId="25" Text="&lt;animals&gt;&lt;pov&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3175" PostHistoryTypeId="2" PostId="1748" RevisionGUID="fcf61b2d-3ff9-453d-8d4e-38071fc83027" CreationDate="2010-06-29T20:55:44.423" UserId="270" Text="the film Predator sometimes takes the POV of the Predator, which im counting as an animal for the purpose of this question :P&#xD;&#xA;&#xD;&#xA;The sound design changes drastically in the Predator's POV to show that his sense of hearing is very alien, iirc modulation effects were used.&#xD;&#xA;&#xD;&#xA;You could think about how the physiology of different creatures would affect how they perceive sound.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3176" PostHistoryTypeId="2" PostId="1749" RevisionGUID="b16f98cf-1a3d-4711-a6dd-cdddbdb020c3" CreationDate="2010-06-29T21:54:09.307" UserId="219" Text="A French movie has this: *L'Ours* (Jean-Jacques Annaud). I haven't seen it in a looong time and I don't even know where to find it legally.&#xD;&#xA;&#xD;&#xA;From what I remember, you hear the bear (who is the main character) groan as he lost his mother bear. You hear insects and it seems now that the grass could have been louder as well, cause the animal is closer to it than us humans. There's a moment in the film where he eats hallucinogens (mushrooms) and there must be some specific sound design for this.&#xD;&#xA;&#xD;&#xA;This movie is from a French director but there is no dialogue in it, it's just the story of a bear that can't make it alone in the outer world. Very sad movie." ContentLicense="CC BY-SA 2.5" />
  <row Id="3177" PostHistoryTypeId="2" PostId="1750" RevisionGUID="180491cd-98c9-4697-ba8f-71adb6cd3717" CreationDate="2010-06-29T22:07:21.977" UserId="62" Text="I've not seen the film as it looks truly awful but the novel Fluke by James Herbert is told from the POV of a dog (although it's actually a reincarnated human). It's years since I read it but if memory serves it did describe some sound from the dog's perspective." ContentLicense="CC BY-SA 2.5" />
  <row Id="3179" PostHistoryTypeId="2" PostId="1752" RevisionGUID="c967332c-fe03-4e15-b14a-e5e30c685be3" CreationDate="2010-06-30T00:34:58.543" UserId="18160" Text="Hello everyone.&#xD;&#xA;&#xD;&#xA;My friend asked me to do some research for him on a preamp for a Sennheiser 416. I'm stumped as I have been working in a professional studio my whole career and don't know where to start looking.&#xD;&#xA;&#xD;&#xA;The lower the cost the better. He didn't exactly give a price-range but I'm guessing around 300-500$. He doesn't want to break his bank but he doesn't want bad quality either. Does anyone have any recommendations they have used and were happy with that are consumer-pro quality?&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3180" PostHistoryTypeId="1" PostId="1752" RevisionGUID="c967332c-fe03-4e15-b14a-e5e30c685be3" CreationDate="2010-06-30T00:34:58.543" UserId="18160" Text="Low-Budget Pre-Amp for Senn 416" ContentLicense="CC BY-SA 2.5" />
  <row Id="3181" PostHistoryTypeId="3" PostId="1752" RevisionGUID="c967332c-fe03-4e15-b14a-e5e30c685be3" CreationDate="2010-06-30T00:34:58.543" UserId="18160" Text="&lt;pre-amp&gt;&lt;sennheiser&gt;&lt;416&gt;&lt;quality&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3182" PostHistoryTypeId="2" PostId="1753" RevisionGUID="680d917d-8222-40e0-8525-a1ac026e3e51" CreationDate="2010-06-30T01:27:08.010" UserId="275" Text="If he needs it in the field I would highly recommend a Sound Devices MP-1. If he only needs one channel this will give him excellent quality, portability, and it's battery powered. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3183" PostHistoryTypeId="2" PostId="1754" RevisionGUID="96ff3391-41fd-42c2-a923-8c5dfeb1c9db" CreationDate="2010-06-30T01:33:42.960" UserId="324" Text="Well it depends what you mean by &quot;Low Budget&quot;. Matthew is right about the sound devices pre, and it would compliment your Senn pretty well. &#xD;&#xA;&#xD;&#xA;It should be about $350, if you go with the MM-1.&#xD;&#xA;http://www.bhphotovideo.com/c/product/292989-REG/Sound_Devices_MM_1_MM_1_Single_Channel_Portable.html#reviews&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3185" PostHistoryTypeId="2" PostId="1756" RevisionGUID="8e604849-ea4d-41d8-bb42-66a66c6dc1d7" CreationDate="2010-06-30T03:08:22.300" UserId="390" Text="As a recent graduate, I'm about to submit a couple applications working as an intern at an audio post facility and at a production company. Both do not specify length of time. I assume the quality of my work as an intern would ultimately define that. But I was wondering if three months was the average amount of time before one is considered for employment (if available). It's not for school credit and I'm sure there are labor laws that also limit or even prohibit how long I can work or what I can do without pay (but that's perhaps a long discussion for another time).  &#xD;&#xA;&#xD;&#xA;If no steady paying jobs come by, my goal is to snag one or both internships while commuting from my parents home. I'm just wondering how long these usually run.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="3186" PostHistoryTypeId="1" PostId="1756" RevisionGUID="8e604849-ea4d-41d8-bb42-66a66c6dc1d7" CreationDate="2010-06-30T03:08:22.300" UserId="390" Text="Length of time working on an unpaid internship" ContentLicense="CC BY-SA 2.5" />
  <row Id="3187" PostHistoryTypeId="3" PostId="1756" RevisionGUID="8e604849-ea4d-41d8-bb42-66a66c6dc1d7" CreationDate="2010-06-30T03:08:22.300" UserId="390" Text="&lt;internships&gt;&lt;payment&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3188" PostHistoryTypeId="2" PostId="1757" RevisionGUID="e4e5ed80-cd73-452a-bfbc-86ef3b33a7f8" CreationDate="2010-06-30T03:47:17.697" UserId="385" Text="I've been interning at a studio for three months now and my time is up. But I'm being put on a waiting list to start as a General Assistant as soon as a spot opens. (They seem to think it will take a year) After meeting people that have done internships in numerous studios I've sound that most last about three months and every now and then you can come across some that last six months. &#xD;&#xA;&#xD;&#xA;If they like you and don't have a spot open for a little while you can ask to stay on for another month or so, depending on the studio and if they like you. If so, they'll let you stay until a spot becomes available.&#xD;&#xA;&#xD;&#xA;In the mean time while interning do work for free and just odd jobs for people that need things done (great ways to network) or things for yourself. Sometimes the studios even let you use their studios and equipment for your own work if nothings booked!&#xD;&#xA;&#xD;&#xA;Hope that was a good enough answer. Good luck!&#xD;&#xA;&#xD;&#xA;JM" ContentLicense="CC BY-SA 2.5" />
  <row Id="3189" PostHistoryTypeId="2" PostId="1758" RevisionGUID="73bb6621-a09a-4ab6-b0f7-e474c8f71db5" CreationDate="2010-06-30T03:49:43.590" UserId="100" Text="I redesigned this same trailer not too long ago ([an interesting comparison][1]). Unlike mine, I like that yours has a good dynamic range to it. Everyone has brought up some great ideas already. I would say to put foley to the whole thing. At the very least put in her footsteps, even though we only see her take a couple. It makes it way more cinematic. Keep up the great work.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cavanaudio.com/sound_design/Portfolio.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="3190" PostHistoryTypeId="2" PostId="1759" RevisionGUID="f2cad0c7-39bc-40f0-abd1-8322f5504ff5" CreationDate="2010-06-30T04:03:21.237" UserId="385" Text="I'm a fan of the [Sennheiser HD280][1] headphones. Good isolation and they are comfortable. They fold up for easy transportation too. I've seen these guys used during multiple applications. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.theheadphonesstore.com/sennheiser-hd280-headpho280.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="3191" PostHistoryTypeId="5" PostId="1757" RevisionGUID="37ef6d9a-4180-431a-8acb-4770f005a96c" CreationDate="2010-06-30T04:11:12.453" UserId="385" Comment="edited body; deleted 2 characters in body" Text="I've been interning at a studio for three months now and my time is up. But I'm being put on a waiting list to start as a General Assistant as soon as a spot opens. (They seem to think it will take a year) After meeting people that have done internships in numerous studios I've found that most last about three months and every now and then you can come across some that last six months. &#xD;&#xA;&#xD;&#xA;If they like you and don't have a spot open for a little while you can ask to stay on for another month or so, depending on the studio and if they like you. If so, they'll let you stay until a spot becomes available.&#xD;&#xA;&#xD;&#xA;In the mean time while interning do work for free and just odd jobs for people that need things done (great ways to network) or things for yourself. Sometimes the studios even let you use their space and equipment for your own work if nothings booked!&#xD;&#xA;&#xD;&#xA;Hope that was a good enough answer. Good luck!&#xD;&#xA;&#xD;&#xA;JM" ContentLicense="CC BY-SA 2.5" />
  <row Id="3192" PostHistoryTypeId="2" PostId="1760" RevisionGUID="5e715c68-3214-4251-8c5d-80e7d4f13f3d" CreationDate="2010-06-30T04:22:56.737" UserId="385" Text="I think it depends what's available to you and what you're more comfortable owning and working on. A Mac is going to work better than a PC straight out of the box. PCs are bad about getting viruses if you don't know how to protect it correctly(that's what I like the macs). But in all honesty a PC will do just as good as a Mac. System performance: if you want a PC you can build one that works just as fast as a mac and even faster for cheaper. Maintenance: PCs need more upkeep and Macs don't require much beyond system updates. &#xD;&#xA;&#xD;&#xA;Overall I like Mac. I think it says something since it seems to be the industry standard just like Pro Tools.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="3196" PostHistoryTypeId="5" PostId="1746" RevisionGUID="1520836d-4b43-4b37-a922-2365ffa9f452" CreationDate="2010-06-30T12:09:19.287" UserId="298" Comment="deleted 3 characters in body" Text="I can recommend to find and buy a bunch of CDs of Golden Ears Audiotraining program. &#xD;&#xA;This is very useful training where each cd dedicated to one of several audition and spectrum recognition exersises and contains audiotracks with differently EQsed materials and also calibration tests and prepairing listening.&#xD;&#xA;With those disks, attached test sheet on a back of the cover - so u can copy it and easily use for writing test answers suchwise learn critical listening." ContentLicense="CC BY-SA 2.5" />
  <row Id="3197" PostHistoryTypeId="2" PostId="1762" RevisionGUID="29542285-e9e9-4629-b1d6-c3068a421368" CreationDate="2010-06-30T14:28:53.033" UserId="390" Text="There were at least 5 composers working on Michael Clayton who listed themselves as &quot;Musical Sound Designers&quot; and there are no other sound designers credited.  That movie is driven by its dialogue and that dialogue was accented by several musical cues to heighten or highlight the impact of what was being said. At first glance, one might assume there's no score. On the contrary, that sound design is heavily influenced by the musical ideas of those composers. As a result, the events in the movie are brought into a real and more palpable dimension for the viewer to experience because of this blurring between sound design and score." ContentLicense="CC BY-SA 2.5" />
  <row Id="3198" PostHistoryTypeId="2" PostId="1763" RevisionGUID="19f068b1-691c-47b6-a436-f4d004a63742" CreationDate="2010-06-30T14:48:28.147" UserId="348" Text="I think Lynch does fantastic stuff in his films, merging sound and music into the subconscious of the film- archytypal Lynch. The low tones and rumbles in Lost Highway are both ambient and musical- gets under the skin and crawls through you. &#xD;&#xA;&#xD;&#xA;Also in Black Hawk Down when the helicopters are flying in for the mission- it is all propellor whirling, wind and engine- but as we fly over the Red Sea, the FX slowly fade ou and music, in the same tone and Rhythm come in dissecting the emotional amgiguity of the soldiers. Great stuff.   " ContentLicense="CC BY-SA 2.5" />
  <row Id="3199" PostHistoryTypeId="2" PostId="1764" RevisionGUID="fe057cd4-055e-4a71-b259-1455a77953d0" CreationDate="2010-06-30T14:57:09.377" UserId="348" Text="I also suggest listening to film. Blind fold yourself and just listen to it. Then watch it with the sound after you have made some notes. Great stuff. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3200" PostHistoryTypeId="2" PostId="1765" RevisionGUID="a0c55d3c-7c7b-421f-8e9d-ac8ce400a29a" CreationDate="2010-06-30T15:54:02.647" UserId="81" Text="I think it depends on the situation. There are internships that you can prove yourself and quality of your work in 15 days, whereas there are some where you will not have the chance in 3 months. &#xD;&#xA;&#xD;&#xA;This is up to you because internship is not all about proving yourself to get a job, but gain experience which will establish a solid foundation for any future project. This experience not only involves sound design but also networking, budgetary considerations and person-person interactions. These are really hard-to-gain experiences in the school, and usually only practiced when you are in the real world. &#xD;&#xA;&#xD;&#xA;When you think you got everything that you can get from that place experience-wise, and still not paid, sit at the table to talk about money. Actually if you are really qualified, this will happen before you think about it.&#xD;&#xA;&#xD;&#xA;We frequently hear some horror stories about internships but do not be scared. Companies have up and running human resources systems and their projects are never based on temporary employees (interns).  So it is really hard for a company to take advantage of your services/talents before you recognize it.&#xD;&#xA;&#xD;&#xA;Just go out there, be brave and bold, learn as much as you can, be nice to people and never lose your passion that you had in the first day.&#xD;&#xA;&#xD;&#xA;Best of luck.&#xD;&#xA;&#xD;&#xA;&gt; Internship is like forbidden fruit.&#xD;&#xA;&gt; Some think it is evil and&#xD;&#xA;&gt; manipulative, some think it is the&#xD;&#xA;&gt; beginning of some beautiful things." ContentLicense="CC BY-SA 2.5" />
  <row Id="3201" PostHistoryTypeId="2" PostId="1766" RevisionGUID="885d2ce6-6f35-43be-ab5a-2b61b87fe1ca" CreationDate="2010-06-30T17:10:12.580" UserId="219" Text="You might also want to have a look at [this interview][1] freshly posted on Designing Sound, there's a small talk about POV that's always worth reading!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/06/toy-story-3-exclusive-interview-with-tom-myers-michael-semanick-and-al-nelson/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3202" PostHistoryTypeId="2" PostId="1767" RevisionGUID="3b3c6e37-f9ef-4cc0-90a3-a0f8875c3a99" CreationDate="2010-06-30T18:31:15.077" UserId="220" Text="Ooo, sounds like a lot of fun!&#xD;&#xA;&#xD;&#xA;Here are some things to think about when designing for different animals:&#xD;&#xA;&#xD;&#xA; - A lot of smaller animals have high frequency hearing, but miss some low frequencies.  For example, a mouse cannot hear below 1kHz, but hears up to 90kHz&#xD;&#xA; - Some animals have accute hearing, but it's not in a very wide frequency.  They are just better at processing at what they are hearing than humans and some animals.  Perhaps making sounds &quot;pop&quot; more when they are important to the animal (a predator, prey) would help give a better POV.&#xD;&#xA; - Many animals can detect vibrations (such as elephants) and use that for communication beyond what they hear.&#xD;&#xA; - Certain animals detect electrical and magnetic fields.  Bringing out that aspect could be interesting.  &#xD;&#xA;&#xD;&#xA;As far as movies that have POV, the only ones that come to mind are cheesy kids movies that have a dog's POV or something like that.  Their design just involves a lot of snuffling sounds.  I feel like an animal would filter out its own noises, but if we're getting a true POV, you would hear a cat purring in its head and a dog sniffing.  Do you have a list of animals you're specifically working with?  Do you have access to the animals to get some of their natural sounds?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3203" PostHistoryTypeId="2" PostId="1768" RevisionGUID="f5ee404e-bf8c-4c96-9677-bbacd7b26079" CreationDate="2010-07-01T10:08:44.547" UserId="219" Text="This is an old topic but I found something more on the NTG-3, hopefully this will be useful to other people! I just noticed that Rode had [an article][1] on a BBC guy who used te NTG-3 inside a Blimp on a year-long shoot in Indonesia and the outcome of this is that the mic held good despite the horribly extreme weather. See by yourself, I haven't looked for other testimonies that'd allow me to discuss this.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/news.php?article=0023" ContentLicense="CC BY-SA 2.5" />
  <row Id="3204" PostHistoryTypeId="2" PostId="1769" RevisionGUID="2238f667-38cf-400e-b73f-b3c3b7e84a6c" CreationDate="2010-07-01T14:03:56.723" UserId="6411" Text="Just watched Guy Ritchie's &quot;Revolver&quot; last night. Beautiful story about the battle in your mind between you and your ego.  Excellent moments in sound design there, particularly the climax in the elevator." ContentLicense="CC BY-SA 2.5" />
  <row Id="3205" PostHistoryTypeId="2" PostId="1770" RevisionGUID="e754eada-35d1-4b1f-9787-f5138e810904" CreationDate="2010-07-01T15:10:08.477" UserId="392" Text="one of my early teachers in music production indicated that having a subwoofer in the recording studio will skew the true nature of sound.  we can all agree that without proper room treatment, even the best monitors won't be worth their weight, however, in a well balanced room with a nice pair of nearfield monitors, is a sub beneficial, or does it reduce the producers ability to properly analyze the mix?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3206" PostHistoryTypeId="1" PostId="1770" RevisionGUID="e754eada-35d1-4b1f-9787-f5138e810904" CreationDate="2010-07-01T15:10:08.477" UserId="392" Text="In the studio, should i have a sub or not?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3207" PostHistoryTypeId="3" PostId="1770" RevisionGUID="e754eada-35d1-4b1f-9787-f5138e810904" CreationDate="2010-07-01T15:10:08.477" UserId="392" Text="&lt;studio&gt;&lt;home-studio&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3208" PostHistoryTypeId="2" PostId="1771" RevisionGUID="9ee7a912-fb61-4ce6-abc4-945c8ce68f7d" CreationDate="2010-07-01T15:16:09.157" UserId="392" Text="Given the fact that, say, for example, at a symphony, the difference between the loudest and quietest parts of a piece are so incredibly massive, are we doomed to fail in trying to create real-world dynamics in the productions we make?  what techniques apart from compression can we employ to help us get closer to the ideal?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3209" PostHistoryTypeId="1" PostId="1771" RevisionGUID="9ee7a912-fb61-4ce6-abc4-945c8ce68f7d" CreationDate="2010-07-01T15:16:09.157" UserId="392" Text="how do i create realistic sounding dynamics in the digital world?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3210" PostHistoryTypeId="3" PostId="1771" RevisionGUID="9ee7a912-fb61-4ce6-abc4-945c8ce68f7d" CreationDate="2010-07-01T15:16:09.157" UserId="392" Text="&lt;dynamics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3211" PostHistoryTypeId="2" PostId="1772" RevisionGUID="4b51880d-34b1-47ac-8f62-87e5f8502fbd" CreationDate="2010-07-01T15:17:21.480" UserId="392" Text="convolution reverb is a well known thing to us all...  however, what about convolution compression?  can it work?  what do you think?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3212" PostHistoryTypeId="1" PostId="1772" RevisionGUID="4b51880d-34b1-47ac-8f62-87e5f8502fbd" CreationDate="2010-07-01T15:17:21.480" UserId="392" Text="in reality, do you believe convolution compression can work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3213" PostHistoryTypeId="3" PostId="1772" RevisionGUID="4b51880d-34b1-47ac-8f62-87e5f8502fbd" CreationDate="2010-07-01T15:17:21.480" UserId="392" Text="&lt;compression&gt;&lt;convolution&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3214" PostHistoryTypeId="2" PostId="1773" RevisionGUID="54646073-a482-4a35-a583-f84847c0f973" CreationDate="2010-07-01T16:42:05.267" UserId="315" Text="I'd say that compression, and over use of it, is the problem not the solution.&#xD;&#xA;&#xD;&#xA;The original intention of digital sound was to give greater dynamic range than say a cassette, an LP, or in the film world and optical track, but sadly this dynamic range isn't used all that much these days. &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=3Gmex_4hreQ&#xD;&#xA;&#xD;&#xA;The same applies to film mixing. If we want to get closer to that ideal we have to fight the loudness war." ContentLicense="CC BY-SA 2.5" />
  <row Id="3215" PostHistoryTypeId="2" PostId="1774" RevisionGUID="4f4fd144-ded3-4d89-99a8-79ecf7cbca53" CreationDate="2010-07-01T17:41:16.600" UserId="385" Text="I think it all depends on what type of mixing your doing. In my opinion if its just pop music then its not really necessary (unless its hip hop). But if you're doing video games, film, trailers, or even television and people are listening to their subs at home then you might want to check out how much low end you are putting into the mix. You don't want to put too much and then it end up being too muffled. &#xD;&#xA;&#xD;&#xA;So in some cases I think its necessary. I hope this helped.&#xD;&#xA;&#xD;&#xA;JM" ContentLicense="CC BY-SA 2.5" />
  <row Id="3216" PostHistoryTypeId="2" PostId="1775" RevisionGUID="800a0071-b653-4703-8342-87ea853d2914" CreationDate="2010-07-01T18:08:21.443" UserId="62" Text="Sadly it's the broadcasters who hold sway over a lot of the problem. The specs for dialogue for Discovery/PBS is an incredibly small window to get through (4dB if memory serves).&#xD;&#xA;&#xD;&#xA;Other specs, such as BBC, are more lenient. I can mix a show with all the dialogue bouncing just under 4 on the PPM and it'll pass, the same goes for 5 1/2 which is 6dB louder. This amount of dynamic range is perfectly acceptable for television mixing, it's wide enough for one to use dynamics, but also small enough that a viewer will be able to enjoy the show at home.&#xD;&#xA;&#xD;&#xA;This bring another point surely? To have such a huge dynamic range the room in which the listener/viewer is based would require that room to be treated and quiet. This isn't practical when you don't live in a mansion in the middle of nowhere.&#xD;&#xA;&#xD;&#xA;Obviously this only applies to television mixing.&#xD;&#xA;&#xD;&#xA;I personally haven't noticed a problem with any cinema mix apart from the very occasional issue (although it's mainly due to bad reproduction in the cinema). My first example I can give is there is a gunshot in Batman Begins that actually hurt my ears. The second was when my wife and I watched St Trinnian's 2. I know it was on DVD at home but I have never had to adjust the volume of my Receiver during a film as the dialogue was too quiet and the musical interludes were far too loud.&#xD;&#xA;&#xD;&#xA;Bad use of dynamic range will ruin a film just as much, if not more so, than its lack of use." ContentLicense="CC BY-SA 2.5" />
  <row Id="3217" PostHistoryTypeId="2" PostId="1776" RevisionGUID="f8c67b7f-e13b-434a-97a2-b65a3701608b" CreationDate="2010-07-01T18:08:55.810" UserId="6411" Text="A truth that we have to take into consideration is that the majority of our work is rarely listened to in a &quot;controlled&quot; environment such as a symphonic music hall. As a TV mixer I know that I have to battle with the real-world dishwasher, a/c unit, neighbor vacuuming, children playing, etc. that barrage the listener as real-world ambience. If they keep reaching for the remote to turn up whispered dialog or calm, creepy ambience over the lawn mower outside, one of those reaches they'll just hit the power button, or worse, the channel + or -.&#xD;&#xA;&#xD;&#xA;Now that doesn't win the point that we should all be abandoning dynamics completely and succumb to the loudness war. But I have accepted that &quot;real-world&quot; dynamics rarely fit broadcast QC standards.&#xD;&#xA;&#xD;&#xA;However, to get to your question, I have to agree with Justin above and say that improper use of compression (and brick-wall limiting) is one of the biggest culprits that destroys the dynamics of a mix. But this is not new news, and I bet that if we sound editors/mixers were the ones footing the bill on our productions, every single one of them would have a far greater dynamic range and thus a greater impact on our audience. So, while being respectful, I try and educate my producers/directors/EPs every chance I get about the adverse effects compressing the living bejesus out of every single sound has on their story and try to get every dB of dynamics I can get away with. Naturally, I don't win all the time. But it's not for lack of trying." ContentLicense="CC BY-SA 2.5" />
  <row Id="3218" PostHistoryTypeId="5" PostId="1773" RevisionGUID="b98e0b2d-1caf-458c-aec5-6fe380440c77" CreationDate="2010-07-01T18:19:29.573" UserId="315" Comment="deleted 1 characters in body" Text="I'd say that compression, and over use of it, is the problem not the solution.&#xD;&#xA;&#xD;&#xA;The original intention of digital sound was to give greater dynamic range than say a cassette, an LP, or in the film world an optical track, but sadly this dynamic range isn't used all that much these days. &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=3Gmex_4hreQ&#xD;&#xA;&#xD;&#xA;The same applies to film mixing. If we want to get closer to that ideal we have to fight the loudness war." ContentLicense="CC BY-SA 2.5" />
  <row Id="3219" PostHistoryTypeId="2" PostId="1777" RevisionGUID="62afa0ae-4134-4018-8b5d-d7cf1fc204c1" CreationDate="2010-07-02T02:38:39.693" UserId="90" Text="Are you talking about modeling a real device by getting an impulse response from it and then convolving the impulse response with the signal to simulate the compressor?  Using convolution that way only works for linear time-invariant systems, and compression is non-linear, so that wouldn't work." ContentLicense="CC BY-SA 2.5" />
  <row Id="3220" PostHistoryTypeId="2" PostId="1778" RevisionGUID="1a5db496-5d45-45f1-884b-8055872f9cfa" CreationDate="2010-07-02T04:00:57.487" UserId="253" Text="Sound is a very subjective medium, and people habituate to different aural environments pretty quickly. So, as others have mentioned, one of the most important things a mixer can do is to create a dynamic mix. I think, regardless of comparison to a symphony and other more dynamic events, a good mixer can create a soundtrack that's perceived as being just as dynamic (as long as the listening conditions aren't terrible).&#xD;&#xA;&#xD;&#xA;Personally, i love it when a quiet passage in a film has me mentally leaning forward, straining my ears. It's a fine line, but if it's done right, it can really pull you in to a film. Sound is a lot more primal than vision, and so, less critically perceived by the brain (for a typical audience member, and even any of us if we're drawn into the story). I think it's more about perception of dynamics than any objective measurement." ContentLicense="CC BY-SA 2.5" />
  <row Id="3221" PostHistoryTypeId="2" PostId="1779" RevisionGUID="6863f01e-a255-4b0b-92bc-e594ddf82e9e" CreationDate="2010-07-02T11:47:18.693" UserId="220" Text="The only times I've seen &quot;convolution&quot; used in reference to compresson or any other dynamic processes is with products that model vintage compression units or mic pres.  Take Liquid Mix, for example.  It claims &quot;the unique patented Dynamic Convolution process delivers unparalleled EQ and Compression emulations.&quot;  Sounds a bit like they're using convolution as a buzzword.  &#xD;&#xA;&#xD;&#xA;Modeling equipment is one thing, getting the IR of a space is another.  I'm not sure how one that creates echoes and adds and subtracts from the EQ could be applied to something that is essentially gain control.  Perhaps you could use an IR to selectively compress certain frequencies.&#xD;&#xA;&#xD;&#xA;Do you have something specific you're refering to?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3222" PostHistoryTypeId="2" PostId="1780" RevisionGUID="55b87dad-7e13-4f01-9f42-709e8fe79a0b" CreationDate="2010-07-02T11:49:00.860" UserId="220" Text="You should definitely HAVE one, but have the option to turn it off...unless you're only planning on designing ring tones.  &#xD;&#xA;&#xD;&#xA;I do not use a sub when editing dialog, but I do for just about everything else.  You're ulitmately mixing for full range systems, and you cannot competently mix and edit frequencies you cannot hear." ContentLicense="CC BY-SA 2.5" />
  <row Id="3223" PostHistoryTypeId="2" PostId="1781" RevisionGUID="b44b8f1a-654b-4c8c-ad8e-8d44fc2f83f7" CreationDate="2010-07-02T17:17:36.630" UserId="309" Text="Focusrite Liquid Mix/Channel do work with IR's for there compression. You only need a lot if IR's in order for it to work (compression is non-linear and IR's are so you need a lot of them to cover all gain levels). This is of course very CPU intensive and that is why it is not mainstream yet. But in the near future you will see this technique grow into the plugin world fast." ContentLicense="CC BY-SA 2.5" />
  <row Id="3224" PostHistoryTypeId="2" PostId="1782" RevisionGUID="ef4defd7-15c0-4b6e-85e1-c6d2bfefdb76" CreationDate="2010-07-02T18:28:41.730" UserId="255" Text="As far as i understand it, an impulse response can be created of any piece of equipment. Modeling equipment and modeling a space are both based on the same principles. &#xD;&#xA;&#xD;&#xA;I think the best way of understanding/explaining this is probably to look at how we can model an EQ. &#xD;&#xA;&#xD;&#xA;An analog EQ can be modeled in the digital world through two main ways, first by either looking at a frequency domain response or a time domain response. Every frequency response has an equivalent time domain (impulse) response because the two are inextricably linked. Using the process of *Fourier Transformation* we can turn a time domain (impulse) response into an equivalent frequency domain response. &#xD;&#xA;&#xD;&#xA;If you change the way a filter responds in frequency you also change how it responds in time, and vice-versa.  &#xD;&#xA;&#xD;&#xA;Therefore theoretically it is possible to model the characteristics of a given EQ by simply measuring its impulse response and modeling it in the digital world (the same as we make an impulse response of a space). The way in which this impulse response is applied to a digital signal is through the process of *Convolution*. &#xD;&#xA;&#xD;&#xA;The way in which this is implemented is where it becomes a bit more tricky.&#xD;&#xA;&#xD;&#xA;A single sample from a stream of samples from the input signal 'triggers off' the impulse response which is then scaled by the amplitude and phase value of the input sample, a sample later the same then happens to the second sample. The second sample is then added to the first, the third sample undergoes the same treatment but again a sample later, this then goes on and on for each successive sample in the input signal.&#xD;&#xA;&#xD;&#xA;Convolution is not just a simple  process multiplication, but the resulting sum of many many multiplications. &#xD;&#xA;&#xD;&#xA;For example if we have an input signal that is 3 samples long (just for simplicity) with amplitudes at 11, 4 and 2. And a IR of 5 samples with amplitudes at 0.3, 0.6, 0.9, -0.4 and -0.2, we end up with 7 samples (remember because the samples are processed successively by one sample). This then give us the following multiplications and summations:&#xD;&#xA;&#xD;&#xA;Sample 1 = (11x0.3) = 3.3&#xD;&#xA;&#xD;&#xA;Sample 2 = (11x0.6)+(4x0.3)+0 = 10.63&#xD;&#xA;&#xD;&#xA;Sample 3 = (11x0.9)+(4x0.6)+(2x0.3) = 12.9&#xD;&#xA;&#xD;&#xA;Sample 4 = (11x -0.4)+(4x0.9)+(2x0.6) = 0.4&#xD;&#xA;&#xD;&#xA;Sample 5 = (11x -0.2)+(4x -0.4)+(2x0.9) = -2&#xD;&#xA;&#xD;&#xA;Sample 6 = 0 + (4x -0.2) + (2x -0.4) = -1.6&#xD;&#xA;&#xD;&#xA;Sample 7 = 0+ 0+ (2x -0.2) = -0.4&#xD;&#xA;&#xD;&#xA;(Sorry if thats a bit confusing, its a bit easier to see/understand if you plug into excel and make some graphs)&#xD;&#xA;&#xD;&#xA;Obviously these are just arbitrary numbers and really small sample numbers, even at 44.1kHz we end up with 100,000s of sample points for an impulse response. This, and the ammount of variables in control positions for a device, means that creating a usable compressor or eq based on IRs and convolution is very complex (hence the 'unique patented Dynamic Convolution process' of the Liquid mix im guessing). So yes, in a very long about way, convolution compression can work. Im not sure but i think the UAD plugs also work on a variation of these ideas, and there are probably many more. I think like any new digital technology it will probably a while for it to be perfected though.&#xD;&#xA;&#xD;&#xA;Sorry for the long post! It turned into a mini essay, was good revision for me though haha&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3225" PostHistoryTypeId="5" PostId="1782" RevisionGUID="0e2d7e95-3bd1-4840-999a-268f812dc22e" CreationDate="2010-07-02T18:46:42.090" UserId="255" Comment="added some more for clarity" Text="As far as i understand it, an impulse response can be created of any piece of equipment. Modeling equipment and modeling a space are both based on the same principles. &#xD;&#xA;&#xD;&#xA;I think the best way of understanding/explaining this is probably to look at how we can model an EQ. &#xD;&#xA;&#xD;&#xA;An analog EQ can be modeled in the digital world through two main ways, first by either looking at a frequency domain response or a time domain response. Every frequency response has an equivalent time domain (impulse) response because the two are inextricably linked. Using the process of *Fourier Transformation* we can turn a time domain (impulse) response into an equivalent frequency domain response. &#xD;&#xA;&#xD;&#xA;If you change the way a filter responds in frequency you also change how it responds in time, and vice-versa.  &#xD;&#xA;&#xD;&#xA;Therefore theoretically it is possible to model the characteristics of a given EQ by simply measuring its impulse response and modeling it in the digital world (the same as we make an impulse response of a space). The way in which this impulse response is applied to a digital signal is through the process of *Convolution*. &#xD;&#xA;&#xD;&#xA;The way in which this is implemented is where it becomes a bit more tricky.&#xD;&#xA;&#xD;&#xA;A single sample from a stream of samples from the input signal 'triggers off' the impulse response which is then scaled by the amplitude and phase value of the input sample, a sample later the same then happens to the second sample. The second sample is then added to the first, the third sample undergoes the same treatment but again a sample later, this then goes on and on for each successive sample in the input signal.&#xD;&#xA;&#xD;&#xA;Essentially Output = Input*IR (here * means convolution)&#xD;&#xA;&#xD;&#xA;But convolution is not just a simple  process of multiplication, but the resulting sum of many many multiplications. &#xD;&#xA;&#xD;&#xA;For example if we have an input signal that is 3 samples long (just for simplicity) with amplitudes at 11, 4 and 2. And a IR of 5 samples with amplitudes at 0.3, 0.6, 0.9, -0.4 and -0.2, we end up with 7 samples (remember because the samples are processed successively by one sample). This then give us the following multiplications and summations:&#xD;&#xA;&#xD;&#xA;Sample 1 = (11x0.3) = 3.3&#xD;&#xA;&#xD;&#xA;Sample 2 = (11x0.6)+(4x0.3)+0 = 10.63&#xD;&#xA;&#xD;&#xA;Sample 3 = (11x0.9)+(4x0.6)+(2x0.3) = 12.9&#xD;&#xA;&#xD;&#xA;Sample 4 = (11x -0.4)+(4x0.9)+(2x0.6) = 0.4&#xD;&#xA;&#xD;&#xA;Sample 5 = (11x -0.2)+(4x -0.4)+(2x0.9) = -2&#xD;&#xA;&#xD;&#xA;Sample 6 = 0 + (4x -0.2) + (2x -0.4) = -1.6&#xD;&#xA;&#xD;&#xA;Sample 7 = 0+ 0+ (2x -0.2) = -0.4&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(Sorry if thats a bit confusing, its a bit easier to see/understand if you plug into excel and make some graphs)&#xD;&#xA;&#xD;&#xA;Obviously these are just arbitrary numbers and really small sample numbers, even at 44.1kHz we end up with 100,000s of sample points for an impulse response. This, and the ammount of variables in control positions for a device, means that creating a usable compressor or eq based on IRs and convolution is very complex (hence the 'unique patented Dynamic Convolution process' of the Liquid mix im guessing). So yes, in a very long about way, convolution compression can work. Im not sure but i think the UAD plugs also work on a variation of these ideas, and there are probably many more. I think like any new digital technology it will probably a while for it to be perfected though.&#xD;&#xA;&#xD;&#xA;Sorry for the long post! It turned into a mini essay, was good revision for me though haha&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3226" PostHistoryTypeId="5" PostId="1782" RevisionGUID="75d4d309-5d93-48b6-b54b-c7c935f31256" CreationDate="2010-07-02T18:59:44.637" UserId="255" Comment="added 3 characters in body" Text="As far as i understand it, an impulse response can be created of any piece of equipment. Modeling equipment and modeling a space are both based on the same principles. &#xD;&#xA;&#xD;&#xA;I think the best way of understanding/explaining this is probably to look at how we can model an EQ. &#xD;&#xA;&#xD;&#xA;An analog EQ can be modeled in the digital world through two main ways, first by either looking at a frequency domain response or a time domain response. Every frequency response has an equivalent time domain (impulse) response because the two are inextricably linked. Using the process of *Fourier Transformation* we can turn a time domain (impulse) response into an equivalent frequency domain response. &#xD;&#xA;&#xD;&#xA;If you change the way a filter responds in frequency you also change how it responds in time, and vice-versa.  &#xD;&#xA;&#xD;&#xA;Therefore theoretically it is possible to model the characteristics of a given EQ by simply measuring its impulse response and modeling it in the digital world (the same as we make an impulse response of a space). The way in which this impulse response is applied to a digital signal is through the process of *Convolution*. &#xD;&#xA;&#xD;&#xA;The way in which this is implemented is where it becomes a bit more tricky.&#xD;&#xA;&#xD;&#xA;A single sample from a stream of samples from the input signal 'triggers off' the impulse response which is then scaled by the amplitude and phase value of the input sample, a sample later the same then happens to the second sample. The second sample is then added to the first, the third sample undergoes the same treatment but again a sample later, this then goes on and on for each successive sample in the input signal.&#xD;&#xA;&#xD;&#xA;Essentially Output = Input*IR (here * means convolution)&#xD;&#xA;&#xD;&#xA;But convolution is not just a simple  process of multiplication, but the resulting sum of many many multiplications. &#xD;&#xA;&#xD;&#xA;For example if we have an input signal that is 3 samples long (just for simplicity) with amplitudes at 11, 4 and 2. And a IR of 5 samples with amplitudes at 0.3, 0.6, 0.9, -0.4 and -0.2, we end up with 7 samples (remember because the samples are processed successively by one sample). This then give us the following multiplications and summations:&#xD;&#xA;&#xD;&#xA;Sample 1 = (11x0.3) = 3.3&#xD;&#xA;&#xD;&#xA;Sample 2 = (11x0.6)+(4x0.3)+0 = 10.63&#xD;&#xA;&#xD;&#xA;Sample 3 = (11x0.9)+(4x0.6)+(2x0.3) = 12.9&#xD;&#xA;&#xD;&#xA;Sample 4 = (11x -0.4)+(4x0.9)+(2x0.6) = 0.4&#xD;&#xA;&#xD;&#xA;Sample 5 = (11x -0.2)+(4x -0.4)+(2x0.9) = -2&#xD;&#xA;&#xD;&#xA;Sample 6 = 0 + (4x -0.2) + (2x -0.4) = -1.6&#xD;&#xA;&#xD;&#xA;Sample 7 = 0+ 0+ (2x -0.2) = -0.4&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(Sorry if thats a bit confusing, its a bit easier to see/understand if you plug it into excel and make some graphs)&#xD;&#xA;&#xD;&#xA;Obviously these are just arbitrary numbers and really small sample numbers, even at 44.1kHz we end up with 100,000s of sample points for an impulse response. This, and the ammount of variables in control positions for a device, means that creating a usable compressor or eq based on IRs and convolution is very complex (hence the 'unique patented Dynamic Convolution process' of the Liquid mix im guessing). So yes, in a very long about way, convolution compression can work. Im not sure but i think the UAD plugs also work on a variation of these ideas, and there are probably many more. I think like any new digital technology it will probably a while for it to be perfected though.&#xD;&#xA;&#xD;&#xA;Sorry for the long post! It turned into a mini essay, was good revision for me though haha&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3228" PostHistoryTypeId="2" PostId="1784" RevisionGUID="3414e698-d572-4130-aa5c-61c59b6089f2" CreationDate="2010-07-03T01:19:55.713" UserId="18160" Text="I sometimes get sound effects turned over to me that have little to no skilled premixing done to them.&#xD;&#xA;&#xD;&#xA;And, I am expected to mix it within that day of receiving it (for a 2 minute trailer for example).&#xD;&#xA;&#xD;&#xA;Sometimes there are quite a few elements to work with.&#xD;&#xA;&#xD;&#xA;I'm curious to how you sort through and essentially &quot;mix&quot; the elements. Do you solo each element and listen to what it is before determining what level it should be at?&#xD;&#xA;&#xD;&#xA;That's essentially what I do but it's time consuming... I'm trying to speed up how I do these things.&#xD;&#xA;&#xD;&#xA;I'm curious to know if there was premixing done before-hand do you let it roll and just tweak small things and leave the premix in tact? Do you delete all the automation and start from scratch?&#xD;&#xA;&#xD;&#xA;Also, how often do you mute and get rid of elements from a mix?&#xD;&#xA;&#xD;&#xA;Thanks - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="3229" PostHistoryTypeId="1" PostId="1784" RevisionGUID="3414e698-d572-4130-aa5c-61c59b6089f2" CreationDate="2010-07-03T01:19:55.713" UserId="18160" Text="Wall of sound - sifting through it" ContentLicense="CC BY-SA 2.5" />
  <row Id="3230" PostHistoryTypeId="3" PostId="1784" RevisionGUID="3414e698-d572-4130-aa5c-61c59b6089f2" CreationDate="2010-07-03T01:19:55.713" UserId="18160" Text="&lt;premixing&gt;&lt;elements&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3231" PostHistoryTypeId="2" PostId="1785" RevisionGUID="770d4b65-9f18-46f1-814c-63b2d3669bf4" CreationDate="2010-07-03T09:22:19.887" UserId="62" Text="Hey Ryan,&#xD;&#xA;&#xD;&#xA;I guess you're mainly talking about sounds that have been layered up together. Sadly I never get anything pre-mixed. I normally just improvise and play through with randomly set faders and see how it sounds. If it sounds cool and works with the picture great, if not I will actually scrub each track to see what's in there. I will more often than not strip out material that is surplus to requirements.&#xD;&#xA;&#xD;&#xA;For atmos/ambience I normally solo that group, suspend automation (I use ProTools) and get the balance right. I then apply that automation to the scene.&#xD;&#xA;&#xD;&#xA;I like the mixture of improvisation and careful thought." ContentLicense="CC BY-SA 2.5" />
  <row Id="3232" PostHistoryTypeId="2" PostId="1786" RevisionGUID="f401d048-8003-4f89-86f4-e30e254f0631" CreationDate="2010-07-03T10:20:49.180" UserDisplayName="user80" Text="Try putting everything into stems and then be dramatic with the EQ and volume automation.  That way you can leave, just about, everything in so that it comes in on cue nice and loud and then drops down into the mix without cluttering everything up.  &#xD;&#xA;&#xD;&#xA;Start of cue = flat and loud&#xD;&#xA;Mid cue = eq'd to sit in mix and moderate&#xD;&#xA;End of cue = heavily eq'd and barely audible.&#xD;&#xA;&#xD;&#xA;I learnt how to do this with bands who refused to cut anything and wanted to hear everything, but still wanted the mix to be 'clear'." ContentLicense="CC BY-SA 2.5" />
  <row Id="3233" PostHistoryTypeId="2" PostId="1787" RevisionGUID="21eea3f5-d4a1-49c4-b3fa-84daa44c5a3b" CreationDate="2010-07-03T10:27:35.547" UserDisplayName="user80" Text="Treat yourself to a monitor controller with a sub on/off switch, a mono switch is also useful.  Have the sub running, but check your work periodically without it." ContentLicense="CC BY-SA 2.5" />
  <row Id="3234" PostHistoryTypeId="5" PostId="1770" RevisionGUID="b4a208a3-708d-46bc-b737-f0b3d81cab8b" CreationDate="2010-07-03T10:31:15.417" UserDisplayName="user80" Comment="Non capitals; edited tags" Text="One of my early teachers in music production indicated that having a subwoofer in the recording studio will skew the true nature of the sound.  We can all agree that without proper room treatment, even the best monitors won't be worth their weight, however, in a well balanced room with a nice pair of nearfield monitors, is a sub beneficial, or does it reduce the producer's ability to properly analyze the mix?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3235" PostHistoryTypeId="4" PostId="1770" RevisionGUID="b4a208a3-708d-46bc-b737-f0b3d81cab8b" CreationDate="2010-07-03T10:31:15.417" UserDisplayName="user80" Comment="Non capitals; edited tags" Text="In the studio, should I have a sub or not?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3236" PostHistoryTypeId="6" PostId="1770" RevisionGUID="b4a208a3-708d-46bc-b737-f0b3d81cab8b" CreationDate="2010-07-03T10:31:15.417" UserDisplayName="user80" Comment="Non capitals; edited tags" Text="&lt;studio&gt;&lt;home-studio&gt;&lt;sound-design&gt;&lt;sub-bass&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3237" PostHistoryTypeId="5" PostId="1786" RevisionGUID="1c4479c8-4439-4474-873f-50226b308595" CreationDate="2010-07-03T10:33:48.420" UserDisplayName="user80" Comment="added 8 characters in body; added 5 characters in body" Text="Try putting everything into stems and then be dramatic with the EQ and volume automation.  That way you can leave, just about, everything in so that it comes in on cue nice and loud and then drops down into the mix without cluttering everything up.  &#xD;&#xA;&#xD;&#xA; - Start of cue = flat and loud &#xD;&#xA; - Mid cue = eq'd to sit in mix and moderate level&#xD;&#xA; - End of cue = heavily eq'd and barely audible&#xD;&#xA;&#xD;&#xA;I learned how to do this with bands who refused to cut anything, wanted to hear everything, and still wanted the mix to be 'clean'." ContentLicense="CC BY-SA 2.5" />
  <row Id="3238" PostHistoryTypeId="2" PostId="1788" RevisionGUID="141fd9a9-556a-4f04-a71c-aa2a2b6a33e4" CreationDate="2010-07-03T11:02:40.760" UserId="331" Text="The editors here do rudimentary volume premixes before they deliver to me which I usually bring in with the tracks.  Do a pass to listen and place markers at points where stuff needs tweaking (usually I mark them depending on the work needed eg A for total remix/re-edit, B for volume tweaks, C for too many fx layers etc - I've about 10 'codes').  Then I Go through marker by marker and either remix scenes in touch mode or use Trim automation for tweaks. Generally I don't go digging unless its a total redo on a sound.  Once I'm happy I have about 10 stem faders which I do a overall mix with.&#xD;&#xA;&#xD;&#xA;On smaller shows where I might only have 20-30 tracks, the marker workflow isn't as necessary but for my current series (over 80tracks per ep) its easier to manage. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3239" PostHistoryTypeId="2" PostId="1789" RevisionGUID="c74514af-b275-4fc4-b3de-5078eb306403" CreationDate="2010-07-03T12:15:42.507" UserId="243" Text="Does nuendo4 work on the icore7 macbook pro properly? I have been having a few problems with it. For instance when I import an omf, the sounds are all squashed together and out of sync, when I import i select the timecode position option and it still goes out of sync?&#xD;&#xA;&#xD;&#xA;Is nuendo 4 compatable with my mac book pro or not and if it isnt I will sort it out thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="3240" PostHistoryTypeId="1" PostId="1789" RevisionGUID="c74514af-b275-4fc4-b3de-5078eb306403" CreationDate="2010-07-03T12:15:42.507" UserId="243" Text="this is probably a dumb question" ContentLicense="CC BY-SA 2.5" />
  <row Id="3241" PostHistoryTypeId="3" PostId="1789" RevisionGUID="c74514af-b275-4fc4-b3de-5078eb306403" CreationDate="2010-07-03T12:15:42.507" UserId="243" Text="&lt;software&gt;&lt;hardware&gt;&lt;nuendo4&gt;&lt;omf&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3242" PostHistoryTypeId="5" PostId="1768" RevisionGUID="cb5ef1ed-62d6-4a7a-9c58-e387799d3ba6" CreationDate="2010-07-03T22:32:25.610" UserId="219" Comment="for too often using the same expressions..." Text="I found something more on the NTG-3, hopefully this will be useful to other people! I just noticed that Rode had [an article][1] on a BBC guy who used te NTG-3 inside a Blimp on a year-long shoot in Indonesia and the outcome of this is that the mic held good despite the horribly extreme weather. See by yourself, I haven't looked for other testimonies that'd allow me to discuss this.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/news.php?article=0023" ContentLicense="CC BY-SA 2.5" />
  <row Id="3243" PostHistoryTypeId="2" PostId="1790" RevisionGUID="cec3c404-b924-4028-aec1-a40215ce6b85" CreationDate="2010-07-03T22:47:04.100" UserId="219" Text="Whether you're on an i7 or a Core Duo it is still an Intel and Mac OS is just a sort of interface between your hardware and the piece of software you're trying to run. If Nuendo works on an Intel Mac, it works on all Intel Macs until they dramatically change of architecture. That was for the geeky bit.&#xD;&#xA;&#xD;&#xA;Now, about Nuendo itself. Rather, I would imagine your problem to be **related to your specific install** (if you do a **clean install** you will see more clearly what options you have left, I don't know how painful the process can be with Nuendo...). Before you do that, just make sure all OMF's are unusable and that it's **not a problem with one particular OMF** file.&#xD;&#xA;&#xD;&#xA;Also I don't know if you've already come across [this video][1], but **OMF's seem to be problematic** with Nuendo 4.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=tHgZQxJPeFA" ContentLicense="CC BY-SA 2.5" />
  <row Id="3244" PostHistoryTypeId="2" PostId="1791" RevisionGUID="2b657d8f-b2b2-4679-9c91-6454e4f1913a" CreationDate="2010-07-04T05:45:28.933" UserId="275" Text="I use Nuendo 4 on a new PC with the i7 chip and it works perfectly. If you are having trouble importing the OMF file double check with the video editor (or whomever gave you the OMF) and make sure they didn't mess it up on their end.  I find that I have to walk a lot of video editors through the correct process of exporting OMF files. I've never had any trouble with properly exported OMF files when importing into Nuendo." ContentLicense="CC BY-SA 2.5" />
  <row Id="3245" PostHistoryTypeId="5" PostId="1790" RevisionGUID="0d3a1b26-d913-4ccb-8db9-f90c0de50c76" CreationDate="2010-07-04T11:26:19.073" UserId="219" Comment="added 230 characters in body" Text="Whether you're on an i7 or a Core Duo it is still an Intel and Mac OS is just an interface between your hardware and the piece of software you're trying to run, so much so that this piece of software is always presented with the same resources and the same methods to use them (just like driving a car, you've always got a steering wheel and pedals that are presented identically from car to car). If Nuendo works on an Intel Mac, it works on all Intel Macs until they dramatically change of architecture. That was for the geeky bit.&#xD;&#xA;&#xD;&#xA;Now, about Nuendo itself. Rather, I would imagine your problem to be **related to your specific install** (if you do a **clean install** you will see more clearly what options you have left, I don't know how painful the process can be with Nuendo...). Before you do that, just make sure all OMF's are unusable and that it's **not a problem with one particular OMF** file.&#xD;&#xA;&#xD;&#xA;Also I don't know if you've already come across [this video][1], but **OMF's seem to be problematic** with Nuendo 4.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=tHgZQxJPeFA" ContentLicense="CC BY-SA 2.5" />
  <row Id="3246" PostHistoryTypeId="2" PostId="1792" RevisionGUID="cce0ad82-a6b8-4f27-a796-474b6198b466" CreationDate="2010-07-04T13:45:31.647" UserId="2" Text="I can't answer your question regarding i7, but maybe I can help with the OMF issue. &#xD;&#xA;&#xD;&#xA;If there is no burnt in timecode and you select &quot;at time code position&quot; when importing the OMFs, you'll have that issue. Try selecting &quot;at absolute time&quot; and see if that fixes your problem. &#xD;&#xA;&#xD;&#xA;Another reason why you might be having this issue is because of a bug between Final Cut Pro and Nuendo. Is your OMF coming from FCP? If so, you need to upgrade to the latest Nuendo and it should work. I had this issue last year and if my memory is correct, the update had to come from Nuendo. &#xD;&#xA;&#xD;&#xA;Hope this helps.   " ContentLicense="CC BY-SA 2.5" />
  <row Id="3247" PostHistoryTypeId="2" PostId="1793" RevisionGUID="37f787df-99f6-4662-a148-a214b73486cd" CreationDate="2010-07-04T20:41:19.727" UserId="412" Text="Hi&#xD;&#xA;&#xD;&#xA;I have been fortunate enough over the last couple of years to be studying audio engineering and post production at a Digi ProScool and am currently sitting my 2.10M and P. Although the studios we have are predominately based around Macs we do have 2 PC based studios running the D-Control surfaces.  Now normally I would say there should be no difference crossing platforms, as I do quite regularly for the Adobe products and have both a Power Mac G5 and a custom built PC. But these 2 studios seem to struggle a little and have thrown up numerous problems when trying to run sessions however I will say that the system is connected to ISIS and is used by some students who know nothing or should I say neglect to take on board the information they're taught about using the 2nd drive for saving sessions and letting the 1st run the OS and ProTools.  Mac's seem to handle this ok even though its a no no in the ProTools documentatiion.  &#xD;&#xA;&#xD;&#xA;Personally I have to confess before going back to study I was an avid PC user and would have sworn by them but the stability of the Mac for ProTools qwas what persuaded me to buy a 2nd hand G5 and I've not looked back, saying that though if you do operate you PC properly and keep it tidy / uniformely indexed I cannot see why ProTools would have any issues running it.&#xD;&#xA;&#xD;&#xA;Thats my few pennies worth and hope that it helps your decision&#xD;&#xA;&#xD;&#xA;Dave" ContentLicense="CC BY-SA 2.5" />
  <row Id="3248" PostHistoryTypeId="16" PostId="1793" RevisionGUID="59d573b6-3a60-46dc-8312-c527185386f0" CreationDate="2010-07-04T20:47:03.023" UserId="412" />
  <row Id="3249" PostHistoryTypeId="5" PostId="1793" RevisionGUID="59d573b6-3a60-46dc-8312-c527185386f0" CreationDate="2010-07-04T20:47:03.023" UserId="412" Comment="Added the short cuts paragraph" Text="Hi&#xD;&#xA;&#xD;&#xA;I have been fortunate enough over the last couple of years to be studying audio engineering and post production at a Digi ProScool and am currently sitting my 2.10M and P. Although the studios we have are predominately based around Macs we do have 2 PC based studios running the D-Control surfaces.  Now normally I would say there should be no difference crossing platforms, as I do quite regularly for the Adobe products and have both a Power Mac G5 and a custom built PC. But these 2 studios seem to struggle a little and have thrown up numerous problems when trying to run sessions however I will say that the system is connected to ISIS and is used by some students who know nothing or should I say neglect to take on board the information they're taught about using the 2nd drive for saving sessions and letting the 1st run the OS and ProTools.  Mac's seem to handle this ok even though its a no no in the ProTools documentatiion.  &#xD;&#xA;&#xD;&#xA;Personally I have to confess before going back to study I was an avid PC user and would have sworn by them but the stability of the Mac for ProTools qwas what persuaded me to buy a 2nd hand G5 and I've not looked back, saying that though if you do operate you PC properly and keep it tidy / uniformely indexed I cannot see why ProTools would have any issues running it.&#xD;&#xA;&#xD;&#xA;When it comes to short cuts and general operation of ProTools I have to suggest Mac again, my lecturer Rob Magoolagan have influenced this and rightly so, the Mac shortcuts seem to be more logical, when you want to select something to the end or nudge right you have the CMD key and to go left or earlier in the time line its OPT, PC seems to jump between CTRL and WIN keys, so for the exams I have learnt only the Mac shortcuts purely for ease of remembering, although saying that the set breakpoint value to next and previous on a Mac baffles me and definately came from a PC.&#xD;&#xA;&#xD;&#xA;Thats my few pennies worth and hope that it helps your decision&#xD;&#xA;&#xD;&#xA;Dave" ContentLicense="CC BY-SA 2.5" />
  <row Id="3250" PostHistoryTypeId="5" PostId="1666" RevisionGUID="1bb3c9e6-8131-454b-b495-df26ef2510e5" CreationDate="2010-07-05T12:03:00.363" UserDisplayName="user80" Comment="Tidied up spelling and added tags" Text="Hi everybody&#xD;&#xA;&#xD;&#xA;I was selected by the Portuguese ministry of culture for a scholarship, to get an internship in a foreign country and the offer i got was for a research project at Pompeu Fabra University in Barcelona, Spain.&#xD;&#xA;&#xD;&#xA;I went there a couple of days for an interview and got accepted, now the ball is on my court, i.e. to accept or not to accept. The internship would last 9 months&#xD;&#xA;&#xD;&#xA;The project its a two-parter&#xD;&#xA;&#xD;&#xA; 1. To study the psychological and physiological response of subjects to audio stimulations&#xD;&#xA;    &#xD;&#xA;    &#xD;&#xA; 2. To design a software program that generates and/or processes audio according to the subjects' heart rate, brain waves and other parameters.&#xD;&#xA;&#xD;&#xA;Now, the project sounds very very interesting, and the labs are amazing, but what I´m worrying about is, will it help me to get a job in the film or video game industry? &#xD;&#xA;&#xD;&#xA;What would you think if you received an application with this sort of project?&#xD;&#xA;&#xD;&#xA;Thanks in advance everybody!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3251" PostHistoryTypeId="6" PostId="1666" RevisionGUID="1bb3c9e6-8131-454b-b495-df26ef2510e5" CreationDate="2010-07-05T12:03:00.363" UserDisplayName="user80" Comment="Tidied up spelling and added tags" Text="&lt;research&gt;&lt;internships&gt;&lt;psychoacoustics&gt;&lt;sonification&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3252" PostHistoryTypeId="2" PostId="1794" RevisionGUID="c18a0f06-d35b-46cb-a150-a8f6fac0bf1c" CreationDate="2010-07-05T15:11:59.803" UserId="348" Text="I am working on a 3-D animated version of a film that has animals throughout. I did the foley and what I concentrated on was making the sounds larger than life. It is more cinematic than real since we wanted to punch up the size of everything such as dogs walking, a dung beetle rolling a ball, flying ants etc. I suggest looking also at films like Microcosmos- a film about the insect life in the french countryside. The perspective of sound from the insects was phenomenal. Totally filled the screen without overwhelming us. &#xD;&#xA;&#xD;&#xA;I generally think that we have to take ourselves outside of how we would hear things from  a human perspective. With animals, as one person replied do not hear things in the same way as other species. But it also depends on the type of film you are making. &#xD;&#xA;&#xD;&#xA;Good Luck" ContentLicense="CC BY-SA 2.5" />
  <row Id="3253" PostHistoryTypeId="2" PostId="1795" RevisionGUID="d5796713-fd27-4aa7-92c7-9ed45b617bb3" CreationDate="2010-07-05T23:40:06.293" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;I may be blasted for a non-sound-design question but since most of you have worked on movie sets and live productions I want to risk it anyway: (Hopefully Colin Hart sees this)&#xD;&#xA;&#xD;&#xA;I have been trying to find a reliable wireless communication system to use for the shooting of a TV series. The range would need to be about 100 meters of quality RF signal that sounds good and is reliable.&#xD;&#xA;&#xD;&#xA;On the sets and music shows I work on, the audio guys need to be communicating with the video guys, producer, director, etc. etc. You know the drill.&#xD;&#xA;&#xD;&#xA;I was wondering what you guys have used in the past that you have found reliable, rugged, dependable and works well in terms of wireless communication systems?&#xD;&#xA;&#xD;&#xA;I went to NAB to search for this type of thing but didn't come away too satisfied.&#xD;&#xA;&#xD;&#xA;I have tried Clear-Comm already. They seem to be the best, though we still had a few problems with it.&#xD;&#xA;&#xD;&#xA;Other systems I have used are just too faulty, sound horrible, and the headphone/mic and belt packs remind me of fisher-price toys and they break easily.&#xD;&#xA;&#xD;&#xA;What have you guys used and consider quality wireless systems?&#xD;&#xA;&#xD;&#xA;Thanks in advance!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3254" PostHistoryTypeId="1" PostId="1795" RevisionGUID="d5796713-fd27-4aa7-92c7-9ed45b617bb3" CreationDate="2010-07-05T23:40:06.293" UserId="18160" Text="Wireless Communication" ContentLicense="CC BY-SA 2.5" />
  <row Id="3255" PostHistoryTypeId="3" PostId="1795" RevisionGUID="d5796713-fd27-4aa7-92c7-9ed45b617bb3" CreationDate="2010-07-05T23:40:06.293" UserId="18160" Text="&lt;wireless&gt;&lt;systems&gt;&lt;rf&gt;&lt;radio-frequency&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3256" PostHistoryTypeId="2" PostId="1796" RevisionGUID="5526dc50-7caa-4df4-a118-537c422c6b4b" CreationDate="2010-07-06T09:40:07.133" UserId="103" Text="The best system i've used were the comtek transmiter/receiver m216, at least in the shoots&#xD;&#xA;we've used them at, well.... no complaints and virtually fool proof&#xD;&#xA;We've also used sennheiser em2050 receiver with Sk 3063 transmitter with good results, but the receiver was in rack format and AC powered which might or might not be acceptable to your situation. &#xD;&#xA;I have no idea of the price points though, i was just using the thing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Hope that helps a bit" ContentLicense="CC BY-SA 2.5" />
  <row Id="3257" PostHistoryTypeId="2" PostId="1797" RevisionGUID="5f145baf-58aa-4aa6-afbc-8309828b29f8" CreationDate="2010-07-06T15:31:52.000" UserId="2" Text="Okay, I think I've found the correct answer. You need to download the latest version of [Rosetta][1] and it should work. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.apple.com/rosetta/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3258" PostHistoryTypeId="16" PostId="1797" RevisionGUID="5f145baf-58aa-4aa6-afbc-8309828b29f8" CreationDate="2010-07-06T15:31:52.000" UserId="-1" />
  <row Id="3259" PostHistoryTypeId="2" PostId="1798" RevisionGUID="06c8274b-06f7-4860-98ec-ba952a960256" CreationDate="2010-07-06T15:50:46.933" UserId="220" Text="If you're looking for IFB, I agree with the Comtek m216.  It's a very solid device that is easy to use.  It runs about $700 for the transmitter, and $350 per receiver pack new.  I'm not sure the price used or for rentals.  This is for one way monitoring of the audio coming from the sound people on set only.&#xD;&#xA;&#xD;&#xA;It sounds more like you're looking for 2-way communication.  If that's the case, go with Motorola UHF or VHF walkies and get some ear-pieces.  They are very rugged and won't easily break.  You'll need a lot of these - they are used to call quiet on set, call for equipment, radio for traffic control or crowd control.  Often this has little to do with the sound guys (other than keeping things quiet), but they are generally responsible for providing both the IFB and walkies.  &#xD;&#xA;&#xD;&#xA;If you're on a tight budget, 4 or 5 good bullhorns will run you about $300 and you can shout all over set!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3260" PostHistoryTypeId="2" PostId="1799" RevisionGUID="90feecfb-6fdf-4a80-91b6-7881b61a227d" CreationDate="2010-07-06T16:12:51.013" UserId="414" Text="After college, I really want to join a yearlong volunteer program called Americorps National Civilian Community Corps, or NCCC.  It's a full time program, and I won't be able to complete any internships during my year there.  I may be able to intern between graduation and the NCCC start date. However, if I was offered a job at the end of the internship, I wouldn't be able to take the job because I'd have to leave.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The million dollar questions: will employers look at my volunteer year as a wasted year? Does it really matter, as long as my demo reel's good?  Should I take a year off **during** college instead of after college so I can avoid this? &#xD;&#xA;&#xD;&#xA;Thank you so much for reading!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="3261" PostHistoryTypeId="1" PostId="1799" RevisionGUID="90feecfb-6fdf-4a80-91b6-7881b61a227d" CreationDate="2010-07-06T16:12:51.013" UserId="414" Text="If I do volunteer work unrelated to sound design, will that hurt my job prospects?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3262" PostHistoryTypeId="3" PostId="1799" RevisionGUID="90feecfb-6fdf-4a80-91b6-7881b61a227d" CreationDate="2010-07-06T16:12:51.013" UserId="414" Text="&lt;career&gt;&lt;experience&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3263" PostHistoryTypeId="2" PostId="1800" RevisionGUID="50096bc6-5f66-47bc-b7e6-461510d29027" CreationDate="2010-07-06T17:04:13.293" UserId="415" Text="Hi,&#xD;&#xA;I'm mainly interested in producing electronic music (breakcore, dubstep and so on). I have a decent knowledge of music theory and I can create not-so-bad drum patterns, but when it comes to create or manipulate a sound (for a drum kit, or a synth) I just procede changing parameters randomly, applying effects and so on.&#xD;&#xA;&#xD;&#xA;I'm looking for some good book about sound synthesis. Recently I've bought the Z3ta synth and reading the manual is only useful if you actually know when to use what to obtain a certain sound.&#xD;&#xA;&#xD;&#xA;The same goes for music production. Anything that explains compression, equalization and all of this stuff.&#xD;&#xA;&#xD;&#xA;Thank you very much,&#xD;&#xA;Carlo" ContentLicense="CC BY-SA 2.5" />
  <row Id="3264" PostHistoryTypeId="1" PostId="1800" RevisionGUID="50096bc6-5f66-47bc-b7e6-461510d29027" CreationDate="2010-07-06T17:04:13.293" UserId="415" Text="Suggestions for books on sound synthesis and electronic music production" ContentLicense="CC BY-SA 2.5" />
  <row Id="3265" PostHistoryTypeId="3" PostId="1800" RevisionGUID="50096bc6-5f66-47bc-b7e6-461510d29027" CreationDate="2010-07-06T17:04:13.293" UserId="415" Text="&lt;suggestion&gt;&lt;books&gt;&lt;sound-design&gt;&lt;production&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3266" PostHistoryTypeId="2" PostId="1801" RevisionGUID="4bd11054-7672-4ab2-b9e3-f07578c0df78" CreationDate="2010-07-06T17:33:57.540" UserId="253" Text="I assume you want to get into sound post production?&#xD;&#xA;&#xD;&#xA;The only thing i think the volunteer year would do is delay your entry into the world of post. It seems to me that, in this industry, it's about: whether people like you; your skillset and ability to learn; and being in the right place at the right time.&#xD;&#xA;&#xD;&#xA;As an example: after finishing my bachelor in film and TV, i worked at a supermarket for a few years while i worked on as much as i could (mostly unpaid) and built up my contacts and experience.&#xD;&#xA;&#xD;&#xA;I think life experience and communication are very important in our job, so this volunteer year could help  you in the long run. Try to work on projects for friends and people you find on craigslist (etc) in the meantime, but i can't see anyone looking down on you for it.&#xD;&#xA;&#xD;&#xA;Best of luck!&#xD;&#xA;&#xD;&#xA;PS: if you are offered a job at the end of an internship, that would be a decision for you to make then and there. I would recommend taking it, as the industry seems a little tricky to get into right now." ContentLicense="CC BY-SA 2.5" />
  <row Id="3267" PostHistoryTypeId="2" PostId="1802" RevisionGUID="6015ced5-f405-42b2-9051-ae0bf2da4f3b" CreationDate="2010-07-06T17:36:18.360" UserId="270" Text=" - Cloth &amp; Tissue - for drying rain off gear&#xD;&#xA; - Waterproof plastic bags - Some large enough to keep recording gear inside&#xD;&#xA; - Silica Gel Sachets&#xD;&#xA; - Gaffer/PVC Tape&#xD;&#xA; - Cable Ties&#xD;&#xA; - Leatherman&#xD;&#xA; - Torch&#xD;&#xA; - Elastic Bands&#xD;&#xA; - Spare Battery for recorder&#xD;&#xA; - Notepad &amp; Pencil&#xD;&#xA; - Ear Protectors&#xD;&#xA; - Wallet with ID&#xD;&#xA; - Food &amp; drink&#xD;&#xA; - MP3 player &amp; earphones&#xD;&#xA; - Phone &amp; Spare Battery&#xD;&#xA; - Camera&#xD;&#xA; - Clothing suitable for hot, cold, and rainy weather&#xD;&#xA; - Radio Scanner (when im recording aircraft which is often)&#xD;&#xA;&#xD;&#xA;I carry these bits &amp; my SD recorder and rycote in a rucksack &amp; 1 bag, I can just about manage to cycle.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3268" PostHistoryTypeId="2" PostId="1803" RevisionGUID="b1fbfcba-c1a3-47e7-a9f6-0907f9c4bb91" CreationDate="2010-07-06T17:41:50.550" UserId="220" Text="Are you in school for sound design?  I can speak from the side of being an engineering major in college, which is similar in that current knowledge is valuable to employers.  &#xD;&#xA;&#xD;&#xA;I graduated and decided to go into audio/visual instead of a field related to my major.  After a year and a half, I decided I wanted to go back to engineering for more money and better hours.  Even though I had been working, had more leadership and work experience than almost anyone at the job fairs and hiring folks I visited, the question I got every time was &quot;where were you for a year?  why weren't you doing engineering?&quot;, and there was very little .  I stayed with A/V, which was a good decision for me in the end, but it made me realize that current, fresh knowledge is most often valued.&#xD;&#xA;&#xD;&#xA;My advice:  take a year off in the middle of school to do this internship.  There are two reasons I think you should.  First, you will be able to come back, finish your degree, and have everything fresh in your mind as you seek employment.  I would take off as soon as possible in your studies so that you don't have gaps between high level courses.  Second, it will help your employability.  If I had to choose, just on paper, between a recent grad and someone who has been out of school for a year and has not used their degree at all, I'll pick the recent grad.  The other thing that happens is you will instead of being someone who has been out of the industry for a year, you'll actually come across better with the internship being while in school.  You'll have a leg up on claiming leadership and real world experience over people who just went straight through school.  By graduating, you show that the year off did not effect your course studies and you're just as sharp as anybody graduating, but with some extra bonuses.  &#xD;&#xA;&#xD;&#xA;Keep in mind some schools plan major course requirement changes that could effect you if you're absent when the change happens.  There are also a lot of courses that require consecutive semesters or quarters to complete.&#xD;&#xA;&#xD;&#xA;Again, my advice isn't exactly geared towards employment in sound, but hopefully it helps.  I'm sure others who have taken a more direct path to sound can speak to employment after college.  Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3269" PostHistoryTypeId="2" PostId="1804" RevisionGUID="e739cf5b-fb2e-4ebe-bae1-e156ba6cd890" CreationDate="2010-07-06T19:28:00.383" UserId="6411" Text="When I was first delivering FX stems to one of our mixers, I would go through painstaking effort to premix. I would pan and automate everything to be able to deliver a final, re-recording ready stem.  It was only after about the 4th or 5th show I delivered this way that I found out that he was deleting &lt;b&gt;everything&lt;/b&gt; the moment he imported the session data. Meanwhile he was wondering what the hell was taking me so long... As a result, pretty much everyone here is delivering elements with zero premixing.&#xD;&#xA;&#xD;&#xA;So first and foremost, communication up and down the chain is key.  If you can make sure that whomever is providing your elements has a clear understanding of what you're expecting from them, then you're not wasting their time or yours.&#xD;&#xA;&#xD;&#xA;Now, if you don't have that luxury, or (as your phrasing suggests) the ones providing your elements are just doing a crap job about premixing, here's what I do. Since I've wasted a bunch of time myself soloing up individual elements of a build to see what's what, I start by throwing up all the faders to get a balance.  If something sounds out of whack, rather than soloing each channel, I mute where I assume the problem is. Usually I'm looking at meters and waveforms to make my best guess. I've found it faster to listen in the context of the entire sound, mute the offenders to find them, pull them back, unmute and gradually add them back until I like what I hear. This way I'm mixing more of the sound at once, which usually results in fewer passes of the sound.&#xD;&#xA;&#xD;&#xA;Now, because I know the guys who are effects building for me, and I know how they work, I know that elements higher up the track constitute more &quot;important&quot; elements to the design.  As a result, an effect placed on the &quot;FX 4&quot; track will typically play louder than something on &quot;FX 12.&quot; But that's usually just a starting point. So I'll write the basic balance automation, then dive into trim to detail its mix. After I've gotten the effect mixed, I'll use a VCA to feather it in against the rest of the mix.&#xD;&#xA;&#xD;&#xA;As far as muting clips goes, I rarely do it.  There are occasions where I don't agree with what they delivered and I may have to go hunting for the sound that I think should be in there instead. But more often than not, rather than shift gears completely, I'll EQ or mix down the bad elements sooner than getting rid of them completely.  There usually &lt;i&gt;some&lt;/i&gt; reason that it's been added to the design." ContentLicense="CC BY-SA 2.5" />
  <row Id="3270" PostHistoryTypeId="2" PostId="1805" RevisionGUID="20c9d5b7-ce07-4015-ad30-dac1dabc69b9" CreationDate="2010-07-06T19:49:52.260" UserId="56" Text="I found puredata the best free software to study, learn and understand audio synthesis and much more.&#xD;&#xA;&#xD;&#xA;So I suggest the software itself ([extended version][1]) and these books:&#xD;&#xA;&#xD;&#xA;Theory and Techniques of Electronic Music by Miller Puckette&#xD;&#xA;&#xD;&#xA;Loadbang by Johannes Kreidler&#xD;&#xA;&#xD;&#xA;here the links for the free pdf versions.&#xD;&#xA;&#xD;&#xA;http://crca.ucsd.edu/~msp/techniques.htm&#xD;&#xA;&#xD;&#xA;http://www.pd-tutorial.com/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://puredata.info/downloads/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3271" PostHistoryTypeId="2" PostId="1806" RevisionGUID="f926d130-422e-4b38-9c8f-5a79c6e7d255" CreationDate="2010-07-06T21:22:02.150" UserId="6411" Text="To piggyback on &lt;a href=&quot;http://socialsounddesign.com/questions/1453/recording-sound-effects-in-urban-environments/1464#1464&quot;&gt;Colin's post&lt;/a&gt; about recording effects in urban environments. How do you avoid air traffic?  I'm in DC and between two major airports and in the flyover zone for the Pentagon and White House. Unpredictable government air traffic aside, is there a resource that you use to plan recording around air traffic?&#xD;&#xA;&#xD;&#xA;I've done night/early morning recording and mostly avoided air traffic. But, I have also driven 60-80 miles out to the country, only to find out that I'm in the holding pattern flight path for IAD. I feel like there has to be a web resource that allows you to map it out. Anybody know?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3272" PostHistoryTypeId="1" PostId="1806" RevisionGUID="f926d130-422e-4b38-9c8f-5a79c6e7d255" CreationDate="2010-07-06T21:22:02.150" UserId="6411" Text="Can you plan field recording to avoid flight patterns / air traffic?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3273" PostHistoryTypeId="3" PostId="1806" RevisionGUID="f926d130-422e-4b38-9c8f-5a79c6e7d255" CreationDate="2010-07-06T21:22:02.150" UserId="6411" Text="&lt;field-recording&gt;&lt;sound-effects-recording&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3274" PostHistoryTypeId="5" PostId="1748" RevisionGUID="aca264c4-0d6c-4c37-9892-543b05dee296" CreationDate="2010-07-06T21:41:47.757" UserId="270" Comment="added 293 characters in body; added 1 characters in body" Text="the film Predator sometimes takes the POV of the Predator, which im counting as an animal for the purpose of this question :P&#xD;&#xA;&#xD;&#xA;The sound design changes drastically in the Predator's POV to show that his sense of hearing is very alien, iirc modulation effects were used.&#xD;&#xA;&#xD;&#xA;You could think about how the physiology of different creatures would affect how they perceive sound.&#xD;&#xA;&#xD;&#xA;EDIT: I've just watched episode 16 in season 2 of the Simpsons, where you see &amp; hear briefly from the perspective of Santa's Little Helper (a dog).  The sound is really cool because you can hear Krusty the Clown's very recognisable voice but not speaking proper words - just made up nonsense." ContentLicense="CC BY-SA 2.5" />
  <row Id="3275" PostHistoryTypeId="2" PostId="1807" RevisionGUID="43998265-aa3b-4560-a663-0cd21bf2266a" CreationDate="2010-07-06T22:06:35.197" UserId="18" Text="This article is an interesting read: http://www.newsweek.com/2010/01/27/an-unquiet-nation.html&#xD;&#xA;&#xD;&#xA;The gist of it is, that there are very few places in left this country that you can find 15 minutes without noise.&#xD;&#xA;&#xD;&#xA;I saw a map somewhere on the net (can't find it now) that charts all of the air traffic pathways in the US.  Basically, there really isn't a place that isn't covered by air traffic (especially the east coast).  You're only bet is to record late night / early morning when planes don't fly.  Even the wilderness is covered with air traffic now.  The further you get away from airports, the more likely you can get a least a few minutes of silence.  But that is almost impossible on the East Coast, since everything is so close to each other." ContentLicense="CC BY-SA 2.5" />
  <row Id="3276" PostHistoryTypeId="2" PostId="1808" RevisionGUID="8af73acf-09ad-4063-857d-a9c7e347e7d3" CreationDate="2010-07-07T01:14:00.117" UserId="372" Text="Does anyone know the difference in job opportunities between video game sound design and film sound design. Which one has more opportunities to get a job, know from experience? Is the pay any different?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3277" PostHistoryTypeId="1" PostId="1808" RevisionGUID="8af73acf-09ad-4063-857d-a9c7e347e7d3" CreationDate="2010-07-07T01:14:00.117" UserId="372" Text="Job opportunities" ContentLicense="CC BY-SA 2.5" />
  <row Id="3278" PostHistoryTypeId="3" PostId="1808" RevisionGUID="8af73acf-09ad-4063-857d-a9c7e347e7d3" CreationDate="2010-07-07T01:14:00.117" UserId="372" Text="&lt;video-games&gt;&lt;film-sound-design&gt;&lt;job-opportunities&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3279" PostHistoryTypeId="2" PostId="1809" RevisionGUID="01274820-5bdd-41f7-9bb1-2dc052580cc5" CreationDate="2010-07-07T01:15:55.573" UserId="372" Text="Do computer animated films such as toy story, use linear or non-linear sound design? how is the job marker for it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3280" PostHistoryTypeId="1" PostId="1809" RevisionGUID="01274820-5bdd-41f7-9bb1-2dc052580cc5" CreationDate="2010-07-07T01:15:55.573" UserId="372" Text="Computer Animated Films" ContentLicense="CC BY-SA 2.5" />
  <row Id="3281" PostHistoryTypeId="3" PostId="1809" RevisionGUID="01274820-5bdd-41f7-9bb1-2dc052580cc5" CreationDate="2010-07-07T01:15:55.573" UserId="372" Text="&lt;movies&gt;&lt;linear-sound&gt;&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3282" PostHistoryTypeId="2" PostId="1810" RevisionGUID="4545c0ca-f3fc-4189-b3cf-9b08893341b6" CreationDate="2010-07-07T03:43:15.793" UserId="418" Text="There are some scenes in There Will Be Blood where the score is spawned from an on screen sound effect, and it slowly morphs into music. Some pretty intense music in that picture." ContentLicense="CC BY-SA 2.5" />
  <row Id="3283" PostHistoryTypeId="2" PostId="1811" RevisionGUID="24d436c3-f401-4e70-8d5e-87779e942984" CreationDate="2010-07-07T04:19:53.707" UserId="418" Text="I kind of make a living in field recording, kinda, sorta. Most of my career is in making &quot;soundware&quot; ie; instruments and sound libraries for musicians. All of my products feature field recordings predominantly, some heavily processed and others not so much. At the end of the day most of my customers are using the sounds in music productions and the bulk of them do scoring work, theatre, art installation type stuff etc. So while it's not necessarily straight up &quot;dry&quot; field sounds at the end of the day, field recording is where my heart lies and it's great to keep it a big part of what I do. Makes for a pretty unique product lineup too when compared to the typical stuff marketed to musicians. &#xD;&#xA;&#xD;&#xA;Outside of the musician realm, there are a few other places to sell straight stock field recordings. AudioJungle.net is growing rapidly. There are other stock sound libraries online that will distribute third parties too. With enough spread it might pay the bills. Based on my little venture so far; unique sounds that not everyone can access are always a plus. *Almost forgot: Karen over at http://whitenoisemp3s.com/ sells her field recordings and they're just wonderful. I do believe she does a substantial amount of project work which is probably the bulk of her career. Still, people must be buying them. &#xD;&#xA;&#xD;&#xA;Keep in mind most of my input is from the standpoint of a &quot;products&quot; guy. I have an idea, I develop a product and then I sell it and market it. Kind of a different world from custom project work. Any custom work I get to do is typically for installation art, meditation music or other flavors of &quot;new age&quot; audiobooks or the like. &#xD;&#xA;&#xD;&#xA;So I guess it's theoretically doable, just might have to turn sideways and approach it from a weird angle. :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3284" PostHistoryTypeId="2" PostId="1812" RevisionGUID="478b78b8-343f-424f-a72c-dc0fc9f1c406" CreationDate="2010-07-07T12:58:23.093" UserId="6411" Text="&lt;a href=&quot;http://www.natca.org/flight-explorer/united-states.aspx&quot;&gt;NATCA's Real Time (5-minute delayed) Flight Traffic Map&lt;/a&gt;&#xD;&#xA;&#xD;&#xA;Thanks Chuck for sending me down the right path!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3285" PostHistoryTypeId="2" PostId="1813" RevisionGUID="c14aec5b-36c8-4eb3-ba1f-b7aebdea9b25" CreationDate="2010-07-07T13:55:01.493" UserId="194" Text="Here is the tracker I use. Very reliable in my exp, and iPhone compatible!&#xD;&#xA;&#xD;&#xA;http://flightaware.com/live/airport_status_bigmap.rvt?airport=KDAL" ContentLicense="CC BY-SA 2.5" />
  <row Id="3286" PostHistoryTypeId="2" PostId="1814" RevisionGUID="16421d4a-2459-4f78-8455-3feb85824b19" CreationDate="2010-07-07T19:06:25.373" UserId="390" Text="As an active job seeker, I've seen more game audio jobs than film jobs. But, lately, there have been more internships in audio post as well as entry level positions as a runner in an audio post facility.  But, I just started looking so my answer may not be all that accurate." ContentLicense="CC BY-SA 2.5" />
  <row Id="3287" PostHistoryTypeId="6" PostId="1809" RevisionGUID="ebb2d68a-92ff-494f-9e2a-5a0a0e4bdebf" CreationDate="2010-07-07T19:57:27.223" UserId="219" Comment="edited tags" Text="&lt;movies&gt;&lt;linear-sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3288" PostHistoryTypeId="2" PostId="1815" RevisionGUID="e773d8fe-f4dc-46c4-9c8f-3f4641b9dca2" CreationDate="2010-07-07T20:35:49.343" UserId="268" Text="This may have been said. But if you're recording to cam make sure you send the camera audio back out to your mixer so you can monitor whats being recorded instead of just what your sending to the camera." ContentLicense="CC BY-SA 2.5" />
  <row Id="3289" PostHistoryTypeId="2" PostId="1816" RevisionGUID="47c8a41a-4e93-4694-9995-abbba8810bcc" CreationDate="2010-07-07T21:29:49.083" UserId="6411" Text="I think it's safe to assume that this crowd loves a good story.  Furthermore, I'm pretty sure that we're the ones who vocalize all the sounds and give voices to the characters when telling a co-worker about our crazy morning commute in an attempt to make a crap story a better story. We contribute our acoustic impressions to all kinds of different worlds everyday, trying to make them more encompassing, evolving and appropriate as supporting characters in the storytelling process.  But how do you know what succeeds and what fails?&#xD;&#xA;&#xD;&#xA;Is it trial and error?  Learned expectations from listening to decades of media? Are there unwritten rules that a single Red Tailed Hawk screech against a gritty, blustery wind implies solitude and desolation? Are there written rules that explain it all? &#xD;&#xA;&#xD;&#xA;I try to view TV/ films and actively listen to hear how the role of sound supports the story, but I always get lost in the story! I'm always backing up, usually kill the screen, turn off lights, close my eyes and re-listen.  And then I'm only 70-80% sure of what it is I'm actually listening for.&#xD;&#xA;&#xD;&#xA;So, when studying films, television or theater for how they use sound to tell the story, how do you not get lost in the story? What do you listen for? What are some of your favorite nuggets of media that use sound effectively in support of telling a story? And why were they effective to you?&#xD;&#xA;&#xD;&#xA;How else do you hone your acoustic storytelling skills?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3290" PostHistoryTypeId="1" PostId="1816" RevisionGUID="47c8a41a-4e93-4694-9995-abbba8810bcc" CreationDate="2010-07-07T21:29:49.083" UserId="6411" Text="How Do You Hone Your Acoustic Storytelling Skills?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3291" PostHistoryTypeId="3" PostId="1816" RevisionGUID="47c8a41a-4e93-4694-9995-abbba8810bcc" CreationDate="2010-07-07T21:29:49.083" UserId="6411" Text="&lt;storytelling&gt;&lt;listening&gt;&lt;inspiration&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3293" PostHistoryTypeId="2" PostId="1818" RevisionGUID="bbfd415b-2ecc-4603-9766-6712fa51c623" CreationDate="2010-07-07T23:50:44.290" UserId="331" Text="Rent is the way to go and get some cash coming in - no point in jumping in and buying gear without thinking it through or ultimately, buying what you can afford now and having to upgrade a few months later - worth saving your cash and buying good stuff once.  I'll wholeheartedly recommend any of the sound devices stuff and any of the above suggestions." ContentLicense="CC BY-SA 2.5" />
  <row Id="3296" PostHistoryTypeId="2" PostId="1819" RevisionGUID="a820e233-f59a-4c1c-b417-35b86bfc4fed" CreationDate="2010-07-08T01:54:15.373" UserId="393" Text="I don't know about you guys, but I HATE sound design interviews when they don't even include the designers' demo reel, let alone a demo of the game / movie / whatever that they're talking about.&#xD;&#xA;&#xD;&#xA;Sound is a completely subjective medium... how do the authors expect us to understand what they're saying when &quot;booming&quot; to him may just be &quot;thudding&quot; to someone else?&#xD;&#xA;&#xD;&#xA;Don't get me wrong... I still read them, because *occasionally* I'll stumble across a real gem of a technique, but I often feel cheated.  I mean, do they interview artists and modelers and not include even a single image of that person's work?  No.&#xD;&#xA;&#xD;&#xA;So, why do they do it to sound designers?&#xD;&#xA;&#xD;&#xA;/rant" ContentLicense="CC BY-SA 2.5" />
  <row Id="3297" PostHistoryTypeId="1" PostId="1819" RevisionGUID="a820e233-f59a-4c1c-b417-35b86bfc4fed" CreationDate="2010-07-08T01:54:15.373" UserId="393" Text="READING Sound Design Interviews..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3298" PostHistoryTypeId="3" PostId="1819" RevisionGUID="a820e233-f59a-4c1c-b417-35b86bfc4fed" CreationDate="2010-07-08T01:54:15.373" UserId="393" Text="&lt;interviews&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3299" PostHistoryTypeId="2" PostId="1820" RevisionGUID="71768b4b-5b8b-48f9-bfae-77759a4ceb8a" CreationDate="2010-07-08T02:02:01.360" UserId="393" Text="I would suspect they use non-linear sound design, but there's probably some rebel out there still cutting tape, trying to prove us that things can be done outside of ProTools.  &#xD;&#xA;&#xD;&#xA;I've never designed for a CG film, but I did get the chance to sit in on a lecture about the graphics and modeling techniques, especially 3D, used by Pixar for Bolt, and we were shown very early cuts where they hadn't smoothed out some of the polys, let alone textured them, and even got to hear some of the early sound design.  As far as I know, that wouldn't even be possible with linear editing.&#xD;&#xA;&#xD;&#xA;As for the job market?  It's the same job market we're all in... There's work out there, you just have to prove to the people needing it that you're worth it." ContentLicense="CC BY-SA 2.5" />
  <row Id="3300" PostHistoryTypeId="2" PostId="1821" RevisionGUID="505bbb45-1a61-41e9-9f30-6c3acca535ec" CreationDate="2010-07-08T02:08:03.760" UserId="393" Text="A technique I've tried a little bit is to take a photograph and try to create a scene around it.&#xD;&#xA;&#xD;&#xA;Another thing I do to hone my ears, which helps everything in sound design, is just take long walks for sound sake -- smells, too, but that's a different story.  If I were really smart, I'd either carry a portable recorder with me to capture good sounds, or I'd immediately try to recreate parts of my walk once I got home." ContentLicense="CC BY-SA 2.5" />
  <row Id="3301" PostHistoryTypeId="2" PostId="1822" RevisionGUID="9cb992fb-a0cd-4464-a20a-f2cf1ddd5055" CreationDate="2010-07-08T02:56:15.320" UserId="390" Text="I don't know. As long as the interview is good, then I'm content. There was a great article on how a couple of re-recording mixers mixed 5.1 sound for the Theater Fire scene near the end of Inglorious Basterds. They talked about the pitfalls of mixing in surround and how one should refrain from putting to much busy sounds in the rear channels and keep the focus on the front.&#xD;&#xA;&#xD;&#xA;But I enjoy a good interview with or without the accompanying sounds. It ain't all that hard to follow up on that particular artist's work." ContentLicense="CC BY-SA 2.5" />
  <row Id="3302" PostHistoryTypeId="2" PostId="1823" RevisionGUID="3cc70411-b95f-4220-b2ff-0cfb9cf39680" CreationDate="2010-07-08T02:59:00.833" UserId="14" Text="I find insight from the professionals to be useful. If someone makes a living at this, and they have some good credentials, I'd like to hear what they have to say." ContentLicense="CC BY-SA 2.5" />
  <row Id="3304" PostHistoryTypeId="2" PostId="1825" RevisionGUID="fa1f68d2-cf3e-44e8-a51d-7dd2068c562e" CreationDate="2010-07-08T03:04:30.317" UserId="275" Text="There may very well be copyright issues involved. I recently did some work for Microsoft XBox and in the contract it specifically said I could NOT display the work without prior written consent from Microsoft. Some times those hoops just aren't worth jumping through for an article. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3305" PostHistoryTypeId="2" PostId="1826" RevisionGUID="f41e6ba5-6141-45e6-b3d7-832de61c3690" CreationDate="2010-07-08T03:07:24.707" UserId="418" Text="Probably because you cant' listen to a magazine? Har-har. :P&#xD;&#xA;&#xD;&#xA;I guess we're talking web stuff here, and I hear ya on that. Not having samples inline doesn't make me run away, but I'll say it does add to the experience when there is something to hear as I'm reading. Probably just taking folks a while to get on board with stuff like Soundcloud and other embedding tools. Embedding web audio was kind of a chore for non-tech-savvy people until fairly recently. &#xD;&#xA;&#xD;&#xA;Hopefully more publishers will take advantage of the media embedding goodness of the iPad craze. Would love to view/hear/touch an issue of Sound on Sound or Mix on that device. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3306" PostHistoryTypeId="2" PostId="1827" RevisionGUID="da3304e5-073f-45ac-bcaa-762ff83ad42c" CreationDate="2010-07-08T03:10:46.413" UserId="275" Text="I've worked on gigs all over the country and it is nearly impossible to find a spot without air traffic. I just did a feature film shoot in Western, NE (do a Google Maps search) and even there we had to wait for high-flying planes.  The only spot I have ever been without hearing a plane, train, or car all day long was the Boundary Waters Wilderness Canoe Area on the Minnesota/Canada border.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="3307" PostHistoryTypeId="5" PostId="1819" RevisionGUID="2307675f-01e0-46dc-af3f-bb521a6b50e8" CreationDate="2010-07-08T03:27:51.887" UserId="393" Comment="Added the &quot;online&quot; emphasis." Text="I don't know about you guys, but I HATE **online** sound design interviews when they don't even include the designers' demo reel, let alone a demo of the game / movie / whatever that they're talking about.&#xD;&#xA;&#xD;&#xA;Sound is a completely subjective medium... how do the authors expect us to understand what they're saying when &quot;booming&quot; to him may just be &quot;thudding&quot; to someone else?&#xD;&#xA;&#xD;&#xA;Don't get me wrong... I still read them, because *occasionally* I'll stumble across a real gem of a technique, but I often feel cheated.  I mean, do they interview artists and modelers and not include even a single image of that person's work?  No.&#xD;&#xA;&#xD;&#xA;So, why do they do it to sound designers?&#xD;&#xA;&#xD;&#xA;/rant" ContentLicense="CC BY-SA 2.5" />
  <row Id="3308" PostHistoryTypeId="5" PostId="1820" RevisionGUID="5b24aaba-029a-4cf7-9d3c-c03f3d76dc62" CreationDate="2010-07-08T03:28:51.463" UserId="393" Comment="added 3 characters in body" Text="I would suspect they use non-linear sound design, but there's probably some rebel out there still cutting tape, trying to prove us that things can be done outside of ProTools.  &#xD;&#xA;&#xD;&#xA;I've never designed for a CG film, but I did get the chance to sit in on a lecture about the graphics and modeling techniques, especially 3D, used by Pixar for Bolt, and we were shown very early cuts where they hadn't smoothed out some of the polys, let alone textured them, and even got to hear some of the early sound design.  As far as I know, that wouldn't even be possible with linear editing.&#xD;&#xA;&#xD;&#xA;As for the job market?  It's the same job market we're all in... There's work out there, you just have to prove to the people paying for it that you're worth it." ContentLicense="CC BY-SA 2.5" />
  <row Id="3309" PostHistoryTypeId="2" PostId="1828" RevisionGUID="df27ca2d-95df-4c4c-9030-0d204b845de5" CreationDate="2010-07-08T09:39:58.990" UserId="4" Text="Well, I've finally got the archiving process off the ground - maybe not perfectly. Thanks for all the advice so far.&#xD;&#xA;&#xD;&#xA;I borrowed a 20 dB and 30dB canon pads and this managed to bring the output of the Nagra down to managable levels for the Zoom. &#xD;&#xA;&#xD;&#xA;The cable I then made up had two cores and a screen. I connected the nagra banana jacks to pins 2 and 3 on the canon plug. This was very noisy and was picking up local radio stations, so I also connected the screen to pin 1 on the canon plug and left it disconnected at the nagra end. &#xD;&#xA;&#xD;&#xA;However I'm still finding that the output from the nagra has a 'buzz' if it is connected to its power supply or if I touch the nagra anywhere. So I'm making the recordings using batteries in the nagra and not touching it at all during recording. I'm sure this is not the perfect solution but it's the closest I've got so far.&#xD;&#xA;&#xD;&#xA;Already found some interesting material including Paul Macartney recording blackbird at Abbey Road, discussion with Paul Macartney, Mary Hopkins in Pauls garden, James Taylor in Paul Macartneys house and 'test' audio tapes for use by cinemas to set up their audio for the playback of Clockwork Orange." ContentLicense="CC BY-SA 2.5" />
  <row Id="3311" PostHistoryTypeId="2" PostId="1830" RevisionGUID="7e170b90-8a69-463d-abd2-61eaeed44758" CreationDate="2010-07-08T12:16:04.443" UserId="142" Text="Computer animated films just like any other film use linear sound. Whether cutting tape or using pro tools, logic or most DAWs, you will be producing sound in a linear fashion. Every track is a line in the DAW and has a start and finish at a predetermined point. As you watch the computer animation the only non-linear control you have over the audio is to press play, fast forward rewind or pause. Non linear sound is present within different media forms like video games or sound toys where the user has control over when the sounds are triggered. Whether a button triggering a gunshot or being able to choose what radio station you listen to in the car in Grand Theft Auto, basically the sounds and music within games require triggers from the users actions making them non-linear." ContentLicense="CC BY-SA 2.5" />
  <row Id="3313" PostHistoryTypeId="5" PostId="1802" RevisionGUID="5390e428-2b85-4c66-bc8e-fdbdf3fdb063" CreationDate="2010-07-08T14:45:02.287" UserId="270" Comment="added 86 characters in body" Text=" - Cloth &amp; Tissue - for drying rain off gear&#xD;&#xA; - Waterproof plastic bags - Some large enough to keep recording gear inside&#xD;&#xA; - Silica Gel Sachets&#xD;&#xA; - Gaffer/PVC Tape&#xD;&#xA; - Cable Ties&#xD;&#xA; - Leatherman&#xD;&#xA; - Torch&#xD;&#xA; - Elastic Bands&#xD;&#xA; - Spare Battery for recorder&#xD;&#xA; - Notepad &amp; Pencil&#xD;&#xA; - Ear Protectors&#xD;&#xA; - Wallet with ID&#xD;&#xA; - Food &amp; drink&#xD;&#xA; - MP3 player &amp; earphones&#xD;&#xA; - Phone &amp; Spare Battery&#xD;&#xA; - Camera&#xD;&#xA; - Clothing suitable for hot, cold, and rainy weather&#xD;&#xA; - Radio Scanner (when im recording aircraft which is often)&#xD;&#xA; - High Viz Vest - to make it look like im officially allowed to be places im not ;)&#xD;&#xA;&#xD;&#xA;I carry these bits &amp; my SD recorder and rycote in a rucksack &amp; 1 bag, I can just about manage to cycle.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3314" PostHistoryTypeId="2" PostId="1832" RevisionGUID="bb00bf11-a08c-4fca-ae85-c7ef8db60723" CreationDate="2010-07-08T17:53:38.453" UserId="414" Text="Money is definitely not the main reason I am here, but it is on my mind. When I get established as an in-house designer, would you say that it's enough to cover your bills and have a little left on the side, or do you find yourself in financial trouble?&#xD;&#xA;&#xD;&#xA;If you find this question distasteful, I apologize. I just want to know everything I can about this job so that I know what I'm getting myself into." ContentLicense="CC BY-SA 2.5" />
  <row Id="3315" PostHistoryTypeId="1" PostId="1832" RevisionGUID="bb00bf11-a08c-4fca-ae85-c7ef8db60723" CreationDate="2010-07-08T17:53:38.453" UserId="414" Text="Professional Sound Designers - Do you make a comfortable living?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3316" PostHistoryTypeId="3" PostId="1832" RevisionGUID="bb00bf11-a08c-4fca-ae85-c7ef8db60723" CreationDate="2010-07-08T17:53:38.453" UserId="414" Text="&lt;money&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3317" PostHistoryTypeId="2" PostId="1833" RevisionGUID="d6d2073b-aec0-440a-ab53-8b4f2db8a446" CreationDate="2010-07-08T17:54:05.270" UserId="81" Text="Good articles/interviews should have background of the interviewee. &#xD;&#xA;&#xD;&#xA;If not, how long does it take to google the name? " ContentLicense="CC BY-SA 2.5" />
  <row Id="3318" PostHistoryTypeId="2" PostId="1834" RevisionGUID="ef6ab385-fd2e-46bd-85c9-4db366e808e1" CreationDate="2010-07-08T19:08:47.117" UserId="62" Text="As with any form of creative employment some people do very well, some okay and some struggle.&#xD;&#xA;&#xD;&#xA;I personally find it inappropriate to discuss my personal financial circumstances with people outside of my close family and friends." ContentLicense="CC BY-SA 2.5" />
  <row Id="3319" PostHistoryTypeId="2" PostId="1835" RevisionGUID="4fc8085b-bf63-4c90-a690-948f8e6a0896" CreationDate="2010-07-08T19:32:12.030" UserId="6435" Text="I'm currently fortunate enough to be employed full-time as a recording engineer, and some percentage of that job --plus a fair amount of non-conflicting freelance work-- is sound design.&#xD;&#xA;Like Mr. Palmer I am reluctant to discuss actual numbers." ContentLicense="CC BY-SA 2.5" />
  <row Id="3320" PostHistoryTypeId="2" PostId="1836" RevisionGUID="96532b4f-9eba-4d53-b6b0-d9dd02a0db74" CreationDate="2010-07-08T20:05:49.340" UserId="14" Text="I imagine it's all about what you put into it. If you put a lot of work into it, listening to what makes a good sound, being analytical about why certain things work, figuring those things out, finding out what works for yourself via trial and error, getting the gear to get field recordings, learning how to use it, and learn from your mistakes, all while staying dedicated to it, it's inevitable you're going to be doing well for yourself. If you clock in, shuffle sounds around in Pro Tools for eight hours, then turn off the second you clock out, you're probably not going to fare as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="3321" PostHistoryTypeId="2" PostId="1837" RevisionGUID="b6388142-f635-4120-8ad9-6601823bb131" CreationDate="2010-07-08T20:09:13.210" UserId="18" Text="Yes, you can make a living in sound, but there are also many who never become successful.  How comfortable your living is depends on how good you are, how good your connections are, the economy, and how well you sustain work.  I highly doubt you will be driving a Lamborghini or sipping on Cristal every night.  &#xD;&#xA;&#xD;&#xA;Really, you can find yourself in financial trouble in any field.  If you are passive with your career (again, in any field), you will at some point find yourself in trouble.  You have to always be active, evaluating your position, looking at opportunities and using your skills and contacts to move into new opportunities as they become available.  Working in sound is not like the job your father or grandfather had, where they went to work at the same company for 30 years, got regular raises, and retired with a nice pension.  You have to control your career and move it to where you want to go.&#xD;&#xA;&#xD;&#xA;It is not easy to get established in any creative industry, and you have to accept the fact that you may not make a comfortable living for a very long time.  If earning a comfortable living is your main concern, you really would be better off looking at another trade.  Longshoreman, sanitation worker, postal workers, etc.  Careers in those fields would probably be much easier to get into and more secure." ContentLicense="CC BY-SA 2.5" />
  <row Id="3322" PostHistoryTypeId="2" PostId="1838" RevisionGUID="1a51f7e9-1a62-4ef3-a8b9-4c25d35e0e32" CreationDate="2010-07-08T20:15:02.877" UserId="18" Text="I really like reading interviews/articles with sound people.  Gaining insight into how others think or how they approach a situation is really valuable.  You can learn a lot from reading a good interview or article without having to hear sound samples.  It's the same as sitting around having a beer and talking shop with others.  The people next to you won't be showing off their tracks, but listening to their stories and experience can help you grow as an artist.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="3323" PostHistoryTypeId="2" PostId="1839" RevisionGUID="fca7e6f2-9fcc-4946-8fb3-235d4e50668d" CreationDate="2010-07-08T20:37:12.337" UserId="420" Text="Chances are, any &quot;unpaid internship&quot; might technically violate labor laws. Of course, if you feel that it offers really valuable experience, I assume you'd be willing to overlook that.&#xD;&#xA;&#xD;&#xA;There's no strict test as to when an &quot;internship&quot; transforms into employment. However, if you're essentially doing the same work that paid employees do, you're basically an unpaid employee.&#xD;&#xA;&#xD;&#xA;However, if you're doing work that nobody would pay you to do, and the experience is clearly structured to be educational and instructional, with little to no direct economic benefit to the employer (besides the possibility of having a well-trained employee to hire in the future), it's probably an internship." ContentLicense="CC BY-SA 2.5" />
  <row Id="3324" PostHistoryTypeId="2" PostId="1840" RevisionGUID="59cfff36-5848-4297-aff3-7350485ced68" CreationDate="2010-07-08T21:00:32.273" UserId="331" Text="I always find them interesting to read - not necessarily coming away with a new trick or technique but in general, I always pick up something about workflow or creative thinking - stuff that no one book will tell all on and sometimes they're just a little inspiring because they're working on something very cool ;-)&#xD;&#xA;&#xD;&#xA;And generally, anyone who's getting interviewed is likely to be connected to a popular/high profile game/film/tv series that would be pretty easy to google or catch on tv or at the cinema?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3325" PostHistoryTypeId="2" PostId="1841" RevisionGUID="672c95f3-b211-41ed-9370-2e3ce98d08eb" CreationDate="2010-07-08T22:14:50.640" UserId="37" Text="We know it *is* dancing about architecture, but it's a good dance, so we dance too ;) &#xD;&#xA;&#xD;&#xA;Look at this very site =]" ContentLicense="CC BY-SA 2.5" />
  <row Id="3326" PostHistoryTypeId="2" PostId="1842" RevisionGUID="5af413c3-7a22-4b07-9b84-85deebe0ff39" CreationDate="2010-07-09T02:44:20.960" UserId="253" Text="I hate to post a question that i can't see being of benefit to others as well, but i'm rather stuck and i have a lot of respect for the perspectives of you all.&#xD;&#xA;&#xD;&#xA;I finished a MA in sound design at AFTRS, sydney in 2009. It's a pretty respected school, and it taught me a great deal about sound design; but also to be humble as someone with limited professional experience.&#xD;&#xA;&#xD;&#xA;I came to NYC in Sept '09 to try and find some people i could learn from on internships and whatnot. Because of the state of the industry at the time, i never ended up getting on board the kind of project (decent sized feature) that i came here for. Instead, i've been doing a lot of shorts; working as a recording engineer/mixer at a little studio that does foreign language dubs; and i'm halfway through an ultra low budget feature as sound designer.&#xD;&#xA;&#xD;&#xA;My visa is almost up, and i have a decision to make:&#xD;&#xA;&#xD;&#xA;The studio i'm working for in NYC have come to rely on me a lot, and said they'd do what they can to keep me here. The problem is, their work is low budget/low quality/fast turnaround and i'm not learning anything of value here. On top of that, my chances at landing the visa are iffy at best. The visa would not allow me to work for anyone other than the employer who petitions for me, thus excluding me from the possibility of freelance work on respectable features.&#xD;&#xA;&#xD;&#xA;On the other hand, i could go back to Sydney, Australia. The sound post industry there is a lot smaller, however; some of my good friends are in with one of the most respected sound post crews in australia. There doesn't seem to be a huge amount of work, but with time i could probably land an assisting role. &#xD;&#xA;&#xD;&#xA;So in summary: try to stay in NYC at a job i don't particularly get a lot from, and work on cash-in-hand indie films on the side; or go back to Sydney where the work isn't that plentiful, but where i have more of a foot in the door?&#xD;&#xA;&#xD;&#xA;Your opinions will be greatly valued!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3327" PostHistoryTypeId="1" PostId="1842" RevisionGUID="5af413c3-7a22-4b07-9b84-85deebe0ff39" CreationDate="2010-07-09T02:44:20.960" UserId="253" Text="Crossroads: Requesting some career advice" ContentLicense="CC BY-SA 2.5" />
  <row Id="3328" PostHistoryTypeId="3" PostId="1842" RevisionGUID="5af413c3-7a22-4b07-9b84-85deebe0ff39" CreationDate="2010-07-09T02:44:20.960" UserId="253" Text="&lt;career&gt;&lt;career-choices&gt;&lt;sound-design&gt;&lt;finding-work&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3329" PostHistoryTypeId="2" PostId="1843" RevisionGUID="9d224274-cc62-45bd-979e-44f9419850c4" CreationDate="2010-07-09T06:11:02.140" UserId="61" Text="OK, I'll be the first to offer up my experiences. I, like you, graduated from a well-respected college with a degree in hand, eager to use all of my newfound knowledge and begin my career as an audio engineer / sound designer. However, I had a rude awakening when I realized that no studio was going to hire me fresh out of school; what I accepted instead was what I like to call a &quot;character building experience&quot; (read: unpaid internship). I cleaned the place, made the coffee, ran for lunches and answered the phone -- and THEN, once all of that stuff was done, only THEN was I allowed to sit in and assist on sessions.&#xD;&#xA;&#xD;&#xA;How does this apply to your situation? Well, I suppose it's my way of saying *don't give up on your dream*. I had every reason to throw in the towel but I didn't, because I wanted that respect from my peers, and I wanted their job. I recognized that the internship wasn't just about free labor, but it was also about separating the wheat from the chaff, weeding out the folks that really wanted to make it from those who just wanted it handed to them.&#xD;&#xA;&#xD;&#xA;If you're dream is to work on big features in NYC, then I'd probably stay put. There's something to be said for sticking it out when times are tough, building up your skills, reputation and client base. But on the flip side, if you've got solid connections in Sydney, you could justify taking your hard-earned experiences back home and making a go of it there.&#xD;&#xA;&#xD;&#xA;It may not seem evident to you right now, but it seems to me that you'll probably benefit no matter which path you choose. Best of luck -" ContentLicense="CC BY-SA 2.5" />
  <row Id="3330" PostHistoryTypeId="2" PostId="1844" RevisionGUID="fd401d1e-fd7f-4e4e-befe-7386099f3b01" CreationDate="2010-07-09T06:18:52.700" UserId="61" Text="I think it's a good, valid question. Everybody wants a career that they enjoy, but if it doesn't pay the bills then what's the point? You'll need the money not only just to live on but also to purchase the gear, software, mics and recorders you'll need to stay relevant and unique in a rapidly-growing workforce with ever-shrinking crew sizes and budgets.&#xD;&#xA;&#xD;&#xA;So, I'm going to offer up a cautious &quot;yes&quot; to your question. But I'll qualify my answer by saying that a union job is the way to go (solid weekly salaries + benefits), and it's best to be located in a city where there is a lot of work to go around (LA for film, Chicago, NY and Boston for commericals)." ContentLicense="CC BY-SA 2.5" />
  <row Id="3331" PostHistoryTypeId="2" PostId="1845" RevisionGUID="4e2aa0a9-4993-4525-a212-d10f58d6aa4b" CreationDate="2010-07-09T08:31:43.260" UserId="219" Text="If your camera has **one input** that'll be **one channel** and a stereo onboard mic would be likely to correspond to two more channels. To use **several mics in one input** you'd have to **use a mixer** and then **send a mix** of your several mics into the camera that'll be recorded on one single track. DON'T DO that. If it's your first, keep it simple. If you'd do that, the **noise of all your mics** would add up and mash up all your work. And everything that's recorded onto the tape will be **presented to you that way** in your editing environment in discrete tracks (as long as it's **recorded on discrete channels**)." ContentLicense="CC BY-SA 2.5" />
  <row Id="3332" PostHistoryTypeId="2" PostId="1846" RevisionGUID="ba5cc77a-fde0-407e-ae8b-dc2f75f8af5c" CreationDate="2010-07-09T08:36:03.463" UserId="270" Text="Where I live low flying light propellor aircraft are more of a problem than big jets, they are more common at daytime on weekends, particularly in the summer I think.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also, in general military aircraft tend to be louder than airliners, although airbases usually have less traffic than commercial airports." ContentLicense="CC BY-SA 2.5" />
  <row Id="3333" PostHistoryTypeId="2" PostId="1847" RevisionGUID="ac5a0ce8-9c70-48fe-b10d-e8276b6836f4" CreationDate="2010-07-09T11:01:29.787" UserId="2" Text="I have a very exciting gig lined up for next week. I'm going to a farm to record lots of animals and ambiences for an animation. I know a few of you on the forum have recorded animals so I'm hoping I will get some valuable dos and don'ts... The main one I can think of is to get a loooong boompole. &#xD;&#xA;&#xD;&#xA;From what I understand, it will mostly be in a  controlled environment. So there will be wranglers, cages, enclosures, etc. I have a list of performance for each animal that we need to get.  &#xD;&#xA;&#xD;&#xA;Here's a list of the animals we're going to attempt to capture:&#xD;&#xA;&#xD;&#xA; - Baboons&#xD;&#xA; - Leopards&#xD;&#xA; - Eagles&#xD;&#xA; - Warthogs&#xD;&#xA; - Monkeys&#xD;&#xA; - Jackals&#xD;&#xA; - Springboks&#xD;&#xA; - Oxens&#xD;&#xA; - Crocodiles&#xD;&#xA; - Dogs (staffie, mongrel, poodle, puppies)&#xD;&#xA;&#xD;&#xA;The mics I'm bringing with are: &#xD;&#xA;&#xD;&#xA; - MKH 418s (M/S)&#xD;&#xA; - MKH 70&#xD;&#xA; - Schoeps CMC5 pair with MK4 cardioid capsules  &#xD;&#xA;&#xD;&#xA;Please, **any** tips from recording setups to getting the right performance will be hugely appreciated! Also, if you know of good articles covering the topic, please let me know. &#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3334" PostHistoryTypeId="1" PostId="1847" RevisionGUID="ac5a0ce8-9c70-48fe-b10d-e8276b6836f4" CreationDate="2010-07-09T11:01:29.787" UserId="2" Text="Tips on recording animals " ContentLicense="CC BY-SA 2.5" />
  <row Id="3335" PostHistoryTypeId="3" PostId="1847" RevisionGUID="ac5a0ce8-9c70-48fe-b10d-e8276b6836f4" CreationDate="2010-07-09T11:01:29.787" UserId="2" Text="&lt;recording&gt;&lt;animals&gt;&lt;techniques&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3336" PostHistoryTypeId="2" PostId="1848" RevisionGUID="2655e157-161f-42e1-bd36-350ad9a7822e" CreationDate="2010-07-09T15:38:55.147" UserId="6435" Text="If you're recording a bird of prey close-up, don't use a fuzzy windscreen on your microphone. The bird will mistake it for a trainer's lure or a small animal and try to eat it. This is bad for you and worse for the bird. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3339" PostHistoryTypeId="2" PostId="1850" RevisionGUID="4d2642eb-4ed7-488e-bcb3-c8f3f79c093e" CreationDate="2010-07-09T16:31:22.283" UserId="414" Text="I'm an aspiring sound designer who is going to school in a tiny Southern town. We don't have a film program, and while the music department has some music technology, there are only four courses. I can sound design for theater and work at the radio station to learn about audio engineering, but that's about it, as far as I can tell. If I wanted to intern, I'd have to wait until the summer, when I can drive to a major city.&#xD;&#xA;&#xD;&#xA;   So, besides networking online and scouring forums, how am I supposed to make good face-to-face contacts in the film and gaming industries? Should I transfer to a less isolated school?  Thanks for reading!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3340" PostHistoryTypeId="1" PostId="1850" RevisionGUID="4d2642eb-4ed7-488e-bcb3-c8f3f79c093e" CreationDate="2010-07-09T16:31:22.283" UserId="414" Text="How do I get meaningful experience if I'm in the middle of nowhere?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3341" PostHistoryTypeId="3" PostId="1850" RevisionGUID="4d2642eb-4ed7-488e-bcb3-c8f3f79c093e" CreationDate="2010-07-09T16:31:22.283" UserId="414" Text="&lt;networking&gt;&lt;education&gt;&lt;college&gt;&lt;career&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3342" PostHistoryTypeId="6" PostId="1850" RevisionGUID="6dda5519-c6b9-43fd-adfe-d1bb1de4ff3d" CreationDate="2010-07-09T16:43:48.127" UserId="414" Comment="added &quot;advice&quot; tag" Text="&lt;networking&gt;&lt;education&gt;&lt;college&gt;&lt;career&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3345" PostHistoryTypeId="2" PostId="1852" RevisionGUID="96a4ca9b-c830-4e1c-9b28-525c00d9a15c" CreationDate="2010-07-09T16:59:36.957" UserId="315" Text="I think the Sennheiser MKH70 will provide you with the best results for specifics. The hypercardiod pickup will really help.&#xD;&#xA;&#xD;&#xA;I did a similar session at a zoo and one of the main issues we had was the reverberant nature of most animal enclosures. Lots of cement and metal for the sound to bounce around. Even if you're recording outside. Really a problem with most animal recordings I hear in fx libraries too.&#xD;&#xA;&#xD;&#xA;Another thing to consider is the time and patience needed for this type of session. We went to record hyenas, and they were making a ton of vocalizations before we entered the enclosure, but the second we did, they became completely quiet. We had to wait quite a bit of time before they went on with their normal behavior (I think), but even then they weren't making the noises we heard before. Microphone position is also important because most animals don't really like having a boom waived in their face (I don't either). So mic them close but don't intimidate, and see if you can boom out of their field of view.&#xD;&#xA;&#xD;&#xA;If you're lucky the trainers/handlers will know how to coax sounds out of them. This usually involves food, so make sure you follow them during their feeding schedule.&#xD;&#xA;&#xD;&#xA;Not sure how useful your ambiences will be, considering most of these type of places have a lot of other noises going on (water pumps, banging cages etc). But give it a go. Personally I'd rather have a ton of mono, specific recordings to build an ambience out of later.&#xD;&#xA;&#xD;&#xA;Oh...and wear boots with plenty of tread...a co-worker of mine slipped in a fruit bat cage and fell in a huge pile of bat guano (no kidding).&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3346" PostHistoryTypeId="2" PostId="1853" RevisionGUID="5a843296-5a85-4dec-a354-7a31207b85c7" CreationDate="2010-07-09T20:23:17.283" UserId="194" Text="IMO contacts (while very important) are less important than ability. If you know the right people but can't deliver when called upon, then knowing those people doesn't do much good. &#xD;&#xA;&#xD;&#xA;My advice is to spend time developing your skills. Record lots of stuff, build your library, sound design stuff for free for a while. Everyone needs a logo done or a video dealt with. Once you get super confident start trading your work for stuff and favors (or money if you can get it). &#xD;&#xA;&#xD;&#xA;Network online. Sound design is not the type if thing that ha to be geographically restricted. 60% o our clients are from out of town, and my workflow commonly relies on FTP or yousendits back and forth with the video editor. &#xD;&#xA;&#xD;&#xA;Build skills, and the contacts will follow. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3349" PostHistoryTypeId="5" PostId="1853" RevisionGUID="81414177-2a7e-4a80-bb2f-4dad4c99a580" CreationDate="2010-07-09T20:59:45.990" UserId="61" Comment="spelling, grammar" Text="IMO contacts (while very important) are less important than ability. If you know the right people but can't deliver when called upon, then knowing those people doesn't do much good. &#xD;&#xA;&#xD;&#xA;My advice is to spend time developing your skills. Record lots of stuff, build your library, sound design stuff for free for a while. Everyone needs a logo done or a video dealt with. Once you get super confident start trading your work for stuff and favors (or money if you can get it). &#xD;&#xA;&#xD;&#xA;Network online. Sound design is not the type of thing that has to be geographically restricted. 60% o our clients are from out of town, and my workflow commonly relies on FTP or yousendits back and forth with the video editor. &#xD;&#xA;&#xD;&#xA;Build skills, and the contacts will follow. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3350" PostHistoryTypeId="5" PostId="1853" RevisionGUID="e8b3f5cf-3dc1-4ebb-a33e-62669abbcc82" CreationDate="2010-07-09T21:11:03.583" UserId="18160" Comment="added 1 characters in body" Text="IMO contacts (while very important) are less important than ability. If you know the right people but can't deliver when called upon, then knowing those people doesn't do much good. &#xD;&#xA;&#xD;&#xA;My advice is to spend time developing your skills. Record lots of stuff, build your library, sound design stuff for free for a while. Everyone needs a logo done or a video dealt with. Once you get super confident start trading your work for stuff and favors (or money if you can get it). &#xD;&#xA;&#xD;&#xA;Network online. Sound design is not the type of thing that has to be geographically restricted. 60% of our clients are from out of town, and my workflow commonly relies on FTP or yousendits back and forth with the video editor. &#xD;&#xA;&#xD;&#xA;Build skills, and the contacts will follow. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3351" PostHistoryTypeId="2" PostId="1855" RevisionGUID="fb98627a-d9f7-4a33-89e9-57e364d46782" CreationDate="2010-07-09T21:38:28.177" UserId="18160" Text="Hey all you professional peers,&#xD;&#xA;&#xD;&#xA;I am curious how you organize and keep track of different versions of Pro Tools sessions.&#xD;&#xA;&#xD;&#xA;How do you write the date?&#xD;&#xA;&#xD;&#xA;Do you have a standard naming convention you use?&#xD;&#xA;&#xD;&#xA;Do you use a Revision system? Like &quot;R1&quot;, &quot;R2&quot;, etc. tagged at the end of the session file name?&#xD;&#xA;&#xD;&#xA;What are some common abbreviations you use?&#xD;&#xA;&#xD;&#xA;Do you have a naming scheme that keeps the most recent session file at the bottom of the list when in alphabetical order? (That's what I do - curious to what other people do).&#xD;&#xA;&#xD;&#xA;Do you keep the film split up by reel and each reel gets it's own Pro Tools session? Or is it all in one session?&#xD;&#xA;&#xD;&#xA;How often do you Save As?&#xD;&#xA;&#xD;&#xA;Appreciated - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="3352" PostHistoryTypeId="1" PostId="1855" RevisionGUID="fb98627a-d9f7-4a33-89e9-57e364d46782" CreationDate="2010-07-09T21:38:28.177" UserId="18160" Text="Organization of Pro Tools Sessions" ContentLicense="CC BY-SA 2.5" />
  <row Id="3353" PostHistoryTypeId="3" PostId="1855" RevisionGUID="fb98627a-d9f7-4a33-89e9-57e364d46782" CreationDate="2010-07-09T21:38:28.177" UserId="18160" Text="&lt;pro-tools&gt;&lt;session&gt;&lt;organization&gt;&lt;conventions&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3354" PostHistoryTypeId="2" PostId="1856" RevisionGUID="209a519b-7ce2-4eb8-b912-49a6e55287d6" CreationDate="2010-07-09T21:44:06.010" UserId="18160" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I recently finished up an ADR project (and the film is doing great in the box office by the way!) and I have a question that I need to do better at next time:&#xD;&#xA;&#xD;&#xA;I don't really have an easy set-up way of monitoring in the record room (where the talent and mics are) over speakers.&#xD;&#xA;&#xD;&#xA;Sometimes in fight scenes, the talent wants to have the headphones off. This means I need to lead him in with beeps/guide tracks via a speaker. But then he may switch back quickly to headphones and I need to be quick and on the ball about switching.&#xD;&#xA;&#xD;&#xA;The only way I could conceive of doing it was to make totally new tracks with the guide tracks on them and assigning them to the same voice (Pro Tools term) as the record track - thus whenever the record track is recording, there is no guide track playing. But, this means I have to have duplicate guide tracks in the session and it can get a bit cluttered up.&#xD;&#xA;&#xD;&#xA;Does anyone have a similar and hopefully simpler method of monitoring set-up for your ADR recording sessions? For both Speakers and Headphones? I'd like to keep as much of it in the box as possible.&#xD;&#xA;&#xD;&#xA;Thanks - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="3355" PostHistoryTypeId="1" PostId="1856" RevisionGUID="209a519b-7ce2-4eb8-b912-49a6e55287d6" CreationDate="2010-07-09T21:44:06.010" UserId="18160" Text="ADR Record Room Monitoring" ContentLicense="CC BY-SA 2.5" />
  <row Id="3356" PostHistoryTypeId="3" PostId="1856" RevisionGUID="209a519b-7ce2-4eb8-b912-49a6e55287d6" CreationDate="2010-07-09T21:44:06.010" UserId="18160" Text="&lt;adr&gt;&lt;monitoring&gt;&lt;headphones&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3358" PostHistoryTypeId="2" PostId="1857" RevisionGUID="9ead9969-bde5-4e62-a79e-cea64f162e9d" CreationDate="2010-07-09T21:58:28.147" UserId="62" Text="Hey Ryan,&#xD;&#xA;&#xD;&#xA;I personally don't need to keep different versions, I have only rarely needed to go back a step and PT has it's automatic backup.&#xD;&#xA;&#xD;&#xA;I use a naming convention though....&#xD;&#xA;&#xD;&#xA;e.g. Hero:108, series 1, episode 3 would be H103&#xD;&#xA;e.g. Hero:108, series 4, episode 5 would be H405&#xD;&#xA;&#xD;&#xA;That's as complicated as I make it.&#xD;&#xA;&#xD;&#xA;On rare occasions I merely use the date.&#xD;&#xA;e.g. The Art of Time 02FEB2010&#xD;&#xA;&#xD;&#xA;I try to remember to copy the entire folder of mixes onto my backup drive each night and onto an external each week. However my system is setup thus...&#xD;&#xA;&#xD;&#xA;MacHD - system drive&#xD;&#xA;SCSI A/B/C - external Avid SCSI, 1 per show&#xD;&#xA;Audio - SFX library on internal SATA&#xD;&#xA;Video - MXF &amp; QT on internal SATA&#xD;&#xA;Backup - 1TB internal SATA&#xD;&#xA;Backup - external FW drive.&#xD;&#xA;&#xD;&#xA;Once a show is complete it is archived onto either DVD or BluRay and the HDD wiped.&#xD;&#xA;&#xD;&#xA;This means the worst that can happen is I loose a days work. Even if the computer explodes, chances are the work will be fine." ContentLicense="CC BY-SA 2.5" />
  <row Id="3359" PostHistoryTypeId="2" PostId="1858" RevisionGUID="e144320e-647c-4113-bee0-14f646aad0fb" CreationDate="2010-07-09T22:52:22.550" UserId="390" Text="I've only done ADR once. So I probably have more questions than answers. But if I'm understanding this right, then can't you just bus the audio signal of the guide track (I assume this is a moveable region of audio containing 3 beeps signalling the actor when to start his/her lines?) simultaneously to the cue send as well as the speakers?  This way, the actor gets his cue to start whether or not he his headphones on." ContentLicense="CC BY-SA 2.5" />
  <row Id="3360" PostHistoryTypeId="5" PostId="1858" RevisionGUID="da945391-0a8f-440f-bf46-1791b0eb15c1" CreationDate="2010-07-09T23:01:32.360" UserId="390" Comment="added 495 characters in body" Text="I've only done ADR once. So I probably have more questions than answers. But if I'm understanding this right, then can't you just bus the audio signal of the guide track (I assume this is a moveable region of audio containing 3 beeps signalling the actor when to start his/her lines?) simultaneously to the cue send as well as the speakers?  This way, the actor gets his cue to start whether or not he his headphones on.&#xD;&#xA;&#xD;&#xA;I assume he wants the headphones off at times in order to get into the moment. I also assume that you're not letting the scene play out over the speakers otherwise, you'd be recording what's coming out of the speakers. But if you select the region that's being recorded on one track after the guide track plays its signal from a separate track and going to the speakers in that talent's room as well as to the headphones via cue send, then you shouldn't have to bounce back and forth at all." ContentLicense="CC BY-SA 2.5" />
  <row Id="3361" PostHistoryTypeId="2" PostId="1859" RevisionGUID="bf16aa87-43ce-4166-9bd7-b2be1c6b71d6" CreationDate="2010-07-10T04:27:49.560" UserId="371" Text="Hey you guys! Hello from a sound design/ sound engineering student from Brazil :)&#xD;&#xA;&#xD;&#xA;Recently I decided to come up with a Research to apply for the Master's Degree in USP (Sao Paulo University, in Brazil) since one of the programs has an specific class for Sound Design (not so easy to find round here!). What happens is that USP is the most renown university in Brazil and, therefore, hard to guarantee your place in it. The research's idea must be GREAT!&#xD;&#xA;The first thing that came up to my mind, since I need a great material for researches and It's not that easy to find tons of books talking about Sound Design's concepts and professionals, was to write about semiotics in the Walter Murch sound career in movies. However, the guy that teaches the Sound Design class has done it before! HA! Too obvious!&#xD;&#xA;&#xD;&#xA;Now I'm completely lost thinking about the focus of my research. I thought about comedy movies sound design but It's OH SO HARD to find material about the professionals envolved... and I feel REALLY bad mentioning a director in the tittle without knowing his participation in the sound creation so... oh my!&#xD;&#xA;&#xD;&#xA;Thought about Tarantino's movies and the kung fu old movies inspiration... but... not sure.&#xD;&#xA;&#xD;&#xA;Do you guys have any good idea about what should I do my research about? This can be a life changing answer! Thank you VERY VERY much!  &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3362" PostHistoryTypeId="1" PostId="1859" RevisionGUID="bf16aa87-43ce-4166-9bd7-b2be1c6b71d6" CreationDate="2010-07-10T04:27:49.560" UserId="371" Text="My Academic Research- Would LOVE some suggestions!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3363" PostHistoryTypeId="3" PostId="1859" RevisionGUID="bf16aa87-43ce-4166-9bd7-b2be1c6b71d6" CreationDate="2010-07-10T04:27:49.560" UserId="371" Text="&lt;sound-design&gt;&lt;masters-degree&gt;&lt;research&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3364" PostHistoryTypeId="2" PostId="1860" RevisionGUID="e0e9a37b-d31a-4af1-8e32-1c79b74a6977" CreationDate="2010-07-10T04:33:59.780" UserId="371" Text="I have worked a lot with both platforms and It's always the same: when you use a video preview in PC, you gotta watch it in Draft and It will stop over n over. In MAC things run smooth and great. Same RAM, HD, processor for both. Having a MAC instead of a PC is equally relevant as the importance of the sync in sound design. Absolutely crucial. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3365" PostHistoryTypeId="2" PostId="1861" RevisionGUID="43dc10cd-dd28-4e1f-a1b4-f704045b4303" CreationDate="2010-07-10T06:23:17.473" UserId="61" Text="Regular naming convention for features I work on is:&#xD;&#xA;&#xD;&#xA;PROJECT TITLE_REEL NUMBER_VERSION NUMBER OR VERSION DATE_CATEGORY&#xD;&#xA;&#xD;&#xA;example:&#xD;&#xA;&#xD;&#xA; - ROAD_R2_V0405_FX&#xD;&#xA; - PA_R5_V6_FACTORY FX&#xD;&#xA;&#xD;&#xA;I normally don't go beyond that unless I am trying something new that I don't want to commit to, for example:&#xD;&#xA;&#xD;&#xA; - ROAD_R2_V0405_FX_alt car engine&#xD;&#xA; - LETTERS_R2_V2.3_NEW ARTILLERY&#xD;&#xA;&#xD;&#xA;I have ProTools setup to autosave 99 backups with each backup occurring every 1-3 minutes, so I have no worry of losing data. I rarely do Save Copy Ins unless I am finished with the reel and sending it to the stage or to another editor for additions/revisions. Lastly, I do a full backup at the end of each day using Chronosync.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3366" PostHistoryTypeId="2" PostId="1862" RevisionGUID="4207f7be-7ca9-4291-8338-e73b4a9e4b7f" CreationDate="2010-07-10T10:32:42.663" UserDisplayName="user80" Text="How about investigating what the audience is listening to?  The audience's perspective is often lost within commercial sound design, and you could investigate what is important to them.  Does it correspond with the convention of dialogue being the driving force, with music conveying the emotions and sound effects adding realism?  Or is it more complex than that?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3367" PostHistoryTypeId="2" PostId="1863" RevisionGUID="c0064fe8-49ae-4cc9-8c3f-45adde87f788" CreationDate="2010-07-10T10:52:12.713" UserId="142" Text="I think  you should check out some Jacques Tatti films, he was a French director who was using sound in a very creative way for the time (1947-1978). There is a wealth of ideas you could come up with from these films in regards to sound design and I am sure your tutors would appreciate you writing about somebody different (even though any sound design teacher will be well aware of Tattis work) as I am sure many of the students will be concentrating on the more obvious sound designers to base their research on." ContentLicense="CC BY-SA 2.5" />
  <row Id="3369" PostHistoryTypeId="5" PostId="1862" RevisionGUID="450a9d45-aeb5-46e0-8297-b81b33635c26" CreationDate="2010-07-10T11:25:39.003" UserDisplayName="user80" Comment="deleted 5 characters in body" Text="How about investigating what the audience is listening to?  The audience's perspective is often lost within commercial sound design, and you could investigate what is important to them.  Does it correspond with the convention of dialogue being the driving force, music conveying the emotions and sound effects adding realism?  Or is it more complex than that?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3370" PostHistoryTypeId="5" PostId="820" RevisionGUID="583018f9-cdcd-43eb-a213-a0b56b56893b" CreationDate="2010-07-10T15:07:50.850" UserDisplayName="user80" Comment="added 37 characters in body" Text="Has anyone else considered / tried the [Blue Microphones Mikey][1] with an [Apple iPhone][4] using software like [FiRe][5] or [McDSP Retro][6] recorders?  It may not win on best sound quality (though, judging by widely differing opinions and reviews of portable recorders, this is obviously a very subjective issue) but it is the ultimate in portability.  I'm still waiting for the UK release of the updated [Blue Microphones Mikey 2][3] but I've read good reviews of it online.&#xD;&#xA;&#xD;&#xA;[![Blue Microphones Mikey][2]][1]&#xD;&#xA;&#xD;&#xA;[1]: http://www.bluemic.com/mikey/original/&#xD;&#xA;[2]: http://www.dolphinmusic.co.uk/shop_image/product/b26672669ad99d8f86cf3049c4fb747e.jpg&#xD;&#xA;[3]: http://www.bluemic.com/mikey/new/&#xD;&#xA;[4]: http://www.apple.com/iphone/&#xD;&#xA;[5]: http://www.audiofile-engineering.com/#&#xD;&#xA;[6]: http://www.retrorecorder.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3371" PostHistoryTypeId="2" PostId="1864" RevisionGUID="d2895efd-7c3e-4bd6-9de6-0dcd929eb024" CreationDate="2010-07-10T15:28:34.767" UserId="390" Text="I wouldn't abandon Tarantino so early. From what I've heard, he's very hands on with regards to sound design and music selection during the post production of Inglorious Basterds. Part of my paper addressed the music and sound design choices of the scene introducing the Bear Jew to the Nazi Colonel who refused to help Brad Pitt and his crew with Intel. Although, I spoke about the sonic impact of that scene, I was not sure who was ultimately responsible for that scene. My guess is Tarantino." ContentLicense="CC BY-SA 2.5" />
  <row Id="3372" PostHistoryTypeId="2" PostId="1865" RevisionGUID="92baefcf-9503-457c-b1c5-fd6fe519f6e4" CreationDate="2010-07-10T17:25:37.797" UserId="202" Text="Usually I don't need to have different versions of the same reel. I make only a copy of my session file everyday and change the progressiveLetter (a progressive letter, from a to z): it's more to keep track of the working days and the changes but I rarely need to open an older session.&#xD;&#xA;My session name is something like:&#xD;&#xA;ProjectName_reelNumber_id_progressiveLetter_versionDate&#xD;&#xA;Where id is an identifier of the editor (if I'm working in team) and versionDate is the date of the conformed video I'm working on.&#xD;&#xA;I've autosave set every 3 minutes, 99 copies.&#xD;&#xA;I started writing in max an app to track version number and comment and renaming file and retrieving them. It works, but I never needed to actually use it in a real production.&#xD;&#xA;I have carboncopycloner set to clone the project folders every day at lunch time and in the evening when usually my working day is over." ContentLicense="CC BY-SA 2.5" />
  <row Id="3373" PostHistoryTypeId="2" PostId="1866" RevisionGUID="5d330b8d-c4fc-42ff-b969-875566bc73f1" CreationDate="2010-07-11T10:09:36.843" UserId="424" Text="i'm waiting July 30 for the new Zoom H1&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rockpalace.com/gfx_productcode/113784/Zoom-H1.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3374" PostHistoryTypeId="2" PostId="1867" RevisionGUID="855a5040-b9ee-4d48-be4d-1bdd177fda1b" CreationDate="2010-07-11T13:50:07.817" UserId="219" Text="It's setup time and I have several options as to where/how to set up my freshly acquired pair of Adam A7. Three rooms in my house have interesting characteristics but not one is perfect and I am seeking advice/suggestions from you guys. They are all quiet and have carpeted floors. Now I'll give specific details.&#xD;&#xA;&#xD;&#xA;Room 1:&#xD;&#xA;&#xD;&#xA;[youtube]1VLHMdw9Iy4[/youtube]&#xD;&#xA;&#xD;&#xA; - square room (3.88m * 3.72m)&#xD;&#xA; - well furnished&#xD;&#xA; - heavy curtains&#xD;&#xA; - ceiling beams&#xD;&#xA; - bed&#xD;&#xA; - marble fireplace (of course it's not in use anymore). I figured it's the best stand for my monitors but then I can't really put them away from the wall.&#xD;&#xA; - my drumkit is likely to be in the room, though I believe the resonating toms have a distinct sound that is unlikely to influence my mixes... what do you guys reckon? Muffle it?&#xD;&#xA;&#xD;&#xA;Room 2&amp;3:&#xD;&#xA;&#xD;&#xA;[youtube]1LsoeyfmYUw[/youtube]&#xD;&#xA;[youtube]7YoIDr5Ts3A[/youtube]&#xD;&#xA;&#xD;&#xA; - under the roof/non parallel walls, intricate geometry&#xD;&#xA; - hard walls&#xD;&#xA; - second floor, hot in summer and thin floor&#xD;&#xA; - smaller than Room 1 (3.20m wide), tunnel shape&#xD;&#xA;&#xD;&#xA;I am very keen on Room 1 since it's cooler, more furnished and the marble fireplace seems an ideal stand (hopefully not too close to the wall: the membranes are 40cm from the wall, after the monitors may fall off). Is the drumkit an issue?&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3375" PostHistoryTypeId="1" PostId="1867" RevisionGUID="855a5040-b9ee-4d48-be4d-1bdd177fda1b" CreationDate="2010-07-11T13:50:07.817" UserId="219" Text="Home Studio - Making the best out of what I have" ContentLicense="CC BY-SA 2.5" />
  <row Id="3376" PostHistoryTypeId="3" PostId="1867" RevisionGUID="855a5040-b9ee-4d48-be4d-1bdd177fda1b" CreationDate="2010-07-11T13:50:07.817" UserId="219" Text="&lt;home-studio&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3377" PostHistoryTypeId="2" PostId="1868" RevisionGUID="d04b8fc8-9397-486f-b8d3-2d298618df33" CreationDate="2010-07-11T14:21:07.677" UserId="324" Text="Yes, read the book &quot;This is your brain on Music&quot; by Daniel Levitin and maybe watch the movie &quot;The Music Instinct&quot; with him (and many other audio geniuses).&#xD;&#xA;http://www.pbs.org/wnet/musicinstinct/&#xD;&#xA;&#xD;&#xA;The book and the movie cover sound design, as well as music (which are very much one and the same IMO). They honestly made me think of the entire process of sound manipulation in a different way.&#xD;&#xA;&#xD;&#xA;They will generate so many great thesis ideas that you will have a hard time picking the best concept. Don't do a biography on one of the greats like Murch. There are plenty of those already. Look into why we as humans are so deeply effected (genetically) by certain tones and rhythms, and what that information can mean in the hands of a audio jedi! " ContentLicense="CC BY-SA 2.5" />
  <row Id="3378" PostHistoryTypeId="2" PostId="1869" RevisionGUID="0345613b-3670-4abd-a5f6-94a170a3a88f" CreationDate="2010-07-11T14:58:39.403" UserId="182" Text="Generally speaking, I would suggest you put your monitors on decent stands. That way you can put them wherever you want without being limited to what objects are in the room(s) to put them on.&#xD;&#xA;&#xD;&#xA;Not only the distance from the wall, but also the height and the spacing influences the sound at your mixing position and stands will allow you to optimise those.&#xD;&#xA;&#xD;&#xA;If you have the time: put up your best omni mic on ear height at the expected listening position, play back pink noise, watch the frequency response on a spectrum analyser and start moving around the speakers and the mic.&#xD;&#xA;If you experiment with the placement (also in the other rooms) while noticing the low frequency response in particular you can find the better and worse locations to put your speakers throughout the house.&#xD;&#xA;&#xD;&#xA;The bigger the room, the less likely it will cause problems with uneven bass response. High frequency problems can be easily corrected with foam/absorbers. Low frequency problems are much more difficult as they require absorbtion of more mass and volume.&#xD;&#xA;&#xD;&#xA;You could also try calculating the room modes (google for room mode calculator), but this will only give you a theoretical idea of the problems. &#xD;&#xA;Listening with your ears (play a stepped sine sweep starting at 20 Hz and increasing in semitones, listen for tones that are clearly louder or quieter than others) and watching the response on spectral analysers will give you much more useful real-world information about your particular setup." ContentLicense="CC BY-SA 2.5" />
  <row Id="3379" PostHistoryTypeId="6" PostId="1867" RevisionGUID="4cfd3002-c9dd-436d-8e03-6731da7d5e2d" CreationDate="2010-07-11T14:59:15.033" UserId="182" Comment="edited tags" Text="&lt;home-studio&gt;&lt;setup&gt;&lt;acoustics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3380" PostHistoryTypeId="2" PostId="1870" RevisionGUID="bd207435-c1d7-4282-904b-41db35298c80" CreationDate="2010-07-11T15:54:24.790" UserId="194" Text="Try this:&#xD;&#xA;&#xD;&#xA;Have your production track, beeps track and playback track all routed to headphones and room speaker on diff (postfader) sends within the session. &#xD;&#xA;&#xD;&#xA;Keep the fader for the production -&gt; room speaker send visible in the session.  &#xD;&#xA;&#xD;&#xA;Set the beeps and production track to a low but audible level with the track faders. Leave the playback track at unity. &#xD;&#xA;&#xD;&#xA;When recording a take, pull the production -&gt; room speaker feed down during the beeps and leave it down for the duration of the take. After the take, option+click the send fader (not the track fader) to return it to unity. This will return the production playback level to the low but audible level you set before. &#xD;&#xA;&#xD;&#xA;To play back a take, move the good take up into the playback track, cue an playback the line, and during the beeps pull down the production TRACK fader instead of the &#xD;&#xA;speaker send. This will kill the production track everywhere. &#xD;&#xA;&#xD;&#xA;If your actor has his headphones on, just leave the production track send to the room speaker all the way down and work the track fader during takes. &#xD;&#xA;&#xD;&#xA;If you have someone in the room who doesn't want to hear production during takes, then you can do the headphone feed &#xD;&#xA;POSTFADER and work the track fader in the room. &#xD;&#xA;&#xD;&#xA;ADR cutting is often about makin sure that everyone &#xD;&#xA;involved is hearing the appropriate thing at the appropriate&#xD;&#xA;time. &#xD;&#xA;&#xD;&#xA;I once had a session where I had a headphone feed forte actor (low beeps, low production throughout), one for his voice coach who was on the stage next to him (low beeps, no production ever), one for the line producer who was wearing headphone in the control room behind me (moderate beeps, loud production, loud takes and playback-for checking sync), and mix in the room for me and the film director (beeps, production lead in, no production during the take-so he could listen for performance). &#xD;&#xA;&#xD;&#xA;Also this actor was the lead, this was a big budget animated feature where millions had already been spent on animations to the guide tracks, we had every one o his lines to do, this was a comedy so timing was key, and I had the actor for very limited amount of time. IOW, I couldn't waste time not knowing what was going on in every headphone feed I had running. &#xD;&#xA;&#xD;&#xA;It was pretty intense, but very rewarding once I had finished.  Thats probably the most complex an ADR setup can become, but you have to e prepared for the varying levels of complexity between that and what we just discussed. &#xD;&#xA;&#xD;&#xA;GL!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3381" PostHistoryTypeId="2" PostId="1871" RevisionGUID="fcbb6892-2aef-4c10-9b6d-aec8722cf99a" CreationDate="2010-07-11T17:43:44.317" UserId="425" Text="Of cause, one of the main tasks of sounddesign is to create subconscious emotional conditions at the listener. For example the sounddesign of the movie &gt;silence of the lambs&lt;. May you remind of the scene in buffalo bills basement, where little Catherine is caught in a well. Skip Lievsay had taken down pitched screams of animals to frighten the listeners and to put them into a awkward position. In reality there can´t be screams of animals, and much less down pitched... An other god example is the scoring of someone´s dying - in much movies you can hear breaking glass (there´s a study in barbara flückigers dissertation &gt;sounddesign - die virtuelle klangwelt des films&lt;). So the sounddesigner can provoke an emotion (by using the conditioning of the listener)  to support the tragedy of a scene.&#xD;&#xA;Now my question: &#xD;&#xA;What are your tricks to generate threateningly, tightly, cheerfully, sadly, intimately, ... emotions? &#xD;&#xA;thanks for answering onc before..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3382" PostHistoryTypeId="1" PostId="1871" RevisionGUID="fcbb6892-2aef-4c10-9b6d-aec8722cf99a" CreationDate="2010-07-11T17:43:44.317" UserId="425" Text="tricks to generate emotions through soundscapes" ContentLicense="CC BY-SA 2.5" />
  <row Id="3383" PostHistoryTypeId="3" PostId="1871" RevisionGUID="fcbb6892-2aef-4c10-9b6d-aec8722cf99a" CreationDate="2010-07-11T17:43:44.317" UserId="425" Text="&lt;emotions&gt;&lt;genrate-feelings&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3384" PostHistoryTypeId="6" PostId="1871" RevisionGUID="c4546c3b-a504-4e9f-96d0-2a13ffe75589" CreationDate="2010-07-11T18:31:25.127" UserId="425" Comment="edited tags; edited tags; added 1 characters in body" Text="&lt;emotions&gt;&lt;film&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3385" PostHistoryTypeId="5" PostId="1871" RevisionGUID="c4546c3b-a504-4e9f-96d0-2a13ffe75589" CreationDate="2010-07-11T18:31:25.127" UserId="425" Comment="edited tags; edited tags; added 1 characters in body" Text="Of cause, one of the main tasks of sounddesign is to create subconscious emotional conditions at the listener. For example the sounddesign of the movie &gt;silence of the lambs&lt;. May you remind of the scene in buffalo bills basement, where little Catherine is caught in a well. Skip Lievsay had taken down pitched screams of animals to frighten the listeners and to put them into a awkward position. In reality there can´t be screams of animals, and much less down pitched... An other god example is the scoring of someone´s dying - in much movies you can hear breaking glass (there´s a study in barbara flückigers dissertation &gt;sounddesign - die virtuelle klangwelt des films&lt;). So the sounddesigner can provoke an emotion (by using the conditioning of the listener)  to support the tragedy of a scene.&#xD;&#xA;Now my question: &#xD;&#xA;What are your tricks to generate threateningly, tightly, cheerfully, sadly, intimately, ... emotions? &#xD;&#xA;thanks for answering once before..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3386" PostHistoryTypeId="2" PostId="1872" RevisionGUID="23ee27fd-54bd-492f-9f13-34c68b5feeda" CreationDate="2010-07-11T18:41:30.437" UserId="371" Text="Absolutely love the subject you brought with this topic!&#xD;&#xA;&#xD;&#xA;Two really simple things that I think do a huge difference is the sudden volume raising in a tense moment to increase the public reaction to the scene and slowing down noises and raise it's volume slowly to create expectations. As an example, If you have footsteps being heard, when they're approaching you discretely slow the time between one step and another and raise it's volume. Sometimes people won/t even notice you used this second technique but it's sure to raise the tension!&#xD;&#xA;&#xD;&#xA;There's lots! Can't wait to read what people will answer :) " ContentLicense="CC BY-SA 2.5" />
  <row Id="3387" PostHistoryTypeId="2" PostId="1873" RevisionGUID="c8bdd2be-f755-4027-84fe-18bd5b8b47e0" CreationDate="2010-07-11T19:38:41.730" UserId="426" Text="The blog Designing Sound has a very interesting article on the newest Nightmare on elm street movie. The blog interviewed the Sound team that put together the soundtrack for the film and they have some interesting things to say about heightening emotion.&#xD;&#xA;Here's a link for the interview:&#xD;&#xA;http://cssstudios.wordpress.com/2010/05/26/designing-sound-a-nightmare-on-elm-street/&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3388" PostHistoryTypeId="2" PostId="1874" RevisionGUID="e8cbfaaf-7724-473a-ba08-ffb5fb4d4e37" CreationDate="2010-07-11T20:03:52.803" UserId="18" Text="Room 1 is the better choice.  Those angled ceilings in room 2 are going to cause big problems.  I should know, I have them in my room and they've taken a lot of treatment to fix.&#xD;&#xA;&#xD;&#xA;You also want the coolest room.  When you have all your gear running, you room will get hotter.  That drumkit will be a problem, sound will resonate through it, move it out, or it will annoy you and cause problems in your mixes.&#xD;&#xA;&#xD;&#xA;Keep in mind that any room you choose will require some treatment.  It you are handy, look on the net for plans to build your own bass traps and panels.  It you are not handy, look into pre made panels from a company like ghs acoustics.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3389" PostHistoryTypeId="2" PostId="1875" RevisionGUID="0247c5b2-eda5-46f6-8ce5-54f75d5005e8" CreationDate="2010-07-11T20:16:09.907" UserId="413" Text="Hi everyone !&#xD;&#xA;&#xD;&#xA;I've just watch Ghost In The Shell and a question poped in my head.&#xD;&#xA;&#xD;&#xA;How do sound designers usually create electronic sounds from scratch. I mean the classic sounds we can hear in movies associated with hologram interfaces (Ghost in The Shell, Minority report...)&#xD;&#xA;&#xD;&#xA;Do they use synthesizers ?&#xD;&#xA;What's the best way to get these sounds ? &#xD;&#xA;VST synth ? Usually, most of the VSTi i've tested make long, evolving noises. Short bips are not so easy to get when tweaking the settings of these VSTi. Do you know any VSTi that does a good job with this kind of sound ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3390" PostHistoryTypeId="1" PostId="1875" RevisionGUID="0247c5b2-eda5-46f6-8ce5-54f75d5005e8" CreationDate="2010-07-11T20:16:09.907" UserId="413" Text="Electronic Sounds, interface bips" ContentLicense="CC BY-SA 2.5" />
  <row Id="3391" PostHistoryTypeId="3" PostId="1875" RevisionGUID="0247c5b2-eda5-46f6-8ce5-54f75d5005e8" CreationDate="2010-07-11T20:16:09.907" UserId="413" Text="&lt;electronic&gt;&lt;robots&gt;&lt;interface&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3392" PostHistoryTypeId="2" PostId="1876" RevisionGUID="0d3d22ac-cde0-4614-9758-939ac2cfa1d9" CreationDate="2010-07-11T20:42:49.893" UserId="62" Text="On Friday I was mixing a show and tracklay had used a recording of someone's phone going off for a text message. Just in case of a copyright issue I thought it best to use something else. To be honest I am totally bored of the 8000 series and had the time to create one myself.&#xD;&#xA;&#xD;&#xA;It was simple; find a blippy/bloppy (technical term) on Vacuum (PT8) and played 3 notes on my keyboard (Korg Nano, which fits perfectly onto my ProControl).&#xD;&#xA;&#xD;&#xA;I find a lot of these sorts of noises are clearly from a synthesizer and are musical in origin. I can't remember now but I read an article about how all the sound in the original Star Trek series is like a musical score in that all the sounds chirp and drone like electroacoustic compositions. I guess we're heading to the other thread about the line between music and sound.&#xD;&#xA;&#xD;&#xA;I've always had a love of analog synthesizers so I would go for one of those. It's not VST (it's RTAS) but I'm liking Vacuum. However, I am still madly in love with my Novation Nova, nothing like a proper knob to fiddle with." ContentLicense="CC BY-SA 2.5" />
  <row Id="3393" PostHistoryTypeId="2" PostId="1877" RevisionGUID="6382d2d4-4ce8-4909-ad55-d70d66b57fd3" CreationDate="2010-07-11T21:49:19.550" UserId="100" Text="For original beeps, blips, chirps, etc. use Pro Tools' Signal Generator. I find a tone that closely matches what I think the picture would represent, then chop it, layer it, distort it, and maybe some reverb. I've accumulated a small library of techie sounds from doing that." ContentLicense="CC BY-SA 2.5" />
  <row Id="3394" PostHistoryTypeId="2" PostId="1878" RevisionGUID="0d22fffe-1b18-4b08-9c7d-6a53821b4f64" CreationDate="2010-07-11T23:12:41.143" UserId="81" Text="I think any Soft Synth would do the job. But stay away from the presets because they are usually way too manipulated sounds to showcase the capabilities of that particular VST. &#xD;&#xA;&#xD;&#xA;Selecting basic waveforms from Oscillators of the synth is the first step.&#xD;&#xA;&#xD;&#xA; - Square waves with very short decay&#xD;&#xA;   and release times will give you &quot;cell&#xD;&#xA;   phone ring tone&quot; type of sounds.&#xD;&#xA;   &#xD;&#xA;   &#xD;&#xA; &#xD;&#xA; - Sine waves with short release time will give you softer and more      high-tech tpe of interface sounds.&#xD;&#xA;&#xD;&#xA;   &#xD;&#xA;   &#xD;&#xA;&#xD;&#xA; - Any non-sinusoidal waveforms including sawtooth and triangular waves will give you harsh buggy sounds which can be used to imply errors.&#xD;&#xA;&#xD;&#xA;Of course everyone's perception is different and you should try and experiment it yourself. Start with basic and play with it! &#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3395" PostHistoryTypeId="2" PostId="1879" RevisionGUID="e3b63e82-165f-418e-bf61-ebee4eb90224" CreationDate="2010-07-11T23:32:28.917" UserId="28" Text="&quot;Short bips&quot; just have to do with appropriate settings of a synth's envelope generator. &#xD;&#xA;&#xD;&#xA;Search Wikipedia for &quot;ADSR envelope&quot; on the Synthesizer page, and learn about: attack, decay, sustain, release.&#xD;&#xA;&#xD;&#xA;Cheers. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3396" PostHistoryTypeId="5" PostId="1870" RevisionGUID="ed813074-a47a-4f3d-a217-18460827557b" CreationDate="2010-07-12T00:45:20.513" UserId="194" Comment="added 10 characters in body" Text="Try this:&#xD;&#xA;&#xD;&#xA;Have your production track, beeps track and playback track all routed to headphones and room speaker on diff (postfader) sends within the session. &#xD;&#xA;&#xD;&#xA;Keep the fader for the production -&gt; room speaker send visible in the session.  &#xD;&#xA;&#xD;&#xA;Set the beeps and production track to a low but audible level with the track faders. Leave the playback track at unity. &#xD;&#xA;&#xD;&#xA;When recording a take, pull the production -&gt; room speaker feed down during the beeps and leave it down for the duration of the take. After the take, option+click the send fader (not the track fader) to return it to unity. This will return the production playback level to the low but audible level you set before. &#xD;&#xA;&#xD;&#xA;To play back a take, move the good take up into the playback track, cue an playback the line, and during the beeps pull down the production TRACK fader instead of the &#xD;&#xA;speaker send. This will kill the production track everywhere. &#xD;&#xA;&#xD;&#xA;If your actor has his headphones on, just leave the production track send to the room speaker all the way down and work the track fader during takes. &#xD;&#xA;&#xD;&#xA;If you have someone in the room who doesn't want to hear production during takes, then you can do the headphone feed POSTFADER and work the track fader in the room. &#xD;&#xA;&#xD;&#xA;ADR cutting is often about making sure that everyone involved is hearing the appropriate thing at the appropriate time. &#xD;&#xA;&#xD;&#xA;I once had a session where I had a headphone feed for the actor (low beeps, low production throughout), one for his voice coach who was on the stage next to him (low beeps, no production ever), one for the line producer who was wearing headphone in the control room behind me (moderate beeps, loud production, loud takes and playback-for checking sync), and a mix in the room for me and the film director (beeps, production lead in, no production during the take-so he could listen for performance). &#xD;&#xA;&#xD;&#xA;Also this actor was the lead, this was a big budget animated feature where millions had already been spent on animations synced to the guide tracks, we had every one of his lines to do, this was a comedy so timing was key, and I had the actor for very limited amount of time. IOW, I couldn't waste time not knowing what was going on in every headphone feed I had running. &#xD;&#xA;&#xD;&#xA;It was pretty intense, but very rewarding once I had finished.  That's probably the most complex an ADR setup can become, but you have to be prepared for the varying levels of complexity between that and what we just discussed. &#xD;&#xA;&#xD;&#xA;GL!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3397" PostHistoryTypeId="2" PostId="1880" RevisionGUID="51ce1fed-48fb-47c4-8cad-72e45806bdfe" CreationDate="2010-07-12T00:52:25.303" UserId="315" Text="Some of the most notable beeps in sci-fi film history were created with a test oscillator, theremin, or an ARP 2600 synth.&#xD;&#xA;&#xD;&#xA;Nothing beats tweaking/performing the knobs and switches of a hardware synth for this sort of thing. Although a nice MIDI controller and a soft synth will do the trick." ContentLicense="CC BY-SA 2.5" />
  <row Id="3398" PostHistoryTypeId="2" PostId="1881" RevisionGUID="d05919ed-5f4c-47e9-a958-cd05e7ceaead" CreationDate="2010-07-12T01:03:07.773" UserId="29" Text="Everyone here is right, across their variety of opinions! I often create such sounds for real-world computer interfaces, as opposed to the software you see in films.&#xD;&#xA;&#xD;&#xA;Tone generation is the key starting point. In my opinion, the secret sauce boils down to envelopes and filtering. I've designed sounds for UI's by taking nearly microscopic samples from field recordings and with some amplitude and filter envelopes, you'd think the Autechre Virus had hacked yer kernel. ;-) &#xD;&#xA;&#xD;&#xA;I think that even tiniest bloop, bleep, squirk, and frrwwweee needs some &quot;animation&quot; to it, via envelopes, filtering, and/or automation. Reflect on the sound design of even Star Trek: The Next Generation series, now more than a decade ago - strong stuff for this very reason. The more pure the tone is, the more analog is sounds, which is fine if you're going for that kind of sound, but it can sound pretty dated against modern pictures.&#xD;&#xA;&#xD;&#xA;In terms of source material, if you chop up a sample small enough, anything can be source material. (One of my most-reached-for UI sound libraries is my collection of DAT tape read errors!) If you're more of a synthesis kinda person, I'm +1 with Ian Justin on knob-laden hardware synths...or, like my Waldorf Pulse+ analog synth or the Logic ES2 synth, any complex synth with a random patch can help unstick you, creatively. I've also found that the free audio utility Audacity has a number of handy tone generators. Short, transient sounds are great too - any sort of drum sample kit can be a good starting point if you're willing to push it far enough." ContentLicense="CC BY-SA 2.5" />
  <row Id="3399" PostHistoryTypeId="2" PostId="1882" RevisionGUID="558a597a-c516-402b-819f-b0469d896ec2" CreationDate="2010-07-12T04:03:10.497" UserId="61" Text="**Silence** is one of the most under-utilized tools in the sound designer's toolbox to manipulate the audience." ContentLicense="CC BY-SA 2.5" />
  <row Id="3401" PostHistoryTypeId="2" PostId="1883" RevisionGUID="1b8397a4-3a14-4bb4-9a47-10e2df945f9b" CreationDate="2010-07-12T08:54:53.733" UserId="413" Text="Thanks Guys ! That's Really interesting !" ContentLicense="CC BY-SA 2.5" />
  <row Id="3402" PostHistoryTypeId="5" PostId="1865" RevisionGUID="d37a3f61-bbaf-4f3a-9507-1e050b75ed1a" CreationDate="2010-07-12T09:00:12.467" UserId="202" Comment=" improved formatting" Text="Usually I don't need to have different versions of the same reel. &#xD;&#xA;I make only a copy of my session file everyday and change the progressiveLetter (a progressive letter, from a to z): it's more to keep track of the working days and the changes but I rarely need to open an older session.&#xD;&#xA;&#xD;&#xA;My session name is something like:&#xD;&#xA;&#xD;&#xA;ProjectName_reelNumber_id_progressiveLetter_versionDate&#xD;&#xA;&#xD;&#xA;Where id is an identifier of the editor (if I'm working in team) and versionDate is the date of the conformed video I'm working on.&#xD;&#xA;&#xD;&#xA;I've autosave set every 3 minutes, 99 copies.&#xD;&#xA;&#xD;&#xA;I started writing in max an app to track version number and comment and renaming file and retrieving them. It works, but I never needed to actually use it in a real production.&#xD;&#xA;&#xD;&#xA;I have Carbon Copy Cloner set to clone the project folders every day at lunch time and in the evening when usually my working day is over." ContentLicense="CC BY-SA 2.5" />
  <row Id="3403" PostHistoryTypeId="2" PostId="1884" RevisionGUID="65d8a6b5-86bf-48c6-b0e9-bc982be34cdb" CreationDate="2010-07-12T11:01:09.903" UserId="331" Text="Silence can be very uncomfortable especially because people expect movies to be 'filled out' with sound.  &#xD;&#xA;&#xD;&#xA;Drones work, more so if you can accent them in the right places - be it with a volume lift or some specificly timed modulation.&#xD;&#xA;&#xD;&#xA;Panning stuff (often with the help of spatial fx) is very useful, more so in the 5.1 environment.  Used this technique in a short i worked on where i took happy sounds (in this case ambient kids laughing/playing about) and swirled them around the room, swelling/morphing into noise at the climax  - mentally unstable adult with a child-like brain was about to murder someone.  Juxtaposition or contrasting sounds works sometimes " ContentLicense="CC BY-SA 2.5" />
  <row Id="3404" PostHistoryTypeId="2" PostId="1885" RevisionGUID="abfd0f28-2254-400c-9256-ed5ee0be08fe" CreationDate="2010-07-12T14:32:15.440" UserId="428" Text="hello,&#xD;&#xA;&#xD;&#xA;i'm writing to ask some advice from those of you working in the game audio/sound design fields. i believe someone else asked a similar question relating to getting a start in the film sound industry, but i'm wondering if anyone out there can recommend some pointers, books and the like related to game audio? if i'm looking to work on films it seems natural to volunteer my services on local productions, but is there an equivalent resource for games or interactive media? i don't doubt there is, but can anyone recommend a particular site or community with independent game developers looking for someone to help out?&#xD;&#xA;&#xD;&#xA;thanks for the help,&#xD;&#xA;ted houghtaling&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3405" PostHistoryTypeId="1" PostId="1885" RevisionGUID="abfd0f28-2254-400c-9256-ed5ee0be08fe" CreationDate="2010-07-12T14:32:15.440" UserId="428" Text="advice for getting a start in game audio" ContentLicense="CC BY-SA 2.5" />
  <row Id="3406" PostHistoryTypeId="3" PostId="1885" RevisionGUID="abfd0f28-2254-400c-9256-ed5ee0be08fe" CreationDate="2010-07-12T14:32:15.440" UserId="428" Text="&lt;career&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3407" PostHistoryTypeId="5" PostId="1870" RevisionGUID="2e76ba74-89d2-4a3a-aa5d-cc9e9c24f185" CreationDate="2010-07-12T14:41:57.897" UserId="194" Comment="edited body" Text="Try this:&#xD;&#xA;&#xD;&#xA;Have your production track, beeps track and playback track all routed to headphones and room speaker on diff (postfader) sends within the session. &#xD;&#xA;&#xD;&#xA;Keep the fader for the production -&gt; room speaker send visible in the session.  &#xD;&#xA;&#xD;&#xA;Set the beeps and production track to a low but audible level with the track faders. Leave the playback track at unity. &#xD;&#xA;&#xD;&#xA;When recording a take, pull the production -&gt; room speaker feed down during the beeps and leave it down for the duration of the take. After the take, option+click the send fader (not the track fader) to return it to unity. This will return the production playback level to the low but audible level you set before. &#xD;&#xA;&#xD;&#xA;To play back a take, move the good take up into the playback track, cue and playback the line, and during the beeps pull down the production TRACK fader instead of the &#xD;&#xA;speaker send. This will kill the production track everywhere. &#xD;&#xA;&#xD;&#xA;If your actor has his headphones on, just leave the production track send to the room speaker all the way down and work the track fader during takes. &#xD;&#xA;&#xD;&#xA;If you have someone in the room who doesn't want to hear production during takes, then you can do the headphone feed PREFADER and work the track fader in the room. &#xD;&#xA;&#xD;&#xA;ADR cutting is often about making sure that everyone involved is hearing the appropriate thing at the appropriate time. &#xD;&#xA;&#xD;&#xA;I once had a session where I had a headphone feed for the actor (low beeps, low production throughout), one for his voice coach who was on the stage next to him (low beeps, no production ever), one for the line producer who was wearing headphone in the control room behind me (moderate beeps, loud production, loud takes and playback-for checking sync), and a mix in the room for me and the film director (beeps, production lead in, no production during the take-so he could listen for performance). &#xD;&#xA;&#xD;&#xA;Also this actor was the lead, this was a big budget animated feature where millions had already been spent on animations synced to the guide tracks, we had every one of his lines to do, this was a comedy so timing was key, and I had the actor for very limited amount of time. IOW, I couldn't waste time not knowing what was going on in every headphone feed I had running. &#xD;&#xA;&#xD;&#xA;It was pretty intense, but very rewarding once I had finished.  That's probably the most complex an ADR setup can become, but you have to be prepared for the varying levels of complexity between that and what we just discussed. &#xD;&#xA;&#xD;&#xA;GL!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3408" PostHistoryTypeId="2" PostId="1886" RevisionGUID="6ae0142b-afaf-48e1-9308-02bfb3d1c78e" CreationDate="2010-07-12T15:05:28.883" UserId="414" Text="I'm not a professional yet, but I can at least recommend some books. I see lots of people recommend *The Complete Guide to Game Audio* by Aaron Marks. Gives you the absolute basics of the field.&#xD;&#xA;&#xD;&#xA;Also, here is a list of really helpful blogs: http://www.blastwavefx.com/blog/2009/12/08/10-essential-sound-design-blogs/&#xD;&#xA;&#xD;&#xA;One blog page in particular gives you great beginner's information that I probably couldn't: http://designingsound.org/index.php?s=sound+design+essentials&#xD;&#xA;&#xD;&#xA;And for networking, there's the Game Audio Network Guild: http://www.audiogang.org/index.php?option=com_frontpage&amp;Itemid=1. You have to pay for it, but there are alot of perks, like sound design competitions and event discounts.&#xD;&#xA;&#xD;&#xA;A free forum is the Game Audio Forum: http://www.gameaudioforum.com/phpBB3/. There's a lot of good information there.&#xD;&#xA;&#xD;&#xA;I know I listed only websites, so actual sound designers should feel free to add to my list. Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3409" PostHistoryTypeId="2" PostId="1887" RevisionGUID="d1ab6443-f2b1-4224-92a9-f8bf384ea51e" CreationDate="2010-07-12T18:18:52.497" UserId="142" Text="Karen Collins, Game sound is an essential. This gives a great insight in creating audio for games, also has quite a thorough history. Audio for gaming conference is held once a year or so at the Royal Academy of Engineering in London, you need to be a member of the AES, if you can afford the price for the three days (think its £250 for students and £500 otherwise) you will get to meet some great contacts and the lectures and talks were very informative." ContentLicense="CC BY-SA 2.5" />
  <row Id="3410" PostHistoryTypeId="2" PostId="1888" RevisionGUID="4234cc6e-b480-42b5-a252-9cd0c3e82630" CreationDate="2010-07-12T18:41:48.580" UserId="371" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;If you cannot afford nearfield monitors yet and will work only using headphones, would you rather look for flat ones or it doesn't matter much?&#xD;&#xA;I'm afraid of, let's say, buy a headphone with too much bass and add less bass than needed in the mixing, y'know? If you had to choose a headphone, would you look for the most flat possible then?&#xD;&#xA;&#xD;&#xA;Thank you very much!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3411" PostHistoryTypeId="1" PostId="1888" RevisionGUID="4234cc6e-b480-42b5-a252-9cd0c3e82630" CreationDate="2010-07-12T18:41:48.580" UserId="371" Text="Would you rather use flat headphones for monitoring?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3412" PostHistoryTypeId="3" PostId="1888" RevisionGUID="4234cc6e-b480-42b5-a252-9cd0c3e82630" CreationDate="2010-07-12T18:41:48.580" UserId="371" Text="&lt;headphones&gt;&lt;flat&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3413" PostHistoryTypeId="2" PostId="1889" RevisionGUID="dcc0771e-fb6f-49ce-8395-828a27f2a915" CreationDate="2010-07-12T18:57:15.107" UserId="61" Text="Flat response is always preferred; otherwise you really won't know what you're listening to and won't be able to accurately determine if your mix is too bassy, thin, etc. If you simply cannot invest in near-field monitors, get the best quality headphones you can afford." ContentLicense="CC BY-SA 2.5" />
  <row Id="3414" PostHistoryTypeId="6" PostId="1888" RevisionGUID="b8d9e1d5-afa8-4242-beb5-dacfb4dfd991" CreationDate="2010-07-12T18:58:03.187" UserId="61" Comment="edited tags" Text="&lt;headphones&gt;&lt;flat&gt;&lt;gear&gt;&lt;equipment&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3415" PostHistoryTypeId="2" PostId="1890" RevisionGUID="a6c18bb0-b827-412a-a36c-a1229ca11efa" CreationDate="2010-07-12T18:58:21.470" UserId="371" Text="Look for Game Developing courses students and offer your work for free so that you come together with a great portfolio! That always works to come up with an interesting reel and the other advantage is that whenever students start working in the area, they may call you for some freelancers jobs if they have to suggest a professional :) It's fun and a great start!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3416" PostHistoryTypeId="5" PostId="1882" RevisionGUID="8007c205-586a-43ff-8df0-a319d8d19eaa" CreationDate="2010-07-12T19:00:00.470" UserId="61" Comment="added 3 characters in body" Text="**Silence** is one of the most under-utilized tools in the sound designer's repertoire to manipulate the audience." ContentLicense="CC BY-SA 2.5" />
  <row Id="3417" PostHistoryTypeId="2" PostId="1891" RevisionGUID="baa8ff01-433e-473e-8c46-c07aa67e04d2" CreationDate="2010-07-12T19:09:46.707" UserId="61" Text="We're preparing to do an interior foley-type recording session that requires extremely low self-noise microphones. Schoeps? DPA? Earthworks? Your opinions are appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3418" PostHistoryTypeId="1" PostId="1891" RevisionGUID="baa8ff01-433e-473e-8c46-c07aa67e04d2" CreationDate="2010-07-12T19:09:46.707" UserId="61" Text="Who makes the quietest microphone?!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3419" PostHistoryTypeId="3" PostId="1891" RevisionGUID="baa8ff01-433e-473e-8c46-c07aa67e04d2" CreationDate="2010-07-12T19:09:46.707" UserId="61" Text="&lt;microphone&gt;&lt;noise&gt;&lt;equipment&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3420" PostHistoryTypeId="2" PostId="1892" RevisionGUID="5995d093-b871-4a2a-b9a5-9804cf0a7a65" CreationDate="2010-07-12T19:15:28.513" UserId="61" Text="That's easy:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=0cVlTeIATBs" ContentLicense="CC BY-SA 2.5" />
  <row Id="3421" PostHistoryTypeId="2" PostId="1893" RevisionGUID="3c908d5a-ad18-4f7e-81d8-973debf89098" CreationDate="2010-07-12T19:56:58.273" UserId="18" Text="When I am recording quiet sources, I use a couple of the Sennheiser MKH series mics (MKH800, MKH40) they are very quiet and used by a lot of nature recordists due to their low self noise." ContentLicense="CC BY-SA 2.5" />
  <row Id="3423" PostHistoryTypeId="2" PostId="1895" RevisionGUID="7ee9b583-c3a3-4d95-99f4-76840981d69a" CreationDate="2010-07-12T20:14:21.247" UserId="253" Text="I did some quick research for you and found this page:&#xD;&#xA;&#xD;&#xA;http://gilmore2.chem.northwestern.edu/articles/hguide_art.htm&#xD;&#xA;&#xD;&#xA;Scroll down to the section about frequency response near the bottom.&#xD;&#xA;&#xD;&#xA;It seems that, because of the proximity of the headphone speaker to our ear, and our ear's naturally unflat frequency response, headphones need to be eq'ed to attempt to represent the way we'd hear the source if it were right in front of us. I'm no expert, but check out the article. It seems to me that you want a decent quality diffuse field eq'ed set.&#xD;&#xA;&#xD;&#xA;Also, when you're headphone shopping, have a listen to different pairs if you can. Bring along a CD of mixes you've done or heard on monitor speakers and see which set translates best.&#xD;&#xA;&#xD;&#xA;Good luck! And save for some affordable nearfield monitors! They're probably not that much more expensive than quality headphones (although i have no idea what the prices are like in Brazil)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3424" PostHistoryTypeId="2" PostId="1896" RevisionGUID="19b6a6b8-6526-4abf-b928-7f73a84a60a3" CreationDate="2010-07-12T20:30:26.457" UserId="429" Text="I recommend listening to as many pairs as possible and make notes. Then choose the ones you find have the flattest response.  I chose the [DT 880 pro][1].&#xD;&#xA;&#xD;&#xA;Save your money for decent near-fields and room treatment total to go with them budget = $3000 to $4000K.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/store/detail/DT880" ContentLicense="CC BY-SA 2.5" />
  <row Id="3425" PostHistoryTypeId="2" PostId="1897" RevisionGUID="8ef84e0c-cd99-4282-bf33-7ea53b0097b0" CreationDate="2010-07-12T20:41:28.933" UserId="430" Text="Amon Tobin uses Earthworks mics in Foley Room. http://www.youtube.com/watch?v=IlwG3DSESyE&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3426" PostHistoryTypeId="2" PostId="1898" RevisionGUID="8159b6bb-4309-4991-9c42-761d22d41be7" CreationDate="2010-07-12T20:49:31.820" UserId="270" Text="The alarm sound on my electric alarm clock is beyind annoying, its deeply disturbing&#xD;&#xA;&#xD;&#xA;as it is associated with the horror of having to wake up &amp; get out of bed" ContentLicense="CC BY-SA 2.5" />
  <row Id="3427" PostHistoryTypeId="5" PostId="1896" RevisionGUID="2e425e67-c07a-466e-a14d-4ebeb691c580" CreationDate="2010-07-12T20:54:57.803" UserId="429" Comment="bad grammers" Text="I recommend listening to as many pairs as possible and make notes. Then choose the ones you find have the flattest response.  I chose the [DT 880 pro][1].&#xD;&#xA;&#xD;&#xA;Save your money for decent near-fields and room treatment to go with them. Total budget = $3000 to $4000K.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/store/detail/DT880" ContentLicense="CC BY-SA 2.5" />
  <row Id="3428" PostHistoryTypeId="2" PostId="1899" RevisionGUID="fd2d5c75-e137-4a4e-a0fb-824bcb1d5c04" CreationDate="2010-07-12T21:25:15.260" UserId="37" Text="no headphones have a flat frequency response. they would sound funny, because of the proximity to the ears. whatever you buy you will need to learn the sound of, which is a time investment but pays back. the one very important thing i think you'll lose is the sense of dynamics - headphones seem to compress sound quite a bit so monitor speakers are a must.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;  [1]: http://graphs.headphone.com/graphCompare.php?graphType=0&amp;graphID[]=853&amp;graphID[]=223&amp;graphID[]=2361&amp;graphID[]=933" ContentLicense="CC BY-SA 2.5" />
  <row Id="3429" PostHistoryTypeId="2" PostId="1900" RevisionGUID="71a49dd0-06dd-4e3c-b513-7170a7211d6d" CreationDate="2010-07-12T22:36:18.720" UserId="6411" Text="In an effort to learn from the mistakes and misfortunes of others, I was wondering if anybody out there had any great &quot;big fish&quot; stories about field recording. What were you out to capture in the first place, what was the fantastic sound you missed or lost, and what went wrong?&#xD;&#xA;&#xD;&#xA;If it's too painful a tale to re-tell, I understand..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3430" PostHistoryTypeId="1" PostId="1900" RevisionGUID="71a49dd0-06dd-4e3c-b513-7170a7211d6d" CreationDate="2010-07-12T22:36:18.720" UserId="6411" Text="The Sound That Got Away" ContentLicense="CC BY-SA 2.5" />
  <row Id="3431" PostHistoryTypeId="3" PostId="1900" RevisionGUID="71a49dd0-06dd-4e3c-b513-7170a7211d6d" CreationDate="2010-07-12T22:36:18.720" UserId="6411" Text="&lt;field-recording&gt;&lt;sound-effects-recording&gt;&lt;gear&gt;&lt;mistakes-blunders-mishaps&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3432" PostHistoryTypeId="5" PostId="1861" RevisionGUID="10d75456-c83e-441e-837d-3cd25ed1771d" CreationDate="2010-07-12T22:40:17.723" UserId="61" Comment="hyperlink" Text="Regular naming convention for features I work on is:&#xD;&#xA;&#xD;&#xA;PROJECT TITLE_REEL NUMBER_VERSION NUMBER OR VERSION DATE_CATEGORY&#xD;&#xA;&#xD;&#xA;example:&#xD;&#xA;&#xD;&#xA; - ROAD_R2_V0405_FX&#xD;&#xA; - PA_R5_V6_FACTORY FX&#xD;&#xA;&#xD;&#xA;I normally don't go beyond that unless I am trying something new that I don't want to commit to, for example:&#xD;&#xA;&#xD;&#xA; - ROAD_R2_V0405_FX_alt car engine&#xD;&#xA; - LETTERS_R2_V2.3_NEW ARTILLERY&#xD;&#xA;&#xD;&#xA;I have ProTools setup to autosave 99 backups with each backup occurring every 1-3 minutes, so I have no worry of losing data. I rarely do Save Copy Ins unless I am finished with the reel and sending it to the stage or to another editor for additions/revisions. Lastly, I do a full backup at the end of each day using [Chronosync][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.econtechnologies.com/pages/cs/chrono_overview.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="3433" PostHistoryTypeId="2" PostId="1901" RevisionGUID="0577e0b0-5d39-437d-b955-c14daf0dd235" CreationDate="2010-07-12T22:43:56.067" UserId="61" Text="I will relive my pain for you. 2 weeks ago I just happened to be awake before dawn and set my rig to record a beautiful 60 minutes worth of pristine nature with no urban noise whatsoever. The &quot;holy grail&quot; of nature recording. Later that day I reviewed the file and found:&#xD;&#xA;&#xD;&#xA;FILE 1: **0 kbytes**&#xD;&#xA;&#xD;&#xA;*Ouch.*" ContentLicense="CC BY-SA 2.5" />
  <row Id="3434" PostHistoryTypeId="2" PostId="1902" RevisionGUID="3f11537f-3ed1-4c0c-b18e-72f553990862" CreationDate="2010-07-12T23:19:04.503" UserId="194" Text="rolled on some crickets out in the middle of the night and the middle of the desert last week. In about a 10 minute clip I think I have 5 seconds without traffic or airplanes overhead.  &#xD;&#xA;&#xD;&#xA;It was worse on the insects I tried to record during the daytime.&#xD;&#xA;&#xD;&#xA;Managed to not record the implosion of Texas Stadium on all of my recorders when that went down (was busted by the cops and had to move and re-set quickly)&#xD;&#xA;&#xD;&#xA;Got cell phone interference on some tracks I was recording at a gun shoot a couple of years ago. Now I put the iphone in airplane mode before taking pix of the setup.&#xD;&#xA;&#xD;&#xA;I've messed up my own recordings in countless ways with things like&#xD;&#xA;-wind noise&#xD;&#xA;-not hitting record&#xD;&#xA;-preamp too hot&#xD;&#xA;-preamp too soft&#xD;&#xA;-hi pass in&#xD;&#xA;-hi pass out&#xD;&#xA;-talking or otherwise making noise&#xD;&#xA;-etc&#xD;&#xA;&#xD;&#xA;somehow I still get lots of good stuff, but man do I make it hard on myself some days.  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3435" PostHistoryTypeId="5" PostId="1901" RevisionGUID="c473cb1f-33fd-4d9d-8cdd-ab53dabab946" CreationDate="2010-07-13T00:13:32.140" UserId="61" Comment="additional information" Text="I will relive my pain for you. 2 weeks ago I just happened to be awake before dawn and set my rig to record a beautiful 60 minutes worth of pristine nature with no urban noise whatsoever. The &quot;holy grail&quot; of nature recording. Later that day I reviewed the file and found:&#xD;&#xA;&#xD;&#xA;FILE 1: **0 kbytes**&#xD;&#xA;&#xD;&#xA;*Ouch.*&#xD;&#xA;&#xD;&#xA;So my lesson learned is: It's best not to leave your recorder running unattended for hours on end because if the batteries fail before you can stop the take then it may not save the file. Depends on your make/model of recorder, of course." ContentLicense="CC BY-SA 2.5" />
  <row Id="3436" PostHistoryTypeId="2" PostId="1903" RevisionGUID="71093415-dde5-4ba8-97dd-c544ae1fa76f" CreationDate="2010-07-13T00:21:40.347" UserId="431" Text="I've worked in post production audio for just over 10 years and I recently went freelance and some how landed a gig producing a small interview shoot. The budget is tiny, so I'll be recording the sound. And while I have lots of post audio experience I have zero location record experience. &#xD;&#xA;&#xD;&#xA;Here's my plan for the shoot. Since all the interviewees will be seated in the same chair for each interview (filmed consecutively), I'm planning on putting the boom (Sen 416) on a mic stand with extension (no boom operator) and laving the interviewees as well. Because I'm very familiar with Pro Tools I'd like to record to hard drive using the preamps on my Mbox 2 Pro. In a perfect world, I'd like to grab word clock from the camera to time stamp the files.I'm not planning on running a back up as if Pro Tools burps on a take, I can simply have the interviewee answer the question again. I'm specifically concerned about finding a camera with word clock out, and whether the whole plan is out to lunch or feasible.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;- Adam.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3437" PostHistoryTypeId="1" PostId="1903" RevisionGUID="71093415-dde5-4ba8-97dd-c544ae1fa76f" CreationDate="2010-07-13T00:21:40.347" UserId="431" Text="Is this interior location record setup crazy?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3438" PostHistoryTypeId="3" PostId="1903" RevisionGUID="71093415-dde5-4ba8-97dd-c544ae1fa76f" CreationDate="2010-07-13T00:21:40.347" UserId="431" Text="&lt;sync&gt;&lt;location-recording&gt;&lt;pro-tools&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3439" PostHistoryTypeId="2" PostId="1904" RevisionGUID="2fca044c-ef28-4da3-ae4f-148c3ab67cd5" CreationDate="2010-07-13T00:25:29.373" UserId="103" Text="Not something i went out to record, but a sound i missed, and kick myself every time i remember it. &#xD;&#xA;&#xD;&#xA;Was recording with a hydrophone into a 722 in a lake, had an h4 in my back pocket; i was standing on a bridge. The lake had many ducks, all sleeping.&#xD;&#xA;All the ducks woke up at the same time, i instantly grabbed the h4 and turned it on, all the ducks flew right by my head, but the recorder wasn't ready to roll... ARGHHH&#xD;&#xA;Sounded really cool...." ContentLicense="CC BY-SA 2.5" />
  <row Id="3440" PostHistoryTypeId="2" PostId="1905" RevisionGUID="991bf43e-79dd-49f5-a64c-75c305ec0376" CreationDate="2010-07-13T00:33:14.820" UserId="315" Text="I was spending some time in Italy on a coastal town near Genoa. My hotel was perched at the top of a cliff overlooking the Mediterranean. That night the worst thunder storm I've ever heard in my life rolled in. Our hotel room shook like an earthquake...the closest I've ever felt to being bombed. The time between lightening and thunder strikes was super tight. Thunder booms went on for nearly two hours without any rain...if only I had my 722 and Rycote. Of course, I probably would've been to scared to hold any type of metal object in that storm. I would've had a CD worth of material.&#xD;&#xA;&#xD;&#xA;I also blew a great super close up freight train by once because I wasn't looking at my levels and clipped it...bummer." ContentLicense="CC BY-SA 2.5" />
  <row Id="3441" PostHistoryTypeId="5" PostId="1904" RevisionGUID="bea1503b-1adc-49ac-b500-57f71417ba48" CreationDate="2010-07-13T00:39:16.350" UserId="103" Comment="added 67 characters in body" Text="Not something i went out to record, but a sound i missed, and kick myself every time i remember it. &#xD;&#xA;&#xD;&#xA;Was recording with a hydrophone into a 722 in a lake, had an h4 in my back pocket; i was standing on a bridge. The lake had many ducks, all sleeping.&#xD;&#xA;All the ducks woke up at the same time, i instantly grabbed the h4 and turned it on, all the ducks flew right by my head, but the recorder wasn't ready to roll... ARGHHH&#xD;&#xA;Sounded really cool....&#xD;&#xA;&#xD;&#xA;Also had corrupt files on a recorder, of a gun shoot session.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3443" PostHistoryTypeId="2" PostId="1907" RevisionGUID="46b35a84-f1eb-49bb-ba30-d25de2e2ecc4" CreationDate="2010-07-13T05:09:55.970" UserId="29" Text="Oh, I've had this classic many a time: Monitoring instead of recording. Worse when one recorder you use is always in monitoring mode, and the other you need to hit record twice to actually, uh, *record something*.&#xD;&#xA;&#xD;&#xA;You can read one such embarrassing, yet possibly familiar, story [here][1] (see the epilogue below the sound clip). :-D&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2010/02/24/unmarked-helicopter/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3444" PostHistoryTypeId="2" PostId="1908" RevisionGUID="19ff84e8-61ac-4c9a-a8d7-1ea3a36e4c17" CreationDate="2010-07-13T05:18:04.943" UserId="29" Text="**[BEHOLD!][1]**&#xD;&#xA;&#xD;&#xA;All hail Rob Danielson for posting these specs. These are pure specs, but check it out: CAD ES100S with a theoretical 3.7dBA self-noise level! :-) Not every available mic is mentioned, but this list is authored to describe what might be the best nature recording mics (as per Chuck's point, above), primary above all else is low self-noise.&#xD;&#xA;&#xD;&#xA;I understand that the Earthworks are &quot;true&quot; and &quot;transparent,&quot; but their small condenser elements are a wee bit noisy - they're not on this chart. I have *not* used the Earthworks, though, and they have lots to recommend them besides their self-noise level.&#xD;&#xA;&#xD;&#xA;Me? I use an MKH50/30 pair in the field for MS ambience and nature recording. They are simply amazing, noise-wise.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://pantherfile.uwm.edu/type/www/audio-reports/MicSpecCharts/Mics_16dBA.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="3445" PostHistoryTypeId="2" PostId="1909" RevisionGUID="8120a376-e693-4da5-9b60-d0c0054e548f" CreationDate="2010-07-13T05:25:02.937" UserId="29" Text="Apparently [high-frequency whines][1] don't score very well with the public.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2009/08/20/whining-flashguns/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3446" PostHistoryTypeId="5" PostId="1881" RevisionGUID="2793cc2c-bf70-4111-becf-a44f1c0f596e" CreationDate="2010-07-13T05:27:04.057" UserId="29" Comment="added 4 characters in body" Text="Everyone here is right, across their variety of opinions! I often create such sounds for real-world computer interfaces, as opposed to the software you see in films.&#xD;&#xA;&#xD;&#xA;Tone generation is the key starting point. In my opinion, the secret sauce boils down to envelopes and filtering. I've designed sounds for UI's by taking nearly microscopic samples from field recordings and with some amplitude and filter envelopes, you'd think the Autechre Virus had hacked yer kernel. ;-) &#xD;&#xA;&#xD;&#xA;I think that even tiniest bloop, bleep, squirk, and frrwwweee needs some &quot;animation&quot; to it, via envelopes, filtering, and/or automation. Reflect on the sound design of even Star Trek: The Next Generation series, now more than a decade ago - strong stuff for this very reason. The more pure the tone is, the more analog is sounds, which is fine if you're going for that kind of sound, but it can sound pretty dated against modern pictures.&#xD;&#xA;&#xD;&#xA;In terms of source material, if you chop up a sample small enough, anything can be source material. (One of my most-reached-for UI sound libraries is my collection of DAT tape read errors!) If you're more of a synthesis kinda person, I'm +1 with Ian and Justin on knob-laden hardware synths...or, like my Waldorf Pulse+ analog synth or the Logic ES2 synth, any complex synth with a random patch can help unstick you, creatively. I've also found that the free audio utility Audacity has a number of handy tone generators. Short, transient sounds are great too - any sort of drum sample kit can be a good starting point if you're willing to push it far enough." ContentLicense="CC BY-SA 2.5" />
  <row Id="3447" PostHistoryTypeId="2" PostId="1910" RevisionGUID="8b15d67b-cab3-44f1-8eac-4614f0c13987" CreationDate="2010-07-13T05:37:32.510" UserId="253" Text="Like, Ryan said, i wouldn't recommend a 416. Good idea on the mic stand: i used to set up for the to-camera pieces for the australian 60 minutes, and we used a schoeps hyper(or super)cardioid, i can't remember what kind exactly, on a c-stand. As your interviewee may not sit completely still, something with a wide pickup pattern would be ideal.&#xD;&#xA;&#xD;&#xA;As for the word clock; sorry, i'm not sure. Although i'd strongly suggest running straight into camera, or even out of the mbox into camera. That saves a bit of faffing around in post. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3448" PostHistoryTypeId="2" PostId="1911" RevisionGUID="ac258681-c008-4eac-a8f7-409dcc1e24cf" CreationDate="2010-07-13T06:38:49.477" UserId="390" Text="Hi guys, I was wondering what the average cost of renting at 744 recorder, 442 mixer, a couple of wireless lavs and wireless transmitters. I'll be making some phone calls to ask around and I wanted to see if I can, perhaps, assess some sort of standard pricing." ContentLicense="CC BY-SA 2.5" />
  <row Id="3449" PostHistoryTypeId="1" PostId="1911" RevisionGUID="ac258681-c008-4eac-a8f7-409dcc1e24cf" CreationDate="2010-07-13T06:38:49.477" UserId="390" Text="Costs of Renting" ContentLicense="CC BY-SA 2.5" />
  <row Id="3450" PostHistoryTypeId="3" PostId="1911" RevisionGUID="ac258681-c008-4eac-a8f7-409dcc1e24cf" CreationDate="2010-07-13T06:38:49.477" UserId="390" Text="&lt;rental&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3451" PostHistoryTypeId="2" PostId="1912" RevisionGUID="becc1d55-90a9-40ab-8467-32d9f9f16ef6" CreationDate="2010-07-13T07:36:12.790" UserId="61" Text="Depends on your location, but if you're in LA try [Location Sound][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.locationsound.com/proaudio/ls/index.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="3452" PostHistoryTypeId="2" PostId="1913" RevisionGUID="e50cdb04-0ad1-4370-91d2-56695156d614" CreationDate="2010-07-13T13:37:47.893" UserId="37" Text="Røde claim 5dBA on their NT1A..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3453" PostHistoryTypeId="5" PostId="1897" RevisionGUID="0fcbdcb5-7212-4a0d-9818-67d174f5e030" CreationDate="2010-07-13T13:39:54.240" UserId="2" Comment="added embeded youtube video; deleted 2 characters in body; added 4 characters in body" Text="Amon Tobin uses Earthworks mics in Foley Room. &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=IlwG3DSESyE&#xD;&#xA;&#xD;&#xA;[youtube] v=IlwG3DSESyE [/youtube]&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3454" PostHistoryTypeId="2" PostId="1914" RevisionGUID="11bc9fd8-7b16-41ba-8ac9-04c4a3d4b2ae" CreationDate="2010-07-13T13:43:15.847" UserId="37" Text="btw how large is the room, also interesting if you can line up the walls w/ fabric to kill some of the reverb.. that may allow you to use the 416 with better results, but less than a boom op + boom would." ContentLicense="CC BY-SA 2.5" />
  <row Id="3455" PostHistoryTypeId="2" PostId="1915" RevisionGUID="f7b61102-1d0a-4509-a645-466124c8c2ec" CreationDate="2010-07-13T14:16:06.913" UserId="194" Text="to add to what's been said above:&#xD;&#xA;&#xD;&#xA; - super high pass filters work well.  experiment with cutting everything below 5 or 8k&#xD;&#xA; - short verbs and slap delays can add a techy feel&#xD;&#xA; - don't be afraid to micro edit some stutters and repetitions&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3456" PostHistoryTypeId="2" PostId="1916" RevisionGUID="757f18d6-1232-4320-8093-0c82365b8441" CreationDate="2010-07-13T14:40:28.947" UserId="220" Text="Recorder, probably $75 - $150 per day.  Mixer, $25 - $55 per day.  Wireless mics, $55 - $125 per day, depending on the quality of the packs and the type of mic you get.  It also depends on how long you're renting.  Most rental houses will do 3 day weeks or give cheaper weekend rentals since it is not a peak rental time.  It can really vary a lot depending on location, time, etc.  Always shop around though.&#xD;&#xA;&#xD;&#xA;I would recommend looking for a sound person that already has these items.  It will probably end up being cheaper to pay him or her a day rate including equipment than to rent the equipment you listed.  &#xD;&#xA;&#xD;&#xA;Location Sound is good, as birdhousesound said.  I also like the guys at [Coffey Sound][1].  If you're on the east coast or southeast, I can also recommend some rental locations.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.coffeysound.com/Contact-Us.html &quot;Coffey Sound&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3457" PostHistoryTypeId="2" PostId="1917" RevisionGUID="8b517c2a-7721-4de0-8b36-67a0a8af72f3" CreationDate="2010-07-13T14:43:32.377" UserId="261" Text="Hey Everyone,&#xD;&#xA;&#xD;&#xA;This will be a LONG read, but I would Reall appreciate advice&#xD;&#xA;&#xD;&#xA;For the last 3 months I've been phoning various post sound people around town (Zurich), sending them resumes and links to my Vimeo page to see my stuff, asking about the possibility of a trainee or intern position. But you know the drill: 'Sorry, at this time we do not have any....', seems to be the most common answer.&#xD;&#xA;&#xD;&#xA;Out of the blue, this morning, I got 3 calls, which carried various possibly positive messages. Could you please give me advice on what it all means?&#xD;&#xA;&#xD;&#xA;On my side I have 2 years production sound experience: corporate videos, the odd commercial, 5 short films and one or two TV shows. I have bascially no PRO post experience. I know Ableton, Nuendo and a bit of ProTools LE.&#xD;&#xA;&#xD;&#xA;(No, i did not got an audio engineering school, but I am studying physics and math through the OU)&#xD;&#xA;&#xD;&#xA;Ok, now for the calls:&#xD;&#xA;&#xD;&#xA;1. A call from a well respected German film mixer who will be in Zurich to record ADR for a feature length doccie. He asked if I could sit-in for the 4 days he will be here...&#xD;&#xA;&#xD;&#xA;- He doesn't really work from Zurich so I think he wants to meet me and maybe introduce me to some people.&#xD;&#xA;&#xD;&#xA;2. A local sound designer has called me to 'help' him tonight and tommorow to do tracklay and sound deisgn for an animated video clip?&#xD;&#xA;What does this mean? Is this a test?&#xD;&#xA;&#xD;&#xA;3.An engineer at a local studio has invited me to 'come and see what we do' for a few days this week and next.&#xD;&#xA;&#xD;&#xA;For all of these, but especially for call no. 3, I really want to impress enough that I can get that elusive 'start from the bottom' inhouse job.&#xD;&#xA;&#xD;&#xA;What should i do?&#xD;&#xA;&#xD;&#xA;Or rather WHAT SHOULD I NOT DO?&#xD;&#xA;&#xD;&#xA;Yours in excitement and trepidation,&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 2.5" />
  <row Id="3458" PostHistoryTypeId="1" PostId="1917" RevisionGUID="8b517c2a-7721-4de0-8b36-67a0a8af72f3" CreationDate="2010-07-13T14:43:32.377" UserId="261" Text="What does it all mean when people say : 'Come to the studio and see what we do...'?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3459" PostHistoryTypeId="3" PostId="1917" RevisionGUID="8b517c2a-7721-4de0-8b36-67a0a8af72f3" CreationDate="2010-07-13T14:43:32.377" UserId="261" Text="&lt;career&gt;&lt;job&gt;&lt;work&gt;&lt;career-choices&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3460" PostHistoryTypeId="2" PostId="1918" RevisionGUID="36b6d6df-8078-4c82-9122-52f61dc7093f" CreationDate="2010-07-13T15:26:10.387" UserId="6411" Text="It means your 3 months of effort have paid off with 3 leads. Follow them.&#xD;&#xA;&#xD;&#xA;Know the limitations in your knowledge. Observe, listen, and absorb.&#xD;&#xA;&#xD;&#xA;Don't promise anything that you can't do, do what you promise you can." ContentLicense="CC BY-SA 2.5" />
  <row Id="3461" PostHistoryTypeId="5" PostId="1881" RevisionGUID="54c84d02-5ddc-4d57-922e-f931dde30328" CreationDate="2010-07-13T15:42:53.890" UserId="29" Comment="edited body" Text="Everyone here is right, across their variety of opinions! I often create such sounds for real-world computer interfaces, as opposed to the software you see in films.&#xD;&#xA;&#xD;&#xA;Tone generation is the key starting point. In my opinion, the secret sauce boils down to envelopes and filtering. I've designed sounds for UI's by taking nearly microscopic samples from field recordings and with some amplitude and filter envelopes, you'd think the Autechre Virus had hacked yer kernel. ;-) &#xD;&#xA;&#xD;&#xA;I think that even tiniest bloop, bleep, squirk, and frrwwweee needs some &quot;animation&quot; to it, via envelopes, filtering, and/or automation. Reflect on the sound design of even Star Trek: The Next Generation series, now more than a decade ago - strong stuff for this very reason. The more pure the tone is, the more analog it sounds, which is fine if you're going for that kind of sound, but it can sound pretty dated against modern pictures.&#xD;&#xA;&#xD;&#xA;In terms of source material, if you chop up a sample small enough, anything can be source material. (One of my most-reached-for UI sound libraries is my collection of DAT tape read errors!) If you're more of a synthesis kinda person, I'm +1 with Ian and Justin on knob-laden hardware synths...or, like my Waldorf Pulse+ analog synth or the Logic ES2 synth, any complex synth with a random patch can help unstick you, creatively. I've also found that the free audio utility Audacity has a number of handy tone generators. Short, transient sounds are great too - any sort of drum sample kit can be a good starting point if you're willing to push it far enough." ContentLicense="CC BY-SA 2.5" />
  <row Id="3462" PostHistoryTypeId="2" PostId="1919" RevisionGUID="38313a67-0efe-4d73-837c-c27dae7eb1e9" CreationDate="2010-07-13T15:56:42.553" UserId="198" Text="Not sure how common a problem this is for people... Lately I've been recording in 'buggy' places to capture ambient nature sounds. I recently upgraded to some decent cardioid mics which always need wind protection because of their high sensitivity. Problem is, mosquitoes, flies and other insects seem to **love** the fur covering the ball gags, I guess mistaking it for an animal of some sort. While I don't mind an insect buzzing by every now and again, it can get annoying and unfruitful when attempting to record sounds other than these flying misfits.&#xD;&#xA;&#xD;&#xA;I've tried keeping a good distance from the mics which sometimes detracts insects, but not always. I'm reluctant to spray the fur with insect repellant for fear the chemical fumes may possibly harm the (overpriced) plastic ball gags and (pricey) microphone capsules. Does anyone know any tricks or techniques to solve the issue?&#xD;&#xA;&#xD;&#xA;Any advice is welcome." ContentLicense="CC BY-SA 2.5" />
  <row Id="3463" PostHistoryTypeId="1" PostId="1919" RevisionGUID="38313a67-0efe-4d73-837c-c27dae7eb1e9" CreationDate="2010-07-13T15:56:42.553" UserId="198" Text="keeping insects away from furry windscreens" ContentLicense="CC BY-SA 2.5" />
  <row Id="3464" PostHistoryTypeId="3" PostId="1919" RevisionGUID="38313a67-0efe-4d73-837c-c27dae7eb1e9" CreationDate="2010-07-13T15:56:42.553" UserId="198" Text="&lt;insects&gt;&lt;wind&gt;&lt;protection&gt;&lt;nature&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3465" PostHistoryTypeId="6" PostId="1919" RevisionGUID="f43cb824-44f4-4c15-823f-73d8ebb6b6ec" CreationDate="2010-07-13T16:32:54.353" UserId="61" Comment="retag" Text="&lt;insects&gt;&lt;wind&gt;&lt;protection&gt;&lt;nature&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3466" PostHistoryTypeId="2" PostId="1920" RevisionGUID="64d20176-5cde-48b5-b21d-75945a50593c" CreationDate="2010-07-13T16:46:12.487" UserId="6411" Text="I agree with your reluctance to spray your furries and foam screens. But I'd be most concerned about the insect repellent coming in contact with the wind screens due to a chemical reaction with the foam. I'd try spraying a rag with insect repellent, and secure the rag to the mic stand. Also, try looking up &quot;natural insect repellent&quot; as there's really no need to use all the manufactured, chemical-laden repellents that are out there.&#xD;&#xA;&#xD;&#xA;Alternatively, you could work with what you've got and could focus on capturing the insects rather than the ambience." ContentLicense="CC BY-SA 2.5" />
  <row Id="3467" PostHistoryTypeId="2" PostId="1921" RevisionGUID="09af6097-0eed-44f3-9974-68028df35d60" CreationDate="2010-07-13T17:09:40.693" UserId="142" Text="I would try using the large garden incense sticks that repel bugs (obviously if its not in a very dry area due to fire risk). These should let of enough smoke to hopefully deter them but at the same time should not effect the equipment (apart from your wind jammer furry getting a slightly new scent) and can't imagine them making any noise to affect the recordings. Hope this helps" ContentLicense="CC BY-SA 2.5" />
  <row Id="3468" PostHistoryTypeId="2" PostId="1922" RevisionGUID="e3b359e4-2cc5-4855-83f1-add9936bb89b" CreationDate="2010-07-13T17:11:58.333" UserId="217" Text="This one actually happened to me TODAY, so it just shows how randomly these things can happen.&#xD;&#xA;&#xD;&#xA;I was out recording the boat passbys as they came into the harbour.  Whilst listening back to a recording I could hear a helicopter engine.  I thought &quot;I don't remember a helicopter going past during that take&quot;.  &#xD;&#xA;&#xD;&#xA;At which point I look up and see a Chinook Helicopter coming out from behind some nearby trees and flying right in front of me!  I was quick press record and adjust the volume of the recording.  However, it all happened so quickly that it's all over the place. &#xD;&#xA;&#xD;&#xA;They need to start giving a warning in advance for when these things fly over!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3469" PostHistoryTypeId="2" PostId="1923" RevisionGUID="597f13df-905a-4014-9a19-3078f13107fd" CreationDate="2010-07-13T17:33:28.907" UserId="270" Text="You could try and distract their attention away from your microphones with some strategically placed jam&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3470" PostHistoryTypeId="2" PostId="1924" RevisionGUID="a5629c13-c287-4a8e-9e03-b9329f2f6dfe" CreationDate="2010-07-13T17:40:28.337" UserId="432" Text="I had to sit and think about how to approach this for a few minutes.  I can relate to where you're coming from (MA in audio production, limited job opportunities/prospects, etc.) have dealt with similar frustrations.  Even after getting a moderate level &quot;break&quot;, I'm still dealing with some of those.&#xD;&#xA;&#xD;&#xA;My job has been somewhat underwhelming.  I took a position with an independent television production and distribution company, expecting to be able to work consistently on television programming.  In the 3.5 years I've been here, I've worked on only one somewhat significant television documentary, and have spent the rest of the time working on internal corporate videos (for other companies that is) that I can't put on a reel (either because they're too lame, or because of NDA's), or fixing other people's flubs on programs that we enter into distribution agreements with.  So, over the the last 3.5 years, basically one new thing for my reel.  I have been getting somewhat disgruntled with this idea, fearing that my career would become tied to closely to the success/failure of my current company.&#xD;&#xA;&#xD;&#xA;Here are a few things that I've come to realize, that you may also be overlooking as well:&#xD;&#xA;&#xD;&#xA;1.  Any work contributes to your growth.  You may not notice it, but your editing skills refine in subtle ways, so do your mixing skills.  Compare something you've done recently with something you did during your education.  You'll probably be able to notice a difference.&#xD;&#xA;&#xD;&#xA;2. Don't get complacent in your job (something which I was guilty of).  If you feel like you're not being challenged or growing, it's because you are allowing yourself to stagnate.  We all need challenges to develop our skills.  The problem with artistic jobs, is that they often have to be **self-imposed**.&#xD;&#xA;&#xD;&#xA;3. It may sound silly or too pedestrian, but there's something that comes along with steady work....sometimes that's a steady paycheck.  Something that's hard to come by in a small field overcrowded with more practitioners than jobs.  This is by no means a deciding factor, but it has its advantages.&#xD;&#xA;&#xD;&#xA;Ultimately, my advice is to keep your job for now (if they can help you stay).  You've only been at it for less than a year.  Careers in this industry don't move quickly.  If they've come to rely on you, that speaks for your work.  Keep at it, find ways to challenge yourself on each of those projects, and network like crazy [when and where]ever you can - contacts are everything.&#xD;&#xA;&#xD;&#xA;And remember, if you do get the visa, just because you get it, doesn't mean you HAVE to stay in the US.  You can always go back to Australia whenever you like.&#xD;&#xA;&#xD;&#xA;Personally, we're starting on a 30 episode (1-television-hour each) this fall.  I know that I am better equipped to work on it now after the 3.5 years of grunt work than I would have been back at the beginning; and that means it will be a better piece for my reel. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3471" PostHistoryTypeId="2" PostId="1925" RevisionGUID="6e75aa2d-c4f5-42be-91b5-16e4870e88f8" CreationDate="2010-07-13T17:53:20.433" UserId="432" Text="Counter-point/contrast always get overlooked.  That works on two possible levels as well; against the picture, or against the sound design on either side of the event.&#xD;&#xA;&#xD;&#xA;Several people have already mentioned silence.  I love elegant uses of silence.  Most often the best uses are those that are used as counterpoint, because of the accent it provides on the absence of aural information." ContentLicense="CC BY-SA 2.5" />
  <row Id="3472" PostHistoryTypeId="2" PostId="1926" RevisionGUID="228b0f2c-b621-41ed-940f-b532a3629676" CreationDate="2010-07-13T19:19:33.050" UserId="433" Text="Has anyone ever done any recording of military vehicles (i.e. tanks, utility vehicles)? &#xD;&#xA;&#xD;&#xA;I'm wondering what to expect in terms of costs. I've done car recordings before so I'm familiar with equipment and track rentals and all that but I'm assuming things like driver fees and vehicle rentals don't really apply when you're dealing with the military. Or do they?&#xD;&#xA;&#xD;&#xA;Thanks in advance.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3473" PostHistoryTypeId="1" PostId="1926" RevisionGUID="228b0f2c-b621-41ed-940f-b532a3629676" CreationDate="2010-07-13T19:19:33.050" UserId="433" Text="Recording military vehicles" ContentLicense="CC BY-SA 2.5" />
  <row Id="3474" PostHistoryTypeId="3" PostId="1926" RevisionGUID="228b0f2c-b621-41ed-940f-b532a3629676" CreationDate="2010-07-13T19:19:33.050" UserId="433" Text="&lt;field&gt;&lt;recording&gt;&lt;military&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3475" PostHistoryTypeId="2" PostId="1927" RevisionGUID="59bf1b44-37b6-4188-94ef-2c24ecbfa622" CreationDate="2010-07-13T19:33:58.967" UserId="61" Text="Depends on whether you deal with the actual military or private collectors. If military, then you should expect to go through several stages of clearance and permissions, as well as heavy security and (probably) limited access. You won't be faced with driver fees or vehicle rentals. If private collectors, you'll most likely need to travel to where they are and record wherever they are able to operate their equipment. And rather than pay fees and rentals, instead you'll negotiate a flat-fee, hourly rate or reimbursement for fuel / ammo." ContentLicense="CC BY-SA 2.5" />
  <row Id="3476" PostHistoryTypeId="2" PostId="1928" RevisionGUID="ecc60f66-e6b4-4718-9a6b-1077d8d007b6" CreationDate="2010-07-13T19:49:41.167" UserId="6411" Text="A question in multiple parts:&#xD;&#xA;&#xD;&#xA;First off, we're all recording at the highest bit and sample rates possible (right?) in order to extend the use of the sounds we capture. The opportunity to make bigger, nastier, creepier, and meatier sounds just makes me smile.  But should it alter how I record effects in the first place? Should I be extra mindful of the high frequency information around me? Or just hope for happy surprises (miracles)?&#xD;&#xA;&#xD;&#xA;Second, after the file is transferred there's plug-ins, samplers, elastic audio, re-recording varispeed playback, all of which seem to have their merits. What's your preferred method?&#xD;&#xA;&#xD;&#xA;Myself? I turn to Waves' SoundShifter for changes over time, and SoundShifter/Doubler or Digi's Time Shift for sustained pitch shifts. But that's just what I've become used to reaching for, maybe I just need to shift my thinking as much as my pitch... advice?&#xD;&#xA;&#xD;&#xA;I'm all for hearing about purchase recommendations, but if you have advice on methodology, tips, pitfalls, things to listen out for, they would be just as useful, if not more so." ContentLicense="CC BY-SA 2.5" />
  <row Id="3477" PostHistoryTypeId="1" PostId="1928" RevisionGUID="ecc60f66-e6b4-4718-9a6b-1077d8d007b6" CreationDate="2010-07-13T19:49:41.167" UserId="6411" Text="What's Your Preferred Method of Pitch-Shifting?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3478" PostHistoryTypeId="3" PostId="1928" RevisionGUID="ecc60f66-e6b4-4718-9a6b-1077d8d007b6" CreationDate="2010-07-13T19:49:41.167" UserId="6411" Text="&lt;pitch-shifting&gt;&lt;sound-design&gt;&lt;sound-effects&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3479" PostHistoryTypeId="2" PostId="1929" RevisionGUID="64094a31-fa6a-4576-9036-52e5acf77e96" CreationDate="2010-07-13T20:08:38.790" UserId="29" Text="If you use a chemical on the furry windscreen, try the Permethrin that's used for spray-on application for clothing. It dries over a few hours and is non-tacky, shouldn't dreadlock your windscreen. You could also try spraying it on the inside. It's chemically relatively inert and safer than, say, DEET. That said, it may prevent insects from landing, but maybe not swarming. I've not tried it yet, rest assured I will...&#xD;&#xA;&#xD;&#xA;I like the idea of using a DEET-treated rag or bandana on the mic stand. Be sure that the DEET doesn't come in contact with plastic, as it could melt it.&#xD;&#xA;&#xD;&#xA;Personally, I've had no luck at all with citronella, catnip, or other variants, at least on the West Coast of the US. &#xD;&#xA;&#xD;&#xA;The only other thing I can think of is that, in my experience, usually when it's calm enough that small mosquitos are bugging me (sorry, pun intended), I don't need a furry windscreen, and when I do need a furry windscreen, the mosquitos arent' a problem. This doesn't help with bigger critters, though, like actual flies. :-(" ContentLicense="CC BY-SA 2.5" />
  <row Id="3480" PostHistoryTypeId="2" PostId="1930" RevisionGUID="83af92ef-1fd4-433d-a845-125d5e2c252c" CreationDate="2010-07-13T20:29:11.820" UserId="432" Text="You may also consider looking at the sound design employed in films by the Cohen brothers.  There are a number of academic articles that broach the subject concerning individual movies, but I haven't seen many that go into extensive depth on any one, or covers general trends that occur across their movies.&#xD;&#xA;&#xD;&#xA;You could also look for ideas in &quot;The Soundtrack&quot;.  It's an academic journal focusing on sound design and sound for moving picture.  You can order copies (or read the first issue for free) at http://www.intellectbooks.co.uk/journals/view-Journal,id=146.&#xD;&#xA;&#xD;&#xA;I highly reccomend anyone in our field, student or professional, at least get a look at some of these journals.  They're an excellent source of theoretical discourse on our profession.  One warning though, the journal changes name and (I believe) publisher in January.  The continuation of the journal will be called &quot;The New Soundtrack&quot;, and can be found at http://www.euppublishing.com/journal/sound.&#xD;&#xA;&#xD;&#xA;I'd suggest trying what I used for my Master's thesis; but that was a beast and I don't really think anyone can truly do it justice at the Master's level (I know I didn't).  Good luck with your studies." ContentLicense="CC BY-SA 2.5" />
  <row Id="3481" PostHistoryTypeId="2" PostId="1931" RevisionGUID="7a929eb7-f28b-4526-a74c-d9c088267fcd" CreationDate="2010-07-13T20:54:26.730" UserId="61" Text="Serato's [Pitch n' Time][1] is my go-to plug. Does 192k - highly recommend.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://serato.com/pitchntime" ContentLicense="CC BY-SA 2.5" />
  <row Id="3482" PostHistoryTypeId="2" PostId="1932" RevisionGUID="f1f25308-fdad-431a-a657-e82194622f2e" CreationDate="2010-07-13T21:08:11.627" UserId="61" Text="Looking for best tips &amp; tricks to make those backgrounds, winds and crowds come back to life. More interested in modulation / EQ sweeps / depth perception techniques than standard reverb (read: Altiverb) applications. Thanks all -" ContentLicense="CC BY-SA 2.5" />
  <row Id="3483" PostHistoryTypeId="1" PostId="1932" RevisionGUID="f1f25308-fdad-431a-a657-e82194622f2e" CreationDate="2010-07-13T21:08:11.627" UserId="61" Text="Making lifeless sounds come alive" ContentLicense="CC BY-SA 2.5" />
  <row Id="3484" PostHistoryTypeId="3" PostId="1932" RevisionGUID="f1f25308-fdad-431a-a657-e82194622f2e" CreationDate="2010-07-13T21:08:11.627" UserId="61" Text="&lt;techniques&gt;&lt;background&gt;&lt;creativity&gt;&lt;creative-inspiration&gt;&lt;processing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3485" PostHistoryTypeId="2" PostId="1933" RevisionGUID="874f90ab-8752-4aef-a224-bf8c6f449607" CreationDate="2010-07-13T21:31:51.003" UserId="434" Text="Hey, I'm currently studying sound for film, tv and games and I'm looking for a field recorder to gather my own library of Foley sounds to pick and choose from.&#xD;&#xA;&#xD;&#xA;I don't have a huge budget which I think may be a problem but I do already own a Rode NT2a so I'm idealy looking for something that has XLR inputs and good Pre-amps/Pantom Power as well as reasonably good built in mic's. At a stretch I could probably spend around £500 but idealy no more than.&#xD;&#xA;&#xD;&#xA;I've recently been looking at the Zoom H4n before being turned away by comments surrounding audio clipping and poor pre-amps, does anyone have any knowledge or use experience with the H4n to clear this info up?&#xD;&#xA;&#xD;&#xA;At the higher end of my budget I have also breifly looked at the Marantz PMD 661 which I beleive may be just what I'm after. Has anyone had any use of this device and could you tell me what you think of it? Are the Pre-amps any good and are recording results using the built in mic's of high quality? &#xD;&#xA;&#xD;&#xA;Alternatively if you can recommend any other devices that would be great. I'm looking for a device with as clear recording quality and low noise to sound ratio as possible for film and new media.&#xD;&#xA;&#xD;&#xA;Thanks in advance for any feedback :)&#xD;&#xA;&#xD;&#xA;Danny&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3486" PostHistoryTypeId="1" PostId="1933" RevisionGUID="874f90ab-8752-4aef-a224-bf8c6f449607" CreationDate="2010-07-13T21:31:51.003" UserId="434" Text="Best Budget Foley Field Recorder? £500 tops" ContentLicense="CC BY-SA 2.5" />
  <row Id="3487" PostHistoryTypeId="3" PostId="1933" RevisionGUID="874f90ab-8752-4aef-a224-bf8c6f449607" CreationDate="2010-07-13T21:31:51.003" UserId="434" Text="&lt;foley&gt;&lt;foley-artist&gt;&lt;sound-design&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3489" PostHistoryTypeId="2" PostId="1935" RevisionGUID="8203d293-8a90-4987-bdd3-3ee6c158c518" CreationDate="2010-07-13T21:59:34.840" UserId="315" Text="Well...if you're interested in modulation, eq sweeps, depth perception techniques, here are a few thoughts:&#xD;&#xA;&#xD;&#xA;1) When used subtly, Waves Mondo Mod can add some nice movement and modulation to a background, winds and water for example. I like to automate it, so the modulation isn't periodic, and less obvious.&#xD;&#xA;&#xD;&#xA;2) EQing with a wide presence filter around 1-4khz can pull a background forward or back in the mix. Automating this filter with subtle changes in this frequency range can give a static sound some movement. This also helps if their is fast movement on screen.&#xD;&#xA;&#xD;&#xA;3) Stereo imagers, or upmix software (I like the Flux Stereo tool or the Waves UM551) can do some nice things with boring stereo backgrounds. Automating the width of a sound can also push a background forward or back in the mix over time. &#xD;&#xA;&#xD;&#xA;4) Start with a mono background a slowly introduce more of it into the stereo, 5.1, or 7.1 field...or do the opposite. This can work wonders if done at the right time.&#xD;&#xA;&#xD;&#xA;5) Record your backgrounds and crowds in double MS. I've been playing with this recently and digging it. Especially for nature stuff. Adding a slight delay in the rear channels can really add some nice depth." ContentLicense="CC BY-SA 2.5" />
  <row Id="3492" PostHistoryTypeId="2" PostId="1937" RevisionGUID="edfb8e1f-24bf-4b74-b58a-5aee08438222" CreationDate="2010-07-13T22:16:55.920" UserId="435" Text="word on the street. these things are the bomb.&#xD;&#xA;http://pro.sony.com/bbsc/ssr/cat-audio/resource.latest.bbsccms-assets-cat-audio-latest-pcmd50.shtml&#xD;&#xA;&#xD;&#xA;havent used one but i can see their significance" ContentLicense="CC BY-SA 2.5" />
  <row Id="3494" PostHistoryTypeId="5" PostId="1935" RevisionGUID="cd0884b0-91a7-4d0a-b72d-d4ee69dbbda2" CreationDate="2010-07-13T22:19:49.793" UserId="315" Comment="edited body; added 2 characters in body" Text="Well...if you're interested in modulation, eq sweeps, depth perception techniques, here are a few thoughts:&#xD;&#xA;&#xD;&#xA;1) When used subtly, Waves Mondo Mod can add some nice movement and modulation to a background, winds and water for example. I like to automate it, so the modulation isn't periodic, and less obvious.&#xD;&#xA;&#xD;&#xA;2) EQing with a wide presence filter around 1-4khz can pull a background forward or back in the mix. Automating this filter with subtle changes in this frequency range can give a static sound some movement. This also helps if there is fast movement on screen.&#xD;&#xA;&#xD;&#xA;3) Stereo imagers, or upmix software (I like the Flux Stereo tool or the Waves UM551) can do some nice things with boring stereo backgrounds. Automating the width of a sound can also push a background forward or back in the mix over time. &#xD;&#xA;&#xD;&#xA;4) Start with a mono background and slowly introduce more of it into the stereo, 5.1, or 7.1 field...or do the opposite. This can work wonders if done at the right time.&#xD;&#xA;&#xD;&#xA;5) Record your backgrounds and crowds in double MS. I've been playing with this recently and digging it. Especially for nature stuff. Adding a slight delay in the rear channels can really add some nice depth." ContentLicense="CC BY-SA 2.5" />
  <row Id="3495" PostHistoryTypeId="2" PostId="1938" RevisionGUID="c596bd5f-2659-4766-b299-f3c069a02a75" CreationDate="2010-07-13T22:42:13.387" UserId="315" Text="I second recording at high sample rates and playing back at lower ones. This only works, of course, with mics with very wide frequency response. The best sound in my mind.&#xD;&#xA;&#xD;&#xA;Nothing really beats a good tape machine for this sort of thing though. I know some well respected sound designers that still slow sounds down with tape.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3501" PostHistoryTypeId="5" PostId="1157" RevisionGUID="d53191b9-0969-415a-b49e-713d36d247fd" CreationDate="2010-07-14T00:30:22.943" UserId="18160" Comment="deleted 2147 characters in body" Text="Sorry, I don't have much time right now to write a detailed answer (I'll be around later to) but I want to stress this:&#xD;&#xA;&#xD;&#xA;Consistency in tonality.&#xD;&#xA;&#xD;&#xA;Today we have no clue what shot will be edited against what other shot and I know from personal experience mixing that consistency in production sound saves hours of time for the dialogue editors/mixers.&#xD;&#xA;&#xD;&#xA;By this I mean 2 people having a conversation with each other that you know will be edited together back and forth but may be shot hours apart to have a similar relative distance from the boom/lav. You don't want someone with proximity effect and someone far away from the mic.&#xD;&#xA;&#xD;&#xA;Do your homework. Look to see what may be needed for the shoot and bring it - like the answer Edward gave. You never know what will come up or what you may be asked for.&#xD;&#xA;&#xD;&#xA;I personally never back down or compromise quality by one inch. If you consider that what your microphones are picking up is 90% of what you will be putting out the theater speakers, this is a correct estimation of importance to production sound. Do not let yourself be &quot;bullied&quot; around on set. Fight for your quality of sound. If you don't, it's like the Director of Photography saying &quot;Well, the lights really couldn't get too close tot the subject today so we're going to have to re-shoot the scenes we filmed today&quot;. Carefully analyzing Avatar and The Hurt Locker led me to believe that the sound oscars went to The Hurt Locker because the production sound was so phenomenal (they only ADRed 4 lines or something on the principal characters).&#xD;&#xA;&#xD;&#xA;In my experience in doing ADR, unless you are working with a brilliant actor, the original production sound will ALWAYS be the better delivery on the actor's part. It will also be better sync,  match the projection, match the emotion the actor has on his face, BECAUSE IT'S THE ORIGINAL. Pardon me but I think the fact you have to do ADR on 98% of a movie is a criticism to the production sound team (unless there are weather or ambient sounds you have no control over like planes, ocean, rain, etc.) But, doing ADR for an indoor talky scene on a sound stage is absolutely doable to keep the production sound.&#xD;&#xA;&#xD;&#xA;Get wild lines from the actors when they're standing around - coordinate with the director ahead of time. Get some wild lines that are not even part of the script that you think you might need, and effort grunts and such, so you have them in a library for that actor. I know that The Hurt Locker used many lines and pieces of words from other takes that weren't used in the movie. This is for example, the actor cussing because he's frustrated, or efforts doing something physical, etc.&#xD;&#xA;&#xD;&#xA;Grow eyes in the back of your head: The best boom operator I have ever met (said to be the best in the business) walked backwards while keeping his eyes on his mic and actor while stepping over cables and generators and equipment while walking backwards - if he tripped he would have ruined the scene.&#xD;&#xA;&#xD;&#xA;Stay alert. Especially when you're shooting on film. Film is extremely expensive when you have to re-take things. It's a lot more expensive than hard-drive space or DVDs when you're shooting on HD.&#xD;&#xA;&#xD;&#xA;Work out your arms - especially doing incline benching. Buy a light mic. The Schoeps CMIT 5U weighs possibly less than a 4th of the weight of a standard SM57. It actually weighs about as heavy as an expensive ball-point pen. That can help your arm fatigue enormously. If you don't believe me on the importance of working out and getting your arms in shape, try painting your ceiling with a roller, or simply just hold your hands and arms up above your head - IT'S TIRING!!&#xD;&#xA;&#xD;&#xA;Become inventive. Mics are small and can be hidden other places than on a boom pole. Put it inside a plant. Put it inside someone's baseball cap. Cleverly work out how to mic someone in a bikini. Always check out a scene before-hand if you have to time and work out the best position of the mic.&#xD;&#xA;&#xD;&#xA;Now more than ever with multi-camera shooting it's most important to coordinate with the cameramen and director on exactly where you can be and still be out of frame because of the cross-framing that happens. Sometimes there can be 4 cameras going at once and you need to know exactly where they will be to be able to stay out of frame." ContentLicense="CC BY-SA 2.5" />
  <row Id="3502" PostHistoryTypeId="2" PostId="1940" RevisionGUID="c905ace4-9c35-498f-a7ff-108963698583" CreationDate="2010-07-14T02:35:20.673" UserId="100" Text=" http://socialsounddesign.com/questions/49/best-entry-level-portable-recorder&#xD;&#xA; http://socialsounddesign.com/questions/862/small-budget-solution-for-portable-recording&#xD;&#xA; http://socialsounddesign.com/questions/1424/low-budget-field-recorder-with-good-pre-amp" ContentLicense="CC BY-SA 2.5" />
  <row Id="3503" PostHistoryTypeId="2" PostId="1941" RevisionGUID="6305b81d-5575-4adf-8a14-ef471202fe33" CreationDate="2010-07-14T03:25:52.313" UserId="100" Text="I concur with Steve here. Take advantage of the opportunities as best you can. I've found that potential gigs/hookups figure out relatively quick if they want you to continue helping them, or if they'll consider recommending your name to others. With the upmost tact, show them that you're eager to learn and help, and that you're dependable. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3504" PostHistoryTypeId="2" PostId="1942" RevisionGUID="63a5134a-4f09-4d7e-b8d8-153fa513c177" CreationDate="2010-07-14T04:21:03.300" UserId="219" Text="I got recommended the Tascam DR-100 and I'm happy with it so far, it's a bit noisy but I've never used it with a different mic than my AT8015, maybe they don't work out so well together. I have to use the preamps at high gain with this mic, I'd need to compare with other mics models/makes. The headphones amp is a bit noisy past the 7th mark (out of 10) on the dial. I read the mic preamps are theoretically quieter than the PMD661 and FR2-LE. Again, nothing is worth a good test.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Interface-wise it rocks, the switches at the back are practical, the wheel and the few buttons at the front make it very intuitive to use. The double power source is great: 1 rechargeable battery and a set of 2 AA batteries. The onboard stereo mic sounds OK, the omni is crap but who would use a stereo pair of omni mics spaced of 2 inches?&#xD;&#xA;&#xD;&#xA;Not quite sure if this is a complete description as it's 6.20am here...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tascam.com/i-3717-17-64-0-E58640BD.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3505" PostHistoryTypeId="2" PostId="1943" RevisionGUID="ab217d19-4ac3-4c93-8762-2b8c2867a5cb" CreationDate="2010-07-14T07:09:18.997" UserId="208" Text="A few years back, I was adviced to check out the Behringer denoising hardware uni.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I was a bit sceptical to say the least, but figured that it wouldnt hurt to try it out, when I found a used model for about $50.&#xD;&#xA;I was blown away by the fact that it works very very well. I know that the name makes alot of peoples skin crawl, but this thing does what its meant to do, and does it really well!&#xD;&#xA;I have removed noise (hum, clicks, buzz, backgrounds, reverb) with this thing with great results, and without getting those artifacts that plugs often bring.&#xD;&#xA;&#xD;&#xA;Mikkel&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.doctorvmusic.com/EquipManuals/images/Behringer_DENOISER_SNR2000.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3506" PostHistoryTypeId="2" PostId="1944" RevisionGUID="783cfe74-2bf4-4a35-9b8a-138ba28002f9" CreationDate="2010-07-14T11:44:13.613" UserId="432" Text="This deosn't necessarily fit into your idea of processing the ambience/background you're working with, but something i like to do when things sound to flat and stable is to add in accent sounds.&#xD;&#xA;&#xD;&#xA;Provided you can match the tonal characteristics of your ambience (which usually isn't that hard for background elements), a few wild sounds that stand a bit forward of the background can really provide some depth to an otherwise stale sound field.  The one thing that microphones cannot do is match the perceptual processes of our brain.  Even if we're in a completely focused conversation with someone in a given space, our brain will still pick out elements of our surrounding and give them additional weight beyond the rest.&#xD;&#xA;&#xD;&#xA;Basically, microphones capture reality, but we don't hear reality.  We subconscously hear in a selective manner.  Giving the audience a few elements here and there for their brains to snatch at will really make your backgrounds pop." ContentLicense="CC BY-SA 2.5" />
  <row Id="3507" PostHistoryTypeId="2" PostId="1945" RevisionGUID="09a19dae-247b-42d0-86bf-a08ddd95d084" CreationDate="2010-07-14T13:17:59.927" UserId="219" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I'd like to create this thread that would be like a library for sound designers/audio post people. The principle is as basic as **1 post = 1 book**, so each book can be voted for and we can build up a library/ranking. My understanding of several discussions going on on the Internet is that going to a good school is important, that practicing is key, but the entry point is always reading great books.&#xD;&#xA;&#xD;&#xA;Great books. That's what should be in here! So post about a book that impressed you even as an experienced designer, or you think is worth reading for beginners.&#xD;&#xA;&#xD;&#xA;PS: modos, I'll need help for the tagging of this topic!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3508" PostHistoryTypeId="1" PostId="1945" RevisionGUID="09a19dae-247b-42d0-86bf-a08ddd95d084" CreationDate="2010-07-14T13:17:59.927" UserId="219" Text="Audio Postproduction/Sound Design books you'd recommend" ContentLicense="CC BY-SA 2.5" />
  <row Id="3509" PostHistoryTypeId="3" PostId="1945" RevisionGUID="09a19dae-247b-42d0-86bf-a08ddd95d084" CreationDate="2010-07-14T13:17:59.927" UserId="219" Text="&lt;sound-design&gt;&lt;literature&gt;&lt;books&gt;&lt;education&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3510" PostHistoryTypeId="2" PostId="1946" RevisionGUID="cb9ed86e-e8d4-41de-9673-23969e1a1d03" CreationDate="2010-07-14T13:34:14.613" UserId="219" Text="[*The Sound Effects Bible*][1] (Ric Viers)&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;I find this book is a lot of techy/geeky talk about mics and recorders, miking techniques and sound effects editing. A few anecdotes here and there make easy to read you're looking forward to the next one. Maybe [the summary][3] will tell you more!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Sound-Effects-Bible-Create-Hollywood/dp/1932907483&#xD;&#xA;  [2]: http://ecx.images-amazon.com/images/I/51nrXvWK3BL._SS500_.jpg&#xD;&#xA;  [3]: http://books.google.com/books?id=V7uPMQAACAAJ&amp;dq=the+sound+effects+bible&amp;hl=en&amp;ei=pbo9TOrPJ8b74AbU863GAg&amp;sa=X&amp;oi=book_result&amp;ct=book-thumbnail&amp;resnum=1&amp;ved=0CDAQ6wEwAA" ContentLicense="CC BY-SA 2.5" />
  <row Id="3511" PostHistoryTypeId="5" PostId="1945" RevisionGUID="c4407796-2e9c-4578-9e06-d2446b80365d" CreationDate="2010-07-14T13:38:44.793" UserId="219" Comment="added 28 characters in body; edited title" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I'd like to create this thread that would be like a library for sound designers/audio post people. The principle is as basic as **1 post = 1 resource**, so each book/webpage can be voted for and we can build up a library/ranking. My understanding of several discussions going on on the Internet is that going to a good school is important, that practicing is key, but the entry point is always reading the appropriate assets.&#xD;&#xA;&#xD;&#xA;Great assets, this is what should be in here! So post about something that impressed you even as an experienced designer, or you think is worth reading for beginners.&#xD;&#xA;&#xD;&#xA;PS: modos, I'll need help for the tagging of this topic!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3512" PostHistoryTypeId="4" PostId="1945" RevisionGUID="c4407796-2e9c-4578-9e06-d2446b80365d" CreationDate="2010-07-14T13:38:44.793" UserId="219" Comment="added 28 characters in body; edited title" Text="Audio Postproduction/Sound Design resources you'd recommend" ContentLicense="CC BY-SA 2.5" />
  <row Id="3513" PostHistoryTypeId="6" PostId="1945" RevisionGUID="8788d5ef-64c0-4d1c-8abf-c08f18032d5c" CreationDate="2010-07-14T14:18:32.607" UserId="61" Comment="retags" Text="&lt;sound-design&gt;&lt;literature&gt;&lt;books&gt;&lt;education&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3514" PostHistoryTypeId="2" PostId="1947" RevisionGUID="8f958c69-ffd3-4125-9c73-b190c950328f" CreationDate="2010-07-14T14:29:12.430" UserId="436" Text="Hi&#xD;&#xA;&#xD;&#xA;I am a university student currently writing my dissertation on the audio post production process for television ( and specifically drama). I was just wondering if anyone answer any of the following questions?&#xD;&#xA;&#xD;&#xA;What is the overall workflow of audio post for TV work? i.e which editors start first and what happens overall?&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;What is the workflow of each individual process of SFX, Dialogue, Foley and the Mix? i.e what tracks are laid/recorded first for SFX and Foley or what order are the element mixed?&#xD;&#xA;&#xD;&#xA;Any response would be greatly valued&#xD;&#xA;&#xD;&#xA;Stuart Mannell" ContentLicense="CC BY-SA 2.5" />
  <row Id="3515" PostHistoryTypeId="1" PostId="1947" RevisionGUID="8f958c69-ffd3-4125-9c73-b190c950328f" CreationDate="2010-07-14T14:29:12.430" UserId="436" Text="What is the workflow for audio post for TV?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3516" PostHistoryTypeId="3" PostId="1947" RevisionGUID="8f958c69-ffd3-4125-9c73-b190c950328f" CreationDate="2010-07-14T14:29:12.430" UserId="436" Text="&lt;television&gt;&lt;workflow&gt;&lt;sound-effects&gt;&lt;dialogue&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3517" PostHistoryTypeId="2" PostId="1948" RevisionGUID="b3f75bb4-9784-49e0-9906-63abd44f5258" CreationDate="2010-07-14T14:30:14.197" UserId="61" Text="[The Practical Art of Motion Picture Sound][1], by David Lewis Yewdall, MPSE.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;Not only does the author outline many invaluable techniques and principles used daily in film post-production, but also laces the book with interviews and stories from professional sound editors and designers that accurately capture the true essence of the craft.  &#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Practical-Motion-Picture-Sound-Third/dp/0240808657/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1245777631&amp;sr=1-1&#xD;&#xA;  [2]: http://musicbooksplus.com/images/FP425.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3518" PostHistoryTypeId="2" PostId="1949" RevisionGUID="db9f5231-9a81-41ca-a92c-ff9c8e546487" CreationDate="2010-07-14T14:35:29.537" UserId="6411" Text="&lt;i&gt;&lt;a href=&quot;http://www.amazon.com/Sound-Design-Expressive-Effects-Cinema/dp/0941188264/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1279116456&amp;sr=8-1&quot;&gt;Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema&lt;/a&gt;&lt;/i&gt; (David Sonnenschein)&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://filmsound.org/bibliography/sounddesignbook-small.jpg&quot;&gt;&#xD;&#xA;&#xD;&#xA;Still haven't gotten all the way through this excellent book as I have to pause, take a step back, and try to practically implement everything David mentions before moving on to the next chapter, page or even paragraph. But everything I've read in it has helped me better understand the role and power of sound for picture.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3519" PostHistoryTypeId="2" PostId="1950" RevisionGUID="32efa49b-2f03-4063-b95a-b7c6d4264022" CreationDate="2010-07-14T14:59:28.140" UserId="285" Text="Two things I find extremely attractive in perspective interns/trainees&#xD;&#xA;&#xD;&#xA;1 The ability to observe in silence.  It is very difficult to mix or edit content when there are constant interruptions with questions, this is especially bad if clients are present.  Take mental notes (or actual pencil and paper notes) of questions you have and wait for the appropriate time to ask your questions.  You will find many of your questions will get answered naturally through observation and those that don't give you lots to talk about over lunch or at a slow point in the day. It is very important to ask questions and learn as much as you can, after all you are possibly offering your time for free with the expectation that you will benefit from knowledge and experience, but the studio also has obligations and deadlines.  So it is important to know when to ask and when to simply observe.  I have had bad experiences with interns that never stopped talking all day and they never made it past the intern stage as a result.&#xD;&#xA;&#xD;&#xA;2 Don't under any circumstances pretend to know more then you do.  I would rather teach you how to do it right then waste time re-doing something that was done improperly.  It can be true that there are no dumb questions, I am much more impressed with someone willing to learn to do it right then someone trying too hard to impress.  Every studio does things a little differently so figure how things are done where you are and try to meet those standards.&#xD;&#xA;&#xD;&#xA;Keep your head up and if want bonus points treat any clients you encounter like gold.  After all, equally as important as technical skills is the ability to get a client to trust you and your work, because if they don't trust you or like you they won't come back with their next project - and it is their money that keeps the studio in business.  &#xD;&#xA;&#xD;&#xA;Good Luck.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3521" PostHistoryTypeId="2" PostId="1952" RevisionGUID="4a833eaa-3ac6-4181-98dc-0280fd749f2b" CreationDate="2010-07-14T15:14:14.513" UserId="220" Text="[Dialogue Editing for Motion Pitctures][1] by John Purcell&#xD;&#xA;&#xD;&#xA;A bit dated now, but has a lot of really good workflow descriptions and information.&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Dialogue-Editing-Motion-Pictures-Invisible/dp/0240809181&#xD;&#xA;  [2]: http://musicbooksplus.com/images/FP426.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3522" PostHistoryTypeId="2" PostId="1953" RevisionGUID="138f759e-c77a-4876-bf9f-6c241a43020a" CreationDate="2010-07-14T15:17:32.263" UserId="219" Text="[*Audio-Vision: Sound on Screen*][1] (Michel Chion)&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;The greatest theory book I've ever read, it'll tell you everything about the terms and their meaning, insisting on the nuances one should see in film sound. This will perfect your understanding of film sound and give you a vocabulary for interesting discussions :)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Audio-Vision-Sound-Screen-M-Chion/dp/0231078994&#xD;&#xA;  [2]: http://www.theatrebookshop.eu/images/9780231078993.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3523" PostHistoryTypeId="2" PostId="1954" RevisionGUID="ee2dbe3a-a9d4-44f0-bab4-00a3e77de212" CreationDate="2010-07-14T15:22:59.430" UserId="219" Text="[*Film Sound*][1] (Elisabeth Weis, John Belton)&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;From what I remember, this book is a gathering of articles/interviews/critiques/analyses of the sound design for various movies.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Film-Sound-Practice-Elisabeth-Weis/dp/0231056370&#xD;&#xA;  [2]: http://ecx.images-amazon.com/images/I/41B42P7DS1L._SS500_.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3524" PostHistoryTypeId="2" PostId="1955" RevisionGUID="72a15a1e-9542-44f8-846b-150b1f92a8e9" CreationDate="2010-07-14T15:34:09.693" UserId="219" Text="[*Sound for picture: film sound through the 1990s*][1] (Tom Kenny)&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;This book is an interesting collection of interviews and discussions addressing the sound design in specific movies of the 90's like *Terminator 2*, *Jurassic Park* or *The Beauty and the Beast*. You can read about the work of Gary Rydstrom, Walter Murch, etc.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Sound-Picture-2ND-ED-Audio/dp/0872887243&#xD;&#xA;  [2]: http://ecx.images-amazon.com/images/I/51TBYEH161L._SS500_.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3525" PostHistoryTypeId="2" PostId="1956" RevisionGUID="246ccffa-d909-4b5a-9b16-38d4c461d399" CreationDate="2010-07-14T15:37:45.860" UserId="6411" Text="The &lt;a href=&quot;http://groups.yahoo.com/group/sound_design/&quot;&gt;sound_design yahoo group&lt;/a&gt;.&#xD;&#xA;&#xD;&#xA;&quot;This Sound Design discussion list is an open forum about Sound design tips, techniques, theories and solutions for both Film and Interactive Media.&quot;&#xD;&#xA;&#xD;&#xA;The discussions, talent, and helpful attitude of the forum members is really inspiring, both from a creative and professional standpoint." ContentLicense="CC BY-SA 2.5" />
  <row Id="3526" PostHistoryTypeId="2" PostId="1957" RevisionGUID="1aba7663-79c5-41d6-95f1-c4d55efb5fd1" CreationDate="2010-07-14T15:41:07.170" UserId="219" Text="[*FilmSound.org*][1] (Sven E Carlsson)&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;A giant web resource if you're after definitions, articles, interviews... Sven E Carlsson was awarded the Sound Wave Award 2004 for this website.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.filmsound.org/&#xD;&#xA;  [2]: http://www.filmsound.org/filmsoundlogo-redblue.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="3527" PostHistoryTypeId="2" PostId="1958" RevisionGUID="a1727aea-fbab-4109-95f5-34ddaf586088" CreationDate="2010-07-14T15:44:19.450" UserId="6411" Text="The &lt;a href=&quot;http://groups.yahoo.com/group/sound-article-list/&quot;&gt;sound-article-list yahoo group&lt;/a&gt;.&#xD;&#xA;&#xD;&#xA;A non-tech oriented forum &quot;for promoting and encouraging the art of creative film sound design.&quot; Activity is a little slower on sound-article-list than sound_design, but the contributions are typically worth the wait." ContentLicense="CC BY-SA 2.5" />
  <row Id="3528" PostHistoryTypeId="2" PostId="1959" RevisionGUID="d90e78d9-b3fd-4e67-9994-a534f2a98489" CreationDate="2010-07-14T15:58:04.820" UserId="6411" Text="[DesigningSound.org][1]&#xD;&#xA;![DesigninSoundHeader][2]&#xD;&#xA;&#xD;&#xA;If you haven't been to DesigningSound.org yet, go. Now. The rest of this will still be here later.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org &quot;DesigningSound.org&quot;&#xD;&#xA;  [2]: http://designingsound.noisepages.com/files/2010/05/Header_DS.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3530" PostHistoryTypeId="2" PostId="1960" RevisionGUID="bfb5470b-967b-4356-b61a-b31c9c797224" CreationDate="2010-07-14T16:17:12.050" UserId="432" Text="This is one heck of a mine field you asked here.  lol&#xD;&#xA;&#xD;&#xA;Like film, this really depends on the budget of the piece/series.  In my personal case, the production company I work for has two audio engineers.  My coworker composes music for the shows.  That's all he does.  I do everything else.  For the most part, I try to treat each episode or one off that we do similar to a film mix.&#xD;&#xA;&#xD;&#xA;I always start with dialogue.  For television, as with most other mediums, the dialogue is the most important element.  So, that has to be done first; and in a manner that gives it the attention it requires.  From there, I typically move on to ambiences.  These help to smooth out and settle the dialogue into the picture.  So, once again, here the dialogue is king.&#xD;&#xA;&#xD;&#xA;After those two elements have been done, I'm usually starting to see the back end of the project approaching.  Now it's a war of attrition.  What can I get done in the amount of time left?  This usually means that I'll make two passes at sound effects.  I will spot all critical sound effects required for the story, on screen actions, etc...get those edited and placed.  Then I will devote whatever time I have left prior to the start of the mix filling out the effects tracks, trying to imbue a greater sense of perspective to the story, augmenting scenes beyond just the critical needs of the shot.&#xD;&#xA;&#xD;&#xA;This is about the time that I get the music from the other audio engineer.  My mixes always begin with the dialogue.  In television, unlike music (and to a certain degree, film) there are rules as to where the dialogue levels should be.  This &quot;Dialnorm&quot; varies depending on the network you're producing for.  I get the dialog even and smooth, and try to impose as much dynamic range as is allowed within the network spec.  Once I'm happy with the levels, it's on to the ambiences and backgrounds, which are much easier to set once the dialog premix is done.  I'll move on to mixing the effects then, but really, the levels you've already set tend to dictate where the effects will sit in the mix.  You get a good sense of where they should be when mixing the dialogue and ambiences; it's just a matter of getting them to the proper spot in the mix.&#xD;&#xA;&#xD;&#xA;Music comes to me pre-mixed basically in reference to the dialog.  My coworker knows essentially where the dialog is going to be level-wise (because of network specs), and has the raw dialog as reference.  I bring all of these premixes into a new session, and do my final mix there.  From there, it's just approvals/tweaks/etc. as necessary or until we hit deadline.  Then layback is done and it's on to the next.&#xD;&#xA;&#xD;&#xA;This is just our procedure, but I imagine it's similar to a lot of other peoples'.  No matter what though, it always starts with dialogue.  Hopefully someone else is willing to share their workflow with you so you can get an impression of the broad range of types that exist." ContentLicense="CC BY-SA 2.5" />
  <row Id="3531" PostHistoryTypeId="2" PostId="1961" RevisionGUID="abf115e0-4fd4-45f2-be98-2c30fb5e0a88" CreationDate="2010-07-14T16:46:15.207" UserId="18160" Text="http://soundworkscollection.com/&#xD;&#xA;&#xD;&#xA;5 to 10 minute profiles with true behind-the-scenes looks at the top film sound designers in the industry.&#xD;&#xA;&#xD;&#xA;It also has award speeches and interviews you would never see anywhere else.&#xD;&#xA;&#xD;&#xA;I've seen every one of these like 3 times." ContentLicense="CC BY-SA 2.5" />
  <row Id="3532" PostHistoryTypeId="2" PostId="1962" RevisionGUID="339bbfbd-1f02-4233-b1ee-5e37efeb2a6d" CreationDate="2010-07-14T16:50:34.560" UserId="219" Text="[*Sound for Film and Television*][1] (Tomlinson Holman)&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;Film and TV sound are explained from many point of views; theoretical (acoustics, psychoacoustics), production and postproduction techniques.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.focalpress.com/books/film_and_video/sound_for_film_and_television_third_edition.aspx?cat=124&amp;sub=138&#xD;&#xA;  [2]: http://covers.elsevier.com/200/9780240813301.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3533" PostHistoryTypeId="5" PostId="1955" RevisionGUID="ae77a89f-eb60-421d-ac8d-a56af769333f" CreationDate="2010-07-14T16:56:55.423" UserId="219" Comment="added 8 characters in body" Text="[*Sound for Picture: Film Sound through the 1990s*][1] (Tom Kenny)&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;This book is an interesting collection of interviews and discussions addressing the sound design in specific movies of the 90's like *Terminator 2*, *Jurassic Park* or *The Beauty and the Beast*. You can read about the work of Gary Rydstrom, Walter Murch, etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Sound-Picture-2ND-ED-Audio/dp/0872887243&#xD;&#xA;  [2]: http://ecx.images-amazon.com/images/I/51TBYEH161L._SL500_AA300_.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3534" PostHistoryTypeId="5" PostId="1954" RevisionGUID="07d47879-2684-4f6d-b810-451f12e4ed8c" CreationDate="2010-07-14T16:57:38.993" UserId="219" Comment="added 6 characters in body" Text="[*Film Sound*][1] (Elisabeth Weis, John Belton)&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;From what I remember, this book is a gathering of articles/interviews/critiques/analyses of the sound design for various movies.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Film-Sound-Practice-Elisabeth-Weis/dp/0231056370&#xD;&#xA;  [2]: http://ecx.images-amazon.com/images/I/41B42P7DS1L._SL500_AA300_.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3535" PostHistoryTypeId="5" PostId="1953" RevisionGUID="47d1ac8f-dfaf-48e7-a8cd-7b9330332d39" CreationDate="2010-07-14T17:07:03.910" UserId="219" Comment="added 175 characters in body" Text="[*Audio-Vision: Sound on Screen*][1] (Michel Chion)&#xD;&#xA;&#xD;&#xA;![alt text][2] |::| &lt;img src=&quot;http://www.theatrebookshop.eu/images/9780231078993.jpg&quot; width=&quot;182&quot; /&gt;&#xD;&#xA;&#xD;&#xA;The greatest theory book I've ever read, it'll tell you everything about the terms and their meaning, insisting on the nuances one should see in film sound. This will perfect your understanding of film sound and give you a vocabulary for interesting discussions :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Audio-Vision-Sound-Screen-M-Chion/dp/0231078994&#xD;&#xA;  [2]: http://cup.columbia.edu/app?fileid=4048&amp;height=275&amp;service=thumbnail&amp;width=183&#xD;&#xA;  [3]: http://www.theatrebookshop.eu/images/9780231078993.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3536" PostHistoryTypeId="5" PostId="1946" RevisionGUID="194ff8b8-2cd6-4fde-9038-e21fd5d45976" CreationDate="2010-07-14T17:08:42.097" UserId="219" Comment="added 33 characters in body" Text="[*The Sound Effects Bible*][1] (Ric Viers)&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;I find this book is a lot of techy/geeky talk about mics and recorders, miking techniques and sound effects editing. A few anecdotes here and there make easy to read you're looking forward to the next one. Maybe [the summary][3] will tell you more!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Sound-Effects-Bible-Create-Hollywood/dp/1932907483&#xD;&#xA;  [2]: http://cdn.shopify.com/s/files/1/0010/8802/products/Sound_Effects_BibleT_medium.jpg?1278673561&#xD;&#xA;  [3]: http://books.google.com/books?id=V7uPMQAACAAJ&amp;dq=the+sound+effects+bible&amp;hl=en&amp;ei=pbo9TOrPJ8b74AbU863GAg&amp;sa=X&amp;oi=book_result&amp;ct=book-thumbnail&amp;resnum=1&amp;ved=0CDAQ6wEwAA" ContentLicense="CC BY-SA 2.5" />
  <row Id="3537" PostHistoryTypeId="2" PostId="1963" RevisionGUID="319793a7-f363-4e15-8c4a-eafdffa773fb" CreationDate="2010-07-14T17:39:02.010" UserId="432" Text="Voice over narration gets a bit of a bad rap.  I hear detractions all the time.&#xD;&#xA;&#xD;&#xA;&quot;It's just being used to tie together a poorly written story.&quot;&#xD;&#xA;&#xD;&#xA;&quot;The audience is smart enough to figure it out without this crap.&quot;&#xD;&#xA;&#xD;&#xA;It goes on.&#xD;&#xA;&#xD;&#xA;I'll admit, when it doesn't work, it's just plain awful.  Sometimes it's a bit ambiguous as to whether or not it's contributing in a positive way to the experience (I still own two versions of Blade Runner because I haven't really decided which way I feel on that one yet).&#xD;&#xA;&#xD;&#xA;But when it works....it can be something beautiful.  And as audio professionals, we should love that, because it is pure aural content.  So, I want to know, what films do you appreciate because of the narration?&#xD;&#xA;&#xD;&#xA;For me, Fight Club and Fear and Loathing in Las Vegas are up at the top.  I can probably think of a few more, but I want to hear from you." ContentLicense="CC BY-SA 2.5" />
  <row Id="3538" PostHistoryTypeId="1" PostId="1963" RevisionGUID="319793a7-f363-4e15-8c4a-eafdffa773fb" CreationDate="2010-07-14T17:39:02.010" UserId="432" Text="In defense of narration..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3539" PostHistoryTypeId="3" PostId="1963" RevisionGUID="319793a7-f363-4e15-8c4a-eafdffa773fb" CreationDate="2010-07-14T17:39:02.010" UserId="432" Text="&lt;sound-design&gt;&lt;dialogue&gt;&lt;narration&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3540" PostHistoryTypeId="2" PostId="1964" RevisionGUID="286ec1ad-27b7-4a9c-99c9-69eb6008964a" CreationDate="2010-07-14T17:42:42.893" UserId="61" Text="[Road to Perdition][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0257044/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3541" PostHistoryTypeId="2" PostId="1965" RevisionGUID="0dae163b-d88b-4669-9ee0-44288b826e8d" CreationDate="2010-07-14T17:43:14.810" UserId="315" Text="The narration in Apocalypse Now is highly, highly effective.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Tt0xxAMTp8M" ContentLicense="CC BY-SA 2.5" />
  <row Id="3544" PostHistoryTypeId="5" PostId="1944" RevisionGUID="d88e8c9c-923e-4a85-881a-542590f57311" CreationDate="2010-07-14T17:53:48.877" UserId="432" Comment="corrected spelling" Text="This doesn't necessarily fit into your idea of processing the ambience/background you're working with, but something i like to do when things sound to flat and stable is to add in accent sounds.&#xD;&#xA;&#xD;&#xA;Provided you can match the tonal characteristics of your ambience (which usually isn't that hard for background elements), a few wild sounds that stand a bit forward of the background can really provide some depth to an otherwise stale sound field.  The one thing that microphones cannot do is match the perceptual processes of our brain.  Even if we're in a completely focused conversation with someone in a given space, our brain will still pick out elements of our surrounding and give them additional weight beyond the rest.&#xD;&#xA;&#xD;&#xA;Basically, microphones capture reality, but we don't hear reality.  We subconscously hear in a selective manner.  Giving the audience a few elements here and there for their brains to snatch at will really make your backgrounds pop." ContentLicense="CC BY-SA 2.5" />
  <row Id="3545" PostHistoryTypeId="5" PostId="1961" RevisionGUID="1a36945f-61de-429f-bb14-f3900e196848" CreationDate="2010-07-14T18:08:43.307" UserId="18160" Comment="added 254 characters in body; added 37 characters in body" Text="http://soundworkscollection.com/&#xD;&#xA;&#xD;&#xA;5 to 10 minute profiles with true behind-the-scenes looks at the top film sound designers in the industry.&#xD;&#xA;&#xD;&#xA;It also has award speeches and interviews you would never see anywhere else.&#xD;&#xA;&#xD;&#xA;I've seen every one of these like 3 times.&#xD;&#xA;&#xD;&#xA;45 minute sound panel for Avatar...&#xD;&#xA;&#xD;&#xA;Sound profiles from each of this year's Academy Award nominated films for sound...&#xD;&#xA;&#xD;&#xA;30 minute interview with the sound team from The Hurt Locker...&#xD;&#xA;&#xD;&#xA;30 minute talk with Randy Thom...&#xD;&#xA;&#xD;&#xA;The place is a gold-mine for tips, tricks, workflows, etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="3546" PostHistoryTypeId="2" PostId="1967" RevisionGUID="0b29308c-bae4-4afe-99f0-9a10b2d49090" CreationDate="2010-07-14T18:14:24.787" UserId="220" Text="You know, I've heard a lot of criticism, but I feel like it can be a strong part of storytelling.  Some short films are completely narration, and I think that works very well.  My favorite example: [Magda][1].  It is a short animation with a really great narration.  I love the lo-fi style - it has so much character and makes you feel like you're in another era, even though it's a very basic animation style and set design.  &#xD;&#xA;&#xD;&#xA;I also like it in:&#xD;&#xA;&#xD;&#xA;Arrested Development&#xD;&#xA;&#xD;&#xA;Big Fish&#xD;&#xA;&#xD;&#xA;My Name is Earl&#xD;&#xA;&#xD;&#xA;What really makes me... mad.... is using a diary or letter or something like that being read as a voiceover to quickly advance plot.  I've worked on two films so far that used finding a letter or journal as their big plot twist or advancement.  Augh!!!  So clumsy.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.http://www.hulu.com/watch/24567/movieola-shorts-animation-magda" ContentLicense="CC BY-SA 2.5" />
  <row Id="3547" PostHistoryTypeId="2" PostId="1968" RevisionGUID="b173226b-6640-49a5-b6a0-40910c723da5" CreationDate="2010-07-14T18:25:25.310" UserId="373" Text="![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://3.bp.blogspot.com/_XjEJn6U5gQY/Sh4YHvGsCRI/AAAAAAAABVI/jQFvq6DswZ8/s400/Focal.Press.The.Foley.Grail.The.Art.Of.Performing.Sound.For.Film.Games.And.Animation.jpg&#xD;&#xA;&#xD;&#xA;Essential resource for all things foley." ContentLicense="CC BY-SA 2.5" />
  <row Id="3548" PostHistoryTypeId="2" PostId="1969" RevisionGUID="d31c1972-a56b-47d2-86de-13faff944b31" CreationDate="2010-07-14T19:17:52.327" UserId="385" Text="[Audio Postproduction for Film and Video][1] (Jay Rose)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Audio-Postproduction-Second-After-Shoot/dp/0240809718&#xD;&#xA;  [2]: http://www.dplay.com/book/app2e/app2eL.jpg&#xD;&#xA;&#xD;&#xA;A good book for just starting out in the audio postproduction world." ContentLicense="CC BY-SA 2.5" />
  <row Id="3549" PostHistoryTypeId="2" PostId="1970" RevisionGUID="c5d7012f-e28e-4d34-97b1-65beb7e13123" CreationDate="2010-07-14T19:18:36.657" UserId="6411" Text="I'd like to preface my answer by saying that I believe I have yet to create something truly &quot;original.&quot; Every edit I make, fader I move, or plug-in I tweak is still an offering of thanks for the knowledge that has been passed on to me by teachers I know and an homage to those I have never met, but have certainly heard.&#xD;&#xA;&#xD;&#xA;Maybe I haven't been doing this long enough (only 11 years), but I think I actively fight finding my voice.&#xD;&#xA;&#xD;&#xA;After working with me on a number of projects a co-worker of mine said, &quot;I can always tell you sound designed a show, it's always..&quot; and then went on to describe what he thought was my style. The very next project I deliberately abandoned every method and characteristic that he described and did everything I could to start with new ears. The same co-worker came to me with a smile after the playthrough, &quot;was it something I said?&quot;&#xD;&#xA;&#xD;&#xA;I think that my biggest fear in finding my voice/style/signature is stagnation. To me, stagnation in creativity is death. I have since begun to re-incorporate aspects from that original &quot;style&quot; but it is a conscious effort, used at appropriate moments, rather than an unnoticed flow.&#xD;&#xA;&#xD;&#xA;That being said, I do find merit in the argument that by having a recognized style you'll have a tendency to be highly marketable to the clientele that your style fits well with. But styles can be trendy, and I hope to do this for a lot longer than a trend's cycle.&#xD;&#xA;&#xD;&#xA;This may just be my relative inexperience and ignorance, (after all, I do keep a busy calendar but am hardly in demand) but I'd rather have a reputation for being a dedicated worker, a creative thinker, or a talented professional that can get the work done regardless of style.  That's something that I actively work on every day that I still haven't gotten on top of.&#xD;&#xA;&#xD;&#xA;As far as technology goes, it's all wheels, hammers, and levers. That is to say, technology is just a tool. How I think about the tool and it's relation to the problem is usually what determines my success or failure in using it." ContentLicense="CC BY-SA 2.5" />
  <row Id="3550" PostHistoryTypeId="5" PostId="1932" RevisionGUID="70f1c374-e4d6-42dd-8132-8b701c2482a8" CreationDate="2010-07-14T19:19:13.197" UserId="61" Comment="restructured to garner more responses" Text="Looking for tips &amp; tricks on how to make those backgrounds, winds and crowds come back to life -- ie. how to effectively use amplitude or frequency modulation / EQ sweeps / delays to affect depth perception, spatial information, etc.  Would appreciate focus on these techniques rather than the standard reverb (read: Altiverb) applications. Thanks all -" ContentLicense="CC BY-SA 2.5" />
  <row Id="3551" PostHistoryTypeId="4" PostId="1932" RevisionGUID="70f1c374-e4d6-42dd-8132-8b701c2482a8" CreationDate="2010-07-14T19:19:13.197" UserId="61" Comment="restructured to garner more responses" Text="Making flat background tracks come alive" ContentLicense="CC BY-SA 2.5" />
  <row Id="3552" PostHistoryTypeId="2" PostId="1971" RevisionGUID="1f2ee8ac-13f0-46df-888e-5fd53f668dfc" CreationDate="2010-07-14T20:03:28.740" UserId="29" Text="Hey, I know this is an old thread, but I just had my first experience with a parabolic dish mic. They're tricky to aim and use, but if the dish is transparent, that helps a lot. As Tim mentioned, the size of the dish determines its low-end characteristics...that's why they're usually awesome for birdsong, but if you need fat low-end, you'll be very disappointed. I used a 2' wide dish - kinda big! - and it seemed decent through the midtones and had very articulate high frequencies.&#xD;&#xA;&#xD;&#xA;If you don't put this on a tripod, your life will suck. I strongly recommend a ball head instead of a pan-tilt head; way faster to aim it, lock it, and stop futzing." ContentLicense="CC BY-SA 2.5" />
  <row Id="3553" PostHistoryTypeId="2" PostId="1972" RevisionGUID="1f94cdd5-7d14-4aba-9d31-a864efa77d34" CreationDate="2010-07-14T20:25:52.977" UserId="194" Text="best VO I've heard in a while:&#xD;&#xA;&#xD;&#xA;http://vimeo.com/8165122" ContentLicense="CC BY-SA 2.5" />
  <row Id="3554" PostHistoryTypeId="2" PostId="1973" RevisionGUID="274c8036-a673-48cf-8fac-f8014a5b63af" CreationDate="2010-07-14T20:26:41.843" UserDisplayName="user49" Text="One sign that gives voice over a far better chance of working is when its actually written into the script (as opposed to adding it later because the film doesn't work)&#xD;&#xA;&#xD;&#xA;There are definitely some good examples listed above by people that I agree with, but I think the reason it gets a bad rap is because good film is about SHOW and not TELL, and bad voiceover is directly telling us stuff that the film should be able to convey through us experiencing it...&#xD;&#xA;&#xD;&#xA;Fight Club is such a great film - incase you havent seen it, check out this Lego infographic of the structure of the film:&#xD;&#xA;http://infosthetics.com/archives/2006/06/lego_fight_club_movie_narrative_architecture.html&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3555" PostHistoryTypeId="2" PostId="1974" RevisionGUID="3750be04-3c88-4956-a424-77f1899b98a4" CreationDate="2010-07-14T20:32:44.187" UserDisplayName="user49" Text="As a film sound designer I watch a lot of films (eg the International NZ Film Festival is about to start &amp; my festival average is usually 25 films in 3 weeks) - its partly because I love cinema but its also partly vocational/professional: I want to experience as many forms of film making &amp; story telling as possible, from every culture...&#xD;&#xA;&#xD;&#xA;Does the same apply to you game sound designers? Do you spend all your spare time playing games? How many hours a week do you play games? Do you buy every platform as its released and  check out all the new games as they are released?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3556" PostHistoryTypeId="1" PostId="1974" RevisionGUID="3750be04-3c88-4956-a424-77f1899b98a4" CreationDate="2010-07-14T20:32:44.187" UserDisplayName="user49" Text="Do you play games?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3557" PostHistoryTypeId="3" PostId="1974" RevisionGUID="3750be04-3c88-4956-a424-77f1899b98a4" CreationDate="2010-07-14T20:32:44.187" UserDisplayName="user49" Text="&lt;video-games&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3558" PostHistoryTypeId="2" PostId="1975" RevisionGUID="d54e6ddd-c4ed-4ce8-9d4b-a792e74ca407" CreationDate="2010-07-14T21:07:50.950" UserId="437" Text="Hello! First time poster but (relatively) long time reader here. I am working on a kung fu short film and am currently stumped concerning a particular sound effect.  Any suggestions would be so, so great.  Here is the setup:&#xD;&#xA;&#xD;&#xA;There is a man bound with natural fiber rope and partially elevated off the ground over a knife.  The rope is fed through a pulley and then secured to the ground.  I know in my mind's eye...er...ear in this case, exactly what I'm looking for as far as an exaggerated rope tension &quot;sound,&quot; but am having a tough time finding or describing it. Can anyone think of anything connotative?  I have spent time on SoundSnap and running through things I could record, but haven't found the ticket yet.&#xD;&#xA;&#xD;&#xA;Also, a big shout out to Tim Prebble for his amazing sound effect collections at Hiss and a Roar.  This project would be a lot tougher had I not bought the Swishes and Vegetable Violence collections.&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;&#xD;&#xA;Matt Tibbs" ContentLicense="CC BY-SA 2.5" />
  <row Id="3559" PostHistoryTypeId="1" PostId="1975" RevisionGUID="d54e6ddd-c4ed-4ce8-9d4b-a792e74ca407" CreationDate="2010-07-14T21:07:50.950" UserId="437" Text="Suggestions for a tensioned rope effect?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3560" PostHistoryTypeId="3" PostId="1975" RevisionGUID="d54e6ddd-c4ed-4ce8-9d4b-a792e74ca407" CreationDate="2010-07-14T21:07:50.950" UserId="437" Text="&lt;soundeffects&gt;&lt;recording&gt;&lt;recommendations&gt;&lt;foley&gt;&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3561" PostHistoryTypeId="2" PostId="1976" RevisionGUID="7194a8c9-5f90-4f1f-98c7-05f5c3891e16" CreationDate="2010-07-14T21:18:12.193" UserId="429" Text="I'm building a bug screen for some outdoor locations that were previously ruined by bugs flying close to the furry windscreen or just plain old landing on it and jumping up and down ... very annoying. If I get it done in time I'll post the pics and results." ContentLicense="CC BY-SA 2.5" />
  <row Id="3562" PostHistoryTypeId="16" PostId="1945" RevisionGUID="888f9c35-171b-4e9f-ab25-43a8bb21afa7" CreationDate="2010-07-14T21:32:49.763" UserId="219" />
  <row Id="3563" PostHistoryTypeId="2" PostId="1977" RevisionGUID="68007d48-369f-4943-9009-48acf04c8ef4" CreationDate="2010-07-14T21:33:06.390" UserId="261" Text="Thank you all for the great feedback. I'm in an exciting time, where I can learn a lot. Especially a out what I actually know. &#xD;&#xA;&#xD;&#xA;I hOpe that I can turn one of these opportunities into an internship or a trainee job..&#xD;&#xA;&#xD;&#xA;Thanks again!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3565" PostHistoryTypeId="2" PostId="1979" RevisionGUID="93bae67b-9808-4983-a528-d463b8e61808" CreationDate="2010-07-14T21:36:07.483" UserId="61" Text="Welcome, Matt!&#xD;&#xA;&#xD;&#xA;If you have access to a microphone and recorder, I recommend you doing some performances on your own rather than continue to scour online libraries. Some useful props would be:&#xD;&#xA;&#xD;&#xA; - Rope&#xD;&#xA;      - Hemp&#xD;&#xA;      - Nylon&#xD;&#xA;      - Fiber&#xD;&#xA; - Leather&#xD;&#xA; - Rubber&#xD;&#xA;      - try a bungee cord&#xD;&#xA;&#xD;&#xA;That should get you headed in the right direction. Have fun - and post the results for all to hear!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3566" PostHistoryTypeId="2" PostId="1980" RevisionGUID="c2cecdb8-a1df-4db1-8f12-a4333aa15525" CreationDate="2010-07-14T21:36:40.850" UserId="217" Text="A foley artist I met a few years back used an old Leather Wallet which they twisted and rubbed their thumbs over.  This created a stretching/creaking/squeaky sound.  You could use any other tense and strong material, I created a similar sound pushing my thumbs into some tense paper.&#xD;&#xA;&#xD;&#xA;This would create a starting point and you should get enough material to cut together/pitchshift and play around with." ContentLicense="CC BY-SA 2.5" />
  <row Id="3567" PostHistoryTypeId="16" PostId="1946" RevisionGUID="062e4460-9e63-4cf2-ab9c-df298f42eeac" CreationDate="2010-07-14T21:42:49.407" UserId="219" />
  <row Id="3568" PostHistoryTypeId="16" PostId="1957" RevisionGUID="b74c0aee-f2fb-4eae-b140-f232c439d6a8" CreationDate="2010-07-14T21:43:26.830" UserId="219" />
  <row Id="3569" PostHistoryTypeId="16" PostId="1962" RevisionGUID="b14fbea3-80ee-46e1-ac99-11e070410c56" CreationDate="2010-07-14T21:43:40.217" UserId="219" />
  <row Id="3570" PostHistoryTypeId="16" PostId="1953" RevisionGUID="d69183ee-dcb0-4445-bbe5-b457a4655837" CreationDate="2010-07-14T21:44:00.077" UserId="219" />
  <row Id="3571" PostHistoryTypeId="16" PostId="1955" RevisionGUID="9d76b060-231b-4526-abd2-b3e3052dc971" CreationDate="2010-07-14T21:44:17.297" UserId="219" />
  <row Id="3572" PostHistoryTypeId="16" PostId="1954" RevisionGUID="ecc9b032-85e1-4058-902b-ccbf0335b3a2" CreationDate="2010-07-14T21:44:37.547" UserId="219" />
  <row Id="3573" PostHistoryTypeId="5" PostId="1945" RevisionGUID="7d99c1b9-9cd4-4a91-8eeb-90f7183c64d6" CreationDate="2010-07-14T21:48:06.997" UserId="219" Comment="added 99 characters in body; added 12 characters in body" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I'd like to create this thread that would be like a library for sound designers/audio post people. The principle is as basic as **1 post = 1 resource**, so each book/webpage can be voted for and we can build up a library/ranking. My understanding of several discussions going on on the Internet is that going to a good school is important, that practicing is key, but the entry point is always reading the appropriate assets.&#xD;&#xA;&#xD;&#xA;Great assets, this is what should be in here! So post about something that impressed you even as an experienced designer, or you think is worth reading for beginners.&#xD;&#xA;&#xD;&#xA;**IMPORTANT NOTE:** answers should posted on behalf of the **community wiki** so that your reputation is not artificially increased using the **work of someone else**." ContentLicense="CC BY-SA 2.5" />
  <row Id="3575" PostHistoryTypeId="2" PostId="1982" RevisionGUID="6ce89193-2970-47df-9b55-a28c167c78d7" CreationDate="2010-07-14T22:09:37.800" UserId="29" Text="Wicker! Take a wicker basket and wrench it in opposing directions with each hand. It totally sounds like heavy natural fibers under tension - because it is - but the dryness makes it louder and more dramatic than actual rope. Worked for me, but a cheap experiment to try out regardless! " ContentLicense="CC BY-SA 2.5" />
  <row Id="3576" PostHistoryTypeId="2" PostId="1983" RevisionGUID="39067eea-da50-453a-87d5-5681620d2233" CreationDate="2010-07-14T23:45:08.747" UserId="18" Text="Hey Tim -&#xD;&#xA;&#xD;&#xA;I try to play as many games as I can.  First, since I enjoy games (always have), and second as professional research.  The problem with games, they take way more of a time investment than watching a film.  You could put 2-3 hours in a game, and just barely scratch the surface.  I own all of the game systems.&#xD;&#xA;&#xD;&#xA;What I try to do, is play the titles that get the most hype.  Or, if there is a title that is similar to something I am working on, or I'm told to reference, I'll make it a point to check those out.  Sometimes I just spend a few hours as research.  Other times, I enjoy it on a gamer level and may take it all the way to the end (or as far as I can get).  Sadly, I usually play on the easier difficulties, since getting through the game is more important than being challenged as a gamer.&#xD;&#xA;&#xD;&#xA;Rather that playing games on a constant basis, I find there are times of the year where I have more downtime then others.  Then it's time to do marathon game sessions to work through the backlog.  The holidays are always like this.  The game industry pretty much shuts down Dec - Mid Jan, making it a good time to get some gaming it." ContentLicense="CC BY-SA 2.5" />
  <row Id="3577" PostHistoryTypeId="2" PostId="1984" RevisionGUID="c9d50839-7f7a-4524-8a37-a08dd77d4d41" CreationDate="2010-07-15T00:03:15.683" UserId="18160" Text="I &quot;grew up&quot; under the wing of a Music Mixer, and got my start doing music related audio work, and I am very familiar in the mastering techniques for Music albums and the like.&#xD;&#xA;&#xD;&#xA;I am now working almost exclusively in ADR, Dialogue, VO and Final Mixing for films.&#xD;&#xA;&#xD;&#xA;I am curious if you do any mastering to your films. Do you add compression? Do you do overall EQ? By stems? Overall 5.1 bus?&#xD;&#xA;&#xD;&#xA;And how about for DVD? Does it get mastered and tightened before being released on DVD?&#xD;&#xA;&#xD;&#xA;I get to watch &quot;for your consideration&quot; DVDs from the Academy and these always sound better and more dynamic than a DVD. I suppose it's been mastered for the DVD release?&#xD;&#xA;&#xD;&#xA;In all the mixing I have done I have not used compression or EQ on my final mix. But, am I doing something wrong?&#xD;&#xA;&#xD;&#xA;I'm very curious about this point." ContentLicense="CC BY-SA 2.5" />
  <row Id="3578" PostHistoryTypeId="1" PostId="1984" RevisionGUID="c9d50839-7f7a-4524-8a37-a08dd77d4d41" CreationDate="2010-07-15T00:03:15.683" UserId="18160" Text="Do you do any mastering to your film mixes?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3579" PostHistoryTypeId="3" PostId="1984" RevisionGUID="c9d50839-7f7a-4524-8a37-a08dd77d4d41" CreationDate="2010-07-15T00:03:15.683" UserId="18160" Text="&lt;mastering&gt;&lt;film&gt;&lt;mixing&gt;&lt;dvd-release&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3580" PostHistoryTypeId="2" PostId="1985" RevisionGUID="6ec04ec5-2611-45f8-ab10-4bf302841f00" CreationDate="2010-07-15T00:21:10.100" UserId="18160" Text="Quick survey:&#xD;&#xA;&#xD;&#xA;How many tools do you use inboard and how many outboard?&#xD;&#xA;&#xD;&#xA;What type of mixboard do you have and do you still use volume/pan automation on it?&#xD;&#xA;&#xD;&#xA;I'm curious to what you use.&#xD;&#xA;&#xD;&#xA;Here's what I use:&#xD;&#xA;&#xD;&#xA;Volume/Pan:  Pro Tools&#xD;&#xA;&#xD;&#xA;EQ:  Pro Tools (rarely use my board, though it has a great sound).&#xD;&#xA;&#xD;&#xA;Reverb:  Pro Tools (TL Space because I haven't bought AltiVerb yet. I like the automation of it).&#xD;&#xA;&#xD;&#xA;I basically keep everything that is automatable in the box as much as possible because it's a breeze to do timing changes.&#xD;&#xA;&#xD;&#xA;Does anyone still use vintage equipment and outboard gear for it's sound? Efficiency? Nostalgia?&#xD;&#xA;&#xD;&#xA;I visited a friend's studio the other day and he had an awesome vintage 60 channel NEVE console (10 feet long) with a small Command-8 sitting on top of it. I laughed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What do you use and why?&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="3581" PostHistoryTypeId="1" PostId="1985" RevisionGUID="6ec04ec5-2611-45f8-ab10-4bf302841f00" CreationDate="2010-07-15T00:21:10.100" UserId="18160" Text="Inboard or Outboard" ContentLicense="CC BY-SA 2.5" />
  <row Id="3582" PostHistoryTypeId="3" PostId="1985" RevisionGUID="6ec04ec5-2611-45f8-ab10-4bf302841f00" CreationDate="2010-07-15T00:21:10.100" UserId="18160" Text="&lt;equipment&gt;&lt;in-the-box&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3583" PostHistoryTypeId="2" PostId="1986" RevisionGUID="88c7a12d-6817-40fd-a79d-ee6f33f40094" CreationDate="2010-07-15T00:24:44.383" UserId="432" Text="I would say, that as long as you and the client are pleased with the sound, then you're not doing anything wrong.&#xD;&#xA;&#xD;&#xA;I do mostly television mixes, and networks typically have stricter regulations regarding the overall levels of a program.  There is a much smaller dynamic range allowed.  But even there, the most I ever do to the mix as a whole is to place a limiter on the master bus to prevent transients from peaking over -10db full scale.  This is just a final backup for anything I may have missed.  I try to control most of those elements within the mix itself.  Compressions, EQs and the like I try to restrict to individual tracks where it is needed.  If I have to do something more on my main output bus than that limiter I mentioned, then chances are I've screwed up something in the mix.  Putting those processes on the back end is the lazy way out as far as I'm concerned; and will probably only  muddy it up further.&#xD;&#xA;&#xD;&#xA;As for DVDs, the commercial released copies you buy in the store have frequently been remixed in a different room that more closely resembles a consumer's listening environment.  I believe that a number of Academy &quot;for your consideration&quot; DVDs utilize the original theatrical mix." ContentLicense="CC BY-SA 2.5" />
  <row Id="3584" PostHistoryTypeId="16" PostId="1949" RevisionGUID="6251b434-7f94-4a6c-8b43-3a0c8e19966b" CreationDate="2010-07-15T03:04:51.720" UserId="6411" />
  <row Id="3585" PostHistoryTypeId="16" PostId="1959" RevisionGUID="a6584a4e-9ed1-4bc4-9899-aab81b8cfb2c" CreationDate="2010-07-15T03:05:32.017" UserId="6411" />
  <row Id="3586" PostHistoryTypeId="16" PostId="1956" RevisionGUID="0d02a17c-cf7e-4bd2-bc3f-32b5f680bc6e" CreationDate="2010-07-15T03:06:11.650" UserId="6411" />
  <row Id="3587" PostHistoryTypeId="16" PostId="1958" RevisionGUID="4454dd0f-6196-45ab-b89d-2489d053bfc6" CreationDate="2010-07-15T03:06:40.500" UserId="6411" />
  <row Id="3588" PostHistoryTypeId="2" PostId="1987" RevisionGUID="6295a767-ae29-4ac8-989c-1d5846cf3b7d" CreationDate="2010-07-15T03:31:41.460" UserId="437" Text="I love Wave Arts' products as an inexpensive option.  In addition to the Master Restoration suite, I've also purchased the Power Suite 5, which includes a multiband compressor that works wonders on certain types of noise.  I picked up that tip from the Digi User Conference about a year ago.  Also, if you buy one suite, the other products become HEAVILY discounted.  I got the MR Suite for $150 after purchasing the PS5.&#xD;&#xA;&#xD;&#xA;I also have DINR.  I also never use it.&#xD;&#xA;&#xD;&#xA;My first major software purchase was BIAS SoundSoap Pro.  In my opinion, the value of the $100 update to SoundSoap Pro 2 was negligible, and I've gotten really tired of the artifacts I get with BIAS if I lean on it at all.  I wrote customer support about how lousy I thought the gate on it was, and they offered to teach me how to use it.  Maybe I am a knucklehead, but I've never been happy with the results with this product--especially at the sticker price. I might have them &quot;teach&quot; me using one of my problematic files before trying to sell it to see if there is a magic button I am missing.&#xD;&#xA;&#xD;&#xA;Next project I have that Wave Arts doesn't help, I will probably purchase Izotope RX.  I am using NR specifically to clean up noisy backgrounds in dialog tracks.  In the low/no budget indie film and run and gun commercial video markets, an experienced production sound recordist is a rare thing (at least in Portland, OR), so noise reduction is a HUGE part of my freelance work.  If you start showing people you can salvage footage without ADR sessions, it definitely brings more work and goodwill your way." ContentLicense="CC BY-SA 2.5" />
  <row Id="3589" PostHistoryTypeId="5" PostId="1987" RevisionGUID="5ab3f3f1-85a0-4b02-a52c-2f72418312bf" CreationDate="2010-07-15T03:38:58.357" UserId="437" Comment="Enlarged pic" Text="I love Wave Arts' products as an inexpensive option.  In addition to the Master Restoration suite, I've also purchased the Power Suite 5, which includes a multiband compressor that works wonders on certain types of noise.  I picked up that tip from the Digi User Conference about a year ago.  Also, if you buy one suite, the other products become HEAVILY discounted.  I got the MR Suite for $150 after purchasing the PS5.&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://wavearts.com/images/products/cache/multidynamics-580x454.jpg&quot; width=&quot;500&quot; height=&quot;350&quot;&gt;&#xD;&#xA;&#xD;&#xA;I also have DINR.  I also never use it.&#xD;&#xA;&#xD;&#xA;My first major software purchase was BIAS SoundSoap Pro.  In my opinion, the value of the $100 update to SoundSoap Pro 2 was negligible, and I've gotten really tired of the artifacts I get with BIAS if I lean on it at all.  I wrote customer support about how lousy I thought the gate on it was, and they offered to teach me how to use it.  Maybe I am a knucklehead, but I've never been happy with the results with this product--especially at the sticker price. I might have them &quot;teach&quot; me using one of my problematic files before trying to sell it to see if there is a magic button I am missing.&#xD;&#xA;&#xD;&#xA;Next project I have that Wave Arts doesn't help, I will probably purchase Izotope RX.  I am using NR specifically to clean up noisy backgrounds in dialog tracks.  In the low/no budget indie film and run and gun commercial video markets, an experienced production sound recordist is a rare thing (at least in Portland, OR), so noise reduction is a HUGE part of my freelance work.  If you start showing people you can salvage footage without ADR sessions, it definitely brings more work and goodwill your way." ContentLicense="CC BY-SA 2.5" />
  <row Id="3590" PostHistoryTypeId="2" PostId="1988" RevisionGUID="92e0fe43-3b1a-44fa-b1bd-4a14e42b4e0e" CreationDate="2010-07-15T04:17:08.733" UserId="29" Text="I did a huge outboard-box purge in 2004: compressors, limiters, tube pre's, DAT machine, the whole lot. I went entirely virtual except a single [Waldorf Pulse+][1] analog synth and - ONLY for nostalgia - a single [Electric Mistress][2] flanger pedal/box. Now I'm finding that I still collect hardware, but smaller sound-making objects ([Thingamagoops][3], [Stylophones][4], and other objects/toys) and real instruments, usually percussive (chimes, cymbals, drums, etc.). &#xD;&#xA;&#xD;&#xA;I think this is all because emulation, automation, and delivery made virtualization far more attractive from a workflow, space, heat, power, and clutter perspective, as well as a personal shift from synthesized sound to re-synthesized recorded sound (I still do both, but the latter has been my recent focus).&#xD;&#xA;&#xD;&#xA;I could see buying a [Moogerfooger][5] or five, though. :-D&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.vintagesynth.com/waldorf/pulse.php&#xD;&#xA;  [2]: http://www.ehx.com/products/deluxe-electric-mistress&#xD;&#xA;  [3]: http://bleeplabs.com/thingamagoop2/&#xD;&#xA;  [4]: http://www.thinkgeek.com/electronics/musical-instruments/aa64/&#xD;&#xA;  [5]: http://www.moogmusic.com/moogerfooger/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3591" PostHistoryTypeId="2" PostId="1989" RevisionGUID="df889402-5154-4e38-8678-4cd0a62e2ccf" CreationDate="2010-07-15T05:47:54.833" UserId="390" Text="I am also using just headphones until I can actually afford to spruce up my studio with decent monitors. I would suggest that you don't consider a mix complete until you've listened to it on a few other systems. For example, make a CD and play it on your home or car stereo system or ipod. Basically, play it on something you expect your average consumer to use. This way you could appreciate the difference between what you're hearing on your headphones and what you hear on other audio systems." ContentLicense="CC BY-SA 2.5" />
  <row Id="3592" PostHistoryTypeId="2" PostId="1990" RevisionGUID="90e07f33-5d2f-421a-bb80-2474f4f6d64d" CreationDate="2010-07-15T09:10:33.853" UserId="270" Text="You can make some good rope sounds by getting a big handful of long thick succulent grass and twisting it with your hands.  Its fairly quiet though so better to do it in a quiet studio with good recording gear." ContentLicense="CC BY-SA 2.5" />
  <row Id="3593" PostHistoryTypeId="2" PostId="1991" RevisionGUID="0901cdc8-9a8b-4063-978b-79ec8a801da6" CreationDate="2010-07-15T10:42:25.530" UserId="198" Text="Thanks for all the feedback. What I realized is most annoying is when the insects actually land on the windscreens. So, some combination of repellant sprayed on an external netting might be a viable solution. I'll give it a try this weekend while helping a friend research a special variety of bush cricket." ContentLicense="CC BY-SA 2.5" />
  <row Id="3594" PostHistoryTypeId="2" PostId="1992" RevisionGUID="7f361a71-eb78-4076-85c8-ac8220ca1f53" CreationDate="2010-07-15T10:59:28.247" UserId="348" Text="I find that you need to layer it depending on the action of the screen. Leather with wicker has worked for me in the past- a leather belt twisted together to get the tension and then the wicker for the organic compounds of the rope. Has worked for me. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3595" PostHistoryTypeId="2" PostId="1993" RevisionGUID="dd2fc324-506f-4c9d-99be-74266e487959" CreationDate="2010-07-15T11:19:12.373" UserId="432" Text="I've never tried this in this sort of situation but - I used to do a lot of camping when I was younger, and my friends and I would shove one of those fabric softener sheets (the kind you put in the dryer with your clothes) under our hats.  It was one of those things where the source of the idea is lost in the ether, but it worked pretty well.&#xD;&#xA;&#xD;&#xA;Maybe it would work here too.  Attach on or two sheets (or put them inside if you're using a zepplin), and maybe it will do the trick.  Could be worth a shot." ContentLicense="CC BY-SA 2.5" />
  <row Id="3596" PostHistoryTypeId="2" PostId="1994" RevisionGUID="c5a3825d-53fc-4456-af01-30a4f37703ed" CreationDate="2010-07-15T11:50:55.147" UserId="2" Text="Years ago I needed a simillar sound and I used a leather, pleathure, or just plastic (can remember) bag, wet my hands slightly and rubbed it. Worked well. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3597" PostHistoryTypeId="2" PostId="1995" RevisionGUID="100ea9b1-580a-4c20-871b-9e73135f53d8" CreationDate="2010-07-15T11:56:28.653" UserId="432" Text="That's a sticky situation.  People are definitely correct about headphones not being able to reproduce a flat frequency spectrum.  The other issue that you're going to have is that your spatial perception of the sound field will also be VERY different than if you were using a pair of monitors.&#xD;&#xA;&#xD;&#xA;Personally, I'd rather mix on a pair of speakers, even if they're just a cheap pair of M-Audio speakers. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3598" PostHistoryTypeId="2" PostId="1996" RevisionGUID="8563eb6a-878c-45d5-8695-c81394d71029" CreationDate="2010-07-15T12:08:00.930" UserId="219" Text="I can't say it's my best loved examples but at least the ones that come to mind.&#xD;&#xA;&#xD;&#xA;The first one is the opening fight scene in Watchmen with Bob Dylan's song playing. Great scene I find :)&#xD;&#xA;&#xD;&#xA;The second one may be slightly less impressive, probably because the video is made with a video game engine. I am thinking about the Gears of War trailer, made by Digital Domain, using the song Mad World.&#xD;&#xA;&#xD;&#xA;[youtube]ccWrbGEFgI8[/youtube]&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3599" PostHistoryTypeId="2" PostId="1997" RevisionGUID="18b3d5b9-5251-4da9-83f4-5c76bea559b3" CreationDate="2010-07-15T14:32:26.950" UserId="440" Text="Hi,&#xD;&#xA;&#xD;&#xA;Am doing a film where someone is murdered and a family member witness' it and as she runs to help the film is shot in slow motion and the sound needs to disorientating, weird and warped. Apart from using pitchshifts and timeshifts - anyone got any sfx or plug in ideas??" ContentLicense="CC BY-SA 2.5" />
  <row Id="3600" PostHistoryTypeId="1" PostId="1997" RevisionGUID="18b3d5b9-5251-4da9-83f4-5c76bea559b3" CreationDate="2010-07-15T14:32:26.950" UserId="440" Text="Disorientated Slow Motion Film Effects" ContentLicense="CC BY-SA 2.5" />
  <row Id="3601" PostHistoryTypeId="3" PostId="1997" RevisionGUID="18b3d5b9-5251-4da9-83f4-5c76bea559b3" CreationDate="2010-07-15T14:32:26.950" UserId="440" Text="&lt;design&gt;&lt;slow&gt;&lt;motion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3602" PostHistoryTypeId="2" PostId="1998" RevisionGUID="4bfbf54d-ea7a-42d1-b212-e9e73daf65ec" CreationDate="2010-07-15T15:12:17.880" UserId="62" Text="I know reverb is a cliche but it does work, that's why it's a cliche." ContentLicense="CC BY-SA 2.5" />
  <row Id="3603" PostHistoryTypeId="2" PostId="1999" RevisionGUID="f8eefe3a-29de-4f7e-91ef-5ae953f71cac" CreationDate="2010-07-15T15:22:43.893" UserId="253" Text="I'm a bit silence-obsessed, but absence of sound where there's an onscreen sound source can give a feeling of helplessness." ContentLicense="CC BY-SA 2.5" />
  <row Id="3604" PostHistoryTypeId="2" PostId="2000" RevisionGUID="7a52b28a-3786-4069-a56c-13bc18e3b456" CreationDate="2010-07-15T15:29:39.683" UserId="178" Text="Films are mixed at a standardized gain level, whereas music is all over the place. If you tried the usual mastering tricks (add compression and final EQ) at the end, you would probably just mess up the dynamics between dialog, music, and effects. I suppose it might work out OK if you were doing subtle touch up work to the individual stems.&#xD;&#xA;&#xD;&#xA;In music recording you typically have the person doing the mix, and then you send it off to a mastering engineer with better equipment and a different perspective as sort of a professional second opinion.&#xD;&#xA;&#xD;&#xA;In film post production, you have a dialog editor, ADR editor, foley editor, music mixer, and a supervising sound editor to do the final mix. Even if it's a smaller film, in addition to the person doing the post production sound mix, you still have the director approving the final product.&#xD;&#xA;&#xD;&#xA;Additionally, if it sounds good in one THX theater, it will probably sound good in all theaters due to the industry having some standards for playback. With music, your mix may be played back on $60,000 hi-fi speakers or iPod earbuds." ContentLicense="CC BY-SA 2.5" />
  <row Id="3605" PostHistoryTypeId="2" PostId="2001" RevisionGUID="0c652152-6914-423e-bc38-9d6ad2ee34cb" CreationDate="2010-07-15T16:14:00.347" UserId="6411" Text="I dream of the day when I can telecommute. Wake up, stroll across my backyard to the studio and begin my workday of mixing, editing, and recording. Because on that day, I don't have to live wherever the industry is. But I'm pretty sure it's a pipe dream, not because I won't have a backyard someday, or a studio in it, but because it seems altogether unlikely to be viable.&#xD;&#xA;&#xD;&#xA;There is definitely a stigma against the &quot;home studio&quot;: Low-end gear, poor acoustics, hobbyist talent. And some of that is well deserved. But I know a number of engineers who work as professionals who have studios at home, whether they are for side work or pleasure, that are hooked **up**. But yet it's never their primary source of income. It's always for work on the side, or studio for fun.&#xD;&#xA;&#xD;&#xA;I can't put my finger on why producers and directors *need* to go into a major studio. Is it the image? Cause I can redecorate. Is it the budget? Cause I'll gladly charge you more if you really want. Is it reputation? Cause everyone who works at a studio takes their reputation home with them at the end of the day. Is it the invasion of my home? Cause pretty much everybody's welcome (until you piss me off).&#xD;&#xA;&#xD;&#xA;What spurred this thought was this cool new feature that one of our FCP editors is using with his producer called [iChat Theater][1]. She's in Austin, TX he's here in Arlington, VA and she supervises the offline session through iChat. It blew me away, it's not perfect, but it's phenomenally cool and has great potential. I instantly projected the technology onto my own dream scenario.&#xD;&#xA;&#xD;&#xA;Previously I had heard of independent studios running fiber channels to production houses allowing producers to stay at the office (poor suckers) to review a show's mix. But that's a huge outlaying of cash for a single stream of business. And of course [Source Elements][2] with their whole line-up is attempting to put us all a single DSL connection away from one another. I've heard tales of issues, but it again is phenomenally cool and has great potential.&#xD;&#xA;&#xD;&#xA;I recognize that half of the business is relationships, drumming up business, and staying visible.  So that's the problem with living in the middle of Montana (my apologies to any working pro here living in Montana whom I offend with that comment). But for the other half, do we really have to drive in to work everyday with the rest of the world?&#xD;&#xA;&#xD;&#xA;Honestly, I'd settle for edit at home, mix in the studio. That sounds like a nice balance.  Do any of you pros have home studios that you bill primary clients for the use of? Do they know that you're working from home? What are your opinions on the matter?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.apple.com/finalcutstudio/finalcutpro/collaboration.html&#xD;&#xA;  [2]: http://www.sourceelements.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3606" PostHistoryTypeId="1" PostId="2001" RevisionGUID="0c652152-6914-423e-bc38-9d6ad2ee34cb" CreationDate="2010-07-15T16:14:00.347" UserId="6411" Text="The Value of Home Studios in The Professional World" ContentLicense="CC BY-SA 2.5" />
  <row Id="3607" PostHistoryTypeId="3" PostId="2001" RevisionGUID="0c652152-6914-423e-bc38-9d6ad2ee34cb" CreationDate="2010-07-15T16:14:00.347" UserId="6411" Text="&lt;home-studio&gt;&lt;marketing&gt;&lt;business&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3608" PostHistoryTypeId="2" PostId="2002" RevisionGUID="e0f41fc2-61a5-4f0d-a6c1-c2a273576fa3" CreationDate="2010-07-15T16:26:09.023" UserId="219" Text="The worst thing when you're calling for help is for your call not to be heard. This is a long shot but you could try modulating a wind/drone sound (wah-wah style) to match the original dialogue envelope (kinda like down/up shifting the pitch). If she's got moments where she cries or stutters, then let's hear that, but never give away the message/call for help." ContentLicense="CC BY-SA 2.5" />
  <row Id="3609" PostHistoryTypeId="2" PostId="2003" RevisionGUID="6cf89ec8-6cfb-4cbd-935a-d326deca62e1" CreationDate="2010-07-15T18:00:22.230" UserId="6411" Text="I've been trying a technique where I side chain dialog (or whatever, another sound effect maybe) into a gate that's controlling the envelope of a static sound (like wind, a waterfall, a drone, etc). It's a quick way to match the rhythm of whatever you're feeding the side chain.  In the case of dialog, once you futz with the attack and release times it provides a nice vocal quality to the designed sound.&#xD;&#xA;&#xD;&#xA;I've done this in the past with creature sounds that didn't quite have enough &quot; it &quot; to them. Made a roar that just felt flat, side-chained a bird call into it so it fluttered a bit and it was perfect. Could be effective." ContentLicense="CC BY-SA 2.5" />
  <row Id="3610" PostHistoryTypeId="2" PostId="2004" RevisionGUID="cab36aad-116f-4c98-9e9b-cbbd306621f3" CreationDate="2010-07-15T18:01:09.897" UserId="100" Text="I just spoke with a sound editor the other day who works 2 states away from L.A. He started out down here, but moved for familial reasons and continued working for major studios, but from his home out of state since. While he really enjoys the perks of working at home, he's still had to fly to the studios here for spotting sessions and the like.&#xD;&#xA;&#xD;&#xA;I think that it would be great to live wherever my family and I want and have steady, reliable projects completely out of the house. The technology affords it, so why not? I think that setup would be easier if employed by a studio, and less so for freelance, but I would love to be proven wrong." ContentLicense="CC BY-SA 2.5" />
  <row Id="3611" PostHistoryTypeId="2" PostId="2005" RevisionGUID="3ea066c7-81c1-4a41-ac79-495716125821" CreationDate="2010-07-15T19:06:10.680" UserId="6411" Text="Also, to me disoriented sound translates to &quot;doesn't follow the picture&quot;. Try determining the key elements you need to include, take note of the in and out point and turn off the picture.&#xD;&#xA;&#xD;&#xA;Sound design to the dark, disorient yourself for a little while. Turn it back on when you're done. There's always the possibility that it will suck, but it may inspire you to do something you hadn't thought of before." ContentLicense="CC BY-SA 2.5" />
  <row Id="3612" PostHistoryTypeId="2" PostId="2006" RevisionGUID="1b72a7d8-f3bb-4c18-8c09-211cb3650afe" CreationDate="2010-07-15T19:43:32.113" UserId="275" Text="On a feature film mix YOU are supposed to be the authority on the levels.  I never put anything across the mix buss other than a limiter to keep transients from clipping. Any other EQ or dynamics control I do per track or sound effect. No one compression setting, EQ setting, etc would be appropriate for the entire show. Not to mention that if it is compressed more than about 1.2:1 for the duration of the movie it will become very fatiguing to the listener. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3615" PostHistoryTypeId="2" PostId="2009" RevisionGUID="bd3ef746-affe-4600-8a55-9d13fcb825c3" CreationDate="2010-07-15T22:08:16.950" UserId="435" Text="I don't know if its my marketing degree talking (what i studied before audio engineering) or the experience from going around various studios in my city and picking up on money spent on image/their brand vs how much work they get. &#xD;&#xA;To me, (and it makes sense) clients like to be treated well, looked after, made a good coffee, sit on comfy couches etc. As they are the ones paying good money for the audio job and they are the ones with the power (ie: can take their business elsewhere). I think half of the audio post business is just like any other industry. It comes down to satisfying the customers needs, and quality audio is only half of that. The other half is normal business stuff. keeping the customer happy. (most) clients don't want to walk through someone's house tripping over children's toys, getting barked at by the dog or get wet shoes from the overgrown grass (for example). Its like, why stay in a Motel when my company has the budget for a me to stay in a Hotel?!&#xD;&#xA;One of the first small post studios i went looking for work, after reading my CV, the guy said &quot;well all your barista (coffee maker) experience will be a good attribute for getting an audio job&quot;. i thought he was joking but he said that he knew of some clients that would choose one studio over another because they knew they could get a really good espresso!&#xD;&#xA;&#xD;&#xA;I'm only starting out in the audio industry so I may be speaking naively but this is what iv been noticing and thinking about.&#xD;&#xA;&#xD;&#xA;So to me, reputation and glam hold their weight in gold for high paying clients. You could work in a well reputed studio doing the hard yards for a while learning and building your own rep. but if you choose to make the home studio/freelance shift make sure you have your own personal rep and not just the rep of the studio you worked for and clean your house!&#xD;&#xA;&#xD;&#xA;I guess two studios (ultimate dream) would be key. one glamorous one in the city for showing clients too and using the gear/rooms you need and another smaller one at home where you can feel more comfortable and get the editing/more routine work done.&#xD;&#xA;&#xD;&#xA;food for thought. what do you think?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3616" PostHistoryTypeId="2" PostId="2010" RevisionGUID="f9e0b61a-47ad-4aca-9173-5a34c2b30adf" CreationDate="2010-07-16T01:53:00.563" UserId="28" Text="Alright, this answer doesn't dig too deep into the emotional journey of your scene... BUT is something I find disorienting.&#xD;&#xA;&#xD;&#xA;If you take a stereo signal, and invert the phase of one channel. And then pop it back. It can be a bit of a head trip. I know this is only really effective if you are sitting in ideal listening conditions. Just thought I'd toss it out there." ContentLicense="CC BY-SA 2.5" />
  <row Id="3617" PostHistoryTypeId="2" PostId="2011" RevisionGUID="f2e63218-962d-475f-890e-1a5559223fb3" CreationDate="2010-07-16T02:41:24.243" UserId="18160" Text="I own 4 vintage U87s from the 70s and a discontinued Schoeps CMTS stereo mic among other vintage Neumann, AKG and Telefunkens. But those are the main ones I use for voice-over and they get a lot of mileage. I'm thinking of sending them in somewhere to get checked up on. They are doing fine but I don't know if a routine check-up is necessary. I know of some recordists who have never sent their mics in to be looked at.&#xD;&#xA;&#xD;&#xA;How often do you send your microphones to be checked up on?&#xD;&#xA;&#xD;&#xA;Do you keep a reference file to refer back to for it's frequency response?&#xD;&#xA;&#xD;&#xA;How do you take care of your mics and what maintenance do you do to them?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3618" PostHistoryTypeId="1" PostId="2011" RevisionGUID="f2e63218-962d-475f-890e-1a5559223fb3" CreationDate="2010-07-16T02:41:24.243" UserId="18160" Text="How often do you send mics to the doctor?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3619" PostHistoryTypeId="3" PostId="2011" RevisionGUID="f2e63218-962d-475f-890e-1a5559223fb3" CreationDate="2010-07-16T02:41:24.243" UserId="18160" Text="&lt;microphone&gt;&lt;maintenance&gt;&lt;neumann&gt;&lt;schoeps&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3620" PostHistoryTypeId="2" PostId="2012" RevisionGUID="083d69fb-2aba-4d84-a0d3-40f10a2e4ef9" CreationDate="2010-07-16T03:29:57.133" UserId="315" Text="Well if you send your mics to Klaus Heyne at German Masterworks, they'll sound better than they do now...or when they were built. &#xD;&#xA;&#xD;&#xA;If you're using them everyday for voice-over and that's your bread and butter, I'd say that you should have them looked at every year or so. Back when I worked in music the engineers I know would send their prize vocal mics to get cleaned every year. Instrument mics not so much (if at all).&#xD;&#xA;&#xD;&#xA;I guess the old adage &quot;if it ain't broke don't fix it&quot; has always applied to my mics (mostly used for fx gathering). I haven't had my Schoeps pair looked at since I bought them 10 years ago...but that's because I'm still happy with the results.  Of course, I baby them and keep them safe in a zepplin, even indoors. My other mics always stay in the case and I baby them as well. &#xD;&#xA;&#xD;&#xA;Keeping a reference file is a good idea though...gotta try that one." ContentLicense="CC BY-SA 2.5" />
  <row Id="3621" PostHistoryTypeId="2" PostId="2013" RevisionGUID="e90473a7-df9d-47a0-9b01-b6f3ded7382e" CreationDate="2010-07-16T05:12:15.630" UserId="285" Text="This question is exactly what I am going through right now.  I do mostly SFX editing and I had a studio downtown with a full up protools and then a LE system at my home not far from the studio.  I found I was using the office/studio when clients were around and then doing the majority of the work at home.  This system was working great for me until my studio got broken into and cleaned out completely.  Thank god for insurance, I got new gear and I am mostly no worse for wear after the shock and panic of the first few days.  &#xD;&#xA;  As a result of the robbery I have left the building I was in and moved my full system into my house.  This was originally to be temporary but it has been going really well so far so now I am on the fence about getting a new studio space.  I have been doing a lot of work over the last few years completely remotely and I am wondering if the future might be going in the direction of - as long as you do good work it does not matter where you are located.  &#xD;&#xA;  I did the SFX edit on two animated series for the same client, one 52 episodes and one 26 episodes and I only ever actually met the client face to face once. I did the rest of the work entirely remotely, via ftp, phone and video chats.  Strangely the client and I live in the same city (Toronto) but this system worked great for us.  We had a quick bond and trust right from the start and they were the smoothest productions I have probably ever worked on.  Granted I was not doing the mix on these projects so there was not as much need for client final approval but we did have an easy back and forth going.&#xD;&#xA;  So I am really on the fence about where to go from here.  I assume I will be getting another studio space but having the home studio forced on me has been a bit of a blessing as well.  I look forward to reading other peoples experiences and thoughts.  &#xD;&#xA;(sorry for the long post, I got a little carried away)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3622" PostHistoryTypeId="2" PostId="2014" RevisionGUID="02fc0b07-fc89-4a39-b0a5-23573df6552a" CreationDate="2010-07-16T08:59:14.383" UserId="441" Text="So as time as gone by, I've been thinking more about getting a real solid set of sounds together for my sound design experiments. I'm thinking strictly from the view of an artist with their colours with this...&#xD;&#xA;&#xD;&#xA;...what sounds should I be sourcing to ensure I have a rock solid quality base of sounds as a palette to build others. I know I should be using my imagination with this, and of course I am here, but I'm still looking for a decent starting point to go from. Versatile, quality, useful sounds that are tried and tested to make up many other sounds. I suppose the main areas of this is for films really. What are useful things to cover the basics for most film features. (sorry, I know this is vague)&#xD;&#xA;&#xD;&#xA;So can I ask, what material should I be trying to source? Is there any places that do these sort of 'beginner sound design' libraries? ...I don't have a lot of money at all, but I'm willing to shell out for something if it's truly worth the cash and is fully useful.&#xD;&#xA;&#xD;&#xA;My sound library feels like it has many many holes in it, and I could do with a push from the pros. Thank you." ContentLicense="CC BY-SA 2.5" />
  <row Id="3623" PostHistoryTypeId="1" PostId="2014" RevisionGUID="02fc0b07-fc89-4a39-b0a5-23573df6552a" CreationDate="2010-07-16T08:59:14.383" UserId="441" Text="Having some absolute base quality sounds to use as a palette for sound design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3624" PostHistoryTypeId="3" PostId="2014" RevisionGUID="02fc0b07-fc89-4a39-b0a5-23573df6552a" CreationDate="2010-07-16T08:59:14.383" UserId="441" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3625" PostHistoryTypeId="2" PostId="2015" RevisionGUID="65736595-dda7-4f23-8500-9f3fd0d0c6b3" CreationDate="2010-07-16T09:38:44.723" UserId="62" Text="When I was freelance I never liked bring clients into my own home, too invasive for my tastes.&#xD;&#xA;&#xD;&#xA;Most of the work I do is done remotely. We use ISDN to send the audio from the mix studio to LA while the producer/director watches a HDCAM. I can make changes to the mix as if they were in the studio with me.&#xD;&#xA;&#xD;&#xA;There was a discussion about working outside of Soho on [LinkedIn][1] recently.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It was more concerned with working outside of the hubs like Soho. There are clear advantages such as lower rent. With broadband technology it is easy to work like this. I guess the power remains with the producer, would they prefer to watch a mix in a mix studio or some nice comfy screen room?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.linkedin.com/groupItem?view=&amp;gid=2207463&amp;type=member&amp;item=23839634&amp;qid=598b12b1-ea24-418c-8ed1-1ed1f0048d4b&amp;goback=%2Egmp_2207463" ContentLicense="CC BY-SA 2.5" />
  <row Id="3626" PostHistoryTypeId="2" PostId="2016" RevisionGUID="50f1a5a6-2f10-4a9a-a941-1bd437b813c0" CreationDate="2010-07-16T10:25:11.913" UserId="442" Text="Hi guys, can any one please give me an examples of Subtextual sound and Visual amplification sound within a film." ContentLicense="CC BY-SA 2.5" />
  <row Id="3627" PostHistoryTypeId="1" PostId="2016" RevisionGUID="50f1a5a6-2f10-4a9a-a941-1bd437b813c0" CreationDate="2010-07-16T10:25:11.913" UserId="442" Text="Subtextual sound and Visual amplification sound " ContentLicense="CC BY-SA 2.5" />
  <row Id="3628" PostHistoryTypeId="3" PostId="2016" RevisionGUID="50f1a5a6-2f10-4a9a-a941-1bd437b813c0" CreationDate="2010-07-16T10:25:11.913" UserId="442" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3629" PostHistoryTypeId="2" PostId="2017" RevisionGUID="aad9b8f1-6536-4500-839b-83f2f3b4e559" CreationDate="2010-07-16T12:26:59.443" UserId="62" Text="Emmanuel,&#xD;&#xA;&#xD;&#xA;Can you clarify what exactly you are asking? I say this because it would be useful to have some idea about what specifically you are looking to find out.&#xD;&#xA;&#xD;&#xA;Film sound will contain a lot of subtexts in varying degrees. From a basic illiciting of an emotional response from the audience (animal sounds layered into vehicle sounds for example) right through to sounds meaning 2 different things at the same time. For example, I just put in the sound of a ticking Grandfather's Clock into a scene. Firstly because you can see one in the background, this adds sense of realism to the show. Secondly because it's an old sound you don't come across so much these days and as the room we are in is an antique shop then it adds to the sense of the old. Same sound but given 2 meanings.&#xD;&#xA;&#xD;&#xA;As for Visual Amplification, it's not a term I've ever come across in relation to sound. Are you talking about [Added Value][1]?&#xD;&#xA;&#xD;&#xA;Ian&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://filmsound.org/chion/Added.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="3630" PostHistoryTypeId="2" PostId="2018" RevisionGUID="653c713f-f1c7-42b3-8767-ce7d676d2db5" CreationDate="2010-07-16T13:00:33.297" UserId="432" Text="I've heard tales of plug-ins and effects processes doing bad things to the spatial perception of a soundfield. Of course, most of those tales come out of the music industry, where a mastering engineer has to restore or widen the stereo image because it has completely collapsed after an inexperienced mixing engineer has slapped some plugin(s) on the master output bus (the most common offeneder listed is a compressor).&#xD;&#xA;&#xD;&#xA;It's been a while since I worked heavily in music, and most people in our line of work aren't usually throwing global processes onto our mixes, so I haven't ever encountered this.  Has anyone had this issue when working on a film/tv mix?  If so, what were the circumstances." ContentLicense="CC BY-SA 2.5" />
  <row Id="3631" PostHistoryTypeId="1" PostId="2018" RevisionGUID="653c713f-f1c7-42b3-8767-ce7d676d2db5" CreationDate="2010-07-16T13:00:33.297" UserId="432" Text="Adverse effects on soundfields from plug-in processing" ContentLicense="CC BY-SA 2.5" />
  <row Id="3632" PostHistoryTypeId="3" PostId="2018" RevisionGUID="653c713f-f1c7-42b3-8767-ce7d676d2db5" CreationDate="2010-07-16T13:00:33.297" UserId="432" Text="&lt;experiences&gt;&lt;techniques&gt;&lt;signal-processing&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3633" PostHistoryTypeId="2" PostId="2019" RevisionGUID="c33a8f91-5325-4e71-b2ed-509df7d43a77" CreationDate="2010-07-16T13:56:21.437" UserId="2" Text="I just got my Sennheiser MKH418s back from a checkup, this is the first time I have done this. I bought the mic second hand and have now had it a few years. It didn't cost me a cent to send it to Sennheiser in South Africa (even though I didn't buy it from them).&#xD;&#xA;&#xD;&#xA;I was really worried that it was damaged as I feel that it is noisier than it should be. They said it is in perfect condition. The only issue was the cable having some corrosion, which they cleaned for me. &#xD;&#xA;&#xD;&#xA;I was hoping that the noise was coming from the cable, but when testing it again it is just as noisy. This makes me wonder if I'm becoming too picky or it is indeed a noisy mic and didn't notice too much until recently. The MKH series is supposed to have a very low noise... &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3634" PostHistoryTypeId="2" PostId="2020" RevisionGUID="c3b23fb9-2ec7-442f-8193-c25cbd152880" CreationDate="2010-07-16T14:24:24.770" UserId="234" Text="Hmmm... the Sound Ideas Libraries are pretty much a staple in the industry. However, if you feel you have holes in an already existing library, then the best suggestion might be to spend the dollars you'd spend there on some good gear and go out and start recording. There comes a point where ANY  3rd party library is going to have holes in it, just because it was done by someone else who probably has a slightly different set of priorities than you. That's the time to grab a recorder and start getting some sounds! What sounds? Spend a day and just go for a LONG walk. Hear a neat sound? Grab it!&#xD;&#xA;&#xD;&#xA;Oh and I'd be totally remiss if I didn't mention Tim Pebble's excellent [Hiss and a Roar][1] libraries. Inexpensive and REALLY good! And they tend to fill those spaces left by things like the Sound Ideas/Hollywood Edge libraries&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hissandaroar.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3635" PostHistoryTypeId="2" PostId="2021" RevisionGUID="066aaf64-65e3-4cd2-9eea-9eee4949e85e" CreationDate="2010-07-16T15:46:00.020" UserId="220" Text="I don't have a lot to say about sending mics in to be cleaned, but I will tell you that CAIG Labs DeoxIT works wonders on inputs and mic connections.  Just a sprits, connect a cable a few times, wipe up, and it will help.  If you have faders or knobs that are noisy, shoot some Fader-F (used to be called CaiLube).  I keep little mini cans of each with me at all times, and when I go to work on live sound systems, I take full size bottles and usually clean every connector, knob and fader with them.  &#xD;&#xA;&#xD;&#xA;Sorry I sound like an advertisement, but those two things have refurbished more equipment than I can list." ContentLicense="CC BY-SA 2.5" />
  <row Id="3636" PostHistoryTypeId="2" PostId="2022" RevisionGUID="dcd07c5e-1cff-4df2-b992-8d6d2d45d780" CreationDate="2010-07-16T17:12:22.520" UserId="315" Text="Well if you're looking for the Crayola 64 color set with the built-in sharpener, I'd suggest the Hollywood Edge Premiere Edition or the Sound Ideas 6000 Series. The problem with these libraries is that since they're such a basic building block set, every Tom, Dick, and Harry in post has them. Most Film and TV picture editors know these libraries inside and out and use them day to day in their rough cuts just to fill out some of the sound.&#xD;&#xA;&#xD;&#xA;The current price of the Sound Ideas 6000 General is $1046. At that price you could purchase an entry level field recording set-up and get more sophisticated, Dutch-Master colors like burnt sienna or cerulean. All joking aside, I continue to learn so much about sound effects editing and design simply by going out in the world, listening critically, and capturing unique fx for my library. It takes longer, but it's worth it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3637" PostHistoryTypeId="2" PostId="2023" RevisionGUID="428eb7a8-bce6-4e10-bb17-425366c31396" CreationDate="2010-07-16T18:53:08.493" UserId="6411" Text="When bowing cymbals, wires, plates, etc. to create sounds. How much does the quality of the bow matter?  I was looking on ebay for a bow and the price range is insane. Can I cheap out? What's the point of diminishing returns? Is there a benefit to certain types of wood? What other qualities should I be looking for?&#xD;&#xA;&#xD;&#xA;Secondly, what's your bow technique? I'm not a stringed instrument player so I've barely held one, let alone know how to use it properly.  I'm hoping that will work to my advantage, but a starting place would probably be beneficial.&#xD;&#xA;&#xD;&#xA;@Tim Prebble, @NoiseJockey, @Chuck Russom knowing the results you guys have achieved here, I'm hoping for an answer from any of you, but if anybody else has a notion or a youtube/vimeo instructional video that would be great." ContentLicense="CC BY-SA 2.5" />
  <row Id="3638" PostHistoryTypeId="1" PostId="2023" RevisionGUID="428eb7a8-bce6-4e10-bb17-425366c31396" CreationDate="2010-07-16T18:53:08.493" UserId="6411" Text="Using a Bow for Sound Effects" ContentLicense="CC BY-SA 2.5" />
  <row Id="3639" PostHistoryTypeId="3" PostId="2023" RevisionGUID="428eb7a8-bce6-4e10-bb17-425366c31396" CreationDate="2010-07-16T18:53:08.493" UserId="6411" Text="&lt;sound-effects-recording&gt;&lt;sound-design&gt;&lt;techniques&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3640" PostHistoryTypeId="2" PostId="2024" RevisionGUID="47cb5632-cf51-4c41-a13e-4f3b8674a54b" CreationDate="2010-07-16T19:26:37.820" UserId="61" Text="I don't think you need to spend much money on the bow, especially seeing as how you may damage it against the various non-stringed objects you're planning on using it with. Regarding technique, it completely depends on the surface of the object and where its &quot;sweet spot&quot; is - you'll only figure out your technique after some experimentation. Have fun -- and be sure to roll your recorder right away so as to capture any happy accidents!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3641" PostHistoryTypeId="2" PostId="2025" RevisionGUID="daf0629b-d2bc-49c2-98a5-f19bdebcd035" CreationDate="2010-07-16T19:29:02.300" UserId="445" Text="@Steve Urban, I use a very cheap bow, $15 to be exact, and it fulfills its purpouse very well. In fact, I think it's better to use cheap bows, because you can &quot;push&quot; them, pressing very hard and scrapping very fast without fear of breaking. Best from Argentina! @alansende" ContentLicense="CC BY-SA 2.5" />
  <row Id="3642" PostHistoryTypeId="2" PostId="2026" RevisionGUID="d5339631-d710-453a-8caf-8f082d278dc4" CreationDate="2010-07-16T19:39:58.030" UserId="90" Text="I'm a violinist, and I don't think you're going to hear much difference. The bowing technique and type of rosin will have more of an effect than the wood or hair, certainly.  &#xD;&#xA;&#xD;&#xA;You are using rosin, right?  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3643" PostHistoryTypeId="2" PostId="2027" RevisionGUID="094fa015-282e-4637-a030-c3330eaade8a" CreationDate="2010-07-16T19:40:09.797" UserId="315" Text="I second the use of cheap bows. Make sure you purchase Bass rosin as well, as it is designed to vibrate heavy strings." ContentLicense="CC BY-SA 2.5" />
  <row Id="3647" PostHistoryTypeId="2" PostId="2030" RevisionGUID="74a72532-6746-421c-955f-b78e5857f44f" CreationDate="2010-07-16T21:05:02.310" UserId="29" Text="I also agree about cheap bows, but you need to watch for the bow curvature. Some bows, even when the frog's totally tight, will &quot;bottom out&quot; (the bow meets the wood of the bow) in the middle of the bow when you need to push a bit harder to resonate a larger object/string. I've found standard rosin to work just fine to resonate a cable up to 1/8&quot; in width. No rosin = no real decent sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="3648" PostHistoryTypeId="2" PostId="2031" RevisionGUID="217c01da-01d2-43f7-9309-5847cf1ab524" CreationDate="2010-07-16T21:13:27.443" UserDisplayName="user80" Text="The size of the bow is important as well as the choice of rosin.  If you want to vibrate small objects use a violin bow, if you wish to vibrate large objects use a double bass bow.  The quality of the bow does make a difference, but nowhere near as much as your technique.  Practice is the main thing, spend some time perfecting the right sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="3649" PostHistoryTypeId="2" PostId="2032" RevisionGUID="2f046c6c-0f2e-4d5d-8bcf-3e103fc1572e" CreationDate="2010-07-17T00:16:17.950" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;What films are good examples of Sound Design to study and take note of?&#xD;&#xA;&#xD;&#xA;I'm particularly looking for films which sound was used to forward the story with excellent results. Not just using sound for the sake of using sound. Ideally these films would be both of good technical quality as well as artistic in it's sound design. They could be of any genre, and preferably made within the last 3 years, however, I know there are definitely good classic films out there with superb sound design.&#xD;&#xA;&#xD;&#xA;Please put at least some information about the film's sound and why you consider the sound well executed.&#xD;&#xA;&#xD;&#xA;Thanks - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="3650" PostHistoryTypeId="1" PostId="2032" RevisionGUID="2f046c6c-0f2e-4d5d-8bcf-3e103fc1572e" CreationDate="2010-07-17T00:16:17.950" UserId="18160" Text="Films to Study for Sound Design" ContentLicense="CC BY-SA 2.5" />
  <row Id="3651" PostHistoryTypeId="3" PostId="2032" RevisionGUID="2f046c6c-0f2e-4d5d-8bcf-3e103fc1572e" CreationDate="2010-07-17T00:16:17.950" UserId="18160" Text="&lt;film&gt;&lt;sound-design&gt;&lt;studies&gt;&lt;examples&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3652" PostHistoryTypeId="4" PostId="2032" RevisionGUID="06f010ba-e4e0-4001-979b-8bed0ba16e1d" CreationDate="2010-07-17T01:11:05.890" UserId="18160" Comment="edited title" Text="Films to Study for Excellence in Sound Design" ContentLicense="CC BY-SA 2.5" />
  <row Id="3653" PostHistoryTypeId="2" PostId="2033" RevisionGUID="df7a3f8a-d263-43a4-9dde-c00c7d1a647e" CreationDate="2010-07-17T05:37:01.330" UserId="385" Text="I agree with everything everyone has said, I just have something that might help out on the technique side of things:&#xD;&#xA;&#xD;&#xA;While 'bowing' or moving the bow back and forth, bow at an angle. I've noticed its less likely to bottom out by doing this and you get a better sound (I think). &#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3654" PostHistoryTypeId="2" PostId="2034" RevisionGUID="e0aa3b70-df14-495b-ad07-f2db41ee1c2c" CreationDate="2010-07-17T07:27:17.480" UserId="18" Text="I've only used a bow once, and it was a cheap violin bow that I borrowed.  I wouldn't spend a lot of money on such a thing." ContentLicense="CC BY-SA 2.5" />
  <row Id="3655" PostHistoryTypeId="2" PostId="2035" RevisionGUID="9b423f7a-4d99-4b5e-ac84-69dc61231bea" CreationDate="2010-07-17T08:43:34.330" UserId="413" Text="Well there is Antichrist by Lars Von trier wich is worth the hear.&#xD;&#xA;The film in itself is quite strange, so the sound is very emotional and dreamy. Actually it has more to do with nightmares because it's a movie about fear, anxiety, distress and sex.&#xD;&#xA;It's experimental and quite direct." ContentLicense="CC BY-SA 2.5" />
  <row Id="3656" PostHistoryTypeId="2" PostId="2036" RevisionGUID="0b34e7e9-d78e-4ec5-a389-babbfab5c4e3" CreationDate="2010-07-17T09:04:56.410" UserId="2" Text="I have a Mac, but to ensure Windows/Mac compatibility, I have always used FAT32 to format and never had an issue - until now! FAT32 is limited to 4GB files, and while doing some file arranging last night, I couldn't move my project videos, which are often over 20GB. &#xD;&#xA;&#xD;&#xA;I need to re-format my new hard drive, which I'm mostly wanting to use to store, access and edit all my sounds, and also to backup finished projects. I want the best formatting system taking into consideration file size limitations, speed, Windows/Mac compatibility, etc.  &#xD;&#xA;&#xD;&#xA;Can you suggest the best way? I'm thinking of having one partition for the sound files to be formatted as FAT32 because chances of actually having a file larger than 4GB is pretty small, and I think it could be useful to have the option to plug into a Windows machine.&#xD;&#xA;The other partition could be for backups and using Mac OS Extended (Journaled). Does this make sense? Or should I not worry about using FAT32, and just stick with Mac OS Extended (Journaled)? &#xD;&#xA;&#xD;&#xA;Thanks in advance for any tips info! " ContentLicense="CC BY-SA 2.5" />
  <row Id="3657" PostHistoryTypeId="1" PostId="2036" RevisionGUID="0b34e7e9-d78e-4ec5-a389-babbfab5c4e3" CreationDate="2010-07-17T09:04:56.410" UserId="2" Text="Best way to format a drive for sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3658" PostHistoryTypeId="3" PostId="2036" RevisionGUID="0b34e7e9-d78e-4ec5-a389-babbfab5c4e3" CreationDate="2010-07-17T09:04:56.410" UserId="2" Text="&lt;backup&gt;&lt;hard-drive&gt;&lt;storage&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3659" PostHistoryTypeId="2" PostId="2037" RevisionGUID="edf16f2b-a586-4213-b06a-fd50e723c833" CreationDate="2010-07-17T09:11:20.707" UserId="54" Text="Hello. I have a question about embedding the correct sort of metadata and general professional preparation for my sound files so I can pass to others and it'll be appropriate for their professional uses. I have read [this thread][1] where other threads (especially on the subject of metadata) are linked, and they're not really appropriate to what I need.&#xD;&#xA;&#xD;&#xA;I don't use ProTools, Basehead or Soundminer... though I do use Apple's Logic, Audiofile Engineering's Wave Editor and Ice Audio's AudioFinder. I'm currently recording a lot of sounds which I will be passing on to various professional sound editors/designers and I want to make sure they're are prepared and tagged correctly for their use.&#xD;&#xA;&#xD;&#xA;Firstly, I'm looking into the different formats of which to save these files. They have all been originally recorded at 96khz 24bit and are sitting on my hard drive ready for editing, preparing, tagging and exporting... But this is where I need help.&#xD;&#xA;&#xD;&#xA;I'm guessing 100% that these should be saved in .WAV format, and not .AIFF (I'm on a Mac). Say I wanting to narrow my sound export options to three... What would these be? (After doing research on this, it seems 96khz 24bit, 48khz 24bit and 44.1khz 16bit are the best) ...but are they? Are these the optimum outputs? Say I was giving these files to you, and you wanted the choice, what would you prefer (and possibly why? So I can get a better understanding?)&#xD;&#xA;&#xD;&#xA;...and then there's meta data. Seeing I don't have the professional software (mentioned previously) is there still a way I can embed the appropriate meta data into these files? After looking at my software, especially Wave Editor, it has a Properties window, and under this WAVE Extensions properties, where I can seem to set such things as Archival Location, Comments, Copyright, Cropped, Engineers, Genre, Keywords, Original Artist, Name, Product, Software Package, Source Supplier, Subject... Are these the standard things that get stored in WAV files and which would show up in Pro Tools, Soundminer, Basehead etc? I also own Ice Audio's AudioFinder which allows for meta tag editing.&#xD;&#xA;&#xD;&#xA;Basically, will I have a problem with not owning Protools, Soundminer, Basehead when it comes to preparing my metadata for these people? Do I need to own those mentioned software just to be able to prepare the metadata appropriately? All the sounds I'm preparing are the usual stuff you may find under the categories of sound libraries (ambience, foley, nature, machines etc)&#xD;&#xA;&#xD;&#xA;Sorry if this question is a little confusing... I've had a long night!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/1254/which-program-are-you-using-to-embed-metadata-in-wav-files" ContentLicense="CC BY-SA 2.5" />
  <row Id="3660" PostHistoryTypeId="1" PostId="2037" RevisionGUID="edf16f2b-a586-4213-b06a-fd50e723c833" CreationDate="2010-07-17T09:11:20.707" UserId="54" Text="How do I add professional prepared my sound files (without having the software)?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3661" PostHistoryTypeId="3" PostId="2037" RevisionGUID="edf16f2b-a586-4213-b06a-fd50e723c833" CreationDate="2010-07-17T09:11:20.707" UserId="54" Text="&lt;metadata&gt;&lt;sound-effects&gt;&lt;post-production&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3662" PostHistoryTypeId="2" PostId="2038" RevisionGUID="e0c1bd5c-6767-467a-8ad1-80350d9a71f8" CreationDate="2010-07-17T12:27:18.013" UserId="182" Text="You have a couple of options and it will depend on how you use the data and the drive.&#xD;&#xA;&#xD;&#xA;If it's a fixed drive inside your mac, just go for HFS+, the standard mac filesystem (that's the one you call Mac OS X Extended (Journaled)). Don't bother with windows compatibility, because you can always transfer files over a network if needed, regardless of filesystem.&#xD;&#xA;&#xD;&#xA;If it's a portable drive that you carry around and connect to macs and 'unknown' windows computers, make a small FAT32 partition (like 20-50 GB or so) and format the rest as HFS+.&#xD;&#xA;If you need to transfer files to a windows computer you don't own/manage, you can put them on the FAT partition. On any Windows PC you do manage, install [Macdrive][1] so it can read and write HFS+ partitions.&#xD;&#xA;&#xD;&#xA;If you work more on Windows than on macs, do it the other way around: Small FAT32 partition and big NTFS partition. On your own Macs you can install [MacFuse][2] so they can read and write to NTFS.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Generally speaking, format the major part of the drive in the filesystem you'll be working with the most. Accessing a non-native filesystem through a third party program like Macdrive (win) or MacFuse (mac) is convenient but also slower.&#xD;&#xA;&#xD;&#xA;I would advise against using FAT32 for your whole disk. It is old, has the 4 GB file limit, lacks security and data integrity features and for big files it is generally slower than the modern formats like HFS+ and NTFS. HFS+ has even nicer stuff: the Journaled thingy means that it will remember where files went if you moved them, so it will point programs looking for the files to their new location. &#xD;&#xA;And if the disk is NTFS, ALWAYS eject/unmount the drive before disconnecting from any computer. I've had two partition table crashes on NTFS disks because I disconnected it before ejecting. Luckily, both times a program called GetDataBack could restore everything (the data was unharmed, just the index table was corrupted).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mediafour.com/products/macdrive/&#xD;&#xA;  [2]: http://code.google.com/p/macfuse/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3663" PostHistoryTypeId="6" PostId="2036" RevisionGUID="152379e4-c5f8-4983-98cc-ca81e9edff76" CreationDate="2010-07-17T12:31:08.397" UserId="182" Comment="edited tags" Text="&lt;backup&gt;&lt;hard-drive&gt;&lt;storage&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3664" PostHistoryTypeId="2" PostId="2039" RevisionGUID="2b72136f-c9ab-4a18-ab6e-9274709e3204" CreationDate="2010-07-17T15:43:46.057" UserId="253" Text="District 9 was very cool. The sound design was well matched to the gritty, pseudo doco style. And i have to say; the alien spacecraft at the end of the film had the most realistic sound i've ever heard. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3665" PostHistoryTypeId="6" PostId="2016" RevisionGUID="af86230c-7a3b-4b31-a03d-67d0a40c654d" CreationDate="2010-07-17T16:46:31.843" UserDisplayName="user80" Comment="Added tags" Text="&lt;sound-design&gt;&lt;examples&gt;&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3666" PostHistoryTypeId="2" PostId="2040" RevisionGUID="bad259f6-26ee-41a0-b7f8-73bc24037146" CreationDate="2010-07-17T19:08:21.670" UserId="152" Text="There are to many to list. I would recommend checking out the designingsound.org website, check out the featured sound designers page, http://designingsound.org/featured-sound-designers/, and research the movies they worked on using http://www.imdb.com. That is where I would start. Also check out http://www.filmsound.org, another great resource...&#xD;&#xA;&#xD;&#xA;Here are a few of my favorites heavy-hitters off the top of my head:&#xD;&#xA;&#xD;&#xA;The Matrix Trilogy - Dane Davis and his crew are masters of passive sound design; you know the sound is designed but the sound is so good you &quot;know&quot; its real.&#xD;&#xA;&#xD;&#xA;Star Wars - The movie that started modern sound design.&#xD;&#xA;&#xD;&#xA;Wall-e - The best movie ever made, in my mind, that tells an amazing story with sound, not dialogue.&#xD;&#xA;&#xD;&#xA;Jurassic Park - A great movie. I love that the sound for this movie was so large and defining using the techniques that we use today, but where revolutionary at the time.&#xD;&#xA;&#xD;&#xA;The Hulk - A friend of mine was on this project and shared some of the horror stories he and the team encountered while dealing with the acting talent and executives as they tried to &quot;help&quot; in the sound design. The fact that the movie turned out sounding so good is testament to the great leadership on the supervisors part.&#xD;&#xA;&#xD;&#xA;Avatar - 3 years of sound design and it sounded amazing. I was able to get lost in the alien jungles. Loved it!&#xD;&#xA;&#xD;&#xA;Das Boot - Great sound from a movie that is 30 years old.&#xD;&#xA;&#xD;&#xA;Fracture - An amazing example of a talking heads movie. The sound was present but extremely passive; did not steal the spotlight from the story...&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3667" PostHistoryTypeId="4" PostId="2037" RevisionGUID="8bc02cca-ec34-4270-8642-55e991d081db" CreationDate="2010-07-17T20:10:15.260" UserId="54" Comment="Rewritten the question to make a little more sense" Text="How do I add professional prepare my sound files to give to others?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3668" PostHistoryTypeId="2" PostId="2041" RevisionGUID="f2742d26-2d21-49f5-9dba-8bcc9419ec61" CreationDate="2010-07-17T23:08:23.197" UserId="219" Text="The Conversation. Sorry to be brief but i'm on my phone just now ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3669" PostHistoryTypeId="2" PostId="2042" RevisionGUID="28acd5da-2766-4500-b27a-341033783395" CreationDate="2010-07-17T23:22:53.683" UserId="432" Text="They should definitely be .WAV files.  That will ensure the broadest compatibility, and more flexible metadata.  Those sound like good numbers on the bit/sample rate, but I'm guessing your concerned about delivery to clients?  Maybe you should get some feedback from potential clients before committing to any one set.&#xD;&#xA;&#xD;&#xA;As for metadata, check out Sound Devices Wave Agent at: http://www.sounddevices.com/products/waveagent.htm&#xD;&#xA;&#xD;&#xA;It's a free program that will let you edit the metadata on your audio files.  I have to give Tim Prebble credit for pointing this program out to me.  I use Pro Tools to edit metadata when I'm in the studio, but this software is on my laptop for when I'm out of the office for more than a day doing location work.  It will generate some outstanding sound reports as well; for any who need such a simplified method.&#xD;&#xA;&#xD;&#xA;I can't think of anyone here who might need that, but...you know...someone might. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3670" PostHistoryTypeId="2" PostId="2043" RevisionGUID="81b0dbdf-74ec-4b4f-82f3-85b77476c723" CreationDate="2010-07-17T23:32:59.267" UserId="432" Text="Here's something a lot of people don't know about ProTools (if that's what you are using); you can mount and read a Mac formatted drive on a PC through the Digibase browser; that also means that Pro Tools has no issue using them outside of the usual drive logistics.&#xD;&#xA;&#xD;&#xA;There's an option called HFS+ Disk Support that gets installed automatically on PCs when you install Pro Tools HD or LE.  So, if you're transporting files around on an external disk, you're perfectly safe using an HFS+ formatted hard drive; whichever operating system you're using.&#xD;&#xA;&#xD;&#xA;MacDrive (already mentioned by EMV) is a good option too for $50, but unnecessary if you're working in Pro Tools.  Awesome for other programs though.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="3671" PostHistoryTypeId="2" PostId="2044" RevisionGUID="ee264ec6-754e-4af3-8088-86f4023d4a5b" CreationDate="2010-07-17T23:38:02.393" UserId="432" Text="FIGHT CLUB!!!&#xD;&#xA;&#xD;&#xA;sorry..I got a little carried away there.  I just love that movie too much.&#xD;&#xA;&#xD;&#xA;As far as other ideas, I would check out Walter Murch's re-edit of &quot;Touch of Evil.&quot;  It comes with Welles' notes to the studio on the disc.  It makes for some fascinating study; as Welles was not only a genius, but really knew how to use audio to its fullest thanks to all of his work in radio.&#xD;&#xA;&#xD;&#xA;People may laugh at me for this one, but I still say that one of the best sequences I've heard in years was the opening for Quantum of Solace (yes, a James Bond movie).  The sound design of that car chase is beyond superb!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3672" PostHistoryTypeId="5" PostId="2043" RevisionGUID="7ef561c6-4e7d-4230-9d69-479fb410dc4f" CreationDate="2010-07-17T23:46:06.173" UserId="432" Comment="clarification" Text="Here's something a lot of people don't know about ProTools (if that's what you are using); you can mount and read a Mac formatted drive on a PC through the Digibase browser; that also means that Pro Tools has no issue using them outside of the usual drive logistics.  Although, you cannot have mixed drive formats in one session (i.e. session on Mac formatted drive, and media on PC formatted drive).  All elements for the session must be on drives of the same format (i.e. one Mac drive, or multiple PC drives, etc.).&#xD;&#xA;&#xD;&#xA;There's an option called HFS+ Disk Support that gets installed automatically on PCs when you install Pro Tools HD or LE.  So, if you're transporting files around on an external disk, you're perfectly safe using an HFS+ formatted hard drive; whichever operating system you're using.&#xD;&#xA;&#xD;&#xA;MacDrive (already mentioned by EMV) is a good option too for $50, but unnecessary if you're working in Pro Tools.  Awesome for other programs though.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="3673" PostHistoryTypeId="2" PostId="2045" RevisionGUID="f61f97af-1b8f-4495-9c84-1cf17cd5bdae" CreationDate="2010-07-18T01:16:40.990" UserId="417" Text="Ive been given the task to create sounds for a T-Rex, and this is my first real sound design project. Im more accustomed to designing sounds with synthesis, not so much with recorded sounds, so I was hoping to get some pointers.&#xD;&#xA;&#xD;&#xA;I have to make sounds for roaring and swallowing. &#xD;&#xA;&#xD;&#xA;Any tips? :):)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3674" PostHistoryTypeId="1" PostId="2045" RevisionGUID="f61f97af-1b8f-4495-9c84-1cf17cd5bdae" CreationDate="2010-07-18T01:16:40.990" UserId="417" Text="Creating sounds for a T-Rex?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3675" PostHistoryTypeId="3" PostId="2045" RevisionGUID="f61f97af-1b8f-4495-9c84-1cf17cd5bdae" CreationDate="2010-07-18T01:16:40.990" UserId="417" Text="&lt;t-rex&gt;&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3676" PostHistoryTypeId="2" PostId="2046" RevisionGUID="a297029c-f2a2-4a26-a6fe-acd2260921cd" CreationDate="2010-07-18T09:47:17.147" UserId="2" Text="I don't know if you've seen this question or not, but there are insights on how the Jurassic Park dinosaur roars where created: [Jurassic Park - Classic Roar][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/934/jurassic-park-classic-roar" ContentLicense="CC BY-SA 2.5" />
  <row Id="3677" PostHistoryTypeId="2" PostId="2047" RevisionGUID="5b11adfd-77db-405e-b130-86579a0a2071" CreationDate="2010-07-18T11:45:51.507" UserId="175" Text="I've been asked by a friend to help create some convincing and comical voices for talking flies in a stop motion short.&#xD;&#xA;&#xD;&#xA;After thinking about how to do this the best I could come up with was to pitch up normal speech a few semitones and then put a vocoder on the track channeling an external recording of flies buzzing about. But this isn't exactly giving me the desired result. &#xD;&#xA;&#xD;&#xA;Does anyone have suggestions of how to make convincing insect voices?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3678" PostHistoryTypeId="1" PostId="2047" RevisionGUID="5b11adfd-77db-405e-b130-86579a0a2071" CreationDate="2010-07-18T11:45:51.507" UserId="175" Text="Creating insect-like voices for talking flies" ContentLicense="CC BY-SA 2.5" />
  <row Id="3679" PostHistoryTypeId="3" PostId="2047" RevisionGUID="5b11adfd-77db-405e-b130-86579a0a2071" CreationDate="2010-07-18T11:45:51.507" UserId="175" Text="&lt;insects&gt;&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3680" PostHistoryTypeId="2" PostId="2048" RevisionGUID="e21bab95-87b6-463d-b7d9-143f188354c1" CreationDate="2010-07-18T13:04:24.110" UserId="260" Text="Hi, I recently did some sound work for a video game that had a massive beetle that talked. I vocoded the voice with dolphine clicks that I either sped up or slowed down, depending on the lines. Angry was for instance sped up while crying was slowed down and then vocoded on the voice. I also ended up vocoding white noise to the lines. In the end I had the wet and the dry version and mixed them together, making sure it was audible of what he said but still had the insect-like voice.&#xD;&#xA;&#xD;&#xA;Hope it helps! " ContentLicense="CC BY-SA 2.5" />
  <row Id="3681" PostHistoryTypeId="2" PostId="2049" RevisionGUID="05eab66c-56ac-46fc-9549-7889d112dd75" CreationDate="2010-07-18T14:43:48.393" UserId="198" Text="I've been actually using &quot;free&quot; bows for years. Go into a music shop that sells string instruments and ask for &quot;junk&quot; bows. They will look at you funny until you explain its for experimenting on non-instruments and then they'll possibly drag out a box full of bows that are in too poor of a condition to repair. Dig through the pile and pick out a few that look usable, buy some rosin to support the shop and then be on your way. One's persons trash is another's treasure." ContentLicense="CC BY-SA 2.5" />
  <row Id="3682" PostHistoryTypeId="2" PostId="2050" RevisionGUID="ef4c3466-990e-43a8-a07b-4a6f7ee0c523" CreationDate="2010-07-18T15:20:28.750" UserId="414" Text="I realize that you need to go where the jobs are in order to make it as a sound designer. I know New York and L.A. are up there, but what about Boston, Chicago, Seattle, Honolulu?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3683" PostHistoryTypeId="1" PostId="2050" RevisionGUID="ef4c3466-990e-43a8-a07b-4a6f7ee0c523" CreationDate="2010-07-18T15:20:28.750" UserId="414" Text="What's the best city for sound designers to start their careers?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3684" PostHistoryTypeId="3" PostId="2050" RevisionGUID="ef4c3466-990e-43a8-a07b-4a6f7ee0c523" CreationDate="2010-07-18T15:20:28.750" UserId="414" Text="&lt;recommendations&gt;&lt;career&gt;&lt;advice&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3685" PostHistoryTypeId="2" PostId="2051" RevisionGUID="c746cc7b-940d-4f3d-8e12-f15a4cd67759" CreationDate="2010-07-18T16:26:44.717" UserId="366" Text="It really depends on the kind of sound effect you are trying to create. As a general rule, longer impulses are better for creating ambiences and soundscapes but, having said that, if you take a very short sound and convolve it with a long impulse you might get an interesting spot effect. It all depends on the spectra and length of the two sounds you're convolving and what you're hoping to get. I've found that convolution using exotic impulses is very good for producing ghostly, breathlike effects, stingers and dark ambiences. &#xD;&#xA;&#xD;&#xA;The &quot;Pulses&quot; folder in Virtuasonic's impulse library called Synesthesis comprises very short impulses that produce interesting effects. Stacking impulses can also produce interesting results, particularly short following long or vice versa. &#xD;&#xA;&#xD;&#xA;The whole process of unconventional convolution is somewhat alchemical and the results can be unpredictable unless you've got a good sense of pitch and what musical notes equate to on a spectrograph. Some rules of thumb are: &#xD;&#xA;&#xD;&#xA;the longer the impulse you're using, the greater the smear or blur that will be imparted to your sound. &#xD;&#xA;&#xD;&#xA;Prominent frequency components in either the impulse or the audio you wish to treat will be preserved, so if you have a very musical impulse, your audio will most likely take on those qualities. If you are treating a piece of music then long notes in particular will be preserved in some form. &#xD;&#xA;&#xD;&#xA;Frequency sweeps used as impulses will produce frequency dependent delays. Sound effects used as impulses faded in or faded out will produce reverse reverb qualities and reverb qualities respectively. &#xD;&#xA;&#xD;&#xA;Here's an excelent article from Electronic Musician that goes into a lot of detail on how to get the most out of convolution. &#xD;&#xA;&#xD;&#xA;http://emusician.com/tutorials/audio_alchemy/index.html&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3686" PostHistoryTypeId="2" PostId="2052" RevisionGUID="343f72f4-f4d5-4726-a1a4-df3a05953018" CreationDate="2010-07-18T16:43:43.997" UserId="366" Text="Be sure to use as flat a mic and speaker set as you can in terms of frequency response so that you capture as accurate an impulse response as possible. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3687" PostHistoryTypeId="2" PostId="2053" RevisionGUID="336c1bee-464e-4760-8989-77ef1c9850ac" CreationDate="2010-07-18T17:08:56.037" UserId="29" Text="It might be neat to take a clip of a buzzing bee or fly and either have it gated/sidechained, or convolved, with the spoken lines such that only where a spoken line is sibilant, the buzz works itself in. Kind of a fancier approach to the sibilant, hissing speech of the snake in the Jungle Book. &#xD;&#xA;&#xD;&#xA;All that said, I think the success of any technique will be based on the original voicing of the character. If the talent is encouraged to think about speaking like a fly, that may give a richer starting point, but increasingly annimated film directors prefer realistic, human line delivery (compare the ladybug in Toy Story to Mickey Mouse, for example). " ContentLicense="CC BY-SA 2.5" />
  <row Id="3688" PostHistoryTypeId="2" PostId="2054" RevisionGUID="05abf646-c24a-488a-83a2-f3f97801c998" CreationDate="2010-07-18T17:14:47.810" UserId="219" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;My recordings are all noisy to some extent, but I want to say it's only preamp noise. Should I process my audio for **NR just now** and get rid of the raw file or should I **leave that NR to appreciation for each and every case** I'll need this particular effect in?&#xD;&#xA;&#xD;&#xA;With the recording gear I have (Tascam DR-100, AT8015) I need to crank up the gain quite a bit to record at a reasonable level and unfortunately it's noissssssssssssy. Haven't had the chance to try with another mic yet but I'll do that asap!&#xD;&#xA;&#xD;&#xA;But back to the NR. Should I keep that for later and let my sounds live with their noise?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3689" PostHistoryTypeId="1" PostId="2054" RevisionGUID="05abf646-c24a-488a-83a2-f3f97801c998" CreationDate="2010-07-18T17:14:47.810" UserId="219" Text="Noise reduction on my library sounds? Yes or no?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3690" PostHistoryTypeId="3" PostId="2054" RevisionGUID="05abf646-c24a-488a-83a2-f3f97801c998" CreationDate="2010-07-18T17:14:47.810" UserId="219" Text="&lt;noise-reduction&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3691" PostHistoryTypeId="2" PostId="2055" RevisionGUID="963d7767-a188-4e16-b4e8-b300cd7d4a18" CreationDate="2010-07-18T17:38:04.667" UserId="366" Text="Hi! I'm hoping to produce both an impulse response library and a sound effects library for commercial distribution. I was wondering if anyone had any tips on how to master sound effects and impulse responses. &#xD;&#xA;&#xD;&#xA;Mastering music is surely easier because you just have to make the music sound the best it can and the loudest it can in as many possible environments. Plus with mastering an album you're trying to make the album fit together as a whole. With sound effects it's surely a different kettle of fish because only one sound effect from the entire library might be used in a given project and you've no notion how it's going to be used, what other sounds it will be interacting with, particularly if your sound is used in a game. Plus if you're recording real sounds, you want them to be as true to life as possible don't you, so surely the less post-production tinkering you do the better. &#xD;&#xA;&#xD;&#xA;I guess I'm having a hard time distinguishing between the editing and mastering stage. In the editing stage you reduce the dynamic range, remove extraneous noise with eq etc, normalize, bring out frequency ranges that are a little lacking and then aren't you pretty much done? &#xD;&#xA;&#xD;&#xA;Surely mastering impulse responses, particularly unconventional ones, is even harder because you've no idea what they're going to be convolved with. Any thoughts or tips would be much appreciated! " ContentLicense="CC BY-SA 2.5" />
  <row Id="3692" PostHistoryTypeId="1" PostId="2055" RevisionGUID="963d7767-a188-4e16-b4e8-b300cd7d4a18" CreationDate="2010-07-18T17:38:04.667" UserId="366" Text="Mastering sound effects and impulse responses" ContentLicense="CC BY-SA 2.5" />
  <row Id="3693" PostHistoryTypeId="3" PostId="2055" RevisionGUID="963d7767-a188-4e16-b4e8-b300cd7d4a18" CreationDate="2010-07-18T17:38:04.667" UserId="366" Text="&lt;mastering&gt;&lt;impulseresponse&gt;&lt;soundlibrary&gt;&lt;soundeffects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3694" PostHistoryTypeId="2" PostId="2056" RevisionGUID="19f59d91-5430-4274-b88f-161096c26ebd" CreationDate="2010-07-18T17:47:00.047" UserId="446" Text="I haven't tried this - but I read about it on one of the Nature Recording sites:&#xD;&#xA;&#xD;&#xA;[Exo Terra Portable Reptile Cage][1]&#xD;&#xA;&#xD;&#xA;This would, at least, keep the bugs off of the windscreen.&#xD;&#xA;&#xD;&#xA;John Moore&#xD;&#xA;&#xD;&#xA;[sound.flyingmonkeystudio.com][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pondmarket.com/catalog/index.cfm/product/1261_94&#xD;&#xA;  [2]: http://sound.flyingmonkeystudio.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="3695" PostHistoryTypeId="2" PostId="2057" RevisionGUID="505ccac2-fb8f-4f24-805d-eeecde3a12a1" CreationDate="2010-07-18T17:51:59.740" UserId="29" Text="I'm tired of using El Cheapo mic boom arms whose knobs don't keep the telescoping arms from rotating, whos knobs are hard to tighten and loosen, and generally possess poor quality control. For heavy rigs - like a mid-side pair in a windshield or a single heavy mic - what brands and models have you had success with, *specifically for field use* (Boom arms, specifically, not the mic stand itself)?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3696" PostHistoryTypeId="1" PostId="2057" RevisionGUID="505ccac2-fb8f-4f24-805d-eeecde3a12a1" CreationDate="2010-07-18T17:51:59.740" UserId="29" Text="Rock-solid telescoping mic boom arms?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3697" PostHistoryTypeId="3" PostId="2057" RevisionGUID="505ccac2-fb8f-4f24-805d-eeecde3a12a1" CreationDate="2010-07-18T17:51:59.740" UserId="29" Text="&lt;microphone-stand&gt;&lt;boom&gt;&lt;equipment&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3698" PostHistoryTypeId="5" PostId="2053" RevisionGUID="a6c16afe-f3b8-4938-80aa-18f03056f3bb" CreationDate="2010-07-18T17:55:00.857" UserId="29" Comment="added 27 characters in body" Text="It might be neat to take a clip of a buzzing bee or fly and either have it gated/sidechained, or convolved, with the spoken lines such that only where a spoken line is sibilant, the buzz works itself into the mix. Kind of a fancier, post-production approach to the sibilant, hissing speech of the snake in the Jungle Book. &#xD;&#xA;&#xD;&#xA;All that said, I think the success of any technique will be based on the original voicing of the character. If the talent is encouraged to think about speaking like a fly, that may give a richer starting point, but increasingly annimated film directors prefer realistic, human line delivery (compare the ladybug in Toy Story to Mickey Mouse, for example). " ContentLicense="CC BY-SA 2.5" />
  <row Id="3699" PostHistoryTypeId="2" PostId="2058" RevisionGUID="a6bf82f8-aa5d-4187-9def-b1c56a575259" CreationDate="2010-07-18T17:59:37.393" UserId="219" Text="Kazoos sound like flies. So I'd try to pitch and side-chain that..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3700" PostHistoryTypeId="2" PostId="2059" RevisionGUID="8533a3ca-cf92-470b-871a-74525b50376d" CreationDate="2010-07-18T18:00:21.830" UserId="29" Text="I'd argue that it seems like the best city to start your career in is the city in which you're best connected - or can become best connected - to the audio post scene. That's not to say that once you're in the door that this particular city may provide a lifetimes' worth of career opportunities, but it'd certainly be enough to get you started and get you enough of a background to make a move to a bigger, or different, geographical market.&#xD;&#xA;&#xD;&#xA;The other factor, I'd think, is what industry you want to enter into. Games is different than film, which is different than advertising, which is different than software/rich media, and some industries are far more distributed than others. &#xD;&#xA;&#xD;&#xA;Sorry these aren't solid answers, but all markets are different, and it depends on what you're looking for, and what stage in your life you're at. Wanting to get a killer ground-floor opp in a city that you want to settle down in and start a family in is totally different than being right out of school and wanting to relocate a few times while chasing the right upwardly-mobile opportunities." ContentLicense="CC BY-SA 2.5" />
  <row Id="3701" PostHistoryTypeId="2" PostId="2060" RevisionGUID="6282290a-cbfb-4458-826f-a1e2c58b14bf" CreationDate="2010-07-18T18:02:00.053" UserId="258" Text="Since I bought me a mic (RØDE NT3) and started recording things that sound interesting to me I keep asking myself what would be a good workflow for importing, cutting/editing and mastering the sounds, export them and - very important - keeping all the stuff organized.&#xD;&#xA;&#xD;&#xA;I have found 2 threads that are already covering some questions that are related to my question, one about the organisation of files&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/552/audio-file-organization&#xD;&#xA;&#xD;&#xA;and a brand new one&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/2054/noise-reduction-on-my-library-sounds-yes-or-no&#xD;&#xA;&#xD;&#xA;which is about keeping the raw data &quot;as it is&quot; - or not.&#xD;&#xA;&#xD;&#xA;So far, I have imported the raw material into my DAW (Ableton Live which works non destructive and keeps the raw data as it is), cutted the sections of a take that I like and put that material on a new track - where I threat it with EQ etc. Then I´ll export the result.&#xD;&#xA;&#xD;&#xA;I don´t know if that is a way how somebody more professional than me would work so give me a hint - what happens after you recorded your sounds?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3702" PostHistoryTypeId="1" PostId="2060" RevisionGUID="6282290a-cbfb-4458-826f-a1e2c58b14bf" CreationDate="2010-07-18T18:02:00.053" UserId="258" Text="Developing a workflow for editing and mastering raw material" ContentLicense="CC BY-SA 2.5" />
  <row Id="3703" PostHistoryTypeId="3" PostId="2060" RevisionGUID="6282290a-cbfb-4458-826f-a1e2c58b14bf" CreationDate="2010-07-18T18:02:00.053" UserId="258" Text="&lt;metadata&gt;&lt;editing&gt;&lt;cutting&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3704" PostHistoryTypeId="5" PostId="2058" RevisionGUID="5f049b61-4d9e-415c-a24f-6f6a5d57b6ea" CreationDate="2010-07-18T18:04:45.713" UserId="219" Comment="added 34 characters in body" Text="Kazoos sound like flies. So I'd try to pitch and side-chain that...&#xD;&#xA;&#xD;&#xA;[youtube]oau9gtG5Om8[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="3705" PostHistoryTypeId="2" PostId="2061" RevisionGUID="41a2d358-ebb2-43d2-b2c8-d7f9f7da6fc4" CreationDate="2010-07-18T18:05:59.667" UserId="29" Text="I always keep my raw files untouched in a separate directory, organized by session, and I never delete them, ever. I never process them, normalize them, NR them, or anything - they're the masters, from which I create new, derivative files for my actual project or sound library (kept on different drives/directories). I currently don't have them tagged with metadata or integrated into my mainline database, but they're there. I've needed to go back and remaster or grab alternate takes that, at the time, passed me by, and I'd have been hosed if I didn't have my original takes in their original form. (This is the same thing I do with photography - I never, ever delete my RAW files.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3706" PostHistoryTypeId="6" PostId="2050" RevisionGUID="b64900c3-64a4-42f4-8aac-ab5bc94e5245" CreationDate="2010-07-18T18:56:35.883" UserDisplayName="user80" Comment="edited tags" Text="&lt;recommendations&gt;&lt;career-advice&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3707" PostHistoryTypeId="2" PostId="2062" RevisionGUID="6c7c5392-9a66-475d-8b51-886cf381d621" CreationDate="2010-07-18T19:31:24.793" UserId="208" Text="http://www.youtube.com/watch?v=z382bFcMgcc&amp;feature=player_embedded#!&#xD;&#xA;&lt;object width=&quot;480&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/z382bFcMgcc&amp;amp;hl=en_US&amp;amp;fs=1&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/z382bFcMgcc&amp;amp;hl=en_US&amp;amp;fs=1&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;480&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;&#xD;&#xA;&#xD;&#xA;I just had to post this vid. Its more like a wood creak, but with rope involved:)&#xD;&#xA;That little box is just great thought out!&#xD;&#xA;Check out the other Roger Gregg vids. He is really inventive.&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 2.5" />
  <row Id="3708" PostHistoryTypeId="2" PostId="2063" RevisionGUID="deefdbb4-a4f7-4e37-aaaa-d32361fbbcc0" CreationDate="2010-07-18T19:39:27.553" UserId="90" Text="Always keep the raw files.  Hard drives are cheap, and you can go back and do it better if you learn better techniques in the future." ContentLicense="CC BY-SA 2.5" />
  <row Id="3710" PostHistoryTypeId="2" PostId="2065" RevisionGUID="904a4ac6-6fc6-4d67-b10a-fe8e2e2cc7bd" CreationDate="2010-07-18T22:05:28.010" UserId="396" Text="Try using the same audio file as both the impulse response and the sound being processed. I had good results using this on a glass smash - turned a single impact into a large shower!&#xD;&#xA;&#xD;&#xA;Could be interesting to try this technique on a range of sounds, varying parameters of your reverb plugin." ContentLicense="CC BY-SA 2.5" />
  <row Id="3711" PostHistoryTypeId="2" PostId="2066" RevisionGUID="c457b2cb-9f39-49e4-88d6-a840222126c2" CreationDate="2010-07-18T22:22:51.410" UserId="219" Text="A heavily slowed down **dog bark** could be a start, but you need some power with something like a **cow/bull**. Some sort of **hiss/wind** as well, because this thing must project quite a lot of air! An **elephant** could help and why not a **siren** (WW2 kind of bombing alert).&#xD;&#xA;&#xD;&#xA;This is just brain storming, I might come back with more! :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3712" PostHistoryTypeId="2" PostId="2067" RevisionGUID="5c348775-a5ad-46d9-ad97-07a8ad0a9bd2" CreationDate="2010-07-18T22:45:33.260" UserId="219" Text="If you choose **HFS+** you can still use **HFS Explorer** on your Windows machine to explore the drive. It's not hyper practical but it works. The non free version is **MacDrive**, which you automatically get when you install Pro Tools on a Windows machine. It seems you can't rely on Apple's HFS drivers for Windows, so if you want perfect integration you should stick with MacDrive.&#xD;&#xA;&#xD;&#xA;Now I work a lot from an **NTFS** drive in Mac OS using **MacFuse/NTFS-3G** and haven't had any problem yet. It's been a year and a half." ContentLicense="CC BY-SA 2.5" />
  <row Id="3713" PostHistoryTypeId="5" PostId="2066" RevisionGUID="530f76b1-f407-4de5-93f0-b36d67a7ed8e" CreationDate="2010-07-18T23:20:03.250" UserId="219" Comment="added 67 characters in body" Text="A heavily slowed down **dog bark** could be a start, but you need some power with something like a **cow/bull**. Some sort of **hiss/wind** as well, because this thing must project quite a lot of air! An **elephant** could help and why not a **siren** (WW2 kind of bombing alert).&#xD;&#xA;&#xD;&#xA;This is just brain storming, I might come back with more! :)&#xD;&#xA;&#xD;&#xA;EDIT: revving up an **engine** could add character to the roar?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3714" PostHistoryTypeId="2" PostId="2068" RevisionGUID="d09e803c-6ce4-4f68-b359-87d27046e5b6" CreationDate="2010-07-18T23:22:14.400" UserId="432" Text="I'd agree with the suggestions to keep the raw files, even if they're just backed up somewhere and the drive collects dust for years.  I agree with Ryan.  Typically, I'll hold off on noise reduction until the mix stage of production.  In context, I may get some helpful masking going on (yes, masking can be helpful), which also allows me to keep the full spectral range of the sound in its natural state.&#xD;&#xA;&#xD;&#xA;If you need to go for noise reduction at that stage, at least you know it's worth your effort.  And for anyone who hasn't learned this yet, don't forget the golden rules - filters first, interpolation second, then broadband noise reduction.&#xD;&#xA;&#xD;&#xA;[And just in case someone didn't know those rules, the second part is: filters (i.e. EQs, de-essers) get used primarily on harmonics (i.e. 50/60 cycle hum), interpolators (i.e. declickers) on clicks and pops, and broadband noise reduction is used on noise with wide spectral content (think white noise)]" ContentLicense="CC BY-SA 2.5" />
  <row Id="3715" PostHistoryTypeId="2" PostId="2069" RevisionGUID="fc8ddca7-a60d-4130-93ea-8b93ed2691bd" CreationDate="2010-07-19T02:42:00.783" UserId="10" Text="My recommendation is to keep the original files and also the mastered sounds in separated folders. I have a folder of raw recordings and also the respective folders on my personal library.&#xD;&#xA;&#xD;&#xA;When I copy my recordings from the recorder's memory, I first rename all the files, then make a backup and work over the originals. Normally I first mix the channels if it's needed, then remove unwanted sounds, cut/add silences, fades, etc. All the editing stuff. Then I use some EQ if it's needed, or noise reduction, depending on the file.&#xD;&#xA;&#xD;&#xA;You have to be careful with Noise Reduction. From my experience, it's better to start using some EQ, notch filtering, etc. If there's more specific noise, it's good to try with some noise reduction (in my case mostly RX and Z-Noise).&#xD;&#xA;&#xD;&#xA;And the levels... For me it depends on the sound that is going to be mastered. The first recommendation I would give is to record with the final levels in mind, so you don't have to worry too much about it when mastering your recordings. Obviously it depends of the circumstances and the sounds recorded. Some sounds are fine on it's recording level, with other kind I try to get -0.5dB peaks, etc.&#xD;&#xA;&#xD;&#xA;In this final step of mastering, expanders/limiters such as L2 or multi-band tools such as Waves C4 or McDSP ML400 are really great. That kind of tools are pretty versatile, both for noise reduction and expanding/limiting tasks. Of course it depends of whatever fits better for you what exactly do you need. That's because is useful to keep the raw files, in case you want to go back and re-edit the files.&#xD;&#xA;&#xD;&#xA;For me the main goal of mastering sfx is to get **clean** sounds. Just that, everything else such as adding puch, warmth, etc it's more for an editing/design process." ContentLicense="CC BY-SA 2.5" />
  <row Id="3716" PostHistoryTypeId="5" PostId="2069" RevisionGUID="8dd12914-f665-4c10-a3f4-f945784db424" CreationDate="2010-07-19T02:54:16.050" UserId="10" Comment="added 74 characters in body; edited body" Text="My recommendation is to keep the original files and also the mastered sounds in separated folders. I have a folder of raw recordings and also the respective folders on my personal library.&#xD;&#xA;&#xD;&#xA;When I copy my recordings from the recorder's memory, I first rename all the files, then make a backup and work over the originals. Normally I first mix the channels if it's needed, then remove unwanted sounds, cut/add silences, fades, etc. All the editing stuff. Then I use some EQ if it's needed, or noise reduction, depending on the sound. EQ can do a lot of corrective things if you know how to use it correctly&#xD;&#xA;&#xD;&#xA;You have to be careful with Noise Reduction. From my experience, it's better to start using some EQ, notch filtering, etc. If there's more specific noise, it's good to try with some noise reduction (mostly RX and Z-Noise in my case).&#xD;&#xA;&#xD;&#xA;And the levels... For me it depends on the sound that is going to be mastered. The first recommendation I would give is to record with the final levels in mind, so you don't have to worry too much about it when mastering your recordings. Obviously it depends of the circumstances and the sounds recorded. Some sounds are fine on it's recording level, with other kind I try to get -0.5dB peaks, etc.&#xD;&#xA;&#xD;&#xA;In this final step of mastering, expanders/limiters such as L2 or multi-band tools such as Waves C4 or McDSP ML400 are really great. That kind of tools are pretty versatile, both for noise reduction and expanding/limiting tasks. Of course it depends of whatever fits better for you what exactly do you need. That's because is useful to keep the raw files, in case you want to go back and re-edit the files.&#xD;&#xA;&#xD;&#xA;For me the main goal of mastering sfx is to get **clean** sounds. Just that, everything else such as adding puch, warmth, etc it's more for an editing/design process." ContentLicense="CC BY-SA 2.5" />
  <row Id="3717" PostHistoryTypeId="4" PostId="2037" RevisionGUID="d1657282-143e-4cfa-a017-f96803f585b6" CreationDate="2010-07-19T04:26:07.617" UserId="61" Comment="grammar" Text="How do I prepare my sound files professionally to share with others?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3718" PostHistoryTypeId="2" PostId="2070" RevisionGUID="81cf9f3e-752c-4151-84c2-5489c59d0a22" CreationDate="2010-07-19T08:05:26.540" UserId="270" Text="On the DVD for Star Wars episode 2 there is a behind the scenes documentary in which Ben Burtt briefly talks about creating the voice for a an insect like alien called Poggle.&#xD;&#xA;&#xD;&#xA;The voice he creates sounds fantastic.  He used a combination of his own vocal sounds and buzzing noises made by talking through the edge of a piece of paper, which he then cut up and rearranged to make it sound less human.&#xD;&#xA;&#xD;&#xA;If you can get hold of the DVD its worth watching" ContentLicense="CC BY-SA 2.5" />
  <row Id="3719" PostHistoryTypeId="2" PostId="2071" RevisionGUID="5f756af5-d70f-4816-8fe0-1081e7d7b0ac" CreationDate="2010-07-19T08:30:37.050" UserId="62" Text="On the one hand you are best to go to where the work is, on the other I'd totally agree that you'd do well somewhere with your best connections." ContentLicense="CC BY-SA 2.5" />
  <row Id="3720" PostHistoryTypeId="2" PostId="2072" RevisionGUID="0138803b-44f7-4d23-b130-7b7fdcc31b7a" CreationDate="2010-07-19T09:08:30.220" UserId="447" Text="Thank you Ian.....Basically Visual Amplication sound is one of the 6 Areas of sound within a film, which are found on the David Sonnenschein`s book (The Expressive Power Of Music, Voice And Sound Effects In Cinema), but I needed a clear understandind of how it works within a film..By the way I`m still a student whose in 2nd year studying Sound Design, so I`ll be aksing you lots of questions based on sound...&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 2.5" />
  <row Id="3721" PostHistoryTypeId="5" PostId="2067" RevisionGUID="c8a03668-5e54-46a1-91ae-97ca87c7893a" CreationDate="2010-07-19T12:33:28.310" UserId="219" Comment="added 45 characters in body" Text="If you choose **HFS+** you can still use **HFS Explorer** on your Windows machine to explore the drive. It's not hyper practical but it works. The non free version is **MacDrive**, which you &lt;strike&gt;automatically get when you install Pro Tools&lt;/strike&gt; have to purchase to run on a Windows machine. It seems you can't rely on **Apple's HFS drivers** for Windows, so if you want perfect integration you should stick with MacDrive.&#xD;&#xA;&#xD;&#xA;Now I work a lot from an **NTFS** drive in Mac OS using **MacFuse/NTFS-3G** and haven't had any problem yet. It's been a year and a half." ContentLicense="CC BY-SA 2.5" />
  <row Id="3722" PostHistoryTypeId="5" PostId="2069" RevisionGUID="58638f24-abdc-43bd-9f5c-3d191aa83237" CreationDate="2010-07-19T15:00:04.193" UserId="10" Comment="added 13 characters in body" Text="My recommendation is to keep the original files and also the mastered sounds in separated folders. I have a folder of raw recordings and also the respective folders on my personal library.&#xD;&#xA;&#xD;&#xA;When I copy my recordings from the recorder's memory, I first rename all the files, then make a backup and work over the originals. Normally I first mix the channels if it's needed, then remove unwanted sounds, cut/add silences, fades, etc. All the commmon editing stuff. Then I use some EQ if it's needed, or noise reduction, depending on the sound. EQ can do a lot of corrective things if you know how to use it correctly.&#xD;&#xA;&#xD;&#xA;You have to be careful with Noise Reduction. From my experience, it's better to start using some EQ, notch filtering, etc. If there's more specific noise, it's good to try with some noise reduction (mostly RX and Z-Noise in my case).&#xD;&#xA;&#xD;&#xA;And the levels... For me it depends on the sound that is going to be mastered. The first recommendation I would give is to record with the final levels in mind, so you don't have to worry too much about it when mastering your recordings. Obviously it depends of the circumstances and the sounds recorded. Some sounds are fine on it's recording level, with other kind I try to get -0.5dB peaks, etc.&#xD;&#xA;&#xD;&#xA;In this final step of mastering, expanders/limiters such as L2 or multi-band tools such as Waves C4 or McDSP ML400 are really great. That kind of tools are pretty versatile, both for noise reduction and expanding/limiting tasks. Of course it depends on whatever fits better for you and what exactly do you need. That's because is useful to keep the raw files, in case you want to go back and re-edit the files.&#xD;&#xA;&#xD;&#xA;For me the main goal of mastering sfx is to get **clean** sounds. Just that, everything else such as adding puch, warmth, etc it's more for an editing/design process." ContentLicense="CC BY-SA 2.5" />
  <row Id="3723" PostHistoryTypeId="2" PostId="2073" RevisionGUID="05ee7803-8d88-434b-b045-55a314e795c6" CreationDate="2010-07-19T15:42:57.357" UserId="220" Text="If I am creating SFX, I save a &quot;raw&quot; file that has been trimmed of excess audio (gaps between actions, vocally cuing, etc)and renamed but nothing else has been done. I save that files as something like &quot;1408200 Car INT Engine Noises Original.&quot;  Then when I create a folder containing all of the SFX broken down, noise reduced, and EQd - &quot;Car INT Engine Start, Idle, Stop&quot; for example - I drop the original file in there as well.  That way if something isn't right, I've already got the original there in the folder.  I find it easier than NoiseJokey's method, but I'm also not as well organized as he is." ContentLicense="CC BY-SA 2.5" />
  <row Id="3724" PostHistoryTypeId="2" PostId="2074" RevisionGUID="2ecd9c9c-8ff4-47a7-856d-8df56a687fe4" CreationDate="2010-07-19T15:59:51.927" UserId="270" Text="When I am recording I try to slate each take with my voice so it is easy to tell exactly what each recording is when I get around to mastering them.&#xD;&#xA;&#xD;&#xA;Usually after a recording session I copy the recordings onto my PC, rename the audio files to describe the sounds, then burn them to DVD for backup.  I also try to add some info to the DVD like a diary of the recording session describing the the locations, equipment, and subject.  If I have taken any photographs and videos I include them too.I dont really trust optical media but it cant hurt to have an extra backup copy.&#xD;&#xA;&#xD;&#xA;I then edit the copies on my hdd to add metadata &amp; remove bits of silence which prepares the files to be used conveniently for editing sound effects.&#xD;&#xA;&#xD;&#xA;I also backup my sound recordings folder to an external HDD which I sync every few days.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3725" PostHistoryTypeId="2" PostId="2075" RevisionGUID="b1cac490-d2e3-443b-8f05-293131fac810" CreationDate="2010-07-19T16:02:21.627" UserId="37" Text="We really need the equivalent of Lightroom for sound :(" ContentLicense="CC BY-SA 2.5" />
  <row Id="3726" PostHistoryTypeId="2" PostId="2076" RevisionGUID="5ce77d73-55ac-4962-b4c3-d4df4adcf86c" CreationDate="2010-07-19T17:04:09.427" UserId="315" Text="I'd go with anything Manfrotto makes...good stuff. They make boom arms and clamps for their lighting tripods that would probably work for field use. &#xD;&#xA;&#xD;&#xA;Haven't tried it myself, but that's because I don't like to lug around a boom arm in the field. I just tilt my tripod, or lean it against something if I want to get over a sound source." ContentLicense="CC BY-SA 2.5" />
  <row Id="3727" PostHistoryTypeId="2" PostId="2077" RevisionGUID="ce238979-1577-4860-ad10-3df7b32d5ee0" CreationDate="2010-07-19T19:08:00.450" UserId="432" Text="We have a pair of K-tek booms that we've been using for YEARS at my company.  We've used them all over the place (woods, cities, deserts) and we've never had any issues with them.  They're great.&#xD;&#xA;&#xD;&#xA;http://www.ktekbooms.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3728" PostHistoryTypeId="2" PostId="2078" RevisionGUID="7ce5ab8f-5f42-4cb3-a290-8d6e3a2aff9b" CreationDate="2010-07-20T00:05:38.493" UserId="432" Text="At work, my mix controller (D-Control) is at the proper height for standing while I work.  that's eliminated 90% of all the problems I used to have.  If you've got the space for it, I'd recommend getting yourself set up to stand while you work.  It's a lot more comfortable.  I also have a tall adjustable height chair for if my legs get tired.  Sitting for 5 to 10 minutes usually takes care of it if I'm having issues.  I guess I'm the opposite of most people in that respect.  Instead of taking a break to walk around, mine's to sit down...lol.&#xD;&#xA;&#xD;&#xA;At my previous job, where things were much more constrained, I wound up buying a Contour Shuttle Pro 2.  That worked pretty well for me.  I was developing Carpal Tunnel for a while, but it went away pretty quickly after that." ContentLicense="CC BY-SA 2.5" />
  <row Id="3729" PostHistoryTypeId="2" PostId="2079" RevisionGUID="f675eebd-aa32-4122-85a0-b822b6d4ec41" CreationDate="2010-07-20T03:04:52.370" UserId="18160" Text="If at all and when and how do you use compression?&#xD;&#xA;&#xD;&#xA;I'm curious to see who out there actually uses it. You can answer with referring to either recording or mixing.&#xD;&#xA;&#xD;&#xA;I have already asked if you use compression to master your mixes when you are finished. I am more interested in the processes of recording and mixing in this question.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="3730" PostHistoryTypeId="1" PostId="2079" RevisionGUID="f675eebd-aa32-4122-85a0-b822b6d4ec41" CreationDate="2010-07-20T03:04:52.370" UserId="18160" Text="Compression? When do you use it, if ever?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3731" PostHistoryTypeId="3" PostId="2079" RevisionGUID="f675eebd-aa32-4122-85a0-b822b6d4ec41" CreationDate="2010-07-20T03:04:52.370" UserId="18160" Text="&lt;compression&gt;&lt;mixing&gt;&lt;recording&gt;&lt;use-of-compression&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3732" PostHistoryTypeId="2" PostId="2080" RevisionGUID="b142b3e4-2d93-4d20-a97e-a53809527092" CreationDate="2010-07-20T04:09:06.040" UserId="445" Text="AudioSculpt is my prefered choice for years, for non-real time pitch-shifting. This software uses a technology called &quot;SuperVP&quot; (Super Phase Vocoder). BTW, it's developed by the IRCAM; very serious electroacoustic guys assuring high quality. I never heard anything better in this subject." ContentLicense="CC BY-SA 2.5" />
  <row Id="3733" PostHistoryTypeId="5" PostId="2057" RevisionGUID="e8bd6564-9eb7-4475-ba37-409abf0d4945" CreationDate="2010-07-20T04:40:57.040" UserId="29" Comment="added 102 characters in body" Text="I'm tired of using El Cheapo mic boom arms whose knobs don't keep the telescoping arms from rotating, whos knobs are hard to tighten and loosen, and generally possess poor quality control. For heavy rigs - like a mid-side pair in a windshield or a single heavy mic - what brands and models have you had success with, *specifically for field use* (Boom arms, specifically, not the mic stand itself)?&#xD;&#xA;&#xD;&#xA;[EDIT/NOTE: This is not about boom poles, but rather a boom arm that mounts on a stand or tripod.]" ContentLicense="CC BY-SA 2.5" />
  <row Id="3734" PostHistoryTypeId="2" PostId="2081" RevisionGUID="04b9706a-30bc-4e11-8a62-1a0d7a7741d2" CreationDate="2010-07-20T04:43:54.447" UserId="29" Text="For me, not consistently...supremely dependent when I do so pre-mix. Usually it's to lift the content in the release or decay of a sound, like a nice resonant overtone or amazing slapback or reverb, or to even out a sound that warbles or pumps for some reason when recorded (air movement or what have you).&#xD;&#xA;&#xD;&#xA;Even when I do liberally use compression, usually just for music tracking, I never compress the signal when recording, only in post." ContentLicense="CC BY-SA 2.5" />
  <row Id="3735" PostHistoryTypeId="2" PostId="2082" RevisionGUID="1d1fb8e8-3317-4d43-b1bf-403554feca19" CreationDate="2010-07-20T05:43:19.940" UserId="61" Text="I often use compression in post-production, both in subtle and radical ways:&#xD;&#xA;&#xD;&#xA; - Subtle: A metal hit that has a great&#xD;&#xA;   tonality but the intial attack is too&#xD;&#xA;   intense for my application. A slight&#xD;&#xA;   amount of compression will tame the&#xD;&#xA;   transient and make the sound more&#xD;&#xA;   appropriate.&#xD;&#xA; - Radical: A small leafy fire I&#xD;&#xA;   recorded has great character and&#xD;&#xA;   low-end wafts but the crackle was&#xD;&#xA;   overpowering everything else. Push it&#xD;&#xA;   through an L2 and voila, a completely&#xD;&#xA;   different track that could work as&#xD;&#xA;   either an intense chemical burn or a&#xD;&#xA;   vast forest fire." ContentLicense="CC BY-SA 2.5" />
  <row Id="3736" PostHistoryTypeId="4" PostId="1238" RevisionGUID="ddff4ce0-c471-4cf1-b579-4f56559d56b7" CreationDate="2010-07-20T05:43:55.320" UserId="61" Comment="grammar" Text="Hearing protection during editing/mixing sessions" ContentLicense="CC BY-SA 2.5" />
  <row Id="3737" PostHistoryTypeId="5" PostId="2082" RevisionGUID="3c991238-9708-4a6e-97d9-056a12f1e8cf" CreationDate="2010-07-20T06:08:54.500" UserId="61" Comment="italics" Text="I often use compression in post-production, both in subtle and radical ways:&#xD;&#xA;&#xD;&#xA; - *Subtle*: A metal hit that has a great&#xD;&#xA;   tonality but the intial attack is too&#xD;&#xA;   intense for my application. A slight&#xD;&#xA;   amount of compression will tame the&#xD;&#xA;   transient and make the sound more&#xD;&#xA;   appropriate.&#xD;&#xA; - *Radical*: A small leafy fire I&#xD;&#xA;   recorded has great character and&#xD;&#xA;   low-end wafts but the crackle was&#xD;&#xA;   overpowering everything else. Push it&#xD;&#xA;   through an L2 and voila, a completely&#xD;&#xA;   different track that could work as&#xD;&#xA;   either an intense chemical burn or a&#xD;&#xA;   vast forest fire." ContentLicense="CC BY-SA 2.5" />
  <row Id="3738" PostHistoryTypeId="2" PostId="2083" RevisionGUID="4b86edf0-082b-4588-b941-5cb6dbe5a0cd" CreationDate="2010-07-20T09:05:49.123" UserId="449" Text="stamper,check it out before you shed loads of dosh, used by some of my film sound FX editors" ContentLicense="CC BY-SA 2.5" />
  <row Id="3739" PostHistoryTypeId="2" PostId="2084" RevisionGUID="ada9a983-2a6e-4516-a424-791bdb863d20" CreationDate="2010-07-20T11:31:21.560" UserId="432" Text="There are basically three ways I'll use compression in my mixes&#xD;&#xA;&#xD;&#xA;I do mostly television mixes; and, as I've mentioned in another post, dialogue has to sit in a specific range within the mix.  I will get the overall track very close with just volume automation, then use some gentle compression to smooth it out and get it to sit in the correct range.  I'll use a bit more if it's an element like narration, where we never show the owner of the voice, just to establish it as something outside of the context of the image itself.&#xD;&#xA;&#xD;&#xA;Occassionally, I'll use compression to help lift a single element to the front of the mix.  I usually do this when I like the overall dynamics and balance of the mix but feel that something needs just a little more presence.  Again here, it's just a very gentle compression to add a little weight to that element.&#xD;&#xA;&#xD;&#xA;And lastly, I use a limiter on the master output bus.  In television, nothing is supposed to peak above -10db full scale.  I try to control that in the mix, but there's only so much time.  So, I use that limiter only to catch any transients that escaped my attention.  I set it to catch those transients and have little to no affect on the rest of the mix.  It may be changing now with the full digital switchover here in the U.S., but it used to be a systems issue for television broadcast equipment.  They couldn't handle a signal that was hotter than that, and it would cause all kinds of problems.  Of course, this is something I've heard and never bothered to get confirmation on.  All I know is programs often get kicked back by the networks if you have anything peaking over -10dB.  As far as I understand it, many other countries have the same rule (we sell a lot of our programming overseas as well)." ContentLicense="CC BY-SA 2.5" />
  <row Id="3740" PostHistoryTypeId="2" PostId="2085" RevisionGUID="0511e0e2-146e-4373-90ae-b9ff3bea8776" CreationDate="2010-07-20T14:00:14.397" UserId="431" Text="When recording VO or ADR I like to see between 1 to 3dB of compression and no more. I'll set the limiter to prevent the signal clipping in case the talent really rips on a line and I wasn't able to predict it. That way if the producer or director falls in love with the take it might be a lot more compressed than than I'd like it, but it won't be clipped beyond usability." ContentLicense="CC BY-SA 2.5" />
  <row Id="3741" PostHistoryTypeId="2" PostId="2086" RevisionGUID="de77f1b1-0ecf-4bdf-9da5-1770e326a88c" CreationDate="2010-07-20T14:16:36.700" UserId="220" Text="If the question is &quot;Can/should you edit IRs?&quot;, the answer is yes, and probably yes.  &#xD;&#xA;&#xD;&#xA;You at the very least want to trim off the excess at the beginning and end of the file.  From there you can do a number of things - clean up the very high end frequencies that have a lot of junk, tweak the response based on what you know about your playback source, etc.  &#xD;&#xA;&#xD;&#xA;You can also do some of this before you convolve your files, especially if you were in a noisy environment.  I have taken out bird chirps, clicks, pings, etc, without majorly altering the response.&#xD;&#xA;&#xD;&#xA;Hope this helps. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3742" PostHistoryTypeId="2" PostId="2087" RevisionGUID="c1a88c75-b1a6-4dff-a424-4b4f116b78f8" CreationDate="2010-07-20T14:20:38.670" UserId="431" Text="I work in post audio doing everything from composing to ADR direction/editing to sound design. &#xD;&#xA;And to varying degrees I use Logic, Live, Soundtrack Pro and Reason, they're all good for different things (even Soundtrack Pro has its uses). But if I had to pick a single DAW, it would be Pro Tools. Without it, I don't think I would be very employable." ContentLicense="CC BY-SA 2.5" />
  <row Id="3743" PostHistoryTypeId="2" PostId="2088" RevisionGUID="3e99f441-1666-4cd9-8e49-614f8b8fb3a0" CreationDate="2010-07-20T14:22:28.307" UserId="373" Text="I've got a programme coming up in a couple of weeks, where the characters spend most of the episode crawling around inside a big air conditioning shaft. I'm taking charge of foley, and obviously want to shoot the sound as authentic as I can. I want to get some material together ready for the session, so the question is, how would you guys approach this - in terms of metal props, mic placement etc? Any reference material you might recommend as well? Thanks in advance!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3744" PostHistoryTypeId="1" PostId="2088" RevisionGUID="3e99f441-1666-4cd9-8e49-614f8b8fb3a0" CreationDate="2010-07-20T14:22:28.307" UserId="373" Text="Creating sounds of a Air Conditioning Shaft" ContentLicense="CC BY-SA 2.5" />
  <row Id="3745" PostHistoryTypeId="3" PostId="2088" RevisionGUID="3e99f441-1666-4cd9-8e49-614f8b8fb3a0" CreationDate="2010-07-20T14:22:28.307" UserId="373" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3746" PostHistoryTypeId="2" PostId="2089" RevisionGUID="efc9eb77-8dd1-4b6a-958b-da6017264c68" CreationDate="2010-07-20T14:31:12.613" UserId="315" Text="Unless you have access to a big piece of duct to bring to the foley stage, I suggest finding a real shaft and recording your foley on location. It'll sound much more natural. A big part of that sound is the long metal decay. Bring different shoes etc. and perform a wide variety of feet on the outside of the shaft (walking, runs, scuffs etc) and cut the foley later. &#xD;&#xA;&#xD;&#xA;Contact mics work great on big pieces of metal, so I'd place one (in addition to a shotgun closer to the action) further down the duct; away from where you're performing your foley to allow the impacts to resonate.&#xD;&#xA;&#xD;&#xA;There's some great foley in an air conditioner shaft in Toy Story 2." ContentLicense="CC BY-SA 2.5" />
  <row Id="3747" PostHistoryTypeId="2" PostId="2090" RevisionGUID="c37bbaa0-a1dd-4178-beb2-935bf5aefe85" CreationDate="2010-07-20T15:29:55.603" UserId="6411" Text="Scanning through the questions I find there has been this allusion to &quot;authenticity.&quot;&#xD;&#xA;&#xD;&#xA;[Bird calls showing up in parts of the world where the species would never migrate.][1]&#xD;&#xA;[Recording sound effects to be as authentic to the situation as possible.][2]&#xD;&#xA;[Authentic ambiences for site specific story locales.][3]&#xD;&#xA;&#xD;&#xA;The majority of my work is in documentary TV, so I understand the desire to be authentic when accuracy is what you're selling. If the script is written in a factual fashion I lean heavily on sync sound and do as much research as I can to use appropriate sound effects.  But when presented with an hour long episode of &quot;World's Rarest Underground Sloths*&quot; and an accompanying OMF that includes zero sync audio and a post-it that says &quot;audio- please fill out all scenes, will swing by in 4 days for mix review&quot; I can't help but feel a little responsible for misinforming the listeners.&#xD;&#xA;&#xD;&#xA;Alternatively, if I get the opportunity to tell a human story full of recreations, historical recounts, etc. I try to use the storyteller as prism and throw authenticity out the window, feeling no remorse for embellishing the audio in my attempt to convey the emotion of the account.&#xD;&#xA;&#xD;&#xA;Obviously, these are two extremes on a very broad scale. But I'd like to get your opinion on where along the scale we cross that wide fuzzy line between artistic license and liar. Fact or fiction, at what point do we become accountable for supporting the propagation of misinformation?&#xD;&#xA;&#xD;&#xA;*Not a real show as far as I know.&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/704/what-sound-bursts-your-bubble&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/2088/creating-sounds-of-a-air-conditioning-shaft&#xD;&#xA;  [3]: http://socialsounddesign.com/questions/1563/authentic-sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="3748" PostHistoryTypeId="1" PostId="2090" RevisionGUID="c37bbaa0-a1dd-4178-beb2-935bf5aefe85" CreationDate="2010-07-20T15:29:55.603" UserId="6411" Text="What is our responsibility to authenticity?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3749" PostHistoryTypeId="3" PostId="2090" RevisionGUID="c37bbaa0-a1dd-4178-beb2-935bf5aefe85" CreationDate="2010-07-20T15:29:55.603" UserId="6411" Text="&lt;sound-design&gt;&lt;authentic&gt;&lt;verisimilitude&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3750" PostHistoryTypeId="2" PostId="2091" RevisionGUID="f5b4ae7f-4c74-4f2d-89b2-54fd15b23d1f" CreationDate="2010-07-20T15:58:21.317" UserId="432" Text="It's an interesting dilemma, to be sure.  I think, on the whole, I approach these issues in a similar way you describe. Obviously though, there are programs which blur the line, or tread back and forth across it.&#xD;&#xA;&#xD;&#xA;In situations like those, I try to analyze what the program is trying to convey at those points; that is, if the director/producer is not available to discuss it.  All media is propaganda, after all, and we don't want to accidentally create mixed messages.  I find I try to support what's already there.  If it is a factual piece that is playing up an emotional moment, then I'm willing to stretch the boundaries of reality if it helps convey meaning.  I still try to respect reality, but sometimes it isn't what the needs of the show dictate (or possibly even what the viewer wants).&#xD;&#xA;&#xD;&#xA;I guess that's really what dictates my approach.  What does the program want to say, and how do I support that?  Followed immediately by: how do I ensure that it is cohesive across the duration?  Particularly on those projects that tread the line, it can be very easy to waver back and forth.  Looking at the piece from moment to moment, with a broad view of the whole, at least provides me with a sense that I'm not making my decisions arbitrarily, and that there is sound reasoning behind them.&#xD;&#xA;&#xD;&#xA;Going back to the idea that all media is propaganda, I'd argue that an equally important question is: At what point do we become accountable for supporting or denigrating the propaganda inherent in the piece?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3751" PostHistoryTypeId="2" PostId="2092" RevisionGUID="ad7fdc53-5a34-4967-850c-6ad78cc5c5fc" CreationDate="2010-07-20T16:46:21.753" UserId="62" Text="I think it really depends on what is important. Is the emotional content more important for the viewer than being 100% authentic?&#xD;&#xA;&#xD;&#xA;I thought about this while I was watching [Blitz Street][1] on Channel 4 (UK). The show was trying to show how the explosives used in the London Blitz affected the buildings in a generic street. They mocked up a street and proceeded to set off explosions and then look at the damage.&#xD;&#xA;&#xD;&#xA;There was a fair amount of slow motion so there was no sync sound. Now, it would have been nice to hear exactly what the explosions sounded like. Sadly the sounds used were not from the location, some easily spotted sounds gave it away for me. I'd like to say that I thought the sound for the explosions was very well done and my comments are not a criticism.&#xD;&#xA;&#xD;&#xA;Again, which is more important? Letting the audience really hear what the explosions would have sounded like? Or, let the audience emotionally feel what the explosions would have been like?&#xD;&#xA;&#xD;&#xA;The show also included contemporary footage and recent interviews with survivors in addition to the explosives tests so emotion is a pretty important part.&#xD;&#xA;&#xD;&#xA;I looked at authentism (my word used to stop confusion with film theory realism) and asked whether the sound in Saving Private Ryan was realistic. I concluded that however much effort the filmmakers put into being as realistic as possible, it was ultimately at the expense of the emotional content. The Omaha sequence is designed to put you in the battle as best as possible but we need to feel the experience emotionally, not just hear the correct sound for a gun going off.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.channel4.com/programmes/blitz-street/episode-guide/series-1/episode-1" ContentLicense="CC BY-SA 2.5" />
  <row Id="3752" PostHistoryTypeId="2" PostId="2093" RevisionGUID="f6beae8c-11ce-4e54-8ed7-f4ff7fea9787" CreationDate="2010-07-20T18:25:50.890" UserId="432" Text="I'm curious how other people are using their channels in creating mixes for television. We've just incorporated 5.1 encoding capabilities in both Dolby Digital and Dolby-E into our workflow in the last year, and we've adopted something similar to the Discovery networks' spec. Here's what we're doing.&#xD;&#xA;&#xD;&#xA;The only thing we're putting in the center channels is narration and/or dialogue. If we want to put something else in the middle, we're using a phantom center. Surrounds we reserve primarily for reverb returns from the music and for ambiences.  We try to keep most of our activity in the front though.  So, if we have an ambience that gets a little busy or distracting coming from the rear channels, we'll move or remove it entirely.&#xD;&#xA;&#xD;&#xA;I should mention that we're mostly working on documentaries and docu-dramas, and we do a lot of our sales overseas.  That played a large role in the decisions we made.  How are you using the surround sound-field, and what factors are feeding your decisions for those choices?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3753" PostHistoryTypeId="1" PostId="2093" RevisionGUID="f6beae8c-11ce-4e54-8ed7-f4ff7fea9787" CreationDate="2010-07-20T18:25:50.890" UserId="432" Text="How are you using your channels in 5.1 mixes for TV" ContentLicense="CC BY-SA 2.5" />
  <row Id="3754" PostHistoryTypeId="3" PostId="2093" RevisionGUID="f6beae8c-11ce-4e54-8ed7-f4ff7fea9787" CreationDate="2010-07-20T18:25:50.890" UserId="432" Text="&lt;surround-sound&gt;&lt;mixing&gt;&lt;dolby&gt;&lt;television&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3755" PostHistoryTypeId="2" PostId="2094" RevisionGUID="ab09738e-33f0-4cd5-af20-0c66aeb82d38" CreationDate="2010-07-20T19:32:02.473" UserId="445" Text="I just downloaded the Audio Finder demo, mainly because of its ability to preview my samples with pitch variations very quick. &#xD;&#xA;&#xD;&#xA;Is there a way to export my samples with these pitch alterations directly to my DAW? It would be great for fast sound layering (for high quality pitch-shifting I use AudioSculpt from IRCAM).&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3756" PostHistoryTypeId="1" PostId="2094" RevisionGUID="ab09738e-33f0-4cd5-af20-0c66aeb82d38" CreationDate="2010-07-20T19:32:02.473" UserId="445" Text="Quick pitch-shifting from Audio Finder to DAW?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3757" PostHistoryTypeId="3" PostId="2094" RevisionGUID="ab09738e-33f0-4cd5-af20-0c66aeb82d38" CreationDate="2010-07-20T19:32:02.473" UserId="445" Text="&lt;pitch-shifting&gt;&lt;pitch&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3758" PostHistoryTypeId="2" PostId="2095" RevisionGUID="10be4cf0-c895-4223-8e4f-1d0127974360" CreationDate="2010-07-20T19:33:48.523" UserId="452" Text="I myself have three systems for working with sound, a MacBook Pro/Mbox for mobile recording and editing, a Windows 7/Digi002 LE workstation at home for smaller, more personal projects and access to a Mac Pro HD suite for larger projects. I find that I lose a significant amount of time and productivity moving between workstations.&#xD;&#xA;&#xD;&#xA;If you're in a similar situation, what kinds of tools (software or otherwise) are you using to bridge the gap between Mac OS, Windows and/or Linux, as well as between multiple rigs?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3759" PostHistoryTypeId="1" PostId="2095" RevisionGUID="10be4cf0-c895-4223-8e4f-1d0127974360" CreationDate="2010-07-20T19:33:48.523" UserId="452" Text="Cross-Platform, Multi-Rig Workflows" ContentLicense="CC BY-SA 2.5" />
  <row Id="3760" PostHistoryTypeId="3" PostId="2095" RevisionGUID="10be4cf0-c895-4223-8e4f-1d0127974360" CreationDate="2010-07-20T19:33:48.523" UserId="452" Text="&lt;platform&gt;&lt;workflow&gt;&lt;mac&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3761" PostHistoryTypeId="2" PostId="2096" RevisionGUID="5b830fd5-12e9-4eac-9948-4d7cdcaed9a1" CreationDate="2010-07-20T19:52:47.893" UserId="6411" Text="I have been working **very** similarly, but that's due to the vast majority of my work being Discovery and National Geographic Film/TV whose QC spec regarding 5.1 are damn near identical. I must say though that in hearing my mixes broadcast, I've become quite disappointed with the surrounds as reverb returns only and have begun using those surround panners as they were originally intended. I have yet to have had music delivered in 5.1 so those reverb returns are still in place, but amb and sfx are starting to get built up more in surround rather than pushed through a verb.&#xD;&#xA;&#xD;&#xA;For those who don't know and are in awe of the blasphemous possibility of omitting everything but voice from the discrete center channel, it's in place as an efficiency procedure.  Because the vast majority of Discovery and NGTV gets re-broadcast in multiple nations around the world they find it extremely easy to strip out the center channel and insert the new language narration. We have been trying to educate the post-sups that we work with on the benefits of mixing with a discrete center channel vs the phantom center, and how we could get around this perceived cost savings through revisiting the delivery requirements for shows.  But it's a long standing beast that has proven results, and probably won't die anytime soon. If you have recommendations for our fight I'd love to hear them." ContentLicense="CC BY-SA 2.5" />
  <row Id="3762" PostHistoryTypeId="2" PostId="2097" RevisionGUID="5a3c6194-e757-4785-b8aa-978a7e7af413" CreationDate="2010-07-20T19:56:25.640" UserId="29" Text="I believe that the only things one *can* service are the subjective truths of the narrative and the themes and subtexts of a piece. Neither of these has much to do with what most of us accept as reality, which itself is again subjective, and &quot;truth&quot; is infamously philosophically fungible and malleable. &#xD;&#xA;&#xD;&#xA;I do love your choice of the term &quot;authenticity&quot; instead. What's authentic depends on whose need you're serving; an authentically scary or suspenseful sound needn't be objectively realistic or truthful.&#xD;&#xA;&#xD;&#xA;Look at &quot;The Hurt Locker,&quot; when the protagonists meet up with the contractors in the desert. While a lot of the sounds are relatively inaccurate (it is a war film so there was a lot of work on authenticity), that scene had a character get shot and crumple to the ground before the shot was heard - extremely realistic but served the moment very well (confusion, random events, challenge). *That* feels authentic in context. Same thing is true of the sounds when the first bomb goes off in slow motion; maybe not extremely realistic, but authentic to the narrative and emotional moment (fear, destruction, inevitability, power/force).&#xD;&#xA;&#xD;&#xA;This *does* make it hard to find that line in a documentary, but given that we're talking subjective truths here, I think it has to depend on the filmmaking team's consensus on what level of reality they're trying to balance with what themes, messages, and stories that must be conveyed. Being able to have focused conversations on this topic per-project is probably a smart thing to do very, very early.&#xD;&#xA;&#xD;&#xA;I think the worst thing is to be ambiguous or ambivalent. Making smart calls on these topics in a consistent way across a single project is probably way more important than any specific per-instance decisions around specific effects. Devising such a narrative decision-making framework that can support the team on a per-project basis pays off bigtime!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3763" PostHistoryTypeId="2" PostId="2098" RevisionGUID="73a3430a-d8e1-40a7-ad1b-cdc60fafab42" CreationDate="2010-07-20T19:57:01.607" UserId="417" Text="Anybody know where I can start to make a big stomping sound. I need it for a T-Rex, so its gotta be huge!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3764" PostHistoryTypeId="1" PostId="2098" RevisionGUID="73a3430a-d8e1-40a7-ad1b-cdc60fafab42" CreationDate="2010-07-20T19:57:01.607" UserId="417" Text="Big Stomping Sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3765" PostHistoryTypeId="3" PostId="2098" RevisionGUID="73a3430a-d8e1-40a7-ad1b-cdc60fafab42" CreationDate="2010-07-20T19:57:01.607" UserId="417" Text="&lt;t-rex&gt;&lt;big&gt;&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3766" PostHistoryTypeId="2" PostId="2099" RevisionGUID="2c17a533-22cc-4ae5-8d7c-61276563e2d9" CreationDate="2010-07-20T20:04:27.297" UserId="29" Text="The classic thing I keep seeing in BTS videos is dropping a huge trunk or piece of timber onto the appropriate surface. Definitely par for the course for the Ethan Van Der Ryn's and Dave Whiteheads of the world - pays off well when seen in films like *Lord of the Rings* and *King Kong*.&#xD;&#xA;&#xD;&#xA;What if you can't afford a crane, a bunch of recordists, and a multi-ton dead tree? I'd say first, match the visual surface (concrete, grass, dirt, etc.) Start with finely-articulated, not-huge layers to really sense the contact with the ground. Then do try to get something relatively heavy and drop that as well to get some variety (bags of kitty litter, phone books, or rocks pushed off a ladder, maybe?). Gather a small collection, mix 'em together with some pitch shifting on one layer. Then layer in some low-frequency effects for whomp and low-end meatiness. &#xD;&#xA;&#xD;&#xA;Just my two cents, though, plenty of other ways to skin this cat. What else, folks?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3767" PostHistoryTypeId="2" PostId="2100" RevisionGUID="b529f1d8-4d26-47c4-9f9f-eb25039805e9" CreationDate="2010-07-20T20:09:00.440" UserId="29" Text="+1 on Justin's suggestions: simple, direct, effective! &#xD;&#xA;&#xD;&#xA;Depending on the scale of actions in the ducting, and the delicate-vs-aggressive range, maybe having a length of articulated metal clothes-dryer ducting could help with the smaller bits, or as a sweetener. It's very flexible, being almost like very thick aluminum foil, and might offer some mid-high frequency content for your mix." ContentLicense="CC BY-SA 2.5" />
  <row Id="3768" PostHistoryTypeId="2" PostId="2101" RevisionGUID="4d7f70db-7484-48af-8f17-211c62fd040b" CreationDate="2010-07-20T20:18:07.773" UserId="10" Text="Yes, you can. Just set the note and find the pitch you ware looking for. Then you can use the sample editor's tool for exporting. You can spot it directly to Pro Tools or convert it in to a new file. Exactly in this way:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://img44.imageshack.us/img44/8527/31099980.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="3769" PostHistoryTypeId="5" PostId="2097" RevisionGUID="60c3ec3b-f0de-42cf-9019-bf2b1433855a" CreationDate="2010-07-20T20:25:12.413" UserId="29" Comment="added 130 characters in body" Text="I believe that the only things one *can* service are the subjective truths of the narrative and the themes and subtexts of a piece. Neither of these has much to do with what most of us accept as reality, which itself is again subjective, and &quot;truth&quot; is infamously philosophically fungible and malleable. &#xD;&#xA;&#xD;&#xA;I do love your choice of the term &quot;authenticity&quot; instead. What's authentic depends on whose need you're serving; an authentically scary or suspenseful sound needn't be objectively realistic or truthful.&#xD;&#xA;&#xD;&#xA;Look at *The Hurt Locker*, when the protagonists meet up with the contractors in the desert. While a lot of the sounds are relatively inaccurate (it is a war film so there was a lot of work on authenticity), that scene had a character get shot and crumple to the ground before the shot was heard - extremely realistic but served the moment very well (confusion, random events, challenge). *That* feels authentic in context, where in a film like *Iron Man*, such &quot;realism&quot; would be inauthentic because it would be confusing during huge action set-pieces. Same thing is true of the sounds when the first bomb goes off in slow motion; maybe not extremely realistic, but authentic to the narrative and emotional moment (fear, destruction, inevitability, power/force).&#xD;&#xA;&#xD;&#xA;This *does* make it hard to find that line in a documentary, but given that we're talking subjective truths here, I think it has to depend on the filmmaking team's consensus on what level of reality they're trying to balance with what themes, messages, and stories that must be conveyed. Being able to have focused conversations on this topic per-project is probably a smart thing to do very, very early.&#xD;&#xA;&#xD;&#xA;I think the worst thing is to be ambiguous or ambivalent. Making smart calls on these topics in a consistent way across a single project is probably way more important than any specific per-instance decisions around specific effects. Devising such a narrative decision-making framework that can support the team on a per-project basis pays off bigtime!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3770" PostHistoryTypeId="2" PostId="2102" RevisionGUID="33e71ad6-1feb-49c3-85a1-492197f85b0f" CreationDate="2010-07-20T20:32:18.950" UserId="219" Text="Also you'll need some reverb. Big sounds need reverb. I recorded fireworks two days ago, I can give you the raw stuff if ever you wanted it..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3771" PostHistoryTypeId="6" PostId="2088" RevisionGUID="4c467eef-f805-4809-9fca-b4874fdda45d" CreationDate="2010-07-20T20:32:31.147" UserDisplayName="user80" Comment="edited tags" Text="&lt;foley&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3772" PostHistoryTypeId="2" PostId="2103" RevisionGUID="222cf277-1314-46e8-ba28-59aed211fe28" CreationDate="2010-07-20T20:33:17.587" UserId="286" Text="Try incorporating normal footsteps with plenty of EQ and pitching.  Make sure you get that heel to toe action to sell the attributes of the feet. The low end should be easy to do but make it clean and accent the second half of the footstep with it more.&#xD;&#xA;&#xD;&#xA;If it's distance footsteps and there are objects around the area (a shed, trees, cars), make them shake with the footsteps and incorporate the environment." ContentLicense="CC BY-SA 2.5" />
  <row Id="3774" PostHistoryTypeId="2" PostId="2105" RevisionGUID="5898a159-c97d-4e6d-b693-3eeda3427922" CreationDate="2010-07-20T20:37:02.970" UserId="18160" Text="If this is for a scene with people who crawl through a metallic shaft, go get a large flexible metal serving tray/platter and bend it around for all of the knee-steps and crawling noises - I think that would sound great.&#xD;&#xA;&#xD;&#xA;Get a Schoeps MK capsule or possibly even an SM57." ContentLicense="CC BY-SA 2.5" />
  <row Id="3776" PostHistoryTypeId="2" PostId="2106" RevisionGUID="875433f4-4fc7-4bb0-911c-1ed3d41f1d09" CreationDate="2010-07-20T20:40:49.647" UserId="286" Text="It sounds like you just have multiple rigs because you have multiple locations.&#xD;&#xA;&#xD;&#xA;Here at work I use a PC and a Mac for audio editing/design.  I actually have to perform a 180 in my chair to work on each station.  I do most of my design work on the Mac with a Pro Tools HD system and I do a lot of smaller editing and source grabbing on the PC with Sound Forge and Soundminer.  I don't find it slows me down much but if you're having to travel to multiple locations in order to do work then yea, I can see that being an impediment.&#xD;&#xA;&#xD;&#xA;The biggest problem it sounds like you might have is if you do work on your HD rig and try and bring it home.  That might just be something you need to consider before you come home (how to bounce things down and what plugins you use that will be compatible with your home setup).&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3778" PostHistoryTypeId="2" PostId="2107" RevisionGUID="12724798-1438-48d3-b556-7efec94b0d80" CreationDate="2010-07-20T20:49:48.083" UserId="432" Text="I'm not running into these issues, since I'm on Macs only (and honestly do very little work at hoem anymore), but here's how I would tackle this if I wanted to move across the multiple platforms.&#xD;&#xA;&#xD;&#xA;1. Play to the lowest common denominator you'll be working with regularly.  If you're on LE, keep your session under the 36 track limit, 48 if you've got any of the toolkit bundles. &#xD;&#xA;2. &quot;Save As&quot; to the lowest version number of Pro Tools you'll be working with if you're on a more recent version on a different computer.&#xD;&#xA;3. Work with RTAS plug-ins unless your on the HD system and are in finishing mode. Also, if there's a TDM version of an RTAS plug-in on your system, you can just click the TDM option on the plug-in window to convert it once you're on the HD system&#xD;&#xA;4. .WAV files only&#xD;&#xA;5. As long as your working with 7.3 and higher, keep the files on an external drive that is formatted in Mac HFS+.  As long as all of the files associated with the session are on that drive, your PC based Pro Tools system will have no issues working with it.  Then your Mac computers are obviously covered as well.&#xD;&#xA;6. Carry your iLok from one system to another. That's partly what it's designed for.&#xD;&#xA;&#xD;&#xA;Those should eliminate a bulk of the problems you might encounter." ContentLicense="CC BY-SA 2.5" />
  <row Id="3779" PostHistoryTypeId="2" PostId="2108" RevisionGUID="0fe1e687-90c6-4e31-9255-0a6de2855d52" CreationDate="2010-07-20T20:53:07.220" UserId="286" Text="I was just referencing Alan Wake today because I heard good things from a lot of people about the audio.  One thing I can take from this game that people are probably liking is the subwoofer.  I can take things like that and try to incorporate what I think they did right and what I could possibly expand on or do better. For example, there are times were they blend it extremely nicely with the tension of the scene but there are others where things like opening a door have too much low end.  These are things that I will consciously think about more often after experiencing a game like this.&#xD;&#xA;&#xD;&#xA;So in general, I do play a lot of game for the same reasons Chuck does.  I've been playing them since I was four and it's a good educational experience for my practice.  I would say I play about 10-15 hours a week and its usually after work during the week (I like to escape from games on the weekends).  I only own one console (Xbox 360) but I have accessibility to multiple here at work if I need to reference anything.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3780" PostHistoryTypeId="2" PostId="2109" RevisionGUID="90d9d529-200d-48f1-8d0f-0efffebb2eb8" CreationDate="2010-07-20T20:55:09.197" UserId="18160" Text="This is kind of a fun question and forgive me if it's not necessarily relevant to sound design:&#xD;&#xA;&#xD;&#xA;But, I'm going to ask it anyway!&#xD;&#xA;&#xD;&#xA;Have you ever missed or gone over the deadline for Television or Film?&#xD;&#xA;&#xD;&#xA;I hear horror stories about a Sports post production facility that the guy had to run the tapes down the hall within 10 seconds before airing on live television.&#xD;&#xA;&#xD;&#xA;What are some of your stories like that? Ever been in the eleventh hour and barely finished the mix that someone had to rush to the airport on time?&#xD;&#xA;&#xD;&#xA;I'm very curious.&#xD;&#xA;&#xD;&#xA;What happens if you do miss a deadline? What would happen if the newest episode of Sponge-Bob Square-Pants doesn't get done in time for broadcast?&#xD;&#xA;&#xD;&#xA;For that matter, what would happen if a post production team on a film doesn't make their deadline?&#xD;&#xA;&#xD;&#xA;I was fascinated by the Lord of the Rings trilogy and everything that happened with them on getting their movies done on time. I think they finished Return of the King on a Wednesday and the film premiered on a Friday?&#xD;&#xA;&#xD;&#xA;Thinking about it, I guess it would be impossible because anything that goes on the air has to be checked first by someone to ensure there is no profanity etc. Right? But then again, that's why I'm asking this question - because I don't have a clue!!!&#xD;&#xA;&#xD;&#xA;Thanks - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="3781" PostHistoryTypeId="1" PostId="2109" RevisionGUID="90d9d529-200d-48f1-8d0f-0efffebb2eb8" CreationDate="2010-07-20T20:55:09.197" UserId="18160" Text="Have you ever not made a deadline?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3782" PostHistoryTypeId="3" PostId="2109" RevisionGUID="90d9d529-200d-48f1-8d0f-0efffebb2eb8" CreationDate="2010-07-20T20:55:09.197" UserId="18160" Text="&lt;television&gt;&lt;broadcast&gt;&lt;deadlines&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3783" PostHistoryTypeId="2" PostId="2110" RevisionGUID="e3423cc2-17ba-4e2c-a27e-8275e09982c6" CreationDate="2010-07-20T21:06:18.830" UserId="286" Text="If you have good source and accent sounds I think one of the simplest and easiest things to do is panning and volume automation.&#xD;&#xA;&#xD;&#xA;If you have multiple tracks of static ambiences automate the volume significantly.  For your accent tracks don't be afraid to pan those suckers around the speakers.  This might not work if you're going for a more natural ambience but depending on the scenario it still could.  For example, leaves rustling and birds subtly flying around the speakers would sound awesome in a forest ambience." ContentLicense="CC BY-SA 2.5" />
  <row Id="3784" PostHistoryTypeId="5" PostId="2107" RevisionGUID="05719028-eb2f-4364-91ce-58f8234ace45" CreationDate="2010-07-20T21:10:52.370" UserId="432" Comment="numbers correction" Text="I'm not running into these issues, since I'm on Macs only (and honestly do very little work at hoem anymore), but here's how I would tackle this if I wanted to move across the multiple platforms.&#xD;&#xA;&#xD;&#xA;1. Play to the lowest common denominator you'll be working with regularly.  If you're on LE, keep your session under the 32 track limit, 48 if you've got any of the toolkit bundles. &#xD;&#xA;2. &quot;Save As&quot; to the lowest version number of Pro Tools you'll be working with if you're on a more recent version on a different computer.&#xD;&#xA;3. Work with RTAS plug-ins unless your on the HD system and are in finishing mode. Also, if there's a TDM version of an RTAS plug-in on your system, you can just click the TDM option on the plug-in window to convert it once you're on the HD system&#xD;&#xA;4. .WAV files only&#xD;&#xA;5. As long as your working with 7.3 and higher, keep the files on an external drive that is formatted in Mac HFS+.  As long as all of the files associated with the session are on that drive, your PC based Pro Tools system will have no issues working with it.  Then your Mac computers are obviously covered as well.&#xD;&#xA;6. Carry your iLok from one system to another. That's partly what it's designed for.&#xD;&#xA;&#xD;&#xA;Those should eliminate a bulk of the problems you might encounter." ContentLicense="CC BY-SA 2.5" />
  <row Id="3786" PostHistoryTypeId="2" PostId="2112" RevisionGUID="377ca964-28d6-418e-9517-e9180d247bb5" CreationDate="2010-07-20T21:23:25.817" UserId="286" Text="I have a first generation M-Audio Microtrack (which I'm not a fan of) and was looking to pickup another portable recorder that I can fit in my pocket and barely notice it's there.&#xD;&#xA;&#xD;&#xA;This guy is getting good reviews but I was wondering what you guys thought.  Have any of you tried recording quiet ambiences with it?  How does it sound?  How do you like the digital &quot;ghost&quot; limiter?  &#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Mike&#xD;&#xA;&#xD;&#xA;PS:  I've read this review and it pretty much has me sold, I'm just looking for more first hand opinions:  http://dot.cult.bg/esem/?pcmm10" ContentLicense="CC BY-SA 2.5" />
  <row Id="3787" PostHistoryTypeId="1" PostId="2112" RevisionGUID="377ca964-28d6-418e-9517-e9180d247bb5" CreationDate="2010-07-20T21:23:25.817" UserId="286" Text="Should I Buy A Sony PCM-M10?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3788" PostHistoryTypeId="3" PostId="2112" RevisionGUID="377ca964-28d6-418e-9517-e9180d247bb5" CreationDate="2010-07-20T21:23:25.817" UserId="286" Text="&lt;sony&gt;&lt;pcm-m10&gt;&lt;m10&gt;&lt;portable-recorder&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3789" PostHistoryTypeId="2" PostId="2113" RevisionGUID="cf2f68b3-b584-4831-88f4-44ac64ff9d0a" CreationDate="2010-07-20T21:34:07.013" UserId="315" Text="I'd pony up for the PCM-D50 if you can swing it. My coworker has an M-10 and he's not a fan..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3790" PostHistoryTypeId="2" PostId="2114" RevisionGUID="90ef332f-a4b0-42df-a502-9a74bde44701" CreationDate="2010-07-20T21:36:08.600" UserId="18160" Text="Looking down the list of Pro Tools' file-types while making a session, there is:&#xD;&#xA;&#xD;&#xA;WAV&#xD;&#xA;AIFF&#xD;&#xA;SD II&#xD;&#xA;QuickTime&#xD;&#xA;Sound Resource&#xD;&#xA;MXF&#xD;&#xA;&#xD;&#xA;I have only ever used WAV.&#xD;&#xA;&#xD;&#xA;What do you guys use and why do you consider it &quot;the best&quot;?&#xD;&#xA;&#xD;&#xA;My guess it's just a system compatibility thing. Like both PCs and Macs can use WAVs so that gets the most use.&#xD;&#xA;&#xD;&#xA;Or could it be an actual sonic difference?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3791" PostHistoryTypeId="1" PostId="2114" RevisionGUID="90ef332f-a4b0-42df-a502-9a74bde44701" CreationDate="2010-07-20T21:36:08.600" UserId="18160" Text="Best audio file type? Is there one?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3792" PostHistoryTypeId="3" PostId="2114" RevisionGUID="90ef332f-a4b0-42df-a502-9a74bde44701" CreationDate="2010-07-20T21:36:08.600" UserId="18160" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3793" PostHistoryTypeId="5" PostId="2011" RevisionGUID="05999696-b5ca-41c1-9265-4ab5451faaee" CreationDate="2010-07-20T21:40:08.077" UserId="18160" Comment="deleted 43 characters in body" Text="I own 4 vintage U87s from the 70s among other vintage Neumann, AKG and Telefunkens. But those are the main ones I use for voice-over and they get a lot of mileage. I'm thinking of sending them in somewhere to get checked up on. They are doing fine but I don't know if a routine check-up is necessary. I know of some recordists who have never sent their mics in to be looked at.&#xD;&#xA;&#xD;&#xA;How often do you send your microphones to be checked up on?&#xD;&#xA;&#xD;&#xA;Do you keep a reference file to refer back to for it's frequency response?&#xD;&#xA;&#xD;&#xA;How do you take care of your mics and what maintenance do you do to them?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3794" PostHistoryTypeId="2" PostId="2115" RevisionGUID="12d17800-cae4-4644-bffc-ab875de4981a" CreationDate="2010-07-20T21:45:18.503" UserId="379" Text="I have a PCM-D50 and I'm very happy with it.  I considered the M10 but got nervous about reports of all the plastic parts.  The D-50 is very sturdy and sounds decent.  You can also position the mic's a bit.  I keep it in my bag all the time.  The cost is a little higher but there are deals online if you search.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3795" PostHistoryTypeId="2" PostId="2116" RevisionGUID="f86db2e0-60d5-4858-b092-cdba80a78113" CreationDate="2010-07-20T22:04:04.147" UserId="14" Text="I want to make a rocket 'whooooooooooooooooooosh' sound that can go on FOREVER. I have the sound I like, I just need some protips on making it loop. I've been hacking away at it in Pro Tools, and when I loop it in there, it works, but when I implement it in the game I'm working on, there's a clear loop point. Any idea how I could remedy this? I also saw the Rabbit Ears Audio rocket pack, which would be like, perfect for what I'm doing. If you were taking a sound from a library, what would you do to it to make it something that could loop?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3796" PostHistoryTypeId="1" PostId="2116" RevisionGUID="f86db2e0-60d5-4858-b092-cdba80a78113" CreationDate="2010-07-20T22:04:04.147" UserId="14" Text="Making a sound that's loopable." ContentLicense="CC BY-SA 2.5" />
  <row Id="3797" PostHistoryTypeId="3" PostId="2116" RevisionGUID="f86db2e0-60d5-4858-b092-cdba80a78113" CreationDate="2010-07-20T22:04:04.147" UserId="14" Text="&lt;sound-design&gt;&lt;loop&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3798" PostHistoryTypeId="2" PostId="2117" RevisionGUID="40995f74-0ba2-4121-bf92-3bda00415535" CreationDate="2010-07-20T22:10:26.847" UserId="315" Text="No sonic different to my ears between wav, aiff, and SD2. I'd stick with wav as it has become the industry standard (SD2 is dying for sure) and you can embed metadata nicely in them." ContentLicense="CC BY-SA 2.5" />
  <row Id="3799" PostHistoryTypeId="2" PostId="2118" RevisionGUID="3308b986-83dd-4974-8d35-833fbc443610" CreationDate="2010-07-20T22:21:48.193" UserId="6411" Text="I bought the M-10, as it's my first pocket sized record I think it's great. &#xD;&#xA;&#xD;&#xA;I don't know if you'd &quot;barely notice it's there,&quot; but it's extremely portable.  Haven't tried to record anything too incredibly quiet, but what I have recorded sounds great using an external mic or the on-board mic. While it does have some plastic, it's a pretty sturdy piece of gear. As far as the limiter goes, I don't think I've turned it on yet, so I can't really lay claim to it's &quot;ghostliness.&quot;&#xD;&#xA;&#xD;&#xA;Two things I'd recommend if you do buy one. First is the [M-10 wind furry][1] or something like it, one weekend trip to the beach proved that was desperately needed. The second is a [gorillapod][2]. I had one of these lying around for my point-and-shoot and threw it in my recording bag, best thing I could have done. Works fantastically.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://pro.sony.com/bbsc/ssr/cat-audio/cat-recorders/product-ADPCM2/&#xD;&#xA;  [2]: http://www.amazon.com/Joby-Gorillapod-Original-Flexible-Camera/dp/B001BFJF8Q" ContentLicense="CC BY-SA 2.5" />
  <row Id="3801" PostHistoryTypeId="2" PostId="2120" RevisionGUID="252da05f-134c-48ad-9ca2-1d6a04f31b41" CreationDate="2010-07-20T22:31:26.277" UserId="219" Text="See sources at the bottom :)&#xD;&#xA;&#xD;&#xA;AIFF and WAV both store **PCM data and support meta tagging**. WAV seems to have a **size limit of 4Gb** but nothing is mentioned about AIFF.&#xD;&#xA;&#xD;&#xA;SD II works differently, it is **non-destructive** as it stores the audio samples and separately the parameters of transformations. It is a Digidesign format, not really compatible with anything else from what I understand.&#xD;&#xA;&#xD;&#xA;&quot;MXF has **full timecode and metadata support**&quot;. It seems to be quite new and supports more elements than the previous formats (wrappers) I discussed.&#xD;&#xA;&#xD;&#xA;Can't find anything exciting on QuickTime and Sound Resource, all I can say is that QuickTime is a wrapper, pretty much like AIFF and WAV except it does **video as well and a lot more codecs**.&#xD;&#xA;&#xD;&#xA;Sources:&#xD;&#xA;[WAV][1]&#xD;&#xA;[AIFF][2]&#xD;&#xA;[SD II][3]&#xD;&#xA;[MXF][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/WAV&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/AIFF&#xD;&#xA;  [3]: http://www.wikirecording.org/SDII&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Material_Exchange_Format" ContentLicense="CC BY-SA 2.5" />
  <row Id="3803" PostHistoryTypeId="2" PostId="2121" RevisionGUID="78fd3219-b6e3-4de4-a31b-d9957701d3ab" CreationDate="2010-07-20T22:35:14.613" UserId="6411" Text="For the ability to embed metadata alone, WAV gets my vote.  I remember not too long ago going back and forth referring to printed catalogs and cuing up the CD changer to load FX. Ugh, no thanks. No more.&#xD;&#xA;&#xD;&#xA;I haven't had much experience with MXF, but as far as the rest of them go. WAV." ContentLicense="CC BY-SA 2.5" />
  <row Id="3804" PostHistoryTypeId="2" PostId="2122" RevisionGUID="f597e207-8c92-4307-a19e-713467cd7d0d" CreationDate="2010-07-20T23:13:37.047" UserId="37" Text="if I'm not wrong BWF WAV is actually the official recommendation for audio exchange and archiving. ITU BR.1574 among others.. also the nice AES people have standardised the RF64 riff chunk so WAV can hold more than 4GB of data." ContentLicense="CC BY-SA 2.5" />
  <row Id="3805" PostHistoryTypeId="2" PostId="2123" RevisionGUID="8e5b2c71-ffd5-4745-bff3-b8e8881153b7" CreationDate="2010-07-20T23:34:12.557" UserId="6411" Text="&quot;Deadlines&quot; that I've missed always seem to have come from a last minute change to a basic element from a client's client's spouse. &quot;So-and-so thinks that the narrator sounds too old. I know we've bought air time and were slated to ship tonight, but I think they're right and we really should change it.&quot;&#xD;&#xA;&#xD;&#xA;However when it comes to late deliveries, my early days of political ads take the cake. Last minute script changes in response to an attack ad for a politician three time zones away has resulted in more than one courier catching a plane because we missed the airport drop off for FedEx.&#xD;&#xA;&#xD;&#xA;Fortunately most of my clients these days schedule with enough lead time... (knocks wood)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3806" PostHistoryTypeId="6" PostId="2114" RevisionGUID="3765328e-58c5-4356-807c-a9bc6f1542d6" CreationDate="2010-07-20T23:37:32.087" UserId="445" Comment="edited tags" Text="&lt;pro-tools&gt;&lt;bwf&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3807" PostHistoryTypeId="2" PostId="2124" RevisionGUID="d186401d-6497-4f93-9761-9c1eb1b21f01" CreationDate="2010-07-21T00:02:44.470" UserId="445" Text="I love Digital Performer! I use DP for music AND sound design. I completed the sound design for a TV show for MTV and many other projects including ADR, foley, mixing and sound mastering for TV and film without problems with this software.&#xD;&#xA;&#xD;&#xA;I know this DAW isn't so popular in the sound side, but I absolutely recommend giving it a try.&#xD;&#xA;&#xD;&#xA;However, your DAW of choice will come for a mix of COMFORT/CONVENTION/HABIT/PERFORMANCE. We need to think again over the marketing behind the brands and choose a DAW which fulfill our needs." ContentLicense="CC BY-SA 2.5" />
  <row Id="3809" PostHistoryTypeId="2" PostId="2126" RevisionGUID="0ce4f78d-fd70-4212-84d1-5566c56effb7" CreationDate="2010-07-21T00:54:00.690" UserId="445" Text="&lt;a href=&quot;http://www.amazon.com/Trait%C3%A9-objets-musicaux-Pierre-Schaeffer/dp/2020026082/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1279673026&amp;sr=1-1&quot;&gt;Traité des objets musicaux&lt;/a&gt; (Pierre Schaeffer)&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://ecx.images-amazon.com/images/I/515GEC47ZNL._SS500_.jpg&quot; alt=&quot;Schaeffer&quot; /&gt;&#xD;&#xA;&#xD;&#xA;Not exactly a sound design book, but very interesting approach to sound objects and their relationships. The book explains different types of listenings and proposes a classification of sounds by type and morphology. &#xD;&#xA;&#xD;&#xA;This theory derives from german phenomenology and it's the founding text of Musique Concrète in France.&#xD;&#xA;&#xD;&#xA;I don't know if there are translations in english. I have read the spanish version, a translation of the original work of Schaeffer in frech.&#xD;&#xA;&#xD;&#xA;Very recommended reading!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3810" PostHistoryTypeId="16" PostId="2126" RevisionGUID="0ce4f78d-fd70-4212-84d1-5566c56effb7" CreationDate="2010-07-21T00:54:00.690" UserId="-1" />
  <row Id="3811" PostHistoryTypeId="2" PostId="2127" RevisionGUID="f1b3ae21-e4f8-41eb-9e6c-40a0ba7cae44" CreationDate="2010-07-21T01:21:56.470" UserId="37" Text="(i wrote that review) &#xD;&#xA;if you're coming from the microtrack, then you'd love the m10. the plastic creaks. that's about as flawed as it gets. maybe the d50 is better in terms of build or preamp, but it's more expensive too.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3812" PostHistoryTypeId="2" PostId="2128" RevisionGUID="a3f360de-1052-4ef9-8fa1-4989db14efcd" CreationDate="2010-07-21T01:35:02.073" UserId="286" Text="Try it in game.  You probably won't notice the loop as it's flying by you.  If you do, take that same sample and offset it in another track in Pro Tools.  Bounce that down and loop that.  That should help remedy it.&#xD;&#xA;&#xD;&#xA;If that's really not solving the issue then look for another static track to layer in.  Jet airplanes are good for rocket bys.&#xD;&#xA;&#xD;&#xA;Be sure that your loop point is at the zero crossing as well.  If you game dynamically pitches it (with doppler effects) or you pitch it in game you could induce a pop/click in the loop as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="3813" PostHistoryTypeId="2" PostId="2129" RevisionGUID="11d6a950-7964-47df-8738-608aa9e2ffaf" CreationDate="2010-07-21T02:33:05.287" UserId="431" Text="When I went freelance not to long ago, I splurged on an Ekdahl Moisturizer. A few slaps on those springs with the output cranked = perfect metal explosion sweetner. I've been dying to try out a few of my other guitar pedals, specifically my Quadrafuzz. I've also done some recording with my Thingamagoop 2, which yielded some decent telemetry and alarm sounds." ContentLicense="CC BY-SA 2.5" />
  <row Id="3814" PostHistoryTypeId="5" PostId="2129" RevisionGUID="13cf34c6-8e74-418e-ac09-9dffc106ea0b" CreationDate="2010-07-21T02:38:25.247" UserId="431" Comment="added 42 characters in body" Text="When I went freelance not to long ago, I splurged on an Ekdahl Moisturizer (&quot;I can write it off when I do my taxes!&quot;) A few slaps on those springs with the output cranked = perfect metal explosion sweetner. I've been dying to try out a few of my other guitar pedals, specifically my Quadrafuzz. I've also done some recording with my Thingamagoop 2, which yielded some decent telemetry and alarm sounds." ContentLicense="CC BY-SA 2.5" />
  <row Id="3815" PostHistoryTypeId="2" PostId="2130" RevisionGUID="7da8ebff-0f29-4325-a66a-0e5cb1be0bcd" CreationDate="2010-07-21T03:37:59.343" UserId="362" Text="hmm... maybe there's a way to combine it with a Shepard tone so the doppler is &quot;continuous&quot;  (assuming our perspective is fixed from outside the rocket) &#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Shepard_tone" ContentLicense="CC BY-SA 2.5" />
  <row Id="3816" PostHistoryTypeId="2" PostId="2131" RevisionGUID="d4fe6cd5-624c-4cd2-99cc-12ab075327dc" CreationDate="2010-07-21T04:03:40.603" UserId="285" Text="I mix a investigative journalism show (kind of Canada's version of &quot;60 Minutes&quot;) and we were always running up against the deadline in a near miss fashion. Once I was still finishing the mix of the second act's story while the first act was on air. Luckily now it has to be close captioned before it can go to air so the mix has to be done by the morning of the air date.  So that just means I mix until 3am the night before most of the time.  They did an episode on the earthquake in Haiti that was really down to the wire, so it could air in time to lead into a telethon fundraiser, that it first went to air &quot;unmixed&quot; (basically a realtime mix pass was done that relied waaaaaaaaaaay too much on the L1).  Then A proper mix was done for re-airings later in the week.&#xD;&#xA;&#xD;&#xA;The worst missed deadline I ever nearly caused was when I starting out and I once put a label sticker on the data side of a CD (back when each disc cost $35).  I had to make a new disc so it could be laid back at the last moment and make its air time.  Yikes!  I can say I never made that mistake again.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3817" PostHistoryTypeId="2" PostId="2132" RevisionGUID="98334e15-7848-4cf4-9d8e-4cb7036a914e" CreationDate="2010-07-21T05:58:37.710" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;I have a task of mixing a female voice to make it sound &quot;Goddess&quot;-like and &quot;Angel&quot;-like and warm and soft and high-endy.&#xD;&#xA;&#xD;&#xA;Those are pretty much the producer's words.&#xD;&#xA;&#xD;&#xA;Any tips or hints or any past experiences you guys have? EQ, compression, reverb, effects?&#xD;&#xA;&#xD;&#xA;I was going to make it very bright and airy and soft. Add a large maybe church reverb.&#xD;&#xA;&#xD;&#xA;However, I don't know if a chorus effect or flange effect is proper for this type of thing.&#xD;&#xA;&#xD;&#xA;It is narration - not dialogue of a character on screen, so at least I have a lot of lee-way to work with if I want.&#xD;&#xA;&#xD;&#xA;I also can't think of any good examples of something like this I can reference to.&#xD;&#xA;&#xD;&#xA;I have to get this done tonight for airing tomorrow (it airs at 12 noon tomorrow and it's about 11PM now where I am, might be a long night...)&#xD;&#xA;&#xD;&#xA;Any advice is much appreciated!!!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="3818" PostHistoryTypeId="1" PostId="2132" RevisionGUID="98334e15-7848-4cf4-9d8e-4cb7036a914e" CreationDate="2010-07-21T05:58:37.710" UserId="18160" Text="URGENT - HELP - Goddess Voice Mix" ContentLicense="CC BY-SA 2.5" />
  <row Id="3819" PostHistoryTypeId="3" PostId="2132" RevisionGUID="98334e15-7848-4cf4-9d8e-4cb7036a914e" CreationDate="2010-07-21T05:58:37.710" UserId="18160" Text="&lt;voice&gt;&lt;mix&gt;&lt;suggestion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3820" PostHistoryTypeId="2" PostId="2133" RevisionGUID="89ddf087-5262-4723-9544-611fd6f78a99" CreationDate="2010-07-21T06:14:22.570" UserId="61" Text="Try this:&#xD;&#xA;&#xD;&#xA; 1. Duplicate the original read twice.&#xD;&#xA; 2. Roll-off most of the high end and boost some lows on one file, in an effort to make it &quot;warm&quot;.&#xD;&#xA; 3. Roll-off everything below 6-8kHz on the other file in an effort to make it sound&#xD;&#xA;   &quot;whispery&quot;.&#xD;&#xA; 4. Layer these two elements.&#xD;&#xA; 5. Duplicate the &quot;whispery&quot; read and&#xD;&#xA;   process it through a multi-tap delay.&#xD;&#xA; 6. Process the delayed &quot;whispery&quot; read&#xD;&#xA;   through a soft, wide reverb like an infinite or cathedral, making&#xD;&#xA;   the signal 100% wet.&#xD;&#xA; 7. Layer this new element with the 1st&#xD;&#xA;   two.&#xD;&#xA;&#xD;&#xA;See how far you get with that. Personally I would avoid flanging and phasing, but a very light chorus on one of the elements might sound nifty.&#xD;&#xA;&#xD;&#xA;PS&gt; For an extra-coolness boost, you could try a reverse reverb technique on the whispery read so that the words &quot;suck in&quot; on themselves, a la Poltergeist. Use with care, though, as it could sound scary or menacing.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3821" PostHistoryTypeId="6" PostId="2114" RevisionGUID="cbab827b-cebc-45d9-baa6-9dfb197b2b7a" CreationDate="2010-07-21T06:44:12.930" UserId="219" Comment="edited tags" Text="&lt;pro-tools&gt;&lt;bwf&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3822" PostHistoryTypeId="2" PostId="2134" RevisionGUID="efb7e763-85f5-4477-85ed-c557bfba8fd7" CreationDate="2010-07-21T08:29:51.117" UserDisplayName="user49" Text="surely the way is to seperate construction of the events&#xD;&#xA;&#xD;&#xA;the doppler effect is most noticeable when it passes the listener,&#xD;&#xA;so from launch, to close passby, to close away use Michaels awesome rocket sound&#xD;&#xA;&#xD;&#xA;then &#xD;&#xA;&#xD;&#xA;1. make the constant rocket engine sound&#xD;&#xA;(like you have a mic gaffer-taped to the side of the rocket)&#xD;&#xA;&#xD;&#xA;2. apply the doppler via a very long/slow LFO'd filter of the constant rocket sound!&#xD;&#xA;it would take some matching.... and some epic verb!&#xD;&#xA;but who is going to check that it actually goes on FOREVER?&#xD;&#xA;(could you ask them to also check my perpetual motion machine while they are at it?)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3823" PostHistoryTypeId="6" PostId="2116" RevisionGUID="41f18ebf-0017-4bd6-b119-a6a234597393" CreationDate="2010-07-21T08:59:32.770" UserDisplayName="user80" Comment="edited tags" Text="&lt;sound-design&gt;&lt;loop&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3824" PostHistoryTypeId="2" PostId="2135" RevisionGUID="698df14e-4f45-46b0-9b5b-0975b11ccc90" CreationDate="2010-07-21T10:11:36.320" UserId="448" Text="if you are into the game industry, check the spec of the audio engine. if you are more into the post production area, check AKAI sampler or Kontakt might be useful. I have successfully use a sound of a food processor to create a sustaining rocket-interior kind of sound using an Akai sampler (S-1000)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3825" PostHistoryTypeId="2" PostId="2136" RevisionGUID="4a5be3e2-d974-453f-b97e-529da8d541db" CreationDate="2010-07-21T11:16:35.793" UserId="331" Text="I came from the Edirol R-09 and the M10 was perfect really.  The internal mics are good (especially for ambience stuff - check out the Nature Recording Group as there's a good few people who like it there and comparisons between the D50 and M10 were damn close).  Mics are omni so not as suited to direct fx recording as the D50  but I use mine with a Sound Devices portable pre and a hyper cardioid anyway.  Its no 7xx series as someone said but it does give you a lot of flexibility when combined with the pre.&#xD;&#xA;&#xD;&#xA;I dithered over the m10 vs D50 too but couldn't justify the nearly 40% extra cost (at the time) for the D50.  I hoped after the M10 release their might be a bargain D50 around but it still looks like the D50 price is holding.&#xD;&#xA;Size-wise it is that bit smaller than the D50 and a bit more discreet which is handy &#xD;&#xA;Windshield is a must.... " ContentLicense="CC BY-SA 2.5" />
  <row Id="3826" PostHistoryTypeId="2" PostId="2137" RevisionGUID="5c487991-7e13-4a40-b9c0-d2ff9cb3e2d7" CreationDate="2010-07-21T12:38:49.020" UserId="62" Text="A little trick I often use is to add the sound of air rushing out just before the impact. The sound of air moving makes the impact feel bigger." ContentLicense="CC BY-SA 2.5" />
  <row Id="3827" PostHistoryTypeId="5" PostId="2118" RevisionGUID="8e4ec215-4dd4-4c74-9889-b40310734f51" CreationDate="2010-07-21T15:17:03.367" UserId="6411" Comment="for spelling" Text="I bought the M-10, as it's my first pocket sized recorder I think it's great. &#xD;&#xA;&#xD;&#xA;I don't know if you'd &quot;barely notice it's there,&quot; but it's extremely portable.  Haven't tried to record anything too incredibly quiet, but what I have recorded sounds great using an external mic or the on-board mic. While it does have some plastic, it's a pretty sturdy piece of gear. As far as the limiter goes, I don't think I've turned it on yet, so I can't really lay claim to it's &quot;ghostliness.&quot;&#xD;&#xA;&#xD;&#xA;Two things I'd recommend if you do buy one. First is the [M-10 wind furry][1] or something like it, one weekend trip to the beach proved that was desperately needed. The second is a [gorillapod][2]. I had one of these lying around for my point-and-shoot and threw it in my recording bag, best thing I could have done. Works fantastically.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://pro.sony.com/bbsc/ssr/cat-audio/cat-recorders/product-ADPCM2/&#xD;&#xA;  [2]: http://www.amazon.com/Joby-Gorillapod-Original-Flexible-Camera/dp/B001BFJF8Q" ContentLicense="CC BY-SA 2.5" />
  <row Id="3828" PostHistoryTypeId="2" PostId="2138" RevisionGUID="14278c68-7b94-41fb-a4a4-f0bd0260ff75" CreationDate="2010-07-21T15:19:09.470" UserId="260" Text="I've used timpani and kodo drums to do footsteps. Just some EQ and pitch change. Get some recording of debrise like rocks and so to layer with it." ContentLicense="CC BY-SA 2.5" />
  <row Id="3829" PostHistoryTypeId="2" PostId="2139" RevisionGUID="07d4d754-0b33-4b8b-9f03-e3ee13e17956" CreationDate="2010-07-21T15:50:10.883" UserId="453" Text="The pitchshifter is your best friend here. Combined with a lot of compression for a big tail..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3830" PostHistoryTypeId="2" PostId="2140" RevisionGUID="49500da0-db19-4ffe-832e-e2deab1b736a" CreationDate="2010-07-21T16:47:14.053" UserDisplayName="user80" Text="Use a kick drum and apply a low pass filter.  The same can be done with a five string bass." ContentLicense="CC BY-SA 2.5" />
  <row Id="3831" PostHistoryTypeId="5" PostId="2102" RevisionGUID="85521891-b274-4545-96ea-d2cecffc759c" CreationDate="2010-07-21T16:50:25.383" UserId="219" Comment="added 5 characters in body" Text="Also you'll need some reverb. Big sounds need reverb/echo. I recorded fireworks two days ago, I can give you the raw stuff if ever you wanted it..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3832" PostHistoryTypeId="2" PostId="2141" RevisionGUID="4e9477b2-14ef-48c0-8653-ac1e786d8ef3" CreationDate="2010-07-21T16:58:58.110" UserId="390" Text="This may sound simplistic but I'll be glad to share what I've learned from a recent game project earlier this year. Make sure you have clean heads and tails. You may be able to loop well in Pro tools because of the region you selected. But when you play the wav file completely, you may still have some audio at the start and at the end that could and should be trimmed off for a clean loop.&#xD;&#xA;&#xD;&#xA;Also, if you're using it for a game and space is an issue then the problem may occur when converting from Wav to MP3 file. If you're broke, like me, then you might not have the DV toolkit yet which allows you to bounce mp3 files. Recently, I used a program/media player called VLC to convert a wav file to mp3.  But for some reason, VLC doesn't make a clean conversion, there's always some extra audio at the end and/or beginning of the file. Your best bet then is to use the free program, Audacity, to do your wav to mp3 conversions. Your MP3 files will come out with no extra filler added that would make a clean loop impossible. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3833" PostHistoryTypeId="6" PostId="2094" RevisionGUID="586392c4-9676-4bfd-8520-9850c4ee8d21" CreationDate="2010-07-21T17:35:41.627" UserId="6411" Comment="edited tags" Text="&lt;pitch-shifting&gt;&lt;pitch&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3834" PostHistoryTypeId="2" PostId="2142" RevisionGUID="82b15667-6164-46e2-a483-0f7af1228b5e" CreationDate="2010-07-21T19:44:42.713" UserId="208" Text="When I have pitch shifted, eq´ed, layered sounds, I insert my DBX120A on the aux, and things usually gets enormous:)&#xD;&#xA;It just adds so much bottom its unbelievable.&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 2.5" />
  <row Id="3835" PostHistoryTypeId="2" PostId="2143" RevisionGUID="247c2a94-40d2-41d4-b4ec-354c332d1541" CreationDate="2010-07-21T20:52:29.830" UserId="6411" Text="More action to articulate, less time to do it in. What's your approach to Slo-mo's evil twin?&#xD;&#xA;&#xD;&#xA;[youtube]coWd4YHVe14[/youtube]&#xD;&#xA;&#xD;&#xA;Pitched-up, time-compressed FX have gotten me through plenty of short clips of scenes like this. Sped up stopwatches have become a standard element, and in the process have become hackneyed. Letting the music ride is okay in some situations, but producers usually want more.&#xD;&#xA;&#xD;&#xA;I'm hoping some of you have fresh ears and ideas to inspire me the next time I see a similar clip in my timeline. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3836" PostHistoryTypeId="1" PostId="2143" RevisionGUID="247c2a94-40d2-41d4-b4ec-354c332d1541" CreationDate="2010-07-21T20:52:29.830" UserId="6411" Text="How do you tackle time lapsed footage?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3837" PostHistoryTypeId="3" PostId="2143" RevisionGUID="247c2a94-40d2-41d4-b4ec-354c332d1541" CreationDate="2010-07-21T20:52:29.830" UserId="6411" Text="&lt;sound-design&gt;&lt;inspiration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3838" PostHistoryTypeId="2" PostId="2144" RevisionGUID="ceaf1a53-22c0-4eee-9845-29cd9d938cf1" CreationDate="2010-07-21T21:28:19.903" UserId="40" Text="I've missed some deadlines.  Mostly back in the day when I was younger and stupider.  If I miss a deadline now, it's for the same reason Steve mentioned.  It's because of the client.  I've had clients give me a very short window of time to do something, and I can usually pull it off.  But this is often what happens when I show it to them:&#xD;&#xA;&#xD;&#xA;Client: &quot;That's not the way I wanted it&quot;&#xD;&#xA;&#xD;&#xA;Me: &quot;This is what you asked for though&quot;&#xD;&#xA;&#xD;&#xA;Client: &quot;I know, but I didn't mean it like that. I wanted it a bit different&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I used to get caught in that all the time when I was starving for work and taking no-lo pay stuff left and right.&#xD;&#xA;&#xD;&#xA;Anymore, though, I do everything in my control to not miss a deadline.  If it looks like I might miss the deadline for a legitimate reason, I'll let the client know ahead of time.  If they are fine with it being a day or two late, then we're cool and the client really appreciates the communication.  If they absolutely can't afford to get it late, I'll try to find someone to pull in and help me finish the work, or just pull an all-nighter or two to get it done." ContentLicense="CC BY-SA 2.5" />
  <row Id="3839" PostHistoryTypeId="2" PostId="2145" RevisionGUID="d1064814-e037-4480-b068-4de4c36d8b4d" CreationDate="2010-07-21T21:32:00.197" UserId="40" Text="So, I've gotten to know quite a few of you at this point, and I know where a good few of you work from.  Luckily I've been able to meet up with a few people for lunches and all.  Every time I'm glad I met the person.&#xD;&#xA;&#xD;&#xA;So, in order to continue building this network, I propose we map out where everyone is from and what you do.  Sort of like our own little sound professional directory.&#xD;&#xA;&#xD;&#xA;I'm a sound recordist and sound editor, and I live in Orlando, Florida." ContentLicense="CC BY-SA 2.5" />
  <row Id="3840" PostHistoryTypeId="1" PostId="2145" RevisionGUID="d1064814-e037-4480-b068-4de4c36d8b4d" CreationDate="2010-07-21T21:32:00.197" UserId="40" Text="Where are you from and what do you do?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3841" PostHistoryTypeId="3" PostId="2145" RevisionGUID="d1064814-e037-4480-b068-4de4c36d8b4d" CreationDate="2010-07-21T21:32:00.197" UserId="40" Text="&lt;location&gt;&lt;map&gt;&lt;jobs&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3842" PostHistoryTypeId="2" PostId="2146" RevisionGUID="8115b649-1f43-459e-b887-fcbfa5630a7a" CreationDate="2010-07-21T21:35:43.470" UserId="61" Text="Cool concept, Colin -- thanks for initiating!&#xD;&#xA;&#xD;&#xA;I'm a sound designer for films and video games, and live in Burbank, CA." ContentLicense="CC BY-SA 2.5" />
  <row Id="3843" PostHistoryTypeId="2" PostId="2147" RevisionGUID="d7000216-faec-4a49-aaaf-8b7fb97989a5" CreationDate="2010-07-21T21:39:18.850" UserId="40" Text="Those of you doing binaural field recording, or those who have experience with it:&#xD;&#xA;&#xD;&#xA;What kind of setup are you using?  What have you found creates the most accurate sound field?  Are most of your recordings for pro projects or as a personal hobby?&#xD;&#xA;&#xD;&#xA;I'm also working on creating binaural assets that can be mixed into a binaural ambience in order to be able to create an artificial binaural soundscape.  Anyone have any experience with this?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I am currently using an in-ear set I made with Countryman B6s, as well as a homemade binaural head.  I've done a little work with the KU100 in the past.  I'm going to be doing an experiment soon where I will be using test equipment to compare my homemade head to the KU100." ContentLicense="CC BY-SA 2.5" />
  <row Id="3844" PostHistoryTypeId="1" PostId="2147" RevisionGUID="d7000216-faec-4a49-aaaf-8b7fb97989a5" CreationDate="2010-07-21T21:39:18.850" UserId="40" Text="Binaural Recording and Asset Creation" ContentLicense="CC BY-SA 2.5" />
  <row Id="3845" PostHistoryTypeId="3" PostId="2147" RevisionGUID="d7000216-faec-4a49-aaaf-8b7fb97989a5" CreationDate="2010-07-21T21:39:18.850" UserId="40" Text="&lt;binaural&gt;&lt;field-recording&gt;&lt;gear&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3846" PostHistoryTypeId="2" PostId="2148" RevisionGUID="6069424f-090b-41ae-b2ad-2b46889a2392" CreationDate="2010-07-21T21:55:56.130" UserId="234" Text="OK... my personal &quot;last minute horror story&quot;...&#xD;&#xA;&#xD;&#xA;Infamous Animation Director/Producer... I'm due to start final mix and layback on the show at 9AM Friday morning for a Monday Broadcast (ship out by Fedex to LA by 7PM). Director actually shows up with the show at 9PM after a day of &quot;He'll be there in a hour!&quot;. So after waiting around 12 hours, mixed the show, laid it back, then ran it to the Bus station (after a snowstorm) to put it on the red-eye to LA, so it could get on air. Played that Monday!&#xD;&#xA;&#xD;&#xA;Oh ya... had to get to a music video shoot at 7AM that Saturday! Ouch!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3847" PostHistoryTypeId="2" PostId="2149" RevisionGUID="745355f4-dad9-4784-96a9-e64ac1f6cf7b" CreationDate="2010-07-21T21:57:29.790" UserId="6435" Text="Great idea, Colin.&#xD;&#xA;&#xD;&#xA;I'm a recording engineer/composer/sound designer in Chicago. At my day job I record and mix radio and TV commercials, and at my &quot;second job&quot; as a freelancer I am a sound designer and composer for theatre and independent films." ContentLicense="CC BY-SA 2.5" />
  <row Id="3848" PostHistoryTypeId="2" PostId="2150" RevisionGUID="1738b64f-4f29-4c5c-98c7-a13f176bd91d" CreationDate="2010-07-21T21:58:13.537" UserId="432" Text="I live in Falls Church, VA (DC metro area), and work at an independent production/distribution company.&#xD;&#xA;&#xD;&#xA;My job is kind of cool in that I get to be a jack of all trades as far as audio goes: location and acquisition, and everything associated with post of course.  Lately it's been a lot of short stuff for corporate clients and fixing other peoples' programs which aren't in any sort of broadcast spec.  But we're gearing up for a new non-fiction series which I'm just itching to start." ContentLicense="CC BY-SA 2.5" />
  <row Id="3849" PostHistoryTypeId="2" PostId="2151" RevisionGUID="99757409-700c-42fc-b1d1-3c76ad575f2e" CreationDate="2010-07-21T22:03:25.703" UserId="261" Text="I'm a boom operator and location sound man, from Cape Town,South Africa, now living in Zurich.&#xD;&#xA;Starting off my career as a sound designer by doing short films, animation and motion graphics." ContentLicense="CC BY-SA 2.5" />
  <row Id="3850" PostHistoryTypeId="2" PostId="2152" RevisionGUID="839d03da-3844-4a71-b88c-98168dd012da" CreationDate="2010-07-21T22:24:36.210" UserId="18160" Text="Resident ADR Mixer, Sound Designer and Re-Recording Mixer in Los Angeles." ContentLicense="CC BY-SA 2.5" />
  <row Id="3851" PostHistoryTypeId="2" PostId="2153" RevisionGUID="9dbe77b3-c79d-4702-81af-98e2472df84d" CreationDate="2010-07-21T22:35:21.220" UserId="396" Text="I'm a recording engineer/sound designer/composer in Auckland, NZ. I'm in-house at an ad agency, so mainly work on commercials for TV/radio/online. I work on short films too, when time permits.&#xD;&#xA;&#xD;&#xA;I haven't been too prolific in posting here yet, but still learn a lot from everyone's fantastic contributions." ContentLicense="CC BY-SA 2.5" />
  <row Id="3853" PostHistoryTypeId="2" PostId="2155" RevisionGUID="da2b22e9-571f-45fe-911a-fa96f47d8e9f" CreationDate="2010-07-21T22:43:46.417" UserId="219" Text="I'm a budding Effects Editor/Sound Designer from Limoges, France.&#xD;&#xA;&#xD;&#xA;I spent 3+ years in Edinburgh, Scotland, where I attended uni for a Digital Media course but ended up specializing in film sound with an academic-year-long project, among others. I'm a bit lost as to where I should start looking for work but it's ok :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3854" PostHistoryTypeId="2" PostId="2156" RevisionGUID="56c4f27e-7320-44c4-9038-b4d71448aa55" CreationDate="2010-07-21T22:45:03.967" UserId="253" Text="If my E3 change of status is approved; sound editor and recording engineer in NYC. Mainly foreign language dubs for obscure tv shows, plus whatever indie shorts and features i can get my hands on.&#xD;&#xA;&#xD;&#xA;If not; freelance sound assistant/editor and audio assistant in Sydney, which would involve chasing the big boys for some work and probably calling up my friends at Channel 9 and asking for some shifts.&#xD;&#xA;&#xD;&#xA;Great thread, good to hear what everyone does!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3855" PostHistoryTypeId="2" PostId="2157" RevisionGUID="d5342f3c-e799-429e-9219-9bb7deac8ba1" CreationDate="2010-07-21T22:53:03.330" UserId="103" Text=" Cool Thread!&#xD;&#xA;&#xD;&#xA; Right now i'm in Barcelona doing all sound gigs at a small production studio, but i'll be very soon moving to new york to be an assistant at harvestworks media arts centre. They're a school/studio/research lab. Can't wait!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3856" PostHistoryTypeId="2" PostId="2158" RevisionGUID="e92afb71-9529-4537-896c-22b5c7be7433" CreationDate="2010-07-21T23:13:07.497" UserId="313" Text="Hi, great idea !&#xD;&#xA;I'm a sound designer, sound editor. I work for video games and films. And live in Lille, France." ContentLicense="CC BY-SA 2.5" />
  <row Id="3857" PostHistoryTypeId="2" PostId="2159" RevisionGUID="9c24e785-7cb7-474c-9316-f23e1a0198f6" CreationDate="2010-07-21T23:26:37.473" UserId="219" Text="It really depends on the effect you're looking to achieve. Right now, I'm thinking about how each unit responds when playing Warcraft. Especially in Warcraft II, the first I ever played, buildings in construction had this &quot;Middle Age construction site&quot; sound effects going on, saws, hammers and other stuff. Playing the actual tools sounds over a construction video would make people smile I think.&#xD;&#xA;&#xD;&#xA;Or, over a nature time lapse, playing some distorted electronic drones would create a sort of &quot;counterpoint&quot; (the closest term I can find...) which would probably make me feel empathy for the very pure things that are being &quot;technologized&quot;. I'm thinking about this video in particular:&#xD;&#xA;&#xD;&#xA;[youtube]4fu3MkvC3w0[/youtube]&#xD;&#xA;&#xD;&#xA;A face morph/time lapse, I would hear voices and breaths like a waltz of souls coming and going... It depends on the picture material! :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3858" PostHistoryTypeId="2" PostId="2160" RevisionGUID="b6368d61-921c-4054-845c-76876a74e5ea" CreationDate="2010-07-21T23:39:02.710" UserId="432" Text="HAHA...I'm guessing you're referring to shorter segments of time lapse than the example you embedded; at least, I really hope you are.&#xD;&#xA;&#xD;&#xA;I, too, have gone the pitched and sped up FX route, I've also used low end whooshes and sped up traffic-bys when I've had the random time lapsed wide shot of a city.&#xD;&#xA;&#xD;&#xA;I've got an idea I've been meaning to try out the next time I get something that actually has a significant amount of activity like that video above. The plan is to spend some time identifying activities in the shots that naturally draw the eye, and spotting in effects/foley to fit those activities. I'd make a cut near the tail of the sound, but in advance enough that I would still have just a little bit of the body to work with. I would, again, use some time compression on the head of the clip, but only enough so that the listener could identify that the effect isn't playing back in real time; I'd like it to be a bit more subtle in this use. Of course, the next part throws subtlety out the window.&#xD;&#xA;&#xD;&#xA;Taking that tail, I'd then try to turn that into my whooshes/zips: stretching out the length of it, transitioning it to a more processed/pixellated sound as it nears the end of the tail, and follow it up with some panning or maybe a bit of doppler to get it out of the soundfield.&#xD;&#xA;&#xD;&#xA;I'd probably have to add some sort of room tone or drone/bed underneath it all for it to work, because I feel like it could feel a bit empty and sterile without it." ContentLicense="CC BY-SA 2.5" />
  <row Id="3859" PostHistoryTypeId="5" PostId="2108" RevisionGUID="2e751021-ed12-4357-8e6d-cf28de0d7068" CreationDate="2010-07-22T00:29:29.223" UserId="286" Comment="added 5 characters in body" Text="I was just referencing a game earlier today because I heard good things from a lot of people about the audio.  One thing I can take from this game that people are probably liking is the subwoofer.  I can take things like that and try to incorporate what I think they did right and what I could possibly expand on or do better. For example, there are times were they blend it extremely nicely with the tension of the scene but there are others where things like opening a door have too much low end.  These are things that I will consciously think about more often after experiencing a game like this.&#xD;&#xA;&#xD;&#xA;So in general, I do play a lot of game for the same reasons Chuck does.  I've been playing them since I was four and it's a good educational experience for my practice.  I would say I play about 10-15 hours a week and its usually after work during the week (I like to escape from games on the weekends).  I only own one console (Xbox 360) but I have accessibility to multiple here at work if I need to reference anything.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3860" PostHistoryTypeId="2" PostId="2161" RevisionGUID="21664acf-ffb4-469d-a5cb-97218e8b525c" CreationDate="2010-07-22T00:38:08.157" UserId="100" Text="Beginning sound designer/editor/student in Burbank, CA." ContentLicense="CC BY-SA 2.5" />
  <row Id="3861" PostHistoryTypeId="5" PostId="2161" RevisionGUID="3afaf60f-caea-4062-8262-a88380fe047d" CreationDate="2010-07-22T00:44:17.587" UserId="100" Comment="added 140 characters in body; added 31 characters in body" Text="Beginning sound designer/editor/student in Burbank, CA.&#xD;&#xA;&#xD;&#xA;The question title also reminded me of this. Sorry....&#xD;&#xA;&#xD;&#xA;[youtube] http://www.youtube.com/watch?v=rzukGfdgPCM [/youtube]&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=rzukGfdgPCM" ContentLicense="CC BY-SA 2.5" />
  <row Id="3862" PostHistoryTypeId="2" PostId="2162" RevisionGUID="10df1476-5dc5-4d1e-ad65-b3aa4bb5f7f4" CreationDate="2010-07-22T01:57:44.383" UserId="260" Text="I did some video game sound design recently and I learned a lot from playing other games; learning how they handled a situation. Though I think it is slightly important to think outside the box for games and what would be fun to hear. The problem with games compare to movies is the repetition. When you hear the same sound play for the 100th time, it becomes tiresome, specially if its an alarm. It is wise to learn from other games not to do the same mistake as them which became tiresome to you. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3863" PostHistoryTypeId="2" PostId="2163" RevisionGUID="82f63efd-5267-45db-ad49-b068fe5e200f" CreationDate="2010-07-22T02:17:40.893" UserId="6411" Text="I'm in Arlingon, VA and work as a sound editor / mixer / designer for TV and radio (with the occasional indie flick)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3864" PostHistoryTypeId="16" PostId="2163" RevisionGUID="82f63efd-5267-45db-ad49-b068fe5e200f" CreationDate="2010-07-22T02:17:40.893" UserId="6411" />
  <row Id="3865" PostHistoryTypeId="2" PostId="2164" RevisionGUID="e3c15946-bea9-46b9-87d3-def6ff071c19" CreationDate="2010-07-22T04:11:55.177" UserId="445" Text="Hey! I'm Alan Senderowitsch, sound designer and composer from Buenos Aires, Argentina.&#xD;&#xA;&#xD;&#xA;I do freelance work for film &amp; tv and I have a band of electroacoustic music focused on real-time improvisation. &#xD;&#xA;&#xD;&#xA;[myspace.com/alansende][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.myspace.com/alansende" ContentLicense="CC BY-SA 2.5" />
  <row Id="3866" PostHistoryTypeId="2" PostId="2165" RevisionGUID="f62f95da-09f6-4229-9e0c-caf6bd7b59d1" CreationDate="2010-07-22T05:27:43.353" UserId="437" Text="I am just starting a job as the resident sound designer at Pioneer Theater Company in Salt Lake City, UT as well as an Adjunct Professorship at University of Utah teaching sound design. &#xD;&#xA;&#xD;&#xA;Up 'til now I have been freelancing in Portland, OR in sound design and editing for corporate video, indie films and theatre.&#xD;&#xA;&#xD;&#xA;Be sure to look me up if you're in SLC!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3867" PostHistoryTypeId="2" PostId="2166" RevisionGUID="029fbf88-d3d1-4afb-b229-8cd6ae79cc8b" CreationDate="2010-07-22T06:39:36.227" UserId="61" Text="A very difficult task indeed. I wonder who in the world would want to watch 3:00 of that in the first place…&#xD;&#xA;&#xD;&#xA;Attaching organic sounds to visual cues is typically a great starting point, rather than venturing off into whoosh-land right away. If you can nail down some concrete sound elements that work with the video, then you have somewhere to launch from. This technique would lead you to the &quot;see a tool-hear a tool&quot; approach, which could definitely work in shorter montages, but something this long wouldn't support it. You could take a more stylized look at it, perhaps starting off with a flurry of organic sounds and then slowly twisting those elements into more abstract ideas -- shadows of their previous selves, if you would -- then slowly reverting them back to their original shape. Also, playing against shading, shadows, and lighting would be important.&#xD;&#xA;&#xD;&#xA;The music track is rather frenetic and up-tempo, so your sound design could play counterpoint to that with slower, more evolving textures.&#xD;&#xA;&#xD;&#xA;Really hard to say - so much of it depends on what the client is looking for, time allotted to complete the task, budget, etc. But I think I'd start with something like that." ContentLicense="CC BY-SA 2.5" />
  <row Id="3868" PostHistoryTypeId="2" PostId="2167" RevisionGUID="064a0f57-07b1-40c2-8715-95ecc8f8754d" CreationDate="2010-07-22T07:44:12.050" UserId="2" Text="I'm from France, but I left when I was 17. Lived in a bunch of countries and at the moment I'm based in South Africa. I'm aiming to get to NYC where my girlfriend lives. &#xD;&#xA;&#xD;&#xA;Most of my paid work is for recording and editing sound effects for features and commercials. I also do some sound design, mixing, location recording, programming and lecturing... basically I do a bit of everything. If someone phones me up and I can do the job and I have time, then I do it. I really do enjoy all aspects of sound! &#xD;&#xA;&#xD;&#xA;What would be awesome is if I could create interactive media all the time! I would love to do more of is create art installations, and use Max/MSP and Arduinos and general physical computing. I really enjoy programming and geeking out. This is the kind of stuff I really enjoy! I'm thinking to do a Ph.D so I can delve deep into all this. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3869" PostHistoryTypeId="2" PostId="2168" RevisionGUID="fefe9000-3478-4526-b2de-b20d3c7e25d4" CreationDate="2010-07-22T08:16:27.197" UserId="261" Text="Hey,&#xD;&#xA;&#xD;&#xA;I'd try to attach sound elements to visual cues first. My idea of a visual cue being a major 'change' in the overall picture...&#xD;&#xA;&#xD;&#xA;E.g the orangey-light up event at 0:02 to 0:04&#xD;&#xA;&#xD;&#xA;Each of the phases in the construction of those whit arches should trigger something...&#xD;&#xA;&#xD;&#xA;Generally speaking I'd hang the major part of the sequence of sound on events like that. Then record or find sounds for the workmen.&#xD;&#xA;&#xD;&#xA;I immediately thought small small small. Don't know why. Paper foley. Clothing(zippers), various light switches, throwing dried beans on a table. Ringbinders. Can openers. &#xD;&#xA;http://www.tonehammer.com/ did a great Kontakt instrument made of pen clicks and the like a few months back(or maybe last year...)&#xD;&#xA;&#xD;&#xA;Then I'd try sit everything with heavily reverbed snippets of 'real ' sound, far in the back ground.... Hammer hits, drills...&#xD;&#xA;&#xD;&#xA;Kurt&#xD;&#xA;&#xD;&#xA;And then something steady in the background. A pulse....Reversed stopwatch...arpeggiated square wave...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3870" PostHistoryTypeId="2" PostId="2169" RevisionGUID="6ea6a6b5-fa2f-4381-a5b6-0306176d3766" CreationDate="2010-07-22T08:23:04.037" UserId="62" Text="I'm a Sound Designer and Dubbing Mixer. Originally from deepest, darkest Wiltshire in the sound of England but now working Galway, Ireland. Trying to move back to the UK though (London, Manchester, Cardiff in case anyone knows of any work going).&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="3871" PostHistoryTypeId="2" PostId="2170" RevisionGUID="922be9e5-ab19-44e9-9d10-3c6ab3d1a5a4" CreationDate="2010-07-22T10:32:52.383" UserId="219" Text="Hi everybody,&#xD;&#xA;&#xD;&#xA;Just another thread on orientation. But every single one is person-specific, isn't it? I just got an email from my uni saying they had a new course starting in September, an MA in Film. I just left Edinburgh because I thought it was time for me to go out there and make myself a name. I'm just not sure people in the industry would want me anyway, and following is why.&#xD;&#xA;&#xD;&#xA;I was studying multimedia when I found out I wanted to do film sound. I just graduated with a BSc Digital Media that I did in two years, got capped on some modules and got a 2:2, a lower one. I did an Honours Project on re-recording/postprod tehcniques, learned a lot, but I don't have a degree that shouts it out.&#xD;&#xA;&#xD;&#xA;Now, going back there for me is going to be between hard and hardly possible, financially especially, not that my parents are short on money, just that I resent on asking for it anymore. But that's my problem that I'll overcome if getting into this MA is a valuable thing to do. Finally, my question: should I restore my reputation by taking this course and shining at it? Or should I just shine on my own, invest a fraction of the money in books and look for professional experience?&#xD;&#xA;&#xD;&#xA;Thanks for all the help you'll be able to give me!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3872" PostHistoryTypeId="1" PostId="2170" RevisionGUID="922be9e5-ab19-44e9-9d10-3c6ab3d1a5a4" CreationDate="2010-07-22T10:32:52.383" UserId="219" Text="MA in Film vs. working on my own. I'd like to have your input!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3873" PostHistoryTypeId="3" PostId="2170" RevisionGUID="922be9e5-ab19-44e9-9d10-3c6ab3d1a5a4" CreationDate="2010-07-22T10:32:52.383" UserId="219" Text="&lt;education&gt;&lt;experience&gt;&lt;employability&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3874" PostHistoryTypeId="2" PostId="2171" RevisionGUID="6434190e-d92c-4436-a6d1-ba0637c27778" CreationDate="2010-07-22T11:35:01.310" UserId="432" Text="Interesting conundrum. I've got one question that may help you decide: How many other media students did you get to know working on your BSc?&#xD;&#xA;&#xD;&#xA;I went the MA route, but that was because my background was primarily in live sound up to that point (and my undergraduate work was in Anthropology and History...lol). The biggest thing I got out of the master's program was some contacts that lead to my first few major freelance gigs. Don't get me wrong, my professors pushed me in some interesting directions, and I would be lying if I said I didn't get anything out of it. They changed my philosophy and approach, but I think I would have eventually stumbled myself along that path anyways. The contacts, all other students I had worked with, were what got me &quot;paying&quot; work though.  At least, they paid enough that I was able to survive for the time being......barely. lol&#xD;&#xA;&#xD;&#xA;Another possibility for you, if you have a master's there's always the chance you could teach as well. You'll need at least that level degree to do it. I've done that in the past myself. Admittedly, not my chosen career path, but you do what you've got to to pay the bills when you're poor. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3875" PostHistoryTypeId="5" PostId="2170" RevisionGUID="4f9ba1d4-3348-4290-a32e-b9db3eebd295" CreationDate="2010-07-22T11:48:30.337" UserId="219" Comment="added 151 characters in body" Text="Hi everybody,&#xD;&#xA;&#xD;&#xA;Just another thread on orientation. But every single one is person-specific, isn't it? I just got an email from my uni saying they had a new course starting in September, an MA in Film. I just left Edinburgh because I thought it was time for me to go out there and make myself a name. I'm just not sure people in the industry would want me anyway, and following is why.&#xD;&#xA;&#xD;&#xA;I was studying multimedia when I found out I wanted to do film sound. I just graduated with a BSc Digital Media that I did in two years, got capped on some modules and got a 2:2, a lower one. I did an Honours Project on re-recording/postprod tehcniques, learned a lot, but I don't have a degree that shouts it out.&#xD;&#xA;&#xD;&#xA;Now, going back there for me is going to be between hard and hardly possible, financially especially, not that my parents are short on money, just that I resent on asking for it anymore. But that's my problem that I'll overcome if getting into this MA is a valuable thing to do. Finally, my question: should I restore my reputation by taking this course and shining at it? Or should I just shine on my own, invest a fraction of the money in books and look for professional experience?&#xD;&#xA;&#xD;&#xA;Thanks for all the help you'll be able to give me!&#xD;&#xA;&#xD;&#xA;EDIT: would a MA in Film be of better value than a placement? Can I even get such a thing as a placement knowing I'm not coming from a film school?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3876" PostHistoryTypeId="2" PostId="2172" RevisionGUID="78fae85f-a89e-41b5-b870-2438f67955a8" CreationDate="2010-07-22T11:50:07.973" UserId="100" Text="That's a tough decision to make. I was in a similar situation very recently. It may not be much help, but I thought I'd share anyway.&#xD;&#xA;&#xD;&#xA;I was looking at getting my MA in Sound Design from SCAD about 8 or 9 months ago. I liked this idea since it would look sweet on my résumé, plus my years in the Air Force meant the US military would foot the entire cost of tuition and then some. As good as it looked, I opted instead to move the family out to Hollywood, start looking for sound gigs, and take some audio engineer classes, all out of my own (nearly empty) pocket.&#xD;&#xA;&#xD;&#xA;While there were several reasons for making this decision, one of the biggest was, while a résumé with yet another degree would look good for some employers, it turns out that having some decent titles on IMDB carries a bit more weight here. I get told over and over here, &quot;It's not what you know, it's who you know&quot;. While I tend to disagree, I think it's valid to say that formal education can often be trumped by experience and having friends in the right places. Like I said, it may not help (I mean, I did end up going to school out here anyway). Best of luck to you." ContentLicense="CC BY-SA 2.5" />
  <row Id="3877" PostHistoryTypeId="2" PostId="2173" RevisionGUID="bbb9ed39-fc2e-480a-a6a5-af7f4422dd85" CreationDate="2010-07-22T13:43:53.137" UserId="414" Text="I'm an aspiring sound designer for films and games going to school in Milledgeville, GA. I'm still just reading the books and learning all I can about the discipline. I also want to get more into computer stuff." ContentLicense="CC BY-SA 2.5" />
  <row Id="3878" PostHistoryTypeId="2" PostId="2174" RevisionGUID="94e98a29-c092-4321-9d13-f0163eb689e8" CreationDate="2010-07-22T13:56:06.703" UserId="261" Text="Hey Everyone...&#xD;&#xA;&#xD;&#xA;Just thought I'd ask that, as it is a field that doesn't seem to be discussed much. (at least on the net)&#xD;&#xA;&#xD;&#xA;At the moment I'm (very slowly) doing an engineering degree through the OU and from the little I've heard about, it sounds fascinating. I'd like to find out a bit more about it and find out how one would go about getting into it...&#xD;&#xA;&#xD;&#xA;I digress. I've come across these 2 articles:&#xD;&#xA;&#xD;&#xA;http://www.autoblog.com/2010/06/20/blind-group-displeased-that-nissan-leaf-sound-can-be-turned-off/&#xD;&#xA;&#xD;&#xA;AND&#xD;&#xA;&#xD;&#xA;http://www.bmwblog.com/2010/05/24/bmw-active-sound-design/&#xD;&#xA;&#xD;&#xA;There's also a school, Technical Uni of Delft, in The Netherlands that teaches it:&#xD;&#xA;&#xD;&#xA;http://www2.sounddesign.io.tudelft.nl/Intro%20page/Flash_intro.htm&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And all of a sudden I've realised that there's a whole world of people who design the sounds of button clicks on coffee machines, car door closing thunks, toaster pop up sounds etc...&#xD;&#xA;&#xD;&#xA;Just an open question to anyone out there: 'What do you know about it?'&#xD;&#xA;&#xD;&#xA;Kurt&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3879" PostHistoryTypeId="1" PostId="2174" RevisionGUID="94e98a29-c092-4321-9d13-f0163eb689e8" CreationDate="2010-07-22T13:56:06.703" UserId="261" Text="Does anybody know much about product sound design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3880" PostHistoryTypeId="3" PostId="2174" RevisionGUID="94e98a29-c092-4321-9d13-f0163eb689e8" CreationDate="2010-07-22T13:56:06.703" UserId="261" Text="&lt;education&gt;&lt;sound-design&gt;&lt;learning&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3881" PostHistoryTypeId="2" PostId="2175" RevisionGUID="a0b8a50e-c393-4cb8-97e8-c5eec451f3e1" CreationDate="2010-07-22T14:37:44.233" UserId="220" Text="I am also a Colin (yay for Scottish roots).  I had lived in Atlanta, Georgia for most of my life, but just relocated to Portland, Maine.  &#xD;&#xA;&#xD;&#xA;My day job is as an A/V technology specialist - I deal with corporate and live A/V systems with a focus on video conferencing/streaming technology and control interface programming.  I do a some video and audio editing for the corporations that employ me.  I also freelance as a FOH or M1 mixer in local venues when I get the chance.&#xD;&#xA;&#xD;&#xA;During the nights, weekends, and every spare moment I do work as a dialog editor and sound designer for primarily independent films.  My wife and I also team up to work as production sound recordists with me at the controls and her on the boom.  We also write and produce when we have time in between sound-related work.&#xD;&#xA;&#xD;&#xA;I am relatively new to film sound and it's been an awesome learning process.  Thanks to resources like these, I'm constantly expanding my understanding... thanks, you guys and gals!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3882" PostHistoryTypeId="2" PostId="2176" RevisionGUID="7ee5b410-38a0-4eb7-9e4c-b5b0882edac6" CreationDate="2010-07-22T15:00:40.430" UserId="29" Text="I recently saw a video - apologies, I don't have the link - of a bunch of product designers that were working on how bottle shape changes how poured beer sounds.&#xD;&#xA;&#xD;&#xA;This is closely related to other fields and specific disciplines: sonic product branding, sensorial product design, functional cartography, and more. I've been doing this for virtual products - meaning software - for quite some time. But in terms of physical products, the more physics you know, the better.&#xD;&#xA;&#xD;&#xA;In the last 4 years or so industrial, product, graphic, and emotional design in products has just crawled out from under the thumb of engineering-led organizations to really be seen as differentiators in the marketplace and can have huge influence on purchasing decisions. My impression is that sound design for physical products hasn't made this climb yet, and I'd be pretty surprised if any except a handful of companies worldwide are willing to apply significant budgets to such sound design activities. Those who do will be the category and thought leaders in their industries, as your links have shown.&#xD;&#xA;&#xD;&#xA;If you go this route, be one of those that pushes this to the forefront of product design!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3883" PostHistoryTypeId="2" PostId="2177" RevisionGUID="f360edcc-501f-4e5d-828d-413d618e7861" CreationDate="2010-07-22T15:05:45.937" UserId="29" Text="Having grown up in Maine (like @birdhousesound and others here!), I'm the design director and co-founder of an interaction design and development studio in San Francisco. As such, I produce interaction, visual, motion, and sound design for software. &#xD;&#xA;&#xD;&#xA;I've had a long history in the video and post-production industries, and as such have been using ProTools on and off to 20 years. Yikes..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3884" PostHistoryTypeId="2" PostId="2178" RevisionGUID="dd878e83-13e2-4a5a-9f7e-b3df31674f7e" CreationDate="2010-07-22T16:34:19.293" UserId="229" Text="Hi Colin, &#xD;&#xA;&#xD;&#xA;I own two setups, both with decent sound field but as with many binaural recordings it can sound a bit empty in the center.&#xD;&#xA;&#xD;&#xA;My first setup is a pair of Soundprofessionals SP-TFB-2 with XLRs that I run into my Tascam DR100 with phantom power.&#xD;&#xA;&#xD;&#xA;http://www.soundprofessionals.com/cgi-bin/gold/item/SP-TFB-2&#xD;&#xA;&#xD;&#xA;They fit very nicely in your ear and I suggest you get them with the small windjammers. &#xD;&#xA;&#xD;&#xA;My other pair is the Soundman OKM II microphones (comes with the A3 adapter or alt XLR adapter) to mini jack into my Zoom H2 powered mic input. &#xD;&#xA;&#xD;&#xA;http://www.soundman.de/englisch/english.htm&#xD;&#xA;&#xD;&#xA;The OKMs sounds better in my opinion however they do not fit as well as the SP-TFB-2. Actually I read a paper from a German SAE student comparing them with the KU100 and he claimed that most audio engineers could not tell them apart in blind tests. &#xD;&#xA;&#xD;&#xA;Would be great to hear your conclusions if you get the chance to compare.&#xD;&#xA;&#xD;&#xA;You can hear some recordings on my blog: http://inmyears.wordpress.com/category/binaural-recordings/&#xD;&#xA;&#xD;&#xA;where the last 3 posts have been recorded with the OKMs.&#xD;&#xA;&#xD;&#xA;I know Logic Pro has the option of binaural mixing but I have not tried this feauture myself..might be worth a go!&#xD;&#xA;&#xD;&#xA;Have fun and sorry for any Swenglish...(thats Swedish + English...). &#xD;&#xA;&#xD;&#xA;Pete&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3885" PostHistoryTypeId="2" PostId="2179" RevisionGUID="d0953838-477d-4b2d-bd3a-489a97b620bb" CreationDate="2010-07-22T16:45:26.403" UserId="229" Text="&#xD;&#xA;Mix in a screaming/squealing pig...or many of them.. and play around with the pitch!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3886" PostHistoryTypeId="2" PostId="2180" RevisionGUID="a7feefc2-8662-44d7-a5da-4c05d846ef36" CreationDate="2010-07-22T16:58:49.807" UserId="6411" Text="While I don't have any experience in the field, your question reminded me of this TED video I saw last year:&#xD;&#xA;[youtube]rRepnhXq33s[/youtube]&#xD;&#xA;&#xD;&#xA;It's clearly a field that Mr. Treasure believes is burgeoning. [Here's some more from him and his agency][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.thesoundagency.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3887" PostHistoryTypeId="2" PostId="2181" RevisionGUID="b847cf17-4606-4c8c-9c91-762963034296" CreationDate="2010-07-22T17:43:05.627" UserId="25" Text="HI! I d like to know if anyone have used a Sanken CSS 5 for recording ambience. What do you think about it? Is it noisy? I m planning to use it with a sound devices 702 to record some forest ambience.&#xD;&#xA;Thanks a lot!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3888" PostHistoryTypeId="1" PostId="2181" RevisionGUID="b847cf17-4606-4c8c-9c91-762963034296" CreationDate="2010-07-22T17:43:05.627" UserId="25" Text="What do you think about Sanken css 5 for recording ambience?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3889" PostHistoryTypeId="3" PostId="2181" RevisionGUID="b847cf17-4606-4c8c-9c91-762963034296" CreationDate="2010-07-22T17:43:05.627" UserId="25" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3890" PostHistoryTypeId="2" PostId="2182" RevisionGUID="33cbf3c7-732b-445b-aec8-a232d6993f08" CreationDate="2010-07-22T18:33:21.340" UserId="315" Text="It's a great mic and I'm sure it'll perform well, but I much prefer using it for spot fx over ambiences. Resist the temptation to use it in wide mode as it has a bit more self-noise in that mode.&#xD;&#xA;&#xD;&#xA;I prefer using a Schoeps MS pair or a Sennheiser MKH combo for this sort of thing. If you can swing it, spaced omnis sound fantastic on ambiences.&#xD;&#xA;&#xD;&#xA;Here's a similar thread:&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/post-production-forum/141799-sanken-css5.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="3891" PostHistoryTypeId="2" PostId="2183" RevisionGUID="1971d3dc-a229-46ba-905e-b6627873b0a3" CreationDate="2010-07-22T18:37:41.910" UserId="286" Text="I think it's an awesome microphone but as Justin says, it does have a good amount of self noise.  If all you're looking to capture is ambience I would check out some other mics.&#xD;&#xA;&#xD;&#xA;We have it here at the studio and use it 90% of the time for our recordings however most of it is during Foley/source grabbing sessions." ContentLicense="CC BY-SA 2.5" />
  <row Id="3892" PostHistoryTypeId="2" PostId="2184" RevisionGUID="a8fd2f7f-d4e3-49d5-a444-bb87a50d00fe" CreationDate="2010-07-22T19:06:08.233" UserId="432" Text="We've run into a little bit of a conundrum here at work.  We're still going to do more testing, and I'm sure we'll be able to figure it out, but I thought I'd ask here to see if anyone has experienced something similar.&#xD;&#xA;&#xD;&#xA;The overall test was for a multi-camera shoot using a SONY EX3 XD camera and a Canon 5D DSLR.  The EX3 was feeding timecode wirelessly to a Zaxcom Deva 5.8, which is jamming continuously in Auto-Load mode (automatically starts running as soon as time code starts running at the camera).  We were also using a Denecke TS-C slate which was hard cabled to the time code output of the Deva. Of course, the Deva was time code stamping all of the audio.&#xD;&#xA;&#xD;&#xA;One of the issues is that we only had one semi-useful shot from the EX3 with the slate (it wasn't facing the camera, but at least was in frame), but this made sense as we were trying to give the 5D a valid sync point (since it doesn't generate time code when it takes video).&#xD;&#xA;&#xD;&#xA;The recorder was definitely at least 1 frame behind the EX3, maybe 2. Again, wasn't on axis, so I'm not 100%, but am fairly confident it's only 1. I can see the wireless introducing this, but it's not supposed to. Definitely more testing there.&#xD;&#xA;&#xD;&#xA;The slate was definitely 2 frames behind the Deva. We had the close of the sticks from the 5D to match with the timestamped waveform.&#xD;&#xA;&#xD;&#xA;So there's the initial problem. It's the first encounter. So, I already plan to do more and far more rigorous testing. We also need to test our Sound Devices 744T in the same workflow; so, hopefully that will offer up additional useful data in the experiments. In the meantime, I thought I would appeal to the collective wisdom here. I'll of course share any and all results I think might be useful to others as well.&#xD;&#xA;&#xD;&#xA;First nugget - avoid workflows with a DSLR.  They're a pain in the butt." ContentLicense="CC BY-SA 2.5" />
  <row Id="3893" PostHistoryTypeId="1" PostId="2184" RevisionGUID="a8fd2f7f-d4e3-49d5-a444-bb87a50d00fe" CreationDate="2010-07-22T19:06:08.233" UserId="432" Text="Slates and jamming time code" ContentLicense="CC BY-SA 2.5" />
  <row Id="3894" PostHistoryTypeId="3" PostId="2184" RevisionGUID="a8fd2f7f-d4e3-49d5-a444-bb87a50d00fe" CreationDate="2010-07-22T19:06:08.233" UserId="432" Text="&lt;sync&gt;&lt;workflow&gt;&lt;portable-recorder&gt;&lt;slate&gt;&lt;dslr&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3895" PostHistoryTypeId="2" PostId="2185" RevisionGUID="31f69ce1-ccfd-4346-ad80-1bcf89b83bf9" CreationDate="2010-07-22T19:23:54.870" UserId="376" Text="I've been working as Sound Designer / Editor / Mixer for over 16 years, first in Buenos Aires, Argentina, then in Mexico City and now settled in Toronto, Canada. Here I share my passion for everything audio with picture and Visual effects editing.&#xD;&#xA;If you need something from the north... gimme a holler :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3896" PostHistoryTypeId="2" PostId="2186" RevisionGUID="a7fc5679-2475-4bf2-b874-ec0f34a904f7" CreationDate="2010-07-22T19:36:56.013" UserId="40" Text="I love the mic and use it on everything, but as the other two said, there's the self noise issue.  Not really a problem if you aren't cranking your pres, but I find that if I get over 40% - 50% up on my 702T or 744T pres, you start hearing a lot of noise.&#xD;&#xA;&#xD;&#xA;I'll do a noise test for you if I get the chance to.&#xD;&#xA;&#xD;&#xA;In the meantime, there are a number of recordings with the mic on my blog. (www.colinhartonline.com)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3897" PostHistoryTypeId="2" PostId="2187" RevisionGUID="d5129567-7051-4429-bb48-bfb1c2dd9836" CreationDate="2010-07-22T19:42:13.153" UserId="393" Text="I'm a composer and sound designer, in Salt Lake City, UT.&#xD;&#xA;&#xD;&#xA;To pay the bills, I program medical simulators for a nursing school." ContentLicense="CC BY-SA 2.5" />
  <row Id="3898" PostHistoryTypeId="2" PostId="2188" RevisionGUID="bebb2fdb-61c8-41df-aad2-04f6417046dc" CreationDate="2010-07-22T19:46:01.037" UserId="393" Text="I've never missed a deadline... I have, however, admitted that I couldn't finish one.&#xD;&#xA;&#xD;&#xA;I usually give myself a two-week deadline, if the project allows for it.  If I can't get a musical idea, or a sound design direction, I'll contact the person hiring me and break them the news.&#xD;&#xA;&#xD;&#xA;If I'm paid up front, I'll leave that money untouched for that two weeks, so I'm able to return it in full." ContentLicense="CC BY-SA 2.5" />
  <row Id="3899" PostHistoryTypeId="2" PostId="2189" RevisionGUID="9c49e783-8caf-431d-9512-6a7bcc4c29ee" CreationDate="2010-07-22T19:46:41.473" UserId="40" Text="You're sure that all of your frame rates were set properly?  I know, stupid question, but I have to ask...&#xD;&#xA;&#xD;&#xA;I've never had a problem syncing an EX3 to a Deva (I use the Deva 5, not the 5.8), but I've also never done it wirelessly.  You wouldn't think the wireless would introduce that, but I can see why you might be concerned about it.  What was the model of the wireless?&#xD;&#xA;&#xD;&#xA;Being hard wired to the slate and being off leads me to believe that either you missed a setting on one of the devices or that your slate battery was less than optimal.  Were you running on fresh batts?&#xD;&#xA;&#xD;&#xA;Time code, no matter how much I learn about it, constantly frustrates me to no end. So many different standards and different ways to do things!&#xD;&#xA;&#xD;&#xA;BTW, I've always noticed a bit of a drift problem with those Canons.  Not sure why, but I agree, they're a pain... " ContentLicense="CC BY-SA 2.5" />
  <row Id="3900" PostHistoryTypeId="2" PostId="2190" RevisionGUID="afe46176-877c-42ec-a4a5-ada4f4f53556" CreationDate="2010-07-22T20:33:11.927" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;I have a question about trailer mixing that hopefully some of you have an answer to:&#xD;&#xA;&#xD;&#xA;When mixing a trailer, or any mixing for that matter, what's your preferred method for popping out dialogue and narration and other important things through the music and effects?&#xD;&#xA;&#xD;&#xA;I sometimes have trouble when the music is blaring in a trailer or action scene, and dialogue must be heard through it.&#xD;&#xA;&#xD;&#xA;Do you carve out a pocket in the music with an overall EQ on it? Or do you make space by cleverly feathering in the music between lines with volume? Or do you drastically EQ the voice only and leave the music untouched? Do you crush the dialogue with compression?&#xD;&#xA;&#xD;&#xA;If you do use only volume, how do you not lose the energy of the music if you have to duck it down under dialogue or narration? Do you only duck some of the mid-range heavy stems and leave possibly the percussion stem up full blast so as to not lose the energy?&#xD;&#xA;&#xD;&#xA;Thanks beforehand - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="3901" PostHistoryTypeId="1" PostId="2190" RevisionGUID="afe46176-877c-42ec-a4a5-ada4f4f53556" CreationDate="2010-07-22T20:33:11.927" UserId="18160" Text="Making dialogue more intelligible through M&amp;E" ContentLicense="CC BY-SA 2.5" />
  <row Id="3902" PostHistoryTypeId="3" PostId="2190" RevisionGUID="afe46176-877c-42ec-a4a5-ada4f4f53556" CreationDate="2010-07-22T20:33:11.927" UserId="18160" Text="&lt;trailer&gt;&lt;mixing&gt;&lt;dialogue&gt;&lt;music&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3903" PostHistoryTypeId="2" PostId="2191" RevisionGUID="f2feb54b-43cb-444d-99a1-1f0eb9523b90" CreationDate="2010-07-22T20:42:37.290" UserId="286" Text="My method is what you have described but I incorporate heavy automation.&#xD;&#xA;&#xD;&#xA;Like you said, I will use EQ's but I'll scoop out the fighting frequencies (through automation) in the music and reduce in volume when dialog is being played.  Think about what's most important throughout each section and try to make that most apparent to the listener.  The last thing you want to do is make it hard for the listener to understand what is being said and for a trailer that's most important.  I doubt the music ducking will be that big of an issue to the listener if the dialog is loud enough and your volume automation is smooth. &#xD;&#xA;&#xD;&#xA;Here's a new trailer for the movie Salt with Angelina Jolie.  You can hear the music dipping slightly during key SFX and dialog.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=iWfodI3y3N8&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3904" PostHistoryTypeId="2" PostId="2192" RevisionGUID="da18a18e-89c5-459c-a224-67ecd17ad53b" CreationDate="2010-07-22T20:43:48.410" UserId="238" Text="Nice one Colin! Very different from the usual questions but so interesting to find out where all of you are in the world and what you are doing exactly.&#xD;&#xA;&#xD;&#xA;So, I'm English but living in France. I'm currently in the south but soon moving to Paris where work is more abundant. I edit and design sound mostly for media agencies (adverts, online videos, virals etc) and I am getting more and more addicted to field recording!!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3905" PostHistoryTypeId="2" PostId="2193" RevisionGUID="2cd7114e-785d-4f27-b1c9-3a6722e38a7d" CreationDate="2010-07-22T21:04:41.093" UserId="432" Text="Definitely volume automation, but be careful you don't over do it in between close lines. If the gap is too short it will just sound like the track is &quot;pumping,&quot; and you don't want that.&#xD;&#xA;&#xD;&#xA;Mike's correct accomadating the listener. Dialogue is for people is like a raw steak for dogs; they're going to be drawn right to it. They'll get distracted and frustrated if they can't make it out. EQ automation is a great way to handle an overly energetic music track, but don't EQ the dialogue unless it needs it as a tonal improvement. You're not going to beat the music using EQ on the vocals.&#xD;&#xA;&#xD;&#xA;I almost always use a little compression on trailers, commercials and television programming. So, yes, you can definitely use that to help you along.&#xD;&#xA;&#xD;&#xA;The holy grail of this issue is having access to the composer, and being able to get stems for the music instead of a mixed track. Unfortunately, that's not always possible." ContentLicense="CC BY-SA 2.5" />
  <row Id="3906" PostHistoryTypeId="5" PostId="2161" RevisionGUID="ec9b9fc3-58fb-4b23-a33b-b0ae3e12ffba" CreationDate="2010-07-22T22:09:58.110" UserId="100" Comment="Edited Link" Text="Beginning sound designer/editor/student in Burbank, CA.&#xD;&#xA;&#xD;&#xA;The question title also reminded me of this. Sorry....&#xD;&#xA;&#xD;&#xA;[youtube]rzukGfdgPCM[/youtube]&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=rzukGfdgPCM" ContentLicense="CC BY-SA 2.5" />
  <row Id="3907" PostHistoryTypeId="2" PostId="2194" RevisionGUID="1161da91-f573-4e02-910c-b5525dd59e57" CreationDate="2010-07-22T22:51:51.387" UserId="418" Text="Queens, NY ova heeah. I make stock and custom sound libraries and soundscapes for visual artists and musicians. I also do some sound art pieces of my own and a whole mess of field recording. Fun thread!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3908" PostHistoryTypeId="2" PostId="2195" RevisionGUID="06a254e2-021d-4abb-a4ea-599a78c483f6" CreationDate="2010-07-22T23:18:55.657" UserId="234" Text="Great Idea for a thread! We should try this on some other forums...&#xD;&#xA;&#xD;&#xA;Myself? Composer/Sound Designer/Engineer/Gadabout from Ottawa ON, Canada. Currently serving as Chief Engineer and Studio Manager at Atomic Audio doing TV Shows, Indie Films and lotsa Government Videos." ContentLicense="CC BY-SA 2.5" />
  <row Id="3909" PostHistoryTypeId="2" PostId="2196" RevisionGUID="cd629893-f81f-43c4-8bd5-217d9218d893" CreationDate="2010-07-23T00:05:23.663" UserId="286" Text="I'm originally from Michigan.  About twenty minutes north of Detroit.&#xD;&#xA;&#xD;&#xA;I'm an in house Sound Designer for a video game developer in San Diego.  You can here some of my work on Transformers: War for Cybertron.  I've been in the industry for about five years now." ContentLicense="CC BY-SA 2.5" />
  <row Id="3910" PostHistoryTypeId="2" PostId="2197" RevisionGUID="f895890e-da40-460b-b5a0-a9bdf2ca025c" CreationDate="2010-07-23T00:21:09.530" UserId="28" Text="I teach group music classes to pre-kindergarten children (ages 6 weeks to 5 yrs). I live in Toronto, studied Electroacoustics at Concordia in Montréal, and theatre at Queen's University in Kingston, Ontario.&#xD;&#xA;&#xD;&#xA;I've composed and designed sound for a couple dozen indie theatre productions - but lately, I've sort of fallen out of love with theatre. Shhhh, don't tell her.&#xD;&#xA;&#xD;&#xA;Gestating my first album." ContentLicense="CC BY-SA 2.5" />
  <row Id="3911" PostHistoryTypeId="2" PostId="2198" RevisionGUID="d8af92e3-a6f4-4f8c-b634-07e3ceb55498" CreationDate="2010-07-23T00:24:03.817" UserId="315" Text="Bay Area working in a staff position as a sound editor/designer (with the occasional stint as a music editor) for films. Just relocated a couple years ago after a 10 year run in LA working first in commercials, then feature film. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3912" PostHistoryTypeId="6" PostId="2145" RevisionGUID="1fa1f8a3-3b54-494d-8639-e615905d6185" CreationDate="2010-07-23T04:19:07.037" UserDisplayName="user80" Comment="added tag" Text="&lt;location&gt;&lt;map&gt;&lt;jobs&gt;&lt;social-network&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3913" PostHistoryTypeId="2" PostId="2199" RevisionGUID="11742cca-fedf-46a3-8406-2534cba104e3" CreationDate="2010-07-23T04:31:51.130" UserDisplayName="user80" Text="I am a lecturer in sound theory, production and design at Edinburgh Napier University.  I started out as a live sound engineer, FOH and M1, and moved into theatre sound design.  After that I started teaching and doing whatever sound work comes my way, currently it is mostly research." ContentLicense="CC BY-SA 2.5" />
  <row Id="3914" PostHistoryTypeId="2" PostId="2200" RevisionGUID="920704fa-6507-4433-bbea-da55dc6c939c" CreationDate="2010-07-23T06:26:38.330" UserId="448" Text="I am everything about sound. From recording to mix..  from sound design to music...  this is typical in Taiwan. My company is specialized in making animation in 90 minutes. SO we people here are pushing the limit in every seconds. TOUGH!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3915" PostHistoryTypeId="2" PostId="2201" RevisionGUID="b7eec27b-82b0-4723-be56-45b3f27a1db6" CreationDate="2010-07-23T08:29:00.887" UserId="62" Text="As a general note for my mixing is that I always level off the dialogue, then bring in the music and sound. This gives me a) a consistent volume throughout and b) a benchmark to work under.&#xD;&#xA;I think EQ can help punch dialogue through, I did the Main Titles for a show recently and had a sci-fi whoosh at the same time as a letter 'S', pushing the 2K really helped put the Dialogue up front. That said you really don't want to over do EQing dialogue.&#xD;&#xA;&#xD;&#xA;I'll also agree with Shaun. Sometimes drawing those little dots can help in moments where your fingers on a fader are simply too slow." ContentLicense="CC BY-SA 2.5" />
  <row Id="3916" PostHistoryTypeId="2" PostId="2202" RevisionGUID="b00fbab0-9c6e-4edb-8cf6-b9658c6325e3" CreationDate="2010-07-23T09:14:29.550" UserId="219" Text="Do you find it normal to hear squealing when a car is driving fast down a dirt road? It's horrible to hear, and it should be horrible to make anyway. So, when it's so obvious that the effect doesn't match the picture, why would an editor do this to himself and to the rest of the world?&#xD;&#xA;&#xD;&#xA;Is there something I don't realize about editing that make it difficult to cut this particular effect?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3917" PostHistoryTypeId="1" PostId="2202" RevisionGUID="b00fbab0-9c6e-4edb-8cf6-b9658c6325e3" CreationDate="2010-07-23T09:14:29.550" UserId="219" Text="Rant against editors and tyre screeches" ContentLicense="CC BY-SA 2.5" />
  <row Id="3918" PostHistoryTypeId="3" PostId="2202" RevisionGUID="b00fbab0-9c6e-4edb-8cf6-b9658c6325e3" CreationDate="2010-07-23T09:14:29.550" UserId="219" Text="&lt;sound-effects&gt;&lt;editing&gt;&lt;non-matching&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3919" PostHistoryTypeId="2" PostId="2203" RevisionGUID="b80a01dd-6ddf-42ae-8142-6ceddecef5ac" CreationDate="2010-07-23T09:23:12.937" UserId="62" Text="I'm guessing you're referring to picture editors. Some of the shows I do contain the most horrific sounds within the OMF containing the dialog. They're there as a guide and I nearly always take huge liberties when replacing them with something that works. Never had a complaint yet although there have been a couple of occasions where the director wants that sound and I'd replaced it with what I thought was a better one, hey ho they're paying my rent so can't argue too much ;)&#xD;&#xA;&#xD;&#xA;However, some people just have no taste (or clue)." ContentLicense="CC BY-SA 2.5" />
  <row Id="3921" PostHistoryTypeId="2" PostId="2205" RevisionGUID="7c6aa43e-0272-4747-82d3-4b4d97caeed3" CreationDate="2010-07-23T11:27:29.307" UserId="432" Text="More than half of my job is fixing hack audio (we do distribution too). Even then, I only have time to fix the most glaring issues. I've got one example of a Master tape we received three years ago (I think that's how long ago) where the video editor did all the audio...in Adobe Premiere.  It was an utter mess...a 20 episode train wreck, which I had to rebuild in a very short time because of a sale of the program.&#xD;&#xA;&#xD;&#xA;I swear, no one on this site would believe it. I'll try to get it up on my website this weekend, and let you guys know when I do. It'll be good for a laugh at least. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3923" PostHistoryTypeId="2" PostId="2206" RevisionGUID="9cc5cf90-733d-4416-b007-093c35969d79" CreationDate="2010-07-23T13:41:45.013" UserId="257" Text="Hello everybody and Kurt. Product sound design is a growing field that we follow closely on sounDesign.info. Personally I'm working on quite a lot of projects on product sound design with my agency, Lorelei (www.loreleiproject.com, only in Italian i'm sorry!). We are working a lot on one of the main product sound design issue at the moment...Electric cars! you can find an article on sounDesign blog in English about that. You can find more info also checking out the SID-Cost action, a European Community program on Sonic interaction design where product sound design is quite important. In all these cases, we are not designer but sound designers. Designing the sound of a product is really a challenge because it involves a lot of different technical fields, not only sounds as you all mentioned before. I love it, anyway. &#xD;&#xA;The industry interest in designing sounds for their user interfaces on purpose is growing fast. Normally what they are interest in is coupling a well designed feedback sound with a branded sound which represent their brand. I think what we are lacking more at the moment is datas on the efficency of product sound design: what is a well-designed sound? How much will a sound logo influence your clients? how much will it increase your sales? This is what i'm normally asked for when I discuss prodcut sound design with my clients." ContentLicense="CC BY-SA 2.5" />
  <row Id="3924" PostHistoryTypeId="2" PostId="2207" RevisionGUID="da8f80c0-d7f6-4059-a3db-40060075dab4" CreationDate="2010-07-23T15:47:48.867" UserId="55" Text="Really interesting thread.&#xD;&#xA;&#xD;&#xA;I grew up in Connecticut and Maryland, I'm half American and half French. I spent a lot of time in Pittsburgh but have lived for nearly four years in Edinburgh, Scotland.&#xD;&#xA;&#xD;&#xA;I guess I'm a sound artist, doing a lot of sound installations and interactive music and sound systems. I also occasionally still gig as a musician, and I have a company that makes iPhone apps and things like that." ContentLicense="CC BY-SA 2.5" />
  <row Id="3925" PostHistoryTypeId="16" PostId="2207" RevisionGUID="da8f80c0-d7f6-4059-a3db-40060075dab4" CreationDate="2010-07-23T15:47:48.867" UserId="-1" />
  <row Id="3926" PostHistoryTypeId="2" PostId="2208" RevisionGUID="7ddff76f-1f18-442e-a2c9-80db63c44dd3" CreationDate="2010-07-23T16:40:36.300" UserId="414" Text="I've been reading that experience counts more than formal schooling when it comes to looking for a job. There aren't many schools that teach sound design separately.&#xD;&#xA;&#xD;&#xA;I know that some still use an apprenticeship model - the apprentice pays a fee directly to the master-in-resident in order to receive on-the-job sound design training.&#xD;&#xA;&#xD;&#xA;It might work. The student gets meaningful experience that is most likely less expensive than an audio recording school, and the master gets paid. Of course, the student will probably still have to clean the toilets and whatnot, just because it has to be done.&#xD;&#xA;&#xD;&#xA;Maybe there could be more virtual internships like this one: http://www.musicofsound.co.nz/blog/need-a-mentor&#xD;&#xA;&#xD;&#xA;It's just a passing thought, but do you guys think old-school apprenticeships are worth considering?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3927" PostHistoryTypeId="1" PostId="2208" RevisionGUID="7ddff76f-1f18-442e-a2c9-80db63c44dd3" CreationDate="2010-07-23T16:40:36.300" UserId="414" Text="Should we bring the apprenticeship back?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3928" PostHistoryTypeId="3" PostId="2208" RevisionGUID="7ddff76f-1f18-442e-a2c9-80db63c44dd3" CreationDate="2010-07-23T16:40:36.300" UserId="414" Text="&lt;apprenticeship&gt;&lt;opinion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3929" PostHistoryTypeId="2" PostId="2209" RevisionGUID="c9063c5f-c009-459b-a705-d1ba467ba95d" CreationDate="2010-07-23T16:51:32.117" UserId="400" Text="Tim Prebble's seal noise library over at www.hissandaroar.com could help you out here. I know Chuck Russom heavily recommends this library!&#xD;&#xA;&#xD;&#xA;Joe" ContentLicense="CC BY-SA 2.5" />
  <row Id="3930" PostHistoryTypeId="2" PostId="2210" RevisionGUID="392d299b-a49d-4ed5-bb54-393ffaaf3b57" CreationDate="2010-07-23T17:00:16.997" UserId="400" Text="I'm a Music Tech student in Edinburgh, UK. Focusing my last year around sound design and game audio and hopefully joining the industry asap after I graduate next year!&#xD;&#xA;&#xD;&#xA;Feel free to hit me up if you're in Edinburgh, I don't have many sound design buddies up here :) joe.cavers @ gmail.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="3931" PostHistoryTypeId="16" PostId="2210" RevisionGUID="392d299b-a49d-4ed5-bb54-393ffaaf3b57" CreationDate="2010-07-23T17:00:16.997" UserId="-1" />
  <row Id="3932" PostHistoryTypeId="5" PostId="2208" RevisionGUID="16e085d1-2ccc-406b-82b7-f41a2b8bc196" CreationDate="2010-07-23T17:00:36.913" UserId="414" Comment="added 94 characters in body" Text="I've been reading that experience counts more than formal schooling when it comes to looking for a job. There aren't many schools that teach sound design separately.&#xD;&#xA;&#xD;&#xA;I know that some, like the tattoo industry, still use an apprenticeship model - the apprentice pays a fee directly to the master-in-resident in order to receive on-the-job sound design training. In most other industries, the apprentice is the one who gets paid.&#xD;&#xA;&#xD;&#xA;It might work. The student gets meaningful experience that is most likely less expensive than an audio recording school, and the master gets paid. Of course, the student will probably still have to clean the toilets and whatnot, just because it has to be done.&#xD;&#xA;&#xD;&#xA;Maybe there could be more virtual internships like this one: http://www.musicofsound.co.nz/blog/need-a-mentor&#xD;&#xA;&#xD;&#xA;It's just a passing thought, but do you guys think old-school apprenticeships are worth considering?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3933" PostHistoryTypeId="2" PostId="2211" RevisionGUID="e9e3db77-75ec-4493-806c-00acef607fbc" CreationDate="2010-07-23T17:16:27.780" UserId="6411" Text="I was just reading [this interview][1] with Don Sylvester about &quot;Knight and Day.&quot; In it he says that the schedule was so tight that they were cutting effects on scenes that were still being shot?! I know I have a short turn around on some projects, but that just seems ridiculous, at least mine are typically locked or at least rough cut.&#xD;&#xA;&#xD;&#xA;Now, regardless of how it came to this, it seems universal that budgets are getting squeezed tighter, schedules are getting more compressed, and expectations continue to rise in an attempt to out-do the latest effort. And we're all locking in step with the change because... well, as I see it, it's because we have no other choice.&#xD;&#xA;&#xD;&#xA;So, without turning this into a my-schedule-is-shorter-than-yours contest, or a complain-a-thon, I'd like to know what benefits you see in compressed time schedules.&#xD;&#xA;&#xD;&#xA;The first thing that comes to mind for me is this:&#xD;&#xA;&#xD;&#xA;I can have a tendency to digress in my design stage, a good and bad thing. Great for creativity, not so great for making decisions. I wind up with too many sounds and spend too much time trying to incorporate them all.  With a shorter schedule decisions have to be made and they have to be made now, with no remorse of what could have been. It makes me think through my design and forces me to go with instinct rather than reaction.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sounddogsblog.com/2010/07/16/knight-and-day-exclusive-interview-with-supervising-sound-editor-don-sylvester/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3934" PostHistoryTypeId="1" PostId="2211" RevisionGUID="e9e3db77-75ec-4493-806c-00acef607fbc" CreationDate="2010-07-23T17:16:27.780" UserId="6411" Text="The bright side of compressed time schedules?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3935" PostHistoryTypeId="3" PostId="2211" RevisionGUID="e9e3db77-75ec-4493-806c-00acef607fbc" CreationDate="2010-07-23T17:16:27.780" UserId="6411" Text="&lt;sound-design&gt;&lt;process&gt;&lt;schedule&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3936" PostHistoryTypeId="2" PostId="2212" RevisionGUID="1f649856-6c4a-4a68-a108-44305dae3a22" CreationDate="2010-07-23T17:39:44.523" UserId="432" Text="I know that at least in the U.S., there are labor laws that make this all but impossible. The apprentice type jobs have turned into either paying gigs (which means there are fewer of them), or internships. Internships are great if you can find them, but because of those laws, and the liabilities associated with them, most places require that you be receiving academic credit for those internships.&#xD;&#xA;&#xD;&#xA;Tim is a saint for running that little program of his. It would be wonderful if more apprenticeships were available, I know I would have appreciated it when I was getting started.&#xD;&#xA;&#xD;&#xA;I think if we can expand the online community and its resources, kind of like what Andrew has done in creating this website, there can be something that might come close to replacing the &quot;old&quot; apprenticeship model. Hopefully in a positive way, because I recognize that change is not ALWAYS good." ContentLicense="CC BY-SA 2.5" />
  <row Id="3937" PostHistoryTypeId="2" PostId="2213" RevisionGUID="3bc9a70a-02a8-4083-84a7-cc974eb9f75f" CreationDate="2010-07-23T17:55:23.317" UserId="432" Text="As I was reading through this, my mind immediately went to decision making; which, apparently, is exactly where yours went too. lol.&#xD;&#xA;&#xD;&#xA;I would also argue that it forces you to take a step back and look at your work habits. When you're really pushed for time, it becomes readily apparent where you are lacking. Maybe it's something in how you arrange your session that isn't as efficient as it could be. Maybe there's a particular skill that's just not up to speed for the increased pressure. While I don't like the feeling that the deadline is breathing down my neck and wondering what my flesh might taste like, I do think it provides an excellent opportunity for self-assessment.&#xD;&#xA;&#xD;&#xA;When it happens to me, I almost always come away with something. I like to experiment a little right afterwards, to see if I can't make that element less painful for the future; particularly if I feel some skillset of mine required for the job is a little weak. I usually haven't realized it until I'm totally screwed time wise. Great impetus for self improvement, that." ContentLicense="CC BY-SA 2.5" />
  <row Id="3938" PostHistoryTypeId="2" PostId="2214" RevisionGUID="e22e97c3-360a-4ca5-b51d-c6fe3477e0ea" CreationDate="2010-07-23T19:47:08.197" UserId="54" Text="I'm currently into a project where I'll be needing to provide sounds in various formats, covering a whole spectrum of topices (ambience, household, human, impact etc). I will need to be providing these in a variety of formats 44.1khz 16bit, 48khz 24bit, 96khz 24bit. The sounds have to be of a good and usable format for others to use in their multimedia projects.&#xD;&#xA;&#xD;&#xA;Currently (and it's not much) but I have a MacBook Pro, an Apogee Duet interface, a AKG C 414 B-XLS microphone, a Zoom H2 and a Shure SM58 microphone.&#xD;&#xA;&#xD;&#xA;When it comes to a setup sound stage to record sounds, I plan to use my MacBook Pro, the Apogee and my (and whatever other) mics. But out and about? I've found the Zoom H2 just doesn't cut it. The sounds it records are lifeless and dry, though I didn't expect much to be honest.&#xD;&#xA;&#xD;&#xA;So I was looking into options for a portable digital recorder and other mics to get so I can really get this project going. I need some help! My budget is £600-£700 (which from what I can see isn't much).&#xD;&#xA;&#xD;&#xA;The Tascam DR-100 looks good, as I'm thinking XLRs are important for this. But then what microphone to get? Do I get a shotgun and a stereo mic? Do I get two microphones and use them as a stereo pair? (but then what about travelling around with this?) Do I need to get a stereo and a mono microphone, or can I just use the stereo with one channel when it comes to recording mono? I hear the Tascam DR-100 is quite quiet when recording with the XLRs, so the gain has to be up, resulting in noise fuzz.&#xD;&#xA;&#xD;&#xA;Even after deciding on what portable recorder, and what mic(s) to get, do I need a boom pole? A pistol grip? Wind protection?&#xD;&#xA;&#xD;&#xA;...my head is literally spinning with the options out there. And it's made tougher due to my small budget and the fact I have no real places to test all this stuff out before buying. I'm really concerned with quality, but I know my budget will sacrifice it. I want to ensure the very best for these sounds... Where do I turn?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3939" PostHistoryTypeId="1" PostId="2214" RevisionGUID="e22e97c3-360a-4ca5-b51d-c6fe3477e0ea" CreationDate="2010-07-23T19:47:08.197" UserId="54" Text="Needing some advice for a small budget sound recording setup..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3940" PostHistoryTypeId="3" PostId="2214" RevisionGUID="e22e97c3-360a-4ca5-b51d-c6fe3477e0ea" CreationDate="2010-07-23T19:47:08.197" UserId="54" Text="&lt;portable-recorder&gt;&lt;microphone&gt;&lt;budget&gt;&lt;quality&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3941" PostHistoryTypeId="2" PostId="2215" RevisionGUID="296122e2-16a8-4497-8ea3-c019739f3223" CreationDate="2010-07-23T20:05:26.537" UserId="219" Text="Hey Jim,&#xD;&#xA;&#xD;&#xA;I bought a DR-100 from Red Dog and yes I do find it noisy. The onboard mics are ok with the gain (the stereo pair of cardioids performs ok, but obviously the omnis are crap), but in XLR it's another story. The thing is I'm using an AT8015 that has a 250 ohms output. Since then I found out that you want your mic output impedance to be about a tenth of your preamp input impedance, which in the case of the Tascam is of 1.2kHz.&#xD;&#xA;&#xD;&#xA;Iain McGregor suggested I get myself a Rode NT1-A since it's a non-expensive cardioid with lower self-noise. It happens that it has a 100 ohms output impedance which, in theory, fits the Tascam pretty well!&#xD;&#xA;&#xD;&#xA;I got recommended the Tascam on GearSlutz for its preamps low noise floor, and I listened to recordings from it with a KM184, a 50 ohms output mic.&#xD;&#xA;&#xD;&#xA;The Tascam is a joy to use otherwise, it just needs a roughly 100 ohms output impedance mic :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3942" PostHistoryTypeId="5" PostId="2215" RevisionGUID="6cb66a70-50f6-4e57-91bb-dc24d4f38af8" CreationDate="2010-07-23T20:24:18.743" UserId="219" Comment="added 564 characters in body" Text="Hey Jim,&#xD;&#xA;&#xD;&#xA;I bought a DR-100 from Red Dog and yes I do find it noisy. The onboard mics are ok with the gain (the stereo pair of cardioids performs ok, but obviously the omnis are crap), but in XLR it's another story. The thing is I'm using an AT8015 that has a 250 ohms output. Since then I found out that you want your mic output impedance to be about a tenth of your preamp input impedance, which in the case of the Tascam is of 1.2kHz.&#xD;&#xA;&#xD;&#xA;Iain McGregor suggested I get myself a Rode NT1-A since it's a non-expensive cardioid with lower self-noise. It happens that it has a 100 ohms output impedance which, in theory, fits the Tascam pretty well! I was looking at NT5's but I got recommended the NT1-A instead (in a low budget situation).&#xD;&#xA;&#xD;&#xA;I got recommended the Tascam on GearSlutz for its preamps low noise floor, and I listened to recordings from it with a KM184, a 50 ohms output mic.&#xD;&#xA;&#xD;&#xA;The Tascam is a joy to use otherwise, it just needs a roughly 100 ohms output impedance mic :)&#xD;&#xA;&#xD;&#xA;EDIT: I had the same budget as you do and the Tascam was the best candidate I found. Then you'll probably want a cardioid condenser mic like the NT1-A. I don't think the wind kit fits in your budget and I don't feel like I can help any further.&#xD;&#xA;&#xD;&#xA;![alt text][1]![alt text][2]![alt text][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/images/mics/nt1-a_001.jpg&#xD;&#xA;  [2]: http://www.rodemic.com/images/mics/nt1-a_polar.jpg&#xD;&#xA;  [3]: http://www.rodemic.com/images/mics/nt1-a_freq.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="3943" PostHistoryTypeId="2" PostId="2216" RevisionGUID="6e6e6cf8-7db2-4d90-abfa-f9b1d54469e0" CreationDate="2010-07-23T20:43:50.530" UserId="18160" Text="Hey all,&#xD;&#xA;&#xD;&#xA;So last time I needed to create a goddess voice.&#xD;&#xA;&#xD;&#xA;Now, since I did such a good job on that (thanks to birdhousesound) they want me to continue working for them and I've now got a task of making a humongous god-voice.&#xD;&#xA;&#xD;&#xA;It's supposed to sound as big as possible.&#xD;&#xA;&#xD;&#xA;Now, I know the recording, actor's voice and delivery has almost 90% importance in pulling it off, however here is what I've done so far:&#xD;&#xA;&#xD;&#xA;We recorded it yesterday. The actor didn't have the bassiest voice and I recorded him at +4 percent on the word clock so it's slightly pitched down when played back at regular speed.&#xD;&#xA;&#xD;&#xA;I plan on pitching it further, but I was wondering what else I could do in the sound design of it to make it bigger,&#xD;&#xA;&#xD;&#xA;I was planning on trying the following ideas:&#xD;&#xA;&#xD;&#xA;Gating a rumble effect to his voice so it turns on whenever he talks,&#xD;&#xA;&#xD;&#xA;Using my DBX 120A bass synth to add some low-end fury to his voice,&#xD;&#xA;&#xD;&#xA;Possibly re-micing his voice somewhere like a chamber or something (not sure where yet, my studio doesn't have a good chamber for this sort of thing),&#xD;&#xA;&#xD;&#xA;Adding in specific sound effects or replacing his breaths out for pitched down horse breaths,&#xD;&#xA;&#xD;&#xA;Does anyone have any other suggestions on what I could try to make this voice sound ginormous?&#xD;&#xA;&#xD;&#xA;It's nothing too special and I can do some wacky things because it's for one of those corporate meetings and is a caper (like when a George Bush impersonator shows up to pitch an idea to big-wigs of companies).&#xD;&#xA;&#xD;&#xA;Thanks ahead of time!!!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="3944" PostHistoryTypeId="1" PostId="2216" RevisionGUID="6e6e6cf8-7db2-4d90-abfa-f9b1d54469e0" CreationDate="2010-07-23T20:43:50.530" UserId="18160" Text="Designing a Humongous God-voice" ContentLicense="CC BY-SA 2.5" />
  <row Id="3945" PostHistoryTypeId="3" PostId="2216" RevisionGUID="6e6e6cf8-7db2-4d90-abfa-f9b1d54469e0" CreationDate="2010-07-23T20:43:50.530" UserId="18160" Text="&lt;voice&gt;&lt;mix&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3946" PostHistoryTypeId="2" PostId="2217" RevisionGUID="3c2e0578-9f45-48f7-93c5-fe77741de01a" CreationDate="2010-07-23T20:49:37.070" UserId="400" Text="I'm far from an expert on the subject, but I think a used Fostex FR2 would be in your budget, I hear they're pretty damn good.&#xD;&#xA;&#xD;&#xA;Anyone else want to chime in with some experience on the subject?&#xD;&#xA;&#xD;&#xA;Joe" ContentLicense="CC BY-SA 2.5" />
  <row Id="3947" PostHistoryTypeId="2" PostId="2218" RevisionGUID="e20ffaa4-76ef-4db2-9047-3f73317b6179" CreationDate="2010-07-23T20:55:01.757" UserId="219" Text="Birds flying off in the distance right after he starts speaking?&#xD;&#xA;&#xD;&#xA;Subtle reverted reverb?&#xD;&#xA;&#xD;&#xA;Just brainstorming here... and what a storm!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3948" PostHistoryTypeId="2" PostId="2219" RevisionGUID="23a80b36-7d00-43a4-844d-d41ea0712d24" CreationDate="2010-07-23T21:16:49.823" UserId="238" Text="Could be an opportunity to try out some worldizing effects a la Walter Murch. Could give the recording a more spacial, I'm everywhere kind of feel...?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3949" PostHistoryTypeId="2" PostId="2220" RevisionGUID="3cc910b1-df18-4a02-a22e-4e19770326fa" CreationDate="2010-07-23T21:39:23.507" UserId="432" Text="And I'm not talking about sounds that hold some special memory, or that evoke a certain sensation. I go through little phases every now and then where I want to explore a particular type of sound fairly heavily. My latest one is electronics and the interference patterns they induce. Every once in a while I get the recorder out and see what I can find where I'm at. It's amazing how they vary so much in characteristics. I've found some interesting ones at home this week; I've posted a few on my website if you're interested at all (http://www.dynamicinterference.com/2010/07/23/electronic-interference/).&#xD;&#xA;&#xD;&#xA;Anyone else go through these little phases? If so, what are some of the sounds you've gone after?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3950" PostHistoryTypeId="1" PostId="2220" RevisionGUID="3cc910b1-df18-4a02-a22e-4e19770326fa" CreationDate="2010-07-23T21:39:23.507" UserId="432" Text="What are some sounds that interest you?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3951" PostHistoryTypeId="3" PostId="2220" RevisionGUID="3cc910b1-df18-4a02-a22e-4e19770326fa" CreationDate="2010-07-23T21:39:23.507" UserId="432" Text="&lt;sound-effects&gt;&lt;recording&gt;&lt;survey&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3955" PostHistoryTypeId="2" PostId="2223" RevisionGUID="5481c736-b891-40ef-a743-7b07230e6a5a" CreationDate="2010-07-23T22:41:44.640" UserId="194" Text="The nice thing about tight schedules is that they move projects through the facility faster.  This means its that much less time before we begin the next one, and that much less time before we send the invoice for the current one.  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="3957" PostHistoryTypeId="2" PostId="2224" RevisionGUID="ebfc6960-f190-4134-b2d6-4b438928bde9" CreationDate="2010-07-24T03:14:02.097" UserId="437" Text="Let me premise by saying that I totally don't have a me vs. composer attitude.  I just came off a very difficult situation on a short where the composer undermined me to the director, I tried to be the bigger person and ultimately didn't advocate for my work's presence in the final mix. It was on a very compressed timeline and was just flat out a weird scenario. Question time...&#xD;&#xA;&#xD;&#xA;In indie film and theatre alike, there can be a lot of gray area in the middle of sound design and composition, especially if the director doesn't establish specific roles.  I would love suggestions on how to communicate to composers that I value their work and partner with them as opposed (in this instance) to slugging it out or being a doormat.&#xD;&#xA;&#xD;&#xA;Especially if you're a sometimes composer and a sometimes sound designer, please wear your sound designer hat and let me know what can be done to facilitate a good working relationship.&#xD;&#xA;&#xD;&#xA;I'm good with people, I promise.  I know that there are difficult people to work with in every field, and I'm chalking this experience up to that, but I thought it would be interesting to discuss." ContentLicense="CC BY-SA 2.5" />
  <row Id="3958" PostHistoryTypeId="1" PostId="2224" RevisionGUID="ebfc6960-f190-4134-b2d6-4b438928bde9" CreationDate="2010-07-24T03:14:02.097" UserId="437" Text="Suggestions for making nice with composers" ContentLicense="CC BY-SA 2.5" />
  <row Id="3959" PostHistoryTypeId="3" PostId="2224" RevisionGUID="ebfc6960-f190-4134-b2d6-4b438928bde9" CreationDate="2010-07-24T03:14:02.097" UserId="437" Text="&lt;composer&gt;&lt;experiences&gt;&lt;suggestion&gt;&lt;score&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3960" PostHistoryTypeId="5" PostId="2224" RevisionGUID="fdab2af0-a5e6-4dee-a572-cee202ffad0e" CreationDate="2010-07-24T03:43:52.097" UserId="437" Comment="Improved wording" Text="In indie film and theatre alike, there can be a lot of gray area in the middle of sound design and composition, especially if the director doesn't establish specific roles.  I would love suggestions on how to communicate to composers that I value their work and partner with them as opposed to slugging it out or (in one recent instance) being a doormat.&#xD;&#xA;&#xD;&#xA;Especially if you're a sometimes composer and a sometimes sound designer, please wear your sound designer hat and let me know what can be done to facilitate a good working relationship. I am looking for specific suggestions as opposed to the obvious things that ought to be normal business etiquette.&#xD;&#xA;&#xD;&#xA;I know that there are difficult people to work with in every field, and some experiences can be chalked up to that, but I thought it would be interesting to discuss. " ContentLicense="CC BY-SA 2.5" />
  <row Id="3961" PostHistoryTypeId="4" PostId="2224" RevisionGUID="fdab2af0-a5e6-4dee-a572-cee202ffad0e" CreationDate="2010-07-24T03:43:52.097" UserId="437" Comment="Improved wording" Text="Suggestions on composer/sound designer relationships?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3962" PostHistoryTypeId="2" PostId="2225" RevisionGUID="908bb09d-6782-426f-8c8b-11dbcf11122a" CreationDate="2010-07-24T07:20:17.793" UserId="456" Text="Hi Matt,&#xD;&#xA;I am passionate about that matter too.&#xD;&#xA;If you ever read in French, I have written a [post about the sound designer / composer relationship on my blog][1] : it deals with time and spectral separation of both parts, along with  the process of working together. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://xaviercollet.com/2010/06/26/musique-et-design-sonore-au-cinema-ingredients-pour-une-cohabitation-reussie/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3963" PostHistoryTypeId="2" PostId="2226" RevisionGUID="31eff92d-4d0e-4bc1-949e-bb5217dd75eb" CreationDate="2010-07-24T09:59:22.533" UserId="62" Text="I seem to have developed a thing for tubes at the minute. Created a really cool atmos buy recording a small fan through a long cardboard tube, add on tons of reverb and you've got a huge droning scary atmos. Used it a lot recently from Evil Lair's to rural thatched cottages." ContentLicense="CC BY-SA 2.5" />
  <row Id="3964" PostHistoryTypeId="2" PostId="2227" RevisionGUID="04d4cafb-7baf-4759-8ba5-a4010245bb84" CreationDate="2010-07-24T10:01:13.857" UserId="62" Text="Here's one relationship suggestion; marry one, worked for me." ContentLicense="CC BY-SA 2.5" />
  <row Id="3965" PostHistoryTypeId="2" PostId="2228" RevisionGUID="94f38472-1861-4b12-93ec-aa98bffad564" CreationDate="2010-07-24T10:41:05.210" UserId="37" Text="They touch on this in a recent sound profile vid for Salt. Present/promote a modern day working relationship on sound as early as possible? I see your point - 'plan for other people/leave sonic space' makes sense but how do you actually ensure it's modus operandi from day one? &#xD;&#xA;&#xD;&#xA;Since director has final say, could it hurt to inquire about the aesthetic priorities well in advance? It might be a starting point for friendly negotiations with the score composer.." ContentLicense="CC BY-SA 2.5" />
  <row Id="3966" PostHistoryTypeId="2" PostId="2229" RevisionGUID="d93a92af-3707-4676-b2f0-ae5e3aa38f27" CreationDate="2010-07-24T12:54:04.503" UserId="62" Text="On a serious note I recommend reading [this][1] article by my good friend Randall, page 15 - 28. His whole PhD was titled &quot;COLLABORATION AND INTEGRATION: A Method of Advancing Film Sound &#xD;&#xA;Based on The Coen Brothers’ Use of Sound and Their Mode of Production&quot; and discussed how the entire soundtrack is an involved collaboration between the Coen's, Lievsey and Burwell right from the script stage.&#xD;&#xA;&#xD;&#xA;Speaking as a mixer it is the most frustrating thing trying to work out if the music or sound is the most important thing in any given moment. If the entire soundtrack is planned out from the beginning it makes for a more cohesive product.&#xD;&#xA;&#xD;&#xA;I think there are pros and cons to being a composer and sound designer. On the pro side the fact that there is so much that can be transferred between each discipline can make you come into it having a unique perspective. On the con side I do find that sound that has been done by composers is sometimes lacking in quality. Badly edited or synced footsteps or poorly chosen sounds for realistic sounds are the main culprits. However, I have noticed that is more true in the less experienced people.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.scribd.com/doc/18816447/The-Soundtrack-Volume-1-Issue-1-Read-in-Fullscreen" ContentLicense="CC BY-SA 2.5" />
  <row Id="3967" PostHistoryTypeId="2" PostId="2230" RevisionGUID="52a38785-4b39-4821-9f5b-26ad2c26bb09" CreationDate="2010-07-24T14:12:13.097" UserId="270" Text="&#xD;&#xA;I have had some success using a subtle tremelo for a God voice.&#xD;&#xA;&#xD;&#xA;Maybe try some musical elements, harps or trumpets&#xD;&#xA;&#xD;&#xA;But I agree that the delivery is probably 90% the job." ContentLicense="CC BY-SA 2.5" />
  <row Id="3968" PostHistoryTypeId="5" PostId="2205" RevisionGUID="da192e18-2af4-499d-bfa2-b0a208d67dac" CreationDate="2010-07-24T15:14:31.127" UserId="432" Comment="added example mentioned earlier in post; deleted 704 characters in body; added 5 characters in body; deleted 12 characters in body" Text="More than half of my job is fixing hack audio (we do distribution too). Even then, I only have time to fix the most glaring issues. I've got one example of a Master tape we received three years ago (I think that's how long ago) where the video editor did all the audio...in Adobe Premiere.  It was an utter mess...a 20 episode train wreck, which I had to rebuild in a very short time because of a sale of the program.&#xD;&#xA;&#xD;&#xA;I swear, no one on this site would believe it. I'll try to get it up on my website this weekend, and let you guys know when I do. It'll be good for a laugh at least. ;)&#xD;&#xA;&#xD;&#xA;Update:&#xD;&#xA;&#xD;&#xA;I've gotten an example from this series up. If you're interested, you can read a little more about the whole ordeal and check out clips on my site www.dynamicinterference.com . I tried posting the the mangled clip here, but it isn't embedding properly." ContentLicense="CC BY-SA 2.5" />
  <row Id="3969" PostHistoryTypeId="2" PostId="2231" RevisionGUID="916b5332-a01e-4dfc-88de-157231806575" CreationDate="2010-07-24T16:45:11.203" UserId="202" Text="80% of my work time is split between dialogue editing and mixing, film or tv series, as a freelance in Rome, Italy. &#xD;&#xA;&#xD;&#xA;20% is soundfx editing/design, I love it... and try to make this my first job" ContentLicense="CC BY-SA 2.5" />
  <row Id="3970" PostHistoryTypeId="16" PostId="2231" RevisionGUID="916b5332-a01e-4dfc-88de-157231806575" CreationDate="2010-07-24T16:45:11.203" UserId="-1" />
  <row Id="3971" PostHistoryTypeId="2" PostId="2232" RevisionGUID="3f6c0abb-0366-4af4-bb61-4b051f901ade" CreationDate="2010-07-24T16:52:06.377" UserDisplayName="user80" Text="Copy the original dialogue track, pitch shift the copy down a full octave and then mix gently underneath the original.&#xD;&#xA;&#xD;&#xA;If you really want to mess with it, try making another copy pitch shifting this one up an octave, then invert the phase and mix back in to the mix.&#xD;&#xA;&#xD;&#xA;Play around with the balance of the two copied tracks until you get the right balance and then print onto a new track." ContentLicense="CC BY-SA 2.5" />
  <row Id="3972" PostHistoryTypeId="5" PostId="2232" RevisionGUID="79d96d74-6f64-4470-99cf-f6a89ef5df96" CreationDate="2010-07-24T17:48:45.563" UserDisplayName="user80" Comment="added 29 characters in body" Text="Copy the original dialogue track, pitch shift the copy down a full octave and then mix gently underneath the original.&#xD;&#xA;&#xD;&#xA;If you really want to mess with it, try making another copy of the original dialogue track, pitch shift this one up an octave, then invert the phase and mix back in to the mix.&#xD;&#xA;&#xD;&#xA;Play around with the balance of the two copied tracks until you get the right balance and then print onto a new track." ContentLicense="CC BY-SA 2.5" />
  <row Id="3973" PostHistoryTypeId="2" PostId="2233" RevisionGUID="7a7a020a-8f29-4038-8016-80c0f1db04ad" CreationDate="2010-07-24T17:58:23.440" UserId="331" Text="As well as the duplicating/reversing tracks etc, Try some heavy multiband compression on these layers and some tube goodness - hardware for the full-on effect or plugin works too.  The Joe Meek EQ that comes bundled with protools is actually good for bass/warm boosts (the only thing I've ever used it for).&#xD;&#xA;&#xD;&#xA;Some nicely placed thunder rumbles would be good for 'boom' too&#xD;&#xA;Doppler and heavy reflections on a reverb would be interesting too if the worldizing isn't big enough" ContentLicense="CC BY-SA 2.5" />
  <row Id="3974" PostHistoryTypeId="2" PostId="2234" RevisionGUID="f1a47256-2fd3-4a3e-bac3-a9e55b31fb34" CreationDate="2010-07-24T18:57:31.223" UserId="40" Text="Oh, I definitely get obsessed with different sounds.  For a while, I was obsessed with firecrackers and bottle rockets.  I still love recording that stuff, but it gets expensive...&#xD;&#xA;&#xD;&#xA;I'm currently obsessed with two things - binaural recording and recording my own Impulse Responses.  I have a ton of stuff on my blog on my binaural stuff.  Nothing on IRs yet, but I plan to put that up soon too.&#xD;&#xA;&#xD;&#xA;I'm also a big fan of large metal hits.  I work in a building with a ton of large sheet metal surfaces that make awesome sounds when you hit them really hard.  I try to do this when nobody is around, since people think I'm crazy ..." ContentLicense="CC BY-SA 2.5" />
  <row Id="3975" PostHistoryTypeId="2" PostId="2235" RevisionGUID="411bfcc8-1e51-4134-87a1-2eb359e4f379" CreationDate="2010-07-24T19:00:16.587" UserId="260" Text="If you have the chance to listen to some of Blizzard entertainments Warcraft 3 voices, I suggest listening to a figure called Cenarius. When he spoke, it felt like a God that spoke.&#xD;&#xA;They used a very small &quot;ghost like&quot; reversed reverb, and added a delay and reverb.&#xD;&#xA;&#xD;&#xA;Since it is suppose to be a deity, it is suppose to sound less human as possible so maybe have two versions of the voice, one uber pitched and one slightly pitched. Have the uber pitched voice gone through some reverb and delay (instead of the slightly pitched) that way, you will have a clear voice that people hear but a dark and low echo, Maybe even use the reverse reverb ghost voice effect thing on the very pitched voice so the build up is dark and have the voice go into the slightly pitched one as the audible part. Possibilities are endless." ContentLicense="CC BY-SA 2.5" />
  <row Id="3976" PostHistoryTypeId="2" PostId="2236" RevisionGUID="f6eae42d-600f-4c1a-8b09-a2659c1304d5" CreationDate="2010-07-24T19:04:06.517" UserId="81" Text="It is obvious that you don't want to hear clichés, but still i think the key is **communication**.&#xD;&#xA;&#xD;&#xA;My worst experiences included  coming up with the finished work and recognizing that the composer worked on the same thing. Or none of us coming with a necessary part, thinking it was each other's thing to do!&#xD;&#xA;&#xD;&#xA;So before starting anything, try to arrange a meeting, at least a skype chat, and try to clear out the lines of each other's work area. &#xD;&#xA;&#xD;&#xA;I have been living less issues since I've started preparing what i call a **SOUND BOARD** for my projects. It is basically a story board for sound design/composition. You can request a copy of the story board from the director or even prepare a primitive one yourself, and adjust it in such a way to include the audio details of that specific scene. Once you have the scene dissected, than it is easier to share the work.&#xD;&#xA;&#xD;&#xA;This takes a lot of effort but saves incredible amounts of time in the end, especially when you're working in large groups.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="3977" PostHistoryTypeId="2" PostId="2237" RevisionGUID="2473cfdd-1696-47a2-b027-08533c130f25" CreationDate="2010-07-24T19:16:05.493" UserId="40" Text="There's a cool video [here][1] about the voices from Transformers (two videos at the bottom).  They did a lot of &quot;large&quot; voices for the robots.&#xD;&#xA;&#xD;&#xA;Vocal doubling often can help make something sound a lot bigger.  If you copy the performance, pitch it down, and bump it a few samples forward in the timeline it can really help bolster your voice.&#xD;&#xA;&#xD;&#xA;The DBX subharmonic synth you mentioned will probably help quite a bit as well.  Love that piece.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/03/erik-aadahl-special-all-about-the-sound-of-transformers/" ContentLicense="CC BY-SA 2.5" />
  <row Id="3978" PostHistoryTypeId="2" PostId="2238" RevisionGUID="5f05a373-7cd5-4418-bb3e-93df2c51210c" CreationDate="2010-07-24T19:29:04.453" UserId="40" Text="Love the idea.  Bummer about the laws that make this difficult, however, there's always loopholes.&#xD;&#xA;&#xD;&#xA;I often work out of my home studio.  When I work on a stage there isn't really a place for an apprentice.  I would be open to having an &quot;Intern&quot; or &quot;Apprentice&quot; at my studio, but I'm not quite sure how the logistics of that would work.&#xD;&#xA;&#xD;&#xA;Has anyone here ever worked with an Apprentice in a home studio environment?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3979" PostHistoryTypeId="2" PostId="2239" RevisionGUID="1b4daa8f-9ad6-4d18-a9be-5cd9807114a6" CreationDate="2010-07-24T21:09:37.100" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;I am right now working on mixing a documentary for broadcast TV.&#xD;&#xA;&#xD;&#xA;There are quite a few sound effects I'd like changed and/or reworked from scratch from my own personal taste because the cheese factor is strong with these ones.&#xD;&#xA;&#xD;&#xA;I'm curious how you go about rejecting or asking for a rework to be done? Do you go through the producer, director, or straight to the SFX editors themselves? What is the convention on this type of thing?&#xD;&#xA;&#xD;&#xA;There really isn't a &quot;supervising sound editor&quot; on this job - just the editors themselves.&#xD;&#xA;&#xD;&#xA;Am I totally out of my mind if I think I can just reject something that I don't see as fit for the final soundtrack?&#xD;&#xA;&#xD;&#xA;How much say does the Mixer have in the final soundtrack? My guess would be a lot because he's ultimately responsible for running it off and making it &quot;sound good&quot;. So I think it's perfectly fine to reject something back to an editor if something's not quite right. But am I wrong in thinking that?&#xD;&#xA;&#xD;&#xA;Basically, foley/spot effects are all pretty much cheesy stock library effects that have either incorrect physics (very strong bottle-down on a table when he lightly places it there) or incorrect sounds altogether (a bunch of people fall down and they literally cut in BOWLING PINS falling over)... And this is a pretty straightforward piece. No tounge-in-cheekness about it. Just a run-of-the-mill History Channel documentary going on here.&#xD;&#xA;&#xD;&#xA;What would you do in my situation?&#xD;&#xA;&#xD;&#xA;Thanks! - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="3980" PostHistoryTypeId="1" PostId="2239" RevisionGUID="1b4daa8f-9ad6-4d18-a9be-5cd9807114a6" CreationDate="2010-07-24T21:09:37.100" UserId="18160" Text="What are the rights of a Re-Recording Mixer?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3981" PostHistoryTypeId="3" PostId="2239" RevisionGUID="1b4daa8f-9ad6-4d18-a9be-5cd9807114a6" CreationDate="2010-07-24T21:09:37.100" UserId="18160" Text="&lt;mixing&gt;&lt;mixer&gt;&lt;rights&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3982" PostHistoryTypeId="2" PostId="2240" RevisionGUID="d06fda3f-4bd4-4acf-af52-e8509f4e64df" CreationDate="2010-07-24T21:42:26.957" UserId="40" Text="From my experience, there's really no rule about this.  Often times if I find myself in this situation, I'll fix the sounds, but I'll keep the old ones, just in case.  I'll show the director the new sounds, and if he likes them, we'll keep them.&#xD;&#xA;&#xD;&#xA;Often times I won't tell him I changed the sounds.  If you tell someone you changed the sounds, they will over think it.  If you don't, they often say &quot;wow, you really made my effects sound great!&quot; to which you say &quot;thank you.&quot;  Sometimes I'll tell him I changed them, but not all the time.&#xD;&#xA;&#xD;&#xA;What I find is that directors and editors get attached to their temp sounds because it's what they've heard hundreds of times during editorial.  So when they hear new sounds, it feels foreign to them.  So sometimes you'll need to &quot;sell&quot; your sounds to them.  When all is said and done though, it is their project, and you have to do what they want.  You can't really &quot;reject&quot; their sounds, you can only make suggestions and hope they trust your judgement.&#xD;&#xA;&#xD;&#xA;Again, this isn't any sort of &quot;rule&quot;, just what I've found to be true in my experiences." ContentLicense="CC BY-SA 2.5" />
  <row Id="3983" PostHistoryTypeId="2" PostId="2241" RevisionGUID="8554e804-3eb9-4907-ae8a-61e3a3ceac5c" CreationDate="2010-07-25T03:14:54.500" UserId="6411" Text="Here's how I see it: I think you have every right to pull it. You were hired as Re-recording Mixer. In my book, that's Lead Decision Maker in Charge of What You Hear, who reports to the Sound Supervisor, who reports to the Director. When there's no Sound Supervisor (as is usually the case with cable TV docs), tag! You're it.&#xD;&#xA;&#xD;&#xA;But here's why I see it that way: Where I work, we're typically hired to provide everything audio post. We do it all under one roof: narration recording, dialog editing, sfx editing, foley, re-recording. Depending on the project, anywhere from 1 to 5 of us work as a team tackling the different aspects of the job to get it done in a timely manner. But regardless of the number of people working on a project, whomever is acting as the Re-recording Mixer also acts as the Sound Supervisor. They are the liaison between the client and the entire creative staff, and they are usually chosen by the Post Supervisor for their compatibility with both. They will more than likely be the only one who listens to the show in it's entire context. They will be the one who sits with the Director and presents the final piece.  As a result, they have the final say in how the show sounds.&#xD;&#xA;&#xD;&#xA;When I act in this position, if something is not congruent with the story and it's work we did, I kick it back if it's a major re-design, or fix it if it's minor and move on. In either case, I have a chat with the editor responsible for the set back so they understand the issue and it hopefully doesn't happen on the next show. If it's an element that was provided by editorial via OMF, like I said in [this][1] post, I do as Colin said and keep it tucked away, muted on an inactive track. Safe and convenient for when the producer is confused about new sound design.&#xD;&#xA;&#xD;&#xA;So, if I was working with an out of house sound editor I could see where there would be issues rejecting their work.  Perhaps the director has had their own approval process already. Perhaps there were specific instruction delivered at the beginning of the edit to address the questionable sounds. How would you know? &#xD;&#xA;&#xD;&#xA;If I have any question I contact my client, typically the Post Supervisor.  Whoever your client is should be able to put you in touch with whomever provided the elements in question. Just remember, there are multiple ways to say, &quot;What the **bleep** were you **bleep**-ing thinking putting **bleep**-ing *BOWLING PINS* in for this shot?!?&quot; Some of them are even very professional, choose wisely.&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2202/rant-against-editors-and-tyre-screeches/2203#2203" ContentLicense="CC BY-SA 2.5" />
  <row Id="3984" PostHistoryTypeId="5" PostId="2232" RevisionGUID="8f31f97e-ab07-48bd-96a2-da13efba6466" CreationDate="2010-07-25T13:34:42.123" UserDisplayName="user80" Comment="added 50 characters in body" Text="Copy the original dialogue track, pitch shift the copy down a full octave, apply a low pass filter and then mix gently underneath the original.&#xD;&#xA;&#xD;&#xA;If you really want to mess with it, try making another copy of the original dialogue track, pitch shift this one up an octave, then invert the phase,apply a high pass filter and mix back in to the mix.&#xD;&#xA;&#xD;&#xA;Play around with the balance of the two copied tracks until you get the right balance and then print onto a new track." ContentLicense="CC BY-SA 2.5" />
  <row Id="3985" PostHistoryTypeId="2" PostId="2242" RevisionGUID="4e797a30-1298-470c-8d35-439e17e6c021" CreationDate="2010-07-25T14:45:21.013" UserId="234" Text="Try using your favourite convolution reverb/convolution program (LA Convolver and Soundhack can do this on Mac for free). Load a good long, loud crowd roar as an impulse and process... Mix the result of this behind the original to taste. You could also experiment with Thunder as an impulse." ContentLicense="CC BY-SA 2.5" />
  <row Id="3986" PostHistoryTypeId="2" PostId="2243" RevisionGUID="05870be0-c795-499d-a592-ca817e6885cf" CreationDate="2010-07-25T15:47:45.640" UserId="414" Text=" Maybe credits on some student games or films? I want to get an internship, but I don't know what &quot;basic knowledge&quot; studios would want from me." ContentLicense="CC BY-SA 2.5" />
  <row Id="3987" PostHistoryTypeId="1" PostId="2243" RevisionGUID="05870be0-c795-499d-a592-ca817e6885cf" CreationDate="2010-07-25T15:47:45.640" UserId="414" Text="what would be the minimum required knowledge to start an internship/apprenticeship? " ContentLicense="CC BY-SA 2.5" />
  <row Id="3988" PostHistoryTypeId="3" PostId="2243" RevisionGUID="05870be0-c795-499d-a592-ca817e6885cf" CreationDate="2010-07-25T15:47:45.640" UserId="414" Text="&lt;internships&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3989" PostHistoryTypeId="2" PostId="2244" RevisionGUID="eb429af7-e142-4659-9e9b-5822868b4866" CreationDate="2010-07-25T16:15:54.907" UserId="40" Text="I would say a working knowledge of the software they use, the gear that they have, etc... a real passion for the industry and the attitude that you are willing to do anything, even clean toilets and answer phones all day, just to to be around the studio.  And be up to date on the current events in the industry.  Know what is going on and what is relevant." ContentLicense="CC BY-SA 2.5" />
  <row Id="3990" PostHistoryTypeId="2" PostId="2245" RevisionGUID="28daca5b-0b7a-46ee-b29f-05d2379fed3c" CreationDate="2010-07-25T16:17:27.633" UserId="361" Text="I am a freelance sound designer/editor/mixer for film and video games currently in Columbus, Ohio. &#xD;&#xA;&#xD;&#xA;I am also a member of a theatre company here, as an actor, but when our sound guy can't do a project I will sometimes pick it up (mixing a musical next month for example).&#xD;&#xA;&#xD;&#xA;Most of my clients are in a different state. &#xD;&#xA;&#xD;&#xA;(Currently working on a high profile independent video game, a AAA video game, and a full length independent film.)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="3991" PostHistoryTypeId="16" PostId="2245" RevisionGUID="28daca5b-0b7a-46ee-b29f-05d2379fed3c" CreationDate="2010-07-25T16:17:27.633" UserId="-1" />
  <row Id="3992" PostHistoryTypeId="5" PostId="2244" RevisionGUID="93965c1d-ce73-402d-8e63-fa6da7ee8272" CreationDate="2010-07-25T16:21:11.887" UserId="40" Comment="added 357 characters in body" Text="I would say a working knowledge of the software they use, the gear that they have, etc... a real passion for the industry and the attitude that you are willing to do anything, even clean toilets and answer phones all day, just to to be around the studio.  And be up to date on the current events in the industry.  Know what is going on and what is relevant.&#xD;&#xA;&#xD;&#xA;Be very personable as well.  When you leave an interview, you want them saying, &quot;Wow, he was really nice.&quot; Not, &quot;Wow, that guy knows so much about gear!&quot;  While the second one is nice, you're not there for your knowledge, you are there to learn. They won't want to work with you for what know know, they will want to work with you if you are a nice guy." ContentLicense="CC BY-SA 2.5" />
  <row Id="3993" PostHistoryTypeId="2" PostId="2246" RevisionGUID="7c41da77-e960-48c1-bd0e-68dae63c4255" CreationDate="2010-07-25T18:11:29.713" UserId="432" Text="Colin's right about the software they use.&#xD;&#xA;&#xD;&#xA;Right before I started grad school years ago, I went around to a bunch of studios looking for an internship/apprenticeship. Now, I had a lot of experience in live audio at the time, but none in recording. All but one said the same thing to me: &quot;That's great and all, but unless you've had at least one recording course, how are you going to know how to set up the signal flow.&quot;&#xD;&#xA;&#xD;&#xA;Years later, I'm still grateful to the one guy who said: &quot;You've got a lot of experience with live sound, so I don't think it will be hard for you to pick up the software side.&quot; He gave me a chance, I'm assuming because of my enthusiasm and confidence in my ability to learn. Those were the things that got me in the door.&#xD;&#xA;&#xD;&#xA;Having a base knowledge of Pro Tools might have helped me get in the other places, but I think things worked out for the best for me anyways." ContentLicense="CC BY-SA 2.5" />
  <row Id="3995" PostHistoryTypeId="5" PostId="2239" RevisionGUID="b3b36c92-f80a-4de0-85ac-717b23e873f6" CreationDate="2010-07-25T20:18:51.617" UserId="18160" Comment="added 340 characters in body" Text="Dear All,&#xD;&#xA;&#xD;&#xA;I am right now working on mixing a documentary for broadcast TV.&#xD;&#xA;&#xD;&#xA;There are quite a few sound effects I'd like changed and/or reworked from scratch from my own personal taste because the cheese factor is strong with these ones.&#xD;&#xA;&#xD;&#xA;I'm curious how you go about rejecting or asking for a rework to be done? Do you go through the producer, director, or straight to the SFX editors themselves? What is the convention on this type of thing?&#xD;&#xA;&#xD;&#xA;There really isn't a &quot;supervising sound editor&quot; on this job - just the editors themselves.&#xD;&#xA;&#xD;&#xA;Am I totally out of my mind if I think I can just reject something that I don't see as fit for the final soundtrack? And how to I go about not hurting the editor's feelings? Obviously he thought it would be a good idea to place those effects there, and I don't want to be the bearer of bad news and all but I just think for the good of the project that the soundtrack can do without those effects. I don't want to tear the heart out of some intern, though.&#xD;&#xA;&#xD;&#xA;How much say does the Mixer have in the final soundtrack? My guess would be a lot because he's ultimately responsible for running it off and making it &quot;sound good&quot;. So I think it's perfectly fine to reject something back to an editor if something's not quite right. But am I wrong in thinking that?&#xD;&#xA;&#xD;&#xA;Basically, foley/spot effects are all pretty much cheesy stock library effects that have either incorrect physics (very strong bottle-down on a table when he lightly places it there) or incorrect sounds altogether (a bunch of people fall down and they literally cut in BOWLING PINS falling over)... And this is a pretty straightforward piece. No tounge-in-cheekness about it. Just a run-of-the-mill History Channel documentary going on here.&#xD;&#xA;&#xD;&#xA;What would you do in my situation?&#xD;&#xA;&#xD;&#xA;Thanks! - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="3997" PostHistoryTypeId="2" PostId="2248" RevisionGUID="c8cc0d7a-6c80-41f5-8640-a9d797ceacd7" CreationDate="2010-07-26T00:59:07.337" UserId="457" Text="I just saw Rosetta last night, and noticed that the vocalist uses some kind of all-in-one effects pedal.  I don't know whether or not it was specifically made for vocals though.&#xD;&#xA;&#xD;&#xA;I would like to have some effects on my vocals (live, not necessarily for recording), mostly reverb and distortion, though a &quot;radio&quot; or &quot;telephone&quot; effect that cuts all the lo's and hi's would be nice too.  Looking on sweetwater, I found the [Boss VE-20][1], which does everything I want (assuming that the amount of distortion can be changed, and that it's not just a fixed preset), but it includes so many *other* features that I would never use.  I don't want to pay $250 for something when I'll only use about 10% of the features.&#xD;&#xA;&#xD;&#xA;I plan on picking up an [Electro Harmonix 12ay7 mic pre][2] for live use, that I'll then run through an [EHX Black Finger][3] for compression, but I'm not sure what I should add to the chain for distortion, reverb, and the &quot;radio&quot; EQ effect.  Can regular guitar pedals be used in a vocal chain?  Would I (or should I) use the guitar pedals before or after the mic pre?  Or in other words, will guitar pedals work better or worse on a mic level or line level signal?  I know that &quot;instrument level&quot; isn't entirely standard.  It's usually more than mic level (millivolts), and less than line level (1.2 volts).&#xD;&#xA;&#xD;&#xA;Some of the connections might be a problem too.  The black finger, for instance, does not have XLR in/out.  Only 1/4&quot; TS (tip-sleeve), so if I'm using an XLR cable for the mic, then I'd have to go to the mic pre first (XLR in), using the 12ay7's 1/4&quot; out to the black finger, so I'd already be at line level.  Honestly, I don't even know if the Black Finger is supposed to be used with a line level signal.  It's for guitar and bass, so it's designed for instrument level.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/store/detail/VE20/&#xD;&#xA;  [2]: http://www.ehx.com/products/12ay7-mic-pre&#xD;&#xA;  [3]: http://www.ehx.com/products/black-finger" ContentLicense="CC BY-SA 2.5" />
  <row Id="3998" PostHistoryTypeId="1" PostId="2248" RevisionGUID="c8cc0d7a-6c80-41f5-8640-a9d797ceacd7" CreationDate="2010-07-26T00:59:07.337" UserId="457" Text="Can instrument effects pedals be used for (live) vocals?  Either at mic level or line level?" ContentLicense="CC BY-SA 2.5" />
  <row Id="3999" PostHistoryTypeId="3" PostId="2248" RevisionGUID="c8cc0d7a-6c80-41f5-8640-a9d797ceacd7" CreationDate="2010-07-26T00:59:07.337" UserId="457" Text="&lt;vocals&gt;&lt;line-level&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4000" PostHistoryTypeId="2" PostId="2249" RevisionGUID="3b0a92fc-336d-4a8b-a6ef-b48ed6dd981e" CreationDate="2010-07-26T01:09:26.120" UserId="40" Text="Guitar pedals usually run at a high impedance instrument level.  You would need a pre-amp and a few converters to get a microphone working correctly thru it.  Not very hard to do, and it's definitely been done.  You would have to go from the mic into a pre (the EH one would work, or the Tube Pre from Presonus), from the pre through an impedance matcher (Lo-z to hi-z), and into the guitar pedals.  Then most likely out of the guitar pedals into a DI box and into another mic-pre on the console.  Crazy strange signal flow, but it would work.&#xD;&#xA;&#xD;&#xA;Another idea - if you wanted the FOH engineer to control the sounds, you could rig the pedals on the insert of your microphone channel and have all the pedals by the console. Again, you'd need some impedance matchers, but it should work.&#xD;&#xA;&#xD;&#xA;I know that Sage Francis uses a Rat fuzz pedal on his vocals.  I've also seen vocalists pull out a bull horn and use that between their voice and the microphone to get a sort of &quot;telephony&quot; or &quot;radio&quot; effect.  Very cool sound.&#xD;&#xA;&#xD;&#xA;TC-Helicon (part of TC Electronics) makes vocal foot pedals, as well as other cool on-stage tools such as a touch screen vocal effects processor that mounts to the mic stand.  Imogen Heap uses TC a fair amount in her live shows.  Very cool stuff.&#xD;&#xA;&#xD;&#xA;[TC-Helicon's Site][1]&#xD;&#xA;&#xD;&#xA;[Imogen Heap on TC-Helicon][2] (My mind explodes every time she explains anything she does)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tc-helicon.com/&#xD;&#xA;  [2]: http://www.tc-helicon.com/artist_select.asp?AjrDcmntId=11167" ContentLicense="CC BY-SA 2.5" />
  <row Id="4001" PostHistoryTypeId="2" PostId="2250" RevisionGUID="8de2feb7-95d5-49ac-a45e-d0014a7865c6" CreationDate="2010-07-26T01:41:30.890" UserId="458" Text="are there any tutorials out there on how to sync time code from a 744t to a slate?&#xD;&#xA;Also, is there any benefit to using a 744t with a slate running time code over a zoom H4n with regular slate if the camera is a Canon DSLR?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4002" PostHistoryTypeId="2" PostId="2251" RevisionGUID="93e2ca9e-88ed-4d80-ac96-90354777970c" CreationDate="2010-07-26T02:05:48.637" UserId="458" Text="What are the benefits to using a 744t with a slate running time code over a zoom H4n with regular slate if the camera is a Canon DSLR? are there any tutorials out there on syncing time code from a 744t to a slate?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4003" PostHistoryTypeId="1" PostId="2251" RevisionGUID="93e2ca9e-88ed-4d80-ac96-90354777970c" CreationDate="2010-07-26T02:05:48.637" UserId="458" Text="What to buy 744T with TC-Slate or H4N with regular slate?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4004" PostHistoryTypeId="3" PostId="2251" RevisionGUID="93e2ca9e-88ed-4d80-ac96-90354777970c" CreationDate="2010-07-26T02:05:48.637" UserId="458" Text="&lt;sd&gt;&lt;744t&gt;&lt;zoom-h4n&gt;&lt;dslr&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4005" PostHistoryTypeId="2" PostId="2252" RevisionGUID="4e822072-00a3-40d4-8776-aaca5494b0c2" CreationDate="2010-07-26T02:41:32.820" UserId="40" Text="Well, first of all, the audio on the 744T will be FAR superior to what you get on the H4n, plus you get all the meta data that you can't get on any Zoom pieces.&#xD;&#xA;&#xD;&#xA;As far as TC goes, my answer really depends on your post production workflow.  This will only benefit you if you are going to use the TC imprinted in the audio files to do the sync.  IMHO, if you're doing a simpler shoot, it's much easier to enable onboard audio in the 5D as a reference track, record your production audio with whatever your recorder is (I would recommend a 744T over a Zoom any day), then sync the 744T audio to the 5D scratch audio in post.  You can visually sync to transients very easily.  There's also a plugin that will do this for you called Pluraleyes.&#xD;&#xA;&#xD;&#xA;If you want to go the TC route, it's very easy to sync a 744T to a Smart Slate (or a dumb slate).  You just need a cable that goes from the 744T (lemo connector) to the slate (generally a 1/4&quot; TS connector), plug them in together, turn the slate to Read, then tell the 744T to send a Jam signal (in the TC portion of the menu, about half way to 3/4 through the menu screen).  If you decide to go that route, I can most definitely walk you through it with more detail.&#xD;&#xA;&#xD;&#xA;If it's a short film or commercial you're working on, I'd go with a manual sync.  If it's something in long format, or you're using a lab to do your prints, I'd go with TC.&#xD;&#xA;&#xD;&#xA;What type of project are you using this for?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4006" PostHistoryTypeId="2" PostId="2253" RevisionGUID="075b26c5-adb0-41d2-b02a-6dae34a4e8eb" CreationDate="2010-07-26T02:44:00.497" UserId="418" Text="Absolutely! I used to play in an improv jazz/drum n' bass ensemble thing a while back and the vocalist would stand at a podium covered with a slew of effects pedals that she would sing through. If I recall, she had a preamp of some sort at the front and then it was just a series of Boss guitar pedals and other weird stuff. She actually didn't sing any lyrics at all, more using her voice as an instrument and would tweak it out into weird madness live. I remember she had removed the foot pedals off all of them so that she could easily fire them off with her hands. Fun stuff. In short, yes you can. You'll need some kind of pre. Loads of people doing this now, like Imogen as mentioned above, but most are probably just doing it with a laptop instead. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4007" PostHistoryTypeId="2" PostId="2254" RevisionGUID="469bf391-cbab-4a23-8043-1afafedd24dc" CreationDate="2010-07-26T03:02:03.507" UserId="458" Text="Thanks Colin,&#xD;&#xA;&#xD;&#xA;Will be recording a series of interviews that will run for 3 hours for a documentary @25p PAL and I'm concerned it will go out of sync after the 15nth minute. The director will be editing this and I doubt she has researched on discrepancies with importing Canon DSLR footage onto an FCP sequence. I have read about having to compress footage at ProRess before syncing or that audio files speeds have to be slowed at 99% before syncing. &#xD;&#xA;&#xD;&#xA;All the equipment is being shipped a day before although i know how to work with an SD &#xD;&#xA;442 this will be my first time with a 744T. The walk through would be great.&#xD;&#xA;&#xD;&#xA;I want to be able to supply on sync audio. Having read all that can happen in post it would be great to know in my end i did things right.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4008" PostHistoryTypeId="2" PostId="2255" RevisionGUID="962ba031-cc39-41e1-a7f2-f6652daa652e" CreationDate="2010-07-26T05:14:41.410" UserId="455" Text="I'm looking for someone to help me record some fireworks.  I have a few rockets (oversized bottle rockets) and some other stuff to set off.&#xD;&#xA;&#xD;&#xA;I don't have any mics or recorders (except my h4) so I'm hoping someone would like to team up and do this sometime.&#xD;&#xA;&#xD;&#xA;I live in Los Angeles so a big part of this is finding somewhere to do it.  Any ideas or suggestions would be greatly appreciated.  &#xD;&#xA;&#xD;&#xA;Send me an email! Dan@dankenyonaudio.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="4009" PostHistoryTypeId="1" PostId="2255" RevisionGUID="962ba031-cc39-41e1-a7f2-f6652daa652e" CreationDate="2010-07-26T05:14:41.410" UserId="455" Text="Recording Fireworks" ContentLicense="CC BY-SA 2.5" />
  <row Id="4010" PostHistoryTypeId="3" PostId="2255" RevisionGUID="962ba031-cc39-41e1-a7f2-f6652daa652e" CreationDate="2010-07-26T05:14:41.410" UserId="455" Text="&lt;record&gt;&lt;fireworks&gt;&lt;effects&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4011" PostHistoryTypeId="2" PostId="2256" RevisionGUID="e81d56cc-998b-4e63-b824-20b6991f7286" CreationDate="2010-07-26T05:38:29.123" UserId="40" Text="While I don't live in LA, and therefore can't actually help with the recording, I can give you some pointers.&#xD;&#xA;&#xD;&#xA;I've recorded lots of rockets, bottle rockets, firecrackers etc...  You're going to want to get lots of perspectives, but the problem is that these things have a mind of their own.  So, I suggest you bring lots of gaff tape, spring clips, etc... and devise a way to keep the rockets put as they go through their ordeal.  Therefore, you can keep the mics the same distance away from the rocket the whole time.&#xD;&#xA;&#xD;&#xA;Now obviously you're going to want to have some actually shooting off as well, as they have a cool dopler effect that you can't mimic if you clip the rocket to a stand.  My best suggestion for this is to have a few stationary mics, and have at least one, and more if possible, people with shotgun mics attempting to aim at the rocket during it's entire flight.&#xD;&#xA;&#xD;&#xA;As far as mics go, you're going to need some dynamics for close (57, RE20, etc...), maybe condenser up close for the fuse (that can handle SPL, maybe a Sanken Cub?), a handful of shotguns, stereo mics, etc...&#xD;&#xA;&#xD;&#xA;What are you recording this into?  The H4?  If so, you'll just have to do lots of different takes with different mics.  Use whatever you can get your hands on.  If you can get someone to go with you, I'm sure you can pool gear for a bigger arsenal.&#xD;&#xA;&#xD;&#xA;As for locations, I'm not extremely familiar with LA, but I know that there are a few abandoned developments in Pasadena that are awesome to record in (all the roads are there, but no houses!)  Also, there are lots of hills and such in that area that you can probably go and get some quiet space.  MAKE SURE TO BRING TONS OF WIND PROTECTION!!!!&#xD;&#xA;&#xD;&#xA;Maybe some of the LA guys can share where you like to record?&#xD;&#xA;&#xD;&#xA;I'm actually planning a similar session myself, rockets and all...  Let me know how yours goes!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4012" PostHistoryTypeId="2" PostId="2257" RevisionGUID="6972a005-ee27-4302-bdee-584121fd14a8" CreationDate="2010-07-26T06:00:35.267" UserId="61" Text="Hi Dan - welcome to SSD!&#xD;&#xA;&#xD;&#xA;Before you actually do this you should be aware of the legal code regarding fireworks in California. [This site][1] should give you an idea.&#xD;&#xA;&#xD;&#xA;You'll almost certainly need to head out to the desert to do this, especially during the summer months when fire risk is high. Check out Google Earth before planning your trip to be sure you avoid populated areas, flight paths, and freeway noise. One of the message boards I perused recommended traveling to the Nevada Indian reservations where you can buy and set them off legally. Just a thought…&#xD;&#xA;&#xD;&#xA;I'll echo Colin on his mic advice - the more perspectives you can capture the better, preferably simultaneously so as to reduce overall setup and record time. And if you're going to the trouble of recording multiple angles out on location, I'd forget about the H4 as your primary recorder and go rent 1 or more multi-track recorders for the day/weekend. Should make your life a lot easier.&#xD;&#xA;&#xD;&#xA;Have fun and wear eye protection!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.usfireworks.biz/legal/ca.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="4013" PostHistoryTypeId="2" PostId="2258" RevisionGUID="1ff98ccd-dff7-4bae-b360-0646b3418c55" CreationDate="2010-07-26T06:03:35.870" UserId="348" Text="Hi there,&#xD;&#xA;&#xD;&#xA;Lots of interesting people out there. What a great community and Andrew, thanks for this site!!!&#xD;&#xA;&#xD;&#xA;I am a foley artist originally from Canada who now lives and works in South Africa. I also do field recording and sound editing. I have done a few stints in dialogue recording and editing but it is definitely not my specialty. I love all areas of sound for film, TV, radio and games. I think we are all lucky to be working in something we are passionate about. &#xD;&#xA;&#xD;&#xA;Thanks for this site!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4014" PostHistoryTypeId="16" PostId="2258" RevisionGUID="1ff98ccd-dff7-4bae-b360-0646b3418c55" CreationDate="2010-07-26T06:03:35.870" UserId="-1" />
  <row Id="4015" PostHistoryTypeId="2" PostId="2259" RevisionGUID="5e2d3846-7541-4048-8c18-f92a8e9ee930" CreationDate="2010-07-26T06:10:27.647" UserId="348" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I just got back from an amazing weekend in the lowvelt of South Africa recording birds, leopards, lions and of course, ambience. It is winter here so a lot of the bird life is away up north. Both myself and the other field recordist struggled with getting good velt ambiences because it was so quiet. We got the odd section where some bird or buck spoke but for the most part, the areas were dead. &#xD;&#xA;&#xD;&#xA;Any advice on what to do in this situation? We were using the Scheops CMC 4 with an MK 4 capsule and a Sennheisser 418. What to do, what to do? " ContentLicense="CC BY-SA 2.5" />
  <row Id="4016" PostHistoryTypeId="1" PostId="2259" RevisionGUID="5e2d3846-7541-4048-8c18-f92a8e9ee930" CreationDate="2010-07-26T06:10:27.647" UserId="348" Text="Getting ambience when it is really quiet." ContentLicense="CC BY-SA 2.5" />
  <row Id="4017" PostHistoryTypeId="3" PostId="2259" RevisionGUID="5e2d3846-7541-4048-8c18-f92a8e9ee930" CreationDate="2010-07-26T06:10:27.647" UserId="348" Text="&lt;field&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4018" PostHistoryTypeId="2" PostId="2260" RevisionGUID="4a9d5442-f5d2-491d-9d53-5d74155dfb8d" CreationDate="2010-07-26T06:15:30.190" UserId="61" Text="Sounds like you were armed with some great mics - curious to know what recorder and preamps were you using? I had a similar situation recently when nature was much quieter than I had anticipated, so I enjoyed recording wind thru trees, flowing water and miniscule insect life instead.&#xD;&#xA;&#xD;&#xA;It may not have been your intention to record a very quiet ambience but I hope that you did because they are *extremely rare*." ContentLicense="CC BY-SA 2.5" />
  <row Id="4019" PostHistoryTypeId="2" PostId="2261" RevisionGUID="e585cefe-920c-40ef-af31-3b0f20184326" CreationDate="2010-07-26T06:21:57.600" UserId="40" Text="Sounds like recording room tone...  Hardly anything there to record!&#xD;&#xA;&#xD;&#xA;I'm assuming you had a Sound Devices recorder or similar? (judging by the quality of the mics...)&#xD;&#xA;&#xD;&#xA;How much noise were you getting off the pres?  You probably had them cranked...&#xD;&#xA;&#xD;&#xA;The biggest problem I find for myself in those situations is trying to stay quieter than the environment.  Even the smallest move - fraction of an inch - or any breathing - can be picked up in the recording.&#xD;&#xA;&#xD;&#xA;How did the end result turn out?  Get some cool stuff?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4020" PostHistoryTypeId="6" PostId="2259" RevisionGUID="bf0017fc-8138-4af3-afb7-e989dc03bfa4" CreationDate="2010-07-26T06:45:56.220" UserDisplayName="user80" Comment="Added tags" Text="&lt;field-recording&gt;&lt;ambience&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4021" PostHistoryTypeId="2" PostId="2262" RevisionGUID="aaafe4e2-2b64-452b-a5c8-6237dbd93b0a" CreationDate="2010-07-26T08:57:42.403" UserDisplayName="user80" Text="I am afraid that you will probably need to do multiple trips at different times of the day to different locations.  Sunrise and sunset are usually the best times.  Speak to your guide explain what you want and be prepared to wait." ContentLicense="CC BY-SA 2.5" />
  <row Id="4022" PostHistoryTypeId="2" PostId="2263" RevisionGUID="5c98c565-834c-4e71-b1f0-2680f58dfc28" CreationDate="2010-07-26T11:34:02.953" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;I have done some research into this but am still looking for some more techniques to each my students. What I basically want are some cut and dry approaches to matching ADR to a scene so that it will sound like it is in the same space within the frame. I know that with exteriors, you have to EQ the voices to thin them out. What else do you guys recommend. &#xD;&#xA;&#xD;&#xA;Thanks. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4023" PostHistoryTypeId="1" PostId="2263" RevisionGUID="5c98c565-834c-4e71-b1f0-2680f58dfc28" CreationDate="2010-07-26T11:34:02.953" UserId="348" Text="Processing ADR to match interiors and exteriors" ContentLicense="CC BY-SA 2.5" />
  <row Id="4024" PostHistoryTypeId="3" PostId="2263" RevisionGUID="5c98c565-834c-4e71-b1f0-2680f58dfc28" CreationDate="2010-07-26T11:34:02.953" UserId="348" Text="&lt;adr&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4025" PostHistoryTypeId="2" PostId="2264" RevisionGUID="89e166f8-a80d-4fa6-b9a9-eca5d4dc7d73" CreationDate="2010-07-26T12:22:52.337" UserId="432" Text="If you've got the information and access to the right microphones, then using the same mic as was used for the scene will get you 80% of the way there. If you don't have the exact model of microphone, then using something within the same class will be your best alternate (i.e. don't use a dynamic cardiod if the production used a condenser hyper cardiod). With that information, it isn't all that difficult to get a similar perspective match by ear. Just move the mic around until you're getting something close to the quality of the production audio.&#xD;&#xA;&#xD;&#xA;From there, work with your reverbs/eqs on the dialogue track as needed. Get it to sit comfortably against the room tone/ambience, and you're pretty much there. I'm oversimplifying this last part a bit, but if you get the microphone and it's placement right, you'll find that you're only going to need some mild processing to make it work." ContentLicense="CC BY-SA 2.5" />
  <row Id="4026" PostHistoryTypeId="2" PostId="2265" RevisionGUID="df524c8e-db82-4342-82e9-ca24bf4f9a6e" CreationDate="2010-07-26T12:43:49.783" UserId="432" Text="I agree with Colin on all fronts here. The 744T is a better investment, a dumb slate will do you fine on shorter project, and a smart slate will make your life simpler on larger ones (kind of like the one you're about to start on).&#xD;&#xA;&#xD;&#xA;What a smart slate will buy you when using the 5D is some faster relinking of media in post. The 744T will time stamp your audio. With the slate chasing time code, you'll have a visual representation of time code in the picture until the slate is clapped. This means you can sync at any point before the actual clap using that visual output and the audio's timestamp. While I wouldn't trust it completely (you'll still want to verify that the visual clap and the audio pop are in sync), it will be close enough for the director/editor to at least start with.&#xD;&#xA;&#xD;&#xA;I mention that last part, because of time code discrepancy offsets that I've encountered in testing this workflow idea (mentioned in another post). We've shot some more test footage, and I just need to sit down and relink it to see where it's at now. I have been getting feedback from multiple sources that a &quot;smart&quot; slate will always have a timecode offset. I'm still pursuing first hand confirmation of this." ContentLicense="CC BY-SA 2.5" />
  <row Id="4027" PostHistoryTypeId="2" PostId="2266" RevisionGUID="0e35f0eb-717c-41fc-9b81-85e5954b9a5d" CreationDate="2010-07-26T12:58:53.180" UserId="392" Text="there are a few VSTs out there, SPL's drum xchanger for example, that do what's called &quot;drum replacement&quot;.  i don't understand this concept.  can someone explain it to me?&#xD;&#xA;&#xD;&#xA;thank you!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4028" PostHistoryTypeId="1" PostId="2266" RevisionGUID="0e35f0eb-717c-41fc-9b81-85e5954b9a5d" CreationDate="2010-07-26T12:58:53.180" UserId="392" Text="can someone please explain drum replacement?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4029" PostHistoryTypeId="3" PostId="2266" RevisionGUID="0e35f0eb-717c-41fc-9b81-85e5954b9a5d" CreationDate="2010-07-26T12:58:53.180" UserId="392" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4030" PostHistoryTypeId="2" PostId="2267" RevisionGUID="1c093e15-5f72-44c0-af6e-45a995717442" CreationDate="2010-07-26T13:02:41.587" UserId="219" Text="Eric, the 5D's memory card overheats after 5 minutes of take, so you'll probably have to cut every 5 minutes. Your timecode should never go out of sync too much :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4031" PostHistoryTypeId="5" PostId="2267" RevisionGUID="b491bdcd-7726-474f-945e-b847b467c619" CreationDate="2010-07-26T13:10:12.127" UserId="219" Comment="nuancing; added 24 characters in body" Text="Eric, the 5D's memory card should overheat after about &lt;strike&gt;5&lt;/strike&gt; 10-12 minutes of take, so you'll probably have to cut every 10 minutes. Your timecode should never go out of sync too much :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4032" PostHistoryTypeId="5" PostId="2267" RevisionGUID="1169917a-f0e1-4fbf-8774-843d6cf802c9" CreationDate="2010-07-26T13:25:03.383" UserId="219" Comment="added 184 characters in body" Text="Eric, the 5D's memory card is said to overheat after about &lt;strike&gt;5&lt;/strike&gt; 10-12 minutes of take, so you'll probably have to cut every 10 minutes. The factors to this seem to be both the environment and the parameters of your video (res, fps). Your timecode should never go out of sync too much :) Or you could have a take per interview, that's what we did when we shot with a 5D." ContentLicense="CC BY-SA 2.5" />
  <row Id="4033" PostHistoryTypeId="6" PostId="2263" RevisionGUID="bd73c8b9-0f2e-4183-94e0-349c9da28aad" CreationDate="2010-07-26T14:23:49.737" UserId="61" Comment="retags" Text="&lt;adr&gt;&lt;techniques&gt;&lt;equalizing&gt;&lt;processing&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4034" PostHistoryTypeId="2" PostId="2268" RevisionGUID="518648c2-6128-4a8c-ad63-edba5007553b" CreationDate="2010-07-26T14:26:08.240" UserId="220" Text="I learned the hard way that the key to being able to match well is having good ADR tracks to work off of.  Make sure they're recorded on a stage, NOT in a booth.  As Shaun said, matching mics will aslo be a big help.&#xD;&#xA;&#xD;&#xA;I would recommend doing several things to practice:&#xD;&#xA;&#xD;&#xA; - Record good quality ADR and match with environments interior and exterior.&#xD;&#xA; - Record poor quality ADR (not sync'd properly, recorded in a booth, etc) and have them match up.&#xD;&#xA; - Record wild lines for a scene and have them match/replace obscured lines.&#xD;&#xA;&#xD;&#xA;I think it would be more helpful to cover difference scenarios and learn how to deal with them.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="4035" PostHistoryTypeId="2" PostId="2269" RevisionGUID="4604832e-16ba-4093-b3c4-1e5d2f4cd45f" CreationDate="2010-07-26T14:40:45.653" UserId="61" Text="The best dialog mixers in the world struggle daily with matching ADR to the production track. One of the reasons for this is because there are so many variables that occur during filming that are not easily remedied or recreated in post-production, ie. generator hums that fluctuate and resist EQ notching, broadband noise from a variety of light buzzes, traffic wash, etc. Even with the best tools at their disposal, it is a time consuming process whose results rarely escape the discerning ear.&#xD;&#xA;&#xD;&#xA;Interiors can be as difficult to match as exteriors. The interior recording comes with its own set of challenges, not least of which being strange reflections and/or resonances that cannot be recreated with current plug-in technology (or old-school technology, for that matter).&#xD;&#xA;&#xD;&#xA;The best thing you can teach your students is how to train their ears for this type of work. It really comes down to patient use of traditional filters and compressors - there are no short cuts or magic bullets. &#xD;&#xA;&#xD;&#xA;A couple of techniques I've found to be useful over the years are:&#xD;&#xA;&#xD;&#xA; - Capturing an impulse response (IR) of&#xD;&#xA;   the various locations during filming&#xD;&#xA;   that can be used in post-production&#xD;&#xA;   to help the ADR match the track. May be of limited use but it's worth having just in case.&#xD;&#xA; - The use of noise reduction technology&#xD;&#xA;   to remove unwanted noise, ie. CEDAR,&#xD;&#xA;   Izotope RX, WNS, and Z-Noise." ContentLicense="CC BY-SA 2.5" />
  <row Id="4036" PostHistoryTypeId="5" PostId="2269" RevisionGUID="ce3df025-243d-4944-8aca-f18535bc52e1" CreationDate="2010-07-26T14:46:26.063" UserId="61" Comment="additional information" Text="The best dialog mixers in the world struggle daily with matching ADR to the production track. One of the reasons for this is because there are so many variables that occur during filming that are not easily remedied or recreated in post-production, ie. generator hums that fluctuate and resist EQ notching, broadband noise from a variety of light buzzes, traffic wash, etc. Even with the best tools at their disposal, it is a time consuming process whose results rarely escape the discerning ear.&#xD;&#xA;&#xD;&#xA;Interiors can be as difficult to match as exteriors. The interior recording comes with its own set of challenges, not least of which being strange reflections and/or resonances that cannot be recreated with current plug-in technology (or old-school technology, for that matter).&#xD;&#xA;&#xD;&#xA;The best thing you can teach your students is how to train their ears for this type of work. It really comes down to patient use of traditional filters and compressors - there are no short cuts or magic bullets. &#xD;&#xA;&#xD;&#xA;A few techniques I've found to be useful over the years are:&#xD;&#xA;&#xD;&#xA; - Capturing an impulse response (IR) of&#xD;&#xA;   the various locations during filming&#xD;&#xA;   that can be used in post-production&#xD;&#xA;   to help the ADR match the track. May be of limited use but it's worth having just in case.&#xD;&#xA; - The use of noise reduction technology&#xD;&#xA;   to remove unwanted noise, ie. CEDAR,&#xD;&#xA;   Izotope RX, WNS, and Z-Noise.&#xD;&#xA; - Record the ADR in the same way&#xD;&#xA;   it was originally captured, ie. if&#xD;&#xA;   you're trying to match lines filmed&#xD;&#xA;   on a rooftop, try recording the&#xD;&#xA;   talent outside - this way you immediately avoid having to make your interior ADR sound like exterior production. Of course this has to be executed with caution due to exterior noise, but sometimes it makes more sense to match the realism rather than fight it.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4037" PostHistoryTypeId="2" PostId="2270" RevisionGUID="f2df1d1b-0433-4634-8322-da970d2df667" CreationDate="2010-07-26T15:41:26.550" UserDisplayName="user80" Text="Ask the production sound mixer to make full notes.  Then match the microphone, height, distance and angle.  Sometimes you have lavs that have been mixed in with the boom mic, and these can often have phase problems.  &#xD;&#xA;&#xD;&#xA;If you do not have sufficient information to match the equipment and the placement then get hold of the best quality condenser that you can, and use some heavy eq, this will get you close with an awful lot of practice.&#xD;&#xA;&#xD;&#xA;Recording ADR is comparatively easy, but mixing it with production dialogue is an advanced skill that only a comparatively few re-recording mixers have.&#xD;&#xA;&#xD;&#xA;Sometimes it easier to eq the production dialogue to match more closely what you recorded in the ADR suite.  The audience are rarely concerned with reality, and dialogue is normally recorded artificially close anyway.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="4038" PostHistoryTypeId="2" PostId="2271" RevisionGUID="c9845b35-2f95-43fd-a91a-976378e8dfb2" CreationDate="2010-07-26T15:43:01.463" UserDisplayName="user80" Text="You replace the recorded files with samples. That way you can choose a different kit but still use the original timing and dynamics." ContentLicense="CC BY-SA 2.5" />
  <row Id="4039" PostHistoryTypeId="5" PostId="2266" RevisionGUID="3c8d5426-e065-4879-97a3-90f1448857b0" CreationDate="2010-07-26T15:43:52.867" UserDisplayName="user80" Comment="Added tags" Text="There are a few VSTs out there, SPL's drum xchanger for example, that do what's called &quot;drum replacement&quot;.  I don't understand this concept.  Can someone explain it to me?&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4040" PostHistoryTypeId="6" PostId="2266" RevisionGUID="3c8d5426-e065-4879-97a3-90f1448857b0" CreationDate="2010-07-26T15:43:52.867" UserDisplayName="user80" Comment="Added tags" Text="&lt;explanation&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4041" PostHistoryTypeId="2" PostId="2272" RevisionGUID="6e56b0d5-73c8-481c-9a16-48293b6c4e97" CreationDate="2010-07-26T16:57:53.030" UserId="413" Text="Simple question i hope.&#xD;&#xA;I was wondering if there was some free vst sampler around to play footsteps sound (or other multiple sounds) randomly.&#xD;&#xA;&#xD;&#xA;You play a note on the keyboard and you get a random sequence of the multiple sounds you've loaded at a chosen rate." ContentLicense="CC BY-SA 2.5" />
  <row Id="4042" PostHistoryTypeId="1" PostId="2272" RevisionGUID="6e56b0d5-73c8-481c-9a16-48293b6c4e97" CreationDate="2010-07-26T16:57:53.030" UserId="413" Text="Footsteps sfx sampler ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4043" PostHistoryTypeId="3" PostId="2272" RevisionGUID="6e56b0d5-73c8-481c-9a16-48293b6c4e97" CreationDate="2010-07-26T16:57:53.030" UserId="413" Text="&lt;footsteps&gt;&lt;sfx&gt;&lt;sampler&gt;&lt;random&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4044" PostHistoryTypeId="2" PostId="2273" RevisionGUID="0c9564b8-4fb4-4438-a2e5-81ebcba3682d" CreationDate="2010-07-26T17:17:35.193" UserId="194" Text="if you don't find a sampler to your liking, you can go with a video game development tool like [WWise][1].  These tools are free to download and use, fit those kinds of needs well, and are very fast and flexible. The companies make money when you license them for implementation into a game.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiokinetic.com/en/products/wwise/introduction" ContentLicense="CC BY-SA 2.5" />
  <row Id="4045" PostHistoryTypeId="2" PostId="2274" RevisionGUID="37bea721-ed51-4a89-a20c-bc02170a8716" CreationDate="2010-07-26T17:27:58.077" UserId="194" Text="Hi there!&#xD;&#xA;&#xD;&#xA;René Coronado - lead sound designer at Dallas Audio Post Group&#xD;&#xA;&#xD;&#xA;I came here straight out of school in Dec of 1999, and have grown up with the company.  I love living and working in Dallas because its a great sports town (we work with the Stars, Mavs, and Rangers - working on the Cowboys), a good production town, and your money goes a long way here compared to other places.&#xD;&#xA;&#xD;&#xA;60% of our work is from out of town, with big chunks coming from DC and LA.  I've personally cut ADR for Cats and Dogs 2 that's coming out, The Last Airbender, and of course we do all of the ADR for the network shows that are being shot in town (including The Good Guys, Midland, etc).  We also recorded both George and Laura Bush's upcoming audio books for Random House, so business is good!&#xD;&#xA;&#xD;&#xA;We're a right to work state, so no unions here - which means that I have to triple count my blessings with regards to the company I work with.  The founder, Roy Machado really lives up to his promises to keep us engineer folk the best equipped and best paid in the region.  We're also set up like a law firm, so after x number of years engineers become vested partners in the company.  We're always consulted on gear and procedures, and its rare that a need doesn't get filled.&#xD;&#xA;&#xD;&#xA;I'm not a musician, but Roy and Brad are and they are some of the best.  &#xD;&#xA;&#xD;&#xA;On the side, I shoot video and timelapses with my Canon 7d, and I always have my Sony PCMD50 on me to record the world around me. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4046" PostHistoryTypeId="16" PostId="2274" RevisionGUID="37bea721-ed51-4a89-a20c-bc02170a8716" CreationDate="2010-07-26T17:27:58.077" UserId="-1" />
  <row Id="4047" PostHistoryTypeId="2" PostId="2275" RevisionGUID="f6134e50-869b-42cd-af67-e4159d8f2456" CreationDate="2010-07-26T17:33:42.460" UserId="315" Text="Some great advice here so far. The biggest rookie error in recording ADR that I hear is microphone placement. The dialog on set is recorded with a 416 on a boom 6 feet away from the actor, but it's adr-ed in a booth, recorded like a voice-over with the actor standing 6 inches away from a U87. &#xD;&#xA;&#xD;&#xA;Using the same mic as production and getting some air between the actor and the mic is key to matching. Otherwise the mixer will have to wrangle it with EQ, verb, and delay for quite some time.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4048" PostHistoryTypeId="2" PostId="2276" RevisionGUID="edfaf381-7298-40e4-8d3b-c5b5ede1064c" CreationDate="2010-07-26T17:46:10.407" UserId="315" Text="Sounds like a fun trip. I'm jealous.&#xD;&#xA;&#xD;&#xA;Consider yourself lucky to find quiet outside. It's hard to do these days. The Schoeps MK4 is a wonderful mic (it stays in my Zepplin 80% of the time) but it's not a very high-gain mic. The 418 is also great, but a tad noisy on the side element.&#xD;&#xA;&#xD;&#xA;I'd say resist the temptation to crank the pre-amps up over 60% or so, which will start introducing noise, and just record at a low level. Most ambiences I hear in sound effects libraries etc. are way too loud anyway and end up getting pushed down quite a bit on the mixing stage. If you need more level, you're better off doing that in the mastering stage. My 2 cents..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4050" PostHistoryTypeId="2" PostId="2278" RevisionGUID="008e18c0-5a91-42d4-9c3d-faecd89ac708" CreationDate="2010-07-26T18:39:40.200" UserId="40" Text="If the drumset is recorded in a fairly isolated manner, then you can often get very very good results.&#xD;&#xA;&#xD;&#xA;This is based on transient response.  You can often assign a different sample to a different amplitude range of the transients on a given track so that you don't lose the dynamic feel (varied amplitudes) of the track.&#xD;&#xA;&#xD;&#xA;It's not an easy process.  It's not like you can just say, &quot;I want to replace this snare,&quot; then click one button, and it's done.  It takes a lot of time and tweaking to get it to where it needs to be.  Also, you don't need to use a drum replacement plugin to get the effect.  If you know what you're doing, you can easily use the &quot;Tab to Transient&quot; feature in Pro Tools to achieve the same results.&#xD;&#xA;&#xD;&#xA;The quality of the final product is dependent quality of the samples you are replacing the drums with, and the amount of time you put into it.&#xD;&#xA;&#xD;&#xA;I would say that probably 50% of the stuff you hear on the radio has some sort of drum replacement involved in it.  When I used to work in the music world, half of everything I worked on had drum replacement in it.  That included grammy winning projects.  So the quality is there, it just takes time a patience." ContentLicense="CC BY-SA 2.5" />
  <row Id="4051" PostHistoryTypeId="2" PostId="2279" RevisionGUID="c86a25a1-6dbe-4111-8a80-5afe7416e3ea" CreationDate="2010-07-26T19:47:35.030" UserId="28" Text="Sound Dude, what DAW are you using? &#xD;&#xA;&#xD;&#xA;Jon Margulies is writing 365 days of Ableton Live tips. And he recently talked about setting up such a random sample selector in Live. http://www.heatercore.net/2010/07/lets-get-random-.html&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4052" PostHistoryTypeId="2" PostId="2280" RevisionGUID="6480aa41-5886-4c28-af14-362cf51919d3" CreationDate="2010-07-26T21:23:53.573" UserId="131" Text="I've had a thing for sounds in the kitchen recently. Everything from dripping water, to frying pans, to tapping the side of a fresh smoothie for a ridiculously deep bass sound. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4053" PostHistoryTypeId="2" PostId="2281" RevisionGUID="f1c2a175-4cfe-4514-b412-b5690b80c824" CreationDate="2010-07-27T00:12:23.497" UserId="29" Text="This isn't a matter of gear or technique. It's situational. Sometimes the critters are out in force, sometimes they're not. As much as you plan, nature doesn't always cooperate. There are, however, some things you can use to predict success.&#xD;&#xA;&#xD;&#xA;1. Sunrise is usually when the biophony is its most active, at least with regards to birds. Some birds and insects also perk up at sunset. Sunrise and sunset are easy to find online for almost anywhere in the world. Remember that &quot;nautical twilight&quot; is the start of this active period, and that's when it's light enough to see the horizon. It's like the magic hour in photography; the activity lasts until about an hour after sunrise (in my experience). &#xD;&#xA;&#xD;&#xA;2. Look for water sources that offer places of concealment for wildlife. The American bittern, for example, has a very specific (and odd!) call to carry through the reeds it hides in, making it tough to see but pretty easy to hear. This combo - wet and concealment - is among the reasons that rainforests can be absolutely deafening at times. Water doesn't just mean water, it can also mean large amounts of food for both birds and insects...and bigger things. Know where the crocs live before getting too close. :-)&#xD;&#xA;&#xD;&#xA;3. Look for access to sunlight. Many species are energized by the sun and become vocal when in the sun. I've noticed this from California to New Zealand, for both birds and insects (Remember that you can be in a deep forest and if there are birds in the treetops, they'll often be the loudest.)&#xD;&#xA;&#xD;&#xA;4. Migration patterns. Birds just take off and go elsewhere sometimes, and you can often find the info as to where and when online with just a bit of research.&#xD;&#xA;&#xD;&#xA;There are species, of course, that totally buck these general guidelines, but you'll probably want to figure out what it is you want to capture. Birds and insects contribute the most to ambiences, but nighttime is interesting for coyotes, crickets, hyenas, and any number of other interesting critters.&#xD;&#xA;&#xD;&#xA;Note: These are guidelines only but I have found them to help. Your mileage may vary.&#xD;&#xA;&#xD;&#xA;(All that said: Keep the recordings of silence. You never know when you may use it elsewhere!)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4054" PostHistoryTypeId="2" PostId="2282" RevisionGUID="703d322e-d937-4a5e-8c92-50c88910f620" CreationDate="2010-07-27T00:17:43.910" UserId="29" Text="You could also set up a sampler to use velocity switching so louder footsteps are triggered when you press harder (or grittier, or more heel-to-toe, or whatever you want the main variable to be, if any, or just random). Given MIDI's resolution, you could therefore dial in up to 127 different footsteps based on note-down velocity with a single key, and be able to change them by just changing the velocity setting of each note (a snap with most MIDI-aware DAWs)." ContentLicense="CC BY-SA 2.5" />
  <row Id="4055" PostHistoryTypeId="2" PostId="2283" RevisionGUID="30cd26c4-fb4e-4905-b396-df0ba641a757" CreationDate="2010-07-27T00:25:46.643" UserId="459" Text="Hello Everyone, I'm working on sound design for a shortfilm involving main character, who has 2 personalities, transform into his evil version, thru violent head-shaking movement. The actor make some noise while doing the scene, but I want to add some effects that could highten up the tension.   Need some suggestions.  What would u use? or What other famouse movies have used before? " ContentLicense="CC BY-SA 2.5" />
  <row Id="4056" PostHistoryTypeId="1" PostId="2283" RevisionGUID="30cd26c4-fb4e-4905-b396-df0ba641a757" CreationDate="2010-07-27T00:25:46.643" UserId="459" Text="Transformation Scene" ContentLicense="CC BY-SA 2.5" />
  <row Id="4057" PostHistoryTypeId="3" PostId="2283" RevisionGUID="30cd26c4-fb4e-4905-b396-df0ba641a757" CreationDate="2010-07-27T00:25:46.643" UserId="459" Text="&lt;transformation&gt;&lt;movement&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4058" PostHistoryTypeId="2" PostId="2284" RevisionGUID="1de41e75-b7d6-447b-b3e7-11c0fe9c1375" CreationDate="2010-07-27T00:36:52.013" UserId="61" Text="Check out [Jacob's Ladder][1]. Excellent use of sound to sell a very scary visual effect. There's a sample around 1:50 on [this][2] YouTube video.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0099871/&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=SXXbIOc9h4g" ContentLicense="CC BY-SA 2.5" />
  <row Id="4059" PostHistoryTypeId="2" PostId="2285" RevisionGUID="140010b5-f6dd-4887-acf6-c15bf0de2a70" CreationDate="2010-07-27T00:39:56.270" UserId="29" Text="I'd argue that the biggest decision should be whether to go more literal and &quot;cover&quot; the physical transformation, or to be more metaphorical and express his emotional transformation. I've seen it done both ways; any werewolf movie since &quot;An American Werewolf In London,&quot; and any number of other horror films, do the latter, and usually the ol' vegetable violence tricks pay off the best here. Going metaphorical, yeesh, could be anything, but your hands aren't tied to being literal anymore, and your choices can mesh better to the emotion of the character and/or even the key and timbres of the soundtrack, if any." ContentLicense="CC BY-SA 2.5" />
  <row Id="4061" PostHistoryTypeId="2" PostId="2287" RevisionGUID="b74d8d98-fd51-42c0-af43-59b346745a70" CreationDate="2010-07-27T02:18:50.093" UserId="339" Text="I'm a Sound Designer/Editor in Buenos Aires, Argentina. Primarily, we work on Films and TV shows at the moment." ContentLicense="CC BY-SA 2.5" />
  <row Id="4062" PostHistoryTypeId="16" PostId="2287" RevisionGUID="b74d8d98-fd51-42c0-af43-59b346745a70" CreationDate="2010-07-27T02:18:50.093" UserId="-1" />
  <row Id="4063" PostHistoryTypeId="5" PostId="2281" RevisionGUID="5d68c2b8-94e4-4c27-984a-c4d4f66cb01b" CreationDate="2010-07-27T02:39:16.567" UserId="29" Comment="added 63 characters in body" Text="This isn't a matter of gear or technique (well, at least in your case, you're geared up good-'n'-proper. It's situational. Sometimes the critters are out in force, sometimes they're not. As much as you plan, nature doesn't always cooperate. There are, however, some things you can use to predict success.&#xD;&#xA;&#xD;&#xA;1. Sunrise is usually when the biophony is its most active, at least with regards to birds. Some birds and insects also perk up at sunset. Sunrise and sunset are easy to find online for almost anywhere in the world. Remember that &quot;nautical twilight&quot; is the start of this active period, and that's when it's light enough to see the horizon. It's like the magic hour in photography; the activity lasts until about an hour after sunrise (in my experience). &#xD;&#xA;&#xD;&#xA;2. Look for water sources that offer places of concealment for wildlife. The American bittern, for example, has a very specific (and odd!) call to carry through the reeds it hides in, making it tough to see but pretty easy to hear. This combo - wet and concealment - is among the reasons that rainforests can be absolutely deafening at times. Water doesn't just mean water, it can also mean large amounts of food for both birds and insects...and bigger things. Know where the crocs live before getting too close. :-)&#xD;&#xA;&#xD;&#xA;3. Look for access to sunlight. Many species are energized by the sun and become vocal when in the sun. I've noticed this from California to New Zealand, for both birds and insects (Remember that you can be in a deep forest and if there are birds in the treetops, they'll often be the loudest.)&#xD;&#xA;&#xD;&#xA;4. Migration patterns. Birds just take off and go elsewhere sometimes, and you can often find the info as to where and when online with just a bit of research.&#xD;&#xA;&#xD;&#xA;There are species, of course, that totally buck these general guidelines, but you'll probably want to figure out what it is you want to capture. Birds and insects contribute the most to ambiences, but nighttime is interesting for coyotes, crickets, hyenas, and any number of other interesting critters.&#xD;&#xA;&#xD;&#xA;Note: These are guidelines only but I have found them to help. Your mileage may vary.&#xD;&#xA;&#xD;&#xA;(All that said: Keep the recordings of silence. You never know when you may use it elsewhere!)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4064" PostHistoryTypeId="2" PostId="2288" RevisionGUID="6d23d4c7-4944-4ba4-8591-739c79ffde23" CreationDate="2010-07-27T03:12:34.187" UserId="178" Text="Drum replacement is on more modern albums than not. You can either replace the original drums entirely, or layer the replaced drums over top of the original recordings, to fatten them up as needed.&#xD;&#xA;&#xD;&#xA;There is one company that had a demo at NAMM, where they miced up a bunch of pots and pans in a traditional drum kit configuration, and then played the live replaced samples in real time as people would bash away on the kit.&#xD;&#xA;&#xD;&#xA;Also, if you have Logic 9 (and maybe earlier versions as well), it has some nice drum replacement stuff built in." ContentLicense="CC BY-SA 2.5" />
  <row Id="4065" PostHistoryTypeId="2" PostId="2289" RevisionGUID="d41a1b2a-f35b-4139-917f-4a2a47d8a81b" CreationDate="2010-07-27T03:15:05.513" UserId="178" Text="Don't forget to mix in production room tone underneath if you're only flying ADR to replace certain lines. If you are doing ADR for the whole scene, then you won't really have any matching problems (since you're blowing away all the production sound), but you'll want some ambience mixed in there as well to help sell it." ContentLicense="CC BY-SA 2.5" />
  <row Id="4066" PostHistoryTypeId="2" PostId="2290" RevisionGUID="cb8f4dfc-4b20-4e14-8301-b3e9f6f531bf" CreationDate="2010-07-27T03:25:58.657" UserId="260" Text="Sound designer and voice actor, Live in Norway but my work is all over the world." ContentLicense="CC BY-SA 2.5" />
  <row Id="4067" PostHistoryTypeId="16" PostId="2290" RevisionGUID="cb8f4dfc-4b20-4e14-8301-b3e9f6f531bf" CreationDate="2010-07-27T03:25:58.657" UserId="-1" />
  <row Id="4068" PostHistoryTypeId="2" PostId="2291" RevisionGUID="85609150-a378-4c54-830c-970dfd215446" CreationDate="2010-07-27T04:42:13.047" UserId="459" Text="wow...thank you so much, everyone. I wish I could upload the clip too, but that's up to the director. I will post once I'm done with it. Thank you for all your advice. I'll try and see which ways go well" ContentLicense="CC BY-SA 2.5" />
  <row Id="4069" PostHistoryTypeId="2" PostId="2292" RevisionGUID="ad78f6ee-d896-426c-b618-73fbc0224ef9" CreationDate="2010-07-27T04:45:57.300" UserId="18160" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I'm flying somewhere soon and I'm bringing my equipment along to record some wonderful opportunities.&#xD;&#xA;&#xD;&#xA;I have a 722 and a Neumann 191 and I really don't want to check my babies if I don't have to. That's a lot of money to be &quot;misplaced&quot; in the baggage loading, etc. It's also my first time flying with my mic and recorder.&#xD;&#xA;&#xD;&#xA;Do any of you have experiences of what I should not do or any tips for getting through security quickly and safely?&#xD;&#xA;&#xD;&#xA;Maybe I am freaking out too much and maybe it will be a breeze but I want to carry them on the flight with me and I don't know if any equipment they might whip out to check them with or use on them will wreck anything or the hard drive, mic, etc.&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="4070" PostHistoryTypeId="1" PostId="2292" RevisionGUID="ad78f6ee-d896-426c-b618-73fbc0224ef9" CreationDate="2010-07-27T04:45:57.300" UserId="18160" Text="Tips for traveling with audio equipment." ContentLicense="CC BY-SA 2.5" />
  <row Id="4071" PostHistoryTypeId="3" PostId="2292" RevisionGUID="ad78f6ee-d896-426c-b618-73fbc0224ef9" CreationDate="2010-07-27T04:45:57.300" UserId="18160" Text="&lt;travel&gt;&lt;mics&gt;&lt;recorder&gt;&lt;precaution&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4072" PostHistoryTypeId="2" PostId="2293" RevisionGUID="6f96164a-3d63-46f8-8830-68a2c148b67a" CreationDate="2010-07-27T05:02:14.357" UserId="100" Text="http://socialsounddesign.com/questions/131/how-do-you-insure-your-gear-or-do-you &#xD;&#xA;http://socialsounddesign.com/questions/498/travelling-with-gear-customs" ContentLicense="CC BY-SA 2.5" />
  <row Id="4073" PostHistoryTypeId="2" PostId="2294" RevisionGUID="8341ca8e-2607-4426-ac65-18229135aa07" CreationDate="2010-07-27T05:05:17.627" UserId="29" Text="My two rubles:&#xD;&#xA;&#xD;&#xA; - No boom poles in carry-ons, period. Won't fly, literally.Remember, they're not BOOM poles, they're, uh, &quot;mic arms.&quot;&#xD;&#xA;- Be ready and willing to power up anything in your bag. I guarantee they don't see many Sound Devices units, especially the 7xx's. I personally would recommend having one audio clip on the unit so they can hear it if requested (therefore, pack some earbuds if you've checked your good cans).&#xD;&#xA;- Be pleasant and patient at all times!&#xD;&#xA;- It might be faster to take it out of whatever carrier or bag you have and check said bag. Inspecting mine in its Portabrace case would be kind of a pain, so I'd try to save them - and my - time and reduce their guesswork.&#xD;&#xA;- Can't imagine a mic would raise many questions, but again, some TSA staff want to see stuff actually working, especially since mics really can't be opened to see what's inside...maybe also pack a 6-12&quot; XLR cable?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4074" PostHistoryTypeId="2" PostId="2295" RevisionGUID="ec1affba-a4b1-4df5-831d-639945b3ec80" CreationDate="2010-07-27T05:23:53.103" UserId="378" Text="I read a really awesome recommendation a while ago from (?someone?) for keeping your checked baggage safe and looked after:&#xD;&#xA;&#xD;&#xA;1) Buy a cheap start pistol.&#xD;&#xA;&#xD;&#xA;2) pack it with your valuable equipment.&#xD;&#xA;&#xD;&#xA;3) Declare your fire-arm. It will be personally escorted by TSA to and from the plane. &#xD;&#xA;&#xD;&#xA;Never tried it myself." ContentLicense="CC BY-SA 2.5" />
  <row Id="4075" PostHistoryTypeId="2" PostId="2296" RevisionGUID="9db33062-3589-4f0e-b400-e5b1254c6a6d" CreationDate="2010-07-27T05:35:41.327" UserId="61" Text="Did this not too long ago, decided to carry on all of my gear rather than check it. Turned out to be a bit of a hassle at TSA and missed my flight. Not cool.&#xD;&#xA;&#xD;&#xA;But, that being said, I would do it again rather than risk losing it all in checked baggage. Another alternative is to send it ahead of you via UPS or FedEX, or any other method that is trackable. Will save you headaches at the airport." ContentLicense="CC BY-SA 2.5" />
  <row Id="4076" PostHistoryTypeId="2" PostId="2297" RevisionGUID="f3543823-783d-43dc-97d6-e5851a6edc75" CreationDate="2010-07-27T05:37:13.787" UserId="348" Text="I agree with many of the answers here. Having some nothing of the studio, what kinds of things they do and the gear they have will impress them as this tells them that you have done your homework. &#xD;&#xA;&#xD;&#xA;After this it is passion, long hours, listening, watching and being patient. Your time will come. Enthusiasism is not running around trying do every little thing, it is asking questions at the right time (over lunch, breaks, lulls in the mix or edit session). There is nothing worse than someone who tries too hard and gets in the way. As time goes on, read up on the stuff they teach you, practice after hours on the gear if they allow you this. This business is a state of mind not just simply a job to pay the bills. Viva Sound!!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4077" PostHistoryTypeId="2" PostId="2298" RevisionGUID="a6768f00-6522-4e13-b959-67941c97694e" CreationDate="2010-07-27T05:43:37.973" UserId="348" Text="I love noises that you can make with your mouth. Being a foley artist, I have worked quite hard over the years to perfect sfx generated from fluctuating my mouth and Larynx. The main problem is that it can sound like it is coming from the mouth so I just work on eliminating this factor through practice. I did a dog over the weekend for a film and the recordist loved it so much that we decided not to tell the director until after he had heard the sound. I can hardly wait to find out what happens and how he responds. &#xD;&#xA;&#xD;&#xA;I also like body falls and punches. Has taken me years to get it perfect but I think I am there.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="4079" PostHistoryTypeId="2" PostId="2300" RevisionGUID="17dc1a11-4b10-4eff-9f1c-85813463d2ad" CreationDate="2010-07-27T06:18:29.713" UserId="18160" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;So I have done quite a bit of recording of voice talents. Many of them for sound effects I call &quot;Vocal Effects&quot; where they do anything vocal - walla, screams, laughs, breaths, etc.&#xD;&#xA;&#xD;&#xA;I have a friend who is an actor and he went in to record a newscaster voice for one film, but gets residual checks from another film entirely separate to the one he originally recorded it for because they used his vocal effects in that other film.&#xD;&#xA;&#xD;&#xA;Who keeps track of this?&#xD;&#xA;&#xD;&#xA;Do I need to keep track of every effect and who it was that did it if I want to use those effects from my library from the talents?&#xD;&#xA;&#xD;&#xA;I am fascinated by the fact that they can keep track of residual checks to actors in movies, which is great and all, but for audio? It seems extremely complicated and time consuming.&#xD;&#xA;&#xD;&#xA;The reason I ask is that I have all this great material that I am afraid to use if I will get in trouble for it.&#xD;&#xA;&#xD;&#xA;That brings up another question: I heard you need to pay the library creators every time you use a sound effect from them if what you are working on is meant for commercial use. Sound Ideas, Hollywood Edge, etc.  If this is true, I have never seen anyone keep track of this or do this. Do you know of anyone or do you yourself keep track of this and do this?&#xD;&#xA;&#xD;&#xA;Does anyone know the protocol for this type of thing? If they ever do find out who did the Wilhelm Scream, will that guy have a massive check in the mail?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="4080" PostHistoryTypeId="1" PostId="2300" RevisionGUID="17dc1a11-4b10-4eff-9f1c-85813463d2ad" CreationDate="2010-07-27T06:18:29.713" UserId="18160" Text="Residuals for Sound Effects?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4081" PostHistoryTypeId="3" PostId="2300" RevisionGUID="17dc1a11-4b10-4eff-9f1c-85813463d2ad" CreationDate="2010-07-27T06:18:29.713" UserId="18160" Text="&lt;sound-effects&gt;&lt;editing&gt;&lt;royalties&gt;&lt;records&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4082" PostHistoryTypeId="2" PostId="2301" RevisionGUID="2874f6aa-0800-45f5-9572-1c27be071b7c" CreationDate="2010-07-27T06:28:48.570" UserId="61" Text="There is no such thing as residuals for sound effects, I'm sorry to say. *(I so wish there was such a thing!)* I believe what you're talking about is a voice talent that comes in to do special sounds for a film/video game/whatever and are paid out under the AFTRA/SAG agreements. This is akin to how actors are paid their daily rates and residual payments.&#xD;&#xA;&#xD;&#xA;Regarding usage of material in your library, I would advise you **NOT** to use anything that you haven't been given permission to use. **PERIOD.** You could find yourself embroiled in some serious legalities that way, especially if something you used without permission made it to air or theatrical distribution.&#xD;&#xA;&#xD;&#xA;I suppose there could be exceptions to this (and I'm no expert), such as when somebody is called in to perform for a buy-out type of project, but the best approach if you're not sure is just not to use it at all.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4083" PostHistoryTypeId="2" PostId="2302" RevisionGUID="6959366b-fc77-42ef-a9e3-dd2b025ca514" CreationDate="2010-07-27T11:30:04.187" UserId="219" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm currently designing the sound for a weapon and I'm using fireworks in it. I really enjoy the way it sounds but is it not going to wear out my speakers? It's a pair of A7's (Rohacell/carbon fiber membrane, rubber suspensions, ribbon tweeters)." ContentLicense="CC BY-SA 2.5" />
  <row Id="4084" PostHistoryTypeId="1" PostId="2302" RevisionGUID="6959366b-fc77-42ef-a9e3-dd2b025ca514" CreationDate="2010-07-27T11:30:04.187" UserId="219" Text="Can fast and loud transients damage speakers?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4085" PostHistoryTypeId="3" PostId="2302" RevisionGUID="6959366b-fc77-42ef-a9e3-dd2b025ca514" CreationDate="2010-07-27T11:30:04.187" UserId="219" Text="&lt;monitors&gt;&lt;speakers&gt;&lt;transients&gt;&lt;damage&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4086" PostHistoryTypeId="2" PostId="2303" RevisionGUID="31446cf1-249f-4b7b-9110-106e10c0c3a2" CreationDate="2010-07-27T12:54:57.703" UserId="255" Text="Im currently working on a theatre production where the Director wants me to create scene transitions, however they are not really sure on what they want/have anything for me to reference. So im planning on creating a number of different versions and variations of a few of the transitions to see what they like.&#xD;&#xA;&#xD;&#xA;As with most projects, time is pretty limited. I just don't want to spend too long creating sounds that will ultimately not be used (although i understand this is just part of the process of realizing the directors vision). Or create too many variations and not have enough time to make sure the quality is the best it can be before I present them to the director.&#xD;&#xA;&#xD;&#xA;My question is really i guess-&#xD;&#xA;&#xD;&#xA;How do you approach creating multiple versions/variations for a client, and effectively manage your time?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4087" PostHistoryTypeId="1" PostId="2303" RevisionGUID="31446cf1-249f-4b7b-9110-106e10c0c3a2" CreationDate="2010-07-27T12:54:57.703" UserId="255" Text="Presenting Ideas to Directors/Clients" ContentLicense="CC BY-SA 2.5" />
  <row Id="4088" PostHistoryTypeId="3" PostId="2303" RevisionGUID="31446cf1-249f-4b7b-9110-106e10c0c3a2" CreationDate="2010-07-27T12:54:57.703" UserId="255" Text="&lt;time-management&gt;&lt;clients&gt;&lt;variations&gt;&lt;ideas&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4089" PostHistoryTypeId="2" PostId="2304" RevisionGUID="5bcee528-49c2-4c65-a7a0-8059c037d2ea" CreationDate="2010-07-27T13:36:35.270" UserId="238" Text="I personally don't think it's a good idea to offer too many versions for a client to choose from. In my experience clients often either don't really know what they want (seems to be the case for you) or they know what they want but are unable to explain it. On most projects I've worked on the client has said 'I want this or that', so I've done what they wanted, then they've said 'actually it was better before, lets change it back'. The key is to make sure you are given a clear brief to work from. You are there to use your creative skills and come up with a result. By all means create different versions but I would present the one you think works best and, more importantly, the one that best meets the requirements of the brief. If they don't like what you've done you can offer them one of your other versions as an alternative. &#xD;&#xA;&#xD;&#xA;In terms of theatre it's important get as much info from the director and the production team. Familiarise yourself with the script and try to understand what type of emotions the audience are expected to feel at the end of each scene. Also try to find out how long each scene change will be, giving you some kind of template to work from. Establishing all this early on will help in your time management and ultimately help make the job go smoothly.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4090" PostHistoryTypeId="2" PostId="2305" RevisionGUID="14c2ffaf-4077-4598-b2b1-14ea14f3e2ef" CreationDate="2010-07-27T13:59:12.010" UserDisplayName="user6508" Text="I've flown a number of times with my gear as carry on.  When ever going through security I made sure to pull both the recorder and the microphone out and put them in a bin to go through separately. They usually inspect the microphone (MKH 418) separately and almost always swab it to test for explosives, so you might not want to take gear through if you've done any gun sessions.  Only one time did the TSA guy question my recorder (Then a Tascam HD-P2) and made me take it out of the Porta-Brace (Huge pain) But this has never taken me longer than 5 extra minutes, usually no additional time.  Surprisingly, they never question the Rycote with the pistol grip.&#xD;&#xA;&#xD;&#xA;Give yourself some extra time, be patient and pleasant and you shouldn't have a problem.  Granted this was all for domestic travel, no experience with international.  Good luck! " ContentLicense="CC BY-SA 2.5" />
  <row Id="4092" PostHistoryTypeId="2" PostId="2306" RevisionGUID="5cb8c195-6a02-48fc-93d5-987ebd7ba05c" CreationDate="2010-07-27T14:05:48.900" UserId="432" Text="I agree with Colin here, don't offer too many versions. You're more likely to create a headache for yourself.&#xD;&#xA;&#xD;&#xA;I'm assuming that when you say they aren't really sure/don't know what they want, you're referring to specific sonic ideas. If that's the case, I'd have another conversation with the director and talk more conceptually. What sensation do they want? What are the important or key ideas that are represented by the scene change? If they don't know what sound they want, they probably know what ideas they want the audience to hold in their mind across that transition. Or maybe they just want something to cover the noise of the set change; which makes your job really easy.&#xD;&#xA;&#xD;&#xA;As a related aside, this approach has really helped me in the past when a producer wants to put in a cliche or inappropriate sound for the piece we're working on. I'm usually able to find a better sound, or at least something that I'm happier about, by talking about ideas, rather than the sounds themselves. Sometimes, though, they want that historical cultural connection, which makes that hackneyed sound the appropriate one (no matter how much I hate it)." ContentLicense="CC BY-SA 2.5" />
  <row Id="4093" PostHistoryTypeId="2" PostId="2307" RevisionGUID="95a6fbb6-aced-4f7d-a741-307eb010fad5" CreationDate="2010-07-27T15:11:35.017" UserId="29" Text="+1 with Colin and Shaun: Too many options at once will fail, unless it was specifically requested. The golden rule of psychology is that most people can only hold 5 items, ±2, in short-term memory at once, and fewer choices leads to less &quot;choice paralysis.&quot; In other fields of design, one almost never shows more than three options at once.&#xD;&#xA;&#xD;&#xA;It's important to first describe how the approach and ideas behind each are different. Don't describe the sounds themselves - that's what the director's ears are for. Instead speak to the approach behind each one before they're played. This allows you to help the client (your director) separate whether or not, if you need to make revisions, your *thinking* is flawed or whether your *execution* falls short. Not knowing which needs fresh thinking will lead you back to the drawing board unnecessarily and lead to unneeded rounds of revisions. If the concept or thinking needs revision, then it's the perfect time to have that chat with the director and get on the same page. If it's the execution, then it's a more tactical sound design problem and the director at least gets the sense you're on the right path, but it's just not the right specific sound.&#xD;&#xA;&#xD;&#xA;Follow this up so that every round of critique starts with a recap of what you and the client discussed the last time. This lets you be a cool cat if the client starts giving you conflicting feedback: You have a record. This is a classic tool to have a direct and emotionless discussion about change orders or increased fees as a result of trying to design against a moving target...as well as a tool for the client to be held accountable AND try to give you ever-narrowing feedback to get everyone to the right sound.&#xD;&#xA;&#xD;&#xA;This is just one of many techniques that should always help to ensure that even if you must do revisions, that the shades of difference and amount of disconnect in each design round get ever smaller and smaller, until a single result is arrived at." ContentLicense="CC BY-SA 2.5" />
  <row Id="4094" PostHistoryTypeId="5" PostId="2294" RevisionGUID="04d808c1-7d3c-4207-aa98-cfb559bca026" CreationDate="2010-07-27T15:17:25.333" UserId="29" Comment="Fixed crazy-ass bulletpoint formatting!" Text="My two rubles:&#xD;&#xA;&#xD;&#xA;- No boom poles in carry-ons, period. Won't fly, literally.Remember, they're not BOOM poles, they're, uh, &quot;mic arms.&quot;&#xD;&#xA;- Be ready and willing to power up anything in your bag. I guarantee they don't see many Sound Devices units, especially the 7xx's. I personally would recommend having one audio clip on the unit so they can hear it if requested (therefore, pack some earbuds if you've checked your good cans).&#xD;&#xA;- Be pleasant and patient at all times!&#xD;&#xA;- It might be faster to take it out of whatever carrier or bag you have and check said bag. Inspecting mine in its Portabrace case would be kind of a pain, so I'd try to save them - and my - time and reduce their guesswork.&#xD;&#xA;- Can't imagine a mic would raise many questions, but again, some TSA staff want to see stuff actually working, especially since mics really can't be opened to see what's inside...maybe also pack a 6-12&quot; XLR cable?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4095" PostHistoryTypeId="2" PostId="2308" RevisionGUID="1735e470-e6b5-408e-8bf7-fa51bdf7573c" CreationDate="2010-07-27T16:23:57.133" UserId="18160" Text="Dear all,&#xD;&#xA;&#xD;&#xA;Answers to another question of mine brought up this question I have:&#xD;&#xA;&#xD;&#xA;What security precautions do you take when working with other clients?&#xD;&#xA;&#xD;&#xA;Example:&#xD;&#xA;&#xD;&#xA;You get hired to do sound design for a commercial with another company than your own (most freelance designers for example).&#xD;&#xA;&#xD;&#xA;Would you still use your best sound effects you've got? Custom ones that you have made and recorded on your own at great expense? Like a Mount Everest Ambience or a Lion Chasing Me effect?&#xD;&#xA;&#xD;&#xA;Once you turn over your effects to whatever mix room to be mixed, does that mean they can take your effects and use them on another project without your consent? It would be pretty easy to do and I'd be afraid of my hard-won sound effects being used on different projects than my own by other designers - especially since I put a lot of work into recording those effects.&#xD;&#xA;&#xD;&#xA;How does this work? Would you just use random stock effects you wouldn't mind losing?&#xD;&#xA;&#xD;&#xA;And when you bring your harddrives/dongles to work on a stage, what security measures do you take to ensure your effects libraries and dongles will not get stolen?&#xD;&#xA;&#xD;&#xA;I've never worked with another company or on another stage with my own personal gear like dongles and hard drives with my personal libraries, but I'm sure it's come up with some of you pros -&#xD;&#xA;&#xD;&#xA;What do you do?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4096" PostHistoryTypeId="1" PostId="2308" RevisionGUID="1735e470-e6b5-408e-8bf7-fa51bdf7573c" CreationDate="2010-07-27T16:23:57.133" UserId="18160" Text="Security precautions when working with another crew." ContentLicense="CC BY-SA 2.5" />
  <row Id="4097" PostHistoryTypeId="3" PostId="2308" RevisionGUID="1735e470-e6b5-408e-8bf7-fa51bdf7573c" CreationDate="2010-07-27T16:23:57.133" UserId="18160" Text="&lt;security&gt;&lt;safety&gt;&lt;libraries&gt;&lt;precautions&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4098" PostHistoryTypeId="5" PostId="2308" RevisionGUID="a430a5a2-0849-4102-936e-3e31782f9793" CreationDate="2010-07-27T16:37:46.043" UserId="18160" Comment="added 41 characters in body; added 59 characters in body" Text="Dear all,&#xD;&#xA;&#xD;&#xA;Answers to another question of mine brought up this question I have:&#xD;&#xA;&#xD;&#xA;What security precautions do you take when working with other clients?&#xD;&#xA;&#xD;&#xA;Example:&#xD;&#xA;&#xD;&#xA;You get hired to do sound design for a commercial with another company than your own (most freelance designers for example).&#xD;&#xA;&#xD;&#xA;Would you still use your best sound effects you've got? Custom ones that you have made and recorded on your own at great expense? Like a &quot;Mount Everest Ambience&quot; or a &quot;Lion Chasing Me, I risked my life for this lion roar but it sounds awesome because the mic was inside his mouth&quot; effect?&#xD;&#xA;&#xD;&#xA;Once you turn over your effects to whatever mix room to be mixed, does that mean they can take your effects and use them on another project without your consent? It would be pretty easy to do and I'd be afraid of my hard-won sound effects being used on different projects than my own by other designers - especially since I put a lot of work into recording those effects.&#xD;&#xA;&#xD;&#xA;How does this work? Would you just use random stock effects you wouldn't mind losing?&#xD;&#xA;&#xD;&#xA;And when you bring your harddrives/dongles to work on a stage, what security measures do you take to ensure your effects libraries and dongles will not get stolen?&#xD;&#xA;&#xD;&#xA;I've never worked with another company or on another stage with my own personal gear like dongles and hard drives with my personal libraries, but I'm sure it's come up with some of you pros -&#xD;&#xA;&#xD;&#xA;What do you do?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4099" PostHistoryTypeId="2" PostId="2309" RevisionGUID="001f4622-4c7f-4680-a29d-0f8748b0661b" CreationDate="2010-07-27T17:22:08.607" UserId="338" Text="It's a pretty rad lil' plug, I was just wondering what kind of creative purposes you have used it for." ContentLicense="CC BY-SA 2.5" />
  <row Id="4100" PostHistoryTypeId="1" PostId="2309" RevisionGUID="001f4622-4c7f-4680-a29d-0f8748b0661b" CreationDate="2010-07-27T17:22:08.607" UserId="338" Text="What do you use Enigma for (Waves)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4101" PostHistoryTypeId="3" PostId="2309" RevisionGUID="001f4622-4c7f-4680-a29d-0f8748b0661b" CreationDate="2010-07-27T17:22:08.607" UserId="338" Text="&lt;plugin&gt;&lt;creativity&gt;&lt;fun&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4102" PostHistoryTypeId="2" PostId="2310" RevisionGUID="3c8ad5de-abb3-4531-8512-1a9e9cb81384" CreationDate="2010-07-27T17:31:25.447" UserId="61" Text="Try [this page][1] for a list of artist presets that may make Enigma more useful to you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waves.com/Content.aspx?id=5242#presets" ContentLicense="CC BY-SA 2.5" />
  <row Id="4103" PostHistoryTypeId="2" PostId="2311" RevisionGUID="eefd8ac3-c238-476b-9b2c-5ee2cb9ea442" CreationDate="2010-07-27T17:39:00.367" UserId="462" Text="I am reconsidering buying external screen monitors to expand from my laptop and thinking more about buying a screen projector instead. What would be the best way to set up a speaker system from a projector viewpoint? I will be using this as both my personal/professional sound set-up. I like the space-saving aspect but want to make sure it won't have a negative effect on a sound system set-up. Any tips would be more than appreciated. &#xD;&#xA;&#xD;&#xA;Have a great day and thanks for the help. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4104" PostHistoryTypeId="1" PostId="2311" RevisionGUID="eefd8ac3-c238-476b-9b2c-5ee2cb9ea442" CreationDate="2010-07-27T17:39:00.367" UserId="462" Text="Speaker set-up for a projector" ContentLicense="CC BY-SA 2.5" />
  <row Id="4105" PostHistoryTypeId="3" PostId="2311" RevisionGUID="eefd8ac3-c238-476b-9b2c-5ee2cb9ea442" CreationDate="2010-07-27T17:39:00.367" UserId="462" Text="&lt;speakers&gt;&lt;set-up&gt;&lt;projectors&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4106" PostHistoryTypeId="4" PostId="2309" RevisionGUID="cef6ffd2-18c1-46c0-ae2e-efe802e0303a" CreationDate="2010-07-27T18:56:09.260" UserId="61" Comment="retag &amp; grammar &amp; punctuation" Text="What do you use Waves Enigma for?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4107" PostHistoryTypeId="6" PostId="2309" RevisionGUID="cef6ffd2-18c1-46c0-ae2e-efe802e0303a" CreationDate="2010-07-27T18:56:09.260" UserId="61" Comment="retag &amp; grammar &amp; punctuation" Text="&lt;plug-ins&gt;&lt;creativity&gt;&lt;techniques&gt;&lt;mixing&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4108" PostHistoryTypeId="2" PostId="2312" RevisionGUID="053d058a-bd63-4880-a139-5609d7f0bb34" CreationDate="2010-07-27T19:34:07.590" UserId="220" Text="There are two problems with this kind of set up:&#xD;&#xA;&#xD;&#xA; 1. Projectors are not any higher resolution than your current monitor, most likely less.  Unless you've got the money for a 2k projector,  you'll just end up with really big icons and pixels.  You'll have to edit from across the room, so that does not save any room.  &#xD;&#xA; 2. Projectors have fans to keep them cool.  This is a problem if you're trying to edit audio.  Unless you can house the projector outside of the room you edit in and have it shine through glass onto the screen, it will not be any better. &#xD;&#xA;&#xD;&#xA;If you want a projector to watch movies on, go for it.  It's great, it's big.  But for data, it's not really worth the cost when you could get two nice data monitors for the same price or less.  &#xD;&#xA;&#xD;&#xA;As far as speakers, you'd do it the same as you would if you were using monitors. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4109" PostHistoryTypeId="2" PostId="2313" RevisionGUID="470f5467-3fa9-4c99-b844-6c8e39da0b11" CreationDate="2010-07-27T19:52:33.830" UserId="220" Text="I just took my recorder and mic through as carryon.  They treated the recorder like a laptop (take it out, put it in a bin by itself), and they didn't even question the mic.  You never know.. it really depends on the people and airport, but you're not taking anything illegal on.  Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4110" PostHistoryTypeId="2" PostId="2314" RevisionGUID="99762792-a527-4b87-b203-a2a5e3992876" CreationDate="2010-07-27T19:53:48.400" UserId="220" Text="You blow a speaker one of two ways:  &#xD;&#xA;&#xD;&#xA; - Constant overdriving that causes the cone to tear due to stress or your voice coil to burn up&#xD;&#xA; - A clipped amplifier that's sending too much power&#xD;&#xA;&#xD;&#xA;If it's just loud, you're fine.  If you're distorting, you're probably still fine.  Given these have built in crossovers and amps, they probably have some sort of limiting as well.  Usually clipped amps only happens after the DSP in a live system, and is an error by whoever has set it up.  This shouldn't happen in your case.&#xD;&#xA;&#xD;&#xA;I say run 'em loud!  If you blow a cone or voice coil, it was probably already weakened. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4111" PostHistoryTypeId="2" PostId="2315" RevisionGUID="689a5024-5dad-48bc-8546-97f1d8a9b6a1" CreationDate="2010-07-27T19:55:54.090" UserId="132" Text="Hey Colin,&#xD;&#xA;&#xD;&#xA;Would you mind posting a photo of your countryman set up?  I currently my DPA 4060s in knit hat." ContentLicense="CC BY-SA 2.5" />
  <row Id="4112" PostHistoryTypeId="2" PostId="2316" RevisionGUID="331f6565-3c85-45b3-a850-981706ef2ee0" CreationDate="2010-07-27T20:05:34.153" UserId="220" Text="Write a contract.  It's worth it to have an entertainment lawyer write a stock contract for you.  In it, you'll want to make sure you retain the rights to reuse any sound effects that you create on the project, and also make sure you specify that you have the right to use any sound effect you provide, but THEY do not have the right to use them on any project but this one.  If you're really jealous of your property, you can specify that no sound effect you create be changed more than 15% or something like that.  Excessive?  Absolutely.  But the fact that you put it in writing at least shows you care.&#xD;&#xA;&#xD;&#xA;Obviously this is all on the honor system unless you find out.  I really only care about keeping the rights to reuse sound effects and have had directors fight me on that... like using some random footstep in another project will somehow damage the originality of their work :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4113" PostHistoryTypeId="2" PostId="2317" RevisionGUID="a1243432-5e94-48a2-8400-aee099bdf548" CreationDate="2010-07-27T20:15:59.113" UserId="194" Text="I'm not a freelancer, but if I were I don't think I'd run into many situations where I'd be holding back as a sound designer.  Most stuff gets layered and manipulated to death anyway, so as long as you're not handing the raw pt sessions over I don't think there's much to worry about.  &#xD;&#xA;&#xD;&#xA;People will take what people will take, but sound design is an art that must generally be specifically applied to each project.  People that steal sounds aren't going to be much competition in that realm." ContentLicense="CC BY-SA 2.5" />
  <row Id="4114" PostHistoryTypeId="2" PostId="2318" RevisionGUID="b8c10dd7-d6e4-4aa1-bb36-00845e68af6f" CreationDate="2010-07-27T20:24:46.353" UserId="463" Text="The only reasonable thing you can do is put a copyright notice read me in several locations where your sound effects files are located and also use meta-tags or sound file information tags to write your notice of copyright.&#xD;&#xA;&#xD;&#xA;Also provide licensing information, such as how a person can contact you should they wish to license the sound effects for a reasonable fee. Most people are honest and if given the opportunity to license sound effects will do so.&#xD;&#xA;&#xD;&#xA;The threat of a sound effects copyright owner suing a production company and corporate client over a small license fee is not worth the risk to working professionals and re-recording mix facilities. Would you hire someone that stole copyrights and synchronized them into your production, putting your production and investment at risk? Not likely.&#xD;&#xA;&#xD;&#xA;Rob Nokes&#xD;&#xA;www.sounddogs.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="4115" PostHistoryTypeId="2" PostId="2319" RevisionGUID="cfd1296c-4ff1-4f09-a209-97a9c5e923e3" CreationDate="2010-07-27T20:27:48.980" UserDisplayName="user49" Text="Funnily enough I did a big fireworks recording session on Sunday night &amp; I'll write a post about it when the library is released, but a few thoughts...&#xD;&#xA;&#xD;&#xA;As we were recording in a public place we had to get a Council permit &amp; a Fire permit, plus wait for a windless clear night... The fire permit guy was very helpful, we met on site &amp; he explained what needed to be done, and he will be a very useful contact for future recording as they do 'controlled burns' most weekends... I bought $600 worth of fireworks back in November 2009 but had to wait for winter in NZ until the ground was wet &amp; the fire risk became negligible. Before &amp; after the session I had to notify the police &amp; fire services, and when I called back to tell the police the session was finished they said they had received a few calls about it - last thing I'd want is an armed offenders call out on my behalf! Moral of the story: do it legitimately! And make a schedule for the preferred night, plus weather options. We planned for Thursday night (got rained out) then Sunday (was perfect) plus I'm doing another session with smaller fireworks tonight/tomorrow night, probably just with two recorders &amp; 4 mics...&#xD;&#xA;&#xD;&#xA;Perspectives and multi mics/recorders are essential. Some of the fireworks are very unpredictable in their loudness. We maybe went a bit overboard but had 6 recorders (5 x 722 and a 744) fed with:&#xD;&#xA;&#xD;&#xA; - 2 x Sanken CUB mics closeup (thanks to Michael Raphaels advice - great mics!)&#xD;&#xA; - Sennheiser 8050 + DPA 4006 closeup&#xD;&#xA; - Sennheiser 8050+MKH30 MS rig medium close&#xD;&#xA; - Sennhesier MKH70 + 816 medium close, tracking movement&#xD;&#xA; - Sennheiser 8020 omnis x 2 wider&#xD;&#xA; - Quad mic rig: MS front (Senn MKH50+30) and 2 x 816 surround&#xD;&#xA;&#xD;&#xA;Using props with the fireworks can make for some VERY interesting sounds, I'll explain this more when the library is released, hopefully next week...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Serious fun!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4116" PostHistoryTypeId="2" PostId="2320" RevisionGUID="61afc3de-b213-4b5e-b9fc-a2222afb578a" CreationDate="2010-07-27T20:34:02.173" UserId="18" Text="You should be more concerned about damaging your ears than your speakers :)&#xD;&#xA;&#xD;&#xA;I do a LOT of gun sounds and I've never damaged a speaker.  In a previous life I sold recording equipment.  Most blown speakers that I saw were woofers and usually they were passive monitors owned by rap guys.  I imagine they were pumping way too much power into their speakers to get them to &quot;bump&quot;.  Unless you are being stupid and doing things that your speakers weren't designed to do, you'll be fine." ContentLicense="CC BY-SA 2.5" />
  <row Id="4117" PostHistoryTypeId="2" PostId="2321" RevisionGUID="5cbdd03b-ec01-468c-9ab0-0a7cafbdd096" CreationDate="2010-07-27T20:40:25.300" UserId="18" Text="Like everyone else said, NEVER check ANYTHING on a flight that you would like to keep.  Every time you check a bag, assume that you will never see it again (or at least in the same shape).&#xD;&#xA;&#xD;&#xA;I've carried mics/recorders on planes.  Seems the smaller airports gave me more of a hassle than the larger ones.  LAX/Burbank have let me go through without even flinching, sometimes a mic will looks strange on the xray, so they'll want a closer look, sometimes not.  This small &quot;airport&quot; in Durango CO (so small, I'd almost call it an air strip!), they had to take every piece of equipment out, question me about it, and swab it down.  Allow yourself time for this.&#xD;&#xA;&#xD;&#xA;As @birdhousesound suggested, FedEx is a great way to go.  You can insure your shipment and don't have to deal with the hassle of carrying it around with you and don't have to worry about somehow losing something or getting ripped off." ContentLicense="CC BY-SA 2.5" />
  <row Id="4118" PostHistoryTypeId="2" PostId="2322" RevisionGUID="7533016e-0ed7-4165-ba3c-62111d801805" CreationDate="2010-07-27T20:41:19.223" UserDisplayName="user49" Text="I live &amp; work in Wellington, New Zealand&#xD;&#xA;&#xD;&#xA;Film Sound Designer, Supervising Sound Editor&#xD;&#xA;http://www.imdb.com/name/nm0695670/&#xD;&#xA;&#xD;&#xA;FX Recordist &amp; Sound FX Library Publisher&#xD;&#xA;http://hissandaroar.com&#xD;&#xA;&#xD;&#xA;Blogger&#xD;&#xA;http://www.musicofsound.co.nz/blog&#xD;&#xA;&#xD;&#xA;Occasional musician&#xD;&#xA;http://dub45.com&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4119" PostHistoryTypeId="16" PostId="2322" RevisionGUID="7533016e-0ed7-4165-ba3c-62111d801805" CreationDate="2010-07-27T20:41:19.223" UserId="-1" />
  <row Id="4121" PostHistoryTypeId="2" PostId="2324" RevisionGUID="435afa67-0f92-4740-bdcf-ac47353bea9f" CreationDate="2010-07-27T21:47:51.727" UserId="132" Text="Hey Folks,&#xD;&#xA;&#xD;&#xA;I have to record a variety of underwater movement and I'm in the process of doing some experimentation.  I currently own 2 dolphin ear pros, but I'm not totally happy.  I'm wondering if anyone can share there experiences and maybe share what sort of movement is most useful.&#xD;&#xA;&#xD;&#xA;I have access to a pool and a lake.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;Michael Raphael&lt;br&gt;&#xD;&#xA;http://rabbitearsaudio.com&lt;br&gt;&#xD;&#xA;http://sepulchra.com/blog/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4122" PostHistoryTypeId="1" PostId="2324" RevisionGUID="435afa67-0f92-4740-bdcf-ac47353bea9f" CreationDate="2010-07-27T21:47:51.727" UserId="132" Text="Hydrophone Recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="4123" PostHistoryTypeId="3" PostId="2324" RevisionGUID="435afa67-0f92-4740-bdcf-ac47353bea9f" CreationDate="2010-07-27T21:47:51.727" UserId="132" Text="&lt;water&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4126" PostHistoryTypeId="2" PostId="2326" RevisionGUID="0bdeb6c8-1cd9-4cbf-9949-34ac5e322b74" CreationDate="2010-07-27T22:48:34.907" UserId="465" Text="Hey, I'm not sure if this'll help, but, I've had to do the same sort of thing in the past, while some sounds we got with the hydrophone turned out well, alot of those effects we needed were achieved by processing sounds recorded above water.&#xD;&#xA;&#xD;&#xA;Some things we tried.&#xD;&#xA;&#xD;&#xA;-Different sizes of hoses for bubbles and bursts.&#xD;&#xA;&#xD;&#xA;-Balloons filled with air(or water), being released underwater&#xD;&#xA;&#xD;&#xA;-Use a hose and spray it underwater at different pressure levels.&#xD;&#xA;&#xD;&#xA;-Different objects sort of &quot;slicing&quot; through the water(a rake, long sticks, cheese grater, potato masher, nets, etc)&#xD;&#xA;&#xD;&#xA;-Low pass filter some wind sounds and mix with rumbles and bubbles to get some underwater ambiences.&#xD;&#xA;&#xD;&#xA;-Use a sampler, Load a bunch of sounds of different size streams, rushing water, bubbles, and fizzy sounds, make whooshes by playing with the level with an amplitude envelope, maybe some filter sweeps to give a sense of motion&#xD;&#xA; &#xD;&#xA;I read something Rob Nokes said about hydrophones, basically he likes to use hydrophones arranged in some sort of an array to make the sound longer and fuller. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4127" PostHistoryTypeId="2" PostId="2327" RevisionGUID="185a3460-41e8-408e-9d16-9968c44d5a5d" CreationDate="2010-07-27T23:07:54.100" UserId="61" Text="I just returned from a recording trip where I experimented a lot with a pair of H2a hydrophones. Here's a couple things that worked for me:&#xD;&#xA;&#xD;&#xA; - Pool: Position a hydrophone directly&#xD;&#xA;   above the flow of water coming out of&#xD;&#xA;   the pool jet. Should yield mild to&#xD;&#xA;   strong turbulence and bubbles.&#xD;&#xA; - Ocean / Lake: Position the hydrophone&#xD;&#xA;   near something that will react with&#xD;&#xA;   the water in some way, ie. a pier&#xD;&#xA;   piling, a large rock, a buoy, etc.&#xD;&#xA;   The water action against that object&#xD;&#xA;   should create some interesting&#xD;&#xA;   movements that you would be unable to&#xD;&#xA;   capture in the air.&#xD;&#xA;&#xD;&#xA;Above all, what I learned is that it takes a LOT of experimenting to really find something that works well. But hey, that was what made it so much fun!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4128" PostHistoryTypeId="6" PostId="2324" RevisionGUID="d6dbd448-c70d-4c04-8562-eb536632e707" CreationDate="2010-07-27T23:28:10.080" UserId="61" Comment="retag" Text="&lt;underwater&gt;&lt;microphone&gt;&lt;hydrophone&gt;&lt;microphone-positioning&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4129" PostHistoryTypeId="2" PostId="2328" RevisionGUID="14b7d387-600b-43cc-9ddd-5b119f36014e" CreationDate="2010-07-27T23:56:14.977" UserDisplayName="user49" Text="from what I've read the DPA 8011 is one of the best hydrophones available&#xD;&#xA;but B&amp;H says its been discontinued!&#xD;&#xA;&#xD;&#xA;some recordings with one here:&#xD;&#xA;http://devsnd.blogspot.com/2010/05/underwater-recordings-from-dpa-8011.html&#xD;&#xA;&#xD;&#xA;one thing it could be maybe interesting to record is underwater vocalisations?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4130" PostHistoryTypeId="2" PostId="2329" RevisionGUID="fc30ee1f-7c64-4f47-86fb-60ec2a21acb5" CreationDate="2010-07-28T00:34:34.523" UserId="303" Text="I live in Pasadena, CA. During the day I record and mix TV &amp; Radio spots at Juice Studios in Santa Monica. Use to do more sound design in the past but continue to build my library daily. I currently sell fx on a few different sites but I'm hoping to create a site along the same lines as Chuck Russom &amp; Tim Prebble in the future.&#xD;&#xA; &#xD;&#xA;Great thread." ContentLicense="CC BY-SA 2.5" />
  <row Id="4131" PostHistoryTypeId="16" PostId="2329" RevisionGUID="fc30ee1f-7c64-4f47-86fb-60ec2a21acb5" CreationDate="2010-07-28T00:34:34.523" UserId="-1" />
  <row Id="4132" PostHistoryTypeId="2" PostId="2330" RevisionGUID="d497a62c-96b1-43c0-97ba-b8544a3b8630" CreationDate="2010-07-28T02:26:24.453" UserId="459" Text="Hello. Another newbie questions from me. Been working on a 45 mins film, take place in an apartment. Most of the dialogue's quality turn out fine. (It's a shortfilm about a conversation between 3 teens and a drug dealer, in his small new york apartment)  &#xD;&#xA;&#xD;&#xA;However, when we did a master shot, since I couldn't get close to actors, the shotgun mic captured a lot of reverb reflected from the wall.  When juxtaposing the master clip with close up shots, there's a different in the sound of the dialogue.  What can I do to fix this problem in DAW?  And incase for next shooting, what could have I done differently to fix this?  THank you in advance" ContentLicense="CC BY-SA 2.5" />
  <row Id="4133" PostHistoryTypeId="1" PostId="2330" RevisionGUID="d497a62c-96b1-43c0-97ba-b8544a3b8630" CreationDate="2010-07-28T02:26:24.453" UserId="459" Text="Matching Dialogue between different takes" ContentLicense="CC BY-SA 2.5" />
  <row Id="4134" PostHistoryTypeId="3" PostId="2330" RevisionGUID="d497a62c-96b1-43c0-97ba-b8544a3b8630" CreationDate="2010-07-28T02:26:24.453" UserId="459" Text="&lt;dialogue&gt;&lt;reverb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4136" PostHistoryTypeId="2" PostId="2332" RevisionGUID="a5840dcc-f744-4a75-9c85-9b7a720144b0" CreationDate="2010-07-28T02:45:56.640" UserId="432" Text="There's very little you can do to remove reverb from your audio. I'm hoping for the sake of your sanity that the master shot at least sounds reasonable quality-wise, because your best bet here is probably to do what you can to make the close up shots sound like the master shot. I would argue that they don't have to sound exactly the same, because of the change in perspectives, but adding in some matching reverb to the dry shots to cement that they all occupy the same acoustic space will help a lot.&#xD;&#xA;&#xD;&#xA;Beyond that, you're moving into the realm of ADR. Unless someone can think of another trick that's escaping my mind right now...I am very tired. lol" ContentLicense="CC BY-SA 2.5" />
  <row Id="4137" PostHistoryTypeId="5" PostId="2324" RevisionGUID="43fb58fa-1afd-4d11-86d6-1a40435c47b4" CreationDate="2010-07-28T02:46:35.543" UserId="132" Comment="edited body" Text="Hey Folks,&#xD;&#xA;&#xD;&#xA;I have to record a variety of underwater movement and I'm in the process of doing some experimentation.  I currently own 2 dolphin ear pros, but I'm not totally happy.  I'm wondering if anyone can share their experiences and maybe share what sort of movement is most useful.&#xD;&#xA;&#xD;&#xA;I have access to a pool and a lake.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;Michael Raphael&lt;br&gt;&#xD;&#xA;http://rabbitearsaudio.com&lt;br&gt;&#xD;&#xA;http://sepulchra.com/blog/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4138" PostHistoryTypeId="2" PostId="2333" RevisionGUID="9f49d2da-0d66-419a-ab51-c41aea717285" CreationDate="2010-07-28T02:49:42.517" UserId="40" Text="This is why a really good boom operator is so important.&#xD;&#xA;&#xD;&#xA;There are a few things you can do to try to lower the noise floor in the recordings, such as multiband expanding, noise reduction, etc...  but as far as reverb goes, there's not a whole lot you can do.  As far as the recordings sounding different, do you mean the timbre of the sound? The frequency content? The reverb?  If it's the frequency response and timbre, you can work with that a bit with compression, eq, and similar tools.  With the reverb, again, you can't really take any out, you can only add reverb.  You could try dirtying up your closer shots a little bit to make them match a bit more.&#xD;&#xA;&#xD;&#xA;Also, remember that perspective sounds for something too.  If you have a wide shot with a little bit of reverb, then a close up with a lot less, that can be ok, as long as the difference is within reason, because it's how we actually perceive things in real life.&#xD;&#xA;&#xD;&#xA;But again, I stress that this is where an experienced boom op comes in handy.  A good boom op will be able to work with the room and grab a good angle and get the best sound possible out of a situation.  He can also recommend when wires are absolutely necessary.&#xD;&#xA;&#xD;&#xA;In the future, try to grab a boom op that has at least some decent experience.  If you can't get one for whatever reason, there are a few things to know about boom placement:&#xD;&#xA;&#xD;&#xA;1. Ride the frame line as close as possible.&#xD;&#xA;&#xD;&#xA;2. With a good boom mic, even rotating it an inch can change the sound.  Listen to the sound you're getting to make sure you're getting mostly dialogue, and little room noise.  If you're getting reflection from a wall, articulate the mic so that the wall is at the side of the mic instead of in front of it.&#xD;&#xA;&#xD;&#xA;3. ALWAYS aim the mic at the solarplexis.  NOT in the general direction of the actor.  NOT at the actor's mouth, head, face, etc...  ONLY the solarplexis.  FYI, the solarplexis is basically the sternum.&#xD;&#xA;&#xD;&#xA;4. Avoid booming from below if at all possible.  If you aim up, you open yourself up to a world of problems.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Let me know if you'd like me to expand on anything or explain anything differently.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;Oh, and as the other guys said, ADR is always an option, but unless you have VERY talented actors, it's probably not going to work out well.  ADR lacks the emotion and conviction of the moment.  All of the concentration of the actor goes into the timing." ContentLicense="CC BY-SA 2.5" />
  <row Id="4139" PostHistoryTypeId="2" PostId="2334" RevisionGUID="9b928799-f899-4807-a36f-b9dbba8b2eee" CreationDate="2010-07-28T04:40:04.667" UserId="18160" Text="What is a good example of great dialogue mixing I can set as a foundation that I can judge my own work against?&#xD;&#xA;&#xD;&#xA;I have been told time and time again:&#xD;&#xA;&#xD;&#xA;&quot;It sounds a bit dull.&quot;&#xD;&#xA;&#xD;&#xA;&quot;It's too sharp.&quot;&#xD;&#xA;&#xD;&#xA;&quot;It's too bright.&quot;&#xD;&#xA;&#xD;&#xA;I don't think there's been one mix where the dialogue was &quot;perfect&quot; in the ears of the producer/director.&#xD;&#xA;&#xD;&#xA;Yet, none of those producers/supervisors can point me to a source of what is proper in terms of a good voice mix.&#xD;&#xA;&#xD;&#xA;Has anyone else had this problem and how do you handle it? Maybe I'm just horrible at dialogue mixing and I should throw in my fader and quit.&#xD;&#xA;&#xD;&#xA;What is a good example of a mix where the dialogue is perfect that I can hold as a standard to strive for?&#xD;&#xA;&#xD;&#xA;I've been told Pleasantville is a good example.&#xD;&#xA;&#xD;&#xA;Also, Titanic and Lord of the Rings. However, LOTR was 98% ADR..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4140" PostHistoryTypeId="1" PostId="2334" RevisionGUID="9b928799-f899-4807-a36f-b9dbba8b2eee" CreationDate="2010-07-28T04:40:04.667" UserId="18160" Text="How bright should Dialogue be?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4141" PostHistoryTypeId="3" PostId="2334" RevisionGUID="9b928799-f899-4807-a36f-b9dbba8b2eee" CreationDate="2010-07-28T04:40:04.667" UserId="18160" Text="&lt;dialogue&gt;&lt;mixing&gt;&lt;tonality&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4142" PostHistoryTypeId="5" PostId="2334" RevisionGUID="d68a9418-ebe0-4ccc-a740-25b70672ceb4" CreationDate="2010-07-28T04:45:05.443" UserId="18160" Comment="added 28 characters in body" Text="What is a good example of great dialogue mixing I can set as a foundation that I can judge my own work against?&#xD;&#xA;&#xD;&#xA;I have been told time and time again:&#xD;&#xA;&#xD;&#xA;&quot;It sounds a bit dull.&quot;&#xD;&#xA;&#xD;&#xA;&quot;It's too sharp.&quot;&#xD;&#xA;&#xD;&#xA;&quot;It's too bright.&quot;&#xD;&#xA;&#xD;&#xA;&quot;Just a little muffled.&quot;&#xD;&#xA;&#xD;&#xA;I don't think there's been one mix where the dialogue was &quot;perfect&quot; in the ears of the producer/director.&#xD;&#xA;&#xD;&#xA;Yet, none of those producers/supervisors can point me to a source of what is proper in terms of a good voice mix.&#xD;&#xA;&#xD;&#xA;Has anyone else had this problem and how do you handle it? Maybe I'm just horrible at dialogue mixing and I should throw in my fader and quit.&#xD;&#xA;&#xD;&#xA;What is a good example of a mix where the dialogue is perfect that I can hold as a standard to strive for?&#xD;&#xA;&#xD;&#xA;I've been told Pleasantville is a good example.&#xD;&#xA;&#xD;&#xA;Also, Titanic and Lord of the Rings. However, LOTR was 98% ADR..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4143" PostHistoryTypeId="2" PostId="2335" RevisionGUID="21155ed4-f128-40bf-88d1-9990d5e2f8b7" CreationDate="2010-07-28T05:11:25.167" UserId="466" Text="A speaker system from a projector viewpoint should be symmetrical relative to the listening position. Meaning where you will be sitting. There should a be Left and Right speaker 2ft minimum away from your screen and at tilted at 45 -60 degrees aiming at your ears, including the height and the capability of your room.&#xD;&#xA;&#xD;&#xA;I assume you plan on getting a 5.1 system. Same left and right rules apply. The subwoofer speaker should be placed in between your left and right speaker aiming at you. Never against any object, another speaker or wall.&#xD;&#xA;&#xD;&#xA;The center speaker in the center below your screen.&#xD;&#xA;&#xD;&#xA;Left &amp; Right Surround speakers should be placed accordingly to your listening/sitting position right above your head, to disperse the sound.&#xD;&#xA;&#xD;&#xA;If you end up going 7.1 you will have to place your listening/sitting area 3-4 minimum away from a wall and place you Left and Right Back Speakers at the same height of the surround speaker yet behind your head and aiming at your ears.&#xD;&#xA;&#xD;&#xA;When placing your set up, bring a friend and sit them where you will be sitting as a reference or place your chair." ContentLicense="CC BY-SA 2.5" />
  <row Id="4144" PostHistoryTypeId="2" PostId="2336" RevisionGUID="d167973b-6d07-40c9-bd09-6f53cca51213" CreationDate="2010-07-28T05:28:42.303" UserId="18160" Text="Okay. Pardon me if I sound ranty.&#xD;&#xA;&#xD;&#xA;I promised myself I would not ask this question, but frankly, I am fed up with it.&#xD;&#xA;&#xD;&#xA;I record narration as a main part of my job in sound.&#xD;&#xA;&#xD;&#xA;I have recorded possibly over 3,000 hours (final product, edited down) of narration, ADR, overdubs, etc. etc. etc. in my career.&#xD;&#xA;&#xD;&#xA;I have still not found how to lessen someone's mouth-noise in the recording.&#xD;&#xA;&#xD;&#xA;I have searched and searched and searched for a remedy to this.&#xD;&#xA;&#xD;&#xA;I have read Randy Thom's article about it.&#xD;&#xA;&#xD;&#xA;Many people's answer is MIC POSITION. This is utter rubbish of advice. I know well that the moment you add that top back on a voice that you lose by going off-axis that those clicks are just clear as day in the recording and have to be edited out, so I know for a FACT that doesn't work. Not to mention the recording sounds horrible in the end because you have a U87 pointed at your ear. Sure, you can even move the mic 4 feet back from the talent, you're going to have one thin recording and a lot of room to battle then - especially if it's supposed to be narration.&#xD;&#xA;&#xD;&#xA;Lemon water. This has had mediocre results for me...&#xD;&#xA;&#xD;&#xA;I've tried grapefruit juice,&#xD;&#xA;&#xD;&#xA;I've tried having the guy suck on lemons,&#xD;&#xA;&#xD;&#xA;I've had the guy put vasoline on his teeth,&#xD;&#xA;&#xD;&#xA;I've had the guy eat so many green apples he was hypnotized into thinking he was Johnny Appleseed,&#xD;&#xA;&#xD;&#xA;I have forbidden the consumption of all coffee,&#xD;&#xA;&#xD;&#xA;I have forbidden the consumption of sugar,&#xD;&#xA;&#xD;&#xA;I have forbidden the use of honey and other saliva-producing foods,&#xD;&#xA;&#xD;&#xA;I have told the guy to drink water - funny, everyone asks the talent to do this when he gets mouthy and IT JUST MAKES HIM MORE MOUTHY, Surprise!! You're just putting more wetness in his mouth!!!!!&#xD;&#xA;&#xD;&#xA;I have also tried Izotope RX and I personally think it adds digital artifacts to the recordings and makes the voices sound dull and processed...&#xD;&#xA;&#xD;&#xA;I have tried everything I could possibly find on the internet or from other professionals about this and they all have had no avail.&#xD;&#xA;&#xD;&#xA;I personally think it's an awareness thing. I think that the talent just has to know what it is and learn for himself how to fix it.&#xD;&#xA;&#xD;&#xA;But, what have you used in the past that has actually worked?&#xD;&#xA;&#xD;&#xA;Is there a &quot;magic pill&quot; that someone can take and MAGICALLY he has NO mouth noise and won't need ANY editing at all?&#xD;&#xA;&#xD;&#xA;I highly doubt it, but I'm working on 20 seconds of narration right now and getting it clean as a whistle and I've spent the last hour on it.&#xD;&#xA;&#xD;&#xA;One hour for 20 seconds of voice...&#xD;&#xA;&#xD;&#xA;My standards are pretty high for this sort of thing as you can probably tell...&#xD;&#xA;&#xD;&#xA;But besides that, what have you found that has worked for you.&#xD;&#xA;&#xD;&#xA;Has it ever been a problem with your production and has a project ever been rejected back to you saying &quot;It's got too much mouth noise in it&quot;?&#xD;&#xA;&#xD;&#xA;Sorry for ranting but I just don't think 20 seconds an hour is very viable.&#xD;&#xA;&#xD;&#xA;Thanks - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="4145" PostHistoryTypeId="1" PostId="2336" RevisionGUID="d167973b-6d07-40c9-bd09-6f53cca51213" CreationDate="2010-07-28T05:28:42.303" UserId="18160" Text="How do you lessen mouth noise in VO recordings?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4146" PostHistoryTypeId="3" PostId="2336" RevisionGUID="d167973b-6d07-40c9-bd09-6f53cca51213" CreationDate="2010-07-28T05:28:42.303" UserId="18160" Text="&lt;narration&gt;&lt;clicks&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4147" PostHistoryTypeId="2" PostId="2337" RevisionGUID="b1c5e752-9f01-4a76-9363-bbc0d140eb36" CreationDate="2010-07-28T05:43:50.063" UserId="40" Text="Well, as far as awesome dialogue goes, Inception was 98% production audio, as was The Dark Knight.&#xD;&#xA;&#xD;&#xA;I don't think there really is a &quot;perfect&quot; place for dialogue to sit.  At the very least it should most definitely sound natural, in most cases, and should sound appropriate to the physical setting.&#xD;&#xA;&#xD;&#xA;Apart from that, I think it's really to taste.  If you take a listen to the TV series House M.D., the dialogue is a lot more natural, more rounded.  Then if you go listen to the TV series Lost (at least the stuff that David Yaffe did), it's a lot more crisp (they used 416s and 816s on Lost)  So, it's really up to you how to mix it, and of course the ATL crew, what goes.  A lot of it is really subjective.&#xD;&#xA;&#xD;&#xA;I like a crispier mix.  I'm often struggling to hear some of the softer lines in House, but then again, my center channel is 10 years old..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4148" PostHistoryTypeId="2" PostId="2338" RevisionGUID="6232730c-f29f-45fd-9d67-8abec927231b" CreationDate="2010-07-28T05:44:31.967" UserDisplayName="user80" Text="Try sucking air into the mouth as if you were using a straw,get them to use as much force as possible.  This temporarily dries out the mouth, but you have to make sure that the person is comfortable swallowing their own saliva." ContentLicense="CC BY-SA 2.5" />
  <row Id="4149" PostHistoryTypeId="2" PostId="2339" RevisionGUID="d3b627b8-167f-4cac-89aa-d1f6dfb34c49" CreationDate="2010-07-28T05:53:52.867" UserId="2" Text="But how do you really feel about this? Haha. I totally get it, it drives me crazy too! As a plus to us, you've compiled some cool tips during your rant. Thanks. &#xD;&#xA;&#xD;&#xA;You are talking about those clicks right? I don't think it's the &quot;wetness in the mouth&quot; but rather the dryness. So I find that making them sip on water prior to every take (or when it's a problem) helps a lot. The main thing I noticed is that it happens when the talent is nervous and his/her mouth dries up, so I really put some effort into trying to relax them. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4150" PostHistoryTypeId="5" PostId="2338" RevisionGUID="d6de4eb1-12a9-4e69-b3cb-6be1f90da4c4" CreationDate="2010-07-28T06:04:18.900" UserDisplayName="user80" Comment="added 1 characters in body" Text="Try sucking air into the mouth as if you were using a straw, get them to use as much force as possible.  This temporarily dries out the mouth, but you have to make sure that the person is comfortable swallowing their own saliva." ContentLicense="CC BY-SA 2.5" />
  <row Id="4151" PostHistoryTypeId="2" PostId="2340" RevisionGUID="8b9c34a2-481d-409e-b38c-2a39014394a7" CreationDate="2010-07-28T06:21:40.857" UserId="348" Text="I have had this problem both in radio and tv. It helps if the actor or VO artist is experienced and is aware of this problem. It is terrible to get a novice in the booth who is totally unfamiliar with working in such an evironment. I have had mixed responses from both experienced pros and new comers. What I find, apart from making sure their mouths are not too moist is to get the right distance to the mic after a few rehearsals to assess the actors voice and potential problems. But clicks will always be a hurdle in the process of recording and editing. Mic placement is silly, I don't understand why people say this. &#xD;&#xA;&#xD;&#xA;Anyway, good luck with it and if I find anything else, I will file another answer. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4152" PostHistoryTypeId="5" PostId="2340" RevisionGUID="4cb80d83-d7c4-4f52-9515-4bdf1508c326" CreationDate="2010-07-28T06:47:10.407" UserId="61" Comment="spelling" Text="I have had this problem both in radio and tv. It helps if the actor or VO artist is experienced and is aware of this problem. It is terrible to get a novice in the booth who is totally unfamiliar with working in such an environment. I have had mixed responses from both experienced pros and new comers. What I find, apart from making sure their mouths are not too moist is to get the right distance to the mic after a few rehearsals to assess the actors voice and potential problems. But clicks will always be a hurdle in the process of recording and editing. Mic placement is silly, I don't understand why people say this. &#xD;&#xA;&#xD;&#xA;Anyway, good luck with it and if I find anything else, I will file another answer. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4153" PostHistoryTypeId="5" PostId="2303" RevisionGUID="4e3929a9-3ab7-40c6-9b67-fa166bd35d82" CreationDate="2010-07-28T06:48:43.687" UserId="61" Comment="grammar" Text="Im currently working on a theatre production where the Director wants me to create scene transitions, however they are not really sure on what they want/have anything for me to reference. So i'm planning on creating a number of different versions and variations of a few of the transitions to see what they like.&#xD;&#xA;&#xD;&#xA;As with most projects, time is pretty limited. I just don't want to spend too long creating sounds that will ultimately not be used (although i understand this is just part of the process of realizing the directors vision). Or create too many variations and not have enough time to make sure the quality is the best it can be before I present them to the director.&#xD;&#xA;&#xD;&#xA;My question is really i guess-&#xD;&#xA;&#xD;&#xA;How do you approach creating multiple versions/variations for a client, and effectively manage your time?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4154" PostHistoryTypeId="2" PostId="2341" RevisionGUID="8e4912d3-fc7e-4247-9765-1aeae861666c" CreationDate="2010-07-28T07:26:06.373" UserId="455" Text="I read somewhere (Post Magazine I believe) that Quentin Tarantino does everything he can to get clean sounding dialogue on set and to avoid ADR.  Watch Inglorious Bastards- It won a Golden Reel award for Best Dialogue and ADR in a Feature Film.&#xD;&#xA;&#xD;&#xA;You can find lists of films/ television shows that have won awards on wikipedia and other sites.  If you're really interested make a list of works that have been acknowledged for dialogue (or sound in general), watch them and decide which one you think is best.&#xD;&#xA;&#xD;&#xA;Most importantly don't quit!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4155" PostHistoryTypeId="2" PostId="2342" RevisionGUID="6e303ff2-db7b-4e9d-8cd0-366364d6215d" CreationDate="2010-07-28T09:23:04.360" UserId="62" Text="Here in TV Land I prefer to edge on the side of crisp bright dialogue. That's 100% a media issue as my mixes will be heard on top quality home cinema system and a crappy mono TV. I also need to make sure that the dialogue will cut through the washing machine, screaming kids etc etc.&#xD;&#xA;&#xD;&#xA;Colin - I think getting used to a room and it's monitors is really important, so is listening elsewhere. Once you get both in your head then I think it makes life so much better. You can then pre-empt things and ensure your mixes sound good everywhere.&#xD;&#xA;&#xD;&#xA;Ryan - what are you monitoring on? If it's Genelecs and people complain it's too bright then that may be the root of your problem, Genelecs are great but are bright.&#xD;&#xA;&#xD;&#xA;Also, do you move around between different rooms or are you in the same one all the time? This might be a problem too.&#xD;&#xA;&#xD;&#xA;For good TV dialogue, try Doctor Who (especially the new series). I know the guys who did the sound, a lot of production sound with a smattering of ADR. It's really well done and sounds crisp and clear but there's also some weight behind it too.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="4156" PostHistoryTypeId="2" PostId="2343" RevisionGUID="30b2bbd3-2d6e-4f08-9c6e-01075ba0348b" CreationDate="2010-07-28T11:31:01.537" UserId="432" Text="The only way you're ever going to eliminate mouth noise is with an experienced, professional, voice actor. &#xD;&#xA;&#xD;&#xA;The clicks don't eminate from the teeth, and rarely from the lips. They all come from the tongue. That means it's an articulation/enunciation issue. A pro will learn the correct tongue positions that allow them to cleanly pronounce the sounds they want, but it takes years. Even then, you're still gonna have some; but probably not so many that it will take an hour to clean up 20 seconds. That's rough, man. I sympathize with you entirely.&#xD;&#xA;&#xD;&#xA;The best thing you can do is educate while you're in the recording session (or maybe right afterwards). Sure, it's not really going to improve your situation that day, but it may pay off in a future session.&#xD;&#xA;&#xD;&#xA;The most extreme example I can think to give them is the character Boomhauer on &quot;King of the Hill,&quot; voiced by Mike Judge. If you do an impersonation, you'll find that your tongue ends up in a tightly held position, with very little movement. Obviously that's not the delivery most of us will be looking for; but if they can identify the feel of the tongue there, it will at least teach them to be aware of what the tongue is doing (which is probably half of your problem). Then send them home to practice." ContentLicense="CC BY-SA 2.5" />
  <row Id="4157" PostHistoryTypeId="2" PostId="2344" RevisionGUID="fab50b50-ff23-4140-90b7-a405a37cc8ac" CreationDate="2010-07-28T13:47:43.363" UserId="331" Text="Have to say I'm actually pulling back from being overly clinical on the dialog cleanup - it all passes QC etc but after listening back to one show I thought it lacked life or a bit of naturalness because I'd totally overdone it.&#xD;&#xA;&#xD;&#xA;As for cutting it out at the recording stage, I've tried most things and some artists really are just 'noisy'.  As mentioned above, the good ones know their voice and know retakes are a part of the process.  Kids dialog on the other hand are just hard work full-stop ;-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4158" PostHistoryTypeId="2" PostId="2345" RevisionGUID="a3eef2dc-8413-4a53-be67-8e3528f9ff64" CreationDate="2010-07-28T14:40:36.190" UserId="29" Text="Recording props (well, anything) underwater to create sounds never turns out the way you expect it. In my experiments with my H2a, one &quot;DUH!&quot; moment was how water's density, as a medium, really tamps down the vibrations of objects. From [dipping cymbals in water][1] to running a thumb across a comb, I found that submerged small objects that create fine vibrations to create sound weren't that interesting.&#xD;&#xA;&#xD;&#xA;Turbulence is a classic conundrum; you want the turbulent sound but don't want air bubbles on the actual mic, due to rumble. Try sweeping things like rakes, hairbrushes, and swim fins underwater. Danny's suggestion list is stellar, as was his frank assessment that sometimes creating turbulence that is recorded in-air and filtered in post can produce great effects.&#xD;&#xA;&#xD;&#xA;On [your own blog][2], Michael, you've done some interesting stuff with recordings and machinery (specifically engines). What about the sound of a pool cleaning robot? Or some underwater RC toys? Compressed air shot underwater? Bilge pumps? Any [marine products catalog][3] would surely yield some interesting ideas...&#xD;&#xA;&#xD;&#xA;One of the most fascinating water sounds I ever heard was when I was staying in a floating hut made of bamboo in Thailand. The hollow ends of the bamboo lapping just at the waterline made the most amazing (and, uh, intestinal) sounds. Anything that interacts with the waterline - cupping, lapping, slurping - will make focused and interesting sounds underwater.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/?s=hydrophone+cymbals&#xD;&#xA;  [2]: http://sepulchra.com/blog/&#xD;&#xA;  [3]: http://www.westmarine.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4159" PostHistoryTypeId="2" PostId="2346" RevisionGUID="e0619d2b-be96-41c6-9ab2-b5af7eb32a5d" CreationDate="2010-07-28T14:42:47.993" UserId="234" Text="I'll second Ian's Dr. Who suggestion... Taff and company do a great job on it! (Watch it on DVD, broadcast quality varies greatly from channel to channel).&#xD;&#xA;&#xD;&#xA;As far as getting it right, don't throw in the fader -it's about experience. When I started I got a lot of the same sort of comments that you did... I spent a long time looking for that elusive &quot;best sound&quot; myself, and then spent a lot of time trying to make everything conform to what I THOUGHT it should sound like. Every time the director/producer would come back with a comment.&#xD;&#xA;&#xD;&#xA;What I learned is that there is NO ONE RIGHT SOUND. Each show/movie is it's own beast, and needs to be treated as such. What might be great tonally for one show, isn't for another. In each of the examples you stated, the dialog, while well done, is very different. The director/producer preferences, the production audio, and the story itself will all help shape the tonality of the dialog (not to mention FX, BG's and Score...)&#xD;&#xA;&#xD;&#xA;A good producer/director will be able to tell you what they're looking for, but that's the exception, not the norm. Asking questions about the production sound can help flesh out the &quot;vision&quot; if you will.&#xD;&#xA;&#xD;&#xA;Do you like the production sound?&#xD;&#xA;What to do you like?&#xD;&#xA;What don't you like?&#xD;&#xA;What do you want it to sound like? (be prepared for some strange answers here...)&#xD;&#xA;&#xD;&#xA;And of course, the final delivery medium has a certain amount to do with it. I tend to mix TV much brighter than I would a film, just because I know how much damage it'll take between my room and broadcast." ContentLicense="CC BY-SA 2.5" />
  <row Id="4160" PostHistoryTypeId="2" PostId="2347" RevisionGUID="a94a0b3b-2614-48d1-bbf9-b1446eb51deb" CreationDate="2010-07-28T15:03:04.507" UserId="189" Text="Hi there!&#xD;&#xA;Michel Marchant here from Santiago de Chile ( No, I'm not french)&#xD;&#xA;I have worked many years in Santiago, and Mexico City doing sound effects editing and mixing for TV commercials.&#xD;&#xA;After a while my wife and I decided to move to Montreal, Canada and I started doing sound design and field recording for video games at Wave Generation.&#xD;&#xA;If one of you guys happen to be visiting the city, drop me an email&#xD;&#xA;Beers on me&#xD;&#xA;Cheers,&#xD;&#xA;M&#xD;&#xA;&#xD;&#xA;www.mich3d.com&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4161" PostHistoryTypeId="16" PostId="2347" RevisionGUID="a94a0b3b-2614-48d1-bbf9-b1446eb51deb" CreationDate="2010-07-28T15:03:04.507" UserId="-1" />
  <row Id="4162" PostHistoryTypeId="2" PostId="2348" RevisionGUID="4659a60a-267a-42d7-9294-9698a93c29af" CreationDate="2010-07-28T16:54:50.083" UserId="459" Text="Wow...joining this site is the best decision I'd make in a long time. Thank for all your suggestions, everybody!  &#xD;&#xA;&#xD;&#xA;This is what I did, thru trial and errors. I used only one channel( it's a streo track) of the reverb track, compressed, and used eq to cut out the bass (theoretically reverb reflects mostly on low freq..i read somewhere..). It helps a little bit.  &#xD;&#xA;&#xD;&#xA;ah...i wish i could upload some sounds too.  What's the best soundweb you guys use?  Is Soundcloud the best option? &#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 2.5" />
  <row Id="4163" PostHistoryTypeId="2" PostId="2349" RevisionGUID="eaa09e36-bc7f-48fc-83c2-b05fffba7e75" CreationDate="2010-07-28T17:10:59.583" UserId="459" Text="When laying the dialogue over background music, let's say it's a party scene. Are you concern with portraying the reality, by keeping the music throughout the dialogue, Or you faded it out as the conversation gets more intense...?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;By the way, How do u eq the background music? Which frequency do you cut? I was watching the scene from Kids (&lt;a&gt;http://www.youtube.com/watch?v=JcQhURrV900&lt;/a&gt;)  They kept the background music quite loud, yet the dialougue is still very clear. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4164" PostHistoryTypeId="1" PostId="2349" RevisionGUID="eaa09e36-bc7f-48fc-83c2-b05fffba7e75" CreationDate="2010-07-28T17:10:59.583" UserId="459" Text="Background Music: When to make it disaapear?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4165" PostHistoryTypeId="3" PostId="2349" RevisionGUID="eaa09e36-bc7f-48fc-83c2-b05fffba7e75" CreationDate="2010-07-28T17:10:59.583" UserId="459" Text="&lt;dialogue&gt;&lt;background&gt;&lt;music&gt;&lt;equalizing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4166" PostHistoryTypeId="2" PostId="2350" RevisionGUID="ff01b760-db22-470d-9722-681b24ae80cc" CreationDate="2010-07-28T17:16:33.287" UserId="459" Text="Just started doing freelance sounddesign for shorfilm here in New York. Originally from Bangkok, Thailand. weeee" ContentLicense="CC BY-SA 2.5" />
  <row Id="4167" PostHistoryTypeId="16" PostId="2350" RevisionGUID="ff01b760-db22-470d-9722-681b24ae80cc" CreationDate="2010-07-28T17:16:33.287" UserId="-1" />
  <row Id="4168" PostHistoryTypeId="2" PostId="2351" RevisionGUID="cddafabb-aa97-4af7-a076-44479b00d487" CreationDate="2010-07-28T17:44:26.243" UserId="6435" Text="+100 on what's been said, especially about option paralysis. It occurs to me that if the director is &quot;not sure&quot; what he wants, and has no reference material to provide you, he may be looking to you for the idea. Much of the time that's how it works in theatre. Very occasionally I'll work with a director who specifically says &quot;I want Brubeck-esque jazz here&quot; or &quot;I want bluegrass,&quot; but most of the time it's up to me as a designer/composer to develop the ideas and present them. The director may hate what I bring in but at least then we have a starting point for conversation.&#xD;&#xA;&#xD;&#xA;Theatre directors are often more adept at expressing what they want from the lighting, prop and costume departments than from sound. I think that's because they tend to have studied those disciplines as part of their theatre education--sound lags behind the other departments in many theatre programs. It might be a good idea to listen to what the director is asking lights and costumes to do, because that may give you clues that you won't get directly from conversations about sound.&#xD;&#xA;&#xD;&#xA;As far as creating sounds that will not be used: I go into each tech week with the idea that, for one reason or another, 10% of my cues will end up cut, and another 10% will need to be revised. It's never that bad, but being set up for it mentally means I don't feel bad cutting a cue I spent hours on if it's honestly not working." ContentLicense="CC BY-SA 2.5" />
  <row Id="4169" PostHistoryTypeId="2" PostId="2352" RevisionGUID="87ef5983-5002-426c-bf93-5e089dbda97b" CreationDate="2010-07-28T18:54:53.497" UserId="40" Text="Ok, few questions in there.&#xD;&#xA;&#xD;&#xA;Like we were talking about with dialogue yesterday, a lot of that is subjective.  However, you need to make sure that, above all else, the dialogue is intelligible.&#xD;&#xA;&#xD;&#xA;Music plays a lot with emotion.  It should swell and dim appropriately.  If the dialogue is getting intense and the music starts fading out, you are sending a message to the viewer that what is about to happen is very important.  If dialogue is getting more intense and the music starts swelling, you start preparing the viewer for forward motion in the story, or a big turning point, or action.  Most of it is just getting it to &quot;feel right&quot;.&#xD;&#xA;&#xD;&#xA;If you have very loud music, yet want to make your dialogue cut through, you can achieve that with a basic eq.  If you have a frequency analyzer, throw it over the dialogue tracks and see where the dialogue is sitting.  The intelligibility cues usually sit in the 2k-8k range.  Try pulling out a few db from the music that range (not the whole range, but a generous Q).  Sweep the eq around a bit and figure out when the dialogue pops through.&#xD;&#xA;&#xD;&#xA;Another way to do it is to put an eq over the dialogue.  Try that same Q in the mid frequencies, except this time, boost it by 6db or more.  This is going to sound terrible.  Don't worry about it.  Sweep around the 2k - 8k range, with a fairly narrow Q (not notch narrow, but not really wide either).  At some point, you will hear the dialogue all of a sudden get much louder.  Figure out what frequency that is, then pull a bit of that frequency out of the music.  REMEMBER to turn off the eq on the dialogue after you figure out what frequency it is!&#xD;&#xA;&#xD;&#xA;Hope this helps a bit!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4170" PostHistoryTypeId="2" PostId="2353" RevisionGUID="e8d4387d-7622-4a37-8e62-498311d65e62" CreationDate="2010-07-28T19:19:10.943" UserId="62" Text="In addition to Colin's answer, there's a lovely frequency around 400Hz that when removed can help dialogue push through, while maintaining a loud volume.&#xD;&#xA;&#xD;&#xA;Is the music diegetic? If so then adding the rooms reverb will instantly push it further back in the mix, which will obviously help matters too.&#xD;&#xA;&#xD;&#xA;Sadly there's no right or wrong answer, although that's what makes it fun." ContentLicense="CC BY-SA 2.5" />
  <row Id="4171" PostHistoryTypeId="2" PostId="2354" RevisionGUID="27b10885-dc45-49d5-a593-43b30c37474d" CreationDate="2010-07-28T19:19:11.227" UserId="393" Text="If you're using Kontakt, it's pretty easy to create a footsteps instrument, then load this script into your script editor: http://peteroregan.com/scripts.html&#xD;&#xA;&#xD;&#xA;Set the dropdown that says &quot;Sequential&quot; to &quot;Full Random&quot; and adjust the NotesAbove and NotesBelow...  It'll do what you want, but quality may vary.  The script is made for varying repeated notes in single-sample instruments, not for fully random sound effects.&#xD;&#xA;&#xD;&#xA;Just go with WWise." ContentLicense="CC BY-SA 2.5" />
  <row Id="4175" PostHistoryTypeId="2" PostId="2356" RevisionGUID="80764002-0c00-4e2c-b1ae-c2aec5b1fd63" CreationDate="2010-07-28T20:12:13.613" UserId="6411" Text="Ha! No problem Ryan, it's a rant worth having.&#xD;&#xA;&#xD;&#xA;Working with on-camera host talent who perform VO for the rest of the show, this is a standard gripe of mine. They're great on-camera, lively, engaging, funny, and interesting. But put them in a room by themselves with a mic in their face and it's clear they've never heard of a diction class let alone taken one. It falls into the same camp of having a $6,000 guitar doesn't make you a better guitarist, a U87 doesn't give you pro VO talent.&#xD;&#xA;&#xD;&#xA;Like you, I have a series of tricks to attempt to lessen mouth noise at the recording stage.  But regardless of what I do, I find the most reliable way to reduce mouth noise is with the pencil after the recording's done.&#xD;&#xA;&#xD;&#xA;It used to make me **crazy** going through narration trying to clean it all out.  It wasted a huge amount of time and, you're right, it sounded *too* clean. Recently I've turned to ignoring the mouth noise (as much as possible) and putting it off until after I have at least a dialog and music stem together as well.  It gives me a bit of perspective on where the mix is headed and how much the mouth noise actually sticks out.&#xD;&#xA;&#xD;&#xA;My most recent show had such a small budget and tight turn around with such awful mouthy narration (recorded somewhere else) that I turned to Waves' X-Click and X-Crackle.  Using it very lightly, it turned out a passable result. Didn't catch everything, but also didn't sound artificial. I don't know if I'd lean on it when I have the time to draw clicks out, but in a pinch it was very useful." ContentLicense="CC BY-SA 2.5" />
  <row Id="4176" PostHistoryTypeId="2" PostId="2357" RevisionGUID="eb9c09d5-c028-44ff-8791-b62ff64a274c" CreationDate="2010-07-28T20:22:28.177" UserId="393" Text="I started as a composer, working on an open source game that eventually went nowhere -- we needed a sound designer, and, since I was the only person with any sort of DAW, I picked up the mantle and totally fell in love.  Sound design came incredibly naturally to me, since I have a less-braggable-than-John-Mayer's version of synesthesia... I hear everything I see, though movement and light are much louder than static things. &#xD;&#xA;&#xD;&#xA;It was just a matter of replicating the sounds I'm already hearing.  And the first time I was able to make something sound like something completely different -- a squeaky office chair turned into almost all the sounds of a man climbing out of a Model T Ford -- I knew this was a direction I wanted to take my career, not just my hobby.&#xD;&#xA;&#xD;&#xA;I sway back and forth as to whether I prefer sound design or composition, but I think that's fairly natural.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4177" PostHistoryTypeId="2" PostId="2358" RevisionGUID="494a2d25-ea8c-435a-ae65-1637ed38490c" CreationDate="2010-07-28T21:18:47.900" UserId="432" Text="I was obsessed with Michael Winslow as a kid (Motor Mouth Jones from the Police Academy movies), and I could always hear/physically feel the sound of a car approaching long before the rest of the people in my family (we lived pretty deep in the woods). Those should have given me an earlier indication than they did, but that's probably where it really started.&#xD;&#xA;&#xD;&#xA;As far as the actual practice of audio, I started out doing live sound in high school, kept doing it in college (where I did not study audio...stupid), and immediately after college. That started getting old; or rather, the constantly shifting schedule did. Went to grad school to learn the recording side of things, and just kind of kept drifting in this direction in the years since.&#xD;&#xA;&#xD;&#xA;I'm far more proficient in dialogue editing than anything else at the moment, but each job I've held in this field has required me to be a jack of all trades audio. At this point, I'm still trying to figure out where exactly I want to go with my career, and trying to bring my other skills up to the level of my dialogue cutting." ContentLicense="CC BY-SA 2.5" />
  <row Id="4178" PostHistoryTypeId="2" PostId="2359" RevisionGUID="cfd1e1dd-3ebf-48a3-81c7-3f095cdd7ff7" CreationDate="2010-07-28T22:36:14.777" UserId="194" Text="I'm looking into putting together a rig that can really capture supersonic frequencies for the purposes of varispeeding down during sound design, and I'd like a little input from those of you who have experience in such things.&#xD;&#xA;&#xD;&#xA;Most mics preamps and A/D converters really don't list specs above 20kHz, and I'm not entirely up to date on the science of the stuff, so any resources you can direct me to would be appreciated.&#xD;&#xA;&#xD;&#xA;Ok, Questions;&#xD;&#xA;&#xD;&#xA; 1. Am I correct in assuming that the biggest hardware obstacle to recording sounds above 20k is generally just the microphone (not the pre or D/A)?&#xD;&#xA; 2. how well would the preamp and A/D of say a 744t handle supersonic frequencies (if recording with an appropriate mic)?&#xD;&#xA; 3. How about a lower end recorder like a Zoom H4n (again, with appropriate mic)?&#xD;&#xA; 4. What pitfalls should be avoided when processing high sample rate files with supersonic frequencies in them?  If I take a file and just trim heads and tails in a two track editor like Izotope RX, will I ruin it or will it handle it?&#xD;&#xA;&#xD;&#xA;that's pretty much it.  Any input on specific mics and recording devices would be appreciated.  I'm considering the earthworks mic, but I'm not married to anything right now.&#xD;&#xA;&#xD;&#xA;thx!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4179" PostHistoryTypeId="1" PostId="2359" RevisionGUID="cfd1e1dd-3ebf-48a3-81c7-3f095cdd7ff7" CreationDate="2010-07-28T22:36:14.777" UserId="194" Text="re: recording supersonic frequencies" ContentLicense="CC BY-SA 2.5" />
  <row Id="4180" PostHistoryTypeId="3" PostId="2359" RevisionGUID="cfd1e1dd-3ebf-48a3-81c7-3f095cdd7ff7" CreationDate="2010-07-28T22:36:14.777" UserId="194" Text="&lt;field&gt;&lt;recoriding&gt;&lt;supersonic&gt;&lt;frequenciees&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4181" PostHistoryTypeId="2" PostId="2360" RevisionGUID="ff9d5a9d-2bc6-40c9-8d14-d8d607349139" CreationDate="2010-07-28T23:34:15.197" UserId="432" Text="We have a couple of Earthworks mics at work, and they are excellent. They will not be a poor investment.&#xD;&#xA;&#xD;&#xA;You may or may not be correct in your assumptions regarding mics and pre's, perhaps someone else here will know. Of course, don't forget Nyquist. You're only going to be able to accurately capture frequencies that are 1/2 of your sampling rate.&#xD;&#xA;&#xD;&#xA;I'll run a test tomorrow with our 744T and one of our Earthworks mics that (either QTC30 or SR30) and let you know if I get anything interesting." ContentLicense="CC BY-SA 2.5" />
  <row Id="4182" PostHistoryTypeId="2" PostId="2361" RevisionGUID="e1b49873-fab9-45fb-a4cb-886677fb5d00" CreationDate="2010-07-28T23:34:29.217" UserId="18" Text="What are you looking to record and are you going to be able to hear those frequencies when you find them?  :)&#xD;&#xA;&#xD;&#xA;I'd be curious to hear what applications you have in mind, are you trying to record bat sonar or something?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4183" PostHistoryTypeId="2" PostId="2362" RevisionGUID="f0b31e18-8d66-4206-9d50-2510e37f3039" CreationDate="2010-07-29T00:18:10.063" UserId="61" Text="Eager to hear responses from the group on this one. My only advice is to record at the highest sampling rate possible, ie. 192kHz. This will stave off the Nyquist that Shaun was referencing. And 24-bit, too, of course." ContentLicense="CC BY-SA 2.5" />
  <row Id="4184" PostHistoryTypeId="2" PostId="2363" RevisionGUID="f35322e4-5b7c-4d27-9d5a-90cc4a2678bd" CreationDate="2010-07-29T03:17:35.533" UserId="393" Text="So, I'm finally getting around to putting my demo reel together (I know, I know... Shoulda done that a long time ago), and I was wondering something...&#xD;&#xA;&#xD;&#xA;Is it okay to have someone that's not me do the final master?  If so, should I mention that? Or should I just do the best I can, since it's MY reel to start with?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4185" PostHistoryTypeId="1" PostId="2363" RevisionGUID="f35322e4-5b7c-4d27-9d5a-90cc4a2678bd" CreationDate="2010-07-29T03:17:35.533" UserId="393" Text="Mastering a demo reel" ContentLicense="CC BY-SA 2.5" />
  <row Id="4186" PostHistoryTypeId="3" PostId="2363" RevisionGUID="f35322e4-5b7c-4d27-9d5a-90cc4a2678bd" CreationDate="2010-07-29T03:17:35.533" UserId="393" Text="&lt;demo-reel&gt;&lt;reel&gt;&lt;showreel&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4187" PostHistoryTypeId="2" PostId="2364" RevisionGUID="f23bd6b7-a065-46ef-9d78-54065f0a2b77" CreationDate="2010-07-29T03:29:32.940" UserId="40" Text="In order to record anything &quot;ultrasonic&quot;, you'll have to start at 96k or higher.  48k only responds up to 24khz.  96k will respond up to 48khz, and so on and so forth.&#xD;&#xA;&#xD;&#xA;So most recorders can capture ultrasonic frequencies, but you need a mic that can handle it too.  The Sennheiser MKH800 is rated up to 50k, but unless you have one or $3k laying around, that may not happen.&#xD;&#xA;&#xD;&#xA;[Here's a schematic][1] that won't cost you very much at all to build a mic that is sensitive to up to 60khz.  (granted it won't be as nice and flat as the mkh800, but it's a great mic to play with!)&#xD;&#xA;&#xD;&#xA;There's also some test recordings on that page (not ultrasonic stuff, but it at least shows you the quality of the mic)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Here's a great article][2] on ultrasonic recording.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also, beware of the limitations of different formats.  For instance, you may be able to capture 30khz in a BWF, but everything above a certain frequency will be chopped off if you convert to any type of compressed format, including red book CDs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;As for software, I don't know the limitations of RX specifically, but theoretically, anything that can handle BWF files should be able to handle supersonic frequencies.  HOWEVER, I can't say as much about the plugins (including RX's own plugins as used in it's stand alone version).  Plugins operate at a certain sample rate themselves, and unless they are rated at 192k, they may end up down sampling your recording and you may lose frequencies.  I would do your research on the specific software you want to use before manipulating.  Or, possibly processing a copied version of the file for comparison if you can't find out info on the software.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wildlife-sound.org/equipment/technote/micdesigns/index.html&#xD;&#xA;  [2]: http://www.wildlife-sound.org/equipment/technote/micdesigns/ultrasonic.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="4188" PostHistoryTypeId="2" PostId="2365" RevisionGUID="21e858dc-fc8d-4b6d-9ed7-c2743e41deab" CreationDate="2010-07-29T03:36:03.010" UserId="40" Text="Depends on what your demo reel is for.  What do you do?  Sound Design? Re-recording? Production? SFX Rec?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4189" PostHistoryTypeId="2" PostId="2366" RevisionGUID="91ba0280-32bb-46bc-9afa-a402b4c52917" CreationDate="2010-07-29T03:43:24.323" UserId="393" Text="I haven't dealt with VO, so my suggestion may be moot, but have them use their stage / outside voice.  More projection on the stuff they intend may allow you to record at a lower volume, and reduce the clicks." ContentLicense="CC BY-SA 2.5" />
  <row Id="4190" PostHistoryTypeId="2" PostId="2367" RevisionGUID="7848d8ae-4eb7-441f-b5e2-5fd418ce20ae" CreationDate="2010-07-29T08:08:17.350" UserId="270" Text="The frequency response of the Sanken CO-100K microphone wiggles its way up to 100kHz&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sanken-mic.com/upload/prd/img/img.php?photo=1000400_frequency_01.jpg&amp;type=freq" ContentLicense="CC BY-SA 2.5" />
  <row Id="4191" PostHistoryTypeId="2" PostId="2368" RevisionGUID="3bf98e8c-26ac-4623-b8e7-b81f730d261b" CreationDate="2010-07-29T09:52:38.030" UserId="219" Text="Hi everyone, I just came across a job offer at Dubbing Brothers and I'm all shaking to the idea of convincing them it's a job for me! I'm not asking you for help with the content, just tell me if there's anything sticking out that shouldn't be... please :)&#xD;&#xA;&#xD;&#xA;https://docs.google.com/document/edit?id=1ODv16e3eidnWIpVB_6eiMpLHydUrjYZjDsrc9jAz3yo&amp;hl=en&amp;authkey=CKLOi48M&#xD;&#xA;&#xD;&#xA;I'm still editing it at the moment but this version is already well advanced. So please feel free to have a look at it and tell me whether you're convinced or not. The motivation is here (with me), I just need to get it across!&#xD;&#xA;&#xD;&#xA;Thanks a lot!&#xD;&#xA;&#xD;&#xA;PS: please forgive my grammar, I usually am a champion at it but I'm working on a QWERTY keyboard so I'll have to do a pass with the character map to correct all the accents issues. Let's focus on the content :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4192" PostHistoryTypeId="1" PostId="2368" RevisionGUID="3bf98e8c-26ac-4623-b8e7-b81f730d261b" CreationDate="2010-07-29T09:52:38.030" UserId="219" Text="To francophone users: would you give me feedback on my covering letter?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4193" PostHistoryTypeId="3" PostId="2368" RevisionGUID="3bf98e8c-26ac-4623-b8e7-b81f730d261b" CreationDate="2010-07-29T09:52:38.030" UserId="219" Text="&lt;feedback&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4194" PostHistoryTypeId="2" PostId="2369" RevisionGUID="15c2985d-9a22-4181-85e1-b3b70d58deb1" CreationDate="2010-07-29T09:56:55.123" UserId="402" Text="I'm trying to find a place where I can hire some better quality shotgun mics from for a short project in the UK. &#xD;&#xA;&#xD;&#xA;Curently the best I can find is a 416. Does anyone know or recomend a place where I could hire a Sanken css-5 or Senhiser MKH 70 or equivalent?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Andrew " ContentLicense="CC BY-SA 2.5" />
  <row Id="4195" PostHistoryTypeId="1" PostId="2369" RevisionGUID="15c2985d-9a22-4181-85e1-b3b70d58deb1" CreationDate="2010-07-29T09:56:55.123" UserId="402" Text="Can anyone recomend a place to hire high quality shotgun mics in the UK?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4196" PostHistoryTypeId="3" PostId="2369" RevisionGUID="15c2985d-9a22-4181-85e1-b3b70d58deb1" CreationDate="2010-07-29T09:56:55.123" UserId="402" Text="&lt;microphone&gt;&lt;field-recording&gt;&lt;hardware&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4197" PostHistoryTypeId="4" PostId="2368" RevisionGUID="ec07587d-d946-42c6-9ed7-cac60ac5fe69" CreationDate="2010-07-29T10:18:07.120" UserId="219" Comment="edited title; edited title" Text="To francophone users: would you, please, give me feedback on my covering letter?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4198" PostHistoryTypeId="2" PostId="2370" RevisionGUID="3d4a9c5b-124d-4b01-a9ca-05b47f11c1c3" CreationDate="2010-07-29T10:54:44.933" UserId="142" Text="Hi Try Richmond film services, for the Sennheiser MKH70 they charge £12 day rate or £48 per week. They have a real good selection of mics by the look of it including CMIT5Us and pretty much anything else you will need. [http://www.richmondfilmservices.co.uk][1] Hope this helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.richmondfilmservices.co.uk" ContentLicense="CC BY-SA 2.5" />
  <row Id="4199" PostHistoryTypeId="2" PostId="2371" RevisionGUID="4fb31168-cbba-4324-a62e-7c314c0f8294" CreationDate="2010-07-29T12:45:28.977" UserId="373" Text="I recommend Visual Impact - they have outlets in Cardiff, Bristol, London and pretty much everywhere else:&#xD;&#xA;&#xD;&#xA;http://www.visuals.co.uk/&#xD;&#xA;&#xD;&#xA;Always been very impressed with their service." ContentLicense="CC BY-SA 2.5" />
  <row Id="4200" PostHistoryTypeId="5" PostId="2359" RevisionGUID="1d34fb00-e30f-41e8-8ef8-ac563d52106e" CreationDate="2010-07-29T13:39:58.773" UserId="194" Comment="-corrected verbiage" Text="I'm looking into putting together a rig that can really capture ultrasonic frequencies for the purposes of varispeeding down during sound design, and I'd like a little input from those of you who have experience in such things.&#xD;&#xA;&#xD;&#xA;Most mics preamps and A/D converters really don't list specs above 20kHz, and I'm not entirely up to date on the science of the stuff, so any resources you can direct me to would be appreciated.&#xD;&#xA;&#xD;&#xA;Ok, Questions;&#xD;&#xA;&#xD;&#xA; 1. Am I correct in assuming that the biggest hardware obstacle to recording sounds above 20k is generally just the microphone (not the pre or D/A)?&#xD;&#xA; 2. how well would the preamp and A/D of say a 744t handle supersonic frequencies (if recording with an appropriate mic)?&#xD;&#xA; 3. How about a lower end recorder like a Zoom H4n (again, with appropriate mic)?&#xD;&#xA; 4. What pitfalls should be avoided when processing high sample rate files with supersonic frequencies in them?  If I take a file and just trim heads and tails in a two track editor like Izotope RX, will I ruin it or will it handle it?&#xD;&#xA;&#xD;&#xA;that's pretty much it.  Any input on specific mics and recording devices would be appreciated.  I'm considering the earthworks mic, but I'm not married to anything right now.&#xD;&#xA;&#xD;&#xA;thx!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4201" PostHistoryTypeId="4" PostId="2359" RevisionGUID="1d34fb00-e30f-41e8-8ef8-ac563d52106e" CreationDate="2010-07-29T13:39:58.773" UserId="194" Comment="-corrected verbiage" Text="re: recording ultrasonic frequencies" ContentLicense="CC BY-SA 2.5" />
  <row Id="4202" PostHistoryTypeId="2" PostId="2372" RevisionGUID="8b4fbafd-b3d0-457a-8ea1-06d4793bdfc2" CreationDate="2010-07-29T14:31:41.530" UserId="2" Text="Seems spot on to me! Well done. If you are aiming to work your way up to becoming a sound editor (as you mention) but within the company rather than in general, it might be worth adding a little on your DAW or general sound software proficiencies. Also a bit on your practical experience if you have. Not sure though, up to you. &#xD;&#xA;&#xD;&#xA;I wish you all the best with your application! They'd be stupid not to hire you :-) " ContentLicense="CC BY-SA 2.5" />
  <row Id="4203" PostHistoryTypeId="2" PostId="2373" RevisionGUID="3b6adbe4-ef50-4f57-bdad-3f16a0100cb1" CreationDate="2010-07-29T15:27:45.887" UserId="315" Text="I'm using the Sennheiser mkh8050 to record at 192 with my Sound Devices 722. This mic is also rated out to 50kHz, but it's a little more affordable than the Sennheiser mkh800 or the Sanken CO-100k (which I'd love to check out someday...that company is really pushing boundaries with their unique mic design...anybody tried their contact mic that supposed to be able to pick up the sound of ant footsteps?). We also have a couple Neumann Solution D mics where I work and I've tried it with them too going direct digital into ProTools.&#xD;&#xA;&#xD;&#xA;Recording at 192kHz and pitching down is certainly fun, but a bit overrated to my ears...(unless you're sound designing for dolphins or dogs). It's certainly not the holy grail to making recordings sound huge. You're much better off finding things to record that sound huge in the first place. But what do I know...I still like the sound of pitch shifting via 2-inch tape.&#xD;&#xA;&#xD;&#xA;It does work very well on sounds that speak in the high frequencies, like metal, or glass, but not on everything. Pitching this way often requires a ton of corrective EQ in the mastering stage to make a sound spectrally balanced again...as most mics aren't flat above 21kHz. There's also a lot of strange high frequency hash/harmonics that rear there ugly head when you pitch down, especially on machines. &#xD;&#xA;&#xD;&#xA;But experiment and push the boundaries of sound...that's the fun in what we do." ContentLicense="CC BY-SA 2.5" />
  <row Id="4204" PostHistoryTypeId="5" PostId="2373" RevisionGUID="73775478-e1b9-40b5-8c72-d508b78239ec" CreationDate="2010-07-29T16:25:08.287" UserId="61" Comment="spelling, grammar" Text="I'm using the Sennheiser mkh8050 to record at 192 with my Sound Devices 722. This mic is also rated out to 50kHz, but it's a little more affordable than the Sennheiser mkh800 or the Sanken CO-100k (which I'd love to check out someday...that company is really pushing boundaries with their unique mic design...anybody tried their contact mic that supposed to be able to pick up the sound of ant footsteps?). We also have a couple Neumann Solution D mics where I work and I've tried it with them too going direct digital into ProTools.&#xD;&#xA;&#xD;&#xA;Recording at 192kHz and pitching down is certainly fun, but a bit overrated to my ears...(unless you're sound designing for dolphins or dogs). It's certainly not the holy grail to making recordings sound huge. You're much better off finding things to record that sound huge in the first place. But what do I know...I still like the sound of pitch shifting via 2-inch tape.&#xD;&#xA;&#xD;&#xA;It does work very well on sounds that speak in the high frequencies, like metal, or glass, but not on everything. Pitching this way often requires a ton of corrective EQ in the mastering stage to make a sound spectrally balanced again...as most mics aren't flat above 21kHz. There's also a lot of strange high frequency hash/harmonics that rear their ugly head when you pitch down, especially on machines. &#xD;&#xA;&#xD;&#xA;But experiment and push the boundaries of sound...that's the fun in what we do." ContentLicense="CC BY-SA 2.5" />
  <row Id="4205" PostHistoryTypeId="2" PostId="2374" RevisionGUID="cd4530c8-0234-4263-8c13-0bf9c7b9acce" CreationDate="2010-07-29T16:50:18.607" UserId="468" Text="looking at getting one, anyone used it sound quality good for home recordings?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4206" PostHistoryTypeId="1" PostId="2374" RevisionGUID="cd4530c8-0234-4263-8c13-0bf9c7b9acce" CreationDate="2010-07-29T16:50:18.607" UserId="468" Text="Anyone used a Sanken CS-2?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4207" PostHistoryTypeId="3" PostId="2374" RevisionGUID="cd4530c8-0234-4263-8c13-0bf9c7b9acce" CreationDate="2010-07-29T16:50:18.607" UserId="468" Text="&lt;sanken&gt;&lt;review&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4208" PostHistoryTypeId="2" PostId="2375" RevisionGUID="54b7f80f-b4b9-4f53-9251-58eb3d977248" CreationDate="2010-07-29T17:42:19.737" UserId="219" Text="Still in relation to my application at Dubbing Brothers to work at the e-delivery service, I'd like to know if anyone has ever worked there/with them. I'm looking for information on the specifics of this position. They are receiving the video and audio material and preparing it for post, but what does this actually include? Telecine? File naming? I think that video goes through a lot more beforehand processing than audio, but I'd like to have your testimonies. What is it like to &quot;prepare the material for post&quot;?&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4209" PostHistoryTypeId="1" PostId="2375" RevisionGUID="54b7f80f-b4b9-4f53-9251-58eb3d977248" CreationDate="2010-07-29T17:42:19.737" UserId="219" Text="e-delivery service in post house? what do they do?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4210" PostHistoryTypeId="3" PostId="2375" RevisionGUID="54b7f80f-b4b9-4f53-9251-58eb3d977248" CreationDate="2010-07-29T17:42:19.737" UserId="219" Text="&lt;material&gt;&lt;preparation&gt;&lt;post-production&gt;&lt;facility&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4211" PostHistoryTypeId="5" PostId="2360" RevisionGUID="52644e16-178f-418d-b902-01c738d82c3b" CreationDate="2010-07-29T17:58:37.333" UserId="432" Comment="test results" Text="We have a couple of Earthworks mics at work, and they are excellent. They will not be a poor investment.&#xD;&#xA;&#xD;&#xA;You may or may not be correct in your assumptions regarding mics and pre's, perhaps someone else here will know. Of course, don't forget Nyquist. You're only going to be able to accurately capture frequencies that are 1/2 of your sampling rate.&#xD;&#xA;&#xD;&#xA;I'll run a test tomorrow with our 744T and one of our Earthworks mics that (either QTC30 or SR30) and let you know if I get anything interesting.&#xD;&#xA;&#xD;&#xA;***Update:*** I was able to do some quick tests today while waiting for the video editors to get me some footage to finish off yet another test. You can find a description of what I did, some audio clips, and spectral analyses on my [website][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynamicinterference.com/2010/07/29/recording-ultrasonic-audio/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4212" PostHistoryTypeId="2" PostId="2376" RevisionGUID="c6dd0a44-34be-4010-b0ab-c5ab9d6c9ad7" CreationDate="2010-07-29T19:15:14.243" UserId="90" Text="&gt; Am I correct in assuming that the&#xD;&#xA;&gt; biggest hardware obstacle to recording&#xD;&#xA;&gt; sounds above 20k is generally just the&#xD;&#xA;&gt; microphone (not the pre or D/A)?&#xD;&#xA;&#xD;&#xA;No, it's the hardware between the mic and the ADC, or the ADC's internal digital filtering, whichever cuts off first.  &#xD;&#xA;&#xD;&#xA;I believe most ADCs use digital filters that scale with the sampling frequency (the sigma-delta ADC datasheet I'm looking at does, at least).  So recording at 96 kHz will let the ADC go up to ~48 kHz, for instance.  But if the hardware before the ADC is rolling off before this, then those frequencies won't get to the ADC to be sampled, and you'd have to modify the analog hardware to raise the cut-off frequency." ContentLicense="CC BY-SA 2.5" />
  <row Id="4213" PostHistoryTypeId="5" PostId="2376" RevisionGUID="2f2c541b-1a2c-4daf-ae6e-f84551e53f20" CreationDate="2010-07-29T19:22:10.823" UserId="90" Comment="added 90 characters in body" Text="&gt; Am I correct in assuming that the&#xD;&#xA;&gt; biggest hardware obstacle to recording&#xD;&#xA;&gt; sounds above 20k is generally just the&#xD;&#xA;&gt; microphone (not the pre or D/A)?&#xD;&#xA;&#xD;&#xA;No, it's the hardware between the mic and the ADC, or the ADC's internal digital filtering, whichever cuts off first.  &#xD;&#xA;&#xD;&#xA;I believe most ADCs use digital filters that scale with the sampling frequency (the sigma-delta ADC datasheet I'm looking at does, at least).  So recording at 96 kHz will let the ADC go up to ~48 kHz, for instance.  But if the hardware before the ADC is rolling off before this, then those frequencies won't get to the ADC to be sampled, and you'd have to modify the analog hardware to raise the cut-off frequency.&#xD;&#xA;&#xD;&#xA;The 744t specifies &quot;10 Hz–40 kHz, +0.1, −0.5 dB&quot;, so it will let you go to 40 kHz.  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4218" PostHistoryTypeId="2" PostId="2379" RevisionGUID="27eb039a-7c9a-4355-a7ea-d575d9ae2b7c" CreationDate="2010-07-29T21:50:02.673" UserId="469" Text="I worked at a movie and television advertising company for three years where I learned a little bit about how this works in that arena.  My knowledge is probably rudimentary and may not be applicable to your arena but I think it will be helpful anyway.  &#xD;&#xA;&#xD;&#xA;I agree with birdhousesound don't ever use anything without permission!!  If you get permission get it in writing.  As for VO talent getting residuals for the sounds: most VO contracts for are made so that the company hiring the talent can only use the VO for not only that particular project but for that particular version of trailer, tv spot, sizzle, promo, etc.  Companies can get in serious trouble for trying to get a VO actor to say a line that is for another project or script for an alternate version but it happens all the time anyway probably unbeknownst to the VO actor many times.  &#xD;&#xA;&#xD;&#xA;As for the SFX used in tv spots and trailers, there are residuals and they are very fat for the limited few at the top of the game!!!!!  Robert Etoll is a giant in this field; I would say almost every tv spot or trailer you see will have at least one (if not 30) Robert Etoll sfx.  How do sound designers get these residuals?  Well every spot and trailer is submitted with a cue sheet that a music supervisor assembles which must contain every music cue and sound effect used.  I'm not exactly where that gets submitted (maybe the MPA) but someone goes over it with the project file and makes sure nothing is left out.  The studio hiring the ad agency pays the bill in the end and some of these simple sfx cost around the 10K mark (most are between $500-$3000).  And that's for everytime you use it!  One trailer we worked on had this one gunshot sound 11 different times so the sound designer got paid 11 times on each version that was released! I am pretty sure that you don't get paid every time the spot plays (maybe someone can chime in), rather you pay the high license fee to be able to use the sfx for that particular version of that spot.  So if their is an alt where they change one line in the spot but keep all the sfx the same, you get paid for both!! Many popular libraries are royalty free once you buy the library itself (Sound Designers Toolkit, I think Hollywood Edge?)  I'd love it if someone had more information and details on how they do keep track of paying the sound designers..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4219" PostHistoryTypeId="2" PostId="2380" RevisionGUID="fb5c0076-ce0f-48a1-bc72-130d52761a4c" CreationDate="2010-07-29T22:23:16.447" UserId="469" Text="I am no expert but preparing material for post is kind of vague since there are so many aspects to it.  Receiving video and audio material gives a better hint since we know we are not dealing with film so no telecine is involved I would guess.  (Unless they are doing film transfers to tape.)  &#xD;&#xA;&#xD;&#xA;For many/most purposes people edit offline with lower resolution video files.  Their are exceptions to this as their are many editing in HD with souped up AVID systems and the like.  I guess you would probably be digitizing the video and converting to the specifications of the client. You might also have to prep stems from multi-track recordings (DIA, MX, FX) depending how the material is received.  You might have to create an OMF, EDL, Pro Tools session, etc. too depending on the client. &#xD;&#xA;&#xD;&#xA;I think the 'e-delivery part' might mean that you post the files to a private FTP that the client can download.  The ftp has to be fast and the clients download speed does as well for this to work successfully if you are transferring a lot of data otherwise the data is usually just driven by a runner.  Once the picture and sound are locked, they are sent to finishing.  This is where they conform all of the shots by digitizing the same shots of the low-res cutting copy in high-res using the EDL.  The processing comes in after they have a conform usually not beforehand (the systems that add effects and do color correction etc, are very expensive and usually only used in the final stages for budgetary reasons.)  Often the sound and picture are sent to different finishing houses for various reasons, only to be matched up in the final conform.  Research online and offline editing for more details.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4223" PostHistoryTypeId="2" PostId="2381" RevisionGUID="8ffcad42-2a19-4001-bae5-e4df209c0a7f" CreationDate="2010-07-30T09:08:05.320" UserId="471" Text="Hi Justin, there are a few &quot;fautes de conjugaison&quot; in your letter... I just copy-paste the good one if you don't mind.&#xD;&#xA;&#xD;&#xA;&quot;Dubbing Brothers est un studio où je pourrai**S** exprimer mes qualités organisationnelles et mes connaissances techniques au service d’une équipe expérimentée. Vous m’offrir**I**ez l’opportunité d’un premier contact avec l’industrie du cinéma que j’investirai**S** pleinement. Si vous considérez ma candidature pour ce poste, je serai**S** heureux de me montrer à la hauteur de votre confiance. Je me tiens à votre disposition pour tout renseignement supplémentaire. Je vous prie de croire, Madame, en l’expression de mes sincères salutations.&#xD;&#xA;&#xD;&#xA;Besides, I know them quite good, and you could also say how much you like to work with actors and how sound editing is important to you in the final quality of a project.&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;Sam" ContentLicense="CC BY-SA 2.5" />
  <row Id="4224" PostHistoryTypeId="2" PostId="2382" RevisionGUID="38a17880-8098-4a47-8682-2a7815bb9cee" CreationDate="2010-07-30T10:18:30.433" UserId="471" Text="I used a DPA 4060 and a condom filled with air to waterproof the mic. &#xD;&#xA;It worked pretty well...&#xD;&#xA;It positionned the mic approximately 10 cm under the surface of the water.&#xD;&#xA;However I only used that to record motor boats and splashes for I didn't need much sensitivity because even under water it makes a lot of noise... The audio material resulting was good enough to be usable...&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;Peace.&#xD;&#xA;&#xD;&#xA;Sam." ContentLicense="CC BY-SA 2.5" />
  <row Id="4225" PostHistoryTypeId="2" PostId="2383" RevisionGUID="b2f9c297-ec6e-4764-b059-393c089379b0" CreationDate="2010-07-30T10:23:52.703" UserId="471" Text="Mentionned above Soundreplacer + beatdetective works pretty well in protool, I also think about drumagog (www.drumagog.com) which I find a lot more efficient as a trigger." ContentLicense="CC BY-SA 2.5" />
  <row Id="4226" PostHistoryTypeId="2" PostId="2384" RevisionGUID="bf955b36-cf8e-424f-8653-6fda5096aa77" CreationDate="2010-07-30T11:02:25.403" UserId="471" Text="Hi, if you want to sample IRs you HAVE to use the DRE777 on the field and the optionnal &quot;self sampling CD-Rom&quot; from Sony...&#xD;&#xA;&#xD;&#xA;I'm pretty sure there are no other options to do it...&#xD;&#xA;&#xD;&#xA;hope this helps" ContentLicense="CC BY-SA 2.5" />
  <row Id="4227" PostHistoryTypeId="2" PostId="2385" RevisionGUID="213df9d0-c133-4b6c-89f2-e597f310609f" CreationDate="2010-07-30T12:18:16.803" UserId="54" Text="Hello.&#xD;&#xA;&#xD;&#xA;I'm looking into getting a Rode NT4 stereo microphone for sound collection very soon. Due to me saving for my next purchase (a Tascam HDP2 I'm thinking) I'm looking to get the proper gear to record outside. This will no doubt include a blimp for this mic and a shotgun mic I want to eventually get too. I do realise blimps are great for eliminating so much wind and handling noise. I will probably be getting one either from Rycote or Rode.&#xD;&#xA;&#xD;&#xA;But I'm curious... Is there an alternative to a blimp? I realise there is pistol grips out there, but on my searching I'm not sure they're the right thing? I've looked at Rycote who do mini wind jammers for the Rode NT4 and I'm wanting to hold the mic, without a boom or stand. &#xD;&#xA;&#xD;&#xA;Another thing is that some sounds I want to record will be in public places (pubs, schools, churches) where I'm not wanting to stand out too much with a massive blimp etc. I like the idea of something more handheld (which still eliminates handling noise) for situations like that. Also for when I can't travel with my blimp.&#xD;&#xA;&#xD;&#xA;Any ideas on something like a pistol grip or a similar hand held solution for my Rode NT4? ...most I've seen only seem to fit shotgun microphones.&#xD;&#xA;&#xD;&#xA;Thank you." ContentLicense="CC BY-SA 2.5" />
  <row Id="4228" PostHistoryTypeId="1" PostId="2385" RevisionGUID="213df9d0-c133-4b6c-89f2-e597f310609f" CreationDate="2010-07-30T12:18:16.803" UserId="54" Text="An alternative to a blimp? (...a small pistol grip for example?)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4229" PostHistoryTypeId="3" PostId="2385" RevisionGUID="213df9d0-c133-4b6c-89f2-e597f310609f" CreationDate="2010-07-30T12:18:16.803" UserId="54" Text="&lt;rode&gt;&lt;recording&gt;&lt;portable-recorder&gt;&lt;shotgun&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4230" PostHistoryTypeId="2" PostId="2386" RevisionGUID="ec9c8b12-ecc6-4d0a-8357-00d907337970" CreationDate="2010-07-30T14:02:46.840" UserId="6411" Text="I recently went through this with my NT4 so I'm interested in hearing what others have to say here, but in the end I just went with the [Røde Blimp][1].  It's affordable, offers the wind protection that you need, the suspension that is **necessary**, and provides the option of going hand-held or attaching it to a boom pole or stand. &#xD;&#xA;&#xD;&#xA;However, if one of your main desires is to be inconspicuous while recording in public places, I'd say don't purchase an NT4.  I have one, it's a great mic.  But Blimp or not, the mic is huge, it's heavy and without an adequate suspension system it's prone to handling noise. Not exactly the best stats for a stealthy recording solution.&#xD;&#xA;&#xD;&#xA;Stealth ambience recording is something that I've been hoping to do for a while now. After going through my own research (mostly on [gearslutz][2]), I'm in the process of saving up for a pair of [DPA 4060's][3] and a suitably sized backpack. Had I thought about it more thoroughly at the outset I'd have probably waited on the NT4 and skipped ahead to the 4060's.  In my case, they would have accomplished the same end goal (recording in stereo), but with greater flexibility (stealth recording, dialog recording, plant mic, etc). So if your funds are limited, think ahead about all that you'd like to accomplish and make the purchase that can check off the most on your list first.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/accessory.php?product=Blimp&#xD;&#xA;  [2]: http://www.gearslutz.com&#xD;&#xA;  [3]: http://www.dpamicrophones.com/en/products.aspx?c=item&amp;category=128&amp;item=24035" ContentLicense="CC BY-SA 2.5" />
  <row Id="4231" PostHistoryTypeId="2" PostId="2387" RevisionGUID="c20e4dcc-5a13-4efb-bddf-317ccceb603f" CreationDate="2010-07-30T14:16:53.463" UserId="432" Text="It's been my experience that it doesn't really matter how small you go, people are going to take note of you if you're out recording audio. Sure, people will ignore a guy with a giant video camera (or perhaps be intrigued by the fact that there's one in the area), but as soon as someone realizes that the guy hanging around by himself is recording audio you're immediately suspect.&#xD;&#xA;&#xD;&#xA;I've been toying with the idea of making a hat that could hide a pair of small, decent (I know, a little counterintuitive), omni-lavs to record stereo ambiences surreptitiously. Like a pair of Countryman lavs, with the rest of the gear hidden in a backpack.&#xD;&#xA;&#xD;&#xA;Sorry. That doesn't really address your issue with the NT4. The mention of &quot;not wanting to stand out&quot; threw me into rant mode over peoples' perception of us. I don't really know of any alternative that would fit that mic. It's a little larger than you're standard field production mic." ContentLicense="CC BY-SA 2.5" />
  <row Id="4232" PostHistoryTypeId="2" PostId="2388" RevisionGUID="d7ab5832-4a11-4e14-90c9-5205cadb8cc2" CreationDate="2010-07-30T14:27:35.970" UserId="29" Text="@littlejim, the sad fact of the matter is that the whole goal of windshields is to prevent gusts of air from hitting the mic capsules. Foam shields are the smallest you can go, and yes, you can use them with a pistol grip with a suspension (as @steve-urban says, that's non-negotiable). But the weirdo-foam-thingy that ships with the NT4 is only good in winds that are ≤3mph. Anything higher and you need a zeppelin or a blimp. Absolutely not stealthy, but necessary. I've found the blimp fine if I'm not moving and I can brace my arms. If I can't, it goes on a monopod or a tripod (I prefer the latter because your arm can cause the monopod to rotate, wreaking havoc with the stereo image).&#xD;&#xA;&#xD;&#xA;To answer your question directly, though, all you need to mount your NT4 in the field is a pistol grip suspension mount with clips big enough to hold the NT4. If you're not sure, call your dealer and ask. The wind is&#xD;&#xA;&#xD;&#xA;I also own a pair of DPA 4060's for stealth recording. They're wonderful, but you just need to think about your technique to get good stereo imaging, since they're omnis: binaural vs. Jecklin disk vs. spaced pair, etc. But those various technique makes it fun to fiddle with. Definitely not great for rural or nature recording, but killer for urban or indoor ambiences.&#xD;&#xA;&#xD;&#xA;With hardware cloth/chicken wire and fake fur, you can make your own windscreen, but that may look funkier than a blimp with a dead cat. Especially if, like me, you opt for fluorescent orange fake fur. :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4233" PostHistoryTypeId="2" PostId="2389" RevisionGUID="71e3e0a1-8344-4f71-9700-03ef301c69f3" CreationDate="2010-07-30T14:38:04.140" UserId="469" Text="Just ordered a 702 for sfx recording and was wondering if anyone else finds it helpful to pair it with a mixer.  It seems slightly unnecessary although I know it could be useful for certain applications.  I am recording with a M/S setup.  Any thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4234" PostHistoryTypeId="1" PostId="2389" RevisionGUID="71e3e0a1-8344-4f71-9700-03ef301c69f3" CreationDate="2010-07-30T14:38:04.140" UserId="469" Text="Anyone using a SD 702 with a SD mixer?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4235" PostHistoryTypeId="3" PostId="2389" RevisionGUID="71e3e0a1-8344-4f71-9700-03ef301c69f3" CreationDate="2010-07-30T14:38:04.140" UserId="469" Text="&lt;702&gt;&lt;sound&gt;&lt;devices&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4236" PostHistoryTypeId="2" PostId="2390" RevisionGUID="43964c35-6fcf-440b-99f7-ebef5153f360" CreationDate="2010-07-30T15:33:28.823" UserId="132" Text="The 702 has a built in MS matrix which is highly flexible.  You can decode to your headphones or to &quot;tape&quot;.  You shouldn't need it if you are just recording 2 channels.  That said, I often use the my Sound Devices MP-2 (which has been replaced by the Mix Pre) for channels 3 and 4 on my 744T and I actually find the pres a little more pleasing.&#xD;&#xA;&#xD;&#xA;Michael Raphael&lt;br&gt;&#xD;&#xA;http://rabbitearsaudio.com&lt;br&gt;&#xD;&#xA;http://sepulchra.com/blog/&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4237" PostHistoryTypeId="2" PostId="2391" RevisionGUID="5c97638f-15a1-4f67-b3ff-29f1095d8528" CreationDate="2010-07-30T16:01:37.017" UserId="29" Text="I agree with Michael: A 702 for mid-side is enough. That's exactly what I use. The only reason you'd really need a mixer is to mix in more channels or to have better ergonomics and immediacy for riding levels. There are a lot of other reasons to have a 2+ channel SD mixer lying around (pairing with small hand-held recorders like the PCM-D50 or H4n, etc.), but not for what you're aiming to do!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4238" PostHistoryTypeId="2" PostId="2392" RevisionGUID="48243fb3-ed32-4afb-82df-893a6708739b" CreationDate="2010-07-30T16:12:56.340" UserId="37" Text="If you hold the mic with your hand, on really quiet recordings you might get handling noise, and even noise from your joints, as you move. On the other hand, a softie does not completely address the problem with wind - with certain microphones wind will enter through the connector at the back of the mic (i cannot explain why/how). &#xD;&#xA;&#xD;&#xA;Regarding covert recording, a lot of it is down to your own behaviour. The higher quality recording it *looks* as if you're taking, the more people will freak out. Amateur-looking gear of otherwise great quality has worked for me on more than one occasion. Miniature microphones on backpack (gear inside) is indeed one of the better working field setups.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4239" PostHistoryTypeId="2" PostId="2393" RevisionGUID="08b2e415-f4a3-42e4-a4b3-0790788b1a78" CreationDate="2010-07-30T17:40:29.187" UserId="472" Text="Hi, I'm a young sound designer about to finish high school and i'd like to know what schools have the most reputable programs. Any suggestions?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4240" PostHistoryTypeId="1" PostId="2393" RevisionGUID="08b2e415-f4a3-42e4-a4b3-0790788b1a78" CreationDate="2010-07-30T17:40:29.187" UserId="472" Text="In search of sound schools" ContentLicense="CC BY-SA 2.5" />
  <row Id="4241" PostHistoryTypeId="3" PostId="2393" RevisionGUID="08b2e415-f4a3-42e4-a4b3-0790788b1a78" CreationDate="2010-07-30T17:40:29.187" UserId="472" Text="&lt;school&gt;&lt;career&gt;&lt;education&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4242" PostHistoryTypeId="2" PostId="2394" RevisionGUID="c572ce98-c393-4a2d-9cbe-77b0fbf0c3cd" CreationDate="2010-07-30T18:21:52.283" UserId="331" Text="Quick Q for you guys - I'm looking at a new wind protection system for use with a Sanken CS-1 (subject to change mind you, might swap for a hyper cardioid at some point..) for SFX collection.  Anyway, much as I'd love a Rycote full kit, I think I'd be better spreading my money about a bit so I'm either looking at The Rode Blimp, Rycote Baby Ball with pistol grip or maybe the rycote S-system.&#xD;&#xA;&#xD;&#xA;I'm guessing zeppelin + soft windshield cover is best over just a soft windshield but always open to opinions.  Basically its for use with a pistol grip or tripod, indoors and outdoors and for the forseable future only needs to accommodate a mono mic and will be replacing my current homemade one.&#xD;&#xA;&#xD;&#xA;I'm veering to the Rode just for the screaming value and good protection it offers....will be demoing whatever I can in a few weeks&#xD;&#xA;Thanks " ContentLicense="CC BY-SA 2.5" />
  <row Id="4243" PostHistoryTypeId="1" PostId="2394" RevisionGUID="c572ce98-c393-4a2d-9cbe-77b0fbf0c3cd" CreationDate="2010-07-30T18:21:52.283" UserId="331" Text="Wind Protection - options" ContentLicense="CC BY-SA 2.5" />
  <row Id="4244" PostHistoryTypeId="3" PostId="2394" RevisionGUID="c572ce98-c393-4a2d-9cbe-77b0fbf0c3cd" CreationDate="2010-07-30T18:21:52.283" UserId="331" Text="&lt;wind-protection&gt;&lt;gear&gt;&lt;recommendations&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4245" PostHistoryTypeId="2" PostId="2395" RevisionGUID="45b33096-150d-4237-a09c-3b4861a3ebd1" CreationDate="2010-07-30T18:39:15.087" UserId="61" Text="I attending [Berklee College of Music][1] and majored in Music Production &amp; Engineering. It's only gotten better since I was there, and I highly recommend it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.berklee.edu/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4246" PostHistoryTypeId="2" PostId="2396" RevisionGUID="e8fd5507-b564-4ad2-91e2-f6ea808ffc0c" CreationDate="2010-07-30T18:41:29.897" UserId="285" Text="I recently did some recording in Iceland of some geysers and some other sounds unique to the island and I used the Rode blimp and was very happy with it.  Iceland is a very windy place and the blimp held its own against some fierce winds.  Plus for the price you are getting a lot of value.  The one thing that is a bit of a pain is the hole where the mic cable goes into the body is at the seam where the end caps come screw on/off and to get a tight seal in this hole it has a little piece of rubber that fills in the space around the cable and I have dropped this tiny little thing a bunch of times.  This leads to a few minutes on your knees looking for where this little piece bounced to. With out it the cable can rattle around a bit in the hole so if it goes AWOL you have to be much more careful with movement when recording. Other then that the blimp has been great.&#xD;&#xA;&#xD;&#xA;I have used the Rycote S-system very briefly and it seems to be an OK device but not very adaptable as it is what it is.  I would go for a softie to start and then save up for a full Rycote system if you want to go the Rycote route.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4247" PostHistoryTypeId="2" PostId="2397" RevisionGUID="df925f5e-6191-4bd1-b72c-0c943457e148" CreationDate="2010-07-30T19:22:33.070" UserId="285" Text="I have had some great success getting urban ambiences using hand held recorders (zoom H4).  The quality might not match what you can get with a full rig but the actual recording sound more natural because the people in the environment your are recording behave normally instead of reacting to seeing the big mic pointing at the room.  I have found the people either leave or stop doing anything as soon as you through up a mic.  In terms of wind isolation check out this video on how to make a great windshield for pretty cheap and fairly easily.&#xD;&#xA;http://www.youtube.com/watch?v=SudmkbL06zg&#xD;&#xA;&#xD;&#xA;In terms of the NT4 as others have mentioned you need a pistol grip with shock mount at minimum.  And it does get heavy so a tripod is your best bet.  All of that does not really help in the stealth department though.&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="4248" PostHistoryTypeId="2" PostId="2398" RevisionGUID="da7665c3-5a93-4bd2-b2c1-93aba75e2473" CreationDate="2010-07-30T19:51:30.310" UserId="298" Text="i tried to record a underwater sounds in my bath, with prepared cheap dinamic mic Audiotechnica covered in a celophane bag and scotchtape over it haha - and the record was awfull - very noisy. But know after some cleaning it sounds not so bad.&#xD;&#xA;&#xD;&#xA;If i would buy any real hydrophone... " ContentLicense="CC BY-SA 2.5" />
  <row Id="4249" PostHistoryTypeId="2" PostId="2399" RevisionGUID="e1b7af7a-d3f8-4240-96f0-c6114c169292" CreationDate="2010-07-30T20:11:09.130" UserId="331" Text="The Sony PCM-M10 is a great box for discrete public recording, even with a wind cover its still a lot more inconspicuous than a big blimp or pointy things (the Zoom H4n and Rode NT4 look a bit mad on first viewing, a bit tazer'ish!)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4250" PostHistoryTypeId="2" PostId="2400" RevisionGUID="35df9fb8-ce1a-4312-95ad-865d92b7aae9" CreationDate="2010-07-30T21:28:35.567" UserId="285" Text="I have been thinking about upgrading my stock SFX library for a little bit now and I am not sure which way to go.  Blastwave sets you up for a long future between the high bit and sample rates (as well as the free updates) but the sound storm library is bigger so you get more for your money.&#xD;&#xA;&#xD;&#xA;Sound Storm -  $6000 for 50870SFX = 12cents per&#xD;&#xA;Blastwave Blastdrive - $5999 for 31900SFX = 19 cents per &#xD;&#xA;&#xD;&#xA;Anyone out there have them both that can give a head to head opinion?  &#xD;&#xA;&#xD;&#xA;On another note quickly: I recently bought a Library called Cinematic Metal Construction Kit from a new company called Boom.  They have amazing costumer service.  I had a small problem with my download of the library and they answered my email within about 5 minutes and helped me out right away.  What I did not realize is that they are in Germany and were helping me out so quickly at midnight local time.  I have only had it a day or two but it sounds like it will be a lot of fun have in the arsenal to make things big and terrifying. Used it to bulk up a trucks bouncing suspension as it raced over potholes to great effect." ContentLicense="CC BY-SA 2.5" />
  <row Id="4251" PostHistoryTypeId="5" PostId="2396" RevisionGUID="68fcf9e1-4948-4a79-8335-11d5b78e12b4" CreationDate="2010-07-30T21:32:56.557" UserId="285" Comment="added 8 characters in body" Text="I recently did some recording in Iceland of some geysers and some other sounds unique to the island and I used the Rode blimp and was very happy with it.  Iceland is a very windy place and the blimp held its own against some fierce winds.  Plus for the price you are getting a lot of value.  The one thing that is a bit of a pain is the hole where the mic cable goes into the body is at the seam where the end caps come screw on/off. To get a tight seal in this hole the Blimp comes with a little piece of rubber that fills in the space around the cable. I have dropped this tiny little thing a bunch of times.  This leads to a few minutes on your knees looking for where this little piece bounced to. With out it the cable can rattle around a bit in the hole so if it goes AWOL you have to be much more careful with movement when recording. Other then that the blimp has been great.&#xD;&#xA;&#xD;&#xA;I have used the Rycote S-system very briefly and it seems to be an OK device but not very adaptable as it is what it is.  I would go for a softie to start and then save up for a full Rycote system if you want to go the Rycote route.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4252" PostHistoryTypeId="2" PostId="2401" RevisionGUID="febb8970-2f50-4fab-92f1-4c3b83d2a17a" CreationDate="2010-07-30T22:17:03.140" UserId="469" Text="[LINK TO COOL TOY](http://cgi.ebay.com/TURBO-SPOKE-Make-Bicycle-Sound-Like-Motorbike-FREE-SHIP-/130406992342?cmd=ViewItem&amp;pt=LH_DefaultDomain_0&amp;hash=item1e5cdcc9d6#ht_739wt_1139)." ContentLicense="CC BY-SA 2.5" />
  <row Id="4253" PostHistoryTypeId="1" PostId="2401" RevisionGUID="febb8970-2f50-4fab-92f1-4c3b83d2a17a" CreationDate="2010-07-30T22:17:03.140" UserId="469" Text="Am I weird for wanting to buy this to record?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4254" PostHistoryTypeId="3" PostId="2401" RevisionGUID="febb8970-2f50-4fab-92f1-4c3b83d2a17a" CreationDate="2010-07-30T22:17:03.140" UserId="469" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4255" PostHistoryTypeId="2" PostId="2402" RevisionGUID="bfaa9be3-a2fc-40a0-9cf8-9558acd355ab" CreationDate="2010-07-30T22:17:52.210" UserId="62" Text="I was never in a position to afford a library when I was freelancing and relied on recording my own sounds or used http://sound-effects-library.com at the time.&#xD;&#xA;&#xD;&#xA;Where I work now we (over) use the Sound Ideas [6000][1] and [8000][2] libraries and DigiEffects. They do seem wide ranging and are very useful. They must be popular as I am forever spotting them in films and TV (just this evening the new Sherlock tv show on BBC had the metal footsteps from 6000).&#xD;&#xA;&#xD;&#xA;I have to say I've become a big fan of the prosumer libraries, really good recordings, cheap and a great basis for manipulating to create your own required sounds. Also they appear to be scarily well timed for when I need those sounds.&#xD;&#xA;&#xD;&#xA;  [1]: http://sound-ideas.com/6000.html&#xD;&#xA;  [2]: http://sound-ideas.com/8000.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="4256" PostHistoryTypeId="5" PostId="2395" RevisionGUID="c0a37f2e-bfc2-4fd2-baf8-92753537d853" CreationDate="2010-07-30T22:30:55.843" UserId="61" Comment="additional information; deleted 8 characters in body" Text="I attending [Berklee College of Music][1] and majored in Music Production &amp; Engineering. It's only gotten better since I was there, and I highly recommend it.&#xD;&#xA;&#xD;&#xA;Although the college is in Boston, MA, they have a comprehensive curriculum available online.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.berklee.edu/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4257" PostHistoryTypeId="2" PostId="2403" RevisionGUID="4b4a9c64-682b-4b76-86b3-fbf23890d71e" CreationDate="2010-07-30T22:45:29.307" UserId="2" Text="Never! It seems awesome. And it's only 20 bucks. Please post the sound when you get it :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4258" PostHistoryTypeId="6" PostId="2389" RevisionGUID="6fcbab9b-6bd2-4b09-b54f-a2998aad2960" CreationDate="2010-07-30T22:47:36.277" UserId="2" Comment="tags" Text="&lt;702&gt;&lt;sound-devices&gt;&lt;mixer&gt;&lt;gear&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4259" PostHistoryTypeId="2" PostId="2404" RevisionGUID="be88b09d-bbb9-40a1-acdc-ddc1deb1da7d" CreationDate="2010-07-30T23:11:34.587" UserId="238" Text="Awesome! I want one too!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4260" PostHistoryTypeId="2" PostId="2405" RevisionGUID="35913aad-c398-406a-bccd-528ec3fc0fd0" CreationDate="2010-07-30T23:25:01.063" UserId="78" Text="Ha!  When I was a boy we used to fasten a piece of cardboard on the fork of our pushbikes using an ordinary sprung clothes-peg, so that the cardboard was rattled by the spokes of the wheel as it turned.  &#xD;&#xA;&#xD;&#xA;Which made it sound *just* like a motorbike. :)&#xD;&#xA;&#xD;&#xA;Wouldn't be suprised if this is similar but with fake exhaust that just happens to act as a passive amplifer..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4261" PostHistoryTypeId="2" PostId="2406" RevisionGUID="46d8ebf8-0a73-44dc-9d40-4607ad5dfff5" CreationDate="2010-07-31T07:35:07.350" UserId="2" Text="I have always heard, and agreed that it is best not to decode the M/S while recording to be able to do it properly in post. This extra step can be a bit time consuming just to be able to monitor for the good takes. I often don't even edit my files but give them away as is, which means I don't want to add an extra layer of complications to their process (unless they want). &#xD;&#xA;&#xD;&#xA;A while back I found this awesome M/S plugin by Voxengo called [MSED][1], which has an inline decoder so that I can balance my mid and side even if it has already been decoded. I haven't noticed any decrease in quality. Have you?  &#xD;&#xA;&#xD;&#xA;Is this a 100% as good as decoding it from scratch in post? &#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.voxengo.com/product/msed/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4262" PostHistoryTypeId="1" PostId="2406" RevisionGUID="46d8ebf8-0a73-44dc-9d40-4607ad5dfff5" CreationDate="2010-07-31T07:35:07.350" UserId="2" Text="Inline M/S manipulation with Voxengo MSED" ContentLicense="CC BY-SA 2.5" />
  <row Id="4263" PostHistoryTypeId="3" PostId="2406" RevisionGUID="46d8ebf8-0a73-44dc-9d40-4607ad5dfff5" CreationDate="2010-07-31T07:35:07.350" UserId="2" Text="&lt;ms&gt;&lt;mid-side&gt;&lt;decoder&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4264" PostHistoryTypeId="2" PostId="2407" RevisionGUID="e236e917-34fb-428b-98e9-0e6f2f3aec0f" CreationDate="2010-07-31T08:20:51.510" UserId="219" Text="Well, you're definitely not weird although it's nothing authentic. I'd rather spend my $20 on gas for the guy with an actual bike who's letting you record it! At worst you can make that device yourself and try varying the materials for the tube and the card :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4265" PostHistoryTypeId="2" PostId="2408" RevisionGUID="39026b01-605d-4dc7-be22-64f6501b5956" CreationDate="2010-07-31T08:22:35.823" UserId="270" Text="I was under the impression that as long as you havent done any other processing to an MS recording you can encode/decode MS as many times as you like without any change in quality at all.&#xD;&#xA;&#xD;&#xA;Voxengo plugins are great, I use the free MSED &amp; Recorder a lot!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4266" PostHistoryTypeId="2" PostId="2409" RevisionGUID="3c0e8588-2b37-45c1-87ce-8a640322affc" CreationDate="2010-07-31T09:16:49.837" UserId="270" Text="I have used my NT4 inside my recorder bag to do some slightly covert recordings..&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.haydnpayne.com/pictures/nt4_bag.jpg&#xD;&#xA;&#xD;&#xA;Obviously it is susceptible to movement noise" ContentLicense="CC BY-SA 2.5" />
  <row Id="4267" PostHistoryTypeId="2" PostId="2410" RevisionGUID="a005a870-6472-4a81-afa9-9e4a81065404" CreationDate="2010-07-31T16:49:12.587" UserId="54" Text="Due to my seemingly more restricted budget (life is as it is and things keep popping up) I am still left very much with my current setup as is, and it looks like I cannot really purchase much else for at least a couple of months but I want to get going properly recording sounds.&#xD;&#xA;&#xD;&#xA;I currently have a MacBook Pro, a Apogee Duet (fantastic mic preamps and D/A, A/D convertors) and a Shure SM58 and a top drawer microphone, the AKG C414-XLS.&#xD;&#xA;&#xD;&#xA;I'm desperately wanting to get a portable recorder (looking at the Tascam HDP2) and a stereo microphone (most probably a Rode NT4) and shotgun and all the other bits to make up a decent sound recording rig. But as I mentioned, this isn't going to happen for a while.&#xD;&#xA;&#xD;&#xA;Though obviously just talking about it and not actually just getting on with it, is definitely an issue here! But I'm wanting to ask you guys what sort of sounds I could record best I can for use for other people to use in their multimedia projects that can be done inside, with my laptop, my audio interface and my AKG? (that microphone really is fantastic, I'm lucky to have it) ...because really I can get fantastic quality with that and the Apogee.&#xD;&#xA;&#xD;&#xA;But do sounds in sound libraries etc rarely come in just mono? Do I just be clever and record the same sound twice and layer them into stereo? What sounds can I realistically do with my current house-bound setup? I just need some ideas and some nudges in the right direction to get my imagination going.&#xD;&#xA;&#xD;&#xA;If it's anything, I use Audiofile Engineering's Wave Editor, Ableton's Live, Apple's Logic Pro and I have the Sound Toys Native Bundle of effects on my computer." ContentLicense="CC BY-SA 2.5" />
  <row Id="4268" PostHistoryTypeId="1" PostId="2410" RevisionGUID="a005a870-6472-4a81-afa9-9e4a81065404" CreationDate="2010-07-31T16:49:12.587" UserId="54" Text="What sounds can be effectively recording using just one channel (mono)?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4269" PostHistoryTypeId="3" PostId="2410" RevisionGUID="a005a870-6472-4a81-afa9-9e4a81065404" CreationDate="2010-07-31T16:49:12.587" UserId="54" Text="&lt;recording&gt;&lt;microphone&gt;&lt;sound-design&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4270" PostHistoryTypeId="2" PostId="2411" RevisionGUID="3d8147b3-37d0-4bba-ab45-ce6a633bb8ea" CreationDate="2010-07-31T17:07:36.037" UserId="37" Text="listen closely to some library effects and you can hear, although they're 2-tracks, the sounds themselves are sometimes mono. consider &quot;spot&quot; effects (single point source) - they are v.often mono. &#xD;&#xA;another thing that's purely mono: single person's voice.&#xD;&#xA;also: foley effects.&#xD;&#xA;&#xD;&#xA;snap your fingers and imagine the sound originating from that single point, and bouncing off all the walls in the room. for the snap you only need mono (+pan). the sound of the space demands more channels.&#xD;&#xA;&#xD;&#xA;some of the impulse responses in Logic's Space Designer can add subtle stereo to your material..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4271" PostHistoryTypeId="2" PostId="2412" RevisionGUID="8caf8e4f-259f-4c7c-b42f-d8a92f2d79ee" CreationDate="2010-07-31T17:09:57.213" UserId="61" Text="Consider yourself fortunate to have such quality gear! Although it's not an easily portable setup you can still do some great, controlled recordings in-house and, if you are so motivated, pack up your gear and go on location.&#xD;&#xA;&#xD;&#xA;For years I had an iBook/MBox rig that I carried around before I invested in a truly portable setup. Once you get the hang of it you can be quite productive, and I still use those recordings in film and video game soundtracks.&#xD;&#xA;&#xD;&#xA;Regarding mono vs. stereo recordings, I find that most things function just fine in mono, but others are much better in stereo/multichannel, such as ambiences (beach, forest, freeway, etc).&#xD;&#xA;&#xD;&#xA;The most valuable advice I could give you is: Don't wait to record! If you have the gear and the desire, get started and begin building your library." ContentLicense="CC BY-SA 2.5" />
  <row Id="4272" PostHistoryTypeId="2" PostId="2413" RevisionGUID="26a4d56c-90b1-4c6f-92bd-fd084db249e9" CreationDate="2010-07-31T17:13:16.350" UserId="469" Text="One difference from what I have read from interviews or somewhere is the game sound designers who work on the big titles do programming.  I'll work on finding a link, but I remember reading somewhere the guy was responsible for the implementation of the sounds in the game.  Dsp was actually added after the fact according to the current surroundings in the game. He was also responsible for creating source sound files and fx for the game.   With all of the layers of dsp added he commented that there could sometimes be over 100 iterations of an effect.  In this way they were able to prevent the sounds from becoming stale while maintaining a small data footprint." ContentLicense="CC BY-SA 2.5" />
  <row Id="4273" PostHistoryTypeId="2" PostId="2414" RevisionGUID="0df0a063-232e-4fb4-98cb-aa7d1c580673" CreationDate="2010-07-31T17:13:20.780" UserId="338" Text="How do you use reverb?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="4274" PostHistoryTypeId="1" PostId="2414" RevisionGUID="0df0a063-232e-4fb4-98cb-aa7d1c580673" CreationDate="2010-07-31T17:13:20.780" UserId="338" Text="During a Chase scene...." ContentLicense="CC BY-SA 2.5" />
  <row Id="4275" PostHistoryTypeId="3" PostId="2414" RevisionGUID="0df0a063-232e-4fb4-98cb-aa7d1c580673" CreationDate="2010-07-31T17:13:20.780" UserId="338" Text="&lt;reverb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4276" PostHistoryTypeId="2" PostId="2415" RevisionGUID="51d3672b-07aa-4862-8104-61ea9f5b95a6" CreationDate="2010-07-31T18:38:55.963" UserId="142" Text="I really think you will need to elaborate on your question for anybody to be able to answer this one. Is it a car chase foot chase, indoor, outdoor, what is chasing them, animal, monster human ???? Give some specifics and I am sure somebody will be able to help." ContentLicense="CC BY-SA 2.5" />
  <row Id="4277" PostHistoryTypeId="2" PostId="2416" RevisionGUID="803d37b2-f537-460a-95c5-dbd97f4128f1" CreationDate="2010-07-31T19:44:15.293" UserId="219" Text="Many many things... I've got an AT8015 hypercardioid shotgun and although it's got a high off-axis coloration it's doing neatly for many things in the house if you know how to point it (fridge pump, sliding door, windows...) and outside the house (sawing wood, car servos, impacts...).&#xD;&#xA;&#xD;&#xA;You're actually very lucky to have a such a versatile mic, I wish I had a cardioid for all the big stuff I can't really do like shaking trees, engines and stuff... There is definitely a lot you can do! I find I lost myself into recording lately, giving up design slightly. I believe that if you do design and need stuff, then it'll help you focus your recording, which I need to start doing." ContentLicense="CC BY-SA 2.5" />
  <row Id="4278" PostHistoryTypeId="2" PostId="2417" RevisionGUID="1d96bd94-7482-423e-b1c1-5d7195327e10" CreationDate="2010-07-31T20:04:05.727" UserId="81" Text="Dave,&#xD;&#xA;&#xD;&#xA;If you are emphasizing your mastering skills in your demo reel, of course you should do the mastering. &#xD;&#xA;&#xD;&#xA;Otherwise, I think it is OK to have someone do it. Actually it is sometimes better to have a pair of fresh ears on it. &#xD;&#xA;&#xD;&#xA;Besides everything, your inteded audience (people who's gonna hire you I assume) will not care about the mastering if your sound design skills are good enough. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4279" PostHistoryTypeId="2" PostId="2418" RevisionGUID="31603977-f476-459c-be92-9b542d119d78" CreationDate="2010-07-31T20:19:44.797" UserId="81" Text="Dissect the transformation scene. If there are obvious physical changes like muscle contractions, fingernail elongation etc. , it is usually easy to cover it with some organic stretch, squash or pinching sounds.&#xD;&#xA;&#xD;&#xA;If the viewers are seeing only before and after versions of transformation, than it is up to your imagination and any surreal sound design suitable to the needs of the scene would do the job. &#xD;&#xA;&#xD;&#xA;From composing point of view I would suggest using [dim5][1] chords (diminished 5ths) This harmonic distortion supports &quot;something bad&quot; feelings of a particular scene.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;With all due respect to:&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Tritone&#xD;&#xA;  [2]: http://www.wired.com/geekdad/wp-content/uploads/2009/07/michael-jackson-thriller.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="4280" PostHistoryTypeId="2" PostId="2419" RevisionGUID="5cdec5ed-9693-4ef4-9434-fc51974e3c50" CreationDate="2010-07-31T20:22:33.230" UserId="270" Text="The vast majority of the sounds I put into computer games are mono.  The game's audio engine determines how much of the sound is sent to each speaker, usually based on input from the player." ContentLicense="CC BY-SA 2.5" />
  <row Id="4281" PostHistoryTypeId="5" PostId="2414" RevisionGUID="25db48b0-45b6-491c-bc73-92d0c2b541e5" CreationDate="2010-07-31T20:35:14.087" UserId="2" Comment="merged your comment in your question to add detail" Text="How do you use reverb?  &#xD;&#xA;&#xD;&#xA;The scene is indoor, it goes from a bathroom with some slow motion, and then he shoots a hole in the wall which turns out to be a video game wall and runs some more down a hallway but before the hallway cut there is a Heads up display showing xray view of him, his pursuers, and the walls of the building. 3 people are chasing him and there is a shootout in the bathroom where the door is splintered to pieces. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4282" PostHistoryTypeId="2" PostId="2420" RevisionGUID="8475939b-3375-4e8b-9156-bd6eccc0a885" CreationDate="2010-07-31T21:05:10.017" UserId="40" Text="I would start with reality - what would it really sound like, and then make it a bit bigger.  Chase scenes are generally made to sound much bigger than life.  One thing I like to do in chase scenes are take big sounding rooms and gate the decay a bit, so you have the big sound without the sloppiness of a long decay.  Makes it sound much tighter, much more machine-like, much more deliberate and fast paced.  They did a ton of that in the Bourne movies.&#xD;&#xA;&#xD;&#xA;Don't saturate too much, that makes it sound a bit too dreamy.  Also, I'd use a lot of slap echo.  There's a lot of slap back indoors, especially in long hallways and bigger bathrooms (like public ones).  That can really help make your sounds sound bigger as well" ContentLicense="CC BY-SA 2.5" />
  <row Id="4283" PostHistoryTypeId="2" PostId="2421" RevisionGUID="87d84615-8091-47fa-9da7-9923dbe73921" CreationDate="2010-07-31T21:20:23.993" UserId="40" Text="Many sounds are going to be recorded in mono.  The only things that are really done in stereo are large effects (explosions, gun shots, big metal hits, other hits, etc...), ambiences, and some hard effects, but not many.&#xD;&#xA;&#xD;&#xA;Most things that happen on a screen are localized to a particular area of the screen.  If you see a door slam on screen, you'll pan a mono door effect to the proper position on screen.  You might use a stereo reverb to get a bit of a stereo effect from the room, but an actual stereo door is going to sound out of place.  Same thing goes for most sounds that you'll put to picture.&#xD;&#xA;&#xD;&#xA;Game audio, as Haydn mentioned, it vastly mono, since most of it's placement isn't determined by a set position on screen, but rather the character's positioning and environment.  It's then augmented by effects, such as delays and reverbs, sometimes eq for proximity.&#xD;&#xA;&#xD;&#xA;So, all that being said, you can do a ton of work with a mono mic.  I have a pair of those 414s.  Great mics!  You can pick up some really cool detail with that mic.  The biggest problem, in my experience, that you'll run into with that mic is background noise.  LDCs, in general, pick up a lot of ambient noise while recording, so you'll have to make sure to be in a very quiet environment to do your recordings. Also, while recording at home, make sure to have as much padding in the room as possible.  Blankets, pillows, rugs, etc... are great to minimize the strange acoustics of a house or apt.&#xD;&#xA;&#xD;&#xA;You may also want to use the tightest polar pattern on the mic to minimize off-axis noise.  The only drawback being that the tighter the polar pattern gets, the more colored the sound gets.  It's really a subjective thing though.  Just make sure to listen intently to make sure you're getting the sound you want.&#xD;&#xA;&#xD;&#xA;Good luck, and have tons of fun recording!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;~Colin&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;P.S.  I've found that a big motivator when getting started is to have an outlet, like a blog or something, to share your sounds.  Having an audience heightens the experience and opens it up to critiques and all." ContentLicense="CC BY-SA 2.5" />
  <row Id="4284" PostHistoryTypeId="2" PostId="2422" RevisionGUID="f10f63d9-baf4-42e1-842f-3615cbee00ea" CreationDate="2010-07-31T23:29:52.990" UserDisplayName="user49" Text="The main reason to record stereo is to capture:&#xD;&#xA;&#xD;&#xA; - movement&#xD;&#xA; - acoustic space/perspective&#xD;&#xA;&#xD;&#xA;Movement is obvious in eg a car pass but is also present in many objects, since objects often move as they make sound....&#xD;&#xA;&#xD;&#xA;Of course I would rather have a mono recording of something than NO recording of it...&#xD;&#xA;and that should be your guide until you have the ability to record stereo (where appropriate)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I think its important to sometimes seperate the act of capturing audio from that of how it will be used, simply because you can never predict how the sound will be used.... One day its a point source and used as a mono element panned in 5.1, the next day it may be used as a layer in an LCR for a close up... Personally I'd prefer to have a coherent stereo recording and make the decisions once I know the actual use of the sound. There is a big difference between something with a narrow stereo field and mono...&#xD;&#xA;&#xD;&#xA;Have a read of this article by Randy Thom where he mentions the Haas effect.&#xD;&#xA;http://filmsound.org/randythom/finalmix.htm&#xD;&#xA;&#xD;&#xA;&quot;The Haas Effect obviously isn't limited to music. Any mono sound that you send equally to two or more widely separated speakers will sound like it is coming exclusively from whatever speaker is closest to the listener. &quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Relatedly I would have been keen to buy that CINEMATIC METAL IMPACTS library BOOM released&#xD;&#xA;until I read it was mono - you cannot tell me that standing in front of a large metal impact is a mono experience! (I'm not saying its unuseable, its just not what I would expect or want)&#xD;&#xA;&#xD;&#xA;Sorry long answer... heres a short one: If recording in mono I'd focus on close up sounds, where there is no stereo movement and the acoustic isn't apparent....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4285" PostHistoryTypeId="2" PostId="2423" RevisionGUID="31f8b53f-9382-455b-a7bb-0c15e5bbc0ad" CreationDate="2010-08-01T00:38:19.317" UserId="90" Text="This could be less conspicuous than a blimp?&#xD;&#xA;&#xD;&#xA;http://vimeo.com/4387137&#xD;&#xA;http://www.redheadwindscreens.com/products/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4286" PostHistoryTypeId="2" PostId="2424" RevisionGUID="ef621632-5025-4b10-9168-cbb62a8a89f4" CreationDate="2010-08-01T00:51:54.253" UserId="6411" Text="Music and Sound Design is typically part of a larger whole, which you may or may not be a part of, so I can see having it mastered by someone else. But, if you trust another person's skills to market your own, make the distinction that you only composed the music or you only created the sound design. Don't misrepresent yourself to clients. It's bad form, and it *will* bite you in the ass.&#xD;&#xA;&#xD;&#xA;**A little anecdote:** Not too long ago, a company I was working for was hiring for a position. We actually had two separate individual's reels show up that were **exactly** the same.  They both worked at the same company and rather than compile their own demo reel, they obviously sent in the company's.  I have no problem with that, it's work that you did and it's pretty common for multiple people to work on the same project, especially at the same company. But when presented with two reels, from two separate individuals, that are exactly the same, how am I supposed to know who did what? As a result, they both went to the bottom of the list.&#xD;&#xA;&#xD;&#xA;Now that everything's on the web (and delivering a DVD seems arcane) I'm a big fan of lower thirds, accompanying text, replaying a sequence with your material solo'ed, personally introducing the clip and talking about it, ***anything*** really that distinguishes the work you did from the work some one else has done.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4287" PostHistoryTypeId="2" PostId="2425" RevisionGUID="9329c60d-532c-4110-86ff-cb3644cf7763" CreationDate="2010-08-01T05:04:58.973" UserId="432" Text="We have a pair of the Sennheiser blimp systems at work, complete with furries. They do the job very nicely, but I'v never been impressed with the back cap, as it's a pain in the butt to get screwed on correctly. Not impossible, just a little more difficult than I think it should be." ContentLicense="CC BY-SA 2.5" />
  <row Id="4288" PostHistoryTypeId="5" PostId="44" RevisionGUID="6295b666-0f9b-4618-84f3-8f36b1eaa093" CreationDate="2010-08-01T06:34:45.850" UserId="61" Comment="links" Text="I shall nevah divulge zee sekrets! :-) Actually, I will, it's just that there are too many!&#xD;&#xA;&#xD;&#xA;- Sculpture physical modeler in Apple Logic Pro: Harmonically-rich source tones that stand up to massive filtering.&#xD;&#xA;- The Random button in Logic's ES2 synth: Great for getting unstuck creatively.&#xD;&#xA;- Thonk for MacOS9: Sounds like how you use Paul's Stretch. Why do you think this G4 tower is sitting under my desk?&#xD;&#xA;- [SoundHack][1]: Great for convolving and cross-processing two sounds at massively high sample rates.&#xD;&#xA;- Michael Norris' [realtime spectral effects plugins][2]: Spooky, flowy magic.&#xD;&#xA;- [GleetchLab][3]: A nightmare to use but some great digital mayhem.&#xD;&#xA;&#xD;&#xA;+1 on MetaSynth. EPIC.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundhack.com/freeware.php&#xD;&#xA;  [2]: http://www.michaelnorris.info/soundmagicspectral/index.html&#xD;&#xA;  [3]: http://www.gleetchplug.com/gleetchplug/Software.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="4289" PostHistoryTypeId="2" PostId="2426" RevisionGUID="2ff65ccc-4e76-45b7-84a3-d44599cd4a1e" CreationDate="2010-08-01T12:13:10.593" UserId="474" Text="Hi all,&#xD;&#xA;&#xD;&#xA;maybe this question has already come up (though I couldn't find it ...), and surely most of you will have their own best practices here...&#xD;&#xA;&#xD;&#xA;EQ or Compression, what do you put first and why?&#xD;&#xA;&#xD;&#xA;best,&#xD;&#xA;Julian" ContentLicense="CC BY-SA 2.5" />
  <row Id="4290" PostHistoryTypeId="1" PostId="2426" RevisionGUID="2ff65ccc-4e76-45b7-84a3-d44599cd4a1e" CreationDate="2010-08-01T12:13:10.593" UserId="474" Text="EQ, Compression sequence?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4291" PostHistoryTypeId="3" PostId="2426" RevisionGUID="2ff65ccc-4e76-45b7-84a3-d44599cd4a1e" CreationDate="2010-08-01T12:13:10.593" UserId="474" Text="&lt;mixing&gt;&lt;equalizing&gt;&lt;dynamics&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4292" PostHistoryTypeId="2" PostId="2427" RevisionGUID="aa2ec2ef-975b-40c1-b37d-9a8151cd11e0" CreationDate="2010-08-01T12:44:01.310" UserId="432" Text="I'll usually put compression last in my chain, as it can easily be undone by other processes like eq. Maybe undone isn't the right word, can I change that to &quot;mucked up&quot;?&#xD;&#xA;&#xD;&#xA;I've just never liked the sounds I get if I put compression too early in the chain, the only thing I'll ever put after compression is a limiter, but that's actually just more compression." ContentLicense="CC BY-SA 2.5" />
  <row Id="4293" PostHistoryTypeId="5" PostId="2427" RevisionGUID="ad262415-ce70-4f51-8ca2-f4b2d952870d" CreationDate="2010-08-01T12:51:17.927" UserId="432" Comment="expanded answer" Text="I'll usually put compression last in my chain, as it can easily be undone by other processes like eq. Maybe undone isn't the right word, can I change that to &quot;mucked up&quot;?&#xD;&#xA;&#xD;&#xA;I've just never liked the sounds I get if I put compression too early in the chain, the only thing I'll ever put after compression is a limiter, but that's actually just more compression.&#xD;&#xA;&#xD;&#xA;Another reason, is that sometimes I find it's not needed after I've finished doing everything else. I not a bad habit to avoid using compression needlessly." ContentLicense="CC BY-SA 2.5" />
  <row Id="4295" PostHistoryTypeId="2" PostId="2429" RevisionGUID="43f65935-e304-4e28-b726-29d7abb4185c" CreationDate="2010-08-01T14:16:48.873" UserId="81" Text="Depends on if you want to equalize the compressed sound or compress the equalized sound. What do your ears say?&#xD;&#xA;&#xD;&#xA;There is no rules in this area but for starters first EQ then compressor is suggested." ContentLicense="CC BY-SA 2.5" />
  <row Id="4296" PostHistoryTypeId="2" PostId="2430" RevisionGUID="43e118ea-6648-49ee-8f6d-a52df838b507" CreationDate="2010-08-01T16:18:41.687" UserId="393" Text="[KR-Reverb FS (Yeah, it's free)][1]... Incredibly versatile reverb with a GUI that makes sense.  I use it for everything, but what makes it my secret is how nicely I can take ANY sound and turn it into ambiance with this.  It might not have the longest reverb trail of all reverbs out there, but it's the best one I've found for free.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.kresearch.com/Free-Series.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="4297" PostHistoryTypeId="2" PostId="2431" RevisionGUID="05c66e89-d809-4f33-a01c-d5b118bc4e42" CreationDate="2010-08-01T17:56:14.410" UserId="469" Text="How far away must you go to get a clean recording?  I'm planning on recording some nature ambiences and want to know what people's experiences are." ContentLicense="CC BY-SA 2.5" />
  <row Id="4298" PostHistoryTypeId="1" PostId="2431" RevisionGUID="05c66e89-d809-4f33-a01c-d5b118bc4e42" CreationDate="2010-08-01T17:56:14.410" UserId="469" Text="How far from traffic should you be to get a clean nature recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4299" PostHistoryTypeId="3" PostId="2431" RevisionGUID="05c66e89-d809-4f33-a01c-d5b118bc4e42" CreationDate="2010-08-01T17:56:14.410" UserId="469" Text="&lt;traffic&gt;&lt;silence&gt;&lt;nature&gt;&lt;isolation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4300" PostHistoryTypeId="2" PostId="2432" RevisionGUID="8bd15e35-a1b5-4481-9974-a55b64f3e5c1" CreationDate="2010-08-01T18:13:00.987" UserId="194" Text="The only real answer is to use your ears - before recording.  If you hear traffic, don't set up because yet you're just going to record it.&#xD;&#xA;&#xD;&#xA;In my experience, getting about 2 miles away from the highway on a perpendicular angle is about right.  It also helps if you actually lose sight of the highway, which is more difficult than one would think out on the west Texas plains where I've done most of my ambiances.&#xD;&#xA;&#xD;&#xA;the other obstacle you'll run into is air traffic.  Even if you're way off of a normal flight path, some yokel in his prop plane is likely to be cruising overhead no matter how far off the highway you get.  This can be overcome somewhat by waking up insanely early and doing your recording before they get gassed up and on the tarmac.&#xD;&#xA;&#xD;&#xA;also, don't bring your dog.  :)&#xD;&#xA;&#xD;&#xA;once your in place and rolling, I'd be prepared to roll at least 2x what you intend to keep.  Inevitably some audio annoyance will come along and you'll have to edit around it after the fact.  just keep rolling and you'll be fine.  &#xD;&#xA;&#xD;&#xA;don't forget to take pictures.  the locations of ambiances can be difficult to discern by ear, so photographs that can be embedded into the files via soundminer (if you use that) are incredibly useful when digging through them later on.&#xD;&#xA;&#xD;&#xA;good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4301" PostHistoryTypeId="2" PostId="2433" RevisionGUID="52f580bd-2825-431e-9931-11c618d3051b" CreationDate="2010-08-01T18:28:47.527" UserId="40" Text="It is general practice to compress first, then EQ.  That is why, in almost every hardware channel strip you can buy, the compresser is before the EQ.  Also, most consoles have their inserts before the EQ section.  Consoles that have a built in dynamics section almost always have the dynamics before filters (EQ) (Some of the really high end ones - SSL, Harrison, Trident, etc... are switchable).&#xD;&#xA;&#xD;&#xA;Certain filters are almost always located before the dynamics section, such as HPF, LPF, etc...  If you really want to change the sound, or have an &quot;egregious&quot; frequency in the source sound, you might notch or shelf certain frequencies before compression, but it isn't all that common.&#xD;&#xA;&#xD;&#xA;Also, try to use equalization as little as possible.  If you are the one doing the original recording, ALWAYS play with mic placement before even thinking about touching and eq.  Equalizers work by using small changes in phase.  If you heavily eq something, you are heavily altering the phase of it.  Never a good thing if you can avoid it.  If you can't, try to use it sparingly (unless you find yourself a linear phase eq).&#xD;&#xA;&#xD;&#xA;As always, there are really no set rules with this, so you are more than welcome to put them in any order you'd like.  As long as you get the sound you're looking for, it doesn't really matter how you get there.&#xD;&#xA;&#xD;&#xA;Good luck and happy knob tweaking!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4303" PostHistoryTypeId="2" PostId="2434" RevisionGUID="12f32132-cc06-4505-ac49-1a25c2d1ba66" CreationDate="2010-08-01T21:49:56.830" UserId="266" Text="I usually try to look at a map in the general area I want to record in and look for country roads that will take me as far from highways and busier thoroughfares as possible. If I have the opportunity beforehand, I'll usually scout the area out to look for good places to set up.&#xD;&#xA;&#xD;&#xA;It's much easier if you're trying to get night ambiances, because you can also plan those for the middle of the night, during the earlier part of the week, to reduce the chances of people driving by on even the more rarely travelled roads. (Which, it becomes frustrating clear once you begin recording, happens more than you'd ever think, even in the middle of nowhere.)&#xD;&#xA;&#xD;&#xA;I think @Rene was right about rolling more than you need. Probably end up needing quite a bit more than 2x for daytime stuff, depending on how far out you can get and how much you're willing to fudge in editing." ContentLicense="CC BY-SA 2.5" />
  <row Id="4304" PostHistoryTypeId="2" PostId="2435" RevisionGUID="5a135dcf-d127-4541-a99f-f93d996291f1" CreationDate="2010-08-01T23:01:19.533" UserId="324" Text="How far is far enough? All the way. As Rene said above, use your ears. Do a test run of some recording, then take it back to the lab and really analyze it. Sometimes Headphones on location just don't give you all the details. It also matters if you are recording production audio, or looking for isolated SFX. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4305" PostHistoryTypeId="2" PostId="2436" RevisionGUID="1f26c3c9-b29d-4599-a63a-08b749b19fa5" CreationDate="2010-08-01T23:29:43.197" UserDisplayName="user49" Text="What microphone are you using? That will be an important factor ie off axis rejection....&#xD;&#xA;Be aware the rear of most shotgun microphones is more sensitive than the sides, so if eg you point the front of the mic at some birdy trees, make sure the rear of the mic is not pointed in the direction of the traffic source....&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4306" PostHistoryTypeId="2" PostId="2437" RevisionGUID="c387e840-e87e-401b-bc89-4799fae9bca3" CreationDate="2010-08-02T00:14:16.450" UserId="202" Text="When I mix dialogue I usually have&#xD;&#xA; &#xD;&#xA;Gain/trim -&gt; filters -&gt; denoise -&gt; eq -&gt; opt special treatment -&gt; fader -&gt; compressor&#xD;&#xA;&#xD;&#xA;I like to have the compressor  at the end of the chain, working just a little on the dialogue at normal level, and more and more when I rise the level.&#xD;&#xA;Sometime I have eq and then compressor, there isn't an absolute rule.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4307" PostHistoryTypeId="2" PostId="2438" RevisionGUID="0e7c4054-1130-4bf3-af7f-6ef651619cc5" CreationDate="2010-08-02T04:32:57.990" UserId="396" Text="For VO mixing I use compression first - to even out peaks, and then EQ for any overall tonal adjustments.&#xD;&#xA;&#xD;&#xA;In varying circumstances, the frequency content of the source signal may suggest the processing order, depending on the outcome you're looking to achieve." ContentLicense="CC BY-SA 2.5" />
  <row Id="4308" PostHistoryTypeId="2" PostId="2439" RevisionGUID="2eed5368-523f-4c35-8084-021ebdbcfdf8" CreationDate="2010-08-02T06:29:58.907" UserId="286" Text="I attended Full Sail University.  It's a bit pricey but they have the most modern equipment and offer great hands on experience.  When I was attending (2005) they didn't offer anything in regards to field recording so a lot of the equipment and microphones that are typically used aren't covered in their curriculum.  This might and hopefully have changed since then though.&#xD;&#xA;&#xD;&#xA;I can say if you're looking for a music engineering school (not music theory) Full Sail is great.  They also have film and game design curriculum's there so the chance to network and work with other degree programs is easily feasible." ContentLicense="CC BY-SA 2.5" />
  <row Id="4309" PostHistoryTypeId="2" PostId="2440" RevisionGUID="c38e25b4-34bd-4ecb-bf0e-50da73f7899d" CreationDate="2010-08-02T06:36:40.683" UserId="286" Text="Air/Digi's &quot;Harmonic Enhancer&quot; has been getting placed in a lot of my FX chains lately.&#xD;&#xA;&#xD;&#xA;It really depends on what I'm working on though.  I would say good source is the best asset and then EQing it from there to get it to where it needs to be." ContentLicense="CC BY-SA 2.5" />
  <row Id="4310" PostHistoryTypeId="2" PostId="2441" RevisionGUID="e0e4a22a-7143-405e-8d39-b0374aa07d9e" CreationDate="2010-08-02T09:39:02.393" UserId="18" Text="I tend to EQ first then compress.  But the great thing about DAW's and plugins, is that it is quick and easy to change the order and determine what sounds the best.  And you can always compress, EQ, and then compress some more!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="4311" PostHistoryTypeId="2" PostId="2442" RevisionGUID="fa6f0812-57f9-4f92-8549-d3b7492f678c" CreationDate="2010-08-02T11:40:58.640" UserId="37" Text="why you would compress taking into account frequencies you didn't want in the first place is beyond me.&#xD;&#xA;&#xD;&#xA;then again, boosting things after compression makes sense.." ContentLicense="CC BY-SA 2.5" />
  <row Id="4312" PostHistoryTypeId="2" PostId="2443" RevisionGUID="0636e951-7f27-4f4d-9440-ba486b4e9244" CreationDate="2010-08-02T12:26:58.637" UserId="270" Text="&#xD;&#xA;We probably all know &amp; use the word Foley but everyone seems to have a slightly different understanding of what it means.&#xD;&#xA;&#xD;&#xA;From talking to other sound people &amp; watching documentaries I've heard a few different definitions;&#xD;&#xA;&#xD;&#xA;- Just footsteps &amp; clothing movement sounds&#xD;&#xA;- All character related sounds apart from dialogue&#xD;&#xA;- Low priority sound effects that aren't spot FX or ambience&#xD;&#xA;&#xD;&#xA;My understanding is that Foley is the technique of watching a video whilst performing actions to create sounds in sync with the picture.&#xD;&#xA;So in my opinion it is a recording technique rather a type of sound, &amp; the subject of a sound doesn't determine whether or not it is Foley.&#xD;&#xA;&#xD;&#xA;From my experience footsteps &amp; movement sounds in video games are usually recorded/edited wild and synced later but still referred to as Foley.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Definitions from a couple of books;&#xD;&#xA;&#xD;&#xA; - 'Foley is the art &amp; craft of designing and recording performed sound effects in sync to film'&#xD;&#xA;&#xD;&#xA;*Vanessa Theme Ament (The Foley Grail)*&#xD;&#xA;&#xD;&#xA;- 'Today the term describes general sound effects performed by humans, but not necessarily to picture.  This includes sounds that are pulled from a sound effects library'&#xD;&#xA;&#xD;&#xA;*Ric Viers (The Sound Effects Bible)*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What is your understanding of Foley?  It would be interesting to see what definition is the most common.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4313" PostHistoryTypeId="1" PostId="2443" RevisionGUID="0636e951-7f27-4f4d-9440-ba486b4e9244" CreationDate="2010-08-02T12:26:58.637" UserId="270" Text="What does Foley mean?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4314" PostHistoryTypeId="3" PostId="2443" RevisionGUID="0636e951-7f27-4f4d-9440-ba486b4e9244" CreationDate="2010-08-02T12:26:58.637" UserId="270" Text="&lt;foley&gt;&lt;theory&gt;&lt;definitions&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4315" PostHistoryTypeId="2" PostId="2444" RevisionGUID="21e174f2-fee4-4250-a82a-df8e6c01cd8a" CreationDate="2010-08-02T13:02:20.277" UserId="348" Text="Ahhh... the question that most people ask me when I tell that I am a foley artist. What the hell is foley? From your question you have already answered a lot of what foley is but the main point of contention in defining foley is what is a canned effect and what are foley effects. Like, for example, a punch. You canb get these foleyed punch effects off of most cd's but you are limited in texture and authenticity. All punches on these cd's are foleyed. And it takes time to go through all the punches to find the right one and by the time you as the editor, has found the right one, the foley artist has probably done it and it is fresh and original. The same goes for body falls, blood and guts sounds, bones being broken etc. It is so much faster to do it in the foley stage than to sift through dozens of blood squirts. But for door slams, engines, gunshots, ambiences, bird sounds, animal sounds, walla's etc, they are definitely cd effects. &#xD;&#xA;&#xD;&#xA;It is not uncommon, and pretty much a necessity that sfx editors and foley artists will help each other to develop and sweeten the sound. A good example would be a car that needs a special feel to it. &#xD;&#xA;&#xD;&#xA;I generally discuss things with the editor and we talk about what needs to be sweetened so that we do not double up on sounds and waste our time. &#xD;&#xA;&#xD;&#xA;So basically foley is the extra spice along with the more prominent spices in the big stew of post production. They put the human in all the movements and feel of the film. There is nothing worse than a film that does not have foley. It is empty and lacks soul and the organic feel. &#xD;&#xA;&#xD;&#xA;Also, check out Andy Malcolm's website for his company &quot;Footsteps&quot;. He talks about doing on location foley. Great stuff. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4316" PostHistoryTypeId="2" PostId="2445" RevisionGUID="e3ec3fee-31df-4b7a-bf59-a03da2379656" CreationDate="2010-08-02T13:08:10.247" UserId="348" Text="It is a tough one. I was in western South Africa recently and we wanted some real quiet, authentic ambiences minus the traffic and it proved to be really tough. Out there, the tires on a long stretch of highway just travel forever. I found that choosing your time of day was important- early morning, just when things are waking up and the traffic is at it's absolute minimum. It is great to try and get away from a road and to travel inland for a few miles but sometimes that is not possible. As some of you said, use your ears, record too much so it can be edited down a bit and be patient. &#xD;&#xA;&#xD;&#xA;Good luck. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4317" PostHistoryTypeId="2" PostId="2446" RevisionGUID="9e0003fd-65b7-40c6-b096-77997e38338a" CreationDate="2010-08-02T13:54:27.313" UserId="469" Text="I didn't want to spend 20 bucks either.  I'm experimenting with making my own..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4318" PostHistoryTypeId="2" PostId="2447" RevisionGUID="7fc19b78-08fb-437a-82b1-f1c5ab0adaf5" CreationDate="2010-08-02T13:59:25.963" UserId="469" Text="It seems like in L.A. the answer is far, as far as you can get.  I found a park that looked far away from everything on a map...  Even though I was three miles from any road or highway, I could still hear the highway.  I am waiting for my portable recording rig to arrive in a few more weeks so I wasn't able to record.  I'm not giving up though, I was mostly walking on ridges that had a clearer line to the highway.  I figure if I can get a few mountains between me and the highway (and possibly walk down into the valley of one), I will get much cleaner recordings." ContentLicense="CC BY-SA 2.5" />
  <row Id="4319" PostHistoryTypeId="2" PostId="2448" RevisionGUID="1ccfc3d5-5deb-4d1b-9429-429faa76cc30" CreationDate="2010-08-02T14:43:18.637" UserId="437" Text="I found that after all the great suggestions here, wicker indeed made the most appropriate sound for beefing up that rope scene, closely followed by old leather. Thanks everyone, particularly @NoiseJockey and @Audious Sound for the quick replies! You really helped me out in a pinch." ContentLicense="CC BY-SA 2.5" />
  <row Id="4320" PostHistoryTypeId="2" PostId="2449" RevisionGUID="146cdefd-2eab-45fc-83c2-041b0887e962" CreationDate="2010-08-02T15:05:16.517" UserId="194" Text="I've had good luck wrapping a piece of rope around a dried piece of wood with the bark still on." ContentLicense="CC BY-SA 2.5" />
  <row Id="4321" PostHistoryTypeId="2" PostId="2450" RevisionGUID="9e3d9349-5cce-48ee-9f0d-3ece6d0d3611" CreationDate="2010-08-02T16:45:20.510" UserId="220" Text="I have the pleasure of being able to record a gun (powder charge only) being fired inside of a large concrete room.  I have read a lot about shooting outdoors from Chuck Russom, but I'm wondering if there is anything specific I should look for inside.&#xD;&#xA;&#xD;&#xA;The other thing is I have only 2, maybe 4 inputs to record the effect.  This is being done on the tail end of an ADR session and we're just going to get what we can in the spare time after the actors are done.  About 90% of the SFX needed were recorded on site, really all we're missing are punches and gunshots.  &#xD;&#xA;&#xD;&#xA;I have a Schoeps MK41, AT 897 shorty shotgun, 2 AGK small capsule mics, and a few contact mics that I've made and coated in handle dip.  I may be able to ask for a few more mic rentals if I can justify them.&#xD;&#xA;&#xD;&#xA;I was thinking of one of the AKGs near the gun for the initial shot, the Schoeps about 20 feet out to get the distant perspective, a contact mic directly on the gun barrel, and one more AKG maybe 12 - 15 feet out from the barrel.&#xD;&#xA;&#xD;&#xA;Any thoughts would be great!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4322" PostHistoryTypeId="1" PostId="2450" RevisionGUID="9e3d9349-5cce-48ee-9f0d-3ece6d0d3611" CreationDate="2010-08-02T16:45:20.510" UserId="220" Text="Recording Guns Indoors" ContentLicense="CC BY-SA 2.5" />
  <row Id="4323" PostHistoryTypeId="3" PostId="2450" RevisionGUID="9e3d9349-5cce-48ee-9f0d-3ece6d0d3611" CreationDate="2010-08-02T16:45:20.510" UserId="220" Text="&lt;gunshot&gt;&lt;record&gt;&lt;indoor&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4324" PostHistoryTypeId="2" PostId="2451" RevisionGUID="2176b743-4fb1-485d-8872-2112dcb85a00" CreationDate="2010-08-02T17:32:56.240" UserId="432" Text="We're hammering out some workflow issues in prep for a new television series here at work, and I was just wondering, has anyone had any success in creating an OMF in Final Cut that links to the source media rather than consolidating and embedding?&#xD;&#xA;&#xD;&#xA;I sat down with one of the editors to look over the options she has available when exporting an omf, and they seem pretty limited. I didn't see a &quot;link to source media&quot; option anywhere, but that doesn't mean I didn't miss it somehow. I'd prefer to have a linked omf, because it will provide us a bit more flexibility in audio post, and may save us a lot of time if we have to go pull out the source material for additional head/tail material, room tone, etc. In particular, one of the things that concerns me about the embedded material, is that it replaces the audio time stamp of the clip. That means I need to go to the EDL to determine the clip's source.&#xD;&#xA;&#xD;&#xA;I'm thinking about purchasing an auto-assembler program like Titan or Virtual Katy to get around this limitation I'm seeing in Final Cut. We're still in Final Cut 6, soon to upgrade to 7; maybe that option is included in that version, but I don't know. Anyone know of anything we might be missing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4325" PostHistoryTypeId="1" PostId="2451" RevisionGUID="2176b743-4fb1-485d-8872-2112dcb85a00" CreationDate="2010-08-02T17:32:56.240" UserId="432" Text="Linking to Source Media in Final Cut OMFs" ContentLicense="CC BY-SA 2.5" />
  <row Id="4326" PostHistoryTypeId="3" PostId="2451" RevisionGUID="2176b743-4fb1-485d-8872-2112dcb85a00" CreationDate="2010-08-02T17:32:56.240" UserId="432" Text="&lt;omf&gt;&lt;post-production&gt;&lt;final-cut-pro&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4327" PostHistoryTypeId="2" PostId="2452" RevisionGUID="60dc49db-1f9d-4157-b768-8325ea2cd684" CreationDate="2010-08-02T18:17:29.763" UserId="432" Text="So, here are a few things I've learned in the process of testing this workflow:&#xD;&#xA;&#xD;&#xA; 1. Yes, time code slates do have an offset. The Denecke TS-C has a nice feature called &quot;Plus 1 Frame Reader&quot; which can counteract this offset.&#xD;&#xA; 2. Daisy chaining time code through a recorder doesn't appear to affect the time code running to the slate (read - doesn't further offset timecode).&#xD;&#xA; 3. The Deva 5.8's auto-load feature does something a little funny to the time stamp of the audio file, and the audio file will end up 1 frame early (even with the pre-record function turned off). There are a number of other, and better reasons, why I'm not going to use the feature though.&#xD;&#xA; 4. The Sony EX3 has some wishy-washy time code stamping. Well, not wishy-washy, but somewhere in the neighborhood a one frame offset between digitization and file stamping. That, of course, affects the time code being output from the camera.&#xD;&#xA; 5. Don't let non-technical coworkers near your bulk battery bin. While I can commend people's effort to be green and not waste slightly used batteries, they screw up my tests. ;)&#xD;&#xA; 6. I've mentioned it before, but try to avoid workflows involving the 5D when possible (at least until it has its own time code functions).&#xD;&#xA;&#xD;&#xA;Let me know if there are any other questions or clarifications that might be useful for anyone, and I'll address them the best I can.&#xD;&#xA;&#xD;&#xA;Thanks for all of the help and earlier feedback too." ContentLicense="CC BY-SA 2.5" />
  <row Id="4328" PostHistoryTypeId="2" PostId="2453" RevisionGUID="6414083e-79f0-4f43-aa79-9ff0108f7acb" CreationDate="2010-08-02T19:13:30.967" UserId="432" Text="It might be interesting to place a microphone a few feet (maybe 4 or 5) from and aimed directly into a corner of the room. You might be able to capture some interesting reflections if you've got the time." ContentLicense="CC BY-SA 2.5" />
  <row Id="4329" PostHistoryTypeId="2" PostId="2454" RevisionGUID="068ea2b8-ee61-45c7-aa82-dec52f5f663b" CreationDate="2010-08-02T20:02:00.377" UserId="469" Text="When I worked at an advertising agency we always submitted our spots with an omf after autoduck, and an edl.  As far as I know you can't link to source media like in protools." ContentLicense="CC BY-SA 2.5" />
  <row Id="4330" PostHistoryTypeId="2" PostId="2455" RevisionGUID="820ae3b8-64c0-4c61-82f4-b3e3be5b9e5c" CreationDate="2010-08-02T20:47:36.273" UserId="260" Text="I've always felt that Foley is the reproduction of sound while sound design is the creation of sound. Though both require talent to get right, specially foley." ContentLicense="CC BY-SA 2.5" />
  <row Id="4331" PostHistoryTypeId="2" PostId="2456" RevisionGUID="99bdfb0c-0ec5-497b-b989-30deda564f32" CreationDate="2010-08-02T21:15:42.760" UserId="414" Text="I've been reading about internships that take place without the intern being physically present. How would that work in this industry? Would it work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4332" PostHistoryTypeId="1" PostId="2456" RevisionGUID="99bdfb0c-0ec5-497b-b989-30deda564f32" CreationDate="2010-08-02T21:15:42.760" UserId="414" Text="How would a virtual sound design internship work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4333" PostHistoryTypeId="3" PostId="2456" RevisionGUID="99bdfb0c-0ec5-497b-b989-30deda564f32" CreationDate="2010-08-02T21:15:42.760" UserId="414" Text="&lt;internship&gt;&lt;opinion&gt;&lt;education&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4334" PostHistoryTypeId="2" PostId="2457" RevisionGUID="d49a8017-afc2-45a8-bc2d-17486f3ddb42" CreationDate="2010-08-02T21:42:00.630" UserId="219" Text="Haven't read the other two answers yet, but I want to shout this: Foley is the occasion to have your sounds effects, virtually ANY sound, performed by a creative person to breathe life into a movie that is primarily a collection of still sounds recorded in isolation from each other. I'd describe Foley as very organic if I were to compare it to this massive brick construction that hard effects are. Both are big, only in different ways, each their own :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4335" PostHistoryTypeId="2" PostId="2458" RevisionGUID="900bf9c6-1365-4b2e-b809-4a5a783cfd32" CreationDate="2010-08-02T23:16:12.207" UserId="396" Text="We have a Final Cut Pro 7 -&gt; Pro Tools workflow where I work, and I can confirm that FCP will only export OMFs with embedded audio. You'll have to look at a third party solution like VK, XML-Pro etc to link to your source media." ContentLicense="CC BY-SA 2.5" />
  <row Id="4336" PostHistoryTypeId="2" PostId="2459" RevisionGUID="1e64bec8-7416-43f8-9f69-a46e0c7088e2" CreationDate="2010-08-02T23:37:13.207" UserId="253" Text="Semantics can be tricky, especially as everyone tends to have their own opinion on the matter.&#xD;&#xA;&#xD;&#xA;The way i have it in my head, to try and keep it clear, is that foley is anything recorded to picture. ie. sync footsteps/moves, gravel debris, branches moving, any misc sounds to augment FX.&#xD;&#xA;&#xD;&#xA;If you record footsteps or moves wild (not to picture), i wouldn't call it foley. Even though you might want to lay them up in your foley session, i'd prefer to call that FX (if i felt like being anal).&#xD;&#xA;&#xD;&#xA;I think that makes sense, i mean foley is named after the guy who came up with the idea of recording sounds to picture right? (http://www.marblehead.net/foley/jack.html) The point being that in true foley, you really are performing the sounds; something you can't do as effectively without watching the picture.&#xD;&#xA;&#xD;&#xA;That is a really interesting point about video games... Can a video game have true foley? As the player is the main character in video games, they don't really need to be given information as to how they're feeling. However, NPCs could definitely benefit from emitting more/deeper aural information. Hey, maybe one day the programming and data real estate (and budget!) will be enough to allow NPCs to become more 3 dimensional through an artificial kind of foley.&#xD;&#xA;&#xD;&#xA;That was a bit of tangent, i got excited for a moment there!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4337" PostHistoryTypeId="6" PostId="2456" RevisionGUID="bd1311d4-7417-4006-a168-06fb3a0481ba" CreationDate="2010-08-02T23:48:43.223" UserId="81" Comment="edited tags" Text="&lt;internship&gt;&lt;opinion&gt;&lt;education&gt;&lt;online&gt;&lt;collaboration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4338" PostHistoryTypeId="2" PostId="2460" RevisionGUID="30f494f3-f5b7-4e54-b6ac-01b7f8b4ef20" CreationDate="2010-08-03T05:55:01.470" UserId="61" Text="Although I've never had (or been) a *virtual* intern, I can speculate as to how it might work. In my opinion, the role of an intern is to learn the craft and learn the business, and in doing so perhaps help the business owner build his own company and possibly secure a permanent position there. How could this be done virtually?&#xD;&#xA;&#xD;&#xA; - Craft essentials: Recording. Be assigned a recording task in your local area and see how well you perform it. For example, you live in Texas and are asked to record several different perspectives of an oil derrick.&#xD;&#xA; - Craft essentials: Mastering &amp;&#xD;&#xA;   Editing. Master the oil derrick&#xD;&#xA;   recordings and prepare them for&#xD;&#xA;   library archiving and later&#xD;&#xA;   retrieval. This would require&#xD;&#xA;   editing, data management and metadata&#xD;&#xA;   skills.&#xD;&#xA; - Observe sessions in progress via&#xD;&#xA;   Skype,    iChat, etc.&#xD;&#xA; - Receive sample sessions and flush&#xD;&#xA;   them out with further sound editorial&#xD;&#xA;   and design, to be later reviewed and&#xD;&#xA;   critiqued.&#xD;&#xA; - Write essays on the craft, why you&#xD;&#xA;   think you would do well in it, how&#xD;&#xA;   you could overcome potential&#xD;&#xA;   challenges, etc.&#xD;&#xA;&#xD;&#xA;Just a few ideas there, I'm sure there are many, many more. If you have the opportunity to participate in a relationship like this, then I highly recommend it!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4339" PostHistoryTypeId="2" PostId="2461" RevisionGUID="aab75593-828a-46fa-8218-857856de7f1f" CreationDate="2010-08-03T06:24:02.090" UserDisplayName="user49" Text="I spent the last year mentoring four young sound editors, and its only just ended - rather than write lots here I'll write a post sometime about it &amp; also ask the four interns to explain what they got from it....&#xD;&#xA;&#xD;&#xA;I took two simultaneous approaches&#xD;&#xA;&#xD;&#xA;1. If an intern had a question or problem or specific need, they could ask me (usually via email) and my approach to being a mentor means I wouldn't provide answers but would help direct them to find their own answers.... This often worked best when all five of us began a discussion...&#xD;&#xA;&#xD;&#xA;2. Over the length of the 12 months I personally did 3 feature films, and I explained my approach to them, as I worked through each stage; from reading script &amp; doing a script break down for sound, pitching for a project, spotting and then progressing through all of sound editorial &amp; predubs, final mix etc... I sent them screenshots of sessions (as well as actual sessions via ftp) and it worked well as each of the three films was quite different in style &amp; requirements....&#xD;&#xA;&#xD;&#xA;I do intend to run another 12 month virtual internship but I'm having a holiday at the moment and enjoying working on my own stuff! If you're interested in applying you can read about the process last time (plus all the update posts including the actual application questions &amp; mute clip that I asked potential interns to describe their approach to)&#xD;&#xA;http://www.musicofsound.co.nz/blog/need-a-mentor&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But ask specific questions here if you want?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4340" PostHistoryTypeId="5" PostId="2460" RevisionGUID="1e25e947-cb35-46da-aa1c-d249d2a9b999" CreationDate="2010-08-03T07:04:31.593" UserId="61" Comment="additional information" Text="Although I've never had (or been) a *virtual* intern, I can draw upon my own internship and which experiences were the most valuable.&#xD;&#xA;&#xD;&#xA;In my opinion, the role of an intern is to learn the craft and learn the business, and in doing so perhaps help the business owner build his own company and possibly secure a permanent position there. How could this be done virtually?&#xD;&#xA;&#xD;&#xA; - Craft essentials: Recording. Be assigned a recording task in your local area and see how well you perform it. For example, you live in Texas and are asked to record several different perspectives of an oil derrick.&#xD;&#xA; - Craft essentials: Mastering &amp;&#xD;&#xA;   Editing. Master the oil derrick&#xD;&#xA;   recordings and prepare them for&#xD;&#xA;   library archiving and later&#xD;&#xA;   retrieval. This would require&#xD;&#xA;   DAW editing, data management and metadata&#xD;&#xA;   skills.&#xD;&#xA; - Observe sessions in progress via&#xD;&#xA;   Skype,    iChat, etc.&#xD;&#xA; - Receive sample sessions and flush&#xD;&#xA;   them out with further sound editorial&#xD;&#xA;   and design, to be later reviewed and&#xD;&#xA;   critiqued.&#xD;&#xA; - Write essays on the craft, why you&#xD;&#xA;   think you would do well in it, how&#xD;&#xA;   you could overcome potential&#xD;&#xA;   challenges, etc.&#xD;&#xA;&#xD;&#xA;Just a few ideas there, I'm sure there are many, many more. If you have the opportunity to participate in a relationship like this, then I highly recommend it!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4341" PostHistoryTypeId="2" PostId="2462" RevisionGUID="720f9d91-4c2d-4979-bca7-bffe0eb33b55" CreationDate="2010-08-03T13:41:37.237" UserId="178" Text="This isn't exactly what you asked for, but one thing that may help is that your editor can control the length of the heads and tails included in the OMF file. A friend of mine sets the heads and tails to three full minutes, which generally includes the entire clip if it's a short take, at the expense of larger OMF files. For narrative film style projects this often includes the entire clip from start to finish." ContentLicense="CC BY-SA 2.5" />
  <row Id="4342" PostHistoryTypeId="2" PostId="2463" RevisionGUID="79813f3b-1469-4dcf-82e3-083e7671ff73" CreationDate="2010-08-03T20:10:30.537" UserId="6411" Text="So I'm trying to follow the lead that many of you have shown (both here and on your own sites) and am trying to create small field recording projects for myself. One in particular that I've always wanted to do is the local Metro system. However, being in DC, there are two things that have me taking pause:&#xD;&#xA;&#xD;&#xA;**A) The &quot;threat level&quot; factor of carrying around a medium sized bag with a bunch of wires hanging off it and a pointing a zeppelin at passing trains. Getting stopped, searched, detained, etc.**&#xD;&#xA;&#xD;&#xA;I keep business cards packed in my field bag (not that they'll do much). And I've printed out a copy of [The US Photographer's Right's Card][2] (not that it really pertains to us, but figure it can't hurt). I read [Tim's question][1], and while it sounds like there's a considerable task force available to keep us from recording, I was wondering if there's a way to go about it wherein you actually receive permission.  What are there steps that you go through to get permission for such things? Who do you contact? And how do you prove permission to some menial worker/guard when they inevitably stop you?&#xD;&#xA;&#xD;&#xA;**B) The distinct chime and station recording that (to DC residents) is immediately identifiable as a WMATA train and the legality of recording and using such a &quot;branded&quot; sound.**&#xD;&#xA;&#xD;&#xA;I presume that it's similar to recording your cell phone ring tone, in that you can't. It's owned by Motorola, or HTC, or RIM, or whoever and I'll be damned if I'm paying WMATA royalties. So, if I can't &quot;legally&quot; record it, how would I go about getting the door's sound, when every single time they open or shut they play the damn chime?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/310/have-you-ever-had-trouble-with-the-authorities-while-recording&#xD;&#xA;  [2]: http://www.krages.com/ThePhotographersRight.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="4343" PostHistoryTypeId="1" PostId="2463" RevisionGUID="79813f3b-1469-4dcf-82e3-083e7671ff73" CreationDate="2010-08-03T20:10:30.537" UserId="6411" Text="Figuring out if I'm &quot;allowed&quot; to record something" ContentLicense="CC BY-SA 2.5" />
  <row Id="4344" PostHistoryTypeId="3" PostId="2463" RevisionGUID="79813f3b-1469-4dcf-82e3-083e7671ff73" CreationDate="2010-08-03T20:10:30.537" UserId="6411" Text="&lt;field-recording&gt;&lt;sound-effects-recording&gt;&lt;legality&gt;&lt;rights&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4345" PostHistoryTypeId="2" PostId="2464" RevisionGUID="a0d6f077-c8b0-4e3e-b37e-a1d8cf07c3bc" CreationDate="2010-08-03T20:37:25.590" UserId="432" Text="I know from when I lived up in Boston, there was a system in place with the MBTA (transit authority up there), to get a permit for video taping or recording within the stations. I'd imagine there is something similar in the DC area, and you can probably find out through the WMATA's pr department.&#xD;&#xA;&#xD;&#xA;Of course, it cost money to get that permit in Boston. It might be the same in DC as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="4346" PostHistoryTypeId="2" PostId="2465" RevisionGUID="b6b9eb9e-4ed2-48c9-8c64-2004a867b83a" CreationDate="2010-08-03T22:00:09.983" UserId="61" Text="A: I wouldn't do that if I were you. Drawing attention to yourself is a sure way to ruin your recordings, or worse, have the authorities give you a hard time because they don't understand what you're doing. My advice: *Go stealth*. Something the size of a Zoom H2 or its equivalent. You may sacrifice fidelity but you will get the sound.&#xD;&#xA;&#xD;&#xA;B: I don't believe those types of sounds are legally protected in the same way as ringtones are, as you mentioned. I'd feel free to use it - although I would probably mask it or alter it in some way (pitch it down or stretch it out, reverse it, etc etc.) Somebody pls correct me if I'm wrong on this one." ContentLicense="CC BY-SA 2.5" />
  <row Id="4347" PostHistoryTypeId="2" PostId="2466" RevisionGUID="25001970-dddd-4661-8337-252f0544df79" CreationDate="2010-08-03T22:54:32.123" UserId="315" Text="I agree with Birdhousesound, do not carry a zepplin around in places like this. You'll become a target for security guards. In LA, they will kick you out of almost every mall/privately owned public space if you have one. I know from personal experience.&#xD;&#xA;&#xD;&#xA;Here's how I record with a zepplin stealth. I've recorded several subway systems this way (BART, LA Metro, Portland Light Rail etc.).&#xD;&#xA;&#xD;&#xA;Buy a duffel bag, the kind you find at sporting goods shops etc.. Cut a hole in end of one side of the bag large enough for your zepplin to poke through. Put your zepplin inside, pull the recording end through the hole and gaff tape it so it doesn't slide around. Carry it under your arm when you record. I like to put the furry on my zepplin as well. People occasionally turn their heads and look at me, but they think I've got one of those tiny dog carriers. Works much better than carrying around a device with a pistol grip.&#xD;&#xA;&#xD;&#xA;I wouldn't use the subway chime...besides it's really easy to create something like this with a sine wave and a good impulse response.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4348" PostHistoryTypeId="2" PostId="2467" RevisionGUID="b1e51925-0b9f-4367-922f-bb84dcea394a" CreationDate="2010-08-03T23:35:49.640" UserId="81" Text="This platform is getting bigger everyday as there are industry professionals&amp;amateurs among us spending their valuable time to help people. I think in the near future, Social Sound Design is going to be a major sound design reference in the web. &#xD;&#xA;&#xD;&#xA;So I thought it might be good to provide a list of sound libraries we use, sell or recommend.&#xD;&#xA;&#xD;&#xA;I would like to start by Tim Prebble's beautifully recorded [Hiss and a Roar Library][1] which currently has 3 packages of vegetable smashing sounds, swishes and (fur) seal vocals. Recorded at 24bit 96kHz. &#xD;&#xA;&#xD;&#xA;Your input is appreciated. Please provide explanations and technical specifications so that we can keep the topic organized.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hissandaroar.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4349" PostHistoryTypeId="1" PostId="2467" RevisionGUID="b1e51925-0b9f-4367-922f-bb84dcea394a" CreationDate="2010-08-03T23:35:49.640" UserId="81" Text="Sound Libraries Index" ContentLicense="CC BY-SA 2.5" />
  <row Id="4350" PostHistoryTypeId="3" PostId="2467" RevisionGUID="b1e51925-0b9f-4367-922f-bb84dcea394a" CreationDate="2010-08-03T23:35:49.640" UserId="81" Text="&lt;sound&gt;&lt;libraries&gt;&lt;resources&gt;&lt;sfx&gt;&lt;online&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4351" PostHistoryTypeId="2" PostId="2468" RevisionGUID="7ed092f7-06fc-4efb-bba0-3a4154618b3d" CreationDate="2010-08-04T00:38:52.027" UserDisplayName="user49" Text="A starting point for info may be to contact your local film permits office. The first time I've had to do this was for the big fireworks recording session I did a few weeks ago. We used a public exterior location at night (a big open park) and I contacted the film permits office (in my case Film Wellington http://www.filmwellington.com/) and they were amazing!&#xD;&#xA;They wrangled access to the park for me with the council (&amp; suggested a few alternate locations) and put me in touch with the right fire dept. person to get a fire permit etc, all at no cost whatsoever! I met the fire permit guy at the location and he was very helpful (and full of great stories! Also a good contact for fire recording in future)&#xD;&#xA;I had to do a letter drop in the streets near the park, and notify the fire dept. and the police on the night, but it felt good to have an official permit. If anyone hassled me or tried to stop me I could say: 'I have permits for this, feel free to call the police if you have any issues'&#xD;&#xA;&#xD;&#xA;I've also used the other approach - do it until you're told to stop. On a film last year there was a scene set in the new underground train station in Auckland. I didn't even think about it, just turned up with recorder &amp; full rycote etc.... Recorded maybe 40 minutes worth of material (ambiences, trains leaving, arriving etc) and while I saw plenty of security people they ignored me, until finally someone came &amp; asked me what I was doing... I explained, he went away, his boss came back &amp; told me I need a permit. I pleaded ignorance, apologised and left.... with all my recording done.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4352" PostHistoryTypeId="2" PostId="2469" RevisionGUID="e81bca1b-48d2-4fe3-bb2d-75db64a72bce" CreationDate="2010-08-04T00:55:02.023" UserId="40" Text="This one is kind of a question that spawned from a project I'm working on and reading the last question on Foley.&#xD;&#xA;&#xD;&#xA;Here's a technical question for Foley Artists:&#xD;&#xA;&#xD;&#xA;How much do you, or a typical foley artist, rely on knowledge of how the mic works.  Do you perform to the mic and work it like a vocalist will or do you just do your thing and let the recordist do as he sees fit.  Do you prefer different microphones for different things or is that left up to the foley recordist?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4353" PostHistoryTypeId="1" PostId="2469" RevisionGUID="e81bca1b-48d2-4fe3-bb2d-75db64a72bce" CreationDate="2010-08-04T00:55:02.023" UserId="40" Text="Technical question about Foley" ContentLicense="CC BY-SA 2.5" />
  <row Id="4354" PostHistoryTypeId="3" PostId="2469" RevisionGUID="e81bca1b-48d2-4fe3-bb2d-75db64a72bce" CreationDate="2010-08-04T00:55:02.023" UserId="40" Text="&lt;foley-artist&gt;&lt;foley&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4355" PostHistoryTypeId="2" PostId="2470" RevisionGUID="9303b37d-42ee-45c6-9efd-0986aba4067d" CreationDate="2010-08-04T02:03:01.557" UserId="315" Text="On the foley sessions I've observed, the artist and recordist work as a team. Great teams read each other like radar.&#xD;&#xA;&#xD;&#xA;The artist will move the mic into the position they see fit and the recordist will only chime in if they don't like the sound. Many teams will also record with a near and far mic and the recordist will chose/blend the two. Good artists really know how to work a mic.&#xD;&#xA;&#xD;&#xA;Mic distance is also partially determined by the tastes of the Supervising Sound Editor/Supervising Foley Editor. Some supervisors will direct the foley team to record matching the perspective on screen. While others prefer the foley recorded pretty close and would rather work perspective/distance on the mixing stage." ContentLicense="CC BY-SA 2.5" />
  <row Id="4356" PostHistoryTypeId="2" PostId="2471" RevisionGUID="08b6c0eb-86bc-41ca-b8b5-8338b8ae00ee" CreationDate="2010-08-04T04:59:47.300" UserId="338" Text="At school, while we were studying microphones, one day we had to go out and record some things.  So we go to this outdoor promenade thing with fountains and right next to it is a park.  We set up two microphones and stands and start recording into an MBOX.  &#xD;&#xA;That went fine..&#xD;&#xA;We decided to move and try some new sounds and we had barely got the first stand set up when what looked like a security guard out of uniform and coming back from lunch walks up to us and asks for a permit and says we'd have to go and get one from the main office if we were to stay and record.  Thats all he said so we packed up and walked down the block to record somewhere else." ContentLicense="CC BY-SA 2.5" />
  <row Id="4357" PostHistoryTypeId="2" PostId="2472" RevisionGUID="665779dc-1f29-4932-9b53-d6422caff45c" CreationDate="2010-08-04T05:33:24.253" UserId="348" Text="Yes, I agree with Justin on may of the comments. You really do need to know your mic and how it works- frequency response,sensitivity etc. I have worked with many different mics over the years from small diaphragm Scheopps or B and K to large diaphragm mics like the Neumann line or Studio Prospect. It kinda depends on the room as well, know your space- it is really crucial to mic placement and where you do what kinds of sounds. The recordist is 50% of the job and needs to set the level and gain accordingly so he too must understrand the room, how the artist works and the mic(s). &#xD;&#xA;&#xD;&#xA;Hope it helps. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4358" PostHistoryTypeId="2" PostId="2473" RevisionGUID="640f9dbc-91d9-4a8b-836e-d090e630ab9c" CreationDate="2010-08-04T07:44:10.140" UserId="2" Text=" 1. [Chuck Russom FX][1], independent libraries by Chuck Russom. Awesome effects that are affordable (between $25 and $50 for a download pack). For now, there are 4 packages: Handgun foley, Skateboard, Rocks, and Metal FX. &#xD;&#xA; &#xD;&#xA; 2. [Rabbit Ears Audio][2], another independent library by Michael Raphael. Ranges between $9 for 16/44.1 to $50 for 24/96. His first pack is all about rockets! &#xD;&#xA;&#xD;&#xA; 3. [Blastwave FX][3], commercial libraries with a huge range of sounds. You can get cheap $25 download packs right up to the huge Blastdrive for $6000 including all their sounds. &#xD;&#xA;&#xD;&#xA;That's it for now. &#xD;&#xA;&#xD;&#xA;  [1]: http://chuckrussomfx.com/&#xD;&#xA;  [2]: http://rabbitearsaudio.com/&#xD;&#xA;  [3]: http://www.blastwavefx.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4359" PostHistoryTypeId="6" PostId="2467" RevisionGUID="09dba02e-826d-4d57-9fe7-598ea01ff37a" CreationDate="2010-08-04T14:43:03.857" UserId="6411" Comment="edited tags" Text="&lt;sound-libraries&gt;&lt;library-sound-effects&gt;&lt;sound-effects&gt;&lt;wiki&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4360" PostHistoryTypeId="2" PostId="2474" RevisionGUID="4164d8ce-8dd7-4bc5-8b24-3e16bb672fe6" CreationDate="2010-08-04T14:44:51.343" UserId="220" Text="[Sound Dogs][1] - I like the fact that you can get a low res version of any sound to have a listen and see if you want to buy.  I generally use it for oddball effects that I am having trouble creating.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sounddogs.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4361" PostHistoryTypeId="2" PostId="2475" RevisionGUID="f340b0be-4aea-4c96-8547-a22b33b85c2f" CreationDate="2010-08-04T15:32:57.297" UserId="2" Text="I hope people don't mind me posting a request, say so if you do. But I think that exchanging sounds is part of being in a community :-) &#xD;&#xA;&#xD;&#xA;Anyway, I'm stuck in South Africa and in winter, but for a project I'm working on I'm in need of a typical summer UK ambience. What does this mean? Well I'm not so sure but it needs to be as authentic as possible. I'm picturing birds, cicadas/crickets, and general summer goodness. If it was free of traffic that would be a bonus! If no luck, it doesn't have to be UK, any summer ambience would be awesome, I know that the south of France where I'm from has a hugely distinct sound, which would work great too!    &#xD;&#xA;&#xD;&#xA;Anyway, if anyone has got a top quality stereo summer ambience and would like to exchange it for another sound or sell it or donate, please let me know! I only really need 10 to 15 seconds. &#xD;&#xA;&#xD;&#xA;Thanks! " ContentLicense="CC BY-SA 2.5" />
  <row Id="4362" PostHistoryTypeId="1" PostId="2475" RevisionGUID="f340b0be-4aea-4c96-8547-a22b33b85c2f" CreationDate="2010-08-04T15:32:57.297" UserId="2" Text="Looking for a high quality (UK) summer ambience" ContentLicense="CC BY-SA 2.5" />
  <row Id="4363" PostHistoryTypeId="3" PostId="2475" RevisionGUID="f340b0be-4aea-4c96-8547-a22b33b85c2f" CreationDate="2010-08-04T15:32:57.297" UserId="2" Text="&lt;exchange&gt;&lt;ambience&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4364" PostHistoryTypeId="2" PostId="2476" RevisionGUID="4c2da708-ca73-497f-9289-231e3481f871" CreationDate="2010-08-04T15:44:47.713" UserId="62" Text="[Soundsnap][1] - user created content, as well as other libraries (Blastwave). Pay per file and has helped me out many times.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundsnap.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="4365" PostHistoryTypeId="2" PostId="2477" RevisionGUID="54b242f6-e170-434c-a301-6a2fa935b688" CreationDate="2010-08-04T15:47:34.090" UserId="62" Text="I just mentioned the website on the resources list but you might find it specifically useful.&#xD;&#xA;&#xD;&#xA;http://www.soundsnap.com/search/audio/rural+england/score&#xD;&#xA;&#xD;&#xA;I use Soundsnap fairly frequently, especially finding authentic atmoses from around the world, which I've been doing so for a show recently.&#xD;&#xA;&#xD;&#xA;I've got a recording from the New Forest, although it has some plane noise if you'd like me to send it to you?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4366" PostHistoryTypeId="5" PostId="2467" RevisionGUID="dd645197-81ea-48ec-b247-a1c0a4ed5b33" CreationDate="2010-08-04T16:52:46.277" UserId="81" Comment="deleted 210 characters in body" Text="This platform is getting bigger everyday as there are industry professionals&amp;amateurs among us spending their valuable time to help people. I think in the near future, Social Sound Design is going to be a major sound design reference in the web. &#xD;&#xA;&#xD;&#xA;So I thought it might be good to provide a list of sound libraries we use, sell or recommend.&#xD;&#xA;&#xD;&#xA;Your input is appreciated. Please provide explanations and technical specifications so that we can keep the topic organized.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hissandaroar.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4367" PostHistoryTypeId="2" PostId="2478" RevisionGUID="5aed2f85-1e66-4698-aeb9-a22433d81b1f" CreationDate="2010-08-04T17:11:56.337" UserId="238" Text="Hi Andrew,&#xD;&#xA;&#xD;&#xA;I'm from the UK but am currently based in the South of France and have recently recorded the cicadas out here, which are pretty much THE sound of summer in this part of the world! You'd be more than welcome to use them if that would help? &#xD;&#xA;&#xD;&#xA;As for being genuine, it's difficult to say too much without knowing more about the footage you'll be putting this to but to be honest, due to the climate being generally a bit cold in the UK (even in summer) the countryside sounds are more about birds than crickets. If it's a really hot summer then they may be heard but it's no way as prominent than in the South of France.&#xD;&#xA;&#xD;&#xA;Anyway, you can check out the cicada recording at http://soundcloud.com/colin-hunter/cicadas-loop&#xD;&#xA;&#xD;&#xA;Hope this helps and let me know if you want to use the recording and I'll email it to you...&#xD;&#xA;&#xD;&#xA;Colin   &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4368" PostHistoryTypeId="5" PostId="2478" RevisionGUID="067dfffe-582a-4f91-afe1-b1d5a7b8583c" CreationDate="2010-08-04T17:18:13.143" UserId="238" Comment="added an extra bit" Text="Hi Andrew,&#xD;&#xA;&#xD;&#xA;I'm from the UK but am currently based in the South of France and have recently recorded the cicadas out here, which are pretty much THE sound of summer in this part of the world! You'd be more than welcome to use them if that would help? &#xD;&#xA;&#xD;&#xA;As for being genuine, it's difficult to say too much without knowing more about the footage you'll be putting this to but to be honest, due to the climate being generally a bit cold in the UK (even in summer) the countryside sounds are more about birds and bees than crickets. If it's a really hot summer then they may be heard but it's no way as prominent than in the South of France.&#xD;&#xA;&#xD;&#xA;Anyway, you can check out the cicada recording at http://soundcloud.com/colin-hunter/cicadas-loop&#xD;&#xA;&#xD;&#xA;Hope this helps and let me know if you want to use the recording and I'll email it to you...&#xD;&#xA;&#xD;&#xA;Colin   &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4369" PostHistoryTypeId="2" PostId="2479" RevisionGUID="feb0ee4c-9c34-4788-b042-b60115a7829d" CreationDate="2010-08-04T17:43:06.723" UserId="315" Text="I would think that something like this would be easily found in the BBC FX library. It may be slightly old, but the bird/ambience recordings in that library are top notch." ContentLicense="CC BY-SA 2.5" />
  <row Id="4370" PostHistoryTypeId="2" PostId="2480" RevisionGUID="a383942a-0618-4311-bd91-02a37ea54e3a" CreationDate="2010-08-04T18:43:32.003" UserId="432" Text="A friend of mine used to participate in something like this for 3d animation. It started me looking for something similar a few years ago, but I can't find any place that runs one. So, I'm going to host one on my website. I've been working on a lot of the logistics of it, and I'm close to rolling it out. I'm hoping that a lot of you here will participate, but first I've got some questions for you.&#xD;&#xA;&#xD;&#xA;For months when a video clip is provided, where would you rather post your final piece: Vimeo, Youtube, or some other service? I'm trying to keep this free, simple, and a site where I can create a group/channel that everyone can post to (that way all the entries are easy to find).&#xD;&#xA;&#xD;&#xA;There will be months where a video is not required. Would you prefer to still use whatever video hosting site, or a service like SoundCloud? Again, key factors are free for everyone, simplicity, consolidated location. Right now, I'm leaning towards using the same video hosting site.&#xD;&#xA;&#xD;&#xA;I'm looking to get this going on my site sometime around the 15th/16th of this month (August 2010), and I will get something up on my site outlining the whole thing in greater detail sometime between now and then.&#xD;&#xA;&#xD;&#xA;Any feedback on those two items above will be greatly appreciated. If you have any other feedback, please throw it my way too. You may think of something I haven't already; but I warn you, I've been thinking about this for a LONG time. :)&#xD;&#xA;&#xD;&#xA;Thanks in advance for your input." ContentLicense="CC BY-SA 2.5" />
  <row Id="4371" PostHistoryTypeId="1" PostId="2480" RevisionGUID="a383942a-0618-4311-bd91-02a37ea54e3a" CreationDate="2010-08-04T18:43:32.003" UserId="432" Text="Monthly Sound Design Challenge...looking for feedback" ContentLicense="CC BY-SA 2.5" />
  <row Id="4372" PostHistoryTypeId="3" PostId="2480" RevisionGUID="a383942a-0618-4311-bd91-02a37ea54e3a" CreationDate="2010-08-04T18:43:32.003" UserId="432" Text="&lt;competition&gt;&lt;skills-development&gt;&lt;survey&gt;&lt;community&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4373" PostHistoryTypeId="2" PostId="2481" RevisionGUID="6f37e7da-5351-48fe-ba09-5863d008808d" CreationDate="2010-08-04T18:57:23.300" UserId="6411" Text="Great idea Shaun! &#xD;&#xA;&#xD;&#xA;I prefer the quality of vimeo's HD to youtube's. I like the idea of using the same host regardless of whether it's video or audio only.  I could see just throwing up a slate card for the entirety of the audio only pieces." ContentLicense="CC BY-SA 2.5" />
  <row Id="4374" PostHistoryTypeId="2" PostId="2482" RevisionGUID="9a332217-daa5-430f-9a3c-68c8def5152c" CreationDate="2010-08-04T18:59:57.123" UserId="393" Text="I second Steve's preference to Vimeo, both in terms of quality and the general traffic flow (I doubt we'll get any FIRST! posts on Vimeo) and using the same service regardless of whether it's video or not.  I can't wait for you to start this." ContentLicense="CC BY-SA 2.5" />
  <row Id="4375" PostHistoryTypeId="2" PostId="2483" RevisionGUID="90023afc-86be-4c5e-b7a6-5de85abe597a" CreationDate="2010-08-04T19:30:16.423" UserId="2" Text="Awesome idea! I'm sure as it grows, you will be able to find sponsors to provide prizes and entice more participants. &#xD;&#xA;&#xD;&#xA;For video, I prefer Vimeo, it's somewhat more elegant. But I think you should use Soundcloud for the audio. Keep the mediums separate. Use a system best for each medium, it will also be less confusing to people checking the designs out. &#xD;&#xA;&#xD;&#xA;Just my thoughts. Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4376" PostHistoryTypeId="2" PostId="2484" RevisionGUID="3cb85489-7ca3-4506-b740-a26d937aa1de" CreationDate="2010-08-04T19:44:04.777" UserDisplayName="user49" Text="ok then, updating this with HISSandaROAR&#xD;&#xA;providing film sound design libraries in various bit/sample rates:&#xD;&#xA;&#xD;&#xA; - FREE 16bit 44.1kHz&#xD;&#xA; - LITE 16bit 44.1kHz&#xD;&#xA; - MID 24bit 48kHz&#xD;&#xA; - MAX 24bit 96kHz&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;and the imminent fourth library will also be availablLe&#xD;&#xA;&#xD;&#xA;ULTRA 24bit 192kHz Multi-channel Multi-mic&#xD;&#xA;&#xD;&#xA;http://hissandaroar.com&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4377" PostHistoryTypeId="5" PostId="2484" RevisionGUID="2497434d-3994-481e-9345-f35097c9378d" CreationDate="2010-08-04T19:52:32.467" UserDisplayName="user49" Comment="formatting!" Text="HISSandaROAR provide film sound design libraries in various bit/sample rates:&#xD;&#xA;&#xD;&#xA; - FREE 16bit 44.1kHz&#xD;&#xA; - LITE 16bit 44.1kHz&#xD;&#xA; - MID 24bit 48kHz&#xD;&#xA; - MAX 24bit 96kHz&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;and the imminent fourth library will also be availablLe&#xD;&#xA;&#xD;&#xA;ULTRA 24bit 192kHz Multi-channel Multi-mic&#xD;&#xA;&#xD;&#xA;http://hissandaroar.com&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4378" PostHistoryTypeId="2" PostId="2485" RevisionGUID="78a2fce3-22c0-4481-a938-bc662a734fc5" CreationDate="2010-08-04T20:05:41.617" UserId="220" Text="Sounds like a fun idea!  I prefer vimeo - better encoding, etc. and all the same host regardless of audio only or audio with video.  What would the source material be formatted as?  One of the nice features of vimeo is allowing people to download the source video from the original video posted, thus saving you a lot of hosting room and bandwidth as well.&#xD;&#xA;&#xD;&#xA;Please keep up posted!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4379" PostHistoryTypeId="2" PostId="2486" RevisionGUID="66c78a9e-fdb1-4f33-9c24-0eeb41b3a4e9" CreationDate="2010-08-04T20:44:57.967" UserId="202" Text="Hi all&#xD;&#xA;&#xD;&#xA;In a few weeks the movie I'm working on will be printed, so finally I'll have some time to spend on my projects.&#xD;&#xA;&#xD;&#xA;I'm planning to record a few motorcycles, [this][1] and [this][2] and I'm start to organize how to do that.&#xD;&#xA;&#xD;&#xA;This is the first time I try to record any vehicle/motorcycle so any help/suggestions are welcome. I already read the deenen special on recording car and read any info I found on the books I have.&#xD;&#xA;&#xD;&#xA;A few questions:&#xD;&#xA;&#xD;&#xA;1. How many recordist? I'm thinking about two + one onboard.&#xD;&#xA;2. which microphones? I'm planning to use a schoeps ms setup (mk4+mk8) and a  sennheiser ms (mkh60+mkh30). plus a dpa 4061 onboard + some kind of dynamic mic (shure beta57? something else?) I have to rent some of those mics so  any advice is wellcome!&#xD;&#xA;3. Any tip for the &quot;performances&quot;(what speed. changing gears. slow speed high speed. which manouvers?)? &#xD;&#xA;4. Where to put the onboard mics so that they get the best possible sound and the least possible wind noise? What protection I should use? blimp? foam?&#xD;&#xA;&#xD;&#xA;thank you in advance, I'll let you know (and hear) what will happen&#xD;&#xA;&#xD;&#xA;davide&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pacificscooters.com/img/products/vespa-px150-scooter_lg.jpg&#xD;&#xA;  [2]: http://motorbike-search-engine.co.uk/classic_bikes/moto-morini-350-sport.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="4380" PostHistoryTypeId="1" PostId="2486" RevisionGUID="66c78a9e-fdb1-4f33-9c24-0eeb41b3a4e9" CreationDate="2010-08-04T20:44:57.967" UserId="202" Text="recording motorcycle" ContentLicense="CC BY-SA 2.5" />
  <row Id="4381" PostHistoryTypeId="3" PostId="2486" RevisionGUID="66c78a9e-fdb1-4f33-9c24-0eeb41b3a4e9" CreationDate="2010-08-04T20:44:57.967" UserId="202" Text="&lt;recording&gt;&lt;motorcycle&gt;&lt;vehicles&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4382" PostHistoryTypeId="2" PostId="2487" RevisionGUID="9e163e8c-0ddc-45d6-a960-a901afd701f9" CreationDate="2010-08-04T20:49:51.323" UserId="298" Text="Vimeo and Soundcloud. &#xD;&#xA;&#xD;&#xA;Its interesting and im in!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4383" PostHistoryTypeId="2" PostId="2488" RevisionGUID="1dd4aa28-21d3-4e37-83ad-fdce3476168f" CreationDate="2010-08-04T20:57:18.510" UserId="202" Text="Dear all&#xD;&#xA;&#xD;&#xA;I'll planning to sort some of the stuff in my sfx libraries. I'll move to Soundminer and thinking to tag and add metadata to all my libraries (I'll start, but I already know that it'll be a loooooong project).&#xD;&#xA;&#xD;&#xA;I'm Italian so I'm thinking: should I tag and rename all my libraries (self recorded and bought) in italian (much easier to do and to work with) or should I do that in english (a little more difficult to do and to use but much more consistent with any new library that i could buy and much more usefull if I'll move outside italy for work)? &#xD;&#xA;What dou you french/spanish/whereverintheworldareyou do? :)&#xD;&#xA;&#xD;&#xA;thanks in advance&#xD;&#xA;&#xD;&#xA;davide" ContentLicense="CC BY-SA 2.5" />
  <row Id="4384" PostHistoryTypeId="1" PostId="2488" RevisionGUID="1dd4aa28-21d3-4e37-83ad-fdce3476168f" CreationDate="2010-08-04T20:57:18.510" UserId="202" Text="Soundfx library metadata language " ContentLicense="CC BY-SA 2.5" />
  <row Id="4385" PostHistoryTypeId="3" PostId="2488" RevisionGUID="1dd4aa28-21d3-4e37-83ad-fdce3476168f" CreationDate="2010-08-04T20:57:18.510" UserId="202" Text="&lt;soundminer&gt;&lt;sound-libraries&gt;&lt;sfx&gt;&lt;metadata&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4386" PostHistoryTypeId="2" PostId="2489" RevisionGUID="a9207b8a-9717-4963-8c60-351e40d23b70" CreationDate="2010-08-04T21:15:21.943" UserId="393" Text="Consider how much easier it will be to use Italian, now, vs. how hard it will be to translate all your new libraries, later.  Will you be purchasing a lot of libraries, or will you be relying mostly on stuff you'll be recording yourself?&#xD;&#xA;&#xD;&#xA;It's just a matter of comparing headaches, and deciding which will be worse." ContentLicense="CC BY-SA 2.5" />
  <row Id="4387" PostHistoryTypeId="2" PostId="2490" RevisionGUID="a5587336-3463-49e7-a673-d4482726f2a9" CreationDate="2010-08-04T21:45:21.927" UserId="393" Text="Quick question... What movies do you recommend any of us watch for good sound design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4388" PostHistoryTypeId="1" PostId="2490" RevisionGUID="a5587336-3463-49e7-a673-d4482726f2a9" CreationDate="2010-08-04T21:45:21.927" UserId="393" Text="Good movies to watch for the sound design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4389" PostHistoryTypeId="3" PostId="2490" RevisionGUID="a5587336-3463-49e7-a673-d4482726f2a9" CreationDate="2010-08-04T21:45:21.927" UserId="393" Text="&lt;movies&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4390" PostHistoryTypeId="2" PostId="2491" RevisionGUID="8f2b2c7b-e2f4-41b0-bfe1-e964b8f045cd" CreationDate="2010-08-04T22:04:29.140" UserId="132" Text="Just to add a bit more detail.&#xD;&#xA;&#xD;&#xA;[Rabbit Ears Libraries][1] provide libraries as follows:&#xD;&#xA;&#xD;&#xA;Free 16 bit 44.1 kHz&#xD;&#xA;&#xD;&#xA;Basic 16 Bit 44.1 kHz&#xD;&#xA;&#xD;&#xA;Standard: 24 bit 48 kHz&#xD;&#xA;&#xD;&#xA;Hi Res: 24 bit 96 kHz&#xD;&#xA;&#xD;&#xA;http://rabbitearsaudio.com&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://rabbitearsaudio.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="4391" PostHistoryTypeId="2" PostId="2492" RevisionGUID="c9037b5e-e89f-4e3e-a978-623aa6be0644" CreationDate="2010-08-04T22:05:57.250" UserId="477" Text="Great idea! I'm in." ContentLicense="CC BY-SA 2.5" />
  <row Id="4392" PostHistoryTypeId="2" PostId="2493" RevisionGUID="53b15fdf-89f5-4263-9a59-28ae9397fdb4" CreationDate="2010-08-04T22:23:02.570" UserId="315" Text="The Schoeps and the Sennheiser pairs will work great, as always, for bys etc..&#xD;&#xA;&#xD;&#xA;The DPA 4061 will work for you onboard (I love my pair), but there are much better choices for that one. The Shure 57 will work great onboard, but I'd suggest another dynamic or a pzm mic instead of the Lav for your 2nd onboard.&#xD;&#xA;&#xD;&#xA;I'd suggest a mic on the seat directly behind the rider pointing down. The rider will work to provide a slipstream which will prevent wind noise. Or even better, put a backpack on the rider that won't make cloth noise, and mount the mic on the backpack. And if you can rig it, perhaps another mic (a dynamic that can handle really high SPL) somewhere near the tailpipe. Make sure you're mics are not attached directly to the bike and have some sort of shock mount or at least foam under them as vibration will be a problem.&#xD;&#xA;&#xD;&#xA;I'd record full coverage of the motorcycles. David Yewdall's Sound Design Book has a great list of what is considered &quot;full coverage.&quot; I especially like the sound of downshifting on motorcycles myself.&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/Practical-Motion-Picture-Sound-Second/dp/0240805259&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4393" PostHistoryTypeId="2" PostId="2494" RevisionGUID="0a8bf282-fe0a-49c6-a324-ad6a877ee261" CreationDate="2010-08-04T22:27:22.717" UserId="10" Text="A quick advice: don't limitate yourself to just see &quot;films with good sound&quot;... Almost any film will teach you something, even if it's a silent movie.. You can learn a lot from from bad sounding films, or good ones, or oscar winning productions, independent films, trailers, documentary, etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="4394" PostHistoryTypeId="2" PostId="2495" RevisionGUID="a0103cc6-70ba-436b-8b35-a094937211f4" CreationDate="2010-08-04T23:17:34.693" UserId="219" Text="I'm already liking it :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4395" PostHistoryTypeId="5" PostId="2495" RevisionGUID="a0485249-b5c0-4acc-934f-647dc0c2bd33" CreationDate="2010-08-04T23:23:06.807" UserId="219" Comment="added 248 characters in body" Text="I'm already liking it :) If it's going to be embedded in your website, I'd go for Vimeo and SoundCloud. I don't think the huge amount of screen space taken up by slate cards will be much enjoyable when browsing audio-only editions of the challenge. Rather keep these slim." ContentLicense="CC BY-SA 2.5" />
  <row Id="4396" PostHistoryTypeId="5" PostId="2493" RevisionGUID="4fc71fc3-4a70-4649-b111-9a5c851c900f" CreationDate="2010-08-04T23:34:41.457" UserId="315" Comment="deleted 2 characters in body" Text="The Schoeps and the Sennheiser pairs will work great, as always, for bys etc..&#xD;&#xA;&#xD;&#xA;The DPA 4061 will work for you onboard (I love my pair), but there are much better choices for that one. The Shure 57 will work great onboard, but I'd suggest another dynamic or a pzm mic instead of the Lav for your 2nd onboard.&#xD;&#xA;&#xD;&#xA;I'd suggest a mic on the seat directly behind the rider pointing down. The rider will work to provide a slipstream which will prevent wind noise. Or even better, put a backpack on the rider that won't make cloth noise, and mount the mic on the backpack. And if you can rig it, perhaps another mic (a dynamic that can handle really high SPL) somewhere near the tailpipe. Make sure your mics are not attached directly to the bike and have some sort of shock mount or at least foam under them as vibration will be a problem.&#xD;&#xA;&#xD;&#xA;I'd record full coverage of the motorcycles. David Yewdall's Sound Design Book has a great list of what is considered &quot;full coverage.&quot; I especially like the sound of downshifting on motorcycles myself.&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/Practical-Motion-Picture-Sound-Second/dp/0240805259&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4397" PostHistoryTypeId="2" PostId="2496" RevisionGUID="4ae93459-9b52-4b10-8f5e-eba2ab5e7a91" CreationDate="2010-08-05T00:16:22.120" UserId="6411" Text="I never know which one I'm looking for. Is there a universal distinction between these that all libraries use in their metadata?&#xD;&#xA;&#xD;&#xA;These in particular were on my mind today.  Anyone have other metadata synonyms that we can crack here?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4398" PostHistoryTypeId="1" PostId="2496" RevisionGUID="4ae93459-9b52-4b10-8f5e-eba2ab5e7a91" CreationDate="2010-08-05T00:16:22.120" UserId="6411" Text="Whoosh, swoosh, or swish? Hit or impact?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4399" PostHistoryTypeId="3" PostId="2496" RevisionGUID="4ae93459-9b52-4b10-8f5e-eba2ab5e7a91" CreationDate="2010-08-05T00:16:22.120" UserId="6411" Text="&lt;library-sound-effects&gt;&lt;metadata&gt;&lt;definitions&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4401" PostHistoryTypeId="2" PostId="2498" RevisionGUID="e40626d2-5a51-4703-acf5-5ef6d9d9d09a" CreationDate="2010-08-05T01:36:32.937" UserId="29" Text="Just got back from the mountains myself and contending, as usual, with the same issue.&#xD;&#xA;&#xD;&#xA; - If you can see traffic, you're too close. No cheating with fog or darkness, now. :-)&#xD;&#xA; - If you know where the road(s) are, do a 360° with your mic (as Tim said, more directional is often good, but sometimes not if you're doing stereo) and optimize placement based on rejection of the traffic source.&#xD;&#xA; - I've recorded FIVE MILES away from train tracks and still hear the horn and rumble of freight trains clearly.&#xD;&#xA; - Air traffic increases on weekends due to recreational flyers; if you're going to a remote area, that increases the likelihood of hearing air traffic since only small informal airstrips that service civilian planes are found in remote areas.&#xD;&#xA; - Recording prior to dawn or after dark helps immensely, but complicates logistics and scheduling.&#xD;&#xA; - You can replace distance with intervening geography. If it's flat, I don't find 2 miles to be enough. If it's wooded and hilly, 2 miles can be good enough...if you're in a valley. The higher your elevation, the farther you must be.&#xD;&#xA;&#xD;&#xA;I just did a hike of 3,000' in elevation to an altitude of 8500' over 4 miles of hiking and 6 miles from the nearest paved road to get things quiet enough that I could record the sound of wind in pine needles without birds or even insects. A rare opportunity, but it took half a day to get to that location. Conversely, I've gone into a forested canyon a 0.5-mile drive from my house and within 4 miles of the US's busiest highway and got clean recordings of frog choruses, using the landscape as a giant sound blanket.&#xD;&#xA;&#xD;&#xA;These efforts often pays off, and you must be patient all those times it doesn't." ContentLicense="CC BY-SA 2.5" />
  <row Id="4402" PostHistoryTypeId="2" PostId="2499" RevisionGUID="e23f07bf-973f-4383-988e-05910dffa9fe" CreationDate="2010-08-05T02:11:08.397" UserId="194" Text="Tim Prebble is your guy for moto recording. Check out his blog posts about his work on &quot;The World's Fastest Indian&quot; and his shifter cart recordings. &#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/?s=Indian&amp;x=0&amp;y=0" ContentLicense="CC BY-SA 2.5" />
  <row Id="4403" PostHistoryTypeId="2" PostId="2500" RevisionGUID="3975ee4d-bf1e-44b4-a62c-95f7350b0ec6" CreationDate="2010-08-05T02:25:36.963" UserId="194" Text="Fwiw soundminer uses a thesaurus, meaning you can search &quot;whoosh&quot; and it will retrieve swooshes and swishes etc., even if the word &quot;whoosh&quot; isn't in the metadata or file name. &#xD;&#xA;&#xD;&#xA;It's also user editable. Cool stuff!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4404" PostHistoryTypeId="2" PostId="2501" RevisionGUID="84a1e029-7618-477a-81c9-3cabcb4d5ea0" CreationDate="2010-08-05T02:41:43.497" UserId="194" Text="&#xD;&#xA;This thread over on gearslutz is a good one for keeping tabs on what's going on in the sd library world:&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/post-production-forum/489796-new-sound-fx-library-releases.html&#xD;&#xA;&#xD;&#xA;There's also this resource translated from the French website:&#xD;&#xA;&#xD;&#xA;http://translate.google.com/translate?js=y&amp;prev=_t&amp;hl=en&amp;ie=UTF-8&amp;layout=1&amp;eotf=1&amp;u=http%3A%2F%2Fwww.sounddesigners.org%2Findex.php%3Fname%3DCmodsWebLinks%26file%3Dindex%26req%3Dviewlink%26cid%3D21%26orderby%3DdateD&amp;sl=fr&amp;tl=en" ContentLicense="CC BY-SA 2.5" />
  <row Id="4405" PostHistoryTypeId="2" PostId="2502" RevisionGUID="f40af2f9-276c-4087-acb8-caa691f5dc5e" CreationDate="2010-08-05T06:42:22.750" UserId="338" Text="I think it would be fun especially to see what everyone else on the board is doing" ContentLicense="CC BY-SA 2.5" />
  <row Id="4406" PostHistoryTypeId="2" PostId="2503" RevisionGUID="1a2cbab0-5d66-49b0-b0a6-adf55b3a538a" CreationDate="2010-08-05T07:02:49.590" UserId="6435" Text="I had a wee spot of trouble with local authorities on a video shoot once...the full story is on my blog; rather than re-type it or copy/paste I'll just [link to it][1]. Enjoy!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://toxicbag.wordpress.com/2009/03/25/the-ghosts-are-the-least-of-your-worries/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4407" PostHistoryTypeId="2" PostId="2504" RevisionGUID="44393378-6f81-44f5-9af8-915b023c814b" CreationDate="2010-08-05T07:43:41.213" UserId="219" Text="Well I find it fairly explicit. A whoosh would be a fairly large object compared to swooshes ans swishes that require thinner objects (for the &quot;s...&quot;) that literally cut through the air. A maul makes whooshes, a sword makes swooshes, a foil makes swishes. Does this make it any clearer?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4408" PostHistoryTypeId="2" PostId="2505" RevisionGUID="a5eacf1e-6145-4ed9-aac0-cd7a804a0c37" CreationDate="2010-08-05T09:10:21.743" UserId="479" Text="Not sure if it's possible, but a system that would allow one video to be uploaded by the admin then the option to choose whichever sound file the contestants have submitted is synced with the video.&#xD;&#xA;&#xD;&#xA;I wouldn't be able to download the same video 50 times due to bandwidth, but if I could just select say the top 5 rated audio files (rated by the people that can look at all the videos/sound) one at a time which is synced to the admins video, it would be ok.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4409" PostHistoryTypeId="2" PostId="2506" RevisionGUID="a59b08a1-fc29-43d9-bef5-96bdd8e2b7d4" CreationDate="2010-08-05T11:18:47.847" UserId="260" Text="Lord of the rings! The bows, creatures and even the ambience. Everything was done well.&#xD;&#xA;&#xD;&#xA;Transformer films, and inception. Great sound work." ContentLicense="CC BY-SA 2.5" />
  <row Id="4410" PostHistoryTypeId="2" PostId="2507" RevisionGUID="488f7c2a-7f5c-4cd6-9e6a-ed56806b8d54" CreationDate="2010-08-05T11:25:12.197" UserId="81" Text="In my opinion Transformers 2 is was a successfull one, with all the conversion sounds and metal parts working, scratching against each other." ContentLicense="CC BY-SA 2.5" />
  <row Id="4411" PostHistoryTypeId="5" PostId="2496" RevisionGUID="84c8e67a-4467-4f16-a68a-ca5210a3aefd" CreationDate="2010-08-05T12:44:28.217" UserId="6411" Comment="added 81 characters in body" Text="I never know which one I'm looking for. And it's a concern of mine to use common terminology as I tag my own recordings. Is there a universal distinction between these that all libraries use in their metadata?&#xD;&#xA;&#xD;&#xA;These in particular were on my mind today.  Anyone have other metadata synonyms that we can crack here?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4412" PostHistoryTypeId="2" PostId="2508" RevisionGUID="0b737b8b-aec4-4721-b3d2-7e782fcf19ac" CreationDate="2010-08-05T12:49:31.807" UserId="220" Text="M (1931) - As an early &quot;talkie&quot;, it had very minimal sound, but every bit of it is key to the story." ContentLicense="CC BY-SA 2.5" />
  <row Id="4413" PostHistoryTypeId="2" PostId="2509" RevisionGUID="0c050c6c-bb02-415f-98ef-7787eb9f7841" CreationDate="2010-08-05T12:55:03.743" UserId="238" Text="I agree with most here. Vimeo and Soundcloud together. You might also want to look at using something like Dropbox as well. This would allow you to host other formats (omf for example)..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4414" PostHistoryTypeId="2" PostId="2510" RevisionGUID="8ebc735b-9068-40ce-a2ec-d57ee3932b38" CreationDate="2010-08-05T12:59:48.533" UserId="238" Text="Gus Van Sant's films are normally bang on in terms of sound design. Leslie Shatz did the sound design for both Elephant and Paranoid Park which were both top notch. I also really enjoyed the sound design on Waltz With Bashir (being feature length animation meant everything was created from a blank slate). " ContentLicense="CC BY-SA 2.5" />
  <row Id="4415" PostHistoryTypeId="2" PostId="2511" RevisionGUID="8ddb2b74-7473-426e-a620-2577bf6a3587" CreationDate="2010-08-05T14:55:51.617" UserId="62" Text="Saving Private Ryan - a behemoth of sound in film. An amazing piece of work by Gary Rydstrom. I did my MA thesis on the film and totally ripped the beach landing sequence apart, truly inspired and interesting stuff in there. Much more than the simple ear ringing thing people always mention.&#xD;&#xA;&#xD;&#xA;I'll add a link when I get home to my paper on scribd.com so people can read it if they so wish." ContentLicense="CC BY-SA 2.5" />
  <row Id="4416" PostHistoryTypeId="2" PostId="2512" RevisionGUID="700be629-1d37-4542-9776-47f1dda0ddc5" CreationDate="2010-08-05T15:35:31.113" UserId="62" Text="As someone has already done a request thread I feel a little better asking my own. I'm working on a live action show and I've suddenly been given ADR for a character in a single episode (nothing wrong with the original actor's performance but anyway). I've mixed it into the show as best I can.&#xD;&#xA;&#xD;&#xA;However, it'd be nice to use a convolution reverb on the ADR (dry VO booth by the sounds of it) to sell it better. Sadly I live in Ireland and the show was shot on the Ben Kitay Studio in LA.&#xD;&#xA;&#xD;&#xA;So, my question is this, does anyone already have a measurement for the stages there? If so can I be very cheeky and ask for a copy?&#xD;&#xA;&#xD;&#xA;I was thinking that sound stages ought to have the files ready for post facilities to use as a standard part of the service. Wishful thinking? I know that sets being built will obviously change the acoustic and a lot of dialogue will be ADR'd. This particular show is all greenscreen and CG backgrounds and I was told that ADR wasn't being done from the start.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="4417" PostHistoryTypeId="1" PostId="2512" RevisionGUID="700be629-1d37-4542-9776-47f1dda0ddc5" CreationDate="2010-08-05T15:35:31.113" UserId="62" Text="Convolution Reverb measurement request" ContentLicense="CC BY-SA 2.5" />
  <row Id="4418" PostHistoryTypeId="3" PostId="2512" RevisionGUID="700be629-1d37-4542-9776-47f1dda0ddc5" CreationDate="2010-08-05T15:35:31.113" UserId="62" Text="&lt;adr&gt;&lt;convolution&gt;&lt;reverb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4419" PostHistoryTypeId="2" PostId="2513" RevisionGUID="2f77dbc8-ab4a-4ef2-ad8b-5fc5a5c3923c" CreationDate="2010-08-05T16:33:27.883" UserId="432" Text="The problem with just about all sound effects libraries, is that it's like scouring through the yellow pages (fewer and fewer people are understanding that reference each year, sadly); the yellow pages being the greatest training tool I've ever had for searching sound effect libraries.&#xD;&#xA;&#xD;&#xA;I don't think we're ever going to escape the chore of creative searching as long as we turn to library effects, especially when you consider that different brands have their own specific conventions." ContentLicense="CC BY-SA 2.5" />
  <row Id="4420" PostHistoryTypeId="2" PostId="2514" RevisionGUID="c67b45a4-104b-4cb4-a9cf-4ddd4a33ef8d" CreationDate="2010-08-05T16:42:06.587" UserId="432" Text="Although Sound Ideas now owns the remaining stock (and I don't think they're going to produce any more of them), the Network Sound Effects library is an odd little jem.&#xD;&#xA;&#xD;&#xA;You've got to watch how you use them, because the tail edits on many of them are atrocious, but it's a great source for some really dated soundnig material. There are pieces of technology in that library that you're going to have a hard time finding to record for yourself. You may even have a hard time finding them in other libraries.&#xD;&#xA;&#xD;&#xA;Also, some of the recordings really sound their age, which can be awesome for fitting in with period/archival footage.&#xD;&#xA;&#xD;&#xA;http://www.sound-ideas.com/network.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="4421" PostHistoryTypeId="2" PostId="2515" RevisionGUID="1ca6ffa8-e701-47d4-9fe4-e1f2b7e30eb8" CreationDate="2010-08-05T16:45:35.057" UserId="37" Text="I'm still fascinated by No Country For Old Men.&#xD;&#xA; &#xD;&#xA;Coen in general seem to have special attitude towards sound.. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4422" PostHistoryTypeId="2" PostId="2516" RevisionGUID="6a4e4a43-39d3-4bd8-861f-f97bb79330f0" CreationDate="2010-08-05T17:46:34.350" UserId="469" Text="There was this thread awhile back, [&quot;How to Make money with sound design.&quot;](http://socialsounddesign.com/questions/38/how-to-make-money-with-sound-design)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I wanted to delve back into the issue if anyone cares to share their expertise or experiences.  I would love to start a website like Tim, Chuck, and the other 'boutique' guys that have been popping up, but I don't really have the knowledge of website design or the money to pay someone else to do it.&#xD;&#xA;&#xD;&#xA;Which website do you sell your sound effects through and why?  I looked through the various websites listed in the thread and it seems difficult to figure out which ones are more profitable.  Some don't have any information at all about how much money you will make.  Audiojungle starts you at 40% if you give them exclusive rights to a sound effect.  That seems like a ripoff to me, 25% for non-exclusive rights might be better if you can sell it to all of the sites.  Thoughts?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4423" PostHistoryTypeId="1" PostId="2516" RevisionGUID="6a4e4a43-39d3-4bd8-861f-f97bb79330f0" CreationDate="2010-08-05T17:46:34.350" UserId="469" Text="How do you sell your sound effects?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4424" PostHistoryTypeId="3" PostId="2516" RevisionGUID="6a4e4a43-39d3-4bd8-861f-f97bb79330f0" CreationDate="2010-08-05T17:46:34.350" UserId="469" Text="&lt;selling&gt;&lt;sound-effects&gt;&lt;rights&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4425" PostHistoryTypeId="2" PostId="2517" RevisionGUID="e9925f15-db8d-4c91-b744-0be94449b154" CreationDate="2010-08-05T17:57:19.167" UserId="219" Text="I was just thinking, you also want to record things with the engine off, like the sound of the brakes (if they're squeaky, even better! :) ), if there is a clutch, well, the sound of the clutch, maybe suspensions, foldable footrests, you get the picture..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4426" PostHistoryTypeId="2" PostId="2518" RevisionGUID="eb1d9e50-00ff-4427-b506-6e9c05a32b2e" CreationDate="2010-08-05T18:11:23.567" UserId="219" Text="Hope you found what you were after, I did try to record some now that the sun is back but I'm not geared up properly, the only stereo mic I have is the one built in my Tascam DR100 and to get usable levels there's too much self noise with the gain.&#xD;&#xA;&#xD;&#xA;If not, tell me, I'll try a little harder ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4427" PostHistoryTypeId="2" PostId="2519" RevisionGUID="a8b959f6-da46-4376-acdc-9b908d8b7ec0" CreationDate="2010-08-05T18:40:08.647" UserId="18" Text="First, I have never &quot;sold&quot; a sound effect, but I do license them, make sure you understand the difference before you get into business with anyone.  In addition to the libraries offered on my site, I have licensed sounds to Soundsnap.com.  I won't go into specifics about the actual rates, but it is a non-exclusive deal.  I will not sign an exclusive licensing deal with anyone.  But that's just me.&#xD;&#xA;&#xD;&#xA;40% for an exclusive license sounds like a bunch of BS to me.  You can sell music on Itunes, non-exclusively, and keep 70%, so why do THEY need to keep 60% for an exclusive deal?  Plus, does anyone actually use that site for FX, I've never come across it?  40% of little to no sales doesn't sound like a great deal for giving up the right to take your stuff elsewhere.&#xD;&#xA;&#xD;&#xA;I worked with Soundsnap because I felt the deal was fair and I like what they are doing.  It is a great resource to get sound effects from sources that are not big name.  And they have a couple of the bigger names too (Blastwave and Frank Serafine).  If they had asked for an exclusive deal, I would have walked away.&#xD;&#xA;&#xD;&#xA;Sounddogs is another place I would check out.  I don't know what their deals are like, but they are the biggest name in downloadable FX.  I do know people who have licensed with them before and they seemed happy with their deal.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4428" PostHistoryTypeId="2" PostId="2520" RevisionGUID="34a33df2-8ffb-4284-b667-31f97c03c43e" CreationDate="2010-08-05T18:44:32.117" UserId="18" Text="There is also The Recordist, run by Frank Bry: http://www.therecordist.com/&#xD;&#xA;&#xD;&#xA;He's a great guy and has some cool content, check it out (after you have all of my stuff, or course!)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4429" PostHistoryTypeId="2" PostId="2521" RevisionGUID="b3ff834c-0032-4352-b108-111893fc1a19" CreationDate="2010-08-05T18:58:15.497" UserId="18" Text="I've never recorded guns indoors, but the technique should be similar or the same as outdoors (it will just sound different).  It may be louder than outdoors, or at least sound louder.&#xD;&#xA;&#xD;&#xA;Assuming you have 4 channels, and given your mic selections, I would suggest, as a **starting point**:&#xD;&#xA;&#xD;&#xA;AT Shotgun - behind the shooter, aimed over his shoulder down-range.  10-15 feet back.  You'll have to find how close you can get the mic before it sounds bad, it might be closer than 10 feet, might be further back than 15.  I've never worked with that mic.&#xD;&#xA;&#xD;&#xA;Schoeps - Off to the side of the shooter, pointed at the gun, not ahead of the barrel.  You'll have to experiment to find a good distance.&#xD;&#xA;&#xD;&#xA;Your other mics, if they are a pair, try them in XY stereo and put them the furthest out to get a distant perspective.  If you end up putting them ahead of the gun barrel, you may get a better sound facing them away from the gun. &#xD;&#xA;&#xD;&#xA;I would never put a mic on the gun barrel, they get hot!  If the gun has an interesting mechanism sound, you can try a contact mic or lav mic near the mechanism.&#xD;&#xA;&#xD;&#xA;Don't forget to experiment as much as you can, that is the only way to find the perfect placement for the environment you are in and the weapon you are firing." ContentLicense="CC BY-SA 2.5" />
  <row Id="4430" PostHistoryTypeId="2" PostId="2522" RevisionGUID="89fe288d-ce80-41de-b389-97492d3e679c" CreationDate="2010-08-05T19:47:22.983" UserId="393" Text="[http://www.splurgo.com][1]&#xD;&#xA;&#xD;&#xA;Though they mostly do loops for music, and the quality runs the gamut, the loop packs are generally cheap enough to take a gamble on. Not your traditional sound libraries, but something I've found useful from time to time.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.splurgo.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="4431" PostHistoryTypeId="2" PostId="2523" RevisionGUID="c31a0e51-14c6-4624-bc45-55b627fc87d3" CreationDate="2010-08-05T19:49:50.950" UserId="378" Text="@ Chuck, I'd like to mine you further on this. I've been really inspired by what you and Tim Prebble and a few others have been doing, and am putting together some field recording events with local recordists with a mind to licensing collections.&#xD;&#xA;&#xD;&#xA;I love your model of licensing them through your own portal, and using Soundsnap as well. What I'm particularly curious about is how you're finding www.chuckrussomfx.com? How worth the Wordpress effort has it been to cut out the middle man?&#xD;&#xA;&#xD;&#xA;Here are the challenges I'm anticipating based on what I've seen with you, Tim, Michael, etc.:&#xD;&#xA;&#xD;&#xA;1) Regular updates. Since you put out a library pretty consistently every month or two, I'm always pretty excited about what you'll come out with next. Putting up a library once a year seems like it'd be a waste of time.&#xD;&#xA;&#xD;&#xA;2) Getting those recordings!!!! This is a scheduling issue.&#xD;&#xA;&#xD;&#xA;3) $. I.E. if I'm going to be recording pyrotechnics, I want to be able to make that money back.&#xD;&#xA;&#xD;&#xA;4) Name recognition. You guys have been very vocal in the online community, we trust what you produce because you keep an active blog and offer intelligent responses to questions like these :-P. And you're a veteran of game audio - that doesn't hurt! Conversely, I'm pretty new to the scene and don't have an established reputation.&#xD;&#xA;&#xD;&#xA;Another concern I've had, though this may be unfounded, is that I don't want to step on the toes of my role models. I'm involved in the fire performance community here in Austin, and my first session is going to be fire based recordings - which are of course already pretty well represented." ContentLicense="CC BY-SA 2.5" />
  <row Id="4432" PostHistoryTypeId="2" PostId="2524" RevisionGUID="4c9a5c3d-bebd-44e7-9725-646b9560061a" CreationDate="2010-08-05T20:49:59.383" UserId="6435" Text="I have seen the 40% and 50% models on a number of stock fx/photo/footage sites. It seems more standard than we might prefer. &#xD;&#xA;&#xD;&#xA;Currently I have sfx for sale at Audiosparx.com (which is non-exclusive at the moment), and am working on selling them directly from [my site][1] as well (I have a bunch of my sfx for role-playing-gamers up there in mp3 format and iTunes-esque pricing, but I hope to have at least 48kHz/24-bit .wav downloads available soon). But it's a question of finding the time to sit and set up the site. Since I just got down with a couple of major projects I may dive in over the next couple of weeks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://toxicbag.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="4433" PostHistoryTypeId="5" PostId="2511" RevisionGUID="9e85a2a1-6208-4680-b698-febf5dccbb46" CreationDate="2010-08-05T20:51:37.337" UserId="62" Comment="added link, changed text accordingly." Text="Saving Private Ryan - a behemoth of sound in film. An amazing piece of work by Gary Rydstrom. I did my MA thesis on the film and totally ripped the beach landing sequence apart, truly inspired and interesting stuff in there. Much more than the simple ear ringing thing people always mention.&#xD;&#xA;&#xD;&#xA;Here's a link to my dissertation on Scribd...&#xD;&#xA;&#xD;&#xA;http://www.scribd.com/doc/35433777&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="4434" PostHistoryTypeId="2" PostId="2525" RevisionGUID="287812ee-2e79-4154-91e0-81df694b8d7f" CreationDate="2010-08-05T21:18:11.133" UserId="18" Text="Robin, let me address your points:&#xD;&#xA;&#xD;&#xA;1.  Regular updates are a huge challenge.  This isn't my day job, so I have to balance the libraries vs work and family.  I have 2 libraries that keep getting pushed off because work has been very busy lately.  These libraries also take a LOT of work to plan, record, edit, promote, etc.  It's not a quick and easy process.&#xD;&#xA;&#xD;&#xA;2.  You have to do as much recording as you can when you have the time.  I have 2-3 libraries recorded, sitting in the editing que now.&#xD;&#xA;&#xD;&#xA;3.  I start every library expecting to lose all of the money I invest.  Since my day job is sound design, it benefits me to have these recordings, so I'll risk a loss, to some degree.  Some things I just won't dO, because of the investment (ie guns).  There are a lot of things you can do for little to no money that people will find useful.&#xD;&#xA;&#xD;&#xA;4.  I agree that it helps that I've been in games for a while.  I also spend a great deal of my time ensuring that my name is out there, it is necessary for both my businesses.&#xD;&#xA;&#xD;&#xA;I wouldn't worry about stepping on toes.  if you're doing you own thing and not straight ripping others off, then why not?  we always need new fire :)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4435" PostHistoryTypeId="2" PostId="2526" RevisionGUID="d6f9e74c-296f-4411-920f-07c862f18952" CreationDate="2010-08-05T22:46:19.700" UserDisplayName="user49" Text="A few thoughts:&#xD;&#xA;&#xD;&#xA;If I hired someone to create, design &amp; implement my HISSandaROAR site I suspect it would be five to ten years before I broke even. So be very careful before hiring someone else to do it... There are plenty of designers &amp; IT people who will happily take your money, and will undoubtedly do a great job... I've been using wordpress for 4 years now with my blog and I still spent over a year developing my site and learnt a HUGE amount in the process... and am still learning lots. Reaching an audience is the same for everyone - it takes time, so being in it for the long term is important.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4436" PostHistoryTypeId="2" PostId="2527" RevisionGUID="40b8d05e-e0cf-4839-b831-2cb633f32e2f" CreationDate="2010-08-06T02:01:24.527" UserId="18160" Text="I'm curious to what mics and what positions you would use for this situation:&#xD;&#xA;&#xD;&#xA;Multicast audiobook that will have full musical score and sound effects.&#xD;&#xA;&#xD;&#xA;5 actors,&#xD;&#xA;&#xD;&#xA;1 narrator, 4 character actors.&#xD;&#xA;&#xD;&#xA;The character actors will play at least 3 different characters in the story.&#xD;&#xA;&#xD;&#xA;The narrator usually just plays himself.&#xD;&#xA;&#xD;&#xA;Looking forward to the answers,&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="4437" PostHistoryTypeId="1" PostId="2527" RevisionGUID="40b8d05e-e0cf-4839-b831-2cb633f32e2f" CreationDate="2010-08-06T02:01:24.527" UserId="18160" Text="How would you mic a 5-actor audiobook." ContentLicense="CC BY-SA 2.5" />
  <row Id="4438" PostHistoryTypeId="3" PostId="2527" RevisionGUID="40b8d05e-e0cf-4839-b831-2cb633f32e2f" CreationDate="2010-08-06T02:01:24.527" UserId="18160" Text="&lt;microphone-technique&gt;&lt;audiobook&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4440" PostHistoryTypeId="2" PostId="2529" RevisionGUID="61a9404a-e40b-40f7-93aa-5b6fafdc3a7f" CreationDate="2010-08-06T02:15:10.230" UserId="18160" Text="I just got back from a trip where there was a 2-mile long railroad tunnel which part of a railroad track that was later made into a mountain-bike trail.&#xD;&#xA;&#xD;&#xA;Needless to say I brought my recording equipment just for fun.&#xD;&#xA;&#xD;&#xA;I get to the middle of the tunnel, the echo is about 15 seconds long and it's pretty silent in there bar a few distant trickles of water which you can eliminate by finding a dry spot in the tunnel.&#xD;&#xA;&#xD;&#xA;I didn't have a project which needed this type of echo but what sort of generic things would you guys get if you had that opportunity?&#xD;&#xA;&#xD;&#xA;I got some good bangs and impacts with the verb that sound great - actually they sound AWESOME when down-pitched,&#xD;&#xA;&#xD;&#xA;but what sorts of other stuff would you guys try or record while down a 2-mile stretch of abandoned railway tunnel?&#xD;&#xA;&#xD;&#xA;It sounded amazing and I have never really heard anything like it. Great experience if you ever get the chance.&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="4441" PostHistoryTypeId="1" PostId="2529" RevisionGUID="61a9404a-e40b-40f7-93aa-5b6fafdc3a7f" CreationDate="2010-08-06T02:15:10.230" UserId="18160" Text="What to record in a 2-mile railroad tunnel." ContentLicense="CC BY-SA 2.5" />
  <row Id="4442" PostHistoryTypeId="3" PostId="2529" RevisionGUID="61a9404a-e40b-40f7-93aa-5b6fafdc3a7f" CreationDate="2010-08-06T02:15:10.230" UserId="18160" Text="&lt;recording&gt;&lt;opportunity&gt;&lt;echo&gt;&lt;tunnel&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4443" PostHistoryTypeId="4" PostId="2516" RevisionGUID="863ad4f7-3c2e-4667-a3cc-5e624eb2697d" CreationDate="2010-08-06T02:34:21.840" UserId="469" Comment="edited title" Text="How do you LICENSE your sound effects?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4444" PostHistoryTypeId="5" PostId="2527" RevisionGUID="6586ce58-3fb1-4d4a-bb5b-b911cbd89422" CreationDate="2010-08-06T03:25:05.890" UserId="18160" Comment="added 29 characters in body" Text="I'm curious to what mics and what positions you would use for this situation:&#xD;&#xA;&#xD;&#xA;Multicast audiobook that will have full musical score and sound effects.&#xD;&#xA;&#xD;&#xA;5 actors,&#xD;&#xA;&#xD;&#xA;1 narrator, 4 character actors.&#xD;&#xA;&#xD;&#xA;The character actors will play at least 3 different characters in the story.&#xD;&#xA;&#xD;&#xA;The narrator usually just plays the &quot;narrator&quot; with a soft god-voice.&#xD;&#xA;&#xD;&#xA;Looking forward to the answers,&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="4445" PostHistoryTypeId="2" PostId="2530" RevisionGUID="001fd160-1f7e-4cc7-9ce7-c81aa186985c" CreationDate="2010-08-06T03:29:00.423" UserId="61" Text="Among many other things, I'd record a swept sine wave from various distances for impulse responses." ContentLicense="CC BY-SA 2.5" />
  <row Id="4446" PostHistoryTypeId="2" PostId="2531" RevisionGUID="d54e8ad1-ead2-4c0b-911f-530e29f4b8bc" CreationDate="2010-08-06T03:30:47.457" UserId="18160" Text="I had this thought while I was dreaming last night:&#xD;&#xA;&#xD;&#xA;If I were to do a huge chase scene with a police car chase etc.,&#xD;&#xA;&#xD;&#xA;I'd take the video along with me and record the same car on the same surface doing the same stunts (that can be safely done with a stunt driver [not all the car flips for example]) but you can at least get the screeches in the right places...&#xD;&#xA;&#xD;&#xA;Has this been thought of before?&#xD;&#xA;&#xD;&#xA;Is this what is done in the industry?&#xD;&#xA;&#xD;&#xA;Or does the sound team usually just get told &quot;You have a 15 minute car chase-scene with 3 cars through an Italian village&quot; and the sound team HAS to start recording it and not wait for the picture to be edited because by then it would be too late?&#xD;&#xA;&#xD;&#xA;Have you ever gotten an edit of an action scene early enough to be able to do this sort of &quot;sound effect ADR&quot;? Like you see the car squeeling out and swerving certain ways and you try to recreate that for sound in the desert with a stuntman and show him the video? Or do you just go out before-hand and record the screeches blind without any reference and rely on editing it together in Pro Tools to match the screen?&#xD;&#xA;&#xD;&#xA;And for that matter, would it be worth it to go to great lengths and do foley work outdoors in the same environment (say a forest meadow or some other place with somewhat controllable ambience) to get the correct echo on the recording? How often (if ever) is this sort of thing done? I know it was done on the submarine movie that Walter Murch did with great success.&#xD;&#xA;&#xD;&#xA;Just wondering... Sorry if it's a lame question but it's been on my mind." ContentLicense="CC BY-SA 2.5" />
  <row Id="4447" PostHistoryTypeId="1" PostId="2531" RevisionGUID="d54e8ad1-ead2-4c0b-911f-530e29f4b8bc" CreationDate="2010-08-06T03:30:47.457" UserId="18160" Text="Outdoor Sound Effect ADR." ContentLicense="CC BY-SA 2.5" />
  <row Id="4448" PostHistoryTypeId="3" PostId="2531" RevisionGUID="d54e8ad1-ead2-4c0b-911f-530e29f4b8bc" CreationDate="2010-08-06T03:30:47.457" UserId="18160" Text="&lt;sound-effects&gt;&lt;adr&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4449" PostHistoryTypeId="2" PostId="2532" RevisionGUID="1330b16d-a33d-479b-a334-bdb4203a1d41" CreationDate="2010-08-06T03:35:33.027" UserId="61" Text="It depends on the project of course, but the conventional method is to either:&#xD;&#xA;&#xD;&#xA; 1. Watch the scene in the editing room and make notes on what moves will be required, or:&#xD;&#xA; 2. Take a QuickTime on location with you and watch the scene with the driver &amp; recordists.&#xD;&#xA;&#xD;&#xA;If you have to record before you receive picture (which is unlikely) then the next best thing to do is have a screening of the scene with the picture editor and make notes at that point.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4450" PostHistoryTypeId="2" PostId="2533" RevisionGUID="806fd4aa-800a-402f-b9be-ad3385cd1ea3" CreationDate="2010-08-06T08:35:26.037" UserId="62" Text="I'm not involved personally but we're doing a multi-mic voice record for an animated series at the moment. The room is setup in a big U shape with all the actors facing into the middle, there a TV screen there linked to a webcam in the control room (there's also webcams on the actor's music stands being fed into the control room). Each actor has a Neumann 103 with a pop guard. Nice and simple.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="4451" PostHistoryTypeId="2" PostId="2534" RevisionGUID="c1cc11e1-8886-40fc-a77d-707d404b50f5" CreationDate="2010-08-06T08:41:14.080" UserId="270" Text="You could get some good atmospheric scary monster screams, stand really far away from the microphones and try to make disturbing freakish vocal sounds (and hope there arent any other people nearby).  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4452" PostHistoryTypeId="2" PostId="2535" RevisionGUID="cca178ce-982a-4031-8366-a13215785596" CreationDate="2010-08-06T11:33:43.417" UserDisplayName="user49" Text="Along with re-recording a sine sweep to also try worldizing textures and toens in there... I spent some time in Taya Caverns, about an hour out of Tokyo. The caves were created by Buddhist monks and there were chambers where they would go &amp; meditate &amp; chant. When I was in there I noticed how resonant the chambers were at vocal frequencies - drones would sound so incredibly rich in there!!! Take a guitar amp, guitar and ebow?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4453" PostHistoryTypeId="2" PostId="2536" RevisionGUID="8f5ecfd0-8c7e-40c8-80c6-a5b4521f3db7" CreationDate="2010-08-06T11:40:47.103" UserDisplayName="user49" Text="http://soundmountain.com&#xD;&#xA;&#xD;&#xA;Sound Mountain is a truly boutique library providing sounds recorded by legendary sound designer Alan Splet &amp; recordist Anne Kroeber. &#xD;&#xA;&#xD;&#xA;(Anne provided some unique &amp; incredibly powerful sounds for elements of Land Speed Racers when I worked on the film World's Fastest Indian. Great stuff!)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4454" PostHistoryTypeId="2" PostId="2537" RevisionGUID="29ec2612-3449-4fcb-9347-adcd2663e348" CreationDate="2010-08-06T13:06:27.867" UserId="432" Text="If scheduling works out (and you have the space), I would put all of the actor voices in a room together, each with a decent cardiod mic that has a reasonable rejection of off-axis material. Let them feed off of each other, you'll get more interesting deliveries out of them that way. Then just capture some room tone afterwards/beforehand to make your life easier in editing.&#xD;&#xA;&#xD;&#xA;I would say the narrator can be recorded by him/herself if narration is all they will be doing. Otherwise, you might want to think about putting them in the room as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="4455" PostHistoryTypeId="2" PostId="2538" RevisionGUID="08b2f24e-ec6d-4b03-9df6-e68c2661a59c" CreationDate="2010-08-06T14:12:21.890" UserId="37" Text="This sounds rather close to radio-drama production to me.. If budget (or the thought of mixing separate actor mics) is of concern, a single stereo microphone in a large-enough studio space, together with some clever scene planning, can get you a very long way (i.e. you negate the room but use acting and distance re voice dynamics&amp;properties). &#xD;&#xA;&#xD;&#xA;Of course, for this to work, you will need your actors together, and to direct them.. &#xD;&#xA;&#xD;&#xA;The narrator you can record separately with a nice full-on neumann mic. worked on a project like this some time ago and it felt straightforward.." ContentLicense="CC BY-SA 2.5" />
  <row Id="4456" PostHistoryTypeId="2" PostId="2539" RevisionGUID="620d7ddc-75b6-45a0-9b98-0762a2e4330b" CreationDate="2010-08-06T14:14:44.393" UserId="285" Text="You want to go with them all in one big room so they can face each other.  There will be some extra complications with Mic cross over and some careful editing needed when the actors step on each others lines. But these things are made up for big time in the quality of the performances you will get when getting a bunch of talented actors working together and off of each other.  My experience is with records for animations rather then Audiobooks but I think the same principles will apply.  The performances will have an extra dimension, a little more energy going this route then recording them all individually.  &#xD;&#xA;&#xD;&#xA;Leave as much space as the room can afford between the actors. Try to match the mics as best you can so all the voices have the same quality.  Another good trick is to throw an extra mic up for the director.  Since all the actors are facing each other this means a couple of them will have their back to the window into the control room, by throwing the director in the room with the actors they can always be communicating visually with everyone as the recordings are happening.  Of coarse you need to make sure the director is capable of being as quiet as possible or you will have to pull them out.  &#xD;&#xA;&#xD;&#xA;Keep it as lose as you can while still keeping a good pace through the material.  &#xD;&#xA;&#xD;&#xA;One thing I have a hard time finding is the sweet spot with regards to when to break. Audio books are long and you can not push the actors too hard or they start aurally losing energy, but at the same time once they hit their stride you gotta let them do as much as possible because they might not get it back after a break.  &#xD;&#xA;&#xD;&#xA;Good Luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="4457" PostHistoryTypeId="5" PostId="2538" RevisionGUID="d7e944d6-90af-4113-9dbd-5aa8f4ed987b" CreationDate="2010-08-06T14:21:12.060" UserId="37" Comment="added 1 characters in body" Text="This sounds rather close to radio-drama production to me.. If budget (or the thought of mixing separate actor mics) is of concern, a single stereo microphone in a large-enough studio space, together with some clever scene planning, can get you a very long way (i.e. you negate the room but use acting and distance re voice dynamics&amp;properties). &#xD;&#xA;&#xD;&#xA;Of course, in this I am assuming you plan to direct your actors and they play together.&#xD;&#xA;&#xD;&#xA;The narrator you can record separately with a nice full-on neumann mic. worked on a project like this some time ago and it felt straightforward.." ContentLicense="CC BY-SA 2.5" />
  <row Id="4458" PostHistoryTypeId="2" PostId="2540" RevisionGUID="048c5741-49cf-4afd-ae35-6555f24465e7" CreationDate="2010-08-06T16:13:41.517" UserId="469" Text="This might not apply at all but, but I guess you already know about the option in the media manager window, &quot;duplicate items and place into a new project&quot; and &quot;Include master clips outside selection&quot;.  You can do this and then create an omf from that project which will have all of the master clips in a bin.  The replacing the timestamp issue is still there but at least you have all of your source files to pull from if need be." ContentLicense="CC BY-SA 2.5" />
  <row Id="4459" PostHistoryTypeId="4" PostId="2529" RevisionGUID="49e8dec8-df31-484f-9eeb-c7877f68ba09" CreationDate="2010-08-06T16:58:14.033" UserId="18160" Comment="edited title" Text="What to record in a 2-mile tunnel." ContentLicense="CC BY-SA 2.5" />
  <row Id="4460" PostHistoryTypeId="2" PostId="2541" RevisionGUID="fe81fe32-77ca-46ba-ad4f-9904113220f6" CreationDate="2010-08-06T16:59:11.500" UserId="339" Text="Hi Guys, I'm in need of authentic or whatever comes handy for a battle scene taking place in the early 1800...think 1820.&#xD;&#xA;&#xD;&#xA;I'm talking about horses, long powder rifles explosions, cannons, men yelling and swords being hit.&#xD;&#xA;&#xD;&#xA;Do you know any SFX Library or have access to that kind of sound materials? The ones I have access to sound kinda medieval to me...&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;Olalo.-" ContentLicense="CC BY-SA 2.5" />
  <row Id="4461" PostHistoryTypeId="1" PostId="2541" RevisionGUID="fe81fe32-77ca-46ba-ad4f-9904113220f6" CreationDate="2010-08-06T16:59:11.500" UserId="339" Text="1800-ish SFX Library for film battle?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4462" PostHistoryTypeId="3" PostId="2541" RevisionGUID="fe81fe32-77ca-46ba-ad4f-9904113220f6" CreationDate="2010-08-06T16:59:11.500" UserId="339" Text="&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4463" PostHistoryTypeId="2" PostId="2542" RevisionGUID="74ca72c8-2144-49e4-bf38-68a3b5ded699" CreationDate="2010-08-06T18:07:46.093" UserId="6435" Text="I think I've got some stuff along those lines. How quickly do you need it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4465" PostHistoryTypeId="2" PostId="2544" RevisionGUID="d9a688b1-81fc-400e-ba48-67ba5deee99b" CreationDate="2010-08-06T18:45:03.537" UserId="29" Text="Also consider materials. Rocks (small and large), glass (thick and thin, hits and breaks), rubber balls, balloon pops, and so forth. Anything bowed in there will be huge! Try a whole passel o' mic placements, too, to see if you can find some super-bassy corners or bright reflections. I've done this with a local cow tunnel which, while not very long, has a square cross-section, which creates a huge trail of slapback goodness.&#xD;&#xA;&#xD;&#xA;Have fun!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4466" PostHistoryTypeId="2" PostId="2545" RevisionGUID="4208d05f-c4e6-4f99-8c97-a6d00054dfef" CreationDate="2010-08-06T18:54:32.320" UserId="29" Text="Outstanding idea, Shaun. Let 'er rip, I say, and I support the consensus on Vimeo." ContentLicense="CC BY-SA 2.5" />
  <row Id="4468" PostHistoryTypeId="2" PostId="2547" RevisionGUID="0f69a20d-2305-4600-ac5a-5b01cc280953" CreationDate="2010-08-06T21:02:53.000" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;I know Colin Hart does this quite a bit but I wanted to ask if you guys know what I can use to baffle a voice better.&#xD;&#xA;&#xD;&#xA;I am going to be doing some live interviews in an outdoor environment near a crowd of people.&#xD;&#xA;&#xD;&#xA;I am most likely going to use a CMIT 5U and an SM57. There is a possibility I am going to have to use a Senn 416 but I really hope I get a CMIT 5U for this job.&#xD;&#xA;&#xD;&#xA;Anyway, what are some clever things I can do to baffle the person?&#xD;&#xA;&#xD;&#xA;I'll position the person so as to get the best null spot on the mic (which a shotgun does pick up more in the back than on the sides I read recently),&#xD;&#xA;&#xD;&#xA;but is there a material I can bring and put up to help lessen the echo of the nearby brick walls of a building and the noise of the crowd which will be about 25 yards away?&#xD;&#xA;&#xD;&#xA;Someone offered using some plexyglass but I thought that will just make it sound too phasey and sound horrible.&#xD;&#xA;&#xD;&#xA;Look forward to your responses.&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="4469" PostHistoryTypeId="1" PostId="2547" RevisionGUID="0f69a20d-2305-4600-ac5a-5b01cc280953" CreationDate="2010-08-06T21:02:53.000" UserId="18160" Text="Baffles for Outdoor Interviews" ContentLicense="CC BY-SA 2.5" />
  <row Id="4470" PostHistoryTypeId="3" PostId="2547" RevisionGUID="0f69a20d-2305-4600-ac5a-5b01cc280953" CreationDate="2010-08-06T21:02:53.000" UserId="18160" Text="&lt;live&gt;&lt;baffling&gt;&lt;techniques&gt;&lt;voice&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4471" PostHistoryTypeId="2" PostId="2548" RevisionGUID="e4d9d044-633d-4ce6-a93e-741bbc8d384c" CreationDate="2010-08-06T23:47:58.440" UserId="445" Text="Hey everyone! I'm working on my graduate thesis. It's a documentary about Sound Design in Argentina and right now I'm on the pre-production process. &#xD;&#xA;&#xD;&#xA;I'm looking for any historical data/info/multimedia to include in my movie.&#xD;&#xA;&#xD;&#xA;I also plan to interview sound designers who had worked or are working for Film/TV in Argentina.&#xD;&#xA;&#xD;&#xA;**All suggestions and info are VERY welcome**, and of course, let me know if you know someone you think is relevant in the industry to be interviewed!! (Directors and Producers with deep interest in sound design are also welcome).&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4472" PostHistoryTypeId="1" PostId="2548" RevisionGUID="e4d9d044-633d-4ce6-a93e-741bbc8d384c" CreationDate="2010-08-06T23:47:58.440" UserId="445" Text="Sound Design in Argentina Documentary" ContentLicense="CC BY-SA 2.5" />
  <row Id="4473" PostHistoryTypeId="3" PostId="2548" RevisionGUID="e4d9d044-633d-4ce6-a93e-741bbc8d384c" CreationDate="2010-08-06T23:47:58.440" UserId="445" Text="&lt;sound-design&gt;&lt;argentina&gt;&lt;documentary&gt;&lt;interviews&gt;&lt;history&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4474" PostHistoryTypeId="16" PostId="2548" RevisionGUID="e4d9d044-633d-4ce6-a93e-741bbc8d384c" CreationDate="2010-08-06T23:47:58.440" UserId="445" />
  <row Id="4475" PostHistoryTypeId="2" PostId="2549" RevisionGUID="fcd9e94b-979d-4dec-a56c-b36a7ca0201f" CreationDate="2010-08-07T01:42:23.560" UserId="432" Text="There's a fabric called &quot;black out&quot; material. It's for blocking light coming in through windows, but it's just hefty enough to provide some help in situations like the one you're describing. I've used it a few times in the past to reasonable effect. The only issue is you need some way to hang it, kind of like a curtain. You'll have to experiment a little for the are you're in to get the best results, and it may require a 2nd (or even 3rd) layer spaced a few inches apart.&#xD;&#xA;&#xD;&#xA;It's the best thing I know of next to building actual baffles, but the logistics involved here aren't all that much simpler. Of course, also watch out for strong winds if you do use these." ContentLicense="CC BY-SA 2.5" />
  <row Id="4476" PostHistoryTypeId="2" PostId="2550" RevisionGUID="c8cb3b1c-765a-401f-8e6f-eb6925ebeaf5" CreationDate="2010-08-07T09:27:11.283" UserId="62" Text="+1 for Vimeo and SoundCloud.&#xD;&#xA;&#xD;&#xA;Nice idea and I'll certainly have a bash if I have the time.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="4477" PostHistoryTypeId="2" PostId="2551" RevisionGUID="54e9f054-2d76-4e32-9922-db89b90520b1" CreationDate="2010-08-07T10:22:56.767" UserId="480" Text="Greetings to all members, so far I only read you. Now I have been encouraged to participate, start with this thread.&#xD;&#xA;&#xD;&#xA;I love this idea. Motivation is a key factor to improve on the job. And motivation can be fed through the challenges. If these challenges are also public: better! Then we can compare with other work and feedbacks can be great.&#xD;&#xA;&#xD;&#xA;i also vote for vimeo and soundcloud.&#xD;&#xA;&#xD;&#xA;Àlvar" ContentLicense="CC BY-SA 2.5" />
  <row Id="4478" PostHistoryTypeId="5" PostId="2480" RevisionGUID="82e0cf66-9316-4480-b991-677f29afd22f" CreationDate="2010-08-07T13:02:00.750" UserId="432" Comment="added 392 characters in body" Text="**UPDATE (8/7/10): It seems like Vimeo and SoundCloud are a general consensus, which doesn't surprise me at all. I've posted a bunch of info on my site regarding how this whole thing will work. The infrastructure is pretty much in place, but I want to give people a chance to review the info. Hopefully there are no gaping holes or flaws; but if you see any, please let me know. Thanks.**&#xD;&#xA;&#xD;&#xA;A friend of mine used to participate in something like this for 3d animation. It started me looking for something similar a few years ago, but I can't find any place that runs one. So, I'm going to host one on my website. I've been working on a lot of the logistics of it, and I'm close to rolling it out. I'm hoping that a lot of you here will participate, but first I've got some questions for you.&#xD;&#xA;&#xD;&#xA;For months when a video clip is provided, where would you rather post your final piece: Vimeo, Youtube, or some other service? I'm trying to keep this free, simple, and a site where I can create a group/channel that everyone can post to (that way all the entries are easy to find).&#xD;&#xA;&#xD;&#xA;There will be months where a video is not required. Would you prefer to still use whatever video hosting site, or a service like SoundCloud? Again, key factors are free for everyone, simplicity, consolidated location. Right now, I'm leaning towards using the same video hosting site.&#xD;&#xA;&#xD;&#xA;I'm looking to get this going on my site sometime around the 15th/16th of this month (August 2010), and I will get something up on my site outlining the whole thing in greater detail sometime between now and then.&#xD;&#xA;&#xD;&#xA;Any feedback on those two items above will be greatly appreciated. If you have any other feedback, please throw it my way too. You may think of something I haven't already; but I warn you, I've been thinking about this for a LONG time. :)&#xD;&#xA;&#xD;&#xA;Thanks in advance for your input." ContentLicense="CC BY-SA 2.5" />
  <row Id="4479" PostHistoryTypeId="2" PostId="2552" RevisionGUID="84b5692c-6925-4c92-a9eb-24344d48d819" CreationDate="2010-08-07T13:39:16.227" UserId="194" Text="I just put this together last night.  &#xD;&#xA;&#xD;&#xA;&lt;object width=&quot;400&quot; height=&quot;300&quot;&gt;&lt;param name=&quot;allowfullscreen&quot; value=&quot;true&quot; /&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot; /&gt;&lt;param name=&quot;movie&quot; value=&quot;http://vimeo.com/moogaloop.swf?clip_id=13953781&amp;amp;server=vimeo.com&amp;amp;show_title=1&amp;amp;show_byline=1&amp;amp;show_portrait=1&amp;amp;color=&amp;amp;fullscreen=1&amp;amp;autoplay=0&amp;amp;loop=0&quot; /&gt;&lt;embed src=&quot;http://vimeo.com/moogaloop.swf?clip_id=13953781&amp;amp;server=vimeo.com&amp;amp;show_title=1&amp;amp;show_byline=1&amp;amp;show_portrait=1&amp;amp;color=&amp;amp;fullscreen=1&amp;amp;autoplay=0&amp;amp;loop=0&quot; type=&quot;application/x-shockwave-flash&quot; allowfullscreen=&quot;true&quot; allowscriptaccess=&quot;always&quot; width=&quot;400&quot; height=&quot;300&quot;&gt;&lt;/embed&gt;&lt;/object&gt;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/13953781&quot;&gt;Downtown Dallas traffic timelapse phonography&lt;/a&gt; from &lt;a href=&quot;http://vimeo.com/user2086889&quot;&gt;rene coronado&lt;/a&gt; on &lt;a href=&quot;http://vimeo.com&quot;&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;For the timelapse I recorded audio (with sync points in and out) and then experimented to find the best way of compressing the 16 minutes of audio down into the 18 seconds of video.  What I came up with was a combination of editing, time compression, and layering that was pretty painstaking to come up with but yeilded results that I'm exctatic about.  &#xD;&#xA;&#xD;&#xA;Even though the actual ratio of real time to final video is over 53:1, I managed to only compress the audio at 8:1, making up the difference with editorial and layering.  &#xD;&#xA;&#xD;&#xA;I'm going to shoot more today." ContentLicense="CC BY-SA 2.5" />
  <row Id="4480" PostHistoryTypeId="5" PostId="2552" RevisionGUID="44ab3e0e-00a2-4b21-b541-12f23936c7e6" CreationDate="2010-08-07T13:47:22.563" UserId="194" Comment="deleted 827 characters in body" Text="I just put this together last night.  &#xD;&#xA;&#xD;&#xA;[vimeo]13953781[/vimeo]&#xD;&#xA;&#xD;&#xA;For the timelapse I recorded audio (with sync points in and out) and then experimented to find the best way of compressing the 16 minutes of audio down into the 18 seconds of video.  What I came up with was a combination of editing, time compression, and layering that was pretty painstaking to come up with but yeilded results that I'm exctatic about.  &#xD;&#xA;&#xD;&#xA;Even though the actual ratio of real time to final video is over 53:1, I managed to only compress the audio at 8:1, making up the difference with editorial and layering.  &#xD;&#xA;&#xD;&#xA;I'm going to shoot more today." ContentLicense="CC BY-SA 2.5" />
  <row Id="4481" PostHistoryTypeId="2" PostId="2553" RevisionGUID="c8f404e9-00d7-4fd3-8766-04e55acb306b" CreationDate="2010-08-07T19:08:07.530" UserId="474" Text="i found one of walter murch's earlier works - THX 1138 - very inspiring and also ground-breaking to a certain extent (at least as far as it foreshadows his later oevres...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4482" PostHistoryTypeId="2" PostId="2554" RevisionGUID="a05eac69-c110-4d72-98a6-119fc6d5ee46" CreationDate="2010-08-07T20:43:45.243" UserId="393" Text="I'm sure you've noticed that I talk a big game, but the truth is, I'm possibly the least experienced sound designer here.  Two or three years, tops, with only a handful of completed projects under my belt.&#xD;&#xA;&#xD;&#xA;As such, it's no surprise that I'm totally unconfident in the videos I throw online.&#xD;&#xA;&#xD;&#xA;So, if you could take 30 seconds to watch this, and offer some constructive criticism, I'd be grateful.&#xD;&#xA;&#xD;&#xA;[vimeo]13963957[/vimeo]&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="4483" PostHistoryTypeId="1" PostId="2554" RevisionGUID="a05eac69-c110-4d72-98a6-119fc6d5ee46" CreationDate="2010-08-07T20:43:45.243" UserId="393" Text="Care to help a rookie out with some constructive criticism?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4484" PostHistoryTypeId="3" PostId="2554" RevisionGUID="a05eac69-c110-4d72-98a6-119fc6d5ee46" CreationDate="2010-08-07T20:43:45.243" UserId="393" Text="&lt;demo-reel&gt;&lt;sound-design&gt;&lt;newbie&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4486" PostHistoryTypeId="2" PostId="2556" RevisionGUID="563f9a26-cdd7-4c43-93d6-000da90fc4a7" CreationDate="2010-08-07T21:08:59.283" UserId="432" Text="I like your choice of video material, and not just because I'm partial to video games. Clips like that, where there is very little action really force you to think about what is important to the scene.&#xD;&#xA;&#xD;&#xA;Ryan's got some good points. I'll see if I can dance around those. ;)&#xD;&#xA;&#xD;&#xA;Good job on the selections for clothing elements. You may want to shift the first leather creak a bit. It feels a bit off since there's still some movement after the sound tails out. If you spotted it to cover the middle of the movement, or towards the end (like you did on the second), I think it would give it a more natural feel.&#xD;&#xA;&#xD;&#xA;It could just be the crappy little computer speakers I'm listening on, but it sounds like the phone get louder when the door is opening. That feels wrong to me. It's ok to let the door mask it a bit; but it should be louder when it's in that tight enclosed space not when the space opens up. Some tonal perspective shifts with the change in camera angles would also go a long way to sell it.&#xD;&#xA;&#xD;&#xA;I like Ryan's water drip idea to give the space a little more life. Another idea would be some distant mechanical sounds, as though they're in a room far down a hallway somewhere in the building. The ambience selection for the room WAS very nice though.&#xD;&#xA;&#xD;&#xA;There are my two cents. You'll probably end up with a full dollar by the time the day is over." ContentLicense="CC BY-SA 2.5" />
  <row Id="4488" PostHistoryTypeId="2" PostId="2557" RevisionGUID="00c198cf-1c30-4894-b1c1-37686a7e1cb4" CreationDate="2010-08-07T21:37:42.657" UserId="378" Text="This one's a classic: Fantastic Planet. Excellent demonstrations of synchresis. It occurs to me now to compare the sound decisions with that Ben Burtt made with Wall-E. I don't know if there's a direct inspiration, but there are certainly a lot of parallels in using a simple and elegant musical effect for invented technology." ContentLicense="CC BY-SA 2.5" />
  <row Id="4489" PostHistoryTypeId="2" PostId="2558" RevisionGUID="5f552a6a-3597-44a0-977e-b110fc196e37" CreationDate="2010-08-07T22:26:25.717" UserId="253" Text="Nice work, it's pretty slick.&#xD;&#xA;&#xD;&#xA;A big part of sound design is tracing emotional arcs and whatnot throughout a scene, so Ryan's call on trying something longer is a good one.&#xD;&#xA;&#xD;&#xA;It's a very sparse scene visually, which we're often given to work with. I think you handled the visual elements pretty well, but that can still leave a scene kinda empty. What you can do is think about things that can add to the mood/story that the pictures aren't already telling us. Think about what the surroundings are, what's nearby, what strange little quirks you can add.&#xD;&#xA;&#xD;&#xA;Also, playing with dynamics can do a lot. As the other guys said, the change in perspective from inside the cupboard to outside can create a lot of aural interest. Also, if you bring up small details such as the creak in her shoe, maybe her breath, that can indicate that it's a quiet setting.&#xD;&#xA;&#xD;&#xA;So that's my AU0.02! I'm not that experienced either, but once you start thinking about all the added value sound can bring, it's pretty exciting." ContentLicense="CC BY-SA 2.5" />
  <row Id="4490" PostHistoryTypeId="5" PostId="2558" RevisionGUID="044c4fc7-da09-4d15-a01f-3591cf2cbaa3" CreationDate="2010-08-07T22:42:41.733" UserId="253" Comment="added 8 characters in body" Text="Nice work, it's pretty slick.&#xD;&#xA;&#xD;&#xA;A big part of sound design is tracing emotional arcs and whatnot throughout a scene, so Ryan's call on trying something longer is a good one.&#xD;&#xA;&#xD;&#xA;It's a very sparse scene visually, which is often what we're given to work with. I think you handled the visual elements pretty well, but that can still leave a scene kinda empty. What you can do is think about things that can add to the mood/story that the pictures aren't already telling us. Think about what the surroundings are, what's nearby, what strange little quirks you can add.&#xD;&#xA;&#xD;&#xA;Also, playing with dynamics can do a lot. As the other guys said, the change in perspective from inside the cupboard to outside can create a lot of aural interest. Also, if you bring up small details such as the creak in her shoe, maybe her breath, that can indicate that it's a quiet setting.&#xD;&#xA;&#xD;&#xA;So that's my AU0.02! I'm not that experienced either, but once you start thinking about all the added value sound can bring, it's pretty exciting." ContentLicense="CC BY-SA 2.5" />
  <row Id="4491" PostHistoryTypeId="2" PostId="2559" RevisionGUID="978c6ca5-5a4c-4e9e-a0fa-264552646dda" CreationDate="2010-08-07T22:43:58.317" UserId="61" Text="Great comments from all so far - let me just say that I love the bell! It has a wonderful character to it. Curious to know its source, is it something you recorded? I don't believe I've ever heard it before.&#xD;&#xA;&#xD;&#xA;Kudos!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4492" PostHistoryTypeId="5" PostId="2554" RevisionGUID="5f69f6ed-1129-4f2c-8de1-5a573e6f1a2f" CreationDate="2010-08-08T01:43:24.663" UserId="393" Comment="added 104 characters in body" Text="I'm sure you've noticed that I talk a big game, but the truth is, I'm possibly the least experienced sound designer here.  Two or three years, tops, with only a handful of completed projects under my belt.&#xD;&#xA;&#xD;&#xA;As such, it's no surprise that I'm totally unconfident in the videos I throw online.&#xD;&#xA;&#xD;&#xA;So, if you could take 30 seconds to watch this, and offer some constructive criticism, I'd be grateful.&#xD;&#xA;&#xD;&#xA;**VIDEO UPDATED Saturday, Aug 7, 7:42pm -7 GMT** (give or take a half hour for Vimeo to update it..)&#xD;&#xA;&#xD;&#xA;[vimeo]13963957[/vimeo]&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="4493" PostHistoryTypeId="2" PostId="2560" RevisionGUID="066cfa0f-3c05-4037-b2d7-38ce6353ee71" CreationDate="2010-08-08T01:58:03.810" UserId="219" Text="Up for the advice so far! Just one thing about the water drips, I'd call it a stereotype and it'll work. However, I'd be curious to try less stereotypey elements, not too far though or it would draw the attention from the action. I'm thinking of; a broken fan (the one that clangs cyclically), stressed squeaky/creaky metal, &quot;footsteps&quot; of insects running around... That'd help build up different moods as opposed to dripping water passiveness, don't you think?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4494" PostHistoryTypeId="2" PostId="2561" RevisionGUID="c712cfe9-e116-4059-99fe-dff486dd17e7" CreationDate="2010-08-08T12:17:08.217" UserId="426" Text="All of this advice is great! I like the ambience you have throughout most of the scene. The slight creaking adds a nice touch to it. I like the tone of the phone as well, however, I am not sure it fits with that particular payphone. Just from the feel of the rest of the scene, it seems that it should have more of a dilapidated quality. &#xD;&#xA;&#xD;&#xA;After reading through the comments, I'd have to agree with Ryan about the phone coming down a bit. More foley couldn't hurt. Overall, you've done a good job so far. &#xD;&#xA;&#xD;&#xA;Are you going to post the finished product?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4495" PostHistoryTypeId="2" PostId="2562" RevisionGUID="10791517-588d-45dc-868c-5eb3b4294049" CreationDate="2010-08-08T13:49:43.927" UserId="426" Text="This sounds amazing. Definitely a good way to get the creative juices flowing. &#xD;&#xA;&#xD;&#xA;Colin mentioned Dropbox. A friend of mine showed me apple's mobileme online storage. It costs 99$ a year, and provides 20 GB of storage space. &#xD;&#xA;&#xD;&#xA;+1 for vimeo" ContentLicense="CC BY-SA 2.5" />
  <row Id="4496" PostHistoryTypeId="2" PostId="2563" RevisionGUID="f0dfa01b-0874-428a-9d0d-ee2aab05a93a" CreationDate="2010-08-08T14:28:38.210" UserId="238" Text="Not exactly a sound design question but pretty relevant all the same, so here goes...Yesterday I was at a wedding here in France and quite a few of the guests were working in the sound department for the film and television industry. I got chatting to most of them and there seemed to be a general consensus that our sector is suffering a lot in term s of budget. Many of them were working as boom ops, sound recordists, mixers and some in more editing / post prod roles. All of them seemed to be suffering from losing work due to budgets being cut. I heard over and over again people complaining that quality audio capture was being sacrificed in order to lower the money spent on a production. Everyone seemed to think that the demise of the boom op / mixer was becoming a severe problem and that on many smaller productions it is now the cameraman who is now also capturing audio. &#xD;&#xA;&#xD;&#xA;Now I'm sure most of you will agree with me that to capture quality audio you need someone dedicated to do exactly that, someone who is skilled and knowledgeable in their field. I know that traditionally sound departments have somewhat struggled to play an important role when compared to the visual side of a production but with budgets being cut here there and everywhere, are we seeing a comeback  of the darker days when sound was pushed to one side? &#xD;&#xA;&#xD;&#xA;Many of you are working on big-budget features where, I'm sure these types of cutbacks have not really occurred, but I was wondering if any of you have noticed similar patterns where you work? Is this problem a localized one or are we seeing this across a broader context? I haven't been in France for that long and was thinking to start working as a sound recordist as well as editing / post prod but now I'm wondering if this side of the industry has much future? &#xD;&#xA;&#xD;&#xA;I'd love to hear any thoughts you have.&#xD;&#xA;&#xD;&#xA;Colin" ContentLicense="CC BY-SA 2.5" />
  <row Id="4497" PostHistoryTypeId="1" PostId="2563" RevisionGUID="f0dfa01b-0874-428a-9d0d-ee2aab05a93a" CreationDate="2010-08-08T14:28:38.210" UserId="238" Text="What does the future hold?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4498" PostHistoryTypeId="3" PostId="2563" RevisionGUID="f0dfa01b-0874-428a-9d0d-ee2aab05a93a" CreationDate="2010-08-08T14:28:38.210" UserId="238" Text="&lt;boom-operator&gt;&lt;film-industry&gt;&lt;television-industry&gt;&lt;future&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4499" PostHistoryTypeId="2" PostId="2564" RevisionGUID="2700acbf-a23b-4cac-86eb-168cc34e21e7" CreationDate="2010-08-08T17:23:07.713" UserId="6411" Text="Is there a future? Yes. Is it a pretty one? That's in the eye of the beholder.&#xD;&#xA;&#xD;&#xA;I don't think the issue is localized. In the last 10 years or so we've had 4 or 5 major post-houses in the DC area go bankrupt. And I've seen quite a few auction announcements from post-houses all across the US. Their reasons for failure could be summed up as &quot;budget cut related,&quot; but there are more money-related issues than just budget cuts. A few had expanded to accommodate business that was eventually pulled in-house. Some were unable to support skyrocketing building leases. Some prematurely invested in a technology that wasn't widely adopted. Basically, a lot of it was due to being unable to adapt to the changing market, which resulted in a negative cash flow.&#xD;&#xA;&#xD;&#xA;Where I work I have certainly seen a reduction in budgets for **some** of the television that I'm working on. It ebbs and flows from series to series. Some are worth less to the network, some simply couldn't be finished with so little. But I don't think it's hitting just the audio department. &#xD;&#xA;&#xD;&#xA;The worst effect that I'm seeing as a result of the underfunding is the lack of personal investment in making a good product by everyone involved. From the writer all they way through to the QC engineer, there's an attitude of &quot;my hands are tied with this budget, just make it air-able.&quot; After many of these in a row you do get a little flustered.&#xD;&#xA;&#xD;&#xA;For example, the last reality doc series I worked on I was told ahead of time to look out for the crap audio that was captured.  It wasn't until I got the OMF that I realized that what they meant was look out for the crap audio that was **digitized in the edit room**.  Interspersed throughout the show, about a third of the audio was perfectly acceptable lav audio, the other two-thirds? Camera mics. Off-axis, wide shot, camera mics. They simply didn't take the time to capture and sync the rest of the audio. Because nobody on the production team (which included zero sound recordists by the way) kept track of which camera had the lavs on which scene. By the time it got to me in audio post the shows were already going to color-correction and there was &quot;nothing in the budget&quot; to go back and pull the good audio. So with a 3-day budget to edit, sound design, and mix a 50-minute original I did what I could to make it air-able.  Needless to say, that show won't make it on my reel.&#xD;&#xA;&#xD;&#xA;But then they pull you back in with a show that has a budget that allows for some time, creativity and polish that makes you proud to say &quot;yeah, I work in television.&quot; It's frustrating, but the challenges at least keep it interesting.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4500" PostHistoryTypeId="2" PostId="2565" RevisionGUID="55db97a7-de04-4920-b954-279d1765eb3d" CreationDate="2010-08-08T19:42:29.787" UserId="338" Text="Welcome to the &quot;how to make a thin sound&quot; thread, and in general make sounds stand out from other sounds.  It seems like a big trend now-days is to have a thick, low end rounded sound and on there are many internet sources that give techniques for &quot;fattening&quot; and &quot;thickening&quot; the sound so its about time to address techniques that make it more thin, crunchy, or pointed.  Here we will be discussing how to make a sound thin on many topics like room tone, crunch, ambiance, high pitch, low pitch, frequency boosting, frequency attenuation.  The ways I can think of already are automated filtering, narrow reverb, stereo imaging rotating techniques, feel free to share any tips and techniques you might have for getting that sound to stand out in a narrow sense.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="4501" PostHistoryTypeId="1" PostId="2565" RevisionGUID="55db97a7-de04-4920-b954-279d1765eb3d" CreationDate="2010-08-08T19:42:29.787" UserId="338" Text="The make a sound thin thread" ContentLicense="CC BY-SA 2.5" />
  <row Id="4502" PostHistoryTypeId="3" PostId="2565" RevisionGUID="55db97a7-de04-4920-b954-279d1765eb3d" CreationDate="2010-08-08T19:42:29.787" UserId="338" Text="&lt;techniques&gt;&lt;sound-design&gt;&lt;stereo&gt;&lt;ideas&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4507" PostHistoryTypeId="2" PostId="2568" RevisionGUID="74208375-e610-40fa-8853-da9139d1c0bd" CreationDate="2010-08-08T20:54:18.553" UserId="432" Text="I had to sit on this one for a while and collect my thoughts. I, like Steve, work on television programming. We do some in-house production, but that's been sparse over the last few years for budget reasons (seems to be turning around a bit at the moment, which is great).  The majority of my work for the last few years has been either small projects for random corporate/government clients we pick up, or fixing programs that we've licensed for distribution (which we also do). I've seen some hairy things in the past; one of which I posted on my site after mentioning it in another thread.  The biggest issue I see relates to education.&#xD;&#xA;&#xD;&#xA;Even in my office, audio is voodoo to everyone outside of audio. It's this mysterious thing that everyone talks about, but no one really understands. Of course, they often think they do, until they get into my or my coworker's room that is. We've been doing everything we can to educate people over the years, both inside the office and out, to turn that around. We've been a little successful, but it's a very...VERY...slow process. This is the only way we're going to be able to protect our industry. The first thing people will cut back on are the things they don't understand. Unfortunately, we don't all have the luxury of picking who we work with. We're in this profession because we love it, but the fact is that we still have to pay the bills.&#xD;&#xA;&#xD;&#xA;Of course, even if we increase awareness and investment in audio, budgets aren't increasing. If audio gets a larger share of the budget, then something else is going to lose out because of it. There's only so much money. It's a delicate balance, and it's completely out of our hands. If you want to survive, you have to adapt and be willing to make some compromises for the good of the project. Please note that I said **compromises** and not **sacrifices**.&#xD;&#xA;&#xD;&#xA;Do your best to educate producers, directors, and anyone else in the chain in a constructive way; stay off the soapbox while you're at it. There are a few exceptions, but nearly any director/producer who has any respect for audio was **taught** to have it. It doesn't matter who did it, just that they learned. Educating others is the best way to protect our fragile little piece of the production pipeline for the future, and will probably help your chances at getting rehired next time.&#xD;&#xA;&#xD;&#xA;And just because I can, here's a video my wife's friend found on the web. Applicable to this discussion I'd say (at least from the direction I took it...lol).&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=c38CekaAtfI&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=c38CekaAtfI" ContentLicense="CC BY-SA 2.5" />
  <row Id="4508" PostHistoryTypeId="5" PostId="2564" RevisionGUID="65148b0e-a2da-4d3a-8a85-6f2ea18f8db2" CreationDate="2010-08-08T20:55:34.763" UserId="6411" Comment="re-worded for clarity" Text="Is there a future? Yes. Is it a pretty one? That's in the eye of the beholder.&#xD;&#xA;&#xD;&#xA;I don't think the issue is localized. In the last 10 years or so we've had 4 or 5 major post-houses in the DC area go bankrupt. And I've seen quite a few auction announcements from post-houses all across the US. Their reasons for failure could be summed up as &quot;budget cut related,&quot; but there are more money-related issues than just budget cuts. A few had expanded to accommodate business that was eventually pulled in-house. Some were unable to support skyrocketing building leases. Some prematurely invested in a technology that wasn't widely adopted. Basically, a lot of it was due to being unable to adapt to the changing market, which resulted in a negative cash flow.&#xD;&#xA;&#xD;&#xA;Where I work I have certainly seen a reduction in budgets for **some** of the television that I'm working on. It ebbs and flows from series to series. Some are worth less to the network, some simply couldn't be finished with so little. But I don't think it's hitting just the audio department. &#xD;&#xA;&#xD;&#xA;The worst effect that I'm seeing as a result of the underfunding is the lack of personal investment in making a good product by everyone involved. From the writer all they way through to the QC engineer, there's an attitude of &quot;my hands are tied with this budget, just make it air-able.&quot; After many of these in a row you do get a little flustered.&#xD;&#xA;&#xD;&#xA;For example, the last reality doc series I worked on I was told ahead of time to look out for the crap audio that was captured.  It wasn't until I got the OMF that I realized that what they meant was look out for the crap audio that was **digitized in the edit room**.  Interspersed throughout the show, about a third of the audio was perfectly acceptable lav audio, the other two-thirds? Camera mics. Off-axis, wide shot, camera mics. They simply didn't take the time to capture and sync the rest of the audio. Because nobody on the production team (which included zero sound recordists by the way) kept track of which camera had the lavs on which scene. By the time it got to me in audio post the shows were already going to color-correction and there was &quot;nothing in the budget&quot; to go back and pull the good audio. So with a 3-day budget to edit, sound design, and mix a 50-minute original I did what I could to make it air-able.  Needless to say, that show won't make it on my reel.&#xD;&#xA;&#xD;&#xA;But then they pull you back in with a show that has a budget that allows for some time, which provides the opportunity to experiment and polish it enough to make you proud to say &quot;yeah, I work in television.&quot; It's frustrating, but the challenges at least keep it interesting.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4510" PostHistoryTypeId="4" PostId="2565" RevisionGUID="69cc89a6-8e6b-4698-9442-71ec837dbbb1" CreationDate="2010-08-08T21:54:19.970" UserId="61" Comment="edited title" Text="The &quot;make-a-sound-thin&quot; thread" ContentLicense="CC BY-SA 2.5" />
  <row Id="4512" PostHistoryTypeId="2" PostId="2570" RevisionGUID="6467b0b8-745b-4e20-815f-26c7c2950b8d" CreationDate="2010-08-08T22:06:22.383" UserId="62" Text="I was going to add another comment on Ryan's post but it's too much for that.&#xD;&#xA;&#xD;&#xA;I've 2 comments:&#xD;&#xA;&#xD;&#xA;1. I think this thread could split into 3; Film, High end TV drama and TV.&#xD;&#xA;&#xD;&#xA;It's unfair to compare a TV show with film, unless it's something like Band of Brothers which in my opinion was a very long film split into 10 parts. I agree that budgets are shrinking, however this has been true for years.&#xD;&#xA;&#xD;&#xA;2. Another big difference between film and tv is one of time. What I would give to be given a few months to work on something 2 hours long. I normally only get 4 hours to mix a 10 minute episode, that works out to be 24 hours work for 1 hour of screen time. Is it any wonder that TV doesn't sound as good as film. There's only so much you can do to keep your standards high in this environment. It's a bad compromise between time, money and quality.&#xD;&#xA;&#xD;&#xA;I personally disagree with the compromise but to keep my career and marriage it's one I have to make. This is no dig at anyone but there is a fair amount of idealism out there which can never stand up to cold hard reality even if one agrees 100% with its arguments.&#xD;&#xA;&#xD;&#xA;Damn, I never thought I'd ever be so cynical when I hit 30. Clearly I need to find some digs in a commune and grow my hair long again." ContentLicense="CC BY-SA 2.5" />
  <row Id="4513" PostHistoryTypeId="2" PostId="2571" RevisionGUID="9c00b5da-e3ef-4141-a0bb-9c0aba5f1a8f" CreationDate="2010-08-08T22:31:45.110" UserId="238" Text="Thanks for all the responses! I think Ian's point is a fair one. It's very difficult to compare the TV and film industry and it may have been easier to separate the thread, but I was more interested to pull together everyone's opinions from their different fields and backgrounds. It seems that the Social Sound Design community is a very rich mix of sound people who work in all kinds of different industries. I am curious to discover and compare our different experiences as we are all working in the same field yet we all work in many, many different ways, in industries that operate differently and under many different budgets. &#xD;&#xA;&#xD;&#xA;From the responses so far it seems that this issue spans all across our workplaces, no matter whether you are working on high-end productions and big-budget movies or lower budget, independent work. I'm curious to see what others have to say...&#xD;&#xA;&#xD;&#xA;Colin" ContentLicense="CC BY-SA 2.5" />
  <row Id="4514" PostHistoryTypeId="2" PostId="2572" RevisionGUID="20475c3c-9caf-4c3f-b206-02df18639671" CreationDate="2010-08-08T22:35:05.510" UserId="194" Text="So after some tests, here's what I've been able to come up with:&#xD;&#xA;&#xD;&#xA;First off, just because a mic isn't rated at over 20k doesn't mean that it isn't capable of recording that high.  It really just means that it won't be linear up there, but mics are often not perfectly linear even in the audible spectrum, so that's usually not an issue.  &#xD;&#xA;&#xD;&#xA;My coworker has the earthworks drum mic set (which is only rated up to 20k) and the tests that we ran worked fine.  Also, the mics on the Sony PCM-D50 recorded tons of information up there as well.  &#xD;&#xA;&#xD;&#xA;Second, I found that iZotope RX is almost the **perfect** 2 track editor and cleanup software I can think of for working with ultrasonic content.  &#xD;&#xA;&#xD;&#xA; - destructive 2 track editing of original files (no conversions like with Protools)&#xD;&#xA; - spectral repair is amazing&#xD;&#xA; - and of course, the spectrogram display, which *automatically* adjusts its range to fit the sample rate of the material that's loaded up&#xD;&#xA;&#xD;&#xA;--------&#xD;&#xA;&#xD;&#xA;So, to put it all in perspective here:&#xD;&#xA;&#xD;&#xA;below is a recording of a metal gate that I made a few months ago with my trusty PCM D50 at 24bit 96k, with slowed down iterations:&#xD;&#xA;&#xD;&#xA;[soundcloud]rcoronado/metal-gate-varispeed-versions[/soundcloud]&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Frcoronado%2Fmetal-gate-varispeed-versions&amp;secret_url=false&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Frcoronado%2Fmetal-gate-varispeed-versions&amp;secret_url=false&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/rcoronado/metal-gate-varispeed-versions&quot;&gt;Metal gate-varispeed versions&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/rcoronado&quot;&gt;Rcoronado&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;I've made the file downloadable so that you can check it out yourself.&#xD;&#xA;&#xD;&#xA;Here's the spectrogram of the gate at 100% and 96k sampling rate.  Notice that the ruler on the right hand side goes up over 30k!  Also notice that I had material recordable that actually *exceeded* the 48kHz frequency response that the Sony is capable of recording.&#xD;&#xA;&#xD;&#xA;![gate spectrogram 100%][1]&#xD;&#xA;&#xD;&#xA;this is the second sound in the soundcloud file, varispeeded using Soundminer down to 41% and output at 48k sampling rate.  Notice that the ruler on the right now only goes to 24k, since the new sampling rate of the file is 48k.  Also notice how full range this recording looks (and sounds) even slowed down to more than halfway.&#xD;&#xA;&#xD;&#xA;![gate spectrogram 41%][2]&#xD;&#xA;&#xD;&#xA;and here is the third.  varispeeded from the original the same as the other.  Still full freq sounds, though the tops are starting to feel pretty dull by this point.  Still, there are the points where the clanks just shot out some insane frequencies that far exceeded the range.  &#xD;&#xA;&#xD;&#xA;![gate spectrogram 21%][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So, to return to my original questions:&#xD;&#xA;&#xD;&#xA; Q. Am I correct in assuming that the biggest hardware obstacle to recording sounds above 20k is generally just the microphone (not the pre or D/A)?&#xD;&#xA;&#xD;&#xA; A.That seems to generally be the case.  If a $450 device like the PCM D50 can perform like this, then clearly preamps and A/D converters are there at most price points.  Haven't tested my old Zoom H4, but I hate that piece of plastic anyway.  :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  Q. how well would the preamp and A/D of say a 744t handle ultrsonic frequencies (if recording with an appropriate mic)?&#xD;&#xA;&#xD;&#xA;  A. Again, looks fine.  I didn't test the 744t that we have on hand, but I'd be very surprised if the sony's pre's and A/D outperforms it.&#xD;&#xA;&#xD;&#xA;  Q.How about a lower end recorder like a Zoom H4n (again, with appropriate mic)?&#xD;&#xA;&#xD;&#xA;  A.I may have to test our H4n, but the Sony test feels like a very promising experiment.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  Q. What pitfalls should be avoided when processing high sample rate files with supersonic frequencies in them? If I take a file and just trim heads and tails in a two track editor like Izotope RX, will I ruin it or will it handle it?&#xD;&#xA;&#xD;&#xA;  A.  Izotope rocks for this application - specifically because it automatically adjusts the spectrogram to accommodate the higher frequencies.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;alright, thx all!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.flickr.com/photos/52823418@N02/4873561438/&#xD;&#xA;  [2]: http://www.flickr.com/photos/52823418@N02/4873561644/in/photostream/&#xD;&#xA;  [3]: http://www.flickr.com/photos/52823418@N02/4872952169/in/photostream/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4515" PostHistoryTypeId="5" PostId="2572" RevisionGUID="b89b7ef6-230c-4784-8d2b-94481fb49065" CreationDate="2010-08-08T22:43:56.833" UserId="194" Comment="deleted 62 characters in body; added 171 characters in body" Text="So after some tests, here's what I've been able to come up with:&#xD;&#xA;&#xD;&#xA;First off, just because a mic isn't rated at over 20k doesn't mean that it isn't capable of recording that high.  It really just means that it won't be linear up there, but mics are often not perfectly linear even in the audible spectrum, so that's usually not an issue.  &#xD;&#xA;&#xD;&#xA;My coworker has the earthworks drum mic set (which is only rated up to 20k) and the tests that we ran worked fine.  Also, the mics on the Sony PCM-D50 recorded tons of information up there as well.  &#xD;&#xA;&#xD;&#xA;Second, I found that iZotope RX is almost the **perfect** 2 track editor and cleanup software I can think of for working with ultrasonic content.  &#xD;&#xA;&#xD;&#xA; - destructive 2 track editing of original files (no conversions like with Protools)&#xD;&#xA; - spectral repair is amazing&#xD;&#xA; - and of course, the spectrogram display, which *automatically* adjusts its range to fit the sample rate of the material that's loaded up&#xD;&#xA;&#xD;&#xA;--------&#xD;&#xA;&#xD;&#xA;So, to put it all in perspective here:&#xD;&#xA;&#xD;&#xA;below is a recording of a metal gate that I made a few months ago with my trusty PCM D50 at 24bit 96k, with slowed down iterations:&#xD;&#xA;&#xD;&#xA;[soundcloud]rcoronado/metal-gate-varispeed-versions[/soundcloud]&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Frcoronado%2Fmetal-gate-varispeed-versions&amp;secret_url=false&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Frcoronado%2Fmetal-gate-varispeed-versions&amp;secret_url=false&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/rcoronado/metal-gate-varispeed-versions&quot;&gt;Metal gate-varispeed versions&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/rcoronado&quot;&gt;Rcoronado&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;I've made the file downloadable so that you can check it out yourself.&#xD;&#xA;&#xD;&#xA;Here's the spectrogram of the gate at 100% and 96k sampling rate.  Notice that the ruler on the right hand side goes up over 30k!  Also notice that I had material recordable that actually *exceeded* the 48kHz frequency response that the Sony is capable of recording.&#xD;&#xA;&#xD;&#xA;![gate spectrogram 100%][1]&#xD;&#xA;&#xD;&#xA;this is the second sound in the soundcloud file, varispeeded using Soundminer down to 41% and output at 48k sampling rate.  Notice that the ruler on the right now only goes to 24k, since the new sampling rate of the file is 48k.  Also notice how full range this recording looks (and sounds) even slowed down to more than halfway.&#xD;&#xA;&#xD;&#xA;![gate spectrogram 41%][2]&#xD;&#xA;&#xD;&#xA;and here is the third.  varispeeded from the original the same as the other.  Still full freq sounds, though the tops are starting to feel pretty dull by this point.  Still, there are the points where the clanks just shot out some insane frequencies that far exceeded the range.  &#xD;&#xA;&#xD;&#xA;![gate spectrogram 21%][3]&#xD;&#xA;&#xD;&#xA;edit:&#xD;&#xA;&#xD;&#xA;I think I'm failing at embedding pix, so here's a link to the photoset of this on flickr:&#xD;&#xA;&#xD;&#xA;http://www.flickr.com/photos/52823418@N02/sets/72157624682752988/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So, to return to my original questions:&#xD;&#xA;&#xD;&#xA; Q. Am I correct in assuming that the biggest hardware obstacle to recording sounds above 20k is generally just the microphone (not the pre or D/A)?&#xD;&#xA;&#xD;&#xA; A.That seems to generally be the case.  If a $450 device like the PCM D50 can perform like this, then clearly preamps and A/D converters are there at most price points.  Haven't tested my old Zoom H4, but I hate that piece of plastic anyway.  :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  Q. how well would the preamp and A/D of say a 744t handle ultrsonic frequencies (if recording with an appropriate mic)?&#xD;&#xA;&#xD;&#xA;  A. Again, looks fine.  I didn't test the 744t that we have on hand, but I'd be very surprised if the sony's pre's and A/D outperforms it.&#xD;&#xA;&#xD;&#xA;  Q.How about a lower end recorder like a Zoom H4n (again, with appropriate mic)?&#xD;&#xA;&#xD;&#xA;  A.I may have to test our H4n, but the Sony test feels like a very promising experiment.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  Q. What pitfalls should be avoided when processing high sample rate files with supersonic frequencies in them? If I take a file and just trim heads and tails in a two track editor like Izotope RX, will I ruin it or will it handle it?&#xD;&#xA;&#xD;&#xA;  A.  Izotope rocks for this application - specifically because it automatically adjusts the spectrogram to accommodate the higher frequencies.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;alright, thx all!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.flickr.com/photos/52823418@N02/4873561438&#xD;&#xA;  [2]: http://www.flickr.com/photos/52823418@N02/4873561644&#xD;&#xA;  [3]: http://flic.kr/p/8qB9UH" ContentLicense="CC BY-SA 2.5" />
  <row Id="4517" PostHistoryTypeId="2" PostId="2574" RevisionGUID="a4ab26ba-a5fa-416e-b026-e7f1369642db" CreationDate="2010-08-08T23:43:59.537" UserId="6411" Text="Similar to Ryan's thought on phase shifting, I like to automate short (10-60ms) delays  that are just slighty wet (10-30%) to provide not just the thinness, but a little movement too." ContentLicense="CC BY-SA 2.5" />
  <row Id="4518" PostHistoryTypeId="2" PostId="2575" RevisionGUID="2ffdf678-121d-44df-875e-c56c831d897e" CreationDate="2010-08-09T00:36:01.240" UserId="37" Text="The future holds the same it held for the previous generations that asked this very question. I am guessing hardly any surprises. &#xD;&#xA;&#xD;&#xA;Budgets and timeframes for the same tasks diminish, and the same craft and quality today is less appreciated than it was yesterday. And even though technology is supposed to allow us to do more things and do them better, new necessities will always crop up. It's up to us to adapt, and I'm guessing it is down to our own choice - the high end will always be conservative and exclusive to a few. The new, exciting, bleeding edge, will be full of insecurity..&#xD;&#xA;&#xD;&#xA;Tomorrow, today's kids will ask the same question. I am guessing the answer will be the same." ContentLicense="CC BY-SA 2.5" />
  <row Id="4519" PostHistoryTypeId="2" PostId="2576" RevisionGUID="673a514c-2eb0-42ea-8d4d-64e05e6d79ad" CreationDate="2010-08-09T01:21:53.847" UserId="61" Text="One technique that hasn't been touched on yet is **distortion**. I find that taking the clean sound and running it through a distortion plug-in produces an effect that could be termed &quot;thin&quot;, although you may need to shelf some of the lower frequencies either pre- or post-plugin (preferably pre). Playing around with parameters such as Drive and Crunch can help the sound to stand out even further.&#xD;&#xA;&#xD;&#xA;Another idea is to use **extreme futzing** (think telephone filter) - this technique has been used in music production for decades. Example: The lead vocal is clear and round, while the backing / accompanying vocal is highly futzed. Great counterpoint." ContentLicense="CC BY-SA 2.5" />
  <row Id="4520" PostHistoryTypeId="2" PostId="2577" RevisionGUID="427beb95-e52e-48ca-bfe1-93c295613166" CreationDate="2010-08-09T04:43:50.733" UserId="36" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I'm currently doing a paper at university in film music, analysing the composition &amp; sound design of various films. We've been assigned to groups &amp; ours has decided to analyse the Lord of the Rings, the Fellowship of the Ring. I've found these videos on designing sound&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2009/12/the-sound-design-of-the-lord-of-the-rings-the-fellowship-of-the-ring-and-the-two-towers/&#xD;&#xA;&#xD;&#xA;As well as some interviews and articles about the composer, Howard Shore. Does anyone here know of any good resources to look up in regards to LOTR? Either sound design wise or in regards to composition. I'm told there are some good interviews on the extended DVD versions of the film, or are they what is already on Designing Sound? Any help would be greatly appreciated.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Oliver" ContentLicense="CC BY-SA 2.5" />
  <row Id="4521" PostHistoryTypeId="1" PostId="2577" RevisionGUID="427beb95-e52e-48ca-bfe1-93c295613166" CreationDate="2010-08-09T04:43:50.733" UserId="36" Text="Looking for good resources regarding film analysis" ContentLicense="CC BY-SA 2.5" />
  <row Id="4522" PostHistoryTypeId="3" PostId="2577" RevisionGUID="427beb95-e52e-48ca-bfe1-93c295613166" CreationDate="2010-08-09T04:43:50.733" UserId="36" Text="&lt;design&gt;&lt;analysis&gt;&lt;film&gt;&lt;composition&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4523" PostHistoryTypeId="2" PostId="2578" RevisionGUID="8e6e442d-ec36-4519-b16a-8463af47964e" CreationDate="2010-08-09T07:35:02.383" UserId="61" Text="I believe there were several eras when the importance of sound was understood and given the resources required (think 1930s, 1970s). I'm not sure we're in one of those eras now, however. Speaking from a feature film standpoint, the budgets for post-production sound have been greatly reduced over the last decade, and this reduction has of course resulting not only in stagnating wages but also smaller crew sizes and shorter schedules. &#xD;&#xA;&#xD;&#xA;One driving force behind this is the perpetuating philosophy that &quot;digital makes things easier and faster&quot; - which is true in many ways. But just because it can be done faster doesn't mean that it *should*. Sound is an art, just as much as writing, set design, and picture editorial. It should not be viewed (or budgeted) as a technical task to complete in the last stages of the film's schedule.&#xD;&#xA;&#xD;&#xA;These budgets will continue to decrease and there's only so much &quot;educating&quot; that can be attempted before the producers and directors get tired of your complaints and take their business elsewhere. This is a **business**, after all, and so long as we keep delivering stellar soundtracks under less-than-desirable conditions, then what motivation do they really have to pay us more?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4524" PostHistoryTypeId="2" PostId="2579" RevisionGUID="496694df-37b7-49aa-9923-7675ec982d45" CreationDate="2010-08-09T07:43:10.870" UserId="100" Text="If I'm not mistaken, the clips on Designing Sound's site are from the extended DVD's special features. All three films have a special segment on the sound design for each, although my favorite is on the Two Towers disc where you can hear soloed passes of the different audio stems for part of the Helm's Deep battle sequence. I say get ahold of the extended DVDs rather than just scanning for clips online, since there are other features to be found only on the discs. Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="4529" PostHistoryTypeId="2" PostId="2582" RevisionGUID="b490469a-62fe-406c-bcdb-0244fe16eab3" CreationDate="2010-08-09T11:40:35.757" UserId="414" Text="I was reading  &lt;a href=&quot;http://socialsounddesign.com/questions/2563/what-does-the-future-hold&quot;&gt;this thread about sound design in the film/TV industry&lt;/a&gt; and I thought I'd apply the same question to video games. Do you guys suffer from a lack of time, budget, or respect? Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="4530" PostHistoryTypeId="1" PostId="2582" RevisionGUID="b490469a-62fe-406c-bcdb-0244fe16eab3" CreationDate="2010-08-09T11:40:35.757" UserId="414" Text="What does the future hold for video game sound design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4531" PostHistoryTypeId="3" PostId="2582" RevisionGUID="b490469a-62fe-406c-bcdb-0244fe16eab3" CreationDate="2010-08-09T11:40:35.757" UserId="414" Text="&lt;future&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4532" PostHistoryTypeId="2" PostId="2583" RevisionGUID="e35f178b-b167-4e0f-954a-98b743485319" CreationDate="2010-08-09T12:17:38.597" UserId="432" Text="There's a wealth of material on those extended discs. That stems segment on the Two Towers discs is cool, but I'd argue not the most important or enlightening material on those discs. I can't remember off the top of my head whether those videos on designingsound.org are all that's available on the discs for the first two films. I'd grab or rent copies of the extended materials just to be sure. There are some interesting discussions on using sound (both music and fx) to reinforce the idea that the ring itself is a character in the films.&#xD;&#xA;&#xD;&#xA;Plus, being a Lord of the Rings fan from the age of ten, I enjoy the extended cuts much more. And I'll say it right now, I don't care that Tom Bombadil wasn't in the films. Trying to work him would have broken the flow. That's right, I said it. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4533" PostHistoryTypeId="2" PostId="2584" RevisionGUID="f36a6bdc-d3c9-4a08-bea1-1752f32f8795" CreationDate="2010-08-09T13:41:05.563" UserId="61" Text="In my limited experience I have found the budgets to be far more generous than film, although it's really difficult to compare the two. It's apples vs. oranges. Video games require sound design from the earliest stages, while film usually doesn't start the sound department until after the first picture edit has been completed. This can be the difference between 3 years vs. 5 months, respectively. And regarding respect, well, I suppose that all depends on your experience level, attitude, and how talented you are!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4534" PostHistoryTypeId="2" PostId="2585" RevisionGUID="d2192f33-7b0f-4d11-89f1-4299839e4ab3" CreationDate="2010-08-09T14:15:52.713" UserId="393" Text="This is an area I've been actively exploring for a few years -- it's actually the reason I got into sound design in the first place.&#xD;&#xA;&#xD;&#xA;I feel like the future of video game sound design is overall positive.  With the easy availability of development kits for PC and Xbox in XNA, and Flash -- not to mention every other coding language out there that can be used to make games -- more and more people are making games every day.  More games means more assets, right?&#xD;&#xA;&#xD;&#xA;The downside is that most of the new games on the market are casual games. Facebook and sites like Kongregate are booming in plays-per-day compared to any single console, and that means more demand on single sound effects as opposed to soundscapes.  I've done a handful of games where all they wanted were one or two sound effects, total.&#xD;&#xA;&#xD;&#xA;As far as suffering from a lack of anything, it's been budget, but that's because I'm working with indies.&#xD;&#xA;&#xD;&#xA;Finally, I feel I need to point out that, if you intend to design for anything bigger than casual gaming, you NEED to learn the basics of film sound design.  Cut scenes ARE films, and need to be scored and designed just the same as any movie that crosses your desk.  Also, it's not uncommon for me to develop my video game sounds to a gameplay video, so I can get a feel of how everything sits together.&#xD;&#xA;&#xD;&#xA;I guess what I'm saying is that, just like in film, there will always be work available for those who are willing to find it, but it's less likely you'll be working on a big-budget ANYTHING and more likely you'll be working on something tiny.  Learn how much you'll be charging for a single sound effect, because you'll get those requests a lot." ContentLicense="CC BY-SA 2.5" />
  <row Id="4535" PostHistoryTypeId="2" PostId="2586" RevisionGUID="8cf578f9-d903-415c-8569-074e76868dca" CreationDate="2010-08-09T14:23:34.730" UserId="189" Text="Inspiring video about this subject, these guys have a rock solid workflow.&#xD;&#xA;Cheers,&#xD;&#xA;M&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Y-6EQo6it7Y&amp;feature=player_embedded" ContentLicense="CC BY-SA 2.5" />
  <row Id="4536" PostHistoryTypeId="5" PostId="2552" RevisionGUID="055bf6b5-0e75-4e6b-862a-9236fbb77ee3" CreationDate="2010-08-09T15:03:42.977" UserId="194" Comment="added 89 characters in body" Text="I just put this together last night.  &#xD;&#xA;&#xD;&#xA;[vimeo]13953781[/vimeo]&#xD;&#xA;&#xD;&#xA;For the timelapse I recorded audio (with sync points in and out) and then experimented to find the best way of compressing the 16 minutes of audio down into the 18 seconds of video.  What I came up with was a combination of editing, time compression, and layering that was pretty painstaking to come up with but yeilded results that I'm exctatic about.  &#xD;&#xA;&#xD;&#xA;Even though the actual ratio of real time to final video is over 53:1, I managed to only compress the audio at 8:1, making up the difference with editorial and layering.  &#xD;&#xA;&#xD;&#xA;I'm going to shoot more today.&#xD;&#xA;&#xD;&#xA;edit:&#xD;&#xA;-update- shot more videos!&#xD;&#xA;&#xD;&#xA;[vimeo]13991711[/vimeo]&#xD;&#xA;[vimeo]13992190[/vimeo]" ContentLicense="CC BY-SA 2.5" />
  <row Id="4537" PostHistoryTypeId="2" PostId="2587" RevisionGUID="becca285-c432-433b-ae20-3792186992a1" CreationDate="2010-08-09T15:11:32.077" UserId="6411" Text="So I'm in the market for an affordable LDC for some vocal design work at home. My first thought was Røde's [NT2000][1]. As it turns out, during the month of August Røde has a promotion wherein you buy a select LDC and they throw in a [Vicoustic Flexi Screen Lite][2] for an extra $1.&#xD;&#xA;&#xD;&#xA;Now a while back I had seen sE's [Reflexion Filter][3] and thought it was cool, but questioned its complete effectiveness. This Vicoustic product doesn't appear to be as thoroughly thought out (but for a buck does it really need to be?). My real question I guess is whether they are worth the space to store, or if should I just use blankets in my coat closet? Does anyone have experience with either of these products?&#xD;&#xA;&#xD;&#xA;Also, because I don't want to spend $600 on the merit of a promotion (of a product I may not need), I'll take alternative thoughts on the LDC. I'm hoping to shell out no more than $700, but may be able to persuade the 'accountant' with something like the [MJE-K47H][4] and an Oktava or MXL body. *&quot;But Honey, this is **expandable**. So it's like I'm actually buying multiple mics!&quot;*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/microphone.php?product=NT2000&#xD;&#xA;  [2]: https://www.rodemic.com/vicoustic_registration.php&#xD;&#xA;  [3]: http://www.seelectronics.com/PSRF.html&#xD;&#xA;  [4]: http://www.oktavamodshop.com/product_info.php?cPath=2_28&amp;products_id=144" ContentLicense="CC BY-SA 2.5" />
  <row Id="4538" PostHistoryTypeId="1" PostId="2587" RevisionGUID="becca285-c432-433b-ae20-3792186992a1" CreationDate="2010-08-09T15:11:32.077" UserId="6411" Text="Opinions on Stand Mounted Baffles (and LDCs)?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4539" PostHistoryTypeId="3" PostId="2587" RevisionGUID="becca285-c432-433b-ae20-3792186992a1" CreationDate="2010-08-09T15:11:32.077" UserId="6411" Text="&lt;recommendations&gt;&lt;recording&gt;&lt;room-treatment&gt;&lt;baffling&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4540" PostHistoryTypeId="2" PostId="2588" RevisionGUID="8f958f08-3d6f-41a0-abc0-323d3438f1db" CreationDate="2010-08-09T16:05:16.113" UserId="6411" Text="A colleague sent me to [this page][1] which reminded me of this question. While it feels fictitious and obliterates the boundaries of professionalism in the workplace, it's freakin' hilarious.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.27bslash6.com/missy.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="4541" PostHistoryTypeId="16" PostId="2588" RevisionGUID="8f958f08-3d6f-41a0-abc0-323d3438f1db" CreationDate="2010-08-09T16:05:16.113" UserId="6411" />
  <row Id="4542" PostHistoryTypeId="2" PostId="2589" RevisionGUID="9b88ef97-109a-4d99-8c2a-b3ed18815780" CreationDate="2010-08-09T17:06:23.657" UserId="432" Text="Sorry about creating a new post for this, but it's getting hard to keep track of where all the feedback is for this thing (some in the first thread, but there are a bunch floating around as comments in other threads too). So, here it is.&#xD;&#xA;&#xD;&#xA;When I provide a video for the competition, and it already has real world audio, would you prefer to get the video with or without that audio?&#xD;&#xA;&#xD;&#xA;I've spent a fair bit of time researching/gathering for this month's challenge. I had to pass up my first choice, because I was unable to secure permission. Thankfully, I found a suitable replacement (it might even be better). This question would have applied to either one.&#xD;&#xA;&#xD;&#xA;If you're curious as to what might have been, you can view it here: http://www.archive.org/details/FootballAccident&#xD;&#xA;&#xD;&#xA;I'm still not telling you what the challenge was gonna be, because I may still use the idea either this month or in some future challenge.&#xD;&#xA;&#xD;&#xA;Thanks for any input you guys offer." ContentLicense="CC BY-SA 2.5" />
  <row Id="4543" PostHistoryTypeId="1" PostId="2589" RevisionGUID="9b88ef97-109a-4d99-8c2a-b3ed18815780" CreationDate="2010-08-09T17:06:23.657" UserId="432" Text="One last question for you about the sound design challenge" ContentLicense="CC BY-SA 2.5" />
  <row Id="4544" PostHistoryTypeId="3" PostId="2589" RevisionGUID="9b88ef97-109a-4d99-8c2a-b3ed18815780" CreationDate="2010-08-09T17:06:23.657" UserId="432" Text="&lt;competition&gt;&lt;skills-development&gt;&lt;survey&gt;&lt;community&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4545" PostHistoryTypeId="2" PostId="2590" RevisionGUID="36b330fb-1b37-4bfa-a4f8-4c864d8bb3d5" CreationDate="2010-08-09T17:16:54.883" UserId="220" Text="I'll go ahead and chuck my opinion in the mix here.&#xD;&#xA;&#xD;&#xA;First off, nicely done.  It's very difficult to subject work to the public, especially one as learned as this group.  Looks like everybody has been very nice so far :)&#xD;&#xA;&#xD;&#xA;I really like the bell sound.  It would be nice for it to feel boxier when it's just darkness - you don't get a sense for the space until the door is opened.  The high frequencies ring like it is in a large room.  &#xD;&#xA;&#xD;&#xA;The door is really nice, but could probably come down quite a bit.  Would have liked to hear some sort of handle grab with a latch open.  The door is tightly closed, so it seems like it would have been latched in some way.  Nickpicking a little on that point, I guess....&#xD;&#xA;&#xD;&#xA;Needs some work on perspective, even if it is just tweaking the level of the phone up and down as you change perspective.  On the wide angle of her answering the phone, her voice has a nice metallic reverb to it - can you make the bell sound the same way?  &#xD;&#xA;&#xD;&#xA;As for ambiance - I've always struggled with world building on my own.  I like the tension that it brings, but would like to maybe get a few more audio clues as to where she is - active factory, a ship, underground, in a dream world, etc.  This is a lot to pack in to 30 seconds.. a longer clip would help in that aspect, but you can start introducing some elements right away. &#xD;&#xA;&#xD;&#xA;Again, excellent job and keep up the good work!  Look forward to seeing some of your submissions in the sound design challenge. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4548" PostHistoryTypeId="2" PostId="2593" RevisionGUID="0de6a597-7f3a-43e2-905d-35cb0f410a16" CreationDate="2010-08-09T17:35:11.257" UserId="6411" Text="Not knowing what you have in mind makes it tough. I'd say it depends on the source and the challenge. If it's raw production audio that moves the scene and it's a requirement to include it in the final mix for the challenge, then certainly yes. Otherwise, I think it would be more interesting to see where everyone comes from when faced with a blank slate than when given a &quot;guide track.&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4550" PostHistoryTypeId="2" PostId="2595" RevisionGUID="88d8b28d-ef4b-45f6-b45f-aa3b2bca513b" CreationDate="2010-08-09T17:39:04.250" UserId="220" Text="Hmm.  Really depends on the challenge rules.  If we are allowed to use certain elements of the mix, then we definitely want it there.  If it has to be 100% original, I'd rather not have anything and let my imagination run its own course on what I &quot;hear&quot; when I see the image.  I feel like hearing the real audio would permanently bias my sound design.&#xD;&#xA;&#xD;&#xA;It might be interesting to see what people come up with if they are given the mix audio vs given a silent track.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4551" PostHistoryTypeId="2" PostId="2596" RevisionGUID="ab581a8e-25ef-497c-b55a-7690baef2bbb" CreationDate="2010-08-09T17:45:53.687" UserId="486" Text="AudioMicro.com is another site to license your [sound effects][1] on.  They pay a 50% commission and everything is non exclusive.  I usually end up getting about $1 for each effect I license there and they pay me out every month via PayPal which is nice and easy.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiomicro.com/sound-effects" ContentLicense="CC BY-SA 2.5" />
  <row Id="4552" PostHistoryTypeId="2" PostId="2597" RevisionGUID="00702077-b066-4ca4-89fc-2fb4c875072a" CreationDate="2010-08-09T17:50:15.163" UserId="18160" Text="My opinion on this matter is that treating your room properly from the ground up is the only way to get excellent quality recordings. The &quot;quick fix&quot; contraptions never really get there for me. Good luck reading a script with that foam box you put behind the mic, too. I guess they made that for the singers who memorize their lyrics? You have to fix the room itself for voices to sound good in a recording.&#xD;&#xA;&#xD;&#xA;That's my opinion... Don't know if you have the space/time/budget for it..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4553" PostHistoryTypeId="2" PostId="2598" RevisionGUID="f48434a5-83d7-4d23-a01c-daca895245d0" CreationDate="2010-08-09T17:58:06.273" UserId="432" Text="I pretty much agree with what all of you guys are saying. Here's the dilemma. At least with this first challenge, the video is available to watch on Vimeo. I've just made agreements for its use. Now, as I will want to be giving credit where credit is due, people participating in the challenge will be able to find the original with very little effort.&#xD;&#xA;&#xD;&#xA;I suppose I'll just have to explain the benefits of doing the piece cold and rely on people's desire to better themselves to keep them from being overly influenced by existing audio.&#xD;&#xA;&#xD;&#xA;Of course, this also means I'll have to strip the audio and export a new version of the video. Making more work for myself all of the time. lol" ContentLicense="CC BY-SA 2.5" />
  <row Id="4554" PostHistoryTypeId="5" PostId="1074" RevisionGUID="d86bee40-4ab8-40b4-a7bf-24125d418b4a" CreationDate="2010-08-09T18:24:20.927" UserId="18160" Comment="deleted 160 characters in body" Text="I use Oxford Suppressor.&#xD;&#xA;&#xD;&#xA;I also use a Dynamic EQ.&#xD;&#xA;&#xD;&#xA;But, my favorite De-Esser is the Gain plug-in to manually bring down the volume.&#xD;&#xA;&#xD;&#xA;At the moment, I am experimenting with all sorts of strip-silence and beat-detective and region-group macros in Pro Tools to be able to get the quality of manual de-essing in a long-format like an Audiobook or long narration VO.&#xD;&#xA;&#xD;&#xA;On a 3 minute song or a 1-minute radio ad, I manually shape the sibilance the way I want it because an auto-de-essing plugin/equipment messes with the voice too much IMO.&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="4555" PostHistoryTypeId="2" PostId="2599" RevisionGUID="17814b07-bdb4-4f2d-9c90-69435e66e6ef" CreationDate="2010-08-09T18:33:25.200" UserId="18160" Text="How often do you use reverb in mixing sound effects?&#xD;&#xA;&#xD;&#xA;I know it's essential for dialogue, however, how do you apply it to effects?&#xD;&#xA;&#xD;&#xA;Do you have a template which automatically assigns all of your spot effects to the same reverb your dialogue is set up with?&#xD;&#xA;&#xD;&#xA;Or do you selectively choose which effects to send through it?&#xD;&#xA;&#xD;&#xA;And how do you handle effects which are supposed to be outside and have a reverb on them? I run into this when I get turned over to me a lion roar which is outside on screen but the effect put in there was done in a cage or indoors and there is a noticeable effect on it. Do you bite the bullet and leave it? Or are there any tricks you use to help alleviate it?&#xD;&#xA;&#xD;&#xA;Also, do you ever put reverb on your ambiences?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4556" PostHistoryTypeId="1" PostId="2599" RevisionGUID="17814b07-bdb4-4f2d-9c90-69435e66e6ef" CreationDate="2010-08-09T18:33:25.200" UserId="18160" Text="Use of reverbs in mixing." ContentLicense="CC BY-SA 2.5" />
  <row Id="4557" PostHistoryTypeId="3" PostId="2599" RevisionGUID="17814b07-bdb4-4f2d-9c90-69435e66e6ef" CreationDate="2010-08-09T18:33:25.200" UserId="18160" Text="&lt;use-of&gt;&lt;reverb&gt;&lt;mixing&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4558" PostHistoryTypeId="2" PostId="2600" RevisionGUID="db2e39b1-d1ea-4a4d-8c98-2540b815277e" CreationDate="2010-08-09T18:45:15.490" UserId="390" Text="This is a great idea, Shaun. Normally I have to find ways to motivate myself to keep my chops up between projects. This will definitely get the juices flowing." ContentLicense="CC BY-SA 2.5" />
  <row Id="4559" PostHistoryTypeId="2" PostId="2601" RevisionGUID="68f9bdd9-7d0a-46bb-b8c0-a1aa6bb8e087" CreationDate="2010-08-09T18:51:50.723" UserId="18160" Text="What sorts of things do you automate and what do you like to audiosuite process?&#xD;&#xA;&#xD;&#xA;EQ? Reverbs? Volume?&#xD;&#xA;&#xD;&#xA;I know volume is a no-brainer because people love using faders to automate volume, but who knows - someone might find gain processing easier and faster...&#xD;&#xA;&#xD;&#xA;I'm always automating reverb presets, volume, EQ settings (such as low-pass and high-pass, cuts, etc.)&#xD;&#xA;&#xD;&#xA;I'm curious if I can hasten my workflow if one of you have a better suggestion as to what you do." ContentLicense="CC BY-SA 2.5" />
  <row Id="4560" PostHistoryTypeId="1" PostId="2601" RevisionGUID="68f9bdd9-7d0a-46bb-b8c0-a1aa6bb8e087" CreationDate="2010-08-09T18:51:50.723" UserId="18160" Text="What do you automate and what do you audiosuite?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4561" PostHistoryTypeId="3" PostId="2601" RevisionGUID="68f9bdd9-7d0a-46bb-b8c0-a1aa6bb8e087" CreationDate="2010-08-09T18:51:50.723" UserId="18160" Text="&lt;automation&gt;&lt;audiosuite&gt;&lt;processing&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4562" PostHistoryTypeId="2" PostId="2602" RevisionGUID="8cfce67c-cd17-41e0-8b1b-9068fcd251c9" CreationDate="2010-08-09T18:56:20.873" UserId="18160" Text="I know this question is pretty all encompassing and probably can't be answered, but:&#xD;&#xA;&#xD;&#xA;What are your favorite EQs?&#xD;&#xA;&#xD;&#xA;and:&#xD;&#xA;&#xD;&#xA;Do you have different favorites for different applications?&#xD;&#xA;&#xD;&#xA;Me, I like the Oxford EQ and the GML EQ plug-in for overall voice tonality.&#xD;&#xA;&#xD;&#xA;I do have a couple DNs in my studio (hardware) but I personally hate setting back up a graphic EQ if I have to set up a mix again for changes - so I rarely use them, if ever. Pro Tools sessions are much faster because the EQ settings are saved and instantly recallable...&#xD;&#xA;&#xD;&#xA;However, the stock EQ3 I find is the most effective at removing low-end from a mic pop.&#xD;&#xA;&#xD;&#xA;But, that same EQ distorts sound effects like low-end rumble atmos if you try to high-pass it.&#xD;&#xA;&#xD;&#xA;What are some of your favorite EQs and what is your go-to EQ plug-in for certain applications?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4563" PostHistoryTypeId="1" PostId="2602" RevisionGUID="8cfce67c-cd17-41e0-8b1b-9068fcd251c9" CreationDate="2010-08-09T18:56:20.873" UserId="18160" Text="What is your favorite EQ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4564" PostHistoryTypeId="3" PostId="2602" RevisionGUID="8cfce67c-cd17-41e0-8b1b-9068fcd251c9" CreationDate="2010-08-09T18:56:20.873" UserId="18160" Text="&lt;favorite&gt;&lt;eq&gt;&lt;plug-in&gt;&lt;equalizer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4565" PostHistoryTypeId="2" PostId="2603" RevisionGUID="2374972d-528d-48ed-9d35-0333aabc8ac7" CreationDate="2010-08-09T19:05:25.210" UserId="18160" Text="I'm still on Pro Tools 7.&#xD;&#xA;&#xD;&#xA;Is 8 worth the upgrade?&#xD;&#xA;&#xD;&#xA;What new features have you found in it that you can't imagine how you were able to do anything before without them?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4566" PostHistoryTypeId="1" PostId="2603" RevisionGUID="2374972d-528d-48ed-9d35-0333aabc8ac7" CreationDate="2010-08-09T19:05:25.210" UserId="18160" Text="Is Pro Tools 8 worth it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4567" PostHistoryTypeId="3" PostId="2603" RevisionGUID="2374972d-528d-48ed-9d35-0333aabc8ac7" CreationDate="2010-08-09T19:05:25.210" UserId="18160" Text="&lt;pro-tools&gt;&lt;upgrade&gt;&lt;features&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4568" PostHistoryTypeId="2" PostId="2604" RevisionGUID="c538222c-5b6d-4029-8c4a-9ad7e8045956" CreationDate="2010-08-09T19:12:59.817" UserId="18160" Text="If you have never heard of this option and you use Pro Tools, please answer with that information because it answers my question.&#xD;&#xA;&#xD;&#xA;Why is it useful?&#xD;&#xA;&#xD;&#xA;What application does anyone use it for?&#xD;&#xA;&#xD;&#xA;I read about it in the manual and I couldn't for the life of me figure out why anyone would ever use that feature." ContentLicense="CC BY-SA 2.5" />
  <row Id="4569" PostHistoryTypeId="1" PostId="2604" RevisionGUID="c538222c-5b6d-4029-8c4a-9ad7e8045956" CreationDate="2010-08-09T19:12:59.817" UserId="18160" Text="Does anyone ever use Dynamic Transport Mode in Pro Tools?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4570" PostHistoryTypeId="3" PostId="2604" RevisionGUID="c538222c-5b6d-4029-8c4a-9ad7e8045956" CreationDate="2010-08-09T19:12:59.817" UserId="18160" Text="&lt;pro-tools&gt;&lt;dynamic&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4571" PostHistoryTypeId="2" PostId="2605" RevisionGUID="d9951628-e07b-4e08-a6bb-0079db4e11ce" CreationDate="2010-08-09T19:30:07.807" UserId="445" Text="My favorite is the Masterworks EQ included in MOTU Digital Performer 7. Very precise and frequency responsive. Love it's interface!&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/may05/images/pnmasterworks.l.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="4572" PostHistoryTypeId="2" PostId="2606" RevisionGUID="bcb620c4-df08-4703-be3f-834dacf68fac" CreationDate="2010-08-09T19:36:40.517" UserId="6411" Text="With only a Power Pack and Waves Diamond bundle to choose from I'm a little limited in my choice, but here's my take...&#xD;&#xA;&#xD;&#xA;+1 on the EQ3 series. I find it quite useful, particularly for it's adjustable slope on HP/LP. Then fact that it maps exactly how you would expect it to on the D-Command is a big plus too.&#xD;&#xA;&#xD;&#xA;While I'm not in love with it, I also use Waves' Q series quite often. It's narrow notch (Q=100) is like a scalpel that allows me to pull out just the frequency I'm looking for.&#xD;&#xA;&#xD;&#xA;I'll also use the Ren EQ on narration for subtle voice coloration. As a result it's not unusual for the insert chain on a narration track to go: EQ3 1-band (for low-end rolloff) &gt; Q6 (for surgery) &gt; REQ 4 (for tonality) which then feeds the dynamics chain." ContentLicense="CC BY-SA 2.5" />
  <row Id="4573" PostHistoryTypeId="6" PostId="38" RevisionGUID="2730e1f2-2bfb-40d2-b1ba-0bb88b0823a9" CreationDate="2010-08-09T19:52:05.360" UserId="445" Comment="edited tags" Text="&lt;money&gt;&lt;recording&gt;&lt;income&gt;&lt;sound-design&gt;&lt;business&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4574" PostHistoryTypeId="2" PostId="2607" RevisionGUID="8111b307-3a89-403d-90e9-6a9c9f56177a" CreationDate="2010-08-09T20:13:19.393" UserId="285" Text="PT8 has a couple useful features but all in all I find myself longing for v7.  PT8 seems to be a little slower in its response to user input, not in its recording functions but in how I interact with it, for example zooming in, scrolling, changing tools.  I am talking milliseconds here, but enough that it throws me off my game just a little bit.  It might be all in my head, but all in all I liked the feel of PT7 way better.&#xD;&#xA;&#xD;&#xA;But in the LE universe you need PT8 to run the &quot;complete toolkit&quot; and have surround capability, and access to more tracks.  I need this option so I have to stick with PT8.  Now that I have been using it for a while I am more at ease with it and it does its job, but it took me much longer for this upgrade to feel like home as opposed to all the previous upgrades." ContentLicense="CC BY-SA 2.5" />
  <row Id="4575" PostHistoryTypeId="2" PostId="2608" RevisionGUID="4a1d22d7-17ff-41ae-ae7a-f3370087d6e1" CreationDate="2010-08-09T20:17:09.030" UserId="194" Text="I really wish Roger Nichols had not has his software falling out.  We still keep fireQ on our systems, but its starting to get left behind by the rest of the software.&#xD;&#xA;&#xD;&#xA;FireQ has 2 awesome things about it that I wish the digirack plugin would incorporate:&#xD;&#xA;&#xD;&#xA; - frequency response graph overlay&#xD;&#xA; - matching&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My workhorse is the digrack eq, but I use the filterbank stuff for the supersharp rolloffs.  &#xD;&#xA;&#xD;&#xA;Oxford eq is awesome, but we don't have it installed in all of the rooms so I usually stay away from in on projects that aren't one-offs and will never be revised.&#xD;&#xA;&#xD;&#xA;Q1 is great for notching.&#xD;&#xA;&#xD;&#xA;I'm very impressed with the eq inside of izotope Rx.&#xD;&#xA;&#xD;&#xA;--------&#xD;&#xA;I never can get good results out of reneq fwiw.&#xD;&#xA;&#xD;&#xA;I also hate the eqs in the waves audio track&#xD;&#xA;&#xD;&#xA;Can't make the digi Air EQ sound good either.  YMMV" ContentLicense="CC BY-SA 2.5" />
  <row Id="4576" PostHistoryTypeId="2" PostId="2609" RevisionGUID="4a7f7cba-bfce-4e34-a17c-37be7315b749" CreationDate="2010-08-09T20:23:22.397" UserId="445" Text="Another good choice for me it's FabFilter Pro-Q. Very similar to Masterworks EQ in terms of visual feedback. I really like to &quot;see&quot; what's happening and having this visual aid, but I know I should never forget listening, at first!&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://rekkerd.org/img/201001/fabfilter_proq_screen.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="4577" PostHistoryTypeId="2" PostId="2610" RevisionGUID="ced9ad20-c751-46d1-b8a0-36de7374b553" CreationDate="2010-08-09T20:55:21.743" UserId="189" Text="Hi Ryan&#xD;&#xA;&#xD;&#xA;I found DT very useful if you want for example listen to a song or ambience file very fast without the necessity of hit the space bar every time you change your cursor, but for this you need to activate Dynamic transport and then you need to activate &quot;Link Time Line and Edit Selection&quot; to work. &#xD;&#xA;&#xD;&#xA;After that you just need to do 1 click with your mouse in the part of the audio region where you want to listen." ContentLicense="CC BY-SA 2.5" />
  <row Id="4578" PostHistoryTypeId="2" PostId="2611" RevisionGUID="570f08bf-b458-484c-a57d-11eceb887ced" CreationDate="2010-08-09T21:58:15.880" UserId="396" Text="I hadn't used this option before either, but after reading the manual it does sound like it could be useful. It lets you start playback from anywhere on the timeline without losing your timeline/edit selection. Could be useful for doing a quick A/B comparison of two points in a timeline, while retaining an edit selection..?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4579" PostHistoryTypeId="2" PostId="2612" RevisionGUID="531ab6f3-2de5-49b9-bb6e-fb0cd6a05bc9" CreationDate="2010-08-09T22:07:30.553" UserId="445" Text="Hey people! &#xD;&#xA;&#xD;&#xA;I tried to embed a poll in a question without any type of success... &#xD;&#xA;&#xD;&#xA;I think it will be useful to have a working poll/survey system to make censuses and generate statics about things like DAW of choice, platform, favorite plug-ins, etc.&#xD;&#xA;&#xD;&#xA;Any thoughts about this? What do you suggest?&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://images.myidol.americanidol.com/myidol.americanidol.com/user/americanidolnow/maar01_polls.jpg?v=113906" ContentLicense="CC BY-SA 2.5" />
  <row Id="4580" PostHistoryTypeId="1" PostId="2612" RevisionGUID="531ab6f3-2de5-49b9-bb6e-fb0cd6a05bc9" CreationDate="2010-08-09T22:07:30.553" UserId="445" Text="We need a Poll/Survey Generator for SSD, don't we?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4581" PostHistoryTypeId="3" PostId="2612" RevisionGUID="531ab6f3-2de5-49b9-bb6e-fb0cd6a05bc9" CreationDate="2010-08-09T22:07:30.553" UserId="445" Text="&lt;poll&gt;&lt;survey&gt;&lt;community&gt;&lt;collaboration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4582" PostHistoryTypeId="2" PostId="2613" RevisionGUID="f7437b29-133e-4e70-8d9a-41994b05f677" CreationDate="2010-08-09T22:16:40.237" UserId="194" Text="is this post a poll?  I vote yes!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4583" PostHistoryTypeId="2" PostId="2614" RevisionGUID="5f31e36a-50c4-464b-aa0e-70413bcb83c9" CreationDate="2010-08-09T22:24:19.790" UserId="338" Text="@ryan, Im still learning, still in an audio school, still finishing up my demo reel, so my workflow isn't the best yet but its getting there.  By on the fly changes meaning when I want to quickly alter sounds and audition them rather than using a plug-in as an insert." ContentLicense="CC BY-SA 2.5" />
  <row Id="4584" PostHistoryTypeId="2" PostId="2615" RevisionGUID="ce97005f-9642-49ab-8bc6-ccfd04d108b5" CreationDate="2010-08-09T22:27:19.330" UserId="487" Text="When working with SFX for games, DT is a MUST. For example: I need to create an ambience loop 30 seconds long and I need to make the loop seamless. In this case I need to pay special attention to the transision from the end of the region to start the of the same region when playing in loop mode. I don't want to listen to the whole 30 seconds over and over, so I mark my region (or multiple regions) and then I start playing from just before the ending (0:28) and listen to the transition.&#xD;&#xA;&#xD;&#xA;I would die without Dynamic Transport. ;)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4585" PostHistoryTypeId="2" PostId="2616" RevisionGUID="abc47736-ebf5-4fb7-85f7-4f495616a13a" CreationDate="2010-08-09T22:34:16.493" UserId="393" Text="I automate volume and EQ as I need, and effect sends.  As a huge fan of dub music, I've learned to love automating delay and reverbs, and overdrives, but I almost never get to do that in sound design." ContentLicense="CC BY-SA 2.5" />
  <row Id="4586" PostHistoryTypeId="2" PostId="2617" RevisionGUID="002c2d99-bbc1-4b06-b387-bf7f15cfc764" CreationDate="2010-08-09T22:36:16.223" UserId="393" Text="I use Sonar's built in EQ for almost everything, even though I can't figure out how to automate it.  If I have to automate anything, I use KristalEQ that rolled out with the [Kristal Audio Engine][1] because it's the first EQ I learned how to play with, so I trust it, even though it's about as feature-rich as my old Walkman.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.kreatives.org/kristal/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4587" PostHistoryTypeId="2" PostId="2618" RevisionGUID="5c8b02bb-f1fe-493b-b0e2-505320d91c1b" CreationDate="2010-08-09T22:38:14.723" UserId="393" Text="Post the video without audio, and post a link to a zipped wav of the original audio for the people that might want it." ContentLicense="CC BY-SA 2.5" />
  <row Id="4588" PostHistoryTypeId="2" PostId="2619" RevisionGUID="197515b4-6252-4425-b779-862843b9d366" CreationDate="2010-08-09T22:38:58.310" UserId="253" Text="I automate things i know i'll need to tweak (and suspect the director may want to change) in the mix, which is basically everything! Dialogue eq, volume, reverbs, foley eq...&#xD;&#xA;I'll only really use the audiosuite for a couple of things:&#xD;&#xA;&#xD;&#xA;Noise reduction (but i'll leave the original clip, muted, on a worktrack).&#xD;&#xA;&#xD;&#xA;Effects that i want to treat with eq or something crazier, but don't want to waste the insert for a 1-off occurrence. Again, i'll leave the original nearby, and maybe save the settings i treat it with.&#xD;&#xA;&#xD;&#xA;Also, before going to mix, i check out all my temp volume automation and audiosuite everything with gain so it'll sound ok with the faders flat." ContentLicense="CC BY-SA 2.5" />
  <row Id="4589" PostHistoryTypeId="2" PostId="2620" RevisionGUID="d50af8c2-373e-4197-ac95-e5c3cd1debaa" CreationDate="2010-08-09T22:50:48.667" UserId="202" Text="I love the Flux EpureII Eq. I find it easy to use and love the sound: it can be smooth or chirurgical, but the sound never disappoint. &#xD;&#xA;&#xD;&#xA;![alt text][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://static.kvraudio.com/i/b/epure2.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="4590" PostHistoryTypeId="2" PostId="2621" RevisionGUID="bdfcba46-cd36-4b9f-94a8-612d767545fd" CreationDate="2010-08-09T22:59:20.467" UserId="6411" Text="My goal is to get away with using as little dsp as possible, so...&#xD;&#xA;&#xD;&#xA;I'll audiosuite&#xD;&#xA;&#xD;&#xA; - simple changes that I know I want to print like HP or gain&#xD;&#xA; - noise reduction (to eliminate messing with delay compensation)&#xD;&#xA; - things I can't process in real-time: doppler, normalize, reverse, etc.&#xD;&#xA;&#xD;&#xA;I'll automate &amp; re-record new clips that use any effect like delay, freq modulation, phase, distortion, etc. in order to save the burden of an insert for one or two clips. But either when audiosuiting (new word?) or re-recording I always keep the original (either clip muted or track inactive) in order to be able to backtrack. &#xD;&#xA;&#xD;&#xA;In the final mix I'll automate it all&#xD;&#xA;&#xD;&#xA; - EQ&#xD;&#xA; - Dynamics&#xD;&#xA; - Volume&#xD;&#xA; - Reverbs&#xD;&#xA; - Sends" ContentLicense="CC BY-SA 2.5" />
  <row Id="4591" PostHistoryTypeId="2" PostId="2622" RevisionGUID="72be6745-82f7-4bf0-a9d7-11caf7a5b589" CreationDate="2010-08-09T23:03:45.310" UserId="219" Text="Following is my view on how it should be done. I'm young, fresh out of school, just taking part to a debate, and the answer to this question may not be found in my participation, only elements of it if anything.&#xD;&#xA;&#xD;&#xA;*The fairy tale of post...*&#xD;&#xA;&#xD;&#xA;I see two disciplines in post, editing (and sound design) and mixing. Ideally, the mixer will be given as dry a material as possible, implying that the editor/designer deals with problematic sounds cues like the one depicted in the first post. There are solutions to the problems we may find - in this particular case I'd think of multiband compression - but this belongs to the preparation of the material, i.e. the editorial. Some sounds however do come to the final mix with their own reverb, and that's part of the designer's job, but if it doesn't work for you, you should send it back for re-editing (that's what all the books I read say). Unless you think you know of a solution, I'd say &quot;leave it to when you have extra time to spend on mixing.&quot;&#xD;&#xA;&#xD;&#xA;When mixing, the further the sound source, the wetter it'll get. If I don't use reverb, I find it sticks out and just brings it really close to you. Well, I say &quot;I find&quot; but that's the definition of a dry sound: if it's dry it's in your head, then the wetter the further... &#xD;&#xA;On the *very few* mixes I've done, I like to start cutting up my space into three slices; close, medium-range and far, and still the further the wetter, so in Pro Tools 3 aux channels with the reverb on it receiving spot effects tracks &quot;by slice&quot;. I sort of grind it coarse first and then refine.&#xD;&#xA;&#xD;&#xA;I hope this serves the discussion and I'm not off-topic.&#xD;&#xA;&#xD;&#xA;*And they live happily ever after...*" ContentLicense="CC BY-SA 2.5" />
  <row Id="4592" PostHistoryTypeId="2" PostId="2623" RevisionGUID="3ff8535c-9672-41b6-baf6-7ab10acc5675" CreationDate="2010-08-09T23:04:03.633" UserId="6411" Text="is this post a poll? I vote no. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4593" PostHistoryTypeId="16" PostId="2623" RevisionGUID="3ff8535c-9672-41b6-baf6-7ab10acc5675" CreationDate="2010-08-09T23:04:03.633" UserId="6411" />
  <row Id="4594" PostHistoryTypeId="2" PostId="2624" RevisionGUID="1d7a47de-774e-49a0-952e-574b278d1d3a" CreationDate="2010-08-09T23:04:34.603" UserId="202" Text="+1 for complete toolkit (even if it's really expensive): I could not work anymore without it when I'm away from the studio.&#xD;&#xA;&#xD;&#xA;Shift-S : solo any selected tracks&#xD;&#xA;Shift-M : mute any selected tracks&#xD;&#xA;THey seem just two stupid little keycommands, but they are really useful and powerful and a real time saver.&#xD;&#xA;&#xD;&#xA;Display multiple automation line beneath your track: nuendo had this since version 1 (if I remeber well); finally even protools and I like this feature a lot&#xD;&#xA;&#xD;&#xA;The firsts protools8 realeases were buggy. 8.0.3 seems much more stable and bug free. 8.0.4 has a long list of other bugs/fix it should handle. in a few weeks I'll try it and see. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4595" PostHistoryTypeId="2" PostId="2625" RevisionGUID="8d54449c-8791-4fe6-b9a8-5ed7079b9994" CreationDate="2010-08-09T23:17:33.380" UserId="219" Text="AS for editing, RTAS for premixing/mixing. Now we could talk about what is each task about..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4596" PostHistoryTypeId="5" PostId="2620" RevisionGUID="aed4125b-9754-487a-8a90-c45dea2406ca" CreationDate="2010-08-09T23:30:24.233" UserId="202" Comment="fixed grammar - english" Text="I love the Flux EpureII Eq. I find it easy to use and love the sound: it can be smooth or surgical, but the sound never disappoint. &#xD;&#xA;&#xD;&#xA;![alt text][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://static.kvraudio.com/i/b/epure2.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="4597" PostHistoryTypeId="2" PostId="2626" RevisionGUID="d3cd2ace-2a96-4c48-b26b-f1d9e425fc83" CreationDate="2010-08-09T23:30:57.393" UserId="433" Text="I switched over to Windows 7 a month or two ago and was dismayed to find out that you can no longer view things like the sample rate and channel info (i.e. mono/stereo) in the explorer. In Windows XP, these were flags you could enable in the File Options menu.&#xD;&#xA;&#xD;&#xA;If anyone knows of any good third-party apps that restore this functionality, it would be much appreciated.&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4598" PostHistoryTypeId="1" PostId="2626" RevisionGUID="d3cd2ace-2a96-4c48-b26b-f1d9e425fc83" CreationDate="2010-08-09T23:30:57.393" UserId="433" Text="Is there a way to preview the sample rate and channel info for audio files in windows 7?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4599" PostHistoryTypeId="3" PostId="2626" RevisionGUID="d3cd2ace-2a96-4c48-b26b-f1d9e425fc83" CreationDate="2010-08-09T23:30:57.393" UserId="433" Text="&lt;windows&gt;&lt;7&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4601" PostHistoryTypeId="2" PostId="2628" RevisionGUID="7a00a7e3-8037-49cc-9aa4-566d081395ca" CreationDate="2010-08-09T23:38:10.683" UserId="6411" Text="I work in PT8.  For one thing, it's easy on the eyes. Literally. Staring at that screen all day I don't mind coming home and staring at it some more. They give you some new AIR plug-ins and VIs which are nice to mess with. You get elastic time, and track comping is pretty cool. The automation lanes are *really* nice. Oh, and 5 additional inserts per track keep you from having to chain through an aux.&#xD;&#xA;&#xD;&#xA;**BUT** I updated to 8.0.3 and stumbled onto this [HUGE BUG][1].&#xD;&#xA;&#xD;&#xA;Since I work with a DV output to Firewire in pretty much every session I do, after the update every session I opened crashed ProTools.  The work around is easy, I just take the video offline before saving (or if I forget to do that, just unplug the Firewire box before I re-open) and the session opens fine. But seriously? That's a pretty huge thing to miss.&#xD;&#xA;&#xD;&#xA;8.0.4 has come out and it's supposed to be fixed. I'm finally slow enough to make the update this week, so I'll let you know how that goes. But I would recommend that you do like I typically do (and for some reason didn't this time): **Wait for 8.1**&#xD;&#xA;&#xD;&#xA;The other thing to keep in mind when updating is your plug-ins.  For example, Waves v6 is good through PTv8.0.1 while Waves v7 is the only supported version for the most current PTv8.0.4.  So there may be an additional expense lurking in the alley for you. Or at least a little frustration when your plug-ins start behaving strangely.&#xD;&#xA;&#xD;&#xA;  [1]: http://duc.digidesign.com/showthread.php?t=263329" ContentLicense="CC BY-SA 2.5" />
  <row Id="4602" PostHistoryTypeId="2" PostId="2629" RevisionGUID="1c34d0d4-9840-463b-8007-e5d44af9934a" CreationDate="2010-08-09T23:47:33.677" UserId="219" Text="I'm certainly talking in terms of EQ. Also, I find it important to specify that embellishing voice (dialogue, VO, whichever) is a premixing duty. I usually stick with Pro Tools' RTAS EQ3 7-band EQ which is the most advanced one I have. Here's how I go about it:&#xD;&#xA;&#xD;&#xA;I usually look for roundness around 200/300Hz, I-can't-remember-the-name around 3/4kHz and presence around 6/10kHz. I grab a maximum Q/maximum gain point and scan the whole spectrum while previewing the output. On most of the spectrum's width it'll add an unpleasant touch, but there are three points where it sounds less worse and that's how I find my spots. I then lower the gain to +6dB, my Q to 1.5 or 2, and fine-tune the gain. I'll regularly bypass the effect to ensure I'm not making it sound worse.&#xD;&#xA;&#xD;&#xA;What way do you proceed? Talk about anything, I read a lot about the aural exciter, you might want to add reverb, a tiny delay to fatten it up... whatever floats your boat, please feel free to share :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4603" PostHistoryTypeId="1" PostId="2629" RevisionGUID="1c34d0d4-9840-463b-8007-e5d44af9934a" CreationDate="2010-08-09T23:47:33.677" UserId="219" Text="Voice - how do you go about making it nice?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4604" PostHistoryTypeId="3" PostId="2629" RevisionGUID="1c34d0d4-9840-463b-8007-e5d44af9934a" CreationDate="2010-08-09T23:47:33.677" UserId="219" Text="&lt;voice&gt;&lt;equalization&gt;&lt;vocals&gt;&lt;voice-over&gt;&lt;premixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4605" PostHistoryTypeId="2" PostId="2630" RevisionGUID="fd1687e8-93dc-453d-ab42-915b082cbc40" CreationDate="2010-08-09T23:50:10.940" UserId="18160" Text="I was born the year Back to the Future came out, so I never had the privilege of cutting tape and splicing tape.&#xD;&#xA;&#xD;&#xA;However, the studio I work at owns a couple great tape machines.&#xD;&#xA;&#xD;&#xA;What sound effects do you think would sound great on tape?&#xD;&#xA;&#xD;&#xA;I know Horns and Brass record great on tape,&#xD;&#xA;&#xD;&#xA;therefore, would cymbals being bowed and dry ice on metal sound good?&#xD;&#xA;&#xD;&#xA;How about gunshots? I'm sure they'd sound great,&#xD;&#xA;&#xD;&#xA;And swordfighting?&#xD;&#xA;&#xD;&#xA;Has anyone tried anything of the like?&#xD;&#xA;&#xD;&#xA;I'm weary of wasting a bunch of tape with my sound effect experiments and tape isn't cheap now-a-days if anyone has already tried this sort of thing and found something doesn't sound good." ContentLicense="CC BY-SA 2.5" />
  <row Id="4606" PostHistoryTypeId="1" PostId="2630" RevisionGUID="fd1687e8-93dc-453d-ab42-915b082cbc40" CreationDate="2010-08-09T23:50:10.940" UserId="18160" Text="What records well to tape?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4607" PostHistoryTypeId="3" PostId="2630" RevisionGUID="fd1687e8-93dc-453d-ab42-915b082cbc40" CreationDate="2010-08-09T23:50:10.940" UserId="18160" Text="&lt;tape&gt;&lt;recording&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4608" PostHistoryTypeId="5" PostId="2624" RevisionGUID="02868075-35a8-4d1c-a08c-4439e17aaa5b" CreationDate="2010-08-09T23:55:16.033" UserId="202" Comment="added 725 characters in body" Text="**What I like:**&#xD;&#xA;+1 for complete toolkit (even if it's really expensive): I could not work anymore without it when I'm away from the studio.&#xD;&#xA;&#xD;&#xA;Shift-S : solo any selected tracks&#xD;&#xA;Shift-M : mute any selected tracks&#xD;&#xA;THey seem just two stupid little keycommands, but they are really useful and powerful and a real time saver.&#xD;&#xA;&#xD;&#xA;Display multiple automation line beneath your track: nuendo had this since version 1 (if I remeber well); finally even protools and I like this feature a lot&#xD;&#xA;&#xD;&#xA;The firsts protools8 realeases were buggy. 8.0.3 seems much more stable and bug free. 8.0.4 has a long list of other bugs/fix it should handle. in a few weeks I'll try it and see. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**What I dislike in PT8:**&#xD;&#xA;&#xD;&#xA;Why they changed the position of the plugin preset/automation buttons?&#xD;&#xA;Why they moved the menu button in the workspace/project windows?&#xD;&#xA;&#xD;&#xA;Working with PT 7.4 (lots of the studios here didn't upgrade) and  PT 8.0 it's always frustrating the first few hours after you switch. looking on the right corner of a window for a button and it's on the left... argh!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I miss some of the color that I use in PT 7. in pt 7 used to be a set of color so bright that the waveform was barely visible: I used those colors to highlight specific regions (denoised, dessed, etc); the color was so bright that you ouldn't miss them! now all the color are much more dull... &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4609" PostHistoryTypeId="2" PostId="2631" RevisionGUID="387c2fe8-8b33-4e05-959d-646fa4554c82" CreationDate="2010-08-09T23:56:35.127" UserId="219" Text="Haaa, people will tell you that analogue records with an incomparable body and digital captures the snappiest transients, so I'd say anything transient will sound floppy with an analogue recorder. This seems to make perfect sense with the examples you give...&#xD;&#xA;&#xD;&#xA;In *Sound for Picture: Film Sound through the 90's* (Tom Kenny), I can't remember who goes out to record guns with both types of recorders for these reasons; body and attack.&#xD;&#xA;&#xD;&#xA;Bowed cymbals would be more a matter of frequency response as it is a very rich sound. What does dry ice on metal sounds like? Never tried myself :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4611" PostHistoryTypeId="2" PostId="2633" RevisionGUID="e2898345-5cc4-49ed-933d-df1854505f95" CreationDate="2010-08-10T00:03:05.760" UserId="6411" Text="I've only used the 1/4&quot; Nagra that we have stuffed on a shelf here, but pretty much anything I recorded on it sounded fantastic.&#xD;&#xA;&#xD;&#xA;As a few people recommended [here][1], anything you're looking to pitch shift benefits greatly from being on tape.&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/1928/whats-your-preferred-method-of-pitch-shifting" ContentLicense="CC BY-SA 2.5" />
  <row Id="4612" PostHistoryTypeId="5" PostId="2630" RevisionGUID="fa1fc744-392d-4f10-96b0-d7b11816aa98" CreationDate="2010-08-10T00:07:12.537" UserId="18160" Comment="deleted 52 characters in body" Text="I never had the privilege of cutting tape and splicing tape.&#xD;&#xA;&#xD;&#xA;However, the studio I work at owns a couple great tape machines.&#xD;&#xA;&#xD;&#xA;What sound effects do you think would sound great on tape?&#xD;&#xA;&#xD;&#xA;I know Horns and Brass record great on tape,&#xD;&#xA;&#xD;&#xA;therefore, would cymbals being bowed and dry ice on metal sound good?&#xD;&#xA;&#xD;&#xA;How about gunshots? I'm sure they'd sound great,&#xD;&#xA;&#xD;&#xA;And swordfighting?&#xD;&#xA;&#xD;&#xA;Has anyone tried anything of the like?&#xD;&#xA;&#xD;&#xA;I'm weary of wasting a bunch of tape with my sound effect experiments and tape isn't cheap now-a-days if anyone has already tried this sort of thing and found something doesn't sound good." ContentLicense="CC BY-SA 2.5" />
  <row Id="4613" PostHistoryTypeId="2" PostId="2634" RevisionGUID="778c1ded-3329-428a-9f84-f62e8e826e0b" CreationDate="2010-08-10T00:14:42.727" UserId="432" Text="You could also download Wave Agent from http://sounddevices.com. It's free, and gives you access to the file's metadata as well. Ryan is correct about iTunes, but quicktime will let you look at it as well. Go to the &quot;Window&quot; column in the menu and open the &quot;movie inspector&quot;." ContentLicense="CC BY-SA 2.5" />
  <row Id="4614" PostHistoryTypeId="5" PostId="2629" RevisionGUID="c6eb7e71-2ed5-4573-a260-318cab54f7fe" CreationDate="2010-08-10T00:18:39.637" UserId="219" Comment="added 69 characters in body" Text="I'm certainly talking in terms of EQ. Also, I find it important to specify that embellishing voice (dialogue, VO, whichever) is a premixing duty. I usually stick with Pro Tools' RTAS EQ3 7-band EQ which is the most advanced one I have. Here's how I go about it:&#xD;&#xA;&#xD;&#xA;I usually look for roundness around 200/300Hz, I-can't-remember-the-name around 3/4kHz and presence around 6/10kHz. I grab a maximum Q/maximum gain point and scan the whole spectrum while previewing the output. On most of the spectrum's width it'll add an unpleasant touch, but there are three points where it sounds less worse and that's how I find my spots. I then lower the gain to +6dB, my Q to 1.5 or 2, and fine-tune the gain, usually around +2 or +3dB. I'll regularly bypass the effect to ensure I'm not making it sound worse.&#xD;&#xA;&#xD;&#xA;What way do you proceed? Talk about anything, I read a lot about the aural exciter, you might want to add reverb, a tiny delay to fatten it up, do you ever need to roll out some freqs?... whatever floats your boat, please feel free to share :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4615" PostHistoryTypeId="2" PostId="2635" RevisionGUID="96063d3f-6955-4422-b9a4-7243fcb059bb" CreationDate="2010-08-10T00:18:54.293" UserId="393" Text="A trick I've read of is to record digitally, then sum through tape (and sum through really hot, too, so you get lots of happy tape compression), and get that back into your DAW to mix the sounds together.&#xD;&#xA;&#xD;&#xA;That's, unfortunately, all I can contribute to this conversation." ContentLicense="CC BY-SA 2.5" />
  <row Id="4616" PostHistoryTypeId="2" PostId="2636" RevisionGUID="c3992af9-162b-4122-a7a4-74b23f0f7c65" CreationDate="2010-08-10T00:20:56.437" UserId="10" Text="I use RenEQ and Q10 for almost anything. RenEQ adds a nice coloration, while Q10 has a lot of flexibility giving more bands, closed Qs for notching, and that surgical tools. I also like some of the componentes of McDSP Filterbank... great filters! &#xD;&#xA;&#xD;&#xA;Another cool choices are the V-EQ, SSL, API and Pultec emulations from Waves.. expensive, yes, but sound amazing :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4617" PostHistoryTypeId="2" PostId="2637" RevisionGUID="60d2cd29-a934-479d-b061-ed5a9a9b3da5" CreationDate="2010-08-10T00:23:06.143" UserId="432" Text="I would argue that anything that has such incredible volume that it's going to blow out your recorder's signal no matter what you do, that's the thing to record to tape. I've only used tape a few times in my early learning days, but there's one thing I do know...distortion sounds better than clipping.&#xD;&#xA;&#xD;&#xA;So, i think gunshots and other sounds of that ilk would benefit nicely. In order to capture the &quot;body&quot; of those sounds that occur after the transients, you're signals have to at a reasonable gain setting; meaning the transients are probably going to go supernova. I think a tape recording in this kind of situation might sound superb." ContentLicense="CC BY-SA 2.5" />
  <row Id="4618" PostHistoryTypeId="2" PostId="2638" RevisionGUID="b7911b91-264c-45b7-a7fa-d63da4128a9e" CreationDate="2010-08-10T00:46:40.490" UserId="432" Text="6dB!?! GOOD GOD MAN! lol&#xD;&#xA;&#xD;&#xA;That is a lot of EQ to bring to bear on a voice track. I can think of occasions where that might be required, but that's usually on a music mix of some sort where you're dealing with a much denser soundfield.&#xD;&#xA;&#xD;&#xA;I usually start out by getting rid of the real loud mouth noises, and then I'll go on to EQ. I have some nice speakers at work (Blue Sky), which have a nice and flat response. I just go through and try to even it out. People are very practiced at listening to dialogue, so I prefer to just keep things &quot;natural sounding.&quot; Whatever is required to get it there.&#xD;&#xA;&#xD;&#xA;After that, it's usually some very gentle compression to bring out the body of the voice, and I'll leave it alone after that until I get into the actual mix. If I find I'm having any conflicts, I'll do everything I can to leave the dialogue alone (unless of course the piece calls for it to be subjugated). So, most of my fixing at that point occurs in other tracks, to preserve the dialogue as best I can." ContentLicense="CC BY-SA 2.5" />
  <row Id="4619" PostHistoryTypeId="2" PostId="2639" RevisionGUID="9a6a1fab-b474-4ce1-a404-9a3e481e32e1" CreationDate="2010-08-10T00:48:38.593" UserId="18160" Text="I had to record someone whistling for a sound effect on a film I worked on recently.&#xD;&#xA;&#xD;&#xA;That was really hard to record.&#xD;&#xA;&#xD;&#xA;I tried different mics... About 10 of them...&#xD;&#xA;&#xD;&#xA;I finally ended up with a C12 pointed at the guy's cheek about 2 feet away from him...&#xD;&#xA;&#xD;&#xA;Has anyone had any success in recording someone whistling without it sounding really hard on the ears? And how did you do it!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4620" PostHistoryTypeId="1" PostId="2639" RevisionGUID="9a6a1fab-b474-4ce1-a404-9a3e481e32e1" CreationDate="2010-08-10T00:48:38.593" UserId="18160" Text="How do you record someone whistling?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4621" PostHistoryTypeId="3" PostId="2639" RevisionGUID="9a6a1fab-b474-4ce1-a404-9a3e481e32e1" CreationDate="2010-08-10T00:48:38.593" UserId="18160" Text="&lt;whistling&gt;&lt;recording&gt;&lt;song&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4622" PostHistoryTypeId="2" PostId="2640" RevisionGUID="8d7bcbe4-cf91-4656-b917-17d92a02d6f1" CreationDate="2010-08-10T00:55:58.453" UserId="432" Text="I went to see the Marsalis family (and I do mean the whole family) at the Kennedy Center here in, DC earlier this year...I think it was this year...not a good sign...anyway...&#xD;&#xA;&#xD;&#xA;One of them can whistle better than anyone you've ever heard. He was amazing, and he was just using a handheld mic about 8 inches from his chest and level with his throat. I wish I knew what model mic, or what the pick-up pattern was. That's all the info I can give you on that experience.&#xD;&#xA;&#xD;&#xA;I'll have to try it out myself sometime." ContentLicense="CC BY-SA 2.5" />
  <row Id="4623" PostHistoryTypeId="2" PostId="2641" RevisionGUID="ff29d6f0-4d7f-418e-9d44-d0cce13dd9b2" CreationDate="2010-08-10T00:57:47.793" UserId="393" Text="I'm sure the technique would be incredibly similar to recording flute, for the same reasons.  From a few feet away, and outside the direct flow of air." ContentLicense="CC BY-SA 2.5" />
  <row Id="4624" PostHistoryTypeId="2" PostId="2642" RevisionGUID="5f085811-e277-4736-b64e-95b200c3e527" CreationDate="2010-08-10T01:11:43.333" UserId="18160" Text="Interviews done in front of beautiful waterfalls...&#xD;&#xA;&#xD;&#xA;Wide shots of newscasters with boom mics who want the audience to see all of mount rushmore...&#xD;&#xA;&#xD;&#xA;Boom operators who think the back of the mic is the front...&#xD;&#xA;&#xD;&#xA;The lady who had to wear her most beautiful but at the same time most jingly earrings, AND that noisy matching bracelet!!!&#xD;&#xA;&#xD;&#xA;You've all heard the worst of the worst I'm sure.&#xD;&#xA;&#xD;&#xA;Have you ever rejected the recordings?&#xD;&#xA;&#xD;&#xA;Do you have the authority to do that? Have you said &quot;No, we can't include this clip because the audio is horrible and I can't salvage it, unless we ADR...&quot;?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4625" PostHistoryTypeId="1" PostId="2642" RevisionGUID="5f085811-e277-4736-b64e-95b200c3e527" CreationDate="2010-08-10T01:11:43.333" UserId="18160" Text="Have you ever had to reject a dialogue recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4626" PostHistoryTypeId="3" PostId="2642" RevisionGUID="5f085811-e277-4736-b64e-95b200c3e527" CreationDate="2010-08-10T01:11:43.333" UserId="18160" Text="&lt;dialogue-recording&gt;&lt;production-sound&gt;&lt;adr&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4630" PostHistoryTypeId="2" PostId="2644" RevisionGUID="65ab1631-d12e-44a6-96af-1c9a6db1e43c" CreationDate="2010-08-10T01:23:14.720" UserId="255" Text="I was lucky enough to have a go with a big old Otari MTR-90 24track at uni. Id say try anything that has sharp transients, tape really does do nice things with compressing transients and gives the sound much more body and depth.&#xD;&#xA;&#xD;&#xA;I'll also second what other people have said about pitch shifting with tape, definitely worth a try! When i first had a go with the tape machine i probably spent a good 20mins playing with slowing the 1kHz test tone down haha!&#xD;&#xA;&#xD;&#xA;Other than that, just try processing any sounds with it, one thing i did was distort the hell out of a pad and then brought it back into ProTools and layered it with the original adjusting the level almost as a dry/wet control on tape distortion." ContentLicense="CC BY-SA 2.5" />
  <row Id="4633" PostHistoryTypeId="2" PostId="2646" RevisionGUID="833111b0-4717-423e-99e5-44d3d9ee8e51" CreationDate="2010-08-10T02:29:41.947" UserId="390" Text="I think you have a duty to voice your concerns to the producer if it's a small team and you're the only sound guy or Supervising sound editor if you're part of a larger audio team.  Because, in the end, it's your name that gets attached to the work. Once you make your case to those involved, it's up to them and their budget to determine how to address it.  That's my guess. Perhaps someone has a recent example of this happening." ContentLicense="CC BY-SA 2.5" />
  <row Id="4634" PostHistoryTypeId="2" PostId="2647" RevisionGUID="b724388c-6fae-404d-90fc-9343fc85dd47" CreationDate="2010-08-10T02:57:14.143" UserId="18" Text="In my opinion, guns are Ok on analog.  But I Prefer just to record at 24/96+ and use saturation pluigins in post, if Im looking for that sound.  I always just prefer the digital recordings and the machines are easier to deal with in the field.  Plus, I hate noise/hiss.&#xD;&#xA;&#xD;&#xA;However, I would like to try explosions on analog.  I didn't get a chance to run a nagra the one time I recorded explos.&#xD;&#xA;&#xD;&#xA;I can't think of anything else I'd try analog on." ContentLicense="CC BY-SA 2.5" />
  <row Id="4635" PostHistoryTypeId="2" PostId="2648" RevisionGUID="ac45a71f-2d5f-446e-a948-f7a14569f91b" CreationDate="2010-08-10T04:47:17.407" UserId="61" Text="Hi folks,&#xD;&#xA;&#xD;&#xA;Working on a project that has a rickety windmill-type contraption and am looking for alternate sounds to what I already have. Think:&#xD;&#xA;&#xD;&#xA; - Very old &amp; barely holding&#xD;&#xA;   together, *but* has to still be working and have rhythmic&#xD;&#xA;   motion to it.&#xD;&#xA;&#xD;&#xA;Things that could work would be:&#xD;&#xA;&#xD;&#xA; 1. Windmills&#xD;&#xA; 2. Grain mills&#xD;&#xA; 3. Water wheels&#xD;&#xA; 4. Spinning wheels&#xD;&#xA; 5. old ratchety factory machines, etc etc etc&#xD;&#xA;&#xD;&#xA;Anyone care to share / trade?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4636" PostHistoryTypeId="1" PostId="2648" RevisionGUID="ac45a71f-2d5f-446e-a948-f7a14569f91b" CreationDate="2010-08-10T04:47:17.407" UserId="61" Text="REQUEST: Windmill recordings" ContentLicense="CC BY-SA 2.5" />
  <row Id="4637" PostHistoryTypeId="3" PostId="2648" RevisionGUID="ac45a71f-2d5f-446e-a948-f7a14569f91b" CreationDate="2010-08-10T04:47:17.407" UserId="61" Text="&lt;recording&gt;&lt;request&gt;&lt;sound-libraries&gt;&lt;collaboration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4640" PostHistoryTypeId="5" PostId="2648" RevisionGUID="1bb3b744-ba22-4a50-8ff6-0f3d961eed4c" CreationDate="2010-08-10T06:09:38.117" UserId="61" Comment="restructured the question to garner an answer or two…" Text="Hi folks,&#xD;&#xA;&#xD;&#xA;I've been enjoying Social Sound Design for many months now and find it to be an incredible resource for picking creative brains all over the world. What I haven't seen much of, however, is requests for sounds / offers of trades in return. Thus, my post -&#xD;&#xA;&#xD;&#xA;I'm currently working on a project that has a rickety windmill-type contraption and am looking for alternate sounds to what I have already designed. To paint a mental picture, think:&#xD;&#xA;&#xD;&#xA; - Very old, barely holding&#xD;&#xA;   together, *but* has to still be working and have rhythmic&#xD;&#xA;   motion to it.&#xD;&#xA;&#xD;&#xA;Some ideas I have that could work would be:&#xD;&#xA;&#xD;&#xA; 1. Windmills&#xD;&#xA; 2. Grain mills / other types of mills&#xD;&#xA; 3. Water wheels&#xD;&#xA; 4. Spinning wheels&#xD;&#xA; 5. Ratchety factory machines&#xD;&#xA; 6. Antique machines not requiring a&#xD;&#xA;    motor&#xD;&#xA;&#xD;&#xA;I'm curious to see what you all have in your personal libraries, and if you'd be willing to share or trade? Also, what's the best way to exchange files? Vimeo or something else? Chime in, people -- let's get to tradin'!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4641" PostHistoryTypeId="5" PostId="2648" RevisionGUID="6705cec5-d589-44d0-be99-6f01df80e6a5" CreationDate="2010-08-10T06:40:33.093" UserId="61" Comment="added 188 characters in body" Text="Hi folks,&#xD;&#xA;&#xD;&#xA;I've been enjoying Social Sound Design for many months now and find it to be an incredible resource for picking creative brains all over the world. What I haven't seen much of, however, is requests for sounds / offers of trades in return. Given the global nature of the Users here I think this is a no-brainer since many of you have access to ambiences and objects that the rest of us do not. Thus, my post -&#xD;&#xA;&#xD;&#xA;I'm currently working on a project that has a rickety windmill-type contraption and am looking for alternate sounds to what I have already designed. To paint a mental picture, think:&#xD;&#xA;&#xD;&#xA; - Very old, very large and barely holding&#xD;&#xA;   together. *But* has to still be working and have a strong rhythmic&#xD;&#xA;   motion to it.&#xD;&#xA;&#xD;&#xA;Some recordings I think could work would be of:&#xD;&#xA;&#xD;&#xA; 1. Windmills&#xD;&#xA; 2. Grain mills / other types of mills&#xD;&#xA; 3. Water wheels&#xD;&#xA; 4. Spinning wheels&#xD;&#xA; 5. Ratchety factory machines&#xD;&#xA; 6. Antique machines not requiring a&#xD;&#xA;    motor&#xD;&#xA;&#xD;&#xA;I'm curious to see what you all have in your personal libraries, and if you'd be willing to share or trade? If so, what's the best way to exchange files? Vimeo, ftp or something else? Chime in, people -- let's get to tradin'!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4642" PostHistoryTypeId="2" PostId="2649" RevisionGUID="bedbc69f-a27e-4679-b9f9-3189e708a01e" CreationDate="2010-08-10T12:35:18.540" UserId="395" Text="I'm with Miguel here.. &#xD;&#xA;&#xD;&#xA;RenQ it's one of the most responsive EQ plug-ins for me.. I used digidesign plug-ins for a long time.. and when I tried RenQ for the first time I couldn't believe how sensitive it was.. I personally love it.. &#xD;&#xA;The Q series have a great quality factor.. it's ideal for some precise frequency cuts. &#xD;&#xA;About the Waves emulations.. I like the SSL emulation also.. for certain purposes." ContentLicense="CC BY-SA 2.5" />
  <row Id="4643" PostHistoryTypeId="2" PostId="2650" RevisionGUID="f7d20da0-eb85-4455-bb51-11d7a7ec8133" CreationDate="2010-08-10T13:00:32.427" UserId="220" Text="Do we really need polls to know what the favorite DAWs, mics, plugins, etc are?  I feel like most people here are using industry standard items that are very easy to find anywhere on the internet.  &#xD;&#xA;&#xD;&#xA;I enjoy SSD for the uncommon answers more than the common.  &#xD;&#xA;&#xD;&#xA;That said, I *do* think we should be able to post polls with a graphic readout - the kind that doesn't show you the results until you've voted.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="4644" PostHistoryTypeId="2" PostId="2651" RevisionGUID="3eb97dca-c198-40d1-89ba-458be7acde3d" CreationDate="2010-08-10T13:27:29.143" UserId="445" Text="I have recently had a very similar situation, and by explaining the bad quality of the direct sound to the director, he finally understood and asked me for options. &#xD;&#xA;&#xD;&#xA;If the producer/director really trust you for the job, and the budget allows, they WILL go the ADR way. If not, you have the right to reject the job in order to save your own reputation." ContentLicense="CC BY-SA 2.5" />
  <row Id="4645" PostHistoryTypeId="6" PostId="2630" RevisionGUID="803392b0-8ed1-4218-8156-3b1038a1b482" CreationDate="2010-08-10T13:31:06.063" UserId="445" Comment="edited tags" Text="&lt;tape&gt;&lt;recording&gt;&lt;sound-effects&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4646" PostHistoryTypeId="2" PostId="2652" RevisionGUID="2c74353e-a002-4a08-92f0-dd4fb3ca4f09" CreationDate="2010-08-10T13:41:54.167" UserId="393" Text="I read in a fairly recent Sound on Sound article (which, for the life of me, I can't find) of a mix engineer who uses overdrive instead of reverb to create depth, and he said it was an oldschool technique.  For the life of me, I can't figure out how he does that, and without references to music that the technique was used on to try and figure it out.&#xD;&#xA;&#xD;&#xA;Have any of you heard of this technique, or used it? If so... how does it work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4647" PostHistoryTypeId="1" PostId="2652" RevisionGUID="2c74353e-a002-4a08-92f0-dd4fb3ca4f09" CreationDate="2010-08-10T13:41:54.167" UserId="393" Text="Overdrive to create depth?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4648" PostHistoryTypeId="3" PostId="2652" RevisionGUID="2c74353e-a002-4a08-92f0-dd4fb3ca4f09" CreationDate="2010-08-10T13:41:54.167" UserId="393" Text="&lt;mixing&gt;&lt;reverb&gt;&lt;depth&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4649" PostHistoryTypeId="5" PostId="2574" RevisionGUID="6c22a774-d4ed-4f0e-ae2b-405edad233e8" CreationDate="2010-08-10T14:04:08.583" UserId="6411" Comment="deleted 2 characters in body" Text="Similar to Ryan's thought on phase shifting, I like to automate short (1-6ms) delays  that are just slighty wet (10-30%) to provide not just the thinness, but a little movement too." ContentLicense="CC BY-SA 2.5" />
  <row Id="4653" PostHistoryTypeId="2" PostId="2654" RevisionGUID="b4083775-f1f2-4c33-b167-fdad7f0a8928" CreationDate="2010-08-10T15:02:45.953" UserId="62" Text="In TV land most broadcast requirements I've read state that dialogue needs to be clearly audible in the mix and free from things like distortion. So, if I get a take of dialogue that is distorted I immediately fail QC. However with izotopeRX I can save some bother by clearing the distortion. If I really can't fix the issue I'd definitely call it as simply state it's not broadcastable.&#xD;&#xA;&#xD;&#xA;Here's the BBC specs...&#xD;&#xA;&#xD;&#xA;5.5 General Audio Quality Requirements &#xD;&#xA;a) The audio shall be free of spurious signals such as noise, hum and cross-talk.  &#xD;&#xA;b) Sibilance and distortion, wow and flutter shall not be apparent. &#xD;&#xA;c) The audio shall not show dynamic and frequency response artefacts as a result of the &#xD;&#xA;action of noise reduction or low bit rate coding systems. &#xD;&#xA;d) Audio compression should be used as little as possible as the effects of compression used &#xD;&#xA;for broadcast distribution and transmission can exacerbate impairments.  &#xD;&#xA;e) Dynamic range shall not be excessive. It shall be suitable for the whole range of domestic &#xD;&#xA;listening. &#xD;&#xA;f) Care shall be taken when incorporating background music and effects with dialogue, or &#xD;&#xA;people with a hearing impairment and poor listening conditions can find the dialogue &#xD;&#xA;difficult to hear. Inaudibility is a common complaint from viewers. Reference to “TV Set &#xD;&#xA;Style” speakers, preferably in mono, should be made during the sound mixing process. &#xD;&#xA;g) Producers shall follow the Guidelines for a Visually Impaired Audience - Section 8. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4654" PostHistoryTypeId="2" PostId="2655" RevisionGUID="d600f4f7-cd43-48f8-b310-a85a8de0028a" CreationDate="2010-08-10T15:14:46.740" UserId="62" Text="I have a template for a mix session that outputs all FX and Atmos tracks to their own bus but has 2 sends to a reverb aux.&#xD;&#xA;&#xD;&#xA;All the sends are set to -10 so if I want to add reverb to the fx in a scene I simply have raise the aux track volume and voila! It's then simple to refine that in case some fx in a scene don't want reverb by lower the send level on the fx track.&#xD;&#xA;&#xD;&#xA;I sometimes add reverb to atmos tracks, it depends on the sound. There's a cave atmos in the 6000 Series that already has the reverb on it so I wouldn't add to that. However I created an atmos for a high tech evil lair room which I added copious amounts of reverb.&#xD;&#xA;&#xD;&#xA;I normally ask the guys in tracklay to leave their work dry (or at least give me the dry sound as well) as the reverb plugins they have are the standard PTLE ones and are not a patch on the likes of ReVibe or Waves IR-L which I prefer to use (really wish they'd get and install TL Space, it's even free FFS!).&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4655" PostHistoryTypeId="2" PostId="2656" RevisionGUID="c9d8e4ef-2c66-42d5-bc94-07b0d4c8a276" CreationDate="2010-08-10T15:55:07.140" UserId="338" Text="What is your most used distortion plug-in?  &#xD;&#xA;&#xD;&#xA;With which other methods do you add distortion?&#xD;&#xA;&#xD;&#xA;What are some of the best results you have achieved when applying distortion?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4656" PostHistoryTypeId="1" PostId="2656" RevisionGUID="c9d8e4ef-2c66-42d5-bc94-07b0d4c8a276" CreationDate="2010-08-10T15:55:07.140" UserId="338" Text="What is your preferred distortion plug-in?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4657" PostHistoryTypeId="3" PostId="2656" RevisionGUID="c9d8e4ef-2c66-42d5-bc94-07b0d4c8a276" CreationDate="2010-08-10T15:55:07.140" UserId="338" Text="&lt;distortion&gt;&lt;plugin&gt;&lt;fun&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4658" PostHistoryTypeId="2" PostId="2657" RevisionGUID="e52438dc-42de-42f5-ad36-84eabbe1d61f" CreationDate="2010-08-10T16:25:18.150" UserId="431" Text="My experience as a dialogue editor has been that when a project comes in the OMF or conform gets evaluated with the dialogue editor and usually the mixer and post production super or producer. An ADR / Alt search list is generated from this evaluation. To keep things straight I got into the habit of attaching a number to each line - 1 for unusable (broadcast rejection) 2 for borderline (if we can't get the actor in, and there's no ALT, we can make it work but ADR would be better) and 3 to get if they're already in and there's time left. &#xD;&#xA;&#xD;&#xA;I've never personally out and out rejected anything, but I've had many a frank conversation that have goone along the lines of &quot;That's in the track, I can't make it much better, I recommend we ADR this&quot; If you're the mixer, you need to have access to your broadcaster's tech specs and be able to tell the client if the audio you have is within those specs." ContentLicense="CC BY-SA 2.5" />
  <row Id="4659" PostHistoryTypeId="2" PostId="2658" RevisionGUID="04d78e9a-f24b-4b6b-8c8c-c277f5eea64e" CreationDate="2010-08-10T16:28:51.857" UserId="28" Text="Audio Damage has a great multi-band distortion plugin called [Kombinat][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiodamage.com/effects/product.php?pid=AD019" ContentLicense="CC BY-SA 2.5" />
  <row Id="4660" PostHistoryTypeId="2" PostId="2659" RevisionGUID="8d45422c-640d-4a69-9f8b-52741ca6aa63" CreationDate="2010-08-10T17:18:43.680" UserId="10" Text="For sick and extreme effects... Decapitator! (I love this plugin)&#xD;&#xA;&#xD;&#xA;http://www.soundtoys.com/products/Decapitator/&#xD;&#xA;&#xD;&#xA;For specific tasks... Speakerphone..&#xD;&#xA;&#xD;&#xA;http://www.audioease.com/Pages/Speakerphone/speakerphone.html&#xD;&#xA;&#xD;&#xA;Also, plugins like Guitar Rig, Amplitube and GTR have lots of interesting distortion/overdrive components, plus a ton of invaluable tools for sound design." ContentLicense="CC BY-SA 2.5" />
  <row Id="4661" PostHistoryTypeId="2" PostId="2660" RevisionGUID="c168e56f-de5a-424b-9c21-1b2c0e3d68a1" CreationDate="2010-08-10T18:19:56.843" UserId="6411" Text="I have reached for the SansAmp PSA-1 many, many times. Great, versatile little plug-in.&#xD;&#xA;&#xD;&#xA;![SansAmp PSA-1][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/static/resources/common/images/products/cw_m260xm260_sansampPSA.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="4662" PostHistoryTypeId="2" PostId="2661" RevisionGUID="e471a3d0-133f-4888-bf34-ea8f1da2787e" CreationDate="2010-08-10T19:08:36.647" UserId="6411" Text="What's your time frame? I don't have recordings on hand, but there are a few historic mills out here. I could call around and try to arrange a recording day. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4663" PostHistoryTypeId="2" PostId="2662" RevisionGUID="a29a37a7-8917-4f39-8c8b-2e272fd95754" CreationDate="2010-08-10T20:47:44.683" UserId="428" Text="hi everyone,&#xD;&#xA;&#xD;&#xA;i'm new here to the forum as well as the sound design field in general. been experimenting with some soundscapes of my own, bumbling about in my own way, and was wondering if anyone can lend me an ear for some professional advice on mixing and EQ. i'm pretty inexperienced when it comes to these things, so if anyone can give me a few tips based on this listen i would greatly appreciate it. i put a link below to stream my little driftosphere. thanks in advance.&#xD;&#xA;&#xD;&#xA;http://www.archive.org/details/DolefulDram&#xD;&#xA;&#xD;&#xA;-ted houghtaling" ContentLicense="CC BY-SA 2.5" />
  <row Id="4664" PostHistoryTypeId="1" PostId="2662" RevisionGUID="a29a37a7-8917-4f39-8c8b-2e272fd95754" CreationDate="2010-08-10T20:47:44.683" UserId="428" Text="lend me an ear?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4665" PostHistoryTypeId="3" PostId="2662" RevisionGUID="a29a37a7-8917-4f39-8c8b-2e272fd95754" CreationDate="2010-08-10T20:47:44.683" UserId="428" Text="&lt;ambience&gt;&lt;soundscapes&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4668" PostHistoryTypeId="2" PostId="2664" RevisionGUID="43474566-e516-4c26-b33e-2fb466084e77" CreationDate="2010-08-10T22:54:42.397" UserId="315" Text="The engineer is Tchad Blake. He is a master of creating a mix with depth and space without using artificial reverb. He was an early proponent of a hardware rack unit called a SansAmp, which is now modeled as a plugin. Here's a simple trick that I learned after reading an article from him. Take a kickdrum, bus it to an aux, add distortion to the aux, flip the phase of the aux and blend it with the original signal. It creates a deeper, rounder kick.&#xD;&#xA;&#xD;&#xA;He's also a master at using compression, often to the point of pumping and distortion, to bring things forward in the mix.&#xD;&#xA;&#xD;&#xA;Not sure how relevant this type of mixing/question is to sound design...I find myself playing with tube gear, overdrive, amps etc, more when I'm doing music mixing. I strive more for creating organic/natural sounds when doing sound design...even for tweaky science fiction stuff. Although a little overdrive here and there on a dense fx mix might make some fx cut...explosions for example." ContentLicense="CC BY-SA 2.5" />
  <row Id="4669" PostHistoryTypeId="2" PostId="2665" RevisionGUID="1894b88b-bd86-4ad9-bb30-78dea7f79d67" CreationDate="2010-08-10T23:58:43.087" UserId="489" Text="My answer would be &quot;irreversible&quot; by gaspar noe. The first half hour has got to be one of the most intense, visceral experiences in the history of movie sound. Definite headphone viewing/listening." ContentLicense="CC BY-SA 2.5" />
  <row Id="4670" PostHistoryTypeId="2" PostId="2666" RevisionGUID="001a1040-a197-4c85-8a22-a754d564d4c8" CreationDate="2010-08-11T01:28:15.000" UserId="338" Text="Would anybody like to share their experiences, tips, processes, etc from EQing with reverbs instead of using a parametric EQ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4671" PostHistoryTypeId="1" PostId="2666" RevisionGUID="001a1040-a197-4c85-8a22-a754d564d4c8" CreationDate="2010-08-11T01:28:15.000" UserId="338" Text="EQing with reverbs rather than parametric EQ" ContentLicense="CC BY-SA 2.5" />
  <row Id="4672" PostHistoryTypeId="3" PostId="2666" RevisionGUID="001a1040-a197-4c85-8a22-a754d564d4c8" CreationDate="2010-08-11T01:28:15.000" UserId="338" Text="&lt;eq&gt;&lt;reverb&gt;&lt;creativity&gt;&lt;theory&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4673" PostHistoryTypeId="2" PostId="2667" RevisionGUID="3d1e03c6-9d81-4cea-a74e-df24fc1ff7b2" CreationDate="2010-08-11T02:14:56.280" UserId="40" Text="Can you expand your question a little?  I'm not quite sure what you mean.&#xD;&#xA;&#xD;&#xA;EQing is a process (as I'm sure you know) that is used to fit a particular sound into it's proper sonic home (control frequency content as to not contend with other sounds in the same range), as well as to bring out nuances in a sound that you might want to bring to the front, or cover up ones you don't like.&#xD;&#xA;&#xD;&#xA;Reverb is used to put a sound into a specific space, whether you are trying to put a sound into a specific space or location in a film, or you are adding depth to your music.  It is also very useful when trying to make something sound much bigger.&#xD;&#xA;&#xD;&#xA;(You most likely know all of this, I'm just trying to figure out your question)&#xD;&#xA;&#xD;&#xA;Reverb does / can change the frequency content of a sound, but the two are not really interchangeable." ContentLicense="CC BY-SA 2.5" />
  <row Id="4674" PostHistoryTypeId="5" PostId="2667" RevisionGUID="45584f2c-44e0-474f-aa5a-3a24bc4f451c" CreationDate="2010-08-11T02:22:42.413" UserId="40" Comment="I'm silly and forgot to type half of my answer" Text="Can you expand your question a little?  I'm not quite sure what you mean.&#xD;&#xA;&#xD;&#xA;EQing is a process (as I'm sure you know) that is used to fit a particular sound into it's proper sonic home (control frequency content as to not contend with other sounds in the same range), as well as to bring out nuances in a sound that you might want to bring to the front, or cover up ones you don't like.&#xD;&#xA;&#xD;&#xA;Reverb is used to put a sound into a specific space, whether you are trying to put a sound into a specific space or location in a film, or you are adding depth to your music.  It is also very useful when trying to make something sound much bigger.&#xD;&#xA;&#xD;&#xA;(You most likely know all of this, I'm just trying to figure out your question)&#xD;&#xA;&#xD;&#xA;Reverb does / can change the frequency content of a sound, but the two are not really interchangeable.  There have been times, however, that I needed reverb on a sound that also needed a little EQing.  I often throw up my reverb sends before I start fine tuning my EQs, and I've noticed a few times that the sonic quality / timbre of the reverb resolved my EQing woes without my having to turn a knob, but I've never really planned it that way on purpose.  I've noticed this more with convolution reverbs than algorithmic units.&#xD;&#xA;&#xD;&#xA;On a similar note, you can actually trick an IR into doing EQ or delay, or whatever other effect you put through it. So effectively, you can use a convolution reverb as an EQ, as long as you do the IR sample correctly.  I've done that before with some vintage reverb and delay units that weren't mine.  I sampled them into my IR plugin so I could play with them later.  The only thing is that you're stuck with the settings of your sample.  You can't change any of the settings later on.  Fun to play with though, especially if a friend has a really cool piece of one-off or rare / expensive gear that they let you play with for a bit.&#xD;&#xA;&#xD;&#xA;Now I have myself going off on a tangent.  I'll stop now, but maybe you can clarify what you mean a little bit about your question so I have a better idea of how to answer?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4675" PostHistoryTypeId="2" PostId="2668" RevisionGUID="69db26e7-094d-4da8-a6a9-b0123aec0957" CreationDate="2010-08-11T02:27:03.863" UserId="393" Text="Considering the EQ controls on all my 'verb plugins only effects the reverb itself, the only way I can see this working is if you go 100% wet, at which point I think you've defeated the point.&#xD;&#xA;&#xD;&#xA;I really think we're all just confused by your question." ContentLicense="CC BY-SA 2.5" />
  <row Id="4677" PostHistoryTypeId="2" PostId="2670" RevisionGUID="04e57f30-4720-4108-9225-58bf01cd6302" CreationDate="2010-08-11T02:33:37.843" UserId="234" Text="I use Distortion on SFX quite regularly, especially weapons and explosions - although I just recently used it on an alarm effect to really push it over the edge while staying inside broadcast levels. One of the effects of distortion is it acts like extreme compression/limiting, so it will do all sorts of interesting things to the already existing ambience of an effect - to me it always seems to push the sound forward. I usually find that mixing a distorted copy with the original to be most effective." ContentLicense="CC BY-SA 2.5" />
  <row Id="4678" PostHistoryTypeId="2" PostId="2671" RevisionGUID="aa3e5f6c-9af7-4deb-8607-be1657d84b2d" CreationDate="2010-08-11T02:35:39.730" UserId="234" Text="SansAmp, Massey TapeHead, and Waves L1 - seriously, push that puppy hard to get a very unique distortion effect!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4680" PostHistoryTypeId="2" PostId="2672" RevisionGUID="1d2cd60a-e02a-4724-91e1-18f66abcd066" CreationDate="2010-08-11T02:38:22.827" UserId="393" Text="Something you'll probably find from me, a lot, is free plug-ins.&#xD;&#xA;&#xD;&#xA;I use Atomsplitter's Destroyr almost exclusively for OD/Distortion... The only times it hasn't been as effective as I've wanted it, I either wanted more bitcrushing (which I use [CMT Bitcrusher][1]) or when I want a smoother overdrive, which I'll use just about any amp simulator for.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://freemusicsoftware.org/722" ContentLicense="CC BY-SA 2.5" />
  <row Id="4681" PostHistoryTypeId="2" PostId="2673" RevisionGUID="24bc3a13-c350-4ca8-9a0f-d5590f3073d0" CreationDate="2010-08-11T02:45:27.247" UserId="234" Text="I'll agree with Ian... As a mixer, I'm ultimately responsible for ensuring that the project passes whatever QC is necessary (Distributor, broadcaster, etc). If it comes back because I missed something, than my company has to fix it on our dime. If an interview/dialog line is NOT going to pass than I will let the director/producer know the line is not acceptable.&#xD;&#xA;&#xD;&#xA;Now sometimes, I get the &quot;It will pass, you're just being difficult/trying to charge us more&quot; speech... which lasts until it comes back from QC and THEY have to pay to have it redone! :) Oddly enough after one or two of those, they listen when I council ADR/Re-record.&#xD;&#xA;&#xD;&#xA;Sadly, it seems network QC specs have fallen in the last few years. Stuff that was 100% guaranteed to fail in the past, now seems to fly through - but that's a whole 'nother story!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4685" PostHistoryTypeId="2" PostId="2675" RevisionGUID="e85774f0-e116-46ef-89ea-fefe779a42d0" CreationDate="2010-08-11T03:41:02.083" UserId="429" Text="I listen to &quot;the golden compass&quot; a lot. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4686" PostHistoryTypeId="2" PostId="2676" RevisionGUID="6c957bf5-aafb-4486-bdbb-d5bf5089c70e" CreationDate="2010-08-11T03:50:00.447" UserId="429" Text="I'm using the massey 3 band eq .... can anyone recommend a decent cross platform 3 band eq ? The massey stuff is RTAS / TDM only." ContentLicense="CC BY-SA 2.5" />
  <row Id="4688" PostHistoryTypeId="2" PostId="2678" RevisionGUID="f70b8890-5c88-4c3c-b876-b0e4fd747b2e" CreationDate="2010-08-11T05:59:41.787" UserId="338" Text="	I havn't tried it yet, and its hard to find the exact site but its in this general direction www.1-1-1-1.net/index_writing_whole.html&#xD;&#xA;&#xD;&#xA; From what I understand, you are supposed to use short reflections to EQ a sound and it's mentioned on several different pages connected to that site. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4689" PostHistoryTypeId="2" PostId="2679" RevisionGUID="9cda9812-15a3-448d-94a5-6384a4b5f040" CreationDate="2010-08-11T06:19:24.957" UserId="61" Text="Occasionally I will use a [convolution reverb][1] instead of an EQ to affect a sound (very much like what Colin wrote earlier). Example: If I have a swish sound effect that I would like to make &quot;thicker&quot; or more bassy, I may turn to a plastic or wood IR instead of reaching for an EQ. Now, this may give me that thicker sound I'm looking for, but it may also significantly alter the sound altogether, which may or may not be desirable. Completely depends on your application.&#xD;&#xA;&#xD;&#xA;Another way you can use a reverb in place of an EQ is to experiment with the damping controls (see Altiverb example below):&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Used in conjunction with a short decay IR (such as a metal plate, wood hit or glass tap), frequency damping can further alter your original sound by shortening or lengthening low, mid and high frequency reverb tails. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Convolution_reverb&#xD;&#xA;  [2]: http://www.profiaudio.hu/cikkek/kepek/03_2007_02_16_plugins/altiverb.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="4691" PostHistoryTypeId="2" PostId="2680" RevisionGUID="2f79eb76-cfda-4174-87d6-290891aa5a23" CreationDate="2010-08-11T06:33:25.730" UserId="61" Text="Hi Ted, and welcome to SSD!&#xD;&#xA;&#xD;&#xA;Happy to see that you are experimenting with sound and learning as you go. I listened to your track and have a few comments. Please take them with a few grains of salt, for as you know, these types of things are quite subjective. My notes by minutes:seconds : &#xD;&#xA;&#xD;&#xA; - 0:00  Interesting sounds! Enjoyed&#xD;&#xA;   them for a while…&#xD;&#xA; - 0:45  Became quite bored of the same&#xD;&#xA;   sounds…&#xD;&#xA; - 2:03  Was glad for the change! The&#xD;&#xA;   introduction to this second part was&#xD;&#xA;   very cool, gritty and aggressive.&#xD;&#xA;   Quite evocative.&#xD;&#xA; - 2:35  Became bored again. The same&#xD;&#xA;   sound qualities I heard at 2:03 were&#xD;&#xA;   still going and I didn't understand&#xD;&#xA;   why they weren't evolving…&#xD;&#xA; - 4:43  Again, glad for the change, but&#xD;&#xA;   not into this vibe. Dunno why, sounds&#xD;&#xA;   too &quot;drab&quot; for my tastes. Lost&#xD;&#xA;   interest.&#xD;&#xA; - 5:25  The choir swell brought me back&#xD;&#xA;   into the piece again, but not for&#xD;&#xA;   long. Perhaps a cleaner sound? This&#xD;&#xA;   one is quite dull and muddy, hard to&#xD;&#xA;   discern what is going on. Maybe you&#xD;&#xA;   took the lo-fi approach on purpose.&#xD;&#xA; - 6:22  Fade out into spacey darkness.&#xD;&#xA;   Neat ending.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Keep experimenting! And please continue allowing the folks on SSD to listen to your work; I believe you'll usually find a receptive bunch who are happy to offer their expertise." ContentLicense="CC BY-SA 2.5" />
  <row Id="4692" PostHistoryTypeId="2" PostId="2681" RevisionGUID="7b5389af-b22c-44b4-a2ed-c35b436e75f6" CreationDate="2010-08-11T06:39:05.810" UserId="338" Text="I actually just thought of why you could use Audiosuite.  If you are EQing in relation to the HRTF (Head Related Transfer Function), applying EQ to only one channel in a stereo track would be beneficial." ContentLicense="CC BY-SA 2.5" />
  <row Id="4694" PostHistoryTypeId="2" PostId="2683" RevisionGUID="b0b44b69-763d-4340-b52d-7792885ca2c6" CreationDate="2010-08-11T11:22:31.770" UserId="432" Text="I'm curious, because I've never done any work for music videos. Specifically, I'm wondering if they use similar dialnorms to standard television programming. Is there anything that's majorly different in doing post on this material...you know...besides the fact that the music is already mixed?&#xD;&#xA;&#xD;&#xA;Anyone have any experiences they're willing to share?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4695" PostHistoryTypeId="1" PostId="2683" RevisionGUID="b0b44b69-763d-4340-b52d-7792885ca2c6" CreationDate="2010-08-11T11:22:31.770" UserId="432" Text="Anyone done work for a music video before?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4696" PostHistoryTypeId="3" PostId="2683" RevisionGUID="b0b44b69-763d-4340-b52d-7792885ca2c6" CreationDate="2010-08-11T11:22:31.770" UserId="432" Text="&lt;post-production&gt;&lt;television&gt;&lt;music&gt;&lt;broadcast-standards&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4698" PostHistoryTypeId="2" PostId="2685" RevisionGUID="19904446-a47e-4ada-85e4-47fc954c0f76" CreationDate="2010-08-11T11:32:51.310" UserId="261" Text="I'd recommend &#xD;&#xA;&#xD;&#xA;'Pi' (Darren Aronofsky)&#xD;&#xA;&#xD;&#xA;'Paris, Texas' (Wim Wenders)&#xD;&#xA;&#xD;&#xA;'Children of Men' (Alfonso Cuaron)&#xD;&#xA;&#xD;&#xA;The BBC Series 'The Life Of Insects'&#xD;&#xA;&#xD;&#xA;And my most boring recommendation ever, for sheer filmic 'naturalism', any of Woody Allen's films between&#xD;&#xA;'Annie Hall' (1977) and 'Husbands and Wives' (1992).&#xD;&#xA;They're mixed in Mono. Yes, mono.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4699" PostHistoryTypeId="2" PostId="2686" RevisionGUID="add6c557-8b98-4a86-9064-22bbd4d917e4" CreationDate="2010-08-11T16:02:19.500" UserId="6411" Text="A little background: I'm trying to expand my library of IRs.  While I have access to TL Space, Waves IR-L, and Altiverb the most readily available (installed in the room I do most of my work in) is TL Space. So I have another question in a multiple parts:&#xD;&#xA; &#xD;&#xA;## Question #1 ##&#xD;&#xA;I poked around the internet trying to find new and interesting IRs and found a few resources.&#xD;&#xA;&#xD;&#xA; - [Avid's TL Space IR Library][1]&#xD;&#xA; - [The Audio Ease IR Library][2]&#xD;&#xA; - [Waves' acoustics.net][3]&#xD;&#xA; - [irlibrary.org][4]&#xD;&#xA;&#xD;&#xA;What other websites do you find useful IRs on?&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;##Question #2##&#xD;&#xA;After reading Tim's [&quot;Why Use High Sample Rates?&quot;][5] post (a great read, btw) I realized that people are (have been) selling library collections of IRs also. It makes total sense, just never thought to look.&#xD;&#xA;&#xD;&#xA;Are there any collections that you highly recommend? Do you run into issues with compatibility ie a library was created for Altiverb and as such won't load into TL Space or vice versa?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;## Question #3 ##&#xD;&#xA;&#xD;&#xA;As I understand it, pretty much any audio file can become an IR but not every audio file makes a *good* IR. If I'm choosing sounds from my effects library are there characteristics that I should I look for? Or is it better to not limit myself and just see what works?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;## Question #4 ##&#xD;&#xA;When going out and recording your own, what do you use? At the present my theoretical rig is an iPod line-out &gt; Genelec 1029a and an NT4 &gt; MixPre &gt; M10. I haven't quite figured out the battery power yet, but at first I plan on sampling spaces with wall power. I'm expect that I'll lose some low end using the 1029a, but is there anything else that I should expect / look out for? Also, is there a benefit to recording IRs at higher sample rates? Can the plug-ins even read the files? &#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/US/products/TL-Space-Impulse-Response-Library&#xD;&#xA;  [2]: http://www.audioease.com/IR/index.html&#xD;&#xA;  [3]: http://www.acoustics.net/&#xD;&#xA;  [4]: http://irlibrary.org/&#xD;&#xA;  [5]: http://www.musicofsound.co.nz/blog/why-use-high-sample-rates#comment-7527" ContentLicense="CC BY-SA 2.5" />
  <row Id="4700" PostHistoryTypeId="1" PostId="2686" RevisionGUID="add6c557-8b98-4a86-9064-22bbd4d917e4" CreationDate="2010-08-11T16:02:19.500" UserId="6411" Text="Impulse Responses (IRs) - Do you download, buy, or DIY?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4701" PostHistoryTypeId="3" PostId="2686" RevisionGUID="add6c557-8b98-4a86-9064-22bbd4d917e4" CreationDate="2010-08-11T16:02:19.500" UserId="6411" Text="&lt;convolution-reverb&gt;&lt;impulse-response&gt;&lt;ir&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4702" PostHistoryTypeId="2" PostId="2687" RevisionGUID="b3fbe588-4e18-4820-8696-88899cc496df" CreationDate="2010-08-11T16:09:10.720" UserId="371" Text="I wonder if you guys have read great articles or have book referees about sound design for comedy (which tricks are used and how the sound helps the movie/tv show/etc to be funnier) that you could tell me about! I would really appreciate :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4703" PostHistoryTypeId="1" PostId="2687" RevisionGUID="b3fbe588-4e18-4820-8696-88899cc496df" CreationDate="2010-08-11T16:09:10.720" UserId="371" Text="Articles- Sound Design in comedy" ContentLicense="CC BY-SA 2.5" />
  <row Id="4704" PostHistoryTypeId="3" PostId="2687" RevisionGUID="b3fbe588-4e18-4820-8696-88899cc496df" CreationDate="2010-08-11T16:09:10.720" UserId="371" Text="&lt;comedy&gt;&lt;design&gt;&lt;books&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4705" PostHistoryTypeId="2" PostId="2688" RevisionGUID="87763217-7aff-488e-8a83-6209b77f4fb3" CreationDate="2010-08-11T16:16:19.737" UserId="371" Text="It is hard to make the cut and sometimes you record a lot but find out, because of it's cut being so dynamic, that you don't have enough material (happens all the time).&#xD;&#xA;About the formats, well, it's nice for you to render it in various formats: the best for dvd, the best for internet, a raw one... never know where it's going to be!&#xD;&#xA;About the sound, well, you won't put your finger in there, of course, only if there's moments of distance between the video and the music, where you can hear the natural sounds. When it happens, it's important to help the cut and making it more pleasant by sitting with the editor director and planning the noises with him so it follows the &quot;tempos&quot; of the song! :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4706" PostHistoryTypeId="2" PostId="2689" RevisionGUID="9c426fe7-3955-4eff-a58b-c5d7edff6854" CreationDate="2010-08-11T16:52:37.263" UserId="315" Text="I don't have time to address all your questions, but here are a few observations.&#xD;&#xA;&#xD;&#xA;I love Altiverb, not just the software, but the company. The crew in the Netherlands has been the leader in IR technology for quite some time now. The IRs they offer every few weeks or so are also top notch and cover so many needs (although I can always, always use more outdoor stuff). Their impulse responses are always top notch. &#xD;&#xA;&#xD;&#xA;I'm not a big fan of a lot of the free impulses you can find on the web (been burned with some stinkers that introduce a ton of noise into the signal) with the exception of two collectionsL&#xD;&#xA;&#xD;&#xA;Fokke Van Saane's collection:&#xD;&#xA;&#xD;&#xA;http://www.xs4all.nl/~fokkie/IR.htm&#xD;&#xA;&#xD;&#xA;And these samples from the wonderful hardware verb the Bricasti M7, which were generously made free to the public by Casey the co-owner of Bricasti:&#xD;&#xA;&#xD;&#xA;http://www.samplicity.com/bricasti-m7-impulse-responses/&#xD;&#xA;&#xD;&#xA;I wouldn't limit yourself when using sounds as impulse responses, but my observation is that shorter sounds with envelope that has an initial transient and a tail work best.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4708" PostHistoryTypeId="2" PostId="2690" RevisionGUID="369dd9a9-9299-4228-bb74-914eda396dc7" CreationDate="2010-08-11T16:59:51.327" UserId="18160" Text="I've recorded voices for a good time now and I am currently learning how to mix.&#xD;&#xA;&#xD;&#xA;First question about mixing I have is:&#xD;&#xA;&#xD;&#xA;What is your sequence?&#xD;&#xA;&#xD;&#xA;Do you level the voices and balance the effects and music off of them? This is the most common sequence I have heard.&#xD;&#xA;&#xD;&#xA;What do you spend the most time on in mixing? Voices, FX, music?&#xD;&#xA;&#xD;&#xA;When you work with a team, do you all mix at the same time? I.E. together in the same room and rolling through a reel at a time doing rides? Or do you work separately and marry it up later?&#xD;&#xA;&#xD;&#xA;Sorry if these are newb questions but I'm trying to learn on a long runway before I take off." ContentLicense="CC BY-SA 2.5" />
  <row Id="4709" PostHistoryTypeId="1" PostId="2690" RevisionGUID="369dd9a9-9299-4228-bb74-914eda396dc7" CreationDate="2010-08-11T16:59:51.327" UserId="18160" Text="Sequence in Mixing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4710" PostHistoryTypeId="3" PostId="2690" RevisionGUID="369dd9a9-9299-4228-bb74-914eda396dc7" CreationDate="2010-08-11T16:59:51.327" UserId="18160" Text="&lt;mixing&gt;&lt;music&gt;&lt;voice&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4711" PostHistoryTypeId="2" PostId="2691" RevisionGUID="1c1d3319-a67a-4a0e-8ca6-152cfdfcebb3" CreationDate="2010-08-11T17:01:26.373" UserId="393" Text="I always work from the back to the front... Atmos first and work my way to the things that should be in the front last.  Not sure why I do it that way, but it's the way I've always done things." ContentLicense="CC BY-SA 2.5" />
  <row Id="4712" PostHistoryTypeId="5" PostId="2689" RevisionGUID="85d8b534-52ee-40a2-958f-d3ed6b962551" CreationDate="2010-08-11T17:03:48.920" UserId="315" Comment="edited body" Text="I don't have time to address all your questions, but here are a few observations.&#xD;&#xA;&#xD;&#xA;I love Altiverb, not just the software, but the company. The crew in the Netherlands has been the leader in IR technology for quite some time now. The IRs they offer every few weeks or so are also top notch and cover so many needs (although I can always, always use more outdoor stuff). Their impulse responses are always top notch. &#xD;&#xA;&#xD;&#xA;I'm not a big fan of a lot of the free impulses you can find on the web (been burned with some stinkers that introduce a ton of noise into the signal) with the exception of two collections.&#xD;&#xA;&#xD;&#xA;Fokke Van Saane's collection:&#xD;&#xA;&#xD;&#xA;http://www.xs4all.nl/~fokkie/IR.htm&#xD;&#xA;&#xD;&#xA;And these samples from the wonderful hardware verb the Bricasti M7, which were generously made free to the public by Casey the co-owner of Bricasti:&#xD;&#xA;&#xD;&#xA;http://www.samplicity.com/bricasti-m7-impulse-responses/&#xD;&#xA;&#xD;&#xA;I wouldn't limit yourself when using sounds as impulse responses, but my observation is that shorter sounds with envelope that has an initial transient and a tail work best.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4713" PostHistoryTypeId="2" PostId="2692" RevisionGUID="59cdc3ed-fa43-4ec0-8c62-1b27349ca133" CreationDate="2010-08-11T17:15:23.200" UserId="393" Text="**Holy crap, there's a girl in our midst!**&#xD;&#xA;&#xD;&#xA;Now that I got that out of the way... I haven't read anything about comedy *specifically*, but I have seen it mentioned in texts about sound design for animation. (I'm looking for a reference... when I find it, I'll let you know.)&#xD;&#xA;&#xD;&#xA;In the mean time.. this is pretty much the same question: http://socialsounddesign.com/questions/519/what-makes-a-sound-funny" ContentLicense="CC BY-SA 2.5" />
  <row Id="4714" PostHistoryTypeId="2" PostId="2693" RevisionGUID="d19a78f2-6e23-4a6a-95f6-f49a8783bd0f" CreationDate="2010-08-11T17:20:05.590" UserId="40" Text="Hey Ryan,&#xD;&#xA;&#xD;&#xA;A lot of this depends on the scale of the project and the size of the crew / facilities being used.  Here, we generally have 3 or 4 people doing pre mixes.  One doing backgrounds, one doing effects, and another doing dialogue.  Sometimes we'll have a 4th doing sound design / special fx stuff.  Generally the music gets to us mixed, or at least in pre-mix stems, so we usually don't touch it until re-recording.&#xD;&#xA;&#xD;&#xA;Once all of those parts are done, they get mixed down into stems and send to our re-recording mixers.  We usually use 2.  One handles Dialogue and rides the music stem, the other does backgrounds and effects.  If music is broken out into a larger mix instead of a stem, we'll have a music mixer too.&#xD;&#xA;&#xD;&#xA;Generally what happens is that one guy will be working on his pass for a section (let's say the dialogue mixer is doing his thing) and he controls the transport and all.  While this is going on, the fx mixer might be getting general levels, but won't really be doing much fine tuning.  When the dialogue mixer is done his section, he'll print it and then the fx mixer will do his fine tuning.  We usually operate like this, back and forth for a while, until the project is done.&#xD;&#xA;&#xD;&#xA;Things might speed up and we might try to get FX and DX mixing at the same time if we're really in a crunch.&#xD;&#xA;&#xD;&#xA;As far as order, we really don't do things in a specific order really, but we do try to make sure dialogue gets the main focus.  It often doesn't get mixed first though.&#xD;&#xA;&#xD;&#xA;Does this help at all?  Let me know if you want me to expand on anything" ContentLicense="CC BY-SA 2.5" />
  <row Id="4715" PostHistoryTypeId="2" PostId="2694" RevisionGUID="bdfab741-dd6a-4462-aed1-3c0ebcf5315b" CreationDate="2010-08-11T17:31:35.100" UserId="40" Text="1.  Here's some libraries for Space Designer: (I'm a Space Designer loving guy)&#xD;&#xA;&#xD;&#xA;http://www.macosxaudio.com/forums/viewtopic.php?t=14100&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;2. I've actually never tried pulling IRs from one program to another.  Interesting idea though.  I believe most use proprietary IR files, but it might be possible.  If not, you could always use one IR to sample the other one, which would be a bit silly, but it'd probably work...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;3.  I've had the best luck with files with a heavy transient and then a nice long tail. Those are the most similar to the way a manually sampled IR would be done.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;4.  When I've gone out to do IRs, I bring my laptop, Mbox, mics (setup depends on what IR setup I'm going for), and I use JBL Eons as my speakers.  I've had some good luck with the setup so far.  The Eons are nice and powerful enough to &quot;energize&quot; big rooms." ContentLicense="CC BY-SA 2.5" />
  <row Id="4716" PostHistoryTypeId="2" PostId="2695" RevisionGUID="a33b40c7-090c-4495-862d-46093c1d272f" CreationDate="2010-08-11T17:37:57.733" UserId="62" Text="I normally start a show by just having the dialogue and mixing that first. a) it's the most important part of a TV show and b) it enables me to focus on it and things like meters (PPM or LM100).&#xD;&#xA;&#xD;&#xA;I then bring in all the rest (music, fx, foley, footsteps, atmos). I find it quite a quick way to mix too, a 10 minute show normally takes me an hour to do my dialogue premix (which would include automating all the reverbs and effects), then around 3/4 hours for the rest.&#xD;&#xA;&#xD;&#xA;One thing I would say is that this is a general workflow I created myself for the animated shows I work on, no-one else at my workplace does it like this and it's another thing I'm frowned upon for doing." ContentLicense="CC BY-SA 2.5" />
  <row Id="4718" PostHistoryTypeId="2" PostId="2697" RevisionGUID="359daffd-3163-48e7-a7ce-f1b6c8ca9ba7" CreationDate="2010-08-11T17:47:43.893" UserId="220" Text="Q1:  I have only downloaded free IRs and swapped with other audio folks.  Big fan of sharing!&#xD;&#xA;&#xD;&#xA;Q2:  I really have not used IRs so much to justify buying an entire library.  The best use I've found is when I'm doing on-set recording to go ahead and get some IRs for the space I record in so the post audio folks will have something useful for that they can apply to dry effects, ADR, etc.  I'm also curious to see responses to this question.&#xD;&#xA;&#xD;&#xA;Q3:  Best (purest?) IRs come from a sound that excites every frequency.  I generally start with a 4 second burst that sweeps from 10Hz to somewhere around 24kHz.  I've also heard a lot of folks like to pop a balloon, shoot a starter pistol, etc - key is to have an impulse that hits every frequency and has some time to decay in the space.  Once you have that down, you can really do anything - hit a cymbol, scream, play back a lion's roar.  It will all create something interesting and keep the essence of the impulse.&#xD;&#xA;&#xD;&#xA;Q4:  Sounds good, except I would use a single measurement mic (flat EQ, omni) or a pair of them.  I have two Behringer ECM8000's that work great and they're generally about $50.  You can spend more, if you like, but these do just fine.  The other thing that is key - you MUST record at the same sample rate that you are outputting.  I use files that are 48k and record at 16 bit.  24bit and above just bog down your processing.  This is realted to deconvolving only, I'm not trying to get into a 96k vs 48k argument.  &#xD;&#xA;&#xD;&#xA;I HIGHLY recommend using Praxis's impulse files and deconvolver [(web site here)][1].    The files automatically line up and it streamlines the process.  Give the info pdf a read and let me know if you have questions on how it works.  I've done a number of these now and it's very simple to create quality IRs.  Also, it's free!  &#xD;&#xA;&#xD;&#xA;NOTE:  I am fairly new to making IRs.   I've been doing a lot on my own and learned a lot, but I'm by no means an expert.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.libinst.com/praxis_downloads.htm#Convolution" ContentLicense="CC BY-SA 2.5" />
  <row Id="4719" PostHistoryTypeId="2" PostId="2698" RevisionGUID="8e68f230-ddcc-4200-9b9e-c62b3d9cb4d5" CreationDate="2010-08-11T17:49:59.433" UserId="18160" Text="I've seen it mentioned a lot on this board that some of you patch in an RTA across a channel to see what you should address in EQ.&#xD;&#xA;&#xD;&#xA;Do any of you swear by using RTAs?&#xD;&#xA;&#xD;&#xA;With some people, it's considered &quot;cheating&quot; and they say not to rely on this type of equipment.&#xD;&#xA;&#xD;&#xA;Is it beneficial for mixing voices, for instance?&#xD;&#xA;&#xD;&#xA;Also, what are some of the most accurate ones you use and work well for mixing purposes?&#xD;&#xA;&#xD;&#xA;Any free ones I can demo?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4720" PostHistoryTypeId="1" PostId="2698" RevisionGUID="8e68f230-ddcc-4200-9b9e-c62b3d9cb4d5" CreationDate="2010-08-11T17:49:59.433" UserId="18160" Text="Do you mix with an RTA?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4721" PostHistoryTypeId="3" PostId="2698" RevisionGUID="8e68f230-ddcc-4200-9b9e-c62b3d9cb4d5" CreationDate="2010-08-11T17:49:59.433" UserId="18160" Text="&lt;rta&gt;&lt;mixing&gt;&lt;voices&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4723" PostHistoryTypeId="2" PostId="2699" RevisionGUID="72f31852-14a0-4ff9-8957-9923b7048c60" CreationDate="2010-08-11T18:09:06.597" UserId="40" Text="I often to reference an analyzer to see what I need to address.  It often shows me what frequencies I can scoop out without losing to much of the impact of the sound. Say (for instance) that a certain sound was amazing, but once it was in the mix, it was drowning out a bunch of other sounds.  You can use the RTA to find where the fundamental sound is and trim away a lot of excess.  It can really help you tighten your mix without too much trouble&#xD;&#xA;&#xD;&#xA;I often use it to show me where my trouble spots are.  If I have a hum or ring I can't quite find, I'll jump to my RTA.&#xD;&#xA;&#xD;&#xA;There's one built into Logic (if you have it).  I also have a few others here and there, but most came packed with some bundle.  Nothing that is absolutely free off the top of my head, but then again, I'm not really up on free plugins.&#xD;&#xA;&#xD;&#xA;Yeah, some people say it's cheating, but who cares?  It's a tool that I find very useful, so I use it.  There are no rules in Sound Design except that &quot;if it sounds good, use it&quot;.  So if using an RTA makes your work better, use one!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4724" PostHistoryTypeId="2" PostId="2700" RevisionGUID="47efa3b8-52d1-4e92-86e4-b7e0107a3f21" CreationDate="2010-08-11T18:19:59.090" UserId="18160" Text="Does such a thing exist?&#xD;&#xA;&#xD;&#xA;What I'm looking for is a pop screen that does the least coloration of the voice. I'll be using it on U87s, 414s, basically, any VO mic.&#xD;&#xA;&#xD;&#xA;What do you use for your VO and vocal recordings?&#xD;&#xA;&#xD;&#xA;Also, does foam protection sound any good on a U87? I've seen photos of people putting foam socks onto U87s. I can't imagine those sound very good (high-end loss).&#xD;&#xA;&#xD;&#xA;Did you search to find one that does the least amount of coloration to the sound?&#xD;&#xA;&#xD;&#xA;Does anyone still use the old nylon-on-the-coathanger trick?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="4725" PostHistoryTypeId="1" PostId="2700" RevisionGUID="47efa3b8-52d1-4e92-86e4-b7e0107a3f21" CreationDate="2010-08-11T18:19:59.090" UserId="18160" Text="VO Pop Screens that do the least coloration." ContentLicense="CC BY-SA 2.5" />
  <row Id="4726" PostHistoryTypeId="3" PostId="2700" RevisionGUID="47efa3b8-52d1-4e92-86e4-b7e0107a3f21" CreationDate="2010-08-11T18:19:59.090" UserId="18160" Text="&lt;recording&gt;&lt;microphone&gt;&lt;windscreens&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4727" PostHistoryTypeId="2" PostId="2701" RevisionGUID="067c3f03-c41d-44ee-8bec-87fe4da00cc4" CreationDate="2010-08-11T18:36:14.877" UserId="18160" Text="Here's an interesting question and I hope it's answerable and not too general.&#xD;&#xA;&#xD;&#xA;What are some good ways of creating excitement in your sound design? How do you really thrill the audience with sound?&#xD;&#xA;&#xD;&#xA;I know most of it comes from content and film editing. For instance, it is far easier to make an action/thriller movie thrill the audience than a teletubbies episode; or is it?&#xD;&#xA;&#xD;&#xA;Dynamics?&#xD;&#xA;&#xD;&#xA;Counterpointing?&#xD;&#xA;&#xD;&#xA;Certain timbres of sounds?&#xD;&#xA;&#xD;&#xA;Here are some of the things I do to give you an example:&#xD;&#xA;&#xD;&#xA;- Fading out to nothing and then slamming back in powerfully. Not too overbearing on the audience's ears, but like Erik said, you have to &quot;cleanse the palette of the ear&quot; with some low-level sequences and then you can slam them back in. Like an orchestra can't sound powerful without having lower dynamics.&#xD;&#xA;&#xD;&#xA;- Similar to the above, making sure I have lower sounds to contrast the higher-level sounds. Like SPL ranges, a metallic slam in real life would sound about 60 dBSPL higher than someone talking at conversation-level.&#xD;&#xA;&#xD;&#xA;- I personally like more organic-sounding wooshes than synthetically-made wooshes. I think it adds more of an edge to the audience if they hear a spaceship or airplane fly by with an extremely organic sound instead of a synthetic woosh sound.&#xD;&#xA;&#xD;&#xA;- I add a bit of distortion to certain things to make it more &quot;edgy&quot;. Like when a helicopter went down in one movie I made the pilot's pleas for help way more distorted to add a bit of edge.&#xD;&#xA;&#xD;&#xA;I hope I made my question clear enough. What are some ways to really excite the audience? Is it all in the mixing or is it done in sound design as well? My hunch is it's mainly in sound design and it gets helped in mixing.&#xD;&#xA;&#xD;&#xA;Anyway, what are some of your tricks of the trade?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4728" PostHistoryTypeId="1" PostId="2701" RevisionGUID="067c3f03-c41d-44ee-8bec-87fe4da00cc4" CreationDate="2010-08-11T18:36:14.877" UserId="18160" Text="Adding Excitement" ContentLicense="CC BY-SA 2.5" />
  <row Id="4729" PostHistoryTypeId="3" PostId="2701" RevisionGUID="067c3f03-c41d-44ee-8bec-87fe4da00cc4" CreationDate="2010-08-11T18:36:14.877" UserId="18160" Text="&lt;excitement&gt;&lt;mixing&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4730" PostHistoryTypeId="5" PostId="2701" RevisionGUID="0f919af1-5ead-4228-a8e6-3cba1f91d6cc" CreationDate="2010-08-11T18:41:23.963" UserId="18160" Comment="added 169 characters in body" Text="Here's an interesting question and I hope it's answerable and not too general.&#xD;&#xA;&#xD;&#xA;What are some good ways of creating excitement in your sound design? How do you really thrill the audience with sound?&#xD;&#xA;&#xD;&#xA;I know most of it comes from content and film editing. For instance, it is far easier to make an action/thriller movie thrill the audience than a teletubbies episode; or is it?&#xD;&#xA;&#xD;&#xA;Dynamics?&#xD;&#xA;&#xD;&#xA;Counterpointing?&#xD;&#xA;&#xD;&#xA;Certain timbres of sounds?&#xD;&#xA;&#xD;&#xA;Here are some of the things I do to give you an example:&#xD;&#xA;&#xD;&#xA;- Fading out to nothing and then slamming back in powerfully. Not too overbearing on the audience's ears, but like Erik said, you have to &quot;cleanse the palette of the ear&quot; with some low-level sequences and then you can slam them back in. Like an orchestra can't sound powerful without having lower dynamics.&#xD;&#xA;&#xD;&#xA;- Similar to the above, making sure I have lower sounds to contrast the higher-level sounds. Like SPL ranges, a metallic slam in real life would sound about 60 dBSPL higher than someone talking at conversation-level. I guess what I'm trying to say is that for a sound to sound loud to a listener you have to first give them something at a lower level to gauge against the louder sound.&#xD;&#xA;&#xD;&#xA;- I personally like more organic-sounding wooshes than synthetically-made wooshes. I think it adds more of an edge to the audience if they hear a spaceship or airplane fly by with an extremely organic sound instead of a synthetic woosh sound.&#xD;&#xA;&#xD;&#xA;- I add a bit of distortion to certain things to make it more &quot;edgy&quot;. Like when a helicopter went down in one movie I made the pilot's pleas for help way more distorted to add a bit of edge.&#xD;&#xA;&#xD;&#xA;I hope I made my question clear enough. What are some ways to really excite the audience? Is it all in the mixing or is it done in sound design as well? My hunch is it's mainly in sound design and it gets helped in mixing.&#xD;&#xA;&#xD;&#xA;Anyway, what are some of your tricks of the trade?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4731" PostHistoryTypeId="5" PostId="2360" RevisionGUID="0f7e3b9d-7aee-4aeb-852b-bfa7e29ea81b" CreationDate="2010-08-11T19:06:13.007" UserId="432" Comment="more test results available" Text="We have a couple of Earthworks mics at work, and they are excellent. They will not be a poor investment.&#xD;&#xA;&#xD;&#xA;You may or may not be correct in your assumptions regarding mics and pre's, perhaps someone else here will know. Of course, don't forget Nyquist. You're only going to be able to accurately capture frequencies that are 1/2 of your sampling rate.&#xD;&#xA;&#xD;&#xA;I'll run a test tomorrow with our 744T and one of our Earthworks mics that (either QTC30 or SR30) and let you know if I get anything interesting.&#xD;&#xA;&#xD;&#xA;Update: I was able to do some quick tests today while waiting for the video editors to get me some footage to finish off yet another test. You can find a description of what I did, some audio clips, and spectral analyses on my [website][1].&#xD;&#xA;&#xD;&#xA;**FURTHER UPDATE (8/11/10): I've done a noise floor test with a bunch of mics, including the QTC30 to appease Jay's curiosity. They're in their own dedicated post on my site. [link in my comment below if you're feeling lazy]**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynamicinterference.com/2010/07/29/recording-ultrasonic-audio/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4732" PostHistoryTypeId="2" PostId="2702" RevisionGUID="b1af7205-ca0f-478b-8a43-e323a62991b3" CreationDate="2010-08-11T19:07:11.507" UserId="103" Text="[This][1] little guy might do the trick for you? I've used it once, but it was to long ago, i don't really remember how it performed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://studioprojects.com/pop.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="4733" PostHistoryTypeId="2" PostId="2703" RevisionGUID="c48c4f47-1a95-4ea9-8112-2d0e6230f210" CreationDate="2010-08-11T19:48:41.930" UserId="40" Text="I'm a big fan of the [Sterling Audio][1] metal pop filter.  I use it with my C414 all the time.  Sounds great, and you can just wash it off with a cloth when done.  Doesn't smell like the fabric ones do!&#xD;&#xA;&#xD;&#xA;It has a nice long neck too.&#xD;&#xA;&#xD;&#xA;I've not noticed any high end loss with it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.guitarcenter.com/Sterling-Audio-STPF1-Professional-Pop-Filter-103722146-i1165171.gc" ContentLicense="CC BY-SA 2.5" />
  <row Id="4734" PostHistoryTypeId="2" PostId="2704" RevisionGUID="078dce18-e5f0-4393-b7ce-ef780910c0f3" CreationDate="2010-08-11T20:18:21.340" UserId="338" Text="Can you check back in when you finish and maybe post some samples?  I was wondering how they sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="4735" PostHistoryTypeId="2" PostId="2705" RevisionGUID="24250fb2-94aa-4f3a-9b19-a861ed238c40" CreationDate="2010-08-11T20:46:00.670" UserId="250" Text="I like the Avantone PS-1 Pro Shield -- another metal one, easily cleaned, doesn't color, and works great. Use 'em all the time!&#xD;&#xA;&#xD;&#xA;--jpf&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4736" PostHistoryTypeId="2" PostId="2706" RevisionGUID="67e9e1c5-4eb5-4c0d-9477-7ec7dfede198" CreationDate="2010-08-11T20:47:01.197" UserId="250" Text="Simple: contrast.&#xD;&#xA;&#xD;&#xA;Loud soft loud&#xD;&#xA;Dense sparse dense&#xD;&#xA;etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;--jpf" ContentLicense="CC BY-SA 2.5" />
  <row Id="4737" PostHistoryTypeId="2" PostId="2707" RevisionGUID="4d3ccbe5-c3d4-404b-a79c-e3451f055929" CreationDate="2010-08-11T20:50:25.853" UserId="250" Text="I must admit for getting a certain sound, I like the UA Pultec:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://fishercreativegroup.com/wordpress/wp-content/uploads/2010/04/pultec.jpg&#xD;&#xA;&#xD;&#xA;But my workhorses come from iZotope (Alloy and  Ozone).&#xD;&#xA;&#xD;&#xA;--jpf&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4738" PostHistoryTypeId="2" PostId="2708" RevisionGUID="109bc396-c0cb-4a34-95b6-52de4ebb4262" CreationDate="2010-08-11T20:51:55.120" UserId="315" Text="I use the Waves PAZ all the time...works great. But I rely on it more for checking out phase and imaging. I'll also use it to check subharmonic info and keep it in control, as that stuff really pops out more in a theater than a small cutting room. &#xD;&#xA;&#xD;&#xA;But at the end of the day, if it sounds good, then it is good." ContentLicense="CC BY-SA 2.5" />
  <row Id="4739" PostHistoryTypeId="2" PostId="2709" RevisionGUID="c96a9b00-c8fb-41d3-85b1-7c7231ee66ce" CreationDate="2010-08-11T22:58:25.010" UserId="29" Text="As a viewer and critical listener, I find that much of the energy in sound sequences comes from the mix. Having effective, rhythmic sequences of very clean sounds can be intense. I think of many fight scenes in the Bourne films or even (while I strongly dislike the film series) the first urban fight between Spider Man and Dr. Octopus in Spider Man 2. Contrast is good, too, but I find a rare contrast that few use isn't loud-soft, or low-high, but rhythmic-arrhythmic. Rare but very interesting.&#xD;&#xA;&#xD;&#xA;On the per-sound side, middle-range compression obviously adds punch as long as it's not too heavy-handed. I agree with analog-style saturation compression can add sizzle as well. The challenge is how those effects on single sounds will really work in the mix. All the techniques you list can also be great applied to submixes as well to great effect." ContentLicense="CC BY-SA 2.5" />
  <row Id="4740" PostHistoryTypeId="2" PostId="2710" RevisionGUID="f32c5e73-a07d-4479-ad5b-fa6f16f28318" CreationDate="2010-08-11T23:17:39.567" UserId="132" Text="I occasionally like to give myself small electrical shocks while watching films.  All kidding aside, silence can be a powerful tool.  Nathan mentioned those bourne films . . . A number of those films actually used silence fairly well.  There were brief silences but there were still silences." ContentLicense="CC BY-SA 2.5" />
  <row Id="4741" PostHistoryTypeId="2" PostId="2711" RevisionGUID="321a7385-c568-4cf0-b938-ec4e34e21905" CreationDate="2010-08-11T23:59:43.240" UserId="46" Text="+1 on the metal filters. We've got a number of these Stedman's that I prefer to the nylon filters: http://www.stedmancorp.com/pages/ps101.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="4742" PostHistoryTypeId="2" PostId="2712" RevisionGUID="ce69bafe-eeb3-4e8a-8232-6902aac56579" CreationDate="2010-08-12T00:05:14.570" UserId="393" Text="I got into sound design when an open-source game I was on was flooded with composers, and we needed a sound designer.  None of the composers on the game had anything beyond Finale but me, so I stepped up to the plate and haven't really looked back.  I still write music, and would love to do that professionally, but I (currently) feel like sound design is the direction I'm going.&#xD;&#xA;&#xD;&#xA;So, I was wondering, do any of you compose music as well as design sound?  Did you start out writing music and moved into sound design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4743" PostHistoryTypeId="1" PostId="2712" RevisionGUID="ce69bafe-eeb3-4e8a-8232-6902aac56579" CreationDate="2010-08-12T00:05:14.570" UserId="393" Text="Do any of you compose, as well?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4744" PostHistoryTypeId="3" PostId="2712" RevisionGUID="ce69bafe-eeb3-4e8a-8232-6902aac56579" CreationDate="2010-08-12T00:05:14.570" UserId="393" Text="&lt;music&gt;&lt;composition&gt;&lt;composer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4745" PostHistoryTypeId="2" PostId="2713" RevisionGUID="9279ec61-556b-48bd-8174-fc2f5a287f9a" CreationDate="2010-08-12T00:21:09.680" UserId="253" Text="I was actually thinking of asking a question like this!&#xD;&#xA;&#xD;&#xA;I have no background in music at all, save for a bit of mucking around on guitar as a teenager. But it seems like 90% of people in sound post have a musical background." ContentLicense="CC BY-SA 2.5" />
  <row Id="4746" PostHistoryTypeId="2" PostId="2714" RevisionGUID="b704e61e-ec18-49a4-afa8-8e3c34777be2" CreationDate="2010-08-12T01:06:57.723" UserId="390" Text="I compose! I have written music for short films and trailers. But in order to produce the quantity of music at the pace I've heard about at a professional level, then I'm going to need a bit more practice.  Fortunately, I love sound design as well. I want to be great at both, really." ContentLicense="CC BY-SA 2.5" />
  <row Id="4747" PostHistoryTypeId="2" PostId="2715" RevisionGUID="b49d0350-8877-49ce-acdc-9c7da228d7be" CreationDate="2010-08-12T01:14:20.503" UserId="432" Text="There's an article in The Soundtrack from a few years ago (Volume 1, Number 1) that I think would be well worth reading.  It's called &quot;The Sound of Coen Comedy: Music, Dialogue and Sound Effects in *Raising Arizona*,&quot; by Randall Barnes.&#xD;&#xA;&#xD;&#xA;That particular edition is available for free download here: http://www.atypon-link.com/INT/toc/tst/1/1?cookieSet=1&#xD;&#xA;&#xD;&#xA;but here's a direct link to the article in .pdf format: http://www.atypon-link.com/INT/doi/pdf/10.1386/st.1.1.15_1" ContentLicense="CC BY-SA 2.5" />
  <row Id="4748" PostHistoryTypeId="2" PostId="2716" RevisionGUID="31fe2a5f-1316-480f-a676-ab5dc3615ad5" CreationDate="2010-08-12T01:26:29.377" UserId="390" Text="Well, I just got my first paid gig as a location audio recordist this week. It's an independent feature and doesn't pay much, but I like the story and it's going to be quite the road trip across the midwest.&#xD;&#xA;&#xD;&#xA;I'm going over the script now. It's about a father and son bonding during a canoe trip. I'm keeping an eye out for any dialogue that occurs while canoeing. If that's the case, I'm going to suggest that we do a wild take on dry land and ADR it. &#xD;&#xA;&#xD;&#xA;I read an article a while back about a couple of sound guys recording audio while on a speeding boat during the last Bond film, Quantum of Solace. At one point, the boat bounced around so hard that the guys got tossed out of the boat with the equipment! Well, I won't be in that situation as this movie involves canoeing.  Plus the budget is tight, I really don't want to even bother putting a lav on any of the actors while canoeing. But that may be the case. Has anyone been in this situation on set where budget and gear is limited and you have to record dialogue while on the water? &#xD;&#xA;&#xD;&#xA;I've heard stories where the sound guy was standing chest deep in the pond while recording audio of kids paddling across the water. The boat wasn't moving fast enough, so he was in the water to push the boat along. It made for a more interesting visual for a news story. The guy is a fricking trooper! Anyway, I'll update this question as I continue to read the script. We start shooting on Monday!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4749" PostHistoryTypeId="1" PostId="2716" RevisionGUID="31fe2a5f-1316-480f-a676-ab5dc3615ad5" CreationDate="2010-08-12T01:26:29.377" UserId="390" Text="Recording Dialogue while canoing!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4750" PostHistoryTypeId="3" PostId="2716" RevisionGUID="31fe2a5f-1316-480f-a676-ab5dc3615ad5" CreationDate="2010-08-12T01:26:29.377" UserId="390" Text="&lt;location-recording&gt;&lt;water&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4752" PostHistoryTypeId="2" PostId="2718" RevisionGUID="7d3730a1-5356-4ad7-b97f-0b2bb4363cc1" CreationDate="2010-08-12T01:37:05.230" UserId="234" Text="I do both. It does make it easier to avoid potential &quot;sound&quot; conflicts at the mix stage, since I'm pretty certain about which one is going to take priority. It also makes it easier if I want to use tonal ambiences or effects, since I make sure the keys match! :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4753" PostHistoryTypeId="2" PostId="2719" RevisionGUID="6ecc4243-f4fc-4083-bbfb-7b13403c60e5" CreationDate="2010-08-12T01:38:48.663" UserId="432" Text="I'd go for the lavs. You can always wrap bodypacks (transmitters/receivers) in plastic wrap to keep them protected from short accidental trips into the water. Just use a twist tie or rubber band where it wraps around the lav cable to seal it up.&#xD;&#xA;&#xD;&#xA;Wild takes are good and all, but an ADR fix will be a ridiculous headache if you don't have sync audio.  Of course, if you're lucky, the lav dialogue might be good enough to use in picture.&#xD;&#xA;&#xD;&#xA;You could also buy a pair of really cheap shotguns (there are some for $110-$160 on B&amp;H) and feed those to a pair of wireless transmitters. You'd be able to hide them down in the boat for some shots and aim them up at the two actors. Not ideal placement really, but if the area is quiet enough, it might work." ContentLicense="CC BY-SA 2.5" />
  <row Id="4754" PostHistoryTypeId="2" PostId="2720" RevisionGUID="0aad5e43-00ad-41f8-8993-defac8519585" CreationDate="2010-08-12T01:52:09.407" UserId="432" Text="I mentioned this in another thread, but I really love the sound design for the opening car chase in Quantum of Solace. The audio track prefectly complimented the visuals, drawing attention to the key action points with focused and isolated sound effects. The track wasn't dense at all. It was carefully constructed, and almost minimalist in its design. It really boosted the energy of the whole sequence." ContentLicense="CC BY-SA 2.5" />
  <row Id="4755" PostHistoryTypeId="2" PostId="2721" RevisionGUID="32334cdd-fd3d-4f71-a1c6-c57ccd65fba3" CreationDate="2010-08-12T02:50:48.327" UserId="492" Text="I've always made noise.  I've always made music.  I perceive no difference. Tim, I perceive no boundary.  To paraphrase John Cage, They made music in the 18th. and 19th. Centuries.  What we handle is the organization of noise.  Perhaps the better question is where does Craft end and Art start. Make a shadow puppet with your hands. Ask yourself when does light modulation become Art...  Look at the Futurists and their musical movement from the early 20's.&#xD;&#xA;Listen to the Pit Band at a Vaudeville Show. We should think of OUR work as Story and &#xD;&#xA;Drama first, and then Theme, Motif, and finally the last of all gear, plugins, ones, &amp;&#xD;&#xA;zeros.   What language do we speak?  How can we tell stories with a language that has few common denominators, that affects all, is common to all, but is as individual as our personal sense memories?  Finally on &quot;Poltergeist&quot; to make Ghost Sounds opened an upright piano, I&#xD;&#xA;held down the sustain pedal, and screamed at the strings, and they resonated like a complex Aeolian Harp. Totally Original I thought at the time.  Now I suspect that Cage did it in the Fifties.....  Sometimes I think I should make a soundtrack out of just a snare drum rimshot,&#xD;&#xA;cymbal, and a rasberry. Treat them like Music Concrete, play them backwards, forwards, varispeed, break them down to pulses, and see what we could do with the Three Original &quot;Sound Effects.&quot; What kind of story could we tell, using just those three basic elements?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4756" PostHistoryTypeId="2" PostId="2722" RevisionGUID="3261363b-a2b7-4cbd-8f0b-94b33f1f9b53" CreationDate="2010-08-12T03:11:37.147" UserId="492" Text="**The Original King Kong.**  The work stands to this day as great characterization&#xD;&#xA;**8 1/2 By Fellini.**  The First 30 minutes.  **It has everything you Need To Know about sound design.**   **&quot;Grand Prix&quot;**  ****&quot;Citizen Kane&quot;** Robert Wise the director edited this picture and cut the sound.   Modern pictures try to use the Wall of Sound to Impress. Loads of crashes, lots of volume.  Action, Action Action.  But think about it.  True Sound Design has Dramatic import and meaning.  A Shane Black script I read once called for &quot;The Biggest Explosion Ever.&quot; and the following page, he asked for &quot;An Even Bigger Explosion&quot;  so what.&#xD;&#xA;Unless there is a dramatic structure to the work, then it's just noise.  Not Sound Design.&#xD;&#xA;Cannon's for &quot;Wellington's Victory&quot; have meaning.  By themselves, they are like the Audubon Bird recordings. Of interest to the Aficionado only.  You can anaylise them from a variety of standards.  But good recordings aren't art. They can be rare, they can be poor or good recordings, but without a story structure, they have no meaning to the listener.  Alan Splet&#xD;&#xA;said that it's the content of the recording, not the technical that makes it of use.  Look at his work:  &quot;Eraserhead&quot; &quot;Elephant Man&quot; &quot;Black Stallion&quot;... " ContentLicense="CC BY-SA 2.5" />
  <row Id="4757" PostHistoryTypeId="2" PostId="2723" RevisionGUID="d01f2f55-35e3-4711-a973-25b9180a318c" CreationDate="2010-08-12T04:07:31.137" UserId="29" Text="I do both as well. Doesn't take much knowledge of music theory to be a dangerous composer. Funnily enough, the more I do sound design as its own thing, the less found sound goes in my compositions. Hm. I have, however, found myself be a better sound designer than a composer.&#xD;&#xA;&#xD;&#xA;I am entirely self-taught and my musical background has probably extended the equivalent of the first year of a music composition degree over the last decade of sporadic self-learning. I've got a few pro composer pals who I can ask questions of when I reach a plateau; it always helps, as usual, to learn in the shadow of giants." ContentLicense="CC BY-SA 2.5" />
  <row Id="4758" PostHistoryTypeId="2" PostId="2724" RevisionGUID="10a87d3c-b35a-4a6b-af45-61b38f9f7d73" CreationDate="2010-08-12T04:08:26.267" UserId="429" Text="TLSpace imports the Waves Libraries" ContentLicense="CC BY-SA 2.5" />
  <row Id="4759" PostHistoryTypeId="2" PostId="2725" RevisionGUID="2befc260-73a2-43de-81cd-2a7d4642180f" CreationDate="2010-08-12T06:59:42.597" UserId="61" Text="**You absolutely must record audio during the canoe shots**; this is non-negotiable. No matter which way you devise, whether it's lavs, boom, a figure-eight in the canoe itself, or some combo of all of the above, you do not want to depend 100% on ADR. This is critical for everyone on the crew to understand. ADR is a necessary evil that no one really looks forward to. Unless it is requested by the director / producer to change the performance or emotion of a scene, it really should be avoided. Actors often times don't like it (or don't know how to do it), it's expensive (to do correctly), it's time consuming (the takes must be edited) and very seldom do the loop lines sit in the mix well.&#xD;&#xA;&#xD;&#xA;All of that - PLUS - if you deliver MOS scenes to the post-sound crew without a very, very good reason, they will hunt you down and wallop you.&#xD;&#xA;&#xD;&#xA;Now, get creative and figure out your mic technique! And don't go into it thinking you're only recording a guide track for ADR; *plan for it as if ADR is not an option*.&#xD;&#xA;&#xD;&#xA;PS&gt; Will they be wearing life jackets in the canoe scenes? If so, voila - perfect place to hide a lav." ContentLicense="CC BY-SA 2.5" />
  <row Id="4760" PostHistoryTypeId="2" PostId="2726" RevisionGUID="2475479d-96c8-4d09-8b0e-e1835a744a3f" CreationDate="2010-08-12T09:05:26.500" UserId="2" Text="Thanks for the suggestion. Regardless of whether it is a good idea or not, it is something that would be hard for me to implement at this time. &#xD;&#xA;&#xD;&#xA;I do think the upvote + community wiki is the best option for now. Especially, that it allows for people to give a reason why. I find this dialogue an important part of SSD. The 'why' is just as important as the answer itself. &#xD;&#xA;&#xD;&#xA;Anyway, my thoughts, if there is lots of interest I will see what can be done. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4761" PostHistoryTypeId="2" PostId="2727" RevisionGUID="e825fbfb-c406-482f-a559-389619d54313" CreationDate="2010-08-12T09:42:26.670" UserId="118" Text="As fantastic as it is to see the new breed of 'boutique' fx libraries emerging to challenge the established 'supermarket' brands, every good industry also needs a black market!  You can't beat a bit of old-fashioned bartering!&#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;&#xD;&#xA;Michael&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4765" PostHistoryTypeId="2" PostId="2729" RevisionGUID="802f106c-fad9-4dbd-8e30-f2a0c07fd2c9" CreationDate="2010-08-12T10:18:14.153" UserId="348" Text="I started out in radio at a campus community radio station in my mid teens. We did radio plays, had our own music/talk/interview show. Loads of fun. I have always been drawn to ways people push the bondaries of sound and image and wondered &quot;How can I contribute to this world without becoming a cliche?&quot; So, I slowly fell into the world of foley design and editing and from there I am continually trying to come up with new ways of making sound for radio and image. &#xD;&#xA;&#xD;&#xA;It is a real passion. love it Love It LOVE IT!!!!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4766" PostHistoryTypeId="2" PostId="2730" RevisionGUID="dd7c6839-dcd1-4279-ae14-7955edc743d3" CreationDate="2010-08-12T10:23:37.897" UserId="198" Text="I just did a quick search for 'windmill' and 'turbine' on Freesound.org. A number of files came up. If your project is non-commercial those files are free to use.&#xD;&#xA;http://www.freesound.org/&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4770" PostHistoryTypeId="2" PostId="2731" RevisionGUID="53ea405f-0f9e-47c9-8ccf-be92b8923f82" CreationDate="2010-08-12T13:53:17.393" UserId="62" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I use a Chromatec AM-2 as a PPM when mixing for TV (I also run an RTW Portamonitor too), along the bottom of my TV is a bar which checks for phase.&#xD;&#xA;&#xD;&#xA;My question is this, when I pan something in ProTools all the way to the right/left (100) I get a phase error? What actually causes this error, physically?&#xD;&#xA;&#xD;&#xA;I know whey a stereo sound will cause a phase error, but this is a mono sound panned.&#xD;&#xA;&#xD;&#xA;I always set my FX and Music buses to 75 pan either side as this corrects the vast majority of errors caused by either panning or stereo files." ContentLicense="CC BY-SA 2.5" />
  <row Id="4771" PostHistoryTypeId="1" PostId="2731" RevisionGUID="53ea405f-0f9e-47c9-8ccf-be92b8923f82" CreationDate="2010-08-12T13:53:17.393" UserId="62" Text="Phase errors, Chromatec PPM" ContentLicense="CC BY-SA 2.5" />
  <row Id="4772" PostHistoryTypeId="3" PostId="2731" RevisionGUID="53ea405f-0f9e-47c9-8ccf-be92b8923f82" CreationDate="2010-08-12T13:53:17.393" UserId="62" Text="&lt;phase&gt;&lt;pro-tools&gt;&lt;panning&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4773" PostHistoryTypeId="5" PostId="2692" RevisionGUID="d4e8ad5d-7d6e-46ef-98d0-37dd77eabbc5" CreationDate="2010-08-12T14:02:59.450" UserId="393" Comment="added 3 characters in body" Text="**Holy crap, there's a girl in our midst!**&#xD;&#xA;&#xD;&#xA;Now that I got that out of the way... I haven't read anything about comedy *specifically*, but I have seen it mentioned in texts about sound design for animation. (I'm looking for a reference... when I find it, I'll let you know.)&#xD;&#xA;&#xD;&#xA;In the mean time.. this is *a similar question* (**fixed**): http://socialsounddesign.com/questions/519/what-makes-a-sound-funny" ContentLicense="CC BY-SA 2.5" />
  <row Id="4774" PostHistoryTypeId="2" PostId="2732" RevisionGUID="69f4c17b-7627-42ec-9f77-45e17cbadedc" CreationDate="2010-08-12T16:19:47.887" UserId="220" Text="I'm fascinated by &quot;vintage&quot; film making - the look, sound, acting, stories - from the early days of film.  I'm especially in love with the sound of dialog and foley during the 40s and 50s.  &#xD;&#xA;&#xD;&#xA;I recently started watching Mad Men, the AMC series, and really enjoy the way they present the show - accurate set design, sound, even the cuts and fades are dead on with the style of the time period they are portraying.  &#xD;&#xA;&#xD;&#xA;Question is a two parter:&#xD;&#xA;&#xD;&#xA; 1. What made films from that time period sound they way they do?  Is it lo-fi recording?  Heavy compression?  The mics they used?  Were foley and ADR techniques vastly different?&#xD;&#xA; 2. What is the best way to recreate that type of sound?  Using vintage gear?  Batteries of compression and EQing?&#xD;&#xA;&#xD;&#xA;[Here][1] is a good, brief example of what I mean by this type of sound.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.archive.org/details/ScottiesTiss" ContentLicense="CC BY-SA 2.5" />
  <row Id="4775" PostHistoryTypeId="1" PostId="2732" RevisionGUID="69f4c17b-7627-42ec-9f77-45e17cbadedc" CreationDate="2010-08-12T16:19:47.887" UserId="220" Text="Creating &quot;Vintage&quot; Sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="4776" PostHistoryTypeId="3" PostId="2732" RevisionGUID="69f4c17b-7627-42ec-9f77-45e17cbadedc" CreationDate="2010-08-12T16:19:47.887" UserId="220" Text="&lt;vintage&gt;&lt;design&gt;&lt;matching&gt;&lt;processing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4781" PostHistoryTypeId="2" PostId="2735" RevisionGUID="bc29b5de-e05d-4129-9c09-b1b13fe21fed" CreationDate="2010-08-12T17:40:55.927" UserId="18160" Text="I noticed this a while back and I was reminded of it yesterday while doing some ADR:&#xD;&#xA;&#xD;&#xA;Laughter has a perfect rhythm.&#xD;&#xA;&#xD;&#xA;Take any laughter and each HA is exactly spaced between the next one - to the quarter-frame I've found.&#xD;&#xA;&#xD;&#xA;Maybe not the first 2 but the rest of them in a real chuckle or laughter, it's perfectly timed.&#xD;&#xA;&#xD;&#xA;I just thought that discovery was interesting - don't know if there is much else you can do with that data or not but it's pretty interesting to me that someone who can be &quot;rhythm deaf&quot; inherently has perfect rhythm when he laughs." ContentLicense="CC BY-SA 2.5" />
  <row Id="4782" PostHistoryTypeId="1" PostId="2735" RevisionGUID="bc29b5de-e05d-4129-9c09-b1b13fe21fed" CreationDate="2010-08-12T17:40:55.927" UserId="18160" Text="Ever notice that Laughter has a definite rhythm?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4783" PostHistoryTypeId="3" PostId="2735" RevisionGUID="bc29b5de-e05d-4129-9c09-b1b13fe21fed" CreationDate="2010-08-12T17:40:55.927" UserId="18160" Text="&lt;laughter&gt;&lt;rhythm&gt;&lt;interesting&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4784" PostHistoryTypeId="2" PostId="2736" RevisionGUID="dee89d55-7015-4539-8431-b7580218cf0f" CreationDate="2010-08-12T17:45:30.520" UserId="444" Text="These movies are some of my favorites that I like to watch and use for insperation&#xD;&#xA;&#xD;&#xA;The Lord of the Rings Trilogy (Micheal Semanick and Ethan Van der Ryn, I've always been inspired by their attitude toward sound. In extended edition appendicies you can tell they love what they do.)&#xD;&#xA;&#xD;&#xA;Ratatouille (when Remy is running scared through the kitchen, I've always enjoyed Randy Thom's work)&#xD;&#xA;&#xD;&#xA;Minority Report &#xD;&#xA;&#xD;&#xA;Master and Commander: Far Side of the World&#xD;&#xA;&#xD;&#xA;Hero (Nameless' fight against Sky in the rain, great detail of hits and rain, haunting with the way the sound design plays with the solitary instrument)&#xD;&#xA;&#xD;&#xA;Surf's Up (When Cody crashes and is underwater, and then when he's being carried through the forest)&#xD;&#xA;&#xD;&#xA;Ong Bak 2 (The final fight scene, certain hits are accentuated like percussion accentuate orchestration)&#xD;&#xA;&#xD;&#xA;The open car chase in Quantum of Solace is well done too, it gets me very pumped up and excited.&#xD;&#xA;&#xD;&#xA;U-571&#xD;&#xA;&#xD;&#xA;Predator and Apacolypse Now have great ambient textures." ContentLicense="CC BY-SA 2.5" />
  <row Id="4785" PostHistoryTypeId="5" PostId="2736" RevisionGUID="90e74ceb-d01e-446a-ab43-70703c95980c" CreationDate="2010-08-12T17:52:46.157" UserId="444" Comment="spelling" Text="These movies are some of my favorites that I like to watch and use for inspiration&#xD;&#xA;&#xD;&#xA;The Lord of the Rings Trilogy (Micheal Semanick and Ethan Van der Ryn, I've always been inspired by their attitude toward sound. In extended edition appendicies you can tell they love what they do.)&#xD;&#xA;&#xD;&#xA;Ratatouille (when Remy is running scared through the kitchen, I've always enjoyed Randy Thom's work)&#xD;&#xA;&#xD;&#xA;Minority Report &#xD;&#xA;&#xD;&#xA;Master and Commander: Far Side of the World&#xD;&#xA;&#xD;&#xA;Hero (Nameless' fight against Sky in the rain, great detail of hits and rain, haunting with the way the sound design plays with the solitary instrument)&#xD;&#xA;&#xD;&#xA;Surf's Up (When Cody crashes and is underwater, and then when he's being carried through the forest)&#xD;&#xA;&#xD;&#xA;Ong Bak 2 (The final fight scene, certain hits are accentuated like percussion accentuate orchestration)&#xD;&#xA;&#xD;&#xA;The open car chase in Quantum of Solace is well done too, it gets me very pumped up and excited.&#xD;&#xA;&#xD;&#xA;U-571&#xD;&#xA;&#xD;&#xA;Predator and Apocalypse Now have great ambient textures." ContentLicense="CC BY-SA 2.5" />
  <row Id="4786" PostHistoryTypeId="2" PostId="2737" RevisionGUID="0fc1813c-a13b-4bbb-8128-618521eccd14" CreationDate="2010-08-12T17:54:47.627" UserId="393" Text="I wonder if this crosses borders and oceans, as well. I know it's generally true in the States (barring all those chipmink gigglers and slow villian laughs), though, just from observation and watching lots of stand up comedy." ContentLicense="CC BY-SA 2.5" />
  <row Id="4787" PostHistoryTypeId="2" PostId="2738" RevisionGUID="3afb905f-a6d9-4af5-aac5-f85e1ebb8641" CreationDate="2010-08-12T18:07:25.337" UserId="444" Text="I have really come to like the amp simulater that is in Nuendo 4.  I've found it versatile, and usefull when I want to dirty something up.  I almost always still mix in the original clean track with the distorted one.  Depends on the situation of course.&#xD;&#xA;&#xD;&#xA;I'm limited in third party plug-ins (I only have three), therefore I have to find creative ways to work with what I got.  I find most of the fun in sound design comes from that.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="4789" PostHistoryTypeId="2" PostId="2740" RevisionGUID="84e6a07c-487f-43c6-9f0e-a8e313df63cf" CreationDate="2010-08-12T18:50:44.003" UserId="444" Text=" Although it's not yet a 'career' for me (hopefull will be soon) It goes back to the first time I was in a recording studio at my Community College. &#xD;&#xA;&#xD;&#xA;There was a class on the Digital Recording Studio.  I was the only person in my class to make an original piece of music (instead of assigning sounds to an existing classical piece).  I spent more time, messing around with sounds in there.  (Got an A- by the way).  That was the first 'sound seed' that was planted in me.&#xD;&#xA;&#xD;&#xA;However I didn't follow sound right away.  After dropping out of two schools, I've found myself where I am now.  My own company and an independent feature where I have almost complete creative control over the soundscape.&#xD;&#xA;&#xD;&#xA;I had an apprenticeship in a recording studio.  The owner, my mentor, was always very excited about sounds and anything he came upon.  He was always willing to share.  His enthusiasm was very addictive.  I loved working in there.&#xD;&#xA;&#xD;&#xA;Listining to Micheal Semanick, Ethan Van der Ryn, and David Farmer talk in the LOTR appendices has been great inspiration.  You can tell they love what they do and have fun doing it.  I want that same tone and enthusiasm when I speak of what I do.&#xD;&#xA;&#xD;&#xA;Lastly it was a bit of luck.  Long after the apprenticeship, after the LOTR dvd releases, and a failed internship (The studio has all but folded). I resigned myself to going back to school.  Then a filmmaker that I hadn't talk to in two years called me out of the blue and asked if I'd do the sound for his film. Hard to believe? maybe, but it happened. How could I say no?&#xD;&#xA;&#xD;&#xA;The ironic thing... This film was supposed to be done by the studio I was interning at.  Now it's mine.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4790" PostHistoryTypeId="5" PostId="2731" RevisionGUID="e4379ed6-d3ea-4605-aaa3-38d5a390df15" CreationDate="2010-08-12T18:56:14.800" UserId="62" Comment="deleted 1 characters in body" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I use a Chromatec AM-2 as a PPM when mixing for TV (I also run an RTW Portamonitor too), along the bottom of my TV is a bar which checks for phase.&#xD;&#xA;&#xD;&#xA;My question is this, when I pan something in ProTools all the way to the right/left (100) I get a phase error? What actually causes this error, physically?&#xD;&#xA;&#xD;&#xA;I know why a stereo sound will cause a phase error, but this is a mono sound panned.&#xD;&#xA;&#xD;&#xA;I always set my FX and Music buses to 75 pan either side as this corrects the vast majority of errors caused by either panning or stereo files." ContentLicense="CC BY-SA 2.5" />
  <row Id="4791" PostHistoryTypeId="2" PostId="2741" RevisionGUID="be993df7-318b-4d3a-9fbc-7efc287144b7" CreationDate="2010-08-12T19:48:42.567" UserId="315" Text="The LA3A is an optical compressor...meaning it has a light sensor/attenuator inside of it which controls the gain reduction circuit. They usually sound vintage because they have a gentle release time. I'm sure opto compressors were used on older film dialog mixes.&#xD;&#xA;&#xD;&#xA;Optical film sound is much different from optical compression. It is a strip printed on a film that is hit with a lamp  on one side and a photodetector on the other. The photodector translates the light into sound. These photodetectors weren't all that well designed and often led to a warbled lofi sound. &#xD;&#xA;&#xD;&#xA;Check out the Optigan, which is an organ made by Mattel in the 1970s that plays optical sound disks...a wonderful sound:&#xD;&#xA;&#xD;&#xA;http://www.optigan.com/&#xD;&#xA;&#xD;&#xA;In the 1950s optical soundtracks on film were replaced by magnetic soundtracks.&#xD;&#xA;&#xD;&#xA;On the film Up, the Skywalker crew took the newsreel narration, music etc. and recorded it to an optical track, then recorded back to digital. It sounded great and spot on. I would think you could fake the sound or come pretty close using Audio Ease's Speakerphone or Izotope Vinyl." ContentLicense="CC BY-SA 2.5" />
  <row Id="4792" PostHistoryTypeId="5" PostId="2741" RevisionGUID="611442a7-e4ad-4a08-8ba3-1c1c8992d755" CreationDate="2010-08-12T20:05:07.173" UserId="315" Comment="added 203 characters in body" Text="The LA3A is an optical compressor...meaning it has a light sensor/attenuator inside of it which controls the gain reduction circuit. They usually sound vintage because they have a gentle release time. I'm sure opto compressors were used on older film dialog mixes.&#xD;&#xA;&#xD;&#xA;Optical film sound is much different from optical compression. It is a strip printed on a film that is hit with a lamp  on one side and a photodetector on the other. The photodector translates the light into sound. These photodetectors weren't all that well designed and often led to a warbled lofi sound. &#xD;&#xA;&#xD;&#xA;Check out the Optigan, which is an organ made by Mattel in the 1970s that plays optical sound disks...a wonderful sound:&#xD;&#xA;&#xD;&#xA;http://www.optigan.com/&#xD;&#xA;&#xD;&#xA;In the 1950s optical soundtracks on film were replaced by magnetic soundtracks.&#xD;&#xA;&#xD;&#xA;On the film Up, the Skywalker crew took the newsreel narration, music etc. and recorded it to an optical track, then recorded back to digital. It sounded great and spot on. I would think you could fake the sound or come pretty close using Audio Ease's Speakerphone or Izotope Vinyl.&#xD;&#xA;&#xD;&#xA;A big part of the sound from the that time I would think, is analog gear, old ribbon and tube microphones, the warble/wow/flutter of optical and mag sound, less dense fx cutting, and of course, mono." ContentLicense="CC BY-SA 2.5" />
  <row Id="4793" PostHistoryTypeId="2" PostId="2742" RevisionGUID="637c0351-bc9f-47a0-8709-b82a8bc4e28f" CreationDate="2010-08-12T21:00:48.853" UserId="6435" Text="Here's a small (roughly edited) pile of 1800s-era rifles and cannons, close and distant perspective, plus a cannon on wheels rolling on a dirt path. Recorded at a Civil War re-enactment so there are some bits that have stray talking etc. on the tailoffs. Some of that may disappear into the din of a battle mix though--I used these sounds as the basis of an 8 min. battle scene a few years ago. This is just a few of them; there are more.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fjoe-griffin%2Fcivilwar-sounds&amp;amp;show_comments=true&amp;amp;auto_play=false&amp;amp;color=ff6d16&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fjoe-griffin%2Fcivilwar-sounds&amp;amp;show_comments=true&amp;amp;auto_play=false&amp;amp;color=ff6d16&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;   &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/joe-griffin/civilwar-sounds&quot;&gt;Civilwar sounds&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/joe-griffin&quot;&gt;Joe Griffin: Sound Design&lt;/a&gt;&lt;/span&gt;&#xD;&#xA;&#xD;&#xA;I also have some sword sounds recorded in-studio. I'll dig that out if you like and put together another sampler." ContentLicense="CC BY-SA 2.5" />
  <row Id="4794" PostHistoryTypeId="5" PostId="2742" RevisionGUID="4f617423-c04c-4321-8d86-24ca93d0516f" CreationDate="2010-08-12T21:06:14.163" UserId="6435" Comment="added 50 characters in body" Text="Here's a small (roughly edited) pile of 1800s-era rifles and cannons, close and distant perspective, plus a cannon on wheels rolling on a dirt path. Recorded at a Civil War re-enactment so there are some bits that have stray talking etc. on the tailoffs. Some of that may disappear into the din of a battle mix though--I used these sounds as the basis of an 8 min. battle scene a few years ago. This is just a few of them; there are more. It's an old recording but hopefully it will help.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fjoe-griffin%2Fcivilwar-sounds&amp;amp;show_comments=true&amp;amp;auto_play=false&amp;amp;color=ff6d16&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fjoe-griffin%2Fcivilwar-sounds&amp;amp;show_comments=true&amp;amp;auto_play=false&amp;amp;color=ff6d16&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;   &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/joe-griffin/civilwar-sounds&quot;&gt;Civilwar sounds&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/joe-griffin&quot;&gt;Joe Griffin: Sound Design&lt;/a&gt;&lt;/span&gt;&#xD;&#xA;&#xD;&#xA;I also have some sword sounds recorded in-studio. I'll dig that out if you like and put together another sampler." ContentLicense="CC BY-SA 2.5" />
  <row Id="4795" PostHistoryTypeId="5" PostId="2741" RevisionGUID="713c4e4f-ae37-46ef-b9c3-6d5d1f502a61" CreationDate="2010-08-12T21:07:52.453" UserId="315" Comment="deleted 4 characters in body" Text="The LA3A is an optical compressor...meaning it has a light sensor/attenuator inside of it which controls the gain reduction circuit. They usually sound vintage because they have a gentle release time. I'm sure opto compressors were used on older film dialog mixes.&#xD;&#xA;&#xD;&#xA;Optical film sound is much different from optical compression. It is a strip printed on a film that is hit with a lamp  on one side and a photodetector on the other. The photodector translates the light into sound. These photodetectors weren't all that well designed and often led to a warbled lofi sound. &#xD;&#xA;&#xD;&#xA;Check out the Optigan, which is an organ made by Mattel in the 1970s that plays optical sound disks...a wonderful sound:&#xD;&#xA;&#xD;&#xA;http://www.optigan.com/&#xD;&#xA;&#xD;&#xA;In the 1950s optical soundtracks on film were replaced by magnetic soundtracks.&#xD;&#xA;&#xD;&#xA;On the film Up, the Skywalker crew took the newsreel narration, music etc. and recorded it to an optical track, then recorded back to digital. It sounded great and spot on. I would think you could fake the sound or come pretty close using Audio Ease's Speakerphone or Izotope Vinyl.&#xD;&#xA;&#xD;&#xA;A big part of the sound from that time I would think, is analog gear, old ribbon and tube microphones, the warble/wow/flutter of optical and mag sound, less dense fx cutting, and of course, mono." ContentLicense="CC BY-SA 2.5" />
  <row Id="4796" PostHistoryTypeId="5" PostId="2742" RevisionGUID="1d6a1387-9fae-4280-ade1-02809e68b9ff" CreationDate="2010-08-12T21:13:01.620" UserId="6435" Comment="added 1 characters in body" Text="Here's a small (roughly edited) pile of 1800s-era rifles and cannons, close and distant perspective, plus a cannon on wheels rolling on a dirt path. Recorded at a Civil War re-enactment so there are some bits that have stray talking etc. on the tailoffs. Some of that may disappear into the din of a battle mix though--I used these sounds as the basis of an 8 min. battle scene a few years ago. This is just a few of them; there are more. It's an old recording but hopefully it will help.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fjoe-griffin%2Fcivilwar-sounds&amp;amp;show_comments=true&amp;amp;auto_play=false&amp;amp;color=ff6d16&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fjoe-griffin%2Fcivilwar-sounds&amp;amp;show_comments=true&amp;amp;auto_play=false&amp;amp;color=ff6d16&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;   &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/joe-griffin/civilwar-sounds&quot;&gt;Civil war sounds&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/joe-griffin&quot;&gt;Joe Griffin: Sound Design&lt;/a&gt;&lt;/span&gt;&#xD;&#xA;&#xD;&#xA;I also have some sword sounds recorded in-studio. I'll dig that out if you like and put together another sampler." ContentLicense="CC BY-SA 2.5" />
  <row Id="4798" PostHistoryTypeId="2" PostId="2744" RevisionGUID="3dacb019-87aa-46e1-9899-391821f870bd" CreationDate="2010-08-12T22:05:32.563" UserDisplayName="user49" Text="re Q2 and Q3, it depends on what you want to achieve&#xD;&#xA;Are you wanting to add 'natural' acoustics to a sound ie reverb or delays&#xD;&#xA;Are you wanting to alter the sound in un-natural ways?&#xD;&#xA;&#xD;&#xA;I've bought a bunch of IRs - the IR folder on my Mac is just over 10GB&#xD;&#xA;Its shared by Altiverb, TL Space &amp; Waves - some work with all, others don't&#xD;&#xA;&#xD;&#xA;The IR libraries I've bought &amp; like are:&#xD;&#xA;&#xD;&#xA;- Sanitarium (good twisted textures!)&#xD;&#xA;http://www.spiritcanyonaudio.com/&#xD;&#xA;&#xD;&#xA;- Eventide H8000 (the website has disappeared - a shame as these are excellent!)&#xD;&#xA;http://www.v-synthesis.com/&#xD;&#xA;&#xD;&#xA;Can't remember where I got it but one IR I love is called MARs IR - someone made it for a space doco they were working on, basically a 90 second reverb on an expensive Lexicon = lovely soft textural verb... There are a lot of free IRs around the interwebs if you want to spend time searching... I have more than a few different collections from high end outboard devices...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;re Q3&#xD;&#xA;Its worth listening to raw impulses&#xD;&#xA;(I enjoy listening to delay ones as it reminds me raster noton music releases ;)&#xD;&#xA;But its especially interesting listening to more textural ones (eg the Sanitarium IRs) as it gives you ideas about sounds that could be useful to try when creating your own IRs...&#xD;&#xA;I dropped my whole IR folder into a seperate SoundMiner database - makes for fun listening!&#xD;&#xA;&#xD;&#xA;I've said it before on this site so do a search, but the thing with convolution is that it reinforces common frequencies between the two sounds. So if you put a bass sound through a violin IR you wont get much. This also explains why when it comes to textural IRs the 'noisy' (ie full spectrum) ones are so useful...&#xD;&#xA;&#xD;&#xA;I went through a phase a while ago making my own IRs - not with sines although I did a few with starter pistol - but using sounds. I have some useful ones of a group of people whispering (good to convolve with wind), tibetan monks, various animals, screams etc.. it is so easy to do there is no harm in just experimenting!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4799" PostHistoryTypeId="2" PostId="2745" RevisionGUID="162472cf-b358-4f71-aa3e-02d0c30547b3" CreationDate="2010-08-12T22:17:09.703" UserId="392" Text="[ohmicide!!!][1]&#xD;&#xA;&#xD;&#xA;absolutely wicked distortion, multi-band (4 bands), tons of interesting filters, endless mutations...&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ohmforce.com/ViewProduct.do?p=Ohmicide" ContentLicense="CC BY-SA 2.5" />
  <row Id="4800" PostHistoryTypeId="2" PostId="2746" RevisionGUID="df079007-8b2e-49e4-9b0f-563b4cfc3806" CreationDate="2010-08-12T22:17:29.750" UserDisplayName="user49" Text="I've messed with music my whole life and have always considered music to be my favourite form of relaxation - I do it for me! I have aspirations to score a feature at some stage but it would need to be a certain kind of film (ie one that suits/needs my musical aesthetics) and figure thats for later in life... I've scored a couple of short films and it is fascinating how different it is sound design; the two fields are a whole galaxy apart imho..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4801" PostHistoryTypeId="2" PostId="2747" RevisionGUID="d40d057b-d1da-4300-ba1b-11baff78359c" CreationDate="2010-08-12T22:54:01.603" UserId="396" Text="I started out from a music background and I did my degree in composition. I was first really turned on to sound design through electroacoustic music, and I'm finding myself more and more drawn to it. I do find my musical education to be of benefit - concepts like rhythm, pacing, timbre, pitch are relevant whatever the context of a sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="4803" PostHistoryTypeId="2" PostId="2749" RevisionGUID="742275e4-509a-457f-b731-a5923c926789" CreationDate="2010-08-12T23:45:03.400" UserId="18160" Text="I have searched for a bit but haven't found much on this but maybe some of you have fixed a similar problem in the past:&#xD;&#xA;&#xD;&#xA;Can I put something over glass to make it anechoic?&#xD;&#xA;&#xD;&#xA;It's a long shot, but I figured I'd ask you guys since most of you do a lot of recording in studios.&#xD;&#xA;&#xD;&#xA;My studio has a large glass sliding door to get into it and it's about 60% of one of the walls. I can position the talents to face away from it but is there anything I can put over the glass and lessen it's echo with still being able to see through it?&#xD;&#xA;&#xD;&#xA;Let me know if I'm crazy for asking/trying." ContentLicense="CC BY-SA 2.5" />
  <row Id="4804" PostHistoryTypeId="1" PostId="2749" RevisionGUID="742275e4-509a-457f-b731-a5923c926789" CreationDate="2010-08-12T23:45:03.400" UserId="18160" Text="Acoustic treatment for glass" ContentLicense="CC BY-SA 2.5" />
  <row Id="4805" PostHistoryTypeId="3" PostId="2749" RevisionGUID="742275e4-509a-457f-b731-a5923c926789" CreationDate="2010-08-12T23:45:03.400" UserId="18160" Text="&lt;glass&gt;&lt;echo&gt;&lt;acoustic&gt;&lt;handling&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4806" PostHistoryTypeId="2" PostId="2750" RevisionGUID="319059e1-be7a-4e6b-9d71-9f3097632f57" CreationDate="2010-08-13T00:03:26.697" UserId="432" Text="Anything that I can think of to put over it is going to obscure your line of site.  I initially thought multiple curtains of thin, gauzy, nearly transparent fabrics at spaced intervals; but the more I thought about it, the more likely it is that you won't be able to see through it as you add more layers.  Plus it would be a pain in the butt to walk in and out through.&#xD;&#xA;&#xD;&#xA;How big is your studio? Perhaps you can further treat the other walls or use some baffles, walk around and find the dryest area in the room and put them there.&#xD;&#xA;&#xD;&#xA;Uhhhh...now that I've mentioned baffles, I've realized that they don't have to cover all of the glass.  Maybe some free standing baffles that only come up to somewhere around shoulder height...or one that has a &quot;window&quot; built into it that you can see through but still covers most of your glass?  I suppose some reduction is better than none&#xD;&#xA;&#xD;&#xA;Those are the best solutions I can come up with.  Hopefully someone else will have something a little more elegant." ContentLicense="CC BY-SA 2.5" />
  <row Id="4807" PostHistoryTypeId="2" PostId="2751" RevisionGUID="133d3ad6-44d5-4ed2-b5a7-3e5bb63ada6a" CreationDate="2010-08-13T00:24:21.197" UserId="390" Text="Someone from MIT should develop transparent sonic foam with the multiple pyramids placed all over to disperse sound. Wait a minute. I'm going to develop it myself. But instead of a foam, it will be a clear gel that can stick to glass. It's brilliant! I'll need a pen and paper and some US patent forms. I'll be right back." ContentLicense="CC BY-SA 2.5" />
  <row Id="4808" PostHistoryTypeId="2" PostId="2752" RevisionGUID="26b823a3-348f-4925-ae91-b75a4665dfc2" CreationDate="2010-08-13T00:59:42.817" UserId="445" Text="As James Bryant, I started with music and studied my degree in Electroacoustic Arts Production and Composition. Since my graduation, my interest became more and more focused in sound in general, and I actually consider the whole sound spectrum as the sum of potentialities such as music or &quot;applied&quot; sound. Right now I'm near to graduate from a master in Audiovisual Post-production (sound program).&#xD;&#xA;&#xD;&#xA;I compose music and sound design for film and tv, and next week I'll start working as the main composer of a music production company in Buenos Aires who focuses in scoring ads." ContentLicense="CC BY-SA 2.5" />
  <row Id="4811" PostHistoryTypeId="5" PostId="2712" RevisionGUID="d7183f23-a278-474e-b7ad-899bf3ea5ed1" CreationDate="2010-08-13T01:50:07.117" UserId="393" Comment="added 86 characters in body" Text="I got into sound design when an open-source game I was on was flooded with composers, and we needed a sound designer.  None of the composers on the game had anything beyond Finale but me, so I stepped up to the plate and haven't really looked back.  I still write music, and would love to do that professionally, but I (currently) feel like sound design is the direction I'm going.&#xD;&#xA;&#xD;&#xA;So, I was wondering, do any of you compose music as well as design sound?  Did you start out writing music and moved into sound design?&#xD;&#xA;&#xD;&#xA;**UPDATE**:  Wow... I'm glad I'm not alone, but now I feel somewhat outmatched. :D" ContentLicense="CC BY-SA 2.5" />
  <row Id="4812" PostHistoryTypeId="2" PostId="2754" RevisionGUID="679cbe0e-674d-42f0-b826-17a198cf8f7a" CreationDate="2010-08-13T03:05:24.780" UserId="260" Text="I compose but I'm not very good at it,&#xD;&#xA;Here are some of my songs:&#xD;&#xA;http://www.soundwizardry.com/Music/Dude%2C%20where%20is%20my%20horse.mp3&#xD;&#xA;http://www.soundwizardry.com/Music/I%20shot%20the%20outlined%20horse.mp3&#xD;&#xA;http://www.soundwizardry.com/Music/Goodbye.mp3" ContentLicense="CC BY-SA 2.5" />
  <row Id="4813" PostHistoryTypeId="2" PostId="2755" RevisionGUID="5a8ec9ca-be47-4192-b06a-65ec7249b787" CreationDate="2010-08-13T05:32:37.033" UserId="390" Text=" The first time I made an emotional connection to what I was hearing on film was when I saw Indiana Jones and the Last Crusade on film. The music was spellbinding and gorgeous especially the music that played whenever the Holy Grail was discussed or seen. At the time, I was in college, lost, and not really sure of who I was so I was definitely in a Looking for God mode. I think that's why the music resonated with me. I was familiar with piano and viola so I dabbled in music composition. During this time, I became keenly aware of audio in film but more music than sound design. Oddly enough, it wasn't until I saw car chase scene in We Own The Night many many years later, that I became so enthralled with the role of sound design in storytelling.   I think I've always listened and responded to great sound design, but not on a conscious level until the moment I wanted to work on film as either a composer or sound designer." ContentLicense="CC BY-SA 2.5" />
  <row Id="4814" PostHistoryTypeId="5" PostId="2755" RevisionGUID="cab7f99a-8e88-4cbb-821e-6df935adb6ed" CreationDate="2010-08-13T05:40:35.943" UserId="390" Comment="added 885 characters in body; added 12 characters in body; added 57 characters in body; added 6 characters in body" Text=" The first time I made an emotional connection to what I was hearing on film was when I saw *Indiana Jones and the Last Crusade* on film. The music was spellbinding and gorgeous especially the music that played whenever the Holy Grail was discussed or seen. At the time, I was in college, lost, and not really sure of who I was. So I was definitely in a &quot;Looking for God&quot; mode. I think that's why the music resonated with me.&#xD;&#xA;&#xD;&#xA; I was familiar with piano and viola so I dabbled in music composition. During this time, I became keenly aware of audio in film but more music than sound design. Oddly enough, it wasn't until I saw the car chase scene in *We Own The Night* many, many years later, that I became so enthralled with the role of sound design in storytelling.&#xD;&#xA;&#xD;&#xA; I think I've always listened and responded to great sound design, but not on a conscious level until the moment I wanted to work on film as either a composer or sound designer.  That precise moment was two years ago. I was a miserable medical student barely passing my exams when I decided that enough was enough and I had to do something different or I'm going to self-destruct.  After a year of part time work and months of private music composition lessons, I decided to go with my gut and learn all there was about sound design for film. I considered a graduate program in music composition but my portfolio was not strong enough for consideration, in my opinion. So I went with the 2 year Recording arts program at a school in Chicago and now I'm starting fresh as a freelance location audio recordist/ sound designer and composer for films and video games. &#xD;&#xA;&#xD;&#xA;If I had a time machine, I'd go back to the early 1990s and change my major from Biology to Music right after I saw Indiana Jones! Perhaps, I would have been less miserable at the very least!  But then again, would I have ever met my lovely wife? hehe" ContentLicense="CC BY-SA 2.5" />
  <row Id="4815" PostHistoryTypeId="2" PostId="2756" RevisionGUID="09d05475-666f-40d9-a2a2-efa79582c334" CreationDate="2010-08-13T06:14:56.633" UserId="61" Text="There are no rules. There are only lessons to be learned from watching the movies that made *you* laugh!&#xD;&#xA;&#xD;&#xA;At the risk of repeating some of what @Ryan wrote, there is no formula for making a soundtrack &quot;funny&quot; -- just the idea of that doesn't make much sense since the same sound to two different people will elicit different reactions. Making it funny is partly about timing, partly about context. Some techniques I've found useful and effective:&#xD;&#xA;&#xD;&#xA; - Use your sound moment to make a&#xD;&#xA;   statement, whether it be over-the-top&#xD;&#xA;   or understated&#xD;&#xA; - Try to tell the story with a sound&#xD;&#xA;   that is unexpected&#xD;&#xA; - Try to tell the story with a sound&#xD;&#xA;   that is completely expected (and&#xD;&#xA;   perhaps cliché)&#xD;&#xA; - Use timing to your advantage&#xD;&#xA; - If the film is a remake, sequel or&#xD;&#xA;   reminiscent of another film, try&#xD;&#xA;   using sounds from those films as an&#xD;&#xA;   homage" ContentLicense="CC BY-SA 2.5" />
  <row Id="4816" PostHistoryTypeId="2" PostId="2757" RevisionGUID="e64a1ac8-d969-4ff3-a8ad-9d62a1217bf9" CreationDate="2010-08-13T07:03:21.730" UserId="54" Text="Hello.&#xD;&#xA;&#xD;&#xA;Maybe this question has already answered itself as I'm not quite sure how else it would be done. But say I'm recording sound effects for distribution and I want to offer them in different variants... 24bit 96khz, 24bit 48khz and 16bit 44.1khz.&#xD;&#xA;&#xD;&#xA;Is it absolute common practice to record in the highest possible format and then dither down to the others? ...or do pros record the sound at different formats each (which I can't really see how this is done)&#xD;&#xA;&#xD;&#xA;With this, is there anything I should note when preforming dithering on such material? The dither options available to me are iZotope's 64-bit SRC and MBIT+.&#xD;&#xA;&#xD;&#xA;Many thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="4817" PostHistoryTypeId="1" PostId="2757" RevisionGUID="e64a1ac8-d969-4ff3-a8ad-9d62a1217bf9" CreationDate="2010-08-13T07:03:21.730" UserId="54" Text="Should I record 24bit 96khz and then dither down for distribution?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4818" PostHistoryTypeId="3" PostId="2757" RevisionGUID="e64a1ac8-d969-4ff3-a8ad-9d62a1217bf9" CreationDate="2010-08-13T07:03:21.730" UserId="54" Text="&lt;recording&gt;&lt;quality&gt;&lt;dither&gt;&lt;conversion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4819" PostHistoryTypeId="2" PostId="2758" RevisionGUID="bcb30d66-9dcc-49f5-bbba-a0d08b9cd75a" CreationDate="2010-08-13T07:12:52.413" UserId="400" Text="I'm a composer probably first and foremost although over the last year-ish, as I've discovered sound design I've definitely swayed towards wanting to pursue that more than I ever did composition. Hopefully my last year at University (upcoming) will really up my sound design experience so it can match the experience I have in composition." ContentLicense="CC BY-SA 2.5" />
  <row Id="4820" PostHistoryTypeId="2" PostId="2759" RevisionGUID="e2226716-4f43-4ce4-91ad-ba4289eb90a8" CreationDate="2010-08-13T07:14:40.290" UserId="54" Text="Hello.&#xD;&#xA;&#xD;&#xA;I'm trying to keep my recording setup as efficient as possible. I don't have a car so all my travels will be on foot, by bus/train, or by bicycle.&#xD;&#xA;&#xD;&#xA;My budget can't stretch to getting a dedicated portable recorder yet (had my eyes on the Tascam HDP2) but I do have a portable laptop, hard drive, Apogee Duet (bus powered) and some microphones. The quality of this setup is great, but it has a few disadvantages over a portable recorder.&#xD;&#xA;&#xD;&#xA;I'm trying to look for some decent quality, but very lightweight, microphones stands. It looks like I'll need two really, but the usual ones (of any decent quality) seem to be 3 to 4 kilograms plus in weight. Putting two of these together on my back, along with all my other stuff will make it a little tricky to bike anywhere with my stuff. I've only really seen cheap mic stands that are more like 1 to 2 kilograms in weight. Any suggestions?&#xD;&#xA;&#xD;&#xA;As for a mic stand bag to hold them in, I was looking at the [Gator GX-33][1] which seems good. Does anyone have one? Are they decent quality? ...it holds microphones too (which is handy) but I can't tell if it'll hold a Rode NT4 and after emailing the company, I never got a reply. Any views on a decent microphone stand bag to put on my back so I can take it around easily would be great.&#xD;&#xA;&#xD;&#xA;And then a laptop bag (I don't ask for much do I? ;) ... I'm looking for a good quality flip over laptop bag to hold my MacBook Pro 15inch. The idea being I can close the lid of the laptop, close the lid of the bag and take it to the next location... When I'm at my location, I'll flip open the bag lid, flip open the laptop, pull out the microphones/stands from my bag on my back, setup and record. Obviously, I have looked around for such bags, but was curious if anyone has one that is ideal for this sort of thing?&#xD;&#xA;&#xD;&#xA;Sorry, I know I'm asking for a lot. But I don't really know anyone where I live to ask these sort of questions... Any answers or pointers would be great for me to complete my little portable, lightweight, quality setup :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gatorcases.com/Default.aspx?Section=Products&amp;Page=Details&amp;CategoryID=4470&amp;CatalogID=9081" ContentLicense="CC BY-SA 2.5" />
  <row Id="4821" PostHistoryTypeId="1" PostId="2759" RevisionGUID="e2226716-4f43-4ce4-91ad-ba4289eb90a8" CreationDate="2010-08-13T07:14:40.290" UserId="54" Text="Portable mic stands, laptop bags, bags for mics? (equipment for a travelling recordist)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4822" PostHistoryTypeId="3" PostId="2759" RevisionGUID="e2226716-4f43-4ce4-91ad-ba4289eb90a8" CreationDate="2010-08-13T07:14:40.290" UserId="54" Text="&lt;kit-bag&gt;&lt;microphone&gt;&lt;travel&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4823" PostHistoryTypeId="2" PostId="2760" RevisionGUID="535a86dd-5575-4ee9-bf21-d2a008a1dfa5" CreationDate="2010-08-13T07:23:32.703" UserId="61" Text="You should always record at the highest possible settings (imho). I see no reason not to since storage is so cheap these days, plus you're future-proofing your library as well as technology allows.&#xD;&#xA;&#xD;&#xA;Regarding dithering, I personally don't do anything special in that regard when mastering my recordings. I simply clean them up, apply any corrective EQ and/or compression, and save them down to the desired bit/sample rates. That's it! Keep it clean for unknown future purposes." ContentLicense="CC BY-SA 2.5" />
  <row Id="4824" PostHistoryTypeId="2" PostId="2761" RevisionGUID="d42ab9e3-0f14-4934-b0f4-41f2ef5ec5a9" CreationDate="2010-08-13T07:32:44.947" UserId="61" Text="Regarding mic stands and your limited travel means, lots of folks have been swearing by these [Joby][1] tripods:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;May work for your application or not, totally depends on your surroundings. Imagine it wrapped around your handlebars, a tree limb, a stump, a flagpole, etc. You get the idea. Very light and easy to pack.&#xD;&#xA;&#xD;&#xA;Regarding bags, there are a plethora of official laptop bags to choose from but the first one that came to mind was a 3-ring binder bag we just picked up for back-to-school. It's not a laptop bag but could probably be modified to fit one, it's durable, has the kind of top opening you're looking for, and it's **CHEAP**. Sorry don't have a link for that, but just check out one of the big box stores (Target, Staples, etc.). &#xD;&#xA;&#xD;&#xA;  [1]: http://joby.com/gorillapod&#xD;&#xA;  [2]: http://www.bhatt.id.au/blogimg/joby-gorillapod-slr-flexible-tripod.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="4825" PostHistoryTypeId="2" PostId="2762" RevisionGUID="80d53c1e-8471-40f8-b282-6bbe816a8c41" CreationDate="2010-08-13T08:15:17.297" UserId="495" Text="After some considerable looking around on the womb and gearslutz, the shared knowledge there seems to be that recording at 44.1khz is just fine (especially if you're going to be bringing it back to 44.1 for CD), though if you've got enough processing power, mixing at 88.2 offers some benefits as when using plugins, &quot;the maths works better&quot;.&#xD;&#xA;Bit depth of 24 is important mind.&#xD;&#xA;;)&#xD;&#xA;Best,&#xD;&#xA;Rich&#xD;&#xA;@thehuxcapacitor&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4826" PostHistoryTypeId="2" PostId="2763" RevisionGUID="a464f6e2-edbb-4055-b788-ba8ddfbff8be" CreationDate="2010-08-13T08:33:58.950" UserId="402" Text="Has anyone got any tips on creating/recording electronic spark/arcing sounds? Is there anyway to create these without an arc welder or a tesla coil?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4827" PostHistoryTypeId="1" PostId="2763" RevisionGUID="a464f6e2-edbb-4055-b788-ba8ddfbff8be" CreationDate="2010-08-13T08:33:58.950" UserId="402" Text="Electronic Sparking/Arcing Sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="4828" PostHistoryTypeId="3" PostId="2763" RevisionGUID="a464f6e2-edbb-4055-b788-ba8ddfbff8be" CreationDate="2010-08-13T08:33:58.950" UserId="402" Text="&lt;sound-design&gt;&lt;recording&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4829" PostHistoryTypeId="2" PostId="2764" RevisionGUID="2547b792-3cd6-473c-9212-f87d8c8101a2" CreationDate="2010-08-13T09:41:11.557" UserId="497" Text="Seeing as you can't re-record, I think a noise expander / gate is your best option. Someone mentioned earlier to set it up so that only the loudest parts get through, which is absolutely correct. It takes a bit of trial and error though. &#xD;&#xA;&#xD;&#xA;For starters, some parts are inherrently going to be louder than others so one gate setting will not work. What to do here is adjust the amplitude of each word so that the average is approx the same. Do NOT use compression for this because it will squash your peaks down closer to the level of the unwanted signal and you'll find it harder to make the distinction with your gate later. Once your peaks are uniform, you should be able to find a general gate setting which cuts the reverb/echo from the tails of each word. An expander with quick transients is best for this otherwise you'll find the words &quot;chop in&quot;. Also, be sure to set the release so that words don't end too abruptly. This won't suddenly make your recording sound fantastic, but if you do a before and after comparison you will notice at least a 70% improvement. It's a shame that the engineer didn't do a better job to begin with - using a decent expander you really can improve and near eliminate room noise. I use a Behringer INTELLIGATE XR2000 and get good results, but there are newer ones for around £200 which are well worth the money." ContentLicense="CC BY-SA 2.5" />
  <row Id="4830" PostHistoryTypeId="2" PostId="2765" RevisionGUID="e3d9c3c6-5588-48f1-b776-8ec09bd94fce" CreationDate="2010-08-13T11:22:53.250" UserId="432" Text="I've had some good results in the past by close miking incandescent bulbs with highly directional mics. The buzz and hum they give off are a good starting point. Just watch out you don't burn your mic. lol" ContentLicense="CC BY-SA 2.5" />
  <row Id="4831" PostHistoryTypeId="5" PostId="2744" RevisionGUID="66861042-899d-4525-8f3d-1db48ef0d7db" CreationDate="2010-08-13T11:45:20.710" UserDisplayName="user49" Comment="link updated" Text="re Q2 and Q3, it depends on what you want to achieve&#xD;&#xA;Are you wanting to add 'natural' acoustics to a sound ie reverb or delays&#xD;&#xA;Are you wanting to alter the sound in un-natural ways?&#xD;&#xA;&#xD;&#xA;I've bought a bunch of IRs - the IR folder on my Mac is just over 10GB&#xD;&#xA;Its shared by Altiverb, TL Space &amp; Waves - some work with all, others don't&#xD;&#xA;&#xD;&#xA;The IR libraries I've bought &amp; like are:&#xD;&#xA;&#xD;&#xA;- Sanitarium (good twisted textures!)&#xD;&#xA;http://www.spiritcanyonaudio.com/&#xD;&#xA;&#xD;&#xA;- Eventide H8000&#xD;&#xA;http://www.kineticsoundprism.com&#xD;&#xA;&#xD;&#xA;Can't remember where I got it but one IR I love is called MARs IR - someone made it for a space doco they were working on, basically a 90 second reverb on an expensive Lexicon = lovely soft textural verb... There are a lot of free IRs around the interwebs if you want to spend time searching... I have more than a few different collections from high end outboard devices...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;re Q3&#xD;&#xA;Its worth listening to raw impulses&#xD;&#xA;(I enjoy listening to delay ones as it reminds me raster noton music releases ;)&#xD;&#xA;But its especially interesting listening to more textural ones (eg the Sanitarium IRs) as it gives you ideas about sounds that could be useful to try when creating your own IRs...&#xD;&#xA;I dropped my whole IR folder into a seperate SoundMiner database - makes for fun listening!&#xD;&#xA;&#xD;&#xA;I've said it before on this site so do a search, but the thing with convolution is that it reinforces common frequencies between the two sounds. So if you put a bass sound through a violin IR you wont get much. This also explains why when it comes to textural IRs the 'noisy' (ie full spectrum) ones are so useful...&#xD;&#xA;&#xD;&#xA;I went through a phase a while ago making my own IRs - not with sines although I did a few with starter pistol - but using sounds. I have some useful ones of a group of people whispering (good to convolve with wind), tibetan monks, various animals, screams etc.. it is so easy to do there is no harm in just experimenting!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4832" PostHistoryTypeId="2" PostId="2766" RevisionGUID="63ac9ed7-622e-4883-8316-f523274fd020" CreationDate="2010-08-13T12:14:05.087" UserId="432" Text="Does anyone out there have a preferred tripod for mounting your pistol grips? I think I've seen photos of people using something akin to a small/cheap camera tripod before, but that could have been some overly-optimistic induced delusion.&#xD;&#xA;&#xD;&#xA;I'm also curious about [these devices][1], if anyone has used them before and can provide their thoughts.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.trewaudio.com/store/product.php?productid=55&amp;cat=38&amp;page=1" ContentLicense="CC BY-SA 2.5" />
  <row Id="4833" PostHistoryTypeId="1" PostId="2766" RevisionGUID="63ac9ed7-622e-4883-8316-f523274fd020" CreationDate="2010-08-13T12:14:05.087" UserId="432" Text="Tripods and Tripod adapters for pistol grips" ContentLicense="CC BY-SA 2.5" />
  <row Id="4834" PostHistoryTypeId="3" PostId="2766" RevisionGUID="63ac9ed7-622e-4883-8316-f523274fd020" CreationDate="2010-08-13T12:14:05.087" UserId="432" Text="&lt;location-recording&gt;&lt;tripod&gt;&lt;gear&gt;&lt;pistol-grips&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4835" PostHistoryTypeId="2" PostId="2767" RevisionGUID="410bc5d7-62fb-47e5-818a-d05e0097d478" CreationDate="2010-08-13T13:05:29.020" UserId="6411" Text="I bought a similar thread adapter to mount our pistol grip to our studio mic stand. Works great." ContentLicense="CC BY-SA 2.5" />
  <row Id="4836" PostHistoryTypeId="2" PostId="2768" RevisionGUID="bf557cc8-5340-4d6f-acdb-2d5975f92175" CreationDate="2010-08-13T13:25:46.103" UserId="29" Text="There was a thread on Twitter about this last year - challenging, eh? While ideas thrown around included miking fluorescents, buzzes, hums, and even the sound of packing tape for short static-y bursts, the best idea I came across was [this brilliant guest contribution][1] on [Chuck's blog][2]. Bug zappers, who knew?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.chuckrussom.com/2010/05/guest-blogger-jerry-berlongieri/&#xD;&#xA;  [2]: http://www.chuckrussom.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="4837" PostHistoryTypeId="2" PostId="2769" RevisionGUID="110c5c7c-5e58-4370-9cc7-f3b3847b483a" CreationDate="2010-08-13T13:30:58.890" UserId="220" Text="What are your recording applications?  It might be easiest to carry a carbon fiber short boom pole and just hold it as needed.  I also second birdhousesound's suggestion of the Joby tripod, just make sure you have some kind of shock mounting for the mic and you should be golden.  And don't buy an off brand - they snap very quickly with just a little use!&#xD;&#xA;&#xD;&#xA;As far as bags, I love my Petrol bag for recording.  Has a very comfortable strap and a nice optional harnass.  You might get more mileage out of a small Pelican case that fits your mics and recording input.  They even have some for laptops that you can flip open and work out of on location.  They're water proof, have pressure release and you can hit them with a car.  Minimal weight for great protection.  Get that and an old military style backpack, and you'll be set for any conditions. &#xD;&#xA;&#xD;&#xA;Alternately, get a Zoom HN4 as your recording device.  By the time you buy cases and bags, you'd probably have spend the $300 US to get one." ContentLicense="CC BY-SA 2.5" />
  <row Id="4838" PostHistoryTypeId="2" PostId="2770" RevisionGUID="c91d82f6-dd68-40ee-99aa-491e9e13225b" CreationDate="2010-08-13T13:33:48.353" UserId="29" Text="I've tried 'em all, and I keep coming back to lightweight tripods over mic stands, primarily for use on uneven terrain, since the legs can be independently set (and I'm not about to schlep a &quot;Rocky Mountain Leg&quot; c-stand into the field!). The Joby Gorillapod works brilliantly on small recorders like the H2. Small units like the Slik Sprint Pro (with ball heads) are good, lightweight solutions for even stereo mid-side rigs in zeppelins; stable in calm conditions and weighs less than 1kg. I also graft mic boom arms onto lightweight light stands for more height variability and a minimum length when packed (article on that practice [here][1]).&#xD;&#xA;&#xD;&#xA;Since most tripods are outfitted with 1/4-20 screws, I use step-down bushings in my pistol grips' 3/8&quot; threads. I also keep a set of 5/8-1/4 and 5/8-3/8 adapters in the bag so that I can adapt any tripod to any mic stand to any tripod. I have 2 each of the appropriate bushings and adapters in my audio grip kit.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2009/07/07/lightweight-mic-stands-in-the-field/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4839" PostHistoryTypeId="2" PostId="2771" RevisionGUID="5b8a2eb2-78a5-44d0-9e9f-f8d62e005695" CreationDate="2010-08-13T13:40:23.310" UserId="219" Text="I'll describe Autotune as a pitch &quot;discretiser&quot;, though I've been unsuccessful in my attempt to recreate a similar effect.&#xD;&#xA;&#xD;&#xA;I want to create a bitstream effect from a water stream recording and I feel like it's the effect I need. First I tried Digi's Lo-Fi but this produces an old-sounding modem-like effect. I've played around with compressors and expanders to make an aliased (square) envelope but I can't find anything for the pitch.&#xD;&#xA;&#xD;&#xA;Have you ever created a bitstream sound effect this way? I think I read about this on this board but can't seem to find it... About the DIY Autotune, do you know of any trick to get it done?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4840" PostHistoryTypeId="1" PostId="2771" RevisionGUID="5b8a2eb2-78a5-44d0-9e9f-f8d62e005695" CreationDate="2010-08-13T13:40:23.310" UserId="219" Text="Ever managed to fake the Autotune effect?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4841" PostHistoryTypeId="3" PostId="2771" RevisionGUID="5b8a2eb2-78a5-44d0-9e9f-f8d62e005695" CreationDate="2010-08-13T13:40:23.310" UserId="219" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4842" PostHistoryTypeId="2" PostId="2772" RevisionGUID="a5cba9dc-9b34-4de4-93ac-0becc91a24bf" CreationDate="2010-08-13T13:43:43.923" UserId="29" Text="*[Just threw down some related thoughts on [this thread][1], especially related to tripods and stands that are &lt;1kg each.]*&#xD;&#xA;&#xD;&#xA;The Gorillapod will only hold something like a Zoom H2 before getting unstable; for larger rigs, the Gorillapod SLR is beefier and may fare better.&#xD;&#xA;&#xD;&#xA;My strategy is to have all my grip equipment be less than 19&quot; when collapsed, so that it all fits in a backpack. I did hours of research and found that most shoulder and backpacks are only 14-18&quot; in their longest dimension. If you carry a boom pole, a mic stand (or two), a mic boom arm (or two), and a big ol' windscreen, strapping all that externally to a bag is a nightmare.&#xD;&#xA;&#xD;&#xA;I'm a fan of laptop sleeves, because then the design of the bag can be a big more variable. Plus, it's something to set it on when needed. Don't be shy about looking into a laptop sun shield, it can make the difference between being able to use it or not in some conditions.&#xD;&#xA;&#xD;&#xA;There's no one perfect bag for every person or every task. I use three strategies based on what I'm doing: I strap a boom pole to a shoulder bag, like a Petrol or a Portabrace, when I'm running and gunning or just hopping out of the car or house for a short session. I carry a big Chrome backpack (the biggest size) and just put everything in it - no dividers for maximum space, but a few internal pockets to stash the little things. If I'm traveling or really trekking to a location, I'll put stuff in and on a photo backpack with internal padded dividers.&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2766/tripods-and-tripod-adapters-for-pistol-grips" ContentLicense="CC BY-SA 2.5" />
  <row Id="4843" PostHistoryTypeId="2" PostId="2773" RevisionGUID="ed199f49-13c8-4abd-b46e-47a020b90149" CreationDate="2010-08-13T14:02:24.517" UserId="61" Text="Autotune has a very unique sound to it and it's become so recognizable that it will be hard to fake. One thing you could try is drawing a pitch envelope over the sound using [Pitch 'n Time][1]. &#xD;&#xA;Radical shifts in pitch may create a similar effect.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;Secondly, if you are using Nuendo, I believe there is a function that allows you to draw real-time pitch envelopes over the track in the timeline. Any Nuendo users care to share more on this?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://serato.com/pitchntime-pro&#xD;&#xA;  [2]: http://serato.com/sharedimages/19/919/919.jpeg" ContentLicense="CC BY-SA 2.5" />
  <row Id="4844" PostHistoryTypeId="2" PostId="2774" RevisionGUID="0d3427ec-5a48-496f-bec9-ec5e96288b51" CreationDate="2010-08-13T15:13:39.527" UserId="234" Text="I'm guessing you're on PT... If you have any of the extra packs you should have gotten Melodyne, which will do a similar trick to AutoTune (draw in random pitches on the grid)... Also if you have Waves, try the MondoMod - square wave, 100% mix, max Pitch and Amplitude values to start - adjust to taste." ContentLicense="CC BY-SA 2.5" />
  <row Id="4846" PostHistoryTypeId="2" PostId="2776" RevisionGUID="09f627dd-2c4f-4421-b4e5-36f175d5e9da" CreationDate="2010-08-13T15:23:41.830" UserId="217" Text="Hi Andrew.&#xD;&#xA;&#xD;&#xA;I am UK based (South East UK).  I have been out and about a lot this summer recording ambiances around a small coastal town in Sussex.  During these sessions I have visited a nearby nature reserve and have collected a number of Nature sounds.&#xD;&#xA;&#xD;&#xA;One of the recordings I think you might be particularly interested in are of insects (crickets etc..) in a marsh land.  &#xD;&#xA;&#xD;&#xA;There may be a few others that may interest you aswell.&#xD;&#xA;&#xD;&#xA;If you're still looking for the sounds please get in touch :). " ContentLicense="CC BY-SA 2.5" />
  <row Id="4847" PostHistoryTypeId="2" PostId="2777" RevisionGUID="be8ff5cd-ae41-498e-83fb-c0e8800846b6" CreationDate="2010-08-13T16:37:38.627" UserId="498" Text="The BBC's Save Our Sounds project is really cool for finding location specific sounds!&#xD;&#xA;http://www.bbc.co.uk/worldservice/specialreports/saveoursounds/index.shtml&#xD;&#xA;&#xD;&#xA;So is the website soundtransit&#xD;&#xA;http://soundtransit.nl/search/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4848" PostHistoryTypeId="2" PostId="2778" RevisionGUID="f8ab2e81-aba1-478d-866b-a8e2a52be649" CreationDate="2010-08-13T17:41:47.510" UserId="499" Text="i do very little EQ. its the basic frequencies of a particular voice i treat. it varies from voice to voice. i do dialogue for films. so i need EQs but with extreme care. the mids and lows( to give the &quot;body&quot; to the voice) are the most important. presence will be given according to the perspective and the nature of the shot and the space. thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="4849" PostHistoryTypeId="2" PostId="2779" RevisionGUID="73823a6e-c92a-4253-9acf-0654cff97e56" CreationDate="2010-08-13T21:56:54.487" UserId="29" Text="You responded to my comment, &quot;@NoiseJockey It's exactly what I mean, when beeps go crazy. I'm trying to turn this water recording into a river of beeps.&quot; Rad.&#xD;&#xA;&#xD;&#xA;I can't recommend an Auto Tune clone, but have you tried the free AudioUnit plugin called [Buffer Override][1]? It can impart a vocoded sound to a sample that you can make clean or glitchy, and it can be fully automated, which can make the apparent pitch of the pseudo-vocoding change over time.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://destroyfx.smartelectronix.com/audiounits.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="4852" PostHistoryTypeId="2" PostId="2781" RevisionGUID="538d59be-c1a9-49d6-8966-e4315ce9e494" CreationDate="2010-08-13T23:04:25.383" UserDisplayName="user49" Text="I made a folder full of data stream sounds and made most of them using granular processing - either with GRM Freeze (mess with the random pitch) or with Pluggo granular plugins... I tended to use sounds with some element of pitch/harmonics in them, but with the stream recording you should be able to get a burbling data stream if you play with the pitch &amp; envelope of the granules..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4853" PostHistoryTypeId="2" PostId="2782" RevisionGUID="a3aec465-e84d-422e-b341-d2ef3c428b60" CreationDate="2010-08-14T02:02:58.587" UserId="338" Text="What do you use delays for? Thickening? making wierd effects?  I never use them even to thicken, maybe that's because my delay is too long.  Whats up world!?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4854" PostHistoryTypeId="1" PostId="2782" RevisionGUID="a3aec465-e84d-422e-b341-d2ef3c428b60" CreationDate="2010-08-14T02:02:58.587" UserId="338" Text="What do you use delays for?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4855" PostHistoryTypeId="3" PostId="2782" RevisionGUID="a3aec465-e84d-422e-b341-d2ef3c428b60" CreationDate="2010-08-14T02:02:58.587" UserId="338" Text="&lt;delay&gt;&lt;design&gt;&lt;tips&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4856" PostHistoryTypeId="2" PostId="2783" RevisionGUID="25ed6c2e-503f-4812-bd10-34b56469488f" CreationDate="2010-08-14T02:08:17.530" UserId="61" Text="Sometimes I'll use a delay in place of a reverb for things like slap echoes off of walls or buildings. Easy to achieve and doesn't muddy up the track." ContentLicense="CC BY-SA 2.5" />
  <row Id="4857" PostHistoryTypeId="5" PostId="2782" RevisionGUID="249c8746-478f-4477-8f04-502558699903" CreationDate="2010-08-14T02:08:51.127" UserId="338" Comment="added 7 characters in body" Text="What do you use delays for? Thickening? making wierd effects?  I never use them even to thicken, maybe that's because my delay is too long.  Whats up world!?&#xD;&#xA;&#xD;&#xA;depth? " ContentLicense="CC BY-SA 2.5" />
  <row Id="4860" PostHistoryTypeId="2" PostId="2785" RevisionGUID="c684ef06-426d-4ce2-bc07-a9a380f0ea99" CreationDate="2010-08-14T03:44:45.837" UserId="90" Text="Always record at the highest bit depth you can, so you have the best dynamic range to work with.  After you've mixed and gotten the levels right, then you can convert to 16-bit.&#xD;&#xA;&#xD;&#xA;Dithering is used when converting to a lower bit depth.  It decreases nasty things like distortion by increasing the overall noise a little bit.&#xD;&#xA;&#xD;&#xA;As for sampling frequency, I'd record at 88.2.  It's not a matter of recording what humans can hear; 44.1 is plenty for that.  Instead, it's a matter of avoiding aliasing.  All converters have some amount of aliasing.  Recording at a higher sampling rate ensures that the aliasing stays way up in the ultrasound, and then you can get rid of the ultrasound with a really good digital filter on the computer instead of the reasonably good digital filter in the oversampling ADC.&#xD;&#xA;&#xD;&#xA;And 88.2 instead of 96 because 88.2 is a perfect multiple of 44.1.  To downsample, you just [do the digital filter and then drop half the samples][1].  To convert 96 to 44.1, you need to, uh... do [more than that][2].  I'm sure they don't literally oversample by 147x and then downsample by 320x, but that's effectively what the algorithm is doing.  It's more complicated than 88.2, so the processing will take longer, even if the converter is designed well enough to get the same output quality, so I see no benefit to 96.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Downsampling#Downsampling_by_integer_factor&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Sample_rate_conversion#Technical_explanation" ContentLicense="CC BY-SA 2.5" />
  <row Id="4861" PostHistoryTypeId="2" PostId="2786" RevisionGUID="35e11f54-9a76-4a8b-92f0-6a698f7a5b2e" CreationDate="2010-08-14T04:11:41.383" UserId="61" Text="When faced with a design challenge, what is your first instinct: To reach for a mic or a piece of software?&#xD;&#xA;&#xD;&#xA;Of course it often depends on the project or task at hand, but in general, where does your creative mind take you first?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4862" PostHistoryTypeId="1" PostId="2786" RevisionGUID="35e11f54-9a76-4a8b-92f0-6a698f7a5b2e" CreationDate="2010-08-14T04:11:41.383" UserId="61" Text="Thinking outside the &quot;box&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4863" PostHistoryTypeId="3" PostId="2786" RevisionGUID="35e11f54-9a76-4a8b-92f0-6a698f7a5b2e" CreationDate="2010-08-14T04:11:41.383" UserId="61" Text="&lt;creativity&gt;&lt;software&gt;&lt;microphone&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4864" PostHistoryTypeId="5" PostId="2774" RevisionGUID="5f91a2d7-2610-4a1f-8b83-d4aabb258267" CreationDate="2010-08-14T04:14:17.040" UserId="61" Comment="hyperlinks" Text="I'm guessing you're on PT... If you have any of the extra packs you should have gotten [Melodyne][1], which will do a similar trick to AutoTune (draw in random pitches on the grid)... Also if you have Waves, try the [MondoMod][2] - square wave, 100% mix, max Pitch and Amplitude values to start - adjust to taste.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.celemony.com/cms/&#xD;&#xA;  [2]: http://www.waves.com/Content.aspx?id=240" ContentLicense="CC BY-SA 2.5" />
  <row Id="4865" PostHistoryTypeId="5" PostId="2781" RevisionGUID="10e2a3f4-f040-46d8-be4d-058675884639" CreationDate="2010-08-14T04:16:07.240" UserId="61" Comment="hyperlinks" Text="I made a folder full of data stream sounds and made most of them using granular processing - either with [GRM Freeze][1] (mess with the random pitch) or with Pluggo granular plugins... I tended to use sounds with some element of pitch/harmonics in them, but with the stream recording you should be able to get a burbling data stream if you play with the pitch &amp; envelope of the granules...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.grmtools.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4866" PostHistoryTypeId="5" PostId="2771" RevisionGUID="cb7f7fb9-1309-4133-9508-38f295a7bd89" CreationDate="2010-08-14T04:17:08.593" UserId="61" Comment="hyperlinks" Text="I'll describe [Autotune][1] as a pitch &quot;discretiser&quot;, though I've been unsuccessful in my attempt to recreate a similar effect.&#xD;&#xA;&#xD;&#xA;I want to create a bitstream effect from a water stream recording and I feel like it's the effect I need. First I tried Digi's [Lo-Fi][2] but this produces an old-sounding modem-like effect. I've played around with compressors and expanders to make an aliased (square) envelope but I can't find anything for the pitch.&#xD;&#xA;&#xD;&#xA;Have you ever created a bitstream sound effect this way? I think I read about this on this board but can't seem to find it... About the DIY Autotune, do you know of any trick to get it done?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.antarestech.com/products/auto-tune-evo.shtml&#xD;&#xA;  [2]: http://www.avid.com/US/products/D-Fi" ContentLicense="CC BY-SA 2.5" />
  <row Id="4869" PostHistoryTypeId="2" PostId="2788" RevisionGUID="e664f7d9-8c80-44bb-8379-a7db093845cd" CreationDate="2010-08-14T06:27:12.130" UserId="338" Text="When you are looking for a creative processing, what plugin's do you use?  &#xD;&#xA;&#xD;&#xA;Do you often find yourself using Reaktor, Max, PD or any other modular languages?  How often do you find yourself programming in them?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4870" PostHistoryTypeId="1" PostId="2788" RevisionGUID="e664f7d9-8c80-44bb-8379-a7db093845cd" CreationDate="2010-08-14T06:27:12.130" UserId="338" Text="Do you use reaktor, Max, PD?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4871" PostHistoryTypeId="3" PostId="2788" RevisionGUID="e664f7d9-8c80-44bb-8379-a7db093845cd" CreationDate="2010-08-14T06:27:12.130" UserId="338" Text="&lt;max&gt;&lt;reaktor&gt;&lt;design&gt;&lt;style&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4872" PostHistoryTypeId="2" PostId="2789" RevisionGUID="94d9fd68-8f5e-42b3-8d1c-0268568a8afd" CreationDate="2010-08-14T07:00:51.590" UserId="2" Text="I often use Max/MSP. I know the quality isn't as good and getting the right sound can be very time consuming, but I really enjoy the process. I find it fun and rewarding, it's like a puzzle. I also feel that you're not limited to the developer's UI, you can just add a little something (even randomly), which can really change your sound for the best. &#xD;&#xA;&#xD;&#xA;i &lt;3 Max " ContentLicense="CC BY-SA 2.5" />
  <row Id="4873" PostHistoryTypeId="6" PostId="2757" RevisionGUID="c5c96c33-c6d7-4313-ae29-845144c8c573" CreationDate="2010-08-14T08:19:38.607" UserId="445" Comment="edited tags" Text="&lt;recording&gt;&lt;quality&gt;&lt;dither&gt;&lt;conversion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4874" PostHistoryTypeId="6" PostId="2788" RevisionGUID="2c3d2b61-d158-4899-b7d4-5c3dd10803d6" CreationDate="2010-08-14T08:21:11.757" UserId="445" Comment="edited tags" Text="&lt;maxmsp&gt;&lt;reaktor&gt;&lt;design&gt;&lt;style&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4875" PostHistoryTypeId="6" PostId="2788" RevisionGUID="68b7a5f6-8a07-4c50-838b-db23aee83001" CreationDate="2010-08-14T08:21:46.390" UserId="445" Comment="edited tags" Text="&lt;max-msp&gt;&lt;reaktor&gt;&lt;design&gt;&lt;style&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4876" PostHistoryTypeId="6" PostId="2712" RevisionGUID="983cde35-b33a-4b6e-8d14-ba411da63b3c" CreationDate="2010-08-14T08:24:37.107" UserId="445" Comment="edited tags" Text="&lt;music&gt;&lt;composition&gt;&lt;composer&gt;&lt;career&gt;&lt;studies&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4877" PostHistoryTypeId="2" PostId="2790" RevisionGUID="fe1e6fc0-63fc-4618-a35a-5c830fcb875c" CreationDate="2010-08-14T08:27:15.810" UserId="100" Text="I wish I could honestly say that I go for the mic first. While I almost always use digital processing in some degree, the organic method of designing is what sound lords like [Randy Thom][1], [Gary Rydstrom][2], [Ben Burtt,][3] [David Farmer][4], [Ethan Van der Ryn][5], and many others seem to subscribe to. They seem to be doing well with that, and I'd like to join their camp.&#xD;&#xA;&#xD;&#xA;However, I catch myself very often thinking that if I only had [that one plugin][6], then I could make cool sounds. Perhaps I should spend more time [browsing][7] [noisemakers][8], and less time drooling over [B&amp;H][9].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/name/nm0858378/&#xD;&#xA;  [2]: http://www.imdb.com/name/nm0003977/&#xD;&#xA;  [3]: http://www.imdb.com/name/nm0123785/&#xD;&#xA;  [4]: http://www.imdb.com/name/nm0267736/&#xD;&#xA;  [5]: http://www.imdb.com/name/nm0886399/&#xD;&#xA;  [6]: http://www.bhphotovideo.com/c/product/512042-REG/MOTU_5950_MachFive_2_Universal.html&#xD;&#xA;  [7]: http://www.amazon.com/American-Science-Surplus-RATTLESNAKE-EGG/dp/B0011YUP86/ref=wl_it_dp_o?ie=UTF8&amp;coliid=I1KMAKAODF7KDF&amp;colid=EC08B39Z0P57&#xD;&#xA;  [8]: http://www.amazon.com/ViolinSmart-Brazilwood-Violin-Quality-Great/dp/B000VO1EA0/ref=sr_1_2?ie=UTF8&amp;s=musical-instruments&amp;qid=1281774222&amp;sr=8-2&#xD;&#xA;  [9]: http://www.bhphotovideo.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4878" PostHistoryTypeId="6" PostId="2548" RevisionGUID="f6bc0a99-149a-4295-bdca-05f1b72ccb58" CreationDate="2010-08-14T08:31:05.900" UserId="445" Comment="edited tags" Text="&lt;sound-design&gt;&lt;argentina&gt;&lt;documentary&gt;&lt;history&gt;&lt;collaboration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4879" PostHistoryTypeId="2" PostId="2791" RevisionGUID="45c19669-6aaa-4ee2-88b3-6a78f8f1d8d1" CreationDate="2010-08-14T11:13:46.697" UserId="432" Text="I'll usually reach for a mic first, but it's an efficiency thing for me. The bulk of our sound effects at work is on cd, and I just can't bring myself to transfer and log all those CDs to a hard drive. There are much better uses of my time.&#xD;&#xA;&#xD;&#xA;If I'm challenged by a particular element, I don't want to spend the time auditioning through all of those CDs either. I can easily lose an hour of my work day looking for just the right sound. I'd rather take 10-15 and get something that's either close, or perfect if I'm lucky. Then, as a bonus, my hard drive based effects library has grown as well. Every little piece I add here and there means one less sound I have to turn to those CDs for.&#xD;&#xA;&#xD;&#xA;Of course, I usually reach for a piece of software immediately after I get it into the timeline....sometimes you just gotta tweak. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4880" PostHistoryTypeId="2" PostId="2792" RevisionGUID="3385dc1d-d0ee-4a8a-89a8-f00bcdd2d17a" CreationDate="2010-08-14T14:33:01.543" UserId="6411" Text="Just like birdhousesound I use multitap delays all the time for adding depth to ambiences.  But additionally in every Dolby E session I mix I have to use delay as just that, a signal delay to align the PCM stereo Mix with the Dolby E stream." ContentLicense="CC BY-SA 2.5" />
  <row Id="4881" PostHistoryTypeId="2" PostId="2793" RevisionGUID="818abc7e-c3f0-4768-9440-26eab0f19d03" CreationDate="2010-08-14T14:55:54.797" UserId="6411" Text="At my day job I have the opposite problem as Shaun. Every sound effect I have has been digitized with [Ripper][1] and cataloged in the workspace. Meanwhile it's the microphones and preamps that I have to go down the hall, pull from the closet and set up in order to use.&#xD;&#xA;&#xD;&#xA;Since I'm always in &quot;the box&quot; I'm already reaching for software when the challenge arises. What I find to be the biggest challenge is the latitudinal thinking of: What sounds am I hearing in my mind? How can I best get those frequencies/transients/envelopes represented? Okay, now what search terms do I need?&#xD;&#xA;&#xD;&#xA;Sometimes, on more complicated scenes, I do have to get up and setup a scratch mic and vocalize it all out so I don't lose ideas for one sound while working on another. But 98% of the time the end result is derived from library fx. &#xD;&#xA;&#xD;&#xA;At home, my library is small. So, rather than give more money to Sound Ideas, Hollywood Edge, etc. I've invested in mics and gear in an attempt to be forced out of my routine of staying in the box.&#xD;&#xA;&#xD;&#xA;Now I just need to not be spending so much time at work! :)&#xD;&#xA;&#xD;&#xA;  [1]: http://store.soundminer.com/macintosh-products/ripper-v4-for-mac.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="4882" PostHistoryTypeId="2" PostId="2794" RevisionGUID="1008a014-de52-4393-ad07-a9fdc513fc7b" CreationDate="2010-08-14T15:10:43.557" UserId="393" Text="I almost always find myself going to my library, then to [Freesound.org][1] when I start a new project, assuming the file is something I can automatically import into Sonar to start playing with.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org" ContentLicense="CC BY-SA 2.5" />
  <row Id="4883" PostHistoryTypeId="2" PostId="2795" RevisionGUID="aba32be4-3d95-4337-b2a6-a93d85047e2d" CreationDate="2010-08-14T15:12:06.393" UserId="393" Text="I've tried to use both, and I plan on learning... it's actually next on my list of things to do.  I don't know what it is, but it's so weird for me to wrap my programming brain around my music and sound brain." ContentLicense="CC BY-SA 2.5" />
  <row Id="4884" PostHistoryTypeId="2" PostId="2796" RevisionGUID="61a5460d-3b7b-4be6-a9e2-1c0155445271" CreationDate="2010-08-14T15:15:47.713" UserId="393" Text="Fireworks -- Specifically sparklers.  Every year, my friends and I get together for the 4th of July, and one of our favorite things to do is to bundle as many of those cheap metal sparklers together as we can (200 is our current record) and light them all off at once  The sound is awesome, but don't look directly at it." ContentLicense="CC BY-SA 2.5" />
  <row Id="4885" PostHistoryTypeId="2" PostId="2797" RevisionGUID="d20d5b5d-6f1d-43e1-90cf-7e3bf16fac26" CreationDate="2010-08-14T15:23:18.840" UserId="285" Text="For a long time I was 95% library and processing and 5% recording with a mic.  But in the last 6 months I have been making a very concerted effort to get out and record original project specific sounds.  And I don't think it is a coincidence that I started reading this website with fervour in that same time frame, this site has definitely been a source of inspiration and knowledge.  &#xD;&#xA;&#xD;&#xA;I still go to my library often because I know it so well but I feel so much more of a sense of accomplishment and creative fulfillment when I set up a mic to capture that perfect sound.  And best of all I think the clients have noticed it and they are happy as well.&#xD;&#xA;&#xD;&#xA;Thanks to all for the creative rejuvenation.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="4886" PostHistoryTypeId="5" PostId="2791" RevisionGUID="e322c28e-9231-4c12-bf97-e5d64dea4b46" CreationDate="2010-08-14T17:18:27.217" UserId="432" Comment="additional info/clarification" Text="I'll usually reach for a mic first, but it's an efficiency thing for me. The bulk of our sound effects at work is on cd, and I just can't bring myself to transfer and log all those CDs to a hard drive. There are much better uses of my time.&#xD;&#xA;&#xD;&#xA;If I'm challenged by a particular element, I don't want to spend the time auditioning through all of those CDs either. I can easily lose an hour of my work day looking for just the right sound. I'd rather take 10-15 and get something that's either close, or perfect if I'm lucky. Then, as a bonus, my hard drive based effects library has grown as well. Every little piece I add here and there means one less sound I have to turn to those CDs for.&#xD;&#xA;&#xD;&#xA;Of course, I usually reach for a piece of software immediately after I get it into the timeline....sometimes you just gotta tweak. ;)&#xD;&#xA;&#xD;&#xA;*p.s. I do go to our sound effects library very frequently. I tend to bypass it only when I know it's going to take a certain amount of effort to collect the sounds I need out of it to build the sound I want. Just thought I should add that clarification.*" ContentLicense="CC BY-SA 2.5" />
  <row Id="4887" PostHistoryTypeId="2" PostId="2798" RevisionGUID="988e773a-b411-4c4a-b542-2de42fea2ce4" CreationDate="2010-08-14T17:39:33.123" UserId="390" Text="Software first for me. When I want to frighten, I like to take animal sound effects and make them sound entirely different from the original. I also like to mess with synthesizers like Absynth 5 for some cool effects. The last piece of software I reach for is my virtual instrument library by EastWest/Quantum Leap. They have some pretty interesting sounds that you can use in a non-musical sense." ContentLicense="CC BY-SA 2.5" />
  <row Id="4888" PostHistoryTypeId="2" PostId="2799" RevisionGUID="ddd9efcd-9709-4d4b-9fae-6426cee6e5d3" CreationDate="2010-08-14T20:58:28.693" UserId="18160" Text="If so, what type? Do you save the final mix and a video file in a Pro Tools session?&#xD;&#xA;&#xD;&#xA;Do you buy the DVD release or record it somehow?&#xD;&#xA;&#xD;&#xA;Is it smart to keep a copy of everything you have ever worked on? Small and big?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4889" PostHistoryTypeId="1" PostId="2799" RevisionGUID="ddd9efcd-9709-4d4b-9fae-6426cee6e5d3" CreationDate="2010-08-14T20:58:28.693" UserId="18160" Text="Do you keep copies of your work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4890" PostHistoryTypeId="3" PostId="2799" RevisionGUID="ddd9efcd-9709-4d4b-9fae-6426cee6e5d3" CreationDate="2010-08-14T20:58:28.693" UserId="18160" Text="&lt;work&gt;&lt;samples&gt;&lt;archive&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4891" PostHistoryTypeId="2" PostId="2800" RevisionGUID="2dcba87d-68dd-40fc-8bd8-56aa156af6b4" CreationDate="2010-08-14T21:16:47.140" UserId="432" Text="I save everything (and I mean EVERYTHING) for at least a few years. Every once in a while someone turns around and says that something needs to be change. After 3 years or so, I'll go through old material and cull it down to a set of stems that will give a reasonable amount of flexibility on the off chance that I need to do something with them.&#xD;&#xA;&#xD;&#xA;Afterall, storage is CHEAP nowadays." ContentLicense="CC BY-SA 2.5" />
  <row Id="4897" PostHistoryTypeId="6" PostId="2799" RevisionGUID="cebd1ca2-e0bf-4cd6-a6f0-824a52f091af" CreationDate="2010-08-15T00:00:11.163" UserId="445" Comment="edited tags" Text="&lt;work&gt;&lt;samples&gt;&lt;archive&gt;&lt;backups&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4898" PostHistoryTypeId="2" PostId="2802" RevisionGUID="fce75d53-3fc2-437e-971e-4ef4194b2cd8" CreationDate="2010-08-15T02:04:52.253" UserId="393" Text="I save everything because I often want to know how I did something.  I need a better method than offloading the project files onto a CD, though." ContentLicense="CC BY-SA 2.5" />
  <row Id="4899" PostHistoryTypeId="2" PostId="2803" RevisionGUID="c814353e-9fb8-4dd9-9c72-2e957acad7d0" CreationDate="2010-08-15T03:53:45.570" UserId="18160" Text="I know it's a big issue for recording Drums because the mics will all be played back together,&#xD;&#xA;&#xD;&#xA;but when you are recording a sound effect in the field like guns or fireworks, do you check the phase and notice how far the mics are from each other?&#xD;&#xA;&#xD;&#xA;Do you even care?&#xD;&#xA;&#xD;&#xA;Would this be something you fixed in post or do you handle it during the recording?&#xD;&#xA;&#xD;&#xA;What's the protocol? I'm probably going to record some guns soon and wanted to know if this is something you guys pay attention to or if you don't care about it (where's Chuck and Tim?!?!)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4900" PostHistoryTypeId="1" PostId="2803" RevisionGUID="c814353e-9fb8-4dd9-9c72-2e957acad7d0" CreationDate="2010-08-15T03:53:45.570" UserId="18160" Text="For multiple mic recordings, do you check the phase?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4901" PostHistoryTypeId="3" PostId="2803" RevisionGUID="c814353e-9fb8-4dd9-9c72-2e957acad7d0" CreationDate="2010-08-15T03:53:45.570" UserId="18160" Text="&lt;multiple&gt;&lt;microphone&gt;&lt;recording&gt;&lt;phase&gt;&lt;check&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4903" PostHistoryTypeId="2" PostId="2805" RevisionGUID="996df047-1211-4196-9101-e35a19b2a8ca" CreationDate="2010-08-15T05:04:09.463" UserId="393" Text="In sound design, I use delay to thicken, and occasionally for the obvious delay.  In music, I'm a delay junky, and use it for EVERYTHING from dub effects to long, evolving, soundscapes." ContentLicense="CC BY-SA 2.5" />
  <row Id="4904" PostHistoryTypeId="2" PostId="2806" RevisionGUID="6f40573d-e5e5-4411-befd-8d8a4d9312d2" CreationDate="2010-08-15T09:20:51.453" UserId="474" Text="as of late, I grew to be a (so to speak) hardcore Ableton Live user - it sped up my workflow tremendously as compared to Cubase or Logic, but that's just my $0.02...&#xD;&#xA;&#xD;&#xA;however, speaking of Live, one has to have a look at Max for Live, which I think is one of the really huge innovations in sound and music production, at least as far as the recent past is concerned.&#xD;&#xA;&#xD;&#xA;even more than Live, I'm a homegrown Max/MSP programmer and actually I can see no large sound quality problems here if you do it the right way... the only problem maybe is to find a way to the optimal sound which can take a while.&#xD;&#xA;&#xD;&#xA;but even more than creating sound effects I use Max for interfacing every kind of input to any kind of output... in the context of Ableton Live this can make even more sense because most of the time-consuming, nasty work to fiddle with the timeline is done by Live... so most of the time I find myself programming little MIDI effects that combine e.g. video input with my creative workflow, or arpeggiate on a given melody, etc. etc.&#xD;&#xA;&#xD;&#xA;that said, I also use it (to a somewhat smaller degree) to prototype my own sound effects. i hardly ever use it, though, to build my own instruments, because IMHO Live comes with all the tools you need to do that." ContentLicense="CC BY-SA 2.5" />
  <row Id="4905" PostHistoryTypeId="2" PostId="2807" RevisionGUID="d0293a72-a598-4fbf-b92b-a818989329c8" CreationDate="2010-08-15T11:28:58.947" UserId="62" Text="I keep a copy of the ProTools mix session for each show and burn them to BluRay. I also keep the stems but in seperate sessions as I need to archive NTSC and PAL copies, the 24p masters are on the HDCAMSR Tapes.&#xD;&#xA;&#xD;&#xA;I don't save any picture as if I need it I can digitise the tape if I need to." ContentLicense="CC BY-SA 2.5" />
  <row Id="4906" PostHistoryTypeId="2" PostId="2808" RevisionGUID="6cdf1134-3266-4a28-9bc1-2ed7158d0e07" CreationDate="2010-08-15T11:35:10.460" UserId="62" Text="I like to use a mixture of both. Sometimes I just don't time to spend creating a new interesting city atmos and go with a couple from the library. However I do try as much as possible to create new sounds as I hate being given the same stuff from our library for every flipping show we do.&#xD;&#xA;&#xD;&#xA;I've just bought as Zoom H1 so as of next week I can really start to collect random stuff to use which is something I've struggled with these last few years since my MD recorder died.&#xD;&#xA;&#xD;&#xA;One thing I often do is collect ideas. That's to say I had the idea of creating an unsettling atmosphere to use in a house that didn't contain any room tone or sounds you'd expect to hear. I thought if I used some wind sounds and added room size reverbs I could create a sound that matched the image but also made it uncomfortable. I've finally found a a place to use it, don't you just love short films, such a great place to experiment.&#xD;&#xA;&#xD;&#xA;Sounds like we're in the same boat Steve!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4907" PostHistoryTypeId="2" PostId="2809" RevisionGUID="d1a54949-4e2f-4da4-9b3f-dcf58248f98e" CreationDate="2010-08-15T15:03:48.137" UserId="298" Text="when i need really creative sounds - i use Reaktor. Simply love it and moreover i use it more often than when its really needed. Because its easier than Max and other languages in &quot;hot start&quot; understanding, a complex and fast to build your own devices or any chain and many many pros reaktor have. Instead of poor Max quality as many of us mentioned above, Reaktor offer a really competetive and transparent sound quality.&#xD;&#xA;I know and use Max too but its 1 time in a year. &#xD;&#xA;Reaktor community is also more opened and full of things." ContentLicense="CC BY-SA 2.5" />
  <row Id="4908" PostHistoryTypeId="2" PostId="2810" RevisionGUID="888f041a-7880-4784-8c69-f89d6cac77fc" CreationDate="2010-08-15T17:35:27.727" UserId="18" Text="it's not something I've ever worried about or had issue with." ContentLicense="CC BY-SA 2.5" />
  <row Id="4909" PostHistoryTypeId="2" PostId="2811" RevisionGUID="c88bb824-bc23-4707-8e23-85e3889a46be" CreationDate="2010-08-15T19:15:34.187" UserId="414" Text="I was looking for a place I can intern over the summer, and I found a guy named Benjie Freund. The problem is, I don't know him, I don't know if he frequents forums, and I'm scared that I will be a nuisance if someone like me with no experience calls him out of the blue asking for work. How do you think I should go about this? Should I just look for a multi-person studio instead? Thank you for reading! " ContentLicense="CC BY-SA 2.5" />
  <row Id="4910" PostHistoryTypeId="1" PostId="2811" RevisionGUID="c88bb824-bc23-4707-8e23-85e3889a46be" CreationDate="2010-08-15T19:15:34.187" UserId="414" Text="How should I approach a stranger online about an internship?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4911" PostHistoryTypeId="3" PostId="2811" RevisionGUID="c88bb824-bc23-4707-8e23-85e3889a46be" CreationDate="2010-08-15T19:15:34.187" UserId="414" Text="&lt;internships&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4912" PostHistoryTypeId="2" PostId="2812" RevisionGUID="1b9d35c1-f527-4c8d-981f-c2c6742fa728" CreationDate="2010-08-15T19:48:59.020" UserId="234" Text="I get calls/emails like this at least twice a week, and I can't speak for everyone, but...&#xD;&#xA;&#xD;&#xA;I feel that if you send a POLITE, WELL WRITTEN email, or call and again be POLITE and well-spoken, and explain who you are and what you are calling for (looking for an internship), you will not be a nuisance. Do not call or email every day, and if he says &quot;no&quot; then thank him for his time and move on.&#xD;&#xA;&#xD;&#xA;Above all else, be polite and well-spoken. Nothing is more likely to make me turn you away then an email with a bunch of grammatical and spelling errors (just got one of those), or a phone call along the lines of:&#xD;&#xA;&#xD;&#xA;&quot;Hey, I'm like really into the whole studio thing, and I was wondering it you, like, take in interns and stuff like that, cause I really wanna learn this whole thing, so I can be a famous sound designer/producer/engineer...&quot;.&#xD;&#xA;&#xD;&#xA;I might suggest something along the lines of:&#xD;&#xA;&#xD;&#xA;&quot;Hello Mr. Freund, my name is ---- and I found your name on ----. I'm an aspiring sound designer, and I was wondering if you had any intern positions available, or coming available in the future?&quot;. Again, polite and well spoken is best (are you sensing a pattern here?). Don't waste his time giving your experience/schooling/bands unless he asks.&#xD;&#xA;&#xD;&#xA;Folks who take this approach, I'll at least take the time to talk to..." ContentLicense="CC BY-SA 2.5" />
  <row Id="4913" PostHistoryTypeId="2" PostId="2813" RevisionGUID="b7a66fea-0ae2-4b94-ac61-115cfc2ccb4d" CreationDate="2010-08-15T19:50:07.410" UserId="18" Text="Unless this guy is looking for interns, he probably doesn't need them.  You'd be best to look at larger studios that might have a defined intern program." ContentLicense="CC BY-SA 2.5" />
  <row Id="4914" PostHistoryTypeId="2" PostId="2814" RevisionGUID="f00379fc-c5dd-4e0a-b705-788e87748776" CreationDate="2010-08-15T20:13:01.833" UserId="18160" Text="I got a small video to mix turned over to me where the ambiences were all mono (this was a quickie and the FX were cut by the picture editor). It may be quicker for me to find some stereo FX to place in there, but I might as well ask:&#xD;&#xA;&#xD;&#xA;Do you have any tricks to make these tracks into true stereo?&#xD;&#xA;&#xD;&#xA;I tried a stereo reverb, delays, and duplicating/offsetting it.&#xD;&#xA;&#xD;&#xA;Any other tricks you guys have up your sleeves?&#xD;&#xA;&#xD;&#xA;EDIT: I guess it would help if I told you what type of FX were done: Wind, underwater, and a murmuring crowd (for 3 different scenes respectively)&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="4915" PostHistoryTypeId="1" PostId="2814" RevisionGUID="f00379fc-c5dd-4e0a-b705-788e87748776" CreationDate="2010-08-15T20:13:01.833" UserId="18160" Text="Making stereo out of mono." ContentLicense="CC BY-SA 2.5" />
  <row Id="4916" PostHistoryTypeId="3" PostId="2814" RevisionGUID="f00379fc-c5dd-4e0a-b705-788e87748776" CreationDate="2010-08-15T20:13:01.833" UserId="18160" Text="&lt;stereo&gt;&lt;to&gt;&lt;mono&gt;&lt;files&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4917" PostHistoryTypeId="2" PostId="2815" RevisionGUID="d72e3ea3-de1f-4d0a-8862-fb047186fabc" CreationDate="2010-08-15T20:17:44.847" UserId="501" Text="I agree with Sonsey, If you don't ask you don't get!  The least you can be is polite and humble and if he's offended by that then he's not worth learning from." ContentLicense="CC BY-SA 2.5" />
  <row Id="4918" PostHistoryTypeId="2" PostId="2816" RevisionGUID="d23c1698-51b2-4925-bbd0-04d59fbe344f" CreationDate="2010-08-15T20:20:19.573" UserId="18160" Text="While recording ambiences, do you let you mics sit still and not move them at all for the amount of time you record or do you move them around to get a more dynamic/changing sound?&#xD;&#xA;&#xD;&#xA;I tried some recordings in a forest recently where I tried to walk about and found that the sound I got was phasey in some parts and I didn't like it (but I did a good job of not making noise as I walked!). I found letting the mics sit extremely still got a better product.&#xD;&#xA;&#xD;&#xA;What do you guys do? I apologize if this is a newb question.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="4919" PostHistoryTypeId="1" PostId="2816" RevisionGUID="d23c1698-51b2-4925-bbd0-04d59fbe344f" CreationDate="2010-08-15T20:20:19.573" UserId="18160" Text="How much do you move your mics while capturing ambiences?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4920" PostHistoryTypeId="3" PostId="2816" RevisionGUID="d23c1698-51b2-4925-bbd0-04d59fbe344f" CreationDate="2010-08-15T20:20:19.573" UserId="18160" Text="&lt;ambiences&gt;&lt;recording&gt;&lt;sound-effects&gt;&lt;movement&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4921" PostHistoryTypeId="2" PostId="2817" RevisionGUID="3772d39a-ecc6-4494-9de5-7b3436181737" CreationDate="2010-08-15T20:37:31.630" UserId="61" Text="Depends on what you're recording, I guess. If it's loud stuff, like city ambience, traffic, crowds, wallas, then you can get around with moving the mics and not picking up walking noise, etc. For quieter material, like wind, room tone, etc, then place your mics on a tripod and walk away for the duration." ContentLicense="CC BY-SA 2.5" />
  <row Id="4922" PostHistoryTypeId="2" PostId="2818" RevisionGUID="4e94b760-7707-4178-95e1-b14dff296597" CreationDate="2010-08-15T20:45:26.757" UserDisplayName="user49" Text="Choosing where you place/point your mics before you set them is very, very important though. This is especially true if you are using particularly directional mics... The difference between a bland diffuse ambience and an interesting, detailed ambience with movement in it may well be the 15 minutes you spend listening &amp; tweaking before you hit record!" ContentLicense="CC BY-SA 2.5" />
  <row Id="4923" PostHistoryTypeId="2" PostId="2819" RevisionGUID="75f049cc-2005-47f8-8d45-0f936aa985fb" CreationDate="2010-08-15T20:46:03.790" UserId="6411" Text="Well, here's my newb answer. :)&#xD;&#xA;&#xD;&#xA;I too find that my ambiences are much more usable if I let the mics sit for at least 5 minutes. I figure at that point I'll come away with at least 2 usable minutes of material. Having said that I do tend to move my mics a couple of times to capture the same ambience.  Five minutes in one spot, another 5-10 some yards down, another facing the opposite direction, etc. It provides the variety of the space that I'm looking for, which I can later edit to movement. Recording your movements mean you're stuck with those movements. I'd rather have the choice later in editing. Of course when I move mics, I'll typically leave them recording, just because you never know what you might capture in the interim. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4924" PostHistoryTypeId="2" PostId="2820" RevisionGUID="c579fb30-14e1-46f1-98c7-1b9182372732" CreationDate="2010-08-15T21:07:44.887" UserId="234" Text="Great Trick I stole from Yewdall and his book...&#xD;&#xA;&#xD;&#xA;Take the mono track, and cut it in half... Use the first half as left, second half as right, copy to length." ContentLicense="CC BY-SA 2.5" />
  <row Id="4925" PostHistoryTypeId="2" PostId="2821" RevisionGUID="b30f2480-3ee2-4cf0-8673-70a4cbc71b2d" CreationDate="2010-08-15T21:21:14.543" UserId="502" Text="The CSS5, being a stereo shotgun mic, would not be my first choice for forest ambiance unless I was attempting to pick up specific sounds such as birds, wildlife, etc along with stereo ambiance.&#xD;&#xA;&#xD;&#xA;For true (non-specific) ambiance, I would try a non-shotgun stereo mic from Sanken, Pearl, sE Electronics, or any of the other major brands.&#xD;&#xA;&#xD;&#xA;Marty" ContentLicense="CC BY-SA 2.5" />
  <row Id="4926" PostHistoryTypeId="2" PostId="2822" RevisionGUID="6ff57e24-051e-421a-a5f2-4b9104252ce9" CreationDate="2010-08-15T21:28:27.357" UserId="502" Text="It would depend on the results you're looking for. Any time you'll be mixing multiple mics to mono, you want to listen for phasing. Chance are however, that you won't be placing mics close enough together for it to be a problem." ContentLicense="CC BY-SA 2.5" />
  <row Id="4927" PostHistoryTypeId="2" PostId="2823" RevisionGUID="d97061e4-edf4-4213-a2ce-48680d2cac91" CreationDate="2010-08-15T21:40:47.540" UserId="502" Text="I might take a different approach, having done radio production for may years.&#xD;&#xA;&#xD;&#xA;I'd agree that if scheduling allows, have everyone together in one room if it is big enough. By that I mean that it should be acoustically absorbent enough so that reflections should not be a problem. &#xD;&#xA;&#xD;&#xA;Mic choices will will be important, first for polar pattern, then for matching the sonic qualities of the mic to each voice.&#xD;&#xA;&#xD;&#xA;My first plan would be to use figure 8 mics since they have near total rejection from the sides. I'd then place the actors in a very wide arc, so as no two are facing each other. Alternatively, I would choose either cardioid or hypercardioid mics matching their off-axis rejection angles to the actor's positioning for maximum rejection. &#xD;&#xA;&#xD;&#xA;The narrator should be able to see everyone, and they him or her.&#xD;&#xA;&#xD;&#xA;I would record multitrack, one for each actor, so you can adjust each actor's level, EQ, dynamics, etc. independently in the  final mix. It also makes alternate takes by individual actors easier.&#xD;&#xA;&#xD;&#xA;Marty" ContentLicense="CC BY-SA 2.5" />
  <row Id="4928" PostHistoryTypeId="2" PostId="2824" RevisionGUID="07791e25-25e3-4186-a075-6ea812341fb3" CreationDate="2010-08-15T21:50:14.810" UserId="194" Text="For multimic setups, just stick with x/y pairs or the 3-1 rule, and you should be good.  &#xD;&#xA;&#xD;&#xA;an example:&#xD;&#xA;&#xD;&#xA;In a gun shoot I did a couple of years ago, my setup looked like this:&#xD;&#xA;&#xD;&#xA;1)lav mic worn by shooter&#xD;&#xA;2/3)stereo x/y sm 57s 10 feet in front of shooter and aimed at him&#xD;&#xA;4)416 over the shoulder about 4 feet off&#xD;&#xA;5/6)vp-88 20 feet behind the shooter and aimed at the most reverberant hill&#xD;&#xA;&#xD;&#xA;In post the transients were obv misaligned due to the varying distances the mics were to the source.  Since I kept them split out it wasn't an issue, and in the stereo combined versions I put together I experimented with both leaving the transients as it and manually lining them up.  I liked the sound of the lined up transients better.  YMMV." ContentLicense="CC BY-SA 2.5" />
  <row Id="4935" PostHistoryTypeId="2" PostId="2827" RevisionGUID="7bfacb87-de33-4972-a864-74868b45cbc4" CreationDate="2010-08-15T21:55:04.683" UserId="396" Text="It won't sound like Autotune, but if you're trying to &#xD;&#xA;&#xD;&#xA;&gt; &quot;turn this water recording into a river&#xD;&#xA;&gt; of beeps&quot;&#xD;&#xA;&#xD;&#xA;have a look at the mda 'Tracker' AU from http://mda.smartelectronix.com/ - it tracks pitches in a sound, and can resynthesize them or reinforce using EQ or ringmod." ContentLicense="CC BY-SA 2.5" />
  <row Id="4936" PostHistoryTypeId="2" PostId="2828" RevisionGUID="dc5874f3-a119-4c5b-92d1-c3e74dfae7d0" CreationDate="2010-08-15T22:03:51.107" UserId="194" Text="The only time I &quot;walk&quot; my mics is when I'm dealing with dense crowd walla.  Here's an example of that in a snip from something I recorded last month:&#xD;&#xA;&#xD;&#xA;[soundcloud]rcoronado/graduation-crowds-ext-amb-walk-through[/soundcloud]&#xD;&#xA;&#xD;&#xA;The reason I walk in that specific circumstance is so that I can reduce the number of distinct conversations that are audible through the duration of the recording.  Inevitably, some people talk louder than others, and I don't want those people dominating my ambience.&#xD;&#xA;&#xD;&#xA;I **don't** walk the mics when I'm recording crowd reacts (like cheering, applause, or booing) or with sparsely populated crowds though. In those instances the constant change in perspective is too audible and becomes distracting IMO.  &#xD;&#xA;&#xD;&#xA;I also never move the mics when I'm recording nature ambiances.  Find your spot, then lock it down for at least 3x the time that you intend to keep.  I actually use my phone to time what I think is usable and I don't stop rolling until after I hit a certain mark." ContentLicense="CC BY-SA 2.5" />
  <row Id="4937" PostHistoryTypeId="5" PostId="2572" RevisionGUID="29296688-a6f0-4d1f-936c-d99a2ad0de52" CreationDate="2010-08-15T22:10:18.707" UserId="194" Comment="added 509 characters in body; added 10 characters in body; added 18 characters in body" Text="So after some tests, here's what I've been able to come up with:&#xD;&#xA;&#xD;&#xA;First off, just because a mic isn't rated at over 20k doesn't mean that it isn't capable of recording that high.  It really just means that it won't be linear up there, but mics are often not perfectly linear even in the audible spectrum, so that's usually not an issue.  &#xD;&#xA;&#xD;&#xA;My coworker has the earthworks drum mic set (which is only rated up to 20k) and the tests that we ran worked fine.  Also, the mics on the Sony PCM-D50 recorded tons of information up there as well.  &#xD;&#xA;&#xD;&#xA;Second, I found that iZotope RX is almost the **perfect** 2 track editor and cleanup software I can think of for working with ultrasonic content.  &#xD;&#xA;&#xD;&#xA; - destructive 2 track editing of original files (no conversions like with Protools)&#xD;&#xA; - spectral repair is amazing&#xD;&#xA; - and of course, the spectrogram display, which *automatically* adjusts its range to fit the sample rate of the material that's loaded up&#xD;&#xA;&#xD;&#xA;--------&#xD;&#xA;&#xD;&#xA;So, to put it all in perspective here:&#xD;&#xA;&#xD;&#xA;below is a recording of a metal gate that I made a few months ago with my trusty PCM D50 at 24bit 96k, with slowed down iterations:&#xD;&#xA;&#xD;&#xA;[soundcloud]rcoronado/metal-gate-varispeed-versions[/soundcloud]&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Frcoronado%2Fmetal-gate-varispeed-versions&amp;secret_url=false&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Frcoronado%2Fmetal-gate-varispeed-versions&amp;secret_url=false&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/rcoronado/metal-gate-varispeed-versions&quot;&gt;Metal gate-varispeed versions&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/rcoronado&quot;&gt;Rcoronado&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;I've made the file downloadable so that you can check it out yourself.&#xD;&#xA;&#xD;&#xA;Here's the spectrogram of the gate at 100% and 96k sampling rate.  Notice that the ruler on the right hand side goes up over 30k!  Also notice that I had material recordable that actually *exceeded* the 48kHz frequency response that the Sony is capable of recording.&#xD;&#xA;&#xD;&#xA;![gate spectrogram 100%][1]&#xD;&#xA;&#xD;&#xA;this is the second sound in the soundcloud file, varispeeded using Soundminer down to 41% and output at 48k sampling rate.  Notice that the ruler on the right now only goes to 24k, since the new sampling rate of the file is 48k.  Also notice how full range this recording looks (and sounds) even slowed down to more than halfway.&#xD;&#xA;&#xD;&#xA;![gate spectrogram 41%][2]&#xD;&#xA;&#xD;&#xA;and here is the third.  varispeeded from the original the same as the other.  Still full freq sounds, though the tops are starting to feel pretty dull by this point.  Still, there are the points where the clanks just shot out some insane frequencies that far exceeded the range.  &#xD;&#xA;&#xD;&#xA;![gate spectrogram 21%][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;-----------&#xD;&#xA;**edit**&#xD;&#xA;&#xD;&#xA;I think I'm failing at embedding pix, so here's a link to the photoset of this on flickr:&#xD;&#xA;&#xD;&#xA;http://www.flickr.com/photos/52823418@N02/sets/72157624682752988/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So, to return to my original questions:&#xD;&#xA;&#xD;&#xA; Q. Am I correct in assuming that the biggest hardware obstacle to recording sounds above 20k is generally just the microphone (not the pre or D/A)?&#xD;&#xA;&#xD;&#xA; A.That seems to generally be the case.  If a $450 device like the PCM D50 can perform like this, then clearly preamps and A/D converters are there at most price points.  Haven't tested my old Zoom H4, but I hate that piece of plastic anyway.  :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  Q. how well would the preamp and A/D of say a 744t handle ultrsonic frequencies (if recording with an appropriate mic)?&#xD;&#xA;&#xD;&#xA;  A. Again, looks fine.  I didn't test the 744t that we have on hand, but I'd be very surprised if the sony's pre's and A/D outperforms it.&#xD;&#xA;&#xD;&#xA;  Q.How about a lower end recorder like a Zoom H4n (again, with appropriate mic)?&#xD;&#xA;&#xD;&#xA;  A.I may have to test our H4n, but the Sony test feels like a very promising experiment.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  Q. What pitfalls should be avoided when processing high sample rate files with supersonic frequencies in them? If I take a file and just trim heads and tails in a two track editor like Izotope RX, will I ruin it or will it handle it?&#xD;&#xA;&#xD;&#xA;  A.  Izotope rocks for this application - specifically because it automatically adjusts the spectrogram to accommodate the higher frequencies.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;alright, thx all!&#xD;&#xA;&#xD;&#xA;----------------&#xD;&#xA;**Further update**&#xD;&#xA;&#xD;&#xA;It turns out that *lots* of mics that aren't rated above 20k perform very well up there.  I used a pair of AT 4050s to record a bunch of coverage on a Canon t1i that a coworker had last week, and those servos put out some crazy supersonic noises that came back down into audible range like a champ.&#xD;&#xA;&#xD;&#xA;Also used a schoeps CMC6 XYpair to record coverage on a medium format camera at 96k, and those mics performed excellently above 20k as well. **&#xD;&#xA;&#xD;&#xA;This is all very encouraging&#xD;&#xA;&#xD;&#xA;  [1]: http://www.flickr.com/photos/52823418@N02/4873561438&#xD;&#xA;  [2]: http://www.flickr.com/photos/52823418@N02/4873561644&#xD;&#xA;  [3]: http://flic.kr/p/8qB9UH" ContentLicense="CC BY-SA 2.5" />
  <row Id="4938" PostHistoryTypeId="2" PostId="2829" RevisionGUID="700df863-664e-45b6-b11b-12ed2b4b7e6a" CreationDate="2010-08-15T22:21:48.173" UserId="435" Text="A few months ago I shifted my &quot;Audio' folder to my external hard drive (WD 2TB Studio Edition 2). It has FW400, 800 and eSATA connections. Im currently using FW800 soon to be using eSATA (once I get the driver info from the supplied mini CD that wont fit into my MacbookPro laptop). I use the external drive for all (not just audio) my storage and record/playback too. It is currently approx half full. I often have playback issues when playing a ProTools session. ProTools suggests changing my buffer settings etc yet this doesn't really solve the issue. I've recently partitioned the External Drive to 4 sections. One partition is now dedicated to Audio (for recording, playingback and storage/management). Yet, ProTools is still often freezing when playingback but with a differnt message. Now saying my connection to the hd is either not fast enough or the drive is partitioned..I (maybe wrongfully) assumed that a partitioned drive would make it quicker to search the audio folder for the data needed. So, my questions:&#xD;&#xA;Does partitioning help speed the process up of searching for the info or should i go back to no partitions?&#xD;&#xA;Will the eSata connection solve the issue by increasing the transfer rate?&#xD;&#xA;or should I be using the internal drive for recording and playback and the external for storage/editing?&#xD;&#xA;ps: reminding you I have a Macbook Pro laptop which only has 1 internal drive (if this is relevant?)&#xD;&#xA;Any help is greatly appreciated:)" ContentLicense="CC BY-SA 2.5" />
  <row Id="4939" PostHistoryTypeId="1" PostId="2829" RevisionGUID="700df863-664e-45b6-b11b-12ed2b4b7e6a" CreationDate="2010-08-15T22:21:48.173" UserId="435" Text="The Best Option For Recording, Playback and Storage re: Hard Drives?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4940" PostHistoryTypeId="3" PostId="2829" RevisionGUID="700df863-664e-45b6-b11b-12ed2b4b7e6a" CreationDate="2010-08-15T22:21:48.173" UserId="435" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4941" PostHistoryTypeId="5" PostId="2480" RevisionGUID="796b0b08-a807-4cb5-8eef-0c9a4c804a69" CreationDate="2010-08-15T22:31:14.593" UserId="432" Comment="announced start of challenge" Text="**Update (8/15/10): the first challenge is up.** &#xD;&#xA;&#xD;&#xA;UPDATE (8/7/10): It seems like Vimeo and SoundCloud are a general consensus, which doesn't surprise me at all. I've posted a bunch of info on my site regarding how this whole thing will work. The infrastructure is pretty much in place, but I want to give people a chance to review the info. Hopefully there are no gaping holes or flaws; but if you see any, please let me know. Thanks.&#xD;&#xA;&#xD;&#xA;A friend of mine used to participate in something like this for 3d animation. It started me looking for something similar a few years ago, but I can't find any place that runs one. So, I'm going to host one on my website. I've been working on a lot of the logistics of it, and I'm close to rolling it out. I'm hoping that a lot of you here will participate, but first I've got some questions for you.&#xD;&#xA;&#xD;&#xA;For months when a video clip is provided, where would you rather post your final piece: Vimeo, Youtube, or some other service? I'm trying to keep this free, simple, and a site where I can create a group/channel that everyone can post to (that way all the entries are easy to find).&#xD;&#xA;&#xD;&#xA;There will be months where a video is not required. Would you prefer to still use whatever video hosting site, or a service like SoundCloud? Again, key factors are free for everyone, simplicity, consolidated location. Right now, I'm leaning towards using the same video hosting site.&#xD;&#xA;&#xD;&#xA;I'm looking to get this going on my site sometime around the 15th/16th of this month (August 2010), and I will get something up on my site outlining the whole thing in greater detail sometime between now and then.&#xD;&#xA;&#xD;&#xA;Any feedback on those two items above will be greatly appreciated. If you have any other feedback, please throw it my way too. You may think of something I haven't already; but I warn you, I've been thinking about this for a LONG time. :)&#xD;&#xA;&#xD;&#xA;Thanks in advance for your input." ContentLicense="CC BY-SA 2.5" />
  <row Id="4942" PostHistoryTypeId="5" PostId="2589" RevisionGUID="175ac57d-be9d-4949-ab3d-8124c2c3f742" CreationDate="2010-08-15T22:32:02.127" UserId="432" Comment="announced start of competition" Text="**Update (8/15/10): the first challenge is up.**&#xD;&#xA;&#xD;&#xA;Sorry about creating a new post for this, but it's getting hard to keep track of where all the feedback is for this thing (some in the first thread, but there are a bunch floating around as comments in other threads too). So, here it is.&#xD;&#xA;&#xD;&#xA;When I provide a video for the competition, and it already has real world audio, would you prefer to get the video with or without that audio?&#xD;&#xA;&#xD;&#xA;I've spent a fair bit of time researching/gathering for this month's challenge. I had to pass up my first choice, because I was unable to secure permission. Thankfully, I found a suitable replacement (it might even be better). This question would have applied to either one.&#xD;&#xA;&#xD;&#xA;If you're curious as to what might have been, you can view it here: http://www.archive.org/details/FootballAccident&#xD;&#xA;&#xD;&#xA;I'm still not telling you what the challenge was gonna be, because I may still use the idea either this month or in some future challenge.&#xD;&#xA;&#xD;&#xA;Thanks for any input you guys offer." ContentLicense="CC BY-SA 2.5" />
  <row Id="4943" PostHistoryTypeId="2" PostId="2830" RevisionGUID="c5f055c1-968d-4ac6-ac9a-19eb16b4145d" CreationDate="2010-08-15T22:47:22.070" UserId="18160" Text="If you have a multi-button mouse like me (I use a Kengsington Optical Elite and a Mighty-Mouse), what do you program each button to? There was a similar thread but I don't think I ever saw what each individual button was programmed for (keystroke macros).&#xD;&#xA;&#xD;&#xA;Anyone care to share?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="4944" PostHistoryTypeId="1" PostId="2830" RevisionGUID="c5f055c1-968d-4ac6-ac9a-19eb16b4145d" CreationDate="2010-08-15T22:47:22.070" UserId="18160" Text="What are your mouse buttons programmed to?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4945" PostHistoryTypeId="3" PostId="2830" RevisionGUID="c5f055c1-968d-4ac6-ac9a-19eb16b4145d" CreationDate="2010-08-15T22:47:22.070" UserId="18160" Text="&lt;mouse&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4946" PostHistoryTypeId="2" PostId="2831" RevisionGUID="6e3e9364-104e-4b5b-9669-4a09bdd6e887" CreationDate="2010-08-15T22:50:02.170" UserId="132" Text="When I go out in the field, I am usually taking small mic stands, especially if I am recording ambiances.  I don't necessarily need the height, and you can get away with uneven terrain if you don't have a really tall stand.  Something you might mic and guitar cabinet with, but without the boom." ContentLicense="CC BY-SA 2.5" />
  <row Id="4947" PostHistoryTypeId="2" PostId="2832" RevisionGUID="ff326c1e-1f7b-4b0d-a97a-cce84783b058" CreationDate="2010-08-15T23:15:41.480" UserId="253" Text="I've been doing a whole lot of cold calling, so i know how you feel. What i do is send an email (polite, naturally), and mention in the email that i'll follow up with a phonecall in the next week. That way when you call, they have some warning and it's less of a cold call - more of a lukewarm call. Also, maybe this is overly speculative, but i've found that people are more receptive to calls in the mid morning.&#xD;&#xA;&#xD;&#xA;If he doesn't have anything for you, make sure you ask him if he can give you any advice on who to approach. That way when you call THEM, you can mention that he pointed you their way." ContentLicense="CC BY-SA 2.5" />
  <row Id="4948" PostHistoryTypeId="2" PostId="2833" RevisionGUID="22d7a77e-5c83-4fac-8610-11c2bba7e8cd" CreationDate="2010-08-15T23:26:06.637" UserId="28" Text="I use a Contour Shuttle Pro 2.0 with Logic.&#xD;&#xA;&#xD;&#xA;The inner wheel is for horizontal zoom.&#xD;&#xA;The outer jog is for the playhead.&#xD;&#xA;&#xD;&#xA;Buttons are:&#xD;&#xA;&#xD;&#xA; - play/pause &#xD;&#xA; - return playhead to last insert point &#xD;&#xA; - play selected region&#xD;&#xA; - loop selected region (add for a non-quantized loop) &#xD;&#xA; - turn loop&#xD;&#xA;   on/off &#xD;&#xA; - cmd &#xD;&#xA; - ctrl &#xD;&#xA; - shift &#xD;&#xA; - tool tray&#xD;&#xA;&#xD;&#xA; - mouse wheel is vertical scroll&#xD;&#xA; - cmd + mouse wheel is horizontal scroll&#xD;&#xA; - opt + mouse wheel is vertical zoom&#xD;&#xA;&#xD;&#xA;-=-&#xD;&#xA;&#xD;&#xA;I use the mouse right click for scissors.&#xD;&#xA;Cmd + left click alternates between cross fade tool and velocity tool. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;All this to say, I'm pretty useless navigating an arrangement in Logic without my Shuttle." ContentLicense="CC BY-SA 2.5" />
  <row Id="4949" PostHistoryTypeId="2" PostId="2834" RevisionGUID="6c48360e-a9bd-4936-8bd2-b6f0575436ff" CreationDate="2010-08-15T23:48:42.930" UserId="10" Text="I have a Kensington Expert mouse... left-up click: Exposé All Windows (very useful to go between Pro Tools and Soundminer all the time). And right-up Cmd+S :-)&#xD;&#xA;&#xD;&#xA;Also working with Shift, Alt and Cmd + the integrated shuttle wheel is amazing." ContentLicense="CC BY-SA 2.5" />
  <row Id="4950" PostHistoryTypeId="5" PostId="2833" RevisionGUID="11fcaf0d-c86f-463b-a22b-f58be22b27d2" CreationDate="2010-08-16T00:01:29.437" UserId="28" Comment="added 5 characters in body" Text="I use a Contour Shuttle Pro 2.0 with Logic.&#xD;&#xA;&#xD;&#xA;The inner wheel is for horizontal zoom.&#xD;&#xA;The outer jog is for the playhead.&#xD;&#xA;&#xD;&#xA;Buttons are:&#xD;&#xA;&#xD;&#xA; - play/pause &#xD;&#xA; - return playhead to last insert point &#xD;&#xA; - play selected region&#xD;&#xA; - loop selected region (add modifier for a non-quantized loop) &#xD;&#xA; - turn loop on/off &#xD;&#xA; - cmd &#xD;&#xA; - ctrl &#xD;&#xA; - shift &#xD;&#xA; - tool tray&#xD;&#xA;&#xD;&#xA; - mouse wheel is vertical scroll&#xD;&#xA; - cmd + mouse wheel is horizontal scroll&#xD;&#xA; - opt + mouse wheel is vertical zoom&#xD;&#xA;&#xD;&#xA;-=-&#xD;&#xA;&#xD;&#xA;I use the mouse right click for scissors.&#xD;&#xA;Cmd + left click alternates between cross fade tool and velocity tool. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;All this to say, I'm pretty useless navigating an arrangement in Logic without my Shuttle." ContentLicense="CC BY-SA 2.5" />
  <row Id="4951" PostHistoryTypeId="2" PostId="2835" RevisionGUID="fbe91084-d8c5-46c7-86ae-5d8c5f9a59b8" CreationDate="2010-08-16T00:50:51.003" UserId="477" Text="Moving to a trackball, I really  missed the 2D scroll wheel of the mighty mouse. So I set both top buttons to go into scroll mode with 3rd party software. But that doesn't work very well. I think I may steal Miguel's set up.&#xD;&#xA;&#xD;&#xA;MWAHAHAHAHAHA" ContentLicense="CC BY-SA 2.5" />
  <row Id="4952" PostHistoryTypeId="2" PostId="2836" RevisionGUID="41fe91b6-8ec9-4c47-8916-55c91ccd11ff" CreationDate="2010-08-16T01:21:13.727" UserId="503" Text="Just like the others, I use it on every SFX and Atmos to give a different feel or extension. I'm a big fan of H DLY as it has a great sounding filter section." ContentLicense="CC BY-SA 2.5" />
  <row Id="4955" PostHistoryTypeId="2" PostId="2838" RevisionGUID="7e446669-f792-4a77-9f20-527e6761e727" CreationDate="2010-08-16T01:45:01.427" UserId="18160" Text="I spend quite a long time finding the perfect spot for my microphone while recording voices - both narration and vocals.&#xD;&#xA;&#xD;&#xA;Do any of you who also record narration/vocals do the same? Or do you sort of &quot;set it and forget it&quot;?&#xD;&#xA;&#xD;&#xA;Do any of you give extra special care to where you place your mic when you are recording sound effects in the field?&#xD;&#xA;&#xD;&#xA;Also, I never really understood the principle of &quot;letting the sound wave develop&quot; like the lower frequencies. Someone told me I have to place the mic a little further away to &quot;let the low frequencies develop&quot;. Is this true and do you guys do this? Can someone explain that to me if you don't mind?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="4956" PostHistoryTypeId="1" PostId="2838" RevisionGUID="7e446669-f792-4a77-9f20-527e6761e727" CreationDate="2010-08-16T01:45:01.427" UserId="18160" Text="How much time do you spend finding the &quot;sweet spot&quot;?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4957" PostHistoryTypeId="3" PostId="2838" RevisionGUID="7e446669-f792-4a77-9f20-527e6761e727" CreationDate="2010-08-16T01:45:01.427" UserId="18160" Text="&lt;microphone&gt;&lt;time&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4958" PostHistoryTypeId="5" PostId="2833" RevisionGUID="0cd86e35-6bc2-462b-a219-2d7f53091cd5" CreationDate="2010-08-16T02:20:29.750" UserId="28" Comment="added 62 characters in body" Text="I use a Contour Shuttle Pro 2.0 with Logic.&#xD;&#xA;&#xD;&#xA;The inner wheel is for horizontal zoom.&#xD;&#xA;The outer jog is for the playhead.&#xD;&#xA;&#xD;&#xA;Buttons are:&#xD;&#xA;&#xD;&#xA; - play/pause &#xD;&#xA; - return playhead to last insert point &#xD;&#xA; - play selected region&#xD;&#xA; - loop selected region (add modifier for a non-quantized loop) &#xD;&#xA; - turn loop on/off &#xD;&#xA; - cmd &#xD;&#xA; - ctrl &#xD;&#xA; - shift &#xD;&#xA; - tool tray&#xD;&#xA;&#xD;&#xA; - mouse wheel is vertical scroll&#xD;&#xA; - cmd + mouse wheel is horizontal scroll&#xD;&#xA; - opt + mouse wheel is vertical zoom&#xD;&#xA;&#xD;&#xA;-=-&#xD;&#xA;&#xD;&#xA;I use the mouse right click for scissors.&#xD;&#xA;Cmd + left click alternates between cross fade tool and velocity tool. Ctrl and right click is the regular right click context menu. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;All this to say, I'm pretty useless navigating an arrangement in Logic without my Shuttle." ContentLicense="CC BY-SA 2.5" />
  <row Id="4959" PostHistoryTypeId="2" PostId="2839" RevisionGUID="48aa75a3-9a7c-4283-ac91-b1873fa40268" CreationDate="2010-08-16T03:29:23.010" UserId="6411" Text="My first question is, how did you come to find this guy? If it was anything but an internet search: a friend, a professor, someone in the industry, anyone really, *they are your key to not being a &quot;stranger.&quot;* Whatever your connection, that is how Mr. Freund came on your radar and into your professional network. You should place that information **very early** in any correspondence. As in:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&quot;Mr. Freund,&#xD;&#xA;&#xD;&#xA;My name is Mercy and I'm an aspiring sound designer. My Aunt Matilda* is friends with your Great-Uncle Larry* who mentioned that you are in the business and that I should get in touch with you.&quot;&#xD;&#xA;&#xD;&#xA;**Names changed to protect the innocent*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;Ta-Da! Now you're not a stranger. Personally speaking, I will much sooner take the time out of my day for an acquaintance of a friend than some random.&#xD;&#xA;&#xD;&#xA;But now on to a more serious matter: **Doing your homework**&#xD;&#xA;&#xD;&#xA;A quick google on Mr. Freund shows there is indeed [a sound designer named Benjie Freund][1], who was born in Memphis and went to college at the Atlanta Institute of Music. But yet, provides [no info about where here currently is located][2]. So, (A) how do you know he's close enough to warrant a summer internship?&#xD;&#xA;&#xD;&#xA;The same google search gives us [a facebook page][3] for DJ Benji Freund  who has the &quot;Atlanta Institute of Music '10&quot; listed under 'Work and Education' in addition to &quot;Audio Engineer,&quot; and &quot;Sound Design for Games&quot; (gotta love them internets!). Hold on to this for a second...&#xD;&#xA;&#xD;&#xA;Facebook DJ Benji Freund shares an unflattering photo with [MySpace DJ Benji Freund][4] who says he's located in &quot;LOUISVILLE, ??? United States.&quot; HaHA! We *might* have found him!&#xD;&#xA;&#xD;&#xA;So my second question is **&quot;Is he worth all this?&quot;**&#xD;&#xA;&#xD;&#xA;*IF* [this Benjie Freund][1] is in fact [this Benji Freund][4] then he has only just started his illustrious career as a Sound Designer.  This is a medium-sized &quot;if,&quot; but if this how I found Benji Freund I probably wouldn't stop looking. Having *just* graduated he hasn't had his own career opportunities to make the mistakes and figure out the secrets that are worth passing on to an apprentice. He's probably looking for an apprenticeship himself...&#xD;&#xA;&#xD;&#xA;Reviewing your history of questions you are clearly motivated to find some kind of internship/apprenticeship, and you have received a boatload of responses from some very notable characters in the field.  I believe you can gain valuable advice by pouring over boards like this, creating projects of your own, and demonstrating your abilities here and elsewhere on the net. By making and reinforcing *these* connections rather than hunting down a relative &quot;stranger&quot; you are teaching yourself by doing, subjecting yourself to the review of professionals, and making yourself a valuable commodity that will put you in a position of opportunity when the time comes. Hope that helps.&#xD;&#xA;&#xD;&#xA;ps- Isn't it a little late in the season to be thinking about a &quot;summer&quot; internship?&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.benjiefreund.com/About_Me.html&#xD;&#xA;  [2]: http://www.benjiefreund.com/Contact.html&#xD;&#xA;  [3]: http://www.facebook.com/djbenjiefreund&#xD;&#xA;  [4]: http://www.myspace.com/djbenjiefreund" ContentLicense="CC BY-SA 2.5" />
  <row Id="4960" PostHistoryTypeId="2" PostId="2840" RevisionGUID="ded67886-eb3d-448e-822a-a22e99396b45" CreationDate="2010-08-16T03:41:49.337" UserId="455" Text="I have a Kensington trackball, using pro tools I have the buttons set to the following:&#xD;&#xA;&#xD;&#xA;Bottom left- Left Click&#xD;&#xA;Top Left- selector tool&#xD;&#xA;Top Right- grabber tool&#xD;&#xA;Bottom Right- Trim tool&#xD;&#xA;Top Chord- pencil&#xD;&#xA;Bottom Chord- zoom tool&#xD;&#xA;&#xD;&#xA;With this configuration you can edit much faster (of course for fades you will have to go to the selection tool and use D, F and G).&#xD;&#xA;&#xD;&#xA;This is also the setup used at [Danetracks][1].  I just recently started editing and mixing like this and it works really well.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.danetracks.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="4962" PostHistoryTypeId="2" PostId="2841" RevisionGUID="f00c3bc9-cd73-47ef-a497-15ea748e2e61" CreationDate="2010-08-16T05:37:44.493" UserId="338" Text="When you start a project, what is your intial workflow?  Do you reach for inspiration first?  Do you create a sound pallet?  Do you have a specific analysis formula that you follow?  Do you spot music first, ambiances, sound effects, foley or dialog?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="4963" PostHistoryTypeId="1" PostId="2841" RevisionGUID="f00c3bc9-cd73-47ef-a497-15ea748e2e61" CreationDate="2010-08-16T05:37:44.493" UserId="338" Text="When you start a project?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4964" PostHistoryTypeId="3" PostId="2841" RevisionGUID="f00c3bc9-cd73-47ef-a497-15ea748e2e61" CreationDate="2010-08-16T05:37:44.493" UserId="338" Text="&lt;project&gt;&lt;ideas&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4965" PostHistoryTypeId="2" PostId="2842" RevisionGUID="98612890-cf2b-4938-85ee-45e00c3819d0" CreationDate="2010-08-16T06:59:40.193" UserId="61" Text="To touch on your question about &quot;letting the sound wave develop&quot;...&#xD;&#xA;&#xD;&#xA;Sound travels through the air (and other materials) via [waves][1]. Higher frequencies have shorter cycles than lower frequencies; the practical implication of this is that you need to be further away from a sound source to experience the lowest frequencies, while higher frequencies can be heard rather close to the source. Let me demonstrate…&#xD;&#xA;&#xD;&#xA;Think of a home fire alarm. Put your ear up to it, it's really really bright. Walk 50ft from it, it's still really really bright.&#xD;&#xA;&#xD;&#xA;Now think about a bass drum. Put your ear up to it, it's kind of clicky and snappy. Walk 50ft from it, it's more bassy, thuddy and resonant in the low end.&#xD;&#xA;&#xD;&#xA;The lower frequencies require more distance from the source to be heard in their fullest form.&#xD;&#xA;&#xD;&#xA;OK all you learned acoustics folks, chime in and drop some data!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="4966" PostHistoryTypeId="2" PostId="2843" RevisionGUID="c86b226e-55ea-4a40-b077-81fbb146581e" CreationDate="2010-08-16T07:00:31.360" UserId="455" Text="How are your sessions built so that when the client receives final stems, the comped level doesn't exceed a given threshold?  The way I set up my sessions is audio tracks feed aux inputs (D, M &amp; E stems) which feed a comp input. Each of these inputs then feed audio tracks which I record the stems onto.  I can put a limiter on the comp input so that when it records to a track it doesn't exceed a given threshold, but what happens if the client wants JUST D, M &amp; E stems?  How can I control the overall level when these tracks are summed?&#xD;&#xA;&#xD;&#xA;*The highlighted tracks are my Aux Inputs.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i802.photobucket.com/albums/yy307/dkenyon2010/Screenshot2010-08-15at105824PM.png&#xD;&#xA;&#xD;&#xA;Is there a better way to organize my session?  I am going to start mixing promos that will be mixed for web, possibly for broadcast." ContentLicense="CC BY-SA 2.5" />
  <row Id="4967" PostHistoryTypeId="1" PostId="2843" RevisionGUID="c86b226e-55ea-4a40-b077-81fbb146581e" CreationDate="2010-08-16T07:00:31.360" UserId="455" Text="Delivering DM&amp;E stems" ContentLicense="CC BY-SA 2.5" />
  <row Id="4968" PostHistoryTypeId="3" PostId="2843" RevisionGUID="c86b226e-55ea-4a40-b077-81fbb146581e" CreationDate="2010-08-16T07:00:31.360" UserId="455" Text="&lt;stems&gt;&lt;mixing&gt;&lt;limiting&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4969" PostHistoryTypeId="2" PostId="2844" RevisionGUID="5177e1ad-4de2-482e-8724-ad831a0cec90" CreationDate="2010-08-16T08:01:40.157" UserId="298" Text="Definately, video should come muted, to not change your existent idea of how you would design it. I prefer not to hear the original audio first time and instantly associate a picture with imaginary sound and then realise it. After 3/4 of work its good to hear original to polish your own work.&#xD;&#xA;&#xD;&#xA;And good idea i think is to post muted video in the beginning of competition, and then as all works will collected - post same video with audio. That will be interesting to compare." ContentLicense="CC BY-SA 2.5" />
  <row Id="4971" PostHistoryTypeId="2" PostId="2845" RevisionGUID="ffd1ccbd-1cd8-44f9-90fb-f7858b90a049" CreationDate="2010-08-16T08:34:34.693" UserId="2" Text="The transfer speed (FW400, 800, USB, etc.) is very important, but the speed (7200rpm vs 5400rpm) of your hard drive plays a **huge** role in the performance. I'm not sure about the partitioning but it may be a good idea to use your internal drive for current projects and transferring what doesn't need constant access to your external drive. " ContentLicense="CC BY-SA 2.5" />
  <row Id="4972" PostHistoryTypeId="2" PostId="2846" RevisionGUID="ea489c39-cd00-4c42-b148-f605abd48f3f" CreationDate="2010-08-16T08:54:04.597" UserId="62" Text="Can't quite see your session there, the pic is a bit too small to read the text.&#xD;&#xA;&#xD;&#xA;Anyway, I have my outputs split into the following stems for all our international shows...&#xD;&#xA;&#xD;&#xA;Mix&#xD;&#xA;M&amp;E&#xD;&#xA;Music&#xD;&#xA;FX&#xD;&#xA;Dialogue&#xD;&#xA;&#xD;&#xA;I'll use the Mix track to explain but they're all identical.&#xD;&#xA;&#xD;&#xA;Mix Stem (Aux Track) (L2 limiter set at -10)&#xD;&#xA;&#xD;&#xA;output to...&#xD;&#xA;&#xD;&#xA;Mix Master (Master Track) (POWr dither for layback to tape)&#xD;&#xA;Mix Print (Audio Track)&#xD;&#xA;&#xD;&#xA;To create all my stems I simply record all the Print tracks, which will be identical to what's on tape. All the routing is done within ProTools and is part of my main mix template so I never need to re-route anything or think how it's going to work." ContentLicense="CC BY-SA 2.5" />
  <row Id="4973" PostHistoryTypeId="2" PostId="2847" RevisionGUID="64767a41-aa34-4a1c-bade-b0093aab8fdf" CreationDate="2010-08-16T11:54:40.367" UserId="432" Text="If I have time, I like to sit down and watch the whole piece to get a better understanding of how much work is going to be involved. That way I can create a basic schedule as to what I need to have finished by when. I have to do almost everything post-wise on the projects we have at work. So, this is essential for me to get everything in by deadline.&#xD;&#xA;&#xD;&#xA;Once I'm there, I usually start with dialog (edits, cleanup, and pre-mix). For the pieces I work on (mostly television non-fictional) it's the most important element of the show. Then I'll turn to spotting ambiences and effects. If it's a short piece, I'll just drop markers onto my timeline indicating where I need what. For a longer piece, I keep that info on a separate document (cut sheet). I have a coworker who composes music for all of our pieces. So, I leave that to him, but we try to communicate with each other what we're going to build for each scene. When I actually get to work, I tend to deal with ambiences before effects." ContentLicense="CC BY-SA 2.5" />
  <row Id="4974" PostHistoryTypeId="2" PostId="2848" RevisionGUID="1361c91e-4642-4e42-b56e-bd5f25edf649" CreationDate="2010-08-16T12:07:53.687" UserId="432" Text="Partitioning will not speed up your read or access speed at all. The drive still turns at the same speed (7200rpm in the case of this particular drive), and it still has the same number of heads to read data. All the partition is going to do is help keep your data better organized. If you're not using the &quot;audio&quot; partition when performing other tasks, then data won't be written to that area of your disc. Less data=less clutter (aka fragmentation)...which is not a bad thing at all, but I don't think it will help your buffer idea.&#xD;&#xA;&#xD;&#xA;Try limiting the record time available for your sessions in Pro Tools. The software actually operates better if you tell it to reserve a certain amount of space on your hard drive and work within that, than it does if you give it free reign over all of the free data sectors. You can set this by going to the &quot;Operation&quot; tab of the preferences menu. In the there's an option in the &quot;Record&quot; section of that page.&#xD;&#xA;&#xD;&#xA;That's all I can think of right now without being in front of your system to see how it's actually behaving. I hope it helps." ContentLicense="CC BY-SA 2.5" />
  <row Id="4976" PostHistoryTypeId="5" PostId="2839" RevisionGUID="b8d25f49-250a-43ab-81f7-b53586b3cc79" CreationDate="2010-08-16T13:34:14.633" UserId="6411" Comment="grammar" Text="My first question is, how did you come to find this guy? If it was anything but an internet search: a friend, a professor, someone in the industry, anyone really, *they are your key to not being a &quot;stranger.&quot;* Whatever your connection, that is how Mr. Freund came on your radar and into your professional network. You should place that information **very early** in any correspondence. As in:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&quot;Mr. Freund,&#xD;&#xA;&#xD;&#xA;My name is Mercy and I'm an aspiring sound designer. My Aunt Matilda* is friends with your Great-Uncle Larry* who mentioned that you are in the business and that I should get in touch with you.&quot;&#xD;&#xA;&#xD;&#xA;**Names changed to protect the innocent*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;Ta-Da! Now you're not a stranger. Personally speaking, I will much sooner take the time out of my day for an acquaintance of a friend than some random.&#xD;&#xA;&#xD;&#xA;But now on to a more serious matter: **Doing your homework**&#xD;&#xA;&#xD;&#xA;A quick google on Mr. Freund shows there is indeed [a sound designer named Benjie Freund][1], who was born in Memphis and went to college at the Atlanta Institute of Music. But yet, provides [no info about where here currently is located][2]. So, (A) how do you know he's close enough to warrant a summer internship?&#xD;&#xA;&#xD;&#xA;The same google search gives us [a facebook page][3] for DJ Benji Freund  who has the &quot;Atlanta Institute of Music '10&quot; listed under 'Work and Education' in addition to &quot;Audio Engineer,&quot; and &quot;Sound Design for Games&quot; (gotta love them internets!). Hold on to this for a second...&#xD;&#xA;&#xD;&#xA;Facebook DJ Benji Freund shares an unflattering photo with [MySpace DJ Benji Freund][4] who says he's located in &quot;LOUISVILLE, ??? United States.&quot; HaHA! We *might* have found him!&#xD;&#xA;&#xD;&#xA;So my second question is **&quot;Is he worth all this?&quot;**&#xD;&#xA;&#xD;&#xA;*IF* [this Benjie Freund][1] is in fact [this Benji Freund][4] then he has only just started his illustrious career as a Sound Designer.  This is a medium-sized &quot;if,&quot; but if this was how I found Benji Freund I probably wouldn't stop looking. Having *just* graduated he hasn't had his own career opportunities to make the mistakes and figure out the secrets that are worth passing on to an apprentice. He's probably looking for an apprenticeship himself...&#xD;&#xA;&#xD;&#xA;Reviewing your history of questions you are clearly motivated to find some kind of internship/apprenticeship, and you have received a boatload of responses from some very notable characters in the field.  I believe you can gain valuable advice by pouring over boards like this, creating projects of your own, and demonstrating your abilities here and elsewhere on the net. By making and reinforcing *these* connections rather than hunting down a relative &quot;stranger&quot; you are teaching yourself by doing, subjecting yourself to the review of professionals, and making yourself a valuable commodity that will put you in a position of opportunity when the time comes. Hope that helps.&#xD;&#xA;&#xD;&#xA;ps- Isn't it a little late in the season to be thinking about a &quot;summer&quot; internship?&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.benjiefreund.com/About_Me.html&#xD;&#xA;  [2]: http://www.benjiefreund.com/Contact.html&#xD;&#xA;  [3]: http://www.facebook.com/djbenjiefreund&#xD;&#xA;  [4]: http://www.myspace.com/djbenjiefreund" ContentLicense="CC BY-SA 2.5" />
  <row Id="4977" PostHistoryTypeId="2" PostId="2850" RevisionGUID="4b84ac9c-478a-4dc6-95a7-d5407b3a35ac" CreationDate="2010-08-16T15:13:48.907" UserDisplayName="user80" Text="Dedicate a single drive for audio only, partitioning is not the answer.  Use as small a drive as possible so that the access times are really fast and remember to wipe free space periodically.  Use your large hard drive for back ups." ContentLicense="CC BY-SA 2.5" />
  <row Id="4978" PostHistoryTypeId="2" PostId="2851" RevisionGUID="e02ffcb9-cf38-4fa2-abf5-b982aedba78d" CreationDate="2010-08-16T15:16:47.913" UserId="253" Text="From what i understand, the waves used to represent sounds are graphs of pressure over time. So sound is pressure fluctuations in the air caused by a vibrating object; the whole wave thing is a pretty useful representation, but can cause a lot of misconceptions about how sound travels.&#xD;&#xA;&#xD;&#xA;It seems to me that, whether you're near or far to a bassy object (ie. kickdrum), the pressure waves will pass over you in more or less the same way (low frequencies can travel a long way). What people mean by &quot;letting the waves develop&quot; seems to be a not-very-accoustical way of talking about getting a mic into a position that has a pleasing balance of frequencies. High frequencies lose power before low frequencies (ie. Jay's kickdrum); too close and you'll have too many high freqs, too far and you won't have enough." ContentLicense="CC BY-SA 2.5" />
  <row Id="4979" PostHistoryTypeId="2" PostId="2852" RevisionGUID="f354ec5f-eb79-4955-a2b0-13599eed771a" CreationDate="2010-08-16T15:35:02.477" UserId="62" Text="I just got an email today from Waves showing their new NR plugin, the [W43][1].&#xD;&#xA;&#xD;&#xA;Intrigued to see what the consensus is as it's rather cheap at $300/€260/£200. Sadly I've not got time at the moment or I'd download a demo and have a look. Would love to hear if anyone does have a go, especially compared to Cedar's DNSOne or Waves WNS.&#xD;&#xA;&#xD;&#xA;Ian&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waves.com/content.aspx?id=10757" ContentLicense="CC BY-SA 2.5" />
  <row Id="4982" PostHistoryTypeId="2" PostId="2854" RevisionGUID="8a370c12-1ccf-4545-aa68-2bf5067a975c" CreationDate="2010-08-16T18:10:31.680" UserId="18160" Text="Now that you're in the entertainment industry, what would be your most ideal job to work on?&#xD;&#xA;&#xD;&#xA;I grew up watching Shark Week on the Discovery Channel so I wouldn't mind sound designing and mixing that series.&#xD;&#xA;&#xD;&#xA;Walking with Dinosaurs would be extremely fun.&#xD;&#xA;&#xD;&#xA;I would love to do a war film like Saving Private Ryan. I love the detail and intimacy of the foley in that film - they went to town on it.&#xD;&#xA;&#xD;&#xA;Anything Pixar. If it has the name Pixar on it, I don't care what it is I'll do it!&#xD;&#xA;&#xD;&#xA;What sort of shows or movies did you watch as a kid that you would love to design?&#xD;&#xA;&#xD;&#xA;Any dreams you have for the future? Where do you ultimately want to take your career?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4983" PostHistoryTypeId="1" PostId="2854" RevisionGUID="8a370c12-1ccf-4545-aa68-2bf5067a975c" CreationDate="2010-08-16T18:10:31.680" UserId="18160" Text="What is your dream job?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4984" PostHistoryTypeId="3" PostId="2854" RevisionGUID="8a370c12-1ccf-4545-aa68-2bf5067a975c" CreationDate="2010-08-16T18:10:31.680" UserId="18160" Text="&lt;sound-design&gt;&lt;job&gt;&lt;projects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4985" PostHistoryTypeId="5" PostId="2854" RevisionGUID="d5c5400d-8e62-4f47-bfdd-fd47684f86ba" CreationDate="2010-08-16T18:21:30.677" UserId="18160" Comment="added 208 characters in body; added 1 characters in body; added 50 characters in body" Text="Now that you're in the entertainment industry, what would be your most ideal job to work on?&#xD;&#xA;&#xD;&#xA;I grew up watching Shark Week on the Discovery Channel so I wouldn't mind sound designing and mixing that series.&#xD;&#xA;&#xD;&#xA;Walking with Dinosaurs would be extremely fun.&#xD;&#xA;&#xD;&#xA;I would love to do a war film like Saving Private Ryan. I love the detail and intimacy of the foley in that film - they went to town on it.&#xD;&#xA;&#xD;&#xA;Anything Pixar. If it has the name Pixar on it, I don't care what it is I'll do it!&#xD;&#xA;&#xD;&#xA;Ultimately I want to design something which goes down in the history books which has augmented an industry-changing film and which kids will mimic for years to come and has left a stamp on the sound designing field (i.e. lightsabers, vader's breath, etc.)&#xD;&#xA;&#xD;&#xA;What sort of shows or movies did you watch as a kid that you would love to design?&#xD;&#xA;&#xD;&#xA;Any dreams you have for the future? Where do you ultimately want to take your career?" ContentLicense="CC BY-SA 2.5" />
  <row Id="4986" PostHistoryTypeId="2" PostId="2855" RevisionGUID="14250de5-dacc-464a-a981-5c565ed3c5ab" CreationDate="2010-08-16T18:52:40.203" UserId="285" Text="I am in the hunt for a new space for my studio/sound edit room and can not decide which way to look in terms of the lighting for a new space.  I have worked in studios with no windows and dim lighting as well as rooms with windows that light up a room during the day.  I think I get more work done in a dark room but sometimes I start to feel like a vampire and after too many long days and I start to miss the sun a lot.  On the other hand having a nice bright environment has lots of positives and negatives.&#xD;&#xA;&#xD;&#xA;Anyone have any thoughts on which way to go or what works best for you?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4987" PostHistoryTypeId="1" PostId="2855" RevisionGUID="14250de5-dacc-464a-a981-5c565ed3c5ab" CreationDate="2010-08-16T18:52:40.203" UserId="285" Text="Light vs Darkness" ContentLicense="CC BY-SA 2.5" />
  <row Id="4988" PostHistoryTypeId="3" PostId="2855" RevisionGUID="14250de5-dacc-464a-a981-5c565ed3c5ab" CreationDate="2010-08-16T18:52:40.203" UserId="285" Text="&lt;lighting&gt;&lt;productivity&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="4991" PostHistoryTypeId="2" PostId="2857" RevisionGUID="0e46d88b-cffc-41c4-bd81-8e13103b4409" CreationDate="2010-08-16T19:09:24.637" UserId="18" Text="I've been lucky that I think I've already done my dream job, twice!  I'm a huge James Bond fan and I worked on the Quantum of Solace game.  The highlight for me was going to Pinewood Studios in England (where all the Bond movies have been filmed) and recording Judi Dench.  I also got to travel Europe recording a couple Bond villains and Bond girls.  Last month, I got to revisit the Bond world and design gun sounds for an upcoming Bond game.&#xD;&#xA;&#xD;&#xA;Aside from that, I'd love to work on an Indiana Jones film." ContentLicense="CC BY-SA 2.5" />
  <row Id="4992" PostHistoryTypeId="2" PostId="2858" RevisionGUID="94301220-cd73-420d-b074-ed6159e041e1" CreationDate="2010-08-16T19:33:42.773" UserId="285" Text="The first thing I do is sit down alone and watch the picture from start to finish, this lets me get an idea on the following:&#xD;&#xA;&#xD;&#xA;- Session set up.  How many SFX tracks are needed, 20 or 200?&#xD;&#xA;- Any major sound recording that need to be organized (guns, cars, and thing you don't have confidence you already have library for)&#xD;&#xA;- Questions for the Director during a spotting session.  Tech questions as well as story line questions.  Directors will trust you more if you are paying attention to the story and not just what sounds are required&#xD;&#xA;- An idea of what the schedule will shake out as and where to focus energy &#xD;&#xA;- Get an overall idea of what you are up against.  Sadly not all projects have to budget and timeline to allow us to go to town on every aspect of the post sound, so a screening can give you an idea of how to attack the project.&#xD;&#xA;- Make sure the picture has the proper tech specs, frame rate, no drop outs, if delivered as QT that there is burn-in TC ect&#xD;&#xA;- Look for surprises that were not discussed yet in terms of budget.  A lot of times you can ask all the right questions but until you see the picture you are not sure if you were getting the right answers.&#xD;&#xA;&#xD;&#xA;Next up set up a spotting session with the director and if possible the picture editor.  I like to do an ambience pass first to give each scene some weight and ground them in a specific environment and then do the Dialog pass.  I think most people do this the other way around but this works for me.  Then I tackle the hard effects.  I don't look after the foley or the score so they would be happening independently." ContentLicense="CC BY-SA 2.5" />
  <row Id="4993" PostHistoryTypeId="2" PostId="2859" RevisionGUID="a66fc50c-a524-48ed-8def-13d31dedb733" CreationDate="2010-08-16T19:53:17.140" UserId="18" Text="I prefer spotlight-type halogen lights (on a gooseneck or track) that can be aimed at walls or the ceiling.  I don't like the light shining down on me, but I like the ambient feel you can get from lighting parts of a wall." ContentLicense="CC BY-SA 2.5" />
  <row Id="4994" PostHistoryTypeId="2" PostId="2860" RevisionGUID="4dba6be8-bb56-4fe1-abab-2c0be30ffcc1" CreationDate="2010-08-16T19:57:37.003" UserId="393" Text="Consider this: sunlight makes computer screens suck, a lot.  Glare or washout.&#xD;&#xA;&#xD;&#xA;And the fact that your hearing increases when the light decreases should be a solid selling point." ContentLicense="CC BY-SA 2.5" />
  <row Id="4995" PostHistoryTypeId="2" PostId="2861" RevisionGUID="0355ce53-29d1-4416-93bf-484156d428cd" CreationDate="2010-08-16T20:00:03.707" UserId="393" Text="I'd kill to work on a Dungeons and Dragons video game, or anything by Blizzard or Bethesda.&#xD;&#xA;&#xD;&#xA;Film wise, a Bond would be nice, but I think a Freddy / Jason slasher flick would be something I'd cherish forever." ContentLicense="CC BY-SA 2.5" />
  <row Id="4996" PostHistoryTypeId="2" PostId="2862" RevisionGUID="fd118849-2364-4a86-b067-ce92a6305dee" CreationDate="2010-08-16T20:10:17.953" UserId="338" Text="I would love to work on some animation films or any major motion picture feature.  Working on video games would be really cool too.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="4997" PostHistoryTypeId="2" PostId="2863" RevisionGUID="c728ff78-7185-4d83-b552-1cc95c506511" CreationDate="2010-08-16T20:30:03.600" UserId="62" Text="Without doubt 2 dream things I'd jump at doing would be anything from the Star Trek universe or Doctor Who.&#xD;&#xA;&#xD;&#xA;Whatever your thoughts on Trek the sound has been some great work in every series!&#xD;&#xA;&#xD;&#xA;My sound-geek favourite would have to be Doctor Who though. The work by the BBC's Radiophonic Workshop was simply genius! And the guys in Bang Post Production have done a terrific job on combining a completely modern sound design but with some of the old material in there for good measure." ContentLicense="CC BY-SA 2.5" />
  <row Id="4999" PostHistoryTypeId="2" PostId="2865" RevisionGUID="4e87a4b4-f523-476c-be75-f146c195369c" CreationDate="2010-08-16T21:09:28.010" UserDisplayName="user49" Text="You can always use curtains in a room with windows but you cant add windows to a windowless room.... I personally insist on a room with windows, it is important exercise for the eyes to focus on distance, plus I like to see what time of day/weather etc it is.... &#xD;&#xA;&#xD;&#xA;Its a personal preference...&#xD;&#xA;&#xD;&#xA;There is no problem with natural light &amp; computer screens; as with artificial light you just have to think about where the screens are, relative to the light source..&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5000" PostHistoryTypeId="2" PostId="2866" RevisionGUID="126af304-de5e-4f87-8ce1-7028b67cd47d" CreationDate="2010-08-16T21:13:22.907" UserId="219" Text="When reading Yewdall's Practical Art of Motion Picture Sound, you can read him talking about varying road textures in the movie Christine... I can't quite represent myself how one would about doing this since I canct figure out how to record road textures alone... is there something I'm missing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5001" PostHistoryTypeId="1" PostId="2866" RevisionGUID="126af304-de5e-4f87-8ce1-7028b67cd47d" CreationDate="2010-08-16T21:13:22.907" UserId="219" Text="Road texture..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5002" PostHistoryTypeId="3" PostId="2866" RevisionGUID="126af304-de5e-4f87-8ce1-7028b67cd47d" CreationDate="2010-08-16T21:13:22.907" UserId="219" Text="&lt;sound-effects-recording&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5003" PostHistoryTypeId="2" PostId="2867" RevisionGUID="f2a360f2-16a5-469d-a8d2-db7f439aa0b1" CreationDate="2010-08-16T21:14:05.743" UserDisplayName="user49" Text="FWIW the first question you should ask when calling someone who works in studios is: &quot;Do you have time to talk now, or should I call you back at a better time?&quot; If you dont ask this question &amp; they are busy and/or stressed you may just get no to every question regardless, whereas calling back at a more suitable time may help your case..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5004" PostHistoryTypeId="2" PostId="2868" RevisionGUID="7d49e8a6-7eee-4eb7-be0f-ad896642a4db" CreationDate="2010-08-16T21:21:34.063" UserId="61" Text="What he's talking about is how the tires sound over different surfaces, ie. smooth pavement, rough pavement, dirt shoulder, cobblestones, gravel over pavement, etc. You can focus on those textures by aiming your mics mostly at the tires for passbys, or mount mics in the wheelwells for onboards and steadies. You can also use this technique to make passbys, aways, and in &amp; stops more interesting by telling the driver to vary his position on these surfaces as the car approaches the microphones. Example: Car passby, medium speed. Instead of staying on the pavement, the driver can swerve over to the shoulder slightly and then back to the road again." ContentLicense="CC BY-SA 2.5" />
  <row Id="5005" PostHistoryTypeId="2" PostId="2869" RevisionGUID="8f3d338d-2a68-4ede-b50e-c76d16be53fe" CreationDate="2010-08-16T21:43:31.747" UserId="40" Text="Just picked up some polymer film transducers.  Haven't hooked them up yet, but I'm told they make great contact mics. It's the same stuff used in many guitar pickups.  Hopefully I'll have some time to solder them in the next two weeks or so.  I'll have recordings up once I finish putting them together!&#xD;&#xA;&#xD;&#xA;Has anyone made one of these before?  Any tips?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5006" PostHistoryTypeId="1" PostId="2869" RevisionGUID="8f3d338d-2a68-4ede-b50e-c76d16be53fe" CreationDate="2010-08-16T21:43:31.747" UserId="40" Text="Polymer Film Microphone" ContentLicense="CC BY-SA 2.5" />
  <row Id="5007" PostHistoryTypeId="3" PostId="2869" RevisionGUID="8f3d338d-2a68-4ede-b50e-c76d16be53fe" CreationDate="2010-08-16T21:43:31.747" UserId="40" Text="&lt;contact-mic&gt;&lt;sound-effects-recording&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5008" PostHistoryTypeId="2" PostId="2870" RevisionGUID="fc42596c-56d1-4835-a539-41c9212f9688" CreationDate="2010-08-16T21:49:36.777" UserId="40" Text="I'm with Tim - big fan of having windows nearby, and having shades to put over them.  When I'm working on the stage, I often find myself completely losing track of time, weather, and such.  It's a bit unsettling when you walk out of the room and something outside has completely changed... (IE it was sunny when I went in and now it's pitch black out).&#xD;&#xA;&#xD;&#xA;Exercising your eyes by focusing in the distance is also a great option to have.  Computer screens can destroy your eyes if you don't frequently look away and focus further away.  A window is a great way to be able to do this.&#xD;&#xA;&#xD;&#xA;I also agree with Chuck on the ambient lighting thing.  Not at all a fan of direct lighting when I'm working.  It really bothers me.&#xD;&#xA;&#xD;&#xA;So, my ideal room is a room with windows that have curtains or shades over them, painted a darker soothing color, with diffused wall sconces or track lighting aimed at the walls giving a dim ambient light feeling.  Colored accent lights can be a nice touch too." ContentLicense="CC BY-SA 2.5" />
  <row Id="5009" PostHistoryTypeId="2" PostId="2871" RevisionGUID="476d0eca-8245-4a26-b1e1-c11ffd3c0cad" CreationDate="2010-08-16T21:55:31.103" UserId="40" Text="My ultimate dream job is working at Skywalker.  Working with the amount of creative genius that resides in that building, working on the biggest projects around, having resources that nobody else has... amazing.&#xD;&#xA;&#xD;&#xA;On another note, I think it would be absolutely amazing to work production sound for Mythbusters.  I've always thoroughly enjoyed blowing stuff up, and many of the other things they do on that show.  I can only imagine how much fun it would be to work on that set...&#xD;&#xA;&#xD;&#xA;When it comes down to it, my dream job would include working with people that understand my art, working for people that understand that I know what I'm doing and allow me to do what I think it best, making enough money to support me and my family without worrying, and having enough time left after work to breathe.  There are very few of these jobs in sound, but they are out there." ContentLicense="CC BY-SA 2.5" />
  <row Id="5010" PostHistoryTypeId="2" PostId="2872" RevisionGUID="f9a680b6-c3f0-4e7e-a6d0-a5653e9ce3dd" CreationDate="2010-08-16T22:07:21.693" UserId="40" Text="I use a Kensington Expert Mouse.  I have a bunch of different macros that I have written and can load depending on what I'm doing.&#xD;&#xA;&#xD;&#xA;My default setup is just right click, left click, exposé and show and show desktop.  Those cover most of everything fine, and I just use keyboard quick keys to do what I do.&#xD;&#xA;&#xD;&#xA;If I'm doing music, I have a few macros that come in handy.  I have one that can automatically do a replacement track for drums, or create a midi trigger track.  I have one that can remove the sibilance from a vocal track and move it to another track to be eq'd and compressed differently (makes a HUGE difference!).  Few others as well, but I don't remember them off the top of my head." ContentLicense="CC BY-SA 2.5" />
  <row Id="5011" PostHistoryTypeId="2" PostId="2873" RevisionGUID="d3c6a85e-90f5-4d55-8215-957494a0a3fb" CreationDate="2010-08-16T22:14:51.540" UserId="40" Text="Well, you'll never be able to get TRUE stereo, but you can fake something that can sound like stereo.&#xD;&#xA;&#xD;&#xA;Sonsey's idea will work fairly well as long as your ambience is nondescript enough.  If there's too much going on, or any specific events that stand out, it can ruin the effect and really freak the listener out.&#xD;&#xA;&#xD;&#xA;One thing I've done is to use copy the file onto two mono channels, pan hard right and hard left, and delay one by 10ms or so.  Play with the delay amount to determine your spread and center.&#xD;&#xA;&#xD;&#xA;Another thing you can do is similar to Murch's &quot;Worldizing&quot;.  You can play it out of a mono speaker and record it with a stereo mic.  You'll get a different effect from each room you try it in.  If you can get a really quiet outdoors location, you could take a big speaker out and record it with a stereo mic from fairly far away.  Should get a pretty good effect.  Although, at that point, it might be easier to just go record the ambience yourself, unless it's one that's unavailable at your locale." ContentLicense="CC BY-SA 2.5" />
  <row Id="5012" PostHistoryTypeId="2" PostId="2874" RevisionGUID="2e912ef7-52ce-4ed2-a519-49dd5ae3978c" CreationDate="2010-08-16T22:21:27.850" UserId="40" Text="I spend a lot of time with my mic placement.  I just heard a story today from a veteran mix engineer who, on one of his first sessions where they spent two weeks recording an album, but then it took them 6 months and tons of dubs to get it to sound right, and it still didn't sound as good as it could've if he had recorded it properly in the first place.  The next session he had, he dedicated 2 months to recording it correctly, and it only took 2 months to mix.&#xD;&#xA;&#xD;&#xA;Spending the time to properly mic your subject is so huge.  Change mics, change positions, etc...  There's so much that goes into a good recording.  Frequency response of the mics, acoustics of your location, phase, etc...  Moving your mic an inch can make a huge difference.  I always make sure to get the best sound I can before I hit record, then do a few test recordings to make sure it sounds the way I want it to.&#xD;&#xA;&#xD;&#xA;There are many people who say that if you record properly, you barely need to touch an eq.  While I believe this pertains more to music than to sfx and post, it still does.  You can get most of the effects you'd want with an eq just by moving your mic.&#xD;&#xA;&#xD;&#xA;So get to know your mics, how they react, and how to tweak them!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5013" PostHistoryTypeId="2" PostId="2875" RevisionGUID="6f74876b-aade-4983-b403-b5b6476ce56b" CreationDate="2010-08-16T22:23:37.797" UserId="40" Text="Very short answer, but it changed my life.  Read the book &quot;How to Win Friends and Influence People&quot; by Dale Carnegie.  After you've read that book, put it into practice.  Then you'll know the proper way to approach people about this kind of thing." ContentLicense="CC BY-SA 2.5" />
  <row Id="5014" PostHistoryTypeId="2" PostId="2876" RevisionGUID="44e8fa49-3702-4f35-a989-9251c80f2a10" CreationDate="2010-08-16T22:28:00.287" UserId="40" Text="When capturing ambience, I won't move my mics during the recording.  It changes the perspective of the recording, and unless it matches the picture, it can throw the viewer for a loop.  I will, however, make multiple recordings of the same ambience from different angles and such.  When I'm finished with one perspective, I'll change to another so that I'm covered and have options.  This is especially useful when using directional microphones.&#xD;&#xA;&#xD;&#xA;The other thing you can do is use an M/S setup or an Ambisonics setup.  This will let you change the size and shape of your recording in post.  You can make it wider, narrower, bigger, smaller.  You can fold it down to perfect mono if you need to, or expand flawlessly.  Good stuff!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5015" PostHistoryTypeId="2" PostId="2877" RevisionGUID="a4bf686d-03c4-4625-ab89-70ea27f0ebcf" CreationDate="2010-08-16T22:30:07.633" UserId="40" Text="I keep absolutely everything I work on.  Older stuff is on DVD-Ram on the self, and lots of it is stored on a raw hard drive in a Hudzee box on my shelf.  Products that have been completed and released I try to get a final copy of, but sometimes I don't.  That's not as big of a deal to me as keeping my sessions and materials I used for the project." ContentLicense="CC BY-SA 2.5" />
  <row Id="5016" PostHistoryTypeId="2" PostId="2878" RevisionGUID="f58235d9-d573-4567-bb36-5eda7f04ad24" CreationDate="2010-08-16T23:13:54.457" UserId="40" Text=" I care when I'm doing non-coincident stereo recording, or if I'm summing to mono.&#xD;&#xA;&#xD;&#xA;As long as you keep to the 3 - 1 rule, you should be good!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5017" PostHistoryTypeId="2" PostId="2879" RevisionGUID="d8fb7ce3-0ef6-4dfd-8357-4ef90bc0ba5c" CreationDate="2010-08-17T00:09:42.057" UserId="90" Text="Piezoelectric?  It needs a preamp with a really high input impedance, preferably on the pickup end of the cable rather than the amp end." ContentLicense="CC BY-SA 2.5" />
  <row Id="5018" PostHistoryTypeId="2" PostId="2880" RevisionGUID="9dcd67ba-8685-4559-8e22-5b7ee858448a" CreationDate="2010-08-17T00:11:17.000" UserId="432" Text="The phase issues your perceiving are probably a result of reflections from your surroundings (all those trees spaced in uneven intervals and varying distances will cause phase havoc). I'll occasionally move about when recording ambiences, I've found them useful every once in a while. I typically only do this with a Sony PCM-D50 though, and it's important that the areas you're moving through be somewhat uniform or change slowly in terms of surrounding structures because of that whole reflections and funky phase issue.&#xD;&#xA;&#xD;&#xA;Like others have mentioned, most of my ambiences are recorded form fixed positions, which I'll move around between takes to collect the different perspectives(especially when using my better microphones). I just collect these moving ones occasionally when I feel that I'll get an interesting perspective out of the area. I usually have time to do it, so why not." ContentLicense="CC BY-SA 2.5" />
  <row Id="5019" PostHistoryTypeId="2" PostId="2881" RevisionGUID="8d281242-5e4a-43a4-b66c-18ffecab8395" CreationDate="2010-08-17T00:32:05.037" UserId="18160" Text="I've heard that depending on the air temperature, the sound at live gigs will vary in it's harshness and softness. If I remember correctly, the hotter the temperature is, the better the sound will be. The colder the temperature is, the harsher the sound will be.&#xD;&#xA;&#xD;&#xA;Would this apply also to studio record rooms?&#xD;&#xA;&#xD;&#xA;Have you heard of anyone keeping their record room at a higher or lower temperature solely for the sound quality?&#xD;&#xA;&#xD;&#xA;I'm curious." ContentLicense="CC BY-SA 2.5" />
  <row Id="5020" PostHistoryTypeId="1" PostId="2881" RevisionGUID="8d281242-5e4a-43a4-b66c-18ffecab8395" CreationDate="2010-08-17T00:32:05.037" UserId="18160" Text="Question about recording and air temperature." ContentLicense="CC BY-SA 2.5" />
  <row Id="5021" PostHistoryTypeId="3" PostId="2881" RevisionGUID="8d281242-5e4a-43a4-b66c-18ffecab8395" CreationDate="2010-08-17T00:32:05.037" UserId="18160" Text="&lt;air&gt;&lt;temperature&gt;&lt;quality&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5022" PostHistoryTypeId="6" PostId="2866" RevisionGUID="23cea344-4964-4cfe-a3fd-477289b6b12e" CreationDate="2010-08-17T01:18:33.113" UserId="61" Comment="retag" Text="&lt;sound-effects-recording&gt;&lt;microphone-positioning&gt;&lt;techniques&gt;&lt;microphone-technique&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5023" PostHistoryTypeId="2" PostId="2882" RevisionGUID="c054b0ef-efb4-443d-9f37-51593079105a" CreationDate="2010-08-17T01:39:21.640" UserId="6411" Text="I work in a windowless room with track lighting on dimmers. If you go that route, pay extra special attention to having the right transformer for your lights. Nothing sucks more than a nice, peaceful looking audio room with noisy lighting.&#xD;&#xA;&#xD;&#xA;I would love to have windows but have always been told that acoustically it's impractical. I always have these visions of studios with giant panes of glass looking in to live rooms when I'm told this, thinking to myslef that these budget oriented owners are just trying to save a buck. What do you guys with windows think? Do you have any problems with reflections? Are these guys full of it or is there some merit to their argument?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5024" PostHistoryTypeId="2" PostId="2883" RevisionGUID="1346e434-61b7-452b-b2c9-0475510802e5" CreationDate="2010-08-17T01:41:05.287" UserId="40" Text="The reason this happens is because the varying temperature changes the density of the air, hence changing the speed of sound.  You can hear this difference as the seasons change, if you live in a temperate climate area.  For example, back in CT, when it got hot in the summer (90 - 100F), it sounded &quot;warm&quot;.  Because the density of the air was thinner, the lower frequencies are closer to the speed of the higher frequencies than if it was winter (0 - 30F).&#xD;&#xA;&#xD;&#xA;If you then listen in the same location in the winter (or even at night in the summer), all of a sudden things sound different.  You can now hear the highway from 10 miles away that you couldn't hear when it was hot, and things sound thinner.  All this has to do with temperature, relative humidity, and wind sheer.&#xD;&#xA;&#xD;&#xA;It's sort of like the difference of listening to sound underwater or through metal vs through air.&#xD;&#xA;&#xD;&#xA;As for studio application, I've never actually tried an A/B comparison, but, for most uses, I don't think it would matter very much.  The only time it would be an issue would be at any distance.  If you think about a concert, there are often people 1000+ feet from the speakers.  The frequencies have a ton more time to separate at 1000 feet than at 1 or 2 feet.  In a studio environment, almost everything is very closely mic'd. Vocals are maybe a foot away, drums, guitars, etc... are often right up on the instrument.  The only mics that are more than a foot or two away are drum overheads, which are still pretty close, and room mics, which, depending on your room, usually aren't more than 20 feet away.&#xD;&#xA;&#xD;&#xA;So, IMO, it's not going to really make a difference in the studio environment.  The reason most studios are cold is to preserve the equipment, and the sanity of the people working in there 12 hours a day.&#xD;&#xA;&#xD;&#xA;I'll write you a nice long scientific explanation, but it's going to take a bit of time, plus a scientific calculator, so I'll just publish this for now, then edit it with some nice equations once I'm finished.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5025" PostHistoryTypeId="4" PostId="2866" RevisionGUID="4de7e527-c773-4951-b73c-d5b4a36be958" CreationDate="2010-08-17T02:06:00.853" UserId="61" Comment="restructured to garner more responses" Text="How to capture tire textures when recording vehicles?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5026" PostHistoryTypeId="2" PostId="2884" RevisionGUID="a347b967-f997-430d-80a0-3606632f6f60" CreationDate="2010-08-17T02:29:59.120" UserId="18160" Text="I was told by a renowned voice over talent that you can modify an SM57 to sound a lot better. It sounded like an electronics mod requiring soldering.&#xD;&#xA;&#xD;&#xA;Anyone else heard of this or know where I can find this out?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5027" PostHistoryTypeId="1" PostId="2884" RevisionGUID="a347b967-f997-430d-80a0-3606632f6f60" CreationDate="2010-08-17T02:29:59.120" UserId="18160" Text="Modification for an SM57?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5028" PostHistoryTypeId="3" PostId="2884" RevisionGUID="a347b967-f997-430d-80a0-3606632f6f60" CreationDate="2010-08-17T02:29:59.120" UserId="18160" Text="&lt;sm57&gt;&lt;microphone&gt;&lt;modification&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5029" PostHistoryTypeId="2" PostId="2885" RevisionGUID="a8bedf33-2a90-4ce1-99f3-f40d2764a161" CreationDate="2010-08-17T02:49:50.093" UserId="28" Text="The house I grew up in was in a forest edging a lake. On the other side of the lake was a train track. We used to comment that the louder the train seemed, the greater the chance of a rain storm." ContentLicense="CC BY-SA 2.5" />
  <row Id="5030" PostHistoryTypeId="2" PostId="2886" RevisionGUID="33003865-a470-428f-a112-c41bfd5ab2c0" CreationDate="2010-08-17T02:53:46.583" UserId="103" Text="Check out [this thread on gearslutz][1]&#xD;&#xA;&#xD;&#xA;Lots of bull$H!7 posts, but a few useful ones, and links.&#xD;&#xA;I never used or heard a modded one myself.&#xD;&#xA;  [1]: http://www.gearslutz.com/board/so-much-gear-so-little-time/131704-sm57-transformer-mod.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="5031" PostHistoryTypeId="2" PostId="2887" RevisionGUID="127555c2-9ffa-4505-94a1-5f869bb7d876" CreationDate="2010-08-17T03:11:49.473" UserId="40" Text="Basically the mod is taking out the transformer.  Older 57s don't have a transformer in them, newer ones do.  Basically the mod has you unscrew the bottom of the 57, cut the two wires, boil the bottom half in water to get the epoxy out, take out the transformer, then solder the output of the top half directly to the XLR connector.  The mod ends up giving you a bit more low end / warmth to it.&#xD;&#xA; &#xD;&#xA;Sounds a lot easier than it is.  Boiling the bottom half and trying to get out the epoxy - not fun.&#xD;&#xA;&#xD;&#xA;You're better off buying an Audix i5.  Sounds like the mod.&#xD;&#xA;&#xD;&#xA;The mod was originally posted in Tape Op mag." ContentLicense="CC BY-SA 2.5" />
  <row Id="5032" PostHistoryTypeId="2" PostId="2888" RevisionGUID="f88a8fcc-cd0e-4a40-b687-1bfa8cd4d6de" CreationDate="2010-08-17T03:41:50.380" UserId="504" Text="Wow, doesn't anyone remember the Dolby Cat 43? I just picked up the components on Ebay for a couple of hundred bucks, and it was the workhorse of the industry in its day. I'd love to hear from someone who could compare the Cat with the Izotope." ContentLicense="CC BY-SA 2.5" />
  <row Id="5033" PostHistoryTypeId="2" PostId="2889" RevisionGUID="10938318-551f-47b8-9ab0-d19623eb1763" CreationDate="2010-08-17T05:01:11.993" UserId="253" Text="I'm curious as to how you all lay up/mix backgrounds for 5.1. Originally, i would lay the tracks discreetly and just send them to the appropriate output (ie. L, R, Ls, Rs), but since then i've seen mixers with stereo tracks use the surround panners to diverge them to the centre or push them to the back, or just leave them hard L/R. &#xD;&#xA;&#xD;&#xA;Very soon i'll be mixing my first feature (ultra low budget) and i have to be economical with tracks. I'm testing out panning stereo background tracks to where i want them in the 5.0 field, but is there anything i should aware of? Any potential problems when outputting an LtRt?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5034" PostHistoryTypeId="1" PostId="2889" RevisionGUID="10938318-551f-47b8-9ab0-d19623eb1763" CreationDate="2010-08-17T05:01:11.993" UserId="253" Text="Mixing backgrounds/atmos for 5.1" ContentLicense="CC BY-SA 2.5" />
  <row Id="5035" PostHistoryTypeId="3" PostId="2889" RevisionGUID="10938318-551f-47b8-9ab0-d19623eb1763" CreationDate="2010-08-17T05:01:11.993" UserId="253" Text="&lt;mixing&gt;&lt;5.1&gt;&lt;background&gt;&lt;atmosphere&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5036" PostHistoryTypeId="2" PostId="2890" RevisionGUID="6c6d5291-4079-4ccf-9356-5fcc796d9b23" CreationDate="2010-08-17T05:50:55.150" UserId="61" Text="Great question. I use the 5.1 panners in Pro Tools for every project, whether I'm designing backgrounds or FX. It's really the only way to go for maximum flexibility and efficiency. &#xD;&#xA;&#xD;&#xA;To address your question specifically, a good approach is to design the track as if you are not only cutting the backgrounds but also predubbing them, taking responsibility for everything from leveling to panning, EQ (mostly corrective) and even reverbs (virtual or rendered, your choice). When you're done, you have a finely honed bed of backgrounds that are ready to be incorporated into the final mix.&#xD;&#xA;&#xD;&#xA;This technique becomes really powerful when you take control of your layers and pan them thoughtfully. Example: A nighttime forest scene may have:&#xD;&#xA;&#xD;&#xA; - 3 stereo tracks of air; 1 pair LR, 1&#xD;&#xA;   pair LsRs, 1 pair somewhere in the&#xD;&#xA;   middle&#xD;&#xA; - 2 stereo tracks of wind; 1 pair LR, 1&#xD;&#xA;   pair LsRs&#xD;&#xA; - 3 stereo tracks of insects; 1 pair&#xD;&#xA;   L+Ls, 1 pair R+Rs, 1 pair C+Rear C&#xD;&#xA; - 5 mono tracks of spotted BGs (owls,&#xD;&#xA;   nightbirds, cicada, etc); discretely&#xD;&#xA;   panned wherever you want them&#xD;&#xA;&#xD;&#xA;When grouped together in &quot;food groups&quot; and bussed out to the appropriate auxes, you've just created your first virtual predub. This method, by the way, is fast becoming the norm in feature post-sound here in LA and has been successful for many years now.&#xD;&#xA;&#xD;&#xA;Regarding issues with LtRt fold downs, I'd just be aware of any potential phase problems in the recordings you are using. Other than that, you should be good to go." ContentLicense="CC BY-SA 2.5" />
  <row Id="5037" PostHistoryTypeId="5" PostId="2887" RevisionGUID="e81785fe-be26-4d57-b3e2-a96271a30e12" CreationDate="2010-08-17T06:06:23.427" UserId="40" Comment="Added update / link" Text="Basically the mod is taking out the transformer.  Older 57s don't have a transformer in them, newer ones do.  Basically the mod has you unscrew the bottom of the 57, cut the two wires, boil the bottom half in water to get the epoxy out, take out the transformer, then solder the output of the top half directly to the XLR connector.  The mod ends up giving you a bit more low end / warmth to it.&#xD;&#xA; &#xD;&#xA;Sounds a lot easier than it is.  Boiling the bottom half and trying to get out the epoxy - not fun.&#xD;&#xA;&#xD;&#xA;You're better off buying an Audix i5.  Sounds like the mod.&#xD;&#xA;&#xD;&#xA;The mod was originally posted in Tape Op mag.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;I can't find the original article, but here's a guy that wrote out step by step how he did it, and the results. It's exactly the same procedure, so if you're interested in doing it, just follow these steps:&#xD;&#xA;&#xD;&#xA;http://www.churchmedia.net/forums/general-audio/17017-shure-sm57-modification-experiment-described.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="5038" PostHistoryTypeId="5" PostId="2866" RevisionGUID="390e8330-c4a1-48d9-b5c1-23598da6151d" CreationDate="2010-08-17T09:35:57.067" UserId="219" Comment="added 4 characters in body; added 3 characters in body" Text="When reading Yewdall's *Practical Art of Motion Picture Sound*, you can read him talking about varying road textures in the movie *Christine*... I can't quite represent myself how one would go about doing this since I canct figure out how to record road textures alone... is there something I'm missing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5039" PostHistoryTypeId="4" PostId="2866" RevisionGUID="9a8c7f35-cac4-482b-b9f3-39427d67bf5b" CreationDate="2010-08-17T12:37:39.717" UserId="219" Comment="edited title" Text="How to capture tyre textures when recording vehicles?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5040" PostHistoryTypeId="5" PostId="2882" RevisionGUID="2a602c30-c407-4d25-a7ca-c625f410f740" CreationDate="2010-08-17T12:48:26.120" UserId="6411" Comment="spelling" Text="I work in a windowless room with track lighting on dimmers. If you go that route, pay extra special attention to having the right transformer for your lights. Nothing sucks more than a nice, peaceful looking audio room with noisy lighting.&#xD;&#xA;&#xD;&#xA;I would love to have windows but have always been told that acoustically it's impractical. I always have these visions of studios with giant panes of glass looking in to live rooms when I'm told this, thinking to myself that these budget oriented owners are just trying to save a buck. What do you guys with windows think? Do you have any problems with reflections? Are these guys full of it or is there some merit to their argument?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5041" PostHistoryTypeId="2" PostId="2891" RevisionGUID="d697b03b-c73b-4b47-9aee-a1da68d7287c" CreationDate="2010-08-17T13:13:42.980" UserId="219" Text="I never move while recording an ambiance, but I do take several angles of the same location. I'll spend enough time in pre-record mode, headphones on, rotating the stand in a full cycle. I'll sense the right direction in which to capture when it sounds balanced and detailed. Then depending on the situation I'll move around, pointing towards the direction I determined.&#xD;&#xA;&#xD;&#xA;Because I'm set up in XY, I find that there's always a **front** and a **back** to the locations I record, meaning that once I found the right direction for my ambience, well that'll be the **front** where all is happening, and the rule of thumb is that there'll be very little chance that anything interesting is happening at the **back**, in the opposite direction.&#xD;&#xA;&#xD;&#xA;Also from the audience POV, I don't quite imagine the ambience shifting too much. Ambiences give a sense of space and I believe movement would be supported by hard effects..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5042" PostHistoryTypeId="2" PostId="2892" RevisionGUID="c8b5fc69-ae22-49c2-93b7-4e0e6f28fdc2" CreationDate="2010-08-17T13:38:19.347" UserId="505" Text="Hi guys, how can create multimedia effects like beeps,buttons,mouse over???&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Andrea" ContentLicense="CC BY-SA 2.5" />
  <row Id="5043" PostHistoryTypeId="1" PostId="2892" RevisionGUID="c8b5fc69-ae22-49c2-93b7-4e0e6f28fdc2" CreationDate="2010-08-17T13:38:19.347" UserId="505" Text="Multimedia sound effects" ContentLicense="CC BY-SA 2.5" />
  <row Id="5044" PostHistoryTypeId="3" PostId="2892" RevisionGUID="c8b5fc69-ae22-49c2-93b7-4e0e6f28fdc2" CreationDate="2010-08-17T13:38:19.347" UserId="505" Text="&lt;design&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5045" PostHistoryTypeId="2" PostId="2893" RevisionGUID="70061b22-246d-4aca-90dd-5e86bd3c6375" CreationDate="2010-08-17T13:42:54.453" UserId="194" Text="There's science that shows that the photoreceptors in your eyes [regulate melatonin levels][1] in your body based on the amount of sunlight detected.  That's why if someone turns the light on in the morning your body wakes up whether you want it to or not.  &#xD;&#xA;&#xD;&#xA;There are [other studies][2] that relate the amount of sunlight visible to depression levels.&#xD;&#xA;&#xD;&#xA;As such, a good working environment probably requires a certain amount of light, and preferably sunlight. &#xD;&#xA;&#xD;&#xA;I see people suggesting that your hearing gets better as the lights get darker, but I find that pretty hard to believe.  Can anyone link to any science supporting that?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ncbi.nlm.nih.gov/pubmed/1586650&#xD;&#xA;  [2]: http://www.webmd.com/depression/features/seasonal-affective-disorder" ContentLicense="CC BY-SA 2.5" />
  <row Id="5046" PostHistoryTypeId="2" PostId="2894" RevisionGUID="76046e91-6485-40b0-a389-cb34c299e0dc" CreationDate="2010-08-17T13:47:01.790" UserId="219" Text="I know some people started from microwave ovens beeps, but a signal generator should get you on the way. Rather than using sine waves, have a bash at triangular and sawtooth.&#xD;&#xA;&#xD;&#xA;Is it for use in a movie or an actual application?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5047" PostHistoryTypeId="5" PostId="2894" RevisionGUID="8383799f-c3f6-4cf7-a6c3-61b8f2cc3e11" CreationDate="2010-08-17T13:52:15.320" UserId="219" Comment="added 212 characters in body" Text="I know some people started from microwave ovens beeps, but a signal generator should get you on the way. Rather than using sine waves, have a bash at triangular and sawtooth.&#xD;&#xA;&#xD;&#xA;Is it for use in a movie or an actual application?&#xD;&#xA;&#xD;&#xA;Also, because it is important to have a point of view from which to tackle your sound design, I suggest that you consider each sound as an auditory icon for the specific action it represents.&#xD;&#xA;&#xD;&#xA;My 2 cents :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5048" PostHistoryTypeId="2" PostId="2895" RevisionGUID="c8a2b477-b958-4654-9fc3-bf825a30f118" CreationDate="2010-08-17T13:52:52.350" UserId="393" Text="First off, lemme just say, I'm totally in love with this site -- if one can have romantic feelings toward a few hundred-thousand characters of php, that is.&#xD;&#xA;&#xD;&#xA;But, sometimes I feel like all this Q&amp;A is missing the point of the first word in it's title. &quot;Social.&quot;&#xD;&#xA;&#xD;&#xA;So, as posed above, what do we do when we don't want to ask questions and we simply want to talk?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5049" PostHistoryTypeId="1" PostId="2895" RevisionGUID="c8a2b477-b958-4654-9fc3-bf825a30f118" CreationDate="2010-08-17T13:52:52.350" UserId="393" Text="So, what do we do when we don't want to ask questions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5050" PostHistoryTypeId="3" PostId="2895" RevisionGUID="c8a2b477-b958-4654-9fc3-bf825a30f118" CreationDate="2010-08-17T13:52:52.350" UserId="393" Text="&lt;social-network&gt;&lt;social&gt;&lt;community&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5051" PostHistoryTypeId="2" PostId="2896" RevisionGUID="3fbda21e-0d32-4583-a945-a9168f20671a" CreationDate="2010-08-17T14:53:07.810" UserId="62" Text="How do people here go about check sync?&#xD;&#xA;&#xD;&#xA;I work a lot with animation and either get an OMF from the editor or Tracklay cut the dialogue for me. This would all be done to a crappy sized H264 Quicktime. I use it to mix and review a show (using a Mojo to a CRT TV.&#xD;&#xA;&#xD;&#xA;Now I get a DNxHD Quicktime from the online editors here and play this back on my computer monitor (removing the QT offset) and watch a show before putting it to tape to ensure I'm perfectly in sync and check for any final picture changes.&#xD;&#xA;&#xD;&#xA;Sadly I can't watch back 24p from the HDCAM-SR deck as my TV can't cope and this work around has convinced management not to fork out for some nice HD monitors for the mix studios.&#xD;&#xA;&#xD;&#xA;I appreciate that sync is pretty easy to check with live action, but I've come to learn that in animation it can be fairly subjective especially when it's traditional animation and not photo-realistic along the lines of Pixar.&#xD;&#xA;&#xD;&#xA;I'm fairly happy with this workflow but I'm curious how other people check for sync, if they do at all?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5052" PostHistoryTypeId="1" PostId="2896" RevisionGUID="3fbda21e-0d32-4583-a945-a9168f20671a" CreationDate="2010-08-17T14:53:07.810" UserId="62" Text="Sync..........." ContentLicense="CC BY-SA 2.5" />
  <row Id="5053" PostHistoryTypeId="3" PostId="2896" RevisionGUID="3fbda21e-0d32-4583-a945-a9168f20671a" CreationDate="2010-08-17T14:53:07.810" UserId="62" Text="&lt;dialogue&gt;&lt;sync&gt;&lt;check&gt;&lt;animation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5054" PostHistoryTypeId="2" PostId="2897" RevisionGUID="005b7b93-5717-41c9-b188-0cff37daa70c" CreationDate="2010-08-17T15:25:12.543" UserId="6411" Text="I get the feeling that you're looking for 'job' as in 'project' not 'job' as in 'career.' It's probably because I haven't reached my ultimate career goal, but for me one project is not inherently better than another. Certainly, some projects provide more obvious opportunities for our work than others. But for me it's the atmosphere and energy surrounding the project, created by the team who's working on it, that makes a job a dream to be a part of.&#xD;&#xA;&#xD;&#xA;Having said that, my dream, my goal, is to work on film. I want to be a part of a team of sound effects editors who work with a supervising sound editor who is brought on early in the production process, whose opinions on how to use sound to tell a better story are discussed and validated before the picture is shot (I'll take before it's edited, but we are talking *dreams* here).  I want to take part in sound effect recording sessions in junkyards, on tarmacs, out in the desert, or across the reaches of the globe if necessary. I want to spend a week designing a scene just to have it play second fiddle to the score. I yearn for spotting sessions where a vision is shared, and frantic last-minute editing when the vision has changed (or wasn't met). Situations that push the limits of my abilities, and so that I can grow into a best editor and mixer I can be. But most importantly co-workers who are comrades and coaches, who after long hard days of collaboration you still want to have a beer with.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5055" PostHistoryTypeId="2" PostId="2898" RevisionGUID="d23edc1c-6c55-414a-8eb5-7b7e67ab4f4c" CreationDate="2010-08-17T15:39:53.543" UserId="444" Text="Well, I read, read, read.  &#xD;&#xA;&#xD;&#xA;But I can tell you I watched The Changeling (1979) last night.  One of the biggest reasons its the scariest movies of all time is its SOUND. First time I've watched it since becoming a sound designer, and a good lesson it was.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5056" PostHistoryTypeId="2" PostId="2899" RevisionGUID="b3193b75-aa54-44d8-a962-aba9549f144f" CreationDate="2010-08-17T16:16:11.883" UserId="90" Text="The whole point of Stack Exchange is to *prevent* chatty discussions.  It exists because &quot;just talking&quot; has a terrible signal-to-noise ratio and is a waste of time for anyone who's just trying to find an answer to something.  &#xD;&#xA;&#xD;&#xA;There are already tons of websites for socializing, called forums.  If you end up on one from a Google search, you have to wade through dozens of pages of people arguing, stating erroneous things as truth, stupid signatures, etc. in order to find a tiny partial nugget of information which may or may not be outdated or wrong.&#xD;&#xA;&#xD;&#xA;http://stackoverflow.com/about&#xD;&#xA;&#xD;&#xA;http://meta.stackoverflow.com/questions/38315/partner-with-traditional-forums-to-support-open-ended-discussions#answer-38323&#xD;&#xA;&#xD;&#xA;http://meta.stackoverflow.com/questions/8658/do-you-feel-stackoverflow-needs-a-general-discussion-forum&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5057" PostHistoryTypeId="2" PostId="2900" RevisionGUID="772ca3da-6c7b-448b-ac43-8aeb11cff010" CreationDate="2010-08-17T16:20:37.003" UserId="285" Text="One technique is, as Justin mentioned, to get the car moving with out the engine on.  I recently had to get some gravel road tire noise without the engine and was able to find a nice gravel road with a hill, so I got to the top put the car in neutral and killed the engine and I was able to coast down the hill and get some pretty usable gravel textures.  The scary thing was with the engine off it killed the powered steering and after about 30 seconds the breaks basically stopped working (anyone know why that would be? I am not much of a car car guy?).  Luckily it was a long road and the car just rolled until it lost momentum.  But I would like to highly recommend doing tests on small straight hills before getting any real speed just to see how the car reacts.&#xD;&#xA;&#xD;&#xA;On another note I was getting a lot of low end rumble, not wind (I has a full zeppelin and furry on the mic), it was easy to roll off later but I was surprised at how much low end the gravel produced." ContentLicense="CC BY-SA 2.5" />
  <row Id="5058" PostHistoryTypeId="6" PostId="2359" RevisionGUID="f7b11b73-42dc-4d47-b16c-c35520fa55d9" CreationDate="2010-08-17T16:26:53.023" UserId="90" Comment="edited tags" Text="&lt;field&gt;&lt;recording&gt;&lt;supersonic&gt;&lt;frequencies&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5059" PostHistoryTypeId="6" PostId="2359" RevisionGUID="05ceb003-639a-408a-badc-525c74b6a104" CreationDate="2010-08-17T16:27:21.040" UserId="90" Comment="edited tags" Text="&lt;field-recording&gt;&lt;frequencies&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5060" PostHistoryTypeId="6" PostId="2055" RevisionGUID="a65f6b33-248b-4f58-b3f3-c90a32a4c812" CreationDate="2010-08-17T16:37:59.697" UserId="90" Comment="edited tags" Text="&lt;mastering&gt;&lt;impulse-response&gt;&lt;sound-library&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5061" PostHistoryTypeId="6" PostId="1090" RevisionGUID="447126dc-e21d-40bc-9309-9bf0ce74a2f0" CreationDate="2010-08-17T16:51:08.787" UserId="90" Comment="edited tags" Text="&lt;wilhelm-scream&gt;&lt;sound-effects&gt;&lt;creative&gt;&lt;library&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5062" PostHistoryTypeId="6" PostId="739" RevisionGUID="b0fe7ac2-2a4a-4836-95a3-edf73782d2a4" CreationDate="2010-08-17T16:52:37.940" UserId="90" Comment="edited tags" Text="&lt;design&gt;&lt;meaning&gt;&lt;subconscious&gt;&lt;emotions&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5063" PostHistoryTypeId="6" PostId="1316" RevisionGUID="34f52e59-122c-4575-8a50-e379c69a3283" CreationDate="2010-08-17T16:54:17.063" UserId="90" Comment="tag" Text="&lt;plug-ins&gt;&lt;denoiser&gt;&lt;de-esser&gt;&lt;bugs&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5064" PostHistoryTypeId="6" PostId="1546" RevisionGUID="a30a6285-8e8d-4f24-aea8-62c18364cdbe" CreationDate="2010-08-17T16:54:52.213" UserId="90" Comment="edited tags" Text="&lt;acoustics&gt;&lt;damping&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5065" PostHistoryTypeId="6" PostId="2749" RevisionGUID="59e895c1-cdd8-40d6-8621-e9d72d6e80b1" CreationDate="2010-08-17T16:55:00.870" UserId="90" Comment="edited tags" Text="&lt;glass&gt;&lt;echo&gt;&lt;acoustics&gt;&lt;handling&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5066" PostHistoryTypeId="6" PostId="2816" RevisionGUID="eb136a2e-97a6-4d32-871d-70ae022c608c" CreationDate="2010-08-17T16:55:41.650" UserId="90" Comment="edited tags" Text="&lt;ambience&gt;&lt;recording&gt;&lt;sound-effects&gt;&lt;movement&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5067" PostHistoryTypeId="6" PostId="2036" RevisionGUID="05d4e750-c54b-48e3-9870-f060b82a6e51" CreationDate="2010-08-17T16:57:36.577" UserId="90" Comment="edited tags" Text="&lt;backups&gt;&lt;hard-drive&gt;&lt;storage&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5068" PostHistoryTypeId="2" PostId="2901" RevisionGUID="781d07f7-7a1c-4737-9118-633c37c79ef9" CreationDate="2010-08-17T17:20:54.637" UserId="6411" Text="Yeah I gotta say, I enjoy the format of the site the way it is. Everyone posing intelligent pointed questions, searching for discussions about specific topics through tags, I don't have to wade through a bunch of BS that I don't want to.&#xD;&#xA;&#xD;&#xA;Sure, it might be nice to have an additional resource that would allow more direct communication. Something like a Social Sound Design Facebook group or similar use of existing site design. I'm not really knowledgeable about all that. But something like that would allow us all to be connected and have the ability to chat through messaging or wall posts, etc.&#xD;&#xA;&#xD;&#xA;But as far as this site goes, I'd prefer to see it clear of all that chatter and stick with its intended purpose. As @Andrew put it &quot;a community-driven knowledge exchange.&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5069" PostHistoryTypeId="2" PostId="2902" RevisionGUID="ceb36a08-e108-48eb-847e-2b0b423e83a6" CreationDate="2010-08-17T17:44:53.547" UserId="395" Text="+1 to Pixar! I love animation films! :P I'd love to work in those kind of projects as a sound editor.. or maybe  mixing it! I wouldn't mind to work with Dreamworks as well.. lol :) I think that most of the films are done by Skywalker sound, so ultimately I would love to work there!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5070" PostHistoryTypeId="6" PostId="2602" RevisionGUID="574ec01a-28cd-47e0-b2c4-b8c5a92ef96e" CreationDate="2010-08-17T17:57:02.953" UserId="90" Comment="edited tags" Text="&lt;favorite&gt;&lt;plug-in&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5071" PostHistoryTypeId="6" PostId="2666" RevisionGUID="c8e6cda5-d4ec-4e8c-bb4e-ae038b10a198" CreationDate="2010-08-17T17:57:42.733" UserId="90" Comment="edited tags" Text="&lt;equalization&gt;&lt;reverb&gt;&lt;creativity&gt;&lt;theory&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5072" PostHistoryTypeId="6" PostId="1174" RevisionGUID="8a59848f-b57a-44c4-bb01-02012d65609e" CreationDate="2010-08-17T17:57:53.123" UserId="90" Comment="edited tags" Text="&lt;adr&gt;&lt;matching&gt;&lt;equalization&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5073" PostHistoryTypeId="6" PostId="2426" RevisionGUID="8d8cf365-eef8-4006-befe-99f0dee92f80" CreationDate="2010-08-17T17:58:21.813" UserId="90" Comment="edited tags" Text="&lt;mixing&gt;&lt;equalization&gt;&lt;dynamics&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5074" PostHistoryTypeId="6" PostId="2349" RevisionGUID="62ab854c-fcda-4e56-98d5-34c16b6f1c8d" CreationDate="2010-08-17T17:59:20.327" UserId="90" Comment="edited tags" Text="&lt;dialogue&gt;&lt;background&gt;&lt;music&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5075" PostHistoryTypeId="6" PostId="2263" RevisionGUID="bada76c4-6fcd-4cce-b881-73cae8738a5c" CreationDate="2010-08-17T17:59:40.407" UserId="90" Comment="edited tags" Text="&lt;adr&gt;&lt;techniques&gt;&lt;equalization&gt;&lt;processing&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5076" PostHistoryTypeId="6" PostId="936" RevisionGUID="e99f44b4-c3fb-4259-b05b-af56e1f8fa9e" CreationDate="2010-08-17T18:00:47.457" UserId="90" Comment="edited tags" Text="&lt;gunshot&gt;&lt;techniques&gt;&lt;field-recording&gt;&lt;microphone&gt;&lt;planning&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5077" PostHistoryTypeId="6" PostId="480" RevisionGUID="908e639b-c1f6-4977-ae9b-aabecf97432d" CreationDate="2010-08-17T18:02:22.757" UserId="90" Comment="edited tags" Text="&lt;sound-effects&gt;&lt;job&gt;&lt;career&gt;&lt;internships&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5078" PostHistoryTypeId="6" PostId="2456" RevisionGUID="148531b3-396b-4619-a750-783c58b4d72c" CreationDate="2010-08-17T18:02:42.973" UserId="90" Comment="edited tags" Text="&lt;internships&gt;&lt;opinion&gt;&lt;education&gt;&lt;online&gt;&lt;collaboration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5079" PostHistoryTypeId="6" PostId="2292" RevisionGUID="ab478d65-73db-49f3-91f2-1190761614f6" CreationDate="2010-08-17T18:03:55.673" UserId="90" Comment="edited tags" Text="&lt;travel&gt;&lt;microphone&gt;&lt;recorder&gt;&lt;precaution&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5080" PostHistoryTypeId="2" PostId="2903" RevisionGUID="0002451e-2d13-4248-b162-96b968c1724b" CreationDate="2010-08-17T18:50:29.560" UserId="275" Text="I fly A LOT for projects and this is what I've learned from it all:&#xD;&#xA;&#xD;&#xA;Carry on everything you possibly can.  I actually leave my 442, 744t, wireless units, and shotgun mic (sans Rycote blimp) right in my Petrol bag and use that as one of my carry on items.  I don't pack it in a case or anything.  It's all right out there in the open for TSA to check, go through, and inspect.  I have yet to have them ask me to power it on but I always have it available to power up if they do ask.  It is a good idea to have a couple audio files loaded on just in case.  &#xD;&#xA;&#xD;&#xA;I bring with my Pelican 1650 case and put my miscellaneous items in it (blimp, short boom pole, sox, underwear, batteries, etc.  I try to keep the weight under 50 pounds, which is tough because the case itself weighs 35 pounds empty.  Anything else heavy like batteries, lead weights, etc I put in a carry on.  Until they get fussy about carry on weight I suck it up and shoulder the extra pounds.  Plus, I'm a cheap skate and I don't want to pay over-weight bag fees.  &#xD;&#xA;&#xD;&#xA;My second carry on is either a small bag for clothes or my laptop/additional audio gear bag.  It all depends on how long I'm staying, what gear is needed for the shoot, if I'm footing the bill for all the travel, etc.  &#xD;&#xA;&#xD;&#xA;I basically figure that I want to keep with me at all times the essential, and expensive, pieces of gear that I'll need for a shoot.  If the airline loses your bags it's easier to replace a boom pole than a mixer or recorder.  Heck, worse case scenario you can always go to Home Depot and do the painters pole option until your Loon Audio or VDB pole shows up (broken in half and/or a million pieces.)  I obviously have a lot of faith in our airline industry.  :)  Hey, they &quot;lost&quot; a bass guitar of mine for 2 weeks and it traveled more than I did for that gig!  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5081" PostHistoryTypeId="2" PostId="2904" RevisionGUID="ce8481a8-3eac-471c-a295-1fa92c8480a9" CreationDate="2010-08-17T18:59:01.323" UserId="275" Text="I'm just about finished working on a feature film that has major sections that take place during WWII and the Iraq War.  Lots of gun fire, planes, tanks, helicopters, and explosions!  I've been using a 744t and a 702 as the recorders with a couple 442's as the mixers.  My mics have been a Sanken CS-3E mono shotgun, Sanken CSS-5 stereo, a couple SM57's, and a Sennheiser 416.  I placed the 57 close up to the gun or explosion, the 416 about 50 feet back, the Sanken CSS-5 about 75 feet back, and the Sanken CS-3E about 100 feet back.  Put variable pads on ALL your mics.  I used a Shure -25db pad on every channel plus had the gain knobs way down.  The brunt of the blast still registers about -20db on the meters with a peak about -5db.  So, I was able to get great, clean, full sounding shots/explosions.  &#xD;&#xA;&#xD;&#xA;One of the guns we recorded was an MG42 using original WWII bullets.  Evidently the only other movie out that has the authentic sound of an MG42 was Saving Private Ryan.  The blanks used for that gun sound COMPLETELY different than an original bullet.  So, my point being, fire real bullets if at all possibly because the blanks may or may not sound like what it should sound like.  The Thompson Sub Machine gun and the 1919 are the same way...blanks sound different than real bullets.  &#xD;&#xA;&#xD;&#xA;So, go to a shooting range inside or outside and fire off some bullets!  And yes, BRING EAR AND EYE PROTECTION.  &#xD;&#xA;&#xD;&#xA;Have fun!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5082" PostHistoryTypeId="2" PostId="2905" RevisionGUID="42b7dadd-3906-4ed5-bcb1-12e2dbbd9c27" CreationDate="2010-08-17T19:10:36.093" UserId="6435" Text="At the day job, I pretty much have to keep everything because one never knows when a client is going to come back after 3 years and want to resurrect an old project. I think I have every session going back to when I switched from Sonic Solutions to ProTools in 2001. For my independent sound design work I also try to keep everything, though there are some projects where I ask the client to purchase a hard drive, and I let them be responsible for the assets. As far as released copies, I like to have at least one copy around. It's something I can show to my family so they have some context for what I do!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5084" PostHistoryTypeId="4" PostId="2866" RevisionGUID="d5f89904-faaa-4f03-898c-750f9edade19" CreationDate="2010-08-17T22:38:27.813" UserId="61" Comment="hyperlinks; added 2 characters in body" Text="How to capture tire (tyre) textures when recording vehicles?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5086" PostHistoryTypeId="5" PostId="2866" RevisionGUID="d5f89904-faaa-4f03-898c-750f9edade19" CreationDate="2010-08-17T22:38:27.813" UserId="61" Comment="hyperlinks; added 2 characters in body" Text="When reading Yewdall's *[Practical Art of Motion Picture Sound][1]*, you can read him talking about varying road textures in the movie **[Christine][2]**... I can't quite represent myself how one would go about doing this since I canct figure out how to record road textures alone... is there something I'm missing?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://books.google.com/books?id=uAKgHoH5CHEC&amp;dq=Practical+Art+of+Motion+Picture+Sound&amp;printsec=frontcover&amp;source=bn&amp;hl=en&amp;ei=eg9rTNfsO8T58AbNnaTYAw&amp;sa=X&amp;oi=book_result&amp;ct=result&amp;resnum=6&amp;ved=0CEIQ6AEwBQ#v=onepage&amp;q&amp;f=false&#xD;&#xA;  [2]: http://www.imdb.com/title/tt0085333/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5088" PostHistoryTypeId="2" PostId="2908" RevisionGUID="9847c4f6-6bda-46c5-af87-d43f1ba4a981" CreationDate="2010-08-17T23:44:41.497" UserId="40" Text="I do all my socializing through twitter.  Most of the guys that frequent SSD are all friends on Twitter as well and we have candid conversation throughout most of every day.&#xD;&#xA;&#xD;&#xA;My handle is @Colinhart if anyone wants to join in!&#xD;&#xA;&#xD;&#xA;There also tends to be a decent amount of commenting between blogs and all.&#xD;&#xA;&#xD;&#xA;As for SSD, I think it serves it's purpose well.  If conversation was allowed to become more candid, we'd turn into Gearslutz.  I can barely find any useful information over there amongst all the BS, Flaming, and random banter." ContentLicense="CC BY-SA 2.5" />
  <row Id="5089" PostHistoryTypeId="2" PostId="2909" RevisionGUID="aeb5bc19-a7b2-4994-b7ac-072dea6678cd" CreationDate="2010-08-18T01:55:54.950" UserId="469" Text="I second the Schoeps M/S Stereo Set if you can swing it.  I just got mine today and threw up a few recordings on my blog.  [Check 'em out!](http://exploresound.wordpress.com/)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5090" PostHistoryTypeId="2" PostId="2910" RevisionGUID="6b890dc7-e9d1-4920-ae95-45cf023e5c45" CreationDate="2010-08-18T03:31:07.993" UserId="507" Text="try quickly inflating a pillowcase outside a speeding car window" ContentLicense="CC BY-SA 2.5" />
  <row Id="5091" PostHistoryTypeId="2" PostId="2911" RevisionGUID="253da306-6d51-44ce-a8ae-a27746a15ce3" CreationDate="2010-08-18T07:34:02.527" UserId="61" Text="So I'm flipping channels and find [The Terminator][1] on AMC. And it was just starting! It's been a while since I've seen it in its entirety, so I decided to give it my full attention.&#xD;&#xA;&#xD;&#xA;The thing that strikes me immediately: **Sound design with a purpose**. This is a soundtrack that tells a story right from the first scene. It is not sound *for the sake* of sound, but rather with the intent of immersing you in a time and place, specifially Los Angeles, circa 1984. The trash truck's groans and squeals, all air pistons and clanging forks. Wonderful.&#xD;&#xA;&#xD;&#xA;The fights, gun shots, and gun foley are incredibly powerful and beautifully detailed. The shootout in the Tech-Noir, the attack on the police station: Brutal. Unforgiving.&#xD;&#xA;&#xD;&#xA;The smashes, crashes and general mayhem are expertly executed. The car chase through the garages and underpasses: Exciting and clean. This track is really a study in how the *right sound* can make the scene; you can tell that the redundant layering of elements (as many editors/designers work today) is very much absent here. Each sound is proudly presented and put right out front to affect the viewer and keep the story moving.&#xD;&#xA;&#xD;&#xA;Does it sound dated? Well, some parts of it do. But be forgiving, this film was released in 1984! And for the number of sounds that sound a bit lo-fi, there are double that number that sound crisp and full of life, ie. the automatic weapons, the terminator vision fx. (I wonder, though, how much of the sound I heard was a product of the restoration that was completed by the folks at Skywalker Sound?) If anyone out there was involved in the making of this track or know someone who was, would you please enlighten us with stories?&#xD;&#xA;&#xD;&#xA;Of course, having a [director][2], [producer][3] and [picture editor][4] that nurture and demand this level of prowess is critical. Too many middling, timid filmmakers have caved in on boldly-presented sound, and it's rare for a film's visual style to be so excellent as to be able to support such a track.&#xD;&#xA;&#xD;&#xA; [David Campling][5], the supervising sound editor credited on IMDB, deserves a huge round of applause for his attention to detail. If you haven't seen this movie for a long time, I encourage you to watch it soon! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0088247/&#xD;&#xA;  [2]: http://www.imdb.com/name/nm0000116/&#xD;&#xA;  [3]: http://www.imdb.com/name/nm0005036/&#xD;&#xA;  [4]: http://www.imdb.com/name/nm0325358/&#xD;&#xA;  [5]: http://www.imdb.com/name/nm0133095/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5092" PostHistoryTypeId="1" PostId="2911" RevisionGUID="253da306-6d51-44ce-a8ae-a27746a15ce3" CreationDate="2010-08-18T07:34:02.527" UserId="61" Text="A Study in Effective Sound Design: The Terminator (1984)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5093" PostHistoryTypeId="3" PostId="2911" RevisionGUID="253da306-6d51-44ce-a8ae-a27746a15ce3" CreationDate="2010-08-18T07:34:02.527" UserId="61" Text="&lt;film-sound-design&gt;&lt;creativity&gt;&lt;inspiration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5094" PostHistoryTypeId="5" PostId="2911" RevisionGUID="46883abb-34ff-4556-bb8e-c192f7e279ec" CreationDate="2010-08-18T07:44:41.587" UserId="61" Comment="grammar" Text="So I'm flipping channels and find [The Terminator][1] on AMC. And it was just starting! It's been a while since I've seen it in its entirety, so I decided to give it my full attention.&#xD;&#xA;&#xD;&#xA;The thing that strikes me immediately: **Sound design with a purpose**. This is a soundtrack that tells a story right from the first scene. It is not sound *for the sake* of sound, but rather with the intent of immersing you in a time and place, specifially Los Angeles, circa 1984. The trash truck's groans and squeals, all air pistons and clanging forks. Wonderful.&#xD;&#xA;&#xD;&#xA;The fights, gun shots, and gun foley are incredibly powerful and beautifully detailed. The shootout in the Tech-Noir, the attack on the police station: Brutal. Unforgiving.&#xD;&#xA;&#xD;&#xA;The smashes, crashes and general mayhem are expertly executed. The car chase through the garages and underpasses: Exciting and clean. This track is really a study in how the *right sound* can make the scene; you can tell that the redundant layering of elements (as many editors/designers work today) is very much absent here. Each sound is proudly presented and put right out front to affect the viewer and keep the story moving.&#xD;&#xA;&#xD;&#xA;Does it sound dated? Well, some parts of it do. But be forgiving, this film was released in 1984! And for the number of sounds that sound a bit lo-fi, there are double that number that sound crisp and full of life, ie. the automatic weapons, the terminator vision fx. (I wonder, though, how much of the sound I heard was a product of the restoration that was completed by the folks at Skywalker Sound?) If anyone out there was involved in the making of this track or know someone who was, would you please enlighten us with stories?&#xD;&#xA;&#xD;&#xA;Of course, having a [director][2], [producer][3] and [picture editor][4] that nurture and demand this level of prowess is critical. Too many middling, timid filmmakers have caved in on boldly-presented sound, and it's rare for a film's visual style to be so excellent as to be able to support such a track.&#xD;&#xA;&#xD;&#xA; [David Campling][5], the supervising sound editor credited on IMDB, deserves a huge round of applause for his attention to detail. If you haven't seen this movie in a long time, I encourage you to watch it soon! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0088247/&#xD;&#xA;  [2]: http://www.imdb.com/name/nm0000116/&#xD;&#xA;  [3]: http://www.imdb.com/name/nm0005036/&#xD;&#xA;  [4]: http://www.imdb.com/name/nm0325358/&#xD;&#xA;  [5]: http://www.imdb.com/name/nm0133095/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5095" PostHistoryTypeId="2" PostId="2912" RevisionGUID="e7937d78-9a14-4dc4-b681-821406876682" CreationDate="2010-08-18T08:16:51.503" UserId="2" Text="Alright guys, thanks so much for the input! I've waited a bit to see what others have to say. The whole ethos of these SE sites is to be concise. I think we should stick to the way it is. &#xD;&#xA;&#xD;&#xA;The comment system is a great way to interact more casually while staying somewhat focused on the question/answer. &#xD;&#xA;&#xD;&#xA;As Collin says, Twitter is of course a fab environment for &quot;socializing&quot;. &#xD;&#xA;&#xD;&#xA;I love the idea of having a Facebook page for casual socializing! So here it is: http://www.facebook.com/pages/Social-Sound-Design/145661758787590 &#xD;&#xA;&#xD;&#xA;Please press **like** so that we start building it up. You can also check on the sidebar, I added a like button there too. &#xD;&#xA;&#xD;&#xA;ps: If someone fancies designing a sexier and more interesting profile pic both for twitter and Facebook, please let me know :-) " ContentLicense="CC BY-SA 2.5" />
  <row Id="5096" PostHistoryTypeId="2" PostId="2913" RevisionGUID="cb363c07-5c86-4047-8d45-524357a75774" CreationDate="2010-08-18T15:21:53.033" UserId="6411" Text="Extending [Chuck and Ryan's][1] little conversation from the other day:&#xD;&#xA;&#xD;&#xA;Knowing that you worked on Terminator: Salvation, I was wondering if you could elaborate on what (if anything) goes into retaining a feel across a series. Were there discussions with the director, or specific attention within sound editorial to making sure that the new translated to the same world as the original? Were elements pulled off the mags of the original to be incorporated into the new soundtrack? Or are the time lines so removed, both in the story and in production, that you just want to tip your hat to it without actually using the exact same elements?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2854/what-is-your-dream-job/2857#2857" ContentLicense="CC BY-SA 2.5" />
  <row Id="5097" PostHistoryTypeId="2" PostId="2914" RevisionGUID="512ef934-7c43-4c8e-b5b8-759a14610701" CreationDate="2010-08-18T16:17:07.837" UserId="509" Text="Although I continue active as a sound designer (just finished a feature Dreams Awake earlier this year), my focus at the moment is as an educator, offering information and experience for as many people as possible through my book Sound Design and classes on site and online. So in a way, the webinars I've just started (see sounddesignforpros.com) are functioning like a virtual internship by helping the participants with their craft and creativity. &#xD;&#xA;&#xD;&#xA;But I also have been working with interns on specific projects that relate to my needs. For example, I've been recording amazing, quite long and in depth interviews with top sound designers in film, games and other audiovisual media, and needed transcripts so I can include these on my site and the upcoming second edition of my book. So this gave an opportunity to a recent film school grad to hear these masters speak, and also take my webinars for free. Another arena that I'm seeking help with is getting the word out about the webinars into facebook, twitter, etc., and I can once again offer a free place in my webinar series for those who can really put in some time to help me on the tech and blog side of things. (There will be a free intro webinar Aug. 24.) &#xD;&#xA;&#xD;&#xA;Another area I'm interested in developing and need support, is finding and posting links to examples of specific sound design principles that will demonstrate the theory presented in the book.  And a much bigger project for the future is expanding this last idea with fun educational games and contests for people to submit their own creations, maybe with some kind of prizes. I would need some help in making all this happen, interns that would be involved in more than just sound editing, but in a whole creative entrepreneurial approach. &#xD;&#xA;&#xD;&#xA;One thing I've noticed about the success of an internship relationship is the component of commitment. I write from both sides of the equation here. You've got to be honest with your mentor about your availability and what you really want to get out of it, because if the mentor takes the time to share those many years of knowledge and experience, you should be clear on what you commit to give in exchange, and stick to it. Everyone wants a win-win situation, and it's more likely to happen if you can say, for example, how many hours a week you can devote, what skills you have to offer and what you hope to gain. And this goes for the mentor as well, as a two way street.&#xD;&#xA;&#xD;&#xA;So if anyone anywhere in the world has the time and interest to be involved in Sound Design for Pros and my other projects, please contact me by email and we can see what fits for both sides. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5098" PostHistoryTypeId="2" PostId="2915" RevisionGUID="5b99c309-b0d2-4723-9e65-14e21cf11461" CreationDate="2010-08-18T16:33:48.130" UserId="509" Text="What do you have to offer them? What do they have to offer you? How can this be mutually beneficial? You should know this before trying to contact them. Be clear on your availability and skills. Do your research on who they are, what they have done and are doing now, and whether this fits together.&#xD;&#xA;&#xD;&#xA;For example, I just posted an answer to another question on this site about what kind of virtual intern I would have interest in working with. If someone wrote that they'd like to hang out with me to help on my next feature film, I wouldn't bother answering because they hadn't read what I really need. But if they demonstrated interest in the educational work that I'm currently doing, then I will respond.&#xD;&#xA;&#xD;&#xA;So do your homework and you will up your chances of getting in the door." ContentLicense="CC BY-SA 2.5" />
  <row Id="5099" PostHistoryTypeId="2" PostId="2916" RevisionGUID="64187f7b-18a0-46b0-b471-ef10c92c151f" CreationDate="2010-08-18T16:40:44.277" UserId="509" Text="I've been teaching sound design at Video Symphony in Los Angeles, which offers a Protools certification program and helps with job placement as well. Very solid program. I'm also developing a sound design class for Academy of Art University in San Francisco, both on site and online. I've heard good things about Vancouver school too.&#xD;&#xA;&#xD;&#xA;For those who aren't able to get to a school, I'm offering a six week webinar series beginning Sept. 8, which will included hands on assignments and personal feedback. There will be a free intro on Aug. 24. Check it out on SoundDesignForPros.com." ContentLicense="CC BY-SA 2.5" />
  <row Id="5100" PostHistoryTypeId="2" PostId="2917" RevisionGUID="3b87518b-42cf-4ad5-8687-61a193bf4dbf" CreationDate="2010-08-18T16:42:59.017" UserId="16" Text="What I'm going to say may not be an answer but maybe an observation.&#xD;&#xA;&#xD;&#xA;I am now a days involved in a project that involves recording the soundscape of a specific district of Valencia (Spain). For that specific project I had to record mainly the sound of streets and squares. According to that I decided to record each place according to it's usage. For instance, in squares as I consider them places where to stay I did fixed recordings without moving the mics. On streets, as I understand, they are places to transit or pass by, I recorded while walking.&#xD;&#xA;&#xD;&#xA;So, in my opinion you might wanna consider how is the place and how you usually move around it, and record according to that. Basically it's all about the relationship that you establish with the location, and according to this relationship you can record as you usually perceive the ambience of a place. &#xD;&#xA;&#xD;&#xA;really I don't know if that makes any sense at all or my English is getting worst and worst,..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5101" PostHistoryTypeId="2" PostId="2918" RevisionGUID="80076783-fdda-48be-a3dc-c6c660de1a83" CreationDate="2010-08-18T17:12:27.740" UserId="18160" Text="When you mix, do you prefer using a tangible fader, mouse or trackball?&#xD;&#xA;&#xD;&#xA;What is most efficient for you?&#xD;&#xA;&#xD;&#xA;And do you use the mouse like a fader, riding it up and down, or do you just make breakpoints and edit your automation while stopped?&#xD;&#xA;&#xD;&#xA;And, do you use mixboards at all?&#xD;&#xA;&#xD;&#xA;I'm afraid Pro Tools is killing the need for mixboards.&#xD;&#xA;&#xD;&#xA;What are your thoughts?&#xD;&#xA;&#xD;&#xA;Me? I use a fader 90 percent of the time and clean up missed rides and intricate moves with a mouse and breakpoints in Pro Tools. But, that's just me." ContentLicense="CC BY-SA 2.5" />
  <row Id="5102" PostHistoryTypeId="1" PostId="2918" RevisionGUID="80076783-fdda-48be-a3dc-c6c660de1a83" CreationDate="2010-08-18T17:12:27.740" UserId="18160" Text="Fader, mouse or trackball?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5103" PostHistoryTypeId="3" PostId="2918" RevisionGUID="80076783-fdda-48be-a3dc-c6c660de1a83" CreationDate="2010-08-18T17:12:27.740" UserId="18160" Text="&lt;console&gt;&lt;mouse&gt;&lt;trackball&gt;&lt;volume&gt;&lt;automation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5104" PostHistoryTypeId="2" PostId="2919" RevisionGUID="41614437-aac1-4703-a217-f58ef9107388" CreationDate="2010-08-18T17:26:54.340" UserId="509" Text="I am aware that you are not the only one with this difficulty. It is one of the main reasons I've begun teaching online webinars based on my book Sound Design, which have gotten participants from Asia, South America, Europe and all over the US. The next one is a free intro Aug. 24, leading toward a six week series beginning Sept. 8. Check it out on SoundDesignForPros.com." ContentLicense="CC BY-SA 2.5" />
  <row Id="5108" PostHistoryTypeId="2" PostId="2921" RevisionGUID="dc9377fe-e165-4cd2-bb8c-9e09c4a91b29" CreationDate="2010-08-18T17:31:21.660" UserId="219" Text="I only wish I had faders. In the meantime it's all mouse based, but I must say that my MacBook Pro's multitouch trackpad is better than a mouse. Besides, I recommend to everyone, but probably don't need to as you'll undoubtedly have tried it already.&#xD;&#xA;&#xD;&#xA;But I wish there'd be a controller offering one fader and one knob that you merely need to point at the target with the mouse and use your fingers to do the rest. And, of course, nothing is like a big nice forest of knobs and faders :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5109" PostHistoryTypeId="2" PostId="2922" RevisionGUID="6054ce66-e164-4e9a-9bd0-05dd0dda8e92" CreationDate="2010-08-18T17:33:32.660" UserId="270" Text="You can do this workaround in Windows 7 if you switch your folder view to 'details', right click on the bar at the top of the file viewer &amp;  display the bit rate of the files.&#xD;&#xA;Then you need to memorise the bit rates of your commonly used sampling frequency / bit depth combinations ;)&#xD;&#xA; &#xD;&#xA;&#xD;&#xA; - 512kbps = 32kHz 16 bit Mono&#xD;&#xA; - 705kbps = 44kHz 16 bit Mono&#xD;&#xA; - 1024kbps = 32kHz 16 bit Stereo&#xD;&#xA; - 1058kbps = 44kHz 24bit Mono&#xD;&#xA; - 1152kbps = 48kHz 24 bit Mono&#xD;&#xA; - 1411kbps = 44kHz 16 bit Stereo&#xD;&#xA; - 2116kbps = 44kHz 24bit Stereo&#xD;&#xA; - 2304kbps = 48kHz 24 bit Stereo&#xD;&#xA; &#xD;&#xA;If you are using lots of non standard sampling frequencies for game sound effects then this might not be a realistic solution" ContentLicense="CC BY-SA 2.5" />
  <row Id="5110" PostHistoryTypeId="2" PostId="2923" RevisionGUID="9881c60b-5213-4a77-b0ca-54503acb714b" CreationDate="2010-08-18T17:35:32.700" UserId="509" Text="They've got some good classes at Berklee with Jeanine Cowan teaching. Besides game sound, you should have a strong background in audio in general, music theory, psychoacoustics, etc. I agree with others that playing games and listening is crucial to your preparation, but also listening to your real world and understanding what makes your own acoustic universe function. Then learning the technical aspects will give you tools to do it yourself. I'm giving a free intro webinar Aug. 24 that will include a lot of this, not specifically for games but for all audiovisual. Check it out SoundDesignForPros.com." ContentLicense="CC BY-SA 2.5" />
  <row Id="5114" PostHistoryTypeId="6" PostId="2626" RevisionGUID="9a1a1c2b-0ebb-4fff-b55a-c4d37fd5444e" CreationDate="2010-08-18T18:35:50.437" UserId="219" Comment="edited tags" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5115" PostHistoryTypeId="2" PostId="2926" RevisionGUID="fd38525e-2c3e-43a3-a3ed-873a4c3a28b9" CreationDate="2010-08-18T18:37:56.463" UserId="510" Text="I use the Kensington expert trackball. Love it. I have an euphonix mc control (kinda overpriced and dinky) that I can use for fader stuff but I use the Trackball for all my automation. I mainly do small TV stuff, so thats really all i need. Although when I have done movies and cartoons with lots of complex moves its nice to have faders. @Ryanhdd&#xD;&#xA;&#xD;&#xA;@justin huss   BTW The iZotope RX is the bomb, far better than the Waves w noise. i do use both though" ContentLicense="CC BY-SA 2.5" />
  <row Id="5118" PostHistoryTypeId="2" PostId="2929" RevisionGUID="2a86cb26-2f63-4cce-8540-664d2ff4809b" CreationDate="2010-08-18T19:42:53.563" UserId="432" Text="I use faders for the bulk of the work, especially automation passes. I'll go into the box to clean up or fine tweak the automation that gets written in those passes. I'm still acclimating to all the functionality that's there in my D-Control at work. I'm trying to get out of the box as much as I can, because the work just feels smoother that way.&#xD;&#xA;&#xD;&#xA;As for drawing vs. mouse controlled fader...it's definitely drawing for me, unless I'm doing a very coarse adjustment. Outside of that use, I personally just don't like the feel of a mouse controlled fader.  There's a weird disconnect for me." ContentLicense="CC BY-SA 2.5" />
  <row Id="5119" PostHistoryTypeId="2" PostId="2930" RevisionGUID="408d8386-d466-4086-bbbe-94d91eb632ae" CreationDate="2010-08-18T20:46:17.970" UserId="253" Text="First off, i would LOVE a mixboard. I've got access to a Euphonix MC, but it's only the command module and has just 4 faders. And seeing as Protools doesn't like Eucon (yet!), it's just using the HUI protocol. I know they're an evil, monopolising corporation, but i love mixing on Digi (i only know Protools) mixboards; everything's so accessible.&#xD;&#xA;&#xD;&#xA;I'll use the mouse controlled fader over drawing, just so i can hear what i'm doing. Then i'll touch up the breakpoints. For the record; the mouse fader is terrible when using a Macbook trackpad, but the trackpad is great for drawing out clicks. For panning and plugins i won't even bother with writing automation; i'll just draw it." ContentLicense="CC BY-SA 2.5" />
  <row Id="5120" PostHistoryTypeId="2" PostId="2931" RevisionGUID="aa30ea1c-5b87-4b8a-a77c-3d29832faeab" CreationDate="2010-08-18T20:58:43.670" UserId="219" Text="I've been working on @Shaun's challenge since Sunday night, and I came up with a vision of the material and ideas I am proud of. In theory it all makes sense, and I know that when the mix time comes (tomorrow, it's all scheduled and stuff...) I will probably need to go back to cutting things in to puff it up.&#xD;&#xA;&#xD;&#xA;I was wondering if, when you guys are editing, you know for a fact that what you're cutting is rock solid and confident that the mixer is not going to send it back from the final. I am aware that the edit should be at least usable, ideally working very well, but I already find it hard to get to an acceptable density of sound cues. This is precisely where experience makes the difference and I was hoping that some of this know-how would be shareable, verbally.&#xD;&#xA;&#xD;&#xA;Do you guys have any devices or tricks or is it really all about getting the feel of it? I could roughly automate my edit so I can try stuff, but I'm too stressed to spend time automating because I know mixing will take up long enough.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Justin" ContentLicense="CC BY-SA 2.5" />
  <row Id="5121" PostHistoryTypeId="1" PostId="2931" RevisionGUID="aa30ea1c-5b87-4b8a-a77c-3d29832faeab" CreationDate="2010-08-18T20:58:43.670" UserId="219" Text="Can we be sure that our sound design works?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5122" PostHistoryTypeId="3" PostId="2931" RevisionGUID="aa30ea1c-5b87-4b8a-a77c-3d29832faeab" CreationDate="2010-08-18T20:58:43.670" UserId="219" Text="&lt;editing&gt;&lt;material&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5123" PostHistoryTypeId="2" PostId="2932" RevisionGUID="1d99e04e-38a5-40da-bda4-66871aff40c6" CreationDate="2010-08-18T21:18:45.153" UserId="432" Text="First off, I'd like it if you could flesh out what you mean by &quot;acceptable density of sound cues.&quot; I'd just like to get a better understanding of what your discomfort is.&#xD;&#xA;&#xD;&#xA;As to the rest, when I'm doing an edit, I'm also thinking about the mix. Especially at work, since I have to take care of it in addition to the other elements once all of the prep is done and I receive the music from my coworker.  When it comes to spotting and editing, more is better.  Let me state now though, that that does not necessarily mean more effects and a denser sound image. A piece can be very poignant if it has a sparse mix. The overall density of the sound track should be dictated by your design. When I say more, I'm actually referring to flexibility.&#xD;&#xA;&#xD;&#xA;Do you want counterpoint, an impressionistic image, an over the top action movie feel? What does that answer imply about the needs of the piece. I usually have a very good idea of what I want out of the sounds for an image; I know what the sonic content should be. As I'm editing, I try to ensure that the sound has body and the appropriate spectral range. In the case of this challenge, I don't want to go in to the mix with an explosion that's all bass and no trebble (or vice versa), even if I know that I'm likely to take it out once I get to the mix. It's better to have it there and be able to take it away. If the sound is &quot;thin&quot; somewhere, I know that that will be a potential problem point in the mix. So, I'll focus on bringing it to where I want it." ContentLicense="CC BY-SA 2.5" />
  <row Id="5124" PostHistoryTypeId="2" PostId="2933" RevisionGUID="6709ce88-9ef7-49ed-bbd6-739f391a1621" CreationDate="2010-08-18T21:20:48.827" UserDisplayName="user49" Text="My advice on mastering sound effects entirely depends on what the sounds are &amp; the context for how they will be used, which is where experience is important. How would you expect to receive the specific sounds you are releasing? You would not treat a gunshot library the same way as an ambience library etc etc...&#xD;&#xA;&#xD;&#xA;Re Impulse Responses maybe the best way is to buy another IR library and see what they have done - the Sanitarium IR library has a lot of synthesised IRs and they seem to work very well.....&#xD;&#xA;&#xD;&#xA;http://www.spiritcanyonaudio.com/sanitarium.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="5125" PostHistoryTypeId="2" PostId="2934" RevisionGUID="1baab0b2-b5fc-44c4-a543-3c724c256aaf" CreationDate="2010-08-18T21:26:02.023" UserDisplayName="user49" Text="&quot;I'm afraid Pro Tools is killing the need for mixboards.&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Are you serious? If so you need to spend some time on a film dub stage with seriously good mixers... I don't mix but I am in awe of good mixers, and they dont tend to mix films with a mouse... &#xD;&#xA;&#xD;&#xA;While editing I do a lot of work with volume automation, but I consider that envelope shaping, not mixing... I leave the mixing to the mixers and just try to be the best sound editor/designer that I can be...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5126" PostHistoryTypeId="5" PostId="2931" RevisionGUID="98a9dbd7-ee6a-40d5-89c4-f8a92927165a" CreationDate="2010-08-18T21:28:55.237" UserId="219" Comment="added 38 characters in body" Text="I've been working on @Shaun's challenge since Sunday night, and I came up with a vision of the material and ideas I am proud of. In theory it all makes sense, and I know that when the mix time comes (tomorrow, it's all scheduled and stuff...) I will probably need to go back to cutting things in to puff it up.&#xD;&#xA;&#xD;&#xA;I was wondering if, when you guys are editing, you know for a fact that what you're cutting is rock solid and you're confident that the mixer is not going to send it back from the final. I am aware that the edit should be at least usable, ideally working very well, but I already find it hard to get to an acceptable density of sound, meaning it's dull most of the time. This is precisely where experience makes the difference and I was hoping that some of this know-how would be shareable, verbally.&#xD;&#xA;&#xD;&#xA;Do you guys have any devices or tricks or is it really all about getting the feel of it? I could roughly automate my edit so I can try stuff, but I'm too stressed to spend time automating because I know mixing will take up long enough.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Justin" ContentLicense="CC BY-SA 2.5" />
  <row Id="5128" PostHistoryTypeId="2" PostId="2936" RevisionGUID="dd21c22d-42a7-4338-8f28-cb8099cc0cb3" CreationDate="2010-08-18T23:19:16.790" UserId="455" Text="I was looking at either the faderport or the AlphaTrack a while back and I ended up choosing the faderport.  It's perfect for writing volume automation in pro tools, and the transport controls work pretty nicely as well.  I recommend it.  &#xD;&#xA;&#xD;&#xA;Another option that I've heard is really nice to use (especially panning in surround) is the Wacom tablet." ContentLicense="CC BY-SA 2.5" />
  <row Id="5129" PostHistoryTypeId="2" PostId="2937" RevisionGUID="a06db5f5-c309-4bfd-ad8e-78a44d8cb13e" CreationDate="2010-08-19T04:53:27.913" UserId="61" Text="In response to @Ryan's question/answer:&#xD;&#xA;&#xD;&#xA;&quot;Terminator&quot; was most likely cut on [mag film][1], before the days when multitrack tape was in fashion in LA post-production sound facilities. If you're not familiar with mag, it is film stock that is used exclusively for sound purposes, and comes in either [16mm or 35mm, full-coat or striped][2]. It has perforations along the edge (4 perforations equalling 1 second) which are threaded around the sprockets of the machine (think [Moviola][3] or [Magnatech][4] dubbers), By unthreading and physically moving the film forward or backward the desired number of perfs, you effectively offset your track.&#xD;&#xA;&#xD;&#xA;Cutting on mag predates my time in the industry and, as such, I may be misinformed on some of this. So, calling on your veterans out there, please chime and and correct my mistakes! (For the bettering of the group, of course!)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Sound-on-film&#xD;&#xA;  [2]: http://homepage.newschool.edu/~schlemoj/film_courses/glossary_of_film_terms/glossary.html#f&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Moviola&#xD;&#xA;  [4]: http://magna-tech.com/mte600.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="5130" PostHistoryTypeId="2" PostId="2938" RevisionGUID="d9eae303-48d7-43e4-9b61-0ef184de8e53" CreationDate="2010-08-19T05:56:25.820" UserId="61" Text="You've gone long enough without an answer!  :)&#xD;&#xA;&#xD;&#xA;All I can do is share my experience, albiet less than authoritative. I've worked on only a couple of animated films, so take this as you may, but the way I ensure sync is to check the head and tail pops from the OMF against the picture. If those are in sync, then whatever is in between is good to go for me. At that point I'm free to design whatever works against the picture, knowing that so long as my pops stay in sync with their pops I'll be OK in the final mix.&#xD;&#xA;&#xD;&#xA;Is that too simplistic?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5131" PostHistoryTypeId="5" PostId="2937" RevisionGUID="57ba832b-cb88-4886-b4eb-3b506cc0b1c3" CreationDate="2010-08-19T05:57:31.187" UserId="61" Comment="grammar" Text="In response to @Ryan's question/answer:&#xD;&#xA;&#xD;&#xA;&quot;Terminator&quot; was most likely cut on [mag film][1], before the days when multitrack tape was in fashion in LA post-production sound facilities. If you're not familiar with mag, it is film stock that is used exclusively for sound purposes, and comes in either [16mm or 35mm, full-coat or striped][2]. It has perforations along the edge (4 perforations equalling 1 second) which are threaded around the sprockets of the machine (think [Moviola][3] or [Magnatech][4] dubbers), By unthreading and physically moving the film forward or backward the desired number of perfs, you effectively offset your track.&#xD;&#xA;&#xD;&#xA;Cutting on mag predates my time in the industry and, as such, I may be misinformed on some of this. So, calling all you veterans out there, please chime and and correct my mistakes! (For the bettering of the group, of course!)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Sound-on-film&#xD;&#xA;  [2]: http://homepage.newschool.edu/~schlemoj/film_courses/glossary_of_film_terms/glossary.html#f&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Moviola&#xD;&#xA;  [4]: http://magna-tech.com/mte600.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="5132" PostHistoryTypeId="2" PostId="2939" RevisionGUID="59c1e92f-a804-4e1e-ae55-d882869f3495" CreationDate="2010-08-19T08:09:16.983" UserId="455" Text="If it's within your budget, I would transfer.  In fact I did.  I transferred from a small town in Ohio to a school in downtown Chicago for the same reason.  I couldn't be happier with my decision today.&#xD;&#xA;&#xD;&#xA;Think of it this way: If you want to work in sound, you should study it and get a degree from an accredited school.  There are many schools that have programs in film sound, acoustics etc.  These students are going to be your competition and by completing a sound-related degree program you are leveling the playing field.  You can also compare yourself to them and figure out what you can do to be better.&#xD;&#xA;&#xD;&#xA;You can learn a lot from the internet but it's important to learn from people who know what they're doing.  *Ironically some of the teachers at these schools don't know what they're doing.  It's up to you to learn from every possible angle you can and determine what to take away from your experiences.  It's fun!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5133" PostHistoryTypeId="2" PostId="2940" RevisionGUID="dc47fd8b-c229-471f-9c16-f53ddf485baf" CreationDate="2010-08-19T08:35:06.210" UserId="62" Text="I use a bit of everything.&#xD;&#xA;&#xD;&#xA;I have an Apple Mighty Mouse although the main reason I love it so much is the ability to scroll sideways!!! Sadly Bluetooth wont work in my studio so I'm left to hoke out the ball every so often.&#xD;&#xA;&#xD;&#xA;I also use a ProControl at work. However, I mainly only use the faders and very little else on there. My flat Apple keyboard (with an Editor Keys silicon cover which I'd recommend to everyone) is directly in front of it and I find it handier to use the shortcuts on there than all those buttons.&#xD;&#xA;&#xD;&#xA;I find I use more of the buttons on the D-Control in our larger mix studio, although that's probably as there's no mouse (just the huge built in tracker ball) to quickly use and it's also off to one side.&#xD;&#xA;&#xD;&#xA;I hate mixing stuff outside of my day job as suddenly not having faders to mix with seems such a fiddly and long winded operation. There's so much more finesse that you can achieve with faders that takes so much more time but clicking a mouse." ContentLicense="CC BY-SA 2.5" />
  <row Id="5134" PostHistoryTypeId="2" PostId="2941" RevisionGUID="9ea41050-8245-4c0d-98cc-eacb654c78b2" CreationDate="2010-08-19T10:46:49.220" UserId="510" Text="Was wondering who tweets here, I have been trying to follow people in my industry. Twitter took me a little time to actually see a need/benefit but i feel it does have both. My twitter is @Ryanhdd follow me if you would like and I will follow you. So what your thoughts?&#xD;&#xA;&#xD;&#xA;UPDATE: if i had looked at the top of the page i would have seen the twitter link, doh!&#xD;&#xA;&#xD;&#xA;anyway HI!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5135" PostHistoryTypeId="1" PostId="2941" RevisionGUID="9ea41050-8245-4c0d-98cc-eacb654c78b2" CreationDate="2010-08-19T10:46:49.220" UserId="510" Text="Hey Guys Girls, so who Tweets here?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5136" PostHistoryTypeId="3" PostId="2941" RevisionGUID="9ea41050-8245-4c0d-98cc-eacb654c78b2" CreationDate="2010-08-19T10:46:49.220" UserId="510" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5137" PostHistoryTypeId="2" PostId="2942" RevisionGUID="ea19e9ff-2123-41da-b5f3-996f21c05d0e" CreationDate="2010-08-19T10:54:35.350" UserId="510" Text="I am in Virginia Beach, Virginia working in the field of Audio for a major Television company. I do audio post work when I am not doing live shows. I have developed into a all around audio engineer through the years and I have been very blessed to do a lot and learn a ton. I truly love what I do and could not imagine doing anything else. Not sure where it will take me from here but I am always open to things. BTW this is an awesome site and I am very glad I found it. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5138" PostHistoryTypeId="16" PostId="2942" RevisionGUID="ea19e9ff-2123-41da-b5f3-996f21c05d0e" CreationDate="2010-08-19T10:54:35.350" UserId="-1" />
  <row Id="5139" PostHistoryTypeId="2" PostId="2943" RevisionGUID="d7d88033-d769-4656-aeac-bd4577b207ed" CreationDate="2010-08-19T11:21:15.297" UserId="62" Text="I find it quiet a useful resource of information and a great of getting to know people from far and distant lands. Made a number of friends there over the last few months.&#xD;&#xA;&#xD;&#xA;@ianjamespalmer" ContentLicense="CC BY-SA 2.5" />
  <row Id="5140" PostHistoryTypeId="2" PostId="2944" RevisionGUID="cf0f2abc-5a93-4c43-88fc-1031e0d2ba3f" CreationDate="2010-08-19T11:27:26.497" UserId="400" Text="Twitter has been an incredible resource for me, both in gaining new friends in this field AND just for getting feedback on anything in general.&#xD;&#xA;&#xD;&#xA;@_joethomas" ContentLicense="CC BY-SA 2.5" />
  <row Id="5141" PostHistoryTypeId="2" PostId="2945" RevisionGUID="b2251b02-6b5c-489a-980f-97dedc4d8743" CreationDate="2010-08-19T11:40:06.897" UserId="72" Text="I love twitter - lots of great and inspiring links and contacts!&#xD;&#xA;&#xD;&#xA;@lydrummet" ContentLicense="CC BY-SA 2.5" />
  <row Id="5142" PostHistoryTypeId="2" PostId="2946" RevisionGUID="fd331ca6-6a0c-40b1-889d-3c9139319823" CreationDate="2010-08-19T12:01:20.347" UserId="510" Text="Here is a funny video depicting a producer talking to an audio engineer about working on a picture.  &quot;But we have a Red Camera that shoots in 4k&quot; its hilariously funny but sooo true.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=c38CekaAtfI&amp;feature=player_embedded" ContentLicense="CC BY-SA 2.5" />
  <row Id="5143" PostHistoryTypeId="2" PostId="2947" RevisionGUID="c9345762-503f-4c17-8724-1f2034ed1a81" CreationDate="2010-08-19T12:12:08.267" UserId="219" Text="Same as you @Ryanhdd, took me a while. I came, I saw, I let go, eventually SSD got me back in :)&#xD;&#xA;&#xD;&#xA;@justinhuss" ContentLicense="CC BY-SA 2.5" />
  <row Id="5144" PostHistoryTypeId="2" PostId="2948" RevisionGUID="625a60f3-1d70-4ccc-807b-61d20af49fe3" CreationDate="2010-08-19T12:14:40.017" UserId="510" Text="I use Nuendo 4 have been using its since Nuendo came out. I love it. I have not ran into anything that it cannot do that PT and others can. Its 2k you might find it cheaper other places, It works with many different IO's some are cheap some are very good. I actaully purchased Nuendo 2 on ebay years ago for 400.00 I upgraded to 4 when it came out for 200.00 with NEK, a steal. Thinking about going to 5, i have it at work, but have not really seen  the need to yet at home. N5 has the advantage of HD video in timeline, it works ok, I have a blackmagic card for output to TV, Although I cannot impor MXF's directly into timeline, i use Calibrated to allow for import direct into Final Cut to marry my mixes to the video, Its been a pain working with video in Nuendo, only bc we use .MXF's in house. Still I love Nuendo. it works for me. BTW i run it on a MAc, I have several. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5145" PostHistoryTypeId="2" PostId="2949" RevisionGUID="bd428cda-d3c4-46b6-9661-7c30c8a8e03e" CreationDate="2010-08-19T12:24:18.450" UserId="46" Text="Have been quiet on posting lately, but I agree - definitely nice to build a community of audioheads!&#xD;&#xA;&#xD;&#xA;@joelraabe" ContentLicense="CC BY-SA 2.5" />
  <row Id="5146" PostHistoryTypeId="2" PostId="2950" RevisionGUID="485b2614-7db3-4af1-987f-1e82a2c36277" CreationDate="2010-08-19T12:29:27.577" UserId="46" Text="It may also be good to make sure your system is calibrated/offset properly. Here's a nice device to do so: http://www.syncheck.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5147" PostHistoryTypeId="2" PostId="2951" RevisionGUID="c8c93412-e7c9-4e5e-a3e6-d6e74483ffec" CreationDate="2010-08-19T12:35:27.137" UserId="46" Text="Also a mouse jockey here, with aspirations of taking it more toward the board.&#xD;&#xA;&#xD;&#xA;For now, I've inherited my boss's six button Kensington mouse:&#xD;&#xA;http://us.kensington.com/html/4011.html&#xD;&#xA;&#xD;&#xA;Have it custom so you can flip between tools in ProTools without touching the function keys. Works pretty okay for down and dirty mixing (we do a lot of reality TV). Have had people say &quot;Wow, I would never have guessed that it was mixed on a mouse&quot; (whatever that means).&#xD;&#xA;&#xD;&#xA;Tools are tools and only tools so for me it's faster than the trackball." ContentLicense="CC BY-SA 2.5" />
  <row Id="5148" PostHistoryTypeId="2" PostId="2952" RevisionGUID="71dc72f2-6a53-4b93-b86a-ae2d35296fec" CreationDate="2010-08-19T13:20:08.913" UserId="10" Text="Twitter is so cool! &#xD;&#xA;&#xD;&#xA;@misazam @designingsound :D" ContentLicense="CC BY-SA 2.5" />
  <row Id="5149" PostHistoryTypeId="2" PostId="2953" RevisionGUID="d6a9962b-0dc6-4570-8f17-564ba30fa7fe" CreationDate="2010-08-19T13:36:02.310" UserId="298" Text="it might seems unusual, but i use ACID Pro for most of tasks - its ultimate sample manipulation DAW. Im a more than 5-6 years of experience user and its difficult to switch to any other software. But im diggin Cubase 5 now along with my work in Acid." ContentLicense="CC BY-SA 2.5" />
  <row Id="5150" PostHistoryTypeId="2" PostId="2954" RevisionGUID="d85169bd-dc90-41d8-a6db-125a1472a5b6" CreationDate="2010-08-19T13:52:19.150" UserId="514" Text="I'm on there too. I agree it's an awesome resource for picking brains and getting support/inspiration/info.&#xD;&#xA;&#xD;&#xA;@surfyournut" ContentLicense="CC BY-SA 2.5" />
  <row Id="5151" PostHistoryTypeId="2" PostId="2955" RevisionGUID="5e0673f2-b395-42ee-8ce7-48120fe9a519" CreationDate="2010-08-19T13:57:27.950" UserId="217" Text="Twitter is a brilliant social and marketing tool.&#xD;&#xA;&#xD;&#xA;@owenprice" ContentLicense="CC BY-SA 2.5" />
  <row Id="5152" PostHistoryTypeId="2" PostId="2956" RevisionGUID="bc786865-0149-493d-8f99-da981747bf7e" CreationDate="2010-08-19T14:35:38.767" UserId="285" Text="Many Times in animation you get a bad match between what the actor is saying and what the visuals are showing.  In theory they should be a perfect match since the the animators had the actors performance prior to doing the drawings, but many things conspire against this.  Rewrites and time being the biggest barriers.  A line has to be changed for some reason (legal, plot development, the scene it is referencing was cut ect.) and then there is no time to re-animate the lips and a new line is plugged in in an ugly way.  If you are confident your system is all in sync and do regular checks, then all you can do is your best to get it to look as spot on as possible.  Playing back at half speed is a good trick for sure.  I find in the situations where you can not make it work perfectly that the most important sync point is the start of the lip movement, I find our brains are way more forgiving of things not looking right at the end of a line then at the beginning of it.  Also always err on the side of late rather then early, that really screws up the viewer when they hear someone's voice even a half frame early while they tend to not notice if it is up to two frames late.  &#xD;&#xA;&#xD;&#xA;But basically I think you are doing everything exactly right.  So just keep up the high level of QC and you should be good.  I am currently working on a japanese animation and doing the english dialog edit.  There are some real lip sync challenges I am facing, so I feel your pain.  The battle rages on....." ContentLicense="CC BY-SA 2.5" />
  <row Id="5153" PostHistoryTypeId="2" PostId="2957" RevisionGUID="7c939d54-344d-4710-8033-181583a78b1c" CreationDate="2010-08-19T15:35:38.593" UserId="469" Text="Pro Tools HD here, but that is because I used to do a lot of music recording and wanted the stability, the TDM plug-ins, delay compensation, etc.  Now that I am doing more sound design, Pro Tools LE would be sufficient.  Although I certainly don't mind having the extra juice." ContentLicense="CC BY-SA 2.5" />
  <row Id="5154" PostHistoryTypeId="2" PostId="2958" RevisionGUID="100dfc5d-d54a-4f59-abdc-b232faa856a1" CreationDate="2010-08-19T15:51:32.333" UserId="18" Text="@chuck_Russom. Be warned, I'm known to rant at times :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5155" PostHistoryTypeId="2" PostId="2959" RevisionGUID="bfb850bf-f9a6-49f0-9f46-636d05b64d97" CreationDate="2010-08-19T15:51:48.873" UserId="6411" Text="You guys win. I've joined twitter. Bring on the revolution in my life.&#xD;&#xA;&#xD;&#xA;@nabruevets" ContentLicense="CC BY-SA 2.5" />
  <row Id="5157" PostHistoryTypeId="2" PostId="2961" RevisionGUID="51c68458-23ca-4dd6-8941-bd0dfbcd5e59" CreationDate="2010-08-19T17:09:53.860" UserId="234" Text="One of the things I've been doing with low/no budgets (which sadly is the norm for films around here), is working for BARTER... OK, Mr. Producer, so you don't have any money, what DO you have? (exposure and credit don't count for anything with me, I have plenty of both...).&#xD;&#xA;&#xD;&#xA;Example... A local attraction wants some sound fx and music, but don't have nearly enough to pay for it. Said attraction is popular with my family, and we usually take the kids ANYWAY... so fine, you only have $X? I'll do it for that AND passes for my family (which easily make up the difference)... Voila! Win, win...&#xD;&#xA;&#xD;&#xA;Deane Ogden at Scorecast Online, talked about this in one of his posts. Don't be afraid to ask Producers what they can do for YOU... we already know what we can do for THEM! Need a new piece of gear? Can said producer get it for you in trade or at a great discount? Working with little money, need not mean people working for FREE.&#xD;&#xA;&#xD;&#xA;Of course if the Producer takes the attitude that they're doing me a favour by &quot;including&quot; me in their film, I politely terminate the meeting." ContentLicense="CC BY-SA 2.5" />
  <row Id="5158" PostHistoryTypeId="2" PostId="2962" RevisionGUID="db589ee4-ef35-4cb7-bc8a-606881e230ab" CreationDate="2010-08-19T17:32:58.210" UserId="6435" Text="@toxicbag_joe. I'm there when I can be. Hopefully I say something interesting now and then." ContentLicense="CC BY-SA 2.5" />
  <row Id="5159" PostHistoryTypeId="2" PostId="2963" RevisionGUID="b259f11d-505e-4344-8f36-3257c53cdd27" CreationDate="2010-08-19T17:38:36.667" UserId="338" Text="I like logic, it has such a happy feeling where as Pro Tools gives me a very professional feeling.  &#xD;&#xA;My drawback to Logic 9 is the lack of a perfect bouncing algorithm.  When I bounce something either internally or through a bounce, it loses a quality.  Pro Tools' bounce algorithm is pretty flawless to me so far and that brings me to the overall sound quality which is the best of the DAWS that I have layed my PAWS on.  Logic to my ears has a muffled almost simulated analog sound to it.  I first noticed this when I was creating a flyby out of a jet and some other things.  No matter how I bounced it, I lost definition, clarity, speed, punch, accuracy of the sound file compared to the original even though subtle, it is enough to want me to stay away from it.  Logic 9 does have it's GUI plusses though.&#xD;&#xA;&#xD;&#xA;Cubase I have noticed a serious lack of customer support.  I bought the academic version of Cubase 5 a year ago and it worked for awhile on my PC.  As soon as I tried to install it on my new MacPro it would crash when I opened it and the patch wouldn't recognize that Cubase was even installed on my computer.  I sent numerous support request tickets and all were ignored. &#xD;&#xA;&#xD;&#xA;Editing is great on Pro Tools and the GUI/HUI look and feel is easy on the eyes. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5160" PostHistoryTypeId="2" PostId="2964" RevisionGUID="731c35e4-c38a-4bfc-a829-857d43c0a7fa" CreationDate="2010-08-19T18:15:55.063" UserId="2" Text="|  &lt;3  t w i t t e r&#xD;&#xA;&#xD;&#xA;[@soundplusdesign][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://twitter.com/soundplusdesign" ContentLicense="CC BY-SA 2.5" />
  <row Id="5161" PostHistoryTypeId="2" PostId="2965" RevisionGUID="4cd0c7f9-8320-45c3-94a4-a1c613dfaf70" CreationDate="2010-08-19T18:19:28.753" UserId="393" Text="I use Sonar Home Studio, which I occasionally ReWire with Live.  The thing that's weird about Sonar is you can't compose AND do sound design in the same project, because tempo changes mess everything else up (it locks the samples to beat and measure, and not real time), but if you can learn to work around that, all is fine.&#xD;&#xA;&#xD;&#xA;Also, I have Sony Vegas Movie Studio to downgrade videos for easier import into Sonar.  Then I just export an audio file and put it all back together in Vegas." ContentLicense="CC BY-SA 2.5" />
  <row Id="5162" PostHistoryTypeId="2" PostId="2966" RevisionGUID="70d02adc-26e0-4560-b791-cc410d856846" CreationDate="2010-08-19T18:24:04.393" UserId="393" Text="I haven't used twitter much on a professional level, but if you want to see my personal comments I'm [@matneyx][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://twitter.com/matneyx" ContentLicense="CC BY-SA 2.5" />
  <row Id="5164" PostHistoryTypeId="2" PostId="2968" RevisionGUID="dd025d18-c818-4e35-8be3-94d5933f9894" CreationDate="2010-08-19T18:26:53.453" UserId="393" Text="I'm a mouse user, but only because I don't have any other option.  I use an M-Audio Oxygen keyboard that does have faders and knobs, but it's always seemed like too much hassle to get it to work right, when I could do the same thing with a mouse or an envelope much faster." ContentLicense="CC BY-SA 2.5" />
  <row Id="5165" PostHistoryTypeId="2" PostId="2969" RevisionGUID="891e4b4f-ce82-4bdc-9101-699ecd28fa53" CreationDate="2010-08-19T19:58:10.050" UserId="397" Text="Nice one! &#xD;&#xA;I'm a location sound recordist and also sound designer. I live in Nicosia, Cyprus.&#xD;&#xA;&#xD;&#xA;Best regards" ContentLicense="CC BY-SA 2.5" />
  <row Id="5166" PostHistoryTypeId="16" PostId="2969" RevisionGUID="891e4b4f-ce82-4bdc-9101-699ecd28fa53" CreationDate="2010-08-19T19:58:10.050" UserId="-1" />
  <row Id="5167" PostHistoryTypeId="2" PostId="2970" RevisionGUID="d78cb010-8e55-4abe-9c5a-2aaa334277c6" CreationDate="2010-08-19T21:11:48.943" UserDisplayName="user49" Text="@timprebble&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In the early days of twitter it was always funny to hear strong opinions about it from people who had never used it... like many things you have to use it for a while to appreciate how and why it is interesting" ContentLicense="CC BY-SA 2.5" />
  <row Id="5168" PostHistoryTypeId="2" PostId="2971" RevisionGUID="63f35cbb-1bc5-4c2e-91b2-318713aefd78" CreationDate="2010-08-20T05:32:56.480" UserDisplayName="user49" Text="I love that video of Ben Burt showing how he made winds for WALL-E by dragging that boxing bag around on a lino floor - see at 7 minutes in this video http://www.youtube.com/watch?v=TSf8Er2gV_Q&#xD;&#xA;&#xD;&#xA;So what interesting things have you done to create wind sounds? (No fart jokes thanks)&#xD;&#xA;&#xD;&#xA;I'm working on a short film Goutte d'Or at the moment and just made some spooky winds using howling wolves pitched down 2 octaves and same for dragging a heavy wooden couch around on a wood floor....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5169" PostHistoryTypeId="1" PostId="2971" RevisionGUID="63f35cbb-1bc5-4c2e-91b2-318713aefd78" CreationDate="2010-08-20T05:32:56.480" UserDisplayName="user49" Text="Creating Evocative Wind Sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="5170" PostHistoryTypeId="3" PostId="2971" RevisionGUID="63f35cbb-1bc5-4c2e-91b2-318713aefd78" CreationDate="2010-08-20T05:32:56.480" UserDisplayName="user49" Text="&lt;wind&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5171" PostHistoryTypeId="2" PostId="2972" RevisionGUID="c270ac07-4522-4a1e-a43e-b8c01962e296" CreationDate="2010-08-20T07:14:30.437" UserId="61" Text="Recently, I undertook the same task and ended up taking a different route - which was not entirely successful but, with more time spent, could be well worth it. I went through my library and pulled as many whispering fx as I could find and then used those as IRs for Altiverb. The idea was to process regular wind recordings through those IRs and come out the other side with &quot;whispering winds&quot;. Again, time got the better of me and I wasn't able to fully realize my vision, but I'm keeping those IRs for another go round sometime in the future." ContentLicense="CC BY-SA 2.5" />
  <row Id="5172" PostHistoryTypeId="2" PostId="2973" RevisionGUID="6a4c5853-95f0-4cf1-b3ec-556be00fea51" CreationDate="2010-08-20T09:00:52.950" UserId="62" Text="Forgive me if I go a little off topic but for the last few days I've been wanting to try something; make a really spooky wind sound with a voice element.&#xD;&#xA;&#xD;&#xA;Here's what I did...&#xD;&#xA;&#xD;&#xA;Open izotopeRX DeNoiser and train it using a voice recording (a crowd in a concert hall), then apply that to some wind.&#xD;&#xA;&#xD;&#xA;[THIS][1] is the original wind, &#xD;&#xA;[THIS][2] is the crowd, &#xD;&#xA;[THIS][3] is the result&#xD;&#xA;&#xD;&#xA;All the sounds are from the library at work, they've been relabeled so not sure which library exactly.&#xD;&#xA;&#xD;&#xA;Might have to have a bash at your ideas too somewhen @Tim @Jay&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/ianjpalmer/heavy-wind&#xD;&#xA;  [2]: http://soundcloud.com/ianjpalmer/crowdconcerthall&#xD;&#xA;  [3]: http://soundcloud.com/ianjpalmer/heavy-wind-rxdenoise" ContentLicense="CC BY-SA 2.5" />
  <row Id="5173" PostHistoryTypeId="2" PostId="2974" RevisionGUID="8670aa53-3b68-4de1-8ca5-bf0dd6b1412a" CreationDate="2010-08-20T09:42:35.223" UserId="37" Text="... tablet. &#xD;&#xA;and faders. &#xD;&#xA;&#xD;&#xA;mousing is great until you have surgery on your wrist because of it.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5174" PostHistoryTypeId="2" PostId="2975" RevisionGUID="c6c88f04-f333-453f-bebc-b241945b9a08" CreationDate="2010-08-20T13:38:33.030" UserId="402" Text="Great timing! I have been been working on some eerie wind today. Its still a bit of a work in progress but seems to be comming out ok. I have been stetching some cable swishes (bet you've got a few of them lying around Tim) with pauls stretch then adding a little bit of eq, reverb &amp; delay to each individual swish.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Example &#xD;&#xA;&#xD;&#xA;[http://soundcloud.com/andrew-quinn/wind02][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/andrew-quinn/wind02" ContentLicense="CC BY-SA 2.5" />
  <row Id="5175" PostHistoryTypeId="5" PostId="2975" RevisionGUID="07dac0ae-0730-4be0-8246-5aa8bfaff6f5" CreationDate="2010-08-20T13:42:39.403" UserId="61" Comment="grammar" Text="Great timing! I have been working on some eerie wind today. Its still a bit of a work in progress but seems to be coming out ok. I have been stretching some cable swishes (bet you've got a few of them lying around Tim) with [paulstretch][1] then adding a little bit of eq, reverb &amp; delay to each individual swish.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Example &#xD;&#xA;&#xD;&#xA;[http://soundcloud.com/andrew-quinn/wind02][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hypermammut.sourceforge.net/paulstretch/&#xD;&#xA;  [2]: http://soundcloud.com/andrew-quinn/wind02" ContentLicense="CC BY-SA 2.5" />
  <row Id="5176" PostHistoryTypeId="2" PostId="2976" RevisionGUID="322096c4-29cd-4cb3-a895-57daf2467348" CreationDate="2010-08-20T13:45:43.223" UserId="261" Text="Hi Everyone...&#xD;&#xA;&#xD;&#xA;But I'd really really like to know whether I need to fork out close to $2000 to have a decent interface, Pro Tools and the ability to import OMFs etc?&#xD;&#xA;&#xD;&#xA;Buying an Mbox 2 Pro is affordable enough, but, to import OMFs, do ABSO-POSA_LUTELY need to buy this darned DV Toolkit??!!&#xD;&#xA;&#xD;&#xA;Does anybody have a work around?&#xD;&#xA;&#xD;&#xA;I do most of my sound design in Ableton Live, and when I need to deal with OMFs, I import them into Soundtrack Pro 2(which handles OMFs) and then bring my sounds in there...&#xD;&#xA;That also helps when edits are changed etc.&#xD;&#xA;&#xD;&#xA;What do you guy do..? I'm referring to those of us not using ProTools, in any way shape or form.&#xD;&#xA;&#xD;&#xA;I'm very very keen on buying ProTools, and would like to get a Proper interface with it. The Mbox 2 seems a good bet.&#xD;&#xA;&#xD;&#xA;Advice anyone?&#xD;&#xA;&#xD;&#xA;(Is this a stupid question?)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5177" PostHistoryTypeId="1" PostId="2976" RevisionGUID="322096c4-29cd-4cb3-a895-57daf2467348" CreationDate="2010-08-20T13:45:43.223" UserId="261" Text="Will I really have to spend $2000 for an MBox 2 Pro and DV toolkit so that I can learn it while being able to read OMFs?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5178" PostHistoryTypeId="3" PostId="2976" RevisionGUID="322096c4-29cd-4cb3-a895-57daf2467348" CreationDate="2010-08-20T13:45:43.223" UserId="261" Text="&lt;pro-tools&gt;&lt;gear&gt;&lt;budget&gt;&lt;low-budget&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5179" PostHistoryTypeId="2" PostId="2977" RevisionGUID="9bb7280c-6121-4f4c-9641-d97ec46cea21" CreationDate="2010-08-20T14:07:17.480" UserId="253" Text="Once upon a time there was a free program called Omf Tool, but i think that's only compatible with Mac OS 9 or earlier. As far as i know it hasn't been updated, and can only save to Pro Tools v 4 or 5 sessions. It was also a little buggy for me at times.&#xD;&#xA;&#xD;&#xA;You can buy DigiTranslator for $500 by itself, but that won't get you the timecode and mixing functions that ($1300) DV Toolkit would. It seems that most other software comes with omf capability, but unfortunately Digidesign make you pay. I got mine from the Digi training and education store for virtually half price, but i had to do a Pro Tools course first, and they cost quite a bit.&#xD;&#xA;&#xD;&#xA;Hopefully someone else has some good advice for you.&#xD;&#xA;&#xD;&#xA;Best of luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5180" PostHistoryTypeId="2" PostId="2978" RevisionGUID="55502d02-c6fc-473d-8dc6-81ebb270c3f5" CreationDate="2010-08-20T14:07:18.307" UserId="469" Text="DV Toolkit has other valuable features besides omf import...  A cheap workaround to deal with omfs is that you could always import the omf into soundtrack pro,  consolidate each track, and then import into pro tools and line up the heads of the files.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5181" PostHistoryTypeId="2" PostId="2979" RevisionGUID="26e2cc83-2458-482c-b7db-b6c558c2342b" CreationDate="2010-08-20T14:42:27.737" UserId="393" Text="I always want to mix subtle flute notes, or bowed vibraphone, into my wind sounds.  I don't know why, but I always want my wind to be musical." ContentLicense="CC BY-SA 2.5" />
  <row Id="5182" PostHistoryTypeId="2" PostId="2980" RevisionGUID="45f6045c-6cc4-42e3-b9b7-33d38f6fa108" CreationDate="2010-08-20T15:45:40.137" UserId="61" Text="I love [Freesound][1]! Imagine, if 20 years ago somebody told you there would be a method for people to share and contribute sounds from all over the world instantly; well, that's what we have here. Whenever I hit a wall with my personal libraries I can do a quick search there and usually find something unique, and many times the recordings are available at professional sample and bit rates. &#xD;&#xA;&#xD;&#xA;Who else out there uses this great resource?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5183" PostHistoryTypeId="1" PostId="2980" RevisionGUID="45f6045c-6cc4-42e3-b9b7-33d38f6fa108" CreationDate="2010-08-20T15:45:40.137" UserId="61" Text="Who uses Freesound.org on a regular basis?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5184" PostHistoryTypeId="3" PostId="2980" RevisionGUID="45f6045c-6cc4-42e3-b9b7-33d38f6fa108" CreationDate="2010-08-20T15:45:40.137" UserId="61" Text="&lt;recording&gt;&lt;location-recording&gt;&lt;collaboration&gt;&lt;libraries&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5185" PostHistoryTypeId="2" PostId="2981" RevisionGUID="cbabc508-b86c-4ff2-a6bf-80240e7a48f3" CreationDate="2010-08-20T15:49:05.467" UserId="25" Text="Freesound is great! It s always very handy when you need specific sounds that you don t have, or you don t have the time to record.&#xD;&#xA;It s great!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5186" PostHistoryTypeId="2" PostId="2982" RevisionGUID="b5dda5e2-b23e-4eb3-9112-5de173380807" CreationDate="2010-08-20T15:57:12.767" UserId="517" Text="I am a boom operator/sound editor living at my company MISOSound in Los Angeles, still starting out in the world of sound. My partner and I mostly work on films and documentaries, but we've done a couple of video games now and are trying to break into that more as well. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5187" PostHistoryTypeId="16" PostId="2982" RevisionGUID="b5dda5e2-b23e-4eb3-9112-5de173380807" CreationDate="2010-08-20T15:57:12.767" UserId="-1" />
  <row Id="5188" PostHistoryTypeId="2" PostId="2983" RevisionGUID="c5c9d060-7a81-4fec-8b9d-bb09e60fa1d1" CreationDate="2010-08-20T16:01:48.210" UserId="18" Text="If you only need to import OMF's, look on eBay for a Digitranslator 2 license.  Should be around $150.  Like the other guys said, you get a lot more than just OMF support with DV Toolkit.  It is a worthy investment if you are going with a non-HD Pro Tools rig." ContentLicense="CC BY-SA 2.5" />
  <row Id="5189" PostHistoryTypeId="2" PostId="2984" RevisionGUID="6f713d6c-5d43-4316-a52c-a800fac997a2" CreationDate="2010-08-20T16:22:39.807" UserId="510" Text="You could also check out Nuendo, I got my nuendo on ebay, for like 300 bucks, it was nuendo 2, then upgraded, This also opens up the doors to many diff. IO" ContentLicense="CC BY-SA 2.5" />
  <row Id="5191" PostHistoryTypeId="2" PostId="2986" RevisionGUID="37f3b4d7-b0aa-420b-a5a3-dd4653fd6202" CreationDate="2010-08-20T16:49:14.400" UserId="477" Text="I've used it once or twice before. The problem I have with it is the crediting clause in the creative commons license (see below), unless I'm misunderstanding it. Let's say I use 10 sounds for a film, that's a big chunk of credit space :-(. Getting a producer or product manager to agree to significantly multiply the credit space they give to the sound department for a few particular sound effects ain't easy.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Attribution and Notice.&#xD;&#xA;&#xD;&#xA;   1.&#xD;&#xA;&#xD;&#xA;      If You distribute, publicly display, publicly perform, or publicly digitally perform the Work or any Derivative Works or Collective Works, You must keep intact all copyright notices for the Work and give the Original Author credit reasonable to the medium or means You are utilizing by conveying the name (or pseudonym if applicable) of the Original Author if supplied; the title of the Work if supplied; to the extent reasonably practicable, provide the Uniform Resource Identifier, if any, that Licensor specifies to be associated with the Work or a Derivative Work, unless such Uniform Resource Identifier does not refer to the copyright notice or licensing information for the Work; and in the case of a Derivative Work, provide a credit identifying the use of the Work in the Derivative Work (e.g., &quot;Remix of the Work by Original Author,&quot; or &quot;Inclusion of a portion of the Work by Original Author in collage&quot;). Such credit may be implemented in any reasonable manner; provided, however, that in the case of a Derivative Work or Collective Work, at a minimum such credit will appear where any other comparable authorship credit appears and in a manner at least as prominent as such other comparable authorship credit." ContentLicense="CC BY-SA 2.5" />
  <row Id="5192" PostHistoryTypeId="2" PostId="2987" RevisionGUID="2d6798ef-e060-488c-90c1-2b37c2a15fc9" CreationDate="2010-08-20T16:50:16.950" UserId="261" Text="Freesound is fantastic, and always good for those hard to find recordings...." ContentLicense="CC BY-SA 2.5" />
  <row Id="5193" PostHistoryTypeId="2" PostId="2988" RevisionGUID="dbd4a8e1-c702-4392-bc94-931a30b871b2" CreationDate="2010-08-20T16:50:49.330" UserId="477" Text="@ragamesound is me." ContentLicense="CC BY-SA 2.5" />
  <row Id="5196" PostHistoryTypeId="2" PostId="2990" RevisionGUID="83f1c04a-1ae6-420f-9bdf-6ca7f452248d" CreationDate="2010-08-20T16:57:47.217" UserId="29" Text="@noisejockey, natch!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5198" PostHistoryTypeId="2" PostId="2991" RevisionGUID="9023c6c2-731c-4529-b35a-0a748ea826de" CreationDate="2010-08-20T17:00:36.823" UserId="29" Text="Always having a recorder is half the battle; got some amazing wind sounds in a cabin on NZ's Queen Charlotte Track. Anywhere there are wires or small holes and high winds, set your ears to &quot;stun.&quot;&#xD;&#xA;&#xD;&#xA;Another classic is holding blankets or foam over air conditioners. This can create wind whistles you can &quot;play,&quot; although one may have to filter out the machinery noise...but sometimes those whistles get loud enough to provide a decent signal:noise ratio." ContentLicense="CC BY-SA 2.5" />
  <row Id="5199" PostHistoryTypeId="2" PostId="2992" RevisionGUID="183e5fb4-c2a9-4728-9da6-326702b62e50" CreationDate="2010-08-20T17:06:18.777" UserId="315" Text="Not my own trick, but I've always been impressed with how Richard King and crew created the windstorm sounds in the movie Master and Commander. They basically rigged a flatbed truck with a bunch of interesting props and took it out to the Mojave Desert, got it up to 70mph or so and recorded. Brilliant:&#xD;&#xA;&#xD;&#xA;Magazine piece:&#xD;&#xA;&#xD;&#xA;http://www.newyorker.com/archive/2003/10/20/031020fa_fact1&#xD;&#xA;&#xD;&#xA;Radio piece:&#xD;&#xA;&#xD;&#xA;http://www.npr.org/templates/story/story.php?storyId=1505241" ContentLicense="CC BY-SA 2.5" />
  <row Id="5200" PostHistoryTypeId="2" PostId="2993" RevisionGUID="6c600eda-406a-4c36-a559-9b18f723bae9" CreationDate="2010-08-20T17:30:18.643" UserId="477" Text="Aww man, I wish I'd popped into this conversation earlier. I'm going to take some space here to advocate my favorite software.&#xD;&#xA;&#xD;&#xA;I use Reaper for sound editing and design and Pro Tools for mixing. I used to be a hardcore Pro Tools enthusiast, but became very disillusioned with Avid (and before that, Digidesign)'s business priorities. My two big complaints are:&#xD;&#xA;&#xD;&#xA;1) I can't rely on Avid to make Pro Tools into the software I need, ever. They do not listen to the needs of their consumers. Not enough.&#xD;&#xA;&#xD;&#xA;2) Pro Tools is a &quot;no&quot; software. Want to wire Max/MSP into a track? Sorry, can't do that. Want to use some non-Avid/Digi interface? Sorry, can't do that. What about customizing the keyboard to do what I need it to? Nope. Pro Tools is wonderful when you're using it per Avid's prescription of how you should use it and what you should want out of your DAW. That's why I still use it for mixing. But if you want to think outside of the box... outside of their box, it's unrelentingly restrictive.&#xD;&#xA;&#xD;&#xA;Reaper is a *phenomenal* sound design tool that is largely overlooked. IMHO, it's partly for their price and business model. Why would you trust software that costs little over a hundred bucks to be the centerpiece of your business? Why would you trust a company that permits unlimited and uncrippled trial use of their software?&#xD;&#xA;&#xD;&#xA;But where Pro Tools tells me &quot;no&quot;, Reaper is a &quot;yes&quot; machine. There's a learning curve, and it requires a time investment, but you can transform Reaper to be the customized DAW for the way *you* work. &#xD;&#xA;&#xD;&#xA;I can build macros for how *I* use it. For me, I've got the arrow keys hooked up to a pitch shifter! I can have a temporary FX chain on any region. I can have 192khz 24bit audio files on the same track as 22.050khz 16 bit mono files. Or midi files. Or surround files. Or mp3s. Or timecode. I can assign an LFO to ANY property of ANY plugin. I can nest tracks within one another (and do away with the archaic digital busses and AUX tracks we've carried with us from the analog years!), or send audio directly to other tracks. I can chain two machines together and have one of them handle VST processing to lighten the load of the primary. If I want, I can use any I/O I have connected to my computer (and theoretically, my network). And if I want to use one device for ins, one device for outs, and one device for MIDI, Reaper doesn't try to stop me. It warns me! But it doesn't say &quot;no&quot;.&#xD;&#xA;&#xD;&#xA;If I'm a developer, I can create third party plugins for Reaper!&#xD;&#xA;&#xD;&#xA;Best of all, Cockos (and the feature-building community around them) listens! There's a part of the forum devoted to feature requests. And whatever features are most popular will make it into an update. And if it won't, they'll tell you why not.&#xD;&#xA;&#xD;&#xA;It's not perfect, of course. I don't like Reaper for mixing and the video support needs work, but I really can't advocate this DAW enough. The learning curve is definitely steep, as you have to rewire what you expect from a DAW. But man, does it pay off." ContentLicense="CC BY-SA 2.5" />
  <row Id="5201" PostHistoryTypeId="2" PostId="2994" RevisionGUID="ba71d97c-4933-4713-b081-b386c3bf5707" CreationDate="2010-08-20T17:35:01.163" UserId="477" Text="You should track down and talk to a composer named Sean Beeson. He lives in... Ohio? On a farm. And is a respected and recognizable name within the game audio community. Oh, and he's 24. &#xD;&#xA;&#xD;&#xA;Whatever he's doing, he's doing very well, and he manages to do it from the middle of nowhere. Networking-wise, I see him at every conference I ever attend. I imagine that helps, but if you can talk to him he may be able to give you more meaningful advice." ContentLicense="CC BY-SA 2.5" />
  <row Id="5202" PostHistoryTypeId="2" PostId="2995" RevisionGUID="68e5676a-cf8a-47b3-aa81-10a5e3699200" CreationDate="2010-08-20T17:53:24.713" UserId="6411" Text="We're in a position at work where we're upgrading a couple of G5 systems to Mac Pros. So we'll have these G5s lying around and I was looking for their best use. The first thing that my mind shot to was [Video Satellite LE][1]. I thought the G5 would be an easy host for such a task. But Avid specifies a Mac Pro, so no dice on that.&#xD;&#xA;&#xD;&#xA;I remembered long ago eyeing [VirtualVTR][2]. It looks like much hasn't changed on their page, I don't know if that's because they were revolutionary and way ahead of their time or because they haven't updated in ages. Anyone have experience with it? I have to take a closer look, but I'm assuming that it acts just like any other 9-pin controlled device within ProTools.&#xD;&#xA;&#xD;&#xA;With no ability to playback HD concurrently with Pro Tools, HD playback would be ***really*** nice (It's a small disappointment to some clients). But perhaps you have a better idea as to how to repurpose an aging, but otherwise perfectly usable computer...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/US/products/Video-Satellite-LE/features&#xD;&#xA;  [2]: http://www.virtualvtr.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5203" PostHistoryTypeId="1" PostId="2995" RevisionGUID="68e5676a-cf8a-47b3-aa81-10a5e3699200" CreationDate="2010-08-20T17:53:24.713" UserId="6411" Text="Is video playback the best use of an old computer?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5204" PostHistoryTypeId="3" PostId="2995" RevisionGUID="68e5676a-cf8a-47b3-aa81-10a5e3699200" CreationDate="2010-08-20T17:53:24.713" UserId="6411" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5206" PostHistoryTypeId="2" PostId="2997" RevisionGUID="cda881d9-aab4-41e5-9d99-e0fc23738869" CreationDate="2010-08-20T18:05:48.383" UserId="194" Text="what a cool topic!&#xD;&#xA;&#xD;&#xA;i have a studio door that when its half-cracked makes the craziest whining wind sound.  I've been meaning to record it for years, but I'd better do it before we move out of this building.  I'll post an update when I have it done." ContentLicense="CC BY-SA 2.5" />
  <row Id="5207" PostHistoryTypeId="2" PostId="2998" RevisionGUID="effa63a1-e32a-44eb-a370-efb8f77c1276" CreationDate="2010-08-20T18:19:47.180" UserId="431" Text="If you're only designing sounds, I find that Logic, Live and Reason do a better job than Pro Tools out of the box. But for syncing sound up to picture and cutting sounds together, I can't stand to work with a DAW other than Pro Tools." ContentLicense="CC BY-SA 2.5" />
  <row Id="5208" PostHistoryTypeId="2" PostId="2999" RevisionGUID="08fe19b1-5555-44ac-8a8b-77788959852b" CreationDate="2010-08-20T18:35:07.343" UserId="132" Text="@sepulchra  I've been known to tweet and retweet." ContentLicense="CC BY-SA 2.5" />
  <row Id="5211" PostHistoryTypeId="2" PostId="3001" RevisionGUID="62f4f456-2ca6-442c-935f-aec72a422424" CreationDate="2010-08-20T19:17:27.017" UserId="234" Text="I believe Marti Humphries at The Dub Stage is actually getting away with a G5 running Video Satellite... not supported technically but it seems to work. This was when it first came out, so the current version may not fly. Check the DUC for details.&#xD;&#xA;&#xD;&#xA;One of things I use an old quad G5 for is as a transfer station. Think about how many times your main machine is held up while you convert one thing to another, or capture audio from whatever source. I have a machine just dedicated to that function and it saves much time in the mix/edit suites for well - mix and editing. They also make good secondary cutting stations." ContentLicense="CC BY-SA 2.5" />
  <row Id="5212" PostHistoryTypeId="2" PostId="3002" RevisionGUID="883b2068-28a9-4ab9-9fc7-e98045db7963" CreationDate="2010-08-20T19:50:44.150" UserId="219" Text="Unfortunately I've ignored it until last week because some sounds that my friends used in their videos were quite simply horrendous (quality-wise)... but I surrendered and I'm realising it's not all that bad :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5213" PostHistoryTypeId="2" PostId="3003" RevisionGUID="7e57c5b6-37ff-4ea8-8676-0635208791e8" CreationDate="2010-08-20T21:01:58.180" UserId="432" Text="I was working on my &quot;entry&quot; for my sound design challenge today, and I realized that I hadn't bothered putting a master fader into my session. Truthfully, I haven't put one into any of my sessions in a long time.&#xD;&#xA;&#xD;&#xA;It's really because of the I/O design of my studio at work. I use an Aux track instead now, because I'm routing the main program to multiple destinations at once (control room monitors, meters, decks via AES). It's just a simpler workflow for me.&#xD;&#xA;&#xD;&#xA;So, I'm wondering what your workflows are like. How many people use master faders, and how many are like me and avoid them because of their inefficiency in signal routing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5214" PostHistoryTypeId="1" PostId="3003" RevisionGUID="7e57c5b6-37ff-4ea8-8676-0635208791e8" CreationDate="2010-08-20T21:01:58.180" UserId="432" Text="Who out there still uses Master Faders anymore? " ContentLicense="CC BY-SA 2.5" />
  <row Id="5215" PostHistoryTypeId="3" PostId="3003" RevisionGUID="7e57c5b6-37ff-4ea8-8676-0635208791e8" CreationDate="2010-08-20T21:01:58.180" UserId="432" Text="&lt;workflow&gt;&lt;techniques&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5216" PostHistoryTypeId="2" PostId="3004" RevisionGUID="1162ac4a-8f71-4220-b21b-a689600b7114" CreationDate="2010-08-20T21:16:09.440" UserId="6411" Text="I build them in to every template I use. However they're usually hidden.  Mostly they're just a confidence mode, to double check my signal flow. I run a 888|24 as additional i/o. Every once in awhile it freaks out and doesn't output anything. Having that master fader in the software lets me see that, yes indeed my signal flow is right, I just need to reboot the hardware. Doesn't happen often, but when it does it saves me enough time to be useful." ContentLicense="CC BY-SA 2.5" />
  <row Id="5217" PostHistoryTypeId="2" PostId="3005" RevisionGUID="25d5c5c4-a471-4aa7-bfb8-574c8881c0ab" CreationDate="2010-08-20T21:20:37.207" UserId="55" Text="@amazingrolo&#xD;&#xA;&#xD;&#xA;wooo." ContentLicense="CC BY-SA 2.5" />
  <row Id="5218" PostHistoryTypeId="2" PostId="3006" RevisionGUID="e121202b-3348-4f6e-94f4-2e97b84cf2f6" CreationDate="2010-08-20T21:30:40.140" UserId="90" Text="Lots of free (and terrible) recordings.  &#xD;&#xA;&#xD;&#xA;There really needs to be some kind of quality control, rating system, etc. that actually works." ContentLicense="CC BY-SA 2.5" />
  <row Id="5219" PostHistoryTypeId="2" PostId="3007" RevisionGUID="f6817cea-2927-45c4-b6ab-7ad752f262d3" CreationDate="2010-08-20T21:46:10.007" UserId="518" Text="Good afternoon, &#xD;&#xA;&#xD;&#xA;Okay here is the deal&gt; I just upgraded form the new macbook to the new macbook pro. Ihad a friend of mine install protools 8 hd and Im trying to use this with my audio interface which is a mbox2, just like I was doing with my macbook. Apparently, this isnot working because the usb light on the mbox 2 isn't coming on! Now in order to make sound come from the protools I have to manually enable an application called XVX (which I really don't know what its for besides activating the built-in output.)Im simply trying to track a beat into pro-tools llike I used to do with my macbook but it is not letting me because my interface isn't being turned on by the macbook pro. the mic lights are dimly on and when i can press the phantom power 48v light on and that will come on but the light where it says usb and spdif is not coming on at all!! So how can i simply put this beat into protools...is therr something internally i have to do...Im a novice at this so im calling ALL the experts to help me out...reall quick...Thank you in advance and im hear to answer any questions about this problem. Once again, thank you all....&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5220" PostHistoryTypeId="1" PostId="3007" RevisionGUID="f6817cea-2927-45c4-b6ab-7ad752f262d3" CreationDate="2010-08-20T21:46:10.007" UserId="518" Text="MacBook Pro and MBox2" ContentLicense="CC BY-SA 2.5" />
  <row Id="5221" PostHistoryTypeId="3" PostId="3007" RevisionGUID="f6817cea-2927-45c4-b6ab-7ad752f262d3" CreationDate="2010-08-20T21:46:10.007" UserId="518" Text="&lt;macbook&gt;&lt;pro&gt;&lt;protools&gt;&lt;mbox&gt;&lt;2&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5222" PostHistoryTypeId="2" PostId="3008" RevisionGUID="af3f2ce7-8763-4230-9ff1-8a8fb4d6fd64" CreationDate="2010-08-20T21:48:31.060" UserId="62" Text="Like Steve I have them in all my mix sessions. I have an L2 set at -10 as all those outputs go to Digibeta and/or HDCAM-SR so having that safety net is the main reason.&#xD;&#xA;&#xD;&#xA;+1 that it enables you to see that your outputs are all working too. If you run different stems (mix, m&amp;e etc) at a glance you can tell your routing is correct as it's obvious that an output is wrong or got nothing at all.&#xD;&#xA;&#xD;&#xA;I have an Aux before the Master fader but that's because I need to generate stems for each output so I split the Aux to the Master and an Audio Track." ContentLicense="CC BY-SA 2.5" />
  <row Id="5223" PostHistoryTypeId="2" PostId="3009" RevisionGUID="e0a59455-83a4-445c-8d21-e1be607973b9" CreationDate="2010-08-20T21:51:12.803" UserId="62" Text="You have HD on a Mac Book?&#xD;&#xA;&#xD;&#xA;If you actually meant LE then do you have the Core Audio Driver installed? Swap out the cable you're using for another just in case there's a fault there." ContentLicense="CC BY-SA 2.5" />
  <row Id="5224" PostHistoryTypeId="2" PostId="3010" RevisionGUID="04e25652-a264-4137-9225-d7ddcab7d724" CreationDate="2010-08-20T21:54:07.490" UserId="219" Text="I'm no authority since it's the first time I use more than one Master Fader in my session (and I'm also doing the challenge), but I find it quite useful.&#xD;&#xA;&#xD;&#xA;It's here in case I'd like to prefade everything at once to send to an aux via a particular bus and that is enough for me to find it useful. If you've got a cooler trick, please feel free to share :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm now realizing that it's silly to turn the signal down before going trough an aux. Does anyone agree with this statement? Erf, at least I can check I'm not clipping." ContentLicense="CC BY-SA 2.5" />
  <row Id="5225" PostHistoryTypeId="6" PostId="3007" RevisionGUID="5c826481-9445-46db-a5fc-026180b7664d" CreationDate="2010-08-20T22:12:44.863" UserId="219" Comment="edited tags" Text="&lt;macbook-pro&gt;&lt;protools&gt;&lt;mbox-2&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5226" PostHistoryTypeId="2" PostId="3011" RevisionGUID="74dfc57e-5abb-4c19-a3a9-67e9eda2f92d" CreationDate="2010-08-20T22:31:51.467" UserId="18" Text="That XVX app is a crack (hardware emulator) that allows you to run the cracked version of PTHD with any hardware (even built in).  Probably not wise to be talking about the use of pirate software on a public forum :)  But since you have an Mbox, you don't even need XVX, since you should just run Protools LE.&#xD;&#xA;&#xD;&#xA;As for your original issue, I'd suggest as Ian does, try a new cable and maybe another USB port.  Also, delete XVX, if you are running Digidesign hardware, it may be causing issues." ContentLicense="CC BY-SA 2.5" />
  <row Id="5227" PostHistoryTypeId="5" PostId="3003" RevisionGUID="bf03293a-0697-4cd8-a116-42dbe7cfca33" CreationDate="2010-08-20T22:38:12.510" UserId="432" Comment="clarification on my question" Text="I was working on my &quot;entry&quot; for my sound design challenge today, and I realized that I hadn't bothered putting a master fader into my session. Truthfully, I haven't put one into any of my sessions in a long time.  I'm referring to an actual Master Fader channel, not necessarily the functionality.&#xD;&#xA;&#xD;&#xA;It's really because of the I/O design of my studio at work. I use an Aux track instead now, because I'm routing the main program to multiple destinations at once (control room monitors, meters, decks via AES). Master Faders are a pain in the butt in that situation. It's just a simpler workflow for me to use an Aux channel as my &quot;master fader&quot; now.&#xD;&#xA;&#xD;&#xA;So, I'm wondering what your workflows are like. How many people use master faders, and how many are like me and avoid them because of their inefficiency in signal routing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5228" PostHistoryTypeId="2" PostId="3012" RevisionGUID="8f947866-dfac-4ea2-9fd7-27254b15d7a2" CreationDate="2010-08-20T22:45:10.253" UserId="25" Text="Hi! does anybody here have some experience with Avenson sto 2 mics?&#xD;&#xA;I m pretty curious about them, but i don t know anybody that has used it.&#xD;&#xA;&#xD;&#xA;Here is the link&#xD;&#xA;http://www.avensonaudio.com/sto2.php&#xD;&#xA;&#xD;&#xA;I wonder if they could have some uses recording in the field.&#xD;&#xA;What do you think?&#xD;&#xA;&#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 2.5" />
  <row Id="5229" PostHistoryTypeId="1" PostId="3012" RevisionGUID="8f947866-dfac-4ea2-9fd7-27254b15d7a2" CreationDate="2010-08-20T22:45:10.253" UserId="25" Text="Question about Avenson mic" ContentLicense="CC BY-SA 2.5" />
  <row Id="5230" PostHistoryTypeId="3" PostId="3012" RevisionGUID="8f947866-dfac-4ea2-9fd7-27254b15d7a2" CreationDate="2010-08-20T22:45:10.253" UserId="25" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5231" PostHistoryTypeId="2" PostId="3013" RevisionGUID="9697257a-e750-403d-a5c3-fced34ea7097" CreationDate="2010-08-20T23:18:14.883" UserId="390" Text="I used Freesound for some of the sounds used in my sound replacement project for F.E.A.R 3.  At the end of the trailer I credited all the sounds.  I wonder if it would be acceptable to refer viewer to credits posted on a website as an alternative." ContentLicense="CC BY-SA 2.5" />
  <row Id="5232" PostHistoryTypeId="2" PostId="3014" RevisionGUID="126d655b-e4fe-4c90-bb30-f12e0de5f2eb" CreationDate="2010-08-21T00:14:20.107" UserId="61" Text="Great feedback, all. &#xD;&#xA;&#xD;&#xA;I thought I understood that, so long as you make note on freesound.org itself as to how you used the sound, you were all good. No?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5233" PostHistoryTypeId="2" PostId="3015" RevisionGUID="2296da63-a165-4ccb-92af-9eef422b9622" CreationDate="2010-08-21T03:00:10.403" UserId="105" Text="@danflosdorf is me!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5234" PostHistoryTypeId="2" PostId="3016" RevisionGUID="86b2546a-a50b-41d6-ab76-ae5bb6438f8e" CreationDate="2010-08-21T03:25:39.923" UserDisplayName="user49" Text="Some of my classics:&#xD;&#xA;&#xD;&#xA; - Hen attack&#xD;&#xA; - Cabbage bat&#xD;&#xA; - Bunny guts&#xD;&#xA; - Mud hammer&#xD;&#xA; - Wind by Sandyface&#xD;&#xA; - Gut slides&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;all very meaningful (to me at least)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5235" PostHistoryTypeId="1" PostId="3016" RevisionGUID="86b2546a-a50b-41d6-ab76-ae5bb6438f8e" CreationDate="2010-08-21T03:25:39.923" UserDisplayName="user49" Text="What are some of the oddest filenames in your library?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5236" PostHistoryTypeId="3" PostId="3016" RevisionGUID="86b2546a-a50b-41d6-ab76-ae5bb6438f8e" CreationDate="2010-08-21T03:25:39.923" UserDisplayName="user49" Text="&lt;library&gt;&lt;file-naming&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5237" PostHistoryTypeId="2" PostId="3017" RevisionGUID="ab663c51-172a-40e8-a559-b625f3488a6f" CreationDate="2010-08-21T03:41:33.040" UserId="519" Text="This is a pedal I built that allows you to use guitar effects inline with your vocal signal, &#xD;&#xA;&#xD;&#xA;http://revivalelectric.com/effects.php&#xD;&#xA;&#xD;&#xA;This project began when I wanted a way to help out a few of my musician friends/bandmates use guitar effects on their vocals and experiment with getting new vocal tones in a live setting.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;Travis" ContentLicense="CC BY-SA 2.5" />
  <row Id="5238" PostHistoryTypeId="2" PostId="3018" RevisionGUID="1f0c823a-65e6-4013-83e7-78237ddbefb1" CreationDate="2010-08-21T04:38:29.017" UserId="61" Text="I have a favorite:&#xD;&#xA;&#xD;&#xA; - Fat Lady Walla&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5239" PostHistoryTypeId="2" PostId="3019" RevisionGUID="bca7b4b2-8953-4a9f-a428-d46037e29f8f" CreationDate="2010-08-21T04:42:52.223" UserId="61" Text="Doesn't address your question regarding *video playback*, but if I had an extra high-horsepower Mac sitting around I'd consider tasking it as a dedicated audio rendering station. For instance, you've got a ton of 192k library material sitting around that you want to Pitch n' Time down 4 octaves, or want to perform paulstretch on something, etc. etc. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5240" PostHistoryTypeId="5" PostId="2980" RevisionGUID="3de787e2-5f16-4e54-9dc3-cf4049de27a1" CreationDate="2010-08-21T04:52:31.070" UserId="61" Comment="hyperlinks" Text="Imagine, if 20 years ago somebody told you there would be a method for people to share and contribute sounds from all over the world instantly; well, that's what we have with [freesound.org][1]. Whenever I hit a wall with my personal libraries I can do a quick search there and usually find something unique, and many times the recordings are available at professional sample and bit rates. &#xD;&#xA;&#xD;&#xA;Who else out there uses this great resource?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5241" PostHistoryTypeId="2" PostId="3020" RevisionGUID="f6edf88f-2b90-4a1f-af4d-f35db43412d9" CreationDate="2010-08-21T05:48:09.077" UserId="61" Text="Lots of us record at at 192k for the 4x sample rate improvement, but how does that translate to a more useful or flexible sound file? According to Tim Prebble, plug-ins are more effective at 192k (which I've found to be the case as well) but because they take longer to render I end up using them less due to time constraints.&#xD;&#xA;&#xD;&#xA;Also, if most microphones are only capturing frequencies up to 20kHz, shouldn't we use &quot;hi-def&quot; mics (30 - 100kHz range) when recording 192k?&#xD;&#xA;&#xD;&#xA;Your thoughts are apprciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5242" PostHistoryTypeId="1" PostId="3020" RevisionGUID="f6edf88f-2b90-4a1f-af4d-f35db43412d9" CreationDate="2010-08-21T05:48:09.077" UserId="61" Text="What's your reason for recording at 192kHz?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5243" PostHistoryTypeId="3" PostId="3020" RevisionGUID="f6edf88f-2b90-4a1f-af4d-f35db43412d9" CreationDate="2010-08-21T05:48:09.077" UserId="61" Text="&lt;sample-rate&gt;&lt;192khz&gt;&lt;processing&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5244" PostHistoryTypeId="2" PostId="3021" RevisionGUID="badfc29e-8726-4af1-b6ea-1cf17a2c306c" CreationDate="2010-08-21T07:10:02.423" UserId="61" Text="I'm always looking for bargains on mics, recorders, etc. But there must be more to life than Craigslist and eBay?! Where do you shop for those killer deals?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5245" PostHistoryTypeId="1" PostId="3021" RevisionGUID="badfc29e-8726-4af1-b6ea-1cf17a2c306c" CreationDate="2010-08-21T07:10:02.423" UserId="61" Text="Where do you shop for used gear?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5246" PostHistoryTypeId="3" PostId="3021" RevisionGUID="badfc29e-8726-4af1-b6ea-1cf17a2c306c" CreationDate="2010-08-21T07:10:02.423" UserId="61" Text="&lt;microphone&gt;&lt;portable-recorder&gt;&lt;shopping&gt;&lt;used-gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5247" PostHistoryTypeId="4" PostId="3020" RevisionGUID="e77a4f89-e16b-486b-86c3-5754f781258e" CreationDate="2010-08-21T07:11:09.897" UserId="61" Comment="restructured the question to garner an answer or two…" Text="What's your strategy behind recording at 192kHz?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5248" PostHistoryTypeId="2" PostId="3022" RevisionGUID="2ddf34fe-e159-4630-b956-ff4580c05cad" CreationDate="2010-08-21T10:28:12.173" UserId="103" Text="The way i think it works is that the samples are distributed equally across the20-20khz range to increase the resolution of the wave form for a more accurate &quot;picture&quot;, as opposed to using the samples to register higher tan 20khz frequencies. That way the waveform has much more information and so suffers less degradation in processes like pitch shift, time stretch etc, because the signal processor has more to work with.&#xD;&#xA;&#xD;&#xA;This doesn't come from any scientific source, it's just what makes sense in my head and would love to confirm or dis-confirm this; plus i just woke up, so i don't know if what i wrote makes any sense at all..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5249" PostHistoryTypeId="2" PostId="3023" RevisionGUID="8100c52b-138d-419f-ae9d-494b95d32913" CreationDate="2010-08-21T11:54:28.723" UserId="432" Text="+1 on the increased resolution of the audible range.&#xD;&#xA;&#xD;&#xA;There are definitely some interesting sounds above the 20kHz zone, but you don't necessarily need a mic rated up beyond that to capture them.  Many mics will capture those frequencies, but they're response may not be as even as those rated to 50 or 100 kHz.&#xD;&#xA;&#xD;&#xA;I wonder if a small diaphragm condenser mic would work better in those applications. Less membrane for the acoustic compressions/rarefactions to excite? Anyone have any thoughts on that idea?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5250" PostHistoryTypeId="2" PostId="3024" RevisionGUID="8eda4285-34e2-4112-89cb-2938f8b0cc2d" CreationDate="2010-08-21T14:48:30.007" UserId="520" Text=" I have MBox2 &amp; Digitranslator which performs the OMF task. I did a Pro Tools course some time ago and chose Digitranslator as my free plug in - not sure what it would cost otherwise. I really recommend doing a course as it entitles you to quite hefty discounts on Avid and Pro Tools products (the production toolkits are about 50% cheaper) and help the course to pay for itself." ContentLicense="CC BY-SA 2.5" />
  <row Id="5251" PostHistoryTypeId="2" PostId="3025" RevisionGUID="9c8165af-128b-4037-b9d2-37c3b08220e5" CreationDate="2010-08-21T15:04:51.970" UserId="194" Text="I posed similar questions in [this thread.][1]&#xD;&#xA;&#xD;&#xA;Afterward I did several tests (which are noted in my response later on in the same thread)&#xD;&#xA;&#xD;&#xA;what I found was that even mics that aren't rated above 20k are perfectly capable of capturing great audio far above the audible range - and are capable of it using a pretty wide array of A/D converters and preamps.&#xD;&#xA;&#xD;&#xA;everything test here is confirmed capable of recording good stuff well above 20k in my own tests:&#xD;&#xA;&#xD;&#xA; - Sony PCM D50&#xD;&#xA; - Schoeps CMC6&#xD;&#xA; - Earthworks DK50&#xD;&#xA; - AT 4050&#xD;&#xA; - Sure VP-88&#xD;&#xA; - Sound Devices 744t&#xD;&#xA; - John Hardy M1&#xD;&#xA; - Digi 192 interface&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'll also reaffirm that higher sample rates really add to the flexibility of sounds.  The doors that I recorded at 96k for Tim Prebble's doors project have already been pitched down and employed in all kinds of heavy impact situations, and because they retain high freq content they don't sound &quot;pitched&quot; at all - they just sound much bigger.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2359/re-recording-ultrasonic-frequencies" ContentLicense="CC BY-SA 2.5" />
  <row Id="5256" PostHistoryTypeId="2" PostId="3029" RevisionGUID="0181a84b-a1a3-46fb-a0f4-eb6ba4b65341" CreationDate="2010-08-21T17:49:44.110" UserId="338" Text="Is there a way to convert a color to a sound?  Does orange in particular have a kind of Hz/audio equivalent other than 5e+14?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5257" PostHistoryTypeId="1" PostId="3029" RevisionGUID="0181a84b-a1a3-46fb-a0f4-eb6ba4b65341" CreationDate="2010-08-21T17:49:44.110" UserId="338" Text="What do colors sound like?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5258" PostHistoryTypeId="3" PostId="3029" RevisionGUID="0181a84b-a1a3-46fb-a0f4-eb6ba4b65341" CreationDate="2010-08-21T17:49:44.110" UserId="338" Text="&lt;color&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5260" PostHistoryTypeId="2" PostId="3031" RevisionGUID="d01957bf-d41c-429c-8ae7-977c0f5aa0d4" CreationDate="2010-08-21T18:20:06.153" UserDisplayName="user6508" Text="I'm curious to know where other people go too.  I had often wondered if there could be a section on this site for people looking to off load or pick up used gear." ContentLicense="CC BY-SA 2.5" />
  <row Id="5262" PostHistoryTypeId="2" PostId="3032" RevisionGUID="6383a887-daf7-49b8-9672-9c93a9c653a0" CreationDate="2010-08-21T19:17:15.587" UserId="258" Text="Yep, it´s workflow question time again, so: when you create a sound effect, are you saving a file for every sound you create? I am not talking about the finished soundfile but the file that is used to construct it. What do you do when you want to change a little parameter on that wonderful &quot;bkrz&quot;-sound - 4 months after you created it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5263" PostHistoryTypeId="1" PostId="3032" RevisionGUID="6383a887-daf7-49b8-9672-9c93a9c653a0" CreationDate="2010-08-21T19:17:15.587" UserId="258" Text="Question about SFX Workflow" ContentLicense="CC BY-SA 2.5" />
  <row Id="5264" PostHistoryTypeId="3" PostId="3032" RevisionGUID="6383a887-daf7-49b8-9672-9c93a9c653a0" CreationDate="2010-08-21T19:17:15.587" UserId="258" Text="&lt;sfx&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5265" PostHistoryTypeId="2" PostId="3033" RevisionGUID="b90b989d-a79f-4815-9ff7-95aabb08f57e" CreationDate="2010-08-21T20:08:57.453" UserDisplayName="user49" Text="So.... if I tell you you'll end up bidding against me? :)&#xD;&#xA;&#xD;&#xA;Of course ebay and I suspect each country has a local equivalent...&#xD;&#xA;I picked up my mint MKH70 w rycote &amp; fluffy for us$800 via a local forum...&#xD;&#xA;&#xD;&#xA;I suspect older location sound recordists probably have a mic collection some of which they wont/dont use so try wherever they congregate?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5266" PostHistoryTypeId="2" PostId="3034" RevisionGUID="9bd137bb-e8a6-4a51-b248-5523a07b4656" CreationDate="2010-08-21T20:10:43.273" UserId="90" Text="Yes, you can convert color to sound.&#xD;&#xA;&#xD;&#xA;No, orange doesn't have a particular frequency or sound.  You can pick whatever mapping you want.  Do you want orange be a specific sine frequency, or should it represent a square wave?  You pick.&#xD;&#xA;&#xD;&#xA;I've been trying to go the opposite direction, using audio frequency content to determine color of a waveform: http://www.flickr.com/photos/omegatron/sets/72157623798266403/&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;This is the same method used by Freesound.org, using the spectral centroid of the sound to produce a monochromatic color.  What I'd really like to do is map the spectrum of the sound onto the spectrum of the color, so a low frequency sine would be red, a high frequency sine would be blue, and a combination of both would be magenta.  Last time I messed with it, I was trying to figure out a way to weight it so that logarithmic sine sweeps look like a rainbow, white noise is white, pink noise is pink.  I'm not sure if it's possible, though, because of the conflict between linear and logarithmic frequency axes.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://farm5.static.flickr.com/4051/4505407612_79d35e829d.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="5267" PostHistoryTypeId="2" PostId="3035" RevisionGUID="4ee4f8de-be7c-481d-807e-a750ded03383" CreationDate="2010-08-21T20:10:56.330" UserDisplayName="user49" Text="VCAs are excellent! I use group faders still eg when printing stems and want to add limiters before the stem recorder tracks" ContentLicense="CC BY-SA 2.5" />
  <row Id="5268" PostHistoryTypeId="5" PostId="3034" RevisionGUID="9a62c224-fa49-4b20-8ed5-d8b0808109c2" CreationDate="2010-08-21T20:16:15.197" UserId="90" Comment="added 204 characters in body; added 237 characters in body" Text="Yes, you can convert color to sound.&#xD;&#xA;&#xD;&#xA;No, orange doesn't have a particular frequency or sound.  You can pick whatever mapping you want.  Do you want orange be a specific sine frequency, or should it represent a square wave?  You pick.&#xD;&#xA;&#xD;&#xA;[AudioPaint][1] and [Coagula][2] use the color of a pixel to determine the panning of the sound.&#xD;&#xA;&#xD;&#xA;[Spectrograms][3] often use color to represent the amplitude of a frequency component.  Software like Adobe Audition will do the inverse function to convert an image back into a sound.&#xD;&#xA;&#xD;&#xA;I've been trying to go the opposite direction, using audio frequency content to determine color of a waveform: http://www.flickr.com/photos/omegatron/sets/72157623798266403/&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;This is the same method used by Freesound.org, using the spectral centroid of the sound to produce a monochromatic color.  What I'd really like to do is map the spectrum of the sound onto the spectrum of the color, so a low frequency sine would be red, a high frequency sine would be blue, and a combination of both would be magenta.  Last time I messed with it, I was trying to figure out a way to weight it so that logarithmic sine sweeps look like a rainbow, white noise is white, pink noise is pink.  I'm not sure if it's possible, though, because of the conflict between linear and logarithmic frequency axes.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.nicolasfournel.com/audiopaint.htm&#xD;&#xA;  [2]: http://hem.passagen.se/rasmuse/Coagula.htm&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Spectrogram&#xD;&#xA;  [4]: http://farm5.static.flickr.com/4051/4505407612_79d35e829d.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="5269" PostHistoryTypeId="2" PostId="3036" RevisionGUID="eb7dac32-d5cc-4927-9070-3b910a1c719e" CreationDate="2010-08-21T20:17:08.487" UserDisplayName="user49" Text="I discovered a LOT when dealing with the Fireworks Library at 192k eg I thought my HD2 PT rig was powerful (eg on films I often run out of voices, and it can playback 192 tracks at one) but at 192k it became underpowered! The track count, plugin use and even the timeline window became restricted! I would love to work even at 96kHz all the time for better plugin performance but even that would reduce my PT performance too much.. &#xD;&#xA;&#xD;&#xA;The moral of the story - there is definitely an advantage to using higher sample rates, but practically the workflow tends to be that of recording, editing and manipulating material at 96 or 192, but then do the syncing, layering, editing at 48k.... for now at least!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5270" PostHistoryTypeId="2" PostId="3037" RevisionGUID="2aec6a65-c8b1-43b6-a10f-7fca4f1f6100" CreationDate="2010-08-21T20:34:38.747" UserId="90" Text="There's no point in recording frequencies above 20 kHz unless you're going to do something with them, like put them through an effect that will modulate or stretch them back into the audible spectrum.  &#xD;&#xA;&#xD;&#xA;The main benefit of higher sampling rates is not to capture ultrasound, but to reduce audible things like aliasing, phase distortion, etc.&#xD;&#xA;&#xD;&#xA;These can be a benefit for synthesis, too.  If your square wave generator is poorly-written, it will produce an infinite number of harmonics, which are aliased and sound bad.  If the sampling frequency is higher, this effect is reduced.  Of course it would be better if the generator were written correctly, but you can't always control that." ContentLicense="CC BY-SA 2.5" />
  <row Id="5271" PostHistoryTypeId="2" PostId="3038" RevisionGUID="e3836d9b-0d2b-46e2-ac49-7683a5fcfa47" CreationDate="2010-08-21T20:40:00.160" UserId="378" Text="Yayyyy, workflow!!!&#xD;&#xA;&#xD;&#xA;I use Reaper, so all that processing is non-destructive, i.e. you can go back and fiddle all you want. Costs extra cycles since it's processing it in place, but that hasn't been a problem for me yet :-)&#xD;&#xA;&#xD;&#xA;&lt; /another_reaper_plug&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5272" PostHistoryTypeId="2" PostId="3039" RevisionGUID="1022c17b-8590-4ad2-833a-69f2b82a92d9" CreationDate="2010-08-21T20:49:23.947" UserId="378" Text="Hey folks.&#xD;&#xA;  For those of you who do a lot of recordings on the go, how do you strategize being prepared? I'm not satisfied with my GO! set-up, which is hyper-minimalist:&#xD;&#xA;&#xD;&#xA;  I carry a Zoom H4 with me at almost all times, and use the onboard mics. Which aren't bad.&#xD;&#xA;  I don't bother with headphones - usually by the time I've put them on and plugged them in, the sound has disappeared.&#xD;&#xA;&#xD;&#xA;  And even then, it can take me up to 20-30 seconds from deciding &quot;I'm gonna record that!&quot; to rolling.&#xD;&#xA;&#xD;&#xA;  So what do you do? Here's what I figure is valuable, in order:&#xD;&#xA;&#xD;&#xA;1) Light and compact, so it doesn't interfere with your day to day life.&#xD;&#xA;2) Quick to set up.&#xD;&#xA;3) Good quality sound.&#xD;&#xA;4) Monitoring ability." ContentLicense="CC BY-SA 2.5" />
  <row Id="5273" PostHistoryTypeId="1" PostId="3039" RevisionGUID="1022c17b-8590-4ad2-833a-69f2b82a92d9" CreationDate="2010-08-21T20:49:23.947" UserId="378" Text="Recording on impulse! Strategies for being prepared?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5274" PostHistoryTypeId="3" PostId="3039" RevisionGUID="1022c17b-8590-4ad2-833a-69f2b82a92d9" CreationDate="2010-08-21T20:49:23.947" UserId="378" Text="&lt;field-recording&gt;&lt;zoom&gt;&lt;monitoring&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5275" PostHistoryTypeId="2" PostId="3040" RevisionGUID="d9de7a37-aa09-425a-8972-2a053f90e80b" CreationDate="2010-08-21T21:55:04.807" UserId="61" Text="Number one priority for me is:&#xD;&#xA;&#xD;&#xA; - Extra AA batteries and empty SDHC&#xD;&#xA;   card!&#xD;&#xA;&#xD;&#xA;Can't tell you how many times I've whipped out my H2 to grab some super-neato sound only to be met with &quot;battery low…goodbye!&quot;&#xD;&#xA;&#xD;&#xA;Argh  -" ContentLicense="CC BY-SA 2.5" />
  <row Id="5276" PostHistoryTypeId="2" PostId="3041" RevisionGUID="2317f8b3-40ea-48e6-b1d8-c28606a93806" CreationDate="2010-08-21T22:10:49.273" UserId="6411" Text="In my everyday bag I carry my M10, wind jammer, ear buds, extra batteries, and a gorillapod. Some days I have my point and shoot camera as well, but in a pinch I'll just take a snapshot with my phone." ContentLicense="CC BY-SA 2.5" />
  <row Id="5277" PostHistoryTypeId="2" PostId="3042" RevisionGUID="e2583853-5168-400d-8819-69a71a9728d4" CreationDate="2010-08-21T22:24:34.867" UserId="219" Text="I try to never go without my Tascam DR-100 but it's a bit bulky and I'm not too sure what a stereo mic would sound like but I'd say the Tascam one is ok. Have managed to capture some cool waterfalls (well, big fountains), some vehicles... tried a lot of nature ambiances but it's too self-noisy for that, city is ok." ContentLicense="CC BY-SA 2.5" />
  <row Id="5278" PostHistoryTypeId="2" PostId="3043" RevisionGUID="adf1f0dc-99f8-4876-85d4-d6b742c95978" CreationDate="2010-08-22T00:21:42.947" UserId="261" Text="Hey All,&#xD;&#xA;&#xD;&#xA;Thank you all fir the invaluable input.&#xD;&#xA;What I will do is the following:&#xD;&#xA;&#xD;&#xA;I will buy an MBox2 Pro Factory, save for a PT course, and then try and get a discount on DV toolkit or at least DigiTranslator when/if I can.&#xD;&#xA;I think i will be able to get the best value for money then. And a course in something as complex as PT will be invaluable to fellow like myself.&#xD;&#xA;&#xD;&#xA;Thank you to all of you again.&#xD;&#xA;This site is amazing. I have really seen the quality of my work and the depth of consideration in my approach improve inthe few months I have been a member here.&#xD;&#xA;&#xD;&#xA;Cheers, &#xD;&#xA;Kurt&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5279" PostHistoryTypeId="2" PostId="3044" RevisionGUID="9f22d6df-18d4-4a37-bf36-e42720915be2" CreationDate="2010-08-22T06:10:53.993" UserId="444" Text="**N U E N D O .**&#xD;&#xA;&#xD;&#xA;-I love it.  Media Bay and it's Automation features are really handy.  I'll be upgrading to N5 as soon as my custom *Rain Ion* is in.&#xD;&#xA;&#xD;&#xA;When I was an apprentice, the music studio I was in used **Magix Sequoia**.  It was an amazingly efficiant program for recording, editing, and mixing. Especially editing, I loved it and it sounded great.&#xD;&#xA;I never got a chance to work with video in it however. &#xD;&#xA;&#xD;&#xA;My friend is scoring his film on **Logic Pro 9**, I've seen him work and it looks efficient and sounds good too.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5280" PostHistoryTypeId="4" PostId="3020" RevisionGUID="ade95c86-5e57-44bf-9814-769cf3fc9267" CreationDate="2010-08-22T06:24:54.883" UserId="61" Comment="restructured the question to garner an answer or two…" Text="What's your strategy behind 192kHz recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5283" PostHistoryTypeId="2" PostId="3046" RevisionGUID="b7ab3634-9ce4-4eca-99e7-7e9248263391" CreationDate="2010-08-22T09:11:56.473" UserId="18160" Text="I once again sincerely apologize if this is a newb question, but here goes:&#xD;&#xA;&#xD;&#xA;I recorded quite a bit of stuff with my H2 in it's different configurations to get some good ambiences (one, by the way, was an awesome old schoolbus interior on a mountain dirt road with a bunch of mountain bikes hung up in the back of it. It had a huge deep engine and the rattling bikes made it sound like a tank! I'll upload it later for you all to hear)&#xD;&#xA;&#xD;&#xA;But anyway, back to my question:&#xD;&#xA;&#xD;&#xA;Have you ever wanted to record something with the H2 or H4 in mono, like a hard effect? And what did you do?&#xD;&#xA;&#xD;&#xA;Do you point just one of the capsules at it instead of dead-on and then just use one side once you import the audio file into Pro Tools?&#xD;&#xA;&#xD;&#xA;I couldn't find just a straight mono configuration.&#xD;&#xA;&#xD;&#xA;Just wondering..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5284" PostHistoryTypeId="1" PostId="3046" RevisionGUID="b7ab3634-9ce4-4eca-99e7-7e9248263391" CreationDate="2010-08-22T09:11:56.473" UserId="18160" Text="Recording Mono with H2 or H4" ContentLicense="CC BY-SA 2.5" />
  <row Id="5285" PostHistoryTypeId="3" PostId="3046" RevisionGUID="b7ab3634-9ce4-4eca-99e7-7e9248263391" CreationDate="2010-08-22T09:11:56.473" UserId="18160" Text="&lt;zoom&gt;&lt;h2&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5288" PostHistoryTypeId="2" PostId="3048" RevisionGUID="9e76beda-c852-4545-976a-f7606636adb6" CreationDate="2010-08-22T10:10:57.933" UserId="56" Text="Go into the menu and turn the Mono Mix into ON. It'll record a stereo file named MONO with the same content on both channels. H2 makes a mono mix of the two channels but i don't know why it doesn't create a mono file instead of a stereo one ... than you can take just one channel or combine the two into one to have a real mono channel. I assume the H4 has the same configuration but I'm non sure about that." ContentLicense="CC BY-SA 2.5" />
  <row Id="5289" PostHistoryTypeId="2" PostId="3049" RevisionGUID="7af7b836-c45f-4c01-a1c9-41197997f2d2" CreationDate="2010-08-22T10:18:55.603" UserId="219" Text="I'm having the same issue with my DR-100. I find it sounds better to point one capsule only at the source recording in stereo, not mixing both channels into mono." ContentLicense="CC BY-SA 2.5" />
  <row Id="5290" PostHistoryTypeId="2" PostId="3050" RevisionGUID="1201a758-6e0d-425f-9005-a6f4b2f8c8a5" CreationDate="2010-08-22T10:24:40.653" UserId="56" Text="@fabio_iaci&#xD;&#xA;&#xD;&#xA;on sound, devastating italian politics and nonsense" ContentLicense="CC BY-SA 2.5" />
  <row Id="5291" PostHistoryTypeId="5" PostId="3049" RevisionGUID="d91a51b5-1b42-416e-ad20-6dd36e0a4f67" CreationDate="2010-08-22T10:25:43.573" UserId="219" Comment="added 138 characters in body" Text="I'm having the same issue with my DR-100. I find it sounds better to point one capsule only at the source recording in stereo, not mixing both channels into mono.&#xD;&#xA;&#xD;&#xA;PS: and drop the non-used side of your headphones, it makes things much easier by not distracting/polluting your monitoring judgement." ContentLicense="CC BY-SA 2.5" />
  <row Id="5292" PostHistoryTypeId="2" PostId="3051" RevisionGUID="d97eae85-d02c-4255-a29e-33d081a980ed" CreationDate="2010-08-22T15:12:33.707" UserId="219" Text="Mixing question... I need to give each element its own space in the mix and I'd like to know how you go about this. I compress the element I'm trying to sit and EQ out its competitors but still it sounds muddy... I don't dare going too far with compression and EQ, so I thought I'd ask you what's your limit? Also, does it happen that you scoop out half of the spectrum (e.g. -3dB over 2 octaves) to make space for an element?&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5293" PostHistoryTypeId="1" PostId="3051" RevisionGUID="d97eae85-d02c-4255-a29e-33d081a980ed" CreationDate="2010-08-22T15:12:33.707" UserId="219" Text="While mixing, how aggressive should I get with EQing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5294" PostHistoryTypeId="3" PostId="3051" RevisionGUID="d97eae85-d02c-4255-a29e-33d081a980ed" CreationDate="2010-08-22T15:12:33.707" UserId="219" Text="&lt;eq&gt;&lt;compression&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5295" PostHistoryTypeId="2" PostId="3052" RevisionGUID="a03a45a3-60e9-4d36-af12-87c707c98197" CreationDate="2010-08-22T15:38:43.927" UserId="432" Text="Eq is just one trick, and, if it's necessary, I will use a wide spectrum reduction. I try to find other solutions first though, because that's usually an indication that I've done something wrong.&#xD;&#xA;&#xD;&#xA;If your mix sounds muddy, it may be that you have too much going on in it.  Try removing some of the sound's competitors entirely and see what happens. Is the key sound connected to a visual cue? If so, think about how you can draw attention to that sound, and you may find another solution to your problem besides EQ." ContentLicense="CC BY-SA 2.5" />
  <row Id="5296" PostHistoryTypeId="2" PostId="3053" RevisionGUID="e740d562-40fb-4085-9b62-c6686455920c" CreationDate="2010-08-22T15:54:32.720" UserId="444" Text="I tend to go as far as necessary.  It really depends on what element of the sound is most important, and what is really needed to make an audience believe what they're watching.&#xD;&#xA;&#xD;&#xA;I wont just shelve at -3db but will completely cut out the high or low.  I even use notch filters if I hear frequencies building up.  Or I feel a frequency is unessecery at that moment.&#xD;&#xA;&#xD;&#xA;If the sound I've recorded or am using isn't completely clean I'll use and expander.  Pushing low end noise down keeps it from muddying up others. &#xD;&#xA;&#xD;&#xA;But when you say 'space', I start to think in three dimensions.  I use reverb to give each element it's own three dimensional spot.  Granted picture limits how much and what kind you use, but you can cheat with a little subtly.  Plus depending on wich reverb I use I'll shape the frequency of the reverb too.  Keeping it from getting in the way of other stuff.&#xD;&#xA;&#xD;&#xA;As for going to far.  I go as far as I can untill I realize it's not working, then I pull back.  Lastly mixing to me is more about showing the audience things.  I mix for what I want people to pay attention to at the moment.  If they're drawn to one thing, they'll drown out the rest on their own.  I find thats what I do when I'm a viewer.&#xD;&#xA;&#xD;&#xA;Most recently I found myself shifting focus based on the mix when I was watching *Contact*.  The opening is a mash of sounds.  Listen closely and you can hear them bringing levels up and down to shift your focus.  They do it again when a character is watching 4 tv channels at a time.   &#xD;&#xA;&#xD;&#xA;Mixing is my favorite thing to do.  Good Luck  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5297" PostHistoryTypeId="2" PostId="3054" RevisionGUID="ec88d6ab-6938-4dc9-b9f5-8cc754224242" CreationDate="2010-08-22T16:32:43.283" UserId="444" Text="In addition to EQing, what I find tends to happen, is as soon as the dialog starts, the music is dropped.  Wait untill the first word is spoken, as it's being said or just after it's said, the music drops.  Maybe 4 or 5 db, sometimes more.  I hear it happen in commercials all the time, and movies too.&#xD;&#xA;&#xD;&#xA;In a scene like your discribing where the dialog gets more intense, I'd start by leaving music up to establish the scene.  As soon as the dialog starts I'd drop it down. Then wait for the key moment or piece of dialog where it turns intense, then drop it some more or gragual fade.  It really depends on the scene.  That's a general sarting method, it really depends on the scene, and how you want the scene to progress.&#xD;&#xA;&#xD;&#xA;The clever thing about droping the music at this point is that it's psychological.  As soon as a character starts to speak you draw your attention to what they're saying.  You don't even notice that the music just got quiter." ContentLicense="CC BY-SA 2.5" />
  <row Id="5299" PostHistoryTypeId="2" PostId="3056" RevisionGUID="0b017960-ae38-4c04-9880-4c5e2405755a" CreationDate="2010-08-22T17:14:32.597" UserId="338" Text="I like to save a PT ses for every sfx scene or for each sfx itself and a sound pallet for the fx scene project session so then i can do save as for a sound effect and clean up the session after i make it.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5300" PostHistoryTypeId="2" PostId="3057" RevisionGUID="319061a9-8bf6-41e9-86f2-37c4cbd0ab26" CreationDate="2010-08-22T17:17:14.717" UserId="194" Text="FWIW I have the zoom and the sony pcm d50, and I much prefer the sony for on the fly recordings.&#xD;&#xA;&#xD;&#xA;Better internal mics, quieter pres, built in memory, sweet preamp knob, and never ending battery life.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5303" PostHistoryTypeId="2" PostId="3059" RevisionGUID="920f32a8-1320-4480-ad38-7fb4c3694a51" CreationDate="2010-08-22T17:51:08.980" UserId="444" Text="Just like to say, this is quickly becoming my favorite site.  &#xD;&#xA;&#xD;&#xA;I know this is more of a Q and A for post-production, but I've seen many people have production sound experience too.  Not to mention the production sound on this is directly correlated with the post.&#xD;&#xA;&#xD;&#xA;I'm doing all the sound for a reality webisode series.  And I've never done 'reality tv' work.  How do you capture the chaos cleanly? &#xD;&#xA;&#xD;&#xA;I have a gameplan, but I'm curious to know if anyone has experience with a few points.&#xD;&#xA;&#xD;&#xA;1.) There will be up to 3 or 4 cameras running at a time.  I may need to use the dialogue of things that are happening at the same time.  Am I stuck relying on the camera mics?  How have you found the quality to be?  (these are higher end HD camera's w/ mini shotguns on them).  &#xD;&#xA;&#xD;&#xA;2.) There is a kitchen.  A tight, busy spot.  Hard enough to get a camera in let alone one w/ a boom mic and operator tagging along.  I'm thinking a boundary mic would help.  Can anyone confirm if that will work? or will there be too much noise for a mic that is omni and not focused? Maybe something like a countryman, or an AKG 414 mounted in a corner?  Something with more direction to minimize early reflections an omni would surely capture.&#xD;&#xA;&#xD;&#xA;I will be using wireless lav's on 2 main characters and possibly 2 or 3 more for secondary characters.&#xD;&#xA;&#xD;&#xA;3.) Lastly, I don't watch reality tv (I'm going to have to force myself to watch it, I shudder at the idea).  Do they sweeten the enviroment with foley?  Being so focused on capturing clean dialog, I'm planning on doing so.  I'll be recording room tones and numerious sounds of things at the location when it's not busy.&#xD;&#xA;&#xD;&#xA;Sorry for the length, thanks for reading." ContentLicense="CC BY-SA 2.5" />
  <row Id="5304" PostHistoryTypeId="1" PostId="3059" RevisionGUID="920f32a8-1320-4480-ad38-7fb4c3694a51" CreationDate="2010-08-22T17:51:08.980" UserId="444" Text="Sound for reality show" ContentLicense="CC BY-SA 2.5" />
  <row Id="5305" PostHistoryTypeId="3" PostId="3059" RevisionGUID="920f32a8-1320-4480-ad38-7fb4c3694a51" CreationDate="2010-08-22T17:51:08.980" UserId="444" Text="&lt;production-sound&gt;&lt;dialogue&gt;&lt;reality-tv&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5306" PostHistoryTypeId="2" PostId="3060" RevisionGUID="9cfd2a7a-5864-4733-befd-9fdbd9c7acb5" CreationDate="2010-08-22T18:27:29.520" UserId="432" Text="Yes, you'll definitely need a good set of lavaliers for the important characters. If you can get a boom/boom op in there, you may want to use that as your backup (I know this sounds counter-intuitive, since we usually prefer shotguns to lavs) or as a means to capture secondary/tertiary characters who aren't already covered.&#xD;&#xA;&#xD;&#xA;A lot of television programs, reality and non included, use a vast array of planted mics around the set; especially in heavy congregation areas. Omni lavs can work well for this as well. If you're allowed to drill holes in things, you can easily hide those mics and have them peeking out where you need them. If you're not, then you can always tape or mount in some other fashion (i.e. the underside of the cabinets in the kitchen might be a good spot to set up a little array of mics). Unless you're really lazy in your placement, you can get away with some very out in the open mics that most people won't notice in the shots." ContentLicense="CC BY-SA 2.5" />
  <row Id="5307" PostHistoryTypeId="2" PostId="3061" RevisionGUID="40bb5a72-7d75-489c-b312-dcb9b46935f5" CreationDate="2010-08-22T18:45:28.460" UserId="429" Text="I like talking workflow !&#xD;&#xA;&#xD;&#xA;Basically I'm just working on games lately. If the games not up and running (usually not) I request clients provide video captures is possible or sometimes just a creative brief for each game event or single sound. I name and organize audio content into meaningful groups based on the game content and use a database (Bento for mac) to correlate filenames with game events as they can often be abstracted. This saves me from trying to use one folder structure in the filesystem to describe the content. Generally I create a record for each event and for more complicated events I use several records. In those records I can track notes comments feedback revisions and link to files for quick preview's. Using Bento has been fantastic.&#xD;&#xA;&#xD;&#xA;My main creative tool is now the KORE environment with with Komplete 6. KORE is a flexible vst host that comes with a dedicated hardware controller. KORE is assigned to stem out 4 stereo pairs into protools HD. Everything is built from templates so I always print the same kind of content to each pair in Protools (sfx1-2 synths3-4 pads5-6 foley7-8). I'm printing all the creative sampler filtering, basic eq and effects from KORE into these 4 pairs so I'm essentially pre-mixing in the KORE environment. Opening the protools session (see below) I can make basic changes from these stems or open up the KORE file and totally rework each original element. I'm finding a huge advantage in moving the creative work to the KORE platform on a second machine. I find working creatively inside KORE faster than ProTools where I would have to constantly be adding tracks, building mixer structure, instantiating effects blah blah KORE moves quicker and the routes more flexibly.&#xD;&#xA;&#xD;&#xA;The ProTools sessions contain groups of sounds based on how the content has been identified and organized in the database. I often have 20 or so sounds in each session. I'm able to do this because the bulk of the creative work and pre-mixing is done externally in KORE on a second machine. IN the ProTools sessions I use markers to identify regions boundaries for mixing automation unique for each version. When I'm creating versions I always leave each previous version in place and create the next version farther down the timeline. When I say version I mean stuff I submit to the client. Organizing the protools session in this manner has saved me waiting for the TDM cards to reload mixer structures and plugins as I can listen to all the versions for each of the 20 or so sounds in one session. I realize this isn't a limitation in newer versions of protools but alas I'm still PPC ....&#xD;&#xA;&#xD;&#xA;I'm always looking to improve my workflow. Lately I've been trying to speed up the KORE environment even more so I'm considering a larger controller like the mackie C4. I've mapped ADSR, Filters, EQ and Effects sends from inside the Kontakt sampler to my KORE hardware but paging is very klunky and what page you're on isn't always obvious. I'm also considering a much wider delivery to Protools for more discrete mixing control in HD but I'm stumped on how to hear automation changes to TDM eq's while these tracks are in input mode ... blah ..anyway&#xD;&#xA;&#xD;&#xA;It would be great to trade sessions sometime with anyone who feels like they could offer some constructive feedback or were just interested in trading workflow ideas&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5308" PostHistoryTypeId="5" PostId="3057" RevisionGUID="d185857c-e5d7-4f70-beee-d48adbdcceaf" CreationDate="2010-08-22T18:54:46.273" UserId="194" Comment="added photos" Text="FWIW I have the zoom and the sony pcm d50, and I much prefer the sony for on the fly recordings.&#xD;&#xA;&#xD;&#xA;Better internal mics, quieter pres, built in memory, sweet preamp knob, and never ending battery life.  &#xD;&#xA;&#xD;&#xA;-----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;the sony is a touch wider than the zoom&#xD;&#xA;&#xD;&#xA;-------------&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;the sony is a touch thinner than the zoom&#xD;&#xA;&#xD;&#xA;--------------&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;This is my &quot;pocket rig&quot;.  the Sony and the wifey made windscreen both fit into the camera case found for $00.50 at the local thrift shop.  Everything fits in my pocket.&#xD;&#xA;&#xD;&#xA;---------------&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;here's the sony to pocket ratio&#xD;&#xA;&#xD;&#xA;-------------------&#xD;&#xA;&#xD;&#xA;  [1]: http://i884.photobucket.com/albums/ac49/ReneCoronado/sony%20vs%20zoom%20sizes/sonyzoomsidebyside.jpg&#xD;&#xA;  [2]: http://i884.photobucket.com/albums/ac49/ReneCoronado/sony%20vs%20zoom%20sizes/sonyzoomsidebyside-profile.jpg&#xD;&#xA;  [3]: http://i884.photobucket.com/albums/ac49/ReneCoronado/sony%20vs%20zoom%20sizes/sonywithcase.jpg&#xD;&#xA;  [4]: http://i884.photobucket.com/albums/ac49/ReneCoronado/sony%20vs%20zoom%20sizes/sonyinpocket.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="5309" PostHistoryTypeId="2" PostId="3062" RevisionGUID="c5899749-fa14-4613-b213-08535997621a" CreationDate="2010-08-22T18:55:44.773" UserId="429" Text="I use VCA's aux's and master faders " ContentLicense="CC BY-SA 2.5" />
  <row Id="5310" PostHistoryTypeId="5" PostId="3053" RevisionGUID="23bd7c9d-c8ef-4ec1-b466-6a63550902dc" CreationDate="2010-08-22T19:42:12.833" UserId="444" Comment="grammer, clarification" Text="I tend to go as far as necessary.  It really depends on what element of the sound is most important, and what is really needed to make an audience believe what they're watching.&#xD;&#xA;&#xD;&#xA;I wont just shelve at -3db but will completely cut out the high or low.  I even use notch filters if I hear frequencies building up.  Or I feel a frequency is unessecery at that moment.&#xD;&#xA;&#xD;&#xA;If the sound I've recorded or am using isn't completely clean I'll use an expander.  Pushing low laying noise further down keeps it from building up with others. &#xD;&#xA;&#xD;&#xA;But when you say 'space', I start to think in three dimensions.  I use reverb to give each element it's own three dimensional spot.  Granted picture limits how much and what kind you use, but you can cheat with a little subtly.  Plus depending on wich reverb I use I'll shape the frequency of the reverb too.  Keeping it from getting in the way of other stuff.&#xD;&#xA;&#xD;&#xA;As for going to far.  I go as far as I can untill I realize it's not working, then I pull back.  Lastly mixing to me is more about showing the audience things.  I mix for what I want people to pay attention to at the moment.  If they're drawn to one thing, they'll drown out the rest on their own.  I find thats what I do when I'm a viewer.&#xD;&#xA;&#xD;&#xA;Most recently I found myself shifting focus based on the mix when I was watching *Contact*.  The opening is a mash of sounds.  Listen closely and you can hear them bringing levels up and down to shift your focus.  They do it again when a character is watching 4 tv channels at a time.   &#xD;&#xA;&#xD;&#xA;Mixing is my favorite thing to do.  Good Luck  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5312" PostHistoryTypeId="5" PostId="2959" RevisionGUID="b247a069-2319-4a88-b303-3c63e166152e" CreationDate="2010-08-22T23:41:44.717" UserId="6411" Comment="added 5 characters in body" Text="You guys win. I've joined twitter. Bring on the revolution in my life.&#xD;&#xA;&#xD;&#xA;@urbanaudiosteve" ContentLicense="CC BY-SA 2.5" />
  <row Id="5313" PostHistoryTypeId="2" PostId="3064" RevisionGUID="28f1c110-0f96-4c1d-a9e5-b58867860f04" CreationDate="2010-08-22T23:47:34.370" UserId="18160" Text="I've done a few in-depth critiques on some of the members of this club,&#xD;&#xA;&#xD;&#xA;Now it's your turn to do it to me.&#xD;&#xA;&#xD;&#xA;Keep in mind I had about a tenth of the amount of time I would have liked to have spent on this video, but oh well.&#xD;&#xA;&#xD;&#xA;Things I would do differently after watching it again:&#xD;&#xA;&#xD;&#xA;- Offset the track so it has the proper echo delay.&#xD;&#xA;&#xD;&#xA;- Found more crumbling sounds for the roof caving in.&#xD;&#xA;&#xD;&#xA;- Balanced it out so it builds more and climaxes better.&#xD;&#xA;&#xD;&#xA;- Added more distant echo rumbles. They are hard to find, you know.&#xD;&#xA;&#xD;&#xA;Please try to listen to this on decent speakers!&#xD;&#xA;&#xD;&#xA;[vimeo]14342987[/vimeo]&#xD;&#xA;&#xD;&#xA;http://vimeo.com/14342987" ContentLicense="CC BY-SA 2.5" />
  <row Id="5314" PostHistoryTypeId="1" PostId="3064" RevisionGUID="28f1c110-0f96-4c1d-a9e5-b58867860f04" CreationDate="2010-08-22T23:47:34.370" UserId="18160" Text="Looking for critiques on my Dynamic Interface challenge submission." ContentLicense="CC BY-SA 2.5" />
  <row Id="5315" PostHistoryTypeId="3" PostId="3064" RevisionGUID="28f1c110-0f96-4c1d-a9e5-b58867860f04" CreationDate="2010-08-22T23:47:34.370" UserId="18160" Text="&lt;critique&gt;&lt;sound-design&gt;&lt;feedback&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5316" PostHistoryTypeId="5" PostId="3064" RevisionGUID="1a3beaf2-ee0d-4e33-b08a-46e4544018c4" CreationDate="2010-08-22T23:54:20.827" UserId="18160" Comment="added 109 characters in body" Text="I've done a few in-depth critiques on some of the members of this club,&#xD;&#xA;&#xD;&#xA;Now it's your turn to do it to me.&#xD;&#xA;&#xD;&#xA;Keep in mind I had about a tenth of the amount of time I would have liked to have spent on this video, but oh well.&#xD;&#xA;&#xD;&#xA;Things I would do differently after watching it again:&#xD;&#xA;&#xD;&#xA;- Offset the track so it has the proper echo delay.&#xD;&#xA;&#xD;&#xA;- Found more crumbling sounds for the roof caving in (but they would have to be the proper perspective i.e. you wouldn't hear rocks crumbling from that far away).&#xD;&#xA;&#xD;&#xA;- Balanced it out so it builds more and climaxes better.&#xD;&#xA;&#xD;&#xA;- Added more distant echo rumbles. They are hard to find, you know.&#xD;&#xA;&#xD;&#xA;Please try to listen to this on decent speakers!&#xD;&#xA;&#xD;&#xA;[vimeo]14342987[/vimeo]&#xD;&#xA;&#xD;&#xA;http://vimeo.com/14342987" ContentLicense="CC BY-SA 2.5" />
  <row Id="5318" PostHistoryTypeId="2" PostId="3066" RevisionGUID="5dbfe4f4-df19-4295-a0c3-eea5eff29800" CreationDate="2010-08-23T00:00:22.230" UserId="6411" Text="I've gotten some decent deals on [taperssection.com][1]. It's a forum site for concert tapers. Once you create an account you can gain access to their Marketplace.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://taperssection.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="5319" PostHistoryTypeId="2" PostId="3067" RevisionGUID="e0d68f74-6027-4cec-8e36-9a6999cdb1b2" CreationDate="2010-08-23T00:01:38.717" UserId="132" Text=" - window birds&#xD;&#xA; - corn wind" ContentLicense="CC BY-SA 2.5" />
  <row Id="5320" PostHistoryTypeId="2" PostId="3068" RevisionGUID="234d4fe2-3017-44a8-b73f-9aff373d652d" CreationDate="2010-08-23T00:09:54.833" UserId="194" Text=" - etoll&#xD;&#xA; - clix&#xD;&#xA; - blip&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5321" PostHistoryTypeId="2" PostId="3069" RevisionGUID="1a6efa72-a141-4d1e-956f-12198ea07b02" CreationDate="2010-08-23T01:59:19.320" UserId="393" Text="In Shaun's [recent post about the sound design challenge][1], he mentioned that there was a request for a loudness-limit (-10dB peak, I believe), and I realized that I was most likely the reason for it, if only in part.  See, I've been mixing to 0dB average -- because I really know no better -- and I didn't know until now that it was even a wrong thing to be doing.&#xD;&#xA;&#xD;&#xA;In none of the books that I've read have they mentioned a general dB to mix to, at least not that I can remember (it's possible it's mentioned, but if it is, it's mentioned only once or twice and not with much weight).&#xD;&#xA;&#xD;&#xA;So... how loud IS 0dB?  Coming from a guitar background, I assumed 0dB was &quot;unity gain,&quot; and that's where we SHOULD be mixing to.  [Tweakheadz][2] mentions that it's loud, but it doesn't give much more explination beyond that, and anyone that's spent any time in the Studio Central boards knows to not ask &quot;stupid questions&quot; because they'll just ridicule you, often without offering any substantial advice.&#xD;&#xA;&#xD;&#xA;And, what dB should I be mixing to, on average?  Where should my dialogues sit? Explosions?&#xD;&#xA;&#xD;&#xA;In closing, sorry for the harshness of my Dynamic Interference Sound Design Challenge, and for any damages that may have occured because of my inexperience (I did, at least, realize that there was a TON of super loud subbass that was almost inaudible on my monitors, so I high-passed that off...).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynamicinterference.com/2010/08/22/augusts-challenge-is-closed-feedback/&#xD;&#xA;  [2]: http://www.tweakheadz.com/perfect_mix.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="5322" PostHistoryTypeId="1" PostId="3069" RevisionGUID="1a6efa72-a141-4d1e-956f-12198ea07b02" CreationDate="2010-08-23T01:59:19.320" UserId="393" Text="How loud is 0dB, and what is a good dB to mix to?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5323" PostHistoryTypeId="3" PostId="3069" RevisionGUID="1a6efa72-a141-4d1e-956f-12198ea07b02" CreationDate="2010-08-23T01:59:19.320" UserId="393" Text="&lt;mixing&gt;&lt;best-practice&gt;&lt;0db&gt;&lt;loudness&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5324" PostHistoryTypeId="2" PostId="3070" RevisionGUID="81565cdf-9f91-4f7b-a328-c870e7adb14e" CreationDate="2010-08-23T02:32:33.730" UserId="432" Text="Don't worry, Dave, yours wasn't the loudest. ;) 0dB is a mine field, because it all depends on which scale you're referring to. If you're referring to Full Scale (like I did in the post), 0dB is the absolute maximum volume you can produce in a digital system before clipping occurs. Someone suggested that in addition to -10dB full scale, we should have 0db on a VU meter equal -20dB full scale.  You see where this is going yet?&#xD;&#xA;&#xD;&#xA;There are all kinds of measurement systems, and it all depends on how your meter is calibrated. For a while now, the idea of dialnorm (where the dialogue should sit in the mix) has been ruling audio for film and television measurements. For a long time, the US used a scale known as Linear EQ A, you'll see it abbreviated in a lot of places as LeqA. Using that scale, many broadcasters designated a dialnorm of -27dB LeqA, and you need special equipment to be able to get that measurement. A common dialnorm for film was -31dB LeqA.&#xD;&#xA;&#xD;&#xA;That's measurement system is going away now, as the new suggested spec is BS1770 (something that's been used in Europe for a number of years now), which you'll see referred to as LKFS. A very common measurement for television using this system is -24dB LKFS. They've switched over to this system because of arguments regarding the way each scale works.&#xD;&#xA;&#xD;&#xA;LeqA really only accounted for dialogue volume over time. The program could get all kinds of loud without going over the -10dbfs (full scale) peak limit spec, as long as all dialogue measured out to -27dB LeqA. The LKFS scale takes into account the rest of the audio program and is an indicator of the program's overall loudness level over time.&#xD;&#xA;&#xD;&#xA;This is a lot of technical jargon that doesn't really answer your basic question of where to mix your levels to. It's kind of hard to tell you &quot;x value&quot; dB full scale is where you want to be. A good starting place is to keep all peaks below -10dB full scale. From there, it's a question of how much dynamic range do you want in your piece. You should really start by calibrating your monitors. A quick and dirty way is to play some pink noise through your monitors at -20dbFS and use a dB-SPL meter (you can get these cheap at Radioshack) and adjust the monitors until that meter reads [78dB for TV style mixing/83dB for film style mixing] from your listening position. This means that the max your system will output Full Scale is 98dB-SPL or 103dB-SPL respectively (getting close to the threshold of damage/pain with film mixing, but staying below it). After you've done that play a -20dbFS 1kHz sine wave out through the monitors to give yourself a reference point. Then you can load in something professionally (DVD's can be great for this) done and A/B the program vs. the sine wave, and you'll train your ears for an appropriate level.&#xD;&#xA;&#xD;&#xA;This is a better way to start out than to look for &quot;the magic dB&quot; level. If you want to find out how loud an audio file is, I'd suggest loading it into your DAW and using a plug-in that lets you find its RMS value (the gain plug-in in Pro Tools can do this). That will give you yet another reference point. Mixing is all about those reference points and dynamic range. Keep that in mind, and you'll get the hang of what you're looking for in no time." ContentLicense="CC BY-SA 2.5" />
  <row Id="5325" PostHistoryTypeId="2" PostId="3071" RevisionGUID="e2b094e6-ea2a-49b5-aef6-6542e8ea3acd" CreationDate="2010-08-23T02:47:27.350" UserId="130" Text="Hi everyone, I work as assistent sound editor for movies, mixer and sound editor for tv shows and audiobooks. Also, as a freelancer, doing anything related to our world of sounds. It happens that the market isn't very good here at Rio de Janeiro, Brazil.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5326" PostHistoryTypeId="16" PostId="3071" RevisionGUID="e2b094e6-ea2a-49b5-aef6-6542e8ea3acd" CreationDate="2010-08-23T02:47:27.350" UserId="-1" />
  <row Id="5327" PostHistoryTypeId="2" PostId="3072" RevisionGUID="de23b0e3-455d-4ee7-a5a9-b9125078d88c" CreationDate="2010-08-23T07:16:50.483" UserId="61" Text="For composers, it may have been John Williams' unforgettable two-note motif from Jaws that got them into the business. But what about us sound folks? What are the cinematic moments in sound design that drove you to pursue it as a career or lifelong passion, and how do they continue to affect the way you work today?&#xD;&#xA;&#xD;&#xA;A few easy ones from me to get the conversation rolling:&#xD;&#xA;&#xD;&#xA;**THE SOUND:** Darth Vader's breathing from Star Wars.  &#xD;&#xA;**THE EFFECT**: OK, this is the Jaws theme of sound design for me. I cannot think about Star Wars without hearing that sound in my memory; it made the character come to life. Much later in life I learned how that sound was made, by [recording a person breathing through a SCUBA regulator][1]. What I take from that today, and how it affects my work, is that sometimes the design element is just as simple and uncomplicated as what the visual medium is conveying, ie. it's a guy breathing in a helmet. So, try recording a guy in a helmet! (or SCUBA regulator, or some other practical prop). In short, I don't always have to be hunching over a synth or sampler to create effective sound design. Reach for a microphone instead.&#xD;&#xA;&#xD;&#xA;**THE SOUND:** The Tyrannosaurus Rex roar from Jurassic Park.  &#xD;&#xA;**THE EFFECT:** I'll never forget that moment in the theatre. I was absolutely riveted, jaw dropped and frozen in my seat; I couldn't believe what I was seeing. But it was the *sound* that made it real for me. What I take from it today, and how it influences my work, is to not be afraid to shock people with sound design (this lesson comes from The Exorcist, as well). Embrace the reality of the moment and go for it, make it real. Be bold, because there will be times when music will not be there to cover up your track.&#xD;&#xA;&#xD;&#xA;Looking forward to all of your contributions to this conversation.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Ben_Burtt" ContentLicense="CC BY-SA 2.5" />
  <row Id="5328" PostHistoryTypeId="1" PostId="3072" RevisionGUID="de23b0e3-455d-4ee7-a5a9-b9125078d88c" CreationDate="2010-08-23T07:16:50.483" UserId="61" Text="Iconic Sounds: How have they affected the way you work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5329" PostHistoryTypeId="3" PostId="3072" RevisionGUID="de23b0e3-455d-4ee7-a5a9-b9125078d88c" CreationDate="2010-08-23T07:16:50.483" UserId="61" Text="&lt;film-sound-design&gt;&lt;influences&gt;&lt;career-choices&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5330" PostHistoryTypeId="2" PostId="3073" RevisionGUID="11c97092-d221-491b-bdf2-86b1bbcd1f9e" CreationDate="2010-08-23T07:29:29.683" UserId="2" Text="I haven't seen Punch Drunk Love in many years, but I remember a car crash that came out of nowhere. It made me jump and got me very unsettled. This worked perfectly for the main character's personality, which is very volatile. Very simple but super effective use of sound.&#xD;&#xA;&#xD;&#xA;That's one that comes to mind, but I know there are many... " ContentLicense="CC BY-SA 2.5" />
  <row Id="5331" PostHistoryTypeId="2" PostId="3074" RevisionGUID="d49d4238-6b1f-4f4b-b930-f151b2f15cf4" CreationDate="2010-08-23T08:55:33.637" UserId="168" Text="As far as you need to go. I don't look at numbers when I mix. I move knobs and faders until it sounds like the way I want it to sound.&#xD;&#xA;&#xD;&#xA;I must quote Steve Lillywhite:&#xD;&#xA;&#xD;&#xA;&quot;Don’t use equipment...ABUSE it!&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5332" PostHistoryTypeId="2" PostId="3075" RevisionGUID="c14088c7-3093-4db8-bff3-0065a1f49ff5" CreationDate="2010-08-23T08:58:18.250" UserId="168" Text="@ntkeep&#xD;&#xA;&#xD;&#xA;Twitter is awesome!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5333" PostHistoryTypeId="2" PostId="3076" RevisionGUID="af90fbb9-db89-4496-97a4-2b7c8b99a063" CreationDate="2010-08-23T09:06:51.410" UserId="168" Text="XVX is known to cause issues, like any 'cracked' software.&#xD;&#xA;&#xD;&#xA;The new MBP (i7/i5) do have issues with the USB ports when it comes to the Mbox/Mbox2.&#xD;&#xA;&#xD;&#xA;Make sure your Mbox is connected to the port that is away from the screen (check the DUC for a response from Digi). The other port isnt Mbox friendly.&#xD;&#xA;&#xD;&#xA;Remove the XVX app, uninstall Pro Tools (App &gt; Digidesign &gt; Pro Tools &gt; Utilities) and reinstall LE with the Core Audio driver. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5334" PostHistoryTypeId="2" PostId="3077" RevisionGUID="5b7749b4-3f35-4d44-b280-a23528900a28" CreationDate="2010-08-23T10:42:45.903" UserId="219" Text="I won't be talking about dB scales but rather about the trick I used for evaluating how loud I should get.&#xD;&#xA;&#xD;&#xA;I looked for a DVD with explosions in my library. I chose Predator, the first one, the best one :) I played it and looked for the scene where they attack the rebels camp. I set the DVD Player volume to 100% and my monitors' volume so that it seems as loud as in a theater (well, my speakers are MUCH closer so you know, I mean apparent loudness). While mixing, I would go back and forth between Pro Tools and DVD Player to make sure. The explosions in Predator are really not that loud, but it's dynamic :) " ContentLicense="CC BY-SA 2.5" />
  <row Id="5336" PostHistoryTypeId="2" PostId="3078" RevisionGUID="ec656dbf-05ef-461c-b0d3-accb7177b7da" CreationDate="2010-08-23T14:09:03.377" UserId="393" Text="The radio static from Silent Hill, the first one.&#xD;&#xA;&#xD;&#xA;For me, this was the single solitary sound effect that at all gave me the idea that I could be a sound designer, and not just a composer.  It gave me the realization that sound could create fear -- absolute terror, even -- without a single visual cue.  (Also, on a game design level, it gave me some great thoughts in regard to lack of sound.  In SH, if you turn off your radio and your flashlight, the monsters can't see/hear you, and won't come looking for you.)&#xD;&#xA;&#xD;&#xA;Now, in everything I can get away with, I try to use sound to impart some sort of non-visual, non-spoken idea that something's happening... not just things off camera, but things like emotional and mental status changes. (Yeah, I think we all try to do that.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5337" PostHistoryTypeId="2" PostId="3079" RevisionGUID="e2552fa5-e05a-4ef4-98fc-69260062aef8" CreationDate="2010-08-23T14:54:25.677" UserId="338" Text="I am an alien from outer space and I moved to San Francisco to go to audio engineering school at SAE Institute where I discovered Sound Design." ContentLicense="CC BY-SA 2.5" />
  <row Id="5338" PostHistoryTypeId="16" PostId="3079" RevisionGUID="e2552fa5-e05a-4ef4-98fc-69260062aef8" CreationDate="2010-08-23T14:54:25.677" UserId="-1" />
  <row Id="5339" PostHistoryTypeId="2" PostId="3080" RevisionGUID="a62db678-3717-4702-85f0-705d1dc50129" CreationDate="2010-08-23T16:00:01.477" UserId="19" Text="@engineaudio &#xD;&#xA;&#xD;&#xA;It's where I am at!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5340" PostHistoryTypeId="2" PostId="3081" RevisionGUID="f27fee1e-31ab-4e4c-875d-6f74d65715ff" CreationDate="2010-08-23T17:09:21.340" UserId="469" Text="If you search the web you will find much conflicting information on which color is what pitch... If you take A = 440 Hz and keep doubling and doubling until you get into the range of light you will find ROYGBIV = F, G, A, Bb, B, C, D, E, F.  Try it yourself." ContentLicense="CC BY-SA 2.5" />
  <row Id="5341" PostHistoryTypeId="2" PostId="3082" RevisionGUID="7be8715d-4846-48ab-8c10-ce2476731c13" CreationDate="2010-08-23T17:49:08.200" UserId="250" Text="@jeffreypfisher&#xD;&#xA;&#xD;&#xA;Always something industry related on my tweets!&#xD;&#xA;&#xD;&#xA;--jpf&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5342" PostHistoryTypeId="2" PostId="3083" RevisionGUID="642185e3-546e-4e53-ac70-9a427ebe9a3a" CreationDate="2010-08-23T18:27:46.597" UserId="522" Text="Hi all!&#xD;&#xA;&#xD;&#xA;I recently joined tweeter, I find it useful to discover other people involved with sound &amp; sound design i could not  know of otherwise. Anyway: tiquetonnesound on twitter, that´s me. (still under construction...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5343" PostHistoryTypeId="2" PostId="3084" RevisionGUID="16a9a8f2-618d-4844-b5b1-d09ea4ae4c88" CreationDate="2010-08-23T18:33:44.977" UserId="6411" Text="First off, great job. Your sounds fit the visuals very well. Anyway, here's what I found:&#xD;&#xA;&#xD;&#xA; - I think you're right, given that your design goes for a sense of realism, offsetting the track just slightly would help.&#xD;&#xA; - I don't know if it's the crumbling of the roof that I want to hear so much as  those I-beams tearing away and clanging around. &#xD;&#xA; - Love the [BLEEP], but the &quot;Holy&quot; is a little too buried. I had to repeat it a couple times to figure out what was being bleeped.&#xD;&#xA; - The explosions along the base don't seem to vary as much as the size of the blasts do. The picture tells me there are a number of different charges being detonated, especially when you get to the pillars, but the concussions sound like they're all very similar. &#xD;&#xA; - The very last pillar explosion seems early.&#xD;&#xA; - Overall in my room the low-end translates nicely, but the mid-highs are too present. Given the style I would expect them to smear a little more and sound a little more distant. Maybe the offsetting would correct this." ContentLicense="CC BY-SA 2.5" />
  <row Id="5344" PostHistoryTypeId="2" PostId="3085" RevisionGUID="74552661-a15c-4261-9851-327f90579094" CreationDate="2010-08-23T20:47:03.560" UserDisplayName="user49" Text="It was the totally immersive, emotional power of cinema that got me hooked on sound for film, but a couple of iconic sounds from my childhood would be the sound of The Six Million Dollar Man when he jumps, and the scary Dalek vocals on Doctor Who.... And maybe the witches cackle from The Wizard of Oz... And those freaky oompa lompas singing on Willy Wonka" ContentLicense="CC BY-SA 2.5" />
  <row Id="5345" PostHistoryTypeId="2" PostId="3086" RevisionGUID="3b8129a6-697a-44ae-a201-4ff884c6fea8" CreationDate="2010-08-23T20:58:26.673" UserId="90" Text="&quot;0 dB&quot; *is* unity gain.  [dB][1] by itself is a relative measurement, not an absolute level.  It just refers to a gain unless you give a reference.&#xD;&#xA;&#xD;&#xA;Perhaps you're referring to &quot;[0 dBFS][2]&quot;?  This is the absolute maximum a digital system can measure (clipping), and in this case, your signals should only reach 0 at rare peaks, if ever.  The average RMS level should be significantly lower.&#xD;&#xA;&#xD;&#xA;Or maybe you mean &quot;0 [VU][3]&quot;?  This is equivalent to an electrical level of 0 [dBu][4], which is typically about 25 dB below clipping.  In this case, the level should generally hover around 0 on the meter.&#xD;&#xA;&#xD;&#xA;The right level depends on the [crest factor][5] of your signal (Wikipedia says 12–18 dB for a processed mix or 18–20 dB for unprocessed recording), and the [dynamic range][6] of the system. If you record too high, you get clipping.  If you record too low, you get noise.  You need to find the best point between the two.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Decibel&#xD;&#xA;  [2]: http://en.wikipedia.org/w/index.php?title=DBFS&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/VU_meter&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Decibel#Voltage&#xD;&#xA;  [5]: http://en.wikipedia.org/wiki/Crest_factor&#xD;&#xA;  [6]: http://en.wikipedia.org/wiki/Dynamic_range#Audio" ContentLicense="CC BY-SA 2.5" />
  <row Id="5346" PostHistoryTypeId="2" PostId="3087" RevisionGUID="a3bfe490-81cf-4bae-b44f-1b5344c36fbd" CreationDate="2010-08-23T21:05:48.787" UserId="219" Text="It is sound design after all, and you have to tell us what you were aiming at... For example, I saw the stadium as a defenseless animal that people just hunt down because they're afraid of it when it just committed the crime of being big and not aesthetically pleasing. It made sense to me to insist on the whipping explosions along the pillars and the deformation and fall of the structure. It might not translate so well in the finished video but at least I enjoyed doing the thinking...&#xD;&#xA;&#xD;&#xA;But in general I would expect a sharper attack for the explosions and a tad more of content in the mid-lows.&#xD;&#xA;&#xD;&#xA;I also believe that the fall starts earlier than when you actually notice it appearing in the picture. I found that just about nobody saw it that way.&#xD;&#xA;&#xD;&#xA;Finally, none of use has treated the back side of the building that we don't see. You seem to have a lot of free space in your mix and you could consider including that too.&#xD;&#xA;&#xD;&#xA;I'm not a good critique, am I? :D" ContentLicense="CC BY-SA 2.5" />
  <row Id="5347" PostHistoryTypeId="2" PostId="3088" RevisionGUID="b439ceff-d861-4267-a90d-c35d7d3a52fe" CreationDate="2010-08-24T00:05:38.420" UserId="194" Text="WRT the DI sound design challenges I would suggest that instead of limiting peaks, we agree on a level to monitor at while designing.  This way we get to keep the use of all of our dynamic range while still standardizing levels.  You know, like they do in film and tv.  :)&#xD;&#xA;&#xD;&#xA;Even if its not perfect, if everyone blows pink through their rigs as they sound design and set the monitors to 80 or whatever is agreed upon, then mixes to taste we'd all end up in similar spots.  &#xD;&#xA;&#xD;&#xA;I know the super loud ones in the challenge can not have been designed at a reasonably loud playback level.  &#xD;&#xA;&#xD;&#xA;Limiting peaks won't solve the apparent loudness issue.  Only setting something like -20 dbfs = 80db will.  If people come too far off of that, it'll be very obvious.&#xD;&#xA;&#xD;&#xA;FWIW I did mine at -20 = 78dbfs, which means it sounds awesome if you're monitoring that way, and it sounds kind of wimpy if you're listening at a level that would make Dave's sound right.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5348" PostHistoryTypeId="2" PostId="3089" RevisionGUID="627453df-a35f-45fc-8f11-8ffdca1c55f9" CreationDate="2010-08-24T01:02:20.160" UserId="393" Text="The only critique I can really offer, that hasn't been already, is that it feels like there's too much low-end rumble at the start of when the roof starts to collapse, so there's not as much additional perceived mass as the building keeps coming down." ContentLicense="CC BY-SA 2.5" />
  <row Id="5349" PostHistoryTypeId="4" PostId="3064" RevisionGUID="b322fea1-7ad1-4000-89a3-c5ef846b04a2" CreationDate="2010-08-24T04:21:26.120" UserId="18160" Comment="edited title" Text="Looking for critiques on my Dynamic Interference challenge submission." ContentLicense="CC BY-SA 2.5" />
  <row Id="5350" PostHistoryTypeId="2" PostId="3090" RevisionGUID="d4bd231e-2623-43e6-ba85-976ceff1df40" CreationDate="2010-08-24T04:27:36.437" UserId="523" Text="my favourite is - Rug dipped in lake" ContentLicense="CC BY-SA 2.5" />
  <row Id="5352" PostHistoryTypeId="2" PostId="3092" RevisionGUID="8ae15979-001b-4256-bf64-100577ea0ef3" CreationDate="2010-08-24T05:23:33.850" UserId="18160" Text="Think Academy Awards or Golden Globes or Grammy's.&#xD;&#xA;&#xD;&#xA;What's the best mic for a speech in a large hall setting with very (and I mean very) loud monitors on the stage?&#xD;&#xA;&#xD;&#xA;Currently I'm using a hyper-cardioid pencil-mic capsule on a custom-built microphone stand, and while mixing the voice it's definitely hard and battling a lot of splash from the monitors and phase-cancellation issues from the podium.&#xD;&#xA;&#xD;&#xA;I'm about ready to just ditch the condenser and place my AKG C5 mic I won in a contest.&#xD;&#xA;&#xD;&#xA;Any suggestions?&#xD;&#xA;&#xD;&#xA;Thanks - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="5353" PostHistoryTypeId="1" PostId="3092" RevisionGUID="8ae15979-001b-4256-bf64-100577ea0ef3" CreationDate="2010-08-24T05:23:33.850" UserId="18160" Text="What's the best podium microphone?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5354" PostHistoryTypeId="3" PostId="3092" RevisionGUID="8ae15979-001b-4256-bf64-100577ea0ef3" CreationDate="2010-08-24T05:23:33.850" UserId="18160" Text="&lt;academy-awards&gt;&lt;podium&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5355" PostHistoryTypeId="5" PostId="3092" RevisionGUID="7804be46-d8d6-45a2-9367-181031c56f68" CreationDate="2010-08-24T05:29:14.050" UserId="18160" Comment="added 133 characters in body; added 95 characters in body; added 16 characters in body" Text="Think Academy Awards or Golden Globes or Grammy's.&#xD;&#xA;&#xD;&#xA;What's the best mic for a speech in a large hall setting with very (and I mean very) loud monitors on the stage? It will have to be used on bassy male voices and screechy female voices - voices of all types and frequencies.&#xD;&#xA;&#xD;&#xA;Currently I'm using a hyper-cardioid pencil-mic capsule on a custom-built microphone stand, and while mixing the voice it's definitely hard and battling a lot of splash from the monitors and phase-cancellation issues from the podium.&#xD;&#xA;&#xD;&#xA;I'm about ready to just ditch the condenser and place my AKG C5 mic I won in a contest. The amount of notches and dynamic EQ I am using is just absurd and shouldn't be that way for a simple podium situation - am I right?&#xD;&#xA;&#xD;&#xA;Any suggestions?&#xD;&#xA;&#xD;&#xA;Thanks - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="5357" PostHistoryTypeId="2" PostId="3093" RevisionGUID="89c27dbc-c978-4022-afd1-d4ed2a394f97" CreationDate="2010-08-24T05:41:39.500" UserId="40" Text="Often called a surround mic, an ambisonics mic, and a few other names I've heard and can't remember.  It's a 4 channel microphone that can be perfectly folded down to mono or out to 10.2, or anywhere in between no phase issues whatsoever.  Also, there are a bunch of different methods of recording / decoding, etc...  Lots to learn.  I have a chance to play with one for a bit, and I have to say, I'm quite excited about it.&#xD;&#xA;&#xD;&#xA;Anyone here own one or use one before?&#xD;&#xA;&#xD;&#xA;Here's one to look at.  Tons of technical info here:&#xD;&#xA;http://www.core-sound.com/TetraMic/1.php&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thoughts? Comments? Snide remarks?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5358" PostHistoryTypeId="1" PostId="3093" RevisionGUID="89c27dbc-c978-4022-afd1-d4ed2a394f97" CreationDate="2010-08-24T05:41:39.500" UserId="40" Text="Who has / uses a single point surround mic?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5359" PostHistoryTypeId="3" PostId="3093" RevisionGUID="89c27dbc-c978-4022-afd1-d4ed2a394f97" CreationDate="2010-08-24T05:41:39.500" UserId="40" Text="&lt;ambisonics&gt;&lt;microphone&gt;&lt;gear&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5360" PostHistoryTypeId="2" PostId="3094" RevisionGUID="e56a2678-3d9a-4e8a-aa6f-dc7d89dd9539" CreationDate="2010-08-24T07:02:46.253" UserDisplayName="user80" Text="I use the Soundfield sps200 and find it ideal.  I just record it to a four track recorder and then use the plug-in in Pro Tools to convert the output to stereo, 5.1 or even 8 channel.  I am about to experiment with ambisonics as well.  I love the audio quality and the ease of use.&#xD;&#xA;&#xD;&#xA;[![Soundfield SPS200][1]][2]&#xD;&#xA;&#xD;&#xA;[1]: http://www.soundfield.com/products/images/sps200-main.jpg&#xD;&#xA;[2]: http://www.soundfield.com/products/sps200.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="5361" PostHistoryTypeId="2" PostId="3095" RevisionGUID="b2c32dc7-34da-4e08-9046-19b393374ca1" CreationDate="2010-08-24T07:42:31.107" UserId="16" Text="You can also take a look to Sonic Visualiser at: [http://www.sonicvisualiser.org/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;and also following the lead take a look at spear, a really cool app for visualizing sound in a different way:&#xD;&#xA;&#xD;&#xA;[http://www.synthtopia.com/content/2008/06/26/spear-free-resynthesis-app-for-mac-windows/][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sonicvisualiser.org/&#xD;&#xA;  [2]: http://www.synthtopia.com/content/2008/06/26/spear-free-resynthesis-app-for-mac-windows/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5362" PostHistoryTypeId="2" PostId="3096" RevisionGUID="308409f4-d158-48f5-849e-3ae8e855c516" CreationDate="2010-08-24T08:48:58.597" UserId="61" Text="Sorry folks, I know this isn't a sound design question but I&quot;m posting this out of utter frustration and desperation. &#xD;&#xA;&#xD;&#xA;Pro Tools is not booting up correctly. Click on the icon, it's bounces in the dock for 1-2 minutes, stops and acts like it's not doing anything. 5 minutes (!) later it decided to start booting up. This is not intermittent, it is every time. Updated to 8.0.4 hoping it would fix this problem but it didn't. Things I've tried:&#xD;&#xA;&#xD;&#xA;trashing all digi prefs/setup files&#xD;&#xA;Diskwarrior on all drives&#xD;&#xA;unmounted drives one by one, then retrying boot process&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;System specs:&#xD;&#xA;&#xD;&#xA;PT 8.0.4&#xD;&#xA;OS X 10.5.8&#xD;&#xA;Digi 192&#xD;&#xA;6gb RAM&#xD;&#xA;4 1TB drives&#xD;&#xA;no perifs devices attached&#xD;&#xA;&#xD;&#xA;Your professional advice is certainly appreciated. Thanks all -&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5363" PostHistoryTypeId="1" PostId="3096" RevisionGUID="308409f4-d158-48f5-849e-3ae8e855c516" CreationDate="2010-08-24T08:48:58.597" UserId="61" Text="TECH QUESTION: Slow to boot Pro Tools 8" ContentLicense="CC BY-SA 2.5" />
  <row Id="5364" PostHistoryTypeId="3" PostId="3096" RevisionGUID="308409f4-d158-48f5-849e-3ae8e855c516" CreationDate="2010-08-24T08:48:58.597" UserId="61" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5365" PostHistoryTypeId="2" PostId="3097" RevisionGUID="bb1cd2bc-ee4a-4dcc-991c-a08b069aa3c4" CreationDate="2010-08-24T08:59:24.833" UserId="219" Text="Do you repair permissions on your disk quite regularly? It's the first thing I ever do when it runs slow..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5366" PostHistoryTypeId="2" PostId="3098" RevisionGUID="4630a019-3bc4-4783-bf43-4035f96abb93" CreationDate="2010-08-24T11:26:18.240" UserId="513" Text="And a hello from Thessaloniki, Greece. I run a recording studio for music mainly, but have been getting involved in production sound and sound design for film and theatre as well. I enjoy all aspects of sound related work, but the creative sountdrack design for moving images seems more fascinating at the moment. This is a nice community - keep it up!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5367" PostHistoryTypeId="16" PostId="3098" RevisionGUID="4630a019-3bc4-4783-bf43-4035f96abb93" CreationDate="2010-08-24T11:26:18.240" UserId="-1" />
  <row Id="5368" PostHistoryTypeId="2" PostId="3099" RevisionGUID="d2e7ebdb-ef38-40df-af7d-7b9efc361abb" CreationDate="2010-08-24T14:15:02.463" UserId="339" Text="XML? We've been using that lately..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5369" PostHistoryTypeId="2" PostId="3100" RevisionGUID="a0ce4b5d-625e-48c4-891c-b13d43b87864" CreationDate="2010-08-24T14:55:13.010" UserId="234" Text="1. Repair Permissions&#xD;&#xA;&#xD;&#xA;If that doesn't work:&#xD;&#xA;&#xD;&#xA;2. Reset PRAM (hold down CTRL-APPLE-P-R on boot)&#xD;&#xA;&#xD;&#xA;If that doesn't work:&#xD;&#xA;&#xD;&#xA;3. Boot into single user mode ( hold APPLE-S on boot). At the command prompt type /sbin/fsck -f y (this appears right above the command prompt so you don't have to remember it). Allow the system to check/repair the drive. When completed type reboot. &#xD;&#xA;&#xD;&#xA;If that doesn't work:&#xD;&#xA;&#xD;&#xA;4. Use a system utility such as TinkerTool, Onyx or Cache Cleaner to clear caches and temp files.&#xD;&#xA;&#xD;&#xA;If that STILL doesn't work:&#xD;&#xA;&#xD;&#xA;Do and Apple hardware Test and/or Clean Reinstall..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5370" PostHistoryTypeId="2" PostId="3101" RevisionGUID="bffeaebd-bc6d-4faf-8033-d2956b5e3676" CreationDate="2010-08-24T15:01:41.877" UserId="234" Text="**The Sound:** The Discs in Tron&#xD;&#xA;&#xD;&#xA;**The Effect**: I was a Tron JUNKIE... It's actually what got me into computers in the first place. Being a junkie I watched everything BTS I could get my hands on (and in those days there were no DVD extras..). Disney had a Making Of thing on the &quot;Wonderful World Of Disney&quot; (ok...dating myself there) and it featured Frank Serafine showing how he combined a whip and a monkey scream with some processing to create the sound. It was the first time my brain actually realized that sound was DESIGNED and created by someone." ContentLicense="CC BY-SA 2.5" />
  <row Id="5372" PostHistoryTypeId="2" PostId="3103" RevisionGUID="ccaf891f-1a2d-435e-a01f-6ac27c6dc4fe" CreationDate="2010-08-24T16:50:46.980" UserId="18160" Text="The person with the first right answer gets their answer accepted." ContentLicense="CC BY-SA 2.5" />
  <row Id="5373" PostHistoryTypeId="1" PostId="3103" RevisionGUID="ccaf891f-1a2d-435e-a01f-6ac27c6dc4fe" CreationDate="2010-08-24T16:50:46.980" UserId="18160" Text="Sound Design Trivia Pop Quiz: In the hit song &quot;Thriller&quot;, where did the wolf howling sound effects come from in the beginning?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5374" PostHistoryTypeId="3" PostId="3103" RevisionGUID="ccaf891f-1a2d-435e-a01f-6ac27c6dc4fe" CreationDate="2010-08-24T16:50:46.980" UserId="18160" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5375" PostHistoryTypeId="2" PostId="3104" RevisionGUID="7522da91-c9d6-4aca-9e86-0531861a84c5" CreationDate="2010-08-24T17:13:53.073" UserId="238" Text="The man himself, Michael Jackson, performed the wolf howls!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5376" PostHistoryTypeId="2" PostId="3105" RevisionGUID="8a4c6af5-6b6a-4876-9ec3-c29de2e2cc17" CreationDate="2010-08-24T18:09:16.280" UserId="18" Text="I think my strangest is:&#xD;&#xA;&#xD;&#xA;ghetto hooker" ContentLicense="CC BY-SA 2.5" />
  <row Id="5377" PostHistoryTypeId="2" PostId="3106" RevisionGUID="2d901993-0e64-4514-9b4b-803f90e6a369" CreationDate="2010-08-24T19:49:10.490" UserId="40" Text="I've met sound designers who meticulously write down every little thing that they do, and I've met sound designers who get done with a project and have no idea how they arrived at the final product.&#xD;&#xA;&#xD;&#xA;How do you document your work and ideas?  Or don't you?  Do you keep a notepad by your desk?  By your bed?  Do you use a voice recorder?&#xD;&#xA;&#xD;&#xA;Personally, I keep a moleskin journal on me at all times.  It comes to my edit station with me, in the field with me, to the grocery store with me.  I also like huge easel paper to brainstorm ideas on." ContentLicense="CC BY-SA 2.5" />
  <row Id="5378" PostHistoryTypeId="1" PostId="3106" RevisionGUID="2d901993-0e64-4514-9b4b-803f90e6a369" CreationDate="2010-08-24T19:49:10.490" UserId="40" Text="Sound Design Documentation" ContentLicense="CC BY-SA 2.5" />
  <row Id="5379" PostHistoryTypeId="3" PostId="3106" RevisionGUID="2d901993-0e64-4514-9b4b-803f90e6a369" CreationDate="2010-08-24T19:49:10.490" UserId="40" Text="&lt;ideas&gt;&lt;sound-design&gt;&lt;documentation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5382" PostHistoryTypeId="2" PostId="3108" RevisionGUID="77b58ba6-e917-4df8-9223-6cd48210f989" CreationDate="2010-08-24T20:35:32.550" UserDisplayName="user49" Text="I had this problem for literally months with my PT 8 LE system at home and thought my interface was on its way out or something but I finally solved it - it turned out to be corrupt log files!! On a Mac go to the Digidesign folder or wherever the ProTools app is, open the folder called LogFiles and trash all those MFs!&#xD;&#xA;&#xD;&#xA;My PT now opens in under 2 minutes - it was hanging for up to 15 minutes before!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5383" PostHistoryTypeId="2" PostId="3109" RevisionGUID="863b97d5-5a6c-43a0-8b3d-effe7b31e849" CreationDate="2010-08-24T20:37:41.707" UserId="298" Text="i use notepad but sometimes quick ideas requires a text in cellphone or any gadget that can be in a pocket" ContentLicense="CC BY-SA 2.5" />
  <row Id="5384" PostHistoryTypeId="2" PostId="3110" RevisionGUID="611784d0-8e07-40bf-b6eb-44ce4a37a5da" CreationDate="2010-08-24T20:38:24.200" UserId="238" Text="On almost every project I've worked on I have had flashes of inspiration when I'm away from the studio. I often found myself scribbling down ideas on random scraps of paper. I'd then transfer these to a general notepad that I keep at my desk. I got pretty fed up with having tons of folded up paper in my pockets so now I always carry some sort of diary / notepad around. The ideas are still flowing and my pockets are lighter!&#xD;&#xA;&#xD;&#xA;As for my work flow, as I said, I always keep a notepad at my desk and will generally make a lot of notes as I go along. I also use Word or Text Edit to keep a digital version of the notes and very, very regularly make 'To Do' lists for the upcoming tasks. I find that the more I note things down, the more efficiently I work. Being able to back-reference older projects and / or how I created a certain effect has been very useful in the past." ContentLicense="CC BY-SA 2.5" />
  <row Id="5385" PostHistoryTypeId="2" PostId="3111" RevisionGUID="25a76100-3925-4048-817e-6ae4192c95a0" CreationDate="2010-08-24T20:40:45.447" UserDisplayName="user49" Text="I use a combination of the script,  a moleskin, my iPad, google docs spreadsheets (easy to share) and ProTools markers... I really wish the latter would import/export - simple database stuff really: timecode, marker name, marker description... Scripts get drawn on &amp; covered in post-its... Some projects I use a simple Filemaker database (with Quickeys script for copying timecode out of PT, switch to FM, create a new record, paste timecode, tab to description)&#xD;&#xA;&#xD;&#xA;most reliable: Moleskin + glow in dark pen&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5386" PostHistoryTypeId="2" PostId="3112" RevisionGUID="0dee2e0b-1691-40ab-99c4-42455d2cc8a3" CreationDate="2010-08-24T20:41:14.803" UserId="168" Text="Presets! I usually save my processing as plugin presets and make a note of the plugin chain. If I'm designing on Nuendo or Logic it's easier since the whole channel strip can be saved as a preset.&#xD;&#xA;&#xD;&#xA;Beyond that I don't usually make notes nor do I use templates. I prefer starting on a fresh slate. Any spontaneous ideas are noted down on my phone which is synced to Google Docs. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5387" PostHistoryTypeId="2" PostId="3113" RevisionGUID="1dc7e127-e9fe-4733-ae9e-02a450055487" CreationDate="2010-08-24T21:33:58.537" UserId="10" Text="Evernote is amazing for this kind of works. I use it a lot for different tasks. And you can have it on your mac, windows, iphone, android, blackberry, or just in your web browser :D Also, for collaboration on the net, Google Docs is perfect for me :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5388" PostHistoryTypeId="2" PostId="3114" RevisionGUID="182b1416-ede9-4c34-a350-e084df7dd4b7" CreationDate="2010-08-24T22:41:08.193" UserId="18" Text="I have no idea how I made the sounds I worked on yesterday!  :)  I try and save sessions of sounds that I think I might want to reference again someday.  For many years I didn't do this.  I felt that I didn't want to live off the past and wanted to force myself to be creative every time.  I'd trash everything once the project was complete.  &#xD;&#xA;&#xD;&#xA;That way of thinking becomes an issue when you have a client who wants a new sound that sounds like that old sound you made.  Or you get called to do a sequel that builds off the old sound you made years ago.  Also, I'm still trying to figure out how I made some of the Call of Duty explosions back in 2003, but, I nuked all that material when I left that franchise.  I'm pretty terrible at taking notes, But these days I try to back up all of my sessions and keep them around (or at least don't deliberately trash them anymore). " ContentLicense="CC BY-SA 2.5" />
  <row Id="5389" PostHistoryTypeId="2" PostId="3115" RevisionGUID="59c441a5-2b0b-4665-a42a-28076b59ac10" CreationDate="2010-08-24T22:58:13.440" UserId="194" Text="The closest I come to documenting how i did anything is with markers and regions groups inside the pt session, and with the metadata that I use in soundminer.&#xD;&#xA;&#xD;&#xA;I'm hyper meticulous about sfx metadata because it helps me find my many common starting (or finishing) points in the heat of a project.  during the course of a project I'll spot inside of protools and using edicue if I need to.  If I find myself with a cool sound that I think will come in handy in the future, I export it to a folder called &quot;sfx to be filed&quot; and then forget about it.  I manage my &quot;to be filed&quot; folder on the weekends or during slow times - at that point I do my editing, eq, and metadata tagging.&#xD;&#xA;&#xD;&#xA;Outside of that, I just about never write anything down or otherwise document it.  I just do it and move on.  &#xD;&#xA;&#xD;&#xA;We back up all of our sessions and media on 800gig DLT tapes twice daily, so if I ever need something I can just recall it and look at what I did." ContentLicense="CC BY-SA 2.5" />
  <row Id="5390" PostHistoryTypeId="2" PostId="3116" RevisionGUID="7f4ae83c-1ae5-4b79-9b61-51072d0d738b" CreationDate="2010-08-24T23:18:49.070" UserId="194" Text="The sound design documentation question has me thinking about something that I don't really put much effort into, though maybe I should.&#xD;&#xA;&#xD;&#xA;Lets say you've just wrapped a long, in-depth sound design project like a short or film or something of that nature.  It's signed off on, delivered, and you're free to just let it fade away.&#xD;&#xA;&#xD;&#xA;Do you spend any time outputting and archiving any custom sound design or other recordings made to picture before deleting the project from your drives?  What's your post-project workflow?  &#xD;&#xA;&#xD;&#xA;I'm speaking less from an &quot;I need to be able to restore this project in the future&quot; standpoint and more from an &quot;I made a bunch of cool sounds that I may be able to use on other things&quot; standpoint.&#xD;&#xA;&#xD;&#xA;My personal workflow is to just set aside any custom recorded elements for documentation as the project is ongoing, then adding those elements to my library after the fact, or as I get a moment (ex. setting aside the raw motorcycle tracks used to build the motorcycle scene.)  &#xD;&#xA;&#xD;&#xA;Sometimes I'll create an sfx palette (ex. vampire teleportation sounds) before or during tracklay, and in those cases the palette gets added to the master sfx library as I go along.  &#xD;&#xA;&#xD;&#xA;The one big hole in my game is foley archival.  That stuff is cut to picture, so I have a hard time motivating myself to go through it all, sort the stuff that'll be interesting and spit it out into a format that I can catalog and find again later.  So much foly is so specific to what the picture is, I'm not sure that spending the time on it will be worth the effort, though I certainly could be wrong.  &#xD;&#xA;&#xD;&#xA;The other thing I don't tend to do is bounce out heavily designed things like monster vocalizations or specialty weapons.  Again, so much is specific to the picture that I'd think I just want to build a new one from scratch in the future.  Again, I could be wrong on this.&#xD;&#xA;&#xD;&#xA;Time is money, so where do we run into diminishing returns with regards to going over a project and pulling pieces for future use, and how do you go about setting stuff aside?&#xD;&#xA;&#xD;&#xA;thx!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5391" PostHistoryTypeId="1" PostId="3116" RevisionGUID="7f4ae83c-1ae5-4b79-9b61-51072d0d738b" CreationDate="2010-08-24T23:18:49.070" UserId="194" Text="Post project archival" ContentLicense="CC BY-SA 2.5" />
  <row Id="5392" PostHistoryTypeId="3" PostId="3116" RevisionGUID="7f4ae83c-1ae5-4b79-9b61-51072d0d738b" CreationDate="2010-08-24T23:18:49.070" UserId="194" Text="&lt;design&gt;&lt;archival&gt;&lt;cataloguing&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5393" PostHistoryTypeId="2" PostId="3117" RevisionGUID="f0ffb2b7-63b9-4693-abc0-cddb3a09da5c" CreationDate="2010-08-25T00:30:56.737" UserId="393" Text="I know DVDs aren't perfect, but they meet my budget... I take EVERYTHING related to the project (all audio tracks, project files, finished videos, ect.) and throw it on a DVD.  Label the DVD by date first, project second, and throw it in a box of archive DVDs." ContentLicense="CC BY-SA 2.5" />
  <row Id="5395" PostHistoryTypeId="2" PostId="3119" RevisionGUID="d5310325-293c-4447-9123-0eb4f4a2e321" CreationDate="2010-08-25T02:00:13.447" UserId="444" Text="Hey, My name is James Bretz and I'm from Bellingham, Washington.   Started my own company, Auddity Sound, when a friend asked me to do the post sound on his film about a year ago. So now I do free lance sound design, production sound, post production, and still try to record and mix bands when I can and sprinkle in a live recording here and there.  It's not full time yet... but soon. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5396" PostHistoryTypeId="16" PostId="3119" RevisionGUID="d5310325-293c-4447-9123-0eb4f4a2e321" CreationDate="2010-08-25T02:00:13.447" UserId="-1" />
  <row Id="5398" PostHistoryTypeId="2" PostId="3121" RevisionGUID="4be01121-55eb-4b36-a9dd-37f1c047c9c1" CreationDate="2010-08-25T03:00:56.120" UserId="103" Text="I carry a handheld recorder with me at all times, so if i'm say taking a walk in the park and i have an idea, what i do is just record a description of a sound or of a sequence. The cool thing about this is that you can make vocalizations to mimic the sounds you want to create.&#xD;&#xA;Of course it also makes you look silly..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5400" PostHistoryTypeId="2" PostId="3122" RevisionGUID="db204fe9-2f6c-4726-b1d2-a0d302b5fdd8" CreationDate="2010-08-25T03:02:00.137" UserId="520" Text="Just the tip of the iceberg.&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Synesthesia" ContentLicense="CC BY-SA 2.5" />
  <row Id="5401" PostHistoryTypeId="2" PostId="3123" RevisionGUID="3b7b864b-13b5-4793-b563-43ba9d3332d4" CreationDate="2010-08-25T03:06:57.820" UserId="520" Text="Dunno about 'best' but the AKG C747's are pretty good." ContentLicense="CC BY-SA 2.5" />
  <row Id="5403" PostHistoryTypeId="2" PostId="3124" RevisionGUID="8f24a2ed-18a2-4efc-ada1-2f3768f19c8e" CreationDate="2010-08-25T03:22:31.003" UserId="509" Text="Nice to meet you all. I'm a sound design, filmmaker, teacher and author of &quot;Sound Design: The expressive power of music voice and sound effects in cinema.&quot; Currently living in Los Angeles area, giving webinars on sounddesignforpros.com, more stuff on SonicStrategies.com. Come visit, and I look forward to more interaction with everyone. Thanks Andrew and Colin for getting us together like this." ContentLicense="CC BY-SA 2.5" />
  <row Id="5404" PostHistoryTypeId="16" PostId="3124" RevisionGUID="8f24a2ed-18a2-4efc-ada1-2f3768f19c8e" CreationDate="2010-08-25T03:22:31.003" UserId="-1" />
  <row Id="5405" PostHistoryTypeId="2" PostId="3125" RevisionGUID="15add377-57a4-40ee-8085-78739b504ee4" CreationDate="2010-08-25T03:41:13.723" UserId="393" Text="I'm sure you've noticed by now, but I use it quite a bit.  I absolutely love it -- it's a perfect resource for guys like me without money. :D" ContentLicense="CC BY-SA 2.5" />
  <row Id="5406" PostHistoryTypeId="2" PostId="3126" RevisionGUID="7400fde5-c99f-4d39-b625-6b0b2e2bd7ba" CreationDate="2010-08-25T04:14:45.040" UserId="315" Text="A couple weird ones in my library would be:&#xD;&#xA;&#xD;&#xA;AMBVietnamFerrelCatsFightNightExt&#xD;&#xA;&#xD;&#xA;WALLAProtestMayDayLAMariachi" ContentLicense="CC BY-SA 2.5" />
  <row Id="5407" PostHistoryTypeId="2" PostId="3127" RevisionGUID="a292d4f3-6709-491b-8714-2fc4c8ed2972" CreationDate="2010-08-25T05:25:41.937" UserId="338" Text="Hi everyone, I was wondering if you could provide some creativity for creating body slaps, punches, falls, etc...the like..&#xD;&#xA;&#xD;&#xA;My idea is essentially to get some fruit, vegetables, and a few pieces of small steak (watch the wallet) and have at it with experimentation.  As always, it is good to research before one goes on an expedition so what does anyone have to say?&#xD;&#xA;&#xD;&#xA;I'll be recording with up to 7 mics, im not sure if i should only use a couple or put a nice clear image from all seven.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5408" PostHistoryTypeId="1" PostId="3127" RevisionGUID="a292d4f3-6709-491b-8714-2fc4c8ed2972" CreationDate="2010-08-25T05:25:41.937" UserId="338" Text="Body Falls, Punches, and the like" ContentLicense="CC BY-SA 2.5" />
  <row Id="5409" PostHistoryTypeId="3" PostId="3127" RevisionGUID="a292d4f3-6709-491b-8714-2fc4c8ed2972" CreationDate="2010-08-25T05:25:41.937" UserId="338" Text="&lt;foley&gt;&lt;punches&gt;&lt;newbie&gt;&lt;creative-inspiration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5410" PostHistoryTypeId="2" PostId="3128" RevisionGUID="60ee051c-9d57-41b4-9230-f05728e71e3c" CreationDate="2010-08-25T06:01:40.923" UserId="61" Text="You may want to chat with Tim Prebble about this, he's been down [this road][1] before.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hissandaroar.com/sd001-vegetable-violence/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5411" PostHistoryTypeId="6" PostId="3127" RevisionGUID="74258d98-be4b-4fa3-99b3-6650a48ff9fd" CreationDate="2010-08-25T06:17:47.073" UserId="61" Comment="retag" Text="&lt;foley&gt;&lt;microphone-positioning&gt;&lt;creative-inspiration&gt;&lt;sound-effects-recording&gt;&lt;collaboration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5412" PostHistoryTypeId="2" PostId="3129" RevisionGUID="ac173d9d-2d14-440f-a9d2-2b6d3eda1ca0" CreationDate="2010-08-25T06:45:19.167" UserId="18" Text="I got some really nice sounds using a whole ham.  Not extremely cheap, but if you look around, sometimes you can get some near the sell-by date for a discounted price.  I wasn't that impressed with the sounds that I got from steak or chicken.  Also, leather jackets, baseball mits, chairs, etc can make cool impact sounds.&#xD;&#xA;&#xD;&#xA;If I was to do it again, I'd probably stay away from the meat and stick with fruits, veggies, and walnuts.  Cheaper, and they seem to yield more useable sounds." ContentLicense="CC BY-SA 2.5" />
  <row Id="5413" PostHistoryTypeId="2" PostId="3130" RevisionGUID="52c51cd6-5404-4b64-aa59-26f4728319d2" CreationDate="2010-08-25T07:06:36.503" UserId="118" Text="If you're planning a trip to the butcher's for stuff to bash, you don't necessarily have to spend a fortune on steaks, etc.  &#xD;&#xA;For example, if you ask your local butcher a week or so in advance he'll probably be able to save a pig's head for you, as well as the more usual chicken carcassses, etc.  If you speak to him, he should be able to advise you on all kinds of leftover bits that would be suitable for bashing that he may be happy to give you for next to nothing  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5414" PostHistoryTypeId="5" PostId="3096" RevisionGUID="4e02faeb-61ec-4006-aeef-885a282a27e3" CreationDate="2010-08-25T07:16:20.350" UserId="61" Comment="grammar" Text="Sorry folks, I know this isn't a sound design question but I'm posting this out of utter frustration and desperation. &#xD;&#xA;&#xD;&#xA;Pro Tools is not booting up correctly. Click on the icon, it's bounces in the dock for 1-2 minutes, stops and acts like it's not doing anything. 5 minutes (!) later it decides to start booting up. This is not intermittent, it is every time. Updated to 8.0.4 hoping it would fix this problem but it didn't. Things I've tried:&#xD;&#xA;&#xD;&#xA; - trashing all digi prefs/setup files&#xD;&#xA; - Diskwarrior on all drives&#xD;&#xA; - unmounted drives one by one, then&#xD;&#xA;   retrying boot process&#xD;&#xA;&#xD;&#xA;System specs:&#xD;&#xA;&#xD;&#xA; - PT 8.0.4&#xD;&#xA; - OS X 10.5.8&#xD;&#xA; - Digi 192&#xD;&#xA; - 6gb RAM&#xD;&#xA; - 4 1TB drives&#xD;&#xA; - no periph devices attached&#xD;&#xA;&#xD;&#xA;Your professional advice is certainly appreciated. Thanks all -&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5415" PostHistoryTypeId="2" PostId="3131" RevisionGUID="d3469c9e-86a7-434f-91ef-5f62bbe0df80" CreationDate="2010-08-25T12:19:37.187" UserId="194" Text="go to the local carneceria and get a pig head.  they're big, cheap, and they sound like people." ContentLicense="CC BY-SA 2.5" />
  <row Id="5417" PostHistoryTypeId="2" PostId="3133" RevisionGUID="014c8649-fc79-4015-a0d5-d76ad7d47b50" CreationDate="2010-08-25T17:08:09.647" UserId="168" Text="+1000 for Izotope RX.&#xD;&#xA;&#xD;&#xA;But I've got surprising results with the Wave Arts Master Restoration Suite. It sounds 'smoother' and with fewer artifacts especially with broad band noise. I use RX only in extreme conditions (read: spectral repair).&#xD;&#xA;&#xD;&#xA;But usually a mix of different noise reduction plugins in different percentages works the best." ContentLicense="CC BY-SA 2.5" />
  <row Id="5418" PostHistoryTypeId="2" PostId="3134" RevisionGUID="54714f00-2f9c-4783-811a-a5e250f6bad3" CreationDate="2010-08-25T17:13:42.050" UserId="338" Text="so what do I do, slap?? get a hammer? sit on?&#xD;&#xA;&#xD;&#xA;interesting responses though with a collaboration with the community, a very important part of sound design." ContentLicense="CC BY-SA 2.5" />
  <row Id="5419" PostHistoryTypeId="2" PostId="3135" RevisionGUID="cad7eeb3-a0fc-40ab-83b9-d7e08f3db63a" CreationDate="2010-08-25T18:22:26.940" UserId="6411" Text="For inspiration that strikes me while away from the desk I used to keep a moleskine in my bag, but once I got my iPod touch I just started using the Notes app.  It's not as personal and engaging (or as @tim says, reliable) as writing down notes by hand, but it's one less thing I have to carry around with me. Haven't graduated to Evernote yet because in iOS 4 I have all new notes default to my gmail.com account. As a result, they show up in gmail filed under a &quot;Notes&quot; label so they're accessible pretty much anywhere.&#xD;&#xA;&#xD;&#xA;Oftentimes I haven't a clue about how I got to a final sound. That is unless I know that I'll need to recreate the process multiple times for additional FX. When using TDM /RTAS I'll typically build on multiple tracks, re-record to the appropriate # of channels, then Hide and Make Inactive the build tracks. Its a relatively easy way to not only backtrack, but also keep track of sounds I built vs sounds I pulled from the library.&#xD;&#xA;&#xD;&#xA;When using AS, I'll jot down what I use as I go on a legal pad (which is always nearby) and save new presets as *&quot;soundname-process order&quot;* e.g. *&quot;Devil Wind-A&quot;, &quot;Devil Wind-B&quot;, etc*. When I'm finished I'll then create a new piece of silence about 1-2 seconds long above the AS'd file (select an unused section in the timeline then hit Opt+Shift+3) and rename the silence with the order of AS plugins I used. So I wind up with a file called something like *&quot;Devil Wind Q10 RComp PitchShift TLSpace PitchShift.&quot;* I very rarely run out of characters and if I do I just abreviate, pull spaces, or make a new silence file (or realize I've gone too far). I'll typically mute the region, but it's silence so it really shouldn't matter. &#xD;&#xA;&#xD;&#xA;This is also a great way to import/export marker notes.  I'm not a quickkeys user but I'd imagine it would be easy to script something that creates a new mono track, goes to the first marker, copies the note, selects +:01 on the new track, makes a new file, renames the file by pasting the note, goes to the next marker, and repeats?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5420" PostHistoryTypeId="2" PostId="3136" RevisionGUID="f5f24003-414e-4ae7-ae11-f20e969eda51" CreationDate="2010-08-25T18:45:22.307" UserId="390" Text="So the shoot is going well. We have a great crew and great cast. Our first week went well and there's two more weeks left in the production.  The DP is Bruce Shermer (Evil Dead, Roger and Me). The coolest, most level-headed fella I have ever had the good fortune to meet. Another veteran on the set is Robert Cicchini (Godfather 3, War of the Worlds), a humble actor who shows great passion for his work. For my first feature film gig, this has been an absolute blast!  Although the majority of the scenes on the water will have voice over narration, I still placed lavs on the actors with good results for the most part. However, I have replaced at least 3 lavs on this production. I don't see myself ever working with sennheiser body packs in the near future. The Lectrosonics and Shur wireless brands have performed quite well however. &#xD;&#xA;&#xD;&#xA;Anywho, does anyone have any preferences for wireless transmitters/receivers for use on actors? I did request Lectrosonics as they've always done right by me.   They just weren't available initially for rental. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5421" PostHistoryTypeId="2" PostId="3137" RevisionGUID="aa06f606-977c-4ae4-973e-cca8f46b78eb" CreationDate="2010-08-25T19:34:58.477" UserId="6411" Text="So I have access to a [Neumann RSM 191][1]. I was planning on taking it out and seeing what I could capture, but realized that I have no way to decode the MS while recording.&#xD;&#xA;&#xD;&#xA;See, I have just a [MixPre][2] and an [M10][3] neither of which offers MS decoding or MS linking. So my question is, do I go for the flexibility of MS and just get by with panning Mid = Left, Side = Right and monitor that way, crossing my fingers on mic placement, or do I switch to XY and know that what I'm monitoring is the stereo image I'm recording?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www2.neumann.com/?lang=en&amp;id=current_microphones&amp;cid=rsm191_description&#xD;&#xA;  [2]: http://www.sounddevices.com/products/mx2master.htm&#xD;&#xA;  [3]: http://pro.sony.com/bbsc/ssr/cat-audio/resource.latest.bbsccms-assets-cat-audio-solutions-pcmm10.shtml" ContentLicense="CC BY-SA 2.5" />
  <row Id="5422" PostHistoryTypeId="1" PostId="3137" RevisionGUID="aa06f606-977c-4ae4-973e-cca8f46b78eb" CreationDate="2010-08-25T19:34:58.477" UserId="6411" Text="Recording MS without a decoder?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5423" PostHistoryTypeId="3" PostId="3137" RevisionGUID="aa06f606-977c-4ae4-973e-cca8f46b78eb" CreationDate="2010-08-25T19:34:58.477" UserId="6411" Text="&lt;sound-effects-recording&gt;&lt;mid-side&gt;&lt;microphone-technique&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5424" PostHistoryTypeId="2" PostId="3138" RevisionGUID="01ec43e9-ff13-4371-bca3-2a96d8609aeb" CreationDate="2010-08-25T19:47:51.230" UserId="432" Text="You don't really need M/S decoding unless you feel you need to monitor in stereo. I'd just go for it, because you can adjust the stereo field to the width you like when you bring it into your DAW later. I did this when I was recording for the DOORS with Tim, and I was pretty happy with the results. I did all of my mic placement based on the Mid signal." ContentLicense="CC BY-SA 2.5" />
  <row Id="5425" PostHistoryTypeId="2" PostId="3139" RevisionGUID="d065def4-edd8-4c44-82f1-daf86b3fea09" CreationDate="2010-08-25T22:34:19.783" UserId="18" Text="Just my 2 cents, I prefer to use the 191 in XY (100 or 120 degrees).  Unless it is a source that I'm not sure if I want to keep stereo.  MS gives you the option of trashing the S later and go with mono, which I often do when I use MS.  If I'm recording something that moves, I don't tend to use XY.  I don't like having sounds moving around the stereo field, unless I mean them to.  But for stereo purposes, I'm just happier with the XY vs the MS stuff I've recorded with that mic." ContentLicense="CC BY-SA 2.5" />
  <row Id="5427" PostHistoryTypeId="5" PostId="3134" RevisionGUID="25bcd3be-67ca-4041-a233-ed26d92eb207" CreationDate="2010-08-25T22:45:08.860" UserId="338" Comment="added 20 characters in body" Text="so what do I do, slap?? get a hammer? sit on?&#xD;&#xA;&#xD;&#xA;interesting responses though with a collaboration with the community, a very important part of sound design and life in general." ContentLicense="CC BY-SA 2.5" />
  <row Id="5428" PostHistoryTypeId="2" PostId="3141" RevisionGUID="f5e1c99e-a888-4c1d-b5f4-06c2b9c74688" CreationDate="2010-08-26T01:08:47.930" UserId="500" Text="Hi guys, this is my first post.  I really like the way this site has come together.  &#xD;&#xA;&#xD;&#xA;I'm in Chicago.  I am a sound designer\composer in experimental and traditional theatre, and day job as a full time sound engineer at a local Chicago theatre.&#xD;&#xA;&#xD;&#xA;-Chris" ContentLicense="CC BY-SA 2.5" />
  <row Id="5429" PostHistoryTypeId="16" PostId="3141" RevisionGUID="f5e1c99e-a888-4c1d-b5f4-06c2b9c74688" CreationDate="2010-08-26T01:08:47.930" UserId="-1" />
  <row Id="5430" PostHistoryTypeId="2" PostId="3142" RevisionGUID="0b61483d-8de8-43d1-b7a5-dccb852000ae" CreationDate="2010-08-26T01:39:40.677" UserId="500" Text="Hello Sound Designers!&#xD;&#xA;&#xD;&#xA;I'm currently working on a sound design for a live theatre show.  One of the challenges I have is to create a cue that imitates the experience of covering you ears and listening to.... yourself.  My more uninspired thought is to just EQ some pre-recorded material, but I'd like to try to capture something more organic.  &#xD;&#xA;&#xD;&#xA;My plan is to experiment cupping a small diaphragm condenser mic with my hands or perhaps sealing the mic to the skin.  I'm not sure if this will produce the entire effect or any at all, but hopefully provide some sense of human innards.  I've also been looking into a stethoscope and makeshift mic attachment.  I'd love to hear some more thoughts if you have them." ContentLicense="CC BY-SA 2.5" />
  <row Id="5431" PostHistoryTypeId="1" PostId="3142" RevisionGUID="0b61483d-8de8-43d1-b7a5-dccb852000ae" CreationDate="2010-08-26T01:39:40.677" UserId="500" Text="Organic Sound Cue Techniques" ContentLicense="CC BY-SA 2.5" />
  <row Id="5432" PostHistoryTypeId="3" PostId="3142" RevisionGUID="0b61483d-8de8-43d1-b7a5-dccb852000ae" CreationDate="2010-08-26T01:39:40.677" UserId="500" Text="&lt;inner&gt;&lt;sounds&gt;&lt;cover&gt;&lt;ears&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5433" PostHistoryTypeId="2" PostId="3143" RevisionGUID="3aacc5a2-7cfa-43d2-abee-c1f894119612" CreationDate="2010-08-26T02:02:55.870" UserId="253" Text="Interesting idea. So i guess the main thing would be to simulate the loss of high frequencies and the emergence of the lower frequencies that are vibrating through our bones to our ear.&#xD;&#xA;I tried it out just then, i noticed that it sounded like something very close miked, and my breath stood out and had a lot of texture.&#xD;&#xA;&#xD;&#xA;So you could try a really close mic (large diaphragm condenser) and eq. And you could try putting a contact mic on the recordee's throat or skull somewhere to augment your recording. I'm not sure whether a contact mic will pick up the breath that well, but you'll probably need to blend a few things together.&#xD;&#xA;&#xD;&#xA;The other important thing is that the audience knows what it's meant to represent; otherwise, not matter how meticulous you are, they might not really get it.&#xD;&#xA;&#xD;&#xA;Hope that helps, good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5434" PostHistoryTypeId="2" PostId="3144" RevisionGUID="b17fc8d8-a995-4741-a898-59d8199a398d" CreationDate="2010-08-26T02:09:44.297" UserId="61" Text="I've had great luck with contact mics for this sort of application. You can make one yourself, buy a cheap guitar-pickup kind, or something more professional like an Aquarian Audio H2a. Simply attach it to the body somehow (think tape or velcro) and let the fun begin. You'll more than likely pick up a lot of low frequency information, so you'll probably want to have a filter in line, just in case." ContentLicense="CC BY-SA 2.5" />
  <row Id="5435" PostHistoryTypeId="2" PostId="3145" RevisionGUID="a5d30737-9ee2-4c32-9559-157fa863cc63" CreationDate="2010-08-26T03:01:17.703" UserId="18160" Text="I have a system where I color all the SFX originally done by the SFX editor black, and any fixes I do or changes I color them Red, and any fixes or new SFX from the editor are colored Dark Blue.&#xD;&#xA;&#xD;&#xA;I also mark pickups for narration a different color so I can find them easily.&#xD;&#xA;&#xD;&#xA;Have you worked clever ways of utilizing the color system of Pro Tools or any other DAW program?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5436" PostHistoryTypeId="1" PostId="3145" RevisionGUID="a5d30737-9ee2-4c32-9559-157fa863cc63" CreationDate="2010-08-26T03:01:17.703" UserId="18160" Text="Do you use colored regions at all?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5437" PostHistoryTypeId="3" PostId="3145" RevisionGUID="a5d30737-9ee2-4c32-9559-157fa863cc63" CreationDate="2010-08-26T03:01:17.703" UserId="18160" Text="&lt;pro-tools&gt;&lt;color&gt;&lt;system&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5438" PostHistoryTypeId="2" PostId="3146" RevisionGUID="8ce3731d-f210-4e15-8c31-233c376a0b14" CreationDate="2010-08-26T03:23:36.893" UserId="61" Text="I use color for tracks as well as regions, but mostly for tracks. For example, when I'm cutting fx in predub groups, all the tracks in FX1 may be blue, while all the tracks for FX2 may be red, etc. With the Regions in Tracks color setting in Default mode, the regions will take on the color of the track that it's on.&#xD;&#xA;&#xD;&#xA;Sometimes I will override this function on a region-by-region basis if I need to color a region for a particular reason, say, if it needs to be repanned, recut, etc.&#xD;&#xA;&#xD;&#xA;The newest version of PT (8.1) is great in regard to track color since, in the past, the tracks wouldn't retain their colors when imported into another session." ContentLicense="CC BY-SA 2.5" />
  <row Id="5439" PostHistoryTypeId="2" PostId="3147" RevisionGUID="931283ee-6d0a-4513-9c34-813e61f2c280" CreationDate="2010-08-26T04:34:47.257" UserDisplayName="user49" Text="Apart from 'normal' vegetable beating I once filled a pair of overalls with pumpkins and potatoes, and threw it down the stairs! In fact a few people I was working with took great pleasure in giving mr overalls a fair beating - very funny! Hard work to stop laughing long enough to record!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5440" PostHistoryTypeId="2" PostId="3148" RevisionGUID="eab13b42-5d54-42d1-ba13-ba54f5935d83" CreationDate="2010-08-26T05:41:29.360" UserId="444" Text="Definetly use a color system.&#xD;&#xA;&#xD;&#xA;working on scenes, my nature/ambience is different shades of green.  thunder and rain are blues.  dialogue is in the oranges.  Special efx are generally shades of darker red. Foley tends to be gray to brownish shades.  &#xD;&#xA;&#xD;&#xA;When I'm cataloging sounds I've been out recording the objects/files start a standard gray.  If no work is needed they stay that way.  If work is needed on them I'll make them yellow.  Once clean up or work is done to em they go red.  Once they're exported to my sound library they go black.&#xD;&#xA;&#xD;&#xA;Plus I use markers on seperate tracks and notes on each track.  Nuendo has handy tools like that.&#xD;&#xA;&#xD;&#xA;And it varies slightly giving scenes, and as I improve my workflow" ContentLicense="CC BY-SA 2.5" />
  <row Id="5441" PostHistoryTypeId="2" PostId="3149" RevisionGUID="626dac70-6f47-4e1b-b327-308f54e0f760" CreationDate="2010-08-26T06:07:09.763" UserId="338" Text="reamp thru a seashell? " ContentLicense="CC BY-SA 2.5" />
  <row Id="5442" PostHistoryTypeId="2" PostId="3150" RevisionGUID="75832c3a-6d67-45b5-b5a1-e4aed0ad5d84" CreationDate="2010-08-26T06:12:06.350" UserId="338" Text="So i was sitting at the beach the other day.  It was pretty much the first day of warm weather (summer) in San Francisco.  Anyways, I was thinking that all along the coastline of almost any place in the world is a bunch of wave sounds.  Then I thought about how one could map the world through sound.  Decidous forests would have a color, the artic etc...wind patterns, reflection patterns.  &#xD;&#xA;So has this been done?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5443" PostHistoryTypeId="1" PostId="3150" RevisionGUID="75832c3a-6d67-45b5-b5a1-e4aed0ad5d84" CreationDate="2010-08-26T06:12:06.350" UserId="338" Text="Audio map of the Globe" ContentLicense="CC BY-SA 2.5" />
  <row Id="5444" PostHistoryTypeId="3" PostId="3150" RevisionGUID="75832c3a-6d67-45b5-b5a1-e4aed0ad5d84" CreationDate="2010-08-26T06:12:06.350" UserId="338" Text="&lt;collaboration&gt;&lt;ideas&gt;&lt;map&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5445" PostHistoryTypeId="2" PostId="3151" RevisionGUID="857b113d-e32a-413d-8d21-a63fe6f64847" CreationDate="2010-08-26T06:23:40.617" UserId="444" Text="I've recorded the shore along northern Puget Sound and in Mt. St. Helens Volcanic National Monuement's forest.  Wouldn't be anything to grab around Mt Baker National Forest. So if it hasn't, I say we start." ContentLicense="CC BY-SA 2.5" />
  <row Id="5449" PostHistoryTypeId="2" PostId="3153" RevisionGUID="53cdfd7b-ead8-4bc4-b1d3-cfc6067d41ca" CreationDate="2010-08-26T07:14:05.177" UserId="407" Text="I am from the games industry and not too up to speed on post production standards for film and TV. I understand the need for EQ room calibration when designing and mixing, but I just tested my own work station here and pink noise is -20 dbfs = 65 db SPLc at the listener postion. Turning the system up to 78 SPLc is really fatiguing. Games tend to be about (guesstimate) 10 - 15 db louder than -20 = 78 standard.&#xD;&#xA;&#xD;&#xA;So now to my questions - when you guys work on a session do you just level your channels so you are using the full bit depth of the channel, then turn down the master to taiste (giving yourself the option to go louder or quieter), or do you actually mix 'quiet' leaving the master at 0 dbfs, and turn down the channels? (silly question but just curious)&#xD;&#xA;&#xD;&#xA;Secondly - and this may be a bit conterversial - if I've undestood this correctly - why are you suggesting using a mix standard of e.g. -20 = 78, by internet video standards this would be quiet? most e.g. vimeo videos are closer to peak 0 dbfs as far as I can tell.&#xD;&#xA;IMHO you should really mix to the level that is required for the medium.&#xD;&#xA;&#xD;&#xA;btw I am asking more out of curiousity than to cause trouble ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5450" PostHistoryTypeId="2" PostId="3154" RevisionGUID="dc24a9a4-463e-4f6a-8826-92b77fe57e9b" CreationDate="2010-08-26T07:17:37.887" UserId="407" Text="I actually got sent this link today &#xD;&#xA;&#xD;&#xA;http://soundbum.org/&#xD;&#xA;&#xD;&#xA;which is along the lines of what you are suggesting - makes intesting listening too." ContentLicense="CC BY-SA 2.5" />
  <row Id="5451" PostHistoryTypeId="6" PostId="3142" RevisionGUID="958a0df6-7b2f-474c-8332-cc6ee531c26d" CreationDate="2010-08-26T07:31:10.403" UserId="61" Comment="retag" Text="&lt;theatre-sound-design&gt;&lt;microphone-positioning&gt;&lt;live-sound&gt;&lt;contact-mic&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5453" PostHistoryTypeId="2" PostId="3156" RevisionGUID="6bd80574-7d6a-4dd2-b8c1-36b5af0d1951" CreationDate="2010-08-26T10:41:10.913" UserId="62" Text="There's already a project in full swing by the BBC.&#xD;&#xA;&#xD;&#xA;http://www.bbc.co.uk/worldservice/specialreports/saveoursounds/index.shtml" ContentLicense="CC BY-SA 2.5" />
  <row Id="5454" PostHistoryTypeId="2" PostId="3157" RevisionGUID="f3b79224-26d6-4cf5-a9fd-7078e08b9ec1" CreationDate="2010-08-26T12:26:18.570" UserId="56" Text="yea the one on the bbc is nice. &#xD;&#xA;I also use http://aporee.org/maps/ and freesound.org, the last is a huge collection of creative commons samples but using the geotag function you can visualize just the field recordings and soundscapes. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5455" PostHistoryTypeId="2" PostId="3158" RevisionGUID="70f29469-4dfb-46e7-9566-0a79e1e17b55" CreationDate="2010-08-26T13:56:49.733" UserId="202" Text="I use regions color and tracks color.&#xD;&#xA;&#xD;&#xA;When I edit dialogue, I use to color yellow (the brighter one) every region I denoise (or decrackle, etc, and I always have the original region duplicated and muted in a track below), red the ones that I desser and so on. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I also use region color to identify regions that need some processing while the sound mixer is working and the session is in play (I separate the region in play and color it so when the playback stop I know exaclty where I need to work). &#xD;&#xA;&#xD;&#xA;I use track color to identify different tracks (omf, adr, PD or when working with sound sfx AMB, SFX, Foley, etc) to make easier for the sound mixer and for me to have an overview of the session." ContentLicense="CC BY-SA 2.5" />
  <row Id="5457" PostHistoryTypeId="2" PostId="3160" RevisionGUID="e2b12856-bdbc-454a-ae98-3b35e7336de0" CreationDate="2010-08-26T14:01:47.327" UserId="393" Text="Does ProTools have track folders, where you can group tracks together and minimize / maximize / move everything within the folder as one unit?&#xD;&#xA;&#xD;&#xA;I don't have a color-convention for processed or unprocessed sounds -- it's never even occurred to me -- and I throw my groups into track folders so I know what goes together and what doesn't.  I haven't run into a situation where I'm sending one or two elements from a single sound group to a different bus than the rest, so maybe coloring the tracks then will be something I do." ContentLicense="CC BY-SA 2.5" />
  <row Id="5458" PostHistoryTypeId="2" PostId="3161" RevisionGUID="8575033f-a474-41a5-92be-fb3f225c1076" CreationDate="2010-08-26T14:04:22.840" UserId="220" Text="It would help to have a better understanding of the space and time you have for set up.  I'm wondering why there would need to be stage monitors for a speaker at a podium.  &#xD;&#xA;&#xD;&#xA;Microphones:&#xD;&#xA;&#xD;&#xA; - For a nice sounding, basic (but not cheap) podium mic, Crown LM series is great.  Either the 201 or the 301A (the same mic, just a longer gooseneck).  More info [here][1] &#xD;&#xA; - Schoeps mics are generally the live show (like the Oscars) mic of choice.  Mount a cardioid and a hypercardoid on the same bracket so you can compensate for tall, short, etc.  The [CCM Series][2] small capsule mics are great, and they have a bunch of nice mic stand [options][3].  &#xD;&#xA; - If possible, go with a countryman headset mic or a crown.  Keeps the mic close by the speaker and has great rejection at that range.  &#xD;&#xA;&#xD;&#xA;Mounting is where you can get fancy.  There are a number of very cool podium stands, including the hydrolic ones they use at large award shows that adjust to the height of the speaker.  If you have time to get it rigged, you could also put a choir mic on a servo reel from the ceiling.  I use these often and it's a nice way to move the mic out of the way and adjust for different speakers.&#xD;&#xA;&#xD;&#xA;Processing - you'll want to compress heavily, somewhere around 8:1 or more.  Also, if you have the time, boost the gain on the mic when nobody is at the podium to create feedback.  This will at least give you the worst area and let you hack that frequency out before it's an issue.&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.crownaudio.com/mic_web/lm.htm&#xD;&#xA;  [2]: http://www.schoeps.de/en/products/categories/ccm&#xD;&#xA;  [3]: http://www.schoeps.de/en/products/categories/stands_and_tube" ContentLicense="CC BY-SA 2.5" />
  <row Id="5459" PostHistoryTypeId="2" PostId="3162" RevisionGUID="0f74fb09-b24e-4b11-9021-b4ce3fd20112" CreationDate="2010-08-26T14:14:21.643" UserId="40" Text="In addition to the ones previously mentioned, there are a few other projects that have been mentioned on the Phonography Users Group on Yahoo.  Definitely a cool idea." ContentLicense="CC BY-SA 2.5" />
  <row Id="5464" PostHistoryTypeId="2" PostId="3165" RevisionGUID="78374543-0e39-4261-a2fb-9b34ca15d397" CreationDate="2010-08-26T15:22:21.613" UserId="526" Text="well, I upload once in a while some sounds to it, mainly, because I want to see, if my sound are good or miserable =). Problem with freesound is, that most of the people just download stuff and never upload anything, so pushing each other is difficult sometimes. Last year I used some stuff for a no-budget short movie, but you need some time to get proper sounds.&#xD;&#xA;Since then, I never downloaded stuff again, not because the sounds are bad, but because I want to expand my own library." ContentLicense="CC BY-SA 2.5" />
  <row Id="5465" PostHistoryTypeId="2" PostId="3166" RevisionGUID="df69dbec-eca6-43bc-ade5-d105886e928a" CreationDate="2010-08-26T15:44:37.587" UserId="526" Text="I use Logic 8 Express and the cheapest version of Ableton Live 8. Logic is extremly powerful for that price, but it is pretty annoying for timestretching, thats why I use Live. you can easily do halfspeeds and even shift the lenght over time. Sometimes I do the timestretch stuff in Ableton and route it via ReWire into Logic to do the mix and effects.&#xD;&#xA;One last word about Logic: it is perfect **for that price**. But it still has some pretty annoying bugs, but as I said...the express version is 199€=)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5466" PostHistoryTypeId="2" PostId="3167" RevisionGUID="ebffd209-47ba-4360-945f-c61453b1d7d4" CreationDate="2010-08-26T16:19:25.937" UserId="219" Text="I was reading @Tim's post for the virtual internships and he has a wonderful point of view: slowing down time &quot;means we have more time to hear the details&quot;... and of course I thought of this old thread!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5467" PostHistoryTypeId="2" PostId="3168" RevisionGUID="f3531745-caf7-49d5-b3ad-1afd589d908c" CreationDate="2010-08-26T16:32:33.180" UserId="527" Text="I have never tried it myself and I can't remember where I heard the idea from, but try using headphones as an input device.  Put them on your head run it into your recorder (maybe thru a DI)&#xD;&#xA;&#xD;&#xA;If you try this let me know.  I haven't had the time to attempt it. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5468" PostHistoryTypeId="2" PostId="3169" RevisionGUID="1aa4c688-a858-4505-9ca3-4075861f0c03" CreationDate="2010-08-26T18:51:39.140" UserId="315" Text="Sounds like a good idea to me. I'd be curious to hear about your results. &#xD;&#xA;&#xD;&#xA;While I always gravitate towards the organic solution, Speakerphone by Audio Ease also has a setting called &quot;cover&quot; which simulates an object inside of something. That may work as well. Perhaps you may want to add a low rumble (water with everything rolled off above 80khz) to your results to simulate the sound of rushing blood.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="5469" PostHistoryTypeId="2" PostId="3170" RevisionGUID="737bc358-ac29-4892-b507-e147697f119c" CreationDate="2010-08-26T19:39:27.920" UserId="6411" Text="This could lead to some *very* long posts, but here goes anyways...&#xD;&#xA;&#xD;&#xA;I got into a conversation with the guys at work about the old DAWs they used to use, what's changed, what they miss, and what's stayed the same. I thought it would be a good topic to put up for discussion.&#xD;&#xA;&#xD;&#xA;So we've covered which DAW you [currently use][1]. What did you use before you found the latest and greatest? Do you miss anything about them? Are you happy they're in the rear view mirror of your life? Lets put some perspective on these new-fangled devices...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;Here's my history:&#xD;&#xA;&#xD;&#xA;![PT Logo][2]&#xD;&#xA;&#xD;&#xA;I have a relatively long history with Pro Tools, going back to '95 when I was just a little whelp of an student/editor using a Pro Tools III PCI system with PT3 and Sound Designer II. I loved the concept that it was Mac-based and not a proprietary system costing hundreds of thousands of dollars. I had been forced by employers into relationships with other systems, but always have had a PT system in one form or another on the side. I've owned Pro Tools Free, Pro Tools Mix Plus &amp; Pro Tools LE and all have treated me well.&#xD;&#xA;&#xD;&#xA;## AMS Neve Logic 3 with AudioFile ##&#xD;&#xA;![AMSNeveL3+AF][3]&#xD;&#xA;&#xD;&#xA;If I could go back in time, I'd kick my own ass for ever trash-talking this machine. I just didn't know what I had my fingers on. Gear-wise the L3 was great, smooth faders, nice jog wheel. 4-band EQ, compressor, limiter &amp; gate on every channel. I hated that screen, but not as much as the soft keys. DAW-wise the AudioFile felt like a huge leap backward from the Mix system I had at home. Again with the soft keys and that awful blue screen. It was early in my career that I had to sit down to learn it, and it taught me some valuable lessons like, ***&quot;It's just a tool, what do they call it &amp; where do they put it? You know how to do this.&quot;*** and thanks to its lack of waveform display ***&quot;Stop mixing with your eyes, dummy.&quot;***&#xD;&#xA;&#xD;&#xA;## The DSP PostStation ##&#xD;&#xA;aka - The Enterprise&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;Built off the architecture of two ganged Yamaha 02R's, this DAW had very little going for it in terms of processing. But being that we had a direct line of communication to the developer, any new system feature we were looking for was only an email and a software update away. Which usually was delivered the next day! Two keys that I still miss are the un-top and un-tail. No need to pull out a region's end, just untail, scrub, and re-tail.  And speaking of, what a scrub wheel! Nice and heavy, with a resolution that made you forget you were at 16-bit / 48k. With no other form of navigation in the editor other than the wheel and 4 arrow keys, I finally understood the benefit of keyboard shortcuts over mousing around. The &quot;ergonomic&quot; desk was a joke for my 6'1&quot; frame, but the touch screen mix console (left) and video playback (right) worked great, until the screens died. I believe that the owner sold DSP to Fairlight in 2003(?), and went on to form [SmartAV][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/509/which-daw-do-you-use&#xD;&#xA;  [2]: http://www.cornermusic.com/images/Recording/pro_tools_logo.JPG&#xD;&#xA;  [3]: http://www.freeimagehosting.net/uploads/th.5224b3d58a.jpg&#xD;&#xA;  [4]: http://www.freeimagehosting.net/uploads/696d19ffb1.jpg&#xD;&#xA;  [5]: http://www.smartav.net/product/smart-console/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5470" PostHistoryTypeId="1" PostId="3170" RevisionGUID="737bc358-ac29-4892-b507-e147697f119c" CreationDate="2010-08-26T19:39:27.920" UserId="6411" Text="A trip down your DAW memory lane" ContentLicense="CC BY-SA 2.5" />
  <row Id="5471" PostHistoryTypeId="3" PostId="3170" RevisionGUID="737bc358-ac29-4892-b507-e147697f119c" CreationDate="2010-08-26T19:39:27.920" UserId="6411" Text="&lt;daw&gt;&lt;experiences&gt;&lt;software&gt;&lt;hardware&gt;&lt;features&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5472" PostHistoryTypeId="2" PostId="3171" RevisionGUID="2b62536d-feae-4e18-b30e-2915ad4664c7" CreationDate="2010-08-26T19:49:44.980" UserDisplayName="user49" Text="I use colour coding when final mixing to manage fixes - described here:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/961/fixes-during-the-mix-how-to-go-about-it" ContentLicense="CC BY-SA 2.5" />
  <row Id="5473" PostHistoryTypeId="2" PostId="3172" RevisionGUID="16ae0d7b-6bf8-41c2-b9a1-fec9b284f4ef" CreationDate="2010-08-26T20:06:45.700" UserId="393" Text="I started with Audacity, and never really got anywhere with it.&#xD;&#xA;&#xD;&#xA;After that, I used Kristal Audio Engine and Angry Red Planet's Temper side by side, writing my midi in Temper and moving it into Kristal as audio files.&#xD;&#xA;&#xD;&#xA;THEN, when I got my first interface, I got a copy of Sonar LE and Live Lite -- I'm still using both of those, and I upgraded to Sonar Home Studio." ContentLicense="CC BY-SA 2.5" />
  <row Id="5474" PostHistoryTypeId="2" PostId="3173" RevisionGUID="af43022d-e9d9-499f-b7e9-9d32c09994e8" CreationDate="2010-08-26T20:08:34.887" UserId="445" Text="Hey people!&#xD;&#xA;&#xD;&#xA;Yesterday I finished the score for a short film I'm working on. I exported all the cues, each track as stereo BWF, so the sound designer doesn't need to relocate them manually. &#xD;&#xA;&#xD;&#xA;The problem is that I got a call from her, saying her Pro Tools doesn't seem to recognize the timestamp of each file.&#xD;&#xA;&#xD;&#xA;I don't work on PT (I use Digital Performer) and I cannot check it by myself, but I'm sure PT should allow/understand this type of metadata in BWF files.&#xD;&#xA;&#xD;&#xA;Any thoughts about this? I need to solve this ASAP! HELP!!&#xD;&#xA;&#xD;&#xA;Thanks a lot again!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5475" PostHistoryTypeId="1" PostId="3173" RevisionGUID="af43022d-e9d9-499f-b7e9-9d32c09994e8" CreationDate="2010-08-26T20:08:34.887" UserId="445" Text="BWF import to PT LE doesn't recognize timestamp " ContentLicense="CC BY-SA 2.5" />
  <row Id="5476" PostHistoryTypeId="3" PostId="3173" RevisionGUID="af43022d-e9d9-499f-b7e9-9d32c09994e8" CreationDate="2010-08-26T20:08:34.887" UserId="445" Text="&lt;bwf&gt;&lt;workflow&gt;&lt;pro-tools&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5477" PostHistoryTypeId="2" PostId="3174" RevisionGUID="62c59bdd-6d54-45df-87e7-4bdce81e4815" CreationDate="2010-08-26T20:38:00.800" UserId="6411" Text="Don't know how you delivered, but I've seen FTP programs strip out metadata from BWFs. So composers who deliver to us will typically add the timestamp in the file name to avoid this kind of delay. The fastest way to solve this particular issue may be to provide her with an excel spreadsheet of &quot;file name&quot; / Start TC. Doesn't solve the metadata issue, but it should get you through today." ContentLicense="CC BY-SA 2.5" />
  <row Id="5478" PostHistoryTypeId="2" PostId="3175" RevisionGUID="d6a05c93-0f6d-4402-b06b-bc8d4dfcb71e" CreationDate="2010-08-26T20:47:46.060" UserId="432" Text="I'm not going to count Cakewalk...that was just a silly MIDI class in college. ;)&#xD;&#xA;&#xD;&#xA;Really, my first introduction to DAWs was ProTools 4.x.  With the particular studio I was interning at, it was almost more important to know how to link up and operate the ADAT machines than it was to know ProTools.  But I did get to learn a lot about the ProTools system before I started grad school, which made my life there much easier. Of course, the school had Pro Tools 6, so there was a little bit of a jump to cover. Oddly enough, up until a little over a year ago, I had been using Pro Tools 5.1 at work for a long time. Odd sort of back and forth I've had with that.&#xD;&#xA;&#xD;&#xA;I've also used a Fairlight MXF3+, which I had never even heard of before I was staring at it.  It had no mixing capabilities that I'm aware of, the studio used Yamaha 02R-96's to handle that. That thing was AWESOME as far as editing went though. You could seriously fly using that thing. I know the Icon boards from Digi/Avid/whatever you want to call them now have incorporated a lot of similar features, and I really need to start learning them better.&#xD;&#xA;&#xD;&#xA;As far as boards, I used to do live audio. So, I've lost count of the different makes and models I've played with over the years." ContentLicense="CC BY-SA 2.5" />
  <row Id="5479" PostHistoryTypeId="2" PostId="3176" RevisionGUID="c0502cf7-9edb-4959-aeb2-fecd6cdc6ebd" CreationDate="2010-08-26T20:58:25.340" UserId="234" Text="Ahhh... the memories... LOL&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Let's see... I started with PT at PTIII - a stack of 4GB SCSI drives (my room sounded like an airplane hangar) and a 9600 I believe.&#xD;&#xA;&#xD;&#xA;Before that I also used Digidesign Session 8, which was an early precursor to PT LE - The orignal &quot;entry&quot; system for folks who couldn't afford a full PT rig (a &quot;bargain&quot; at around $8k CAN)&#xD;&#xA;&#xD;&#xA;SAW - The Software Audio workshop - 4-8 tracks on your PC with a standard soundcard AND realtime effects, back in the day of the 486...and cheap to boot. Very popular with Radio stations up here -a few still use it.&#xD;&#xA;&#xD;&#xA;But my fondest memory is of the greatest DAW/Sequencer ever created - Opcode Studio Vision. I actually bought my first Mac just so I could use it (the PC version was beyond buggy). I still don't think anyone has made a better sequencer since... and I've tried most of them - damn you Gibson, damn you! :D&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5483" PostHistoryTypeId="2" PostId="3179" RevisionGUID="1784ab64-69cb-4d2e-ac64-0835d5f16482" CreationDate="2010-08-26T22:54:41.977" UserId="298" Text="im diggin with mine contact mic now...&#xD;&#xA;&#xD;&#xA;can anyone say what can i do with mic noise?  grounding?&#xD;&#xA;&#xD;&#xA;btw i tried phantom power too and it worked good through XLR. it gave needed amplification, but noises..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5484" PostHistoryTypeId="2" PostId="3180" RevisionGUID="1f3f279c-f32c-4952-9ee7-ca25fd191e07" CreationDate="2010-08-26T23:07:21.617" UserId="285" Text="I learned in college on Sound Designer II and in my last year our school got 2 full protools rigs (PT3 I think) and it was the coolest thing ever.  We could book out the school studios at any time around the clock so I spent many all nighters playing with the gear, since the teachers had as much expirience on PT as the students did (little to none) we had to figure it all out for ourselves.  Best way to learn in someways.&#xD;&#xA;&#xD;&#xA;Then I got my first job in a studio that was using Sonic Solutions.  The system had a de-noise algorithm light years ahead of anything else at the time (you can still get it as a plugin for PT I think) but was over the top complicated compared to PT at the time.  Got to work on some criminal trials using the Sonic solutions to clean up undercover recordings by the police.  Quickly the Sonic Solutions was replaced at the studio by PT and I have been working on it full time ever since.&#xD;&#xA; &#xD;&#xA;Things I don't miss about Protools past:&#xD;&#xA;-Only one level of undo&#xD;&#xA;-No auto saving&#xD;&#xA;-When you could only send a track to one output or Aux at a time&#xD;&#xA;-No stereo tracks.  Had to use two mono tracks pan them hard and then group the tracks to make them link to each other.&#xD;&#xA;-Before instrument tracks came along midi was much more convoluted&#xD;&#xA;-Having to shut down the computer everytime you wanted to change SCSI drives&#xD;&#xA;&#xD;&#xA;Give me some time and I can come up with a bunch more I bet.  &#xD;&#xA;  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5485" PostHistoryTypeId="5" PostId="3180" RevisionGUID="d7a9d3a6-2efb-4a48-b311-f069930c01af" CreationDate="2010-08-26T23:25:56.667" UserId="285" Comment="added 12 characters in body; added 50 characters in body; deleted 51 characters in body" Text="I learned in college on Sound Designer II and in my last year our school got 2 full protools rigs (PT3 I think) and it was the coolest thing ever.  We could book out the school studios at any time around the clock so I spent many all nighters playing with the gear, since the teachers had as much expirience on PT as the students did (little to none) we had to figure it all out for ourselves.  Best way to learn in someways.&#xD;&#xA;&#xD;&#xA;Then I got my first job in a studio that was using Sonic Solutions.  The system had a de-noise algorithm light years ahead of anything else at the time (you can still get it as a plugin for PT I think) but was over the top complicated compared to PT at the time.  Got to work on some criminal trials using the Sonic solutions to clean up undercover recordings by the police.  Quickly the Sonic Solutions was replaced at the studio by PT and I have been working on it full time ever since.&#xD;&#xA;&#xD;&#xA;Things I don't miss about Protools past:&#xD;&#xA;&#xD;&#xA;-Only one level of undo&#xD;&#xA;&#xD;&#xA;-No auto saving&#xD;&#xA;&#xD;&#xA;-When you could only send a track to one output or Aux at a time&#xD;&#xA;&#xD;&#xA;-No stereo tracks.  Had to use two mono tracks pan them hard and then group the tracks to make them link to each other.&#xD;&#xA;&#xD;&#xA;-Before instrument tracks came along midi was much more convoluted&#xD;&#xA;&#xD;&#xA;-Having to shut down the computer everytime you wanted to change SCSI drives&#xD;&#xA;&#xD;&#xA;Give me some time and I can come up with a bunch more I bet.  &#xD;&#xA;  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5486" PostHistoryTypeId="5" PostId="3180" RevisionGUID="fd3dabb9-834a-4c19-bf0f-607209b3edb7" CreationDate="2010-08-26T23:31:46.633" UserId="285" Comment="added 44 characters in body; deleted 42 characters in body" Text="I learned in college on Sound Designer II and in my last year our school got 2 full protools rigs (PT3 I think) and it was the coolest thing ever.  We could book out the school studios at any time around the clock so I spent many all nighters playing with the gear, since the teachers had as much expirience on PT as the students did (little to none) we had to figure it all out for ourselves.  Best way to learn in someways.&#xD;&#xA;&#xD;&#xA;Then I got my first job in a studio that was using Sonic Solutions.  The system had a de-noise algorithm light years ahead of anything else at the time (you can still get it as a plugin for PT I think) but was over the top complicated compared to PT at the time.  Got to work on some criminal trials using the Sonic solutions to clean up undercover recordings by the police.  Quickly the Sonic Solutions was replaced at the studio by PT and I have been working on it full time ever since.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Things I don't miss about Protools past:&#xD;&#xA;&#xD;&#xA;-Only one level of undo&#xD;&#xA;&#xD;&#xA;-No auto saving&#xD;&#xA;&#xD;&#xA;-When you could only send a track to one output or Aux at a time&#xD;&#xA;&#xD;&#xA;-No stereo tracks.  Had to use two mono tracks pan them hard and then group the tracks to make them link to each other.&#xD;&#xA;&#xD;&#xA;-Before instrument tracks came along midi was much more convoluted&#xD;&#xA;&#xD;&#xA;-Having to shut down the computer everytime you wanted to change SCSI drives&#xD;&#xA;&#xD;&#xA;Give me some time and I can come up with a bunch more I bet.  &#xD;&#xA;  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5487" PostHistoryTypeId="2" PostId="3181" RevisionGUID="327a4424-7744-499b-bac9-d6d0964dd90a" CreationDate="2010-08-27T00:52:12.287" UserId="6411" Text="This was a great question, Jay. I had to take my time to really think about this one.  Mulling over all the movies that I had seen before I knew I wanted into the biz. Trying to figure out which ones stood out and why. I kept coming back to these two:&#xD;&#xA;&#xD;&#xA;**THE SOUND:** The score of Fantasia&#xD;&#xA;&#xD;&#xA;**THE EFFECT:** Sound really *can* influence picture. This one is a bit of a cheat because, obviously, we're not talking about sound design here, we're talking score. But if anyone ever asks me of an example of sound influencing the direction of picture, this is mine. Sadly, this has yet to find it's way into my work specifically, it's more of an inspiration of what has yet to be. But I haven't given up hope.&#xD;&#xA;&#xD;&#xA;**THE SOUND:** The Train from the Restaurant Scene in The Godfather&#xD;&#xA;&#xD;&#xA;**THE EFFECT:** This one has gotten a lot of write ups over the years (which may be why it keeps coming to mind), but I think for good reason. It's set up fantastically.  I'd seen The Godfather many times before I'd really realized the effectiveness of the choices that were made in the scene. I still can't say that I'd be as daring as to play back the train that loud, but it does work so well. As the train had already been established in the scene a couple times I remember watching it with the thought of, &quot;oh this is the opportune moment. With the train passing right overhead, less people would be prone to hear the gunshot. His getaway will be clean...&quot; I was caught in the moment of the story, never fully realizing that *the sound of the train ends with the first shot.* What in fact I was always feeling, was this inner motivation of the character. The rush and frenzy of emotion and realization of persona. What I eventually realized was that even though on the surface it may appear straightforward, the sound of a train isn't always a train." ContentLicense="CC BY-SA 2.5" />
  <row Id="5488" PostHistoryTypeId="2" PostId="3182" RevisionGUID="bbb8e812-aec0-4069-8e76-a8a9851466a6" CreationDate="2010-08-27T01:28:01.603" UserDisplayName="user49" Text="I have a film project later in the year that will require ambience recording in Samoa in high humidity - I'd appreciate any advice of potential issues from any similar experiences?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5489" PostHistoryTypeId="1" PostId="3182" RevisionGUID="bbb8e812-aec0-4069-8e76-a8a9851466a6" CreationDate="2010-08-27T01:28:01.603" UserDisplayName="user49" Text="Advice for recording in high humidity" ContentLicense="CC BY-SA 2.5" />
  <row Id="5490" PostHistoryTypeId="3" PostId="3182" RevisionGUID="bbb8e812-aec0-4069-8e76-a8a9851466a6" CreationDate="2010-08-27T01:28:01.603" UserDisplayName="user49" Text="&lt;ambience&gt;&lt;humidity&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5493" PostHistoryTypeId="2" PostId="3184" RevisionGUID="5729a023-3470-49e7-b0da-e1a29f4e8c6c" CreationDate="2010-08-27T01:57:42.263" UserId="6411" Text="So a new project hit my desk today. It's a doc about dinos, so I'm a little excited. I'll be trying some of the Dino [hints][1], [tips][2], and [tricks][3] that you all have already [shared][4]. But there's one aspect that has me a little concerned. In one scene they make a turn in the story about how the cold-blooded lizard T-Rex was actually more of a warm-blooded bird. Now this isn't brand new news, and it certainly doesn't make T-Rex any less of a scary beast. But I'm wondering, should it make a difference in how T-Rex vocalizes?&#xD;&#xA;&#xD;&#xA;Now, I've yet to talk to the director to see if they actually want that info to change the vocal quality of the T-Rex (that's tomorrow morning's call). But I wanted to get a head start assuming a positive answer and am trying to brainstorm about how I could tackle this. Besides I think it's an interesting dilemma. And what better place to problem solve sound design, right? &#xD;&#xA;&#xD;&#xA;So what kind of ideas do you guys have about shifting that perspective of T-Rex's nature within a shot.  One moment he's standing tall, scaly skin stretching as he lets out a throaty roar, the next he's low and streamlined, head and tail in alignment, covered in a feathery fur belting out another roar. How would you approach that change in vocalizations?&#xD;&#xA;&#xD;&#xA;To me, the obvious first step is changing the fundamental creature sounds that form the vocalizations. Growls, grunts and roars shift more toward coos, squawks, and calls. Also, they speak of the evidence of a lighter bone structure, which makes me think of changing resonance and pitch. Perhaps I could use the previous roar as an element with a raised formant? Or as a modulator for vocoding? Is it out of the question to completely change the character of the vocalization? I mean, they just put feathers on T-Rex... &#xD;&#xA;&#xD;&#xA;I'm just brainstorming here, you guys want to help me out?&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2045/creating-sounds-for-a-t-rex&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/934/jurassic-park-classic-roar&#xD;&#xA;  [3]: http://socialsounddesign.com/questions/2098/big-stomping-sound&#xD;&#xA;  [4]: http://socialsounddesign.com/questions/965/tiny-footsteps-foley" ContentLicense="CC BY-SA 2.5" />
  <row Id="5494" PostHistoryTypeId="1" PostId="3184" RevisionGUID="5729a023-3470-49e7-b0da-e1a29f4e8c6c" CreationDate="2010-08-27T01:57:42.263" UserId="6411" Text="The Warm-Blooded Cold-Blooded-Killer Sounds Like ______?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5495" PostHistoryTypeId="3" PostId="3184" RevisionGUID="5729a023-3470-49e7-b0da-e1a29f4e8c6c" CreationDate="2010-08-27T01:57:42.263" UserId="6411" Text="&lt;t-rex&gt;&lt;creature-vocalizations&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5496" PostHistoryTypeId="2" PostId="3185" RevisionGUID="37e7e308-5325-42ae-a62d-a90a62f84038" CreationDate="2010-08-27T05:01:30.457" UserId="130" Text="I guess it all started watching Tom and Jerry cartoons. I just love those old stuff!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5497" PostHistoryTypeId="2" PostId="3186" RevisionGUID="ebef8b77-be0d-440e-beec-f7aa5f7c1e73" CreationDate="2010-08-27T05:04:54.520" UserId="40" Text="I live in Florida, so I'm close to an expert on this...&#xD;&#xA;&#xD;&#xA;I know that Schoeps stuff doesn't like humidity.  Starts making this high pitch &quot;whining&quot; noise that won't stop till you blow dry them off.&#xD;&#xA;&#xD;&#xA;MKH416s, 816s, 800s are all great in humidity.  Ric Viers has a video where he literally has water condensing on a Rode NTG3 and it still worked great (NTG3 sounds a lot like a 416).&#xD;&#xA;&#xD;&#xA;The biggest thing you want to do is let your mics warm up (like you would a camera or your eye glasses).  If you go from cold AC to hot and humid, you'll get condensation.  Let the mics warm up for a while before you plug them in, or you might have some problems. Bring some towels with you to wipe down the outside of the mics in cases of extreme condensation.&#xD;&#xA;&#xD;&#xA;In most cases, mics are fairly resilient to humidity (especially dynamics).  What mics will you be using?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5498" PostHistoryTypeId="2" PostId="3187" RevisionGUID="1b44a0b0-00a1-4713-bec7-f03f72141396" CreationDate="2010-08-27T05:09:14.420" UserId="40" Text="I'm guessing she doesn't have the DV Toolkit or Complete Production Toolkit.  Without one of these, Pro Tools LE won't read SMPTE Timecode.&#xD;&#xA;&#xD;&#xA;Do you know whether or not she has one of these?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5499" PostHistoryTypeId="2" PostId="3188" RevisionGUID="23cf69c9-7422-422d-9772-e1f904ad5874" CreationDate="2010-08-27T05:47:12.283" UserId="529" Text="Can anyone make a good suggestion for a good pitchshifter. The standard on is great if you want to 'adulterate' the sound in question but I'd quite like one that keeps the sound reasonably intact when taken to extremes" ContentLicense="CC BY-SA 2.5" />
  <row Id="5500" PostHistoryTypeId="1" PostId="3188" RevisionGUID="23cf69c9-7422-422d-9772-e1f904ad5874" CreationDate="2010-08-27T05:47:12.283" UserId="529" Text="The best Protools pitchshifter" ContentLicense="CC BY-SA 2.5" />
  <row Id="5501" PostHistoryTypeId="3" PostId="3188" RevisionGUID="23cf69c9-7422-422d-9772-e1f904ad5874" CreationDate="2010-08-27T05:47:12.283" UserId="529" Text="&lt;pitch-shifting&gt;&lt;pro-tools&gt;&lt;quality&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5502" PostHistoryTypeId="2" PostId="3189" RevisionGUID="6df75f88-7680-48c3-b038-dc1dfb32818a" CreationDate="2010-08-27T06:45:53.363" UserId="10" Text="That not only depends on the plugin. It depends on the file... If you have a good quality file, it will work great with pitch/time processes.. Btw, the integrated pitch/time plugin of Pro Tools is good enough.. I still use it even having tools from other companies.. &#xD;&#xA;&#xD;&#xA;Anyway, do some research on this site and you'll find a lot of info about that kind of tools ;-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5503" PostHistoryTypeId="2" PostId="3190" RevisionGUID="52b67278-5c1a-4398-a4f8-f00963ff5fc6" CreationDate="2010-08-27T06:59:45.810" UserId="465" Text="I'm editing a video just to do for a fun challenge, its of a rally car doing various manoeuvres and drifting, just using library material, no recordings I've made.  Was curious to know of any strategies or approaches people have when editing sound for a scene like that, or a chase scene.   One thing i'm struggling with is to make the sounds of the different cars in the library sound like they are only one car...  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5504" PostHistoryTypeId="1" PostId="3190" RevisionGUID="52b67278-5c1a-4398-a4f8-f00963ff5fc6" CreationDate="2010-08-27T06:59:45.810" UserId="465" Text="Editing Driving and Car Scenes" ContentLicense="CC BY-SA 2.5" />
  <row Id="5505" PostHistoryTypeId="3" PostId="3190" RevisionGUID="52b67278-5c1a-4398-a4f8-f00963ff5fc6" CreationDate="2010-08-27T06:59:45.810" UserId="465" Text="&lt;driving&gt;&lt;cars&gt;&lt;editing&gt;&lt;chase&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5506" PostHistoryTypeId="2" PostId="3191" RevisionGUID="a72a2601-0f42-47b7-8852-37a6d367fc75" CreationDate="2010-08-27T08:21:42.737" UserId="219" Text="If you have access to 192k recording it's great. @tim prebble blogged about [recording at higher sample rates][1] not so long ago. I believe this will make any plugin sound better, rather than a plugin making your sound good ;)&#xD;&#xA;&#xD;&#xA;The sounds feel livelier, probably simply because higher frequencies (even the ones you don't hear) are recorded with greater precision or even recorded at all. With more high frequencies in your original sound, if you pitch it down you will still have high frequencies in it and your pitched down sound will still sound natural.&#xD;&#xA;&#xD;&#xA;E.g. you record at 48k so the higher freq captured is 24k. You pitch that down one octave (0.5) and the highest freq will be 12k. If you had a 96k recording, it'd contain freqs up to 48k. Pitched down an octave that'd give a processed sound containing freqs still up to 24k.&#xD;&#xA;&#xD;&#xA;We only hear up to roughly 20k anyway, so **I guess** the pitched down sound would still sound &quot;natural&quot; because it doesn't seem to be lacking in the high-end. This is my interpretation. Now, the way the others put it is: &quot;DSP likes higher sample rate&quot;.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicofsound.co.nz/blog/why-use-high-sample-rates" ContentLicense="CC BY-SA 2.5" />
  <row Id="5507" PostHistoryTypeId="2" PostId="3192" RevisionGUID="d19445d9-bd4f-4345-bbbc-2488fb93f583" CreationDate="2010-08-27T08:22:10.880" UserId="168" Text="Are you talking about pitch shifting without altering the length of the file?&#xD;&#xA;&#xD;&#xA;I've recently been using iZotope Radius for Logic for all pitch shift/time compression-expansion. It sounds amazing! One of the best I've heard.&#xD;&#xA;&#xD;&#xA;Others also include: Serato Pitch n Time, SoundToys Speed, Prosoniq Time Factory &amp; Waves Time Shifter." ContentLicense="CC BY-SA 2.5" />
  <row Id="5508" PostHistoryTypeId="2" PostId="3193" RevisionGUID="de3fda03-62a9-4002-980e-e68e70f44219" CreationDate="2010-08-27T09:30:26.033" UserId="69" Text="Zplane Elastique Pitch also is a great (realtime) one.&#xD;&#xA;It has XY pad, so you can make interesting variations with it:&#xD;&#xA;&#xD;&#xA;http://products.zplane.de/index.php?page=elastiquepitch&#xD;&#xA;&#xD;&#xA;But as others said, high sample rates are best for glitch free pitchshifting.&#xD;&#xA;Unless you want glitch... :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5509" PostHistoryTypeId="2" PostId="3194" RevisionGUID="3e573cac-e460-4343-9102-396f20bc2081" CreationDate="2010-08-27T11:20:35.427" UserId="62" Text="Clearly a job for Paul Time Stretch, a pitch shifter and a Budgerigar! " ContentLicense="CC BY-SA 2.5" />
  <row Id="5510" PostHistoryTypeId="2" PostId="3195" RevisionGUID="8a01ff7a-9b8d-4241-b02c-0b1b9ecff46f" CreationDate="2010-08-27T12:04:13.260" UserId="432" Text="In that situation, where you're having trouble getting sounds to match, layering is going to be your friend. If you can find some elements to lay in underneath that will augment the actual sound, you'll at least have some commonalities between the multiple sounds that will help dupe the audience.&#xD;&#xA;&#xD;&#xA;Also, camera/perspective changes are where you'll want to put in the sounds with the most radical tonal changes, if they're all you have to work with. If you have those layered elements in there still, you will still have that connection to the previous sounds.  We are much more forgiving of sonic changes that occur with visual cuts than we are of ones that occur independent of the picture. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5511" PostHistoryTypeId="2" PostId="3196" RevisionGUID="7a8000c6-377f-4141-aadd-774966d3bb22" CreationDate="2010-08-27T12:13:01.437" UserId="432" Text="Maybe something along the lines of the sounds that Ostriches and Emus make, obviously scaled a little differently.&#xD;&#xA;&#xD;&#xA;There are some interesting examples here: http://www.soundboard.com/sb/Ostrich_sounds_audio_clip.aspx" ContentLicense="CC BY-SA 2.5" />
  <row Id="5512" PostHistoryTypeId="5" PostId="3191" RevisionGUID="d14444d2-f001-45d9-ad85-1f64dd54da51" CreationDate="2010-08-27T13:24:46.083" UserId="219" Comment="added 383 characters in body" Text="If you have access to 192k recording it's great. @tim prebble blogged about [recording at higher sample rates][1] not so long ago. I believe this will make any plugin sound better, rather than a plugin making your sound good ;)&#xD;&#xA;&#xD;&#xA;The sounds feel livelier, probably simply because higher frequencies (even the ones you don't hear) are recorded with greater precision or even recorded at all. With more high frequencies in your original sound, if you pitch it down you will still have high frequencies in it and your pitched down sound will still sound natural.&#xD;&#xA;&#xD;&#xA;E.g. you record at 48k so the higher freq captured is 24k. You pitch that down one octave (0.5) and the highest freq will be 12k. If you had a 96k recording, it'd contain freqs up to 48k. Pitched down an octave that'd give a processed sound containing freqs still up to 24k.&#xD;&#xA;&#xD;&#xA;We only hear up to roughly 20k anyway, so **I guess** the pitched down sound would still sound &quot;natural&quot; because it doesn't seem to be lacking in the high-end. This is my interpretation. Now, the way the others put it is: &quot;DSP likes higher sample rate&quot;.&#xD;&#xA;&#xD;&#xA;As @Shaun points out in his comment below, a higher resolution file will yield better results. This is because the DSP is applied to a better defined material, therefore the process works on smaller chunks of data and the artifacts it might generate are also smaller. Smaller artifacts have greater chances to be lost during the downsampling that ends the pitch shifting process.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicofsound.co.nz/blog/why-use-high-sample-rates" ContentLicense="CC BY-SA 2.5" />
  <row Id="5513" PostHistoryTypeId="2" PostId="3197" RevisionGUID="dcf8fe1f-182a-40e3-9c24-4493ccc1177a" CreationDate="2010-08-27T15:38:20.673" UserId="61" Text="Surprised no one has mentioned [Pitch n' Time][1] yet. Incredibly versatile, 3 algorithms for maximum flexibility, and features that allow the pitch to follow the time graph (varispeed) and a A/B time matching window a la [Vocalign][2]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://serato.com/pitchntime-pro&#xD;&#xA;  [2]: http://www.synchroarts.com/index.php?PAGEID=products&amp;ID=vocalign-pro-V4" ContentLicense="CC BY-SA 2.5" />
  <row Id="5514" PostHistoryTypeId="2" PostId="3198" RevisionGUID="f0a35078-acd4-4a27-abb4-586ef831b9e2" CreationDate="2010-08-27T17:01:57.553" UserId="40" Text="So I just mirrored 9 gigs of poly wav files (6 - 8 channel BWFs) from my Deva in 192k.  I'm not running PTHD at home, so I can't run PT in 192k at home.&#xD;&#xA;&#xD;&#xA;I can run Logic at home at 192k, but for some reason Logic doesn't like my poly wavs.  I've had this problem before, but I've never had to deal with it at 192k.  Logic is interpreting my files as surround files, so it brings all the channels into 1 track and assigns them to a surround panner.  Then it won't let me break them each out to separate channels.&#xD;&#xA;&#xD;&#xA;Any ideas?  Anyone run into this problem in Logic?  How did you rectify it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5515" PostHistoryTypeId="1" PostId="3198" RevisionGUID="f0a35078-acd4-4a27-abb4-586ef831b9e2" CreationDate="2010-08-27T17:01:57.553" UserId="40" Text="Using Poly Wav files in Logic Studio 9" ContentLicense="CC BY-SA 2.5" />
  <row Id="5516" PostHistoryTypeId="3" PostId="3198" RevisionGUID="f0a35078-acd4-4a27-abb4-586ef831b9e2" CreationDate="2010-08-27T17:01:57.553" UserId="40" Text="&lt;poly-wav&gt;&lt;logic&gt;&lt;pro-tools&gt;&lt;bwf&gt;&lt;192khz&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5517" PostHistoryTypeId="2" PostId="3199" RevisionGUID="bf1b0a6f-e7fb-4b57-a642-47dc8af41ddc" CreationDate="2010-08-27T17:14:49.717" UserId="432" Text="I've gotten some great feedback from people who participated in the Sound Design Challenge here, on Vimeo and on my website; but I wanted to find out if anyone watching from afar has any feedback as well. So, if you've been following what was going on, but didn't participate in this month's challenge, please let me know if you noticed anything that can be done better, that I should do more of, or maybe something I should add in the future.&#xD;&#xA;&#xD;&#xA;Thanks for all of your help. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5518" PostHistoryTypeId="1" PostId="3199" RevisionGUID="bf1b0a6f-e7fb-4b57-a642-47dc8af41ddc" CreationDate="2010-08-27T17:14:49.717" UserId="432" Text="Any feedback on the monthly Sound Design Challenge now that it's done?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5519" PostHistoryTypeId="3" PostId="3199" RevisionGUID="bf1b0a6f-e7fb-4b57-a642-47dc8af41ddc" CreationDate="2010-08-27T17:14:49.717" UserId="432" Text="&lt;competition&gt;&lt;community&gt;&lt;feedback&gt;&lt;skills-development&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5520" PostHistoryTypeId="2" PostId="3200" RevisionGUID="97946b9d-2414-4f9a-90e4-31cb6c314590" CreationDate="2010-08-27T17:49:41.527" UserId="6435" Text="My first DAW (in 1993) was a 24-track Sonic Solutions system --the first one that large east of the Mississippi river. It ran on a Quadra 950. If I remember right we had four 4GB drives that each cost $2000 and were each the size of a football. The next four studios I worked at (including the current one), I got the job primarily because I was one of the few guys in town who knew how to use Sonic. The NoNoise software was fantastic, years ahead of its time as AzimuthAudio said above. I did some forensic audio as well, plus I cleaned up lots of old-time radio programs like *The Shadow* and *Fibber McGee and Molly*. &#xD;&#xA;&#xD;&#xA;Around 2001 we moved to ProTools. Been on that ever since. At home I used Sonic Foundry's Vegas until I could afford a mac and ProTools LE.&#xD;&#xA;&#xD;&#xA;What I don't miss about computer audio in the early 90s? $27 blank CDs and computers that would freak out and burn you a coaster if you did *anything* else while the disc was burning." ContentLicense="CC BY-SA 2.5" />
  <row Id="5521" PostHistoryTypeId="2" PostId="3201" RevisionGUID="91366aae-5d7f-4f5e-a302-cf23cfaded9e" CreationDate="2010-08-27T18:18:57.390" UserId="317" Text="I've made a blog with already two articles including patches pics and soundcloud samples about Kyma at this page:&#xD;&#xA;[http://jedsound.com/blog/][1]&#xD;&#xA;&#xD;&#xA;Have fun.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://jedsound.com/blog/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5522" PostHistoryTypeId="2" PostId="3202" RevisionGUID="7d22fe8e-4121-4a87-ac93-a1f27af59887" CreationDate="2010-08-27T18:32:35.073" UserId="6411" Text="The ones I turn to are Waves' SoundShifter/Doubler or Digi's Time Shift. I just downloaded Paul's Extreme Stretch thanks to [MtL's recommendation][1]. I've just poked around in it for an afternoon, but I don't think there's a &quot;reasonably in tact mode&quot; in it. Makes great sounds though.  Also there are a few more answers [over here][2], my favorite of which was [SuperVP][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/42/what-is-your-software-secret-weapon&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/1928/whats-your-preferred-method-of-pitch-shifting&#xD;&#xA;  [3]: http://bit.ly/da51p7" ContentLicense="CC BY-SA 2.5" />
  <row Id="5523" PostHistoryTypeId="2" PostId="3203" RevisionGUID="da4636b5-ee39-4714-92bb-5dd18bcf3094" CreationDate="2010-08-27T18:49:43.763" UserId="444" Text="I was dissapointed I didn't have time to do it this month.  Even more so when I heard what other people had done, because for the most part I liked what I heard.  &#xD;&#xA;&#xD;&#xA;I remember looking at your site and seeing a comment from a teacher that was against you putting the time stretching and pitch shifting limitation on the challenge.  While I agreed with his arguement, I felt he was wrong in this case.  It defeated the point of it being a challenge.&#xD;&#xA;&#xD;&#xA;I LIKED the idea of putting limits on what you can use.  It FORCES those participating to be more creative, and forces us to think a bit more on something that we might take for granted.  It's a good excersise, we may find a solution we wouldn't find otherwise.  Then we can take what we learned and apply it to our daily work.&#xD;&#xA;&#xD;&#xA;At least thats the way I can see the challenges effecting me.  I look forward to next month." ContentLicense="CC BY-SA 2.5" />
  <row Id="5526" PostHistoryTypeId="2" PostId="3206" RevisionGUID="54286e3f-2902-45c9-9853-f009c0fe368b" CreationDate="2010-08-27T22:29:41.690" UserDisplayName="user49" Text="For me, starting film sound post with a locked picture cut is practically unheard of these days, even on lower budget films. And big budget and/or VFX films tend to make picture changes right through the predubs and the final mix. So what do you use to conform your ProTools session to new picture cuts? &#xD;&#xA;&#xD;&#xA;I'll add my answer below but am interested in any other apps and/or strategies to deal with complex sessions...&#xD;&#xA;&#xD;&#xA;I use Conformalizer &#xD;&#xA;http://www.maggot.co.nz/software/conformalizer.shtml&#xD;&#xA;&#xD;&#xA;My approach is to always work in a single PT session with all six reels (eg R1 @01.00.00.00 R2 @02.00.00.00 etc) so I select all tracks including video, markers &amp; audio &amp; then cut/paste all six reels so R1 starts @07.00.00.00&#xD;&#xA;&#xD;&#xA;That way I can tell Confommalizer to source the material starting from 07.00.00.00 and it recuts it back into sync via the changelist EDL to 01.00.00.00&#xD;&#xA;&#xD;&#xA;Apart from conforming the audio into the new sync, it is also VERY valuable to cut the QT track, as then you can switch between the new QT and the old conformed QT tracks &amp; visually verify any sync issues or VFX updates....&#xD;&#xA;&#xD;&#xA;It also means if any material got lost between the cuts, I can skip down to 7+ hours &amp; review how it used to be and access the original material...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I know some people use Virtual Katy or EdiTrace - any experiences?&#xD;&#xA;Not sure what else is available/works well? FWIW Conformalizer works incredibly well!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5527" PostHistoryTypeId="1" PostId="3206" RevisionGUID="54286e3f-2902-45c9-9853-f009c0fe368b" CreationDate="2010-08-27T22:29:41.690" UserDisplayName="user49" Text="What do you use to Conform to new picture cuts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5528" PostHistoryTypeId="3" PostId="3206" RevisionGUID="54286e3f-2902-45c9-9853-f009c0fe368b" CreationDate="2010-08-27T22:29:41.690" UserDisplayName="user49" Text="&lt;conform&gt;&lt;film&gt;&lt;picture-editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5529" PostHistoryTypeId="2" PostId="3207" RevisionGUID="db88e4ef-86c2-4222-bfa4-7d196c028e52" CreationDate="2010-08-27T22:44:19.030" UserDisplayName="user49" Text="I always work thinking in terms of stems, and have sets of source tracks named for each set of stems. So for editing a car chase, I would have a set of (10-32) tracks and a stem dedicated to each of: &#xD;&#xA;&#xD;&#xA; - Vehicle movement (tyre movement, screeches, suspension etc)&#xD;&#xA; - Exterior vehicle moves&#xD;&#xA; - Onboard vehicle&#xD;&#xA; - Interior vehicle&#xD;&#xA;&#xD;&#xA;This helps clarify cutting sound as per the picture cuts. It depends on the context and picture cuts of the film as to how strongly you want to make the sequence 'smooth' or 'cutty' - it can sometimes be more dramatic to accentuate picture cuts/perspective changes...&#xD;&#xA;&#xD;&#xA;Once you have the sequence working it can be valuable to solo a stem/set of tracks eg vehicle movement, and focus soley on it to make it more exciting/dynamic/interesting. Tyres do not only make sound when they screech - watch a great car chase film like Ronin and listen to the different tyre sounds for different surfaces... Think about G Forces on the car interior as its moving fast, when it skids around a corner the suspension may be under a lot of load as well.&#xD;&#xA;&#xD;&#xA;As for making different car motor sounds work for a single car, that is not a process I would ever pursue. Good vehicle editing is like good ADR editing: you start with a good performance! For a film, access to vehicles is something to insist on.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5531" PostHistoryTypeId="2" PostId="3209" RevisionGUID="817534ca-73bb-4407-8e10-a94fee44e0b1" CreationDate="2010-08-27T23:33:29.773" UserId="61" Text="[Virtual Katy][1] works very well for us in the feature film side of things, although for many years we used [Change Note Assistant][2] with good results, as well.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.virtualkaty.com/&#xD;&#xA;  [2]: http://www.editorsguild.com/v2/magazine/Newsletter/NovDec03/novdec03_change_note_asst.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="5532" PostHistoryTypeId="2" PostId="3210" RevisionGUID="65792668-c203-46a7-8d72-f2823ccd4ac3" CreationDate="2010-08-27T23:40:45.577" UserId="315" Text="[Titan][1] works great. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Sometimes I use it in combination with Virtual Katy. Surprisingly sometimes one works better than the other depending on the material.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.synchroarts.com/products/home.php?ID=titan" ContentLicense="CC BY-SA 2.5" />
  <row Id="5533" PostHistoryTypeId="2" PostId="3211" RevisionGUID="1a9a9307-4e8c-4d1c-825a-abe8c5525743" CreationDate="2010-08-27T23:49:52.690" UserId="18160" Text="Those of you who have IMDB sites, is it worth it?&#xD;&#xA;&#xD;&#xA;I counted and I've done 6 big jobs where I can be credited on there but I don't know how and don't know if it's worth it.&#xD;&#xA;&#xD;&#xA;Care to enlighten?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5534" PostHistoryTypeId="1" PostId="3211" RevisionGUID="1a9a9307-4e8c-4d1c-825a-abe8c5525743" CreationDate="2010-08-27T23:49:52.690" UserId="18160" Text="How many jobs have you gotten from your IMDB site?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5535" PostHistoryTypeId="3" PostId="3211" RevisionGUID="1a9a9307-4e8c-4d1c-825a-abe8c5525743" CreationDate="2010-08-27T23:49:52.690" UserId="18160" Text="&lt;imdb&gt;&lt;site&gt;&lt;credit&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5536" PostHistoryTypeId="5" PostId="3211" RevisionGUID="4e2b147e-94b5-40c2-a933-342d47e46dd4" CreationDate="2010-08-28T00:20:54.107" UserId="18160" Comment="deleted 79 characters in body" Text="Those of you who have IMDB sites, is it worth it?&#xD;&#xA;&#xD;&#xA;Have you gotten job opportunities from it?&#xD;&#xA;&#xD;&#xA;Care to enlighten?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5537" PostHistoryTypeId="2" PostId="3212" RevisionGUID="3311ff4e-2699-4190-86c7-9d5b7c84ec87" CreationDate="2010-08-28T02:11:11.467" UserId="61" Text="Not enough....." ContentLicense="CC BY-SA 2.5" />
  <row Id="5538" PostHistoryTypeId="2" PostId="3213" RevisionGUID="fa0286f8-9b7a-47a8-a9b9-1594f9e32d8c" CreationDate="2010-08-28T02:28:52.413" UserId="253" Text="I'm not sure that anybody would contact you from seeing your imdb page alone. It's pretty important for freelancers though; potential clients tend to check you out on there and see what you've done. I'd say it's a good idea to keep it up to date just in case it helps you out one day." ContentLicense="CC BY-SA 2.5" />
  <row Id="5539" PostHistoryTypeId="5" PostId="3203" RevisionGUID="064feb39-cfc1-4190-ab26-21ad56d023e5" CreationDate="2010-08-28T02:41:01.950" UserId="61" Comment="spelling" Text="I was dissapointed I didn't have time to do it this month.  Even more so when I heard what other people had done, because for the most part I liked what I heard.  &#xD;&#xA;&#xD;&#xA;I remember looking at your site and seeing a comment from a teacher that was against you putting the time stretching and pitch shifting limitation on the challenge.  While I agreed with his arguement, I felt he was wrong in this case.  It defeated the point of it being a challenge.&#xD;&#xA;&#xD;&#xA;I LIKED the idea of putting limits on what you can use.  It FORCES those participating to be more creative, and forces us to think a bit more on something that we might take for granted.  It's a good excersise, we may find a solution we wouldn't find otherwise.  Then we can take what we learned and apply it to our daily work.&#xD;&#xA;&#xD;&#xA;At least thats the way I can see the challenges affecting me.  I look forward to next month." ContentLicense="CC BY-SA 2.5" />
  <row Id="5540" PostHistoryTypeId="2" PostId="3214" RevisionGUID="72718199-086c-4b6b-bd2d-f3ae098b2ffc" CreationDate="2010-08-28T02:46:25.403" UserId="61" Text="One stigma you're obviously going to have to deal with is the public perception of what a T-Rex sounds like - meaning, the one that was made famous by Gary Rydstrom in Jurassic Park. Anything that you do differently is going to go against the grain of what your audience is expecting.&#xD;&#xA;&#xD;&#xA;That being said, go ahead and buck the system. Gary Rydstrom wasn't present in the Jurassic era, so he doesn't know what it sounded like, either; he only presented a very compelling sound that fit the visual like a glove.&#xD;&#xA;&#xD;&#xA;PS&gt; I love Rydstrom's work - clearly he is one of the geniuses of our industry." ContentLicense="CC BY-SA 2.5" />
  <row Id="5541" PostHistoryTypeId="2" PostId="3215" RevisionGUID="58337ad8-e0d5-4aaa-b332-c1945c7bd892" CreationDate="2010-08-28T03:58:07.067" UserDisplayName="user49" Text="I sincerely doubt anyone finds &amp; hires a sound editor or designer solely by browsing IMDB, that isn't how people make important decisions about who they will potentially collaborate with. But is it important? Definitely! Even if you aren't freelance, who knows what the future holds and you don't want to leave it until you leave your job or whatever to start establishing such things.... When I pitched to do 30 Days of Night I had to send over a proposed crew list to SONY with IMDB links for every member of the team including assistant sound editors, foley editor etc... and that right there is why IMDB is important: credits are officially verified before they appear on IMDB. It's not about bragging, it is about being credited for the work you have done, the same as the credit roller on the end of a film is. And for a director or producer who is considering working with you it is an efficient way of checking out your work history even down to watching trailers &amp; seeing the total budget of projects you have done. (I pay for IMDBPro as it lets me see what producers &amp; directors see ie the total budget on a film, the box office etc as well as contact info for people... and the custom resume allow you to arrange your credit list in the order you prefer, since the main IMDB credit list is chronological.)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5542" PostHistoryTypeId="5" PostId="3212" RevisionGUID="98ca2824-fe0c-4da6-8a93-c440c1314785" CreationDate="2010-08-28T05:07:37.350" UserId="61" Comment="additional information" Text="Not enough.....but seriously, folks....&#xD;&#xA;&#xD;&#xA;[imdb.com][1] has become my resumé. I no longer keep a paper resumé like I used to, but direct potential employers and clients there instead. I think it's easier for all parties; easier for me to update, easier for them to peruse at their leisure, forward to colleagues, etc.&#xD;&#xA;&#xD;&#xA;I've had plenty of referrals from imdb (mostly word-of-mouth referrals that were bolstered by my credits on that page) but actual hired jobs? That comes only from a successful face-to-face meeting ending with a handshake.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/name/nm0421174/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5543" PostHistoryTypeId="2" PostId="3216" RevisionGUID="9ce262cc-aaab-45d3-88d6-82e05946ff1a" CreationDate="2010-08-28T05:32:18.347" UserId="61" Text="So I have this [recorder][1] that likes to eat AA batteries for breakfast. I need to buy something way more efficient, but it *may* come at a cost. But must it?&#xD;&#xA;&#xD;&#xA;The setup I'm looking at right now is a [IDX][2] Lithium-ion battery coupled to the recorder via a cap that leads to the DC power in. Pretty standard setup; these batteries are used to power all sorts of pro gear, such as video cameras and audio mixers. Cost is an issue, though, as these batteries can cost up to $200 each, and the chargers are nearly $400.&#xD;&#xA;&#xD;&#xA;So who's figured out a cheaper way of doing this? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tascam.com/products/dr-680.html&#xD;&#xA;  [2]: http://www.idxtek.com/products/NP-Style" ContentLicense="CC BY-SA 2.5" />
  <row Id="5544" PostHistoryTypeId="1" PostId="3216" RevisionGUID="9ce262cc-aaab-45d3-88d6-82e05946ff1a" CreationDate="2010-08-28T05:32:18.347" UserId="61" Text="Battery options for your recording rig" ContentLicense="CC BY-SA 2.5" />
  <row Id="5545" PostHistoryTypeId="3" PostId="3216" RevisionGUID="9ce262cc-aaab-45d3-88d6-82e05946ff1a" CreationDate="2010-08-28T05:32:18.347" UserId="61" Text="&lt;field-recording&gt;&lt;portable-recorder&gt;&lt;battery&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5546" PostHistoryTypeId="2" PostId="3217" RevisionGUID="e59535c3-537b-4700-876f-be550ddacff1" CreationDate="2010-08-28T06:14:13.487" UserId="40" Text="IDX batts are the way to go.  They're moderately expensive to get into (well, expensive is a very relative term once you start talking location sound), but sooooo worth it.  I'd be dead in the water without them...  We have 12 of em with a charger.&#xD;&#xA;&#xD;&#xA;When you consider how much you spend on AA's over the course of a year, you'll find it pretty much evens out over time.  Good stuff.&#xD;&#xA;&#xD;&#xA;The only other way you might consider is grabbing a ton of AA Lithium rechargeables.  You'll still be going through them, just not as fast as alkalines, plus you don't have to throw them away.  It's going to be cheaper than the IDX stuff, but not quite as convenient and hot-swappable.&#xD;&#xA;&#xD;&#xA;I'm guessing your recorder has an auto-switching power supply.  (If it does...) If you have an IDX batt with the Frezzi adapter, you can pull the IDX when it's dead (and if you have AAs on standby in the recorder), you can swap batteries even in the middle of recording.  I do this all the time.  It's saved me a few times..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5547" PostHistoryTypeId="2" PostId="3218" RevisionGUID="924777f2-d096-4528-81c3-06ffcb8e6c5c" CreationDate="2010-08-28T06:15:17.280" UserDisplayName="user49" Text="I did work experience when at Film School in 1990 with a guy who used Sound Tools (Sound Designer with stereo i/o) chasing LTC off video deck and in 1991 I went to work for him just as he bought a ProTools 442 interface - it shipped with ProDECK and ProEDIT which were supposed to talk to each other (ie record in ProDECK, switch to ProEDIT to edit) but they never worked.... Each time they shipped a new version we would test it as we were desperate to stop recording foley to multitrack reel to reel and eventually it became stable enough to use... Bought a Nubus 16 track PT TDM system a few years later... now own a 192 track PT HD2 system &amp; a couple of LE systems = 20 years of coercing ProTools into shaping what I hear in my head!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5548" PostHistoryTypeId="2" PostId="3219" RevisionGUID="5218dbd9-7b9d-44ac-a0d4-30441e130a2d" CreationDate="2010-08-28T10:07:40.917" UserId="62" Text="I love the site and am on there almost every day. However my list is like a small snapshot of my work. I have 15 credits listed on there but my real list is 5 times that in reality. It's a great resource but not a complete one. I wonder what the percentage is? How many shows/films are on there compared to how many have been made?&#xD;&#xA;&#xD;&#xA;I'm currently job hunting and have made sure there's a link on my applications to my IMDB as in my view there's a certain prestige to being listed there. I've no way to tell but I'm hoping that it'll help me in my quest." ContentLicense="CC BY-SA 2.5" />
  <row Id="5549" PostHistoryTypeId="2" PostId="3220" RevisionGUID="bf241d74-525d-42c1-af12-20dd9fa237f4" CreationDate="2010-08-28T10:22:35.327" UserId="532" Text="Yes, me too for the Zoom H1. I think the new design looks fantastic. However, Amazon is not selling them until September so we'll just have to wait! &#xD;&#xA;&#xD;&#xA;The [Zoom H2 handy recorder][1] has been a great friend of mine for the last couple of years and I'll be sad to see it go but the new Zoom H1 will no doubt make me happy happy happy! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hubpages.com/hub/Zoom-H2-Handy-Portable-Stereo-Field-Recorder" ContentLicense="CC BY-SA 2.5" />
  <row Id="5550" PostHistoryTypeId="2" PostId="3221" RevisionGUID="7ce6b219-9c7d-4040-832c-90255785170c" CreationDate="2010-08-28T11:34:35.743" UserId="62" Text="I ordered a H1 from Jigsaw in the UK. I then got in touch with ZoomUK as it'd been a couple of weeks. They're getting the stock from Japan at the end of Aug, start of Sept so not long to wait now!&#xD;&#xA;&#xD;&#xA;Can't wait for my new toy." ContentLicense="CC BY-SA 2.5" />
  <row Id="5551" PostHistoryTypeId="2" PostId="3222" RevisionGUID="126ffca0-e0c3-440c-93ef-dff9bc4e59ab" CreationDate="2010-08-28T11:45:04.200" UserId="400" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;So I'm starting work on some audio reskins of game trailers, both for practice and to create some content for my resume. I was wondering how you guys go about planning what you're going to do?&#xD;&#xA;&#xD;&#xA;For example, you have a 2 minute video (or say, a scene in a movie) you have to create the sound design for. Do you make a list of all the sounds you want to make? Do you split the sounds into synthesized, sampled and recorded? How do you break down what can seem a bit like a monumental task?&#xD;&#xA;&#xD;&#xA;Thanks guys!&#xD;&#xA;Joe" ContentLicense="CC BY-SA 2.5" />
  <row Id="5552" PostHistoryTypeId="1" PostId="3222" RevisionGUID="126ffca0-e0c3-440c-93ef-dff9bc4e59ab" CreationDate="2010-08-28T11:45:04.200" UserId="400" Text="Planning process - What's your workflow?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5553" PostHistoryTypeId="3" PostId="3222" RevisionGUID="126ffca0-e0c3-440c-93ef-dff9bc4e59ab" CreationDate="2010-08-28T11:45:04.200" UserId="400" Text="&lt;workflow&gt;&lt;planning&gt;&lt;project-management&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5554" PostHistoryTypeId="2" PostId="3223" RevisionGUID="52bb2724-75a3-4f95-9dea-25af110b9316" CreationDate="2010-08-28T11:49:22.400" UserId="432" Text="Has anyone used both IDX and Anton Bauer?  We have Anton Bauer gear at work, so I don't think I'll ever get anyone to switch over, but I'd be interested in any brief comparison reviews anyone could provide.&#xD;&#xA;&#xD;&#xA;The Anton Bauers work great by the way, and the warranty and customer service have been amazing over the years as well.  I believe they are more expensive than IDX though." ContentLicense="CC BY-SA 2.5" />
  <row Id="5555" PostHistoryTypeId="2" PostId="3224" RevisionGUID="ecff2144-f8b9-4588-8952-5c6c54c443b3" CreationDate="2010-08-28T13:59:57.120" UserId="208" Text="There is a specific forum at taperssection.com covering batteries etc. for field recorders.&#xD;&#xA;http://taperssection.com/index.php?PHPSESSID=824fbfd3bf61e5af8f3883cf23ad8736&amp;board=4.0&#xD;&#xA;&#xD;&#xA;Saw a thread months ago, where someone talked about using portable DVD player batteries, and Wally World ones, that lasted for a day.&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 2.5" />
  <row Id="5556" PostHistoryTypeId="2" PostId="3225" RevisionGUID="f31c5136-dd81-40ac-8b02-201e15e628e4" CreationDate="2010-08-28T15:17:35.763" UserId="298" Text="Sometimes to get original and really unique sounds that might came out of unexpected sources (like circuit bent devices, tapes, and all things not positioned for pro quality output) we need to accept their poor quality in understanding of industry standarts, and grab it just for its exclusiveness.&#xD;&#xA;&#xD;&#xA;So whats your deal - standart sounds from quality source or go beyound to catch uniqueness?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5557" PostHistoryTypeId="1" PostId="3225" RevisionGUID="f31c5136-dd81-40ac-8b02-201e15e628e4" CreationDate="2010-08-28T15:17:35.763" UserId="298" Text="Uniqueness or quality?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5558" PostHistoryTypeId="3" PostId="3225" RevisionGUID="f31c5136-dd81-40ac-8b02-201e15e628e4" CreationDate="2010-08-28T15:17:35.763" UserId="298" Text="&lt;poll&gt;&lt;recording&gt;&lt;choice&gt;&lt;quality&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5559" PostHistoryTypeId="2" PostId="3226" RevisionGUID="838736c9-d5e9-4d99-bb5f-be154b8b9dd3" CreationDate="2010-08-28T15:33:20.193" UserId="444" Text="I spot each scene.&#xD;&#xA;&#xD;&#xA;I'll watch it with absolutely no sound.  I'll write down everything I see that needs a sound.  I break up foley to footsteps, clothing, and props.  Then I'll write down any atmosphere, nature, roomtones, crowds etc. that are needed.  Then I'll put down specific sound events... such as anything that a character in the screen responds to, but isn't in the shot, and things a director may want in there specificly.&#xD;&#xA;&#xD;&#xA;Once I have my lists, I'll break down what I think I need to record, and what I can use from my library, and what I may need to create.  Then I just start going through the list checking things off once I've recorded, added to the scene or created.&#xD;&#xA;&#xD;&#xA;It does seem a bit monumental.  I find it tedious at times, but when I start editing and putting it together I'm glad the list is there.  I can always refer to it, and what was discussed during the spotting session.  Pre-production even when working in 'post' is important." ContentLicense="CC BY-SA 2.5" />
  <row Id="5560" PostHistoryTypeId="2" PostId="3227" RevisionGUID="4f889d0b-41fd-4d46-917f-a5eacf1b0926" CreationDate="2010-08-28T15:39:43.087" UserId="533" Text="This would be two processes for me. Firstly to process the ambience sound before cupping the ears. And another is to create sounds that are present when you're &quot;listening to yourself&quot;.&#xD;&#xA;&#xD;&#xA;Processing the ambience could be either just an eq or with a combination of a convolution. You can only try recording the sound through something like a long PVC pipe. That would get your filtered sound. I would making it quite binaural, because the direction of sound is quite lost once you've cupped your ears. &#xD;&#xA;&#xD;&#xA;The other sounds would be a low rumble, some filtered noise to create this wind like sound. Its pretty much messing with psycho-acoustics and making a dream-like atmosphere. There's also body movements and the heartbeat. Mostly muffled or just the lower frequencies. These could be made up of foley material for body movements and processed.&#xD;&#xA;&#xD;&#xA;Unless you're going for scientific authenticity, its more important to be convincing than realistic. The best sound effects in cinemas don't even exist in reality anyway. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5561" PostHistoryTypeId="2" PostId="3228" RevisionGUID="f1e32f69-98f0-47bb-aad1-e110ec6ea563" CreationDate="2010-08-28T15:49:35.423" UserId="432" Text="I prefer to start a step back from the nuts and bolts of what sounds to put in. It's more important to start with understanding what the needs of the scene(s) are. What's the overarching feel? What are the characters feeling? What should the viewer be feeling? What message is the piece conveying, and how can the sound support that? Those are more important questions than, &quot;how many car doors and footsteps do I need?&quot; because the answers to those questions should dictate what sounds you use (actual vs. commentative, tonal qualities, duration, etc.).&#xD;&#xA;&#xD;&#xA;Then I'll go through and do my spotting. I always start out with more than I'll need, because I'd rather remove elements from a mix than have to add. I always keep those other questions and their answers in my mind at this stage, because it helps me determine what the key focus of the audio track should be; and that will be indicated in my notes.&#xD;&#xA;&#xD;&#xA;When I'm done, i'll have two sets of notes: a set that will pertain to actual design and key elements that I think will enhance the picture's tone, and a massive list by scene of everything that I think is needed.&#xD;&#xA;&#xD;&#xA;Of course, working on television doesn't always provide the time for detailed hand written notes, so I often have to adapt. Usually, that means my spotting notes actually end up being markers in my session timeline." ContentLicense="CC BY-SA 2.5" />
  <row Id="5562" PostHistoryTypeId="2" PostId="3229" RevisionGUID="2b8cbd64-9da0-468a-a184-b99de961144c" CreationDate="2010-08-28T15:56:26.243" UserId="533" Text="I use a variety of sources although I'm definitely a fan of going beyond the ordinary. I like having sounds that people find hard to recognize but still gets the job done. Most sounds wouldn't be used raw or unprocessed at all so quality shouldn't be a concern unless poor quality is referring to noise that you don't want like hissing, crackles, etc, on top of your source material.&#xD;&#xA;&#xD;&#xA;I do record &quot;strange sounds&quot; for my work and synthesize lots more with software like Pure Data, Super Collider, etc. Mostly because some sounds are just easier, better, and more controlled by generating it by software or glitching. Sometimes they are only possible that way. &#xD;&#xA;&#xD;&#xA;I believe that there is a use for every sound and it just depends on the nature of your work. To be accurate and realistic, or to create a work of art.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5563" PostHistoryTypeId="5" PostId="3225" RevisionGUID="b4e34cdd-797c-4dde-8ca0-cfc45cb84781" CreationDate="2010-08-28T15:56:52.880" UserId="61" Comment="spelling" Text="Sometimes to get original and really unique sounds that might came out of unexpected sources (like circuit bent devices, tapes, and all things not positioned for pro quality output) we need to accept their poor quality in understanding of industry standarts, and grab it just for its exclusiveness.&#xD;&#xA;&#xD;&#xA;So whats your deal - standard sounds from quality source or go beyond to catch uniqueness?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5564" PostHistoryTypeId="5" PostId="3170" RevisionGUID="5056f60d-b681-4a01-9343-3dd39750c9aa" CreationDate="2010-08-28T16:11:14.107" UserId="6411" Comment="corrected information" Text="This could lead to some *very* long posts, but here goes anyways...&#xD;&#xA;&#xD;&#xA;I got into a conversation with the guys at work about the old DAWs they used to use, what's changed, what they miss, and what's stayed the same. I thought it would be a good topic to put up for discussion.&#xD;&#xA;&#xD;&#xA;So we've covered which DAW you [currently use][1]. What did you use before you found the latest and greatest? Do you miss anything about them? Are you happy they're in the rear view mirror of your life? Lets put some perspective on these new-fangled devices...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;Here's my history:&#xD;&#xA;&#xD;&#xA;![PT Logo][2]&#xD;&#xA;&#xD;&#xA;I have a relatively long history with Pro Tools, going back to '95 when I was just a little whelp of an student/editor using a Pro Tools III **Nubus** (thank you, Tim) system with PT3 and Sound Designer II. I loved the concept that it was Mac-based and not a proprietary system costing hundreds of thousands of dollars. I had been forced by employers into relationships with other systems, but always have had a PT system in one form or another on the side. I've owned Pro Tools Free, Pro Tools Mix Plus &amp; Pro Tools LE and all have treated me well.&#xD;&#xA;&#xD;&#xA;## AMS Neve Logic 3 with AudioFile ##&#xD;&#xA;![AMSNeveL3+AF][3]&#xD;&#xA;&#xD;&#xA;If I could go back in time, I'd kick my own ass for ever trash-talking this machine. I just didn't know what I had my fingers on. Gear-wise the L3 was great, smooth faders, nice jog wheel. 4-band EQ, compressor, limiter &amp; gate on every channel. I hated that screen, but not as much as the soft keys. DAW-wise the AudioFile felt like a huge leap backward from the Mix system I had at home. Again with the soft keys and that awful blue screen. It was early in my career that I had to sit down to learn it, and it taught me some valuable lessons like, ***&quot;It's just a tool, what do they call it &amp; where do they put it? You know how to do this.&quot;*** and thanks to its lack of waveform display ***&quot;Stop mixing with your eyes, dummy.&quot;***&#xD;&#xA;&#xD;&#xA;## The DSP PostStation ##&#xD;&#xA;aka - The Enterprise&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;Built off the architecture of two ganged Yamaha 02R's, this DAW had very little going for it in terms of processing. But being that we had a direct line of communication to the developer, any new system feature we were looking for was only an email and a software update away. Which usually was delivered the next day! Two keys that I still miss are the un-top and un-tail. No need to pull out a region's end, just untail, scrub, and re-tail.  And speaking of, what a scrub wheel! Nice and heavy, with a resolution that made you forget you were at 16-bit / 48k. With no other form of navigation in the editor other than the wheel and 4 arrow keys, I finally understood the benefit of keyboard shortcuts over mousing around. The &quot;ergonomic&quot; desk was a joke for my 6'1&quot; frame, but the touch screen mix console (left) and video playback (right) worked great, until the screens died. I believe that the owner sold DSP to Fairlight in 2003(?), and went on to form [SmartAV][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/509/which-daw-do-you-use&#xD;&#xA;  [2]: http://www.cornermusic.com/images/Recording/pro_tools_logo.JPG&#xD;&#xA;  [3]: http://www.freeimagehosting.net/uploads/th.5224b3d58a.jpg&#xD;&#xA;  [4]: http://www.freeimagehosting.net/uploads/696d19ffb1.jpg&#xD;&#xA;  [5]: http://www.smartav.net/product/smart-console/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5565" PostHistoryTypeId="2" PostId="3230" RevisionGUID="cdf4c6c0-1d2e-4c8b-9a9d-a731792ae1b4" CreationDate="2010-08-28T16:26:23.107" UserId="194" Text="Obv in the best cases you want both uniqueness and quality, and in all cases you should strive for the best of both worlds.&#xD;&#xA;&#xD;&#xA;With that said I have had several circuit bent sounds in my library for years, and while they're interesting they're not often very useful.  But high quality doors for example are a godsend, so I vote quality.&#xD;&#xA;&#xD;&#xA;In reality though, this just seems like a mental exercise because we're never trying to make crappy source recordings, and we're never trying to record boring things.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5566" PostHistoryTypeId="2" PostId="3231" RevisionGUID="55ce5372-d748-4cff-ae55-eed0dc10cdba" CreationDate="2010-08-28T16:27:41.373" UserId="444" Text="For a little while now I've been trying to get a good sound for these 'bugs'.  They look a bit more like moths but they're out and about during the day.&#xD;&#xA;&#xD;&#xA;Anyway I don't want a bug sound.  It can't have that annoying buzzzz.  They have a supernatural aura, they help lead the main character toward a necessary object in her journey.  They also show up in a flashback over 50 years earlier doing the same thing to another person.&#xD;&#xA;&#xD;&#xA;I've gone through a few designs, none of wich I like. They all still sound too buzzy.  I'm thinking of focusing more on the wings.  If a butterfly's wings made noise, what would they sound like?  So does anyone have any suggestions?  Has anyone made an effect like this?  &#xD;&#xA;&#xD;&#xA;My next plan is to record a note pad's pages being flipped by my thumb.  Then maybe reverse that sound.  Or use a sound that I can put through a transformer or LFO.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5567" PostHistoryTypeId="1" PostId="3231" RevisionGUID="55ce5372-d748-4cff-ae55-eed0dc10cdba" CreationDate="2010-08-28T16:27:41.373" UserId="444" Text="Supernatural bug sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5568" PostHistoryTypeId="3" PostId="3231" RevisionGUID="55ce5372-d748-4cff-ae55-eed0dc10cdba" CreationDate="2010-08-28T16:27:41.373" UserId="444" Text="&lt;insects&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5569" PostHistoryTypeId="2" PostId="3232" RevisionGUID="5f44b390-9f23-4798-bf10-76e3b6b42d96" CreationDate="2010-08-28T19:09:33.530" UserId="61" Text="Wow, that's pretty wide open. So hard to know without seeing a visual or knowing more about the story. Are they leading your character to something good or bad? Hopeful or evil? This should influence your sound design.&#xD;&#xA;&#xD;&#xA;Re. wing sounds, book pages is a good route to go down. Try also things that spin rapidly:&#xD;&#xA;&#xD;&#xA; - Wheels, rotary items&#xD;&#xA; - Paper pinwheels (those kids toys &#xD;&#xA;   that blow in the wind)&#xD;&#xA; - Wooden ratchets (maybe sped up?)&#xD;&#xA; - Your own voice making a &quot;spinning&quot;&#xD;&#xA;   effect of some sort, then looped&#xD;&#xA;   and/or processed in some way.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Let us know how it turns out - or better yet, post a sample on Vimeo." ContentLicense="CC BY-SA 2.5" />
  <row Id="5570" PostHistoryTypeId="2" PostId="3233" RevisionGUID="faefd442-ebe3-459d-b1e9-7b32f3557b83" CreationDate="2010-08-28T20:05:28.500" UserId="465" Text="take a look at some of the special features for Pixars &quot;A bugs life&quot;,&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=mrvMO_T32w4&#xD;&#xA; &#xD;&#xA;  one of the things that stood out for me was for the sound of flapping wings, he took a playing card, and would gently blow on it while flapping it softly. made a nice flapping effect" ContentLicense="CC BY-SA 2.5" />
  <row Id="5571" PostHistoryTypeId="2" PostId="3234" RevisionGUID="a73daf30-f21c-4b01-ac17-82bfd8187d56" CreationDate="2010-08-28T20:27:11.050" UserId="238" Text="It's real tough to say without seeing these bugs in action, but like Jay said a lot of the sound design decisions will depend on whether these creatures are good spirits, bad spirits, foes or enemies, what role they play in terms of the characters and how the audience is supposed to perceive them. However, if you're looking for some bug-style inspiration check out Pan's Labyrinth. It's got a lot of nice sounding bug type animals in it that could help...might be worth a watch / listen! " ContentLicense="CC BY-SA 2.5" />
  <row Id="5572" PostHistoryTypeId="2" PostId="3235" RevisionGUID="980cdcd7-81c5-47a7-9b6e-214d1d41d7ca" CreationDate="2010-08-28T22:04:39.947" UserId="437" Text="Pro Tools 8 LE RTAS has AIR Reverb and I particularly like Preset 17 - Infinite with some tweaking for crazy ambiences and tones. It's a cumulative effect, so the source material is pretty quickly unrecognizable and it'll have a really long tail." ContentLicense="CC BY-SA 2.5" />
  <row Id="5573" PostHistoryTypeId="2" PostId="3236" RevisionGUID="0dc40d3a-b3af-43bb-ae99-9b575b300124" CreationDate="2010-08-28T23:34:31.223" UserId="219" Text="Just used the Digi's AIR Ensemble on a voice and got some sort of alien robot-ish effect, some compression for added distortion. I wouldn't say it's the perfect trick but it works for me!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5574" PostHistoryTypeId="2" PostId="3237" RevisionGUID="77c3fb35-fb81-44b8-8240-983afe1812ed" CreationDate="2010-08-29T01:33:05.270" UserId="25" Text="I use EdiTrace and it works great every time." ContentLicense="CC BY-SA 2.5" />
  <row Id="5575" PostHistoryTypeId="6" PostId="2788" RevisionGUID="05d4448f-2629-4977-b01e-49f56d3edb73" CreationDate="2010-08-29T02:25:32.127" UserId="533" Comment="edited tags" Text="&lt;max-msp&gt;&lt;reaktor&gt;&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5576" PostHistoryTypeId="2" PostId="3238" RevisionGUID="a31ef599-67a1-4ade-b2f4-82abcea67b37" CreationDate="2010-08-29T02:40:06.413" UserId="533" Text="I use lots of tools and plugins, just keep experimenting and collecting plugins. A great collection is Michael Norris' [SoundMagic Spectral][1]. It may seem over the top for some but its really great for creating some creative sounds.&#xD;&#xA;&#xD;&#xA;I use AudioMulch for my sound design because I can bring in a variety of sources from Pd, SuperCollider, Soundfiles, Live Input, and mix them all in any fashion. The linear processing in DAWs are too rigid for my purposes, especially if live input is involved. I'll then setup a file recorder in AudioMulch or send it out to another recorder or software. &#xD;&#xA;&#xD;&#xA;My next choice would be getting Reaktor and trying out ensembles and building some of my own. But the trouble with building your own is when you need to create a sound, its usually too late to start building one already. You need to know what interesting ensembles you can build in your free time.&#xD;&#xA;&#xD;&#xA;I've learnt programming in Super Collider and Pd and it isn't the easiest thing. More often than not, I'm referring to books like Curtis Roads' Computer Music Tutorial to get break downs of synthesis and processing. I'll then build my patches based on a combination of techniques.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.michaelnorris.info/soundmagicspectral/index.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="5577" PostHistoryTypeId="2" PostId="3239" RevisionGUID="35150723-e6ba-4173-bf2d-3e7d926f7b87" CreationDate="2010-08-29T06:04:17.863" UserId="338" Text="Is it possible to improve the qualities of an mp3 so that it is more close to WAV or Aiff file audio?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5578" PostHistoryTypeId="1" PostId="3239" RevisionGUID="35150723-e6ba-4173-bf2d-3e7d926f7b87" CreationDate="2010-08-29T06:04:17.863" UserId="338" Text="Improving Mp3 to Wav or AIFF" ContentLicense="CC BY-SA 2.5" />
  <row Id="5579" PostHistoryTypeId="3" PostId="3239" RevisionGUID="35150723-e6ba-4173-bf2d-3e7d926f7b87" CreationDate="2010-08-29T06:04:17.863" UserId="338" Text="&lt;audio-restoration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5580" PostHistoryTypeId="5" PostId="3239" RevisionGUID="9c425e66-a5b4-4acc-9078-36374e4cd83c" CreationDate="2010-08-29T06:10:20.940" UserId="338" Comment="added 37 characters in body" Text="Is it possible to improve the qualities of an mp3 so that it is more close to WAV or Aiff file audio?&#xD;&#xA;&#xD;&#xA;Also can you remove the aliasing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5581" PostHistoryTypeId="2" PostId="3240" RevisionGUID="79d4cf71-7c23-476a-bf5a-2319a245ec4b" CreationDate="2010-08-29T12:50:59.687" UserId="194" Text="MP3 is lossy compression, so once the source material is compressed you're pretty much stuck with what's left. If you hear aliasing there isn't any getting away from it in my experience.&#xD;&#xA;&#xD;&#xA;With that said, there are certainly ways to make very good mp3 encodings.  The MP3 export from protools is one of the best sounding i've heard.  I did a blind A/B of a bunch of MP3 codecs a while back, and the protools one was the winner by a mile - it beat out itunes, barba batch, and a couple of others.&#xD;&#xA;&#xD;&#xA;Remember that things like content and bitrate are the keys in mp3 encoding.  The higher the bitrate and the simpler the source material the better.&#xD;&#xA;&#xD;&#xA;you'll hear artifacting more quickly on the reverb tails of a string quartet than you will on a close miked dry bulb horn for example.  The human voice actually encodes very well.  &#xD;&#xA;&#xD;&#xA;As technology marches on the need for lossy encoding will continue to diminish.  Its already been dramatically reduced in video games as compared to a few years ago.  The same will happen with other broadcast and distribution methods as storage gets cheaper and pipes get wider." ContentLicense="CC BY-SA 2.5" />
  <row Id="5582" PostHistoryTypeId="2" PostId="3241" RevisionGUID="aa5f7ebb-44ac-4af5-b0de-1e677f97199b" CreationDate="2010-08-29T12:56:31.033" UserId="194" Text="I've had mixed results with virtual katy.  Its much more stable now than in the early days, but it still requires a level of competence and thoughtfulness from the picture editor that isn't in abundant supply on some of my projects.  In those cases I'm forced to conform by hand (and yes I love that I can cut the quicktime for reference)&#xD;&#xA;&#xD;&#xA;The biggest issues that I've had with VK is that it can't differentiate sometimes between a VFX shot that has been added but didn't change timing with an actual picture edit.  This means lots of unnecessary breaks during the conform, and adds dramatically to the margin of human error IMO.  Again, this could be the picture editor's fault.  :)&#xD;&#xA;&#xD;&#xA;Also, previewing and changing the conform to remove these types of issues isn't incredibly intuitive or straighforward in my experience.  I'm interested to hear how conformalizer works for you, because i've read good things about it.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5583" PostHistoryTypeId="2" PostId="3242" RevisionGUID="a08e47cb-e35b-411e-bd0d-6f042cbf903e" CreationDate="2010-08-29T18:08:29.303" UserId="168" Text="Are you trying to make an mp3 file sound better when converted to WAV/AIFF?&#xD;&#xA;&#xD;&#xA;If so, there is nothing much you can do. I usually use iZotope Ozone's harmonic exciter to 'fill in' some of the gaps. It works ok, but obviously depends on the quality of the mp3.&#xD;&#xA;&#xD;&#xA;If you are trying to convert a wave to mp3 and achieve better quality:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Higher the bit rate, bigger the file size. Most encoders/decoders can go to a maximum of 320kbps - which sounds pretty good to my ears. Although, encoding mp3s with a variable bit rate (VBR) can help achieve better quality with smaller file sizes. &#xD;&#xA;&#xD;&#xA;Also some encoders (like the one in iTunes) offer other options (like filtering low frequency content, stereo mode, etc). A combination of these different settings could help achieve smaller file sizes at a better quality - depending on the source of course.&#xD;&#xA;&#xD;&#xA;Most encoders also need some amount of headroom, even limiting to -0.5 dBFS can help avoid distortion.&#xD;&#xA;&#xD;&#xA;Some good info here:&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/mastering-forum/349716-wav-mp3-conversion.html&#xD;&#xA;&#xD;&#xA;For the myths on join stereo and some info on mp3 encoding:&#xD;&#xA;&#xD;&#xA;http://harmsy.freeuk.com/mostync/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5584" PostHistoryTypeId="5" PostId="2795" RevisionGUID="5403d79b-7ed4-457e-ac67-bde8e1fbebb3" CreationDate="2010-08-29T18:26:46.980" UserId="393" Comment="When I said &quot;Both&quot; I apparently didn't specify." Text="I've tried to use both Reaktor and PD, and I plan on learning... it's actually next on my list of things to do.  I don't know what it is, but it's so weird for me to wrap my programming brain around my music and sound brain." ContentLicense="CC BY-SA 2.5" />
  <row Id="5585" PostHistoryTypeId="2" PostId="3243" RevisionGUID="d6830cc8-d18c-4ea7-9e16-f2f2f79457e0" CreationDate="2010-08-29T18:28:05.357" UserId="168" Text="All I can say is: it depends.&#xD;&#xA;&#xD;&#xA;It's very rare that a process I've worked out in my head actually works out perfect in reality. Usually the sounds that work the best were either:&#xD;&#xA;&#xD;&#xA; 1. Accidents &#xD;&#xA; 2. Never intended&#xD;&#xA; 3. Just happened&#xD;&#xA;&#xD;&#xA;To me its more important to have a mind that is open to ideas and sounds and be willing to be adventurous. Know your tools and rules and know how and when to break them. Experimentation/trial-error is the key. &#xD;&#xA;&#xD;&#xA;If I find a sound that works but is not great quality, I try and recreate it or clean it up/look for a new sound if its beyond acceptable. Sometime its a fresh sound, sometimes its something I've heard before but just 'works'." ContentLicense="CC BY-SA 2.5" />
  <row Id="5586" PostHistoryTypeId="2" PostId="3244" RevisionGUID="d902844c-6ef9-4452-a7be-7244091ada88" CreationDate="2010-08-29T19:15:52.863" UserId="338" Text="Hey, so I'm in need of a sensitive directional microphone.  Something that I can point at say a drop of water or set farther back from something than say traditional condenser microphones and get a stronger signal from the source, if you know what I'm saying.  &#xD;&#xA;Right now I have a Zoom h4n and selling that would be my approximate price range.  I would like to get into field recording but what sparked my urge to upgrade so to speak is that while I was recording SFX from squishing fruits and slapping meats my technique was to have about 4 microphones all close to the action.  They were getting a little bit of slop on them, not much, but that made me think of the books I had read and photos I had seen where people were recording foley with shotgun mic's.  Obviously there is no one right way to do it, but now I see the advantage of recording foley in mono....Is there a directional microphone out there that will suit me considering the price range and will it cure my woes of microphone sensitivity and distance?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5587" PostHistoryTypeId="1" PostId="3244" RevisionGUID="d902844c-6ef9-4452-a7be-7244091ada88" CreationDate="2010-08-29T19:15:52.863" UserId="338" Text="Best quality, affordable Shotgun mic" ContentLicense="CC BY-SA 2.5" />
  <row Id="5588" PostHistoryTypeId="3" PostId="3244" RevisionGUID="d902844c-6ef9-4452-a7be-7244091ada88" CreationDate="2010-08-29T19:15:52.863" UserId="338" Text="&lt;foley&gt;&lt;field&gt;&lt;recording&gt;&lt;shotgun&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5589" PostHistoryTypeId="2" PostId="3245" RevisionGUID="70fa86c9-4894-4e06-8e4c-2dba47b0cdb2" CreationDate="2010-08-29T19:43:50.917" UserId="40" Text="I agree with most that has been said so far.&#xD;&#xA;&#xD;&#xA;I'd like to add that the reason you get aliasing can be explained by the Nyquist-Shannon Sampling Theorem, which addresses sample rate requirements for certain frequency bandwidths.  Basically, you need twice the sample rate of a specific frequency to be able to capture it properly.  So, if you want to grab 20khz, you'll need at least a 40khz sample rate.  This isn't a problem with wav and aif files, only with compressed files.  As the sample rate gets lower, you start ending up with harmonics from the frequencies that are getting cut off.  These are usually referred to as &quot;Foldover&quot; frequencies.  For this reason, you need an anti-aliasing filter.&#xD;&#xA;&#xD;&#xA;Anyways, I won't write too much about it here.  If you'd like more info about it, check out this link:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Nyquist%E2%80%93Shannon_sampling_theorem&#xD;&#xA;&#xD;&#xA;Contains mathematical proofs and theory behind what's happening.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5590" PostHistoryTypeId="2" PostId="3246" RevisionGUID="7caab2dd-9ca9-4200-b5e2-3c6a56eb134d" CreationDate="2010-08-29T19:48:12.457" UserId="429" Text="I prefer to jot down and sketch in a small moleskin pocketbook, scrap recycled paper on my desk and a big dry erase board on the wall. I take photo's of these notes with my iphone and save them with the project.&#xD;&#xA;&#xD;&#xA;I'm often creating original special sound effects in the KORE environment and so thats like a big snapshot of all the instrument and effect settings. I track the audio into Protools. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5592" PostHistoryTypeId="2" PostId="3248" RevisionGUID="96c79af6-f17b-43ee-9340-25591400e291" CreationDate="2010-08-29T19:52:37.487" UserId="40" Text="Well, the reasoning for why you need a shotgun aside:&#xD;&#xA;&#xD;&#xA;You can check out some of the Audio Technica shotguns in that price range.  They have some very long/directional ones that are fairly decent for around $200 - $300 ish.  RØDE has the NTG1 as well for the same price range.  Decent mic as well.&#xD;&#xA;&#xD;&#xA;Now back to your reasoning.  Don't just back up the mic because you're getting stuff on it.  First, I'd try putting a very thin layer of fabric in front of it, maybe on a stand or frame (something like cheesecloth) that won't muffle your sound, but can protect your mic from the muck.  Wider pattern mics (generally) have more of a natural response than a very directional mic.  If you're looking for the sound of a shotgun, then by all means, get one.  If you're liking the sounds you're getting, then stick with what you have and just try to protect the mic.&#xD;&#xA;&#xD;&#xA;As for stereo vs. mono:  Stereo is less versatile when recording foley.  You should use stereo to portray movement, size, or environment/context.  Sometimes distance, but rarely.  Use mono for everything else.  If you see a punch directly in the center of the screen, you don't want to hear it coming from everywhere, just the center.  If you have a much bigger sound, say a bunch of soldiers in armor walking, you may choose to use stereo to portray size.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5595" PostHistoryTypeId="2" PostId="3251" RevisionGUID="c0263975-8a5e-4105-a818-9d358ab7451b" CreationDate="2010-08-29T20:39:11.647" UserId="219" Text="When I read your thread the other day, I recorded a Tibetan thing similar to this one:&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://www.naturelexotic-deco.fr/images/Image/1801_CB.JPG&quot; height=&quot;200&quot; /&gt;&#xD;&#xA;&#xD;&#xA;but rather the metal ones (although the wood might sound more natural). If you play it backwards it kinda sounds like flapping and has a nice ringing tone to it. I reckon you should try that and if you pitch it up without time correction, make it fit the picture and maybe sound even more cheerful.&#xD;&#xA;&#xD;&#xA;If you don't want it to be too high, start with one that naturally has low pitched (bigger) tubes." ContentLicense="CC BY-SA 2.5" />
  <row Id="5596" PostHistoryTypeId="5" PostId="3251" RevisionGUID="df3a0ba4-0a36-437b-b151-4c640c27d709" CreationDate="2010-08-29T20:44:17.017" UserId="219" Comment="added 112 characters in body" Text="When I read your thread the other day, I recorded a Tibetan thing similar to this one:&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://www.naturelexotic-deco.fr/images/Image/1801_CB.JPG&quot; height=&quot;200&quot; /&gt;&#xD;&#xA;&#xD;&#xA;but rather the metal ones (although the wood might sound more natural). If you play it backwards it kinda sounds like flapping and has a nice ringing tone to it. I reckon you should try that and if you pitch it up without time correction, make it fit the picture and maybe sound even more cheerful.&#xD;&#xA;&#xD;&#xA;If you don't want it to be too high, start with one that naturally has low pitched (bigger) tubes.&#xD;&#xA;&#xD;&#xA;EDIT: I also compressed it to tame the percussive attack, couldn't get satisfying results with the expander." ContentLicense="CC BY-SA 2.5" />
  <row Id="5597" PostHistoryTypeId="5" PostId="3251" RevisionGUID="6679e655-ef3b-49a7-9d8e-0beee32fffb0" CreationDate="2010-08-29T20:59:58.030" UserId="219" Comment="added 82 characters in body; added 960 characters in body" Text="When I read your thread the other day, I recorded a Tibetan thing similar to this one:&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://www.naturelexotic-deco.fr/images/Image/1801_CB.JPG&quot; height=&quot;200&quot; /&gt;&#xD;&#xA;&#xD;&#xA;but rather the metal ones (although the wood might sound more natural). If you play it backwards it kinda sounds like flapping and has a nice ringing tone to it. I reckon you should try that and if you pitch it up without time correction, make it fit the picture and maybe sound even more cheerful.&#xD;&#xA;&#xD;&#xA;If you don't want it to be too high, start with one that naturally has low pitched (bigger) tubes.&#xD;&#xA;&#xD;&#xA;EDIT: I also compressed it to tame the percussive attack, couldn't get satisfying results with the expander.&#xD;&#xA;&#xD;&#xA;[soundcloud]justin-huss/reversed-pitched-up-percussive-didjeridoo[/soundcloud]&#xD;&#xA;&#xD;&#xA;I'll leave the one above in case it decides to work... in the meantime, here it is:&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fjustin-huss%2Freversed-pitched-up-percussive-didjeridoo&amp;secret_url=false&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fjustin-huss%2Freversed-pitched-up-percussive-didjeridoo&amp;secret_url=false&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/justin-huss/reversed-pitched-up-percussive-didjeridoo&quot;&gt;Reversed pitched up percussive didjeridoo&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/justin-huss&quot;&gt;Justin Huss&lt;/a&gt;&lt;/span&gt; (this is me using my palm on my didjeridoo, recording at the other end, reversed and pitched up... sounds funny anyway!)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5598" PostHistoryTypeId="2" PostId="3252" RevisionGUID="5ce9875d-260a-4497-99d8-d6883396ae33" CreationDate="2010-08-29T21:32:25.040" UserId="300" Text="Hey Chris... by no means a solution to an ugly sounding .mp3, but in desperate situations I've used a small amount of reverb with mostly early reflections to mask some of the ugliness and re-introduce some width. Try some tight-sounding rooms, perhaps impulse responses from a studio's Iso booth or the like. J&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5599" PostHistoryTypeId="5" PostId="3251" RevisionGUID="4edbd24c-7042-486e-834a-0c9c00d18863" CreationDate="2010-08-29T21:33:24.357" UserId="219" Comment="added 1080 characters in body" Text="When I read your thread the other day, I recorded a Tibetan thing similar to this one:&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://www.naturelexotic-deco.fr/images/Image/1801_CB.JPG&quot; height=&quot;200&quot; /&gt;&#xD;&#xA;&#xD;&#xA;but rather the metal ones (although the wood might sound more natural). If you play it backwards it kinda sounds like flapping and has a nice ringing tone to it. I reckon you should try that and if you pitch it up without time correction, make it fit the picture and maybe sound even more cheerful.&#xD;&#xA;&#xD;&#xA;If you don't want it to be too high, start with one that naturally has low pitched (bigger) tubes.&#xD;&#xA;&#xD;&#xA;EDIT: I also compressed it to tame the percussive attack, couldn't get satisfying results with the expander.&#xD;&#xA;&#xD;&#xA;[soundcloud]justin-huss/reversed-pitched-up-percussive-didjeridoo[/soundcloud]&#xD;&#xA;&#xD;&#xA;I'll leave the one above in case it decides to work... in the meantime, here it is:&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fjustin-huss%2Freversed-pitched-up-percussive-didjeridoo&amp;secret_url=false&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fjustin-huss%2Freversed-pitched-up-percussive-didjeridoo&amp;secret_url=false&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/justin-huss/reversed-pitched-up-percussive-didjeridoo&quot;&gt;Reversed pitched up percussive didjeridoo&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/justin-huss&quot;&gt;Justin Huss&lt;/a&gt;&lt;/span&gt; (this is me using my palm on my didjeridoo, recording at the other end, reversed and pitched up... sounds funny anyway!)&#xD;&#xA;&#xD;&#xA;[soundcloud]justin-huss/floor-tom-pitched-up-high-passed[/soundcloud]&#xD;&#xA;&#xD;&#xA;This one is fun too, floor tom this time. I'm pressing with my hand on the drum head and record the air being pushed out of the tom through a little hole on the side. It makes that nice whooshing sound with a slight whine that becomes a whistle when pitched up. It's cute. Check it out:&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fjustin-huss%2Ffloor-tom-pitched-up-high-passed&amp;secret_url=false&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fjustin-huss%2Ffloor-tom-pitched-up-high-passed&amp;secret_url=false&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/justin-huss/floor-tom-pitched-up-high-passed&quot;&gt;Floor tom pitched up high passed&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/justin-huss&quot;&gt;Justin Huss&lt;/a&gt;&lt;/span&gt; " ContentLicense="CC BY-SA 2.5" />
  <row Id="5600" PostHistoryTypeId="2" PostId="3253" RevisionGUID="c3229ddc-8023-40b9-bbaf-09e5b5a392cd" CreationDate="2010-08-29T21:52:34.183" UserId="535" Text="conformalizer is compatible with PT8.&#xD;&#xA;there was one version of PT which broke conformalizer (and the others) but this issue is resolved in recent versions of conformalizer and subsequent versions of PT.&#xD;&#xA;&#xD;&#xA;conformalizer has some neat tricks for keeping track of VFX shots as they get updated as well as giving you the option to tweak, add and remove change events while seeing the two picture files locate to the right spot right inside conformalizer. there's also a new feature which visually compares the two pictures and shows you the smallest difference between the two.&#xD;&#xA;&#xD;&#xA;please get in contact if you have any questions or feature suggestions - I'm always keen to hear users thoughts and to prove that conformalizer is the most powerful and reliable re-conform app available.&#xD;&#xA;&#xD;&#xA;justin webster&#xD;&#xA;maggot software&#xD;&#xA;support (at] maggot.co.nz" ContentLicense="CC BY-SA 2.5" />
  <row Id="5602" PostHistoryTypeId="2" PostId="3254" RevisionGUID="e251a08d-5f95-4561-9982-8cf40cfc75eb" CreationDate="2010-08-30T00:04:49.157" UserId="18160" Text="Question regarding mixing:&#xD;&#xA;&#xD;&#xA;Is dialogue always mixed at the same level no matter what type of movie you're mixing?&#xD;&#xA;&#xD;&#xA;Example:&#xD;&#xA;&#xD;&#xA;Terminator 2 - explosions all over the place. Dialogue, yelling, during those scenes are naturally going to be a lower level to let more impact of explosions come through.&#xD;&#xA;&#xD;&#xA;He's just not that into you - No explosions or gunfights. Just talking - wall to wall dialogue with little or no loud spot effects.&#xD;&#xA;&#xD;&#xA;Does the dialogue still get placed down in level if it's only talking? Or do you mix it higher if that's the only thing going on in the mix?&#xD;&#xA;&#xD;&#xA;If I were mixing I'd being it up loud and clear and use that extra resolution in Pro Tools' Bit Depth.&#xD;&#xA;&#xD;&#xA;What are your thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5603" PostHistoryTypeId="1" PostId="3254" RevisionGUID="e251a08d-5f95-4561-9982-8cf40cfc75eb" CreationDate="2010-08-30T00:04:49.157" UserId="18160" Text="Dia always the same level?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5604" PostHistoryTypeId="3" PostId="3254" RevisionGUID="e251a08d-5f95-4561-9982-8cf40cfc75eb" CreationDate="2010-08-30T00:04:49.157" UserId="18160" Text="&lt;mixing&gt;&lt;dialogue&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5605" PostHistoryTypeId="5" PostId="3254" RevisionGUID="c9e8735f-bec2-4707-a5ec-ee79dd1a13bd" CreationDate="2010-08-30T00:11:16.550" UserId="18160" Comment="edited body" Text="Question regarding mixing:&#xD;&#xA;&#xD;&#xA;Is dialogue always mixed at the same level no matter what type of movie you're mixing?&#xD;&#xA;&#xD;&#xA;Example:&#xD;&#xA;&#xD;&#xA;Terminator 2 - explosions all over the place. Dialogue, yelling, during those scenes are naturally going to be a lower level to let more impact of explosions come through.&#xD;&#xA;&#xD;&#xA;He's just not that into you - No explosions or gunfights. Just talking - wall to wall dialogue with little or no loud spot effects.&#xD;&#xA;&#xD;&#xA;Does the dialogue still get placed down in level if it's only talking? Or do you mix it higher if that's the only thing going on in the mix?&#xD;&#xA;&#xD;&#xA;If I were mixing I'd bring it up loud and clear and use that extra resolution in Pro Tools' Bit Depth.&#xD;&#xA;&#xD;&#xA;What are your thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5606" PostHistoryTypeId="2" PostId="3255" RevisionGUID="c85927b8-e007-45df-906f-837695dff7d4" CreationDate="2010-08-30T01:24:17.630" UserId="393" Text="I haven't had to deal with this at all (and I really couldn't, being Sonar based) but doesn't Digital Performer 8 have a way to automatically do this if the film side is using Final Cut Pro?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5607" PostHistoryTypeId="2" PostId="3256" RevisionGUID="c30f460e-129a-4e5c-848f-a65e58c95a5c" CreationDate="2010-08-30T01:53:07.260" UserId="18160" Text="Last night I did live sound for a major awards event. I was working Front of House and there was this woman who came up to give a speech and she leaned into my MK41s at point blank range for the duration of her speech.&#xD;&#xA;&#xD;&#xA;I'm now back home at my studio prettying up a replay mix.&#xD;&#xA;&#xD;&#xA;Every T, K, CH, SH, B, F, H, basically any consonant which expels air when you say it popped my mics. And you know how a Schoeps sounds when it pops.&#xD;&#xA;&#xD;&#xA;Unfortunately, they were so bad they made it into the house so my house ambience mics have the booms, too. I thought of ditching those mics for that person's speech and added a natural reverb plug-in, but I wanted to see if there was anything I can do to it otherwise.&#xD;&#xA;&#xD;&#xA;Anyone got an easy way to eliminate these?&#xD;&#xA;&#xD;&#xA;I'm going to try the Oxford Suppresser. Already going to roll it off at 100 Hz, possibly higher (luckily it's a female so her voice isn't effected too much).&#xD;&#xA;&#xD;&#xA;I'd really like to save the editing time of filtering them out one by one.&#xD;&#xA;&#xD;&#xA;Your assistance is greatly appreciated.&#xD;&#xA;&#xD;&#xA;Thanks - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="5608" PostHistoryTypeId="1" PostId="3256" RevisionGUID="c30f460e-129a-4e5c-848f-a65e58c95a5c" CreationDate="2010-08-30T01:53:07.260" UserId="18160" Text="Best way to clean up plosives" ContentLicense="CC BY-SA 2.5" />
  <row Id="5609" PostHistoryTypeId="3" PostId="3256" RevisionGUID="c30f460e-129a-4e5c-848f-a65e58c95a5c" CreationDate="2010-08-30T01:53:07.260" UserId="18160" Text="&lt;microphone&gt;&lt;pop&gt;&lt;editing&gt;&lt;handling&gt;&lt;fix&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5610" PostHistoryTypeId="2" PostId="3257" RevisionGUID="c5c9dba6-d9ac-4221-9307-887f3e614dd8" CreationDate="2010-08-30T02:59:36.667" UserId="61" Text="I would try a multiband compressor, like the Waves C4. If used correctly it will compress only the frequencies you set, rather than the entire spectrum. You can also try a de-esser setup, but rather than a sensitivity around 3-6k it should be affecting 30-100Hz." ContentLicense="CC BY-SA 2.5" />
  <row Id="5611" PostHistoryTypeId="2" PostId="3258" RevisionGUID="8857b69a-d09b-484f-aeb6-f1d5890fc2b5" CreationDate="2010-08-30T03:37:55.333" UserId="6411" Text="The Waves C1 should allow you to do what you're looking for. I believe it has a preset named De-Popper for specifically this solution. It allows you to compress just the lower frequencies that you'll be looking for. Also, RChannel has a similar, frequency selectable compression. Most of the de-essers I have don't allow you to select frequencies below 1k. Jay's suggestion of the C4 would definitely work too." ContentLicense="CC BY-SA 2.5" />
  <row Id="5612" PostHistoryTypeId="2" PostId="3259" RevisionGUID="0804a52f-2073-46e4-b694-953727a97c17" CreationDate="2010-08-30T03:43:42.120" UserId="100" Text="A trick Roger Nichols taught us is to automate the volume to duck down right on the plosive, which ends up looking like a quick &quot;V&quot;. He said that 9 times out of 10 he prefers to manually automate each and every pop and click before treating the whole thing with a plugin. I've used this trick on dialog and effects with great results. Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="5613" PostHistoryTypeId="2" PostId="3260" RevisionGUID="046122e6-7590-4aad-814f-98d04581c7e6" CreationDate="2010-08-30T04:32:50.650" UserId="194" Text="I personally have an iphone and I use the living heck out it when going out for a shoot - planned or otherwise.  Here's my list:&#xD;&#xA;&#xD;&#xA; - Maps&#xD;&#xA;&#xD;&#xA;Top of my list.  I use it to bookmark locations that may or may not be interesting in the future.  I'll pull over and roll down the window, then whip out the phone and drop a pin fairly frequently.&#xD;&#xA;&#xD;&#xA; - Camera or hipstamatic&#xD;&#xA;&#xD;&#xA;I really love the camera on the phone, and these days I never record anything without snapping a pic of it.  Hipstamatic is cool.  Here's a tree I recorded today shot with hipstamatic.  It makes me happy.  :)&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; - [Audio Tool][2].  &#xD;&#xA;&#xD;&#xA;DB meter and bit calculator so that I can see how much space I have on my cards at various sample/bit rates.  The dictionary is kind of interesting too.&#xD;&#xA;&#xD;&#xA; - [Weatherbug][3]&#xD;&#xA;&#xD;&#xA;probably the best weather app available - has moving doppler radar, forecasts and even webcam views.&#xD;&#xA;&#xD;&#xA; - [Dropbox][4] and [goodreader][5]&#xD;&#xA;&#xD;&#xA;pdf readers that can download files locally so you don't need interent access to grab them.  I use them to store manuals and other useful technical stuff on the go.&#xD;&#xA;&#xD;&#xA; - [Todo][6]&#xD;&#xA;&#xD;&#xA;productivity and listmaking app.  Great for putting together checklists for project and equipment.  I use it both in macro and micro contexts - making sure that my various projects don't take on too much rust while helping micromanage the stuff i'm working on right now.  Syncs with todledoo and remember the milk.&#xD;&#xA;&#xD;&#xA; - [Younote lite][7]&#xD;&#xA;&#xD;&#xA;regular notes, voice notes, picture notes with geotagging, freehand drawing, and a web broswer.  I mostly use it to snap a photo of something and add a note to the photo - often for when I find an interesiting location to record.  The photos it takes geotag and integrate directly with maps, and each photo has spots for notes.  really great for grabbing something that you'd othwerwise drive by and forget about.&#xD;&#xA;&#xD;&#xA; - [flightaware][8]&#xD;&#xA;&#xD;&#xA;not an app but a website that I access from my phone when on the go.  live air traffic tracker, and iphone compatible.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;--------&#xD;&#xA;&#xD;&#xA;ok, what did I miss?  what do you use on the go, and how do you use it?  mobile websites anyone?  android?&#xD;&#xA;&#xD;&#xA;thx!&#xD;&#xA;&#xD;&#xA;  [1]: http://i884.photobucket.com/albums/ac49/ReneCoronado/location%20record%20shots/peartree.jpg&#xD;&#xA;  [2]: http://itunes.apple.com/us/app/audio-tool/id379146462?mt=8&#xD;&#xA;  [3]: http://weather.weatherbug.com/mobile/weatherbug-for-iphone.html&#xD;&#xA;  [4]: https://www.dropbox.com/iphoneapp&#xD;&#xA;  [5]: http://www.goodiware.com/goodreader.html&#xD;&#xA;  [6]: http://www.appigo.com/todo&#xD;&#xA;  [7]: http://itunes.apple.com/us/app/younote-lite/id284969305?mt=8&#xD;&#xA;  [8]: http://flightaware.com/live/airport_status_bigmap.rvt?airport=KDAL" ContentLicense="CC BY-SA 2.5" />
  <row Id="5614" PostHistoryTypeId="1" PostId="3260" RevisionGUID="046122e6-7590-4aad-814f-98d04581c7e6" CreationDate="2010-08-30T04:32:50.650" UserId="194" Text="Essential smartphone apps for field recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5615" PostHistoryTypeId="3" PostId="3260" RevisionGUID="046122e6-7590-4aad-814f-98d04581c7e6" CreationDate="2010-08-30T04:32:50.650" UserId="194" Text="&lt;field-recording&gt;&lt;productivity&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5616" PostHistoryTypeId="2" PostId="3261" RevisionGUID="87a784f3-657d-4f3f-bc26-787f6a68baea" CreationDate="2010-08-30T06:37:54.453" UserId="407" Text="SuperCollider is my weapon of choice for creating new sounds. I actually like it cause it's non visual programming, which makes it harder to learn but in the long run can be more flexable.&#xD;&#xA;I've also used PD but have an issue with the sound quality, I find it very clicky and harsh. This was a few years ago though so maybe it has got better." ContentLicense="CC BY-SA 2.5" />
  <row Id="5617" PostHistoryTypeId="2" PostId="3262" RevisionGUID="ba56d6ae-9802-4779-95bf-cb10f1dc6d12" CreationDate="2010-08-30T11:36:41.970" UserId="270" Text="These track listings from commercial libraries made me laugh (im easily amused)&#xD;&#xA;&#xD;&#xA;- digi i7 - 99 - HUMAN - FALLING IN TO SHRUBBERY -  FALLING IN TO BUSH&#xD;&#xA;- digi c10 - 22.wav - HORSE - EATING POTATOES &#xD;&#xA;- Digi J1 69 - Elephant playing harmonica&#xD;&#xA;- DW02 - 65.wav - Space Vacuum Cleaner&#xD;&#xA;- DIGI -C-08     51      HYDRAULIC MANURE TRANSPORTER&#xD;&#xA;&#xD;&#xA;And greatest of all;&#xD;&#xA;&#xD;&#xA;- SI - 6037  Track 51 - 'Timer - Small Timer with Bell End'" ContentLicense="CC BY-SA 2.5" />
  <row Id="5618" PostHistoryTypeId="2" PostId="3263" RevisionGUID="d979c648-efb4-4c81-976b-714a715471be" CreationDate="2010-08-30T15:33:31.010" UserId="536" Text="I have used them quite a bit, since I manufacture these microphones.&#xD;&#xA;&#xD;&#xA;Omnidirectional microphones have a few characteristics that make them useful in field recording:&#xD;&#xA;&#xD;&#xA; - low handling noise&#xD;&#xA; - better wind rejection than direction microphones&#xD;&#xA; - baffled omnis (ie jecklin disk) can give you stereo effects similar to binaural techniques&#xD;&#xA;&#xD;&#xA;If you have any specific questions about the STO-2s feel free to contact me." ContentLicense="CC BY-SA 2.5" />
  <row Id="5619" PostHistoryTypeId="2" PostId="3264" RevisionGUID="f2c891c1-f674-4676-aaba-29a9e6f371f5" CreationDate="2010-08-30T21:31:05.277" UserId="18160" Text="I'm collecting all kinds of voice effects to add to my arsenal.&#xD;&#xA;&#xD;&#xA;My absolute favorite is Worldizing a voice in a room by playing it back 4X real-time and recording it 4X real-time so when it gets played back at regular time, the reverb sounds 4X bigger. I haven't tried it faster than that but I could only imagine what it would sound like.&#xD;&#xA;&#xD;&#xA;I also liked strapping a plastic tupperware cup over the driver of my auratone speaker and re-recording that to simulate a voice going through a space-mask.&#xD;&#xA;&#xD;&#xA;What are some interesting and new voice effects you use?&#xD;&#xA;&#xD;&#xA;Sharing is caring!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5620" PostHistoryTypeId="1" PostId="3264" RevisionGUID="f2c891c1-f674-4676-aaba-29a9e6f371f5" CreationDate="2010-08-30T21:31:05.277" UserId="18160" Text="What is your favorite voice effect to use?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5621" PostHistoryTypeId="3" PostId="3264" RevisionGUID="f2c891c1-f674-4676-aaba-29a9e6f371f5" CreationDate="2010-08-30T21:31:05.277" UserId="18160" Text="&lt;favorite&gt;&lt;voice&gt;&lt;effect&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5622" PostHistoryTypeId="4" PostId="3264" RevisionGUID="8ace87fe-1435-496a-a2fa-0a02549484ee" CreationDate="2010-08-30T21:43:55.977" UserId="18160" Comment="edited title" Text="What are some of your favorite voice effects?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5623" PostHistoryTypeId="2" PostId="3265" RevisionGUID="e370a219-d9cb-48d4-a72d-0b0de560a658" CreationDate="2010-08-30T22:16:24.510" UserId="253" Text="Ok, i'm stealing that worldising trick. That might make for a pretty cool IR too...&#xD;&#xA;&#xD;&#xA;I had an actor say his line as quickly as he could and used paulstretch to bring it back to full length. It sounds a little spacey and synthy.&#xD;&#xA;&#xD;&#xA;I haven't done this yet, but i'm planning to worldise some dialogue with a contact mic and try out various surfaces (metal, glass, etc.).&#xD;&#xA;&#xD;&#xA;I've had another idea brewing... It involves taking a line and reversing it, then playing it back to an actor and having them replicate it as best they can. Then you flip it back again. I'm pretty sure i've heard this used before though (Twin Peaks?)." ContentLicense="CC BY-SA 2.5" />
  <row Id="5624" PostHistoryTypeId="2" PostId="3266" RevisionGUID="5556ab22-7fcb-4071-9e2f-e8f9e071e91f" CreationDate="2010-08-30T23:15:30.253" UserId="432" Text="I've had some fun utilizing pitch shift. Duplicate the audio onto another track, pitch it up or down a bit (you'll have to experiment a little to get the effect you might want), then shift that pitched audio a few samples in either direction. You can create some cool eerie/ethereal/downright creepy sounds that way. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5625" PostHistoryTypeId="2" PostId="3267" RevisionGUID="71abd333-e7eb-4771-97cc-89479f1ee456" CreationDate="2010-08-30T23:23:57.503" UserId="29" Text="*sigh* I'm still an old-school fan of subtle preverb, I gotta say, for that otherworldly feel. I also like sending different frequency ranges of the voice to different effects: Maybe the highs to a phaser and the lows to a tube distortion...nothing heavy, just adding some sizzle, animation, and alien-ness to spice things up." ContentLicense="CC BY-SA 2.5" />
  <row Id="5626" PostHistoryTypeId="2" PostId="3268" RevisionGUID="8b5c6975-0f18-4933-b411-f9fd0456b5bf" CreationDate="2010-08-31T00:12:59.210" UserId="531" Text="Hello everyone, this is my first time posting. I really love this site, it's a brilliant idea! &#xD;&#xA;&#xD;&#xA;My question is this, &#xD;&#xA;I may have just landed a gig sound designing about 10 sounds for an iphone game that's currently in development. &#xD;&#xA;&#xD;&#xA;I'm curious about the frequency response of the iphone speakers and headphone out, as well as any info related to sound optimization for the iphone, i.e. Mix levels, amount of compression needed etc. &#xD;&#xA;&#xD;&#xA;Additionally are there any big no no's that should be avoided when creating sounds for the iphone? &#xD;&#xA;Do any of you have experience sound designing for phone apps/games? &#xD;&#xA;&#xD;&#xA;Thanks for your time, interests and energy! &#xD;&#xA;I love this site!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5627" PostHistoryTypeId="1" PostId="3268" RevisionGUID="8b5c6975-0f18-4933-b411-f9fd0456b5bf" CreationDate="2010-08-31T00:12:59.210" UserId="531" Text="Sound designing for an Iphone Game - approaches? " ContentLicense="CC BY-SA 2.5" />
  <row Id="5628" PostHistoryTypeId="3" PostId="3268" RevisionGUID="8b5c6975-0f18-4933-b411-f9fd0456b5bf" CreationDate="2010-08-31T00:12:59.210" UserId="531" Text="&lt;iphone&gt;&lt;mobile-phone&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5629" PostHistoryTypeId="2" PostId="3269" RevisionGUID="a48ed6e0-2fe4-4b56-ae8b-b5a254d94783" CreationDate="2010-08-31T00:30:24.477" UserDisplayName="user49" Text="I've done a lot of manual envelope following for creature voices (i have a tutorial half finished on the manual process but I think I've worked out how to automate it, so will get around to posting it sometime)&#xD;&#xA;&#xD;&#xA;A simple example: in Bridge To Terabithia there is a giant talking tree. We recorded the voice with an MKH800 mic with real time pitchshift so the actor heard themselves deeper/bigger (aka the Kong-alizer).... I took the dialogue track, and cut a track of leaf moves and another track of branch creaks/moves roughly in sync with the lines. Then I manually traced the amplitude envelope of the dialogue using the freehand pen tool in a PT volume graph. Once I had it tight I copied the volume graph (in sync) across to the leaf &amp; branch tracks, so when he speaks you get tightly synced tree branch &amp; leaf movement... (Of course I deleted the volume graph off the dialogue track)&#xD;&#xA;&#xD;&#xA;Did the same with another film with wet creepy monster creatures, using watermelon squelches....&#xD;&#xA;&#xD;&#xA;Like any dialogue processing you have to be very careful of intelligibility...." ContentLicense="CC BY-SA 2.5" />
  <row Id="5630" PostHistoryTypeId="2" PostId="3270" RevisionGUID="d9ac1530-54ca-46a9-b88b-c0c77a0b3665" CreationDate="2010-08-31T01:22:26.580" UserId="18160" Text="Grab a set of the white stock Apple headphones and cross-reference your mix on those because that's what 90% of the people will be listening to the game with.&#xD;&#xA;&#xD;&#xA;I heard they roll off at 16K. I could be wrong, though.&#xD;&#xA;&#xD;&#xA;I mix a weekly podcast and I always reference my mix on those because that's what people end up listening to it on mostly." ContentLicense="CC BY-SA 2.5" />
  <row Id="5631" PostHistoryTypeId="2" PostId="3271" RevisionGUID="ead0d64c-fec2-43a6-a64d-3f473bffaf9e" CreationDate="2010-08-31T02:10:34.893" UserId="18160" Text="I saw in the DVD extras on the sound-work for Lord of the Rings - The Two Towers a special section about how they created the Tree-Beard voice.&#xD;&#xA;&#xD;&#xA;Some of the video footage shows the voice being recorded on set with a Schoeps MK41 with no popscreen about 4 feet away from the actor and the actor was even holding up his script. He was also projecting/yelling like he was on a theater stage...&#xD;&#xA;&#xD;&#xA;This couldn't possibly be the track they used for mixing, right? It had to have been just a guide-track and for reaction purposes for the hobbits hanging off of him on set.&#xD;&#xA;&#xD;&#xA;I would hope they re-recorded his voice in a booth or sound stage without the ambient noise and paper shuffle and off-axisness of that mic.&#xD;&#xA;&#xD;&#xA;Does anyone know? Tim, do you know how they ended up recording John Reese Davies as Tree-Beard?&#xD;&#xA;&#xD;&#xA;If it actually was the audio from the set, I am in awe of whoever edited that dialogue and mixed it... Sorry if this is a random question - it's been bugging me for a while how they did this." ContentLicense="CC BY-SA 2.5" />
  <row Id="5632" PostHistoryTypeId="1" PostId="3271" RevisionGUID="ead0d64c-fec2-43a6-a64d-3f473bffaf9e" CreationDate="2010-08-31T02:10:34.893" UserId="18160" Text="Question about Tree-Beard." ContentLicense="CC BY-SA 2.5" />
  <row Id="5633" PostHistoryTypeId="3" PostId="3271" RevisionGUID="ead0d64c-fec2-43a6-a64d-3f473bffaf9e" CreationDate="2010-08-31T02:10:34.893" UserId="18160" Text="&lt;voice&gt;&lt;mix&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5634" PostHistoryTypeId="2" PostId="3272" RevisionGUID="ac34ff78-f7eb-4208-8d1d-5b63add153cf" CreationDate="2010-08-31T02:48:58.523" UserId="393" Text="Also, you won't have any bass to speak of when they're not wearing the headphones, so try to keep that in mind." ContentLicense="CC BY-SA 2.5" />
  <row Id="5635" PostHistoryTypeId="2" PostId="3273" RevisionGUID="92de6e9c-cc2c-4128-9309-ea441d0b67e3" CreationDate="2010-08-31T03:12:35.323" UserId="18160" Text="So I'm finally wrapping up the Doors project (I know. I procrastinated. I apologize - I'm really busy, though! That's my excuse!).&#xD;&#xA;&#xD;&#xA;I couldn't help but notice while being out field recording: THERE IS SO MUCH NOISE OUT THERE.&#xD;&#xA;&#xD;&#xA;Wow. Any little tick or pop out in the world seems to make it into my mics - whichever one I try. (you veterans are probably laughing out loud by now because I constantly say I'm a pampered studio recordist. And I am - floating room with A/C air which gets pumped from well off site and just softly drops down into the room = no vent noise).&#xD;&#xA;&#xD;&#xA;How do you guys deal with it? You must be very patient and wait for that opportune moment when the couple down the street stop talking, the dog stops barking and there is a red light down at the corner stoplight.&#xD;&#xA;&#xD;&#xA;I'm wondering how much noise is acceptable. I'm worried that some of my doors will be rejected because that damn A/C unit is on or someone is yapping loudly down the hall.&#xD;&#xA;&#xD;&#xA;Do you really have to drive out to the desert or the middle of nowhere to do some field recordings? Or do you grin and bear it and do some trick editing at home? What do you guys do? Hats off to ya." ContentLicense="CC BY-SA 2.5" />
  <row Id="5636" PostHistoryTypeId="1" PostId="3273" RevisionGUID="92de6e9c-cc2c-4128-9309-ea441d0b67e3" CreationDate="2010-08-31T03:12:35.323" UserId="18160" Text="External noise in field recordings." ContentLicense="CC BY-SA 2.5" />
  <row Id="5637" PostHistoryTypeId="3" PostId="3273" RevisionGUID="92de6e9c-cc2c-4128-9309-ea441d0b67e3" CreationDate="2010-08-31T03:12:35.323" UserId="18160" Text="&lt;field-recording&gt;&lt;external&gt;&lt;noise&gt;&lt;ambience&gt;&lt;unwanted&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5638" PostHistoryTypeId="5" PostId="3273" RevisionGUID="a8d7eb35-ce3a-4b3f-ab31-db3bd3d99555" CreationDate="2010-08-31T03:18:09.003" UserId="18160" Comment="added 12 characters in body; added 157 characters in body; added 10 characters in body" Text="So I'm finally wrapping up the Doors project (I know. I procrastinated. I apologize - I'm really busy, though! That's my excuse!).&#xD;&#xA;&#xD;&#xA;I couldn't help but notice while being out field recording: THERE IS SO MUCH NOISE OUT THERE.&#xD;&#xA;&#xD;&#xA;Wow. Any little tick or pop out in the world seems to make it into my mics - whichever one I try. (you veterans are probably laughing out loud at me writing this because I constantly say I'm a pampered studio recordist. And I am - floating room with A/C air which gets pumped from well off site and just softly drops down into the room = no vent noise).&#xD;&#xA;&#xD;&#xA;How do you guys deal with it? You must be very patient and wait for that opportune moment when the couple down the street stop talking, the dog stops barking and there is a red light down at the corner stoplight.&#xD;&#xA;&#xD;&#xA;I'm wondering how much noise is acceptable. I'm worried that some of my doors will be rejected because that damn A/C unit is on or someone is yapping loudly down the hall.&#xD;&#xA;&#xD;&#xA;Do you really have to drive out to the desert or the middle of nowhere to do some field recordings? Or do you grin and bear it and do some trick editing at home? What do you guys do? Sure, pointing the null side of the mic helps a bit, but I can't believe how much noise there is out there in the world and how you guys expertly handle it. Hats off to ya.&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="5639" PostHistoryTypeId="2" PostId="3274" RevisionGUID="d0dbcd36-9cf7-4343-8c57-9d605b63a235" CreationDate="2010-08-31T03:36:38.150" UserId="6411" Text="So, let's say I have a pile of a couple thousand .aifs all nice and pretty with Soundminer metadata perfectly intact. But for one reason or another, these .aifs need to be converted to .wavs.  Is there a way to perform such a conversion so that I don't have to manually re-enter or cut, copy, and paste all the metadata form the .aifs to the .wavs?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5640" PostHistoryTypeId="1" PostId="3274" RevisionGUID="d0dbcd36-9cf7-4343-8c57-9d605b63a235" CreationDate="2010-08-31T03:36:38.150" UserId="6411" Text="Retaining Metadata in .aif to .wav Conversion?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5641" PostHistoryTypeId="3" PostId="3274" RevisionGUID="d0dbcd36-9cf7-4343-8c57-9d605b63a235" CreationDate="2010-08-31T03:36:38.150" UserId="6411" Text="&lt;metadata&gt;&lt;workflow&gt;&lt;database&gt;&lt;library&gt;&lt;soundminer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5642" PostHistoryTypeId="2" PostId="3275" RevisionGUID="9547ea4f-b3a3-4207-bb6d-501b456a1eae" CreationDate="2010-08-31T04:40:44.883" UserId="61" Text="Anyone out there own a [MK-012][1], and if so, have you had the [Michael Joly modification][2] done to it? Curious to know how differently it performs and if it's worth the $$. Also, your thoughts on the omni, cardiod, hyper and figure-eight capsules is appreciated. (Those specific capsules, not the polar patterns and their applications in general.)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.oktava-online.com/mk012.htm&#xD;&#xA;  [2]: http://www.oktavamod.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5643" PostHistoryTypeId="1" PostId="3275" RevisionGUID="9547ea4f-b3a3-4207-bb6d-501b456a1eae" CreationDate="2010-08-31T04:40:44.883" UserId="61" Text="Oktava 012 &amp; mods" ContentLicense="CC BY-SA 2.5" />
  <row Id="5644" PostHistoryTypeId="3" PostId="3275" RevisionGUID="9547ea4f-b3a3-4207-bb6d-501b456a1eae" CreationDate="2010-08-31T04:40:44.883" UserId="61" Text="&lt;microphone&gt;&lt;oktava&gt;&lt;modification&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5645" PostHistoryTypeId="2" PostId="3276" RevisionGUID="b2c29f62-61d3-4ead-a8fb-21378e585b0b" CreationDate="2010-08-31T05:11:02.140" UserId="390" Text="Well it comes down to context. Just today I recorded audio for a scene at the Marina. There was plenty going on in the scene in addition to the dialogue. There was wind blowing on flags with ropes hitting metal poles. There was water splashing against the docks. There were bird sounds. There were boats making creaking sounds as they floated in the water. In the distance a couple of guys were casting reels into the water as they fished. I went up to them and got permission to record the sound of their reels as they casted them. &#xD;&#xA;&#xD;&#xA;Although I had my shotgun mic pointed at my sound source of interest, I also wanted the extra sounds because they were represented visually in the scene. But if I want the sound of a reel spinning as the fishing line was being cast in the water without the birds, then I have to control my environment and take that reel to a quiet space and record. Because of time constraints on set, I have been recording about 90 seconds to two minutes of ambience and specific sounds. Thats usually long enough to edit around disturbances and interruptions while recording. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5646" PostHistoryTypeId="2" PostId="3277" RevisionGUID="c43a0496-191f-4da9-8475-a7e08f9e0fb0" CreationDate="2010-08-31T05:18:16.617" UserId="390" Text="I had that DVD a while ago. I can't wait to get my hands on a blue ray extended version. Anyway, I think John Rhys Davies was just holding the script up for the camera. Besides, I'm sure anyone in the room recording that session for the movie would have asked him to not ruffle pages while he's doing his dialogue. By anyone, I mean ANYONE, including a newbie audio intern who got chewed out for not cleaning out the kitchen refrigerator as requested. That person would probably have as much right to point out that the VO actor was ruining the session with all that page shaking and such.&#xD;&#xA;&#xD;&#xA;Plus no pop filter? That could have been your first clue that the actor was performing for camera." ContentLicense="CC BY-SA 2.5" />
  <row Id="5647" PostHistoryTypeId="2" PostId="3278" RevisionGUID="6b369435-a521-45b9-8430-bee7126371e9" CreationDate="2010-08-31T05:37:15.183" UserId="61" Text="Malvicus beat me to it -- but I'll reiterate anyhow:&#xD;&#xA;&#xD;&#xA;1. CONTEXT. Whether you can use that door with the noisy ambience or not completely depends on the type of scene you are using it for. A period film with no modern traffic will not support a recording with, say, air conditioners or a city bus in the background, but a film set in Chicago might. The important thing to remember is this: *Is it an interesting recording?* If so, keep it - you never know when it may come in handy. Also remember that you can clean up your recordings when you know better how you want to use it, ie. a Z-Noise pass that introduces some artifacts may be perfectly fine for a scene with loud score and an explosion or two.&#xD;&#xA;&#xD;&#xA;2. MIC CHOICE AND PLACEMENT. Choosing the proper mic for the job is critical. While it's not always possible, try to plan ahead when going out recording. In the case of doors, it's probably not wise to go out armed with an omni, or even a cardiod capsule - hyper or shotgun is normally way to go, although there are always exceptions, plus it's cool to experiment. (This is pretty obvious to most of us but worth restating here, I think, given the topic.)&#xD;&#xA;&#xD;&#xA;3. PATIENCE. Like you said, there is a lot of noise in the world. Even in the most rural areas you're bound to be plagued by occasional air traffic, vehicle noise that travels for miles through the still atmosphere, unwanted nature sounds, etc. It is unavoidable. The solution to this is to record at least twice what you think you will need. (I do much more than that.) For sound effects gathering this is as easy as bringing extra batteries and storage media and committing yourself to the task at hand. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5648" PostHistoryTypeId="2" PostId="3279" RevisionGUID="5899bf3f-d908-42a9-abe9-1ef70ef4c3ca" CreationDate="2010-08-31T05:51:52.910" UserId="400" Text="Here are some other things that are probably worth bearing in mind:&#xD;&#xA;&#xD;&#xA;http://www.gamesounddesign.com/tips-and-tricks-for-iphone-sound-design.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="5649" PostHistoryTypeId="2" PostId="3280" RevisionGUID="0bb6fc39-a53b-471a-a720-5dc897e31d28" CreationDate="2010-08-31T06:08:44.363" UserDisplayName="user49" Text="Funnily enough the film I just started on yesterday Mike Hopkins is the dialogue supervisor and as he was supervising dialogue editor on LOTR I asked him.... First it wasn't a Schoeps - Mikes not a fan of them, but you are right - that would have been guidetrack recorded on set (I think TreeBeard was mostly VFX in the end) So the actual voice used was recorded in the lovely big ADR studio at Park Road Post using an MKH50 mic... &#xD;&#xA;In terms of processing, they did some pitch shifting but also did a lot of experimenting with worldising; apparently a tree-like resonant chamber was built (except not a single straight log shape, more complex with a number of corners &amp; chambers that could be closed off etc)&#xD;&#xA;They did a lot of experiments with it, but also about that time Dave Farmer arrived here and brought Altiverb with him. So they captured IRs of the resonant chamber and printed versions of it as well as other IRs.... Dave Whitehead also did a lot of work on the voice, editing &amp; mapping wood creaks &amp; groans (using Metasynth as well as PT) &#xD;&#xA;Mike said in the final mix they had the clean pitched voice, the printed IRs and a group of the FX tracks, so the balance was found depending on how intelligible the voice needed to be at any moment... If it was groans and calls then more of the IRs and FX elements were used, whereas for 'dialogue' those elements were held back..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5650" PostHistoryTypeId="2" PostId="3281" RevisionGUID="90c15880-6c57-4c2a-997e-f33a12bcfc72" CreationDate="2010-08-31T08:08:41.103" UserId="118" Text="It's not ideal but in terms of cleaning up your recordings it's worth bearing in mind that if you are stuck with a noisy bg when trying to record it can be helpful to get at least a few seconds of just the aircon or traffic noise so that you can 'train' plugins like RX better." ContentLicense="CC BY-SA 2.5" />
  <row Id="5651" PostHistoryTypeId="2" PostId="3282" RevisionGUID="d9899311-687b-4898-a33a-6f43f519740e" CreationDate="2010-08-31T08:12:08.727" UserId="61" Text="Who has risked their microphone investment and have it pay off?&#xD;&#xA;&#xD;&#xA; - Submerged in boiling water&#xD;&#xA; - Frozen in ice&#xD;&#xA; - Dipped in liquids other than water,&#xD;&#xA;   ie. syrup, molasses, oil, etc&#xD;&#xA; - Floated close to hazardous objects,&#xD;&#xA;   ie. garbage disposal blades,&#xD;&#xA;   propellors, etc&#xD;&#xA; - Something else even crazier than the&#xD;&#xA;   above?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5652" PostHistoryTypeId="1" PostId="3282" RevisionGUID="d9899311-687b-4898-a33a-6f43f519740e" CreationDate="2010-08-31T08:12:08.727" UserId="61" Text="Pushing your hydrophone to the limit" ContentLicense="CC BY-SA 2.5" />
  <row Id="5653" PostHistoryTypeId="3" PostId="3282" RevisionGUID="d9899311-687b-4898-a33a-6f43f519740e" CreationDate="2010-08-31T08:12:08.727" UserId="61" Text="&lt;hydrophone&gt;&lt;contact-mic&gt;&lt;microphone-technique&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5654" PostHistoryTypeId="2" PostId="3283" RevisionGUID="056a2ae1-2595-495c-9365-af4d7f41af63" CreationDate="2010-08-31T09:16:49.760" UserId="407" Text="A friend of mine built a hydrophone then froze it into a lake - in north sweden. you can hear the results from here: &#xD;&#xA;http://www.riwid.net/works/singing-ice/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5655" PostHistoryTypeId="5" PostId="3274" RevisionGUID="9e018088-5362-406c-b4c5-bc4cc2f6eeea" CreationDate="2010-08-31T13:36:45.073" UserId="6411" Comment="edited body" Text="So, let's say I have a pile of a couple thousand .aifs all nice and pretty with Soundminer metadata perfectly intact. But for one reason or another, these .aifs need to be converted to .wavs.  Is there a way to perform such a conversion so that I don't have to manually re-enter or cut, copy, and paste all the metadata from the .aifs to the .wavs?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5656" PostHistoryTypeId="2" PostId="3284" RevisionGUID="7b2206b4-8500-4369-8edb-7d88961bfdbd" CreationDate="2010-08-31T13:45:11.597" UserId="194" Text="I haven't tested this specific application, but I know that izotope RX doesn't mess with the soundminer metadata in wav files when I edit stuff after it's already been added to my library. &#xD;&#xA;&#xD;&#xA;It has a batch process function, so it certainly could work." ContentLicense="CC BY-SA 2.5" />
  <row Id="5657" PostHistoryTypeId="2" PostId="3285" RevisionGUID="156231fd-3e57-4135-a37e-b0647c5a5771" CreationDate="2010-08-31T14:54:38.630" UserId="432" Text="this one's gonna be difficult, because the metadata contained in the header of the file (which is being altered when you convert it from one format to another). is there no process in soundminer to handle that for you. if not, i know the support team over at soundminer is really good, maybe they can point you in the right direction." ContentLicense="CC BY-SA 2.5" />
  <row Id="5660" PostHistoryTypeId="2" PostId="3287" RevisionGUID="43afce07-7a67-44da-99d9-167f0c32d58a" CreationDate="2010-08-31T17:44:58.860" UserId="469" Text="So I've recently been doing a bit of hiking to remote locations for field recording.  On my trips so far I have used a rain coat that also zips up into a bag to hold my m/s rig in a rycote with a bit of padding.  My recorder is in a portabrace bag and I use the mixer bag to hold other things i need like food, water, etc.  It's ok for short hikes or less difficult ones, but I want to get to some spots where it would be eaiser if everything fit into a medium sized backpack.  &#xD;&#xA;&#xD;&#xA;Does anyone do this?  Do people leave their mics in their windjammer when hiking?  How do people protect their rycote on hikes where you would not be able to hand carry it due to climbing or trail narrow trail conditions?&#xD;&#xA;&#xD;&#xA;I know alot of location recordists use PVC pipe on their carts, but I am looking for a way to safely transport my m/s setup that is light and affords some protection.  Alfacase makes some nice cases but none that fit a m/s rig.&#xD;&#xA;&#xD;&#xA;What do you people do?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5661" PostHistoryTypeId="1" PostId="3287" RevisionGUID="43afce07-7a67-44da-99d9-167f0c32d58a" CreationDate="2010-08-31T17:44:58.860" UserId="469" Text="Field Recordists - How do you protect your equipment in the field?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5662" PostHistoryTypeId="3" PostId="3287" RevisionGUID="43afce07-7a67-44da-99d9-167f0c32d58a" CreationDate="2010-08-31T17:44:58.860" UserId="469" Text="&lt;field&gt;&lt;recording&gt;&lt;cases&gt;&lt;protection&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5663" PostHistoryTypeId="2" PostId="3288" RevisionGUID="e5748913-dbb8-4016-bb98-58f547af9ab3" CreationDate="2010-08-31T18:53:16.620" UserId="219" Text="My parents' big TV just broke :) When you switch it on, it switches itself off with a nice little &quot;pfew&quot; (kind of a &quot;let me rest a little longer&quot; kinda thing). I wanted to record it but it started to smell like burnt so I'd rather not switch it on anymore.&#xD;&#xA;&#xD;&#xA;H-o-w-e-v-e-r, I have a sledgehammer. You can see where I'm going here, so I'll ask you for your experience and advice here, on potential dangers but also techniques as to how to smash it to record the best sound. I've only got one shot, although once I'll have taken care of the CRT I'll probably do various fall heights and stuff.&#xD;&#xA;&#xD;&#xA;So, do you have any advice for me? So far here's what I'm planning:&#xD;&#xA; - long sleeves and jeans&#xD;&#xA; - safety glasses&#xD;&#xA; - gloves if I want to play around with glass debris&#xD;&#xA;&#xD;&#xA;Thanks in advance for your replies :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5664" PostHistoryTypeId="1" PostId="3288" RevisionGUID="e5748913-dbb8-4016-bb98-58f547af9ab3" CreationDate="2010-08-31T18:53:16.620" UserId="219" Text="Smaaashing a TeeeVeee :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5665" PostHistoryTypeId="3" PostId="3288" RevisionGUID="e5748913-dbb8-4016-bb98-58f547af9ab3" CreationDate="2010-08-31T18:53:16.620" UserId="219" Text="&lt;sound-effects-recording&gt;&lt;location-recording&gt;&lt;planning&gt;&lt;safety&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5666" PostHistoryTypeId="2" PostId="3289" RevisionGUID="12f05c05-841c-4bc5-b3b5-55f20bc1fe01" CreationDate="2010-08-31T19:18:32.687" UserId="103" Text="I did it once, used a mask and protection goggles, admittedly was to careless and didn't do&#xD;&#xA;any research at all... BUT it was fun and no harm was done (maybe just luck)!&#xD;&#xA;The most dangerous gas it could have is phosphorous, so try to investigate that.&#xD;&#xA;&#xD;&#xA;Tried a few things but the sounds i like best were from hitting the glass with a golf club.&#xD;&#xA;After the first hit it was crackling a lot (probably not a good sign) so recorded that until it stopped. &#xD;&#xA;After all was said and done (a lot of smashing), used the shards (almost dust) to record footsteps on, sweeping, and falling on different surfaces. Used them on lots of occasions.&#xD;&#xA;&#xD;&#xA;I wish i could do it again now in a better room.&#xD;&#xA;&#xD;&#xA;Have fun and be safe! You definitely  want to wear a mask and goggles." ContentLicense="CC BY-SA 2.5" />
  <row Id="5667" PostHistoryTypeId="2" PostId="3290" RevisionGUID="eba8b14f-6214-425a-8257-6d1aff624c8e" CreationDate="2010-08-31T19:25:31.673" UserId="18160" Text="What do you think? How does it sound? Is this just another carrot for me to buy PT8?&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="5668" PostHistoryTypeId="1" PostId="3290" RevisionGUID="eba8b14f-6214-425a-8257-6d1aff624c8e" CreationDate="2010-08-31T19:25:31.673" UserId="18160" Text="Pro Tools HEAT?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5669" PostHistoryTypeId="3" PostId="3290" RevisionGUID="eba8b14f-6214-425a-8257-6d1aff624c8e" CreationDate="2010-08-31T19:25:31.673" UserId="18160" Text="&lt;pro-tools&gt;&lt;heat&gt;&lt;upgrade&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5670" PostHistoryTypeId="2" PostId="3291" RevisionGUID="125e3810-c4b3-4574-b6a9-84b72684894e" CreationDate="2010-08-31T19:28:40.330" UserId="465" Text="I used to work in the warehouse at an electronics store, Some of my best memories are from smashing CRT TV's. I never really worried about any poison gas, just use your head (don't stick your face right next to a freshly smashed TV and inhale).  One of the best things I ever used to smash the TV instead of an axe or sledge hammer... was a really big rock.  The combination of that rock + that TV, made the most chest-thumpingly awesome smash/explosion/pop I or my coworkers had ever heard from a TV." ContentLicense="CC BY-SA 2.5" />
  <row Id="5671" PostHistoryTypeId="4" PostId="3287" RevisionGUID="71a098ca-c619-4655-b126-4eb4ecff88ce" CreationDate="2010-08-31T19:33:20.360" UserId="469" Comment="edited title" Text="Field Recordists - How do you protect your mics on the way to the field?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5672" PostHistoryTypeId="5" PostId="3288" RevisionGUID="5a8249ca-93de-48e3-9154-f74d53581459" CreationDate="2010-08-31T19:34:24.963" UserId="219" Comment="added 2 characters in body; added 77 characters in body" Text="My parents' big TV just broke :) When you switch it on, it switches itself off with a nice little &quot;pfew&quot; (kind of a &quot;let me rest a little longer&quot; kinda thing). I wanted to record it but it started to smell like burnt so I'd rather not switch it on anymore.&#xD;&#xA;&#xD;&#xA;H-o-w-e-v-e-r, I have a sledgehammer. You can see where I'm going here, so I'll ask you for your experience and advice here, on potential dangers but also techniques as to how to smash it to record the best sound. I've only got one shot, although once I'll have taken care of the CRT I'll probably do various fall heights and stuff.&#xD;&#xA;&#xD;&#xA;So, do you have any advice for me? So far here's what I'm planning:&#xD;&#xA;&#xD;&#xA; - long sleeves and jeans&#xD;&#xA; - safety glasses&#xD;&#xA; - gloves if I want to play around with glass debris&#xD;&#xA;&#xD;&#xA;Thanks in advance for your replies :)&#xD;&#xA;&#xD;&#xA;SUGGESTIONS SO FAR:&#xD;&#xA;&#xD;&#xA; - mask&#xD;&#xA; - using a rock instead of a sledgehammer" ContentLicense="CC BY-SA 2.5" />
  <row Id="5673" PostHistoryTypeId="2" PostId="3292" RevisionGUID="f7f737ef-a704-4689-b1bd-0bdb22319fd0" CreationDate="2010-08-31T19:52:33.673" UserId="103" Text="Not much help i can give, but there is this thread on (on? in? at?) [gearslutz][1]&#xD;&#xA;As usual you have to dig trough the BS, hope there's useful information in there&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/so-much-gear-so-little-time/520792-pro-tools-heat.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="5674" PostHistoryTypeId="2" PostId="3293" RevisionGUID="f7d6c633-2006-4bdf-bf7d-13ecfd4900e4" CreationDate="2010-08-31T20:02:26.120" UserId="29" Text="This is a great, great question. It doesn't seem like a big deal, but it can be a real challenge to solve. What's more, if you're backpacking, you have no more room for much else, even with a 50-75 liter pack. What's a soundie to do?&#xD;&#xA;&#xD;&#xA;I pick a pack that will carry my essentials for the day/afternoon/hour and will also fit at least my mics in their zeppelin. The problem is that that $#!% gets *big*. When I'm doing serious backpacking, which is the worst-case-scenario for carrying a lot of stuff in addition to audio gear, I shove the zepp horizontally underneath the lid of the pack and I wear my SD 702 in a Portabrace with a chest harness lifted from a LowePro TopLoader SLR bag. Fits great and backpack straps go right over it. (Or, I just bring a handheld recorder if the conditions and subject matter warrant. Way easier/lighter!)&#xD;&#xA;&#xD;&#xA;Never overlook the ability to pack things INSIDE the zeppelin/blimp/windscreen - great way to carry a fleece or other jacket, and keep the mics nice and snug. Lots of room in those things. Less to worry about if rain hits the outside, too. I've successfully loaded up a backpack and a messenger bag (both Chrome brand) with full kit, but with not a lot of room for the essentials. Gets crowded in there with a zepp holding an M/S rig!&#xD;&#xA;&#xD;&#xA;Sometimes I attach the windscreen to a boom pole just so I have something to strap to my recorder case, which is easier with a Petrol case than a Portabrace.&#xD;&#xA;&#xD;&#xA;Your idea of using a coat to cover the zepp itself lets you strap it to the outside of your pack. Grosgrain-webbing compression straps can be purchased cheaply, or you can get a few meters of shock cord with a cord lock, depending on the attachment options of your pack itself. You can also look for silicone-impregnated nylon (silnylon) stuff sacks at outdoors stores  - not waterproof but reasonably splash-resistant, better if you seal the seams with McNett SeamSeal or a mixture of silicone caulking and mineral spirits. My local REI sees me arrive with audio gear all the time. You'd be surprised how similar windscreens are to rolled-up sleeping bags in size and girth.&#xD;&#xA;&#xD;&#xA;I've seen people with smaller rigs (like a PCM-D50, Sound Devices MixPre, and lavs) operate out of fanny packs or even large jackets with lots of pockets. Gordon Hempton rolls out of a Domke photog bag (I have one, they're incredible, but a zepp often won't fit inside). Others jam stuff in backpacks, which is far more common. &#xD;&#xA;&#xD;&#xA;Air travel's totally different, and actual mic cases, pvc tubing, and Pelican cases are great for serious transit - but I'm assuming from your question that you're talking about mic carry on-person.&#xD;&#xA;&#xD;&#xA;I've had some recent huge successes with some unusual bags that I'm still experimenting with. Formal reviews shall be forthcoming in September! Stay tuned..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5675" PostHistoryTypeId="2" PostId="3294" RevisionGUID="551a0f38-29b7-4ce7-b7a7-fd1552f818c2" CreationDate="2010-08-31T20:06:12.983" UserId="103" Text="Hi guys&#xD;&#xA;&#xD;&#xA;(my English is failing me big time today for some reason! so please forgive me &#xD;&#xA;and bear with me if possible)&#xD;&#xA;&#xD;&#xA;I just started working on a short (30 min) settled in a (present)&#xD;&#xA;post apocalyptic, abandoned city.&#xD;&#xA;&#xD;&#xA;It is not clear why the city is deserted, but you can tell it was a recent&#xD;&#xA;event. The characters are army girls scouting the city, no dialogue at all.&#xD;&#xA;Music is sparse and when present can't let it ride the story.&#xD;&#xA;&#xD;&#xA;All the shots are either still shots or very steady travelings (seems to be&#xD;&#xA;inspired by Andrey Tarkovsky's Stalker, unfortunately i don't have the DVD on me)&#xD;&#xA;The picture very often cuts between very wide shots and close up shots, of wither&#xD;&#xA;the characters or the houses.&#xD;&#xA;&#xD;&#xA;My question is about keeping ambiances/bgs interesting, while not being able to&#xD;&#xA;use (due to director's request) nothing that is alive (no birds etc), since&#xD;&#xA;you guys always come up with really cool stuff.&#xD;&#xA;&#xD;&#xA;Any insight?&#xD;&#xA;Thanks everybody" ContentLicense="CC BY-SA 2.5" />
  <row Id="5676" PostHistoryTypeId="1" PostId="3294" RevisionGUID="551a0f38-29b7-4ce7-b7a7-fd1552f818c2" CreationDate="2010-08-31T20:06:12.983" UserId="103" Text="Backgrounds for a dead city?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5677" PostHistoryTypeId="3" PostId="3294" RevisionGUID="551a0f38-29b7-4ce7-b7a7-fd1552f818c2" CreationDate="2010-08-31T20:06:12.983" UserId="103" Text="&lt;background&gt;&lt;ambiance&gt;&lt;editing&gt;&lt;short&gt;&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5678" PostHistoryTypeId="2" PostId="3295" RevisionGUID="7b5c0fb5-b053-42ce-8db0-9fa0949ee8ad" CreationDate="2010-08-31T20:12:23.793" UserId="18160" Text="Great desolate ambiences in Terminator Salvation.&#xD;&#xA;&#xD;&#xA;There is a Soundworks Collection on it and you can see how they created the ambiences:&#xD;&#xA;&#xD;&#xA;http://soundworkscollection.com/terminatorsalvation&#xD;&#xA;&#xD;&#xA;What I like about it is they used gritty dust and small rocks for the details. I think that would fit right in to your film - a good desolate wind with gritty rocks and debris.&#xD;&#xA;&#xD;&#xA;I love a squeeky metal hinge as from an old bar sign or gas station signage - that always speaks desolate/alone to me.&#xD;&#xA;&#xD;&#xA;I would study up on the opening scenes of I Am Legend - I am sure they had some great ambiences for that one.&#xD;&#xA;&#xD;&#xA;Jay Jennings would be the person to tell you - he's the pro at this sort of stuff (based off of his IMDB page. He has credited to him some awesome apocalyptic-type movies)." ContentLicense="CC BY-SA 2.5" />
  <row Id="5679" PostHistoryTypeId="2" PostId="3296" RevisionGUID="786d2ef9-04c7-41d1-b351-cc5677a25ed2" CreationDate="2010-08-31T20:20:37.490" UserId="393" Text="It sounds HOT!&#xD;&#xA;&#xD;&#xA;(Please disregard this answer.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5680" PostHistoryTypeId="2" PostId="3297" RevisionGUID="571d1e4e-8b72-4417-8cec-8c46ed569166" CreationDate="2010-08-31T20:22:13.290" UserId="29" Text="Hah, what a setup, Matt! You rock. :-p&#xD;&#xA;&#xD;&#xA;Jay, I bought my Oktava directly from Michael at OktavaMod.com. I think the mic's omni and cardioid capsule have a wonderful, warm, fairly true sound, but the high frequency attenuation *really* is audible in the cardioid and the hypercardioid capsules - I think the directional capsules are great for dialog or if you like your dialog EQ'd by your mic, which can work for certain voices. The omni capsules sounds the most transparent and, heck, you get ANY mic close enough to a source and it'll be directional. Of course, all Oktavas are extremely susceptible to heavy handling noise. Shock mount 'em at all times, even on mic stands.&#xD;&#xA;&#xD;&#xA;But I still feel like the self-noise isn't great, even with Michael's work. I use 'em for &quot;stunt mics&quot; and loud-source material where a small condenser mic is the right thing. If multi-capsule mics are your think and you're on a budget, I'd argue that you should only use modded Oktavas, and Michael (and his wife) are absolute joys to deal with. If you don't need multi-capsule mics, then for the price, brands like Rode repesent a far better value, in my opinion.&#xD;&#xA;&#xD;&#xA;They're cool tools to have if your needs fit the niches they fill. Personally, I reach for mine infrequently, but everyone's usage and needs will vary, and it wasn't a huge investment to put one in the bag o' tricks for when they make sense.&#xD;&#xA;&#xD;&#xA;(Side note: I also was on a thread over at Gearslutz that I can't find now that had a guy named Zack who got a stock Oktava mid-side rig going. For hot sources it'd be fine, but for ambience recording, it wouldn't be my choice.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5681" PostHistoryTypeId="2" PostId="3298" RevisionGUID="b77dcf6a-1c41-4338-93ec-9298d5b958e4" CreationDate="2010-08-31T20:24:12.270" UserId="393" Text="Pull a No Country for Old Men and add a subtle melody to your wind.  And maybe some wood creeks and metal stresses to signify the reduced structural integrity of buildings." ContentLicense="CC BY-SA 2.5" />
  <row Id="5682" PostHistoryTypeId="2" PostId="3299" RevisionGUID="58f9fefd-326b-448f-9a40-b1b5cbfd2113" CreationDate="2010-08-31T20:54:38.363" UserId="432" Text="What state are the buildings in? If they're supposed to be damaged or falling apart, then that would provide you some great opportunities to bring in random debris/rubble/glass/etc. If you need some inspiration, walk around a similar area and listen to it. Ignore the sounds people make, and just listen to the structures. For example, what sounds do the door's make when they're used?&#xD;&#xA;&#xD;&#xA;Also, if you can identify any reverb or echo characteristics of that area, then maybe you can use that as a means to bring in sounds from a distance.&#xD;&#xA;&#xD;&#xA;I also read a great article by Randy Thom talking about how he built the sound for Castaway. The director wanted something similar, no sounds from living creatures to heighten the isolation. He built every single one of the plant, wind and ocean sounds as environmental ambiences. Maybe watching that movie will give you some other ideas to work from." ContentLicense="CC BY-SA 2.5" />
  <row Id="5683" PostHistoryTypeId="2" PostId="3300" RevisionGUID="2840db3b-e8cb-40ca-a256-989b673bc322" CreationDate="2010-08-31T21:02:43.523" UserId="432" Text="I...may have...one time......dropped a CRT monitor face down onto an upturned leg of a weight rack (yes, a rack that would hold a LOT of freeweights for exercise)....from about 10 ft up..........into a construction dumpster.&#xD;&#xA;&#xD;&#xA;Man, that created an awesome sound, if only we had had a decent (and working) sound recorder at the time. Oh the woes of lost opportunities." ContentLicense="CC BY-SA 2.5" />
  <row Id="5684" PostHistoryTypeId="5" PostId="3288" RevisionGUID="59921384-3fd3-4edd-854a-909c70d3d327" CreationDate="2010-08-31T21:15:29.203" UserId="219" Comment="added 79 characters in body" Text="My parents' big TV just broke :) When you switch it on, it switches itself off with a nice little &quot;pfew&quot; (kind of a &quot;let me rest a little longer&quot; kinda thing). I wanted to record it but it started to smell like burnt so I'd rather not switch it on anymore.&#xD;&#xA;&#xD;&#xA;H-o-w-e-v-e-r, I have a sledgehammer. You can see where I'm going here, so I'll ask you for your experience and advice here, on potential dangers but also techniques as to how to smash it to record the best sound. I've only got one shot, although once I'll have taken care of the CRT I'll probably do various fall heights and stuff.&#xD;&#xA;&#xD;&#xA;So, do you have any advice for me? So far here's what I'm planning:&#xD;&#xA;&#xD;&#xA; - long sleeves and jeans&#xD;&#xA; - safety glasses&#xD;&#xA; - gloves if I want to play around with glass debris&#xD;&#xA;&#xD;&#xA;Thanks in advance for your replies :)&#xD;&#xA;&#xD;&#xA;SUGGESTIONS SO FAR:&#xD;&#xA;&#xD;&#xA; - mask&#xD;&#xA; - using a rock instead of a sledgehammer&#xD;&#xA; - dropping it from 10ft on a sharp metal object inside a big metal container" ContentLicense="CC BY-SA 2.5" />
  <row Id="5685" PostHistoryTypeId="2" PostId="3301" RevisionGUID="26d799ca-fe3c-427a-89b8-13030edea44e" CreationDate="2010-08-31T22:16:59.297" UserId="61" Text="I recommend you watch [The Book of Eli][1]. Excellent background design and many areas where there is no dialog or music.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt1037705/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5686" PostHistoryTypeId="2" PostId="3302" RevisionGUID="114d8bee-0b01-4445-a635-73d0c25e5b33" CreationDate="2010-08-31T22:21:37.637" UserId="338" Text="We all know and love the LFE and we can feel it in our bones when it shows itself.  Does anybody have some tips on making Low Frequency Effects?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5687" PostHistoryTypeId="1" PostId="3302" RevisionGUID="114d8bee-0b01-4445-a635-73d0c25e5b33" CreationDate="2010-08-31T22:21:37.637" UserId="338" Text="Tips for making LFE" ContentLicense="CC BY-SA 2.5" />
  <row Id="5688" PostHistoryTypeId="3" PostId="3302" RevisionGUID="114d8bee-0b01-4445-a635-73d0c25e5b33" CreationDate="2010-08-31T22:21:37.637" UserId="338" Text="&lt;design&gt;&lt;lfe&gt;&lt;ideas&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5689" PostHistoryTypeId="2" PostId="3303" RevisionGUID="441575f6-31c0-4fca-9d20-7c3f788336b3" CreationDate="2010-08-31T22:40:56.433" UserId="300" Text="Sub-Harmonizers are good fun eg. BigBottom. They're good because you're creating harmonically related material as well. Pretty much any Impulse Response can be manipulated to give you weight too. Something to try is a Big IR (eg. a metallic space) but with a reduced reverb time, giving you something big and heavy but restrained at the same time.  J" ContentLicense="CC BY-SA 2.5" />
  <row Id="5690" PostHistoryTypeId="2" PostId="3304" RevisionGUID="ce6b8648-bd6c-4fa3-93f7-c6bc1c5e983f" CreationDate="2010-08-31T22:41:32.420" UserId="219" Text="It is obvious but I'll share it: I once read that making LFE's is as simple as low-passing a regular SFX. For the Dynamic Interference first challenge, I did just this with crashing waves for the building falling down.&#xD;&#xA;&#xD;&#xA;I also find that more radical (than usual) compression makes this nastier in the low end." ContentLicense="CC BY-SA 2.5" />
  <row Id="5691" PostHistoryTypeId="2" PostId="3305" RevisionGUID="a7342a3c-b6f3-460d-95a6-5aa07f15349b" CreationDate="2010-08-31T23:33:58.420" UserDisplayName="user49" Text="Main techniques I use are: &#xD;&#xA;&#xD;&#xA; 1. choosing the right source material&#xD;&#xA; 2. worldising&#xD;&#xA; 3. using subharmonic synth&#xD;&#xA; 4. varying frequency&#xD;&#xA;&#xD;&#xA;re worldising, on a couple of films I've made seriously freaky sub sounds for earthquakes etc by playing pure bass tones on one of my analog synths and lieing my subwoofer on its back and putting objects on top of it (eg wood, metal, glass etc) By doing pitch bends &amp; varying the frequency you can pass through the resonance of any object! For a film last year I did this with a lot of different objects and made the earthquake appear to pass through different parts of the house (eg lounge -&gt; kitchen -&gt; hallway -&gt; bedroom) by rattling objects/walls/wood etc from each room.... Funnily enough I tried the same process with my bass guitar amp and it wasn't half an effective - must be too much distortion, my JBL LSR sub is a far cleaner beast than my Trace Elliot bass rig...&#xD;&#xA;&#xD;&#xA;re subharmonic synths&#xD;&#xA;I use a dbx120 outboard and sometimes the lowender plugin.. the dbx is the best I've used by far - if you havent used one, it models sub bass sine waves an octave below your source material &amp; you then have control over filling in the spectrum between -1octave &amp; zero with harmonics - too much and it sounds like playing 5ths on bass guitar! The important part is that its generating sub, not just filtering or boosting EQ etc! I've used it on pitch shifted breathing to make large creature breaths too. The dbx is a VERY good affordable bit of outboard that any sound designer should own, if you can find one.. Many dub stages have them in the rack, but I like to print them on to split tracks so I can can cut them in sync with the source material...&#xD;&#xA;&#xD;&#xA;Like all sounds, moving/shifting frequencies where appropriate rates best as we notice change, whereas a constant rumble stops contributing fairly rapidly &amp; just takes up headroom/energy...&#xD;&#xA;&#xD;&#xA;A note of caution: like any effect, overuse or inappropriate use is a real danger eg &quot;here goes another boys movie with loud overt sound effects... boooom....&quot;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5693" PostHistoryTypeId="2" PostId="3307" RevisionGUID="7ff62848-7475-4ec3-b4a6-58dcabfbf077" CreationDate="2010-09-01T00:09:20.490" UserId="61" Text="Contact mics and hydrophones have excellent low end response. I've done some impact recording with them buried under the sand / dirt and gotten great sub sweeteners." ContentLicense="CC BY-SA 2.5" />
  <row Id="5694" PostHistoryTypeId="2" PostId="3308" RevisionGUID="663f3b3e-22b9-46b3-95c8-f2d9ab617dcc" CreationDate="2010-09-01T00:09:43.393" UserId="194" Text="I was out recording my car last week both for the purposes of scouting a good strip of road and practicing my auto coverage technique.  When I got back to the studio I discovered that one of my tracks came back covered in a strange strange fluttering distortion, and I can't figure out what would have caused it.&#xD;&#xA;&#xD;&#xA;Here's a pic of the setup:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(Side note:  after coming back into the studio I wasn't entirely happy with my mic placement - I felt there was too much overlap in the perspectives.  In the future I'll try to have shotguns for the side mics and will position them a few feet away from the main XY or MS setup.)&#xD;&#xA;&#xD;&#xA;What you're looking at is a VP-88 plugged into a Zoom H4 sitting in between a pair of SM-81s plugged into a 744t.  The audio from the VP-88 came out great sounding, but the SM81s ended up being unusable due to the strange fluttering on them.  &#xD;&#xA;&#xD;&#xA;Here's a (low volume) clip that is unaltered from the record:&#xD;&#xA;&#xD;&#xA;[soundcloud]rcoronado/strange-flutter-distortion[/soundcloud]&#xD;&#xA;&#xD;&#xA;I threw this clip into izotope to have a looksee, and saw this:&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;As you can see, the distortion is pretty evenly spread throughout the entire frequency spectrum, even running up past the ultrasonic range that my 96k recordings were made at.  &#xD;&#xA;&#xD;&#xA;when I zoomed in I saw this:&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;The left and right channels seem to have no relation to one another with regards to pattern, and its a clearly modulating signal on narrow but not static intervals.  &#xD;&#xA;&#xD;&#xA;-----------&#xD;&#xA;My own thoughts are that its not likely to be the microphones or cables themselves because of how uniformly it is affecting both channels.  It could potentially be some kind of radio interference in the air, but the fact that the VP-88 recorded clean with no hint of that kind of thing causes problems with that theory.  It could also potentially be the 744t itself (I haven't taken it back out yet) but I don't really think it would be anything like the pre or A/D converter making this kind of thing.  &#xD;&#xA;&#xD;&#xA;I've never really heard distortion like this before, so I'm curious about what may have caused it.  I really like this strip of road for recording purposes, but if this is caused by something being transmitted in the air I'll have to take it off my list.  &#xD;&#xA;&#xD;&#xA;Any thoughts?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i884.photobucket.com/albums/ac49/ReneCoronado/location%20record%20shots/passbysetup.jpg&#xD;&#xA;&#xD;&#xA;  [2]: http://i884.photobucket.com/albums/ac49/ReneCoronado/izotope%20screenshots/strangedistortion-overview.png&#xD;&#xA;  [3]: http://i884.photobucket.com/albums/ac49/ReneCoronado/izotope%20screenshots/Strangedistortion-first4seconds.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="5695" PostHistoryTypeId="1" PostId="3308" RevisionGUID="663f3b3e-22b9-46b3-95c8-f2d9ab617dcc" CreationDate="2010-09-01T00:09:43.393" UserId="194" Text="Need help identifying strange flutter distortion." ContentLicense="CC BY-SA 2.5" />
  <row Id="5696" PostHistoryTypeId="3" PostId="3308" RevisionGUID="663f3b3e-22b9-46b3-95c8-f2d9ab617dcc" CreationDate="2010-09-01T00:09:43.393" UserId="194" Text="&lt;field-recording&gt;&lt;distortion&gt;&lt;troubleshooting&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5699" PostHistoryTypeId="2" PostId="3311" RevisionGUID="a5581e30-f6c5-4082-a851-449c6c8d075c" CreationDate="2010-09-01T00:28:45.223" UserId="234" Text="Wind is always good... use it as a character, having it change according to the needs of the story/shot. &#xD;&#xA;&#xD;&#xA;Another interesting trick is to hi-pass your ambiences above 60hz or even 100hz fairly sharply. All cities have a very distinct power hum, that you really don't notice until it's gone - when the east coast had the massive outage a few years ago, that was definitely something I really noticed. Making sure that frequency range is &quot;gone&quot; will help sell the feeling of desolation." ContentLicense="CC BY-SA 2.5" />
  <row Id="5700" PostHistoryTypeId="2" PostId="3312" RevisionGUID="3b905c93-0769-4210-a5c0-8d0af6ac7239" CreationDate="2010-09-01T00:40:28.440" UserId="540" Text="There may be lethal voltages inside the TV, even after it is unplugged. Do more research for your own safety." ContentLicense="CC BY-SA 2.5" />
  <row Id="5701" PostHistoryTypeId="2" PostId="3313" RevisionGUID="ad9e1c67-0df7-4b84-9a71-043bcceb48a6" CreationDate="2010-09-01T00:42:43.983" UserId="432" Text="Well, first off, keep the recording, because it's a really cool effect. Who knows when you'll find a use for it.&#xD;&#xA;&#xD;&#xA;I assume you've tested the mics going into a different recorder? Have you also tested the cables? Did you test the VP88 going into the 744? You've probably done all of these by now, but I had to ask.&#xD;&#xA;&#xD;&#xA;It's kind of hard to trouble shoot without that kind of info. Honestly, my first impression is that it does sound like some sort of digital artifact/interference. I could be dead wrong on that, obviously. If it is, it could be an issue with the recorder (testing other mics and cables in a different location will confirm/debunk that), or it could be some sort of transmission you're picking up. It hasn't been all that long since the digital changeover, so who knows what changes are still taking place in the various frequency bandwidths.&#xD;&#xA;&#xD;&#xA;Keep us posted on this one, I'm really curious about it." ContentLicense="CC BY-SA 2.5" />
  <row Id="5702" PostHistoryTypeId="2" PostId="3314" RevisionGUID="1305414a-dddd-4982-adcc-aeaf99b4bda2" CreationDate="2010-09-01T01:44:11.467" UserId="469" Text="I have no idea how good HEAT sounds but, I am frankly a bit saddened by this and the direction that AVID is taking with Digidesign.  My sentiments are shared by many on the DUC.  I would pay twice what they are asking for Pro Tools 8 HD if it was without bugs.  Instead of adding features that many users don't need and introducing new bugs and inconsistencies, they need to do a thorough rewrite of Pro Tools without adding any features. &#xD;&#xA;&#xD;&#xA;New features don't interest me if they make the program crash.  It doesn't crash for me in 7.4 so that's where I will stay until the next 'stable' version is released.  &#xD;&#xA;&#xD;&#xA;I still love Pro Tools, I just wish they had more accountability for stability and made that a priority.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5703" PostHistoryTypeId="2" PostId="3315" RevisionGUID="ff8f080e-927d-409c-a9ee-e34b5ad1e21b" CreationDate="2010-09-01T03:13:27.460" UserId="18160" Text="In my VO and ADR room I am considering buying wireless headphones for the talent - this would be awesome to do away with another cable.&#xD;&#xA;&#xD;&#xA;Do any of you have experience with a certain type of wireless headphones that you like? All I really need is a reliable setup that sounds good enough for a voice talent (some are less audio-inclined than others, hah!).&#xD;&#xA;&#xD;&#xA;I wonder if the RF would interfere with the mics... Any input, anyone?&#xD;&#xA;&#xD;&#xA;Your experiences are very much appreciated.&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="5704" PostHistoryTypeId="1" PostId="3315" RevisionGUID="ff8f080e-927d-409c-a9ee-e34b5ad1e21b" CreationDate="2010-09-01T03:13:27.460" UserId="18160" Text="Wireless Headphones?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5705" PostHistoryTypeId="3" PostId="3315" RevisionGUID="ff8f080e-927d-409c-a9ee-e34b5ad1e21b" CreationDate="2010-09-01T03:13:27.460" UserId="18160" Text="&lt;wireless&gt;&lt;headphones&gt;&lt;set-up&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5706" PostHistoryTypeId="2" PostId="3316" RevisionGUID="6ad2c01f-31e0-473c-b4f1-1f53a1ffd710" CreationDate="2010-09-01T03:15:13.887" UserId="393" Text="To this point in my career, I've dealt with billing in one of two ways: 1) by the completed minute, which works great for music and full cinematic sound design 2) by the individual sound effect.&#xD;&#xA;&#xD;&#xA;With that in mind, I have no idea how to bill for a larger project that will require more than a handful of sounds.  Do I count up all the sound effects and bill them by number, or do I take a total time on the effects and bill them that way, or is there a better solution for this?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5707" PostHistoryTypeId="1" PostId="3316" RevisionGUID="6ad2c01f-31e0-473c-b4f1-1f53a1ffd710" CreationDate="2010-09-01T03:15:13.887" UserId="393" Text="How do you bill for video game sound effects?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5708" PostHistoryTypeId="3" PostId="3316" RevisionGUID="6ad2c01f-31e0-473c-b4f1-1f53a1ffd710" CreationDate="2010-09-01T03:15:13.887" UserId="393" Text="&lt;billing&gt;&lt;money&gt;&lt;payment&gt;&lt;business&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5709" PostHistoryTypeId="2" PostId="3317" RevisionGUID="86e92b23-48b9-4be7-9a11-707727b4bbe0" CreationDate="2010-09-01T03:18:49.603" UserId="6411" Text="So here's the process that wound up working:&#xD;&#xA;&#xD;&#xA; 1. Use [Barbabatch][1] to create new .wav versions of the offending .aifs&#xD;&#xA; 2. Create a new database in Soundminer of offending .aifs&#xD;&#xA; 3. Export the .aif metadata as a text file from Soundminer&#xD;&#xA; 4. Open the text file in Word, Find and Replace all instances of &quot;.aif, .AIF, .aiff or .AIFF&quot; with &quot;.wav&quot;&#xD;&#xA; 5. Save the new .wav metadata text doc&#xD;&#xA; 6. Create new folder in Finder named &quot;Old AIFS of Library&quot; move all the old .aifs there&#xD;&#xA; 7. Put new .wav files in the folder where the old aifs used to be&#xD;&#xA; 7. Create a new database in Soundminer of the new, metadata-less .wav files&#xD;&#xA; 8. Merge the .wav Word doc metadata file with the new .wav file database&#xD;&#xA; 9. Happiness :o)&#xD;&#xA;&#xD;&#xA;There were a couple issues the first time through. Barbabatch doesn't recognize four letter file extensions (.aiff) or capital letter file extensions (.AIF) and so we wound up with files named &quot;soundeffect.AIF.wav&quot; which didn't correspond to the changes that were made in the spreadsheet. So about 3/4 of the files worked. Once we figured out the situation there were about 30 files had to be edited by hand and re-copied. Far better than the 2,200 that we were facing.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audioease.com/Pages/BarbaBatch4/BarbaBatch4.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="5710" PostHistoryTypeId="2" PostId="3318" RevisionGUID="9730d110-9cbf-405e-9ae0-bc8d071116da" CreationDate="2010-09-01T03:20:12.840" UserId="338" Text="I have been trying to add reverb to wind, thunder, and air sounds while also pitching them down and the results are in...&#xD;&#xA;&#xD;&#xA;Can anyone share some insight on how to process a sound like wind, a swish, or another to create a whoosh?&#xD;&#xA;&#xD;&#xA;What are some creative ways to make a whoosh and what sounds have you processed that yielded fruitful results?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5711" PostHistoryTypeId="1" PostId="3318" RevisionGUID="9730d110-9cbf-405e-9ae0-bc8d071116da" CreationDate="2010-09-01T03:20:12.840" UserId="338" Text="Processing Whooshes" ContentLicense="CC BY-SA 2.5" />
  <row Id="5712" PostHistoryTypeId="3" PostId="3318" RevisionGUID="9730d110-9cbf-405e-9ae0-bc8d071116da" CreationDate="2010-09-01T03:20:12.840" UserId="338" Text="&lt;whoosh&gt;&lt;design&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5714" PostHistoryTypeId="2" PostId="3320" RevisionGUID="783a453e-6d16-402f-8e15-f8b69eedee71" CreationDate="2010-09-01T03:32:40.830" UserId="6411" Text="I haven't gotten a chance to try [this one][1] out yet. But I'm soooo looking forward to it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/02/charles-deenen-special-100-whooshes-in-2-minutes/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5715" PostHistoryTypeId="2" PostId="3321" RevisionGUID="e235eefe-586f-4778-a692-e2249d839492" CreationDate="2010-09-01T03:39:00.990" UserId="6411" Text="The only experience I have with wireless headphones are cheap bluetooth headphones (can't recommend 'em). But Rob Nokes just recommended the [Sennheiser RS-180][2] wireless headphones today on [Designing Sound][3].&#xD;&#xA;&#xD;&#xA;&gt; **RN:** For studio recording I absolutely love the Sennheiser RS-180 wireless headphones because they are wireless. The sound quality is not “wired” quality but it’s very good considering the price ($300) and the flexibility of working wireless in the studio.&#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;  [2]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/private_headphones_wireless-stereo-headphones_502875?Open&amp;path=private_headphones_hifi_wireless-headphones&#xD;&#xA;  [3]: http://designingsound.org/2010/08/rob-nokes-special-reader-questions/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5716" PostHistoryTypeId="2" PostId="3322" RevisionGUID="e49cde95-59a9-41f4-80df-728b5a01e89f" CreationDate="2010-09-01T03:46:14.443" UserId="61" Text="Oh, the possibilities are endless!&#xD;&#xA;&#xD;&#xA;Depends on what type of &quot;whoosh&quot; you want to create:&#xD;&#xA;&#xD;&#xA; - Long vs. short&#xD;&#xA; - High freq vs. low freq (or mid)&#xD;&#xA; - Sharp vs. smooth&#xD;&#xA; - Peaceful vs. scary&#xD;&#xA; - Simple vs. complex&#xD;&#xA; - Singular vs. multiple peaks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Working with wind and air sounds will usually yield smooth, long whooshes which can add body to your sound design. Or they could be used in an emotional context, such as peaceful, happy, &quot;airy&quot;, calm, etc.&#xD;&#xA;&#xD;&#xA;Thunder and gunshots will go a different route, usually yielding undulating whooshes with sharp peaks (as per Ryan's example).&#xD;&#xA;&#xD;&#xA;There's so many other ways to go, too. Try working with your own voice; record yourself singing a steady tone, whistling a note, blowing steady air, etc. Work with doppler/flanger/modulator plug-ins to add movement, then work in some reverb for added depth. Delays are helpful here, as well. And if you don't have access to fancy plugins, you can create very effective sounds with simple techniques, such as EQ sweeps and fader moves. Just like in the good 'ol days before fancy digital doodads.&#xD;&#xA;&#xD;&#xA;Layering is a good way to build complex whooshes. Try stacking a pole swish, reversed transient attack (ie. metal hit or drum hit), and a vocal element together in your DAW (syncing up the peaks) and see what ideas you come up with.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5717" PostHistoryTypeId="2" PostId="3323" RevisionGUID="4b74575a-5d8c-403a-920c-5c623f83400e" CreationDate="2010-09-01T03:52:56.040" UserId="61" Text="In my experience, it goes one of two ways:&#xD;&#xA;&#xD;&#xA; - Flat-fee for entire project&#xD;&#xA; - Daily rate&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I've not worked for payment by completed minute before, so not sure if that's accepted business practice or not. Are you working in the US? Or for a company that is based overseas?&#xD;&#xA;&#xD;&#xA;If it's a large number of deliverables, I would estimate the amount time required to complete the project and then submit that to the employer to be paid out as a flat-fee upon completion. If it's a small amount of stuff, then daily rate may be the way to go." ContentLicense="CC BY-SA 2.5" />
  <row Id="5718" PostHistoryTypeId="2" PostId="3324" RevisionGUID="9bacba97-06b7-4fd9-8376-710b2a0397d7" CreationDate="2010-09-01T05:40:12.593" UserId="407" Text="I have done quite a few audio budgets for games and personally prefer offering outsource sound designers a flat fee for X amount of days designing sounds. This is arranged often a few months in advance of them coming on the project.&#xD;&#xA;The reason is that my initial budget proposal has to be complete before the game requirements are clear. It also means I can change what the sound designer will be doing during the time they're working with us - and not have to worry about the cost. This is really important for us as we tend to do really rapid development where the game requirements change by the day. &#xD;&#xA;So paying a sound designer per sound or per minute isn't really feasable or practicle.&#xD;&#xA;&#xD;&#xA;As an example I once employed a designer to initially work on HUD sounds and a some in game stuff, but after about 2 days everything changed and we decided that they ended up doing  music for the game instead. Just because the requiements changed.&#xD;&#xA;&#xD;&#xA;Btw I have no idea if this is normal practice it is just the way we do it here ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5719" PostHistoryTypeId="2" PostId="3325" RevisionGUID="a86fbcb8-03b4-4874-b37a-3ccebd3a261a" CreationDate="2010-09-01T06:35:52.347" UserId="400" Text="There is some tremendously detailed information about billing clients in Aaron Marks' &quot;Game Audio&quot;. Although his info is centered around the games industry, I'm sure a lot of the information would apply to sound design contracting in general. Here's a link to the book on Amazon, I couldn't recommend it more.&#xD;&#xA;&#xD;&#xA;http://www.amazon.co.uk/Complete-Guide-Game-Audio-Developers/dp/0240810740/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1283322882&amp;sr=8-1" ContentLicense="CC BY-SA 2.5" />
  <row Id="5720" PostHistoryTypeId="2" PostId="3326" RevisionGUID="afb48962-24cc-4600-ab70-17a7c431041b" CreationDate="2010-09-01T07:18:43.520" UserId="62" Text="I created some long whooshes a while ago. I played wind through a speaker, got a boom mic, pointed it 90 degrees from the speaker and slowly went 180 degrees the other way. Got some great long whooshes for a slow motion scene.&#xD;&#xA;&#xD;&#xA;If memory serves isn't this the way Burtt did the Lightsabers? Someone here must have that new Star Wars book!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5721" PostHistoryTypeId="2" PostId="3327" RevisionGUID="cd8b67ec-a299-4b35-8da3-83a210d7a4e5" CreationDate="2010-09-01T07:20:13.703" UserId="62" Text="We use wired but over in Ardmore Sound in Dublin they use wireless in their Foley stage.&#xD;&#xA;&#xD;&#xA;Alan (the manager) is a nice chap, he might tell you what they use.&#xD;&#xA;&#xD;&#xA;http://www.ardmoresound.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="5722" PostHistoryTypeId="5" PostId="3285" RevisionGUID="b463b590-9a79-4482-a413-4e8e5bbf29ba" CreationDate="2010-09-01T11:54:42.563" UserId="432" Comment="stupid little grammatical fixes" Text="this one's gonna be difficult, because the metadata is contained in the header of the file (which is being altered when you convert it from one format to another). is there no process in soundminer to handle that for you? if not, i know the support team over at soundminer is really good, maybe they can point you in the right direction." ContentLicense="CC BY-SA 2.5" />
  <row Id="5723" PostHistoryTypeId="2" PostId="3328" RevisionGUID="438a4761-78af-43cd-ac14-fe97c2f49831" CreationDate="2010-09-01T12:49:12.800" UserId="541" Text="As to the technique of using a boom mic and a speaker: also try to stick your mic into tubes and swing that around. I used this to fake the sound of a fire extinguisher." ContentLicense="CC BY-SA 2.5" />
  <row Id="5724" PostHistoryTypeId="2" PostId="3329" RevisionGUID="3bcc91d7-23f4-48be-a6d6-d5fb94f903d6" CreationDate="2010-09-01T13:36:23.750" UserId="238" Text="Sounds awesome! Have fun, take care (use common sense really) and please post some of your recordings so we can hear how it ended up..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5725" PostHistoryTypeId="2" PostId="3330" RevisionGUID="c6b7b4e9-0794-401f-b28f-becd135f542a" CreationDate="2010-09-01T14:49:20.033" UserId="219" Text="This thread could be a collection of props and associated ideas for when:&#xD;&#xA;&#xD;&#xA;- you have props you don't know what to do with&#xD;&#xA;- you need a sound you don't know how to prop up (is that even a term?)&#xD;&#xA;&#xD;&#xA;**Ideally**, one prop would be discussed per post and the discussion of a particular prop would take place in the form of comments to the prop's post." ContentLicense="CC BY-SA 2.5" />
  <row Id="5726" PostHistoryTypeId="1" PostId="3330" RevisionGUID="c6b7b4e9-0794-401f-b28f-becd135f542a" CreationDate="2010-09-01T14:49:20.033" UserId="219" Text="Props and potential uses" ContentLicense="CC BY-SA 2.5" />
  <row Id="5727" PostHistoryTypeId="3" PostId="3330" RevisionGUID="c6b7b4e9-0794-401f-b28f-becd135f542a" CreationDate="2010-09-01T14:49:20.033" UserId="219" Text="&lt;props&gt;&lt;sound-effects&gt;&lt;library&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5728" PostHistoryTypeId="16" PostId="3330" RevisionGUID="c6b7b4e9-0794-401f-b28f-becd135f542a" CreationDate="2010-09-01T14:49:20.033" UserId="219" />
  <row Id="5729" PostHistoryTypeId="2" PostId="3331" RevisionGUID="6556a3ca-a01a-4fbe-a688-6ee83e17cbc0" CreationDate="2010-09-01T14:53:27.470" UserId="219" Text="I have a bag of empty film canisters (possibly a few hundreds) like this one:&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://www.artnexus.com/images/content/webimages/2007/u0008977big.jpg&quot; height=&quot;200&quot; /&gt;&#xD;&#xA;&#xD;&#xA;Any ideas of what it could be used for? It kinda reminds me the LOTR beer caps..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5730" PostHistoryTypeId="16" PostId="3331" RevisionGUID="6556a3ca-a01a-4fbe-a688-6ee83e17cbc0" CreationDate="2010-09-01T14:53:27.470" UserId="-1" />
  <row Id="5731" PostHistoryTypeId="2" PostId="3332" RevisionGUID="d38ff9e3-c4c3-4d1f-8283-dbb60e89de2b" CreationDate="2010-09-01T15:43:32.740" UserId="371" Text="Hey you guys!&#xD;&#xA;&#xD;&#xA;Can´t describe how I love this website! What an awesome idea!&#xD;&#xA;&#xD;&#xA;My question is: I´ve been on set operating shotgun microphones before but, because of budget limitations and the fact it has always been independent productions, I´ve always used the mic directly plugged into the camera.&#xD;&#xA;Now I´m about to go to set again and, this time, I will use a portable audio recorder. It seems pretty simple at first but I´d really like to hear some advices on what, refering to the operation of the equipment, should I be aware of this first time. I will get it and practice a little before the recording begins but, still, there are some tips only experience teaches us. &#xD;&#xA;&#xD;&#xA;Would you guys be so kind to give me some advices on this lovely machine?&#xD;&#xA;&#xD;&#xA;Thank you so much! " ContentLicense="CC BY-SA 2.5" />
  <row Id="5732" PostHistoryTypeId="1" PostId="3332" RevisionGUID="d38ff9e3-c4c3-4d1f-8283-dbb60e89de2b" CreationDate="2010-09-01T15:43:32.740" UserId="371" Text="First time using a 8-track portable recorder on set" ContentLicense="CC BY-SA 2.5" />
  <row Id="5733" PostHistoryTypeId="3" PostId="3332" RevisionGUID="d38ff9e3-c4c3-4d1f-8283-dbb60e89de2b" CreationDate="2010-09-01T15:43:32.740" UserId="371" Text="&lt;portable&gt;&lt;recorder&gt;&lt;first&gt;&lt;time&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5734" PostHistoryTypeId="2" PostId="3333" RevisionGUID="95bdb61f-17c2-4c87-839a-b9c919b32182" CreationDate="2010-09-01T15:47:00.833" UserId="371" Text="Be carefull with any wireless equipment for monitoring since It always has a limited range of frequences (not all of them can be sent without a wire). Probably it will interfere on your perception of the recorded sound, more or less depending on the wireless transmission technology of the equipment. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5735" PostHistoryTypeId="2" PostId="3334" RevisionGUID="55f9d1be-7164-44c5-8736-72858599c57f" CreationDate="2010-09-01T16:31:35.167" UserId="432" Text="If the recorder has a time code input, I would suggest you also get a wireless timecode transmission system. That way the recorder can lock to the camera's time code and they will have a common time stamp. It's much easier to sync up in post that way.&#xD;&#xA;&#xD;&#xA;Make sure you also know how to switch which tracks feed your headphones. If you're going to record more than 2 tracks, you're definitely going to need to be able to quickly switch between channels for monitoring.&#xD;&#xA;&#xD;&#xA;Which recorder are you using?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5736" PostHistoryTypeId="2" PostId="3335" RevisionGUID="ee7f6f10-a84c-4158-835e-430c94367d8b" CreationDate="2010-09-01T17:01:50.417" UserId="29" Text="Huh. That is pretty darned weird. I am leaning towards it being a signal you're picking up instead of something else. Seems like EMI rather than RFI, maybe.&#xD;&#xA;&#xD;&#xA;Were you close to any place that would have older wireless signals, be they wireless internet networks or low-spectrum wireless phones? Any cell towers nearby? Any wireless devices you had on your person or in your gear, like phones? Where was your car during this recording, and was it idling?&#xD;&#xA;&#xD;&#xA;Absolutely wire up a test in EXACTLY the same way with EXACTLY the same cables. Then remove one mic at a time, then the cable, and see if the sound stops. I could potentially see this being an on-board problem, but I can't image what component would cause it.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5737" PostHistoryTypeId="2" PostId="3336" RevisionGUID="8fee1383-4b43-4e37-983c-101eb012ec46" CreationDate="2010-09-01T19:20:42.740" UserId="338" Text="Just like the title, what is your Ideal EQ for editing dialogue?  Q3? Rennaissance? Audio Track?  Sonnox?  Stock DAW?&#xD;&#xA;&#xD;&#xA;It seems like sometimes you might want a transparent EQ." ContentLicense="CC BY-SA 2.5" />
  <row Id="5738" PostHistoryTypeId="1" PostId="3336" RevisionGUID="8fee1383-4b43-4e37-983c-101eb012ec46" CreationDate="2010-09-01T19:20:42.740" UserId="338" Text="What is your ideal EQ for editing dialogue?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5739" PostHistoryTypeId="3" PostId="3336" RevisionGUID="8fee1383-4b43-4e37-983c-101eb012ec46" CreationDate="2010-09-01T19:20:42.740" UserId="338" Text="&lt;adr&gt;&lt;dialogue&gt;&lt;editing&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5740" PostHistoryTypeId="2" PostId="3337" RevisionGUID="f2360a6a-3cfe-4625-bb08-3e088e36fc3d" CreationDate="2010-09-01T20:38:13.560" UserDisplayName="user49" Text="You would not want EQ on your tracks while editing dialogue, as eg you need to hear how the backgrounds change between takes/perspectives etc so that you know overlaps &amp; fill are working...&#xD;&#xA;&#xD;&#xA;And for film, EQ on a dub stage is a lot different to EQ in near field monitors... &#xD;&#xA;best to leave it to the mixer" ContentLicense="CC BY-SA 2.5" />
  <row Id="5741" PostHistoryTypeId="2" PostId="3338" RevisionGUID="6f3017fc-c97a-46a9-a3ac-78cc2453431c" CreationDate="2010-09-01T21:26:14.567" UserId="29" Text="Maybe not THAT extreme, but I did bury my hydrophone in my compost pile. It's out on loan, but I figure I'd need to let it sit for a few days before recording with it, and then would need to do so for a few hours to see what I could get...the initial session was too short to get much cool stuff." ContentLicense="CC BY-SA 2.5" />
  <row Id="5742" PostHistoryTypeId="2" PostId="3339" RevisionGUID="29eee041-6532-4942-94a1-a71de8aa0730" CreationDate="2010-09-01T22:34:39.317" UserId="437" Text="So here's the setup: I am working with a piece of cello music that layers bowed cello with plucked cello (filling the role of percussion). The director is asking whether I can independently control amplitude on the plucked and bowed cello that is laid in together.  My answer was a very tentative &quot;I'll see what I can do.&quot; &#xD;&#xA;&#xD;&#xA;My current thoughts have been to either use an RTA (I have SIA SmaartLive and a couple plugs) to locate the fundamental and then just multiply for the overtones and notch eq them in the box.  I have also considered just pulling out an outboard parametric and try to notch out or gain the fundamental of either the bowed or plucked, but probably the plucked...plucked seems to have less frequency spread.&#xD;&#xA;&#xD;&#xA;Any thoughts? Are there any other strategies not relating to EQ, or do you think I am going about this backwards?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5743" PostHistoryTypeId="1" PostId="3339" RevisionGUID="29eee041-6532-4942-94a1-a71de8aa0730" CreationDate="2010-09-01T22:34:39.317" UserId="437" Text="Suggestions for controlling one aspect of a mastered music track?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5744" PostHistoryTypeId="3" PostId="3339" RevisionGUID="29eee041-6532-4942-94a1-a71de8aa0730" CreationDate="2010-09-01T22:34:39.317" UserId="437" Text="&lt;music&gt;&lt;equalization&gt;&lt;instruments&gt;&lt;rta&gt;&lt;fundamental&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5748" PostHistoryTypeId="5" PostId="3331" RevisionGUID="c08236d0-b183-4180-92e8-feba8ecf957e" CreationDate="2010-09-01T23:00:44.987" UserId="219" Comment="added 116 characters in body" Text="I have a bag of empty film canisters (possibly a few hundreds) like this one:&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://www.artnexus.com/images/content/webimages/2007/u0008977big.jpg&quot; height=&quot;200&quot; /&gt;&#xD;&#xA;&#xD;&#xA;Any ideas of what it could be used for? It kinda reminds me the LOTR beer caps...&#xD;&#xA;&#xD;&#xA;SUGGESTIONS SO FAR:&#xD;&#xA;&#xD;&#xA;- fill them with various grains, seeds...&#xD;&#xA;- drop them&#xD;&#xA;- throw them (attached to arrows)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5750" PostHistoryTypeId="2" PostId="3342" RevisionGUID="d4146f1e-ac42-4be6-a219-419e17dabbcc" CreationDate="2010-09-01T23:41:09.680" UserId="444" Text="You could try a multi-band compressor.  I've used mine succesfully to help bring up parts of a mix that are too low, and push some down.  That way you can seperate and lower or raise sections of the frequency spectrum.  It works for subtle changes and adjustments. I don't know how drastic of a change your director is looking for.&#xD;&#xA;&#xD;&#xA;Other then that and clever EQ that you've discribed there's not much you can do.  &#xD;&#xA;&#xD;&#xA;I second Ryan's suggestion of asking for the original tracks.  Re-mixing it to work with your soundtrack would give you a better product in the end, not to mention easier.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5751" PostHistoryTypeId="2" PostId="3343" RevisionGUID="8404682e-44d4-4fad-99e2-fce509ca0730" CreationDate="2010-09-02T00:15:12.560" UserId="18160" Text="Hello everyone.&#xD;&#xA;&#xD;&#xA;I'm in invention-mode today.&#xD;&#xA;&#xD;&#xA;I want your input on something I thought of which would help out ADR and VO recordings:&#xD;&#xA;&#xD;&#xA;What if a teleprompter was used&#xD;&#xA;&#xD;&#xA;or somehow do away with paper.&#xD;&#xA;&#xD;&#xA;What script stand do you use?&#xD;&#xA;&#xD;&#xA;Colin Hart touched upon metal mic stands creating reflections, and I'm sure this also applies to script stands - also paper.&#xD;&#xA;&#xD;&#xA;If you don't believe the importance of this, take a piece of paper and hold it 2 inches from your face and talk. Then move it back slowly - hear that phasing that happens? It's similar to an Indian &quot;wowoowoowoowoowoowoowoowoowoo&quot; effect.&#xD;&#xA;&#xD;&#xA;So, what are your techniques of limiting script stand reflections?&#xD;&#xA;&#xD;&#xA;I did record a VO in my booth using a teleprompter system once - best sounding VO I ever recorded. But it required someone else running it while I was recording - and I don't think it warrants having to have another person there just to scroll the text. But maybe the talent himself can be set up and scroll it himself?&#xD;&#xA;&#xD;&#xA;Anyone know anything about what they use for film scoring stages? I heard they use &quot;digital paper&quot; or little screens that have the music score on them and they control it.&#xD;&#xA;&#xD;&#xA;Your assistance is always appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5752" PostHistoryTypeId="1" PostId="3343" RevisionGUID="8404682e-44d4-4fad-99e2-fce509ca0730" CreationDate="2010-09-02T00:15:12.560" UserId="18160" Text="Script stand ideas?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5753" PostHistoryTypeId="3" PostId="3343" RevisionGUID="8404682e-44d4-4fad-99e2-fce509ca0730" CreationDate="2010-09-02T00:15:12.560" UserId="18160" Text="&lt;recording&gt;&lt;tonality&gt;&lt;quality&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5754" PostHistoryTypeId="2" PostId="3344" RevisionGUID="0107a3e1-a302-4529-8eca-a2ba5ebd0fdd" CreationDate="2010-09-02T00:17:11.560" UserId="429" Text="monkey tools &quot;sound grinder&quot; works great and preserves metadata just fine&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5755" PostHistoryTypeId="5" PostId="3343" RevisionGUID="03832d4d-fe4e-4205-8956-279c6989a17e" CreationDate="2010-09-02T00:20:25.880" UserId="18160" Comment="added 79 characters in body; added 50 characters in body" Text="Hello everyone.&#xD;&#xA;&#xD;&#xA;I'm in invention-mode today. Watch sP or some random company to see this and patent my idea. But here goes:&#xD;&#xA;&#xD;&#xA;I want your input on something I thought of which would help out ADR and VO recordings:&#xD;&#xA;&#xD;&#xA;What if a teleprompter was used&#xD;&#xA;&#xD;&#xA;or somehow do away with paper.&#xD;&#xA;&#xD;&#xA;What script stand do you use?&#xD;&#xA;&#xD;&#xA;Colin Hart touched upon metal mic stands creating reflections, and I'm sure this also applies to script stands - also paper.&#xD;&#xA;&#xD;&#xA;If you don't believe the importance of this, take a piece of paper and hold it 2 inches from your face and talk. Then move it back slowly - hear that phasing that happens? It's similar to an Indian &quot;wowoowoowoowoowoowoowoowoowoo&quot; effect they do with their hands in front of their mouths.&#xD;&#xA;&#xD;&#xA;So, what are your techniques of limiting script stand reflections?&#xD;&#xA;&#xD;&#xA;I did record a VO in my booth using a teleprompter system once - best sounding VO I ever recorded. But it required someone else running it while I was recording - and I don't think it warrants having to have another person there just to scroll the text. But maybe the talent himself can be set up and scroll it himself?&#xD;&#xA;&#xD;&#xA;Anyone know anything about what they use for film scoring stages? I heard they use &quot;digital paper&quot; or little screens that have the music score on them and they control it.&#xD;&#xA;&#xD;&#xA;Your assistance is always appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5756" PostHistoryTypeId="2" PostId="3345" RevisionGUID="34473e98-c3be-4348-a653-f0ff768fcf3e" CreationDate="2010-09-02T01:00:27.273" UserId="432" Text="We have two methods where I work. And both work tremendously well.&#xD;&#xA;&#xD;&#xA;One is a super wide (4 score sheets wide) music stand that is covered in carpeting. The carpeting is not plush at all, kind of like you would find in an office, and tightly glued and conformed to the stand. I believe they were manufactured that way. They've been around for a lot longer than I have, so I don't know where we got them. There is absolutely no resonance ring from them like you get from plain old metal stands. Reflections off of them aren't too much of an issue either.&#xD;&#xA;&#xD;&#xA;The other is a prompting system kind of like the one you mentioned. We asked specifically for that when we were designing our new facilities. It's a Winplus Autoscript system. The terminal to program and control it is in my control room, but we have a wired 9-pin remote that we can move between any of the rooms (control room, live room, vo booth). So, the talent can set the scrolling speed for themselves. It' very simple to use; and the few times we've used it with talent they loved it. If we have to jump around in a significant way, I'll just turn around real quick and click them to the line they need to be at. We also usually have a producer or two in the room with us, and that last little task is a great way to make them feel like they're contributing to the session while keeping them out of your hair.&#xD;&#xA;&#xD;&#xA;To go along with those ideas, we also have picture monitors that can be fed from any source in our facility (including the Avid Mojo for my Pro Tools system). The company that built out our technical systems to an amazing job selecting those monitors too. Any noise they make is down in the noise floor and pretty much imperceptible. So, we can actually use them the way the system is designed." ContentLicense="CC BY-SA 2.5" />
  <row Id="5757" PostHistoryTypeId="2" PostId="3346" RevisionGUID="1e224bc5-e950-49ae-83f1-eab7bf98c203" CreationDate="2010-09-02T01:07:07.713" UserId="432" Text="+1 on asking for separate audio tracks. You'd have an easier time with EQs if they occupied different ranges of the audio spectrum, but you're talking about cello over cello. It's going to be nigh on impossible to get any separation for one that doesn't affect critical frequencies for the other. Maybe if all the two cellos were one rhythmic note each for the entire piece, but I highly doubt that's the situation you're working with.&#xD;&#xA;&#xD;&#xA;Very smart move in not committing by the way." ContentLicense="CC BY-SA 2.5" />
  <row Id="5758" PostHistoryTypeId="2" PostId="3347" RevisionGUID="1ac450af-a4dc-49e8-854a-65723aa334c2" CreationDate="2010-09-02T01:07:20.227" UserId="6411" Text="You mean like [this thing][1]? I thought about how cool it would be when I first saw it, but I would imagine it would reflect far worse than a stack of paper. And as I sit here listening to my iMac's screen give off a high-pitched whine, I can't imagine this this is terribly quieter next to a LDC.&#xD;&#xA;&#xD;&#xA;I ran a teleprompter once for a VO session. It was at the request of the talent, because he couldn't see too well. Great sounding VO, and easy to use once it was set up and we discovered the proper scroll speed for him.&#xD;&#xA;&#xD;&#xA;Now, keep in mind that I deal with scripts from a single page to upwards of 40. Never really dealing with 3-ring bound, 90-page scripts or anything like that. But the best thing that I found so far to handle stand reflections is a scrap of carpet cut to the size of the stand.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/store/detail/MusicPadPro/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5759" PostHistoryTypeId="2" PostId="3348" RevisionGUID="c29166b4-4fb8-4c1b-b362-d8051b884b86" CreationDate="2010-09-02T03:42:59.323" UserId="275" Text="You could get a wooden music stand and play with mic placement. Metal music stands are a poor choice for VO booths but I have a wood stand and it works wonderfully. I never notice the paper reflecting any sound and the talent always likes to make notes on the paper.  So, having a Teleprompter or other digital medium seems to be more of a hinderance than a help. But, you could try an iPad if you really wanted to go that route. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5760" PostHistoryTypeId="2" PostId="3349" RevisionGUID="b28bc304-5d62-4ad7-97e8-62107695970d" CreationDate="2010-09-02T03:50:29.693" UserId="275" Text="Knowing which recorder would be important. Also, you will want the recorder to be the master timecode, not the camera. &#xD;&#xA;&#xD;&#xA;There are a lot of things to know to do it right.  Everything from proper levels to naming tracks so post knows what they're looking at and listening to. &#xD;&#xA;&#xD;&#xA;If you could let us know as much as possible about what recorder, which lavs, and anything else would be helpful. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5761" PostHistoryTypeId="2" PostId="3350" RevisionGUID="9397fcb5-f34e-4232-99fa-4fbca26162a9" CreationDate="2010-09-02T05:33:42.247" UserId="390" Text="I am currently using a combination of AA and 9 Volts. Very expensive! I just wanted to add that you should NEVER keep 9 volts in your pockets. I had replaced some 9 volts and put the old ones in my pockets. several hours later I felt heat coming from that pocket and immediately reached in and pulled out a piping hot 9 volt battery. A quick google search informed me that I most likely created a short circuit in the battery by having the terminals  touch something metallic like my keys or some change.  Apparently, they can also explode. Fortunately that did not happen!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5762" PostHistoryTypeId="2" PostId="3351" RevisionGUID="a20ff03d-eabf-4a9b-a96f-127b69787074" CreationDate="2010-09-02T05:45:21.770" UserId="390" Text="If you like to work with synthesizers, then take some white noise and run it through a filter and layer it with other sounds. I use Absynth 5 and I'm still exploring its immense potential." ContentLicense="CC BY-SA 2.5" />
  <row Id="5763" PostHistoryTypeId="2" PostId="3352" RevisionGUID="e701063e-8eec-4ee6-94f0-ac735e31414f" CreationDate="2010-09-02T05:55:01.247" UserId="338" Text="I would say that it is different in every film, the purpose of dialog is often to supply information and push/pull the story along and every film is a unique work of art." ContentLicense="CC BY-SA 2.5" />
  <row Id="5764" PostHistoryTypeId="2" PostId="3353" RevisionGUID="5c71dd42-8039-4fa2-a98e-68148372a897" CreationDate="2010-09-02T05:57:32.630" UserId="338" Text="Get a paper bag, blow it up, and let the air out really fast.  Thats the rattling for the wings" ContentLicense="CC BY-SA 2.5" />
  <row Id="5767" PostHistoryTypeId="2" PostId="3355" RevisionGUID="980e882c-25a3-4299-8f26-834e80d08ccc" CreationDate="2010-09-02T13:46:10.763" UserId="219" Text="You know, this voice that sounds like it's the same guy doing all the trailers. I don't quite know how to describe it, it's a voice-over that's really well stuffed in the lows... that one:&#xD;&#xA;&#xD;&#xA;[youtube]ZPBvFXf9Q2U[/youtube]&#xD;&#xA;&#xD;&#xA;(http://www.youtube.com/watch?v=ZPBvFXf9Q2U)&#xD;&#xA;&#xD;&#xA;Well, I wonder what is required to recreate this... I've tried compressing the lows, I've tried EQing, but there is without a doubt much more to it. I saw a guy demoing a similar effect with Adobe Audition but he was using DSP stuff I don't have access to.&#xD;&#xA;&#xD;&#xA;Do you know of a way to approximate this effect using Pro Tools 8 LE stock plugins?&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Justin" ContentLicense="CC BY-SA 2.5" />
  <row Id="5768" PostHistoryTypeId="1" PostId="3355" RevisionGUID="980e882c-25a3-4299-8f26-834e80d08ccc" CreationDate="2010-09-02T13:46:10.763" UserId="219" Text="The trailer voice-over &quot;This summer, blah blah blah&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5769" PostHistoryTypeId="3" PostId="3355" RevisionGUID="980e882c-25a3-4299-8f26-834e80d08ccc" CreationDate="2010-09-02T13:46:10.763" UserId="219" Text="&lt;voice&gt;&lt;voice-over&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5770" PostHistoryTypeId="5" PostId="3355" RevisionGUID="9f958015-df65-420d-89cf-a4d2ea638fcc" CreationDate="2010-09-02T13:52:12.190" UserId="219" Comment="added 217 characters in body" Text="You know, this voice that sounds like it's the same guy doing all the trailers. I don't quite know how to describe it, it's a voice-over that's really well stuffed in the lows... that one:&#xD;&#xA;&#xD;&#xA;[youtube]ZPBvFXf9Q2U[/youtube]&#xD;&#xA;&#xD;&#xA;(http://www.youtube.com/watch?v=ZPBvFXf9Q2U)&#xD;&#xA;&#xD;&#xA;Well, I wonder what is required to recreate this... I've tried compressing the lows, I've tried EQing, but there is without a doubt much more to it. I saw a guy demoing a similar effect with Adobe Audition but he was using DSP stuff I don't have access to.&#xD;&#xA;&#xD;&#xA;Do you know of a way to approximate this effect using Pro Tools 8 LE stock plugins?&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Justin&#xD;&#xA;&#xD;&#xA;PS: I suspect the actor to be playing the greatest role in the success of the operation, the mic to be doing part of the job... how about miking the throat with an SM58? (I'm trying to do away with what I have...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5771" PostHistoryTypeId="4" PostId="3355" RevisionGUID="7ac3ae3a-be04-4778-825e-b6bf01b137f6" CreationDate="2010-09-02T14:08:09.230" UserId="219" Comment="edited title" Text="The trailer voice-over &quot;This summer, blah blah blah&quot; (Don LaFontaine)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5772" PostHistoryTypeId="2" PostId="3356" RevisionGUID="a39081c2-519f-4673-a6f5-c7807a66c206" CreationDate="2010-09-02T14:16:22.163" UserId="194" Text="Your actor is going to be about 75% of the success of this thing.  15% will be mic placement and positioning.  The rest is compression and eq.&#xD;&#xA;&#xD;&#xA;actor -&gt; 416 positioned pointing down at a 40 degree or so angle aimed at the sternum -&gt; compress heavily in post (fast attack, high ratio) -&gt; add some high end -&gt; done." ContentLicense="CC BY-SA 2.5" />
  <row Id="5773" PostHistoryTypeId="5" PostId="3356" RevisionGUID="7254368b-2b04-4089-8e11-e31fcd29d9bc" CreationDate="2010-09-02T14:21:23.620" UserId="194" Comment="added 432 characters in body; added 14 characters in body" Text="Your actor is going to be about 75% of the success of this thing.  15% will be mic placement and positioning.  The rest is compression and eq.&#xD;&#xA;&#xD;&#xA;actor -&gt; 416 positioned pointing down at a 40 degree or so angle aimed at the sternum -&gt; compress moderately to heavily in post (fast attack, high ratio) -&gt; add some high end -&gt; done.&#xD;&#xA;&#xD;&#xA;Here's some reading over on gearslutz to get you rolling:&#xD;&#xA;&#xD;&#xA;[VO mic choices][3]&#xD;&#xA;&#xD;&#xA;[VO mic positioning][1]&#xD;&#xA;&#xD;&#xA;[VO compression][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/post-production-forum/421580-mic-positioning-v-o.html&#xD;&#xA;  [2]: http://www.gearslutz.com/board/post-production-forum/418925-compression-voice-over.html&#xD;&#xA;  [3]: http://www.gearslutz.com/board/post-production-forum/176732-sennheiser-416-neumann-u87-vo.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="5774" PostHistoryTypeId="2" PostId="3357" RevisionGUID="c9de7d95-f654-4ad1-a81c-7890a500f68e" CreationDate="2010-09-02T14:25:53.197" UserId="432" Text="Do you have any idea how much money Don LaFontaine was making when he was still alive?! I interned with an audio engineer years ago who worked with him once. Let me just say, it was a RIDICULOUS amount.&#xD;&#xA;&#xD;&#xA;The actor is all of it. Sure, proper mic placement is going to be key in accurately capturing his performance, but you could have handed that guy a microphone from a karaoke machine and he still would have sounded awesome." ContentLicense="CC BY-SA 2.5" />
  <row Id="5775" PostHistoryTypeId="2" PostId="3358" RevisionGUID="a93d4840-cff1-466c-be85-5f16aa09a3ab" CreationDate="2010-09-02T14:41:55.360" UserId="469" Text="I think 90% of it is the VO actor.  A good actor can make a shitty set-up sound decent. In the video, I believe Pablo is mimicking Scott Rummell not Don LaFontaine.  I worked with him on trailers and tv spots for Spiderman 2 and 3 and it's funny because that guy sounds just like him.  I think Scott is the most talented and in demand VO actor out there.  Even when Don LaFontaine was alive, we rarely used him.  Whatever you do, don't ever find out how much VO actor's make because it will make you very sad. :(" ContentLicense="CC BY-SA 2.5" />
  <row Id="5776" PostHistoryTypeId="2" PostId="3359" RevisionGUID="484fc3e2-d95b-4858-b8c4-4d36df68d765" CreationDate="2010-09-02T14:44:34.053" UserId="168" Text="In addition to the other points in this thread (actor, mic positioning) you can play a lot with the proximity effect - get the talent to get as close to the mic as they can. But most professional artists know how to use a mic and use the bass build up to their advantage.&#xD;&#xA;&#xD;&#xA;Get the right talent, if nothing else works try a simple pitch shift with some distortion/overdrive and heaps of compression." ContentLicense="CC BY-SA 2.5" />
  <row Id="5777" PostHistoryTypeId="2" PostId="3360" RevisionGUID="53e29875-e7d8-4750-92ba-c6486e1f8d3b" CreationDate="2010-09-02T14:56:23.130" UserId="168" Text="I prefer mixing everything else to the dialogue - dialogue is king.&#xD;&#xA;&#xD;&#xA;And it really depends on the scene - if they dialogue is a bit soft I'll raise it up. But if it continues to be soft I'll duck whatever else is fighting with it. 'Too loud' is anything that ceases to serve the story or makes my ears ache. &#xD;&#xA;&#xD;&#xA;Also if you are running a 24 bit session you shouldn't be worried about extra resolution - unless your channels are peaking at -50dbFS or lower - which really shouldn't be the case.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="5780" PostHistoryTypeId="2" PostId="3362" RevisionGUID="08d88079-44cd-41fd-bf1e-d81addb291d5" CreationDate="2010-09-02T16:47:09.690" UserId="418" Text="Preface: I currently use Audiomulch, Plogue Bidule, Reaktor and MaxMSP - pretty much in that order according to frequency. Not coincidentally, that's also the order I'd put them in in terms of how quickly and easily I can sit down and get some great results out of them when building from scratch. In reality, I do very little from scratch in either Reaktor or Max. &#xD;&#xA;&#xD;&#xA;About once a year for the past decade I take another wanton look at Kyma. Only very recently did I finally meet someone who owns one and get a chance to spend some hands-on time with it. Bear in mind, I only had a weekend with it and it was immediately clear that I wouldn't even be able to begin to put a hairline scratch on the surface in 3 days time. So instead of making a feeble attempt at learning to program it from scratch, I instead just spent a few days digging through the library of patches the owner has built up over the years, as well as a bunch factory example patches. Here's my first impressions in no particular order:&#xD;&#xA;&#xD;&#xA;- The sound quality is stunning.&#xD;&#xA;- The possibilities are vast.&#xD;&#xA;- The UI is a bit ugly/clunky.&#xD;&#xA;- It can definitely do things not capable elsewhere.&#xD;&#xA;- It would make a very powerful secret weapon.&#xD;&#xA;- I don't want one. &#xD;&#xA;&#xD;&#xA;Yup, I no longer want one. I simply don't have the time or left brain energy to sink into it anymore. Pretty much the same reason I've slowly regressed to using Max and Reaktor as &quot;you program it, I'll play with it&quot; environments for tweaking existing creations from others. I've kind of fallen madly in love with Audiomulch and I can spend all day in there without even noticing. It hasn't got the depth or complexity of Kyma, but combined with my other tools I can get results I am more than pleased with very quickly." ContentLicense="CC BY-SA 2.5" />
  <row Id="5784" PostHistoryTypeId="2" PostId="3363" RevisionGUID="a62e9c5e-5617-4705-9529-6f9bcd8a6c77" CreationDate="2010-09-02T19:16:06.213" UserId="469" Text="Microphone sensitivity is usually measured in mV/Pa.  If one mic is say 25 mV/Pa and another is 13 mV/Pa how much more sensitive is it in application?  How can I figure out how much more gain the mic is actually outputting in dB?  I feel like I should know this but I don't." ContentLicense="CC BY-SA 2.5" />
  <row Id="5785" PostHistoryTypeId="1" PostId="3363" RevisionGUID="a62e9c5e-5617-4705-9529-6f9bcd8a6c77" CreationDate="2010-09-02T19:16:06.213" UserId="469" Text="What do sensitivity measurements of microphones really mean?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5786" PostHistoryTypeId="3" PostId="3363" RevisionGUID="a62e9c5e-5617-4705-9529-6f9bcd8a6c77" CreationDate="2010-09-02T19:16:06.213" UserId="469" Text="&lt;microphone&gt;&lt;gain&gt;&lt;measurements&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5787" PostHistoryTypeId="2" PostId="3364" RevisionGUID="7d4f403a-c586-4b1a-a94f-75cd47aace1d" CreationDate="2010-09-02T20:45:44.217" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;So I'm working on a video right now where there are a lot of different people reading the same thing and every half sentence or so there is a cut to another person but the director wants the person it cuts from to still be reading.&#xD;&#xA;&#xD;&#xA;Now, I'm fooling around with different voice effects to put on the voice of the person who is off screen rather than just muting them or fading them down.. It's also during a part with very ethereal interviews as opposed to regular sit-down interviews I.E. extreme close-ups on the people and dramatic lighting etc...&#xD;&#xA;&#xD;&#xA;It's somewhat like this video at 2:40.&#xD;&#xA;&#xD;&#xA;[youtube]UFeHoMhuz7A&amp;feature=related[/youtube]&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=UFeHoMhuz7A&amp;feature=related&#xD;&#xA;&#xD;&#xA;Any suggestions?&#xD;&#xA;&#xD;&#xA;Your help is tremendously appreciated!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5788" PostHistoryTypeId="1" PostId="3364" RevisionGUID="7d4f403a-c586-4b1a-a94f-75cd47aace1d" CreationDate="2010-09-02T20:45:44.217" UserId="18160" Text="Multiple Voice Effect?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5789" PostHistoryTypeId="3" PostId="3364" RevisionGUID="7d4f403a-c586-4b1a-a94f-75cd47aace1d" CreationDate="2010-09-02T20:45:44.217" UserId="18160" Text="&lt;multiple&gt;&lt;voice&gt;&lt;effect&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5790" PostHistoryTypeId="2" PostId="3365" RevisionGUID="81ddd229-aa70-46d6-adbe-d64405475955" CreationDate="2010-09-02T20:51:48.227" UserId="90" Text="In decibels, the difference would be 20*log10(V1/V2), so +5.6 dB for your example." ContentLicense="CC BY-SA 2.5" />
  <row Id="5791" PostHistoryTypeId="5" PostId="3365" RevisionGUID="1485fbe4-fe1b-4fed-9514-020d9325f544" CreationDate="2010-09-02T20:58:05.230" UserId="90" Comment="added 671 characters in body; added 341 characters in body" Text="Sensitivity measures the voltage at the output pins of the mic for a given sound pressure level.  13 mV/Pa means that an air pressure oscillation with RMS amplitude of 1 pascal ([94 dB SPL][1]) would produce a voltage oscillation with RMS amplitude of 13 mV at the XLR pins.&#xD;&#xA;&#xD;&#xA;Gain is basically the ratio of output level to input level.  &#xD;&#xA;&#xD;&#xA;In this case we're not talking about an input and output, but you can still talk about the *relative* gain difference, which would be (25 mV)/(13 mV).  The sound pressure level (1 pascal) is the same for both, so it cancels out.   The relative gain difference is then 25/13 = 1.9, or about 2x as much voltage for the same pressure.&#xD;&#xA;&#xD;&#xA;In [decibels][2], the difference would be 20*log10(V1/V2), so [+5.6 dB][3] for your example.  A doubling in voltage is about 6 dB, so you could guess this just by recognizing that 25 is almost twice 13.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sengpielaudio.com/calculator-soundlevel.htm&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Decibel#Field_quantities&#xD;&#xA;  [3]: http://www.wolframalpha.com/input/?i=20*log10%28%2825+mV%29%2F%2813+mV%29%29" ContentLicense="CC BY-SA 2.5" />
  <row Id="5792" PostHistoryTypeId="2" PostId="3366" RevisionGUID="921c997f-bae9-48bd-b4f4-62604f22264b" CreationDate="2010-09-02T21:15:37.873" UserId="393" Text="Preverb and pre-delay; reverse the audio, apply a thick reverb and delay, and then reverse the audio again so the repeats and echo build into it." ContentLicense="CC BY-SA 2.5" />
  <row Id="5793" PostHistoryTypeId="2" PostId="3367" RevisionGUID="9ad9d77f-220e-4f4a-aa00-5beb910cc7a1" CreationDate="2010-09-02T21:33:04.603" UserId="182" Text="I did that once, and although I was still a kid and didn't know anything, nothing bad happened.&#xD;&#xA;&#xD;&#xA;Remember that there is a vacuum in the crt tube, so there will be an implosion, not an explosion. You shouldn't have to worry about bits flying your way.&#xD;&#xA;&#xD;&#xA;Also remind yourself that there are very high voltages needed for the electron beam, meaning that capacitors may still hold (lots of) charge after the tv has long been switched off. Regardless of any smashing going on, don't touch the bare metal parts on the back end of the tube.&#xD;&#xA;&#xD;&#xA;I still remember that the implosion sounded awesome, a unique sound that I never heard since. Have fun!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5796" PostHistoryTypeId="5" PostId="3331" RevisionGUID="b11b9156-64fa-4f19-9425-861855462543" CreationDate="2010-09-02T21:50:24.733" UserId="219" Comment="added 8 characters in body" Text="I have a bag of empty film canisters (possibly a few hundreds) like this one:&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://www.artnexus.com/images/content/webimages/2007/u0008977big.jpg&quot; height=&quot;200&quot; /&gt;&#xD;&#xA;&#xD;&#xA;Any ideas of what it could be used for? It kinda reminds me the LOTR beer caps...&#xD;&#xA;&#xD;&#xA;SUGGESTIONS SO FAR:&#xD;&#xA;&#xD;&#xA;- fill them with various grains, seeds...&#xD;&#xA;- drop them&#xD;&#xA;- throw them (attached to arrows)/fly-bys" ContentLicense="CC BY-SA 2.5" />
  <row Id="5799" PostHistoryTypeId="2" PostId="3370" RevisionGUID="b20b1e64-aa09-4267-9a98-bf11082b9d03" CreationDate="2010-09-03T00:49:11.647" UserId="533" Text="I've actually worked on a project that called for a voice like that so I'm just going to share my experience. &#xD;&#xA;&#xD;&#xA;Yes. Your talent is really important and much be able to pull off the voice by himself to a certain extent. He had a strong bass voice but still had to mimic it. &#xD;&#xA;&#xD;&#xA;Use proximity effect to help get the voice. It sounds a bit more natural than EQ and it helps the talent feel better during the performance. Just don't let him get too near and muffle up the voice. I tried multiple mics and (can't remember for sure now) the mic we ended up using was a Blue 8 Ball. &#xD;&#xA;&#xD;&#xA;Don't EQ the voice too much. Too much bass makes it dull and doesn't sound so impressive. A little reverb will make the voice sound bigger. Use a setting that sounds huge with a really short tail. You just want it sound in a slightly larger room but make the reverb subtle. &#xD;&#xA;&#xD;&#xA;If I were to try it again, I might try a sub-harmonic generator plugin to see how it works out. &#xD;&#xA;&#xD;&#xA;Remember that the voice isn't really just bass heavy, its an &quot;in your face&quot; kind of voice. The nuances in the voice is really important as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="5800" PostHistoryTypeId="2" PostId="3371" RevisionGUID="56d6237d-9ef5-4ef9-9010-8f51a33e7dac" CreationDate="2010-09-03T01:01:06.060" UserId="315" Text="Not knowing exactly what you're working with, I'd stay away from any dramatic reverb and delay for something like this, especially if you're truly stacking voices. It could get muddy really fast. Our goal as designers when treating voices, in my humble opinion, is not to get in the way of what is being said.&#xD;&#xA;&#xD;&#xA;If they are indeed reading the same thing, I'd suggest exactly syncing to the syllable the people reading off screen to the person reading on screen. If the takes aren't very close, cut them or run Vocalalign on them to get them matched up. Then just play around with stacking/morphing identically synced voices. These sort of tight layers sound really nice, and you don't loose any definition in the voice. You could start gradually panning the off screen voices to build an LCR image, or filtering so you loose some of the body of the off screen voice etc.. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5801" PostHistoryTypeId="5" PostId="3365" RevisionGUID="5652d58f-bb82-4963-9c48-be8b62cca385" CreationDate="2010-09-03T01:01:53.950" UserId="90" Comment="more mathy" Text="Sensitivity measures the voltage at the output pins of the mic for a given sound pressure level.  13 mV/Pa means that an air pressure oscillation with an amplitude of 1 pascal ([94 dB SPL][1]) would produce a voltage oscillation with an amplitude of 13 mV at the XLR pins.&#xD;&#xA;&#xD;&#xA;Gain is basically the ratio of output level to input level.  &#xD;&#xA;&#xD;&#xA;In this case we're not talking about an input and output, but you can still talk about the *relative* gain difference, which would be (25 mV)/(13 mV).  The sound pressure level (1 pascal) is the same for both, so it cancels out.   The relative gain difference is then 25/13 = 1.9, or about 2x as much voltage for the same pressure.&#xD;&#xA;&#xD;&#xA;In [decibels][2], the difference would be 20·log&lt;sub&gt;10&lt;/sub&gt;(V1/V2), so [+5.6 dB][3] for your example.  A doubling in voltage is about 6 dB, so you could guess this just by recognizing that 25 is almost twice 13.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sengpielaudio.com/calculator-soundlevel.htm&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Decibel#Field_quantities&#xD;&#xA;  [3]: http://www.wolframalpha.com/input/?i=20*log10%28%2825+mV%29%2F%2813+mV%29%29" ContentLicense="CC BY-SA 2.5" />
  <row Id="5802" PostHistoryTypeId="5" PostId="3365" RevisionGUID="04fe0522-f18b-4514-9391-7075faefadf1" CreationDate="2010-09-03T01:31:24.983" UserId="90" Comment="added 22 characters in body; added 19 characters in body" Text="Sensitivity measures the voltage at the output pins of the mic for a given sound pressure level.  13 mV/Pa means that an air pressure oscillation with an amplitude of 1 pascal ([94 dB SPL][1]) at the mic capsule would produce a voltage oscillation with an amplitude of 13 mV at the XLR pins.&#xD;&#xA;&#xD;&#xA;Gain is basically the ratio of output level to input level.  &#xD;&#xA;&#xD;&#xA;In this case we're not talking about an input and output, but you can still talk about the *relative* gain difference, which would be (25 mV)/(13 mV).  The sound pressure level (1 pascal) is the same for both, so it cancels out.   The relative gain difference is then 25/13 = 1.9, or about 2x as much voltage for the same pressure.&#xD;&#xA;&#xD;&#xA;In [decibels][2], the difference would be 20·log&lt;sub&gt;10&lt;/sub&gt;(V&lt;sub&gt;1&lt;/sub&gt;/V&lt;sub&gt;2&lt;/sub&gt;), so [+5.6 dB][3] for your example.  A doubling in voltage is about 6 dB, so you could guess this just by recognizing that 25 is almost twice 13.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sengpielaudio.com/calculator-soundlevel.htm&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Decibel#Field_quantities&#xD;&#xA;  [3]: http://www.wolframalpha.com/input/?i=20*log10%28%2825+mV%29%2F%2813+mV%29%29" ContentLicense="CC BY-SA 2.5" />
  <row Id="5803" PostHistoryTypeId="2" PostId="3372" RevisionGUID="bb4a5ca2-69a1-4c3e-8f6b-a01f54cffc71" CreationDate="2010-09-03T10:32:50.723" UserId="412" Text="I am in the process of editing my online showreel. I have 3 short films (or not so short 1 is 36 minutes and another 19 minutes), a trailer and a DVD intro / pre-menu clip.  Now my main focus for my career or should I say where I would like to direct my career is dialogue editing and location recording.&#xD;&#xA;&#xD;&#xA;It has been suggested to me that my showreel should be no longer than 4 minutes, but am wondering how I could showcase some of the lengthier scenes within that time. Do I also try and create something thats snappy and jumps around or do I put the clips from the films together? My DVD showreel will include all the films after the edited reel automatically plays, so for that I am happy in the knowledge that people can watch the full films afterwards. However due to restrictions with 2 of the films I am unable to upload them in full nor are they available elsewhere, so how do i get around this within the 4 minutes.&#xD;&#xA;&#xD;&#xA;Any ideas or examples that people think might help would be greatly appreciated.&#xD;&#xA;&#xD;&#xA;Dave&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5804" PostHistoryTypeId="1" PostId="3372" RevisionGUID="bb4a5ca2-69a1-4c3e-8f6b-a01f54cffc71" CreationDate="2010-09-03T10:32:50.723" UserId="412" Text="Showreel focusing on dialogue editing and location recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="5805" PostHistoryTypeId="3" PostId="3372" RevisionGUID="bb4a5ca2-69a1-4c3e-8f6b-a01f54cffc71" CreationDate="2010-09-03T10:32:50.723" UserId="412" Text="&lt;showreel&gt;&lt;demo-reel&gt;&lt;promotion&gt;&lt;dialogue&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5806" PostHistoryTypeId="2" PostId="3373" RevisionGUID="7fdf59b7-9043-47a0-9862-051e77787948" CreationDate="2010-09-03T12:32:33.537" UserId="194" Text="Consider your audience.&#xD;&#xA;&#xD;&#xA;You can make it as long as you want, but don't expect anyone in any position to hire you to sit through more than about 90 seconds of the online version and maybe 2 minutes of a DVD version.  &#xD;&#xA;&#xD;&#xA;The first 10 seconds are the most critical - if the first 10 seconds isn't absolutely gripping you will get passed up immediately.  Sweat that first 10 seconds like crazy.  Then sweat everything else.  Use titles to outline what you specifically did on each shot that the showreel includes.  This gives your audience perspective and allows them to focus on your work and not wonder &quot;ok, this is good but what part did Dave contribute here?&quot;&#xD;&#xA;&#xD;&#xA;No one will watch the full films even if you include them unless they already know them.  Not prospective employers, not interns, not your friends.&#xD;&#xA;&#xD;&#xA;If you have access to stems or even just production you can better isolate your work or otherwise put it in context of the whole piece by doing (titled) audio shifts from full mix to isos of what you did.  &#xD;&#xA;&#xD;&#xA;video editing is storytelling.  for a good example of how to isolate specialized work in a complex setting go look at some vfx houses showreels.  They will often show the greenscreen clip and then shift immediately to the final rendered clip.  Do this but with audio.  Also notice clip length in those showreels.&#xD;&#xA;&#xD;&#xA;short fast punchy interesting.  but mostly interesting.  also mostly short." ContentLicense="CC BY-SA 2.5" />
  <row Id="5808" PostHistoryTypeId="2" PostId="3374" RevisionGUID="a0fcb76b-d534-4a04-97ba-97b39628d571" CreationDate="2010-09-03T16:26:11.470" UserId="325" Text="I also use an iPhone.  Here is my essential app list (limited to field recording)&#xD;&#xA;camera,&#xD;&#xA;voice memos,&#xD;&#xA;notes,&#xD;&#xA;weather,&#xD;&#xA;clockedin - time tracking app,&#xD;&#xA;mapminders - allows me to drop a pin at a geo location and set a reminder message based on proximity to the pin.  good for reminding myself of cool locations or sounds.&#xD;&#xA;RTA,&#xD;&#xA;Decible Meter,&#xD;&#xA;backline calc - length, pitch, timecode, electric, acoustics, and file size calculator&#xD;&#xA;FiRe - 16/44100 audio recorder that supports photos, location info, uploads to soundcloud or ftp within the app...etc., and last but not least is not an app but always in my pocket is an iRec 03P by Logitec Corperation - xy stereo mic for iPhone " ContentLicense="CC BY-SA 2.5" />
  <row Id="5809" PostHistoryTypeId="2" PostId="3375" RevisionGUID="ac6c3a55-01ce-46e3-9549-0e70be557803" CreationDate="2010-09-03T17:30:39.357" UserId="18160" Text="Okay so I am going to be doing some foley soon for an action piece.&#xD;&#xA;&#xD;&#xA;I was mesmerized by the realism of foley in The Hurt Locker.&#xD;&#xA;&#xD;&#xA;Also in Green Zone.&#xD;&#xA;&#xD;&#xA;The film I am going to be working on is along those lines.&#xD;&#xA;&#xD;&#xA;I don't want my foley to sound like it's recorded in a super-dead acoustically perfect studio. I want it to be gritty and real like those movies.&#xD;&#xA;&#xD;&#xA;Any idea on how I can make the foley sound great and real and have the sharpness and realism as those movies? I don't know where to start on recording foley to sound good -&#xD;&#xA;&#xD;&#xA;I have replied to other questions about foley with &quot;You have to get the emotion right&quot; etc. I am more looking along the lines of technically recording the foley so it sounds real and gritty like in Hurt Locker or Green Zone.&#xD;&#xA;&#xD;&#xA;Should I get a piece of plywood or something live that I can record next to to give some life to the recordings?&#xD;&#xA;&#xD;&#xA;I've got these mics I can use:&#xD;&#xA;&#xD;&#xA;MK41&#xD;&#xA;MK5&#xD;&#xA;U87&#xD;&#xA;KMR81i&#xD;&#xA;Sanken COS-11&#xD;&#xA;414&#xD;&#xA;SM58&#xD;&#xA;among others. If you have a mic suggestion please don't limit it to those because most likely I have access to it." ContentLicense="CC BY-SA 2.5" />
  <row Id="5810" PostHistoryTypeId="1" PostId="3375" RevisionGUID="ac6c3a55-01ce-46e3-9549-0e70be557803" CreationDate="2010-09-03T17:30:39.357" UserId="18160" Text="Tips on recording realistic foley" ContentLicense="CC BY-SA 2.5" />
  <row Id="5811" PostHistoryTypeId="3" PostId="3375" RevisionGUID="ac6c3a55-01ce-46e3-9549-0e70be557803" CreationDate="2010-09-03T17:30:39.357" UserId="18160" Text="&lt;foley&gt;&lt;recording&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5812" PostHistoryTypeId="5" PostId="3375" RevisionGUID="b312565b-9275-4d94-80fc-5daaf1bd16af" CreationDate="2010-09-03T17:46:09.333" UserId="18160" Comment="added 90 characters in body" Text="Okay so I am going to be doing some foley soon for an action piece.&#xD;&#xA;&#xD;&#xA;I was mesmerized by the realism of foley in The Hurt Locker, Green Zone and most of all, Saving Private Ryan.&#xD;&#xA;&#xD;&#xA;The film I am going to be working on is along those lines. Fast cut and hand-held documentary style.&#xD;&#xA;&#xD;&#xA;I don't want my foley to sound like it's recorded in a super-dead acoustically perfect studio. I want it to be gritty and real like those movies.&#xD;&#xA;&#xD;&#xA;Any idea on how I can make the foley sound great and real and have the sharpness and realism as those movies? I don't know where to start on recording foley to sound good -&#xD;&#xA;&#xD;&#xA;I have replied to other questions about foley with &quot;You have to get the emotion right&quot; etc. I am more looking along the lines of technically recording the foley so it sounds real and gritty like in Hurt Locker, Green Zone and Saving Private Ryan.&#xD;&#xA;&#xD;&#xA;Should I get a piece of plywood or something live that I can record next to to give some life to the recordings?&#xD;&#xA;&#xD;&#xA;I've got these mics I can use:&#xD;&#xA;&#xD;&#xA;MK41&#xD;&#xA;MK5&#xD;&#xA;U87&#xD;&#xA;KMR81i&#xD;&#xA;Sanken COS-11&#xD;&#xA;414&#xD;&#xA;SM58&#xD;&#xA;among others. If you have a mic suggestion please don't limit it to those because most likely I have access to it." ContentLicense="CC BY-SA 2.5" />
  <row Id="5813" PostHistoryTypeId="2" PostId="3376" RevisionGUID="563e3393-c5c7-42e0-ba9a-5028f288ab2c" CreationDate="2010-09-03T18:16:26.490" UserId="61" Text="I would try to record as much foley in an exterior environment as possible (assuming the scenese takes place outside). One of the things that makes foley sound like foley is the interior room acoustic. Recording outside will give you an &quot;air&quot;, hard to explain but you know it when you hear it. The recordings should match in better to the production, which is key -- not knowing what is production sound and what is foley is what you're shooting for.&#xD;&#xA;&#xD;&#xA;Regarding mics, I'd experiment and try multiple mics on your sources. Remember, production sound isn't normally very clean, so something like the SM58 could be perfect for your application." ContentLicense="CC BY-SA 2.5" />
  <row Id="5814" PostHistoryTypeId="2" PostId="3377" RevisionGUID="4dc4422c-88d6-41b6-8661-39bba5001c8e" CreationDate="2010-09-03T18:40:00.503" UserId="253" Text="As Jay wisely said, something exterior or extremely dead would be great for external stuff. That'll give you freedom to back your mics off and get a good perspective. Also, take the time to get your props and surfaces right before you start; there's nothing worse than spending a few hours recording, then realising a way to improve the sound. &#xD;&#xA;&#xD;&#xA;As for mics, i love the Neumann KMR81. As it's a supercardioid with very little off axis colouration, it lets you move around without having to worry about losing frequencies. A lot of people like to have a mic dead-on the foley artist, and mix it together with a further away &quot;room mic&quot;. Another way that i've found useful is to deliberately record slightly off-mic. If you're using an 81, that'll tone down the really present frequencies while not colouring the sound too much. Also, i'd avoid trying to introduce reflections while recording. I'm no expert, but i'd prefer to have the freedom to apply reverb in the mix. Your life/grit should come from performance, miking, surfaces/props and mixing.&#xD;&#xA;&#xD;&#xA;One more thing; make sure you grab all the small details: gravel scatters, liquid drips/splashes, explosion debris, things blowing in the wind. &#xD;&#xA;&#xD;&#xA;Best of luck man, i'm envious!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5815" PostHistoryTypeId="2" PostId="3378" RevisionGUID="8f7cfcdd-bc2c-46e2-bada-fe6b07ee035e" CreationDate="2010-09-03T19:52:36.610" UserId="219" Text="I'm on Android with an HTC Desire and for me it'd be:&#xD;&#xA;&#xD;&#xA;- Power Notes for text notes, snapshots&#xD;&#xA;- the stock Voice Recorder app&#xD;&#xA;- I do have an SPL meter app but not calibrated..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5816" PostHistoryTypeId="2" PostId="3379" RevisionGUID="cffed878-4906-4e9e-b879-4ac9b71b6d75" CreationDate="2010-09-03T22:31:54.807" UserDisplayName="user49" Text="Be careful not to confuse [how material is captured] with how it is mixed ie [the final context] - one obviously informs the other but making a foley track that is &quot;gritty and real&quot; sounds to me like a lot of very careful, layered, detailed foley tightly edited &amp; predubbed to follow picture cuts and perspective changes tightly...&#xD;&#xA;&#xD;&#xA;The films you use as examples would have had excellent, very experienced foley artists working in large foley studios with a LOT of props... and I think that is key to creating a great foley track - the right sounds &amp; performances, the attention to detail etc... &#xD;&#xA;&#xD;&#xA;I'm not sure it is really realistic to do the intense, detailed performance work to picture in an exterior location... I'd bet the foley predub for Hurt Locker involved a lot of tracks, and for sure was augmented with exterior FX recording, but foley is about performance to picture....&#xD;&#xA;&#xD;&#xA;I'd use the KMR81... We've never had a problem matching exterior foley to production sound using this mic... But how well it matches exterior scenes is dependent on how good your foley room is - is it a large room with neutral acoustic? Do the pits sound solid ie dirt sounds like dirt? (&amp; not like dirt in a wooden box) You could also try recording two track, the KMR 81 close and another mic wider, to give you optional perspective in the predub...&#xD;&#xA;&#xD;&#xA;Having a creative foley artist &amp; the right props to achieve this will be VERY important - dirt &amp; debris, weapons, plants, bushes etc....&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5817" PostHistoryTypeId="5" PostId="3376" RevisionGUID="bac93aa0-1411-4838-83d8-6fd19268eb3e" CreationDate="2010-09-03T22:42:15.433" UserId="61" Comment="additional information" Text="I would try to record as much foley in an exterior environment as possible (assuming the scenes takes place outside). One of the things that makes foley sound like foley is the interior room acoustic. Recording outside will give you an &quot;air&quot;, hard to explain but you know it when you hear it. The recordings should match in better to the production, which is key -- not knowing what is production sound and what is foley is what you're shooting for.  &#xD;&#xA;&#xD;&#xA;^^&#xD;&#xA;CLARIFICATION: I completely agree with @Tim that shooting foley to picture while outdoors is not efficient nor would it be an easy setup. My advice to record exterior, on the other hand, was not meant to be to picture, but rather wild tracks that you later edit to picture, just like sound effects. Hope that's a little clearer.  ^^&#xD;&#xA;&#xD;&#xA;Regarding mics, I'd experiment and try multiple mics on your sources. Remember, production sound isn't normally very clean, so something like the SM58 could be perfect for your application." ContentLicense="CC BY-SA 2.5" />
  <row Id="5818" PostHistoryTypeId="2" PostId="3380" RevisionGUID="a4680613-7b55-4cb3-b093-e38e92fca04a" CreationDate="2010-09-03T22:53:25.633" UserId="194" Text="[Here's][1] a great read on preamp and mics for foley recording.&#xD;&#xA;&#xD;&#xA;I'd focus on getting a dead quiet room and a great performance with the right props.  Despite the fact that you don't want the end result to sound like it was recorded in a super dead acoustically perfect room, you probably do want to do your actual recordings in such a room and mix sound that out later on.  &#xD;&#xA;&#xD;&#xA;If you try to record foley in even moderately noisy environments you're going to really regret it when you start stacking tracks up.  I'd also avoid artificially trying to add reflections with plywood or whatnot.  You're more likely to get unpleasant mic phasing than good sounding room reflections.  &#xD;&#xA;&#xD;&#xA;If you're not convinced of your ability to mix foley realistically after the fact, you can always go and worldize some stuff once you've performed it and recorded it correctly.  This gives you an opportunity to experiment without locking you in to something that you may regret later on.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thinking outside the box is certainly commendable with projects like these, but there's often a reason things are done they way that they are done, and your film references are not pointing to people who do it any differently.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/post-production-forum/495903-foley-recordings-how-do-you-get-noise-floor-down.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="5820" PostHistoryTypeId="2" PostId="3382" RevisionGUID="1e3bf125-0686-4bdd-aadc-7326b54d0bd6" CreationDate="2010-09-04T03:44:40.503" UserId="18160" Text="What are some sound sources you would never want to record in Stereo?&#xD;&#xA;&#xD;&#xA;and the next part of the question:&#xD;&#xA;&#xD;&#xA;What are some sound sources you would never want to record in Mono?&#xD;&#xA;&#xD;&#xA;My rule of thumb is ambiences are stereo. Spot effects are mono. But, some explosions could sound so much cooler in stereo.&#xD;&#xA;&#xD;&#xA;I was taught by a music engineer so I know what stereo recording can do - so how do you apply stereo recording to field recording? Do you ONLY record ambiences in stereo? Or are there some sources that benefit in stereo?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5821" PostHistoryTypeId="1" PostId="3382" RevisionGUID="1e3bf125-0686-4bdd-aadc-7326b54d0bd6" CreationDate="2010-09-04T03:44:40.503" UserId="18160" Text="What are some things you would never record in Stereo?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5822" PostHistoryTypeId="3" PostId="3382" RevisionGUID="1e3bf125-0686-4bdd-aadc-7326b54d0bd6" CreationDate="2010-09-04T03:44:40.503" UserId="18160" Text="&lt;recording&gt;&lt;techniques&gt;&lt;mono&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5823" PostHistoryTypeId="2" PostId="3383" RevisionGUID="f5828c05-6ce5-449b-99b7-a8a5c778b2f1" CreationDate="2010-09-04T06:07:35.260" UserId="61" Text="Generally speaking, ambiences are best recorded in stereo and &quot;hard fx&quot; (or what you're calling spot fx) in mono. However, consider the following:&#xD;&#xA;&#xD;&#xA; - An air conditioning unit. Usually&#xD;&#xA;   used as a background element, but&#xD;&#xA;   doesn't necessarily need to be&#xD;&#xA;   recorded in stereo. Really more of a&#xD;&#xA;   point-source event. This could also apply to such things as neon light buzzes, computer fans, fountains and fireplaces, etc.&#xD;&#xA; - Exterior footsteps. Usually used as&#xD;&#xA;   hard fx or foley but, depending on&#xD;&#xA;   the environment in which you walk,&#xD;&#xA;   could benefit from being recorded in&#xD;&#xA;   stereo. Could apply to footsteps down&#xD;&#xA;   a multi-story parking garage&#xD;&#xA;   staircase, distant footsteps in a&#xD;&#xA;   snowy forest, or someone walking&#xD;&#xA;   through a desolated street filled&#xD;&#xA;   with rubble, capturing both the&#xD;&#xA;   footsteps and the reflections off the&#xD;&#xA;   building.&#xD;&#xA;&#xD;&#xA;So I suppose I would shy away from terms like &quot;never&quot; and &quot;always&quot;, instead being prepared for either method depending on what I've planned ahead to do.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5824" PostHistoryTypeId="5" PostId="3383" RevisionGUID="3dc65fb0-6770-4616-b6ca-2f4b4308b9ea" CreationDate="2010-09-04T06:14:24.103" UserId="61" Comment="spelling" Text="Generally speaking, ambiences are best recorded in stereo and &quot;hard fx&quot; (or what you're calling spot fx) in mono. However, consider the following:&#xD;&#xA;&#xD;&#xA; - An air conditioning unit. Usually&#xD;&#xA;   used as a background element, but&#xD;&#xA;   doesn't necessarily need to be&#xD;&#xA;   recorded in stereo. Really more of a&#xD;&#xA;   point-source event. This could also apply to such things as neon light buzzes, computer fans, fountains and fireplaces, etc.&#xD;&#xA; - Exterior footsteps. Usually used as&#xD;&#xA;   hard fx or foley but, depending on&#xD;&#xA;   the environment in which you walk,&#xD;&#xA;   could benefit from being recorded in&#xD;&#xA;   stereo. Could apply to footsteps down&#xD;&#xA;   a multi-story parking garage&#xD;&#xA;   staircase, distant footsteps in a&#xD;&#xA;   snowy forest, or someone walking&#xD;&#xA;   through a desolated street filled&#xD;&#xA;   with rubble, capturing both the&#xD;&#xA;   footsteps and the reflections off the&#xD;&#xA;   buildings.&#xD;&#xA;&#xD;&#xA;So I suppose I would shy away from terms like &quot;never&quot; and &quot;always&quot;, instead being prepared for either method depending on what I've planned ahead to do.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5825" PostHistoryTypeId="2" PostId="3384" RevisionGUID="fceb6d67-f38a-459f-98a8-2b5a49d44b77" CreationDate="2010-09-04T06:52:27.113" UserId="40" Text="Stereo is generally used to portray one of these:  size, movement, or setting.  If you aren't trying to do one of those, you don't need to record in stereo.&#xD;&#xA;&#xD;&#xA;This is especially true for anything that is going to sync to a screen.  If you have a punch in the middle of the screen, you don't want the punch coming from the LRs, you want it coming from the center.  Unless its a Michael Bay film.&#xD;&#xA;&#xD;&#xA;Examples:&#xD;&#xA;&#xD;&#xA;Size:  If you want something to sound epic, from a gun shot to an explosion.&#xD;&#xA;&#xD;&#xA;Movement:  If something is moving and you want to preserve that&#xD;&#xA;&#xD;&#xA;Setting:  Whether you're recording a straight up ambience, or trying to portray the feeling of the surrounding.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So I really don't have a list of what I should and shouldn't record in stereo.  I just have to think what the sound might be used for, and record accordingly.  Of course there are always exceptions..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5826" PostHistoryTypeId="12" PostId="3376" RevisionGUID="a0b69ddf-3175-4a5e-9a0b-0f6f7b580c44" CreationDate="2010-09-04T07:09:22.297" UserId="61" Text="[{&quot;Id&quot;:61,&quot;DisplayName&quot;:&quot;Jay Jennings&quot;}]" />
  <row Id="5827" PostHistoryTypeId="2" PostId="3385" RevisionGUID="971c4125-46ba-4dd3-bc93-f4a489ed9c66" CreationDate="2010-09-04T09:49:21.477" UserId="81" Text="4 minutes is way too long. Like Rene said, try to keep it as short as possible. &#xD;&#xA;&#xD;&#xA;Human attention span is very short and it becomes shorter when you review hundreds of reels evryday! No need to say most of them goes to garbage if they don't give a nice impression in first 15 seconds.&#xD;&#xA;&#xD;&#xA;As a little advice, I always love to see before&amp;after sequences in a reel. [Check this out][1] Although it is VFX, you'll get the idea!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ilm.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5828" PostHistoryTypeId="2" PostId="3386" RevisionGUID="5bed78d3-6154-48a7-9ee9-61063c3bf112" CreationDate="2010-09-04T09:58:33.677" UserId="81" Text="I have dealt with a similar situation. If you have Native Instruments' Absynth, Check out presets tagged with &quot;Sound Scapes&quot; There are perfect sounds for creating an empty, abandoned, spaceish atmospheres.&#xD;&#xA;&#xD;&#xA;I also was very carefull about the geography of the scenes. When there is no one in a city, each natural element is very exaggrated sound-wise. Open areas: a lot of wind, Seaside: wind+waves, inner city: effects of wind and sun on different materials(metal, glass) etc.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5832" PostHistoryTypeId="2" PostId="3388" RevisionGUID="06c02efd-2f03-490f-92cc-a014c5db350a" CreationDate="2010-09-04T21:49:15.657" UserDisplayName="user49" Text="I don't personally find 'rules' that helpful, better to keep an open mind &amp; consider each sound on a case by case basis... Also worth remembering: how the sounds are used/edited/mixed is not necessarily related to how the sound is captured..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5833" PostHistoryTypeId="2" PostId="3389" RevisionGUID="5df0cd4e-4759-4689-8eaa-c7c953c21378" CreationDate="2010-09-05T08:18:16.213" UserId="6435" Text="&#xD;&#xA;Carpeting on the music stand. &quot;Custom built&quot; in that we bought some music stands and then cut up some industrial carpet scraps left over from the office/studio build-out." ContentLicense="CC BY-SA 2.5" />
  <row Id="5834" PostHistoryTypeId="2" PostId="3390" RevisionGUID="f0bc0a18-71d3-4eaa-8058-a20d84a0fc8b" CreationDate="2010-09-05T14:03:09.123" UserId="469" Text="Thanks for the helpful answer.  I also later found [this article](http://www.rane.com/note148.html) which was pretty helpful.  Check out the table further down the page... " ContentLicense="CC BY-SA 2.5" />
  <row Id="5835" PostHistoryTypeId="2" PostId="3391" RevisionGUID="f532688e-2d9d-463d-99c0-8e8447229ea6" CreationDate="2010-09-05T16:36:34.943" UserId="2" Text="My MKH 418s works great under harsh humidity. Used it in South East Asia, South Africa, and it seemed to hold up beautifully. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5836" PostHistoryTypeId="2" PostId="3392" RevisionGUID="84bbf05f-61a5-4058-b731-0f7c3926003d" CreationDate="2010-09-05T19:46:07.357" UserId="235" Text="Hi folks, I was working on a short film the other day and came upon a re-occuring situation that I wanted to get your take on.  One of the scenes takes place in a kitchen.  It was raining outside and you could see rain and water dripping off the gutters out the windows so I added some rain and dripping sounds and EQed to make it sound like it was on the other side of a window.  The question is where to pan it?  The first shot is a full 30 seconds and the windows are hard left.  But then it cuts to the other character's POV and the windows are hard right.  Then it jumps back and forth several times.  Automating the panning makes sense, but having the backgrounds jump around with every cut is very distracting.  The director didn't want to call too much attention to the rain so I kept it low and center.  I'm curious what other approaches one might take to this situation and panning of backgrounds in general when camera angles are frequently changing.  The same question could applied to distance perspectives.  What are different approaches to handling sonic perspective when the visual perspective jumps around?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5837" PostHistoryTypeId="1" PostId="3392" RevisionGUID="84bbf05f-61a5-4058-b731-0f7c3926003d" CreationDate="2010-09-05T19:46:07.357" UserId="235" Text="Best approaches to panning backgrounds when camera angles change" ContentLicense="CC BY-SA 2.5" />
  <row Id="5838" PostHistoryTypeId="3" PostId="3392" RevisionGUID="84bbf05f-61a5-4058-b731-0f7c3926003d" CreationDate="2010-09-05T19:46:07.357" UserId="235" Text="&lt;panning&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5841" PostHistoryTypeId="2" PostId="3394" RevisionGUID="7e356995-2a0d-4975-bcb2-2465edd35f46" CreationDate="2010-09-05T21:26:09.663" UserId="234" Text="Hi Brendan,&#xD;&#xA;&#xD;&#xA;There are no hard and fast answers... much depends on the story and the director. Above all else, sound and the mix MUST serve the story. That means that sometimes panning the bg sounds will be appropriate - other times it should be left alone. By panning the sounds you immediately draw attention to them. If that serves the story - say the sound of an evil character walking in another room searching for our hero - then it would be appropriate. On the other hand, if drawing attention to the element would be distracting (esp. to the director), as in the case of the rain above, you're better off leaving it. Remember, film sound is NOT reality, but &quot;an entertaining perception of reality&quot; (David Yewdall).&#xD;&#xA;&#xD;&#xA;Subtle shifts however can be very effective in giving location clues. If you want to hear some great perspective shifts re: rain specifically, check out &quot;Panic Room&quot; - Ren Klyce changes the bg's to wonderful effect when the action changes from the upstairs to downstairs, from the hall to the room and so on..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5842" PostHistoryTypeId="2" PostId="3395" RevisionGUID="a96937c9-4f56-4ade-9f21-ea4fa4976939" CreationDate="2010-09-05T23:22:54.600" UserId="63" Text="I am thinking of buying one Sony PCM-50 for capturing sounds i am going to use in a video game. And cause i am tight on budget i d like to ask if i can connect external directional mics on this portable recorder (without the XLR-1 adapter witch is going to cost me another 500 euros or so!) &#xD;&#xA;&#xD;&#xA;if i use it with a shotgun mic that takes batteries am i going to need something else except an xlr to mini jack adapter to be able to write on pcm50? " ContentLicense="CC BY-SA 2.5" />
  <row Id="5843" PostHistoryTypeId="1" PostId="3395" RevisionGUID="a96937c9-4f56-4ade-9f21-ea4fa4976939" CreationDate="2010-09-05T23:22:54.600" UserId="63" Text="Need to ask something about Sony PCM-50" ContentLicense="CC BY-SA 2.5" />
  <row Id="5844" PostHistoryTypeId="3" PostId="3395" RevisionGUID="a96937c9-4f56-4ade-9f21-ea4fa4976939" CreationDate="2010-09-05T23:22:54.600" UserId="63" Text="&lt;sony&gt;&lt;sony-pcm-d50&gt;&lt;field-recording&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5845" PostHistoryTypeId="2" PostId="3396" RevisionGUID="de05f43a-158f-4d80-812b-4df290d84b31" CreationDate="2010-09-06T00:10:46.060" UserId="194" Text="The PCM D50 does not provide phantom power, so you'll have to use a powered mic and an xlr to minijack adapter.&#xD;&#xA;&#xD;&#xA;I use the Rode NTG-2 with it here and there and it works fine.&#xD;&#xA;&#xD;&#xA;I found out that it was far easier to hang the recorder from my neck than to use a bag though.  that preamp or connector even get breathed on and your recording is broken." ContentLicense="CC BY-SA 2.5" />
  <row Id="5846" PostHistoryTypeId="2" PostId="3397" RevisionGUID="883c8e9f-689e-4b05-ba0b-52015ead735a" CreationDate="2010-09-06T06:59:00.643" UserId="37" Text="i think this was answered somewhere else on this site already. you can use the d50/m10 with ntg-2 and similar mics by just using a xlr to minijack cable. these are commonly used by filmmakers too and you can find them in stores that sell audio/eng cables. in Germany, Thomann sell a &quot;pro snake kamerakabel&quot; female xlr to &quot;dual mono&quot; minijack. the minijack connector fits the m10 (and i guess d50) fine, but be wary of the xlr one in windy conditions (e.g. when using a softie)." ContentLicense="CC BY-SA 2.5" />
  <row Id="5847" PostHistoryTypeId="2" PostId="3398" RevisionGUID="b883481f-9159-4ab5-a030-2138eb84b389" CreationDate="2010-09-06T08:31:25.707" UserId="548" Text="You could use any other portable phantom power source besides XLR-1. AKG B18 is one choice. A Sound Devices MP-1 also costs less than XLR-1 and contains a superb preamp, so you could hook it to PCM-D50 using line level." ContentLicense="CC BY-SA 2.5" />
  <row Id="5848" PostHistoryTypeId="2" PostId="3399" RevisionGUID="cba6cb63-a06f-410e-927f-f08bec7f214f" CreationDate="2010-09-06T13:28:25.337" UserId="2" Text="I have one more day left in Bangkok and electronic equipment is so much cheaper than in South Africa, so this might be my cue to buy a GPS logger for when I go record sounds. &#xD;&#xA;&#xD;&#xA;Can anyone recommend a good-ish, cheap one that works on mac ( with the provided software)? I want to interface with Max/MSP so I need to be able to access the information independently from the provided software.&#xD;&#xA;&#xD;&#xA;Thanks! " ContentLicense="CC BY-SA 2.5" />
  <row Id="5849" PostHistoryTypeId="1" PostId="3399" RevisionGUID="cba6cb63-a06f-410e-927f-f08bec7f214f" CreationDate="2010-09-06T13:28:25.337" UserId="2" Text="GPS Logger Recommendation" ContentLicense="CC BY-SA 2.5" />
  <row Id="5850" PostHistoryTypeId="3" PostId="3399" RevisionGUID="cba6cb63-a06f-410e-927f-f08bec7f214f" CreationDate="2010-09-06T13:28:25.337" UserId="2" Text="&lt;gps&gt;&lt;data&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5851" PostHistoryTypeId="2" PostId="3400" RevisionGUID="01365c34-466c-44bd-9889-4954a4f95c20" CreationDate="2010-09-06T14:46:56.300" UserId="16" Text="That looks like a question I'm able to answer :)&#xD;&#xA;&#xD;&#xA;max msp can receive data from serial object through RS-232 that means that a bluetooth GPS would be the cheapest option. I have a Holux GPSlim 236 which is quite cheap and easy to connect with max. The only thing is that this kind of gps don't have a screen or display to check on field where are you. Anyway, I think any of the Holux Wireless GPS Receiver / Data Logger are ok for the work,.... check out the web:&#xD;&#xA;&#xD;&#xA;[http://www.holux.com/JCore/en/products/products_list.jsp?pno=2][1]&#xD;&#xA;&#xD;&#xA;If you wanna spend more money and have a fancy thing I would go for Garmin one or Magellan and check out that they have USB connections and so on,.... BUt i'm not sure if the connectivity with max will work out.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.holux.com/JCore/en/products/products_list.jsp?pno=2&#xD;&#xA;&#xD;&#xA;yeah!&#xD;&#xA;:)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5852" PostHistoryTypeId="2" PostId="3401" RevisionGUID="c9df9378-7296-457c-80a8-f78157f41422" CreationDate="2010-09-06T16:11:18.153" UserId="393" Text="Exactly as the title says, how do you work with contracts?&#xD;&#xA;&#xD;&#xA;Not the type that come into you, but the type that you send to other people.  Do you email them a contract to sign and fax back to you, mail it for the same, use digital signatures, or use something like Tractis.com to manage your contracts in a paper-free, yet legally binding, way?&#xD;&#xA;&#xD;&#xA;What has worked for you?  What hasn't?  What would you do differently?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5853" PostHistoryTypeId="1" PostId="3401" RevisionGUID="c9df9378-7296-457c-80a8-f78157f41422" CreationDate="2010-09-06T16:11:18.153" UserId="393" Text="How do you work with contracts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5854" PostHistoryTypeId="3" PostId="3401" RevisionGUID="c9df9378-7296-457c-80a8-f78157f41422" CreationDate="2010-09-06T16:11:18.153" UserId="393" Text="&lt;business&gt;&lt;contracts&gt;&lt;billing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5855" PostHistoryTypeId="5" PostId="3401" RevisionGUID="6cda987a-971f-470b-8d1b-c32377119f63" CreationDate="2010-09-06T16:58:03.280" UserId="393" Comment="added 19 characters in body" Text="Exactly as the title says, how do you work with contracts?&#xD;&#xA;&#xD;&#xA;Not the type that come into you, but the type that you send to other people.  Do you email them a contract to sign and fax back to you, mail it for the same, use digital signatures, or use something like Tractis, DocuSign, or VeriSign to manage your contracts in a paper-free, yet legally binding, way?&#xD;&#xA;&#xD;&#xA;What has worked for you?  What hasn't?  What would you do differently?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5856" PostHistoryTypeId="2" PostId="3402" RevisionGUID="1a880603-8387-4b29-a286-f9c93320cb48" CreationDate="2010-09-06T17:07:40.063" UserId="2" Text="It's all about relationships (at least for me). My work mostly comes from word of mouth, creating a sort of trust right from the get-go. Even if it's a long project, with a big budget, I find it somewhat awkward to make them sign a contract. Personally, I find that stating in the quote exactly what my responsibilities are is a good way to make sure we're on the same page and I suppose if things escalated, I could whip out the email as proof. But even though we agree on what I'm supposed to do, it's an organic process that requires a little flexibility. Hopefully I won't be in a position where I need to get a lawyer and regret this approach :-) I'm sure I will one day get burned and have to start having a contract. &#xD;&#xA;&#xD;&#xA;That said, most of my work is one or two day gigs that really don't require much agreement. I get the OMF, the visuals, a brief, and I start. The director comes half way, and updates me on the direction he/she wants. No need for contracts...  &#xD;&#xA;&#xD;&#xA;I'm based in South Africa, so my answer is catered to there. I'm sure other countries have different etiquette/protocols. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5857" PostHistoryTypeId="2" PostId="3403" RevisionGUID="d894530c-1d0d-4e73-b6a8-5ce85e68f85f" CreationDate="2010-09-06T17:22:23.287" UserId="400" Text="I thoroughly recommend Aaron Marks Game Audio ( http://www.amazon.co.uk/Complete-Guide-Game-Audio-Developers/dp/0240810740/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1283793647&amp;sr=8-1 ). Although it's about the game industry, there is a significant amount of info about contracting your services and there are sample contracts on the included DVD." ContentLicense="CC BY-SA 2.5" />
  <row Id="5858" PostHistoryTypeId="2" PostId="3404" RevisionGUID="0525e67c-b6fc-4aad-a70f-d20f6159d611" CreationDate="2010-09-06T17:28:16.257" UserId="37" Text="having terms and conditions in writing also goes a long way, as long as the clients are aware that they agree to the t&amp;c-s by giving you the job. it's no guarantee for anything but helps potentially clear a number of issues along the way. the downside is, clients may feel a bit threatened, but i guess the same is valid re any contract. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5859" PostHistoryTypeId="2" PostId="3405" RevisionGUID="254dd7ec-2ca4-4836-a78f-e02be78f9c7a" CreationDate="2010-09-06T18:57:19.577" UserId="343" Text="Water has not be helpful for me and coffee make it worse. Some of the talents I use to record will make this noise and some not. Some are not even conscious that they are doing it and some keep trying to hide the gum they were chewing when they came. But most of them will thank any advice that will help them to improve their performance. So my advice is to keep making them aware of this, I´m sure it can be avoided with practice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If this doesn´t work, nothing makes my mouth drier than brushing my teeth." ContentLicense="CC BY-SA 2.5" />
  <row Id="5860" PostHistoryTypeId="2" PostId="3406" RevisionGUID="4c76095a-be9c-4b94-899d-3ecbe1ed6459" CreationDate="2010-09-06T19:26:35.550" UserId="18160" Text="Okay so I have a couple reasons why I need to record a phone:&#xD;&#xA;&#xD;&#xA;1) To get an authentic phone futz signal for a film where some dialogue needs to sound like it's on the phone.&#xD;&#xA;&#xD;&#xA;2) A radio show I record has callers call in as guests and I need to record them.&#xD;&#xA;&#xD;&#xA;I have a jerry-rig to record the phone which also unfortunately records the signal you send to it (i.e. the radio host talking to the person) so I get the radio host and the phone guest and there is no way to separate the 2 signals to record them separately, which is what I want.&#xD;&#xA;&#xD;&#xA;I searched for what they use in radio stations for this type of thing, and they are all like 3000$ and up for a box to do this with.&#xD;&#xA;&#xD;&#xA;Does anyone know how I can record the phone signal clearly and separately from the outgoing signal from my end?&#xD;&#xA;&#xD;&#xA;Oh and as a note my studio has digital phone-lines... I know that throws a wrench into some of the plans.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="5861" PostHistoryTypeId="1" PostId="3406" RevisionGUID="4c76095a-be9c-4b94-899d-3ecbe1ed6459" CreationDate="2010-09-06T19:26:35.550" UserId="18160" Text="Best way to record a phone?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5862" PostHistoryTypeId="3" PostId="3406" RevisionGUID="4c76095a-be9c-4b94-899d-3ecbe1ed6459" CreationDate="2010-09-06T19:26:35.550" UserId="18160" Text="&lt;phone&gt;&lt;recording&gt;&lt;signal&gt;&lt;modification&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5863" PostHistoryTypeId="2" PostId="3407" RevisionGUID="7b63cec5-9f7f-4545-b3e6-64a6018698b4" CreationDate="2010-09-06T19:54:38.640" UserId="37" Text="re 1) do check if the director is really after authentic phone sound and also the perspective they will want (e.g. a cellphone sounds very different from a distance than when pressed against your ear). v.likely they will want it more intelligible than authentic. &#xD;&#xA;&#xD;&#xA;re 2) this won't win any awards for being straightforward but surely a couple of minutes researching skype-in can't hurt?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5864" PostHistoryTypeId="2" PostId="3408" RevisionGUID="08c4257b-bdfd-42c4-b248-3a0284682af4" CreationDate="2010-09-06T20:52:25.817" UserId="243" Text="I know it's been a while, I'm proud to note though. that I'm sorted with nuendo4 as far as sound design is concerned. &#xD;&#xA;&#xD;&#xA;It is a steinberg product and the company is known for it's cubase roots. I'm used to propellerheads'reason, where can I find the drum machine? &#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5865" PostHistoryTypeId="1" PostId="3408" RevisionGUID="08c4257b-bdfd-42c4-b248-3a0284682af4" CreationDate="2010-09-06T20:52:25.817" UserId="243" Text="nuendo4 as a music production program?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5866" PostHistoryTypeId="3" PostId="3408" RevisionGUID="08c4257b-bdfd-42c4-b248-3a0284682af4" CreationDate="2010-09-06T20:52:25.817" UserId="243" Text="&lt;music&gt;&lt;production&gt;&lt;nuendo4&gt;&lt;drum&gt;&lt;machine&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5867" PostHistoryTypeId="5" PostId="3405" RevisionGUID="c9c544fe-fe68-4a93-8c52-7723b0661319" CreationDate="2010-09-06T20:58:23.357" UserId="343" Comment="added 1 characters in body" Text="Water has not be helpful for me and coffee makes it worse. Some of the talents I use to record will make this noise and some not. Some are not even conscious that they are doing it and some keep trying to hide the gum they were chewing when they came. But most of them will thank any advice that will help them to improve their performance. So my advice is to keep making them aware of this, I´m sure it can be avoided with practice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If this doesn´t work, nothing makes my mouth drier than brushing my teeth." ContentLicense="CC BY-SA 2.5" />
  <row Id="5868" PostHistoryTypeId="2" PostId="3409" RevisionGUID="02a82a59-3023-4eb5-972f-28b9cb405262" CreationDate="2010-09-06T21:10:48.513" UserId="219" Text="Do you think you'd have the possibility to use two phone lines, an incoming one for the callers and an outgoing one for the radio people?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5869" PostHistoryTypeId="2" PostId="3410" RevisionGUID="58c52bf9-3186-4ce9-b5be-b796a32bbef8" CreationDate="2010-09-06T21:21:22.640" UserId="56" Text="1) if it has to be authentic i won't tell you to use a normal voice recording and pass it through a bp filter &#xD;&#xA;2) you can try to hack those cheap speakerphones. Reach the loudspeaker and connect a mono cable (may be you'll need to solder it) with the jack you need to connect to your mixer/recorder/pc... " ContentLicense="CC BY-SA 2.5" />
  <row Id="5870" PostHistoryTypeId="2" PostId="3411" RevisionGUID="074fb0a8-0f93-4810-a1f8-d1e7831300fc" CreationDate="2010-09-06T21:36:35.463" UserId="343" Text="I´m afraid that feedback is an inherent effect to analog telephone lines. It is because of the hybrid transformer used to convert the 2 wire side of the line to the 4 wire side. Most  of pro hybrid adapters can be adjusted to avoid this effect, but this equipment is quite expensive. We have some of equipment of this kind here that haven´t been used since we started working with ISDN lines, which leads us to the digital era.&#xD;&#xA;&#xD;&#xA;Basic digital telephone lines work at 64kbps, being sample rate equal to 8kHz and wordlength equal to 8 bit. Codification follows A-Law in Europe and mu-Law in other countries, contrary to our common linear PCM files.&#xD;&#xA;&#xD;&#xA;You won´t find any problem to encode your recordings to with this specifications. Some PC based apps will do it.&#xD;&#xA;&#xD;&#xA;Or you may try to apply a low-pass filter with cutoff freq at 4kHz, it´s worth the shot.&#xD;&#xA;&#xD;&#xA;If not, you may give Speakerphone a try." ContentLicense="CC BY-SA 2.5" />
  <row Id="5871" PostHistoryTypeId="5" PostId="3411" RevisionGUID="97d52f2b-d2d5-4b73-ae4f-d4d1440c925c" CreationDate="2010-09-06T21:45:16.743" UserId="343" Comment="added 283 characters in body" Text="I´m afraid that feedback is an inherent effect to analog telephone lines. It is because of the hybrid transformer used to convert the 2 wire side of the line to the 4 wire side. Most  of pro hybrid adapters can be adjusted to avoid this effect, but this equipment is quite expensive. We have some of equipment of this kind here that haven´t been used since we started working with ISDN lines, which leads us to the digital era.&#xD;&#xA;&#xD;&#xA;Basic digital telephone lines work at 64kbps, being sample rate equal to 8kHz and wordlength equal to 8 bit. Codification follows A-Law in Europe and mu-Law in other countries, contrary to our common linear PCM files. These are said to follow the G.711 protocol, wich we use for incoming calls in breaking news or intercom in OB vans.&#xD;&#xA;An improved method is used when quality is an issue that is called G.722. &#xD;&#xA;&#xD;&#xA;You won´t find any problem to encode your recordings to with this specifications, at least for the first one. Some PC based apps will give you A-Law or mu-Law options when going to export a sound file.&#xD;&#xA;&#xD;&#xA;You may try to apply a low-pass filter with cutoff freq at 4kHz too, it´s worth the shot.&#xD;&#xA;&#xD;&#xA;If not, you may give Speakerphone a try." ContentLicense="CC BY-SA 2.5" />
  <row Id="5872" PostHistoryTypeId="2" PostId="3412" RevisionGUID="fe610618-1074-42bb-b397-72d8e05a0698" CreationDate="2010-09-06T23:38:08.663" UserId="18" Text="Nuendo doesn't have any drum machine or instruments.  If you add the NEK it will give you the additional music tools that Cubase includes.  Otherwise, you will need to add plugins for instruments." ContentLicense="CC BY-SA 2.5" />
  <row Id="5873" PostHistoryTypeId="2" PostId="3413" RevisionGUID="73f8cd18-756c-4ff2-b3f4-f06f311af435" CreationDate="2010-09-06T23:39:25.543" UserId="18160" Text="I mean, where else can you shoot machine guns at a van and call it work?&#xD;&#xA;&#xD;&#xA;Or set off fireworks all night long,&#xD;&#xA;&#xD;&#xA;Or walking in the mountains all day,&#xD;&#xA;&#xD;&#xA;Or visiting a Zoo,&#xD;&#xA;&#xD;&#xA;Or, or, or...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What is your fondest memory from designing sound? Places you've been, recording scenarios you've been in, etc.?&#xD;&#xA;&#xD;&#xA;Mine was when we were chased by a lion in a Land Rover." ContentLicense="CC BY-SA 2.5" />
  <row Id="5874" PostHistoryTypeId="1" PostId="3413" RevisionGUID="73f8cd18-756c-4ff2-b3f4-f06f311af435" CreationDate="2010-09-06T23:39:25.543" UserId="18160" Text="Is Sound Design the Best Job Ever?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5875" PostHistoryTypeId="3" PostId="3413" RevisionGUID="73f8cd18-756c-4ff2-b3f4-f06f311af435" CreationDate="2010-09-06T23:39:25.543" UserId="18160" Text="&lt;sound-design&gt;&lt;job&gt;&lt;best&gt;&lt;stories&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5876" PostHistoryTypeId="5" PostId="3413" RevisionGUID="83f894ad-f670-45d1-aa78-bfd621c2ed90" CreationDate="2010-09-06T23:52:08.860" UserId="18160" Comment="added 65 characters in body; added 87 characters in body" Text="I mean, where else can you shoot machine guns at a van and call it work?&#xD;&#xA;&#xD;&#xA;Or set off fireworks all night long,&#xD;&#xA;&#xD;&#xA;Or walking in the mountains all day,&#xD;&#xA;&#xD;&#xA;Or visiting a Zoo,&#xD;&#xA;&#xD;&#xA;Or, or, or...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What is your fondest memory from designing sound? Places you've been, recording scenarios you've been in, etc.?&#xD;&#xA;&#xD;&#xA;Mine was live mixing an event for a house of close to 8,000 people. That made me think &quot;Wow, sound is a pretty cool gig&quot;&#xD;&#xA;&#xD;&#xA;What's your &quot;Wow I'm glad I got into this business&quot; moment? If you care to share..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5879" PostHistoryTypeId="2" PostId="3415" RevisionGUID="ae0cf4ff-34bf-496e-b0b7-86f30cf43c6e" CreationDate="2010-09-07T00:11:43.357" UserId="390" Text="I have only recorded Voiceovers a handful of times. One actor used a apple to help with his performances in addition to drinking water occasionally." ContentLicense="CC BY-SA 2.5" />
  <row Id="5880" PostHistoryTypeId="2" PostId="3416" RevisionGUID="4120dc6d-4ec4-4e46-acdc-ca6135607b22" CreationDate="2010-09-07T02:33:55.177" UserId="103" Text="Yes. Yes it is :)&#xD;&#xA;&#xD;&#xA;I have the &quot;this is why i do this!&quot; moment every time i get a difficult sfx right,&#xD;&#xA;or during screening sessions, when no one says absolutely nothing about whatever&#xD;&#xA;was my responsibility in that project!&#xD;&#xA;&#xD;&#xA;But THE moment was at the presentation of my final project in the audio engineering&#xD;&#xA;school i studied at. &#xD;&#xA;&#xD;&#xA;It was a very David Lynchy piece, and the whole vibe was just right for the movie; we had the big screen and PA system on a huge Warehouse. Our short was the last one to play, and 3 seconds after the credits ended, there was a roar of applause, you could feel the place shaking.&#xD;&#xA;&#xD;&#xA;We smiled" ContentLicense="CC BY-SA 2.5" />
  <row Id="5881" PostHistoryTypeId="2" PostId="3417" RevisionGUID="56af1bd1-2ea8-4aa8-bf30-084890c73489" CreationDate="2010-09-07T05:05:39.823" UserId="533" Text="There is a telephone mic that you can use to record phones although not the best looking of sorts. You can stick it to the speaker portion of the handset(next to the ear) to record the output. I haven't used it that way as I use the mic for other purposes but that is apparently what it was designed to do. &#xD;&#xA;&#xD;&#xA;[Telephone Microphone][1]&#xD;&#xA;&#xD;&#xA;This would help get the sonic quality of the phone as well, comparing to tapping the phone line.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.defensedevices.com/telephone-microphone-recorder.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="5882" PostHistoryTypeId="2" PostId="3418" RevisionGUID="a0f79fdd-f12f-456e-a99e-f3aa4909b41f" CreationDate="2010-09-07T08:13:20.683" UserId="550" Text="I wanted to call any sound designer who has had professional experience in the industry because I am studying to become a recording engineer/sound designer within a year. I haven't had much luck finding sound designer's contacts. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5883" PostHistoryTypeId="1" PostId="3418" RevisionGUID="a0f79fdd-f12f-456e-a99e-f3aa4909b41f" CreationDate="2010-09-07T08:13:20.683" UserId="550" Text="Who are some notable Sound Designers?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5884" PostHistoryTypeId="3" PostId="3418" RevisionGUID="a0f79fdd-f12f-456e-a99e-f3aa4909b41f" CreationDate="2010-09-07T08:13:20.683" UserId="550" Text="&lt;sound-design&gt;&lt;contact&gt;&lt;job&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5885" PostHistoryTypeId="2" PostId="3419" RevisionGUID="dbcb525a-5e16-48ff-9afe-d11ed606b013" CreationDate="2010-09-07T12:54:42.533" UserId="136" Text="Hey all.&#xD;&#xA;&#xD;&#xA;I'm currently working on a short film adaptation of a children's book called 'There's a Hippopotamus on the Roof Eating Cake' (Here's a link to a teaser if you're interested: http://vimeo.com/9576401)&#xD;&#xA;&#xD;&#xA;Very simply put it is about a girl and her relationship with an imaginary hippo that lives on her roof. &#xD;&#xA;&#xD;&#xA;Anyway there is one scene where the hippo falls off the roof and he and the girl have an intimate moment, where she tends to his cut (from falling) and snuggles up to him.&#xD;&#xA;&#xD;&#xA;I've been trying to create a huge, deep, warm breathing sound (and a general 'rumbling' presence) for the hippo during this scene, but I'm having trouble. I've tried playing with the pitch of my own breathing, placing the mic right next to my lungs and processing animal sounds (admit-ably I don't have access to very good recordings) but I can't get the depth and weight that I'm after. &#xD;&#xA;&#xD;&#xA;I love Randy Thom's work on 'How to Train Your Dragon' (the sounds when Hiccup finds Night Fury in the woods are amazing!) and obviously Avatar, LOTR etc are an inspiration. &#xD;&#xA;&#xD;&#xA;So if anyone had any insight on how to achieve those sounds I'd be very happy!&#xD;&#xA;&#xD;&#xA;Lachie&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5886" PostHistoryTypeId="1" PostId="3419" RevisionGUID="dbcb525a-5e16-48ff-9afe-d11ed606b013" CreationDate="2010-09-07T12:54:42.533" UserId="136" Text="Creating Large Animal Breathing Sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="5887" PostHistoryTypeId="3" PostId="3419" RevisionGUID="dbcb525a-5e16-48ff-9afe-d11ed606b013" CreationDate="2010-09-07T12:54:42.533" UserId="136" Text="&lt;breathing&gt;&lt;animals&gt;&lt;creative-inspiration&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5888" PostHistoryTypeId="2" PostId="3420" RevisionGUID="a1bdbee2-f521-44b0-b50f-85dd59bad851" CreationDate="2010-09-07T13:15:06.150" UserId="6411" Text="In my office we currently use iCal to keep track of when a room is booked and with who, and then just keep a paper work order to log hours through the session. When we were just starting out with a few rooms it was perfect. As we've grown over the years, it has been able to adapt, but it's a method that is starting to show some holes.&#xD;&#xA;&#xD;&#xA;I've used [ScheduALL][1] before, but it's way more than what were looking for, both in features and in price. I've found [FastTrack Schedule 10][2] which seems like a contender. But I wanted to see if anybody here has a personal recommendation of  scheduling software that changed their life.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.scheduall.com/default.aspx?AspxAutoDetectCookieSupport=1&#xD;&#xA;  [2]: http://www.aecsoftware.com/project-management-software/fasttrack-schedule-mac/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5889" PostHistoryTypeId="1" PostId="3420" RevisionGUID="a1bdbee2-f521-44b0-b50f-85dd59bad851" CreationDate="2010-09-07T13:15:06.150" UserId="6411" Text="What scheduling software do you use?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5890" PostHistoryTypeId="3" PostId="3420" RevisionGUID="a1bdbee2-f521-44b0-b50f-85dd59bad851" CreationDate="2010-09-07T13:15:06.150" UserId="6411" Text="&lt;workflow&gt;&lt;schedule&gt;&lt;billing&gt;&lt;time-management&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5891" PostHistoryTypeId="2" PostId="3421" RevisionGUID="51088f6b-9f24-451c-b09e-48b171bce1fe" CreationDate="2010-09-07T13:34:25.193" UserId="393" Text="Though my day job isn't audio related in the slightest (despite the incredible amount of power amps, studio monitors, and Apple products), I do deal with scheduling software on an almost daily basis.&#xD;&#xA;&#xD;&#xA;We use [EventPro][1], which is pretty good.  Our only issue with it is that, being Canada based, we have to pay for international long distance for any support.&#xD;&#xA;&#xD;&#xA;We've only been using it for about a month, so I'm still learning it, myself, but it's better than Outlook, which was our previous solution.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.eventpro.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5892" PostHistoryTypeId="2" PostId="3422" RevisionGUID="3c6659e4-9e34-40f1-a969-f484e6231020" CreationDate="2010-09-07T13:38:07.417" UserId="393" Text="I can almost guarantee that cold-calling ANY sound designer out there, for any reason other than offering work, will get you a negative response.  Try email first (and, if you have trouble finding email contacts, you need to work on your Google-Fu), and, if they get back to you, ask if it's cool to call them.&#xD;&#xA;&#xD;&#xA;But, to answer your question: Aaron Marks.  He wrote *The Complete Guide to Game Audio*, and I know from my own personal experience that he returns emails." ContentLicense="CC BY-SA 2.5" />
  <row Id="5893" PostHistoryTypeId="2" PostId="3423" RevisionGUID="8bffe623-119a-4150-88e9-4dd4f8ccc1aa" CreationDate="2010-09-07T15:48:34.487" UserId="393" Text="In *Where the Wild Things Are*, to give the monsters' voices more size, without pitch shifting, they routed all their audio to the sub as well as the mains.  Try pitch shifting down, then EQing a bit more bass in it. Also, a little bit of reverb may help, to give the size of the hippos lungs some depth." ContentLicense="CC BY-SA 2.5" />
  <row Id="5894" PostHistoryTypeId="2" PostId="3424" RevisionGUID="9d926e07-9beb-4a56-9f33-cb2205ecb8b6" CreationDate="2010-09-07T17:30:34.277" UserId="6411" Text="What I try to think about when doing non-human breaths is the volume of air being moved and the airway path that the air has to travel down. As a result I've huffed, snorted, wheezed and breathed into pottery, tea-kettles, paper tubes, buckets, clasped hands, hoses, pvc pipe, etc. in an attempt to get the right tone of breath.  Also you might try worldizing your pre-pitched breaths with those types of objects.&#xD;&#xA;&#xD;&#xA;After looking at the trailer, the first thing that pops into my mind is the trombone that the father (? I'm guessing that's the role) is holding while curiously watching the little girl. It could be a one-two punch, altering your airway path and tying her imaginary hippo friend into the reality of her surroundings. Don't know if you have access to it, but perhaps there's an element of the hippo's breath that comes from breathing through a trombone or other wind instrument." ContentLicense="CC BY-SA 2.5" />
  <row Id="5895" PostHistoryTypeId="2" PostId="3425" RevisionGUID="22bf2795-a6bc-4a86-93ef-96265b7ac906" CreationDate="2010-09-07T19:07:54.667" UserDisplayName="user49" Text="I had to do this for the film Black Sheep, which involved someone mutating into an 8ft tall sheep... We recorded breaths in ADR, with real time pitch shift so the actor could hear the pitch shift, then I took those and played them through my dbx subharmonic synth - I had to crank the gain going into the dbx but it totally nailed the scale &amp; thickened up the breaths adding an octave lower and filling with subharmonics... If you cant access an out board subharmonic synth, get a 30 day trial of Waves Lo Air or consider the Low ender plugin.&#xD;&#xA;Print the sub processing so you have the original breath, pitched breath &amp; sub-processed breath across 3 tracks &amp; then balance between them. I could dig out an example if you need to hear what it sounded like?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5896" PostHistoryTypeId="2" PostId="3426" RevisionGUID="1b5e3051-ccc7-4063-ba8e-14c6fd4f0906" CreationDate="2010-09-07T19:10:18.380" UserDisplayName="user49" Text="I use NOW Up To Date for OSX and the calendar document sits in my dropbox, so its synced to all my Macs... " ContentLicense="CC BY-SA 2.5" />
  <row Id="5901" PostHistoryTypeId="2" PostId="3429" RevisionGUID="0b888a5b-6d4f-4b06-9376-09538d99e223" CreationDate="2010-09-07T21:26:46.347" UserId="46" Text="Nothing earth-shattering here - we're currently using Google Calendar. Not the greatest/most versatile but with a little bit of work it can keep track of all you need it to... easy access from mobile/home as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="5902" PostHistoryTypeId="2" PostId="3430" RevisionGUID="a1bcc5e7-1467-4722-8632-571c79aebf42" CreationDate="2010-09-07T23:47:14.690" UserId="503" Text="No coffee or milk based drinks. Apple or watermelon helps stop mouth clacks.&#xD;&#xA;&#xD;&#xA;Izotopes RX plugin is very good in the spectral mode to remove all the problematic mouth noises" ContentLicense="CC BY-SA 2.5" />
  <row Id="5903" PostHistoryTypeId="2" PostId="3431" RevisionGUID="37817bf1-2b17-446f-9d1a-31ab0518d387" CreationDate="2010-09-08T02:29:08.977" UserId="61" Text="As expressed above, getting some of these folks on the phone is going to prove difficult - and possibly even detrimental to your future career. (If somebody cold-called me in the middle of a tight schedule or client playback I'd be very put off, plus I'd want to know how they got my number.) That being said, I've had a number of people contact me through reliable channels that have led to productive conversations, visits and even job offers.&#xD;&#xA;&#xD;&#xA;Regarding notable sound designers: I think you'll find Social Sound Design to be a wealth of knowledge, not only in how people approach sound design but also as a who's-who in the business. Many of the contributors are well-established sound designers for film, television, games, etc. And of course there are the more well-known who have published interviews and Q&amp;As all over the place: Ben Burtt, Gary Rydstrom, Harry Cohen, Christopher Boyes, Glenn Freemantle, Richard King, etc. Look up any of those names on [imdb.com][1] if you're unsure of who they are.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="5904" PostHistoryTypeId="2" PostId="3432" RevisionGUID="2f71a6d3-8104-483c-9867-ee42ac379d90" CreationDate="2010-09-08T05:54:19.733" UserId="18160" Text="What do you do when you're on R25 and it STILL sounds harsh or unpleasant?&#xD;&#xA;&#xD;&#xA;I'm mixing and a particular voice still sounds harsh.&#xD;&#xA;&#xD;&#xA;I'm about to throw in the towel on this one.&#xD;&#xA;&#xD;&#xA;What do you guys do when you're in between a rock and a hard place?&#xD;&#xA;&#xD;&#xA;I feel like giving up but that's a lame attitude.&#xD;&#xA;&#xD;&#xA;Meanwhile the producer is annoyed and I smell fire..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5905" PostHistoryTypeId="1" PostId="3432" RevisionGUID="2f71a6d3-8104-483c-9867-ee42ac379d90" CreationDate="2010-09-08T05:54:19.733" UserId="18160" Text="You ever get that quitting feeling?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5906" PostHistoryTypeId="3" PostId="3432" RevisionGUID="2f71a6d3-8104-483c-9867-ee42ac379d90" CreationDate="2010-09-08T05:54:19.733" UserId="18160" Text="&lt;inspiration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5907" PostHistoryTypeId="2" PostId="3433" RevisionGUID="30503ea7-d9c6-4250-afd5-fc5cbb29e263" CreationDate="2010-09-08T12:04:46.440" UserId="432" Text="you probably need a fresh perspective, especially if you're life is consumed with one particular piece. if you can, try taking a break from that one piece and work on something totally different for a day (try to get it out of your head completely). then come back to it and see if you can make any head way.&#xD;&#xA;&#xD;&#xA;if that's not an option then get another engineer, who's opinion you respect, to come in and just listen to it with you. the producer doesn't have to be there when you do it. the opinion of someone who's not so invested in the project may help you find the answer you're looking for." ContentLicense="CC BY-SA 2.5" />
  <row Id="5908" PostHistoryTypeId="2" PostId="3434" RevisionGUID="f9077311-556b-4cc6-8f4e-099407f3a615" CreationDate="2010-09-08T14:44:29.927" UserId="338" Text="+1, this place is a wealth of knowledge" ContentLicense="CC BY-SA 2.5" />
  <row Id="5909" PostHistoryTypeId="2" PostId="3435" RevisionGUID="8f46ee52-07dc-482e-be83-93b466506178" CreationDate="2010-09-08T17:38:02.377" UserId="234" Text="When you can't get away from the project for a bit as Shaun suggests (which is THE best suggestion) the alternate is to move on... i.e. just leave it FOR NOW and move on to the next part of the mix. If the Producer is there just say &quot;We're getting stale on this, let's move on and come back to this with fresh ears in a bit&quot;, then continue mixing the rest. Come back after you've gained a little space. Not as good as stepping away for a period of time, but a good second." ContentLicense="CC BY-SA 2.5" />
  <row Id="5910" PostHistoryTypeId="2" PostId="3436" RevisionGUID="8efafd07-5a13-45ef-bb7d-72cdda0ba6a9" CreationDate="2010-09-08T18:54:56.253" UserId="88" Text="Walruses and elephant seals also have terrific wheezes and moans that can be pitched for added oomph.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="5911" PostHistoryTypeId="5" PostId="3436" RevisionGUID="4b984125-c7f0-45a1-b158-94cc064138fd" CreationDate="2010-09-08T19:13:35.127" UserId="88" Comment="added 149 characters in body" Text="Walruses and elephant seals also have terrific wheezes and moans that can be pitched for added oomph.  &#xD;&#xA;&#xD;&#xA;&lt;edit&gt; (Though I missed the bit in your post about not having access to great animal recordings, so this is probably your least helpful reply...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5912" PostHistoryTypeId="2" PostId="3437" RevisionGUID="9ec54d33-0b92-4b5f-9952-d9e2c22f29ba" CreationDate="2010-09-08T19:26:32.640" UserId="219" Text="This is a long shot but, still, I believe it's worth sharing. I always remember I once visited a blacksmith and he had this huge blower that I can't quite remember how he worked it, but it was literally one or two cubed meters of air you had at hand every cycle.&#xD;&#xA;&#xD;&#xA;And you know, when you blow air from your mouth on fire, it just rages and roars and it produces a really harsh sound. When the flow of air gets larger, the effect is that it smoothes out this sound. Because the sound is bigger, it has more dynamics, still roaring at the edges of the air flow but in the center it's rounder and smoother." ContentLicense="CC BY-SA 2.5" />
  <row Id="5913" PostHistoryTypeId="2" PostId="3438" RevisionGUID="08da1ccc-c3bd-43f5-8ef7-0768ccdf6fee" CreationDate="2010-09-08T21:58:28.970" UserId="18160" Text="Tomorrow I'll be out recording some horses in a large park in L.A.&#xD;&#xA;&#xD;&#xA;I'm hoping traffic won't be too bad and if it isn't, has anyone recorded horses before?&#xD;&#xA;&#xD;&#xA;I was thinking about strapping a Zoom to the under-strap of the horse saddle. Bad idea? Anyone tried anything similar to an onboard mic on a horse?&#xD;&#xA;&#xD;&#xA;I thought I might try to get some isolated effects. Some of the time I'll have to make the mics inconspicuous to a camera. Any ideas?&#xD;&#xA;&#xD;&#xA;Your experience is definitely appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5914" PostHistoryTypeId="1" PostId="3438" RevisionGUID="08da1ccc-c3bd-43f5-8ef7-0768ccdf6fee" CreationDate="2010-09-08T21:58:28.970" UserId="18160" Text="Tips on Recording Horses?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5915" PostHistoryTypeId="3" PostId="3438" RevisionGUID="08da1ccc-c3bd-43f5-8ef7-0768ccdf6fee" CreationDate="2010-09-08T21:58:28.970" UserId="18160" Text="&lt;recording&gt;&lt;horses&gt;&lt;sound-effects&gt;&lt;horse&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5916" PostHistoryTypeId="5" PostId="3438" RevisionGUID="e2959b63-862e-4a2c-aef6-b54d598dc63b" CreationDate="2010-09-08T22:12:35.730" UserId="18160" Comment="added 96 characters in body" Text="Tomorrow I'll be out recording some horses in a large park in L.A.&#xD;&#xA;&#xD;&#xA;I'm hoping traffic won't be too bad and if it isn't, has anyone recorded horses before?&#xD;&#xA;&#xD;&#xA;I was thinking about strapping a Zoom to the under-strap of the horse saddle. Bad idea? Anyone tried anything similar to an onboard mic on a horse? I'm mostly looking for some hooves sounds and running, ups, bys, in and stops, ride aways, etc.&#xD;&#xA;&#xD;&#xA;I thought I might try to get some isolated effects. Some of the time I'll have to make the mics inconspicuous to a camera. Any ideas?&#xD;&#xA;&#xD;&#xA;Your experience is definitely appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5917" PostHistoryTypeId="2" PostId="3439" RevisionGUID="6ce1923d-5545-4ae9-9def-2a254935034b" CreationDate="2010-09-08T22:21:29.853" UserId="393" Text="Personally, I wonder if there's a reason that most horses in movies are still Foley.  How do you plan on avoiding all the movement noise on the under-strap?  Would a lav possibly work better for that?&#xD;&#xA;&#xD;&#xA;Can you arrange some recording time that's not being filmed?  If so, treat it like a car -- get a couple passbys at various speeds, then walk beside it while walks for awhile, to get the up close sound.&#xD;&#xA;&#xD;&#xA;(Then thicken it up with Foley.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5918" PostHistoryTypeId="2" PostId="3440" RevisionGUID="a556cce9-4904-4cd1-a7fa-7f0633df91af" CreationDate="2010-09-08T22:22:46.997" UserId="61" Text="You'll probably find the greater LA region too noisy for recording horses. It depends on the day and time of day, plus how far removed you are from the freeways. If you're deep in Griffith Park on a Sunday then you may do ok, but don't get your hopes up.&#xD;&#xA;&#xD;&#xA;Re. mics, I wouldn't waste your time with the Zoom. You will most likely discover too much handling / jostling around noise from a saddle-mount position; also, those capsules are not designed for that application, especially once the horse gets up to a fast canter or gallop. I would bring a professional recorder and the best mics you can get your hands on, then spend a bunch of time determining best mic positions, mounts and techniques.&#xD;&#xA;&#xD;&#xA;Bear in mind that professional sound recordists spend an entire day or two just recording the horse, with dedicated time for setup, discussions with the rider, rest periods, etc. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5919" PostHistoryTypeId="2" PostId="3441" RevisionGUID="cbf35c24-c9c5-4f70-a2f2-c46df2134446" CreationDate="2010-09-08T22:46:17.007" UserId="132" Text="I second jay on the LA and traffic noise.  It is going to be really rough.  You might want to read this piece with Rob Nokes: http://designingsound.org/2010/08/rob-nokes-special-exclusive-interview/  He talks a bit about recording horses.  And there are some horse clips here:  http://www.youtube.com/user/sounddogs#p/u/19/DzUcuOMWrI8" ContentLicense="CC BY-SA 2.5" />
  <row Id="5920" PostHistoryTypeId="5" PostId="3437" RevisionGUID="a7c8664e-c803-4dfc-9641-e96f510d4b5d" CreationDate="2010-09-08T22:58:26.013" UserId="219" Comment="added 70 characters in body" Text="This is a long shot but, still, I believe it's worth sharing. I always remember I once visited a blacksmith and he had this huge blower that I can't quite remember how he worked it, but it was literally one or two cubed meters of air you had at hand every cycle.&#xD;&#xA;&#xD;&#xA;And you know, when you blow air from your mouth on fire, it just rages and roars and it produces a really harsh sound. When the flow of air gets larger, the effect is that it smoothes out this sound. Because the sound is bigger, it has more dynamics, still roaring at the edges of the air flow but in the center it's rounder and smoother.&#xD;&#xA;&#xD;&#xA;And according to me, it could be used as a large animal breathing." ContentLicense="CC BY-SA 2.5" />
  <row Id="5921" PostHistoryTypeId="5" PostId="3438" RevisionGUID="a69708b8-5d8e-49f4-bea7-555e0f53abd0" CreationDate="2010-09-08T23:09:18.963" UserId="18160" Comment="added 19 characters in body" Text="I'll have an opportunity soon to be out recording some horses in a large park in L.A.&#xD;&#xA;&#xD;&#xA;I'm hoping traffic won't be too bad and if it isn't, has anyone recorded horses before?&#xD;&#xA;&#xD;&#xA;I was thinking about strapping a Zoom to the under-strap of the horse saddle. Bad idea? Anyone tried anything similar to an onboard mic on a horse? I'm mostly looking for some hooves sounds and running, ups, bys, in and stops, ride aways, etc.&#xD;&#xA;&#xD;&#xA;I thought I might try to get some isolated effects. Some of the time I'll have to make the mics inconspicuous to a camera. Any ideas?&#xD;&#xA;&#xD;&#xA;Your experience is definitely appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5922" PostHistoryTypeId="2" PostId="3442" RevisionGUID="49f8f859-6537-49b4-ad46-1ca37646ce58" CreationDate="2010-09-09T00:43:39.623" UserId="432" Text="You'd be surprised just how far horse noises can carry. For one of our projects at work, we found ourselves at the Sheikh Mohammed's horse ranch while we were shooting in Dubai (we were interviewing his horse trainer). We did some b-roll shots of some of the horses making their way through their swimming pool...no joke. The thing was about 100 ft long, and the camera man and I were standing at the far end. I was using a Sennheiser ME66, and I couldn't believe how loud the horse's breathing sounds were coming through when they were over 50' away!&#xD;&#xA;&#xD;&#xA;I'll admit we didn't have a lot of traffic noise. Even though it's nestled in the city (literally) it had a huge buffer area around it. Like I said though, they make some very loud and energetic noises. You'll be well served with a couple of shotgun mics and a decent recorder. Like Jay said, definitely take your time. If you can find a somewhat quiet area, you should be able to get some good sounds without having to use too much gain (which might mitigate some of the traffic/city noise that would otherwise be a problem). Just test out your positions a couple of times, but make sure you're recording while you do...you never know when you might accidentally stumble on the perfect positioning. If you do, then you'll have one extra recording at the end of the day." ContentLicense="CC BY-SA 2.5" />
  <row Id="5923" PostHistoryTypeId="2" PostId="3443" RevisionGUID="1d3d5f6e-6008-477d-bc7e-f82cf51dd359" CreationDate="2010-09-09T02:56:34.553" UserId="253" Text="So i'm a bit stuck at the moment in an ultra low budget feature i'm working on. I need an exterior screen door (with wood frame) opening, closing, and some creaking. If it's one that has a slow-closing mechanism of some kind, that would be even better. My problem with library FX here is that you generally get 1 open and 1 close, so if the door's used more than once it's more or less useless. That and, the Sound Ideas effect is too big and brutal for what i'm after.&#xD;&#xA;&#xD;&#xA;My library is still rather undeveloped, so i don't have a huge amount to offer in return. I've got about an hour of stereo int strong gusty wind through a slightly open window; pretty cool for atmos beds. And i'm planning on buying a Zoom H4N very soon if a NYC specific effect would sweeten the deal.&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5924" PostHistoryTypeId="1" PostId="3443" RevisionGUID="1d3d5f6e-6008-477d-bc7e-f82cf51dd359" CreationDate="2010-09-09T02:56:34.553" UserId="253" Text="FX Request: Screen doors" ContentLicense="CC BY-SA 2.5" />
  <row Id="5925" PostHistoryTypeId="3" PostId="3443" RevisionGUID="1d3d5f6e-6008-477d-bc7e-f82cf51dd359" CreationDate="2010-09-09T02:56:34.553" UserId="253" Text="&lt;effects&gt;&lt;sound-effects-recording&gt;&lt;request&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5926" PostHistoryTypeId="2" PostId="3444" RevisionGUID="81f86bab-5fa1-4073-a367-030fcc9fd576" CreationDate="2010-09-09T03:13:31.333" UserId="61" Text="Hi Roger - I may have something you could use. Get in touch with me via Linked In." ContentLicense="CC BY-SA 2.5" />
  <row Id="5931" PostHistoryTypeId="2" PostId="3446" RevisionGUID="b552eb0c-374f-4888-a4b9-6f454c73932f" CreationDate="2010-09-09T10:29:29.873" UserId="168" Text="Its the best job every time I manage to crack a sound and get a scene to sound right..&#xD;&#xA;&#xD;&#xA;...until a few weeks later when I think I could have done better!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;:)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5932" PostHistoryTypeId="2" PostId="3447" RevisionGUID="8ee59f16-a8ce-4811-b9a0-f3115f023cba" CreationDate="2010-09-09T10:36:08.297" UserId="168" Text="Simple EQ/filtering and volume/pan changes can help a lot. As mentioned already, reverb and delays can only mess things up especially if there are a LOT of voices.&#xD;&#xA;&#xD;&#xA;Start by filtering/shelving off the highs and the upper mids (900Hz-4kHz) as that will take the intelligibility out of the voice and leave room for the new voice that needs to be heard." ContentLicense="CC BY-SA 2.5" />
  <row Id="5933" PostHistoryTypeId="2" PostId="3448" RevisionGUID="750fcf78-a933-49fe-9c65-15f8a87044bb" CreationDate="2010-09-09T10:44:22.150" UserId="168" Text="+1 for fresh perspective&#xD;&#xA;&#xD;&#xA;A lot of times I find myself getting too caught up with the tiniest of details until I get a colleague in and they just dont find that 'click on that word exactly two seconds before the big explosion' annoying. A second perspective always helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="5934" PostHistoryTypeId="2" PostId="3449" RevisionGUID="4946611e-aec0-4126-ba41-82308f593fd4" CreationDate="2010-09-09T10:59:18.587" UserId="554" Text="I hope this isn't a silly question but is there a way of recording one of the internal instrumnents in Protools 8 (eg grand piano) onto an instrument track in a session without using a midi controller." ContentLicense="CC BY-SA 2.5" />
  <row Id="5935" PostHistoryTypeId="1" PostId="3449" RevisionGUID="4946611e-aec0-4126-ba41-82308f593fd4" CreationDate="2010-09-09T10:59:18.587" UserId="554" Text="Protools Midi help needed" ContentLicense="CC BY-SA 2.5" />
  <row Id="5936" PostHistoryTypeId="3" PostId="3449" RevisionGUID="4946611e-aec0-4126-ba41-82308f593fd4" CreationDate="2010-09-09T10:59:18.587" UserId="554" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5937" PostHistoryTypeId="2" PostId="3450" RevisionGUID="5e3b0c36-58fd-40c9-86c1-c91c82518c45" CreationDate="2010-09-09T11:11:05.040" UserId="168" Text="Not natively.&#xD;&#xA;&#xD;&#xA;I've used v.m.k and it's been helpful:&#xD;&#xA;&#xD;&#xA;http://www.fredrikolofsson.com/pages/code-apps.html&#xD;&#xA;&#xD;&#xA;Allows you to use the computer keyboard as a controller." ContentLicense="CC BY-SA 2.5" />
  <row Id="5938" PostHistoryTypeId="2" PostId="3451" RevisionGUID="987dd25a-c193-44c5-91ec-200941ab3fb9" CreationDate="2010-09-09T11:51:09.813" UserId="555" Text="Favorite us of silence is difficult to compare and rate. Silence can have very different funtions (visceral and sensuous or more symbolic etc) in movies. I also think silence is closely connected to the overall sound design in a movie, including the music score, if any. Anywan, I want to mention Let the right one in. Absolutely fantastic sound design (including silence). &#xD;&#xA;&#xD;&#xA;I don't like trailers, and can't find a clip with silence right now, but check out this score &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=0iivf1dN5Xg&amp;feature=PlayList&amp;p=E3B3F7D2EC0A366B&amp;index=0&amp;playnext=1&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5939" PostHistoryTypeId="5" PostId="3451" RevisionGUID="f35ec6ea-888d-4d12-bdbd-0469efd5c084" CreationDate="2010-09-09T12:34:53.330" UserId="555" Comment="added 27 characters in body; deleted 39 characters in body; deleted 10 characters in body" Text="Favorite us of silence is difficult to compare and rate. I think silence can have very different funtions (visceral and sensuous or more symbolic etc) in movies and is closely connected to the overall sound design in a movie, including the music score, if any. Anyway, I want to mention Let the right one in. Absolutely fantastic sound design (including silence). &#xD;&#xA;&#xD;&#xA;I don't like trailers, and can't find a clip with silence right now, but check out this score &#xD;&#xA;&#xD;&#xA;[youtube]0iivf1dN5Xg&amp;feature=PlayList&amp;p=E3B3F7D2EC0A366B&amp;index=0&amp;playnext=1[/youtube]&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5940" PostHistoryTypeId="2" PostId="3452" RevisionGUID="f709210a-0c5c-4b3a-b88f-ccd7a7e9a92c" CreationDate="2010-09-09T14:02:55.290" UserId="432" Text="ok, i caved. @DynInterference&#xD;&#xA;&#xD;&#xA;i'll probably mostly use it for my site, but who knows what i'll do with it." ContentLicense="CC BY-SA 2.5" />
  <row Id="5941" PostHistoryTypeId="2" PostId="3453" RevisionGUID="00cd1cdc-dbe6-4f1a-b97c-6c8e5994cd10" CreationDate="2010-09-09T14:35:41.387" UserId="533" Text="I used to use Nuendo 3 before moving to a Mac where I'm now using Pro Tools. Although its been some time, I recall having a drum editor in Nuendo. Its much like a piano roll but optimized for drums which is probably the closest to a drum machine in Nuendo natively. If you're looking for a drum machine as a sampler then I believe you're out of luck. &#xD;&#xA;&#xD;&#xA;Cubase is optimized for Music while Nuendo is optimized for post production, although I believe Nuendo is built over Cubase. I feel that Nuendo is overkill for just music production but can be extremely useful for post production. There's no saying that Nuendo can't be used for music production but I just feel that too many things would get in the way." ContentLicense="CC BY-SA 2.5" />
  <row Id="5942" PostHistoryTypeId="2" PostId="3454" RevisionGUID="03162ce1-7faa-43c4-bbb9-7b5cad1c1f17" CreationDate="2010-09-09T15:36:37.520" UserId="343" Text="Hi all! I´m new at twitter too. I´m at @inigoegido." ContentLicense="CC BY-SA 2.5" />
  <row Id="5943" PostHistoryTypeId="2" PostId="3455" RevisionGUID="841c0d14-f17a-4f17-9df2-9da4eadfa530" CreationDate="2010-09-09T17:16:32.733" UserId="46" Text="Hey Roger, I've got some recent screen door recordings I did in North Carolina for Tim Prebble's door library. Let me know if you're interested." ContentLicense="CC BY-SA 2.5" />
  <row Id="5944" PostHistoryTypeId="2" PostId="3456" RevisionGUID="d5b8efca-226f-4e63-bff1-7ea3d79d9dc5" CreationDate="2010-09-09T17:43:06.310" UserId="147" Text="Hi there! You can follow me at @hugoverweij&#xD;&#xA;&#xD;&#xA;See you on Twitter ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5945" PostHistoryTypeId="2" PostId="3457" RevisionGUID="4386410c-3479-4694-8c07-0f6d63a8705a" CreationDate="2010-09-09T19:20:33.250" UserId="202" Text="@dieffe&#xD;&#xA;&#xD;&#xA;see you all on twitter! :)&#xD;&#xA;&#xD;&#xA;davide" ContentLicense="CC BY-SA 2.5" />
  <row Id="5946" PostHistoryTypeId="2" PostId="3458" RevisionGUID="b7a446ff-5ff2-42f3-9c9e-fc4f77c3dde8" CreationDate="2010-09-09T21:05:13.357" UserId="444" Text="This is a vague memory.  But I recall in 'The Exorcism of Emily Rose' (Hurt Locker's Paul Ottosson) the courtroom scenes had no, or very little, room tone.  All you could hear was the dialog and the rooms reverberation.  Leaving silence between lines of dialog.  Contrast that with the activeness of the flashbacks made for a very unsettling experience.  Not to mention Christopher Youngs excellent score, not over used.&#xD;&#xA;&#xD;&#xA;+1's on previous suggestions:  There Will be Blood, 2001 A Space Odyssey, Minority Report, Contact, Ikiru" ContentLicense="CC BY-SA 2.5" />
  <row Id="5947" PostHistoryTypeId="2" PostId="3459" RevisionGUID="e07df117-251a-4b15-994b-3b790874eb81" CreationDate="2010-09-09T21:24:38.697" UserId="46" Text="It's about $500 list price, but you could check out the Inkeeper PBX by JK Audio: http://www.jkaudio.com/innkeeper-pbx.htm&#xD;&#xA;&#xD;&#xA;Seems like it would do what you need to do. We use it for phone patches where the producer is in another city/traveling and it works pretty well (we have digital lines here too).&#xD;&#xA;&#xD;&#xA;Additionally, I've used it to worldize some dialogue for a short film..." ContentLicense="CC BY-SA 2.5" />
  <row Id="5948" PostHistoryTypeId="2" PostId="3460" RevisionGUID="670857a6-c77f-4bcd-a9f8-cf5176a682ce" CreationDate="2010-09-09T22:15:19.557" UserId="558" Text="I have noticed that many older movies (Late 70's and before) shown on tv have a subltle phasing sound that runs thru the entire track.  It sounds like maybe the stereo track is being summed or is out of phase, but I'm not sure.  Anyone else notice this?  Anyone know what is going on?&#xD;&#xA;&#xD;&#xA;David Rovin" ContentLicense="CC BY-SA 2.5" />
  <row Id="5949" PostHistoryTypeId="1" PostId="3460" RevisionGUID="670857a6-c77f-4bcd-a9f8-cf5176a682ce" CreationDate="2010-09-09T22:15:19.557" UserId="558" Text="Old Movie Phasing" ContentLicense="CC BY-SA 2.5" />
  <row Id="5950" PostHistoryTypeId="3" PostId="3460" RevisionGUID="670857a6-c77f-4bcd-a9f8-cf5176a682ce" CreationDate="2010-09-09T22:15:19.557" UserId="558" Text="&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5953" PostHistoryTypeId="2" PostId="3462" RevisionGUID="c650b36f-b717-464b-afe9-6bb1a71e192c" CreationDate="2010-09-09T23:20:04.903" UserId="558" Text="I used a gadget called a &quot;THAT&quot; also made by JK Audio.  I had mixed results, but it was pretty cheap.  Even tho it only had a couple of knobs (input attenuators) i found i had to fiddle with it a lot.  For the price it is ok.  Used it for remote VO recording sessions.&#xD;&#xA;&#xD;&#xA;David Rovin" ContentLicense="CC BY-SA 2.5" />
  <row Id="5954" PostHistoryTypeId="2" PostId="3463" RevisionGUID="3c26cb88-35ca-40c3-a81f-9004aa485742" CreationDate="2010-09-09T23:38:51.577" UserId="558" Text="One clue that points to it being mostly about the actor is that these days, there are different voices for different genres.  You generally hear the same guys for comedies, and a  different set actors for action movies, and a different ones for animation.  I think its because the individual voices take on meaning for audiences. I also think it takes time and repetition for a particular actor's voice to work its way into the collective unconscious of the culture.&#xD;&#xA;&#xD;&#xA;David Rovin " ContentLicense="CC BY-SA 2.5" />
  <row Id="5955" PostHistoryTypeId="2" PostId="3464" RevisionGUID="7c0b2ae7-a518-41fb-8d2a-e9c8b84b02e3" CreationDate="2010-09-09T23:52:13.677" UserId="303" Text="I have a library of 5.1 effects and was wondering how other DAWs (Nuendo/Logic/Fairlight/Etc) deal with interleaved Pro Tools wav files. I know I can save the effects as multiple mono files but I'm trying to keep things neat. &#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Bruce" ContentLicense="CC BY-SA 2.5" />
  <row Id="5956" PostHistoryTypeId="1" PostId="3464" RevisionGUID="7c0b2ae7-a518-41fb-8d2a-e9c8b84b02e3" CreationDate="2010-09-09T23:52:13.677" UserId="303" Text="How do other DAWs deal with interleaved 5.1 files from Pro Tools?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5957" PostHistoryTypeId="3" PostId="3464" RevisionGUID="7c0b2ae7-a518-41fb-8d2a-e9c8b84b02e3" CreationDate="2010-09-09T23:52:13.677" UserId="303" Text="&lt;pro-tools&gt;&lt;5.1&gt;&lt;surround-sound&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5958" PostHistoryTypeId="2" PostId="3465" RevisionGUID="6ed8db75-050d-443b-88e9-4bd914742b76" CreationDate="2010-09-09T23:57:05.943" UserId="558" Text="If your talking about a sub $1500 mic, I would avoid a shotgun for effects unless otherwise impossible.  I agree with Colin.  Even my MKS416 (going for about $1K now) isn't going to get you delicate highs and tight lows.  &#xD;&#xA;&#xD;&#xA;David Rovin" ContentLicense="CC BY-SA 2.5" />
  <row Id="5959" PostHistoryTypeId="2" PostId="3466" RevisionGUID="5decfd18-de3a-4d67-a7cd-dad25569f3dc" CreationDate="2010-09-10T00:09:18.923" UserId="558" Text="There is an awesome FREE vst effect called DFX Skidder (there are probably others that do the same thing but this one is free and has a very intuitive interface).  It adds blank spots in your audio by lowering the amplitude at intervals you set, to a depth you set, at a slope (how ramped the fade out/in is) you set, at a width (how long the drop out is) you set, with randomness available for all the settings.  &#xD;&#xA;&#xD;&#xA;Start with a piece of audio that has a timbre that fits the emotion of the moth (gentle wind? baby cooing?), and then add the flutter using SKidder.  Its a go-to effect for me.&#xD;&#xA;&#xD;&#xA;David Rovin" ContentLicense="CC BY-SA 2.5" />
  <row Id="5960" PostHistoryTypeId="2" PostId="3467" RevisionGUID="57c40f88-4993-4d5f-8f4a-b420bca10a70" CreationDate="2010-09-10T01:35:05.583" UserId="88" Text="Great examples.  I also like the brief moment of near-silence Ben Burtt put before each &quot;seismic charge&quot; detonation in Star Wars Episode II (when Jango Fett is being pursued by Obi-wan in the asteroid field)." ContentLicense="CC BY-SA 2.5" />
  <row Id="5961" PostHistoryTypeId="2" PostId="3468" RevisionGUID="8f5f57e5-da7d-4876-8ae6-1405068b0c78" CreationDate="2010-09-10T02:22:09.307" UserId="279" Text="I recently watched &quot;Sleep Furiously&quot; http://www.imdb.com/title/tt1235072/ - and was absolutely blown away by the sound design. The foley and sfx are crafted so tastefully and enhance the beautiful imagery. This is a must watch for anyone interested in sound design. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5962" PostHistoryTypeId="2" PostId="3469" RevisionGUID="e34f2172-b042-4f84-a532-a8351a842e5a" CreationDate="2010-09-10T02:25:29.400" UserId="100" Text="I recorded a mule a couple weeks ago northeast of Burbank at some stables. Here's what I learned:&#xD;&#xA;&#xD;&#xA;* Traffic sucks. We were quite a distance from the highway, but still had to stand with our backs to it to take out the bulk of it. Not too bad, except the animal didn't usually play along with that idea.&#xD;&#xA;&#xD;&#xA;* Horses and mules make some of the best vocals when, if they're usually penned with a buddy, the other animal is taken away. As soon as we had the mule's pal taken out for a walk, it started up. Great stuff.&#xD;&#xA;&#xD;&#xA;* Stay in record. Our mule couldn't speak on command, so it was 10 minutes or so between bellows. Make sure you're recording when it happens.&#xD;&#xA;&#xD;&#xA;* Different surfaces would have been nice. If you're recording in the same location the horse what filmed, you're good. Our wasn't, and the dirt around the stables has a unique sound to it. Very soft, fluffy, dusty dirt.&#xD;&#xA;&#xD;&#xA;* Dusty dirt. Be prepared for dirt and dust, and if the clouds come back this way, a chance of mud. Bring the proper protective equipment for your gear.&#xD;&#xA;&#xD;&#xA;* Talk with the animals trainers. Some of these cats have been around since the studios here were making spaghetti westerns and have a surprising knowledge of filmmaking and horse handling for movies. You never know what you may learn, so be congenial and courteous with them.&#xD;&#xA;&#xD;&#xA;Good luck on the project." ContentLicense="CC BY-SA 2.5" />
  <row Id="5963" PostHistoryTypeId="5" PostId="3464" RevisionGUID="d4cafe84-12a7-4a61-bfd3-38dbfedfe528" CreationDate="2010-09-10T03:09:24.290" UserId="303" Comment="added 21 characters in body" Text="I have a library of 5.1 effects and was wondering how other DAWs (Nuendo/Logic/Fairlight/Etc) deal with importing interleaved Pro Tools polyphonic wav files. I know I can save the effects as multiple mono files but I'm trying to keep things neat. &#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Bruce" ContentLicense="CC BY-SA 2.5" />
  <row Id="5964" PostHistoryTypeId="2" PostId="3470" RevisionGUID="b2ed1241-133f-485d-9cb4-4141e4775f7f" CreationDate="2010-09-10T03:45:15.607" UserDisplayName="user49" Text="The best film for sound in the last year that I've seen would be Jean Pierre Jeunets MIC MACS&#xD;&#xA;http://www.imdb.com/title/tt1149361/&#xD;&#xA;&#xD;&#xA;FWIW a while back I did a survey to see what 5 films people would choose as their favourites for sound.... results are here:&#xD;&#xA;http://www.musicofsound.co.nz/blog/five-favourite-films-for-sound&#xD;&#xA;&#xD;&#xA;Heres the top 20 or so from that list:&#xD;&#xA;&#xD;&#xA; - Wall-E – Votes:18&#xD;&#xA; - Star Wars IV – Votes:14&#xD;&#xA; - Apocalypse Now – Votes:11&#xD;&#xA; - The Matrix – Votes:10&#xD;&#xA; - Eraserhead – Votes:9&#xD;&#xA; - No Country For Old Men – Votes:9&#xD;&#xA; - Saving Private Ryan – Votes:9&#xD;&#xA; - Delicatessen – Votes:6&#xD;&#xA; - Lord of the Rings – Votes:6&#xD;&#xA; - The Conversation – Votes:6&#xD;&#xA; - Children of Men – Votes:5&#xD;&#xA; - Das Boot – Votes:5&#xD;&#xA; - Jurassic Park – Votes:5&#xD;&#xA; - 2001: A Space Odyssey – Votes:4&#xD;&#xA; - Barton Fink – Votes:4&#xD;&#xA; - Elephant – Votes:4&#xD;&#xA; - Fight Club – Votes:4&#xD;&#xA; - Lost Highway – Votes:4&#xD;&#xA; - Pi – Votes:4&#xD;&#xA; - Stalker – Votes:4&#xD;&#xA; - Star Trek – Votes:4&#xD;&#xA; - Touch the Sound – Votes:4&#xD;&#xA; - Bladerunner – Votes:3&#xD;&#xA; - Castaway – Votes:3&#xD;&#xA; - Cloverfield – Votes:3&#xD;&#xA; - Damnation – Votes:3&#xD;&#xA; - PlayTime – Votes:3&#xD;&#xA; - Ratatouille – Votes:3&#xD;&#xA; - Seven – Votes:3&#xD;&#xA; - The Black Stallion – Votes:3&#xD;&#xA; - The English Patient – Votes:3&#xD;&#xA; - There Will Be Blood – Votes:3&#xD;&#xA; - THX-1138 – Votes:3&#xD;&#xA; - Transformers 2 – Votes:3&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5966" PostHistoryTypeId="2" PostId="3472" RevisionGUID="e5877d68-d3de-4a4d-bdde-994c336c224a" CreationDate="2010-09-10T07:09:01.960" UserId="558" Text="If the file is in fact a true WAV file (has the .wav tag), then Nuendo will read it fine.  WAV is a general format.  It is not specific to Ptools.  Nuendo (I'm on ver 4.3?) has multichannel tracks dedicated to multichannel material.  My guess is that you can just drag it into Nuendo (havent done it myself).  You may have to create a multichannel track of the 5.1 variety and then drag it in.&#xD;&#xA;&#xD;&#xA;BTW I am in Game Audio and I love Nuendo." ContentLicense="CC BY-SA 2.5" />
  <row Id="5967" PostHistoryTypeId="2" PostId="3473" RevisionGUID="d109562f-53f2-441f-a87c-0f22eb0ca008" CreationDate="2010-09-10T07:29:19.413" UserId="558" Text="What I am reading jibes with what I am feeling.  What I dont miss is way bigger than what i do miss.  In fact, I dont really miss anything - except Voyetra Sequencer Plus Gold - for DOS.  Best sequencer ever.   But thats not a DAW.&#xD;&#xA;&#xD;&#xA;Heres a few winners that I dont miss:&#xD;&#xA;&#xD;&#xA;OMS (the early incarnations)&#xD;&#xA;&#xD;&#xA;8/16 voice max&#xD;&#xA;&#xD;&#xA;only 1 reverb/session&#xD;&#xA;&#xD;&#xA;moving sessions to a new drive&#xD;&#xA;&#xD;&#xA;SYNCING TO PIX USING SMPTE boxes (will it catch up in time or wont it)&#xD;&#xA;&#xD;&#xA;Getting material to and from mac/pc&#xD;&#xA;&#xD;&#xA;JAZ drives&#xD;&#xA;&#xD;&#xA;Steenbecks/moviolas (I'm not that old.  I started editing in the early 90's)&#xD;&#xA;&#xD;&#xA;Life is great." ContentLicense="CC BY-SA 2.5" />
  <row Id="5968" PostHistoryTypeId="2" PostId="3474" RevisionGUID="889e3525-312a-45d8-be62-2c6a6c624018" CreationDate="2010-09-10T08:08:12.830" UserId="558" Text="I love Isotope Trash.  very useful features.  Pre COmpressor, pre-eq, post eq, tons of distortions, cabinet modeling, and some bells and whistles - delays and such (the analog delay is nice and thick).&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5969" PostHistoryTypeId="2" PostId="3475" RevisionGUID="0bb3bf42-0100-4051-a5f3-13fb982f0e3a" CreationDate="2010-09-10T08:22:12.160" UserId="400" Text="Hi Guys,&#xD;&#xA;&#xD;&#xA;I'm working on some sounds for a website, and space is at a premium. The company have told me they usually compress stuff down to around 16kbps to enable the sounds to stream efficiently.&#xD;&#xA;&#xD;&#xA;Are there any tricks I can take advantage of to keep the sound as high quality as possible at a bitrate that low? I remember reading in an iPhone dev article that you can pretty safely cut anything below 100Hz and above 18kHz since the player is likely using cheap headphones and the difference in sound will be negligible.&#xD;&#xA;&#xD;&#xA;Anyone dealt with this kinda thing before?&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;Joe" ContentLicense="CC BY-SA 2.5" />
  <row Id="5970" PostHistoryTypeId="1" PostId="3475" RevisionGUID="0bb3bf42-0100-4051-a5f3-13fb982f0e3a" CreationDate="2010-09-10T08:22:12.160" UserId="400" Text="Low bitrate pitfalls" ContentLicense="CC BY-SA 2.5" />
  <row Id="5971" PostHistoryTypeId="3" PostId="3475" RevisionGUID="0bb3bf42-0100-4051-a5f3-13fb982f0e3a" CreationDate="2010-09-10T08:22:12.160" UserId="400" Text="&lt;websites&gt;&lt;bitrate&gt;&lt;tricks&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5972" PostHistoryTypeId="2" PostId="3476" RevisionGUID="5ed74b72-3b3d-4f1e-8a3e-07830df5f57a" CreationDate="2010-09-10T09:22:07.157" UserId="62" Text="I can't say I've noticed this, although not having TV might be why.&#xD;&#xA;&#xD;&#xA;The only time I've come across anything close is the Region 2 DVD of Galaxy Quest. During the first convention scene there's a huge phase across the entire soundtrack.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="5973" PostHistoryTypeId="2" PostId="3477" RevisionGUID="a2bddabe-a214-4394-b7c8-004e6e37fa1e" CreationDate="2010-09-10T11:12:16.970" UserId="555" Text="I found the use of silence specifically difficult to isolate from a movie.  For me silence is a part of the whole sound design, equivalent to for example the use of the color red, or a still. Good examples here though. " ContentLicense="CC BY-SA 2.5" />
  <row Id="5975" PostHistoryTypeId="2" PostId="3479" RevisionGUID="c60cb0de-d26f-4d40-ae3f-9c87bfbb19a1" CreationDate="2010-09-10T12:34:15.403" UserId="432" Text="That's a huge compression ratio, man, and I don't envy your position. The only thing I can suggest is to work in as a high a sample rate as you can prior to encoding the compressed format. Compression codecs like mp3/aac/etc. Turn out better results with higher quality raw materials.&#xD;&#xA;&#xD;&#xA;If you're recording the files yourself, go for 24 bit 192 khz audio files. If you're working with stock sounds, there's really very little point to up-sampling them, and you're going to be stuck with 44.1/48/whatever rate for the encode.&#xD;&#xA;&#xD;&#xA;I don't envy you working with that delivery format. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5976" PostHistoryTypeId="2" PostId="3480" RevisionGUID="ea86a58d-2409-4b89-bf60-65aa351ff15a" CreationDate="2010-09-10T14:17:28.627" UserId="559" Text="Hi Steve,&#xD;&#xA;&#xD;&#xA;I work at a company called PeopleCube. I'm not trying to get too salesy on you, but we offer scheduling solutions and it's offered as SaaS so it can be scaled to your business needs.&#xD;&#xA;&#xD;&#xA;I really think you should check out Resource Scheduler. We have a free 30 Day Trial so you can check it out and see what you think. Also we have a great team that can talk to you about how it can work specifically for your company.&#xD;&#xA;&#xD;&#xA;The software is great in avoiding double bookings.&#xD;&#xA;&#xD;&#xA;Here's a link to the [Free 30 Day Trial of Resource Scheduler][1].&#xD;&#xA;&#xD;&#xA;Hope you can check it out.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;Josh&#xD;&#xA;[www.peoplecube.com][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.peoplecube.com/products-resource-scheduler-free-trial.htm?source=SocialsounddesignComment_0910&#xD;&#xA;  [2]: http://www.peoplecube.com/products-resource-scheduler-free-trial.htm?source=SocialsounddesignComment_0910" ContentLicense="CC BY-SA 2.5" />
  <row Id="5977" PostHistoryTypeId="5" PostId="3480" RevisionGUID="bc90639d-369e-4672-b015-4f9ed96ed35c" CreationDate="2010-09-10T14:25:52.930" UserId="559" Comment="deleted 13 characters in body" Text="I work at a company called PeopleCube. I'm not trying to get too salesy on you, but we offer scheduling solutions and it's offered as SaaS so it can be scaled to your business needs.&#xD;&#xA;&#xD;&#xA;I really think you should check out Resource Scheduler. We have a free 30 Day Trial so you can check it out and see what you think. Also we have a great team that can talk to you about how it can work specifically for your company.&#xD;&#xA;&#xD;&#xA;The software is great in avoiding double bookings.&#xD;&#xA;&#xD;&#xA;Here's a link to the [Free 30 Day Trial of Resource Scheduler][1].&#xD;&#xA;&#xD;&#xA;Hope you can check it out.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;Josh&#xD;&#xA;[www.peoplecube.com][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.peoplecube.com/products-resource-scheduler-free-trial.htm?source=SocialsounddesignComment_0910&#xD;&#xA;  [2]: http://www.peoplecube.com/products-resource-scheduler-free-trial.htm?source=SocialsounddesignComment_0910" ContentLicense="CC BY-SA 2.5" />
  <row Id="5978" PostHistoryTypeId="2" PostId="3481" RevisionGUID="aac4ac8b-7078-4f38-9309-d38135ad8266" CreationDate="2010-09-10T15:11:14.003" UserId="194" Text="We use Yahoo Calendar, but we're about at the point of outgrowing it.  &#xD;&#xA;&#xD;&#xA;What would be useful would be software that does the following:&#xD;&#xA;&#xD;&#xA; - Resides entirely online in a format accessible by smartphones (IOW not flash)&#xD;&#xA; - Is able to track control rooms, booths and engineers separately&#xD;&#xA; - Displays schedule conflicts&#xD;&#xA; - is ergonomic.  Yahoo calendar and google are just not that, and many other solutions are not either.  design in minimal clicks for maximum results please.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5979" PostHistoryTypeId="2" PostId="3482" RevisionGUID="15222f2e-3baa-40c1-8405-da00f6230369" CreationDate="2010-09-10T16:09:01.057" UserId="194" Text="Wifey and I watched the latest Star Trek done by Ben Burtt again the other day.  The shots where space is silent are awesome." ContentLicense="CC BY-SA 2.5" />
  <row Id="5982" PostHistoryTypeId="2" PostId="3484" RevisionGUID="fb8cfd06-2dd7-4ef8-afa3-4f07d7c2f6ee" CreationDate="2010-09-10T17:53:21.167" UserId="18160" Text="Hello. I'm posting this question here because I have scoured the DUC unsuccessfully and hopefully you might be able to help me:&#xD;&#xA;&#xD;&#xA;I'm trying to import session data from an OMF exported from Media Composer using Pro Tools 7.3.1 LE.&#xD;&#xA;&#xD;&#xA;Other OMFs exported from this same Media Composer are totally fine and I can import them easily - no problem.&#xD;&#xA;&#xD;&#xA;The one exported this morning, however, doesn't let me open or import from it. The exact error message I get is:&#xD;&#xA;&#xD;&#xA;&quot;Could not complete the Import Tracks command because an unexpected error happened while trying to find an audio media file's format.&quot;&#xD;&#xA;&#xD;&#xA;Anyone have a similar thing happen to them?&#xD;&#xA;&#xD;&#xA;Of course this had to happen on a time-sensitive TV project... Supposed to have the dialogue edit done before lunch.&#xD;&#xA;&#xD;&#xA;Any help is greatly appreciated." ContentLicense="CC BY-SA 2.5" />
  <row Id="5983" PostHistoryTypeId="1" PostId="3484" RevisionGUID="fb8cfd06-2dd7-4ef8-afa3-4f07d7c2f6ee" CreationDate="2010-09-10T17:53:21.167" UserId="18160" Text="Error while importing from OMF" ContentLicense="CC BY-SA 2.5" />
  <row Id="5984" PostHistoryTypeId="3" PostId="3484" RevisionGUID="fb8cfd06-2dd7-4ef8-afa3-4f07d7c2f6ee" CreationDate="2010-09-10T17:53:21.167" UserId="18160" Text="&lt;importing&gt;&lt;aaf&gt;&lt;omf&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5985" PostHistoryTypeId="2" PostId="3485" RevisionGUID="d9824b8c-3784-4883-a110-d87998278991" CreationDate="2010-09-10T18:04:01.853" UserId="234" Text="Hey Ryan,&#xD;&#xA;&#xD;&#xA;MXF media in an AVID project can cause this sort of error with OMF's ... the simple solution is to use AAF - make sure if at all possible they use embedded media -assuming your workflow allows it." ContentLicense="CC BY-SA 2.5" />
  <row Id="5986" PostHistoryTypeId="2" PostId="3486" RevisionGUID="fc430a3a-4e21-4b1a-af5b-83bd71146747" CreationDate="2010-09-10T18:06:33.097" UserId="234" Text="The only &quot;catch&quot; is that ProTools ALWAYS uses the &quot;Film Surround&quot; order (LCRLsRSLf) in interleaved files - there's no option for SMPTE format (LRClfLSRS). This can cause files to be played back in the wrong channels when imported into some DAWS - I believe Nuendo can do either/or, but I haven't really used it since version 2!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5987" PostHistoryTypeId="2" PostId="3487" RevisionGUID="5a2f296c-80f7-46df-8593-c2fd33cc4437" CreationDate="2010-09-10T18:22:06.790" UserId="343" Text="It is my understanding that evolution (LC-AAC, HE-AAC, HE-AACv2 in order of increasing compression ratio) of AAC provides improved performance over mp3 at the same bitrates, starting at 24kbps. For this purpose it uses tricks like Spectral Band Replication or &quot;let´s keep the lower band up to 7kHz and add some info so the decoder will know what harmonics to regenerate&quot; and Parametric Stereo or &quot;let´s do it mono and encode which freqs go to left and right&quot;.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It seems that Dolby licences the same HE-AACv2 as Dolby Pulse. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Anyway, altough I haven´t done critical listening between AAC and mp3 I´m sure the first one would be the way to go if you want the best quality at lower rates." ContentLicense="CC BY-SA 2.5" />
  <row Id="5988" PostHistoryTypeId="2" PostId="3488" RevisionGUID="7c85adc1-0df2-441b-8b88-c924b31c000f" CreationDate="2010-09-10T19:47:43.333" UserId="343" Text="&#xD;&#xA;No offend but when you say you get an phase error does the correlator go to the center or full to the red zone?&#xD;&#xA;&#xD;&#xA;If the latter occurs it may be because of the sound path between DACs and correlation meter. Do you have Phasescope plug-in? That would help to find oud what is going on.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Small amounts of delay  between channels can cause phase inverted metering at the correlator for certain freqs, too. When I use delay to spread some mono sounds it´s usual to see the correlator at the center, buncing to the red zone. I use to insert a Phasescope instance at the main outputs in  ProTools and I use an external computer with Pinguin Meter for spectrum an XY fast metering. Most of time I use XY metering since it gives more information about these signals." ContentLicense="CC BY-SA 2.5" />
  <row Id="5990" PostHistoryTypeId="2" PostId="3489" RevisionGUID="e4384434-d817-4274-9c23-d3ac0f7c33b5" CreationDate="2010-09-10T21:06:15.170" UserId="61" Text="Aside from recording at 192kHz with the highest quality mics and recorders, how do you reinvigorate your pitch shifted sounds after they've lost most (or all) of their airy top end? (This effect is über-bad when pitching down older recordings or material from CD libraries.) I find myself reaching for a basic EQ at times like this, boosting all I can get from 5khz and up. What are your thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="5991" PostHistoryTypeId="1" PostId="3489" RevisionGUID="e4384434-d817-4274-9c23-d3ac0f7c33b5" CreationDate="2010-09-10T21:06:15.170" UserId="61" Text="Retaining High Frequencies when Pitch Shifting" ContentLicense="CC BY-SA 2.5" />
  <row Id="5992" PostHistoryTypeId="3" PostId="3489" RevisionGUID="e4384434-d817-4274-9c23-d3ac0f7c33b5" CreationDate="2010-09-10T21:06:15.170" UserId="61" Text="&lt;processing&gt;&lt;plug-ins&gt;&lt;pitch-shifting&gt;&lt;sound-design&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="5994" PostHistoryTypeId="2" PostId="3491" RevisionGUID="6b266a7d-20fe-4363-8026-c4ac6dcf4a61" CreationDate="2010-09-10T21:23:14.947" UserId="182" Text="I think it would be wise to check what codec will be used exactly, and do regular conversions to that format to check if what you are doing is translating to the low quality audio at all.&#xD;&#xA;&#xD;&#xA;I recently did a project where the output was at 22 KHz mono, which already threw away most of the details and finesse that I put into the sounds.&#xD;&#xA;&#xD;&#xA;16 kbps is terribly low, with any codec. Depending on which codec is used, it will sound different. So try it out (mp3 at 16 kbps barely produces intelligible speech, even though the human mind is super sensitive to speech).&#xD;&#xA;&#xD;&#xA;But generally speaking, at such low quality: forget everything above 10 Khz or even lower, forget subtle dynamics or in fact any details, even in the time domain." ContentLicense="CC BY-SA 2.5" />
  <row Id="5995" PostHistoryTypeId="2" PostId="3492" RevisionGUID="b39df753-b6ac-4c46-9516-aa969313541d" CreationDate="2010-09-10T21:45:54.503" UserId="432" Text="This might just be a crazy idea on my part (because I've never tried it), but why not try using some of the high end content from the original, non-pitch shifted, file?&#xD;&#xA;&#xD;&#xA;It might take a little experimentation and filtering, but it could add back in what it's losing." ContentLicense="CC BY-SA 2.5" />
  <row Id="5996" PostHistoryTypeId="2" PostId="3493" RevisionGUID="79a0ab85-092b-4d34-98e1-2a69c821af67" CreationDate="2010-09-10T22:57:28.733" UserId="393" Text="Duplicate your track, and high pass all the top end you want to keep on one track while you pitch-shift the other one, possibly lowpassing out all the shifted top end.  Basically, all you're doing is separating the track like a zipper." ContentLicense="CC BY-SA 2.5" />
  <row Id="5997" PostHistoryTypeId="5" PostId="3489" RevisionGUID="a7b0e0de-1fd9-42b3-87b8-c7a38033c778" CreationDate="2010-09-10T23:01:46.667" UserId="61" Comment="additional information; edited title" Text="Aside from recording at 192kHz with the highest quality mics and recorders, how do you reinvigorate your pitch shifted sounds after they've lost most (or all) of their airy top end? (This effect is über-bad when pitching down older recordings or material from CD libraries.) I find myself reaching for a basic EQ at times like this, boosting all I can get from 5khz and up. What are your thoughts?&#xD;&#xA;&#xD;&#xA;***CLARIFICATION:***&#xD;&#xA;&#xD;&#xA;I should have said pitch shifting as in **VARISPEED**, ie. slowing down playback in Soundminer thus affecting pitch, or using Pitch n' Time in the Varispeed mode. This obviously changes the length of the file so making a duplicate and high-passing it to retain the original high frequencies would not work.&#xD;&#xA;&#xD;&#xA;OK, resume your thoughts!&#xD;&#xA;&#xD;&#xA;PS&gt; Great comments so far, definitely useful for files that have been pitched down but retain the same length." ContentLicense="CC BY-SA 2.5" />
  <row Id="5998" PostHistoryTypeId="4" PostId="3489" RevisionGUID="a7b0e0de-1fd9-42b3-87b8-c7a38033c778" CreationDate="2010-09-10T23:01:46.667" UserId="61" Comment="additional information; edited title" Text="Retaining High Frequencies when Pitch Shifting (a la Varispeed)" ContentLicense="CC BY-SA 2.5" />
  <row Id="5999" PostHistoryTypeId="2" PostId="3494" RevisionGUID="222e94d0-5855-4bed-a896-4bb371275473" CreationDate="2010-09-10T23:19:45.047" UserId="561" Text="&gt; The Hurt Locker: When he's disarming&#xD;&#xA;&gt; the first bomb all you hear is his&#xD;&#xA;&gt; breathing and the camera angles are&#xD;&#xA;&gt; from potential spots of where the&#xD;&#xA;&gt; bomber might be watching him - pretty&#xD;&#xA;&gt; intense.&#xD;&#xA;&#xD;&#xA;I think the hurt locker was great with silence in many scene's. All the explosions were uniquely crafted. Also a great combo of sound design and music. (there is very little music in it, mostly just acoustic drones). Loved that film" ContentLicense="CC BY-SA 2.5" />
  <row Id="6000" PostHistoryTypeId="2" PostId="3495" RevisionGUID="61625801-1783-43d4-a467-c17d18d7b4d9" CreationDate="2010-09-10T23:36:16.370" UserId="558" Text="There is a huge part of game sound that is totally absent from traditional Audio Post:  Implementation.  It is huge and can take up more of the game sound designers time than the actual &quot;asset creation&quot; as it is called in games.&#xD;&#xA;&#xD;&#xA;Example: Generic Gun&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;When the sound designer creates a gun sound, he doesn't know in advance at the time of firing, whether there are any bullets in the gun or how far the gun is from the 'listener' (usually but not always the camera), or if the player is in a cave or outside in a forest or if the player has added a silencer...  &#xD;&#xA;&#xD;&#xA;The game sends data to the Sound Engine (part of the game program responsible for playing back the sounds in-game) that affect the playback of the gun.  That data includes, how far the gun is from the listener (fade up distant gun assets and fade down big boom and foley sounds), who is firing the gun (the Player's weapon is often beefier than enemy weapons to give the player a sense of power), is there any objects between the listener and the gun (obstruction and occlusion effects can be added), is the environment relevant (reverbs and echoes may be needed).&#xD;&#xA;&#xD;&#xA;The sound designer creates Sound Cues (also called Sound Events and other things as well depending on the tools being used) that takes into consideration all possible combinations of situations and plays back something that (hopefully) fits the moment.  Even simple Sound Cues can have a dozen or so WAV files associated.  Complex Cues can have more than 50 WAVs.&#xD;&#xA;&#xD;&#xA;That, for me is the biggest difference between game audio and traditional audio post.&#xD;&#xA;&#xD;&#xA;Dave Rovin" ContentLicense="CC BY-SA 2.5" />
  <row Id="6001" PostHistoryTypeId="5" PostId="3492" RevisionGUID="f1fe9686-6356-4562-8289-319c39313edc" CreationDate="2010-09-10T23:42:22.690" UserId="432" Comment="edited to answer question's clarification" Text="This might just be a crazy idea on my part (because I've never tried it), but why not try using some of the high end content from the original, non-pitch shifted, file?&#xD;&#xA;&#xD;&#xA;It might take a little experimentation and filtering, but it could add back in what it's losing.&#xD;&#xA;&#xD;&#xA;**For Varispeed/Pitch-n-Time:** What if you copied the file and pitched it up (just a simple pitch shift). Then used varispeed on both the original and your pitched up copy? Then use previous idea.&#xD;&#xA;&#xD;&#xA;Another trick I should have mentioned is MaxxBass by Waves. It uses perceptual encoding to add harmonics to bass heavy content. If you have that plugin, it may be an option." ContentLicense="CC BY-SA 2.5" />
  <row Id="6002" PostHistoryTypeId="5" PostId="3489" RevisionGUID="d7ab7fdc-865e-4103-b440-68c514be7df4" CreationDate="2010-09-11T01:10:15.847" UserId="61" Comment="clarification" Text="Aside from recording at 192kHz with the highest quality mics and recorders, how do you reinvigorate your slowed down/varispeeded sounds after they've lost most (or all) of their airy top end?  (Varispeed, meaning slowing down playback in Soundminer, or using Pitch n' Time in Varispeed mode.) This effect is über-bad with older recordings or material from CD libraries. I find myself reaching for a basic EQ at times like this, boosting with a high-shelf from 5khz and up. What are your techniques?&#xD;&#xA;&#xD;&#xA;***CLARIFICATION:***&#xD;&#xA;&#xD;&#xA;Original question asked how to retain high frequencies when pitching down a file, rather than slowing down a file, thus the earlier answers." ContentLicense="CC BY-SA 2.5" />
  <row Id="6003" PostHistoryTypeId="4" PostId="3489" RevisionGUID="d7ab7fdc-865e-4103-b440-68c514be7df4" CreationDate="2010-09-11T01:10:15.847" UserId="61" Comment="clarification" Text="UPDATED: Retaining High Frequencies when Varispeeding" ContentLicense="CC BY-SA 2.5" />
  <row Id="6004" PostHistoryTypeId="6" PostId="3460" RevisionGUID="2bee02a6-03c3-45ad-8f97-743dbb27ac84" CreationDate="2010-09-11T01:11:14.940" UserId="61" Comment="retag" Text="&lt;film&gt;&lt;technical&gt;&lt;phase&gt;&lt;mixing&gt;&lt;broadcast-standards&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6006" PostHistoryTypeId="2" PostId="3497" RevisionGUID="cd5bf814-c68e-4e52-943e-d550c1da9842" CreationDate="2010-09-11T02:05:12.810" UserId="61" Text="Never used one before but am interested - does it only work on stringed instruments? Can I use it on anything that can resonate, say a metal table leg or piece of wood? Does it feed out of 1/4&quot; jack or something?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6007" PostHistoryTypeId="1" PostId="3497" RevisionGUID="cd5bf814-c68e-4e52-943e-d550c1da9842" CreationDate="2010-09-11T02:05:12.810" UserId="61" Text="Who's using an Ebow and how?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6008" PostHistoryTypeId="3" PostId="3497" RevisionGUID="cd5bf814-c68e-4e52-943e-d550c1da9842" CreationDate="2010-09-11T02:05:12.810" UserId="61" Text="&lt;techniques&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6009" PostHistoryTypeId="2" PostId="3498" RevisionGUID="b8a42cd1-cfc0-4f88-a1fe-235ddacd3b4f" CreationDate="2010-09-11T03:35:23.063" UserId="558" Text="Never used one but I heard it takes some time (a full second or 2) to get even guitar strings wobbling, so I'm guessing its not that good for other things." ContentLicense="CC BY-SA 2.5" />
  <row Id="6010" PostHistoryTypeId="4" PostId="3489" RevisionGUID="3b445371-dff8-4cda-b9fc-b2ea5e932bcc" CreationDate="2010-09-11T04:54:17.057" UserId="61" Comment="edited title" Text="Retaining High Frequencies when Varispeeding" ContentLicense="CC BY-SA 2.5" />
  <row Id="6012" PostHistoryTypeId="2" PostId="3499" RevisionGUID="8ca246ca-2fb5-4fc5-8713-784bea8cc9fb" CreationDate="2010-09-11T06:10:51.427" UserId="2" Text="I too have never used one, but it might be a good exciter for electromagnetic recordings: [Like here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sonic-terrain.com/2010/09/electromagnetism-recording-and-sonic-inspiration-from-jean-edouard-miclot/   " ContentLicense="CC BY-SA 2.5" />
  <row Id="6013" PostHistoryTypeId="2" PostId="3500" RevisionGUID="41d88e04-68ad-4631-b9f8-4d2cace5e2c0" CreationDate="2010-09-11T07:42:20.430" UserId="6435" Text="I've used an Ebow a bunch in the past for scoring, and in a couple of &quot;experimental music&quot; projects I was part of. I layered a bunch of Ebow tracks for ambiences for a couple of plays (Alice in Wonderland being one I can recall). It actually doesn't take all that long to get electric guitar strings going with one if the batteries are fresh. Acoustic strings are more difficult. I've also used it on an ektara for some other sound design stuff. &#xD;&#xA;&#xD;&#xA;There was a period about 4 years ago where I realized I was reaching for the Ebow on just about every project at some point, so I put it away. I've been gradually re-introducing it.&#xD;&#xA;&#xD;&#xA;To answer the 1/4&quot; jack question: No, it's a battery-powered device that emits no sound of its own, and you hold it over the guitar string. There are guide grooves in the bottom that sit on the adjacent strings so the Ebow is lined up properly. To play on another string, you move the Ebow so that it's centered on the new string. You can mainly only play one string at a time. Skipping strings to play complex melodies is a little more challenging that just sliding up and down one string, as you can imagine.&#xD;&#xA;&#xD;&#xA;My guess is that it doesn't put out enough juice to vibrate a metal table leg or a piece of wood.&#xD;&#xA;&#xD;&#xA;Fernandes makes a device called the Sustainer that is the width of a guitar pickup and is designed to &quot;excite&quot; all the strings at once, and that might be more suited to the table-leg experiments. I know a guy who has one but I've never actually heard him use it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Here's][1] an ambient-ish piece I worked on about seven years ago using an Ebow on a Les Paul for the &quot;frippertronics&quot; guitars. I think there are 2 tracks of Ebow on there.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/donny-who-loved-bowling/08-doris-smiling" ContentLicense="CC BY-SA 2.5" />
  <row Id="6014" PostHistoryTypeId="2" PostId="3501" RevisionGUID="fd000159-4426-4db7-9c7b-62bd5da4ab67" CreationDate="2010-09-11T13:25:16.260" UserId="238" Text="Ridley Scott's 1979 classic, *Alien* comes to mind. If my memory serves me right there is no dialogue whatsoever in the last twenty minutes. And the last twenty minutes are some of the most tense of the whole film. Sound editor Jim Shields managed to create a very eerie atmosphere using very subtle sound design." ContentLicense="CC BY-SA 2.5" />
  <row Id="6015" PostHistoryTypeId="2" PostId="3502" RevisionGUID="e6ef0371-9dbe-44b7-82bb-94e75ca5f687" CreationDate="2010-09-11T17:40:46.807" UserId="338" Text="Hey I was just wondering if anybody had a high altitude Impulse response or knew of any out there. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6016" PostHistoryTypeId="1" PostId="3502" RevisionGUID="e6ef0371-9dbe-44b7-82bb-94e75ca5f687" CreationDate="2010-09-11T17:40:46.807" UserId="338" Text="High Altitude Impulse Response" ContentLicense="CC BY-SA 2.5" />
  <row Id="6017" PostHistoryTypeId="3" PostId="3502" RevisionGUID="e6ef0371-9dbe-44b7-82bb-94e75ca5f687" CreationDate="2010-09-11T17:40:46.807" UserId="338" Text="&lt;reverb&gt;&lt;worldizing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6018" PostHistoryTypeId="2" PostId="3503" RevisionGUID="401842ee-3aef-4b4a-afd4-ffa0232fd578" CreationDate="2010-09-11T20:52:31.493" UserDisplayName="user49" Text="It's rare I would use solely a pitched down sound on it's own, so high frequent content comes from other layers in a composite sound..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6019" PostHistoryTypeId="2" PostId="3504" RevisionGUID="6047a333-7888-461b-ae99-e8c3dcc580d9" CreationDate="2010-09-11T21:39:26.737" UserId="517" Text="My partner and I have sound designed on a couple of XBOXLive/PSN titles, so I'm still fairly new to game sound design. &#xD;&#xA;&#xD;&#xA;The largest difference in game sound as compared to film/TV that I've discovered is the limitations of dynamic range. The audio engine in our developer's game engine was extremely simple and fairly limited - generally one asset in, one sound out. In large titles I'm sure that audio engines are a lot more flexible in controlling the dynamic range and mixing of assets, but in my experience the developers wanted almost everything extremely loud and &quot;in your face&quot;, which translated to compressing the audio to a point where there was almost no dynamic range at all." ContentLicense="CC BY-SA 2.5" />
  <row Id="6020" PostHistoryTypeId="2" PostId="3505" RevisionGUID="128969fc-ed6a-4297-aa5b-00974f9a2e26" CreationDate="2010-09-11T21:45:24.493" UserDisplayName="user49" Text="I wonder if it is an incorrect transfer at some point where the fill mix was combined with the M&amp;E? That would phase almost constantly... Usually delivering stereo mix for TV, they put LR on tracks 1,2 and M&amp;E on 3,4 of DigiBeta" ContentLicense="CC BY-SA 2.5" />
  <row Id="6021" PostHistoryTypeId="2" PostId="3506" RevisionGUID="104d7b5d-59f3-42b2-b043-a34766daf36c" CreationDate="2010-09-11T22:07:02.543" UserId="18160" Text="I am learning how to mix and there is a lot to it.&#xD;&#xA;&#xD;&#xA;What are some good online references or places I can learn how to mix?&#xD;&#xA;&#xD;&#xA;When I say learning how to mix, I don't mean so much the beginning technical side of it. I am more talking about the artistic.&#xD;&#xA;&#xD;&#xA;I wonder if such a place exists or if you sort of learn as you do it and create your own &quot;style&quot;. I'd love to hear your opinions on the matter." ContentLicense="CC BY-SA 2.5" />
  <row Id="6022" PostHistoryTypeId="1" PostId="3506" RevisionGUID="104d7b5d-59f3-42b2-b043-a34766daf36c" CreationDate="2010-09-11T22:07:02.543" UserId="18160" Text="Good references for learning Mixing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6023" PostHistoryTypeId="3" PostId="3506" RevisionGUID="104d7b5d-59f3-42b2-b043-a34766daf36c" CreationDate="2010-09-11T22:07:02.543" UserId="18160" Text="&lt;mixing&gt;&lt;references&gt;&lt;online&gt;&lt;learning&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6024" PostHistoryTypeId="2" PostId="3507" RevisionGUID="010c0707-e754-4b14-b190-658531776bbb" CreationDate="2010-09-11T23:20:39.837" UserId="234" Text="If you find something Ryan, please let me know! I searched for the reference for the elusive &quot;perfect mix&quot; for years. :)&#xD;&#xA;&#xD;&#xA;However I WILL recommend the Gearslutz Post-Pro forum - there are some very experienced mixers on there who, if approached politely, are quite willing to give advice.&#xD;&#xA;&#xD;&#xA;I found in the end, just doing it was the best way. Along with being able to sit in with some far more experienced mixers. If you can wrangle the chance to do so, DO IT - just watching a seasoned mixer work will improve your own work immensely! &#xD;&#xA;&#xD;&#xA;As well, I still listen, very closely in fact, to other films and TV shows, to hear what I like and what I don't like about other mixes. I try and learn something new on every mix I do, and usually do.&#xD;&#xA;&#xD;&#xA;Finally, one of the MOST important lessons I learned, was to SERVE THE PROJECT ABOVE ALL. Put aside your personal tastes, opinions and theories and mix the project the way it wants/needs to mixed, NOT the way you think it should be mixed. I spent a great deal of wasted time and effort early on in my career trying to make things sound the way I THOUGHT they should be, instead of simply making them sound GOOD (or at least as good as they could be). Good varies from project to project - what sounds good for one, will sound like crap on another (listen to &quot;Traffic&quot; next to &quot;The Matrix&quot; next to &quot;No Country for Old Men&quot;).&#xD;&#xA;&#xD;&#xA;Once you make that &quot;Zen&quot; step of taking yourself out of the equation, oddly enough finding your own voice becomes easy. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6025" PostHistoryTypeId="2" PostId="3508" RevisionGUID="792e216a-2dc9-41ff-811e-d5165e586aa5" CreationDate="2010-09-12T00:41:55.280" UserId="88" Text="Sometimes what you set out to record ends up being much less impressive than that random &quot;sound of opportunity&quot; you happened to stumble across on the journey.  I believe Ben Burtt was looking for starship source from rocket tests at White Sands when he discovered that the broken aircon unit in his room sounded more like what he wanted than the rockets he'd come to capture.&#xD;&#xA;&#xD;&#xA;One of my own favorites would have to be from a trip to Texas a few years ago.  We were there to record a history-drenched C-47 aircraft for a World War II game (I was lucky enough to record the interiors in its second-to-last flight before it headed to the D-Day museum in New Orleans to go on display.  It was amazing, if a bit nerve-wracking on failed takeoff attempt #1).  We did get great stuff from the plane, but also stumbled across a huge weathervane (we think) at the airfield that looked like a giant metal arrowhead.  We miked it from within/underneath and attached a contact mic for good measure, then rotated it slowly for some incredible low metal stress groans.&#xD;&#xA;&#xD;&#xA;What are your favorite happy accidents from recording expeditions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6026" PostHistoryTypeId="1" PostId="3508" RevisionGUID="792e216a-2dc9-41ff-811e-d5165e586aa5" CreationDate="2010-09-12T00:41:55.280" UserId="88" Text="Happy accidents in SFX recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="6027" PostHistoryTypeId="3" PostId="3508" RevisionGUID="792e216a-2dc9-41ff-811e-d5165e586aa5" CreationDate="2010-09-12T00:41:55.280" UserId="88" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6028" PostHistoryTypeId="5" PostId="3508" RevisionGUID="a81243a8-1e7e-4008-b9eb-a903d1f32140" CreationDate="2010-09-12T00:47:50.853" UserId="88" Comment="added 21 characters in body; edited title" Text="Sometimes what you set out to record ends up being much less impressive than that random &quot;sound of opportunity&quot; you happened to stumble across on the journey.  I believe Ben Burtt was looking for starship source from rocket tests at White Sands when he discovered that the broken aircon unit in his room sounded more like what he wanted than the rockets he'd come to capture.&#xD;&#xA;&#xD;&#xA;One of my own favorites would have to be from a trip to Texas a few years ago.  We were there to record a history-drenched C-47 aircraft for a World War II game (I was lucky enough to record the interiors in its second-to-last flight before it headed to the D-Day museum in New Orleans to go on display.  It was amazing, if a bit nerve-wracking on failed takeoff attempt #1).  We did get great stuff from the plane, but also stumbled across a huge weathervane (we think) at the airfield that looked like a giant metal arrowhead.  We miked it from within/underneath and attached a contact mic for good measure, then rotated it slowly for some incredible low metal stress groans.&#xD;&#xA;&#xD;&#xA;What are your favorite happy accidents/surprise discoveries from recording expeditions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6029" PostHistoryTypeId="4" PostId="3508" RevisionGUID="a81243a8-1e7e-4008-b9eb-a903d1f32140" CreationDate="2010-09-12T00:47:50.853" UserId="88" Comment="added 21 characters in body; edited title" Text="Happy accidents/unexpected discoveries in SFX recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="6030" PostHistoryTypeId="5" PostId="439" RevisionGUID="bb768481-d588-4d06-9440-82f10cc2134b" CreationDate="2010-09-12T01:06:38.977" UserId="9" Comment="deleted 95 characters in body" Text="Just watched Dead Snow - A Norwegian Zombie flick - great Zombie sounds, kind-of talkative and inquisitive - pretty funny some times.&#xD;&#xA;Dawn of the Dead (Zach Snider) does the Zombie flick great justice and I liked the gargle adn growl of the zombies there.&#xD;&#xA;Not so much a fan of the &quot;28 days later&quot; type roar in zombies.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6031" PostHistoryTypeId="2" PostId="3509" RevisionGUID="76682697-1312-44f6-b93f-c70784056ee0" CreationDate="2010-09-12T01:22:19.270" UserId="88" Text="* Kubah_Chalet_Sunset_CarAlarmCicada (one particular variety of cicada happened to sound very alarm-like)&#xD;&#xA;* NightSafari_BoarGorillas (I never saw them, but it sounded like wild boars fighting with huge grunting apes close by)&#xD;&#xA;* Tiberium_Washing_Machine&#xD;&#xA;&#xD;&#xA;I'm also partial to &quot;SCI FI SPACE WIND&quot; in some commercial library or other.  Sounds like a 70s nostalgia synth band." ContentLicense="CC BY-SA 2.5" />
  <row Id="6035" PostHistoryTypeId="2" PostId="3511" RevisionGUID="cc465864-bfa6-4c66-9e08-b1c3f2cb9ccf" CreationDate="2010-09-12T01:56:46.503" UserId="88" Text="My friends and I were very into moviemaking in high school.  I loved editing picture (on our old deck-to-deck VHS), but my favorite part of post was adding MX/FX to the linear tracks to augment what we'd shot.  I'd played piano since second grade and had perfect pitch, but considered myself &quot;someone who plays piano&quot; rather than a &quot;musician,&quot; and didn't think I'd make it even as a music minor.  I went to school for film and thought I'd go into picture editing, but got hooked on production sound work after a fantastic seminar by a visiting production mixer.  After recording dialogue for a number of student and independent films, I started yearning for something more creative (production mixing involves tons of creative problem-solving, but not so much artistic creativity) and turned to sound design." ContentLicense="CC BY-SA 2.5" />
  <row Id="6036" PostHistoryTypeId="6" PostId="3502" RevisionGUID="586eb07c-aed2-4588-925e-b6d64a87055d" CreationDate="2010-09-12T02:09:58.853" UserId="533" Comment="edited tags" Text="&lt;reverb&gt;&lt;worldizing&gt;&lt;impulse-response&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6037" PostHistoryTypeId="2" PostId="3512" RevisionGUID="ba638cff-bd4c-4091-affe-a4b79f93eeac" CreationDate="2010-09-12T02:17:55.120" UserId="88" Text="I can't think of anything scary enough to be worth posting from my own recording trips, but here's a link to a great article on recording &quot;The Deadliest Catch.&quot;  It's on page 36.&#xD;&#xA;&#xD;&#xA;http://www.coffeysound.com/media/CAF_-_Summer_2010.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="6038" PostHistoryTypeId="2" PostId="3513" RevisionGUID="1f1a4c48-6111-44fc-8207-654730560e1c" CreationDate="2010-09-12T02:38:15.017" UserId="88" Text="I say bring a recorder everywhere, *especially* on vacation. :)  Sure, vacation time is &quot;downtime,&quot; but we all love sound and the chance to preserve it when it's worth capturing.  I'd rather bring a tiny bit of the workplace with me and be prepared for that unexpected audio gem than spend the rest of the trip kicking myself for being unprepared.  (&quot;Wish we had the gear with us&quot; has struck several times even in the downtime portions of full shoots.)&#xD;&#xA;&#xD;&#xA;I've been thinking about this question a lot lately because bringing an H4n or D50 along *everywhere* feels impractical -- my pocket space (unless I'm in cargos) is already mostly spoken for.  I'd love a mini-bag solution like Rene's, but something big enough to hold both a 24/96 handheld and an H2 for quickie background capture.  Does anyone have either a purchasable solution or some design suggestions?  Maybe something that could clip onto a belt?&#xD;&#xA;&#xD;&#xA;(Sorry to reply to a question with a question -- I guess it's really more of a refresh of the same question)." ContentLicense="CC BY-SA 2.5" />
  <row Id="6039" PostHistoryTypeId="2" PostId="3514" RevisionGUID="9f9233f9-cd75-4dac-befb-0a0cf64a0d95" CreationDate="2010-09-12T03:01:11.053" UserId="103" Text="I carry my m10 with me at all times to; i'm really liking its sound (and battery life!!!)&#xD;&#xA;And it goes from &quot;off&quot;, to &quot;recording&quot; much quicker than my previous h4&#xD;&#xA;&#xD;&#xA;It doesn't bother me at all carrying it in the pocket all the time, but then again, all my shorts/pants have really big pockets, to fit comfortably the recorder, cellphone, keys and wallet.  That has downsides to, a couple of days ago made an @ss of myself taking forever to find a card to give to a producer...&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6040" PostHistoryTypeId="2" PostId="3515" RevisionGUID="b9f09562-d81c-4b54-81b6-6bcc0e3df29d" CreationDate="2010-09-12T05:05:21.137" UserId="90" Text="[2:46][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/11907761" ContentLicense="CC BY-SA 2.5" />
  <row Id="6041" PostHistoryTypeId="2" PostId="3516" RevisionGUID="7ca308ac-5972-4588-92cf-a87e7293e1a3" CreationDate="2010-09-12T08:06:21.670" UserId="88" Text="Besides the obvious like pitch shift, I have a few such as Prosoniq's Morph and PiWarp, iZotope Spectron, and GRM tools as well as some of the Pluggo suite.  Unfortunately, primarily being a Nuendo user on PC these days, I now have to switch machines to use most of those.&#xD;&#xA;&#xD;&#xA;My question is: what are your favorite plug-ins for building creature vocals?  (Bonus points for any that play nicely with Win7, but I'm really just generally curious what you turn to for creature creation.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6042" PostHistoryTypeId="1" PostId="3516" RevisionGUID="7ca308ac-5972-4588-92cf-a87e7293e1a3" CreationDate="2010-09-12T08:06:21.670" UserId="88" Text="Favorite plug-ins for building creature vocals" ContentLicense="CC BY-SA 2.5" />
  <row Id="6043" PostHistoryTypeId="3" PostId="3516" RevisionGUID="7ca308ac-5972-4588-92cf-a87e7293e1a3" CreationDate="2010-09-12T08:06:21.670" UserId="88" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;creature-vocalizations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6044" PostHistoryTypeId="2" PostId="3517" RevisionGUID="39ac12c3-fbdb-4611-b776-e02709d39093" CreationDate="2010-09-12T08:41:25.203" UserId="62" Text="The sound in Shaun of the Dead is great. More whooshy noises than you can shake a dead hand at." ContentLicense="CC BY-SA 2.5" />
  <row Id="6045" PostHistoryTypeId="2" PostId="3518" RevisionGUID="cb4e4d19-4a9c-40c7-8d80-b492c8590a6e" CreationDate="2010-09-12T13:25:16.790" UserId="37" Text="m10+windjammer almost always on me and in sleep mode. i don't bother turning it off anymore. the batteries last ages, even when recording 24/96." ContentLicense="CC BY-SA 2.5" />
  <row Id="6046" PostHistoryTypeId="2" PostId="3519" RevisionGUID="36d0d6d2-117d-4afe-a02f-9d937f43cdd9" CreationDate="2010-09-12T18:19:57.833" UserId="275" Text="How is the sound quality on the H10?  Whenever I record sound effects I use my stereo Sanken CSS-5 and a mono Sanken CS-3e but it is, obviously, too bulky to carry with me all the time. I would love a recorder I can carry wi me all the time but I'm a nut for high quality recordings so I haven't bothered to buy a Zoom or one of those Sony units. But, after reading the posts on her I'm starting to rethink that." ContentLicense="CC BY-SA 2.5" />
  <row Id="6047" PostHistoryTypeId="2" PostId="3520" RevisionGUID="0b07f863-294c-41ca-a8bb-f6e647d1b8a2" CreationDate="2010-09-13T05:11:51.503" UserId="275" Text="Pretty soon I'll be starting audio post production on another feature film.  The video editor will be using FCP on a Mac and I use Nuendo on a PC.  Most of my work is for commercials and other short films/videos so when I get the OMF the file size is under 4gb.  In order to have a hard drive that can be read on both the Mac and PC it would have to be formatted in FAT32 (unless I'm wrong?).  But, the OMF will definitely be larger than 4gb with all of the audio info.  So, any suggestions on how to transfer this file between a Mac and PC?  Is there a different hard drive format that may work?  Any other suggestions?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6048" PostHistoryTypeId="1" PostId="3520" RevisionGUID="0b07f863-294c-41ca-a8bb-f6e647d1b8a2" CreationDate="2010-09-13T05:11:51.503" UserId="275" Text="OMF file size for Mac to PC transfer" ContentLicense="CC BY-SA 2.5" />
  <row Id="6049" PostHistoryTypeId="3" PostId="3520" RevisionGUID="0b07f863-294c-41ca-a8bb-f6e647d1b8a2" CreationDate="2010-09-13T05:11:51.503" UserId="275" Text="&lt;mac&gt;&lt;pc&gt;&lt;omf&gt;&lt;file&gt;&lt;transfer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6050" PostHistoryTypeId="2" PostId="3521" RevisionGUID="564f02bc-ed6a-44f8-b6df-f00c9efc1eb2" CreationDate="2010-09-13T05:57:35.207" UserId="393" Text="NoiseJockey's using an eBow: http://www.noisejockey.net/blog/2009/07/23/misusing-the-ebow/&#xD;&#xA;&#xD;&#xA;I've used one on guitar -- I don't own one, but I've played a handful of sets where I borrowed one.  Mixed with delay and wah, you can get some crazy awesome sounds.&#xD;&#xA;&#xD;&#xA;I wouldn't doubt that the entro to this video is all ebow, wah, and delay: http://www.youtube.com/watch?v=1qzis05HisE" ContentLicense="CC BY-SA 2.5" />
  <row Id="6051" PostHistoryTypeId="2" PostId="3522" RevisionGUID="9df2c197-4a3c-493b-98d5-df1bb3aee3b2" CreationDate="2010-09-13T06:00:12.343" UserId="531" Text="Hey Matthew, &#xD;&#xA;If I'm not mistaken the file size limit for a single OMF is 2 gigs. &#xD;&#xA;This presents problems for people in production, but the easiest way to get around it is for the video editor to create multiple OMFs. &#xD;&#xA;Nuendo is a champ at opening many OMF's in the same project. &#xD;&#xA;I've worked with editors who have given me one OMF for each track of audio, and it works well. &#xD;&#xA;On the question of hard-drive compatibility, the easiest way for PC users to access mac hard-drives is to run a program called mac drive (http://www.mediafour.com/products/macdrive/)&#xD;&#xA;This of course requires a mac formatted hard-drive. So if you're investing in a new external hard-drive I'd suggest you partition your drive into two and have one half formatted on a mac computer. &#xD;&#xA;Then you can pull the OMF's off the mac editing computer, with out any problem. &#xD;&#xA;Then use mac drive to allow your pc to access the files on the mac partition. &#xD;&#xA;Hope that helps! &#xD;&#xA;-Kevin   " ContentLicense="CC BY-SA 2.5" />
  <row Id="6052" PostHistoryTypeId="2" PostId="3523" RevisionGUID="9d23fcd3-d82e-4e55-b0dc-06a64a9f533a" CreationDate="2010-09-13T06:08:12.740" UserId="562" Text="Could you perhaps deliver your file or stems split into reels. &#xD;&#xA;&#xD;&#xA;Or far more simply just split the file into half then rejoin it after transfer?&#xD;&#xA;&#xD;&#xA;Best regards&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6053" PostHistoryTypeId="5" PostId="3523" RevisionGUID="7b5b7de7-c272-45d7-8b7b-70f552f8aed5" CreationDate="2010-09-13T06:15:14.337" UserId="562" Comment="Deleted post" Text="&#xD;&#xA;&#xD;&#xA;xxxxxxx  hope the other post helped. Gd luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="6054" PostHistoryTypeId="5" PostId="3523" RevisionGUID="04a789bb-a9e8-48a9-94e4-0f4152a223e5" CreationDate="2010-09-13T06:55:28.280" UserId="562" Comment="nothing really" Text="hope the other post helped. Gd luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="6055" PostHistoryTypeId="2" PostId="3524" RevisionGUID="f59bf7a0-2794-429a-b2e8-316bae2846aa" CreationDate="2010-09-13T07:12:57.193" UserId="2" Text="Hey Matt, &#xD;&#xA;&#xD;&#xA;Regarding hard drive formatting, [check this question][1]. You definitally don't want to be formatting at FAT32 only, cause you can't transfer files larger than 4GB, and your video will be more than likely a lot bigger. &#xD;&#xA;&#xD;&#xA;Yes, the limit for an OMF with consolidated media is 2GB. So you will need multiple ones. As @zenandtheart says, your editor can give them in sections and Nuendo will just bring all the separate OMFs into the same project. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2036/best-way-to-format-a-drive-for-sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="6056" PostHistoryTypeId="2" PostId="3525" RevisionGUID="e6b3305d-e83b-4cee-a23f-81b003b5bd8a" CreationDate="2010-09-13T07:15:20.653" UserId="563" Text="I use NTFS 3G (google it) to read b/w HFS+ on my macbook pro and my external NTFS. It's slow but it does the job. I like Kevin's idea of the dual partition however and I think that would be your best bet long term. Incidentally I've dual partitioned my macbook pro and installed Windows 7 on it and moving files between the 2 is easy as." ContentLicense="CC BY-SA 2.5" />
  <row Id="6057" PostHistoryTypeId="2" PostId="3526" RevisionGUID="ecf8bc1a-5a72-45ee-9c36-719dadd9a371" CreationDate="2010-09-13T07:24:46.337" UserId="396" Text="@jamesdbryant&#xD;&#xA;&#xD;&#xA;Took me some time to see the benefit too, but joined recently, and have discovered it's great! Useful and inspiring." ContentLicense="CC BY-SA 2.5" />
  <row Id="6058" PostHistoryTypeId="2" PostId="3527" RevisionGUID="ce0d7aed-c6f9-4457-bfbf-bf718e460fac" CreationDate="2010-09-13T09:43:03.747" UserId="142" Text="I am about to invest in a super cardioid or hyper cardioid for recording quality indoor dialogue on set.I have had some advice from the forum in a previous question and was suggested the MK41 capsule which seems to be a great standard. I am interested in the Sennheiser MKH 50 which I have heard good things about (little heavy on the low end apparently??). A friend of mine uses a CCM-415 and gets great results. I am sure many of you have experience with these mics or have other favorites, mabye even cheaper models that still stand up well? Just wanted to get some other opinions before forking out on one. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6059" PostHistoryTypeId="1" PostId="3527" RevisionGUID="ce0d7aed-c6f9-4457-bfbf-bf718e460fac" CreationDate="2010-09-13T09:43:03.747" UserId="142" Text="Buying a microphone for indoor dialogue" ContentLicense="CC BY-SA 2.5" />
  <row Id="6060" PostHistoryTypeId="3" PostId="3527" RevisionGUID="ce0d7aed-c6f9-4457-bfbf-bf718e460fac" CreationDate="2010-09-13T09:43:03.747" UserId="142" Text="&lt;indoor-dialogue&gt;&lt;microphone&gt;&lt;super&gt;&lt;cardioid&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6061" PostHistoryTypeId="2" PostId="3528" RevisionGUID="d2503bbb-798a-4428-bf91-efbdc90278f5" CreationDate="2010-09-13T11:50:03.197" UserId="564" Text="I've owned the Senheiser.....the low-end is amazing.  It's durable.  You can't go wrong.  The bottom line for me, when recording dialogue indoors is.......how is the area &quot;treated&quot;.  I just got done working on &quot;war flowers&quot; and the equipment was top notch, at the same time, the studio was an old Ford office building and didn't have proper sound treatment on the ceiling, giving a never-ending echo.  &#xD;&#xA;Moral of the story is, the mics you listed will be fine, just start with a good base.....ie..... sound treatment, and your dialogue will be clear, concise and you'll have to EQ, or ADR very little on the post side." ContentLicense="CC BY-SA 2.5" />
  <row Id="6064" PostHistoryTypeId="2" PostId="3530" RevisionGUID="04841e5e-6813-4fd8-9c41-f682823f52df" CreationDate="2010-09-13T13:03:46.807" UserId="62" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I'm looking for a mini wind shield for my Zoom H1. I have looked and seen that Rycote don't make one for it. However, a company called [Redhead][1] do. Has anyone used Redhead products?&#xD;&#xA;&#xD;&#xA;Ian&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.redheadwindscreens.com/blog/zoom-h1-windscreen/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6065" PostHistoryTypeId="1" PostId="3530" RevisionGUID="04841e5e-6813-4fd8-9c41-f682823f52df" CreationDate="2010-09-13T13:03:46.807" UserId="62" Text="Wind Shield - which makes?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6066" PostHistoryTypeId="3" PostId="3530" RevisionGUID="04841e5e-6813-4fd8-9c41-f682823f52df" CreationDate="2010-09-13T13:03:46.807" UserId="62" Text="&lt;zoom&gt;&lt;wind-protection&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6067" PostHistoryTypeId="2" PostId="3531" RevisionGUID="053c8684-273f-459b-a754-4c177375722b" CreationDate="2010-09-13T16:26:11.777" UserId="238" Text="You've probably already seen this but there's a good article on designing sound that may help...&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/09/the-horse-sounds-of-secretariat/&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6068" PostHistoryTypeId="5" PostId="3516" RevisionGUID="959200ea-2ef1-4cf7-9ecf-05f7f474288c" CreationDate="2010-09-13T17:17:32.470" UserId="88" Comment="added 21 characters in body" Text="Besides the obvious like pitch shift, I have a few such as Prosoniq's Morph and PiWarp, iZotope Spectron, and GRM tools as well as some of the Pluggo suite.  However, I primarily use Nuendo on a PC that was recently upgraded to Windows 7, so I now have to switch machines to use most of those.&#xD;&#xA;&#xD;&#xA;My question is: what are your favorite plug-ins for building creature vocals?  (Bonus points for any that play nicely with Win7, but I'm really just generally curious what you turn to for creature creation.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6069" PostHistoryTypeId="2" PostId="3532" RevisionGUID="f0ed1ac1-e005-4681-9c90-3c9e81e276f4" CreationDate="2010-09-13T17:57:46.487" UserId="564" Text="You can now buy drives that are formatted to work with both MAC and PC.  They are more expensive, but in retrospect, I would have loved to spend the extra cash and have it be &quot;plug-n-play&quot; right out of the box.  I had PC, just like you, but had to format my drive on a MAC first.....which seemed backwards but, it was the only way it worked.  Even then, you still have to buy a program to allow both of the partitions of your drive to be readable by your PC.  Just my experience.  &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6071" PostHistoryTypeId="2" PostId="3534" RevisionGUID="7fc3c14b-e264-43ac-bb95-1cb14d074176" CreationDate="2010-09-13T18:31:07.470" UserId="247" Text="At this point I've definitely had plenty of experience of game audio work. I work in house at a game developer as the audio designer. Iv also worked on about 4 films in my carrear tho I really prefer games. Just like mentioned before, games are interesting in the application of sound, and the non linear aspect as well. When creating a sound world, you have to expect sounds to come together many different ways. In game audio, you also have to consider making sounds rewarding for your players, Some sounds are heard often and cant be annoying, some sounds are heard seldom. Some sounds you might want the player to feel excited or joyous, and in others you want them to rip their hair out ;) (jk im not that evil)&#xD;&#xA;&#xD;&#xA;The hardest part about game sounds, in my opinion is creating sounds that are tied to an action but dont really exist in the real world. whats the sound of a feather floating? or picking up an eraser and setting it down on a pillow? Those for me are the challenging aspects. especially if there is an emotions associated with those sounds. for example, the player is supposed to feel really excited when he places down the eraser. &#xD;&#xA;&#xD;&#xA;Also there is the world the game is based in, the manifested sounds of previous examples change dramatically if the is game is based in a steam punk world, or an cartoon world, or in a 3d realistic world.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6072" PostHistoryTypeId="2" PostId="3535" RevisionGUID="af3ffe46-885a-4dbf-950a-8a39fcc1ff83" CreationDate="2010-09-13T19:14:20.760" UserId="61" Text="Plug-ins are an valuable part of the sound designer's arsenal, but I think it's critical to stress the importance of choosing the right sounds early on so that plug-in manipulation is kept to a minimum, or at least focused on a particular type of plug-in such as pitch shift or phasing. The place you don't want to find yourself is using the *wrong sound* which requires extensive manipulation to start sounding *right*.&#xD;&#xA;&#xD;&#xA;That said, I find the following plug-ins valuable most of the time, in varying doses:&#xD;&#xA;&#xD;&#xA; - Pitch n Time&#xD;&#xA; - Waves LoAir&#xD;&#xA; - Waves MondoMod&#xD;&#xA; - Digi Reverse&#xD;&#xA; - Waves L1&#xD;&#xA; - Digi EQ3&#xD;&#xA;&#xD;&#xA;With the right sounds and some of those plug-ins, you should be more than covered.&#xD;&#xA;&#xD;&#xA;**REMEMBER, IT'S NOT THE TOOLS BUT THE TALENT WHO IS USING THE TOOLS!**" ContentLicense="CC BY-SA 2.5" />
  <row Id="6073" PostHistoryTypeId="2" PostId="3536" RevisionGUID="60a17694-10ba-4a47-9757-96dcc9d2f25c" CreationDate="2010-09-13T19:17:07.403" UserId="445" Text="Hey everyone! Find me:&#xD;&#xA;&#xD;&#xA;@alansende&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6074" PostHistoryTypeId="16" PostId="3536" RevisionGUID="60a17694-10ba-4a47-9757-96dcc9d2f25c" CreationDate="2010-09-13T19:17:07.403" UserId="-1" />
  <row Id="6076" PostHistoryTypeId="2" PostId="3538" RevisionGUID="3af1f3a2-efd9-4469-b23d-939bd78e4e84" CreationDate="2010-09-13T21:05:11.750" UserId="270" Text="I dont agree that sampling frequencies higher than 40kHz increase the accuracy of the recorded frequencies below 20KHz...&#xD;&#xA;&#xD;&#xA;Sounds are made up of sine waves and you only need 2 samples to be able to perfectly represent a sine wave since it is a mathematically perfect shape.  If you store a million samples for one sine wave it will be no more accurately represented than with 2 samples.&#xD;&#xA;&#xD;&#xA;But hey, I could be wrong&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6077" PostHistoryTypeId="2" PostId="3539" RevisionGUID="a5e52ac1-1acd-4e0d-b538-6f0f52a4c15c" CreationDate="2010-09-13T22:07:07.230" UserId="178" Text="First of all, for interior dialog, you are correct that a hypercardioid mic is a much better choice than a shotgun mic. This is due to shotgun mics not rejecting low end frequencies even as well as a hypercardioid. When the low frequencies bounce back off the walls, it shows up as low end mud and sounds weird and echoey.&#xD;&#xA;&#xD;&#xA;Hypercardioid mics can also be very useful outside too, they just don't have quite as much range as a shotgun mic. Of course, if you get too far away, even a shotgun mic isn't going to sound good, and you'll end up in ADR territory anyway.&#xD;&#xA;&#xD;&#xA;The gold standard is the Schoeps CMC-641, but it's nearly $2000. That may or may not be an issue for you. If money is no object, buy this and be done with it.&#xD;&#xA;&#xD;&#xA;The reputation of the Sennheiser 416 doesn't necessarily carry over to the hypercardioid mics, I would look and listen carefully and not go on brand name alone there.&#xD;&#xA;&#xD;&#xA;I'm fairly partial to the Audix SCX1-HC. I see the price has gone up since I bought mine, but I think it's still worth it at $499. In my opinion, it's good enough to use in a feature film. To my ears, it sounds a little less bright than the Audio Technica hypercardiod mics. The AKG Blue Line hypercardioid is a nice choice as well, but since it's an electret condenser and not a &quot;true&quot; condenser, it won't sound quite as good 10 or 20 years out as it gradually loses its charge. That may or may not be a consideration to you, but generally good microphones will last a lifetime, so I think it bears mentioning.&#xD;&#xA;&#xD;&#xA;At the lower end of the price spectrum, some people love the Oktava MK-012. It sounds quite good, but there are a lot of counterfit knock-offs and the quality control is reported to be a bit spotty. There's a web site called The Sound Room that quality checks them and sells them at a premium. The other issue with the Oktavas is that they are EXTREMELY sensitive to wind noise. Whatever money you save will need to be sunk right back into the very finest wind protection and shock mounts (Rycote Baby Ball Gag and Invision shock mount), which will exceed the cost of the microphone itself.&#xD;&#xA;&#xD;&#xA;I did a ton of research on this, and ended up buying the Audix SCX1-HC. I would buy it again, and recommend it to anyone in the same situation. You should Google &quot;Ty Ford&quot;, he is a production sound mixer and has a video where he compares several different microphones. If you Google around you can find sound clips of a lot of these microphones, but not really in a standardized way. Still, it's better than nothing.&#xD;&#xA;&#xD;&#xA;Best of luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6078" PostHistoryTypeId="2" PostId="3540" RevisionGUID="dbd1fd8e-6647-4e21-9ed3-c57e82ecd5a0" CreationDate="2010-09-14T00:08:26.790" UserId="61" Text="I've not used one but here's a great demonstration on how effective it can be:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=MyszfDUgzAE" ContentLicense="CC BY-SA 2.5" />
  <row Id="6079" PostHistoryTypeId="2" PostId="3541" RevisionGUID="29534f52-a807-4ed7-86cd-78f3a281c877" CreationDate="2010-09-14T02:35:07.480" UserId="565" Text="I have a Redhead and I can't say enough good things about it.  I've had my Zoom H4 since they were first released and I hardly used it because of how sensitive to wind the on-board microphones are.  When I bought the Redhead it turned my H4 from a useless recorder to something I never leave the house with.  Just yesterday I was recording on coming car-bys with the window open as I was driving down the road!&#xD;&#xA;&#xD;&#xA;And naturally being the Star Wars geek that I am, I bought the Lil'Chewy  :)  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6080" PostHistoryTypeId="5" PostId="3516" RevisionGUID="ca6e4610-0e8a-4bfa-ac4a-18acca2f101b" CreationDate="2010-09-14T03:21:43.610" UserId="88" Comment="added 245 characters in body" Text="Besides the obvious like pitch shift, I have a few favorites such as Prosoniq's Morph and PiWarp, iZotope Spectron, and GRM tools as well as some of the Pluggo suite.  What are your favorite plug-ins for use in building creature vocals?&#xD;&#xA;&#xD;&#xA;(Edited because I feel like I gave the wrong impression with the initial question -- I'm not saying &quot;please tell me which plug-in will magically create great creature sounds,&quot; but rather &quot;I'm curious as to which plug-ins you've had good results with, and for which specific aspects of the vocals you were creating.&quot;  Obviously, creature creation is a lot more complicated (and fun) than passing a recording through some wondrous RydstromVox Plus plug-in. :) Sorry if it sounded like that's what I was asking.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6081" PostHistoryTypeId="2" PostId="3542" RevisionGUID="78a323a3-0c19-4567-ad8f-fa07dfc514e0" CreationDate="2010-09-14T04:23:04.127" UserId="275" Text=" If you can get your hands on a few Zaxcom 900LT transmitters with a lav and Rycote lav windjammer that would yield very good sounds.  The reason I say the Zaxcom is because they have a 24-bit, 48K recorder right on the Tx.  So, it will allow for a couple lavs to be placed directly on the saddle, horses leg, underside, etc and you can let the horse and rider ride all over without worrying about them going out of range.  I would also have them do some bys.  Running past, walking past you, quick, slow, etc and you can get them with a mono and a stereo mic setup. &#xD;&#xA;&#xD;&#xA;And yes, there will be LOTS of dust and dirt.  Protect your gear accordingly." ContentLicense="CC BY-SA 2.5" />
  <row Id="6082" PostHistoryTypeId="2" PostId="3543" RevisionGUID="f5716249-1fe4-4f76-8f6a-f35011d08dfd" CreationDate="2010-09-14T07:03:19.647" UserId="37" Text="then if you strap mics on anything moving all of a sudden it gets *very* windy. =)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6083" PostHistoryTypeId="2" PostId="3544" RevisionGUID="7ec0e1cb-f866-46e4-ab24-6e71232043f0" CreationDate="2010-09-14T07:49:53.483" UserId="338" Text="I was wondering if anybody could share some of their first experiences and the first projects they worked on for sound design and maybe compare where you are now.  Obviously things have changed but can you think of anything thats the same?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6084" PostHistoryTypeId="1" PostId="3544" RevisionGUID="7ec0e1cb-f866-46e4-ab24-6e71232043f0" CreationDate="2010-09-14T07:49:53.483" UserId="338" Text="What were some of your first projects?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6085" PostHistoryTypeId="3" PostId="3544" RevisionGUID="7ec0e1cb-f866-46e4-ab24-6e71232043f0" CreationDate="2010-09-14T07:49:53.483" UserId="338" Text="&lt;questions&gt;&lt;sharing&gt;&lt;experiences&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6086" PostHistoryTypeId="5" PostId="3540" RevisionGUID="4c175632-2305-4e18-a7c7-f111b79cdb90" CreationDate="2010-09-14T08:04:12.743" UserId="2" Comment="embeded youtube video" Text="I've not used one but here's a great demonstration on how effective it can be:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=MyszfDUgzAE&#xD;&#xA;&#xD;&#xA;[youtube]MyszfDUgzAE[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="6087" PostHistoryTypeId="2" PostId="3545" RevisionGUID="d7f3133c-33fd-4680-b221-0c21483c18f0" CreationDate="2010-09-14T11:20:57.447" UserId="331" Text="Redhead are great - have one for my Sony PCM-M10 as I couldn't track down the rycote version.  Works as well as any mini-windshield can I think. And slightly off topic but the Joby gorillapod is a great addition too... " ContentLicense="CC BY-SA 2.5" />
  <row Id="6088" PostHistoryTypeId="2" PostId="3546" RevisionGUID="f7c052a9-54d7-4aee-9b51-5d8a3b90ec59" CreationDate="2010-09-14T11:22:04.950" UserId="564" Text="My first &quot;project&quot; was a reality show that my school had shot, aired, and given to us to practice.  It's overwhelming the first time you have everything in front of you.  You think you know which way you'll go with mic selection, nat-sound, etc.  And by the time you're done with a section, it sounds like garbage, your mics were too quiet, you should've lost all the nat-sound and used the SFX library instead.&#xD;&#xA;&#xD;&#xA;My teacher was excellent, he saw how I was struggling and gave me the best advice for a post-sound &quot;process&quot; and it's helped me get better, and faster every time.  Dialogue, Music, SFX design.....that order.  Once your dialogue and music are volume-graphed correctly, it really allows you to get into SFX, and your design.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6089" PostHistoryTypeId="2" PostId="3547" RevisionGUID="9d894698-3d39-42e8-9b5f-0f3b11bf0a4b" CreationDate="2010-09-14T11:49:31.327" UserId="258" Text="There are so much reviews spread around the web about the Zoom H4N, some of them praise this recorder, other say some things about bad preamps, hissy mics etc...&#xD;&#xA;&#xD;&#xA;Who has made experiences with this device? Would you recommend it? How are the internal mics? I am thinking about going out in the woods to record ambient sounds. &#xD;&#xA;I also like the multi-track feature and would like to use external mics, too." ContentLicense="CC BY-SA 2.5" />
  <row Id="6090" PostHistoryTypeId="1" PostId="3547" RevisionGUID="9d894698-3d39-42e8-9b5f-0f3b11bf0a4b" CreationDate="2010-09-14T11:49:31.327" UserId="258" Text="Zoom H4N - Opinions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6091" PostHistoryTypeId="3" PostId="3547" RevisionGUID="9d894698-3d39-42e8-9b5f-0f3b11bf0a4b" CreationDate="2010-09-14T11:49:31.327" UserId="258" Text="&lt;zoom-h4n&gt;&lt;ambience&gt;&lt;field-recording&gt;&lt;field-recorder&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6092" PostHistoryTypeId="2" PostId="3548" RevisionGUID="c9588df7-1c5e-4930-b67c-e7aa27ddaf7a" CreationDate="2010-09-14T13:16:09.363" UserId="2" Text="I just moved a big part of my life to Google. For project management I'm using [Manymoon][1] paired up with [Google Apps][2], Google calender and Gmail. I only just started, but seems perfect for my needs!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.manymoon.com/&#xD;&#xA;  [2]: http://www.google.com/apps/intl/en/business/index.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="6093" PostHistoryTypeId="2" PostId="3549" RevisionGUID="78f4d9a0-5cc5-4920-bb03-745e22f0a328" CreationDate="2010-09-14T13:28:00.873" UserId="2" Text="I have that recorder as my *keep in the bag at all times recorder - just in case*. I gotta say I really do like it. &#xD;&#xA;&#xD;&#xA;The reason I bought was for the multi-track recording and the M/S decoder. I thought I would use it as a travel recorder with my Sennheiser MKH418s (M/S), but turns out that I only ever use the on-board mics. Reason being is that if I'm gonna be bringing my other mic with the softie or windshield and all, then I might as well bring my Sound Devices. I used to only have a Fostex FR2 recorder, wich was very big to travel with, so this made sense. &#xD;&#xA;&#xD;&#xA;I haven't even yet tested the XLR inputs, but from I hear they are pretty noisy. The on-board mics aren't very noisy at all. I think that sound pretty damn good actually. I also like that you can choose 90 or 120 deg for your stereo image. &#xD;&#xA;&#xD;&#xA;If I had to do it again though, I would buy The Sony [PCM D50][1]. Because from what I hear it is even better sounding, and considering I never plug in other mics, then that recorder would be more suitable. &#xD;&#xA;&#xD;&#xA;If you wanna hear some recordings from the H4n, there are a few from my holiday that I will be posting on [{sound + design}][2] very soon. Otherwise [you can listen][3] to some older ones recorded on it. &#xD;&#xA;&#xD;&#xA;Hope this helps a little. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://pro.sony.com/bbsc/ssr/product-PCMD50/&#xD;&#xA;  [2]: http://www.soundplusdesign.com&#xD;&#xA;  [3]: http://www.soundplusdesign.com/index.php?s=h4n" ContentLicense="CC BY-SA 2.5" />
  <row Id="6094" PostHistoryTypeId="2" PostId="3550" RevisionGUID="5f73a448-823d-4f07-a729-ebfd7b00d7d0" CreationDate="2010-09-14T16:11:53.633" UserId="220" Text="First audio project was the first film I ever worked on.  I was a script supervisor, but noticed nobody was taking care of audio, so I did both.  Bought a shotgun mic and a heavy as heck metal boom pole.  It was a terrible shoot and a model for jobs that I should never take, but it was good for a crash course in film audio.  I still use the same booming techniques and demand for quiet, but that's about all I took away. &#xD;&#xA;&#xD;&#xA;First sound editing was for a feature film that was recorded by an incompetent sound recordist who had faulty wireless mics to boot.  I did some really nice forensic work on the film, but it still sounds sub-par.  It's one of those that I know I did some cool stuff on if you could hear the before and after, but it's still embarrasing to have my name on it.  It was really good working on something so bad - I didn't feel pressure to make it perfect, since that was out of the question, but I was able to try some techniques for noise reduction, etc, that I use now." ContentLicense="CC BY-SA 2.5" />
  <row Id="6096" PostHistoryTypeId="2" PostId="3552" RevisionGUID="fd1d36c4-2062-4e50-9d77-1213e6f5d504" CreationDate="2010-09-14T16:31:52.307" UserId="220" Text="If I am doing sound recording, I work out a deal with the producer, director, or whoever hired me.  Unless there is some sort of back end, I have a rate and it is paid.  I always make sure there is a letter or invoice or email that states the terms with the hiring party agreeing.  That's generally enough for small claims court should they back out on payment.  &#xD;&#xA;&#xD;&#xA;For sound design, I have a standard contract that has some plug in options for pay up front, back end, etc, as well as allowing me to retain rights to any SFX that I create, rights to use any part of the film for my demo reel, and letting them know they do not have the rights to reuse any sound I deliver on any project but that one.  I usually have a portion that states I get airfare, hotel, per diem, and a limo to all shows at any festival or premiere.  This isn't because I expect to get it (one of these days....), but it means I won't get any push back on retaining rights.  Producers, in my experience, always want to talk you down from whatever you want, so I always start with a lot of demands and then remove them until the contract is where I wanted it to start.  &#xD;&#xA;&#xD;&#xA;I keep everything in paper form with a digital copy archived.  This is for my benefit, as well as having it for filing taxes.&#xD;&#xA;&#xD;&#xA;I'd rather get the unpleasantness out of the way at the beginning and have a good working relationship than leave on a bad note.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6097" PostHistoryTypeId="2" PostId="3553" RevisionGUID="b1e47c46-3493-496e-b346-29b352bf1e6b" CreationDate="2010-09-14T16:34:55.723" UserId="234" Text="I love mine...Always in my briefcase, and often in my booth. &#xD;&#xA;&#xD;&#xA;I don't find the XLR's on my version to be noisy (not that I'm recording REALLY quiet sounds with it) - assuming you have your phantom power set correctly. The H4n has both 24 and True 48 volts phantom power, and I have found a lot of mics don't like the 24v very much, which is what the unit defaults to. Of course 48v eats batteries a LOT faster." ContentLicense="CC BY-SA 2.5" />
  <row Id="6098" PostHistoryTypeId="2" PostId="3554" RevisionGUID="b45a5d81-c33a-4c51-9720-4fad99b3991e" CreationDate="2010-09-14T18:23:29.283" UserId="88" Text="I've looked around online and found conflicting beliefs about the safety of having magnets near (non-magnetic) electronic recorders.  Since CF/SD doesn't operate magnetically like a hard drive or tape, some photographers and recordists are unconcerned about having magnets near their gear, but I've also read forum posts by electrical engineers who say they wouldn't dream of keeping magnets near their cameras, etc. (more out of concern for the electronics than the media).&#xD;&#xA;&#xD;&#xA;I ask because I was thinking of picking up a couple of magnetic-footed Gorillapods for my handhelds.  I'd like to be able to keep the stands, the handhelds, the 702T, and the headphones into the same bag (mics in another).&#xD;&#xA;&#xD;&#xA;Have any of you run into problems keeping non-magnetic gear around magnets?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6099" PostHistoryTypeId="1" PostId="3554" RevisionGUID="b45a5d81-c33a-4c51-9720-4fad99b3991e" CreationDate="2010-09-14T18:23:29.283" UserId="88" Text="Has anyone had trouble with non-magnetic recording gear around magnets?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6100" PostHistoryTypeId="3" PostId="3554" RevisionGUID="b45a5d81-c33a-4c51-9720-4fad99b3991e" CreationDate="2010-09-14T18:23:29.283" UserId="88" Text="&lt;field-recording&gt;&lt;location-recording&gt;&lt;accessories&gt;&lt;microphone&gt;&lt;sd&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6101" PostHistoryTypeId="2" PostId="3555" RevisionGUID="2620c87d-0b5d-4f11-a441-d3971c6f1978" CreationDate="2010-09-14T19:49:45.320" UserId="2" Text="Do you mean while recording, or only for storing? &#xD;&#xA;&#xD;&#xA;Years ago I damaged some tapes and a card. But that's not what you're asking, I haven't personally ran into any electronic issues that I am aware of. Why? Probably cause I'm super paranoid about magnets. Whether it's true or not, the second people have conflicting beliefs, I usually pick the safer option.&#xD;&#xA;&#xD;&#xA;I don't think the magnets on a GorillaPod would be too powerful. I think the issue comes with strong magnets such as in big speakers. However, I definitively wouldn't have a magnet close to a recording device busy recording, as I'm sure it could risk corrupting your recording.  &#xD;&#xA;&#xD;&#xA;If you're really that worried, I'm sure that any small distance you put between the magnets and the recorder will make a significant difference. So place a piece of aluminum, cloth, your headphones or something. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I might be talking BS, @endolith would be the best to answer as he's an electronic engineer.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6102" PostHistoryTypeId="2" PostId="3556" RevisionGUID="5ca99240-0fc8-4c23-b7ff-c61d3c24938e" CreationDate="2010-09-14T20:10:10.500" UserId="37" Text="Magnets damage recordings on tape. &#xD;&#xA;A moving magnetic field that goes through a wire will produce voltage ( = create an electrical signal). I experienced induction buzz a week ago recording with a pcm-m10. However, static magnets, especially weak ones should not be a cause for concern?&#xD;&#xA;In very isolated cases i would expect a magnet to interfere with the operation of a dynamic (moving coil) mic, but I don't think this affects condensers or electrets." ContentLicense="CC BY-SA 2.5" />
  <row Id="6103" PostHistoryTypeId="2" PostId="3557" RevisionGUID="64b8c429-1541-47e0-a0e7-96d45ac7dab8" CreationDate="2010-09-14T20:22:31.973" UserId="567" Text="I have been trying to record folding clothes with a zoom H2 and obviously I get more noise than the signal and then when I try to eq the noise the signal also get very weak. What would be a better microphone to record this at home? &#xD;&#xA;&#xD;&#xA;Thanks," ContentLicense="CC BY-SA 2.5" />
  <row Id="6104" PostHistoryTypeId="1" PostId="3557" RevisionGUID="64b8c429-1541-47e0-a0e7-96d45ac7dab8" CreationDate="2010-09-14T20:22:31.973" UserId="567" Text="What will be a good microphone to record folding clothes? " ContentLicense="CC BY-SA 2.5" />
  <row Id="6105" PostHistoryTypeId="3" PostId="3557" RevisionGUID="64b8c429-1541-47e0-a0e7-96d45ac7dab8" CreationDate="2010-09-14T20:22:31.973" UserId="567" Text="&lt;record-clothes&gt;&lt;microphone-for-very-quite&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6106" PostHistoryTypeId="2" PostId="3558" RevisionGUID="666c0664-7c25-46d6-a228-4a3c7ece87fa" CreationDate="2010-09-14T20:31:27.820" UserId="61" Text="Here's a previous SSD thread that may help you a bit:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/220/how-to-capture-very-low-volume-sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="6107" PostHistoryTypeId="2" PostId="3559" RevisionGUID="c00b6d05-e973-4b90-8e4e-2e727aa88ae2" CreationDate="2010-09-14T20:41:31.773" UserId="432" Text="Are you trying to do this as foley? If so, I would say to stop &quot;folding&quot; the clothes and do more handling noise. Rub the fabrics together, snap them, get any kind of louder sounds you can out of them. These will be far more useful to you as a source of foley, as you can always decrease their volume to have them better fit what you're mixing them in to." ContentLicense="CC BY-SA 2.5" />
  <row Id="6108" PostHistoryTypeId="2" PostId="3560" RevisionGUID="6eaaad18-3164-45c3-a620-ca867bfe4521" CreationDate="2010-09-14T20:50:28.280" UserId="19" Text="I love my Zoom H4n, but be VERY AWARE that the 1/4inch &quot;line level&quot; inputs that they advertise are actually -10db High impedance guitar level inputs, not +4db low impedance professional line inputs.  I got caught on that one when I tried to hook up my Sound Devices MM1 external preamp to clean up the mic inputs and there was a severe level/impedance mismatch.  Was quite pissed when I discovered that because they are not too forthcoming with that fact in their advertising :(" ContentLicense="CC BY-SA 2.5" />
  <row Id="6109" PostHistoryTypeId="2" PostId="3561" RevisionGUID="c8365678-37e1-48ae-9cf5-d4e95b8f1704" CreationDate="2010-09-14T20:50:35.707" UserId="2" Text="I'm assuming this is for sound to picture? Because chances are that your folding sounds in your mix will also be pretty soft compared to the rest of the sounds and so you don't need to crank up the gain. If you only have a Zoom H2 at hand then you can easily make that work for you. &#xD;&#xA;&#xD;&#xA;Also, if you want to have the sound of folding cloths, then chances are you do not need the actual sound of folding cloths, but pick louder fabric and &quot;perform&quot; them louder, then bring it down in your mix later. As I'm typing this, I see @Shaun just wrote the same thing... haha. &#xD;&#xA;&#xD;&#xA;You can also use a parametric EQ to hone in the frequency of your noise. I know my mic/recorder setup usually gets that pre-amp noise around 10KhZ. &#xD;&#xA;&#xD;&#xA;Hope this helps.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6110" PostHistoryTypeId="2" PostId="3562" RevisionGUID="29e070d4-8c24-442d-98d5-5cadd15c3bfc" CreationDate="2010-09-14T21:08:05.437" UserId="61" Text="Just watched a [video][1] about the [Brest fortress][2] which was absolutely fascinating. The history and tragedy that occurred there in 1940 is truly moving. Then I got to thinking about what fabulous sounds may be lurking in this place…&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://rt.com/Top_News/2010-05-03/brest-fortress-losses.html#&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Brest_Fortress&#xD;&#xA;  [3]: http://lh3.ggpht.com/_lkVRoN_PW7M/SWoyLn-O2HI/AAAAAAAACiY/kHC5OYJPnb4/IMG_4598.JPG" ContentLicense="CC BY-SA 2.5" />
  <row Id="6111" PostHistoryTypeId="1" PostId="3562" RevisionGUID="29e070d4-8c24-442d-98d5-5cadd15c3bfc" CreationDate="2010-09-14T21:08:05.437" UserId="61" Text="Any SSD folks living in Belarus? There's a fortress there that needs it's IRs recorded." ContentLicense="CC BY-SA 2.5" />
  <row Id="6112" PostHistoryTypeId="3" PostId="3562" RevisionGUID="29e070d4-8c24-442d-98d5-5cadd15c3bfc" CreationDate="2010-09-14T21:08:05.437" UserId="61" Text="&lt;impulse-response&gt;&lt;field-recording&gt;&lt;historical&gt;&lt;collaboration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6113" PostHistoryTypeId="2" PostId="3563" RevisionGUID="49104301-5c00-43af-84b8-c676749da2e2" CreationDate="2010-09-14T21:44:59.630" UserId="132" Text="I'm not a huge fan of the built in mics on any of the smaller recorders but in a pinch they can do the job.  My small discrete rig is the SONY PCM-M10 with a sounddevices MP2 mixer as a front end.  The entire package fits into a tiny hip pack." ContentLicense="CC BY-SA 2.5" />
  <row Id="6114" PostHistoryTypeId="2" PostId="3564" RevisionGUID="ba0d3c80-a2ef-4733-9f4e-52707ae2e6b4" CreationDate="2010-09-14T22:01:14.647" UserId="132" Text="If you are taking your recording gear in rainy climates or large amounts of water, what sort of waterproofing techniques are you using?  Waterproof bags?  Anybody have any sound devices wetsuits?  Maybe I should make one?!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6115" PostHistoryTypeId="1" PostId="3564" RevisionGUID="ba0d3c80-a2ef-4733-9f4e-52707ae2e6b4" CreationDate="2010-09-14T22:01:14.647" UserId="132" Text="What are you using for waterproofing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6116" PostHistoryTypeId="3" PostId="3564" RevisionGUID="ba0d3c80-a2ef-4733-9f4e-52707ae2e6b4" CreationDate="2010-09-14T22:01:14.647" UserId="132" Text="&lt;water&gt;&lt;waterproof&gt;&lt;protection&gt;&lt;kit-bag&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6117" PostHistoryTypeId="2" PostId="3565" RevisionGUID="bfc67aa5-691f-4939-bce5-b97527240533" CreationDate="2010-09-15T01:01:54.053" UserDisplayName="user49" Text="Totally agree with you Jay &#xD;&#xA;&#xD;&#xA;For me it would be mostly altering appropriate source material with Audiosuite plugins, like pitch, time expansion, reversing... I like AudioSculpt app for doing subtle pitch bends too... I know a few people who have messed with that Antares Throat plugin &amp; gotten interesting results - it models the throat &amp; vocal tract:&#xD;&#xA;http://www.antarestech.com/products/avox.shtml&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6118" PostHistoryTypeId="4" PostId="3562" RevisionGUID="d032cdc5-843c-400a-a640-e69f8f9f9dcc" CreationDate="2010-09-15T01:43:10.393" UserId="61" Comment="restructured to garner more responses" Text="Any SSD folks living near Belarus? There's a fortress there that needs to be recorded." ContentLicense="CC BY-SA 2.5" />
  <row Id="6119" PostHistoryTypeId="5" PostId="3547" RevisionGUID="499780fe-a0bd-49f9-a6cf-be33c1af7c12" CreationDate="2010-09-15T01:44:04.290" UserId="61" Comment="grammar" Text="There are so many reviews spread around the web about the Zoom H4N, some of them praise this recorder, other say some things about bad preamps, hissy mics etc...&#xD;&#xA;&#xD;&#xA;Who has had experiences with this device? Would you recommend it? How are the internal mics? I am thinking about going out into the woods to record ambient sounds. &#xD;&#xA;I also like the multi-track feature and would like to use external mics, too." ContentLicense="CC BY-SA 2.5" />
  <row Id="6120" PostHistoryTypeId="2" PostId="3566" RevisionGUID="bd8cf84f-5aba-43e9-a203-0b20e1c390d7" CreationDate="2010-09-15T01:45:54.880" UserId="545" Text="If you are looking at doing nature recording, I urge you to check out the nature recordists group on Yahoo groups. You will find a lot of hardcore expert advice there, especially on their FAQ.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6124" PostHistoryTypeId="2" PostId="3568" RevisionGUID="7dde4fb2-00e3-4ad7-9b3a-fdad38f8d076" CreationDate="2010-09-15T02:52:54.053" UserId="568" Text="My first sound design project was for a student studying game programming. I started out as a composer and was asked to provide 8 sounds for the project. Those were the hardest 8 sounds to make in my life. Back to basics, microphone, mini-disc recorder, and some editing software and a whole lot of ambition.&#xD;&#xA;&#xD;&#xA;Where I am now - Professional sound designer for game companies and freelance composer. &#xD;&#xA;&#xD;&#xA;What has changed : Not much, I still love it, I still learn something new almost every day. Knowledge and experience and a lot of titles under my belt are really the main things that have changed." ContentLicense="CC BY-SA 2.5" />
  <row Id="6125" PostHistoryTypeId="2" PostId="3569" RevisionGUID="5393f287-43e1-4cac-9db4-d524df28cb75" CreationDate="2010-09-15T02:55:07.467" UserId="568" Text="Agree with the others, best to record louder sounds than trying to record sounds that are too quiet. &#xD;&#xA;&#xD;&#xA;Quiet sounds = need microphone close = proximity effect, or distant = noise floor." ContentLicense="CC BY-SA 2.5" />
  <row Id="6127" PostHistoryTypeId="2" PostId="3570" RevisionGUID="94711a7c-3e47-43b2-bb40-2cc268b4c8aa" CreationDate="2010-09-15T03:23:01.663" UserId="564" Text="Once had the sound of a drum stick just sitting on a cymbol while it was rotated very quickly.  Never thought anything of it at the time.  I was then trying out a design for a slo-mo scene....imported the sound, EQ'd out the highs, slowed it down, and ended up with one of the most eerie sounds I had ever heard.....worked great.  &#xD;&#xA;&#xD;&#xA;Insignificant feeling sounds can sometimes be the best to play around with." ContentLicense="CC BY-SA 2.5" />
  <row Id="6128" PostHistoryTypeId="2" PostId="3571" RevisionGUID="df18e569-3c56-46d6-8d4b-6fd092f35eba" CreationDate="2010-09-15T03:29:05.070" UserId="253" Text="My first project, back in my first year of my bachelor in film and tv, was sound post for a short film shot on an old 16mm Bolex with no sync sound. Everyone else used weird, surreal soundscapes or just music, but i went and painstakingly recorded feet and moves and other FX, as well as a little bit of (terrible) score on my guitar. We did the sound edit using insert audio edits on a Umatic tape deck. It was all going ok, until my crazy Norwegian director wanted changes. In making these changes, i also totally screwed up the levels somehow.&#xD;&#xA;&#xD;&#xA;I've just been approved for an E3 status, working as a recording engineer/sound editor/mixer in a little sound place in NYC. A long way from Brisbane, Australia! But i still try to learn as much as i can from every situation, and hope to keep things that way." ContentLicense="CC BY-SA 2.5" />
  <row Id="6129" PostHistoryTypeId="2" PostId="3572" RevisionGUID="362fc8a4-de36-4908-bc82-f51359654fb6" CreationDate="2010-09-15T03:34:53.470" UserId="564" Text="Solid, or even mediocre shotgun mics, I've found, are the best for recording that type of low dB foley.  If you're getting a lot of background noise, just build yourself a little &quot;booth&quot; and cover it with a blanket if you have to improvise.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6130" PostHistoryTypeId="2" PostId="3573" RevisionGUID="65742a31-a997-457a-ad53-d48be123fd8e" CreationDate="2010-09-15T03:47:03.823" UserId="564" Text="What are my best options to avoid shelling out $1250 for the DV Toolkit plug-in?  Any ideas?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6131" PostHistoryTypeId="1" PostId="3573" RevisionGUID="65742a31-a997-457a-ad53-d48be123fd8e" CreationDate="2010-09-15T03:47:03.823" UserId="564" Text="OMF Options, Workaround?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6132" PostHistoryTypeId="3" PostId="3573" RevisionGUID="65742a31-a997-457a-ad53-d48be123fd8e" CreationDate="2010-09-15T03:47:03.823" UserId="564" Text="&lt;dvtoolkit&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6133" PostHistoryTypeId="2" PostId="3574" RevisionGUID="db844d5e-075c-40e8-b386-5346f3edf39b" CreationDate="2010-09-15T04:04:41.950" UserId="103" Text="Maybe you can get your hands on a digitranslator license on ebay for cheap. Sometimes they're around. I got hybrid for 50$ there" ContentLicense="CC BY-SA 2.5" />
  <row Id="6134" PostHistoryTypeId="2" PostId="3575" RevisionGUID="45ab9b60-cca6-4ad4-9f63-e17f98ebfaa0" CreationDate="2010-09-15T04:06:05.807" UserId="568" Text="Ask away Tristan I'm sure there's tons of people here who could quickly list their years experience and type of area of sound design they work in when posting an answer." ContentLicense="CC BY-SA 2.5" />
  <row Id="6135" PostHistoryTypeId="5" PostId="3574" RevisionGUID="13dce002-82ff-448d-ae90-8104a960b424" CreationDate="2010-09-15T04:29:19.963" UserId="103" Comment="deleted 26 characters in body" Text="Maybe you can get your hands on a digitranslator license on ebay for cheap. Sometimes they're around. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6136" PostHistoryTypeId="2" PostId="3576" RevisionGUID="9eda97c7-b602-4e76-8c75-12f8dcfcdafa" CreationDate="2010-09-15T04:46:54.273" UserId="275" Text="You could pick up Logic or Cubase for about $400 or $500 and then import the OMF through either of those programs.  From there you would have to export each track with the same starting point and import into PT. But, in the long run you will wish you could just import OMF files into your PT system.  Heck, you could even pick up a copy of FCP and have the client just give you the original FCP session file and you could export tracks from there.  These are pretty ugly ways to get the audio but they would work. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6137" PostHistoryTypeId="2" PostId="3577" RevisionGUID="a5e53c82-7edc-4044-aafc-1c67e4ff021a" CreationDate="2010-09-15T04:58:33.740" UserId="275" Text="In all honesty, this is a good example of Good Mic + Good Mic Preamp + Good A/D Comverters (+ Good Skill) = the sound you're looking for.  There truly is no substitution for a good signal chain.    &#xD;&#xA;&#xD;&#xA;Early on in my recording days I had a crappy Yamaha 16 channel mixing board and an Audio-Technica 4033 mic.  After a while I purchased an Avalon 2022 mic pre and Neumann U67 mic. After that Eureka moment of &quot;ohhhhhhhhhh.....so THIS is what it should sound like&quot; I never went back to cheap gear again.&#xD;&#xA;&#xD;&#xA;Now, we all record with the best possible gear we can get our hands on and an unfortunate reality of our line of work is that we can never have enough variety of microphones, mic preamps, etc.  I would love to own one of everything but my wallet disagrees.  &#xD;&#xA;&#xD;&#xA;The louder the sound source the less &quot;work&quot; your mic and pre have to do.  That translates to less electrical noise in your signal chain.    " ContentLicense="CC BY-SA 2.5" />
  <row Id="6138" PostHistoryTypeId="2" PostId="3578" RevisionGUID="8efcb1a2-5e25-4042-ad4f-5aa3af1b0bdb" CreationDate="2010-09-15T05:06:05.770" UserId="275" Text="And realize that by nature all sound designers are a bit off our rocker.  What would drive someone normal to contrive sounds in unintended ways to fit with a video picture. :)&#xD;&#xA;&#xD;&#xA;Plus, we're all a bit socially awkward so email is your best bet.  Here is my email: Matthew@matthewfreed.com&#xD;&#xA;&#xD;&#xA;Feel free to ask me any questions you may have.  I've been doing this full time for 12 years.  Sound design and production sound mixing is all I do for a living.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6139" PostHistoryTypeId="2" PostId="3579" RevisionGUID="1c33b355-a0c4-4b8f-a1cf-685eb874b51e" CreationDate="2010-09-15T05:15:15.677" UserId="275" Text="My first video related project came about 5 years after I had been recording music full time.  I read up on a few technical issues I might encounter and then just went with my instincts on what sounded good.  The audio for the movie turned out pretty well in spite of me!  I figured out how to properly set up an ADR session, messed with mic placement for Foley, and just went to town on recording sound effects.  &#xD;&#xA;&#xD;&#xA;The project took a lot longer than it should have but I learned a heck of a lot and I can look back at it and see how far I've come.  But, no way in hell am I ever showing that movie to anyone I know and respect.  ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6140" PostHistoryTypeId="2" PostId="3580" RevisionGUID="ef560f0b-878b-428d-8964-131a43de51fc" CreationDate="2010-09-15T05:19:30.600" UserId="275" Text="I have a 36 inch concert bass drum that has found its way on to more projects than I should admit.  It has fantastic highs, lows, mids, attack, decay, and everything else you could imagine.  Hit it with a variety of objects and everything sounds different.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6141" PostHistoryTypeId="2" PostId="3581" RevisionGUID="4844a506-8f93-4677-a34f-4faa4bb7bca2" CreationDate="2010-09-15T05:22:36.133" UserId="275" Text="For the micas, a Rycote blimp and windjammer do a great job.  They are 100% synthetic and can get soaking wet and dry off perfectly.  For mixers and recorders, get a good rain fly or a variety of plastic garbage bags.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6142" PostHistoryTypeId="2" PostId="3582" RevisionGUID="fb2cd8af-120c-40bb-a06a-81621896b90f" CreationDate="2010-09-15T06:09:31.097" UserId="62" Text="You will get TC displayed if you open a session with it set as the main display option.&#xD;&#xA;&#xD;&#xA;I know it appears expensive but it's more than Digitranslater and TC, you get a load of plugins too. Worth it for TL Space convolution reverb alone.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6143" PostHistoryTypeId="5" PostId="3581" RevisionGUID="9e0905c1-c400-4fb9-b536-bc39770a9e0b" CreationDate="2010-09-15T06:48:07.897" UserId="61" Comment="spelling" Text="For the mics, a Rycote blimp and windjammer do a great job.  They are 100% synthetic and can get soaking wet and dry off perfectly.  For mixers and recorders, get a good rain fly or a variety of plastic garbage bags.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6144" PostHistoryTypeId="2" PostId="3583" RevisionGUID="fdfa7d7b-e93b-4126-9208-7d0922063585" CreationDate="2010-09-15T07:12:00.137" UserId="37" Text="Don't forget access to an HD-equipped facility, if just importing the OMF is what you're after." ContentLicense="CC BY-SA 2.5" />
  <row Id="6145" PostHistoryTypeId="2" PostId="3584" RevisionGUID="d4fce490-9ab8-46bb-bcf1-075dee086500" CreationDate="2010-09-15T07:29:30.873" UserId="61" Text="Have used the [Shure A27M][1] mounting kit and really liked it, but also need a couple of blimps with shockmounts that will accommodate pencil mics like the O12s, Neumann 184s, etc. A pistol grip attachment would be a huge +1. Thanks in advance -&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fullcompass.com/product/305049.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="6146" PostHistoryTypeId="1" PostId="3584" RevisionGUID="d4fce490-9ab8-46bb-bcf1-075dee086500" CreationDate="2010-09-15T07:29:30.873" UserId="61" Text="Recommend a good quality blimp and dual-mount system for pair of Oktava 012s?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6147" PostHistoryTypeId="3" PostId="3584" RevisionGUID="d4fce490-9ab8-46bb-bcf1-075dee086500" CreationDate="2010-09-15T07:29:30.873" UserId="61" Text="&lt;microphone&gt;&lt;blimps&gt;&lt;field-recording&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6148" PostHistoryTypeId="2" PostId="3585" RevisionGUID="46e66d33-6e34-480d-8048-1d36d91f55a2" CreationDate="2010-09-15T09:12:20.953" UserId="243" Text="Hi guys I'm starting work at a film production company and they asked me to source an amp for playback in the edit  suite for playback of the project to the director, producers and investors. Which brands should I be looking at?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6149" PostHistoryTypeId="1" PostId="3585" RevisionGUID="46e66d33-6e34-480d-8048-1d36d91f55a2" CreationDate="2010-09-15T09:12:20.953" UserId="243" Text="amp for a viewing room" ContentLicense="CC BY-SA 2.5" />
  <row Id="6150" PostHistoryTypeId="3" PostId="3585" RevisionGUID="46e66d33-6e34-480d-8048-1d36d91f55a2" CreationDate="2010-09-15T09:12:20.953" UserId="243" Text="&lt;amplifier&gt;&lt;playback&gt;&lt;film&gt;&lt;edit&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6151" PostHistoryTypeId="2" PostId="3586" RevisionGUID="f854031d-43f5-469d-9dc7-bcd7db6e39dc" CreationDate="2010-09-15T10:07:54.400" UserId="2" Text="I've heard good things about [Denon][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.denon.com/Pages/home.aspx" ContentLicense="CC BY-SA 2.5" />
  <row Id="6153" PostHistoryTypeId="5" PostId="3549" RevisionGUID="2abfeb80-8bc1-42ab-9268-442f0d1566ef" CreationDate="2010-09-15T12:23:19.733" UserId="2" Comment="updated link" Text="I have that recorder as my *keep in the bag at all times recorder - just in case*. I gotta say I really do like it. &#xD;&#xA;&#xD;&#xA;The reason I bought was for the multi-track recording and the M/S decoder. I thought I would use it as a travel recorder with my Sennheiser MKH418s (M/S), but turns out that I only ever use the on-board mics. Reason being is that if I'm gonna be bringing my other mic with the softie or windshield and all, then I might as well bring my Sound Devices. I used to only have a Fostex FR2 recorder, wich was very big to travel with, so this made sense. &#xD;&#xA;&#xD;&#xA;I haven't even yet tested the XLR inputs, but from I hear they are pretty noisy. The on-board mics aren't very noisy at all. I think that sound pretty damn good actually. I also like that you can choose 90 or 120 deg for your stereo image. &#xD;&#xA;&#xD;&#xA;If I had to do it again though, I would buy The Sony [PCM D50][1]. Because from what I hear it is even better sounding, and considering I never plug in other mics, then that recorder would be more suitable. &#xD;&#xA;&#xD;&#xA;If you wanna hear some recordings from the H4n, there are a few from my holiday that I posted on [{sound + design}][2]. Otherwise [you can listen][3] to some older ones recorded on it. &#xD;&#xA;&#xD;&#xA;Hope this helps a little. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://pro.sony.com/bbsc/ssr/product-PCMD50/&#xD;&#xA;  [2]: http://www.soundplusdesign.com/?p=3975&#xD;&#xA;  [3]: http://www.soundplusdesign.com/index.php?s=h4n" ContentLicense="CC BY-SA 2.5" />
  <row Id="6155" PostHistoryTypeId="2" PostId="3589" RevisionGUID="034cf140-68ff-415f-b71f-2872db60d3c0" CreationDate="2010-09-15T13:56:37.073" UserId="220" Text="Does it need to be an amp?  If you're looking for a 5.1 amp, you've really only got Denon that's professional before you have to muck through the home theater market.&#xD;&#xA;&#xD;&#xA;The best solution is running a 5.1 sound card or interface that will output to a mixing console that will feed powered studio monitors.  A lot more control and options. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6156" PostHistoryTypeId="2" PostId="3590" RevisionGUID="15898a2e-33be-49da-98e3-23f47fbebf68" CreationDate="2010-09-15T14:16:32.123" UserId="37" Text="Thought I'd chime in too. mono 48kbit mp3 does fine for sounds in full spectrum of up to 14kHz. MP3 and similar compression schemes work on the spectrum so the more you can chop off the more effective your compression. &#xD;&#xA;&#xD;&#xA;That doesn't necessarily limit you to low frequencies. For some sounds you may have success with cutting the bottom end. Also if you're allowed to layer sounds that's more than doubling the bit-rate in question. &#xD;&#xA;&#xD;&#xA;Certainly for anything speech, aggressive EQ prior to compression will give you more than it will take away." ContentLicense="CC BY-SA 2.5" />
  <row Id="6157" PostHistoryTypeId="2" PostId="3591" RevisionGUID="b2945951-9a95-42e1-9d2d-78b3fe239243" CreationDate="2010-09-15T17:40:55.007" UserId="235" Text="Riffing on what georgi.m said, for $75 or so the studio where I work will take a Final Cut session, export the OMFs and import them into a PT session.  I imagine other studios offer this service as well.  You can include the cost in your bid and be assured that the OMFs are exported properly.  You'd be surprised how often the export gets screwed up.  Also, maybe there is someone else in your area who has Digitranslator and would set a session up for you for a small contribution.  &#xD;&#xA;  For smaller projects, I will occasionally forgo OMFs altogether and work with the video editor's stereo bounce and any other recordings they might have done.  Not ideal by any means, but works fine for some projects.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6158" PostHistoryTypeId="2" PostId="3592" RevisionGUID="d3bfbc3d-2c1b-414f-a976-cf848c41576c" CreationDate="2010-09-15T17:59:02.877" UserId="235" Text="&#xD;&#xA;   In addition to asking my question here, I've been asking other local engineers and paying careful attention to background panning in the movies I've been watching.  I thought I would share what I've found.  &#xD;&#xA;  Keeping things panned center is certainly the easiest option and is precisely what I ended up doing in the scenario I first asked about.  Sonsey makes a good point that the approach taken depends on how much attention one wants to draw to the sound in question.  I received an answer from Justin by e-mail which didn't show up here for some reason.  He brought up the idea of having the same background but recorded from different angles (or processed to sound like different angles) and cutting between those.  Another local engineer I talked to suggested establishing a sound and then obscuring it somewhat.  In the example above, with the rain against the window sound, I could have panned my rain hard left like it is in the scene and a little louder to establish it's presence, then snuck it back down and center as the scene begins to cut back and forth from one over the shoulder shot to the next.  &#xD;&#xA;   Aside from keeping things panned center and the ideas I just shared, does anyone else have any thoughts on how to handle noises that change location with camera cuts? " ContentLicense="CC BY-SA 2.5" />
  <row Id="6159" PostHistoryTypeId="2" PostId="3593" RevisionGUID="932798a6-122c-4eea-a878-1213bab3aea2" CreationDate="2010-09-15T18:41:52.293" UserId="400" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I have the opportunity to do a project in my final year of my Music Technology course focusing on whatever I like. Given that I'm pursuing a career in sound design (never have guessed huh), I proposed the idea of redoing the audio for a selection of movie or games trailers (as a great way to gain experience in sound design and prepare a showreel for life after Uni).&#xD;&#xA;&#xD;&#xA;My supervisor agreed this was a good idea, but pointed out that since there's a 5000 word report included, that a basic &quot;I recorded this sound with this mic&quot; report would get pretty dull and result in a bad mark. Instead he suggested adding a more investigative element to the audio reskins, e.g. testing methods of synthesis or programs like Max/MSP vs location recording for some elements of the project.&#xD;&#xA;&#xD;&#xA;I have been searching my brain for a good topic on which to focus my project including this investigative aspect, but nothing with a solid structured approach is coming to mind.&#xD;&#xA;&#xD;&#xA;So I ask this of the sound design community here, are there any burning issues or techniques in sound design which remain relatively unexplored? Short of doing the same trailers once with recordings and once with synthesis (which I'm not sure would even work that well), I'm coming up short for ideas here.&#xD;&#xA;&#xD;&#xA;Cheers guys! " ContentLicense="CC BY-SA 2.5" />
  <row Id="6160" PostHistoryTypeId="1" PostId="3593" RevisionGUID="932798a6-122c-4eea-a878-1213bab3aea2" CreationDate="2010-09-15T18:41:52.293" UserId="400" Text="Research/Investigation into fields of sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="6161" PostHistoryTypeId="3" PostId="3593" RevisionGUID="932798a6-122c-4eea-a878-1213bab3aea2" CreationDate="2010-09-15T18:41:52.293" UserId="400" Text="&lt;project&gt;&lt;research&gt;&lt;synthesis&gt;&lt;suggestion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6162" PostHistoryTypeId="2" PostId="3594" RevisionGUID="9f0031b6-2a04-44cd-abff-6cc59dec8684" CreationDate="2010-09-15T18:51:25.543" UserId="264" Text="Perhaps you could take the synthetic vs natural theme to the extreme and fully design two versions of the same trailer, one per method. I'm far from these veterans (in fact I'm in the same boat as you as I'm completing my thesis this year) so I don't know what topic's really simmering. However, this relationship between digital/synthetic and analog/natural fascinates me, so I'd definitely recommend exploring that.&#xD;&#xA;&#xD;&#xA;Out of curiosity, where are you studying Music Technology?&#xD;&#xA;&#xD;&#xA;~Cheers&#xD;&#xA;Miles Baird" ContentLicense="CC BY-SA 2.5" />
  <row Id="6163" PostHistoryTypeId="2" PostId="3595" RevisionGUID="73156185-f72e-4163-b6a7-65c49a1a8fc3" CreationDate="2010-09-15T19:10:12.857" UserId="61" Text="Sound design is different from the other creative crafts in that the technology we use doesn't impact the audience as directly as, say, visual effects does. We're more akin to the picture side of things, where what we may labor on for weeks or months can pass the viewer by without notice - because it was meant to be that way. So any burning issues would be more for our own benefit, for example, less delay when using real-time plug-ins, more available voices and tracks from our workstations, better pitch shifting algorithms, etc. Of course there other more marketable technological advances that have been tossed about from time to time, like [focused sound][1] (one such idea is being used by the military but has commercial applications as well) and [binaural][2] sound that could be used in a large venue without the need for headphones.&#xD;&#xA;&#xD;&#xA;Those thoughts aside, here are a couple of ideas off the top of my head:&#xD;&#xA;&#xD;&#xA; - Design sound for an older&#xD;&#xA;   movie scene/trailer using new sounds&#xD;&#xA;   recorded at the highest bitrate and&#xD;&#xA;   sample rate available (most likely 24bit/192kHz), then using some creative&#xD;&#xA;   pitch shifting and/or other&#xD;&#xA;   processing, discuss why this newer&#xD;&#xA;   technology allows you more creativity&#xD;&#xA;   and makes the end result &quot;better&quot;.&#xD;&#xA; - Using a wide selection of&#xD;&#xA;   microphones and recorders, design sound for a&#xD;&#xA;   scene/trailer forgoing any processing&#xD;&#xA;   and discuss how the nature of each&#xD;&#xA;   piece of gear lent itself to a specific&#xD;&#xA;   application. For example, an SM57 feeding into an analog Nagra may be better suited to a gunshot sound effect than, say, a Sennheiser 416 feeding into a Zoom H4n.&#xD;&#xA;&#xD;&#xA;Of course there are an infinite number of scenes you could dissect and discuss from a story point-of-view, analyzing how the sound design relates to the mood of the characters, the tension of the scene, etc. But I don't believe this would be appropriate for your Music Technology field of study.&#xD;&#xA;&#xD;&#xA;I'll keep thinking and try to contribute more later. Best of luck --&#xD;&#xA;&#xD;&#xA;  [1]: http://www.npr.org/templates/story/story.php?storyId=4857417&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Binaural_recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="6165" PostHistoryTypeId="5" PostId="3034" RevisionGUID="78b01325-0083-4733-ad9a-dc548900c50d" CreationDate="2010-09-15T20:49:44.943" UserId="90" Comment="added 61 characters in body; added 84 characters in body" Text="Yes, you can convert color to sound.&#xD;&#xA;&#xD;&#xA;No, orange doesn't have a particular frequency or sound.  You can pick whatever mapping you want.  Do you want orange be a specific sine frequency, or should it represent a square wave?  You pick.&#xD;&#xA;&#xD;&#xA;[AudioPaint][1] and [Coagula][2] use the color of a pixel to determine the panning of the sound.&#xD;&#xA;&#xD;&#xA;[Spectrograms][3] often use color to represent the amplitude of a frequency component.  Software like Adobe Audition will do the inverse function to convert an image back into a sound.&#xD;&#xA;&#xD;&#xA;I've been trying to go the opposite direction, [using audio frequency content to determine color of a waveform][4]: &#xD;&#xA;&#xD;&#xA;![alt text][5]&#xD;&#xA;&#xD;&#xA;This is the same method used by [Freesound.org][6], using the spectral centroid of the sound to produce a monochromatic color, but shaded to try to show the density of the samples as well as the peak amplitude.  &#xD;&#xA;&#xD;&#xA;What I'd really like to do is map the spectrum of the sound onto the spectrum of the color, so a low frequency sine would be red, a high frequency sine would be blue, and a combination of both would be magenta.  Last time I messed with it, I was trying to figure out a way to weight it so that logarithmic sine sweeps look like a rainbow, white noise is white, and pink noise is pink.  I'm not sure if it's possible, though, because of the conflict between linear and logarithmic frequency axes.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.nicolasfournel.com/audiopaint.htm&#xD;&#xA;  [2]: http://hem.passagen.se/rasmuse/Coagula.htm&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Spectrogram&#xD;&#xA;  [4]: http://www.flickr.com/photos/omegatron/sets/72157623798266403/&#xD;&#xA;  [5]: http://farm5.static.flickr.com/4051/4505407612_79d35e829d.jpg&#xD;&#xA;  [6]: http://www.freesound.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6166" PostHistoryTypeId="5" PostId="3584" RevisionGUID="bb37613b-44d6-4b2c-8d41-fc98bfe2a2c6" CreationDate="2010-09-15T21:17:02.050" UserId="61" Comment="additional information" Text="Have used the [Shure A27M][1] mounting kit and really liked it, but also need a couple of blimps with shockmounts that will accommodate pencil mics like the O12s, Neumann 184s, etc. A pistol grip attachment would be a huge +1. Thanks in advance -&#xD;&#xA;&#xD;&#xA;Oh, and did I mention affordable??   :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fullcompass.com/product/305049.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="6167" PostHistoryTypeId="2" PostId="3597" RevisionGUID="1d92319c-c2d7-47d4-9748-db8e7a5e67e2" CreationDate="2010-09-15T22:36:57.877" UserId="558" Text="Power?  Did you have low/dead batteries or absence of phantom power.  Underpowered gear can do some pretty odd things.&#xD;&#xA;&#xD;&#xA;On a side note the SM-81 is a pretty sensitive mic.  I associate it with recording acoustic guitars and other delicate sounds in studio conditions.  Have you used this setup before?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6168" PostHistoryTypeId="2" PostId="3598" RevisionGUID="b7f87dcd-d129-4cf1-a534-a184458a518c" CreationDate="2010-09-16T00:26:51.743" UserId="29" Text="Oh, trust me, there'll be an article on Sonic Terrain about this soon... ;-)&#xD;&#xA;&#xD;&#xA;For me, it depends on whether we're talking about protection against *immersion* (dunking, dropping into the drink) or *splashes* (waves, rain, dripping condensation). The former is the hardest, due to cabling, but I've experimented with cutting holes in kayak dry bags and sealing a cable in the hole with silicone caulking. This works for things like hydrophones, but you still need do the ol' condom trick with mics and make sure that the connector to the mic is also sheathed/waterproofed.&#xD;&#xA;&#xD;&#xA;For splashes, I use a Rainman cover by Remote Audio when it's really wet. Others rig up similar, cheaper rigs with &quot;hogshair&quot; insulation, but I try to avoid visits to my Big Box Home Improvement Retailer as much as possible. :-) I agree with Matthew that windjammers do pretty well for light mist and occasional drips, but they'll start dripping internally themselves if they get oversaturation, and that's what you need to avoid for maximum mic health.&#xD;&#xA;&#xD;&#xA;For recorders themselves, a *lot* of options exist. Some field bags have clear plastic covers. Petrol and SportsShooter make ponchos with clear chest windows for bag operation. Heck, you can indeed just put stuff in clear, flexible dry bags and do the same thing, though it looks odd and you still need to route the cabling out somewhere.&#xD;&#xA;&#xD;&#xA;It's been my experience that all pro gear, except mics (which have open grates over the capsules) are constructed to be fine with the odd single raindrop or five, from cameras to Sound Devices mixers. But for prolonged wet conditions, definitely protect yourself!&#xD;&#xA;&#xD;&#xA;If you can afford it, look into eVent or Goretex Pac-Lite raingear for your body. Those are the most breathable waterproof fabrics out there, eVent many more times so than Pac-Lite. Great for warm, rainy days or when you're on the move." ContentLicense="CC BY-SA 2.5" />
  <row Id="6169" PostHistoryTypeId="2" PostId="3599" RevisionGUID="7a47422a-8838-4522-b084-4301f1731a72" CreationDate="2010-09-16T00:43:30.197" UserId="198" Text="I was in Minsk several years ago. Belarus is not particularly easy to enter (its still a relatively closed country due to the Lukashenko dictatorship). There are a number of such fortress ruins in the area. I have been to some in Tallinn and Riga, but haven't recorded there. In May we documented the amazing acoustic properties of a Seaplane hangar in Tallinn commissioned by the last Czar of Russia. http://maaheli.ee/main/archives/1504" ContentLicense="CC BY-SA 2.5" />
  <row Id="6170" PostHistoryTypeId="2" PostId="3600" RevisionGUID="e3cfbce4-73c6-4dfe-aaaa-cc93fef216c9" CreationDate="2010-09-16T00:45:16.137" UserId="444" Text="How about writing on the psychological aspect of sound?  Talking about the way the sonic characteristics can affect a listeners mood, state of mind, or can rekindle memories and feelings.&#xD;&#xA;&#xD;&#xA;To me, it's fascinating how blend of picture and sound can affect moods and feelings in an audience.  On top of that, how it's done with out the audience even knowing it.&#xD;&#xA;&#xD;&#xA;So as an example:  Whether you used a recorded sound or a synthisized sound, elaborate on why you chose one over the other to affect an emotion out of your audience.  Then discuss on how you where able to apply it to the picture and not have it stand out, but feel natural to what the audience is seeing.&#xD;&#xA;&#xD;&#xA;It may be a bit vague, and hard to pinpoint, since everyone reacts a little differently to what they see and hear.  Sounds serve the picture, the picture serves the audience.  &#xD;&#xA;&#xD;&#xA;Best of luck on your final project!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6171" PostHistoryTypeId="2" PostId="3601" RevisionGUID="6563d8ae-881e-456a-8e9d-af5caf637452" CreationDate="2010-09-16T01:10:42.320" UserId="198" Text="There is http://www.soundtransit.nl/ which allows you to &quot;book&quot; a sound journey. I've also come across many sound map projects.&#xD;&#xA;&#xD;&#xA;Global: http://aporee.org/maps/&#xD;&#xA;&#xD;&#xA;Prague: http://panto-graph.net/favouritesounds/&#xD;&#xA;&#xD;&#xA;London: http://www.soundsurvey.org.uk/index.php/survey/soundmaps/&#xD;&#xA;&#xD;&#xA;New York: http://www.nysoundmap.org/&#xD;&#xA;&#xD;&#xA;Montreal: http://cessa.music.concordia.ca/soundmap/en/&#xD;&#xA;&#xD;&#xA;Cologne: http://soundmap-cologne.de/&#xD;&#xA;&#xD;&#xA;Taranto: http://sonorapuliae.altervista.org/soundmap.html&#xD;&#xA;&#xD;&#xA;Madrid: http://www.madridsoundscape.org/&#xD;&#xA;&#xD;&#xA;Basque country: http://www.soinumapa.net/&#xD;&#xA;&#xD;&#xA;Galicia: http://www.escoitar.org/&#xD;&#xA;&#xD;&#xA;Tokyo Yamanote Line Sound Map: http://www.rickbenedict.com/jams/?p=701&#xD;&#xA;&#xD;&#xA;and probably a dozen more by the end of this week...&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6172" PostHistoryTypeId="2" PostId="3602" RevisionGUID="be963520-1339-44b1-b05f-28386370cb2b" CreationDate="2010-09-16T03:40:41.420" UserId="275" Text="I will admit first that I have not had a chance to listen to the recordings yet but I will do that once I am at my studio again tomorrow.  &#xD;&#xA;&#xD;&#xA;How far away are the nearest train tracks?  I see the 81's have no shock mount so a train even miles away can produce low frequency vibrations through the ground that would be picked up on those mics without shock mounts. &#xD;&#xA;&#xD;&#xA;So, I may completely amend this note tomorrow once I have listened to the tracks but I'm just throwing that out there." ContentLicense="CC BY-SA 2.5" />
  <row Id="6173" PostHistoryTypeId="2" PostId="3603" RevisionGUID="79bf555e-893d-4477-b18d-272cfa640366" CreationDate="2010-09-16T04:54:15.423" UserId="396" Text="You might like to look into acoustic ecology, which people such as Murray Schafer and Barry Truax starting studying in the '60s. http://www.acousticecology.org looks like a good resource." ContentLicense="CC BY-SA 2.5" />
  <row Id="6174" PostHistoryTypeId="2" PostId="3604" RevisionGUID="3c2b8dd8-7af0-4355-b94a-b981fd618015" CreationDate="2010-09-16T05:39:46.007" UserId="338" Text="Use max or other do research wave field synthesis on your computadora." ContentLicense="CC BY-SA 2.5" />
  <row Id="6176" PostHistoryTypeId="2" PostId="3605" RevisionGUID="38d0a20f-2b9b-4189-aa97-5e4ad690df8b" CreationDate="2010-09-16T06:10:42.050" UserId="18160" Text="I was sitting in on an ADR session for a television show at an ADR stage the other day and I was talking to the ADR mixer about how Sound Design is different for TV than it is for Movies.&#xD;&#xA;&#xD;&#xA;He told me one of the main differences was that sound designers usually use pre-made scene effects, for example, a crime scene.&#xD;&#xA;&#xD;&#xA;For a crime scene, you've got a police-car walkie talkie going, an ambulance siren, people murmering (detectives), some ADR callouts from the forensic team, city ambience or rural ambience, etc. etc. etc.&#xD;&#xA;&#xD;&#xA;He said what they do is keep a pre-made pack of sounds like this and then just plop them in on the scene and move the individual sounds around so they fit.&#xD;&#xA;&#xD;&#xA;Does anyone else do this?&#xD;&#xA;&#xD;&#xA;I personally like to be original and re-create a scene from scratch as I see fit for each project, but do you think it has some benefit to create pre-made scenes to have in your library for some type of project you work on a lot? Especially when you've got a tight deadline like on a TV show or series?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6177" PostHistoryTypeId="1" PostId="3605" RevisionGUID="38d0a20f-2b9b-4189-aa97-5e4ad690df8b" CreationDate="2010-09-16T06:10:42.050" UserId="18160" Text="Exported Region Groups or Sound Packs for TV Sound Designing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6178" PostHistoryTypeId="3" PostId="3605" RevisionGUID="38d0a20f-2b9b-4189-aa97-5e4ad690df8b" CreationDate="2010-09-16T06:10:42.050" UserId="18160" Text="&lt;tv&gt;&lt;television&gt;&lt;sound-design&gt;&lt;pre-made&gt;&lt;packs&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6179" PostHistoryTypeId="2" PostId="3606" RevisionGUID="74b2f7e0-50c5-4489-bf2f-5e8ac67cd6da" CreationDate="2010-09-16T06:56:41.870" UserId="61" Text="Well, it really comes down to time constraints. I've worked on many television shows where this was the standard practice, and although I went in with the &quot;make it unique every time&quot; mindset, I quickly understood the value of template BGs and FX and adopted the workflow.&#xD;&#xA;&#xD;&#xA;Bear in mind that many network/cable program execs don't share the same desire for originality that you do; meeting the budget and making the deadline are much higher priorities to them. Also, some line producers actually *want* the same sounds from episode to episode. It creates a continuity, and helps to tie the series together.&#xD;&#xA;&#xD;&#xA;Another benefit to this template approach is that you now have a go-to set of scenarios for ultra-fast turnaround projects, such as TV pilots and low-budget films. When you just have to get it done, it's great to have those pre-built FX and BGs right at your fingertips.&#xD;&#xA;&#xD;&#xA;I try not to reuse much/any material from one film to the next (unless it really makes sense to do so), but the schedules for film are usually much more forgiving than those for television.&#xD;&#xA;&#xD;&#xA;There's no shame in recycling your stuff -- remember, the best ideas are usually borrowed from someone else!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6180" PostHistoryTypeId="2" PostId="3607" RevisionGUID="bd962a78-3072-4bb0-b8e2-299ac8e00ca3" CreationDate="2010-09-16T09:03:02.057" UserDisplayName="user49" Text="A long, long time ago (eg mid 90s) I made a Filemaker Pro database to generate EDLs for PostConform (a Digidesign app for conforming) to conform ambiences for a TV series! So eg we were working on the second &amp; third cycle of a TV series, and I had composite ambiences for most locations and so I output them to timecode DAT, with a log of in/out times for each ambience... When we got each new ep I'd just cue the scenes into my Filemaker Pro database, tag ambiences to the scene &amp; then output an EDL, boot up PostConform &amp; conform the ambiences off my DAT &amp; then start tweaking....&#xD;&#xA;&#xD;&#xA;Ahhh TV, I dont miss it one bit - but it is a very good place to hone your skills &amp; get fast at cutting! As the saying goes: &quot;Its not how good you are, its how good you can be in the time available&quot;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6181" PostHistoryTypeId="2" PostId="3608" RevisionGUID="71e8830a-2e80-495a-82f0-3430682cd1f8" CreationDate="2010-09-16T09:35:57.787" UserId="238" Text="Expanding slightyl on Audity's suggestion, you could design two pieces using the same visual: one that evokes a specific emotion or feeling within the audience and another that evokes completely different emotions or feelings. Tragic vs joyeous, triumphant vs defeated etc. For your report this could bring in the posibility to address the effects different types of sounds have on the emotional impact." ContentLicense="CC BY-SA 2.5" />
  <row Id="6182" PostHistoryTypeId="2" PostId="3609" RevisionGUID="3f8e87cc-1a85-4e46-b074-5fdfe4849b55" CreationDate="2010-09-16T10:28:48.977" UserId="373" Text="I'd go with everyone else; before I owned DV Toolkit (which I actually bought from ebay for £200 - bargain!), I just used to take OMFs into the HD rig at my studio, or ask a friend at the University to import them on their systems. You can pick up a copy of Digitranslator for about £80 on ebay if you don't want the full expense, but like Ian said, its worth it just for TL Space which is awesome. And Vocalign. And everything else! Shop around and you can definately save money." ContentLicense="CC BY-SA 2.5" />
  <row Id="6183" PostHistoryTypeId="2" PostId="3610" RevisionGUID="8b98317d-1b66-49a2-8711-c6d13412cbde" CreationDate="2010-09-16T10:31:42.707" UserId="373" Text="I'm investing in some new monitors for my home studio, and I just can't decide between a set of Genelecs or the Blue Skys...... does anyone have experience of these monitors, and which ones would they recommend getting? I've used Genelecs frequently, but after reading so many good reviews I'm leaning towards the Blue Skys at the moment, but would really like some input before I splash the cash!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6184" PostHistoryTypeId="1" PostId="3610" RevisionGUID="8b98317d-1b66-49a2-8711-c6d13412cbde" CreationDate="2010-09-16T10:31:42.707" UserId="373" Text="Genelec 8030s vs Blue Sky Pro Desk - I can't decide!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6185" PostHistoryTypeId="3" PostId="3610" RevisionGUID="8b98317d-1b66-49a2-8711-c6d13412cbde" CreationDate="2010-09-16T10:31:42.707" UserId="373" Text="&lt;monitoring&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6186" PostHistoryTypeId="2" PostId="3611" RevisionGUID="0f7d5df8-fb99-4a71-8348-8fd6261757e7" CreationDate="2010-09-16T10:55:46.283" UserId="373" Text="Interesting questions - I'm currently considering selling my Fostex FR2 LE and buying a H4N; the Fostex just isn't convenient enough for me, its too bulky! I love it, but it spends most of its life sat on the shelf, I need something more handheld.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6187" PostHistoryTypeId="2" PostId="3612" RevisionGUID="12954afb-da9f-4138-8446-092982cbaf99" CreationDate="2010-09-16T11:19:09.767" UserId="533" Text="Might not be what you would like to hear but the best way to choose monitors would be to find a place to listen to them yourself. Obviously bring along some listening material that you're familiar with. That way, you'll only have yourself to blame if you don't like your purchase. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6188" PostHistoryTypeId="2" PostId="3613" RevisionGUID="eb605352-a1e7-4372-b9a5-9e392677a715" CreationDate="2010-09-16T11:35:30.200" UserId="432" Text="We don't have that particular Blue Sky system at work (we've got the Big Blue 5.1 systems), but I can vouch for the quality of the monitors they build. I know they've also had some equipment THX certified in the past.&#xD;&#xA;&#xD;&#xA;I've used Genelecs in the past as well (and we have a bunch of the 8030s in the video editing suites), and I can honestly say that I've never really trusted how well the audio you mix on them translates in another setting. I've found mixed results mixing with them when I take them to another system for listening comparisons (even other Genelecs, like in our screening room). That hasn't been an issue with the Blue Sky systems, and mixes that we've previously done on the Genelecs don't sound so great on the Blue Sky systems. The reverse is not true though, the mixes we do on the Blue Sky monitors have been great on most other systems.&#xD;&#xA;&#xD;&#xA;I'll admit, this difference is also largely affected by the fact that we have much better mixing rooms now (acoustically speaking). Personally though, after years of weird experiences with Genelec speakers (not just in this job either), I would go with a Blue Sky system over them any day." ContentLicense="CC BY-SA 2.5" />
  <row Id="6189" PostHistoryTypeId="2" PostId="3614" RevisionGUID="f17fe364-f9aa-4110-823a-f96a8c915e21" CreationDate="2010-09-16T11:44:42.453" UserId="533" Text="**Elastic Pitch**&#xD;&#xA;The new elastic functions are very useful for editing especially if you're trying things out. Select a region and open &quot;Elastic Properties&quot; and you can do a whole bunch like pitch, etc non-destructively. &#xD;&#xA;&#xD;&#xA;**Air Plugins**&#xD;&#xA;I feel that these are a great set of plugins if you don't have plugins that already do those stuff. &#xD;&#xA;&#xD;&#xA;**Playlists**&#xD;&#xA;I really don't understand why it took so long for this to appear in Pro Tools but its really a game-changer. Work on multiple variants without increasing track counts. Sessions are much neater with playlists.&#xD;&#xA;&#xD;&#xA;**Display Multiple Automation Lines**&#xD;&#xA;When I automate, its not simple. Its really useful to be able to see more than one parameter at the same time.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6190" PostHistoryTypeId="2" PostId="3615" RevisionGUID="7343705f-b857-40db-8e19-e6ac2f3ce3e3" CreationDate="2010-09-16T11:47:55.150" UserId="564" Text="Great question/idea......I had never thought about setting up premade background ambiances.  Makes sense especially if,  like someone said, you're working on a TV series and want the continuity.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6192" PostHistoryTypeId="2" PostId="3617" RevisionGUID="288ab58c-0f6d-46d4-9c90-2062ad8e4951" CreationDate="2010-09-16T14:03:11.993" UserId="62" Text="I do this too. A show that we've just finished had a lot of repeated sequences and locations. For the locations I gave tracklay the groups to save them time layering up the same set of sounds each time we're in that location. I also did that for transition sounds (matching the flying logo). It's really handy if you get lots of repeated things.&#xD;&#xA;&#xD;&#xA;Time got even tighter so I ended up playing out mixed stereo files for the repeated atmoses and used them instead as I didn't need to balance the individual sounds to create the same mix each time." ContentLicense="CC BY-SA 2.5" />
  <row Id="6193" PostHistoryTypeId="2" PostId="3618" RevisionGUID="d3978845-4afd-4e2e-9c0d-445fa3bd544c" CreationDate="2010-09-16T14:11:50.277" UserId="62" Text="Overall I'm agreeing with all of the above. However, I'm not liking the new I/O in 8.1&#xD;&#xA;&#xD;&#xA;My issue is when I import tracks from another session (say the Main Titles mix stems), it adds buses with (1) on the end instead of automatically routing them to outputs of the same name that are already in the session. Still haven't figured out why I can't change this, anyone know?&#xD;&#xA;&#xD;&#xA;In case people want to know I discovered that a lot of the plugins that are free in v8 will work in v7, e.g. Vari-Fi. Just got a load of free plugins for my personal LE7.4 rig at home. Hurrah!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6195" PostHistoryTypeId="2" PostId="3620" RevisionGUID="6d7c7c09-8751-4ceb-90da-67f74b5fc356" CreationDate="2010-09-16T16:58:42.177" UserId="18160" Text="Ok so I am doing sound design for fun and practice on a random video I found.&#xD;&#xA;&#xD;&#xA;I am putting in foley first - intimate and very detailed.&#xD;&#xA;&#xD;&#xA;The first scene is someone in a living room receiving a phone call warning him of a sniper and getting nearly sniped through a window (I know what you're thinking, it's not the Bourne Identity, but very similar and that's actually what I'm using as a reference).&#xD;&#xA;&#xD;&#xA;I feel like I don't have anything good for the interior of the living room. You see trees blowing in the wind outside a closed window... I tried putting a forest ambience with a low-pass filter on it but it just sounded like hiss to me in the mix. I don't want to put birds because I want the audience to feel tension. Maybe a eerie drone of a A/C vent?&#xD;&#xA;&#xD;&#xA;Maybe I started off on the wrong foot, because I feel like there are large gaps missing between each foley sequence... How do you connect up foley sounds and the gaps between them into a melded whole? That's really tough and I envy those who can do that easily!&#xD;&#xA;&#xD;&#xA;Should I have started with the Ambiences/Backgrounds so I have a space for the foley to sit in? A long time ago I think I asked a question on how you build a scene and I think that was the most popular answer... Maybe I am just not applying good advice. Good going, Ryan....&#xD;&#xA;&#xD;&#xA;Also, I don't have a clue what the music will sound like. I guess that's up to me later, but most of you don't hear the score of what you're working on until later, yes?&#xD;&#xA;&#xD;&#xA;I feel like something is missing. I'll upload what I have so far soon so you can critique it but that shouldn't be for a while.&#xD;&#xA;&#xD;&#xA;What do you guys do when you feel like something is missing or it isn't &quot;full&quot; enough yet. Do you go and grab a well-known similar movie and watch for what they did in that film? Do you walk away and come back with a fresh viewpoint?&#xD;&#xA;&#xD;&#xA;Thanks! Your guys' experience is always very appreciated." ContentLicense="CC BY-SA 2.5" />
  <row Id="6196" PostHistoryTypeId="1" PostId="3620" RevisionGUID="6d7c7c09-8751-4ceb-90da-67f74b5fc356" CreationDate="2010-09-16T16:58:42.177" UserId="18160" Text="Something is Missing... What do you do?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6197" PostHistoryTypeId="3" PostId="3620" RevisionGUID="6d7c7c09-8751-4ceb-90da-67f74b5fc356" CreationDate="2010-09-16T16:58:42.177" UserId="18160" Text="&lt;sound-design&gt;&lt;missing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6198" PostHistoryTypeId="5" PostId="3620" RevisionGUID="e08da63c-ec17-46d9-a9e5-c07ff99af8a5" CreationDate="2010-09-16T17:05:21.580" UserId="18160" Comment="added 1 characters in body" Text="Ok so I am doing sound design for fun and practice on a random video I found.&#xD;&#xA;&#xD;&#xA;I am putting in foley first - intimate and very detailed.&#xD;&#xA;&#xD;&#xA;The first scene is someone in a living room receiving a phone call warning him of a sniper and getting nearly sniped through a window (I know what you're thinking, it's not the Bourne Identity, but very similar and that's actually what I'm using as a reference).&#xD;&#xA;&#xD;&#xA;I feel like I don't have anything good for the interior of the living room. You see trees blowing in the wind outside a closed window... I tried putting a forest ambience with a low-pass filter on it but it just sounded like hiss to me in the mix. I don't want to put birds because I want the audience to feel tension. Maybe an eerie drone of a A/C vent?&#xD;&#xA;&#xD;&#xA;Maybe I started off on the wrong foot, because I feel like there are large gaps missing between each foley sequence... How do you connect up foley sounds and the gaps between them into a melded whole? That's really tough and I envy those who can do that easily!&#xD;&#xA;&#xD;&#xA;Should I have started with the Ambiences/Backgrounds so I have a space for the foley to sit in? A long time ago I think I asked a question on how you build a scene and I think that was the most popular answer... Maybe I am just not applying good advice. Good going, Ryan....&#xD;&#xA;&#xD;&#xA;Also, I don't have a clue what the music will sound like. I guess that's up to me later, but most of you don't hear the score of what you're working on until later, yes?&#xD;&#xA;&#xD;&#xA;I feel like something is missing. I'll upload what I have so far soon so you can critique it but that shouldn't be for a while.&#xD;&#xA;&#xD;&#xA;What do you guys do when you feel like something is missing or it isn't &quot;full&quot; enough yet. Do you go and grab a well-known similar movie and watch for what they did in that film? Do you walk away and come back with a fresh viewpoint?&#xD;&#xA;&#xD;&#xA;Thanks! Your guys' experience is always very appreciated." ContentLicense="CC BY-SA 2.5" />
  <row Id="6199" PostHistoryTypeId="2" PostId="3621" RevisionGUID="f3922e56-0adc-4959-bad1-dede5647ec04" CreationDate="2010-09-16T18:34:09.987" UserId="338" Text="Maybe the ticking of a clock like, time is running out or a dripping faucet, or maybe a radio broadcast of some kind or TV.  Since it is windy you could use creaking house sounds that is eerie.  A rattle could be added on the AC vent maybe a pitched down motor revving mixed in a swell to symbolize the waiting. Probably a good idea to lowpass events outside the window.  Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="6200" PostHistoryTypeId="5" PostId="3606" RevisionGUID="60239080-7ecd-4bf2-aad3-ee9420e3c738" CreationDate="2010-09-16T18:38:11.080" UserId="61" Comment="additional information; deleted 24 characters in body" Text="Well, it really comes down to time constraints. I've worked on many television shows where this was the standard practice, and although I went in with the &quot;make it unique every time&quot; mindset, I quickly understood the value of template BGs and FX and adopted the workflow.&#xD;&#xA;&#xD;&#xA;Bear in mind that many network/cable program execs don't share the same desire for originality that you do; meeting the budget and making the deadline are much higher priorities to them. Also, some line producers actually *want* the same sounds from episode to episode. It creates a continuity, and helps to tie the series together.&#xD;&#xA;&#xD;&#xA;Another benefit to this template approach is that you now have a go-to set of scenarios for ultra-fast turnaround projects, such as TV pilots and low-budget films. When you just have to get it done, it's great to have those pre-built FX and BGs right at your fingertips.&#xD;&#xA;&#xD;&#xA;I try not to reuse much/any material from one film to the next (unless it really makes sense to do so), but the schedules for film are usually much more forgiving than those for television.&#xD;&#xA;&#xD;&#xA;There's no shame in recycling your stuff -- remember, the best ideas are usually borrowed from someone else!&#xD;&#xA;&#xD;&#xA;**PS:** I wouldn't bother with region groups since you will lose all volume and panning automation. Better to keep recurring sounds in a template session and then import tracks from that as needed." ContentLicense="CC BY-SA 2.5" />
  <row Id="6201" PostHistoryTypeId="2" PostId="3622" RevisionGUID="a6ca062c-4dce-4670-96e8-1c2c153a8268" CreationDate="2010-09-16T18:56:43.647" UserId="88" Text="You mentioned not having added ambience yet -- do you have some quiet room tone in?  I sometimes have trouble accepting a scene I'm adding effects to without that.  Also, you've probably considered this, but maybe the foley is mixed a tad hot given the sparse (lack of) background, making the gaps feel more pronounced.&#xD;&#xA;&#xD;&#xA;Refrigerator hum, HVAC, maybe a television or radio in the next room, etc. are all things you could play with to fill out the track and add/adjust tension as the moment of&#xD;&#xA;the phone call approaches.&#xD;&#xA;&#xD;&#xA;I'm a little hesitant to turn to an existing, similar scene as reference because that makes it harder to put a new spin on what I'm doing. That said, sometimes it's probably best to imitate what's come before.  Looking forward to seeing the veterans here weigh in on this one.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6202" PostHistoryTypeId="2" PostId="3623" RevisionGUID="619432d4-ee95-4401-bc50-1203c8aca152" CreationDate="2010-09-16T19:03:12.653" UserId="572" Text="I have 4 very old ( I think ) cassettes tapes which have on them a friends fathers voice prior to him passing. They were recorded on around 1968. I do not know if cassettes were around back then or what they used prior to recording them to the cassettes. I am using audacity on both mac and pc. It seems that it was recorded very quiet or the tape has degraded. Lots of hiss. As a noobie to sound what would any one recommend on how to go forward and bring back the voices.&#xD;&#xA;&#xD;&#xA;Thanks in advance&#xD;&#xA;&#xD;&#xA;Laurence" ContentLicense="CC BY-SA 2.5" />
  <row Id="6203" PostHistoryTypeId="1" PostId="3623" RevisionGUID="619432d4-ee95-4401-bc50-1203c8aca152" CreationDate="2010-09-16T19:03:12.653" UserId="572" Text="very old, early 70s if not early cassette tapes" ContentLicense="CC BY-SA 2.5" />
  <row Id="6204" PostHistoryTypeId="3" PostId="3623" RevisionGUID="619432d4-ee95-4401-bc50-1203c8aca152" CreationDate="2010-09-16T19:03:12.653" UserId="572" Text="&lt;tape&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6205" PostHistoryTypeId="2" PostId="3624" RevisionGUID="28b93493-8064-4a9e-ba8a-0cf1e75e5374" CreationDate="2010-09-16T19:12:02.197" UserId="18160" Text="It was most likely recorded onto another type of tape and transferred to cassette at a later date.&#xD;&#xA;&#xD;&#xA;I don't know if Izotope RX works on Audacity, but that is a very good plug-in to reduce tape hiss. You can download a trial version and test it out for yourself.&#xD;&#xA;&#xD;&#xA;Post a sample on Soundcloud and I'll listen to it for you - these types of things vary widely an without actually hearing it I can't give much detailed advice. Even a half of a sentence or a couple words would give me an idea.&#xD;&#xA;&#xD;&#xA;You can also try this link: http://www.deeplysimple.net/2006/10/removing-hiss-with-audacity.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="6206" PostHistoryTypeId="2" PostId="3625" RevisionGUID="a2c8ad5e-bf50-49dc-8146-09fd7c3448f6" CreationDate="2010-09-16T22:08:06.443" UserId="61" Text="If you're trying to build tension, try the following offstage sounds:&#xD;&#xA;&#xD;&#xA; 1. baby crying down the hall / next&#xD;&#xA;    room&#xD;&#xA; 2. distant approaching sirens&#xD;&#xA; 3. moody birds, ie. crows, ravens, etc.&#xD;&#xA; 4. distant thunder&#xD;&#xA; 5. car alarms (if in the city)&#xD;&#xA; 6. absolute silence&#xD;&#xA;&#xD;&#xA;These are not magic bullets, but have certain cliché value and have worked in past scenarios." ContentLicense="CC BY-SA 2.5" />
  <row Id="6207" PostHistoryTypeId="2" PostId="3626" RevisionGUID="3e87ebba-1c55-4b44-a83a-3ee4343d3998" CreationDate="2010-09-17T00:51:54.497" UserId="29" Text="Just today I was recording a window rattling as large trucks rumbled by. Dunno what your setting is, but a truck rumble with either glasses rattling (too close together in the cabinets) or the windows rattling in their casements is something I'd not considered as a tension element until 8am this morning...especially if the sniper's bullet is incoming through a window, might be a neat subconcious foreshadowing..?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6208" PostHistoryTypeId="5" PostId="3511" RevisionGUID="3a3c1d94-5c9e-4516-bc8c-4e6fce68dcd1" CreationDate="2010-09-17T01:14:03.760" UserId="88" Comment="added 2 characters in body" Text="My friends and I were very into moviemaking in high school.  I loved editing picture (on our old deck-to-deck VHS), but my favorite part of post was adding MX/FX to the linear tracks to augment what we'd shot.  I'd played piano since second grade and had perfect pitch, but considered myself &quot;someone who plays piano&quot; rather than a &quot;musician,&quot; and didn't think I'd make it even as a music minor.  I went to school for film and thought I'd go into picture editing, but got hooked on production sound work after a fantastic seminar by a visiting production mixer.  After recording dialogue for a number of student and independent films, I started leaning toward something more creative (production mixing involves tons of creative problem-solving, but not so much artistic creativity) and turned to sound design." ContentLicense="CC BY-SA 2.5" />
  <row Id="6209" PostHistoryTypeId="2" PostId="3627" RevisionGUID="faf4a53a-2bbe-4892-9b84-4c049c37f02f" CreationDate="2010-09-17T02:19:59.313" UserId="235" Text="This is something of a side note, but you had mentioned your wind through trees sound being too hissy.  To get something with more definition, try bringing a few branches into the studio and shaking those.  Or better yet, point your mic at a window and shake the branches from outside.  Are the branches touching the house?  What about scraping sounds?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6210" PostHistoryTypeId="5" PostId="3622" RevisionGUID="37b012d5-b626-4622-b713-a7da88b46690" CreationDate="2010-09-17T03:36:15.663" UserId="88" Comment="added 90 characters in body" Text="You mentioned not having added ambience yet -- do you have some quiet room tone in?  I sometimes have trouble accepting a scene I'm adding effects to without that.  Also, you've probably considered this, but maybe the foley is mixed a tad hot given the sparse (lack of) background, making the gaps feel more pronounced.&#xD;&#xA;&#xD;&#xA;Refrigerator hum, HVAC, maybe a television or radio in the next room, etc. are all things you could play with to fill out the track and add/adjust tension as the moment of&#xD;&#xA;the phone call approaches.  There's always the house itself, too -- creaks and snaps, settling/groans (done subtly).&#xD;&#xA;&#xD;&#xA;I'm a little hesitant to turn to an existing, similar scene as reference because that makes it harder to put a new spin on what I'm doing. That said, sometimes it's probably best to imitate what's come before.  Looking forward to seeing the veterans here weigh in on this one.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6211" PostHistoryTypeId="5" PostId="3623" RevisionGUID="d7070569-d8af-4cc7-8d2b-82e3358cfcf7" CreationDate="2010-09-17T06:28:07.447" UserId="61" Comment="grammar" Text="I have 4 very old (I think) cassette tapes which have on them a friend's father's voice prior to him passing. They were recorded around 1968. I do not know if cassettes were around back then or what they used prior to recording them to cassettes. I am using Audacity on both mac and pc. It seems that it was recorded very quiet or the tape has degraded. Lots of hiss. As a noobie to sound what would anyone recommend on how to go forward and bring back the voices.&#xD;&#xA;&#xD;&#xA;Thanks in advance&#xD;&#xA;&#xD;&#xA;Laurence" ContentLicense="CC BY-SA 2.5" />
  <row Id="6212" PostHistoryTypeId="4" PostId="3623" RevisionGUID="d7070569-d8af-4cc7-8d2b-82e3358cfcf7" CreationDate="2010-09-17T06:28:07.447" UserId="61" Comment="grammar" Text="very old, early 70s if not earlier cassette tapes" ContentLicense="CC BY-SA 2.5" />
  <row Id="6213" PostHistoryTypeId="5" PostId="2584" RevisionGUID="803d811f-3181-4736-8f0e-61383ff47b52" CreationDate="2010-09-17T07:49:31.603" UserId="61" Comment="deleted 25 characters in body" Text="In my limited experience I have found the budgets to be far more generous than film, although it's really difficult to compare the two. Video games require sound design from the earliest stages, while film usually doesn't start the sound department until after the first picture edit has been completed. This can be the difference between 3 years vs. 5 months, respectively. And regarding respect, well, I suppose that all depends on your experience level, attitude, and how talented you are!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6214" PostHistoryTypeId="2" PostId="3628" RevisionGUID="de83f920-42af-454c-ad9f-5ed0bbdbb317" CreationDate="2010-09-17T15:10:24.377" UserId="62" Text="Hey Ryan,&#xD;&#xA;&#xD;&#xA;I can't think of any actual suggestions that don't differ from above. However, you might want to watch [Hamlet][1] for some inspiration. I really liked the atmos tracks they created for it. It's almost like white noise but it's incessant use really adds to the building sense of doom (plus it's a great adaptation of the play).&#xD;&#xA;&#xD;&#xA;Ian&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://uk.imdb.com/title/tt1449175/combined" ContentLicense="CC BY-SA 2.5" />
  <row Id="6215" PostHistoryTypeId="2" PostId="3629" RevisionGUID="11b7a15d-c5a8-4e62-aa94-5cf7dd77f77b" CreationDate="2010-09-17T16:01:43.010" UserId="564" Text="Sound design is an art.  With each artist, comes the inevitable non-conforming attitude when it comes to change in their work.  I've found quite the opposite when working in sound design than that of say, a band.....where it seems advantageous to get more brains thinking about, re-recording, and re-editing certain designs and cuts.&#xD;&#xA;&#xD;&#xA;Do you prefer to work within a group for projects, or by yourself?  Why?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6216" PostHistoryTypeId="1" PostId="3629" RevisionGUID="11b7a15d-c5a8-4e62-aa94-5cf7dd77f77b" CreationDate="2010-09-17T16:01:43.010" UserId="564" Text="Solo vs. Team - Sound Design" ContentLicense="CC BY-SA 2.5" />
  <row Id="6217" PostHistoryTypeId="3" PostId="3629" RevisionGUID="11b7a15d-c5a8-4e62-aa94-5cf7dd77f77b" CreationDate="2010-09-17T16:01:43.010" UserId="564" Text="&lt;design&gt;&lt;re-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6218" PostHistoryTypeId="2" PostId="3630" RevisionGUID="9529f134-9fa0-4380-882e-c2537c1ef6aa" CreationDate="2010-09-17T17:13:24.123" UserId="270" Text="Yesterday the CEO of Activision said that within a few years he expects to be selling 'films' for $20-30.  Developers of big budget modern games often put a lot of resources into making cutscene fmvs which he apparently thinks gamers will be want to purchase without the actual game!&#xD;&#xA;&#xD;&#xA;So for some sound designers the future of game sound may be getting closer to sound for film.&#xD;&#xA;&#xD;&#xA;On the other hand, technology that allows the playback/synthesis of sound to change in response to user input will become more elaborate, that's different to film sound because a game's soundtrack can be very different every time you play it.&#xD;&#xA;&#xD;&#xA;There is a company called AudioKinetic which makes tools for game audio development, they have software called Soundseed Air &amp; Impact which use synthesis techniques to give sound effects different characteristics depending on the context (e.g. a weapon impact sound could be changed to sound bigger or smaller depending on the size of the character using it)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6219" PostHistoryTypeId="2" PostId="3631" RevisionGUID="d968c4f3-3e6e-44a2-8b7d-c242a3f5d5e6" CreationDate="2010-09-17T17:27:02.930" UserId="18160" Text="I do both, and personally, for projects I like working with a group I know and trust.&#xD;&#xA;&#xD;&#xA;You get 20X the amount of work done when working with a group, than by yourself. Not to say that working by yourself can't be done with great results (Hurt Locker, for instance), but I'm just more of a people person myself.&#xD;&#xA;&#xD;&#xA;You can brainstorm and work with ideas and come up with new viewpoints in a group. On your own, you're stuck with your own experience - which right now I'm finding tough because I am working on a project on my own this very minute and have hit a &quot;designer's block&quot; slump.&#xD;&#xA;&#xD;&#xA;Sure, you can call all the shots when you're by yourself, but sometimes it's good to receive direction from a supervisor you know and trust the opinion of.&#xD;&#xA;&#xD;&#xA;I find working by myself is bad for my health (staying up until 4 or sometimes 8 in the morning, drinking red-bull, missing family activities... Like Ben Burtt says at the end of this speech: [vimeo]7670851[/vimeo]&#xD;&#xA;&#xD;&#xA;There are pros and cons to working in both. But, in the end, I like working in a group better than on my own because of the faster work-flow and overall feeling of morale when it's all done. I mean, when you finish a movie by yourself, who are you going to party with? :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6220" PostHistoryTypeId="5" PostId="3631" RevisionGUID="5e3df019-a7bf-46da-b547-7cb2a8d3d268" CreationDate="2010-09-17T17:41:50.427" UserId="18160" Comment="added 202 characters in body; added 15 characters in body" Text="I do both, and personally, for projects I like working with a group I know and trust.&#xD;&#xA;&#xD;&#xA;You get 20X the amount of work done when working with a group, than by yourself. Not to say that working by yourself can't be done with great results (Hurt Locker, for instance), but I'm just more of a people person myself.&#xD;&#xA;&#xD;&#xA;You can brainstorm and work with ideas and come up with new viewpoints in a group. On your own, you're stuck with your own experience - which right now I'm finding tough because I am working on a project on my own this very minute and have hit a &quot;designer's block&quot; slump.&#xD;&#xA;&#xD;&#xA;Sure, you can call all the shots when you're by yourself, but sometimes it's good to receive direction from a supervisor you know and trust the opinion of.&#xD;&#xA;&#xD;&#xA;I find working by myself is bad for my health (staying up until 4 or sometimes 8 in the morning, drinking red-bull, missing family activities... Like Ben Burtt says at the end of this speech: [vimeo]7670851[/vimeo]&#xD;&#xA;&#xD;&#xA;There are pros and cons to working in both. But, in the end, I like working in a group better than on my own because of the faster work-flow and overall feeling of morale when it's all done. I mean, when you finish a movie by yourself, who are you going to party with? :)&#xD;&#xA;&#xD;&#xA;Think of what the mixing stage must have been like when you had Erik Aadahl and Ethan Van Der Ryn in there at the same time (Transformers)... Must have been awesome and fun to work with them.. I can only dream...." ContentLicense="CC BY-SA 2.5" />
  <row Id="6221" PostHistoryTypeId="5" PostId="3631" RevisionGUID="cb469a7f-7945-4e5f-8dad-fb48f489c2e6" CreationDate="2010-09-17T17:48:33.503" UserId="18160" Comment="added 193 characters in body" Text="I do both, and personally, for projects I like working with a group I know and trust.&#xD;&#xA;&#xD;&#xA;You get 20X the amount of work done when working with a group, than by yourself. Not to say that working by yourself can't be done with great results (Hurt Locker, for instance), but I'm just more of a people person myself.&#xD;&#xA;&#xD;&#xA;You can brainstorm and work with ideas and come up with new viewpoints in a group. On your own, you're stuck with your own experience - which right now I'm finding tough because I am working on a project on my own this very minute and have hit a &quot;designer's block&quot; slump.&#xD;&#xA;&#xD;&#xA;Sure, you can call all the shots when you're by yourself, but sometimes it's good to receive direction from a supervisor you know and trust the opinion of.&#xD;&#xA;&#xD;&#xA;I find working by myself is bad for my health (staying up until 4 or sometimes 8 in the morning, drinking red-bull, missing family activities... Like Ben Burtt says at the end of this speech: [vimeo]7670851[/vimeo]&#xD;&#xA;&#xD;&#xA;There are pros and cons to working in both. But, in the end, I like working in a group better than on my own because of the faster work-flow and overall feeling of morale when it's all done. I mean, when you finish a movie by yourself, who are you going to party with? :)&#xD;&#xA;&#xD;&#xA;Think of what the mixing stage must have been like when you had Erik Aadahl and Ethan Van Der Ryn in there at the same time (Transformers)... Must have been awesome and fun to work with them.. I can only dream....&#xD;&#xA;&#xD;&#xA;Oh yeah and here's a great article I almost forgot to post a link to:&#xD;&#xA;&#xD;&#xA;https://www.editorsguild.com/Magazine.cfm?ArticleID=848&#xD;&#xA;&#xD;&#xA;It's about sound design teams and how they work together." ContentLicense="CC BY-SA 2.5" />
  <row Id="6222" PostHistoryTypeId="2" PostId="3632" RevisionGUID="044635d2-f160-4704-9d54-77184ceba313" CreationDate="2010-09-17T18:07:21.407" UserId="564" Text="I like the road you're going down in terms of your process.  For me, I go with #1.  Dialogue, #2.  Music, #3.  SFX.  When your dialogue is sweetened, it helps in how you make your musical score cuts.  Depending on your dialogue, that could decide how much, if any, roomtone you will need to help blend your DX tracks.  And SFX last just makes the picture sound more slick with each nuance you add.  &#xD;&#xA;&#xD;&#xA;As for your question on the outside ambiance.......I would try to find a storm ambiance and work on EQing it to give it a &quot;muffled&quot; feel like it normally would watching a storm in your own house.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6223" PostHistoryTypeId="2" PostId="3633" RevisionGUID="95eba7c0-a6e8-4c24-876f-e91f671abe14" CreationDate="2010-09-17T18:34:59.613" UserId="573" Text="Early in my career, I had to design an effect of a steam train pulling into the station.  I had the idea to strip the highs and mids off of a helicopter SFX, then relocated the theater subwoofers under the modular seating.  I layered in the helicopter to the existing effect I had built, and when the train pulled in, the seating rattled.  Everynight, people turned around to look at where the sound was coming from, as if the train really was pulling in behind them." ContentLicense="CC BY-SA 2.5" />
  <row Id="6224" PostHistoryTypeId="2" PostId="3634" RevisionGUID="6cda6a3f-7fa6-4ef8-8d95-4426b669e84a" CreationDate="2010-09-17T18:42:22.547" UserId="573" Text="I frequently find myself editing music for dance team and cheerleading performances.  Can anyone recommend a good collection of &quot;Cheer effects&quot; (for lack of a better term)?  Thanks in advance." ContentLicense="CC BY-SA 2.5" />
  <row Id="6225" PostHistoryTypeId="1" PostId="3634" RevisionGUID="6cda6a3f-7fa6-4ef8-8d95-4426b669e84a" CreationDate="2010-09-17T18:42:22.547" UserId="573" Text="Cheer and Dance Team SFX collections?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6226" PostHistoryTypeId="3" PostId="3634" RevisionGUID="6cda6a3f-7fa6-4ef8-8d95-4426b669e84a" CreationDate="2010-09-17T18:42:22.547" UserId="573" Text="&lt;sfx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6227" PostHistoryTypeId="2" PostId="3635" RevisionGUID="7d0b5b11-f519-43cc-a526-b3716fa95792" CreationDate="2010-09-17T21:28:29.247" UserId="62" Text="Great question Colin!&#xD;&#xA;&#xD;&#xA;I recorded the fridge in my flat while at Uni. With a little processing it's become both a noisy air con system and the interior of a flying propeller airplane. Must dig it out from my library again." ContentLicense="CC BY-SA 2.5" />
  <row Id="6228" PostHistoryTypeId="2" PostId="3636" RevisionGUID="e1f8003c-e8e2-42ae-9ada-94a26d8cb06c" CreationDate="2010-09-17T21:46:59.227" UserId="61" Text="If it were me, I would schedule a recording session with a few cheer squads and record my own sets, both interior and exterior. That way you are getting exactly the material you want and need, plus you can reuse for future projects.&#xD;&#xA;&#xD;&#xA;If you go that route, be sure to record with multiple mic setups and recorders, getting plenty of variety. And when you are done, be sure to make a donation to either the school or squad as thanks for their time and talent. Oh, and pizza doesn't hurt, either! " ContentLicense="CC BY-SA 2.5" />
  <row Id="6229" PostHistoryTypeId="2" PostId="3637" RevisionGUID="49dcd1bb-6f0c-4e77-8a91-af2cdeea58f4" CreationDate="2010-09-18T00:21:52.000" UserId="455" Text="High speed trains recorded from a distance sound pretty scary.  Look (listen?) into it as an alternative to eerie wind/ breaths." ContentLicense="CC BY-SA 2.5" />
  <row Id="6230" PostHistoryTypeId="2" PostId="3638" RevisionGUID="44654c30-f638-418b-a1fe-bd10d6343871" CreationDate="2010-09-18T00:52:39.523" UserId="18160" Text="I got in a bit of a discussion today about the origin of the word STEM.&#xD;&#xA;&#xD;&#xA;I personally believe it comes from a combination of STEREO MASTER = STEreo Master = STEM.&#xD;&#xA;&#xD;&#xA;My coworker thinks that's bunk because 5.1 Stems are still called Stems, and they're 5.1. So, it's just a different use of the word Stem which means branching off from something.&#xD;&#xA;&#xD;&#xA;Does anyone know the actual origin of the word &quot;Stem&quot; as we use it in mixing?&#xD;&#xA;&#xD;&#xA;I googled and I googled and I googled and now I'm all googled out. I couldn't find it.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="6231" PostHistoryTypeId="1" PostId="3638" RevisionGUID="44654c30-f638-418b-a1fe-bd10d6343871" CreationDate="2010-09-18T00:52:39.523" UserId="18160" Text="What's the origin of the word &quot;Stem&quot;?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6232" PostHistoryTypeId="3" PostId="3638" RevisionGUID="44654c30-f638-418b-a1fe-bd10d6343871" CreationDate="2010-09-18T00:52:39.523" UserId="18160" Text="&lt;stems&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6233" PostHistoryTypeId="2" PostId="3639" RevisionGUID="127c27df-d87d-478c-b0ca-2037bee08a70" CreationDate="2010-09-18T01:56:58.407" UserId="88" Text="A quad recording of an SUV interior on dirt roads (coming back from a shoot) was used for one element of a pickup truck interior steady, pitched down to become the shaky walls of bombed-out metal buildings as the wind blows outside, and pitched wayy down into a subby earthquake element." ContentLicense="CC BY-SA 2.5" />
  <row Id="6234" PostHistoryTypeId="2" PostId="3640" RevisionGUID="f07a5d06-0984-4ed6-9798-6273b688a9f4" CreationDate="2010-09-18T02:11:55.933" UserId="414" Text="I am looking at profiles of other designers, and they all seemed to get their start from  a super-specialized, super-expensive audio school. Is it actually a disadvantage to go to a traditional liberal arts school?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6235" PostHistoryTypeId="1" PostId="3640" RevisionGUID="f07a5d06-0984-4ed6-9798-6273b688a9f4" CreationDate="2010-09-18T02:11:55.933" UserId="414" Text="Does a four year degree really matter?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6236" PostHistoryTypeId="3" PostId="3640" RevisionGUID="f07a5d06-0984-4ed6-9798-6273b688a9f4" CreationDate="2010-09-18T02:11:55.933" UserId="414" Text="&lt;education&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6237" PostHistoryTypeId="2" PostId="3641" RevisionGUID="88ebd34b-9c86-4cd4-a50b-91f2b7486355" CreationDate="2010-09-18T02:16:32.837" UserId="253" Text="Interesting question... I'm not sure about STEreo Master, because that sounds a bit misleading. In my head, a stereo master is the completed whole program; in stereo. &#xD;&#xA;&#xD;&#xA;In my head it's a bit metaphorical; like stems on a plant. Mixers can be poetic too, can't they?&#xD;&#xA;&#xD;&#xA;That's all i got." ContentLicense="CC BY-SA 2.5" />
  <row Id="6238" PostHistoryTypeId="2" PostId="3642" RevisionGUID="18cefb8e-eec8-436f-93e9-7784d75bcd12" CreationDate="2010-09-18T03:01:30.140" UserId="432" Text="I would say it's not a disadvantage, the issue is how you apply yourself. It's easy to learn the technical nuts and bolts of our craft, what isn't is how to apply techniques and ideas from other disciplines. In order to do that, you need to have some appreciation for those disciplines.&#xD;&#xA;&#xD;&#xA;The people who are successful in this business are constantly working to improve and challenge themselves, and they're constantly working (even if they're not on an actual project). And by successful, I don't mean the few people who win oscars or are constantly working on Michael Bay films. Anyone who has gotten to a point where they can support themselves (and possibly others) financially while doing this work is a success in my book. It's not easy to find work in this field, there's no doubt about it. Be ready to commit for the long haul; it's the only way you'll have any chance...regardless of which school you go to." ContentLicense="CC BY-SA 2.5" />
  <row Id="6239" PostHistoryTypeId="2" PostId="3643" RevisionGUID="5acc898e-3207-48de-94cc-84ab9814e37e" CreationDate="2010-09-18T03:36:16.030" UserId="225" Text="On the one hand, I appreciate the need to distinguish between recording and production as a recording or mixing engineer, for example, and the broader field of sound design.&#xD;&#xA;&#xD;&#xA;What do you think?&#xD;&#xA;&#xD;&#xA;http://area51.stackexchange.com/proposals/4?phase=definition&#xD;&#xA;&#xD;&#xA;(I have been a little disappointed over the course of StackExchange's existence that several websites are redundant and hurt each other's value.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6240" PostHistoryTypeId="1" PostId="3643" RevisionGUID="5acc898e-3207-48de-94cc-84ab9814e37e" CreationDate="2010-09-18T03:36:16.030" UserId="225" Text="[meta] Are you aware of the proposed &quot;Audio Recording and Production&quot; site? What do you think?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6241" PostHistoryTypeId="3" PostId="3643" RevisionGUID="5acc898e-3207-48de-94cc-84ab9814e37e" CreationDate="2010-09-18T03:36:16.030" UserId="225" Text="&lt;meta&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6243" PostHistoryTypeId="2" PostId="3645" RevisionGUID="d8b288f1-600f-4afe-a520-5f293d63fe5e" CreationDate="2010-09-18T05:58:33.000" UserId="61" Text="50 years ago, the job of an sound editor was given mostly to people who worked their way up from the deep recesses of either a studio or an independent sound company; folks who started in the mail room or the transfer department, or started as drivers and worked their way up to apprentice or librarian classification. In fact, sound design/sound engineering as a curriculum to be majored in didn't even exist until the last 25 years or so. So to say that you have to graduate from an expensive 4-year speciality school to do this job is simply false.&#xD;&#xA;&#xD;&#xA;Does it hurt to have this education? Of course not. There are some wildly talented people teaching in some really great schools, and there's much to be learned and experienced there before plunging into the world of real jobs and real risks.&#xD;&#xA;&#xD;&#xA;Does having this education under your belt give you all the tools needed to be a great sound designer? The answer is a big fat **NO**. I've known folks that shelled out the cash, did the time, graduated and then went on to be…accountants, nurses, computer programmers, etc. Why? Didn't they learn everything necessary to be the best? I don't think it's that simple. I equate it with music or art - you have to have an aptitude for it, you need to have it in your nature. It should come naturally, formal education or not. Born with it. The tech can be taught and learned, but the desire and drive has to already be there.&#xD;&#xA;&#xD;&#xA;So, no advice being given here, just words of encouragement for those who really want to do this but don't have the funds. And words of warning for those who think money can buy you talent." ContentLicense="CC BY-SA 2.5" />
  <row Id="6244" PostHistoryTypeId="2" PostId="3646" RevisionGUID="26b085c2-4f9b-4cb8-9ee2-da26dc07d0c0" CreationDate="2010-09-18T06:57:10.463" UserId="61" Text="Hmm, not exactly sure I understand you're question…are you asking if that site needs to exist independently of this site (SSD)? Or if it is redundant, and there should be only one site where folks can address many topics?&#xD;&#xA;&#xD;&#xA;Personally, from a really quick scan through the postings and replies/comments, it comes across as harsh and heavy-handed with a bunch of irrelevant and annoying questions. (Maybe it's good that that site *does* exist, so they don't flood us instead!)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6245" PostHistoryTypeId="6" PostId="3634" RevisionGUID="7a8e5eac-f5f7-4e66-b81e-4f885bdda65b" CreationDate="2010-09-18T07:02:15.600" UserId="61" Comment="retag" Text="&lt;boutique&gt;&lt;sound-libraries&gt;&lt;sound-effects-recording&gt;&lt;crowd&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6246" PostHistoryTypeId="4" PostId="3643" RevisionGUID="47da3d6e-ee11-47e4-bd2f-d5633b8c431d" CreationDate="2010-09-18T07:03:24.397" UserId="61" Comment="restructured the question to garner an answer or two…" Text="Are you aware of the proposed &quot;Audio Recording and Production&quot; site? What do you think?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6247" PostHistoryTypeId="6" PostId="3643" RevisionGUID="47da3d6e-ee11-47e4-bd2f-d5633b8c431d" CreationDate="2010-09-18T07:03:24.397" UserId="61" Comment="restructured the question to garner an answer or two…" Text="&lt;opinion&gt;&lt;forum&gt;&lt;collaboration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6248" PostHistoryTypeId="2" PostId="3647" RevisionGUID="c6ed46d7-e1b4-4e79-a81f-c96e7188f897" CreationDate="2010-09-18T09:36:38.770" UserId="37" Text="compared to having the monster enthusiasm, necessary knowledge, and creative spirit required, i'd say where you studied it matters far less.. you could say that for any profession, but for some out there, i believe like this one, there's wider coverage and more of everything required. also the number of self-taught people nowadays is only increasing." ContentLicense="CC BY-SA 2.5" />
  <row Id="6249" PostHistoryTypeId="2" PostId="3648" RevisionGUID="ad866399-0b54-44e9-94fa-8e46b1bc2260" CreationDate="2010-09-18T11:02:57.597" UserId="62" Text="Even though there's a certain amount of related topics, that site is more for musicians, studio engineering and music production? That's not what this site is for.&#xD;&#xA;&#xD;&#xA;I'd rather that area was missing from here. Specialism is no bad thing." ContentLicense="CC BY-SA 2.5" />
  <row Id="6250" PostHistoryTypeId="2" PostId="3649" RevisionGUID="fc1c2920-73da-4808-be63-bd22da6df3aa" CreationDate="2010-09-18T12:41:36.937" UserId="545" Text="Go to the school that works for you - there will always be a reason to have gone somewhere else no matter where you go. The largest benefit from education is the education, assuming you have the will to use what you learn.&#xD;&#xA;&#xD;&#xA;If you share an alma mater with someone it's a great connection, but good networking skills have far, far more value in the long run. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6251" PostHistoryTypeId="2" PostId="3650" RevisionGUID="d72e224d-745d-46e3-babb-90b3a7dd89a8" CreationDate="2010-09-18T13:59:04.207" UserId="220" Text="Barring equipment failure, it looks like you managed to place your mics in the path of a microwave dish.  They are still used to transmit data long distances (like from a radio station studio to its towers).  Good news is they usually only transmit for short periods throughout the day, so you might be able to avoid it on the same stretch.  They also travel in a narrow band, so moving your physical location a bit could help.  &#xD;&#xA;&#xD;&#xA;Did you not hear there interference when you were monitoring the sound?&#xD;&#xA;&#xD;&#xA;I would also recommend using starquad cables for extra protection from EMI in the field." ContentLicense="CC BY-SA 2.5" />
  <row Id="6252" PostHistoryTypeId="2" PostId="3651" RevisionGUID="0da3129f-157a-43dc-8198-2856e8ea8a74" CreationDate="2010-09-18T14:48:14.687" UserId="194" Text="Where you went to school is 100% irrelevant in this field.  What you're capable of is all that matters.  When people with **real** money go looking for someone to do their creative audio work they never ever ever look for a degree.  What they're looking for (if they don't already have a personal relationship) is a **reel** and or a recognizable **credit list.**&#xD;&#xA;&#xD;&#xA;--------------&#xD;&#xA;&#xD;&#xA;With that said, there is a fair amount of good that can come from school, but it doesn't have to cost you an arm and a leg.&#xD;&#xA;&#xD;&#xA;I went to a 2 year school in West Texas and got my AAS in sound technology on a free scholarship ride, but if I had paid for it out of my own pocket it would have been chump change compared to what places like the Art Institute charges.  Literally a few hundred bucks a semester - and we had our own building filled with all kinds of great rooms, mics and boards to work with.  It was a little old-school (we were cutting to 2 inch tape and learning calibration), but the formal teaching of fundamentals and troubleshooting were essential to my career.&#xD;&#xA;&#xD;&#xA;My advice is to find a place (be it school or otherwise) that will teach you the following:&#xD;&#xA;&#xD;&#xA; - electronics theory&#xD;&#xA; - signal flow&#xD;&#xA; - troubleshooting&#xD;&#xA; - acoustics theory&#xD;&#xA; - writing and communication&#xD;&#xA; - microphone and compressor theory&#xD;&#xA; - file management&#xD;&#xA; - business fundamentals like accounting and bill collection&#xD;&#xA;&#xD;&#xA;Once you've found your spot the next step is to put it out of your head that you'll learn what you need to know in school.  Theory is an important part of the equation, but it only sets up the most important step - practice.&#xD;&#xA;&#xD;&#xA;------------&#xD;&#xA;&#xD;&#xA;Start finding projects as early and as often as you can.  Work for free if you have to, but get paid when you can.  Work on your own stuff and work on other people's stuff.  Find a mentor if you can, otherwise engage online.&#xD;&#xA;&#xD;&#xA;By taking on projects early and often you'll develop your skill set at a rate of speed that will allow you to keep up with the thousands of other kids sitting in their rooms dreaming up cooler sounding stuff than you are.  You'll also start building a reel that you can use to either drum up work as a freelancer or look for a staff position somewhere.&#xD;&#xA;&#xD;&#xA;Most importantly though, you'll be building relationships with other people that need audio services.  To them, it doesn't matter that there's some kid downtown that can make cooler sounds than you because they don't know that kid downtown.  Therefore they can't like that kid.  But they like you because you do good work and you get it to them on time.&#xD;&#xA;&#xD;&#xA;--------------&#xD;&#xA;&#xD;&#xA;If it were architecture or medicine I'd say get the best degree you can.  But its not.  Its audio, so instead you'll need to get the best skillset you can and do it as fast as you can.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6253" PostHistoryTypeId="2" PostId="3652" RevisionGUID="1aafa2e1-2f19-41ab-96ba-f9ed149d524c" CreationDate="2010-09-18T18:52:25.083" UserId="28" Text="I have always thought of stems as a reference to plants. The branches (tracks) are being mixed down into fewer units of greater density and more weight." ContentLicense="CC BY-SA 2.5" />
  <row Id="6254" PostHistoryTypeId="5" PostId="3643" RevisionGUID="345e217f-10ba-45ff-bd20-0d97ab250d2b" CreationDate="2010-09-18T19:32:00.510" UserId="225" Comment="added 178 characters in body; deleted 50 characters in body" Text="I appreciate the need to distinguish between recording and production as a recording or mixing engineer, for example, and the broader field of sound design.&#xD;&#xA;&#xD;&#xA;What do you think?&#xD;&#xA;&#xD;&#xA;http://area51.stackexchange.com/proposals/4?phase=definition&#xD;&#xA;&#xD;&#xA;**The following should have been labeled an aside. I should have made it clearer that I see the proposal as non-competitive with this site.**&#xD;&#xA;&#xD;&#xA;(I have been a little disappointed over the course of StackExchange's existence that several websites are redundant and hurt each other's value.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6257" PostHistoryTypeId="2" PostId="3654" RevisionGUID="12f30455-d562-41a1-bc06-7dcd6a270454" CreationDate="2010-09-18T20:52:02.267" UserId="564" Text="Just my advise, which is biased.......you either know what you're doing, or you don't.  Whether you went to a 4-year school or a &quot;specialty&quot; school, you're going to work on projects, and when you're done, you're going to put out applications, work on small indie films, hone your skills...........&quot;you paint a thousand pictures, after that, you'll know whether you're good or not.&quot;  - Eddie Vedder " ContentLicense="CC BY-SA 2.5" />
  <row Id="6258" PostHistoryTypeId="2" PostId="3655" RevisionGUID="de6659a6-dfa4-4725-b27e-b909df2d6057" CreationDate="2010-09-18T21:11:08.793" UserId="564" Text="After a lot of searching and asking around, I was told that there are certain online equipment sites which offer &quot;educational&quot; versions of many Digidesign products.  These versions of the software are exactly the same as their $1300 counter-parts, except they're half the price.  Anyone looking to purchase dvtoolkit, an mbox, or other products, should first search these sites first, as they offer really good deals." ContentLicense="CC BY-SA 2.5" />
  <row Id="6259" PostHistoryTypeId="2" PostId="3656" RevisionGUID="b0143151-f508-4972-9adb-3f2254fce6ce" CreationDate="2010-09-18T21:23:38.693" UserId="564" Text="I don't know if the site is exactly unnecessary, but it certainly does have a different feel than this site.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6260" PostHistoryTypeId="2" PostId="3657" RevisionGUID="37b78e3d-efdf-45a9-a76d-a621406773fc" CreationDate="2010-09-19T01:51:18.340" UserId="564" Text="I agree with the rest, with the origin definitely pertaining to a plant reference.  Just called my old teacher to get the answer.  He had to send out stems when he worked on Wheel of Fortune and Jeopardy." ContentLicense="CC BY-SA 2.5" />
  <row Id="6261" PostHistoryTypeId="5" PostId="3654" RevisionGUID="2ed11e0f-54f3-441c-82dd-e8a279255617" CreationDate="2010-09-19T02:17:36.063" UserId="564" Comment="Fixed Grammar" Text="Just my advice, which is biased.......you either know what you're doing, or you don't.  Whether you went to a 4-year school or a &quot;specialty&quot; school, you're going to work on projects, and when you're done, you're going to put out applications, work on small indie films, hone your skills...........&quot;you paint a thousand pictures, after that, you'll know whether you're good or not.&quot;  - Eddie Vedder " ContentLicense="CC BY-SA 2.5" />
  <row Id="6262" PostHistoryTypeId="2" PostId="3658" RevisionGUID="73fad30b-a4f8-4d25-99f4-639ecfcbc17e" CreationDate="2010-09-19T02:25:45.450" UserId="564" Text="Scan the audio equipment websites.  You can find &quot;educational&quot; versions of most mbox's as well as dvtoolkit.  These versions are fully functional, and will cost you half the price.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6263" PostHistoryTypeId="2" PostId="3659" RevisionGUID="658ed167-3d04-47ca-901a-ef8b8b3b77af" CreationDate="2010-09-19T03:01:46.497" UserId="564" Text="You should check out Fabián Bielinsky.  He was a legend in Argentina, and worked on some classics.  You can't go wrong with starting on him." ContentLicense="CC BY-SA 2.5" />
  <row Id="6264" PostHistoryTypeId="16" PostId="3659" RevisionGUID="658ed167-3d04-47ca-901a-ef8b8b3b77af" CreationDate="2010-09-19T03:01:46.497" UserId="-1" />
  <row Id="6265" PostHistoryTypeId="2" PostId="3660" RevisionGUID="c4d60dc6-68c7-409e-8d57-2f0de2443de3" CreationDate="2010-09-19T03:14:54.057" UserId="564" Text="I play guitar, bass, and have been recording music for over 7 years.  It helped that I already had good knowledge of protools and layering sound.  By no means does it mean you'll be a sub-par sound designer if you didn't play and instrument.....but I think that playing gives you an opportunity to be involved in more phases of the post-production sound side....like musical scoring, ability to create moody ambiances quickly.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6266" PostHistoryTypeId="2" PostId="3661" RevisionGUID="96db277b-2541-4cb4-ad90-c8552f338072" CreationDate="2010-09-19T04:13:58.917" UserId="18160" Text="I have heard that there are post production facilities that specialize in trailers and only trailers.&#xD;&#xA;&#xD;&#xA;Does this mean they have their own sound teams that do the sound for trailers totally separate from the studio who does the soundtrack for the film?&#xD;&#xA;&#xD;&#xA;If I were designing a film, I would most definitely want to be all over the trailer's soundtrack because that is a sample of the main film.&#xD;&#xA;&#xD;&#xA;Any of your experiences in this field you wish to share is greatly appreciated." ContentLicense="CC BY-SA 2.5" />
  <row Id="6267" PostHistoryTypeId="1" PostId="3661" RevisionGUID="96db277b-2541-4cb4-ad90-c8552f338072" CreationDate="2010-09-19T04:13:58.917" UserId="18160" Text="If you're a Sound Designer of a movie, do you have total supervision over what the trailer sounds like?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6268" PostHistoryTypeId="3" PostId="3661" RevisionGUID="96db277b-2541-4cb4-ad90-c8552f338072" CreationDate="2010-09-19T04:13:58.917" UserId="18160" Text="&lt;movie-trailers&gt;&lt;trailer&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6269" PostHistoryTypeId="2" PostId="3662" RevisionGUID="96d1597a-4eac-4d3d-9d8e-aab335da2f16" CreationDate="2010-09-19T04:26:25.813" UserId="393" Text="I've played keys for twenty-one years, sax for fifteen, and guitar and bass for twelve (admittedly, I should be better at all of them). Honestly, I can't tell you if it helps or not because it's the only thing I've ever known." ContentLicense="CC BY-SA 2.5" />
  <row Id="6270" PostHistoryTypeId="2" PostId="3663" RevisionGUID="219ddc99-95fc-4949-92b9-4f4644e64118" CreationDate="2010-09-19T04:29:22.353" UserId="61" Text="No (at least not in my experiences). Every movie I've worked on has had its trailer done somewhere else. It's true that there are facilities that specialize in trailers, and that's all they do. Often times they will not consult with the sound team actually working on the film. They do, however, request things like dialog takes from dailies or certain &quot;set piece&quot; sound design that is critical to the story, ie. a creature vocalization, a signature sound, etc. But mostly, the sound design is up to them." ContentLicense="CC BY-SA 2.5" />
  <row Id="6271" PostHistoryTypeId="2" PostId="3664" RevisionGUID="4ec890cf-397b-4f2e-ba19-89c79d6485e7" CreationDate="2010-09-19T05:20:15.003" UserId="18160" Text="Ok, we've all heard jokes and stabs at &quot;how bad the ADR was&quot; in some movies,&#xD;&#xA;&#xD;&#xA;but, I want to get to the bottom and real cause of ADR dialogue being off and low-quality.&#xD;&#xA;&#xD;&#xA;I honestly don't believe some of the edits I see/hear in some movies, and I think something else is to blame.&#xD;&#xA;&#xD;&#xA;Maybe the audio is off a bit throughout the whole movie?&#xD;&#xA;&#xD;&#xA;Maybe someone was using a wrong frame-rate session?&#xD;&#xA;&#xD;&#xA;Maybe someone wasn't locked to Video Ref while running it off, thereby getting to hour 3 it's off by a couple frames.&#xD;&#xA;&#xD;&#xA;Maybe the picture editor failed to give the information on those last-minute time changes and edit clean-ups/tightenings.&#xD;&#xA;&#xD;&#xA;Maybe after the final listen-back after everyone leaves the producer takes matters into his own hands and tries to &quot;fix&quot; something in SHUFFLE MODE and throws the ADR track out of whack.&#xD;&#xA;&#xD;&#xA;What really is the cause of bad ADR in some movies? Is it really the Audio Editor at fault? Or can there be other factors involved?&#xD;&#xA;&#xD;&#xA;Sometimes it's the actor... I've had actors come in who are so disinterested to be there working on a movie they've since forgotten and not getting paid for a session of ADR that they just put half the effort in it and the ADR turns out hopeless and useless.&#xD;&#xA;&#xD;&#xA;What are your thoughts?&#xD;&#xA;&#xD;&#xA;Just a thought I had tonight ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6272" PostHistoryTypeId="1" PostId="3664" RevisionGUID="4ec890cf-397b-4f2e-ba19-89c79d6485e7" CreationDate="2010-09-19T05:20:15.003" UserId="18160" Text="In Defense of ADR Editors" ContentLicense="CC BY-SA 2.5" />
  <row Id="6273" PostHistoryTypeId="3" PostId="3664" RevisionGUID="4ec890cf-397b-4f2e-ba19-89c79d6485e7" CreationDate="2010-09-19T05:20:15.003" UserId="18160" Text="&lt;adr&gt;&lt;editing&gt;&lt;off&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6274" PostHistoryTypeId="4" PostId="3664" RevisionGUID="41a78b12-fdea-4b8e-9022-8d7ca026c610" CreationDate="2010-09-19T05:42:03.267" UserId="18160" Comment="edited title" Text="In defense of ADR editors..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6275" PostHistoryTypeId="2" PostId="3665" RevisionGUID="1fc7b1bf-9319-43df-9f76-ebbb4c0ba609" CreationDate="2010-09-19T05:52:46.183" UserId="253" Text="I don't have much pro experience with ADR, but i can speculate...&#xD;&#xA;&#xD;&#xA;Firstly, i've never noticed any obviously out of sync ADR before; when it's bad it just feels to me like the performance is off or the perspective/eq is wrong. I agree that there is a bit of ADR out there that jumps out, but i also think that there are a lot of people who nitpick and listen out for it so they can feel smart when they go &quot;LOL ADR&quot;.&#xD;&#xA;&#xD;&#xA;To me, the main problem with obvious ADR is performance; the actor lacks the tension in their voice that they had on set because, rather than being surrounded by a crew all working to get the job done and being barked at by a 1st AD, they've rolled in at 11am after sleeping in and taking their dog for a walk. &#xD;&#xA;&#xD;&#xA;So i'm going to take a stab in the dark and say tight budgets and tighter schedules not leaving enough time to get it right." ContentLicense="CC BY-SA 2.5" />
  <row Id="6276" PostHistoryTypeId="2" PostId="3666" RevisionGUID="109be6ad-c7f9-4275-b0da-6fb1db0578f6" CreationDate="2010-09-19T07:23:50.010" UserId="260" Text="I find that most movie actors are horrible voice overs, which explains most of the bad ADR to me. But the only really really bad ADR I heard was for a film called the Oxford Murders or something like that. One of the actors there did a horrid job behind the mic but a wonderful job infront of the camera. So Yeah, I am willing to say that actors sometimes just don't really care." ContentLicense="CC BY-SA 2.5" />
  <row Id="6277" PostHistoryTypeId="2" PostId="3667" RevisionGUID="f7d66239-a975-4f02-993a-f07eaee9d329" CreationDate="2010-09-19T10:07:00.043" UserId="574" Text="It can take a very long time. I've done one major dialogue editing project. Izotope RX, like mentioned before is great, just like Waves X-noise. &#xD;&#xA;&#xD;&#xA;I used to edit all dialogue in sound forge. Using basic stuff like simply cutting out clicks or editing the click away via the pencil tool. Adobe's audio editor features a nice spectral editor and some nice brushes like the stamp tool etc. Both programs are fast and easy. &#xD;&#xA;&#xD;&#xA;Maybe the most important thing with dialogue/VO editing is making good decisions and acting on your instinct. Don't waste too much time on things people will not hear. Also: are you working on headphones? headphones will drive you made ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6278" PostHistoryTypeId="2" PostId="3668" RevisionGUID="5c069b51-4647-42ce-8daf-855a4dcb8fe5" CreationDate="2010-09-19T10:39:36.670" UserId="62" Text="I've had two bad experiences all thanks to the producer. Both the same problem actually. The producer suddenly thought that they didn't like the performance of an actor so decided to redo the voice. Sadly this was done not to picture and on a lovely crisp and clear VO mic, instead of a boom. I did the best I could in the time but it's not the best. The worst bit was getting the lip sync right and ignoring the fact that the performance sounded rather odd as I'd drastically altered the timing.&#xD;&#xA;&#xD;&#xA;It's not always the editor/mixers fault as we have to deal with a situation beyond our control.&#xD;&#xA;&#xD;&#xA;This reminds of discussions I've read about Public Enemies. I watched and thought how bad the dialogue was (mainly how noisy it was). However I then discovered that at the last minute Mann decided to ditch all the ADR and go with the location sound, evidently not leaving enough time for much work to be done on cleaning before the film was mastered.&#xD;&#xA;&#xD;&#xA;It's easy to criticise, but much harder to find out reasons behind why things happen. I think people sometimes forget how many people are involved in film/tv and how little control most of them actually have." ContentLicense="CC BY-SA 2.5" />
  <row Id="6279" PostHistoryTypeId="5" PostId="3634" RevisionGUID="c06de366-24fc-4b5a-8425-12ac769634c1" CreationDate="2010-09-19T11:34:38.000" UserId="573" Comment="Added clarification" Text="I frequently find myself editing music for dance team and cheerleading performances.  Can anyone recommend a good collection of &quot;Cheer effects&quot; (for lack of a better term)?  Thanks in advance.&#xD;&#xA;&#xD;&#xA;Allow me to add a clarification:  Rather than looking for the sounds a cheerleading squad makes, I'm looking for the Sci-Fi style sfx they use to accent choreography in their performances. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6280" PostHistoryTypeId="6" PostId="3634" RevisionGUID="c06de366-24fc-4b5a-8425-12ac769634c1" CreationDate="2010-09-19T11:34:38.000" UserId="573" Comment="Added clarification" Text="&lt;boutique&gt;&lt;sound-libraries&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6281" PostHistoryTypeId="2" PostId="3669" RevisionGUID="03d61f4d-9417-4858-9345-8424e100d52f" CreationDate="2010-09-19T15:58:56.117" UserId="6411" Text="Having little to no ADR experience, here's my take on the situation.&#xD;&#xA;&#xD;&#xA;Bad ADR is bad ADR, no matter who wears the blame.&#xD;&#xA;&#xD;&#xA;We could blame the location scout for picking too noisy a location to shoot in the first place. We could blame the writer for writing in that dramatic dialog exchange in a scene that needed a wind machine. How about the boom-op? Nah, too easy. The actor/actress was out of town on a bender the day that ADR needed to be recorded, so they went to a local studio that isn't properly set up to record ADR. We can blame all of them too. Or we could just blame the studio for short changing the budget (*those bastards*).&#xD;&#xA;&#xD;&#xA;Sadly, sound is voodoo to most non-sound people. It's a truth that I keep finding more and more lately. They have no idea what goes into getting it right.  I had an executive producer inform me just the other day that he doesn't see the need for audio post because he can hear what they're saying and that's all he cares about! When you have people with that opinion listen to the difference, all they notice are the things you add or the things that are &quot;wrong&quot;. &#xD;&#xA;&#xD;&#xA;Problem is, the ADR editor is the one getting paid because they have the witch doctor wisdom to make it right, right? But it's not right. It's not going to be right. It's bad ADR. So is it the ADR editor's fault? It could be, but no, not necessarily. Is it the ADR editor's problem? Absolutely&#xD;&#xA;&#xD;&#xA;As the ADR editor you're getting paid to be responsible for **that** problem with the movie. If you fix the problem, you're magical. If you don't, you take the fall. Or at least find the reason why it failed and do everything in your power (limited as it may be in the scope of a film's production) to ensure it doesn't happen again next time. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6282" PostHistoryTypeId="2" PostId="3670" RevisionGUID="d501803a-9a55-4970-9660-f35d38e8a220" CreationDate="2010-09-19T16:38:24.037" UserId="194" Text="At some point you **can** have too much coverage of a vehicle, but it takes quite a lot to get there.  The question is how much is enough without being too much?&#xD;&#xA;&#xD;&#xA;Lets assume that we want to put together a record list that includes *complete* coverage of 1 specific car - all at 24bit 96k.  Here's where I would start as far as listing deliverables:&#xD;&#xA;&#xD;&#xA;**onboard stop and go and highway driving (~10 minutes of each)**&#xD;&#xA;&#xD;&#xA; - interior stereo&#xD;&#xA; - onboard muffler mono&#xD;&#xA; - onboard tire mono&#xD;&#xA; - onboard air intake mono&#xD;&#xA; - onboard engine compartment mono&#xD;&#xA; - mastered onboard mono mic mix (for quicker spotting)&#xD;&#xA;&#xD;&#xA;**starts, stops and bys at 5mph, 10mph, 20mph, 40mph, 60mph, and 80mph**&#xD;&#xA;&#xD;&#xA; - interior stereo&#xD;&#xA; - onboard muffler mono&#xD;&#xA; - onboard tire mono&#xD;&#xA; - onboard air intake mono&#xD;&#xA; - onboard engine compartment mono&#xD;&#xA; - mastered onboard mono mic mix (for quicker spotting)&#xD;&#xA; - ext x/y&#xD;&#xA; - ext tracking or dual wide angle shotgun&#xD;&#xA;&#xD;&#xA;**stationary sounds**&#xD;&#xA;&#xD;&#xA; - int stereo door open and close soft/medium/hard x 3&#xD;&#xA; - ext stereo door open and close soft/medium/hard x 3&#xD;&#xA; - ext stereo distant door open and close soft/medium/hard x 3&#xD;&#xA; - int stereo hood open and close soft/medium/hard x 3&#xD;&#xA; - ext stereo hood open and close soft/medium/hard x 3&#xD;&#xA; - ext stereo distant hoodopen and close soft/medium/hard x 3&#xD;&#xA; - int stereo trunk open and close soft/medium/hard x 3&#xD;&#xA; - ext stereo trunk open and close soft/medium/hard x 3&#xD;&#xA; - ext stereo distant trunk open and close soft/medium/hard x 3&#xD;&#xA; - int mono transmission shift x 5&#xD;&#xA; - int mono parking brake pulls x 3&#xD;&#xA; - int mono key in ignition x 3&#xD;&#xA; - int mono pedal stomps x 3&#xD;&#xA; - int mono door locks x 5&#xD;&#xA; - int mono alarm - key in ignition&#xD;&#xA; - int mono alarm - lights left on&#xD;&#xA; - int mono glove compartment open close x 5&#xD;&#xA; - int mono console movement x 5&#xD;&#xA; - int mono seatbelts on and off x 5&#xD;&#xA; - int mono sit in seat x 5&#xD;&#xA;&#xD;&#xA;---------------------&#xD;&#xA;&#xD;&#xA;now, to get that much coverage on a car you'd need about two full days of recording not inclusive of prep, and probably 3-5 days of editing depending on vehicle and recording conditions.  You'd also end up with a pretty big package with regards to file size for this single vehicle.  You're looking at about 1 gig for the onboard highway driving package alone, so the entire thing will probably be in the neighborhood of 5-8 gigs of finished files for the single car.&#xD;&#xA;&#xD;&#xA;that all seems perfectly acceptable, but it also seems like it would cause one to be a little selective about which and how many vehicles get the &quot;full coverage&quot; treatment.  &#xD;&#xA;&#xD;&#xA;questions:&#xD;&#xA;&#xD;&#xA;what did I miss?&#xD;&#xA;&#xD;&#xA;do all of my assumptions seem correct?&#xD;&#xA;&#xD;&#xA;how much space would you put aside in *your* library for full coverage of vehicles?&#xD;&#xA;&#xD;&#xA;thx!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6283" PostHistoryTypeId="1" PostId="3670" RevisionGUID="d501803a-9a55-4970-9660-f35d38e8a220" CreationDate="2010-09-19T16:38:24.037" UserId="194" Text="full vehicle coverage" ContentLicense="CC BY-SA 2.5" />
  <row Id="6284" PostHistoryTypeId="3" PostId="3670" RevisionGUID="d501803a-9a55-4970-9660-f35d38e8a220" CreationDate="2010-09-19T16:38:24.037" UserId="194" Text="&lt;field&gt;&lt;recording&gt;&lt;vehicles&gt;&lt;libraries&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6285" PostHistoryTypeId="2" PostId="3671" RevisionGUID="5d0421e9-b993-4b2e-ae23-e45e916bd659" CreationDate="2010-09-19T16:55:09.427" UserId="432" Text="Well, just my first reaction, windows should be added (and sun/moon roof if one exists) and any other mechanical device in the car that can be foleyed (i.e. center console storage, cup holders, emergency brake, etc.). I've been considering suggesting this kind of idea to Tim for the Hiss and a Roar collaborations, since most recordists participating in those probably have a car...I just haven't taken the time to read through all of the suggestions people have already put forward...I'm being lazy. ;)&#xD;&#xA;&#xD;&#xA;Maybe I'll go do that now." ContentLicense="CC BY-SA 2.5" />
  <row Id="6286" PostHistoryTypeId="5" PostId="3671" RevisionGUID="96be4954-7030-41b6-b41b-e996af0af0ae" CreationDate="2010-09-19T17:00:52.037" UserId="432" Comment="followed up on idea at HissandaRoar.com" Text="Well, just my first reaction, windows should be added (and sun/moon roof if one exists) and any other mechanical device in the car that can be foleyed (i.e. center console storage, cup holders, emergency brake, etc.). I've been considering suggesting this kind of idea to Tim for the Hiss and a Roar collaborations, since most recordists participating in those probably have a car...I just haven't taken the time to read through all of the suggestions people have already put forward...I'm being lazy. ;)&#xD;&#xA;&#xD;&#xA;Maybe I'll go do that now.&#xD;&#xA;&#xD;&#xA;*Update:Yep, someone did....cool.*" ContentLicense="CC BY-SA 2.5" />
  <row Id="6287" PostHistoryTypeId="2" PostId="3672" RevisionGUID="a38874a3-0c0d-4dfd-bc2e-5abd0cd27e17" CreationDate="2010-09-19T18:18:02.007" UserId="317" Text="Shaun, I agree that it would be a great collaboration library, but it involves a bit of experience, equipment, quiet locations and a lot of editing as you mentioned, in order to get good results. Maybe Tim should think later about that and maybe selects his recordists..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6288" PostHistoryTypeId="2" PostId="3673" RevisionGUID="df1efa09-4f6e-4115-87cf-268f8a004fcf" CreationDate="2010-09-20T03:47:53.020" UserDisplayName="user49" Text="Here in NZ we (myself &amp; dialogue editor) tend to cut &amp; attend the mix of the trailers of films that we do. The most important aspect of this, is to insist the trailer editor cuts picture referencing the original film in reels, so that we can conform the 5.1 mix stems..&#xD;&#xA;If you do not get involved &amp; pre-empt the problem, they will cut from a joined-up version which means you have to manually conform elements from mix stems... Of course each trailer has to be considered in its own right, and we receive an OMF/AAF of what the editor has done with sound - sometimes the dialogue editor goes back to original material from predubs or production sound, but having the 5.1 mix stems conformed is a good starting point from my point of view!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6289" PostHistoryTypeId="2" PostId="3674" RevisionGUID="7db95191-a1ae-4828-80ea-70e7a1f8eefa" CreationDate="2010-09-20T05:41:32.240" UserDisplayName="user49" Text="Vehicle coverage is a tricky topic....&#xD;&#xA;&#xD;&#xA;I think a collaborative library of the stationery vehicle FX could be possible, but the issue with actual vehicle movement is that (a) every vehicle is so particular and (b) full coverage is not really possible&#xD;&#xA;&#xD;&#xA;For film use, accessing the right vehicle usually is not a problem - they had it for the shoot &amp; if it is unique, you request/insist on access to it. If its not unique, then usually you can rent one locally for not too much (eg I usually find someone selling it &amp; pay them $100/hour to drive for me - it usually doesn't take too long to find someone willing as its kidna fun and easy money!)&#xD;&#xA; &#xD;&#xA;But having the right specific vehicle make, model &amp; engine type AND that sounds &quot;good&quot; is crucial... &#xD;&#xA;So how many vehicles would you need to make a group library worthwhile? &#xD;&#xA;I think LOTS, literally hundreds!&#xD;&#xA;&#xD;&#xA;But its also worth thinking about the use for the sounds:&#xD;&#xA;&#xD;&#xA;For TV use I could see the need, as they rarely have time or budget to record and I have eg generic Japanese 4 cylinder car moves etc in my library that have definitely been useful...&#xD;&#xA;&#xD;&#xA;For game use, I have no experience but its seems the requirements are totally different &amp; are often recorded on a dyno - others can provide details&#xD;&#xA;&#xD;&#xA;For film if the moves are fairly easy, then it is also an easy recording to do, to match the specifics. If the moves are complex/unique then you probably won't be able to match it as well from generic coverage as you would from accessing the vehicle and performing it to match. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And re getting full coverage, first I'd add *reversing* - the drive shaft makes a different sound when a car is reversing. I've also found it valuable to get *slow circling &amp; stop*, and *slow manouveurs* as these can be difficult to create without coverage.&#xD;&#xA;&#xD;&#xA;But even a passby is not a single type, for example consider how different each of these would be:&#xD;&#xA;&#xD;&#xA; - passby, accelerating, gear change after pass&#xD;&#xA; - passby, accelerating, gear change before pass&#xD;&#xA; - passby, decelerating, &#xD;&#xA; - passby, decelerating, engine breaking&#xD;&#xA; - passby, on incline&#xD;&#xA; - passby, no engine&#xD;&#xA;&#xD;&#xA;Also the type of passby may be determined by the camera move, for example&#xD;&#xA;&#xD;&#xA; - passby with camera following away&#xD;&#xA; - passby with camera stationery &amp; car exits frame&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I don't want to be negative at all, but I do find vehicles is one of those categories of effects for films that are very particular and specific. Generic/general coverage can be valuable for bg action or to help problem solve, but I prefer to think of it as ADR - if you cast the right talent &amp; capture the right performance, the editing is easy (or at least easier!)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6290" PostHistoryTypeId="2" PostId="3675" RevisionGUID="f16b2933-192a-4a44-90e0-8f4b6e52ad1f" CreationDate="2010-09-20T05:46:08.900" UserId="575" Text="In my experience (I've done a fair share of ADR recording, editing and mixing), it's a combination of things, but it begins with the most obvious: performance. I'm not blaming the actors, ADR IS HARD!, but the fact that we're recreating an artificial (scripted) performance in a recording studio, without other actors, the set, or natural room / location acoustics. The human voice adapts to the environment we're in. In a studio the actor will hear his/her voice clearly with headphones, and I find myself telling them (90% of the time) to speak as if they're in THAT room.&#xD;&#xA;Other reasons are, obviously, different room acoustics, microphones and the difficulty of matching lips perfectly.&#xD;&#xA;But sometimes it just happens that an ADR performance is better than the original one, and that moment is almost magical. On those rare occasions, not only will the ADR be unnoticeable, but you've actually made the scene (and therefore the movie) better. I have been fortunate enough to experience a few of those." ContentLicense="CC BY-SA 2.5" />
  <row Id="6291" PostHistoryTypeId="2" PostId="3676" RevisionGUID="60089fd1-ea22-4b55-b59b-9a6f8719595f" CreationDate="2010-09-20T08:11:52.180" UserId="61" Text="Just found [this][1] on the Sonic-Terrain site. Definitely applies to this topic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sonic-terrain.com/2010/09/recording-of-the-week-maggots-fun-by-richard-devine/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6292" PostHistoryTypeId="2" PostId="3677" RevisionGUID="31218ebb-fc9c-46e0-983c-5c64e1ffff93" CreationDate="2010-09-20T08:55:09.720" UserId="2" Text="Maybe a bit more of a joke... but this dog was seriously psycho! And it obsessed over the fluffy a little too much. Got a few nips too. The sound was was what I needed so it paid off.&#xD;&#xA;&#xD;&#xA;oops, just read &quot;hydrophone&quot; in the title... I always post quicker than I read. In anycase it was so slobbery, that I probably needed a hydrophone. &#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freeimagehosting.net/uploads/f1f79766f3.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="6293" PostHistoryTypeId="2" PostId="3678" RevisionGUID="f059190c-73cc-417f-922d-49139b463ffc" CreationDate="2010-09-20T12:20:54.220" UserId="2" Text="Just for interest sake...&#xD;&#xA;&#xD;&#xA;In animation, if you want to realistically film a model of a certain scale, you use a faster frame rate. There is a formula for that, which I don't know. &#xD;&#xA;&#xD;&#xA;I'm wondering if there is such a formula in sound? If let say we record the sound of a model tree falling (at a scaling of 1/50th), would there be a ratio of pitch and time manipulation of some sort? &#xD;&#xA;&#xD;&#xA;Or forgetting about models, is there logic behind making a sound sound X-times bigger? " ContentLicense="CC BY-SA 2.5" />
  <row Id="6294" PostHistoryTypeId="1" PostId="3678" RevisionGUID="f059190c-73cc-417f-922d-49139b463ffc" CreationDate="2010-09-20T12:20:54.220" UserId="2" Text="Ratio of Size to Pitch and Time " ContentLicense="CC BY-SA 2.5" />
  <row Id="6295" PostHistoryTypeId="3" PostId="3678" RevisionGUID="f059190c-73cc-417f-922d-49139b463ffc" CreationDate="2010-09-20T12:20:54.220" UserId="2" Text="&lt;pitch-shifting&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6296" PostHistoryTypeId="2" PostId="3679" RevisionGUID="5d49da89-35af-4ab3-b531-6c23271665fe" CreationDate="2010-09-20T13:21:02.023" UserId="219" Text="I don't think there is.&#xD;&#xA;&#xD;&#xA;One can see picture relates to physics in a linear fashion: it's all about distances. Take a tennis ball falling VS. the ball in Snake Eyes (a big metal ball sitting on top of a building). If you drop both of these from a 1000ft above the ground, they'll hit the ground precisely at the same time (considering air friction is negligible), however one - the metal ball - is significantly heavier than the other. Mass does not impact the speed of things, but size does.&#xD;&#xA;&#xD;&#xA;For a visual effect, you'll drop a - chromed - tennis ball free falling from a 10ft height. In the movie, it's supposed to be a metal ball falling from 1000ft high. In reality, it'd take the metal ball 7.89s to touch the ground. However your tennis ball will drop 10ft in 0.789s. You'd need to slow your footage down 10 times, or in other words shoot at a 10 times higher frame rate for the visual effect to work.&#xD;&#xA;&#xD;&#xA;In sound, you can't always be as mathematical as with picture simply because it's so much more complex. One must considerate the time domain and the frequency domain/spectrum seperately.&#xD;&#xA;&#xD;&#xA;On the one hand, I think it was Murch's trick to pitch up a sound 4 octaves, worldize it and pitch the worldized version down. That'll give you the reverb of the room you worldized in, only 4 times bigger. Just like picture, that's merely making a scale model and slow it down, playing with the &quot;distances&quot; the sound waves would travel.&#xD;&#xA;&#xD;&#xA;On the other hand, in my experience, a car twice as big as another one doesn't sound like it 1 or 2 octaves down. They both have their own sound within the full spectrum.&#xD;&#xA;&#xD;&#xA;I believe that apparent size says it all: if it's close enough to look big to you, then you might want to give it more detail, however if you see it small, then you're not close enough to hear much details.&#xD;&#xA;&#xD;&#xA;I hope what I wrote is understandable..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6297" PostHistoryTypeId="5" PostId="3679" RevisionGUID="2e7edd95-d998-4a3a-8977-08cc4e846324" CreationDate="2010-09-20T13:29:01.283" UserId="219" Comment="edited body; added 7 characters in body" Text="It's complicated.&#xD;&#xA;&#xD;&#xA;One can see picture relates to physics in a linear fashion: it's all about distances. Take a tennis ball falling VS. the ball in Snake Eyes (a big metal ball sitting on top of a building). If you drop both of these from a 1000ft above the ground, they'll hit the ground precisely at the same time (considering air friction is negligible), however one - the metal ball - is significantly heavier than the other. Mass does not impact the speed of things, but size does.&#xD;&#xA;&#xD;&#xA;For a visual effect, you'll drop a - chromed - tennis ball free falling from a 10ft height. In the movie, it's supposed to be a metal ball falling from 1000ft high. In reality, it'd take the metal ball 7.89s to touch the ground. However your tennis ball will drop 10ft in 0.789s. You'd need to slow your footage down 10 times, or in other words shoot at a 10 times higher frame rate for the visual effect to work.&#xD;&#xA;&#xD;&#xA;In sound, you can't always be as mathematical as with picture simply because it's so much more complex. One must considerate the time domain and the frequency domain/spectrum seperately.&#xD;&#xA;&#xD;&#xA;On the one hand, I think it was Murch's trick to speed up a sound 4 times, worldize it and speed the worldized version down 4 times. That'll give you the reverb of the room you worldized in, only 4 times bigger. Just like picture, that's merely making a scale model and slow it down, playing with the apparent distances the sound waves would travel.&#xD;&#xA;&#xD;&#xA;On the other hand, in my experience, a car twice as big as another one doesn't sound like it 1 or 2 octaves down. They both have their own sound within the full spectrum.&#xD;&#xA;&#xD;&#xA;I believe that apparent size says it all: if it's close enough to look big to you, then you might want to give it more detail, however if you see it small, then you're not close enough to hear much details.&#xD;&#xA;&#xD;&#xA;I hope what I wrote is understandable..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6298" PostHistoryTypeId="2" PostId="3680" RevisionGUID="4b45c554-ac78-4523-9184-40db18837ce0" CreationDate="2010-09-20T16:39:19.333" UserId="407" Text="Just to give you an idea of what we need for games. But first a disclaimer, all games are different and use different methods of playback, anything from static loops to granular synthesis. So the requirements are different from company to company and from game to game.&#xD;&#xA;&#xD;&#xA;Generally for a project I like to get exhaust, engine, interior + anything special e.g. turbos, intakes etc. recorded on a dyno or rolling road at idle then at evert 500 rpm right up to the limiter at full throttle and light throttle. Then I have some set driving simulation sequences that ensure that all the sounds are covered.&#xD;&#xA;&#xD;&#xA;Rolling roads and Dynos are different beasts and what you can get the car to do on them is different - so the recording plan changes accordingly." ContentLicense="CC BY-SA 2.5" />
  <row Id="6299" PostHistoryTypeId="2" PostId="3681" RevisionGUID="6b78fe59-a502-4e9b-a2a5-ab14713a32c5" CreationDate="2010-09-20T17:20:37.573" UserId="275" Text="ADR issues can be everything described in this post.  Ultimately it comes down to the producers and director; they are the final word on locations, crew, actors, budget, etc.  Unfortunately, too many producers and directors don't understand audio nearly as well as they should to be in the position they're in.  Yes, kudos to them for putting the movie together but more of them should defer audio decisions to a more experienced person rather than think they know what they're talking about.  &#xD;&#xA;&#xD;&#xA;Some times the location or look of a shot trumps the audio needs on location so ADR is about the only option for a scene.  Action scenes are like this, wide beauty shots of actors walking along in front of a city skyline, and many other shots along those lines.  ADR is both a necessary evil and luxury in the movie making business.  Everyone from the actor to the producer to the sound engineers should understand the pros and cons of replacing production dialogue.  &#xD;&#xA;&#xD;&#xA;My time is pretty evenly split between production sound mixing and post production sound design.  I definitely see the issues on both ends of the shoot.  While I much prefer to get good, solid, clean, usable dialogue on set I realize that it's not always a reality.  So, I'm glad I also have the skills and setup needed for post production.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6300" PostHistoryTypeId="2" PostId="3682" RevisionGUID="041032cf-0ac9-495f-9332-9318174d0953" CreationDate="2010-09-20T17:32:58.053" UserId="275" Text="For a sound library anything and everything is potentially useful.  A full workup of a car would certainly involve all of the things mentioned above.  We sound designers are pack rats of audio!  It all comes in handy at some point. :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6301" PostHistoryTypeId="2" PostId="3683" RevisionGUID="ca6d2734-f909-4992-a515-8708cae0a217" CreationDate="2010-09-20T21:18:27.180" UserId="18160" Text="Forgive me if someone else has already asked this, but I just did a &quot;just for fun&quot; sound design on a short film I found and I had a bit of a problem.&#xD;&#xA;&#xD;&#xA;The film is cutting between a sniper and a victim, and it goes back and forth between their two perspectives quite a bit and fast - no fades/dissolves on the picture.&#xD;&#xA;&#xD;&#xA;I had trouble making the outside-forest-ambience cut smoothly between the silent sniper's room.&#xD;&#xA;&#xD;&#xA;Is there a rule of thumb I don't know about for this type of cutting of ambiences/picture?&#xD;&#xA;&#xD;&#xA;I found that if I faded the ambience for too long it sounded jarring, and it took me quite a while to get the exact right fade at the right time (just nudging to find the exact spot and then starting the ambience right there wasn't working for me).&#xD;&#xA;&#xD;&#xA;Your help is greatly appreciated, as always..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6302" PostHistoryTypeId="1" PostId="3683" RevisionGUID="ca6d2734-f909-4992-a515-8708cae0a217" CreationDate="2010-09-20T21:18:27.180" UserId="18160" Text="Ambience cuts between shots" ContentLicense="CC BY-SA 2.5" />
  <row Id="6303" PostHistoryTypeId="3" PostId="3683" RevisionGUID="ca6d2734-f909-4992-a515-8708cae0a217" CreationDate="2010-09-20T21:18:27.180" UserId="18160" Text="&lt;cutting&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6304" PostHistoryTypeId="2" PostId="3684" RevisionGUID="26c49b0c-5a7a-4b44-b688-058dc546876b" CreationDate="2010-09-20T21:30:12.950" UserId="2" Text="Nice question. I've also had similar situations. Chances are, you're hearing it (obsessing?) a lot more than your audience would. But still, it's an important decision that need to be made. &#xD;&#xA;&#xD;&#xA;Based on the bit of narrative info you've given, I'd think that the jarring of the cuts would work well. &#xD;&#xA;&#xD;&#xA;If you wanted it more incognito, I'd probably just get both around the same loudness with a super short crossfade to smoothen the transitions and avoid clicks.  &#xD;&#xA;&#xD;&#xA;If you where going for someone's perspective, could be interested to keep the ambience on that person even during the shots on the other. &#xD;&#xA;&#xD;&#xA;Just a few thoughts. Look forward to hearing what others suggest. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6305" PostHistoryTypeId="2" PostId="3685" RevisionGUID="42151d73-6ac5-4cd3-9ecf-27001af25af1" CreationDate="2010-09-20T21:50:00.550" UserId="40" Text="Typically you'll overlap the backgrounds by one frame and crossfade at equal power when you're doing a perspective change within a scene, and 2 frames w/ 2 frame crossfade for cuts between completely different ambiences, like you're describing.  The only time this really changes is if you're dealing with slow dissolves or slow dolly/steadycam/handheld movements between rooms.&#xD;&#xA;&#xD;&#xA;Basically , you want the audio to match the cut." ContentLicense="CC BY-SA 2.5" />
  <row Id="6306" PostHistoryTypeId="2" PostId="3686" RevisionGUID="fbaac1a6-5ee5-49b7-8ee7-868da39afec5" CreationDate="2010-09-20T22:10:22.087" UserId="564" Text="I think it all depends on the picture you're working on.  Different directors my want different things.  Sometimes too much is overwhelming.  I believe in sticking to the basics, and preserving continuity throughout with that given car in the film.&#xD;&#xA;&#xD;&#xA;Additionally, depending on how you are recording your sounds....format, 5.1....etc.....an entire car section should be more than 10 - 15 gig.  That would be getting just about every make.  And most sounds inside of a car can be &quot;utility&quot; sounds, since they almost all sound the same.....like a rolling up window, power locks, Windows....etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="6307" PostHistoryTypeId="2" PostId="3687" RevisionGUID="86e8128d-87ef-43da-b74d-394a408f9a83" CreationDate="2010-09-20T22:18:37.363" UserId="46" Text="+1 to Colin's approach. For perspective-change cuts, I like to to start the 2-frame fade up (and fade out) for the incoming amb on the cut itself... so your fades actually occur in the two frames on/after the cut.&#xD;&#xA;&#xD;&#xA;Checkerboarding your ambs will make it easy to keep the levels consistent as you work back and forth." ContentLicense="CC BY-SA 2.5" />
  <row Id="6308" PostHistoryTypeId="2" PostId="3688" RevisionGUID="58d24207-264b-43b3-aacd-0223fcfd0176" CreationDate="2010-09-21T00:09:39.867" UserDisplayName="user49" Text="These rules of thumb are handy, but never use them on autopilot!&#xD;&#xA;&#xD;&#xA;Every individual ambience cut has a cadence, which should be motivated by the action and context of the scene/s. You may want to emphasize the cut, make the cut unnoticeable or anything between those two extremes. Also note whether there is a time jump, and/or whether an intercut scene is ending. Also if dialogue is led across a cut, then ambience should also lead...&#xD;&#xA;&#xD;&#xA;I always checkerboard groups of ambience tracks, so you have total control on the entry &amp; exit of every ambience... " ContentLicense="CC BY-SA 2.5" />
  <row Id="6309" PostHistoryTypeId="2" PostId="3689" RevisionGUID="68155bb6-5d1e-4cf5-88a4-7525beaa1f14" CreationDate="2010-09-21T03:21:48.220" UserId="46" Text="Having worked on a number of trailers for indie films, I can also confirm that the answer is no (in the US). In my/our defense, you'd often be surprised (or not) at the elements that we're provided to work from - audio from ripped DVD screeners rather than the final stems, the proverbial slammed-beyond-all-hope music from the stock library site, raw dialogue that is probably (hopefully!) ADR'd, etc... and all that on a shoestring budget with a tight turnaround. &#xD;&#xA;&#xD;&#xA;That said, thankfully the trailer company that we work with is really great at editing their trailers... hopefully the sound has been able to match!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6310" PostHistoryTypeId="2" PostId="3690" RevisionGUID="346c6c12-634c-45c3-b50a-0b46933af918" CreationDate="2010-09-21T03:45:41.830" UserId="46" Text="On a somewhate related note, there was a great article or lecture I read once from Walter Murch talking about sound in terms of color. Only reference I can find of it now is here: http://bit.ly/dumkrz&#xD;&#xA;&#xD;&#xA;If anyone knows where that article is, please let me know! (Thought it was on filmsound.org but couldn't track it down...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6311" PostHistoryTypeId="2" PostId="3691" RevisionGUID="dc01cc3e-ae12-47cd-83c9-fdb4e3355019" CreationDate="2010-09-21T04:27:58.563" UserId="260" Text="I am a voice actor and I am aware of this problem because I am also a sound designer and mixer. It is a major problem because that's just how the mouth works. Before I go to a voice recording, I tend to practice some lines from where ever and hear if some of the words become a click, and I take a note of the word and the movement of my tongue for that those letters, strangely, it is different for me everyday. I also only drink water and soda before I go.&#xD;&#xA;&#xD;&#xA;I often curse at myself in the booth when I hear it and redo the take. I recently did a 7 hours narration from home and there were some clicks, but I found that there is a click remover in adobe audition that works. It doesn't produce any annoying sounds." ContentLicense="CC BY-SA 2.5" />
  <row Id="6312" PostHistoryTypeId="2" PostId="3692" RevisionGUID="8f83a95e-c888-48b7-9f52-2ed4f90c6297" CreationDate="2010-09-21T12:08:27.280" UserId="576" Text="is there any technique of removing reverb from a sound clip with out altering the original clip?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6313" PostHistoryTypeId="1" PostId="3692" RevisionGUID="8f83a95e-c888-48b7-9f52-2ed4f90c6297" CreationDate="2010-09-21T12:08:27.280" UserId="576" Text="Removing Reverb" ContentLicense="CC BY-SA 2.5" />
  <row Id="6314" PostHistoryTypeId="3" PostId="3692" RevisionGUID="8f83a95e-c888-48b7-9f52-2ed4f90c6297" CreationDate="2010-09-21T12:08:27.280" UserId="576" Text="&lt;reverb&gt;&lt;sound-design&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6318" PostHistoryTypeId="2" PostId="3694" RevisionGUID="88e814a1-c398-48e3-9cdb-82771b6d991c" CreationDate="2010-09-21T13:07:02.990" UserId="62" Text="There's a couple of things you can do to reduce reverb.&#xD;&#xA;&#xD;&#xA;What sort of equipment and plugins do you have?&#xD;&#xA;&#xD;&#xA;A multiband compressor will certainly do a good job. A simpler option (that I found quite excellent) was SPL's [De-Verb][1]. Simple and effective.&#xD;&#xA;&#xD;&#xA;Is it reverb that is a problem or is something off mic? There's little you can do about the latter.&#xD;&#xA;&#xD;&#xA;Ian&#xD;&#xA;&#xD;&#xA;  [1]: http://www.spl.info/index.php?id=463&amp;L=1" ContentLicense="CC BY-SA 2.5" />
  <row Id="6319" PostHistoryTypeId="2" PostId="3695" RevisionGUID="3b156e5e-ff18-42d7-8323-b50705794b2e" CreationDate="2010-09-21T13:12:15.840" UserId="219" Text="This question is very common, and you can find elements of answer here http://socialsounddesign.com/questions/2330/matching-dialogue-between-different-takes or there http://socialsounddesign.com/questions/629/getting-rid-of-room-sound-on-a-voice-recording.&#xD;&#xA;&#xD;&#xA;Basically, your tools to fix problematic production sound are multiband compression/expansion, EQ and some more advanced processes like the ones addressed in the second topic I provided you with. But again, not a lot you can do, you can make things less worse and I've had a good experience on a film I made earlier this year." ContentLicense="CC BY-SA 2.5" />
  <row Id="6321" PostHistoryTypeId="2" PostId="3697" RevisionGUID="f8fdff2e-e103-4b45-ba21-5c33fccc53c0" CreationDate="2010-09-21T15:43:24.767" UserId="63" Text="I am currently working on a project that reminds me of the old games Tyrian and Raptor (classic pew pew games). I have to do the sound design for all the sounds and the music so I'd like your oppinions on some topics. &#xD;&#xA;&#xD;&#xA;1. do you usually start with other sounds and manipulate them as you want?&#xD;&#xA;&#xD;&#xA;2. any ideas for the gun sounds? should i buy sounds and change them? or should i record sounds outside and try to make them &quot;gun sounds&quot;. (not a chance of recording real weapons... but not a BIG problem cause the guns in this game are not &quot;real&quot;)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6322" PostHistoryTypeId="1" PostId="3697" RevisionGUID="f8fdff2e-e103-4b45-ba21-5c33fccc53c0" CreationDate="2010-09-21T15:43:24.767" UserId="63" Text="sound design for an arcade like Tyrian game!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6323" PostHistoryTypeId="3" PostId="3697" RevisionGUID="f8fdff2e-e103-4b45-ba21-5c33fccc53c0" CreationDate="2010-09-21T15:43:24.767" UserId="63" Text="&lt;design&gt;&lt;ideas&gt;&lt;games&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6324" PostHistoryTypeId="2" PostId="3698" RevisionGUID="24dd9bca-3be9-4af1-825e-4dc249535027" CreationDate="2010-09-21T15:54:55.257" UserId="189" Text="Hi Matt&#xD;&#xA;I know this tutorial is in Spanish, but you will get the idea&#xD;&#xA;hope is useful.&#xD;&#xA;Michel&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Jdgr8ZnNvlE&amp;feature=player_embedded" ContentLicense="CC BY-SA 2.5" />
  <row Id="6325" PostHistoryTypeId="2" PostId="3699" RevisionGUID="8adb16fe-0574-4d14-8766-a2c4fe0ad339" CreationDate="2010-09-21T19:34:36.207" UserId="564" Text="1.  I like to start with a sound which best represents the sound I believe I should hear.  I then love to layer a couple of the sounds that compliment the original.  Wooshes work well.  If after, you feel like you need to add anything more, they eq'ing some of the sounds and you'll be able to create desired design effect.  &#xD;&#xA;&#xD;&#xA;2.  There are plenty of free gun SFX out there if you look hard enough.  Even if its not perfect, like you said, they're not &quot;real&quot; weapons.  A couple of plugins should give you your desired effect." ContentLicense="CC BY-SA 2.5" />
  <row Id="6326" PostHistoryTypeId="2" PostId="3700" RevisionGUID="7b3e44a1-d638-4b70-9957-3ff0d33a3486" CreationDate="2010-09-21T20:12:14.163" UserId="564" Text="My favorite way to get the fast cuts done, is to get your next piece of dialogue on the last frame of the previous scene.  And it gives the feeling of being in the other place right as your eyes realize where you are.  Just my opinion." ContentLicense="CC BY-SA 2.5" />
  <row Id="6327" PostHistoryTypeId="2" PostId="3701" RevisionGUID="18d724b6-4a60-46b5-b1d3-1e452c034f61" CreationDate="2010-09-21T20:42:09.580" UserId="118" Text="Worth checking out Plogue Chipsounds?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6328" PostHistoryTypeId="2" PostId="3702" RevisionGUID="921f4dd8-dcff-49b4-ab56-0b4f87273dc2" CreationDate="2010-09-22T03:52:23.490" UserId="46" Text="This is a question for all ages: do you think there's a certain amount of &quot;age discrimination&quot; in the audio industry?&#xD;&#xA;&#xD;&#xA;For the young? For the old?&#xD;&#xA;&#xD;&#xA;I ask because, as a designer/editor/mixer on the younger end of the spectrum, I often find myself hesitant to discuss how long I've been in the field or how old I am to clients who are older than me. I believe I have the skills to deliver a great end-product, but worry that my &quot;youth&quot; can cause a certain amount of skepticism/doubt while in process.&#xD;&#xA;&#xD;&#xA;Granted, my skills and experiences are still developing/expanding every day, but... shouldn't they ALWAYS be?&#xD;&#xA;&#xD;&#xA;Anyone else care to share their thoughts on dealing with this at a client or employer level?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6329" PostHistoryTypeId="1" PostId="3702" RevisionGUID="921f4dd8-dcff-49b4-ab56-0b4f87273dc2" CreationDate="2010-09-22T03:52:23.490" UserId="46" Text="Age Discrimination in the Audio Industry?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6330" PostHistoryTypeId="3" PostId="3702" RevisionGUID="921f4dd8-dcff-49b4-ab56-0b4f87273dc2" CreationDate="2010-09-22T03:52:23.490" UserId="46" Text="&lt;clients&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6331" PostHistoryTypeId="2" PostId="3703" RevisionGUID="2747edf6-dece-4855-af5b-57d34c06b0f4" CreationDate="2010-09-22T05:20:42.270" UserId="18160" Text="Demo reels and products speak louder than age and years of experience, IMHO.&#xD;&#xA;&#xD;&#xA;And solely in my opinion, the younger you are (i.e. the &quot;more years you don't have of experience&quot;) the more years you're going to have to grow and learn and get better and all that good stuff.&#xD;&#xA;&#xD;&#xA;If you're young and talented (which your posts show signs of YES) then you have nothing to worry about and I think employers will see past the &quot;lack of experience&quot; if you're young, enthusiastic and have a good work ethic." ContentLicense="CC BY-SA 2.5" />
  <row Id="6333" PostHistoryTypeId="2" PostId="3705" RevisionGUID="a9fbf83f-5b92-41dd-ad4a-a787953fa713" CreationDate="2010-09-22T09:25:42.837" UserId="63" Text="After all the research i done (mostly in here) i end up in purchasing one Sony PCM-D50 portable recorder.&#xD;&#xA;&#xD;&#xA;The verdict? Awesome! I would like to say a big thanks to all of you with your comments and point of views for helping me.&#xD;&#xA;&#xD;&#xA;I already tested the pcm-d50 with onboard mics, a shure sm57 and a cheap shotgun mic. They all sound fantastic. The onboard mics are crisp and clear and the preamps that drive the external mics are very very good as well!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6335" PostHistoryTypeId="2" PostId="3706" RevisionGUID="40222d80-5a18-4caf-afba-b7396e6be6b6" CreationDate="2010-09-22T09:33:48.527" UserId="2" Text="I'm writing software for our type of people and I would love some input as to how you would like it to work. I'm getting closer to finishing (still a long way though), but I'm at a stage where I have to decide how it organizes the media. That's where you come in :-)  &#xD;&#xA;&#xD;&#xA;**goal**&#xD;&#xA;&#xD;&#xA;The basics of it is that after a day of recording, taking pictures and having your GPS location logged, the software will combine automatically the media that goes together. In other words, if you recorded a dog barking, and took a picture of it while you had a GPS logger tracking you, it will be able to find them and put them together. You don't need a GPS logger though, it will work just as well combining only photos, sounds, etc. &#xD;&#xA;&#xD;&#xA;**devices needed**&#xD;&#xA;&#xD;&#xA;Any content digitally created will work (camera, recorders, notes, etc.). &#xD;&#xA;&#xD;&#xA;Any GPS logging device that can export a [GPX file][1] will work, which is most GPS loggers. If not, then there is a ton of software out there to export them. Even the [iPhone has apps][2] that log your location and gives you a GPX file. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**The main question is how do you want your files to be combined?** &#xD;&#xA;&#xD;&#xA;option 1:&#xD;&#xA; &#xD;&#xA;It creates a folder per associated media. So if you took three photos of a dog and recorded two sounds, it will create a folder and put them in there, keeping the file name intact. &#xD;&#xA;&#xD;&#xA;option 2: &#xD;&#xA;&#xD;&#xA;it keeps the files where they are but renames them so that the pics, sounds and gps location stick together. &#xD;&#xA;&#xD;&#xA;I personally prefer option 1. &#xD;&#xA;&#xD;&#xA;**would you like the originals untouched?**&#xD;&#xA;&#xD;&#xA;Regardless of how they end up being organized, would you like the original files to be untouched, and just make copies? Or would you like the option to keep or copy? &#xD;&#xA;&#xD;&#xA;**google earth integration**&#xD;&#xA;&#xD;&#xA;Would you like an option to export your day's recording path to Google Earth? Would you also like your photos and sounds to be combined and inserted into [balloons][3] automatically? &#xD;&#xA;&#xD;&#xA;Thanks for any insight! It's gonna be free by the way...  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/GPS_eXchange_Format&#xD;&#xA;  [2]: http://www.galarina.eu/GeoLogTag/Home.html&#xD;&#xA;  [3]: http://earth.google.com/outreach/tutorial_balloon.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="6336" PostHistoryTypeId="1" PostId="3706" RevisionGUID="40222d80-5a18-4caf-afba-b7396e6be6b6" CreationDate="2010-09-22T09:33:48.527" UserId="2" Text="Need your input on software I'm writing " ContentLicense="CC BY-SA 2.5" />
  <row Id="6337" PostHistoryTypeId="3" PostId="3706" RevisionGUID="40222d80-5a18-4caf-afba-b7396e6be6b6" CreationDate="2010-09-22T09:33:48.527" UserId="2" Text="&lt;software&gt;&lt;gps&gt;&lt;file-organization&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6338" PostHistoryTypeId="2" PostId="3707" RevisionGUID="0e283f2b-e61d-4ae0-a8d5-f218cf9729f2" CreationDate="2010-09-22T10:58:15.053" UserId="217" Text="Hi Guys.&#xD;&#xA;&#xD;&#xA;Not directly related to sound design, but I am sure this question will help a number of people out. I know that a few people on the board already do this, so rather than ask them directly, I thought it would be better to share the information here. &#xD;&#xA;&#xD;&#xA;I know that many people have been working on Sound Libraries, which they intend to sell as a package.  I myself have been working on a project this summer which is now complete. &#xD;&#xA;&#xD;&#xA;But now I have gotten a little bit stumped.  I am not sure how I am going to go about distributing the product.  I have my own server space where I can store files, but if I share the link to the files after payment has been taken (I have a googlecheckout account set up and ready), I run the risk of that link being shared out and the library being pirated.&#xD;&#xA;&#xD;&#xA;How can I get around this.  Can anybody recommended any free/cheap online shop software for intangible (digital) products.  Are there any websites already which will allow me to do this?&#xD;&#xA;&#xD;&#xA;How about Sound Cloud downloads?  Would it work to take payment through Paypal or Googlecheckout and advise clients to setup a Soundcloud account and then allow them access to download each track.  Does this way not seem a little complicated?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6339" PostHistoryTypeId="1" PostId="3707" RevisionGUID="0e283f2b-e61d-4ae0-a8d5-f218cf9729f2" CreationDate="2010-09-22T10:58:15.053" UserId="217" Text="Sound Library Distribution" ContentLicense="CC BY-SA 2.5" />
  <row Id="6340" PostHistoryTypeId="3" PostId="3707" RevisionGUID="0e283f2b-e61d-4ae0-a8d5-f218cf9729f2" CreationDate="2010-09-22T10:58:15.053" UserId="217" Text="&lt;sound-libraries&gt;&lt;distribution&gt;&lt;soundcloud&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6341" PostHistoryTypeId="2" PostId="3708" RevisionGUID="bdc6f86a-542e-48cb-af4d-8e2d5edfa4c3" CreationDate="2010-09-22T11:14:13.797" UserId="217" Text="Hi Andrew, &#xD;&#xA;&#xD;&#xA;I think which option you choose will depend on how a user 1) likes to keep their sound library organised and 2) intends to use your software.&#xD;&#xA;&#xD;&#xA;One user may already have a complex system which they apply to their sound library, and may only use your software for its basic functions.  However, the next user may want your software to completely organise everything for them. &#xD;&#xA;&#xD;&#xA;So, I think giving the user as many options as possible is the best way for this to work.&#xD;&#xA;&#xD;&#xA;The google earth idea is a good one.  You could almost make a share information between on the map to create a sound map.  Then people can request information and recordings made at particular locations.&#xD;&#xA;&#xD;&#xA;Good luck with the software.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6342" PostHistoryTypeId="2" PostId="3709" RevisionGUID="7d77d219-290d-4dc6-9f29-0278d985c5f1" CreationDate="2010-09-22T11:50:14.020" UserId="432" Text="Ideally, age shouldn't come into the equation when jobs/gigs are involved. There are laws against that sort of thing. ;)&#xD;&#xA;&#xD;&#xA;Of course, practically, that doesn't always work out the way it's supposed to. You can avoid conversations about you're age, but you're not going to be able to get around the topic of your experience. That is one of several central topics to any job interview (be it permanent, contract, or one shot). You need to be able to sell yourself. Have confidence in your abilities and talk those up. Obviously though. don't oversell yourself.&#xD;&#xA;&#xD;&#xA;Unfotrunately skill and talent aren't the only keys to success in this industry. There are a lot more people than jobs out there, and there's a lot of luck involved. People communication skills are key as well. Network like crazy and keep in touch with people you've worked with in the past. If nothing else, they can act as references for potential clients." ContentLicense="CC BY-SA 2.5" />
  <row Id="6343" PostHistoryTypeId="2" PostId="3710" RevisionGUID="098c7928-d11e-4d0e-ad85-53d515a9e9e7" CreationDate="2010-09-22T11:57:11.983" UserId="578" Text="Hi there,&#xD;&#xA;&#xD;&#xA;Been following this site for a while, but first time I'm posting - great initiative &amp; resource!&#xD;&#xA;&#xD;&#xA;I am looking into ways of recording an ice hockey session - basically not a real ice hockey game, but where a handful of ice skaters will perform moves, that kind of thing. I'd like to capture as much different sounds as I can - skating, impacts of players / impacts into the walls, the puck hitting the net.&#xD;&#xA;&#xD;&#xA;I don't have any experience actually with this kind of recording session. One idea is that it'd be nice to try and attach lav mics to player's skates, and perhaps taping a small recorder on their body as well - as long as we can ask them to do specific moves, otherwise either they break a leg or we break equipment...&#xD;&#xA;&#xD;&#xA;I've been reading about body packs (wireless transmitters/receivers) but it seems that quality-wise these things are not too hot... but probably safest solution for attaching a recording device to a sportsman?&#xD;&#xA;&#xD;&#xA;Shotgun mics to point towards the action seems like another obvious idea, but I'm wondering about indoor use of shotgun mics, I know this can create some strange artifacts. &#xD;&#xA;&#xD;&#xA;Well - I just wanted to throw this out here and see if anybody has experience with something similar to this, and might perhaps have some tips.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;Daan" ContentLicense="CC BY-SA 2.5" />
  <row Id="6344" PostHistoryTypeId="1" PostId="3710" RevisionGUID="098c7928-d11e-4d0e-ad85-53d515a9e9e7" CreationDate="2010-09-22T11:57:11.983" UserId="578" Text="Recording an ice hockey session" ContentLicense="CC BY-SA 2.5" />
  <row Id="6345" PostHistoryTypeId="3" PostId="3710" RevisionGUID="098c7928-d11e-4d0e-ad85-53d515a9e9e7" CreationDate="2010-09-22T11:57:11.983" UserId="578" Text="&lt;recording&gt;&lt;sport&gt;&lt;location-recording&gt;&lt;indoor&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6347" PostHistoryTypeId="5" PostId="3694" RevisionGUID="cae99a26-c035-4c03-ab5e-9ed4bf3dd90a" CreationDate="2010-09-22T12:53:58.727" UserId="62" Comment="added 120 characters in body" Text="There's a couple of things you can do to reduce reverb.&#xD;&#xA;&#xD;&#xA;What sort of equipment and plugins do you have?&#xD;&#xA;&#xD;&#xA;A multiband compressor will certainly do a good job. A simpler option (that I found quite excellent) was SPL's [De-Verb][1]. Simple and effective.&#xD;&#xA;&#xD;&#xA;Is it reverb that is a problem or is something off mic? There's little you can do about the latter.&#xD;&#xA;&#xD;&#xA;Ian&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I did a quick demo for De-Verb.&#xD;&#xA;&#xD;&#xA;Link [here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.spl.info/index.php?id=463&amp;L=1&#xD;&#xA;  [2]: http://soundcloud.com/ianjpalmer/sets/de-verb-demo" ContentLicense="CC BY-SA 2.5" />
  <row Id="6348" PostHistoryTypeId="2" PostId="3712" RevisionGUID="d5484e23-6017-4a34-93e9-235f29abf9b6" CreationDate="2010-09-22T13:06:35.580" UserId="579" Text="&quot;Yeah, I don't know what the questioner was expecting. High altitude means that everything is quiet and there are zero reverberations.&quot;&#xD;&#xA;&#xD;&#xA;Wrong. If there are mountains around, you get amazing echoes. I was in Switzerland at the beginning of summer, and greatly regretted having no means to make an IR. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6349" PostHistoryTypeId="2" PostId="3713" RevisionGUID="f458ef9f-088f-4b54-8646-5dd3b10e4065" CreationDate="2010-09-22T13:24:53.100" UserId="261" Text="Hello sound friends.&#xD;&#xA;&#xD;&#xA;This is is another 'list your top' question. Today:&#xD;&#xA;&#xD;&#xA;Which music producers do you feel created unique and inspiring sound design and in so doing made the albums they produced a unique sonic experience?&#xD;&#xA;&#xD;&#xA;To get the ball rolling, here's a few of my faves:&#xD;&#xA;&#xD;&#xA;David Bascombe&#xD;&#xA;&#xD;&#xA;Nigel Godrich&#xD;&#xA;&#xD;&#xA;Thurston Moore&#xD;&#xA;&#xD;&#xA;J Dilla&#xD;&#xA;&#xD;&#xA;Madlib&#xD;&#xA;&#xD;&#xA;Martin Hannet&#xD;&#xA;&#xD;&#xA;On U Sound&#xD;&#xA;&#xD;&#xA;Paul Simon&#xD;&#xA;&#xD;&#xA;Who would you rate?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6350" PostHistoryTypeId="1" PostId="3713" RevisionGUID="f458ef9f-088f-4b54-8646-5dd3b10e4065" CreationDate="2010-09-22T13:24:53.100" UserId="261" Text="Inspiration from the world of music production" ContentLicense="CC BY-SA 2.5" />
  <row Id="6351" PostHistoryTypeId="3" PostId="3713" RevisionGUID="f458ef9f-088f-4b54-8646-5dd3b10e4065" CreationDate="2010-09-22T13:24:53.100" UserId="261" Text="&lt;inspiration&gt;&lt;music&gt;&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6352" PostHistoryTypeId="2" PostId="3714" RevisionGUID="98bf3357-33d3-48b1-9229-bdf7e761cf2c" CreationDate="2010-09-22T13:56:08.163" UserId="393" Text="I'm sure you can set up a PayPal store that will give the purchaser a link to the zip file, and you can password protect them.  Then you can host it yourself -- that's my first thought." ContentLicense="CC BY-SA 2.5" />
  <row Id="6353" PostHistoryTypeId="2" PostId="3715" RevisionGUID="b4166bc2-64d3-4d72-9e2c-e79b5cd82e4a" CreationDate="2010-09-22T14:18:29.670" UserId="62" Text="Steven Wilson of [Porcupine Tree][1] has to be my choice.&#xD;&#xA;&#xD;&#xA;All of his albums enjoy great sound quality and tasteful production. However, he's a genius at creating soundscapes using guitars and synths. He also creates some great ambient music via his Bass Communion title.&#xD;&#xA;&#xD;&#xA;If you like a bit of Prog/Metal/Psychedelia then you ought to have a listen.&#xD;&#xA;&#xD;&#xA;Ian&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.porcupinetree.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="6354" PostHistoryTypeId="2" PostId="3716" RevisionGUID="5d890297-f17f-4842-bfe1-46973c74045e" CreationDate="2010-09-22T14:40:17.563" UserId="432" Text="I'd have to say [Arjen Lucassen][1] (he puts together the Ayreon albums), and [Devin Townsend][2] (Strapping Young Lad and numerous solo efforts/side projects). Both experiment a lot, but in totally different ways.&#xD;&#xA;&#xD;&#xA;They're worth checking out for the sonic landscapes they produce.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.arjenlucassen.com/&#xD;&#xA;  [2]: http://devintownsend.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6355" PostHistoryTypeId="2" PostId="3717" RevisionGUID="feff49d1-8275-4cb2-9e70-50aaba246b71" CreationDate="2010-09-22T14:51:11.750" UserId="194" Text="I record hockey fairly frequently, and I do all of the design work for the Dallas Stars.  &#xD;&#xA;&#xD;&#xA;Michael Raphael also [records hockey][1] here and there, and you may ping him for some advice as well.&#xD;&#xA;&#xD;&#xA;If this is just general hockey coverage you're probably good with a nice shotgun, a good stereo recorder, and some wired lavs that can run up to portable recorders attached to the skaters.  I'd advise against using wireless stuff if you plan on running 96k or above just because those things will mess with your frequency response.&#xD;&#xA;&#xD;&#xA;You probably already know this, but your environment will be reverberant and noisy.  The reverb is something you'll just have to love about the recordings, and the noise from the lights and AC can usually be dealt with in post, though you'll help yourself out with good technique.&#xD;&#xA;&#xD;&#xA;In my experience doing mostly stylized promo type stuff, these are the things that are most useful:&#xD;&#xA;&#xD;&#xA; - ice skate hockey stop x 100&#xD;&#xA; - body check-into boards x 1000&#xD;&#xA; - body checks-open ice x 1000 (sometimes I use football hits as well)&#xD;&#xA; - puck shot hard off pipe (even works well for goals) x 100&#xD;&#xA; - slap shot x 100&#xD;&#xA; - catch puck with stick&#xD;&#xA; - goalie beavertailing (as in the end of a power play)&#xD;&#xA; - sticks bang on boards (as in the end of a fight)&#xD;&#xA; - just taking an old stick and slamming it flat onto the ice is cool and versatile&#xD;&#xA; - general scrimmage amb w no crowd is always useful to me&#xD;&#xA; - zamboni&#xD;&#xA; - period horn&#xD;&#xA; - goal horn&#xD;&#xA;&#xD;&#xA;I exaggerate on the number of versions youll need, but really only by a little.  :)&#xD;&#xA;&#xD;&#xA;pro level skaters sound way more intense on the ice than amateurs.  If you have access to a minor league team or an open practice this can be one of your greatest resources.&#xD;&#xA;&#xD;&#xA;  [1]: http://sepulchra.com/blog/?tag=hockey" ContentLicense="CC BY-SA 2.5" />
  <row Id="6356" PostHistoryTypeId="2" PostId="3718" RevisionGUID="f93b4431-8d25-4472-b0d9-52e25dd748fd" CreationDate="2010-09-22T14:52:40.870" UserId="361" Text="Great thread, I bet you are not the only one to have those apprehensions Joel. &#xD;&#xA;&#xD;&#xA;Just as an observation, if you are going to be working under a supervisor, sometimes they find younger talent to be an asset (you may have to remind them in an interview), because they aren't set in a certain way of doing things, and can easily to conform to the way the supervisor likes to work.&#xD;&#xA;&#xD;&#xA;I also agree with what has already been said about other things being vastly more important than your age. If someone turns down a talented sound guy with good credits and a great work ethic simply on the grounds of his/her age, that is foolish. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And as a side note to anyone, don't do good work for less money than you deserve because you think undercutting on pay is the only to get around your age. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6357" PostHistoryTypeId="2" PostId="3719" RevisionGUID="4f9c6616-4ad5-4a72-95ab-f0655e531974" CreationDate="2010-09-22T14:56:52.340" UserId="238" Text="I'd say composer, arranger and producer [David Axelrod][1]. He's a master at designing multi-layered compositions that often take the listener on a deep journey...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/David_Axelrod_(musician)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6358" PostHistoryTypeId="2" PostId="3720" RevisionGUID="a9006f9e-a3d5-4d07-a339-0f9895ea6f7a" CreationDate="2010-09-22T15:04:36.863" UserId="18" Text="Check out e-junkie.com.  If you use them for your E sales, they will send out a unique temporary link for each purchase.  The link will expire after a certain time limit or number of download attempts." ContentLicense="CC BY-SA 2.5" />
  <row Id="6359" PostHistoryTypeId="2" PostId="3721" RevisionGUID="fe24e276-868b-4e6e-9643-321bc88b7c0b" CreationDate="2010-09-22T15:05:37.360" UserId="255" Text="I think some of my favorite music producers who create unique sound design within their music are:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; - Amon Tobin&#xD;&#xA; - Tim Exile&#xD;&#xA; - Milanese&#xD;&#xA; - Wisp&#xD;&#xA; - Aphex Twin&#xD;&#xA; - The Tuss&#xD;&#xA; - Squarepusher&#xD;&#xA; - Monolake&#xD;&#xA; - Richard Devine&#xD;&#xA; - Eskmo&#xD;&#xA;&#xD;&#xA;  (this list is a bit biased towards electronic music btw!)&#xD;&#xA;    " ContentLicense="CC BY-SA 2.5" />
  <row Id="6360" PostHistoryTypeId="2" PostId="3722" RevisionGUID="86ce8599-0321-453a-96a8-da98919986de" CreationDate="2010-09-22T15:18:28.430" UserId="243" Text="I'm looking for a place that can give me quotes on set recorders like the nagra LB and V (or any equivalent). Preferable a south african dealer I know about vitatone I'm having trouble getting a quote from them. Also a place that stocks boom poles (preferably graphite).&#xD;&#xA;&#xD;&#xA;Any suggestions? " ContentLicense="CC BY-SA 2.5" />
  <row Id="6361" PostHistoryTypeId="1" PostId="3722" RevisionGUID="86ce8599-0321-453a-96a8-da98919986de" CreationDate="2010-09-22T15:18:28.430" UserId="243" Text="south african prices" ContentLicense="CC BY-SA 2.5" />
  <row Id="6362" PostHistoryTypeId="3" PostId="3722" RevisionGUID="86ce8599-0321-453a-96a8-da98919986de" CreationDate="2010-09-22T15:18:28.430" UserId="243" Text="&lt;quotesset&gt;&lt;recordersnagrasboompoleso&gt;&lt;africa&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6363" PostHistoryTypeId="2" PostId="3723" RevisionGUID="59b0fad8-8ba6-4768-82ce-78c38456f9cf" CreationDate="2010-09-22T15:26:46.977" UserId="261" Text="I'm from South Africa. Where are you based?&#xD;&#xA;I know a few places in Cape Town.&#xD;&#xA;And I believe Andrew Spitz is still in Johannesburg." ContentLicense="CC BY-SA 2.5" />
  <row Id="6364" PostHistoryTypeId="2" PostId="3724" RevisionGUID="aed447be-d792-4caa-a208-1fc77f061970" CreationDate="2010-09-22T15:30:13.587" UserId="238" Text="Sounds very interesting! In terms of file combination, personally I'd prefer option 1...all bundled into one folder. I guess it's just how I operate but knowing that all my files from one location are in one folder would help. The only downside to this would be if you recorded hundreds of takes in the same place. How would that work? Perhaps in that case a re-naming system might be better. &#xD;&#xA;&#xD;&#xA;In terms of the original file, I'd like the output of the software to create a copy and leave my original files intact. Again that's a personal choice and giving the option to keep or copy leaves the software more versatile and therefore more user friendly. &#xD;&#xA;&#xD;&#xA;As for google earth, I wouldn't use that but again that's just me..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6365" PostHistoryTypeId="2" PostId="3725" RevisionGUID="1d558808-28a6-442a-9085-85b62cdc6586" CreationDate="2010-09-22T15:33:29.130" UserId="315" Text="Here's a [video][1] that you may find interesting...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=czaFPtQZE9U" ContentLicense="CC BY-SA 2.5" />
  <row Id="6366" PostHistoryTypeId="2" PostId="3726" RevisionGUID="8d55d391-fa9f-468d-aed7-d714e4e3f5ef" CreationDate="2010-09-22T16:26:36.383" UserId="29" Text="There are way too many electronic artists to name exhaustively, but some that come immediately to mind include (and apologies for overlaps):&#xD;&#xA;&#xD;&#xA; - Amon Tobin&#xD;&#xA; - Monolake&#xD;&#xA; - The User&#xD;&#xA; - Matmos&#xD;&#xA; - Xela (&quot;The Dead Sea,&quot; especially)&#xD;&#xA;&#xD;&#xA;Also need to give a tip of the hat to Trent Reznor. After his first 3-4 albums, I kept wishing he'd do a whole album of interludes and instrumentals, because I think he's a better sound designer than a composer. His multi-album set &quot;Ghosts I-IV&quot; was finally what I was hoping for. I'm no longer a fan of the rest of his *ouevre*, but there are a lot of neat ideas there (and most tracks have photos that suggests how some of the sounds were made).&#xD;&#xA;&#xD;&#xA;I'd also add Lalo Schifrin, David Axelrod, the Kronos Quartet, John Cage, Ryuichi Sakamoto, and Takemitsu as designers of unique sounds with (soemtimes) more traditional instrumentation. Heck, I'd even throw Tom Waits in there, especially on the percussive side." ContentLicense="CC BY-SA 2.5" />
  <row Id="6367" PostHistoryTypeId="2" PostId="3727" RevisionGUID="1e762b52-b425-4d98-b988-a5234ccecf45" CreationDate="2010-09-22T16:29:23.920" UserId="260" Text="I've never had an issue with it. Though I sound very young in my voice which I think sometimes makes the client second guess the demo and my age. But as noted previously by a prior poster, how well you do your job is what matters in the end." ContentLicense="CC BY-SA 2.5" />
  <row Id="6368" PostHistoryTypeId="2" PostId="3728" RevisionGUID="72eba06c-cd9d-4fc9-9de3-2143eb808245" CreationDate="2010-09-22T16:37:18.137" UserId="260" Text="No offense to trailer audio guys here but I find trailer sounds extremely bad. There's of course numerous reasons why, still, I never judge the audio for a film out of a trailer - which is slightly sad because a trailer is actually aimed to be better than the actual film, it is afterall a &quot;sales pitch&quot; to the general public(like Avatar - air bender). &#xD;&#xA;But I remember the Transformers 2 movie trailer had lots of the original audio from the film already in it for the showing scenes - drooled all over it.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6370" PostHistoryTypeId="2" PostId="3730" RevisionGUID="2bf6c3d2-045d-4ee5-9a16-ae8a3336e162" CreationDate="2010-09-22T16:44:57.500" UserId="61" Text="Rob Nokes has done some amazing work in this field. You should find the following video very helpful and inspiring:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=czaFPtQZE9U&amp;feature=player_embedded&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6372" PostHistoryTypeId="2" PostId="3731" RevisionGUID="3fc98968-7e33-4e3b-8b7d-3c22955ec342" CreationDate="2010-09-22T16:57:12.933" UserId="2" Text=" - I think [Sennheiser South Africa][1] (next to 44 Stanley in jhb) do Nagra too... I might be wrong though. They should have boom poles. &#xD;&#xA;&#xD;&#xA; - There's Jurgen from Vitatone for the Nagra stuff, but you know that already. You may have been struggling to get hold of him because apparently he is in hospital. &#xD;&#xA;&#xD;&#xA; - I know [Prosound][2] stock Sound Devices if you want to go that route. &#xD;&#xA;&#xD;&#xA; - There's [Stratosphere][3] in Cape Town. &#xD;&#xA;&#xD;&#xA; - Maybe [Turnkey Music][4], but I doubt it. &#xD;&#xA;&#xD;&#xA;Because South Africa is so expensive with all this, I usually combine a trip overseas and buy all I need/can afford in one swoop. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sennheiser.co.za/&#xD;&#xA;  [2]: http://www.prosound.co.za/&#xD;&#xA;  [3]: http://stratosphere.co.za/index.php?id=19&#xD;&#xA;  [4]: http://www.tuerkmusic.co.za" ContentLicense="CC BY-SA 2.5" />
  <row Id="6373" PostHistoryTypeId="6" PostId="3722" RevisionGUID="b47ed289-9ddd-4fb3-81c3-7a75968ef807" CreationDate="2010-09-22T16:58:28.573" UserId="2" Comment="fixed tags" Text="&lt;quote&gt;&lt;recorder&gt;&lt;nagra&gt;&lt;boom-pole&gt;&lt;south-africa&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6374" PostHistoryTypeId="2" PostId="3732" RevisionGUID="23013d08-0059-41c9-a30c-c1d512da398d" CreationDate="2010-09-22T16:59:50.830" UserId="260" Text="I worked recently on a scifi film and the director was a big fan of &quot;organic&quot; sounds. He pointed out that the lasers in the film couldn't sound like synthesized lasers because they would give the film a &quot;bad feel&quot;. I didn't want to steal Ben Burtts amazing sound capture ideas so I was at a loss. I went to a cabin with some friends during winter and the lake there was frozen. One day I went outside looking for my friends, I suddenly heard some of the most craziest loud sounds ever. It was just like a laser but had a very cool texture to it. I found my friends at the lake, throwing rocks at it  - to generate the sound that was made out of the tension in the ice. That sound became the laser in the film. And I ended up using the same sound for a cartoon for a fly going into warp speed. It was interesting to see and hear, how a sound previously used to signify danger &amp; death - was suddenly a sound for a comical effect. &#xD;&#xA;&#xD;&#xA;I recorded a creaking door once for a body sound for a boat, and ended up using the sound for shuriken dopplers later." ContentLicense="CC BY-SA 2.5" />
  <row Id="6375" PostHistoryTypeId="2" PostId="3733" RevisionGUID="11081b85-cc60-420b-92a0-64b32f45948b" CreationDate="2010-09-22T17:01:42.433" UserId="37" Text="originals untouched. definitely." ContentLicense="CC BY-SA 2.5" />
  <row Id="6376" PostHistoryTypeId="2" PostId="3734" RevisionGUID="88061d7b-9e1d-4ac6-a7da-ae6746263066" CreationDate="2010-09-22T17:04:53.613" UserId="6411" Text="It's more social than sound design, but I thought it might be cool to have a list of the gamers on here. So list your platform and tag, maybe include your favorite online game (or promote your own). As with other lists like this, mark your answer as **community wiki**. See you guys online!&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;PS3 - sfxmonkey&#xD;&#xA;&#xD;&#xA;currently playing - [Battlefield: Bad Company 2][1] / [COD MW2][2] / [Civilization Revolution][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.battlefieldbadcompany2.com/&#xD;&#xA;  [2]: http://www.infinityward.com/index.php&#xD;&#xA;  [3]: http://www.civilizationrevolution.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6377" PostHistoryTypeId="1" PostId="3734" RevisionGUID="88061d7b-9e1d-4ac6-a7da-ae6746263066" CreationDate="2010-09-22T17:04:53.613" UserId="6411" Text="What's your Gamertag/Platform?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6378" PostHistoryTypeId="3" PostId="3734" RevisionGUID="88061d7b-9e1d-4ac6-a7da-ae6746263066" CreationDate="2010-09-22T17:04:53.613" UserId="6411" Text="&lt;video-games&gt;&lt;social-network&gt;&lt;wiki&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6379" PostHistoryTypeId="16" PostId="3734" RevisionGUID="88061d7b-9e1d-4ac6-a7da-ae6746263066" CreationDate="2010-09-22T17:04:53.613" UserId="6411" />
  <row Id="6381" PostHistoryTypeId="2" PostId="3735" RevisionGUID="3de9782f-c84f-4502-b71d-8e93c4828721" CreationDate="2010-09-22T18:10:27.130" UserId="132" Text="Yeah, I was just about to write about Nokes.  He pretty much has the definitive hockey collection at this point. He did all of the work for Miracle and a couple of figure skating films.  He wired up a tremendous amount of different skaters and renting a rink of in Manitoba for over a week to put together an insane collection of sounds.  You see from those videos that he recorded in the dark to try and minimize the sound of the rink.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6382" PostHistoryTypeId="5" PostId="3730" RevisionGUID="a2606d2f-c85d-4769-9f09-6747d0f3d35b" CreationDate="2010-09-22T18:50:39.830" UserId="2" Comment="added emebeded youtube video" Text="Rob Nokes has done some amazing work in this field. You should find the following video very helpful and inspiring:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=czaFPtQZE9U&amp;feature=player_embedded&#xD;&#xA;&#xD;&#xA;[youtube]czaFPtQZE9U[/youtube]&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6383" PostHistoryTypeId="5" PostId="3735" RevisionGUID="38720e60-f319-4726-b9f6-767b6d79d752" CreationDate="2010-09-22T19:03:08.543" UserId="132" Comment="deleted 3 characters in body" Text="Yeah, I was just about to write about Nokes.  He pretty much has the definitive hockey collection at this point. He did all of the work for Miracle and a couple of figure skating films.  He wired up a tremendous amount of different skaters and rent a rink in Manitoba for over a week to put together an insane collection of sounds.  You'll see from those videos that he recorded in the dark to try and minimize the sound of the rink.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6384" PostHistoryTypeId="6" PostId="3710" RevisionGUID="acec5c0f-30c6-424b-a3b1-bc5324eae1cb" CreationDate="2010-09-22T19:04:00.277" UserId="132" Comment="edited tags" Text="&lt;recording&gt;&lt;sport&gt;&lt;location-recording&gt;&lt;indoor&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6385" PostHistoryTypeId="2" PostId="3736" RevisionGUID="a3d92e3d-64ab-484e-b488-00c6ffc25948" CreationDate="2010-09-22T19:21:51.847" UserId="222" Text="Xbox: GDOG69XXX&#xD;&#xA;Games: COD: MW2, Puzzle Quest 2, Mass Effect 2." ContentLicense="CC BY-SA 2.5" />
  <row Id="6386" PostHistoryTypeId="16" PostId="3736" RevisionGUID="a3d92e3d-64ab-484e-b488-00c6ffc25948" CreationDate="2010-09-22T19:21:51.847" UserId="-1" />
  <row Id="6387" PostHistoryTypeId="2" PostId="3737" RevisionGUID="61ae625a-a387-4e50-a601-bc457369cf88" CreationDate="2010-09-22T19:24:37.927" UserDisplayName="user49" Text="We are all the sum of our experiences &amp; eg mixing a feature film requires such a huge range of skill &amp; experience that it is usually readily apparent how much experience someone has by their behaviour, creative ability etc more than age. Learning to deliver a great end product is only a part of the role, it takes great maturity and people skills to manage a room full of very experienced film makers. This is not necessarily dependent on age, but it does tend to be dependent on experience..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6388" PostHistoryTypeId="2" PostId="3738" RevisionGUID="b754525d-6c2b-495d-bffb-e8b94f01e057" CreationDate="2010-09-22T19:35:57.033" UserId="378" Text="RAGameSound...&#xD;&#xA;&#xD;&#xA;Recently, it's been mostly the Civ series. I'm very excited to start playing Civ 5" ContentLicense="CC BY-SA 2.5" />
  <row Id="6389" PostHistoryTypeId="16" PostId="3738" RevisionGUID="b754525d-6c2b-495d-bffb-e8b94f01e057" CreationDate="2010-09-22T19:35:57.033" UserId="-1" />
  <row Id="6390" PostHistoryTypeId="2" PostId="3739" RevisionGUID="a6d4abe9-00a3-4cd1-b9bc-dd9157aa892d" CreationDate="2010-09-22T19:42:09.960" UserDisplayName="user49" Text="This is basic e commerce and there are lots of options for data delivery &amp; payment, whether its hosted by another company (ejunkie, payloadz, dpd etc) or using custom software or plugins - ask google" ContentLicense="CC BY-SA 2.5" />
  <row Id="6391" PostHistoryTypeId="2" PostId="3740" RevisionGUID="6974e1b3-08d2-4232-b0d5-550b2e57840b" CreationDate="2010-09-22T19:50:24.013" UserId="61" Text="I've had working experiences with younger-aged people that have been both positive and negative; occasionally folks will come into a situation with unrealistic expectations or ego, based on their lack of experience. Other times you may be surprised by a wealth of maturity, technical prowess or team building skills that far exceed the years that person may have experienced. I've also had run-ins with people who, although they have decades of work under their belts, show little maturity and/or lack of technical knowledge or desire to learn new things. &#xD;&#xA;&#xD;&#xA;Either way, it's important to give everybody who shows a genuine interest in the craft a shot. Even if their experiences are limited, often they will be fast learners and surprise you by how fast they catch up to their peers. If nobody had taken a risk on me in my early years, I would have never been given an opportunity to grow." ContentLicense="CC BY-SA 2.5" />
  <row Id="6392" PostHistoryTypeId="2" PostId="3741" RevisionGUID="eb571ed7-ca02-4d57-8565-3b57be89a1a6" CreationDate="2010-09-22T20:36:46.513" UserId="6411" Text="While there may be a certain amount of ageism in the industry, any that I've experienced has been mostly based in fear. And it's certainly not exclusive to the audio industry.&#xD;&#xA;&#xD;&#xA;When hiring potential editors one ex-boss put it this way:&#xD;&#xA;&quot;Hiring young is an investment in the future. Hiring old is an investment in the past.&quot;&#xD;&#xA;&#xD;&#xA;Basically what he was saying is with younger, less experienced professionals (theoretically), you're allowing for the opportunity to assist in molding and developing the talent and skills of the employee. You're banking on the thought that they will become *exactly* the employee that you want and need. But, there's the potential of offsetting costs at hand, i.e. more down time while troubleshooting, lack of client skills, lack of contacts.  &#xD;&#xA;&#xD;&#xA;While with older, more experienced professionals (theoretically), you're paying them for the wisdom that they have already developed over their years in the field. They may come in with a client base, have seen (and tackled) most problems, and have built up a reputation in the industry.  All are immediately valuable to any company. But, you also run the risk of ego, limited knowledge of new tech, and fear of the young kid who's eying their job. So it's a matter of priorities for the company, hiring manager, and the team that you'll be working with.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="6393" PostHistoryTypeId="2" PostId="3742" RevisionGUID="c556c844-c7e2-44da-bcc1-503d13a148a9" CreationDate="2010-09-22T20:41:28.643" UserId="432" Text="PS3: Sraiphin - and I've been playing through the Uncharted games lately&#xD;&#xA;Steam: sraiphin - and I only have Dirt2 (because it came with the graphics card for my PC...lol)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6394" PostHistoryTypeId="16" PostId="3742" RevisionGUID="c556c844-c7e2-44da-bcc1-503d13a148a9" CreationDate="2010-09-22T20:41:28.643" UserId="-1" />
  <row Id="6395" PostHistoryTypeId="5" PostId="3709" RevisionGUID="5ed6e1fe-f6a1-4142-87b3-ae2f93284319" CreationDate="2010-09-22T20:44:34.470" UserId="432" Comment="stupid grammar on my part, and some poor wording" Text="Ideally, age shouldn't come into the equation when jobs/gigs are involved. There are laws against that sort of thing. ;)&#xD;&#xA;&#xD;&#xA;Of course, practically, that doesn't always work out the way it's supposed to. You can avoid conversations about you're age, but you're not going to be able to get around the topic of your experience. That is one of several central topics to any job interview (be it permanent, contract, or one shot). You need to be able to sell yourself. Have confidence in your abilities and talk those up. Obviously though. don't oversell yourself.&#xD;&#xA;&#xD;&#xA;Of course, skill and talent aren't the only keys to success in this industry. There are a lot more people than jobs out there, and there's a lot of luck involved. People and communication skills are key as well. Network like crazy and keep in touch with people you've worked with in the past. If nothing else, they can act as references for potential clients." ContentLicense="CC BY-SA 2.5" />
  <row Id="6396" PostHistoryTypeId="2" PostId="3743" RevisionGUID="07b2362b-d066-4038-9eee-280265e20478" CreationDate="2010-09-22T21:42:05.627" UserId="580" Text="My most recent hockey recordings were for the movie Tooth Fairy starring The Rock Dwayne Johnson. I made significant improvements to the onboard skating by using the Lectrosonics Digital Hybrid wireless and mounting them on the back of the skater's calves. The shin pads and socks created a draft from wind movement on the microphone which was good and the microphones were not ECU so they had a lot more natural sound and reverb. I prefer these skates to the Miracle skates.&#xD;&#xA;&#xD;&#xA;I would also recommend recording in a smaller rink with shorter reverb times and less reflections, this allows sounds to remain somewhat close and clean without the muddying long reverbs of larger rinks.&#xD;&#xA;&#xD;&#xA;Shut your lights off in the rink and go with emergency lights (no buzz). The compressor could be shut off but this is dependent on the age of the rink and compressors. Record at night to minimize traffic and plane noise bouncing around inside the rink. Different types of artificial ice sound different so I strongly recommend listening to the ice at the temperature you will record at (night or day).&#xD;&#xA;&#xD;&#xA;Work with different sized skaters to get different types of skating sounds, a 250 lbs skater sounds different than a 130 lbs skater. Also record some figure skating for sweeteners those blades have more bite and can be valuable for accentuated sound design moments.&#xD;&#xA;&#xD;&#xA;For shooting, get clean post, glass, net hits by doing very long hard wrist shots. You don't want the reverb of the shot to over power the net or post, which it will. Record slapshot like a gun shot and combine the sounds to build up the power of the shot.&#xD;&#xA;&#xD;&#xA;I hope this helps, if you have any other questions I am happy to pass along what I know.&#xD;&#xA;&#xD;&#xA;Rob Nokes&#xD;&#xA;http://www.sounddogs.com&#xD;&#xA;http://www.robnokes.com&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6397" PostHistoryTypeId="2" PostId="3744" RevisionGUID="fefe4811-0d5e-411e-9a79-cb6d9e7b2fa8" CreationDate="2010-09-22T23:59:36.723" UserId="37" Text="I think it's a fairly natural selection with a kind of a barrier to entry to it. The more jobs one works on, the more people they (likely) know, the higher the chance of getting new projects, likely coming from those same people or someone they know. Factors like people's politics may affect this but I wouldn't attribute much to discrimination. &#xD;&#xA;&#xD;&#xA;If there field is not entirely level, then the older, more experienced professionals, should feel at an advantage, and not only on merit, but also due to the way age gives ability to trace cultural references and interpret things in context often different from the immediate, which is a common requirement, no? &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6398" PostHistoryTypeId="2" PostId="3745" RevisionGUID="558098e1-4af1-4916-a841-789a2d3f10e5" CreationDate="2010-09-23T03:36:21.010" UserId="533" Text="You're actually looking at an e-commerce system and there are two major paths to take. Hosted or Self-Hosted.&#xD;&#xA;&#xD;&#xA;You mentioned that you have your own server space so you might be considering going the self-hosted path. However, you'll need to be able to troubleshoot problems yourself and make sure you have enough monthly bandwidth for your downloads. If you are on a web host, they do have limits on your bandwidth regardless of their marketing pitch. Software options would include Zen Cart, Magento, CubeCart, OsCommerce, etc. But you'll need to know how to setup such software on your server or get someone to do it for you. &#xD;&#xA;&#xD;&#xA;The simplest method is a hosted service like [Fetch][1]. If you want a shopfront for multiple products, you could use an additional hosted e-commerce shop like Shopify. If you're on Wordpress, there are some e-commerce plugins that you can consider.&#xD;&#xA;&#xD;&#xA;My advice is to decide how much time and effort you would want to spend on it. It would be wiser to pay for a hosted service so that you can spend more time creating rather than learning to maintain the website.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pixellent.com/fetch" ContentLicense="CC BY-SA 2.5" />
  <row Id="6399" PostHistoryTypeId="2" PostId="3746" RevisionGUID="acf937e4-41a7-4d27-9273-d727737baf21" CreationDate="2010-09-23T05:22:46.423" UserId="136" Text="I'm a huge fan of Flying Lotus. &#xD;&#xA;&#xD;&#xA;Have a listen to this: (in HD of course)&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=ExbckB15XeM&#xD;&#xA;&#xD;&#xA;Such an amazingly colourful mesh of organic and electronic textures. Blows my mind every time I hear it!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6400" PostHistoryTypeId="2" PostId="3747" RevisionGUID="57ec2009-c872-4f25-b35a-eb3756b1244a" CreationDate="2010-09-23T06:41:50.833" UserId="37" Text="Burial's work sounds unique and deeply atmospheric. Also Ben Frost's &quot;By the throat&quot;. And I'm throwing in Tomas Dvorak's &quot;Machinarium&quot; OST, full of nice little details." ContentLicense="CC BY-SA 2.5" />
  <row Id="6401" PostHistoryTypeId="2" PostId="3748" RevisionGUID="83b2fe2c-934a-4b05-aef2-aa96d568dfcc" CreationDate="2010-09-23T09:23:57.703" UserId="260" Text="My steam ID is Samuraipanda. lots of different games. I play xbox as well but I've had problems with the xbox recently so I don't play it very often." ContentLicense="CC BY-SA 2.5" />
  <row Id="6402" PostHistoryTypeId="16" PostId="3748" RevisionGUID="83b2fe2c-934a-4b05-aef2-aa96d568dfcc" CreationDate="2010-09-23T09:23:57.703" UserId="-1" />
  <row Id="6404" PostHistoryTypeId="2" PostId="3750" RevisionGUID="d781f22a-c426-4167-9940-575a0ee17994" CreationDate="2010-09-23T14:57:22.900" UserId="432" Text="This is probably a bit specific for most people on here, but I'm looking into using compact flash cards as a mirroring solution for our Deva 5.8 at work. Does anyone know if there is a capacity limitation as to which cards can be used?&#xD;&#xA;&#xD;&#xA;Note: I'm not concerned about speeds, I've found out the minimum specs for that [10Mb/s] and those are easily cleared. I just want to make sure I'm not going to buy the wrong cards before I try to convince the money people here to let me do it." ContentLicense="CC BY-SA 2.5" />
  <row Id="6405" PostHistoryTypeId="1" PostId="3750" RevisionGUID="d781f22a-c426-4167-9940-575a0ee17994" CreationDate="2010-09-23T14:57:22.900" UserId="432" Text="Compact Flash Cards for Deva 5.8" ContentLicense="CC BY-SA 2.5" />
  <row Id="6406" PostHistoryTypeId="3" PostId="3750" RevisionGUID="d781f22a-c426-4167-9940-575a0ee17994" CreationDate="2010-09-23T14:57:22.900" UserId="432" Text="&lt;deva&gt;&lt;backups&gt;&lt;compact-flash-cards&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6407" PostHistoryTypeId="2" PostId="3751" RevisionGUID="be7edd9c-3abd-4022-a4bd-d456b6bdb918" CreationDate="2010-09-23T15:28:49.883" UserId="40" Text="I don't believe there is a capacity limitation.  Or at least not one within a reasonable price range of compact flash cards.  I've used anywhere from a 1gb card to a 32gb card on both the 5.8 and the Fusion 12, and I've never had a problem.  I've used a whole range of brands of cards, never had one that didn't work.  Never used anything above a 32gb card, but I don't suspect you'll be attempting to use one.  I'm using the most recent firmware, so as long as you are, I suspect you'll be pretty much fine with any card you get, assuming it meets the speed standards (as you said, 10Mb/s +).&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;BTW, nice to see a Zaxcom question here...  Don't get to answer too many of those online :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6408" PostHistoryTypeId="2" PostId="3752" RevisionGUID="1cbbe120-203a-4fdd-a49a-1b37781d1b35" CreationDate="2010-09-23T16:42:55.463" UserId="62" Text="I've been inspired to share this story after reading David Farmer's article on [Designing Sound][1].&#xD;&#xA;&#xD;&#xA;I do remote mix reviews where the directer is in a room in LA watching off of a DigiBeta or HDCAM deck, sending me TC and I'm sending them the sound from the studio in sync with their picture.&#xD;&#xA;&#xD;&#xA;There was one week where I was ridiculously busy and was doing something else in my studio while the episode played back (with the volume turned down but not off). 12 minutes later the director and producer came over the intercomm and said &quot;another great mix finished&quot;. Hurrah! we all cried. Well, until I noticed that ProTools was sat there with all the automation turned off. With luck the faders were all at a point where the dialogue was louder than the ambiences etc etc. No-one noticed a thing. To save my own face and theirs I just said excellent and we'll speak to them next week.&#xD;&#xA;&#xD;&#xA;My mixing isn't that bad surely!?!?&#xD;&#xA;&#xD;&#xA;Anyone else had amusing stories they can share?&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/09/david-farmer-special-perception-of-sound/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6409" PostHistoryTypeId="1" PostId="3752" RevisionGUID="1cbbe120-203a-4fdd-a49a-1b37781d1b35" CreationDate="2010-09-23T16:42:55.463" UserId="62" Text="Amusing Faux Pas Situations" ContentLicense="CC BY-SA 2.5" />
  <row Id="6410" PostHistoryTypeId="3" PostId="3752" RevisionGUID="1cbbe120-203a-4fdd-a49a-1b37781d1b35" CreationDate="2010-09-23T16:42:55.463" UserId="62" Text="&lt;mixing&gt;&lt;review&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6411" PostHistoryTypeId="2" PostId="3753" RevisionGUID="68b39689-9223-4b88-89b6-bef94b9be820" CreationDate="2010-09-23T16:48:56.460" UserId="315" Text="If we're talking about composers that have inspired my sound design, I'd have to reach back a little further and say Harry Partch and John Cage for their sheer inventiveness in the acoustic world. &#xD;&#xA;&#xD;&#xA;And don't forget Pierre Schaeffer and the developers of Musique Concrete who were pushing the boundaries of sound manipulation well before most of us were born." ContentLicense="CC BY-SA 2.5" />
  <row Id="6412" PostHistoryTypeId="5" PostId="3753" RevisionGUID="c16dd039-03b5-4bf1-bb5c-19b0c4af2f2b" CreationDate="2010-09-23T16:55:29.060" UserId="315" Comment="added 309 characters in body" Text="If we're talking about composers that have inspired my sound design, I'd have to reach back a little further and say Harry Partch and John Cage for their sheer inventiveness in the acoustic world. &#xD;&#xA;&#xD;&#xA;And don't forget Pierre Schaeffer and the developers of Musique Concrete who were pushing the boundaries of sound manipulation well before most of us were born.&#xD;&#xA;&#xD;&#xA;And Ennio Morricone...who created new and interesting sounds that by layering instruments together, not to mention a new genre of &quot;western.&quot; Also a master at sonic storytelling.&#xD;&#xA;&#xD;&#xA;And, of course, the Beach Boys, the Beatles, and Hendrix who pushed pop music and multi-track recording to a new level. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6414" PostHistoryTypeId="2" PostId="3755" RevisionGUID="2e0b87a1-3136-461e-9f4a-ba72b3a77871" CreationDate="2010-09-23T17:06:14.860" UserId="432" Text="An engineer I worked with years ago, a guy by the name of Rick, had a funny story about Orson Welles.&#xD;&#xA;&#xD;&#xA;Rick lived and worked in Chicago when he was younger, mainly doing commercial spot editing and mixing. On one particular day, his clients were going to bring in Orson Wells to record the VO for their commercial. He showed up early to make sure that everything was in perfect working condition and ready to go the moment Mr. Welles stepped into the booth. Everything was set. He sat down to wait, and eventually the producers and Mr. Welles entered the studio. The producers and writers were engaged in conversation, so he politely waited just outside the group for the appropriate moment to introduce himself. Once their conversation ended, and the producer turned towards him, he knew he had permission.&#xD;&#xA;&#xD;&#xA;Rick approached Mr. Welles with an extended hand, looked directly into his eyes and said, &quot;It's a pleasure to meet you, I'm Orson Welles.&quot;&#xD;&#xA;&#xD;&#xA;As he was standing there, cringing and running over what an idiot he was in his own head, Mr. Welles looked down at him with a slightly perplexed expression and said, &quot;No shit?! Me too. Why don't we get started?&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6417" PostHistoryTypeId="2" PostId="3757" RevisionGUID="7949523e-7608-4fcd-8aac-d9aad7014529" CreationDate="2010-09-23T19:18:37.283" UserId="72" Text="Lots of great names in this inspiring thread.&#xD;&#xA;&#xD;&#xA;Trent Reznor is one of my big inspirations for working with sound. He has done so much great work with Nine Inch Nails and now he's done the score to the new David Fincher film, The Social Network - really looking forward to that one.&#xD;&#xA;&#xD;&#xA;Another great modern producer is Dave Fridmann who has done beautiful work with Mercury Rev and The Flaming Lips. I once visited him in his studio in upstate NY and he's got a whole house that's constructed as a studio - The Flaming Lips usually records their vocals in the bathroom! The inventive sonics on all of his productions are really something - besides the aforementioned bands, also check out his work on the Low-album Drums and Guns, it's an amazing headphone experience.&#xD;&#xA;&#xD;&#xA;These days, a new record I really adore is the latest album by Neil Young which has the beautiful title Le Noise. It was produced by another sonic master, Daniel Lanois, who has some very interesting thoughts on the record and on sound generally - check out this link: http://www.youtube.com/watch?v=qrbp9Tv9tHw&#xD;&#xA;&#xD;&#xA;I also need to mention Brian Eno and Howie B as two sources of inspiration. But there's so much great stuff out there and a lot of the names mentioned in earlier posts on this page are amazing!&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="6418" PostHistoryTypeId="2" PostId="3758" RevisionGUID="1b7481b8-cc40-47f2-ae90-840e30ac049a" CreationDate="2010-09-23T19:42:44.503" UserId="587" Text="I truly cannot find interested people wanting sound design for their app.  Ive kept up the posting on 15 different App development sites, 150 emails to iPhone developers (indie and commercial) and even probed around programmers resources to try and get in on the other side of App making, and still no collaborations have arose. I even started posting specifically stating services will be offered voluntarily and that didnt even help!&#xD;&#xA;&#xD;&#xA;My reel is not bad at all, see for yourself - www.c3sound.com under Portfolio Tab&#xD;&#xA;&#xD;&#xA;Are there any tips that anyone has up their sleeves that might make this process a bit easier?&#xD;&#xA;&#xD;&#xA;Curtis" ContentLicense="CC BY-SA 2.5" />
  <row Id="6419" PostHistoryTypeId="1" PostId="3758" RevisionGUID="1b7481b8-cc40-47f2-ae90-840e30ac049a" CreationDate="2010-09-23T19:42:44.503" UserId="587" Text="Finding App work" ContentLicense="CC BY-SA 2.5" />
  <row Id="6420" PostHistoryTypeId="3" PostId="3758" RevisionGUID="1b7481b8-cc40-47f2-ae90-840e30ac049a" CreationDate="2010-09-23T19:42:44.503" UserId="587" Text="&lt;iphone&gt;&lt;app&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6421" PostHistoryTypeId="2" PostId="3759" RevisionGUID="59de3cd9-8714-423f-a953-82e0442b70b2" CreationDate="2010-09-23T20:46:33.147" UserId="275" Text="Back in my music recording days I would frequently send clients identical mixes but tell them there was some change in one of them.  The vocals up 3db, compressed more, or some other line of BS (in reality there was no change or difference).  I would typically only do this after a few rounds of changes and they were beginning to be completely ridiculous about their requests.  &quot;Turn the keys up...no...down...pan it more left...no, back to the right...&quot;  &#xD;&#xA;&#xD;&#xA;So often I wanted to just tell them that changing the level of the djembe part 2db wasn't going to shine the turd of a song they wrote.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6422" PostHistoryTypeId="2" PostId="3760" RevisionGUID="a08aeb13-18a9-47b1-bbfa-38f904b5fa2d" CreationDate="2010-09-23T21:06:44.137" UserId="400" Text="I know that Michael Taylor at www.stomp224.co.uk has worked on a few iPhone games, maybe try contacting him to see if he has anything to say on the issue. I'm not sure if he's active on this site." ContentLicense="CC BY-SA 2.5" />
  <row Id="6423" PostHistoryTypeId="2" PostId="3761" RevisionGUID="1d97f2ad-1e38-41e1-a21e-5b2f6a3233c1" CreationDate="2010-09-23T21:25:46.823" UserId="587" Text="I saw the multi-band compression comment - that can help - but I know that it would be around the same mid-range frequencies in the tails. My first try would be by using a gate to remove the tails, as they would be lower in amplitude. Maybe use the MBC to pull down the extraneous, and really, if you want to get down to surgical - use iZotope RX to erase the non-transient information using the spectrograph and scrub out tool.  That software works wonders.&#xD;&#xA;&#xD;&#xA;-Curtis" ContentLicense="CC BY-SA 2.5" />
  <row Id="6424" PostHistoryTypeId="2" PostId="3762" RevisionGUID="3df148c8-c133-4717-9044-281ea1b7251b" CreationDate="2010-09-23T22:28:14.023" UserId="455" Text="How many of you have been asked to &quot;touch up a mix&quot; and the client hands you an OMF with no editing, effects or design?  Or been asked to work on a project as a &quot;sound editor&quot; when the client meant a sound designer, foley artist, ADR recordist and mixer?&#xD;&#xA;&#xD;&#xA;I've just finished school and one of the ways I'm trying to gain experience is by working on as many small projects as I can.  It seems like everyone that needs sound work has no idea what they actually need and they ask and expect more than was initially agreed on.  I don't feel comfortable &quot;finishing&quot; a project that is below my standards.  For example when I'm asked to mix something that needs sound effects or foley.  The bottom line is when I'm getting paid little-to-nothing I don't want to spend additional hours on something that wasn't brought up at the beginning.  I've had conversations about this with directors and producers and it's always awkward, and I feel that it makes me look like I'm lazy and I don't know what I'm doing.  I'm all for doing an amount of extra work to please the client and, no matter what, I never want to leave a client unhappy or unsatisfied.&#xD;&#xA;&#xD;&#xA;My question here is how have some of you dealt with this problem?  I've tried asking questions at the beginning of a project, anticipating the &quot;can you also do this?&quot; question but that doesn't always work." ContentLicense="CC BY-SA 2.5" />
  <row Id="6425" PostHistoryTypeId="1" PostId="3762" RevisionGUID="3df148c8-c133-4717-9044-281ea1b7251b" CreationDate="2010-09-23T22:28:14.023" UserId="455" Text="What do you say when a client asks for more?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6426" PostHistoryTypeId="3" PostId="3762" RevisionGUID="3df148c8-c133-4717-9044-281ea1b7251b" CreationDate="2010-09-23T22:28:14.023" UserId="455" Text="&lt;clients&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6427" PostHistoryTypeId="2" PostId="3763" RevisionGUID="4a817f8d-aa77-43ff-b79e-8de6cfada5f0" CreationDate="2010-09-23T22:36:55.643" UserId="393" Text="Get involved with your local game dev community.  Check for a chapter of the IGDA, and if there are any indie game dev groups that meet near you -- I've picked up a bit of work from my local groups." ContentLicense="CC BY-SA 2.5" />
  <row Id="6428" PostHistoryTypeId="2" PostId="3764" RevisionGUID="068416ea-3363-46fc-b730-0e348042a549" CreationDate="2010-09-23T23:43:00.990" UserId="37" Text="It helps to go the extra mile but when you do so, make sure it's clearly indicated. Also a nice detail I learned from a man in a suit - always have them aware of the time you've spent, especially if you go &quot;over budget&quot; or have to put in extra time because of creep like that. &#xD;&#xA;&#xD;&#xA;And sometimes drawing the line is what's needed. &#xD;&#xA;&#xD;&#xA;People make a lot of assumptions. The more of those you try to find out early, the better? &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6429" PostHistoryTypeId="2" PostId="3765" RevisionGUID="f96a5695-54a6-45fc-9233-beba728943eb" CreationDate="2010-09-23T23:55:17.290" UserId="29" Text="When you cold-email or cold-call, you need to expect sometimes a return rate of 1% or less. If you've sent out just over 100 emails, you should expect *maybe* one person to possibly get back to you. You could consider me that &quot;hit,&quot; since I hire sound designers for software projects, if you wanna argue statistics. :-p&#xD;&#xA;&#xD;&#xA;Apps are the Hot Thing, but remember there are a LOT of other platforms out there...and that games aren't the only pieces of software that need sonifying. Heck, with HTML5, I'd argue that the opportunities for sonified software experiences are still increasing.&#xD;&#xA;&#xD;&#xA;I gotta say that the best solution in my experience here is to ***network***. Spend more time here and online, start a blog, take from *and* give back to the companies, communities, and groups you want to collaborate with, attend conferences...building personal connections will deliver a far higher percentage of potential job leads than reaching out cold (but there's still a place for that, too). &#xD;&#xA;&#xD;&#xA;For games, check out IGDA as Dave suggested, but also GANG, for other practitioners in that field. Hit up the design agencies you'd want to work with: Think about if there are local shops that do rich-media flash work, that kind of thing. Attend meetings of groups of those people, be it the Apple Worldwide Developers Conference or local iOS coder's groups or the Broadcast Designers Association or the Interaction Designers Association or one of the several visual effects society. If there's a cocktail hour or a lecture for any such group, go! It's not all icky-gross schmoozing...it's about building relationships. If you meet someone from an influential shop or studio who's a total $&amp;*#$#, then you probably would never want to do business, and lesson learned!&#xD;&#xA;&#xD;&#xA;It's also important to not just show off your work, but that you're actually a Human that can communicate, laugh, and meaningfully collaborate smoothly with others. That matters ***more*** than raw talent in many, many cases." ContentLicense="CC BY-SA 2.5" />
  <row Id="6430" PostHistoryTypeId="2" PostId="3766" RevisionGUID="d359b7ee-76bb-45c4-92de-900f96ce6e0d" CreationDate="2010-09-23T23:55:31.317" UserId="194" Text="IMO the best way to deal with this situation is to do what you can to avoid it entirely, though that really comes with experience.&#xD;&#xA;&#xD;&#xA;Here's how to avoid the situation:&#xD;&#xA;&#xD;&#xA; - do your homework on the project.  &#xD;&#xA;&#xD;&#xA;Always discuss deliverables before starting work on something.  If you get question marks over heads when the topic comes up, then you need to be prepared for the amount of work in front of you, and make plans and decisions accordingly.  Its fairly common for an inexperienced video producer to be in need of audio education even though he's already halfway through his project, and its your job as an audio guy to be as honest and straightforward as possible with what you are wiling/able to do given the price and what his project will require in order to ever make any money.&#xD;&#xA;&#xD;&#xA;Even experienced video producers and film makers can be sometimes shockingly uneducated with regards to the amount and type of sound work required to make their projects marketable.  They don't all have to be works of perfection, but you'll know as well as anyone what can pass muster and what can't, and what kind of effort it will take to get from A to B.&#xD;&#xA;&#xD;&#xA;If you can anticipate any compromises that will need to be made in order to deliver the project on budget and on time you'll be able to set expectations and minimized the compromise effect accordingly.&#xD;&#xA;&#xD;&#xA;All of this comes from the courting process though, and the red flags that people throw up will become more apparent with experience.&#xD;&#xA;&#xD;&#xA; - write a contract&#xD;&#xA;&#xD;&#xA;I know, people hate signing contracts, but they also hate paying for audio work so you have to protect yourself.  Contracts can be flexible by the way.  You can specify a package rate for x deliverables and x hours, with an ability to continue work for a studio rate after those hours and deliverables are fulfilled.  This way everyone knows what to expect, and it allows for a new entry point into the money conversation if new requirements appear as the project moves along.  &#xD;&#xA;&#xD;&#xA;contracts don't have to be all legalese and complex.  In fact, the more straighforward and readable the better.  Your goal with a contract is not to litigate it if your client wants other stuff - its to use it as a mutually agreed upon framework for the working relationship.  &#xD;&#xA;&#xD;&#xA;You don't need a signed contract for every job, but you should start considering it when the work looks like it will span more than a few days.  Each situation is different so react accordingly.&#xD;&#xA;&#xD;&#xA;also, a wise man once said that you should only have two prices - free and full pop.  Anything in between devalues your work without diminishing expectations.&#xD;&#xA;&#xD;&#xA; - communicate immediately when surprises occur&#xD;&#xA;&#xD;&#xA;When you initially take assets - if you expect one thing and find another, then stop down for a moment and reassess.  Then talk to your client before moving forward.  If you see a problem and begin work anyway, then you will miss the opportunity to head off trouble before it can multiply." ContentLicense="CC BY-SA 2.5" />
  <row Id="6431" PostHistoryTypeId="2" PostId="3767" RevisionGUID="7ecd9775-2599-4618-91e7-c719322ba2ed" CreationDate="2010-09-24T00:14:28.717" UserId="29" Text=" - Rene is right that you need to first estimate your work scope, then raise flags immediately and early if there are disconnects in expectations. Welcome to the world of Client Management, where 90% of all problems in this regard have to do specifically with *expectations management*. Stick by your guns, but don't be hostile. Stay collaborative. There's always give and take, but sounds like you're just about done giving...but be careful what battles you pick if you're pretty far down the rabbit hole already.&#xD;&#xA;&#xD;&#xA; - Contracts help a lot; what a &quot;contract&quot; is varies, but at the very least, I tell all my clients that I do absolutely no work without a signed *statement of work* (SOW). This at least defines scope and sets expectations, as well as sets out written procedures for handling scope changes. This way nothing is a surprise. Others here on SSD had a [previous discussion around contracts][1] you may want to read. I personally have been on six-figure projects (not sound design only, sadly :-p) with an SOW as the only real paperwork and they went fine.&#xD;&#xA;&#xD;&#xA; - Having an SOW arms you with one critical thing: The ability to point at it when a request comes in and say, &quot;OK, you know, that idea is a great one! I think that'd be awesome! Our challenge is that this will probably take [N] days/hours, and that time wasn't allowed for in our SOW.&quot; Then you're being collaborative and enthusiastic while protecting yourself. Ask if other stuff that you've not yet finished to can come off the table (trade), if there's extra budget (ask), or to make the call yourself that this isn't the battle you should fight and that you should do this one request (buckle)...while telling them that you can't, from a business standpoint, easily accommodate future requests after doing this piece. Always offer professional estimates.&#xD;&#xA;&#xD;&#xA; - If the project if fraught with risk and unknowns, consider billing time &amp; materials - i.e., hourly - instead of on a fixed fee. If the client resists, underscore the need for a well-defined scope and schedule before committing to a fixed fee gig. Track your profit margin like a business, because that's your &quot;room to groove&quot; on tackling requests for extra stuff. I swallow extra requests all the time, at least the small ones, to keep the relationship strong, but that's also because I expect this to happen and ensure my rates have the margin to not sweat the truly teensy things. But significant requests, of course, need to be subjects of serious conversations.&#xD;&#xA;&#xD;&#xA; - A lot of what we do is about client education, and that just comes with the territory, which I and other smart peeps [spoke about in a previously-asked question][2], and it sounds like you're running into this yourself. &#xD;&#xA;&#xD;&#xA; - You're doing the right thing by coming here and asking good questions! Good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/3401/how-do-you-work-with-contracts&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/916/director-knows-nothing-about-sound-take-the-job-" ContentLicense="CC BY-SA 2.5" />
  <row Id="6432" PostHistoryTypeId="2" PostId="3768" RevisionGUID="f16d6b14-e1a6-49ab-9a33-db520dc69955" CreationDate="2010-09-24T00:23:31.943" UserId="29" Text="Client wasn't happy after a bajillion rounds of revision, and an internal email thread ensued. An angry designer accidentally CC'd the client when he said, &quot;Geez, this guy doesn't like anything. I wonder if I should just show him a photocopy of my ass instead of busting it.&quot; Designer FREAKS OUT that he's done this...he's pretty new to the game. Supervisor decided to wait on that one and see what happened, mostly out of not knowing what to do. Supe logs it as a potential issue and preps to deal with it some other time.&#xD;&#xA;&#xD;&#xA;Weeks go by. Nothing happens...well, at least certainly this episode isn't discussed, and it's practically forgotten. Whole project wraps, creative's finally nailed and the client winds up being quite happy. After the final project meeting the client came up to the designer, gave him a congratulatory slap on the shoulder with a knowing look and smirk, and said, &quot;Y'know, I was kind of hoping for a photocopy of your ass.&quot;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6433" PostHistoryTypeId="2" PostId="3769" RevisionGUID="d0764395-585d-442c-86a7-1c81bb75a2d8" CreationDate="2010-09-24T02:33:26.110" UserId="550" Text="thanks guys for the warm welcome." ContentLicense="CC BY-SA 2.5" />
  <row Id="6434" PostHistoryTypeId="2" PostId="3770" RevisionGUID="09480d73-0482-49c1-bd1f-aeb399a3c9b2" CreationDate="2010-09-24T02:43:43.560" UserId="550" Text="I'm restarting my career and was thinking of becoming a sound designer, recording engineer, or producer. I'm getting training in all the positions and I would enjoy all of them. I was thinking of becoming an independent, freelance businessman who would offer sound design, engineering, and producing to music clients. Anyone been down this road who can provide any advice? Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="6435" PostHistoryTypeId="1" PostId="3770" RevisionGUID="09480d73-0482-49c1-bd1f-aeb399a3c9b2" CreationDate="2010-09-24T02:43:43.560" UserId="550" Text="Is any one a sound designer as well as a recording engineer or producer?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6436" PostHistoryTypeId="3" PostId="3770" RevisionGUID="09480d73-0482-49c1-bd1f-aeb399a3c9b2" CreationDate="2010-09-24T02:43:43.560" UserId="550" Text="&lt;sound-design&gt;&lt;recording&gt;&lt;engineering&gt;&lt;producer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6438" PostHistoryTypeId="2" PostId="3772" RevisionGUID="48b66245-c473-4050-bc72-099ac2270fc9" CreationDate="2010-09-24T03:24:19.850" UserId="558" Text="Tristan,&#xD;&#xA;&#xD;&#xA;My first job in sound came by me cold calling a small studio in NYC and offering to take the owner (and sole employee) out to lunch to pick his brain about the tools of the trade.  I offered to answer phones and do small tasks during that day in exchange for getting time on the equipment at night.  Eventually he hired me at a VERY low rate, but it led to credits which led to more work.  That was 1995 or so.&#xD;&#xA;&#xD;&#xA;People like it if you show interest in their work, especially if a free lunch is included.&#xD;&#xA;&#xD;&#xA;good luck.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6439" PostHistoryTypeId="2" PostId="3773" RevisionGUID="ceec7a73-ccde-40f2-a65c-9c8193720068" CreationDate="2010-09-24T03:42:54.317" UserId="588" Text="**I recently purchased a Sony PCM-M10 and was wondering the same thing..&#xD;&#xA;I guess a Rode NTG-2 is next on the list, unless anybody else has any suggestions for close sfx/impact recording..?**" ContentLicense="CC BY-SA 2.5" />
  <row Id="6440" PostHistoryTypeId="2" PostId="3774" RevisionGUID="2586dff9-86d9-40e8-b447-a6c8be33a446" CreationDate="2010-09-24T04:46:45.570" UserId="264" Text="SteamID: copiousx&#xD;&#xA;&#xD;&#xA;Games: TF2, L4D 1 &amp; 2, Civ III, (Civ 5 soon)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6441" PostHistoryTypeId="16" PostId="3774" RevisionGUID="2586dff9-86d9-40e8-b447-a6c8be33a446" CreationDate="2010-09-24T04:46:45.570" UserId="-1" />
  <row Id="6442" PostHistoryTypeId="2" PostId="3775" RevisionGUID="34521529-db51-497e-94e6-e7ccc8417b0d" CreationDate="2010-09-24T07:49:47.553" UserId="40" Text="Co-worker on my was on an indie production gig that was notorious for going past the 12 hour mark w/o paying OT.  One day he had had enough of it.  They had started at 7a and it was approaching 8p.  The director decided he wanted to do some night stuff, essentially lengthening the day another 5 or 6 hours. AD came up to my buddy, who was mixing it, and she tells him about the plan. My buddy says, &quot;Oh man, I wish I had known he was going to do that - I would've brought my night rig. We could try to shoot, but my wireless doesn't work so well after dark. Good possibility the audio will be useless.&quot;  The AD looks at him wide-eyes and concerned and walks away briskly.  A few minutes later, they called wrap.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6443" PostHistoryTypeId="2" PostId="3776" RevisionGUID="be8a749c-536a-4bc6-86af-f5701b53b0ee" CreationDate="2010-09-24T07:52:32.180" UserId="40" Text="Another good one is back from my recording studio days.  Something goes wrong in the CR - something ridiculously easy - but nobody can figure it out.  You tell them you know how to fix it, but it'll take a minute, so why doesn't everyone take a few in the lounge.  While they're getting up to exit the room, grab a rubber mallet and hold it somewhat obviously in your hand, making sure people see it before they leave. Close the door behind them, then proceed to whack the floor as hard as you can, making as much noise as possible with the mallet.  Then go flip the one switch that fixes everything and bring everyone back in the room.&#xD;&#xA;&#xD;&#xA;Makes for a bit of quality entertainment :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6444" PostHistoryTypeId="2" PostId="3777" RevisionGUID="8f68cb7d-f1b8-4e4b-babc-438167e6a5ad" CreationDate="2010-09-24T08:00:28.000" UserId="40" Text="I have done both professionally, but not at the same time.  I used to mix music and do post as a hobby, now I do post professionally and do music as a hobby.  I love both, but I prefer post.&#xD;&#xA;&#xD;&#xA;Someone you may want to talk to though is Tim Prebble.  He's around here somewhere...&#xD;&#xA;&#xD;&#xA;He is a sound designer and composer from New Zealand.  He recently did sound design for &quot;The World's Fastest Indian&quot;, and he just got hired as the Music Supervisor for an upcoming film.  He can fill you in on the details (as I'm sure he'll run across this post sometime soon).&#xD;&#xA;&#xD;&#xA;In my opinion, it is difficult to pursue all three of the things you are talking about.  At least at the same time. You don't want to be a jack of all trades (master of none). Every once and a while it can work out, but usually not.  There's just so much to learn about all of them, and each one takes such a tremendous amount of networking and hustle.  It would be very difficult to work as a freelancer trying to pursue all of them.  I'd pick one to start with and follow it with all you've got.  It'll give you a professional identity.  Once you've established that, you can think about branching out.&#xD;&#xA;&#xD;&#xA;Where are you training?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6445" PostHistoryTypeId="2" PostId="3778" RevisionGUID="f3015d70-5fac-4739-bab3-249abdc651af" CreationDate="2010-09-24T12:42:52.117" UserId="578" Text="Thanks so much to everybody who responded here, I am simply overwhelmed by the sheer amount of incredibly useful information shared by you all! Very much appreciated, I thought this question was going to be too specific, so I'm pleasantly surprised to have received all this great advice.&#xD;&#xA;&#xD;&#xA;Regards,&#xD;&#xA;daan" ContentLicense="CC BY-SA 2.5" />
  <row Id="6446" PostHistoryTypeId="2" PostId="3779" RevisionGUID="d7040a52-3375-48c2-8ab5-1cf3e731c1c0" CreationDate="2010-09-24T13:17:14.700" UserId="578" Text="From a video game perspective, with the rise in recent years of indie games, it seems like it has become more common now for audio people working on these kind of games to be a one stop sound guy solution - recording, designing, and implementing sound effects, while also writing and producing the music. This is not to say that 'everybody' who's active as an audio person in the indie game world is working this way, but it's certainly a difference from the bigger budget titles, where job roles are more specialised.&#xD;&#xA;&#xD;&#xA;I personally mainly work as a sound designer, but occasionally also produce music for promotion/commercial videos. So that's a bit of a hybrid, although music production is generally more of a hobby for  me than a steady stream of income.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6447" PostHistoryTypeId="2" PostId="3780" RevisionGUID="1d14001a-f713-4dbc-b6c3-ec9a9978b211" CreationDate="2010-09-24T14:09:25.263" UserId="432" Text="A few related questions have been asked before, but I can't find any threads discussing Stems and backup practices in a more focused manner. I'm just curious as to what all of your practices are after a mix is completed and what stems you save in the long term.&#xD;&#xA;&#xD;&#xA;Working here in TV land, I usually keep the full sessions for a decent length of time, but permanently back up a set of stems that I bounce out of the final mix session. This usually includes a single channel Dialogue stem, 5.1 and stereo Ambeince/Background stems, 5.1 and stereo FX+Foley stem (I usually don't have to do to much in the way of foley work, so I just lump it in with my effects). Typically in the past, for stuff at work anyways, all automation is enabled when I bounce out these stems. I do that because we almost never remix something down the road. The stems are more of a backup to reproduce the final mix if necessary after something catastrophic happens; in which case I'll have to get a new one at break neck speed. At least that way all I have to do drop it on a timeline and bounce.&#xD;&#xA;&#xD;&#xA;So what do you do, do you keep premix stems or just final mix stems? I'm looking for some good ideas to steal. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6448" PostHistoryTypeId="1" PostId="3780" RevisionGUID="1d14001a-f713-4dbc-b6c3-ec9a9978b211" CreationDate="2010-09-24T14:09:25.263" UserId="432" Text="Backing up stems" ContentLicense="CC BY-SA 2.5" />
  <row Id="6449" PostHistoryTypeId="3" PostId="3780" RevisionGUID="1d14001a-f713-4dbc-b6c3-ec9a9978b211" CreationDate="2010-09-24T14:09:25.263" UserId="432" Text="&lt;backups&gt;&lt;workflow&gt;&lt;stems&gt;&lt;survey&gt;&lt;ideas&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6450" PostHistoryTypeId="2" PostId="3781" RevisionGUID="afaca06a-f15a-4ccb-a260-60893b9f3613" CreationDate="2010-09-24T15:07:39.513" UserId="220" Text="SteamID: colinski  &#xD;&#xA;&#xD;&#xA;PC:  Day of Defeat, Myst games, Age of Empires - mostly old games and simulators like Rollercoaster Tychoon and Sim City.  Btw, anybody wants to trade old PC games... yes indeed I'm interested.&#xD;&#xA;&#xD;&#xA;PS2:  Tekken Tag, various others.&#xD;&#xA;&#xD;&#xA;Gamecube:  Pikmin, Zelda games&#xD;&#xA;&#xD;&#xA;I'm going backwards in time when it comes to gaming- getting ready to construct my first MAME powered multicade cabinet and have been buying a lot of SNES/NES games.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6451" PostHistoryTypeId="16" PostId="3781" RevisionGUID="afaca06a-f15a-4ccb-a260-60893b9f3613" CreationDate="2010-09-24T15:07:39.513" UserId="-1" />
  <row Id="6453" PostHistoryTypeId="2" PostId="3782" RevisionGUID="049a8ff1-767f-4194-b159-686619a82cd7" CreationDate="2010-09-24T16:35:06.563" UserId="234" Text="My Personal fave... Producers who start talking s&amp;*t about the talent, WHILE THEY'VE STILL GOT THE TALKBACK ON!&#xD;&#xA;&#xD;&#xA;But that's not really MY faux pas. &#xD;&#xA;&#xD;&#xA;Many years ago, I did send an email to the Line Producer of a show I was working on (an acquaintance of mine), with some rather choice comments about the way the schedule was set by  our overseas clients. Shortly after I sent it, the Line Producer pointed out that I had hit &quot;Reply All&quot;, and had sent it too the said overseas clients. Had to do some serious eating of crow to smooth THAT over... Learned to be VERY careful who emails were going out to! " ContentLicense="CC BY-SA 2.5" />
  <row Id="6454" PostHistoryTypeId="2" PostId="3783" RevisionGUID="6a09c7d3-4e4b-4439-9ee5-03dd17bbb6db" CreationDate="2010-09-24T16:52:43.857" UserId="286" Text="Xbox 360:  The Mung Pie&#xD;&#xA;&#xD;&#xA;Halo&#xD;&#xA;Call of Duty&#xD;&#xA;Sports Games (Hockey)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6455" PostHistoryTypeId="16" PostId="3783" RevisionGUID="6a09c7d3-4e4b-4439-9ee5-03dd17bbb6db" CreationDate="2010-09-24T16:52:43.857" UserId="-1" />
  <row Id="6456" PostHistoryTypeId="2" PostId="3784" RevisionGUID="aec4f933-7c2f-4dd7-b973-a1032bed01b5" CreationDate="2010-09-24T18:58:46.947" UserId="46" Text="We keep all sessions and stems as long as our backup drives will last (2 copies of each drive). There's a whole closet full of drives and it's pretty bizarre how far back you might go due to a random client request.&#xD;&#xA;&#xD;&#xA;Additionally (maybe of interest to you), we're the local audio storehouse for a fairly large indie film company. The post for their films takes place all over the world, but they have each facility send us the final elements after completion. We archive those films here and then they call us any time they need to recall assets, post files for trailers, etc. The original hard drive ends up permanently stored at a large post company in CA, but is stored here in NYC for them to have easy access (my guess is that our services are cheaper than those in CA)." ContentLicense="CC BY-SA 2.5" />
  <row Id="6457" PostHistoryTypeId="2" PostId="3785" RevisionGUID="c2123c7e-9d3e-4fcb-b5f4-760ebf775296" CreationDate="2010-09-24T20:15:04.030" UserId="18160" Text="Technical question regarding mic cables:&#xD;&#xA;&#xD;&#xA;What is your favorite type, and why?&#xD;&#xA;&#xD;&#xA;I shot out a few kinds and I found Monster Cable to be the best overall for my purposes of recording voice and vocals. Compared to other high-end brands, the Monster added beefiness and smoothness to the voice as if you added 2 dB at 100 Hz with a Q of like 4, and a 2 dB notch at about 2.5K with a Q of like 6.&#xD;&#xA;&#xD;&#xA;Has anyone found anything better? What type of cables do you use for recording?&#xD;&#xA;&#xD;&#xA;Thanks in advance, as always! All of your experience is always greatly appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6458" PostHistoryTypeId="1" PostId="3785" RevisionGUID="c2123c7e-9d3e-4fcb-b5f4-760ebf775296" CreationDate="2010-09-24T20:15:04.030" UserId="18160" Text="Anything better than Monster Cable?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6459" PostHistoryTypeId="3" PostId="3785" RevisionGUID="c2123c7e-9d3e-4fcb-b5f4-760ebf775296" CreationDate="2010-09-24T20:15:04.030" UserId="18160" Text="&lt;cable&gt;&lt;microphone&gt;&lt;recording&gt;&lt;best&gt;&lt;monster&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6460" PostHistoryTypeId="2" PostId="3786" RevisionGUID="ca65d33f-2ebc-4014-b769-684f2a791083" CreationDate="2010-09-24T20:21:50.633" UserId="132" Text="This question actually caused a dream last night and then prompted a blog post:&#xD;&#xA;&#xD;&#xA;http://sepulchra.com/blog/?p=1247&#xD;&#xA;&#xD;&#xA;Tim, thanks for triggering a funny memory." ContentLicense="CC BY-SA 2.5" />
  <row Id="6462" PostHistoryTypeId="2" PostId="3787" RevisionGUID="fd6e9f94-c905-4993-abac-a3c1c1d66a66" CreationDate="2010-09-24T22:11:49.493" UserId="62" Text="I keep a copy of (Save Copy In so I get all the audio files too) all my mix ProTools sessions for starters. Stems are a little different though.&#xD;&#xA;&#xD;&#xA;We have a 24p workflow from edit - tracklay - mix and the stems get routed/recorded in ProTools and put onto HDCAMSR (Mix, M&amp;E, Music, Effects, Dialogue). I then import them into a PAL and NTSC session for delivery.&#xD;&#xA;&#xD;&#xA;The ProTools 24p sessions and PAL/NTSC stems get put onto a backup HDD until the series is delivered then is burnt to BluRay.&#xD;&#xA;&#xD;&#xA;Then I re-import the BluRay to ensure it's grand and wipe my drives of the show.&#xD;&#xA;&#xD;&#xA;A full 52 episode (12 mins each) normally takes 4/5 BluRay discs (at €20/$27 each) to archive. Around €100/$134 to archive a series isn't that bad and safer than a HDD I think.&#xD;&#xA;&#xD;&#xA;Last week I had a first and had to re-layback our HDCAMSR master of a show and the system obviously works as the PT session fired straight up without a problem." ContentLicense="CC BY-SA 2.5" />
  <row Id="6463" PostHistoryTypeId="2" PostId="3788" RevisionGUID="807ea97b-0c63-4c81-ab01-9fc92a13b66c" CreationDate="2010-09-24T22:32:02.223" UserId="578" Text="One of my strangest must be the recordings I made of a broken toilet that produced a lot of interesting noises after you flushed it. It created lots of different banging, rattling, suction, whizz and whirr sounds. The funny thing is that it wouldn't stop - once you flushed it, it just went on like this for ever., until you messed around with its pump to make it stop.&#xD;&#xA;&#xD;&#xA;You can listen to a snippet here... Not sure if SSD accepts the Soundcloud player as an embedded object, but here goes:&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F5555619%3Fsecret_token%3Ds-mAbqI&amp;secret_url=false&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F5555619%3Fsecret_token%3Ds-mAbqI&amp;secret_url=false&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/daan-hendriks/strange-broken-toilet&quot;&gt;Strange broken toilet&lt;/a&gt;&lt;/span&gt; " ContentLicense="CC BY-SA 2.5" />
  <row Id="6464" PostHistoryTypeId="2" PostId="3789" RevisionGUID="bb4c4742-f5b6-4923-bbe1-551c2091c826" CreationDate="2010-09-24T22:41:06.327" UserId="18160" Text="No cost limit for a studio pre-amp - solid-state or tube, doesn't matter which.&#xD;&#xA;&#xD;&#xA;Which one would you buy for:&#xD;&#xA;&#xD;&#xA;Vocals&#xD;&#xA;&#xD;&#xA;Drums (any type of drum)&#xD;&#xA;&#xD;&#xA;Voice Over (if you like a different one from vocal pre)&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="6465" PostHistoryTypeId="1" PostId="3789" RevisionGUID="bb4c4742-f5b6-4923-bbe1-551c2091c826" CreationDate="2010-09-24T22:41:06.327" UserId="18160" Text="If you could buy a studio pre-amp - cost no issue - which one would you buy?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6466" PostHistoryTypeId="3" PostId="3789" RevisionGUID="bb4c4742-f5b6-4923-bbe1-551c2091c826" CreationDate="2010-09-24T22:41:06.327" UserId="18160" Text="&lt;studio&gt;&lt;pre-amp&gt;&lt;choice&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6467" PostHistoryTypeId="4" PostId="3789" RevisionGUID="1170cd4e-061b-4184-8e97-9f09cd8725fe" CreationDate="2010-09-24T23:22:28.150" UserId="18160" Comment="edited title" Text="If you were to buy a studio pre-amp - cost no issue - which one would you buy and why?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6468" PostHistoryTypeId="5" PostId="3788" RevisionGUID="3844209e-fc51-4c45-a9ec-3fa8acdb8060" CreationDate="2010-09-24T23:52:25.400" UserId="578" Comment="deleted 39 characters in body" Text="One of my strangest must be the recordings I made of a broken toilet that produced plenty of interesting noises after you flushed it. It banged, rattled, whizzed and whirred. The funny thing is that it wouldn't stop - once you flushed it, it just went on like this for ever., until you messed around with its pump to make it stop.&#xD;&#xA;&#xD;&#xA;You can listen to a snippet here... Not sure if SSD accepts the Soundcloud player as an embedded object, but here goes:&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F5555619%3Fsecret_token%3Ds-mAbqI&amp;secret_url=false&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F5555619%3Fsecret_token%3Ds-mAbqI&amp;secret_url=false&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/daan-hendriks/strange-broken-toilet&quot;&gt;Strange broken toilet&lt;/a&gt;&lt;/span&gt; " ContentLicense="CC BY-SA 2.5" />
  <row Id="6469" PostHistoryTypeId="2" PostId="3790" RevisionGUID="06f182e6-5e3b-4697-96c6-80abaa4a2708" CreationDate="2010-09-25T00:27:57.510" UserId="578" Text="One more very useful tool for editing I did not see mentioned here before is the Click and Crackle Remover plugin included in Sony SoundForge versions 9 and up. I've edited a hell of a lot of dialogue lines for games, and even though most clicks you can work out quickly by hand (as the waveform display in  Sound Forge is very accurate for this sort of work), there's always some you just can't get rid of and drive you up the wall.&#xD;&#xA;&#xD;&#xA;I've mapped the Click and Crackle Remover plugin to a shortcut key so when I press it the plugin window pops up, I quickly adjust the sliders/settings (or not) and hopla, job done. Works like a charm - big headache saver!&#xD;&#xA;&#xD;&#xA;But yes - I do agree: it's also important to see your lines of dialogue within a larger context, and to not obsess over clicks. I've always felt I'm mainly taking out clicks for myself... and other audio people perhaps :)&#xD;&#xA;&#xD;&#xA;Sorry - I have not enough experience with actually recording VO to give tips on how to prevent clicks in the recording stage, although I've been told once that giving an actor Listerine or similar mouthwash should help... No idea if that's true though!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6470" PostHistoryTypeId="2" PostId="3791" RevisionGUID="ad66e2cf-bc92-4f3b-8bcf-11f64bab95ee" CreationDate="2010-09-25T00:28:01.800" UserId="564" Text="Can't go wrong with the monster gold-tips.  They're shielded better to reduce any noise.  All around a good buy." ContentLicense="CC BY-SA 2.5" />
  <row Id="6471" PostHistoryTypeId="2" PostId="3792" RevisionGUID="e23cacac-7ce2-4d80-ba0a-5aba15a740c4" CreationDate="2010-09-25T00:35:42.043" UserId="533" Text="It really depends on what mic are you using it with and the sound of the instrument. It is the whole signal chain that works together, not just the preamp. &#xD;&#xA;&#xD;&#xA;Especially with vocals, you'll actually want a variety of mics and preamps since every voice is so different. Unless you are just recording one particular vocalist then try out mics and preamps for his/her voice to find a suitable combination.&#xD;&#xA;&#xD;&#xA;You can take a look and listen to some signals chains that people have put up over at [Signal Chains][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://signalchains.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6472" PostHistoryTypeId="5" PostId="3789" RevisionGUID="049f2624-7488-4d0b-a744-96029ae2064b" CreationDate="2010-09-25T00:44:29.560" UserId="18160" Comment="added 70 characters in body; added 19 characters in body" Text="No cost limit for a studio pre-amp - solid-state or tube, doesn't matter which.&#xD;&#xA;&#xD;&#xA;Which one would you buy for:&#xD;&#xA;&#xD;&#xA;Vocals - (Katy Perry - contemporary pop)&#xD;&#xA;&#xD;&#xA;Drums (any type of drum)&#xD;&#xA;&#xD;&#xA;Voice Over (if you like a different one from vocal pre. This would be for bass voices for long-term narration)&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="6473" PostHistoryTypeId="5" PostId="3789" RevisionGUID="c5b2a84c-9f73-41aa-8673-bff21194dca8" CreationDate="2010-09-25T00:58:02.553" UserId="18160" Comment="added 6 characters in body" Text="No cost limit for a studio pre-amp - solid-state or tube, doesn't matter which.&#xD;&#xA;&#xD;&#xA;Which one would you buy for:&#xD;&#xA;&#xD;&#xA;Vocals - (Katy Perry, etc. - contemporary pop)&#xD;&#xA;&#xD;&#xA;Drums (any type of drum)&#xD;&#xA;&#xD;&#xA;Voice Over (if you like a different one from vocal pre. This would be for bass voices for long-term narration)&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="6474" PostHistoryTypeId="2" PostId="3793" RevisionGUID="923fe188-b9a5-407d-9297-c8608daa2be5" CreationDate="2010-09-25T02:07:59.017" UserId="40" Text="There's no real way to answer that question accurately.&#xD;&#xA;&#xD;&#xA;I have my favorite preamps for different things, but it really comes down to a per-case choice. I love a Neve 1073 on vocals, but every voice is different. Even two people who have similar voices singing / speaking the same style may react differently with the same pre.  Also depends very much on the mic, and you can't really pick a mic until you listen to a few different ones on the talent.&#xD;&#xA;&#xD;&#xA;Always good to have a variety of preamps and mics available.  Once you have your talent there, audition a few different mics and pres until you find which one you like best, then stick with that one. If you don't, you'll likely have less-than-stellar results. &#xD;&#xA;&#xD;&#xA;So yeah, it's really an unanswerable question. You'll do yourself a disservice by trying to nail down &quot;the best preamp&quot; for whatever situation.&#xD;&#xA;&#xD;&#xA;In general, I tend to find myself settling on API or SSL for drums, Neve or Chandler for Vocals, and Avalon, Focusrite or Nagra for VO, but I also work with the same talent / artists frequently, and I tend to be a creature of habit once I've found something I like. So when I work with someone new, I have to go through the whole discovery process again." ContentLicense="CC BY-SA 2.5" />
  <row Id="6475" PostHistoryTypeId="2" PostId="3794" RevisionGUID="962d3888-46a8-4ef8-a303-825d2b1aee16" CreationDate="2010-09-25T02:15:04.103" UserId="40" Text="If your Monster Cable changes the actual sound of the recording, I'd throw it away or demand a new one.  It's copper, nothing else. Nothing about it should (or could really) change the sound.  The point of a cable is to just get from point A to point B without coloring the sound.  If your cable is coloring the sound, you're in trouble.  If your cable can color the sound, then the longer the cable, the more it would color, and all sorts of problems would occur at longer cable runs.&#xD;&#xA;&#xD;&#xA;If you do a true, 100% honest blind test, I guarantee you won't be able to tell the difference between a Monster and something like a Whirlwind or other cheaper brand.  IMO, the only reason to buy Monster is because of the warrantee (which is amazing).  For the price, though, you could get a much better construction on a cable - something like Mogami or Canari.&#xD;&#xA;&#xD;&#xA;The stuff Monster puts on their packaging might be true in a lab with an oscilloscope, but nothing that the human ear can discern. If you can discern it, you are suffering the same problem that occurs when you turn an eq, hear a difference, then later come to find out the eq was never inline in the first place.  Your brain wants to hear a difference, so it makes you hear one.&#xD;&#xA;&#xD;&#xA;Same thing goes for those $300 IEC cables and such.  It's power. As long as you're plugged into a conditioner, it's not going to change the sound of your gear. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So, in short, the thing you want in a cable is good construction and good noise reduction. In general, the quad-star type cables are the best at noise reduction, so I'd go with that. Mid-level Mogami or Canari does just fine.  And, if you buy it bulk and solder it yourself, you can get a lot of it for cheap. Monster is fine too, just don't buy the holy-crap expensive stuff. Isn't worth it." ContentLicense="CC BY-SA 2.5" />
  <row Id="6476" PostHistoryTypeId="2" PostId="3795" RevisionGUID="e27a7db7-67f1-4cae-b2d3-d52d3964bc48" CreationDate="2010-09-25T03:45:22.850" UserId="564" Text="Is it possible to bring in the wave on 5 different mono chanels?  That's my workaround when having similar problems in Pro-Tools.  My next idea would be to duplicate the tracks, and pan them as you see fit......if that's an option.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6477" PostHistoryTypeId="2" PostId="3796" RevisionGUID="36012c59-dc0b-43d6-916c-a961ac73641d" CreationDate="2010-09-25T03:53:31.027" UserId="564" Text="When working post-production audio on a big budget film, name actors, directors....etc.  What would the expected compensation be?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6478" PostHistoryTypeId="1" PostId="3796" RevisionGUID="36012c59-dc0b-43d6-916c-a961ac73641d" CreationDate="2010-09-25T03:53:31.027" UserId="564" Text="Big Budget Films/Compensation" ContentLicense="CC BY-SA 2.5" />
  <row Id="6479" PostHistoryTypeId="3" PostId="3796" RevisionGUID="36012c59-dc0b-43d6-916c-a961ac73641d" CreationDate="2010-09-25T03:53:31.027" UserId="564" Text="&lt;post-production&gt;&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6480" PostHistoryTypeId="6" PostId="626" RevisionGUID="87e58bea-a867-408d-a5ab-4cea5675c89e" CreationDate="2010-09-25T03:56:41.537" UserId="564" Comment="edited tags" Text="&lt;instruments&gt;&lt;sound-design&gt;&lt;survey&gt;&lt;theory&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6481" PostHistoryTypeId="2" PostId="3797" RevisionGUID="483ef8ef-e735-479f-bc62-d6212ce016a3" CreationDate="2010-09-25T04:02:21.280" UserId="18160" Text="Couldn't think of a better place to ask this as everyone on here is so knowledgable. Could you please give me a general idea on how long it takes a 2-man mix team, a 3-man dialogue-editing team and a 3-man SFX editing team to realize a 2-hour feature?&#xD;&#xA;&#xD;&#xA;Supernatural thriller. About 20 minutes of heavy action. But all the scenes will be flushed out with full foley with the utmost detail. Going for highest quality. Music is being mixed elsewhere and will drop stems for the final mix.&#xD;&#xA;&#xD;&#xA;I got an estimate of 5 weeks from editorial to final mix printed - does this seem reasonable? I haven't supervised a film before so I don't have a comparable reference. It seems to me like it would take this size of a team longer.&#xD;&#xA;&#xD;&#xA;Your answers are always highly appreciated." ContentLicense="CC BY-SA 2.5" />
  <row Id="6482" PostHistoryTypeId="1" PostId="3797" RevisionGUID="483ef8ef-e735-479f-bc62-d6212ce016a3" CreationDate="2010-09-25T04:02:21.280" UserId="18160" Text="Post Time Expectancy" ContentLicense="CC BY-SA 2.5" />
  <row Id="6483" PostHistoryTypeId="3" PostId="3797" RevisionGUID="483ef8ef-e735-479f-bc62-d6212ce016a3" CreationDate="2010-09-25T04:02:21.280" UserId="18160" Text="&lt;post-production&gt;&lt;time&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6484" PostHistoryTypeId="5" PostId="3794" RevisionGUID="86e0402c-d816-4645-bf0a-5070e1d8b0f3" CreationDate="2010-09-25T04:09:03.563" UserId="40" Comment="added 202 characters in body; added 6 characters in body" Text="If your Monster Cable changes the actual sound of the recording, I'd throw it away or demand a new one.  It's copper, nothing else. Nothing about it should (or could really) change the sound.  The point of a cable is to just get from point A to point B without coloring the sound.  If your cable is coloring the sound, you're in trouble.  If your cable can color the sound, then the longer the cable, the more it would color, and all sorts of problems would occur at longer cable runs.&#xD;&#xA;&#xD;&#xA;If you do a true, 100% honest blind test, I guarantee you won't be able to tell the difference between a Monster and something like a Whirlwind or other cheaper brand.  IMO, the only reason to buy Monster is because of the warrantee (which is amazing).  For the price, though, you could get a much better construction on a cable - something like Mogami or Canari.&#xD;&#xA;&#xD;&#xA;The stuff Monster puts on their packaging might be true in a lab with an oscilloscope, but nothing that the human ear can discern. If you can discern it, you are suffering the same problem that occurs when you turn an eq, hear a difference, then later come to find out the eq was never inline in the first place.  Your brain wants to hear a difference, so it makes you hear one.&#xD;&#xA;&#xD;&#xA;Same thing goes for those $300 IEC cables and such.  It's power. As long as you're plugged into a conditioner, it's not going to change the sound of your gear. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So, in short, the thing you want in a cable is good construction and good noise reduction. In general, the quad-star type cables are the best at noise reduction, so I'd go with that. Mid-level Mogami or Canari does just fine.  And, if you buy it bulk and solder it yourself, you can get a lot of it for cheap. Monster is fine too, just don't buy the holy-crap expensive stuff. Isn't worth it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;Check this out too. Not studio audio, but Audiophile level, but the same idea:&#xD;&#xA;[Monster A/B][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://consumerist.com/2008/03/do-coat-hangers-sound-as-good-monster-cables.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="6485" PostHistoryTypeId="2" PostId="3798" RevisionGUID="95360515-7ebb-4f37-a75e-e787539e6932" CreationDate="2010-09-25T04:44:04.690" UserId="444" Text="MIT makes great XLRs and interconnects.  But for 100' runs... ayeee... would be way to pricey.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6487" PostHistoryTypeId="2" PostId="3800" RevisionGUID="99fc8022-65fb-4b91-94f0-18bde2469791" CreationDate="2010-09-25T06:10:10.777" UserId="61" Text="Depends on whether it is a union or non-union production. Non-union films often pay less, require more overtime/weekend work, and pay nothing into health or pension funds. Here in LA, a non-union film could pay anything from $800/wk to $1800/wk. Or it could pay nothing. (I'm just ballparking here, since I have no real experience in non-union film work. I have, however, worked in post-sound facilities that were non-union but did commercial work, so I have to assume there would be similarities.)&#xD;&#xA;&#xD;&#xA;If it's a union production, then you can plan on making at least the minimum weekly rate ($2,063.01/wk for a sound editor in LA, for example). Also, if you work beyond the regular work day or into weekends, you will be paid overtime. Finally, a health and/or pension plan will be funded for every hour that you work.&#xD;&#xA;&#xD;&#xA;Now don't get me wrong, not all non-union productions are bad; some films simply cannot operate under union guidelines, or there may not be any union to deal with in your area. If you find yourself in a position to work on such a film, you should ask the producer what their budget is and start from there. If it's completely unrealistic, then I would offer up my &quot;book rate&quot;, or the rate I think best reflects my skill level. BOTTOM LINE: You should try to find a middle ground. Pushing the &quot;hard sell&quot; rate is a quick way to lose a potential (or long-term) client. You should also plan for any unexpected overages, such as overtime, evening/weekend work, and extended deadlines. That way you're covered if things get out of hand.&#xD;&#xA;&#xD;&#xA;Oh, and try to get it in writing!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6489" PostHistoryTypeId="2" PostId="3801" RevisionGUID="02bedbfd-23d2-4be0-a154-5f9607bf43c0" CreationDate="2010-09-25T11:57:09.150" UserId="589" Text="Hello forum, &#xD;&#xA;&#xD;&#xA;I am new here. I would like to have some opinions on the followoing issue. I have just done the sound design for a short film here in London. I work freelance and have my own little facilities. But nothing big enough to do a proper theather mix. Just a stereo workplace. The director decided to book a mixing session in comercial post production facility. &#xD;&#xA;&#xD;&#xA;Now, since I am only startig my career this was the first time that I was not responsible for the final mix. I didn't even had any influence on it. Now I got back the final mix and was a bit shocked. It sounds like a TV series now. The dialouge is heavily at the front, all sound design elements have been pushed back. I feel like most of the sound design got lost. Now of course I also had the dialogue in the front and tried not to put anything too distrackting in the ambience. But it is a war scene, were soldiers in a camp go mad while they are being attacked. I played a lot with dynamic so that for example gun shots peak out a little bit, so that they sound more dramatic. This is all gone. The sound is now flat in order to make it louder. I feel like the tention is taken out of the film. &#xD;&#xA;&#xD;&#xA;Is this normal? Did you ever felt like your sound design got lost in the mix? I would like to have some opinions on this. Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="6490" PostHistoryTypeId="1" PostId="3801" RevisionGUID="02bedbfd-23d2-4be0-a154-5f9607bf43c0" CreationDate="2010-09-25T11:57:09.150" UserId="589" Text="Sound Design and Sound Mix" ContentLicense="CC BY-SA 2.5" />
  <row Id="6491" PostHistoryTypeId="3" PostId="3801" RevisionGUID="02bedbfd-23d2-4be0-a154-5f9607bf43c0" CreationDate="2010-09-25T11:57:09.150" UserId="589" Text="&lt;mix&gt;&lt;final&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6492" PostHistoryTypeId="12" PostId="240" RevisionGUID="ac2b7ff5-4648-4486-ad8d-5c991ae5549e" CreationDate="2010-09-25T13:03:04.363" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="6495" PostHistoryTypeId="2" PostId="3802" RevisionGUID="c1b31d26-9f53-4fd0-bf53-fa788ba4a21f" CreationDate="2010-09-25T14:36:10.560" UserId="590" Text="We buy Mogami cable and Neutrik connectors in bulk and roll our own mic/line/instrument cables for our studio.  We've also done some blind shootouts, and can assure you that different brands of cable absolutely do sound different from each other.  I use the word &quot;different&quot; because &quot;better&quot; is subjective.  That said, in our tests we all chose Mogami hands down over ProCo and Whirlwind.  We felt that the Mogami cable offered less comb filtering in the high frequencies (some may describe this as being &quot;smoother&quot; in the highs) and extended, even low frequency response on kick and bass." ContentLicense="CC BY-SA 2.5" />
  <row Id="6496" PostHistoryTypeId="2" PostId="3803" RevisionGUID="7b17203f-768f-4ae6-ae1e-d3f3651d7d4d" CreationDate="2010-09-25T14:48:36.620" UserId="400" Text="I'd love to hear if there's a real solution for this also. I remember when I first stumbled onto a multi-channel .wav file and I was like &quot;how the hell does Logic handle these?&quot; Short answer? It doesn't." ContentLicense="CC BY-SA 2.5" />
  <row Id="6497" PostHistoryTypeId="2" PostId="3804" RevisionGUID="357b8aeb-7f65-4b93-8cb9-6d9dc4a44dcb" CreationDate="2010-09-25T15:00:44.277" UserId="338" Text="Do you ever edit dialogue on cans?&#xD;&#xA;&#xD;&#xA;What if your speakers are sub-pro, is it better to edit the dialogue on a decent pair of headphones?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6498" PostHistoryTypeId="1" PostId="3804" RevisionGUID="357b8aeb-7f65-4b93-8cb9-6d9dc4a44dcb" CreationDate="2010-09-25T15:00:44.277" UserId="338" Text="Dialogue editing on cans?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6499" PostHistoryTypeId="3" PostId="3804" RevisionGUID="357b8aeb-7f65-4b93-8cb9-6d9dc4a44dcb" CreationDate="2010-09-25T15:00:44.277" UserId="338" Text="&lt;editing&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6500" PostHistoryTypeId="2" PostId="3805" RevisionGUID="aa08def8-94a9-4805-9ed9-ee4ac39ce7be" CreationDate="2010-09-25T16:24:02.523" UserId="393" Text="The one thing cans can't help you do is check phase, which CAN be done on even the worst set of stereo speakers.  So, in my opinion, I think you may be better off doing the bulk of your editing with the headphones and checking it against your speakers after you're comfortable with it there, check it for phasing issues in the speakers.&#xD;&#xA;&#xD;&#xA;As soon as you can, invest in a set of monitors.  No matter how cheap they are, they'll be better for editing than the nicest set of &quot;audiophile grade&quot; hi-fi speakers." ContentLicense="CC BY-SA 2.5" />
  <row Id="6501" PostHistoryTypeId="2" PostId="3806" RevisionGUID="4cbca759-33ae-4e08-ac99-cdd7d4c88369" CreationDate="2010-09-25T16:45:50.527" UserId="37" Text="Logic and PT surround has channels ordered in a different way. Even if poly wavs contain the relevant metadata re channels (which frankly I doubt), the DAW is free to ignore that. Logic is exceptional at ignoring things it shouldn't. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6502" PostHistoryTypeId="2" PostId="3807" RevisionGUID="5ae0bcca-f5aa-4791-8b9d-5dea12547ea7" CreationDate="2010-09-25T17:49:54.963" UserId="18" Text="Years ago, I worked at Guitar Center.  Monster Cable was the best at one thing; making us more money than any other cable.  The Monster Cable reps were like used carsalesmen, management pushed us to sell that stuff as much as possible.  It was the only thing in the store sold at full retail price.  Not even the store manager could sell it for less.  The markup was insane." ContentLicense="CC BY-SA 2.5" />
  <row Id="6503" PostHistoryTypeId="2" PostId="3808" RevisionGUID="2d4ca019-7510-4156-a5c9-7898abb6bd1b" CreationDate="2010-09-25T17:56:58.930" UserId="343" Text="I´ve recently edited dialog, fx and music of a 90 min documentary using a pair of headphones. At first it was a portability issue, but then I found out that they gave me a greater level of detail even in quiet passages and a response more dynamic than my pair of NS10m or some bigger Genelec. This cans were Grado SR325is, they are the &quot;best&quot; of the lower range -in the same price range of most common pro cans- and I´d recommend them to anyone." ContentLicense="CC BY-SA 2.5" />
  <row Id="6504" PostHistoryTypeId="2" PostId="3809" RevisionGUID="4df6e8ec-753b-47ce-a164-69e51deef620" CreationDate="2010-09-25T18:58:44.460" UserId="578" Text="I've done a lot of dialogue editing on headphones. Bear in mind though that this was game VO editing, which is quite a different process from being a dialogue editor on film, as far as I'm aware. With games you tend to just worry about single assets - if they're topped/tailed correctly, the file naming conventions, if there's no horrible clicks or other stuff like that in the asset, if there's perhaps some issues with the actor's performance of that particular line.&#xD;&#xA;&#xD;&#xA;So in that situation, editing on cans was always fine - and indeed often easier to spot little issues like clicks. The flipside is that you can start worrying about things that in the larger scale of the project don't really matter, and that slows you down. When you have 45.000 lines of dialogue to edit, you don't want to slow down, as you can imagine. So bottom line has been for me, on projects like this, to be able to get a feel of what is an issue and what you can let slip, as listening to isolated dialogue on headphones reveals a lot of tiny things that will pretty much go by unnoticed for the player or audience.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6506" PostHistoryTypeId="2" PostId="3811" RevisionGUID="452244ac-ad24-4143-a355-6cc4632fb809" CreationDate="2010-09-25T19:43:54.267" UserId="591" Text="I've done a few dialogue edits in my headphones. Like others have said, it's great for cleaning up clicks and perfecting transitions. It is crucial to be able to reference what you've done through monitors though. I like to do my clean up with my headphones for a scene, then have a listen through the monitors. After your ears get accustomed to hearing pops and clicks in headphones, you won't let em sneak by you in monitors. &#xD;&#xA;&#xD;&#xA;I love to have my headphones around all the time. I have the Beyer Dynamic DT-880. Translate pretty well. Best headphones I've ever had. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6507" PostHistoryTypeId="2" PostId="3812" RevisionGUID="294fb1c8-5e4b-4772-a50b-83f3cbe955db" CreationDate="2010-09-25T19:48:50.567" UserId="591" Text="Granny smith apples.. One client at the studio swears by em. He does a large amount of narration." ContentLicense="CC BY-SA 2.5" />
  <row Id="6508" PostHistoryTypeId="2" PostId="3813" RevisionGUID="6d92fb39-b438-47d6-a054-f15f6c590180" CreationDate="2010-09-25T20:14:21.110" UserId="253" Text="I mainly work on projects for film or tv and i avoid cans like the plague. As we're always mixing for loudspeakers (To the veterans: do you guys ever take headphones into account when you mix?), headphones give a very inaccurate representation. I see what you're getting at, using them as a magnifying glass to find clicks; but i think this could lead you to agonise over things that aren't even audible through speakers. Also, if you're trying to fit in alts and whatnot, they could lead you to think something doesn't match when it does or vice versa. &#xD;&#xA;&#xD;&#xA;If you have a nice, quiet room and a decent set of monitors (although sometimes the ideal conditions are hard to get hold of), i don't think cans should be used.&#xD;&#xA;&#xD;&#xA;Edit: Just reread your question; if your speakers aren't amazing, then i'd do a pass with each to get a better perspective on how it's sounding." ContentLicense="CC BY-SA 2.5" />
  <row Id="6510" PostHistoryTypeId="2" PostId="3814" RevisionGUID="e1458efe-0740-452b-825d-b4b8c9f8df63" CreationDate="2010-09-26T00:29:53.213" UserId="29" Text="While many swear by Mogami - I have a few for long runs - most of mine are Canare starquads, and all of them use neutrik connectors, and like Chuck, I've got a few Whirlwinds for special uses (like one-footers for runs from bag wireless units). Nary a problem, but I've got a dozen years' worth of cable purchases that are weak, broken, frayed, noisy, poorly-shielded, verbally abusive, and generally crapulent. Once I discovered Canare and Mogami, no looking back, and no problems unless *I* do something really stupid.&#xD;&#xA;&#xD;&#xA;I can't hear any difference between the good brands I just mentioned." ContentLicense="CC BY-SA 2.5" />
  <row Id="6511" PostHistoryTypeId="2" PostId="3815" RevisionGUID="6e37fcaf-af27-4ab1-8d73-c24429661196" CreationDate="2010-09-26T01:36:38.920" UserId="220" Text="If you want good quality, make your own cables.  You have full control over how it is shielded and terminated. Like NoiseJockey, I almost always use Caranre starquad cable - I have a reel of 1000 feet that I use as my starter cable.  From there, I depends on the application for the connector - I generally use Neutric connectors, XX series.  If you're not comfortable with soldering, they have a [Crimp Series XX][1].  If you're want pretty cables, you can use the [CrystalICON Series][2] that are studded with Swarovski crystals.  I wish that was a joke.  &#xD;&#xA;&#xD;&#xA;There are lots of claims that go around involving the noticeable quality of sound with different connectors, low oxygen copper, etc.  The only thing that should be noticeable is any interference, in which case you need to look at your grounding practices.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.neutrik.com/us/en/audio/204_2020279463/XX_Crimp_Series_productlist.aspx&#xD;&#xA;  [2]: http://www.neutrik.com/us/en/audio/204_1794491862/crystalCON_productlist.aspx" ContentLicense="CC BY-SA 2.5" />
  <row Id="6512" PostHistoryTypeId="4" PostId="3785" RevisionGUID="e969f787-af53-43d7-a994-5f90399a371e" CreationDate="2010-09-26T01:57:21.017" UserId="18160" Comment="edited title" Text="What is your favorite type of microphone cable?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6513" PostHistoryTypeId="5" PostId="3785" RevisionGUID="1d523d8e-bdf1-4dd4-b611-9425fad75c06" CreationDate="2010-09-26T02:11:00.240" UserId="18160" Comment="deleted 193 characters in body" Text="Technical question regarding mic cables:&#xD;&#xA;&#xD;&#xA;What is your favorite type, and why?&#xD;&#xA;&#xD;&#xA;I shot out a few kinds and I found Monster Cable to be the best overall for my purposes of recording voice and vocals.&#xD;&#xA;&#xD;&#xA;Has anyone found anything better? What type of cables do you use for recording?&#xD;&#xA;&#xD;&#xA;Thanks in advance, as always! All of your experience is always greatly appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6514" PostHistoryTypeId="2" PostId="3816" RevisionGUID="e5aa457d-0fb4-41d3-95a0-746e12e3c6d1" CreationDate="2010-09-26T03:48:21.117" UserId="61" Text="Yes, this is quite normal - you are not the first sound person to feel like their original vision for a given project became distorted in the final mix and lost its focus and shape. (If I had a dollar for every time this has happened to me, well…) Let me explain from my own experiences:&#xD;&#xA;&#xD;&#xA;The job of the sound designer is not always the same. Sometimes you are hired to fulfill a specific vision, say, that of a producer or director; other times you are hired to create the design with very little guidance, only broad stroke concepts or ideas are given. (I find the latter to be most common in feature films.) Either way, the time you spend creating the track in your editing suite is mostly under your own control and you can shape it any way you like, always keeping the film's best interests in mind. But once it leaves your hands and moves on to the final mix, all bets are off. You must be prepared to abandon your work and create something new if a note is given by the director, or a producer or picture editor. I'm not saying to dump it immediately - unless that is the note - sometimes all it takes is a little explanation of why you prepped a certain sound for a certain moment for everyone to sign off on it and your vision remains intact.&#xD;&#xA;&#xD;&#xA;The critical thing to remember is this: This is NOT YOUR MOVIE. It is the Director's movie (or TV show, or documentary, or webisode, etc). The Director's vision for the film has to be kept front-and-center, overshadowing everyone else's idea of what it should sound like. And a contented director is a happy director, and a happy director is hopefully a repeat client.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Again, welcome. I trust you will find this forum helpful, educational &amp; fun.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6516" PostHistoryTypeId="2" PostId="3818" RevisionGUID="9ff73ac6-90e9-4bcc-9ed4-409f3526b232" CreationDate="2010-09-26T04:07:45.260" UserId="18160" Text="Hello fellow Sound Designers and Recordists,&#xD;&#xA;&#xD;&#xA;I'd like to throw this out there and ask:&#xD;&#xA;&#xD;&#xA;Do you ever use the Blumlein Stereo technique while recording in the field?&#xD;&#xA;&#xD;&#xA;I like the sound of it on Choir for music, but has anyone applied this technique to anything in terms of SFX for a film?&#xD;&#xA;&#xD;&#xA;I suppose a small room or tight space like a submarine would sound great with this technique. Or maybe an elevator. I used it on a loop group for a film not too long ago for a party ambience where the director wanted the listener &quot;Inside&quot; the crowd and this had great results.&#xD;&#xA;&#xD;&#xA;What's your favorite stereo recording technique? Or do you use all kinds depending on the situation?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6517" PostHistoryTypeId="1" PostId="3818" RevisionGUID="9ff73ac6-90e9-4bcc-9ed4-409f3526b232" CreationDate="2010-09-26T04:07:45.260" UserId="18160" Text="Is Blumlein ever used in Field Recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6518" PostHistoryTypeId="3" PostId="3818" RevisionGUID="9ff73ac6-90e9-4bcc-9ed4-409f3526b232" CreationDate="2010-09-26T04:07:45.260" UserId="18160" Text="&lt;stereo&gt;&lt;recording&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6519" PostHistoryTypeId="2" PostId="3819" RevisionGUID="2dcc4031-7e72-49f8-85bb-69efe3244bac" CreationDate="2010-09-26T04:20:51.173" UserId="587" Text="I personally, in my new career, have not had the project in need of true field recording as I usually use library for everything sfx unless I can record it inside.  However, I have practiced field recording to build onto my own sfx library. So take my answer however you may like.&#xD;&#xA;&#xD;&#xA;By the polar pattern associated with the Blumlein, it screams stereo imaging. Even though you have front and back, you also have side to side with the help of the 2nd mic.  This creates 4 points of overlap information, and 4 points of distinctly unique information.&#xD;&#xA;&#xD;&#xA;Say an explosion - you can use the mic pointing at the point of explosion to create a front to rear image of the explosion blowing past and a side to side of the explosion radiating off of mountains/buildings/or any other surface you choose to process the information of the mic facing the intersecting direction. Panning in this situation would create a really cool effect.&#xD;&#xA;&#xD;&#xA;That may be a bit more over budget than most people would have to try out, but if it can be used on as complex sonic event as an explosion, and make a simple guitar cab sound pretty cool, im sure you can find some pretty interesting applications for any type of situation.&#xD;&#xA;&#xD;&#xA;Curtis&#xD;&#xA;&#xD;&#xA;C3sound.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="6520" PostHistoryTypeId="2" PostId="3820" RevisionGUID="a99df08d-9d6f-4d7b-87ac-bbacd2ce4e8f" CreationDate="2010-09-26T04:45:48.837" UserId="587" Text="Personally I would be a bit nervous.  I know on big budget films there can be as many as 16 people working on post... and thats for a 3 month turn around.&#xD;&#xA;&#xD;&#xA;It boils down to the talent of the team, efficiency of the equipment being used, and the lives of the people involved.  If everyone is as free as a bird then the time might not be as big of a problem.  If there is a TON of design work to be done, and not many sfx that can be tagged with stock library, then the talent plays a factor.&#xD;&#xA;&#xD;&#xA;You mentioned foley being a big deal in the film, if you are lumping foley into the SFX (which some people do and some people dont... I think it has to do if you work in the US or if you work in Canada) and your team is handling it all, then its gonna be work and a lot of overtime.  If foley is being handled somewhere else, then maybe just dialog and sfx isnt that bad.  But what about BG's? (same US and Canada concept applies)&#xD;&#xA;&#xD;&#xA;A full element mix can/usually take 2-3 hours per 10 min depending on the material to be mixed. (If you are faster, then 'friggin awesome) With breaks and no problems and using a usual work day for reference, I would say it could take around 3-5 days for final verification on the print.  'Leaving about a week to edit a 2 hour film... yeah I still stand by my first statement.&#xD;&#xA;&#xD;&#xA;But good luck to you and your team!  It may seem crazy for now, but it usually all works out in the end.&#xD;&#xA;&#xD;&#xA;Curtis&#xD;&#xA;&#xD;&#xA;C3sound.com&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6521" PostHistoryTypeId="2" PostId="3821" RevisionGUID="37362be6-79b8-4f88-9c86-41b0993dffef" CreationDate="2010-09-26T04:59:38.503" UserId="61" Text="The tightest schedule I have worked under was 5 weeks from start of editorial to predubs for an animated feature. With an experienced 6 person crew it was very tight but we got it done. &#xD;&#xA;&#xD;&#xA;Your 5 weeks could likely break down this way: &#xD;&#xA;&#xD;&#xA; - 4 weeks editorial, including all&#xD;&#xA;   dialog editing/premixing, ADR recording and&#xD;&#xA;   editing, foley cueing/walking/edting,&#xD;&#xA;   and all SFX work (FX/BG/Design work)&#xD;&#xA; - You should plan on cutting in 5.1&#xD;&#xA;   predub groups and delivering&#xD;&#xA;   predubs to the final stage. You&#xD;&#xA;   probably won't have time or money for&#xD;&#xA;   real predubs, so get familiar with real-time EQs and other processing.&#xD;&#xA; - Final mix will be a 1 reel/day, including notes and&#xD;&#xA;   fixes.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'd hazard to say that, based on a scenario like that, you'll be hard pressed. It will get done, but it won't be pretty. (I'm also assuming this is a non-union project?)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6522" PostHistoryTypeId="5" PostId="3820" RevisionGUID="9a64eda7-37ff-4cd1-8d4c-b5fc1c3a6823" CreationDate="2010-09-26T05:05:06.653" UserId="587" Comment="added 1 characters in body" Text="Personally I would be a bit nervous.  I know on big budget films there can be as many as 16 people working on post... and thats for a 3 month turn around.&#xD;&#xA;&#xD;&#xA;It boils down to the talent of the team, efficiency of the equipment being used, and the lives of the people involved.  If everyone is as free as a bird then the time might not be as big of a problem.  If there is a TON of design work to be done, and not many sfx that can be tagged with stock library, then the talent plays a factor.&#xD;&#xA;&#xD;&#xA;You mentioned foley being a big deal in the film, if you are lumping foley into the SFX (which some people do and some people dont... I think it has to do if you work in the US or if you work in Canada) and your team is handling it all, then its gonna be work and a lot of overtime.  If foley is being handled somewhere else, then maybe just dialog and sfx isnt that bad.  But what about BG's? (same US and Canada concept applies)&#xD;&#xA;&#xD;&#xA;A full element mix can/usually take 2-3 hours per 10 min depending on the material to be mixed. (If you are faster, then 'friggin awesome) With breaks and no problems and using a usual work day for reference, I would say it could take around 3-5 days for final verification on the print.  'Leaving about 4 weeks to edit a 2 hour film... yeah I still stand by my first statement.&#xD;&#xA;&#xD;&#xA;But good luck to you and your team!  It may seem crazy for now, but it usually all works out in the end.&#xD;&#xA;&#xD;&#xA;Curtis&#xD;&#xA;&#xD;&#xA;C3sound.com&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6524" PostHistoryTypeId="2" PostId="3822" RevisionGUID="790595b5-8078-49dc-9948-0fe241d28d12" CreationDate="2010-09-26T06:34:03.063" UserId="6411" Text="Have I edited with cans? Sure. Mixed? Hell no.&#xD;&#xA;&#xD;&#xA;It's usually due to unideal circustances. Like, because it's 2am  and I don't want to bother anyone. But yeah, it can be done. Just know your cans, know how they translate, and compensate for what you're missing.&#xD;&#xA;&#xD;&#xA;Of course if it came down to an awesome set of cans or a mediocre set of speakers, I'd choose the speakers." ContentLicense="CC BY-SA 2.5" />
  <row Id="6525" PostHistoryTypeId="2" PostId="3823" RevisionGUID="c0308298-0fcf-4fac-8032-070ef3386de7" CreationDate="2010-09-26T10:47:20.223" UserId="338" Text="Thanks for all the good answers." ContentLicense="CC BY-SA 2.5" />
  <row Id="6526" PostHistoryTypeId="2" PostId="3824" RevisionGUID="b0721315-6409-4de8-be21-42ddd41ed393" CreationDate="2010-09-26T12:48:09.167" UserId="432" Text="I like using M/S recording when capturing some effects out in the field. It gives me the option of building it into the space or using a more isolated mono sound. I'm typically doing this with a single point M/S mic (like the MKH 418-S), but I've plans to get some higher end mics which I will be using in a Blumlein configuration. If you have the track availability, it can provide you with some additional flexibility. I like to prepare for more than I need across the board.&#xD;&#xA;&#xD;&#xA;When it comes to recording ambiences, I prefer to use simpler stereo recording practices (coincident x/y, single point stereo, etc.). Typically I don't want to mess with the stereo width of these types of recordings. If I feel I need to for some reason, I can always create the Mid and Side out of the stereo file. Then it's a simple matter of making the adjustments that I want." ContentLicense="CC BY-SA 2.5" />
  <row Id="6527" PostHistoryTypeId="2" PostId="3825" RevisionGUID="f8da64c3-ec59-4bbd-ae01-5fa0b167777a" CreationDate="2010-09-26T13:32:25.220" UserId="589" Text="Thank you for your answers! I know it is the director who is in charge. And I didn't say anything to him about the mix, that is why I am posting here. That pill is not easy to swallow though, because of cause I am passinate about my work. I think that is the big difference between doing sound for film and doing music production. In film there are always so many more people involved and you can only hope that your work will be appreciated in the end. &#xD;&#xA;&#xD;&#xA;In the end it is a job, you are right. The thing is that payment is not the only thing you get out of it. You will also get the credit. So your name is associated with this film even though the final version is very different from what you have done. And I am still at the beginning, so I am not sure if this film is very good for my reputation." ContentLicense="CC BY-SA 2.5" />
  <row Id="6528" PostHistoryTypeId="2" PostId="3826" RevisionGUID="d6e8688b-7cbf-491b-bd81-2098f54d8d2c" CreationDate="2010-09-26T14:21:32.157" UserId="234" Text="Jay hit the nail on the Head. It's not just Sound Designers - Composers usually feel their music is under mixed, and I even had a Production Sound Mixer who felt that the track should JUST be his production Dialog and all the Music and FX were detracting from it. :)&#xD;&#xA;&#xD;&#xA;Remember that your sound design is only one part of the final product. Dialog, Music, and FX must all share space. And while you may feel that you've done the best work of the lot (which is not unusual for craftspeople passionate about their work), the Director/Producer becomes the ultimate arbiter of how they fit together.&#xD;&#xA;&#xD;&#xA;If you feel that maybe the Director's vision (as explained to you) wasn't being served by the mix, a POLITE conversation about the mix, may be in order. You don't want to start of with &quot;Why did my stuff get buried&quot; or &quot;What the @#$% happened to my Sound Design!&quot;, but discussing what the director DID and DIDN'T like in the final mix, will help you prep material the next time that will survive the mixing process better, or let you know you were on the right path." ContentLicense="CC BY-SA 2.5" />
  <row Id="6530" PostHistoryTypeId="2" PostId="3827" RevisionGUID="3b7699e4-214c-4cff-b67f-14e2437b7fb0" CreationDate="2010-09-26T16:16:16.093" UserId="393" Text="To quote George &quot;The Fat Man&quot; Sanger, &quot;Make me an offer that you feel has dignity. If I can do the job for that amount without feeling that I'll be losing money or wasting time, then I will happily take the job.&quot;&#xD;&#xA;&#xD;&#xA;If other people on the team are getting paid, you should get paid as well, but don't do it for so little you feel like you're getting ripped off, unless they're your friends or family -- don't push for more than they have, because that will strain the relationship." ContentLicense="CC BY-SA 2.5" />
  <row Id="6531" PostHistoryTypeId="2" PostId="3828" RevisionGUID="11e1b813-6f70-4044-8a92-b2fba4f5e896" CreationDate="2010-09-26T19:36:34.397" UserDisplayName="user49" Text="What's the total budget of the film?&#xD;&#xA;Most films I do have an 8 week sound edit period, 2 weeks of pre dubs, 1 week final mix (one reel a day) then 2 days of mix screening and fixes, followed by print master, m&amp;e mix, and deliveries, so (8 +4) weeks total" ContentLicense="CC BY-SA 2.5" />
  <row Id="6532" PostHistoryTypeId="2" PostId="3829" RevisionGUID="9915e6d7-e3cd-48b6-ab60-210eb4037cf8" CreationDate="2010-09-26T22:08:20.320" UserId="300" Text="Morning,&#xD;&#xA;&#xD;&#xA;In 8.0.3 (and as far as I can see it wasn't a bug fix with 8.0.4) when I try to remove all unused audio there are lots, sometimes hundreds / thousands of files that remain. I'm definitely waiting for all files to be revealed, and I can blast my undo queue.. it still makes no difference.&#xD;&#xA;&#xD;&#xA;The only way to work around this seems to be to close the session and open it again, which is a bit of a hassle when trying to fire out a pickup session quick-fast.&#xD;&#xA;&#xD;&#xA;Can anyone shed some light on why PT might do this or is it more likely that it's a bug??&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;J" ContentLicense="CC BY-SA 2.5" />
  <row Id="6533" PostHistoryTypeId="1" PostId="3829" RevisionGUID="9915e6d7-e3cd-48b6-ab60-210eb4037cf8" CreationDate="2010-09-26T22:08:20.320" UserId="300" Text="Removing unused audio from ProTools (or not..)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6534" PostHistoryTypeId="3" PostId="3829" RevisionGUID="9915e6d7-e3cd-48b6-ab60-210eb4037cf8" CreationDate="2010-09-26T22:08:20.320" UserId="300" Text="&lt;pro&gt;&lt;tools&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6535" PostHistoryTypeId="2" PostId="3830" RevisionGUID="0cd91b1e-d2b0-495f-bd84-6e21609967c3" CreationDate="2010-09-26T23:33:04.753" UserId="61" Text="I have this issue as well, and it's been with me on previous versions of PT8. My workaround is the same as yours - close and re-open the session, sometimes more than once.&#xD;&#xA;&#xD;&#xA;Also, be sure you are showing Auto-created Regions in the region bin (apple-option-K). If those are hidden they won't be removed." ContentLicense="CC BY-SA 2.5" />
  <row Id="6538" PostHistoryTypeId="2" PostId="3832" RevisionGUID="02e8c1ae-4784-4773-a5d8-aafdd8d53549" CreationDate="2010-09-27T03:41:01.783" UserId="354" Text="I'm working on a game project where I have to design sounds for the interior of a robotic suit. It's very similar to the inside of an airplane cockpit, with a lot of dials/switches/levers, etc. The developers want a very grinding and responsive feel. When the suit breaks down, it'll need large mechanical breakdown and alert-type sounds. &#xD;&#xA;&#xD;&#xA;Something along the lines of this: http://www.youtube.com/watch?v=byMTBSmdnx4&#xD;&#xA;&#xD;&#xA;Do you guys have any suggestions for other reference material from games or films? &#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;-CS" ContentLicense="CC BY-SA 2.5" />
  <row Id="6539" PostHistoryTypeId="1" PostId="3832" RevisionGUID="02e8c1ae-4784-4773-a5d8-aafdd8d53549" CreationDate="2010-09-27T03:41:01.783" UserId="354" Text="Mechanical Robot Sounds - reference material" ContentLicense="CC BY-SA 2.5" />
  <row Id="6540" PostHistoryTypeId="3" PostId="3832" RevisionGUID="02e8c1ae-4784-4773-a5d8-aafdd8d53549" CreationDate="2010-09-27T03:41:01.783" UserId="354" Text="&lt;video-games&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6542" PostHistoryTypeId="2" PostId="3834" RevisionGUID="673889d8-cabc-494f-ae95-b9d6103f39f3" CreationDate="2010-09-27T03:56:47.457" UserId="103" Text="District 9 has some shots inside the exosuit towards the end, and sounds really good!&#xD;&#xA;Also steel battalion for xbox happens entirely inside a mechwarrior.&#xD;&#xA;&#xD;&#xA;[youtube]7ESa30x9lz4[/youtube]&#xD;&#xA;&#xD;&#xA;The audio quality on the video is quite bad, but i hope it gives an idea" ContentLicense="CC BY-SA 2.5" />
  <row Id="6543" PostHistoryTypeId="5" PostId="3794" RevisionGUID="2806547f-1390-49b8-a1a5-4e836161992c" CreationDate="2010-09-27T03:58:43.897" UserId="40" Comment="added pic" Text="If your Monster Cable changes the actual sound of the recording, I'd throw it away or demand a new one.  It's copper, nothing else. Nothing about it should (or could really) change the sound.  The point of a cable is to just get from point A to point B without coloring the sound.  If your cable is coloring the sound, you're in trouble.  If your cable can color the sound, then the longer the cable, the more it would color, and all sorts of problems would occur at longer cable runs.&#xD;&#xA;&#xD;&#xA;If you do a true, 100% honest blind test, I guarantee you won't be able to tell the difference between a Monster and something like a Whirlwind or other cheaper brand.  IMO, the only reason to buy Monster is because of the warrantee (which is amazing).  For the price, though, you could get a much better construction on a cable - something like Mogami or Canari.&#xD;&#xA;&#xD;&#xA;The stuff Monster puts on their packaging might be true in a lab with an oscilloscope, but nothing that the human ear can discern. If you can discern it, you are suffering the same problem that occurs when you turn an eq, hear a difference, then later come to find out the eq was never inline in the first place.  Your brain wants to hear a difference, so it makes you hear one.&#xD;&#xA;&#xD;&#xA;Same thing goes for those $300 IEC cables and such.  It's power. As long as you're plugged into a conditioner, it's not going to change the sound of your gear. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So, in short, the thing you want in a cable is good construction and good noise reduction. In general, the quad-star type cables are the best at noise reduction, so I'd go with that. Mid-level Mogami or Canari does just fine.  And, if you buy it bulk and solder it yourself, you can get a lot of it for cheap. Monster is fine too, just don't buy the holy-crap expensive stuff. Isn't worth it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;Check this out too. Not studio audio, but Audiophile level, but the same idea:&#xD;&#xA;[Monster A/B][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Edit 2:&#xD;&#xA;&#xD;&#xA;In case money is no issue and you just want to have the coolest out there (regardless of an increase in function or not), here's some gear pr0n for you to look at:&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;(JPS Labs Aluminata XLR Interconnect)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://consumerist.com/2008/03/do-coat-hangers-sound-as-good-monster-cables.html&#xD;&#xA;  [2]: http://www.jpslabs.com/images8/aluminata_xlr10.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="6544" PostHistoryTypeId="2" PostId="3835" RevisionGUID="c622875f-f8f2-4b05-902b-b7e3f0472b18" CreationDate="2010-09-27T05:36:01.147" UserId="338" Text="you can always use blumlein when worldizing...my 7 cents" ContentLicense="CC BY-SA 2.5" />
  <row Id="6545" PostHistoryTypeId="2" PostId="3836" RevisionGUID="08583607-cac4-41ef-93c7-5817d9ba9ebf" CreationDate="2010-09-27T07:34:22.873" UserId="338" Text="When worldising dialogue, would you leave that to the mixer or the editor or sfx?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6546" PostHistoryTypeId="1" PostId="3836" RevisionGUID="08583607-cac4-41ef-93c7-5817d9ba9ebf" CreationDate="2010-09-27T07:34:22.873" UserId="338" Text="When worldising dialogue..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6547" PostHistoryTypeId="3" PostId="3836" RevisionGUID="08583607-cac4-41ef-93c7-5817d9ba9ebf" CreationDate="2010-09-27T07:34:22.873" UserId="338" Text="&lt;dialogue&gt;&lt;worldizing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6548" PostHistoryTypeId="2" PostId="3837" RevisionGUID="6ae316d3-f6f2-43fc-a229-128de86e46e5" CreationDate="2010-09-27T07:40:05.410" UserId="61" Text="Depends on what you're trying to achieve…&#xD;&#xA;&#xD;&#xA;If you're talking about &quot;worldizing&quot; in the traditional sense, ie. taking a pre-recorded sound and re-recording it in an acoustic space, then the mixer is not really the right candidate since they deal mostly with console reverbs, Altiverb, etc. If it were me, I'd do it myself. That way, you're learning how to do something new, you're gaining experience, you're leaving room for trial and error, and you're adding new material to your library.&#xD;&#xA;&#xD;&#xA;Not to mention, you know exactly what you want it to sound like, so why waste time trying to explain it to somebody else?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6549" PostHistoryTypeId="2" PostId="3838" RevisionGUID="2c4e8768-ca6d-4026-9e30-77a8178f6393" CreationDate="2010-09-27T07:44:20.310" UserId="564" Text="I would personally look at Pixar's Wall-E......great sound design....built from the ground up.  The first 15 min is unreal." ContentLicense="CC BY-SA 2.5" />
  <row Id="6550" PostHistoryTypeId="2" PostId="3839" RevisionGUID="e28621d2-37ca-4f08-8a5f-55ff7b3bf600" CreationDate="2010-09-27T08:25:38.093" UserId="338" Text="Hey Im l@@kin to invest some money in reference monitors and a sub.  &#xD;&#xA;&#xD;&#xA;Can anybody drop some suggestions for me?  My price range is limited to about 600 american dollars and I have a discount available to me which can knock off a few bucks.  All I know right now is to stay away from Rockit 5's.&#xD;&#xA;&#xD;&#xA;This would be for editing and basic mixing once I sound panel and tune my room.&#xD;&#xA;The room is a regular size bedroom." ContentLicense="CC BY-SA 2.5" />
  <row Id="6551" PostHistoryTypeId="1" PostId="3839" RevisionGUID="e28621d2-37ca-4f08-8a5f-55ff7b3bf600" CreationDate="2010-09-27T08:25:38.093" UserId="338" Text="Monitor Subwoofer suggestions (economic)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6552" PostHistoryTypeId="3" PostId="3839" RevisionGUID="e28621d2-37ca-4f08-8a5f-55ff7b3bf600" CreationDate="2010-09-27T08:25:38.093" UserId="338" Text="&lt;gear&gt;&lt;prices&gt;&lt;monitors&gt;&lt;bass&gt;&lt;acoustics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6553" PostHistoryTypeId="2" PostId="3840" RevisionGUID="1d8824fc-12f9-4463-baf1-d8e09e49f95f" CreationDate="2010-09-27T11:42:20.977" UserId="238" Text="+1 on Wall-E. Might also be worth having a look at this post on [Designing Sound][1]. It's a great sound library from Michael Raphael that may inspire you to get recording. Or you can buy the whole library from [Rabbit Ears Audio][2]...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/09/small-motors-new-sfx-library-from-rabbit-ears-audio/&#xD;&#xA;  [2]: http://rabbitearsaudio.com/rea002-small-motors/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6554" PostHistoryTypeId="2" PostId="3841" RevisionGUID="8466a845-079e-4a46-b7a7-3b489f40df7e" CreationDate="2010-09-27T12:58:43.760" UserId="533" Text="Sounds like you'll need to search for items in a junkyard. Lots of scraping metal, hits. I saw a foley video for Spiderman 2 (it was the one with Dr. Oct) and I think he scraped a wheel hubcap against an old car door for Dr Oct ripping out the vault door. Really nice." ContentLicense="CC BY-SA 2.5" />
  <row Id="6555" PostHistoryTypeId="2" PostId="3842" RevisionGUID="6c73b90a-885a-40ba-a346-135c5bb94f90" CreationDate="2010-09-27T14:53:38.147" UserId="587" Text="Ill tell ya what worked for me - &#xD;&#xA;&#xD;&#xA;Forklifts and dentist drills.&#xD;&#xA;&#xD;&#xA;Works wonders -- go to my profile tab at www.c3sound.com and watch the starcraft 2 trailer.&#xD;&#xA;&#xD;&#xA;The majority of a lot of those robotic arms were processed combinations of forklifts and dentist drills to catch either the low or highs, then throw it some sort of detail sound to make it more electronic... a zap, digital blip, etc to give it character.&#xD;&#xA;&#xD;&#xA;Curtis&#xD;&#xA;&#xD;&#xA;C3sound.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="6556" PostHistoryTypeId="2" PostId="3843" RevisionGUID="9daa580a-6f3e-4750-bc91-4f3c3bcb4788" CreationDate="2010-09-27T15:10:54.720" UserId="474" Text="Basically I agree fully with Jay's and Sonsey's point...&#xD;&#xA;&#xD;&#xA;BUT&#xD;&#xA;&#xD;&#xA;...not having nearly as much experience in the field as most of you guys do, I have recognized one serious problem when working with directors, cinematographers etc.: sound design, sound mixing, scoring, dialogue mixing etc. etc. is almost always postponed into post-production, and quasi banished out of production, let alone having ONE SINGLE thought about sound in pre-production.&#xD;&#xA;&#xD;&#xA;I think that this over-emphasis of the visual domain (yes, I'm talking about movies, but, as David Lynch put it &quot;Films are 50 percent visual and 50 percent sound. Sometimes sound even overplays the visual.&quot;) is a huge problem, and one symptom is that in almost every (feature) movie sound designer, mixers and composers/music editors end up frustrated.&#xD;&#xA;&#xD;&#xA;This could easily be done away with if sound people were more integrated in the (pre-)production process in the first place... &#xD;&#xA;&#xD;&#xA;Personally I encourage students to think about sound in their video/film projects as early as possible in the whole process.&#xD;&#xA;&#xD;&#xA;well, just my €0.02...&#xD;&#xA;&#xD;&#xA;best,&#xD;&#xA;Julian" ContentLicense="CC BY-SA 2.5" />
  <row Id="6557" PostHistoryTypeId="2" PostId="3844" RevisionGUID="c6cc099c-9a84-4a92-9902-3c0e5afe2bac" CreationDate="2010-09-27T15:46:45.690" UserId="260" Text="I would leave worldizing to a SFX guy. I am one and I want all dialogue worldized because too many times have I see the hero in the woods talking like he is in some studio somewhere.&#xD;&#xA;&#xD;&#xA;I even worldize audiobooks productions, simply because it drives me crazy to hear studio dry voices. Only time it is okay is at narration.&#xD;&#xA;&#xD;&#xA;So to answer the question, leave it to the SFX guy, we tend to know how reverb works and such.&#xD;&#xA;Not saying that others don't, of course. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6558" PostHistoryTypeId="2" PostId="3845" RevisionGUID="7abf4e18-c5c9-4cb0-9620-e909bc8c9742" CreationDate="2010-09-27T15:57:50.977" UserId="260" Text="This is why I ask for permission to create a demo reel to put up on my website out of my work. That way, I can rather point an interested client or a potential one, to look at a demo reel, because I can mix it myself and I remove all the dialogue and music and cut the film to show only parts I did the sound for(no point wasting their time with empty slots and people kissing.) &#xD;&#xA;&#xD;&#xA;After I did this, it didn't bother me so much. Ask if you can, though it might be harder on feature films because that's a lot of red tape. Though I recently got asked to do Behind the scenes mix of just my sound design for films so that also works.&#xD;&#xA;&#xD;&#xA;But yes, don't bite the hand that pays AND you can always re-use the sounds later where the mix might be more considered." ContentLicense="CC BY-SA 2.5" />
  <row Id="6559" PostHistoryTypeId="2" PostId="3846" RevisionGUID="0856b4e5-ecfb-4dc3-8a0b-5f0ff7c22fa1" CreationDate="2010-09-27T15:59:28.373" UserId="578" Text="I'm late to the party, but just wanted to add:&#xD;&#xA;Rode makes a very cheap and super quiet LDC mic - the Nt1a. Self noise is -5.5dB-A, and costs £144 including popshield and suspension. It also has good sensitivity, 25mV/Pa, all in all great specs for capturing really delicate stuff for when a contact mic is not the best or convenient way to go.&#xD;&#xA;&#xD;&#xA;Of course, you still need a quiet room... and not just treated in terms of basstrapping etc, but this mic is so sensitive/quiet that when I make recordings in my room, it picks up the street booming along - whilst I can't hear the street myself just with my ears. Which means I often have to grab some absorption panels and set myself up in the hallway to be away from that noise.&#xD;&#xA;&#xD;&#xA;Even though this is a studio mic, apparently it works well in exterior situations too. The people on the nature recordist yahoo group have been experimenting with this, with apparently great results.&#xD;&#xA;&#xD;&#xA;All in all, especially for the price, an amazing mic!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6560" PostHistoryTypeId="2" PostId="3847" RevisionGUID="18620af4-b558-446f-adb2-9c323b186356" CreationDate="2010-09-27T16:01:13.237" UserId="414" Text="&#xD;&#xA;Is it even our place to do so?  And by more relevant, I mean more concerned with those in need. Or those just in need of a kick in the pants.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6561" PostHistoryTypeId="1" PostId="3847" RevisionGUID="18620af4-b558-446f-adb2-9c323b186356" CreationDate="2010-09-27T16:01:13.237" UserId="414" Text="How do we make sound design more relevant to the world at large?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6562" PostHistoryTypeId="3" PostId="3847" RevisionGUID="18620af4-b558-446f-adb2-9c323b186356" CreationDate="2010-09-27T16:01:13.237" UserId="414" Text="&lt;career-choices&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6563" PostHistoryTypeId="5" PostId="3667" RevisionGUID="4292e72d-ed23-4b98-906b-fa2cffd4c1df" CreationDate="2010-09-27T17:01:48.190" UserId="574" Comment="deleted 1 characters in body" Text="It can take a very long time. I've done one major dialogue editing project. Izotope RX, like mentioned before is great, just like Waves X-noise. &#xD;&#xA;&#xD;&#xA;I used to edit all dialogue in sound forge. Using basic stuff like simply cutting out clicks or editing the click away via the pencil tool. Adobe's audio editor features a nice spectral editor and some nice brushes like the stamp tool etc. Both programs are fast and easy. &#xD;&#xA;&#xD;&#xA;Maybe the most important thing with dialogue/VO editing is making good decisions and acting on your instinct. Don't waste too much time on things people will not hear. Also: are you working on headphones? headphones will drive you mad ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6565" PostHistoryTypeId="2" PostId="3849" RevisionGUID="80c81ee4-5eaf-4be4-b78d-058c1424e111" CreationDate="2010-09-27T18:21:00.870" UserId="29" Text="When I've been out doing nature recordings or effects-gathering with others, I see everything from Jecklin discs to XY to spaced pair to ORTF, but I've not come across Blumlein stereo techniques in the field. This seems like one of those techniques where its lack of popularity in SFX is a mix of available equipment (I know very few people with two identical, much less factory-matched, figure-eight mics!) and in-the-field &quot;fiddle factor&quot; (e.g., even ORTF with small capsule mics can fit in a single Rycote with almost-zero setup time). It'd take quite a burly windscreen, too, to fit two MKH30's or similar in a coincident pattern... :-D (Full disclosure: I'm a mid-side fella, myself.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6566" PostHistoryTypeId="2" PostId="3850" RevisionGUID="401f5a83-a277-499a-a7f0-44609589750b" CreationDate="2010-09-27T18:22:40.040" UserId="40" Text="This is something I've had extensive talks with Miguel from DS about.  It's a problem, IMO, and I'm not quite sure how to solve it. So many cultures, it seems, don't seem to care about sound design.  Just watch a foreign television channel for 5 minutes and you'll see what I mean.&#xD;&#xA;&#xD;&#xA;I suppose one approach could be for people in that country to start showcasing work to local media outlets / productions, in hopes that they might &quot;see the light&quot;.  That's what Miguel is doing right now down in Columbia. He is fed up with people there putting out programming with sound that is awful, so he's trying to get things changed.&#xD;&#xA;&#xD;&#xA;However, I fear it might be a cultural thing that might be very difficult ball to get rolling.&#xD;&#xA;&#xD;&#xA;I'm all for the &quot;kick in the pants&quot; version, but I think they need to feel the need for it before it will happen. Maybe we can just hire Leo D and have him go into their brains and plant the idea there. That might work :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6567" PostHistoryTypeId="2" PostId="3851" RevisionGUID="1737b5b9-a505-4c05-9dbd-d2d56fcaf5c9" CreationDate="2010-09-27T18:33:30.033" UserId="40" Text="Blue Sky has two entry level 2.1 systems in that price range. The [eXo2][1] is $449, and [MediaDesk 2.1][2] is $795. They aren't the most pro things out there (you connect everything to the sub, and the sub powers itself and the satellites), but they are Blue Sky, and they are better than the KRK stuff.  Although, the KRKs aren't terrible for the price...&#xD;&#xA;&#xD;&#xA;Stay away from the M Audio entry level stuff though (BX5a). Very hyped low end, muffled highs.&#xD;&#xA;&lt;br&gt;&lt;br&gt;&lt;br&gt;&#xD;&#xA;eXo2:&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;&lt;BR&gt;&lt;BR&gt;&lt;BR&gt;&#xD;&#xA;MediaDesk 2.1:&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/store/detail/eXo2/&#xD;&#xA;  [2]: http://www.sweetwater.com/store/detail/MediaDesk2m2/&#xD;&#xA;  [3]: http://www.sweetwater.com/images/items/1800/eXo2-xlarge.jpg&#xD;&#xA;  [4]: http://www.sweetwater.com/images/items/1800/MediaDesk2m2-xlarge.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="6570" PostHistoryTypeId="2" PostId="3853" RevisionGUID="491da7c6-4b29-4005-9f0c-7a5eab9d1d4d" CreationDate="2010-09-27T18:45:15.010" UserId="338" Text="Host a fundraiser/informational booth/event with demonstrations/history/create a documentary, send it to PBS, have a stall near a farmers market, create a brochure, give out sound design candy, hire an airplane to fly around with sound design flying from behind it.  Free cds.  Pray.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6573" PostHistoryTypeId="2" PostId="3854" RevisionGUID="f2385d3f-5533-4bff-a4a0-ec97e741cb21" CreationDate="2010-09-27T19:25:46.717" UserId="37" Text="it certainly used to be a bigger problem a few years ago when the more established sound designers started talking about popularising the art/craft/skill. &#xD;&#xA;&#xD;&#xA;i tend to think &quot;sound for film profile&quot; videos tend to be a bit formulaic at the moment and are limited in that their target audience is the general public, but in an interesting paradox, these videos are most interesting to sound people. so sound profile vids get a bit lost in their intent?&#xD;&#xA;&#xD;&#xA;as for the general public, sound can get a bit too abstract, and go beyond their interest. talking about this adds a particular skill with words, to the usual set of requirements..&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6574" PostHistoryTypeId="2" PostId="3855" RevisionGUID="db7eb075-eb81-45ff-befe-446a31c677eb" CreationDate="2010-09-27T19:37:35.393" UserId="29" Text="The way your question is phrased, it's hard to tease out where you want this conversation to go. However, I read your question in one of two ways.&#xD;&#xA;&#xD;&#xA; 1. Raising consciousness of the art and craft of sound design, either in the mind of the general public or paying clients. I think Colin had the most relevant answers here.&#xD;&#xA; 2. Using sound design as a medium for doing good deeds or supporting the less fortunate. This is an interesting idea that has been explored in other artistic mediums, such as [The Designer's Accord][1] and [Help-Portrait][2]. Frankly and to be blunt, I don't think mainstream entertainment or games, two of the most prominent fields where sound design is used, do much to benefit, in your words, &quot;those in need.&quot; However, it only takes a little thought to come up with some interesting ideas (not that the tongue-in-cheek answers here aren't entertaining). What about doing a sound installation that creates soothing sound in a blighted area? What about getting involved with architects and acoustic engineers to help design better sounding buildings? How about getting involved with those who have just received cochlear implants and help to train them to interpret sounds of different kinds? How about using sound design in products to better educate the end user as to device status or perhaps emergencies? None of these are easy, but the more people push these ideas - even if they're &quot;concept projects&quot; - the more it'll get others to thinking about the role sound design can play in a non-entertainment context.&#xD;&#xA;&#xD;&#xA;Just some nuggets o' thought.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.designersaccord.org/&#xD;&#xA;  [2]: http://www.help-portrait.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6575" PostHistoryTypeId="2" PostId="3856" RevisionGUID="f69cd550-ca26-4615-8b52-1d82bf85acce" CreationDate="2010-09-27T19:51:43.973" UserId="238" Text="I agree with Colin in that it's a cultural problem. Similar problems can be seen in other art forms. If you take the music industry as a comparison, worldwide you'll here the same pop songs that big record labels have force-fed everyone whereas the real decent, underground music that is well written, well produced and original will be followed and appreciatred not by the mainstream, but by a relatively small group of followers. And these underground followings will be geographically different. In countries where the culture is more open and artistic freedom is encouraged you will find more of these groups and groups consisting of larger numbers, whereas in other countries there will be very little diversity in independent music and those who do strive to create it will struggle. And even across the countries where you can find an underground following, there can be massive differences between different styles.&#xD;&#xA;&#xD;&#xA;It's tough, but you have to give praise to people like Miguel at Designing Sound who are pushing to change the way things are. It's easy to forget for those of us who live and work in countries where sound design is a recognised profession, but there are a lot of countries where production sound is generally of very poor quality thanks to having been totally neglected. But in history there have been many examples where people's passion for a specific art have eventually led to a global appreciation of that art. There is no simple answer to this problem but by discussing that the problems exist we are taking a big step forward..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6576" PostHistoryTypeId="5" PostId="3855" RevisionGUID="9f809c9a-f098-463c-b679-d78bc06491e7" CreationDate="2010-09-27T19:56:11.430" UserId="29" Comment="added 7 characters in body" Text="The way your question is phrased, it's hard to tease out where you want this conversation to go. However, I read your question in one of two ways.&#xD;&#xA;&#xD;&#xA; 1. Raising consciousness of the art and craft of sound design, either in the mind of the general public or paying clients. I think both Colins have the most relevant answers here.&#xD;&#xA; 2. Using sound design as a medium for doing good deeds or supporting the less fortunate. This is an interesting idea that has been explored in other artistic mediums, such as [The Designer's Accord][1] and [Help-Portrait][2]. Frankly and to be blunt, I don't think mainstream entertainment or games, two of the most prominent fields where sound design is used, do much to benefit, in your words, &quot;those in need.&quot; However, it only takes a little thought to come up with some interesting ideas (not that the tongue-in-cheek answers here aren't entertaining). What about doing a sound installation that creates soothing sound in a blighted area? What about getting involved with architects and acoustic engineers to help design better sounding buildings? How about getting involved with those who have just received cochlear implants and help to train them to interpret sounds of different kinds? How about using sound design in products to better educate the end user as to device status or perhaps emergencies? None of these are easy, but the more people push these ideas - even if they're &quot;concept projects&quot; - the more it'll get others to thinking about the role sound design can play in a non-entertainment context.&#xD;&#xA;&#xD;&#xA;Just some nuggets o' thought.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.designersaccord.org/&#xD;&#xA;  [2]: http://www.help-portrait.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6577" PostHistoryTypeId="2" PostId="3857" RevisionGUID="c7a8ddd2-1888-498b-ad54-0d9d25865ba1" CreationDate="2010-09-27T21:26:42.827" UserId="578" Text="Ello ello&#xD;&#xA;&#xD;&#xA;So I was all happy when today my first ever shotgun arrived - Rode NTG-3. It also included the Rode PG2 pistol grip that I had ordered. I set out to do a bit of test recordings this evening, but shock, horror, what an unbelievable amount of handling noise! It's as bad as the handling noise I get when using my Zoom H2 with grip/tripod. &#xD;&#xA;&#xD;&#xA;The NTG-3 is supposed to be very resistant to handling noise (so I've read), and I would think the pistol grip helps as well. Even moving a joint in one of my fingers holding the pistol grip creates big boomy mess! Simply touching the plastic handle creates a lot of handling noise.&#xD;&#xA;&#xD;&#xA;Now, my question... am I doing something wrong, or did I simply buy the wrong product (which would be the PG2)? This pistol grib has a rubber suspension system where you simply put the microphone in, like so:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiomotif.co.uk/daan/PG2.jpg&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What do you people do to reduce handling noise? Am I missing something? Surely buying a more expensive system would be 'better', but this setup/pistol grip is pretty much unusable, hence I have the feeling I might be not understanding some basics here.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;edit: when I wrap a cloth around the pistol grip handle, it greatly reduces the handling noise, but surely that's not how it 'should' be?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6578" PostHistoryTypeId="1" PostId="3857" RevisionGUID="c7a8ddd2-1888-498b-ad54-0d9d25865ba1" CreationDate="2010-09-27T21:26:42.827" UserId="578" Text="Handling handling noise..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6579" PostHistoryTypeId="3" PostId="3857" RevisionGUID="c7a8ddd2-1888-498b-ad54-0d9d25865ba1" CreationDate="2010-09-27T21:26:42.827" UserId="578" Text="&lt;handling-noise&gt;&lt;field-recording&gt;&lt;pistol-grip&gt;&lt;suspension-mounts&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6580" PostHistoryTypeId="2" PostId="3858" RevisionGUID="04aba728-c3d0-4622-87a4-40df4a947d42" CreationDate="2010-09-27T21:34:48.307" UserId="2" Text="Honestly, I've learned over time to be extremely still. When I hit record, I literally don't move for 5 min a pop. I recommend yoga ;-) &#xD;&#xA;&#xD;&#xA;Otherwise: &#xD;&#xA;&#xD;&#xA;- You can use a tripod and just leave the mic there, it's much more comfortable.&#xD;&#xA;&#xD;&#xA;- You can upgrade to something like the [RODE blimp][1] (it's affordable and good), the mic is suspended so it reduces handling noise even more.   &#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://usa.rodemic.com/accessory.php?product=Blimp&#xD;&#xA;  [2]: http://usa.rodemic.com/images/accessories/blimp.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="6581" PostHistoryTypeId="2" PostId="3859" RevisionGUID="faff13a4-eb4e-4853-930f-bd4d8defa087" CreationDate="2010-09-27T22:06:41.837" UserId="315" Text="It sounds like you are getting a lot of noise from the XLR cable. You might want to get a Rycote Connbox, which will help cut down on this type of noise:&#xD;&#xA;&#xD;&#xA;http://www.rycote.com/products/accessoriesspares/connbox/&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6582" PostHistoryTypeId="2" PostId="3860" RevisionGUID="e0346b3f-5e81-4cf0-9d78-75164639c8b9" CreationDate="2010-09-27T22:19:28.710" UserId="432" Text="First thing to do is to hold the pistol grip gently. The tighter you hold the grip, the more likely it is you will transfer noise to the mic. Aiming the mic in a different direction should not be causing too many issues unless you've got an iron death-grip on the handle. If you have to move a finger, lift it away from the grip. Don't slide it.&#xD;&#xA;&#xD;&#xA;Keep an eye out for strain relief on the cable running to the mic. If you're constantly bumping the cable, or the cable is in a strained/awkward position, you may be inducing noise that way.&#xD;&#xA;&#xD;&#xA;Regarding your response to Andrew's post, those foam/fur pieces you're seeing mounted directly on a mic are used in lieu of a blimp/zepplin kit. The blimps are far superior as far as I'm concerned." ContentLicense="CC BY-SA 2.5" />
  <row Id="6584" PostHistoryTypeId="2" PostId="3861" RevisionGUID="c7bc2018-6e5d-434c-ba3c-36b64c6138ea" CreationDate="2010-09-27T23:09:08.860" UserId="558" Text="I totally agree with Ryan that 'Well done Sound Design is unnoticeable'.  And that's the problem.  &#xD;&#xA;&#xD;&#xA;My strategy is to try to educate key people in the producion (Game Leads, Lead Producers, Studio Heads, in Video Games;  Directors and Producers in Film/tv).&#xD;&#xA;&#xD;&#xA;My 2 main weapons&#xD;&#xA;1) the A B viewing of scenes with good/bad sound - make sure its idiot proof.  this can backfire depending on how big an idiot you are dealing with.&#xD;&#xA;&#xD;&#xA;2) that screening in a film when the director first gets to hear the film with proper sound.  In my experience, directors love that screening.  Take a moment to drive home the idea of the importance of good audio." ContentLicense="CC BY-SA 2.5" />
  <row Id="6585" PostHistoryTypeId="2" PostId="3862" RevisionGUID="b4dbfc00-bee7-4586-b301-5a3cc7002926" CreationDate="2010-09-27T23:15:23.430" UserId="37" Text="standing still helps. it pisses off everyone nearby but hey..&#xD;&#xA;&#xD;&#xA;the pistol grip works better if you take some time to adjust it, find out what makes the noise. could be the cable touching the mic, or it could be the mic isn't in the best spot in the rubber suspension... certainly in the end, you wanted a very sensitive microphone, you will have to put up with its sensitivity :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6586" PostHistoryTypeId="2" PostId="3863" RevisionGUID="6da93df2-0281-4dc7-937c-94deabc468a9" CreationDate="2010-09-28T02:13:20.643" UserId="18160" Text="I was wondering if anyone here had any other useful ways they use Strip Silence in Pro Tools.&#xD;&#xA;&#xD;&#xA;Here's one way I use it:&#xD;&#xA;&#xD;&#xA;De-Esser for a long-form Audiobook or other voice-only product.&#xD;&#xA;&#xD;&#xA;Duplicate the edited voice track.&#xD;&#xA;&#xD;&#xA;EQ the whole track with a tailored &quot;sidechain EQ&quot; for the sibilance - I.E. roll everything off at about 2.5K, boost up with some parametric EQs the trouble spots so you get a good separation of the sibilance from the voice.&#xD;&#xA;&#xD;&#xA;Audiosuite the track with that EQ setting.&#xD;&#xA;&#xD;&#xA;Strip-silence that track at a threshold that leaves only the sibilance.&#xD;&#xA;&#xD;&#xA;Make another track and make a region group as long as the narration is.&#xD;&#xA;&#xD;&#xA;Grab all of the new EQed sibilance regions with the &quot;region grabber&quot; tool and put them onto the region group. Then move them back off of the region group so you have the negative of the sibilance (i.e. everything except the sibilance).&#xD;&#xA;&#xD;&#xA;Duplicate the original narration edit track again.&#xD;&#xA;&#xD;&#xA;Move with the region grabber tool the region groups you just made onto and off of the edit track.&#xD;&#xA;&#xD;&#xA;Now on this second track you have each and every offending sibilance isolated as regions.&#xD;&#xA;&#xD;&#xA;EQ, compress, gain down, etc. etc. etc. globally each of those regions with Audiosuite with &quot;create individual files&quot; and &quot;region by region&quot; modes selected.&#xD;&#xA;&#xD;&#xA;Place the newly treated sibilance regions back onto the original edit track and use an equal-gain crossfade anywhere from 5 ms to 100 ms long - so it sounds natural.&#xD;&#xA;&#xD;&#xA;Voila. Manual De-essing that doesn't have compression or other artifacts from other de-essers.&#xD;&#xA;&#xD;&#xA;Do any of you have similar ways you use Strip Silence?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6587" PostHistoryTypeId="1" PostId="3863" RevisionGUID="6da93df2-0281-4dc7-937c-94deabc468a9" CreationDate="2010-09-28T02:13:20.643" UserId="18160" Text="Useful ways of using Strip Silence" ContentLicense="CC BY-SA 2.5" />
  <row Id="6588" PostHistoryTypeId="3" PostId="3863" RevisionGUID="6da93df2-0281-4dc7-937c-94deabc468a9" CreationDate="2010-09-28T02:13:20.643" UserId="18160" Text="&lt;pro-tools&gt;&lt;strip-silence&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6589" PostHistoryTypeId="5" PostId="3863" RevisionGUID="db12eef8-1645-454b-bcb9-415bf2d1c96c" CreationDate="2010-09-28T02:20:04.650" UserId="18160" Comment="deleted 260 characters in body; deleted 6 characters in body" Text="I was wondering if anyone here had any other useful ways they use Strip Silence in Pro Tools.&#xD;&#xA;&#xD;&#xA;Here's one way I use it:&#xD;&#xA;&#xD;&#xA;De-Esser for a long-form Audiobook or other voice-only product.&#xD;&#xA;&#xD;&#xA;Duplicate the edited voice track.&#xD;&#xA;&#xD;&#xA;EQ the whole track with a tailored &quot;sidechain EQ&quot; for the sibilance - I.E. roll everything off at about 2.5K, boost up with some parametric EQs the trouble spots so you get a good separation of the sibilance from the voice.&#xD;&#xA;&#xD;&#xA;Audiosuite the track with that EQ setting.&#xD;&#xA;&#xD;&#xA;Strip-silence that track with the extract button so it leaves everything except the offending sibilance.&#xD;&#xA;&#xD;&#xA;Duplicate the original narration edit track again.&#xD;&#xA;&#xD;&#xA;Move with the region grabber tool the extracted regions you just made onto and off of the duplicated edit track.&#xD;&#xA;&#xD;&#xA;Now on this second track you have each and every offending sibilance isolated as regions.&#xD;&#xA;&#xD;&#xA;EQ, compress, gain down, etc. etc. etc. globally each of those regions with Audiosuite with &quot;create individual files&quot; and &quot;region by region&quot; modes selected.&#xD;&#xA;&#xD;&#xA;Place the newly treated sibilance regions back onto the original edit track and use an equal-gain crossfade anywhere from 5 ms to 100 ms long - so it sounds natural.&#xD;&#xA;&#xD;&#xA;Voila. Manual De-essing that doesn't have compression or other artifacts from other de-essers.&#xD;&#xA;&#xD;&#xA;Do any of you have similar ways you use Strip Silence?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6590" PostHistoryTypeId="5" PostId="3863" RevisionGUID="b7bb314f-f51d-4a84-95de-bc54f369f297" CreationDate="2010-09-28T02:32:45.923" UserId="18160" Comment="added 164 characters in body" Text="I was wondering if anyone here had any other useful ways they use Strip Silence in Pro Tools.&#xD;&#xA;&#xD;&#xA;Here's one way I use it:&#xD;&#xA;&#xD;&#xA;De-Esser for a long-form Audiobook or other voice-only product.&#xD;&#xA;&#xD;&#xA;Duplicate the edited voice track.&#xD;&#xA;&#xD;&#xA;EQ the whole track with a tailored &quot;sidechain EQ&quot; for the sibilance - I.E. roll everything off at about 2.5K, boost up with some parametric EQs the trouble spots so you get a good separation of the sibilance from the voice.&#xD;&#xA;&#xD;&#xA;Audiosuite the track with that EQ setting.&#xD;&#xA;&#xD;&#xA;Strip-silence that track with the extract button so it leaves everything except the offending sibilance.&#xD;&#xA;&#xD;&#xA;Duplicate the original narration edit track again.&#xD;&#xA;&#xD;&#xA;Move with the region grabber tool the extracted regions you just made onto and off of the duplicated edit track.&#xD;&#xA;&#xD;&#xA;Now on this second track you have each and every offending sibilance isolated as regions.&#xD;&#xA;&#xD;&#xA;EQ, compress, gain down, etc. etc. etc. globally each of those regions with Audiosuite with &quot;create individual files&quot; and &quot;region by region&quot; modes selected.&#xD;&#xA;&#xD;&#xA;Place the newly treated sibilance regions back onto the original edit track and use an equal-gain crossfade anywhere from 5 ms to 100 ms long - so it sounds natural.&#xD;&#xA;&#xD;&#xA;Voila. Manual De-essing that doesn't have compression or other artifacts from other de-essers. (It's not the end-all de-essing method, but it works for some severe cases of sibilance and has come in very useful for quick mixing and long-form voice products).&#xD;&#xA;&#xD;&#xA;Do any of you have similar ways you use Strip Silence?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6591" PostHistoryTypeId="2" PostId="3864" RevisionGUID="50ed3b35-d415-4c44-89fa-bd58f16ed7fc" CreationDate="2010-09-28T07:27:28.853" UserId="348" Text="Hi all,&#xD;&#xA;&#xD;&#xA;Just wanted to know if anyone was aware of any good sites where people have written about/reviewed the different sound design fundamentals for different genres? Like comedy, horror, drama etc. I know that there are different subcategories for each genre but what I want is a site(s) that discuss how the different genre's differ when it comes to sound design. I hope I am clear in my question. &#xD;&#xA;&#xD;&#xA;I know of a few like filmsound.org, designsound.com etc. But are there others?&#xD;&#xA;&#xD;&#xA;Thanks   " ContentLicense="CC BY-SA 2.5" />
  <row Id="6592" PostHistoryTypeId="1" PostId="3864" RevisionGUID="50ed3b35-d415-4c44-89fa-bd58f16ed7fc" CreationDate="2010-09-28T07:27:28.853" UserId="348" Text="Sound Design fundamentals for different genres" ContentLicense="CC BY-SA 2.5" />
  <row Id="6593" PostHistoryTypeId="3" PostId="3864" RevisionGUID="50ed3b35-d415-4c44-89fa-bd58f16ed7fc" CreationDate="2010-09-28T07:27:28.853" UserId="348" Text="&lt;genre&gt;&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6594" PostHistoryTypeId="2" PostId="3865" RevisionGUID="5705126a-0a09-4681-8cba-111e9fe7b2ed" CreationDate="2010-09-28T07:35:33.923" UserId="40" Text="Soundworkscollection.com is another great one. Also, check out the links section on the right hand side of designingsound.org (below the archives).  Most of everything I would mention/recommend is listed there. VERY extensive list. Also, a lot of those questions get discussed on the Yahoo group sound_design. I would recommend signing up for that too.&#xD;&#xA;&#xD;&#xA;With all of that, you can pick and choose which ones you like the best, then set up an RSS aggregator (like Google Reader) and sign up for the RSS feeds from the sites you like. Then they all feed into one place, and you have a personalized one-stop-shop for learning about sound design!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6595" PostHistoryTypeId="5" PostId="3856" RevisionGUID="b41fa57a-1b8b-4922-8338-dd48db7c2ffd" CreationDate="2010-09-28T09:03:30.440" UserId="238" Comment="added 6 characters in body" Text="I agree with Colin Hart in that it's a cultural problem. Similar problems can be seen in other art forms. If you take the music industry as a comparison, worldwide you'll here the same pop songs that big record labels have force-fed everyone whereas the real decent, underground music that is well written, well produced and original will be followed, and appreciated, not by the mainstream, but by a relatively small group of followers. And these underground followings will be geographically different. In countries where the culture is more open and artistic freedom is encouraged you will find more of these groups and groups consisting of larger numbers, whereas in other countries there will be very little diversity in independent music and those who do strive to create it will struggle. And even across the countries where you can find an underground following, there can be massive differences between different styles.&#xD;&#xA;&#xD;&#xA;It's tough, but you have to give praise to people like Miguel at Designing Sound who are pushing to change the way things are. It's easy to forget for those of us who live and work in countries where sound design is a recognised profession, but there are a lot of countries where production sound is generally of very poor quality thanks to having been totally neglected. But in history there have been many examples where people's passion for a specific art have eventually led to a global appreciation of that art. There is no simple answer to this problem but by discussing that the problems exist we are taking a big step forward..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6596" PostHistoryTypeId="2" PostId="3866" RevisionGUID="a8343ab9-fea7-4fa6-964b-0a72058a2348" CreationDate="2010-09-28T09:34:24.287" UserId="593" Text="Documentaries like [this][1] are pretty interesting I think and can be helpful in its own way. For many sound designer this is the first or second (depending on pre-conceptualisation) creation step. His recordings might not be intended for a sound design toolkit, but his quest is noble and very much relevant for the craft since it'l hopefully make people more aware of sound in general. Environmental sound is for most people, at-least those who haven't learned to &quot;listen&quot;, too abstract. &#xD;&#xA;&#xD;&#xA;Many people are aware of the sound in films, how many times haven't you heard &quot;I turn down the volume if it gets too scary&quot;, they just take it for granted. The ubiquitous nature of sound remains very abstract until you learn to listen and people like [Schafer][2] believes that this latent ability should be part of the school curriculum for young kids.&#xD;&#xA;&#xD;&#xA;Today's soundscapes are very complex (industrialized) and most of the time they are not even pleasant, it's understandable that people stuff their ears with ipods to mask it out, being aware of it or not.&#xD;&#xA;So teach people to listen through your work, because once they &quot;hear&quot; sound like we do, they will have the inert ability to understand and make sensible demands. And specific to film then have the supervising sound editor/sound designer's name in the opening credits equal to the caster, production designer and composer. Then people might actually get that music/score does not = &quot;The soundtrack&quot;.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundtrackerthemovie.com/ST/Home.html&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/R._Murray_Schafer" ContentLicense="CC BY-SA 2.5" />
  <row Id="6597" PostHistoryTypeId="2" PostId="3867" RevisionGUID="39f19b88-bf13-4659-845e-106cee9ec469" CreationDate="2010-09-28T09:36:52.503" UserId="400" Text="For those among you who do both sound design AND composition, when you're doing both for one project, which do you start with? Obviously they will affect each other in the end product, but I'm finding it difficult to work out which I'd need to take into account first. Am I missing something blatantly obvious here?&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;Joe" ContentLicense="CC BY-SA 2.5" />
  <row Id="6598" PostHistoryTypeId="1" PostId="3867" RevisionGUID="39f19b88-bf13-4659-845e-106cee9ec469" CreationDate="2010-09-28T09:36:52.503" UserId="400" Text="Sound Design and Composition" ContentLicense="CC BY-SA 2.5" />
  <row Id="6599" PostHistoryTypeId="3" PostId="3867" RevisionGUID="39f19b88-bf13-4659-845e-106cee9ec469" CreationDate="2010-09-28T09:36:52.503" UserId="400" Text="&lt;sound-design&gt;&lt;composition&gt;&lt;music&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6600" PostHistoryTypeId="2" PostId="3868" RevisionGUID="e5915f39-428d-445b-82ef-542dc24857b6" CreationDate="2010-09-28T09:56:55.557" UserId="578" Text="I guess it depends heavily what kind of end product you're working on.&#xD;&#xA;In my case, whenever I do both, it is for fairly short promotional videos w fancy animations. In those situations I prefer to start with the music as it decides the flow and feel for this kind of product. I then fill up the blanks with sound effects design.&#xD;&#xA;&#xD;&#xA;However if I was working on a movie or game having to do both (god forbid, unless you have the time for it - yeah sure, heh) I'd probably do it exactly the other way around. Or mix and match. Write the theme or lead motif of the score. Then work on essential sound design moments. Or maybe do all the ambiences first, in fact. Go back to some music. Something like that, would be my personal approach. Bit random perhaps, but I think the point for me is that there's no truly correct way of doing this. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6601" PostHistoryTypeId="2" PostId="3869" RevisionGUID="47bb4a16-370c-4599-a2be-93a009cf8bc0" CreationDate="2010-09-28T12:25:00.483" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;Just wanted to know if any one has had any problems with the Nagra LB in relation to files being corrupted. By this I mean, when recording on to the internal drive, on playback after dumping, there is sound then a click and then nothing. And this is intermittent. I have wavefiles that have this &quot;silence&quot; on and off throughout the recording. &#xD;&#xA;&#xD;&#xA;Anyone have any ideas? &#xD;&#xA;&#xD;&#xA;Thanks. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6602" PostHistoryTypeId="1" PostId="3869" RevisionGUID="47bb4a16-370c-4599-a2be-93a009cf8bc0" CreationDate="2010-09-28T12:25:00.483" UserId="348" Text="Nagra LB Problems" ContentLicense="CC BY-SA 2.5" />
  <row Id="6603" PostHistoryTypeId="3" PostId="3869" RevisionGUID="47bb4a16-370c-4599-a2be-93a009cf8bc0" CreationDate="2010-09-28T12:25:00.483" UserId="348" Text="&lt;digital&gt;&lt;recorder&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6604" PostHistoryTypeId="2" PostId="3870" RevisionGUID="8baa67b9-f907-4c58-a51e-f446a3e398f2" CreationDate="2010-09-28T12:32:54.170" UserId="348" Text="I was doing foley on 2 films at once and got really tired towards the middle. I was doing feet and at one point, in pair of high heels, I was intending on doing the woman but in my fatigued state of mind, did the man instead without realizing until I got a call from the editor asking why our hero sounded so feminine. Opps!!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6605" PostHistoryTypeId="2" PostId="3871" RevisionGUID="42846028-ea4a-49b5-8a2c-63ef6a89f730" CreationDate="2010-09-28T13:33:57.323" UserId="469" Text="Like someone said before, try holding softly.  Hold it as soft as you can with out it falling out of your hand.  I have also found that the less surface area of your skin that is touching the pistol grip of the mount the better.  When I first started using stereo mics in a pistol grip I had lots of handling noise too.  I second the tripod stand idea.  I took the advice of noisejockey and got a Manfrotto 5001B stand.  It's pretty light, cheap, and performs decently.  With a bit of practice you will get better at avoiding handling noise.  It's feels very zen when you get the hang of it." ContentLicense="CC BY-SA 2.5" />
  <row Id="6606" PostHistoryTypeId="2" PostId="3872" RevisionGUID="26c2b9fd-dec5-4d65-a576-07385f252029" CreationDate="2010-09-28T13:40:01.663" UserId="244" Text="Hi, im currently building a sound effects library of my own (as im sure most you already are doing).&#xD;&#xA;&#xD;&#xA;My question is this: How do you keep you're files organised, do you use a numeric, categoric, alphabetic structuring system, and how do you incorporate the use of metadata into your libraries?&#xD;&#xA;&#xD;&#xA;Thanks, jus looking for tips!&#xD;&#xA;&#xD;&#xA;cheers" ContentLicense="CC BY-SA 2.5" />
  <row Id="6607" PostHistoryTypeId="1" PostId="3872" RevisionGUID="26c2b9fd-dec5-4d65-a576-07385f252029" CreationDate="2010-09-28T13:40:01.663" UserId="244" Text="Sound Effects libraries and structuring" ContentLicense="CC BY-SA 2.5" />
  <row Id="6608" PostHistoryTypeId="3" PostId="3872" RevisionGUID="26c2b9fd-dec5-4d65-a576-07385f252029" CreationDate="2010-09-28T13:40:01.663" UserId="244" Text="&lt;library&gt;&lt;metadata&gt;&lt;file-organization&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6609" PostHistoryTypeId="2" PostId="3873" RevisionGUID="91fdf0d7-cb09-4869-b3fc-00c3efef546e" CreationDate="2010-09-28T14:08:34.403" UserId="393" Text="I use iTunes to organize and manage metadata.  My metadata convention tends to change for the various libraries (Blastwave FX, for example, is always the Artist where the different libraries are the album, but Soundsnap.com is an album and the artist is whoever submitted it to Soundsnap), then I use the comments field to put in whatever I feel fits for the sound, be it woosh, impact, crackles, or whatever.  I haven't run into a character limit on comments.&#xD;&#xA;&#xD;&#xA;THEN, I let iTunes &quot;Keep my files organized,&quot; and mark things like Soundsnap as compilations -- I almost never have to go digging through my actual folders since I can simply search iTunes, so what happens in the actual folder structure almost never is a problem." ContentLicense="CC BY-SA 2.5" />
  <row Id="6610" PostHistoryTypeId="2" PostId="3874" RevisionGUID="ad054a00-72cd-4f86-89f7-540f0c85b618" CreationDate="2010-09-28T14:20:58.173" UserId="238" Text="There are a number of posts that have already discussed metadata and sfx library organisation. It's well worth having a read through as there's some great advice in them and you can see how others are operating:&#xD;&#xA;&#xD;&#xA;[Audio File Organization][1] &#xD;&#xA;&#xD;&#xA;[Metadata Programs][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Library Search Engine for Mac][3]&#xD;&#xA;&#xD;&#xA;[Library Search Engines][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/552/audio-file-organization&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/1254/which-program-are-you-using-to-embed-metadata-in-wav-files&#xD;&#xA;  [3]: http://socialsounddesign.com/questions/122/a-good-value-sound-library-search-engine-for-the-mac&#xD;&#xA;  [4]: http://socialsounddesign.com/questions/2037/how-do-i-prepare-my-sound-files-professionally-to-share-with-others" ContentLicense="CC BY-SA 2.5" />
  <row Id="6611" PostHistoryTypeId="2" PostId="3875" RevisionGUID="9ee86657-ad58-4bba-9346-1cdfa37bfa2e" CreationDate="2010-09-28T15:02:07.343" UserId="432" Text="This question is for anyone who has experience with 360 Systems' Digicart.&#xD;&#xA;&#xD;&#xA;There are some ideas floating around on how we can make use of this nice, expensive, television studio we have at work. We're planning on shooting some test episodes of these ideas, and I'm wondering if there is a more efficient way to get audio files onto our Digicart (which I've barely used before). We can route audio to it and record to the internal hard drive, but that just seems like a huge time sap to me (which it probably is).&#xD;&#xA;&#xD;&#xA;Also, this thing is only about a year and a half/two years old....who the hell still puts ZIP DRIVES in their gear anymore?! lol" ContentLicense="CC BY-SA 2.5" />
  <row Id="6612" PostHistoryTypeId="1" PostId="3875" RevisionGUID="9ee86657-ad58-4bba-9346-1cdfa37bfa2e" CreationDate="2010-09-28T15:02:07.343" UserId="432" Text="Digicart File Transfers" ContentLicense="CC BY-SA 2.5" />
  <row Id="6613" PostHistoryTypeId="3" PostId="3875" RevisionGUID="9ee86657-ad58-4bba-9346-1cdfa37bfa2e" CreationDate="2010-09-28T15:02:07.343" UserId="432" Text="&lt;file-transfer&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6614" PostHistoryTypeId="2" PostId="3876" RevisionGUID="14505979-9463-4aeb-843a-9e168dd700c7" CreationDate="2010-09-28T15:02:58.713" UserId="234" Text="Myself (and I've done a few of these) I actually do them simultaneously. I tend to cut FX during the day, then work on Composition at night - Or I'll do one day of FX, one day of Music, etc. However I tend to start with FX either way - but YMMV.. &#xD;&#xA;&#xD;&#xA;One thing I always do, is have a spotting session/long discussion with the filmmaker about where things are going to go, and what overarching concepts are happening with both Sound and Music. The good thing about this is both the Sound and Music departments are always in that session! :) Since I'm doing both, I have a fair idea when one is going to be dominant over the other, and generally avoid conflicts - although there's always a director's prerogative to change his mind! :)&#xD;&#xA;&#xD;&#xA;The downside is of course, that's it ONLY you, and so if you run low on inspiration, there's no other co-creator to kick your a$$!&#xD;&#xA;&#xD;&#xA;Of course these are generally indie projects, where the director/producer can give me the time I need to work on both elements...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6615" PostHistoryTypeId="2" PostId="3877" RevisionGUID="bb8654eb-90e6-4a41-a6fc-2dbaadcc994f" CreationDate="2010-09-28T15:51:41.733" UserId="40" Text="Have you tried swapping out the drives? Factory Reset?  Also, does it do the same thing when you record to the CF?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6616" PostHistoryTypeId="2" PostId="3878" RevisionGUID="78e214d5-1021-44d1-a14e-40fa2de343d7" CreationDate="2010-09-28T19:58:26.267" UserId="6411" Text="I haven't fallen victim to this bug yet (knock wood), but was very confused for a good 5 minutes the other day due to remaining audio files after clearing them out.&#xD;&#xA;&#xD;&#xA;My issue? The edit session that I had imported from had all the OMF tracks duplicated on unused playlists. So make certain that all your tracks are shown and unused playlists are deleted." ContentLicense="CC BY-SA 2.5" />
  <row Id="6618" PostHistoryTypeId="2" PostId="3880" RevisionGUID="eba1e818-2a07-4251-bb78-ce7cf95ae85f" CreationDate="2010-09-28T20:14:38.873" UserId="6411" Text="Until I watched [this avid webinar][1] I was using strip silence to create regions out of lengthy library sounds that were imported as one file, particularly footsteps, but it also works for swooshes, hits, etc. really anything with multiple performances in one file. Now I use Beat Detective for anything with an intended sync point. Same principle, but is far easier IMO.&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/05/avid-webinar-film-sound-design-with-pro-tools-and-icon/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6619" PostHistoryTypeId="2" PostId="3881" RevisionGUID="90bf1efd-fa20-44a6-a8ca-a15d6cde06ea" CreationDate="2010-09-28T22:10:56.803" UserId="393" Text="I generally start with music, as I find that's more taxing, and do sound design when I need a break." ContentLicense="CC BY-SA 2.5" />
  <row Id="6620" PostHistoryTypeId="2" PostId="3882" RevisionGUID="072bea93-ad4b-4f98-895b-464469deefce" CreationDate="2010-09-28T22:43:19.887" UserId="37" Text="Last year I had a number of small projects like this. I nearly always do them separately. Composition takes more time and it's what the clients expect to hear first. However I always try to push for a little more on the sound effects side, so it's not just music. Creating effects is a lot of fun.." ContentLicense="CC BY-SA 2.5" />
  <row Id="6621" PostHistoryTypeId="2" PostId="3883" RevisionGUID="06b03706-4e4e-4a37-86be-c379c0b90e1d" CreationDate="2010-09-29T04:45:15.810" UserId="6571" Text="I keep it in categorized folders and with describing filenames, like &quot;metal hit on wood 01 (MKH60).wav&quot;&#xD;&#xA;&#xD;&#xA;And using Foobar2000 for searching (I'm under PC/Windows), special pack I build for libs searching. You can find demo video here:&#xD;&#xA;&#xD;&#xA;http://www.gameaudioforum.com/phpBB3/viewtopic.php?f=4&amp;t=2166&#xD;&#xA;&#xD;&#xA;Of course foobar is also free, and I think it's much better &amp; customizable than iTunes for that aim" ContentLicense="CC BY-SA 2.5" />
  <row Id="6622" PostHistoryTypeId="2" PostId="3884" RevisionGUID="6c71b4fd-62a6-4165-9b01-fe5f51a975c1" CreationDate="2010-09-29T05:05:28.690" UserId="564" Text="I like a simple generic, alpha-numeric named folder, with all relevant sounds pertaining to that category included within the folder or folders." ContentLicense="CC BY-SA 2.5" />
  <row Id="6623" PostHistoryTypeId="2" PostId="3885" RevisionGUID="f431e78e-83d7-4728-b163-9bc087ad35d7" CreationDate="2010-09-29T05:27:14.213" UserId="18160" Text="FWIW I'm all about Metadata, myself. I rarely use hierarchy of folders to find a file. I use Soundminer 99 percent of the time. That means that my metadata is key when I search, so I make sure that my metadata is impeccable and I am constantly adding to it with other possible uses of sounds.&#xD;&#xA;&#xD;&#xA;I do use proper folder hierarchy and keep the filenames descriptive, etc., but I pay extra special attention to my metadata and ensure every possible reference word is in there that it could be used for, because that is how Soundminer works.&#xD;&#xA;&#xD;&#xA;It's extremely important to keep up because I have libraries in which the files are named &quot;WR4719400929288457383&quot; and a word search will never pull it up, however because I use Soundminer, it searches the metadata so the Wrench Drop file named &quot;WRDR485737854&quot; will come up in a search." ContentLicense="CC BY-SA 2.5" />
  <row Id="6624" PostHistoryTypeId="2" PostId="3886" RevisionGUID="7502a3f0-b7aa-4cbf-807f-8a4f3f43fa44" CreationDate="2010-09-29T06:10:49.057" UserId="18160" Text="I'm curious, forgive me if it's a random question.&#xD;&#xA;&#xD;&#xA;For a larger production, if you were told &quot;Get all foley done by (blank)&quot; and you weren't done in time, what would happen?&#xD;&#xA;&#xD;&#xA;Do you ask for an extension from the Supervising Sound Editor? Do you get deep-sixed? Do you get docked pay? Gallows?&#xD;&#xA;&#xD;&#xA;I've never really thought of this.&#xD;&#xA;&#xD;&#xA;Just curious." ContentLicense="CC BY-SA 2.5" />
  <row Id="6625" PostHistoryTypeId="1" PostId="3886" RevisionGUID="7502a3f0-b7aa-4cbf-807f-8a4f3f43fa44" CreationDate="2010-09-29T06:10:49.057" UserId="18160" Text="Is there much of a penalty for missing deadlines?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6626" PostHistoryTypeId="3" PostId="3886" RevisionGUID="7502a3f0-b7aa-4cbf-807f-8a4f3f43fa44" CreationDate="2010-09-29T06:10:49.057" UserId="18160" Text="&lt;deadlines&gt;&lt;missing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6627" PostHistoryTypeId="5" PostId="3877" RevisionGUID="6bdd0944-4e7d-4e40-903e-f34e8fa2f9e7" CreationDate="2010-09-29T07:22:07.023" UserId="40" Comment="added 116 characters in body" Text="Have you tried swapping out the drives? Factory Reset?  Also, does it do the same thing when you record to the CF?&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;I have a few suggestions, but I'm just trying to figure out what you have / haven't ruled out so far..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6628" PostHistoryTypeId="2" PostId="3887" RevisionGUID="2b74127a-5b2e-476a-8895-a43ee9ec1530" CreationDate="2010-09-29T08:00:54.887" UserId="2" Text="Just some ideas: &#xD;&#xA;&#xD;&#xA;- Make sure you have downloaded the latest firmware for your machine. The latest is V1.105.&#xD;&#xA;&#xD;&#xA;- Have you listened to the files on the Nagra itself to hear if it is corrupted on dump down or while recording?  &#xD;&#xA;&#xD;&#xA;- What sample rate are you recording at? Maybe it's too fast for your internal drive?! Doubt that would be the issue, but who knows. &#xD;&#xA;&#xD;&#xA;- Maybe check that it's not an operating system issue, sometimes there are issues with Snow Leopard because it's 64 bit... that might be an avenue. If so, then I'm sure they would have attended to the problem with the latest firmware. In other words, have you tried dumping down the sound on other systems? &#xD;&#xA;&#xD;&#xA;- Have you tried recording onto a compact flash card instead of the of the internal hard drive?  &#xD;&#xA;&#xD;&#xA;- Try downloading [Soundhack][1], open the files from there and change the header just to check if the whole sound is there? &#xD;&#xA;&#xD;&#xA;- Have you listened to the sounds only after importing them into your DAW? Might be fine in iTunes, Finder, or whatever you use. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundhack.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="6629" PostHistoryTypeId="2" PostId="3888" RevisionGUID="c2b9ba66-9b6a-4e7e-b21b-5d530eccf69a" CreationDate="2010-09-29T08:14:09.367" UserId="266" Text="Haha...Well, I'd expect it might vary greatly depending on who you're working for and what the overall situation is." ContentLicense="CC BY-SA 2.5" />
  <row Id="6630" PostHistoryTypeId="2" PostId="3889" RevisionGUID="fd765624-4251-4e06-be84-3d27fab12846" CreationDate="2010-09-29T11:41:38.157" UserId="578" Text="I'm not sure, but as Transducr said - will vary greatly on who you're dealing with and the situation. If you have a good relationship with your client, it will probably be less of an issue. Or if someone else screwed up, causing you to slip and there was nothing you could do to salvage it, then again, the political situation is manageable I assume.&#xD;&#xA;&#xD;&#xA;However, and I really hope this doesn't sound patronising (and I'm stating the obvious anyway), hitting deadlines is of course your own responsibility, no matter how tight the schedule - if you sign up to the task, you have to deliver. So in that light, there's no such thing as not making a deadline. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="6631" PostHistoryTypeId="2" PostId="3890" RevisionGUID="765639e5-f5a8-4fea-87ce-66e5aa9f6386" CreationDate="2010-09-29T13:06:04.950" UserId="168" Text="It might be okay the first time (depends) but if it happens more than once you just might not be approached for work again." ContentLicense="CC BY-SA 2.5" />
  <row Id="6632" PostHistoryTypeId="2" PostId="3891" RevisionGUID="21f05aaf-febe-4b44-9e52-45beca9eade4" CreationDate="2010-09-29T13:12:27.083" UserId="432" Text="Ok, so through various conversations and trial and error the short answer is...no.&#xD;&#xA;&#xD;&#xA;In case any of you ever end up working with one of these things, it does appear that the only way to get new sounds in is to record them into the unit. You can transfer files from one Digicart to another over a network...but you still have to record the audio into one to start off...at least for the model we have (Digicart|E).&#xD;&#xA;&#xD;&#xA;It's a great piece of gear for doing what it's designed to do, but it is in some serious need of an update!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6633" PostHistoryTypeId="2" PostId="3892" RevisionGUID="a4573cd1-b61b-426e-94c3-2e6f97669441" CreationDate="2010-09-29T14:01:38.357" UserId="194" Text="Here are my thoughts:&#xD;&#xA;&#xD;&#xA;There are two kinds of deadlines:  real deadlines and false deadlines.&#xD;&#xA;&#xD;&#xA;------------&#xD;&#xA;&#xD;&#xA;**Real deadlines involve money.**  For example, you're working on a mix for a TV spot where the air time is already purchased.  Or you're working on a mix for a film that is already booked in a festival.  Or you're doing voice production or sound design for a game that has a hard ship date.  &#xD;&#xA;&#xD;&#xA;Generally, when people have already spent money and made commitments for things that happen **after** your step in the production process then you're up against a real hard deadline.&#xD;&#xA;&#xD;&#xA;If you're part of an audio production team like in a film, then your short term and long term deadlines affect every other member of the post production team.  &#xD;&#xA;&#xD;&#xA;If you have either left the studio or slept in the days leading up to a hard deadline and you miss that deadline then you've made a huge error that will have significant impact on your career and business.  &#xD;&#xA;----&#xD;&#xA;Even if you haven't slept or left the office you've made the same error, but your wrongdoing is more on the front end of the project than the back. &#xD;&#xA;&#xD;&#xA;If you find yourself in a situation where you're up against a hard deadline that you can tell you won't be able to meet, then you have to call in help.  Break the project into a couple of pieces and outsource them to get it done.  Even if it costs you money in the short term, it'll cost you less over time.&#xD;&#xA;&#xD;&#xA;Really, the rule of thumb is to never miss a hard deadline.&#xD;&#xA;&#xD;&#xA;--------------&#xD;&#xA;&#xD;&#xA;The other types of deadlines are false deadlines.  False deadlines are still good to hit, but the consequences are far less dire.  &#xD;&#xA;&#xD;&#xA;False deadlines are when the client would like to the audio mix by tomorrow so that he can have a few days of buffer before he has to send it out on his hard deadline.  Or when you ask for a deadline and the client really doesn't have one at all, so he just spits out an unrealistic date because he doesn't know what it takes to make his works sound good.  &#xD;&#xA;&#xD;&#xA;False deadlines are negotiable, but they must be negotiated explicitly and well in advance of the deadline passing by.  Also, no one calls them false deadlines, and you shouldn't either.  Just try to find out exactly what happens once you deliver the audio, and you'll get a sense of how real your deadline is." ContentLicense="CC BY-SA 2.5" />
  <row Id="6634" PostHistoryTypeId="2" PostId="3893" RevisionGUID="23c3486c-282d-4f9f-9934-2a936295ffee" CreationDate="2010-09-29T14:31:20.840" UserId="474" Text="Hi folks, &#xD;&#xA;&#xD;&#xA;I'm assembling hardware (laptop, interface, speakers, ...) for a small demo setup which is meant be easily portable, so as to be able to pack it into a flightcase and quickly put it together for demoing purposes (e.g. in front of a customer, at a convention etc.)&#xD;&#xA;&#xD;&#xA;I'm quite unsure which way to go regarding speakers... do you know of any small-sized monitors or monitors which are not low-quality HiFi/PC speakers but on the other hand aren't too heavy to be carried in a flight case and offer a reasonable frequency response?&#xD;&#xA;&#xD;&#xA;Should I give Bose and the likes a try? Any suggestions?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;best,&#xD;&#xA;Julian" ContentLicense="CC BY-SA 2.5" />
  <row Id="6635" PostHistoryTypeId="1" PostId="3893" RevisionGUID="23c3486c-282d-4f9f-9934-2a936295ffee" CreationDate="2010-09-29T14:31:20.840" UserId="474" Text="Small speakers/monitors for demo purposes" ContentLicense="CC BY-SA 2.5" />
  <row Id="6636" PostHistoryTypeId="3" PostId="3893" RevisionGUID="23c3486c-282d-4f9f-9934-2a936295ffee" CreationDate="2010-09-29T14:31:20.840" UserId="474" Text="&lt;monitors&gt;&lt;speakers&gt;&lt;demo&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6637" PostHistoryTypeId="2" PostId="3894" RevisionGUID="65367b61-ff72-4df0-9e88-f290210a449d" CreationDate="2010-09-29T15:10:29.613" UserId="238" Text="It depends what kind of material will you be needing to broadcast? When you start talking about active monitors weight does become an issue. You will find that even compact active monitors will be considerably heavy. Passive monitors will generally weigh less but will need an amplifier. From my days of working as an AV technician, I would recomend the [Fostex 6301][1]. They are compact in size, weigh 3KG, which isn't too much, and are pretty good in terms of audio quality and amplification (they have built-in 10W RMS amps). I've used these in similar situations to those that you describe, but as I first mentioned, it really depends on what you will be broadcasting and the acoustics of where you will use them...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fostexinternational.com/docs/products/6301_Analogue.shtml" ContentLicense="CC BY-SA 2.5" />
  <row Id="6638" PostHistoryTypeId="2" PostId="3895" RevisionGUID="1aa1870f-6031-47ea-8c04-99cca51e013e" CreationDate="2010-09-29T15:47:29.190" UserId="432" Text="If you're talking about at a convention, you may want to consider a headphone distribution amp and a bunch of headphones (i.e. Sony MDR-7506). It's just an alternative idea you might want to consider.&#xD;&#xA;&#xD;&#xA;As Colin mentioned, it really depends on the situation you're planning to use them in. I can vouch for those Fostex speakers as well. They're not bad, but if it's a really noisy environment no speaker with the dimensions/weight you're looking for are going to be all that helpful to you (including those Fostex). With speakers you're going to have to carry some weight, either in the unit themselves or in a power amplifier. Those power supplies aren't feathers. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6639" PostHistoryTypeId="2" PostId="3896" RevisionGUID="037af046-8af1-4e01-8cbc-a347a20abf77" CreationDate="2010-09-29T16:05:12.593" UserId="393" Text="I almost want to keep sound design a secret; look at how consumer-grade recording gear has hurt most post houses already, and film makers and programmers already assume they're good enough at audio with their hi-fi equipment or laptop speakers to bypass us . . . imagine how it will be when everyone thinks they're fully capable of doing professional-level sound.&#xD;&#xA;&#xD;&#xA;As far as telling people what I do, I make sure I mention films and video games, so they at least can pretend they know what I'm talking about." ContentLicense="CC BY-SA 2.5" />
  <row Id="6640" PostHistoryTypeId="5" PostId="3895" RevisionGUID="d258f7bb-f0c4-4450-89a6-3281b3a8b719" CreationDate="2010-09-29T16:28:27.847" UserId="432" Comment="eliminated some repetitive redundancy ;)" Text="If you're talking about at a convention, you may want to consider a headphone distribution amp and a bunch of headphones (i.e. Sony MDR-7506). It's just an alternative idea that may be more effective.&#xD;&#xA;&#xD;&#xA;As Colin mentioned, it really depends on the situation you're planning to use them in. I can vouch for those Fostex speakers as well. They're not bad, but if it's a really noisy environment no speaker with the dimensions/weight you're looking for are going to be all that helpful to you (including those Fostex). With speakers you're going to have to carry some weight, either in the unit themselves or in a power amplifier. Those power supplies aren't feathers. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6641" PostHistoryTypeId="2" PostId="3897" RevisionGUID="bdbaef49-e700-4eba-ab99-7c2a4905d06a" CreationDate="2010-09-29T18:55:24.990" UserId="264" Text="If anyone's delved into animation, one of the techniques you encounter is &quot;Anticipation&quot;. It plays to our expectations of how an action will play out by establishing a strong pose or, like what MtL said, repetition. Anticipation's often used to create visual gags (Wiley Coyote is poised to go zooming off screen, when instead an anvil crushes him), and I believe that the mechanics behind what works in one medium can be translated into another. I guess a quick example would be a strong, serious Timpani roll, climaxing in... a kazoo ensemble." ContentLicense="CC BY-SA 2.5" />
  <row Id="6642" PostHistoryTypeId="2" PostId="3898" RevisionGUID="bdd9055e-063f-4bf6-80f4-aa235f9949ad" CreationDate="2010-09-29T20:07:51.880" UserId="194" Text="timing is almost everything." ContentLicense="CC BY-SA 2.5" />
  <row Id="6643" PostHistoryTypeId="2" PostId="3899" RevisionGUID="9e60bb0b-323f-4a0e-9826-afa531b105e0" CreationDate="2010-09-29T23:37:58.840" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;Don't mind me if I ask another silly question, and it is this:&#xD;&#xA;&#xD;&#xA;Say you're working on a movie and your main character does a lot of breathing and exhales etc.&#xD;&#xA;&#xD;&#xA;Your production dialogue is useless - lots of noise to capture intimate breaths, like the Saving Private Ryan beach scene.&#xD;&#xA;&#xD;&#xA;Your actor doesn't have anymore ADR time in the budget, or something happens where you can't record anymore ADR with that actor. I would definitely make sure beforehand that I got enough coverage in whatever ADR session the actor does in terms of FX, but let's say something happens and you don't have access to the actor and don't have the breaths you need.&#xD;&#xA;&#xD;&#xA;Would you be so bold as to record yourself or another actor for the character's breath?&#xD;&#xA;&#xD;&#xA;I guess you would have to clear it through the Sound Supervisor, Director and Producer, but let's say your main character needed more breaths that you don't have. What would you do or what have you done in the past to handle this type of situation if it has come up?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="6644" PostHistoryTypeId="1" PostId="3899" RevisionGUID="9e60bb0b-323f-4a0e-9826-afa531b105e0" CreationDate="2010-09-29T23:37:58.840" UserId="18160" Text="Lack of Actor's Breath" ContentLicense="CC BY-SA 2.5" />
  <row Id="6645" PostHistoryTypeId="3" PostId="3899" RevisionGUID="9e60bb0b-323f-4a0e-9826-afa531b105e0" CreationDate="2010-09-29T23:37:58.840" UserId="18160" Text="&lt;adr&gt;&lt;missing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6646" PostHistoryTypeId="2" PostId="3900" RevisionGUID="fdb7dc2e-39df-4d79-bb8f-18cc7a1379de" CreationDate="2010-09-29T23:53:03.713" UserId="61" Text="It's quite common to have a group person come in to ADR and perform efforts/breaths/etc for actors in lead roles, due to either budget constraints (too expensive to have those folks stick around) or because the A-list actors choose not to do it." ContentLicense="CC BY-SA 2.5" />
  <row Id="6647" PostHistoryTypeId="2" PostId="3901" RevisionGUID="40c429af-9404-4436-b397-c3addef3ad6f" CreationDate="2010-09-30T00:22:25.490" UserId="18160" Text="I'm about to mix a few events where the podium mic was recorded somehow with clipping happening. It's pretty horrendous. But, I'm stuck with it and being asked to fix it.&#xD;&#xA;&#xD;&#xA;I've got X-Crackle, but what else do you guys use to handle clipping and distortion?&#xD;&#xA;&#xD;&#xA;BF Essentials Clip Removal doesn't work most of the time.&#xD;&#xA;&#xD;&#xA;Curious to what you guys use?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="6648" PostHistoryTypeId="1" PostId="3901" RevisionGUID="40c429af-9404-4436-b397-c3addef3ad6f" CreationDate="2010-09-30T00:22:25.490" UserId="18160" Text="Best Distortion, Clipping, Overmodulation Fixing Plug-in?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6649" PostHistoryTypeId="3" PostId="3901" RevisionGUID="40c429af-9404-4436-b397-c3addef3ad6f" CreationDate="2010-09-30T00:22:25.490" UserId="18160" Text="&lt;distortion&gt;&lt;clipping&gt;&lt;fix&gt;&lt;plug-in&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6650" PostHistoryTypeId="2" PostId="3902" RevisionGUID="0feab0ec-77e9-4c72-97bc-472cf6d706fd" CreationDate="2010-09-30T00:23:36.317" UserId="61" Text="I've seen a tutorial for Izotope Rx that I remember being pretty amazing. Don't have the link handy…" ContentLicense="CC BY-SA 2.5" />
  <row Id="6651" PostHistoryTypeId="2" PostId="3903" RevisionGUID="e57e0527-493e-48e8-a4f8-cac278d09568" CreationDate="2010-09-30T00:25:59.483" UserId="432" Text="I've used both of those in the past, and they're pretty good. The Sonnox version is a good one as well.&#xD;&#xA;&#xD;&#xA;You might want to try an expander too, to smooth out those squared off peaks/troughs." ContentLicense="CC BY-SA 2.5" />
  <row Id="6652" PostHistoryTypeId="2" PostId="3904" RevisionGUID="e54af8cf-114d-4804-bf97-007a7f83818d" CreationDate="2010-09-30T01:10:38.823" UserId="136" Text="I actually had an instance where I had to replace two words of an actors performance with my own voice (due to a phone msg tone going off in the background and there was no time to get the actor in to record). &#xD;&#xA;&#xD;&#xA;It took a while to mimic his voice properly but in the end no-one even noticed. Including the actor!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6653" PostHistoryTypeId="2" PostId="3905" RevisionGUID="b6ef4bfe-ced5-4307-b13e-99335bc045dd" CreationDate="2010-09-30T01:13:25.923" UserDisplayName="user49" Text="A properly managed &amp; supervised soundtrack should not have any 'suddenly missing a deadline' moments - the supervisor should have had run throughs to see the current state of the foley, in the weeks prior to the deadline. And would be in constant contact to know where you are up to in terms of meeting the deadline. If the deadline was in jeopardy then the supervisor should manage that situation.&#xD;&#xA;&#xD;&#xA;Other than an actual disaster, missing a deadline is not an option. For a film schedule, the predubs are scheduled one after the other (&amp; sometimes in parallel) so you can't not be ready when your predub starts, or it may put the entire films mix schedule in jeopardy &amp; there may be delivery deadlines (for festival or market screening or premiere) that cannot be missed out the end. No one wants to lose a day of final mix time because you werent ready for your predub.&#xD;&#xA;&#xD;&#xA;Obviously no one predubs a whole films worth of foley (or whatever) in one day, so part of your job is to reverse prioritise ie foley predub starts with Reel 1, so it should be completed ready for predub first, then R2 etc... if the schedule was so tight you had to work a weekend to be ready with the latter reels then so be it. &#xD;&#xA;Another option is to predub what is ready &amp; return to areas that need additional work - this happens with late ADR sometimes...&#xD;&#xA;&#xD;&#xA;But I can also say this: putting together a good team of people involves trust and trust is developed over time &amp; with experience - you are being trusted to deliver your work to a deadline, and if you let the team down then I would suspect your future involvement in that team could be put in jeopardy.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6654" PostHistoryTypeId="2" PostId="3906" RevisionGUID="49dc8979-f525-4dd7-8662-19895c8ece67" CreationDate="2010-09-30T06:26:45.630" UserId="595" Text="I have read mostly about sound designers in film or video games. Has anyone here professionally had a career designing for producers, artists, software companys, hardware companys? " ContentLicense="CC BY-SA 2.5" />
  <row Id="6655" PostHistoryTypeId="1" PostId="3906" RevisionGUID="49dc8979-f525-4dd7-8662-19895c8ece67" CreationDate="2010-09-30T06:26:45.630" UserId="595" Text="Any music industry sound designers here?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6656" PostHistoryTypeId="3" PostId="3906" RevisionGUID="49dc8979-f525-4dd7-8662-19895c8ece67" CreationDate="2010-09-30T06:26:45.630" UserId="595" Text="&lt;music&gt;&lt;industry&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6657" PostHistoryTypeId="2" PostId="3907" RevisionGUID="3d89dfb1-703c-4cd9-8300-b64e2eeed044" CreationDate="2010-09-30T07:46:59.077" UserId="2" Text="I just had to do that on Monday. The girl did not vocalize her fear at all, so I got the director in to do some gasps and breaths and I slotted it in. It made a world of difference to the scene. This was on a very small team - low budget production, so was easy to just do it. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6658" PostHistoryTypeId="2" PostId="3908" RevisionGUID="36f39b36-2fda-4bfd-820c-dda56aa83150" CreationDate="2010-09-30T07:51:15.920" UserId="2" Text="I had the worst archival footage, it was all clipped to the point where the waveform was literally flat! Izotope RX's Declipper worked wonders to help smoothen things out. I also used it on an actor's scream, which was badly distorted, and it helped a lot. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6659" PostHistoryTypeId="2" PostId="3909" RevisionGUID="914e996b-f5f0-427a-bb51-6a3f1fbac7e5" CreationDate="2010-09-30T08:02:07.427" UserId="62" Text="+1 for iZotope RX. It's an excellent tool! That and Spectral Analyzer are worth the money alone for the plugin." ContentLicense="CC BY-SA 2.5" />
  <row Id="6660" PostHistoryTypeId="2" PostId="3910" RevisionGUID="04edb26a-22ab-4d1f-8907-40c5e191b983" CreationDate="2010-09-30T09:28:59.917" UserId="348" Text="When I do sounds for a comedy in foley, I always search the kinds frequencies that will tickle the audience. Like a slap- slightly more attack and higher pitched. A body fall- less low end more mid and larger. And as Iain McGregor said- contradiction and exaggeration. Play against thye image is also fun- something unexpected. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6661" PostHistoryTypeId="2" PostId="3911" RevisionGUID="8dfa89a5-7617-4079-b1d1-67017e8fa245" CreationDate="2010-09-30T09:37:49.523" UserId="348" Text="I end up doing a lot of breaths and gasps in foley sessions due to budget constraints or poorly directed ADR sessions. I find that it helps me discover even more ideas by just using my mouth. In a recent animation with dogs, they couldn't find a dog to growl properly with the right aggression so I did it and the director didn't know. It is the inner canine in me possibly. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6662" PostHistoryTypeId="2" PostId="3912" RevisionGUID="0f2c389a-d736-4276-a1e5-3d5c65723677" CreationDate="2010-09-30T13:55:58.787" UserId="6411" Text="Would there be any significant disadvantage to combining both Option 1 and Option 2? Copy the files to a new folder (keeping the originals untouched) and rename the new files and folder they're contained in? I would rather see a folder where it's obvious that everything inside is related rather than a group of random file names that are created by whatever device the files came from.&#xD;&#xA;&#xD;&#xA;As for Google Earth, I think it would be a great option.  I personally don't use it, but I could see how advantageous it would be." ContentLicense="CC BY-SA 2.5" />
  <row Id="6663" PostHistoryTypeId="5" PostId="3733" RevisionGUID="33622573-0de6-48e2-9fce-acb861155a39" CreationDate="2010-09-30T14:18:00.193" UserId="37" Comment="extended.." Text="originals untouched. definitely.&#xD;&#xA;&#xD;&#xA;i'm thinking would it be impossible to embed a copy of the image in the file? or put it straight into the database and associate it with the file so even if the image is deleted, it's still preserved? re possible corruption to db, you can have backups of that. &#xD;&#xA;&#xD;&#xA;also when there's no image to associate with a file, especially for files of shorter duration, you could visualise the waveform and use that as a thumbnail? &#xD;&#xA;&#xD;&#xA;as for gps coords, maybe it would be nice to be able to select multiple files and pop up a maps window to select a location (or select from a list of recent locations)." ContentLicense="CC BY-SA 2.5" />
  <row Id="6664" PostHistoryTypeId="2" PostId="3913" RevisionGUID="79bf5363-aed2-43a5-9ffe-98afe092e10f" CreationDate="2010-09-30T16:08:01.443" UserId="594" Text="On the iPhone, the iProRecorder is a very handy application. It does geographical location tagging, has a jog wheel with adjustable playback speed. Lots of features. When I got it was 99 cents. Now it's $4.99..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6665" PostHistoryTypeId="2" PostId="3914" RevisionGUID="321e5bbd-761a-4531-86bb-5f94b0327534" CreationDate="2010-09-30T17:41:02.460" UserId="56" Text="Just a mention to audioboo for iphone and ipod touch. It's free, you can record, share your recordings with the community, find recordings around the world or near your location, has geotag... external mic needed for serious stuff..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6666" PostHistoryTypeId="2" PostId="3915" RevisionGUID="994fcbac-d76b-4a59-844b-1a2faa3e69ad" CreationDate="2010-09-30T18:32:28.157" UserId="235" Text="  I just made a non-traditional violin based sample library for VIR2.  Lots of acoustic preparations and odd playing techniques as well as tons of interesting digital manipulation.&#xD;&#xA;&#xD;&#xA;http://www.vir2.com/instruments/violence&#xD;&#xA;&#xD;&#xA;  I'm currently working on another library but this one is going to focus more on acoustic preparations. &#xD;&#xA;&#xD;&#xA;I have a blog where I document some of my musical sound design experiments.  Although recently I've been busy doing film work have neglected to post much but you may find some of the older articles interesting.  &#xD;&#xA;&#xD;&#xA;http://www.brendanjhogan.com/blog&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6667" PostHistoryTypeId="2" PostId="3916" RevisionGUID="76f307f7-9b7d-4088-864f-11c76b59bc15" CreationDate="2010-09-30T20:31:33.617" UserId="396" Text="I've used strip silence to save time when removing breaths and extraneous noises between words from longer form VO recordings. A couple of passes with different settings seems to work better than just one pass. That said, I usually still end up going through afterwards and tweaking the edits!&#xD;&#xA;&#xD;&#xA;It works great if the talent doesn't breath too loudly, not so much if their breaths are up near the level of the dialogue, naturally." ContentLicense="CC BY-SA 2.5" />
  <row Id="6668" PostHistoryTypeId="2" PostId="3917" RevisionGUID="7c34f88e-7fb3-41e5-acb7-372894cbe367" CreationDate="2010-09-30T20:41:32.317" UserId="235" Text="Yup.  I do this all the time as well.  I'm wondering though, when splitting out tracks for M&amp;E would you put these breaths onto the dialogue track to be re-dubbed or on SFX tracks?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6669" PostHistoryTypeId="2" PostId="3918" RevisionGUID="3aabc142-338b-4be2-b954-8e7d8bd73aeb" CreationDate="2010-09-30T22:17:51.657" UserId="338" Text="Can we compare the difference between dry comedic and slapstick sounds??  Is there a fine line between these things or is it vague?  &#xD;&#xA;&#xD;&#xA;Maybe a movie or article reccomendation could lend a helping hand in these hard times.&#xD;&#xA;&#xD;&#xA;My approach of course relies on the situation to determine the outcome of the sound but maybe sometimes have the sound determine the outcome of the situation..this may be a bit of Chris-speak but I'd love to hear the audience's response." ContentLicense="CC BY-SA 2.5" />
  <row Id="6670" PostHistoryTypeId="1" PostId="3918" RevisionGUID="3aabc142-338b-4be2-b954-8e7d8bd73aeb" CreationDate="2010-09-30T22:17:51.657" UserId="338" Text="The difference between Dry Comedic and Slapstick sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="6671" PostHistoryTypeId="3" PostId="3918" RevisionGUID="3aabc142-338b-4be2-b954-8e7d8bd73aeb" CreationDate="2010-09-30T22:17:51.657" UserId="338" Text="&lt;comedy&gt;&lt;design&gt;&lt;film&gt;&lt;drama&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6672" PostHistoryTypeId="2" PostId="3919" RevisionGUID="cddf408e-b401-4d17-85ce-9229c16bb8d4" CreationDate="2010-09-30T23:38:34.303" UserId="253" Text="As usual, it's all about context. Although, off the top of my head, i'd say that sound in a dry comedy would be subtle and rely heavily on timing and coordination with the other elements of the program; whereas slapstick tends to be over the top and and would work with big, attention grabbing sounds.&#xD;&#xA;&#xD;&#xA;Having said that, an over-the-top sound that goes against the grain of the rest of the scene can be great in a dry comedy (the broken car horn in Little Miss Sunshine perhaps); and a small subtle sound can give great punctuation for a slapstick situation (can't think of any off the top of my head, but maybe the last little piece of rubble falling after the whole house has collapsed).&#xD;&#xA;&#xD;&#xA;So i guess what i'm saying is that i don't think a sound can be described as slapstick or dryly comedic. Broadly speaking, a sound has little or no emotional content until it's put into a story context and/or against picture." ContentLicense="CC BY-SA 2.5" />
  <row Id="6673" PostHistoryTypeId="2" PostId="3920" RevisionGUID="3ec798ef-f05b-4a9d-9e28-2847ccecd49b" CreationDate="2010-09-30T23:53:55.700" UserId="338" Text="I think it would be cool if he/she were breathing fire/ice you know...it all depends on the context..Id say breaths from someone else would work though or check the alternates." ContentLicense="CC BY-SA 2.5" />
  <row Id="6674" PostHistoryTypeId="2" PostId="3921" RevisionGUID="4fd06858-6150-422d-b4a1-1f6f3c4ccaff" CreationDate="2010-10-01T00:55:21.740" UserId="234" Text="+1 On the RX... used it on a Forensic recovery from an answering machine tape- did an amazing job on digging a voice out of massive distortion. Another trick I've used is to feed the signal to a tape emulator plug-in. You can use it to &quot;round off&quot; the hard clip to a softer less nasty sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="6675" PostHistoryTypeId="2" PostId="3922" RevisionGUID="9075fdec-3f96-4d52-9e3d-f26bbf409581" CreationDate="2010-10-01T03:50:00.310" UserId="29" Text="First of all, did you read [this thread on what makes a sound funny?][1]&#xD;&#xA;&#xD;&#xA;Not so much an answer as a riff: Might one answer boil down to literalism? To my brain, &quot;dry comedic&quot; evokes quite literal sounds that are simply very well timed or cleverly juxtaposed (or inserted to infer off-screen events). Likewise, &quot;slapstick&quot; for me evokes vaudeville, which was a huge influence on early animation and film, where we hear utterly non-literal sounds (like horn honks, cymbal crashes, or slide whistles) that nevertheless underscore diegetic action. There are lots of sounds that are right there on the border of realism; whooshes and impacts are great examples of sounds that can go either way, depending on their implementation. My gut reaction is the difference the emphasis and distance from representative sound (i.e., see a [foo], cut a [foo]) is what could differentiate dry comedy vs. slapstick. &#xD;&#xA;&#xD;&#xA;(Having said all that, though, I wrestle with films like *Something About Mary*, which was pretty much straight slapstick - was that really slapstick in its use of sound?)&#xD;&#xA;&#xD;&#xA;But this could all just be an exercise in semantics if this isn't what you meant in your initial question - that's just my interpretation. Roger's points are excellent, although I'd add that some sounds *can* carry emotion if they're cliches or tropes (like the slidewhistle), making their meaning entirely culture-specific, and that it's how and where sound is used that is where the emotion, if any, is delivered.&#xD;&#xA;&#xD;&#xA;*Ahem*, wow, talking about comedy like that is ***totally*** unfunny. I've gone and harshed my own mellow...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/519/what-makes-a-sound-funny" ContentLicense="CC BY-SA 2.5" />
  <row Id="6676" PostHistoryTypeId="2" PostId="3923" RevisionGUID="eeb6fd22-818e-40b7-8745-c3d6bc86a51a" CreationDate="2010-10-01T10:46:56.840" UserId="593" Text="I have been doing some research about Gain staging and how being much more aware of it early on can help you make a clearer mix. I believe I have that concept pretty well down by now, after having studied the theory and doing various mixes. However, after reading about the difference in how the signal math is handled in LE and [HD][1] I still had a question in regards to whether I should e.g. use Master Faders for my stems: dialogue, sfx, foley etc.&#xD;&#xA;&#xD;&#xA;So far I have been using AUX's for my stem submixes which then route into the Master Fader. At this point I have only performed my mixes in LE, but once I get opportunity to do a final mix on a HD system then I'd like to do it right, spending my time &quot;mixing for the story&quot; not trying to figure out why my busses are clipping or some other arbitrary routing error. Alleviating that is of course part of the mix process, but I think you know what I mean :)&#xD;&#xA;&#xD;&#xA;Personally I don't have many problems with clipping, quite the opposite really due to the equipment I'm using, but I have also received stuff from people who just think that headroom is there to be filled up completely, having an average peak level just below clipping, which I think just sucks when you are summing all the channels together.&#xD;&#xA;Having said that then I'm curious how the more experienced lot of you route your stuff? Do you use more than one Master fader at the end of a session or do you also use them at the top of your stems or even earlier?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://brianleewhite.com/2009/10/13/master-faders-demystified-part-2/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6677" PostHistoryTypeId="1" PostId="3923" RevisionGUID="eeb6fd22-818e-40b7-8745-c3d6bc86a51a" CreationDate="2010-10-01T10:46:56.840" UserId="593" Text="Use of Master faders in a PT mix" ContentLicense="CC BY-SA 2.5" />
  <row Id="6678" PostHistoryTypeId="3" PostId="3923" RevisionGUID="eeb6fd22-818e-40b7-8745-c3d6bc86a51a" CreationDate="2010-10-01T10:46:56.840" UserId="593" Text="&lt;techniques&gt;&lt;mixing&gt;&lt;pro-tool&gt;&lt;experiences&gt;&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6679" PostHistoryTypeId="2" PostId="3924" RevisionGUID="b93afd59-a6ae-48f4-bd8b-91ce7d5934f5" CreationDate="2010-10-01T11:44:28.553" UserId="432" Text="I asked a question a month or two ago regarding people's workflow with master faders. You can check that out [here][1].&#xD;&#xA;&#xD;&#xA;It really depends on what your workflow is like. You can only instantiate 1 Master Fader using a given set of outputs. [i.e. you can't have an effects master fader and a separate music master fader that both go out on your left right]. The Master Fader is the FINAL control at an output.&#xD;&#xA;&#xD;&#xA;I'm on and HD system, and I use Auxes as my Master Faders, mainly because I use some complicated routing for monitoring, metering and decks (multiple destinations). The way our facility is set up is extremely flexible, but that just means that the Master Fader channel in Pro Tools is too restrictive to be useful in my workflow. Again, it all depends on what your specific needs are, those are just the result of mine in **this one studio**. It could easily be different elsewhere.&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/3003/who-out-there-still-uses-master-faders-anymore" ContentLicense="CC BY-SA 2.5" />
  <row Id="6680" PostHistoryTypeId="2" PostId="3925" RevisionGUID="81ddbe75-f0b8-4de2-9b80-9da8edc7beb7" CreationDate="2010-10-01T12:04:32.473" UserId="407" Text="General rules for Game studios and publishers - missing a milestone deadline you are jepordising the studios income for that milestone.&#xD;&#xA;Miss a submission deadline then you are talking the loss of lots of money and the product shipdate being moved.&#xD;&#xA;Miss a shipdate then your screwed :) If you've passed submission then the game ships whatever state it is in.&#xD;&#xA;But in reality Audio plays quite a small part in the bigger picture or game development deadlines, and you have to be doing a pretty bad job not to realise a deadline is going to be missed a long time before it happens - and in these cases you should always have a plan B and C." ContentLicense="CC BY-SA 2.5" />
  <row Id="6681" PostHistoryTypeId="2" PostId="3926" RevisionGUID="ab85e565-7837-4ad2-8b02-b209ab13f0dc" CreationDate="2010-10-01T16:15:01.767" UserId="315" Text="I've been recording mostly stereo in the field with my trusty Sound Devices 722 for some time now. &#xD;&#xA;&#xD;&#xA;Recently, I took out a 744T (which belongs to my work) in the field and did some recording with a Double MS rig. While I didn't always bother mastering the recordings in surround, it was nice to have that option; especially for ambiences.&#xD;&#xA;&#xD;&#xA;Needless to say, I'm considering making the move to a multi-channel recorder for field recording. I'm wondering how many of you are regularly recording in surround in the field. What do you use?&#xD;&#xA;&#xD;&#xA;I found carrying a 744T with a mixer to be quite bulky (especially since I was hiking). Instead of upgrading to a 744T, I'm considering picking up another 722 and linking two recorders together (which would practically be the same size as a 744 plus two preamps). Anybody doing this? &#xD;&#xA;&#xD;&#xA;I wish Sound Devices made a recorder with 4 preamps that was a little more affordable than the 788T. Not sure I want to downgrade the quality of my preamps either with something like a Zoom. Any other suggestions other than buying a Deva or Nagra? Should I just lug around a laptop instead? Thanks.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6682" PostHistoryTypeId="1" PostId="3926" RevisionGUID="ab85e565-7837-4ad2-8b02-b209ab13f0dc" CreationDate="2010-10-01T16:15:01.767" UserId="315" Text="Making the leap from stereo to a multi-channel field recording rig..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6683" PostHistoryTypeId="3" PostId="3926" RevisionGUID="ab85e565-7837-4ad2-8b02-b209ab13f0dc" CreationDate="2010-10-01T16:15:01.767" UserId="315" Text="&lt;field-recording&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6684" PostHistoryTypeId="2" PostId="3927" RevisionGUID="dd1b715f-2ca4-47d7-8e20-1b7ce29adc01" CreationDate="2010-10-01T16:41:47.220" UserId="18" Text="Tascam makes an 8 track recorder with 6 preamps: http://tascam.com/product/dr-680/&#xD;&#xA;&#xD;&#xA;Sound Devices has the 788 which is 8 channels with 4 preamps: http://sounddevices.com/products/788t.htm&#xD;&#xA;&#xD;&#xA;I use a 744T with a Sound Devices MP2 preamp (they don't make it anymore, but the Mixpre is nearly the same thing) for channels 3 and 4.  I don't find it bulky, it all fits nice in a portabrace case with room to spare.  Much less bulky and much lighter then lugging around 2 722's.  To me, lugging around a laptop would be even worse." ContentLicense="CC BY-SA 2.5" />
  <row Id="6685" PostHistoryTypeId="2" PostId="3928" RevisionGUID="0e7d3480-dbdb-4e1f-bab5-195247f71cd0" CreationDate="2010-10-01T17:38:38.257" UserId="596" Text="i did a quick search for some information regarding sound design and legal issues, sound samples licensing, etc. though couldn't find anything too specific.&#xD;&#xA;&#xD;&#xA;for some time now i've been downloading pirate audio warez (mainly SFX libraries and pre-recorded music loops) for testing purposes and personal use. whenever i came across a sound library i really found useful, i went on and purchased it. i've recently completed a sound design job for a computer game trailer, in which i incorporated a few loops taken from libraries which i have no license for. putting aside the moral/ideological issues of doing such thing, i'm asking myself (and you) how dangerous is it really to do so? considering the inconceivable massive amount of sound sample libraries being released every other day. is there really somebody out there listening to every single mix being broadcasted online or offline and trying to spot out, underneath the different mix layers and effects, sounds which require a license....?&#xD;&#xA;&#xD;&#xA;also, and this is directed especially to the electronic-based sound libraries-- couldn't i theoretically, with the right knowledge and gear, reproduce an exact replica of a certain sound i would be interested in using? in such case, how could one prove that i've actually stolen a sound sample from a certain library rather than used it as a reference to create a replica?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6686" PostHistoryTypeId="1" PostId="3928" RevisionGUID="0e7d3480-dbdb-4e1f-bab5-195247f71cd0" CreationDate="2010-10-01T17:38:38.257" UserId="596" Text="pirate audio samples - how risky is it really?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6687" PostHistoryTypeId="3" PostId="3928" RevisionGUID="0e7d3480-dbdb-4e1f-bab5-195247f71cd0" CreationDate="2010-10-01T17:38:38.257" UserId="596" Text="&lt;license&gt;&lt;legality&gt;&lt;samples&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6688" PostHistoryTypeId="2" PostId="3929" RevisionGUID="4a9a632f-d241-4556-9df3-fe2ae5583fec" CreationDate="2010-10-01T18:09:36.933" UserId="18160" Text="I sort of believe in a thing such as Karma in life. What goes around, comes around sort of thing. I personally find it much more enjoyable and safe to record my own material or purchase a library honestly.&#xD;&#xA;&#xD;&#xA;Chances that someone listening can target you for sounds buried in a mix? Slim to nill.&#xD;&#xA;&#xD;&#xA;But I think you will find it much more rewarding and happier to just do your work honestly.&#xD;&#xA;&#xD;&#xA;People work hard to record sound effects for libraries they release online - many of the best boutique recordists are regulars on this very website.&#xD;&#xA;&#xD;&#xA;Plus, I'd hate to be in the shoes of someone who is asked by a Sound Supervisor &quot;Those sounds you put in there were great. How did YOU record them?&quot; or &quot;We want to use your exclusive Dolphin library you pulled from on our last project on this upcoming IMAX 3D Dolphin Experience - we're going to need those fantastic Dolphin sound effects and they are going to be very prominent in the mix!&quot;...&#xD;&#xA;&#xD;&#xA;It comes down to honesty and your own personal ethics.&#xD;&#xA;&#xD;&#xA;Keep it straight. I think you'll find that it's a much more enjoyable, rewarding and fun road than the one you mentioned going down." ContentLicense="CC BY-SA 2.5" />
  <row Id="6689" PostHistoryTypeId="5" PostId="3929" RevisionGUID="87737d51-4497-4d24-9f92-5b4386233c8a" CreationDate="2010-10-01T18:14:48.703" UserId="18160" Comment="added 400 characters in body; added 38 characters in body" Text="I sort of believe in a thing such as Karma in life. What goes around, comes around sort of thing. I personally find it much more enjoyable and safe to record my own material or purchase a library honestly.&#xD;&#xA;&#xD;&#xA;Chances that someone listening can target you for sounds buried in a mix? Slim to nill.&#xD;&#xA;&#xD;&#xA;But I think you will find it much more rewarding and happier to just do your work honestly.&#xD;&#xA;&#xD;&#xA;People work hard to record sound effects for libraries they release online - many of the best boutique recordists are regulars on this very website.&#xD;&#xA;&#xD;&#xA;I think you will also find that the Sound Design community is very close-knit and tight indeed, and if you are caught on just one project, one person tells another, tells another, tells another, you end up on someone's blog and it's over for you, my friend. Just the other day I was e-mailing a total stranger who mentioned &quot;Aren't you the recordist from...?&quot; It's a small world in this industry.&#xD;&#xA;&#xD;&#xA;Plus, I'd hate to be in the shoes of someone who is asked by a Sound Supervisor &quot;Those sounds you put in there were great. How did YOU record them?&quot; or &quot;We want to use your exclusive Dolphin library you pulled from on our last project on this upcoming IMAX 3D Dolphin Experience - we're going to need those fantastic Dolphin sound effects and they are going to be very prominent in the mix!&quot;...&#xD;&#xA;&#xD;&#xA;It comes down to honesty and your own personal ethics.&#xD;&#xA;&#xD;&#xA;Keep it straight. I think you'll find that it's a much more enjoyable, rewarding and fun road than the one you mentioned above about using sound you have no licenses for." ContentLicense="CC BY-SA 2.5" />
  <row Id="6690" PostHistoryTypeId="5" PostId="3929" RevisionGUID="ef0bb096-c0c3-44f8-9136-ad6692f3c242" CreationDate="2010-10-01T18:21:04.213" UserId="18160" Comment="added 476 characters in body; added 393 characters in body" Text="I sort of believe in a thing such as Karma in life. What goes around, comes around sort of thing. I personally find it much more enjoyable and safe to record my own material or purchase a library honestly.&#xD;&#xA;&#xD;&#xA;Chances that someone listening can target you for sounds buried in a mix? Slim to nill.&#xD;&#xA;&#xD;&#xA;But I think you will find it much more rewarding and happier to just do your work honestly.&#xD;&#xA;&#xD;&#xA;People work hard to record sound effects for libraries they release online - many of the best boutique recordists are regulars on this very website.&#xD;&#xA;&#xD;&#xA;I think you will also find that the Sound Design community is very close-knit and tight indeed, and if you are caught on just one project, one person tells another, tells another, tells another, you end up on someone's blog and it's over for you, my friend. Just the other day I was e-mailing a total stranger who mentioned &quot;Aren't you the recordist from...?&quot; It's a small world in this industry.&#xD;&#xA;&#xD;&#xA;Plus, I'd hate to be in the shoes of someone who is asked by a Sound Supervisor &quot;Those sounds you put in there were great. How did YOU record them?&quot; or &quot;We want to use your exclusive Dolphin library you pulled from on our last project on this upcoming IMAX 3D Dolphin Experience - we're going to need those fantastic Dolphin sound effects and they are going to be very prominent in the mix!&quot;...&#xD;&#xA;&#xD;&#xA;It comes down to honesty and your own personal ethics.&#xD;&#xA;&#xD;&#xA;Keep it straight. I think you'll find that it's a much more enjoyable, rewarding and fun road than the one you mentioned above about using sound you have no licenses for.&#xD;&#xA;&#xD;&#xA;EDIT: Re-reading your question, I think I went on a bit of a tangent there - sorry. I would say that it's pretty difficult to hear something in a layer as being from a different library, but if you are using 1 or 2 effects prominently in a mix, it would be noticeable indeed. I have personally never heard of anyone ever being caught for doing such a thing by someone just &quot;listening&quot; to a soundtrack, but I also don't deal much with people who do that in the first place. As far as your question on electronic sounds is concerned, I think if you set out to duplicate what someone else has done, that's wrong. But if you figure out a sound totally independent from hearing what another artist has done, I think it could be arguable if you were able to show how you created it... Don't know how you could prove that you'd never heard the other artist's work before.." ContentLicense="CC BY-SA 2.5" />
  <row Id="6691" PostHistoryTypeId="2" PostId="3930" RevisionGUID="f08aebfb-42ac-41ca-ac67-38937d765db1" CreationDate="2010-10-01T18:21:52.137" UserId="217" Text="You have brought up some interesting points, but this is the way I see it.&#xD;&#xA;&#xD;&#xA;This is a really tough industry to find work in.  People slave long hours to create these samples and software and quite often for little or no money.&#xD;&#xA;&#xD;&#xA;By pirating software and sound samples for a commercial purpose you are stopping someone getting paid for their hard work when they deserve it.  This person may then decide the industry is not profitable enough and then start a new career doing something else, essentially starting the process of killing industry... the one that you work in.&#xD;&#xA;&#xD;&#xA;Although, I feel this is down to the licensor, but I feel the use of these products for students and learning can be different.  Many companies offer student licenses.  I personally have no issue with a student using my work for free provided they contact me first, and I actually happily supply Broadcast Media students at my local University with sound samples if they need them (provided they credit me ;) ).  But you should check with the Copyright holder how they feel about it.&#xD;&#xA;&#xD;&#xA;Moral issues aside. &#xD;&#xA;&#xD;&#xA;I don't think it is risky.  There isn't a governing body listening out for illegitimate sounds.  I am sure however if you were caught out, the Copyright Holder would come down on you like a ton of bricks.&#xD;&#xA;&#xD;&#xA;Yes, you could theoretically with the correct knowledge and gear recreate sounds made.  However, you'd 1) need to know alot about what you were doing, 2) have great analytical skills 3) Have alot of time on your hands to do so.  Some sounds, particularly synth ones, have a very complicated make up, and can take a long time to design anyway.  You could argue that the chances of having two different sounds from two different libraries with the exact same harmonic make up are pretty small.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;As Ryan says, keep it honest.  It's a fair more satisfying feeling.  By paying people for their work you're helping to support the industry and helping it to expand and evolve." ContentLicense="CC BY-SA 2.5" />
  <row Id="6692" PostHistoryTypeId="2" PostId="3931" RevisionGUID="3ddb8d2a-5869-44bd-86fb-cc9845df4f81" CreationDate="2010-10-01T19:02:16.483" UserId="562" Text="Dual channel stereo is a good way to work. check out the Chris Watson video streaming on his downloads page. &#xD;&#xA;&#xD;&#xA;Its from Swedish tv and starts with an short Swedish intro, she just says that he's known for his work with David Attenborough and that he has specialised in recording the sounds of animals, their habitats and other environments all over the world:&#xD;&#xA;&#xD;&#xA;http://www.chriswatson.net/downloads.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6694" PostHistoryTypeId="2" PostId="3933" RevisionGUID="581e8279-004a-42f3-ab51-765dee2b242e" CreationDate="2010-10-01T19:51:58.163" UserId="142" Text="I expect that this is a huge problem within the industry, I have had arguments with individuals who have pretty much taunted me for spending large amounts on sound libraries in the past when &quot;you can get them for free off the internet&quot;. As Ryan said, its surely a matter of karma in these situations. Kampana mentions the deformation of the music industry, our industry is far less protected and could easily get to the stage where as soon as a recordist releases a sound library it is as good as public domain which would be a real shame. Unfortunately these practices go hand in hand with the nature of digital media and the internet. The product is intrinsicly devalued as there is no physical media and many people feel nothing of stealing 0s and 1s but would never dream of walking into a record shop and stealing a cd or vinyl. Jacques Attali talked of our need to stockpile information and music. I think its got to the stage now where the stockpiling has gone over the top with the advent of i pods etc We walk around with 10000 or more songs in our pocket but the fact we have access to so much surely devalues it somewhat. One of the mixtapes I used to make (and im not that old by the way) after going to search out records when I was younger has so much more value than 10 record shops worth of music on an i pod. Anyway, I have gone on to another subject so will leave it there as I stamp furiously on my i pod." ContentLicense="CC BY-SA 2.5" />
  <row Id="6695" PostHistoryTypeId="2" PostId="3934" RevisionGUID="858bd7d8-2b52-4a39-85eb-2604918cf06f" CreationDate="2010-10-01T20:58:51.937" UserId="432" Text="It doesn't matter if you don't think the original owner would be able to hear it. It's theft, nothing more. You'd probably be pissed if someone stole your work; I know I would be.&#xD;&#xA;&#xD;&#xA;As Rob noted in his comment directly in your question post, you can probably work something out with the publisher. If that doesn't work, there's a huge community online that you can take advantage of. Someone on one of these networks that we're in should have something that would work for the sound you need. Plenty of people are open to the idea of trading sounds, or even just doing you a favor.&#xD;&#xA;&#xD;&#xA;I won't argue against the personal use idea; we all like to do a little experimentation. ;) Once you start getting into a commercial realm (or even simple public exhibition ideas), I'd highly suggest you stop conisdering the probabilities of evading notice vs. getting caught. All it takes is one person, one time, and your on the 5h!t-list (as Ryan mentioned)." ContentLicense="CC BY-SA 2.5" />
  <row Id="6696" PostHistoryTypeId="2" PostId="3935" RevisionGUID="7e62f074-aa5b-4ac8-a4a6-aa9abb443067" CreationDate="2010-10-01T21:00:32.637" UserId="238" Text="Morally, I agree with Ryan and follow a similar Karma approach. That aside, when working in an industry such as ours, professionalism is one of the most important assets we can have. To use pirated software and un-licensed sounds shows a distinct lack of professionalism. You may be able to use un-licensed sounds in a project without having someone notice whether they are licensed or not, but when you need to work alongside others it can be harder to conceal. And you'd be surprised at how far reputation will aid or, inversely, destroy your career. Bottom line is that it is your reputation and professionalism that is on the line." ContentLicense="CC BY-SA 2.5" />
  <row Id="6697" PostHistoryTypeId="2" PostId="3936" RevisionGUID="684fcb37-2c90-4869-a237-98a58ec444b1" CreationDate="2010-10-01T22:55:16.263" UserId="531" Text="Have you checked out the Edirol R44 Super MOD by the Oade Brothers? &#xD;&#xA;([http://www.oade.com/mm5/merchant.mvc?Screen=PROD&amp;Store_Code=OBA&amp;Product_Code=EDR44SMGND&amp;Category_Code=EDIR44-Super][1])&#xD;&#xA;&#xD;&#xA;I know its not Sound Devices, but many people say the mic pres are excellent. Much better then the zoom. &#xD;&#xA;I've been thinking of picking up one of these myself. &#xD;&#xA;It might be worth considering. Its only 3lbs too! &#xD;&#xA;I'm curious if anyone else here has experience with this field recorder too. &#xD;&#xA;Best of Luck!&#xD;&#xA;&#xD;&#xA;-Kevin &#xD;&#xA;&#xD;&#xA;  [1]: http://www.oade.com/mm5/merchant.mvc?Screen=PROD&amp;Store_Code=OBA&amp;Product_Code=EDR44SMGND&amp;Category_Code=EDIR44-Super" ContentLicense="CC BY-SA 2.5" />
  <row Id="6698" PostHistoryTypeId="5" PostId="3927" RevisionGUID="6d57b573-87d3-4158-a646-8b46d3c95140" CreationDate="2010-10-01T23:12:33.007" UserId="18" Comment="deleted 107 characters in body" Text="Tascam makes an 8 track recorder with 6 preamps: http://tascam.com/product/dr-680/&#xD;&#xA;&#xD;&#xA;I use a 744T with a Sound Devices MP2 preamp (they don't make it anymore, but the Mixpre is nearly the same thing) for channels 3 and 4.  I don't find it bulky, it all fits nice in a portabrace case with room to spare.  Much less bulky and much lighter then lugging around 2 722's.  To me, lugging around a laptop would be even worse." ContentLicense="CC BY-SA 2.5" />
  <row Id="6699" PostHistoryTypeId="2" PostId="3937" RevisionGUID="ec2c8bba-db59-4b96-8048-c9b3573320fb" CreationDate="2010-10-01T23:46:45.953" UserId="61" Text="I bought the Tascam DR-680 earlier this year and, overall, think it's a really versatile recorder for the money. As Chuck noted, it has 6 discrete preamps which are generally quiet enough for my purposes (fx gathering). The 1st four inputs are standard XLR inputs but 5 &amp; 6 are TRS, which is inconvenient but understandable given the limited amount of space on the side. Charles Maynes has noted that the limiters are post A-to-D which requires you to watch your headroom and stay away from clipping, and switching the limiters on on my unit actually increases the noise floor, so I don't know what to say about that, other than you can only expect so much for a sub-$1000 8-channel recorder. But for folks like me who don't have the budget for a 744, it certainly fills a niche." ContentLicense="CC BY-SA 2.5" />
  <row Id="6702" PostHistoryTypeId="2" PostId="3939" RevisionGUID="c3fd305c-e384-4054-b451-a8a7e115ec6a" CreationDate="2010-10-02T13:19:12.107" UserId="574" Text="sounds like a hangdrum in the nurofen commercial, who would have thought that instrument would end up in a pharmaceutical commercial ;)&#xD;&#xA;&#xD;&#xA;I really like this commercial: http://www.youtube.com/watch?v=lQ3D4CqHbJM&#xD;&#xA;&#xD;&#xA;More Slow-motion sound design, just like the canal plus example, not too present and nicely balanced with the music.(maybe too many wooshes after a second listen tho)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6703" PostHistoryTypeId="2" PostId="3940" RevisionGUID="4df2b8a4-b7c4-4d89-b974-e69665b55319" CreationDate="2010-10-02T13:23:30.017" UserId="429" Text="I name files with the date _ take - region followed by a short descriptive like &lt;&#xD;&#xA;&#xD;&#xA;&gt; 101225_05-03 Metal jingle bell thrashing&#xD;&#xA;&#xD;&#xA;in the metadata description I'll add much more detail. I also use the creator metadata field to describe the device / mic I capture it with.&#xD;&#xA;&#xD;&#xA;I use soundforge on the pc to add metadata as I cleanup each sound file, I often record long takes with multiple sounds or performances in one file. I used to create and export regions a lot but latley just switched to dumping the entire file into Kontakt and making the sample start play the region I want to hear etc.. I feel like this is time saved over exporting each sound or performance from a longer source file." ContentLicense="CC BY-SA 2.5" />
  <row Id="6704" PostHistoryTypeId="2" PostId="3941" RevisionGUID="795d6b8b-8948-477c-861f-bcd9753bfc96" CreationDate="2010-10-02T13:51:18.550" UserId="432" Text="And how many days will you be there? Just going to the floor show, or are you going to the conference sessions as well?&#xD;&#xA;&#xD;&#xA;I'll be there; arriving on the 3rd and leaving on the 8th. I'll be wandering the floor and the sessions.&#xD;&#xA;&#xD;&#xA;Who wants to meet up?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6705" PostHistoryTypeId="1" PostId="3941" RevisionGUID="795d6b8b-8948-477c-861f-bcd9753bfc96" CreationDate="2010-10-02T13:51:18.550" UserId="432" Text="Who's going to AES San Francisco (Nov. 2010)?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6706" PostHistoryTypeId="3" PostId="3941" RevisionGUID="795d6b8b-8948-477c-861f-bcd9753bfc96" CreationDate="2010-10-02T13:51:18.550" UserId="432" Text="&lt;aes&gt;&lt;conventions&gt;&lt;networking&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6707" PostHistoryTypeId="2" PostId="3942" RevisionGUID="e1208dd7-2546-4be0-bebd-36e3a22c1f42" CreationDate="2010-10-02T14:44:53.317" UserId="40" Text="I've compiled a list of everyone that I know who is going so far - about 10 people long at this point - and I'll be sending out an email in about a week or so to put together a get together.&#xD;&#xA;&#xD;&#xA;I will be there from Nov. 3 - 8th as well. I'm aiming to do the get together Friday or Saturday night.&#xD;&#xA;&#xD;&#xA;I will be attending a few of the sessions as well as roaming the floor.&#xD;&#xA;&#xD;&#xA;I'll be up in DC this Saturday and Sunday. I'm meeting with Steve and Karol - you should get in on that and I can fill you in on the rest of the details." ContentLicense="CC BY-SA 2.5" />
  <row Id="6708" PostHistoryTypeId="2" PostId="3943" RevisionGUID="4f8f706c-c88e-4be8-8562-bd538b0a4030" CreationDate="2010-10-02T16:23:31.830" UserId="429" Text="I realize that each pre-amp and mic combination might react differently but ... is there some kind of summary post we could start regarding optimum gain before introducing piles of noise?&#xD;&#xA; &#xD;&#xA;For example I found that turning the gain past &quot;5&quot; on my Sony D-50 was the tipping point for S/N on for really quiet ambience. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6709" PostHistoryTypeId="2" PostId="3944" RevisionGUID="43cf8b7e-dae0-4063-bd49-bd9f9d581ff1" CreationDate="2010-10-02T16:59:38.133" UserId="37" Text="really quiet ambiences push the limits of portable recorders very hard. &#xD;&#xA;this is where the sound devices series really shine.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6710" PostHistoryTypeId="5" PostId="3872" RevisionGUID="bc19a1ee-291f-4bec-b64d-027e996e8cce" CreationDate="2010-10-02T17:29:06.637" UserDisplayName="user80" Comment="added 3 characters in body" Text="Hi, I'm currently building a sound effects library of my own (as I'm sure most you already are doing).&#xD;&#xA;&#xD;&#xA;My question is this: How do you keep your files organised, do you use a numeric, categoric or alphabetic structuring system, and how do you incorporate the use of metadata into your libraries?&#xD;&#xA;&#xD;&#xA;Thanks, just looking for tips!&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 2.5" />
  <row Id="6711" PostHistoryTypeId="2" PostId="3945" RevisionGUID="019fafca-c262-41d5-9481-46bba75db4bd" CreationDate="2010-10-02T18:25:40.227" UserId="474" Text="Hi all,&#xD;&#xA;&#xD;&#xA;last week I attended the Kyma International Sound Symposium 2010 and heard Cristian Vogel talk about his favorite ways of producing, where he mentioned &quot;found sound&quot;, which is meant to be the acoustic parallel to &quot;objet trouvé&quot; - meaning you take an everyday sound which you encounter rather by accident (e.g. an old record or tape) and use it as the basis of some creative musical piece or sound design.&#xD;&#xA;&#xD;&#xA;This again reminded me of musique concrete and sort of sparked my interest to have a go at this kind of approach...&#xD;&#xA;&#xD;&#xA;How is your experience with this approach? Do you sometimes trust to chance in your working process? Has anyone in this forum ever used such a &quot;found sound&quot; in a production?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6712" PostHistoryTypeId="1" PostId="3945" RevisionGUID="019fafca-c262-41d5-9481-46bba75db4bd" CreationDate="2010-10-02T18:25:40.227" UserId="474" Text="Found sound, anyone?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6713" PostHistoryTypeId="3" PostId="3945" RevisionGUID="019fafca-c262-41d5-9481-46bba75db4bd" CreationDate="2010-10-02T18:25:40.227" UserId="474" Text="&lt;found&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6714" PostHistoryTypeId="2" PostId="3946" RevisionGUID="56f4a70d-d2b1-496b-b7bf-60d2e3de8abe" CreationDate="2010-10-02T21:48:29.217" UserDisplayName="user49" Text="When I bought my Sound Devices 722 I also bought a purpose built Camrade bag for it:&#xD;&#xA;http://www.camrade.com/products-page/audio/other/ab-sd-01&#xD;&#xA;which seems good in terms of being waterproof, but I'm planning my Samoa record trip &amp; am wondering if there is a better option as I'll be travelling with more gear than usual... &#xD;&#xA;So what bag do you use for your field recorder?&#xD;&#xA;Please include a link to the model and/or a photo&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6715" PostHistoryTypeId="1" PostId="3946" RevisionGUID="56f4a70d-d2b1-496b-b7bf-60d2e3de8abe" CreationDate="2010-10-02T21:48:29.217" UserDisplayName="user49" Text="What bag do you use for your field recorder?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6716" PostHistoryTypeId="3" PostId="3946" RevisionGUID="56f4a70d-d2b1-496b-b7bf-60d2e3de8abe" CreationDate="2010-10-02T21:48:29.217" UserDisplayName="user49" Text="&lt;field-recording&gt;&lt;bag&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6717" PostHistoryTypeId="2" PostId="3947" RevisionGUID="1c6ff41f-4dde-4638-ab24-82279d81d74e" CreationDate="2010-10-02T21:49:27.563" UserId="343" Text="I mix for TV, mostly to DigiBeta so I use to have 2 stems: stereo PGM and stereo M+E. I use to make an Aux channel for M+E tracks an then split and route this signal through 2 stereo Master Faders. &#xD;&#xA;I use them to insert final dynamic control -hardware or plug-ins- and then an instance of PhaseScope.&#xD;&#xA;I do it this way because I like final limiters to work post-fader. Anyway they don´t require extra DSP power." ContentLicense="CC BY-SA 2.5" />
  <row Id="6719" PostHistoryTypeId="2" PostId="3949" RevisionGUID="d1f1c9b3-b084-4eeb-9136-1cb767be7b6b" CreationDate="2010-10-02T21:57:27.560" UserId="2" Text="I'm on a documentary where we're shooting on double system. For practical reasons we're mostly not clapping, and I'm worried for the poor editor... &#xD;&#xA;&#xD;&#xA;We're shooting on a few 5Ds and I'm wondering how good of a job [Plural Eyes][1] software will do in syncing it all up. Especially that the mics on the 5D aren't good, so I wonder how it will perform with using the 5D's mics as reference for sync. &#xD;&#xA;&#xD;&#xA;Anyone got experience with this? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.singularsoftware.com/pluraleyes.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="6720" PostHistoryTypeId="1" PostId="3949" RevisionGUID="d1f1c9b3-b084-4eeb-9136-1cb767be7b6b" CreationDate="2010-10-02T21:57:27.560" UserId="2" Text="How reliable is Plural Eyes for syncing? " ContentLicense="CC BY-SA 2.5" />
  <row Id="6721" PostHistoryTypeId="3" PostId="3949" RevisionGUID="d1f1c9b3-b084-4eeb-9136-1cb767be7b6b" CreationDate="2010-10-02T21:57:27.560" UserId="2" Text="&lt;sync&gt;&lt;plural-eyes&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6722" PostHistoryTypeId="2" PostId="3950" RevisionGUID="e814c4c9-1037-4a23-9cd9-dad077976a5e" CreationDate="2010-10-02T22:17:41.030" UserId="432" Text="We've used the old standard PortaBrace at work for a long time, but we're switching over to petrol bags. We have [this one][1] (Eargonizer - Large) for use with our Deva 5.8, and we're looking into the new [Deca Eargonizer - Small][2] for our 744t/302 combo. The bags are extremely customizable, and I've been very impressed with the one we currently have (we've also got the full harness for that one, which is awesome). They might be worth looking into for your trip.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.petrolbags.com/Sound-Bags?q=node/103&#xD;&#xA;  [2]: http://www.petrolbags.com/Sound-Bags?q=node/1180" ContentLicense="CC BY-SA 2.5" />
  <row Id="6723" PostHistoryTypeId="2" PostId="3951" RevisionGUID="10bc450a-f4d8-4de1-81b9-a6d6b9c599f1" CreationDate="2010-10-02T23:01:07.583" UserId="40" Text="Pluraleyes works great!  The 5D internal mics are good enough to sync.  Never had a problem with the program :-)&#xD;&#xA;&#xD;&#xA;What you have to be careful of is drift. For some reason the audio likes to drift on the 7D and 5D (7D I've found more often than 5D) after your shot gets too long (3 - 4 minutes usually) when using a double system. Normally this wouldn't be a problem, but it might be on a doc. Doesn't drift bad - if you're making cuts it'll be very easy to fix - just something to be aware of.&#xD;&#xA;&#xD;&#xA;Also, it doesn't always drift - seems to me it happens 10% - 20% of the time (estimate based on my experience)." ContentLicense="CC BY-SA 2.5" />
  <row Id="6724" PostHistoryTypeId="2" PostId="3952" RevisionGUID="97488058-d7ba-4044-bc1b-9b88bbd09a8d" CreationDate="2010-10-02T23:05:31.853" UserId="343" Text="I´ve recently mixed a 90min doc that was recorded following this method. Cameras were a Panasonic-P2 and some Canon 5D and sound was recorded to a Zoom H4n. Video Editor told me that sometimes it became a pain to do this sync due to the steps it requires -new sequences are made in Final Cut for every sync request. He told too me that a few times it could´t sync some clips even when camera sound was quite good, and other times it did sync windy passages that seemed difficult a priori. Despite of this the OMf they gave to me was in good sync.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6725" PostHistoryTypeId="2" PostId="3953" RevisionGUID="a5e7900b-c7cc-45d5-aa96-b1a46155ec78" CreationDate="2010-10-02T23:21:07.783" UserId="40" Text="I'm using the [large Petrol Deca Eargonizer][1].  Great bag. Like it more than the Porta Brace stuff we have. It's quieter, softer, and nicer all around.  Use it with a 744T and a Deva Fusion 10.&#xD;&#xA;&#xD;&#xA;For the harness, I use a [Versa-Flex][2].  Most comfortable one out there.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/686614-REG/Petrol_PS602_PS602_Deca_Eargonizer_Bag.html&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/product/439284-REG/Versa_Flex_HS1N.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="6726" PostHistoryTypeId="2" PostId="3954" RevisionGUID="33be2a49-c7de-470c-a86a-e80e503d3eb5" CreationDate="2010-10-02T23:21:26.830" UserId="132" Text="Hey Tim,&#xD;&#xA;&#xD;&#xA;I'm a big fan of the portabrace stuff.  I use this bag:&#xD;&#xA;&#xD;&#xA;http://www.portabrace.com/productA-AR-7&#xD;&#xA;&#xD;&#xA;I like it for a few reasons:&#xD;&#xA;&#xD;&#xA;1. the inputs and outputs are easily reached and you can use the velcro to keep the bag fixed open or fixed closed depending on your needs.&#xD;&#xA;&#xD;&#xA;2. Access to the battery pack . . .  the bottom has a velcro opening which means you never have to take the recorder out of the bag to change batteries.  This is a huge time saver.  I'm so thankful for that bottom flap.&#xD;&#xA;&#xD;&#xA;http://www.portabrace.com/assets/images/ar-7d.jpg&#xD;&#xA;&#xD;&#xA;3. The portabrace series is also very modular, which means you can strap on different front pouches based on your needs.  You can even attach another recorder on the front of the bag.&#xD;&#xA;&#xD;&#xA;The main drawback of this series of bag is all of the velcro . . .   I know I just told you that I love it so much, but when you occasionally forget to fix your panels open and you are recording it can suck to get the back open quietly.  I can't tell you how many times I've had to use my pinkie to adjust the volume of my headphones because the side panel of my bag is closed and I'm in record.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6727" PostHistoryTypeId="5" PostId="3954" RevisionGUID="f574dfde-071c-4d16-a0e5-9488b4045bd3" CreationDate="2010-10-02T23:37:10.753" UserId="132" Comment="deleted 2 characters in body" Text="Hey Tim,&#xD;&#xA;&#xD;&#xA;I'm a big fan of the portabrace stuff.  I use this bag:&#xD;&#xA;&#xD;&#xA;http://www.portabrace.com/productA-AR-7&#xD;&#xA;&#xD;&#xA;I like it for a few reasons:&#xD;&#xA;&#xD;&#xA;1. the inputs and outputs are easily reached and you can use the velcro to keep the bag fixed open or fixed closed depending on your needs.&#xD;&#xA;&#xD;&#xA;2. Access to the battery pack . . .  the bottom has a velcro opening which means you never have to take the recorder out of the bag to change batteries.  This is a huge time saver.  I'm so thankful for that bottom flap.&#xD;&#xA;http://www.portabrace.com/assets/images/ar-7d.jpg&#xD;&#xA;&#xD;&#xA;3. The portabrace series is also very modular, which means you can strap on different front pouches based on your needs.  You can even attach another recorder on the front of the bag.&#xD;&#xA;&#xD;&#xA;The main drawback of this series of bag is all of the velcro . . .   I know I just told you that I love it so much, but when you occasionally forget to fix your panels open and you are recording it can suck to get the back open quietly.  I can't tell you how many times I've had to use my pinkie to adjust the volume of my headphones because the side panel of my bag is closed and I'm in record.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6728" PostHistoryTypeId="2" PostId="3955" RevisionGUID="0b3c344b-3b84-4d1f-90b7-c6da2351a370" CreationDate="2010-10-03T00:11:25.940" UserId="88" Text="I have the Petrol Deca PS607: http://www.petrolbags.com/PS607 and am very happy with it for toting my 702T.  I definitely prefer it to the Portabraces due to the reduced use of velcro (quieter, no grinding one's fingers up when reaching for side knobs/connections) and it seems quite durable.&#xD;&#xA;&#xD;&#xA;I also took a page out of Chuck's book and recently grabbed a Timbuk2 messenger bag for carrying recorder + up to *two* mics in zeppelins + headphones + matrix amp + miscellaneous.  I'm traveling soon as well and plan to use this bag as my carry-on so as not to let the airlines/TSA potentially maim my stuff.  I think it's this one: http://www.rei.com/product/789263 (you can get it way cheaper than this at non-REI stores -- mine was on clearance at Sport Chalet for $59)." ContentLicense="CC BY-SA 2.5" />
  <row Id="6729" PostHistoryTypeId="2" PostId="3956" RevisionGUID="c8ddbd2e-ae1f-4628-b147-fdb61b96356f" CreationDate="2010-10-03T00:44:25.120" UserId="29" Text="What bag I use depends on what I'm doing, and how.&#xD;&#xA;&#xD;&#xA;I have yet to make the jump to Petrol, which many recordists prefer, so I'm still rockin' the [Portabrace AR-7][1] like @sepulchra. I like having the wireless pouch mounted on it for the bits and bobs needed in the field, even if there's no wireless involved. The velcro is definitely not stealthy. I sometimes carry it on my chest using a [LowePro-brand chest harness][2] for the TopLoader series...unlike production audio harnesses like the Versa-Flexes, there is no padding on that harness, allowing it to be worn under any backpack.&#xD;&#xA;&#xD;&#xA;As per @Ryan's comment/plug, I do use Maxpedition brand bags for more stealthy carry in urban areas, specifially the [Lunada][3] and the [Sitka][4]. I've come to like the Sitka better, because it's designed to swing around the body and be opened while horizontal, and it's a better size for carrying more of a day's worth of clothing, food, and so forth. I also use my old, beat-up [Chrome messenger bag][5] sometimes when I need to carry mics, a windscreen, and the recorder in the same bag while keeping a low profile. The problem with messenger bags is that the flap opens towards your body, which makes keeping it open while recording a wee bit more fiddly than I usually like, but it works when the context is right.&#xD;&#xA;&#xD;&#xA;All other times I keep all my gear in two 6'-long Pelican cases that my intern carries around on his back. Because that's heavy, I've strapped an espresso machine to his chest to balance his load, and to make those long days of field recording so much nicer for me. :-p&#xD;&#xA;&#xD;&#xA;*[J/K]*&#xD;&#xA;&#xD;&#xA;  [1]: http://www.portabrace.com/productA-AR-7&#xD;&#xA;  [2]: http://products.lowepro.com/product/Topload-Zoom-Chest-Harness,2054.htm&#xD;&#xA;  [3]: http://www.maxpedition.com/store/pc/Lunada-Gearslinger-2p484.htm&#xD;&#xA;  [4]: http://www.maxpedition.com/store/pc/Sitka-Gearslinger-2p926.htm&#xD;&#xA;  [5]: http://www.chromebagsstore.com/bags/messenger-bags/metropolis-buckle-bag---large.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="6730" PostHistoryTypeId="2" PostId="3957" RevisionGUID="4d011415-d34c-4774-82f9-678170b5624c" CreationDate="2010-10-03T00:50:01.150" UserId="29" Text="For music, definitely, but for post, pretty rarely. I've discovered a few websites that offer feeds of local police radios, like having a long-distance police scanner, which would be great for emergency or first-responder walla...but finding one with the right spoken accents and a high enough quality level is almost more hassle than it's worth.&#xD;&#xA;&#xD;&#xA;Artists like Robin &quot;Scanner&quot; Rimbaud use actual radio scanners to capture discussion over the airwaves, but for found sound, I find that in post the needs are so specific that it's better to just simulate things rather than rely on happenstance or kismet to get the right sound to fall in my lap.&#xD;&#xA;&#xD;&#xA;Oh, one exception: NASA! Being taxpayer-funded, their audio files are public domain, and can be pretty amazing: The sounds of solar winds, radio frequencies from pulsars, and all sorts of crazy stuff. That stuff has found its way into one or two things I've done." ContentLicense="CC BY-SA 2.5" />
  <row Id="6734" PostHistoryTypeId="5" PostId="3954" RevisionGUID="e744046f-4e5e-4dfc-bdc7-b70372d877ec" CreationDate="2010-10-03T01:31:37.820" UserId="132" Comment="deleted 1 characters in body" Text="Hey Tim,&#xD;&#xA;&#xD;&#xA;I'm a big fan of the portabrace stuff.  I use this bag:&#xD;&#xA;&#xD;&#xA;http://www.portabrace.com/productA-AR-7&#xD;&#xA;&#xD;&#xA;I like it for a few reasons:&#xD;&#xA;&#xD;&#xA;1. the inputs and outputs are easily reached and you can use the velcro to keep the bag fixed open or fixed closed depending on your needs.&#xD;&#xA;&#xD;&#xA;2. Access to the battery pack . . .  the bottom has a velcro opening which means you never have to take the recorder out of the bag to change batteries.  This is a huge time saver.  I'm so thankful for that bottom flap.&#xD;&#xA;http://www.portabrace.com/assets/images/ar-7d.jpg&#xD;&#xA;&#xD;&#xA;3. The portabrace series is also very modular, which means you can strap on different front pouches based on your needs.  You can even attach another recorder on the front of the bag.&#xD;&#xA;&#xD;&#xA;The main drawback of this series of bag is all of the velcro . . .   I know I just told you that I love it so much, but when you occasionally forget to fix your panels open and you are recording it can suck to get the bag open quietly.  I can't tell you how many times I've had to use my pinkie to adjust the volume of my headphones because the side panel of my bag is closed and I'm in record.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6735" PostHistoryTypeId="2" PostId="3959" RevisionGUID="1204cdc1-8e9b-4d67-9813-664a7e8f9d51" CreationDate="2010-10-03T08:24:35.733" UserId="238" Text="I've just bought a [Timbuk2][1] messenger bag that is really useful to hold a lot of gear and keep it waterproof. I prefer to use a [Petrol Pegz-1F][2] for my recorder, but the messenger bag is great for all my other kit. Mr Noise Jockey has also written a very useful post on the subject of [carrying your gear in the field][3] over at Sonic Terrain...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.timbuk2.com/&#xD;&#xA;  [2]: http://www.petrolbags.com/PEGZ-1F&#xD;&#xA;  [3]: http://www.sonic-terrain.com/2010/09/portage-i-the-mil-spec-way/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6736" PostHistoryTypeId="2" PostId="3960" RevisionGUID="26b3a3b1-d8c7-4f25-8b99-8a08ff9bb58c" CreationDate="2010-10-03T08:41:10.397" UserId="354" Text="I was bouncing some sound effects for a project today and they were peaking in the high yellows, below 0. When I played the rendered files on my computer and in-game they sounded incredibly soft. I can't figure out why this would happen. If I raised the gain of anything it'd clip. Do you guys think it's possibly a dithering issue (I went from 24 to 16)? I'm using Reaper as my DAW. Haven't had these issues with PT. I feel like I'm overlooking something really simple.&#xD;&#xA;&#xD;&#xA;Do you guys have any thoughts?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;-CS" ContentLicense="CC BY-SA 2.5" />
  <row Id="6737" PostHistoryTypeId="1" PostId="3960" RevisionGUID="26b3a3b1-d8c7-4f25-8b99-8a08ff9bb58c" CreationDate="2010-10-03T08:41:10.397" UserId="354" Text="Weird Bouncing Issue" ContentLicense="CC BY-SA 2.5" />
  <row Id="6738" PostHistoryTypeId="3" PostId="3960" RevisionGUID="26b3a3b1-d8c7-4f25-8b99-8a08ff9bb58c" CreationDate="2010-10-03T08:41:10.397" UserId="354" Text="&lt;dither&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6739" PostHistoryTypeId="2" PostId="3961" RevisionGUID="617da900-07f6-44bb-a0bb-ba38f6a85da5" CreationDate="2010-10-03T10:04:37.573" UserId="407" Text="To change the subject a little bit more - I think the smaller SFX libraries (hissAndRoar, the Recordist etc.) are a god send. The prices are low enough it makes it easy to justify the expense to the money men of the company. My producer doesn't look twice at a bill for e.g. 30€ for 30 original concrete collision sounds. This means I can grow the studios SFX library quite quickly and legitimately without anyone higher up noticing :)&#xD;&#xA;To put this into context - the easier it is to justify the expense the less tempting it is pirate ( not that I would ) - and the more people will buy, or thats what I hope.&#xD;&#xA;This new method of delivery is very healthy for the sound design - and I take my hat off to you guys who are creating this fantastic content." ContentLicense="CC BY-SA 2.5" />
  <row Id="6740" PostHistoryTypeId="2" PostId="3962" RevisionGUID="a5448fde-fe8c-4702-a5be-74aa8e614cf9" CreationDate="2010-10-03T13:35:17.107" UserId="432" Text="I doubt it's a dithering issue (which for the most part only affects the lower end of you dynamic range). What troubleshooting have you done so far?&#xD;&#xA;&#xD;&#xA;Are your speakers calibrated? Are you using different speakers between your DAW and game engine? Have you tested out other files (not from Reaper), both in the DAW and on your computer/game engine? Have you reimported the files to your session to see if they behave similar to the original mix there? Have you checked the frequency content (spectral plot) of the bounced file to see if anything is lost?&#xD;&#xA;&#xD;&#xA;There are plenty of people here who can probably point you in the right direction, but it's a little hard for us to help you troubleshoot if we don't know what you've done so far. Results of those tests help too. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6741" PostHistoryTypeId="2" PostId="3963" RevisionGUID="a32dc10d-77ee-4186-ba77-f99ef6ae5e3d" CreationDate="2010-10-03T15:28:15.830" UserId="260" Text="In all honesty, when I first tried to experiment with sound and did some films for school and such, I used pirated version of a sound ideas library. I bought the library afterwards but it still didn't make it cool.&#xD;&#xA;&#xD;&#xA;I think if someone takes the time and effort to put together a sound library that makes your mix or sound design easier and quicker, you should atleast pay them for it.&#xD;&#xA;&#xD;&#xA;One time is a shame on you(yes, shame on me too.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6742" PostHistoryTypeId="2" PostId="3964" RevisionGUID="d61fa568-4793-449b-b98f-4ea62d74d72d" CreationDate="2010-10-03T16:06:48.107" UserId="182" Text="Could it be a driver thing? If you're on windows, and you use ASIO in Reaper but the standard Windows Sound output when playing back the bounces, it could be that the Windows volume control is just set very low.&#xD;&#xA;&#xD;&#xA;And as @Shaun says, it makes sense to check other files and provide a little more info." ContentLicense="CC BY-SA 2.5" />
  <row Id="6743" PostHistoryTypeId="2" PostId="3965" RevisionGUID="209e6ee0-3e29-4c28-8f11-4f30e30c0481" CreationDate="2010-10-03T16:32:41.467" UserId="598" Text="I've read some articles where picture editors were complaining about drift being the sound recordists fault.  This makes me laugh and makes me angry at the same time.  If either device is likely to have a less than accurate word clock, it'll be the 5D or 7D (depending on the audio recorder of course).&#xD;&#xA;&#xD;&#xA;I typically use a Sennheiser G2 to send a guide track to the cameras.  This should - in my mind - yield better results.  The audio on the camera will be better sounding coming from my system vs the on camera mic - and will be less prone to issues like wind noise - or issues with distance to the actors (say you have a really long lens, and the actors are barely audible from camera position).&#xD;&#xA;&#xD;&#xA;I haven't seen the plural eyes program in action myself.  Most of the editors I work with love it.  I have posted a few projects where the app was used (I did both the location recording and post edit/mix) and I have to say that there were numerous sync issues.  I had to spend time evaluating and correcting multiple scenes.&#xD;&#xA;&#xD;&#xA;That said - I'll still take that chore over having to use audio recorded straight to camera (maybe from an EX3 or something).  The audio recorders out there tend to sound much better in general, and a lot better if you're using something like a sound devices recorder." ContentLicense="CC BY-SA 2.5" />
  <row Id="6744" PostHistoryTypeId="2" PostId="3966" RevisionGUID="1aa20b1c-c939-43a9-9467-dca3f4c0cb94" CreationDate="2010-10-03T20:38:34.810" UserId="18160" Text="Using power conditioning?&#xD;&#xA;&#xD;&#xA;What type and what for?&#xD;&#xA;&#xD;&#xA;Either Studio or Field/Location rigs?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6745" PostHistoryTypeId="1" PostId="3966" RevisionGUID="1aa20b1c-c939-43a9-9467-dca3f4c0cb94" CreationDate="2010-10-03T20:38:34.810" UserId="18160" Text="Do you use power conditioning?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6746" PostHistoryTypeId="3" PostId="3966" RevisionGUID="1aa20b1c-c939-43a9-9467-dca3f4c0cb94" CreationDate="2010-10-03T20:38:34.810" UserId="18160" Text="&lt;power&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6747" PostHistoryTypeId="2" PostId="3967" RevisionGUID="4a2bb77a-8f15-4b60-b9dd-2f4885ec4c7b" CreationDate="2010-10-03T20:45:40.830" UserId="18160" Text="Question:&#xD;&#xA;&#xD;&#xA;If you worldize a few lines of dialogue to make them sound like they are coming from down a stairwell, or down a hallway, and you record with stereo mics or whatever, do you make sure to capture a minute or two of ambience track to use on either side of the dialogue tracks?&#xD;&#xA;&#xD;&#xA;My guess would be you would want the scratch track because if it's got a city rumble or florescent lights in the hall or whatever, you'd want that in there to smooth it out.&#xD;&#xA;&#xD;&#xA;Or, when you worldize, do you often look to find the quietest space available so you don't have to do this?&#xD;&#xA;&#xD;&#xA;I'm curious to what the protocol is.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6748" PostHistoryTypeId="1" PostId="3967" RevisionGUID="4a2bb77a-8f15-4b60-b9dd-2f4885ec4c7b" CreationDate="2010-10-03T20:45:40.830" UserId="18160" Text="When worldizing a voice, do you capture ambience tracks?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6749" PostHistoryTypeId="3" PostId="3967" RevisionGUID="4a2bb77a-8f15-4b60-b9dd-2f4885ec4c7b" CreationDate="2010-10-03T20:45:40.830" UserId="18160" Text="&lt;worldizing&gt;&lt;ambience&gt;&lt;track&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6750" PostHistoryTypeId="2" PostId="3968" RevisionGUID="f2a18b0d-2b14-4180-9a79-37f0619716e7" CreationDate="2010-10-04T01:11:48.803" UserId="29" Text="I have a 10-year-old Furman power conditioner into which I've plugged an outboard rack synth or two, and my audio interface. (All computers and hard drives are on UPS's.) I do so as a hedge against variable juice from the grid during peak times or weather events (which creates brownouts sometimes in my neighborhood). I'm not sure that it, in Furman's words, &quot;dramatically improves&quot; my audio signal path, but it's a low cost to pay for more uniform voltage, which *might* be extending the life of my gear. But I'd have to do a multi-year A/B comparison to know for sure! Would love to know if anyone has more serious science around this." ContentLicense="CC BY-SA 2.5" />
  <row Id="6751" PostHistoryTypeId="2" PostId="3969" RevisionGUID="2144995b-8509-4c13-a552-324733144028" CreationDate="2010-10-04T02:19:35.700" UserId="429" Text="I recently upgraded the wiring for my home studio with two 20amp circuits. On the end of one I have an [APC][1] and on the other line a [Tripplite][2]. The APC has all the power supplies that can allow momentary interruption. The Tripplite has all the devices that need rock steady power. If you have the extra $$$ I would definitely recommend getting an &quot;on-line&quot; system like the Tripplite. The APC takes a second to kick over so passes momentary power loss. TheTripplite is a true on-line system and never lets the power drop even for a split second. The power in my area is constantly browning out or flickering on/off ... very annoying until I setup these units.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.apc.com/resource/include/techspec_index.cfm?base_sku=SUa1500rm2u&#xD;&#xA;  [2]: http://www.tripplite.com/en/products/model.cfm?txtSeriesID=937&amp;txtModelID=2950" ContentLicense="CC BY-SA 2.5" />
  <row Id="6752" PostHistoryTypeId="2" PostId="3970" RevisionGUID="ee4f8bdd-a37d-4d31-9597-5b626a5ae6e1" CreationDate="2010-10-04T04:06:17.750" UserId="275" Text="Any time I've used this trick I always find the appropriate space to re-record the sound and capture a minute or two of additional room tone. So, yes, record some extra tone while you're there to smooth out editing transitions.   " ContentLicense="CC BY-SA 2.5" />
  <row Id="6753" PostHistoryTypeId="2" PostId="3971" RevisionGUID="bd9566c7-6c51-4ee6-b594-5794f629aa56" CreationDate="2010-10-04T04:19:07.753" UserId="275" Text="I've done a ton of field recording with the 5D and 7D (me being the sound mixer and the camera ops using those cameras).  It definitely helps to use a spare wireless unit to send a guide track so Plural Eyes has something better to work with, especially if it is an outdoor shoot.  I have also heard about the drift issue and the lengthy work flow.  I use a Sound Devices 744t which has a far more stable clock than any DSLR on the market. I am still a firm believer in a solid timecode lock between camera and audio, and using a timecode slate or at least a basic clapper.  Relying on Plural Eyes is very risky because it is still a rather new tool in the tool box. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6754" PostHistoryTypeId="2" PostId="3972" RevisionGUID="6d88c207-243d-4a77-b880-84a096f982e6" CreationDate="2010-10-04T05:08:56.013" UserId="564" Text="I've found that when I'm given an omf/aaf, usually there is plenty of ambience in the handles to pullout and &quot;dove-tail&quot; your dialogue.  If not, I try and find some dead space in the dialogue so I can copy and pate it appropriately if the ability to re-record isn't available." ContentLicense="CC BY-SA 2.5" />
  <row Id="6757" PostHistoryTypeId="2" PostId="3974" RevisionGUID="e60174fd-0f4a-42b7-86b3-e4275fd8fc3a" CreationDate="2010-10-04T06:57:10.247" UserId="558" Text="I had terrrible power in an old apt in Brooklyn.  Several pieces of gear went bad including a transformer on a 1968 fender Deluxe blackface.  The reason i know it was the power is that eventually i got a conditioner and 2 pieces of gear started to work again (1 was a CD changer, I dont remember what the other was.  it was 1991 or so).  Sadly, the blackface needed more work than I could afford..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6758" PostHistoryTypeId="5" PostId="3961" RevisionGUID="d10a3d02-d6bf-4199-be81-e8ccf4d0a856" CreationDate="2010-10-04T07:36:43.810" UserId="407" Comment="added 9 characters in body" Text="To change the subject a little bit more - I think the smaller SFX libraries (hissAndRoar, the Recordist etc.) are a god send. The prices are low enough it makes it easy to justify the expense to the money men of the company. My producer doesn't look twice at a bill for e.g. 30€ for 30 original concrete collision sounds. This means I can grow the studios SFX library quite quickly and legitimately without anyone higher up noticing :)&#xD;&#xA;To put this into context - the easier it is to justify the expense the less tempting it is pirate ( not that I would ) - and the more people will buy, or thats what I hope.&#xD;&#xA;This new method of delivery is very healthy for the sound design industry - and I take my hat off to you guys who are creating this fantastic content." ContentLicense="CC BY-SA 2.5" />
  <row Id="6759" PostHistoryTypeId="2" PostId="3975" RevisionGUID="e6ba65ed-9a11-48aa-9272-4924cf6f0cfa" CreationDate="2010-10-04T13:40:35.617" UserId="220" Text="Sure do!  [SurgeX][1] is awesome when it comes to surge protection and power conditioning - no sacraficial parts, clean and regulated power.  They also have some great reading on the site about grounding and power conditioning for a/v systems.  They're not cheap, but they're worth it in my opinion.  &#xD;&#xA;&#xD;&#xA;  [1]: http://www.surgex.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="6760" PostHistoryTypeId="2" PostId="3976" RevisionGUID="40a0559d-cddb-413c-9f30-4196fc68c25f" CreationDate="2010-10-04T14:59:16.033" UserId="25" Text="Hi. I have the opportunity to record and ultralight plane in flight.&#xD;&#xA;I have a Sanken css 5, but i d like to know what do you think about wind protection.&#xD;&#xA;The wind up there ill be really strong, so is it possible to make a good recording?What should i use to protect the mic? Do you have any experience in a similar situation?&#xD;&#xA;Thanks a lot for your help!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6761" PostHistoryTypeId="1" PostId="3976" RevisionGUID="40a0559d-cddb-413c-9f30-4196fc68c25f" CreationDate="2010-10-04T14:59:16.033" UserId="25" Text="Recording an ultralight plane in flight" ContentLicense="CC BY-SA 2.5" />
  <row Id="6762" PostHistoryTypeId="3" PostId="3976" RevisionGUID="40a0559d-cddb-413c-9f30-4196fc68c25f" CreationDate="2010-10-04T14:59:16.033" UserId="25" Text="&lt;plane&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6763" PostHistoryTypeId="2" PostId="3977" RevisionGUID="46bc9075-1b94-46d8-a6bd-d051191687fb" CreationDate="2010-10-04T15:56:17.333" UserId="29" Text="I'm not attending, but I'm local, so I'd love to hook up for drinks, dinner, or similar!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6764" PostHistoryTypeId="2" PostId="3978" RevisionGUID="49f19fea-a601-4b87-809a-2768b4cdbf2b" CreationDate="2010-10-04T17:23:24.370" UserId="315" Text="Definitely use a zeppelin with a furry cover and mount the zep with foam underneath to decouple it from the vibrations of the engine.&#xD;&#xA;&#xD;&#xA;In addition, I'd suggest pointing the mic backwards and building some sort of makeshift windshield/guard around the rear end of the zeppelin to further shelter it from the wind. It's amazing what you can build with some cardboard and a ton of gaffers tape. I've recorded car exteriors this way with good results.&#xD;&#xA;&#xD;&#xA;Good luck...sounds like fun." ContentLicense="CC BY-SA 2.5" />
  <row Id="6765" PostHistoryTypeId="2" PostId="3979" RevisionGUID="f6cecd75-22a7-41bd-ba2e-d6f22c1b5ab2" CreationDate="2010-10-04T17:56:00.403" UserId="208" Text="Hi all&#xD;&#xA;&#xD;&#xA;Does any of you know how the translations of the different characters in animations like Starwras Clonewars, are handled.&#xD;&#xA;I mean, when the sound designers are using software like Kyma to process voices, are the different dubstages from around the world, forced to have the same software, or are the files send away for processing?&#xD;&#xA;&#xD;&#xA;Thanks alot:)&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 2.5" />
  <row Id="6766" PostHistoryTypeId="1" PostId="3979" RevisionGUID="f6cecd75-22a7-41bd-ba2e-d6f22c1b5ab2" CreationDate="2010-10-04T17:56:00.403" UserId="208" Text="Translation of weird character voices." ContentLicense="CC BY-SA 2.5" />
  <row Id="6767" PostHistoryTypeId="3" PostId="3979" RevisionGUID="f6cecd75-22a7-41bd-ba2e-d6f22c1b5ab2" CreationDate="2010-10-04T17:56:00.403" UserId="208" Text="&lt;kyma&gt;&lt;starwars&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6768" PostHistoryTypeId="6" PostId="3979" RevisionGUID="b37ef04c-84af-4b42-8d2a-c33e70cba553" CreationDate="2010-10-04T18:46:20.200" UserId="29" Comment="edited tags; edited tags" Text="&lt;kyma&gt;&lt;starwars&gt;&lt;dubbing&gt;&lt;m-and-e&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6770" PostHistoryTypeId="2" PostId="3981" RevisionGUID="4a2eb042-a01a-4034-9ff9-1cd16c90c31d" CreationDate="2010-10-04T19:28:41.543" UserId="603" Text="I mix and print all stems within Protools for TV mixes, and its easier to setup a master fader between your aux tracks (dialog, sfx, Music) and your print tracks (audio tracks) with an L1 than setting up additional aux tracks.&#xD;&#xA;&#xD;&#xA;So:&#xD;&#xA;&#xD;&#xA;Audio Tracks &gt; Aux Tracks (Stems) &gt; Master Faders (applied to your internal buses) &gt; Print Tracks. &#xD;&#xA;&#xD;&#xA;The actual signal flow with many different sends gets complicated but its a time saver when you can print all your deliverable s in one pass.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6771" PostHistoryTypeId="2" PostId="3982" RevisionGUID="1a190061-08a6-44b0-8e25-76b16197d237" CreationDate="2010-10-04T20:26:18.073" UserId="578" Text="I've been involved in this kind of work , albeit for videogames localisation. Basically I've been hired  a number of times by a games localisation firm to process translated dialogue recordings with various effects to get it as close as possible to how the English processed VO sounded like.&#xD;&#xA;&#xD;&#xA;The process is a bit different every time, it really depends on the games developer. In a few occassions, the developer simply sent Pro Tools sessions which we could use to process the voices. In those cases we needed to have exactly the same plugins installed as they did. If we couldn't buy these, we'd rent them - and if that wasn't an option, we had to be a bit more creative and find alternative tools, after discussing with the client of course.&#xD;&#xA;&#xD;&#xA;It has also happened that there weren't any Pro Tools sessions at all, and even though that was far more interesting for myself, because it was much more creative, it was much less efficient as well. We'd simply have the English VO as reference and it was down to us to figure out what processes had been applied and how to mimic those. The developer would usually tell though what plugins had been used, so that made it a bit simpler.&#xD;&#xA;&#xD;&#xA;In other occassions, we didn't do any fx processing at all - we'd simply just record and post-produce the dialogue and send it off to the developer, and their internal audio team would apply the effects.&#xD;&#xA;&#xD;&#xA;So yeah it really depends on the situation what works best. In case of Kyma... you'll probably be hard pressed to find a localisation or dubbing outfit that owns this system or is willing to buy one for a single project. If it's involving more general plugins, it will of course be much easier to manage. &#xD;&#xA;&#xD;&#xA;I don't know which side you are on (the original content producer, or working on the foreign language dubs) but a very important aspect to think about is the organisation of it all. Sending over Pro Tools sessions and letting the outsourcer deal with it sounds straightforward enough, but it does involve some organising and planning to make sure this goes smoothly. Especially when your VO uses various stages / Pro Tools sessions of processing - this needs to be well documented. If you opt to give an outsourcer not the exact files and info on how you did things, then be prepared to expect a bit of creative freedom.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6775" PostHistoryTypeId="2" PostId="3983" RevisionGUID="50a819ec-4599-4be3-b249-42ef4590aab0" CreationDate="2010-10-05T00:46:28.300" UserId="315" Text="This video should answer your question (towards the end of the interview) :&#xD;&#xA;&#xD;&#xA;http://hdfilmtools.com/2008/10/matthew-wood-supervising-sound-editor-skywalker-sound/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6776" PostHistoryTypeId="2" PostId="3984" RevisionGUID="2a209b7d-95ee-436e-9b28-74660f194a59" CreationDate="2010-10-05T01:43:18.430" UserId="390" Text="I'm looking for some resources to help me understand the challenges and equipment used in bringing sound design to the theater for plays and musicals. I'm currently using google but if anyone has any current links or resources I could use, then please share!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6777" PostHistoryTypeId="1" PostId="3984" RevisionGUID="2a209b7d-95ee-436e-9b28-74660f194a59" CreationDate="2010-10-05T01:43:18.430" UserId="390" Text="Theater Sound Design Resources" ContentLicense="CC BY-SA 2.5" />
  <row Id="6778" PostHistoryTypeId="3" PostId="3984" RevisionGUID="2a209b7d-95ee-436e-9b28-74660f194a59" CreationDate="2010-10-05T01:43:18.430" UserId="390" Text="&lt;theater&gt;&lt;play&gt;&lt;stage&gt;&lt;theatre-sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6779" PostHistoryTypeId="2" PostId="3985" RevisionGUID="8816c9b4-840a-4157-8703-0628325a2650" CreationDate="2010-10-05T01:51:23.187" UserId="29" Text="Hubert, I'm not sure if you're looking for modern technical details (mics, samplers, monitoring, etc.) or timeless theater sound techniques - can you clarify? If you're looking for the latter, though, I've loved all the [videos that Roger Gregg from Crazy Dog Audio Theater has posted on YouTube][1] with contraptions, techniques, and ideas galore. Good stuff for anyone interested in sound, even in a non-theatrical sense. These same techniques were used in early animation, too, most recently covered in the extras on the *Wall•E* DVD release, when Ben Burtt revisits early Walt Disney animation sound pioneers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/results?search_query=sound+effects+roger+gregg&amp;aq=f" ContentLicense="CC BY-SA 2.5" />
  <row Id="6788" PostHistoryTypeId="2" PostId="3989" RevisionGUID="72d9009d-c3fb-463d-8cfd-7fdc90c11c7f" CreationDate="2010-10-05T04:26:53.050" UserId="29" Text="Having spent a salty, windy, and damp day at a raging Pacific Beach this weekend, I realized that I really had no decent way to protect my XLR connectors from sand; I had to hike with all my gear to the beach so I didn't have all the bits connected by the time I hit the dunes. I spent a lot of time carefully holding cables off the sand or knocking sand out of the female cable ends.&#xD;&#xA;&#xD;&#xA;Anyone use XLR connector plugs/jacks/caps on their cables, and do they generally get the job done? I'd love to use 'em especially on cables where you can't just mate the female end to the matching male end, like stereo XLR's that terminate in a five-pin connector. Also, any other tips or suggestions for similar protection would be great!&#xD;&#xA;&#xD;&#xA;What's worked for you?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6789" PostHistoryTypeId="1" PostId="3989" RevisionGUID="72d9009d-c3fb-463d-8cfd-7fdc90c11c7f" CreationDate="2010-10-05T04:26:53.050" UserId="29" Text="Anyone use XLR caps in the field?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6790" PostHistoryTypeId="3" PostId="3989" RevisionGUID="72d9009d-c3fb-463d-8cfd-7fdc90c11c7f" CreationDate="2010-10-05T04:26:53.050" UserId="29" Text="&lt;xlr&gt;&lt;cable+&gt;&lt;field-recording&gt;&lt;protection&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6791" PostHistoryTypeId="2" PostId="3990" RevisionGUID="62cb8230-25a3-482d-8462-9ea71b9b5605" CreationDate="2010-10-05T04:50:12.270" UserId="2" Text="I haven't tried the caps, but I guess a quick hack would be a bit of gaffer tape on the tips?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6792" PostHistoryTypeId="2" PostId="3991" RevisionGUID="fe2bc31c-8ee4-4029-ba30-afed48b9ecff" CreationDate="2010-10-05T05:30:53.600" UserId="40" Text="I've never run into this problem, but I guess you could just buy bare connectors from an electronics store - would work fine as a &quot;Cap&quot;. You could buy cheap ones for under $3 a piece.&#xD;&#xA;&#xD;&#xA;Just did a quick search. You may be able to find some for cheaper if you search a bit.&#xD;&#xA;&#xD;&#xA;[Female XLR][1] connectors for $2.25 from Jameco&#xD;&#xA;&#xD;&#xA;[Male XLR][2] connectors for $2.95 from Jameco&#xD;&#xA;[Male 5p XLR][3] connector for $4.95 from Mouser&#xD;&#xA;&#xD;&#xA;&lt;BR&gt;&lt;BR&gt;&#xD;&#xA;They also make rubber caps you could buy for a lot cheaper, just less secure:&#xD;&#xA;&#xD;&#xA;[XLR Caps][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jameco.com/webapp/wcs/stores/servlet/Product_10001_10001_319003_-1&#xD;&#xA;  [2]: http://www.jameco.com/webapp/wcs/stores/servlet/Product_10001_10001_319011_-1&#xD;&#xA;  [3]: http://www.mouser.com/ProductDetail/Neutrik/NC5MXX/?qs=sGAEpiMZZMv0W4pxf2HiVxwZWAc2WDw0RhOfwSVZar4%3d&#xD;&#xA;  [4]: http://www.sjmediasystem.com/xlrcap-10.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="6793" PostHistoryTypeId="2" PostId="3992" RevisionGUID="c3ef5516-ef67-4861-afd8-c5b629311b6f" CreationDate="2010-10-05T06:01:58.270" UserId="605" Text="i have used both show cue system (which is for pc) and qlab (which is mac) to great success for loading up cues and firing them off a go. the qlab do a free version which does up to 4 channels of output. show cue system is around $150 aus i think. qlab is great for integrating video as well, but i prefer show cue system for audio only shows. both will allow you to set levels, fade in times, crossfades, fade outs, panning so the show can be run off a GO (the operator just presses the space bar at the right time!) &#xD;&#xA;hope this helps,&#xD;&#xA;cheers" ContentLicense="CC BY-SA 2.5" />
  <row Id="6794" PostHistoryTypeId="2" PostId="3993" RevisionGUID="345c406b-b08d-4006-a74b-ff23e2c1d4a3" CreationDate="2010-10-05T08:29:14.050" UserId="238" Text="The way in which sounds in theater are cued very much depends upon the systems being used in the theater space. I have worked on various shows, but all have been in relatively small, independent theater houses where the sound equipment has been minidisk-based (larger mainstream venues generally have more up to date methods). I have only worked in the UK, but many, many theaters over here stick to what they know, and continue to use minidisk (mainly for ease of cueing up sounds). It seems that many theatre directors don't understand much about sound and are generally quite scared by it! &#xD;&#xA;&#xD;&#xA;Most sound designers prefer to use cue software, as mentioned by terrein, but if the theater doesn't have a computer in the control booth the someone would need to leave their laptop in the control room for the duration of the run. In some cases, the sound designer for a show would also work as the LX/Sound Op, but normally there would be a separate Op. *'If it ain't broke, don't fix it'* seems to be a common opinion in theaterland. If you do have to go the minidisk route, put each cue on a separate track with no silence at the start of the track (unless specifically designed to do so, i.e. fade in) and document everything very clearly for the Op. &#xD;&#xA;&#xD;&#xA;Whichever cue system is employed, the sound designer would need to be present for the tech run, in which all cue issues are addressed (LX and sound). Cues are initially designed using the script, then modified during the tech runs. Although the director will be the one who calls the shots, never forget that it's the Op who will be running all this, so make sure he is comfortable with everything and be nice to him/her (some directors can be very mean to the Op)!&#xD;&#xA;&#xD;&#xA;Hope that helps..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6795" PostHistoryTypeId="2" PostId="3994" RevisionGUID="a2008066-59fa-4cc6-875c-f242fc578973" CreationDate="2010-10-05T09:17:21.553" UserId="255" Text="+1 on Qlab. Really great program! With good discounts for students/education.&#xD;&#xA;You can also rent a full license if you need some of the other features that the free version doesnt have for a particular show, like more outputs etc..&#xD;&#xA;&#xD;&#xA;I've also used Ableton Live for a show before. It was a one-man star wars show, with a wii remote as multi-function lightsaber/blaster/x-wing trigger. It's pretty flexible for cueing sounds and triggering things, but i found it a bit tricky for some cues and maybe not as ideally suited as Qlab for theatre.&#xD;&#xA;&#xD;&#xA;Id also agree with @Colin that alot theatre directors i've encountered don't understand much about sound and can be quite scared of it, and computers aswell. So minidisk and CD still get used a fair bit. I've also worked on small show using itunes for cues! It worked, and the director was happy because they were also acting as LX/Sound OP, just remember to uncheck the little box to the left of the tracks so they don't keep playing.&#xD;&#xA;&#xD;&#xA;[Isadora][1] by TroikaTronix is also an amazing bit of software for theatre use. It was originally designed for a dance company called Troika Ranch who use alot of interactive media in their performaces. It can do alot, mainly to do with visuals, but it also has some good audio features (and the ability to use midi and AU). Its main strength is its flexibility in that its a modular environment much like Reaktor, but with both video and audio, and many ways to interact with it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.troikatronix.com/isadora.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="6796" PostHistoryTypeId="2" PostId="3995" RevisionGUID="59d1624e-0c5a-4a8d-8a53-cb7871332bfa" CreationDate="2010-10-05T09:18:35.960" UserId="37" Text="i've done a project with live foley and cues from ableton live. i don't think it matters much what your system is, but ability to memorise your cues and get their timing correct is a big deal. rehearsals are everything. on some shows there might be more than one op, on others, it might just be you doing everything.." ContentLicense="CC BY-SA 2.5" />
  <row Id="6797" PostHistoryTypeId="2" PostId="3996" RevisionGUID="f094100b-a041-4caa-a7b6-22ed020a1d00" CreationDate="2010-10-05T12:57:45.513" UserId="6411" Text="How about a sandwich bag and some gaff tape / bongo tie / rubber band? Kinda like the condom trick for keeping mics dry in water. Keeps the tape off the mic cable, has the potential to protect multiple ends at once, reusable, and cheap." ContentLicense="CC BY-SA 2.5" />
  <row Id="6798" PostHistoryTypeId="2" PostId="3997" RevisionGUID="91d9d192-ac02-41a2-98d8-2a9ea2dd33e3" CreationDate="2010-10-05T13:11:13.920" UserId="238" Text="I've never used one personally, but Neutrik do make [xlr dust caps][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.canford.co.uk/Products/2002683/40-701_NEUTRIK-CABLE-CONNECTOR-PROTECTIVE-RUBBER-CAP-Without-cord" ContentLicense="CC BY-SA 2.5" />
  <row Id="6799" PostHistoryTypeId="2" PostId="3998" RevisionGUID="64435513-491f-4c43-9370-bd280aebba7e" CreationDate="2010-10-05T15:39:51.583" UserId="220" Text="I've never really worried about this problem, but I could see in a harsh environment how it could be an issue.  I like the idea of having some spare connectors in my bag to cap off the recorder inputs and cable ends.  I keep a little can of Caig DeoxIT and canned air - both of those would be excellent to have in a salty/sandy environment.  Also consider getting some of the [Neutrik XX-HD][1] connectors - even when connected, some connectors have enough gap to let dust and water in.  Corrosion can spread up your cable and ruin it or, even worse, you could get corrosion inside of your recorder.  Neutrik also makes the HD chassis connectors - wonder if it's worth voiding the warranty to put something heavier duty in than what comes stock. &#xD;&#xA;&#xD;&#xA;Excellent question, and great answers so far!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.neutrik.com/us/en/audio/204_252707429/XX-HD_Series_productlist.aspx" ContentLicense="CC BY-SA 2.5" />
  <row Id="6800" PostHistoryTypeId="2" PostId="3999" RevisionGUID="4ac304e8-1dcc-4e2e-9103-a3a787ec509f" CreationDate="2010-10-05T15:47:26.190" UserId="220" Text="I use the Petrol Ergonizer series with the back webbing add-on.  It leaves your hands free and is more comfortable (in my opinion) than the Portabrace bags.  For SFX recording, I'll sometimes take a laptop case - it's got enough compartment to store mics and is a less conspicuous in urban environments than an audio bag.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6801" PostHistoryTypeId="2" PostId="4000" RevisionGUID="d02bae3f-de4c-4a17-9dc1-5be8c1134606" CreationDate="2010-10-05T16:51:39.190" UserId="517" Text="What about medical finger cots (they're like rolled up versions of just the fingers of latex gloves)? They'd be like a semi-reusable solution and are definitely waterproof. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6803" PostHistoryTypeId="2" PostId="4002" RevisionGUID="82c7316f-b9ee-4878-8574-b3dd45d29838" CreationDate="2010-10-06T14:30:54.197" UserId="298" Text="i didnt read all these comments, but!&#xD;&#xA;&#xD;&#xA;- if finished work sounds great with pirated libraries and nobody can catch you with it - WHY NOT ?&#xD;&#xA;&#xD;&#xA;Especially in a desired situation - you are an aspiring sound designer with no budget to purchase libraries for 5000$ with no money to start with. Would it &quot;amoral&quot; and &quot;unfair&quot; attempt to do something, being your only one possibility? Possibility of getting started from nothing and rise some money for consequent job and commercial work.  - then you will have money for buy all nessesary licensed things...&#xD;&#xA;&#xD;&#xA;They are baddest people digging under media economics, but pirates giving other people to try something that they may never get. just oportunity." ContentLicense="CC BY-SA 2.5" />
  <row Id="6804" PostHistoryTypeId="2" PostId="4003" RevisionGUID="df6109d3-5d53-429c-a89a-4290ee95e5a8" CreationDate="2010-10-06T15:55:10.677" UserId="578" Text="Hello,&#xD;&#xA;&#xD;&#xA;I don't own a hydrophone yet so I can't try this out myself. Out of curiosity, I was just wondering if you can use a hydrophone like a contact mic? As far as I understand it both types of mic are essentially similar. So yes the question is: does a hydrophone also work when it's not submerged in water, if you'd strap it to any vibration producing source, would it record 'sound' the same way as a contact mic does.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;Daan" ContentLicense="CC BY-SA 2.5" />
  <row Id="6805" PostHistoryTypeId="1" PostId="4003" RevisionGUID="df6109d3-5d53-429c-a89a-4290ee95e5a8" CreationDate="2010-10-06T15:55:10.677" UserId="578" Text="Hydrophone as a contact mic?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6806" PostHistoryTypeId="3" PostId="4003" RevisionGUID="df6109d3-5d53-429c-a89a-4290ee95e5a8" CreationDate="2010-10-06T15:55:10.677" UserId="578" Text="&lt;contact-mic&gt;&lt;hydrophone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6807" PostHistoryTypeId="2" PostId="4004" RevisionGUID="9a255ebb-0472-421e-8f3a-3f87ef7a4974" CreationDate="2010-10-06T16:53:30.783" UserId="517" Text="I have an Aquarian Audio H2-a hydrophone and its optional contact mic adapter, which is a rubber cup that fits snugly around the microphone body when wetted slightly. &#xD;&#xA;&#xD;&#xA;It works very well, but I've found that unwanted noise becomes a problem when the microphone is inverted (i.e. contact side up). Has anyone else had this issue with the H2-a and/or found a solution to the problem?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6808" PostHistoryTypeId="2" PostId="4005" RevisionGUID="05de03c0-2792-41a8-84ec-0e4f1f6559b3" CreationDate="2010-10-06T18:29:23.460" UserId="558" Text="A guy at Dane Tracks showed me a zeppelin he uses for on board vehicle recordings.  It has a crazy cork screw shape designed to let the wind pass over as silently as possible.  Its not furry at all.  Not sure what it was called, but he swears by it.&#xD;&#xA;&#xD;&#xA;dr" ContentLicense="CC BY-SA 2.5" />
  <row Id="6809" PostHistoryTypeId="2" PostId="4006" RevisionGUID="b85a3320-003d-4428-a7d4-e90f6d199bb2" CreationDate="2010-10-06T20:54:29.347" UserId="62" Text="My view is that it's plain and simple theft. If you don't have a particular sound then go and record it or make use of an online library. &#xD;&#xA;&#xD;&#xA;Buying a recorder is a cheap investment and encourages you to think and be more resourceful, 2 qualities that will do you well. I say that from experience.&#xD;&#xA;&#xD;&#xA;Sounds can be easily bought from a library such as soundsnap for very money.&#xD;&#xA;&#xD;&#xA;All of this will take you longer than just pulling sounds from a library but the experience is more positive and less abhorrent than thievery." ContentLicense="CC BY-SA 2.5" />
  <row Id="6810" PostHistoryTypeId="2" PostId="4007" RevisionGUID="05de80a7-f8f4-43e5-afe9-fb9487798a70" CreationDate="2010-10-06T21:56:12.310" UserId="594" Text="What are some non-cliche &quot;Holiday&quot; sounds that could be used to decorate a series of commercial spots?&#xD;&#xA;&#xD;&#xA;I don't always think of the Holidays as being strictly Christmas sounds, sleigh bells, carols etc.&#xD;&#xA;&#xD;&#xA;What about other religions / areas of the world, what sounds do they associate with the Holiday season? &#xD;&#xA;&#xD;&#xA;Are there sounds of Kwanzaa?&#xD;&#xA;Or, Hanukkah?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6811" PostHistoryTypeId="1" PostId="4007" RevisionGUID="05de80a7-f8f4-43e5-afe9-fb9487798a70" CreationDate="2010-10-06T21:56:12.310" UserId="594" Text="Non Cliche Holiday Sounds for Comercial Campain" ContentLicense="CC BY-SA 2.5" />
  <row Id="6812" PostHistoryTypeId="3" PostId="4007" RevisionGUID="05de80a7-f8f4-43e5-afe9-fb9487798a70" CreationDate="2010-10-06T21:56:12.310" UserId="594" Text="&lt;holidays&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6813" PostHistoryTypeId="4" PostId="4007" RevisionGUID="5716e51f-7e67-4cf9-97bc-578239ca4623" CreationDate="2010-10-06T22:07:02.660" UserId="61" Comment="grammar; edited tags" Text="Non-cliche Holiday Sounds for Comercial Campain" ContentLicense="CC BY-SA 2.5" />
  <row Id="6814" PostHistoryTypeId="6" PostId="4007" RevisionGUID="5716e51f-7e67-4cf9-97bc-578239ca4623" CreationDate="2010-10-06T22:07:02.660" UserId="61" Comment="grammar; edited tags" Text="&lt;holidays&gt;&lt;cliche&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6815" PostHistoryTypeId="2" PostId="4008" RevisionGUID="218fbfb3-425e-41e2-b221-5fad2b48782f" CreationDate="2010-10-06T22:34:35.260" UserId="393" Text="A very vivid sound memory of mine is the sound of a car driving down a gravel driveway, followed by footsteps, and the doorbell.  Obviously, I spent a lot of time waiting for family to show up.&#xD;&#xA;&#xD;&#xA;Salvation Army bell-ringers, too... and there's a local homeless cellist that plays outside the malls during the holiday season, so I have his renditions of Christmas songs stuck in my head." ContentLicense="CC BY-SA 2.5" />
  <row Id="6816" PostHistoryTypeId="2" PostId="4009" RevisionGUID="179a7dd5-1008-480b-8d6b-a0b98a6a7152" CreationDate="2010-10-06T22:35:34.260" UserId="6411" Text="Some free-associated sounds that I would tag for the holidays...&#xD;&#xA;&#xD;&#xA; - excited children in the living room&#xD;&#xA; - sharpening a carving knife&#xD;&#xA; - cash registers&#xD;&#xA; - busy crowds&#xD;&#xA; - tire bys on slushy streets&#xD;&#xA; - cold blustery winds&#xD;&#xA; - fireplace crackles&#xD;&#xA; - scissors shearing wrapping paper&#xD;&#xA; - glasses clinking in toast&#xD;&#xA; - intimate groups of celebratory tone&#xD;&#xA; - large office parties with a little too much booze and honesty (that one's a little cliché, but still funny)&#xD;&#xA;&#xD;&#xA;It's probably obvious that I come from a Xmas-celebrating home in a colder climate. Like Ryan said, knowing what you're selling or how you're selling it would help focus ideas." ContentLicense="CC BY-SA 2.5" />
  <row Id="6817" PostHistoryTypeId="4" PostId="4007" RevisionGUID="6ef4f59b-1be2-43ab-a961-611349dbaac1" CreationDate="2010-10-06T22:45:35.030" UserId="61" Comment="edited title" Text="Non-cliche Holiday Sounds for Comercial Campaign" ContentLicense="CC BY-SA 2.5" />
  <row Id="6821" PostHistoryTypeId="2" PostId="4011" RevisionGUID="5665f4ad-3b2c-4aed-8a5b-6b2c7a3eece1" CreationDate="2010-10-07T01:38:53.403" UserId="6411" Text="Alright, as I re-read this it sounds like a copyright law test question, but here goes anyway:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Riding on the wave of [moral discourse][1] that is going on today...&#xD;&#xA;&#xD;&#xA;I'm looking to see if/where the line on piracy blurs, and am particularly interested in the reactions of those of you around here who have released or plan on releasing libraries yourself, as I assume you have investigated such situations. I would like to state before I get myself deeply mired in a seriously bad reputation that *I do not condone nor use pirated software or other &quot;warez&quot; in **any** professional manner.* However, I do have a question that I'm pretty positive I know the answer to but still wanted to put this out for general consensus.&#xD;&#xA;&#xD;&#xA;**Example:**&#xD;&#xA;&#xD;&#xA;I work at a company who has legally purchased multiple sound effect libraries. In my day-to-day activities I edit using those FX. I claim the edit as my work, but the sounds edited are clearly not mine.&#xD;&#xA;&#xD;&#xA;Now, say that while at work I do something like Charles' [whoosh generator][3] using sounds from a library that my company purchased. I process the living heck out of a select few of them to make more sounds for the company's library. It's not work that we are billing for, so it doesn't fall into work for hire through an outside contract. It's merely an activity that occupies free time. So who owns these new sounds?&#xD;&#xA;&#xD;&#xA;As a full-time employee I assume that I'm employed under work-for-hire, and as such they would belong to the company for as long as it existed. But I'm not terribly certain that is the actual terms of my employment. I can't say that I remember signing anything that would have conveyed such an agreement. And honestly don't really know what the alternative would be.&#xD;&#xA;&#xD;&#xA;So, assuming that I don't sell these derivative works publicly (cause that's clearly a library license violation) am I at liberty to add these &quot;fresh&quot; sounds to my personal library, or would I have to be an owner of the original library that the source sounds were obtained from?&#xD;&#xA;&#xD;&#xA;Would your answer change if I used company equipment to record sound effects and used those sounds as source material for the process?&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/3928/pirate-audio-samples-how-risky-is-it-really&#xD;&#xA;  [2]: http://miguelisaza.com/blog/2010/07/seal-creature-1-boh-the-forgotten-dog/&#xD;&#xA;  [3]: http://designingsound.org/2010/02/charles-deenen-special-100-whooshes-in-2-minutes/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6822" PostHistoryTypeId="1" PostId="4011" RevisionGUID="5665f4ad-3b2c-4aed-8a5b-6b2c7a3eece1" CreationDate="2010-10-07T01:38:53.403" UserId="6411" Text="(Where) Does the piracy line blur?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6823" PostHistoryTypeId="3" PostId="4011" RevisionGUID="5665f4ad-3b2c-4aed-8a5b-6b2c7a3eece1" CreationDate="2010-10-07T01:38:53.403" UserId="6411" Text="&lt;legality&gt;&lt;ownership&gt;&lt;work-for-hire&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6826" PostHistoryTypeId="2" PostId="4012" RevisionGUID="d860d8f3-b6d6-407a-85d4-a19307404ea6" CreationDate="2010-10-07T03:02:17.460" UserId="393" Text="If I were in your situation, I'd feel like they were mine -- I've created things on company time, with company software, that I kept as my own -- but I know for a fact that my employer would see things differently.&#xD;&#xA;&#xD;&#xA;Are you on regular payroll, or are you paid by project?  That may make all the difference... if you're salaried, assume that everything you make on their time is theirs.  If not, perhaps consider that they're being incredibly generous with their space and assets, and discuss with them how they feel about said sounds; some employers may surprise you." ContentLicense="CC BY-SA 2.5" />
  <row Id="6827" PostHistoryTypeId="2" PostId="4013" RevisionGUID="97435a18-9ea7-41d3-bc33-6c8275bb8e55" CreationDate="2010-10-07T07:36:08.887" UserId="18" Text="Wow, totally need a legal team to answer this one!&#xD;&#xA;&#xD;&#xA;I don't believe that any of the examples you listed even remotely suggests piracy, so I'd suggest editing the title of your post.  Your employer has a license to the libraries that you use and the design/editing work you are suggesting falls within the rights of the license, so there is no piracy suggested.&#xD;&#xA;&#xD;&#xA;I think there are really 2 questions here:&#xD;&#xA;&#xD;&#xA;1.  Who would your **employer** feel owns the sounds you create using their libraries?&#xD;&#xA;&#xD;&#xA;2.  Who would **library publishers** feel own the sounds you create using the libraries licensed to   your employer?&#xD;&#xA;&#xD;&#xA;I'll give my opinion on the answer to #2 first. The facility you work at licensed the sounds.  The sounds are being used according to license.  The license gives the facility the right to use the sounds as part of a project.  This should be the only worry of the sound library publisher.  Since the sounds are licensed and used correctly, their stake in this should be over.  Ever company and license is different, I don't care what people do with my sounds as long as they pay for a license and use according to the license terms.  If you were designing those whoosh sounds for a film, the owners of the film would claim to own the designed sounds, right?&#xD;&#xA;&#xD;&#xA;To answer #1, I'd say your employer would claim ownership over anything you create on their premises, using their libraries/equipment, etc.  Some would even try to claim ownership over anything you create at any time, any place in the world, while employed by them.  Some will try to claim ideas that you thought up while lying in bed at night.  &#xD;&#xA;&#xD;&#xA;Without a clear employment contract, stating all these terms in writing, it is tough to tell.  My rule has always been, any work I do on an employer's permises is theirs, anything outside is mine.  Who has the better lawyers, I'm sure it's not you :)&#xD;&#xA;&#xD;&#xA;I've worked as an in-house sound designer for 5 different game studios (4 different publishers) over the last 12 years.  All but one clearly stated in my employment contract that any work I created while at work was owned by them.  2 of the places even tried to claim ownership of anything that I created, while employed, even in my own time, using my own gear, in my own house, would be owned by them; provided it was in a business that they are currently in or may be in at some point.  Translation; we own your life, your thoughts, and everything else.  We are currently only making games, but we could be in any line of business we want to!  I haven't seen contracts like that in about 5+ years, my guess is they are not enforceable and possibly not even legal.  At least in California.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6828" PostHistoryTypeId="2" PostId="4014" RevisionGUID="d14bf9f8-a70d-4338-a499-2eac5ff700c7" CreationDate="2010-10-07T08:20:59.953" UserId="37" Text="Who owns the sound of one hand clapping?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6829" PostHistoryTypeId="5" PostId="4006" RevisionGUID="5298b1d2-4177-4448-96c8-928b2a3ec047" CreationDate="2010-10-07T10:04:33.417" UserId="62" Comment="Added last paragraph" Text="My view is that it's plain and simple theft. If you don't have a particular sound then go and record it or make use of an online library. &#xD;&#xA;&#xD;&#xA;Buying a recorder is a cheap investment and encourages you to think and be more resourceful, 2 qualities that will do you well. I say that from experience.&#xD;&#xA;&#xD;&#xA;Sounds can be easily bought from a library such as soundsnap for very money.&#xD;&#xA;&#xD;&#xA;All of this will take you longer than just pulling sounds from a library but the experience is more positive and less abhorrent than thievery.&#xD;&#xA;&#xD;&#xA;Just adding this last sentence to say that the above would only apply in a commercial sense. I've worked on short films where money wasn't involved and would be fine using said sounds. If you don't use it for commercial purposes then I don't have a problem with it." ContentLicense="CC BY-SA 2.5" />
  <row Id="6830" PostHistoryTypeId="2" PostId="4015" RevisionGUID="55c75918-bf07-4585-82b5-62e2befac495" CreationDate="2010-10-07T12:33:58.703" UserId="62" Text="To me it's an English Brass Band. I grew up playing in them and it's the one part of Christmas I really miss in Ireland. My Dad has to ring me up at around 6am Christmas morning so I can hear the band wake the village up with the carol &quot;Christians Awake&quot;." ContentLicense="CC BY-SA 2.5" />
  <row Id="6831" PostHistoryTypeId="5" PostId="4009" RevisionGUID="cd395a7f-740b-407d-8408-8560cd39af7e" CreationDate="2010-10-07T13:49:15.080" UserId="6411" Comment="added 221 characters in body" Text="Some free-associated sounds that I would tag for the holidays...&#xD;&#xA;&#xD;&#xA; - excited children in the living room&#xD;&#xA; - sharpening a carving knife&#xD;&#xA; - cash registers&#xD;&#xA; - busy crowds&#xD;&#xA; - tire bys on slushy streets&#xD;&#xA; - cold blustery winds&#xD;&#xA; - fireplace crackles&#xD;&#xA; - scissors shearing wrapping paper&#xD;&#xA; - glasses clinking in toast&#xD;&#xA; - intimate groups of celebratory tone&#xD;&#xA; - large office parties with a little too much booze and honesty (that one's a little cliché, but still funny)&#xD;&#xA;&#xD;&#xA;It's probably obvious that I come from a Xmas-celebrating home in a colder climate. Like Ryan said, knowing what you're selling or how you're selling it would help focus ideas.&#xD;&#xA;&#xD;&#xA;EDIT: @Dave's salvation army ringer reminded me of the handbell choir I used to play in, we'd go around to people's parties or homes and perform carols. Pretty Xmassy, but another sound that triggers &quot;holiday&quot; for me." ContentLicense="CC BY-SA 2.5" />
  <row Id="6832" PostHistoryTypeId="2" PostId="4016" RevisionGUID="40447087-69ee-4ace-b837-b34cd9a6a5f4" CreationDate="2010-10-07T16:51:55.873" UserId="338" Text="I could envision a burp or a meow.  Depending on where you are, a car alarm or glass breaking." ContentLicense="CC BY-SA 2.5" />
  <row Id="6837" PostHistoryTypeId="2" PostId="4018" RevisionGUID="6ba88297-dd2e-45d8-be67-563404555a76" CreationDate="2010-10-07T22:13:45.563" UserId="6487" Text="I sound design using a large bank of SFX that I continue to add to and manage in Soundminer. I know these sounds very well. &#xD;&#xA;&#xD;&#xA;I tag the sounds into Pro Tools when designing in my time-line from Soundminer.  In my sound design/editing process I set levels, process sounds further using FX plug-ins, time compress, pitch shift, etc....I know what these sections sound like in great detail before I move forward in the timeline. Then upon playback when mixing stems on my mix pass, I get occasional white noise blasts for the exact duration of some of these imported sound regions (I can even solo and isolate the source of the noise.). At first I would go back and replace quickly and then I realized the error was not consistent with the quality of the parent files. In other words, the parent files in the specific session to which these regions refer did not contain the error.  &#xD;&#xA;&#xD;&#xA;The only solution I have found to said issue is to quit Pro Tools (Let it think about what it has done.) and reboot.  Then playback is then smooth and these white noise errors cease.  Any clues as to the culprit? I have had no DAE errors and my computers CPU usage is not maxing out. &#xD;&#xA;  &#xD;&#xA;It only happens occasionally, but it really freaks out this one client....&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;Mixing Maniac" ContentLicense="CC BY-SA 2.5" />
  <row Id="6838" PostHistoryTypeId="1" PostId="4018" RevisionGUID="6ba88297-dd2e-45d8-be67-563404555a76" CreationDate="2010-10-07T22:13:45.563" UserId="6487" Text="Weird artifact in Pro Tools:Sound regions playing back as noise. Any clue?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6839" PostHistoryTypeId="3" PostId="4018" RevisionGUID="6ba88297-dd2e-45d8-be67-563404555a76" CreationDate="2010-10-07T22:13:45.563" UserId="6487" Text="&lt;protools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6840" PostHistoryTypeId="2" PostId="4019" RevisionGUID="1ab5f297-d10a-4510-bef1-525483cbe887" CreationDate="2010-10-07T22:52:54.547" UserId="393" Text="I'm not a ProTools user -- can't afford it, unfortunately -- so I'm shooting in the dark here, but I've run into similar problems in Sonar where a plugin or simply too many sounds goes just barely over the buffer. Not enough to drop out, just enough to make it think about it for a second.&#xD;&#xA;&#xD;&#xA;The only thing I've found that's worked for Sonar is to delete the preference file (aud.ini in Sonar), and if that doesn't work, uninstall and reinstall my interfaces." ContentLicense="CC BY-SA 2.5" />
  <row Id="6841" PostHistoryTypeId="2" PostId="4020" RevisionGUID="6a5f7b7e-d871-4a64-a060-01d34d290a20" CreationDate="2010-10-07T23:17:33.390" UserDisplayName="user49" Text="What hardware are you using?&#xD;&#xA;Years ago I had a similar problem with a certain combination of an OS/Mac and Mbox&#xD;&#xA;Only solution was to use a Firewire PCI card - it was a known problem, have you searchd the Answerbase at Digi?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6842" PostHistoryTypeId="2" PostId="4021" RevisionGUID="df7bf5b4-9779-4aed-ab05-e51c4f6341b9" CreationDate="2010-10-07T23:19:21.063" UserId="40" Text="Good to see you on here :-)&#xD;&#xA;&#xD;&#xA;I've gotten a similar problem when I've almost maxed out something, but not enough to trip an error message. However, this generally is not a consistent thing, and I definitely can't solo the issue like you've described.&#xD;&#xA;&#xD;&#xA;How are you accessing your library files? Are they on a server or external hard drive? How big is the session and how many files are you pulling from that source? Could it be a data bandwidth problem?&#xD;&#xA;&#xD;&#xA;Also, does it help at all if you set your hw buffer a little higher?&#xD;&#xA;&#xD;&#xA;You're on a TDM system, but does it occur both when you're using TDM and Native plugs? Perhaps a wonky TDM card?&#xD;&#xA;&#xD;&#xA;Since I've never had this problem or heard of it happening like this to everybody, these are just potential reasons I've thought up. Hope one might help lead to the solution :-)&#xD;&#xA;&#xD;&#xA;Good luck! Hope to see you around here a bit more :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6843" PostHistoryTypeId="2" PostId="4022" RevisionGUID="7fd4936a-d5d9-48c1-bbec-6f5a952d1ec0" CreationDate="2010-10-07T23:23:47.290" UserId="202" Text="Hi&#xD;&#xA;I experienced the same noise blasts (I'm on PT LE 8.0.4, digi002R, CPTK, macbookpro_late2008); my audiofiles came as well from soundminerPro. (but I think it's not something that depend from SM)&#xD;&#xA;A reboot of protools solved the problem for me too.&#xD;&#xA;&#xD;&#xA;Don't know what it was (only happened once) have a look here:&#xD;&#xA;&#xD;&#xA;http://duc.digidesign.com/showthread.php?t=269242&#xD;&#xA;&#xD;&#xA;maybe you can find some useful information (even if it seems a bug that is still being investigated)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6845" PostHistoryTypeId="2" PostId="4024" RevisionGUID="e450b946-a2cc-4a56-8ba9-d85e730ee0df" CreationDate="2010-10-08T01:10:27.673" UserId="132" Text="There is a nice piece about Chris Watson's exploration with surround in the field here:&#xD;&#xA;&#xD;&#xA;http://www.soundfield.com/news/news_watson.php&#xD;&#xA;&#xD;&#xA;Apparently he became a big fan of the Soundfield ST350 after he took it to Antarctica on a BBC project." ContentLicense="CC BY-SA 2.5" />
  <row Id="6846" PostHistoryTypeId="2" PostId="4025" RevisionGUID="19044ef6-60b5-4291-a0c4-afbddfd413f7" CreationDate="2010-10-08T07:36:38.193" UserId="564" Text="I always go by this rule......if I have to ask if it's piracy.....it probably is.  But the combo of sounds to create a specific design, I believe is yours." ContentLicense="CC BY-SA 2.5" />
  <row Id="6847" PostHistoryTypeId="2" PostId="4026" RevisionGUID="ad996803-bc36-46c4-b028-619eb45cae86" CreationDate="2010-10-08T08:34:43.380" UserId="607" Text="Hello, I use a ST350 with a Sonosax SX-R4 for two years now mainly for ambiences.&#xD;&#xA;&#xD;&#xA;First of all, you should read some articles from Daniel Courville to well understand ambisonic http://www.radio.uqam.ca/ambisonic/&#xD;&#xA;&#xD;&#xA;The ST350 microphone (Format B) is a all in one mic, very easy to use and manipulate but a little bit heavy. The preamp deliver 4 sources (WXYZ) to your recorder. With ST350 preamp you can monitoring a MS signal and some recorder like Sound Device, use their own software decoder.&#xD;&#xA;&#xD;&#xA;The beauty of ambisonic is the decoding process ! When you decode the 4 trks in protools, you can &quot;re-arrange&quot; your recording. I mean you can rotate, zoom, use different pattern etc etc.&#xD;&#xA;Other great thing is the fold down.5.1 to MS to Mono.&#xD;&#xA;&#xD;&#xA;The microphone sound really great but a little beat noisy when you rec room tone or low level ambiences. You can of course filter the 4 channel in post production.&#xD;&#xA;&#xD;&#xA;Protools plug in is fine, but set it up in a session is not convenient.&#xD;&#xA;Nuendo or Pyramix is more flexible for that I think.&#xD;&#xA;&#xD;&#xA;Other major deal is monitoring Ambisonic (like discret surround) in Soundminer. Need to open several rewire instance in protools and insert a plug for decoding in SM.&#xD;&#xA;&#xD;&#xA;A new online library open with mainly ambisonic material, great site and great people.&#xD;&#xA;http://www.surround-library.com/&#xD;&#xA;&#xD;&#xA;Otherwise, if someone need some samples, feel free to email me.&#xD;&#xA;&#xD;&#xA;Bruno&#xD;&#xA;&#xD;&#xA;PS : do you like my fabulous french accent ? ;-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6848" PostHistoryTypeId="2" PostId="4027" RevisionGUID="3d638d20-c335-4381-b30d-82050c40dc99" CreationDate="2010-10-08T10:04:33.530" UserId="142" Text="I did some recording with Chris Watson a few weekends ago and he let us use his stereo field microphone. Very impressive, also extremely expensive. He tested them for the company and ended up keeping it as he was very pleased with the results. He recommended Daniel Courvilles Ambisonics studio for decoding. Funny though, meeting someone like this we were just as interested in getting good field recording stories from him as talking about tech, and did he have some great stories :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6849" PostHistoryTypeId="2" PostId="4028" RevisionGUID="9e212ac7-34a1-4986-be94-2004a27167b1" CreationDate="2010-10-08T10:18:39.653" UserId="596" Text="Hi there, this one goes for the more musical-oriented among us. &#xD;&#xA;&#xD;&#xA;i have a sharp deadline to wrap up a project for a client which involves sound design and theme composition for a 40sec animated trailer/commercial. i was quick with the sound/sfx design part, but the theme composition got me stuck bigtime... the kind of musical style client wants is very kitsch and far out from what i know and am familiar with. i've built a rhythm that works well, but now a catchy, smart bassline/melody must kick in. whatever i try doesn't work and sounds like crap. i was thinking to try and automate this part (or at least get some inspiring ideas) using algorithmic processes, perhaps using a tool that can generate many random melodic patterns based on some given restrictions... i could then pick an interesting pattern and try to work it from there. anyone familiar with that? ... or can somebody recommend a workflow that might be useful in my situation?&#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6850" PostHistoryTypeId="1" PostId="4028" RevisionGUID="9e212ac7-34a1-4986-be94-2004a27167b1" CreationDate="2010-10-08T10:18:39.653" UserId="596" Text="algorithmic composition / melody patterns generation" ContentLicense="CC BY-SA 2.5" />
  <row Id="6851" PostHistoryTypeId="3" PostId="4028" RevisionGUID="9e212ac7-34a1-4986-be94-2004a27167b1" CreationDate="2010-10-08T10:18:39.653" UserId="596" Text="&lt;algorithmic&gt;&lt;composition&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6852" PostHistoryTypeId="5" PostId="4028" RevisionGUID="cb46b6ba-18df-4d0d-a425-46683615d4dd" CreationDate="2010-10-08T10:41:50.253" UserId="596" Comment="added 2 characters in body" Text="Hi there, this one goes for the more musically-oriented among us. &#xD;&#xA;&#xD;&#xA;i have a sharp deadline to wrap up a project for a client which involves sound design and theme composition for a 40sec animated trailer/commercial. i was quick with the sound/sfx design part, but the theme composition got me stuck bigtime... the kind of musical style client wants is very kitsch and far out from what i know and am familiar with. i've built a rhythm that works well, but now a catchy, smart bassline/melody must kick in. whatever i try doesn't work and sounds like crap. i was thinking to try and automate this part (or at least get some inspiring ideas) using algorithmic processes, perhaps using a tool that can generate many random melodic patterns based on some given restrictions... i could then pick an interesting pattern and try to work it from there. anyone familiar with that? ... or can somebody recommend a workflow that might be useful in my situation?&#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6853" PostHistoryTypeId="2" PostId="4029" RevisionGUID="614f905a-d5ef-4b2a-88b1-9ff4ce46101d" CreationDate="2010-10-08T10:56:40.820" UserId="135" Text="Hi, maybe you could be interested in this: http://recherche.ircam.fr/equipes/repmus/OpenMusic/, but I guess you need something simpler, anyway this is could be useful" ContentLicense="CC BY-SA 2.5" />
  <row Id="6854" PostHistoryTypeId="2" PostId="4030" RevisionGUID="4ba53981-97fd-49ed-bea1-2a466cd8c1fc" CreationDate="2010-10-08T11:40:08.083" UserId="238" Text="There are thousands of copyright free MIDI files out there which can be used commercially. You can experiment with these and perhaps you'll find a loop in part of a song that could become the base of your melody. Using MIDI files allows you to change all of the assigned instruments to whatever you like and you can also edit and loop any parts that my work for you. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6856" PostHistoryTypeId="2" PostId="4032" RevisionGUID="d0d5b5ab-fff4-4b94-948c-5a8ce991f347" CreationDate="2010-10-08T13:19:05.470" UserId="28" Text="My experiences with algorithmic composition is that they create THE OPPOSITE of kitsch, catchy and smart. (Sorry.) Your computer ain't got no soul. And it takes a lot of work for a computer to convincingly pretend it has soul.&#xD;&#xA;&#xD;&#xA;I agree with Colin, look for MIDI files. (Logic is great for this, it comes with lots of MIDI loops that you can then alter: change notes, change voices, etc.)&#xD;&#xA;&#xD;&#xA;Hammer out a chord progression using mainly I and V. (This was Bach's big secret.) Toss some IV in there, if you're feeling it. And then just connect the dots.&#xD;&#xA;&#xD;&#xA;I hope that helps. Or at least garners a mild smile. Cheers. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6857" PostHistoryTypeId="2" PostId="4033" RevisionGUID="ec711687-fd4c-4782-915d-e574ad58746a" CreationDate="2010-10-08T13:32:43.453" UserId="608" Text="I'm looking for a decent shotugn mic for field recording but I'm not sure I want to go down the broadcast mixer route just yet. Does anyone have any experience of using shotgun mic's with one of these sony pcm-d50 portables?&#xD;&#xA;&#xD;&#xA;Essentially, it would be really handy to be able to plug a shotgun mic in to the 3.5mm jack and make some useable recordings, that's a pretty light rig..&#xD;&#xA;&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="6858" PostHistoryTypeId="1" PostId="4033" RevisionGUID="ec711687-fd4c-4782-915d-e574ad58746a" CreationDate="2010-10-08T13:32:43.453" UserId="608" Text="Battery powered Shotgun Mic for use with PCM d-50" ContentLicense="CC BY-SA 2.5" />
  <row Id="6859" PostHistoryTypeId="3" PostId="4033" RevisionGUID="ec711687-fd4c-4782-915d-e574ad58746a" CreationDate="2010-10-08T13:32:43.453" UserId="608" Text="&lt;pcm-d50&gt;&lt;shotgun&gt;&lt;location&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6860" PostHistoryTypeId="2" PostId="4034" RevisionGUID="ebe888b5-b59c-4af3-80f3-3da529942924" CreationDate="2010-10-08T13:43:26.893" UserId="578" Text="You could have a look into the Sennheiser ME66+K6 module (make sure you don't get K6P as that's phantom powered only). I haven't tried it  myself but at least that's a decent spec shotgun that can run on batteries. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6861" PostHistoryTypeId="2" PostId="4035" RevisionGUID="457bdbca-a01f-4c53-9dd2-75c03be815d2" CreationDate="2010-10-08T14:15:56.243" UserId="533" Text="If you are referring to generative music then this would be a great tool to get started with.&#xD;&#xA;&#xD;&#xA;[Nodal][1]&#xD;&#xA;&#xD;&#xA;It maybe not be pure algorithmic but you can get started with generating new melody pretty quickly.&#xD;&#xA;&#xD;&#xA;The other tip that you can try is to use an arpeggiator. Hold down a few keys and change the arpeggiator modes to create new melodies.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.csse.monash.edu.au/~cema/nodal/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6862" PostHistoryTypeId="2" PostId="4036" RevisionGUID="6b5f9df6-ffca-46a5-8296-0ac44eed7ef1" CreationDate="2010-10-08T14:36:09.540" UserId="56" Text="I have a [Rode NTG-2][1]. It works fine (20hz-20khz), can be powered with an AA battery, can be connetted to the 3.5mm jack and doesn't cost too much.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/microphone.php?product=NTG-2" ContentLicense="CC BY-SA 2.5" />
  <row Id="6863" PostHistoryTypeId="2" PostId="4037" RevisionGUID="44f5277a-8e6d-4ad3-89fa-f5584bc3445e" CreationDate="2010-10-08T14:53:13.727" UserId="56" Text="I'm a puredata fanatic so... do you know [puredata][1]? &#xD;&#xA;you can do everything with it and it's free but you'll need some time and practice to understand how it works.&#xD;&#xA;[Data loves Cage][2] can be an example of what you're looking for and it is incredibly easy to do. &#xD;&#xA;This is a minimum example. You can find a lot of interesting patches in the [pd forum][3].&#xD;&#xA;Have fun with pd.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://puredata.info/&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=HSo9b5TNnzA&#xD;&#xA;  [3]: http://puredata.hurleur.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="6864" PostHistoryTypeId="5" PostId="4036" RevisionGUID="436899ce-78e0-4166-834a-a8c46cbb5c97" CreationDate="2010-10-08T14:55:01.027" UserId="56" Comment="edited body" Text="I have a [Rode NTG-2][1]. It works fine (20hz-20khz), can be powered with an AA battery, can be connected to the 3.5mm jack and doesn't cost too much.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/microphone.php?product=NTG-2" ContentLicense="CC BY-SA 2.5" />
  <row Id="6865" PostHistoryTypeId="2" PostId="4038" RevisionGUID="643058a9-807c-424f-9d4f-9e89b2a1d498" CreationDate="2010-10-08T14:55:47.500" UserId="29" Text="Have an iPod or iPhone? If you wanna go guerilla or at least want some inspiration, drop some coin on the many software versions of the [Tenori-On][1] device for iOS devices, if you have such devices, otherwise there are [online grid-based music sequencers in Flash][2] that do the same thing. They're basically like arpeggiators but are visual and super fun to play with. I have a few because sometimes they just help get me un-stuck for melody and harmony ideas. [Beatwave][3] is probably one of the better ones out there.&#xD;&#xA;&#xD;&#xA;Or buy a Tenori-On. Or the [way-cheap semi-clone][4] you can get on ThinkGeek.&#xD;&#xA;&#xD;&#xA;If you're feeling adventurous, you can also [generate sound using cellular automata][5].&#xD;&#xA;&#xD;&#xA;It's not Max/MSP, or MetaSynth, or something otherwise purely algorithmic, but they can make sweet melodies with minimal effort that can be easily recreated or sampled. FWIW!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tenori-onusa.com/&#xD;&#xA;  [2]: http://lab.andre-michelle.com/tonematrix&#xD;&#xA;  [3]: http://itunes.apple.com/us/app/beatwave/id363718254?mt=8&#xD;&#xA;  [4]: http://www.thinkgeek.com/electronics/musical-instruments/c4e1/&#xD;&#xA;  [5]: http://tones.wolfram.com/generate/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6866" PostHistoryTypeId="2" PostId="4039" RevisionGUID="e5f76598-f3f3-4a7e-bbf1-c4ccd34f0acc" CreationDate="2010-10-08T16:43:47.190" UserId="18160" Text="I've got a scene I'm working on where a couple characters are having a conversation and the camera is in front of them walking with them tracking them as they walk through a whole office. The scene is one shot while they talk, and they walk through a lobby, into some offices, into a bigger conference room with bare walls. The dialogue is ADRed because the lapels didn't turn out too good.&#xD;&#xA;&#xD;&#xA;So, I've got some dry dialogue I need to either worldize or automate a reverb to make it sound like the echo is changing throughout the rooms.&#xD;&#xA;&#xD;&#xA;I've got TL Space - I haven't bought Altiverb yet, I really want it, but for now I've got only TL and Revibe.&#xD;&#xA;&#xD;&#xA;Is there a trick you use to automate reverbs without them digitally clicking while they change to the different spaces?&#xD;&#xA;&#xD;&#xA;The only way I can think of to do this is set up an A reverb and a B reverb and automate the sends crossfading into both and while the A reverb is not being used, have it switch to the next space after the B reverb is done." ContentLicense="CC BY-SA 2.5" />
  <row Id="6867" PostHistoryTypeId="1" PostId="4039" RevisionGUID="e5f76598-f3f3-4a7e-bbf1-c4ccd34f0acc" CreationDate="2010-10-08T16:43:47.190" UserId="18160" Text="Automating a Dialogue/Foley Reverb" ContentLicense="CC BY-SA 2.5" />
  <row Id="6868" PostHistoryTypeId="3" PostId="4039" RevisionGUID="e5f76598-f3f3-4a7e-bbf1-c4ccd34f0acc" CreationDate="2010-10-08T16:43:47.190" UserId="18160" Text="&lt;reverb&gt;&lt;glitch&gt;&lt;digital&gt;&lt;pop&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6869" PostHistoryTypeId="2" PostId="4040" RevisionGUID="b30a2911-cf4e-4b4d-be86-bfe91e67f7ae" CreationDate="2010-10-08T17:02:42.533" UserId="61" Text="That approach will work for sure, and is a great method so long as DSP is available. Another way to go is to print your reverb returns to a track and then treat them as regular audio files. No need to worry about automating. Just be sure to keep copious notes or save your settings for when you need to go back and adjust a parameter -- or better yet, actually automate your reverbs as if they were going to run in real-time, print the return, and then inactivate the verb track. That way, if you need to make an adjustment, just re-activate the track and it's all right there." ContentLicense="CC BY-SA 2.5" />
  <row Id="6872" PostHistoryTypeId="2" PostId="4042" RevisionGUID="8cebd591-bb31-44f7-965b-65348c353ca2" CreationDate="2010-10-08T18:17:33.223" UserId="596" Text="+1 for the RODE NTG-2, i also use it together with my PCM-D50. it works great for sfx recording and voiceovers. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6873" PostHistoryTypeId="5" PostId="4011" RevisionGUID="fc8e25d8-bc4e-4270-bdb7-c5905f0c339d" CreationDate="2010-10-08T18:47:24.927" UserId="6411" Comment="Changed Title" Text="**FORMERLY: (Where) Does the piracy line blur?**&#xD;&#xA;&#xD;&#xA;Alright, as I re-read this it sounds like a copyright law test question, but here goes anyway:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Riding on the wave of [moral discourse][1] that is going on today...&#xD;&#xA;&#xD;&#xA;I'm looking to see if/where the line on piracy blurs, and am particularly interested in the reactions of those of you around here who have released or plan on releasing libraries yourself, as I assume you have investigated such situations. I would like to state before I get myself deeply mired in a seriously bad reputation that *I do not condone nor use pirated software or other &quot;warez&quot; in **any** professional manner.* However, I do have a question that I'm pretty positive I know the answer to but still wanted to put this out for general consensus.&#xD;&#xA;&#xD;&#xA;**Example:**&#xD;&#xA;&#xD;&#xA;I work at a company who has legally purchased multiple sound effect libraries. In my day-to-day activities I edit using those FX. I claim the edit as my work, but the sounds edited are clearly not mine.&#xD;&#xA;&#xD;&#xA;Now, say that while at work I do something like Charles' [whoosh generator][3] using sounds from a library that my company purchased. I process the living heck out of a select few of them to make more sounds for the company's library. It's not work that we are billing for, so it doesn't fall into work for hire through an outside contract. It's merely an activity that occupies free time. So who owns these new sounds?&#xD;&#xA;&#xD;&#xA;As a full-time employee I assume that I'm employed under work-for-hire, and as such they would belong to the company for as long as it existed. But I'm not terribly certain that is the actual terms of my employment. I can't say that I remember signing anything that would have conveyed such an agreement. And honestly don't really know what the alternative would be.&#xD;&#xA;&#xD;&#xA;So, assuming that I don't sell these derivative works publicly (cause that's clearly a library license violation) am I at liberty to add these &quot;fresh&quot; sounds to my personal library, or would I have to be an owner of the original library that the source sounds were obtained from?&#xD;&#xA;&#xD;&#xA;Would your answer change if I used company equipment to record sound effects and used those sounds as source material for the process?&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/3928/pirate-audio-samples-how-risky-is-it-really&#xD;&#xA;  [2]: http://miguelisaza.com/blog/2010/07/seal-creature-1-boh-the-forgotten-dog/&#xD;&#xA;  [3]: http://designingsound.org/2010/02/charles-deenen-special-100-whooshes-in-2-minutes/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6874" PostHistoryTypeId="4" PostId="4011" RevisionGUID="fc8e25d8-bc4e-4270-bdb7-c5905f0c339d" CreationDate="2010-10-08T18:47:24.927" UserId="6411" Comment="Changed Title" Text="Who Owns the Sounds You Design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6875" PostHistoryTypeId="2" PostId="4043" RevisionGUID="039fdeca-5279-4d85-9105-181e9adfb0fc" CreationDate="2010-10-08T18:49:56.610" UserId="37" Text="Weird timing. I just spent a day recording with Soundfield's [SPS422][1]/[SP451][2] combo straight to laptop audio interface. It was shockingly simple to set up, just takes a large number of XLRs. Easy to move if you put it on a cart. Overall, a really nice experience. The sound is great, totally immersive. It causes a rather intriguing dissonance between what your eyes are seeing (post audio room) and what you're hearing in 5.1 (place you've recorded).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundfield.com/products/sps422b.php&#xD;&#xA;  [2]: http://www.soundfield.com/products/sp451.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="6876" PostHistoryTypeId="2" PostId="4044" RevisionGUID="80f3a9d4-fae5-4c32-beac-20229d9ee7e7" CreationDate="2010-10-08T19:40:15.810" UserId="2" Text="I've done a few skydives out of a microlight, and I don't recall the wind being very strong as it doesn't go too fast. You should be more than fine using a Zeppelin/Blimp. You sit behind the pilot and you probably won't be aiming the mic in front so you should have some added wind protection from him. &#xD;&#xA;&#xD;&#xA;**be super careful**&#xD;&#xA;&#xD;&#xA;The prop is right behind you, and very close. Not all microlights have a protective grill, my friend lost his hand skydiving out of one - sliced his hand right off. Just be aware of your space at all times, don't just point the mic without taking care of where it is!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="6877" PostHistoryTypeId="2" PostId="4045" RevisionGUID="43b645e1-484a-4f96-b0ae-6c4ab8b40375" CreationDate="2010-10-08T20:04:43.663" UserId="610" Text="I'm majoring in Music Business right now, but we did a couple projects last year in Electronic Music where we had to put sound beds onto trailers, and I absolutely fell in love.  It was so much fun.  I figure for the lack of jobs and such, I should probably keep my Music Business major because I know Sound Design isn't stable, and is difficult to get into, but is a Recording Arts degree what would best fit for Sound Design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6878" PostHistoryTypeId="1" PostId="4045" RevisionGUID="43b645e1-484a-4f96-b0ae-6c4ab8b40375" CreationDate="2010-10-08T20:04:43.663" UserId="610" Text="Is a Music Business bachelors and a Recording Arts bachelors degree going to get me anywhere in Sound Design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6879" PostHistoryTypeId="3" PostId="4045" RevisionGUID="43b645e1-484a-4f96-b0ae-6c4ab8b40375" CreationDate="2010-10-08T20:04:43.663" UserId="610" Text="&lt;college&gt;&lt;sound-design&gt;&lt;music-business&gt;&lt;electronic-music&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6880" PostHistoryTypeId="2" PostId="4046" RevisionGUID="9a59bf2f-0ae3-45f2-81ba-59bfc3c89d99" CreationDate="2010-10-08T20:21:04.400" UserId="315" Text="Yes...Recording Arts would be better than a Music Business degree (which isn't that stable a path either to be honest). &#xD;&#xA;&#xD;&#xA;Learn as much about mixing and recording as you can (mic technique, eq, compression, signal flow, Pro Tools basics etc.) while you are in school and work on some student film projects if you can. Then move to a place like Los Angeles or perhaps New York (if you're into film) and seek an apprenticeship/runner position at a post sound facility. Nothing beats real world experience and mentoring with seasoned pros in the sound design field. &#xD;&#xA;&#xD;&#xA;Trust me though, a good attitude/work ethic is more important than a degree or sound design reel for getting a foot in the door in the film/tv world." ContentLicense="CC BY-SA 2.5" />
  <row Id="6881" PostHistoryTypeId="2" PostId="4047" RevisionGUID="97af294a-be1e-4938-9601-e472fc642e6e" CreationDate="2010-10-08T21:03:35.050" UserId="46" Text="Music business is stable? That's news to me. :)&#xD;&#xA;&#xD;&#xA;Yes, recording arts is more applicable to sound design, but you can probably expect to work for free (or near to free) at an internship to really learn the craft and get the skills to get a permanent job.&#xD;&#xA;&#xD;&#xA;+1 with Justin - a good attitude/work ethic is the true key." ContentLicense="CC BY-SA 2.5" />
  <row Id="6882" PostHistoryTypeId="2" PostId="4048" RevisionGUID="db944c3a-cef4-4e01-9ce5-c1c78c594ccd" CreationDate="2010-10-08T21:23:00.057" UserId="18160" Text="I love the story Ren Klyce tells in his Soundworks profile for Benjamin Button about how one of the field recordists recorded ambiences inside rest homes without people knowing they are being recorded.&#xD;&#xA;&#xD;&#xA;I have also heard from a story of a recordist using a pair of glasses with microphones mounted on them to record ambiences of bars and restaurants.&#xD;&#xA;&#xD;&#xA;What types of things have you done if you've needed to get ambience in this fashion?&#xD;&#xA;&#xD;&#xA;Also, is that glasses set-up (if it exists) expensive?&#xD;&#xA;&#xD;&#xA;And one more thing: If people aren't aware they're being recorded for a big-budget feature, will there be legal issues down the road if someone is prominent in the mix and recognizes their voice? (if this could ever happen...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6883" PostHistoryTypeId="1" PostId="4048" RevisionGUID="db944c3a-cef4-4e01-9ce5-c1c78c594ccd" CreationDate="2010-10-08T21:23:00.057" UserId="18160" Text="Microphone Disguising" ContentLicense="CC BY-SA 2.5" />
  <row Id="6884" PostHistoryTypeId="3" PostId="4048" RevisionGUID="db944c3a-cef4-4e01-9ce5-c1c78c594ccd" CreationDate="2010-10-08T21:23:00.057" UserId="18160" Text="&lt;stealth&gt;&lt;ambience&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6885" PostHistoryTypeId="5" PostId="4048" RevisionGUID="27860242-3775-4e8b-b736-857e6cef6927" CreationDate="2010-10-08T21:28:43.183" UserId="18160" Comment="added 180 characters in body; added 213 characters in body" Text="I love the story Ren Klyce tells in his Soundworks profile for Benjamin Button about how one of the field recordists recorded ambiences inside rest homes without people knowing they are being recorded.&#xD;&#xA;&#xD;&#xA;I have also heard from a story of a recordist using a pair of glasses with microphones mounted on them to record ambiences of bars and restaurants.&#xD;&#xA;&#xD;&#xA;What types of things have you done if you've needed to get ambience in this fashion?&#xD;&#xA;&#xD;&#xA;Also, is that glasses set-up (if it exists) expensive?&#xD;&#xA;&#xD;&#xA;And one more thing: If people aren't aware they're being recorded for a big-budget feature, will there be legal issues down the road if someone is prominent in the mix and recognizes their voice? (if this could ever happen...)&#xD;&#xA;&#xD;&#xA;EDIT: Quick search yielded this: http://www.linkwitzlab.com/images/photos/stereo-mic2.JPG Would this sound good? I own a few small B&amp;K capsules I could possibly do that with...&#xD;&#xA;&#xD;&#xA;Maybe I'm making this too complicated... I suppose it would be far better to just use an ORTF or XY bar with 2 Schoeps MK mics set up and positioned behind the bar well before it gets busy and call it a day..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6886" PostHistoryTypeId="5" PostId="4048" RevisionGUID="499c0bbe-ba9c-42e7-9c97-f166b16104fc" CreationDate="2010-10-08T21:34:26.433" UserId="18160" Comment="added 6 characters in body" Text="I love the story Ren Klyce tells in his Soundworks profile for Benjamin Button about how one of the field recordists recorded ambiences inside retirement homes without people knowing they are being recorded.&#xD;&#xA;&#xD;&#xA;I have also heard from a story of a recordist using a pair of glasses with microphones mounted on them to record ambiences of bars and restaurants.&#xD;&#xA;&#xD;&#xA;What types of things have you done if you've needed to get ambience in this fashion?&#xD;&#xA;&#xD;&#xA;Also, is that glasses set-up (if it exists) expensive?&#xD;&#xA;&#xD;&#xA;And one more thing: If people aren't aware they're being recorded for a big-budget feature, will there be legal issues down the road if someone is prominent in the mix and recognizes their voice? (if this could ever happen...)&#xD;&#xA;&#xD;&#xA;EDIT: Quick search yielded this: http://www.linkwitzlab.com/images/photos/stereo-mic2.JPG Would this sound good? I own a few small B&amp;K capsules I could possibly do that with...&#xD;&#xA;&#xD;&#xA;Maybe I'm making this too complicated... I suppose it would be far better to just use an ORTF or XY bar with 2 Schoeps MK mics set up and positioned behind the bar well before it gets busy and call it a day..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6887" PostHistoryTypeId="2" PostId="4049" RevisionGUID="f1343cfb-252a-4eb5-ab32-ab64ebf5a117" CreationDate="2010-10-08T21:39:53.570" UserId="611" Text="There's no easy answer to your question.  But definitely Recording Arts will pay off more so than Music Business.  Sound Design involved a lot of technical knowledge, and you will get that in RA, not so much in MB.&#xD;&#xA;&#xD;&#xA;When it all is said and done though, the only way you can make a job work is just by putting everything you've got into it.  Be prepared for anything and be flexible with your schedule (and your opinions).  It's not a silver platter.  It's more like an old war relic that you have to polish for years until it's actually worth anything lucrative.&#xD;&#xA;&#xD;&#xA;Best of luck!&#xD;&#xA;&#xD;&#xA;chris." ContentLicense="CC BY-SA 2.5" />
  <row Id="6888" PostHistoryTypeId="5" PostId="4048" RevisionGUID="ca9c0578-e4c8-4f72-bc26-1a833e10e5fa" CreationDate="2010-10-08T21:40:11.557" UserId="18160" Comment="deleted 4 characters in body" Text="I love the story Ren Klyce tells in his Soundworks profile for Benjamin Button about how one of the field recordists recorded ambiences inside retirement homes without people knowing they are being recorded.&#xD;&#xA;&#xD;&#xA;I have also heard from a story of a recordist using a pair of glasses with microphones mounted on them to record ambiences of bars and restaurants.&#xD;&#xA;&#xD;&#xA;What types of things have you done if you've needed to get ambience in this fashion?&#xD;&#xA;&#xD;&#xA;Also, is that glasses set-up (if it exists) expensive?&#xD;&#xA;&#xD;&#xA;And one more thing: If people aren't aware they're being recorded for a big-budget feature, will there be legal issues down the road if someone is prominent in the mix and recognizes their voice? (if this could ever happen...)&#xD;&#xA;&#xD;&#xA;EDIT: Quick search yielded this: http://www.linkwitzlab.com/images/photos/stereo-mic2.JPG Would this sound good? I own a few small B&amp;K capsules I could possibly do that with...&#xD;&#xA;&#xD;&#xA;Maybe I'm making this too complicated... I suppose it would be far better to just use an ORTF or XY bar with a couple mics set up and positioned behind the bar well before it gets busy and call it a day..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6889" PostHistoryTypeId="5" PostId="4048" RevisionGUID="a76fc5c5-4ac6-4f2a-b3cb-145701d5c8a7" CreationDate="2010-10-08T21:47:23.183" UserId="18160" Comment="added 65 characters in body; deleted 47 characters in body" Text="I love the story Ren Klyce tells in his Soundworks profile for Benjamin Button about how one of the field recordists recorded ambiences inside retirement homes to capture completely natural and real conversation and ambience.&#xD;&#xA;&#xD;&#xA;I have also heard from a story of a recordist using a pair of glasses with microphones mounted on them to record ambiences of bars and restaurants.&#xD;&#xA;&#xD;&#xA;What types of things have you done if you've needed to get ambience in this fashion?&#xD;&#xA;&#xD;&#xA;Also, is that glasses set-up (if it exists) expensive?&#xD;&#xA;&#xD;&#xA;And one more thing: If people aren't aware they're being recorded for a big-budget feature, will there be legal issues down the road if someone is prominent in the mix and recognizes their voice? (if this could ever happen...)&#xD;&#xA;&#xD;&#xA;EDIT: Quick search yielded this: http://www.linkwitzlab.com/images/photos/stereo-mic2.JPG Would this sound good? I own a few small B&amp;K capsules I could possibly do that with...&#xD;&#xA;&#xD;&#xA;Maybe I'm making this too complicated... I suppose it would be far better to just use an ORTF or XY bar with a couple mics set up and positioned behind the bar well before it gets busy and call it a day..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6890" PostHistoryTypeId="2" PostId="4050" RevisionGUID="69cf4828-f5b7-4934-8b4e-840e7a67aa7e" CreationDate="2010-10-08T22:05:20.330" UserId="315" Text="This place is known for these type of mic setups:&#xD;&#xA;&#xD;&#xA;http://www.sonicstudios.com/&#xD;&#xA;&#xD;&#xA;Other options:&#xD;&#xA;&#xD;&#xA;Hide your zeppelin in a duffel bag or tiny dog carrier.&#xD;&#xA;&#xD;&#xA;Lav mics taped to your shoulders, or I like to use a hardshell motorcycle backpack as it doesn't make any cloth noise.&#xD;&#xA;&#xD;&#xA;Sanken CUB mics are easily disguised on anything with a flat surface.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6891" PostHistoryTypeId="2" PostId="4051" RevisionGUID="4471cdec-06c2-4563-93ac-97a74c797be9" CreationDate="2010-10-08T22:26:21.383" UserId="37" Text="i believe we've discussed this before. &#xD;&#xA;the greatest disguise is your expression. you can hold a mic in your hand pointing at someone and they might still not realise you're recording. &#xD;&#xA;&#xD;&#xA;stick stealthy mics on a backpack and have a walk. (mind the wind and the mics' direction)&#xD;&#xA;&#xD;&#xA;i like clipping miniature mics to the neck of my (then preferably black) t-shirt and controlling record/stop via remote control. busy people never see what's happening.&#xD;&#xA;&#xD;&#xA;a hat is popular for hiding mics too. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6892" PostHistoryTypeId="2" PostId="4052" RevisionGUID="900e0953-2077-4cf2-adb5-b2c8dc1adc90" CreationDate="2010-10-08T22:29:45.923" UserId="40" Text="I use the glasses rig all the time. I have 2 Countryman B6s that I tape to the inside of my glasses frame with topstick tape. Works like a charm. Sounds great! No fabric noise, just have to be careful of how loud you breathe / what noises you make with your mouth!  It's also a great rig for wiring somebody on set! The mic moves around with the talent's headmovement, and you don't get cloth noise.&#xD;&#xA;&#xD;&#xA;You could also use the lavs and tape them by your ears, or use a similar mount to what I did in my blog [here.][1] &#xD;&#xA;&#xD;&#xA;Or you could buy a pair of those $200 binaural mic sets (don't remember the name, somebody help me out here?)&#xD;&#xA;&#xD;&#xA;Also, I have been known to walk around with an MKH50 up my sleeve, conceled by my hand, cable running up my sleeve into a recorder in a messenger bag. People never notice it, especially if you're wearing earbuds!&#xD;&#xA;&#xD;&#xA;I think there's a thread about this from a few months back...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.colinhartonline.com/?p=164" ContentLicense="CC BY-SA 2.5" />
  <row Id="6893" PostHistoryTypeId="2" PostId="4053" RevisionGUID="56aeb89d-5319-4d07-927a-fd5cf966fd5d" CreationDate="2010-10-08T23:50:17.820" UserId="81" Text="No degree will get you anywhere. Try to build as much experience as you can. A guy with a good reel and portfolio with no higher education what-so-ever would be preferred over you. &#xD;&#xA;&#xD;&#xA;Diplomas don't get the job done, people do that. &#xD;&#xA;&#xD;&#xA;Please don't get me wrong. I am not implying that school is unnecessary. Actually school with put you infront of thousands with the theoretical and practical knowledge you learn there. But still it all comes down to **actually doing** stuff.&#xD;&#xA;&#xD;&#xA;Go out there. Help local directors, video game programmers, do it for the sake of experience, then there will be a point where people will want to pay for that experience. And never give up!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6894" PostHistoryTypeId="2" PostId="4054" RevisionGUID="868805fe-52d2-47f2-a9ec-f1ed862988e5" CreationDate="2010-10-09T08:17:47.233" UserId="238" Text="I was at a [talk on Wednesday about field recording][1] and one of the panel (field recordist Justin Bennet) was talking about stealth recording. He often uses small Binaural mics (I think he said they were Core Sound mics) and has adapted them to be able to sit in his ears so they look like headphones. No one ever realises he is recording. &#xD;&#xA;&#xD;&#xA;You might also want to check out [this old post][2] on SSD. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audioloungesound.com/blog/2010/10/review-the-wire-salons-environmental-agents-the-art-of-field-recording/&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/214/guerilla-not-gorilla-sound-recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="6895" PostHistoryTypeId="2" PostId="4055" RevisionGUID="9651f9a8-6826-4d21-a724-1c059c461b04" CreationDate="2010-10-09T19:44:37.070" UserId="6487" Text="I have done some trailers for films and even more often have mixed trailers for theatrical release to promote television shows as well as television tie-ins using partially completed stems from feature films to make promos for behind the scene footage and sneak peaks,etc. I almost always get stems from the house that is mixing the actual film/programming. &#xD;&#xA;&#xD;&#xA;I try to be as to true to the original as possible but as Glenn mentions above there will be times where there must be provisions made for &quot;the sell.&quot;  I have juiced up or thinned sounds to &quot;up&quot; the excitement of the cut.  Often times the sounds that make the furrows and peaks that are necessary in the success of a long form story line must be tweaked a bit for a trailer or promo in order to make the specific cut flow and crest and grab the excitement of the viewer. It is a hard balance between wanting to design and mix something that will &quot;sell&quot; the audience but remain a true representation of the programming, especially as often the actual programming is not available in its entirety for me to view. I find you have to ask yourself if what you are adding is necessary to the successful communication of the message in the few minutes, 60, 30, 15, or 10 sec you have and if it still represents what could reasonably be within the sound palette of the actual programming. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6896" PostHistoryTypeId="2" PostId="4056" RevisionGUID="69394b00-7510-455c-bef8-0b1bef290b2f" CreationDate="2010-10-10T00:07:49.473" UserId="596" Text="i'm frequently reading the famous Sound On Sound... but noticed it's only about 30% of the content there which i find interesting... it's too gear-oriented, almost like reading a tech manual sometimes. i'm looking for something that combines gear reviews, technique and also some conceptual stuff, audio art, interviews, etc. any recommendations?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6897" PostHistoryTypeId="1" PostId="4056" RevisionGUID="69394b00-7510-455c-bef8-0b1bef290b2f" CreationDate="2010-10-10T00:07:49.473" UserId="596" Text="what's your favourite sound design / musictech / pro audio magazine? " ContentLicense="CC BY-SA 2.5" />
  <row Id="6898" PostHistoryTypeId="3" PostId="4056" RevisionGUID="69394b00-7510-455c-bef8-0b1bef290b2f" CreationDate="2010-10-10T00:07:49.473" UserId="596" Text="&lt;magazine&gt;&lt;resources&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6899" PostHistoryTypeId="2" PostId="4057" RevisionGUID="dc1c08c0-8bc5-4a35-b713-1afd7e069e3f" CreationDate="2010-10-10T00:11:44.293" UserId="103" Text="I like Mix magazine quite a bit" ContentLicense="CC BY-SA 2.5" />
  <row Id="6902" PostHistoryTypeId="2" PostId="4059" RevisionGUID="bf322fbc-d180-41a3-a651-6009520ca436" CreationDate="2010-10-10T01:40:16.683" UserId="132" Text="when recording nature sounds and ambiences I often setup and get out of the way . . .  literally! How many folks going into record and get out the way when overlapping your recordings is a high risk.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6903" PostHistoryTypeId="1" PostId="4059" RevisionGUID="bf322fbc-d180-41a3-a651-6009520ca436" CreationDate="2010-10-10T01:40:16.683" UserId="132" Text="How many folks going into record and walk away in quiet settings?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6904" PostHistoryTypeId="3" PostId="4059" RevisionGUID="bf322fbc-d180-41a3-a651-6009520ca436" CreationDate="2010-10-10T01:40:16.683" UserId="132" Text="&lt;ambience&gt;&lt;nature&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6905" PostHistoryTypeId="2" PostId="4060" RevisionGUID="ddfb3038-156e-40b9-a95f-9e941c820f60" CreationDate="2010-10-10T01:47:18.830" UserId="260" Text="I use binaural microphones that are attached to my ears. I can upload what I've recorded at new years if you wanna hear. They thought I had ear plugs on for the loud booms or was listening to music because it looks like music ear plugs." ContentLicense="CC BY-SA 2.5" />
  <row Id="6906" PostHistoryTypeId="2" PostId="4061" RevisionGUID="9f770336-02f6-4645-a901-f02073c22cd9" CreationDate="2010-10-10T02:30:46.013" UserId="61" Text="It makes for a much longer mastering session later, but I really enjoy this method of capturing sounds. Once you enter a space it takes a good 10-15 minutes for nature to settle back down into its normal rhythms (I suppose the same could be said for most human environments as well!). Once everyone forgets that the mic is there, things return to normal and you can record what you originally intended. And when I leave my gear I normally don't go far; maybe retreat to my car or a nearby house, or even just around the corner from where I've set up, so I don't need to worry about my gear getting stolen or damaged." ContentLicense="CC BY-SA 2.5" />
  <row Id="6907" PostHistoryTypeId="2" PostId="4062" RevisionGUID="a77323a6-8be9-4183-9e8a-97a83244cc62" CreationDate="2010-10-10T05:21:24.217" UserDisplayName="user49" Text="In this issue of The Wire http://www.thewire.co.uk/issues/318/ Chris Watson discusses how he runs long cables to his mic/s, so he can be a safe distance but still listen.... and I'd tend to agree with him - I always prefer to monitor the recording..." ContentLicense="CC BY-SA 2.5" />
  <row Id="6908" PostHistoryTypeId="2" PostId="4063" RevisionGUID="c20803a8-bd62-4cd8-9e78-9f0804b60f92" CreationDate="2010-10-10T10:01:30.940" UserId="238" Text="Social Sound Design &#xD;&#xA;:-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6909" PostHistoryTypeId="2" PostId="4064" RevisionGUID="58a6e9f2-9ecd-4316-ad24-1ca5aaa69805" CreationDate="2010-10-10T11:00:14.047" UserId="62" Text="I read Resolution and AudioMedia" ContentLicense="CC BY-SA 2.5" />
  <row Id="6910" PostHistoryTypeId="2" PostId="4065" RevisionGUID="2ec02f9d-4ced-4b37-bc8d-2028f872cbb4" CreationDate="2010-10-10T12:29:59.963" UserId="613" Text="Thanks to Bruno for the heads-up, just note that you can download some b-format demos on our Surround Library website at :&#xD;&#xA;http://www.surround-library.com/demos&#xD;&#xA;&#xD;&#xA;Also check Ambisonia : http://www.ambisonia.com, some great demos right there.&#xD;&#xA;&#xD;&#xA;I love ambisonic too, and do all my ambiences with this system (Soundfield ST350 also, SPS200 is not so great as i've been told.).&#xD;&#xA;It's just sad that no other microphone manufacturers except Soundfield jump in the pit, as it would be great to have a wider range of mikes to choose from (say Neumann, DPA, Sennheiser, Schoeps, etc.).&#xD;&#xA;Maybe later, when the technology finaly gets adopted by most of the sound editors and mixers, when appropriate.&#xD;&#xA;&#xD;&#xA;Ambisonic is also great for video game (realtime processings depending of the situation), check out Code Masters and some of its sound designers.&#xD;&#xA;&#xD;&#xA;Bye." ContentLicense="CC BY-SA 2.5" />
  <row Id="6911" PostHistoryTypeId="2" PostId="4066" RevisionGUID="acdee248-43b7-4ec0-b735-5fdfb2fb9f56" CreationDate="2010-10-10T14:54:07.997" UserId="614" Text="You MUST have the Sony re S777/2. AND DASK-S704 Ver.2.0 &quot;Sampling your Spaces&quot; CD ROM and Memory stick with CD-ROM Licence.  A Sony manual for this exists as well.  I was right on it after buying my unit and was able to buy every option and CD set Sony ever made.  Thank God!! It was NOT Easy to find the sampling software!!!  It works Great I can tell you.Good luck, you'll need it." ContentLicense="CC BY-SA 2.5" />
  <row Id="6912" PostHistoryTypeId="2" PostId="4067" RevisionGUID="ec07f81d-f99d-4d78-ac2d-2651e566b1d9" CreationDate="2010-10-10T18:17:28.707" UserId="390" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;This Tuesday, I will be attending a filmmaker's meetup group to talk about sound. The current speaker had a conflict arise and had to bail. I was asked to do the presentation. I have my own ideas as to what I wish other filmmakers knew as they start preparing for a film shoot. I just wanted to get a feel for what you guys wish your colleagues in film-making would know about sound before production and post-production begins on a project." ContentLicense="CC BY-SA 2.5" />
  <row Id="6913" PostHistoryTypeId="1" PostId="4067" RevisionGUID="ec07f81d-f99d-4d78-ac2d-2651e566b1d9" CreationDate="2010-10-10T18:17:28.707" UserId="390" Text="As a sound designer/Location Audio Recordist, what would you like a Director to know before production?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6914" PostHistoryTypeId="3" PostId="4067" RevisionGUID="ec07f81d-f99d-4d78-ac2d-2651e566b1d9" CreationDate="2010-10-10T18:17:28.707" UserId="390" Text="&lt;production-sound&gt;&lt;post-production&gt;&lt;sound-design&gt;&lt;education&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6915" PostHistoryTypeId="2" PostId="4068" RevisionGUID="11db9f7b-048e-4bf0-9b5c-41bb9f5b422b" CreationDate="2010-10-10T18:45:39.573" UserId="378" Text="This is wonderful!&#xD;&#xA;&#xD;&#xA;The very best directors already do this, but I'd love for a director to have as strong an idea of what the film will ultimately sound like as they do for what it will look like. They put together storyboards, it can be as simple as notes upon the boards.&#xD;&#xA;&#xD;&#xA;That way you don't have the editing issues that are so common, and the film is more fully utilizing the potential of sound design. As it stands, brilliant storytelling ideas in post have to coincidentally work with what's on screen. And other brilliant storytelling ideas will totally fail because they don't work in conjunction with the image." ContentLicense="CC BY-SA 2.5" />
  <row Id="6916" PostHistoryTypeId="2" PostId="4069" RevisionGUID="5094c10d-85b3-4018-85d3-c74a25586acf" CreationDate="2010-10-11T00:18:53.553" UserDisplayName="user49" Text="heres just a few....&#xD;&#xA;&#xD;&#xA;- suggest they read Randy Thoms great article Designing a film for sound&#xD;&#xA;http://filmsound.org/articles/designing_for_sound.htm&#xD;&#xA;&#xD;&#xA;- stress how important production sound is (ADR is expensive &amp; may not achieve the same result especially in emotionally driven scenes where recreating performance may be very difficult) &#xD;&#xA;&#xD;&#xA;- using an experienced recordist &amp; boom is money very well spent&#xD;&#xA;&#xD;&#xA;- suggest they always confirm the sound post team before the shoot, and a preproduction meeting occur with prod sound, pic editor &amp; assistant &amp; dialogue editor&#xD;&#xA;&#xD;&#xA;- camera tests should include sound workflow verification; prod sound -&gt; sync up -&gt; picture editor -&gt; OMF/AAF -&gt; dialogue editor (this is ALWAYS important but esp if shooting with DSLRs)&#xD;&#xA;&#xD;&#xA;- retain access to vehicles and/or any unique props or locations through until the end of post&#xD;&#xA;&#xD;&#xA;- don't fall in love with the temp score&#xD;&#xA;&#xD;&#xA;- do ask for temp FX&#xD;&#xA;&#xD;&#xA;- do turnover the cut to sound post before picture lock&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6917" PostHistoryTypeId="2" PostId="4070" RevisionGUID="7346f48d-4f58-498f-a25b-9c5a8bbe1d51" CreationDate="2010-10-11T04:36:03.603" UserId="594" Text="TapeOp&#xD;&#xA;&#xD;&#xA;Signal to Noise &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6918" PostHistoryTypeId="2" PostId="4071" RevisionGUID="a2e10755-f7c2-49e8-8b95-56c1315d9847" CreationDate="2010-10-11T07:03:05.700" UserId="61" Text="The [Soundworks Collection][1] usually yields some interesting and inspirational content from professionals in the film world.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6919" PostHistoryTypeId="2" PostId="4072" RevisionGUID="a2d4f83d-4d5c-4c31-9b80-4add5b399dba" CreationDate="2010-10-11T11:41:00.050" UserId="348" Text="Hi there,&#xD;&#xA;&#xD;&#xA;Does anyone know any good techniques for removing camera noise from location sound recordings. I lecture and we have very old, loud Arri's and one of my students is struggling to remove the camera noise without compromising the dialogue. I have some techniques but maybe you SSD's might have some suggestions. &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6920" PostHistoryTypeId="1" PostId="4072" RevisionGUID="a2d4f83d-4d5c-4c31-9b80-4add5b399dba" CreationDate="2010-10-11T11:41:00.050" UserId="348" Text="Removing camera noise" ContentLicense="CC BY-SA 2.5" />
  <row Id="6921" PostHistoryTypeId="3" PostId="4072" RevisionGUID="a2d4f83d-4d5c-4c31-9b80-4add5b399dba" CreationDate="2010-10-11T11:41:00.050" UserId="348" Text="&lt;camera&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6922" PostHistoryTypeId="2" PostId="4073" RevisionGUID="2755d522-4042-4137-932d-4cbda59a0ffe" CreationDate="2010-10-11T12:24:24.223" UserId="62" Text="Difficult to say without know what kit you are trying to clean the sound with.&#xD;&#xA;&#xD;&#xA;If it's a continuous whine of the motors then you should be able to isolate the frequency with an EQ. A useful trick to push the frequency like in the picture below, it can be easier to hear the offending drone to be able to remove it. You should be able to hear the problem easier by making the whine worse.&#xD;&#xA;&#xD;&#xA;[alt text][1]&#xD;&#xA;&#xD;&#xA;Once you've found the frequency, pull it out by reducing the gain as far as you can go. Some EQs are better at this than others, Waves Q EQ is the best in my opinion as it has the narrowest Q.&#xD;&#xA;&#xD;&#xA;If you've got some cash then get something like izotope RX as you can then either use the noise reduction or the rather amazing Spectral Analyser to clean up the sound.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://twitpic.com/2wp31s" ContentLicense="CC BY-SA 2.5" />
  <row Id="6923" PostHistoryTypeId="2" PostId="4074" RevisionGUID="3765ce0a-c2b4-4c58-8a6c-7076fbb546d9" CreationDate="2010-10-11T13:09:01.420" UserId="234" Text="In order I would try EQ, Hardware NR boxes (CAT43, Cedar DNS), Multiband Expansion (Waves C4, WaveArts MD6, etc) and then specialized NR plugs/software. You may find that a little of each, does a much better job, than trying to get any ONE of them to clean it completely.&#xD;&#xA;&#xD;&#xA;As a note, they will not be able to remove it completely without causing issues to the dialog. They just want to make it as unobtrusive as possible." ContentLicense="CC BY-SA 2.5" />
  <row Id="6924" PostHistoryTypeId="5" PostId="2879" RevisionGUID="dfe14358-b3f8-48da-ac68-fe3e19331ab2" CreationDate="2010-10-11T14:59:43.120" UserId="90" Comment="added 386 characters in body; added 55 characters in body" Text="Piezoelectric pickups need a preamp with a really high input impedance, preferably on the pickup end of the cable rather than the amp end. &#xD;&#xA;&#xD;&#xA;Piezos have a very high (capacitive) output impedance, so they need to see an even higher impedance at the input of your preamp, or they'll be prone to interference and low-frequency roll-off.  &#xD;&#xA;&#xD;&#xA;(A 500 pF pickup, for instance, has a 6 MΩ output impedance at 50 Hz, so even if you plug it into a &quot;high-impedance&quot; 1 MΩ guitar input, it will have dropped off by -17 dB at 50 Hz.)&#xD;&#xA;&#xD;&#xA;http://liutaiomottola.com/electronics/bassducer.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="6926" PostHistoryTypeId="2" PostId="4076" RevisionGUID="450ffc20-0f7a-44cf-a21f-57dc00394c97" CreationDate="2010-10-11T16:30:02.550" UserId="596" Text="i'm working on a short feature film where i need to provide some interesting summer ambiences, the sweat, humidity and moistness apparent in the visual scene needs to be depicted in ambient sound.     &#xD;&#xA;&#xD;&#xA;before going out there with my hifi recording toys to do some field recordings, i'd like to listen to good existing examples of summer ambiences, either synthetic or organic or a mixture of both. can anyone recommend a film/scene which features a particularly remarkable summer ambience?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6927" PostHistoryTypeId="1" PostId="4076" RevisionGUID="450ffc20-0f7a-44cf-a21f-57dc00394c97" CreationDate="2010-10-11T16:30:02.550" UserId="596" Text="recording summer ambiences" ContentLicense="CC BY-SA 2.5" />
  <row Id="6928" PostHistoryTypeId="3" PostId="4076" RevisionGUID="450ffc20-0f7a-44cf-a21f-57dc00394c97" CreationDate="2010-10-11T16:30:02.550" UserId="596" Text="&lt;ambience&gt;&lt;recording&gt;&lt;field&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6931" PostHistoryTypeId="2" PostId="4078" RevisionGUID="92f0e438-7f8b-477e-a461-71a84b1583f8" CreationDate="2010-10-11T17:48:26.857" UserDisplayName="user49" Text="The sound of warmer temperatures is usually reflected in the environment by insects; crickets, cicadas, grasshoppers, night crickets etc... But it totally depends on the films location as to what insects to use eg there are 42 species of cicada in New Zealand but none of them sound even remotely like Japanese cicadas which almost have a laughing quality (apart from hearing them in real life they also feature in Miyazaki films)&#xD;&#xA;&#xD;&#xA;The best film I've seen recently for ambiences is **Uncle Boonmee Who Can Recall His Past Lives** by Apichatpong Weerasethakul, which is filmed and set in north-east Thailand - the insects in the film are intense!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6932" PostHistoryTypeId="2" PostId="4079" RevisionGUID="b261edc3-fcf0-40d1-9b2c-65812744fe02" CreationDate="2010-10-11T18:17:48.223" UserId="474" Text="Side note: Magix Samplitude features a decent FFT filter which is very good at &quot;drawing&quot; spectra, i.e. removing unwanted frequencies without too much artifacts" ContentLicense="CC BY-SA 2.5" />
  <row Id="6933" PostHistoryTypeId="2" PostId="4080" RevisionGUID="7476798c-0aab-4224-9ef8-f445f1761e48" CreationDate="2010-10-11T19:39:54.677" UserId="238" Text="+1 on the insects call but really does depend upon location. As Tim said, even the same type of insect can sound entirely different in different parts of the world. But in general the sounds you may want to look into are bees, flies, crickets, cicadas etc. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6934" PostHistoryTypeId="2" PostId="4081" RevisionGUID="77ec04f2-5fab-48e2-85db-5a6a39bb65e9" CreationDate="2010-10-11T21:30:46.603" UserId="199" Text="looking to find a great sounding (low noise, warm vocal tone) way to record in reporter-style, so on the road but also indoors with small recorder plus mic.&#xD;&#xA;&#xD;&#xA;very open question, but please go ahead! :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6935" PostHistoryTypeId="1" PostId="4081" RevisionGUID="77ec04f2-5fab-48e2-85db-5a6a39bb65e9" CreationDate="2010-10-11T21:30:46.603" UserId="199" Text="which reporter setup?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6936" PostHistoryTypeId="3" PostId="4081" RevisionGUID="77ec04f2-5fab-48e2-85db-5a6a39bb65e9" CreationDate="2010-10-11T21:30:46.603" UserId="199" Text="&lt;microphone&gt;&lt;portable-recorder&gt;&lt;recorder&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6943" PostHistoryTypeId="2" PostId="4085" RevisionGUID="affc8fe2-662c-4bdd-b87e-5c389d3ecf06" CreationDate="2010-10-12T04:39:32.303" UserId="531" Text="Hey guys and gals, &#xD;&#xA;I was just curious to know where everyone looks for sound work online. &#xD;&#xA;Craigslist,Monster jobs, Linkdin, Mandy? &#xD;&#xA;&#xD;&#xA;I just signed up with this site, www.elance.com&#xD;&#xA;Seems very legit, people post work they need done for various projects and people bid on the job. &#xD;&#xA;They have an elaborate mediation program too, in case any disputes arise during the payment process. &#xD;&#xA;Additionally they have a system in place, where by you can get paid after each milestone is reached and all the money is held in escrow, so you know the money is there before you begin work. &#xD;&#xA;&#xD;&#xA;Perhaps those of you who are already more established and have years upon years of experience on us youngster, get all your work by word of mouth. But i was just curious to know how people in our field  finds work to pay the bills. &#xD;&#xA;&#xD;&#xA;Again, I can't say how much of an amazing resource this site is. &#xD;&#xA;Thanks for your time! &#xD;&#xA;-Kevin &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6944" PostHistoryTypeId="1" PostId="4085" RevisionGUID="affc8fe2-662c-4bdd-b87e-5c389d3ecf06" CreationDate="2010-10-12T04:39:32.303" UserId="531" Text="Finding Audio Work - where do you look? " ContentLicense="CC BY-SA 2.5" />
  <row Id="6945" PostHistoryTypeId="3" PostId="4085" RevisionGUID="affc8fe2-662c-4bdd-b87e-5c389d3ecf06" CreationDate="2010-10-12T04:39:32.303" UserId="531" Text="&lt;work&gt;&lt;finding-work&gt;&lt;job&gt;&lt;jobs&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6946" PostHistoryTypeId="5" PostId="4085" RevisionGUID="5a0aec6f-64e5-44fb-aeab-fc44014a48ab" CreationDate="2010-10-12T04:46:44.717" UserId="531" Comment="added coment " Text="Hey guys and gals, &#xD;&#xA;I was just curious to know where everyone looks for sound work online. &#xD;&#xA;Craigslist,Monster jobs, Linkdin, Mandy? &#xD;&#xA;&#xD;&#xA;I just signed up with this site, www.elance.com&#xD;&#xA;Seems very legit, people post work they need done for various projects and people bid on the job. &#xD;&#xA;They have an elaborate mediation program too, in case any disputes arise during the payment process. &#xD;&#xA;Additionally they have a system in place, where by you can get paid after each milestone is reached and all the money is held in escrow, so you know the money is there before you begin work. &#xD;&#xA;&#xD;&#xA;Perhaps those of you who are already more established and have years upon years of experience on us youngster, get all your work by word of mouth. But i was just curious to know how people in our field  finds work to pay the bills. &#xD;&#xA;&#xD;&#xA;Also how much would you credit your website/portfolio site, in landing you work? &#xD;&#xA;What role does it play? &#xD;&#xA;I'm redesigning mine at the moment and want to make it as nice as possible. &#xD;&#xA;&#xD;&#xA;Again, I can't say how much of an amazing resource this site is. &#xD;&#xA;Thanks for your time! &#xD;&#xA;-Kevin &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6947" PostHistoryTypeId="2" PostId="4086" RevisionGUID="65a27a3c-4e8b-401e-8908-129d5385ec43" CreationDate="2010-10-12T05:03:54.413" UserId="517" Text="I've recently been considering getting a small portable recorder and had my heart set on the Zoom H4N because of all the wonderful things that I've heard about it. But the recently released H1 seems like an even better solution. What do you guys think about the H1, if you've purchased it or gotten a chance to use it? I know the noise floor isn't going to be as quiet as the Sony PCM-D50 or a Sound Devices recorder, but is it low enough that recordings of relatively quiet sounds like Foley or backgrounds are useful?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6948" PostHistoryTypeId="1" PostId="4086" RevisionGUID="65a27a3c-4e8b-401e-8908-129d5385ec43" CreationDate="2010-10-12T05:03:54.413" UserId="517" Text="How's the Zoom H1 working out for you?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6949" PostHistoryTypeId="3" PostId="4086" RevisionGUID="65a27a3c-4e8b-401e-8908-129d5385ec43" CreationDate="2010-10-12T05:03:54.413" UserId="517" Text="&lt;zoom&gt;&lt;h1&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6950" PostHistoryTypeId="2" PostId="4087" RevisionGUID="56591334-2c29-4d8d-85c2-e3739a0a06f5" CreationDate="2010-10-12T06:28:56.767" UserId="348" Text="Location is crucial as well as climate of course. Here in South Africa, wet, summer ambiances differ depending on where you are based on the ecosystem. Authenticity is key here as there is nothing worse than placing the wrong ambiance over a scene- especially when the location is well known. I recorded in the country side in the High Velt an hour after a big summer thunder storm and got a really nice ambiance with all the wildlife slowly coming out of hiding and the sounds building. It was great. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6951" PostHistoryTypeId="2" PostId="4088" RevisionGUID="f4a1559e-4f05-4cb7-b67b-26e62e66930b" CreationDate="2010-10-12T07:20:12.653" UserId="348" Text="Mix, SSD, Designing Sound, Sound Works, Audiomedia. The net is a great way for me to network and find out what other people are doing. It has become so exciting. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6952" PostHistoryTypeId="2" PostId="4089" RevisionGUID="2123da18-2605-422a-b4ef-c999552f742c" CreationDate="2010-10-12T07:39:00.823" UserId="61" Text="I recorded a lot of New England ambiences during the summer of 2010. In reviewing the recordings I found that, although often lush and detailed, I failed to capture that &quot;feeling&quot;. It's hard to put into words; the experience is more than just what is audible, it also involves sight, smell and touch to form the complete picture. I'll probably never capture the feeling of that humidity (or lack of), the scent of the sea breeze or the pines. The best advice I can offer is to hone in one those singular auditory notes that really speak to you and capture those. For me, it was the seagulls wheeling around and dropping mussels on the rocks, or the woodthrush deep in the forest, always deep in the forest, far from the reach of my mics. Or the blue jay whose scream drips nostalgia for me. Find what makes the place special and unique and spend the day trying to capture it." ContentLicense="CC BY-SA 2.5" />
  <row Id="6953" PostHistoryTypeId="2" PostId="4090" RevisionGUID="5c602ed5-6a69-4b2e-a475-d72f19ffc4af" CreationDate="2010-10-12T09:04:14.337" UserId="62" Text="Hi Paul,&#xD;&#xA;&#xD;&#xA;I bought the H1 when it came out and am really impressed, especially considering the price. I couldn't afford anything more expensive at the time. My only criticism is that it's prone to handling noise, but you get what you pay for. For me it's got some great microphones, high sample rate and small enough to put in my pocket. Here's a couple of links to my blog where I've said more and there's some examples of some recordings...&#xD;&#xA;&#xD;&#xA;http://postproductionsound.wordpress.com/2010/10/08/zoom-h1-dialogue-recording/&#xD;&#xA;http://postproductionsound.wordpress.com/2010/09/11/zoom-h1-initial-thoughts/&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="6954" PostHistoryTypeId="2" PostId="4091" RevisionGUID="b1f18575-afbc-48e9-be4b-22fa217136ce" CreationDate="2010-10-12T09:41:40.907" UserId="564" Text="I'm working on a new project.  The video editors have the latest avid version, and our sound team is working with the latest version of protools.  We've been encountering problems with that file extension, as opposed to an OMF.  Is this a known problem?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6955" PostHistoryTypeId="1" PostId="4091" RevisionGUID="b1f18575-afbc-48e9-be4b-22fa217136ce" CreationDate="2010-10-12T09:41:40.907" UserId="564" Text="Known .aff problems?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6956" PostHistoryTypeId="3" PostId="4091" RevisionGUID="b1f18575-afbc-48e9-be4b-22fa217136ce" CreationDate="2010-10-12T09:41:40.907" UserId="564" Text="&lt;aaf&gt;&lt;omf&gt;&lt;pro-tools&gt;&lt;avid&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6957" PostHistoryTypeId="2" PostId="4092" RevisionGUID="a7e13bfe-e39d-4d4c-8dd3-7dba407a3a57" CreationDate="2010-10-12T11:00:46.237" UserId="62" Text="What sort of problem? I've never encountered any problems that weren't user generated I'm afraid to say (please don't take that wrong way)." ContentLicense="CC BY-SA 2.5" />
  <row Id="6958" PostHistoryTypeId="2" PostId="4093" RevisionGUID="d227c41e-1950-4df1-ac6f-5174fe2763c6" CreationDate="2010-10-12T12:22:58.903" UserId="37" Text="i've seen a number of questions like this asked on the gearslutz post production forum.." ContentLicense="CC BY-SA 2.5" />
  <row Id="6959" PostHistoryTypeId="2" PostId="4094" RevisionGUID="4efd4421-5261-4bb4-8220-d3cc60f188b7" CreationDate="2010-10-12T13:47:21.467" UserId="617" Text="I have one and love it.  I use it mostly to record ambience and in the beginning did have some trouble with handling noise and self-noise, but I think with a little practice and learning how to deal with the gain correctly you can easily overcome these problems.  I am very happy with the results I get and thoroughly recommend it.  Like Ian said, its portability is what really sells it." ContentLicense="CC BY-SA 2.5" />
  <row Id="6960" PostHistoryTypeId="2" PostId="4095" RevisionGUID="956fa2a7-4ba4-48fc-9a7d-23bc677cae9d" CreationDate="2010-10-12T14:00:47.567" UserId="361" Text="I love mine, the size, amount of flash memory you get out of the box, and the price make it easily worth it. I carry it practically everywhere now. The mics are very good but sensitive to wind, and the case does get alot of handling noise. But once you get used to holding it loose in your hand it's totally fine. I went to a farm recently and got some great stuff with it (ambiences, animal vox, footstep foley)&#xD;&#xA;&#xD;&#xA;Alot of sound designers have also purchased it to be used as their mic that gets put in dangerous situations. Not because its durable, but because it doesn't cost what your 416 costs. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6961" PostHistoryTypeId="2" PostId="4096" RevisionGUID="da643f67-fd29-4f19-b9a1-ce54670dd22b" CreationDate="2010-10-12T14:29:11.037" UserId="234" Text="With the latest version of AVID, they've nicked the &quot;Open Timeline&quot; idea from FCP - you can pretty much put anything into the timeline and it will do it's best to work with it. Whether or not you like/agree/whatever, the feature is probably here to stay.&#xD;&#xA;&#xD;&#xA;So, to answer your question, there are a number of issues with AAF, regarding Multiple sample rates in the timeline, multiple framerates in the timeline and some types of MXF media. The Avid/Digi forums have some info if you want to go searching, but MOST of the errors are due to the first two. The solution seems to be to use embedded media and force it to WAV format in the export box. (I'm pretty sure you can do this with consolidated media as well, but I've never tried it.)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6962" PostHistoryTypeId="5" PostId="4093" RevisionGUID="c085adb1-28f0-452f-be30-0ea34a9ff543" CreationDate="2010-10-12T15:03:00.317" UserId="29" Comment="Added hyperlink to GearSlutz." Text="i've seen a number of questions like this asked on the [gearslutz post production forum][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/post-production-forum/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6963" PostHistoryTypeId="2" PostId="4097" RevisionGUID="45681368-bedd-4f02-a583-7271bbbe6542" CreationDate="2010-10-12T15:38:55.300" UserId="29" Text="+1 on iZotope RX. Discovered it via SSD, and it's become the most reliably useful plugs I've ever invested in. Doesn't work absolute miracles - garbage in, garbage out - but it's still darned amazing. &#xD;&#xA;&#xD;&#xA;Depending on the locations and scene, maybe also some ambient SFX in the background can be used to mask the remaining noise, once the worst of it has been removed without harming the dialog...but that depends entirely on the scene. The sounds of building machinery to underscore a tense scene will obviously not work for a tender outdoor moment. But maybe there's birdsong or insect sounds that could help to mask camera noise in a context like that. Just some examples to consider.&#xD;&#xA;&#xD;&#xA;If signal:noise ratio is pear-shaped because the mic was too close to the camera relative to the talent, though, it may be ADR time." ContentLicense="CC BY-SA 2.5" />
  <row Id="6964" PostHistoryTypeId="2" PostId="4098" RevisionGUID="41d640b7-f784-4bf9-b0a4-296cd86e3cef" CreationDate="2010-10-12T16:24:17.450" UserId="220" Text="If you can record the camera in a very quiet environment, get a 30 second recording that you can loop.  Extend it for the length of the scene, flip the phase, and combine with the on-set audio.  The opposite phases will cancel each other out.&#xD;&#xA;&#xD;&#xA;That's the simplest and cheapest I can think of.  Other than that, something with a spectral view will probably allow you to scrub out the offending sound without too much damage to the original. I use Adobe Audition - great bang for your buck! " ContentLicense="CC BY-SA 2.5" />
  <row Id="6965" PostHistoryTypeId="2" PostId="4099" RevisionGUID="71a93f5c-b7f5-4d50-a70a-ef91b1dcc0b5" CreationDate="2010-10-12T16:26:57.640" UserId="6435" Text="I recorded one ambience years and years ago of a small pond with thousands of insects buzzing about...skeeters and such...that was more like &quot;set up, go into record and run like hell away.&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6966" PostHistoryTypeId="2" PostId="4100" RevisionGUID="d25c30d0-55ed-4917-b078-978d02b10c11" CreationDate="2010-10-12T16:38:12.443" UserId="29" Text="I totally walk away for long takes. I am a fidgety mo'fo' - too much darn coffee. :-) I sometimes get great surprises, such as when other hikers come upon my gear and start talking about it, all captured pristinely! (Not usable for sound design, but super cute to hear in the edit!)&#xD;&#xA;&#xD;&#xA;I never do this in any other circumstance, mostly due to the ability to monitor (and therefore no need to use limiters or similar techniques on the raw material) or fear or theft. I resort to long cable runs with some line of sight but ideally some objects between my position and the mics." ContentLicense="CC BY-SA 2.5" />
  <row Id="6967" PostHistoryTypeId="2" PostId="4101" RevisionGUID="2c30a12b-b250-4947-a5d8-5cd6046b9ac1" CreationDate="2010-10-12T16:43:43.643" UserId="253" Text="In my (not extremely extensive) experience, a huge amount of finding work is knowing people. I did sound post for a short doco for a friend 7 years ago; last year she recommended me to a producer friend of hers, and i landed a $20k TV series. It can come from anywhere, you never know when a friend of a friend will meet someone at a party who needs a sound editor.&#xD;&#xA;&#xD;&#xA;Having said that, i got my current studio job (initially) through someone responding to one of the 60 emails i sent out to various studios. That got me in the door, and being prepared to handle whatever they threw at me (in terms of work and various personalities) kept me there. &#xD;&#xA;&#xD;&#xA;I guess my advice would be: keep throwing yourself at freelance gigs on mandy, craigslist, wherever you can find them (although beware of being exploited), and when you find good clients/producers/directors, stay in touch with them. It can take a while (i'm not even quite there yet!), but luckily this is a fun job. (Although NEVER let people use that as a reason to underpay you!)&#xD;&#xA;&#xD;&#xA;In terms of websites, i'd say keep it simple. I actually don't even have one, but i'd say it's a good resource to have. I've seen a few out there that are a bit convoluted and seem to misrepresent the person's roles on various projects. If i was a potential client, i'd want to briefly read what your background is and hear a couple of samples of whatever work you have that's appropriate to my project. Personally, i wouldn't spend too much time prettying it up.&#xD;&#xA;&#xD;&#xA;Ok, sorry if this was a bit rambly, my morning coffee seems to have been insufficient. Hope it helps!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6968" PostHistoryTypeId="2" PostId="4102" RevisionGUID="52db3610-2f98-41fa-98da-61e64b5f98df" CreationDate="2010-10-12T18:12:09.640" UserId="219" Text="We have a number of boards targeted towards film sound here in france that have job offers. Although most of the time it'll be people asking you to work for near to free...&#xD;&#xA;&#xD;&#xA;I found my current job on my new employer's website, so I'll strongly advise you to start looking for the people you'd like to work for ans check them out, are if they are not offering something that you want.&#xD;&#xA;&#xD;&#xA;I also found a gig earlier this year on gumtree, a great free ads site if you're in the UK. I got in touch with a guy who sent me the details of a gig happening right next too me that he knew of.&#xD;&#xA;&#xD;&#xA;I'm booked for another gig this month, but I'll be working for free and it comes from one of the boards. But now that I have a foot in the industry and a salary, I think I will enjoy this gig even more!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6969" PostHistoryTypeId="2" PostId="4103" RevisionGUID="edd94d47-2138-48e5-a6ec-1c6b13c007fa" CreationDate="2010-10-12T18:37:14.227" UserDisplayName="user49" Text="For sound to play an active role in film making you need to be involved before the shoot, so I tend to track films from their first funding - in my experience by the time a film is announced as to be green lit/shooting it has already been crewed &amp; you are too late. It will depend where you live but here the main funding body publish a monthly newsletter which lists who has received script development funding, who has conditional production funding etc... This also applies to short films... Before films get funded they will need post production costing &amp; budgets, which is often the stage I become involved.... Another source of potential projects is via mix facilities and film labs, as they are often contacted very early on for budget info and reccomendations of potential post crew.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6970" PostHistoryTypeId="2" PostId="4104" RevisionGUID="d53d024b-ae77-41e4-89ad-77c6898bdc68" CreationDate="2010-10-12T21:33:50.073" UserId="400" Text="Although I'm definitely amateur in this game, I did receive my first paid job this year. For what it's worth, it came about from someone hearing about me on Twitter from a friend, checking out my site and getting in touch via the site's contact page.&#xD;&#xA;&#xD;&#xA;What the guys have said above is solid, solid advice too!" ContentLicense="CC BY-SA 2.5" />
  <row Id="6971" PostHistoryTypeId="2" PostId="4105" RevisionGUID="48d876b3-6bc9-4d44-a8b8-4fbe6decb842" CreationDate="2010-10-12T21:55:28.300" UserId="37" Text="i've learned to sit very still..&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6972" PostHistoryTypeId="2" PostId="4106" RevisionGUID="68d62552-8e24-43cc-a0e6-9cb834908b3f" CreationDate="2010-10-13T01:22:39.853" UserId="103" Text="I've been lurking around Kickstarter.com and &quot;scored&quot; a doc and a feature so far. well they haven't been shot yet, but it's cool because i'm involved since script writing stage.&#xD;&#xA;&#xD;&#xA;Also &quot;met&quot; people who are interested in working with me by &quot;trolling&quot; so to speak on vimeo." ContentLicense="CC BY-SA 2.5" />
  <row Id="6973" PostHistoryTypeId="2" PostId="4107" RevisionGUID="da55f4a8-0b1e-422c-a512-8e5ec9b2e262" CreationDate="2010-10-13T01:44:45.103" UserId="18160" Text="I have an idea and I wanted to see if it has been done before or if it's worthless to try:&#xD;&#xA;&#xD;&#xA;What if I recorded an actor at 192K and dropped than into a 96K session so it's pitched down naturally (varispeeded, essentially) and had the actor speak twice as fast so it doesn't sound slow when it's pitched but sounds like a natural pacing.&#xD;&#xA;&#xD;&#xA;Has anyone tried doing this with a real project? Was it successful?&#xD;&#xA;&#xD;&#xA;I've only done it at 104% on the Big Ben for some larger alien-type voices for a film I ADRed.&#xD;&#xA;&#xD;&#xA;Would it be ridiculous if I asked the director to try this method out with an actor? &#xD;&#xA;Thanks for your replies." ContentLicense="CC BY-SA 2.5" />
  <row Id="6974" PostHistoryTypeId="1" PostId="4107" RevisionGUID="da55f4a8-0b1e-422c-a512-8e5ec9b2e262" CreationDate="2010-10-13T01:44:45.103" UserId="18160" Text="Recording voices for pitching down" ContentLicense="CC BY-SA 2.5" />
  <row Id="6975" PostHistoryTypeId="3" PostId="4107" RevisionGUID="da55f4a8-0b1e-422c-a512-8e5ec9b2e262" CreationDate="2010-10-13T01:44:45.103" UserId="18160" Text="&lt;voice&gt;&lt;recording&gt;&lt;pitch&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6976" PostHistoryTypeId="2" PostId="4108" RevisionGUID="d0140a73-38b2-436b-820d-a2a49264a838" CreationDate="2010-10-13T02:09:12.397" UserId="253" Text="Woa, wait, you run 96k sessions?&#xD;&#xA;&#xD;&#xA;Cool idea, but i think the actor would be the weakest link there. It'd be hard maintaining relative sync in such an unnatural tempo and they'd require extra time to get used to it. And you'd have to think about how you'll deal with &quot;p&quot;s and &quot;t&quot;s (percussive sounds that seem to have a pretty fixed length), or whether you'd have to deal with them at all. It might sound cool with elongated plosives, who knows. Try it out yourself!&#xD;&#xA;&#xD;&#xA;Also, voices an octave lower make me think of devo and hip hop." ContentLicense="CC BY-SA 2.5" />
  <row Id="6977" PostHistoryTypeId="2" PostId="4109" RevisionGUID="6387f642-2e05-488f-9776-07714b0b9d99" CreationDate="2010-10-13T02:31:39.133" UserId="46" Text="Hey Ryan, you may be interested in this: http://boingboing.net/2010/03/25/dawn-chorus.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="6978" PostHistoryTypeId="2" PostId="4110" RevisionGUID="6f747048-c9b7-433d-aa61-7a5c024049ff" CreationDate="2010-10-13T05:12:09.377" UserId="40" Text="You'd find yourself having some timing issues with having your talent speak quickly.&#xD;&#xA;&#xD;&#xA;The best way I've found to achieve this is to record it with the Talent speaking normally at 96k or whatever really, then play it back twice the speed (while maintaining the pitch) while recording it at 192k. That way, when you bring it back down to 96, it will maintain the same timing as the original recording, but it will be pitched down.&#xD;&#xA;&#xD;&#xA;Similar to the &quot;worldizing&quot; concept with a slight twist to it.&#xD;&#xA;&#xD;&#xA;It's very useful when doing creature vocalizations. I've used it fairly often." ContentLicense="CC BY-SA 2.5" />
  <row Id="6979" PostHistoryTypeId="2" PostId="4111" RevisionGUID="74c70fb9-52ae-4c98-a09a-d27c58e0ea38" CreationDate="2010-10-13T06:26:13.773" UserId="407" Text="This is an anecdote from an ex college of mine about sound designers web sites. If the website is too good then they have too much time on their hands which in turn means they are not working - Then the question is &quot;why are they not working?&quot; -&#xD;&#xA;Websites should be simple and functional, with links to your work and IMDB or what ever is most impressive about you :)&#xD;&#xA;I have spent a lot of time looking for composers websites online and there are a 2 things that really bug me about some websites. - 1. Flash 2. auto play - Flash takes time to load which means potential employers might just skip your site cause they can't be bothered waiting if they have a slow connection. Auto play is annoying if you are trying to sell a composer/designer to the producers and every time you navigate back to their home page it starts singing at you. (I really don't like the hollywood edge SFX page because of this!)&#xD;&#xA;As for getting work I think word of mouth and professional reputation are the key. Keep enthusiastic and motivated and it will all come together in the end :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="6980" PostHistoryTypeId="2" PostId="4112" RevisionGUID="90782c7b-4752-45ac-8afe-18ba0dbea122" CreationDate="2010-10-13T08:56:33.253" UserId="37" Text="Why a whole octave btw? &#xD;&#xA;&#xD;&#xA;Pitch has drastic impact on voice. Can you not use less of it and still have it work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6981" PostHistoryTypeId="2" PostId="4113" RevisionGUID="a9acc3d7-a68f-4141-9dad-acd04daefe1b" CreationDate="2010-10-13T09:38:32.657" UserId="578" Text="Thanks everybody for the good advice.&#xD;&#xA;&#xD;&#xA;I have recently purchased a Rode Blimp and the difference is enormous. In my experience, the pistol grip system as displayed on the picture in the question is pretty much useless. Although some people have adviced that after time you get used to it, I have to say that this particular one (Rode PG2) is so extremely sensitive to handling noise, I cannot see how that would ever work nicely - the smallest, tiniest movement in a joint (which often happens unconsciously, even when being very still and holding it lightly) creates a terrible amount of noise.&#xD;&#xA;&#xD;&#xA;So after the advice here, and also because of listening to [this song][1] (&quot;a blimp is pretty pimp&quot;), I forked out the cash for the Rode Blimp, and it's certainly more than worth it. Of course there is still some handling noise but it's much, much more manageable. So for whoever is looking into buying a handheld grip system, I hope this info is going to be useful.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.weebls-stuff.com/songs/blimp/" ContentLicense="CC BY-SA 2.5" />
  <row Id="6982" PostHistoryTypeId="5" PostId="4111" RevisionGUID="e7bea5bc-29cd-4b56-8e40-9e955f8bf249" CreationDate="2010-10-13T09:44:56.547" UserId="407" Comment="added 119 characters in body" Text="This is an anecdote from an ex college of mine about sound designers web sites. If the website is too good then they have too much time on their hands which in turn means they are not working - Then the question is &quot;why are they not working?&quot; -&#xD;&#xA;Websites should be simple and functional, with links to your work and IMDB or what ever is most impressive about you :)&#xD;&#xA;I have spent a lot of time looking for composers websites online and there are a 2 things that really bug me about some websites. - 1. Flash 2. auto play - Flash takes time to load which means potential employers might just skip your site cause they can't be bothered waiting if they have a slow connection. Auto play is annoying if you are trying to sell a composer/designer to the producers and every time you navigate back to their home page it starts singing at you. (I really don't like the hollywood edge SFX page because of this!)&#xD;&#xA;As for getting work I think word of mouth and professional reputation are the key. Keep enthusiastic and motivated and it will all come together in the end :)&#xD;&#xA;edit - forgot to mention Linkedin is really important - it's often the first port of call to find out who someone is." ContentLicense="CC BY-SA 2.5" />
  <row Id="6983" PostHistoryTypeId="5" PostId="2155" RevisionGUID="538e552a-63a4-41cb-b9f5-872d022225fe" CreationDate="2010-10-13T17:05:36.433" UserId="219" Comment="added 143 characters in body" Text="I'm a budding Effects Editor/Sound Designer from Limoges, France.&#xD;&#xA;&#xD;&#xA;I spent 3+ years in Edinburgh, Scotland, where I attended uni for a Digital Media course but ended up specializing in film sound with an academic-year-long project, among others. I'm a bit lost as to where I should start looking for work but it's ok :)&#xD;&#xA;&#xD;&#xA;EDIT: this is a brief update to signal that I am now living in Paris, working at a dubbing company encoding videos for On Demand diffusion." ContentLicense="CC BY-SA 2.5" />
  <row Id="6984" PostHistoryTypeId="2" PostId="4114" RevisionGUID="03fd2abc-8609-4530-bbb9-519a4b2cd50e" CreationDate="2010-10-13T17:39:12.473" UserId="235" Text="The 48Hr film fest and other similar competitions have done a lot for me.  It's a great way to meet new directors and showcase your talent and personality in a high pressure situation.  As had been said already, you never know when one of those relationships will pan out.  Also, where I live, there are industry networking events which I attend regularly.  Also also, no one has mentioned internships yet.  For someone just starting out there are a lot of benefits to a studio internship even if you are mostly fetching coffee. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6985" PostHistoryTypeId="2" PostId="4115" RevisionGUID="8a182740-1c89-4d75-b1c9-4c3f886a83bc" CreationDate="2010-10-13T20:50:22.193" UserId="61" Text="I could read the manuals but I'm feeling lazy today. Who has used both and can shed light on the strengths and weaknesses of each?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6986" PostHistoryTypeId="1" PostId="4115" RevisionGUID="8a182740-1c89-4d75-b1c9-4c3f886a83bc" CreationDate="2010-10-13T20:50:22.193" UserId="61" Text="Difference between Waves MaxxBass and Waves LoAir?" ContentLicense="CC BY-SA 2.5" />
  <row Id="6987" PostHistoryTypeId="3" PostId="4115" RevisionGUID="8a182740-1c89-4d75-b1c9-4c3f886a83bc" CreationDate="2010-10-13T20:50:22.193" UserId="61" Text="&lt;plug-ins&gt;&lt;waves&gt;&lt;pro-tools&gt;&lt;sub-bass&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6988" PostHistoryTypeId="2" PostId="4116" RevisionGUID="b686f876-63e9-4209-af9f-9e874b95fbd0" CreationDate="2010-10-13T21:28:21.397" UserId="432" Text="As I understand it, LoAir enhance/adds in subharmonic or low end content. MaxxBass adds in harmonic content in the upper registers to help perceive the low end of a track as more present and louder witout overdriving the low end (it's really good for that too).&#xD;&#xA;&#xD;&#xA;So MaxxBass=adds/enhances upper registry harmonics for low end sound, LoAir=adds/enhances lower frequency content for higher end/thin sounds.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6989" PostHistoryTypeId="2" PostId="4117" RevisionGUID="97463882-a5a8-433b-8d45-293c6d7d25bd" CreationDate="2010-10-13T22:34:32.060" UserId="594" Text="Living and working in San Francisco&#xD;&#xA;Doing mainly commercial and short film work.&#xD;&#xA;Heavily interested in multimedia audio, video, physical computing, alternative control.&#xD;&#xA;It's great to see some Bay Area folks around!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6990" PostHistoryTypeId="16" PostId="4117" RevisionGUID="97463882-a5a8-433b-8d45-293c6d7d25bd" CreationDate="2010-10-13T22:34:32.060" UserId="-1" />
  <row Id="6992" PostHistoryTypeId="2" PostId="4119" RevisionGUID="c3b88c41-f2ab-4039-add1-4275565e1793" CreationDate="2010-10-14T07:46:46.937" UserId="348" Text="Hi, &#xD;&#xA;&#xD;&#xA;I am originally from Canada now residing in South Africa. I am a foley artist and sound effects editor and presently doing alot of field recording throughout SA to capture all the sound that make up this country. I have worked in the field for 20 years now. &#xD;&#xA;&#xD;&#xA;Great to see so many people corresponding and networking. Thanks Andrew for starting this. " ContentLicense="CC BY-SA 2.5" />
  <row Id="6993" PostHistoryTypeId="16" PostId="4119" RevisionGUID="c3b88c41-f2ab-4039-add1-4275565e1793" CreationDate="2010-10-14T07:46:46.937" UserId="-1" />
  <row Id="6995" PostHistoryTypeId="2" PostId="4121" RevisionGUID="df9b15f2-22c4-43b1-b69f-acd38f111341" CreationDate="2010-10-14T15:40:41.573" UserId="132" Text="I live and work in NYC.  I'm been working in Radio for 10+ years and have dabbled a bit in post and game sound as of late.  I've been on the content and technical side of radio production, mostly working for NPR shows in the US.  During that time I've also been a recording nut.&#xD;&#xA;&#xD;&#xA;I also run this SFX company:  http://rabbitearsaudio.com and this Blog: http://sepulchra.com/blog/&#xD;&#xA;&#xD;&#xA;I'm an avid road and track cyclist and love food." ContentLicense="CC BY-SA 2.5" />
  <row Id="6996" PostHistoryTypeId="16" PostId="4121" RevisionGUID="df9b15f2-22c4-43b1-b69f-acd38f111341" CreationDate="2010-10-14T15:40:41.573" UserId="-1" />
  <row Id="6997" PostHistoryTypeId="2" PostId="4122" RevisionGUID="2b202f15-1c45-48e9-86b7-f9bc5bb8b44e" CreationDate="2010-10-14T16:36:43.460" UserId="578" Text="Hello - I'm from the Netherlands, living/working in the south of England (Brighton). I mainly do sound effects design for videogames (usually iPhone, PSN/Xbox Live kind of games, so fairly small scale stuff so far). I'm freelance, working from home - I love that! Occasionally I also produce music + sound effects for promo videos. Most likely I'll be working on my first feature film this winter (doing sound design), so that's an exciting prospect.&#xD;&#xA;&#xD;&#xA;Because of all the great blogs and sites like this, I've over the last few months become extremely interested and enthusiastic about location recording, so I'm doing more and more of that these days, trying to integrate it with my daily work routine.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="6998" PostHistoryTypeId="16" PostId="4122" RevisionGUID="2b202f15-1c45-48e9-86b7-f9bc5bb8b44e" CreationDate="2010-10-14T16:36:43.460" UserId="-1" />
  <row Id="6999" PostHistoryTypeId="2" PostId="4123" RevisionGUID="d2ff0e01-1d7a-4680-8e0f-0253063db8d7" CreationDate="2010-10-14T20:04:38.913" UserId="182" Text="I am from the Netherlands, living in Munich, Germany now and doing sound design and my PhD at BMW (the car company).&#xD;&#xA;&#xD;&#xA;My background is in Industrial Design, with a master towards sound design.&#xD;&#xA;&#xD;&#xA;Besides some music and sound stuff for various small projects, I haven't achieved much yet, I am very much a newbie. So I eagerly soak up all the knowledge and expertise that is shared in this community!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7000" PostHistoryTypeId="16" PostId="4123" RevisionGUID="d2ff0e01-1d7a-4680-8e0f-0253063db8d7" CreationDate="2010-10-14T20:04:38.913" UserId="-1" />
  <row Id="7001" PostHistoryTypeId="2" PostId="4124" RevisionGUID="69053e6b-7b4a-4a9f-9f51-ef1b6ff88859" CreationDate="2010-10-14T21:12:16.220" UserId="393" Text="This is not spam, though I know it looks like it by the title.&#xD;&#xA;&#xD;&#xA;I've heard a lot, recently, about freelancers giving out coupons for their services as gifts, and I REALLY like the idea (give it to people I've worked with as a thanks for working with me this year). Not a lot... five minutes of free music / sound design.&#xD;&#xA;&#xD;&#xA;I was just wondering if any of you have done this, and has it helped your business or bitten you in the ass?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7002" PostHistoryTypeId="1" PostId="4124" RevisionGUID="69053e6b-7b4a-4a9f-9f51-ef1b6ff88859" CreationDate="2010-10-14T21:12:16.220" UserId="393" Text="Coupons as gifts" ContentLicense="CC BY-SA 2.5" />
  <row Id="7003" PostHistoryTypeId="3" PostId="4124" RevisionGUID="69053e6b-7b4a-4a9f-9f51-ef1b6ff88859" CreationDate="2010-10-14T21:12:16.220" UserId="393" Text="&lt;sales&gt;&lt;business&gt;&lt;promotion&gt;&lt;gift&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7004" PostHistoryTypeId="2" PostId="4125" RevisionGUID="f8a2ace7-d6d3-4648-a1e5-a941a357c453" CreationDate="2010-10-14T22:13:36.933" UserId="620" Text="I've been mixing for TV for years but I'm about to start my first 5.1 surround project-yikes! It's a TV drama-doc with some 19th century battle scenes. From what I've read here and elsewhere the standard seems to be to use the surrounds mainly for ambiences and music reverb returns. Surely there's licence to use them for distant gunfire/canon sounds/screams etc in battle scenes? I'd be interested to hear any cardinal rules or even useful tips you guys have regarding surround mixing - I just discovered this site and it's a godsend; I don't feel so alone anymore!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7005" PostHistoryTypeId="1" PostId="4125" RevisionGUID="f8a2ace7-d6d3-4648-a1e5-a941a357c453" CreationDate="2010-10-14T22:13:36.933" UserId="620" Text="Mixing Battle Scenes In Surround" ContentLicense="CC BY-SA 2.5" />
  <row Id="7006" PostHistoryTypeId="3" PostId="4125" RevisionGUID="f8a2ace7-d6d3-4648-a1e5-a941a357c453" CreationDate="2010-10-14T22:13:36.933" UserId="620" Text="&lt;surround-sound&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7007" PostHistoryTypeId="2" PostId="4126" RevisionGUID="68df356f-d195-4ff8-baa3-d0fe538ae4c3" CreationDate="2010-10-15T00:06:43.437" UserId="315" Text="I like to follow the &quot;exit rule.&quot; Which is a term used in film, but I think applies to TV as well. The rule is, if your audience turns their heads away from the screen towards the exit sign in the rear of the theater, then you've used too much in the surrounds.&#xD;&#xA;&#xD;&#xA;I would certainly use the surrounds for a battle scene, especially if the story called for it. If you want to put your audience in the head of the lead character, pan the the sounds that they would hear around them...like bullet whizzes from the front to back over their head for example. Another good use of surrounds is for early reflections of explosions impacts etc.. Bullet sounds reflecting off of the wall behind your character for example.&#xD;&#xA;&#xD;&#xA;Rent Saving Private Ryan and listen to it in surround. Or watch The Hurt Locker and study how they panned sounds to match the often disorienting POV of the character on screen. &#xD;&#xA;&#xD;&#xA;Enjoy the world of surround, but don't distract your audience from the story." ContentLicense="CC BY-SA 2.5" />
  <row Id="7008" PostHistoryTypeId="2" PostId="4127" RevisionGUID="6c2ae23a-7a6f-49ce-a842-e8994d807bc4" CreationDate="2010-10-15T00:23:25.280" UserId="253" Text="My favourite part about 5.1, and this might be something to think about, is the extra clarity you get from having 3 speakers in the front. &#xD;&#xA;&#xD;&#xA;To use an example from your case, you can have intense battle cries/fx going on in the L and the R, but still have clear dialogue coming from a less aurally busy C channel; whereas this would be more difficult in stereo, as the dialogue would have to share the channels with FX.&#xD;&#xA;&#xD;&#xA;Also, what Justin said!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7009" PostHistoryTypeId="2" PostId="4128" RevisionGUID="0176516b-a2ea-4892-ba80-f06855c43f3b" CreationDate="2010-10-15T03:02:56.070" UserId="315" Text="Sounds like a bad idea to me. As a former boss of mine once observed, if you work for free, you will be known as the &quot;free guy.&quot; It devalues the worth of your services in the mind of your clients, not to mention underbidding the rest of the people in your field.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7010" PostHistoryTypeId="5" PostId="4127" RevisionGUID="07b617f0-d271-4a17-a8fe-bbed32e1c328" CreationDate="2010-10-15T03:29:25.917" UserId="253" Comment="deleted 2 characters in body" Text="My favourite part about 5.1, and this might be something to think about, is the extra clarity you get from having 3 speakers in the front. &#xD;&#xA;&#xD;&#xA;To use an example from your case, you can have intense battle cries/fx going on in the L and the R, but still have clear dialogue coming from a less aurally busy C channel; where a similiar mix in stereo would be a lot muddier due to the dialogue sharing channels with the FX.&#xD;&#xA;&#xD;&#xA;Also, what Justin said!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7011" PostHistoryTypeId="2" PostId="4129" RevisionGUID="af2530b8-78fd-4ab9-be28-aec9221f0c00" CreationDate="2010-10-15T04:01:31.310" UserId="18" Text="I've used MaxxBass and RenBass for years and have been using LoAir for about a year.  Here are my observations:&#xD;&#xA;&#xD;&#xA;MaxxBass and RenBass have a similar sound.  RenBass has simpler (slimmed down) controls.  While they sound the same, they also can sound different :)  I use them for adding punch, thump, or weight to a sound.  Sometimes MaxxBass works sometimes RenBass, it all depends on the material.&#xD;&#xA;&#xD;&#xA;LoAir is completely different.  It is supposed to be like a subharmonic synth (I've never used one).  I use LoAir when I want boom, when I want to shake the house, and when I want my sub bumping.  While I find LoAir is much more of a &quot;wow&quot; effect than the others, I also find that it is easier to make things sound terrible using it.&#xD;&#xA;&#xD;&#xA;When I'm designing guns, I rarely use LoAir but often use MaxxBass or RenBass.  LoAir works better for me on things like explosions or big monster footsteps/bodyfalls.  I also tend to use LoAir at more extreme settings than the other 2.&#xD;&#xA;&#xD;&#xA;That's my take on it, others may have different experiences." ContentLicense="CC BY-SA 2.5" />
  <row Id="7012" PostHistoryTypeId="2" PostId="4130" RevisionGUID="07e49817-9bbe-493d-8473-d48808534561" CreationDate="2010-10-15T04:06:56.017" UserId="103" Text="I want to start practicing foley walking, since it's been a while since i did it....&#xD;&#xA;(And being able to do it for short projects wouldn't hurt either)&#xD;&#xA;&#xD;&#xA;I was thinking of using suitcases, but they might take to much space, since both my apartment, and the studio i'm interning in aren't very big....&#xD;&#xA;&#xD;&#xA;Also did some googling and [these][1] look cool and can be stacked on top of each other.&#xD;&#xA;Has anybody tried this? Do they sound good enough? (as subjective as that is)&#xD;&#xA;Or any other ideas?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;  [1]: http://blogs.evergreen.edu/bonnoa22/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7013" PostHistoryTypeId="1" PostId="4130" RevisionGUID="07e49817-9bbe-493d-8473-d48808534561" CreationDate="2010-10-15T04:06:56.017" UserId="103" Text="How do you make fairly portable Foley surfaces" ContentLicense="CC BY-SA 2.5" />
  <row Id="7014" PostHistoryTypeId="3" PostId="4130" RevisionGUID="07e49817-9bbe-493d-8473-d48808534561" CreationDate="2010-10-15T04:06:56.017" UserId="103" Text="&lt;foley&gt;&lt;building&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7015" PostHistoryTypeId="4" PostId="4130" RevisionGUID="3edbd588-0da7-441a-972c-4745e7688a36" CreationDate="2010-10-15T04:28:27.013" UserId="103" Comment="edited title; deleted 31 characters in body" Text="How do you make fairly portable Foley surfaces?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7016" PostHistoryTypeId="5" PostId="4130" RevisionGUID="3edbd588-0da7-441a-972c-4745e7688a36" CreationDate="2010-10-15T04:28:27.013" UserId="103" Comment="edited title; deleted 31 characters in body" Text="I want to start practicing foley walking, since it's been a while since i did it....&#xD;&#xA;(And being able to do it for short projects wouldn't hurt either)&#xD;&#xA;&#xD;&#xA;I was thinking of using suitcases, but they might take to much space, since the studio i'm interning in isn't huge.&#xD;&#xA;&#xD;&#xA;Also did some googling and [these][1] look cool and can be stacked on top of each other.&#xD;&#xA;Has anybody tried this? Do they sound good enough? (as subjective as that is)&#xD;&#xA;Or any other ideas?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;  [1]: http://blogs.evergreen.edu/bonnoa22/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7017" PostHistoryTypeId="2" PostId="4131" RevisionGUID="e0c204aa-a0c8-4fed-b4f4-ede4af024372" CreationDate="2010-10-15T04:56:11.387" UserId="29" Text="I've tried this myself, and I personally found that it's OK for particulate matter - dirt, grit, gravel - but for solid surfaces, the tones are wrong if the surface area is too small and the surfaces aren't really, deeply embedded into the ground, especially for stone sounds where the resonance matters a fair amount. But for any lot of other surfaces it can be darned handy to have something on that kind of scale that you can move around." ContentLicense="CC BY-SA 2.5" />
  <row Id="7019" PostHistoryTypeId="2" PostId="4133" RevisionGUID="3a10afcc-8251-4c05-8a28-e0aba31b95a8" CreationDate="2010-10-15T04:59:59.543" UserId="29" Text="I've volunteered for plenty of projects, and usually a statement of interest paired with a willingness to forgo payments is plenty. I also happen to gift my big clients at years' end, and it's a gift where it's the thought that counts, as a true thank you - discounts or freebies that are core line-of-business services, IMO, applies downward price pressure industry-wide.&#xD;&#xA;&#xD;&#xA;Thank your clients, even throw 'em a gift now and again (but watch out - many large corporations, like governments, have limits on vendor gifts), but never give out the crown jewels as freebies. My clients have really loved thematically-related stickers, finger puppets, coasters, and other really fun-yet-stupid bits that show creativity and thought, even if the per-unit cost is miniscule." ContentLicense="CC BY-SA 2.5" />
  <row Id="7020" PostHistoryTypeId="2" PostId="4134" RevisionGUID="5a1434ab-bc7d-475c-a43d-5b13533cfa7d" CreationDate="2010-10-15T05:21:25.487" UserDisplayName="user49" Text="Basing work (paid or not) on minutes is not a very wise idea eg compare a VFX heavy 5 minute short film vs a dialogue driven drama with lots of ADR &amp; foley vs ten 30 second commercials... Each is only 5 minutes in duration, but the budget &amp; real costs of each vary wildly...&#xD;&#xA;&#xD;&#xA;FWIW working for free actually isn't working for free, it means you are *paying to work* because even if you don't put a financial value on your time we all have overheads (rent, electricity, travel, lunch etc) - fine to do if its a project you want to invest in, but otherwise...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7021" PostHistoryTypeId="2" PostId="4135" RevisionGUID="a9ca4a31-0ce9-4984-8409-5dcfa89e3f3f" CreationDate="2010-10-15T07:22:33.807" UserId="348" Text="I started like this and what I did was I built shallow empty casings out of soft wood and put carpet in the bottom. I also put 1/2 inch hard rubber around the edges to help with minimizing any potential boxy sound. The casings were about 4 inches deep- quite shallow. I used these mainly for gravel, snow, grass, sand etc. The hard surfaces were really tough as concrete needs to  be embedded and thick to prevent ringing. It helped in the beginning on small projects but nothing beats a proper studio. To practice walking, I used to follow people and imitate their footsteps- weight, rhythm etc to understand texture. I also listened alot to the sound of people as they walked so I could translate this in studio. &#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 2.5" />
  <row Id="7022" PostHistoryTypeId="2" PostId="4136" RevisionGUID="e69e69b2-cc25-4394-9a3f-97bbf8d0d45a" CreationDate="2010-10-15T09:01:14.010" UserId="348" Text="It depends sometimes on the ambiance- like a night ambiance in the country- if it is a field, I set up and the walk about 10m away and sit quietly and record for about 10 minutes. In a forest or wooded area, I will walk away completely so that whatever I have disturbed will slowly come back to normal. I am able to stand quite still but I always move away at least 10m. In cityscapes, recording can be difficult sometimes because people become curious so I try to hid myself or be discrete which can be difficult. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7023" PostHistoryTypeId="2" PostId="4137" RevisionGUID="e18aa70a-6ca7-43f0-bb44-78fe3d01dd50" CreationDate="2010-10-15T09:04:15.980" UserId="588" Text="I've heard good and bad things about Vancouver Film School.. but I'm still considering it.&#xD;&#xA;The main issue is the tuition ($43,000 excluding living expenses!) Has anybody else heard anything about this program?&#xD;&#xA;Share your insight!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7024" PostHistoryTypeId="2" PostId="4138" RevisionGUID="156f1b63-0751-40fb-8de5-2b7a13f5784e" CreationDate="2010-10-15T10:42:18.390" UserId="142" Text="I am curious to know whether anybody here has used the web site Shooting People for getting sound jobs." ContentLicense="CC BY-SA 2.5" />
  <row Id="7025" PostHistoryTypeId="2" PostId="4139" RevisionGUID="99269105-f729-4e10-b390-4c7d732c7a74" CreationDate="2010-10-15T13:18:31.503" UserId="103" Text="I took the Vancouver Film School Sound Design Program; graduated in october 2009. Wow! Makes exactly a year next wendnesday!&#xD;&#xA;&#xD;&#xA;It's quite different now. Really very different, as most of my instructors aren't there anymore and the curriculum is different as well. A friend of mine that was TAing overthere told me it was really good! At least all the things i didn't like about the prgram changed dramatically... In  my opinion there was to much music theory and production (though the instructors were great!) and the game audio curriculum was painfully bad and unorganized. Not anymore!&#xD;&#xA;&#xD;&#xA;They also have one more small mixing room, this one with a procontrol while the other 4 have control 24, and the Theater has an icon now. They're also a bit more well equipped with microphones now, and they have sounddevices 722 recorders.&#xD;&#xA;&#xD;&#xA;I have to say i had an insanely great time over there learned a ton, and was really lucky as my classmates were absolutely great! It's super intensive two, in my last 2 months term me and most of my classmates were sleeping on average 3 hours a night.... But then again all of us did many side projects at all times.&#xD;&#xA;&#xD;&#xA;It's a great great place to meet people from other fields like 3d and classical animation, film production, business management etc.&#xD;&#xA;&#xD;&#xA;(The city is amazing to, i thought it was expensive at a time, but now that i'm in new york i laugh about that :D )&#xD;&#xA;&#xD;&#xA;Hope that helps a bit." ContentLicense="CC BY-SA 2.5" />
  <row Id="7026" PostHistoryTypeId="2" PostId="4140" RevisionGUID="610b472a-572f-42d2-933a-ad3323958bbc" CreationDate="2010-10-15T13:21:43.073" UserId="400" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;Obviously 5.1 mixing is an essential skill in film post, and as I understand it is also working it's way into being a standard in game audio too (my particular area of interest).&#xD;&#xA;&#xD;&#xA;I'm just wondering how everyone here got their initial experience in creating audio for 5.1 and mixing in 5.1? One of our studios at Uni is equipped as an amazing 5.1 studio, but I only have one year left, and I'm wondering how I'll be practicing after I finish up!&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;Joe" ContentLicense="CC BY-SA 2.5" />
  <row Id="7027" PostHistoryTypeId="1" PostId="4140" RevisionGUID="610b472a-572f-42d2-933a-ad3323958bbc" CreationDate="2010-10-15T13:21:43.073" UserId="400" Text="How did you get your initial experience in 5.1 audio creation and mixing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7028" PostHistoryTypeId="3" PostId="4140" RevisionGUID="610b472a-572f-42d2-933a-ad3323958bbc" CreationDate="2010-10-15T13:21:43.073" UserId="400" Text="&lt;surround-sound&gt;&lt;production-mixing&gt;&lt;5.1&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7029" PostHistoryTypeId="2" PostId="4141" RevisionGUID="0b4c3c42-eb2a-4ed2-9ab2-f8b7587656a5" CreationDate="2010-10-15T13:41:24.147" UserId="62" Text="I was born at the wrong time, we didn't even have a DAW when I was at Uni (I had Cubase VST3 in my room though), just a plain old analogue mixing console and 2 SVHS ADATs.&#xD;&#xA;&#xD;&#xA;My first experience with 5.1 was a couple of years ago in Telegael. Studio 1 is a surround mixing studio and I'd mixed a TV movie in stereo that needed to be converted into 5.1 for a [DVD release][1]. I mixed the movie and we uploaded the stems to a company in LA to make the DVD, no idea how it was encoded. I think it's Dolby Digital but without having the DVD at hand I can't be sure.&#xD;&#xA;&#xD;&#xA;To be honest 5.1 mixing is something I really want and need to do more of but I don't get given the surround projects as my studio is a stereo one, the chap in the surround studio gets the 5.1 work.&#xD;&#xA;&#xD;&#xA;Short of buying myself the likes of a 003, 3 more Genelecs and Complete Production Toolkit I don't see an alternative to getting more sound work while I'm with my current employer. It's different in TV land as 5.1 is still relatively rare compared to stereo. I wonder what the actual numbers are for this? Anyone know?&#xD;&#xA;&#xD;&#xA;Ian&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Martian-Christmas-DVD-Region-NTSC/dp/B002LFPBDI/ref=sr_1_3?ie=UTF8&amp;qid=1287149393&amp;sr=8-3" ContentLicense="CC BY-SA 2.5" />
  <row Id="7030" PostHistoryTypeId="2" PostId="4142" RevisionGUID="298adff8-45ce-4e0c-b0b9-411ba00be9d5" CreationDate="2010-10-15T14:11:19.677" UserId="619" Text="I'm in Winnipeg, Canada.  I've had a lifelong fascination with sound, and have been messing with synths, samplers, and DAWs for the last 15+ years.  I only recently started investigating the world of proper sound design (i.e. outside of making sounds with a focus on music) and field recording, and I am completely hooked!  &#xD;&#xA;&#xD;&#xA;I recently helped a friend out by making a few sounds for a really cool game project and I am very hungry for more work like it.  I currently work as a software developer, but my ultimate goal is to somehow make a living working with sound because it's my true passion in life. &#xD;&#xA;&#xD;&#xA;This site and its contributors have been an essential part of my learning experience, so thanks very much to all of you for sharing so much useful information.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7031" PostHistoryTypeId="16" PostId="4142" RevisionGUID="298adff8-45ce-4e0c-b0b9-411ba00be9d5" CreationDate="2010-10-15T14:11:19.677" UserId="-1" />
  <row Id="7032" PostHistoryTypeId="2" PostId="4143" RevisionGUID="d227aca0-23cc-49b3-92c2-33cc69955a57" CreationDate="2010-10-15T16:44:19.967" UserId="429" Text="My first experience with surround projects was in 2005. At that time I was working as a technical assistant for a few production companies that had several studio's, I was in change of audio systems design, integration and maintenance. Now that I'm focusing mainly on creative (sound design) I have had a BlueSky 5.1 media desk system at home for the past year. Protools HD and Kontakt's surround environment work great for designing in surround. I don't have any exposure to post for film at the moment. If your thinking about surround I urge you to go out and get a cheap surround system and start watching piles of DVD's or BlueRAy's and just focus on listening :) " ContentLicense="CC BY-SA 2.5" />
  <row Id="7033" PostHistoryTypeId="2" PostId="4144" RevisionGUID="46d1162f-f1dc-4699-b267-3ea72cb96ecb" CreationDate="2010-10-15T17:39:52.573" UserId="81" Text="I want to create a sound for a scene, in which the camera closely travels along a big planet and the planet is spinning in its own orbit slowly. &#xD;&#xA;&#xD;&#xA;What would you suggest for this situation? Any references and EQ tricks are also appereciated." ContentLicense="CC BY-SA 2.5" />
  <row Id="7034" PostHistoryTypeId="1" PostId="4144" RevisionGUID="46d1162f-f1dc-4699-b267-3ea72cb96ecb" CreationDate="2010-10-15T17:39:52.573" UserId="81" Text="How would you create a sound for a planet turning in its own orbit?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7035" PostHistoryTypeId="3" PostId="4144" RevisionGUID="46d1162f-f1dc-4699-b267-3ea72cb96ecb" CreationDate="2010-10-15T17:39:52.573" UserId="81" Text="&lt;planet&gt;&lt;sound&gt;&lt;design&gt;&lt;space&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7036" PostHistoryTypeId="2" PostId="4145" RevisionGUID="faf298a5-85fe-4a2a-999b-90f048607314" CreationDate="2010-10-15T20:54:47.640" UserDisplayName="user49" Text="Being a sound editor/designer I got a lot of my early experience of learning how 5.1 is best utilised by working with very good film mixers &amp; observing/discussing their approach. Its always dependent on what is motivated by the scene/moment/story etc..." ContentLicense="CC BY-SA 2.5" />
  <row Id="7037" PostHistoryTypeId="2" PostId="4146" RevisionGUID="7f90a255-ca5a-43c5-957e-4d87f31fa8bb" CreationDate="2010-10-16T00:07:14.290" UserId="620" Text="For a quick fix I'd start off with an earthquake rumble or similar subby sound to lend it weight, maybe even layer a few together or pitch one up or down a few different ways so you can modulate the sound slightly as it turns. If you're fortunate enough that it has a discernible or extreme climate then add arctic wind/fire fx as appropriate. I also used flame throwers recently for texture on a fiery planet sequence and it worked quite well" ContentLicense="CC BY-SA 2.5" />
  <row Id="7038" PostHistoryTypeId="2" PostId="4147" RevisionGUID="0832515f-d31c-45f2-85ed-a65482827474" CreationDate="2010-10-16T03:40:25.133" UserId="61" Text="Since space is a vacuum, technically there would be no sound at all. Of course we all fall victim to the cliché that things that aren't supposed to emit sound often end up doing so in films/video games/tv shows, like computer graphics and laser guns. But I really do appreciate when sound folks make bold statements like not putting sounds in for things like planets turning, spaceship bys, explos in space, etc. Try it and see how it is received. One television series, [Firefly][1], achieved this with great success. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Firefly_(TV_series)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7042" PostHistoryTypeId="2" PostId="4150" RevisionGUID="601be6b8-7c2c-400c-8749-66ddb8414ae0" CreationDate="2010-10-16T10:37:17.547" UserId="37" Text="have the ripples in gravity wreck the music instead of producing sound on its own? :D" ContentLicense="CC BY-SA 2.5" />
  <row Id="7043" PostHistoryTypeId="2" PostId="4151" RevisionGUID="afad1dd7-7338-4b5c-82b8-e4bc523331ea" CreationDate="2010-10-16T11:40:02.990" UserId="474" Text="Like most of the others, I think it really depends on POV (angle, distance) as well as what state the planet is in.&#xD;&#xA;&#xD;&#xA;That said, I really liked what Ben Burtt did in the opening scene on Star Trek (2009): http://designingsound.org/2009/09/ben-burtt-special-star-trek-2009/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7044" PostHistoryTypeId="2" PostId="4152" RevisionGUID="64d9c6ac-8c6c-4a2b-b213-394b8421cca6" CreationDate="2010-10-16T17:07:59.690" UserId="469" Text="I do both.  Sometimes animals make different sounds when you are right there with the mic pointed at them then in their natural state.  Squirrels for instance tend to taunt me and get chatty with a mic in their face.  Birds and many other animals on the other hand are often hard to get close to with out them flying/running away.  &#xD;&#xA;&#xD;&#xA;I generally will walk away and it doesn't bother me if I am monitoring while recording or not.  I am always going to edit the recordings later so I often use the recording time as an opportunity to scout the next location (with my ears) that I will set up at.  I've only done this at remote locations and odd times when I am pretty confident no one is out there but me so my gear stays safe." ContentLicense="CC BY-SA 2.5" />
  <row Id="7045" PostHistoryTypeId="2" PostId="4153" RevisionGUID="b70c5732-098b-4408-bbb5-fcd30910b447" CreationDate="2010-10-16T21:50:17.713" UserId="624" Text="Hey there,&#xD;&#xA;&#xD;&#xA;I was just notified about this post.  I am glad to see that you know what you want to do as a career right away.  I am always open to share my experiences and ideas with people, feel free to contact me at www.neutrinogaming.com under our contact section.  We can talk more.  &#xD;&#xA;&#xD;&#xA;PS - You got a ton of great feedback from everyone on here, that is the first step.  Just listen to what people have to say.&#xD;&#xA;&#xD;&#xA;I look forward to hearing back from you!&#xD;&#xA;&#xD;&#xA;Benjie Freund" ContentLicense="CC BY-SA 2.5" />
  <row Id="7046" PostHistoryTypeId="2" PostId="4154" RevisionGUID="ff30dd4b-4bdb-444b-a4da-8472b7b8af89" CreationDate="2010-10-17T02:08:37.760" UserId="378" Text="Hey folks,&#xD;&#xA;&#xD;&#xA;  You can skip the italicized section if you're in a hurry - that's background for the question.&#xD;&#xA;&lt;i&gt;&#xD;&#xA;&#xD;&#xA;  I'm working on the second iteration of an art game. It's a cool project, you should check it out on my site (www.wraughk.com, navigate to Sound Work &gt; Games &gt; Deep Sea). The game works like this:&#xD;&#xA;&#xD;&#xA; - Player is blinded and wears a gas&#xD;&#xA;   mask.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; - Gas mask monitors their breathing,&#xD;&#xA;   and plays back bubbles as they breath&#xD;&#xA;   out.-&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; - Player must hunt down a seamonster by&#xD;&#xA;   listening for it, but every&#xD;&#xA;   exhalation/movement makes it harder&#xD;&#xA;   to hear where the monster is.-&#xD;&#xA;&#xD;&#xA;  In my first iteration, which you can hear on the site, I produced a world that sounded underwater according to hollywood's rules of what underwater sounds like. Bassy. Filtered. You get the picture. One of the problems that presented, predictably, is lack of audio resolution and distinct sound design. What's sound design limited to &lt; 1k?!?! Sucky sound design.&#xD;&#xA;&#xD;&#xA;  Inspired by a recent conversation on the filmsound.org listserv, I'm reworking the game to sound more like underwater *actually* sounds. High frequencies emphasized, not filtered, etc.&#xD;&#xA;&#xD;&#xA;  &lt;/i&gt;&#xD;&#xA;&#xD;&#xA;  I'd like to ask you folks what your tricks are for getting that underwater-quality to a sound? It'll help me out a lot on this project. I'll start with some cool tricks I've learned on this project:&#xD;&#xA;&#xD;&#xA;1) Use EQ to emphasize the resonant frequency of a sound.&#xD;&#xA;&#xD;&#xA;2) Sounds transmitted through solids are closer in quality to sounds transmitted through liquid than sounds transmitted through air. Therefore, contact mics are awesome.&#xD;&#xA;&#xD;&#xA;Now your turn!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7047" PostHistoryTypeId="1" PostId="4154" RevisionGUID="ff30dd4b-4bdb-444b-a4da-8472b7b8af89" CreationDate="2010-10-17T02:08:37.760" UserId="378" Text="&quot;Underwater&quot; sound tricks!? How do you make it sound underwater-y" ContentLicense="CC BY-SA 2.5" />
  <row Id="7048" PostHistoryTypeId="3" PostId="4154" RevisionGUID="ff30dd4b-4bdb-444b-a4da-8472b7b8af89" CreationDate="2010-10-17T02:08:37.760" UserId="378" Text="&lt;underwater&gt;&lt;recording&gt;&lt;sound-design&gt;&lt;video-games&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7049" PostHistoryTypeId="2" PostId="4155" RevisionGUID="f8e63517-5bee-4d4d-9279-597f6bd36703" CreationDate="2010-10-17T03:00:03.650" UserId="432" Text="In response to point number 2 of your post (&quot;sounds transmitted throug...&quot;), you could make use of some of the actual true physics of sound in water. High frequencies actually travel much better through water than through air, but they do pass by quicker; and low frequency sounds tend to sound like they're coming from everywhere all at once. Some variation on those ideas could provide an interesting mechanic or two for the game your working on.&#xD;&#xA;&#xD;&#xA;Damn, I should really start SCUBA diving again. lol" ContentLicense="CC BY-SA 2.5" />
  <row Id="7050" PostHistoryTypeId="2" PostId="4156" RevisionGUID="fc9fbb1a-209f-4042-a738-db741564fbd1" CreationDate="2010-10-17T08:58:59.313" UserId="533" Text="A trick that I've learnt from Saving Private Ryan. Record the sound through a long PVC pipe. Add water sounds to taste.&#xD;&#xA;&#xD;&#xA;But looking at newer technologies, you might be able to replace that with an impulse response rather than re-recording it." ContentLicense="CC BY-SA 2.5" />
  <row Id="7051" PostHistoryTypeId="2" PostId="4157" RevisionGUID="c53dca03-96df-403b-86e2-e08fef32cb34" CreationDate="2010-10-17T14:31:02.640" UserId="63" Text="I find this site very usefull for my work and i decided i should submit my first work for critisism and opinions. &#xD;&#xA;&#xD;&#xA;My first work is this little game we developed for our blog (in greek language though, but the game is in english). And i would like your comments and advises on the sound part! You can find the game here http://www.tsimpountiii.gr/free-games/ its made in Flash and i used a Sony PCM-50D, a cheap shotgun mic from Thomann and Logic! &#xD;&#xA;&#xD;&#xA;Feel free to critisize cause i respect your opinions! &#xD;&#xA;&#xD;&#xA;Thank you all in regard.&#xD;&#xA;&#xD;&#xA;Nikos Chatzigeorgiadis" ContentLicense="CC BY-SA 2.5" />
  <row Id="7052" PostHistoryTypeId="1" PostId="4157" RevisionGUID="c53dca03-96df-403b-86e2-e08fef32cb34" CreationDate="2010-10-17T14:31:02.640" UserId="63" Text="Comments for my first work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7053" PostHistoryTypeId="3" PostId="4157" RevisionGUID="c53dca03-96df-403b-86e2-e08fef32cb34" CreationDate="2010-10-17T14:31:02.640" UserId="63" Text="&lt;video-games&gt;&lt;sound-design&gt;&lt;portfolio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7054" PostHistoryTypeId="2" PostId="4158" RevisionGUID="242c00bf-57e7-45c4-862f-f85d155750aa" CreationDate="2010-10-17T18:56:28.370" UserId="29" Text="You're right in stating that there's a disconnect between what we hear in films and what things really sound like underwater, in our ears and through hydrophones. First-time hydrophone users often comment how bright and alive everything sounds, while many submarine films with exterior POV shots sound muffled and &quot;cinematically aquatic.&quot; Rolling off HF's for the cinematically aquatic sound will not be very interesting for a prolonged user experience, as you seemed to have discovered already. The sounds you've got already are a nice start, IMO.&#xD;&#xA;&#xD;&#xA;*[begin riffing]*&#xD;&#xA;&#xD;&#xA;Might you want to have a transition in which the user initially is immersed in a cinematically aquatic soundscape initially, and then bring up the higher-frequency ambiences and hard sounds as gameplay begins? It's metaphorically like one's eyes adjusting to the dark, and not entirely realistic, but it can help to immerse the player by first using a film trope and then transitioning, even in just a few seconds, to a sonic palette that'll give you a lot more room to groove. Realism can be overrated compared to the sensations and emotions you want to convey.&#xD;&#xA;&#xD;&#xA;I'm always excited to hear the crackle and sizzle of HF ambience underwater, from bubble clouds to fields of nearly-microscopic shrimp, which come and go. If you have a desire to have the sea life or primary threat have more of a sense of distance, maybe some super-deep-spacey reverb or delay might be nice - thinking of how whale calls sound underwater, that kind of thing.&#xD;&#xA;&#xD;&#xA;It also depends on how rich you want the sonic space to be, versus how sparse, and how clearly you want the player focused on a single threat or generally unsure of what to make of various sounds in the soundscape.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7055" PostHistoryTypeId="2" PostId="4159" RevisionGUID="b0fca333-6749-4c01-9d83-f3c974fdeb7a" CreationDate="2010-10-17T19:01:30.640" UserId="29" Text="Shortwave radio has a reputation of being a good source of squelches, static, snippets of audio from all over the world, and other sorts of real-world, long-distance radio wave sound effects. Radio wave phenomena such as whistlers, tweaks, and swishes can also purportedly be picked up via shortwave. There are many kinds of shortwave radio, from HAM/Amateur radios that costs hundreds of dollars (minus antennae!), to hand-cranked emergency radios.&#xD;&#xA;&#xD;&#xA;Does anyone have experience using shortwave radio as a sound source, and if so, what kinds of hardware did you use to record interesting effects from the real airwaves?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7056" PostHistoryTypeId="1" PostId="4159" RevisionGUID="b0fca333-6749-4c01-9d83-f3c974fdeb7a" CreationDate="2010-10-17T19:01:30.640" UserId="29" Text="Shortwave Radio as a Sound Source" ContentLicense="CC BY-SA 2.5" />
  <row Id="7057" PostHistoryTypeId="3" PostId="4159" RevisionGUID="b0fca333-6749-4c01-9d83-f3c974fdeb7a" CreationDate="2010-10-17T19:01:30.640" UserId="29" Text="&lt;radio-frequency&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7058" PostHistoryTypeId="2" PostId="4160" RevisionGUID="232e6757-4973-4a34-9308-c5733c6b3ef6" CreationDate="2010-10-17T19:36:20.477" UserId="61" Text="Hi Nikos -&#xD;&#xA;&#xD;&#xA;Great job! The sounds were clean and tight, no problem cutting through the music track. Very funny (although kinda disturbing!) and entertaining - I actually ended up playing quite a few rounds. Amazing what can be acheived with econo gear these days, yes?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7059" PostHistoryTypeId="2" PostId="4161" RevisionGUID="4053c38e-1653-4cbc-9124-3c4d99089281" CreationDate="2010-10-17T19:37:49.600" UserId="182" Text="I used a cheap, borrowed battery powered shortwave radio once to record some random english speech I needed for a project. &#xD;&#xA;&#xD;&#xA;I simply connected the headphone output to a Line In on my audio interface. Worked perfectly, and the gritty voices instantly gave the project the vintage atmosphere I was looking for.&#xD;&#xA;&#xD;&#xA;I recorded interesting in-between-stations noises as well, but ended up never using them.&#xD;&#xA;&#xD;&#xA;Thinking about it makes me want to go out and buy one of those radios and record more stuff.." ContentLicense="CC BY-SA 2.5" />
  <row Id="7060" PostHistoryTypeId="2" PostId="4162" RevisionGUID="66ac00c3-2c9f-4137-9515-2c2d5ddcada0" CreationDate="2010-10-17T22:21:47.607" UserDisplayName="user49" Text="Theres been recurring discussion in the modular synth world of a voltage controlled SW radio module, whihc would be fascinating although probably need a serious aerial well away form all the other circuits..... similar effect achieved using a stepper motor here: http://www.dienststelle.de/2009/08/19/vhf-uhf-phasenverschiebung/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7061" PostHistoryTypeId="2" PostId="4163" RevisionGUID="ddd66112-294a-488f-aab3-bb1731eb3c80" CreationDate="2010-10-17T22:24:23.390" UserDisplayName="user49" Text="I've vocoded water movement (eg doing sweeps with your arm in a swimming pool) with various sounds (eg explosions) and the results can be very interesting &amp; useable...." ContentLicense="CC BY-SA 2.5" />
  <row Id="7062" PostHistoryTypeId="2" PostId="4164" RevisionGUID="be22c24e-88f6-438e-9ed1-d8cd2df14d38" CreationDate="2010-10-17T23:23:29.893" UserId="625" Text="Hi folks,&#xD;&#xA;&#xD;&#xA;I’m gonna ask something quite naiv. &#xD;&#xA;I finished the sound design for a documentary (my first doc as a director), I worked on pro-tools where I reached the step called “pre-mix” (for me it is already a mix, it sounds good), but I know that usually it must go into a studio to be passed and filtered into a mixer (maybe just to respect some standards like peaks?).&#xD;&#xA;Now I am worry because the documentary has been selected from an important international filmfestival: is this going to sound good?&#xD;&#xA;What should I do? In my home studio it works perfectly. Do I really need to rent a studio to have a satisfying mixing? What’s gonna happen if I make a bounce on pro-tools and import it into FinalCut and burn a dvd or a Beta sp? &#xD;&#xA;&#xD;&#xA;The current audio of the doc is: stereo (pan left-right), the peak is around -8db and sometime reaches -4db (when there’s a thunder, an elicopter very close or a party with people playing djambè....dialogues sometime reach -6db).&#xD;&#xA;Is the Master fader of pro-tools fine enough to measure the peaks? Is it trustworthy?&#xD;&#xA;&#xD;&#xA;Sorry for my ignorance, but I had never reached this professional level in my lifetime? Thank you very much. Gio&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7063" PostHistoryTypeId="1" PostId="4164" RevisionGUID="be22c24e-88f6-438e-9ed1-d8cd2df14d38" CreationDate="2010-10-17T23:23:29.893" UserId="625" Text="Doubts about a mixing that must go to a FilmFestival" ContentLicense="CC BY-SA 2.5" />
  <row Id="7064" PostHistoryTypeId="3" PostId="4164" RevisionGUID="be22c24e-88f6-438e-9ed1-d8cd2df14d38" CreationDate="2010-10-17T23:23:29.893" UserId="625" Text="&lt;mixing&gt;&lt;documentary&gt;&lt;filmfestival&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7065" PostHistoryTypeId="2" PostId="4165" RevisionGUID="fdf6246c-ec40-437b-8039-af7cc4a2074f" CreationDate="2010-10-17T23:37:46.930" UserId="432" Text="Don't feel bad about asking for advice in this situation; it's a good question to ask. Years ago, I had a very similar experience. I would suggest you go into a better studio to finalize the mix, make that a much better studio.&#xD;&#xA;&#xD;&#xA;I had done the majority of my mix at home, and then did a final pass in a mediocre studio (but it was still better than my system at home). Everyone was happy with how it sounded in that &quot;slightly better&quot; studio.&#xD;&#xA;&#xD;&#xA;I wish we ahd gone to a better studio. I really do. When I heard my mix the premiere screening, I wanted to run out of the room...it sounded awful.&#xD;&#xA;&#xD;&#xA;If it's going to play in a theatre anywhere, you should definitely get into a room that has a high quality monitoring system. If you can't do that, you're not going to have any indication of what it will actually sound like in a different environment. A high quality listening environment won't necessarily eliminate all of those gross variables, but it will definitely mitigate them.&#xD;&#xA;&#xD;&#xA;You can only feel better about the mix if you do." ContentLicense="CC BY-SA 2.5" />
  <row Id="7066" PostHistoryTypeId="5" PostId="4165" RevisionGUID="0134880b-1e03-4879-84b4-a9e5fdf9d607" CreationDate="2010-10-18T00:51:40.447" UserId="432" Comment="spelling, grammar...these are things i suck at" Text="Don't feel bad about asking for advice in this situation; it's a good question to ask. Years ago, I had a very similar experience. I would suggest you go into a better studio to finalize the mix, make that a much better studio.&#xD;&#xA;&#xD;&#xA;I had done the majority of my mix at home, and then did a final pass in a mediocre studio (but it was still better than my personal system). Everyone was happy with how it sounded in that &quot;slightly better&quot; studio.&#xD;&#xA;&#xD;&#xA;I wish we had gone to a better studio. I really do. When I heard my mix at the premiere screening, I wanted to run out of the room...it sounded awful.&#xD;&#xA;&#xD;&#xA;If it's going to play in a theatre anywhere, you should definitely get into a room that has a high quality monitoring system. If you can't do that, you're not going to have any indication of what it will actually sound like in a different environment. A high quality listening environment won't necessarily eliminate all of those gross variables, but it will definitely mitigate them.&#xD;&#xA;&#xD;&#xA;You can only feel better about the mix if you do." ContentLicense="CC BY-SA 2.5" />
  <row Id="7067" PostHistoryTypeId="2" PostId="4166" RevisionGUID="138cc928-6574-456a-b46c-4604d483cf04" CreationDate="2010-10-18T02:35:14.957" UserDisplayName="user49" Text="A friend (a picture editor) went through a similar experience recently, where he ended up doing the mix, and everyone agreed it sounded fine in his edit room on near field speakers, but when it screened in a theatre it sounded terrible &amp; he took a lot of flack for it. I had warned him about assuming responsibility for things outside his expertise &amp; he didnt listen, but I suspect he will next time.&#xD;&#xA;&#xD;&#xA;There are a bunch of seperate issues, some technical, some creative...&#xD;&#xA;&#xD;&#xA;The very least a mix studio will do is get the technical specs right - how you describe your levels does not sound right, mixing for layback to BetaSP usually requires mixing to -18dB as O VU with nothing peaking over -12dB, this is because BetaSP has little headroom and when they layback &amp; line up -18db to 0VU on BetaSP, anything over +6 will distort (hence the -12dB limit) Creating a master for DVD is a seperate spec&#xD;&#xA;&#xD;&#xA;What format will the doco playback off at the festival? What are the tech requirements for the festival? If it requires Dolby soundtrack then you'll need to go to a Dolby authorised mix facility....&#xD;&#xA;&#xD;&#xA;Creatively, I think working with an experienced mixer is a very valuable process - they may suggest things that you didnt think of, and finesse things in ways that werent possible other than being in a proper theatre type monitoring environment. They may also discover some issues that you werent aware of eg low level dialogue or bg noise... its better you discover that some piece of vital plot/content dialogue is not rating at the mix stage and fix it, rather than discover it at a screening... There are technical specs that mixers aim to keep dialogue rating at, and thats relative to technical levels and listening in a calibrated environment...&#xD;&#xA;&#xD;&#xA;At the very least I would strongly suggest you approach a studio to evaluate your existing mix - you may only end up needing to do a printmaster pass to adjust overall level to match tech specs, but regardless everything you do will make the end result better &amp; give you confidence it will replay correctly!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7068" PostHistoryTypeId="2" PostId="4167" RevisionGUID="a9d24ed8-9e5e-4daa-9ba5-20c9fbd9dd76" CreationDate="2010-10-18T06:16:17.193" UserId="348" Text="Hi, &#xD;&#xA;&#xD;&#xA;This probably a bizarre question but what would you SSD's say about what the specs are for the maximum and minimum screening level for theatrical presentation of a film on DVD. I have spoken to some people and I have been getting different answers. One person said it was -20dB to -18dB with a peak max of between -15dB and -12dB. When they are mixing down and dumping to DVD, what are the normal levels that should be adhered to. If this is confusing then just ignore me. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="7069" PostHistoryTypeId="1" PostId="4167" RevisionGUID="a9d24ed8-9e5e-4daa-9ba5-20c9fbd9dd76" CreationDate="2010-10-18T06:16:17.193" UserId="348" Text="Volume output for theatrical release on DVD" ContentLicense="CC BY-SA 2.5" />
  <row Id="7070" PostHistoryTypeId="3" PostId="4167" RevisionGUID="a9d24ed8-9e5e-4daa-9ba5-20c9fbd9dd76" CreationDate="2010-10-18T06:16:17.193" UserId="348" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7071" PostHistoryTypeId="2" PostId="4168" RevisionGUID="1c8a2393-89ba-4b93-b6b2-42dad850caf2" CreationDate="2010-10-18T08:01:13.900" UserId="531" Text="Hello folks,&#xD;&#xA;So I was wondering if any of you have experience using the Sound Devices USB Pre2 in location audio recording situations. I was thinking of purchasing one and using a USB battery pack. It has a standalone mode, allowing you to route analog and digital out with out it being plugged into the computer. &#xD;&#xA;The pre2 has a lot going for it (same mic pre specs as the 7 series) and for the price it's a killer deal. &#xD;&#xA;I can't afford the 702 so i figure this paired with a decent digital recorder, is the next best thing. &#xD;&#xA;lend me your experience and thoughts if you can. &#xD;&#xA;Cheers! &#xD;&#xA;&#xD;&#xA;-Kevin &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7072" PostHistoryTypeId="1" PostId="4168" RevisionGUID="1c8a2393-89ba-4b93-b6b2-42dad850caf2" CreationDate="2010-10-18T08:01:13.900" UserId="531" Text="Sound Devices usbpre 2 as a location field mixer, thoughts? " ContentLicense="CC BY-SA 2.5" />
  <row Id="7073" PostHistoryTypeId="3" PostId="4168" RevisionGUID="1c8a2393-89ba-4b93-b6b2-42dad850caf2" CreationDate="2010-10-18T08:01:13.900" UserId="531" Text="&lt;sound-devices&gt;&lt;location-audio&gt;&lt;field-recording&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7074" PostHistoryTypeId="2" PostId="4169" RevisionGUID="cb6ca9e8-7aa7-4c48-a889-ef52007e422c" CreationDate="2010-10-18T10:04:07.777" UserId="626" Text="Marantz PMD 661 or Fostex FR-2LE ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7075" PostHistoryTypeId="1" PostId="4169" RevisionGUID="cb6ca9e8-7aa7-4c48-a889-ef52007e422c" CreationDate="2010-10-18T10:04:07.777" UserId="626" Text="Help - Portable Recorder" ContentLicense="CC BY-SA 2.5" />
  <row Id="7076" PostHistoryTypeId="3" PostId="4169" RevisionGUID="cb6ca9e8-7aa7-4c48-a889-ef52007e422c" CreationDate="2010-10-18T10:04:07.777" UserId="626" Text="&lt;prtable&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7077" PostHistoryTypeId="2" PostId="4170" RevisionGUID="77e9405e-c340-4f22-a6ed-3ac8a1ce0b84" CreationDate="2010-10-18T10:26:50.990" UserId="626" Text="please, listen and comment&#xD;&#xA;&#xD;&#xA;http://www.sun-art.org/soundreporting/soundreportingistanbul/&#xD;&#xA;&#xD;&#xA;recorderd with : Zoom H4N and Sennheiser ME66" ContentLicense="CC BY-SA 2.5" />
  <row Id="7078" PostHistoryTypeId="1" PostId="4170" RevisionGUID="77e9405e-c340-4f22-a6ed-3ac8a1ce0b84" CreationDate="2010-10-18T10:26:50.990" UserId="626" Text="Sound Reporting in Istanbul" ContentLicense="CC BY-SA 2.5" />
  <row Id="7079" PostHistoryTypeId="3" PostId="4170" RevisionGUID="77e9405e-c340-4f22-a6ed-3ac8a1ce0b84" CreationDate="2010-10-18T10:26:50.990" UserId="626" Text="&lt;reporting&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7080" PostHistoryTypeId="2" PostId="4171" RevisionGUID="f7531b48-f29b-4cb8-a391-c5c578e06b13" CreationDate="2010-10-18T12:34:00.027" UserId="37" Text="the 661 is a fix to the 660 which had rather bad rep. &#xD;&#xA;fr-2le is used by many professionals.. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7081" PostHistoryTypeId="2" PostId="4172" RevisionGUID="48e492af-2f80-423e-b5d6-de4ef2b58b09" CreationDate="2010-10-18T15:31:50.730" UserId="575" Text="Hey,&#xD;&#xA;&#xD;&#xA;Around -20dB or -18dB average level, peaks could go as high as -2dB, basically avoid going to 0dB. DVDs can be pretty loud, as far as I know - I've mixed over a dozen DVD movies.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7082" PostHistoryTypeId="2" PostId="4173" RevisionGUID="a80c141f-0176-4cbe-ace7-d2abf1d19533" CreationDate="2010-10-18T15:50:59.137" UserId="625" Text="Hi again,&#xD;&#xA;&#xD;&#xA;Thanks to Shaun Farley and Tim Prebble who answered to my previous question, I figured out I must go into a good studio to be certain about the mixing coming from Pro-tools.&#xD;&#xA;Now...because I have no more money to spend (I produced my first documentary on my own)...fortunately I have a friend who has access to a good studio (where they dub american movies) for free.&#xD;&#xA;&#xD;&#xA;This guy needs to know exactly which are the technical specs (in therms of -db...or whatever) for the masters: DVD and Beta sp (the festival that selected my documentary wants a DVD too...in case of problems with Beta sp).&#xD;&#xA;&#xD;&#xA;What are exactly the specs for masters (DVD and Beta sp) to go to a Theater (filmfestival)?&#xD;&#xA;&#xD;&#xA;Sorry again for my ignorance...but maybe it will be helpful to somebodyelse too.&#xD;&#xA;Thanx a lot. Gio" ContentLicense="CC BY-SA 2.5" />
  <row Id="7083" PostHistoryTypeId="1" PostId="4173" RevisionGUID="a80c141f-0176-4cbe-ace7-d2abf1d19533" CreationDate="2010-10-18T15:50:59.137" UserId="625" Text="Technical specs for master to be shown at FilmFestival" ContentLicense="CC BY-SA 2.5" />
  <row Id="7084" PostHistoryTypeId="3" PostId="4173" RevisionGUID="a80c141f-0176-4cbe-ace7-d2abf1d19533" CreationDate="2010-10-18T15:50:59.137" UserId="625" Text="&lt;master&gt;&lt;filmfestival&gt;&lt;theater&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7085" PostHistoryTypeId="2" PostId="4174" RevisionGUID="385e50e3-5685-4d48-82bb-aad0055e7bd7" CreationDate="2010-10-18T16:52:00.237" UserId="61" Text="Welcome, Mario.&#xD;&#xA;&#xD;&#xA;Maybe it's the way you've encoded your audio, but everything sounds like it has a severe low-pass filter on it, with not much above 1-2kHz showing up. Regarding the content, not much character or details of interest except for the no.6 Moschea: nice acoustics from the surrounding buildings, and the man has a very intense voice.&#xD;&#xA;&#xD;&#xA;Thanks for submitting your work -" ContentLicense="CC BY-SA 2.5" />
  <row Id="7086" PostHistoryTypeId="2" PostId="4175" RevisionGUID="6a17765d-f599-4990-8219-11a045f766b2" CreationDate="2010-10-18T20:45:52.137" UserId="378" Text="Google Alerts are super useful. I don't know if that's helpful to you or not, but I just set alerts on my favorite forums for &quot;sound designer wanted&quot; and things like that. Every day I follow up on one or two of them.&#xD;&#xA;&#xD;&#xA;Of course, cold calls don't work nearly as well as if you come by recommendation, or if you're already a known entity. No matter how you find them." ContentLicense="CC BY-SA 2.5" />
  <row Id="7087" PostHistoryTypeId="2" PostId="4176" RevisionGUID="07a6ea76-2e39-4731-bfe4-abfc13b2199d" CreationDate="2010-10-18T22:59:48.893" UserId="243" Text="I'm seriously considering buying a zoom h4n recorder. &#xD;&#xA;&#xD;&#xA;Primarily for set recording for film. I am aware there is an unwanted buzz when connecting a mic through an XLR, however there isn't such a problem if you connect a jack coming from the same microphone.&#xD;&#xA;&#xD;&#xA;Can I mute the onboard XY mics and record exclusively through the XLR/Jack inputs with &quot;the simultaneous recording function&quot; how do I go about it?&#xD;&#xA;&#xD;&#xA;How does the &quot;stamina mode&quot;effect the recordings? As I understand it, you can record twice as long in stamina mode when recording 44.1kHz/16 bit, what about 48 kHz can the zoom h4n be set to 48 kHz? I don't think the battery life will last as long as if it was recording at 44.1.&#xD;&#xA;&#xD;&#xA;If I do get the recorder I will get an me66 mic from sennheiser with a k6 power module (obviously with a boom pole but I've only found one place that actually sells them here is Johannesburg South Africa and that is the sennheiser offices in aukland park) do you think this is a good decision? &#xD;&#xA;&#xD;&#xA;Personally I find it to be because it is practical/economical and realistic.   " ContentLicense="CC BY-SA 2.5" />
  <row Id="7088" PostHistoryTypeId="1" PostId="4176" RevisionGUID="07a6ea76-2e39-4731-bfe4-abfc13b2199d" CreationDate="2010-10-18T22:59:48.893" UserId="243" Text="pros and cons of a zoom h4n" ContentLicense="CC BY-SA 2.5" />
  <row Id="7089" PostHistoryTypeId="3" PostId="4176" RevisionGUID="07a6ea76-2e39-4731-bfe4-abfc13b2199d" CreationDate="2010-10-18T22:59:48.893" UserId="243" Text="&lt;zoomh4n&gt;&lt;simultaneousrecordfunctio&gt;&lt;48khz&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7090" PostHistoryTypeId="2" PostId="4177" RevisionGUID="0e21cc7b-c109-4145-a55f-18d5259ace58" CreationDate="2010-10-18T23:27:23.473" UserId="253" Text="I've recorded a bunch of stuff via xlr to my H4N and haven't noticed any terrible noise floor. I'm not saying it's ultra quiet; i just think that people on forums blow it out of proportions. If you're using it on location, i'd bet that your environmental noise floor would be higher than any preamp noise.&#xD;&#xA;&#xD;&#xA;You can choose to record with the built in mics, the XLR/jack inputs, or all 4. It's pretty easy to use. Good idea on the K6 power module, as the +48v on the H4N drains the battery super fast.&#xD;&#xA;&#xD;&#xA;As for the stamina mode, i'm guessing that the 44.1k/16 bit setting is what allows it to conserve power. You can set it up to 96k/24 bit." ContentLicense="CC BY-SA 2.5" />
  <row Id="7091" PostHistoryTypeId="2" PostId="4178" RevisionGUID="14ad244c-a024-449f-ad8c-0dbd9f87d1fb" CreationDate="2010-10-18T23:42:44.937" UserId="243" Text="No country for old men is one of the best examples. I love that film I agree with georgi.m with the coens' approach to film. Another film maker who has an adrimable attitude is George Lucas I mean the fact that his sound company is named after his first feature film speaks for itself. &#xD;&#xA;&#xD;&#xA;Also the 90's psycho remake was actually pretty good in terms of the sound. Lost Highway was very good as well. Fantastic plaent or la planette savage was great if you take the same attitude as I do in term of the music BEING the sound in a film as well.On that topic, a short film called &quot;copy shop&quot; is a very good example of that synchresis that was mentioned http://www.youtube.com/watch?v=EaLvuAvazDI." ContentLicense="CC BY-SA 2.5" />
  <row Id="7092" PostHistoryTypeId="2" PostId="4179" RevisionGUID="cd471943-9029-460d-ab4b-5f495a8cc315" CreationDate="2010-10-19T00:38:41.210" UserId="118" Text="I'm not an expert but scouting around on the internet I came across this comment on a forum:&#xD;&#xA;&#xD;&#xA;&quot;Normally, a gizmo with a 5V USB host port (such as a computer) can be expected to supply up to 500ma (1/2 an amp).  That is a published USB standard.  I've got a little battery brick with USB ports on it, and I use it to power an H120 or a MR1.  The recorders have their own internal battery so this brick &quot;helps keep them charged.&quot;  When you boot up the recorder and the hard drive starts to spin up, it uses more than the 500ma (MR1 is quoted as more than 1 amp), but the recorder's internal battery makes up the difference in the short run.  If you have a device without an internal battery, and you are JUST running it off the USB port you have no built in shock absorber, and depending on the device you might exceed that 500ma rating and it might drop out.&quot;&#xD;&#xA;&#xD;&#xA;That suggests to me the extra half amp is a good thing; a buffer or cushion rather than something that's going to blow it. Correct me if I'm wrong anyone!&#xD;&#xA;I never considered the MT2's battery being a problem - that seems a bit lame for a portable recorder." ContentLicense="CC BY-SA 2.5" />
  <row Id="7093" PostHistoryTypeId="2" PostId="4180" RevisionGUID="b09fbae8-9b0a-4cf8-814b-ffa5e0cc3bd5" CreationDate="2010-10-19T10:24:27.123" UserId="578" Text="There's a little known Belgian movie that has one or two very interesting sound design moments. Perhaps the movie as a whole will not present itself as a case study for sound design, but definitely one particular moment in there is really great - I don't want to spoil it here. Basically it comes down to the movie being a 'mockumentary', and the sound is all from what is recorded on location. This one particular moment uses a very imaginative but simple trick to create discrepancy between what is taped on film and recorded on the audio track, and subtly plays a nicely confusing game with the aural/visual perception of the audience.&#xD;&#xA;&#xD;&#xA;Apart from this great audio moment, the movie is definitely worth watching - it's a kind of Reservoir Dogs, but perhaps more 'out there'. Title &amp; imdb link - [C'est arrive pres de chez vous (Man Bites Dog)][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Another good sound design study would be comparing the sound of American remakes of Japanese movies. You will encounter a lot of curious and interesting differences in approach, which are of course largely culturally motivated - and inspiring because of that. Two examples of case studies:&#xD;&#xA;&#xD;&#xA;[Seven Samurai][2] vs [The Magnificent Seven][3]&#xD;&#xA;&#xD;&#xA;[Ringu][4] vs [The Ring][5]&#xD;&#xA;&#xD;&#xA;It's also a good and revealing exercise to compare the differences in sound design (and foley) approach between American, European (French for instance) and Japanese animated movies. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0103905/&#xD;&#xA;  [2]: http://www.imdb.com/title/tt0047478/&#xD;&#xA;  [3]: http://www.imdb.com/title/tt0054047/&#xD;&#xA;  [4]: http://www.imdb.com/title/tt0178868/&#xD;&#xA;  [5]: http://www.imdb.com/title/tt0298130/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7094" PostHistoryTypeId="2" PostId="4181" RevisionGUID="d6adcf06-4a44-4552-9e24-eaa4753ef9c0" CreationDate="2010-10-19T10:47:06.577" UserId="627" Text="Voice clicks are a royal pain in the arse!&#xD;&#xA;&#xD;&#xA;Artist awareness is the main part imho.&#xD;&#xA;&#xD;&#xA;Anyone who is aware that they may have this problem should steer clear of milk and dairy products, sugary foods and drinks, coffee and alcohol before they have sessions. Harsh but fair. If you're a pro athlete, you don't eat an entire cake the day before a race, so, if people want to do their jobs well, then they should look out for it.&#xD;&#xA;&#xD;&#xA;We have a sign up in our reception by the coffee pot asking voice artists to think twice as coffee can create voice clicks and therefore cost us engineers time and their (and our) client money cleaning it up. &#xD;&#xA;&#xD;&#xA;I agree that it's more to do with the dryness of the mouth and I have found that green apples and also good apple juice help, and you can also get products like Thayers dry mouth spray which I have seen used and working well.&#xD;&#xA;Don't just ask your artist to have a sip of water - get them to have a good ole swill around!&#xD;&#xA;&#xD;&#xA;It also seems to be worse in some older artists.&#xD;&#xA;&#xD;&#xA;I would also like to point out that some artists simply aren't aware as they think that they're 'hearing more' in their cans. If you feel that an artist has a problem, then pull them to one side away from all clients and have a quiet word. Failing that - it might even be worth a call to their agent.&#xD;&#xA;Sometimes engineers will tell the client that the voice is really clicky without the voice artist actually knowing - therefore the client may not hire them again as they're deemed 'hard work' meanwhile, the artist is oblivious!&#xD;&#xA;&#xD;&#xA;I tend to edit in protools and have become expert in pulling clicks out - a pain in the arse as it is, but I would also like to recommend Adobe Audition as you can program quick-keys as de-clickers.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7095" PostHistoryTypeId="2" PostId="4182" RevisionGUID="cb1aeb8f-6057-4211-8edf-b262b11245a6" CreationDate="2010-10-19T11:28:58.477" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am looking to get hold of a manual for the Steinberg Houston Controller. I tried to download it off of the Steinberg site but could not. Does anyone else have another source&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="7096" PostHistoryTypeId="1" PostId="4182" RevisionGUID="cb1aeb8f-6057-4211-8edf-b262b11245a6" CreationDate="2010-10-19T11:28:58.477" UserId="348" Text="Getting manual for Stienberg Houston Contoller" ContentLicense="CC BY-SA 2.5" />
  <row Id="7097" PostHistoryTypeId="3" PostId="4182" RevisionGUID="cb1aeb8f-6057-4211-8edf-b262b11245a6" CreationDate="2010-10-19T11:28:58.477" UserId="348" Text="&lt;download&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7098" PostHistoryTypeId="2" PostId="4183" RevisionGUID="458a25a4-2f95-4c98-b5f8-492bb4ed18d4" CreationDate="2010-10-19T12:08:23.310" UserId="628" Text="Hi&#xD;&#xA;&#xD;&#xA;I'm doing a sound design project on &quot;the sound of home&quot;, and I'm stuck. The concept is based on (from an anthropologist perspective) the different classifications of what makes a home, and the paradoxes that these classifications spur. One of the classifications or dimensions of what makes a home is socialization, and the paradoxes derived from that are inclusion and exclusion. &#xD;&#xA;&#xD;&#xA;So my question is: how do I make the sound of inclusion, and how do I make the sound of exclusion?&#xD;&#xA;&#xD;&#xA;All suggestions are welcome. :-)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7099" PostHistoryTypeId="1" PostId="4183" RevisionGUID="458a25a4-2f95-4c98-b5f8-492bb4ed18d4" CreationDate="2010-10-19T12:08:23.310" UserId="628" Text="The sound of home" ContentLicense="CC BY-SA 2.5" />
  <row Id="7100" PostHistoryTypeId="3" PostId="4183" RevisionGUID="458a25a4-2f95-4c98-b5f8-492bb4ed18d4" CreationDate="2010-10-19T12:08:23.310" UserId="628" Text="&lt;location-audio&gt;&lt;home&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7101" PostHistoryTypeId="2" PostId="4184" RevisionGUID="682b00fd-152f-4a77-a7b3-9b69243638a8" CreationDate="2010-10-19T13:16:45.760" UserId="393" Text="When I saw this post, I thought you were going to ask all of us to make atmos of our actual homes.&#xD;&#xA;&#xD;&#xA;Inclusion: Closer sounds, and lots of things crossing the stereo field -- when I think of inclusion, I immediately picture myself playing with one toy or another with my son. Lego blocks would be the easiest because of their tell-tale sound.  While playing, my wife, our dogs, and even my cat my cross our paths but the sound of the toys and my son would remain fairly constant.&#xD;&#xA;&#xD;&#xA;Exclusion: Muffled sounds, as if through a closed door.  Keep them distant, and never bring them closer.  Possibly have the closest sound you hear be something that's self-gratifying, like a computer whir, to indicate this is a normal phenomenon.  Again, in my own life, I noticed that after I built up the norm that I was going to spend the evening on the computer, I was left alone while I was back there.&#xD;&#xA;&#xD;&#xA;Good luck, and welcome to the boards!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7102" PostHistoryTypeId="6" PostId="4176" RevisionGUID="b70192f6-a6cd-461b-b1ce-e9da9729ec1c" CreationDate="2010-10-19T14:28:42.673" UserId="90" Comment="edited tags" Text="&lt;zoom&gt;&lt;zoom-h4n&gt;&lt;48khz&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7103" PostHistoryTypeId="2" PostId="4185" RevisionGUID="5bc5fe5c-c4df-494d-82d3-cbd0e2134fd0" CreationDate="2010-10-19T16:35:57.107" UserId="29" Text="Do your sounds need to be just of the space, or of the inhabitants? &#xD;&#xA;&#xD;&#xA;Inclusion suggests, to me, shared experiences: The clatter of silverware in a shared meal, Dave playing with Legos with his child, the fwip-fwip sounds of a multi-player card game, even a fire in the hearth - I've certainly never built a fire at home without someone else around. If you're willing to consider the broader sense of &quot;home,&quot; some cultures keep non-pet animals in the home as well. Any household ritual, from health-bolstering folk medicine to washing the dishes, could be used to suggest the inclusive bonds of the family and the home.&#xD;&#xA;&#xD;&#xA;Exclusion might even be explored in terms of those isolated within the home compared to the outside world. Like Dave, to me it also suggests the sounds of machinery and technology that fills modern homes. Anthropological themes of familial order, patriarchy, and matriarchy could also be explored through the use of sound as well, but I don't know the balance of narrative vs. social-science your assignment requires." ContentLicense="CC BY-SA 2.5" />
  <row Id="7104" PostHistoryTypeId="2" PostId="4186" RevisionGUID="fe90af72-c176-444f-a9eb-e2a8892e8fed" CreationDate="2010-10-19T17:54:44.307" UserId="629" Text="Hello everybody,&#xD;&#xA;&#xD;&#xA;I am a University student in the UK and I was hoping that you may be able to give me some guidance on my final year project.&#xD;&#xA;&#xD;&#xA;The main aim is: To demonstrate whether using low budget studio equipment can produce the same emotional affect during gameplay/theatrical trailer as using expensive industry standard professional kit.&#xD;&#xA;&#xD;&#xA;I will be recording sound for a racing game trailer but am finding it difficult to plan some of the recordings.&#xD;&#xA;&#xD;&#xA;I have read many articles on how to record cars and suitable microphones and techniques. One of the main problems is that I don't have access to empty roads or professional racing drivers, does anyone have any suggestions on the best ways to get engine sounds (accelerating and changing gears), tyre spins, car drifts/skids and car pass bys?&#xD;&#xA;&#xD;&#xA;Baring in mind I don't have much budget on this and will be renting most of the equipment from University or a shop.&#xD;&#xA;&#xD;&#xA;Thanks in advance.&#xD;&#xA;&#xD;&#xA;Ade&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7105" PostHistoryTypeId="1" PostId="4186" RevisionGUID="fe90af72-c176-444f-a9eb-e2a8892e8fed" CreationDate="2010-10-19T17:54:44.307" UserId="629" Text="Techniques for Recording a Car" ContentLicense="CC BY-SA 2.5" />
  <row Id="7106" PostHistoryTypeId="3" PostId="4186" RevisionGUID="fe90af72-c176-444f-a9eb-e2a8892e8fed" CreationDate="2010-10-19T17:54:44.307" UserId="629" Text="&lt;cars&gt;&lt;sfx&gt;&lt;foley&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7107" PostHistoryTypeId="2" PostId="4187" RevisionGUID="4e571a0a-2144-4b3d-93cf-7f14bff275a7" CreationDate="2010-10-19T18:12:17.473" UserId="194" Text="1 caveat via the [manual][1]:&#xD;&#xA;&#xD;&#xA;&gt; Sample rates below 32 kHz are not supported on the coaxial or optical (TOSLINK) digital interconnections. 192 kHz sampling rate is not supported on the TOSLINK interconnections.&#xD;&#xA;&#xD;&#xA;so use the spdif on those high sample rate records.  :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sounddevices.com/download/guides/USBPre2_en.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="7108" PostHistoryTypeId="2" PostId="4188" RevisionGUID="f307e52a-eda4-4d99-baa5-34ed4b69453b" CreationDate="2010-10-19T20:00:14.213" UserId="338" Text="Home could mean our solar system, place of residence, our fantasy, it all depends on the context whether you are in Iraq and there are machine guns everywhere or suburbia.  Maybe at home you are always in a fantasy land or what if you have no home like a homeless person.  Home is where the heart is." ContentLicense="CC BY-SA 2.5" />
  <row Id="7109" PostHistoryTypeId="2" PostId="4189" RevisionGUID="e038ee4a-581a-417e-bcde-92da7fbd5933" CreationDate="2010-10-19T20:35:20.727" UserId="558" Text="Questions&#xD;&#xA;Are you producing the picture? or are you being provided with picture.  I suggest you start from finished picture and make a list of all the sounds you need to collect (fast close car by, med dist fast car by, quick accel from stop on gravel, etc.  &#xD;&#xA;&#xD;&#xA;Do you have a vehicle that is appropriate for the picture?  Ask friends for loaners, but be sure to tell them that you may be pushing the RPMs.&#xD;&#xA;&#xD;&#xA;At some point you will need some roads that you can open up on.  Either that or use a stationary system like a Dyno (but that means $)&#xD;&#xA;&#xD;&#xA;The most common record positions are Engine, Exhaust, Tire, and Interior.  Be aware that many spots on a car get VERY HOT and can ruin equipment.  As a video game guy I have never found interior to be that helpful.  It has a very low-pass filtery sound.&#xD;&#xA;&#xD;&#xA;Duct/gaffer's tape is your friend.&#xD;&#xA;&#xD;&#xA;You cant beat TRIAL AND ERROR." ContentLicense="CC BY-SA 2.5" />
  <row Id="7110" PostHistoryTypeId="2" PostId="4190" RevisionGUID="90be4912-78c5-4e98-b538-753bf05c57b4" CreationDate="2010-10-19T21:59:51.737" UserId="202" Text="Ciao Gio&#xD;&#xA;As Tim already answered in the other question, those are the specs for laying back to BetaSP (even if some tv network, in Italy have other specs too).&#xD;&#xA;&#xD;&#xA;All the theater (or most of them) have a Dolby certification: this is the only standard specs regarding level that you can follow (these should be guaranteed if you print a film copy or go with DCP). &#xD;&#xA;&#xD;&#xA;Unfortunately most of the theater (at least here in Italy) doesn't have a standard alignment when projecting from DVD or BetaSP, even if you follow all the standard specification: it really depends on the projectionist.&#xD;&#xA;&#xD;&#xA;Hope it helps&#xD;&#xA;&#xD;&#xA;Davide" ContentLicense="CC BY-SA 2.5" />
  <row Id="7111" PostHistoryTypeId="2" PostId="4191" RevisionGUID="e5b86ae4-347b-46e2-96d9-dac0b71b2fc6" CreationDate="2010-10-19T23:39:26.273" UserId="558" Text="I agree, very nice sound scape.&#xD;&#xA;&#xD;&#xA;The music was Perfect, and the mix was nice and clean.&#xD;&#xA;&#xD;&#xA;I would have liked to hear less pitch variation on the bad guy deaths, but more versions of them so they don't become too repetitive.  i preferred the lower pitch bad guys.  It matched the character more.&#xD;&#xA;&#xD;&#xA;I would also like to hear a beefier thud when they get squashed.&#xD;&#xA;&#xD;&#xA;My $0.02&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7112" PostHistoryTypeId="2" PostId="4192" RevisionGUID="772a5044-ad7a-4115-aa08-eefeaf9c74bf" CreationDate="2010-10-20T00:17:52.077" UserId="558" Text="I'm a long time Game Audio guy from LA (near Burbank) trying to rebuild my traditional post clientele again.  I work out of my home and other studios.  I seem to gravitate toward animated projects, but not on purpose." ContentLicense="CC BY-SA 2.5" />
  <row Id="7113" PostHistoryTypeId="16" PostId="4192" RevisionGUID="772a5044-ad7a-4115-aa08-eefeaf9c74bf" CreationDate="2010-10-20T00:17:52.077" UserId="-1" />
  <row Id="7114" PostHistoryTypeId="2" PostId="4193" RevisionGUID="3d37e95b-6fbb-4db6-96de-9d4224e75dba" CreationDate="2010-10-20T01:12:08.260" UserId="589" Text="Hello forum, &#xD;&#xA;&#xD;&#xA;I was wondering, how do you guys deal with cloth sounds on radio mic recordings. Is there any way to get rid of this? I tried to deal with it with the normal noise reduction tools, but never really got completly rid of it. &#xD;&#xA;&#xD;&#xA;Thanks, &#xD;&#xA;&#xD;&#xA;Stirner" ContentLicense="CC BY-SA 2.5" />
  <row Id="7115" PostHistoryTypeId="1" PostId="4193" RevisionGUID="3d37e95b-6fbb-4db6-96de-9d4224e75dba" CreationDate="2010-10-20T01:12:08.260" UserId="589" Text="Remove cloth sound from radio mics" ContentLicense="CC BY-SA 2.5" />
  <row Id="7116" PostHistoryTypeId="3" PostId="4193" RevisionGUID="3d37e95b-6fbb-4db6-96de-9d4224e75dba" CreationDate="2010-10-20T01:12:08.260" UserId="589" Text="&lt;radio&gt;&lt;microphone&gt;&lt;noise&gt;&lt;reduction&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7117" PostHistoryTypeId="2" PostId="4194" RevisionGUID="58b093cf-3ed0-4bff-b0cd-173174d09623" CreationDate="2010-10-20T03:35:23.377" UserId="61" Text="Sorry to be the bearer of bad news, but once that sort of interference is on the track it's nearly impossible to get rid of it completely. My advice would be to edit out as much as possible, filling in the edits with room tone or fill. Then for the noise that is over actual dialog, go find alternate takes you can steal syllables from and reconstruct the performance." ContentLicense="CC BY-SA 2.5" />
  <row Id="7121" PostHistoryTypeId="2" PostId="4196" RevisionGUID="46abfc18-e026-4909-a1f1-d70622459123" CreationDate="2010-10-20T04:34:04.763" UserId="632" Text="This may not be possible, but here it goes...&#xD;&#xA;&#xD;&#xA;I'm curious if I can capture timecode out of a DV camera, using a BNC Male to XLR Male converter cable, into an Apogee Duet.&#xD;&#xA;&#xD;&#xA;I will be recording an interview using a Sennheiser ME 66 on a boom through an Apogee Duet and into Logic Pro. Not the most ideal setup, but it's what I have to work with.&#xD;&#xA;&#xD;&#xA;Any thoughts or suggestions would be appreciated." ContentLicense="CC BY-SA 2.5" />
  <row Id="7122" PostHistoryTypeId="1" PostId="4196" RevisionGUID="46abfc18-e026-4909-a1f1-d70622459123" CreationDate="2010-10-20T04:34:04.763" UserId="632" Text="Capturing Timecode Using an Apogee Duet" ContentLicense="CC BY-SA 2.5" />
  <row Id="7123" PostHistoryTypeId="3" PostId="4196" RevisionGUID="46abfc18-e026-4909-a1f1-d70622459123" CreationDate="2010-10-20T04:34:04.763" UserId="632" Text="&lt;timecode&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7124" PostHistoryTypeId="2" PostId="4197" RevisionGUID="2f1461e6-ab76-4c0b-8b26-e6d1ff1cb8a0" CreationDate="2010-10-20T04:52:38.187" UserId="598" Text="I don't see why not.&#xD;&#xA;&#xD;&#xA;What do you need the audio TC for?&#xD;&#xA;&#xD;&#xA;Audio TC is a rather loud source.  If you have a line level in on the duet, then you should be ok.  The only potential problem is bleed from the audio channel that you have your boom mic going into and the audio channel with the TC.&#xD;&#xA;&#xD;&#xA;-greg-" ContentLicense="CC BY-SA 2.5" />
  <row Id="7125" PostHistoryTypeId="2" PostId="4198" RevisionGUID="fa3dac89-ac32-4443-a780-43ee40c4a57b" CreationDate="2010-10-20T06:28:25.590" UserId="40" Text="It is possible to do, but unless you are recording on film, it is probably much, much easier just to marker sync.&#xD;&#xA;&#xD;&#xA;If your camera has an onboard mic, make sure it's on. If it doesn't, see if you can't get some mic on it (doesn't matter what it is - just has to capture audio). Then when you pull the footage in during post, match up the transients of your marker on each take. Just make sure you're in the same frame rate!!! (Logic should be set to record in 48k!)&#xD;&#xA;&#xD;&#xA;If you don't have a way to get audio into the camera, you can still sync. Just line up the marker close frame with the transient of the audio. Using a frame bump quick key and scrub wheel, this should be a fairly quick process.&#xD;&#xA;&#xD;&#xA;Then there is always the program &quot;Plural Eyes&quot; which pretty much does the above automatically (provided you have audio on the camera).&#xD;&#xA;&#xD;&#xA;TC striping (as you described above - TV to audio track) really only works well if you have a clock you can send it back into. FCP only reads TC metadata, and unless you are going to re-record your tracks onto a machine with a TC input (DAT, XDCam, etc... or another computer with a TC input) it will just be too much of a headache on your part.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;After all this is said, is there a reason you don't just record audio to the camera? It's not the best option in most situations, but this, being an interview, should really need much level riding, just boom movement (if even that). Then sync won't be an issue." ContentLicense="CC BY-SA 2.5" />
  <row Id="7126" PostHistoryTypeId="2" PostId="4199" RevisionGUID="d4e1954d-858a-4589-882c-289ca97d6fbb" CreationDate="2010-10-20T06:32:15.070" UserId="10" Text="PCM-M10 is the deal." ContentLicense="CC BY-SA 2.5" />
  <row Id="7127" PostHistoryTypeId="2" PostId="4200" RevisionGUID="cd375506-d023-486b-b733-d008fcc6aaea" CreationDate="2010-10-20T08:16:20.787" UserId="2" Text="I own a single M/S microphone: [Sennheiser MKH 418s][1]. I don't want to have to use two channels from my recorder to record mono. If I only plug in the left channel of the mic, I'm actually getting the Mid + one of the sides together (am I right here?)... &#xD;&#xA;&#xD;&#xA;Is there a clever way using a Sound Devices 702 to decode the mid channel using only the left channel from the mic. This way I can also have another mic plugged in, especially important if I'm location recording. &#xD;&#xA;&#xD;&#xA;I hope my question makes sense. Thanks for any input. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_camera-mics-mkh-418-s" ContentLicense="CC BY-SA 2.5" />
  <row Id="7128" PostHistoryTypeId="1" PostId="4200" RevisionGUID="cd375506-d023-486b-b733-d008fcc6aaea" CreationDate="2010-10-20T08:16:20.787" UserId="2" Text="Mono using only one channel from my single point M/S mic" ContentLicense="CC BY-SA 2.5" />
  <row Id="7129" PostHistoryTypeId="3" PostId="4200" RevisionGUID="cd375506-d023-486b-b733-d008fcc6aaea" CreationDate="2010-10-20T08:16:20.787" UserId="2" Text="&lt;mid-side&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7130" PostHistoryTypeId="2" PostId="4201" RevisionGUID="9ccd3eb8-a96c-4bed-8d4c-d3503c7df613" CreationDate="2010-10-20T08:27:26.007" UserId="202" Text="As Jay wrote, editing out the noise and find alt takes is the way to go.&#xD;&#xA;&#xD;&#xA;Sometime, I had acceptable results using the Waves X-crackle (at extreme settings) to smooth out the noise (but you can lose some of the voice character/definition). &#xD;&#xA;&#xD;&#xA;*By the way, the Waves x-crackle it's the only decrackle that I tried that can help with cloth/lapel noise, why? I think that what help, in those cases, are the &quot;artifacts/distortion&quot; that the plugin adds...* &#xD;&#xA;&#xD;&#xA;You can also check out the izotope RX spectral repair, it could help.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7131" PostHistoryTypeId="2" PostId="4202" RevisionGUID="3bd477cb-fce5-4c5b-b135-ef6591ca23b9" CreationDate="2010-10-20T08:50:20.150" UserId="474" Text="+1 on Izotope RX (Spectral Repair) - if you're talking about post.&#xD;&#xA;&#xD;&#xA;It saved a lot of noisy/damaged recordings I got delivered - can be quite a tedious job though, because you've got to be very careful.&#xD;&#xA;&#xD;&#xA;In my opinion it's worth a try, though." ContentLicense="CC BY-SA 2.5" />
  <row Id="7132" PostHistoryTypeId="2" PostId="4203" RevisionGUID="d1a89761-4a47-41c9-8e2c-fa20df2e8eaa" CreationDate="2010-10-20T08:55:53.570" UserId="202" Text="The 418 output Mid on the left ch and Side on the right ch, if I remember well.&#xD;&#xA;&#xD;&#xA;I'm quite sure that it should work with phantom power to both channels, even if you need only the Mid signal. Maybe you can check the microphone manual.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7133" PostHistoryTypeId="2" PostId="4204" RevisionGUID="0c685e1a-4ca3-481c-a354-7bb120bd740a" CreationDate="2010-10-20T09:37:25.657" UserId="54" Text="Hello.&#xD;&#xA;&#xD;&#xA;I'm looking around for a solid state unit to do my location recordings with. Eventually I want to take it with me around travelling as a solid device to do all my recordings with.&#xD;&#xA;&#xD;&#xA;I don't have the budget for a Sound Device unit, so the £700-ish mark is the most I could get together for something like this. I've even looked into a PortaBrace bags, and they do one for this unit.&#xD;&#xA;&#xD;&#xA;http://tascam.com/product/dr-680/&#xD;&#xA;&#xD;&#xA;My main aim now is to build up my own sound effects library. For my own use and for others to use. I'm curious that the preamps are clean and detailed on this unit, ready for all sorts of microphones to be plugged into it.&#xD;&#xA;&#xD;&#xA;Would this be a good quality, flexible, solid device to do professional location sound recording with?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7134" PostHistoryTypeId="1" PostId="4204" RevisionGUID="0c685e1a-4ca3-481c-a354-7bb120bd740a" CreationDate="2010-10-20T09:37:25.657" UserId="54" Text="Has anyone got experience with the Tascam DR-680?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7135" PostHistoryTypeId="3" PostId="4204" RevisionGUID="0c685e1a-4ca3-481c-a354-7bb120bd740a" CreationDate="2010-10-20T09:37:25.657" UserId="54" Text="&lt;location-recording&gt;&lt;microphone&gt;&lt;field-recording&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7136" PostHistoryTypeId="2" PostId="4205" RevisionGUID="f391ed52-1d51-4422-a94c-9a15c6a90ed5" CreationDate="2010-10-20T12:46:58.807" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;A student of mine asked a question as to how to record screaming onset. He mentioned that the room they were in was quite reverberant and no matter what he did (limiter, pads, standing way back etc) he was still getting distortion. Does anyone have a solution to this or a technique to record screams in an environment like this and not get distortion? &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="7137" PostHistoryTypeId="1" PostId="4205" RevisionGUID="f391ed52-1d51-4422-a94c-9a15c6a90ed5" CreationDate="2010-10-20T12:46:58.807" UserId="348" Text="Recording Screaming on set interior" ContentLicense="CC BY-SA 2.5" />
  <row Id="7138" PostHistoryTypeId="3" PostId="4205" RevisionGUID="f391ed52-1d51-4422-a94c-9a15c6a90ed5" CreationDate="2010-10-20T12:46:58.807" UserId="348" Text="&lt;recording&gt;&lt;screams&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7139" PostHistoryTypeId="2" PostId="4206" RevisionGUID="ac089876-3b6b-459f-b934-d2ad55354f92" CreationDate="2010-10-20T12:48:31.907" UserId="432" Text="I have this mic, and the info going on in the comments section is correct. You need to provide power to both elements, otherwise the mic won't work. That being said, you don't necessarily have to plug in the &quot;Side&quot; component into your 702. If you had a separate phantom power supply (you can find some for under $40 at B&amp;H) that you could plug the &quot;Side&quot; cable into you would then be fully powering the mic, and could record only the &quot;Mid&quot; signal on your 702 and still have the second channel free for a different source." ContentLicense="CC BY-SA 2.5" />
  <row Id="7140" PostHistoryTypeId="2" PostId="4207" RevisionGUID="f41e4fc5-a8f5-4fa8-b5aa-b1afe84c9f55" CreationDate="2010-10-20T13:06:29.793" UserId="629" Text="I'm guessing you were trying it with a condenser microphone? A dynamic mic would probably be best for such a high volume sounds. Also try to use cardioid patterns to help prevent bleed from the reverberant walls." ContentLicense="CC BY-SA 2.5" />
  <row Id="7141" PostHistoryTypeId="2" PostId="4208" RevisionGUID="7cc24186-c0b2-441f-8fa1-b5d11477623a" CreationDate="2010-10-20T13:38:57.740" UserId="393" Text="Create an impulse response of the location, and record the scream elsewhere." ContentLicense="CC BY-SA 2.5" />
  <row Id="7142" PostHistoryTypeId="2" PostId="4209" RevisionGUID="046c9ad6-557a-46da-ba19-2c66cef359c7" CreationDate="2010-10-20T16:00:04.900" UserId="633" Text="Hi Everyone,,&#xD;&#xA;&#xD;&#xA;I am currently working on a project where the main character is a young girl who is deaf but with the aid of a hearing implant learns to play the piano. The piece cuts between her perspective where there is no or little sound and her parents who have full hearing. I was wondering if anyone had any advice on how to approach the design as a whole as I do have ideas but if anyone had any good tips it would be much appreciated.&#xD;&#xA;&#xD;&#xA;Oh and I am recording my sound crystal synch on a Nagra 4.2 quater inch tape.&#xD;&#xA;&#xD;&#xA;Many Thanks &#xD;&#xA;&#xD;&#xA;Tom " ContentLicense="CC BY-SA 2.5" />
  <row Id="7143" PostHistoryTypeId="1" PostId="4209" RevisionGUID="046c9ad6-557a-46da-ba19-2c66cef359c7" CreationDate="2010-10-20T16:00:04.900" UserId="633" Text="POV Sound of a Deaf Pianist" ContentLicense="CC BY-SA 2.5" />
  <row Id="7144" PostHistoryTypeId="3" PostId="4209" RevisionGUID="046c9ad6-557a-46da-ba19-2c66cef359c7" CreationDate="2010-10-20T16:00:04.900" UserId="633" Text="&lt;deaf&gt;&lt;pov&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7146" PostHistoryTypeId="2" PostId="4211" RevisionGUID="72fb65c3-99de-48d6-a5ba-d49fa47aaca3" CreationDate="2010-10-20T16:50:22.610" UserId="220" Text="It might be worthwhile to turn to some live sound mics for something this harsh - track down an Audix OM7 and see how you fare.  It's made for powerful singers/growlers/screamers." ContentLicense="CC BY-SA 2.5" />
  <row Id="7147" PostHistoryTypeId="2" PostId="4212" RevisionGUID="96693819-338b-4440-843e-fbe1d72a2054" CreationDate="2010-10-20T18:45:15.183" UserId="290" Text="The game &quot;Dead Space&quot; did something really interesting that this reminds me of. There are sequences in the game where you leave the pressurized spaceship, and play in a vacuum. What the audio team did, which was bloody brilliant, is only played back sounds as they would sound through the space-suit. I.E., your suit has big metal booties, which pick up any vibrations directly on the surface of the spaceship. You hear yourself walk, you hear impacts against the space-ship's surface. You hear direct impacts against your suit. It's eerie.&#xD;&#xA;&#xD;&#xA;I read a story once about a deaf girl learning to dance by &quot;listening&quot; to the beat of the piano as it vibrated the dance floor. Maybe think about how we can &quot;hear&quot; with our skin and bones, not our ears." ContentLicense="CC BY-SA 2.5" />
  <row Id="7148" PostHistoryTypeId="2" PostId="4213" RevisionGUID="98770326-42e1-44a8-9b82-65e939966d42" CreationDate="2010-10-20T18:52:01.077" UserId="290" Text="Sound design is like cooking in a lot of ways. When you cook a giant meal, it's a lot of fun. But the clean-up is boring. What they say when you're learning to cook is that you have to clean-up as you go.&#xD;&#xA;&#xD;&#xA;Which brings me to my question: What's your workflow for getting sounds you've recorded into your library? Do you immediately crop them into useful samples when they're recorded? Or do you do what I do and let them all pile up in the sink until they're swarming with flies and you can't scrape the damn rice from the bottom of the pot?&#xD;&#xA;&#xD;&#xA;Errr.... Uhm... There's a useful metaphor in there somewhere." ContentLicense="CC BY-SA 2.5" />
  <row Id="7149" PostHistoryTypeId="1" PostId="4213" RevisionGUID="98770326-42e1-44a8-9b82-65e939966d42" CreationDate="2010-10-20T18:52:01.077" UserId="290" Text="Workflow: Getting sounds into your library." ContentLicense="CC BY-SA 2.5" />
  <row Id="7150" PostHistoryTypeId="3" PostId="4213" RevisionGUID="98770326-42e1-44a8-9b82-65e939966d42" CreationDate="2010-10-20T18:52:01.077" UserId="290" Text="&lt;sfx&gt;&lt;library&gt;&lt;workflow&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7151" PostHistoryTypeId="2" PostId="4214" RevisionGUID="0519786a-99f9-44b3-b83d-d5ce5b25bb18" CreationDate="2010-10-20T19:07:37.343" UserId="531" Text="FWIF:&#xD;&#xA;I recently emailed Chris From Busman Audio to get his take on the 680 with his mod installed, as compared to the Roland R-44 modded by the Oade brothers. &#xD;&#xA;&#xD;&#xA;&quot;Yes I am modding the Tascam DR-680.  I think it will be great for film/etc. use.&#xD;&#xA;&#xD;&#xA;I feel the Tascam sounds a lot better than the R-44 to begin with because the converters are much better than the edirol unit.  With the mods it is so natural and real sounding with a soundstage that is very 3D. &#xD;&#xA;&#xD;&#xA;I don’t feel it is difficult to use in the field at all. It takes a little to get used to just like any new piece of gear but not hard at all.  I like the input recording options along with being able to accept digital input while using analog inputs as well.  &#xD;&#xA;&#xD;&#xA;My mod improves the overall sound quality including opening up the soundstage and lowering the noise floor while giving better transient detail without harsh high end smear. &#xD;&#xA;&#xD;&#xA;I have never really liked the sound of the R-44 much modded or unmodded.  I felt the R4 and R4pro with mods had the R-44 beat hands down. I feel they were too busy trying to make a small sized unit instead of great sound quality.&quot;&#xD;&#xA;&#xD;&#xA;Hope that helps you out. &#xD;&#xA;&#xD;&#xA;-Kevin" ContentLicense="CC BY-SA 2.5" />
  <row Id="7152" PostHistoryTypeId="2" PostId="4215" RevisionGUID="b8cc95a1-4468-4f2b-9aad-a38e13b04228" CreationDate="2010-10-20T20:54:40.517" UserId="6411" Text="There's a few ways that I could see going with this, depending on the story.&#xD;&#xA;&#xD;&#xA;My first reaction would be to limit the frequency response of the hearing impaired girl's POV vs. that of the hearing world. Heavy compression, a little distortion. The &quot;reality&quot; of listening to the world through a 50Hz-6000Hz mic attached to your ear. Not very inspiring though.&#xD;&#xA;&#xD;&#xA;Second would reinforce @ragamesound's notion of hearing with your body and not your ears.  When shopping for an electric piano long ago, dealers went into great detail about how well sampled their pianos are.  One of the things I heard the most raving about was &quot;the knock&quot; or the sound of the wood on wood impact of keys in the higher octaves. The higher the velocity with which you strike the key the greater the knock was heard.  But, another of those unintended benefits of having a piano with a headphone jack is you hear the rhythm of the physical instrument itself as its played. The squeak of a pedal, the wrinkle of the leather on the stool as the player shifts, the fingernails on the &quot;ivory&quot;. Extrapolating that idea further into an acoustic instrument I'd think of the piano's mechanisms, creaking and punctuating the rhythm of the piece. The mechanical shift of the hammers as the player depresses the soft pedal. The piano becomes more of a percussion instrument than a melodic string instrument. In complete contrast to my first reaction, LFE content may be your friend here. Making you feel the piano more than hear it.&#xD;&#xA;&#xD;&#xA;Thirdly, would be in a similar vein to @Ryan's suggestion. To the deaf girl, her piano is the most beautiful sound in the world. In her ear she is a virtuoso, a prodigy playing a 6'11&quot; Bösendorfer. In contrast, the hearing have the unfortunate reality of the world around them to dirty up the soundscape, in fact she's playing a honky-tonk upright, and she's hardly a virtuoso...&#xD;&#xA;&#xD;&#xA;Maybe it's a progression of all these ideas through the story, culminating in a finale mix of all the ideas to create a new take on an old familiar piece. Again, it all depends on the story.&#xD;&#xA;&#xD;&#xA;On a somewhat related note, I highly recommend [this TED demonstration][1]. And if you'd like more, I can't recommend [this][2] performance / documentary enough.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://blog.ted.com/2007/04/06/evelyn_glennie/&#xD;&#xA;  [2]: http://www.amazon.com/Touch-Sound-Journey-Evelyn-Glennie/dp/B000F0UUSM" ContentLicense="CC BY-SA 2.5" />
  <row Id="7153" PostHistoryTypeId="2" PostId="4216" RevisionGUID="5c37b0a0-5487-4aaf-9310-2b381d82986a" CreationDate="2010-10-20T21:04:25.953" UserId="243" Text="As an out-branching of Ryan's question about film sound design. I want to know what you think is the best musical sound design (for a lack of a better set of words). &#xD;&#xA;&#xD;&#xA;The best example (off the top of my head) is Pink Floyd's &quot;dark side of the moon&quot;. It follows similar &quot;layering&quot; as a film's sound track don't you think? In terms of the use of instruments (which tie the two together I think). Foley objects, footsteps even the human voice are &quot;musical instruments&quot;. &#xD;&#xA;&#xD;&#xA;What are your thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7154" PostHistoryTypeId="1" PostId="4216" RevisionGUID="5c37b0a0-5487-4aaf-9310-2b381d82986a" CreationDate="2010-10-20T21:04:25.953" UserId="243" Text="music to Study for Excellence in Sound Design" ContentLicense="CC BY-SA 2.5" />
  <row Id="7155" PostHistoryTypeId="3" PostId="4216" RevisionGUID="5c37b0a0-5487-4aaf-9310-2b381d82986a" CreationDate="2010-10-20T21:04:25.953" UserId="243" Text="&lt;musicsound&gt;&lt;designlayeringinstruments&gt;&lt;tracksinstruments&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7156" PostHistoryTypeId="2" PostId="4217" RevisionGUID="8b962dd2-728d-4a4a-acdf-17744aa9ac46" CreationDate="2010-10-20T21:15:03.730" UserId="432" Text="check out [this thread][1], already in progress.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/3713/inspiration-from-the-world-of-music-production" ContentLicense="CC BY-SA 2.5" />
  <row Id="7157" PostHistoryTypeId="2" PostId="4218" RevisionGUID="2bffeae0-0a8a-4172-a1ea-d872280cdd03" CreationDate="2010-10-20T21:32:41.297" UserId="220" Text="On the menus, the music loops its theme for about 6 or 8 times.  On the loop back, there is a pop and and brief silence before the loop starts again.  On the &quot;upgrade menu&quot; there is no pop, but still the silence.  Probably just need to fade out briefly on the start/end of the music tracks.&#xD;&#xA;&#xD;&#xA;I would also have liked to have a more satisfying sound for the &quot;hits&quot;.  Something with a crack or a squish.  Something this repetitive needs to have audio variety beyond the &quot;ooofs&quot; and screams. &#xD;&#xA;&#xD;&#xA;On the upgrade screen, there is the same &quot;cucoo clock&quot; sound whether you're able to buy an upgrade or not.  It would be nice to get a negative buzzer sound or something similar if you don't have enough cash, and the positive sound when you make a purchase.  &#xD;&#xA;&#xD;&#xA;Other than that, sounds good, game play is very simple and fun.  Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7158" PostHistoryTypeId="2" PostId="4219" RevisionGUID="f2ff3c90-cbc2-4c0b-837f-e1820be2e826" CreationDate="2010-10-20T23:21:24.140" UserId="578" Text="I've owned the Tascam for a few weeks now. It's my first proper field recorder, and I bought it for similar reasons as why you're interested in it - financially it's a very attractive proposition.&#xD;&#xA;&#xD;&#xA;I did a lot of research before I bought it, and found some data sheets that indicated that the preamps are very quiet, pretty close to Sound Devices 722 in fact. Have a look [here][1] and [here][2]. I also read comments from people on the Yahoo Nature Recordists group, and most were positive. Some people did encounter some issues, mainly with SD cards behaving strangely. I personally did not have this problem so far.&#xD;&#xA;&#xD;&#xA;My personal experiences with it are very positive so far. I like the unit a lot. The sound quality of the preamps seems good to my ears. The operation is straightforward, a few quirks, but nothing that bothers me. I do have a few things that I need to figure out though - I have a clicking noise on preamps 5&amp;6 (at about -60dB) when they're switched to the mic level. I need to work out if this is can be fixed by installing the latest firmware update - stupidly enough I haven't done this yet. Otherwise I may have a faulty unit, it seems - but it's not a fault that stops me from using it, although I will exchange it for a new unit if the problem persists.&#xD;&#xA;&#xD;&#xA;Another thing I've found is that it may be fairly sensitive to interference, perhaps the shielding of the preamps isn't as good as what a Sound Devices might be, but I am not entirely sure of this yet either - need to do more tests, etc.&#xD;&#xA;&#xD;&#xA;All in all, a great device. I can record 6 analogue channels simultaneously in the field and it cost me £700 only (found a good deal). With the 2 additional digital inputs I could do 8 track recordings even... The self noise of the preamps is very low, so I can use it with the quietest microphones available. The metering is a bit iffy, but so far this hasn't been an issue for me. The headphone amp is pretty loud, but noisy. As long as you remind yourself that all that noise doesn't print to the recording, you can live with it. It's small, very portable. Light-weight also.&#xD;&#xA;&#xD;&#xA;Build-quality - well, it's a bit plasticky perhaps, but if you keep it in a good bag/case then that's fine. All in all, this is of course a very, very cheap unit for the amount of inputs you get and the quality of the preamps. So yes, the slightly plastic feel of the unit is one of the trade-offs. Also, the built in limiter and lo cut are useless (not that I want to use either of those in the field anyway) - they're useless cause they're in the digital domain, so yeah pretty pointless really. &#xD;&#xA;&#xD;&#xA;Battery life - get good batteries and a proper charger, and you'll be OK. A friend of mine owns the Tascam as well and he used it last weekends for several hours in a row without the batteries failing him, I think he was using 2 or 3 inputs with phantom power. I haven't done very hardcore tests for the battery life yet, so far I haven't encountered any issues. Swapping the batteries goes easily as well anyway, but yeah that's not necessarily what you want to hear of course...&#xD;&#xA;&#xD;&#xA;I considered the Fostex FR-2LE and Marantz PMD661 as well, because they also have great preamps. However these are stereo units. I figured I rather spend a few hundred pounds more and be able to record 6 channel or more. Clearly, if you want to do more than stereo channel recordings, the only option out there is this Tascam, or big shitloads of money for a Sound Devices, a Deva, and whatnot...&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;Feel free to fire me any questions if you want know more. If it wans't clear, I'd definitely recommend this device :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avisoft.com/recordertests.htm&#xD;&#xA;  [2]: https://pantherfile.uwm.edu/type/www/audio-reports/RecorderList/RecorderList.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="7159" PostHistoryTypeId="5" PostId="4219" RevisionGUID="f6401306-984e-459a-a133-3390f8a84e6c" CreationDate="2010-10-20T23:27:07.893" UserId="578" Comment="added 206 characters in body; edited body" Text="I've owned the Tascam for a few weeks now. It's my first proper field recorder, and I bought it for similar reasons as why you're interested in it - financially it's a very attractive proposition.&#xD;&#xA;&#xD;&#xA;I did a lot of research before I bought it, and found some data sheets that indicated that the preamps are very quiet, pretty close to Sound Devices 722 in fact. Have a look [here][1] and [here][2]. I also read comments from people on the Yahoo Nature Recordists group, and most were positive. Some people did encounter some issues, mainly with SD cards behaving strangely. I personally did not have this problem so far.&#xD;&#xA;&#xD;&#xA;My personal experiences with it are very positive so far. I like the unit a lot. The sound quality of the preamps seems good to my ears. The operation is straightforward, a few quirks, but nothing that bothers me. I do have a few things that I need to figure out though - I have a clicking noise on preamps 5&amp;6 (at about -60dB) when they're switched to the mic level. I need to work out if this is can be fixed by installing the latest firmware update - stupidly enough I haven't done this yet. Otherwise I may have a faulty unit, it seems - but it's not a fault that stops me from using it, although I will exchange it for a new unit if the problem persists.&#xD;&#xA;&#xD;&#xA;Another thing I've found is that it may be fairly sensitive to interference, perhaps the shielding of the preamps isn't as good as what a Sound Devices might be, but I am not entirely sure of this yet either - need to do more tests, etc.&#xD;&#xA;&#xD;&#xA;All in all, a great device. I can record 6 analogue channels simultaneously in the field and it cost me £700 only (found a good deal). With the 2 additional digital inputs I could do 8 track recordings even... The self noise of the preamps is very low, so I can use it with the quietest microphones available. The metering is a bit iffy, but so far this hasn't been an issue for me. The headphone amp is pretty loud, but noisy. As long as you remind yourself that all that noise doesn't print to the recording, you can live with it. It's small, very portable. Light-weight also.&#xD;&#xA;&#xD;&#xA;Build-quality - well, it's a bit plasticky perhaps, but if you keep it in a good bag/case then that's fine. All in all, this is of course a very, very cheap unit for the amount of inputs you get and the quality of the preamps. So yes, the slightly plastic feel of the unit is one of the trade-offs. Also, the built in limiter and lo cut are useless (not that I want to use either of those in the field anyway) - they're useless cause they're in the digital domain, so yeah pretty pointless really. &#xD;&#xA;&#xD;&#xA;Battery life - get good batteries and a proper charger, and you'll be OK. A friend of mine owns the Tascam as well and he used it last weekends for several hours in a row without the batteries failing him, I think he was using 2 or 3 inputs with phantom power. I haven't done very hardcore tests for the battery life yet, so far I haven't encountered any issues. Swapping the batteries goes easily as well anyway, but yeah that's not necessarily what you want to hear of course...&#xD;&#xA;&#xD;&#xA;I considered the Fostex FR-2LE and Marantz PMD661 as well, because they also have great preamps. However these are stereo units. I figured I rather spend a few hundred pounds more and be able to record 6 channel or more. Clearly, if you want to do more than stereo channel recordings, the only option out there is this Tascam, or big shitloads of money for a Sound Devices, a Deva, and whatnot...&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;Feel free to fire me any questions if you want know more. If it wasn't clear, I'd definitely recommend this device :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Edit -&#xD;&#xA;One more thing to keep in mind, it doesn't have a built in M/S matrix. &#xD;&#xA;Also I don't think it offers all the syncing functionality that one may need when working on filmsets on a daily basis.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avisoft.com/recordertests.htm&#xD;&#xA;  [2]: https://pantherfile.uwm.edu/type/www/audio-reports/RecorderList/RecorderList.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="7161" PostHistoryTypeId="2" PostId="4221" RevisionGUID="64b11620-3f23-4963-890d-91ee23562ccd" CreationDate="2010-10-21T08:20:37.813" UserId="202" Text="Dear all&#xD;&#xA;&#xD;&#xA;As you know, the sound stages have a precise and standardized reference level and frequency response (x-curve, physical dimension, delay, type of speakers, etc). &#xD;&#xA;&#xD;&#xA;In your editing studio, besides obviously setting the proper reference level, do you have any eq settings or something else that help you to have a better idea how your project will sound in a dubbing stage, or (as I do) use only your memory and experience?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7162" PostHistoryTypeId="1" PostId="4221" RevisionGUID="64b11620-3f23-4963-890d-91ee23562ccd" CreationDate="2010-10-21T08:20:37.813" UserId="202" Text="Monitoring and frequency response in the studio vs. sound stage" ContentLicense="CC BY-SA 2.5" />
  <row Id="7163" PostHistoryTypeId="3" PostId="4221" RevisionGUID="64b11620-3f23-4963-890d-91ee23562ccd" CreationDate="2010-10-21T08:20:37.813" UserId="202" Text="&lt;monitoring&gt;&lt;dubbing-stage&gt;&lt;frequency-response&gt;&lt;experience&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7164" PostHistoryTypeId="2" PostId="4222" RevisionGUID="c64eace5-7077-44f5-a81e-59d7e19b91b7" CreationDate="2010-10-21T09:09:58.253" UserId="63" Text="thank you all guys for the advises, all coming into the next Update of the game. I am very happy to announce that the next update is currently developed for a very big greek website, that they want to embedd it in their webpage for contests so everything is going really well!&#xD;&#xA;&#xD;&#xA;Thank you all again. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7165" PostHistoryTypeId="2" PostId="4223" RevisionGUID="457cffb3-9120-4598-9cfb-0dd88bc48dba" CreationDate="2010-10-21T15:56:16.740" UserId="542" Text="It depends on the recordings. When I recorded something spectacular, I will edit the recodings in the next 2 or 3 days. But of course there are some recordings I just did because I had the chance to, like some simple doors or some household stuff. These are the ones, that I will edit after 2 weeks. &#xD;&#xA;I think one of the main problems is, that the sounds you don`t neccesarely need in the next few weeks are often &quot;pile up in the sink&quot;. This is why I try to always put the sounds into small videos.&#xD;&#xA;&#xD;&#xA;Another problem I encountered is the fact, that I have to re-check my library from time to time, due to the fact, that I realize some of my recordings that I liked some weeks ago are actually not very good ( or were not edited very good ). So from time to time I have to put these (in most cases) quick edited sounds into the bin or my &quot;work-material&quot; folder." ContentLicense="CC BY-SA 2.5" />
  <row Id="7166" PostHistoryTypeId="2" PostId="4224" RevisionGUID="c9ba1d5a-9cce-431e-9071-96ce13becd90" CreationDate="2010-10-21T16:00:10.453" UserId="63" Text="I got Sony PCM-D50. Really worth the extra money. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7168" PostHistoryTypeId="2" PostId="4226" RevisionGUID="1103ca8a-30bd-4b8e-a3b3-f4c4fae4aa01" CreationDate="2010-10-21T16:33:17.227" UserId="29" Text="It depends on the project, but here's how I handle it for field recordings or effects-recording sessions.&#xD;&#xA;&#xD;&#xA; 1. I create a folder named for the project our session, with the date, such as &quot;20101021_SSD.&quot; I usually assign three-letter codes for all projects.&#xD;&#xA; 2. Within that folder, I keep a folder called &quot;Raw,&quot; into which all the unedited field recordings go. They never get altered. This immediately gets backed up to a backup mirrored RAID.&#xD;&#xA; 3. I go through the raw recordings and create a new folder called &quot;Selects,&quot; saving snippets or entire files from the Raw directory in there, taking the opportunity to rename the files as the project demands.&#xD;&#xA; 4. I then trim the file.&#xD;&#xA; 5. I then apply EQ.&#xD;&#xA; 6. I then apply filters.&#xD;&#xA; 7. I then apply noise reduction.&#xD;&#xA; 8. I then do Creative Stuff, processing, and other fun jiggyness.&#xD;&#xA; 9. I create a new subfolder called &quot;Finals,&quot; into which these edited files go.&#xD;&#xA; 10. The Selects and Finals are then backed up on the mirrored RAID backup.&#xD;&#xA; 11. After every project, any resulting sessions and further edits are also backed up on the mirrored RAID, which itself then is put on a SECOND backup RAID once a quarter, which is stored offsite.&#xD;&#xA;&#xD;&#xA;That said, if these are not for a particular project but rather just building my own library, step 9 is instead about saving the file with as descriptive a name as possible and then into my library directories, which is structured not unlike what you'd see from Blastwave FX.&#xD;&#xA;&#xD;&#xA;Metadata, then, is applied either per file as I go, or in a discrete separate pass after everything's done, depending on mood and how many files there might be." ContentLicense="CC BY-SA 2.5" />
  <row Id="7170" PostHistoryTypeId="2" PostId="4227" RevisionGUID="98b0f01e-4841-45a1-a771-84f1c78feffd" CreationDate="2010-10-21T22:01:42.080" UserId="636" Text="Hi Guys&#xD;&#xA;&#xD;&#xA;Just starting to get into foley and field recording for my University project. I've got a budget of around £500 and need some advice on which type of mics to purchase. Im essentially looking for microphones which will help me with recording foley and field recordings.&#xD;&#xA;&#xD;&#xA;Any help would be greatly appreciated.&#xD;&#xA;&#xD;&#xA;Thanks &#xD;&#xA;&#xD;&#xA;Alan." ContentLicense="CC BY-SA 2.5" />
  <row Id="7171" PostHistoryTypeId="1" PostId="4227" RevisionGUID="98b0f01e-4841-45a1-a771-84f1c78feffd" CreationDate="2010-10-21T22:01:42.080" UserId="636" Text="Need advice on which mics to get." ContentLicense="CC BY-SA 2.5" />
  <row Id="7172" PostHistoryTypeId="3" PostId="4227" RevisionGUID="98b0f01e-4841-45a1-a771-84f1c78feffd" CreationDate="2010-10-21T22:01:42.080" UserId="636" Text="&lt;design&gt;&lt;foley&gt;&lt;field&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7173" PostHistoryTypeId="2" PostId="4228" RevisionGUID="da84d48c-6013-4edd-8e3e-04d68278f0ae" CreationDate="2010-10-21T22:20:36.430" UserId="629" Text="Ah a fellow student :), it really depends on what you plan to record for your project. &#xD;&#xA;&#xD;&#xA;My project involves recording cars which will require mics that can handle a high SPL. I'm getting dynamics (couple of SM57's and a bass drum mic), a few pencil mics that handle high SPL (small diaphragm condensers), a ribbon mic (also good at SPL) and a Sennheiser MKH-416 (shotgun mic) which is an industry standard mic for Foley work. &#xD;&#xA;&#xD;&#xA;Obviously depending on your project some of my set up won't be appropriate. If you can explain your project a little more I'd be happy to assist.&#xD;&#xA;&#xD;&#xA;Ade" ContentLicense="CC BY-SA 2.5" />
  <row Id="7174" PostHistoryTypeId="2" PostId="4229" RevisionGUID="b559b87f-93c9-49bb-87f8-17f269bf524d" CreationDate="2010-10-21T22:38:43.767" UserId="253" Text="Ah, low budgets are tricky for getting decent setups!&#xD;&#xA;&#xD;&#xA;I've been using an Oktava MK012 with a hypercardioid capsule for foley, and it's been good to me so far. Obviously not as good as a Neumann KMR 81, but similiar in its pickup characteristics. They come cheap, but make sure you don't buy a fake; here's a link with some pictures to help: http://recordinghacks.com/fake-oktava-mk-012-photos/ It's pretty sensitive to handling noise, so make sure you get a shockmount; and if you're recording outside with it, you'll need a pretty thick windscreen.&#xD;&#xA;&#xD;&#xA;If you're wanting to do field recording, you may want a stereo mic as well. A flash recorder with a built in stereo pair like a Zoom H4N/H2, or the other leading brands, would help you out there. If you get one with XLR inputs, you can use that as your field recorder with other mics too (assuming you mean FX recording and not location recording).&#xD;&#xA;&#xD;&#xA;Also, Rode do some pretty decent yet cheap shotguns: www.rodemic.com&#xD;&#xA;&#xD;&#xA;Hope that helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7175" PostHistoryTypeId="2" PostId="4230" RevisionGUID="b90e024d-d2fa-4db3-8c8f-23fcc25d5bee" CreationDate="2010-10-21T23:08:54.673" UserId="18160" Text="Scenario: An Orc or Goblin creature you've spent a long time creating a palette of great angry, hostile and antagonistic effects for from different animal sources (dogs, seals, lions, bears, etc.) has a later scene which he needs to be comically scared or hurt and whining.&#xD;&#xA;&#xD;&#xA;Besides the animal cruelty laws, I don't think shooting a bear in the leg and recording him whimpering and crying is very safe and is quite dangerous and stupid.&#xD;&#xA;&#xD;&#xA;What do you do and how do you achieve a whimpering effect for a humongous scary creature? Record your own voice? Find trained dogs who can whimper on command? Does it matter if it matches the previous timbre of the roars and growls you have already created for the mean and scary scenes?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7176" PostHistoryTypeId="1" PostId="4230" RevisionGUID="b90e024d-d2fa-4db3-8c8f-23fcc25d5bee" CreationDate="2010-10-21T23:08:54.673" UserId="18160" Text="Creating Hurt/Scared Creatures" ContentLicense="CC BY-SA 2.5" />
  <row Id="7177" PostHistoryTypeId="3" PostId="4230" RevisionGUID="b90e024d-d2fa-4db3-8c8f-23fcc25d5bee" CreationDate="2010-10-21T23:08:54.673" UserId="18160" Text="&lt;monster&gt;&lt;creature&gt;&lt;crying&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7178" PostHistoryTypeId="5" PostId="4230" RevisionGUID="a53fd6eb-8004-4589-acc9-fc08307ae6ad" CreationDate="2010-10-21T23:17:15.960" UserId="18160" Comment="deleted 165 characters in body" Text="Scenario: An Orc or Goblin creature you've spent a long time creating a palette of great angry, hostile and antagonistic effects for from different animal sources (dogs, seals, lions, bears, etc.) has a later scene which he needs to be comically scared or hurt and whining.&#xD;&#xA;&#xD;&#xA;What do you do and how do you achieve a whimpering effect for a humongous scary creature? Record your own voice? Find trained dogs who can whimper on command? Does it matter if it matches the previous timbre of the roars and growls you have already created for the mean and scary scenes?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7179" PostHistoryTypeId="2" PostId="4231" RevisionGUID="68e2268d-8f6c-448f-9b56-e9acbc26959d" CreationDate="2010-10-22T00:34:33.143" UserId="220" Text="I think that's a matter of taste on how well it matches.  I've seen movies where a creature is clicky and chripy and cute, and out of nowhere becomes this roaring monster.  It's funny because it's unexpected.  I think you can achieve that either way - complete 180, or something that makes sense. &#xD;&#xA;&#xD;&#xA;As far as a source - dogs are good.  Mine whines, grunts, huffs, sighs - he's a goldmine of sad emotion.  Also, find a friend with a baby. &#xD;&#xA;&#xD;&#xA;The other option is to find a good creature voice actor.. someone like Frank Welker.  I'm constantly amazed at the creativity and range of those kinds of voice actors.  There's something to be said for naturally produced sounds vs. those that are mixed and layered.  &#xD;&#xA;&#xD;&#xA;Is this for a video game?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7180" PostHistoryTypeId="2" PostId="4232" RevisionGUID="250acb53-6573-452e-af68-9cbcd95ceae9" CreationDate="2010-10-22T05:40:45.477" UserId="603" Text="I've been mixing a reality show. We get an OMF from the video/sfx/music editors and we import it into our template. It's supposed to be a mix but its more of a dialog edit and fix bad music edits job.&#xD;&#xA;&#xD;&#xA;So I make a pass through the dialog (not getting to crazy since the whole show has music) then I mix in the music and effects. Then I make another pass to tweak things. At this point I typically run my mix through the LM100 which will give you your dialog-norm level. Usually mixing to ear won't create any problems with the LM100 output. After that its QC with clients and then I create all the different stems that the network requires for foreign languages.&#xD;&#xA;&#xD;&#xA;These shows usually have a tight deadline so I'm always keeping myself moving forward and not getting hung up on some barely audible click in the dialogue that nobody can ever hear when the music in mixed in.&#xD;&#xA;&#xD;&#xA;And finally it goes to the production company then to the broadcast company." ContentLicense="CC BY-SA 2.5" />
  <row Id="7181" PostHistoryTypeId="2" PostId="4233" RevisionGUID="10710b17-78d0-43d1-9b97-4cb7ca070cb8" CreationDate="2010-10-22T06:09:18.433" UserId="289" Text="I have protools Le 8 Mbox 2 pro. I want to find out if the digi 003r would be able to connect with a 16 channel mixer so that I can record 16 channels separately onto pro tools Le?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7182" PostHistoryTypeId="1" PostId="4233" RevisionGUID="10710b17-78d0-43d1-9b97-4cb7ca070cb8" CreationDate="2010-10-22T06:09:18.433" UserId="289" Text="Digi 003R with Pro tools LE" ContentLicense="CC BY-SA 2.5" />
  <row Id="7183" PostHistoryTypeId="3" PostId="4233" RevisionGUID="10710b17-78d0-43d1-9b97-4cb7ca070cb8" CreationDate="2010-10-22T06:09:18.433" UserId="289" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7184" PostHistoryTypeId="2" PostId="4234" RevisionGUID="a8bf982d-3a8f-4e66-b786-a42d617e6397" CreationDate="2010-10-22T06:28:07.560" UserId="289" Text="Hey Im about to start with the sound for a reality show in a few months. There are 12 contestants one location, a house, and sometimes other locations like a gym or shopping centre. Im one person in the sound department. I need to record each of the contestants separately. Any suggestions how i get the best recordings with the least amount of money? Any suggestions of sound setups for a reality show? I have thought of maybe upgrading my imac to 8 gb ram, purchasing a Digi 003R and getting a Mackie 16ch mixer and using 12 Lapel mics and recording them individually into pro tools Le, but would that work and solve the problem? " ContentLicense="CC BY-SA 2.5" />
  <row Id="7185" PostHistoryTypeId="1" PostId="4234" RevisionGUID="a8bf982d-3a8f-4e66-b786-a42d617e6397" CreationDate="2010-10-22T06:28:07.560" UserId="289" Text="Reality show Location recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="7186" PostHistoryTypeId="3" PostId="4234" RevisionGUID="a8bf982d-3a8f-4e66-b786-a42d617e6397" CreationDate="2010-10-22T06:28:07.560" UserId="289" Text="&lt;reality-tv&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7187" PostHistoryTypeId="18" PostId="49" RevisionGUID="c5ed9a3e-b9ec-4c69-a1ee-b2e6ad6d9b76" CreationDate="2010-10-22T06:31:59.427" UserId="2" Comment="Merged question 'Best Handheld Recorder for Sound effect field recording??' by Robin Warren" Text="[{&quot;Id&quot;:2,&quot;DisplayName&quot;:&quot;Andrew Spitz&quot;}]" />
  <row Id="7188" PostHistoryTypeId="2" PostId="4235" RevisionGUID="0fe8c0b4-b578-45c2-bea1-3d1c5087eacd" CreationDate="2010-10-22T08:04:35.197" UserId="348" Text="Multi track recording is probably the best but I worry about what the contestants get up to as reality shows are not controlled and using radio's could lead to damage if the contestants get involved in some silly things. Carefully placed mics in different locations of the house might be a solution where they are set up above the contestants and are cardioid in pick up pattern with a good reach. Is this a pre-taped reality show or live to broadcast? " ContentLicense="CC BY-SA 2.5" />
  <row Id="7189" PostHistoryTypeId="2" PostId="4236" RevisionGUID="73047a3f-607f-4f2b-a73a-bc6b61f941ad" CreationDate="2010-10-22T08:38:53.017" UserId="62" Text="Look at the specs here and see...&#xD;&#xA;&#xD;&#xA;http://www.avid.com/US/products/003-Rack" ContentLicense="CC BY-SA 2.5" />
  <row Id="7190" PostHistoryTypeId="2" PostId="4237" RevisionGUID="561e19cc-69ce-425d-9919-40c180f64403" CreationDate="2010-10-22T12:35:49.927" UserId="432" Text="Not unless the mixer has 4 line level outs, plus an ADAT/Lightpipe out. You might want to look into an M-Audio Octane. It's an 8 channel pre-amp that has an ADAT out. I installed one to good effect in a community college t augment an LE system. It worked great. That would at least give you 12 channels. Add in a mixer that has 4 line level outs, and you would have your 16 channels of record." ContentLicense="CC BY-SA 2.5" />
  <row Id="7191" PostHistoryTypeId="2" PostId="4238" RevisionGUID="34001e41-fe74-449d-a541-b40bc9f3c6c1" CreationDate="2010-10-22T12:40:07.800" UserId="432" Text="The fact that you're looking into a Pro Tools LE rig with a 16 channel mixer says to me that budget is at least a bit of an issue. That being the case, you're going to have to invest some serious cash (even in just rentals) to get 12 wireless packs that are frequency agile over a wide range of bandwidths to prevent interference and cross-talk. And that's just from each other, not counting local radio interference sources. You may want to look closely at the idea of plant mics, and a boom or two, in addition to some lavs." ContentLicense="CC BY-SA 2.5" />
  <row Id="7192" PostHistoryTypeId="2" PostId="4239" RevisionGUID="4b0b567f-89f5-412c-9c62-585401098df5" CreationDate="2010-10-22T15:21:30.330" UserId="88" Text="My memory on this is a bit fuzzy, but I believe that for the troll in LOTR: Fellowship, David Farmer used tiger, Canadian lynx, horse, and pig, then added a walrus moan to the mix (possibly replacing other elements with it) when it started to get hurt toward the end of the fight.  It certainly doesn't come across as comical -- the contrast isn't huge, so it blends well with the previous angry roars -- but it absolutely sells the &quot;injured&quot; state of the creature.  &#xD;&#xA;&#xD;&#xA;The tricky part seems to lie in deciding just how much contrast to create -- if the difference between ferocious and hurt is too extreme, it may be funny but may also sound distractingly inappropriate for the vocals you've already established.  Good for a children's cartoon; not so much for a serious game.&#xD;&#xA;&#xD;&#xA;Agreed about dogs for &quot;sad beast&quot; source.  Chuck recently released some great 24/192 dog source here: http://www.chuckrussom.com/2010/09/dogs-sound-library-now-available/ that has plenty of good whine sequences.&#xD;&#xA;&#xD;&#xA;I've also found bear, fox cub, and human baby vocals to be useful for &quot;injured&quot; creature source in the past." ContentLicense="CC BY-SA 2.5" />
  <row Id="7193" PostHistoryTypeId="2" PostId="4240" RevisionGUID="83f804dd-e9a0-4807-805d-f511f6dfd867" CreationDate="2010-10-22T15:21:46.613" UserId="29" Text="Perhaps someone like Colin Hart can comment on this thread with more production audio experience than I, but it seems from the reading I've done that if people are taking that many feeds, they use Boom Recorder or Metacorder on a laptop, which is usually deemed more stable than ProTools. And yes, more expensive, but using a laptop you're more mobile than with an iMac...but with the size of your cart, who knows, that may not matter.&#xD;&#xA;&#xD;&#xA;One immediate question is how the show is staged - how often will all 12 participants be together at once?&#xD;&#xA;&#xD;&#xA;Are you truly a sound department of one? You'll be rigging every single castmember, and mixing? That means no booming will be possible. Rigging the talent and onset plant mics will definitely impact the daily shoot schedule if done by one person, a fact definitely worth mentioning to the producer(s). Hiring a boom operator will accelerate things greatly and give you a lot more mixing options, especially since rigging lavs so they don't rub is quite an art form (I'm getting better, but it can be really challenging!).&#xD;&#xA;&#xD;&#xA;Research rental costs on all this stuff - it's not cheap, albeit cheaper than buying (a decent Lectro pair of Rx/Tx will run US$2K-3K). Be sure to do tech rehearsals in the actual location to test for the right wireless blocks/freqs with all the units on at once, especially when talent gets close to one another. Plant mics are a great idea, but heck, based on rentals, maybe multiple boom ops could cover most scenes if not all 12 talent are in the same room at once...and be cheaper? You're gonna need to get creative!&#xD;&#xA;&#xD;&#xA;What you're describing will be tough to do low-budget - don't let that discourage you, just give the producers a reality check of the plusses and minuses, and be very smart about the limitations you'll face. Compromises will need to be made, and everyone needs to sign off on those compromises in order for there to be no ill will." ContentLicense="CC BY-SA 2.5" />
  <row Id="7194" PostHistoryTypeId="2" PostId="4241" RevisionGUID="3f4ae92a-287c-4509-b124-3dc1c4e682a4" CreationDate="2010-10-22T15:31:32.097" UserId="6435" Text="Does anyone know what the copyright situation would be for using program material recorded off the air like that? Obviously, if I catch a transmission of a Beatles song I know I can't use it, but a news announcer? Or in-flight communications like I heard on the blog post NoiseJockey linked to?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7195" PostHistoryTypeId="2" PostId="4242" RevisionGUID="7e72820d-d632-4816-9837-3506de70f6b4" CreationDate="2010-10-22T15:32:20.027" UserId="29" Text="If you're just starting out, I'd recommend a hypercardioid condenser first. Mid-range shotgun mics (and cheaper) will give poor results indoors unless you're specifically in an acoustically dead space, which limits their usability. A hyper will let you do dialogue, SFX, foley, and more without such limitations. I bought a shotgun before a hyper, and in hindsight I really should have done it the other way 'round.&#xD;&#xA;&#xD;&#xA;The all-in-one field recorder option is also a fine approach for just starting out. The Zoom H4n and the Sony PCM-D50 are supremely versatile, and have important differences between the two, and you'll find most recordists have invested in one or both. There are yet-cheaper options (Zoom H1, Sony PCM-M10), but you'll trade off noise floor and features.&#xD;&#xA;&#xD;&#xA;In my opinion, Rode has the best signal:noise ratio for the money on the market today, period. They're not the most transparent, or the most rugged, or the &quot;best&quot; (whatever that might mean to you), but they're a great value. The Oktavas are great for medium-to-loud sound sources, but have a pretty high level of self-noise for quiet foley. Know these limitations, shore them up with what you want to record in terms of subject matter, and make your choice accordingly.&#xD;&#xA;&#xD;&#xA;If you go with buying mics, please don't forget that your budget must also include a pistol grip, shockmount, and windscreen, as well as any supports you might want like a boompole or stands. You can't record anything meaningful by holding a condenser mic by hand (unless it's an omni, and/or made by a firm like Earthworks). :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7196" PostHistoryTypeId="2" PostId="4243" RevisionGUID="d46e22f6-2f43-487c-a70b-2e8c34d34670" CreationDate="2010-10-22T16:10:32.810" UserId="517" Text="Reality production sound is a lot of work and often difficult to control, much like documentary sound (especially with a 1 man sound crew). You'll definitely need wireless lavs for the contestants, which like NoiseJockey said will not be cheap. The Sennheiser G3 systems run around $650 or so, but definitely don't perform on the same level as the Lectro 400 series wireless. &#xD;&#xA;&#xD;&#xA;I would definitely recommend checking out [Jeff Wexler's excellent production sound forum][1] and reviewing past posts, especially the section about recording straight into computer. Boom Reorder might be a good option instead of ProTools, since it's streamlined for production sound computer recording.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jwsound.net/SMF/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7197" PostHistoryTypeId="2" PostId="4244" RevisionGUID="e729edce-0b60-43a7-9762-76da1863a722" CreationDate="2010-10-22T16:51:06.920" UserId="413" Text="Hey people !&#xD;&#xA;&#xD;&#xA;I'm experimenting with vocoders and I was wondering what are the best modulators for a vocoder ?&#xD;&#xA;&#xD;&#xA;Does it have to have a lot of harmonics ? I don't know...I'm a newbie here.&#xD;&#xA;I use VSTi like Absynth and Massive but there are a lot of presets, wich one is better ? Wich kind of sound should I use ?&#xD;&#xA;&#xD;&#xA;Wow i think my english is pretty bad here isn't it ? :D" ContentLicense="CC BY-SA 2.5" />
  <row Id="7198" PostHistoryTypeId="1" PostId="4244" RevisionGUID="e729edce-0b60-43a7-9762-76da1863a722" CreationDate="2010-10-22T16:51:06.920" UserId="413" Text="What are the best modulators for vocoders ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7199" PostHistoryTypeId="3" PostId="4244" RevisionGUID="e729edce-0b60-43a7-9762-76da1863a722" CreationDate="2010-10-22T16:51:06.920" UserId="413" Text="&lt;vocoder&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7200" PostHistoryTypeId="2" PostId="4245" RevisionGUID="052505db-4152-4ad0-9bec-0cbacdd9dc61" CreationDate="2010-10-22T19:44:32.397" UserId="510" Text="I have to say that @shaun hit the nail on the head. There are a lot of variables to mixing for TV. If I can add a few more things, We get either an .omf or .wav files, with what we call an EM video file (edit Master). Our video editors work in Final Cut Pro and also Premiere,(if you are a video editor we are not going to discuss which is better ;-)   I bring the audio into my workstation (Nuendo 5) and start my work. I normally lay my template out with the Vo on top (A good trick to clean up the Vo is to bring the breaths down about 15db or so. This helps esp. with the dragon breathing talent, you do not want to take them all the way out as this makes for some good robot speech.) then any Sots, on to nats, sfx and them music. I also treat all the dialog including Vo for proper leves, This includes and is not limited to EQ, Compression, some Noise Filters to clean up the &quot;great audio the field guys captured&quot; Once I get my dialog nice clean and clear I then can make the story come alive. We have a very extensive sound effects library here, pretty much all the sound ideas stuff and then some, which you can keyword for stuff. We produce a Full mix, M&amp;E mix and a Sot mix for archive. I take the EM video and marry the full mix to it in Final Cut and call it an AM (air master) Then i archive everything to Final Cut Server (its ok... thats all im saying) there is much more and I will add some as I think about it. But right now I have a live show to do. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7201" PostHistoryTypeId="5" PostId="1619" RevisionGUID="5da4ae66-536c-423e-a1ff-d8968d5c73e4" CreationDate="2010-10-23T08:55:51.913" UserId="2" Comment="added a video" Text="This is how I picture it, and I may be wrong. &#xD;&#xA;&#xD;&#xA;Imagine a piece of string attached from both sides, now add an LFO to make that string oscillate. The LFO doesn't have to be a simple wave (sine, square, saw, etc.) it has physics principles that allow it to have a user-defined life for a certain amount of time. Same as a guitar string, but with unlimited oscillating options. So, you can make the string be plucked at the center, and take X amount of time to die out, or that the string is very tight but a big plucking force is applied thus dying out quickly with a fast attack. Maybe this could be compared to a physics engine for string? And have a sort of ADSR type evolution?&#xD;&#xA;&#xD;&#xA;The scanning part, I think is how the pitch is controlled. So if the above gets scanned periodically at 440 times per second, then the frequency will be 440Hz. &#xD;&#xA;&#xD;&#xA;Now if you have control over the shape of the oscillation (timbre), and have a separate control over the speed of the scanning (pitch). You have a system that allows you to control the timbre and the pitch separately. &#xD;&#xA;&#xD;&#xA;Basically, you can use this to build a string vibrating physics model. &#xD;&#xA;&#xD;&#xA;UPDATE: &#xD;&#xA;&#xD;&#xA;I found this video, check from 40 sec onwards, it explains well:&#xD;&#xA;&#xD;&#xA;http://vimeo.com/13975651&#xD;&#xA;&#xD;&#xA;[vimeo]13975651[/vimeo]&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7202" PostHistoryTypeId="2" PostId="4246" RevisionGUID="06944b31-8f3b-4eca-a350-96f06cc9db4b" CreationDate="2010-10-23T09:03:36.287" UserId="238" Text="+1 on the Rode mics when your budget is tight. For Foley work, the NT1-A is a bargain. If your in the UK you can pick one up for just over £150. For stereo field recording, the NT4 is a good place to start. Most people I know used this mic for stereo work and later upgraded to a more expensive, but more flexible MS rig. For mono shotguns, the Rode NTG-3 is also very competitive in terms of budget. Of course, there are better mics than the above mentioned, but your budget will rocket! " ContentLicense="CC BY-SA 2.5" />
  <row Id="7203" PostHistoryTypeId="2" PostId="4247" RevisionGUID="e0736ca5-8fbc-46e5-965f-254e7b0aa708" CreationDate="2010-10-23T19:01:54.670" UserId="390" Text="Next week, I'll be getting a copy of Isotope Rx to clean up some audio on the film. Today, I came across the Raw CNN video of the Wikileaks founder walking out of an interview. Although they are in a confined space, there is clearly noticeable traffic noise and buzzes and hums heard throughout. If you're the engineer tasked with making this audio more presentable, how long would it take you to clean up on Isotope Rx. CAN this be cleaned up in time for broadcast say... 2 hours from when you got it? (probably an hour or less given the urgency of breaking news).&#xD;&#xA;&#xD;&#xA;I'm so looking forward to tinkering with Isotope Rx. Are there any other programs that do a great job at cleaning up audio like this?&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=d_0-KUaQl7k&amp;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7204" PostHistoryTypeId="1" PostId="4247" RevisionGUID="e0736ca5-8fbc-46e5-965f-254e7b0aa708" CreationDate="2010-10-23T19:01:54.670" UserId="390" Text="Cleaning up Raw Audio with Isotope Rx" ContentLicense="CC BY-SA 2.5" />
  <row Id="7205" PostHistoryTypeId="3" PostId="4247" RevisionGUID="e0736ca5-8fbc-46e5-965f-254e7b0aa708" CreationDate="2010-10-23T19:01:54.670" UserId="390" Text="&lt;noise&gt;&lt;denoiser&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7206" PostHistoryTypeId="2" PostId="4248" RevisionGUID="061563cc-c3e4-4bbb-90d1-97b1e176c3a6" CreationDate="2010-10-23T19:46:23.263" UserId="253" Text="I think Izotope RX is definitely the more powerful audio cleaner in its price range. Although i'd like to hear the software/hardware of choice for forensic audio guys; does anyone here do that?&#xD;&#xA;&#xD;&#xA;As for times, here's an example. I recently had to clean up some horrible audio on a deposition tape. What they delivered to me had loud LOUD hums, a high noise floor, only a few of the people in the room had lapels, and it was all in a horribly compressed mpeg codec with no information above 6k. In about an hour, using RX, i found the hums and removed them; took a sample of the hiss/noise floor and ran that through the denoiser, as well as some eq and multiband expansion with Waves C4. A few volume rides, and i recorded it out. I could have taken a lot longer to finesse my settings, but it was never going to sound anywhere near &quot;good&quot;, so i made it intelligible and went no further.&#xD;&#xA;&#xD;&#xA;The main problem i heard in the interview you posted seemed to be some hum towards the end; izotope RX has a hum removal module that i think would nail that. Apparently in RX2, the hum removal module actually identifies the frequency of the hum for you, and even recommends if the denoiser module would be more effective! As for the traffic bg, the denoiser could take a fair bite out of that. I don't know if the guy says anything after he's demiked himself, and that would be very hard to bring out of the noise floor. But hey, they could just use what they can from the interviewer's mic. There are definitely quick and dirty ways of cleaning things, if time is an issue." ContentLicense="CC BY-SA 2.5" />
  <row Id="7207" PostHistoryTypeId="2" PostId="4249" RevisionGUID="9344e522-825c-4f59-b80f-d7efbf6e7518" CreationDate="2010-10-23T19:59:20.217" UserId="637" Text="I'm pretty impressed everytime I watch Man vs. Wild because of the quality of the location audio. I'm wondering if anyone knows what kind of gear they use? Ideas?&#xD;&#xA;&#xD;&#xA;Considering the exotic-ness of the locations it would be difficult to always have a wireless mic on Bear...plus there are many places where he is shirtless and there is no visible wire still (if there is a lav at all). But if it is only shotgun mics, how do you get such crisp audio from more than 30 feet away in a wide shot? Plus, the fact that insects in the environment aren't drowning out the dialog...&#xD;&#xA;&#xD;&#xA;What do you all think?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7208" PostHistoryTypeId="1" PostId="4249" RevisionGUID="9344e522-825c-4f59-b80f-d7efbf6e7518" CreationDate="2010-10-23T19:59:20.217" UserId="637" Text="Location Audio for &quot;Man vs. Wild&quot; - Methods/How?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7209" PostHistoryTypeId="3" PostId="4249" RevisionGUID="9344e522-825c-4f59-b80f-d7efbf6e7518" CreationDate="2010-10-23T19:59:20.217" UserId="637" Text="&lt;location-audio&gt;&lt;production-audio&gt;&lt;reality-tv&gt;&lt;shotgun&gt;&lt;wireless&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7210" PostHistoryTypeId="2" PostId="4250" RevisionGUID="7f9c828f-3f30-466b-8097-ee6fe6e29eaf" CreationDate="2010-10-23T21:02:49.060" UserId="469" Text="I concur on it depending on the recordings.  There are some recordings that beckon to be played back on location, while others have been sitting on my hard drive for months.  It is important to have a process to make sure that all recorded material is eventually sifted through and 'nuggets' are found, labeled, and backed up.  &#xD;&#xA;&#xD;&#xA;Editing my field recordings seems faster and easier when I do it while the material is fresh on my mind so I try to edit as soon as I get back to the studio.  &#xD;&#xA;&#xD;&#xA;To conserve hard drive space I prefer to destructively edit my recordings. I copy my field recordings to a section on my 2TB &quot;Sample Drive&quot; labeled &quot;96K Raw Files&quot;.  I title each folder with the date, place, and subject matter; something like this, &quot;08_26_10_Circle X Ranch_Grotto_Landslides_Metal Door&quot;. These files will remain there until I am finished editing after which they are deleted.&#xD;&#xA;&#xD;&#xA;While editing I import these files into a Pro Tools session on my &quot;Session Drive&quot; named the same as the folder on my &quot;Sample Drive&quot;.  I go through and start deleting and finding the best moments from each file and create a separate region for each.  I am not afraid to delete files completely in the process for redundancy and quality control.  Files that are too soft are deleted because I want recordings with a decent level.  Files with extranneous or otherwise unwanted sounds are also deleted.  (I would rather re-record then spend any time trying to clean up a noisy or otherwise tainted field recording.  That's just me though, and there definiteley are exceptions.)&#xD;&#xA;&#xD;&#xA;Then I add some light eq and compression.  I then go through and automate region by region for the appropriate settings for level, eq, and sometimes compression or limiters.&#xD;&#xA;&#xD;&#xA;I then bounce each region to disk on my &quot;Sound Library Drive&quot; reserved for 'mastered' recordings.  When bouncing each region I give it a very descriptive name similiar to blastwave, sounddogs, soundsnap, or hollywood edge's naming conventions.  I also spent some time looking at how they categorize their sounds and have started to drop my sounds into appropriate categories on my &quot;Sound Library Drive&quot;.&#xD;&#xA;&#xD;&#xA;From here I plan to add metadata for all of the files eventually which will be beneficial down the road when I have more files then I can remember.&#xD;&#xA;&#xD;&#xA;All 'designed effects' I like to keep separate from my 'mastered' raw field recordings.  Then it is easy to get to those original files for new sound design material and I keep it fresh by not relying on other 'designed' sounds.&#xD;&#xA;&#xD;&#xA;I also backup all of my drives but that process is way too boring to describe to you here." ContentLicense="CC BY-SA 2.5" />
  <row Id="7211" PostHistoryTypeId="2" PostId="4251" RevisionGUID="58a71f79-ea1f-4934-b4d2-0f7c6f1a32ed" CreationDate="2010-10-23T21:02:59.760" UserId="238" Text="I'm not sure if it's the case for Man vs. Wild, but a lot of nature recordists use parabolic dishes. Check out [this article on Noise Jockey's blog][1] to read more...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2010/07/09/field-workshop-notes-part-3-parabolics/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7212" PostHistoryTypeId="2" PostId="4252" RevisionGUID="08c5c2aa-4a6e-418d-ad81-4e72a98f3051" CreationDate="2010-10-23T21:32:07.443" UserId="542" Text="I wonder, if I am the only person who sometimes feels, that previously edited reordings or soundeffects are not that good as you thought they would be.&#xD;&#xA;Lately I went through all of my edited material and while most of them were good or ok, some of them were just bad. I tried to fix them, but after a short time I gave up and deleted them.&#xD;&#xA;&#xD;&#xA;So my question is: do you go through your material from time to time and get rid of bad samples or do you keep everthing you made?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7213" PostHistoryTypeId="1" PostId="4252" RevisionGUID="08c5c2aa-4a6e-418d-ad81-4e72a98f3051" CreationDate="2010-10-23T21:32:07.443" UserId="542" Text="How often do you delete files of your soundlibrary?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7214" PostHistoryTypeId="3" PostId="4252" RevisionGUID="08c5c2aa-4a6e-418d-ad81-4e72a98f3051" CreationDate="2010-10-23T21:32:07.443" UserId="542" Text="&lt;sound-libraries&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7215" PostHistoryTypeId="2" PostId="4253" RevisionGUID="744af84e-7665-4b43-9eb9-f7c3b88974e3" CreationDate="2010-10-23T21:58:44.470" UserId="29" Text="That would be ***never***. Even noisy, poor recordings of interesting things take on different meanings and uses when you listen to them months, or sometimes years, later. As one's techniques and equipment/software improves, sometimes older recordings can be salvaged with better plug-ins or, more likely, more refined techniques.&#xD;&#xA;&#xD;&#xA;Hard drive space is cheap. Time to re-record things is not. I never delete any old raw files or sessions, ever." ContentLicense="CC BY-SA 2.5" />
  <row Id="7216" PostHistoryTypeId="2" PostId="4254" RevisionGUID="f16abd6e-6913-4a46-9c23-aa491c241a28" CreationDate="2010-10-23T22:53:26.923" UserId="629" Text="I agree with @NoiseJockey. I would buy an external hard drive if you need the space, copy all the data across and keep it safe, you never know when you might need them. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7217" PostHistoryTypeId="2" PostId="4255" RevisionGUID="0d513634-4039-4446-97cf-79fc5d93d09c" CreationDate="2010-10-23T23:08:55.393" UserId="629" Text="PS3: StarskyUK&#xD;&#xA;&#xD;&#xA;Steam: ade2j&#xD;&#xA;&#xD;&#xA;Currently playing Fifa 2011 on PS3, will be getting the new F1 game soon.&#xD;&#xA;&#xD;&#xA;On the PC I'm on still playing on CoD 4 &amp; 5 (6 being a failure in my opinion being a PC gamer :p) and Company of Heroes. Bring on CoD 7 and FM 2011 :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7218" PostHistoryTypeId="16" PostId="4255" RevisionGUID="0d513634-4039-4446-97cf-79fc5d93d09c" CreationDate="2010-10-23T23:08:55.393" UserId="-1" />
  <row Id="7219" PostHistoryTypeId="2" PostId="4256" RevisionGUID="af136ab4-498b-4d67-b5d8-34e7450b4129" CreationDate="2010-10-23T23:12:59.960" UserId="338" Text="There is no best.  It is our differences that make us unique." ContentLicense="CC BY-SA 2.5" />
  <row Id="7220" PostHistoryTypeId="2" PostId="4257" RevisionGUID="238b3882-8022-4a6d-80a8-e808c3d407c4" CreationDate="2010-10-24T02:05:17.710" UserId="598" Text="I've never seen the show - but wild lines are a good guess.  That and a great dialog editor!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7222" PostHistoryTypeId="2" PostId="4259" RevisionGUID="a9ebd5c6-6429-400d-8f15-8401c124c71a" CreationDate="2010-10-24T10:41:48.083" UserId="280" Text="Hi! Hello everybody, &#xD;&#xA;I have a question in particular for italians sound designers.&#xD;&#xA;I have been admitted to the last exam in order to become a student of the three years course as &quot;Tecnico del suono&quot; into the &quot;Centro sperimentale di Cinema di Cinecittà&quot;. The problem is that the selection will be at the end of 4 weeks of preliminal lessons. In order to follow this lessons I should leave my work, very well paid, in a radio here in Rome. &#xD;&#xA;What I'm trying to explain is that in one hand I have a very good work, in the other hand the possibility (only half of people will enter) of studying and working in the most important school of cinema here in Italy...&#xD;&#xA;So, if you were in my mind what would you do?&#xD;&#xA;What kind of information do you have about &quot;Centro sperimentale&quot;. Is it a good school as everybody sais?&#xD;&#xA;&#xD;&#xA;Thank you to everybody for your help&#xD;&#xA;&#xD;&#xA;f" ContentLicense="CC BY-SA 2.5" />
  <row Id="7223" PostHistoryTypeId="1" PostId="4259" RevisionGUID="a9ebd5c6-6429-400d-8f15-8401c124c71a" CreationDate="2010-10-24T10:41:48.083" UserId="280" Text="Centro Sperimentale di Cinema" ContentLicense="CC BY-SA 2.5" />
  <row Id="7224" PostHistoryTypeId="3" PostId="4259" RevisionGUID="a9ebd5c6-6429-400d-8f15-8401c124c71a" CreationDate="2010-10-24T10:41:48.083" UserId="280" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7225" PostHistoryTypeId="2" PostId="4260" RevisionGUID="98cf97b1-0e82-4f2d-a36f-115258630081" CreationDate="2010-10-24T18:02:55.937" UserId="638" Text="I absolutely cannot believe noone has mentioned this yet.....&#xD;&#xA;&#xD;&#xA;ALIEN&#xD;&#xA;&#xD;&#xA;The sound alone is reason enough to see this film. The steam, the oozing and goozing of liquids, all the sounds, to me, parallel the feeling of the Nostromo; dark, destitute, devoid, hopeless. Pure genius." ContentLicense="CC BY-SA 2.5" />
  <row Id="7226" PostHistoryTypeId="2" PostId="4261" RevisionGUID="4916d66b-cd73-4153-a100-7a6586bb02a5" CreationDate="2010-10-24T22:06:36.230" UserId="542" Text="+1 for Alien and I would like to add **Sunshine**. &#xD;&#xA;Just started to watch it again and I like the musical approach they did there. One of my favourite sound effects is the sound when one of the characters floats into space and gets burned by the sunlight.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7227" PostHistoryTypeId="2" PostId="4262" RevisionGUID="75a87cb3-48fe-4ed9-9379-5999aa25d4a2" CreationDate="2010-10-24T23:29:18.093" UserId="202" Text="Ciao Francesco&#xD;&#xA;&#xD;&#xA;I'm from Italy and work and live in Rome. &#xD;&#xA;What do you expect from the courses at the CSC? Are you looking into production sound recording, editing, re-recording?&#xD;&#xA;&#xD;&#xA;Personally, I know lots of people working in the industry that didn't attended that courses (I'm one of those), but I have friends of mine that come from there. It's one of a kind school here in Italy, I think that it's a real interesting and engaging place to study in, but... I think that it's tied to a old/classic way of making movie that should be left behind: there are no classes that teaches sound effects editing, for instance. Maybe things will change in the next academic year...&#xD;&#xA;&#xD;&#xA;If you like to have a chat in italian, write me at    d [dot] f [at] me [dot] com&#xD;&#xA;&#xD;&#xA;a presto e in bocca al lupo&#xD;&#xA;&#xD;&#xA;Davide&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="7228" PostHistoryTypeId="2" PostId="4263" RevisionGUID="6ffdbc84-cacc-4c1a-a1a4-49dee1630121" CreationDate="2010-10-25T05:06:26.590" UserId="315" Text="There's a nice piece by Ann Hornaday with a video in today's Washington Post [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.washingtonpost.com/wp-dyn/content/article/2010/10/21/AR2010102107408.html?sid=ST2010102203520" ContentLicense="CC BY-SA 2.5" />
  <row Id="7229" PostHistoryTypeId="1" PostId="4263" RevisionGUID="6ffdbc84-cacc-4c1a-a1a4-49dee1630121" CreationDate="2010-10-25T05:06:26.590" UserId="315" Text="Washington Post covers sound design in film:" ContentLicense="CC BY-SA 2.5" />
  <row Id="7230" PostHistoryTypeId="3" PostId="4263" RevisionGUID="6ffdbc84-cacc-4c1a-a1a4-49dee1630121" CreationDate="2010-10-25T05:06:26.590" UserId="315" Text="&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7231" PostHistoryTypeId="2" PostId="4264" RevisionGUID="1298b186-939a-4051-bf1b-c58c2cb60613" CreationDate="2010-10-25T06:20:47.643" UserDisplayName="user49" Text="It totally depends on what the desired outcome is... &#xD;&#xA;What sort of sound are you trying to make?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7232" PostHistoryTypeId="2" PostId="4265" RevisionGUID="36740fbf-c2f1-410b-85ba-23adfeb26d8b" CreationDate="2010-10-25T06:22:57.547" UserDisplayName="user49" Text="Keep everything - you never know the context under which they might be useful....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7233" PostHistoryTypeId="2" PostId="4266" RevisionGUID="d2b9f10b-97f7-48f5-ae51-495f3616a902" CreationDate="2010-10-25T06:23:10.403" UserId="18160" Text="A friend of mine volunteered to accompany a group which is touring through the Amazon, Africa and Australia.&#xD;&#xA;&#xD;&#xA;She'll be in extremely remote areas with aborigines, tribes, and native villages.&#xD;&#xA;&#xD;&#xA;The instant I heard she was doing this my mouth watered with the recording potential of the trip.&#xD;&#xA;&#xD;&#xA;If you had a friend going on a trip like this one, where she'll be with a group of about 10 people for around 3 months across the 3 continents, what equipment would you send her with and what marching orders would you give her?&#xD;&#xA;&#xD;&#xA;My first thought was a Zoom H2 or H4 and a harddrive. But, since she'll be literally in the middle of the amazon, eating dinner with people who have never heard of Katy Perry, and basically going on a field recordist's dream trip, I am thinking of putting a bit more money into this.&#xD;&#xA;&#xD;&#xA;What would you send her with? What sorts of things should she concentrate on getting? Wallas from towns and tribes? Ambiences? Spot effects? Wildlife? She won't be full-time concentrating on sound, but for me she said she could break away for about 2 hours a day doing recordings.&#xD;&#xA;&#xD;&#xA;Give me your ideas and I can possibly make a library out of this and send you pieces!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7234" PostHistoryTypeId="1" PostId="4266" RevisionGUID="d2b9f10b-97f7-48f5-ae51-495f3616a902" CreationDate="2010-10-25T06:23:10.403" UserId="18160" Text="Suggestions for Amazon, Australian and African journey." ContentLicense="CC BY-SA 2.5" />
  <row Id="7235" PostHistoryTypeId="3" PostId="4266" RevisionGUID="d2b9f10b-97f7-48f5-ae51-495f3616a902" CreationDate="2010-10-25T06:23:10.403" UserId="18160" Text="&lt;field-recording&gt;&lt;amazon&gt;&lt;australia&gt;&lt;africa&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7236" PostHistoryTypeId="5" PostId="4266" RevisionGUID="37151c52-10c9-45b0-afcd-e8c0e8be0178" CreationDate="2010-10-25T06:28:40.690" UserId="18160" Comment="edited body" Text="A friend of mine volunteered to accompany a group which is touring through the Amazon, Africa and Australia.&#xD;&#xA;&#xD;&#xA;She'll be in extremely remote areas with aborigines, tribes, and native villages.&#xD;&#xA;&#xD;&#xA;The instant I heard she was doing this my mouth watered with the recording potential of the trip.&#xD;&#xA;&#xD;&#xA;If you had a friend going on a trip like this one, where she'll be with a group of about 10 people for around 6 months across the 3 continents, what equipment would you send her with and what marching orders would you give her?&#xD;&#xA;&#xD;&#xA;My first thought was a Zoom H2 or H4 and a harddrive. But, since she'll be literally in the middle of the amazon, eating dinner with people who have never heard of Katy Perry, and basically going on a field recordist's dream trip, I am thinking of putting a bit more money into this.&#xD;&#xA;&#xD;&#xA;What would you send her with? What sorts of things should she concentrate on getting? Wallas from towns and tribes? Ambiences? Spot effects? Wildlife? She won't be full-time concentrating on sound, but for me she said she could break away for about 2 hours a day doing recordings.&#xD;&#xA;&#xD;&#xA;Give me your ideas and I can possibly make a library out of this and send you pieces!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7237" PostHistoryTypeId="2" PostId="4267" RevisionGUID="aa7754d8-60a7-43b6-a436-6a840db6fe9f" CreationDate="2010-10-25T06:57:42.170" UserId="348" Text="Fantastic. What a great opportunity! I would definitely go with gear that is not too expensive as you never know what will happen there. Climate, lack of electrical outlets, etc. The Sony idea is good or something similar. Bring lots of batteries, a durable set of headphones like the Sony Studio monitors and a repair kit. &#xD;&#xA;&#xD;&#xA;I would encorage her to get as much as she can- ambiances, walla's- sonce the languages she will encounter are probably under threat, bird life, villages. I am putting together my own library here is South Africa and there is a vacuum of good stuff here. I will be very interested in hearing what she getting. Also, make sure she does CD backup's if something goes wrong with her computer. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7238" PostHistoryTypeId="2" PostId="4268" RevisionGUID="50c6bffb-6618-49a1-bfda-8e5734f4e5aa" CreationDate="2010-10-25T07:31:13.960" UserId="270" Text="Traditionally the human voice, but the possibilities for sound design are endless&#xD;&#xA;&#xD;&#xA;It doesnt have to have a lot of harmonics, i have got my best results by having a carrier signal that is rich in harmonics." ContentLicense="CC BY-SA 2.5" />
  <row Id="7239" PostHistoryTypeId="2" PostId="4269" RevisionGUID="aea770ce-fbc4-4a74-9669-18f4a8b06fa6" CreationDate="2010-10-25T09:42:07.143" UserId="578" Text="Give her a crash course in recording also. For instance if you equip her with a Zoom H2, make sure she understands which microphone settings (stereo 90, 120, and quad) to use for which type of situations. Of course give plenty of batteries + SD cards. Also make her aware of handling noise especially with the Zoom. Give her a handy tripod like the gorillapod. And do a bit of research on the regions she's going and the time of year, what kind of sounds (wildlife etc) she might be able to encounter.&#xD;&#xA;&#xD;&#xA;I did all these things when my girl went to cameroon recently and got some cool recordings in return.&#xD;&#xA;Although next time she's going there, I will be joining myself :)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7240" PostHistoryTypeId="2" PostId="4270" RevisionGUID="470c29c6-bcfd-4f2a-9755-ae5264fdcc50" CreationDate="2010-10-25T09:46:42.563" UserId="533" Text="I agree with getting CD or DVD backups as they are much more water proof than harddrives. I would try to go beyond a H4 if possible. There might be cases where she just can't reach. A compact boom pole is my recommendation. &#xD;&#xA;&#xD;&#xA;For example using a pole and placing an omni or stereo pair high above the ground. Its like the forest from the birds' point of view. That I would really love to hear. Another is placing the mic over a stream or small river and stretching the boom over. Getting closer to animals too. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7241" PostHistoryTypeId="2" PostId="4271" RevisionGUID="683826a6-a4e0-4d43-8de2-4ef6ed54c6cb" CreationDate="2010-10-25T13:17:52.903" UserId="578" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I have an opportunity to record a number of Tesla coils. To put it shortly, would you have any advice as to how to make sure I do not electrocute myself or my equipment? I intend to bring my DR680 recorder, a Rode NTG-3, and perhaps also a NT1a and NT4 (NT4 cause it can handle 143dB SPL). I'll probably throw in the ol' Zoom H2 as well. I was also thinking of maybe buying a cheap dynamic mic like a SM57 or 58 and place that fairly near a tesla coil, using a long cable... As long as I can avoid a spark from the tesla hitting the mic and then having the current travel through the cable and kill my recorder. I can lose a cheap mic but the recorder would be painful.&#xD;&#xA;&#xD;&#xA;Another thought is to only run the recorder off batteries, as it may be a bit safer. No plugging into the mains outlets (this is all going to be indoor so that would be theoretically possible).&#xD;&#xA;&#xD;&#xA;I've never recorded anything electric / sparking / arcing ... Well apart from a bug zapper after reading that post on Chuck Russom's blog. Clearly there's some risks involved. But I'd like to get as close as possible (or at least get microphones as close as I can) and get hopefully some unique material.&#xD;&#xA;&#xD;&#xA;Any tips would be much appreciated!&#xD;&#xA;&#xD;&#xA;Regards,&#xD;&#xA;Daan" ContentLicense="CC BY-SA 2.5" />
  <row Id="7242" PostHistoryTypeId="1" PostId="4271" RevisionGUID="683826a6-a4e0-4d43-8de2-4ef6ed54c6cb" CreationDate="2010-10-25T13:17:52.903" UserId="578" Text="How would you record a tesla coil?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7243" PostHistoryTypeId="3" PostId="4271" RevisionGUID="683826a6-a4e0-4d43-8de2-4ef6ed54c6cb" CreationDate="2010-10-25T13:17:52.903" UserId="578" Text="&lt;recording&gt;&lt;tesla-coil&gt;&lt;electricity&gt;&lt;safety&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7244" PostHistoryTypeId="2" PostId="4272" RevisionGUID="c728264f-311f-4102-b9f0-e65009e9b209" CreationDate="2010-10-25T14:33:47.257" UserId="253" Text="Personally, what i'd love to get from something like that is external ambiences. I'd recommend giving your friend the quietest stereo recorder you can afford, and getting them to venture a little ways from the group, perhaps when everyone is asleep (being smart about it of course, this isn't a horror film). I mean, aussie outback, ext dawn? African plains ext dusk? I'd freaking love to have some stuff like that in my library!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7245" PostHistoryTypeId="2" PostId="4273" RevisionGUID="0cc2ebdd-42b7-4d36-84e0-1503ce311bff" CreationDate="2010-10-25T16:04:14.523" UserId="29" Text="There'll be a lot of suggestions here, none of them wrong, and here's my take.&#xD;&#xA;&#xD;&#xA;Keep the entire system as simple as possible. If she's got no audio background, the recorder should be largely operated via PHD: &quot;Press here, dummy!&quot; Of course, she'll need a crash course in technique, but I think that for a novice a device with an external mic is probably overly complex. The H4n and PCM-D50 would be perfect, and I'd almost recommend the D50 over the H4n simply due to its insane battery life. Almost every international airport will sell AA batteries. [If she is really into it, then add a cheap cardioid mic (Oktava MK-012? Rode NT5?) and an external preamp if the D50, or just go with the H4n. Most flexibility for the least cost for the least weight should be the goal.]&#xD;&#xA;&#xD;&#xA;In-the-field backups are probably a good idea, but don't go with a traditional HD or computer unless she's already bringing one. A device like the Hyperdrive is great for backing up flash media...not sure how that'd work with internal storage on the D50 or with Memory Stick media, as opposed to SD or CF cards. Maybe just a bunch of card media would be simpler.&#xD;&#xA;&#xD;&#xA;For in-field support, something simple like a Gorillapod will serve as a tabletop stand, a handle for hand-holding, or placing in a tree or on a signpost. Suggest, also, a backup pair of ear buds for emergency monitoring.&#xD;&#xA;&#xD;&#xA;Based on where she's going, have her put everything in an OtterBox, Pelican case, or a dry bag. The latter will be most flexible, since it can be packed in luggage, etc., and weighs a lot less. Make sure she thinks of it not as just an anti-water bag, but an anti-dust bag as well.&#xD;&#xA;&#xD;&#xA;One of the hardest things she'll need to contend with is getting the time to record without being near the group she's embedded with. She'll no doubt have other responsibilities to balance with gathering sounds. Be sensitive to this. But also encourage her to just give it a go and listen to her recordings as she travels. If it captures her interest, her technique will improve." ContentLicense="CC BY-SA 2.5" />
  <row Id="7246" PostHistoryTypeId="6" PostId="4263" RevisionGUID="a4a064c6-16dd-42e4-95e6-56caf394ac49" CreationDate="2010-10-25T16:05:48.377" UserId="29" Comment="edited tags" Text="&lt;film&gt;&lt;sound-design&gt;&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7247" PostHistoryTypeId="2" PostId="4274" RevisionGUID="b4d16807-0463-402e-8917-599fe9f27f60" CreationDate="2010-10-25T16:16:01.683" UserId="640" Text="Let us know where to send the flowers and the sympathy cards.... lol, just kidding.&#xD;&#xA;&#xD;&#xA;Don't know much about recording instruments but, as a way to protect yourself and your equipment, how about some kind of screen in between the coils and your mike?&#xD;&#xA;Battery powered, definitely. The stand for your microphone should be plastic.&#xD;&#xA;And the screen could be some kind of plastic mesh of some sort (a door/window screen perhaps?)&#xD;&#xA;&#xD;&#xA;Obvious but must be mentioned: you position your equipment THEN give power to the coils while you are quite far from it.&#xD;&#xA;&#xD;&#xA;I would think that the induction created by the coils will be quite strong on your mike, are you sure you have to be so close?&#xD;&#xA;&#xD;&#xA;Another thing, I would try to make the ambient air as dry as possible (maybe heating the place up a bit with an heater+fan) so to reduce air electrical conductivity.&#xD;&#xA;&#xD;&#xA;What voltage potential you think you are generating. Maybe the minimal distance could be calculated.&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;Sal" ContentLicense="CC BY-SA 2.5" />
  <row Id="7248" PostHistoryTypeId="2" PostId="4275" RevisionGUID="3a3ee8ed-1b03-4353-a823-39aebc9508b6" CreationDate="2010-10-25T16:28:46.930" UserId="639" Text="I have recently became interested in sound design and wanted to get started practicing it. I have a small home studio where I run pro tools. I am looking for advice on how to get started. For field recording what equipment do I need? And for editing the sound in pro tools how show I practice it? Any tips or advice would be greatly appreciated. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7249" PostHistoryTypeId="1" PostId="4275" RevisionGUID="3a3ee8ed-1b03-4353-a823-39aebc9508b6" CreationDate="2010-10-25T16:28:46.930" UserId="639" Text="Getting started in Sound Design" ContentLicense="CC BY-SA 2.5" />
  <row Id="7250" PostHistoryTypeId="3" PostId="4275" RevisionGUID="3a3ee8ed-1b03-4353-a823-39aebc9508b6" CreationDate="2010-10-25T16:28:46.930" UserId="639" Text="&lt;sound-design&gt;&lt;field-recording&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7251" PostHistoryTypeId="2" PostId="4276" RevisionGUID="b5147457-0420-476c-bb63-2948d358d125" CreationDate="2010-10-25T16:49:45.570" UserId="601" Text="hi there ;)&#xD;&#xA;For field recording tips for beginers you should definitely check this http://tinyurl.com/2un3lph article from designingsound.org - it's great and helped me a lot.&#xD;&#xA;Also get your hands on a good book about sound design - I would recommend: David Sonnenschein's &quot;Sound Design - Expressive Power of Music, Voice, and Sound Effects in Cinema&quot; and Ric Viers's &quot;The Sound Effects Bible&quot;&#xD;&#xA;&#xD;&#xA;cheers.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7252" PostHistoryTypeId="2" PostId="4277" RevisionGUID="2f77ac2e-97a1-4f75-bf38-c7d3bda93135" CreationDate="2010-10-25T16:54:48.470" UserId="37" Text="Have a read on this site first.&#xD;&#xA;&#xD;&#xA;You could try picking a field next. Take for instance computer games - that's non-linear and quite interactive audio, as opposed to, say, film - linear and well controlled. There's also radio where people generally don't pay attention and programming has very fast turnaround; or theatre where sound is heavily relied on for anything the actors can't do. And there's product design, where you might get involved in things such as how crunchy potato crisps sound and/or how much you can hear a car engine (if you can hear it at all, and if not, what you use to substitute it). &#xD;&#xA;&#xD;&#xA;Sound design taps into a variety of other fields from physics to psychology and perception so a general interest in those should give you some headway.&#xD;&#xA;&#xD;&#xA;In any case, equipment and software won't come first. Actually, I'd assign priority to a number of important books on areas of the subject (search this site), and a myriad videos that mostly try to explain that sound design is about creative choices rather than microphones, DAWs, and mixing desks. There are a good number of sites tracking the subject and you can find their URLs here too.&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 2.5" />
  <row Id="7253" PostHistoryTypeId="6" PostId="4275" RevisionGUID="eb68c2e4-cb14-404d-a8c4-1ef172ca7679" CreationDate="2010-10-25T16:54:50.507" UserId="601" Comment="edited tags" Text="&lt;sound-design&gt;&lt;field-recording&gt;&lt;pro-tools&gt;&lt;beginner&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7254" PostHistoryTypeId="2" PostId="4278" RevisionGUID="83fb1daf-a1de-4b0e-992b-4ab63392ac63" CreationDate="2010-10-25T17:11:11.527" UserId="641" Text="I have used my Zoom H4 quiet often in the past and must say it has served me well for corporate shoots, commercial shoots and doccie shoots and it still resides in my sound kit as a backup recorder.  I recently purchased the Sound devices 552 and hence the demotion of my H4!  :)&#xD;&#xA;&#xD;&#xA;My main issues with the H4 are that it can only accept Mic level signals via the XLR inputs and the fact that the levels cannot be accurately set and the buttons to set the levels are prone to accidental adjustment.&#xD;&#xA;&#xD;&#xA;The noise floor is as mentioned in the mail above, negligible.  The stamina mode forces the unit to record at 44.1/16bit and saves battery power, but I would say that is only an option when recording consumer level stuff as professional broadcast quality sound requires 48Khz/16bit or 24bit (better) resolution." ContentLicense="CC BY-SA 2.5" />
  <row Id="7255" PostHistoryTypeId="2" PostId="4279" RevisionGUID="96205654-9457-4f8f-89ba-6219e82ce5cd" CreationDate="2010-10-25T17:30:25.577" UserId="432" Text="First off, I'd suggest spending some time observing how the machine(s) behaves, and don't be afraid to spend some time asking questions of that nature with whoever will be operating the units. Their experiences could give you some valuable insights to help protect your gear and get the sounds your looking for. The people who work with those things are going to be your greatest asset going into this (they may even be able to tell you what exactly could happen to your equipment chain should a mic get zapped).&#xD;&#xA;&#xD;&#xA;Also, keep in mind that it doesn't matter how long the cable is. If a mic gets shocked and it travels along the cable, the intensity of the current won't diminish any appreciable amount over that distance. Maybe the groundings will save the gear, but I'm not an expert in that area.&#xD;&#xA;&#xD;&#xA;If you can't get any information beforehand, I'd suggest using some &quot;cheap/disposable&quot; mics feeding a similarly priced recorder for closer perspectives, and using some decent shotguns with your recorder of choice from a little further away. Better safe than sorry." ContentLicense="CC BY-SA 2.5" />
  <row Id="7256" PostHistoryTypeId="2" PostId="4280" RevisionGUID="86448bd8-3434-4a5c-b17c-62abbe7c3cf3" CreationDate="2010-10-25T17:48:36.087" UserId="629" Text="Research research and more research. Have in mind what you want to record (georgi.m hit it on the head). Go through this site, designingsound.org and look through peoples profiles here and follow their website links and read more.&#xD;&#xA;&#xD;&#xA;Protools is the industry standard so you sound like you already have this covered (depending on what version and stuff you have). Equipment etc to support this depend on what you want to record again, once you know we can help you a little more.&#xD;&#xA;&#xD;&#xA;For books I'd start with the three below, great books well worth a read.&#xD;&#xA;&#xD;&#xA;Ament, V.T (2009) The Foley Grail: the art of performing sound for film, games and animation. Oxford: Focal Press&#xD;&#xA;&#xD;&#xA;Marks, A (2009) The Complete Guide to Game Audio for Composers, Musicians, Sound Designers, and Game Developers. 2nd ed. Oxford: Elsevier (Focal Press)&#xD;&#xA;&#xD;&#xA;Viers, R (2008) The Sound Effects Bible. California: Michael Wiese Productions" ContentLicense="CC BY-SA 2.5" />
  <row Id="7257" PostHistoryTypeId="5" PostId="4266" RevisionGUID="9e755e3c-c559-4417-9d15-427e03cfa400" CreationDate="2010-10-25T18:09:35.363" UserId="18160" Comment="deleted 1 characters in body" Text="A friend of mine volunteered to accompany a group which is touring through the Amazon, Africa and Australia.&#xD;&#xA;&#xD;&#xA;She'll be in extremely remote areas with aborigines, tribes, and native villages.&#xD;&#xA;&#xD;&#xA;The instant I heard she was doing this my mouth watered with the recording potential of the trip.&#xD;&#xA;&#xD;&#xA;If you had a friend going on a trip like this one, where she'll be with a group of about 10 people for around 6 months across the 3 continents, what equipment would you send her with and what marching orders would you give her?&#xD;&#xA;&#xD;&#xA;My first thought was a Zoom H2 or H4 and a harddrive. But, since she'll be literally in the middle of the amazon, eating dinner with people who have never heard of Katy Perry, and basically going on a field recordist's dream trip, I am thinking of putting a bit more money into this.&#xD;&#xA;&#xD;&#xA;What would you send her with? What sorts of things should she concentrate on getting? Wallas from towns and tribes? Ambiences? Spot effects? Wildlife? She won't be full-time concentrating on sound, but for me she said she could break away for about 2 hours a day doing recordings.&#xD;&#xA;&#xD;&#xA;Any suggestions on technique or what I should send her off with is much appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7258" PostHistoryTypeId="2" PostId="4281" RevisionGUID="49a2e457-dee0-4b8c-a25b-d4f0ce325875" CreationDate="2010-10-25T18:16:01.053" UserId="182" Text="Have you seen these posts?&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/69/sound-off-on-noise-reduction&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/557/what-are-your-favorite-spectral-tools" ContentLicense="CC BY-SA 2.5" />
  <row Id="7259" PostHistoryTypeId="2" PostId="4282" RevisionGUID="624ed012-144a-4cae-8c4e-e0bdeb2709bf" CreationDate="2010-10-25T18:39:57.277" UserId="270" Text="Im planning to record some of this stuff on Saturday too, but im expecting the guys who run the equipment to be able to advise on what is safe and not let us get dangerously close.&#xD;&#xA;&#xD;&#xA;I guess since it will be indoors recording closer will minimise the room sound so Ill probably use a a shotgun mic.  I will also take a PZM &amp; a contact mic just in case there is any opportunity to attach it to something interesting.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7260" PostHistoryTypeId="2" PostId="4283" RevisionGUID="476d8c8c-b091-44bf-b54a-316696d8de0b" CreationDate="2010-10-25T19:06:20.233" UserId="315" Text="I've recorded a Tesla coil before...great fun.&#xD;&#xA;&#xD;&#xA;The one thing you haven't discussed is where you are recording the coil. I think the room/space acoustics will be a big part of the nature of the sound. They produce a ton of transient, ripping type sounds that will echo quite a bit in a room. The close mic probably won't give you much, and will sound like ripping masking tape (although it's worth a try, especially if you are looking for dry sounds). &#xD;&#xA;&#xD;&#xA;I'd take great care in walking around the room to find the best acoustics, and get them to move the coil if possible to a sweet spot in the room.&#xD;&#xA;&#xD;&#xA;If you're going for the Ed Wood vibe, I'd record the coil in a really reverberant space.&#xD;&#xA;&#xD;&#xA;Have fun and keep yourself grounded." ContentLicense="CC BY-SA 2.5" />
  <row Id="7261" PostHistoryTypeId="2" PostId="4284" RevisionGUID="562841fd-372f-4e20-80bb-add1d8f65473" CreationDate="2010-10-25T23:33:20.497" UserId="264" Text="How big is this thing (current, voltage, etc.)? I'd suggest setting up a grounded Faraday cage/mesh to protect your equipment. That way any stray arcs will head toward the cage and not your mic. What I'm not sure about is if a powered microphone would attract an arc so strongly that the cage won't catch it. If that's the case, a dynamic would certainly be a safer bet. I'll run the powered vs unpowered question by an EE friend and give you an update.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Faraday_cage&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;~Cheers&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7262" PostHistoryTypeId="2" PostId="4285" RevisionGUID="16e1d8e5-cd78-4caa-a4d2-cc652e488e41" CreationDate="2010-10-26T00:45:16.003" UserId="639" Text="What are the basic functions one should know in pro tools when dealing with sound for a film?&#xD;&#xA;Is elastic audio used a lot, or signal generator...... there are so many things to use. What is the most&#xD;&#xA;Used plug ins and proccessors in pro tools. No outside plugins or processors please. I can not afford outside products yet. I'm currently running pro tools 8 m-powered." ContentLicense="CC BY-SA 2.5" />
  <row Id="7263" PostHistoryTypeId="1" PostId="4285" RevisionGUID="16e1d8e5-cd78-4caa-a4d2-cc652e488e41" CreationDate="2010-10-26T00:45:16.003" UserId="639" Text="pro tools and sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="7264" PostHistoryTypeId="3" PostId="4285" RevisionGUID="16e1d8e5-cd78-4caa-a4d2-cc652e488e41" CreationDate="2010-10-26T00:45:16.003" UserId="639" Text="&lt;pro&gt;&lt;tools&gt;&lt;sound-design&gt;&lt;beginner&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7265" PostHistoryTypeId="2" PostId="4286" RevisionGUID="2ba92724-7d0c-4d8f-9e37-1ecc3eaeb421" CreationDate="2010-10-26T01:05:15.520" UserId="432" Text="It's not so much a question of which tools are the most used, it's how and why they are used. For instance, the use of EQ and compression for film and video is different than it is for music production; the use of those tools is different even within the different disciplines of sound for picture (dialogue, effects, etc.). Get yourself some really in depth knowledge of how EQs, compressors, limiters and reverbs work (both practical hands on knowledge and the theory behind them), as that knowledge will transfer to any plug-in of those types...no matter who the manufacturer is. I always go back to the carpentry reference: just because you can swing a hammer doesn't mean you can frame a wall. But if you know how to properly frame a wall, you can probably do it with whatever tools someone hands you.&#xD;&#xA;&#xD;&#xA;There's a whole level of technical knowledge that you'll want to develop as well; such as calibration, level standards, picture formats and their respective time codes, and general workflow integration in the larger process. There's a lot of knowledge that's needed to work in this field, and it's always changing.&#xD;&#xA;&#xD;&#xA;I hope that didn't come off as discouraging, that's not my intention. I'm just trying to give you an idea of the work you have ahead of you. There's a lot of it (and it never really ends), but it is definitely worth it." ContentLicense="CC BY-SA 2.5" />
  <row Id="7266" PostHistoryTypeId="2" PostId="4287" RevisionGUID="b4cfeaea-d07c-4fb2-9764-f221d2143b92" CreationDate="2010-10-26T03:04:33.720" UserId="426" Text="Unfortunately, I don't have the budget to try out any nice plugins, but pencil tool in a pinch." ContentLicense="CC BY-SA 2.5" />
  <row Id="7267" PostHistoryTypeId="2" PostId="4288" RevisionGUID="76d6396a-8fde-41f9-a0b5-b97c934be35d" CreationDate="2010-10-26T03:33:15.720" UserId="264" Text="Hello everyone.&#xD;&#xA;&#xD;&#xA;First, let me say that my intention here is to look for career advice, not to passively beg for a handout.&#xD;&#xA;&#xD;&#xA;Okay, so I recently had a revelation: I really enjoy sound design and post-production, but I feel I should take advantage of the fact that I'll have no roots upon graduation. Field audio in Somewhere, Not-America immediately crossed my mind. I've been blessed with a great mentor/professor who has taught me most of what I know about field audio, however his knowledge of the industry is mostly local.&#xD;&#xA;&#xD;&#xA;So here's my question(s) for you folks: What steps would you recommend I take towards finding foreign work? Do international news organizations (BBC, AP, NPR, RFI etc.) even bother hiring specialists or do they outsource to local news organizations? Is there field work to be had beyond The News? How important is it to speak the language (I know French, but that's just one language)?&#xD;&#xA;&#xD;&#xA;If there's a few too many stars in my eyes, pinch me so I wake up. I'm not looking for a vacation though, just the opportunity to work/learn while expanding my cultural perspective (like many Americans the only foreign soil I've touched is Canada).&#xD;&#xA;&#xD;&#xA;If you're so inspired, add any other information you feel I should know.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;~Cheers" ContentLicense="CC BY-SA 2.5" />
  <row Id="7268" PostHistoryTypeId="1" PostId="4288" RevisionGUID="76d6396a-8fde-41f9-a0b5-b97c934be35d" CreationDate="2010-10-26T03:33:15.720" UserId="264" Text="Foreign field audio for The News" ContentLicense="CC BY-SA 2.5" />
  <row Id="7269" PostHistoryTypeId="3" PostId="4288" RevisionGUID="76d6396a-8fde-41f9-a0b5-b97c934be35d" CreationDate="2010-10-26T03:33:15.720" UserId="264" Text="&lt;foreign&gt;&lt;career&gt;&lt;international&gt;&lt;field&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7270" PostHistoryTypeId="2" PostId="4289" RevisionGUID="ab413511-1764-40c2-ac91-beab813297d7" CreationDate="2010-10-26T07:07:32.173" UserId="61" Text="Surprised no one has mentioned David Yewdall's invaluable text, [The Practical Art of Motion Picture Sound][1]. David has worked on some of the most influential films ever to be cranked out of Hollywood, so you can be assured that his stories and advice are backed by experience. I still enjoy reading it and can usually find some nugget that I had previously overlooked.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://search.barnesandnoble.com/The-Practical-Art-of-Motion-Picture-Sound/David-Lewis-Yewdall/e/9780240808659" ContentLicense="CC BY-SA 2.5" />
  <row Id="7271" PostHistoryTypeId="2" PostId="4290" RevisionGUID="a0ea491e-37b3-4731-881a-0bfb760d194a" CreationDate="2010-10-26T07:29:09.383" UserId="639" Text="I have an assignment for my careers in music class from Cal Poly Pomona. I have to interview someone in the field I wish to be in after graduation.(Sound Design) I have been looking online for people near the Pomona to LA area and found David Farmer is in Burbank and a few others. I need to interview someone who does sound design professionally and has some good credits.If you have someone in mind that is open for interviews and is available between now and the end of November it would help a lot? Also what should I ask?&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7272" PostHistoryTypeId="1" PostId="4290" RevisionGUID="a0ea491e-37b3-4731-881a-0bfb760d194a" CreationDate="2010-10-26T07:29:09.383" UserId="639" Text="Interviewing a sound designer" ContentLicense="CC BY-SA 2.5" />
  <row Id="7273" PostHistoryTypeId="3" PostId="4290" RevisionGUID="a0ea491e-37b3-4731-881a-0bfb760d194a" CreationDate="2010-10-26T07:29:09.383" UserId="639" Text="&lt;sound-design&gt;&lt;interviews&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7274" PostHistoryTypeId="2" PostId="4291" RevisionGUID="667fcaa1-14e9-44ba-b3c6-41f78bfd366a" CreationDate="2010-10-26T08:22:59.663" UserId="627" Text="If editing in Protools then I'll mainly cut out cycles over using the pencil tool, but I'll use that if needs be. If I'm working to picture, then I just take a little more time to check that the sync's not been compromised. After all - picture work is mainly FPS and cutting out a cycle is tiny samples.&#xD;&#xA;&#xD;&#xA;If I have a really clicky piece then I'll use Audition as I've recently been introduced to the spectral editing tool which is, on one hand, cheating (ie not using your ears) and on the other as fast as lightning.&#xD;&#xA;&#xD;&#xA;I'll have a proper look into XClick though :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7275" PostHistoryTypeId="2" PostId="4292" RevisionGUID="70e63fea-8217-47ef-90a0-ceef2f555d71" CreationDate="2010-10-26T08:27:17.507" UserId="627" Text="I can't help you myself, as I'm based in the UK but I can wholeheartedly recommend chatting with Dave Farmer if you can, as not only is he really bloody lovely, but to watch him at work as I've had the privilege to do back on LOTR, is something to behold ." ContentLicense="CC BY-SA 2.5" />
  <row Id="7276" PostHistoryTypeId="2" PostId="4293" RevisionGUID="f9311fd5-e216-4a14-bc74-52351606048d" CreationDate="2010-10-26T08:57:20.283" UserId="37" Text="Some time ago there seemed to be an industry-wide initiative to promote sound design and raise awareness of it as a discipline. I have a feeling that's still going on, so I'd trust you stand more chance than you might think. Also, the people I've gotten in touch with so far have been quite responsive. Don't forget, this site is full of industry folk too :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7277" PostHistoryTypeId="2" PostId="4294" RevisionGUID="c43183aa-869f-4c94-b892-cf2527f77982" CreationDate="2010-10-26T18:15:27.320" UserDisplayName="user49" Text="&quot;dealing with sound for a film&quot;&#xD;&#xA;&#xD;&#xA;What aspects of sound for a film are you meaning?&#xD;&#xA;If you are just starting out I wouldn't be worried about plugins so much - you need to learn to edit &amp; sync sound first! Also bear in mind each of the people who deal with sound for film use ProTools differently:&#xD;&#xA;- assistant dialogue editor&#xD;&#xA;- dialogue editor&#xD;&#xA;- ADR recordist&#xD;&#xA;- sound effects editor&#xD;&#xA;- foley recordist&#xD;&#xA;- foley editor&#xD;&#xA;- music editor&#xD;&#xA;- sound designer&#xD;&#xA;&#xD;&#xA;Have a look at the sound design book lists - theres lots to learn!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7278" PostHistoryTypeId="5" PostId="4288" RevisionGUID="24b77b30-113f-4304-b07f-f9d18be84bdf" CreationDate="2010-10-26T20:49:42.240" UserId="264" Comment="added 75 characters in body; edited title; added 9 characters in body" Text="Hello everyone.&#xD;&#xA;&#xD;&#xA;First, let me say that my intention here is to look for career advice, not to passively beg for a handout.&#xD;&#xA;&#xD;&#xA;Okay, so I recently had a revelation: I really enjoy sound design and post-production, but I feel I should take advantage of the fact that I'll have no roots upon graduation. Field audio in Somewhere, Not-America immediately crossed my mind. I've been blessed with a great mentor/professor who has taught me most of what I know about field audio, however his knowledge of the industry is mostly local.&#xD;&#xA;&#xD;&#xA;So here's my question(s) for you folks: What steps would you recommend I take towards finding foreign work? Do international news organizations (BBC, AP, NPR, RFI etc.) even bother hiring specialists or do they outsource to local news organizations? Is there field work to be had beyond The News? How important is it to speak the language (I know French, but that's just one language)?&#xD;&#xA;&#xD;&#xA;If there's a few too many stars in my eyes, pinch me so I wake up. I'm not looking for a vacation though, just the opportunity to work/learn while expanding my cultural perspective (like many Americans the only foreign soil I've touched is Canada).&#xD;&#xA;&#xD;&#xA;If you're so inspired, add any other information you feel I should know.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;~Cheers&#xD;&#xA;&#xD;&#xA;P.S. If you have a better way to word this question's title, please share. Haha." ContentLicense="CC BY-SA 2.5" />
  <row Id="7279" PostHistoryTypeId="4" PostId="4288" RevisionGUID="24b77b30-113f-4304-b07f-f9d18be84bdf" CreationDate="2010-10-26T20:49:42.240" UserId="264" Comment="added 75 characters in body; edited title; added 9 characters in body" Text="Foreign field audio?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7280" PostHistoryTypeId="2" PostId="4295" RevisionGUID="e0b31075-ccae-4979-9173-9a78caf6ea98" CreationDate="2010-10-26T21:05:56.557" UserId="432" Text="I was waiting to see if anyone else had a better answer before posting. From my limited experience in the broadcast world (and only within the U.S.), very few stations hire audio people for news work (the exception being talk/news oriented radio stations). For the most part, the camera man is the audio person as well. I don't know of any news programs/stations that send out camera people AND an audio person, unless it's a gigantic event.&#xD;&#xA;&#xD;&#xA;As for radio stations, I know that many NPR stations hire local audio recordists for news gathering, but only on a freelance basis and only as needed. They do have some staff engineers who will work both in the studios and out in the field, and will typically hire the freelance recordists when those engineers are already booked.&#xD;&#xA;&#xD;&#xA;That's pretty much how it works in the U.S. I don't know how specifically it translates to the rest of the world, but I imagine it's relatively similar." ContentLicense="CC BY-SA 2.5" />
  <row Id="7281" PostHistoryTypeId="5" PostId="4288" RevisionGUID="de2d9717-7824-4505-9c72-ebff6136de56" CreationDate="2010-10-26T21:25:33.073" UserId="264" Comment="added 58 characters in body" Text="Hello everyone.&#xD;&#xA;&#xD;&#xA;First, let me say that my intention here is to look for career advice, not to passively beg for a handout.&#xD;&#xA;&#xD;&#xA;Okay, so I recently had a revelation: I really enjoy sound design and post-production, but I feel I should take advantage of the fact that I'll have no roots upon graduation. Field audio in Somewhere, Not-America immediately crossed my mind. I've been blessed with a great mentor/professor who has taught me most of what I know about field audio, however his knowledge of the industry is mostly local.&#xD;&#xA;&#xD;&#xA;So here's my question(s) for you folks: What steps would you recommend I take towards finding foreign work? Do international news organizations (BBC, AP, NPR, RFI etc.) even bother hiring specialists or do they outsource to local news organizations? Is there field work to be had beyond The News? How important is it to speak the language (I know French, but that's just one language)?&#xD;&#xA;&#xD;&#xA;If there's a few too many stars in my eyes, pinch me so I wake up. I'm not looking for a vacation though, just the opportunity to work/learn while expanding my cultural perspective (like many Americans the only foreign soil I've touched is Canada).&#xD;&#xA;&#xD;&#xA;If you're so inspired, add any other information you feel I should know.&#xD;&#xA;&#xD;&#xA;EDIT: Let me add Documentary production to this topic.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;~Cheers&#xD;&#xA;&#xD;&#xA;P.S. If you have a better way to word this question's title, please share. Haha." ContentLicense="CC BY-SA 2.5" />
  <row Id="7282" PostHistoryTypeId="2" PostId="4296" RevisionGUID="422ab887-c675-4bcb-bff6-226942806e18" CreationDate="2010-10-26T22:58:51.497" UserId="642" Text="This was initially posted on Gearslutz, but I think it's more appropriate here.  &#xD;&#xA;&#xD;&#xA;I'm looking to purchase a package of tutorials. I've read D. Sonnenschein's book twice and watched his free, introductory webinar online. I've also watched some of Nick's free tutorials, which are excellent, online a few times.&#xD;&#xA;&#xD;&#xA;I was wondering if anyone here has purchased either of these full packages, and if so, could give me some feedback. I want to learn specific techniques: how to make things bigger, how to use reverb and delay effectively, how to stretch things out or slow down, how to mimic underwater sound, and a few other tricks. From what I've watched and read, it seems like Sonnenschein is more theory whereas Nick is more technique. Any experience and/or suggestions?  Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="7283" PostHistoryTypeId="1" PostId="4296" RevisionGUID="422ab887-c675-4bcb-bff6-226942806e18" CreationDate="2010-10-26T22:58:51.497" UserId="642" Text="Tutorials: Sonnenschein's Webinar vs Nick's Tutorials - Thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7284" PostHistoryTypeId="3" PostId="4296" RevisionGUID="422ab887-c675-4bcb-bff6-226942806e18" CreationDate="2010-10-26T22:58:51.497" UserId="642" Text="&lt;tutorial&gt;&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7285" PostHistoryTypeId="2" PostId="4297" RevisionGUID="6b64d79d-7727-4878-b901-9d1d48fba3ba" CreationDate="2010-10-26T23:56:25.040" UserId="432" Text="I think you're assessments are accurate. David is not very specific when it comes to &quot;adjust this particular setting&quot; when it comes to using your tools. He's more focused on covering the physical properties and psychoacoustics of sound and how you can use those tools to the effect your describing. He's also more interested in participation and providing feedback as the course progresses. He wants to witness you grow, and the ideas he works with are more long term.&#xD;&#xA;&#xD;&#xA;While I haven't taken the specific package of tutorials you're referring to, I have watched some of those free videos of Nick's, and he is much more in line with the &quot;adjust this particular setting&quot; school. He is also much more direct and to the point. Depending on where you're at in terms of level, you may feel more immediate progress by taking his tutorials.&#xD;&#xA;&#xD;&#xA;I know both of these gentlemen personally, and they know their stuff and explain it well. So, I'd say either one is a worthy investment. Obviously, one is more expensive than the other, but it's also more personalized.&#xD;&#xA;&#xD;&#xA;Regardless of which one you take, the only thing that is really going to make progress for you is practice, application and experimentation. Arguably, you could do all of that yourself, but getting someone to point you in the right direction certainly helps.&#xD;&#xA;&#xD;&#xA;And regardless of which one you take, you can always get some good practice by participating in the sound design challenges I run every month on my site. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7286" PostHistoryTypeId="2" PostId="4298" RevisionGUID="3d6269bb-3b88-4a0e-80f1-155c03f3b23d" CreationDate="2010-10-27T05:45:49.583" UserId="348" Text="To a certain extent, both are very good and provide a good balance of theory(not Chion theory) with the practical. But in reference to what you are looking for, Nick's is much better suited to your needs. Sonnenschien is great when it comes to providing the tools for &quot;feeling&quot; the sound design but I really do think this is something that is instinctive in any good sound designer while Nick cuts through the crap and gets right to the point as Shaun Farley says. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7287" PostHistoryTypeId="2" PostId="4299" RevisionGUID="76f84058-d1bf-43dc-86e1-9d4532f73988" CreationDate="2010-10-27T07:16:09.463" UserId="407" Text="I am a Brit living in Finland working for a games company and I consider myself very lucky to be in this position. I have also lived and worked in Holland and the UK, so I know a little about moving countries and finding work in europe. From my experience - outside of the games industry - language becomes issue, especially working post production or field work as most of this work will be in the local language. Games studios are different as their working language is usually English.&#xD;&#xA;The other thing is that you have to beable to offer somthing to your employer that they can't find locally. Either your reputation or some rare skill - e.g. if you were an audio programmer you could work anywhere you wanted :) - But once you're settled somewhere then you become local so it makes everything much easier.&#xD;&#xA;I would suggest either choosing a country to move to and finding out as much about what work is available there, France of the UK would be a good start. Or find your particular skill and find out who needs your services.&#xD;&#xA;Anyhow working abroad is totally possible and really rewarding - good luck with it." ContentLicense="CC BY-SA 2.5" />
  <row Id="7288" PostHistoryTypeId="2" PostId="4300" RevisionGUID="85847d14-8228-462c-9a6a-6297268d9d94" CreationDate="2010-10-27T07:52:38.923" UserId="400" Text="As someone who has bought 3 of Nick's tutorial packs, and also bought David Sonnenschien's book (although not the webinar series), I would agree with what's been said above. Within watching 3 videos from Nick's &quot;Analog&quot; series for Ableton, I felt like I had progressed ridiculously far and have since been able to use what I learned from these videos in a couple of sound design jobs.&#xD;&#xA;&#xD;&#xA;The ability to tweak an instrument and get everything you can out of it should not be underestimated. I'm a firm believer in mastering a small number of tools rather than having a large number available.&#xD;&#xA;&#xD;&#xA;Hope this has helped." ContentLicense="CC BY-SA 2.5" />
  <row Id="7289" PostHistoryTypeId="2" PostId="4301" RevisionGUID="7a5dd808-7121-4f2b-b955-e454549f335e" CreationDate="2010-10-27T09:12:05.410" UserId="264" Text="My answer's really a combination of Haydn and Ryan's answers: Mouth noises and alarm clocks. Both of these sounds send shivers down my spine. I'm not sure why mouth noise is so annoying, but I'm pretty sure, like Pavlov's dogs, we're trained to despise a blaring alarm." ContentLicense="CC BY-SA 2.5" />
  <row Id="7290" PostHistoryTypeId="2" PostId="4302" RevisionGUID="f5edb77e-ed23-4485-8dff-402ed31be939" CreationDate="2010-10-27T10:04:24.187" UserId="542" Text="A metallic wristwatch rattling. Dont knwo why, but I hate that sound =)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7291" PostHistoryTypeId="2" PostId="4303" RevisionGUID="ed2ac15c-31bd-4772-9463-23ce8ce2b79b" CreationDate="2010-10-27T14:18:41.510" UserId="469" Text="What about the sound of timecode?  It is a bit disturbing.  Also sanding with sandpaper has always been a source for sore ears for me." ContentLicense="CC BY-SA 2.5" />
  <row Id="7292" PostHistoryTypeId="2" PostId="4304" RevisionGUID="5b4923a9-a9cd-4151-92c6-b122fcea5a04" CreationDate="2010-10-27T14:24:32.817" UserId="348" Text="Car alarms, house alarms, small yappy dogs, people who speak loudly in close proximity, screechy metal. And of course, my true pet dislike- people who play drum and bass in their car at full volume in rush hour traffic for all to hear!!! " ContentLicense="CC BY-SA 2.5" />
  <row Id="7293" PostHistoryTypeId="2" PostId="4305" RevisionGUID="ff6f1281-4f7d-450f-a19b-708b93e68ba2" CreationDate="2010-10-27T15:47:31.480" UserId="619" Text="I used to live in an apartment building beside some train tracks (lovely, yes).  &#xD;&#xA;&#xD;&#xA;There was a gradual bend in the tracks right alongside my building, and in the colder months the slow moving freight trains would make this constant metallic screeching sound that sustained for several minutes as the train went by.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7294" PostHistoryTypeId="2" PostId="4306" RevisionGUID="7443e90b-9891-4e5d-9503-a59db84b49e8" CreationDate="2010-10-27T16:55:08.813" UserId="578" Text="Hmm, maybe seagulls in the summer. I live &amp; work very close to the beach, and in summertime during breeding season those flying rats tend to sit right outside the window of my work room, squeaking squawking and being just bloody damn loud and annoying for a large part of the day. This goes on for about a month, and then they bugger off again (well at least after that they are not so damn enthusiastic and in big groups all of the time anymore). But during that time of the year I always end up looking for bird scaring devices... shame that the most effective ones make noise as well... that doesnt help :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7295" PostHistoryTypeId="2" PostId="4307" RevisionGUID="11a30ea8-d4c9-4185-89ac-926ba965579b" CreationDate="2010-10-27T20:18:28.743" UserId="290" Text="Hey folks - quick one here. Does anyone remember what that illusion is called, where a continuous escalation of sound can been faked? Here's how it works, with frequency.&#xD;&#xA;&#xD;&#xA;You have a sound raising in frequency, which you fade out over time.&#xD;&#xA;&#xD;&#xA;As that sound's fading out, you begin another instance of it.&#xD;&#xA;&#xD;&#xA;Sound appears to get higher and higher!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7296" PostHistoryTypeId="1" PostId="4307" RevisionGUID="11a30ea8-d4c9-4185-89ac-926ba965579b" CreationDate="2010-10-27T20:18:28.743" UserId="290" Text="That escalating illusion - remember what it's called?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7297" PostHistoryTypeId="3" PostId="4307" RevisionGUID="11a30ea8-d4c9-4185-89ac-926ba965579b" CreationDate="2010-10-27T20:18:28.743" UserId="290" Text="&lt;illusion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7298" PostHistoryTypeId="2" PostId="4308" RevisionGUID="2f8aa658-3c45-403d-ac01-16b8fcb87041" CreationDate="2010-10-27T20:18:57.873" UserId="418" Text="As someone who feeds a family and pays their bills by making soundware, I have a few opinions on the matter. I'm just a one man shop and the products I make are specialized, small and affordable - usually in the form of add-ons for existing music software. They are also rather unique and people seem to love them. Not a horn toot, just based on feedback and a growing loyal customer base. &#xD;&#xA;&#xD;&#xA;When you're selling digital goods to anyone piracy has just become part of the cost of doing business. It's unfortunate, but I've come to realize that it's not something worth losing sleep over, or even putting effort into trying to prevent. In fact, I almost try to look at it as opportunity. Time and again I have people purchasing my products who have downloaded them illegally and then ultimately been impressed with them enough, or found value in them enough, to go ahead and pay for them properly. &#xD;&#xA;&#xD;&#xA;The biggest hurdles with being in the soundware business are the core built-in characteristics of the market, or just happen to typically be all of these at once: &#xD;&#xA;&#xD;&#xA;1. Musicians - notoriously broke&#xD;&#xA;2. Tech Savvy - notoriously fickle, impatient and aware of how easy it is to pirate&#xD;&#xA;3. Young - notoriously broke as well, and not yet mature enough to appreciate the harm in piracy&#xD;&#xA;&#xD;&#xA;All that said, I've found ultimately that if I focus purely on creating great products then people will pay for them. &#xD;&#xA;&#xD;&#xA;There are three kinds of digital consumers out there who make up my users, legal and not; Those who pay for everything, those who steal everything, and a few who right their wrongs by purchasing if they've been convinced of the value of your work. My job is to worry about the first group, and if I do extra great work then group 3 might come along for the ride. Group 2 is a lost cause. I'm ok with that. &#xD;&#xA;&#xD;&#xA;I don't see piracy as lost revenue. I find it hard to call something &quot;lost&quot; that never would have been purchased in the first place. Worry about doing great work and about the customers that pay. Everything else is up to the wind. So far, so good for me. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7299" PostHistoryTypeId="2" PostId="4309" RevisionGUID="04a64c4f-a687-4da4-b456-7a2f7da80b19" CreationDate="2010-10-27T20:40:50.313" UserId="78" Text="Shepard tones.&#xD;&#xA;&#xD;&#xA;IIRC you don't need to fade it out, it just keeps going.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7300" PostHistoryTypeId="2" PostId="4310" RevisionGUID="1f036d81-6c85-47e3-a11f-8d95ab5908a1" CreationDate="2010-10-27T21:32:37.337" UserId="270" Text="I hear this in dance music a lot, didnt know it was an actual thing with a name!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7301" PostHistoryTypeId="2" PostId="4311" RevisionGUID="1b2b3dfd-d742-4311-b25f-62f3aced41c3" CreationDate="2010-10-27T21:46:06.403" UserId="182" Text="I created a patch in Max/MSP that uses this principle (shepard tones or shepard pitch). The essence is that a bunch of tones that are octaves apart all rise or fall in pitch at the same speed. When rising, they fade out above a certain frequency, and at the same time tones fade in from a certain bottom frequency.&#xD;&#xA;&#xD;&#xA;I did this by having lots of these tones that extend beyond the hearable range, and putting a band pass filter over everything to create the fading behaviour. Changing the frequency and width of the filter changes the frequency range of the shepard tone.&#xD;&#xA;&#xD;&#xA;If anyone is interested, I can post the patch here." ContentLicense="CC BY-SA 2.5" />
  <row Id="7302" PostHistoryTypeId="2" PostId="4312" RevisionGUID="8d719be1-8ca9-4842-ac5e-03787bd4dc15" CreationDate="2010-10-27T23:35:06.527" UserId="643" Text="I took David's webinar and was very glad I did.  He explains the concepts very well and leads you to looking at sound in a very different way.  I've never seen Nick's tutorials so I popped over to his site and it looks great.  The only problem is that it all seems to be Ableton Live based, so if you don't use that particular software (as I don't), you may not get much value from it.&#xD;&#xA;&#xD;&#xA;I think you can get as much value, just by searching/posting on various forums." ContentLicense="CC BY-SA 2.5" />
  <row Id="7303" PostHistoryTypeId="2" PostId="4313" RevisionGUID="fa2dfd20-55a5-4f63-b415-e8b37c560611" CreationDate="2010-10-28T00:50:48.107" UserId="338" Text="I took david's webinar and i found that it was very strong in theory and if you are a fan of his book, the two go together well.  I learned a lot in the webinar espcially about creating space and size with sounds.  Theres always something new to read in his book Sound Design for Pros, its kind of like a bible, full of wisdom.  &#xD;&#xA;&#xD;&#xA;Nicks tutorials are new to me and Ill have to check them out.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7304" PostHistoryTypeId="2" PostId="4314" RevisionGUID="29571d73-bb2c-42a4-9754-ed2e14df787c" CreationDate="2010-10-28T04:16:42.780" UserDisplayName="user49" Text="If there is one sound that makes me hit the mute or exit button it is guitar shredding -cannot stand it, will not listen to it!! I dont get more than one second into certain promo videos that use it....&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7305" PostHistoryTypeId="2" PostId="4315" RevisionGUID="ddb86fd6-5ede-493b-8d6a-4d423cb3b8cc" CreationDate="2010-10-28T04:35:14.170" UserId="639" Text="I was looking to get a starter library to start practicing sound editing until I can afford my field recording setup. Blastwave fx has a starter library for $40 but its all in mp3 format. It has 500 sounds. Are mp3 format sounds ever used in commercial film or games? Or should i just use it as a practice library only?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7306" PostHistoryTypeId="1" PostId="4315" RevisionGUID="ddb86fd6-5ede-493b-8d6a-4d423cb3b8cc" CreationDate="2010-10-28T04:35:14.170" UserId="639" Text="should I get a Mp3 started library or only get wave format sounds?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7307" PostHistoryTypeId="3" PostId="4315" RevisionGUID="ddb86fd6-5ede-493b-8d6a-4d423cb3b8cc" CreationDate="2010-10-28T04:35:14.170" UserId="639" Text="&lt;beginner&gt;&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7308" PostHistoryTypeId="2" PostId="4316" RevisionGUID="b60cdcbf-f7fe-40c1-8b95-ded72fc7210f" CreationDate="2010-10-28T05:18:19.670" UserId="6411" Text="I'm looking for ideas or existing examples of sound designing grace and elegance in motion. Exacting, fluid movements that can also be sharp and deadly. Without giving too much away (NDAs and all) the scene is of a lethal dance of sorts. One of the &quot;dancers&quot; is very dainty, graceful, and dressed in fine robes. She epitomizes poise in an almost magical way.&#xD;&#xA;&#xD;&#xA;My first inclination was to foley a bolt of silk, flowing ripples, whooshes, flaps, impacts, etc. But the director implicitly said he wants to avoid precisely that. So I have a few other thoughts to try and differentiate between the &quot;dancers&quot;(contrasting frequency ranges, delayed vs verbed sounds and a couple other experiments I want to try out), but was hoping someone out here might have a clue as to what I'm trying to get at and maybe could nudge me in the right direction.&#xD;&#xA;&#xD;&#xA;Much obliged. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7309" PostHistoryTypeId="1" PostId="4316" RevisionGUID="b60cdcbf-f7fe-40c1-8b95-ded72fc7210f" CreationDate="2010-10-28T05:18:19.670" UserId="6411" Text="Implying gracefulness " ContentLicense="CC BY-SA 2.5" />
  <row Id="7310" PostHistoryTypeId="3" PostId="4316" RevisionGUID="b60cdcbf-f7fe-40c1-8b95-ded72fc7210f" CreationDate="2010-10-28T05:18:19.670" UserId="6411" Text="&lt;sound-design&gt;&lt;emotions&gt;&lt;movement&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7311" PostHistoryTypeId="2" PostId="4317" RevisionGUID="b456c5f2-2c22-4dd9-bdb1-31d861743071" CreationDate="2010-10-28T05:34:44.603" UserId="6411" Text="In broadcast, mp3 should only ever be used as an absolute last resort. Like, the original wax cylinder recording shattered, every LP copy in existence has melted, the original master tapes were all de-magnetized, the gold master CD and all subsequent dupes were run through a shredder, and every hard disk with the .wav file has had a run-in with a set of bolt cutters. Of course, having said that I still get music delivered in OMFs as an MP3 probably once every 4-5 shows. To their credit, they're at least high quality mp3s. :)&#xD;&#xA;&#xD;&#xA;I think in actuality it depends on your destination. If what you're designing is only going to be played on the web, it'll probably only ever be heard as an mp3 anyway. While there's the argument that you should always start with the highest quality possible and use that to reach the lowest common denominator, if the highest quality you can afford is $40 for 500 mp3s, so be it. Download away and get to practicing. But, if you pack your lunch for a month you could pick up an [H1][1] for $99. And that has the potential for way more sounds, and a little learning along the way.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/699403-REG/Zoom_ZH1_H1_Ultra_Portable_Digital_Audio.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="7312" PostHistoryTypeId="2" PostId="4318" RevisionGUID="3d80f975-8747-4c05-b50b-2432bd6a5676" CreationDate="2010-10-28T05:35:15.273" UserId="61" Text="Sounds like a difficult task...and it's hard to advise on something as nebulous as this. One piece of advice I've received over the years is to cut &quot;opposite&quot; the picture, meaning if the picture is compsed of quick cuts, try designing your track with long, flowing sounds. And the inverse could work, too.&#xD;&#xA;&#xD;&#xA;Another approach is to go with your gut instinct; even though your director has cautioned you against a realistic design, it may work well and make perfect sense in context with the overall scene structure and against score. If you think it's valid, I'd go for it and be prepared to defend your storytelling.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7313" PostHistoryTypeId="2" PostId="4319" RevisionGUID="98cea0eb-85ea-40f6-89a2-8a6593ae7c6e" CreationDate="2010-10-28T05:37:32.867" UserDisplayName="user49" Text="MP3 arent used in films - many is the time a picture editor has cut in temp music using MP3s and they sound dreadful up big (and are always replaced with uncompressed) - its a bit like how a JPEG image looks ok on a small screen but the grain is apparent when projected larger... The grain/compression will also become apparent when you start manipulating the sounds eg pitching etc... if its just for practice go to freesound&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7314" PostHistoryTypeId="4" PostId="4315" RevisionGUID="20dbc343-00f3-4c7a-800f-dc77a373fd85" CreationDate="2010-10-28T05:55:26.417" UserId="639" Comment="edited title" Text="should I get a Mp3 starter library or only get wave format sounds?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7315" PostHistoryTypeId="2" PostId="4320" RevisionGUID="59a055f9-d382-4c42-a0f3-83307322fadc" CreationDate="2010-10-28T06:19:58.657" UserId="407" Text="Console games can use mp3 as final playback, but it is not the most common and also can be quite tricky to use. Also if you use mp3 as a source file, the game engine/middleware would in most cases convert your mp3 to PCM and back to mp3 which isn't the best thing to do. 44.1khz 16bit is minimum standard for library material imo.&#xD;&#xA;like Tim said - if you are just looking for free noise freesound.org is great. Also some of the [indy libraries][1] have free samples. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/sfx-independence/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7316" PostHistoryTypeId="5" PostId="4299" RevisionGUID="f7ee7ebd-78e6-459a-9a0a-037b45d7c53b" CreationDate="2010-10-28T07:25:04.933" UserId="407" Comment="edited body" Text="I am a Brit living in Finland working for a games company and I consider myself very lucky to be in this position. I have also lived and worked in Holland and the UK, so I know a little about moving countries and finding work in europe. From my experience - outside of the games industry - language becomes issue, especially working post production or field work as most of this work will be in the local language. Games studios are different as their working language is usually English.&#xD;&#xA;The other thing is that you have to beable to offer somthing to your employer that they can't find locally. Either your reputation or some rare skill - e.g. if you were an audio programmer you could work anywhere you wanted :) - But once you're settled somewhere then you become local so it makes everything much easier.&#xD;&#xA;I would suggest either choosing a country to move to and finding out as much about what work is available there, France or the UK would be a good start. Or find your particular skill and find out who needs your services.&#xD;&#xA;Anyhow working abroad is totally possible and really rewarding - good luck with it." ContentLicense="CC BY-SA 2.5" />
  <row Id="7317" PostHistoryTypeId="2" PostId="4321" RevisionGUID="a2484d4f-2122-422a-9281-5f6979888465" CreationDate="2010-10-28T08:53:03.820" UserId="37" Text="With sound effects in MP3 you will first be sacrificing transients (did you know MP3 runs at roughly 40 frames per second?). Due to its limited bandwidth, spectrally rich sounds will lose a lot of their frequency content in MP3, leaving you only with what the algorithms have judged you would pay attention to. Of course, after any processing, you can throw all of this advance judgement away.&#xD;&#xA;&#xD;&#xA;Having said this, foley and small/spot SFX might be OK when MP3d, since it was designed for full-spectrum music, but these will sound a bit smeared, and further processing will quickly bring up all sorts of artefacts. Anything delicate, or sounding rich, or with noise components, forget it. Any ambience - prohibitive in MP3. &#xD;&#xA;&#xD;&#xA;I wish more people actually looked into how this kind of compression _works_, and that there are better schemes on the market. Even M4A has more temporal resolution but to really hear what you're doing to your audio, compress something as OGG and then re-compress the result as MP3.&#xD;&#xA;&#xD;&#xA;Still, trust your ears. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7318" PostHistoryTypeId="2" PostId="4322" RevisionGUID="65875525-0517-4444-90b0-b8acd0001396" CreationDate="2010-10-28T10:45:15.807" UserId="644" Text="The best thing to do if you are having problems in the studio is to try and do it on location. &#xD;&#xA;&#xD;&#xA;Depends on where you are geographically, but recording at 2am with a H4, good shotgun mic, windpack and an IPOD (for video replay) I have got some of the best ever sounds needed without the problems of recording inside. &#xD;&#xA;&#xD;&#xA;From my past experiences of recording footsteps on makeshift stages I often got resonances bleeding from the studio floor that gave me horrible boxiness. The only real way was to elevate the foley pit which gave a little rise to the sounds being a little thin. If you havn't got the time to build a proper foley pit, I would suggest my initial tip. If you don't have a budget for that, work with what you have got, but be prepared for a lot of re-recording and filtering.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7319" PostHistoryTypeId="2" PostId="4323" RevisionGUID="6704970a-9420-4ed7-8792-8fe143de2c8b" CreationDate="2010-10-28T11:58:42.640" UserId="432" Text="If all you're looking to do is practice, and your not going to use these things you do for any commercial purposes, you may be better off just heading over to freesound.org. It's a creative commons audio library. I'd avoid using them for anything commercial (or even non-commercial public) though, as one of the stipulations is that you have to credit EVERY author of sounds your using. I also think there's a provision that you can't use originals (just derivatives). Not very useful for projects you want to share with the world, but for at home experimentation it should suit your needs very nicely.&#xD;&#xA;&#xD;&#xA;That way, you can save your money and put it towards a decent library in the future." ContentLicense="CC BY-SA 2.5" />
  <row Id="7320" PostHistoryTypeId="2" PostId="4324" RevisionGUID="9fbe4bcb-6535-4119-9e18-f5bb54890886" CreationDate="2010-10-28T12:05:56.863" UserId="432" Text="I like Jay's suggestion of cutting against the picture. As far as specific ideas, I was starting to think of something light and maybe a little airy...maybe something like moving chimes, or something lightly metallic and tinkling...that's fairly clean and melodic/harmonic. You could then add in a little distortion at the points where you need to show the dangerous edge that's hidden underneath. It would probably be a bitch to cut, but that was the first thing that came to my head." ContentLicense="CC BY-SA 2.5" />
  <row Id="7321" PostHistoryTypeId="2" PostId="4325" RevisionGUID="81efe74f-ccfe-4576-ada1-f585c56069d5" CreationDate="2010-10-28T14:44:25.103" UserId="29" Text="The first thing that comes to my mind is ensuring that the sounds you choose have little in the way of transients, and maybe even might need some attack-portion-o'-the-envelope shaping. In terms of elegance in a martial arts or conflict scene, I'd think that really reducing the SFX when in close-up on the character in question would be nice. Maybe all we hear, for the most part, are the movements and the efforts of the antagonist(s), and not the protagonist, showing who is expending the effort.&#xD;&#xA;&#xD;&#xA;What is elegance, after all, but the absence of harsh sound? Perhaps even the absence of nearly any sound? Maybe the simplicity of just one kind of sound? Perhaps you could try a few different passes of just one sound source of something soft, like sugar, fine sand, cotton, or similar. That kind of simplicity could underscore the theme of zen elegance and minimalism.&#xD;&#xA;&#xD;&#xA;Only other thing that comes to mind is using subtle pitching to bring effects into a major chord, even subtly, which piggybacks on Shaun's idea of chromatic percussion or chimes. The ol' Jedi vs. Sith lightsaber trick...&#xD;&#xA;&#xD;&#xA;All this, as per Jay's post, needs to fit with the picture (if the huge robes make no sound, that might be cognitively dissonant), but if you want to display preternatural (or even supernatural) grace, I'd think a minimalist approach would yield big benefits." ContentLicense="CC BY-SA 2.5" />
  <row Id="7322" PostHistoryTypeId="2" PostId="4326" RevisionGUID="861c96d6-24d2-4625-9720-04df90eb14fb" CreationDate="2010-10-28T15:01:43.453" UserId="469" Text="This may seem random but the actual inventor of 'Shepard Tones' was James Tenney.  Tenney was a mentor of mine who passed away in my last semester at CalArts. At CalArts we liked to call this acoustic phenomena, &quot;Tenney Tones&quot; (has a nice ring to it). He was the first to use it in his song (For Ann (Rising)).  He actually worked under Shepard at Bell Labs and never received credit for his work.  In the scientific community it is common for the head of a lab to take credit for a discovery or important work even if they were not directly involved with it. &#xD;&#xA;&#xD;&#xA;He never tried to push this idea on us, but I heard it from other people who worked with and around him during the 60's leading me to believe it is true.  Just want him to have the credit he is due as he was a brilliant man and a fun person to be around." ContentLicense="CC BY-SA 2.5" />
  <row Id="7323" PostHistoryTypeId="2" PostId="4327" RevisionGUID="4b67e8bf-b710-4dbb-9ac7-0b99a14f0b38" CreationDate="2010-10-28T16:02:52.860" UserId="234" Text="For a good movie example of this sort of thing, check out the opening of &quot;The Matrix&quot; (the first one), where the Police and the Agent are chasing Trinity. Notice the difference in the motion sounds on the Agent and Trinity versus the Police - especially in the part where they all jump over the roof." ContentLicense="CC BY-SA 2.5" />
  <row Id="7324" PostHistoryTypeId="2" PostId="4328" RevisionGUID="64bfd2b1-dedb-44e6-bc97-cd7df44f91fe" CreationDate="2010-10-28T17:32:07.460" UserId="220" Text="In addition to the already great suggestions, I really like the method that some asian martial arts flicks use - attributing animal or mechanical sounds to people.  Lions suggest deadly grace, as do sharks.  Maybe having paw pads and growls, or water turbulence.  I'm not sure how abstract your director wants the sounds.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7325" PostHistoryTypeId="2" PostId="4329" RevisionGUID="3b894cd7-8e0f-458b-bde8-c82ea042b625" CreationDate="2010-10-28T18:03:46.483" UserId="338" Text="Well almost anything can be considered graceful.  When the lion pounces and we see it in slow motion, it is graceful yet deadly and precise.  In regular speed, it may seem different.  Even the locomotive is graceful in that it was a graceful invention for the time and allowed people to travel, sometimes in grace depending on their ticket class, but also in grace because of the chic'ness of the time and the speed it took to get from one place to another.  Airplanes doing sky tricks can seem graceful.  An explosion is also graceful given the correct context and perhaps accompanying music.  In a C major chord, all the notes, grace eachother.  On the other hand, grace can also mean something different to say an evil side.  It means something different to the bad guys than the good guys.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7326" PostHistoryTypeId="2" PostId="4330" RevisionGUID="49032d2d-5833-4ada-bfdd-c437e0d4facb" CreationDate="2010-10-28T18:14:12.330" UserId="639" Text="I am looking for a good quality sounding field recorder that is not to expensive. I am in between the zoom H2n&#xD;&#xA;, sony pcm- m10, sony pcm-d50, or fostex f2-2le. I will also be getting a rode nt4 and rycote wind shield kit #4&#xD;&#xA;Last thing, is the rode sm3 shockmount the right one to use in a zepplin with a rode nt4?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7327" PostHistoryTypeId="1" PostId="4330" RevisionGUID="49032d2d-5833-4ada-bfdd-c437e0d4facb" CreationDate="2010-10-28T18:14:12.330" UserId="639" Text="Field recorder help" ContentLicense="CC BY-SA 2.5" />
  <row Id="7328" PostHistoryTypeId="3" PostId="4330" RevisionGUID="49032d2d-5833-4ada-bfdd-c437e0d4facb" CreationDate="2010-10-28T18:14:12.330" UserId="639" Text="&lt;field-recording&gt;&lt;newbie&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7329" PostHistoryTypeId="2" PostId="4331" RevisionGUID="9ad1ca57-85b7-4911-b6ca-8c62808e834a" CreationDate="2010-10-28T18:41:32.517" UserId="194" Text="check out the ![drum scene][1] early on in House of Flying Daggers.  Actually, just watch that whole flick.&#xD;&#xA;&#xD;&#xA;I agree with NoiseJockey that silence or otherwise non-transient sounds are good starting points.  I think a combination of silk moves and clean metallic ringing could be a good place to start.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=UN5-k0Pvk6E" ContentLicense="CC BY-SA 2.5" />
  <row Id="7330" PostHistoryTypeId="2" PostId="4332" RevisionGUID="a4ffe7d5-27a7-4181-a1ea-c84c73f5ef47" CreationDate="2010-10-28T18:42:50.690" UserId="298" Text="As we all here linked somehow with sound and it can be vital part in our life - &#xD;&#xA;&#xD;&#xA;What role in your life silence plays? " ContentLicense="CC BY-SA 2.5" />
  <row Id="7331" PostHistoryTypeId="1" PostId="4332" RevisionGUID="a4ffe7d5-27a7-4181-a1ea-c84c73f5ef47" CreationDate="2010-10-28T18:42:50.690" UserId="298" Text="Silence in your life" ContentLicense="CC BY-SA 2.5" />
  <row Id="7332" PostHistoryTypeId="3" PostId="4332" RevisionGUID="a4ffe7d5-27a7-4181-a1ea-c84c73f5ef47" CreationDate="2010-10-28T18:42:50.690" UserId="298" Text="&lt;silence&gt;&lt;health&gt;&lt;safety&gt;&lt;life&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7333" PostHistoryTypeId="2" PostId="4333" RevisionGUID="279201b2-25aa-48e3-8172-5e14056ca475" CreationDate="2010-10-28T19:09:58.063" UserDisplayName="user49" Text="Of course silence doesn't exist, except in space where we can't hear it ;)&#xD;&#xA;&#xD;&#xA;I only have 3 memories of experiencing near-silence, each was profound&#xD;&#xA;&#xD;&#xA; - Anechoic chamber, Canterbury University, Christchurch, NZ (25 years ago)&#xD;&#xA; - Field recording on a foggy still night in remote Dennistown, West Coast, NZ (10 years ago)&#xD;&#xA; - Anechoic chamber, ICC Gallery, Tokyo, Japan (5 years ago)&#xD;&#xA;&#xD;&#xA;Each experience was very different due to the context &amp; environment, but each time it was equal parts exhilirating, meditative and unsettling... I felt changed by the experience...&#xD;&#xA;&#xD;&#xA;Quiet coloured diffuse spacious ambiences are personally more interesting to me than attempts at finding silence - the gentle sound of rain on a tin roof, or the distant sound of clean wave breaks on a beach, or the drone of my modular synth, or the gentle rustle of tape through my space echo, or the quiet of morning before the birds wake up....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7334" PostHistoryTypeId="2" PostId="4334" RevisionGUID="64ce16ad-c100-4ba0-9082-18076758db6a" CreationDate="2010-10-28T19:10:36.437" UserId="234" Text="An absolute necessity! I like fifteen minutes or a half hour of silence every day if I can get it. Helps reset everything... Of course TOTAL silence is impossible, but just enough away from the noise of the world that I can hear the sounds in my head again. When I'm composing, it's even MORE critical." ContentLicense="CC BY-SA 2.5" />
  <row Id="7335" PostHistoryTypeId="2" PostId="4335" RevisionGUID="21c1fdd3-9fcd-4c88-bba4-c884ed3639f0" CreationDate="2010-10-28T19:12:03.597" UserId="644" Text="By H2n you mean the H4n, right? If so, then The H4n is pretty good for the money but a bit short on Battery power, especially if you are using phantom.&#xD;&#xA;&#xD;&#xA;I have used both the H4n and the Fostex and my preference is more for the Fostex. I never really use onboard microphones, like the H4n, unless it is sheer gorilla recordings I need. If you are looking for more professional layout and preformance, I would use the Fostex.&#xD;&#xA;&#xD;&#xA;I have also used in the past an older version of the Marantz PMD661 which I liked quite a bit. The battery life was a lot longer as it holds 4AAs.&#xD;&#xA;&#xD;&#xA;In short: Fostex is my choice.&#xD;&#xA;&#xD;&#xA;can't comment on the Sony ones" ContentLicense="CC BY-SA 2.5" />
  <row Id="7336" PostHistoryTypeId="2" PostId="4336" RevisionGUID="c637d356-aab4-421b-b481-4091d11c07d1" CreationDate="2010-10-28T19:23:40.350" UserId="619" Text="Silence (or attempting it) is an essential part of my morning routine right now.  Tip-toeing around the house getting ready for work and trying my best not to wake up the baby!  &#xD;&#xA;&#xD;&#xA;Striving for silence makes me keenly aware of the little sounds around the house I wouldn't normally notice - every creak in the floor, the weird suction sound the fridge makes when you carefully pry the door open, the noise a dimmed incandescent bulb makes, etc.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7337" PostHistoryTypeId="2" PostId="4337" RevisionGUID="395a703f-399c-47de-a90a-b8c9f53809bd" CreationDate="2010-10-28T19:36:38.403" UserId="6420" Text="I used to have an old Vauxhall Astra (1992) model. Whenever you opened the door with the lights still left on it would make a well annoying buzzing sound! Kind of felt like the car was mocking me whenever I heard it! lol Guess that's what made it all the more annoying..." ContentLicense="CC BY-SA 2.5" />
  <row Id="7338" PostHistoryTypeId="2" PostId="4338" RevisionGUID="d1297b5e-d35b-493b-81d3-040d376f708f" CreationDate="2010-10-28T19:42:31.747" UserId="432" Text="The soundtrack for Annie. For about 2 years when I was a kid, my sister would listen to it while falling asleep down the hall; and would play it so loud that I could hear even when both her and my bedroom doors were closed. It drove me NUTS!!! lol" ContentLicense="CC BY-SA 2.5" />
  <row Id="7339" PostHistoryTypeId="2" PostId="4339" RevisionGUID="71969a19-8990-4e50-bae7-0e3dc6e72214" CreationDate="2010-10-28T19:44:11.360" UserId="338" Text="For awhile i would wear earplugs anytime when i was in transit or walking somewhere" ContentLicense="CC BY-SA 2.5" />
  <row Id="7340" PostHistoryTypeId="2" PostId="4340" RevisionGUID="3daca71f-c209-4ddc-b5df-b3080bed7bc9" CreationDate="2010-10-28T19:54:53.203" UserId="6420" Text="I think recently the more silent things are the more unsettled I get! Strange how I always used to hate the sound of a ticking clock in anyone's house if I stayed overnight. Had to take the battery out to sleep! But now, since my girlfriend insists on having a clock in the room I find it hard to sleep if theres NOT the sound of a ticking clock :/ Helps calm me down somehow.." ContentLicense="CC BY-SA 2.5" />
  <row Id="7341" PostHistoryTypeId="2" PostId="4341" RevisionGUID="be9a4c25-065f-4180-b65d-e5e011f50140" CreationDate="2010-10-28T20:11:01.940" UserId="235" Text="  When working on a film, who owns the raw recordings that were made for that film?  Since the answer to every question is &quot;well that depends&quot; then I will pre-emptively ask how common is it for the recordist to retain ownership versus the employer?  In what situations would it be one over the other?  &#xD;&#xA;  Also, who has ownership of sounds specifically designed for a film? What if those sounds were made from library sounds, does that effect ownership or limit use? &#xD;&#xA;  What contractual language would you suggest using to cover the above?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7342" PostHistoryTypeId="1" PostId="4341" RevisionGUID="be9a4c25-065f-4180-b65d-e5e011f50140" CreationDate="2010-10-28T20:11:01.940" UserId="235" Text="Question of ownership" ContentLicense="CC BY-SA 2.5" />
  <row Id="7343" PostHistoryTypeId="3" PostId="4341" RevisionGUID="be9a4c25-065f-4180-b65d-e5e011f50140" CreationDate="2010-10-28T20:11:01.940" UserId="235" Text="&lt;ownership&gt;&lt;legal&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7344" PostHistoryTypeId="2" PostId="4342" RevisionGUID="91cedec6-1d67-4dd5-9814-8ef5039935d8" CreationDate="2010-10-28T20:55:46.723" UserId="400" Text="Aaron Mark's book on Game Audio goes into a lot of detail on ownership of audio, in terms of licensing or retaining ancillary rights and things like that. Although it's about game audio, there's a lot of information that applies to both games and film about the legal ins and outs of music AND sound ownership. &#xD;&#xA;&#xD;&#xA;Well worth picking up a copy.&#xD;&#xA;&#xD;&#xA;This is the book I'm talking about:&#xD;&#xA;&#xD;&#xA;http://www.amazon.co.uk/Complete-Guide-Game-Audio-Developers/dp/0240810740/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1288299369&amp;sr=8-1" ContentLicense="CC BY-SA 2.5" />
  <row Id="7345" PostHistoryTypeId="2" PostId="4343" RevisionGUID="bf7cd8f6-8cc8-4ffd-8819-25fc22d62974" CreationDate="2010-10-28T20:55:56.927" UserId="315" Text="That all depends upon the contract. &#xD;&#xA;&#xD;&#xA;Most sound facilities retain ownership of the sound effects developed for a film (often called &quot;units&quot;). The client pays them simply for the mix and stems. The units are never released to them. This can often be a grey area unless settled in writing to begin with; especially if the client is paying for a sound effects recording session.&#xD;&#xA;&#xD;&#xA;If you buy a commercial sound effects library, you are simply purchasing a license to use those sounds, not the copyright. So those sounds aren't yours to release anyway. Even if you alter them IMHO.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7346" PostHistoryTypeId="2" PostId="4344" RevisionGUID="373f4231-0423-4ca5-a2d4-8d7204f08a92" CreationDate="2010-10-28T20:56:04.413" UserId="103" Text="Like Unicity mentioned, when you have to be quiet, every little sound is a big deal.&#xD;&#xA;Although in my case, i wasn't being quiet not to wake up a baby, but to sneak out of my parents house to go do some late night party mischief.... Every little clothing scrub was to much :D.&#xD;&#xA;&#xD;&#xA;Also when i lived in Vancouver BC, i was amazed by how much the snow dampened traffic noise...&#xD;&#xA;everything sounded so peaceful!&#xD;&#xA;&#xD;&#xA;And like Chris, now i wear earplugs all the time." ContentLicense="CC BY-SA 2.5" />
  <row Id="7347" PostHistoryTypeId="2" PostId="4345" RevisionGUID="5aa8109e-8c5c-450b-992f-fd1ec7bca48b" CreationDate="2010-10-28T20:57:57.780" UserId="61" Text="Great question. I would argue that, if you are a sound recordist hired exclusively for the purpose of recording sounds for a specific film, then all data generated from those sessions is the property of whoever hired you, be it a production company, studio, or sound supervisor. If you are working on a film and a member of a crew, and you all decide to go out and gather sounds either together or independently, then I believe that you retain ownership of whatever you personally contribute." ContentLicense="CC BY-SA 2.5" />
  <row Id="7348" PostHistoryTypeId="2" PostId="4346" RevisionGUID="ac1231fc-c6fd-4e16-a06f-664542c80531" CreationDate="2010-10-28T21:27:14.950" UserId="46" Text="You may be interested in this book by George Prochnik, &quot;In Pursuit of Silence: Listening for Meaning in a World of Noise&quot;&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/Pursuit-Silence-Listening-Meaning-World/dp/0385528884&#xD;&#xA;&#xD;&#xA;It's a sort of cobbled together anecdotal book of one man's quest to find total silence in this noisy world. Has some interesting info, though..." ContentLicense="CC BY-SA 2.5" />
  <row Id="7349" PostHistoryTypeId="2" PostId="4347" RevisionGUID="c29e0060-a5cb-42dc-a2cf-3c6c9ab1b0e2" CreationDate="2010-10-28T21:28:00.720" UserId="253" Text="This made me think about what silence actually is. It's interesting... it seems that silence is defined by what we *can* hear. Like Tim's experience in anechoic chambers (i'd love to go to one of those); i've heard that when you're inside one, you begin to hear your body's various systems (digestive, circulatory, etc.) at work. Whereas when you're trying to be quiet in silence, like Filipe said, your own movements seem extra loud.&#xD;&#xA;&#xD;&#xA;Once upon a time, i lived in a small town, and would fall asleep in silence every night; now i think too much quiet would keep me awake. These days, i associate silence with work, as sound suites and vo booths (ideally) are the only quiet places i know.&#xD;&#xA;&#xD;&#xA;The other night we had some fog in NYC, and the neighbourhood where i live was unusually deserted. It was really eerie. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7350" PostHistoryTypeId="2" PostId="4348" RevisionGUID="32ea4676-47d1-4b18-b215-5ae9d5ba2376" CreationDate="2010-10-28T21:34:20.467" UserId="62" Text="When I worked for myself I always had it written in my contract that I retain ownership of the individual sounds but the company who paid me retained copyright of the finished mix. It's a stipulation I have always used and have never had a issue with from anyone.&#xD;&#xA;&#xD;&#xA;I was able to build a library of my own sounds as I needed them and be able to reuse my work in the future. As I was hired to give them a finished soundtrack there was never any interest or mention from these companies that they wanted any of my recordings.&#xD;&#xA;&#xD;&#xA;That said I was only ever employed by production companies, never a sound facility so what Jay said wouldn't have applied in my case.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="7351" PostHistoryTypeId="2" PostId="4349" RevisionGUID="8d2609c1-e8f0-4188-9258-f7444a7b81f7" CreationDate="2010-10-28T21:41:27.433" UserId="62" Text="Apart from when I am trying to get to sleep I actually find silence quite uncomfortable. Mainly as my mind races and inevitably I end up thinking about the stressful/unpleasant things in my life.&#xD;&#xA;&#xD;&#xA;I'm the same as others here tiptoeing around home trying not to wake my wife (who's chronically ill with ME/CFS and would be unwell for days after a disturbed night) in the morning while I get ready for work.&#xD;&#xA;&#xD;&#xA;It's interesting Tim that you mentioned a sort of implied silence, just like in film sound ;)&#xD;&#xA;&#xD;&#xA;One of the quietest places I've been was a cave about 50ft underground in South Wales. Apart from our own noise and an occasional drip it was total silence. It had the pitch blackness to match too. We all only lasted about 2 or 3 minutes until someone wanted a light turned back on." ContentLicense="CC BY-SA 2.5" />
  <row Id="7352" PostHistoryTypeId="2" PostId="4350" RevisionGUID="e74288ca-a5c5-4fea-9690-fc2d2861875a" CreationDate="2010-10-28T22:21:48.950" UserId="338" Text="Does anybody have some insight in how to make a sound 4D?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7353" PostHistoryTypeId="1" PostId="4350" RevisionGUID="e74288ca-a5c5-4fea-9690-fc2d2861875a" CreationDate="2010-10-28T22:21:48.950" UserId="338" Text="How to make a sound 4D?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7354" PostHistoryTypeId="3" PostId="4350" RevisionGUID="e74288ca-a5c5-4fea-9690-fc2d2861875a" CreationDate="2010-10-28T22:21:48.950" UserId="338" Text="&lt;design&gt;&lt;interesting&gt;&lt;creativity&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7355" PostHistoryTypeId="5" PostId="4350" RevisionGUID="5f633be1-5c3b-49c0-85ea-d71009c17e41" CreationDate="2010-10-28T22:55:30.410" UserId="338" Comment="added 54 characters in body" Text="Does anybody have some insight in how to make a sound 4D?&#xD;&#xA;&#xD;&#xA;Genaudio has a few apps that make your sound 4D.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7356" PostHistoryTypeId="2" PostId="4351" RevisionGUID="51385a10-f28d-4d32-8f83-2e23b5090f70" CreationDate="2010-10-28T22:56:04.790" UserId="298" Text="wow guys thanx for the answers! so interesting to read!&#xD;&#xA;but i didnt expect that some of you will take it literally :)&#xD;&#xA;its just expanded a question.&#xD;&#xA;&#xD;&#xA;My answer would be - i love silence. My home is planned with everything that can reduce unwanted noises - fridges, computers, clocks... and its so pleasant to be in silent place after all that subway, traffic jams, crowds, Particularly when im not using earplugs.&#xD;&#xA;I think when i am working with the sound, i should be especially careful with what i hear and selectively listen only pleasant sounds. Thats why i can say something like &quot;i like silence and only tiny fragile sounds&quot;.&#xD;&#xA;&#xD;&#xA;Also i like underwater silence. Its like another world..." ContentLicense="CC BY-SA 2.5" />
  <row Id="7357" PostHistoryTypeId="2" PostId="4352" RevisionGUID="351fded3-8a96-4002-afe9-9a52ceb32f16" CreationDate="2010-10-28T23:15:17.540" UserId="100" Text="I checked out [Genaudio's site][1] and from what I can tell, &quot;4D&quot; is much like the [3D audio][2] that became popular back in the late 90's. The effect is achieved through some fancy phase and eq algorithms that can make a stereo source sound like it's coming from beside/behind you. As I recall, it was a cool effect, but with a combined lack of control, a narrow sweet-spot, and the effect gradually becoming more and more not-cool after sustained listening, it all but disappeared. My guess is that Genaudio is trying to bring it back with an outrageous &quot;4D&quot; claim, but I would need to hear their stuff first to make that call. Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://astoundsound.net/index.php&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/3D_audio_effect" ContentLicense="CC BY-SA 2.5" />
  <row Id="7358" PostHistoryTypeId="5" PostId="4350" RevisionGUID="edb1b5a3-c484-4dec-8110-529b1abe8a88" CreationDate="2010-10-28T23:24:47.063" UserId="338" Comment="added 359 characters in body" Text="Does anybody have some insight in how to make a sound 4D?&#xD;&#xA;&#xD;&#xA;Genaudio has a few apps that make your sound 4D.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I met the Genaudio Plugin Manager one time at a seminar he did in San Francisco.  After the class he showed us this cool plug-in that is in development by them.  It gave you the ability to put audio behind you or anywhere in a 360 degree, spherical radius, and you could add distance too.  I was hoping to be able to do that without wild algorithms.  &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7359" PostHistoryTypeId="2" PostId="4353" RevisionGUID="85bffc0d-ee88-4c54-8b0b-19dfefb98993" CreationDate="2010-10-29T00:20:59.947" UserId="88" Text="IOSNONO is a new technology that allows content creators to virtually place sounds outside, along the boundaries of, or within a listening space.  I saw/heard a demo on Tuesday at the L.A. AES meeting.  It uses a massive number of speakers (I think our theater had around 61 -- 47 surrounds, 10 fronts, and 4 subs) to distribute its up to 32 channels of content.  According to its creators, the system uses wave field synthesis to model sound waves as they would appear after propagating from their sources in the mix (in the case of a film, where the sounds should be in relation to the audience).  It's already in use at the Haunted Mansion at Disneyland and the creators hope it will become the next delivery format for feature films.&#xD;&#xA;&#xD;&#xA;The audio-only examples I heard were pretty compelling, and the IOSNONO mix of the film clip they showed sounded noticeably clearer/cleaner than the 5.1 version (perhaps due to better distribution of content through the increased number of channels)." ContentLicense="CC BY-SA 2.5" />
  <row Id="7360" PostHistoryTypeId="5" PostId="4353" RevisionGUID="48e336a2-6889-4de0-8df4-efb3830e93a1" CreationDate="2010-10-29T00:28:15.360" UserId="88" Comment="It helps when you spell the acronym right..." Text="IOSONO is a new technology that allows content creators to virtually place sounds outside, along the boundaries of, or within a listening space.  I saw/heard a demo on Tuesday at the L.A. AES meeting.  It uses a massive number of speakers (I think our theater had around 61 -- 47 surrounds, 10 fronts, and 4 subs) to distribute its up to 32 channels of content.  According to its creators, the system uses wave field synthesis to model sound waves as they would appear after propagating from their sources in the mix (in the case of a film, where the sounds should be in relation to the audience).  It's already in use at the Haunted Mansion at Disneyland and the creators hope it will become the next delivery format for feature films.&#xD;&#xA;&#xD;&#xA;The audio-only examples I heard were pretty compelling, and the IOSONO mix of the film clip they showed sounded noticeably clearer/cleaner than the 5.1 version (perhaps due to better distribution of content through the increased number of channels).  &#xD;&#xA;&#xD;&#xA;Still only 3D, though." ContentLicense="CC BY-SA 2.5" />
  <row Id="7361" PostHistoryTypeId="2" PostId="4354" RevisionGUID="0413a711-cc54-4869-a692-6d77be869386" CreationDate="2010-10-29T00:28:38.380" UserId="37" Text="3D sound is already 4D anyway (time) :D" ContentLicense="CC BY-SA 2.5" />
  <row Id="7362" PostHistoryTypeId="2" PostId="4355" RevisionGUID="19dc7f82-5c16-444e-bdd8-a4275fcc25e5" CreationDate="2010-10-29T00:54:41.500" UserId="88" Text="Like Tim, I only have a couple of experiences with what felt close to complete silence, and &quot;profound&quot; is definitely the word for the resulting sensation.  Both were while location recording - one in a field in Texas, the other in the desert of southern California.  I could hear my heartbeat and breathing (if I focused on them), but nothing else.  It was eerie, but I loved it.&#xD;&#xA;&#xD;&#xA;Another book recommendation -- I found this one quite interesting and relevant. http://www.amazon.com/Zero-Decibels-Quest-Absolute-Silence/dp/1416599592/ref=sr_1_2?s=books&amp;ie=UTF8&amp;qid=1288312435&amp;sr=1-2&#xD;&#xA;&#xD;&#xA;(I identified with the author right away when he mentioned the stigma associated with covering one's ears when the subway comes.  I always feel like I'm the only guy in L.A. covering my ears to shield from passing fire trucks and ambulances...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7363" PostHistoryTypeId="2" PostId="4356" RevisionGUID="10c09af2-d8d1-490d-a9b9-614e48def2d0" CreationDate="2010-10-29T05:29:26.147" UserId="348" Text="Silence is a perceptual thing. Yes there is space, anechoic chambers etc. The places that I have found silence- Northern Ontario at night, Northwest Territories, my head. I have managed to record very quiet moments but not silence. I would love to experience underwater silence- must be magical." ContentLicense="CC BY-SA 2.5" />
  <row Id="7364" PostHistoryTypeId="2" PostId="4357" RevisionGUID="bc86480e-a5e9-4958-8c2b-c91ca17ed12d" CreationDate="2010-10-29T06:31:00.080" UserId="298" Text="I came with another unusual question. &#xD;&#xA;Recently, during my little recearch in hearing and some of its phenomena, i found a term called RF hearing, which mean that people &quot;hear&quot; radio frequencies, elecromagnetic fields and microwaves. &#xD;&#xA;(right now, im hearing very high tone from my LCDscreen, but im not sure if it is.)&#xD;&#xA;&#xD;&#xA;Do you hear something EXTRA ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7365" PostHistoryTypeId="1" PostId="4357" RevisionGUID="bc86480e-a5e9-4958-8c2b-c91ca17ed12d" CreationDate="2010-10-29T06:31:00.080" UserId="298" Text="Radiofrequency hearing" ContentLicense="CC BY-SA 2.5" />
  <row Id="7366" PostHistoryTypeId="3" PostId="4357" RevisionGUID="bc86480e-a5e9-4958-8c2b-c91ca17ed12d" CreationDate="2010-10-29T06:31:00.080" UserId="298" Text="&lt;hearing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7367" PostHistoryTypeId="12" PostId="4351" RevisionGUID="14cbd907-72dd-444c-81cd-b6e5162ab744" CreationDate="2010-10-29T06:33:13.747" UserId="298" Text="[{&quot;Id&quot;:298,&quot;DisplayName&quot;:&quot;Pretaeperon&quot;}]" />
  <row Id="7368" PostHistoryTypeId="13" PostId="4351" RevisionGUID="aa3a07f6-1432-421d-b15d-deb5fe95a32a" CreationDate="2010-10-29T06:33:23.950" UserId="298" Text="[{&quot;Id&quot;:298,&quot;DisplayName&quot;:&quot;Pretaeperon&quot;}]" />
  <row Id="7369" PostHistoryTypeId="2" PostId="4358" RevisionGUID="8a1298b5-5e97-4b57-b5b7-00aca6fdec40" CreationDate="2010-10-29T07:06:17.730" UserId="407" Text="The Rode SM3 will fit with the NT4 but I'm not sure how the sm3 will fit to the zepplin. Have you seen the [Rode Blimp][1] this is designed for the NT4 and NTG series.&#xD;&#xA;BTW the NT4 is a great mic - mine goes with me almost everywhere :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://rodemic.com/accessory.php?product=Blimp" ContentLicense="CC BY-SA 2.5" />
  <row Id="7370" PostHistoryTypeId="2" PostId="4359" RevisionGUID="c70aa421-8650-454f-bd64-1d27e7465188" CreationDate="2010-10-29T07:13:24.757" UserId="298" Text="Dogs barking! it makes me want to kill them." ContentLicense="CC BY-SA 2.5" />
  <row Id="7371" PostHistoryTypeId="2" PostId="4360" RevisionGUID="e77c5f24-dd74-449e-9bd9-5fe435e85cb5" CreationDate="2010-10-29T07:42:45.097" UserId="407" Text="Head Related Transfer function or [HRTF][1] is how you make a sound 3D - or 4D if you include time ;) - it's a pretty old tech - and generally only 100% successful through headphones, because you are always in the center of the mix. with speakers you can turn your head or move out of the 'sweet spot'.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Head-related_transfer_function" ContentLicense="CC BY-SA 2.5" />
  <row Id="7372" PostHistoryTypeId="2" PostId="4361" RevisionGUID="948b49e4-c1f0-43e9-806f-943d064f42e5" CreationDate="2010-10-29T10:59:32.580" UserId="593" Text="I love silence and the concept of it. It doesn't make me uncomfortable at all and it has become a very important component in my life.&#xD;&#xA;The quietest experiences I've ever had was twice in Iceland; on a farm a couple of hours from Reykjavik and on a high altitude mountain plain near Thingvellir. Silent notes whenever the wind settled and even the wind gradually muted after some time. &#xD;&#xA;&#xD;&#xA;Silence for me is as much a state of mind, what I remember from the icelandic instances is just a warm feeling of just being (in danish &quot;være&quot;), observing everything from a vacuum. I hope to experience that again someday." ContentLicense="CC BY-SA 2.5" />
  <row Id="7373" PostHistoryTypeId="2" PostId="4362" RevisionGUID="852b259d-0034-4123-82cd-b6d551af5f35" CreationDate="2010-10-29T11:19:29.757" UserId="647" Text="i often leave music playing when i get into bed. i like the fall asleep to it.&#xD;&#xA;&#xD;&#xA;i can't hear it while i'm sleeping. &#xD;&#xA;&#xD;&#xA;there is a beautiful moment before i wake up, usually about 3 seconds before, when i know i'm sleeping, i acknowledge that i'm sleeping, and i still don't here anything.&#xD;&#xA;&#xD;&#xA;and as if someone turned the speakers on, the music starts. &#xD;&#xA;&#xD;&#xA;that is as much as i know about silence." ContentLicense="CC BY-SA 2.5" />
  <row Id="7374" PostHistoryTypeId="2" PostId="4363" RevisionGUID="07438e82-8839-4f89-94d3-1da19424e474" CreationDate="2010-10-29T11:44:41.897" UserId="432" Text="I doubt they're actually hearing radio frequencies, more likely they're hearing a high-pitched electrical noise from one of the components and mistaking it for the electrical field. No component is ideal, and there is always some energy lost to an extra process (heat, noise, etc.). I've always been able to tell when a TV is on in the next room (even if its muted), be it CRT or LCD. All electrical appliances make some sort of high-pitched noise when they have power running through them. It's just a question of which component, what the frequency output is, and whether or not you've protected your ears well enough to still be able to hear them.&#xD;&#xA;&#xD;&#xA;There's also the myth of people being able to pick up and hear actual radio broadcast through replacement teeth, caps and fillings. I don't remember what their results were, but Mythbusters tackled that one. :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7375" PostHistoryTypeId="2" PostId="4364" RevisionGUID="513a06dc-323d-4567-9378-47a4e00b4c88" CreationDate="2010-10-29T12:18:33.717" UserId="37" Text="Flyback transformer of TV CRT: 15.7kHz&#xD;&#xA;&#xD;&#xA;LCD Backlight inverter - also typically in kHz range.&#xD;&#xA;&#xD;&#xA;p.s. Switching power supply of recent IT equipment - well audible too.&#xD;&#xA;&#xD;&#xA;...&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7376" PostHistoryTypeId="2" PostId="4365" RevisionGUID="29d278db-7414-4da3-adfe-b0a0083f2abd" CreationDate="2010-10-29T12:52:47.357" UserId="220" Text="Is that Johnson–Nyquist noise?&#xD;&#xA;&#xD;&#xA;Usually you can hear capacitors charging and firing rapidly.  That noise is real.  A friend of mine was doing research with an electron microscope - thousands of capacitors firing at once when it's up to speed - and I though my teeth were going to explode.  Most people walked into the room and heard silence.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7377" PostHistoryTypeId="2" PostId="4366" RevisionGUID="d05f6426-3012-4746-87c4-a55081965963" CreationDate="2010-10-29T13:04:47.790" UserId="220" Text="I think for me silence is when I remove myself from the noise source (talking, etc) and quiet is when I remove noise from my life.&#xD;&#xA;&#xD;&#xA;Silence is huge for me in my personal and professional life.  It allows me to observe and not make an instant inpression.  I love to talk, so for me this is a learned concept.  It's hard for me to listen when other people are talking or other noises are going on around me since I have so many thoughts/comments welling up in my brain.  For me, silence is turning off the talking/response part of my mine and opening up the listening portion.  &#xD;&#xA;&#xD;&#xA;Quiet is another thing.  For me, I view quiet as removing artificial sources of noise.  I feel that I am in quet when I am at an empty beach with waves crashing.  I am also in quiet when I am in bed and hear my wife breathing next to me and crickets outside.  I've never felt at peace at a concert, while watching a movie, or while music is playing.  Queit is essential for me to keep my sanity. &#xD;&#xA;&#xD;&#xA;I feel like I've gotten a bit abstract.... " ContentLicense="CC BY-SA 2.5" />
  <row Id="7378" PostHistoryTypeId="2" PostId="4367" RevisionGUID="d084b75b-efe6-4639-8ba0-039848e5ba13" CreationDate="2010-10-29T13:28:18.943" UserId="2" Text="Over and above all the great answers above, there is one important aspect... training your ears. If you spend all this time practicing on MP3s, you'll get used to that and it will be your standard. Don't you want to train your ears on &quot;higher quality&quot; material? I'd think it's part of the training process. &#xD;&#xA;&#xD;&#xA;Just a thought. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7379" PostHistoryTypeId="2" PostId="4368" RevisionGUID="2ade552e-263b-4253-bc9f-af18513be972" CreationDate="2010-10-29T15:53:34.080" UserId="29" Text="The only times I've been in near-absolute silence - hearing really only my own body - is while caving/spelunking. In fact, an interesting phenomenon is that the silence seemed greater with the lights on, since I was looking outside myself for possible sound sources. With the light doused, I heard the blood rushing in my ears, and my own slow breath - when you focus on such things, they can perceptually seem pretty loud. It was quite amazing, albeit short-lived.&#xD;&#xA;&#xD;&#xA;My health and balance requires alternating significant sound and significant *quiet*, a word I'd use in favor of silence. I love intense, loud music and barely-audible ambient music. I love the yelling of people in the street, and I love hushed rural areas with crickets. Can't have one without the other.&#xD;&#xA;&#xD;&#xA;All life requires negative space at regular intervals, spatially, temporally, visually, and aurally. That's what gives us sanity and perspective." ContentLicense="CC BY-SA 2.5" />
  <row Id="7380" PostHistoryTypeId="2" PostId="4369" RevisionGUID="0d816380-1afb-4bf5-a347-340a978a3cfd" CreationDate="2010-10-29T16:41:03.887" UserId="648" Text="I just read a pro VO talent's advice on this: drinking lots of water is the solution *but* it has to be at least 2 hours before recording to give your body time to thoroughly hydrate." ContentLicense="CC BY-SA 2.5" />
  <row Id="7381" PostHistoryTypeId="2" PostId="4370" RevisionGUID="bc41ac7b-7c05-4b6f-bf64-641d2340e498" CreationDate="2010-10-29T17:44:47.257" UserId="390" Text="This probably does not qualify but most of the sound coming from my radio when my local NPR station plays anything from The Annoying Music Show!  Fortunately the show is like 30 seconds long. :p" ContentLicense="CC BY-SA 2.5" />
  <row Id="7382" PostHistoryTypeId="2" PostId="4371" RevisionGUID="56ec5bff-dae8-4397-98e6-648bc1cb80d3" CreationDate="2010-10-29T18:49:21.657" UserId="432" Text="This isn't really so much of a question as it is a heads up. I've added a new forum to my website called SoundSwap. All it's for is trading sound effects and nothing else.&#xD;&#xA;&#xD;&#xA;I started thinking about it back when Jay put up [this post][1]. While I know Freesound.org is out there, a lot of us can't use sounds from there because of the legal stipulation that we credit the owners of the sounds (and there's no allowance for synchronization unless the sound has been modified). Freesound is a great site, but I thought that a more personal approach might be better for the community.&#xD;&#xA;&#xD;&#xA;So, you can trade sound effects that you personally own. Not ones from a library you've bought, but ones you've recorded or synthesized. I have no idea how well the site will work out, but I figured it was worth giving it a shot. If nothing else, it may come in handy for people participating in the monthly challenges I run. ;)&#xD;&#xA;&#xD;&#xA;Check it out when you get a chance:&#xD;&#xA;&#xD;&#xA;http://soundswap.dynamicinterference.com&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2648/request-windmill-recordings" ContentLicense="CC BY-SA 2.5" />
  <row Id="7383" PostHistoryTypeId="1" PostId="4371" RevisionGUID="56ec5bff-dae8-4397-98e6-648bc1cb80d3" CreationDate="2010-10-29T18:49:21.657" UserId="432" Text="SoundSwap - trading sound effects" ContentLicense="CC BY-SA 2.5" />
  <row Id="7384" PostHistoryTypeId="3" PostId="4371" RevisionGUID="56ec5bff-dae8-4397-98e6-648bc1cb80d3" CreationDate="2010-10-29T18:49:21.657" UserId="432" Text="&lt;community&gt;&lt;trade&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7385" PostHistoryTypeId="2" PostId="4372" RevisionGUID="f0fec332-ab1c-4366-a0b4-02e58ebd2a08" CreationDate="2010-10-29T19:46:59.657" UserId="202" Text="Great! I was thinking and imaging something like that for quite some time now but never tried to set it up. Maybe could evolve something more social/community.. Who knows. &#xD;&#xA;See you there ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7386" PostHistoryTypeId="2" PostId="4373" RevisionGUID="e16908c0-8fd2-4012-9b58-d75aeeb396cb" CreationDate="2010-10-29T20:27:54.087" UserId="103" Text="Great initiative!&#xD;&#xA;On that spirit i started uploading wav files on soundcloud that you guys can download.&#xD;&#xA;If you could leave comments on how the sound could be better captured in any way i would appreciate it (feel free to be as brutal as you'd like)! I'm trying to choose location specific sounds, or things that i think (maybe wrongfully, yet there they are!) that might not be of easy access for one reason or another.&#xD;&#xA;&#xD;&#xA;My user name is Filipe Chagas.&#xD;&#xA;&#xD;&#xA;Cheers everybody" ContentLicense="CC BY-SA 2.5" />
  <row Id="7387" PostHistoryTypeId="5" PostId="4373" RevisionGUID="15a4a99f-cbbf-4ac1-807d-50fb5d5f74b4" CreationDate="2010-10-29T20:40:19.787" UserId="103" Comment="added 97 characters in body; added 2 characters in body" Text="Great initiative!&#xD;&#xA;On that spirit i started uploading wav files on soundcloud that you guys can download and (please!) use however you like.&#xD;&#xA;If you could leave comments on how the sound could be better captured in any way i would appreciate it (feel free to be as brutal as you'd like)! I'm trying to choose location specific sounds, or things that i think (maybe wrongfully, yet there they are!) that might not be of easy access for one reason or another.&#xD;&#xA;&#xD;&#xA;My user name is Filipe Chagas.&#xD;&#xA;&#xD;&#xA;Just giving a little something back to the amazing community&#xD;&#xA;&#xD;&#xA;Cheers everybody" ContentLicense="CC BY-SA 2.5" />
  <row Id="7388" PostHistoryTypeId="2" PostId="4374" RevisionGUID="240c5919-796e-440a-a385-716b4ee0f72c" CreationDate="2010-10-29T21:08:36.963" UserId="542" Text="Love the idea Shaun. I will try to participate and post some links to my stuff, even if I don`t know how good these samples really are =).&#xD;&#xA;&#xD;&#xA;EDIT: one question that comes into my mind: I guess, I shouldnt link to my freesound profile becuase of the license right? I also have some samples uploaded at soundcloud, would it be better to paste links to these samples?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7389" PostHistoryTypeId="2" PostId="4375" RevisionGUID="4f37fd63-f7ad-4cac-a021-da2dbb4b57f6" CreationDate="2010-10-29T21:42:54.887" UserId="6411" Text="I thought someone had asked a similar question on here, but I can't find it at the moment, maybe it was another site. Forgive me if I'm repeating.&#xD;&#xA;&#xD;&#xA;I'm looking for recommendations of rack-mounted Graphic EQs to have in-line for our monitor chain to do some minor room correction. Currently we have 3 Rane ME60 units feeding our LCRLsRs and an Rane AC22 Active Crossover. They're old, noisy and dusty and, while a good cleaning might satisfy, I've been tapped to look into replacement options.&#xD;&#xA;&#xD;&#xA;The main problem is matching our center channel (which is mounted behind an &quot;acoustically transparent&quot; screen) to our L&amp;R which are not.&#xD;&#xA;&#xD;&#xA;Happy to hear any advice you guys would hand out.&#xD;&#xA;&#xD;&#xA;Additionally, I'm certain some of you have iPhones and are using one of the various RTA apps. Any qualms, praises, pointers, or endorsements? We're hoping to not have to buy a real one... we'll see about that. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7390" PostHistoryTypeId="1" PostId="4375" RevisionGUID="4f37fd63-f7ad-4cac-a021-da2dbb4b57f6" CreationDate="2010-10-29T21:42:54.887" UserId="6411" Text="Corrective Room EQ &amp; RTA apps" ContentLicense="CC BY-SA 2.5" />
  <row Id="7391" PostHistoryTypeId="3" PostId="4375" RevisionGUID="4f37fd63-f7ad-4cac-a021-da2dbb4b57f6" CreationDate="2010-10-29T21:42:54.887" UserId="6411" Text="&lt;monitor-calibration&gt;&lt;rta&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7392" PostHistoryTypeId="2" PostId="4376" RevisionGUID="1417bdc6-07a1-4731-82a3-0729f303020a" CreationDate="2010-10-29T23:01:59.547" UserId="338" Text="Any other ideas on how to send a sound to the back?  Subtractive EQ, reverb, and delay techniques?  Also, MondoMod; does this have a send to back on it's interface?  I read the manual and the results I am not clear on." ContentLicense="CC BY-SA 2.5" />
  <row Id="7393" PostHistoryTypeId="2" PostId="4377" RevisionGUID="5258827e-4f1e-45f7-a74b-f7a20b56932c" CreationDate="2010-10-30T13:07:44.530" UserId="234" Text="Hi Steve,&#xD;&#xA;&#xD;&#xA;The DBX DriveRack 260 is a popular one on dub stages. There's a thread on the DUC about this here: http://duc.avid.com/showthread.php?t=253954&amp;highlight=room+eq&#xD;&#xA;&#xD;&#xA;I have one of the RTA's for my Ipod and I find the Low end response just isn't very accurate, at least with the stock mics - makes sense since they're really designed for voice. If you attached a really good mic via one of the input options then that might change, but then you'd probably negate any real cost savings. I do however like the SPL meter for quick checks." ContentLicense="CC BY-SA 2.5" />
  <row Id="7394" PostHistoryTypeId="2" PostId="4378" RevisionGUID="e647b1e7-cb63-4502-9c8f-175b71eab783" CreationDate="2010-10-30T14:38:50.703" UserId="62" Text="I have RTA Lite installed on my iPod Touch. I've never configured it or done any proper testing so I've no idea how acurate it actually is. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;+1 on a quick SPL checker though." ContentLicense="CC BY-SA 2.5" />
  <row Id="7395" PostHistoryTypeId="2" PostId="4379" RevisionGUID="1f9f357f-2ad8-4649-857e-652afd38e6f9" CreationDate="2010-10-30T15:44:18.163" UserId="238" Text="Cool idea Shaun! It'll be like Panini stickers in the playground. *Got, got, got, NEED!*&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7396" PostHistoryTypeId="2" PostId="4380" RevisionGUID="4f099186-c13b-4689-afca-65f2ed2c9b43" CreationDate="2010-10-30T16:39:42.083" UserId="298" Text="**You will be amasingly surprised by this** http://www.freedomfchs.com/auditoryresponsetopulsedrf.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="7397" PostHistoryTypeId="2" PostId="4381" RevisionGUID="d8cc188c-ed8f-4be7-a628-6154180257c3" CreationDate="2010-10-31T04:21:24.713" UserId="90" Text="http://en.wikipedia.org/wiki/Microwave_auditory_effect &#xD;&#xA;&#xD;&#xA;I'm sure you're not hearing RF from your LCD. Record it with a microphone and look on a spectrum analyzer, and you'll just see some tones in the kHz from the backlight electronics. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7398" PostHistoryTypeId="2" PostId="4382" RevisionGUID="1725c132-7216-476d-9d60-70ca4a538533" CreationDate="2010-10-31T14:10:44.487" UserId="280" Text="Thank you very much for answering! What you are telling me is a kind of problem that many people indicates. As a matter of fact I have to think about it. Although I think that I will attend the last exam and I'll try to have a place in the school. If I'll be able to get into I think that I'll keep your pieces of advice in order to study what I don't find there in some other place.&#xD;&#xA;&#xD;&#xA;Crepi il lupo!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7399" PostHistoryTypeId="2" PostId="4383" RevisionGUID="0eaed668-cf37-43ff-999c-cb5dacda4ecd" CreationDate="2010-10-31T14:30:39.017" UserId="56" Text="As probablyyou already know, in Italy we have no laws. You could have no degrees and make any fabulous job or have dozen of degrees and find yourself with no job. &#xD;&#xA;My advice: keep your job at the radio, give a look at the CSC programs and study what you still don't know (trying to make some practice too) and propose, to the radio staff, to experiment (where possible) the results of your new learnings . You coul'd have an advancement or be noticed elsewhere in some way.&#xD;&#xA;Good luck&#xD;&#xA;Fabio" ContentLicense="CC BY-SA 2.5" />
  <row Id="7400" PostHistoryTypeId="5" PostId="4383" RevisionGUID="423357bd-b3af-4b77-aa38-c4c1dca635e0" CreationDate="2010-10-31T14:44:49.190" UserId="56" Comment="added 1 characters in body" Text="As you probably already know, in Italy we have no laws. You could have no degrees and make any fabulous job or have dozen of degrees and find yourself with no job. &#xD;&#xA;My advice: keep your job at the radio, give a look at the CSC programs and study what you still don't know (trying to make some practice too) and propose, to the radio staff, to experiment (where possible) the results of your new learnings . You coul'd have an advancement or be noticed elsewhere in some way.&#xD;&#xA;Good luck&#xD;&#xA;Fabio" ContentLicense="CC BY-SA 2.5" />
  <row Id="7401" PostHistoryTypeId="2" PostId="4384" RevisionGUID="55c5005c-31e2-48a0-9c17-c5f16ba7546e" CreationDate="2010-11-01T02:33:58.000" UserId="275" Text="I just came across this post and figured I would throw in my two cents.&#xD;&#xA;In regards to transmission delay with wireless units:  Analog wireless devices have no delay but digital devices do.  My Zaxcom 900 series wireless units have a 1.5ms delay; it's just part of the reality.  &#xD;&#xA;My setup for time code is a Sound Devices 744t with time code output to a Sony UWP transmitter which has two receivers. One receiver is strapped to the back of my Denecke TS-3 time code slate and the other receiver is intended for whatever camera we're shooting with (assuming it has time code in/out capabilities).  So, this ensures all devices are time code locked constantly (assuming the AC pays attention to the batteries on the camera receiver:)  &#xD;&#xA;&#xD;&#xA;I recently picked up the TS-3 slate so I have not had a chance to sit with an editor and check time code offset; I'll definitely do that soon.  This is the first I've heard of a TC slate having an offset but, then again, I never really looked in to it.  &#xD;&#xA;&#xD;&#xA;Regarding the EX3:  I've done a number of shoots with the EX3 and have frequently run in to time code issues with them.  There is something about those cameras and their TC capabilities that I just don't trust.  I've seen their time code jump around erratically, I've seen them completely lose sync, and I've seen them not receive a perfectly good time code in signal.  Every once in a while they work.  :)  &#xD;&#xA;&#xD;&#xA;One thing to check with various cameras is displayed time code on the video monitor vs. actual time code being recorded.  The RED camera, for example, displays 1 frame behind actual time code being recorded (unless that has been fixed in a recent firmware upgrade).  So...perhaps there is something similar going on with the EX3?  &#xD;&#xA;&#xD;&#xA;I completely agree with the work flow of a DSLR camera.  They are nifty in the fact that they shoot video with swappable lenses (for the price point) but the lack of time code, the highly compressed video image, the heat issues, and the myriad of other real-world issues makes them a very risky option on location.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7402" PostHistoryTypeId="2" PostId="4385" RevisionGUID="945475be-a921-49f1-9498-0b96198b140a" CreationDate="2010-11-01T03:32:07.577" UserId="18160" Text="I have a simple question/idea which some of you may have already cleverly worked out:&#xD;&#xA;&#xD;&#xA;I record ADR and music overdubs and while tracking, I use playlists to keep track of takes.&#xD;&#xA;&#xD;&#xA;I keep take 1 on playlist 1 (.01) of a Pro Tools track, and then each subsequent take is on the next playlist after I either duplicate or create a new one.&#xD;&#xA;&#xD;&#xA;It would be helpful to me to have a little software program which acts as a magnifying glass on a computer screen because what I do is mirror the display of my Pro Tools computer and have another TV screen with the same picture as my computer screen. My assistant notes down each take and if the director or producer liked it, he notes that next to the take number so they match up while recording.&#xD;&#xA;&#xD;&#xA;So, basically, what I'm trying to solve is having my assistant able to know what playlist I am on at any given time for his notes, without me having to shout out &quot;Playlist 3&quot; and I think what can remedy this is a little program which acts like a magnifying glass (like when you scroll around on an iPhone while typing) where you put it over a part of the screen and it blows it up larger, and I'd put this over the track name and my assistant would be able to see the &quot;.01&quot; or &quot;.06&quot;, etc. easily.&#xD;&#xA;&#xD;&#xA;Have any of you found a work-around?&#xD;&#xA;&#xD;&#xA;Thanks - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="7403" PostHistoryTypeId="1" PostId="4385" RevisionGUID="945475be-a921-49f1-9498-0b96198b140a" CreationDate="2010-11-01T03:32:07.577" UserId="18160" Text="ADR Recording Software Question" ContentLicense="CC BY-SA 2.5" />
  <row Id="7404" PostHistoryTypeId="3" PostId="4385" RevisionGUID="945475be-a921-49f1-9498-0b96198b140a" CreationDate="2010-11-01T03:32:07.577" UserId="18160" Text="&lt;pro-tools&gt;&lt;recording&gt;&lt;adr&gt;&lt;music&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7405" PostHistoryTypeId="2" PostId="4386" RevisionGUID="6289d869-b6cd-4baa-9669-3ae32bc0cc5f" CreationDate="2010-11-01T04:29:17.967" UserId="253" Text="If you're running a mac, holding ctrl while using the scroll wheel/mighty mouse ball/magic mouse pad will zoom in and out. The screen will follow your cursor.&#xD;&#xA;&#xD;&#xA;Not really sure how to do that on a PC though..." ContentLicense="CC BY-SA 2.5" />
  <row Id="7406" PostHistoryTypeId="5" PostId="4385" RevisionGUID="8c81d81f-dcee-4bee-9d1f-0622169ed0ed" CreationDate="2010-11-01T04:42:38.607" UserId="18160" Comment="added 1 characters in body" Text="I have a simple question/idea which some of you may have already cleverly worked out:&#xD;&#xA;&#xD;&#xA;I record ADR and music overdubs and while tracking, I use playlists to keep track of takes.&#xD;&#xA;&#xD;&#xA;I keep take 1 on playlist 1 (.01) of a Pro Tools track, and then each subsequent take is on the next playlist after I either duplicate or create a new one.&#xD;&#xA;&#xD;&#xA;It would be helpful to me to have a little software program which acts as a magnifying glass on a computer screen because what I do is mirror the display of my Pro Tools computer and have another TV screen with the same picture as my computer screen. My assistant notes down each take and if the director or producer liked it, she notes that next to the take number so they match up while recording.&#xD;&#xA;&#xD;&#xA;So, basically, what I'm trying to solve is having my assistant able to know what playlist I am on at any given time for her notes, without me having to shout out &quot;Playlist 3&quot; and I think what can remedy this is a little program which acts like a magnifying glass (like when you scroll around on an iPhone while typing) where you put it over a part of the screen and it blows it up larger, and I'd put this over the track name and my assistant would be able to see the &quot;.01&quot; or &quot;.06&quot;, etc. easily.&#xD;&#xA;&#xD;&#xA;Have any of you found a work-around?&#xD;&#xA;&#xD;&#xA;Thanks - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="7407" PostHistoryTypeId="2" PostId="4387" RevisionGUID="859afa9b-3129-4c27-84e2-3e1180566dc9" CreationDate="2010-11-01T06:32:09.387" UserId="18160" Text="I hope everyone had a safe and Happy Halloween.&#xD;&#xA;&#xD;&#xA;Ok, I had to ask, it being Halloween and all,&#xD;&#xA;&#xD;&#xA;What's your favorite Horror Film Visual+Sound combination?&#xD;&#xA;&#xD;&#xA;I know it's probably been asked before on this site &quot;What's your favorite Horror sound design?&quot;, but I wanted to know in terms of Randy Thom's article about designing a movie for sound, what movie has the best instance of this?&#xD;&#xA;&#xD;&#xA;My vote would be for The Ring. Or, Jaws, because in Jaws, you hardly see the killer, just sounds - 2 notes of music!&#xD;&#xA;&#xD;&#xA;Happy Halloween!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7408" PostHistoryTypeId="1" PostId="4387" RevisionGUID="859afa9b-3129-4c27-84e2-3e1180566dc9" CreationDate="2010-11-01T06:32:09.387" UserId="18160" Text="Best Horror Film Visual+Sound Combination?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7409" PostHistoryTypeId="3" PostId="4387" RevisionGUID="859afa9b-3129-4c27-84e2-3e1180566dc9" CreationDate="2010-11-01T06:32:09.387" UserId="18160" Text="&lt;halloween&gt;&lt;favorite&gt;&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7410" PostHistoryTypeId="2" PostId="4388" RevisionGUID="ef1e5d23-f9e8-4228-89d0-7cb9c0e550d0" CreationDate="2010-11-01T07:32:58.213" UserDisplayName="user49" Text="The Shining - the boy riding his trike down those hallways, stopping at the door &amp; those creepy twins.... what a genius Kubrick was" ContentLicense="CC BY-SA 2.5" />
  <row Id="7411" PostHistoryTypeId="2" PostId="4389" RevisionGUID="fc74b406-57f9-4e4e-a62e-4bedf49f2f77" CreationDate="2010-11-01T07:47:45.680" UserId="644" Text="Alien (if it counts as a horror film)&#xD;&#xA;&#xD;&#xA;The scene where Brett gets killed. The sounds of the bowels of the ship mixed with the rattling chains really create a majestic suspense." ContentLicense="CC BY-SA 2.5" />
  <row Id="7412" PostHistoryTypeId="2" PostId="4390" RevisionGUID="cb4fc465-d8c2-4bf8-aabf-30837361acc3" CreationDate="2010-11-01T08:38:18.263" UserId="407" Text="As a person who hires sound designers and recordist from time to time plus works with inhouse people here are our basic rules. Anything created by an inhouse employee on company time or company equipment belongs to the company. For Sound desingers, the final assets and any delivered iterations belong to the company unless specifically stated otherwise in the contract. For recordist - and here we are generally talking about car recordings - we usually have a deal where we licence the recordings for one product, but the recordist retains all the rights to the sound. But here  I am talking about games - not sure how true this is in films." ContentLicense="CC BY-SA 2.5" />
  <row Id="7413" PostHistoryTypeId="2" PostId="4391" RevisionGUID="f9092840-893e-40c7-9541-c77b6f34b9fd" CreationDate="2010-11-01T09:00:43.407" UserId="641" Text="Any Andrew Loyyd Webber...it irks me terribly!&#xD;&#xA;&#xD;&#xA;That and refrigerator compressors!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7414" PostHistoryTypeId="2" PostId="4392" RevisionGUID="9b3e4d78-7945-43c3-9eeb-192a20f87f8f" CreationDate="2010-11-01T09:47:47.790" UserId="641" Text="I would say you're looking for a mic with a high SPL rating (Sound Pressure Level) (416 or MKH2 Lapel) and then setting your gain right down low and trying a couple of times to find a decent level using your faders to bring the levels up to optimum and your should be able to obtain a decent recording!&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7415" PostHistoryTypeId="2" PostId="4393" RevisionGUID="d06b866a-8cdb-49da-b555-a6f477e26e1f" CreationDate="2010-11-01T11:49:27.953" UserId="234" Text="&quot;The Changeling&quot; (1980 wt. George C. Scott, not the Angelina Jolie movie) and the Original 1963 &quot;The Haunting&quot;... both eschew fancy visual FX in favour of things that go &quot;bump&quot; in the night. &#xD;&#xA;&#xD;&#xA;Check out the scene in &quot;The Changeling&quot; where George C. Scott plays back the tape of music he was composing and hears the child's voice. Still creeps me out!&#xD;&#xA;&#xD;&#xA;And on a more modern note, the delightfully cheesy remake of &quot;13 Ghosts&quot;(2001) - love the sounds of that." ContentLicense="CC BY-SA 2.5" />
  <row Id="7416" PostHistoryTypeId="2" PostId="4394" RevisionGUID="f6c88b42-086b-4c20-bc26-7c99d496b39a" CreationDate="2010-11-01T12:53:49.490" UserId="432" Text="Time to revive this thread, since we just passed halloween. ;)&#xD;&#xA;&#xD;&#xA;No Wilhelm for me (I'm tired of hearing it at this point), but I always loved the scream Goofy makes in the older Disney animations. You know...where there's a narrator and he doesn't ever talk. It was just an awesome vocalization." ContentLicense="CC BY-SA 2.5" />
  <row Id="7417" PostHistoryTypeId="2" PostId="4395" RevisionGUID="e54ddee3-46e8-4a8a-a2f6-4c5e7dded624" CreationDate="2010-11-01T13:49:27.523" UserId="194" Text="FWIW Ryan, my typical ADR workflow (and the workflow of others I know) *does* involve calling out takes.  Calling out takes has all kinds of positive benefits IMO, and shouldn't be so quickly dismissed.&#xD;&#xA;&#xD;&#xA;A typical cue sounds like this from me:&#xD;&#xA;&#xD;&#xA; - &quot;moving on to cue 327, here's playback: production&quot;&#xD;&#xA; - i play back production&#xD;&#xA; - &quot;Actor, do you need to see that again or do you want to go?&quot;&#xD;&#xA; - actor: &quot;I got it, lets go&quot;&#xD;&#xA; - &quot;Cue 327 take 1&quot;&#xD;&#xA; - we record the take&#xD;&#xA; - &quot;we were a little fast there, lets try one more.&quot;&#xD;&#xA; - actor: &quot;yep&quot;&#xD;&#xA; - &quot;cue 327 take 2.&quot;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7418" PostHistoryTypeId="5" PostId="4395" RevisionGUID="8097ef66-e6cc-46c6-831b-f5c215943fa5" CreationDate="2010-11-01T13:59:51.220" UserId="194" Comment="added 1116 characters in body" Text="FWIW Ryan, my typical ADR workflow (and the workflow of others I know) *does* involve calling out takes.  Calling out takes has all kinds of positive benefits IMO, and shouldn't be so quickly dismissed.  Calling takes allows producers and script supers to all stay on the same page, and provides opportunities to change technique if something isn't working for the actor.  &#xD;&#xA;&#xD;&#xA;Also, when we cut ADR for some of the network shows that are filming in town the producers and/or adr editors are actually on the telephone or ISDN from LA, so they require hearing which take is which because they are definitely taking notes on their side as well.&#xD;&#xA;&#xD;&#xA;A typical cue sounds like this from me:&#xD;&#xA;&#xD;&#xA; - &quot;moving on to cue 327, here's playback: production&quot;&#xD;&#xA; - I play back production with beeps&#xD;&#xA; - &quot;Actor, do you need to see that again or do you want to go?&quot;&#xD;&#xA; - actor: &quot;I got it, lets go&quot;&#xD;&#xA; - &quot;Cue 327 take 1&quot;&#xD;&#xA; - we record the take&#xD;&#xA; - &quot;we were a little fast there, lets try one more.&quot;&#xD;&#xA; - actor: &quot;yep&quot;&#xD;&#xA; - &quot;327 take 2.&quot;&#xD;&#xA; - we record the take&#xD;&#xA; - &quot;that looks great, lets get a safety.&quot;&#xD;&#xA; - &quot;327 take 3&quot;&#xD;&#xA; - we record the take&#xD;&#xA; - producer on the phone: &quot;I think I like that one better.&quot;&#xD;&#xA; - &quot;cool, let's double check sync and then move on.  Here's playback take 3.&quot;&#xD;&#xA; - I play back the take in context with the rest of production.&#xD;&#xA; - &quot;sync looks great.  Actor are you happy?&quot;&#xD;&#xA; - actor: &quot;I love it.&quot;&#xD;&#xA; - &quot;great.  Moving on to cue 423.  Here's playback: production.&quot;&#xD;&#xA;&#xD;&#xA;etc.&#xD;&#xA;&#xD;&#xA;Its a fair amount of verbal communication, but no where is anyone confused about what they are hearing or why they are hearing it, which actually equates to efficient and productive ADR sessions in my experience.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7419" PostHistoryTypeId="2" PostId="4396" RevisionGUID="0c897bff-0fde-459d-a275-3503a4371d3c" CreationDate="2010-11-01T14:20:16.413" UserId="393" Text="Not for the fear aspect, but anything to do with Jason Voorhees.  His tell-tale delayed noise causes a mix of excitement and fear in almost everyone I know, and it wouldn't be Halloween without at least one Jason movie." ContentLicense="CC BY-SA 2.5" />
  <row Id="7422" PostHistoryTypeId="5" PostId="4357" RevisionGUID="fa6b5f0c-d231-49c2-b73d-8c777e9309fc" CreationDate="2010-11-01T21:48:32.240" UserId="298" Comment="deleted 84 characters in body" Text="I came with another unusual question. &#xD;&#xA;Recently, during my little research in hearing and some of its phenomena, i found a term called RF hearing, which mean that people &quot;hear&quot; radio frequencies, electromagnetic fields and microwaves. &#xD;&#xA;&#xD;&#xA;Do you hear something EXTRA ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7423" PostHistoryTypeId="2" PostId="4398" RevisionGUID="aca2da00-85b5-48f7-b0be-9e4ff6e67892" CreationDate="2010-11-02T00:03:21.607" UserId="88" Text="Pris's death screams in Blade Runner always creeped me out.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=yw72tIk4THc#t=4m32s&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7424" PostHistoryTypeId="2" PostId="4399" RevisionGUID="4e51b448-b57a-41bf-a582-0e8e78767e96" CreationDate="2010-11-02T01:17:07.347" UserId="587" Text="Anyone know what the loudest level for a mix on broadcast (CBS) television is?&#xD;&#xA;&#xD;&#xA;Im doing a mix that may end up on there and Id rather not have it smashed by their compressors. :)&#xD;&#xA;&#xD;&#xA;I read the other post on Broadcast Levels and what I got was a -10 reference and no higher than a -6 peak. Is this correct?&#xD;&#xA;&#xD;&#xA;My guess is either -10 or -12 and a -8 peak.&#xD;&#xA;&#xD;&#xA;Its probably on their website somewhere in the fine print. Ill check there as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="7425" PostHistoryTypeId="1" PostId="4399" RevisionGUID="4e51b448-b57a-41bf-a582-0e8e78767e96" CreationDate="2010-11-02T01:17:07.347" UserId="587" Text="Broadcast Level Requirement" ContentLicense="CC BY-SA 2.5" />
  <row Id="7426" PostHistoryTypeId="3" PostId="4399" RevisionGUID="4e51b448-b57a-41bf-a582-0e8e78767e96" CreationDate="2010-11-02T01:17:07.347" UserId="587" Text="&lt;mix&gt;&lt;level&gt;&lt;broadcast&gt;&lt;television&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7427" PostHistoryTypeId="2" PostId="4400" RevisionGUID="2348a212-9214-46aa-9b48-47395edf4802" CreationDate="2010-11-02T01:39:32.693" UserId="253" Text="Noone's ever given me a really solid answer to this question either. My guess is that's because it varies from broadcaster to broadcaster.&#xD;&#xA;&#xD;&#xA;What i've been doing as a general, safe, method is a -10dBFS max peak, but you also have to take care of your average level:&#xD;&#xA;&#xD;&#xA;With Dolby Media Meter (around $800), i've been aiming for a dialnorm of -24dB LKFS (with dialog intelligence turned OFF). Apparently this is a pretty widely accepted dialnorm.&#xD;&#xA;&#xD;&#xA;If not, you can use Phase Scope (free!) to roughly get the same thing. Under &quot;Levels&quot; set it to BBC (where it says Peak); click on the LEQ(A) button and in the bottom panel, set it to analyse 10 sec. I've found that an average level of -27dB in Phase Scope with these settings equates roughly to -24dB LKFS.&#xD;&#xA;&#xD;&#xA;That's just my plan; if any vets want to chip in, that'd be great." ContentLicense="CC BY-SA 2.5" />
  <row Id="7428" PostHistoryTypeId="2" PostId="4401" RevisionGUID="ed12ec99-995f-4ea9-819c-1a94814cc338" CreationDate="2010-11-02T05:50:40.660" UserId="639" Text="OK, so I finally decided on a set up. I am going with a Fostex FR 2LE, with a rode NT4, rode blimp and Sony MDR-7506 headphones. I plan to record sound effects and ambience sounds. I am looking to start a good quality library for future use in film/TV/games.Does this set up sound like a good choice for my needs? I am buying in the next couple days so just want some last minute advice. My budget is $1,400 for everything right now. Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="7429" PostHistoryTypeId="1" PostId="4401" RevisionGUID="ed12ec99-995f-4ea9-819c-1a94814cc338" CreationDate="2010-11-02T05:50:40.660" UserId="639" Text="Field recording set up last minute advice" ContentLicense="CC BY-SA 2.5" />
  <row Id="7430" PostHistoryTypeId="3" PostId="4401" RevisionGUID="ed12ec99-995f-4ea9-819c-1a94814cc338" CreationDate="2010-11-02T05:50:40.660" UserId="639" Text="&lt;field-recording&gt;&lt;newbie&gt;&lt;microphone&gt;&lt;headphones&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7431" PostHistoryTypeId="2" PostId="4402" RevisionGUID="8948c97c-1c29-431c-8363-28787b4680a7" CreationDate="2010-11-02T06:54:26.193" UserId="639" Text="Has anyone done an internship at Danetrack? How was it? Did you get to work with sound designer Dane Davis a lot? " ContentLicense="CC BY-SA 2.5" />
  <row Id="7432" PostHistoryTypeId="1" PostId="4402" RevisionGUID="8948c97c-1c29-431c-8363-28787b4680a7" CreationDate="2010-11-02T06:54:26.193" UserId="639" Text="Internship at Danetrack in west hollywood" ContentLicense="CC BY-SA 2.5" />
  <row Id="7433" PostHistoryTypeId="3" PostId="4402" RevisionGUID="8948c97c-1c29-431c-8363-28787b4680a7" CreationDate="2010-11-02T06:54:26.193" UserId="639" Text="&lt;internships&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7434" PostHistoryTypeId="2" PostId="4403" RevisionGUID="ab334fbf-5770-4bfa-b27c-3c4d41782194" CreationDate="2010-11-02T09:36:18.463" UserDisplayName="user49" Text="How much of your budget is going on the mic? What options have u looked at secondhand for mic/rycote for the same money but better quality?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7435" PostHistoryTypeId="2" PostId="4404" RevisionGUID="94d04b01-c5df-4435-99c3-dcd33b9cfeaf" CreationDate="2010-11-02T09:55:49.203" UserId="627" Text="not sure if these will help you:&#xD;&#xA;&#xD;&#xA;http://www.aptonline.org/aptweb.nsf/vOtherDocs/Services-Technical+Specifications&#xD;&#xA;&#xD;&#xA;but you're best to get in touch with CBS themselves and they'll be able to give you their tech specs." ContentLicense="CC BY-SA 2.5" />
  <row Id="7436" PostHistoryTypeId="2" PostId="4405" RevisionGUID="d1c79e3c-60ff-4af7-b32c-4af876019b96" CreationDate="2010-11-02T11:20:42.917" UserId="63" Text="hello all sound designers!&#xD;&#xA;&#xD;&#xA;I have a question about the sound material that comes with a program like Logic Studio Pro 9. It has tons of sounds and parts of music in there. Can i use them on my projects? Commercial of course! and yes i own the program its not pirated.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7437" PostHistoryTypeId="1" PostId="4405" RevisionGUID="d1c79e3c-60ff-4af7-b32c-4af876019b96" CreationDate="2010-11-02T11:20:42.917" UserId="63" Text="copyright question" ContentLicense="CC BY-SA 2.5" />
  <row Id="7438" PostHistoryTypeId="3" PostId="4405" RevisionGUID="d1c79e3c-60ff-4af7-b32c-4af876019b96" CreationDate="2010-11-02T11:20:42.917" UserId="63" Text="&lt;copyright&gt;&lt;program&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7439" PostHistoryTypeId="2" PostId="4406" RevisionGUID="1692fe5b-ee4c-4c46-8802-7e68bdc176e9" CreationDate="2010-11-02T11:38:23.617" UserId="2" Text="Yip you can :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7440" PostHistoryTypeId="2" PostId="4407" RevisionGUID="8f91fae1-8f84-4178-bcb4-1fa122ef3b66" CreationDate="2010-11-02T11:54:12.347" UserId="432" Text="Roger has given you some good advice, and the ITU-BS.1770 spec is now the reccommended measurement practice in the U.S. as determined by the ATSC. And while I don't know that -24LKFS is what CBS is requiring, I do know that that is NBC's standard and also a common standard in the EU. Georgi is also correct in that every station has their own spec, making it hard to know.&#xD;&#xA;&#xD;&#xA;The reason why you have a hard time getting any kind of general standard information other than the -10dB brickwall limit (which is based on limits of the physical tape and some of the broadcast tools in the final chain), is because these measurement schemes are based on the response of the human ear and our brain's interpretation. Standard meters will tell you the overall signal strength of a program, but that does not correlate to how we hear. Different spectral balances have different perceived volumes from one another, these measurement protocols (ITU-BS.1770 and LeqA) are ways to account for perceived volume level across the spectrum.&#xD;&#xA;&#xD;&#xA;Your best bet, if you can't find the standards somehow, is to just make it sound good in a well calibrated room. Keep your peaks from exceeding -10dB, and deliver a good mix within the remaining dynamic range. If you do that, the chances that a mix will get kicked back are very low." ContentLicense="CC BY-SA 2.5" />
  <row Id="7441" PostHistoryTypeId="2" PostId="4408" RevisionGUID="32538b20-04a5-4281-add6-90df9fc94255" CreationDate="2010-11-02T14:58:24.830" UserId="234" Text="I deal with this every day...DEFINITELY call CBS and ask to speak to someone in their Technical department to get the specs. Better yet, your producer should already have these specs, so ask them to send them to you. Every single broadcaster has slightly to WIDELY different specs to hit, and often different specs from just Stereo to Surround. &#xD;&#xA;&#xD;&#xA;It's VERY VERY VERY important to get and understand these. It's not only an issue of it not sounding good on air. Most broadcasters will bounce back your show if it's not within specs, causing you to have to redo it (thereby losing $$$) and annoying the Producer a LOT -even if the Producer says the mix is great and not to worry about it. Most also have specs about stereo phasing, distortion, sync and so on, so it pays to know WHAT marks you have to hit." ContentLicense="CC BY-SA 2.5" />
  <row Id="7442" PostHistoryTypeId="2" PostId="4409" RevisionGUID="a3bf7999-8ee0-4bc9-a271-8cc5667aa3f5" CreationDate="2010-11-02T15:11:25.817" UserId="29" Text="Sounds like my own starter kit from a while back. If you're buying new, yes, that's a pretty good setup. *In my opinion, of course, others may think otherwise.*&#xD;&#xA;&#xD;&#xA;For stereo, I'm hard pressed to think of a better low-budget stereo mic than the NT4. It's heavy and will be a little hard to aim for mono effects, but it'll suffice. Just get ready to do a lot of stereo-to-mono conversions in post. The NT4 is almost quiet enough for nature recording, but you may get some hiss when recording very quiet ambiences, albeit far less than the VP88 or other budget stereo mics. That's not a ding on you, your budget, or the mic, though. Such low-noise thresholds are expensive to overcome.&#xD;&#xA;&#xD;&#xA;Be aware that the FR2-LE's headphone amp is noisy, far more than its actual mic preamps, so what you hear is not what you're really getting...the good news is that what you're getting is generally better.&#xD;&#xA;&#xD;&#xA;Do not forget to budget for good cables and mic support (be it a tripod and/or boom pole - I hate using mic stands in the field, personally), as well as a recorder/mixer bag. The FR2-LE's controls and displays are mapped to two sides of the box, so shop wisely if you don't use the Portabrace case specifically made for that model. That recorder can take Tamiya style RC batteries, so a charger and a couple of batteries might be a good investment, too (I keep AA MiMH's in the included battery sled as a backup only), although entirely optional. (I always recommen,d in this day and age, that we use rechargeables as much as possible to avoid hundreds of spent alkalines hitting landfills. Powerex and Eneloop AA's FTW!)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7443" PostHistoryTypeId="2" PostId="4410" RevisionGUID="49af9163-3aec-4d65-9c56-a8567bf41e28" CreationDate="2010-11-02T16:36:10.287" UserId="517" Text="I spent about 4 months or so interning at DaneTracks. You definitely have the opportunity to watch excellent people work who are at the top of their game and ask them questions. DaneTracks was handling *Speed Racer* and *The Incredible Hulk* at the time and I was able to sit in on the mix at Warner Brothers a few times which was really cool. I got some great advice about recording field FX from one of the editors, which was extremely helpful. &#xD;&#xA;&#xD;&#xA;On the other hand, there was a lot of busywork to be done like cleaning up the facility, assisting the DaneTracks manager with clerical stuff and making coffee. The ratio of useful and interesting stuff to mindless busywork was too low for me, which is why I decided to leave.&#xD;&#xA;&#xD;&#xA;If you're still starting out with ProTools, field recording, post sound work flow and the big ideas of sound design, this is a great internship. You can learn a lot and make some good connections. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7444" PostHistoryTypeId="2" PostId="4411" RevisionGUID="17fd99bf-f401-4f34-8614-8b6f606c8a8b" CreationDate="2010-11-02T16:55:19.327" UserId="641" Text="Hi eveyone,&#xD;&#xA;&#xD;&#xA;This is as much an observation as it is a question:&#xD;&#xA;&#xD;&#xA;I recently finished a corporate video shoot where all the talent had corporate wear on.  By corporate wear I mean suits and ties.&#xD;&#xA;Much to my dismay, the suits, shirts and ties were all cheap stuff i.e. made primarily of polyesters and such like fabric.  The lead character's shirt collars were so tight around his neck that hardly a baby flea could have snuck in.  This guy also had a lot of stubble and chest hair!  Another character was rather overweight and his shirts strained against his skin and he too had loads of chest hair.  Wardrobe could not help me as the clothing was all the talents own.  To top it all off there was a lot of physical movement required by all the &#xD;&#xA;characters involved!&#xD;&#xA;&#xD;&#xA;Now, because it was a dramatized shoot, all lapels had to be hidden and as the clothing was all the talents own, I could not whip out my ball point pen solution as that would have required holes being made in said clothing!&#xD;&#xA;&#xD;&#xA;From day 1 (it was a seven day shoot) I had issues with clothing rubbing on clothing, clothing rubbing on hair and stubble etc.  I managed to avoid the rubs by either hiding the lapels just under the collar flap or inside the tie knot and through the use of gaffer tape, managed to minimize the clothing from rubbing too much!  &#xD;&#xA;At the end, I relied heavily on my boom sound to ensure good clean dialogue recordings.&#xD;&#xA;I guess that lapels remain a luxury and mostly will have problems with clothing sound due to the simply proximity of the mic to clothing items.&#xD;&#xA;&#xD;&#xA;Now my questions:&#xD;&#xA;1) What other innovative things could I have tried with the lapel mics to obtain a clean recording from them?&#xD;&#xA;&#xD;&#xA;2) As I have relatively very little audio engineering post production experience, I would like to know from the pro's out there:  &#xD;&#xA;By using the boom track as master audio, could one then layer the lapel mic track in sync with the boom track and then by manipulating the levels of the lapel track, boost the dialogue whilst loosing the clothing rubbing sounds?  The theory in my head says that the dialogue should become louder (the tracks in sync doubling each other) but because the rubbing is present only on one track, it should not itself become louder.  Any comments?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7445" PostHistoryTypeId="1" PostId="4411" RevisionGUID="17fd99bf-f401-4f34-8614-8b6f606c8a8b" CreationDate="2010-11-02T16:55:19.327" UserId="641" Text="Lapel Mics and suits and ties" ContentLicense="CC BY-SA 2.5" />
  <row Id="7446" PostHistoryTypeId="3" PostId="4411" RevisionGUID="17fd99bf-f401-4f34-8614-8b6f606c8a8b" CreationDate="2010-11-02T16:55:19.327" UserId="641" Text="&lt;microphone&gt;&lt;lavalier&gt;&lt;techniques&gt;&lt;location&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7447" PostHistoryTypeId="2" PostId="4412" RevisionGUID="aa16518f-1de0-48d5-ae0b-d93fb02b0359" CreationDate="2010-11-02T18:12:19.343" UserId="253" Text="Sounds like a tough call. I'm no pro recordist (a few corporates many years ago, and some live to air TV), but i used to make 2 &quot;sandwiches&quot; with gaffer tape. Wrapping it around itself in a triangle shape, sticky side out, with a little air still inside. Then i'd put the mic between 2 of these (without the capsule touching the gaff), and stick it under a loose part of the clothing (eg. under the tie). It wasn't amazing, but it worked pretty well for me. It sounds like your cast were moving around quite a bit, that always makes things hard.&#xD;&#xA;&#xD;&#xA;If it is dramatised, the boom might actually work well. Even though it's a corporate, the perspective that a boom gives you works well with drama.&#xD;&#xA;&#xD;&#xA;As for post; i'd be inclined to totally ditch the lapel track if it contains rubbing. You don't want any of that in there, whether it's low or not. You could cut in the parts of the lapel track which don't contain any rubbing, but that'll probably make the tone of your dialogue tracks inconsistent. Maybe just bring those in for wide shots where you couldn't get your boom in close enough? It's hard to give hard and fast rules for these things; in the end it's down to your judgement.&#xD;&#xA;&#xD;&#xA;Hope it helps." ContentLicense="CC BY-SA 2.5" />
  <row Id="7448" PostHistoryTypeId="2" PostId="4413" RevisionGUID="71268be7-8dd3-44ef-a0a4-ff15d25255c9" CreationDate="2010-11-02T18:15:00.060" UserId="182" Text="The wikipedia article linked by endolith and the paper linked to by Pretaeperon both suggest that it's due to tissue in the head heating up (a millionth of a degree C) and expanding, sending an audible wave through your own head. &#xD;&#xA;So basically you hear your own head being microwave-cooked.&#xD;&#xA;&#xD;&#xA;Both articles also suggest that in order to hear RF, you need to be exposed to a lot of transmitted power, to the point where it starts to be unhealthy (the wikipedia article refers to people standing within 100 meters from a Cold War radar antenna, and experiencing side effects such as dizziness and headache. I'm no biologist, but I can safely say that's not good for you).&#xD;&#xA;So yeah, at those hazardous situations you might hear something extra, but that's a very long way from typical everyday household or work environments where RF radiation is orders of magnitude weaker." ContentLicense="CC BY-SA 2.5" />
  <row Id="7449" PostHistoryTypeId="2" PostId="4414" RevisionGUID="7a709722-8879-4206-8cef-122f42117932" CreationDate="2010-11-02T19:32:20.283" UserId="619" Text="Twin Peaks:  During the final episode when Agent Cooper is wandering around the Black Lodge.  He encounters &quot;evil&quot; Laura Palmer who says &quot;Meanwhile...&quot; and then lets out a series of terrifying screams.  Creeps me out everytime I see it.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=seUw1rPOIhw#t=0m49s&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7450" PostHistoryTypeId="2" PostId="4415" RevisionGUID="0b9aa0f0-23a2-4103-8d4b-38cb213f5d40" CreationDate="2010-11-02T20:13:50.763" UserId="275" Text="I split my time between production sound mixing and post production so I've run in to this issue on both fronts.  Suits are a very tricky thing to put a lav mic on due to all of the reasons you mentioned.  I've had limited luck with putting a lav in the tie but it can work occasionally.  Putting it under the shirt only yields the sound of the tie rubbing back and forth with occasional speech being usable.  The jackets are typically a heavy polyester or wool which muffles the mic if put under the lapel.  Punching a hole in their jacket pocket to slide the mic up usually only upsets the owner of the clothing.  Under the collar yields all kinds of neck rubbing and stubble.  &#xD;&#xA;&#xD;&#xA;So, what IS the solution?!  Boom mic, of course!  &#xD;&#xA;&#xD;&#xA;In post you shouldn't combine the lav mic and the boom mic because you'll just get phasing.  Pick one or the other for whichever part you're looking at.  Hopefully the lav mic, wireless unit, and shotgun mic are all high quality and will cut together nicely.  &#xD;&#xA;&#xD;&#xA;I've really strayed away from the tape sandwich because it can become loose too easily and you'll hear the sound of the tape gum sticking and unsticking to the clothing.  Vampire clips are my go-to for attaching a lav.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7451" PostHistoryTypeId="2" PostId="4416" RevisionGUID="6fbced31-5e83-4079-be92-47d85b0d6291" CreationDate="2010-11-02T20:30:39.713" UserId="517" Text="I highly recommend checking out [The Discussion Group @ jwsound.net][1], Jeff Wexler's excellent production sound forum, for solutions. There are tons of veteran professionals and this topic has come up a few times on there, so if you do a search I'm sure you'll find some useful info. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jwsound.net/SMF/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7452" PostHistoryTypeId="2" PostId="4417" RevisionGUID="c454df0c-5bc4-45e7-aaa2-12712aa22ad7" CreationDate="2010-11-02T20:56:32.470" UserId="29" Text="If they're all wearing ties, a classic trick is an omni lav through the tie knot, on the outer (thick) descended of the tie, facing downward, hidden in the shadow of the knot. Not the sweetest sound but iso'd from nearly all rubbing. YMMV!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7453" PostHistoryTypeId="5" PostId="4417" RevisionGUID="94636d0f-b655-4e83-ab50-57479c277626" CreationDate="2010-11-02T22:18:51.993" UserId="29" Comment="added 71 characters in body" Text="Sounds like *maybe* you tried and/or used this technique, but I wasn't sure: If they're all wearing ties, a classic trick is an omni lav through the tie knot, on the outer (thick) descended of the tie, facing downward, hidden in the shadow of the knot. Not the sweetest sound but iso'd from nearly all rubbing." ContentLicense="CC BY-SA 2.5" />
  <row Id="7454" PostHistoryTypeId="5" PostId="4409" RevisionGUID="cb25c4ee-c3a5-4450-a670-11aa9eb32db5" CreationDate="2010-11-02T22:19:39.837" UserId="29" Comment="fixed punctuation! stupid punctuation!" Text="Sounds like my own starter kit from a while back. If you're buying new, yes, that's a pretty good setup. *In my opinion, of course, others may think otherwise.*&#xD;&#xA;&#xD;&#xA;For stereo, I'm hard pressed to think of a better low-budget stereo mic than the NT4. It's heavy and will be a little hard to aim for mono effects, but it'll suffice. Just get ready to do a lot of stereo-to-mono conversions in post. The NT4 is almost quiet enough for nature recording, but you may get some hiss when recording very quiet ambiences, albeit far less than the VP88 or other budget stereo mics. That's not a ding on you, your budget, or the mic, though. Such low-noise thresholds are expensive to overcome.&#xD;&#xA;&#xD;&#xA;Be aware that the FR2-LE's headphone amp is noisy, far more than its actual mic preamps, so what you hear is not what you're really getting...the good news is that what you're getting is generally better.&#xD;&#xA;&#xD;&#xA;Do not forget to budget for good cables and mic support (be it a tripod and/or boom pole - I hate using mic stands in the field, personally), as well as a recorder/mixer bag. The FR2-LE's controls and displays are mapped to two sides of the box, so shop wisely if you don't use the Portabrace case specifically made for that model. That recorder can take Tamiya style RC batteries, so a charger and a couple of batteries might be a good investment, too (I keep AA MiMH's in the included battery sled as a backup only), although entirely optional. (I always recommend, in this day and age, that we use rechargeables as much as possible to avoid hundreds of spent alkalines hitting landfills. Powerex and Eneloop AA's FTW!)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7455" PostHistoryTypeId="2" PostId="4418" RevisionGUID="351c9243-9426-4528-b82a-0a393dadcc89" CreationDate="2010-11-03T02:05:58.653" UserDisplayName="3rdWheelPost" Text="Hey guys, &#xD;&#xA;I was wondering if you had any suggestions to which sound studios I should be looking into in internship at during the summer? Any help would be appreciated!! Thanks&#xD;&#xA;&#xD;&#xA;Jessey" ContentLicense="CC BY-SA 2.5" />
  <row Id="7456" PostHistoryTypeId="1" PostId="4418" RevisionGUID="351c9243-9426-4528-b82a-0a393dadcc89" CreationDate="2010-11-03T02:05:58.653" UserDisplayName="3rdWheelPost" Text="Internships - What studios should I be looking at?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7457" PostHistoryTypeId="3" PostId="4418" RevisionGUID="351c9243-9426-4528-b82a-0a393dadcc89" CreationDate="2010-11-03T02:05:58.653" UserDisplayName="3rdWheelPost" Text="&lt;internships&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7458" PostHistoryTypeId="5" PostId="4418" RevisionGUID="cfdd69b3-22ff-4d5c-9d53-15433d55a5ff" CreationDate="2010-11-03T02:58:31.673" UserDisplayName="3rdWheelPost" Comment="added 1 characters in body" Text="Hey guys, &#xD;&#xA;I was wondering if you had any suggestions to which sound studios I should be looking into for an internship during the summer? Any help would be appreciated!! Thanks&#xD;&#xA;&#xD;&#xA;Jessey" ContentLicense="CC BY-SA 2.5" />
  <row Id="7459" PostHistoryTypeId="2" PostId="4419" RevisionGUID="1acdbd6f-6965-4342-b8de-9160450bf26e" CreationDate="2010-11-03T04:57:20.177" UserId="558" Text="Not sure if this counts, but Roger Daltry's long scream in the Who's 'Wont get fooled again' is impressive." ContentLicense="CC BY-SA 2.5" />
  <row Id="7460" PostHistoryTypeId="2" PostId="4420" RevisionGUID="9acc6148-b0d1-47af-bf82-caa712348e86" CreationDate="2010-11-03T06:44:15.063" UserId="641" Text="I just popped into the Rode site to check specs on the NT5 and lo and behold:&#xD;&#xA;http://www.rodemicrophones.com/microphone.php?product=lavalier&#xD;&#xA;&#xD;&#xA;They have just released the Rode lavalier mic!  Anyone planning on getting this or perhaps already have one?  I'd love to see a review/comparison of the Rode lav vs something like the Sennheiser MKH2!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7461" PostHistoryTypeId="1" PostId="4420" RevisionGUID="9acc6148-b0d1-47af-bf82-caa712348e86" CreationDate="2010-11-03T06:44:15.063" UserId="641" Text="New product: Rode Lavalier Mic" ContentLicense="CC BY-SA 2.5" />
  <row Id="7462" PostHistoryTypeId="3" PostId="4420" RevisionGUID="9acc6148-b0d1-47af-bf82-caa712348e86" CreationDate="2010-11-03T06:44:15.063" UserId="641" Text="&lt;lavalier&gt;&lt;new&gt;&lt;microphone&gt;&lt;product&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7463" PostHistoryTypeId="2" PostId="4421" RevisionGUID="ac1a6340-fbef-4f66-a9f4-d36a625cdd08" CreationDate="2010-11-03T07:40:16.400" UserId="62" Text="Jessey,&#xD;&#xA;&#xD;&#xA;It would if we knew which country you're either in or looking at.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="7464" PostHistoryTypeId="2" PostId="4422" RevisionGUID="2081da6a-220e-4db2-a57f-a195a8000733" CreationDate="2010-11-03T10:20:23.893" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;Some good suggestions so far. I too have had to deal with this in the past. What I did, in relation to the tight clothes and hairy chests is firstly, inquire as to whether or not it is ok to shave a small area for the mic. 80% of the time I was successful. Then I used medical tape (2 sided) and some tissue paper to attach the mic to the chest and buffer the mic from the noisy clothing. I always left the diaphragm open so that it was not being impeded by the tissue. If the guy was not willing to have his chested violated, I would do the same down the middle of his shirt, hidden by the cloth. worked for me. The knot of the tie is also a great idea but depends on the texture of the voice- to bassy, too much proximity effect = too boxy. &#xD;&#xA;&#xD;&#xA;Anyway, that's my 2 cents.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7465" PostHistoryTypeId="2" PostId="4423" RevisionGUID="5b8de61c-3a6a-4730-9a76-6359c3ac84cb" CreationDate="2010-11-03T12:35:40.743" UserId="220" Text="Seems to be retailing for $250 or so.  Not bad price-wise, but most wireless packs will come with a larger lapel mic like that.  Might as well spend $70 more and get a great sounding, tiny Countryman B6.  &#xD;&#xA;&#xD;&#xA;Disclaimer:  I don't do interviews or docs, only narrative film sound, so I don't really use lapels.  I do use them in life production sound, but use Countryman E6s for that.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7472" PostHistoryTypeId="2" PostId="4426" RevisionGUID="2111e81c-143d-4125-a5c9-656b80732ef1" CreationDate="2010-11-03T16:16:50.063" UserId="651" Text="We just received the RODE Lavalier for testing. I did compare it with the Sennheiser MKE-2, if that is the model you're referring to. The MKE-2 is still a bit brighter. You can listen to the lav against a Tram and Sanken COS11 here http://www.dvestore.com/news/8/Lavalier-Shootout-%252d-RODE%2C-Sanken-COS11D%2C-Tram-TR50%2C-and-Sennheiser-ME2.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="7473" PostHistoryTypeId="2" PostId="4427" RevisionGUID="ed902323-748e-449f-9401-0da2c9b6b8a6" CreationDate="2010-11-03T17:06:12.433" UserId="142" Text="I am no expert in lav micing placement as I have used them when I have to but I try to do most of my stuff with boom micing. I have a few projects coming up where I will need them for certain wide shots and I need to get up to scratch fast. This question has been a help to get different views and techniques on placement issues. Has anybody used these Rycote undercovers at all as they seem like an ideal solution for the above problem? They can be stuck straight to the actor or performers skin or clothing.&#xD;&#xA;http://www.soundexposure.com/store/Rycote_065504.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="7474" PostHistoryTypeId="6" PostId="4357" RevisionGUID="3a461e5e-73ca-4672-b8ce-9ae167709e72" CreationDate="2010-11-03T17:20:21.217" UserId="182" Comment="edited tags" Text="&lt;hearing&gt;&lt;rf&gt;&lt;health&gt;&lt;interference&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7475" PostHistoryTypeId="2" PostId="4428" RevisionGUID="ae3cb2b3-f9e8-4b69-8885-3a46795a3512" CreationDate="2010-11-03T17:40:50.643" UserId="455" Text="I'm looking to intern there as well, as all of my internships have been in the commercial world.  I know a few people that did this internship and strongly recommend it.&#xD;&#xA;&#xD;&#xA;Get your information in as soon as possible.  They keep applications in order and when they need an intern, they go to the next one in line.  First come, first serve." ContentLicense="CC BY-SA 2.5" />
  <row Id="7476" PostHistoryTypeId="2" PostId="4429" RevisionGUID="f32146bc-d540-4769-8ff4-1adcf7edd574" CreationDate="2010-11-03T20:10:54.103" UserId="275" Text="Using a cardioid dynamic mic will certainly help.  If it is still too loud with the gain stages all the way down then use a in-line attenuator.  Both Shure and PSC make a good in-line attenuator for about $35 and should be in every sound person's kit.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7477" PostHistoryTypeId="5" PostId="3941" RevisionGUID="46c5eb91-c3a2-47f2-858b-a4aadd7ac645" CreationDate="2010-11-04T02:47:11.413" UserId="432" Comment="Date appropriate update and offering minor research duty" Text="**EDIT/UPDATE:** So I'm in San Francisco now, and the convention starts tomorrow. Figured I'd refresh this to see if anyone else is going to be in attendance. Also, I'm going to try and run some end of the day posts on my site for anything I find interesting. If there's any particular info or gear you'd like me to check out, leave a response and I'll see what I can do. ;)&#xD;&#xA;&#xD;&#xA;************&#xD;&#xA;&#xD;&#xA;And how many days will you be there? Just going to the floor show, or are you going to the conference sessions as well?&#xD;&#xA;&#xD;&#xA;I'll be there; arriving on the 3rd and leaving on the 8th. I'll be wandering the floor and the sessions.&#xD;&#xA;&#xD;&#xA;Who wants to meet up?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7478" PostHistoryTypeId="4" PostId="3941" RevisionGUID="46c5eb91-c3a2-47f2-858b-a4aadd7ac645" CreationDate="2010-11-04T02:47:11.413" UserId="432" Comment="Date appropriate update and offering minor research duty" Text="AES San Francisco (Nov. 2010)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7479" PostHistoryTypeId="2" PostId="4430" RevisionGUID="cc0d749e-84c1-49af-920d-d00b98dae1c2" CreationDate="2010-11-04T05:05:35.800" UserId="29" Text="Anyone use one as a plug-in that they like the sound of? I'm specifically working on something where this would save exactly one metric butt-ton of automation..." ContentLicense="CC BY-SA 2.5" />
  <row Id="7480" PostHistoryTypeId="1" PostId="4430" RevisionGUID="cc0d749e-84c1-49af-920d-d00b98dae1c2" CreationDate="2010-11-04T05:05:35.800" UserId="29" Text="Envelope-following bandpass filter?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7481" PostHistoryTypeId="3" PostId="4430" RevisionGUID="cc0d749e-84c1-49af-920d-d00b98dae1c2" CreationDate="2010-11-04T05:05:35.800" UserId="29" Text="&lt;filter&gt;&lt;filtering&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7482" PostHistoryTypeId="2" PostId="4431" RevisionGUID="1ee7ab45-9f48-4857-b20c-47765edc7b69" CreationDate="2010-11-04T05:14:51.443" UserId="315" Text="Soundtoys [Filter Freak][1] is great.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundtoys.com/products/FilterFreak/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7483" PostHistoryTypeId="2" PostId="4432" RevisionGUID="e9c45ff3-55b9-49f8-923c-9fee3196f53e" CreationDate="2010-11-04T07:05:18.980" UserId="641" Text="Erm, how about using a radio transmitter link instead of cable?  I guess by now you have recorded the sound already and I for one would love to know the outcomes and if possible, to hear a sample!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7484" PostHistoryTypeId="2" PostId="4433" RevisionGUID="dcc93a0d-9fc8-498d-a3f0-16328fbae821" CreationDate="2010-11-04T07:39:05.213" UserId="641" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I'm a born and bred Johannesburger, in South Africa and I work as a location sound recordist, whilst playing about with animation on the side!&#xD;&#xA;&#xD;&#xA;I've worked feature films as a boom operator and also worked as a sound mixer on one low budget feature.  Mostly though, I do commercial shoots, documentary shoots and corporate shoots.&#xD;&#xA;I'm keen on learning to do final mixing and foley recording and building up my sound library!&#xD;&#xA;&#xD;&#xA;This site is great, I find it much more user friendly in comparison to many other forum sites and the knowledge I have gleaned in the last few days of browsing the site has been great!&#xD;&#xA;&#xD;&#xA;Thanks for everyones inputs!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7485" PostHistoryTypeId="16" PostId="4433" RevisionGUID="dcc93a0d-9fc8-498d-a3f0-16328fbae821" CreationDate="2010-11-04T07:39:05.213" UserId="-1" />
  <row Id="7486" PostHistoryTypeId="2" PostId="4434" RevisionGUID="d3098475-3888-438c-ab00-3742d30e88e7" CreationDate="2010-11-04T08:41:54.713" UserId="202" Text="+1 for Filter Freak!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7487" PostHistoryTypeId="5" PostId="4421" RevisionGUID="d4f8692f-58ab-40aa-8449-a260e66f2b39" CreationDate="2010-11-04T09:35:04.903" UserId="62" Comment="added 5 characters in body" Text="Jessey,&#xD;&#xA;&#xD;&#xA;It would help if we knew which country you're either in or looking at.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="7488" PostHistoryTypeId="2" PostId="4435" RevisionGUID="0b5cf4d7-a36e-4f4a-b415-1c530cf1f49b" CreationDate="2010-11-04T10:28:38.087" UserId="407" Text="There is also [The Hum][1] which some people hear - never been to the places mentioned so can't comment personally.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/The_Hum" ContentLicense="CC BY-SA 2.5" />
  <row Id="7489" PostHistoryTypeId="2" PostId="4436" RevisionGUID="522b04f7-f37c-47f1-8f37-dc35d9171239" CreationDate="2010-11-04T12:51:42.643" UserDisplayName="3rdWheelPost" Text="Well duh, that was definitely a slip-up on my part...the U.S....primarily in California to be even more specific...thanks for the help!&#xD;&#xA;&#xD;&#xA;Jessey" ContentLicense="CC BY-SA 2.5" />
  <row Id="7490" PostHistoryTypeId="2" PostId="4437" RevisionGUID="7d8cdc3e-0a05-45cd-af83-a16551a1fcf2" CreationDate="2010-11-04T16:00:49.183" UserId="651" Text="If you want to get further back and hear a drop of water, you're going to want to not just be looking for a mic, you'll want the entire chain to be clean. I'd say that you should be looking at a decent pre-amp to boost up the levels nice and clean - or you can also look at mics that are &quot;hot&quot; like the Audio Technica 4073. Awhile back I tested 6 shotgun mics fed directly into a Canon XL2 camera. You can listen to them here http://www.dvcreators.net/shotgun-shootout/&#xD;&#xA;Now, I'd at least want to put a Sound Devices MM-1, or SignVideo ENG-44 in front of the camera/recorder. &#xD;&#xA;&#xD;&#xA;Hope this helps,&#xD;&#xA;&#xD;&#xA;Guy Cochran" ContentLicense="CC BY-SA 2.5" />
  <row Id="7491" PostHistoryTypeId="2" PostId="4438" RevisionGUID="cac20c1c-3c70-4357-bd17-821d215e9d6b" CreationDate="2010-11-04T18:11:28.140" UserId="142" Text="The Audio Technica AT897 is a great short shotgun for the price at around £250 if that is in your price range. http://www.audio-technica.com/cms/wired_mics/9aeff7bd1ee954dc/index.html/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7492" PostHistoryTypeId="2" PostId="4439" RevisionGUID="1f11793b-7b64-4e2b-bf6d-6abfa1791f0e" CreationDate="2010-11-04T18:19:59.793" UserId="142" Text="This sounds like a good mic and I would like a couple, my only concern at the moment is the frequency range which is 60Hz - 18kHz which is a lot less lower end than other lavs. How much of an issue this will be regarding dialogue I am not sure. It seemed to sound fairly nice on the vid posted above." ContentLicense="CC BY-SA 2.5" />
  <row Id="7493" PostHistoryTypeId="2" PostId="4440" RevisionGUID="5d38e4e3-438f-438f-a7da-f500f2b08382" CreationDate="2010-11-04T18:29:32.137" UserDisplayName="user49" Text="I've been messing with the Bluecat plugins - at first they seem like straight forward level &amp; spectrum analysis meters but they can output MIDI from their analysis!! So you could feed the level as a control voltage across to whatever filter plugin you like... &#xD;&#xA;http://www.bluecataudio.com&#xD;&#xA;&#xD;&#xA;In the real/analogue world I personally like the Doepfer A119 module ;) Its intriguing that an analogue synth technique that has been around for decades is relatively rare in the virtual world...." ContentLicense="CC BY-SA 2.5" />
  <row Id="7494" PostHistoryTypeId="2" PostId="4441" RevisionGUID="21883fc4-3281-4e8a-bb69-5c9853431a2c" CreationDate="2010-11-04T22:57:30.550" UserId="431" Text="&quot;Hire&quot; an intern and teach her/him how to draw out all the clicks using Pro Tools' pencil tool. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7498" PostHistoryTypeId="2" PostId="4443" RevisionGUID="cb5f25c3-1536-4ce0-829b-1363b3846944" CreationDate="2010-11-05T16:08:04.053" UserId="542" Text="I think Live has one build inside. If you dont want to use Live, you can use the PSP Nitro for it, one of my fav. plugins at the moment" ContentLicense="CC BY-SA 2.5" />
  <row Id="7499" PostHistoryTypeId="2" PostId="4444" RevisionGUID="dfb8a261-bd33-4aa2-9845-3e102ddcf77e" CreationDate="2010-11-05T18:16:49.367" UserId="587" Text="Alright, so you have in the package DV Toolkit 2, 96 tracks, automatic delay compensation, NO INTERFACE NEEDED and works with any interface! Yes, they finally did what everyone else did 10 years ago. But its pro tools, and they finally got their act together and gave the people what they wanted.&#xD;&#xA;&#xD;&#xA;This for a cross-grade cost of 250 bucks.&#xD;&#xA;&#xD;&#xA;Past all the hype, I want to know what the cons are. There has to be. Avid (formerly the evil in comparison Digidesign) always has some kind of hidden catch. What is it?&#xD;&#xA;&#xD;&#xA;Go!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7500" PostHistoryTypeId="1" PostId="4444" RevisionGUID="dfb8a261-bd33-4aa2-9845-3e102ddcf77e" CreationDate="2010-11-05T18:16:49.367" UserId="587" Text="Pro Tools 9 - Pros and Cons" ContentLicense="CC BY-SA 2.5" />
  <row Id="7501" PostHistoryTypeId="3" PostId="4444" RevisionGUID="dfb8a261-bd33-4aa2-9845-3e102ddcf77e" CreationDate="2010-11-05T18:16:49.367" UserId="587" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7502" PostHistoryTypeId="2" PostId="4445" RevisionGUID="8e9d5e19-590b-4854-ad6f-224aab91ed76" CreationDate="2010-11-05T18:40:45.837" UserId="10" Text="Bugs!!!!! :D .0.1 or .1 versions of Pro Tools are always better :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7503" PostHistoryTypeId="2" PostId="4446" RevisionGUID="7b64a2ac-185f-4c57-8ef2-523f93f7a408" CreationDate="2010-11-05T18:59:57.520" UserId="202" Text="I played around all the day with Pro Tools 9 and cptk, and found stable as version 8.0.4. But More testing is needed.&#xD;&#xA;&#xD;&#xA;I think that it's what the PT community asked for, and I'm happy to be able to work wherever I am without the need of the stupid mbox, and that finally I can open those PT|HD sessions on my laptop without losing any information (TDM plugins excluded). &#xD;&#xA;&#xD;&#xA;I hope that PT 9 is a starting point, not the finish line: maybe Avid will start giving us some other functions requested many, many times (folders in region list, a better handling of markers, etc).&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7504" PostHistoryTypeId="2" PostId="4447" RevisionGUID="04832781-8a02-4c37-82c9-7be39dfdb158" CreationDate="2010-11-05T19:39:58.683" UserId="531" Text="I'm going to be there on Sunday. &#xD;&#xA;I'm a 6'5&quot; lanky white dude with brown hair. &#xD;&#xA;&#xD;&#xA;-Kevin Crawford " ContentLicense="CC BY-SA 2.5" />
  <row Id="7506" PostHistoryTypeId="2" PostId="4449" RevisionGUID="fbb3ed6f-bd0f-4b16-9be3-abf93018d167" CreationDate="2010-11-06T01:26:20.923" UserId="429" Text="Wow !! What am I going to do with my G5 / HD2 rig now ... ?? Anyway I found this [feature comparison chart][1] very useful  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/US/products/family/Pro-Tools/compare" ContentLicense="CC BY-SA 2.5" />
  <row Id="7507" PostHistoryTypeId="2" PostId="4450" RevisionGUID="8604a742-67d5-47c4-b409-907bdb1c2b55" CreationDate="2010-11-06T05:13:20.727" UserId="61" Text="FWIW, a good friend of mine beta tested PT9 for two months before the launch and proclaims it be MUCH more stable than PT8. So, go forth and purchase --" ContentLicense="CC BY-SA 2.5" />
  <row Id="7508" PostHistoryTypeId="2" PostId="4451" RevisionGUID="d561c3c9-f3e5-4d9b-9f2c-b63dedf0f6a6" CreationDate="2010-11-06T05:57:45.850" UserId="432" Text="As Miguel says...watch out for bugs. I have obtained some inside information that yes, it is still buggy, and there's one bigger issue at play right now for people in our line of work...**PT9 has shipped/launched with issues in video sync**. I suggest everyone wait at least until the first update before upgrading." ContentLicense="CC BY-SA 2.5" />
  <row Id="7510" PostHistoryTypeId="2" PostId="4452" RevisionGUID="ceb570f1-18a4-46f5-a447-80901233bea4" CreationDate="2010-11-06T08:43:16.573" UserId="261" Text="I'm so freaking happy about this announcement.&#xD;&#xA;&#xD;&#xA;Just as I was trying to hustle up some extra bartending work to be able to buy an Mbox pro and DV Toolkit... Remember this question: http://bit.ly/cNGeoc ?&#xD;&#xA;&#xD;&#xA;Question is, according to the Compatibility specs, I have to have at lest a Core2 Duo Mac, and my(still good) MBP is a 2007 Core Duo...looks like an expensive 'upgrade' route, unless anybody knows of someone who has PT 9 installed on a a&#xD;&#xA;Mac like mine? &#xD;&#xA;Avid Qualified Macs are listed here: http://bit.ly/9vWuSa&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 2.5" />
  <row Id="7511" PostHistoryTypeId="2" PostId="4453" RevisionGUID="5d3079d1-d715-40b2-8061-49abc6175346" CreationDate="2010-11-06T13:17:53.613" UserId="400" Text="Since there's a thread going on this, I figure I'll ask here and see if anyone knows...&#xD;&#xA;&#xD;&#xA;Will the Mbox series and Eleven Rack be upgraded to carry PT9 software as well or will they still ship with (the now vastly inferior) PT LE? I was totally saving to buy an Eleven Rack to replace my POD and get Pro Tools again but now..... " ContentLicense="CC BY-SA 2.5" />
  <row Id="7512" PostHistoryTypeId="2" PostId="4454" RevisionGUID="64018c25-8be4-4636-8ec0-ec77b70a8128" CreationDate="2010-11-06T15:55:20.313" UserId="407" Text="Is there any news on plugin compatability in PT9? Will my waves v7 and izotope plugins work without any upgrade from their respective companies?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7513" PostHistoryTypeId="2" PostId="4455" RevisionGUID="4f7f0124-aa14-4d6b-9f71-da8c400150bd" CreationDate="2010-11-06T17:16:09.047" UserId="373" Text="so I own Pro Tools 8 and DV Toolkit, but I still have to pay 250 for an upgrade to gain the extra plugins I already have? Sounds like a bum deal for us dv toolkit owners, shouldn't we get a discount on the upgrade? Great for non-dv toolkit owners obviously, but I feel like I'm getting the short end of the straw a bit!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7514" PostHistoryTypeId="2" PostId="4456" RevisionGUID="45ef15f2-ebae-4d96-9b9c-2f6454126bc0" CreationDate="2010-11-06T17:26:27.633" UserId="629" Text="Great price for buying the software but the Production Kit 2 is very expensive nearly 3x more than ProTools itself! :(" ContentLicense="CC BY-SA 2.5" />
  <row Id="7515" PostHistoryTypeId="2" PostId="4457" RevisionGUID="8a6aa5b9-f6dc-444f-a50f-cb89a74f8484" CreationDate="2010-11-06T22:21:14.473" UserId="373" Text="I'm recording foley this week, and a lot of the scenes are on ice.... has anyone recorded icy/frosty footsteps before, and has any recommendations on how to get the right sound? Would you recommend using actual ice? I've been asked to get them to sound 'frosty', not snowy...." ContentLicense="CC BY-SA 2.5" />
  <row Id="7516" PostHistoryTypeId="1" PostId="4457" RevisionGUID="8a6aa5b9-f6dc-444f-a50f-cb89a74f8484" CreationDate="2010-11-06T22:21:14.473" UserId="373" Text="Icy/Frosty Feet...." ContentLicense="CC BY-SA 2.5" />
  <row Id="7517" PostHistoryTypeId="3" PostId="4457" RevisionGUID="8a6aa5b9-f6dc-444f-a50f-cb89a74f8484" CreationDate="2010-11-06T22:21:14.473" UserId="373" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7518" PostHistoryTypeId="2" PostId="4458" RevisionGUID="5bf4442c-df2b-4abc-bf7a-b279f6da1505" CreationDate="2010-11-06T23:01:07.093" UserId="400" Text="For creating footsteps, I heard that sand in a little nylon back works quite well? Or rock salt, that too. Never actually done it myself though. Frank Bry from http://www.therecordist.com/ has done a lot of snow/ice recording, hopefully he'll chime in here." ContentLicense="CC BY-SA 2.5" />
  <row Id="7519" PostHistoryTypeId="2" PostId="4459" RevisionGUID="da3ad6b6-df39-46a7-96a7-c44e68299dfe" CreationDate="2010-11-07T00:29:08.447" UserId="654" Text="If you've got DV toolkit, either 1 or 2, you can upgrade it to CPTK2 for only US$250 rather than paying $2000. So its worth something. That gives you VCAs and all the extra HD editing and automation features that PT9 doesnt have.&#xD;&#xA;&#xD;&#xA;That's separate to your Pt9 crossgrade price.&#xD;&#xA;&#xD;&#xA;Hi all, first post. Just found the site! Awesome!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7520" PostHistoryTypeId="2" PostId="4460" RevisionGUID="93b4ed2b-4622-449a-ba8e-4e7e465b9fe2" CreationDate="2010-11-07T03:54:27.447" UserId="132" Text="Hey Folks,&#xD;&#xA;&#xD;&#xA;I'm working on a project where I need a lot of wood and metal creaking FX.  Any suggestions?  One colleague recommended going to Amish ship builders in Ohio where they are constantly bowing wood . . .  but anything beyond the typical creaky hinge or squeaky door?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7521" PostHistoryTypeId="1" PostId="4460" RevisionGUID="93b4ed2b-4622-449a-ba8e-4e7e465b9fe2" CreationDate="2010-11-07T03:54:27.447" UserId="132" Text="Creaky Wood and Metal SFX?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7522" PostHistoryTypeId="3" PostId="4460" RevisionGUID="93b4ed2b-4622-449a-ba8e-4e7e465b9fe2" CreationDate="2010-11-07T03:54:27.447" UserId="132" Text="&lt;sfx&gt;&lt;creak&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7523" PostHistoryTypeId="5" PostId="4451" RevisionGUID="6e7e9cde-9d9b-4871-972c-db52afef7566" CreationDate="2010-11-07T03:57:04.960" UserId="432" Comment="explanation of identified issue" Text="As Miguel says...watch out for bugs. I have obtained some inside information that yes, it is still buggy, and there's one bigger issue at play right now for people in our line of work...**PT9 has shipped/launched with issues in video sync**. I suggest everyone wait at least until the first update before upgrading.&#xD;&#xA;&#xD;&#xA;**Clarification:** So the sync issue I heard about was that when this person was working with video, sync was initially off. adjusting settings seemingly corrected sync while working in PT9. When the audio was sent back to picture for layback however, sync was off again. We discussed the possibility that it was the picture edit system, but that was dismissed. Plus, this person really knows they're stuff. So, I'm very inclined to believe them." ContentLicense="CC BY-SA 2.5" />
  <row Id="7524" PostHistoryTypeId="2" PostId="4461" RevisionGUID="564b3123-10e1-43c6-8d31-e3ccb4336749" CreationDate="2010-11-07T05:11:32.390" UserId="61" Text="Umm, how about getting some shaved ice from your local ice company???" ContentLicense="CC BY-SA 2.5" />
  <row Id="7526" PostHistoryTypeId="5" PostId="3096" RevisionGUID="3be21ad0-d5d6-4d96-a69c-922f8ca87371" CreationDate="2010-11-07T05:52:47.690" UserId="61" Comment="Addl info" Text="**Figured this was worth following up since PT9 is a popular topic as of late. I was hoping that the jump to PT9 would solve this very frustrating and time consuming bug, but it doesn't seem to have. If any of you are experiencing this same issue, pls chime in and maybe we can figure it out. PS. I have tried all of the suggestions below, to no avail**.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Sorry folks, I know this isn't a sound design question but I'm posting this out of utter frustration and desperation. &#xD;&#xA;&#xD;&#xA;Pro Tools is not booting up correctly. Click on the icon, it's bounces in the dock for 1-2 minutes, stops and acts like it's not doing anything. 5 minutes (!) later it decides to start booting up. This is not intermittent, it is every time. Updated to 8.0.4 hoping it would fix this problem but it didn't. Things I've tried:&#xD;&#xA;&#xD;&#xA; - trashing all digi prefs/setup files&#xD;&#xA; - Diskwarrior on all drives&#xD;&#xA; - unmounted drives one by one, then&#xD;&#xA;   retrying boot process&#xD;&#xA;&#xD;&#xA;System specs:&#xD;&#xA;&#xD;&#xA; - PT 8.0.4&#xD;&#xA; - OS X 10.5.8&#xD;&#xA; - Digi 192&#xD;&#xA; - 6gb RAM&#xD;&#xA; - 4 1TB drives&#xD;&#xA; - no periph devices attached&#xD;&#xA;&#xD;&#xA;Your professional advice is certainly appreciated. Thanks all -&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7527" PostHistoryTypeId="4" PostId="3096" RevisionGUID="3be21ad0-d5d6-4d96-a69c-922f8ca87371" CreationDate="2010-11-07T05:52:47.690" UserId="61" Comment="Addl info" Text="UPDATE TECH QUESTION: Slow to boot Pro Tools 9" ContentLicense="CC BY-SA 2.5" />
  <row Id="7528" PostHistoryTypeId="5" PostId="936" RevisionGUID="e10c5edb-0273-4dd5-8990-85b1fe24eca2" CreationDate="2010-11-07T06:58:41.830" UserId="264" Comment="added 310 characters in body" Text="I'm headed down to Pennsylvania to help on a shoot this weekend, and I'm really excited because I'll be recording gunfire courtesy of a local Civil War reenactment group. I've never tried recording gunshots before, so I'd like some tips. The max number of tracks that I can record are 4, as I'll be working on a 744T, so my current plan is to use a dynamic mic to grab the impact, and a m/s mic to grab the decay. What setups have you folks used? Placements? Thanks for your replies.&#xD;&#xA;&#xD;&#xA;~Cheers&#xD;&#xA;&#xD;&#xA;Miles &#xD;&#xA;&#xD;&#xA;UPDATE -- Thanks for the advice! The shoot was postponed 'til last month, so I had some more time to prepare. I went down with a 744T, 702 and a Nagra. The gunshot samples came out really nice. The Nagra's recordings weren't very clean, but they have a nice &quot;Western&quot; quality, so I'll pocket those for later." ContentLicense="CC BY-SA 2.5" />
  <row Id="7529" PostHistoryTypeId="2" PostId="4463" RevisionGUID="208eb26a-d6ee-4775-9c27-9f4151607bc4" CreationDate="2010-11-07T07:05:13.267" UserId="587" Text="G3 (470-505 Mhz) , J1 (554-590 Mhz), and M1 (662-698 Mhz)&#xD;&#xA;&#xD;&#xA;Some of the frequency bands I have come across in looking for bodypacks for lav mics.&#xD;&#xA;&#xD;&#xA;The differences and issues depending on location or situation?&#xD;&#xA;&#xD;&#xA;Any preferences to brand or model?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7530" PostHistoryTypeId="1" PostId="4463" RevisionGUID="208eb26a-d6ee-4775-9c27-9f4151607bc4" CreationDate="2010-11-07T07:05:13.267" UserId="587" Text="Wireless Bodypack Frequency Bands" ContentLicense="CC BY-SA 2.5" />
  <row Id="7531" PostHistoryTypeId="3" PostId="4463" RevisionGUID="208eb26a-d6ee-4775-9c27-9f4151607bc4" CreationDate="2010-11-07T07:05:13.267" UserId="587" Text="&lt;wireless&gt;&lt;lavalier&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7532" PostHistoryTypeId="2" PostId="4464" RevisionGUID="18d1f7d7-d312-45b5-9b2a-9c754d339bda" CreationDate="2010-11-07T07:21:52.600" UserId="264" Text="A few weeks ago my friends and I hiked up Mt. Marcy, in New York's Adirondack region, so I brought along a 702 to gather any interesting ambience we'd encounter. The peak's only 5,343 ft, but temperatures were down at 10-15 F. Around three-quarters of the way up, the 702 developed an odd, loud, stuttering buzz on both channels; it seemed to be triggered by pressing the record button, but was just as likely to start without provocation. By the time we reached the top, the 702 refused to boot up. Only after we had descended halfway did the 702 finally turn on again.&#xD;&#xA;&#xD;&#xA;Could it be the battery? I'm not sure because the 702's buttons, etc., would light up as long as I held down the power button, but the device just wouldn't boot up. Perhaps it was condensation then? Odd.&#xD;&#xA;&#xD;&#xA;~Cheers" ContentLicense="CC BY-SA 2.5" />
  <row Id="7533" PostHistoryTypeId="1" PostId="4464" RevisionGUID="18d1f7d7-d312-45b5-9b2a-9c754d339bda" CreationDate="2010-11-07T07:21:52.600" UserId="264" Text="Equipment affected by cold/altitude" ContentLicense="CC BY-SA 2.5" />
  <row Id="7534" PostHistoryTypeId="3" PostId="4464" RevisionGUID="18d1f7d7-d312-45b5-9b2a-9c754d339bda" CreationDate="2010-11-07T07:21:52.600" UserId="264" Text="&lt;temperature&gt;&lt;cold&gt;&lt;702&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7535" PostHistoryTypeId="2" PostId="4465" RevisionGUID="2b19f27a-5a71-4dbd-8c94-d7b9f8550417" CreationDate="2010-11-07T07:35:34.603" UserId="2" Text="Wow, that sounds hectic! Good to know in case I'm ever on a cold job. &#xD;&#xA;&#xD;&#xA;Just reading from the 702's manual, it's rated down to 5°C / 41 ºF so you where at a significantly colder temperature.   &#xD;&#xA;&#xD;&#xA;Batteries will also definitively suffer in cold temperatures. &#xD;&#xA;&#xD;&#xA;Regarding condensation, this only really happens when the temperature climbs again. So if you're in cold, and then go back top heat, that's when it would condense. So I don't think that was your issue... &#xD;&#xA;&#xD;&#xA;I know mics are affected by temperature too, but you'd hear the issues while monitoring and not only hitting record, so that can't be your problem. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7536" PostHistoryTypeId="2" PostId="4466" RevisionGUID="7f4979e9-7d23-465f-a52b-2fde50fadf18" CreationDate="2010-11-07T07:55:28.487" UserId="655" Text="I would get thinner planks of wood, set them on two bricks or something and step on them. That should give lots of wood squeaks, cracks, snaps. If it doesnt sound as beefy, try some pitch shifting. &#xD;&#xA;&#xD;&#xA;Just my two cents." ContentLicense="CC BY-SA 2.5" />
  <row Id="7537" PostHistoryTypeId="2" PostId="4467" RevisionGUID="388127cd-c87a-410f-9113-668c067005fd" CreationDate="2010-11-07T08:00:01.653" UserDisplayName="user80" Text="When you work in cold conditions you need to keep the recorder insulated, it is even more important with the batteries.  The solution is to strap the recorder onto your body underneath your jacket and on top of some thin layers of clothes so that your body helps to keep the recorder warm.  Padded down jackets are the best for this sort of thing.  It looks odd with you spending so much time peering into your jacket but it really is the only way.  If you are not generating enough heat from your body you pop hand/feet/pocket warmers into the jacket.  Even when you have got it working the batteries will not last very long so make sure that you take an external battery pack as well.  http://www.sonicstudios.com/batsys98.htm#bd12" ContentLicense="CC BY-SA 2.5" />
  <row Id="7538" PostHistoryTypeId="2" PostId="4468" RevisionGUID="548887e0-ae7a-4e98-a081-1afc5fc24f58" CreationDate="2010-11-07T08:43:42.107" UserDisplayName="user49" Text="For 30 Days of Night we tended to have three layers for each foostep&#xD;&#xA;&#xD;&#xA; - foley performed on rock salt (for sync performance &amp; charterful feel)&#xD;&#xA; - foley performed on rock salt that had been wet &amp; let dry so it had a crust (ditto)&#xD;&#xA; - actual field recordings of footsteps &amp; movement on ice &amp; various depths of snow&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The foley editor first cut the two foley layers for sync, then added material from the field recordings...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7539" PostHistoryTypeId="2" PostId="4469" RevisionGUID="71a4a5b8-b04c-47f5-9413-da2d3da6d987" CreationDate="2010-11-07T15:20:39.963" UserId="199" Text="which one would you buy and why?&#xD;&#xA;&#xD;&#xA;needed for voice recordings on street and inside" ContentLicense="CC BY-SA 2.5" />
  <row Id="7540" PostHistoryTypeId="1" PostId="4469" RevisionGUID="71a4a5b8-b04c-47f5-9413-da2d3da6d987" CreationDate="2010-11-07T15:20:39.963" UserId="199" Text="Heil PR-35 versus Electro Voice RE 50 N /DBL" ContentLicense="CC BY-SA 2.5" />
  <row Id="7541" PostHistoryTypeId="3" PostId="4469" RevisionGUID="71a4a5b8-b04c-47f5-9413-da2d3da6d987" CreationDate="2010-11-07T15:20:39.963" UserId="199" Text="&lt;microphone&gt;&lt;dynamic&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7542" PostHistoryTypeId="2" PostId="4470" RevisionGUID="c1329f61-3bef-4c47-aeac-943acd3ba736" CreationDate="2010-11-07T15:42:11.203" UserId="234" Text="Don't know where you are, but the last time I needed that, I bundled up and braved sub zero (about -25 C or -13 F) temps to actually record them... Could be tricky if you're in warmer climes... It's true that REALLY cold snow/ice has a very different sound from the warmer stuff. Maybe you have a local skating rink you could use for a couple of hours? Should have lots of snow there too from the Zamboni." ContentLicense="CC BY-SA 2.5" />
  <row Id="7543" PostHistoryTypeId="2" PostId="4471" RevisionGUID="8ee3099b-89aa-437f-b364-39733f253e86" CreationDate="2010-11-07T18:05:57.710" UserId="194" Text="i'd start looking mostly for textures and record at high sample rates, then you can use pitch shifting to manipulate size in post.&#xD;&#xA;&#xD;&#xA;You're going to want props that are legitimately old and have loose internal fibers.  I'd get some gloves and try looking at recent building demolitions, junk yards, those sort of places.  Also, try the craigslist free sections.  Sometimes furniture or other wood-based things show up there.&#xD;&#xA;&#xD;&#xA;with regards to manipulation - think leverage.  Don't be afraid to utilizes some levers and other tools to help with the bending and stressing - especially with metallic things.  There are times when your own arm strength just won't be enough, even with small to medium sized props.&#xD;&#xA;&#xD;&#xA;Another good way to get creaks is with friction.  The right board at a 45 degree angle to another can do all kinds of crazy things.  &#xD;&#xA;&#xD;&#xA;man, now I want to do some.  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7544" PostHistoryTypeId="2" PostId="4472" RevisionGUID="240a0dcf-ccf5-439b-8cdb-0841aa6e831b" CreationDate="2010-11-07T20:26:49.320" UserId="321" Text="Hi,Avid points out [on its site][1] that pt9 needs Mac os x 10.6.2.&#xD;&#xA;I link that may be' the real problem, sine you say you're on 10.5.8. Hope it helps... :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=380535" ContentLicense="CC BY-SA 2.5" />
  <row Id="7546" PostHistoryTypeId="5" PostId="3096" RevisionGUID="270befe7-cd7b-4c35-a0f6-db6b766c3535" CreationDate="2010-11-07T22:33:08.197" UserId="61" Comment="additional information" Text="**Figured this was worth following up since PT9 is a popular topic as of late. I was hoping that the jump to PT9 would solve this very frustrating and time consuming bug, but it doesn't seem to have. If any of you are experiencing this same issue, pls chime in and maybe we can figure it out. PS. I have tried all of the suggestions below, to no avail**.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;(orig post below with updates ***in bold italics***)&#xD;&#xA;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Sorry folks, I know this isn't a sound design question but I'm posting this out of utter frustration and desperation. &#xD;&#xA;&#xD;&#xA;Pro Tools is not booting up correctly. Click on the icon, it's bounces in the dock for a while, stops and acts like it's not doing anything. 3-4 minutes (!) later it decides to start booting up. ***This is intermittent, but nearly every time.*** Things I've tried:&#xD;&#xA;&#xD;&#xA; - trashing all digi prefs/setup files&#xD;&#xA; - Diskwarrior on all drives&#xD;&#xA; - unmounted drives one by one, then&#xD;&#xA;   retrying boot process&#xD;&#xA; - ***replaced a drive that I thought was&#xD;&#xA;   at fault, but did not make a&#xD;&#xA;   difference.***&#xD;&#xA;&#xD;&#xA;System specs:&#xD;&#xA;&#xD;&#xA; - ***PT 9***&#xD;&#xA; - ***OS X 10.6***&#xD;&#xA; - Digi 192&#xD;&#xA; - 6gb RAM&#xD;&#xA; - 3 1TB drives, 1 2TB drive&#xD;&#xA; - no periph devices attached besides USB querty board.&#xD;&#xA;&#xD;&#xA;Your professional advice is certainly appreciated. Thanks all -&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7547" PostHistoryTypeId="6" PostId="3096" RevisionGUID="270befe7-cd7b-4c35-a0f6-db6b766c3535" CreationDate="2010-11-07T22:33:08.197" UserId="61" Comment="additional information" Text="&lt;pro-tools-9&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7548" PostHistoryTypeId="2" PostId="4473" RevisionGUID="33dbf690-9c2b-40d3-9a62-2ecc6799c0ee" CreationDate="2010-11-08T00:42:30.617" UserId="202" Text="Did you trash the log files in ~/library/logs/Digidesign too?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7549" PostHistoryTypeId="2" PostId="4474" RevisionGUID="172b4bbd-3428-4955-9da7-7a649964fdc6" CreationDate="2010-11-08T01:30:56.680" UserId="275" Text="I live in Minnesota and every year I end up doing shoots in 20 or 30 BELOW zero temperatures.  It sucks for a lot of reasons.  My 744t always works at those temperatures but the LCD screen definitely needs to be kept warm.  I generally keep a bunch of hand warmers in my kit during the winter months.  I'm also very careful to not take the gear in and out of warm/cold temperatures.  I let it get acclimated to whatever temperature we'll be shooting in.  You'll get condensation and numerous other problems in a hurry if you go from a 70 degree house to -30 degree outside (that's a 100 degree temperature drop in about 3 seconds for the quick-at-math folks out there).  &#xD;&#xA;&#xD;&#xA;I'm guessing the issues you encountered were not directly due to temperature.  You may have some condensation that then froze when your recorder hit the colder temperature.  I've never heard of altitude affecting these recorders, but I've never heard definitively that they aren't affected by it.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7550" PostHistoryTypeId="2" PostId="4475" RevisionGUID="03378914-85a6-4f88-ab21-6d640f65bba4" CreationDate="2010-11-08T01:34:32.353" UserId="275" Text="What frequency you pick is generally determined by the area you'll be working in.  Check out this link and enter your zip code to see what frequencies are already in use for the area in questions:&#xD;&#xA;&#xD;&#xA;http://12.148.18.149/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7551" PostHistoryTypeId="2" PostId="4476" RevisionGUID="bf777956-770c-4020-ae4a-ab5519d14866" CreationDate="2010-11-08T07:06:41.987" UserId="348" Text="I totally agree with Iain on this. You need to keep your recorder warm and dry. I know it is a pain but at least it will work. I have experienced this in cold shoots in Canada when you don't keep the machine at a constant temperature. I have actually wrapped a machine in plastic cellophane (tightly) to insure that the condensation from the air doesn't get inside the machine and cause issues. This also helps if you begin to perspire and it prevents the machine from getting damp. I will ask a friend who shot in Antarctica how he stayed away from this issue of equipment issues in such an extreme environment. &#xD;&#xA;&#xD;&#xA;Take care. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7552" PostHistoryTypeId="2" PostId="4477" RevisionGUID="38e92fc6-b81a-4a80-8575-4b06ec68852b" CreationDate="2010-11-08T16:15:27.613" UserId="194" Text="Once your library reaches a certain size then you start needing codewords to jump to the specific sounds you're looking for quickly.  This is especially true with common sounds like impacts, whooshes and UI.&#xD;&#xA;&#xD;&#xA;For example, I have a batch of custom UI servo digital sounds that I tag with the word &quot;clix&quot; on them, because I know that if I just search that term nothing else in any of the purchased libraries will show up.&#xD;&#xA;&#xD;&#xA;I also have a huge batch of custom impacts that we call &quot;etolls&quot; here because the first batch was inspired by a [Robert Etoll][1] library that a director brought into the facility.  The library left with the director when the project was finished, but the sounds inspired me to make some of my own.  At this point I've built hundreds of our own custom &quot;etolls&quot;, and everyone in the facility uses that specific search term to find those specific sounds.  (I should change them to Coronados, but that'd throw everyone off)  :)&#xD;&#xA;&#xD;&#xA;The other helpful thing is that soundminer includes file structure in the search, so I can look for &quot;dapg amb&quot; and get all of the custom ambiances I've recorded here at Dallas Audio Post Group - since all of our custom stuff lives in its own master &quot;DAPG&quot; folder.&#xD;&#xA;&#xD;&#xA;I also tend to tag these boutique libraries so that I can find them quickly.  I know exactly what I'll get if I look for a &quot;tim seal&quot; or a &quot;rabbit rocket&quot;&#xD;&#xA;&#xD;&#xA;So, do you use specific code words to isolate the cream from the rest of the crop when doing sfx searches?  What kinds of words do you use?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://robertetoll.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7553" PostHistoryTypeId="1" PostId="4477" RevisionGUID="38e92fc6-b81a-4a80-8575-4b06ec68852b" CreationDate="2010-11-08T16:15:27.613" UserId="194" Text="sfx library codewords" ContentLicense="CC BY-SA 2.5" />
  <row Id="7554" PostHistoryTypeId="3" PostId="4477" RevisionGUID="38e92fc6-b81a-4a80-8575-4b06ec68852b" CreationDate="2010-11-08T16:15:27.613" UserId="194" Text="&lt;database&gt;&lt;sfx&gt;&lt;library&gt;&lt;metadata&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7555" PostHistoryTypeId="2" PostId="4478" RevisionGUID="db15e420-3835-4506-83ed-521ccd93b4dd" CreationDate="2010-11-08T16:55:53.850" UserId="636" Text="Hi Guys&#xD;&#xA;&#xD;&#xA;I recently bought a matched pair of NT5s for field recording and was wondering if anyone has any ideas about how to reduce wind noise as Rode doesn't sell any dead cats or kittens catered for the NT5s.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="7556" PostHistoryTypeId="1" PostId="4478" RevisionGUID="db15e420-3835-4506-83ed-521ccd93b4dd" CreationDate="2010-11-08T16:55:53.850" UserId="636" Text="DIY Windscreen ideas?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7557" PostHistoryTypeId="3" PostId="4478" RevisionGUID="db15e420-3835-4506-83ed-521ccd93b4dd" CreationDate="2010-11-08T16:55:53.850" UserId="636" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7559" PostHistoryTypeId="2" PostId="4480" RevisionGUID="458aa781-5e37-4f02-a587-e369bb6887b7" CreationDate="2010-11-08T17:57:05.953" UserId="261" Text="It seems that it is possible to run PT 9 on the older MacBook Pros, Generation 1,1 and 2,1.&#xD;&#xA;&#xD;&#xA;At leat according to this thread on DUC&#xD;&#xA;&#xD;&#xA;http://duc.avid.com/showthread.php?t=285636" ContentLicense="CC BY-SA 2.5" />
  <row Id="7560" PostHistoryTypeId="2" PostId="4481" RevisionGUID="09da789c-51af-469e-a3fb-0144cb363311" CreationDate="2010-11-08T18:08:51.377" UserId="182" Text="According to http://www.rycote.com/resources/microphone_database/rde_-_nt5/, the Rycote 18/32 SDM Foam (104414) should fit: http://www.rycote.com/products/foam_windscreens/small_diaphragm_mic_foam/&#xD;&#xA;&#xD;&#xA;Surely there are similar general purpose foam caps from other manufacturers." ContentLicense="CC BY-SA 2.5" />
  <row Id="7561" PostHistoryTypeId="6" PostId="4478" RevisionGUID="b8be8b09-eb1d-4605-9a94-3c2b518454d2" CreationDate="2010-11-08T18:10:04.277" UserId="182" Comment="edited tags" Text="&lt;field-recording&gt;&lt;wind-protection&gt;&lt;windscreens&gt;&lt;equipment&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7562" PostHistoryTypeId="2" PostId="4482" RevisionGUID="d3a15195-e89e-45e6-b9e4-3a8835e6facc" CreationDate="2010-11-08T18:14:00.887" UserDisplayName="user49" Text="One keyword I tend to use is the project the sound was recorded for, as that is often a good memory prompt eg I need a car with a broken motor &amp; my brain instantly reminds me I recorded a Citreon running on one cylinder for the film Toy Love&#xD;&#xA;&#xD;&#xA;I also like that **Same Folder** button &amp; have it in my SM toolbar" ContentLicense="CC BY-SA 2.5" />
  <row Id="7563" PostHistoryTypeId="2" PostId="4483" RevisionGUID="47075fd0-0e75-42a9-8fc3-d017ad3ee022" CreationDate="2010-11-08T18:57:18.070" UserId="270" Text="Rycote sell small windshields which the NT5s would fit inside - check their website for NT5 compatible products, or Im sure you could use 2 Rode windshields.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I recently made a windshield which I used with an NT4, ive been meaning to write a guide for a while;&#xD;&#xA;&#xD;&#xA;http://www.haydnpayne.com/diy_windshield.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="7564" PostHistoryTypeId="2" PostId="4484" RevisionGUID="470b2b54-b496-46af-a858-43f11c9d5b75" CreationDate="2010-11-08T20:37:44.700" UserId="220" Text="It really does not make a difference - just make sure you get something with plenty of diversity.  I prefer the Lectrosonics wireless sets - I've never had a problem finding open frequencies.  They are also very expensive.  You can get away with using the Sennheiser G2 series without too many problems - just not as durable or reliable.  &#xD;&#xA;&#xD;&#xA;The reason they have changed from the traditional 700MHz range in the US is the recent shutdown of analog television stations.  It used to be an open frequency, but is nos reserved for emergency communication.  If you find a great deal on a mic that is in the 700 range - DO NOT BUY IT.  Not only is it not a good idea, soundwise, but it is also illegal to operate.  Wireless mic manufaturers are operating in the proper ranges now and will not sell you a pack that is illegal or running in high traffic.  They only sell those ranges in case you have a theater or venue with dozens of mics and have potential for overlap - lets you break up the sets of mics a bit better.  In the field, you never really know what you'll run across.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7565" PostHistoryTypeId="2" PostId="4485" RevisionGUID="65c1e563-59b8-41ee-af69-f5c4e435d6b0" CreationDate="2010-11-08T22:04:21.353" UserId="644" Text="Interesting ortf setup with blimp windpack&#xD;&#xA;&#xD;&#xA;This could be a valid way to do stereo IF you like the French array.&#xD;&#xA;&#xD;&#xA;http://audiofieldrecordings.wordpress.com/2010/09/09/rode-nt5-microphones-modified-ortfnos-recording-technique/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7566" PostHistoryTypeId="2" PostId="4486" RevisionGUID="edc3f6f6-f250-4856-bba4-9c295934efd2" CreationDate="2010-11-08T22:21:18.550" UserId="18160" Text="My studio has a Steinway grand piano in it. I've heard stories of people re-micing a voice or instrument with certain keys of the piano open so the strings sympathetically vibrate with the sound, thus adding more harmonics and another timbre to the sound.&#xD;&#xA;&#xD;&#xA;Has anyone else tried something like this in designing a sound? Would it work well to reinforce a creature vocal or creepy pad or synth with? I'm curious if anyone else has thought of this or done this in the past before I give it a go." ContentLicense="CC BY-SA 2.5" />
  <row Id="7567" PostHistoryTypeId="1" PostId="4486" RevisionGUID="edc3f6f6-f250-4856-bba4-9c295934efd2" CreationDate="2010-11-08T22:21:18.550" UserId="18160" Text="Re-micing via a Piano" ContentLicense="CC BY-SA 2.5" />
  <row Id="7568" PostHistoryTypeId="3" PostId="4486" RevisionGUID="edc3f6f6-f250-4856-bba4-9c295934efd2" CreationDate="2010-11-08T22:21:18.550" UserId="18160" Text="&lt;piano&gt;&lt;re-micing&gt;&lt;re-recording&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7569" PostHistoryTypeId="2" PostId="4487" RevisionGUID="2663e44b-936b-4ab3-b698-5c290a3e7b59" CreationDate="2010-11-08T23:12:06.437" UserId="61" Text="It's a cool idea…the closest I've come to that recently is using the Bosendorfer IR set in Altiverb to give certain sounds a musical quality or resonance. Sometimes it works, sometimes it doesn't…but you never know till you try!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7570" PostHistoryTypeId="2" PostId="4488" RevisionGUID="1fd6cbc4-6c86-4bc3-ab9f-47018a90f4cf" CreationDate="2010-11-09T01:50:27.503" UserId="338" Text="It sounds like it would work.  Of course the sound designers for Treebeard in LOTR re-miced his voice through a wooden box.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7571" PostHistoryTypeId="2" PostId="4489" RevisionGUID="08845ec0-2109-4175-85c5-824f82952383" CreationDate="2010-11-09T05:56:53.230" UserDisplayName="user80" Text="This technique works really well for almost anything, especially if you hold down the keys of notes that are either fundamentals or harmonics.  Even order harmonics tend to make the sound more harmonious and odd order harmonics tend to make a sound more discordant.  The technique is sometimes called 'Dragon's Breath' and is really fun, especially if you have access to a Steinway D." ContentLicense="CC BY-SA 2.5" />
  <row Id="7572" PostHistoryTypeId="2" PostId="4490" RevisionGUID="129d516f-2f3d-4740-befd-c20be39037d2" CreationDate="2010-11-09T09:39:52.213" UserId="641" Text="Hi y'all!&#xD;&#xA;&#xD;&#xA;Currently I play around with Cubase LE 4 (I got it with my Zoom H4 and My Presonus Firebox) but I long for a Soundforge like product that I used to have many, many years ago...&#xD;&#xA;I'm looking to do final mixing for film and TV, foley recording and sound design kind of stuff.  Any suggestions and the reasons why you suggest?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Oh yes, I prefer the MAC platform..." ContentLicense="CC BY-SA 2.5" />
  <row Id="7573" PostHistoryTypeId="1" PostId="4490" RevisionGUID="129d516f-2f3d-4740-befd-c20be39037d2" CreationDate="2010-11-09T09:39:52.213" UserId="641" Text="What DAW should I go for?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7574" PostHistoryTypeId="3" PostId="4490" RevisionGUID="129d516f-2f3d-4740-befd-c20be39037d2" CreationDate="2010-11-09T09:39:52.213" UserId="641" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7575" PostHistoryTypeId="2" PostId="4491" RevisionGUID="dd3f1fa9-f067-40e3-979b-845b76c29d19" CreationDate="2010-11-09T10:10:00.777" UserId="400" Text="From what I've picked up from listening to a lot of the other guys here and on Twitter, Wavelab + Sound Forge seem to be the business, as does Bias Peak Studio (pro?).&#xD;&#xA;&#xD;&#xA;I'd argue you could use Pro Tools for a lot of editing and audio treatment, but the programs listed above are dedicated audio editors and more suited to the task.&#xD;&#xA;&#xD;&#xA;Might also want to look into izotope RX2 as far as plugins go.&#xD;&#xA;&#xD;&#xA;Please, anyone else feel free to chime in here or correct me, I'm far from an expert on this topic.&#xD;&#xA;&#xD;&#xA;Best piece of advice possible:&#xD;&#xA;Want to edit audio? Avoid Logic like a rabid zombie with herpes. It really is THAT bad." ContentLicense="CC BY-SA 2.5" />
  <row Id="7576" PostHistoryTypeId="2" PostId="4492" RevisionGUID="eea6c4e2-8ecc-42bf-9873-e0ebce7fd83e" CreationDate="2010-11-09T10:21:59.643" UserId="238" Text="Hi Andre,&#xD;&#xA;&#xD;&#xA;There are already some very in-depth threads on the subject so have a read through those and you'll get the general idea of the pros and cons of the most popular DAWs. Most people are using Pro Tools, with a fare number of others (including myself) using Nuendo. As for audio editors, there are a lot of good examples of software ranging from cheap to very, very expensive. Anyway, here are some links to get you going, plus the 'Related' menu on the right usually gives some good suggestions for other threads on the same subject.&#xD;&#xA;&#xD;&#xA;[Which DAW?][1]&#xD;&#xA;&#xD;&#xA;[Pro Tools vs Logic][2]&#xD;&#xA;&#xD;&#xA;[A trip down DAW memory lane!][3]&#xD;&#xA;&#xD;&#xA;Hope it helps!&#xD;&#xA;&#xD;&#xA;Colin&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/509/which-daw-do-you-use&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/826/pro-tools-vs-logic&#xD;&#xA;  [3]: http://socialsounddesign.com/questions/3170/a-trip-down-your-daw-memory-lane" ContentLicense="CC BY-SA 2.5" />
  <row Id="7577" PostHistoryTypeId="2" PostId="4493" RevisionGUID="2834b21b-b775-4aa5-a4f8-d02b0412cf11" CreationDate="2010-11-09T11:26:47.907" UserId="641" Text="My 2 cents:&#xD;&#xA;&#xD;&#xA;Keep the originals untouched!&#xD;&#xA;The GPS logging thing sounds great but I don't know of any standards regarding it, so I guess google earth would be good enough?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7578" PostHistoryTypeId="2" PostId="4494" RevisionGUID="9178e8db-98a4-47c2-95fd-ccc7a652d36f" CreationDate="2010-11-09T11:33:48.950" UserId="533" Text="What you are looking for are two rather different tools. A DAW for mixing and a stereo file editor for stereo file editing.&#xD;&#xA;&#xD;&#xA;I noticed that you mentioned mixing for film and tv. Are you speaking of it at a commercial level? I would actually suggest Pro Tools if the people that you are working with are going to be using it too. Especially with Pro Tools 9 the cost of doing mixing for film and tv has gone down a lot. But remember that Pro Tools 9 isn't a buy one buy all kind of solution. I personally do not feel that the plugins are as complete as I would like it to be. Most would compare it to Logic 9 where the plugin collection is much better. However, I feel that Logic 9 is much better suited for musicians and composing.&#xD;&#xA;&#xD;&#xA;I would suggest getting something else for sound design and/or foley editing as Pro Tools can be overkill for such purposes. I like Wave Editor by Audiofile Engineering for editing sound files as it is really fast. Loading Pro Tools to edit a wave file is simply ridiculous. Other options include Wavelab, Bias Peak but I look to them for audio mastering rather than just editing. It all depends on how much editing you need to do in them.&#xD;&#xA;&#xD;&#xA;It all boils down to your preferences and the environment that you are working in. Look around for a chance to try different software and the tools that you will need. You don't have to have everything to get started. You can always upgrade in the future if you find something is lacking." ContentLicense="CC BY-SA 2.5" />
  <row Id="7579" PostHistoryTypeId="2" PostId="4495" RevisionGUID="e06b4515-8388-42e3-a7bc-87cb37773e03" CreationDate="2010-11-09T15:41:56.117" UserId="6411" Text="We've built up a number of sound effects for transitions; flashes, wipes, swish pans, zooms, etc. As we don't have SM we lumped them under a PT workspace catalog titled 'XFX'" ContentLicense="CC BY-SA 2.5" />
  <row Id="7580" PostHistoryTypeId="2" PostId="4496" RevisionGUID="7aaf334a-c098-4e47-a4bf-9d69ba6901b0" CreationDate="2010-11-09T16:21:24.160" UserId="29" Text="If you can get out of the city and onto open spaces or trails that go near or through farms, cow/livestock gates are incredible sources of metallic creaks. Any exterior wooden gate that's been exposed to the elements can often be super-creaktastic. Seasoned firewood can be pulled apart and sounds great when pitched down two octaves. Close-miking wicker chairs and baskets, with subsequent pitch-shifting, is super handy as well. Don't overlook the hackneyed but still awesome dry-ice-on-metal trick. Metal scraping on metal, like a shovel in a wheelbarrow or oil drum, can also be a good technique (as suggested by Rene, it's all in the angle). Heck, something as simple as a carpentry hammer's claw on the back of a shovel has given me good results in the past." ContentLicense="CC BY-SA 2.5" />
  <row Id="7581" PostHistoryTypeId="2" PostId="4497" RevisionGUID="6b5bad69-766e-4b62-b5de-807f7cf60ebf" CreationDate="2010-11-09T16:24:52.280" UserId="29" Text="Never forget the classic Foley artist trick of using cornstarch...not the end-all-be-all, but a great layer or starting point, depending on the apparent snow quality in the picture." ContentLicense="CC BY-SA 2.5" />
  <row Id="7582" PostHistoryTypeId="2" PostId="4498" RevisionGUID="27f973db-4821-4708-afe4-9b1e335484b5" CreationDate="2010-11-09T16:28:52.903" UserId="46" Text="With such a wealth of information (videos, articles, forum threads, etc) out there in cyberland, anyone have a neat way to save/archive/organize/bookmark useful articles and info for future recollection?&#xD;&#xA;&#xD;&#xA;Obviously with OSX it's easy to &quot;print&quot; and save .pdfs, and there are a number of utilities out there to save videos from YouTube, Vimeo, etc. And then just organize into hierarchical folders.&#xD;&#xA;&#xD;&#xA;I use Delicious for online bookmarks but that starts getting unwieldy even with somewhat thorough tagging, and sometimes links disappear. Have also mildly dabbled with Zotero (which is more academic-based) as well. Just curious if anyone has anything they'd like to share with the class. Data management is pretty key with so much stuff out there in the ether.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7583" PostHistoryTypeId="1" PostId="4498" RevisionGUID="27f973db-4821-4708-afe4-9b1e335484b5" CreationDate="2010-11-09T16:28:52.903" UserId="46" Text="How do you maintain and organize your sound library? (Literature/articles/videos, not SFX)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7584" PostHistoryTypeId="3" PostId="4498" RevisionGUID="27f973db-4821-4708-afe4-9b1e335484b5" CreationDate="2010-11-09T16:28:52.903" UserId="46" Text="&lt;data&gt;&lt;literature&gt;&lt;library&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7585" PostHistoryTypeId="2" PostId="4499" RevisionGUID="fba5c422-f631-4fda-a47d-57275898b5da" CreationDate="2010-11-09T16:59:03.773" UserId="587" Text="You mentioned you wanted to do film. Pro Tools is the industry standard. If a professional posting house is mixing or recording, it will be done in Pro Tools. There will be exceptions, but what I will say is that both the West USA movie industries in LA and Vancouver are Pro Tools exclusive. Nuendo is the little bro of the industry. I cant say much on Nuendo, I have only used it rarely.&#xD;&#xA;&#xD;&#xA;Now with PT9 working with any interface, its like any other DAW that you can use with any hardware now. This almost makes it a no-brainer for anyone - but this perspective is usually shared with other PT users as opposed to non-PT users.&#xD;&#xA;&#xD;&#xA;The end to my rant: If you are going to own your own business for local audio editing, mixing, post production for commercials etc. and have everything in house - use whatever you want. If you want to be in the industry as a work for hire - or as an editor for movies etc. use Pro Tools. Knowing Pro Tools is like knowing the basics for this industry - but its not an end all either. Most people say that if you know 1 DAW, you know them all. I find it to be true, its just there is a learning curve to any program - many people know how to use them, but who can work the fastest and most efficiently is a different story.&#xD;&#xA;&#xD;&#xA;In terms of whats being taught educationally - both my Bachelors in Music Production and Post Graduate in Sound Design for Film and Games were taught in Pro Tools. Logic was next. Logic is good for music composition. I havent found much use for it anywhere else, however it does come with timecode and frame editing right out of the box, which is something you need to pay for with PT.&#xD;&#xA;&#xD;&#xA;On other programs mentioned:&#xD;&#xA;I used Wavelab to master albums and print CD's with the corresponding metadata (tags, song spacing, etc). And I used SoundForge to do small audio tasks if it was the program available. Wavelab is a fine program, and I wouldnt talk smack about it either, now SoundForge on the other hand...&#xD;&#xA;&#xD;&#xA;Note: I am not too much of a fan of anything running on Windows, as the possibility of a crash (that you cannot force quit) upon DSP/CPU freak out is slightly higher than on a Mac. This statement is strictly my opinion based on my own experience and observation. Do not quote me on this or your computer will explode..." ContentLicense="CC BY-SA 2.5" />
  <row Id="7586" PostHistoryTypeId="2" PostId="4500" RevisionGUID="d3458771-2881-4c2d-8ed9-4a9ec7f9b7ce" CreationDate="2010-11-09T17:20:02.620" UserId="338" Text="I was wishing last night that I had Nuendo for windows because of the 3D sound plug-in by ISONO.  Pro Tools is the industry standard but for some people its just as well to play spin the bottle and pick whichever DAW it lands on.  Good luck!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7587" PostHistoryTypeId="2" PostId="4501" RevisionGUID="632b73eb-1914-467c-889a-2e8e9c3372d2" CreationDate="2010-11-09T17:21:39.403" UserId="29" Text="I'm sooo behind the ball on cloud-based bookmark sync, so this is a great topic for me to follow.&#xD;&#xA;&#xD;&#xA;As a user of iOS devices, I've fallen totally in love with Instapaper: Whack any webpage with a bookmarklet/applet, and you can sync your devices with the Instapaper service, and it renders the page without navs or ads, and it really winds up looking like an eReader kind of reading experience. Really smart, and how I digest 90% of Designing Sound's articles, which I usually don't have time to read at work! :-)&#xD;&#xA;&#xD;&#xA;I also have a whole &quot;AudioDocs&quot; folder on my boot drive, which is subdivided into &quot;Technique,&quot; &quot;GearDocumentation,&quot; &quot;TechPapers,&quot; and so forth, which is where I put PDFs and images/diagrams, even if I have hard-copy manuals. I then use Good Reader on the iPad to keep all this on the iPad, so I can pull up any manual I need without needing to switch back and forth between a software app and Acrobat.&#xD;&#xA;&#xD;&#xA;I also have a folder of reference movies; these are digital copies of videos that I own, or short clips that I either want to study for excellent sound or re-dub for practice. This also gets synced with my iPad or iPhone for the occasional bus or subway ride." ContentLicense="CC BY-SA 2.5" />
  <row Id="7588" PostHistoryTypeId="2" PostId="4502" RevisionGUID="c4223de3-a4a5-4673-a6e4-927a878f0717" CreationDate="2010-11-09T17:35:00.417" UserId="10" Text="I use Evernote a lot for that, saving content with tags, different notebooks, categories etc. I put there all the relevant stuff I found in the web, and also my own notes, references, etc.. It's amazing for this kind of tasks! &#xD;&#xA;&#xD;&#xA;You can setup clippers in the computer or in the browser, create custom shortcuts, save the original URL of the document being saved, and also attach files to the notes. It's fast, easy to use and free! &#xD;&#xA;&#xD;&#xA;I have several notebooks for sound design stuff, for example:&#xD;&#xA;&#xD;&#xA; - Sound design interviews &#xD;&#xA; - Sound design articles &#xD;&#xA; - Field recording articles&#xD;&#xA; - Sound design notes&#xD;&#xA; - Mixing guides&#xD;&#xA;&#xD;&#xA;Plus, you can access the material from Desktop (Win/Mac) and also on an Internet Broswer or even your mobile device. You have several view options, filters, etc. And the search engine is fantastic and very fast... it can even search for text inside images.&#xD;&#xA;&#xD;&#xA;Take a look: http://evernote.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="7589" PostHistoryTypeId="2" PostId="4503" RevisionGUID="52b4d585-57d4-4889-af6e-fe935516fcea" CreationDate="2010-11-10T06:49:46.843" UserId="348" Text="We have some rechargeable batteries that are used on our Nagra LB's (8 in total) They are not the best and many of them are now refusing to recharge. There have been a number reasons for and my question is this: When recharging, can you just leave the batteries in the recharger for as long as you want or will this process eventually damage the batteries lifespan" ContentLicense="CC BY-SA 2.5" />
  <row Id="7590" PostHistoryTypeId="1" PostId="4503" RevisionGUID="52b4d585-57d4-4889-af6e-fe935516fcea" CreationDate="2010-11-10T06:49:46.843" UserId="348" Text="Rechargable Batteries" ContentLicense="CC BY-SA 2.5" />
  <row Id="7591" PostHistoryTypeId="3" PostId="4503" RevisionGUID="52b4d585-57d4-4889-af6e-fe935516fcea" CreationDate="2010-11-10T06:49:46.843" UserId="348" Text="&lt;rechargable&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7592" PostHistoryTypeId="2" PostId="4504" RevisionGUID="9e49f582-e779-4a96-bac9-4ee104bd1c5b" CreationDate="2010-11-10T07:10:28.500" UserId="587" Text="Yep - leaving batteries in the AA charger was a no no while I had rented Fostex and Maranz.  Specifically said to not leave them in past when the light turned green - the batteries would then start to drain life.&#xD;&#xA;&#xD;&#xA;I like the lithium ion battery packs - the kind that look like they go on camcorders - but they are for the Sound Devices portable recorder line. Those wont drain back down, and you can charge them with the wall adapter plugged into the device, or with a battery charger for the wall as well.&#xD;&#xA;&#xD;&#xA;Sometimes you can find what I guess could be called &quot;logs&quot; that fit into certain devices that are hooked to a larger battery source/brick. Might try looking for one of those if one exists for the Nagra.&#xD;&#xA;&#xD;&#xA;Best of luck!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7593" PostHistoryTypeId="2" PostId="4505" RevisionGUID="820ee494-f93c-4343-8940-8069aa6977ba" CreationDate="2010-11-10T07:48:06.753" UserId="40" Text="Older/cheaper batteries can be damaged by &quot;overcharging&quot;, but good ones won't be. Also depends on your charger. &quot;Smart&quot; chargers will stop charging once the battery is full, and can keep them full over an extended period of time. Check the manufacturer's specs on the batts and charger to figure out which boat you're in.&#xD;&#xA;&#xD;&#xA;Also, how long have you used them? Rechargeables are only rated for a certain number of charges before they &quot;die&quot;.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7594" PostHistoryTypeId="2" PostId="4506" RevisionGUID="ae93ba55-b040-43bc-9040-c76017ab0b5d" CreationDate="2010-11-10T13:22:49.070" UserId="432" Text="The whole issue of battery &quot;memory&quot; and decreased capacity over time has to do specifically with the battery's chemistry. Eventually, any rechargeable will dry up, it's simply a matter of how fast they do it (and &quot;memory&quot; affects that particular variable). NiMH and Lithium Ion are two of the chemical types least susceptible to battery memory. But, like I said, sooner or later everything dies." ContentLicense="CC BY-SA 2.5" />
  <row Id="7595" PostHistoryTypeId="2" PostId="4507" RevisionGUID="e3a8251e-c27a-4514-8f64-371fa3fa2d40" CreationDate="2010-11-10T14:58:37.817" UserId="429" Text="Eeek!! Short notice requires me to purchase and edit chariot race sfx please pm me if you have private library source that I can purchase .. Thanks !!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7596" PostHistoryTypeId="1" PostId="4507" RevisionGUID="e3a8251e-c27a-4514-8f64-371fa3fa2d40" CreationDate="2010-11-10T14:58:37.817" UserId="429" Text="Need to buy sfx for chariot race  !! Asap" ContentLicense="CC BY-SA 2.5" />
  <row Id="7597" PostHistoryTypeId="3" PostId="4507" RevisionGUID="e3a8251e-c27a-4514-8f64-371fa3fa2d40" CreationDate="2010-11-10T14:58:37.817" UserId="429" Text="&lt;sfx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7598" PostHistoryTypeId="2" PostId="4508" RevisionGUID="0f897216-0448-4a15-b09b-905afb455038" CreationDate="2010-11-10T16:30:57.830" UserId="37" Text="modern day chargers will switch off after a certain amount of time. this can be up to 16 hours. (this variable amount is one of the reasons why you don't mix different brand chargers&amp;batteries). NiMH batteries are fiddly and in addition to a varying memory effect usually self-discharge. Only brand (AA) that I've seen perform well over a long period of time is Eneloop (now licensed and branded by Apple too).&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7599" PostHistoryTypeId="2" PostId="4509" RevisionGUID="e9a63c9e-1b00-4ca3-9646-dd942af7e725" CreationDate="2010-11-10T16:38:12.887" UserId="659" Text="Hi,&#xD;&#xA;&#xD;&#xA;I had the same problem but it's gone after I set my drives to 'private' in the Spotlight preferences!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7600" PostHistoryTypeId="2" PostId="4510" RevisionGUID="3c09abb8-c267-4f04-9506-af90cf57931e" CreationDate="2010-11-10T16:44:36.853" UserId="410" Text="I was recently looking for some additional audio infos about Dice's Battlefield Bad Caompany. Which is a really really good game in audio terms.&#xD;&#xA;&#xD;&#xA;And I found this : http://www.slideshare.net/aclerwall/how-high-dynamic-range-audio-makes-battlefield-bad-company-go-boom-1292018&#xD;&#xA;&#xD;&#xA;I'm planning to create audio workflow for a racing game. And I was questionning myself : How can I make this game's audio goes BOOM like BFBC. Is there's any book talking about real-time audio mix &amp; mastering ? What basics may I know before stepping into this ?&#xD;&#xA;&#xD;&#xA;By the way, I hope you'll like this slideshow if you didn't knew about it.&#xD;&#xA;&#xD;&#xA;PS: Sorry for my poor english guys.. Hope everybody could understand :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7601" PostHistoryTypeId="1" PostId="4510" RevisionGUID="3c09abb8-c267-4f04-9506-af90cf57931e" CreationDate="2010-11-10T16:44:36.853" UserId="410" Text="HDR AUDIO ? (in video games)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7602" PostHistoryTypeId="3" PostId="4510" RevisionGUID="3c09abb8-c267-4f04-9506-af90cf57931e" CreationDate="2010-11-10T16:44:36.853" UserId="410" Text="&lt;video-games&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7603" PostHistoryTypeId="5" PostId="4510" RevisionGUID="cad7248c-2ee6-49b9-b8a3-be1c103c758e" CreationDate="2010-11-10T16:53:25.820" UserId="410" Comment="fixed grammar" Text="I was recently looking for some additional audio infos about Dice's Battlefield Bad Caompany. Which is a really really good game in audio terms.&#xD;&#xA;&#xD;&#xA;And I found this : http://www.slideshare.net/aclerwall/how-high-dynamic-range-audio-makes-battlefield-bad-company-go-boom-1292018&#xD;&#xA;&#xD;&#xA;I'm planning to create an audio workflow for a racing game. And I was questionning myself : How can I make this game's audio goes BOOM like BFBC. Is there's any book talking about real-time audio mix &amp; mastering ? What basics may I know before stepping into this ?&#xD;&#xA;&#xD;&#xA;By the way, I hope you'll like this slideshow if you didn't knew about it.&#xD;&#xA;&#xD;&#xA;PS: Sorry for my poor english guys.. Hope everybody could understand :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7604" PostHistoryTypeId="2" PostId="4511" RevisionGUID="19c58c38-bdcb-4e75-800d-9333a8c71f03" CreationDate="2010-11-10T18:04:27.103" UserId="361" Text="I use evernote alot for this purpose as well. Nice thing about it too, is that as you read, you can also make notes about the important points right there in the same program. &#xD;&#xA;&#xD;&#xA;I have also starting using the &quot;reader&quot; button in safari to clean up articles to the essentials and save them as a PDF. It turns out that without any other formating, PDFs made through this method look great on a kindle in Landscape mode. I have done tons of my reading over the last month that way. &#xD;&#xA;&#xD;&#xA;Especially articles from Designing Sound ;) Miguel " ContentLicense="CC BY-SA 2.5" />
  <row Id="7605" PostHistoryTypeId="2" PostId="4512" RevisionGUID="b600f587-b469-4323-abc2-8494ff8db402" CreationDate="2010-11-10T18:33:43.607" UserId="338" Text="Hi everyone.  I am wondering if there are any vocoders that come recommended by people at this forum.  Right now, I am working on a project for a video game.  The hits, I want to be vocoded with a synth sound and so I am looking for vocoders.  Are there any suggestions out there?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7606" PostHistoryTypeId="1" PostId="4512" RevisionGUID="b600f587-b469-4323-abc2-8494ff8db402" CreationDate="2010-11-10T18:33:43.607" UserId="338" Text="What are some good vocoders to use?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7607" PostHistoryTypeId="3" PostId="4512" RevisionGUID="b600f587-b469-4323-abc2-8494ff8db402" CreationDate="2010-11-10T18:33:43.607" UserId="338" Text="&lt;vocoder&gt;&lt;style&gt;&lt;suggestions&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7608" PostHistoryTypeId="2" PostId="4513" RevisionGUID="077b2900-0fba-417a-ada6-f01938170922" CreationDate="2010-11-10T18:56:26.057" UserId="338" Text="Hi everyone.  I have a question about creating sounds that go with a video game.  The type of video game is a player vs. player game where you choose your characters and fight over a short period of time to see who is the champion.  Each character has his or her own set of moves and personality.  It is a really colorful game with both sight and sound, a lot like Marvel vs. Capcom.  If you have any ideas, please let me know.  My question is, how do you make hit sounds sound great?  If you have the chance, brainstorm some ideas.  My basic hit is a recording of hand claps and leg slaps through cloth.  The result, after some EQ and layering, is a full sound but not what I am looking for because it is lacking size and style.  Thanks in advance for any responses you might have." ContentLicense="CC BY-SA 2.5" />
  <row Id="7609" PostHistoryTypeId="1" PostId="4513" RevisionGUID="077b2900-0fba-417a-ada6-f01938170922" CreationDate="2010-11-10T18:56:26.057" UserId="338" Text="Video Game Hit Sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="7610" PostHistoryTypeId="3" PostId="4513" RevisionGUID="077b2900-0fba-417a-ada6-f01938170922" CreationDate="2010-11-10T18:56:26.057" UserId="338" Text="&lt;game&gt;&lt;effect&gt;&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7611" PostHistoryTypeId="2" PostId="4514" RevisionGUID="3a40945d-25c2-4a96-8678-2b4d222b36ed" CreationDate="2010-11-10T19:00:54.487" UserId="432" Text="DICE was at the AES convention last week talking specifically about their HDR mixing process in the Battlefield games. I believe recordings will go up for purchase on the AES website later this week, so that might be useful to you. It was an interesting talk, but don't expect too much on the technical side. The discussion was really more about rules for mixing than the specific technology. There are some basic rules to mixing that carry across any medium: what's important, spectral content, dynamics and pacing, etc. Approach your workflow design in those terms, and you'll find a lot of things fall into place on their own.&#xD;&#xA;&#xD;&#xA;There's going to be those wonderful trouble spots that don't, but I personally like problem solving. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7612" PostHistoryTypeId="2" PostId="4515" RevisionGUID="9491aef9-0edb-4cd1-96e9-acb180d0e099" CreationDate="2010-11-10T19:13:27.740" UserId="432" Text="This isn't just a game idea, it's a question of overall sound design approach. If you watch any action movie, those body hits are almost always augmented with bigger impacts and/or weaponry (boulder drops, cannons, etc.). They layer those things in underneath the main impact sound. The other thing to keep in mind is how much of the frequency spectrum you're making use of. If your impact has a narrow bandwidth, it's going to sound like it's lacking energy and character. &#xD;&#xA;&#xD;&#xA;If you've got the memory/processing power in the engine, think about the characters and any attributes that are unique to them alone. After you've done that, think about real-world objects that relate to those ideas. For example, if one character is incredibly fast, a jet sound or some other sort of doppler by might work well as a lead in to the actual impact. Those are going to be higher pitch sounds, so maybe you'll want the low-mid frequencies to have a stronger presence at the actual impact. So, what's going to make your sounds unique isn't necessarily just the impact sound itself, but the acoustic movement into and out of the hit.&#xD;&#xA;&#xD;&#xA;If you don't have the freedom to create sounds for each character, you can apply similar techniques to the different intensity of hits. Whatever you do, create as wide a range as you can (within the limits of the system of course), so you maintain strong variation throughout the game. Repetition is death for audio." ContentLicense="CC BY-SA 2.5" />
  <row Id="7613" PostHistoryTypeId="2" PostId="4516" RevisionGUID="c4f474ff-4422-4aba-889f-0a480acd9084" CreationDate="2010-11-10T19:53:54.367" UserId="238" Text="+1 on Shaun's answer! You will definitely see the benefits of mixing various sounds together. Very often, real-world sounds that, if heard alone would sound un-related, can be layered in to great effect. As Shaun said, using sounds that represent some part of the character can work really well. Often this technique is done so subtly that the listener/user won't even realise what they've heard. Playing with the audience/user's emotion is one of the most powerful tools a sound designer has! In terms of EQing, you can also get really creative when working with layers i.e. build your overall EQ by manipulating the EQ of each individual layer. Get creative, think outside of the box and just try stuff out and see if it works. Some of the best results are often mistakes!&#xD;&#xA;&#xD;&#xA;Good luck... " ContentLicense="CC BY-SA 2.5" />
  <row Id="7614" PostHistoryTypeId="2" PostId="4517" RevisionGUID="9d42d531-5765-4e47-94d2-8109523b6976" CreationDate="2010-11-10T20:52:29.283" UserId="402" Text="There's quite allot of info about DICE's HDR system knocking about on the net. If you google it you will find it.&#xD;&#xA;&#xD;&#xA;Essentially its a system that prioritises and mixes audio based on the loudness perceived by the player at any one time. It works by taking a dB range (lets say 50dB) and culling any sound quieter than 50dB less than the loudest sound perceived by the player. This &quot;window&quot; in which sounds are heard shifts depending on the loudest sound perceived by the player.&#xD;&#xA;&#xD;&#xA;See diagram &#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;What you need to know before attempting this? A good level of audio programming is essential. If you don't have a background in programming you will need to find someone, to my knowledge there isn't a freely available version of this tech it's all proprietary.&#xD;&#xA;&#xD;&#xA;Short example of the system in action;&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=ZWO2kx6QTeE&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://dl.dropbox.com/u/4790383/HDR.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="7615" PostHistoryTypeId="2" PostId="4518" RevisionGUID="0d587168-c267-4e59-8b3e-29860c8b3cae" CreationDate="2010-11-10T23:10:14.813" UserId="558" Text="I am delivering 2 reels of FX for a film that is mixing next week, and decided to edit on my Nuendo PC (becuase I love it and my Ptools is LE and wasn't cutting it). I do not have digitranslator at home, but that is what they are using at the studio to try the import.&#xD;&#xA;&#xD;&#xA;I have created OMF and AAF files from N4 (both with embedded audio and with audio references) and none of them are readable on the Mac.&#xD;&#xA;&#xD;&#xA;Both the aaf and the omf files can be read back into my N4, so I think they are being created correctly.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any ideas?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7616" PostHistoryTypeId="1" PostId="4518" RevisionGUID="0d587168-c267-4e59-8b3e-29860c8b3cae" CreationDate="2010-11-10T23:10:14.813" UserId="558" Text="Need Help Quick! Nuendo PC (V4) -&gt; Mac PTools conversion needed.  Anyone know how?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7617" PostHistoryTypeId="3" PostId="4518" RevisionGUID="0d587168-c267-4e59-8b3e-29860c8b3cae" CreationDate="2010-11-10T23:10:14.813" UserId="558" Text="&lt;nuendo4&gt;&lt;pro-tools&gt;&lt;conversion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7618" PostHistoryTypeId="2" PostId="4519" RevisionGUID="7f7f2ed7-2fde-4bbd-9703-55f7b9e42638" CreationDate="2010-11-11T01:20:18.670" UserId="202" Text="hi David&#xD;&#xA;&#xD;&#xA;The last time I tried that I was trying from Nuendo 3 to Pt 7.4, and it was really difficult, maybe with Nuendo4 things are easier. ProTools doesn't really like aaf and omf from nuendo. &#xD;&#xA;&#xD;&#xA;First all the audiofiles in nuendo must have same format, same samplerate and bit depth.&#xD;&#xA;&#xD;&#xA;Then all the files must be mono or split (no interleaved files in the omf/aaf for pt).&#xD;&#xA;&#xD;&#xA;And maybe there was something else that I don't remember now.&#xD;&#xA;&#xD;&#xA;Have a look at the steinberg nuendo forum, there are lots of threads discussing OMF and sessions exchange.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7619" PostHistoryTypeId="2" PostId="4520" RevisionGUID="390e6b24-99e9-4a66-b591-e939ecd51e0e" CreationDate="2010-11-11T03:21:44.947" UserId="275" Text="Nuendo is able to handle multiple bit depths within the same project but all the sample rates must be the same.  But, as Davide mentioned, they should all be the same bit depth and sample rate for the sake of the OMF.  Other than that, you should be able to export the OMF as you would normally and it should be read by PT, assuming they have the ability to import OMF.  &#xD;&#xA;&#xD;&#xA;As for why it's not being read on the Mac?  I'm not sure.  Are you putting it on a hard drive that is formatred NTFS, thereby only able to be read by a PC?  Be sure to put it on a FAT32 hard drive so it can be read by both PC and Mac.  Also, an OMF has a max file size of 2gb so be sure your OMF is under that.  If the entire session is over 2gb with all of the files then export multiple OMF's.  For example, removing half your tracks, exporting only the first bunch of channels, then doing the same with the last bunch of channels.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7620" PostHistoryTypeId="2" PostId="4521" RevisionGUID="a4049f25-f982-4612-b4af-be80a7a0d6f3" CreationDate="2010-11-11T04:39:06.647" UserId="6435" Text="Lots of old apartment buildings in Chicago have wood banisters in their main stairwell that date back 75 years. Lean on 'em and you can get some fantastic wood creaks. Not sure what area you're in but if there are old apartment buildings around, you might find some cool stuff." ContentLicense="CC BY-SA 2.5" />
  <row Id="7621" PostHistoryTypeId="2" PostId="4522" RevisionGUID="eb332fb2-fead-4b22-a28d-f4abd7c2bf5e" CreationDate="2010-11-11T05:48:56.677" UserId="348" Text="Some great answers! I find that the lazy, easy way out is to source hits/ bodyfalls on a sound library and layer/EQ from this point. But I find the best way is to foley them with at least 3 layers to get all the complimentary frequencies and energy. Like guns. body hits in games or movies sound nothing like the real thing. I have used heavy cotton bags or old mail bags w\filled with clothes for the cloth body hit, a perforated heavy foam board for the density and a skin hit for that organic feel. Has worked for me. As for body falls, phone book wrapped in duct tape and covered with the correct article of clothing for the weight and then sweetened with some arms and legs. Sounds great. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7622" PostHistoryTypeId="2" PostId="4523" RevisionGUID="287e6f59-5a5b-4eae-91b2-f40bde654612" CreationDate="2010-11-11T07:06:46.967" UserId="168" Text="It's a bit of a nightmare. Nuendo 4 reads its own OMF/AAFs fine but Pro Tools will just not accept it right.&#xD;&#xA;&#xD;&#xA;If your session has plain edits (little automation and clip gain) then you shouldn't have problems. If not, your &quot;mix&quot; might just not translate the same. Also Nuendo will not export stereo split files along with the OMF/AAF. So PT will read the stereo tracks as mono tracks with missing audio files because it can't read stereo interleaved files.&#xD;&#xA;&#xD;&#xA;My only work around was to export OMF/AAF from Nuendo, import into Logic and get Logic to re-export the OMF/AAF with split stereo files. Although much of the automation was lost this way.&#xD;&#xA;&#xD;&#xA;The only easy way to do this in my experience is to use SSL's Pro Convert, although it's an expensive solution.&#xD;&#xA;&#xD;&#xA;I suggest you export both an OMF &amp; AAF and get it checked at the mix stage well in advance to make sure everything works fine.&#xD;&#xA;&#xD;&#xA;I ended up spending a couple of days exporting WAV files because nothing could work.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7623" PostHistoryTypeId="2" PostId="4524" RevisionGUID="80e21d7e-cb44-4d62-9cac-1efd87c3fdd7" CreationDate="2010-11-11T07:20:47.010" UserId="168" Text="I'm working with a musician who conducts workshops for corporates. He's a percussionist and uses music and percussion to teach them stuff. This time around he's working with about 400 people in a huge ball room. He plans to split them up into groups of 40-50 and get each group to &quot;perform&quot; percussion with simple objects (or even hand claps/foot stomps). Considering there are so many people he wants each group to hear what the other groups are up to - as it's important to get everyone to perform together.So, he wants to mic up each group (unobtrusively) and use a PA system to amplify the sound. His brief was &quot;Not too loud, just loud enough to re-enforce the sound so that everyone can hear whats happening&quot;.&#xD;&#xA;&#xD;&#xA;My initial thoughts were:&#xD;&#xA;&#xD;&#xA;1- Thats a lot of people!&#xD;&#xA;2- Possible feedback issues&#xD;&#xA;3- Can't use too many microphones/cables - something is bound to get knocked off/damaged/get in the way&#xD;&#xA;4- Use multiple booms around the room, except being an indoor space there are bound to be complications.&#xD;&#xA;&#xD;&#xA;Any ideas? Choices of microphones? Maybe go wireless?&#xD;&#xA;&#xD;&#xA;I also thought of PZMs - but can't see the practicality in it.&#xD;&#xA;&#xD;&#xA;All ideas however bizzarre are welcome. :)&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7624" PostHistoryTypeId="1" PostId="4524" RevisionGUID="80e21d7e-cb44-4d62-9cac-1efd87c3fdd7" CreationDate="2010-11-11T07:20:47.010" UserId="168" Text="Sound Re-enforcement for 400 people!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7625" PostHistoryTypeId="3" PostId="4524" RevisionGUID="80e21d7e-cb44-4d62-9cac-1efd87c3fdd7" CreationDate="2010-11-11T07:20:47.010" UserId="168" Text="&lt;live-sound&gt;&lt;microphone-technique&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7626" PostHistoryTypeId="2" PostId="4525" RevisionGUID="7698cf89-dfdd-416b-8ac8-6900f620192f" CreationDate="2010-11-11T07:40:46.650" UserId="407" Text="+1 for Shaun - great answer. I would like to add a couple of things about the game itself. Like Shaun said character and design are very important, but you also have to 'teach' the player how to play and audio play a massive role in this, especially in fighting games. Most fighting games have 'powerups' before the actually hit - the bigger the hit the larger the 'powerup'. Each one has to be distinctive. Getting these right will also help in actually impact sound - 'framing' as Shaun outs it :). Death bit is also really important and should be distinctive and different from the normal hit sounds. &#xD;&#xA;To really touch base with the importance of audio in fighting games check out [Brice Mellen][1] he's a mortal combat master and plays purely by sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tinyurl.com/375wbb8" ContentLicense="CC BY-SA 2.5" />
  <row Id="7627" PostHistoryTypeId="2" PostId="4526" RevisionGUID="4ef73fbd-406e-4f8f-95cb-363b2fe0f0cc" CreationDate="2010-11-11T08:06:42.613" UserId="407" Text="Dice were also explaining their HDR system at GDC in 2009 I think. DICE use their own tech written from the ground up - and it's designed very much to suit their style of games. Racing games have a whole different set of requirements, mostly revolving around the perception of speed and power ;) - Creating something like DICE's HDR system might overkill for the racing game genre. Also from what I understand it is quite resource hungry.&#xD;&#xA;Something a bit simpler but equally as effective like using Wwise's ingame [sidechaining][1] might be a good option. Sorry if I've burst your bubble ;)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=TSA-q4dzvd8&amp;hd=1" ContentLicense="CC BY-SA 2.5" />
  <row Id="7628" PostHistoryTypeId="5" PostId="4525" RevisionGUID="51a17a03-c9cf-429b-8163-5b20bb0e7929" CreationDate="2010-11-11T08:31:26.957" UserId="407" Comment="deleted 4 characters in body" Text="+1 for Shaun - great answer. I would like to add a couple of things about the game itself. Like Shaun said character and design are very important, but you also have to 'teach' the player how to play and audio play a massive role in this, especially in fighting games. Most fighting games have 'powerups' before the actually hit - the bigger the hit the larger the 'powerup'. Each one has to be distinctive. Getting these right will also help in actually impact sound - 'framing' as Shaun outs it :). Death is also really important and should be distinctive and different from the normal hit sounds. &#xD;&#xA;To really touch base with the importance of audio in fighting games check out [Brice Mellen][1] he's a mortal combat master and plays purely by sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tinyurl.com/375wbb8" ContentLicense="CC BY-SA 2.5" />
  <row Id="7629" PostHistoryTypeId="2" PostId="4527" RevisionGUID="5a07a75d-f2a8-4aa0-a3c4-da9962a8a80a" CreationDate="2010-11-11T09:43:14.030" UserId="593" Text="Since you didn't really specify whether you plan on implementing or designing the audio pipeline then I would recommend looking into the many articles by e.g. Rob Bridgett who won't supply you code, but will supply techniques and general design concepts that might inspire you.&#xD;&#xA;[Gamasutra][1] and [DesigningSound][2] has a wealth of material on the subject.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gamasutra.com&#xD;&#xA;  [2]: http://www.designingsound.org" ContentLicense="CC BY-SA 2.5" />
  <row Id="7630" PostHistoryTypeId="5" PostId="4517" RevisionGUID="6ef18338-2290-453a-ab25-640b802e4774" CreationDate="2010-11-11T09:55:21.963" UserId="402" Comment="added 119 characters in body" Text="There's quite allot of info about DICE's HDR system knocking about on the net. If you google it you will find it.&#xD;&#xA;&#xD;&#xA;Essentially its a system that prioritises and mixes audio based on the loudness perceived by the player at any one time. It works by taking a dB range (lets say 50dB) and culling any sound quieter than 50dB less than the loudest sound perceived by the player. This &quot;window&quot; in which sounds are heard shifts depending on the loudest sound perceived by the player.&#xD;&#xA;&#xD;&#xA;See diagram &#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;What you need to know before attempting this? A good level of audio programming is essential. If you don't have a background in programming you will need to find someone, to my knowledge there isn't a freely available version of this tech it's all proprietary.&#xD;&#xA;&#xD;&#xA;Short example of the system in action;&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=ZWO2kx6QTeE&#xD;&#xA;&#xD;&#xA;I should probably add that this is a vast over-simplification of one of the best sounding game engines at the moment.&#xD;&#xA;&#xD;&#xA;  [1]: http://dl.dropbox.com/u/4790383/HDR.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="7631" PostHistoryTypeId="5" PostId="4526" RevisionGUID="9abade52-0e14-49ca-9c8b-dc2bec82eb45" CreationDate="2010-11-11T10:17:16.707" UserId="407" Comment="added 3 characters in body" Text="Dice were also explaining their HDR system at GDC in 2009 I think. DICE use their own tech written from the ground up - and it's designed very much to suit their style of games. Racing games have a whole different set of requirements, mostly revolving around the perception of speed and power ;) - Creating something like DICE's HDR system might be overkill for the racing game genre. Also from what I understand it is quite resource hungry.&#xD;&#xA;Something a bit simpler but equally as effective like using Wwise's ingame [sidechaining][1] might be a good option. Sorry if I've burst your bubble ;)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=TSA-q4dzvd8&amp;hd=1" ContentLicense="CC BY-SA 2.5" />
  <row Id="7634" PostHistoryTypeId="2" PostId="4529" RevisionGUID="57409c50-1033-4b8f-8ecd-5e220514f3c6" CreationDate="2010-11-11T17:48:15.720" UserId="658" Text="Hi I’m a student about to graduate with an interest of going in to sound design. Was just wondering if anyone was a member or recommend becoming a member of any professional organisation (such as the AES)?&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="7635" PostHistoryTypeId="1" PostId="4529" RevisionGUID="57409c50-1033-4b8f-8ecd-5e220514f3c6" CreationDate="2010-11-11T17:48:15.720" UserId="658" Text="Professional organisation" ContentLicense="CC BY-SA 2.5" />
  <row Id="7636" PostHistoryTypeId="3" PostId="4529" RevisionGUID="57409c50-1033-4b8f-8ecd-5e220514f3c6" CreationDate="2010-11-11T17:48:15.720" UserId="658" Text="&lt;professionalorganisation&gt;&lt;organisation&gt;&lt;aes&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7637" PostHistoryTypeId="2" PostId="4530" RevisionGUID="1ca04455-aa07-4ca9-90ff-dbbf3bf01fdf" CreationDate="2010-11-11T18:04:47.137" UserId="338" Text="Hi everyone.  I am hoping for some feedback on a work that I am in the last stage completing.  It is a sound replacement clip from Star Trek, the Future Begins.  I am interested in opinions and ideas for rounding off the project.  Thanks in advance for assisting me, all comments are appreciated here.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&lt;iframe src=&quot;http://player.vimeo.com/video/16518145&quot; width=&quot;400&quot; height=&quot;300&quot; frameborder=&quot;0&quot;&gt;&lt;/iframe&gt;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/16518145&quot;&gt;The Future Begins, Sound Replacement&lt;/a&gt; from &lt;a href=&quot;http://vimeo.com/user4459050&quot;&gt;Chris&lt;/a&gt; on &lt;a href=&quot;http://vimeo.com&quot;&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7638" PostHistoryTypeId="1" PostId="4530" RevisionGUID="1ca04455-aa07-4ca9-90ff-dbbf3bf01fdf" CreationDate="2010-11-11T18:04:47.137" UserId="338" Text="Feedback on my sound design." ContentLicense="CC BY-SA 2.5" />
  <row Id="7639" PostHistoryTypeId="3" PostId="4530" RevisionGUID="1ca04455-aa07-4ca9-90ff-dbbf3bf01fdf" CreationDate="2010-11-11T18:04:47.137" UserId="338" Text="&lt;feedback&gt;&lt;design&gt;&lt;project&gt;&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7640" PostHistoryTypeId="2" PostId="4531" RevisionGUID="479ac5f3-d098-41ed-b59a-1642606fd1b5" CreationDate="2010-11-11T18:19:02.953" UserDisplayName="user80" Text="Take a trip to your local scrap yard.  Car doors with different levels of decay can produce some wonderful metal creaks, as can trunks and bonnets.  For the wood, old floorboards work wonderfully from an architectural salvage yard.  You can attach hinges, preferably wonky and if you get the angle wrong even better as you will get really nice scraping noises." ContentLicense="CC BY-SA 2.5" />
  <row Id="7641" PostHistoryTypeId="2" PostId="4532" RevisionGUID="85f5a02f-f47a-41a8-96b1-4fcccf2fd71d" CreationDate="2010-11-11T19:28:38.247" UserId="629" Text="Chris nice effort. The music really fits the trailer which helps it a lot. There are a few ADR clips missing on the opening fall from the ship which I noticed (mouths moving but no sound).&#xD;&#xA;&#xD;&#xA;The fight scenes do sound good (punches and gun clatters) but I think the foot steps and clothing movement need to be brought higher into the mix as it feels dead between the action. Your wind sounds from the parachutes sound great. I would try and overlay some more beefy fire when the flames burst, especially when the guy gets toasted as you can't really hear much of a burning noise.&#xD;&#xA;&#xD;&#xA;Adding a few of the elements above would definitely help it in my opinion, very good attempt though enjoyed it." ContentLicense="CC BY-SA 2.5" />
  <row Id="7642" PostHistoryTypeId="5" PostId="4530" RevisionGUID="c77bcad5-3f1b-43c9-a28b-0e3618839297" CreationDate="2010-11-11T20:16:28.173" UserId="338" Comment="added 3 characters in body" Text="Hi everyone.  I am hoping for some feedback on a work that I am in the last stage of completing.  It is a sound replacement clip from Star Trek, the Future Begins.  I am interested in opinions and ideas for rounding off the project.  Thanks in advance for assisting me, all comments are appreciated here.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&lt;iframe src=&quot;http://player.vimeo.com/video/16518145&quot; width=&quot;400&quot; height=&quot;300&quot; frameborder=&quot;0&quot;&gt;&lt;/iframe&gt;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/16518145&quot;&gt;The Future Begins, Sound Replacement&lt;/a&gt; from &lt;a href=&quot;http://vimeo.com/user4459050&quot;&gt;Chris&lt;/a&gt; on &lt;a href=&quot;http://vimeo.com&quot;&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7643" PostHistoryTypeId="2" PostId="4533" RevisionGUID="f390b946-63df-4c0b-b9da-ee742b7a239c" CreationDate="2010-11-11T20:46:18.290" UserId="220" Text="Oh live corporate sound, how fun you are.  &#xD;&#xA;&#xD;&#xA;Here's what I would recommend for the purposes of being reasonably cheap, and reasonably sane:&#xD;&#xA;&#xD;&#xA; - 2 powered speakers on sticks at the front of the room with a simple mixing console.  400 people is a decently large crowd, but you're also not performing a rock concert.&#xD;&#xA; - 2 wireless handheld mics (Shure or Sennheiser) on boom stands on either side of each group.  As nice as it would be to have people get up and circle up, they'll probably stay seated in their section of the room.  Place a mic to the side and in front of the group.  They have pretty good pickup for this purpose.  I'd go wireless for two reasons - no cabling to fuss with, and you have the ability to move and place them quickly.  You'll want to get them out of the way when this exercise is over.  Total of 8 to 10 mics depending on the group size.  If you've got smaller groups, 1 per would be fine.&#xD;&#xA; - Don't forget to get 1 or 2 wireles mics for the performer - he'll need 1 to mic anything he's percussing, and 1 headset mic to speak and walk around during the exercise.&#xD;&#xA;&#xD;&#xA;Feedback shouldn't be an issue as long as the front-most mics are facing away from the speakers.&#xD;&#xA;&#xD;&#xA;Most rental houses should be able to provide a sound tech as well, unless you're doing that part :)&#xD;&#xA;&#xD;&#xA;I honestly wouldn't do anything more than that.  Bringing in boom mics is costly and a bit of a hastle.  This isn't for a professional recording, it's for a fun exercise.  Save yourself a headache and just get a rental.  I just priced out a wireless system that about meets these specs and it came out to over 20k, without the mixing console.  Until you are doing a ton of gigs, rent!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7647" PostHistoryTypeId="2" PostId="4535" RevisionGUID="b0c8d553-dc05-4709-b459-437fd854e3fd" CreationDate="2010-11-11T21:07:16.253" UserId="390" Text="Great choice of a clip, Chris. Lots of stuff going on here. I think the sound of the dialogue at the start was a bit too reverberant. I would suggest creating the sound of them whooshing down to the platform and let the dialogue cut through that big sound while still sounding as if it were going through radio speakers. Your current filter for the dialogue works, I just think its as if they're talking in a big room when it's just a helmet.  Great gun blasts! Perhaps the sound of parachute tearing should be heard a  bit more as Kirk's chute gets shot up. At some points, your steady background drops out unexpectedly. Just before Sulu does his flip to engage that Romulan. Before then, you had a wooshing sound that died out as well.&#xD;&#xA;&#xD;&#xA;Otherwise, I thought it was  a good effort!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7650" PostHistoryTypeId="2" PostId="4537" RevisionGUID="8ba1bf8e-ec72-401a-b8cd-4edb3b2407dc" CreationDate="2010-11-12T02:16:38.093" UserId="587" Text=":WARNING: This could be considered an in-depth audio review :WARNING:&#xD;&#xA;&#xD;&#xA;Hey Chris - from the beginning - I tried to get out of audio mode before watching to give you a strict &quot;from audience&quot; perspective (Its really hard for me to do this - as it is for a lot of sound designers). However, I will say &quot;design&quot; after a comment to distinguish my opinion or what I would have tried, but not necessarily left in on mix for a sound designers perspective.&#xD;&#xA;&#xD;&#xA;It starts off very strong, great transition from loud latch open to music and quiet. At first I wanted to hear a deeper sound from them wooshing by the camera, design, but it could be argued you didnt need much because they are still in space. It is quite sonically calm while they are speeding down towards the atmosphere, which I think is great to give dynamics to the mix for the action that is about to come. And the calmness works well with the music.&#xD;&#xA;&#xD;&#xA;Once they hit the atmosphere, I hear what I would guess is an air compressor going off encircled by some digital suit bleeps. While I may be guessing the source of the sound being the entry to the earths atmosphere and the suit adjusting to the difference in environment, this is slightly confusing of a conceptual sound if this is indeed what it was for since there is no visual reinforcement of the sound (like some kind of flame around them or barrier being broken), design. I loved the silence then woosh as they get closer to the bottom of the drill. Again, another one of those examples of making the coming event bigger and more action packed if pre-ceded by silence.&#xD;&#xA;&#xD;&#xA;First reaction of the dialog in the suit - pretty neat! Many types of processing on voices sells the fact that the subject is not out in the open, and I think yours works. But just my opinion, the performance of the actors seemed a bit laid back, especially if you are hurdling at hundreds of miles per hour towards the surface of a planet exposed to forces that would make my stomach fly out my behind. When the performance lacks, the film as a whole hurts. I would have them do a more adrenaline fueled performance, and even if they go way dynamic on you, just slap a compressor on it and you should be fine. Throw in some heavy breathing and some stress/force emotional huffs and puffs and you should sell the ADR quite a bit more. &quot;Effort&quot; sounds keeps the audience connected with the characters on a more emotional level, playing off of the characters present state of stress.&#xD;&#xA;&#xD;&#xA;Sweet parachute noises! I wanted to hear a yank on the guy in the blue suit - I just heard the chute go off. Red suit is almost silent when he flys by the 2 others - making his entrance into being the subject of the film for the next 15 seconds a bit lacking. The dialog is very very relaxed during this escalating emotional stressed moment - this does not build the correct tension for the audience in your current version. I loved the scream, but wanted more as he is tumbling on and off and into the flame. Or at least a knock-out &quot;oof&quot; to show he's unconscious if no scream before getting sucked into the flame. I would have added a subliminal sucking noise to give more to the &quot;mini-story&quot; of him getting sucked into the flame. Which by the way I think the sound for is awesome - something that powerful has to be tackled sonically very strategically as having too much presence in fire audio can take up a lot of of the sonic spectrum, masking much of everything else - I think you handled the visual very well with the audio you used for it.&#xD;&#xA;&#xD;&#xA;I loved blue suits (kirk if I am correct) landing onto the drill. It was great and I felt like I was on the platform while he landed. It does sound like his glove may be out of sync with the metal grab, and a bit white noisy for my ear, design.&#xD;&#xA;&#xD;&#xA;Again, great with the chutes, the sucking back into the pack was friggin' awesome. The hatch open and humanoid alien voice is menacing, fitting audio for sure. His voice was a bit loud though in the mix, design. Bad ass laser gun and chute destruction, great design. Once again lacking in performance with the yellow suit actor as there is no sort of panicked dialog as he has now lost control of his chute - theres no way of knowing his in distress.&#xD;&#xA;&#xD;&#xA;On kirks punching alien scenes - I heard kirk punch him with an effort sound, and then get punched with an effort sound. This felt a bit out of place, design. Another option being, having kirks effort throwing a punch and alien oof as he gets hit, then come back with a menacing alien effort and punch and a clear gun getting knocked out of hand sound - make it sound like this alien really has the physical upper hand now. I will admit fight scenes are tricky to get them to flow right. I also heard a couple repeated hits of audio in a row, design.&#xD;&#xA;&#xD;&#xA;On wide shot of yellow repelling back up to the platform you hear his chute clearly but lose detail on the fight on the right - maybe have a couple efforts and hits on the right low volume, and turn the chute volume down and pan to the left. Spread the chaos across the sonic image, and let the collective audio build the volume - design.&#xD;&#xA;&#xD;&#xA;Awesome with the sword. It really sounded like it was flipping out and locking into place - The axe was a bit confusing as I didnt hear any metallic reinforcement to tag with the axe's headpiece finish snapping together. Dont be too conservative with the volume of your martial arts impact audio - you dont want to have their kick to the chests sounding less meaningful in a fight scene, design. Maybe a quick alien &quot;arg&quot; or &quot;oh no&quot; (not literally oh no but you know what I mean) effort as he gets vaporized by the fire, but definitely just a design opinion.&#xD;&#xA;&#xD;&#xA;Stab into chest is cool, then the aliens pain effort goes digital - this would have to be reinforced by storyline if they were indeed some kind of robotic or vocally digital beings, but I cant remember the alien race well enough from when I watched the movie.&#xD;&#xA;&#xD;&#xA;I loved the body fall off and woosh sound it made falling past kirk, but then it kept repeating. If this is not the woosh of the body falling past kirk, and some other sound, then it syncs with his fall/disappearance off camera and could confuse the audience as to what exactly this sound is emitting from. This sound continues on into the next scene as well, which is equally as confusing.&#xD;&#xA;&#xD;&#xA;I hear them ready their guns and the audio is very present, then they unload their shots into the drill and the sound is quiet - just a mix design opinion.&#xD;&#xA;&#xD;&#xA;Very cool snippet, and your coverage was pretty thorough. Definite thought put into the sound and music. Very good practice and experience by doing this piece. I enjoyed it. Grab some more enthusiastic actors next time - and you have a few mix issues. Good job though. Hope this helps, and remember its just an opinion!&#xD;&#xA;&#xD;&#xA;-C3Sound&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7652" PostHistoryTypeId="2" PostId="4538" RevisionGUID="d8312064-dcbd-4563-b090-b743373f0b6e" CreationDate="2010-11-12T13:10:32.320" UserId="243" Text="I'm shooting a corporate video and we're using a canon 7d, I've got the mini jack connection, me 66, boom pole and all the works I just want to know very badly if the camera has an audio level setting in the menu??????" ContentLicense="CC BY-SA 2.5" />
  <row Id="7653" PostHistoryTypeId="1" PostId="4538" RevisionGUID="d8312064-dcbd-4563-b090-b743373f0b6e" CreationDate="2010-11-12T13:10:32.320" UserId="243" Text="quick question need answer ASAP concerning the cannon 7d's audio features" ContentLicense="CC BY-SA 2.5" />
  <row Id="7654" PostHistoryTypeId="3" PostId="4538" RevisionGUID="d8312064-dcbd-4563-b090-b743373f0b6e" CreationDate="2010-11-12T13:10:32.320" UserId="243" Text="&lt;level&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7655" PostHistoryTypeId="2" PostId="4539" RevisionGUID="10723b35-de08-4f99-9788-c953ecb54b1a" CreationDate="2010-11-12T13:55:10.150" UserId="641" Text="Hello people of the sound realm!&#xD;&#xA;&#xD;&#xA;I have reached a point where I am now being forced (due to client and director pressure) to procure a comteks system.  In laymans terms:  I am mixing and recording sound on set, whilst monitoring the signals in my earphones.  Now I am finding more and more work where the client is on set and the director is requesting live sound in headphones for them too!&#xD;&#xA;&#xD;&#xA;What I have done in the past is rent or borrow from a fellow soundie, the required bits and bobs.  These generally are either the comteks system or in a few cases, the old Sennheiser brick 500 transmitter &amp; receiver setup (one transmitter and 3 or 4 receivers with headphones).&#xD;&#xA;I run a cable or transmit a signal to VT, so VT can record audio with it's video and then from VT's audio out, I transmit a signal to the receivers which then deliver sound to the client or directors aural appendages!  This way they hear live sound and playback from VT.&#xD;&#xA;&#xD;&#xA;Now these systems are quiet expensive and I was looking at the cheaper Shure VHF systems, but I cannot find the receivers with headphones...can anyone out there suggest a solution, preferably wireless?  (I have done the headphone splitter box, but it ties the client and the director down and usually my extra headphones get punished, through physical abuse.)&#xD;&#xA;&#xD;&#xA;Thanks very muchly!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7656" PostHistoryTypeId="1" PostId="4539" RevisionGUID="10723b35-de08-4f99-9788-c953ecb54b1a" CreationDate="2010-11-12T13:55:10.150" UserId="641" Text="Comteks or equivalent system" ContentLicense="CC BY-SA 2.5" />
  <row Id="7657" PostHistoryTypeId="3" PostId="4539" RevisionGUID="10723b35-de08-4f99-9788-c953ecb54b1a" CreationDate="2010-11-12T13:55:10.150" UserId="641" Text="&lt;monitoring&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7658" PostHistoryTypeId="2" PostId="4540" RevisionGUID="77fa305d-32eb-4b78-a085-93ae134f054e" CreationDate="2010-11-12T14:14:33.097" UserId="2" Text="You should really get a mixer for that, the preamps will be horrid. &#xD;&#xA;&#xD;&#xA;According to the d.o.p I'm on set with, the 7d has level control. You need to switch off the automatic gain. On the Sound Devices website, there's an article on using the 5d directly onto a mixer, might be worth checking out. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7659" PostHistoryTypeId="2" PostId="4541" RevisionGUID="58841646-2336-4020-80d5-f267c57966d8" CreationDate="2010-11-12T14:24:57.613" UserId="641" Text="I would go with a mixer and record sound onto a separate recorder!  The built in audio on the 5D and th 7D is...erm...awful...to say the least.&#xD;&#xA;&#xD;&#xA;Otherwise as mentioned above, check the Sound Devices website  (www.sounddevices.com) for said article." ContentLicense="CC BY-SA 2.5" />
  <row Id="7660" PostHistoryTypeId="2" PostId="4542" RevisionGUID="8caf964d-1ef9-4738-bdf3-075a4109fb39" CreationDate="2010-11-12T14:51:11.443" UserId="220" Text="There is.  Also, the audio is terrible.  Record off-camera if at all possible.  If people are freaked by recording off-camera, you can turn on the on-board mic and use any nubmer of plugins for FCP that automatically match the camera shot with the off-camera audio.  Singular Software makes one that works well." ContentLicense="CC BY-SA 2.5" />
  <row Id="7661" PostHistoryTypeId="6" PostId="4529" RevisionGUID="25f2172a-4cc4-4e66-a7d2-b93f352ac43a" CreationDate="2010-11-12T16:37:59.280" UserId="182" Comment="edited tags" Text="&lt;professional-societies&gt;&lt;organisation&gt;&lt;aes&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7662" PostHistoryTypeId="2" PostId="4543" RevisionGUID="5b076e68-ce9c-49c5-ae3f-33fd89c4f641" CreationDate="2010-11-12T17:20:49.067" UserId="194" Text="I own a 7d, so I'll chime in here as well.  The 5dMkII does have a firmware update that allows for user controlled gain, but the 7D does not.  Some people hack the AGC by feeding a 20k tone into the left channel and the mic into the right, but I'd seriously advise against recording ANY audio to a still camera and hoping to use it.&#xD;&#xA;&#xD;&#xA;Use an external recorder, do an audio slate and clap, and sync it back in post.  that's far less trouble than trying to record anything usable directly to the camera.  Trust me and everyone else here - you can't make a professional product using that as your audio capture device.  If you do end up recording directly to the camera, don't expect any post houses to make it sound professional.  It won't happen.&#xD;&#xA;&#xD;&#xA;I'll say it again:  Go dual system.  &#xD;&#xA;&#xD;&#xA;Even if you have to cheap out and go with a Zoom H1 or something, that'll be MILES better than the camera audio.  &#xD;&#xA;&#xD;&#xA;can I say it one more time?  Don't use a still camera as an audio capture device.  The circuitry in your cell phone is better, and that circuitry is crap.  go dual system." ContentLicense="CC BY-SA 2.5" />
  <row Id="7663" PostHistoryTypeId="6" PostId="4503" RevisionGUID="11750dc2-c6a8-4fd0-972f-ce578f8463b1" CreationDate="2010-11-12T17:23:49.670" UserId="182" Comment="edited tags" Text="&lt;rechargable&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7664" PostHistoryTypeId="5" PostId="4486" RevisionGUID="14b9f3ce-062a-4acc-bfad-91f4ecd9c3e7" CreationDate="2010-11-12T18:04:30.790" UserId="18160" Comment="deleted 44 characters in body" Text="I've heard stories of people re-micing a voice or instrument with certain keys of the piano open so the strings sympathetically vibrate with the sound, thus adding more harmonics and another timbre to the sound.&#xD;&#xA;&#xD;&#xA;Has anyone else tried something like this in designing a sound? Would it work well to reinforce a creature vocal or creepy pad or synth with? I'm curious if anyone else has thought of this or done this in the past before I give it a go." ContentLicense="CC BY-SA 2.5" />
  <row Id="7665" PostHistoryTypeId="2" PostId="4544" RevisionGUID="fd53636d-e15a-406f-8e51-2441a62b307a" CreationDate="2010-11-12T18:07:40.683" UserId="338" Text="Thanks everybody.  Great responses and very helpful.  Locating some voice talent is a priority for me on this project, I agree.  This is just what I needed to tie up the loose ends.  Thanks again everyone." ContentLicense="CC BY-SA 2.5" />
  <row Id="7666" PostHistoryTypeId="5" PostId="4510" RevisionGUID="d8b6f939-1bf5-49a3-9545-197c351cccbb" CreationDate="2010-11-12T18:09:24.273" UserId="61" Comment="spelling" Text="I was recently looking for some additional audio infos about Dice's Battlefield Bad Company. Which is a really really good game in audio terms.&#xD;&#xA;&#xD;&#xA;And I found this : http://www.slideshare.net/aclerwall/how-high-dynamic-range-audio-makes-battlefield-bad-company-go-boom-1292018&#xD;&#xA;&#xD;&#xA;I'm planning to create an audio workflow for a racing game. And I was questionning myself : How can I make this game's audio goes BOOM like BFBC. Is there's any book talking about real-time audio mix &amp; mastering ? What basics may I know before stepping into this ?&#xD;&#xA;&#xD;&#xA;By the way, I hope you'll like this slideshow if you didn't know about it.&#xD;&#xA;&#xD;&#xA;PS: Sorry for my poor english guys.. Hope everybody could understand :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7667" PostHistoryTypeId="5" PostId="4544" RevisionGUID="28e9ce02-b97e-4cf8-a794-0906620277f3" CreationDate="2010-11-12T18:29:09.010" UserId="338" Comment="added 666 characters in body" Text="Thanks everybody.  Great responses and very helpful. It is important to point out how the actor talent is important.  I will have to watch the movie to get exactly what the characters are saying during free fall.  @C3sound, the deep whooshing as the cross the camera seems like a good idea.  You are the first person to remark about that, everybody else that remarked about improving the parts where they fly past the camera suggested that I add a high frequency sound.    The entering the atmosphere bleeps will probably go.  At first they were added because I did not have any dialogue yet for those scenes and there was a missing element.  The background does drop out unexpectedly sometimes at the end.  That was an experiment and I figured correctly that a professional would pick up on it.  There are some mixing fixes as well.  Thanks for taking a look at my clip." ContentLicense="CC BY-SA 2.5" />
  <row Id="7668" PostHistoryTypeId="2" PostId="4545" RevisionGUID="283782f9-a1ca-4c31-8141-5a2235fa3ee9" CreationDate="2010-11-12T19:05:33.957" UserId="220" Text="Biggest PRO I see (as a user on a budget):  OMF and 1 track of video support without having to buy the expensive DV Toolkit, if I'm reading everything right.  Downside:  need to get my Win 7 rig built." ContentLicense="CC BY-SA 2.5" />
  <row Id="7669" PostHistoryTypeId="2" PostId="4546" RevisionGUID="f3f8e494-82a6-4265-bef5-04198858cf03" CreationDate="2010-11-13T06:51:29.627" UserId="587" Text="First order of business:&#xD;&#xA;&#xD;&#xA;I have Pro Tools LE 7.4 and DV Toolkit 2&#xD;&#xA;&#xD;&#xA;From what I understand I can upgrade LE to PT9 for $250&#xD;&#xA;&#xD;&#xA;I can also upgrade my DV Toolkit to Complete Production Toolkit for $300&#xD;&#xA;&#xD;&#xA;Let me know if this is correct.&#xD;&#xA;&#xD;&#xA;------&#xD;&#xA;&#xD;&#xA;Second:&#xD;&#xA;&#xD;&#xA;PT9 comes with DV Toolkit 2 - does this mean I could sell my old DV Toolkit license and upgrade the one that comes with PT9 for $300?&#xD;&#xA;&#xD;&#xA;------&#xD;&#xA;&#xD;&#xA;Thanks all!&#xD;&#xA;&#xD;&#xA;-C3Sound&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7670" PostHistoryTypeId="1" PostId="4546" RevisionGUID="f3f8e494-82a6-4265-bef5-04198858cf03" CreationDate="2010-11-13T06:51:29.627" UserId="587" Text="PT9 &amp; Complete Production Upgrade Questions" ContentLicense="CC BY-SA 2.5" />
  <row Id="7671" PostHistoryTypeId="3" PostId="4546" RevisionGUID="f3f8e494-82a6-4265-bef5-04198858cf03" CreationDate="2010-11-13T06:51:29.627" UserId="587" Text="&lt;protools9&gt;&lt;dvtoolkit&gt;&lt;completeproduction&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7672" PostHistoryTypeId="2" PostId="4547" RevisionGUID="a0b1dee0-a0d5-44ca-af64-5c181f179a2f" CreationDate="2010-11-13T10:02:39.873" UserId="661" Text="Im literally in the same situation. I prices for upgrade is right but I think you will need your dv toolkit license to upgrade to complete toolkit." ContentLicense="CC BY-SA 2.5" />
  <row Id="7673" PostHistoryTypeId="2" PostId="4548" RevisionGUID="833edf9f-669a-477a-a6dd-77bb895075c4" CreationDate="2010-11-13T12:51:55.957" UserId="432" Text="In order to upgrade to the CPTK 2 for $300, you'll need to surrender your DVTK 2 license. If you sell the license and want to but the CPTK 2 aftwerwards, you'll have to pay the full $2K for it.&#xD;&#xA;&#xD;&#xA;So, even if you're only considering the CPTK 2, I'd suggest holding onto that license." ContentLicense="CC BY-SA 2.5" />
  <row Id="7674" PostHistoryTypeId="2" PostId="4549" RevisionGUID="57185eb3-52d9-487d-9ce6-439e6a960cd2" CreationDate="2010-11-13T12:58:12.403" UserId="63" Text="guys what do you think about the new Wavelab 7 that comes for MACs also? i am currently using Logic Studio 9 and i am thinking of investing another 550 euros to get Wavelab 7 also. Cause Pro Tools ARE the industry standard now but they come costly with the extra stuff you need to buy to have a decent wave editor! " ContentLicense="CC BY-SA 2.5" />
  <row Id="7675" PostHistoryTypeId="8" PostId="4510" RevisionGUID="0eb1a4a2-54d9-40f4-a48f-b135c1f0becd" CreationDate="2010-11-13T17:01:59.573" UserId="410" Comment="Rollback to [cad7248c-2ee6-49b9-b8a3-be1c103c758e]" Text="I was recently looking for some additional audio infos about Dice's Battlefield Bad Caompany. Which is a really really good game in audio terms.&#xD;&#xA;&#xD;&#xA;And I found this : http://www.slideshare.net/aclerwall/how-high-dynamic-range-audio-makes-battlefield-bad-company-go-boom-1292018&#xD;&#xA;&#xD;&#xA;I'm planning to create an audio workflow for a racing game. And I was questionning myself : How can I make this game's audio goes BOOM like BFBC. Is there's any book talking about real-time audio mix &amp; mastering ? What basics may I know before stepping into this ?&#xD;&#xA;&#xD;&#xA;By the way, I hope you'll like this slideshow if you didn't knew about it.&#xD;&#xA;&#xD;&#xA;PS: Sorry for my poor english guys.. Hope everybody could understand :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7679" PostHistoryTypeId="2" PostId="4551" RevisionGUID="443a46ad-c2fd-4399-a7bf-fe4f5d7cde7a" CreationDate="2010-11-13T20:54:06.243" UserId="275" Text="The most common things on the market are Comtek's and Lectrosonics.  The Lectro's are quite a bit more expensive but do provide higher audio quality.  Now, the difference in audio quality may or may not (probably won't) be noticed by the client.  Also, keep in mind that all of those units transmit a mono signal so don't worry too much on the left/right mix for video village.  &#xD;&#xA;&#xD;&#xA;Getting anything in the VHF range these days is very risky.  There are so many radio frequencies floating around and things are getting more and more crowded.  If you're going to buy something I would highly recommend getting variable frequency UHF systems.  You'll have much greater range and flexibility with the units.  &#xD;&#xA;&#xD;&#xA;As you've noticed the units will be handled quite poorly by the clients.  So, either get something cheap that you don't mind replacing and that you can recoup the cost of very quickly or get something very durable.  Again, the Lectro's do have a higher build quality but they are quite a bit pricier.  &#xD;&#xA;&#xD;&#xA;And...ALWAYS charge your clients for the usage of the IFB/Comtek/Confidence Monitoring, etc.  This is the sort of thing that is NOT a standard part of an audio kit and should always have the associated charge.  When I get requests for Comtek's I have a base price for the transmitter and two receivers.  Additional receivers are charged extra per unit.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7680" PostHistoryTypeId="2" PostId="4552" RevisionGUID="649d19f8-b608-4e14-9ac6-bb90b98c0c44" CreationDate="2010-11-13T21:15:48.300" UserId="275" Text="To me Protools M-Powered is kind of like putting a Porsche sticker on a '79 Yugo.  Just because it says &quot;Protools&quot; doesn't mean it's the same as their full blown system.  I've been using Nuendo for years and I think it blows away PT when it comes to audio for video.  Both platforms certainly have their pros and cons but I think the cons list of Nuendo is far shorter.  The initial cost of the software is a little under $2,000 here in the US but you get a lot for that money.  &#xD;&#xA;&#xD;&#xA;The top two programs in the professional world of audio for video are definitely Protools HD and Nuendo.  Logic is used by a lot of music composers but not used on a professional level for ADR, Sound Design, full mixing, etc.  &#xD;&#xA;&#xD;&#xA;If you are constantly taking sessions to and from another studio then you'll have a smoother time with Protools (unless you're just transferring OMF's and AAF's).  However, if you are fairly self-contained and are ingesting OMF's and AAF's and then outputting mix files you have a lot more flexibility on what platform you use.  &#xD;&#xA;&#xD;&#xA;For what its worth, Protools was, for a long time, a music recording and editing platform that later added video support.  Nuendo was built/programmed specifically to do audio for video.  &#xD;&#xA;&#xD;&#xA;My two cents.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7681" PostHistoryTypeId="2" PostId="4553" RevisionGUID="29f10002-9fe5-4b6a-beb7-45c4595ef8a1" CreationDate="2010-11-13T21:25:54.320" UserId="275" Text="The DSLR cameras are a 2nd tier still photo camera, a somewhat usable video camera, and a not-at-all usable audio recorder.  Do they record audio?  Yes.  Do they record audio WELL? No.  &#xD;&#xA;&#xD;&#xA;When I hear I'm on a shoot with a DSLR camera I require the production to rent my Sound Devices 744t and time code slate.  Seeing as how my recorder costs far more than the camera I see it as a rather fair charge.  I do highly recommend sending some sort of guide track in to the camera.  You can use an old Sennheiser G2 system or something similar and pop it on the hot-shoe.  Send a mono mix from your mixer and the editor will thank you!  &#xD;&#xA;&#xD;&#xA;But yes, record the audio externally.  If the production insists on recording master audio on the camera walk away.  don't turn your back...just slowly...walk...away.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7682" PostHistoryTypeId="2" PostId="4554" RevisionGUID="efaf182e-b85d-41c3-ac76-5e117189f5a1" CreationDate="2010-11-14T06:38:37.737" UserId="558" Text="Does 9 do anything to improve PT PC?  I so so so  want to be able to work on the PT but dont want to change platforms." ContentLicense="CC BY-SA 2.5" />
  <row Id="7683" PostHistoryTypeId="2" PostId="4555" RevisionGUID="d7024a44-fad6-4494-9b50-95edc89b3c46" CreationDate="2010-11-15T00:35:38.173" UserId="393" Text="So, I'm working on an American Old West point-and-click game, and there is going to be an absolute NEED for gun sounds; one of the main objects in our game, in fact, is a cursed pistol.  Being in Utah, I have access to all the firearms I need -- not just modern weapons, but Civil War era rifles and pistols.&#xD;&#xA;&#xD;&#xA;Unfortunately, my mic locker is far less stocked than my friends' gun lockers, and I don't have easy access to anything greater than a 2-track digital recorder (if I'm lucky, I'll get a Zoom h4N for Christmas).&#xD;&#xA;&#xD;&#xA;My current idea is to use a shotgun mic from about 20-50 feet pointed at the barrel of the gun, and probably a small-diaphragm condenser pointed away from the weapon to record the tail.&#xD;&#xA;&#xD;&#xA;If I can get access to more channels, my mic selection is still pretty limited, so I was considering a kick drum mic up close for a more bassy firing sound, and a large diaphragm condenser as well for the tail.&#xD;&#xA;&#xD;&#xA;I have no doubts that a library of gun sounds may be the best way to go for the actual firing, and utilizing the condensers and shotgun mics to get unique gun Foley would be ideal, but does it seem possible, using that set up, to get usable gun sounds?  Using the above-listed mics, and a handful of SM-57s, is there a better setup combination that you think would yield better results?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7684" PostHistoryTypeId="1" PostId="4555" RevisionGUID="d7024a44-fad6-4494-9b50-95edc89b3c46" CreationDate="2010-11-15T00:35:38.173" UserId="393" Text="Guerella Gun Recording without a budget" ContentLicense="CC BY-SA 2.5" />
  <row Id="7685" PostHistoryTypeId="3" PostId="4555" RevisionGUID="d7024a44-fad6-4494-9b50-95edc89b3c46" CreationDate="2010-11-15T00:35:38.173" UserId="393" Text="&lt;budget&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7686" PostHistoryTypeId="2" PostId="4556" RevisionGUID="a5e59930-c005-49b9-854a-eb686ca67a89" CreationDate="2010-11-15T01:40:35.363" UserId="18" Text="I never want to rain on anyone's parade, but I'd guess you'll have a difficult time getting usable results.  Gun recording is a difficult thing and even with an extensive equipment list, you'd probably come away with less than stellar results the first few times out.  I'd think the masters like Fasal and Maynes could go out with a 2 track and come back with kick-ass results.  I wouldn't expect that I would be happy with recording with just a Zoom.  Often times, you'll record with 20 mics and be surprised that half of the mics don't sound that great.&#xD;&#xA;&#xD;&#xA;There are a lot of variables you're dealing with; the sound of the environment, some mics just won't work well on guns, the quality of your recorder's Mic pres/limiters/gain staging, etc.&#xD;&#xA;&#xD;&#xA;If I were going out with he 2 mics you mention; I would try placing the shotgun behind the shooter, pointed downrange, 10-20 feet back.  I'd try the small condensed to the ejection port side of the gun, aimed at the gun, also 10-20 feet, give or take.  These distances will usually get you a fatter gun sound.  The further out you get, the less meat of the gun you capture.&#xD;&#xA;&#xD;&#xA;And don't discount the use of libraries, Dynamic Range and Sound Ideas Guns both have some good stuff." ContentLicense="CC BY-SA 2.5" />
  <row Id="7687" PostHistoryTypeId="2" PostId="4557" RevisionGUID="0ae46921-df35-4515-ac37-ba599411a6ee" CreationDate="2010-11-15T13:36:04.693" UserId="63" Text="I searched the whole Avid site about this:&#xD;&#xA;&#xD;&#xA;&quot;Speed up your workflow with advanced automation, audio, and video editing tools&quot;&#xD;&#xA;&#xD;&#xA;and i found nothing! what exactly are the advanced automation, audio, video editing tools? is it worth buyng pro tools without complete production toolkit 2? how can i decide if i dont know!?!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7688" PostHistoryTypeId="2" PostId="4558" RevisionGUID="531452cc-bf77-4596-ade4-a0696b1d44d3" CreationDate="2010-11-15T16:55:59.430" UserId="594" Text="TAPESTREA : Techniques And Paradigms for Expressive Synthesis, Transformation, &#xD;&#xA;and Rendering of Environmental Audio&#xD;&#xA;&#xD;&#xA;I found this software a year or so back, and have a little bit of success with it. &#xD;&#xA;&#xD;&#xA;Has anyone been using this that has work they can share? I'd like to find other video examples of people using this software, it looks like it can create / generate  some interesting sound scenes.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7689" PostHistoryTypeId="1" PostId="4558" RevisionGUID="531452cc-bf77-4596-ade4-a0696b1d44d3" CreationDate="2010-11-15T16:55:59.430" UserId="594" Text="TAPESTREA: Exciting tools, anyone using this software?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7690" PostHistoryTypeId="3" PostId="4558" RevisionGUID="531452cc-bf77-4596-ade4-a0696b1d44d3" CreationDate="2010-11-15T16:55:59.430" UserId="594" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7691" PostHistoryTypeId="2" PostId="4559" RevisionGUID="5bf0a738-ad73-4542-9eac-ef9088c65840" CreationDate="2010-11-15T19:39:07.107" UserId="662" Text="Hello !&#xD;&#xA;&#xD;&#xA;I currently work on an animation project involving 6-to-18-month-old babies. The context is a bit special because we follow the realistic evolution of several babies until they say their first word.&#xD;&#xA;&#xD;&#xA;My first attempt was to work with real babies' recordings. It was difficult to get the baby to express all the emotions I needed, but the result was really nice. However I was stuck, I couldn't make him repeat all the words I needed.&#xD;&#xA;&#xD;&#xA;I then tried to record an actress who is able to imitate very young children. Those recording sessions made it possible to record the voice over for every situation but the tone of the actress's voice didn't quite sound like a real baby, even with some pitch and EQ.&#xD;&#xA;Mixing the baby's and the actress' voices (crying and speaking parts) made it worse. The change in tone was not natural at all.&#xD;&#xA;&#xD;&#xA;I would like you to give me some advice to improve my work. I'm considering recording youg children (aged 4 to 5) to strike a balance between voice tone and feasible recordings...&#xD;&#xA;&#xD;&#xA;Here are some questions which might help me:&#xD;&#xA;- Did you ever work with babies ?&#xD;&#xA;- Do you know any voice actors who can make really good baby voices.&#xD;&#xA;- Regarding post production, which software could be useful (a kind of enhanced voice morpher?)&#xD;&#xA;- In your opinion, which are the most convincing animated movies / video games / film ( with post prod voice over ) involving babies.&#xD;&#xA;&#xD;&#xA;Thanks for you help :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7692" PostHistoryTypeId="1" PostId="4559" RevisionGUID="5bf0a738-ad73-4542-9eac-ef9088c65840" CreationDate="2010-11-15T19:39:07.107" UserId="662" Text="Baby voice-over" ContentLicense="CC BY-SA 2.5" />
  <row Id="7693" PostHistoryTypeId="3" PostId="4559" RevisionGUID="5bf0a738-ad73-4542-9eac-ef9088c65840" CreationDate="2010-11-15T19:39:07.107" UserId="662" Text="&lt;voice-over&gt;&lt;recording&gt;&lt;voice&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7694" PostHistoryTypeId="2" PostId="4560" RevisionGUID="5dad7997-dc87-4c46-a7d4-9dc338adbd12" CreationDate="2010-11-15T20:21:23.263" UserId="270" Text="I have only done one gun recording session but I got some decent results my first time thanks to the advice i got from places like this. I was with another sound recordist who used a Zoom H4 and a RODE NT4 microphone and he got some material that sounded really good and could be usable in a game.&#xD;&#xA;&#xD;&#xA;Most of our good recordings came from standing around 10/20 feet behind or to the side of the person shooting with the microphone aimed towards them.&#xD;&#xA;I have never used Zoom recorders but I think my friend was recording with a lot of gain on the preamps, so the input was clipping.  Setting the recording level low enough to avoid clipping the loudest part of the sound might give you unimpressive results.&#xD;&#xA;&#xD;&#xA;I think live monitoring will be hard to do because the pressure waves coming from the gunshots at close range can overwhlem what you hear from headphones, either monitoring from distance or listening back to the recordings when it is quiet will be more reliable.&#xD;&#xA;&#xD;&#xA;Btw, a point n click Old Western game sounds fun!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7695" PostHistoryTypeId="2" PostId="4561" RevisionGUID="6b574f22-607d-409a-b954-fbd8f1bdb687" CreationDate="2010-11-15T22:13:34.947" UserId="61" Text="One of these magical gizmos has found its way into my life and now I'm wondering what else it can do besides check email and play Angry Birds. Have found a few interesting apps out there for creating semi-random soundscapes and textures ([Curtis][1], [Thicket][2]) as well as some apps that provide a real function (Korg [iElectribe][3], [AC-7][4]). But as always, I'm curious to know what my fellow sound folks are doing with this amazing piece of tech.&#xD;&#xA;&#xD;&#xA;Tim Prebble has a [similar post][5] on his blog, which brought even more interesting ideas to light.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://itunes.apple.com/us/app/curtis-lite-granular-synthesizer/id327856303?mt=8&#xD;&#xA;  [2]: http://apps.intervalstudios.com/thicket/&#xD;&#xA;  [3]: http://www.korg.com/iElectribe&#xD;&#xA;  [4]: http://www.saitarasoftware.com/Site/Home.html&#xD;&#xA;  [5]: http://www.musicofsound.co.nz/blog/apps-for-your-ipad" ContentLicense="CC BY-SA 2.5" />
  <row Id="7696" PostHistoryTypeId="1" PostId="4561" RevisionGUID="6b574f22-607d-409a-b954-fbd8f1bdb687" CreationDate="2010-11-15T22:13:34.947" UserId="61" Text="Who's designing sound with an iPad?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7697" PostHistoryTypeId="3" PostId="4561" RevisionGUID="6b574f22-607d-409a-b954-fbd8f1bdb687" CreationDate="2010-11-15T22:13:34.947" UserId="61" Text="&lt;ipad&gt;&lt;sound-design&gt;&lt;creativity&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7698" PostHistoryTypeId="2" PostId="4562" RevisionGUID="96ed53cd-74f9-4f33-9e51-59ab7d4f2789" CreationDate="2010-11-15T22:14:59.410" UserId="134" Text="I would deeply appreciate some advice for a mixer for our new art/performance space.  we have the capability to have 12 inputs into the system, and 12 separate speakers.  We would like a mixer that would allow us to adjust the gain of at least 8 input channels on the fly as pass-thrus, and we would also like the mixer to be able to mix those down to a stereo pair.  It would also be great to be able to jack a laptop directly into the mixer via firewire to get inputs and outputs to software like ableton live and Cycling '74 Max, but this could be a second box.&#xD;&#xA;&#xD;&#xA;We are currently looking at:&#xD;&#xA;Soundcraft Si Compact 16 (unclear if it can be upgraded to accept firewire in)&#xD;&#xA;PreSonus StudioLive 16.4.2  (can talk to Ableton Live but I am unclear if it can do the pass-thru channels)&#xD;&#xA;Soundcraft FX16ii  (does what we want except no digital i/o)&#xD;&#xA;&#xD;&#xA;Any and all advice is appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7699" PostHistoryTypeId="1" PostId="4562" RevisionGUID="96ed53cd-74f9-4f33-9e51-59ab7d4f2789" CreationDate="2010-11-15T22:14:59.410" UserId="134" Text="Digital Mixer for unique art/performance space" ContentLicense="CC BY-SA 2.5" />
  <row Id="7700" PostHistoryTypeId="3" PostId="4562" RevisionGUID="96ed53cd-74f9-4f33-9e51-59ab7d4f2789" CreationDate="2010-11-15T22:14:59.410" UserId="134" Text="&lt;mixer&gt;&lt;ableton-live&gt;&lt;performance&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7701" PostHistoryTypeId="2" PostId="4563" RevisionGUID="d9df3d98-8527-451e-bf35-528c6a88018d" CreationDate="2010-11-15T23:07:30.430" UserId="663" Text="I am using Prosoniq’s OrangeVocoder. I really love it. &#xD;&#xA;http://www.prosoniq.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="7702" PostHistoryTypeId="2" PostId="4564" RevisionGUID="2f3d5e25-c9b1-408a-a998-897fa7d5288f" CreationDate="2010-11-15T23:13:29.343" UserId="663" Text="I am a freelance sound recordist and designer from Belgrade, Serbia, with over 10 years experience in television, film, radio and theatre.&#xD;&#xA;this is my site: http://cvrgoje.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="7703" PostHistoryTypeId="16" PostId="4564" RevisionGUID="2f3d5e25-c9b1-408a-a998-897fa7d5288f" CreationDate="2010-11-15T23:13:29.343" UserId="-1" />
  <row Id="7704" PostHistoryTypeId="2" PostId="4565" RevisionGUID="0fabd7e6-0bc5-42bb-b8bf-d88cde21a891" CreationDate="2010-11-15T23:14:48.777" UserId="63" Text="ok. you got to get this one http://www.reactable.com/ not so &quot;sound designing&quot; but can be used for this too! its a must! i love it" ContentLicense="CC BY-SA 2.5" />
  <row Id="7705" PostHistoryTypeId="2" PostId="4566" RevisionGUID="7c98867c-4070-45b2-a464-600355a66ffc" CreationDate="2010-11-15T23:17:10.270" UserId="663" Text="Sennheiser or Neuman is my choice." ContentLicense="CC BY-SA 2.5" />
  <row Id="7706" PostHistoryTypeId="2" PostId="4567" RevisionGUID="8a75cf3c-82a5-46ec-ba09-f3dffbdd0d8c" CreationDate="2010-11-15T23:37:10.103" UserId="393" Text="I use [this][1] every day at work, and I'll happily recommend it.  It's definitely a bang-for-your-buck option.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ehx.com/products/v256" ContentLicense="CC BY-SA 2.5" />
  <row Id="7707" PostHistoryTypeId="2" PostId="4568" RevisionGUID="dd39b6be-997b-4880-88e4-5b9d8199e19a" CreationDate="2010-11-15T23:48:07.417" UserId="6411" Text="While I don't have an iPad yet, this is a topic that I've been culling info about for a little while. Besides what you've already mentioned here's a few more:&#xD;&#xA;&#xD;&#xA; - [Moog's Filtatron][1] - It doesn't say it's iPad compatible, but there's youtube vids that show it working.&#xD;&#xA; - [iMS-20][4] - Played with this for a bit on a friend's iPad. It's incredibly deep&#xD;&#xA;and sounds great.&#xD;&#xA; - [Reactable Mobile][9] - I'll second @Nikos' recommendation of Reactable Mobile. It's fun, it makes noise, it's a little quirky. They just came out with an update that apparently addressed a whole slew of bugs, but I haven't touched it since.&#xD;&#xA; - [TouchOSC][2] - Allows control and feedback from OSC software/hardware (in this vein there's [templates][3] out there that may help workflow, or at least push you in new directions)&#xD;&#xA; - [V-Control][5] &amp; [V-Control Pro][6] - Neyrinck [announced][7] these two Pro Tools controllers just before AES. Haven't heard any reviews yet.&#xD;&#xA; - [ProRemote][8] - FarOutLabs has a whole array of DAW controllers depending on your budget and needs.&#xD;&#xA;&#xD;&#xA;That's all I can think of at the moment. Hope that helps! If I think of any more I'll update the post.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://filtatron.moogmusic.com/&#xD;&#xA;  [2]: http://hexler.net/software/touchosc&#xD;&#xA;  [3]: http://absoundscapes.blogspot.com/&#xD;&#xA;  [4]: http://www.korg.com/ims20&#xD;&#xA;  [5]: http://www.neyrinck.com/en/products/v-control&#xD;&#xA;  [6]: http://www.neyrinck.com/en/products/v-control-pro&#xD;&#xA;  [7]: http://news.aesshow.com/2010/11/neyrinck-announces-v-control-ipad-controllers-for-pro-tools/&#xD;&#xA;  [8]: http://www.folabs.com/&#xD;&#xA;  [9]: http://www.reactable.com/products/mobile/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7709" PostHistoryTypeId="2" PostId="4570" RevisionGUID="40e3bb30-f3f8-4f97-a7ac-953b389ad7a5" CreationDate="2010-11-16T06:56:46.277" UserId="18160" Text="Best child VO recording/and or editing/and or recording a 40 year-old woman sounding like a child but being very convincing/and or all of the above is Pixar's &quot;Monster's Inc.&quot;&#xD;&#xA;&#xD;&#xA;Never have I heard better editing and cuter sound effects for a younger kid (aged about 4) for the young girl in that film.&#xD;&#xA;&#xD;&#xA;Every single little squeek, voice crack, chuckle, etc. had a purpose and communicated the emotion of the child and added so much to the overall presentation. I remember thinking to myself that the actor who made the sounds had to have been no more than 4 years old because of the voice timbre and quality of the vocal chords - I don't think it was an older woman and if it was, hats off, it was extremely convincing.&#xD;&#xA;&#xD;&#xA;Whoever did that recording/editing is a genius." ContentLicense="CC BY-SA 2.5" />
  <row Id="7710" PostHistoryTypeId="5" PostId="4570" RevisionGUID="cb6d4b55-d0e6-4df6-8561-5f05ccbbbb90" CreationDate="2010-11-16T07:01:59.480" UserId="18160" Comment="added 2 characters in body" Text="Best child VO recording/and or editing/and or recording a 40 year-old woman sounding like a child but being very convincing/and or all of the above is Pixar's &quot;Monster's Inc.&quot;&#xD;&#xA;&#xD;&#xA;Never have I heard better editing and cuter sound effects for a younger kid (aged about 2) for the young girl in that film.&#xD;&#xA;&#xD;&#xA;Every single little squeek, voice crack, chuckle, etc. had a purpose and communicated the emotion of the child and added so much to the overall presentation. I remember thinking to myself that the actor who made the sounds had to have been no more than 2-3 years old because of the voice timbre and quality of the vocal chords - I don't think it was an older woman and if it was, hats off, it was extremely convincing.&#xD;&#xA;&#xD;&#xA;Whoever did that recording/editing is a genius." ContentLicense="CC BY-SA 2.5" />
  <row Id="7711" PostHistoryTypeId="2" PostId="4571" RevisionGUID="2caab2a1-b8c4-4ef3-8792-db3fecd4772b" CreationDate="2010-11-16T08:34:04.320" UserId="663" Text="Hello sound designers! Please give me some feedback on my work. It's a intro/promo clip for my site [Cvrgoje Sound][1].&#xD;&#xA;&#xD;&#xA;Here is the clip http://www.cvrgoje.com/demo&#xD;&#xA;&#xD;&#xA;Also you can find it on YouTube http://www.youtube.com/watch?v=PjsNjgnP5_s&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://cvrgoje.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="7712" PostHistoryTypeId="1" PostId="4571" RevisionGUID="2caab2a1-b8c4-4ef3-8792-db3fecd4772b" CreationDate="2010-11-16T08:34:04.320" UserId="663" Text="Feedback on my clip" ContentLicense="CC BY-SA 2.5" />
  <row Id="7713" PostHistoryTypeId="3" PostId="4571" RevisionGUID="2caab2a1-b8c4-4ef3-8792-db3fecd4772b" CreationDate="2010-11-16T08:34:04.320" UserId="663" Text="&lt;feedback&gt;&lt;websites&gt;&lt;sound-design&gt;&lt;promotion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7714" PostHistoryTypeId="6" PostId="4571" RevisionGUID="f15a6a0d-0389-4609-a413-cffe558b6318" CreationDate="2010-11-16T09:45:58.657" UserId="663" Comment="edited tags" Text="&lt;feedback&gt;&lt;websites&gt;&lt;sound-design&gt;&lt;promotion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7715" PostHistoryTypeId="2" PostId="4572" RevisionGUID="a0d6bd47-67f0-42d1-9d53-515b666834a9" CreationDate="2010-11-16T11:52:51.933" UserId="663" Text="You can follow me at [@cvrgoje][1]&#xD;&#xA;&#xD;&#xA;See you on Twitter :)&#xD;&#xA;&#xD;&#xA;Nikola&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://twitter.com/#!/cvrgoje/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7716" PostHistoryTypeId="16" PostId="4572" RevisionGUID="a0d6bd47-67f0-42d1-9d53-515b666834a9" CreationDate="2010-11-16T11:52:51.933" UserId="-1" />
  <row Id="7717" PostHistoryTypeId="2" PostId="4573" RevisionGUID="3a1c50dc-e1a2-4c22-a31c-7cb6f89a2b5d" CreationDate="2010-11-16T12:04:26.337" UserId="663" Text="Hi Tristan,&#xD;&#xA;&#xD;&#xA;I am a freelance sound recordist and designer with over 10 years experience in television, film, radio and theatre. I also do sound editing, ADR and sometimes even produce some smaller music clips.&#xD;&#xA;&#xD;&#xA;I think that is important to know (and to have some experience) all segments of audio production, from recording (in studio or on location) to final mixing and mastering." ContentLicense="CC BY-SA 2.5" />
  <row Id="7718" PostHistoryTypeId="2" PostId="4574" RevisionGUID="c8f73fd2-fa51-4805-ac09-9d4c82bc9e20" CreationDate="2010-11-16T12:17:16.327" UserId="663" Text="I mostly use Waves" ContentLicense="CC BY-SA 2.5" />
  <row Id="7719" PostHistoryTypeId="2" PostId="4575" RevisionGUID="6f73c4c7-5cf2-447a-8de6-caeb78867eb9" CreationDate="2010-11-16T12:35:46.097" UserId="663" Text="I accept them when I am asked by good friend or person whom I respect. It is good to do no-budget projects, because when there is no money involved you have more artistic freedom. &#xD;&#xA;&#xD;&#xA;This is one of short no-budget film that I worked on.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=SjcMt-Xl88w&#xD;&#xA;&#xD;&#xA;It won few awards...." ContentLicense="CC BY-SA 2.5" />
  <row Id="7720" PostHistoryTypeId="2" PostId="4576" RevisionGUID="2d43f916-f6ba-4130-a116-30ee4e7df015" CreationDate="2010-11-16T12:45:45.833" UserId="260" Text="Great application for getting the newest scoop from sound people. Always interesting to read what my fellow partners in crime are up to.&#xD;&#xA;&#xD;&#xA;@soundwizard" ContentLicense="CC BY-SA 2.5" />
  <row Id="7721" PostHistoryTypeId="16" PostId="4576" RevisionGUID="2d43f916-f6ba-4130-a116-30ee4e7df015" CreationDate="2010-11-16T12:45:45.833" UserId="-1" />
  <row Id="7722" PostHistoryTypeId="2" PostId="4577" RevisionGUID="e4ea21d0-37cd-478a-937d-eb1a87629426" CreationDate="2010-11-16T14:10:46.307" UserId="220" Text="Interesting request.  Let me make sure I understand what you're asking for:&#xD;&#xA;&#xD;&#xA; - 12 inputs - do all of these need to be mic (XLR), or can you have 8 mic/line and 4 stereo pairs?&#xD;&#xA; - 8 aux outs - you have 12 speakers, but only need to mix out to 8 seperate feeds?  Or do you want to use the inserts to get a line off of each channel?  &#xD;&#xA; - 1 stereo master out&#xD;&#xA; - Discrete firewire recording capabilities for all sources&#xD;&#xA;&#xD;&#xA;Let me first say, I hope you have a significant budget.  These kinds of mixers are not cheap. &#xD;&#xA;&#xD;&#xA;Here's what I would do, if I were you and was looking to save some money - get a patch bay.  Have your sources be the inputs, and make sure it has HALF-NORMAL wiring.  That way you can have your sound board hooked up to one row of outputs, and when you need to record, you can jack into the sources you need on the other row.  Signal flow is split between the two.  This way you can find an analog board (cheaper!) that meets your sound mixing needs, and a recording setup (like a Presonus Firepod or two - also cheaper) that meets those needs.  &#xD;&#xA;&#xD;&#xA;I would also check out the Mackie Onyx series of boards - they have great recording capabilities and might be the all in one solution you're looking for.  Not too bad on price.&#xD;&#xA;&#xD;&#xA;Third option - get a DSP to do a lot of our routing.  This might not be a bad idea for something with a lot of speakers anyway - you need something that can provide EQ for all of those speakers.  Getting a dozen analog EQs will be pricey. &#xD;&#xA;&#xD;&#xA;That's all I got based on what I can tell you're asking for.  If you need more info, please clarify a bit and ask more." ContentLicense="CC BY-SA 2.5" />
  <row Id="7723" PostHistoryTypeId="2" PostId="4578" RevisionGUID="73df137f-23c8-4dec-abce-43518dd49735" CreationDate="2010-11-16T15:49:49.500" UserId="234" Text="One of the more &quot;fun&quot; and interesting apps I've tried is called &quot;Sound Warp&quot;... Kind of like a Korg Kaos Pad but different. Lots of interesting stuff when you put voice samples through it. No iPad native version yet, but it is compatible..." ContentLicense="CC BY-SA 2.5" />
  <row Id="7724" PostHistoryTypeId="2" PostId="4579" RevisionGUID="6194010c-c288-4fd4-8baf-67b34837e5b6" CreationDate="2010-11-16T15:53:04.457" UserId="234" Text="Recently I've started using the EQuality from DMG Audio... great general purpose EQ, good price, all formats....&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dmgaudio.com/imagery/EQuality.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="7725" PostHistoryTypeId="5" PostId="4568" RevisionGUID="aaa664fd-ace6-4284-97c4-9c74baab33ee" CreationDate="2010-11-16T17:32:52.267" UserId="6411" Comment="added 1212 characters in body" Text="While I don't have an iPad yet, this is a topic that I've been culling info about for a little while. Besides what you've already mentioned here's a few more:&#xD;&#xA;&#xD;&#xA; - [Moog's Filtatron][1] - It doesn't say it's iPad compatible, but there's youtube vids that show it working.&#xD;&#xA; - [iMS-20][2] - Played with this for a bit on a friend's iPad. It's incredibly deep&#xD;&#xA;and sounds great.&#xD;&#xA; - [Reactable Mobile][3] - I'll second @Nikos' recommendation of Reactable Mobile. It's fun, it makes noise, it's a little quirky. They just came out with an update that apparently addressed a whole slew of bugs, but I haven't touched it since.&#xD;&#xA; - [TouchOSC][4] - Allows control and feedback from OSC software/hardware (in this vein there's [templates][5] out there that may help workflow, or at least push you in new directions)&#xD;&#xA; - [V-Control][6] &amp; [V-Control Pro][7] - Neyrinck [announced][8] these two Pro Tools controllers just before AES. Haven't heard any reviews yet.&#xD;&#xA; - [ProRemote][9] - FarOutLabs has a whole array of DAW controllers depending on your budget and needs.&#xD;&#xA;&#xD;&#xA;That's all I can think of at the moment. Hope that helps! If I think of any more I'll update the post.&#xD;&#xA;&#xD;&#xA;**EDIT:**&#xD;&#xA;&#xD;&#xA; - [ReBirth for iPad][10] - Propellerhead's &quot;Micro Composer&quot; from the late '90s is now available native for iPad.&#xD;&#xA; - [MagicFiddle][11] - Smule (devlopers of Ocarina, LeafTrombone &amp; MagicPiano) made an iPad exclusive &quot;string&quot; instrument. The playing of which sounds a little out of tune, but I can't tell if that's the sample or the player. Has potential to make some great pad textures.&#xD;&#xA; - [Pianist Pro][12] - Turns your iPad into an external MIDI controller (plus on-the-go piano, arpeggiator, drum machine...)&#xD;&#xA; - [Space for iPad][13] - The Strange Agency (developers of Curtis) ported their Sound Scope synth over to the iPad, looks incredible.&#xD;&#xA; - Also check out the [iPad Camera Connection Kit][14]. Through it's USB connection you can apparently [connect USB audio devices][15]. Don't know if that's useful to you, but it's pretty cool.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://filtatron.moogmusic.com/&#xD;&#xA;  [2]: http://www.korg.com/ims20&#xD;&#xA;  [3]: http://www.reactable.com/products/mobile/&#xD;&#xA;  [4]: http://hexler.net/software/touchosc&#xD;&#xA;  [5]: http://absoundscapes.blogspot.com/&#xD;&#xA;  [6]: http://www.neyrinck.com/en/products/v-control&#xD;&#xA;  [7]: http://www.neyrinck.com/en/products/v-control-pro&#xD;&#xA;  [8]: http://news.aesshow.com/2010/11/neyrinck-announces-v-control-ipad-controllers-for-pro-tools/&#xD;&#xA;  [9]: http://www.folabs.com/&#xD;&#xA;  [10]: http://rebirthapp.com/&#xD;&#xA;  [11]: http://www.smule.com/magicfiddle&#xD;&#xA;  [12]: http://moocowmusic.com/PianistPro/index.html&#xD;&#xA;  [13]: http://thestrangeagency.com/products/space-for-ipad/&#xD;&#xA;  [14]: http://store.apple.com/us/product/MC531ZM/A&#xD;&#xA;  [15]: http://www.engadget.com/2010/11/04/apple-introduces-midi-to-ios-4-2-ipads-the-world-oer-get-ready/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7726" PostHistoryTypeId="2" PostId="4580" RevisionGUID="4a99873c-bf91-4db8-87d8-a8641f907eb0" CreationDate="2010-11-16T18:14:01.090" UserId="29" Text="I use Rebirth, Curtis, Beatwave, RjDj, and Theremin on iOS devices, but usually not for sound design. If Reaktor or PD ran on it, that'd be cooler, IMO, for sound design. But all those apps are quite fun and well designed.&#xD;&#xA;&#xD;&#xA;For sound design I tend to like carrying a virtual guitar tuner with me; if I record something chromatic/tonal in the field, I can make notes as to what pitch it's closest to." ContentLicense="CC BY-SA 2.5" />
  <row Id="7727" PostHistoryTypeId="2" PostId="4581" RevisionGUID="ef2bb34a-2425-42cf-aee3-396e47762562" CreationDate="2010-11-16T18:46:43.703" UserId="338" Text="Hey everyone.  I was wondering if anybody has used the IRCAM SPAT plugin.  I saw a demo of it at AES this year and it seemed pretty nice." ContentLicense="CC BY-SA 2.5" />
  <row Id="7728" PostHistoryTypeId="1" PostId="4581" RevisionGUID="ef2bb34a-2425-42cf-aee3-396e47762562" CreationDate="2010-11-16T18:46:43.703" UserId="338" Text="Any reviews on IRCAM SPAT plugin?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7729" PostHistoryTypeId="3" PostId="4581" RevisionGUID="ef2bb34a-2425-42cf-aee3-396e47762562" CreationDate="2010-11-16T18:46:43.703" UserId="338" Text="&lt;plugin&gt;&lt;review&gt;&lt;design&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7731" PostHistoryTypeId="2" PostId="4583" RevisionGUID="ce433fad-1825-414a-baa6-980d0e65b30f" CreationDate="2010-11-16T19:01:56.193" UserId="182" Text="For some sound weirdness, check out [RjDj][1]. If you know your way with PureData, you can even make your own interactive soundscapes including touch data, live microphone input, samples and synthesis.&#xD;&#xA;&#xD;&#xA;I use the iPad for Sound Design almost daily, but just as a control surface for Max/MSP using [Fantastick][2] or just a VNC remote control app ([Jaadu VNC aka iTeleport][3]).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://more.rjdj.me/2010/05/26/rjdj-welcomes-the-ipad-in-europe-with-the-rj-voyager-europe-special/&#xD;&#xA;  [2]: http://www.pinktwins.com/fantastick/&#xD;&#xA;  [3]: http://www.iteleportmobile.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7732" PostHistoryTypeId="2" PostId="4584" RevisionGUID="43981e88-c3ce-4f3f-8f4d-ac92a3a4aa97" CreationDate="2010-11-16T20:33:39.147" UserId="594" Text="Here is one of the only videos that I have found. Good introduction of wat it can do. vimeo.com/1823416" ContentLicense="CC BY-SA 2.5" />
  <row Id="7733" PostHistoryTypeId="2" PostId="4585" RevisionGUID="0b54be79-099d-47cf-96c9-6208588043b0" CreationDate="2010-11-16T21:17:10.650" UserId="2" Text="I'm in crazy mode... I have till tomorrow to buy a bunch of gear for a job, so sorry if my question is a bit raw. &#xD;&#xA;&#xD;&#xA;I bought myself the [Sound Devices CS-3][1] case, and I'm not a huge fan. I'm about to buy myself a second [Sound Devices 702][2] and was wondering what [Petrol Bag][3] would fit two of those plus accessories (such as a headphone mixer, cables, heaphones, etc.). &#xD;&#xA;&#xD;&#xA;Or do you recommend any other bag that can fit all I want? &#xD;&#xA;&#xD;&#xA;Thanks!  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/399052-REG/Sound_Devices_CS_3.html&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/product/429566-REG/Sound_Devices_702_702_High_Resolution_2_Channel.html&#xD;&#xA;  [3]: http://www.petrolbags.com/Sound-Bags" ContentLicense="CC BY-SA 2.5" />
  <row Id="7734" PostHistoryTypeId="1" PostId="4585" RevisionGUID="0b54be79-099d-47cf-96c9-6208588043b0" CreationDate="2010-11-16T21:17:10.650" UserId="2" Text="Which Petrol bag will fit two SD 702s? " ContentLicense="CC BY-SA 2.5" />
  <row Id="7735" PostHistoryTypeId="3" PostId="4585" RevisionGUID="0b54be79-099d-47cf-96c9-6208588043b0" CreationDate="2010-11-16T21:17:10.650" UserId="2" Text="&lt;gear&gt;&lt;bag&gt;&lt;petrol&gt;&lt;sound-devices&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7736" PostHistoryTypeId="2" PostId="4586" RevisionGUID="1e361ede-5cda-4eb6-919b-63025f21e4cb" CreationDate="2010-11-16T21:44:21.933" UserId="2" Text="I'm getting a second Sound Devices 702, but I obviously want to only use one pair of headphones for monitoring. I got really excited thinking that the [HX-3][1] would do the trick, but I need 4 input (two stereo ones). &#xD;&#xA;&#xD;&#xA;Any suggestions as to what cheap-ish but good quality device would work? Thanks so much! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sounddevices.com/products/hx3master.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="7737" PostHistoryTypeId="1" PostId="4586" RevisionGUID="1e361ede-5cda-4eb6-919b-63025f21e4cb" CreationDate="2010-11-16T21:44:21.933" UserId="2" Text="Monitoring two recorders with one pair of headphones" ContentLicense="CC BY-SA 2.5" />
  <row Id="7738" PostHistoryTypeId="3" PostId="4586" RevisionGUID="1e361ede-5cda-4eb6-919b-63025f21e4cb" CreationDate="2010-11-16T21:44:21.933" UserId="2" Text="&lt;monitoring&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7739" PostHistoryTypeId="2" PostId="4587" RevisionGUID="0c3638ad-0274-4657-9acc-073151ddb724" CreationDate="2010-11-16T22:38:00.110" UserDisplayName="user49" Text="I'm in the same boat with 744 + 722 - the 744 lets me switch between inputs 1+2 and 3+4, but I've been physically unplugging &amp; replugging to check between recorders, which is not ideal - there must be a DIY solution?&#xD;&#xA;&#xD;&#xA;I googled &amp; someone asked the same question on MeFi &#xD;&#xA;http://ask.metafilter.com/167454/Can-I-use-one-set-of-headphones-for-two-audio-sources&#xD;&#xA;&#xD;&#xA;A cheap solution: 3 in 1 out headphone selector for US$16&#xD;&#xA;http://gadget.brando.com/prod_detail.php?prod_id=00326&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7740" PostHistoryTypeId="2" PostId="4588" RevisionGUID="4ca2cb4d-099f-4556-aa49-1db639ceed01" CreationDate="2010-11-16T22:51:13.733" UserDisplayName="user49" Text="I recently bought the &lt;a href=&quot;http://www.petrolbags.com/Sound-Bags?q=node/1170&quot;&gt;Petrol PS602 Deca Eargonizer – Large&lt;/a&gt; and it is quite large, heres a photo of it with my 2 recorders &amp; preamp in it:&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://www.musicofsound.co.nz/zimages/SDrecorder590.jpg&quot; alt=&quot;SD recorder&quot; /&gt;&#xD;&#xA;&#xD;&#xA;It has another largish pocket (holds headphones, camera etc) which is well protected plus another pocket on the front &amp; one on back.... I'm going to write a review &amp; post some photos &amp; video of it this weekend... it is a biggish bag - still carry on baggage size for flying.... its beautifully designed for routing cables &amp; accessing batteries etc....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7741" PostHistoryTypeId="2" PostId="4589" RevisionGUID="8252aabe-ae56-4438-8125-267cd5f5cbc4" CreationDate="2010-11-16T23:12:43.793" UserId="666" Text="Nice work! I like it." ContentLicense="CC BY-SA 2.5" />
  <row Id="7742" PostHistoryTypeId="2" PostId="4590" RevisionGUID="bbac9784-5a7c-4724-914d-090a7fb5d956" CreationDate="2010-11-16T23:24:53.250" UserId="663" Text="Sennheiser HD 25-1 II&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA; - lightweight and comfortable&#xD;&#xA; - high attenuation of background noise&#xD;&#xA; - extremely robust construction&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sennheiser.com/sennheiser/products.nsf/resources/20BEE8F4D0543C6CC1257432007FDD4A/$File/HD_25-1_II_ProductImage.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="7743" PostHistoryTypeId="2" PostId="4591" RevisionGUID="66463e44-34ec-4c1a-9d4d-505cd91b52d5" CreationDate="2010-11-16T23:29:23.060" UserId="663" Text="[Sennheiser HD 25-1 II][1] on B&amp;H for $199.95&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA; - lightweight and comfortable&#xD;&#xA; - high attenuation of background noise&#xD;&#xA; - extremely robust construction&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/507447-REG/Sennheiser_HD_25_1_II_HD_25_1_II.html&#xD;&#xA;  [2]: http://www.sennheiser.com/sennheiser/products.nsf/resources/20BEE8F4D0543C6CC1257432007FDD4A/$File/HD_25-1_II_ProductImage.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="7744" PostHistoryTypeId="2" PostId="4592" RevisionGUID="fa433ea8-4eea-4aff-b540-ae092410cf99" CreationDate="2010-11-16T23:36:23.007" UserId="663" Text="Simple, which bags you use for caring your equipment and why?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7745" PostHistoryTypeId="1" PostId="4592" RevisionGUID="fa433ea8-4eea-4aff-b540-ae092410cf99" CreationDate="2010-11-16T23:36:23.007" UserId="663" Text="Which bags you use?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7746" PostHistoryTypeId="3" PostId="4592" RevisionGUID="fa433ea8-4eea-4aff-b540-ae092410cf99" CreationDate="2010-11-16T23:36:23.007" UserId="663" Text="&lt;bag&gt;&lt;transport-bag&gt;&lt;protection&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7747" PostHistoryTypeId="2" PostId="4593" RevisionGUID="3a20294a-436a-4756-a2e4-f0e86c6ed595" CreationDate="2010-11-16T23:48:57.463" UserId="338" Text="Hi everyone, this is a thread about our favorite *organic* sounding plug-ins.  It might be a little bit newbie of me but I'll ask anyways.  The reason I'm asking is because I am processing a clap to sound like a hit and with the plug-ins that I have, I am not getting a very organic sound.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7748" PostHistoryTypeId="1" PostId="4593" RevisionGUID="3a20294a-436a-4756-a2e4-f0e86c6ed595" CreationDate="2010-11-16T23:48:57.463" UserId="338" Text="Favorite organic sounding plugins" ContentLicense="CC BY-SA 2.5" />
  <row Id="7749" PostHistoryTypeId="3" PostId="4593" RevisionGUID="3a20294a-436a-4756-a2e4-f0e86c6ed595" CreationDate="2010-11-16T23:48:57.463" UserId="338" Text="&lt;plug-in&gt;&lt;organic&gt;&lt;design&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7750" PostHistoryTypeId="2" PostId="4594" RevisionGUID="48edda98-1c81-4ad3-bf3d-938102afef4c" CreationDate="2010-11-17T00:41:16.400" UserId="88" Text="A number of good discussions on recorder bags can be found by using the site's search feature.  One such good one is here: &#xD;&#xA;http://socialsounddesign.com/questions/3946/what-bag-do-you-use-for-your-field-recorder" ContentLicense="CC BY-SA 2.5" />
  <row Id="7751" PostHistoryTypeId="2" PostId="4595" RevisionGUID="449aba6e-b46e-4166-ad48-e3924e1eb5ec" CreationDate="2010-11-17T00:52:46.843" UserId="88" Text="You've probably already got this covered, but as for all high-SPL shoots, if you don't own a pair of Remote Audio HN-7506 headphones, see if you can borrow or rent them.  They can be a huge help both in protecting your ears and in determining whether what you're hearing is actually how it sounds on the tracks (as opposed to bleeding in through the phones).&#xD;&#xA;&#xD;&#xA;Sounds fun -- let us know when the game's available!  I'd love to check it out." ContentLicense="CC BY-SA 2.5" />
  <row Id="7752" PostHistoryTypeId="2" PostId="4596" RevisionGUID="6120debd-4f59-43cf-91a0-0680bc235ee1" CreationDate="2010-11-17T01:02:07.937" UserId="338" Text="You can hope that some of the material you record you can layer into your library gunshot sounds if you aren't able to record completely usable sounds." ContentLicense="CC BY-SA 2.5" />
  <row Id="7753" PostHistoryTypeId="2" PostId="4597" RevisionGUID="ef25cc6a-5ca9-4385-81b2-dda9ae06b03f" CreationDate="2010-11-17T02:04:10.630" UserId="61" Text="One of my new favorite plugins, [Varisaturator][1], is made by Voxengo and can produce a very natural sounding distortion, saturation or overdrive, depending on the settings. In conjunction with some heavy limiting and low end boost, you may come into some good results.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.voxengo.com/product/varisaturator/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7754" PostHistoryTypeId="5" PostId="4595" RevisionGUID="47900151-2a29-4720-98ce-768e837928bd" CreationDate="2010-11-17T02:06:04.760" UserId="61" Comment="hyperlink" Text="You've probably already got this covered, but as for all high-SPL shoots, if you don't own a pair of [Remote Audio HN-7506][1] headphones, see if you can borrow or rent them.  They can be a huge help both in protecting your ears and in determining whether what you're hearing is actually how it sounds on the tracks (as opposed to bleeding in through the phones).&#xD;&#xA;&#xD;&#xA;Sounds fun -- let us know when the game's available!  I'd love to check it out.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.remoteaudio.com/high_noise_headset/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7755" PostHistoryTypeId="2" PostId="4598" RevisionGUID="d6444b3c-145b-43b6-b2e5-5b111363ad37" CreationDate="2010-11-17T04:19:43.870" UserId="639" Text="This might be a dumb question but im new so bare with me. Im comparing the Rode Ntg-2 and a rode Nt5. They both are cardioid pick up patterns, both condenser mics, both have alot of similar features. Is the difference only the distance you can be from the source? Can I just use a Nt5 and be a foot away and get the same sound as the Ntg-2 3 feet away? Or am I missing something here?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7756" PostHistoryTypeId="1" PostId="4598" RevisionGUID="d6444b3c-145b-43b6-b2e5-5b111363ad37" CreationDate="2010-11-17T04:19:43.870" UserId="639" Text="Why shotgun microphone instead of small cap condenser?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7757" PostHistoryTypeId="3" PostId="4598" RevisionGUID="d6444b3c-145b-43b6-b2e5-5b111363ad37" CreationDate="2010-11-17T04:19:43.870" UserId="639" Text="&lt;microphone&gt;&lt;newbie&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7758" PostHistoryTypeId="2" PostId="4599" RevisionGUID="bae6de6c-a671-4ac7-808d-c1d4417a2f29" CreationDate="2010-11-17T04:29:16.023" UserId="418" Text="Oh no, someone has found my secret weapon! Eh, just kidding. I've had it for a while, and have managed to coax some neat stuff out of it, but my results and process of using it are still mostly guesswork and random tinkering. The UI is very well, &quot;research lab&quot;. It also seems to be fairly buggy in OS X. I can crash it easier than I can do something cool with it. Still, the technology and concept is definitely neat and worth checking out. Someone with more brainpower than me can probably get a lot more out of it. :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7759" PostHistoryTypeId="2" PostId="4600" RevisionGUID="37da2167-1855-4c60-9bd6-797f0fe38990" CreationDate="2010-11-17T05:33:29.960" UserId="29" Text="Shaun, it's not about how &quot;far away&quot; you are fro the sound source, necessarily. Different mics and their pick up patterns are not designed to scoop up, or zoom into, sounds from a distance, but rather to attenuate, or lessen, the sounds coming from directions other than the front of the microphone. [This article][1] covers the basics and havs some good diagrams to get you thinking about the principles.&#xD;&#xA;&#xD;&#xA;The NTG-2 is a [shotgun mic][2], not a cardioid, and its special &quot;interference tube&quot; construction gives it a very different pickup pattern, with some tradeoffs (no such thing as a free lunch or a perfect mic). This [epic and often-cited article][3] has some of the best descriptions about these real-world differences and their practical uses, under the section heading &quot;What Are The Most Common Microphone Types and Pickup Patterns For Location Sound?&quot;, about three pages' worth of scrolling down from the top.&#xD;&#xA;&#xD;&#xA;Both are decent inexpensive mics, but read the articles above and see if they help determine which is right for your needs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Microphone#Microphone_polar_patterns&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Shotgun_microphone#Shotgun&#xD;&#xA;  [3]: http://www.kenstone.net/fcp_homepage/right_mic_brockett.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="7760" PostHistoryTypeId="2" PostId="4601" RevisionGUID="4fed2f39-580a-4639-8254-e1c94d554bdc" CreationDate="2010-11-17T05:43:33.500" UserId="29" Text="*&quot;Organic&quot;* is a hard word to qualify. I happen to think Native Instruments' [Absynth][1] has some nice organic sounds, subjectively speaking, but that's relative to other methods of creating electronic sounds or music. Not a diss, it's great for many things other synths can't do. And talk about a crazy modulation matrix...&#xD;&#xA;&#xD;&#xA;If you want *really* organic, I still adore (although not a plug-in) convolution and other techniques in Tom Erbe's [SoundHack][2]. I've been using it for nearly 15 years, and while sometimes a bit trial and error, with two interesting source sounds, it can do wonders.&#xD;&#xA;&#xD;&#xA;Many folks enjoy [Paul's Extreme Sound Stretch][3] for just a different way of extreme pitch shifting or sample lengthening. Some, including myself, still keep an OS 9 Mac around just to use the epic [th0nk][4] application, which had similar astral wackiness. DAWs are starting to have much more sophisticated time stretch tools built in as well.&#xD;&#xA;&#xD;&#xA;Oh, oh, and one more trick: If you use [Metasynth][5] and use its built in waveforms, it'll sound like Autechre. If you use Metasynth with actual organic samples, that's when that app opens up and really gives up the goods.&#xD;&#xA;&#xD;&#xA;This post makes me sound, and feel, really old. :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.native-instruments.com/en/products/producer/absynth-5/&#xD;&#xA;  [2]: http://www.soundhack.com/&#xD;&#xA;  [3]: http://hypermammut.sourceforge.net/paulstretch/&#xD;&#xA;  [4]: http://www.audioease.com/Pages/Free/FreeMain.html&#xD;&#xA;  [5]: http://www.uisoftware.com/MetaSynth/index.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="7761" PostHistoryTypeId="5" PostId="4600" RevisionGUID="69ff30e5-46aa-4689-ada8-29e104092050" CreationDate="2010-11-17T05:44:50.940" UserId="29" Comment="deleted 1 characters in body" Text="Shaun, it's not about how &quot;far away&quot; you are fro the sound source, necessarily. Different mics and their pick up patterns are not designed to scoop up, or zoom into, sounds from a distance, but rather to attenuate, or lessen, the sounds coming from directions other than the front of the microphone. [This article][1] covers the basics and has some good diagrams to get you thinking about the principles.&#xD;&#xA;&#xD;&#xA;The NTG-2 is a [shotgun mic][2], not a cardioid, and its special &quot;interference tube&quot; construction gives it a very different pickup pattern, with some tradeoffs (no such thing as a free lunch or a perfect mic). This [epic and often-cited article][3] has some of the best descriptions about these real-world differences and their practical uses, under the section heading &quot;What Are The Most Common Microphone Types and Pickup Patterns For Location Sound?&quot;, about three pages' worth of scrolling down from the top.&#xD;&#xA;&#xD;&#xA;Both are decent inexpensive mics, but read the articles above and see if they help determine which is right for your needs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Microphone#Microphone_polar_patterns&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Shotgun_microphone#Shotgun&#xD;&#xA;  [3]: http://www.kenstone.net/fcp_homepage/right_mic_brockett.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="7762" PostHistoryTypeId="2" PostId="4602" RevisionGUID="3639740d-0c6d-446f-b646-3ddfe46fb254" CreationDate="2010-11-17T06:52:25.407" UserId="134" Text="To address some of your questions:  &#xD;&#xA;&#xD;&#xA;The inputs could be of either type, we can always to converter cables, but alot of the system will be xlr.&#xD;&#xA;The mixer will be routing things into a crestrom 20x20 audio system, which lets us have some level of matrixing as setup, but not much in the way of adjustment on the fly, which is what the sound board is for.  &#xD;&#xA;Currently the crestron is accepting 10 xlr's and one stereo pair inputs, with additional inputs available thru cobranet.  Recording is largely unimportant for our needs as we will mostly be outputing multiple channels out of breakout boxes from laptops, and not dealing too much with instruments or mics.&#xD;&#xA;After some discussion today, I am seriously considering the Soundcraft FX16ii because the direct outputs are fader controllable, so we can adjust the levels of each channel individually and still send them back out to individual speakers.  Instead of buying a mixer with the digital built in, we will buy a motu firewire-&gt;8 channels breakout box and then use a 8 channel xlr snake to connect that to the mixer, where we can also route any additional inputs.  &#xD;&#xA;&#xD;&#xA;I am intrigued by your mention of needing the ability to EQ each channel, but do not know what board would allow us to do that to each channel and then send that out of the &quot;direct&quot; outputs so that the channels stay discrete.  The most important thing for the space is to be able to address each speaker with a seperate source when needed.&#xD;&#xA;&#xD;&#xA;Hopefully that does not raise more questions, and I would love to get feedback on our proposed solution.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7763" PostHistoryTypeId="2" PostId="4603" RevisionGUID="377b98fa-f44c-43d7-9d00-31f9099d4400" CreationDate="2010-11-17T07:55:21.750" UserId="641" Text="I have had my bags all custom made, primarily due to the cost implication of importing the bags vs getting them made.  This has also allowed my to develop some unique designs and systems to make my life easier!  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7764" PostHistoryTypeId="6" PostId="2941" RevisionGUID="481c2d94-1492-4d8a-af7d-851e3297427c" CreationDate="2010-11-17T09:00:44.927" UserId="663" Comment="edited tags" Text="&lt;social-network&gt;&lt;social&gt;&lt;websites&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7765" PostHistoryTypeId="2" PostId="4604" RevisionGUID="5471da89-a5d5-4105-9b8d-42749958682a" CreationDate="2010-11-17T09:19:08.990" UserId="663" Text="Hi guys and girls,&#xD;&#xA;This is not really a question... Who is using Facebook here? &#xD;&#xA;&#xD;&#xA;My profile is http://www.facebook.com/cvrgoje " ContentLicense="CC BY-SA 2.5" />
  <row Id="7766" PostHistoryTypeId="1" PostId="4604" RevisionGUID="5471da89-a5d5-4105-9b8d-42749958682a" CreationDate="2010-11-17T09:19:08.990" UserId="663" Text="Are you on Facebook" ContentLicense="CC BY-SA 2.5" />
  <row Id="7767" PostHistoryTypeId="3" PostId="4604" RevisionGUID="5471da89-a5d5-4105-9b8d-42749958682a" CreationDate="2010-11-17T09:19:08.990" UserId="663" Text="&lt;social-network&gt;&lt;social&gt;&lt;websites&gt;&lt;facebook&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7768" PostHistoryTypeId="5" PostId="4575" RevisionGUID="67df64b2-2e9c-48e7-a95d-730f647c1895" CreationDate="2010-11-17T09:33:47.657" UserId="663" Comment="add IMDB link" Text="I accept them when I am asked by good friend or person whom I respect. It is good to do no-budget projects, because when there is no money involved you have more artistic freedom. &#xD;&#xA;&#xD;&#xA;This is one of short no-budget film that I worked on.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=SjcMt-Xl88w&#xD;&#xA;&#xD;&#xA;http://www.imdb.com/title/tt0816581/combined&#xD;&#xA;&#xD;&#xA;It won few awards...." ContentLicense="CC BY-SA 2.5" />
  <row Id="7770" PostHistoryTypeId="2" PostId="4605" RevisionGUID="d2c5ae4a-417b-46b7-915b-8c88e1cfb595" CreationDate="2010-11-17T11:36:00.050" UserId="629" Text="@a_millington here :)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7771" PostHistoryTypeId="16" PostId="4605" RevisionGUID="d2c5ae4a-417b-46b7-915b-8c88e1cfb595" CreationDate="2010-11-17T11:36:00.050" UserId="-1" />
  <row Id="7772" PostHistoryTypeId="2" PostId="4606" RevisionGUID="7884f904-785a-4c03-a58a-d07544056217" CreationDate="2010-11-17T11:49:55.403" UserId="663" Text="[Sennheiser HD 25-1 II][1] &#xD;&#xA;&#xD;&#xA;Price Inc VAT £ 129.99 in UK&#xD;&#xA;&#xD;&#xA;You can use them for field and studio monitoring as well.&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA; - lightweight and comfortable&#xD;&#xA; - high attenuation of background noise&#xD;&#xA; - extremely robust construction&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sennheiser.co.uk/uk/home_en.nsf/root/professional_headphones-headsets_dj-headphones_502188&#xD;&#xA;  [2]: http://www.sennheiser.com/sennheiser/products.nsf/resources/20BEE8F4D0543C6CC1257432007FDD4A/$File/HD_25-1_II_ProductImage.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="7773" PostHistoryTypeId="6" PostId="4418" RevisionGUID="5f2c2776-9f1b-49fe-a228-0cb24286bf2d" CreationDate="2010-11-17T11:54:50.593" UserId="663" Comment="edited tags" Text="&lt;internships&gt;&lt;studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7774" PostHistoryTypeId="2" PostId="4607" RevisionGUID="15ecde3f-04b8-420d-b830-a1184a07f269" CreationDate="2010-11-17T11:57:55.890" UserId="663" Text="Logic Pro as DAW and Waves as plug-ins" ContentLicense="CC BY-SA 2.5" />
  <row Id="7775" PostHistoryTypeId="2" PostId="4608" RevisionGUID="9177e1ea-0dc3-4db3-b647-4db91ae7415b" CreationDate="2010-11-17T12:00:25.703" UserId="542" Text="I quit last year after I realized that Facebook took too much of my time. Another reason was that communication between friends became kinda weird, because you tend to just drop a message rather than calling someone. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7776" PostHistoryTypeId="2" PostId="4609" RevisionGUID="1dea5dbc-80b2-4257-8e5b-f33f160d8dbb" CreationDate="2010-11-17T12:44:39.350" UserId="629" Text="Sounds are good but shouldn't the clip show off more of your work you've done to sync?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7777" PostHistoryTypeId="2" PostId="4610" RevisionGUID="32350b14-9039-4389-86cc-e740e91d9d4f" CreationDate="2010-11-17T14:48:12.743" UserId="663" Text="I meditate when I need silence. Just turning myself off from physical noise and chaos." ContentLicense="CC BY-SA 2.5" />
  <row Id="7778" PostHistoryTypeId="2" PostId="4611" RevisionGUID="5f837e37-ee82-44fb-93e6-899fb46b6df7" CreationDate="2010-11-17T14:58:23.287" UserId="663" Text="No. You will probably not get the same sound. NTG-2 is shotgun microphone (super cardioid) and  NT5 is small-diaphragm cardioid. NTG-2 will catch less ambience noise then NT5.&#xD;&#xA;&#xD;&#xA;Anyway, if you can you should do some test to see which one best fit your needs." ContentLicense="CC BY-SA 2.5" />
  <row Id="7779" PostHistoryTypeId="2" PostId="4612" RevisionGUID="2b5634f7-4c18-4a7a-aee4-86d3d8af9739" CreationDate="2010-11-17T15:04:03.980" UserId="663" Text="If you don't need some specific phrases, just random words, you could try to find it in some SFX library." ContentLicense="CC BY-SA 2.5" />
  <row Id="7780" PostHistoryTypeId="2" PostId="4613" RevisionGUID="8230451d-deb9-46e2-bc1b-792cab24b1ed" CreationDate="2010-11-17T16:46:41.900" UserId="663" Text="I use [Soundtrack Pro][1], [Logic Pro][2] and [ProTools][3]. &#xD;&#xA;&#xD;&#xA;Soundtrack Pro (in a file-editing mode) is similar to SoundForge, but also has multitrack mode.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.apple.com/logicstudio/soundtrackpro/&#xD;&#xA;  [2]: http://www.apple.com/logicstudio/soundtrackpro/&#xD;&#xA;  [3]: http://www.avid.com/US/products/Pro-Tools-Software" ContentLicense="CC BY-SA 2.5" />
  <row Id="7781" PostHistoryTypeId="2" PostId="4614" RevisionGUID="5f3d57ac-b4a7-4be7-be3f-0f11eb95cfb7" CreationDate="2010-11-17T22:14:45.673" UserId="37" Text="for mixing for film&amp;tv you are looking at either Pro Tools or Nuendo. that said, you might really want to grow your daw relationship organically and go with whatever allows you to be creative and do more things quicker. I've seen guys create wonders on Adobe Audition, as much as I've seen people hack things to high standard in Vegas. With the right mindset you can use any DAW to advance sufficiently and then transfer (although it's not going to be the most straightforward experience at first). &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7782" PostHistoryTypeId="2" PostId="4615" RevisionGUID="05ae60e3-3dfe-476b-93c8-c7308660bf8f" CreationDate="2010-11-18T01:19:49.290" UserId="303" Text="I know the question of M/S vs. X/Y recordings has been discussed many times as well as the benefits of both. All of that aside, I'm a little concerned about how my M/S recordings will be used by the end-users. What are your thoughts as far as being decoded incorrectly or phase issues go? " ContentLicense="CC BY-SA 2.5" />
  <row Id="7783" PostHistoryTypeId="1" PostId="4615" RevisionGUID="05ae60e3-3dfe-476b-93c8-c7308660bf8f" CreationDate="2010-11-18T01:19:49.290" UserId="303" Text="M/S concerns regarding the end-user" ContentLicense="CC BY-SA 2.5" />
  <row Id="7784" PostHistoryTypeId="3" PostId="4615" RevisionGUID="05ae60e3-3dfe-476b-93c8-c7308660bf8f" CreationDate="2010-11-18T01:19:49.290" UserId="303" Text="&lt;ms&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7785" PostHistoryTypeId="2" PostId="4616" RevisionGUID="45df7dc7-0f72-4970-81f0-3e67aadb5dfa" CreationDate="2010-11-18T03:37:02.587" UserId="61" Text="I may be in the minority here, but most of the time when I come across an M/S recording in my library that I want to use, I usually do a quick M/S to stereo conversion using a plugin preset (S1 Imager, Bx _control, etc) and move on. It's rare that I'll actually take the time to experiment with the width of the stereo image. That being said, I appreciate the format but don't normally take full advantage of it, for the sake of time and productivity." ContentLicense="CC BY-SA 2.5" />
  <row Id="7786" PostHistoryTypeId="2" PostId="4617" RevisionGUID="27eef86f-5a71-4b1a-8180-fe79de0c4e04" CreationDate="2010-11-18T04:38:04.990" UserId="667" Text="Was wondering what kind of mics are used the get the sound of the hits, skates, sticks etc. for the live broadcasts of pro hockey games. Like a couple dynamic or condenser mics setup around the rink?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7787" PostHistoryTypeId="1" PostId="4617" RevisionGUID="27eef86f-5a71-4b1a-8180-fe79de0c4e04" CreationDate="2010-11-18T04:38:04.990" UserId="667" Text="Live sound at professional hockey games." ContentLicense="CC BY-SA 2.5" />
  <row Id="7788" PostHistoryTypeId="3" PostId="4617" RevisionGUID="27eef86f-5a71-4b1a-8180-fe79de0c4e04" CreationDate="2010-11-18T04:38:04.990" UserId="667" Text="&lt;pro&gt;&lt;hockey&gt;&lt;live&gt;&lt;sound&gt;&lt;mic&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7789" PostHistoryTypeId="2" PostId="4618" RevisionGUID="378ae3dc-f13a-4cea-935d-27d206b6f2c5" CreationDate="2010-11-18T08:09:43.670" UserId="663" Text="Usually shotgun microphone (super cardioid)." ContentLicense="CC BY-SA 2.5" />
  <row Id="7790" PostHistoryTypeId="2" PostId="4619" RevisionGUID="a274271f-26fd-4a35-bf48-9da763561895" CreationDate="2010-11-18T09:04:59.900" UserId="663" Text="Find this interesting text&#xD;&#xA;&#xD;&#xA;http://singularityhub.com/2010/10/13/new-super-microphone-can-hear-you-in-a-crowded-stadium-video/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7791" PostHistoryTypeId="2" PostId="4620" RevisionGUID="0a63cf4f-19aa-4c44-adb3-94d66bae5c7c" CreationDate="2010-11-18T10:37:51.277" UserId="663" Text="Try searching [Sound Ideas][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sound-ideas.com:90/sfx/searchsfx2.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="7792" PostHistoryTypeId="2" PostId="4621" RevisionGUID="fe44c909-b527-4ef1-a4f8-364fcf455ccb" CreationDate="2010-11-18T10:42:04.420" UserId="663" Text=" I didn't try any of those, but I think that Electro Voice RE 50 N /DBL is better (specification, brand, reviews, etc) ." ContentLicense="CC BY-SA 2.5" />
  <row Id="7793" PostHistoryTypeId="2" PostId="4622" RevisionGUID="2683516f-9003-49d8-812c-2ee9b832c80e" CreationDate="2010-11-18T11:22:54.043" UserId="505" Text="REASON&#xD;&#xA;It's a good tool for basic sound design!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7794" PostHistoryTypeId="2" PostId="4623" RevisionGUID="2130166b-667c-49f7-ae4a-9e8980b1d2f1" CreationDate="2010-11-18T12:43:29.843" UserId="2" Text="Next week I'm going to be on a shoot in Mexico, which will be shot on three 5Ds, and they're going to use Plural Eyes to sync. &#xD;&#xA;&#xD;&#xA;What is the absolute cheapest mic that I can plug in straight into the 5D as a guide track? I'm not interested in quality, it's purely to help with sync. &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7795" PostHistoryTypeId="1" PostId="4623" RevisionGUID="2130166b-667c-49f7-ae4a-9e8980b1d2f1" CreationDate="2010-11-18T12:43:29.843" UserId="2" Text="Cheap mic for 5D to help Plural Eyes with sync " ContentLicense="CC BY-SA 2.5" />
  <row Id="7796" PostHistoryTypeId="3" PostId="4623" RevisionGUID="2130166b-667c-49f7-ae4a-9e8980b1d2f1" CreationDate="2010-11-18T12:43:29.843" UserId="2" Text="&lt;plural-eyes&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7797" PostHistoryTypeId="2" PostId="4624" RevisionGUID="c29c22e9-443f-486a-9380-a548706e86c2" CreationDate="2010-11-18T13:26:41.150" UserId="220" Text="Just for syncing, really the internal mic is not bad.  I actually used some of the sound from one to blend into foley.&#xD;&#xA;&#xD;&#xA;That said, if you want some safety, the [Audio-Technica Pro-24CM][1] runs about $70 online and is stereo.  Gets decent reviews.  Stepping it up, you can go for the [Rode VideoMic][2] at $150.  The A-T runs off of LR-44 batteries (cost about $1 each) and the Rode runs off of 9V.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/518701-REG/Audio_Technica_PRO_24_CM_Pro_24CM_Stereo_Microphone.html&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/product/363083-REG/Rode_VIDEOMIC_VideoMic_Camera_Mounted.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="7798" PostHistoryTypeId="2" PostId="4625" RevisionGUID="f3a6ad6b-ebd4-4b75-9444-6c5c7bc642b0" CreationDate="2010-11-18T13:29:47.097" UserId="194" Text="At the AAC during Stars games they use a series of MKH 60s (including one mounted in the center scoreboard) and an array of crown PZM mics located on the glass every couple of panels.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="7802" PostHistoryTypeId="2" PostId="4627" RevisionGUID="8fb36269-ec48-4f61-9642-421de31156ae" CreationDate="2010-11-18T15:19:52.943" UserId="429" Text="I'm looking for a creative way to tag and enter metadata into my database of audio files and synth patches. I realize that any list would be particular to the person creating it but is there a way for to us to collaborate on this site, creating a list of descriptive words and phrases particularly useful in a sound design search database ? &#xD;&#xA;&#xD;&#xA;I wondered if there were someway to collect descriptions we could share and vote up similar to how some aspects of this site works IE: when I enter tags for a post it automagically finds similar or same words. For example if 32 people had entered or maybe even voted for &quot;be-jizzle-dazle&quot; as a useful description then it would pop up to the top of a list of useful sound design words &amp; phrases.&#xD;&#xA;&#xD;&#xA;Or is there another online tool that might have been built for another purpose that I can co-opt for this task .. ?? Any comment would be awesome .. let me know what you think !" ContentLicense="CC BY-SA 2.5" />
  <row Id="7803" PostHistoryTypeId="1" PostId="4627" RevisionGUID="8fb36269-ec48-4f61-9642-421de31156ae" CreationDate="2010-11-18T15:19:52.943" UserId="429" Text="Sound Designers Vernacular / Nomenclature" ContentLicense="CC BY-SA 2.5" />
  <row Id="7804" PostHistoryTypeId="3" PostId="4627" RevisionGUID="8fb36269-ec48-4f61-9642-421de31156ae" CreationDate="2010-11-18T15:19:52.943" UserId="429" Text="&lt;metadata&gt;&lt;database&gt;&lt;library&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7806" PostHistoryTypeId="2" PostId="4629" RevisionGUID="b846eb82-de4b-4435-ba86-a1fe5b3f312b" CreationDate="2010-11-18T15:45:22.440" UserId="596" Text="hello,&#xD;&#xA;&#xD;&#xA;as my independent sample library keeps growing bigger and bigger, i'm running out of space and looking for a reliable storage solution. since a Macbook Pro is my main computer i'm after an external desktop harddrive, which i would also like to use for live sound editing. therefore it needs to be fast, reliable, with falseness reputation. should have USB2.0, Firewire400/800, eSata is a plus. 2TB is enough. my limited budget narrowed me down to the WD My Book Studio Edition II:&#xD;&#xA;&#xD;&#xA;http://www.wdc.com/en/products/Products.asp?DriveID=621&#xD;&#xA;&#xD;&#xA;does anyone have experience working with this one? or can anyone suggest a better alternative?&#xD;&#xA;&#xD;&#xA;thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7807" PostHistoryTypeId="1" PostId="4629" RevisionGUID="b846eb82-de4b-4435-ba86-a1fe5b3f312b" CreationDate="2010-11-18T15:45:22.440" UserId="596" Text="external harddrive for sample library storage -and- audio editing" ContentLicense="CC BY-SA 2.5" />
  <row Id="7808" PostHistoryTypeId="3" PostId="4629" RevisionGUID="b846eb82-de4b-4435-ba86-a1fe5b3f312b" CreationDate="2010-11-18T15:45:22.440" UserId="596" Text="&lt;harddrive&gt;&lt;storage&gt;&lt;sound-library&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7809" PostHistoryTypeId="2" PostId="4630" RevisionGUID="083b28c7-d5c5-4c05-8e86-dfbfde31f0f7" CreationDate="2010-11-18T15:53:33.023" UserId="663" Text="I have my SFX on earlier model of WD Studio Edition. Never had any problems with it. I recommend you to buy it." ContentLicense="CC BY-SA 2.5" />
  <row Id="7810" PostHistoryTypeId="2" PostId="4631" RevisionGUID="f216184a-a785-4d2b-8865-ec9b0f14125d" CreationDate="2010-11-18T16:50:21.037" UserId="668" Text="I've had a couple of those fail on me. I was able to pull the drives and the data was safe. It was the enclosure that failed. Check out Other World Computing. I've never, ever had a failure on anything I've purchased from them. Great stuff. I use one as my main editing drive connected via FW800 and another as my SFX drive. &#xD;&#xA;&#xD;&#xA;http://www.macsales.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7811" PostHistoryTypeId="2" PostId="4632" RevisionGUID="314cc45f-9af7-4c93-b083-937b64b1be95" CreationDate="2010-11-18T17:19:16.103" UserId="261" Text="I think that Audi knows the answer.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=sY7KhvdtB9I&amp;feature=player_embedded#!&#xD;&#xA;&#xD;&#xA;Gets interesting at the 1:30 mark&#xD;&#xA;&#xD;&#xA;Enjoy" ContentLicense="CC BY-SA 2.5" />
  <row Id="7812" PostHistoryTypeId="2" PostId="4633" RevisionGUID="9dd54824-3d7a-4665-8151-7a65384ffaca" CreationDate="2010-11-18T17:33:34.477" UserId="238" Text="Any hard drive carries a risk of crashing and potential the loss of your data. One option that is slightly out of your budget, but still affordable and much more reliable is a [Drobo][1]. Using the BeyondRAID technology, a Drobo system will always safeguard your data as long as there is more than one drive in the unit. A lot of people working in digital media are using these. Check the vid to see more on how they work. &#xD;&#xA;&#xD;&#xA;[youtube]05yqvb5n36M[/youtube]&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=05yqvb5n36M&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.drobo.com/products/index.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="7813" PostHistoryTypeId="2" PostId="4634" RevisionGUID="1e75040f-ab22-4d1f-bd9a-c3637bc6d121" CreationDate="2010-11-18T18:10:10.317" UserId="663" Text="1.) What are some of your favourite sounds?&#xD;&#xA;water - flowing, waves, trickle...&#xD;&#xA;&#xD;&#xA;2.) What are some sounds that you relate strongly with memories of your childhood?&#xD;&#xA;parrot and mother's car&#xD;&#xA;&#xD;&#xA;3.) What are some sounds that, in your opinion, are strongly evocative of the city/town that you are currently living in?&#xD;&#xA;I am living in Belgrade. Sounds of a whistles.&#xD;&#xA;&#xD;&#xA;4.) What are some sounds that you can hear right now as you read this text?&#xD;&#xA;TV in background, car passing by through open window, cat playing around, keyboard and mouse :) &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7814" PostHistoryTypeId="5" PostId="4633" RevisionGUID="2e1419d3-4b9b-47b3-92f0-146d34dd88ee" CreationDate="2010-11-18T18:58:00.047" UserId="238" Comment="edited body" Text="Any hard drive carries a risk of crashing and the potential loss of your data. One option that is slightly out of your budget, but still affordable and much more reliable is a [Drobo][1]. Using the BeyondRAID technology, a Drobo system will always safeguard your data as long as there is more than one drive in the unit. A lot of people working in digital media are using these. Check the vid to see more on how they work. &#xD;&#xA;&#xD;&#xA;[youtube]05yqvb5n36M[/youtube]&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=05yqvb5n36M&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.drobo.com/products/index.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="7815" PostHistoryTypeId="2" PostId="4635" RevisionGUID="39d70a0a-5791-48c2-80e5-dd1c189eb4f4" CreationDate="2010-11-18T22:17:31.623" UserId="66" Text="We're using a 2TB LaCie 2big quadra (well, it's 4TB but a RAID). The first that drive arrived busted, but customer service was impressive and they sent me a replacement immediately. The only beef is that the fan is pretty loud, but most of our drives are.  Anyone have a cost-effective solution for noisy drives?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7816" PostHistoryTypeId="2" PostId="4636" RevisionGUID="e3ccc7c9-91be-45ae-ada5-afa6b25e897a" CreationDate="2010-11-18T23:34:17.323" UserId="663" Text="Did anyone try iZotope [nectar][1]?&#xD;&#xA;Look like nice and easy all-in-one plug-in.&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.izotope.com/products/audio/nectar/&#xD;&#xA;  [2]: http://www.izotope.com/products/audio/nectar/images/nectar_main-view_large.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="7817" PostHistoryTypeId="1" PostId="4636" RevisionGUID="e3ccc7c9-91be-45ae-ada5-afa6b25e897a" CreationDate="2010-11-18T23:34:17.323" UserId="663" Text="iZotope  - Nectar" ContentLicense="CC BY-SA 2.5" />
  <row Id="7818" PostHistoryTypeId="3" PostId="4636" RevisionGUID="e3ccc7c9-91be-45ae-ada5-afa6b25e897a" CreationDate="2010-11-18T23:34:17.323" UserId="663" Text="&lt;izotope&gt;&lt;plug-in&gt;&lt;voice&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7819" PostHistoryTypeId="2" PostId="4637" RevisionGUID="c45dd5e1-d60f-440f-b167-eeb11b9f0e2a" CreationDate="2010-11-18T23:38:37.413" UserId="666" Text="Do u use youtube.com and soundcloud.com to show your work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7820" PostHistoryTypeId="1" PostId="4637" RevisionGUID="c45dd5e1-d60f-440f-b167-eeb11b9f0e2a" CreationDate="2010-11-18T23:38:37.413" UserId="666" Text="youtube and soundcloud" ContentLicense="CC BY-SA 2.5" />
  <row Id="7821" PostHistoryTypeId="3" PostId="4637" RevisionGUID="c45dd5e1-d60f-440f-b167-eeb11b9f0e2a" CreationDate="2010-11-18T23:38:37.413" UserId="666" Text="&lt;youtube&gt;&lt;soundcloud&gt;&lt;demo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7822" PostHistoryTypeId="2" PostId="4638" RevisionGUID="18c3a305-9d37-4d6f-acf9-39528e574ed9" CreationDate="2010-11-18T23:44:41.963" UserId="629" Text="SoundCloud and Vimeo for me. Youtube is too open, Vimeo gives you more access in my opinion." ContentLicense="CC BY-SA 2.5" />
  <row Id="7825" PostHistoryTypeId="5" PostId="3670" RevisionGUID="663b20c3-6538-481a-88f0-0eef420b64f5" CreationDate="2010-11-18T23:49:53.890" UserId="194" Comment="added 84 characters in body; deleted 84 characters in body" Text="At some point you **can** have too much coverage of a vehicle, but it takes quite a lot to get there.  The question is how much is enough without being too much?&#xD;&#xA;&#xD;&#xA;Lets assume that we want to put together a record list that includes *complete* coverage of 1 specific car - all at 24bit 96k.  Here's where I would start as far as listing deliverables:&#xD;&#xA;&#xD;&#xA;**onboard stop and go and highway driving (~10 minutes of each)**&#xD;&#xA;&#xD;&#xA; - interior stereo&#xD;&#xA; - onboard muffler mono&#xD;&#xA; - onboard tire mono&#xD;&#xA; - onboard air intake mono&#xD;&#xA; - onboard engine compartment mono&#xD;&#xA; - mastered onboard mono mic mix (for quicker spotting)&#xD;&#xA;&#xD;&#xA;**starts, stops and bys at 5mph, 10mph, 20mph, 40mph, 60mph, and 80mph**&#xD;&#xA;&#xD;&#xA; - interior stereo&#xD;&#xA; - onboard muffler mono&#xD;&#xA; - onboard tire mono&#xD;&#xA; - onboard air intake mono&#xD;&#xA; - onboard engine compartment mono&#xD;&#xA; - mastered onboard mono mic mix (for quicker spotting)&#xD;&#xA; - ext x/y&#xD;&#xA; - ext tracking or dual wide angle shotgun&#xD;&#xA;&#xD;&#xA;**stationary sounds**&#xD;&#xA;&#xD;&#xA; - int stereo door open and close soft/medium/hard x 3&#xD;&#xA; - ext stereo door open and close soft/medium/hard x 3&#xD;&#xA; - ext stereo distant door open and close soft/medium/hard x 3&#xD;&#xA; - int stereo hood open and close soft/medium/hard x 3&#xD;&#xA; - ext stereo hood open and close soft/medium/hard x 3&#xD;&#xA; - ext stereo distant hoodopen and close soft/medium/hard x 3&#xD;&#xA; - int stereo trunk open and close soft/medium/hard x 3&#xD;&#xA; - ext stereo trunk open and close soft/medium/hard x 3&#xD;&#xA; - ext stereo distant trunk open and close soft/medium/hard x 3&#xD;&#xA; - int mono transmission shift x 5&#xD;&#xA; - int mono parking brake pulls x 3&#xD;&#xA; - int mono key in ignition x 3&#xD;&#xA; - int mono pedal stomps x 3&#xD;&#xA; - int mono door locks x 5&#xD;&#xA; - int mono alarm - key in ignition&#xD;&#xA; - int mono alarm - lights left on&#xD;&#xA; - int mono glove compartment open close x 5&#xD;&#xA; - int mono console movement x 5&#xD;&#xA; - int mono seatbelts on and off x 5&#xD;&#xA; - int mono sit in seat x 5&#xD;&#xA;&#xD;&#xA;---------------------&#xD;&#xA;&#xD;&#xA;now, to get that much coverage on a car you'd need about two full days of recording not inclusive of prep, and probably 3-5 days of editing depending on vehicle and recording conditions.  You'd also end up with a pretty big package with regards to file size for this single vehicle.  You're looking at about 1 gig for the onboard highway driving package alone, so the entire thing will probably be in the neighborhood of 5-8 gigs of finished files for the single car.&#xD;&#xA;&#xD;&#xA;that all seems perfectly acceptable, but it also seems like it would cause one to be a little selective about which and how many vehicles get the &quot;full coverage&quot; treatment.  &#xD;&#xA;&#xD;&#xA;questions:&#xD;&#xA;&#xD;&#xA;what did I miss?&#xD;&#xA;&#xD;&#xA;do all of my assumptions seem correct?&#xD;&#xA;&#xD;&#xA;how much space would you put aside in *your* library for full coverage of vehicles?&#xD;&#xA;&#xD;&#xA;thx!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7826" PostHistoryTypeId="2" PostId="4640" RevisionGUID="1b4e2cde-74f0-4b0a-b1ad-5aeca827d72f" CreationDate="2010-11-19T01:24:48.900" UserId="587" Text="iZotopes plug-ins are awesome. I love Ozone - and their RX software is just slick. They truly are all in one plug-ins. But because of this, they truly are DSP hogs. Comparing a compression plug-in to opening Ozone and using its compression plug-in, I would rather use the single use plug-in if that is all I needed. &#xD;&#xA;&#xD;&#xA;Friggin love iZotope - they put out good Mastering software. &#xD;&#xA;&#xD;&#xA;And I like their harmonic exciter for bringing out areas of the spectrum or stereo imager for spreading a background." ContentLicense="CC BY-SA 2.5" />
  <row Id="7827" PostHistoryTypeId="2" PostId="4641" RevisionGUID="dee8e203-7b0a-4e05-8640-c8b0af191660" CreationDate="2010-11-19T01:32:23.853" UserId="587" Text="Going to look into SoundCloud. Not familiar with it.&#xD;&#xA;&#xD;&#xA;Vimeo I liked the reliability of their embed player - except you couldn't customize how it looked. More importantly, you have to subscribe to their service to post HD videos - in turn this limits the sound quality you can have on your presented work online.  Youtube allows most HD types which grants you the ability to put a wider range of audio formats with your video.  Vimeo makes you pay for this. Youtube also allows the privatization of your own personal channel and only your embedded player on your website will play the video. It wont show up in searches on Youtube." ContentLicense="CC BY-SA 2.5" />
  <row Id="7829" PostHistoryTypeId="2" PostId="4643" RevisionGUID="1b73b0b8-ee8a-42a5-8a69-af09b789d8f6" CreationDate="2010-11-19T03:08:03.317" UserId="531" Text="Hello fellow sound designers,&#xD;&#xA;&#xD;&#xA;I was wondering if any of you could give me guidance on how to prep an audio mix for HDCAM Transfer.&#xD;&#xA;Have you worked with the HDCAM format before? &#xD;&#xA;What technical specs should i be aware of, and how will they shape my mix? &#xD;&#xA;&#xD;&#xA;I'm working on my first feature length documentary as the sound designer, &#xD;&#xA;and the team is going to be submitting it to festivals soon, showing it on HDCAM.&#xD;&#xA;&#xD;&#xA;Any help would be excellent! &#xD;&#xA;Thank you much! &#xD;&#xA;&#xD;&#xA;-Kevin " ContentLicense="CC BY-SA 2.5" />
  <row Id="7830" PostHistoryTypeId="1" PostId="4643" RevisionGUID="1b73b0b8-ee8a-42a5-8a69-af09b789d8f6" CreationDate="2010-11-19T03:08:03.317" UserId="531" Text="Prepping a Mix for HDCAM Transfer" ContentLicense="CC BY-SA 2.5" />
  <row Id="7831" PostHistoryTypeId="3" PostId="4643" RevisionGUID="1b73b0b8-ee8a-42a5-8a69-af09b789d8f6" CreationDate="2010-11-19T03:08:03.317" UserId="531" Text="&lt;mixing&gt;&lt;filmfestival&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7832" PostHistoryTypeId="2" PostId="4644" RevisionGUID="2f2da9ea-6941-42cd-bc92-0eaa9efa085e" CreationDate="2010-11-19T07:11:13.500" UserId="2" Text="**Video** &#xD;&#xA;&#xD;&#xA;I use both Vimeo &amp; Youtube to upload, reason being is I'm never sure which one will catch on and might get a little bit of traction. That said, I always use Vimeo to display my work, it looks better and now works on iPhones. &#xD;&#xA;&#xD;&#xA;**Audio** &#xD;&#xA;&#xD;&#xA;Soundcloud for sure! I quite like [audioBoo][1] to show quick snippets of sounds I like from a random place (recorded on iPhone) - not for professional use, just to share quickly. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audioboo.fm./" ContentLicense="CC BY-SA 2.5" />
  <row Id="7833" PostHistoryTypeId="2" PostId="4645" RevisionGUID="7f77ed02-8ee8-4621-be86-4eeca060a21e" CreationDate="2010-11-19T07:34:00.423" UserId="18160" Text="I switch between playlists a lot while recording, editing and comping vocals.&#xD;&#xA;&#xD;&#xA;Is there a clever trick any of you have found for a hotkey via QuicKeys or is there a new shortcut in Pro Tools 8 or 9 that switches automatically between playlists on a certain track?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7834" PostHistoryTypeId="1" PostId="4645" RevisionGUID="7f77ed02-8ee8-4621-be86-4eeca060a21e" CreationDate="2010-11-19T07:34:00.423" UserId="18160" Text="Pro Tools Playlist Switching" ContentLicense="CC BY-SA 2.5" />
  <row Id="7835" PostHistoryTypeId="3" PostId="4645" RevisionGUID="7f77ed02-8ee8-4621-be86-4eeca060a21e" CreationDate="2010-11-19T07:34:00.423" UserId="18160" Text="&lt;pro-tools&gt;&lt;playlists&gt;&lt;switching&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7836" PostHistoryTypeId="2" PostId="4646" RevisionGUID="4db1be99-e93e-40fe-9db3-e9de55574664" CreationDate="2010-11-19T07:38:45.327" UserId="2" Text="I recently asked a question about [monitoring two recorders with one pair of headphones][1]. I have been struggling like crazy figuring out a solution that will work in the time frame I have (short as heck). &#xD;&#xA;&#xD;&#xA;For the electronic geeks out there... I just ordered a custom cable that works the opposite of a stereo [Y-cable][2]. The idea is that two stereo mini-jacks go into each Sound Devices monitor output and get summed into one stereo cable with a female mini-jack to plug in my headphones. &#xD;&#xA;&#xD;&#xA;My questions: Will this work? Is it safe for my headphones? Will the quality be okay? &#xD;&#xA;&#xD;&#xA;Thanks. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/4586/monitoring-two-recorders-with-one-pair-of-headphones&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Y-cable" ContentLicense="CC BY-SA 2.5" />
  <row Id="7837" PostHistoryTypeId="1" PostId="4646" RevisionGUID="4db1be99-e93e-40fe-9db3-e9de55574664" CreationDate="2010-11-19T07:38:45.327" UserId="2" Text="Opposite of a Y-cable" ContentLicense="CC BY-SA 2.5" />
  <row Id="7838" PostHistoryTypeId="3" PostId="4646" RevisionGUID="4db1be99-e93e-40fe-9db3-e9de55574664" CreationDate="2010-11-19T07:38:45.327" UserId="2" Text="&lt;y-cable&gt;&lt;monitoring&gt;&lt;electronics&gt;&lt;cable&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7839" PostHistoryTypeId="2" PostId="4647" RevisionGUID="58ccc64a-f384-403c-830e-d7bfa9b03ade" CreationDate="2010-11-19T07:41:53.953" UserId="407" Text="Sound cloud and Vimeo - I try to avoid YouTube for my own work. Vimeo just feels more proffessional somehow if you're sending people links." ContentLicense="CC BY-SA 2.5" />
  <row Id="7840" PostHistoryTypeId="2" PostId="4648" RevisionGUID="69259c89-8716-4ddc-8b09-99a807e9089a" CreationDate="2010-11-19T07:43:43.550" UserDisplayName="user49" Text="theres a good saying: &quot;fish where the fish are&quot;&#xD;&#xA;&#xD;&#xA;&amp; i agree with it ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7841" PostHistoryTypeId="2" PostId="4649" RevisionGUID="17be772f-b52f-4b06-b029-4fc865a21546" CreationDate="2010-11-19T07:56:38.423" UserId="587" Text="Just by theory you will have a louder signal if the two sum right - so I would guess the only time it could damage your hp's is if you had both recorders turned up to the point where it would be louder than the loudest of monitoring just one. This is if there is no built in limiter somewhere - you might be able to put a pad somewhere in the chain to be safe.&#xD;&#xA;&#xD;&#xA;I wouldnt see why it wouldnt work though.&#xD;&#xA;&#xD;&#xA;Would a safer bet be a switcher? - You could easily monitor 1 device at a time but A and B between the 2 at the flick of a switch?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7842" PostHistoryTypeId="2" PostId="4650" RevisionGUID="4a7d2a79-a105-4510-af9a-b225da70fe15" CreationDate="2010-11-19T08:10:56.547" UserId="587" Text="Check this forum out for some potential answers.&#xD;&#xA;&#xD;&#xA;http://www.nashvillemusicpros.com/forum/topics/1322798:Topic:130783&#xD;&#xA;&#xD;&#xA;Same question." ContentLicense="CC BY-SA 2.5" />
  <row Id="7843" PostHistoryTypeId="2" PostId="4651" RevisionGUID="a319a50f-9d34-457d-b2fd-477e9fc75b5e" CreationDate="2010-11-19T08:19:35.470" UserId="238" Text="Yep, [Soundcloud][1] and Vimeo here too! I love how easy it is to post a soundcloud recording/clip on a blog. Plus the sample rate and bit depth are not limited, it's only the length in time. This is a big advantage.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/colin-hunter" ContentLicense="CC BY-SA 2.5" />
  <row Id="7844" PostHistoryTypeId="2" PostId="4652" RevisionGUID="e78d248e-7d6e-4c75-b0e7-729e40aac2a9" CreationDate="2010-11-19T09:17:08.427" UserId="663" Text="I use YouTube and SoundCloud. Mostly to host files for my website." ContentLicense="CC BY-SA 2.5" />
  <row Id="7845" PostHistoryTypeId="6" PostId="4637" RevisionGUID="3ef6657b-2f4b-4531-8f09-d292510d27d5" CreationDate="2010-11-19T09:17:52.903" UserId="663" Comment="edited tags" Text="&lt;youtube&gt;&lt;soundcloud&gt;&lt;demo&gt;&lt;websites&gt;&lt;social-network&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7846" PostHistoryTypeId="2" PostId="4653" RevisionGUID="2363b38e-cf5a-40d1-8f33-90ba48ebcc0d" CreationDate="2010-11-19T10:23:46.260" UserId="202" Text="I don't know any way to change playlist with a keycommand. Maybe you can have the the track in playlist view (so all the playlists appear under your track) and have a shortcuts with QK that copy the first-second-third-fourth-etc. playlist to your main track... just an idea.&#xD;&#xA;&#xD;&#xA;What you ask, IF Pro Tools supported applescript (or any other script language) could be added easily (I think): I'm trying to ask for applescript support for Pro Tools, maybe you can spread the word. &#xD;&#xA;&#xD;&#xA;http://bit.ly/cfsvWw" ContentLicense="CC BY-SA 2.5" />
  <row Id="7847" PostHistoryTypeId="2" PostId="4654" RevisionGUID="3b0de7cd-4c10-4fb1-9a50-b51887ef3ac1" CreationDate="2010-11-19T12:57:14.167" UserId="432" Text="There really aren't any specs you need to be aware of as far as the tape goes. You should be more concerned with the specs for the mix itself. As long as the mix is behaving, you shouldn't really have any issues. That being said, I suggest you route to the deck via AES and get the digital transfer, rather than using an analog chain.&#xD;&#xA;&#xD;&#xA;This is all assuming your going to the deck with a stereo program. If you plan to encode a surround format, things get a little trickier of course. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7848" PostHistoryTypeId="2" PostId="4655" RevisionGUID="e38ec13e-6a51-4e65-93ed-661a013c7399" CreationDate="2010-11-19T13:41:20.777" UserId="62" Text="I agree with Shaun. It's more about the delivery specs than the tape itself. Definitely goes AES/EBU if you can.&#xD;&#xA;&#xD;&#xA;If you are delivering surround it is possible to record the separate channels directly. For example...&#xD;&#xA;&#xD;&#xA;Channel 1 - L&#xD;&#xA;Channel 2 - C&#xD;&#xA;Channel 3 - R&#xD;&#xA;Channel 4 - Ls&#xD;&#xA;Channel 5 - Lr&#xD;&#xA;Channel 6 - LFE&#xD;&#xA;Channel 7 - Mix Lt&#xD;&#xA;Channel 8 - Mix Rt&#xD;&#xA;Channel 9 - M&amp;E Lt&#xD;&#xA;Channel 10 - M&amp;E Rt&#xD;&#xA;&#xD;&#xA;This is how we deliver a particular show for TV broadcast. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7849" PostHistoryTypeId="6" PostId="4636" RevisionGUID="1e7a97b1-83d0-4cf9-87e9-af457cd5c0e8" CreationDate="2010-11-19T14:46:55.300" UserId="666" Comment="edited tags" Text="&lt;izotope&gt;&lt;plug-in&gt;&lt;voice&gt;&lt;image&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7850" PostHistoryTypeId="9" PostId="4636" RevisionGUID="2796c954-d0a6-4d92-a6d0-8e1da6fe01a1" CreationDate="2010-11-19T14:48:46.670" UserId="663" Comment="Rollback to [e3ccc7c9-91be-45ae-ada5-afa6b25e897a]" Text="&lt;izotope&gt;&lt;plug-in&gt;&lt;voice&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7851" PostHistoryTypeId="2" PostId="4656" RevisionGUID="aa948cce-9671-4242-b688-fd0a6414c1d4" CreationDate="2010-11-19T15:00:55.963" UserId="663" Text="Do you use [Creative Commons][1] service to protect work on your site? Do you protect just audio (samples, SFX, recording...) or your texts as well? I just start using it and I would like to know what you thing about Creative Commons.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://creativecommons.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7852" PostHistoryTypeId="1" PostId="4656" RevisionGUID="aa948cce-9671-4242-b688-fd0a6414c1d4" CreationDate="2010-11-19T15:00:55.963" UserId="663" Text="Creative Commons and Copyright" ContentLicense="CC BY-SA 2.5" />
  <row Id="7853" PostHistoryTypeId="3" PostId="4656" RevisionGUID="aa948cce-9671-4242-b688-fd0a6414c1d4" CreationDate="2010-11-19T15:00:55.963" UserId="663" Text="&lt;copyright&gt;&lt;creative&gt;&lt;creative-commons&gt;&lt;protect&gt;&lt;websites&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7854" PostHistoryTypeId="2" PostId="4657" RevisionGUID="73cdb524-98f9-4d3d-a90a-5a34f8c87831" CreationDate="2010-11-19T15:01:19.363" UserId="194" Text="If you're shooting with anything at about 80mm or closer the internal mic will work great.  I just finished shooting a doc almost entirely with a 50mm lens and a 38mm lens (under a highway) and have been able to sync everything pretty well, though I'm doing it manually since I don't own plural eyes yet.&#xD;&#xA;&#xD;&#xA;between 50 to 120mm glass or so a camera mount shotgun can help, but noise may still affect the quality of what plural eyes can do.  &#xD;&#xA;&#xD;&#xA;Once you get out really long no shotgun will help you, and you'll have to take a wireless feed in." ContentLicense="CC BY-SA 2.5" />
  <row Id="7855" PostHistoryTypeId="2" PostId="4658" RevisionGUID="0868728e-f190-4e97-afcd-55dbfd402c4b" CreationDate="2010-11-19T15:19:33.983" UserId="220" Text="First off - do NOT use a y-cable to combine signals.  To quote Dennis Bohn:&#xD;&#xA;&#xD;&#xA;&gt; Here is the rule: Outputs are low&#xD;&#xA;&gt; impedance and must only be connected&#xD;&#xA;&gt; to high impedance inputs -- never,&#xD;&#xA;&gt; never tie two outputs directly&#xD;&#xA;&gt; together -- never. If you do, then&#xD;&#xA;&gt; each output tries to drive the very&#xD;&#xA;&gt; low impedance of the other, forcing&#xD;&#xA;&gt; both outputs into current-limit and&#xD;&#xA;&gt; possible damage. As a minimum, severe&#xD;&#xA;&gt; signal loss results.&#xD;&#xA;&#xD;&#xA;Source:  [http://www.rane.com/note109.html][1]&#xD;&#xA;&#xD;&#xA;Now that that's said and done, what you probably ordered was a summing cable.  You basically tie in some resistors and verything works the way it was supposed to.  Check the above link for more details and see if this is what you got.  (As a side note, these are way easy to build on your own - about $12 worth of materials and a a little soldering skillz).  &#xD;&#xA;&#xD;&#xA;As for me, I wouldn't want to have both signals firing at me at the same time.  There are [plenty][2] of [nice][3], [cheap][4] [passive mixers][5] that should do the job and let you turn down each source if you need to.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rane.com/note109.html&#xD;&#xA;  [2]: http://www.markertek.com/Audio-Equipment/Audio-Mixers-Accessories/Passive-Audio-Mixers/Kramer/102MX.xhtml&#xD;&#xA;  [3]: http://www.bhphotovideo.com/c/product/597819-REG/Rolls_MX22S_MX22s_Mini_Mix.html&#xD;&#xA;  [4]: http://www.bhphotovideo.com/c/product/174329-REG/Rolls_MX28_MX28_Compact_Stereo_Line.html&#xD;&#xA;  [5]: http://www.sweetwater.com/store/detail/SplitMix4/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7856" PostHistoryTypeId="5" PostId="4658" RevisionGUID="b853bc3a-47ca-4d91-b75e-3806bff83283" CreationDate="2010-11-19T15:27:10.303" UserId="220" Comment="more information" Text="First off - do NOT use a y-cable to combine signals.  To quote Dennis Bohn:&#xD;&#xA;&#xD;&#xA;&gt; Here is the rule: Outputs are low&#xD;&#xA;&gt; impedance and must only be connected&#xD;&#xA;&gt; to high impedance inputs -- never,&#xD;&#xA;&gt; never tie two outputs directly&#xD;&#xA;&gt; together -- never. If you do, then&#xD;&#xA;&gt; each output tries to drive the very&#xD;&#xA;&gt; low impedance of the other, forcing&#xD;&#xA;&gt; both outputs into current-limit and&#xD;&#xA;&gt; possible damage. As a minimum, severe&#xD;&#xA;&gt; signal loss results.&#xD;&#xA;&#xD;&#xA;Source:  [http://www.rane.com/note109.html][1]&#xD;&#xA;&#xD;&#xA;Now that that's said and done, what you probably ordered was a summing cable.  You basically tie in some resistors and verything works the way it was supposed to.  Check the above link for more details and see if this is what you got.  (As a side note, these are way easy to build on your own - about $12 worth of materials and a a little soldering skillz).  &#xD;&#xA;&#xD;&#xA;As for me, I wouldn't want to have both signals firing at me at the same time.  There are [plenty][2] of [nice][3], [cheap][4] [passive mixers][5] that should do the job and let you turn down each source if you need to.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;EDIT:  looked at your previous post and that last one is probably what you want - no battery powere, it's fully passive.  Can't attest to the quality - usually anything fully passive will work just fine, but not be the best thing you've ever heard.  You could also make a cable that sums each stereo channel to mono and that way you have one recorder in your left ear, one in the right, and can slip your headphones off one ear to monitor just one.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rane.com/note109.html&#xD;&#xA;  [2]: http://www.markertek.com/Audio-Equipment/Audio-Mixers-Accessories/Passive-Audio-Mixers/Kramer/102MX.xhtml&#xD;&#xA;  [3]: http://www.bhphotovideo.com/c/product/597819-REG/Rolls_MX22S_MX22s_Mini_Mix.html&#xD;&#xA;  [4]: http://www.bhphotovideo.com/c/product/174329-REG/Rolls_MX28_MX28_Compact_Stereo_Line.html&#xD;&#xA;  [5]: http://www.sweetwater.com/store/detail/SplitMix4/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7857" PostHistoryTypeId="2" PostId="4659" RevisionGUID="049394fd-59fa-4531-bae7-82bf58af5ef7" CreationDate="2010-11-19T15:27:57.223" UserId="62" Text="I like it in some regards as it does give some form of protection for your work.&#xD;&#xA;&#xD;&#xA;However, I wouldn't use sounds with CC licence in any commercial work. As far as I understand if I did the company I work for would have to reference the use in the end credits. There isn't enough room in the credits for every single person who has worked on a show as it is let alone adding dozens of references for sound effects use. This problem renders and CC SFX useless to me personally.&#xD;&#xA;&#xD;&#xA;On the flip side I appreciate that any sounds I have put on Sound Cloud come with this protection which makes me more comfortable having my own work online.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="7858" PostHistoryTypeId="2" PostId="4660" RevisionGUID="a27900b8-0f70-43d9-bbb8-8bd1c636776d" CreationDate="2010-11-19T16:42:58.603" UserId="234" Text="Not to contradict Ian, but HDCAM is only FOUR tracks... HDCAM SR (which is a different beast altogether) has the possibility of up to 12 tracks. Given that SR decks costs more than some folks houses, they aren't terribly common at festivals, the more affordable HDCAM is, so double check which one.&#xD;&#xA;&#xD;&#xA;Other than that, both Ian and Shaun are correct about watching the specs more than anything (especially if you have a distributor). &#xD;&#xA;&#xD;&#xA;Also two technical things to be aware of. First, if it IS surround and HDCAM (not SR), SOME festivals will want Dolby E (although not too many) so that may become an issue as either separate encoding hardware or software is necessary and it's still kind of finicky, plus there are multiple specs as to how to deal with the delay it causes. If it's stereo or LtRt (probably safer at most festivals) then don't worry about it. &#xD;&#xA;&#xD;&#xA;Second many of the Sony HDCAM decks have a four frame offset issue when laying back via LTC so be aware of this. Do a quick Google search for your deck name and LTC offset to see if it has the issue - although it will be pretty obvious when you layback! :) " ContentLicense="CC BY-SA 2.5" />
  <row Id="7859" PostHistoryTypeId="2" PostId="4661" RevisionGUID="d3e3724e-c8dc-447f-bb64-c87bf830dd4c" CreationDate="2010-11-19T17:03:55.267" UserId="238" Text="Copyright is a tricky one as there are different laws around the world. In the UK, as soon as you create something, be it a sound recording or piece of sound design, you immediately own the the copyright on that creation. This means anyone who wishes to use it will need to obtain a license to use it. Therefore, anything that I create is automatically protected under UK copyright law. A creative commons license allows anyone to use your work free of charge as long as they give you credit. As Ian said, most commercial projects avoid using assets that carry a CC license due to this issue.&#xD;&#xA;&#xD;&#xA;From a personal point of view, if someone approached me about using one of my creations under a creative commons license I'd consider it, but it would be entirely dependent on the way it would be used. If it was for a commercial project then I would not grant a CC license, unless there were some clear benefits. However, I would grant a CC license to a worthy cause. I guess it comes down to judging how something will be used by the end user. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7860" PostHistoryTypeId="2" PostId="4662" RevisionGUID="2fd20377-0b26-4b02-930f-de765875a265" CreationDate="2010-11-19T17:35:40.913" UserId="670" Text="Hello. I'm new here and just starting out in the field of sound design. I'd say I've been doing sound design work on and off for about a year now. Where I live right now (Maryland) there aren't many opportunities in the field for someone just starting, so I'm moving to L.A. in a few weeks hoping to have more opportunities out there. &#xD;&#xA;&#xD;&#xA;Here is a scratch animation piece a friend of mine created that I did the sound design and music for:&#xD;&#xA;http://vimeo.com/17001395&#xD;&#xA;&#xD;&#xA;Here's another project a did a few months ago for my last semester of college&#xD;&#xA;http://vimeo.com/10245546&#xD;&#xA;&#xD;&#xA;Any feedback/advice would be great! Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7861" PostHistoryTypeId="1" PostId="4662" RevisionGUID="2fd20377-0b26-4b02-930f-de765875a265" CreationDate="2010-11-19T17:35:40.913" UserId="670" Text="Just starting out" ContentLicense="CC BY-SA 2.5" />
  <row Id="7862" PostHistoryTypeId="3" PostId="4662" RevisionGUID="2fd20377-0b26-4b02-930f-de765875a265" CreationDate="2010-11-19T17:35:40.913" UserId="670" Text="&lt;sound-design&gt;&lt;animation&gt;&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7863" PostHistoryTypeId="2" PostId="4663" RevisionGUID="cdfe06c0-8fe0-4fd9-bc0e-41ac6c7e6027" CreationDate="2010-11-19T19:14:21.853" UserId="629" Text="COD trailer is good, I liked the explosions you achieved. Are they all recorded by you or from libraries? Song fits well.&#xD;&#xA;&#xD;&#xA;Thing I missed was the lack of footsteps and movement of people and vehicles, you don't have to cover all of them but if you notice there isn't any its weird to the ear. The out of space explosion really hurt my ears when the high frequency maxed maybe change that a little. Gun sounds were well synced and believable. &#xD;&#xA;&#xD;&#xA;Nice work :)." ContentLicense="CC BY-SA 2.5" />
  <row Id="7864" PostHistoryTypeId="2" PostId="4664" RevisionGUID="f6a9249b-96e9-4fa3-ba65-8f2514d6f32e" CreationDate="2010-11-19T20:07:47.500" UserId="194" Text="IMO creative commons works remarkably well for distribution of full length music cuts and video clips to enhance one's personal library, but falls apart once one wants to use them in even a non-commercial edit of a project because of the no derivative works clause.&#xD;&#xA;&#xD;&#xA;It's also really not a good way to protect sfx because of the nature of how those get used in projects and how projects get credited out, not to mention the work-for-hire nature of sound design and sound design elements. &#xD;&#xA;&#xD;&#xA;I think the sfx and music community need some alternative to creative commons with a diff name that allows for derivative work usage with or without credit, but restricts end users from collecting and offering collections for sale.  &#xD;&#xA;&#xD;&#xA;The [legal part][1] of The Sound Collectors Club website offers something that's pretty descriptive of what the alternative needs to be:&#xD;&#xA;&#xD;&#xA;&gt; If you upload audio to the Sound&#xD;&#xA;&gt; Collectors’ Club your audio still&#xD;&#xA;&gt; remains your property but you are&#xD;&#xA;&gt; agreeing to other people, who have&#xD;&#xA;&gt; contributed to the same set,&#xD;&#xA;&gt; downloading and using that audio&#xD;&#xA;&gt; howsoever they please, whether&#xD;&#xA;&gt; commercially or non-commercially,&#xD;&#xA;&gt; domestically or internationally and as&#xD;&#xA;&gt; many times as they like – except they&#xD;&#xA;&gt; are not permitted to distribute or&#xD;&#xA;&gt; sell the audio on as the audio itself&#xD;&#xA;&gt; (except for the audio that they&#xD;&#xA;&gt; originally contributed), whether&#xD;&#xA;&gt; individually or as a sound fx library.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The only thing that's missing is some sort of certification that the sounds you post to the group actually originated from you and that you have full authority to put it out there (though that's addressed elsewhere for the purposes of TSCC).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://thesoundcollectorsclub.wordpress.com/legal/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7865" PostHistoryTypeId="2" PostId="4665" RevisionGUID="c89a1080-c557-4cb4-9d02-8a98ccf268f2" CreationDate="2010-11-19T20:33:28.853" UserId="6411" Text="Hi Mitchell, welcome.&#xD;&#xA;&#xD;&#xA;Best of luck to you in your move to LA, but I do hope you know what you're getting in to because it doesn't sound like you know what you're leaving behind.  I've worked in DC (which is pretty close to MD, relative to CA) for just over 11 years now, and while it's certainly not all the glitz and glamor of Hollywood, there's quite a few opportunities for an aspiring young sound editor here.&#xD;&#xA;&#xD;&#xA;Last I checked, DC was the 6th largest media market in the country. Off the top of my head I can think of about 10 major audio houses that work on national programming &amp; ad campaigns. Each have multiple editing and mixing suites and all are always interested in those willing to put in the time and energy to learn the craft. If TVs not your thing, there are 3 or 4 AAA game developers (most that I know are in MD) which have audio needs as well. All that aside, I understand the allure of LA, and reiterate, best of luck to you in your move.&#xD;&#xA;&#xD;&#xA;As for your work, I'll hit the COD spot first:&#xD;&#xA;&#xD;&#xA;Something that I've seen (heard) recently is a trend of just having the sound design in a sound design demo. I like this idea. It really puts your work under a microscope and shows what works and what doesn't. So it'd be nice to post a version sans music too. Of course, I think keeping the music version posted is important as well. It's a good cut, your edits work well, and being able to display balancing the mix between Music, SFX, and Dialog is significant too.&#xD;&#xA;&#xD;&#xA;First off, I commend you on your choice of material. You've done a good job choosing a piece that presents an opportunity for a dynamic soundtrack, from ground shaking explosions to stealthy movements.  It's a bit of a double-edged sword though, as many people will be very familiar with the content as it is *&quot;supposed&quot;* to sound. You've done a good job with sync and editing the FX, but there's a couple of things that I noted while listening to your clip multiple times.&#xD;&#xA;&#xD;&#xA;Variation - I'd like to hear a little more variation in the fire-fights. To a certain extent this comes down to library and plug-ins. Regardless, for my tastes, most of the battles sounded too similar.&#xD;&#xA;&#xD;&#xA;Part of that may be solved with my next note: Depth - Multiple locations sound the same.  For example, the AK-47 firing around the corner of a building (:53) sounds as though it's in the same space as the guy firing out the top of the Jeep going through the airfield (2 seconds later).  I want to hear more building reflections if I'm in the alley between two apartments vs. the openness of an air field.&#xD;&#xA;&#xD;&#xA;Detail- The baddies stalking the airport @ :24? I want to hear the glass under their feet, and the airline call board flickering all to &quot;Delayed&quot; is screaming for something. Try leading the shot @ :32 with some snowy crunching footsteps running up to the gap to emphasize the jump. The guys in the tunnel @ :40 are hauling ass, but they make no sound. The rattle of their gear in time with their steps would sell it a little better when the roof crumbles in. Also, it seems that every gun shoots a bullet, but after they leave the gun they make no sound. There's a fair amount of bullet trails that give you an opportunity for ricochets and bullet bys that would fill out some of the scenes that don't have any obvious &quot;hard&quot; action FX in them.&#xD;&#xA;&#xD;&#xA;All in all I like what you've done here, and it grows on me each successive listen. But one of the first things I wrote down after the first listen was &quot;Arc&quot;. Overall, it doesn't really go anywhere.  You did build in that nice pause in the space shot, which I like, and seems like the apex of the drama in this short story. But building up to it and coming out of it felt a little weak. It seems like a good opportunity to use some contrast of continuously escalating, fast-paced warfare, that culminates in this moment of &quot;silent&quot; destruction, and then slams back to earth with helicopters, motors, bullets, jets, explosions, etc.&#xD;&#xA;&#xD;&#xA;As for the Scratch Animation, I find it tough to critique. There's sound and music, which conveys a dreamy unease. It seems to match the picture. But without knowing what the focus or intent of the project actually is, I hesitate to find fault or praise in it. Plus, I gotta get back to work...&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7866" PostHistoryTypeId="2" PostId="4666" RevisionGUID="b16edea1-74f8-43ab-9af8-7be39f60366f" CreationDate="2010-11-19T21:20:20.480" UserId="6487" Text="I often times due to time constraints and given the limited amount of dynamic range permitted for my television mixes, use step compression on my narration track.  I find it causes less ear fatigue than compressing up to 4:1 or 5:1 directly on the track. (I know....I don't like it either. But I am only allowed a 3 decibel range of variation in my LT Dial Norm, -26 to -28 and I get about 4-6 hours to edit stems and mix an hour long show with untreated narration.) Instead, I use a compressor at 2:1 or 3:1 with a moderate attack at a moderately low threshold, do an automation pass on the VO, and then compress a bit harder at a shorter attack at a much higher threshold on my narration aux track.  This second compressor may have a ratio of 4:1 and a 5ms attack.  I find since the ear is not hearing a consistent press from the heavier compressor that it relieves ear fatigue while still getting that target element in the box.   What do you guys think of this?  I welcome any new approaches.&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="7867" PostHistoryTypeId="1" PostId="4666" RevisionGUID="b16edea1-74f8-43ab-9af8-7be39f60366f" CreationDate="2010-11-19T21:20:20.480" UserId="6487" Text="Step Compression: Do you use it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7868" PostHistoryTypeId="3" PostId="4666" RevisionGUID="b16edea1-74f8-43ab-9af8-7be39f60366f" CreationDate="2010-11-19T21:20:20.480" UserId="6487" Text="&lt;compression&gt;&lt;narration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7869" PostHistoryTypeId="2" PostId="4667" RevisionGUID="871fa011-9ff2-488d-9a48-2fff81f9e0b3" CreationDate="2010-11-19T21:57:57.403" UserId="647" Text="Hi everyone!&#xD;&#xA;&#xD;&#xA;I just uploaded my first draft of a video a friend made.&#xD;&#xA;&#xD;&#xA;I composed the music/othersounds.&#xD;&#xA;&#xD;&#xA;I would love if you guys and girls could take a minute (it's actually shorter than that) and share what you think, any criticism (you could be mean if you like) comments or opinions.&#xD;&#xA;&#xD;&#xA;thanks for your time!&#xD;&#xA;didi&#xD;&#xA;&#xD;&#xA;http://vimeo.com/17007887 " ContentLicense="CC BY-SA 2.5" />
  <row Id="7870" PostHistoryTypeId="1" PostId="4667" RevisionGUID="871fa011-9ff2-488d-9a48-2fff81f9e0b3" CreationDate="2010-11-19T21:57:57.403" UserId="647" Text="My First Time..." ContentLicense="CC BY-SA 2.5" />
  <row Id="7871" PostHistoryTypeId="3" PostId="4667" RevisionGUID="871fa011-9ff2-488d-9a48-2fff81f9e0b3" CreationDate="2010-11-19T21:57:57.403" UserId="647" Text="&lt;motion&gt;&lt;criticism&gt;&lt;animation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7872" PostHistoryTypeId="2" PostId="4668" RevisionGUID="60beff5e-af22-44fa-aeee-459f11667bbf" CreationDate="2010-11-19T22:08:29.737" UserId="647" Text="could you post audio examples? because I've neither heard of the techniques you mention, and can't imagine how they sound.&#xD;&#xA;&#xD;&#xA;best!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7873" PostHistoryTypeId="2" PostId="4669" RevisionGUID="8a903690-c91a-4612-8313-4dbc9a447856" CreationDate="2010-11-19T23:02:58.370" UserId="663" Text="I use Logic Pro 9, Soundtrack Pro and ProTools." ContentLicense="CC BY-SA 2.5" />
  <row Id="7874" PostHistoryTypeId="2" PostId="4670" RevisionGUID="f945e4a3-f51e-40a6-b062-d761be17e17c" CreationDate="2010-11-19T23:10:44.363" UserId="663" Text="I can read it ." ContentLicense="CC BY-SA 2.5" />
  <row Id="7876" PostHistoryTypeId="2" PostId="4672" RevisionGUID="64d555c3-1919-4d2e-8aaf-b71bf54c140f" CreationDate="2010-11-19T23:37:04.537" UserId="666" Text="I see the text." ContentLicense="CC BY-SA 2.5" />
  <row Id="7877" PostHistoryTypeId="2" PostId="4673" RevisionGUID="9385210c-e045-4ecc-b40a-e9a6f9708e14" CreationDate="2010-11-19T23:39:48.433" UserId="666" Text="I vote Yes. We need that." ContentLicense="CC BY-SA 2.5" />
  <row Id="7878" PostHistoryTypeId="2" PostId="4674" RevisionGUID="2403d597-47ce-46da-97f6-358c69902705" CreationDate="2010-11-20T00:00:30.067" UserId="533" Text="The splash sound at 00:10 doesn't sound right to me. The audience is probably viewing from an underwater POV throughout so it needs to be a splash that is heard from under the water. It will probably sound very different. I would prefer a little more sound to depict the life underwater, makes it more interesting." ContentLicense="CC BY-SA 2.5" />
  <row Id="7879" PostHistoryTypeId="5" PostId="536" RevisionGUID="0acff352-fae7-4223-9bad-9d5b754aeadb" CreationDate="2010-11-20T00:22:32.353" UserId="61" Comment="deleted 2 characters in body" Text="Depends who you are asking, I guess. In my opinion there is very little difference between the thought processes involved in composing and sound designing; it's really the instrumentation that is different. Composers historically have used traditional instruments to create their soundtrack, ie. violins, pianos, creative percussion, etc. Sound designers will use almost anything at their disposal, be it mountain wind, seal barks, or even a garbage disposal. The end result is still the same: A composition.&#xD;&#xA;&#xD;&#xA;What's the real difference between a composer and a sound designer? Composers make a LOT more money!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7880" PostHistoryTypeId="2" PostId="4675" RevisionGUID="8c96e8f2-067f-44ca-a32d-0c28dba00a10" CreationDate="2010-11-20T00:42:36.900" UserId="587" Text="On the intro and outro - where reality is still the chalkboard and you are doing credits and titling - I would toss in your chalk write and erase sounds. &#xD;&#xA;&#xD;&#xA;If this seems to generic, try reversing the chalk writing sounds to match your ambient sounds. To go deeper with that idea - If you have a reverb that can provide reverse reverb - try doing a 80 -100% wet reverse that is just the effect bounced and does not include the dry signal.&#xD;&#xA;&#xD;&#xA;Turn up your bubbles in the mix when he dissipates - I could barely hear it on small speakers. To add to Hectors comment - to make the splash sound more underwater-y-ish, try a Lo-Pass filter with the cutoff somewhere around the mid-high range to get you started or to get a feel on how cutting highs can make something sound like its coming through a wall or from under-water perspective. Ad some bubbly extras to sell it.&#xD;&#xA;&#xD;&#xA;Maybe some underwater swishes for the shark.&#xD;&#xA;&#xD;&#xA;Fill it in with some interesting things and you've got a pretty neat artsy piece!&#xD;&#xA;&#xD;&#xA;Finish it up!&#xD;&#xA;&#xD;&#xA;-C3Sound&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7881" PostHistoryTypeId="2" PostId="4676" RevisionGUID="6cb164f2-4729-4cb2-a9d9-8b7578fb8a9b" CreationDate="2010-11-20T01:10:19.200" UserId="202" Text="Colorblind here. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7882" PostHistoryTypeId="2" PostId="4677" RevisionGUID="7e9da234-98d8-46e3-9384-c73d9065ea68" CreationDate="2010-11-20T01:28:35.163" UserId="338" Text="The colors are blind to me." ContentLicense="CC BY-SA 2.5" />
  <row Id="7883" PostHistoryTypeId="2" PostId="4678" RevisionGUID="91daedc7-c748-4375-ab5d-78424370c2f9" CreationDate="2010-11-20T03:18:18.667" UserId="418" Text="I guess I think of them rather literally still, perhaps just because of my own particular area of work. I am also a graphic designer, which is another example of a term that has become a similarly subjective term. Ask someone outside the field what a &quot;graphic designer&quot; is, or a &quot;web designer&quot;. You'll get just as many different answers. &#xD;&#xA;&#xD;&#xA;In my mind; Sound Design describes the act of literally designing sound. Crafting sound. Building sound. Creating something that did not exist prior. The sound is the final product. For me, sometimes those &quot;sounds&quot; are playable instrument patches for artists, software/hardware companies etc. like mentioned above. Other times they are standalone sounds for an art installation, a video piece, a game, a whatever. A short special effect, a long &quot;soundscape&quot; (ha, another one with a million definitions!), hell, maybe even a drum loop or two. They are not what I would call compositions.&#xD;&#xA;&#xD;&#xA;While Composition is the act of literally writing music. Composing. Crafting a piece of music that did not exist prior, whether it be written out in dots and lines for a full orchestra, or improvised on stage in a jazz trio, or human beatboxed into a microphone. The product is the complete piece of music, whatever it may be. &#xD;&#xA;&#xD;&#xA;In the name of not carrying on I just did the world a favor and deleted about three more paragraphs of rambling streaming brain sludge. I could explore and talk about this stuff all night, but I won't. You're welcome. :P&#xD;&#xA;&#xD;&#xA;Great thread, love peeking inside people's brains on this kind of stuff!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7884" PostHistoryTypeId="2" PostId="4679" RevisionGUID="561f7e6e-dc19-443e-9926-7022e18a1785" CreationDate="2010-11-20T03:42:44.480" UserId="234" Text="It's pretty much what you have to do with low budget Television... especially given the time constraints we usually have and the insane tech specs (try CBC -24 +/- 1  yup you read that right). I also find that it's far less annoying to have two compressors hitting 2 or 3db each than one compressor trying to do 4 to 6. If I have the time (like on the show I'm working on now) then I can do away with a lot of the compression as I have time to edit and volume graph. But we do what we have to, to make it sound as good as possible in the time we get." ContentLicense="CC BY-SA 2.5" />
  <row Id="7885" PostHistoryTypeId="2" PostId="4680" RevisionGUID="381ba286-c7bc-4d9a-8850-94207f7084b8" CreationDate="2010-11-20T08:25:55.327" UserId="663" Text="Fostex FR-2LE ." ContentLicense="CC BY-SA 2.5" />
  <row Id="7886" PostHistoryTypeId="6" PostId="4169" RevisionGUID="d40e1d2c-634e-4937-bbb9-6a89df8b2520" CreationDate="2010-11-20T08:27:01.830" UserId="663" Comment="edited tags" Text="&lt;prtable&gt;&lt;portable-recorder&gt;&lt;marantz&gt;&lt;fostex&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7887" PostHistoryTypeId="2" PostId="4681" RevisionGUID="14a12a1e-4537-4274-9105-b49fbdb82f61" CreationDate="2010-11-20T21:20:39.537" UserId="671" Text="Hi, when I googled a lot trying to find free or cheap doppler plugins for logic I came across the Binaural Panning help file for Logic pro. I had never used it before and discovered that there was a doppler-button that according to the help-file:&#xD;&#xA;&#xD;&#xA;&quot;Enables or disables the Doppler effect—a change in the pitch of a signal perceived by a person who is moving relative to the source of the signal.&quot;&#xD;&#xA;&#xD;&#xA;http://documentation.apple.com/en/logicpro/usermanual/index.html#chapter=27%26section=14%26tasks=true&#xD;&#xA;&#xD;&#xA;I've tried it and can't get it to work (with the doppler), so I ask here; has someoone used it for a doppler effect? Is it even a doppler effect the way that I mean (Like waves doppler etc.)?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;//Kristoffer" ContentLicense="CC BY-SA 2.5" />
  <row Id="7888" PostHistoryTypeId="1" PostId="4681" RevisionGUID="14a12a1e-4537-4274-9105-b49fbdb82f61" CreationDate="2010-11-20T21:20:39.537" UserId="671" Text="Binaural panning in Logic Pro for doppler effect?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7889" PostHistoryTypeId="3" PostId="4681" RevisionGUID="14a12a1e-4537-4274-9105-b49fbdb82f61" CreationDate="2010-11-20T21:20:39.537" UserId="671" Text="&lt;doppler&gt;&lt;logic&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7890" PostHistoryTypeId="2" PostId="4682" RevisionGUID="78795470-4ee7-4169-981e-02c17662b522" CreationDate="2010-11-20T22:24:50.553" UserId="663" Text="Nectar is great. If you are in hurry, you don't need to add 2,3 or more effects, Nectar has it all. From Compressors, DeEsser, Saturation, EQ to Pitch Correction , Breath Control, Compressors, Doubler, Gate, Limiter, Delay, and Reverb. &#xD;&#xA;&#xD;&#xA;I will definitely buy it." ContentLicense="CC BY-SA 2.5" />
  <row Id="7891" PostHistoryTypeId="2" PostId="4683" RevisionGUID="dfb0ec48-8f72-49ab-af02-bed3b9410250" CreationDate="2010-11-21T00:13:40.440" UserId="338" Text="I've used the binaural panner but not the doppler" ContentLicense="CC BY-SA 2.5" />
  <row Id="7892" PostHistoryTypeId="2" PostId="4684" RevisionGUID="2b500893-a3b7-4271-9a98-4da84923357b" CreationDate="2010-11-21T00:23:46.530" UserId="587" Text="With the resurgence of top down gaming (noting the obvious: Starcraft 2 and Diablo 3) I wanted to ask you all your opinion on creating audio for such a perspective. First, ill throw out some concepts for some basic question reinforcement and clarification.&#xD;&#xA;&#xD;&#xA;With other camera perspectives, many basic rules involve: &#xD;&#xA;&#xD;&#xA;- In first person - if it comes from, hits, or happens at extreme proximity to the main character its stereo (or multi-channel in general). &#xD;&#xA;&#xD;&#xA;- If its 3rd person (mainly depending on location of camera to the audio emitter) - it could be mono as opposed to multi-channel (excluding multi-channel processing of effects like reverb, etc.) &#xD;&#xA;&#xD;&#xA;It is a constant battle for what is the subject matter of the on-screen activity at any point in time. And how to modify the mix depending on a hierarchy of importance/sonic coherency.&#xD;&#xA;&#xD;&#xA;That being said, with top down perspective, its an interesting mix for this genre. Things are smaller in size, farther from camera than any other perspective (now being able to zoom into the characters to almost 3rd person perspective), and many many things happening on the screen at the same time because of the wider from-atmosphere type view of the game field.&#xD;&#xA;&#xD;&#xA;What are your thoughts on:&#xD;&#xA;&#xD;&#xA;- Sound creation - How to provide correct weighting and size to the characters and units on screen - For example: A simple torch wave could easily be &quot;too big/deep&quot; or the opposite &quot;too sharp/hi-end&quot; for such a small character that far away - down on the ground.&#xD;&#xA;&#xD;&#xA;- Sound mix - How do these sounds play into a stereo image? Are these sounds simply mono and tacked as emitters onto the asset in question that link to left/right panning based on the location? What about 5.1 mixing? How does the mix change dynamically when zooming into 3rd person with the new engines running top down? How do you manage all these sounds happening at the same time? It would seem in such games like Starcraft, LoL or Dota, Halo Wars, could become easily chaotic in sonic characteristics.&#xD;&#xA;&#xD;&#xA;- CPU processing - So much more DSP goes into audio now days - In top down gaming, what kinds of processing is required? It would seem like there would not be as much CPU based audio processing/plug-ins used depending on the type of top-down you are playing. A single soldier in a spaceship might have reverb on his gun shots, but what are some examples of more advanced techniques of DSP based audio processing in top down perspective? (For example: Using an EQ shelf linked to a spaceships numerical variable pitch of a turn. (#100 being sharp turn - #0 being straight flight) Creating an adaptive &quot;space-wind&quot; that increasingly becomes more full in the upper register the sharper the turn. I did this in Wwise as an experiment)&#xD;&#xA;&#xD;&#xA;So thats the topic starter - and I cant wait to hear everyones input!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7893" PostHistoryTypeId="1" PostId="4684" RevisionGUID="2b500893-a3b7-4271-9a98-4da84923357b" CreationDate="2010-11-21T00:23:46.530" UserId="587" Text="Top-Down Perspective Game Audio" ContentLicense="CC BY-SA 2.5" />
  <row Id="7894" PostHistoryTypeId="3" PostId="4684" RevisionGUID="2b500893-a3b7-4271-9a98-4da84923357b" CreationDate="2010-11-21T00:23:46.530" UserId="587" Text="&lt;gameaudio&gt;&lt;perspective&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7895" PostHistoryTypeId="2" PostId="4685" RevisionGUID="b46b4271-7c39-4d6e-9c7a-dc20302f5cb0" CreationDate="2010-11-21T00:29:59.053" UserId="587" Text="Ive used this for a few ideas a friend of mine had for a mix:&#xD;&#xA;http://wavearts.com/products/plugins/panorama/&#xD;&#xA;&#xD;&#xA;Its pretty neat for soundscapes - but in my opinion useless for music.&#xD;&#xA;&#xD;&#xA;I think there is a demo, depending on your definition of cheap it may or may not be - weighing in at $150 bucks." ContentLicense="CC BY-SA 2.5" />
  <row Id="7896" PostHistoryTypeId="5" PostId="4683" RevisionGUID="3ced6344-8166-430a-871a-1811dfe40d58" CreationDate="2010-11-21T01:36:03.237" UserId="338" Comment="edited body" Text="I've used the binaural panner but not for doppler" ContentLicense="CC BY-SA 2.5" />
  <row Id="7897" PostHistoryTypeId="2" PostId="4686" RevisionGUID="0ed3f4e7-8751-427d-b8eb-c666b3e248b1" CreationDate="2010-11-21T01:57:25.480" UserId="37" Text="could be just me but i'm getting Waves Signature Series vibes from this, only the knobs are actually labeled as to what they do.. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7898" PostHistoryTypeId="2" PostId="4687" RevisionGUID="87c9daf2-70b3-4ea2-9a8b-5b7d0a4ea448" CreationDate="2010-11-21T02:24:32.963" UserId="647" Text="Thanks for the prompt feedback.&#xD;&#xA;&#xD;&#xA;I'll re-post after re working things.&#xD;&#xA;&#xD;&#xA;You guys rock. Peace." ContentLicense="CC BY-SA 2.5" />
  <row Id="7900" PostHistoryTypeId="2" PostId="4689" RevisionGUID="a387a6ec-f10e-48de-9da6-a04e889d636a" CreationDate="2010-11-21T14:33:25.800" UserId="37" Text="Creative Commons *is* a form of Copyright license. The nice thing about is that it allows versions under other licenses (say for an edited part of the piece) to coexist alongside the main body of work+license (&quot;Waiver — Any of the above conditions can be waived if you get permission from the copyright holder&quot;). It does freak out some legal people but is also great for independent producers who seek this kind of flexibility that allows them to spread their work without heavy-handed restrictions like full Copyright.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7902" PostHistoryTypeId="2" PostId="4691" RevisionGUID="78408986-c9b6-4bc9-9e1d-89bf0cfd2115" CreationDate="2010-11-22T01:02:29.693" UserId="37" Text="I just tried this and it seems to work. The trick is to up the Size parameter and make sure you're in Planar mode. The Doppler effect is not very smooth in terms of pitch and other parameters such as frequency/volume dynamics are non-existant, but I can see this work for quick and dirty effects that need movement. I like that it's automation-friendly... Thanks for pointing this out. I don't think I'd have been able to find it.. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7903" PostHistoryTypeId="2" PostId="4692" RevisionGUID="63ec404c-b46f-4aea-abda-3895c5acc047" CreationDate="2010-11-22T01:24:12.110" UserId="639" Text="&#xD;&#xA;This is my first sound design. I did a short clip from Lord of the Rings. I'm trying to get a decent monster sound. Comments and advice would be great. Thanks.&#xD;&#xA;&#xD;&#xA;http://www.vimeo.com/17062502&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7904" PostHistoryTypeId="1" PostId="4692" RevisionGUID="63ec404c-b46f-4aea-abda-3895c5acc047" CreationDate="2010-11-22T01:24:12.110" UserId="639" Text="Advice and comments on my frist sound design for a film clip" ContentLicense="CC BY-SA 2.5" />
  <row Id="7905" PostHistoryTypeId="3" PostId="4692" RevisionGUID="63ec404c-b46f-4aea-abda-3895c5acc047" CreationDate="2010-11-22T01:24:12.110" UserId="639" Text="&lt;design&gt;&lt;newbie&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7906" PostHistoryTypeId="2" PostId="4693" RevisionGUID="99d2f682-1276-4b93-9df7-914375aaaa3f" CreationDate="2010-11-22T02:08:55.657" UserId="629" Text="You covered what you can see, walking and the grunt of the &quot;monster&quot;. First and last grunt are synced but the middle one is missing from what I see. The clips sound very compressed with low bit rates are they mp3s? Because of this I think the walking sounds more like fire than footsteps.&#xD;&#xA;&#xD;&#xA;For a first effort its good I would advise recording in higher bit rates and adding some environmental reverb for the walking." ContentLicense="CC BY-SA 2.5" />
  <row Id="7907" PostHistoryTypeId="2" PostId="4694" RevisionGUID="0903e7b0-bb6c-4c3c-912b-94409521fe66" CreationDate="2010-11-22T04:49:59.870" UserId="390" Text="I prefer vimeo to youtube. Youtube places a 15 minute limit on videos you upload. Vimeo does not have this length restriction. You are restriced by file size... but it's a fairly generous file size." ContentLicense="CC BY-SA 2.5" />
  <row Id="7908" PostHistoryTypeId="2" PostId="4695" RevisionGUID="baa595bc-023e-4687-92e7-d54152ee49a6" CreationDate="2010-11-22T06:30:41.290" UserId="418" Text="I use Soundcloud for my business (sound libraries) and it's been absolutely great. Not only does it drive my work pretty much directly to one of my main customer bases (musicians), it's also serving as a great way to get feedback on my work, along with all the other sharing and viral word-of-mouth stuff that comes with a social platform. It's very tightly focused on one kind of content and that's why it works so well. You can also get very granular with things like permissions, sharing, comments, etc. It even has built-in Creative Commons licenses - if you want them. Their &quot;Premium&quot; account has proven to be well worth it for me.&#xD;&#xA;&#xD;&#xA;YouTube, not so much. Unlike Soundcloud, it's like the Wild West. The demographic is, um, everyone in the world. And you have to face a double-sided sword of choosing to either lock down comments and lose out on potential viral spread and community type stuff, or open them up to the wide world of internet morons. I used it for a bit but didn't find it to be of any value. Your mileage may vary. &#xD;&#xA;&#xD;&#xA;Vimeo, on the other hand, I like quite a lot. It's rare that I have the need to present video but when I do I use Vimeo. It's got a much higher signal-to-noise ratio and the audience there tends to be seeking out high quality material with genuine interest. Lots of artists and creative types on there. &#xD;&#xA;&#xD;&#xA;As an aside, I also like tumblr for both video and audio. Free, easy and a built-in audience of several bazillion people. Very nice platform. &#xD;&#xA;&#xD;&#xA;What's nice is that so many of these services talk to each other, so you can post content to one place and it automagically just ends up everywhere. Fun times we live in, the present is so futurey. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7909" PostHistoryTypeId="2" PostId="4696" RevisionGUID="29c7d485-9aea-457f-bc88-dc854142381f" CreationDate="2010-11-22T07:02:40.337" UserId="639" Text="I recorded my dog growling and shifted the pitch down -12semitones to get a really deep growling rumble for a monster sound. I put this sound in a video and I got a comment asking if it was an MP3. I recorded at 24bit 96k so Is drastic pitch shifting bad for quality?&#xD;&#xA;&#xD;&#xA;Here is the link to both sounds.&#xD;&#xA;http://soundcloud.com/shaunkelly " ContentLicense="CC BY-SA 2.5" />
  <row Id="7910" PostHistoryTypeId="1" PostId="4696" RevisionGUID="29c7d485-9aea-457f-bc88-dc854142381f" CreationDate="2010-11-22T07:02:40.337" UserId="639" Text="Does lowering the pitch of a sound lower the quality?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7911" PostHistoryTypeId="3" PostId="4696" RevisionGUID="29c7d485-9aea-457f-bc88-dc854142381f" CreationDate="2010-11-22T07:02:40.337" UserId="639" Text="&lt;design&gt;&lt;quality&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7912" PostHistoryTypeId="2" PostId="4697" RevisionGUID="d26dbcbb-bb97-40b6-b567-3e853b89db3d" CreationDate="2010-11-22T08:01:20.140" UserId="587" Text="It can be based on the quality of algorithm used to drop the pitch. Digi's factory Pitch Shift plug in is faaar below the quality of number crunching compared to some of the higher quality (and more expensive) plug-ins like Serato Pitch 'N Time and Ableton Live's Pitch Shifter.&#xD;&#xA;&#xD;&#xA;Another factor is sample rate - drastic changes to pitch or time can degrade sound quality to the extreme based on the above stated factor. To combat this, try using 192k on an HD system if you have access. As you know, the more samples = the higher definition for processing on input and allowing a higher definition output. Bit depth doesnt matter I wouldnt guess as its main purpose is in the dynamic range. A sampled frequency is a sampled frequency regardless of where it is on a scale from amplitude range. Quality is about # of samples.&#xD;&#xA;&#xD;&#xA;Another option is to pitch the dog down only say half as much, and use a low end harmonic exciter/generator such as LoAir, LowEnder (I think thats what its called), or iZotope Ozone harmonic exciter to boost the low end material. If the low end is there originally, boost it - if it doesnt have much low end spectrum to start out with, use a subharmonic generator for supporting the sound.&#xD;&#xA;&#xD;&#xA;Let me know how things work out!&#xD;&#xA;&#xD;&#xA;-C3Sound&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7913" PostHistoryTypeId="2" PostId="4698" RevisionGUID="1c8d7f52-5425-4afe-8d82-36979865a523" CreationDate="2010-11-22T08:16:16.100" UserId="587" Text="Try syncing a few sounds to the orcs passing behind your main subject. If 2 orcs pass across camera and clank their axes together - try putting that in at a lower volume than your subjects growl. It may bring some pieces of the picture together with sound.&#xD;&#xA;&#xD;&#xA;Use a different crowd background. Stampedes work well but only if things are moving fast. Like a horde of alien creatures running full speed at or across camera.&#xD;&#xA;&#xD;&#xA;Check my Darksiders trailer during the beginning on the portfolio page for an example:&#xD;&#xA;www.c3sound.com&#xD;&#xA;&#xD;&#xA;Try using Walter Murch's rule of 3 - If there is more than 2 people on the screen, sync is not necessary with footsteps. Try throwing some armor gack in with some thumpish footsteps for 3 orcs and you might possibly have almost filled the atmosphere without having to resort to fire as the main layer. Try keeping the fire in, however way way in the background - it might fill in the gaps with a nice background noise... but use a different fire than you are using, and cut the high end out with a filter." ContentLicense="CC BY-SA 2.5" />
  <row Id="7914" PostHistoryTypeId="2" PostId="4699" RevisionGUID="1e79d96c-dad2-4cf2-9b14-0f2ae47ffbee" CreationDate="2010-11-22T09:27:11.893" UserId="37" Text="Many microphones are specced up to 20kHz frequency response. They do capture frequencies above that, but the levels would require EQ-ing. We can't hear frequencies above 20kHz so EQ makes sense post pitch-shifting. I'd expect rebalancing to be necessary with most sounds re-pitched. It's not news but just a reminder to refer to the [Nyquist rate][1] as a general rule whether/how-much re-pitching will affect high frequencies..&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Nyquist_rate" ContentLicense="CC BY-SA 2.5" />
  <row Id="7915" PostHistoryTypeId="2" PostId="4700" RevisionGUID="3f6d8e17-6462-4250-b8ac-259a231c457d" CreationDate="2010-11-22T10:45:03.343" UserId="542" Text="LIstened to both samples, doesn`t sound bad to me. But remember, that when you pitch down a sound your highs will probably get your mids. Your may get your low rumble, but you will loose your high end, this is maybe the reason, why that certain person thoght, that it is an mp3.&#xD;&#xA;Try to layer the unprocessed version above it, this way you will get both: your low rumble and your high end.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7916" PostHistoryTypeId="2" PostId="4701" RevisionGUID="d2c87d31-70cd-4d9c-9c83-c1516bcfa74c" CreationDate="2010-11-22T11:20:59.837" UserId="678" Text="Hi, again thanks for the answers.&#xD;&#xA;&#xD;&#xA;I tried doing as georgi described but att first I just heard very little effect. Maybe I was stupid, but I hadn't tried dragging the ball straight over the circle, I had just driven it around in circles, and therefore couldn't hear a big effect.&#xD;&#xA;&#xD;&#xA;But now when I tried dragging it straight over, the doppler effect was there!!!&#xD;&#xA;&#xD;&#xA;I almost feel like celebrating, because there will be at least some years until I feel that I can spend that much money on Waves or GRM tools dopppler plugins, so now I at least have some kind off doppler effect!!!&#xD;&#xA;&#xD;&#xA;I think I can agree on that it's not very smooth, especially when it's crossing over the middle, but I think everyone sitting in Logic without a real doppler plugin should check it out...&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7917" PostHistoryTypeId="2" PostId="4702" RevisionGUID="a6e3419e-df13-41e6-bd54-f480a6e9d420" CreationDate="2010-11-22T12:09:58.850" UserId="679" Text="I was considering both of those recorders about 6 months ago. I think they would both be good. I was a little put off the fostex after reading that the battery capsule(thing) is attached by a wire, which over time and the wire being moved when changing batteries, may result in the wire eventually snapping. Otherwise it looked very suitable, and the sound quality is said to be above average for the category. I probably would have gone for the marantz though, simply for its greater portability, and from what I have read, it seems like a very good unit.&#xD;&#xA;&#xD;&#xA;I ended up going with the sony pcm-d50, which due to the lack of xlr inputs (you can buy an expansion, but it's expensive and bulky), may put it out of contention. I love it, the in built mics sound great (so long as your expectations are within reason) and can be adjusted for varying results. It's very portable, meaning I actually have it at the ready almost everywhere I go. It's very sturdy, and the battery life is far superior to anything else I've seen. I intend on getting something like a sound devices unit when I have more cash, and use it for planned sessions, and keep the sony for any spontaneous opportunities I come across.&#xD;&#xA;&#xD;&#xA;Oliver" ContentLicense="CC BY-SA 2.5" />
  <row Id="7918" PostHistoryTypeId="2" PostId="4703" RevisionGUID="893abe2f-09d3-4bfe-80ad-0d7c37274c18" CreationDate="2010-11-22T16:21:09.723" UserId="680" Text="Questionnaire&#xD;&#xA;&#xD;&#xA;I would greatly appreciate it if you could take some time to fill in this short questionnaire. I am collecting data for primary research to be used within a project at university.  Please give as much or as little information as you wish.&#xD;&#xA;&#xD;&#xA;I promise not to publish or otherwise release any information given without prior consent from yourself.&#xD;&#xA;&#xD;&#xA;Name/company?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What is involved within your role as sound designer?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;How did you get into the industry?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Briefly what equipment do you use, both hardware and software?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Do you find most of your work is freelance or do you have long term employment?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;When designing sound effects for film, what is the most difficult part of the process.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Where do you see the future of theatrical and home theatre audio going, and how do you think this will effect the way you work?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Do you find yourself using music instruments  as effects? ( an example of this would be in the Tom and Jerry cartoons)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7919" PostHistoryTypeId="1" PostId="4703" RevisionGUID="893abe2f-09d3-4bfe-80ad-0d7c37274c18" CreationDate="2010-11-22T16:21:09.723" UserId="680" Text="Would you guys help me with a uni project by answering a few questions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7920" PostHistoryTypeId="3" PostId="4703" RevisionGUID="893abe2f-09d3-4bfe-80ad-0d7c37274c18" CreationDate="2010-11-22T16:21:09.723" UserId="680" Text="&lt;questionnaire&gt;&lt;uk&gt;&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7921" PostHistoryTypeId="2" PostId="4704" RevisionGUID="2297aae6-f41d-47ee-9e7f-b4e3f5712b69" CreationDate="2010-11-22T17:23:51.933" UserId="636" Text="Hi &#xD;&#xA;&#xD;&#xA;I was wondering if anyone has any tips on how to recreate the sound of a car screeching to a stop.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="7922" PostHistoryTypeId="1" PostId="4704" RevisionGUID="2297aae6-f41d-47ee-9e7f-b4e3f5712b69" CreationDate="2010-11-22T17:23:51.933" UserId="636" Text="Tyre screech recreation" ContentLicense="CC BY-SA 2.5" />
  <row Id="7923" PostHistoryTypeId="3" PostId="4704" RevisionGUID="2297aae6-f41d-47ee-9e7f-b4e3f5712b69" CreationDate="2010-11-22T17:23:51.933" UserId="636" Text="&lt;foley&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7924" PostHistoryTypeId="2" PostId="4705" RevisionGUID="dd30c57a-79a0-4a8f-90e3-17b259f0a291" CreationDate="2010-11-22T17:44:27.047" UserId="220" Text="I am getting rid of my pro camera setup and looking for something that will fill that &quot;fun video&quot; void.  A little search found the new Zoom Q3HD is coming out soon - HD video, excellent audio.  One question - has anybody used the standard def Q3 before?&#xD;&#xA;&#xD;&#xA;Some specs for you:&#xD;&#xA;&#xD;&#xA; - Built-in stereo condenser microphones with 120° X/Y configuration for true stereo imaging&#xD;&#xA; - Video resolution of 720p at 30 or 60 fps or 1080p at 30 fps&#xD;&#xA; - WVGA (standard definition) at 30 or 60 fps is also available for smaller file sizes&#xD;&#xA; - Get up to 45 minutes of 720p at 30fps video with 2GB SD card&#xD;&#xA; - Accepts up to a 32GB SDHC cards for 7 hours of 720p at 30fps (Audio at AAC192 kbps)&#xD;&#xA; - Large 2.4-inch 320 x 240 color LCD display&#xD;&#xA; - Built-in NTSC/PAL TV and HDMI output&#xD;&#xA; - 4x digital zoom&#xD;&#xA; - Video format: MPEG-4 AVC/H.264 (MOV)&#xD;&#xA; - Audio formats: 44.1/48/96kHz 16/24-bit WAV (PCM) or AAC up to 320kbps&#xD;&#xA; - Auto Record Level automatically sets audio levels during recordings&#xD;&#xA; - Uses two standard AA batteries or NiMH rechargeable batteries&#xD;&#xA; - USB 2.0 with built-in cable&#xD;&#xA; - Windows and Mac OS compatible&#xD;&#xA; - Built-in speaker and tripod mount&#xD;&#xA; - Includes HandyShare editing and, YouTube uploader software, Apple Quicktime, 2GB SD card, two AA batteries&#xD;&#xA; - Optional accessory package (APQ-3HD) includes soft shell case, windscreen, AC adapter, HDMI cable, AV cable and tripod&#xD;&#xA;&#xD;&#xA;The CONS that I have found from reviews:&#xD;&#xA;&#xD;&#xA; - Video quality could be better - Flip probably has a bit better look.&#xD;&#xA; - Battery life isn't very good, but it does have a 5V DC jack.&#xD;&#xA;&#xD;&#xA;For my needs, this is excellent - no need to pull out the full audio bag to get some SFX, just use this in audio only mode.&#xD;&#xA;&#xD;&#xA;[Zoom Q3HD on Samson Website][1].  MSRP $299, accessory kit $49.  This also means a price drop for the Q3 standard def to around $200 from what I've seen.  &#xD;&#xA;&#xD;&#xA;Some concert footage - very nice audio for what it's doing.&#xD;&#xA;[youtube]CVbcbJqFdMQ[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.samsontech.com/products/productpage.cfm?prodID=2062" ContentLicense="CC BY-SA 2.5" />
  <row Id="7925" PostHistoryTypeId="1" PostId="4705" RevisionGUID="dd30c57a-79a0-4a8f-90e3-17b259f0a291" CreationDate="2010-11-22T17:44:27.047" UserId="220" Text="Zoom Q3HD - a handheld video recorder for the rest of us" ContentLicense="CC BY-SA 2.5" />
  <row Id="7926" PostHistoryTypeId="3" PostId="4705" RevisionGUID="dd30c57a-79a0-4a8f-90e3-17b259f0a291" CreationDate="2010-11-22T17:44:27.047" UserId="220" Text="&lt;zoom&gt;&lt;hardware&gt;&lt;recorder&gt;&lt;video&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7927" PostHistoryTypeId="2" PostId="4706" RevisionGUID="e15bea9b-7009-4709-8d35-35ee2ba67a55" CreationDate="2010-11-22T18:10:30.847" UserId="62" Text="Find a car, drive it fast then apply the breaks very hard and voila! Sorry for the sarcasm. I had this connundrum a few years ago on a low budget animation. I ended up recording my brother in law skidding to a halt on a quiet country lane, a few takes was all that was needed as I then used pitching and time stretching to alter my 3 sounds to make more.&#xD;&#xA;&#xD;&#xA;Are you needing those sounds particularly? If so then there's places like Soundsnap that are great for buying a few random sounds for very little money.&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="7928" PostHistoryTypeId="2" PostId="4707" RevisionGUID="627086f0-0ac9-46a7-b465-3618d819f89c" CreationDate="2010-11-22T18:17:15.583" UserId="194" Text="**Name/company?**&#xD;&#xA;&#xD;&#xA;Rene Coronado/Dallas Audio Post Group&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**What is involved within your role as sound designer?**&#xD;&#xA;&#xD;&#xA;maintaining sfx library, custom recording in the field, spotting projects with director, sound design, sfx spotting, mixing, billing, deliverables, qc, sometimes site visitis for installation pieces.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**How did you get into the industry?**&#xD;&#xA;&#xD;&#xA;Graduated from South Plains College in 1999 with AAS in Sound Technology, moved to Dallas and started at Dallas Audio Post Group in 2000 as an audio engineer.  Specialty in sound design developed over the next few years.&#xD;&#xA;&#xD;&#xA;**Briefly what equipment do you use, both hardware and software?**&#xD;&#xA;&#xD;&#xA;location recording rig - sound devices 744t, 788t for big projects, Sony PCM D50 and Tascam DR100 for off the cuff recordings.  Various mics including AT 4050, Schoeps CMC6, Senn MKH60 and 70, etc.  I also have a set of cold gold contact mics and a self built electrostatic pickup made from a cheap ebaye'd guitar pickup wired to an xlr.  I use my iphone tons as well.&#xD;&#xA;&#xD;&#xA;In the studio its basically a good recording space, the 4050 or schoeps into a John Hardy M1 then straight into protools.  Plugs include the waves bundle, the AIR stuff that comes with protools, speakerphone, dverb, revibe, xnoise and izotope RX, etc.  Soundminer for sfx databasing, automator gets used a lot.&#xD;&#xA;&#xD;&#xA;**Do you find most of your work is freelance or do you have long term employment?**&#xD;&#xA;&#xD;&#xA;December 1st will complete my 11th year at DAPG.&#xD;&#xA;&#xD;&#xA;**When designing sound effects for film, what is the most difficult part of the process.**&#xD;&#xA;&#xD;&#xA;The biggest hurdles tend to be language, schedule and budget.  If people communicate well, and have the right amount of time and money then projects go very well. The degree to which those things are compromised is the degree to which the projects become difficult to do well.&#xD;&#xA;&#xD;&#xA;**Where do you see the future of theatrical and home theatre audio going, and how do you think this will effect the way you work?**&#xD;&#xA;&#xD;&#xA;Home theater is likely to get much more interactive, which complicates mixes because you're less sure about what's going to play in what order and over what things.  Theatrical is likely to stay static for a while, though more films are coming out in 7.1&#xD;&#xA;&#xD;&#xA;**Do you find yourself using music instruments as effects? ( an example of this would be in the Tom and Jerry cartoons)**&#xD;&#xA;&#xD;&#xA;yep.  lots of recorded instruments, synths, tonal sources, etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="7929" PostHistoryTypeId="2" PostId="4708" RevisionGUID="68ef6628-d1ca-4e14-a051-e0204bab94da" CreationDate="2010-11-22T19:19:47.133" UserId="219" Text="A hot water bottle (or anything with a rubbery surface for that matter) can be a good starting point. You can rub it on a wooden desk or something that has a very slick surface to get a screech out of it." ContentLicense="CC BY-SA 2.5" />
  <row Id="7930" PostHistoryTypeId="6" PostId="4704" RevisionGUID="a32c6ea4-ef39-4e30-baea-92273c982f37" CreationDate="2010-11-22T19:25:39.703" UserId="663" Comment="edited tags" Text="&lt;foley&gt;&lt;effects&gt;&lt;tyre&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7931" PostHistoryTypeId="2" PostId="4709" RevisionGUID="82f5c38a-306e-4e03-95ba-b20d80220773" CreationDate="2010-11-22T19:51:38.970" UserId="182" Text="If you rub your fingers over a balloon you can get some very nasty screeches, so I guess dragging a balloon over a surface with some texture could produce something similar but give you more freedom to create longer sounds." ContentLicense="CC BY-SA 2.5" />
  <row Id="7932" PostHistoryTypeId="2" PostId="4710" RevisionGUID="ee4989bb-99b0-4e7c-9269-e53eacadd363" CreationDate="2010-11-22T21:09:01.067" UserId="238" Text="**Name/company?**&#xD;&#xA;&#xD;&#xA;Colin Hunter - Freelance Sound Designer / Recordist&#xD;&#xA;&#xD;&#xA;**What is involved within your role as sound designer?**&#xD;&#xA;&#xD;&#xA;I mostly work for media production agencies who develop corporate films/adverts for their clients.&#xD;&#xA;&#xD;&#xA;**How did you get into the industry?**&#xD;&#xA;&#xD;&#xA;Started as a DJ, then got into producing, then decided to study something related to music but with the options of changing my path a bit. So I chose a degree in Music Technology &amp; Multimedia at London Met University. During the course I discovered sound design and chose to focus on this. It soon became an obsession! When I graduated I worked on some short films and theatre productions (sometimes for free) before starting to pickup agency work.  &#xD;&#xA; &#xD;&#xA;**Briefly what equipment do you use, both hardware and software?**&#xD;&#xA;&#xD;&#xA;Studio: iMac running Nuendo, Logic, Bias Peak, iZotope RX. Mackie HR824 monitors. Korg Z1 keyboard. &#xD;&#xA;&#xD;&#xA;Recording: Sound Devices 702t, Sennheiser MKH416, Rode NT1-A, Rode NT4, Contact mic, Rycote WS Kit 4, Sennheiser HD25 phones, Lightwave A5 boom pole, Quik-lok tripods. I often hire other kit if needed.&#xD;&#xA; &#xD;&#xA;**Do you find most of your work is freelance or do you have long term employment?**&#xD;&#xA;&#xD;&#xA;Freelance&#xD;&#xA;&#xD;&#xA;**When designing sound effects for film, what is the most difficult part of the process?**&#xD;&#xA;&#xD;&#xA;Pleasing a difficult client. It can be frustrating when you have to work with a client who thinks they know a lot about sound, yet actually knows very little. Diplomacy is a very important asset to have!&#xD;&#xA;&#xD;&#xA;**Where do you see the future of theatrical and home theatre audio going, and how do you think this will effect the way you work?**&#xD;&#xA;&#xD;&#xA;The physical/technical aspect of cinema sound will continue to evolve but I feel that the biggest evolution is in people's awareness of the importance of film sound. Historically film sound has been somewhat neglected but we will see this part of film production growing further in the future. Sound editorial teams are being considered more in terms of production and, more importantly, the general public are being exposed to some fantastic examples of film sound. I think this will continue. &#xD;&#xA;&#xD;&#xA;For the home theatre, I think we will see a convergence of technologies, with TV, computer, DVD/Blu-ray/future alternative and video games consoles all being controlled from one device. As a result, I see audio playing a much more important role with most systems being equipped with surround capabilities. I think the future possibilities of Internet sound will be highly influential in the development of home sound systems.&#xD;&#xA; &#xD;&#xA;**Do you find yourself using music instruments as effects? ( an example of this would be in the Tom and Jerry cartoons)**&#xD;&#xA;&#xD;&#xA;Yes, I have a small collection of instruments and often try to use them in my projects, though they rarely end up sounding like the raw recordings as I usually heavily process them." ContentLicense="CC BY-SA 2.5" />
  <row Id="7933" PostHistoryTypeId="2" PostId="4711" RevisionGUID="29808b03-9d4d-4173-86e9-1501084a64e7" CreationDate="2010-11-22T21:56:50.003" UserId="681" Text="I'm afraid anything you might try will sound a little cartoony. Depending on your production type, this may or may not work.&#xD;&#xA;&#xD;&#xA;Your best bet is really to record it yourself. Fortunately, anyone with a daredevil mind and a car will be able to reproduced this sound.&#xD;&#xA;&#xD;&#xA;The other option is SoundSnap (as Ian said) or SoundDogs. Both sites are great.&#xD;&#xA;&#xD;&#xA;I hope this help." ContentLicense="CC BY-SA 2.5" />
  <row Id="7934" PostHistoryTypeId="2" PostId="4712" RevisionGUID="5e8c243f-559a-43e3-9d30-4d35f67535a1" CreationDate="2010-11-22T22:00:54.403" UserId="670" Text="I was wondering what would be the best way to calibrate my room in my new apartment to my Mackie MR5's. The room is relatively small (10x12?) about 10 foot ceilings and carpeted with one window. I don't want to spend too much money since I'm not sure how long I'll be living there. So I just want to do the best I can for the least amount of money if possible. Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7935" PostHistoryTypeId="1" PostId="4712" RevisionGUID="5e8c243f-559a-43e3-9d30-4d35f67535a1" CreationDate="2010-11-22T22:00:54.403" UserId="670" Text="Calibrating my room" ContentLicense="CC BY-SA 2.5" />
  <row Id="7936" PostHistoryTypeId="3" PostId="4712" RevisionGUID="5e8c243f-559a-43e3-9d30-4d35f67535a1" CreationDate="2010-11-22T22:00:54.403" UserId="670" Text="&lt;room&gt;&lt;calibration&gt;&lt;monitor-calibration&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7937" PostHistoryTypeId="2" PostId="4713" RevisionGUID="7df32884-0a08-4519-b718-e485ceab592b" CreationDate="2010-11-22T22:06:29.417" UserId="629" Text="Guide found here - http://www.dynamicinterference.com/2010/09/01/quick-and-dirty-monitor-calibration/" ContentLicense="CC BY-SA 2.5" />
  <row Id="7938" PostHistoryTypeId="5" PostId="4712" RevisionGUID="83aa9803-a942-45b3-9a22-5e3eaad11080" CreationDate="2010-11-22T22:47:27.627" UserId="670" Comment="added 163 characters in body" Text="I was wondering what would be the best way to calibrate my room in my new apartment to my Mackie MR5's. The room is relatively small (10x12?) about 10 foot ceilings and carpeted with one window. I don't want to spend too much money since I'm not sure how long I'll be living there. So I just want to do the best I can for the least amount of money if possible. Thanks!&#xD;&#xA;&#xD;&#xA;edit: Also I have my speakers stacked on top of books. Is it really worth the investment in speaker stands? And if so what are some cheap stands that will do? " ContentLicense="CC BY-SA 2.5" />
  <row Id="7939" PostHistoryTypeId="2" PostId="4714" RevisionGUID="effb3139-deee-441a-8eef-969ba8e79359" CreationDate="2010-11-22T23:01:44.960" UserId="681" Text="I use YouTube as another social outlet to show my work. I'm starting to use SoundCloud. I'm all for trying to make it easier for my clients. They can send me the files I need without having to log in to an ftp. I'm trying to add it to my Facebook account... but this is no picnic!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7940" PostHistoryTypeId="2" PostId="4715" RevisionGUID="2d9de069-712e-407a-81b6-ee63de203b24" CreationDate="2010-11-22T23:09:47.847" UserId="681" Text="I'm a huge Fairlight fan.&#xD;&#xA;&#xD;&#xA;I have been a Fairlight user for 14 years. I am using their latest Crystal Core (CC-1) audio production technology with Xynergi and Pyxis for video, all integrated into one powerful system.&#xD;&#xA;&#xD;&#xA;I will soon upgrade my system to 64bit - Windows7. Can't wait!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7941" PostHistoryTypeId="2" PostId="4716" RevisionGUID="596f2eb7-b502-4c91-95d8-f67f74b09467" CreationDate="2010-11-22T23:37:05.680" UserId="589" Text="Every processing of audio, even if you just move a fader reduces the quality of the audio. But of cause not massively. You should only be concerned if you do too many processing steps to the same audio. &#xD;&#xA;&#xD;&#xA;But of cause there are plug ins that have a bad algorithms. Just hear how it sounds with a different pitch shifter. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7943" PostHistoryTypeId="5" PostId="4708" RevisionGUID="6ea10672-bfac-4d01-aeee-cc006b496dd7" CreationDate="2010-11-22T23:51:18.307" UserId="219" Comment="added 360 characters in body" Text="A hot water bottle (or anything with a rubbery surface for that matter) can be a good starting point. You can rub it on a wooden desk or something that has a very slick surface to get a screech out of it.&#xD;&#xA;&#xD;&#xA;@wadiosound has a point when he says it'll sound cartoony. If I think about a tyre screech, not only do I hear the squealing, but there is definitely another lower pitched component, a bit more rumbly that might not only come from the tyre itself but from the structure of the car, the axel maybe, or the reflection of the road texture in the wheel-well..." ContentLicense="CC BY-SA 2.5" />
  <row Id="7944" PostHistoryTypeId="2" PostId="4718" RevisionGUID="62fd98f3-3343-4065-b5ca-135e1af34a36" CreationDate="2010-11-22T23:54:21.233" UserId="418" Text="Personally, I don't find traditional DAWs particularly inspiring for actual sound design. Could just be because of what my definition of sound design is or the way I work though. I think most DAWs are more useful for linear arrangement of complete pieces, and/or syncing those to video. If I had to pick some gems from the big DAWs, Logic's Sculpture and Space Designer are quite nice. And Ableton Live would probably be the one that is most conducive to experimentation and creative tinkering for me. Lots of great tools in there.&#xD;&#xA;&#xD;&#xA;I rely far more upon standalone oddities or plugins for actual sound design though. Reaktor and MaxMSP get a lot of use from me. Plogue Bidule is another biggie. Camel Alchemy is becoming one of my primary workhorses, so in love with that thing. And 99% of the time I don't run any DAW at all and do nearly everything hosted within Audiomulch. It's a very &quot;freeing&quot; environment to work in. Awesome timeline and automation stuff. I use Reason a lot as well. Audiomulch, with all of my plugins and other odds and ends is sort of my poor man's Kyma. :)&#xD;&#xA;&#xD;&#xA;For linear compositions that need to adhere to a timeline I use Ableton Live whenever possible, or Logic. Never touched ProTools. It looks and feels like Microsoft Office to me. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7945" PostHistoryTypeId="2" PostId="4719" RevisionGUID="10e388da-bea6-43cf-9fe7-fb84fe3c74ee" CreationDate="2010-11-23T00:07:36.093" UserId="219" Text="You say &quot;calibrate&quot; although you seem to be asking for help on deadening your room.&#xD;&#xA;&#xD;&#xA;[This Sound on Sound article][1] is a good start, at least it got me going by prioritizing the factors and possible fixes to bad acoustics.&#xD;&#xA;&#xD;&#xA;I once visited a guy's home studio in a much smaller room that what you describe. He had these home made clouds he built out of rockwool that he framed with wood and covered with fabric. He put one of these on each wall and on the ceiling.&#xD;&#xA;&#xD;&#xA;Finally, fill your room with soft surfaces, hang things on the wall if you can, try to break any nasty right angle. Think about the sound waves' critical trajectories between the speakers, the walls and your ears, and break these paths as early as you can by putting soft/irregular surfaces and obstacles.&#xD;&#xA;&#xD;&#xA;That's the philosophy at least...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/mar02/articles/monitors.asp" ContentLicense="CC BY-SA 2.5" />
  <row Id="7946" PostHistoryTypeId="2" PostId="4720" RevisionGUID="ff27a578-6bf2-4678-8ce6-4cce6318f519" CreationDate="2010-11-23T00:34:03.073" UserId="683" Text="Name/company? H. Contant / New School University Radio &#xD;&#xA;&#xD;&#xA;What is involved within your role as sound designer? Everything. Really, everything. &#xD;&#xA;&#xD;&#xA;How did you get into the industry? I started by making radio&#xD;&#xA;&#xD;&#xA;Briefly what equipment do you use, both hardware and software? Hardware--Sony PCM-M10, Tascam HD-P2, HHB Portadisc, Sony Mini disc, Sennheiser HD 555 headphones, Sennheiser ME66, Sennheiser E945, AKG 414, Rode Classic, Shure something... Software--Protools, Soundtrack Pro, Logic, Max-MSP&#xD;&#xA;&#xD;&#xA;Do you find most of your work is freelance or do you have long term employment? I'm in grad school. It's a beautiful grey area. But the school pays me to do audio restoration&#xD;&#xA;&#xD;&#xA;When designing sound effects for film, what is the most difficult part of the process? (1) Not getting carried away. I always have lots of ideas, but I have to remember that i'm probably not getting paid enough for this. (2) Making people understand the concept and importance of room tone&#xD;&#xA;&#xD;&#xA;Where do you see the future of theatrical and home theatre audio going, and how do you think this will effect the way you work? I think it will get bigger and smaller at the same time. the theater speakers will get bigger, more advanced, better. The home audio speakers will get dinkier and dinkier. This just means I have to master for both things... or I could just make two mixes. One for good speakers and one for tiny speakers. &#xD;&#xA;&#xD;&#xA;Do you find yourself using music instruments as effects? ( an example of this would be in the Tom and Jerry cartoons) yes, but only instruments very odd instruments. I just got this cool three bamboo-zled slide whistle in the mail, and there's a pigeon coo-er on the way. I like using non-traditional instruments because I don't feel guilty for not knowing how to play them." ContentLicense="CC BY-SA 2.5" />
  <row Id="7947" PostHistoryTypeId="2" PostId="4721" RevisionGUID="ea5c6190-800f-420a-bec2-7565104fdef3" CreationDate="2010-11-23T00:39:05.050" UserId="681" Text="Sound Design is a wonderful thing! I think you did a great job.&#xD;&#xA;&#xD;&#xA;I agree with what C3Sound and Ade told you. I will simply add one thing. It's not always about what on the screen. Sometimes, it might be beneficial to come up with other sounds that will help you &quot;paint the picture&quot;. You need to put them in a place. Add an ambient track of some sort... perhaps something spooky, like a heavy drone.&#xD;&#xA;&#xD;&#xA;This will achieve so much to the overall feel and experience of your movie." ContentLicense="CC BY-SA 2.5" />
  <row Id="7948" PostHistoryTypeId="5" PostId="4721" RevisionGUID="423743ef-d5dc-4264-8208-71e2790c29ae" CreationDate="2010-11-23T01:22:23.670" UserId="681" Comment="added 36 characters in body" Text="Sound Design is a wonderful thing! I think you did a great job.&#xD;&#xA;&#xD;&#xA;I agree with what C3Sound and Ade told you. I will simply add one thing. It's not always about what on the screen. Sometimes, it might be beneficial to come up with other sounds that will help you &quot;paint the picture&quot;. You need to create the scene, and put all the characters in a place. Add an ambient track of some sort... perhaps something spooky, like a heavy drone.&#xD;&#xA;&#xD;&#xA;This will achieve so much to the overall feel and experience of your movie." ContentLicense="CC BY-SA 2.5" />
  <row Id="7949" PostHistoryTypeId="2" PostId="4722" RevisionGUID="192aeddb-0b1d-410a-b61c-ed130b821fca" CreationDate="2010-11-23T01:39:32.087" UserId="681" Text="I love SoundConverter for Mac. It allows batch file converting in a slew of audio formats. It doesn't change the name of the file (only the file type), and it doesn't add this annoying _1 like iTunes does. A+" ContentLicense="CC BY-SA 2.5" />
  <row Id="7950" PostHistoryTypeId="2" PostId="4723" RevisionGUID="cf8dabe2-7070-4313-8cfb-76be8a716e0c" CreationDate="2010-11-23T06:00:37.203" UserId="338" Text="I used to play a couple top down games.  Starcraft, Warcraft, Master of Magic and a few others.  Mostly, the sound was at an angle rather than top.  Less is more!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7954" PostHistoryTypeId="2" PostId="4725" RevisionGUID="a4fcf552-2cbb-41fe-8263-bff810f39466" CreationDate="2010-11-23T06:56:35.167" UserId="639" Text="I use Vimeo and Soundcloud. Its great because these sites are so quick easy to upload a video and track. I use them both to get quick advice and comments on my works and to share files with others. Plus they look nicer than youtube. Also Soundcloud looks good and is easy to use right there without following a link when you put it up on facebook." ContentLicense="CC BY-SA 2.5" />
  <row Id="7958" PostHistoryTypeId="2" PostId="4727" RevisionGUID="0dd4a4f2-35ad-46ba-8b3d-213614e5e396" CreationDate="2010-11-23T10:35:46.560" UserId="238" Text="We work in an environment that requires both creativity and organisation. Many of us come from  creative backgrounds and many from more technical or scientific backgrounds. So who out there is left brained and who is right brained?&#xD;&#xA;&#xD;&#xA;**Do you see the dancer turining clockwise or anti-clockwise?**&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;If you see her turning clockwise, you are using more of the right side of the brain and vice versa. If you try to focus, you can see her turn the oppositie way than the way you saw first. When I first tried this I saw her turning anti-clockwise. After a while I could see her turning the other way too, but every time I look again she is always turning anti-clockwise. My girlfriend saw her turning clockwise but couldn't see her turning the other way, even if she really concentrated on it. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**LEFT BRAIN FUNCTIONS**&#xD;&#xA;&#xD;&#xA;uses logic&#xD;&#xA;&#xD;&#xA;detail oriented&#xD;&#xA;&#xD;&#xA;facts rule&#xD;&#xA;&#xD;&#xA;words and language&#xD;&#xA;&#xD;&#xA;present and past&#xD;&#xA;&#xD;&#xA;math and science&#xD;&#xA;&#xD;&#xA;can comprehend&#xD;&#xA;&#xD;&#xA;knowing&#xD;&#xA;&#xD;&#xA;acknowledges&#xD;&#xA;&#xD;&#xA;order/pattern perception&#xD;&#xA;&#xD;&#xA;knows object name&#xD;&#xA;&#xD;&#xA;reality based&#xD;&#xA;&#xD;&#xA;forms strategies&#xD;&#xA;&#xD;&#xA;practical &#xD;&#xA;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&#xD;&#xA;**RIGHT BRAIN FUNCTIONS**&#xD;&#xA;&#xD;&#xA;creative&#xD;&#xA;&#xD;&#xA;uses feeling&#xD;&#xA;&#xD;&#xA;&quot;big picture&quot; oriented&#xD;&#xA;&#xD;&#xA;imagination rules&#xD;&#xA;&#xD;&#xA;symbols and images&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&#xD;&#xA;**So, which one are you...?**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://resources0.news.com.au/images/2007/10/05/1111114/577592-the-right-brain-vs-left-brain-test.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="7959" PostHistoryTypeId="1" PostId="4727" RevisionGUID="0dd4a4f2-35ad-46ba-8b3d-213614e5e396" CreationDate="2010-11-23T10:35:46.560" UserId="238" Text="Left Brained or Right Brained?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7960" PostHistoryTypeId="3" PostId="4727" RevisionGUID="0dd4a4f2-35ad-46ba-8b3d-213614e5e396" CreationDate="2010-11-23T10:35:46.560" UserId="238" Text="&lt;test&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7961" PostHistoryTypeId="2" PostId="4728" RevisionGUID="fd19a45c-ac2c-45a3-9364-daf07a9bd938" CreationDate="2010-11-23T11:47:09.760" UserId="217" Text="I've done this test before, and I am getting the same results that I had last time. &#xD;&#xA;&#xD;&#xA;When I first looked at the picture it was turning anti-clockwise.  No matter how much I tried to see it going the other way, it wouldn't change.  Then I looked away to read some more text and then in the corner of my eye I noticed it switch to clockwise.  It has switched over twice since, but now it is pretty much stuck on clockwise.&#xD;&#xA;&#xD;&#xA;I'm wondering if I do something else for half an hour and come back to it what the result would be.&#xD;&#xA;&#xD;&#xA;I was actually born left handed, which uses the right side of your brain.  However, when I young I broke my left arm, which has made it weaker than my right arm/hand.  I actually use my right arm just as much, if not more than my left in most activities.  Except writing, I can't write right handed, no matter how hard I try I just can't do it.  Anything else I do is pretty much ambidextrous, such as playing sports, using a mouse (although, its normally right handed) etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="7962" PostHistoryTypeId="2" PostId="4729" RevisionGUID="6161b11f-d653-48f6-8b6f-9a8315b80097" CreationDate="2010-11-23T11:57:38.990" UserId="298" Text="I can turn that picture in any direction.  &#xD;&#xA;&#xD;&#xA;Normally im right handed (left hemisphere), but last year i started to train left hand. So now im ambidextrous.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7963" PostHistoryTypeId="2" PostId="4730" RevisionGUID="f53fe294-54d9-49fd-b7b7-7ef5b04be973" CreationDate="2010-11-23T12:42:10.290" UserId="432" Text="Clockwise for me" ContentLicense="CC BY-SA 2.5" />
  <row Id="7964" PostHistoryTypeId="5" PostId="4728" RevisionGUID="01be1cf9-461e-4e9d-a407-40375a9ca7c4" CreationDate="2010-11-23T12:47:59.670" UserId="217" Comment="added 205 characters in body" Text="I've done this test before, and I am getting the same results that I had last time. &#xD;&#xA;&#xD;&#xA;When I first looked at the picture it was turning anti-clockwise.  No matter how much I tried to see it going the other way, it wouldn't change.  Then I looked away to read some more text and then in the corner of my eye I noticed it switch to clockwise.  It has switched over twice since, but now it is pretty much stuck on clockwise.&#xD;&#xA;&#xD;&#xA;I'm wondering if I do something else for half an hour and come back to it what the result would be.&#xD;&#xA;&#xD;&#xA;I was actually born left handed, which uses the right side of your brain.  However, when I young I broke my left arm, which has made it weaker than my right arm/hand.  I actually use my right arm just as much, if not more than my left in most activities.  Except writing, I can't write right handed, no matter how hard I try I just can't do it.  Anything else I do is pretty much ambidextrous, such as playing sports, using a mouse (although, its normally right handed) etc.&#xD;&#xA;&#xD;&#xA;Update:  Well I've come back to it after a short while, and she was spinning anti-clockwise again, but the moment I started reading what was on the screen she flipped to clockwise and stayed that way. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7965" PostHistoryTypeId="2" PostId="4731" RevisionGUID="5788cb76-befe-45cc-bd80-0b9dee21ec60" CreationDate="2010-11-23T13:30:14.997" UserId="103" Text="Clockwise, and can't seem to do the other way around&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7966" PostHistoryTypeId="2" PostId="4732" RevisionGUID="ae5d103a-2e9e-4fc0-8916-2c1f81bb6ffc" CreationDate="2010-11-23T13:40:17.273" UserId="679" Text="haha, that's quite funny. I'm extremely right handed, and uncoordinated with my left side in general, close to blind in the left eye. It's as if I've had a stroke or something. Yet I see it turning clockwise, and can't for the life of me see it going the other way. &#xD;&#xA;&#xD;&#xA;I would say that I match some of the descriptors for each of the hemispheres. Interesting test. But I wonder how accurate it is. " ContentLicense="CC BY-SA 2.5" />
  <row Id="7968" PostHistoryTypeId="2" PostId="4734" RevisionGUID="2462126f-00db-41ab-bf15-698054198cde" CreationDate="2010-11-23T15:52:45.940" UserId="298" Text="little tip - to turn her back, simply look at her shadow of a foot below for sometime... ;-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7969" PostHistoryTypeId="2" PostId="4735" RevisionGUID="fe0d6c49-4834-4302-b9d1-473aa38debbd" CreationDate="2010-11-23T16:05:21.983" UserId="29" Text="Anti-clockwise. Took a loooooong time to see it go the other way.&#xD;&#xA;&#xD;&#xA;*[startTangent]*&#xD;&#xA;&#xD;&#xA;Everyone has aspects of left and right &quot;brainedness;&quot; it's just more pronounced in some than others. No one would be creative if they were wholly left-brained, and wholly right-brained people wouldn't be able to hold down a job. I'm *so* right-handed it's sad, so how does that allow me to suck at math so badly? I tend to think in broad strokes, symbolically, about problems, so does that mean I am unable to be detail oriented?&#xD;&#xA;&#xD;&#xA;In my experience, the best creatives are those that split the difference. The worst programmers I've ever seen are those with zero social skills...sure, the work gets done, but god help anyone who has to retool, examine, or extend the code. The worst designers I've worked with are those with the hand skills to do exactly what's requested, but are too literal (left-brained) and don't inject new ideas into the problems they're asked to solve. &#xD;&#xA;&#xD;&#xA;*[endTangent]*" ContentLicense="CC BY-SA 2.5" />
  <row Id="7970" PostHistoryTypeId="2" PostId="4736" RevisionGUID="647f4d4d-18a9-4bbe-b760-40cc9791016c" CreationDate="2010-11-23T16:10:41.537" UserId="663" Text="I see it turning clockwise, and can't see her turning the other way." ContentLicense="CC BY-SA 2.5" />
  <row Id="7971" PostHistoryTypeId="5" PostId="4730" RevisionGUID="c8b44399-fe19-4895-a8bb-865dfe8b633d" CreationDate="2010-11-23T16:14:30.893" UserId="432" Comment="update on results" Text="Clockwise for me.&#xD;&#xA;&#xD;&#xA;Then looked at it again later, and I seem to be able to switch back and forth...ALMOST at will. Still dominantly clockwise though." ContentLicense="CC BY-SA 2.5" />
  <row Id="7972" PostHistoryTypeId="2" PostId="4737" RevisionGUID="d75f46ce-707e-42dc-8564-d7eeae665b4a" CreationDate="2010-11-23T16:43:39.363" UserId="432" Text="**Name/Company**&#xD;&#xA;&#xD;&#xA;Shaun Farley/Teleproductions International&#xD;&#xA;&#xD;&#xA;**Role as a Sound Designer**&#xD;&#xA;&#xD;&#xA;I'm not exclusively a sound designer. I work for an independent production company, and am responsible for all aspects of the audio program for our pieces excluding music. As such, I'm involved in everything from the location production through post. That gives me a good understanding of what we're going to need in terms of sounds very early on, and also gives me the opportunity to collect unique sounds early on in the schedule. This doesn't mean I don't go out and record more items as needed (if there's time), or that I don't use library effects.  We work mostly on documentary and non-fictional programming. I'm always amused at how much sound design goes into programming that is supposed to be based on some sort of reality.&#xD;&#xA;&#xD;&#xA;**How did you get into the industry**&#xD;&#xA;&#xD;&#xA;I started out doing live sound reinforcement, then went to grad school to learn the recording side of the audio industry. I was more drawn to film and media integration than the music recording industry, so I just followed that path. Started out as an audio PA for a public radio station in Boston and doing freelance work on the side. Eventually got a staff gig doing dialogue for a web-based training company (kept doing the freelance thing). Then got a staff gig where I am currently.&#xD;&#xA;&#xD;&#xA;**Hardware/Software**&#xD;&#xA;&#xD;&#xA;I use Pro Tools exclusively. I've worked with some other software in the past, but I prefer Tools. I don't necessarily consider it superior to programs like Nuendo, it's just a personal preference; though I would like the opportunity to use a Fairlight system again (those are very nice). I gravatate towards Sennheiser and Schoeps Mics for production audio, and use a lot of Neumann's in studio. For field recorders, Sound Devices or Zaxcom equipment are my preferences.&#xD;&#xA;&#xD;&#xA;**Freelance/Long Term**&#xD;&#xA;&#xD;&#xA;I have a staff gig, but still like to do freelance work now and then. In my job, I work with the same editors and producers all the time. Freelance on top of that is nice, because I get into something that's a little less routine and more interesting. I've been kind of slacking in that department lately, but am getting some new outside work lined up at the moment.&#xD;&#xA;&#xD;&#xA;**Most difficult part of designing effects**&#xD;&#xA;&#xD;&#xA;Time. Most of our stuff is for television, and there's only so much that can be done in the allotted time by one person. Eventually, you have to prioritize, and it turns into a system of attrition. What do you just not have time to do. I know this is not exclusive to television. Many people I know in the film industry have the same issues on nearly all but some of the largest budget pictures.&#xD;&#xA;&#xD;&#xA;**Future developments and impact on work**&#xD;&#xA;&#xD;&#xA;There's a huge convergence push going on right now, and a wide range of standards to deal with (if a particular medium even has a standard). We're only going to see it grow too. Dealing with mixes for multiple playback mediums is going to become even more complex, and I'm really hoping to see better cross-standardization between them. Any piece of media is now played back on everything from a theatre to someone's phone. We're going to see new encoding algorithms that deal with this to some degree, because it will be cheaper than paying for 15 different mixes (yes, I know that's an exaggeration...but you get the point). That's going to require more technical knowledge from professionals in terms of predicting a mix's behavior in various decoding situations. Essentially, this means we're going to have more mental data to process when making decisions at the mix stage.&#xD;&#xA;&#xD;&#xA;**Use of instruments**&#xD;&#xA;&#xD;&#xA;What's going to give me the sound I want? That's what drives my decisions. One time, I pulled everyone from the office into the studio to do a loop group with kazoos. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="7973" PostHistoryTypeId="2" PostId="4738" RevisionGUID="21f5a4b0-0411-4b49-91a1-bb964cae3e65" CreationDate="2010-11-23T17:18:45.670" UserId="629" Text="Hello&#xD;&#xA;&#xD;&#xA;I am upgrading from Cubase LE 5 and also looking to replace the rubbish on-board sound-card.&#xD;&#xA;&#xD;&#xA;I am buying the new Pro Tools 9 &amp; Waves Studio Design Suite as my upgrade. I have been looking at the [ASUS Xonar Essence STX][1] card for a while now will this suit my needs? (I'm going into Sound Design) It doesn't support 7.1 sound (I don't have 7.1 speakers anyway) but the specification is amazing.&#xD;&#xA;&#xD;&#xA;My speakers are currently 2.1 PC speakers ([Logitech Z-2300][2]) should I be looking to upgrade to something like a [KRK RP8 ROKIT G2][3]?&#xD;&#xA;&#xD;&#xA;Thanks in advance it's much appreciated.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://uk.asus.com/product.aspx?P_ID=zCDHPnfR1jymHK2f&amp;templete=2&#xD;&#xA;  [2]: http://www.logitech.com/en-gb/speakers-audio/home-pc-speakers/devices/231&#xD;&#xA;  [3]: http://www.thomann.de/gb/krk_rp8_rokit_g2.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="7974" PostHistoryTypeId="1" PostId="4738" RevisionGUID="21f5a4b0-0411-4b49-91a1-bb964cae3e65" CreationDate="2010-11-23T17:18:45.670" UserId="629" Text="Help On Getting Some New Gear?" ContentLicense="CC BY-SA 2.5" />
  <row Id="7975" PostHistoryTypeId="3" PostId="4738" RevisionGUID="21f5a4b0-0411-4b49-91a1-bb964cae3e65" CreationDate="2010-11-23T17:18:45.670" UserId="629" Text="&lt;pro-tools&gt;&lt;waves&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7976" PostHistoryTypeId="2" PostId="4739" RevisionGUID="7d225dce-6ee2-4605-af56-bb19a5493696" CreationDate="2010-11-23T17:40:21.220" UserId="61" Text="Just in case you haven't seen [this thread][1], there's lots of great advice re. speakers.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/429/nearfield-monitors" ContentLicense="CC BY-SA 2.5" />
  <row Id="7977" PostHistoryTypeId="2" PostId="4740" RevisionGUID="575adf6d-fa0f-4862-bf67-754c16846174" CreationDate="2010-11-23T18:15:53.460" UserId="338" Text="She's doing both, it goes to say something about the duality of nature." ContentLicense="CC BY-SA 2.5" />
  <row Id="7978" PostHistoryTypeId="2" PostId="4741" RevisionGUID="489b18f3-f357-4d8e-b133-09615b95991f" CreationDate="2010-11-23T18:25:05.107" UserId="629" Text="Most of the time clockwise for me it seems. I'm right handed and left footed." ContentLicense="CC BY-SA 2.5" />
  <row Id="7979" PostHistoryTypeId="5" PostId="4741" RevisionGUID="2b5ee8da-8a04-47c7-9df9-ca0825c6ffb5" CreationDate="2010-11-23T18:30:41.110" UserId="629" Comment="extra description." Text="Most of the time clockwise for me it seems. I'm right handed and left footed. @Pretaeperon works for me I can keep moving her in my mind clockwise and anti-clockwise by watching that shadow." ContentLicense="CC BY-SA 2.5" />
  <row Id="7980" PostHistoryTypeId="2" PostId="4742" RevisionGUID="e372d16d-3b8f-455f-a603-807d35102e40" CreationDate="2010-11-23T18:32:30.977" UserId="432" Text="I can't provide any perspective on those monitors, since I've never heard them (or even of them).&#xD;&#xA;&#xD;&#xA;I'd look at that post Jay mentioned a bit more seriously. Even if your room is not acoustically treated, as you mentioned in response to Jay's comments, don't cheap out on your listening monitors (ESPECIALLY near-fields). Aside from the DA's, they're the most important part of your listening chain. If cost is an issue with all of the stuff you are buying, I'd suggest you hold off on the Waves bundle and funnel the money into buying better speakers.&#xD;&#xA;&#xD;&#xA;Just my 2 cents." ContentLicense="CC BY-SA 2.5" />
  <row Id="7981" PostHistoryTypeId="5" PostId="4742" RevisionGUID="24cb69b8-398d-458f-b8ea-4cd4602b1e1a" CreationDate="2010-11-23T18:46:40.007" UserId="432" Comment="should have talked about the audio card as well" Text="I can't provide any perspective on those monitors, since I've never heard them (or even of them).&#xD;&#xA;&#xD;&#xA;I'd look at that post Jay mentioned a bit more seriously. Even if your room is not acoustically treated, as you mentioned in response to Jay's comments, don't cheap out on your listening monitors (ESPECIALLY near-fields). Aside from the DA's, they're the most important part of your listening chain. If cost is an issue with all of the stuff you are buying, I'd suggest you hold off on the Waves bundle and funnel the money into buying better speakers.&#xD;&#xA;&#xD;&#xA;Just my 2 cents.&#xD;&#xA;&#xD;&#xA;***Edit***&#xD;&#xA;&#xD;&#xA;Also, after looking at the card you're talking about, you may want to reconsider that as well. Not very flexible as far as I can see. Get something that has actual line level outputs at least. The headphone and rca jacks are going to be woefully under-qualified for that, and I don't know of many active speakers that have built in s/pdif inputs." ContentLicense="CC BY-SA 2.5" />
  <row Id="7982" PostHistoryTypeId="2" PostId="4743" RevisionGUID="450cf230-193b-4ed1-8c74-26b81a11d2b4" CreationDate="2010-11-23T18:52:29.233" UserId="338" Text="I'm pretty satisfied with my Blue Sky Media Desk 2.1 and would recommend it." ContentLicense="CC BY-SA 2.5" />
  <row Id="7983" PostHistoryTypeId="2" PostId="4744" RevisionGUID="0b2102ae-1260-4bb6-8615-f41a902e46fa" CreationDate="2010-11-23T18:57:21.787" UserId="686" Text="For sound designers, there is fantastic exposure available on youtube.  Because, this is where the filmmakers go .. right?  Who do you want to promote yourself to as a sound designer?  Filmmakers, film producers, video editors.&#xD;&#xA;&#xD;&#xA;Sure, there are tons of irrelevant visitors but who knows what opportunities lurk in those visits.&#xD;&#xA;Personally I post free sfx on youtube and have had over 300,000 views this year alone which is great for branding and driving traffic to my sound effects site.&#xD;&#xA;&#xD;&#xA;Check it out, completely free promo and branding.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/sfxsource&#xD;&#xA;&#xD;&#xA;Soundcloud is an amazing service and site.  But, if you are looking for exposure to video editors, filmmakers etc .. folks who might hire you, its not necessarily the most direct option .. I get a sense its a fantastic platform for composers or for generating a fan base if you are a musician" ContentLicense="CC BY-SA 2.5" />
  <row Id="7985" PostHistoryTypeId="2" PostId="4746" RevisionGUID="8da64867-92a5-43e6-9e8f-646185903979" CreationDate="2010-11-23T19:06:44.523" UserId="182" Text="I was told you can make the direction switch by thinking about something emotional/creative and then thinking about something rational (like math or reading).&#xD;&#xA;&#xD;&#xA;I can see both directions, might have something to do with the fact that I'm left-handed but both hands are developed because of years of piano lessons, and I'm combining creative and rational skills every day at work (and study before that).&#xD;&#xA;(and I'm right-footed, left-handed with any hand- or racket related ball sport yet play guitar, play drums, use scissors and use a mouse with my right hand. Weird mixture.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7988" PostHistoryTypeId="2" PostId="4749" RevisionGUID="6fcb3dc1-0cf5-4a78-8a7f-f7f7addcf827" CreationDate="2010-11-23T19:28:46.913" UserId="182" Text="I would strongly advise against that soundcard. Not because it's bad because it might be ok, but because it is a consumer product in the audiophile realm. You are not a consumer, you are a sound professional. The target market and its requirements are very different.&#xD;&#xA;&#xD;&#xA;Getting an external audio interface that connects over usb or firewire is almost always advised. Less interference because the audio path is not inside your pc, easier access to the connectors, more sturdy connectors built for repeated plugging in and -out, physical volume controls and, depending on your budget, better sound quality, portability, flexibility and extendability.&#xD;&#xA;Also (depending on the model): balanced inputs and outputs, microphone preamps, midi, etc.&#xD;&#xA;Stay away from brands that also make motherboards or laptops, stay away from Creative and preferably also Terratec. Not because they make bad products but because you will at some point run into the limitations of the stuff they make, requiring you to buy something else. I speak from experience (I've bought 7 audio interfaces so far, sold 5).&#xD;&#xA;&#xD;&#xA;Brands to look at:&#xD;&#xA;&#xD;&#xA;Low Budget but good bang for the buck:&#xD;&#xA;M-Audio,&#xD;&#xA;Tascam,&#xD;&#xA;ESI,&#xD;&#xA;EMU&#xD;&#xA;&#xD;&#xA;Medium Budget:&#xD;&#xA;TC Electronic,&#xD;&#xA;Presonus,&#xD;&#xA;Focusrite,&#xD;&#xA;Lexicon&#xD;&#xA;&#xD;&#xA;Bigger budget:&#xD;&#xA;MOTU,&#xD;&#xA;RME (they have some good internal sound cards too, this is an exception what I said before),&#xD;&#xA;Apogee (Mac only)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7990" PostHistoryTypeId="5" PostId="4739" RevisionGUID="cd0d881b-b598-4784-8150-c06e57c5b277" CreationDate="2010-11-23T20:14:22.357" UserId="61" Comment="add'l info" Text="Just in case you haven't seen [this thread][1], there's lots of great advice re. speakers.  &#xD;&#xA;&#xD;&#xA;**REVISED ANSWER:**&#xD;&#xA;&#xD;&#xA;Don't get discouraged and feel like you have to drop huge dollars on near-field monitors; some of the best sound designers I know work with mid-priced speakers all day long and turn out really great results with them. The key is to know the *strengths and weaknesses* of the speakers that you are using. For example, I work with M-Audio BX-8 speakers, setup for 5.1 with the matching BX-10 sub. This is not an expensive setup (I think each BX-8 cost around $275 each and the BX-10 was around $499.). Of course I realize that I'm not listening to the best speakers available, a la Meyer Sound or Adam, but I also realize that I'm just not shopping in that price point so it's not even an option. Another friend of mine uses Mackies that he's had forever, and he loves them because he knows exactly what he is hearing.&#xD;&#xA;&#xD;&#xA;Another thing to consider is that speakers will sound different depending on the room, the listening position, and the person listening to them. It's kind of like wine tasting: You take a sip and think, hmm, tastes kinda oaky and smooth. Then the wine guy comes up and says, &quot;do you taste the apple and hint of butterscotch?&quot; And you're like, oh yeah, what was I thinking?? Speakers can be smooth to one person, precise to someone else, or bright to yet another person, depending on the influences around you. (Not to negate any of the critical testing or response curves that come along with high-end speakers, of course, but the real world performance can vary quite a bit.)&#xD;&#xA;&#xD;&#xA;So do some research, talk to your friends, do some critical listening and invest in something that you like and that you can afford. Then get them in your studio and *LEARN* how they really sound!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/429/nearfield-monitors" ContentLicense="CC BY-SA 2.5" />
  <row Id="7991" PostHistoryTypeId="2" PostId="4751" RevisionGUID="3b10d7c3-953e-4342-baa4-cd886b599070" CreationDate="2010-11-23T21:25:36.623" UserId="681" Text="I can totally see it both ways.&#xD;&#xA;If I get stuck on one way, I just look away from the image for a few seconds, and it'll systematically turn the other way. Works every time.&#xD;&#xA;So I guess I am both, creative and technical." ContentLicense="CC BY-SA 2.5" />
  <row Id="7992" PostHistoryTypeId="2" PostId="4752" RevisionGUID="07eeda5c-4d3b-4701-85e3-493b7c57c3a3" CreationDate="2010-11-23T21:33:47.857" UserId="455" Text="I'm looking through a few sound libraries now for some owl sound effects.  Here are some refferences of the sounds I need:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=akwc82DOb4k&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=1fKVE3_smYE&amp;feature=related&#xD;&#xA;&#xD;&#xA;I've been asked to use these sounds in creating an alien screech.  If anyone knows of other sounds that are similar to this please let me know.  Ideally I'm looking to find a small SFX pack (or you can create one to sell to me, I do not have the resources to record these sounds on my own).&#xD;&#xA;&#xD;&#xA;Please post links and ideas.  Thanks so much!" ContentLicense="CC BY-SA 2.5" />
  <row Id="7993" PostHistoryTypeId="1" PostId="4752" RevisionGUID="07eeda5c-4d3b-4701-85e3-493b7c57c3a3" CreationDate="2010-11-23T21:33:47.857" UserId="455" Text="Searching for Owl sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="7994" PostHistoryTypeId="3" PostId="4752" RevisionGUID="07eeda5c-4d3b-4701-85e3-493b7c57c3a3" CreationDate="2010-11-23T21:33:47.857" UserId="455" Text="&lt;effects&gt;&lt;libraries&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7996" PostHistoryTypeId="6" PostId="4752" RevisionGUID="bd092976-c427-4717-8fba-b2411ced951a" CreationDate="2010-11-23T21:39:49.563" UserId="663" Comment="edited tags" Text="&lt;effects&gt;&lt;libraries&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7997" PostHistoryTypeId="5" PostId="4749" RevisionGUID="5cd99b3f-a420-4867-a209-069b0b380efc" CreationDate="2010-11-23T21:51:19.620" UserId="182" Comment="grammar" Text="I would strongly advise against that soundcard. Not because it's bad (it might be ok from a sound quality standpoint), but because it is a consumer product in the audiophile realm. You are not a consumer, you are a sound professional. The target market and its requirements are very different.&#xD;&#xA;&#xD;&#xA;Getting an external audio interface that connects over usb or firewire is almost always advised. Less interference because the audio path is not inside your pc, easier access to the connectors, more sturdy connectors built for repeated plugging in and -out, physical volume controls and, depending on your budget, better sound quality, portability, flexibility and extendability.&#xD;&#xA;Also (depending on the model): balanced inputs and outputs, microphone preamps, midi, etc.&#xD;&#xA;Stay away from brands that also make motherboards or laptops, stay away from Creative and preferably also Terratec. Not because they make bad products but because you will at some point run into the limitations of the stuff they make, requiring you to buy something else. I speak from experience (I've bought 7 audio interfaces so far, sold 5).&#xD;&#xA;&#xD;&#xA;Brands to look at:&#xD;&#xA;&#xD;&#xA;Low Budget but good bang for the buck:&#xD;&#xA;M-Audio,&#xD;&#xA;Tascam,&#xD;&#xA;ESI,&#xD;&#xA;EMU&#xD;&#xA;&#xD;&#xA;Medium Budget:&#xD;&#xA;TC Electronic,&#xD;&#xA;Presonus,&#xD;&#xA;Focusrite,&#xD;&#xA;Lexicon&#xD;&#xA;&#xD;&#xA;Bigger budget:&#xD;&#xA;MOTU,&#xD;&#xA;RME (they have some good internal sound cards too, this is an exception what I said before),&#xD;&#xA;Apogee (Mac only)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="7998" PostHistoryTypeId="2" PostId="4754" RevisionGUID="ca681b38-0295-4933-b74c-76bd3045e5a2" CreationDate="2010-11-23T22:18:01.110" UserId="338" Text="When I think owl, I think wizard…so maybe you can use a magic spell sound instead." ContentLicense="CC BY-SA 2.5" />
  <row Id="7999" PostHistoryTypeId="2" PostId="4755" RevisionGUID="518481a6-b7b2-4144-8015-2dd552664259" CreationDate="2010-11-23T22:22:57.030" UserId="587" Text="- A great link for cleaner owl recordings can be found here (I think you can download these):&#xD;&#xA;&#xD;&#xA;http://www.soundboard.com/sb/Owl_hoot_sound.aspx&#xD;&#xA;&#xD;&#xA;- For an online library of field recordings cataloging owls look here:&#xD;&#xA;&#xD;&#xA;http://www.junglewalk.com/sound/owl-sounds.htm&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8000" PostHistoryTypeId="2" PostId="4756" RevisionGUID="6ff65f4e-2183-41d5-97e9-3e7158d1c8d2" CreationDate="2010-11-23T22:24:38.633" UserId="400" Text="Check this out: http://aquinn.co.uk/wordpress/?p=347 &#xD;&#xA;&#xD;&#xA;Thought this was incredible first time I heard it." ContentLicense="CC BY-SA 2.5" />
  <row Id="8004" PostHistoryTypeId="2" PostId="4758" RevisionGUID="9331d127-4ef9-44f9-8ffd-11a3d0452c3e" CreationDate="2010-11-23T23:43:43.870" UserId="16" Text="I'm working on a project with a chelist, we mix classic chelo and live electronics+ processed field recordings (I leave the link to provide a hint on what is all about). &#xD;&#xA;&#xD;&#xA;http://www.educomelles.com/cellopluslaptop.html&#xD;&#xA;&#xD;&#xA;We want to record some tracks on a big room (90-100m²) that has a lot of reverb and echoe. Can anybody give me ideas on how to record that? I want that the recordings preserve the acoustics of the room and us it on the final mix.&#xD;&#xA;&#xD;&#xA;I am planing to record electronics and the contact mic of the chelo through line-in on my sound card but what would be the best way to get the ambience and the spacial effect of that place?? Truly, this room sounds like a chappel!&#xD;&#xA;&#xD;&#xA;thanks in advance!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8005" PostHistoryTypeId="1" PostId="4758" RevisionGUID="9331d127-4ef9-44f9-8ffd-11a3d0452c3e" CreationDate="2010-11-23T23:43:43.870" UserId="16" Text="Recording chelo and electronics in a big room" ContentLicense="CC BY-SA 2.5" />
  <row Id="8006" PostHistoryTypeId="3" PostId="4758" RevisionGUID="9331d127-4ef9-44f9-8ffd-11a3d0452c3e" CreationDate="2010-11-23T23:43:43.870" UserId="16" Text="&lt;chelo&gt;&lt;recording&gt;&lt;room&gt;&lt;reverb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8007" PostHistoryTypeId="2" PostId="4759" RevisionGUID="22ec021d-7d11-44a7-8c82-78281dc360a6" CreationDate="2010-11-24T00:00:18.477" UserId="681" Text="Just typed owl at sounddogs.com, it came back 415 search results. There's gotta be something in there. If not, you can also try Animal Trax from Hollywood Edge (hollywoodedge.com)&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8008" PostHistoryTypeId="2" PostId="4760" RevisionGUID="6238b3ef-1fc5-4b3c-88ec-7e1b395c901a" CreationDate="2010-11-24T00:17:20.010" UserId="315" Text="The largest [library][1] of bird recordings in the world. They've been known to license recordings for sound design.&#xD;&#xA;&#xD;&#xA;Looks like they have 2467 recording of owls or &quot;Strigiformes.&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.birds.cornell.edu/netcommunity/page.aspx?pid=1676" ContentLicense="CC BY-SA 2.5" />
  <row Id="8009" PostHistoryTypeId="2" PostId="4761" RevisionGUID="f7c2be7a-c7bb-4471-a9cf-69f0f6c15cc7" CreationDate="2010-11-24T00:36:05.130" UserId="673" Text="Clockwise all the time." ContentLicense="CC BY-SA 2.5" />
  <row Id="8010" PostHistoryTypeId="2" PostId="4762" RevisionGUID="b4cbfe9d-4d57-4bdc-a704-8c849459a736" CreationDate="2010-11-24T00:50:01.390" UserId="167" Text="Name a non-human character from a film who talks in english telepathically but emits(speaks) no additional languages. I can't think of one. &#xD;&#xA;&#xD;&#xA;Also, list a few of your favorite &quot;scary&quot; creature vocals(language based) in a film." ContentLicense="CC BY-SA 2.5" />
  <row Id="8011" PostHistoryTypeId="1" PostId="4762" RevisionGUID="b4cbfe9d-4d57-4bdc-a704-8c849459a736" CreationDate="2010-11-24T00:50:01.390" UserId="167" Text="Telepathic creature VOX" ContentLicense="CC BY-SA 2.5" />
  <row Id="8012" PostHistoryTypeId="3" PostId="4762" RevisionGUID="b4cbfe9d-4d57-4bdc-a704-8c849459a736" CreationDate="2010-11-24T00:50:01.390" UserId="167" Text="&lt;creature-vocalizations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8015" PostHistoryTypeId="2" PostId="4763" RevisionGUID="2b368e92-d8a6-4d16-94af-fb152b59f43d" CreationDate="2010-11-24T02:08:50.840" UserId="29" Text="The encounter in the end of the last act in *Contact* immediately comes to mind.&#xD;&#xA;&#xD;&#xA;Scary language-based creature vocals? Something tells me there was a thread on this a long time ago, but my faves would have to be girl in *The Exorcist*, the beheaded Ashe from *Alien*, Jabba the Hutt, and maybe even Darth Vader (notable for being the only voice of the Sith lords that didn't just sound horribly forced - there were some nice ideas for Darth Sidious, but the voice acting ruined its cohesion)." ContentLicense="CC BY-SA 2.5" />
  <row Id="8016" PostHistoryTypeId="2" PostId="4764" RevisionGUID="3aeef35b-411f-4473-93fd-4c2289426c12" CreationDate="2010-11-24T02:30:40.387" UserId="587" Text="Your best bet is with an array of condenser microphones. As far back as you will be getting, dynamic mics will not capture a strong clear signal far away from the source.&#xD;&#xA;&#xD;&#xA;Some good condenser mics I know of are:&#xD;&#xA;&#xD;&#xA;- Rode NT-5 matched pair or a stereo mic like the NT-4&#xD;&#xA;&#xD;&#xA;- Large Diaphragm condenser mics like the Rode NT1A or the omnidirectional condenser AT4049a&#xD;&#xA;&#xD;&#xA;Start with some areas near the corners of the room and work in with placement.&#xD;&#xA;&#xD;&#xA;Use multiple hand held recorders to place in interesting places (for example: a projector loft hanging from the ceiling)&#xD;&#xA;&#xD;&#xA;The more mics = the more choices." ContentLicense="CC BY-SA 2.5" />
  <row Id="8020" PostHistoryTypeId="2" PostId="4766" RevisionGUID="afdf7e28-7a70-4871-9a13-f6830be3fc1a" CreationDate="2010-11-24T02:41:31.783" UserId="432" Text="The aliens in Independence Day speak through others telepathically. There are a few others that are on the tip of my tongue, but I can't quite place them." ContentLicense="CC BY-SA 2.5" />
  <row Id="8022" PostHistoryTypeId="6" PostId="4758" RevisionGUID="c45091d4-8e51-46df-bbd7-0ccc1e59adf5" CreationDate="2010-11-24T04:03:37.947" UserId="396" Comment="edited tags" Text="&lt;recording&gt;&lt;room&gt;&lt;reverb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8023" PostHistoryTypeId="2" PostId="4767" RevisionGUID="aa6be37d-98e4-43c7-b7f0-4b7090755ea4" CreationDate="2010-11-24T05:27:21.017" UserId="275" Text="There is a good reason why good speakers and AD/DA converters aren't cheap: higher quality costs more to make.  Higher quality gear costs more money but it also lasts longer and sounds better. I used to mix on Yamaha NS10 speakers but then I upgraded to Genelec 1031a speakers. There is a world of difference!  I can hear more depth and clarity with the Genelecs and they are less fatiguing on the ears. I have a MOTU 24io and I'm looking to upgrade that to a Metric Halo. If I can't hear every single detail of the audio then I need to find a different career. &#xD;&#xA;&#xD;&#xA;Sure, you can get used to how a '78 Pinto drives and you can enter it into a race, but will you win that race?  No. Well, unless you're racing a bunch of other Pintos...  " ContentLicense="CC BY-SA 2.5" />
  <row Id="8024" PostHistoryTypeId="2" PostId="4768" RevisionGUID="102b10fd-9ef6-44ea-8654-fff3c0a0bcfd" CreationDate="2010-11-24T06:44:38.620" UserId="132" Text="I've been testing the USB Pre for just over a day now and it definitely works great as an computer interface.  It has been rock solid from 44.1 all the way up to 192.  I have a 744T and I have yet to take out the USB Pre in stand alone mode for channels 3 and 4, but honestly, I've already got the Sound Devices MP-2 (pre-cursor to mix pre) and it runs on AA batteries.  Not having to worry about a USB power supply means I will most likely continue to use the MP-2.  Plus, I like the sound of the MP-2 a bit better than the pre-amps on the 744 and the USB pre.&#xD;&#xA;&#xD;&#xA;I could see Michael's reasoning in using it with a recorder with a digital input and this unit seems well suited for that.  I'll probably buy the USB Pre so I can have a nice mobile interface when I'm on the road." ContentLicense="CC BY-SA 2.5" />
  <row Id="8026" PostHistoryTypeId="5" PostId="4758" RevisionGUID="5479047e-335c-4392-9823-4ba68b09a3f9" CreationDate="2010-11-24T07:59:06.557" UserId="62" Comment="deleted 1 characters in body" Text="I'm working on a project with a Cellist, we mix classic Cello and live electronics+ processed field recordings (I leave the link to provide a hint on what is all about). &#xD;&#xA;&#xD;&#xA;http://www.educomelles.com/cellopluslaptop.html&#xD;&#xA;&#xD;&#xA;We want to record some tracks on a big room (90-100m²) that has a lot of reverb and echoe. Can anybody give me ideas on how to record that? I want that the recordings preserve the acoustics of the room and us it on the final mix.&#xD;&#xA;&#xD;&#xA;I am planing to record electronics and the contact mic of the Cello through line-in on my sound card but what would be the best way to get the ambience and the spacial effect of that place?? Truly, this room sounds like a Chapel!&#xD;&#xA;&#xD;&#xA;thanks in advance!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8027" PostHistoryTypeId="2" PostId="4769" RevisionGUID="61f0a628-bb47-455a-9e43-de6dfcab623a" CreationDate="2010-11-24T08:50:53.270" UserId="407" Text="Clockwise - the only way I can make it go the otherway looking at it upsidedown then momentarily when I am the right way up again it goes anti-clockwise - " ContentLicense="CC BY-SA 2.5" />
  <row Id="8028" PostHistoryTypeId="2" PostId="4770" RevisionGUID="beaf66aa-7db6-444c-b211-f835a5bc0519" CreationDate="2010-11-24T14:40:55.127" UserId="142" Text="I agree with Shaun above, I would recommend spending a little more on the monitors. Instead of the KRK rokits I would go for the KRK VXT series which are a far better monitor. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8029" PostHistoryTypeId="2" PostId="4771" RevisionGUID="9db3b74c-ebad-483a-bb65-36367f603912" CreationDate="2010-11-24T14:52:34.937" UserId="220" Text="Here's what I would do, just for the sake of getting what you want, but not having a wasted session:&#xD;&#xA;&#xD;&#xA; - Record your session in a clean environment - good studio space, low noise floor, plenty of mics.&#xD;&#xA; - Play back the session over a full range speaker into the space and record the resulting echo.  Use a stereo pair and move the speaker and mic setup around the room and get several variations - you'll find one you like.  &#xD;&#xA; - Mix the echoey track back in to the original mix until you get the desired effect&#xD;&#xA;&#xD;&#xA;My fear is that with a space that lively, you'll end up with a recording that has so much energy and delay, that it will be unlistenable.  A speaker will energize the space just like the real &quot;instruments&quot; would. &#xD;&#xA;&#xD;&#xA;The other thought would be to create a convolution reverb setting for the space - that way you can use those beautiful echoes any time you want.&#xD;&#xA;&#xD;&#xA;As nice as it is to record something organically, it's also important to have control over your output.  Replaying the recording back is a legitimate way of adding that &quot;real&quot; energy to your music." ContentLicense="CC BY-SA 2.5" />
  <row Id="8030" PostHistoryTypeId="5" PostId="4456" RevisionGUID="445f7b8f-d4de-4f2f-b0ca-56b058c94f10" CreationDate="2010-11-24T16:40:10.597" UserId="629" Comment="added 82 characters in body" Text="Great price for buying the software but the Production Kit 2 is very expensive nearly 3x more than ProTools itself! :(&#xD;&#xA;&#xD;&#xA;**Addition:**&#xD;&#xA;&#xD;&#xA;If I cross grade from LE to 9 can I switch to an iLok dongle?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8031" PostHistoryTypeId="2" PostId="4772" RevisionGUID="edf0b8f6-572c-45cf-95cf-8012371140ff" CreationDate="2010-11-24T16:57:54.390" UserId="238" Text="Not quite monster telepathy, but David Cronenberg's 1981 classic *Scanners* has some great scenes involving telepathy. It's not so much about communication but more controlling others via telepathy. It's also got the famous head-explosion scene. Worth a watch for that scene alone!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8032" PostHistoryTypeId="2" PostId="4773" RevisionGUID="dacb1c40-c14c-4d77-a1e7-18370f893214" CreationDate="2010-11-24T18:04:33.757" UserId="587" Text="To rephrase the questions:&#xD;&#xA;How do you make a tiny, well crafted, sonically relevant sound? So much audio these days goes for making something huge!&#xD;&#xA;&#xD;&#xA;How do you manage a large amount of these tiny sounds all at once? Unit caps on Starcraft is something like 300 units! How to manage 300 sound emitters?&#xD;&#xA;&#xD;&#xA;Is birds-eye view games simply just creating the sound and thats it? How and what kinds of processing implemented?&#xD;&#xA;&#xD;&#xA;*BUMP* :)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8035" PostHistoryTypeId="2" PostId="4775" RevisionGUID="1a20d613-35f9-43a2-b8fc-9a78f350a18f" CreationDate="2010-11-24T19:59:50.893" UserId="235" Text="  I'm currently working on a cinema-verite style feature.  It's very low budget and all the production was done with a volunteer crew.  The production sound requires a lot of work to reduce noise, keep levels consistent, and try to compensate for off axis mics etc etc.  I know how to deal with most of these issues but there is one situation that I don't know how to deal with.  What is to be done with sounds that happen concurrently with the dialog?  Often these sounds are part of the action - the character unwrapping a package while talking, scooting forward in a chair while talking etc.  These sounds are frequently very loud and harsh sounding.  Also, since I am doing a lot of aggressive leveling and EQing these sounds are unintentionally effected along with the dialog, further drawing attention as they change in volume and frequency content. Since it was shot documentary style I don't have alternate takes to draw from.  What should I do about this?&#xD;&#xA;&#xD;&#xA;  I have very little experience with production sound recording so I don't know if these things are the result of poor recording technique or not.  How are these situations normally dealt with on set? &#xD;&#xA;  &#xD;&#xA;  When preparing tracks for M&amp;E or even just when splitting out PFX from DLG what is the approach taken with concurrent sounds?&#xD;&#xA;&#xD;&#xA;Edit - I should also mention that we will be doing some ADR but we're trying to keep it to a minimum." ContentLicense="CC BY-SA 2.5" />
  <row Id="8036" PostHistoryTypeId="1" PostId="4775" RevisionGUID="1a20d613-35f9-43a2-b8fc-9a78f350a18f" CreationDate="2010-11-24T19:59:50.893" UserId="235" Text="What to do with sounds production sounds concurrent with dialog" ContentLicense="CC BY-SA 2.5" />
  <row Id="8037" PostHistoryTypeId="3" PostId="4775" RevisionGUID="1a20d613-35f9-43a2-b8fc-9a78f350a18f" CreationDate="2010-11-24T19:59:50.893" UserId="235" Text="&lt;production&gt;&lt;audio-restoration&gt;&lt;mixing&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8038" PostHistoryTypeId="2" PostId="4776" RevisionGUID="0908a070-d7f9-4047-8717-d5b2bb054ab5" CreationDate="2010-11-24T20:11:40.767" UserId="338" Text="I'm working on a feature film production and trying to figure out how to deal with off axis mic recordings.  Any help?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8039" PostHistoryTypeId="1" PostId="4776" RevisionGUID="0908a070-d7f9-4047-8717-d5b2bb054ab5" CreationDate="2010-11-24T20:11:40.767" UserId="338" Text="How do you deal with off axis mic sounds?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8040" PostHistoryTypeId="3" PostId="4776" RevisionGUID="0908a070-d7f9-4047-8717-d5b2bb054ab5" CreationDate="2010-11-24T20:11:40.767" UserId="338" Text="&lt;post-production&gt;&lt;production&gt;&lt;microphone&gt;&lt;recordings&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8041" PostHistoryTypeId="2" PostId="4777" RevisionGUID="1e77bd9e-5b15-4f0e-9449-ddc7cd1ce0b6" CreationDate="2010-11-24T20:18:40.910" UserId="587" Text="ADR is your friend, however, since you are keeping it to a minimum ill mention the first things that come to mind.&#xD;&#xA;&#xD;&#xA;Multi-band compression - the deadly frequency suppressor&#xD;&#xA;&#xD;&#xA;WNS - Good times, great production noise reduction&#xD;&#xA;&#xD;&#xA;iZotope RX - able to erase a screaming baby from even the best recorded dialog&#xD;&#xA;&#xD;&#xA;--------&#xD;&#xA;&#xD;&#xA;Multiband Compression I would say would be great for everything that is making noise AROUND the dialog (around in terms of spectrum)&#xD;&#xA;&#xD;&#xA;WNS - your package unwrap - might do wonders since it resembles broadband noise&#xD;&#xA;&#xD;&#xA;iZotope RX - grab the eraser and literally scrub out your chair squeak&#xD;&#xA;&#xD;&#xA;Let me know if any of this helps.&#xD;&#xA;&#xD;&#xA;-C3Sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="8042" PostHistoryTypeId="2" PostId="4778" RevisionGUID="cdb6543c-1fd3-420a-9ca4-454bf24b8d43" CreationDate="2010-11-24T20:27:01.637" UserId="587" Text="If you are talking about isolating the dialog or pfx - removing room sound from the recording:&#xD;&#xA;&#xD;&#xA;Ive been trying out NML RevCon-RR recently.  There is another called DyVision Reverb Remover.&#xD;&#xA;&#xD;&#xA;If its a pfx (production effect like someone touching, moving, dropping, etc) on set and the boom mic was not pointed at it --- I wouldnt worry about it.  Foley or SFX guys will cover it.  The sound editors will mute out the production track and replace it with a foley/sfx recording and then the mixer will worldize (place it in the room with reverb etc) upon mix stage. If its an ok sound, or a good layer - then the editors will sweeten it, or fill in the missing sonic characteristics. Im probably just spouting stuff you are familiar with by now.&#xD;&#xA;&#xD;&#xA;Best solution is to rag on the production team and let them know theres badly recorded sound - JUST KIDDING&#xD;&#xA;&#xD;&#xA;Let me know if those plug-ins help!&#xD;&#xA;&#xD;&#xA;-C3Sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="8043" PostHistoryTypeId="2" PostId="4779" RevisionGUID="345e48ef-94e8-48fb-a272-20ce8bbed842" CreationDate="2010-11-24T20:55:38.367" UserId="235" Text="I'm also not super clear about what you're asking.  What I'm doing right now (or should be doing instead of surfing SSD) is an EQ automation pass on my dialog tracks.  I have everything automation enabled on my EQ and have set it to write mode.  I go through sentence by sentence and word by word and try to make everything sound consistent.  When I'm done the EQ dances.  &#xD;&#xA;&#xD;&#xA;If there's a bit of dialog that's off mic and not just off axis then that's another matter.  In the past, there wasn't much that could be done about this other than ADR, or finding another take.  Now there are plugins which claim to be able to remove reverb.  I haven't tried them myself but remain skeptical.  &#xD;&#xA;&#xD;&#xA;If you're asking about PFX then C3Sound is right.  They should all be split out onto separate tracks and either left as is, sweetened or replaced.  &#xD;&#xA;&#xD;&#xA;If you're wondering what to do about noises that can't be easily split out well...so am I.  I just asked that very question and hopefully answers will be pouring in soon.  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8044" PostHistoryTypeId="2" PostId="4780" RevisionGUID="2d7bfd86-99a8-4aa6-8ee5-dd83e65fb217" CreationDate="2010-11-24T22:36:10.990" UserId="639" Text="I am creating a page on my site that is designed to get people to take a sound I recorded and manipilate it into something new. Then post the new manipulated sound for others to hear. I think it would be a good way to get feedback on your work and to describe what you did in the process to get the new sound. &#xD;&#xA;here is the link [http://soundenthusiast.com/sound-challenge/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundenthusiast.com/sound-challenge/&#xD;&#xA;Let me know if this seems like an interesting idea." ContentLicense="CC BY-SA 2.5" />
  <row Id="8045" PostHistoryTypeId="1" PostId="4780" RevisionGUID="2d7bfd86-99a8-4aa6-8ee5-dd83e65fb217" CreationDate="2010-11-24T22:36:10.990" UserId="639" Text="Feedback on sound challenge webpage." ContentLicense="CC BY-SA 2.5" />
  <row Id="8046" PostHistoryTypeId="3" PostId="4780" RevisionGUID="2d7bfd86-99a8-4aa6-8ee5-dd83e65fb217" CreationDate="2010-11-24T22:36:10.990" UserId="639" Text="&lt;design&gt;&lt;recording&gt;&lt;feedback&gt;&lt;websites&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8047" PostHistoryTypeId="2" PostId="4781" RevisionGUID="c1541c5b-5fc1-45d3-be9f-43a661237129" CreationDate="2010-11-24T22:47:45.537" UserId="629" Text="I'm looking into the possibility of getting a Mac. My question is which kind of Mac do you feel is most beneficial for a sound designer? &#xD;&#xA;&#xD;&#xA;The Mac 21.5-inch: 3.06GHz with the big screen and high spec? I feel this would be a great bet for myself but would you recommend the portable option of the Mac Book or Mac Book Pro?&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 2.5" />
  <row Id="8048" PostHistoryTypeId="1" PostId="4781" RevisionGUID="c1541c5b-5fc1-45d3-be9f-43a661237129" CreationDate="2010-11-24T22:47:45.537" UserId="629" Text="Mac Users: What Type Do You Use?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8049" PostHistoryTypeId="3" PostId="4781" RevisionGUID="c1541c5b-5fc1-45d3-be9f-43a661237129" CreationDate="2010-11-24T22:47:45.537" UserId="629" Text="&lt;mac&gt;&lt;macbook-pro&gt;&lt;macbook&gt;&lt;portable&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8050" PostHistoryTypeId="2" PostId="4782" RevisionGUID="17c85a28-6457-48e1-8a6f-c245d0a3c729" CreationDate="2010-11-24T23:18:49.597" UserId="37" Text="hi Ade&#xD;&#xA;&#xD;&#xA;you can definitely do a lot of work on a Macbook Pro (especially a newer i5/i7 model) and it would be beneficial to hook it to a large external display. The imac has a nice comfortably big screen and a faster hard drive at the expense of not being portable. The ideal non-portable solution is still a Mac Pro but that's not within everyone's reach.... &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8051" PostHistoryTypeId="2" PostId="4783" RevisionGUID="ce81fe5a-1759-439f-9487-6deecfd12653" CreationDate="2010-11-24T23:38:30.517" UserId="689" Text="Mac Pro with dual monitors works for me.  I have the Quicktime on the second monitor and devote the main screen to the edit window.  I have also worked on a 24&quot; iMac with a second display and that was fantastic as well.  24 inches is a lot of screen real estate and really nice to have to avoid eye fatigue." ContentLicense="CC BY-SA 2.5" />
  <row Id="8052" PostHistoryTypeId="2" PostId="4784" RevisionGUID="09f03c48-0bcb-4c3d-b327-1a1c3e50396f" CreationDate="2010-11-24T23:44:59.070" UserId="400" Text="I just bought one of those iMac 21.5&quot;. Will be MORE than strong enough to do any sound effects creation and editing.&#xD;&#xA;&#xD;&#xA;Joe" ContentLicense="CC BY-SA 2.5" />
  <row Id="8053" PostHistoryTypeId="2" PostId="4785" RevisionGUID="1c62a06a-f959-43ef-ae5a-2e5d449ea510" CreationDate="2010-11-24T23:48:24.590" UserId="639" Text="I use the 21.5&quot; Imac. Runs fine for sound design and has a nice size screen. I also have a macbook and it runs just as good as the Imac but the screen size is just to small for my taste. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8054" PostHistoryTypeId="2" PostId="4786" RevisionGUID="62183ce1-ade3-4d20-b393-8a9952c427cd" CreationDate="2010-11-24T23:50:15.707" UserId="542" Text="2,4GHz Core Duo iMac (I think two years old).&#xD;&#xA;If I had the money i would buy myself a Ma Pro, not because it has more power, but due to the fact that the fan build into my iMac can be pretty annoying. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8055" PostHistoryTypeId="2" PostId="4787" RevisionGUID="36491969-ea79-427b-a8c6-fb0d10f3d837" CreationDate="2010-11-25T00:25:44.377" UserId="338" Text="Get the mac pro and don't skimp on your real estate! Or get a mac pro and get a seperate monitor.  2 screens would be sweet.  My friend has a big screen mac pro and it is a huge difference, mine is like 15 inches and compared to the small screen ones i'm super glad that I have this one.  Plus you have an extra USB port on the bigger ones I think.  If you've got the loot, go for it!  It's cheaper to install the RAM yourself though i have been told than get it factory direct.&#xD;&#xA;&#xD;&#xA;The most beneficial thing for a sound designer though is having computers installed in your brain!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="8056" PostHistoryTypeId="2" PostId="4788" RevisionGUID="b1fabf18-784f-4d49-8147-5c8b1b08a877" CreationDate="2010-11-25T00:28:56.120" UserId="338" Text="Can someone define off-axis mic sounds?  I thought it was a mic that wasn't pointed towards the speaker and my imagination was putting together phasing tricks in order to align the audio.  &#xD;&#xA;&#xD;&#xA;Now that I remember though, off-axis mic sounds are just sounds that aren't supposed to be in the recordings and that is an easy fix or hard fix but its knowledge that I have." ContentLicense="CC BY-SA 2.5" />
  <row Id="8057" PostHistoryTypeId="4" PostId="4758" RevisionGUID="0ce8c61f-0ac1-4a4a-b499-9be1212dc1ab" CreationDate="2010-11-25T00:53:43.497" UserId="61" Comment="edited title" Text="Recording cello and electronics in a big room" ContentLicense="CC BY-SA 2.5" />
  <row Id="8058" PostHistoryTypeId="2" PostId="4789" RevisionGUID="f47144b6-d78a-4a21-9dce-e4f5d5abcf64" CreationDate="2010-11-25T00:56:38.833" UserId="29" Text="17&quot; MacBook Pro with an external 22&quot; 1080p monitor here, with all data storage external except for applications. It's getting a bit old, though, so newer apps are just now (late 2010) starting to chug a bit. At some point I'll move to an i7 laptop or finally going back to a Mac Pro tower is probably my next move. All MacBook Pros are fully capable of most pro-level work (within reason).&#xD;&#xA;&#xD;&#xA;The 17&quot; form factor is a great &quot;desktop replacement&quot; for those odd times you need to work remotely or onsite, but trust me, after 6 years with 17-inchers, you really can't work comfortably while on the go or actually in transit with one (on the plane, for example).&#xD;&#xA;&#xD;&#xA;Apple displays are indeed the bee's knees, but I've had great luck with the mid- to high-end Dell monitors (the lower-end Dells often have pretty poor color and quality control in my 10+ of experience with various Dell displays). I can't do serious work on a single screen anymore. If I had my druthers and infinite budget, the boot drives in all my Macs would be solid state hard drives, while leaving eSATA and FireWire standard drives in the externals and RAIDS." ContentLicense="CC BY-SA 2.5" />
  <row Id="8059" PostHistoryTypeId="2" PostId="4790" RevisionGUID="0b15df31-fe24-4dfd-a112-ef158e2e0c97" CreationDate="2010-11-25T01:30:59.407" UserId="253" Text="To me, off axis and off mic are the same: sounds that are outside the pickup pattern of the mic and therefore weaker in certain frequencies, regardless of whether they're signal or noise.&#xD;&#xA;C3Sound has some good ideas for improving on this. &#xD;&#xA;&#xD;&#xA;If you're talking about undesired sounds over dialogue, it's better to fix this with editing/ADR than processing. Going through alternate takes is a good first step, then spotting and recording ADR. &#xD;&#xA;&#xD;&#xA;&quot;Audio Post Production for Film and Video&quot; by Jay Rose has a pretty cool chapter on dialogue editing." ContentLicense="CC BY-SA 2.5" />
  <row Id="8060" PostHistoryTypeId="2" PostId="4791" RevisionGUID="1e0d44ab-7c3e-4701-b839-5e50853846b0" CreationDate="2010-11-25T02:16:39.813" UserId="253" Text="The first thing i'm thinking when you say verite, is that you shouldn't overprocess. Because of the style, the audience will be much more forgiving of a slightly dirty track. In fact, that can lend itself to a perception of honesty and truth; particularly to a society that's very accustomed to home videos. So i'd suggest being a bit conservative with what you ADR, and not put your tracks through too much processing. It's tempting to try for the cleanest track possible, but you don't want it to sound too sterile.&#xD;&#xA;&#xD;&#xA;As for production sound; a good location recordist should be able to pick up on sync fx overlapping dialogue. But then, if it's cinema verite with non actors and no multiple takes, there's not much he/she can do.&#xD;&#xA;&#xD;&#xA;And, finally, how sure are you that you need an M+E? You'll only need that if you secure distribution deals in other countries (although it would be a good exercise). You would need to do full foley cover, as well as go through your location track and find any sync fx you've left in under the dialogue, and slot something similar into the FX track for the M+E. Sounds like it'd be a pretty big job so, personally, i'd leave it for now. Talk to the producer and explain how much extra work it is, and that if you guys do make any international sales, you'll need some more budget to do a full M+E." ContentLicense="CC BY-SA 2.5" />
  <row Id="8061" PostHistoryTypeId="2" PostId="4792" RevisionGUID="8ccc5e32-da88-4944-88b0-db3a60b21394" CreationDate="2010-11-25T03:24:38.383" UserId="234" Text="Get a hold of the production recordings if you can. Whenever you get a line that has something overlapping it, check the other takes (known as ALTS) for a reading without the overlap. Will probably cover 50% to 70% of your issues. This is part of the craft and skill of Dialog Editing. Check out [John Purcell's book][1] if you haven't already. A good Dialog Edit makes a mix 100 times easier. Other than that your options are: &#xD;&#xA;&#xD;&#xA;1. ADR (as mentioned)&#xD;&#xA;&#xD;&#xA;or&#xD;&#xA;&#xD;&#xA;2. Fix it the best you can and live with it. For M&amp;E purposes, cut a similar FX in the  FX tracks which you can then use when creating your M&amp;E. But do check out what Roger mentions in his post... A &quot;fully filled&quot; M&amp;E may not be a necessity at this point.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Dialogue-Editing-Motion-Pictures-Invisible/dp/0240809181" ContentLicense="CC BY-SA 2.5" />
  <row Id="8064" PostHistoryTypeId="2" PostId="4795" RevisionGUID="f7f26b06-b55d-4965-8be7-c2c591651b12" CreationDate="2010-11-25T07:54:56.750" UserId="348" Text="I see it clockwise and simply cannot comprehend the anti-clockwise movement. The funny thing is I am very left brained it we go by the list of characteristics in the original posting. I have always been quite skeptical of this left brained right brained analogy as it is not entirely concrete. But it is lots of fun though to try and practice on such puzzles as the above. Got dizzy though. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8065" PostHistoryTypeId="2" PostId="4796" RevisionGUID="dcf92b24-f0bc-44ca-84a9-a8c7716525e1" CreationDate="2010-11-25T08:15:24.733" UserId="348" Text="This is a great idea. I lecture sound and am always looking for new ideas for assignments and practical fun things to do in class. I find that my students only practice when they have an assignment due so this will definitely be an incentive for them to understand how sounds can turned into other things. Thanks a lot for this " ContentLicense="CC BY-SA 2.5" />
  <row Id="8066" PostHistoryTypeId="2" PostId="4797" RevisionGUID="818762fc-28aa-41ee-8aa0-1cadebbd3133" CreationDate="2010-11-25T08:31:38.760" UserId="264" Text="I wouldn't worry about making it sound small. The top-down view's more of a tool than the player's true perspective, except for something like Black &amp; White. Sure, making off screen sounds appear distant is one thing, but when it comes to on-screen elements you just need to work out a hierarchy. I'd ask myself, what's the focus? Like Chris said, less is more, so you need to prioritize the elements. 300 emitter's sounds like a lot to me, so why not add a cap at 10 or 20? The last thing you'd want to do is swamp the environment with sound... I think Chion has a word for this: Sound saturation. That's his word for when a movie gives every on-screen action an effect. It's generally a negative thing, and I'm sure it applies to game -design. With top-down, the challenge isn't going to be how to fill it up, it will be how to slim it down, because there's going to be a lot of on-screen action. If you give it all equal billing and then try to make it sound realistically distant from the screen, I think the player will find the soundscape hard to decipher." ContentLicense="CC BY-SA 2.5" />
  <row Id="8067" PostHistoryTypeId="2" PostId="4798" RevisionGUID="4dc379bc-2093-4061-9bf0-bd8c745f8397" CreationDate="2010-11-25T09:21:24.630" UserId="238" Text="I use a 24&quot; core-duo iMac with 4GB memory and am very happy with it's performance. I think that the i5 &amp; i7 Macbook Pros are a great option as well. Just be aware that if you intend to use a Macbook Pro with a display at home/studio (i.e. like a desktop), it's well worth taking out the battery and running off the mains only. This will preserve the battery life when you do take it out in to the field. I have an old G4 Powerbook that I can only use plugged in to the mains. The battery has completely died on me due to being plugged in to the mains too much. It's an old machine and I'm sure the new batteries are much better, but just something to be aware of. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8068" PostHistoryTypeId="2" PostId="4799" RevisionGUID="6074d46a-d972-401a-a68c-5f02b5965811" CreationDate="2010-11-25T10:03:19.570" UserId="238" Text="Nice idea, I just posted my version on your page." ContentLicense="CC BY-SA 2.5" />
  <row Id="8069" PostHistoryTypeId="2" PostId="4800" RevisionGUID="e0f5b589-3de4-4bbe-aedc-630bb319be0a" CreationDate="2010-11-25T11:37:10.733" UserId="542" Text="Hey,&#xD;&#xA;&#xD;&#xA;I know everybody hates the microphone questions =), but I decided to get myself a propoer shotgun mic for capturing SFX and maybe dialogue (outside). I already searched the web and SSD but I still need to ask, because my question haven`t been answered yet.&#xD;&#xA;&#xD;&#xA;Right know I have a Rode NT4, a SM57 a cheap contact mix and a Rode NT1 plus my Tascam HDP2. Now, as I said above, I want to buy a proper shotgun mic. My budget would be around 1,9K $ or 1,6K €. &#xD;&#xA;&#xD;&#xA;So my plan is to rent some shotgun mics and see which one I like most and here comes the actual question.&#xD;&#xA;So far I want to rent a MKH416, a Sanken CS3e (hard to get here) and a Neumann KMR 81. Do you have any other mics in mind that I should rent and compare to the oter three?&#xD;&#xA;&#xD;&#xA;Thanks and I hope you people don`t hate me for asking this kind of question =)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8070" PostHistoryTypeId="1" PostId="4800" RevisionGUID="e0f5b589-3de4-4bbe-aedc-630bb319be0a" CreationDate="2010-11-25T11:37:10.733" UserId="542" Text="Which shotguns mics should I consider for capturing SFX?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8071" PostHistoryTypeId="3" PostId="4800" RevisionGUID="e0f5b589-3de4-4bbe-aedc-630bb319be0a" CreationDate="2010-11-25T11:37:10.733" UserId="542" Text="&lt;shotgun&gt;&lt;microphone&gt;&lt;record&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8072" PostHistoryTypeId="2" PostId="4801" RevisionGUID="64ba46f3-e88d-4603-9f44-886d2ea7ddbf" CreationDate="2010-11-25T11:47:44.013" UserId="691" Text="Perhaps you also want to consider a stereo shotgun? Sennheiser do a stereo version of the MKH416 the MKH418, it is an MS mic. I use it regularly, just make sure you have a good windjammer for it, I use the Rycote Windjammer (kit4)." ContentLicense="CC BY-SA 2.5" />
  <row Id="8073" PostHistoryTypeId="2" PostId="4802" RevisionGUID="2d1f6144-1edc-4e99-9151-18b89c853e06" CreationDate="2010-11-25T11:51:25.800" UserId="6600" Text="Unicron from the animated Transformers film spoke to Megatron/Galvatron telepathically - although as a bunch of robots not sure if it counts as telepathy?  Also at times it's not really clear if he's speaking direct or via his evil robot brain. Hm, controversial.&#xD;&#xA;&#xD;&#xA;Favourite monster noises:&#xD;&#xA;&#xD;&#xA; - Predator, of course.&#xD;&#xA; - The ghosts from the American version of The Grudge. Haven't seen the Japanese original yet, don't hate me.  Do they use similar noises out of interest?&#xD;&#xA; - The things in the subway tunnel in Cloverfield&#xD;&#xA; - To agree with NoiseJockey, the demon from The Exorcist.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8074" PostHistoryTypeId="2" PostId="4803" RevisionGUID="ce01f3c3-05aa-48d8-ab89-6344fa2011aa" CreationDate="2010-11-25T12:31:22.087" UserId="6600" Text="A couple of points that may be helpful for your ADR session:&#xD;&#xA;&#xD;&#xA;- Try to make sure the reading is performed with the same energy as the shoot.  Unexperienced actors can be nervous and tend to strain their voice during a shoot, whereas in an ADR session the setting is different and the performance may be more relaxed resulting in a different tone.&#xD;&#xA;&#xD;&#xA;- Try to use the same or similar microphone to the one used in the film shoot.  The issue is that a different frequency response will highlight the transition between original dialogue and ADR.&#xD;&#xA;&#xD;&#xA;- Be mindful of distance and the proximity effect, and compare the original to the ADR during the session.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;These are small points that will help maintain a natural feel and minimise the use of processing later on. I am sure these are all things you are aware of, but just wanted to point them out as I learned the hard way i.e. my dialogue track sounded pants.&#xD;&#xA;&#xD;&#xA;When it comes to editing, try looping some of natural room ambience from a non-dialogue section underneath the ADR.  As Roger pointed out the audience will accept a continuous dirty track.&#xD;&#xA;&#xD;&#xA;Also, when it comes to audio restoration I found Adobe Audition to be very good.  It has a noise reduction tool similar to Waves Z-Noise, a spectral editor and some pretty clinical EQ's.  Think it might be PC only though?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8075" PostHistoryTypeId="2" PostId="4804" RevisionGUID="4a131ace-3418-43f0-a00a-c26664710dae" CreationDate="2010-11-25T13:16:27.717" UserId="270" Text="Short shotguns I would look for;&#xD;&#xA;&#xD;&#xA; - Sennheiser MKH60&#xD;&#xA; - Schoeps CMIT &#xD;&#xA; - DPA 4017&#xD;&#xA;&#xD;&#xA;all are around $2k as far as I know" ContentLicense="CC BY-SA 2.5" />
  <row Id="8076" PostHistoryTypeId="5" PostId="4804" RevisionGUID="171ca45e-e16b-475d-aa57-68030a9fca1b" CreationDate="2010-11-25T13:24:04.133" UserId="270" Comment="added 124 characters in body" Text="Short shotguns I would look for;&#xD;&#xA;&#xD;&#xA; - Sennheiser MKH60&#xD;&#xA; - Schoeps CMIT &#xD;&#xA; - DPA 4017&#xD;&#xA;&#xD;&#xA;all are around $2k as far as I know&#xD;&#xA;&#xD;&#xA;I would also try the Rode NTG3, apparently they stand up quite well to more expensive microphones &amp; could save you $1k+ " ContentLicense="CC BY-SA 2.5" />
  <row Id="8077" PostHistoryTypeId="5" PostId="4692" RevisionGUID="30d571f4-a2cf-48a0-a01b-19fcd0fe6c54" CreationDate="2010-11-25T16:35:27.283" UserDisplayName="user80" Comment="Spelling correction" Text="This is my first sound design. I did a short clip from Lord of the Rings. I'm trying to get a decent monster sound. Comments and advice would be great. Thanks.&#xD;&#xA;&#xD;&#xA;http://www.vimeo.com/17062502&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8078" PostHistoryTypeId="4" PostId="4692" RevisionGUID="30d571f4-a2cf-48a0-a01b-19fcd0fe6c54" CreationDate="2010-11-25T16:35:27.283" UserDisplayName="user80" Comment="Spelling correction" Text="Advice and comments on my first sound design for a film clip" ContentLicense="CC BY-SA 2.5" />
  <row Id="8079" PostHistoryTypeId="2" PostId="4805" RevisionGUID="0625049c-bacb-4d27-b7b7-6987bd19a295" CreationDate="2010-11-25T17:46:56.633" UserId="275" Text="I work with a company in Minneapolis and they want to purchase a voice over booth for their new office. I'll be the one doing the recording so I certainly have a vested interest in this thing. Or current office has a massive VO booth that I built and it works very well.  But, we're moving to new offices for the next 12-18 months before probably buying a new building.  so, in the mean time we need a very good VO booth that can be easy setup and then torn dorm and transported a year from now. &#xD;&#xA;&#xD;&#xA;I'm thinking either the double walled Whisper Room, something by GK Acoustics, Industrial Acoustics, or similar. The prices for the new booths are about $10-$13,000 for a 6x6, double wall, with ventilation, window, and door. &#xD;&#xA;&#xD;&#xA;So....my question.... Dies anyone have or use one of these rooms on a regular basis and can offer some words of wisdom on how well they actually work?  I've heard the Whisper Rooms sound boxy.  Is that the case?  To reduce the boxy sound I'm thinking a bunch of acoustic foam added to e inside.  How much do they really cut down on outside noise bleeding in?  &#xD;&#xA;&#xD;&#xA;Is will be in a fairly small and somewhat quiet office environment. The server room is separate and people can and will be very quiet while recordings are being done. Just FYI.&#xD;&#xA;&#xD;&#xA;If anyone knows of one of these booths for sale anywhere in the country and has some experience with them I would LCD to hear about it!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8080" PostHistoryTypeId="1" PostId="4805" RevisionGUID="0625049c-bacb-4d27-b7b7-6987bd19a295" CreationDate="2010-11-25T17:46:56.633" UserId="275" Text="Anyone know of a VO booth for sale?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8081" PostHistoryTypeId="3" PostId="4805" RevisionGUID="0625049c-bacb-4d27-b7b7-6987bd19a295" CreationDate="2010-11-25T17:46:56.633" UserId="275" Text="&lt;vo&gt;&lt;recording&gt;&lt;voice&gt;&lt;over&gt;&lt;booth&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8083" PostHistoryTypeId="2" PostId="4807" RevisionGUID="7c56495a-3dfc-485b-a60d-37d6fae1709f" CreationDate="2010-11-25T18:28:16.933" UserId="18160" Text="Yesterday I found something interesting,&#xD;&#xA;&#xD;&#xA;I was setting up for an ADR session where the actor is speaking over the phone, and what better to record this with than a real phone?&#xD;&#xA;&#xD;&#xA;So I hooked up my chain and sent it through a tube pre, a vintage LA2A and into Pro Tools.&#xD;&#xA;&#xD;&#xA;The LA2A was off and I turned it on to start warming up, but I had accidentally put Pro Tools into record arm.&#xD;&#xA;&#xD;&#xA;The phone had been off the hook for about a minute, and what I heard was one of the best warning alarms I have ever heard:&#xD;&#xA;&#xD;&#xA;The dial tone had run out of time and it was beeping the &quot;off the hook&quot; beep, beep, beep, beep and what I got into Pro Tools was awesome, distorted alarm &quot;BWAHHHH BWAHHHHH BWAHHHHHH&quot; because the tube was still warming up.&#xD;&#xA;&#xD;&#xA;Does anyone else use this technique?&#xD;&#xA;&#xD;&#xA;Also, if this hurts the equipment in any way, please let me know that, too ;-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8084" PostHistoryTypeId="1" PostId="4807" RevisionGUID="7c56495a-3dfc-485b-a60d-37d6fae1709f" CreationDate="2010-11-25T18:28:16.933" UserId="18160" Text="Interesting find - LA2A Distortion" ContentLicense="CC BY-SA 2.5" />
  <row Id="8085" PostHistoryTypeId="3" PostId="4807" RevisionGUID="7c56495a-3dfc-485b-a60d-37d6fae1709f" CreationDate="2010-11-25T18:28:16.933" UserId="18160" Text="&lt;distortion&gt;&lt;sound-effects&gt;&lt;phone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8086" PostHistoryTypeId="2" PostId="4808" RevisionGUID="5a7575b0-a37a-4c87-98ba-bc1df4cd5c58" CreationDate="2010-11-25T19:18:48.950" UserId="693" Text="Yes, the Whisper Rooms sound very boxy and they ring to no end. I had to work with one on a regular basis when I was teaching audio post at Full Sail for 2.5 years. I hated having to use that room. They don't cut down on outside noise coming in all that well either. And if you do clog all the vents and seal the cracks, it gets very hot in there. I suppose you could treat it to make it not so square and thus boxy and ringy, but I'm not sure it's worth it.&#xD;&#xA;&#xD;&#xA;I'd suggest building a room yourself. You could do it for a fraction of the cost of one of those rooms. You might consider that money wasted since you'll have to tear it down and can't bring the room with you when you have to move again, but consider it time and money saved from all the problems a whisper room would give you.&#xD;&#xA;&#xD;&#xA;Another option would be building a small ADR room off site with a modest PC and interface.&#xD;&#xA;&#xD;&#xA;Or maybe you could find a studio and make a deal with them for using their facility or renting space there. I'm sure there's some struggling studio out there that would be happy to make a little extra by partnering in these tough times.&#xD;&#xA;&#xD;&#xA;Best of luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8088" PostHistoryTypeId="5" PostId="4805" RevisionGUID="254f0950-7658-44c9-bd61-5f1328fa9511" CreationDate="2010-11-25T20:21:06.707" UserId="275" Comment="added 65 characters in body" Text="I work with a production company in Minneapolis and they want to purchase a voice over booth for their new office. I'll be the one doing the recording so I certainly have a vested interest in this thing. Our current office has a massive (overly constructed) VO booth that I built and it works quite well. But, we're moving to new offices for the next 12-18 months before buying a new building. So, in the mean time we need a very good VO booth that is easy to setup and then torn down and transported a year from now. We can't do a build-out in the new office space for various reasons.&#xD;&#xA;&#xD;&#xA;I'm thinking either the double walled Whisper Room, something by GK Acoustics, Industrial Acoustics, or similar. The prices for the new booths are about $10-$13,000 for a 6x6, double wall, with ventilation, window, and door.&#xD;&#xA;&#xD;&#xA;So....my question.... Does anyone have or use one of these rooms on a regular basis and can offer words of wisdom on how well they actually work? I've heard the Whisper Rooms sound boxy and don't cut out that much noise. Is that the case? To reduce the boxy sound I'm thinking a bunch of acoustic foam added to the inside. How much do they really cut down on outside noise bleeding in?&#xD;&#xA;&#xD;&#xA;We will be in a fairly small and somewhat quiet office environment with only 3-4 people working in the area of the VO booth.&#xD;&#xA;&#xD;&#xA;If anyone knows of one of these booths for sale anywhere in the country and has some experience with them I would love to hear about it!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8089" PostHistoryTypeId="5" PostId="4807" RevisionGUID="dd4e764b-7097-421d-b58d-e60e4fbe31ad" CreationDate="2010-11-25T20:24:36.280" UserId="18160" Comment="added 37 characters in body" Text="Yesterday I found something interesting,&#xD;&#xA;&#xD;&#xA;I was setting up for an ADR session where the actor is speaking over the phone, and what better to record this with than a real phone?&#xD;&#xA;&#xD;&#xA;So I hooked up my chain and sent it through a tube pre, a vintage LA2A and into Pro Tools.&#xD;&#xA;&#xD;&#xA;The LA2A was off and I turned it on to start warming up, but I had accidentally put Pro Tools into record arm.&#xD;&#xA;&#xD;&#xA;The phone had been off the hook for about a minute, and what I heard was one of the best warning alarms I have ever heard:&#xD;&#xA;&#xD;&#xA;The dial tone had run out of time and it was beeping the &quot;off the hook&quot; beep, beep, beep, beep and what I got into Pro Tools was awesome, distorted alarm &quot;BWAHHHH BWAHHHHH BWAHHHHHH&quot; because the tube was still warming up.&#xD;&#xA;&#xD;&#xA;Does anyone else use this technique?&#xD;&#xA;&#xD;&#xA;Also, I doubt it's harmful, but if this potentially can hurt equipment in any way, please let me know that, too ;-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8090" PostHistoryTypeId="2" PostId="4810" RevisionGUID="4f70244f-1277-4988-b2af-96bdf90c6ab2" CreationDate="2010-11-25T20:52:42.210" UserId="663" Text="Great idea. I will post soon." ContentLicense="CC BY-SA 2.5" />
  <row Id="8091" PostHistoryTypeId="2" PostId="4811" RevisionGUID="60d1315c-5b4c-45a5-ad79-2c62e0ea8f66" CreationDate="2010-11-25T21:46:29.407" UserId="641" Text="Good idea!  I am sure to give this a spin!  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8092" PostHistoryTypeId="2" PostId="4812" RevisionGUID="57007732-68ff-4df8-a99a-a432ea1b8fc9" CreationDate="2010-11-26T01:55:01.233" UserId="639" Text="For monitor choice I got alesis m1 active 520's they are only $200 for the pair and sound good for the price [http://www.sweetwater.com/store/detail/M1Active520/][1] If you can afford it go with mackie monitors. Everything mackie makes seems to be really good quality. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For mackie check out these [http://www.sweetwater.com/store/detail/MR8/][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/store/detail/M1Active520/&#xD;&#xA;  [2]: http://www.sweetwater.com/store/detail/MR8/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8093" PostHistoryTypeId="2" PostId="4813" RevisionGUID="a670ab1e-f703-4c54-a67f-7265ffad384c" CreationDate="2010-11-26T02:19:10.633" UserId="639" Text="Im going with the waves silver bundel on saturday because it is only $418 right now at sweetwater.com here is the bundel http://www.waves.com/content.aspx?id=8675 &#xD;&#xA;Any reasons why not to get it? I already know I like the L1ultramaximizer and renissance plugins in the bundel but has anyone used the other plugins in the bundel? How are they for your sound design projects?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8094" PostHistoryTypeId="1" PostId="4813" RevisionGUID="a670ab1e-f703-4c54-a67f-7265ffad384c" CreationDate="2010-11-26T02:19:10.633" UserId="639" Text="Waves silver plug-in bundel for sound design?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8095" PostHistoryTypeId="3" PostId="4813" RevisionGUID="a670ab1e-f703-4c54-a67f-7265ffad384c" CreationDate="2010-11-26T02:19:10.633" UserId="639" Text="&lt;design&gt;&lt;waves&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8096" PostHistoryTypeId="2" PostId="4814" RevisionGUID="65f71a0a-3ea6-4b6e-b4f3-772091234eaf" CreationDate="2010-11-26T03:43:54.723" UserId="432" Text="Only reason not to get is if you want one of the larger bundles. Sweetwater has some sort of arrangement with Waves...the plug-ins/bundles are almost always well below list through them.&#xD;&#xA;&#xD;&#xA;You can do some interesting things with Enigma and MondoMod, mainly weird things (but sometimes that's what you want, right?). SuperTap can be useful. MaxxBass is awesome...good for adding some upper harmonics to low end sounds. Can really make them sound more alive and stand out." ContentLicense="CC BY-SA 2.5" />
  <row Id="8097" PostHistoryTypeId="2" PostId="4815" RevisionGUID="9aafbcb6-7d95-4b47-a569-da42a46d1b6c" CreationDate="2010-11-26T03:54:13.250" UserId="432" Text="This is kind of like last month's challenge on my website. People seemed to enjoy it, so I say run with it.&#xD;&#xA;&#xD;&#xA;Here's the original posting... http://www.dynamicinterference.com/?p=218&#xD;&#xA;&#xD;&#xA;And you can find all of the entries here... http://www.dynamicinterference.com/?p=230" ContentLicense="CC BY-SA 2.5" />
  <row Id="8098" PostHistoryTypeId="2" PostId="4816" RevisionGUID="40ac3135-ff73-4de9-b29f-6694cb5b9a55" CreationDate="2010-11-26T05:00:00.190" UserId="18" Text="I have everything Waves makes.  I use MaxxBass constantly.  I also use Doubler a lot, and find Enigma and the Stereo Imager useful at times.  Q10 is a versatile EQ.  IR1 is a decent convolution verb, if you get some good impulses somewhere.  As you said, the Ren stuff is great and have been go-to plugs for me for years.  It looks like a good starter bundle for the price." ContentLicense="CC BY-SA 2.5" />
  <row Id="8099" PostHistoryTypeId="2" PostId="4817" RevisionGUID="06cd06dc-ebb5-42d2-bb5d-1d17c4c6c65c" CreationDate="2010-11-26T06:24:42.193" UserId="639" Text="Still have it to keep in contact with people who don't answer their phones! But other than keeping in touch with old friends that have changed their numbers or don't answer I don't really like it. As mny said it takes up to much time and doesn't do much. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8100" PostHistoryTypeId="2" PostId="4818" RevisionGUID="9b0d2557-ebe1-42a1-92a9-7b4541b9bf03" CreationDate="2010-11-26T06:41:39.870" UserId="670" Text="Just put my up." ContentLicense="CC BY-SA 2.5" />
  <row Id="8101" PostHistoryTypeId="2" PostId="4819" RevisionGUID="008a6e28-9aa2-42e4-896c-375d4c2f4168" CreationDate="2010-11-26T09:14:52.460" UserId="663" Text="I am fan of Waves and use them daily. Great plug-ing!! I will quote @Shaun Farley &#xD;&#xA;&#xD;&#xA;&gt; Only reason not to get is if you want one of the larger bundles.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8102" PostHistoryTypeId="6" PostId="2181" RevisionGUID="07a5033c-ec6d-4cb5-894e-a7ce73a8809c" CreationDate="2010-11-26T09:22:45.037" UserId="663" Comment="edited tags" Text="&lt;microphone&gt;&lt;sanken&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8103" PostHistoryTypeId="2" PostId="4820" RevisionGUID="f0c05b80-fc19-422a-8ead-3d7ef0b01c57" CreationDate="2010-11-26T10:08:39.787" UserId="629" Text="How does the sound design package compare to the lower priced ones? Are they worth the extra?&#xD;&#xA;&#xD;&#xA;Sorry I'm not trying to hi-jack the thread." ContentLicense="CC BY-SA 2.5" />
  <row Id="8104" PostHistoryTypeId="2" PostId="4821" RevisionGUID="1bfe5192-e948-4fcc-85a7-304d0d4244eb" CreationDate="2010-11-26T12:53:33.340" UserId="694" Text="Check out the rooms from VocalBooth.com.   I have used both Whisper Room and VocalBooth but the VocalBooth didn't have the boxy sound (it was fully treated on the interior, I think this was standard).  The VocalBooth room was diamond shaped which may have had something to do with it as well.  I was also using a single wall version from VocalBooth compared to the double-walled Whisper Room and it did a much better job reducing the exterior noise.  I think you could probably save money purchasing a single wall booth from them and the space is much better acoustically for VO.  Having something mobile and be practically sound proof is pretty impossible unless you get into the metal booths which are super expensive.  Just my two cents.  Also, from time to time I see them on Craiglist for much less than new.   " ContentLicense="CC BY-SA 2.5" />
  <row Id="8105" PostHistoryTypeId="2" PostId="4822" RevisionGUID="d3c78934-181d-449d-b033-8d02c58a0967" CreationDate="2010-11-26T15:16:19.323" UserId="37" Text="Looks like a collection of the plugins that made Waves famous.  &#xD;&#xA;Rbass and Doppler would be nice to add for sound design.." ContentLicense="CC BY-SA 2.5" />
  <row Id="8106" PostHistoryTypeId="2" PostId="4823" RevisionGUID="f6398e04-9e02-4b4c-8099-72c95b765a33" CreationDate="2010-11-26T15:50:13.403" UserId="658" Text="Hi&#xD;&#xA;&#xD;&#xA;I'm looking at putting a show reel together for myself to put on my website and was just after some advice as to what to put in/leave out, use video/don't use video.&#xD;&#xA;&#xD;&#xA;Any advice would be great &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="8107" PostHistoryTypeId="1" PostId="4823" RevisionGUID="f6398e04-9e02-4b4c-8099-72c95b765a33" CreationDate="2010-11-26T15:50:13.403" UserId="658" Text="What to put in show reel" ContentLicense="CC BY-SA 2.5" />
  <row Id="8108" PostHistoryTypeId="3" PostId="4823" RevisionGUID="f6398e04-9e02-4b4c-8099-72c95b765a33" CreationDate="2010-11-26T15:50:13.403" UserId="658" Text="&lt;showreel&gt;&lt;websites&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8109" PostHistoryTypeId="4" PostId="4775" RevisionGUID="e5d0d979-5d95-42e2-8319-ee28c8b8e90f" CreationDate="2010-11-26T16:43:58.723" UserId="235" Comment="edited title" Text="What to do with production sounds overlapping dialog" ContentLicense="CC BY-SA 2.5" />
  <row Id="8110" PostHistoryTypeId="2" PostId="4824" RevisionGUID="e200b807-e356-46e7-8dcd-449d1bec3c15" CreationDate="2010-11-26T17:10:25.213" UserId="629" Text="Only put in what you want people to see. For example use your best work and what represents your style. If you want to work in film then include mostly film examples and for games the same." ContentLicense="CC BY-SA 2.5" />
  <row Id="8111" PostHistoryTypeId="2" PostId="4825" RevisionGUID="fab9f89d-2e21-4d5f-93e5-d77784281716" CreationDate="2010-11-26T17:28:32.787" UserId="587" Text="Like Ade said, cover everything you want to do professionally, but with focus.&#xD;&#xA;&#xD;&#xA;Ive known a guy who did a 5.1 mixe of JUST created audio scenes - which to me is kinda weird because it was post audio... and its not posted to anything.  (It wasnt a scene just without the video, it was like he did the whole thing out of his imagination) And the professionals who critiqued it thought it a bit weird as they sat in darkness and listened. So I wouldn't do that. &#xD;&#xA;&#xD;&#xA;I do know guys who have made a ton of audio sfx and chained it all together to make an audio reel. Which to me seems like the same kind of deal, but its more relevant to game audio as sometimes you may not have an asset to post to because it hasnt been animation/picture locked. In game audio you make &quot;placeholder&quot; sounds that are the correct length to be placed in and tweaked later. This is to make sure the audio stakes out their memory and CPU usage before the game is fully finished.&#xD;&#xA;&#xD;&#xA;On my site I have:&#xD;&#xA;&#xD;&#xA;- 2 Game Trailers&#xD;&#xA;&#xD;&#xA;- 2 Commercials&#xD;&#xA;&#xD;&#xA;- A UDK Game Audio production diary of a game - I was the audio lead&#xD;&#xA;&#xD;&#xA;- A feature film trailer to represent the movie I currently am supervising&#xD;&#xA;&#xD;&#xA;- And to top it off, a quick game trailer logo&#xD;&#xA;&#xD;&#xA;This shows an interest in Video Game audio creation/implementation and the linear media that comes with them (in-game cinematic and trailers), Commercial/Advert based production/post-production audio, Long term linear media projects such as film, and quick contract work such as logos and short sound design spots.&#xD;&#xA;&#xD;&#xA;www.c3sound.com&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8112" PostHistoryTypeId="2" PostId="4826" RevisionGUID="63d383eb-c2af-42db-875e-fba972ccc941" CreationDate="2010-11-26T17:44:11.227" UserId="275" Text="I have a CSS-5 and have used it quite a lot all over the US and Mexico for recording ambient sounds. The microphone itself has near zero self noise. What people are hearing when plugged in to a SD 702/744/442 are the mic pres when they are cranked way up. Vie plugged the CSS-5 in to my Avalon AD2022 mic pre and i have never once heard self noise from the mic.  But with my 442/744 combo I do hear a slight bit of self noise when recording extremely quiet forest ambience and have the mic press cranked up. &#xD;&#xA;&#xD;&#xA;The only mics I know of on the market that are quieter would be the Schoeps. The Rode and Audio Technica stuff is a big step down from the CSS-5 and those definitely have more self noise. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8113" PostHistoryTypeId="2" PostId="4827" RevisionGUID="871d8247-6e29-40c9-8a1d-eaacb3ab511e" CreationDate="2010-11-26T17:45:29.710" UserId="6600" Text="Personally, I'm not a big fan of reels which are a montage of various different projects.  I get that people do this to demonstrate versatility but I think a piece should be viewed as a whole so that you can get a feel for the flow and story.  I also think intro's and outro's are important.  Just my preference! You can always post more than one video if you have several styles you want to show off.&#xD;&#xA;&#xD;&#xA;Definitely use something exciting and dynamic that will catch people's attention as your flagship piece, and I would aim for 3 minutes so that it doesn't get tedious.  I suppose the idea is to leave the audience wanting more.  &#xD;&#xA;&#xD;&#xA;If you are short of material I would suggest downloading a commerical film or game trailer and redesigning the sound.  Whilst you may have created some amazing sound design for a low budget production, sometimes the quality of the visuals can take away from your work.&#xD;&#xA;&#xD;&#xA;Also in the main I would steer clear of using music because I assume it's the sound design that your showcasing.  Having said that music and sound design are becoming one in the same so I guess what I'm saying is don't drown the sound design out with some crazy metalcore track :)&#xD;&#xA;&#xD;&#xA;As I said this is just my personal preference and not necessarily correct! Let us know when it's up!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8114" PostHistoryTypeId="2" PostId="4828" RevisionGUID="e9edd31d-a91e-4181-baa1-af04adc45110" CreationDate="2010-11-26T17:54:15.623" UserId="6600" Text="Does anyone know of a spectral cloning plug-in similar to Elevayta's Clone Boy that is available for Mac?  Trying to avoid using an AU wrap. Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8115" PostHistoryTypeId="1" PostId="4828" RevisionGUID="e9edd31d-a91e-4181-baa1-af04adc45110" CreationDate="2010-11-26T17:54:15.623" UserId="6600" Text="Spectral Cloning Plug-In for Mac?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8116" PostHistoryTypeId="3" PostId="4828" RevisionGUID="e9edd31d-a91e-4181-baa1-af04adc45110" CreationDate="2010-11-26T17:54:15.623" UserId="6600" Text="&lt;plug-in&gt;&lt;spectral&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8117" PostHistoryTypeId="2" PostId="4829" RevisionGUID="bb37c0b0-cbad-46b9-8365-d32887bccbe0" CreationDate="2010-11-26T18:02:34.527" UserId="234" Text="Yewdall has a great story in his book, about dropping a quarter on a Vocoder by accident and getting some very cool sounds. In &quot;If Chins Could Kill&quot;, Bruce Campbell (an AMAZINGLY sound aware director/producer BTW) mentions an open contact leading into an echo chamber on the dub stage that they used heavily on &quot;Evil Dead&quot;(I think Yewdall has that story in his book too). I once was recording some Pop Can crushes and in my inexperience put one of my mics WAAAY to close. The insanely distorted result became great for adding &quot;attack&quot; to just about any sample imaginable. Abusing gear/using broken gear in interesting ways is a venerable tradition in Sound Design! :)&#xD;&#xA;&#xD;&#xA;Oh, and I don't think you'd to any irreparable damage to the units... probably not great for the tubes themselves, but they're easy enough to get replaced..." ContentLicense="CC BY-SA 2.5" />
  <row Id="8118" PostHistoryTypeId="5" PostId="4818" RevisionGUID="cbf80dbc-e6db-4770-8e90-a489398eb453" CreationDate="2010-11-26T19:10:50.290" UserId="670" Comment="added 2 characters in body" Text="Just put mine up." ContentLicense="CC BY-SA 2.5" />
  <row Id="8120" PostHistoryTypeId="2" PostId="4830" RevisionGUID="8ebab8fd-a5d1-4570-a067-ac866b058761" CreationDate="2010-11-26T19:42:03.123" UserId="639" Text="Here is the first 8 on the list check out the rest at http://soundenthusiast.com/2010/11/26/netfix-instant-streaming-for-films-dane-a-davis-did-the-sound-for/&#xD;&#xA;Dane A. Davis Instant films on Netflix&#xD;&#xA;&#xD;&#xA;1.Crips and bloods: Made in America (2008)          co-supervising sound editor, Sound designer&#xD;&#xA;&#xD;&#xA;2.Battle in Seattle (2007)                            Sound effects editor&#xD;&#xA;&#xD;&#xA;3.The good night (2007)                           Supervising sound designer&#xD;&#xA;&#xD;&#xA;4.Aeon Flux (2005)                       Supervising sound designer, Supervising sound &#xD;&#xA;editor&#xD;&#xA;&#xD;&#xA;5.The Lost city  (2005)                            Sound designer&#xD;&#xA;&#xD;&#xA;6.The Matrix Revolutions (2003)                      Sound designer,Supervising sound editor&#xD;&#xA;&#xD;&#xA;7.The Matrix Reloaded (2003)                          Sound designer, Supervising sound editor&#xD;&#xA;&#xD;&#xA;8.Ghost Ship (2002)                                   Supervising sound editor&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8121" PostHistoryTypeId="1" PostId="4830" RevisionGUID="8ebab8fd-a5d1-4570-a067-ac866b058761" CreationDate="2010-11-26T19:42:03.123" UserId="639" Text="I put up a list of films Dane A. Davis did the sound for that are available on Netflix Instant streaming" ContentLicense="CC BY-SA 2.5" />
  <row Id="8122" PostHistoryTypeId="3" PostId="4830" RevisionGUID="8ebab8fd-a5d1-4570-a067-ac866b058761" CreationDate="2010-11-26T19:42:03.123" UserId="639" Text="&lt;sound&gt;&lt;design&gt;&lt;editing&gt;&lt;lists&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8123" PostHistoryTypeId="5" PostId="4824" RevisionGUID="84e96342-d1f1-4b2d-84b4-91789785feb1" CreationDate="2010-11-26T19:48:09.213" UserId="629" Comment="Adding more.; added 70 characters in body" Text="Only put in what you want people to see. For example use your best work and what represents your style. If you want to work in film then include mostly film examples and for games the same.&#xD;&#xA;&#xD;&#xA;Revised: Check out Rob Bridgett's show reel very good example of concentrating on just a game. [Linky][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www3.telus.net/public/kbridget/reel.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="8124" PostHistoryTypeId="2" PostId="4831" RevisionGUID="a1ad8cab-3155-4266-b607-ddbd135ea2a0" CreationDate="2010-11-26T20:10:07.087" UserId="663" Text="Here is similar question on SSD http://socialsounddesign.com/questions/224/whats-the-best-way-of-presenting-sound-design-showreel" ContentLicense="CC BY-SA 2.5" />
  <row Id="8125" PostHistoryTypeId="2" PostId="4832" RevisionGUID="10607c0a-ec08-4b63-95da-593823a8eb8a" CreationDate="2010-11-26T20:30:14.687" UserId="238" Text="Hi Michael,&#xD;&#xA;&#xD;&#xA;If you're seriously considering the Schoeps CMIT 5U then then you should check out this [good review on Matthew Share's blog][1]. He details his experiences of using the CMIT at a recent shoot in Canada. It's probably worth a read if you're looking into getting one... &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.electronicmath.com/?p=542" ContentLicense="CC BY-SA 2.5" />
  <row Id="8127" PostHistoryTypeId="2" PostId="4833" RevisionGUID="f2071817-9199-4c9c-92c3-896221c93b6a" CreationDate="2010-11-26T20:55:47.660" UserId="132" Text="I think it is a great sounding mic, and I too wouldn't recommend it for quiet ambiences.  It is a mono compatible design, but it is not true M-S.  it actually has 3 electronically balance capsules which accounts for some of the noise when they gain is cranked.  That being said, I've heard plenty of great ambience recorded with that mic.  &#xD;&#xA;&#xD;&#xA;The MKH series will be one of the more popular choices for ambiences." ContentLicense="CC BY-SA 2.5" />
  <row Id="8128" PostHistoryTypeId="2" PostId="4834" RevisionGUID="45319763-2896-4e3a-80fe-34d6da4bf3a0" CreationDate="2010-11-26T21:49:29.653" UserId="61" Text="Although not a question, I think it's a good post and worth an up vote, since some folks may not be aware of Dane's work and he is one of the most influential and interesting sound designers of our generation, IMHO." ContentLicense="CC BY-SA 2.5" />
  <row Id="8129" PostHistoryTypeId="5" PostId="4830" RevisionGUID="a9fd4247-c6c8-4375-bd14-f2ef356af87a" CreationDate="2010-11-26T22:06:00.480" UserId="639" Comment="added 1827 characters in body" Text="Here is the entire list of easy access movies by Dane A. Davis.All are instant films on Netflix.&#xD;&#xA;&#xD;&#xA;1.Crips and bloods: Made in America (2008)          co-supervising sound editor, Sound designer&#xD;&#xA;&#xD;&#xA;2.Battle in Seattle (2007)                            Sound effects editor&#xD;&#xA;&#xD;&#xA;3.The good night (2007)                           Supervising sound designer&#xD;&#xA;&#xD;&#xA;4.Aeon Flux (2005)                       Supervising sound designer, Supervising sound &#xD;&#xA;editor&#xD;&#xA;&#xD;&#xA;5.The Lost city  (2005)                            Sound designer&#xD;&#xA;&#xD;&#xA;6.The Matrix Revolutions (2003)                      Sound designer,Supervising sound editor&#xD;&#xA;&#xD;&#xA;7.The Matrix Reloaded (2003)                          Sound designer, Supervising sound editor&#xD;&#xA;&#xD;&#xA;8.Ghost Ship (2002)                                   Supervising sound editor&#xD;&#xA;&#xD;&#xA;9.Dogtown and Z-Boys (2001/02)                                Supervising sound editor&#xD;&#xA;&#xD;&#xA;10.Sand  (2000)                              Sound designer, sound re-recording mixer, Supervising sound editor&#xD;&#xA;&#xD;&#xA;11.House on Haunted Hill (1999)                               Sound designer, Supervising sound editor&#xD;&#xA;&#xD;&#xA;12.Go (1999)                                                                          Supervising sound editor&#xD;&#xA;&#xD;&#xA;13.Phoenix (1998)                                                               Supervising sound editor&#xD;&#xA;&#xD;&#xA;14.Panther (1995)                                                                Supervising sound editor&#xD;&#xA;&#xD;&#xA;15.Phantom 3 Lord of the Dead  (1993/94)                  Supervising sound editor&#xD;&#xA;&#xD;&#xA;16.Romeo is bleeding (1994)                                            Supervising sound editor&#xD;&#xA;&#xD;&#xA;17.There Goes the Neighborhood (1992)                      Supervising sound editor&#xD;&#xA;&#xD;&#xA;18.The Hand that Rocks the Cradle (1992)                   Supervising sound editor&#xD;&#xA;&#xD;&#xA;19.Hard Promises (1991/92)                                             Supervising sound editor&#xD;&#xA;&#xD;&#xA;20.A Rage in Harlem (1991)                                              Supervising sound editor&#xD;&#xA;&#xD;&#xA;21.Defending your Life (1991)                                           Supervising sound editor&#xD;&#xA;&#xD;&#xA;22.Bad Influence (1990)                                                      Supervising sound editor&#xD;&#xA;&#xD;&#xA;23.Far from Home (1989)                                                   Supervising sound editor&#xD;&#xA;&#xD;&#xA;24.Warlock (1989)                                                                Supervising sound editor&#xD;&#xA;&#xD;&#xA;25.Rocket Gibraltar (1988)                                                 Supervising sound editor&#xD;&#xA;&#xD;&#xA;26.Surf Nazi Must Die (1987)                                             Supervising sound editor&#xD;&#xA;&#xD;&#xA;27.The Tomb (1986)                                                              Supervising sound editor&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="8130" PostHistoryTypeId="4" PostId="4830" RevisionGUID="53d44c35-b193-4014-b01e-f424a434f4cb" CreationDate="2010-11-26T22:56:13.607" UserId="61" Comment="retag, new title" Text="Dane Davis, partial filmography available on Netflix" ContentLicense="CC BY-SA 2.5" />
  <row Id="8131" PostHistoryTypeId="6" PostId="4830" RevisionGUID="53d44c35-b193-4014-b01e-f424a434f4cb" CreationDate="2010-11-26T22:56:13.607" UserId="61" Comment="retag, new title" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8132" PostHistoryTypeId="5" PostId="4834" RevisionGUID="3e5acac7-9818-4d85-8bc9-734455ea08a9" CreationDate="2010-11-26T22:59:22.523" UserId="61" Comment="add'l info" Text="Although not a question, I think it's a good post and worth an up vote, since some folks may not be aware of Dane's work and he is one of the most influential and interesting sound designers of our generation, imho.&#xD;&#xA;&#xD;&#xA;PS&gt; Dane also supervised and designed for Treasure Planet -- a beautifully crafted track that really made the film special." ContentLicense="CC BY-SA 2.5" />
  <row Id="8133" PostHistoryTypeId="5" PostId="4781" RevisionGUID="9b365a11-638b-4b1d-a829-096a82d19c69" CreationDate="2010-11-27T00:30:26.733" UserId="629" Comment="Additional question" Text="I'm looking into the possibility of getting a Mac. My question is which kind of Mac do you feel is most beneficial for a sound designer? &#xD;&#xA;&#xD;&#xA;The Mac 21.5-inch: 3.06GHz with the big screen and high spec? I feel this would be a great bet for myself but would you recommend the portable option of the Mac Book or Mac Book Pro?&#xD;&#xA;&#xD;&#xA;**Updated Question:** I have got it down to a 27&quot; iMac (2.93 Intel i7) or 17&quot; MacBook Pro (2.53 Intel i5) maybe with a added 24&quot; screen. &#xD;&#xA;&#xD;&#xA;Can people share their reasons for getting a MacBook Pro not just the portability of a laptop but what do you do with it when your out and about? Show stuff to clients? Edit on the go? &#xD;&#xA;&#xD;&#xA;I won't be travelling around the world just yet but is a good idea to get one for the future?&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 2.5" />
  <row Id="8134" PostHistoryTypeId="2" PostId="4835" RevisionGUID="6bdc17cf-0d5a-4b24-b3eb-8a51137afc4d" CreationDate="2010-11-27T03:17:15.260" UserId="667" Text="what program did you use to create this." ContentLicense="CC BY-SA 2.5" />
  <row Id="8135" PostHistoryTypeId="2" PostId="4836" RevisionGUID="f6ed075c-d38a-4225-a742-7643692ca07f" CreationDate="2010-11-27T03:46:28.150" UserId="432" Text="I'll apologize now, I haven't had time to listen to your work, but I did want to comment on your reasoning behind the move you're making.&#xD;&#xA;&#xD;&#xA;The big question I have, and it's really more a question to ask yourself than one you need to answer to anyone on this site...What do you consider a starting position?&#xD;&#xA;&#xD;&#xA;I find there is a misconception, and we are/were all guilty of this at one point or another, that those of us who are interested in post-audio expect to be able to get a gig as an assistant editor somwhere as our first job. That does happen occasionally, but it's just not the norm. Take the time to find out how some people here got their start, and you may find some interesting results. My first staff gig was as an Audio PA at a public radio station. I know, it kind of sounds like I got that entry gig we're talking about, but I was lucky if I got to do the occasional dialogue editing there. Also, they were more concerned that the candidate have teaching experience than audio. Thankfully, I had that. My second staff gig was dialogue recording and editing for a company that creates online compliance and ethics training courses for businesses (kind of like preventing Enron situations). Neither of these were what I really wanted to be doing, but they **were** professional audio gigs, and the income afforded me the opportunity to take on some freelance gigs that I would not have been able to otherwise.&#xD;&#xA;&#xD;&#xA;I guess my advice here is that you should not limit yourself, or your job searching, to just audio post-houses. No offense meant here, but there are many people looking for those jobs, and many of them already have more experience than you do. You're probably going to run into similar situations out in LA.&#xD;&#xA;&#xD;&#xA;By all means, got to where the work is. Just don't overlook (or blind yourself to) the work available in your backyard. A foot in the door of the audio industry is a foot in the door. Focus on getting through that one first, then look for the door to the wing you want to be in. Who knows, you may even discover a niche you hadn't thought of...and you might even like it. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8136" PostHistoryTypeId="2" PostId="4837" RevisionGUID="24ccaaa4-8a2e-4a4e-a17b-3d445bb21087" CreationDate="2010-11-27T04:00:17.040" UserDisplayName="user49" Text="Am on it, don't really use... Maybe if they added a Don't Like button I might use it more ;)&#xD;&#xA;As William Gibson said &quot;Facebook is like the mall, Twitter is like the street&quot; or someone else said &quot;Facebook makes you hate your friends and Twitter makes you like people you don't know&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8137" PostHistoryTypeId="2" PostId="4838" RevisionGUID="371aa567-cab9-418b-90bf-b1e24aa51445" CreationDate="2010-11-27T04:04:16.313" UserDisplayName="user49" Text="So when you are predubbing do you/your re-recording mixer print stems &amp; replay those in the final mix, or do you just write automation and all the original edit tracks runs live?&#xD;&#xA;If you could qualify your answer with the type of mixing desk being used, and what the impact of conforming has on your approach that would also be valuable...." ContentLicense="CC BY-SA 2.5" />
  <row Id="8138" PostHistoryTypeId="1" PostId="4838" RevisionGUID="371aa567-cab9-418b-90bf-b1e24aa51445" CreationDate="2010-11-27T04:04:16.313" UserDisplayName="user49" Text="Film Predubs: real or virtual?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8139" PostHistoryTypeId="3" PostId="4838" RevisionGUID="371aa567-cab9-418b-90bf-b1e24aa51445" CreationDate="2010-11-27T04:04:16.313" UserDisplayName="user49" Text="&lt;film&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8142" PostHistoryTypeId="2" PostId="4840" RevisionGUID="04a69620-76e5-42b6-9e2e-9bbb7f18eade" CreationDate="2010-11-27T09:48:40.940" UserId="629" Text="I use FB as a way to contact friends who I don't see often enough (live away from my area), and Twitter is the place to meet lovely people like Sound Designers :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8143" PostHistoryTypeId="2" PostId="4841" RevisionGUID="ea7f909a-20c9-48ee-92d2-47280e50c6d2" CreationDate="2010-11-27T17:52:20.507" UserId="639" Text="I would like to watch films where the sound design/editing has been done by our community here at social sound design. So if you have some credits that you recommend I watch I would be glad to do so." ContentLicense="CC BY-SA 2.5" />
  <row Id="8144" PostHistoryTypeId="1" PostId="4841" RevisionGUID="ea7f909a-20c9-48ee-92d2-47280e50c6d2" CreationDate="2010-11-27T17:52:20.507" UserId="639" Text="Do you have any credits listed on IMDB?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8145" PostHistoryTypeId="3" PostId="4841" RevisionGUID="ea7f909a-20c9-48ee-92d2-47280e50c6d2" CreationDate="2010-11-27T17:52:20.507" UserId="639" Text="&lt;design&gt;&lt;editing&gt;&lt;community&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8146" PostHistoryTypeId="2" PostId="4842" RevisionGUID="7582c577-67ea-4fa7-9901-e6b205c80037" CreationDate="2010-11-27T18:38:37.637" UserId="663" Text="here is mine.&#xD;&#xA;&#xD;&#xA;http://www.imdb.com/name/nm1269512/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8147" PostHistoryTypeId="2" PostId="4843" RevisionGUID="b64dd680-644a-4e9f-a5f6-ac73228f2337" CreationDate="2010-11-27T19:38:57.687" UserId="393" Text="I have a single listing on mine... I was also the sound designer, but the director didn't understand what that meant.&#xD;&#xA;&#xD;&#xA;http://www.imdb.com/name/nm3860067/&#xD;&#xA;&#xD;&#xA;I'll try to find a link for the video." ContentLicense="CC BY-SA 2.5" />
  <row Id="8148" PostHistoryTypeId="2" PostId="4844" RevisionGUID="7f33f57c-9efe-4041-a6ab-6286ad7c6959" CreationDate="2010-11-27T19:44:11.573" UserId="639" Text="I am using a FR2-LE with a few different mics (condenser and Dynamic) and I have to turn the levels way up to get a signal around -6 to -3db. This is when I record sound effects like glass on glass, or fork clinking on a plate. I almost have the trim level all the way up and the recording level control at about 9 out of 10. Is this normal for recording small sound effects?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8149" PostHistoryTypeId="1" PostId="4844" RevisionGUID="7f33f57c-9efe-4041-a6ab-6286ad7c6959" CreationDate="2010-11-27T19:44:11.573" UserId="639" Text="Field recording levels?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8150" PostHistoryTypeId="3" PostId="4844" RevisionGUID="7f33f57c-9efe-4041-a6ab-6286ad7c6959" CreationDate="2010-11-27T19:44:11.573" UserId="639" Text="&lt;field&gt;&lt;recording&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8151" PostHistoryTypeId="6" PostId="4841" RevisionGUID="f0977b01-b368-4dcb-ba3c-44aaa0f21774" CreationDate="2010-11-27T20:03:54.250" UserId="663" Comment="edited tags" Text="&lt;design&gt;&lt;editing&gt;&lt;community&gt;&lt;imdb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8152" PostHistoryTypeId="2" PostId="4845" RevisionGUID="76b57651-dd4c-431f-8c0a-8ea0d6f55d92" CreationDate="2010-11-27T20:30:21.310" UserId="103" Text="Personally i never record that hot, i aim at between &gt; -18,  &lt; -12, as i doubt that it would play even at that level in the mix, so no need to bring up mic/preamp noise, distortion etc.&#xD;&#xA;&#xD;&#xA;Also whats the distance to the mics?&#xD;&#xA;I find that kind of sound effect or &quot;schmoley&quot;, blends better by not close mic it." ContentLicense="CC BY-SA 2.5" />
  <row Id="8153" PostHistoryTypeId="2" PostId="4846" RevisionGUID="8867397a-3a34-4b9e-8817-cfce9a87a23c" CreationDate="2010-11-27T20:36:00.333" UserDisplayName="user49" Text="http://www.imdb.com/name/nm0695670&#xD;&#xA;&#xD;&#xA;my personal favourites:&#xD;&#xA;&#xD;&#xA; - Boy&#xD;&#xA; - The Warrior's Way&#xD;&#xA; - 30 Days of Night&#xD;&#xA; - The World's Fastest Indian&#xD;&#xA; - The Frighteners&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8154" PostHistoryTypeId="2" PostId="4847" RevisionGUID="407fc8ee-253b-446a-97a5-984ab967518d" CreationDate="2010-11-28T00:56:39.273" UserId="219" Text="Maybe your preamp is not the perfect match for your mic. I learned a few months ago the rule of thumb that there should be a factor of about 10 between your mic's output impedance and your preamp's input impedance. That's a rule of thumb, of course.&#xD;&#xA;&#xD;&#xA;For example, I've got 1.2kOhm input impedance preamps on my Tascam DR-100, so I should be looking for a mic that shows about 120Ohms of output impedance. My AT8015 is 250Ohms and I need to crank my gain almost all the way up to get decent dialogue. Apparently an NT1-A (50Ohms output impedance) would do a much better job.&#xD;&#xA;&#xD;&#xA;Hope this helps..." ContentLicense="CC BY-SA 2.5" />
  <row Id="8155" PostHistoryTypeId="5" PostId="4847" RevisionGUID="4dd7f844-de14-4305-a51b-97b99af28a0c" CreationDate="2010-11-28T01:03:11.583" UserId="219" Comment="added 319 characters in body" Text="Maybe your preamp is not the perfect match for your mic. I learned a few months ago the rule of thumb that there should be a factor of about 10 between your mic's output impedance and your preamp's input impedance. That's a rule of thumb, of course.&#xD;&#xA;&#xD;&#xA;For example, I've got 1.2kOhm input impedance preamps on my Tascam DR-100, so I should be looking for a mic that shows about 120Ohms of output impedance. My AT8015 is 250Ohms and I need to crank my gain almost all the way up to get decent dialogue. Apparently an NT1-A (50Ohms output impedance) would do a much better job.&#xD;&#xA;&#xD;&#xA;Hope this helps...&#xD;&#xA;&#xD;&#xA;EDIT: that's a purely technical thing though, Filipe has an interesting point: think about how the sound will be used. In the end, all you're trying to do is process your recordings the least that you can. In a perfect world, you'd be able to record every single sound right at the level it'll be needed in the mix." ContentLicense="CC BY-SA 2.5" />
  <row Id="8156" PostHistoryTypeId="2" PostId="4848" RevisionGUID="1b9eb4c6-deea-4edb-8070-e1e9110f8c84" CreationDate="2010-11-28T01:39:41.860" UserId="6600" Text="I've never used a Fostex but it does seem odd that you have the levels turned up that high and you're only getting -6 to -3dB at 2 inches.  A fork clanking on a plate can be fairly loud but I suppose it depends on how hard your tapping the fork or whatever.  In any case I would definitely recommend using the condenser for this kind of stuff, and an average peak of -12 seems sensible so that there is enough headroom to account for sudden large transients.&#xD;&#xA;&#xD;&#xA;As an alternative to buying new microphones (if it turns out that you need to), you can buy impedance-matching transformers that attach to your current mics as a solution to the impedance issue that Justin brought up.&#xD;&#xA;&#xD;&#xA;Also there is quite a good technical review of the FR-2LE here that recommends using a Sennheiser HMD25 in conjunction with this recorder:&#xD;&#xA;&#xD;&#xA;http://bartus.org/akustyk/fostex_FR2-LE/index.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="8158" PostHistoryTypeId="5" PostId="4456" RevisionGUID="9b76aab8-c730-442b-b9ae-ba45ce5e0fba" CreationDate="2010-11-28T14:41:41.553" UserId="629" Comment="another question." Text="Great price for buying the software but the Production Kit 2 is very expensive nearly 3x more than ProTools itself! :(&#xD;&#xA;&#xD;&#xA;**Addition:**&#xD;&#xA;&#xD;&#xA;If I cross grade from LE to 9 can I switch to an iLok dongle?&#xD;&#xA;&#xD;&#xA;Once upgraded to 9 can you sell the Mbox with LE 8?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8159" PostHistoryTypeId="2" PostId="4849" RevisionGUID="cd2e9105-3045-42a9-a192-7df86ec28323" CreationDate="2010-11-28T17:17:30.783" UserId="397" Text="Here's mine also:[link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/name/nm2049839/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8160" PostHistoryTypeId="2" PostId="4850" RevisionGUID="81de2459-a15a-45ec-bfe6-fd03f962948a" CreationDate="2010-11-28T17:37:43.317" UserId="6600" Text="Not exactly a plug-in, but looks like Metasynth does this amongst other things and is available for Mac." ContentLicense="CC BY-SA 2.5" />
  <row Id="8161" PostHistoryTypeId="6" PostId="4828" RevisionGUID="52513444-7a4c-436e-a3b5-e6be88748f4a" CreationDate="2010-11-28T17:40:44.360" UserId="6600" Comment="edited tags" Text="&lt;plug-in&gt;&lt;spectral&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8162" PostHistoryTypeId="2" PostId="4851" RevisionGUID="7eca362d-61a0-435e-87a3-27c8cd1de92a" CreationDate="2010-11-28T17:55:08.210" UserId="202" Text="Hi to all&#xD;&#xA;&#xD;&#xA;I've been asked to try to save a few days of recording (interview with boom and 1 radio mic): the radio mic is always (four days of recording, I couldn't believe it!!) saturated/distorted; to me, it seems like if the production mixer/boom operator had set up the receiver to line level but connected it to a microphone level input in the recorder.&#xD;&#xA;&#xD;&#xA;Every time  the interviewer speaks, the sound is over compressed, saturated, distorted (but it's not clipped, it's an analog problem not digital).  &#xD;&#xA;&#xD;&#xA;How can I improve a little bit the recordings and reduce the distortion?  I already tried with izotope RX, with some multiband expansion, some eq... Any better ideas/workflow to try?&#xD;&#xA;&#xD;&#xA;If I cannot save it with my tools, I advised the producer to go in another studio that have the big Cedar machine (the Cedar Cambrige): anybody has any experience with the cedar cambrige (I used only the DNS) that's willing to share and know if it could save those saturated recording?&#xD;&#xA;&#xD;&#xA;By the way, the boom is not always an option, because lots of the interview where made in noisy places (market, on bus) and the signal to noise ratio is very poor.&#xD;&#xA;&#xD;&#xA;Thank you in advance&#xD;&#xA;&#xD;&#xA;davide" ContentLicense="CC BY-SA 2.5" />
  <row Id="8163" PostHistoryTypeId="1" PostId="4851" RevisionGUID="7eca362d-61a0-435e-87a3-27c8cd1de92a" CreationDate="2010-11-28T17:55:08.210" UserId="202" Text="Analog distortions/saturation on voice - how to reduce?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8164" PostHistoryTypeId="3" PostId="4851" RevisionGUID="7eca362d-61a0-435e-87a3-27c8cd1de92a" CreationDate="2010-11-28T17:55:08.210" UserId="202" Text="&lt;dialogue-recording&gt;&lt;distortion&gt;&lt;audio-restoration&gt;&lt;cedar&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8168" PostHistoryTypeId="2" PostId="4853" RevisionGUID="1ead9694-5586-4f3d-8e12-1d1cfb4f93f0" CreationDate="2010-11-28T18:53:23.253" UserId="6600" Text="Unfortunately when a sound is recorded and distorted as a result of excessive levels the audio information is simply not there to retrieve.  &#xD;&#xA;&#xD;&#xA;De-clipper tools make an educated guess as to what the peaks should have looked like, and rebuild them based on what audio information is available i.e. the waveform just prior to distortion.  Apparently they are only really effective when there is light clipping/saturation, and you already mentioned that you have used Izotope RX so I'm guessing that the saturation is pretty bad.&#xD;&#xA;&#xD;&#xA;I think CEDAR is your best bet without re-recording the whole thing.  Never used it myself but apparently a lot of the noise removal features are modular, or in other words they are add-ons to the basic package.  If you do go down this route make sure the studio you use has the de-clip module.  From what I have heard/read CEDAR is in a league of it's own, so if that doesn't fix it then nothing will.&#xD;&#xA;&#xD;&#xA;Sorry not to be of much help, I pretty much re-iterated what you have already said but hope it works out for you!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8169" PostHistoryTypeId="2" PostId="4854" RevisionGUID="6b3d0aeb-109d-4cdb-9484-25d1dda0c989" CreationDate="2010-11-28T19:24:39.480" UserId="698" Text="what is the normal sample rate and sample size for post production?&#xD;&#xA;is there any diffrence in sample size and sample rate of tv movies and theaters?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8170" PostHistoryTypeId="1" PostId="4854" RevisionGUID="6b3d0aeb-109d-4cdb-9484-25d1dda0c989" CreationDate="2010-11-28T19:24:39.480" UserId="698" Text="what is the normal sample rate and sample size for post production?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8171" PostHistoryTypeId="3" PostId="4854" RevisionGUID="6b3d0aeb-109d-4cdb-9484-25d1dda0c989" CreationDate="2010-11-28T19:24:39.480" UserId="698" Text="&lt;sample&gt;&lt;rate&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8172" PostHistoryTypeId="2" PostId="4855" RevisionGUID="25acae5f-b903-4119-81ca-8495b6a43aab" CreationDate="2010-11-28T20:00:48.207" UserId="373" Text="In the UK, its 48k 16 bit for Television." ContentLicense="CC BY-SA 2.5" />
  <row Id="8173" PostHistoryTypeId="2" PostId="4856" RevisionGUID="8d8efe0b-2c85-4f78-b3cd-8d0c44128ace" CreationDate="2010-11-28T20:05:09.337" UserId="699" Text="48khz 16bit remains the industry standard for both formats.  To get you started and and answer some basic (and technical) questions, I'd recommend picking up &quot;Sound for Film and Television&quot;. &#xD;&#xA; &#xD;&#xA;[http://www.amazon.com/Sound-Television-Third-Tomlinson-Holman/dp/0240813308/ref=sr_1_1?ie=UTF8&amp;qid=1290974652&amp;sr=8-1][1]&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8174" PostHistoryTypeId="2" PostId="4857" RevisionGUID="f472d564-5213-4868-b93e-153c1aa7438b" CreationDate="2010-11-28T20:24:54.333" UserId="700" Text="&quot;The top two programs in the professional world of audio for video are definitely Protools HD and Nuendo. Logic is used by a lot of music composers but not used on a professional level for ADR, Sound Design, full mixing, etc.&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I disagree with this statement. I am a sound design AND music composing professional, approximately 50-50 music vs sound design at this point. I have Pro Tools M-Powered and Logic 9, and while I use both depending on the moment, I definitely lean much more heavily on Logic for both music and sound design. I do foley recording and editing, ADR, full mixing, all in Logic and all seamlessly. Both apps have some advantages to the other, but I can do anything with Logic that I need, usually quicker. Granted with PT9 you are now freed to use any hardware you choose, but Logic still has the 255 tracks, the option of offline OR online rendering (come on Avid.....), to me a better workflow, and a lot bigger bang for the buck, and it costs only $499 complete. You do not have to pay extra for a great surround mixer and output capabilities. It is an excellent sound design tool and it handles video very well. Also you can customize the key bindings to your liking, which you cannot do with Pro Tools. I haven't used Nuendo very much, but my initial impressions were good, although it did not make me want to leave Logic. &#xD;&#xA;Bottom line, find the app that fits your needs and go with it. Always a good idea to keep Pro Tools on hand for when you need to go into a bigger studio, should that happen.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8175" PostHistoryTypeId="2" PostId="4858" RevisionGUID="b8fbea48-b06c-4737-85c7-e05942173981" CreationDate="2010-11-28T20:32:30.140" UserId="701" Text="I've moved around quite a bit in my life so I find FB invaluable for keeping up with friends.  I also have a page for the studio and while I can't say I've received a job via the FB page I do receive a lot of feedback regarding the postings about what the studio is up to.  John." ContentLicense="CC BY-SA 2.5" />
  <row Id="8176" PostHistoryTypeId="2" PostId="4859" RevisionGUID="12c0ff1d-f722-412b-8297-6c0cd1b4fecb" CreationDate="2010-11-28T20:42:04.257" UserId="701" Text="I'm based in Las Vegas, Nevada USA doing sound for casino games as well as some commercial and indie film post.  I started in Detroit, Michigan and moved west in 1996, started my own studio in 2003.  Love this site!  John." ContentLicense="CC BY-SA 2.5" />
  <row Id="8177" PostHistoryTypeId="16" PostId="4859" RevisionGUID="12c0ff1d-f722-412b-8297-6c0cd1b4fecb" CreationDate="2010-11-28T20:42:04.257" UserId="-1" />
  <row Id="8178" PostHistoryTypeId="2" PostId="4860" RevisionGUID="3b7b1782-5ed0-49da-80e7-e1854fc58304" CreationDate="2010-11-28T20:48:00.987" UserId="219" Text="Standard for any video work is 48k/16b, however your question leaves an open door that I'm offering to shut: 48/16 is the release/broadcast standard, however while still in the postproduction process, the use of higher bit rates and sample rates is preferable.&#xD;&#xA;&#xD;&#xA;In any process, the higher the resolution of the source/input the better the quality of the result/output of the process will be." ContentLicense="CC BY-SA 2.5" />
  <row Id="8179" PostHistoryTypeId="2" PostId="4861" RevisionGUID="1a8c80ad-59e3-4e7e-a754-9466d55dae74" CreationDate="2010-11-28T20:50:17.077" UserId="118" Text="IMHO, I'd have said 48k/24bit, whether film or telly.  Not solely as my own personal preference either - in my experience that's the format that location recordists are delivering rushes at these days." ContentLicense="CC BY-SA 2.5" />
  <row Id="8180" PostHistoryTypeId="2" PostId="4862" RevisionGUID="961200ee-2f85-4fc0-b5ab-e4582fcf92a2" CreationDate="2010-11-28T21:56:15.690" UserId="6600" Text="Alreet!&#xD;&#xA;&#xD;&#xA;I am currently Lead Sound Designer at Radium Audio in London.  I mostly do broadcast, digital and branding but we're getting into live installations these days as well.&#xD;&#xA;&#xD;&#xA;Started out playing the drums and wanting to be a rockstar! Eventually that wore off and I fell in love with sound design instead, which seems to be working out so far.&#xD;&#xA;&#xD;&#xA;I'm new to this site, and loving it.  Really nice interface and I can see myself going a bit Pokemon for the badges.  Good to see such a diverse mix of people on here as well :)&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Chris&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8181" PostHistoryTypeId="16" PostId="4862" RevisionGUID="961200ee-2f85-4fc0-b5ab-e4582fcf92a2" CreationDate="2010-11-28T21:56:15.690" UserId="-1" />
  <row Id="8182" PostHistoryTypeId="2" PostId="4863" RevisionGUID="31e55cac-ffda-4a17-b5ff-de02a36915db" CreationDate="2010-11-28T22:12:37.797" UserId="6600" Text="You've probably all heard at some point in your career/education that the golden rule of sound design is not to be noticed, or that you know you've done a good job when no one notices your work.  In the current climate of films like Transformers and Skyline, what do you think?&#xD;&#xA;&#xD;&#xA;I can see the logic behind this kind of statement, but is it now outdated or has Hollywood style sound design overstepped the mark?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8183" PostHistoryTypeId="1" PostId="4863" RevisionGUID="31e55cac-ffda-4a17-b5ff-de02a36915db" CreationDate="2010-11-28T22:12:37.797" UserId="6600" Text="&quot;Sound Design should not be noticeable&quot; - what do you think?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8184" PostHistoryTypeId="3" PostId="4863" RevisionGUID="31e55cac-ffda-4a17-b5ff-de02a36915db" CreationDate="2010-11-28T22:12:37.797" UserId="6600" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8185" PostHistoryTypeId="6" PostId="18" RevisionGUID="b58e9fbe-ff66-45b1-84c8-ca6e6d88a0bc" CreationDate="2010-11-28T22:41:32.170" UserId="663" Comment="edited tags" Text="&lt;max-msp&gt;&lt;arduino&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8186" PostHistoryTypeId="6" PostId="24" RevisionGUID="4361a24f-d0f9-4f2a-94e5-942f6485b4ef" CreationDate="2010-11-28T22:42:41.843" UserId="663" Comment="edited tags" Text="&lt;recording&gt;&lt;film&gt;&lt;independent-film&gt;&lt;dialogue&gt;&lt;sony&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8187" PostHistoryTypeId="6" PostId="147" RevisionGUID="79b30a12-c3d5-4a52-a220-c874ef3fe712" CreationDate="2010-11-28T22:44:55.720" UserId="663" Comment="edited tags" Text="&lt;demo-reel&gt;&lt;sound-design&gt;&lt;demo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8188" PostHistoryTypeId="6" PostId="131" RevisionGUID="77dbdb4c-e870-499d-8fb1-52d0cf18a4af" CreationDate="2010-11-28T22:46:14.890" UserId="663" Comment="edited tags" Text="&lt;recording&gt;&lt;field-recording&gt;&lt;insurance&gt;&lt;travel&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8189" PostHistoryTypeId="6" PostId="131" RevisionGUID="7e3e2dd3-7ad2-4a8f-9147-d62a22d91651" CreationDate="2010-11-28T22:47:00.637" UserId="663" Comment="edited tags" Text="&lt;recording&gt;&lt;field-recording&gt;&lt;insurance&gt;&lt;travel&gt;&lt;protect&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8190" PostHistoryTypeId="6" PostId="128" RevisionGUID="2a62e0be-8fd3-4fb1-b590-29c9b63fa653" CreationDate="2010-11-28T22:47:35.170" UserId="663" Comment="edited tags" Text="&lt;deaf&gt;&lt;pov&gt;&lt;movies&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8191" PostHistoryTypeId="6" PostId="105" RevisionGUID="b9656684-b8ba-4b86-81d4-1d2ccaa57cec" CreationDate="2010-11-28T22:48:47.907" UserId="663" Comment="edited tags" Text="&lt;libraries&gt;&lt;resources&gt;&lt;sfx&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8192" PostHistoryTypeId="6" PostId="99" RevisionGUID="807ab16b-488c-4eba-bb84-733beed6ba7e" CreationDate="2010-11-28T22:50:51.290" UserId="663" Comment="edited tags" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8193" PostHistoryTypeId="6" PostId="82" RevisionGUID="861b1b8a-ff7f-47dd-a6d2-4215943027c7" CreationDate="2010-11-28T22:51:15.193" UserId="663" Comment="edited tags" Text="&lt;survey&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8194" PostHistoryTypeId="6" PostId="224" RevisionGUID="8017bcf7-7d94-43bb-b68e-6d4292e30923" CreationDate="2010-11-28T22:55:18.190" UserId="663" Comment="edited tags" Text="&lt;showreel&gt;&lt;movies&gt;&lt;demo&gt;&lt;demo-reel&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8195" PostHistoryTypeId="6" PostId="197" RevisionGUID="c436c000-9799-4835-a61c-47427e1843f5" CreationDate="2010-11-28T22:56:10.567" UserId="663" Comment="edited tags" Text="&lt;resources&gt;&lt;visuals&gt;&lt;practice&gt;&lt;sound-design&gt;&lt;movies&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8196" PostHistoryTypeId="6" PostId="149" RevisionGUID="eddbbe08-4b89-4f82-836b-4c4334a20017" CreationDate="2010-11-28T22:57:01.017" UserId="663" Comment="edited tags" Text="&lt;home-theatre&gt;&lt;movies&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8197" PostHistoryTypeId="4" PostId="224" RevisionGUID="892ba16f-13cf-4249-a4e7-225f43f95c9e" CreationDate="2010-11-28T23:00:55.747" UserId="61" Comment="edited title" Text="Whats the best way of presenting a sound design showreel ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8198" PostHistoryTypeId="2" PostId="4864" RevisionGUID="5a94bb5b-00c4-4a90-b753-bf72909b6a9c" CreationDate="2010-11-28T23:05:35.023" UserId="663" Text="Do you use SFX libraries (like [Sound Ideas][1], [Hollywood Edge][2] ...) or do you record your own SFX?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sound-ideas.com/&#xD;&#xA;  [2]: http://www.hollywoodedge.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8199" PostHistoryTypeId="1" PostId="4864" RevisionGUID="5a94bb5b-00c4-4a90-b753-bf72909b6a9c" CreationDate="2010-11-28T23:05:35.023" UserId="663" Text="SFX recorded or library" ContentLicense="CC BY-SA 2.5" />
  <row Id="8200" PostHistoryTypeId="3" PostId="4864" RevisionGUID="5a94bb5b-00c4-4a90-b753-bf72909b6a9c" CreationDate="2010-11-28T23:05:35.023" UserId="663" Text="&lt;sfx&gt;&lt;sound-effects&gt;&lt;library&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8201" PostHistoryTypeId="2" PostId="4865" RevisionGUID="c9e25dfd-b8ee-4fcb-9550-1dac83f88c77" CreationDate="2010-11-28T23:28:54.273" UserId="253" Text="I think the key to this is what's meant by &quot;noticing sound design&quot;. &#xD;&#xA;&#xD;&#xA;If sound has been successfully crafted with the visual, physics, story and emotion in mind, i believe that it isn't noticed. The fantastical nature of films like Skyline and Transformers allows (and even requires) sound to go further without taking the audience out of the film. The sounds may be big and attention grabbing, but that's what all the elements are working towards. &#xD;&#xA;&#xD;&#xA;So, in this context, i've always thought that &quot;notice&quot; is meant in a negative sense, meaning to make the viewer pay attention to the fact that they're watching a film." ContentLicense="CC BY-SA 2.5" />
  <row Id="8202" PostHistoryTypeId="2" PostId="4866" RevisionGUID="667bb013-3ef7-4d40-97e5-31374d079d1d" CreationDate="2010-11-29T00:17:09.663" UserId="639" Text="Im just starting out and so far I use only my own recordings. I feel like I accomplished more with something I recorded myself. But if its a sound like a whale, then I will be okay with doing a library sound. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8203" PostHistoryTypeId="2" PostId="4867" RevisionGUID="674d1da6-c2dc-4b18-be2e-19705ff0205c" CreationDate="2010-11-29T01:13:24.570" UserId="587" Text="Depends on the time frame the client wants it done in. Original soundscapes cost more because extra time spent on the project and you should charge a kit fee for using your own equipment. If its too short of a turn around to record all new audio, then library. It also depends on the audio budget." ContentLicense="CC BY-SA 2.5" />
  <row Id="8204" PostHistoryTypeId="2" PostId="4868" RevisionGUID="77b6c99a-159d-43a9-89f2-87f2bc74a1ba" CreationDate="2010-11-29T02:46:34.443" UserId="234" Text="Most Declipper plugs won't work in this case, because they're designed to work with the very straight, minimal harmonics of digital clipping. In this case you've got analog distortion which isn't quite the same. One thing you CAN try is using a De-Crackler plug-in. I've found the Waves X-Crackle the best for this, but the WaveArts works as well, and presumably the RX one (I haven't had an opportunity to try it yet). Try setting the  values to maximum and see what happens. Follow that with some negative compression (i.e 1:2, 1:4 ratios )- I like the Waves R-Comp for this- and you can often minimize it, albeit not remove it...You can also try doing the negative compression first, sometimes that serves better." ContentLicense="CC BY-SA 2.5" />
  <row Id="8205" PostHistoryTypeId="2" PostId="4869" RevisionGUID="de9623e4-1329-42fd-9069-ba7ef10b0142" CreationDate="2010-11-29T04:48:25.900" UserId="639" Text="I would like to create a template that will make doing sound for film and games more organized. What type of template setups do you use? I am using pro tools but I don't think the DAW you use matters. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8206" PostHistoryTypeId="1" PostId="4869" RevisionGUID="de9623e4-1329-42fd-9069-ba7ef10b0142" CreationDate="2010-11-29T04:48:25.900" UserId="639" Text="What template do you use for film sound and game sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8207" PostHistoryTypeId="3" PostId="4869" RevisionGUID="de9623e4-1329-42fd-9069-ba7ef10b0142" CreationDate="2010-11-29T04:48:25.900" UserId="639" Text="&lt;templates&gt;&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8208" PostHistoryTypeId="2" PostId="4870" RevisionGUID="9a8ddcf7-eebe-4c05-95e6-21f5fed82652" CreationDate="2010-11-29T06:38:21.183" UserId="587" Text="I can tell you how I organized sounds for a game made in UDK - &quot;Premonition&quot; from VFS Game Design - its been how ive done game sessions ever since.&#xD;&#xA;&#xD;&#xA;The session contains one type of asset. Say feet. A marker placed at the beginning - marks the type of surface - gravel. The layers are cascaded down with some work tracks etc. Then an aux for bouncing and processing layers to the single mono track called Feet_Gravel. The file name will ultimately be changed to whatever the programmer needs it to be for implementation. Once its all done, I make a marker after that set of regions. Ill name it say, Grass. This follows the same process and so on until you have a session of cascading groups of surfaces divided by markers. Track Group them, set views, hide and inactivate track groups by surface type to free up more tracks, and voila! Session-o-feet. This works for all other types of alike sounds that are grouped together, for example: Spaceship_Engines, Monkey_Vocalizations, Swords_SFX, etc.&#xD;&#xA;&#xD;&#xA;Linear cutscenes I do the exact same thing just with a movie track. You never deactivate the movie track as you will only ever need to use 1. A video for each marker section.&#xD;&#xA;&#xD;&#xA;If you want to grab a more in-depth explanation/pictures of session layout, implementation practices, variation processing etc - go to www.c3sound.com and check the Game Audio tab in the portfolio section.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8209" PostHistoryTypeId="2" PostId="4871" RevisionGUID="195e4a8f-66ec-4af7-a8cb-a79c1bcf2d93" CreationDate="2010-11-29T06:49:46.243" UserId="61" Text="My templates are pretty similar but do vary based on the type of project I'm working on, ie. my film template is different from my game template, etc. Film will be wider, with more predubs available for when I need to split out, while the game template will be more concise. Both, however, have VCA-controlled predub groups with discrete busses that route to submix auxes and on to a Printmaster aux, which will output to a monitoring track (which can be toggled over to a record track if I need to make mixdowns). The submix and Printmaster auxes have in-line plugins, such as EQs and limiters. Also, each template will have reverb and/or delay auxes with pre-assigned inputs." ContentLicense="CC BY-SA 2.5" />
  <row Id="8211" PostHistoryTypeId="2" PostId="4872" RevisionGUID="da47b6fd-b761-475b-b562-2112e7367dbb" CreationDate="2010-11-29T07:39:49.040" UserId="348" Text="Personally you can't have enough in your library- variety etc. But I always like to get my own when possible. In between projects, I always go out and record for the fun of it and being in South Africa, there are so many things that need to be captured that don't exist on present day packaged libraries like SIs or BBC etc. I have always had the philosophy that it is a sound designers obligation to build their own library as their career progresses. They are yours, unique to you and make you r projects sound fresh. There is nothing worse than relying on the canonized libraries and finding out that SI 6021-03 New York Traffic with horns ST has been used in hundreds of other projects and is easily recognizable. &#xD;&#xA;&#xD;&#xA;That's my 2 cents. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8212" PostHistoryTypeId="2" PostId="4873" RevisionGUID="6204c36f-7fba-4063-82de-abe0cc91beda" CreationDate="2010-11-29T09:23:39.253" UserId="703" Text="Hi everybody. I´ve been using reverbs for a while and I´m curious about what´s the proccess you use to design the right space through a Reverb. Which parameters and which workflow do u choose to follow?&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="8213" PostHistoryTypeId="1" PostId="4873" RevisionGUID="6204c36f-7fba-4063-82de-abe0cc91beda" CreationDate="2010-11-29T09:23:39.253" UserId="703" Text="Designing a Reverb" ContentLicense="CC BY-SA 2.5" />
  <row Id="8214" PostHistoryTypeId="3" PostId="4873" RevisionGUID="6204c36f-7fba-4063-82de-abe0cc91beda" CreationDate="2010-11-29T09:23:39.253" UserId="703" Text="&lt;reverb&gt;&lt;design&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8215" PostHistoryTypeId="2" PostId="4874" RevisionGUID="b05ef7ba-06c6-424c-9ead-f156e3aa4054" CreationDate="2010-11-29T09:36:09.057" UserId="663" Text="When I am listening the project (edited or pre-mixed), in my head I have an idea what should I add or reduce and how it generally supposed to sound. That include the amount and kind of reverb I add. There is no specific workflow or parameter that I follow. I trust my ears and my experience and knowledge help me achieve the idea I have." ContentLicense="CC BY-SA 2.5" />
  <row Id="8216" PostHistoryTypeId="2" PostId="4875" RevisionGUID="56222d74-a416-406b-ae53-c6a8f3a8497b" CreationDate="2010-11-29T11:15:35.737" UserId="542" Text="I try it sometimes, but after a while I realize that by concentrating on the sound I will lose the plot. Therefore:&#xD;&#xA;first time : getting immersed&#xD;&#xA;second time,etc. : listening for sound " ContentLicense="CC BY-SA 2.5" />
  <row Id="8217" PostHistoryTypeId="2" PostId="4876" RevisionGUID="0c12bd31-e321-41b4-b2e1-f765653e7c4b" CreationDate="2010-11-29T11:43:00.013" UserId="410" Text="Hi there, I'm actually trying to make some old-style music using the portable tracker on the psp: little piggy tracker. &#xD;&#xA;&#xD;&#xA;I've made some old 8-bit SFX using Triforce VSTi, but I was wondering if there's any sound packs containing a good collection of this kind of sounds.&#xD;&#xA;&#xD;&#xA;If anybody could share this with me it'll be awesome !&#xD;&#xA;&#xD;&#xA;Thank you." ContentLicense="CC BY-SA 2.5" />
  <row Id="8218" PostHistoryTypeId="1" PostId="4876" RevisionGUID="0c12bd31-e321-41b4-b2e1-f765653e7c4b" CreationDate="2010-11-29T11:43:00.013" UserId="410" Text="looking for 8-bit sounds collection." ContentLicense="CC BY-SA 2.5" />
  <row Id="8219" PostHistoryTypeId="3" PostId="4876" RevisionGUID="0c12bd31-e321-41b4-b2e1-f765653e7c4b" CreationDate="2010-11-29T11:43:00.013" UserId="410" Text="&lt;chipsound&gt;&lt;music&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8220" PostHistoryTypeId="5" PostId="4853" RevisionGUID="b93df6aa-af94-4e32-8d46-0affa50ee8e6" CreationDate="2010-11-29T12:03:21.963" UserId="6600" Comment="edit to add movie link" Text="Unfortunately when a sound is recorded and distorted as a result of excessive levels the audio information is simply not there to retrieve.  &#xD;&#xA;&#xD;&#xA;De-clipper tools make an educated guess as to what the peaks should have looked like, and rebuild them based on what audio information is available i.e. the waveform just prior to distortion.  Apparently they are only really effective when there is light clipping/saturation, and you already mentioned that you have used Izotope RX so I'm guessing that the saturation is pretty bad.&#xD;&#xA;&#xD;&#xA;I think CEDAR is your best bet without re-recording the whole thing.  Never used it myself but apparently a lot of the noise removal features are modular, or in other words they are add-ons to the basic package.  If you do go down this route make sure the studio you use has the de-clip module.  From what I have heard/read CEDAR is in a league of it's own, so if that doesn't fix it then nothing will.&#xD;&#xA;&#xD;&#xA;Sorry not to be of much help, I pretty much re-iterated what you have already said but hope it works out for you!&#xD;&#xA;&#xD;&#xA;EDIT: Here is a short movie showing how the de-clip module works.  Unfortunately no comparison of audio though:&#xD;&#xA;&#xD;&#xA;http://www.gearwire.com/media/cedaraudio-declip-125aes.mov&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8221" PostHistoryTypeId="2" PostId="4877" RevisionGUID="42672000-f692-461d-b4c1-cfeb0c4fe59a" CreationDate="2010-11-29T12:31:53.943" UserId="675" Text="It's another plug-in, not a soundpack, but Plogue Chipsounds is great if you are looking for an 8-bit sound:&#xD;&#xA;&#xD;&#xA;http://www.plogue.com/?page_id=43&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="8222" PostHistoryTypeId="2" PostId="4878" RevisionGUID="200cb164-8279-4f34-aef3-7113f9c08229" CreationDate="2010-11-29T15:29:25.810" UserId="220" Text="I don't really notice sound all that much when I'm watching films or playing video games.  If there is something really bad, like poorly lined up ADR or junk sound effect, I notice right away and it takes me out of the film for a minute.  Generally, if sound design is very good, I don't notice until the end of the film when I have time to process the experience - like Wall-E or Inception.  &#xD;&#xA;&#xD;&#xA;When playing video games, I will occasionally take time to wander around after baddies have been cleared to enjoy the design of a level.  For instance, I recently replayed Half-Life 2 and was really loving the bridge level - such a cool level, really makes you feel the height of the bridge." ContentLicense="CC BY-SA 2.5" />
  <row Id="8223" PostHistoryTypeId="2" PostId="4879" RevisionGUID="e2093142-f95f-44d3-b596-002e72a21294" CreationDate="2010-11-29T15:48:36.573" UserId="29" Text="If you weren't one of the lucky few who bought a [SIDStation][1] when they were in production (how I kick myself for not getting one!), a quick Google search for the SIDStation, chiptune,  or C64 sound chip brings up a lot of sample sets that you may find useful, many in Reason Refill format; [here's one on eBay for $20][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.elektron.se/products/sidstation&#xD;&#xA;  [2]: http://cgi.ebay.com/ELEKTRON-SID-SATION-SIDSTATION-samples-C64-8-BIT-RETRO-/320623977928?pt=LH_DefaultDomain_0&amp;hash=item4aa6ada5c8#ht_2612wt_1319" ContentLicense="CC BY-SA 2.5" />
  <row Id="8224" PostHistoryTypeId="2" PostId="4880" RevisionGUID="272e4cdb-fc73-43c6-a9e5-7f9901ba4c8c" CreationDate="2010-11-29T16:01:44.133" UserId="393" Text="I love this thing: http://www.drpetter.se/project_sfxr.html&#xD;&#xA;&#xD;&#xA;Also, if you're looking for more VSTis, I believe TIGSource or OCRemix have threads with long lists of good chipsound vsts." ContentLicense="CC BY-SA 2.5" />
  <row Id="8225" PostHistoryTypeId="2" PostId="4881" RevisionGUID="d898653e-9b17-44ca-80ab-4d66e09fde2f" CreationDate="2010-11-29T16:05:43.087" UserId="393" Text="With my pathetic selection of mostly-handheld-dynamic mics, I rely almost entirely on libraries." ContentLicense="CC BY-SA 2.5" />
  <row Id="8226" PostHistoryTypeId="2" PostId="4882" RevisionGUID="be7307e8-4ba5-4bab-838d-0b25fbae83f0" CreationDate="2010-11-29T16:09:33.800" UserId="393" Text="I also think that it means you shouldn't be able to easily pick apart a sound, like the chickens-as-falling-boards thing in *Saving Private Ryan*, or be able to say &quot;Yeah, this has obviously been effected&quot; like the typical dual-tone demon voice.&#xD;&#xA;&#xD;&#xA;A shoddy home builder will leave things like wires and framework visible (Okay, that's probably something other than &quot;shoddy&quot;), and I think a shoddy sound designer does the exact same thing." ContentLicense="CC BY-SA 2.5" />
  <row Id="8227" PostHistoryTypeId="2" PostId="4883" RevisionGUID="f24d234b-b9f6-40f7-8dd6-c21f57fe8615" CreationDate="2010-11-29T16:14:40.393" UserId="393" Text="It looks like Demo Reels are the big question right now, so I'll throw another one out there...&#xD;&#xA;&#xD;&#xA;**How do you feel about music in a demo reel?**&#xD;&#xA;&#xD;&#xA;I'm a composer/sound designer, and I plan to have a music-less version of my reel, as well as music-only samples, but my main reel will feature both my music and my sound design. Do you feel I'm shooting myself in the foot by doing both, or is my assumption of &quot;I only have 30 seconds to show everything I can do&quot; fairly accurate?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8228" PostHistoryTypeId="1" PostId="4883" RevisionGUID="f24d234b-b9f6-40f7-8dd6-c21f57fe8615" CreationDate="2010-11-29T16:14:40.393" UserId="393" Text="Music in a Demo Reel" ContentLicense="CC BY-SA 2.5" />
  <row Id="8229" PostHistoryTypeId="3" PostId="4883" RevisionGUID="f24d234b-b9f6-40f7-8dd6-c21f57fe8615" CreationDate="2010-11-29T16:14:40.393" UserId="393" Text="&lt;music&gt;&lt;demo-reel&gt;&lt;demo&gt;&lt;composition&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8230" PostHistoryTypeId="2" PostId="4884" RevisionGUID="2468f4da-aaa2-4965-a14f-be749b1cbab1" CreationDate="2010-11-29T17:01:17.303" UserId="14" Text="I wouldn't do both unless the position you're applying for has use of, or has requested both skill sets. I'd definitely mention it on a resume that you're capable of composing and doing sound design, but for the demo reel, I'd keep it down to what the company or person hiring you is looking for." ContentLicense="CC BY-SA 2.5" />
  <row Id="8231" PostHistoryTypeId="2" PostId="4885" RevisionGUID="92e7de9e-1c44-4377-8062-aacb87f0e5cf" CreationDate="2010-11-29T17:30:04.510" UserId="315" Text="Simple answer:&#xD;&#xA;&#xD;&#xA;Our job is to tell stories. Our goal is to find/cut/create the right sounds to tell the story as clearly and effectively as possible. &#xD;&#xA;&#xD;&#xA;If the story calls for &quot;check me out-flashy-wizz-bang sound design&quot; then bring it. But we often have to check our egos at the door and realize that the mute button is one of the most effective tools in sound design." ContentLicense="CC BY-SA 2.5" />
  <row Id="8232" PostHistoryTypeId="5" PostId="4871" RevisionGUID="e1e65cd7-4ad3-41c1-89b3-f07174440d78" CreationDate="2010-11-29T19:10:03.287" UserId="61" Comment="add'l info" Text="My templates are pretty similar but do vary based on the type of project I'm working on, ie. my film template is different from my game template, etc. Film will be wider, with more predubs available for when I need to split out, while the game template will be more concise. Both, however, have VCA-controlled predub groups with discrete busses that route to submix auxes and on to a Printmaster aux, which will output to a monitoring track (which can be toggled over to a record track if I need to make mixdowns). The submix and Printmaster auxes have in-line plugins, such as EQs and limiters. Also, each template will have reverb and/or delay auxes with pre-assigned inputs.&#xD;&#xA;&#xD;&#xA;**UPDATE:**&#xD;&#xA;&#xD;&#xA;Thought this may shed more light on the issue: http://designingsound.org/2010/11/jamey-scott-special-stem-workflow-video-tutorial/." ContentLicense="CC BY-SA 2.5" />
  <row Id="8233" PostHistoryTypeId="2" PostId="4886" RevisionGUID="d7726957-58b5-4f66-8c23-7891ce584ccf" CreationDate="2010-11-29T20:04:01.647" UserId="6600" Text="Great, thanks for the response guys! I totally agree that the sound design should be appropriate to the events on screen, and assist in the story telling. I should clarify that I am not suggesting that sound design should try to outdo the other elements of a production, I am merely throwing my thoughts out there for discussion.&#xD;&#xA;&#xD;&#xA;For example, I consider the sound design for the original Predator vision to stand head and shoulders above the visuals, yet it stays within context and assists the story. Granted visual FX weren't what they are now but nor were SFX. On the other hand I thought the recent-ish film Ninja Assassin was over-kill in terms of sound design, despite the amount of action and not because of shoddy workmanship. Then there are films like Kill Bill or Eraserhead which use eccentric sound design in a different way.&#xD;&#xA;&#xD;&#xA;Again this is all down to personal preference. I guess what I'm saying is, is the 'golden rule' a good or bad thing to preach? Does it limit creativity or provide an appreciation of other production elements. I get that it's not written in stone and stuff but I just wondered what everyone else thought :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8234" PostHistoryTypeId="5" PostId="4870" RevisionGUID="6af7a036-fb11-433c-97a7-81b2f1675344" CreationDate="2010-11-29T20:42:25.460" UserId="587" Comment="Clarification of post" Text="I can tell you how I organized sounds for a game made in UDK - &quot;Premonition&quot; from VFS Game Design - its been how ive done game sessions ever since.&#xD;&#xA;&#xD;&#xA;The session contains one type of asset. Say feet. A marker placed at the beginning - marks the type of surface - gravel. The layers are cascaded down with some work tracks etc. Then an aux for bouncing and processing layers to the single mono track called Feet_Gravel. The file name will ultimately be changed to whatever the programmer needs it to be for implementation. Once its all done, I make a marker after that set of regions. Ill name it say, Grass. This follows the same process and so on until you have a session of cascading groups of surfaces divided by markers. Track Group them, set views, hide and inactivate track groups by surface type to free up more tracks, and voila! Session-o-feet. This works for all other types of alike sounds that are grouped together, for example: Spaceship_Engines, Monkey_Vocalizations, Swords_SFX, etc.&#xD;&#xA;&#xD;&#xA;Linear cutscenes I do the exact same thing just with a movie track. You never deactivate the movie track as you will only ever need to use 1. A video for each marker section.&#xD;&#xA;&#xD;&#xA;If you want to grab a more in-depth explanation/pictures of session layout, implementation practices, variation processing etc - go to www.c3sound.com and check the Game Audio tab in the portfolio section.&#xD;&#xA;&#xD;&#xA;&lt;b&gt;UPDATE:&lt;/b&gt;&#xD;&#xA;&#xD;&#xA;THIS IS NOT A TEMPLATE FOR FILM - JUST GAME SFX AND MULTIPLE SHORT IN-GAME CINEMATICS!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8235" PostHistoryTypeId="5" PostId="4886" RevisionGUID="698fb212-0cf1-4e3e-99e5-dabc70c7d5e7" CreationDate="2010-11-29T20:52:47.177" UserId="6600" Comment="fixed grammer" Text="Great, thanks for the response guys! I totally agree that the sound design should be appropriate to the events on screen, and assist in the story telling. I should clarify that I am not suggesting that sound design should try to outdo the other elements of a production, I am just throwing some thoughts out there for discussion.&#xD;&#xA;&#xD;&#xA;For example, I consider the sound design for the original Predator vision to stand head and shoulders above the visuals, yet it stays within context and assists the story. Granted visual FX weren't what they are now but nor were SFX. On the other hand I thought the recent-ish film Ninja Assassin was over-kill in terms of sound design, despite the amount of action and not because of shoddy workmanship. Then there are films like Kill Bill or Eraserhead which use eccentric sound design in a different way.&#xD;&#xA;&#xD;&#xA;Again this is all down to personal preference. I guess what I'm saying is, is the 'golden rule' a good or bad thing to preach? Does it limit creativity or provide an appreciation of other production elements. I get that it's not written in stone and stuff but I just wondered what everyone else thought :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8236" PostHistoryTypeId="2" PostId="4887" RevisionGUID="2021384d-06f7-428f-b092-c7616d201aa1" CreationDate="2010-11-29T21:35:55.210" UserId="704" Text="You can try to fix it by editing the volume automation. Where you feel the signal is too much compressed, reduce the level. It is a painful process. I once made it for a 100 min documetary Maybe you can use RX as a guide. You schould see gain manipulations outside the human voices spectrum in the spectrogram.&#xD;&#xA;&#xD;&#xA;Good luck..." ContentLicense="CC BY-SA 2.5" />
  <row Id="8237" PostHistoryTypeId="2" PostId="4888" RevisionGUID="cd9b31b0-ebe0-448b-9023-c85899f718e3" CreationDate="2010-11-29T22:17:51.987" UserId="666" Text="I use mostly libraries." ContentLicense="CC BY-SA 2.5" />
  <row Id="8238" PostHistoryTypeId="2" PostId="4889" RevisionGUID="9cc0f799-a4c1-4156-8f27-a4183be61040" CreationDate="2010-11-29T22:40:02.817" UserId="629" Text="I always try and record everything myself but will use libraries if I physically can't get the desired sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="8239" PostHistoryTypeId="2" PostId="4890" RevisionGUID="62aa54f2-91aa-4a08-88b0-27355e60e797" CreationDate="2010-11-29T22:40:45.450" UserId="705" Text="i'd like to try making you something, shoot me an e-mail with some examples of what you like, and i could design you a sound pack along those lines.&#xD;&#xA;&#xD;&#xA;di&#xD;&#xA;&#xD;&#xA;dcondax@gmail.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="8240" PostHistoryTypeId="2" PostId="4891" RevisionGUID="50640063-cea9-41e0-b639-fab156352f29" CreationDate="2010-11-30T04:09:50.383" UserId="300" Text="Has anyone with a Sony PCM D50 had better luck with an alternative or custom windsock?&#xD;&#xA;&#xD;&#xA;Cutting out wind from recordings on near-windless days is getting a bit tired..&#xD;&#xA;&#xD;&#xA;It's great otherwise, so I'm not really complaining&#xD;&#xA;&#xD;&#xA;J" ContentLicense="CC BY-SA 2.5" />
  <row Id="8241" PostHistoryTypeId="1" PostId="4891" RevisionGUID="50640063-cea9-41e0-b639-fab156352f29" CreationDate="2010-11-30T04:09:50.383" UserId="300" Text="Alternative to standard Sony PCM D50 windsock?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8242" PostHistoryTypeId="3" PostId="4891" RevisionGUID="50640063-cea9-41e0-b639-fab156352f29" CreationDate="2010-11-30T04:09:50.383" UserId="300" Text="&lt;sony&gt;&lt;pcm&gt;&lt;wind&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8243" PostHistoryTypeId="2" PostId="4892" RevisionGUID="0a7334a9-1888-422b-acd6-2f3a9a54f935" CreationDate="2010-11-30T06:52:49.653" UserId="219" Text="I find it best to set the early reflections and reverb decay time first. This gives you a sense of size. Actually, if like me you're using the stock reverb and are not sure which algorithm will yield the best result, start by comparing all the reverbs with the same early reflections and decay timings.&#xD;&#xA;&#xD;&#xA;Then, give your environment the right color using frequency-domain and time-domain processing. The AIR reverbs in PT8 are a nice improvement to the good old D-Verb.&#xD;&#xA;&#xD;&#xA;So I find it better for my reverbs to find a good timing and then give it the right color. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8244" PostHistoryTypeId="2" PostId="4893" RevisionGUID="5112a232-7fab-40b8-9ba2-99ddc5d4e39e" CreationDate="2010-11-30T07:10:49.313" UserId="593" Text="@James The D50 is really not of much use without a windscreen unless its statically positioned and inside. Personally I had a hard time justifying the high price tag of Sony's own and tried alternatives. I found GigWig's Eliminator a great buy, it eliminates the wind a great deal, it's cheap, doesn't shed a lot and it actually stays in place on top of the recorder.&#xD;&#xA;&#xD;&#xA;[GigWig Windscreens][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://stores.ebay.com/GigWig-Windscreens" ContentLicense="CC BY-SA 2.5" />
  <row Id="8245" PostHistoryTypeId="2" PostId="4894" RevisionGUID="8a5c01ec-15db-4719-a79c-a63344c52f1f" CreationDate="2010-11-30T08:35:54.620" UserId="275" Text="Required delivery for nearly all HDTV broadcast stations these days is 24-bit/48K.  Now, that doesn't mean you can't do the sound design at 96 or 192k, but you'll have to dumb it down for delivery.  Movies will also be done at either 48K or 96K for final deliverables. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8246" PostHistoryTypeId="2" PostId="4895" RevisionGUID="16d31a85-708c-4400-8cdf-bec4126b29c8" CreationDate="2010-11-30T09:34:53.493" UserId="629" Text="I buy from [Red Head Windscreens][1] they work out a lot cheaper for me.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.redheadwindscreens.com/products/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8247" PostHistoryTypeId="2" PostId="4896" RevisionGUID="1f611685-682e-408d-861e-3345d2a93b22" CreationDate="2010-11-30T10:09:41.440" UserId="402" Text="The [Rode Dead Kitten][1] is meant to be a good alternative, not used one on a D50 but works well with an Nt-4&#xD;&#xA;&#xD;&#xA;Thew's Reviews posted a comparison of the Dead Kitten &amp; the standard Sony one [here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/accessory.php?product=DeadKitten&#xD;&#xA;  [2]: http://www.thewsreviews.com/2009/09/comparison-sony-adpcm1-and-rde-dead.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="8248" PostHistoryTypeId="2" PostId="4897" RevisionGUID="b887e6a8-0ba4-44f1-8aea-0af24a693b38" CreationDate="2010-11-30T14:59:14.200" UserId="673" Text="Hi! &#xD;&#xA;&#xD;&#xA;Do you guys have anything to recommend in terms of tutorials for game audio? &#xD;&#xA;&#xD;&#xA;I was searching through the web and could only find a very small smount of info about UDK, pretty much nothing about WWISE and FMOD. Is there anything you could advise to go and read in those terms? Book? Tutorial? &#xD;&#xA;&#xD;&#xA;Anything to get started would be great!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8249" PostHistoryTypeId="1" PostId="4897" RevisionGUID="b887e6a8-0ba4-44f1-8aea-0af24a693b38" CreationDate="2010-11-30T14:59:14.200" UserId="673" Text="Game Audio for beginners" ContentLicense="CC BY-SA 2.5" />
  <row Id="8250" PostHistoryTypeId="3" PostId="4897" RevisionGUID="b887e6a8-0ba4-44f1-8aea-0af24a693b38" CreationDate="2010-11-30T14:59:14.200" UserId="673" Text="&lt;game&gt;&lt;sound-design&gt;&lt;tutorial&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8251" PostHistoryTypeId="2" PostId="4898" RevisionGUID="53f066ce-ddce-4724-af75-490d68a6f653" CreationDate="2010-11-30T15:04:43.160" UserId="675" Text="Looking at the specs of the well known Zoom H2 I stumbled upon the following: a relatively new and low cost piece of software by IM Research, which converts multi-channel files from the H2 and H4 to various 'surround' formats:&#xD;&#xA;&#xD;&#xA;http://im-research.com/products/vze/&#xD;&#xA;&#xD;&#xA;I've found metric tons of information about the H2 on here and elsewhere but very little to no user experiences with this specific software. (Excuse me if it has been discussed on here, I did a search.)&#xD;&#xA;&#xD;&#xA;Who has actual experiences with this, I'm quite curious. Surely it will not compare to Soundfield, Holophone and the likes, I guess. But is it actually useable or just a gimmick? The concept in itself is quite nice, it could potentialy be a great alternative for the very low budget productions.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8252" PostHistoryTypeId="1" PostId="4898" RevisionGUID="53f066ce-ddce-4724-af75-490d68a6f653" CreationDate="2010-11-30T15:04:43.160" UserId="675" Text="Zoom H2 with the IMR Vortex encoder? " ContentLicense="CC BY-SA 2.5" />
  <row Id="8253" PostHistoryTypeId="3" PostId="4898" RevisionGUID="53f066ce-ddce-4724-af75-490d68a6f653" CreationDate="2010-11-30T15:04:43.160" UserId="675" Text="&lt;zoom&gt;&lt;h2&gt;&lt;surround-sound&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8254" PostHistoryTypeId="2" PostId="4899" RevisionGUID="284ddeab-9a77-4426-abb0-bd3aeb3cdfba" CreationDate="2010-11-30T15:05:51.190" UserId="706" Text="Interesting.. I'm busy wih the same thing;&#xD;&#xA;haven;t figures it out yet, i guess your best off with presenting what you are the most happy with, or you find the strongest illustration of your work, that way you will also atract the right jobs appealing to you..&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8255" PostHistoryTypeId="2" PostId="4900" RevisionGUID="a7ddcc2c-7e75-4013-9132-60045ff6ab03" CreationDate="2010-11-30T15:17:39.737" UserId="6487" Text="I personally do best when I am paying money to learn and have a deadline and professor (I am sure it has to do with my cheap money obsessed nature.)  So...I have been eyeballing this Berkley online course http://www.berkleemusic.com/school/course?course_item_id=8688817&amp;usca_p=t&amp;offer_code=2285.&#xD;&#xA;&#xD;&#xA;If anyone out there has taken it and can review. Please do. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8256" PostHistoryTypeId="2" PostId="4901" RevisionGUID="ae8a6db5-3ba8-4803-a759-5cc5d061373d" CreationDate="2010-11-30T15:52:57.443" UserId="194" Text="my wife made one for me out of cheesecloth and fuzzy yarn.  Works great and looks awesome.  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8257" PostHistoryTypeId="2" PostId="4902" RevisionGUID="c05ac318-c3c3-4afe-8fbd-c82e62611eb5" CreationDate="2010-11-30T16:18:18.710" UserId="596" Text="hi, &#xD;&#xA;&#xD;&#xA;either i have a workload-related blackout or i'm missing some basics.....&#xD;&#xA;&#xD;&#xA;i just completed editing a project consisting of audio material which was originally 44,100Hz. the audio is intended to accompany a video. what's the exact meaning if at all of exporting it at 48,000Hz? am i gaining a higher resolution by doing so? or it doesn't make any sense cause the original material was 44,100? will it affect the sound in any way when i export it at 48?&#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8258" PostHistoryTypeId="1" PostId="4902" RevisionGUID="c05ac318-c3c3-4afe-8fbd-c82e62611eb5" CreationDate="2010-11-30T16:18:18.710" UserId="596" Text="sample rate confusion" ContentLicense="CC BY-SA 2.5" />
  <row Id="8259" PostHistoryTypeId="3" PostId="4902" RevisionGUID="c05ac318-c3c3-4afe-8fbd-c82e62611eb5" CreationDate="2010-11-30T16:18:18.710" UserId="596" Text="&lt;sample-rate&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8260" PostHistoryTypeId="2" PostId="4903" RevisionGUID="58b85077-d648-436e-bfa5-84a1c73964c0" CreationDate="2010-11-30T16:31:59.487" UserId="339" Text="no, it won't affect the sound at all. Converting low SR recorded sound to greater SR only gives you more headroom for Edits, process and the likes." ContentLicense="CC BY-SA 2.5" />
  <row Id="8261" PostHistoryTypeId="2" PostId="4904" RevisionGUID="91d4de92-c803-4e83-9c7c-83e76d48b33d" CreationDate="2010-11-30T16:33:45.740" UserId="673" Text="I guess that quality-wise, this wouldn't make any difference since your original material is recorded in 44.1kHz. It's not like you can add any clarity or frequencies just by exporting it to a higher sample-rate.&#xD;&#xA;&#xD;&#xA;The issue might be here in the format that the person wants to use with the video. If you use 44.1kHz in a video file that is intended to go with 48kHz audio, you will encounter massive sync issues.&#xD;&#xA;&#xD;&#xA;I might be missing something, so I would wait for some 'high-caliber' guys to answer the question." ContentLicense="CC BY-SA 2.5" />
  <row Id="8262" PostHistoryTypeId="2" PostId="4905" RevisionGUID="621fcd25-3d6e-4347-ae7b-c34606c1591d" CreationDate="2010-11-30T16:45:58.260" UserId="238" Text="As Noiseboy said, the standard in the UK is 48 KHz 16 Bit. Sometimes the sound post-production superviser will request 24 Bit resolution as this allows about 20 dB more headroom, but this will always be agreed upon before the shoot. Although many cameras record at 48 KHz, 16 Bit  this is likely to change in the future - camera technology is continually developing and storage mediums are also getting maller in physical size but bigger in storage size. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8263" PostHistoryTypeId="2" PostId="4906" RevisionGUID="2855a131-5756-4bdb-b29f-7c1642f52530" CreationDate="2010-11-30T16:52:56.847" UserId="407" Text="Both [AudioKinetics Wwise][1] and [Firelight's FMOD][2] have a load of information and tutorials on websites. Youtube is one of the best resources for learning the API's too, this is what I got when searching for [FMOD][3].&#xD;&#xA;As for general game audio specific stuff try [Gamasutra's][4] game audio articles - they are usually very informative, and written by people who really know their stuff :)&#xD;&#xA;hope this helps -&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiokinetic.com/en/learning-center/videos&#xD;&#xA;  [2]: http://www.fmod.org&#xD;&#xA;  [3]: http://www.youtube.com/results?search_query=fmod&amp;aq=f&#xD;&#xA;  [4]: http://www.gamasutra.com/php-bin/article_display.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="8264" PostHistoryTypeId="2" PostId="4907" RevisionGUID="ef0a3ec6-2796-42ef-821d-c2206e0763a4" CreationDate="2010-11-30T17:25:39.163" UserId="707" Text="I don't have time to get into the details, but audio for picture only works at 48k.  Not a resolution thing." ContentLicense="CC BY-SA 2.5" />
  <row Id="8265" PostHistoryTypeId="5" PostId="4900" RevisionGUID="6e2a71ce-ba47-45a7-9d18-23f292adfa84" CreationDate="2010-11-30T17:27:02.793" UserId="61" Comment="spelling" Text="I personally do best when I am paying money to learn and have a deadline and professor (I am sure it has to do with my cheap money obsessed nature.)  So...I have been eyeballing this Berklee online course http://www.berkleemusic.com/school/course?course_item_id=8688817&amp;usca_p=t&amp;offer_code=2285.&#xD;&#xA;&#xD;&#xA;If anyone out there has taken it and can review. Please do. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8266" PostHistoryTypeId="2" PostId="4908" RevisionGUID="314aa722-b132-49f3-904c-3d4ed6d22b69" CreationDate="2010-11-30T17:36:06.753" UserId="673" Text="Thanks Richard! I must be going blind and somehow I missed the big &quot;Learning Center&quot; button on AudioKinetics site!! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I will share some of the stuff that i found myself:&#xD;&#xA;&#xD;&#xA;FMOD:&#xD;&#xA;&#xD;&#xA;http://www.fmod.org/wiki/index.php5?title=Main_Page&#xD;&#xA;&#xD;&#xA;http://www.fmod.org/forum/&#xD;&#xA;&#xD;&#xA;http://www.gamesounddesign.com/forum/viewtopic.php?f=4&amp;t=241&#xD;&#xA;&#xD;&#xA;http://www.freebasic.net/forum/viewtopic.php?t=11&#xD;&#xA;&#xD;&#xA;http://www.gamedev.net/reference/articles/article2098.asp&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;UDK:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=GPlHGPhcBOs&amp;p=A4CBC7A0D6909ED6&amp;playnext=1&amp;index=36&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So there is quite a big hole in UDK tutorials. In most UDK books that I had a look at there is a chapter about audio... if you're lucky it's about 1,5/2 pages.. :)&#xD;&#xA;Anyone has some ideas with UDK? " ContentLicense="CC BY-SA 2.5" />
  <row Id="8267" PostHistoryTypeId="2" PostId="4909" RevisionGUID="a2daf6db-49ff-4ba6-ba22-f7eb74ace068" CreationDate="2010-11-30T17:38:23.463" UserId="6487" Text="These are sounds that never left my brain and completely influence my sound design palette.&#xD;&#xA;&#xD;&#xA;Sound:&#xD;&#xA;I like the quintessential computing sounds from the 70s.  In fact, I must say the whole Bionic Woman, Wonder Woman, Battlestar Gallatica synthesized springy super hero jumps and leaps along with the almost arpeggiated electronic bleeps for computers forever stick in my mind. I loved it.  &#xD;&#xA;&#xD;&#xA;Effect:It was so wacky and primitively electronic while being extremely effective and innocently technologically optimistic unlike much of the ominous all powerful sounding electronic hums and drones we tend to associate with computers now. Perhaps this is symbolic of our use of computers as clunky helpers and timesavers in the 70s verses our almost absolute continual dependence on data storage and computation today. I felt like this is well represented cinematically with the vocal sound design for Wally and C3PO. Loved it soooo much. God love you, Walter Murch and Ben Burtt.&#xD;&#xA;&#xD;&#xA;Sound:The flow of people in the hallway during the hallway scene for THX 1138.  &#xD;&#xA;&#xD;&#xA;Effect:I could just listen to that sound for hours on loop.  There is a jem of a interview on the anniversary DVD where frequency variation is discussed. It can often be more effective at translating a feeling of largeness verses just doubling sounds over and over. Check it out on youtube: http://www.youtube.com/watch?v=BnXad1aAXQs&#xD;&#xA;So amazing!! I love that sound.&#xD;&#xA;&#xD;&#xA;Sound: The SFX silent music only (amazing music) blood elevator scene in Kubrick's The Shining.&#xD;&#xA;  &#xD;&#xA;Effect:That scene was so horrifying with the flashes of the panicked child, the twin girls, and blood raining down....but no object specific SFX.  After the amazing design that was used in previous scenes (The Gold room, the snow maze) it was unsettling to feel the unnatural discontinuous lack of design on such an enormous scene.  It really felt like all hell had broken loose. It reminds me that sometimes the best thing I can do for the effectiveness of a story is to let something stay mute.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Great discussion, Jay!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="8268" PostHistoryTypeId="2" PostId="4910" RevisionGUID="1f66d49f-7ae5-41fb-851c-67f808a8ee03" CreationDate="2010-11-30T18:53:26.400" UserDisplayName="user49" Text="Its a vague question: &quot;for post production?&quot;&#xD;&#xA;&#xD;&#xA;The sample &amp; bit rate you work at **during** post production is a different issue to the sample &amp; bit rate for **release/delivery** format....&#xD;&#xA;&#xD;&#xA;For film, location sound is 24bit 48k poly, I do most FX field recording now at 24 bit 192k, I do sound design/processing 24 bit 192k or 96k or 48k while dialogue editors &amp; foley work 24 bit 48k, We mix 24 bit 48k so my final edit sessions are 24bit 48k&#xD;&#xA;&#xD;&#xA;FWIW the 24 bit vs 16bit is as significant as the sample rate...&#xD;&#xA;(I wouldn't want to be working 16bit &amp; haven't in a decade or more)&#xD;&#xA;&#xD;&#xA;The delivery format depends on the medium, versions of a film soundtrack are created for each medium&#xD;&#xA; &#xD;&#xA; - output for film sound neg&#xD;&#xA; - output for HD Master&#xD;&#xA; - output for SD Master&#xD;&#xA; - output for DVD&#xD;&#xA; - etc...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8269" PostHistoryTypeId="2" PostId="4911" RevisionGUID="4671dff9-10e5-4268-a250-8ee43a05d9ba" CreationDate="2010-11-30T19:04:59.203" UserDisplayName="user49" Text="You need to be very careful to deliver the correct format as per the specs for the project. For films we are given a list of deliverables by the post supervisor... &#xD;&#xA;&#xD;&#xA;One very important reason to work 48k in post, is due to digital laybacks. Tape formats like DigiBeta (common in TV land) work 48k, so if you provide 44.1k audio there are a number of potential problems, the worst case is that if it is laid back as though it IS 48k, then you'll get nasty aliasing artefacts ie your work will sound bad and/or drift in sync... To solve this problem they will have to waste valuable/expensive time converting your files...&#xD;&#xA;&#xD;&#xA;You need to find out the spec for the delivery of the project before you start it, or if its too late for that, at least find out before you complete the job and make sure sample rate, bit rate, timecode, sync etc are all verified as correct...&#xD;&#xA;&#xD;&#xA;PS in your specific case, I would also verify that the original field record actually IS 44.1k as that is not standard practice. Go back to the sound logs from the recordist and the original recordings and check, incase it has been incorrectly converted by the picture editor or assistant... &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8270" PostHistoryTypeId="2" PostId="4912" RevisionGUID="5bec8971-f47b-40ba-a20d-0ddbd5483e1b" CreationDate="2010-11-30T21:32:35.513" UserId="593" Text="I can't quite remember when I knew that this was the line to pursue, but I actually think that it just slowly build up and somehow subliminally shaped my path, since I eventually started to realise that many of my great film moments where due to the soundtrack, especially the score and specific sfx. Once I started learning the constructed nature of a soundtrack it became so much more interesting and I just knew that's what I had to do.&#xD;&#xA;&#xD;&#xA;In no particular order:&#xD;&#xA;&#xD;&#xA;Scores: Fifth element, Ghost in the shell, Star Wars, Bladerunner, Jurassic Park, E.T., 2001, Cast Away, No Country for Old Men...&#xD;&#xA;&#xD;&#xA;Sfx: everything about the Lightsaber, Smartgun from Aliens, Predator vision, Bullet-time and the matrix code, every facet of the pod race sequences, voice of HAL, grenade launcher in T2, T-rex scream...&#xD;&#xA;&#xD;&#xA;They have all informed and expanded my sonic vocabulary and I could go one for a long time listing fragments. When I'll be able to structure, execute and facilitate that level of sonic storytelling and make it as iconic and memorable as these guys then that would just be great.&#xD;&#xA;&#xD;&#xA;Great question!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8271" PostHistoryTypeId="5" PostId="3072" RevisionGUID="e29ba11c-d1db-490b-af25-54f0ce19127e" CreationDate="2010-11-30T21:54:40.690" UserId="61" Comment="deleted 8 characters in body" Text="For composers, it may have been John Williams' unforgettable two-note motif from Jaws that got them into the business. But what about us sound folks? What are the cinematic moments in sound design that drove you to pursue it as a career or lifelong passion, and how do they continue to affect the way you work today?&#xD;&#xA;&#xD;&#xA;A few easy ones from me to get the conversation rolling:&#xD;&#xA;&#xD;&#xA;**THE SOUND:** Darth Vader's breathing from Star Wars.  &#xD;&#xA;**THE EFFECT**: OK, this is the Jaws theme of sound design for me. I cannot think about Star Wars without hearing that sound in my memory; it made the character come to life. Much later I learned how that sound was made, by [recording a person breathing through a SCUBA regulator][1]. What I take from that today, and how it affects my work, is that sometimes the design element is just as simple and uncomplicated as what the visual medium is conveying, ie. it's a guy breathing in a helmet. So, try recording a guy in a helmet! (or SCUBA regulator, or some other practical prop). In short, I don't always have to be hunching over a synth or sampler to create effective sound design. Reach for a microphone instead.&#xD;&#xA;&#xD;&#xA;**THE SOUND:** The Tyrannosaurus Rex roar from Jurassic Park.  &#xD;&#xA;**THE EFFECT:** I'll never forget that moment in the theatre. I was absolutely riveted, jaw dropped and frozen in my seat; I couldn't believe what I was seeing. But it was the *sound* that made it real for me. What I take from it today, and how it influences my work, is to not be afraid to shock people with sound design (this lesson comes from The Exorcist, as well). Embrace the reality of the moment and go for it, make it real. Be bold, because there will be times when music will not be there to cover up your track.&#xD;&#xA;&#xD;&#xA;Looking forward to all of your contributions to this conversation.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Ben_Burtt" ContentLicense="CC BY-SA 2.5" />
  <row Id="8272" PostHistoryTypeId="2" PostId="4913" RevisionGUID="e9de2c44-6309-4e3e-89a2-9121e45d6c78" CreationDate="2010-12-01T00:48:32.560" UserId="338" Text="The sound of silence has profoundly affected the way I work in so many ways." ContentLicense="CC BY-SA 2.5" />
  <row Id="8273" PostHistoryTypeId="5" PostId="3431" RevisionGUID="26464707-509d-4798-832b-20fe1bb42df4" CreationDate="2010-12-01T01:15:19.433" UserId="61" Comment="edit" Text="As expressed above, getting some of these folks on the phone is going to prove difficult - and possibly even detrimental to your future career. (If somebody cold-called me in the middle of a tight schedule or client playback I'd be very put off, plus I'd want to know how they got my number.) That being said, I've had a number of people contact me through reliable channels that have led to productive conversations, visits and even job offers.&#xD;&#xA;&#xD;&#xA;Regarding notable sound designers: I think you'll find SSD to be a wealth of knowledge, not only in how people approach sound design but also as a who's-who in the business. Many of the contributors are well-established sound designers for film, television, games, etc. And of course there are the more well-known who have published interviews and Q&amp;As all over the place: Ben Burtt, Gary Rydstrom, Harry Cohen, Christopher Boyes, Glenn Freemantle, Richard King, etc. Look up any of those names on [imdb.com][1] if you're unsure of who they are.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8274" PostHistoryTypeId="2" PostId="4914" RevisionGUID="a4afe77c-37b2-4fbc-8a1c-b0aff08d10a3" CreationDate="2010-12-01T03:12:39.337" UserId="18160" Text="I've been asked a myriad of times to provide an &quot;Epic&quot; soundtrack.&#xD;&#xA;&#xD;&#xA;Depending on the project, I do my best to turn over a rich, deep and dramatic palette and mix it in such a way to contribute to the storyline's tension and climax.&#xD;&#xA;&#xD;&#xA;What does the word &quot;Epic&quot; mean to you when you're asked &quot;Make me an epic soundtrack for this film&quot;?&#xD;&#xA;&#xD;&#xA;Does it mean higher resolution recordings? More low-end and LFE? Make more room for a gigantic orchestral score?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8275" PostHistoryTypeId="1" PostId="4914" RevisionGUID="a4afe77c-37b2-4fbc-8a1c-b0aff08d10a3" CreationDate="2010-12-01T03:12:39.337" UserId="18160" Text="What does Epic mean to you?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8276" PostHistoryTypeId="3" PostId="4914" RevisionGUID="a4afe77c-37b2-4fbc-8a1c-b0aff08d10a3" CreationDate="2010-12-01T03:12:39.337" UserId="18160" Text="&lt;epic&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8277" PostHistoryTypeId="2" PostId="4915" RevisionGUID="12cb8911-f2dc-4ec7-ae11-8b3fc1be5769" CreationDate="2010-12-01T04:12:04.727" UserId="587" Text="Brian De Palma,&#xD;&#xA;Kathryn Bigelow,&#xD;&#xA;Christopher Nolan,&#xD;&#xA;Steven Soderbergh,&#xD;&#xA;Francis &amp; Sofia Coppola,&#xD;&#xA;Chan-wook Park,&#xD;&#xA;Kinji Fukasaku,&#xD;&#xA;Takashi Miike,&#xD;&#xA;Shusuke Kaneko, ... I mean I could go on...&#xD;&#xA;&#xD;&#xA;The reason why I start with directors is that you can only have an epic soundtrack when your picture is just as epic as the soundtrack. If you have an overly ostentatious soundtrack with a picture that lacks any kind of important element, then this could hinder making an epic movie (which most of the time requires an epic soundtrack that FITS). The director makes or breaks the film's epic-ness as a whole. &#xD;&#xA;&#xD;&#xA;Definition of Epic:&#xD;&#xA;heroic; majestic; impressively great; of unusually great size or extent&#xD;&#xA;&#xD;&#xA;So on sound side based off of that definition, in my opinion, audio that brings you closer to the hero, spans clarity over an environment creating a majestic soundscape, tells the story with great detail and thought, and sometimes my favorites are enormously spectrum filled monster roars (see World of Warcraft: Cataclysm Trailer)&#xD;&#xA;&#xD;&#xA;One of my favorite cinematic openings is &quot;Old Boy&quot;:&#xD;&#xA;http://www.youtube.com/watch?v=aFzFOwdh5QA&#xD;&#xA;Quality has been smashed and the impact is softened by no subtitles, especially if you havent seen the movie. But if you have, you rock.&#xD;&#xA;&#xD;&#xA;Have you ever tried to design sound to an animation that lacks detail? You can design the most intricate detailed spectrum-interesting filled sound fx for an event, yet if the picture has nothing to visually emit your unbelievable sound design... then its pretty hard to make it epic. HOWEVER, art movies like &quot;koyaanisqatsi&quot; (Scored by Philip Glass) and documentaries like &quot;Rivers and Tides&quot; are in my opinion epic not because of the detail, but of the minimalism involved with the soundtrack that MATCHES the minimalism of the film.&#xD;&#xA;&#xD;&#xA;Epic for entertainment, I believe, is a balancing act between picture and sound.&#xD;&#xA;&#xD;&#xA;In just audio? Pink Floyd, Mars Volta, Led Zeppelin, King Krimson... on and on and on :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8278" PostHistoryTypeId="2" PostId="4916" RevisionGUID="7d2963ce-78a5-4cee-bb16-8d2895caa86f" CreationDate="2010-12-01T04:51:25.037" UserId="396" Text="I haven't had any hands on experience with the H2, but I know from experience undertaking ambisonic recordings that the angles of the microphones, and the mic capsule and gain matching, are very important!&#xD;&#xA;&#xD;&#xA;According to this site [Ambisonic.info][1] the results of decoding recordings from the H2 into surround using custom software leave something to be desired. Since the math is quite well established it seems that the IM Research VZE probably would also have difficulty recreating an accurate surround image.&#xD;&#xA;&#xD;&#xA;That said, accuracy is not necessarily what everyone is looking for, and the 'proprietary spatializing algorithms' may work to create a spacious sounding surround image, even if it is not as accurate as a soundfield etc..? You'd have to make up your own mind as to whether that'd be a gimmick I guess.&#xD;&#xA;&#xD;&#xA;Would be great to hear of some first hand experience of course!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ambisonic.info/zoomh2.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="8279" PostHistoryTypeId="5" PostId="4914" RevisionGUID="bd99ab5f-92f5-43d1-a9c0-73ecc8bc0351" CreationDate="2010-12-01T06:55:05.643" UserId="18160" Comment="added 70 characters in body" Text="I've been asked a myriad of times to provide an &quot;Epic&quot; soundtrack.&#xD;&#xA;&#xD;&#xA;Depending on the project, I do my best to turn over a rich, deep and dramatic palette and mix it in such a way to contribute to the storyline's tension and climax.&#xD;&#xA;&#xD;&#xA;What does the word &quot;Epic&quot; mean to you when you're asked &quot;Make me an epic soundtrack for this film&quot;?&#xD;&#xA;&#xD;&#xA;Does it mean higher resolution recordings? More low-end and LFE? Make more room for a gigantic orchestral score? Or does it mean something more to you? I'm curious to what you think." ContentLicense="CC BY-SA 2.5" />
  <row Id="8280" PostHistoryTypeId="2" PostId="4917" RevisionGUID="22aa8e05-7ba6-43e9-a476-d61c88d11954" CreationDate="2010-12-01T15:13:43.610" UserId="709" Text="There does indeed seem to be two camps when it comes to the living dead - the &quot;28 Days Later&quot; vibe which seems much more guttural/aggressive, and the B-movie-styled growly/laughable (which is usually the point, I think).&#xD;&#xA;&#xD;&#xA;I've been watching AMC's &quot;The Living Dead&quot; and I found myself a little surprised that the sound choices have been more on the B-movie side - the pickaxe through the head sounds they use are over the top, the zombie bites and organ tears.  It seems the intention of the sounds are not really to make you squirm, but to pay homage to those older zombie flicks.  &#xD;&#xA;&#xD;&#xA;Additionally, those sounds seem to generally sit &quot;on top&quot; of the mix as opposed to being part of the scene.  Interesting choices.  I'm not sure that I would choose to treat the show the same way, but I love hearing soundtracks that push those kinds of boundaries.&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8281" PostHistoryTypeId="2" PostId="4918" RevisionGUID="8635f8ab-3ca8-4fc8-b308-df4a4a40a933" CreationDate="2010-12-01T15:55:18.097" UserId="709" Text="I'm a little late to the conversation, David, so I hope you've figured this out.&#xD;&#xA;&#xD;&#xA;I work at a studio that is mostly PT based, but I use N4/5 to edit regularly.  I've had plenty of problems delivering from Nuendo to PT (both OMF and AAF), and ended up spending some time to figure out what was making PT choke upon the import of both formats.&#xD;&#xA;&#xD;&#xA;A few notes worth sharing - &#xD;&#xA;&#xD;&#xA;PT does NOT like border of fade ins and fade outs touching one another - ie., in Nuendo, if the end of your fade in on the audio file butts right up agains the start of your fade out, PT will not import.  This can be as little as one region and it will mess up the entire import;&#xD;&#xA;&#xD;&#xA;I haven't had much luck with maintaining track names/region names when going from Nuendo to PT;&#xD;&#xA;&#xD;&#xA;Delete Overlaps will make your life easier when going from one DAW to the next;&#xD;&#xA;&#xD;&#xA;One workaround I've used, although it's terribly time consuming, is to export batches of selected tracks from Nuendo to PT to pinpoint what the problem is.  Once you find a set of tracks that doesn't translate, export 5 min timeline chunks until you then get a set of tracks within a specific timeline range to further pinpoint where the problem lies.  Although it's a PITA, I've found that it's usually only one region or audio file that's causing the problems.&#xD;&#xA;&#xD;&#xA;I've had far less problems with N5, though I've been editing and mixing most of my projects in N5 and not transferring to PT.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8282" PostHistoryTypeId="2" PostId="4919" RevisionGUID="5fe46ccf-ec72-4809-a83a-cc8e38e086b4" CreationDate="2010-12-01T16:52:22.777" UserId="37" Text="just to throw this in the mix:&#xD;&#xA;http://www.solid-state-logic.com/music/pro-convert/&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8283" PostHistoryTypeId="2" PostId="4920" RevisionGUID="09861db8-8850-4823-94e0-3d1c42db2575" CreationDate="2010-12-01T17:23:21.470" UserId="390" Text="**The Scene** In *We Own the Night*, the car chase scene that occurs in the rain with cars dipping and diving between the support columns of the elevated train tracks. &#xD;&#xA;&#xD;&#xA;**The Sound(s)** The windshield wipers initially start out as a diagetic sound element that later transforms to become the heartbeat of this exciting chase scene. Most of the scene takes place from the point of view of Joaquim Phoenix inside the car. The muted sounds of heavy rain hitting the windshield creates a remarkably claustrophobic sensation. When the pace of the scene picks up, there is no music cue telling us how to feel. Instead, the muted gunshots heard outside of the car that threatens the life of Joaquim's father played by Robert Duvall and the pace and volume of the sound of the windshield wipers provide a distinct accent on the action that unfolds.  When a key event occurs in the chase scene, the timbre of the wipers change. I believe it's a delay effect but I'm not sure. But it contributes to the sensation of having your world torn apart by this event.  Music only comes in later as an afterthought after the scene has concluded.&#xD;&#xA;&#xD;&#xA;**The Effect**  Well I talked about the effect a little bit in describing the sound. Lots of car chase scenes feature hyped-up music and loud sound effects. However, this scene transports the viewer into the scene by creating a real sense of claustrophobia and helplessness as the world falls apart around you. It's a great scene and I highly recommend the movie just for that scene.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="8284" PostHistoryTypeId="5" PostId="4920" RevisionGUID="fe108a38-f147-4988-9983-842c8baf513d" CreationDate="2010-12-01T17:29:40.700" UserId="390" Comment="added 253 characters in body" Text="**The Scene** In *We Own the Night*, the car chase scene that occurs in the rain with cars dipping and diving between the support columns of the elevated train tracks. &#xD;&#xA;&#xD;&#xA;**The Sound(s)** The windshield wipers initially start out as a diagetic sound element that later transforms to become the heartbeat of this exciting chase scene. Most of the scene takes place from the point of view of Joaquim Phoenix inside the car. The muted sounds of heavy rain hitting the windshield creates a remarkably claustrophobic sensation. When the pace of the scene picks up, there is no music cue telling us how to feel. Instead, the muted gunshots heard outside of the car that threatens the life of Joaquim's father played by Robert Duvall and the pace and volume of the sound of the windshield wipers provide a distinct accent on the action that unfolds.  When a key event occurs in the chase scene, the timbre of the wipers change. I believe it's a delay effect that gives it a new scraping quality but I'm not sure. It certainly contributes to the sensation of having your world torn apart by this event. The scene continues on for a bit and we're taken out of the car by the rising sound of a car horn just before the final crash. Music only comes in later as an afterthought after the scene has concluded.&#xD;&#xA;&#xD;&#xA;**The Effect**  Well I talked about the effect a little bit in describing the sound. Lots of car chase scenes feature hyped-up music and loud sound effects. However, this scene transports the viewer into the scene by creating a real sense of claustrophobia and helplessness as the world falls apart around you. It's a great scene and I highly recommend the movie just for that scene.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Douglas Murray was the Sound Designer/Supervising Sound Editor for that film. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8285" PostHistoryTypeId="2" PostId="4921" RevisionGUID="36449b52-e511-4955-b064-c6fba5bff95b" CreationDate="2010-12-01T17:32:47.250" UserId="29" Text="*[Jay, sorry this doesn't follow your format, but there are too many specific influences to list...]*&#xD;&#xA;&#xD;&#xA;For me, it started with Star Trek: The Original Series. Sure, I was all about Star Wars, who wasn't...but that was the show that was syndicated and on *daily*, and therefore wound up profoundly impacting what I noticed in media sound and how I listened to sound for picture. The transporter, the tricorder, warp drive, photon torpedoes, even how the ship phasers sounded different on the bridge from exterior POV's...so many items to list. And, of course, so many more *bad* sounds that to this day haven't aged well. The Bionic Man was the very first show, that had iconic sounds that I remember, but I don't think that really had much of an impact on my work. Dr. Who was another informative series. These early shows clued me into the fact that people had to make these sounds from nothing, and that was fascinating (and what spurred me to ask my parents for a home computer).&#xD;&#xA;&#xD;&#xA;My big &quot;ah-ha&quot; moment was Star Wars, however, precisely because its marketing materials (behind-the-scenes and making-of documentaries) showed how, unlike the shows I had seen before, the sound effects were largely of real-world sources and not synthesized. This, therefore, clued me into how ALL film has potential for sound design, not just genre fiction.&#xD;&#xA;&#xD;&#xA;I also have to add one thing that's not filmic that I found hugely influential: The inclusion of samples into music (sorry, I wasn't aware of musique concrete or Steve Reich until much later!) was a big ah-ha for me, in terms of recognizing that any sound could be used for any purpose, in any medium. Public Enemy, Skinny Puppy, and Pop Will Eat Itself were big influences for years, and so many more (now the DJ Shadows and Amon Tobins of the world)..." ContentLicense="CC BY-SA 2.5" />
  <row Id="8286" PostHistoryTypeId="2" PostId="4922" RevisionGUID="fafa1929-fc0c-47a9-8dc1-a9a9968a023c" CreationDate="2010-12-01T17:48:47.607" UserId="29" Text="I love Justin Pearson's answer, as it is, indeed, all about context. I would summarize my own opinion as the following:&#xD;&#xA;&#xD;&#xA;*The extent of sound design stylization that suspends audience disbelief is directly proportional to the level of realism **[see footnote]** of the narrative, and the emotional content of the moment being underscored.*&#xD;&#xA;&#xD;&#xA;[**Footnote**: Realism is in the eye of the beholder, based on familiarity with the subject matter. If we all hung out with ninjas and serial killers every day, would swords and gore effects sound as stylized and still suspend disbelief?]&#xD;&#xA;&#xD;&#xA;This generalization applies to entire films that aren't objectively realistic (such as sci-fi films) to more expressionistic or impressionistic (as opposed to representational) moments in films that lend themselves to moments of visual and sonic poetry, as opposed to more realistic or verite approaches to sound and picture. This isn't to say that this is a rule that can't be broken: It's broken all the time, often for comedic purposes, or to get all &quot;meta&quot; on it and *remind* the viewer that this is an illusion/film." ContentLicense="CC BY-SA 2.5" />
  <row Id="8287" PostHistoryTypeId="2" PostId="4923" RevisionGUID="bc3bc500-6419-4492-93d6-af09415ba0c0" CreationDate="2010-12-01T17:58:43.390" UserId="711" Text="Famitracker http://famitracker.shoodot.net/ is a tracker running on Windows emulating the NES audio chip. You can create your own instruments and compose within the limitation of the real hardware. Then you can either export it as .nsf (nintendo sound format, readable by the origininal NES) or as a .wav. &#xD;&#xA;&#xD;&#xA;An alternative to this is &quot;magical 8 bit plugin&quot; developed by YMCK, a famous 8-bit Jazz band from Japan. You can d/l it for free on http://www.ymck.net/english/download/index.html&#xD;&#xA;&#xD;&#xA;Eventually, you can go the hardcore way. Buy a Gameboy for 8$ and a [USB Cartdrige][1] for around 40$ and then load [LSDJ][2] on it. LSDJ is a 4-channel tracker running on the Gameboy.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There are tons of software running on old machines, I could speak about this for pages and pages. But if I can give you one advice, use Famitracker, it is the quickest and cheapest way to get 8-bit sounds really close to the original and sounding the way you want it to sound. The last version of the soft is really more user-friendly than before. If you have troubles getting sounds out of it you can shoot me an email&#xD;&#xA;&#xD;&#xA;  [1]: http://www.nonelectronics.com/catalog/index.php?main_page=product_info&amp;cPath=2&amp;products_id=112&amp;zenid=n1gsj873ggh5f70tfdg768o702&#xD;&#xA;  [2]: http://www.littlesounddj.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8288" PostHistoryTypeId="2" PostId="4924" RevisionGUID="a7e89e5e-1e5f-432f-85bc-a5b1bcd21dbc" CreationDate="2010-12-01T18:32:15.567" UserId="253" Text="I have to have a bit of a rant on this: i think if someone asks for an &quot;epic&quot; sound track, it indicates a lack of understanding of sound design on their part.&#xD;&#xA;&#xD;&#xA;Given the time, i'd get the client to give me examples of films/scenes with sound that resonates with their ideas for their project and try to figure out what they like about it. Asking for an epic soundtrack is like sitting down at a restaurant and saying &quot;i'd like a delicious meal please&quot;.&#xD;&#xA;&#xD;&#xA;I agree with C3Sound on the matching of production values too; the films that are most commonly described as epic got that way by careful coordination of every audiovisual element. To use another food metaphor: you can put chocolate ganache on a piece of toast, but that doesn't make it a cake.&#xD;&#xA;&#xD;&#xA;It must be lunchtime." ContentLicense="CC BY-SA 2.5" />
  <row Id="8289" PostHistoryTypeId="2" PostId="4925" RevisionGUID="5e6af7da-971d-4276-94a6-70a382b05cae" CreationDate="2010-12-01T20:45:12.003" UserId="61" Text="If anyone knows how the iconic Predator &quot;click&quot; vocalizations were created (for the original film, that is), then please, do share! If you don't, then I'm open to your theories!&#xD;&#xA;&#xD;&#xA;GO!&#xD;&#xA;&#xD;&#xA;PS&gt; Let's keep this thread dedicated to this question; if you want to discuss a different iconic sound and how it was created, please start a new thread following the convention of Vol. 1, Vol. 2, etc. etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="8290" PostHistoryTypeId="1" PostId="4925" RevisionGUID="5e6af7da-971d-4276-94a6-70a382b05cae" CreationDate="2010-12-01T20:45:12.003" UserId="61" Text="How Did They Do That?? Vol. 1: The Predator &quot;clicks&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8291" PostHistoryTypeId="3" PostId="4925" RevisionGUID="5e6af7da-971d-4276-94a6-70a382b05cae" CreationDate="2010-12-01T20:45:12.003" UserId="61" Text="&lt;iconic-sounds&gt;&lt;film-sound-design&gt;&lt;creativity&gt;&lt;creature-vocalizations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8292" PostHistoryTypeId="2" PostId="4926" RevisionGUID="8bf66caf-9e3b-4cb8-b63c-dcc41524ff15" CreationDate="2010-12-01T21:01:08.133" UserId="270" Text="I think recordings of dolphins were the main ingredient for the clicks.&#xD;&#xA;&#xD;&#xA;I like a lot of the sound design in Predator, the clicky sounds were very original &amp; different to any other monster vocals Ive heard." ContentLicense="CC BY-SA 2.5" />
  <row Id="8293" PostHistoryTypeId="2" PostId="4927" RevisionGUID="a541b1a8-30d4-4a40-8f5b-ed0a9047556f" CreationDate="2010-12-01T21:53:04.610" UserId="6487" Text="I want to work with a team of sound professionals that create a vision and are all committed to a high end product. I want to design and mix and see a directors eyes sparkle on the dub stage with the glorious full manifestation of what was once only a dream and now sings more vibrantly in reality.  &#xD;&#xA;&#xD;&#xA;I want to be challenged.  I want to worry if I am good enough, struggle to find inspiration, be proven wrong, have to prove myself, and be forced to do better.&#xD;&#xA;&#xD;&#xA;I want to create something that brings good bumps, laughter, and tears to the audience. I want to tell an amazing story with sound that will seep into the thoughts and minds of the masses. That is the aim of my dreams and career." ContentLicense="CC BY-SA 2.5" />
  <row Id="8294" PostHistoryTypeId="2" PostId="4928" RevisionGUID="d91185a4-b95b-4295-9f10-6272abb4a089" CreationDate="2010-12-01T22:01:03.847" UserId="238" Text="It's hard to find hard facts on the subject, but after a bit of Internet searching it appears that the clicks were actually performed by voice artist Peter Cullen. He is listed on [IMDB][1] as being the un-credited voice of the predator and I have read in [a post on the Avid forum][2] that it was a voice artist who performed this sound effect. If it's true it just goes to show how effective the voice can be when creating effects!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/name/nm0191520/&#xD;&#xA;  [2]: http://duc.digidesign.com/showthread.php?p=1627035&amp;posted=1#post1627035" ContentLicense="CC BY-SA 2.5" />
  <row Id="8295" PostHistoryTypeId="2" PostId="4929" RevisionGUID="555ff7c4-5f9a-4293-86b2-153f3e982637" CreationDate="2010-12-01T22:01:46.200" UserId="620" Text="I'm in new territory here and was hoping someone out there might be able to help. I'm at the end of a 5.1 project that was mixed at 25fps and needed to be converted to 29.97fps. All the final mixes and stems have already been converted along with the pictures in another post house, however there was a glitch on one of the files so to avoid additional costs I said I'd try and convert the file myself&#xD;&#xA; A colleague said he had success with the following method converting from 25 to 24 fps: Importing the 5.1 mix stem into Protools, selecting sample rate conversion and ticking the (in my case) Pal to NTSC preset. However the synch is way off and the file length is over a minute too long. Does anybody have any solutions that don't involve software other than Protools? Any help greatly appreciated!&#xD;&#xA;   " ContentLicense="CC BY-SA 2.5" />
  <row Id="8296" PostHistoryTypeId="1" PostId="4929" RevisionGUID="555ff7c4-5f9a-4293-86b2-153f3e982637" CreationDate="2010-12-01T22:01:46.200" UserId="620" Text="Pal to NTSC Conversion" ContentLicense="CC BY-SA 2.5" />
  <row Id="8297" PostHistoryTypeId="3" PostId="4929" RevisionGUID="555ff7c4-5f9a-4293-86b2-153f3e982637" CreationDate="2010-12-01T22:01:46.200" UserId="620" Text="&lt;conversion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8298" PostHistoryTypeId="2" PostId="4930" RevisionGUID="b35f1c2b-013f-4e24-bd3e-0d0c63e09b41" CreationDate="2010-12-01T22:33:24.653" UserId="432" Text="You can try doing a 4.1% pull down and bouncing out the new file. Then pull it back into the session (with pull down off - 0%) and compare the original with the new. If you see/hear a difference, then you're probably good. I've never had to do this myself, so I don't know if it will actually work that way, but it's worth a shot.&#xD;&#xA;&#xD;&#xA;In your &quot;Session Setup&quot; window expand the &quot;Time Code Settings&quot; section. Look for &quot;Audio Rate Pull Up/Down&quot; and select &quot;Down 4%, Down 0.1%&quot;.&#xD;&#xA;&#xD;&#xA;I'm curious, so let us know if that works. You may also want to download MPEG Streamclip from [Squared5.com][1] as a backup. It will do transcodes (even audio I believe), and it's free.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.squared5.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8299" PostHistoryTypeId="5" PostId="4925" RevisionGUID="c9df8583-6ed5-4937-aeb9-ebc84f5150be" CreationDate="2010-12-01T23:06:11.173" UserId="61" Comment="hyperlink" Text="If anyone knows how the iconic Predator &quot;click&quot; vocalizations were created (for the original film, that is), then please, do share! (This means you [David Stone][1], [Richard Anderson][2] and [John Pospisil][3]!) If you don't, then I'm open to your theories!&#xD;&#xA;&#xD;&#xA;GO!&#xD;&#xA;&#xD;&#xA;PS&gt; Let's keep this thread dedicated to this question; if you want to discuss a different iconic sound and how it was created, please start a new thread following the convention of Vol. 1, Vol. 2, etc. etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/name/nm0831823/&#xD;&#xA;  [2]: http://www.imdb.com/name/nm0027328/&#xD;&#xA;  [3]: http://www.imdb.com/name/nm0654897/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8300" PostHistoryTypeId="2" PostId="4931" RevisionGUID="fe8a1345-0559-4f05-b529-d635cf6b5e54" CreationDate="2010-12-02T00:03:45.397" UserId="338" Text="Epic to me is like the wonderful discovery of cockroaches infesting my kitchen or clicking my pen *IN*" ContentLicense="CC BY-SA 2.5" />
  <row Id="8301" PostHistoryTypeId="2" PostId="4932" RevisionGUID="607e127e-7edd-47f1-af80-625f663b7c37" CreationDate="2010-12-02T00:24:52.690" UserId="142" Text="I have been offered a matching pair of Sennheiser MKH415 mics that are powered by T Power rather than 48 phantom. I record on Sound devices 702t and Fostex Fr2le and therefore cannot supply the right power without a T power converter. Do any of you still use T Powered mics on location recording. I have heard these really stand up well to the later 416 and would like some advice. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8302" PostHistoryTypeId="1" PostId="4932" RevisionGUID="607e127e-7edd-47f1-af80-625f663b7c37" CreationDate="2010-12-02T00:24:52.690" UserId="142" Text="MKH 415 T POWER" ContentLicense="CC BY-SA 2.5" />
  <row Id="8303" PostHistoryTypeId="3" PostId="4932" RevisionGUID="607e127e-7edd-47f1-af80-625f663b7c37" CreationDate="2010-12-02T00:24:52.690" UserId="142" Text="&lt;mkh415-t&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8304" PostHistoryTypeId="2" PostId="4933" RevisionGUID="ae9c1a5b-9b33-43f2-9fd8-bf2eecad5999" CreationDate="2010-12-02T01:18:48.437" UserId="290" Text="Personal question time - which will actually seriously help me with a project.&#xD;&#xA;&#xD;&#xA;Can you describe in as much detail as is relevant what is, to you, a beautiful calming space. For me, it's the middle of a forest during a gentle rain. But without the flying bugs. &#xD;&#xA;&#xD;&#xA;Thanks :-). I need a lot of beautiful environments, but obviously I'm limited by my own experiences and notions of beauty for coming up with them." ContentLicense="CC BY-SA 2.5" />
  <row Id="8305" PostHistoryTypeId="1" PostId="4933" RevisionGUID="ae9c1a5b-9b33-43f2-9fd8-bf2eecad5999" CreationDate="2010-12-02T01:18:48.437" UserId="290" Text="Beautiful ambience. What does that mean to you?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8306" PostHistoryTypeId="3" PostId="4933" RevisionGUID="ae9c1a5b-9b33-43f2-9fd8-bf2eecad5999" CreationDate="2010-12-02T01:18:48.437" UserId="290" Text="&lt;research&gt;&lt;ambience&gt;&lt;personal&gt;&lt;survey&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8307" PostHistoryTypeId="2" PostId="4934" RevisionGUID="3e7f0c8f-2e68-447b-9709-34ade3f98d0e" CreationDate="2010-12-02T02:29:10.710" UserId="118" Text="Does anyone in the UK, or more specifically in the London area, know a crowd adr / loop group they'd recommend?  A lot of loop groups can be a bit hammy or o.t.t - I've yet to hear anyone rave about a group they use, so I thought I'd try SSD to see if I had a bit more luck.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Michael&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8308" PostHistoryTypeId="1" PostId="4934" RevisionGUID="3e7f0c8f-2e68-447b-9709-34ade3f98d0e" CreationDate="2010-12-02T02:29:10.710" UserId="118" Text="Loop Group Options in the UK" ContentLicense="CC BY-SA 2.5" />
  <row Id="8309" PostHistoryTypeId="3" PostId="4934" RevisionGUID="3e7f0c8f-2e68-447b-9709-34ade3f98d0e" CreationDate="2010-12-02T02:29:10.710" UserId="118" Text="&lt;crowd&gt;&lt;adr&gt;&lt;loop&gt;&lt;group&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8310" PostHistoryTypeId="2" PostId="4935" RevisionGUID="88f59efa-5af6-4248-9105-93b52c61c8b4" CreationDate="2010-12-02T03:00:51.407" UserId="432" Text="I don't know about the 415's, but we have an MKH816T at work and it works great. If you like, you can hear it compared to the other shotgun mics we have. I did a post about it on my website a few months back: http://www.dynamicinterference.com/2010/08/04/shotgun-shootout/&#xD;&#xA;&#xD;&#xA;As for supplying T-power, you can purchase a Phantom Power to T-power converter ($60 a pop). We have one for those times when we're using our Zaxcom kit instead of Sound Devices kit. Here's one through B&amp;H: http://www.bhphotovideo.com/c/product/147515-REG/Sennheiser_12T_P48_12TP48_48V_Phantom.html&#xD;&#xA;&#xD;&#xA;You'll want to get the pinout on the mics verified to make sure they're correct.If that happened, it would fry the mics. More often than not, it was cables that caused issues.  There were some instances where it was mis-wiring on the mic side but those were rare...so best to check them. That issue was one of the reasons why the industry switched to Phantom 48, that problem doesn't exist with it. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8311" PostHistoryTypeId="2" PostId="4936" RevisionGUID="f8a6947e-46de-4d5e-87fb-7ded96022039" CreationDate="2010-12-02T03:23:41.057" UserId="390" Text="Take an H2 Handy Zoom recorder and put it on 4 channel recording so that both the back and front mics are live. Then take that sucker to a local museum on a busy evening (I went to the Chicago Museum of Art) and hit record. Make sure you walk quietly and often. You don't want to record entire conversations, just snippets. The sound of the audio captured from the front and rear makes for quite the immersive listening experience." ContentLicense="CC BY-SA 2.5" />
  <row Id="8312" PostHistoryTypeId="2" PostId="4937" RevisionGUID="14212413-237e-45d8-81c6-d96dbbc74f53" CreationDate="2010-12-02T03:34:10.830" UserId="390" Text="I did the score and contributed to the sound design for this short film currently going through festivals. I also did the score and sound design for the trailer here:&#xD;&#xA;&#xD;&#xA;This Way Up&#xD;&#xA;http://www.imdb.com/video/wab/vi2140014105/&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8313" PostHistoryTypeId="2" PostId="4938" RevisionGUID="3c4008ae-cce4-4b12-8deb-f2b0dbc6a2c2" CreationDate="2010-12-02T04:57:17.807" UserId="531" Text="There's beauty in the soft rhythmic patterns of streams and creeks. &#xD;&#xA;Those natural organic textures are not only nonabrasive but familiar and relaxing. &#xD;&#xA;&#xD;&#xA;Then again it could be a matter of perception. Perhaps one who lives in a big city relates better to the layered sounds of traffic, subway trains, and chatter. That familiarity might be relaxing to them.&#xD;&#xA;&#xD;&#xA;I would consider softer toned sounds to more beautiful than harsh, abrasive ones, but then again loud cacophonous noise gives me a headache. &#xD;&#xA;&#xD;&#xA;I think there's an inherent problem when we begin to apply human language to aural perception, because language is based on symbols that may or may not accurately transfer to experiential reality...&#xD;&#xA;I know i know, its our job as sound designers to cross that bridge and transformer ideas into sounds...&#xD;&#xA;I always find these topics interesting. &#xD;&#xA;&#xD;&#xA;some beautiful ambiences: &#xD;&#xA;&#xD;&#xA; 1. wind rustling the leaves of trees&#xD;&#xA; 2. waves crashing on a beach&#xD;&#xA; 3. kids laughing and playing&#xD;&#xA; 4. flowing water down a stream or creek&#xD;&#xA; 5. a coyote howling in the distance&#xD;&#xA; 6. a heard of horses running in the&#xD;&#xA;    distance&#xD;&#xA; 7. the roar of a big block V8 speeding&#xD;&#xA;    past you.&#xD;&#xA; 8. fog horns going off in the distance&#xD;&#xA;&#xD;&#xA;Good luck with your project, let us know how it turns out! " ContentLicense="CC BY-SA 2.5" />
  <row Id="8314" PostHistoryTypeId="2" PostId="4939" RevisionGUID="4f93cb88-fcdd-4552-bbdf-db2e23e8b352" CreationDate="2010-12-02T07:32:05.190" UserId="348" Text="A beautiful ambiance for me is relative to what I am recording where it is urban or rural, interior or exterior. I love the sound of city markets, the cacophony of languages, the rhythm of the voices. I love a busy street in high traffic with all the hooting, roaring of engines, the sounds bouncing off of the buildings.&#xD;&#xA;&#xD;&#xA;Libraries are amazing because of the quiet despite the presence of people. &#xD;&#xA;&#xD;&#xA;The sound of night in the country after a rain storm is terrific. All the insects and toads, frogs etc reemerging from their protective spaces and coming alive. It is like life has been breathed back into the night again. The dead of winter, that crisp stillness with the wind cutting through the landscape sounds so haunting and lost. &#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="8320" PostHistoryTypeId="2" PostId="4942" RevisionGUID="cd559cb1-5db5-466c-b0c8-3db370c7583b" CreationDate="2010-12-02T09:09:25.750" UserId="238" Text="Some that come to mind:&#xD;&#xA;&#xD;&#xA; - Dawn chorus - I love the different musical characteristics of birdsong.&#xD;&#xA; - A stream trickling slowly.&#xD;&#xA; - Wind blowing tall grass - generally Foleyed for film.&#xD;&#xA; - Gentle waves on a sandy beach - I particularly like the bubbly sound when the water disappears into the sand.&#xD;&#xA; - Crickets, cicadas and insect chorus.&#xD;&#xA; - Bumble bee buzzing around (reminds me of summer ambiance).&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8321" PostHistoryTypeId="2" PostId="4943" RevisionGUID="7d7b76a4-700a-4774-9147-21574053daf0" CreationDate="2010-12-02T10:22:53.047" UserId="673" Text="I find that the sound of water seems to be working magic on me. &#xD;&#xA;&#xD;&#xA;- waves hitting a sandy beach&#xD;&#xA;- water falling from the tap to a bathtub&#xD;&#xA;&#xD;&#xA;What I love about it so much; the fact that it's very chaotic. All the random bubbly noises create a world of their own. Yet, at the same time it's very soft and hypnotic. All you have to do is close your eyes and drift away. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Another thing that I would have to count in would be the sound of the cicadas in my girlfriends town - Columbia, SC. Millions of them giving an amazing gig. It feels like a nice droning sound.&#xD;&#xA;&#xD;&#xA;That made me wonder - Is it the sound itself that is relaxing? Or the reminder of how you felt when you heard the sound for the first time/most often? Maybe our brain is used to feel in a certain way when hearing a certain sound? For example; people that are scared of the dentist and hear the buzzing sound of the dentist drill feel very uncomfortable and possibly scared as soon as they hear it. For me the buzzing of that drill is quite relaxing, it is the smell of a dentist office that makes me feel uncomfortable.&#xD;&#xA;&#xD;&#xA;That could be a possible explanation to the question; Why are different people relaxed by different sounds?&#xD;&#xA;&#xD;&#xA;Bit off-topic! Still a good beer-convo! ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8322" PostHistoryTypeId="2" PostId="4944" RevisionGUID="639e5744-ff12-4993-b7a8-ea7e91218e6a" CreationDate="2010-12-02T10:24:34.177" UserId="261" Text="Hey Friends of Sound in Great Britain.&#xD;&#xA;&#xD;&#xA;I've picked up a job from London based animation studio doing a 5 minute film and &#xD;&#xA;I've budgeted 5 days for recording, editing, tracklay, revisions and mix. The question is now, what should I charge?&#xD;&#xA;&#xD;&#xA;I've looked around on the net and it seems that quite a number of London based studios are charging between £250 to £300 per day for a edit suite with operator. Bearing in mind that the majority of these studios have really top-notch facilities, PT HD, super networked FX libraries etc and my setup is little more humble, do you think that £1000, i.e. £200 per day is reasonable? &#xD;&#xA;&#xD;&#xA;I live in Switzerland and that translates to a less than what a sound editor would charge here...but then again everything costs more here.&#xD;&#xA;&#xD;&#xA;Your advice is much appreciated,&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 2.5" />
  <row Id="8323" PostHistoryTypeId="1" PostId="4944" RevisionGUID="639e5744-ff12-4993-b7a8-ea7e91218e6a" CreationDate="2010-12-02T10:24:34.177" UserId="261" Text="Urgent Question about rates in the UK" ContentLicense="CC BY-SA 2.5" />
  <row Id="8324" PostHistoryTypeId="3" PostId="4944" RevisionGUID="639e5744-ff12-4993-b7a8-ea7e91218e6a" CreationDate="2010-12-02T10:24:34.177" UserId="261" Text="&lt;rates&gt;&lt;money&gt;&lt;work&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8325" PostHistoryTypeId="2" PostId="4945" RevisionGUID="cf0cd8d1-5ec2-4a99-9a3c-c7828e092738" CreationDate="2010-12-02T10:43:28.700" UserId="641" Text="I have a Sennheisser 815T and an 816T and I run them off either my Sound Devices 302 mixer or, when operating on my Sound Devices 552, I use an old Sennheiser T-power box. &#xD;&#xA;I have just ordered a barrel adapter that converts 48V Phantom to 12V Tpower from B&amp;H Photo Video for USD 38.00 and I expect that will work nicely too and be a lot less bulky than the old T-power box!&#xD;&#xA;Both mics work beautifully on T-power...they are actually my favourite mics!  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8326" PostHistoryTypeId="6" PostId="4932" RevisionGUID="f15be1bf-5ca0-472c-9836-dfbae065dafc" CreationDate="2010-12-02T10:47:40.503" UserId="663" Comment="edited tags" Text="&lt;mkh415-t&gt;&lt;sennheiser&gt;&lt;microphone&gt;&lt;phantom&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8327" PostHistoryTypeId="2" PostId="4946" RevisionGUID="ade31437-7895-429a-8ce1-6f10a0702076" CreationDate="2010-12-02T11:17:47.787" UserId="37" Text="£250/day for an edit suite + operator, in a studio, sounds a tad too little. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8328" PostHistoryTypeId="2" PostId="4947" RevisionGUID="ab8e955c-aa51-4dfc-a2c0-1bc2e549cd20" CreationDate="2010-12-02T15:44:49.747" UserId="709" Text="+1 on Mixing Maniac's post.&#xD;&#xA;&#xD;&#xA;I often am asked to be all-in-one operator - sound editor, sound designer, ADR recordist/editor, foley artist/editor, mix engineer, music supervisor.  The upside is that I've taught myself these arts through trial and error and have honed my skills.  I hope, at least.  &#xD;&#xA;&#xD;&#xA;I would like nothing more than to be surrounded by a team of sound professionals who are collaborating indefinitely and pushing one another.  To work on a film project where the sound crew is invited to the table at the same time the rest of the crew is invited.  To work as a team instead of going it alone.&#xD;&#xA;&#xD;&#xA;I have, however, had the chance to work on a dream project that has just made the Oscar nomination short list for live-action short film - &quot;Ana's Playground&quot;.  Eric Howell is an talented director who understands the role and the importance that sound plays in film.  He gave me creative license to explore the space that the film takes place in.  A rarity in my daily work! &#xD;&#xA;&#xD;&#xA;Collaboration, I'm finding, is becoming a more and more vital element of the dream &quot;job(s)&quot; that I'm in search of. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8329" PostHistoryTypeId="2" PostId="4948" RevisionGUID="579480d1-e13d-48a3-a09a-b60289a73b61" CreationDate="2010-12-02T18:52:51.183" UserId="558" Text="Upfront sounds deserve more attention than a low volume background sounds.  I argue that you are doing your project a disservice if you are spend hours on the background dog bark that could be spent on the fight scene that is happening at the same time.&#xD;&#xA;&#xD;&#xA;In a perfect world we all would have great location rigs and access to all the explosion, animals, and vehicles we need to record our own.  I generally dont have the time or budget to be too dogmatic about it.  &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8330" PostHistoryTypeId="2" PostId="4949" RevisionGUID="013f5629-9bcd-4623-a70d-db0b318af98c" CreationDate="2010-12-02T19:01:08.663" UserId="558" Text="As I recall, the interstellar navigators from the Original Dune movie lived in tanks and spoke thru some speaker device.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8331" PostHistoryTypeId="2" PostId="4950" RevisionGUID="7e4bba31-3f6c-4126-ae36-bbe2e662da13" CreationDate="2010-12-02T19:31:46.217" UserId="437" Text="http://www.imdb.com/name/nm3528749/&#xD;&#xA;&#xD;&#xA;Office of the Dead is the only feature I've designed that has gotten a distribution deal...currently available on Amazon.com, but the publisher was more interested in getting it out than fixing a few niggling problems I found out about too late...the joys of independent, ultra-low budget filmmaking ;-)&#xD;&#xA;&#xD;&#xA;The Mountain Crumbles is hitting several festivals currently and is probably my favorite piece I have designed to date. I was also the editor and designer for A Yeti in the City http://www.imdb.com/title/tt1114702/ which made some festivals and had great music by The Octopus Project...by far the most original, creative piece I have had the pleasure to work on.&#xD;&#xA;&#xD;&#xA;Good luck getting IMDB to correct credits. I have fixes I have been waiting on for a couple years now...anyone had better luck?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8332" PostHistoryTypeId="2" PostId="4951" RevisionGUID="7a33597e-a39a-486b-a3d6-eafa9efb5f14" CreationDate="2010-12-02T20:31:58.357" UserId="290" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;Sorry for the long title. I've been thinking a lot about these unconventional and slightly controversial uses of sound outside of a &quot;sound design&quot; context. I wonder if there's anything useful amidst all the pseudo-science to us as engineers and artists. Is anyone here an expert (or an &quot;expert&quot;, or for that matter know anything on the topic) on either of these?&#xD;&#xA;&#xD;&#xA;  &quot;Sound Healing&quot; is a in vogue right now. The idea is basically, unless I'm misunderstanding it, that your body vibrates in a certain way, and by pummeling the body with pressure wave vibration you can encourage the body to vibrate differently, or you can resonate with different organs. Like a lot of contemporary pseudo-science, the feeling I get from speaking with practitioners is that it mates massive misunderstanding of string theory with eastern philosophy.&#xD;&#xA;&#xD;&#xA;But I can't help but wonder is there a grain of worthwhile truth in this that's worth pursuing as a sound designer?&#xD;&#xA;&#xD;&#xA;The scarily named &quot;Digital Drugs&quot; are less pseudoscience and more misnomer. The idea, and it works to a degree, is that either:&#xD;&#xA;&#xD;&#xA;1) You pair sound patterns or drones with flashing lights to produce a mild visual hallucination. This works, but it's nothing new. OR&#xD;&#xA;&#xD;&#xA;2) You play certain sounds that are meant to reproduce the effects of certain drugs. I haven't tried this, but it looks to me like a scheme for the producer of these sounds to make a lot of money off of young people by compounding the established truth that sound-can-make-you-feel (that's what we do, right?) with the placebo effect and the halo of interest/controversy around recreational drugs.&#xD;&#xA;&#xD;&#xA;But again, I wonder, is there something here we can exploit to make better art? Take away the &quot;digital drugs&quot; label (placebo effect + halo of interest), and does enough truth remain that we can use certain patterns of sound to produce a physiological effect? Or am I wrong about the falseness of the &quot;digital drug&quot; craze?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8333" PostHistoryTypeId="1" PostId="4951" RevisionGUID="7a33597e-a39a-486b-a3d6-eafa9efb5f14" CreationDate="2010-12-02T20:31:58.357" UserId="290" Text="Psuedo-Science of Sound. Sound healing and &quot;digital drugs&quot;. Is there a useful diamond in the BS rough?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8334" PostHistoryTypeId="3" PostId="4951" RevisionGUID="7a33597e-a39a-486b-a3d6-eafa9efb5f14" CreationDate="2010-12-02T20:31:58.357" UserId="290" Text="&lt;philosophy&gt;&lt;science&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8335" PostHistoryTypeId="2" PostId="4952" RevisionGUID="c7e44d32-da52-4e09-98a7-218f8acaf04e" CreationDate="2010-12-02T20:32:42.867" UserId="670" Text="I only have one credit at the moment as a sound editor for this superhero film, *The Photon Effect* I worked on during my internship.&#xD;&#xA;[http://www.imdb.com/title/tt1037124/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt1037124/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8336" PostHistoryTypeId="2" PostId="4953" RevisionGUID="8cdc16d3-4328-47eb-b670-516b01428e4d" CreationDate="2010-12-02T20:49:08.853" UserId="713" Text="All of these are good answers. But all of them specify certain sounds or environments. &#xD;&#xA;&#xD;&#xA;On a psyhcoacoustic level a beautiful calming space most closely resembles a uniform level across all frequencies. I don't mean a 'flat' level but one that is often found in natural settings. This is why a lot of people associate wind, forest, babbling brooks, birds, etc. as pleasing ambiences.&#xD;&#xA;&#xD;&#xA;In exterior city environments I have found that calming spaces can be found on rooftops of ten to twelve floors or more. With the sounds of the city, cars, sirens, low rumble of machinery, people moving around so distant it all blends and creates a wonderfully even and calming sense of the space.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If you are interested in learning more about the study of psychoacoustics you can check out:&#xD;&#xA;&#xD;&#xA;[The Tuning of the World (The Soundscape) by R. Murray Schafer (1977)][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Soundscape-R-Murray-Schafer/dp/0892814551&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8337" PostHistoryTypeId="2" PostId="4954" RevisionGUID="36a335c0-38f3-4ef7-9641-ce7dce5a99b0" CreationDate="2010-12-02T21:03:11.867" UserId="714" Text="Actually there is a lot of truth to these sound induced psychological effects.  The &quot;digital drug&quot; type of cds actually use a specific type of formula to change our brainwave states, and it is actually measurable on EEG machines.  This is accomplished by producing two sounds, one in the left ear and one in the right, that are at a slightly different frequency.  Our brain takes theses incoming sounds (must be using headphones so that the left and right channels are discretely entering only the left and right ears) and tries to make sense of them.  Just like a synth with two oscillators (one slightly detuned) produces a &quot;beating&quot; effect, our brain does the same thing.  The frequency of the &quot;beat&quot; between left and right is then reflected as the artificially induced brainwave frequency." ContentLicense="CC BY-SA 2.5" />
  <row Id="8338" PostHistoryTypeId="2" PostId="4955" RevisionGUID="37703d1a-bbde-4076-95bd-987ecb8446fa" CreationDate="2010-12-02T21:45:48.147" UserId="222" Text="http://www.imdb.com/name/nm2753455/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8339" PostHistoryTypeId="2" PostId="4956" RevisionGUID="ec22faef-edbe-4de7-a647-a4175fc05258" CreationDate="2010-12-02T22:22:08.407" UserId="531" Text="http://www.imdb.com/name/nm3678107/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8340" PostHistoryTypeId="2" PostId="4957" RevisionGUID="238a47bb-66d3-40a2-a352-b068cb2ed2f6" CreationDate="2010-12-02T23:37:52.350" UserId="61" Text="There are only a few movies that I have worked on that I always recommend to people, not because I contributed to them or because the sound effects were super-cool, but because they are **excellent films**, period. One is [Road To Perdition][1], another is [Letters From Iwo Jima][2].&#xD;&#xA;&#xD;&#xA;Entire imdb list is [here][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0257044/&#xD;&#xA;  [2]: http://www.imdb.com/title/tt0498380/&#xD;&#xA;  [3]: http://www.imdb.com/name/nm0421174/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8341" PostHistoryTypeId="2" PostId="4958" RevisionGUID="7ea92b4b-845c-4a34-bb6a-2994f32c3e6e" CreationDate="2010-12-03T00:45:07.130" UserId="315" Text="http://www.imdb.com/name/nm2090162/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8342" PostHistoryTypeId="2" PostId="4959" RevisionGUID="d2d953cd-51ff-4008-9e63-376a35213d96" CreationDate="2010-12-03T04:35:38.737" UserId="639" Text="I have been recording sounds like a rubber glove on glass and its going in at -22db. If i turn it up more I get a lot of fuzzy noise. I recorded low then opened it in pro tools. I turned up the volume to make sure it was clean, then I hear that fuzzy noise in everything I have recorded! So the only way I can get it out is with a gate. So my question is do you use a gate in &quot;post recording&quot; or do you record without any noise? I can't seem to get the fuzzy noise out of my recordings during recording. I have my mic trim at 8 out of ten and level set to 5 out of ten. Also do you use a limiter to get a quite sound louder once the sound is all cleaned up?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8343" PostHistoryTypeId="1" PostId="4959" RevisionGUID="d2d953cd-51ff-4008-9e63-376a35213d96" CreationDate="2010-12-03T04:35:38.737" UserId="639" Text="Im having problems recording sound effects at low volumes" ContentLicense="CC BY-SA 2.5" />
  <row Id="8344" PostHistoryTypeId="3" PostId="4959" RevisionGUID="d2d953cd-51ff-4008-9e63-376a35213d96" CreationDate="2010-12-03T04:35:38.737" UserId="639" Text="&lt;field&gt;&lt;recording&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8345" PostHistoryTypeId="2" PostId="4960" RevisionGUID="bd28318d-6a77-4fc5-884f-355eb0916084" CreationDate="2010-12-03T05:04:59.640" UserId="29" Text="Shaun, what you're hearing is likely a combination of microphone self-noise and the self-noise of your preamp, as well...a consequence of either not being close enough to the sound, insufficiently sensitive mics, or low-cost preamps. What mic and recorder are you using, and how close are you to the sound source? Usually the answer to such problems are:&#xD;&#xA;&#xD;&#xA; 1. Get closer to the source&#xD;&#xA; 2. Get a quieter preamp&#xD;&#xA; 3. Get a quieter mic&#xD;&#xA;&#xD;&#xA;...and that's in order of ease and cost, generally. You might be hearing something else, though: What you describe could be anything from traffic noise to RF interference, but if you hear it in all your quiet recordings, the top advice probably still stands.&#xD;&#xA;&#xD;&#xA;Details about quiet mics can be found in [this thread][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/1891/who-makes-the-quietest-microphone" ContentLicense="CC BY-SA 2.5" />
  <row Id="8346" PostHistoryTypeId="2" PostId="4961" RevisionGUID="7d824adf-100c-4e8d-963a-29c0930c774b" CreationDate="2010-12-03T08:06:49.003" UserId="641" Text="Everything I would have suggested I have mentioned.  You should get better results with the NTG2...just make sure the room is super quiet...the NTG2 picks up too much background noise for my liking." ContentLicense="CC BY-SA 2.5" />
  <row Id="8347" PostHistoryTypeId="2" PostId="4962" RevisionGUID="cd530d59-203b-4c93-8eef-d4cceb73f8c8" CreationDate="2010-12-03T08:08:32.370" UserId="641" Text="I have a Rode NT1-A which I am very impressed with!  Super quiet, but limited to studio environment recordings if you're trying to do foley sounds." ContentLicense="CC BY-SA 2.5" />
  <row Id="8349" PostHistoryTypeId="2" PostId="4963" RevisionGUID="0a3f98aa-1b4b-45bc-9a6e-4ddbe54f37bb" CreationDate="2010-12-03T09:41:33.757" UserId="663" Text="I have iMac and I am looking to buy some cheap 5.1 or 7.1 external audio card and set of speakers for my home. I don't need anything hi-level because most of my work I do in studio.&#xD;&#xA;![alt text][1] &#xD;&#xA;So far I only find M-Audio [ProFire 610][2], that suit my needs. Does anybody have any suggestion?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.m-audio.com/images/global/media_hqpics/ProFire610-front.jpg&#xD;&#xA;  [2]: http://www.m-audio.com/products/en_us/ProFire610.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="8350" PostHistoryTypeId="1" PostId="4963" RevisionGUID="0a3f98aa-1b4b-45bc-9a6e-4ddbe54f37bb" CreationDate="2010-12-03T09:41:33.757" UserId="663" Text="Cheap interface and speaker" ContentLicense="CC BY-SA 2.5" />
  <row Id="8351" PostHistoryTypeId="3" PostId="4963" RevisionGUID="0a3f98aa-1b4b-45bc-9a6e-4ddbe54f37bb" CreationDate="2010-12-03T09:41:33.757" UserId="663" Text="&lt;m-audio&gt;&lt;imac&gt;&lt;5.1&gt;&lt;7.1&gt;&lt;external&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8352" PostHistoryTypeId="2" PostId="4964" RevisionGUID="197618b8-e60c-4fea-bd5c-6f2320a4149b" CreationDate="2010-12-03T14:56:14.467" UserId="431" Text="While this isn't always possible, another low cost solution is to try performing your sound as loud as possible to help the signal to noise ratio. This can often sound &quot;wrong&quot; as you're performing the sound, but I'm often pleasantly surprised when I play back. If I need to re-perform a sound with more level for s/n reasons, I'll often ditch the headphones as I find I record quieter with them on." ContentLicense="CC BY-SA 2.5" />
  <row Id="8353" PostHistoryTypeId="2" PostId="4965" RevisionGUID="bdeaddaa-9ea1-427a-877a-cb36a00a59fb" CreationDate="2010-12-03T17:07:40.340" UserId="238" Text="I think my dream job would be to travel the world capturing soundscapes much like the [Sound Tracker Gordon Hempton][1]. This would combine my two passions of sound and travel/nature. I'd also love to get involved in documenting underwater recordings for scientific research and nature documentaries (I'm a keen scuba diver and am fascinated by the underwater world). &#xD;&#xA;&#xD;&#xA;That said, if Pixar or Skywalker Sound rang me up asking if I was available I wouldn't say no! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundtrackerthemovie.com/ST/Home.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="8354" PostHistoryTypeId="5" PostId="4927" RevisionGUID="0f018f31-3bc1-4d11-8c55-608f11855f87" CreationDate="2010-12-03T19:16:52.307" UserId="6411" Comment="for spelling" Text="I want to work with a team of sound professionals that create a vision and are all committed to a high end product. I want to design and mix and see a directors eyes sparkle on the dub stage with the glorious full manifestation of what was once only a dream and now sings more vibrantly in reality.  &#xD;&#xA;&#xD;&#xA;I want to be challenged.  I want to worry if I am good enough, struggle to find inspiration, be proven wrong, have to prove myself, and be forced to do better.&#xD;&#xA;&#xD;&#xA;I want to create something that brings goose bumps, laughter, and tears to the audience. I want to tell an amazing story with sound that will seep into the thoughts and minds of the masses. That is the aim of my dreams and career." ContentLicense="CC BY-SA 2.5" />
  <row Id="8355" PostHistoryTypeId="2" PostId="4966" RevisionGUID="68c39cee-1016-4c4a-8da3-e81a409a5005" CreationDate="2010-12-03T20:17:02.040" UserId="61" Text="To be a moderator for Social Sound Design, of course!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8356" PostHistoryTypeId="2" PostId="4967" RevisionGUID="c1b823aa-05a4-4f15-be1b-c891662c7bb3" CreationDate="2010-12-03T22:31:25.297" UserId="37" Text="I'll step forward and express simple skepticism. Binaural beats have been around forever. A specific thing with the concept is that it requires uninterrupted listening for a period of time, so your brain can synchronise its own waves with these &quot;beats&quot;. Once your brain has locked on (by matter of sheer resonance I assume), you can supposedly take it through multiple states/levels of activity with the aim of reaching Delta waves which is basically a state of deep sleep. &#xD;&#xA;&#xD;&#xA;In theory, and only if your brain is happy to release certain hormones at certain frequencies, you could possibly get high on this stuff. But I'd argue most of the time one might only feel refreshed and, to be cynical, maybe just because they've had 15 minutes of uninterrupted time and weren't supposed to do anything but relax and stand still.. &#xD;&#xA;&#xD;&#xA;So back to your original question, yes, this can be used, but if you found such a non-ADHD person to stand there listening to weirdness for 10 minutes, your time might be better spent in treating them to a far deeper story/statement than usual? (I write this in good faith and don't wish to sound negative.)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8357" PostHistoryTypeId="2" PostId="4968" RevisionGUID="f10837fb-913c-41da-905c-5dbfd2f09ee3" CreationDate="2010-12-04T10:27:40.790" UserId="219" Text="Also, if you are just starting out, you must relativize. Now, I'm not going to be saying that you should not do whatever is worth to get the best sound, I'm going to be saying you have to know your limits.&#xD;&#xA;&#xD;&#xA;If you're not in the position of getting any other/new gear and you're stuck with what you have, you will be learning the limits of your equipment as you're using it. It is probably what you are facing just now. I am in the same situation, except that I'm getting to try and buy new equipment.&#xD;&#xA;&#xD;&#xA;Yes, the amount of processing (such as gating/BNR) you and me and our fellow on-a-budget beginners have to apply to our sounds does seem to be a lot. At some point you just can't get as close as you'd like to that other pro recording that you know of. As much as you try, your sound does not feel as raw anymore.&#xD;&#xA;&#xD;&#xA;I recently was reading The Sounds of Star Wars and it felt great to read that even in such an epic movie (well I'm not a big fan but many people seem to be), the sound effects were not always perfect. Apparently on some sound effect you'd be able to hear somebody closing the fridge door in the above room...&#xD;&#xA;&#xD;&#xA;In the end, it's not the sound of your life that you're recording just now. At some point, trying to look for the perfect sounding thing takes you away from achieving your global vision...&#xD;&#xA;&#xD;&#xA;To answer your question, I reckon first compress, then expand... your expanding will be more precise and efficient if you're working on compressed dynamics. Again, be aware you might not get the perfect sound, but it's ok for now ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8358" PostHistoryTypeId="2" PostId="4969" RevisionGUID="4dd5082e-5f09-4d5e-805d-213035f6d21d" CreationDate="2010-12-04T12:59:15.363" UserId="298" Text="something crazy sci-fi with weird and deep atmospheres would be definately mine... Like District 9 or Aliens-Predator.  Or Walli-E - when i saw documentary about sound design for this piece I was fascinated! So that kind of work I dont mind at all!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8360" PostHistoryTypeId="2" PostId="4971" RevisionGUID="97653e86-bf24-473b-af4a-9a7c75b1c35d" CreationDate="2010-12-04T19:41:07.100" UserId="639" Text="So far what I do is &#xD;&#xA;&#xD;&#xA;Take the sound effect I recorded  &#xD;&#xA;Drop it in pro tools &#xD;&#xA;Cut up The audio so I have pieces of sounds I will keep&#xD;&#xA;Then I name the sound  &#xD;&#xA;Fade the sound on the back end  &#xD;&#xA;Add a compressor to the track&#xD;&#xA;Do gating and EQing if needed  &#xD;&#xA;Then I put a limiter on the main output track and thats it.&#xD;&#xA;&#xD;&#xA; Is this the same process for you? Am I missing any thing? Is that the process you use to get the sound ready for your library?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8361" PostHistoryTypeId="1" PostId="4971" RevisionGUID="97653e86-bf24-473b-af4a-9a7c75b1c35d" CreationDate="2010-12-04T19:41:07.100" UserId="639" Text="Steps to sound effects editing and mastering? Sounds you recorded." ContentLicense="CC BY-SA 2.5" />
  <row Id="8362" PostHistoryTypeId="3" PostId="4971" RevisionGUID="97653e86-bf24-473b-af4a-9a7c75b1c35d" CreationDate="2010-12-04T19:41:07.100" UserId="639" Text="&lt;field&gt;&lt;recording&gt;&lt;editing&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8363" PostHistoryTypeId="2" PostId="4972" RevisionGUID="4ac98c67-53f4-4773-92c5-37d2b946d48b" CreationDate="2010-12-04T20:19:07.460" UserId="717" Text="Hi I'm a long term EDL then Pro convert user (PC versions) also one of the developers of AATranslator.&#xD;&#xA;&#xD;&#xA;Can confirm nuendo OMF to PT is not without problems.&#xD;&#xA;ProConvert does a good job of reading a Nuendo OMF and translating it to a form PT can understand. IE common Bit &amp; sample rate, stereo interleaved files converted to dual Mono.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;OMF is in general a limited format and DigiTranslator's implementation is extremely limited.&#xD;&#xA;&#xD;&#xA;Eg Nuendo can export track names, these are dropped by DT&#xD;&#xA;All fades output in a Nu OMF are Lin, and fades can be problematic for DT to read (&amp; on export from DT all fades are rendered clips.&#xD;&#xA;Clip gain is supported but Pan, Volume &amp; mute automation is dropped &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;AATranslator can read a Nuendo OMF just fine too &amp; will split stereo wav files to dual mono, but it's left to the user to make sure the audio files have a single Bit &amp; Sample rate. &#xD;&#xA;OMF write is still in beta. But PT5 is a far more capable interchange format than OMF (Pro- Convert can export in PT 5 as well).&#xD;&#xA;&#xD;&#xA;So if you were to export out of Nuendo as a Track Archive then convert that to Either Mac OSX or PC PT5 format:-&#xD;&#xA;You will gain Track names Vol, Pan Mute automation, markers (in the case of AATranslator these can be beat or Absolute), clip mute, lock &amp; fades.&#xD;&#xA;&#xD;&#xA;Look here for an idea of the relative capabilities of OMF &amp; PT5. The table is Re Reaper format, but Steinberg track Archive is similarly well endowed. &#xD;&#xA;http://www.aatranslator.com.au/downloads/ProTools%20to%20Reaper.pdf&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But if you want to have another go at Nuendo OMF export for PT.&#xD;&#xA;An aspect that has not been mentioned is. Do NOT click on &quot;Export Clip Names&quot; in the OMF &quot;Export Options&quot;. And do not select &quot;quantise Events to Frames.   &#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="8364" PostHistoryTypeId="2" PostId="4973" RevisionGUID="1acfffb2-3b73-4fab-928d-76bb9459d28f" CreationDate="2010-12-04T20:22:33.320" UserId="542" Text="I usually cut it into pieces, try to remove noise and EQ it. I sometimes use compression, but in 90 percent of all cases I dont compress it. I don`t have use any limiter on the putput but try to have peaks at -2dbFs.&#xD;&#xA;&#xD;&#xA;As it comes to layer several (already edited) sounds into one sound, I use compressors, limiters,etc.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8365" PostHistoryTypeId="2" PostId="4974" RevisionGUID="ad5f77da-a77b-4b9b-8174-930abfa5fc12" CreationDate="2010-12-04T20:56:10.013" UserId="718" Text="I usually don't use compressors unless I go for over the top style on my effect. Your chain seems pretty nice, a quick tip is if you like to mess more with the compressor you can try inserting the eq before the compressor and that way by messing with the eq you are also making the compressor play different. I guess you know that but thought to share the tip anyway.&#xD;&#xA;&#xD;&#xA;I also use a nice feature to mix many sounds together called &quot;free item positioning&quot; in Reaper, search for it, its a time saver when it comes to many layers of sounds like different power levels of magic and stuff like that, when you want to bounce your regions in stems and that way do one bounce and get everything exported. Probably I can't explain it well, do a little search about the feature and I'm sure you gonna get it." ContentLicense="CC BY-SA 2.5" />
  <row Id="8366" PostHistoryTypeId="2" PostId="4975" RevisionGUID="a3cf9d8f-2079-43b3-be36-54c2125e7b9e" CreationDate="2010-12-04T20:58:40.263" UserId="718" Text="I believe that if you like your IRs to be of hi-fidelity you shouldn't mess with them, unless you are going for a custom sound which is cool." ContentLicense="CC BY-SA 2.5" />
  <row Id="8367" PostHistoryTypeId="2" PostId="4976" RevisionGUID="9c43bea1-0401-4f07-afc8-4bd1aea6b3d5" CreationDate="2010-12-04T21:11:36.370" UserId="253" Text="Just a note from my experience with FX libraries: i think fading the head and tail of the file is a waste. I mean, i do my own fades on it (who doesn't?) when i bring it into my tracklay. And if it's an ambience that i need to loop, the parts of the track affected by the fade have to be chopped off anyway.&#xD;&#xA;&#xD;&#xA;Also, i'd avoid any kind of dynamics processing (limiting/gating/compressing), as you can always do that in your tracklay if necessary. I'd only eq out any really ugly frequencies that negatively affect the nature of the effect.&#xD;&#xA;&#xD;&#xA;I guess i'm mainly talking about ambiences here. For spot FX, i'm sure you could give it some eq or light dynamics to make it something you can instantly use; just make sure you keep an untreated version too. Not that i'm an expert; but these are my opinions so far." ContentLicense="CC BY-SA 2.5" />
  <row Id="8368" PostHistoryTypeId="2" PostId="4977" RevisionGUID="9cdf5392-dbb0-43d1-9c20-9998d975fa31" CreationDate="2010-12-04T21:19:01.693" UserId="118" Text="No, I don't do any of that.  No fades, compression, gating or anything.  FX go into my library untreated, as recorded, unless it needs a blatantly obvious notch or something.  I agree with Michael, I think processing like that should be carried out in context rather than in isolation.  With the quality of current restoration plugins such as RX2 being as good as it is, it's also tempting to go crazy cleaning up your recordings but you have to remind yourself that these plugins will be even better in years to come, so why commit your FX to today's technology?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8369" PostHistoryTypeId="2" PostId="4978" RevisionGUID="af757656-72ee-4d90-865c-6e2d612cfef5" CreationDate="2010-12-04T21:35:30.727" UserDisplayName="user49" Text="&#xD;&#xA;I don't use compression, EQ or denoising as I feel that is presupposing the final use for the sound... &#xD;&#xA;&#xD;&#xA;You also don't mention metadata editing &amp; embedding" ContentLicense="CC BY-SA 2.5" />
  <row Id="8370" PostHistoryTypeId="2" PostId="4979" RevisionGUID="ac05183d-2941-44ba-a97f-f9bb89a9e046" CreationDate="2010-12-04T21:46:37.180" UserId="432" Text="All I do is cut, fade and metadata...and I don't fade out tails of effects if I can help it. I prefer to leave the natural decay, if it's at all possible. If I have a noisy take, I'll usually toss it from the &quot;cut&quot; list (but I always keep the raws). I might do some minor levelling, but no compression or limiting. I'm of the same opinion as Tim. I don't know how I or someone else may use it in the future, so I'd rather leave it as is for greater flexibility.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8371" PostHistoryTypeId="2" PostId="4980" RevisionGUID="7797dbf2-9227-44b3-942f-0a61cfe80040" CreationDate="2010-12-04T22:41:07.530" UserId="234" Text="You could also check the [MOTU][1] stuff...(I've had 828's since v1) as well as the [Presonus][2] stuff.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.motu.com/products/motuaudio&#xD;&#xA;  [2]: http://www.presonus.com/products/Detail.aspx?ProductId=5" ContentLicense="CC BY-SA 2.5" />
  <row Id="8377" PostHistoryTypeId="2" PostId="4982" RevisionGUID="6d9fc662-54fc-4080-b1f6-5fd385e49c23" CreationDate="2010-12-05T03:34:23.833" UserId="186" Text="I've heard ravens (actual ravens, not crows) make a very similar stuttery clicking like that. I think some wildcats (jaguars?) also make sounds like that, especially cubs. &#xD;&#xA;&#xD;&#xA;Then there's this whale recording someone posted at gearslutz:&#xD;&#xA;&#xD;&#xA;[whale_growl][1] &#xD;&#xA;&#xD;&#xA;I can also make those sounds with my mouth :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/attachments/post-production-forum/179324d1277021192-predator-sound-design-spermwale_growl.mp3" ContentLicense="CC BY-SA 2.5" />
  <row Id="8378" PostHistoryTypeId="2" PostId="4983" RevisionGUID="41ca8d18-6586-4d1e-a9ea-578426da6971" CreationDate="2010-12-05T15:53:40.530" UserId="194" Text="I've been known to eq if there are problems with the recording, but never affect dynamics.  I also run everything through Izotope and will spectral repair out things like an intermittent squeak or bird chirp - but I'm pretty hard core about leaving blemishes in if the alternative leaves artifacts.&#xD;&#xA;&#xD;&#xA;also, as mentioned above fades are pretty conterproductive.&#xD;&#xA;&#xD;&#xA;When I'm building stylized effects I go nuts with layering, plugs ins and processing, but that's a different thing from prepping recordings made in the field or in the studio.&#xD;&#xA;&#xD;&#xA;things not mentioned in the OP:&#xD;&#xA;&#xD;&#xA; - metadata incl mic, mic setup, literal&#xD;&#xA;   descriptions, texture descriptions,&#xD;&#xA;   [codewords][1], project, etc &#xD;&#xA; - tagging with&#xD;&#xA;   photos &#xD;&#xA; - folder structure&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/4477/sfx-library-codewords" ContentLicense="CC BY-SA 2.5" />
  <row Id="8379" PostHistoryTypeId="5" PostId="3548" RevisionGUID="76fce5af-7af8-48b4-b652-c45e13ce52eb" CreationDate="2010-12-05T17:54:54.737" UserId="2" Comment="added 182 characters in body" Text="I just moved a big part of my life to Google. For project management I'm using [Manymoon][1] paired up with [Google Apps][2], Google calender and Gmail. I only just started, but seems perfect for my needs!&#xD;&#xA;&#xD;&#xA;**UPDATE:** Just found a new project management tool, it's [Action Method][3] by Behance. It's awesome! And it has an iPhone and iPad app. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.manymoon.com/&#xD;&#xA;  [2]: http://www.google.com/apps/intl/en/business/index.html&#xD;&#xA;  [3]: http://www.actionmethod.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8380" PostHistoryTypeId="2" PostId="4984" RevisionGUID="14756852-3641-4d58-b6b7-78dc040e1888" CreationDate="2010-12-05T20:00:19.570" UserId="40" Text="The &quot;beating&quot; Austin is talking about is called &quot;Binaural Beating&quot;, and the process of changing the brain's wavelengths with this is called &quot;Brainwave Entrainment.&quot; Very cool process. You can actually do it with a couple of sine wave generators in Pro Tools and a pair of headphones. Basically what happens is you play one sine wave into one ear, and another into the other ear, both very close in frequency to one another, and your brain interprets (as in it's not actually physically there) a third frequency, which is the difference between the first two. So if I was listening to 100hz in my left ear and 106hz in my right ear, my brain would hear a sort of warbling at 4hz (even though the ear can't hear 6hz).&#xD;&#xA;&#xD;&#xA;After an extended exposure to this sound (some people say in as little as 15-30 minutes), you brain eventually starts operating at that frequency. Kind of like when you're on a boat and you can't stand for the first hour, but then you get your &quot;sea legs&quot;. So, with the 6hz example, your brain would eventually slow down to the Theta range, which is associated with high creativity and fuzzy-brainedness. This is the stage your brain is usually in when you first wake up.&#xD;&#xA;&#xD;&#xA;It definitely works. Where it gets a bit strange is when you start talking about how far you can take this. Some think you can pinpoint VERY specific frequencies to elicit VERY specific results. [Here][1] is a list of frequencies the brain operates at under different tasks. Some argue that most of these can be achieved through entrainment. While I haven't done extensive testing at this level, I would venture to guess it is very difficult to do, if not impossible to go to that extent. If it is possible, I would imagine it would have to be achieved in a VERY controlled environment.&#xD;&#xA;&#xD;&#xA;One of the biggest parts I'm not entirely clear on (and I haven't been able to figure out or find an answer for yet) is whether or not the listener has to be concentrating on or even aware of the tones for this to work. I would imagine not, but I would think that it would start entraining faster if you were concentrating on the tones. With many of the &quot;new agey&quot; solutions you can find on the internet, you will find that music usually plays over the tones (which are audible), and it asks you to relax and concentrate for a period of time.&#xD;&#xA;&#xD;&#xA;I've done a number of sound design projects that incorporate this type of thing into the final product. I'm actually in the testing stage of one such project right now. Very cool stuff. I'll report back once I have more that I am allowed to share with you.&#xD;&#xA;&#xD;&#xA;[Here's][2] another informative site on the matter.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.electroherbalism.com/Bioelectronics/FrequenciesandAnecdotes/BrainwaveFrequencyList.htm&#xD;&#xA;  [2]: http://www.brainwavesblog.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8381" PostHistoryTypeId="2" PostId="4985" RevisionGUID="a586d934-fb73-4ceb-bcad-f0be796403ef" CreationDate="2010-12-05T20:30:38.223" UserId="40" Text="The sound of massive double overheads crashing into the beach - a symphony of nature's power - juxtaposed to your sitting in a chair, without a worry in the world, sipping on a beer as the light warm wind blows by. Sort of like nature's own contrapuntal sound track.&#xD;&#xA;&#xD;&#xA;A good low frequency rumble in an otherwise quiet environment, such as a late night flight where most people in the airplane are asleep. So serene, despite the 200 people around you. Then again, I just find the inside of an airplane in general quiet soothing because of it's unique acoustics.&#xD;&#xA;&#xD;&#xA;Sitting on the bow of a sailboat while sailing in a beam reach. The combination of the hull crashing through the waves and the wind whipping through the sails (and NOT LUFFING of course!!!) is probably the most soothing sound I can think of.&#xD;&#xA;&#xD;&#xA;The clinks, clanks, and whirrs of a nice steam room are a wonderfully relaxing sound.&#xD;&#xA;&#xD;&#xA;The sound of my 6.0L V8 as I shift down into 3rd to jump on the highway (music turned off of course! My car makes it's own music! )&#xD;&#xA;&#xD;&#xA;The whirring of a nice, big server room, listening to all the computers do way more than you could ever imagine.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8382" PostHistoryTypeId="2" PostId="4986" RevisionGUID="8716ee82-0dc5-475d-bce1-7f2cc017e4ac" CreationDate="2010-12-06T00:07:00.663" UserId="577" Text="The soft cacophony of people practicing in a music store, oblivious to each other." ContentLicense="CC BY-SA 2.5" />
  <row Id="8383" PostHistoryTypeId="2" PostId="4987" RevisionGUID="6f158b16-0a67-45f2-af2c-10c27e01c129" CreationDate="2010-12-06T09:40:46.490" UserId="348" Text="To do foley and field recording for the rest of my life, everyday, developing great sonic landscapes with the best like Burtt, Meyers, Rhystrom, Thom etc. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8384" PostHistoryTypeId="2" PostId="4988" RevisionGUID="b03797a0-69cd-4a24-8c53-fbe9ebf8412b" CreationDate="2010-12-06T15:20:32.593" UserId="63" Text="recently updated my teams devblog with some sound designing times for the minigame Fatous Olous we made for a big website!&#xD;&#xA;&#xD;&#xA;http://devblog.tsimpountiii.gr/sound-design-music-scoring/sound-designing-for-fatous-olous-flash-game/&#xD;&#xA;&#xD;&#xA;check my pics and share your favorite moments! (thought that this kind of post was missed from this great website!) cheers!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8385" PostHistoryTypeId="1" PostId="4988" RevisionGUID="b03797a0-69cd-4a24-8c53-fbe9ebf8412b" CreationDate="2010-12-06T15:20:32.593" UserId="63" Text="any good sound designing memories though photos to share? " ContentLicense="CC BY-SA 2.5" />
  <row Id="8386" PostHistoryTypeId="3" PostId="4988" RevisionGUID="b03797a0-69cd-4a24-8c53-fbe9ebf8412b" CreationDate="2010-12-06T15:20:32.593" UserId="63" Text="&lt;design&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8387" PostHistoryTypeId="5" PostId="4987" RevisionGUID="cd624882-7a58-46f8-8ddd-0ce7a250ae76" CreationDate="2010-12-06T19:50:40.163" UserId="61" Comment="spelling" Text="To do foley and field recording for the rest of my life, everyday, developing great sonic landscapes with the best like Burtt, Meyers, Rydstrom, Thom, etc. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8388" PostHistoryTypeId="2" PostId="4989" RevisionGUID="c4c1b76d-4e1f-43c0-a2c6-bde524cf366f" CreationDate="2010-12-06T20:17:43.337" UserId="424" Text="i have a presonus audiobox usb and it's great! great neutrok preamp, no latency, good building quality and very low price" ContentLicense="CC BY-SA 2.5" />
  <row Id="8389" PostHistoryTypeId="2" PostId="4990" RevisionGUID="44958982-cdcd-404a-a545-9f92d28d9422" CreationDate="2010-12-06T20:29:36.893" UserId="46" Text="Forever incomplete: http://www.imdb.com/name/nm2395008/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8390" PostHistoryTypeId="2" PostId="4991" RevisionGUID="7e1a58a9-7316-43af-ab0a-be1b75bec975" CreationDate="2010-12-06T21:04:49.347" UserId="719" Text="I would like to buy the equipment to start recording sound effects (doors creaking, wind, ...) and create a small library of sounds, to practice; I would like some advice on what are the most suitable microphones and what I need exactly ( DAW, mixer ,...).&#xD;&#xA;Thanks to all&#xD;&#xA;G.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8391" PostHistoryTypeId="1" PostId="4991" RevisionGUID="7e1a58a9-7316-43af-ab0a-be1b75bec975" CreationDate="2010-12-06T21:04:49.347" UserId="719" Text="What kind of Mic? What Daw?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8392" PostHistoryTypeId="3" PostId="4991" RevisionGUID="7e1a58a9-7316-43af-ab0a-be1b75bec975" CreationDate="2010-12-06T21:04:49.347" UserId="719" Text="&lt;microphone&gt;&lt;daw&gt;&lt;sounds&gt;&lt;effects&gt;&lt;library&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8393" PostHistoryTypeId="2" PostId="4992" RevisionGUID="1824c0fe-4c2e-47e7-9237-f2ebec18b97d" CreationDate="2010-12-06T21:06:36.810" UserId="629" Text="Tons of threads like this already Giulia just do a search and you'll find them." ContentLicense="CC BY-SA 2.5" />
  <row Id="8394" PostHistoryTypeId="2" PostId="4993" RevisionGUID="fb6b6b47-8c63-48d5-acc8-609b4f636f27" CreationDate="2010-12-06T22:16:40.540" UserId="587" Text="So I am working on a trailer for a video game that features Dinosaurs.&#xD;&#xA;&#xD;&#xA;I have big ol epic feet for the T-Rex - friggin epic on my monitors. But it seems like the only audio that finds its way through on laptop speakers is the higher end layers. So how do you make it &quot;sound&quot; like something is huge, even though someone may be playing it on smaller speakers? Does this ruin your theatre mix?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8395" PostHistoryTypeId="1" PostId="4993" RevisionGUID="fb6b6b47-8c63-48d5-acc8-609b4f636f27" CreationDate="2010-12-06T22:16:40.540" UserId="587" Text="Low End on Small Speakers" ContentLicense="CC BY-SA 2.5" />
  <row Id="8396" PostHistoryTypeId="3" PostId="4993" RevisionGUID="fb6b6b47-8c63-48d5-acc8-609b4f636f27" CreationDate="2010-12-06T22:16:40.540" UserId="587" Text="&lt;mix&gt;&lt;dinosaur&gt;&lt;lowend&gt;&lt;laptop&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8397" PostHistoryTypeId="5" PostId="4993" RevisionGUID="9da177d8-ac5b-4654-8981-2ae7c520e36b" CreationDate="2010-12-06T22:46:28.403" UserId="587" Comment="added 138 characters in body" Text="So I am working on a trailer for a video game that features Dinosaurs.&#xD;&#xA;&#xD;&#xA;I have big ol epic feet for the T-Rex - friggin epic on my monitors. But it seems like the only audio that finds its way through on laptop speakers is the higher end layers. So how do you make it &quot;sound&quot; like something is huge, even though someone may be playing it on smaller speakers? Does this ruin your theatre mix?&#xD;&#xA;&#xD;&#xA;*I know you need a larger speaker to hear lower sounds. The question is how to make a big low end boom not sound like a plank of wood." ContentLicense="CC BY-SA 2.5" />
  <row Id="8398" PostHistoryTypeId="2" PostId="4994" RevisionGUID="960837cd-1b0f-44b9-974b-035937ea163a" CreationDate="2010-12-06T23:26:40.270" UserId="720" Text="A few things to consider -&#xD;&#xA;One &gt; is not to have too much bass in the first place - a balanced (in terms of EQ) sound will sustain better across different listening environments and speakers (even tho massive bass will sound awesome on good speakers!).&#xD;&#xA;&#xD;&#xA;Secondly &gt; there are some frequencies that 'hint' at bass - brining these out will create the psycho-acoustic understanding that there is bass sounds there that arn't actually played by the speaker. I'm not good enough to tell you exactly HOW to do this step by step - I can only achieve this by tinkering and listening and testing at the moment (sorry for no hard tips here).&#xD;&#xA;&#xD;&#xA;Thirdly &gt; this is probably the most practical and useful tip. When it comes to small speakers I think that it is really, really difficult to balance the audio so it is useful (dialogue is clear and relevant information is provided to the player) while at the same time providing an awesome aural 'experience'. This is just not entirely possible on tiny 'tinny' speakers. So what we can do is go for a psychological effect of bigness - rather than making a big sound - we imply bigness with reverb and the idea of bigness. Examples of this could be twigs snapping or tree branches snapping, a rumble that goes on a little after the actual impact of the giant footstep has finished and so on. A good example of this is the melee weapons in Left 4 Dead 2 - the guitar and the cricket bat and golf club all have sounds that are totally not realistic in terms of whacking zombies (whatever realistic means in that situation!) but they all 'sound' like the object in question and provide a very clear psychological effect.&#xD;&#xA;&#xD;&#xA;Hope the project goes well!!&#xD;&#xA;All the best,&#xD;&#xA;Paul 'Volumetric' Nunes" ContentLicense="CC BY-SA 2.5" />
  <row Id="8399" PostHistoryTypeId="2" PostId="4995" RevisionGUID="49c631b5-6df1-43ca-9704-520de6e3aaeb" CreationDate="2010-12-06T23:37:46.173" UserId="721" Text="instead of the actual lowend itself, work on articulating the overtones for the frequency range you are trying to reproduce. thanks to psycho-acoustics the brain is very capable at producing the &quot;full image&quot; as long as you give it enough clues. you can also try adjusting (narrowing) the width of a certain freq range below a certain threshold to tighten the image. there are quite some plugins for mixing-in the lowend that work on similar principles I think. &#xD;&#xA;there is of course not so much you can do to feel the full power on small speakers but simply by enhancing harmonics/focusing on higher octave ranges for bass, you might get a better defined &amp; fuller sound.." ContentLicense="CC BY-SA 2.5" />
  <row Id="8400" PostHistoryTypeId="2" PostId="4996" RevisionGUID="9b2608a6-2379-4d08-aacc-7f7a16376cb8" CreationDate="2010-12-06T23:48:36.407" UserId="61" Text="In addition to emphasizing the higher bass frequencies and overtones, don't forget to try compression and limiting. A plug-in chain that could be extremely useful is MaxxBass, LoAir (or LowEnder), followed by a limiter, such as Waves L1, L2, etc. Experiment with the higher frequencies in MaxxBass until you find something that reads through the laptop speakers, then make sure that the limiter is really flattening it out.&#xD;&#xA;&#xD;&#xA;You never know till ya try…oh, and don't forget that red/overloading can be desirable in some cases, as distortion will yield even more overtones." ContentLicense="CC BY-SA 2.5" />
  <row Id="8401" PostHistoryTypeId="2" PostId="4997" RevisionGUID="efda8d9a-f37f-4a53-b279-40c1decbd0d9" CreationDate="2010-12-07T00:53:20.113" UserId="706" Text="looking for authentic running in the woods...&#xD;&#xA;&#xD;&#xA;http://www.fonsschiedon.com/archives/921" ContentLicense="CC BY-SA 2.5" />
  <row Id="8402" PostHistoryTypeId="2" PostId="4998" RevisionGUID="e4639fa9-5bed-4b74-bc44-7a508b1b4bb9" CreationDate="2010-12-07T06:28:45.187" UserId="722" Text="Can anyone provide some basic contract examples that you work under?  I am in the difficult position of exiting an internship.  I am at the point where I am just doing work, not sitting in on sessions or actively learning.&#xD;&#xA;&#xD;&#xA;So I feel like I should be paid for my time.  Verbally, the studio has agreed to pay me on projects. ** I must say, at this point, that the studio has never backed out of a payment.  They always pay me the agreed price in a timely and fair manner **  The problem problem I am running into is that there is no clear and defined contract that states what I am actually doing.  &#xD;&#xA;&#xD;&#xA;I agree to a project thinking I am just cutting an element (BGs, FX, Sound Design...etc).  Then I get &quot;Where are we with the Foley?&quot; or &quot;Ok, your going to do ALL of the cutting and supervising and I'll mix&quot;.  I feel very taken advantage of and it just needs to stop.  Preferably without having to sever these relationships. &#xD;&#xA;&#xD;&#xA;Sorry for the long winded post, but I'm terrible at the business stuff and I am seriously in need of some guidance. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8403" PostHistoryTypeId="1" PostId="4998" RevisionGUID="e4639fa9-5bed-4b74-bc44-7a508b1b4bb9" CreationDate="2010-12-07T06:28:45.187" UserId="722" Text="Contract examples" ContentLicense="CC BY-SA 2.5" />
  <row Id="8404" PostHistoryTypeId="3" PostId="4998" RevisionGUID="e4639fa9-5bed-4b74-bc44-7a508b1b4bb9" CreationDate="2010-12-07T06:28:45.187" UserId="722" Text="&lt;contracts&gt;&lt;guidance&gt;&lt;business&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8405" PostHistoryTypeId="2" PostId="4999" RevisionGUID="d9cc8e2d-7e47-4c3a-b7f7-66b5f5f0c852" CreationDate="2010-12-07T13:42:59.283" UserId="432" Text="This doesn't directly answer the question you're asking about contract, but you may want to look at this thread from a few months ago:  http://socialsounddesign.com/questions/3762/what-do-you-say-when-a-client-asks-for-more&#xD;&#xA;&#xD;&#xA;There is some useful advice in there that I think applies to your situation." ContentLicense="CC BY-SA 2.5" />
  <row Id="8406" PostHistoryTypeId="2" PostId="5000" RevisionGUID="0b26f02e-ee64-4d21-ac81-4434f452b5a1" CreationDate="2010-12-07T13:57:10.110" UserId="723" Text="If you're in the US, email me and I can help you put together a contract. &#xD;&#xA;Viptampa(at)gmail.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="8407" PostHistoryTypeId="2" PostId="5001" RevisionGUID="b4a4a5e0-f12e-4a9a-a5d1-6d9299731d25" CreationDate="2010-12-07T18:26:36.813" UserId="723" Text="Why is the nt1a limited to the studio?&#xD;&#xA;&#xD;&#xA;If you dont need a directiomal mic, the nt1a works in a pinch anywhere" ContentLicense="CC BY-SA 2.5" />
  <row Id="8411" PostHistoryTypeId="2" PostId="5003" RevisionGUID="b304bf22-6413-4b1a-a4cc-6a8a206fc321" CreationDate="2010-12-08T01:06:17.807" UserId="724" Text="Hi there, &#xD;&#xA;I went to a 4 year college and have just graduated with a bachelor's degree in Piano Performance and a large concentration in music composition. &#xD;&#xA;During the course of my studies I became very interested in sound design and have been doing my own little projects that have now blossomed into a nice portfolio to shop to grad schools. It includes two videos that I nabbed from creative commons and did sound design for.&#xD;&#xA;It includes a piece of sound art I composed a la musique concrete (the style that got me into sound design).&#xD;&#xA;It also includes some film scoring that I did.&#xD;&#xA;I wrote very detailed explanations of all my audio choices and I tried to avoid using too many musical concepts, keeping it more technical and aesthetic.&#xD;&#xA;&#xD;&#xA;All sound adds up to about 6 minutes total.&#xD;&#xA;&#xD;&#xA;First question: does that seem to be an acceptable compilation for a grad portfolio?&#xD;&#xA;&#xD;&#xA;I now am looking at two schools: SCAD and Vancouver Film School.&#xD;&#xA;&#xD;&#xA;I am at a bit of a fork in the road. I feel I have very strong abilities in regards to more linear sound design (ie. my composition background), but I want to get some exposure to nonlinear because it is my dream to do sound design for game worlds.&#xD;&#xA;&#xD;&#xA;SCAD is more film-oriented, but I can take lots of electives. Plus an MFA would be cool. Perhaps more job security. I like job security haha&#xD;&#xA;VFS is uber expensive and seem to be the game school..... but, what if I wind up liking linear more? hehehe&#xD;&#xA;&#xD;&#xA;Honestly, SCAD is hyper expensive, too, but I notice they give out some nice scholarships. &#xD;&#xA;&#xD;&#xA;Any thoughts on which school would be a better choice?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8412" PostHistoryTypeId="1" PostId="5003" RevisionGUID="b304bf22-6413-4b1a-a4cc-6a8a206fc321" CreationDate="2010-12-08T01:06:17.807" UserId="724" Text="VFS or SCAD for a graduate student..." ContentLicense="CC BY-SA 2.5" />
  <row Id="8413" PostHistoryTypeId="3" PostId="5003" RevisionGUID="b304bf22-6413-4b1a-a4cc-6a8a206fc321" CreationDate="2010-12-08T01:06:17.807" UserId="724" Text="&lt;scad&gt;&lt;sound-design&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8414" PostHistoryTypeId="2" PostId="5004" RevisionGUID="37f213c5-aae3-4075-a1ea-6b267887d41c" CreationDate="2010-12-08T01:12:16.763" UserId="103" Text="Hi Hundred Hundred &#xD;&#xA;&#xD;&#xA;I can't talk about scad as i dont know it.&#xD;&#xA;VFS is not a game school. It does have a good game audio&#xD;&#xA;curriculum but very intensive on film. Now if you excuse&#xD;&#xA;me i'll copy paste another answer i gave a while back to&#xD;&#xA;[this question][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;	&#xD;&#xA;I took the Vancouver Film School Sound Design Program; graduated in october 2009. &#xD;&#xA;&#xD;&#xA;It's quite different now. Really very different, as most of my instructors aren't there anymore and the curriculum is different as well. A friend of mine that was TAing overthere told me it was really good! At least all the things i didn't like about the prgram changed dramatically... In my opinion there was to much music theory and production (though the instructors were great!) and the game audio curriculum was painfully bad and unorganized. Not anymore!&#xD;&#xA;&#xD;&#xA;They also have one more small mixing room, this one with a procontrol while the other 4 have control 24, and the Theater has an icon now. They're also a bit more well equipped with microphones now, and they have sounddevices 722 recorders.&#xD;&#xA;&#xD;&#xA;I have to say i had an insanely great time over there learned a ton, and was really lucky as my classmates were absolutely great! It's super intensive two, in my last 2 months term me and most of my classmates were sleeping on average 3 hours a night.... But then again all of us did many side projects at all times.&#xD;&#xA;&#xD;&#xA;It's a great great place to meet people from other fields like 3d and classical animation, film production, business management etc.&#xD;&#xA;&#xD;&#xA;(The city is amazing to, i thought it was expensive at a time, but now that i'm in new york i laugh about that :D )&#xD;&#xA;&#xD;&#xA;Hope that helps a bit.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2393/in-search-of-sound-schools/4139#4139" ContentLicense="CC BY-SA 2.5" />
  <row Id="8415" PostHistoryTypeId="2" PostId="5005" RevisionGUID="e89076cc-9771-45ee-a1d2-7dbe09d5b284" CreationDate="2010-12-08T01:14:21.753" UserId="589" Text="Neumann TLM 103. The most quite microphone I know. &#xD;&#xA;&#xD;&#xA;But I think the preamps are more important here. The Preamps from RME Fireface 400 are absolute quite." ContentLicense="CC BY-SA 2.5" />
  <row Id="8416" PostHistoryTypeId="2" PostId="5006" RevisionGUID="78223f95-48c2-47d0-ac45-c8b0f9ee97e3" CreationDate="2010-12-08T02:35:57.657" UserId="432" Text="Not extensive by any means, but I've got a comparison experiment up on my website: http://www.dynamicinterference.com/2010/08/11/noise-floor-tests-the-big-guns/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8417" PostHistoryTypeId="2" PostId="5007" RevisionGUID="7ad3d766-acd9-44c4-8f04-7924ce8163de" CreationDate="2010-12-08T04:23:05.470" UserId="167" Text="designingsound and sonic spread asked David Stone but he deferred to Steve Flick as the originator of these sounds. I'm going to try and bug Steve next time I see him around the halls @ WB. Below are links to those interviews BTW.&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/08/predator-1987-exclusive-interview-with-david-stone/&#xD;&#xA;&#xD;&#xA;http://thesonicspread.com/2010/08/10/industry-classics-predator-with-david-stone/&#xD;&#xA;&#xD;&#xA;Jake" ContentLicense="CC BY-SA 2.5" />
  <row Id="8418" PostHistoryTypeId="2" PostId="5008" RevisionGUID="43029566-e577-46d4-9c79-6428a9727e98" CreationDate="2010-12-08T04:24:08.743" UserId="167" Text="Thanks guys, These are all great!&#xD;&#xA;&#xD;&#xA;Jake" ContentLicense="CC BY-SA 2.5" />
  <row Id="8419" PostHistoryTypeId="2" PostId="5009" RevisionGUID="516378f3-7a22-4053-93dd-7594b20e8c37" CreationDate="2010-12-08T04:48:12.900" UserId="275" Text="If you could build your ideal surround sound mixing room what pieces of gear would you include?  How about sound effects libraries?  Surround plug ins?  Speakers?  Monitor controller?  Anything and everything!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="8420" PostHistoryTypeId="1" PostId="5009" RevisionGUID="516378f3-7a22-4053-93dd-7594b20e8c37" CreationDate="2010-12-08T04:48:12.900" UserId="275" Text="Building a surround sound room" ContentLicense="CC BY-SA 2.5" />
  <row Id="8421" PostHistoryTypeId="3" PostId="5009" RevisionGUID="516378f3-7a22-4053-93dd-7594b20e8c37" CreationDate="2010-12-08T04:48:12.900" UserId="275" Text="&lt;surround&gt;&lt;sound&gt;&lt;5.1&gt;&lt;plug&gt;&lt;ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8422" PostHistoryTypeId="6" PostId="4169" RevisionGUID="6d14e535-412a-4638-9550-be326ebb0b82" CreationDate="2010-12-08T08:42:04.717" UserId="61" Comment="retag" Text="&lt;portable-recorder&gt;&lt;marantz&gt;&lt;fostex&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8423" PostHistoryTypeId="6" PostId="4546" RevisionGUID="da477a01-3c36-49bc-be19-34275f3c2e53" CreationDate="2010-12-08T08:43:19.213" UserId="61" Comment="retag" Text="&lt;pro-tools-9&gt;&lt;dvtoolkit&gt;&lt;completeproduction&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8424" PostHistoryTypeId="6" PostId="1030" RevisionGUID="eb8626d8-94e7-4980-b070-979c34d339ac" CreationDate="2010-12-08T08:44:35.710" UserId="61" Comment="retag" Text="&lt;experiences&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8425" PostHistoryTypeId="6" PostId="3923" RevisionGUID="0a5265c7-eabc-443c-a541-89f120a3b3a7" CreationDate="2010-12-08T08:45:06.120" UserId="61" Comment="retag" Text="&lt;techniques&gt;&lt;mixing&gt;&lt;pro-tools&gt;&lt;experiences&gt;&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8426" PostHistoryTypeId="5" PostId="3544" RevisionGUID="2c3cbfeb-8c8f-4a4f-97e9-7169788b4d79" CreationDate="2010-12-08T08:45:49.193" UserId="61" Comment="retag" Text="I was wondering if anybody could share some of their first experiences and the first projects they worked on for sound design and maybe compare where you are now.  Obviously things have changed but can you think of anything that's the same?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8427" PostHistoryTypeId="6" PostId="3544" RevisionGUID="2c3cbfeb-8c8f-4a4f-97e9-7169788b4d79" CreationDate="2010-12-08T08:45:49.193" UserId="61" Comment="retag" Text="&lt;sharing&gt;&lt;experiences&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8428" PostHistoryTypeId="6" PostId="2300" RevisionGUID="06f08098-0d28-4de0-a157-85e66fe9cfa8" CreationDate="2010-12-08T08:46:33.257" UserId="61" Comment="retag" Text="&lt;sound-effects&gt;&lt;editing&gt;&lt;royalties&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8429" PostHistoryTypeId="6" PostId="3557" RevisionGUID="0d117505-39e8-40ac-8329-167ef61932b3" CreationDate="2010-12-08T08:47:29.257" UserId="61" Comment="retag" Text="&lt;microphone&gt;&lt;microphone-positioning&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8430" PostHistoryTypeId="6" PostId="1720" RevisionGUID="16e216af-2943-40f9-a36b-2be3357fcf4a" CreationDate="2010-12-08T08:48:02.053" UserId="61" Comment="retag" Text="&lt;recommendations&gt;&lt;field-recording&gt;&lt;microphone&gt;&lt;software&gt;&lt;hardware&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8431" PostHistoryTypeId="6" PostId="4486" RevisionGUID="5b6f8b53-68cf-4cee-895d-56caaf005a5d" CreationDate="2010-12-08T08:48:52.723" UserId="61" Comment="retag" Text="&lt;piano&gt;&lt;re-recording&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8432" PostHistoryTypeId="6" PostId="2766" RevisionGUID="e5d6aade-20ba-4b37-9444-7610b0489a02" CreationDate="2010-12-08T08:49:38.730" UserId="61" Comment="retag" Text="&lt;location-recording&gt;&lt;tripod&gt;&lt;gear&gt;&lt;pistol-grip&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8433" PostHistoryTypeId="6" PostId="5009" RevisionGUID="0ac7130b-4244-4eb2-904c-bfbffc892334" CreationDate="2010-12-08T08:50:30.663" UserId="61" Comment="retag" Text="&lt;surround-sound&gt;&lt;5.1&gt;&lt;plug-ins&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8434" PostHistoryTypeId="6" PostId="4645" RevisionGUID="8f7c55ef-14b7-4e98-a00b-7941c4cadd71" CreationDate="2010-12-08T08:51:19.053" UserId="61" Comment="retag" Text="&lt;pro-tools&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8435" PostHistoryTypeId="6" PostId="3984" RevisionGUID="598948ce-9dad-443b-8e40-63df4bbf3872" CreationDate="2010-12-08T08:51:53.470" UserId="61" Comment="retag" Text="&lt;theater&gt;&lt;stage&gt;&lt;theatre-sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8436" PostHistoryTypeId="6" PostId="4144" RevisionGUID="54d2b8d6-5e67-4c57-ac8a-ed0a2cacbaaf" CreationDate="2010-12-08T08:52:58.817" UserId="61" Comment="retag" Text="&lt;sound-design&gt;&lt;creativity&gt;&lt;techniques&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8437" PostHistoryTypeId="6" PostId="1456" RevisionGUID="77646073-886b-463d-99e7-e67a96c52df4" CreationDate="2010-12-08T08:53:42.810" UserId="61" Comment="edited tags" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8438" PostHistoryTypeId="6" PostId="3605" RevisionGUID="468ed47a-ad55-4887-8d4e-f4ec4665ad76" CreationDate="2010-12-08T08:55:00.983" UserId="61" Comment="retag" Text="&lt;sound-design&gt;&lt;television&gt;&lt;templates&gt;&lt;editing&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8439" PostHistoryTypeId="6" PostId="2292" RevisionGUID="5f247aeb-e3f4-402e-a8a5-06eecb88cc70" CreationDate="2010-12-08T08:55:33.197" UserId="61" Comment="retag" Text="&lt;travel&gt;&lt;microphone&gt;&lt;recorder&gt;&lt;precautions&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8440" PostHistoryTypeId="6" PostId="4805" RevisionGUID="0d3a391d-51ee-46d5-989d-0a93c376aa82" CreationDate="2010-12-08T08:56:54.100" UserId="61" Comment="retag" Text="&lt;recording&gt;&lt;voice-over&gt;&lt;booth&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8441" PostHistoryTypeId="6" PostId="394" RevisionGUID="79362ff7-f95b-4657-84f2-1a2f99ddb31b" CreationDate="2010-12-08T08:58:53.177" UserId="61" Comment="retag" Text="&lt;commercials&gt;&lt;creative-inspiration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8442" PostHistoryTypeId="6" PostId="3664" RevisionGUID="ea7f8f01-c5bb-43b4-882b-61227cb61c52" CreationDate="2010-12-08T08:59:43.720" UserId="61" Comment="retag" Text="&lt;adr&gt;&lt;editing&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8443" PostHistoryTypeId="6" PostId="4216" RevisionGUID="89f838b4-c5dc-4b29-97aa-4faba3c931e4" CreationDate="2010-12-08T09:01:19.007" UserId="61" Comment="retag" Text="&lt;creative-inspiration&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8444" PostHistoryTypeId="2" PostId="5010" RevisionGUID="dc49bd84-830a-4de9-b3eb-4c7a50fdbd9a" CreationDate="2010-12-08T09:46:03.753" UserId="725" Text="i know the sound designer for transformers used the Neumann 191" ContentLicense="CC BY-SA 2.5" />
  <row Id="8445" PostHistoryTypeId="2" PostId="5011" RevisionGUID="6800ea47-4762-4f32-94f5-fbbc328efdde" CreationDate="2010-12-08T14:11:01.890" UserId="220" Text="This answer is from personal experience.  The ADR in my short had problems for two reasons:&#xD;&#xA;&#xD;&#xA; 1. The ADR was recorded in a small studio with a studio mic.  This was an instance of getting what I paid for, unfortunately.  I attempted to fix the audio differences with reverb and heavy EQing.  All dialog was ADRd, so in the end, this wasn't really such a big issue.  It's not &quot;bad&quot;, persay, just not entirely accurate. &#xD;&#xA; 2. Poor ADR acting.  This is something actors should take classes in (maybe they do...), since it's not as easy as it seems, apparently.  We got dialog that was *reaaally* close, but in many case just could not force it to line up and went with the best fit.  This is something I toiled over since it was a 6 minute short, but I figure if I had the same problem on a feature, I'd leave dialog a lot faster and end up with that poorly synced look.  &#xD;&#xA;&#xD;&#xA;Looking back, it wasn't that bad.  I notice it, but most people do not.  Being a huge fan of terrible 80s action flicks, I see this all the time - bad mic choice, bad ADR acting, and half an attempt to line it up.  My favorite are lines that are obviously not even close to what the actor is really saying.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="8446" PostHistoryTypeId="2" PostId="5012" RevisionGUID="b0ebdeae-555c-481c-9315-cef67445b9b1" CreationDate="2010-12-08T14:25:53.043" UserId="220" Text="I was watching the Tron Legacy video on SoundWorks Collection and it brought up some questions for me and my wife in regards to surround mixing.  Having never mixed 5.1/7.1, I did not think about how reverb reacts with the other channels, especially in 7.1.  How does the reverb decay on a sound travel through the channels?  Is that something that is automatic with a surround reverb plugin, or do you have to treat each channel differently?  Do you even want it in the other channels, or is it for the front channels only?&#xD;&#xA;&#xD;&#xA;In the SoundWorks video, they mentioned that to give spaces more character, they'd put different decays, slaps, etc on different channels.  Subtle, I'm sure, but I like that attention to detail.  Tim Prebble mentioned that as a bullet point in a previous surround question, and I was wondering if someone could speak to what drives the decision to use that method instead of doing something simpler.&#xD;&#xA;&#xD;&#xA;Thanks so much!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8447" PostHistoryTypeId="1" PostId="5012" RevisionGUID="b0ebdeae-555c-481c-9315-cef67445b9b1" CreationDate="2010-12-08T14:25:53.043" UserId="220" Text="Reverb in Surround" ContentLicense="CC BY-SA 2.5" />
  <row Id="8448" PostHistoryTypeId="3" PostId="5012" RevisionGUID="b0ebdeae-555c-481c-9315-cef67445b9b1" CreationDate="2010-12-08T14:25:53.043" UserId="220" Text="&lt;surround-sound&gt;&lt;reverb&gt;&lt;delay&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8449" PostHistoryTypeId="2" PostId="5013" RevisionGUID="1deeebf1-3ea1-4e20-8e4d-47e6f62b86be" CreationDate="2010-12-08T14:46:36.270" UserId="726" Text="Hello everyone!&#xD;&#xA;Just a quick question regarding field recordings. Primarily, do people tend to record field sounds (excluding dialogue) in mono? When would a situation arise where it would be beneficial to record in stereo (i.e. with matched stereo pair mic/stereo mic)? I'm asking this from a complete beginners perspective! &#xD;&#xA;&#xD;&#xA;Many thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8450" PostHistoryTypeId="1" PostId="5013" RevisionGUID="1deeebf1-3ea1-4e20-8e4d-47e6f62b86be" CreationDate="2010-12-08T14:46:36.270" UserId="726" Text="Field Recording: Stereo/Mono" ContentLicense="CC BY-SA 2.5" />
  <row Id="8451" PostHistoryTypeId="3" PostId="5013" RevisionGUID="1deeebf1-3ea1-4e20-8e4d-47e6f62b86be" CreationDate="2010-12-08T14:46:36.270" UserId="726" Text="&lt;field-recording&gt;&lt;mono&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8452" PostHistoryTypeId="2" PostId="5014" RevisionGUID="77d6b5e4-4e93-44ca-a5ae-943a8c849562" CreationDate="2010-12-08T15:02:54.663" UserId="726" Text="Sorry just found the answer:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/2410/what-sounds-can-be-effectively-recording-using-just-one-channel-mono" ContentLicense="CC BY-SA 2.5" />
  <row Id="8453" PostHistoryTypeId="2" PostId="5015" RevisionGUID="ab8ce37f-c037-48b1-8d0a-3a9c0f99d62e" CreationDate="2010-12-08T15:33:53.197" UserId="727" Text="I'm  currently running  Plural Eyes  to  sync  up three camera's for  a wedding.   It's  been going for  about 13 hours  and   is  only at 60%.  Is this normal?  i have version 1.2" ContentLicense="CC BY-SA 2.5" />
  <row Id="8454" PostHistoryTypeId="2" PostId="5016" RevisionGUID="7bb8a418-84d9-43b4-9f90-b92a35ff9c19" CreationDate="2010-12-08T16:04:08.760" UserId="558" Text="I love RME gear.  I've had 3 over the years.  Not a second of trouble.  Set and forget (which is what I want from an interface).&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8455" PostHistoryTypeId="2" PostId="5017" RevisionGUID="4eeeaa1c-8603-41d8-ad83-41a9c5db063a" CreationDate="2010-12-08T16:08:57.110" UserId="432" Text="I'll be perfectly honest, I've never considered the idea of using multiple reverbs across individual channels in a surround mix. Now that I've heard about it though, it makes perfect sense to me.&#xD;&#xA;&#xD;&#xA;Think of it this way, when you instantiate a reverb, there's little to no manual control over where exactly the reverb tail appears. The algorithm looks at the panned/positioned source and calculates what the decay is like across the entire space. So, it defines how it behaves in all of the other channels.&#xD;&#xA;&#xD;&#xA;Now imagine how that works in a surround environment, perhaps you want to more closely emulate a real world, highly irregular, space...something that doesn't provide uniform propagation. Say you've positioned something in the rear and want it to propagate only in the rears and the sides; that there is some structural piece in the shot that would, in real life, cancel out or prevent propagation in the front (or maybe it just exhibits a different behavior to begin with). Working with only a single surround reverb would not afford you that sort of control; unless you had some extra return controls where the reverb is feeding back to multiple auxes.&#xD;&#xA;&#xD;&#xA;Since adding more channels to mix isn't always the most efficient method, using multiple reverbs would gain you a simpler means to obtain that flexibility. It allows you to build a more complex and unique space. The trade off is that you need more processing power to do so." ContentLicense="CC BY-SA 2.5" />
  <row Id="8456" PostHistoryTypeId="2" PostId="5018" RevisionGUID="0b50a5c1-341d-45c2-a7e4-45d46ff5fbad" CreationDate="2010-12-08T17:00:32.540" UserId="437" Text="Hey, Hubert&#xD;&#xA;&#xD;&#xA;concerning show cue playback, Stage Research's SFX (PC) is still the industry standard, although Figure 53's Q-lab (Mac), as mentioned, is now giving it a run for its money.&#xD;&#xA;&#xD;&#xA;As far as online resources, I would highly recommend the Google Groups Theatre Sound: http://groups.google.com/group/theatre-sound-list&#xD;&#xA;&#xD;&#xA;There are some seasoned professionals on there that are generous with their time and advice, much like this site. The topics range from simple to some pretty complicated discussions concerning theory, etc.&#xD;&#xA;&#xD;&#xA;If you are willing to do some book learning, on the technical side I would recommend Yamaha's Sound Reinforcement Handbook and JBL's Audio Engineering book, both indispensable. On the artistic and theory side, I would recommend Kaye and LeBrecht's Sound and Music for the Theatre.&#xD;&#xA;&#xD;&#xA;As first and foremost a live sound designer, I would like to elaborate on a couple points above and maybe clarify a couple things. While there is a tradition of live effects for radio plays and live productions, these techniques are so, so old-timey. Virtually everyone, unless the production calls for something special, is editing on a DAW, using computer playback, and working with some pretty sophisticated tools. We have White Christmas up right now at Pioneer and are using a maxed-out Yamaha LS9 with 64 channels of live inputs, separate channels EQ'd for when the principles wear hats, etc.&#xD;&#xA;&#xD;&#xA;I totally understand that live theatre seems quaint by comparison, because there are significant physical limitations that don't hinder current films. Regardless of theatre being the preeminent form of entertainment for a long time, there are things that film flat out does better. Without (hopefully) being too much of an apologist, live entertainment is still a gigantic industry, drives a lot of innovation, and is not strictly relegated to some hayseeds putting on a melodrama in a grange...although I have done that.&#xD;&#xA;&#xD;&#xA;If you want more resources, I  would be more than happy to dig a little deeper and see what else I have bookmarked. Or you can contact me off the forum at matthew.tibbs@gmail.com. I would be happy to help.&#xD;&#xA;&#xD;&#xA;Best!&#xD;&#xA;&#xD;&#xA;Matt Tibbs&#xD;&#xA;Resident Sound Designer&#xD;&#xA;Pioneer Theatre Company&#xD;&#xA;&#xD;&#xA;Sound Design Faculty&#xD;&#xA;University of Utah&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8458" PostHistoryTypeId="2" PostId="5019" RevisionGUID="97ef0860-2739-49dc-a9ef-8dadce6a48c8" CreationDate="2010-12-08T19:43:20.430" UserId="639" Text="Im using waveagent to deal with metadata and on the originator section it is labeled as either Fostex FR2-LE (my recorder) or Pro Tools (my DAW). How do I make this say what I want like my name (ShaunKellyFX: category). Also the originator reference has a crazy name like xy7eu5thuji? How can I make this say something like 01, 02.....&#xD;&#xA;&#xD;&#xA;On waveagent it says the originator info is generated when converting a standard WAV to a BWF when is this happening so I can name it properly?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8459" PostHistoryTypeId="1" PostId="5019" RevisionGUID="97ef0860-2739-49dc-a9ef-8dadce6a48c8" CreationDate="2010-12-08T19:43:20.430" UserId="639" Text="How do you make BWF(metadata) originator info what you want?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8460" PostHistoryTypeId="3" PostId="5019" RevisionGUID="97ef0860-2739-49dc-a9ef-8dadce6a48c8" CreationDate="2010-12-08T19:43:20.430" UserId="639" Text="&lt;metadata&gt;&lt;effects&gt;&lt;library&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8461" PostHistoryTypeId="2" PostId="5020" RevisionGUID="fe6c2599-48d5-487a-98e4-2f4db08df1a0" CreationDate="2010-12-08T21:13:44.447" UserId="315" Text="Most film mixers use a variety of reverbs/delays depending on the scene/environment. Sometimes mono up the center or panned, stereo in the LR, or 5.0 etc.. Sometimes two stereo pairs with one set to a different pre-delay in the rear. There are a variety of choices to made, and great mixers know how to create the right immersive sound with a large sweet spot, without muddying up the theater in a wet mess. With 7.1, they are given two more channels on the side to play with.&#xD;&#xA;&#xD;&#xA;On the typical dub stage, you'll see a single or multiple TC System 6000s, Lexicon 960s or 480s on the desk; with units strictly for the dialog/music mixer and units for the fx mixer. On a TC 6000 for example, you can set it up to run 4 stereo verbs or one 5.1 verb. You'll often see the mixers switch between the two through the course of a reel." ContentLicense="CC BY-SA 2.5" />
  <row Id="8462" PostHistoryTypeId="5" PostId="5020" RevisionGUID="77056543-6c7c-4073-b68c-379c75286807" CreationDate="2010-12-08T21:21:20.420" UserId="315" Comment="added 407 characters in body" Text="Most film mixers use a variety of reverbs/delays depending on the scene/environment. Sometimes mono up the center or panned, stereo in the LR, or 5.0 etc.. Sometimes two stereo pairs with one set to a different pre-delay in the rear. There are a variety of choices to made, and great mixers know how to create the right immersive sound with a large sweet spot, without muddying up the theater in a wet mess. With 7.1, they are given two more channels on the side to play with.&#xD;&#xA;&#xD;&#xA;Say your scene takes place in a dark alley. A mixer might call up a general 2.0 outdoor reverb for the dialog in the LR, and a 5.1 reverb for the fx with an early reflection to simulate a narrow stone walled space, and add a mono slap delay panned to the left on some of the louder fx to simulate the slap off of a building. Lots of creative choices being made depending on the environment/storytelling.&#xD;&#xA;&#xD;&#xA;On the typical dub stage, you'll see a single or multiple TC System 6000s, Lexicon 960s or 480s on the desk; with units strictly for the dialog/music mixer and units for the fx mixer. On a TC 6000 for example, you can set it up to run 4 stereo verbs or one 5.1 verb. You'll often see the mixers switch between the two through the course of a reel." ContentLicense="CC BY-SA 2.5" />
  <row Id="8463" PostHistoryTypeId="2" PostId="5021" RevisionGUID="258264fc-193b-4b22-90f5-8b6490c72089" CreationDate="2010-12-08T23:08:17.263" UserId="587" Text="Anyone work in UDK much?&#xD;&#xA;&#xD;&#xA;If so, I have a question for you.&#xD;&#xA;&#xD;&#xA;If a guy shoots a gun on one end of the map, on a basic concept, the player on the other end of the map should hear it differently.&#xD;&#xA;&#xD;&#xA;This can be done (on a basic level) by tagging either the gun, the gun audio cue, or the player model itself with a LPF radius so that anything beyond the radius should sound &quot;farther&quot; away based on a LPF roll-off.&#xD;&#xA;&#xD;&#xA;My question is - How do you tag this LPF radius to the gun sound within this certain circumstance of &quot;distance rolloff&quot; audio?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8464" PostHistoryTypeId="1" PostId="5021" RevisionGUID="258264fc-193b-4b22-90f5-8b6490c72089" CreationDate="2010-12-08T23:08:17.263" UserId="587" Text="Moving LPF's in UDK" ContentLicense="CC BY-SA 2.5" />
  <row Id="8465" PostHistoryTypeId="3" PostId="5021" RevisionGUID="258264fc-193b-4b22-90f5-8b6490c72089" CreationDate="2010-12-08T23:08:17.263" UserId="587" Text="&lt;udk&gt;&lt;gameaudio&gt;&lt;guns&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8466" PostHistoryTypeId="2" PostId="5022" RevisionGUID="cf2df593-53dd-43be-83f3-079b41e5f676" CreationDate="2010-12-08T23:10:33.043" UserId="338" Text="I'm trying to find out the number of samples in one frame of SMPTE, does anybody know?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8467" PostHistoryTypeId="1" PostId="5022" RevisionGUID="cf2df593-53dd-43be-83f3-079b41e5f676" CreationDate="2010-12-08T23:10:33.043" UserId="338" Text="How many samples are in a frame?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8468" PostHistoryTypeId="3" PostId="5022" RevisionGUID="cf2df593-53dd-43be-83f3-079b41e5f676" CreationDate="2010-12-08T23:10:33.043" UserId="338" Text="&lt;technical&gt;&lt;smpte&gt;&lt;samples&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8471" PostHistoryTypeId="2" PostId="5025" RevisionGUID="22a8d08d-5de6-42c1-ab1f-01fe81eaa8f2" CreationDate="2010-12-08T23:36:37.387" UserId="6420" Text="Guess it depends on the frame rate and sample rate?&#xD;&#xA;If sample rate is 48k and frame rate is 24fps that works out at 2000 a frame (i think!!) lol It's late and I'm quite tired so forgive me if I'm off ;) &#xD;&#xA;Hope that helps" ContentLicense="CC BY-SA 2.5" />
  <row Id="8472" PostHistoryTypeId="6" PostId="5021" RevisionGUID="dbef3452-5570-41be-a656-e0d4b9dd99b7" CreationDate="2010-12-08T23:43:45.967" UserId="61" Comment="retag" Text="&lt;udk&gt;&lt;video-games&gt;&lt;guns&gt;&lt;implementation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8473" PostHistoryTypeId="2" PostId="5026" RevisionGUID="758f7184-363b-4aaa-a0ae-dc28a26aed0b" CreationDate="2010-12-08T23:44:28.473" UserId="202" Text="It depends on the sample rate and the frame rate:&#xD;&#xA;&#xD;&#xA;at 24fps and 48000Hz every frame is long (48000hz/24fps)= 2000 sample&#xD;&#xA;&#xD;&#xA;at 25 fps and 48000Hz: (48000hz/25fps)= 1920 sample&#xD;&#xA;&#xD;&#xA;hope it helps.&#xD;&#xA;&#xD;&#xA;best" ContentLicense="CC BY-SA 2.5" />
  <row Id="8474" PostHistoryTypeId="2" PostId="5027" RevisionGUID="829641bf-569b-4938-bcf4-21e192c01a0f" CreationDate="2010-12-08T23:46:37.997" UserId="728" Text="Samples per frame = (sample rate)/FPS&#xD;&#xA;&#xD;&#xA;cheers,&#xD;&#xA;&#xD;&#xA;Rishi" ContentLicense="CC BY-SA 2.5" />
  <row Id="8475" PostHistoryTypeId="2" PostId="5028" RevisionGUID="e6af4080-595a-4eb1-bcfe-784d86b58672" CreationDate="2010-12-08T23:48:02.893" UserId="402" Text="Your question is a little confusing i'm not entirley sure what you're trying to do. I'l quickly explain the two ways you can deal with distance based content in the UDK.&#xD;&#xA;Both are pretty simple to implement.&#xD;&#xA;&#xD;&#xA;1. In the sound cue for the weapon add an attenuation node and in the Low Pass Filter tab check &quot;Attenuate With LPF&quot; and set up the radii of attenuation.&#xD;&#xA;&#xD;&#xA;2. Have several different distance versions of the same weapon sound (close, med, far) and use the distance crossfade node in the sound cue to mix between each of these.&#xD;&#xA;&#xD;&#xA;Both can be used to do what you want. The second one is a little more difficult to set up and has a bigger ram footprint but in the end will sound better." ContentLicense="CC BY-SA 2.5" />
  <row Id="8476" PostHistoryTypeId="12" PostId="5028" RevisionGUID="90486005-c72f-4cf0-8291-778d6cc181fb" CreationDate="2010-12-08T23:48:57.313" UserId="402" Text="[{&quot;Id&quot;:402,&quot;DisplayName&quot;:&quot;Andrew Quinn&quot;}]" />
  <row Id="8477" PostHistoryTypeId="13" PostId="5028" RevisionGUID="2d6f8938-147d-4fde-adf0-b9a9904256d2" CreationDate="2010-12-08T23:52:38.013" UserId="402" Text="[{&quot;Id&quot;:402,&quot;DisplayName&quot;:&quot;Andrew Quinn&quot;}]" />
  <row Id="8478" PostHistoryTypeId="2" PostId="5029" RevisionGUID="c38bc007-f52c-42a6-bfd1-ae7283845115" CreationDate="2010-12-08T23:58:31.183" UserId="235" Text="Sample rate divided by frame rate.  You can also select one frame in PT, set the counter to samples and look in the length box." ContentLicense="CC BY-SA 2.5" />
  <row Id="8479" PostHistoryTypeId="2" PostId="5030" RevisionGUID="63f62125-95ff-430c-b1eb-4e959de25251" CreationDate="2010-12-09T00:01:01.150" UserId="594" Text="Plural Eyes is a great tool, I've used it to sync multiple 7d's and a h4n with out any problems so far, but they are mostly very short clips, 4 minutes and under. &#xD;&#xA;&#xD;&#xA;I would like to see the ability for plural eyes to export out all my clips in the same sequence. It's a chore when each clips gets put into it's own individual sequence in FCP." ContentLicense="CC BY-SA 2.5" />
  <row Id="8480" PostHistoryTypeId="5" PostId="3863" RevisionGUID="47462f02-92ba-480d-8365-5bf6e7810b1d" CreationDate="2010-12-09T06:25:27.857" UserId="18160" Comment="deleted 1324 characters in body" Text="I was wondering if anyone here had any other useful ways they use Strip Silence in Pro Tools.&#xD;&#xA;&#xD;&#xA;Do any of you have useful ways to use Strip Silence other than taking out dead-space or ambience?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8481" PostHistoryTypeId="5" PostId="3880" RevisionGUID="6522f1b6-7be7-4373-a178-f585eea3c822" CreationDate="2010-12-09T07:22:01.703" UserId="61" Comment="formatting" Text="Until I watched [this avid webinar][1] I was using strip silence to create regions out of lengthy library sounds that were imported as one file (particularly footsteps) but it also works for swooshes, hits, etc. really anything with multiple performances in one file. Now I use Beat Detective for anything with an intended sync point. Same principle, but is far easier IMO.&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/05/avid-webinar-film-sound-design-with-pro-tools-and-icon/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8482" PostHistoryTypeId="5" PostId="5012" RevisionGUID="2ada4262-c3bf-4d25-91c5-4b9c58bf866f" CreationDate="2010-12-09T07:23:28.820" UserId="61" Comment="hyperlink" Text="I was watching the [Tron Legacy video][1] on SoundWorks Collection and it brought up some questions for me and my wife in regards to surround mixing.  Having never mixed 5.1/7.1, I did not think about how reverb reacts with the other channels, especially in 7.1.  How does the reverb decay on a sound travel through the channels?  Is that something that is automatic with a surround reverb plugin, or do you have to treat each channel differently?  Do you even want it in the other channels, or is it for the front channels only?&#xD;&#xA;&#xD;&#xA;In the SoundWorks video, they mentioned that to give spaces more character, they'd put different decays, slaps, etc on different channels.  Subtle, I'm sure, but I like that attention to detail.  Tim Prebble mentioned that as a bullet point in a previous surround question, and I was wondering if someone could speak to what drives the decision to use that method instead of doing something simpler.&#xD;&#xA;&#xD;&#xA;Thanks so much!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/tronlegacy" ContentLicense="CC BY-SA 2.5" />
  <row Id="8483" PostHistoryTypeId="4" PostId="5013" RevisionGUID="159de5ad-8b31-41ff-88f5-1abbd49bc3ba" CreationDate="2010-12-09T07:25:23.280" UserId="61" Comment="title" Text="Field Recording: Stereo vs. Mono" ContentLicense="CC BY-SA 2.5" />
  <row Id="8484" PostHistoryTypeId="4" PostId="4959" RevisionGUID="1b1d2c13-a1c6-405b-b60c-8b367810ebc6" CreationDate="2010-12-09T07:27:11.140" UserId="61" Comment="grammar" Text="I'm having problems recording sound effects at low volumes" ContentLicense="CC BY-SA 2.5" />
  <row Id="8485" PostHistoryTypeId="5" PostId="35" RevisionGUID="16c2b291-c425-4394-b36a-3c2c6a479f2e" CreationDate="2010-12-09T07:28:40.870" UserId="61" Comment="spelling" Text="As Chuck says, your equipment should be safe. The worst will be some distortion on your recording. &#xD;&#xA;&#xD;&#xA;I think the OKMs have a pretty high SPL rating, so you should be safe. Does the OKM not have a pad included? I seem to remember that you have a -20db attenuation pad. If yours does, then definitely switch it on. &#xD;&#xA;&#xD;&#xA;Don't forget to protect your ears too... &#xD;&#xA;&#xD;&#xA;For the question on how to record the event with your equipment. I'd use the Zoom H4 to record specific angles/areas with it's on-board mics, and use the binaurals to get the reflections, decays and surrounding space. But because it will handle the loud bang of the fireworks probably better the the H4, I'd use them to get right up close (out of your ears though) so you can have added layers for when editing the sounds. Just some ideas.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="8486" PostHistoryTypeId="2" PostId="5031" RevisionGUID="16bb6da7-f830-45d7-8d97-cefe60503e5f" CreationDate="2010-12-09T11:10:31.020" UserId="6600" Text="There is a good article on the gamasutra site re recording guns which might be useful:&#xD;&#xA;&#xD;&#xA;http://www.gamasutra.com/view/feature/1746/weapons_sound_effects_recording_.php&#xD;&#xA;&#xD;&#xA;One thing I took away from it is that the bang is only a fraction of the entire sound and the tail is just as important in capturing the character." ContentLicense="CC BY-SA 2.5" />
  <row Id="8487" PostHistoryTypeId="2" PostId="5032" RevisionGUID="82339918-5542-4aba-8cd1-3884d63d3619" CreationDate="2010-12-09T15:49:54.343" UserId="37" Text="With really loud sources and powered mics you will be demanding from the voltage powering your microphones so they don't distort. Typical plug-in voltage with portable recorders tends to be between 3 to 5 volts which is not enough.." ContentLicense="CC BY-SA 2.5" />
  <row Id="8488" PostHistoryTypeId="2" PostId="5033" RevisionGUID="006e9f43-3968-43de-bfd4-fcad1e12ce43" CreationDate="2010-12-09T17:22:29.090" UserId="730" Text="I just recently got my dream job!  I am the in house sound designer at Hi-Rez Studios.  I am doing all the sound design for their new Tribes game!&#xD;&#xA;&#xD;&#xA;www.BenjieFreund.com&#xD;&#xA;www.NeutrinoGaming.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="8490" PostHistoryTypeId="2" PostId="5035" RevisionGUID="25e45b22-7b03-4d1c-a1ce-de7d9bf0f4db" CreationDate="2010-12-09T19:50:47.570" UserId="531" Text="Im starting a sound design business with a fellow college graduate. &#xD;&#xA;[here's our site][1]&#xD;&#xA;&#xD;&#xA;I would love to hear any of your thoughts on the site design, and the way the videos are displayed. &#xD;&#xA;I created it at Wix.com. Its all flash based so I'm very curious about how the site loads on other peoples computers. &#xD;&#xA;If you have time and energy to help, I would be very grateful. &#xD;&#xA;&#xD;&#xA;Thank you.&#xD;&#xA;&#xD;&#xA;-Kevin &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundofsightaudio.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8491" PostHistoryTypeId="1" PostId="5035" RevisionGUID="25e45b22-7b03-4d1c-a1ce-de7d9bf0f4db" CreationDate="2010-12-09T19:50:47.570" UserId="531" Text="Critique My Website " ContentLicense="CC BY-SA 2.5" />
  <row Id="8492" PostHistoryTypeId="3" PostId="5035" RevisionGUID="25e45b22-7b03-4d1c-a1ce-de7d9bf0f4db" CreationDate="2010-12-09T19:50:47.570" UserId="531" Text="&lt;websites&gt;&lt;portfolio&gt;&lt;sound-design&gt;&lt;advertising&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8493" PostHistoryTypeId="2" PostId="5036" RevisionGUID="c09ae5f2-0362-4737-b647-b0d207f376aa" CreationDate="2010-12-09T20:17:56.193" UserId="18160" Text="Cool concept, everything works on my computer and it loads fine - I'm on a laptop.&#xD;&#xA;&#xD;&#xA;Couple rough edges and honest advice (hey, you asked!):&#xD;&#xA;&#xD;&#xA;Send button in the contact field is cut off on the bottom (the font is),&#xD;&#xA;&#xD;&#xA;The font used on the top buttons is a bit plain and dry. By dry I mean in an audio sense like it's just dry and plain - no reverb on it, no excitement or life. I'd take the font you have and put it through a photoshop plug-in or something to give it depth or an effect. Maybe it's too low-fi? I do like the font you used or the bios for the team. That color fits with the background more to my eyes, the top buttons not so much.&#xD;&#xA;&#xD;&#xA;The buttons when pressed have a bit of a low-fi feel to it like it's not fully loaded and boxy.&#xD;&#xA;&#xD;&#xA;I like the photos in the background - the photo on top is hard to discern what it is, however.&#xD;&#xA;&#xD;&#xA;In the contact page, some of the fields load with the text with spaces between letters and other fields don't - like Name, Email, Subject and Message. This looks a bit off to me.&#xD;&#xA;&#xD;&#xA;Hope that helps - I'm by no means a pro site designer but I compared yours to other pro ones like my friends [Miguel Isaza's][1], [Colin Hart's][2], [Tim Prebble's][3], [Nathan Moody's][4]. Check it out, do an A-B test and I think you'll see what I'm talking about.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/&#xD;&#xA;  [2]: http://www.colinhartonline.com/&#xD;&#xA;  [3]: http://www.musicofsound.co.nz/blog/&#xD;&#xA;  [4]: http://www.noisejockey.net/blog/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8494" PostHistoryTypeId="5" PostId="5036" RevisionGUID="d8cd7732-751b-48f7-8988-1109cf06ed51" CreationDate="2010-12-09T20:23:32.753" UserId="18160" Comment="added 437 characters in body; added 74 characters in body" Text="Cool concept, everything works on my computer and it loads fine - I'm on a laptop.&#xD;&#xA;&#xD;&#xA;Couple rough edges and honest advice (hey, you asked!):&#xD;&#xA;&#xD;&#xA;Send button in the contact field is cut off on the bottom (the font is),&#xD;&#xA;&#xD;&#xA;The font used on the top buttons is a bit plain and dry. By dry I mean in an audio sense like it's just dry and plain - no reverb on it, no excitement or life. I'd take the font you have and put it through a photoshop plug-in or something to give it depth or an effect. Maybe it's too low-fi? I do like the font you used or the bios for the team. That color fits with the background more to my eyes, the top buttons not so much.&#xD;&#xA;&#xD;&#xA;I'd put links with a photo of the project as opposed to having the first one only to be seen and then you have to click the over arrow to see the other 2 samples - instead, I would put little pictures or the name of the project on the right hand side of the screen or something so people can choose and see what you've done at a glance as opposed to one only and then a &quot;1 of 3&quot; at the top - makes it look like you've done less IMHO.&#xD;&#xA;&#xD;&#xA;The buttons when pressed have a bit of a low-fi feel to it like it's not fully loaded and boxy.&#xD;&#xA;&#xD;&#xA;I like the photos in the background - the photo on top is hard to discern what it is, however.&#xD;&#xA;&#xD;&#xA;In the contact page, some of the fields load with the text with spaces between letters and other fields don't - like Name, Email, Subject and Message. This looks a bit off to me.&#xD;&#xA;&#xD;&#xA;Hope that helps - I'm by no means a pro site designer but I compared yours to other pro ones like my friends [Miguel Isaza's][1], [Colin Hart's][2], [Tim Prebble's][3], [Nathan Moody's][4], and this site. This site is a perfect example of simple yet professional. Check it out, do an A-B test and I think you'll see what I'm talking about.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/&#xD;&#xA;  [2]: http://www.colinhartonline.com/&#xD;&#xA;  [3]: http://www.musicofsound.co.nz/blog/&#xD;&#xA;  [4]: http://www.noisejockey.net/blog/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8495" PostHistoryTypeId="2" PostId="5037" RevisionGUID="4d4edc70-045a-4439-8c95-09c705a1c05c" CreationDate="2010-12-09T23:55:59.897" UserId="587" Text="Using Safari 5.0.3 and your audio loads for your video, but no video. If you are using wix, make sure the sizing of video is not larger than the boundary of the &quot;moving page&quot; area, otherwise the video will not show up. Had this problem on my end a couple months ago. Just double check - it could be something else. Layout is cool though!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8496" PostHistoryTypeId="2" PostId="5038" RevisionGUID="743d27db-1063-411e-9556-70de859015b0" CreationDate="2010-12-10T00:57:01.503" UserId="558" Text="Audio for top down games - especially RTS's - can be very different from other games.  Much of RTS audio acts as direct and important game feedback - making it easier to navigate the game and recognize situations quickly.  Very often that means that repetition of the exact same asset becomes a good thing - it promotes quick recognition.  In most other games repetition is a bad thing.&#xD;&#xA;&#xD;&#xA;THose sounds that are critical for gameplay need to be up in the mix, and so a &quot;realistic&quot; mix becomes very hard if not actually counterproductive.&#xD;&#xA;&#xD;&#xA;My approach would be to put together a mix priority map of all the elements you expect: battle noises, foley, warnings (you are under attack, unit is nearly dead...), state changes (new unit/building is finished, research complete, resource depleted...), UI, etc.  Figure out which of those elements are game critical and put them in place, and then do your best to create a compelling soundscape using the rest of the elements.&#xD;&#xA;&#xD;&#xA;I would also argue sync is not that important.  Often so much is happening that individually synced gunshots or footsteps dont add anything.  (of course larger visuals need sync, but for a typical Age of Myth or Starcraft battle, there is a ton of simultaneous action.  sync is not nearly as important as compelling soundscape and clear audio info.&#xD;&#xA;&#xD;&#xA;dr" ContentLicense="CC BY-SA 2.5" />
  <row Id="8497" PostHistoryTypeId="2" PostId="5039" RevisionGUID="f993f16f-f596-4fef-8f13-c8be86007e66" CreationDate="2010-12-10T01:09:47.507" UserId="732" Text="&lt;pre&gt;I strongly second BT (This Binary Universe) as he was the fellow that got me into &#xD;&#xA;sound design, ambience and superfine editing. How about,&#xD;&#xA;&#xD;&#xA;Trifonic: guitarist/programmer for TBU^&#xD;&#xA;&#xD;&#xA;Trentemoller&#xD;&#xA;&#xD;&#xA;Goldfrapp's Seventh Tree: super wall of synths!&#xD;&#xA;&#xD;&#xA;Amon Tobin 2nd: Hyper sampling&#xD;&#xA;&#xD;&#xA;Flying Lotus 2nd: Ganja Sound Design&#xD;&#xA;&lt;/pre&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8498" PostHistoryTypeId="2" PostId="5040" RevisionGUID="58473836-713b-4c7c-ad34-aa91defe8394" CreationDate="2010-12-10T02:13:08.623" UserId="639" Text="All the libraries I have bought/seen advertised say mastered at 24/96. Is this meaning simply that the audio was cleaned up, metadata was added and its ready for drag and drop use? Or is there something more? " ContentLicense="CC BY-SA 2.5" />
  <row Id="8499" PostHistoryTypeId="1" PostId="5040" RevisionGUID="58473836-713b-4c7c-ad34-aa91defe8394" CreationDate="2010-12-10T02:13:08.623" UserId="639" Text="What does mastered mean on a commercial library?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8500" PostHistoryTypeId="3" PostId="5040" RevisionGUID="58473836-713b-4c7c-ad34-aa91defe8394" CreationDate="2010-12-10T02:13:08.623" UserId="639" Text="&lt;effects&gt;&lt;library&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8501" PostHistoryTypeId="2" PostId="5041" RevisionGUID="9827ec2e-d77c-4f3d-8e50-e125cce79cd9" CreationDate="2010-12-10T02:57:30.830" UserId="194" Text="After more than 11 years of doing this all day every day I've learned just how broad and deep the field of audio truly is.  The more I do this the more I realize how much I still have yet to learn.  The question now is where to focus.  &#xD;&#xA;&#xD;&#xA;I was recording a local pro coach recently and he talked about the way that different coaches take different approaches to where to focus practices.  &#xD;&#xA;&#xD;&#xA;One tact is to identify the things that an athlete does very well and work on that as a primary focus.  I'll call this &quot;**raising the ceiling**.&quot;  The idea is to hone that specific advantage to such a high level that no other competitor can outperform the athlete at that one facet.  Then you gameplan to use that facet overtly.  The net effect is to reduce flexibilty and rely on pure execution, but the side effect is that deficiencies are left unaddressed.  Think of the tennis player with a devastating serve and no backhand.&#xD;&#xA;&#xD;&#xA;The other tact is to identify the things that an athelete does poorly, and work on that instead.  I'll call this &quot;**raising the floor**.&quot;  The idea here is to balance the athlete's abilities - leaving natural talent and interest to do the work at the top end of his game and practice and reps to work on the weaker aspects.  The idea here is that a balanced anthlete is more flexible and has more options available at game time because he is at least competent at everything, but the side effect is that the athlete may not reach the pinnacle of his ability in the areas where he is most talented.&#xD;&#xA;&#xD;&#xA;Obviously every athlete works on raising both the ceiling and the floor, but inevitably only one side or the other receives the majority of the reps, attention, and enthusiasm.&#xD;&#xA;&#xD;&#xA;------&#xD;&#xA;&#xD;&#xA;The audio analogy is pretty obv here, so I'll just lay out my own personal evaluation:&#xD;&#xA;&#xD;&#xA;I think it takes 3 to 5 years of doing any complex and creative job to figure out basic competency (took me closer to 5).  After that, it takes another 3 to 5 to figure out one's own unique talents and roadblocks within that competency (took me closer to 3).&#xD;&#xA;&#xD;&#xA;Once you've figured out talent, you have to start making the decision of whether to spend your time raising the floor or raising the ceiling in the short time you have on this earth.  I find my own strengths to be microphone based recording, sound selection, signal processing, and to a lesser degree mixing.  My weaknesses are synthesis, musical integration, music programming, and to a lesser degree sonic arrangement.  &#xD;&#xA;&#xD;&#xA;With that said, I'm sure both that I'm not near the recordist I could be with 5 more years of focused execution, and I'm also not incompetent with regards to synthesis and musicality.  Its just that I have to work much harder at those things to get them up to my standard.&#xD;&#xA;&#xD;&#xA;I'll also state that I am not an island.  I work with a team of very talented guys, one of whom has strengths and weaknesses that compliment mine almost exactly.  &#xD;&#xA;&#xD;&#xA;------&#xD;&#xA;&#xD;&#xA;So where do you guys fall?  raise the ceiling?  raise the floor?  try to do both?  sell out to one or the other?  does working in a team environment affect your decision?&#xD;&#xA;&#xD;&#xA;thx!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8502" PostHistoryTypeId="1" PostId="5041" RevisionGUID="9827ec2e-d77c-4f3d-8e50-e125cce79cd9" CreationDate="2010-12-10T02:57:30.830" UserId="194" Text="Grabbing hold of one's career arc" ContentLicense="CC BY-SA 2.5" />
  <row Id="8503" PostHistoryTypeId="3" PostId="5041" RevisionGUID="9827ec2e-d77c-4f3d-8e50-e125cce79cd9" CreationDate="2010-12-10T02:57:30.830" UserId="194" Text="&lt;career&gt;&lt;learning&gt;&lt;strategy&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8504" PostHistoryTypeId="2" PostId="5042" RevisionGUID="f03a180d-d004-46ff-b87f-f292c8ce4103" CreationDate="2010-12-10T03:01:56.560" UserId="194" Text="In that context I tend to read &quot;mastered&quot; as audio that is edited, problems eq'd out, strange noises removed, etc.  Sometimes that can also imply downsampling from a higher sample rate.&#xD;&#xA;&#xD;&#xA;I don't tend to read that as having anything to do with metadata.  &#xD;&#xA;&#xD;&#xA;I also don't take that to imply any sort of dynamics processing.  &#xD;&#xA;&#xD;&#xA;YMMV" ContentLicense="CC BY-SA 2.5" />
  <row Id="8505" PostHistoryTypeId="2" PostId="5043" RevisionGUID="0d97327b-755a-493d-9f59-4a76e84d95f0" CreationDate="2010-12-10T09:38:56.977" UserId="663" Text="Hi Kevin,&#xD;&#xA;&#xD;&#xA;First of all, I would recommend you to start building visual identity for Sound of Sight. That mean: make logo, set default colors, choose font. It will help people to remember who or what is Sound of Sight.&#xD;&#xA;&#xD;&#xA;Regarding your site. If your goal is only to make web PRESENTATION then Flash is good, but if you want more advanced web SITE then you should consider html, php or asp. Google and other search engines can not index sites that are build in Flash. My advice is either to add blog or to make whole site in [Wordpress][1]. It is easy to use, many templates are available and support many advanced things ( audio, video, youTube, Vimeo….) and the best thing it is search engine friendly. If you considering this also look this question: [How to set up a personal website?][2]&#xD;&#xA;&#xD;&#xA;Video on your site are slow loading and you put some kind of placeholder so that your visitor know that there is something and they should wait. Also try to put thumbnails of video and description on side or under.&#xD;&#xA;&#xD;&#xA;Hope this will help you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://wordpress.com/&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/4724/how-to-set-up-a-personal-website" ContentLicense="CC BY-SA 2.5" />
  <row Id="8506" PostHistoryTypeId="2" PostId="5044" RevisionGUID="c651ea36-0f50-4243-b4c6-d5c08d55bf40" CreationDate="2010-12-10T12:24:06.303" UserId="431" Text="Not sure if this warrants a new thread (apologies if it does) but I'm wondering if anyone know how sessions from PT 9 open in PT 7.4. One of my biggest clients mixes at a studio that is still on 7.4 and before I upgrade I want to make sure that there isn't going to be issues and/or time consuming workarounds opening my sessions in 7.4." ContentLicense="CC BY-SA 2.5" />
  <row Id="8507" PostHistoryTypeId="2" PostId="5045" RevisionGUID="63bfc695-7304-4df5-b273-2f9f80e04d2e" CreationDate="2010-12-10T13:30:20.367" UserId="220" Text="That's an interesting question.  I think I do a lot of both, really.  When I find something I have not done before, like convolution reverb, I give it a try and work with it until I feel at least comfortable and to a point that I will remember how to do it if I need to use it again.  When I see something here that I have not used before, I usually grab a clip and start playing.   I don't know if that's really &quot;raising the floor&quot; as much as it is learning a new trick.  &#xD;&#xA;&#xD;&#xA;I do spend less time on learning new systems that I'm not already familiar with - like taking classes or doing extensive training.  Maybe that's more in line with &quot;raising the floor&quot;.  I will also occasionally seek out an audio job that puts me far out of my comfort level in order to gain some new experience.  &#xD;&#xA;&#xD;&#xA;I do spend a lot of time working on what I already see is my strong points - learning better forensic audio techniques, etc.  I think I get better at those because it is the majority of my work and it's how I sell myself.  &#xD;&#xA;&#xD;&#xA;I'm sometimes suprised at how little some members know on subjects compared to their depth of knowledge in other areas.  It's not a criticism, I know that if you're very good at what you do, it doesn't always benefit you to know other areas of sound.  I should probably be figuring out what I can be really good at and working harder in that area instead of trying to do some of everything.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="8508" PostHistoryTypeId="2" PostId="5046" RevisionGUID="0be348de-c48e-4c91-a533-3690fae7bd0d" CreationDate="2010-12-10T14:52:38.720" UserId="733" Text="Hi!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I recommend you Gustavo Costantini. He is more theoretician than sound designer, but does both... Despite of his not-so-easy-character as you will discover on your own, i definetely recommend him ;) I'm sure he will know to guide you...&#xD;&#xA;&#xD;&#xA;Good luck&#xD;&#xA;and looking forward to see your docu done!&#xD;&#xA;&#xD;&#xA;s" ContentLicense="CC BY-SA 2.5" />
  <row Id="8509" PostHistoryTypeId="16" PostId="5046" RevisionGUID="0be348de-c48e-4c91-a533-3690fae7bd0d" CreationDate="2010-12-10T14:52:38.720" UserId="-1" />
  <row Id="8513" PostHistoryTypeId="2" PostId="5048" RevisionGUID="d2c98bce-d315-4fca-965f-8ee5eca33641" CreationDate="2010-12-10T18:42:59.697" UserId="429" Text="great thread. &#xD;&#xA;&#xD;&#xA;FYI for any game guys the reverb in FMOD mixes the input to mono and returns on all 6 channels = lame" ContentLicense="CC BY-SA 2.5" />
  <row Id="8514" PostHistoryTypeId="2" PostId="5049" RevisionGUID="e5a49df5-a923-4b87-b5f8-3ceb4327e4c3" CreationDate="2010-12-10T23:45:44.347" UserId="639" Text="I have a fostex FR2-LE and need a stereo mic for ambience and various quiet stereo recordings. I am between geeting a rode NT4 and using it with my fostex or getting a sony pcm D50 to use the built in mics. Price is the same so any suggestions." ContentLicense="CC BY-SA 2.5" />
  <row Id="8515" PostHistoryTypeId="1" PostId="5049" RevisionGUID="e5a49df5-a923-4b87-b5f8-3ceb4327e4c3" CreationDate="2010-12-10T23:45:44.347" UserId="639" Text="sony pcm D50 or rode NT4 for recording quiet ambience?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8516" PostHistoryTypeId="3" PostId="5049" RevisionGUID="e5a49df5-a923-4b87-b5f8-3ceb4327e4c3" CreationDate="2010-12-10T23:45:44.347" UserId="639" Text="&lt;field&gt;&lt;recording&gt;&lt;ambience&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8517" PostHistoryTypeId="2" PostId="5050" RevisionGUID="8c244261-e595-440c-84b0-4c523764d66e" CreationDate="2010-12-10T23:46:33.853" UserId="594" Text="I have files recorded on a Zoom H4N, the files are stereo, lav recorded to left channel and and shotgun microphone recorded to the right channel. &#xD;&#xA;&#xD;&#xA;Is there a program (ideally that works on a mac) for batch splitting these files? In the end it would be nice to have each stereo audio file split into two mono files. &#xD;&#xA;&#xD;&#xA;In Pro Tools, it can be done easily, as I'm sure with other DAWs, but I have tons (gigs) of files, and  a batch process would be ideal. &#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8518" PostHistoryTypeId="1" PostId="5050" RevisionGUID="8c244261-e595-440c-84b0-4c523764d66e" CreationDate="2010-12-10T23:46:33.853" UserId="594" Text="Workflow Question: Batch splitting stereo tracks into mono?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8519" PostHistoryTypeId="3" PostId="5050" RevisionGUID="8c244261-e595-440c-84b0-4c523764d66e" CreationDate="2010-12-10T23:46:33.853" UserId="594" Text="&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8520" PostHistoryTypeId="2" PostId="5051" RevisionGUID="0a7abcec-acdc-4276-a339-8908d6fd7b83" CreationDate="2010-12-11T00:14:24.353" UserId="484" Text="Hello,&#xD;&#xA;&#xD;&#xA;Do you have Pro Tools?&#xD;&#xA;&#xD;&#xA;Drag and Drop them all into a Pro Tools session's region bin and they will all of them will be converted - just takes the processing time.&#xD;&#xA;&#xD;&#xA;After they are processed, in your audio files folder will be split mono files.&#xD;&#xA;&#xD;&#xA;Just make sure your session is the same sample rate/bit depth, and let it do it's thing." ContentLicense="CC BY-SA 2.5" />
  <row Id="8521" PostHistoryTypeId="2" PostId="5052" RevisionGUID="67b57572-313a-49e1-b509-c42d2c33ee95" CreationDate="2010-12-11T00:19:09.170" UserId="6420" Text="The free audio editor Audacity has a batch processing function which might be what you're looking for." ContentLicense="CC BY-SA 2.5" />
  <row Id="8522" PostHistoryTypeId="2" PostId="5053" RevisionGUID="e8f87dd6-cc75-4df7-9b89-da2e13eb1ad9" CreationDate="2010-12-11T00:20:58.393" UserId="663" Text="Rode NT4 will be my choice." ContentLicense="CC BY-SA 2.5" />
  <row Id="8523" PostHistoryTypeId="5" PostId="5049" RevisionGUID="8f140803-4f7f-412b-8d5d-b05fc8c4c06e" CreationDate="2010-12-11T00:36:03.180" UserId="61" Comment="tags" Text="I have a Fostex FR2-LE and need a stereo mic for ambience and various quiet stereo recordings. I am between geeting a Røde NT4 and using it with my Fostex or getting a Sony PCM D50 to use the built in mics. Price is the same so any suggestions." ContentLicense="CC BY-SA 2.5" />
  <row Id="8524" PostHistoryTypeId="4" PostId="5049" RevisionGUID="8f140803-4f7f-412b-8d5d-b05fc8c4c06e" CreationDate="2010-12-11T00:36:03.180" UserId="61" Comment="tags" Text="Sony D50 or Røde NT4 for recording quiet ambience?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8525" PostHistoryTypeId="6" PostId="5049" RevisionGUID="8f140803-4f7f-412b-8d5d-b05fc8c4c06e" CreationDate="2010-12-11T00:36:03.180" UserId="61" Comment="tags" Text="&lt;field-recording&gt;&lt;ambience&gt;&lt;stereo&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8526" PostHistoryTypeId="2" PostId="5054" RevisionGUID="c6a2c363-5c3d-4dfd-bc0e-362057c272f5" CreationDate="2010-12-11T00:54:57.940" UserId="432" Text="I haven't used the NT4, but I have used the D-50. It's very clean for a handheld recorder. I've been meaning to get a post up on my website about the time Colin and I spent a little over an hour on a WWII sub recording switches, knobs and the like. All we had with us were handheld recorders, and I had the D50. I'll make sure to get that up tomorrow (with some of the sounds, of course) for everyone to check out.&#xD;&#xA;&#xD;&#xA;The pres on the D50 are pretty good, but I haven't used that particular model of Fostex recorder to make a comparison.&#xD;&#xA;&#xD;&#xA;It does have a screw hole for a standard consumer camera tripod on the back. So, it's easy to use with something like the Joby Gorillapod, or a larger camera tripod.&#xD;&#xA;&#xD;&#xA;As with any handheld recorder, it's highly susceptible to handling noise and wind. something you should consider when making your decision. Then again, you'll want to consider that for the NT4 as well. I know people have been able to fit the NT4 into a blimp/zepplin. So that one affords you a bit more ease in terms of manipulation than the D50." ContentLicense="CC BY-SA 2.5" />
  <row Id="8527" PostHistoryTypeId="2" PostId="5055" RevisionGUID="efaa9d2b-9f6c-453b-bbe9-7bdf8eb691e6" CreationDate="2010-12-11T01:00:19.610" UserId="735" Text="For the people that record location sound with Sound Devices recorders, many of us use a free program called Wave Agent.  It not only allows us to split and combine WAV files in bulk, but allows us to edit metadata and create sound reports.&#xD;&#xA;&#xD;&#xA;http://www.sounddevices.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="8528" PostHistoryTypeId="2" PostId="5056" RevisionGUID="12163198-46c4-4134-b7d1-eb02e96b3c04" CreationDate="2010-12-11T01:29:24.730" UserId="736" Text="Logic is geared more for music production than audio post production (although I use Logic for both). If you have the Logic studio bundle, then Soundtrack Pro will deal with poly wavs by splitting them onto individual tracks. From there you should be able to export to Logic." ContentLicense="CC BY-SA 2.5" />
  <row Id="8529" PostHistoryTypeId="2" PostId="5057" RevisionGUID="d4169963-0ff9-4368-a244-0d0a266febf6" CreationDate="2010-12-11T02:11:11.027" UserId="100" Text="Skywalker, without a doubt. That's got to be the coolest gig ever." ContentLicense="CC BY-SA 2.5" />
  <row Id="8530" PostHistoryTypeId="5" PostId="5049" RevisionGUID="bd9c6c39-bd91-4977-962c-bf2401c98ed4" CreationDate="2010-12-11T07:30:56.633" UserId="639" Comment="added 220 characters in body" Text="I have a Fostex FR2-LE and need a stereo mic for ambience and various quiet stereo recordings. I am between geeting a Røde NT4 and using it with my Fostex or getting a Sony PCM D50 to use the built in mics. Price is the same so any suggestions.&#xD;&#xA;&#xD;&#xA;Also looking at Audio-Technica BP4029 (AT835ST) - Stereo Shotgun Condenser Microphone&#xD;&#xA;http://www.bhphotovideo.com/c/product/215893-REG/Audio_Technica_BP4029_BP4029_AT835ST_Stereo.html      anyone used this before?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8531" PostHistoryTypeId="5" PostId="5046" RevisionGUID="252ddc17-3f9a-4a82-9c8a-71fa67162f20" CreationDate="2010-12-11T08:07:11.017" UserId="445" Comment="added 93 characters in body" Text="Hi!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I recommend you Gustavo Costantini. He is more theoretician than sound designer, but does both... Despite of his not-so-easy-character as you will discover on your own, i definetely recommend him ;) I'm sure he will know to guide you...&#xD;&#xA;&#xD;&#xA;Good luck&#xD;&#xA;and looking forward to see your docu done!&#xD;&#xA;&#xD;&#xA;s&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i829.photobucket.com/albums/zz212/alansende/Gustavo.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="8532" PostHistoryTypeId="2" PostId="5058" RevisionGUID="26164cce-7102-4dc1-a67f-584885ec6cdf" CreationDate="2010-12-11T08:34:24.333" UserId="587" Text="Interesting workaround needed.&#xD;&#xA;&#xD;&#xA;Apparently UDK does not have the greatest of doppler effects. In fact, I don't even think this is possible (conventional DSP manner) in the UDK engine. &#xD;&#xA;&#xD;&#xA;HOWEVER, I did find a post from a sound designer named Graham Gatheral based in the UK.&#xD;&#xA;&#xD;&#xA;http://www.gatheral.co.uk/&#xD;&#xA;&#xD;&#xA;Top right, there is a clickable video on how he linked a doppler shift equation in Kismet to the sound needing the effect. It calculated the players position/direction and movement of the sound emitter requiring doppler, to pitch shift the emitter's audio as it flew past.&#xD;&#xA;&#xD;&#xA;As far as I know, thats the only way to do this.&#xD;&#xA;&#xD;&#xA;My question is...&#xD;&#xA;&#xD;&#xA;If you were going to do a bullet whiz-by: Would you create a compressed, dynamically constant whiz by with a pitch shift built in; shifting in pitch from high to low at the same rate that it would take for the bullet's audio radius to pass by the opposing player? Whats the best way to implement bullet whiz-by and/or ricochets off of surfaces?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8533" PostHistoryTypeId="1" PostId="5058" RevisionGUID="26164cce-7102-4dc1-a67f-584885ec6cdf" CreationDate="2010-12-11T08:34:24.333" UserId="587" Text="UDK and Doppler Bullet Whiz-Bys" ContentLicense="CC BY-SA 2.5" />
  <row Id="8534" PostHistoryTypeId="3" PostId="5058" RevisionGUID="26164cce-7102-4dc1-a67f-584885ec6cdf" CreationDate="2010-12-11T08:34:24.333" UserId="587" Text="&lt;udk&gt;&lt;video-games&gt;&lt;guns&gt;&lt;implementation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8535" PostHistoryTypeId="2" PostId="5059" RevisionGUID="7e44fc92-a06a-4147-95ec-956acef91629" CreationDate="2010-12-11T12:10:38.917" UserId="238" Text="I have an NT4 and it is a good stereo mic for the price range. Obviously, the ideal stereo field recording solution is to use a M/S configuration that allows for greater flexibility. However, this means things start to cost a lot more. As Shaun said, you can fit the NT4 into a windshield - I use a rycote and you just need to have the correct lyre suspension clips that are sold separately (not too expensive). The downside of the NT4 is that the stereo field is fixed due to the two caps being in a fixed position. But It's definitely a good mic to start out with. Many people go this route before having a bigger budget to get an M/S setup. &#xD;&#xA;&#xD;&#xA;As for the D50, I haven't personally used it but have heard very good things about it. The built-in mics are supposed to be pretty good and battery life is one of it's strongest selling points. If you don't have a handheld recorder, then this is an investment well worth looking into. Rene has just published a great comparison guide on handheld recorders over at his blog, [The Sound That Makes My Head Probably Hurt][1]. Probably worth having a read. The downside of the D50 is that there is no XLR input, so you will be restricted to it's built-in mics. &#xD;&#xA;&#xD;&#xA;To conclude, you really need to assess what is the priority right now. As you have a recorder I'd say go with the NT4. It's a good quality mic for stereo field recordings, it's very affordable and it's a good option to start out with. &#xD;&#xA;&#xD;&#xA;But the D-50 is also a good investment if you don't already have a small handheld recorder.... :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://thesoundmyheadmakes.blogspot.com/2010/11/handheld-recorder-shootout-part-1-specs.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="8536" PostHistoryTypeId="2" PostId="5060" RevisionGUID="d9064011-992b-422c-a64b-d55acc3cfc08" CreationDate="2010-12-11T14:35:40.840" UserId="706" Text="I'd like to work for David Lynch" ContentLicense="CC BY-SA 2.5" />
  <row Id="8537" PostHistoryTypeId="2" PostId="5061" RevisionGUID="3c675c04-0361-43b3-b803-d6a3e7c63329" CreationDate="2010-12-11T14:45:07.190" UserId="706" Text="what if you combined 8 freesound's into your own thing?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8539" PostHistoryTypeId="5" PostId="5054" RevisionGUID="d2d7d865-274d-4190-b52d-619ff32daaab" CreationDate="2010-12-11T16:36:37.490" UserId="432" Comment="adding website post, to follow up on previous version" Text="**EDIT:** ***I'm about to put up the post with some of the recordings, pictures, and descriptions of what I captured on the U.S.S. Pampanito with the D50 on [my site][1]. There's a chance to win a copy of all of the sounds I recorded in the post.***&#xD;&#xA;&#xD;&#xA;I haven't used the NT4, but I have used the D-50. It's very clean for a handheld recorder. I've been meaning to get a post up on my website about the time Colin and I spent a little over an hour on a WWII sub recording switches, knobs and the like. All we had with us were handheld recorders, and I had the D50. I'll make sure to get that up tomorrow (with some of the sounds, of course) for everyone to check out.&#xD;&#xA;&#xD;&#xA;The pres on the D50 are pretty good, but I haven't used that particular model of Fostex recorder to make a comparison.&#xD;&#xA;&#xD;&#xA;It does have a screw hole for a standard consumer camera tripod on the back. So, it's easy to use with something like the Joby Gorillapod, or a larger camera tripod.&#xD;&#xA;&#xD;&#xA;As with any handheld recorder, it's highly susceptible to handling noise and wind. something you should consider when making your decision. Then again, you'll want to consider that for the NT4 as well. I know people have been able to fit the NT4 into a blimp/zepplin. So that one affords you a bit more ease in terms of manipulation than the D50.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynamicinterference.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="8540" PostHistoryTypeId="2" PostId="5062" RevisionGUID="0d01a5fa-d6df-4fa8-9ebe-69c51b22a636" CreationDate="2010-12-11T17:31:55.397" UserId="558" Text="I love the coach analogy you used.  Good food for thought.  I have been in Game Audio for the last 10 years (traditional audio post before that), but my studio was shut down last year and I am trying to build a freelance sound business.  Last month I was on my first film for a while (Quarantine 2, should be out soon). After I delivered my reels I listened to the Supervisors work and was both blown away by how good he is and depressed by how much better I should be.  Your coaching analogy really hit home for me.&#xD;&#xA;&#xD;&#xA;dr" ContentLicense="CC BY-SA 2.5" />
  <row Id="8541" PostHistoryTypeId="2" PostId="5063" RevisionGUID="202b2782-1068-49f1-88c5-8f8ac9fe348a" CreationDate="2010-12-11T20:23:45.833" UserId="88" Text="On the titles I've worked on, we haven't used in-engine Doppler on whizbys or ricos -- like David, we reserve it for less-frequently-called sounds like vehicle bys and stationary sounds that the player will pass.  While it might be interesting to model whizbys in real time, I think an approach of providing plenty of variety in the source assets and applying semi-random pitch and level attributes at runtime works very well.  I'm not sure how nimbly UE3 would handle Doppler of so many rapid-fire sounds so often, but even if it's fairly inexpensive, I'd rather spend those cycles on something else more &quot;bang for the buck.&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8542" PostHistoryTypeId="5" PostId="5063" RevisionGUID="e6dab863-e3e5-4f01-b35c-da0a21726f3e" CreationDate="2010-12-11T20:30:47.743" UserId="88" Comment="added 379 characters in body" Text="On the titles I've worked on, we haven't used in-engine Doppler on bullet whizbys or ricos -- like David, we reserve it for less-frequently-called sounds like vehicle bys and stationary sounds that the player will pass.  While it might be interesting to model whizbys in real time, I think an approach of providing plenty of variety in the source assets (with Doppler/pitch shift built in, realistic or not) and applying semi-random pitch and level attributes at runtime works very well.  I'm not sure how nimbly UE3 would handle Doppler of so many rapid-fire sounds so often, but even if it's fairly inexpensive, I'd rather spend those cycles on something else more &quot;bang for the buck.&quot;&#xD;&#xA;&#xD;&#xA;For something like an RPG whizby that may have a longer/slightly slower by, I've in the past created looping elements with pitch variation built in and then applied runtime Doppler to those.  It keeps the sound interesting if it has a long approach but still results in the expected downpitching when it passes by." ContentLicense="CC BY-SA 2.5" />
  <row Id="8543" PostHistoryTypeId="2" PostId="5064" RevisionGUID="d6e81a24-1525-4254-8804-7608dded4782" CreationDate="2010-12-11T21:26:22.467" UserId="663" Text="You can use [Sound Grinder][1].  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.monkey-tools.com/soundgrinderpro/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8544" PostHistoryTypeId="2" PostId="5065" RevisionGUID="caa976c5-4779-4474-9de5-538dae51cd61" CreationDate="2010-12-11T22:34:01.343" UserId="29" Text="I own both, in addition to a Sennheiser MS rig. If you ave a Fostex FR2-LE, the Røde NT4 is probably the quieter choice, and the Røde Blimp is specifically designed to support it just fine. The NT4 will still have an audible noise floor when recording subtle, quiet natural ambiences, but it's a great value nevertheless. &#xD;&#xA;&#xD;&#xA;Having both ultimately is nice because of the immediacy and portability of the D50...while that sounds like a convenience, though, think about how and where you record. If you'd simply record less with the NT4, maybe the D50 is a better creative choice. Noise specs matter, but so does the desire to get out there and just record things, as does the ability to be spontaneous and react to unforseen opportunities. While the detail from my NT4 recordings are better than the D50 (in my opinion, of course!), I've recorded 400% *more material* on the D50 simply due to its portability, most of which is perfectly usable.&#xD;&#xA;&#xD;&#xA;For nature recordings or extremely subtle sources, of course, I go to the Senny MS pair.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8545" PostHistoryTypeId="2" PostId="5066" RevisionGUID="72ecd109-0670-4b86-9613-d8c5caceb25f" CreationDate="2010-12-11T23:16:49.003" UserId="29" Text="Renee, first, thank you for posting this relevant and insightful question. This is what SSD is all about!&#xD;&#xA;&#xD;&#xA;I basically do both approaches you mention; which one I do varies based on where I'm at career-wise. While many people have T-shaped skill sets - broad experience and one area of deep expertise - I have cultivated more of a comb-shaped skill set. I still have sweet spots that I don't suck in, but I have enough other skills that I can easily be sensitive to, and speak intelligently to, other disciplines and specialties. Even if I never record a single line of production dialog myself, I know the broad issues and have tried it a few times, which will make it easier to communicate with a production mixer in whatever role I fulfill. This garners a lot of respect from other disciplines, and I think it's valuable, as VCProd also suggests. It's frankly also a hedge against where my interests may be in 5 years (they shift all the time!), and against shifting job markets.&#xD;&#xA;&#xD;&#xA;I also think that having broad knowledge, even if shallow, also helps you be a better sound designer/mixer/collaborator. Being insatiably curious and hungry for knowledge, both deep and shallow, is (in my opinion) a pretty rewarding way to live life, no matter your career stage or age, and I think that all of life is about shifting between deep-dive learning and broad out-of-your-expertise expertise." ContentLicense="CC BY-SA 2.5" />
  <row Id="8546" PostHistoryTypeId="6" PostId="5050" RevisionGUID="9a14b27e-fe58-474f-ae7e-4a88882c9495" CreationDate="2010-12-11T23:51:23.237" UserId="663" Comment="edited tags" Text="&lt;workflow&gt;&lt;stereo&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8547" PostHistoryTypeId="6" PostId="5050" RevisionGUID="333a662f-b11f-4320-ba4f-e8523bd34e72" CreationDate="2010-12-11T23:52:07.130" UserId="663" Comment="edited tags" Text="&lt;workflow&gt;&lt;stereo&gt;&lt;mono&gt;&lt;batch&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8550" PostHistoryTypeId="2" PostId="5068" RevisionGUID="b3b3c6f6-e64e-40c5-9f0d-f09c7af35354" CreationDate="2010-12-12T06:20:08.303" UserId="484" Text="INCEPTION!!!&#xD;&#xA;&#xD;&#xA;3 or 4 places I can think of where silence was expertly used." ContentLicense="CC BY-SA 2.5" />
  <row Id="8551" PostHistoryTypeId="2" PostId="5069" RevisionGUID="725bb79a-0e7f-4a6a-a869-a292e329f8fe" CreationDate="2010-12-12T15:33:33.563" UserId="90" Text="I'm sure SoX can do this, but you'l have to figure out the right command.&#xD;&#xA;&#xD;&#xA;http://sox.sourceforge.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8552" PostHistoryTypeId="2" PostId="5070" RevisionGUID="43f4df72-0e10-4386-bdf9-fabaaa0bfc2c" CreationDate="2010-12-12T17:16:17.640" UserId="72" Text="Earlier this year I did the sound for a documentary taking place in Buenos Aires. I visited the city last year and it's an amazing place - recorded lots of noisy, gritty, vivid ambiences.&#xD;&#xA;&#xD;&#xA;One of my favorite filmmakers at the moment is actually Argentinian: Lucrecia Martel - http://en.wikipedia.org/wiki/Lucrecia_Martel - all her movies are really fascinating with extraordinary soundtracks which are very evocative and often make use of background ambiences in extremely creative ways. Check it out. I think her sound designer is called Guido Berenblum - exceptionally talented." ContentLicense="CC BY-SA 2.5" />
  <row Id="8553" PostHistoryTypeId="16" PostId="5070" RevisionGUID="43f4df72-0e10-4386-bdf9-fabaaa0bfc2c" CreationDate="2010-12-12T17:16:17.640" UserId="-1" />
  <row Id="8554" PostHistoryTypeId="2" PostId="5071" RevisionGUID="5b7a2ea9-933c-4b8a-ad1c-6193049560e2" CreationDate="2010-12-12T23:23:39.740" UserId="202" Text="There are lots of apps that can do this. &#xD;&#xA;Have a look at SoundConvert (for OsX)&#xD;&#xA;&#xD;&#xA;http://dekorte.com/projects/shareware/SoundConverter/&#xD;&#xA;&#xD;&#xA;It can convert audiofiles in a looooooong list of formats, and can split your stereo files in pairs (and can do a few other things too).&#xD;&#xA;&#xD;&#xA;Just drag a folder (or single file) and let the app do the conversion...&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8555" PostHistoryTypeId="2" PostId="5072" RevisionGUID="ef03d31e-bbc7-441f-aa89-67ffddc925fb" CreationDate="2010-12-13T05:45:20.280" UserId="738" Text="Great topic!&#xD;&#xA;&#xD;&#xA;I think the safe robbery scene from Hitchcock's 'Marnie' has to be right up there, particularly when coupled with the cinematography. It instantly came to mind when I read the question." ContentLicense="CC BY-SA 2.5" />
  <row Id="8556" PostHistoryTypeId="5" PostId="5069" RevisionGUID="c70b3f6e-bb80-4184-9f27-77923be2a07e" CreationDate="2010-12-13T05:59:17.080" UserId="90" Comment="added 205 characters in body; added 1 characters in body" Text="I'm sure [SoX][1] can do this, but you'll have to figure out the right command.&#xD;&#xA;&#xD;&#xA;http://billposer.org/Linguistics/Computation/SoxTutorial.html says:&#xD;&#xA;&#xD;&#xA;&gt; For example, to extract the left channel give a command like this:&#xD;&#xA;&gt;&#xD;&#xA;&gt;       sox foo.wav -c 1 foomono.wav avg -l&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sox.sourceforge.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8557" PostHistoryTypeId="2" PostId="5073" RevisionGUID="027a3fcb-1a47-4986-a739-c6559912f0ac" CreationDate="2010-12-13T09:31:31.690" UserId="663" Text="I find this question on some forum, so I am interested what do you think. &#xD;&#xA;&#xD;&#xA;Is Sound designer artist or technician?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8558" PostHistoryTypeId="1" PostId="5073" RevisionGUID="027a3fcb-1a47-4986-a739-c6559912f0ac" CreationDate="2010-12-13T09:31:31.690" UserId="663" Text="Artist or technician?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8559" PostHistoryTypeId="3" PostId="5073" RevisionGUID="027a3fcb-1a47-4986-a739-c6559912f0ac" CreationDate="2010-12-13T09:31:31.690" UserId="663" Text="&lt;poll&gt;&lt;artist&gt;&lt;technician&gt;&lt;sound-designer&gt;&lt;designer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8560" PostHistoryTypeId="2" PostId="5074" RevisionGUID="63b95160-bd8b-4d22-9d61-cc5fa1080dea" CreationDate="2010-12-13T09:46:22.907" UserDisplayName="user49" Text="It depends on the person, not the title" ContentLicense="CC BY-SA 2.5" />
  <row Id="8561" PostHistoryTypeId="2" PostId="5075" RevisionGUID="c178ce82-5aaa-478b-a732-6697b2d04dab" CreationDate="2010-12-13T10:06:16.003" UserId="238" Text="Definitely both. Creativity and technical ability are both essential characteristics in our field." ContentLicense="CC BY-SA 2.5" />
  <row Id="8562" PostHistoryTypeId="2" PostId="5076" RevisionGUID="9e5735c6-09a3-4168-b595-d928e1743c87" CreationDate="2010-12-13T10:23:38.270" UserId="658" Text="Animals can be a great source for sound design with the great variety of calls, movement, breathing etc. &#xD;&#xA;&#xD;&#xA;But what has been your favourite animal to record or is there an animal you just keep going back to for sound design?&#xD;&#xA;&#xD;&#xA;Or do you just stick with the phrase 'don't work with children or animals'?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8563" PostHistoryTypeId="1" PostId="5076" RevisionGUID="9e5735c6-09a3-4168-b595-d928e1743c87" CreationDate="2010-12-13T10:23:38.270" UserId="658" Text="Best animal to record?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8564" PostHistoryTypeId="3" PostId="5076" RevisionGUID="9e5735c6-09a3-4168-b595-d928e1743c87" CreationDate="2010-12-13T10:23:38.270" UserId="658" Text="&lt;animals&gt;&lt;recording&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8565" PostHistoryTypeId="2" PostId="5077" RevisionGUID="bf5127b6-b8de-4417-b626-90a1d3bc28f8" CreationDate="2010-12-13T10:55:21.563" UserId="663" Text="I like to record my cat. Generally I like working with children. So I don't agree with phrase 'don't work with children or animals' :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8566" PostHistoryTypeId="2" PostId="5078" RevisionGUID="c15358b3-c223-4e0d-a699-ec36973c41e3" CreationDate="2010-12-13T13:03:43.907" UserId="348" Text="I have recorded a lot of animals and my favorite was an adult leopard that was licking my hand and growling. Really great fun. Also birds can be great- the mariboo stork has a really interesting flap sound and can be used to sweeten in sound design. I am going into KwaZulu Natal this holiday and will be recording lots of animals, village ambiance, different South African wallas etc. Going to be fun. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8567" PostHistoryTypeId="2" PostId="5079" RevisionGUID="9f6ccd7a-b728-401b-8f9c-f9e884d8e386" CreationDate="2010-12-13T13:06:53.600" UserId="348" Text="I do believe that it is important to be both as having the technical aptitude in this day and age is important but creativity is essential to being a sound designer because you are painting a film with sound and it is important to be emotionally in touch with the film.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="8568" PostHistoryTypeId="2" PostId="5080" RevisionGUID="85214ccc-8a1f-4157-9446-91feb49f831d" CreationDate="2010-12-13T17:23:55.677" UserId="18" Text="I think Grizzly Bears have been my favorite.  It's like recording Chewbacca." ContentLicense="CC BY-SA 2.5" />
  <row Id="8569" PostHistoryTypeId="2" PostId="5081" RevisionGUID="2f09e910-7756-46bb-af73-b0aad4ab61dc" CreationDate="2010-12-13T18:22:16.313" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;I am working on a trailer at the moment and I'm trying to put in a nice sound for a bright light/lens flare.&#xD;&#xA;&#xD;&#xA;The best thing I can come up with is feedback, but it reminds me of something harsh. It seems to work, but I'm trying to find other options. I tried bowed cymbals and glass, etc, but those seem too harsh and unpleasant as well. I'm trying to put something subtle but noticeable and pleasant-sounding.&#xD;&#xA;&#xD;&#xA;What have you used for a bright light/flash of light in trailers or any movie?&#xD;&#xA;&#xD;&#xA;Or if you can point me to good examples of this in other trailers or movies, please do so!&#xD;&#xA;&#xD;&#xA;Thanks in advance for your help." ContentLicense="CC BY-SA 2.5" />
  <row Id="8570" PostHistoryTypeId="1" PostId="5081" RevisionGUID="2f09e910-7756-46bb-af73-b0aad4ab61dc" CreationDate="2010-12-13T18:22:16.313" UserId="18160" Text="Sound for a Bright Light" ContentLicense="CC BY-SA 2.5" />
  <row Id="8571" PostHistoryTypeId="3" PostId="5081" RevisionGUID="2f09e910-7756-46bb-af73-b0aad4ab61dc" CreationDate="2010-12-13T18:22:16.313" UserId="18160" Text="&lt;sound-fx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8572" PostHistoryTypeId="2" PostId="5082" RevisionGUID="f55f908a-7f59-4690-bc64-a90783b898de" CreationDate="2010-12-13T18:31:11.963" UserId="2" Text="Baboons! Absolutely amazing to work with and interesting sounds. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8573" PostHistoryTypeId="2" PostId="5083" RevisionGUID="80fb941e-d5e6-4541-bfe8-5d0d019b57ad" CreationDate="2010-12-13T19:19:17.030" UserId="6420" Text="Maybe some kind of 'glassy' element might work? Like a resonant glass ting that reversed and manipulated with some pitch/time processing? Just an idea while I'm drinking my coffee! ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8574" PostHistoryTypeId="2" PostId="5084" RevisionGUID="2c5dd47d-78aa-429c-9362-601d83f25c96" CreationDate="2010-12-13T19:56:23.817" UserId="393" Text="Bowed Vibraphone." ContentLicense="CC BY-SA 2.5" />
  <row Id="8575" PostHistoryTypeId="2" PostId="5085" RevisionGUID="83fca1fb-3663-4940-a46f-588f58aa0bec" CreationDate="2010-12-13T19:56:34.157" UserId="418" Text="While I've never used that term to describe my own libraries, I'd assume it just means it was produced, edited, processed etc at 24/96. It's a strange choice of words, as it obviously causes a bit of confusion. I always just say &quot;24 bit audio&quot; in the specs, 24/44 lately. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8576" PostHistoryTypeId="2" PostId="5086" RevisionGUID="d108ee83-bb55-49d4-982d-7bdf94e0bbb0" CreationDate="2010-12-13T20:43:51.223" UserId="61" Text="Ideas:&#xD;&#xA;&#xD;&#xA; - mid-high whoosh reversed in on&#xD;&#xA;   itself, with some reverb&#xD;&#xA; - female breath reversed in on itself&#xD;&#xA; - crystal rub with finger, processed thru pitched delays, then reversed and delayed again&#xD;&#xA;&#xD;&#xA;Just off the top of my head…pls post your final idea." ContentLicense="CC BY-SA 2.5" />
  <row Id="8577" PostHistoryTypeId="2" PostId="5087" RevisionGUID="90f36142-a46d-49ae-8122-0565ebe0c6b2" CreationDate="2010-12-13T23:51:45.403" UserId="594" Text="There are so many different types of bird calls, I enjoy the variety of sounds they can make. There must be thousands species. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8579" PostHistoryTypeId="2" PostId="5089" RevisionGUID="90137653-31c5-4254-b065-3c727163ac34" CreationDate="2010-12-14T01:01:52.930" UserId="29" Text="*[Thanks for mentioning the emotional goal you're after, makes answering these questions way easier..!]*&#xD;&#xA;&#xD;&#xA;Try a 1980's era flashgun/on-camera strobe. Modern flashguns will work fine too, but 80's flashguns have a distinctive but soft pop and a whine as the capacitors recharge, and you can choose/trim/NR either side of the sound to taste. Recording it at 192kHz lets you retain that pop but stretch it out, or pitch it down, as the scene might require. :-p (I've never recorded one of the old one-use flash cubes but some thrift store shopping might be a fun way to see what kinds of sounds those make...)&#xD;&#xA;&#xD;&#xA;In films I've often heard a heavy latch or switch when lights come on, even if the source of the switch isn't in the narrative/diegesis. The decay sound of a struck match might be nice for some sizzle. I concur with Jay that a short, highly stylized whoosh would be appropriate, and some resonance as Dave and Andy suggested sound like strong ideas, too.&#xD;&#xA;&#xD;&#xA;Of course, these are mostly ideas for layers, not a single composite effect." ContentLicense="CC BY-SA 2.5" />
  <row Id="8580" PostHistoryTypeId="2" PostId="5090" RevisionGUID="773dc15b-9fc0-4243-a58d-0bee06720fe1" CreationDate="2010-12-14T03:39:15.623" UserId="418" Text="+1 on adding a soft &quot;pop&quot;! Had a project recently which called for a bright light to the face and I wound up combining the popping of a loosely inflated balloon, an aspirin bottle top popping off (one of my go-to's for a bunch of stuff!) with a bit of noise for the initial flash. then used a metallic drone + some footage of an old crummy florescent fixture from the laundry room in my apartment building, and just a tiny bit of hissing steam pitched up. barely audible, but it felt like it gave a little extra &quot;heat&quot; to the head-on shot. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8581" PostHistoryTypeId="2" PostId="5091" RevisionGUID="d49b858c-78a9-4b5c-9f24-6aa536f55502" CreationDate="2010-12-14T04:14:44.663" UserId="275" Text="I'm building a surround mixing room over the next month and I am trying to decide between Protools HD2 and Nuendo 5.  The room will primarily be for commercial work and sound design (not mixing) for indie movies and feature films.  We will also have a nice VO booth as part of the setup.  For I/O I only need 8 in and 8 out.  However, I need a whole lot of tracks within the program.  A few other things that will definitely be in the room:&#xD;&#xA;&#xD;&#xA;Mac quad or 8 core computer&#xD;&#xA;Storage/recording/playback drives will be on a 10TB server connected via Fibre Channel&#xD;&#xA;Either a Decklink Studio or an Aja LHi for video playback&#xD;&#xA;AD/DA converters will be Mytek, Metric Halo, or Apogee&#xD;&#xA;Control surface will be a Euphonix MC Control, MC Pro, or some Digidesign desk. &#xD;&#xA;Genelec 8030 surround monitors with matching sub&#xD;&#xA;Dangerous Music monitor controller (unless the control surface we get does talkback and surround monitoring)&#xD;&#xA;And we'll need some surround reverbs, dynamics control, EQ's, various other effects, etc. &#xD;&#xA;&#xD;&#xA;I've been a Nuendo user for many years and there are a lot of things about it I really like.  For example, the lanes function, I like the work flow, and I'm just simply used to it.  However, it is a Native software so it takes a smokin' computer to record with less than 5ms latency in order to get the various mixes in the control room and the VO booth. &#xD;&#xA;&#xD;&#xA;Protools HD systems have the core card doing a lot of audio processing so latency is never an issue.  It's also the industry standard so file exchange with other studios, albeit rare, is a nice thing to have.  Having Protools also offers the ability to have other engineers walk in, sit down, and start working far more easily than Nuendo.  &#xD;&#xA;&#xD;&#xA;I've been doing recording/mixing/producing/and sound in some form full time for 12 years and I have somehow managed to avoid EVER learning Protools.  I'm pretty sure I get a medal for that accomplishment.  &#xD;&#xA;&#xD;&#xA;As a note...Protools Native isn't worth it to me.  If I'm going to get a Native program I'll just stick with Nuendo.  Protools HD is a much more robust system for commercial work.  &#xD;&#xA;&#xD;&#xA;So...thoughts?  Comments?  Feelings on Protools HD vs Nuendo?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8582" PostHistoryTypeId="1" PostId="5091" RevisionGUID="d49b858c-78a9-4b5c-9f24-6aa536f55502" CreationDate="2010-12-14T04:14:44.663" UserId="275" Text="Protools HD 9 vs Nuendo 5" ContentLicense="CC BY-SA 2.5" />
  <row Id="8583" PostHistoryTypeId="3" PostId="5091" RevisionGUID="d49b858c-78a9-4b5c-9f24-6aa536f55502" CreationDate="2010-12-14T04:14:44.663" UserId="275" Text="&lt;protools&gt;&lt;nuendo&gt;&lt;surround-sound&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8584" PostHistoryTypeId="2" PostId="5092" RevisionGUID="aa012f8b-b0db-43ed-8529-6caf7874e2ed" CreationDate="2010-12-14T04:18:07.450" UserId="275" Text="A GOOD sound designer knows how to achieve their art via the technical process.  A sound designer without the technical knowledge to make it happen isn't much good to the project." ContentLicense="CC BY-SA 2.5" />
  <row Id="8585" PostHistoryTypeId="2" PostId="5093" RevisionGUID="4eaadd9e-93a2-4e6c-b1a5-b818c517f9d0" CreationDate="2010-12-14T05:37:56.960" UserId="741" Text="I never try ProTools, but worked 10 years in Nuendo. I saw a real setups in cinema production where RME gear + Nuendo simply shined with 100+ tracks and surround channels. From my point of view, if you like and used to Nuendo - go with it. 'Smoking computer' isn't a question with Mac quad or 8 core. Again - you have to work fast and have a friendly environment. I vote for Nuendo in your situation.    " ContentLicense="CC BY-SA 2.5" />
  <row Id="8586" PostHistoryTypeId="2" PostId="5094" RevisionGUID="8e8a9c9f-9b81-4334-b412-4b39e6028445" CreationDate="2010-12-14T07:06:54.870" UserId="531" Text="Nuendo users Unite! &#xD;&#xA;&#xD;&#xA;I too, am quite privy to Nuendo. I do have some experience with pro tools LE, but i find that you can get more done with fewer steps in Nuendo. &#xD;&#xA;If you're worried about cpu resources you can always apply plugins directly to audio clips. And if you need to change any settings to the effect just go into your offline processing history and modify the effect for the clip. &#xD;&#xA;&#xD;&#xA;I do wish there was more cross compatibility between avid and stienberg.&#xD;&#xA;It would be awesome if pro tools exported and imported AES31 files. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8587" PostHistoryTypeId="2" PostId="5095" RevisionGUID="361d9d43-e253-41e7-ad48-2ed94e8f7cba" CreationDate="2010-12-14T07:22:10.043" UserId="742" Text="How many professional studios use Nuendo? There's a reason why Pro Tools is the standard. In your situation, I personally wouldn't go with any native solution. Your asking for trouble. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8589" PostHistoryTypeId="2" PostId="5097" RevisionGUID="9a790dc5-d0ab-4528-83ed-7b49678ecb40" CreationDate="2010-12-14T08:31:39.547" UserId="338" Text="I've used a gate, multiband compression, and iZotope RX Spectral denoise/repair on sounds that I have recorded.  Once, I recorded water drops and when i normalized them, or raised the gain there was a lot of mic-self noise, some room tone, and pre-amp noise.  iZotope RX did pretty well with removing the noise.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="8591" PostHistoryTypeId="2" PostId="5099" RevisionGUID="eaa88c61-c9fc-4f07-a014-5607e4f358a4" CreationDate="2010-12-14T10:04:44.167" UserId="100" Text="I'm a Pro Tools guy. Not because it's the best, but because I want to do what Hollywood does. 9 times out of 10, it's PT. All platforms are capable of great things in the right hands, so I would go with the one which is considered the standard for whom you plan to be collaborating with. Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="8592" PostHistoryTypeId="2" PostId="5100" RevisionGUID="e123642f-f8ed-4017-ac84-6a1fd4f067b5" CreationDate="2010-12-14T13:35:48.297" UserId="202" Text="If you don't have to record lots of inputs or need really low latency, go with the platform you fell more  comfortable. If you choose Pro Tools|HD and don't know it, you should budget the time you'll need to invest to learn it and find a workflow that works for you.&#xD;&#xA;&#xD;&#xA;The real advise I can tell you is to watch out for sessions/projects exchange: most of the post studios have at least one Pro Tools machine to open, read, export works with the rest of the world; Avid doesn't make easy to exchange session between Pro Tools and other DAW so if you think that you'll have a lot of PT session to work with (from clients or other studios) think twice before choosing Nuendo (or find a proven conversion workflow).&#xD;&#xA;&#xD;&#xA;My 2c&#xD;&#xA;&#xD;&#xA;all the best&#xD;&#xA;&#xD;&#xA;Davide" ContentLicense="CC BY-SA 2.5" />
  <row Id="8593" PostHistoryTypeId="2" PostId="5101" RevisionGUID="9da9aff0-f17a-475c-a0d4-19d0342dc660" CreationDate="2010-12-14T14:41:52.610" UserId="743" Text="They are both great tools to be honest. I am an avid (no pun intended) Pro Tools user. With Pro Tools 9, I see no reason to steer away from it. 128 tracks now in PT9, any interface (pretty much) will work. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8594" PostHistoryTypeId="2" PostId="5102" RevisionGUID="39a5ee2a-51d4-41c6-8807-1618ba7a4b69" CreationDate="2010-12-14T16:37:22.630" UserId="701" Text="I too fall on the Nuendo side with 3 post rooms plus 2 composition rooms running Nuendo and Cubase.  I came from ProTools and still keep a rig updated &quot;just in case&quot; but honestly I haven't needed it in a couple of years.  That old chestnut of an argument that &quot;ProTools is the standard so you have to have it&quot; just doesn't hold water unless you are actually going to be exchanging sessions with other studios that use ProTools.  There's just not enough of a difference between them and if your workflow is Nuendo, why change it unless you have to?  John." ContentLicense="CC BY-SA 2.5" />
  <row Id="8595" PostHistoryTypeId="2" PostId="5103" RevisionGUID="4daa3e4c-106b-440a-99cd-5e5bdffdc0a8" CreationDate="2010-12-14T16:39:58.077" UserId="238" Text="Every industry, including our own, has an 'industry standard' software that is used across the board. This brings a certain level of synchronisation to the industry and makes project transfers easier. However, not everyone is obliged to use it. If all your projects are dealt with in-house from start to finish, with no need to open the project on another system in another studio then I'd say stick with Nuendo. If you've been mostly using Nuendo then your workflow will be most efficient with this software. And can you really afford the time that it would take to get up to speed with Pro Tools HD9? &#xD;&#xA;&#xD;&#xA;Inversely, it's well worth being aware of the difficulties that people have experienced when trying to open Nuendo-exported OMFs in a Pro Tools project. [See this post for more info][1]. If you will need to open up projects across different systems then maybe you need to go the Pro Tools route. &#xD;&#xA;&#xD;&#xA;To conclude, I'd go back to the old saying 'if it ain't broke, don't fix it'. In other words, if you're happy using Nuendo and there are no cross-platform issues that will be encountered, then stick with Nuendo. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/4518/need-help-quick-nuendo-pc-v4-mac-ptools-conversion-needed-anyone-know-how" ContentLicense="CC BY-SA 2.5" />
  <row Id="8596" PostHistoryTypeId="2" PostId="5104" RevisionGUID="9d2ea431-b317-4f3f-9723-2656985f08fb" CreationDate="2010-12-14T16:58:21.037" UserId="663" Text="[SoundWorks][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8597" PostHistoryTypeId="2" PostId="5105" RevisionGUID="5a1e5571-1913-4f6c-9230-ffaf717fadc7" CreationDate="2010-12-14T17:51:37.703" UserId="744" Text="Hello,&#xD;&#xA;I am currently searching for artists using the convolution reverb in an artistic, original or crazy way.&#xD;&#xA;If anyone could give me some names or stuff to check out it would be really helpfull!&#xD;&#xA;Thank you" ContentLicense="CC BY-SA 2.5" />
  <row Id="8598" PostHistoryTypeId="1" PostId="5105" RevisionGUID="5a1e5571-1913-4f6c-9230-ffaf717fadc7" CreationDate="2010-12-14T17:51:37.703" UserId="744" Text="Sound artists using convolution reverb?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8599" PostHistoryTypeId="3" PostId="5105" RevisionGUID="5a1e5571-1913-4f6c-9230-ffaf717fadc7" CreationDate="2010-12-14T17:51:37.703" UserId="744" Text="&lt;convolution&gt;&lt;reverb&gt;&lt;sonic&gt;&lt;art&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8600" PostHistoryTypeId="2" PostId="5106" RevisionGUID="5b2f0af4-861e-4bd8-a0bc-0a1f0a546ee1" CreationDate="2010-12-14T17:51:37.983" UserId="701" Text="That's a great idea, high altitudes definitely have a different sound, especially with snow on the ground.  Next time I'm skiing I'll try to grab something.  John." ContentLicense="CC BY-SA 2.5" />
  <row Id="8601" PostHistoryTypeId="5" PostId="4122" RevisionGUID="f1640c6f-ac5e-48a8-9b08-6be7af40f407" CreationDate="2010-12-14T17:59:14.273" UserId="663" Comment="speling" Text="Hello - I'm from the Netherlands, living/working in the south of England (Brighton). I mainly do sound effects design for video games (usually iPhone, PSN/Xbox Live kind of games, so fairly small scale stuff so far). I'm freelance, working from home - I love that! Occasionally I also produce music + sound effects for promo videos. Most likely I'll be working on my first feature film this winter (doing sound design), so that's an exciting prospect.&#xD;&#xA;&#xD;&#xA;Because of all the great blogs and sites like this, I've over the last few months become extremely interested and enthusiastic about location recording, so I'm doing more and more of that these days, trying to integrate it with my daily work routine.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8602" PostHistoryTypeId="5" PostId="4119" RevisionGUID="6b9831a1-22d7-4775-bc9a-1d88eb2c16c0" CreationDate="2010-12-14T18:00:03.073" UserId="663" Comment="spelling" Text="Hi, &#xD;&#xA;&#xD;&#xA;I am originally from Canada now residing in South Africa. I am a foley artist and sound effects editor and presently doing a lot of field recording throughout SA to capture all the sound that make up this country. I have worked in the field for 20 years now. &#xD;&#xA;&#xD;&#xA;Great to see so many people corresponding and networking. Thanks Andrew for starting this. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8603" PostHistoryTypeId="5" PostId="3098" RevisionGUID="5ab4e49b-5fa1-45de-ad72-ffb141217d74" CreationDate="2010-12-14T18:00:43.930" UserId="663" Comment="spelling" Text="And a hello from Thessaloniki, Greece. I run a recording studio for music mainly, but have been getting involved in production sound and sound design for film and theatre as well. I enjoy all aspects of sound related work, but the creative soundtrack design for moving images seems more fascinating at the moment. This is a nice community - keep it up!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8604" PostHistoryTypeId="5" PostId="3071" RevisionGUID="2b79df31-ea4a-49ec-a2f1-fda4f9641ab0" CreationDate="2010-12-14T18:01:22.010" UserId="663" Comment="spelling" Text="Hi everyone, I work as assistant sound editor for movies, mixer and sound editor for tv shows and audiobooks. Also, as a freelancer, doing anything related to our world of sounds. It happens that the market isn't very good here at Rio de Janeiro, Brazil.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8605" PostHistoryTypeId="5" PostId="2350" RevisionGUID="16a4b287-e753-440f-ba3a-25d1f085d6a9" CreationDate="2010-12-14T18:02:02.413" UserId="663" Comment="spelling" Text="Just started doing freelance sound design for short film here in New York. Originally from Bangkok, Thailand. weeee" ContentLicense="CC BY-SA 2.5" />
  <row Id="8606" PostHistoryTypeId="2" PostId="5107" RevisionGUID="ffa3a53a-ddb1-428c-a9a8-9cb305160b8b" CreationDate="2010-12-14T20:09:43.843" UserId="243" Text="Hi everyone I know it's been a while but the good news is I have finally moved over to pro tools! &#xD;&#xA;&#xD;&#xA;I bought the pro tools m-powered 8 I've had the box the whole day so I opened it up and expected to find an m-box there seems to be only the manual a dongle/ikey and a booklet of dvds, I went through the manual and im sure there is supposed to be a fire wire connection thing (the m-box) I really dont want to install it until i know whats going on, this is my first pro tools product so excuse the ignorance (I will be running it off my macbook pro icore 7 15 inch).&#xD;&#xA;&#xD;&#xA;Any info regarding this would be greatly appreciated " ContentLicense="CC BY-SA 2.5" />
  <row Id="8607" PostHistoryTypeId="1" PostId="5107" RevisionGUID="ffa3a53a-ddb1-428c-a9a8-9cb305160b8b" CreationDate="2010-12-14T20:09:43.843" UserId="243" Text="pro tools m-powered 8 package contents" ContentLicense="CC BY-SA 2.5" />
  <row Id="8608" PostHistoryTypeId="3" PostId="5107" RevisionGUID="ffa3a53a-ddb1-428c-a9a8-9cb305160b8b" CreationDate="2010-12-14T20:09:43.843" UserId="243" Text="&lt;pro-tools&gt;&lt;m-powered-8&gt;&lt;mbox-2&gt;&lt;in-the-box&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8609" PostHistoryTypeId="16" PostId="5107" RevisionGUID="ffa3a53a-ddb1-428c-a9a8-9cb305160b8b" CreationDate="2010-12-14T20:09:43.843" UserId="243" />
  <row Id="8610" PostHistoryTypeId="2" PostId="5108" RevisionGUID="6765400b-176e-48e7-a46c-428434dc0bfb" CreationDate="2010-12-14T20:20:23.827" UserId="220" Text="There have already been some good discussions about convolution reverb, including some unique methods.. &#xD;&#xA;&#xD;&#xA;[http://socialsounddesign.com/questions/682/understanding-convolution-reverb][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/682/understanding-convolution-reverb" ContentLicense="CC BY-SA 2.5" />
  <row Id="8611" PostHistoryTypeId="2" PostId="5109" RevisionGUID="922311ad-4d5d-4715-9513-b21bff6822f0" CreationDate="2010-12-14T20:35:55.300" UserId="589" Text="I have learned on Pro Tools and switched to Nuendo, because it just is a better software for post production. There are many reasons for that. Pro Tools is only the industry standard for historic reasons. When CPU power was still low, they provided a solution with their DSP power, so that you could do professional productions with a computer. But times have changes. Nevertheless, Pro tools is still the industry standard. So as many people here already said, if you have to exchange a lot of sessions with other studios, Pro Tools is almost a must have. &#xD;&#xA;&#xD;&#xA;However, I wouldn’t go for an HD system. Now with Pro Tools 9 this is pretty much useless for Post production. The only remaining advantage is that you can record more tracks. But that is not really needed for post. Pro Tools 9 + complete production toolkit 2 will do. And then get some good hardware from RME to deal with the latency. &#xD;&#xA;&#xD;&#xA;But if you don’t have to exchange a lot of sessions with other studios, do it like me. My main software in Nuendo 5, but I am running a simple Pro Tools system, for which I don’t even need an Mbox anymore in case I have to exchange a session with a pro tools studio once in a while, which of course happens. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8612" PostHistoryTypeId="5" PostId="5107" RevisionGUID="12650fcf-cbb4-4152-911f-a58720c140b1" CreationDate="2010-12-14T20:47:10.913" UserId="663" Comment="spelling" Text="Hi everyone I know it's been a while but the good news is I have finally moved over to pro tools! &#xD;&#xA;&#xD;&#xA;I bought the pro tools m-powered 8 I've had the box the whole day so I opened it up and expected to find an m-box there seems to be only the manual a dongle/ikey and a booklet of dvds, I went through the manual and I'm sure there is supposed to be a fire wire connection thing (the m-box) I really don't want to install it until i know whats going on, this is my first pro tools product so excuse the ignorance (I will be running it off my macbook pro icore 7 15 inch).&#xD;&#xA;&#xD;&#xA;Any info regarding this would be greatly appreciated " ContentLicense="CC BY-SA 2.5" />
  <row Id="8613" PostHistoryTypeId="2" PostId="5110" RevisionGUID="c809c032-3bcb-4bd0-84b0-a987dce5dfd1" CreationDate="2010-12-14T20:52:58.327" UserId="517" Text="M-Powered ProTools does not come with a hardware interface. You're going to have to buy a M-Audio interface separately. The USB MobilePre is probably your cheapest option. The Mbox works with only with ProTools LE and won't be compatible with your ProTools M-Powered." ContentLicense="CC BY-SA 2.5" />
  <row Id="8614" PostHistoryTypeId="16" PostId="5110" RevisionGUID="c809c032-3bcb-4bd0-84b0-a987dce5dfd1" CreationDate="2010-12-14T20:52:58.327" UserId="-1" />
  <row Id="8615" PostHistoryTypeId="2" PostId="5111" RevisionGUID="93d36e3c-bc79-4240-92b0-53cea38270e6" CreationDate="2010-12-14T21:40:24.423" UserId="418" Text="Best of luck with the new venture! I'm also a graphic and web designer. Aesthetics aside, the entire site is Flash, and thusly, not viewable on the iPad/iPhone/iPod at all. Thing is, there's nothing going on that couldn't easily be achieved with plain old HTML and CSS. Looking at your source code it appears you've got alternative HTML in there, which helps your SEO - but then why the whole site in Flash at that point? Flash-only locks out a lot of the traffic on the web these days. Maybe not worth it, especially if it's not providing any special functionality. Just my 2 cents. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8616" PostHistoryTypeId="2" PostId="5112" RevisionGUID="9f20c8ef-c67e-492a-949a-e488c0cde534" CreationDate="2010-12-14T23:03:12.807" UserId="298" Text="I keep doing sound design exercises by re-designing visuals found around the web. Last time it was rockets and marsmachine, so this time i wanted to try something mystic and fragile to recreate. &#xD;&#xA;&#xD;&#xA;http://vimeo.com/17823258&#xD;&#xA;&#xD;&#xA;Well, without any words, check out my video if you will have a time and possibly give me your criticism about motion, sounds together, anything you will find to mention there.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 2.5" />
  <row Id="8617" PostHistoryTypeId="1" PostId="5112" RevisionGUID="9f20c8ef-c67e-492a-949a-e488c0cde534" CreationDate="2010-12-14T23:03:12.807" UserId="298" Text="Made some work - Need feedback" ContentLicense="CC BY-SA 2.5" />
  <row Id="8618" PostHistoryTypeId="3" PostId="5112" RevisionGUID="9f20c8ef-c67e-492a-949a-e488c0cde534" CreationDate="2010-12-14T23:03:12.807" UserId="298" Text="&lt;feedback&gt;&lt;criticism&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8619" PostHistoryTypeId="2" PostId="5113" RevisionGUID="ad158f6d-425e-4689-8344-4dd67fe9ef4a" CreationDate="2010-12-15T00:05:39.420" UserId="61" Text="Watched it once, first impressions:&#xD;&#xA;&#xD;&#xA;1. Great job! Love the clarity and &quot;sparkle&quot;, nice detail and use of all frequencies.&#xD;&#xA;2. The musical pad felt a little creepy in the first 1/3, but that's not a bad thing…made me wonder what was coming next.&#xD;&#xA;3. Great sounds for the star flybys, very effective and identifiable.&#xD;&#xA;&#xD;&#xA;Keep up the creative work!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8620" PostHistoryTypeId="2" PostId="5114" RevisionGUID="2df431b5-bdcd-4d94-8e39-cc4c5e6119b4" CreationDate="2010-12-15T00:30:39.263" UserId="587" Text="I liked it. I want to hear it in 5.1!&#xD;&#xA;&#xD;&#xA;My initial question was if you synthesized those sounds, but then I figured that was a dumb question. How did you synthesize the wind whips - was it a sound you recorded then edited in place/sync, or sound that you synthesized/composed to picture?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8621" PostHistoryTypeId="2" PostId="5115" RevisionGUID="1bfeb20e-6207-45c7-81d8-1eea2c6bd6ce" CreationDate="2010-12-15T00:40:51.667" UserId="338" Text="I used machine gun shots, convoluted as a whoosh" ContentLicense="CC BY-SA 2.5" />
  <row Id="8622" PostHistoryTypeId="2" PostId="5116" RevisionGUID="87e04d06-4c2b-442a-8f3b-9173c296fc90" CreationDate="2010-12-15T02:08:06.003" UserId="6499" Text="Hey everyone, &#xD;&#xA;&#xD;&#xA;So this is my first time asking a question.  So here is the setup.  I'm currently in pre-production of a film in which I am doing both production and post audio.  It is a thesis film in which the director wants to maintain a certain tension similar to horror films.  A key audio part is a low end hum that resonates in and throughout the characters apartment.  Its not a horror film but more of a psychological thriller.  So Ive been doing research and came across this page.&#xD;&#xA;&#xD;&#xA;http://www.cracked.com/article_18828_the-creepy-scientific-explanation-behind-ghost-sightings.html&#xD;&#xA;&#xD;&#xA;It relates infrasound to many &quot;ghost hauntings&quot;  &#xD;&#xA;&#xD;&#xA;Cool concept to use in a film, an inaudible note that produces physical anxiety.&#xD;&#xA;&#xD;&#xA;Problem is that nothing I have nor any venue has the ability to reproduce tones that Low.&#xD;&#xA;&#xD;&#xA;Then I stumbled upon another question here on SSD regarding low end production out of laptop speakers and using the Idea of Missing Fundamental to achieve that.&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/4993/low-end-on-small-speakers&#xD;&#xA;http://en.wikipedia.org/wiki/Missing_fundamental&#xD;&#xA;&#xD;&#xA;So now to my question.  Any idea if using harmonics of infra sounds would produce the same effect?  I am leaning towards no because the waves actually shift parts of the body, but there are some psychological effects that may occur, Any thoughts on it?&#xD;&#xA;&#xD;&#xA;I do know that I don't need those tones to achieve discomfort but I'm in the process of creating a large palette of different sounds to work with later, and am finally given a chance to work  with sound on a pure conceptual level before I even look at a frame of film on a project. And why not explore this avenue,  the military has :)  &#xD;&#xA;&#xD;&#xA;Also I know that I have to be extra careful in the design to not overwork the sub, any ideas, tips, tricks?&#xD;&#xA;&#xD;&#xA;Thanks a bunch&#xD;&#xA;&#xD;&#xA;Michael Gilbert&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8623" PostHistoryTypeId="1" PostId="5116" RevisionGUID="87e04d06-4c2b-442a-8f3b-9173c296fc90" CreationDate="2010-12-15T02:08:06.003" UserId="6499" Text="Harmonics and InfraSound" ContentLicense="CC BY-SA 2.5" />
  <row Id="8624" PostHistoryTypeId="3" PostId="5116" RevisionGUID="87e04d06-4c2b-442a-8f3b-9173c296fc90" CreationDate="2010-12-15T02:08:06.003" UserId="6499" Text="&lt;infrasound&gt;&lt;harmonics&gt;&lt;sub-bass&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8625" PostHistoryTypeId="2" PostId="5117" RevisionGUID="7e8258b7-254d-4ce5-aa48-544443b0080c" CreationDate="2010-12-15T02:42:03.217" UserId="432" Text="The discussion you're referring to is talking about psychoacoustic perception. Our brain CAN fill in the fundamental sound based on the presence of its harmonics, but that capability is closely tied to structure of the harmonics (which are dependent on the source of the sound). Remember, what our brain interprets as sound are electrical signals that have been transduced through our hearing organs. We're really &quot;hearing&quot; analog sound, not acoustic.&#xD;&#xA;&#xD;&#xA;The effect you're looking for is going to be next to impossible using that technique for one very specific reason...we don't HEAR those frequencies you're looking to create. Yes, we can sense them, feel them, but it's more a function of our ability to sense equilibrium and external forces acting on our body...it's a physical response. To an extent, it's also resonance within the larger cavities of our body. Our body doesn't have the ability to transduce those pressure waves into an auditory response, and our brain isn't wired to interpret them even if we could. Without that function, you're not going to imply those low frequency tones you're looking for." ContentLicense="CC BY-SA 2.5" />
  <row Id="8626" PostHistoryTypeId="5" PostId="5117" RevisionGUID="5be543a1-b277-412b-8f80-a8aa25a298ad" CreationDate="2010-12-15T02:49:17.900" UserId="432" Comment="added comment on the Cracked article" Text="The discussion you're referring to is talking about psychoacoustic perception. Our brain CAN fill in the fundamental sound based on the presence of its harmonics, but that capability is closely tied to structure of the harmonics (which are dependent on the source of the sound). Remember, what our brain interprets as sound are electrical signals that have been transduced through our hearing organs. We're really &quot;hearing&quot; analog sound, not acoustic.&#xD;&#xA;&#xD;&#xA;The effect you're looking for is going to be next to impossible using that technique for one very specific reason...we don't HEAR those frequencies you're looking to create. Yes, we can sense them, feel them, but it's more a function of our ability to sense equilibrium and external forces acting on our body...it's a physical response. To an extent, it's also resonance within the larger cavities of our body. Our body doesn't have the ability to transduce those pressure waves into an auditory response, and our brain isn't wired to interpret them even if we could. Without that function, you're not going to imply those low frequency tones you're looking for.&#xD;&#xA;&#xD;&#xA;**EDIT:**&#xD;&#xA;Quickly looked at the Cracked article, and they got something wrong in there. It's not that your ears &quot;sense&quot; the sounds even though you can't hear them, but there is still pressure from the wave's compression/rarefaction that on the ear drum. There are organs and mechanics within the ear that contribute to our perception of equilibrium. Pressure on the timpanum affects those processes in addition to hearing. Large amounts of pressure on the timpanum will mess with your equilibrium, and too much can cause physical damage, whether you can &quot;hear&quot; the pressure wave or not." ContentLicense="CC BY-SA 2.5" />
  <row Id="8627" PostHistoryTypeId="2" PostId="5118" RevisionGUID="e5f5b5ab-137a-4608-92a5-fa5d6e6238e9" CreationDate="2010-12-15T05:36:40.520" UserId="390" Text="I have Native Instrument's Absynth 5 and absolutely love this synthesizer program. I have learned a lot about being creative with synths mostly from this program.  I have been teaching myself how to create great sounds from scratch  by studying the patches already in the program.  However, I do not believe I am learning efficiently enough. So I came across this program at Berklee music online that uses Reason and Absynth 5. I was wondering if anyone had any thoughts or experiences to share regarding this course. I have not found any comprehensive tutorials. I have found some helpful forum discussions. But it would really help a lot to have thorough walkthru on Absynth 5. Any suggestions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8628" PostHistoryTypeId="1" PostId="5118" RevisionGUID="e5f5b5ab-137a-4608-92a5-fa5d6e6238e9" CreationDate="2010-12-15T05:36:40.520" UserId="390" Text="Sound Design for the Electronic Musician &amp; Absynth 5" ContentLicense="CC BY-SA 2.5" />
  <row Id="8629" PostHistoryTypeId="3" PostId="5118" RevisionGUID="e5f5b5ab-137a-4608-92a5-fa5d6e6238e9" CreationDate="2010-12-15T05:36:40.520" UserId="390" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8630" PostHistoryTypeId="2" PostId="5119" RevisionGUID="68dc3b99-7d11-4779-83b0-e5b202bfbbf9" CreationDate="2010-12-15T11:10:20.017" UserId="746" Text="You can also check out the works of Alfred A. Tomatis related to psycho-acoustics and how we learn hearing inside the womb...&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Alfred_A._Tomatis&#xD;&#xA;&#xD;&#xA;I read all of his books, there is a lot of information there for somebody who likes to get sound design on the next level.&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;&#xD;&#xA;Panozk.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="8631" PostHistoryTypeId="5" PostId="5117" RevisionGUID="7c4a65b8-b4e9-4550-ad58-deb31076f8e6" CreationDate="2010-12-15T12:55:53.990" UserId="432" Comment="grammar" Text="The discussion you're referring to is talking about psychoacoustic perception. Our brain CAN fill in the fundamental sound based on the presence of its harmonics, but that capability is closely tied to structure of the harmonics (which are dependent on the source of the sound). Remember, what our brain interprets as sound are electrical signals that have been transduced through our hearing organs. We're really &quot;hearing&quot; analog sound, not acoustic.&#xD;&#xA;&#xD;&#xA;The effect you're looking for is going to be next to impossible using that technique for one very specific reason...we don't HEAR those frequencies you're looking to create. Yes, we can sense them, feel them, but it's more a function of our ability to sense equilibrium and external forces acting on our body...it's a physical response. To an extent, it's also resonance within the larger cavities of our body. Our body doesn't have the ability to transduce those pressure waves into an auditory response, and our brain isn't wired to interpret them even if we could. Without that function, you're not going to imply those low frequency tones you're looking for.&#xD;&#xA;&#xD;&#xA;**EDIT:**&#xD;&#xA;Quickly looked at the Cracked article, and they got something wrong in there. It's not that your ears &quot;sense&quot; the sounds even though you can't hear them, but there is still pressure from the wave's compression/rarefaction on the ear drum. There are organs and mechanics within the ear that contribute to our perception of equilibrium. Pressure on the timpanum affects those processes in addition to hearing. Large amounts of pressure on the timpanum will mess with your equilibrium, and too much can cause physical damage, whether you can &quot;hear&quot; the pressure wave or not." ContentLicense="CC BY-SA 2.5" />
  <row Id="8632" PostHistoryTypeId="2" PostId="5120" RevisionGUID="12a9af58-f8aa-4f83-9308-9e8511deb611" CreationDate="2010-12-15T13:37:03.000" UserId="142" Text="I recommend you check out Dr Steve Goodman's book on sonic weapons. Infrasound can be produced artificially (usually by fluke) or naturally at a range that causes tricks of the eyes like ghost sightings or feelings of dread, worry, panic. Vic Tandy was an engineer from coventry that decided to investigate workers worries of hauntings in the lab they worked in. To cut a long story short, a recently installed air vent was causing the infrasound due to not being bolted properly. He checked with scientific measuring equipment that this was causing infrasound waves around areas in the room where sightings were happening including one apparition seen by himself. Tightening the bolt caused all ghost sightings in the building including fears of being watched and general unease to stop immediately. Basically a certain frequency of infrasound can cause the eyeballs to vibrate at a rate which causes us to see things that are not there, the ears have nothing to do with it as we cannot hear these frequencies. In regard to the posted question even if you could reproduce this kind of infrasound on a films sound design I think it would be the wrong thing to do in regards to a viewers well being." ContentLicense="CC BY-SA 2.5" />
  <row Id="8633" PostHistoryTypeId="2" PostId="5121" RevisionGUID="c88985a5-5747-4f49-a69c-6d1dbb9eb1ed" CreationDate="2010-12-15T15:14:12.617" UserId="587" Text="You have a sound, and need a variation of it &#xD;&#xA;&#xD;&#xA;- Yet you need it to still keep its specific sonic characteristics that distinguish the sound from other audio. (i.e. still sound like the same character, gun, vehicle, dinosaur, etc.) &#xD;&#xA;&#xD;&#xA;- What processes (DSP) and techniques do you use to achieve that slight psychoacoustic difference to prevent ear fatigue of hearing the same sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8634" PostHistoryTypeId="1" PostId="5121" RevisionGUID="c88985a5-5747-4f49-a69c-6d1dbb9eb1ed" CreationDate="2010-12-15T15:14:12.617" UserId="587" Text="Creating Variations" ContentLicense="CC BY-SA 2.5" />
  <row Id="8635" PostHistoryTypeId="3" PostId="5121" RevisionGUID="c88985a5-5747-4f49-a69c-6d1dbb9eb1ed" CreationDate="2010-12-15T15:14:12.617" UserId="587" Text="&lt;variations&gt;&lt;video-game-audio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8636" PostHistoryTypeId="2" PostId="5122" RevisionGUID="3c41841d-4ae9-4128-b6b4-8b5b591aaac6" CreationDate="2010-12-15T15:28:50.370" UserId="29" Text="I call this part of sound design &quot;building a sound vocabulary&quot; or a &quot;sound language,&quot; with which specific instances of sounds can be used that all family well together, as if voiced bt the same object or character. *(Seems like this is something that's even more critical in non-linear media like games, perhaps moreso even than film, so I'd love to hear more thoughts from the game sound designers here on SSD...)*&#xD;&#xA;&#xD;&#xA;If it's synthesized, I use LFO's and other kinds of modulation, usually subtle, recording or printing many takes.&#xD;&#xA;&#xD;&#xA;If it's based on real-world recordings, I do obsessive amounts of takes with way more variations than might seem advisable. When I get back to the studio and critically listen, the number of usable takes dips dramatically, so over-covering a sound source winds up yielding just the right amount of usable variations. Do this enough, with enough different layers, and these sound languages can be varied but sonically unified. I tend to stick to simple dynamics and EQ tools to even things out, instead of using heavy processing, to keep things sounding organic.&#xD;&#xA;&#xD;&#xA;Randy Thom has said that the thing that impresses him the most on a demo real are *emotive creature vocalizations*, because that's one of the hardest things to do. Having tried it once or twice, I'd have to agree. Designing a happy sound, a curious sound, and an angry sound for the same creature can be damn tough. But it's like magic when it's pulled off well." ContentLicense="CC BY-SA 2.5" />
  <row Id="8637" PostHistoryTypeId="2" PostId="5123" RevisionGUID="dfd4e1f7-62b0-4ad2-aa63-efcdc8bb9956" CreationDate="2010-12-15T16:46:51.477" UserId="728" Text="If you want to get into game audio... there is a recent audio intern opening at SCEA http://bit.ly/fbBDfZ" ContentLicense="CC BY-SA 2.5" />
  <row Id="8638" PostHistoryTypeId="2" PostId="5124" RevisionGUID="f563aaaf-6116-4135-a2bd-6367807ee4d0" CreationDate="2010-12-15T17:22:17.597" UserId="746" Text="Slight pitch changes, some eq, stretching, random parts messing (in loops of rain and wind, etc.) Classic techniques in general..." ContentLicense="CC BY-SA 2.5" />
  <row Id="8639" PostHistoryTypeId="2" PostId="5125" RevisionGUID="d2799fbc-5490-4293-8606-41829dab2754" CreationDate="2010-12-15T18:08:48.893" UserId="315" Text="There's an [Absynth Users Group][1] on Yahoo which is filled with useful info.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;This [DVD][2] is fairly old, but I imagine it's also a useful resource...as Absynth 5 is just a build upon the features of 3 and not a new beast altogether.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tech.groups.yahoo.com/group/absynth-users/&#xD;&#xA;  [2]: http://www.amazon.com/Native-Instruments-Absynth-Tutorial-DVD/dp/B000AZ8426" ContentLicense="CC BY-SA 2.5" />
  <row Id="8640" PostHistoryTypeId="2" PostId="5126" RevisionGUID="eeebc4a4-e884-44c7-af6c-2519a8f4dd0d" CreationDate="2010-12-15T21:52:25.160" UserId="338" Text="the sonic characteristics might not need to change, maybe only the visuals will be change enough..you could try adjusting the sync as well" ContentLicense="CC BY-SA 2.5" />
  <row Id="8641" PostHistoryTypeId="2" PostId="5127" RevisionGUID="48e9ac07-1775-4c18-8132-df7995547c9a" CreationDate="2010-12-15T23:07:35.763" UserId="574" Text="Without going in to the kind of sound too much (without image it's hard to say really). I'd say concentrate on the movement. &#xD;&#xA;&#xD;&#xA;Movement is a very important factor. The afore mentioned hiss lends itself to be modulated by a cutoff etc, to resemble movement. Maybe even filter some white noise to accentuate the movement." ContentLicense="CC BY-SA 2.5" />
  <row Id="8642" PostHistoryTypeId="2" PostId="5128" RevisionGUID="be73595a-ea4e-4686-81bd-5928ec2b9a94" CreationDate="2010-12-16T02:21:00.087" UserId="587" Text="I will mention the best way to get into games or film is through the bottom up, regardless if you have training/education or not.&#xD;&#xA;&#xD;&#xA;Get on game developer forums, engine forums, and programmer forums - post your stuff out there for people to see. You will get a response if what you have to offer is substantial.&#xD;&#xA;&#xD;&#xA;Same with films.&#xD;&#xA;&#xD;&#xA;Work over the internet with dropbox and ftp.&#xD;&#xA;&#xD;&#xA;Pick a good team/director to work with who has their stuff together and utilizes a clear and organized team with a goal in mind, vision to complete, and a good attitude towards all of its team members - you'll go further than you would with just and internship and land a better/bigger gig in the end somewhere you would want to be, and not somewhere you feel like you have to be.&#xD;&#xA;&#xD;&#xA;Most likely, it will be unpaid. Except for the payoff at the end." ContentLicense="CC BY-SA 2.5" />
  <row Id="8643" PostHistoryTypeId="2" PostId="5129" RevisionGUID="f5423c7d-80d1-47c4-b570-5e7cd6a47bbb" CreationDate="2010-12-16T02:24:50.747" UserId="743" Text="In my opinion (which I got from people smarter than I) you need actual sonic variation, not just processing. When I am designing a sound, there is often a series of elements that make up the final output. When you find the perfect balance of all your elements, make sure to print a series of variations of that mix. I would keep the processing *relatively* the same between your variations, but adjust the mix of your elements within each variation instead.&#xD;&#xA; &#xD;&#xA;The changes to the balance of the mix elements should be minor, but enough to break a noticeable repetition of tone. &#xD;&#xA;&#xD;&#xA;Once your variations are in game, you should of course add some random pitch and volume modulation on top of the variations. &#xD;&#xA;&#xD;&#xA;Of course, make sure you are optimizing your sample rates to squeeze what you can out of that audio budget. No point bouncing to 44.1khz if the Nyquist theory will allow you to go lower. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8645" PostHistoryTypeId="5" PostId="5073" RevisionGUID="cc25921b-3d46-4724-8b22-c2dba4ca684e" CreationDate="2010-12-16T10:34:56.070" UserId="663" Comment="added 45 characters in body" Text="I find this question on some forum, so I am interested what do you think. &#xD;&#xA;&#xD;&#xA;Is Sound designer artist or technician?&#xD;&#xA;&#xD;&#xA;Some say it should be added Psychologist?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8646" PostHistoryTypeId="2" PostId="5130" RevisionGUID="a121cb6f-7da9-4d8b-908a-8fb64fd95b91" CreationDate="2010-12-16T12:49:40.220" UserDisplayName="user80" Text="An operator just means someone to work the equipment with minimal or no creative input.  If you are doing a full design for them I would charge closer to your normal going rate.  As with everything it is down to how much you need the work.  My advice is charge what you normally charge.  Believe it or not people will genuinely think that the work is better if you charge a realistic rate. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8647" PostHistoryTypeId="2" PostId="5131" RevisionGUID="5629232c-1d5b-43f4-beb5-f74eaf1c0677" CreationDate="2010-12-16T16:20:37.357" UserId="558" Text="I am a game guy and avoiding repetition is very important.  psycho-acoustically, your brain can recognize sounds within the first few mSecs (10-50ms as i recall).  I prefer doing my more extreme varying with the tails so as nut to screw with the basic 'family' of the sound (small changes in mix/pitch over the various elements).&#xD;&#xA;&#xD;&#xA;I also think personally that changing the rhythm of a sound sequence is huge in creating variation.  As an example, a gunshot may have a slight metal hammer clink before the actual bang.  I find that just changing the delay between the 2 elements (and also the relative mix) a small amount adds up to a very different experience.  Even with the exact same wave assets. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8648" PostHistoryTypeId="2" PostId="5132" RevisionGUID="7f7e2d48-db74-4552-aff9-c235bf10b106" CreationDate="2010-12-16T16:58:36.553" UserId="437" Text="I owe @Tim Prebble for this tip, but I recently used Sanatarium from Spirit Canyon Audio http://www.spiritcanyonaudio.com/index.php for a production of Dracula. SCA has some other great, super cheap collections of IRs, but Sanatarium fit the bill for gothic, eerie ambiances. There are dozens of different IRs all organized by approximate &quot;theme&quot; and I just kept experimenting 'til I found what I wanted.&#xD;&#xA;&#xD;&#xA;Sanatarium's IR's and a convolution reverb was a total life-saver for me...all for $35." ContentLicense="CC BY-SA 2.5" />
  <row Id="8649" PostHistoryTypeId="5" PostId="5122" RevisionGUID="d751b7d6-217d-4061-bc25-330afc6596ff" CreationDate="2010-12-16T18:32:18.453" UserId="29" Comment="added 220 characters in body" Text="I call this part of sound design &quot;building a sound vocabulary&quot; or a &quot;sound language,&quot; with which specific instances of sounds can be used that all family well together, as if voiced bt the same object or character. *(Seems like this is something that's even more critical in non-linear media like games, perhaps moreso even than film, so I'd love to hear more thoughts from the game sound designers here on SSD...)*&#xD;&#xA;&#xD;&#xA;If it's synthesized, I use LFO's and other kinds of modulation, usually subtle, recording or printing many takes. *[edit: the LFO's or other modulation are set to affect pitch, EQ, filtering, and/or dynamics, based on the context and needs of the sound or action being shown]*&#xD;&#xA;&#xD;&#xA;If it's based on real-world recordings, I do obsessive amounts of takes with way more variations than might seem advisable. When I get back to the studio and critically listen, the number of usable takes dips dramatically, so over-covering a sound source winds up yielding just the right amount of usable variations. Do this enough, with enough different layers, and these sound languages can be varied but sonically unified. I tend to stick to simple dynamics and EQ tools to even things out, instead of using heavy processing, to keep things sounding organic.&#xD;&#xA;&#xD;&#xA;*[edit: Since you mentioned dinosaurs and variation...]* Randy Thom has said that the thing that impresses him the most on a demo real are *emotive creature vocalizations*, because that's one of the hardest things to do. Having tried it once or twice, I'd have to agree. Designing a happy sound, a curious sound, and an angry sound for the same creature can be damn tough. But it's like magic when it's pulled off well." ContentLicense="CC BY-SA 2.5" />
  <row Id="8650" PostHistoryTypeId="2" PostId="5133" RevisionGUID="c2af58a1-0b38-4373-b970-fa77a8fddf36" CreationDate="2010-12-16T19:33:08.613" UserId="275" Text="I would highly recommend charging your normal rate.  Your rate should reflect your experience but also your expenses.  Also, hopefully the client will become a repeat client and so it is better to establish a higher rate from the get-go rather than trying to up your rate down the road." ContentLicense="CC BY-SA 2.5" />
  <row Id="8651" PostHistoryTypeId="2" PostId="5134" RevisionGUID="119f032e-defc-46d4-a9ae-1ac9d24a811c" CreationDate="2010-12-16T20:48:04.093" UserId="431" Text="Noise Jockey's answer is a fantastic big picture answer and the ideal approach to sonic variation, IMO. But occasionally one gets called on to create variation in limited source material that can't be resourced again, or at least not in time. My first call of port in that particular storm is formant shifting." ContentLicense="CC BY-SA 2.5" />
  <row Id="8652" PostHistoryTypeId="2" PostId="5135" RevisionGUID="673a3113-2e1a-4985-b7fb-7d00cf07d375" CreationDate="2010-12-17T01:39:05.667" UserId="396" Text="Nice work! I thought it sounded great and was very polished. I liked the detail in the sounds, and they were very cohesive with the visuals.&#xD;&#xA;&#xD;&#xA;My only constructive criticism would be that the light trails/wooshes do sound quite synthesized, and I think they could be improved by a more organic treatment - perhaps layering in a more natural element, or applying some processing with EQ, harmonic enhancement or a touch of reverb.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8653" PostHistoryTypeId="2" PostId="5136" RevisionGUID="b42d001a-5865-44c0-af7a-68fbc61025a9" CreationDate="2010-12-17T02:30:43.577" UserId="29" Text="Does anyone here have strategies, or more specifically *successes*, in limiting machine noise (computers and hard drives) in your home studio? There are people who build their own acoustic isolation boxes, others who go all solid state with hard drives, others who pay US$2000+ for commercial sound-dampening rack units, others who pay more to put machines in closets or in other rooms...it seems like there are many variations, and tradeoffs, between cost, and heat management, and convenience.&#xD;&#xA;&#xD;&#xA;What have you found to be successful, or good values in terms of price:performance?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8654" PostHistoryTypeId="1" PostId="5136" RevisionGUID="b42d001a-5865-44c0-af7a-68fbc61025a9" CreationDate="2010-12-17T02:30:43.577" UserId="29" Text="Managing Machine Noise in the Home Studio" ContentLicense="CC BY-SA 2.5" />
  <row Id="8655" PostHistoryTypeId="3" PostId="5136" RevisionGUID="b42d001a-5865-44c0-af7a-68fbc61025a9" CreationDate="2010-12-17T02:30:43.577" UserId="29" Text="&lt;computer&gt;&lt;noise&gt;&lt;isolation&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8656" PostHistoryTypeId="2" PostId="5137" RevisionGUID="11776e55-3b23-410e-acb2-c141b5e24c77" CreationDate="2010-12-17T02:43:14.823" UserId="670" Text="I'm working on a production next week we're I'll be booming inside a diner but I only have a Rode NTG-3 , Blue Bluebird, MXL 991 SDC. I don't have any hypercardioid microphones, but would it be possible in the future to get an Oktava MC 012 hypercardioid capsule and replace the one in the MXL 991 with it? I'm trying to go for the cheapest solution since I'm a recent college grad and am on a very tight budget. Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8657" PostHistoryTypeId="1" PostId="5137" RevisionGUID="11776e55-3b23-410e-acb2-c141b5e24c77" CreationDate="2010-12-17T02:43:14.823" UserId="670" Text="Recording dialogue indoors" ContentLicense="CC BY-SA 2.5" />
  <row Id="8658" PostHistoryTypeId="3" PostId="5137" RevisionGUID="11776e55-3b23-410e-acb2-c141b5e24c77" CreationDate="2010-12-17T02:43:14.823" UserId="670" Text="&lt;indoor-dialogue&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8659" PostHistoryTypeId="2" PostId="5138" RevisionGUID="c25254fa-4965-4847-81f4-2e4208f8f25e" CreationDate="2010-12-17T02:51:20.407" UserId="598" Text="The Oktava is a good mic - especially for the price.  I couldn't tell you anything about an Oktava capsule being compatible with an MXL body though.&#xD;&#xA;&#xD;&#xA;-Greg-" ContentLicense="CC BY-SA 2.5" />
  <row Id="8662" PostHistoryTypeId="2" PostId="5140" RevisionGUID="b0e23877-a66f-498a-8f0c-a24e7a2dae11" CreationDate="2010-12-17T06:21:31.490" UserId="40" Text="I would stick with the RODE. It's going to sound better than any other solution that you would probably find on a tight budget. Any reason in particular you wanted to use the Octava / MXL combo?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8663" PostHistoryTypeId="2" PostId="5141" RevisionGUID="a664325e-4f8e-4238-851f-b50643342378" CreationDate="2010-12-17T07:14:14.660" UserId="748" Text="I would honestly worry less about your mic and more about your mic position. Recording for a film, your priority should be clear dialogue and making sure the camera crew allow you near to the actors to get the best recording of their lines. If you get a good clear recording then you can be satisfied that you will have done your job." ContentLicense="CC BY-SA 2.5" />
  <row Id="8664" PostHistoryTypeId="5" PostId="5137" RevisionGUID="e90ef48f-62be-44f6-a866-35cad9ab83ce" CreationDate="2010-12-17T07:19:47.230" UserId="670" Comment="edited body" Text="I'm working on a production next week we're I'll be booming inside a diner but I only have a Rode NTG-3 , Blue Bluebird, MXL 991 SDC. I don't have any hypercardioid microphones, but would it be possible in the future to get an Oktava MK 012 hypercardioid capsule and replace the one in the MXL 991 with it? I'm trying to go for the cheapest solution since I'm a recent college grad and am on a very tight budget. Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8666" PostHistoryTypeId="2" PostId="5142" RevisionGUID="dc37a9a7-1d8e-4239-88de-1f7dee6545b7" CreationDate="2010-12-17T10:29:25.633" UserId="737" Text="[Designing Sound for Animation] [1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Designing-Sound-Animation-Robin-Beauchamp/dp/0240807332/ref=sr_1_13?s=books&amp;ie=UTF8&amp;qid=1292142534&amp;sr=1-13 (Robin Beauchamp)&#xD;&#xA;  [2]: http://ecx.images-amazon.com/images/I/51NcXKx3JPL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_AA300_SH20_OU01_.jpg&#xD;&#xA;&#xD;&#xA;This is a very well written introduction to sound design for film. And while the book focuses on animation, it is also very relevant for traditional narrative film. The author has a real talent for getting to the basic essence of things. A very practical book! " ContentLicense="CC BY-SA 2.5" />
  <row Id="8667" PostHistoryTypeId="16" PostId="5142" RevisionGUID="dc37a9a7-1d8e-4239-88de-1f7dee6545b7" CreationDate="2010-12-17T10:29:25.633" UserId="-1" />
  <row Id="8668" PostHistoryTypeId="2" PostId="5143" RevisionGUID="3c7380ac-c3bc-4f76-abd0-fa3a24721bcb" CreationDate="2010-12-17T11:46:41.207" UserId="736" Text="I use the Rode NTG-3 all the time (it's my work horse at the moment) and have been well impressed with it's performance. Haven't used the others so I can't comment on those.&#xD;&#xA;&#xD;&#xA;My advice recording indoors, regardless of the mic used would be to listen to the space through the mic and eliminate as many unwanted noise sources as possible.&#xD;&#xA;&#xD;&#xA;Singe has some sage advice also." ContentLicense="CC BY-SA 2.5" />
  <row Id="8669" PostHistoryTypeId="2" PostId="5144" RevisionGUID="ce9d9343-b984-4c59-ae48-124b9ba33c35" CreationDate="2010-12-17T14:17:40.987" UserId="432" Text="I'll post what I sent you in an e-mail last night, just in case there's anything in there someone else around here can find useful:&#xD;&#xA;&#xD;&#xA;I don’t really know anything about the 991.&#xD;&#xA; &#xD;&#xA;As for the shotgun situation...yes, hypercardioids usually are preferred for indoor use, but shotguns can work fine as well. Make sure you listen to the mic, preferably through the final record monitor (always listen to what’s going onto tape/disc), and adjust placement as necessary. Try to keep it from getting too close to the ceiling. If the ceiling has those drop tiles, try taking out the ones the rear axis is pointing at. If you don’t pick up more noise travelling through the plenum, just leave them out and that should help cut down on reflections.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8670" PostHistoryTypeId="2" PostId="5145" RevisionGUID="cce789b6-db2d-4a5f-9f78-329c5b566a21" CreationDate="2010-12-17T14:34:27.670" UserId="432" Text="I'd suggest putting it in another room and getting yourself some usb/firewire repeaters and a usb/firewire hub or two. Repeaters are usually under $100. I don't know the specs on what cable length DVI can support, but a repeater for that shouldn't be too expensive either. With the hubs you can can set up a litle terminal system and have all your interface stuff (monitor, keyboard, mouse, audio I/O, external drives, etc.) in the room with you, but you can put the computer somewhere else. All you need to do is run the cable. ;)&#xD;&#xA;&#xD;&#xA;Check out the Geffen site, you can plug in how far you want to run stuff (and what you want to run), and they'll tell you what products (their own, of course) you'll need and how much they cost. It'd be a good place to start for anyone who's interested in going this route.&#xD;&#xA;&#xD;&#xA;Here's the link: http://www.gefen.com/kvm/wizard.jsp" ContentLicense="CC BY-SA 2.5" />
  <row Id="8671" PostHistoryTypeId="2" PostId="5146" RevisionGUID="53737f68-9482-4079-9939-68e847ffed47" CreationDate="2010-12-17T16:24:46.520" UserId="182" Text="In my last apartment, I drilled a hole in the wall to a built-in closet in the kitchen and put my computer there. With extension cables for everything (including the on-off button), I had a completely silent room where the ground noise from the speakers was the most apparent noise source.&#xD;&#xA;&#xD;&#xA;In my new apartment, I don't have that possibility so I'm struggling with machine noise as well. Piece by piece I am replacing the loudest components in my computer with more silent ones. So far, I've replaced the processor cooler (Scythe Mugen Rev B, about $40), case fans (Nexus 800rpm or Scythe SL 800rpm, or Noctua 800 rpm, $7 each), computer case (Antec P183 which has triple layer walls and silicon mounting thingies for the hard drives, $140) and I replaced an old Maxtor hard drive with a newer, bigger one that happened to be much quieter too (Samsung Spinpoint F3). And an ssd for the operating system is on its way.&#xD;&#xA;&#xD;&#xA;![Antec P183 case][1]&#xD;&#xA;&#xD;&#xA;I would say the current configuration makes a third of the noise of my old setup. If after a while it's till too noisy for my taste, next steps would be a quiet aftermarket cooler for my graphics card (a passively cooled card would be better, but right now I want to keep this one), and then perhaps one of those &quot;bitumen mat&quot; absorber kits that cost about $20.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My last resort would be to go to ikea, buy a cupboard just big enough for the computer to fit and stuff it with mineral wool - leaving some strategic holes and open space inside for air circulation.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.antec.com/images/400/P183_quarter.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="8672" PostHistoryTypeId="2" PostId="5147" RevisionGUID="b65fc7b0-9e51-4ce4-92c0-a8b7b855b382" CreationDate="2010-12-17T18:39:11.563" UserId="220" Text="I'm going to echo Shaun and say rent a mic.  Rent a Schoeps MK-41 capsule if you can - I did a shoot in a giant metal building, and it sounds beautiful with great rejection of all the reflections you'll get in a space like that.  I rented mine for $35, and it was a small price to pay for the quality of the microphone.  &#xD;&#xA;&#xD;&#xA;As an aside, this will always be my advice to folks starting out - do NOT buy anything until you can justify the cost with the income it is CURRENTLY producing.  If it's cheaper to rent per job than to eat the cost of purchasing, then rent until it doesn't make sense to do so.  Getting cheap gear, or, worse, going into debt to buy expensive, quality gear, is a mistake.  You pay way more in interest than you should.  Things you *should* buy - good headphones ($100), a boom pole ($250 or so for a decent aluminum pole), and maybe a mixer, although those are quite expensive depending on what you get.  Other than that, quality mics and recorders are very expensive.  &#xD;&#xA;&#xD;&#xA;I know that was unsolicited, but I don't want to see young folks making financial mistakes that will hamper you in the future. &#xD;&#xA;&#xD;&#xA;Good luck on your shoot!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8673" PostHistoryTypeId="2" PostId="5148" RevisionGUID="3c732884-5e0f-4a32-a234-e183ed3c61be" CreationDate="2010-12-17T20:23:45.070" UserId="594" Text="Working with video requires working with a good set of tools. &#xD;&#xA;These are some &quot;can't live with-out&quot; applications for Mac OS X &#xD;&#xA;&#xD;&#xA;Media Mac Info (Can tell you everything you need to know about and audio or video file)&#xD;&#xA;[http://mediainfo.massanti.com/][1]&#xD;&#xA;&#xD;&#xA;Perian (Adds extra video support for QuickTime)&#xD;&#xA;[http://perian.org/][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mediainfo.massanti.com/&#xD;&#xA;  [2]: http://perian.org/ &#xD;&#xA;&#xD;&#xA;Any other small applications you find yourself using everyday?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8674" PostHistoryTypeId="1" PostId="5148" RevisionGUID="3c732884-5e0f-4a32-a234-e183ed3c61be" CreationDate="2010-12-17T20:23:45.070" UserId="594" Text="Working with video: What tools can't you live without?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8675" PostHistoryTypeId="3" PostId="5148" RevisionGUID="3c732884-5e0f-4a32-a234-e183ed3c61be" CreationDate="2010-12-17T20:23:45.070" UserId="594" Text="&lt;workflow&gt;&lt;applications&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8676" PostHistoryTypeId="2" PostId="5149" RevisionGUID="cc219439-97a8-4077-9eb3-0f155109259c" CreationDate="2010-12-17T20:49:08.680" UserId="253" Text="It's a simple one, but Quicktime Pro.&#xD;&#xA;&#xD;&#xA;For the small projects, where it's not feasible to send back incorrectly exported quicktimes with an email that says &quot;WRONG! DO IT AGAIN!&quot;.&#xD;&#xA;&#xD;&#xA;Also good for converting to DV to play out firewire." ContentLicense="CC BY-SA 2.5" />
  <row Id="8677" PostHistoryTypeId="2" PostId="5150" RevisionGUID="9ad112d4-d5f7-4f92-9fb4-8e8c9308b30f" CreationDate="2010-12-17T22:06:20.583" UserId="37" Text="QT Sync for time code burn in. &#xD;&#xA;Quicktime Pro 7 for anything from merging audio+video to simple editing.&#xD;&#xA;MPEG Streamclip&#xD;&#xA;and every now and then - Dumpster - to hack directly into the header of QT movies that have problems such as wrong frame-rate tags and such and such." ContentLicense="CC BY-SA 2.5" />
  <row Id="8678" PostHistoryTypeId="2" PostId="5151" RevisionGUID="5b8b1ea1-2f0b-42ab-a97b-23b730a01b4e" CreationDate="2010-12-17T22:48:35.540" UserId="194" Text="Quicktime 7 pro gets the most mileage.  Quicktime X gets the most cursing.&#xD;&#xA;&#xD;&#xA;I'll also throw in a vote for edicue/region groups/text edit.  Invaluable for spotting IMO.&#xD;&#xA;&#xD;&#xA;Compressor&#xD;&#xA;&#xD;&#xA;shift+apple+4&#xD;&#xA;&#xD;&#xA;Soundminer can do video import, which is fun but not always practical.&#xD;&#xA;&#xD;&#xA;QT sync looks awesome.  Trying it now..." ContentLicense="CC BY-SA 2.5" />
  <row Id="8679" PostHistoryTypeId="2" PostId="5152" RevisionGUID="9138eed1-0815-4f6f-8085-4be605b11ce0" CreationDate="2010-12-17T23:06:31.457" UserId="194" Text="Of course every project and every client is different, but I'd like to know what tools/techniques people use when spotting projects with clients?&#xD;&#xA;&#xD;&#xA;As a general definition here, lets define spotting as watching down a video or film project with the client/director/producer and taking time-specific audio notes because the director will then leave you to do your work.&#xD;&#xA;&#xD;&#xA;Here's how I usually do it:&#xD;&#xA;&#xD;&#xA;For all shorter video projects and some films I'm driving the session, which means I can start and stop playback as and ask questions if I need to.  I try to keep the pace brisk though, as directors can devolve into long creative rabbit holes about their visions if you let them.  Mostly I'm looking for specific facts that relate to the story (does that truck keep idling there or would she have turned it off?) type things.  At the end though, I should have a solid feel of overall tone that the director is looking for.&#xD;&#xA;&#xD;&#xA;In this situation I tend to just throw down protools markers directly into a session, and write my notes directly into the markers.  After the spotting session I'll transfer those into region groups for export into other work sessions or into edicue, or if the project is smaller in scale I'll just work off of the markers.&#xD;&#xA;&#xD;&#xA;For films I'll use the transfer process to work up a general list of things that I know I need to get out and record to get the project done the right way, and I often transfer that list to my iphone as a spreadsheet or just a raw email.&#xD;&#xA;&#xD;&#xA;Our most recent film was spotted a little differently though, and this is where I'd like your input - if you don't have playback control and you're in a dark room, how do you take notes?  For this film we played it down without stopping, and I took notes on a notepad while sitting next to the director.  I was still able to ask her all of the questions that I needed answered, but when the lights came back up I felt fortunate to be able to read my few pages of blind handwriting and timecode notes.&#xD;&#xA;&#xD;&#xA;In the end I felt the film was spotted about as thoroughly as it would have been otherwise.  The process was more efficient but also a little more stressful, though not any more labor intensive (since I transfer my notes either way)&#xD;&#xA;&#xD;&#xA;So when you spot, how do you do it?  What do you think you could do better?&#xD;&#xA;&#xD;&#xA;thanks!&#xD;&#xA;-Rene" ContentLicense="CC BY-SA 2.5" />
  <row Id="8680" PostHistoryTypeId="1" PostId="5152" RevisionGUID="9138eed1-0815-4f6f-8085-4be605b11ce0" CreationDate="2010-12-17T23:06:31.457" UserId="194" Text="workflow: spotting with the client" ContentLicense="CC BY-SA 2.5" />
  <row Id="8681" PostHistoryTypeId="3" PostId="5152" RevisionGUID="9138eed1-0815-4f6f-8085-4be605b11ce0" CreationDate="2010-12-17T23:06:31.457" UserId="194" Text="&lt;workflow&gt;&lt;spotting&gt;&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8686" PostHistoryTypeId="2" PostId="5155" RevisionGUID="3f389387-a82c-4e5b-a6c8-e47928723838" CreationDate="2010-12-18T00:49:56.950" UserId="253" Text="Whenever i do spots (and playthroughs), we watch through once, uninterrupted (and i encourage note taking), then go through and stop wherever we need to talk about something. I can see this not being very time efficient on longform projects, but it works great on shorts. I guess on features, everyone's already watched through for initial impressions and has brought some ideas with them. It is nice to have it fresh in your head, though.&#xD;&#xA;&#xD;&#xA;I find that stopping and starting can upset the flow of the film and skew your perception. In the past, my opinions on certain points that i've noted down while stopping and starting, have sometimes completely changed upon watching through continuously.&#xD;&#xA;&#xD;&#xA;Also, i am a fan of scribbling in the dark. I can do it without thinking, and can decode about 99% of what i've scrawled. If you write something down, it consolidates it in your memory, so i'll usually remember what i was thinking anyway." ContentLicense="CC BY-SA 2.5" />
  <row Id="8687" PostHistoryTypeId="2" PostId="5156" RevisionGUID="d65aa7f7-c5c8-4dab-8fbe-06552415dc62" CreationDate="2010-12-18T02:27:49.097" UserId="558" Text="I do primarily game audio, and have more than 7 years on each system.  Most recently I am a Nuendo guy but have done several PT jobs this year.  &#xD;&#xA;&#xD;&#xA;Here are some pros and cons (I use NU4 and PT 8 LE and you will see that i lean to Nuendo)&#xD;&#xA;&#xD;&#xA;NU4:&#xD;&#xA;&#xD;&#xA; - &quot;offline process history&quot; function is AWESOME!!! - for those who don't know, every thing you do to a region gets saved in order and you can disable, delete, reorder, and (my fave) create a batch that re-executes the whole list in 1 go.  Amazing for Game audio, but also good for creating a vocal effect using multiple plugs and applying to a set of lines, then changing that effect down the line and re-applying it to all the lines quickly&#xD;&#xA;&#xD;&#xA; - great integration of sound fx search lib and editing (its built into Nuendo).&#xD;&#xA;&#xD;&#xA; - Keyboard shortcuts are easy to set and save/load&#xD;&#xA;&#xD;&#xA; - Better/more flexible video options (not sure about PT9)&#xD;&#xA;&#xD;&#xA; - more hardware options (PT9 changes this)&#xD;&#xA;&#xD;&#xA; - Session XFER is a major pain (not because of NU, but because of PT)&#xD;&#xA;&#xD;&#xA; - Harder to find engineers if you need to bring in someone to work&#xD;&#xA;&#xD;&#xA; - On the PC only, NU is definitely more solid and has quicker load times&#xD;&#xA;&#xD;&#xA; - Less expensive&#xD;&#xA;&#xD;&#xA; - I like multi-region editing (if you select several regions and change the fade-in, the fade-ins for all the regions change&#xD;&#xA;&#xD;&#xA; - I like having an easy to use volume level for each region.  Reduces the need for automation and uncomplicates mixes a bit.&#xD;&#xA;&#xD;&#xA;PT 8 LE&#xD;&#xA;&#xD;&#xA; - Industry compatibility&#xD;&#xA;&#xD;&#xA; - easier to find engineers&#xD;&#xA;&#xD;&#xA; - More options on FX search engines and I have heard networking is easier as well (no experience myself)&#xD;&#xA;&#xD;&#xA; - Many of my favorite plugs are RTAS (and TDM)&#xD;&#xA;&#xD;&#xA; - FOr those who like hardware controllers (HUI/COntrol/etc) there are more/better options&#xD;&#xA;&#xD;&#xA; - On average, PT is more expensive&#xD;&#xA;&#xD;&#xA; - I really like the smart tool&#xD;&#xA;&#xD;&#xA; - I find the hardware i/o system less intuitive, but once you learn a system it doesnt really matter that much&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8688" PostHistoryTypeId="2" PostId="5157" RevisionGUID="dd7de811-1bed-4116-b765-24d15f297216" CreationDate="2010-12-18T02:43:18.823" UserId="431" Text="Soundminer x2, but for the option to lock to your DAW (little button labeled chase bottom R corner, REWIRE only - it's a feature that lost when they went to V4 and they brought back recently). It's genius for cutting music to picture as you can see if the cue is going to work before you copy it into your session.&#xD;&#xA;&#xD;&#xA;Excel for managing cue sheets and ADR lines.&#xD;&#xA;&#xD;&#xA;Virtual Katy for dealing with mid project re-conforms (&quot;Oh yeah, the picture was locked, but not final locked.&quot;)&#xD;&#xA;&#xD;&#xA;Text Wrangler for clearing out the garbage left in the EDLs that causes Virtual Katy to wet the bed. I haven't had to do a reconform for a few years now (yay!) so maybe VK is better at handling wonky EDLs.&#xD;&#xA;&#xD;&#xA;FCP 7, where OMF creation is now so simple, even a video editor can do it!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8689" PostHistoryTypeId="2" PostId="5158" RevisionGUID="fcb03925-3865-463d-bb0e-5a2b98e9819f" CreationDate="2010-12-18T02:52:12.693" UserId="29" Text="My perspective is as a former video editor and motion graphics designer, so...&#xD;&#xA;&#xD;&#xA; - Apple Final Cut Pro (mostly for&#xD;&#xA;   brute-force movie hacking) &#xD;&#xA; - Apple Compressor (format conversion)&#xD;&#xA; - Adobe After Effects (how I do conforms for frame aspect, pixel&#xD;&#xA;   aspect, scaling, frame rates, and TC burn-in)&#xD;&#xA; - +1 on TextWrangler, but my personal fave is TextMate...but TW is free!&#xD;&#xA; - Agreed on the no-longer-Pro QT Player. Ugh. Used to be the Ultimate Secret Weapon. BUT, copying frames from QT Player is way cool.&#xD;&#xA; - iPhone and iPad for mobile display devices, *with no machine noise*, for foley sessions in guerilla production situations, via QT movie playback. iPad + SD 702 = mobile foley studio! :-p&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8690" PostHistoryTypeId="2" PostId="5159" RevisionGUID="4474bb3e-6772-4556-900e-ab4edb12fa09" CreationDate="2010-12-18T03:02:08.923" UserId="431" Text="I don't have an answer that's better than Tim's, but to play devil's advocate - you can always hire people with better chops or ideas, but you can't get anyone else to have the relationship with the client for you." ContentLicense="CC BY-SA 2.5" />
  <row Id="8691" PostHistoryTypeId="2" PostId="5160" RevisionGUID="9ca982d9-2c17-4a8b-af9c-e98c71058270" CreationDate="2010-12-18T05:49:11.263" UserId="234" Text="One that get's a workout in my studio is VisualHub (sadly no longer continued). A really easy way to generate really quick and easy approval files (MP4, h264 etc, etc)." ContentLicense="CC BY-SA 2.5" />
  <row Id="8692" PostHistoryTypeId="2" PostId="5161" RevisionGUID="e40bbe61-b1c0-4930-b41f-3cc95540e89d" CreationDate="2010-12-18T08:24:26.177" UserId="18160" Text="I'm watching Inception for the 2nd time and I had to write about it:&#xD;&#xA;&#xD;&#xA;In a particular scene something happens during an action scene (don't worry, no spoilers in this post), and the audience is lulled to silence for a split second and then is hit with an extremely loud impact.&#xD;&#xA;&#xD;&#xA;I think the silence just before the impact made the impact seem far greater in volume because of the contrast. Even the music faded out and some very low-level sounds like breathing and ambience and cloth movement foley were brought up.&#xD;&#xA;&#xD;&#xA;This was highly effective and I've got to practice and use this technique!&#xD;&#xA;&#xD;&#xA;Does anyone else use this to add more impact? It probably depends heavily on the picture editor to create a pause to slow down and fade out your soundtrack before a large impact..." ContentLicense="CC BY-SA 2.5" />
  <row Id="8693" PostHistoryTypeId="1" PostId="5161" RevisionGUID="e40bbe61-b1c0-4930-b41f-3cc95540e89d" CreationDate="2010-12-18T08:24:26.177" UserId="18160" Text="Fade to zero, then BANG" ContentLicense="CC BY-SA 2.5" />
  <row Id="8694" PostHistoryTypeId="3" PostId="5161" RevisionGUID="e40bbe61-b1c0-4930-b41f-3cc95540e89d" CreationDate="2010-12-18T08:24:26.177" UserId="18160" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8695" PostHistoryTypeId="5" PostId="5146" RevisionGUID="fb48cb95-1ea0-4cf5-b62d-2121e2c2be81" CreationDate="2010-12-18T09:50:43.657" UserId="182" Comment="spelling" Text="In my last apartment, I drilled a hole in the wall to a built-in closet in the kitchen and put my computer there. With extension cables for everything (including the on-off button), I had a completely silent room where the ground noise from the speakers was the most apparent noise source.&#xD;&#xA;&#xD;&#xA;In my new apartment, I don't have that possibility so I'm struggling with machine noise as well. Piece by piece I am replacing the loudest components in my computer with more silent ones. So far, I've replaced the processor cooler (Scythe Mugen Rev B, about $40), case fans (Nexus 800rpm or Scythe SL 800rpm, or Noctua 800 rpm, $7 each), computer case (Antec P183 which has triple layer walls and silicon mounting thingies for the hard drives, $140) and I replaced an old Maxtor hard drive with a newer, bigger one that happened to be much quieter too (Samsung Spinpoint F3). And an ssd for the operating system is on its way.&#xD;&#xA;&#xD;&#xA;![Antec P183 case][1]&#xD;&#xA;&#xD;&#xA;I would say the current configuration makes a third of the noise of my old setup. If after a while it's still too noisy for my taste, next steps would be a quiet aftermarket cooler for my graphics card (a passively cooled card would be better, but right now I want to keep this one), and then perhaps one of those &quot;bitumen mat&quot; absorber kits that cost about $20.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My last resort would be to go to ikea, buy a cupboard just big enough for the computer to fit and stuff it with mineral wool - leaving some strategic holes and open space inside for air circulation.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.antec.com/images/400/P183_quarter.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="8696" PostHistoryTypeId="2" PostId="5162" RevisionGUID="68694343-20a9-4785-8867-672a1ad21072" CreationDate="2010-12-18T09:53:12.223" UserId="61" Text="The use of silence and uncomfortably quiet moments can be extremely powerful, as you've noted. I try to use it as much as possible and where appropriate; one recent example where it seemed to work well was in Terminator Salvation, when the resistance fighters are tracking Marcus down in the forest. Right before John Connor detonates the perimeter, the entire soundtrack fades down to almost complete silence, then comes back suddenly with the whomp of the massive blast. The sound crew designed it that way early on in the rough mixes, and fortunately it survived through the final mix." ContentLicense="CC BY-SA 2.5" />
  <row Id="8697" PostHistoryTypeId="2" PostId="5163" RevisionGUID="be3f6129-1597-4ce5-b33c-0e4585ce8a70" CreationDate="2010-12-18T09:53:25.110" UserId="62" Text="This is a classic technique.&#xD;&#xA;&#xD;&#xA;2 great examples are Harry Potter and the Order of the Pheonix. Voldemort and Dumbledore are duelling at the end. Voldemort appears to take in a lot of black stuff (magic?) into his hands, he then flings his hands open and creates a tremendous shockwave. I thought the sounds was really well done and used this technique brilliantly.&#xD;&#xA;&#xD;&#xA;Another great example is in Lord of the Rings - The Two Towers when an Uruk Hai runs towards some explosives beneath the wall of Helm's Deep. The sound dips just prior to the explosion. Again, another good example. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8698" PostHistoryTypeId="2" PostId="5164" RevisionGUID="a6386f2a-aa73-404c-8544-0b31e4b10495" CreationDate="2010-12-18T12:51:23.827" UserId="474" Text="ffmpeg as a handy command line tool, the &quot;swiss army knife&quot; of converting formats, aspect ratios, codecs, sizes, etc. etc. .... for me the #1 video batch processor." ContentLicense="CC BY-SA 2.5" />
  <row Id="8699" PostHistoryTypeId="2" PostId="5165" RevisionGUID="c840b27e-ec97-455d-bd26-ab8e7e0b8d1e" CreationDate="2010-12-18T13:06:58.027" UserId="474" Text="Hi forum,&#xD;&#xA;&#xD;&#xA;has anyone of you yet used Native Instrument's new convolution reverb effect &quot;Reflektor&quot;?&#xD;&#xA;&#xD;&#xA;What are your experiences? Does it hold its promised features of Zero-Latency and other creative parametrisation? What about the integration in Guitar Rig 4, is this usable for the average Sound Designer at all?&#xD;&#xA;&#xD;&#xA;I'm asking because the demos sound very promising, yes, but has anyone used it in a real-world situation?&#xD;&#xA;&#xD;&#xA;cheers,&#xD;&#xA;Julian" ContentLicense="CC BY-SA 2.5" />
  <row Id="8700" PostHistoryTypeId="1" PostId="5165" RevisionGUID="c840b27e-ec97-455d-bd26-ab8e7e0b8d1e" CreationDate="2010-12-18T13:06:58.027" UserId="474" Text="Experiences w/NI Reflektor?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8701" PostHistoryTypeId="3" PostId="5165" RevisionGUID="c840b27e-ec97-455d-bd26-ab8e7e0b8d1e" CreationDate="2010-12-18T13:06:58.027" UserId="474" Text="&lt;convolution-reverb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8702" PostHistoryTypeId="2" PostId="5166" RevisionGUID="0e12f52d-8c19-4b1c-b553-b8dfe878467e" CreationDate="2010-12-18T13:37:09.607" UserId="479" Text="Having been an Adobe Audition/CEP user for almost ten years recording my own music recently I've come into the problem of using Protools for my uni work and also some short films I've been working on.&#xD;&#xA;&#xD;&#xA;I had seen a classmate who was a protools user &quot;consolidate&quot; some of the edits we were doing in class work. I'd seen this before in a post production studio I did IT for, but had never needed to use it myself.&#xD;&#xA;&#xD;&#xA;So the short films I've been working on had edits all over the place and not enough time to complete in the studio. I consolidated each track to the length of the film and as some of you may guess, I got home and found I had nothing I could work with.&#xD;&#xA;&#xD;&#xA;Next day I had some more time to read help files, so I consolidated and then saved the region as a new file. Although I haven't used these files yet, they are all the same size so I would assume should all align on my program.&#xD;&#xA;&#xD;&#xA;So back to the main topic, Why do you consolidate in protools?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8703" PostHistoryTypeId="1" PostId="5166" RevisionGUID="0e12f52d-8c19-4b1c-b553-b8dfe878467e" CreationDate="2010-12-18T13:37:09.607" UserId="479" Text="why should i consolidate" ContentLicense="CC BY-SA 2.5" />
  <row Id="8704" PostHistoryTypeId="3" PostId="5166" RevisionGUID="0e12f52d-8c19-4b1c-b553-b8dfe878467e" CreationDate="2010-12-18T13:37:09.607" UserId="479" Text="&lt;regions&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8705" PostHistoryTypeId="2" PostId="5167" RevisionGUID="79372aa3-5209-4322-9cb5-7db95a089c37" CreationDate="2010-12-18T13:49:45.203" UserId="37" Text="It's not uncommon to do your edits then print the mix to a new track. When time is really tight this makes a lot of sense since Pro Tools only does real-time bounce for now. If there's one thing wrong you can jump back to it, fix it in the edit, then print again just that portion of the mix. You do end up with a fractured but flattened mix then you consolidate those regions and export the resulting region to a new file. There's information in the Gearslutz post production forum regarding this. Since learning about it I haven't done a single bounce down in Pro Tools. Hope this helps.." ContentLicense="CC BY-SA 2.5" />
  <row Id="8706" PostHistoryTypeId="2" PostId="5168" RevisionGUID="00ca7f52-d20c-49ff-a18f-d9c72f02bfeb" CreationDate="2010-12-18T16:18:04.207" UserDisplayName="user80" Text="Consolidate is really useful for when you have fixed the sync for a section of a track and just want to group it into a single region.  Some people do it for entire tracks, I like doing it for phrases if I am doing dialogue editing.  You might have had to comp a section of dialogue together from different takes and this is just a nice clean way of bringing it all together into a new region." ContentLicense="CC BY-SA 2.5" />
  <row Id="8707" PostHistoryTypeId="2" PostId="5169" RevisionGUID="feb1a40f-901a-47b0-93cf-5f83d6514992" CreationDate="2010-12-18T18:48:09.430" UserId="217" Text="I've seen this done on alot of photography websites, so I thought it would be nice to try it here.&#xD;&#xA;&#xD;&#xA;We have all been busy out recording this year, and I am just wondering what the most Unique and Interesting Sound or Ambience that you have managed to capture.  It can be studio or on-location.  It doesn't necessarily have to be of the best quality recording, just as long as we can hear it.&#xD;&#xA;&#xD;&#xA;Just 1 Sound per person.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here is mine:&#xD;&#xA;&#xD;&#xA;[soundcloud]audious/lewes-bonfire-cliffe-society-bishops[/soundcloud]&#xD;&#xA;&#xD;&#xA;&lt;a href=&quot;http://soundcloud.com/audious/lewes-bonfire-cliffe-society-bishops&quot;&gt;Sound Cloud Link&lt;/a&gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Made at Lewes Bonfire Celebrations.  Lewes Bonfire is the largest 5th of November Guy Fawkes night in the UK.  They have 6 Bonfires across the town, and this was made at one of them.  &#xD;&#xA;&#xD;&#xA;There were 3 Bishops on a podium (real people), with one of them reading something over a loud speaker. Whilst they were doing this members of the Cliffe society were throwing bangers AT them." ContentLicense="CC BY-SA 2.5" />
  <row Id="8708" PostHistoryTypeId="1" PostId="5169" RevisionGUID="feb1a40f-901a-47b0-93cf-5f83d6514992" CreationDate="2010-12-18T18:48:09.430" UserId="217" Text="Your most interesting recording of 2010" ContentLicense="CC BY-SA 2.5" />
  <row Id="8709" PostHistoryTypeId="3" PostId="5169" RevisionGUID="feb1a40f-901a-47b0-93cf-5f83d6514992" CreationDate="2010-12-18T18:48:09.430" UserId="217" Text="&lt;field&gt;&lt;recording&gt;&lt;best&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8712" PostHistoryTypeId="2" PostId="5171" RevisionGUID="77004509-2f1d-4c4d-81f2-442d08f9cca8" CreationDate="2010-12-18T21:19:47.613" UserId="219" Text="A steam train pass-by!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8713" PostHistoryTypeId="5" PostId="5171" RevisionGUID="a5719ef8-bcdf-4fa6-8e07-76812be80f37" CreationDate="2010-12-18T21:38:52.890" UserId="219" Comment="added 60 characters in body" Text="A steam train pass-by!&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/justin-huss/steam-train-pass-by :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8714" PostHistoryTypeId="2" PostId="5172" RevisionGUID="37837b16-9c5b-4bf3-834a-479c838fef3b" CreationDate="2010-12-18T22:18:37.643" UserId="194" Text="For me its close between [the implosion of Texas Stadium][1] (audio is in the link)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;and the timelapsed audio of the trains and traffic in Deep Ellum.&#xD;&#xA;&#xD;&#xA;[vimeo]http://vimeo.com/13991711[/vimeo]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/post-production-forum/483127-tx-stadium-implosion.html&#xD;&#xA;  [2]: http://images.blippitt.com/wp-content/uploads/2010/04/texas_stadium_implosion.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="8715" PostHistoryTypeId="2" PostId="5173" RevisionGUID="490386d2-70d6-44c5-9327-2a8d64d668dd" CreationDate="2010-12-18T22:28:10.590" UserId="639" Text="Water heater turning on&#xD;&#xA; &lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F8105238&amp;amp;show_comments=true&amp;amp;auto_play=false&amp;amp;color=80222b&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F8105238&amp;amp;show_comments=true&amp;amp;auto_play=false&amp;amp;color=80222b&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;   &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/shaunkelly/turning-on-water-heater-norm-01&quot;&gt;Turning on water heater-NORM 01&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/shaunkelly&quot;&gt;shaunkelly&lt;/a&gt;&lt;/span&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8716" PostHistoryTypeId="12" PostId="5173" RevisionGUID="77b01f9b-320a-4e63-ae86-269a90d0a474" CreationDate="2010-12-18T22:28:18.093" UserId="639" Text="[{&quot;Id&quot;:639,&quot;DisplayName&quot;:&quot;ShaunKelly&quot;}]" />
  <row Id="8717" PostHistoryTypeId="13" PostId="5173" RevisionGUID="1bb634b3-cc85-4fdb-b043-df0bc7c25d8d" CreationDate="2010-12-18T22:29:00.247" UserId="639" Text="[{&quot;Id&quot;:639,&quot;DisplayName&quot;:&quot;ShaunKelly&quot;}]" />
  <row Id="8718" PostHistoryTypeId="2" PostId="5174" RevisionGUID="9597f010-9bcc-4355-b140-a436c98c7a8a" CreationDate="2010-12-18T23:06:32.400" UserDisplayName="user49" Text="the short answer: a geothermal mud pool in Rotorua:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/timprebble/mudpool-original-field-recording&#xD;&#xA;&#xD;&#xA;the long answer with photos &amp; processed versions:&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/favourite-field-recording-of-2010&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8722" PostHistoryTypeId="2" PostId="5176" RevisionGUID="1b25b667-2342-4c9e-a229-a83146ec7f74" CreationDate="2010-12-19T11:31:57.057" UserId="63" Text="Fellow sound designers and foley artists!&#xD;&#xA;&#xD;&#xA;Its Cristmas time! Fortunately all of you will have some free time these days (i dont unfortunately), so what a better idea to have some structural and educational read in this extra time?&#xD;&#xA;&#xD;&#xA;My first and favourite is The Sound Effects Bible by master Ric Viers. It opened new horizons and ideas in this field for me. What i try to read now is the book Sound Design The expressive power of music, voice, and sound effects in Cinema, by David Sonnenschein.&#xD;&#xA;&#xD;&#xA;I think this last one is THE BOOK in sound design. I will not tell you how to re-record lighsabers but it will tell you WHY you have to record anything... it delves more into the phychoacoustics part and the human psychology and the &quot;storytelling&quot; part of sound design and editing! &#xD;&#xA;&#xD;&#xA;I am excited and i thought it should be good to share the knowledge!&#xD;&#xA;&#xD;&#xA;Cheers and happy holidays!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8723" PostHistoryTypeId="1" PostId="5176" RevisionGUID="1b25b667-2342-4c9e-a229-a83146ec7f74" CreationDate="2010-12-19T11:31:57.057" UserId="63" Text="A good read for Xmas holidays!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8724" PostHistoryTypeId="3" PostId="5176" RevisionGUID="1b25b667-2342-4c9e-a229-a83146ec7f74" CreationDate="2010-12-19T11:31:57.057" UserId="63" Text="&lt;sound-design&gt;&lt;books&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8725" PostHistoryTypeId="2" PostId="5177" RevisionGUID="b979bfe3-b69d-4ec4-a7aa-036698c85e0c" CreationDate="2010-12-19T11:37:53.473" UserId="63" Text="great work! &#xD;&#xA;&#xD;&#xA;my only suggestion is to add some sub frequencies cause i found bottom end to be a little empty! &#xD;&#xA;&#xD;&#xA;either way! great work! what did you use to make the basic &quot;theme&quot; sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8726" PostHistoryTypeId="2" PostId="5178" RevisionGUID="5c9ed721-d106-4830-98e3-91a640c89608" CreationDate="2010-12-19T12:16:14.413" UserId="704" Text="[a cluster of wind driven buddhist praying wheels][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[and a walk thru a corridor with hand driven praying wheels.][2] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Both recorded in northern India....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://snd.sc/eWSXly&#xD;&#xA;  [2]: http://snd.sc/e3cka2" ContentLicense="CC BY-SA 2.5" />
  <row Id="8727" PostHistoryTypeId="2" PostId="5179" RevisionGUID="6f4e9fbe-b054-44b4-896c-9af2f1fbe2f6" CreationDate="2010-12-19T15:37:43.270" UserId="629" Text="I've just bought my first Mac and installed PT 9. Where do I go to get all the relevant codecs for video etc? I have imported a mp4 video, the sound works but the video doesn't appear, any ideas?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="8728" PostHistoryTypeId="5" PostId="5179" RevisionGUID="c727ef4b-2da3-42f3-9a3c-dd538a0d446d" CreationDate="2010-12-19T15:46:38.827" UserId="629" Comment="added 45 characters in body" Text="I've just bought my first Mac and installed PT 9. Where do I go to get all the relevant codecs for video etc? I have imported a mp4 video, the sound works but the video doesn't appear, any ideas?&#xD;&#xA;&#xD;&#xA;I've installed Perian am I missing something in PT?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8729" PostHistoryTypeId="5" PostId="5179" RevisionGUID="32f8e715-7167-42d6-b7e0-b4f2ae5cb526" CreationDate="2010-12-19T16:22:10.820" UserId="629" Comment="added extra." Text="I've just bought my first Mac and installed PT 9. Where do I go to get all the relevant codecs for video etc? I have imported a mp4 video, the sound works but the video doesn't appear, any ideas?&#xD;&#xA;&#xD;&#xA;I've installed Perian am I missing something in PT?&#xD;&#xA;&#xD;&#xA;Also I've heard that QT Pro 7 isn't compatible with the QT 10 player? Why don't things just work!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8730" PostHistoryTypeId="2" PostId="5180" RevisionGUID="e1c1f35b-7596-4b73-9afa-6022292c612a" CreationDate="2010-12-19T18:20:36.980" UserId="629" Text="I've just bought my first Mac (Snow Leopard) and installed Pro Tools 9. &#xD;&#xA;&#xD;&#xA;I have imported a mp4 video, the sound works but the video doesn't appear. I have done some research and it seems .mp4 and .AAC formats don't agree with PT, I've installed Perian which hasn't helped.&#xD;&#xA;&#xD;&#xA;I have looked into converting the .mp4 file to something like a .mov or .avi. I have tried MPEG Streamclip to convert it but all I get is 'error can't prepare movie'.&#xD;&#xA;&#xD;&#xA;Members have recommended QT 7 Pro to convert files but with research it doesn't function with the QT 10 player? ([Thread: Working with video: What tools can’t you live without?][1])&#xD;&#xA;&#xD;&#xA;Has anyone got any ideas, I have no video editing software is it worth buying something to help with these issues?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/5148/working-with-video-what-tools-cant-you-live-without" ContentLicense="CC BY-SA 2.5" />
  <row Id="8731" PostHistoryTypeId="1" PostId="5180" RevisionGUID="e1c1f35b-7596-4b73-9afa-6022292c612a" CreationDate="2010-12-19T18:20:36.980" UserId="629" Text="Anyone found any suitable solutions to mp4 problems in Pro Tools 9?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8732" PostHistoryTypeId="3" PostId="5180" RevisionGUID="e1c1f35b-7596-4b73-9afa-6022292c612a" CreationDate="2010-12-19T18:20:36.980" UserId="629" Text="&lt;pro-tools&gt;&lt;mac&gt;&lt;quicktime&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8733" PostHistoryTypeId="2" PostId="5181" RevisionGUID="8ab071a4-4619-411b-81f6-93448de516ea" CreationDate="2010-12-19T19:05:10.520" UserId="639" Text="When you go out to do a recording session of something you control like dropping rocks, do you press record say take one &quot;dropping rocks&quot;, then drop the rocks, press stop. Or do you keep recording and cut up the takes later when editing? I tend to just keep rolling and say take one, take two.... until that session is done. Your preference?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8734" PostHistoryTypeId="1" PostId="5181" RevisionGUID="8ab071a4-4619-411b-81f6-93448de516ea" CreationDate="2010-12-19T19:05:10.520" UserId="639" Text="Do you do long takes or short takes when recording SFX?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8735" PostHistoryTypeId="3" PostId="5181" RevisionGUID="8ab071a4-4619-411b-81f6-93448de516ea" CreationDate="2010-12-19T19:05:10.520" UserId="639" Text="&lt;effects&gt;&lt;recording&gt;&lt;field&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8736" PostHistoryTypeId="2" PostId="5182" RevisionGUID="42c4eb1c-e99c-40ed-abf1-52c09a15c8b5" CreationDate="2010-12-19T19:25:38.750" UserId="752" Text="Try also installing flip 4 mac windows media components. Usually that with pertain and mpeg streamclip will work. Remember pt only likes motion jpeg a or h264. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8737" PostHistoryTypeId="2" PostId="5183" RevisionGUID="fb2e011e-9e05-48f7-9856-f1b46cdd4cc1" CreationDate="2010-12-19T19:38:58.090" UserId="194" Text="I used to break my takes up more than I do now, mainly because I'm more cognizant of what I will end up doing to the files after the fact.  I'll ususally run one take per setup or major action grouping, and I do my best to really voice slate a lot of detail into everything." ContentLicense="CC BY-SA 2.5" />
  <row Id="8738" PostHistoryTypeId="2" PostId="5184" RevisionGUID="585bf5a0-c220-47cc-8952-fa7aac05c005" CreationDate="2010-12-19T20:22:45.673" UserId="219" Text="You could try [MPEG Streamclip][1] and convert your video to DV, it's a format that works fine with Pro Tools and requires a rather little amount of processing for playback.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.squared5.com/svideo/mpeg-streamclip-mac.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="8739" PostHistoryTypeId="2" PostId="5185" RevisionGUID="37aeb9fa-f106-491d-988a-b32e7fde007d" CreationDate="2010-12-19T20:31:59.937" UserId="61" Text="I think the &quot;slate-perform action-stop take&quot; approach was more of a requirement when the physical media (1/4&quot;, DAT) was limited. Now with 8GB and upwards so readily available and affordable, I tend to record very long takes (esp. ambience, nature, traffic, etc) and use voice slates to identify what I'm doing, what take it is, what's different this time, etc.&#xD;&#xA;&#xD;&#xA;The byproduct of this approach, however, is a longer mastering session!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8740" PostHistoryTypeId="2" PostId="5186" RevisionGUID="5fddfd29-4ac1-478a-84ab-4d2d46480344" CreationDate="2010-12-19T21:53:26.087" UserId="29" Text="Sounds like a trend brewing with these answers! :-)&#xD;&#xA;&#xD;&#xA;If it's easy to repeat the sound performance and the takes are short, I too will just roll every take into one big audio file and verbally slate what I think is a good vs. bad take. My verbal slates for bad takes are usually four letters in length. :-) &#xD;&#xA;&#xD;&#xA;Jay's also right that you then need to &quot;spot&quot; your own SFX takes to find the good/bad takes...if you can, written notes help a TON.&#xD;&#xA;&#xD;&#xA;However, for some takes where the actual take is long or takes a while to turn around for another take (vehicle 'bys, longer actions), I'll record single takes per file. This lets me use the insanely useful circle-take and false-take markers on my Sound Devices recorder to help only transfer the good takes when I enter the editing mode." ContentLicense="CC BY-SA 2.5" />
  <row Id="8743" PostHistoryTypeId="2" PostId="5189" RevisionGUID="8766f23b-1e3c-42f8-951e-4ea97bfb8661" CreationDate="2010-12-20T03:05:32.493" UserId="18" Text="If I have to reset between takes, then I will usually stop the machine and start a new take.  When I recorded the sounds for my rocks library, this is the way I did it.  We had to set up the rocks for each take, so I stopped the machine and reslated each one.  When I recorded my dog library, I ran a take for each dog and only stopped if I need to wait for a plane or something.  These takes would be 5 plus minutes long.  &#xD;&#xA;&#xD;&#xA;On somethings, like guns, I like to listen back to the recordings often, so I'll do multiple takes.  For example, a take of single shots, a take of short bursts, a take of long bursts for each weapon.  So I guess, I do it either way depending on what/how I'm recording." ContentLicense="CC BY-SA 2.5" />
  <row Id="8744" PostHistoryTypeId="2" PostId="5190" RevisionGUID="8c641ec6-252f-4493-8463-0063989b6c47" CreationDate="2010-12-20T07:53:48.930" UserId="641" Text="My favorite recording was the interview with Pik Botha, the former minister of foreign affairs for South Africa during the Apartheid era.  A lot of interesting things were revealed by the man regarding the time period from 1948 up to 1994.  Fascinating how the public has very little or no idea about what goes on in the hierarchies of government and the hidden agenda's that in some cases spread out over 5 to 10 years before they were achieved!&#xD;&#xA;Unfortunately I cannot disclose any of it with you because of the non-disclosure agreement I had to sign for the shoot which was part of a documentary aptly named &quot;The Plot For Peace&quot; which should be hitting the festivals from March 2011 onwards...&#xD;&#xA;&#xD;&#xA;Just thought I'd mention it!  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8745" PostHistoryTypeId="2" PostId="5191" RevisionGUID="9bcfd354-3c3d-4ffc-bda3-84457bcc228c" CreationDate="2010-12-20T11:50:11.103" UserId="753" Text="This song, by me http://soundcloud.com/hi_viz_recordings/indestructable-diamond-sky-craft" ContentLicense="CC BY-SA 2.5" />
  <row Id="8746" PostHistoryTypeId="2" PostId="5192" RevisionGUID="280f5c92-808e-432e-aa63-cff38a057de0" CreationDate="2010-12-20T11:52:21.343" UserId="754" Text="http://www.mediafire.com/?x4z2665zcyxlnv4&#xD;&#xA;&#xD;&#xA;check it. &#xD;&#xA;&#xD;&#xA;tidalminds" ContentLicense="CC BY-SA 2.5" />
  <row Id="8747" PostHistoryTypeId="2" PostId="5193" RevisionGUID="ab335c6f-7cb5-4a86-863b-29762191dce7" CreationDate="2010-12-20T11:56:47.457" UserId="755" Text="This is a composition I made using a sound synthesized by me. Melody and ambience. http://soundcloud.com/vibeorigin/structure-from-noise" ContentLicense="CC BY-SA 2.5" />
  <row Id="8748" PostHistoryTypeId="5" PostId="5193" RevisionGUID="9d60c7f0-0207-4875-a578-e501babb7a36" CreationDate="2010-12-20T12:03:50.890" UserId="755" Comment="added 607 characters in body; deleted 546 characters in body" Text="This is a composition I made using a sound synthesized by me. Melody and ambience. &#xD;&#xA;[soundcloud]vibeorigin/structure-from-noise[/soundcloud] &#xD;&#xA;http://soundcloud.com/vibeorigin/structure-from-noise" ContentLicense="CC BY-SA 2.5" />
  <row Id="8749" PostHistoryTypeId="5" PostId="5193" RevisionGUID="3d9b34ce-8042-4bea-9d4b-acd36fdf5eb1" CreationDate="2010-12-20T12:08:53.243" UserId="755" Comment="added 8 characters in body; added 33 characters in body; added 36 characters in body" Text="This is a composition I made using a sound synthesized by me. Melody and ambience.&lt;br&gt;&lt;br&gt;&#xD;&#xA;[soundcloud]vibeorigin/structure-from-noise[/soundcloud] &lt;br&gt;&lt;br&gt;&#xD;&#xA;&lt;a href=&quot;http://soundcloud.com/vibeorigin/structure-from-noise&quot;&gt;Vibe Origin - Structure From Noise @ SoundCloud&lt;/a&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8750" PostHistoryTypeId="2" PostId="5194" RevisionGUID="ea268402-20a8-417b-9d07-2001dcdb5aa8" CreationDate="2010-12-20T13:13:16.317" UserId="756" Text="The great Richard Feynman's voice mixed in with some complimentary sounds. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8751" PostHistoryTypeId="5" PostId="5194" RevisionGUID="ba312318-7770-42ab-9d8c-17dc8f32f575" CreationDate="2010-12-20T13:31:54.060" UserId="756" Comment="Put weblink into summary" Text="The great Richard Feynman's voice mixed in with some complimentary sounds. &#xD;&#xA;&#xD;&#xA;http://soundcloud.com/pasztor/answer" ContentLicense="CC BY-SA 2.5" />
  <row Id="8752" PostHistoryTypeId="2" PostId="5195" RevisionGUID="84d7c8f4-d0d8-44f3-9bc3-324b93d212a0" CreationDate="2010-12-20T13:42:30.710" UserId="432" Text="This doesn't exactly help your immediate problem, but I'm going to post this here to share with other people who don't know this yet.&#xD;&#xA;&#xD;&#xA;The word, straight from the mouth of an Avid Post product manager: &quot;Stay away from H.264 with Pro Tools. It's just a mess.&quot;&#xD;&#xA;&#xD;&#xA;I'll echo other people's sentiments here, in that you should convert to a standard def video format for most of your projects. If you're concerned about frame rate issues, don't be. If you're in HD 24p and scale down to SD 24p, you're still in 24p. Whereas 59.94 and 50 are essentially 29.97 and 25 as well. Yes there are some differences between those latter formats, but it has more to do with the actual video scan lines than it does the frame rate. You can feed an SD reference to an HD deck and it will work fine as far as time and position reference. The same thing goes with your Pro Tools session. You can work in a 29.97 session for a 59.94 piece, and you will have little, IF ANY, issues." ContentLicense="CC BY-SA 2.5" />
  <row Id="8753" PostHistoryTypeId="2" PostId="5196" RevisionGUID="437fad50-5d22-4bdf-a914-88c30f26fd83" CreationDate="2010-12-20T14:10:37.127" UserId="238" Text="An evocative recording I made in the streets of Jerusalem's Muslim quarter.&#xD;&#xA;&#xD;&#xA;[soundcloud]http://www.soundcloud.com/colin-hunter/call-to-prayer-2/[/soundcloud] " ContentLicense="CC BY-SA 2.5" />
  <row Id="8754" PostHistoryTypeId="5" PostId="5196" RevisionGUID="c74d3167-c095-4727-82a7-3785515bb972" CreationDate="2010-12-20T14:16:57.860" UserId="238" Comment="deleted 5 characters in body" Text="An evocative recording I made in the streets of Jerusalem's Muslim quarter.&#xD;&#xA;&#xD;&#xA;[soundcloud]http://soundcloud.com/colin-hunter/call-to-prayer-2[/soundcloud] " ContentLicense="CC BY-SA 2.5" />
  <row Id="8755" PostHistoryTypeId="5" PostId="5169" RevisionGUID="d031816d-6cfc-4535-b096-c976db49b612" CreationDate="2010-12-20T14:26:41.310" UserId="217" Comment="added 64 characters in body" Text="I've seen this done on alot of photography websites, so I thought it would be nice to try it here.&#xD;&#xA;&#xD;&#xA;We have all been busy out recording this year, and I am just wondering what the most Unique and Interesting Sound or Ambience that you have managed to capture.  It can be studio or on-location.  It doesn't necessarily have to be of the best quality recording, just as long as we can hear it.&#xD;&#xA;&#xD;&#xA;Just 1 Sound per person.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here is mine:&#xD;&#xA;&#xD;&#xA;[soundcloud]audious/lewes-bonfire-cliffe-society-bishops[/soundcloud]&#xD;&#xA;&#xD;&#xA;&lt;a href=&quot;http://soundcloud.com/audious/lewes-bonfire-cliffe-society-bishops&quot;&gt;Sound Cloud Link&lt;/a&gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Made at Lewes Bonfire Celebrations.  Lewes Bonfire is the largest 5th of November Guy Fawkes night in the UK.  They have 6 Bonfires across the town, and this was made at one of them.  &#xD;&#xA;&#xD;&#xA;There were 3 Bishops on a podium (real people), with one of them reading something over a loud speaker. Whilst they were doing this members of the Cliffe society were throwing bangers AT them.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;*EDIT* Hearing some great things so far.  Great work guys." ContentLicense="CC BY-SA 2.5" />
  <row Id="8756" PostHistoryTypeId="2" PostId="5197" RevisionGUID="546d14c9-00cc-4e96-bbe7-af2eebca6b47" CreationDate="2010-12-20T14:29:30.977" UserId="37" Text="hint: unless you need firewire video out, use Photojpeg." ContentLicense="CC BY-SA 2.5" />
  <row Id="8757" PostHistoryTypeId="2" PostId="5198" RevisionGUID="b090feae-4669-4aa5-ae60-0f0c09488489" CreationDate="2010-12-20T15:31:21.720" UserId="757" Text="http://turbulentresonantcolon.tumblr.com/post/595147333/waiting-for-the-train-in-john-harvards-square" ContentLicense="CC BY-SA 2.5" />
  <row Id="8758" PostHistoryTypeId="2" PostId="5199" RevisionGUID="5c8f3649-25a8-4005-a3eb-b81e1f79029d" CreationDate="2010-12-20T16:20:35.410" UserId="641" Text="I'll do long takes but if I change the action of creating the sound i.e. from dropping the rock to rolling the rock or changing the items i.e small glass bottle smash to big glass bottle smash, I will announce it.  I still have to listen through the takes to find the one I want.&#xD;&#xA;&#xD;&#xA;This of course all depends on the level of detail you want to make note of when you record the sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="8759" PostHistoryTypeId="2" PostId="5200" RevisionGUID="d74cf8c4-2432-4918-9b28-70e044794d73" CreationDate="2010-12-20T16:46:40.103" UserId="29" Text="Bending back the metal housing of a hard drive and [playing the platter with a screwdriver][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/?s=hard+drive+guts" ContentLicense="CC BY-SA 2.5" />
  <row Id="8760" PostHistoryTypeId="5" PostId="5196" RevisionGUID="8676b87b-b6a8-4ecb-9f87-45db5d23b9e7" CreationDate="2010-12-20T17:04:03.387" UserId="238" Comment="added 88 characters in body" Text="An evocative recording I made in the streets of [Jerusalem's Muslim quarter][1].&#xD;&#xA;&#xD;&#xA;[soundcloud]http://soundcloud.com/colin-hunter/call-to-prayer-2[/soundcloud] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audioloungesound.com/blog/2010/09/field-recording-in-jerusalem/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8761" PostHistoryTypeId="2" PostId="5201" RevisionGUID="ebaeffd7-2ffc-4ae7-998f-33cde894819c" CreationDate="2010-12-20T17:37:28.593" UserId="758" Text="Hello, this is my first post. I've just recently dived in to the world of production, but I'm having problems regarding equipment. I've wanted to make music for so long, and this year I finally acted on it. My problem is regarding the sea of hardware and software that exists in production. For a beginner my setup is fairly decent, but I continue to feel like I need more. I feel like i'll be limited or somewhat inferior to other people making music. I feel that I will not be able to achieve the sounds that I want to make, that I won't be able to make music that I want to make. This in turn, makes me spend hours searching for gear instead of focusing on making sounds. Rather stupidly, I look to the artists I love and try to find out what their using (some use hardly any equipment, mind). I wish that I would have faith in the equipment I have, rather than constantly looking for more. My setup is:&#xD;&#xA;&#xD;&#xA;I-Mac, nio 2/4, rokit krk's, novation nocturn 25, korg nano kontrol, tascam 4 track portastudio, Zoom h2 field recorder, Korg Monotron, Fm3's, Logic Studio, Ableton Live Suite 8, Max 4 Live, Audiomulch, Circle, Synplant, and a host of plug-ins.&#xD;&#xA;&#xD;&#xA;I constantly feel like i'm limited in someway.Maybe it's a confidence thing. Maybe it's because i'm new to production. I have recently purchased a good amount of literature to help me learn: Live 8 Power, Electronic Music and Sound Design in Max, Music Theory for Computer Musicians, Music Composition for Computer Musicians, Synthesizer Cookbook, Digital Musician, Listening Book etc.. And also a variety of video courses.&#xD;&#xA;&#xD;&#xA;Can anyone talk any sense into me? I'm into  abstract/noise/drone/metal/electro-acoustic/avant-garde/. I'd love to be able to focus on what I have, rather than searching for hours. I'd love to adopt the the &quot;less is more&quot; approach. Any feedback would be greatly appreciated&#xD;&#xA;&#xD;&#xA;Thank you." ContentLicense="CC BY-SA 2.5" />
  <row Id="8762" PostHistoryTypeId="1" PostId="5201" RevisionGUID="ebaeffd7-2ffc-4ae7-998f-33cde894819c" CreationDate="2010-12-20T17:37:28.593" UserId="758" Text="Abundance Paradox" ContentLicense="CC BY-SA 2.5" />
  <row Id="8763" PostHistoryTypeId="3" PostId="5201" RevisionGUID="ebaeffd7-2ffc-4ae7-998f-33cde894819c" CreationDate="2010-12-20T17:37:28.593" UserId="758" Text="&lt;software&gt;&lt;sound-design&gt;&lt;beginner&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8764" PostHistoryTypeId="2" PostId="5202" RevisionGUID="31954215-6615-44e1-aff1-26672f5ebe88" CreationDate="2010-12-20T17:49:00.667" UserId="469" Text="Last September I worked as a boom operator on &quot;Eyes to See&quot;.  It was the first actual film I worked on having previously worked only in various video formats. You can check it out at [thedoorpost.com](http://www.thedoorpost.com/).  Just wanted to see what people thought of the dialogue clarity as well as the SFX and sound design.  &#xD;&#xA;&#xD;&#xA;It's kind of long so I understand if you only want to watch a short part of it.  Looking forward to feedback.  Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8765" PostHistoryTypeId="1" PostId="5202" RevisionGUID="31954215-6615-44e1-aff1-26672f5ebe88" CreationDate="2010-12-20T17:49:00.667" UserId="469" Text="Feedback on short film..." ContentLicense="CC BY-SA 2.5" />
  <row Id="8766" PostHistoryTypeId="3" PostId="5202" RevisionGUID="31954215-6615-44e1-aff1-26672f5ebe88" CreationDate="2010-12-20T17:49:00.667" UserId="469" Text="&lt;film&gt;&lt;boom&gt;&lt;sound-design&gt;&lt;feedback&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8767" PostHistoryTypeId="5" PostId="5145" RevisionGUID="ec323d32-84c3-41ae-8bbd-e86d139c2f19" CreationDate="2010-12-20T18:06:46.327" UserId="432" Comment="caveat i should have mentioned" Text="I'd suggest putting it in another room and getting yourself some usb/firewire repeaters and a usb/firewire hub or two. Repeaters are usually under $100. I don't know the specs on what cable length DVI can support, but a repeater for that shouldn't be too expensive either. With the hubs you can can set up a litle terminal system and have all your interface stuff (monitor, keyboard, mouse, audio I/O, external drives, etc.) in the room with you, but you can put the computer somewhere else. All you need to do is run the cable. ;)&#xD;&#xA;&#xD;&#xA;Check out the Geffen site, you can plug in how far you want to run stuff (and what you want to run), and they'll tell you what products (their own, of course) you'll need and how much they cost. It'd be a good place to start for anyone who's interested in going this route. I wouldn't necessarily recommend the Geffen products, they've just got a reasonably useful tool on their page.&#xD;&#xA;&#xD;&#xA;Here's the link: http://www.gefen.com/kvm/wizard.jsp" ContentLicense="CC BY-SA 2.5" />
  <row Id="8768" PostHistoryTypeId="2" PostId="5203" RevisionGUID="6120c3df-bdc5-47a5-8fd2-6da4d830cd8a" CreationDate="2010-12-20T18:42:05.387" UserId="315" Text="Let's face it. When it comes to hi-tech sound design, nothing beats interesting servo motor sounds. I hear the same servo sounds from cd libraries used all the time and have been on the search recently for some new organic material to record. &#xD;&#xA;&#xD;&#xA;There are some old standards: car electric windows and seats, cordless drills, genie lifts on trucks, camera motors etc.. I recently got some interesting material from an electric cappuccino frother, hand crank flashlight, and a super old Epson inkjet printer.&#xD;&#xA;&#xD;&#xA;Care to share any unique or interesting sources of servos (small or large) you've come across recently? Thanks in advance." ContentLicense="CC BY-SA 2.5" />
  <row Id="8769" PostHistoryTypeId="1" PostId="5203" RevisionGUID="6120c3df-bdc5-47a5-8fd2-6da4d830cd8a" CreationDate="2010-12-20T18:42:05.387" UserId="315" Text="The search for servos..." ContentLicense="CC BY-SA 2.5" />
  <row Id="8770" PostHistoryTypeId="3" PostId="5203" RevisionGUID="6120c3df-bdc5-47a5-8fd2-6da4d830cd8a" CreationDate="2010-12-20T18:42:05.387" UserId="315" Text="&lt;field-recording&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8771" PostHistoryTypeId="2" PostId="5204" RevisionGUID="0e6da3cc-5d0a-40d4-9290-ab91970e2f78" CreationDate="2010-12-20T18:47:22.663" UserId="103" Text="I don't make music myself anymore, but i have many friends that do really cool music with nothing else besides Logic!&#xD;&#xA;&#xD;&#xA;Check out this guy for example&#xD;&#xA;&#xD;&#xA;[http://yellowboprecords.com/home.html][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://yellowboprecords.com/home.html&#xD;&#xA;&#xD;&#xA;Of course it depends on what you want to do, but it seems to me you're not that limited ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8772" PostHistoryTypeId="2" PostId="5205" RevisionGUID="5b9f67f3-17d1-498e-a4aa-d50c0f7b2c7f" CreationDate="2010-12-20T18:49:18.953" UserId="29" Text="Some servo ideas:&#xD;&#xA;&#xD;&#xA; - HP-brand all-in-one printers&#xD;&#xA; - The wheel motors of Roombas&#xD;&#xA; - The [Small Motors SFX collection][1] by [Rabbit Ears Audio][2]&#xD;&#xA; - The arms of garbage trucks&#xD;&#xA; - The motors of tape ejection mechanisms in video cameras&#xD;&#xA; - The zoom motors in on-camera flashguns&#xD;&#xA; - Almost any small motor, from immersion blenders to handheld drills&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://rabbitearsaudio.com/rea002-small-motors/&#xD;&#xA;  [2]: http://rabbitearsaudio.com/-" ContentLicense="CC BY-SA 2.5" />
  <row Id="8773" PostHistoryTypeId="2" PostId="5206" RevisionGUID="e9ad3302-deb1-4f26-b1c0-628b734e6c18" CreationDate="2010-12-20T19:30:40.183" UserId="18160" Text="What about little RC cars? Or little mini-helicoptors you can buy from Brookstone (hear them [here][1]) Small drills? Get into a dentist office and record all of his cool drills and such. Any digital printing facility.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2010/07/30/thrift-store-sounds-toy-helicopter/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8774" PostHistoryTypeId="5" PostId="5206" RevisionGUID="01917465-6346-4bc5-b926-9303f5bac727" CreationDate="2010-12-20T19:36:36.677" UserId="18160" Comment="added 34 characters in body" Text="What about little RC cars? Or little mini-helicoptors you can buy from Brookstone (hear them [here][1]) Small drills? Get into a dentist office and record all of his cool drills and such. Any digital printing facility. What about electric toothbrushes?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2010/07/30/thrift-store-sounds-toy-helicopter/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8775" PostHistoryTypeId="5" PostId="5206" RevisionGUID="37e265f8-72df-4681-a154-4ae2a13e77ec" CreationDate="2010-12-20T19:41:47.417" UserId="18160" Comment="added 195 characters in body; added 188 characters in body; added 68 characters in body" Text="What about little RC cars? Or little mini-helicoptors you can buy from Brookstone (hear them [here][1]) Small drills? Get into a dentist office and record all of his cool drills and such (bring your mic next time you visit). Any digital printing facility. What about electric toothbrushes? Some chiropractor's equipment has a great motor sound to it (his table you lay on goes up and down). X-ray machines sometimes have great motor sounds.&#xD;&#xA;&#xD;&#xA;I recently recorded an inflatable camping mattress's motor it uses to blow it up.&#xD;&#xA;&#xD;&#xA;I also recorded my plate reverb's mechanism is uses to lengthen the decay time - makes a cool motor noise.&#xD;&#xA;&#xD;&#xA;I also had a hard drive die on me and it made some great sounds.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2010/07/30/thrift-store-sounds-toy-helicopter/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8776" PostHistoryTypeId="5" PostId="5206" RevisionGUID="d81eebe4-891e-462d-a0e2-107d53ef932e" CreationDate="2010-12-20T19:47:23.263" UserId="18160" Comment="added 20 characters in body; added 118 characters in body" Text="What about little RC cars? Or little mini-helicoptors you can buy from Brookstone (hear them [here][1]) Small drills? Get into a dentist office and record all of his cool drills and such (bring your mic next time you visit). Any digital printing facility. What about electric toothbrushes? Some chiropractor's equipment has a great motor sound to it (his table you lay on goes up and down). X-ray machines sometimes have great motor sounds.&#xD;&#xA;&#xD;&#xA;I recently recorded an inflatable camping mattress's motor it uses to blow it up.&#xD;&#xA;&#xD;&#xA;I also recorded my plate reverb's mechanism is uses to lengthen the decay time - makes a cool motor noise.&#xD;&#xA;&#xD;&#xA;I also had a hard drive die on me and it made some great sounds.&#xD;&#xA;&#xD;&#xA;Sun roof motors.&#xD;&#xA;&#xD;&#xA;Don't forget you can record bigger motors and pitch them up real high and they sound like tiny small mechanisms...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2010/07/30/thrift-store-sounds-toy-helicopter/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8777" PostHistoryTypeId="5" PostId="5206" RevisionGUID="c2f7a54c-b04f-4162-86c3-4f36e68c2e97" CreationDate="2010-12-20T19:55:10.617" UserId="18160" Comment="added 67 characters in body; added 314 characters in body" Text="What about little RC cars? Or little mini-helicoptors you can buy from Brookstone (hear them [here][1]) Small drills? Get into a dentist office and record all of his cool drills and such (bring your mic next time you visit). Any digital printing facility. What about electric toothbrushes? Some chiropractor's equipment has a great motor sound to it (his table you lay on goes up and down). X-ray machines sometimes have great motor sounds.&#xD;&#xA;&#xD;&#xA;I recently recorded an inflatable camping mattress's motor it uses to blow it up.&#xD;&#xA;&#xD;&#xA;I also recorded my plate reverb's mechanism is uses to lengthen the decay time - makes a cool motor noise.&#xD;&#xA;&#xD;&#xA;I also had a hard drive die on me and it made some great sounds.&#xD;&#xA;&#xD;&#xA;Sun roof motors.&#xD;&#xA;&#xD;&#xA;I recorded a building's wheelchair lift and it sounded awesome.&#xD;&#xA;&#xD;&#xA;Don't forget you can record bigger motors and pitch them up real high and they sound like tiny small mechanisms and vice versca...&#xD;&#xA;&#xD;&#xA;Colin Hart released a power tools library recently...&#xD;&#xA;&#xD;&#xA;I remember as a kid, after I broke my arm the doctor took the cast off with some piece of equipment - sounded great. My mom is an RN and you just gave me an idea to follow her into work and record all of the equipment in Kaiser Permanente!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2010/07/30/thrift-store-sounds-toy-helicopter/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8778" PostHistoryTypeId="5" PostId="5206" RevisionGUID="a9808c7a-6784-45ab-8f7a-b300ff053180" CreationDate="2010-12-20T20:01:15.460" UserId="18160" Comment="added 9 characters in body" Text="What about little RC cars? Or little mini-helicoptors you can buy from Brookstone (hear them [here][1]) Small drills? Get into a dentist office and record all of his cool drills and such (bring your mic next time you visit). Any digital printing facility. What about electric toothbrushes? Some chiropractor's equipment has a great motor sound to it (his table you lay on goes up and down). X-ray machines sometimes have great motor sounds.&#xD;&#xA;&#xD;&#xA;I recently recorded an inflatable camping mattress's motor it uses to blow it up.&#xD;&#xA;&#xD;&#xA;I also recorded my plate reverb's mechanism is uses to lengthen the decay time - makes a cool motor noise.&#xD;&#xA;&#xD;&#xA;I also had a hard drive die on me and it made some great sounds.&#xD;&#xA;&#xD;&#xA;Sun roof motors.&#xD;&#xA;&#xD;&#xA;I recorded a building's wheelchair lift and it sounded awesome.&#xD;&#xA;&#xD;&#xA;Don't forget you can record bigger motors and pitch them up real high and they sound like tiny small mechanisms and vice versca...&#xD;&#xA;&#xD;&#xA;Colin Hart released a power tools library recently...&#xD;&#xA;&#xD;&#xA;I remember as a kid, after I broke my arm the doctor took the cast off with some piece of equipment - sounded interesting. My mother is an RN and you just gave me an idea to follow her into work and record all of the equipment in Kaiser Permanente!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2010/07/30/thrift-store-sounds-toy-helicopter/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8779" PostHistoryTypeId="5" PostId="5206" RevisionGUID="0b3591cf-293e-4077-81c0-872a23c7fecf" CreationDate="2010-12-20T20:06:40.347" UserId="18160" Comment="added 147 characters in body; deleted 126 characters in body; added 71 characters in body" Text="What about little RC cars? Or little mini-helicoptors you can buy from Brookstone (hear them [here][1]) Small drills? Get into a dentist office and record all of his cool drills and such (bring your mic next time you visit). Any digital printing facility. What about electric toothbrushes? Some chiropractor's equipment has a great motor sound to it (his table you lay on goes up and down). X-ray machines sometimes have great motor sounds.&#xD;&#xA;&#xD;&#xA;I recently recorded an inflatable camping mattress's motor it uses to blow it up.&#xD;&#xA;&#xD;&#xA;I also recorded my plate reverb's mechanism is uses to lengthen the decay time - makes a cool motor noise.&#xD;&#xA;&#xD;&#xA;I also had a hard drive die on me and it made some great sounds.&#xD;&#xA;&#xD;&#xA;Sun roof motors.&#xD;&#xA;&#xD;&#xA;I recorded a building's wheelchair lift and it sounded awesome.&#xD;&#xA;&#xD;&#xA;Don't forget you can record bigger motors and pitch them up real high and they sound like tiny small mechanisms and vice versca...&#xD;&#xA;&#xD;&#xA;Colin Hart released a power tools library recently...&#xD;&#xA;&#xD;&#xA;Lots of good servo stuff on a modern ship.&#xD;&#xA;&#xD;&#xA;Garage door openers..&#xD;&#xA;&#xD;&#xA;Older tape recorders, old film playback equipment, line conditioner equipment, air compressor motors, small vacuum cleaners, older computers...&#xD;&#xA;&#xD;&#xA;I remember as a kid, after I broke my arm the doctor took the cast off with some piece of equipment - sounded interesting.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2010/07/30/thrift-store-sounds-toy-helicopter/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8780" PostHistoryTypeId="2" PostId="5207" RevisionGUID="354fe392-2e7d-49ff-8d94-904bcbe32532" CreationDate="2010-12-20T20:45:40.253" UserId="88" Text="Blu-ray and DVD players have some nice clean whirs and clicks.&#xD;&#xA;&#xD;&#xA;+1 on the Brookstone helos -- they have a nifty dual-pitch whine.&#xD;&#xA;&#xD;&#xA;Tiny battery-operated clippers (the sort for nose/ear hair, not head shavers or pet grooming clippers -- those tend to hum uninterestingly).&#xD;&#xA;&#xD;&#xA;A number of modern vacuum cleaners have a terrific whine startup/wind-down.&#xD;&#xA;&#xD;&#xA;Motorized coin-sorting banks.&#xD;&#xA;&#xD;&#xA;The T-Touch series of Tissot watches has a cool, almost insectile hiss-buzz when the hands are moving as it changes modes.&#xD;&#xA;&#xD;&#xA;Your local supermarket (also drugstore, BevMo, or just about any place that sells packaged goods) will have a cardboard baler somewhere in the back for bundling cardboard to recycle.  I've gotten some great (bigger) servo/press sounds from various models of these." ContentLicense="CC BY-SA 2.5" />
  <row Id="8781" PostHistoryTypeId="5" PostId="5184" RevisionGUID="37ee0a84-059c-479d-a47a-d6f33d41ce87" CreationDate="2010-12-20T21:43:40.943" UserId="219" Comment="added 173 characters in body" Text="You could try [MPEG Streamclip][1] and convert your video to DV, it's a format that works fine with Pro Tools and requires a rather little amount of processing for playback.&#xD;&#xA;&#xD;&#xA;EDIT: two more pieces of software discussed in the comments to this post are [FFmpeg][2] and [ffmpegX][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.squared5.com/svideo/mpeg-streamclip-mac.html&#xD;&#xA;  [2]: http://www.ffmpeg.org/&#xD;&#xA;  [3]: http://www.ffmpegx.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8782" PostHistoryTypeId="2" PostId="5208" RevisionGUID="09188f6d-f217-4531-9896-e679db8f2917" CreationDate="2010-12-20T22:19:11.500" UserId="759" Text="Hi everyone,&#xD;&#xA;I'm just getting started in the SFX/Foley world and want to assemble my first kit to record in the field and on location. I know I'll need a mic and a portable recorder, but there are just way to many choices for a starter. So, I need some advice which kind of microphone I should get (directional, stereo, condenser, …) and from which brand since I have absolutely no work experience and have no idea which are the better brands. Also I would need a recording device and I have no idea (again :P) what kind I should get (with built-in mic, multitrack, …) and from which company. Also, is there anything else I would need? My budget is about $1400 and it'd be great to get the best out of that. The more specific you will be, the more you will help me.&#xD;&#xA;&#xD;&#xA;I'd appreciate any help since I'm a complete newbie. :)&#xD;&#xA;&#xD;&#xA;(If this has been asked already, just point me a link to the question since I can't seem to find it.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8783" PostHistoryTypeId="1" PostId="5208" RevisionGUID="09188f6d-f217-4531-9896-e679db8f2917" CreationDate="2010-12-20T22:19:11.500" UserId="759" Text="Assembling my first recording package. What to buy?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8784" PostHistoryTypeId="3" PostId="5208" RevisionGUID="09188f6d-f217-4531-9896-e679db8f2917" CreationDate="2010-12-20T22:19:11.500" UserId="759" Text="&lt;portable-recorder&gt;&lt;microphone&gt;&lt;starter&gt;&lt;kit&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8785" PostHistoryTypeId="2" PostId="5209" RevisionGUID="b93b08fb-bef7-4d6b-ac31-d73f1040f1e4" CreationDate="2010-12-20T22:39:29.350" UserId="338" Text="For example, I am hoping to have a waterfall sound like it is hollow and inside something (hence the hollow).  Any plugin suggestions or techniques you can offer?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8786" PostHistoryTypeId="1" PostId="5209" RevisionGUID="b93b08fb-bef7-4d6b-ac31-d73f1040f1e4" CreationDate="2010-12-20T22:39:29.350" UserId="338" Text="How to make a noise sound hollow?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8787" PostHistoryTypeId="3" PostId="5209" RevisionGUID="b93b08fb-bef7-4d6b-ac31-d73f1040f1e4" CreationDate="2010-12-20T22:39:29.350" UserId="338" Text="&lt;design&gt;&lt;tips&gt;&lt;techniques&gt;&lt;ideas&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8788" PostHistoryTypeId="2" PostId="5210" RevisionGUID="722d4a25-6091-439c-809c-c644fd32dd33" CreationDate="2010-12-20T22:52:13.040" UserId="219" Text="Leonard, if you search SSD for &quot;recorder&quot; you will find [all these threads][1] that should give you a good head start. If you search for &quot;microphone&quot; it'll be a bit less straight-to-the-point but you'll come across [heaps of interesting info on mics][2] and how people use them.&#xD;&#xA;&#xD;&#xA;Now I can give you a few hints -- and I won't be impartial -- but I won't give you the answer, simply because an answer... there is not!&#xD;&#xA;&#xD;&#xA; - Ric Viers wrote a book called *The Sound Effects Bible* in which he suggests &quot;starter packs&quot;&#xD;&#xA; - some call the Rode NT1-A the &quot;poor man's U87&quot;&#xD;&#xA; - the Fostex FR2-LE is worth looking at, it does a better job than my Tascam DR-100&#xD;&#xA; - Rode mics are very affordable (compared to other good mics) and do a very good job&#xD;&#xA; - the U87 is used for Foley work -- however doesn't fit your budget, mine either!&#xD;&#xA;&#xD;&#xA;Try getting a feel for it, it'll help you take off when you finally put your gear together...&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/search?q=recorder&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/tagged/microphone------" ContentLicense="CC BY-SA 2.5" />
  <row Id="8791" PostHistoryTypeId="2" PostId="5213" RevisionGUID="ebf64fe5-761b-44b6-bc79-de13bdd1a7ff" CreationDate="2010-12-20T23:47:59.630" UserId="194" Text="sounds to me like you're trying to skip the hard part of getting good at something - trying and failing a bunch.  It also sounds like you're trying to emulate the sound of others instead of exploring your own voice.  Also this:&#xD;&#xA;&#xD;&#xA;&gt; I feel like i'll be limited or somewhat inferior to other people making music&#xD;&#xA;&#xD;&#xA;**You will be**, but that's because the people that you look up to have been doing it all day every day for years and you're behind.  &#xD;&#xA;&#xD;&#xA;If I were you I'd come to peace with those things and dive into it.  &#xD;&#xA;&#xD;&#xA;**Try this**:&#xD;&#xA;&#xD;&#xA;don't by any more gear or software for 2 years. You have everything you need.&#xD;&#xA;&#xD;&#xA;read [this excellent post][1] on working within limitations by Miguel Isaza (google can translate it if you don't speak Spanish)&#xD;&#xA;&#xD;&#xA;read [this interview][2] with Dane Davis (sound designer for the Matrix)&#xD;&#xA;&#xD;&#xA;read [outliers][3] by Malcolm Gladwell&#xD;&#xA;&#xD;&#xA;Start woodshedding with the tools you alread have.  Ableton Live is insanely powerful and deep.  Ditto logic. You can use either tool alone to bend sounds around to your will and shape almost anything into almost anything else, if you have the knowhow to do that kind of thing.  Spend a thousand hours or so figuring out just that aspect of either Live or Logic, but not both (at least initially - focus).  &#xD;&#xA;&#xD;&#xA;Backup and then toss all of the presets to your synths and plug ins.  Spend a few months doing nothing but dreaming up new sounds and processes from scratch.  This will give you critical insight into how to create the sounds you hear in your head, and you'll develop your own personal library of sounds in the process.  This will also be incredibly frustrating because everything will sound like crap at first, but take heart because it will be frustrating for everyone who tries it which means that only those who cross that painful threshold will be standing with you on the other side.  At the end you will have a rudimentary vocabulary with which to speak.&#xD;&#xA;&#xD;&#xA;Now begin to work with arrangement and orchestration.  Learn what specific stories you're trying to tell with your music.  Indulge in some philosophy, but be careful not to go down the rabbit hole there.&#xD;&#xA;&#xD;&#xA;Listen to non-electronic music with an electronic musician's ear.&#xD;&#xA;&#xD;&#xA;Spend a few months manipulating textures and tempos with specific emotional intent.  Here's where you use your words (sounds) to express specific musical thoughts.  Learn why you're bothering, then be bold about expressing it.  This can sometimes be a painful process and many get derailed here when they realize that they have nothing to say.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hispasonic.com/blogs/poder-limitaciones/615&#xD;&#xA;  [2]: http://soundenthusiast.com/2010/11/23/interview/&#xD;&#xA;  [3]: http://www.amazon.com/Outliers-Story-Success-Malcolm-Gladwell/dp/0316017922" ContentLicense="CC BY-SA 2.5" />
  <row Id="8792" PostHistoryTypeId="2" PostId="5214" RevisionGUID="facbd9df-d49a-452d-8adb-e04bd1ce4022" CreationDate="2010-12-20T23:50:18.523" UserId="194" Text="+1 to worldizing.&#xD;&#xA;&#xD;&#xA;Also speakerphone." ContentLicense="CC BY-SA 2.5" />
  <row Id="8793" PostHistoryTypeId="2" PostId="5215" RevisionGUID="13db7fd7-91c6-4fa6-ba33-1a5a2a05d67c" CreationDate="2010-12-20T23:51:28.973" UserId="194" Text="Here's a shootout I did recently of a few of the options.&#xD;&#xA;&#xD;&#xA;[part 1][1]&#xD;&#xA;[part 2][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://thesoundmyheadmakes.blogspot.com/2010/11/handheld-recorder-shootout-part-1-specs.html&#xD;&#xA;  [2]: http://thesoundmyheadmakes.blogspot.com/2010/12/handheld-recorder-shootout-part-2.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="8794" PostHistoryTypeId="2" PostId="5216" RevisionGUID="6042207b-8adb-408e-a72b-d92b903ebf95" CreationDate="2010-12-21T00:34:59.003" UserId="670" Text="I'm looking into buying a Fostex FR2-LE and already have a Sound Devices MixPre. Does anyone know of a bag that would hold both the recorder and mixer? I looked at porta brace but couldn't find what I was looking for. Ric Viers suggests the Porta brace AR-FR2 in the *Sound Effects Bible* but I don't think that will hold the mixer too. What would you guys suggest? Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="8795" PostHistoryTypeId="1" PostId="5216" RevisionGUID="6042207b-8adb-408e-a72b-d92b903ebf95" CreationDate="2010-12-21T00:34:59.003" UserId="670" Text="Bag combo for a field recorder/mixer " ContentLicense="CC BY-SA 2.5" />
  <row Id="8796" PostHistoryTypeId="3" PostId="5216" RevisionGUID="6042207b-8adb-408e-a72b-d92b903ebf95" CreationDate="2010-12-21T00:34:59.003" UserId="670" Text="&lt;field-recording&gt;&lt;kit-bag&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8797" PostHistoryTypeId="2" PostId="5217" RevisionGUID="3732e7e3-2b79-47f1-b9b2-6cdfdb810425" CreationDate="2010-12-21T00:52:00.607" UserId="693" Text="Actually, how you EQ would depend on the type of environment it's in.&#xD;&#xA;&#xD;&#xA;What type of environment are you looking to place this waterfall in?&#xD;&#xA;&#xD;&#xA;To accomplish this would definitely be by using EQ feeding into a Reverb. What your settings are depend on the reflective surface characteristics and environment size.&#xD;&#xA;&#xD;&#xA;The trick to this is understanding the characteristics of your sound and what different types of processing will do to it. The main frequency component of a waterfall is primarily going to be the high end white noise type hiss and then secondly, it's low end rumble.&#xD;&#xA;&#xD;&#xA;Where you choose to cut or boost your EQ will modify the reflective surface characteristics. The reverb will help you define the size of the space it's in.&#xD;&#xA;&#xD;&#xA;If you want it to sound &quot;hollow&quot;, I'd actually cut out some of the mid - mid-high range. It seems you're looking for a vowel type filter I presume to make it sound like it's in a tube/pipe. If you want to make it sound as if it's filling a pipe/drain or a drinking glass over time, then you would want to automate a slightly boosted swept-mid EQ that goes from low to high. &#xD;&#xA;&#xD;&#xA;If the sound takes place in a cardboard box, that surface is less dense, and therefore less reflective, so it's safe to roll off a bit of the highs (I wouldn't do too much though). If it takes place in a bathroom, then you wouldn't want to cut the highs at all as bathrooms have highly reflective surfaces that accentuate the high end.&#xD;&#xA;&#xD;&#xA;The reverb is a little more simple and with a decent reverb you can likely find a preset that might only need a little tweaking. You'll basically just adjust it to the size, density and shape of the room you want.&#xD;&#xA;&#xD;&#xA;Hope that helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8800" PostHistoryTypeId="2" PostId="5219" RevisionGUID="37fc2d80-0031-46aa-b462-2711093a3613" CreationDate="2010-12-21T02:49:04.170" UserId="670" Text="I think you did a great job on the capturing the dialogue. It was very clear and the voices had a lot of depth to them. What microphone(s) did you use? &#xD;&#xA;On another note I thought the sound designer did a great job capturing the atmosphere of what was going on in the film." ContentLicense="CC BY-SA 2.5" />
  <row Id="8801" PostHistoryTypeId="2" PostId="5220" RevisionGUID="a2aef279-0e9b-4069-9a8e-f54b3d86db0a" CreationDate="2010-12-21T02:57:50.107" UserId="670" Text="I always think it's such a great exercise to take videos off the web and recreate your own sound design to them. Overall I think you did great job with the piece. The mood ambience gives couldn't have been better for this. It has a mysterious sort of feel to it. Like Nikos mentioned I would add a little bit more low end to give the sparking lights a bit more heft when they're whizzing by. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8802" PostHistoryTypeId="2" PostId="5221" RevisionGUID="9b401240-56f3-4d4f-a8fc-104271b5e69d" CreationDate="2010-12-21T05:38:12.037" UserId="194" Text="very nice work.  very clean and detailed.&#xD;&#xA;&#xD;&#xA;Loved the gritty initial texture of the sparks, and the cleaner resolution of the tails.  I think they work very well together.&#xD;&#xA;&#xD;&#xA;panning and sync were all perfect.&#xD;&#xA;&#xD;&#xA;I also like the background textures, though I think I'd like to hear some wood or forest in addition to the pad, though that's entirely a stylistic thing.&#xD;&#xA;&#xD;&#xA;The only critique I have is when the &quot;five&quot; breaks up at :19 I'd like it to tie in more with the established spark sounds and maybe have another low end poof-y event there.  that's pretty minor though, very nice work." ContentLicense="CC BY-SA 2.5" />
  <row Id="8803" PostHistoryTypeId="2" PostId="5222" RevisionGUID="d3f303f0-a3f8-4b7f-902c-75d66921d037" CreationDate="2010-12-21T06:54:03.227" UserId="275" Text="Look at Petrol and Portabrace bags.  They both offer a really wide range of bags for all the field gear on the market. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8804" PostHistoryTypeId="2" PostId="5223" RevisionGUID="7be286a5-6134-4aff-90bf-556502fbd9dc" CreationDate="2010-12-21T09:14:35.553" UserId="641" Text="Whilst browsing through my files, I found this little gem...got it off set on a shoot I was on and decided to keep it...I have EQ'd it a bit, removing the lows:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/damaus/01-rain-against-windows-eq-intpers" ContentLicense="CC BY-SA 2.5" />
  <row Id="8805" PostHistoryTypeId="2" PostId="5224" RevisionGUID="03451d4a-7475-436c-abe9-0eb66af36d00" CreationDate="2010-12-21T10:08:43.343" UserId="298" Text="added several improvements based on your suggestions guys - now it sounds more serious and heavy... but still transparent enough. &#xD;&#xA;it is kind of 'cinematic' sound design now, especially compaired to the original which is:&#xD;&#xA;&#xD;&#xA;http://vimeo.com/10896699&#xD;&#xA;&#xD;&#xA;My second version is still under that link.&#xD;&#xA;&#xD;&#xA;BTW - I am prepairing my portfolio for the admission at the university, and hoping to make several works containing this one..." ContentLicense="CC BY-SA 2.5" />
  <row Id="8806" PostHistoryTypeId="2" PostId="5225" RevisionGUID="a4161432-0aa8-4f69-bf3e-0b9ae6651dc0" CreationDate="2010-12-21T11:32:46.160" UserDisplayName="user80" Text="I would suggest using a camera bag.  Depending on how much kit I am carrying I use different Lowepro bags.  I use a sling bag when I need to walk with the recorder and ruck sacks when I know that I will be stationary.  I just vary the bag size according to the number of mics I need to carry.  Camera bags have the advantage that they have extra straps for a tripod which can either be used for the boom pole or a small lighting stand.  &#xD;&#xA;&#xD;&#xA;http://products.lowepro.com/product/Classified-Sling-220-AW,2141,23.htm  " ContentLicense="CC BY-SA 2.5" />
  <row Id="8807" PostHistoryTypeId="2" PostId="5226" RevisionGUID="50b49b54-acdf-466c-8a35-e645a58186e7" CreationDate="2010-12-21T16:31:03.787" UserId="285" Text="This is a Petrol Bag, model PS607 (http://www.petrolbags.com/Sound?q=node/1168).  It fits my FR_2LE and mixpre quite well with lots of room for cabling and a few extras.  I have to have another bag to haul around the mics and other needed stuff but it it is great for recording as a shoulder bag.  If you are jumping into the menus in the FR-2LE a lot, it might get annoying as the front is not super easy to access once you have it over your shoulder.  I find I tend to do the menu settings at the start and then don't touch them much.  You still have full access to the gain and input levels and the meters along the spine so that is all accessible via this set up.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: &lt;a href=http://www.freeimagehosting.net/image.php?b28eddecb7.jpg&gt;&lt;img src=http://www.freeimagehosting.net/uploads/th.b28eddecb7.jpg alt=&quot;Free Image Hosting by FreeImageHosting.net&quot;&gt;&lt;/a&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8808" PostHistoryTypeId="5" PostId="5226" RevisionGUID="2ae32d82-c018-4ec6-bf5c-462b477fea80" CreationDate="2010-12-21T16:36:49.300" UserId="285" Comment="deleted 172 characters in body; deleted 40 characters in body" Text="This is a Petrol Bag, model PS607 (http://www.petrolbags.com/Sound?q=node/1168).  It fits my FR_2LE and mixpre quite well with lots of room for cabling and a few extras.  I have to have another bag to haul around the mics and other needed stuff but it it is great for recording as a shoulder bag.  If you are jumping into the menus in the FR-2LE a lot, it might get annoying as the front is not super easy to access once you have it over your shoulder.  I find I tend to do the menu settings at the start and then don't touch them much.  You still have full access to the gain and input levels and the meters along the spine so that is all accessible via this set up.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8809" PostHistoryTypeId="2" PostId="5227" RevisionGUID="62a9c308-3af8-4ba2-b91d-53fec7065995" CreationDate="2010-12-21T16:50:26.783" UserId="220" Text="I think this is a variation of the question that has been asked over and over, but I want to be sure I'm doing the right thing before buying a new field recorder. &#xD;&#xA;&#xD;&#xA;Currently I use the Tascam HD-P2 recorder.  It has 2 XLRs and records 44.1kHz to 192kHz recording resolution at 16- or 24-bit.  I have only occasionally recorded at 96kHz, 24-bit but the vast majority is 48kHz, 16- or 24-bit.  &#xD;&#xA;&#xD;&#xA;I am thinking of selling the HD-P2 and springing for the Tascam DR-680.  I am very happy with Tascam preamps and would like something that will give me more room if I need to record a number of inputs (like recording guns, multiple lapels, etc).  It records up to 96kHz/24-bit Broadcast WAV file resolution for 8 channels (4 XLR, 2 TRS, 2 RCA) and stereo 192kHz/24-bit recording mode.   &#xD;&#xA;&#xD;&#xA;I suppose I'm not really losing anything, since it will still do 192kHz in stereo and I can do SFX recording in stereo only.  &#xD;&#xA;&#xD;&#xA;Question is - do I really need smething that high a sample rate for general film work?  Usually my dialog files are  48kHz, 24-bit.  Some (*cough*) would argue that anything recorded at 96kHz even is a waste of file space.  Will I ever be asked to deliver 192kHz for dialog?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8810" PostHistoryTypeId="1" PostId="5227" RevisionGUID="62a9c308-3af8-4ba2-b91d-53fec7065995" CreationDate="2010-12-21T16:50:26.783" UserId="220" Text="Sample rate options on field recorders" ContentLicense="CC BY-SA 2.5" />
  <row Id="8811" PostHistoryTypeId="3" PostId="5227" RevisionGUID="62a9c308-3af8-4ba2-b91d-53fec7065995" CreationDate="2010-12-21T16:50:26.783" UserId="220" Text="&lt;sample-rate&gt;&lt;recorder&gt;&lt;deliverable&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8812" PostHistoryTypeId="2" PostId="5228" RevisionGUID="0fab0d86-d8f3-47c5-97b6-0795dff91eae" CreationDate="2010-12-21T17:04:33.450" UserId="6420" Text="I cant really see much benefit myself of recording dialogue at such high sample rates unless you plan on doing extensive pitch shifting and processing on it after..which could be pretty cool if you were going for the whole 'horror' vibe ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8813" PostHistoryTypeId="5" PostId="5180" RevisionGUID="a07a7c46-22e1-4844-b795-1eaed61cedb1" CreationDate="2010-12-21T17:25:08.847" UserId="629" Comment="another question." Text="I've just bought my first Mac (Snow Leopard) and installed Pro Tools 9. &#xD;&#xA;&#xD;&#xA;I have imported a mp4 video, the sound works but the video doesn't appear. I have done some research and it seems .mp4 and .AAC formats don't agree with PT, I've installed Perian which hasn't helped.&#xD;&#xA;&#xD;&#xA;I have looked into converting the .mp4 file to something like a .mov or .avi. I have tried MPEG Streamclip to convert it but all I get is 'error can't prepare movie'.&#xD;&#xA;&#xD;&#xA;Members have recommended QT 7 Pro to convert files but with research it doesn't function with the QT 10 player? ([Thread: Working with video: What tools can’t you live without?][1])&#xD;&#xA;&#xD;&#xA;Has anyone got any ideas, I have no video editing software is it worth buying something to help with these issues?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;**Edit: Would buying something like Premiere, Final Cut Pro or Vegas be easier to deal with? Can they export and handle high bit rate audio 192khz?**&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/5148/working-with-video-what-tools-cant-you-live-without" ContentLicense="CC BY-SA 2.5" />
  <row Id="8814" PostHistoryTypeId="2" PostId="5229" RevisionGUID="f0b9f7f1-8535-4c90-b6ad-a9c0c238fdf2" CreationDate="2010-12-21T20:02:04.123" UserId="238" Text="Ask any question here at Social Sound Design and you'll get some excellent advice from any number of pros. &#xD;&#xA;&#xD;&#xA;Just don't ask which microphone or recorder you should buy when starting out! Think we've had that one a few too many times... :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8815" PostHistoryTypeId="2" PostId="5230" RevisionGUID="645f2c39-de7e-4166-ac2e-9a1573ef4f95" CreationDate="2010-12-21T20:11:17.807" UserId="61" Text="*(I should get a gold medal just for the title alone!)*&#xD;&#xA;&#xD;&#xA;So anyway, I'm out recording the deluge of rain we're getting in Los Angeles last night and I tripped over something and half-submerged my [Tascam DR-680][1] in a wheelbarrow full of muddy water. Not just regular water -- MUDDY water. All 6 mic inputs started frizzing out and then the whole unit shut down. *Yesss…*&#xD;&#xA;&#xD;&#xA;Did I panic?&#xD;&#xA;&#xD;&#xA;Of course.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;To make a long story shorter, I disassembled the whole thing, drained it, let it air dry overnight, then placed it over a space heater for about 1 hour. And guess what? **IT WORKS!**&#xD;&#xA;&#xD;&#xA;I'm impressed, Tascam. Keep up the sturdy engineering.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tascam.com/product/dr-680/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8816" PostHistoryTypeId="1" PostId="5230" RevisionGUID="645f2c39-de7e-4166-ac2e-9a1573ef4f95" CreationDate="2010-12-21T20:11:17.807" UserId="61" Text="So I dropped my recorder in a wheelbarrow full of water…" ContentLicense="CC BY-SA 2.5" />
  <row Id="8817" PostHistoryTypeId="3" PostId="5230" RevisionGUID="645f2c39-de7e-4166-ac2e-9a1573ef4f95" CreationDate="2010-12-21T20:11:17.807" UserId="61" Text="&lt;tascam-dr-680&gt;&lt;troubleshooting&gt;&lt;repair&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8818" PostHistoryTypeId="2" PostId="5231" RevisionGUID="9f91ca09-2f32-474b-b37f-00ac69d1a0d4" CreationDate="2010-12-21T20:12:04.457" UserId="238" Text="Gasper Noe's 2002 cult classic Irreversible features two very shocking scenes that gained the film notoriety. One of these is in a nightclub where the main character is looking for someone who he ends up killing with a fire extinguisher (very gruesome scene). The whole scene was incredibly intensified by Thomas Bangalter's score mixed with the intense camera work. Overall, the audience is left with a feeling of nausia, largely due to the well designed soundtrack. It is really just a repetitive drone but it has an incredible effect of intensifying the gravity of the scene. &#xD;&#xA;&#xD;&#xA;[youtube]5CfAsntyoCg[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="8819" PostHistoryTypeId="5" PostId="5196" RevisionGUID="82fb6848-b3bd-477d-8852-5e3343570dc6" CreationDate="2010-12-21T20:13:42.037" UserId="238" Comment="deleted 22 characters in body" Text="An evocative recording I made in the streets of [Jerusalem's Muslim quarter][1].&#xD;&#xA;&#xD;&#xA;[soundcloud]colin-hunter/call-to-prayer-2[/soundcloud] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audioloungesound.com/blog/2010/09/field-recording-in-jerusalem/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8820" PostHistoryTypeId="5" PostId="5198" RevisionGUID="4baee177-47ba-4c3f-a4da-0ca20026c9b1" CreationDate="2010-12-21T21:22:52.183" UserId="757" Comment="added 59 characters in body" Text="Waiting for the train in Harvard Square subway station...&#xD;&#xA;http://turbulentresonantcolon.tumblr.com/post/595147333/waiting-for-the-train-in-john-harvards-square" ContentLicense="CC BY-SA 2.5" />
  <row Id="8821" PostHistoryTypeId="2" PostId="5232" RevisionGUID="ebda122a-c34a-4284-96d9-48a6b41372f2" CreationDate="2010-12-21T22:30:12.420" UserId="18" Text="My favorite recording this year, a little pug named Lola:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/crussom/sets/dogs-superstar-sound-library-preview-crfx-009/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8822" PostHistoryTypeId="2" PostId="5233" RevisionGUID="ce258bd6-88b7-47bf-8a3c-782a89b519ab" CreationDate="2010-12-21T22:33:23.030" UserId="18" Text="Awesome!  I've also been out the last few days recording the rain.  Yesterday, I had my Sound Devices 744, Sennheiser MKH40, and Sennheiser MKH800 out in the pouring rain.  Yes, I'm nuts.  Kept thinking the whole time what I'd do if the gear took on too much water.  Sounds like you did the right thing, and exactly the path I would have tried.  Glad to hear it all worked out." ContentLicense="CC BY-SA 2.5" />
  <row Id="8823" PostHistoryTypeId="12" PostId="5233" RevisionGUID="192a7a28-53c3-437e-9917-c4075f05b104" CreationDate="2010-12-21T22:35:31.487" UserId="18" Text="[{&quot;Id&quot;:18,&quot;DisplayName&quot;:&quot;Chuck Russom&quot;}]" />
  <row Id="8824" PostHistoryTypeId="2" PostId="5234" RevisionGUID="22c6d224-8eaf-41c7-8322-f48261288646" CreationDate="2010-12-21T22:37:16.480" UserId="18" Text="Recording car destruction for 007: Quantum of Solace game:&#xD;&#xA;&#xD;&#xA;http://www.flickr.com/photos/chuckrussom/sets/72157623292496631/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8825" PostHistoryTypeId="5" PostId="5233" RevisionGUID="4815cedb-a7c6-4cba-b7dc-2671ae7dd3ee" CreationDate="2010-12-21T23:20:12.683" UserId="18" Comment="deleted 220 characters in body" Text="Ok Jay,&#xD;&#xA;&#xD;&#xA;You've inspired me :)  I posted some of the rain that I recorded yesterday up on my blog:&#xD;&#xA;&#xD;&#xA;http://www.chuckrussom.com/2010/12/its-raining-in-la/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8826" PostHistoryTypeId="13" PostId="5233" RevisionGUID="7d2e98ab-93a2-430a-b899-fa85ceca4c5f" CreationDate="2010-12-21T23:20:18.677" UserId="18" Text="[{&quot;Id&quot;:18,&quot;DisplayName&quot;:&quot;Chuck Russom&quot;}]" />
  <row Id="8827" PostHistoryTypeId="2" PostId="5235" RevisionGUID="2ab8b9fb-e738-4fa1-baec-edeb793444af" CreationDate="2010-12-21T23:57:06.107" UserId="18160" Text="Have any of you gotten to a point where you have spent a day on a scene and you listen down to it at the end of the night and there is just something missing and you don't know what it is? Even when you leave it on the board overnight and come back to it the next morning?&#xD;&#xA;&#xD;&#xA;What do you guys do?&#xD;&#xA;&#xD;&#xA;I'm right now working on a dialogue scene which gets intense and I want to add in subliminal sounds in their environment (posh office building) which add to the tension of the scene, and it doesn't quite feel complete to me, yet.&#xD;&#xA;&#xD;&#xA;(I know these kinds of questions are better answered if you were able to hear the scene and see the video, but I can't do that at the moment - confidentiality agreements and all)&#xD;&#xA;&#xD;&#xA;Basically what I want to know is what you guys do to decide you are done with a scene and that it's time to move on?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8828" PostHistoryTypeId="1" PostId="5235" RevisionGUID="2ab8b9fb-e738-4fa1-baec-edeb793444af" CreationDate="2010-12-21T23:57:06.107" UserId="18160" Text="Something's missing..." ContentLicense="CC BY-SA 2.5" />
  <row Id="8829" PostHistoryTypeId="3" PostId="5235" RevisionGUID="2ab8b9fb-e738-4fa1-baec-edeb793444af" CreationDate="2010-12-21T23:57:06.107" UserId="18160" Text="&lt;complete&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8830" PostHistoryTypeId="5" PostId="5235" RevisionGUID="45d9c7d7-4699-427d-b096-91a2c0a1ab5c" CreationDate="2010-12-22T00:08:02.440" UserId="18160" Comment="deleted 37 characters in body" Text="Have any of you gotten to a point where you have spent a day on a scene and you listen down to it at the end of the night and there is just something missing and you don't know what it is? Even when you leave it on the board overnight and come back to it the next morning?&#xD;&#xA;&#xD;&#xA;What do you guys do?&#xD;&#xA;&#xD;&#xA;I'm right now working on a dialogue scene which gets intense and I want to add in subliminal sounds in their environment (posh office building) which add to the tension of the scene, and it doesn't quite feel complete to me, yet.&#xD;&#xA;&#xD;&#xA;(I know these kinds of questions are better answered if you were able to hear the scene and see the video, but I can't do that at the moment)&#xD;&#xA;&#xD;&#xA;Basically what I want to know is what you guys do to decide you are done with a scene and that it's time to move on?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8831" PostHistoryTypeId="2" PostId="5236" RevisionGUID="7d3de2c1-57f7-4e97-be9a-6a0de2332074" CreationDate="2010-12-22T00:16:35.957" UserId="61" Text="My advice is to leave it alone for a while. Come back to it in a few days (if possible) and revisit it again. Sometimes you can get too &quot;close&quot; to a work and forget what made it interesting in the first place. Go do something else, work on some other scene, or just do a stream-of-consciousness perusal through your library for interesting sounds; something may spark your imaginiation." ContentLicense="CC BY-SA 2.5" />
  <row Id="8832" PostHistoryTypeId="2" PostId="5237" RevisionGUID="2adba541-55cd-417e-847e-276fdf2069e2" CreationDate="2010-12-22T01:46:02.450" UserId="736" Text="Water or other liquids that find their way into electrical items can cause damage when the item is powered up. If this happens, removal of all power sources as soon as possible is your best bet of saving your appliance.&#xD;&#xA;&#xD;&#xA;It should also be noted that the sugars in some liquids (coke, beer, etc) will eat into and damage PCB's quickly, so it is imperative to clean these sorts of spills as soon as possible.&#xD;&#xA;&#xD;&#xA;From personal experience with various mishaps spilling something onto an electrical item, these are my tips...&#xD;&#xA;&#xD;&#xA;1. Remove all power to the item as soon as possible.&#xD;&#xA;2. Open, inspect and wash with clean water until you are sure the items are clean&#xD;&#xA;3. if water alone isn't working, try isopropyl alcohol and a cotton tip (especially for the sugars)&#xD;&#xA;4. Allow to dry naturally or dry with compressed air completely&#xD;&#xA;5. Reassemble and you should be sweet to go.&#xD;&#xA;&#xD;&#xA;I have used this procedure on many electrical/audio items and it has never let me down. It even worked to clean the pots on an original Roland TR-909 drum machine.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I would love to hear any other solutions people may have." ContentLicense="CC BY-SA 2.5" />
  <row Id="8833" PostHistoryTypeId="2" PostId="5238" RevisionGUID="e05477e5-1814-4b1c-ba1b-db0d61d337c4" CreationDate="2010-12-22T09:15:19.190" UserId="62" Text="There's a great brief scene in Nolan's insomnia where all the sounds of the police station are heightened for Pacino's character due to his increasingly neurotic state of mind, might help inspire some ideas?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8834" PostHistoryTypeId="2" PostId="5239" RevisionGUID="812c6bb6-f6f6-444b-96d5-d2b8c3f3400d" CreationDate="2010-12-22T09:49:45.163" UserId="639" Text="I have both books, finished The sound effects Bible and working on Sound Design. Great reads and very inspirational. Ric Viers has some videos on designingsound.org tv where he interviews sound designers/recordists. Really good information." ContentLicense="CC BY-SA 2.5" />
  <row Id="8835" PostHistoryTypeId="5" PostId="5232" RevisionGUID="e5d63d7f-44c6-4f43-a138-d4b6c7f638df" CreationDate="2010-12-22T09:54:17.350" UserId="18" Comment="added 273 characters in body; added 564 characters in body; deleted 804 characters in body" Text="My favorite recording this year, a little pug named Lola:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/crussom/sets/dogs-superstar-sound-library-preview-crfx-009/&#xD;&#xA;&#xD;&#xA;http://www.vimeo.com/15348742" ContentLicense="CC BY-SA 2.5" />
  <row Id="8836" PostHistoryTypeId="2" PostId="5240" RevisionGUID="005b680e-5301-4f40-9a8f-5dc73213575d" CreationDate="2010-12-22T15:53:21.007" UserId="29" Text="Two come to mind:&#xD;&#xA;&#xD;&#xA; - [Over 11,000' altitude in the southern Sierra Nevada][1], recording high winds through rocks. Only a somewhat successful session, but memorable. Hiked down to camp as the sun set. No audio of this session online. &#xD;&#xA; - [Around 6,000' altitude in the northern Sierra Nevada][2], recording a marshland dawn chorus at 4:30am with the Nature Sound Society. The sounds from this session can be heard [here][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.flickr.com/photos/atomick/4981878136/-&#xD;&#xA;  [2]: http://www.flickr.com/photos/atomick/5282690031/&#xD;&#xA;  [3]: http://soundcloud.com/noisejockey/amb-bird-dawnchorus-sierravalley-01" ContentLicense="CC BY-SA 2.5" />
  <row Id="8837" PostHistoryTypeId="6" PostId="5235" RevisionGUID="132762c6-9bbe-4282-bff5-cfdda222792e" CreationDate="2010-12-22T20:01:13.487" UserId="61" Comment="retag" Text="&lt;inspiration&gt;&lt;collaboration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8838" PostHistoryTypeId="2" PostId="5241" RevisionGUID="0c5a8461-f419-4e58-9873-8a316c484034" CreationDate="2010-12-22T20:06:14.810" UserId="587" Text="Let me give you a first hand opinion as a graduate of VFS.&#xD;&#xA;&#xD;&#xA;Their film is solid, as they will teach you very good formatting and organization. They also get you out working on set as production audio for multiple short films with the film campus. Equipment wise, they are on top of the game. Icon in the mixing theatre, 003's for their foley and adr rooms, x4 5.1 mixlabs, and good mics to boot.&#xD;&#xA;&#xD;&#xA;Music production IS NOT part of the school, as I have my bachelors music production and technology from Middle Tennessee State University. They touch on topics and practices, but only in good relevancy, such as signal flow, analog routing and patching, and others that can be applied to sound design as a whole and really is just a good thing to know in general.&#xD;&#xA;&#xD;&#xA;There are a TON of side projects to be had, as you are in close proximity to many other programs there, and they all need sound. So the opportunity to grow you portfolio is very much a plus.&#xD;&#xA;&#xD;&#xA;Most teachers are all part time, and they are very much a part of the industry. However, this is a 2 way street as you definitely have to get used to their personalities. These are not professors, these are instructors. Some of them, depending on your personality, can take the entire year to get used to. &#xD;&#xA;&#xD;&#xA;I was there when 6 instructors were cut from the roster, some for good reason, others for not so good reasons. My belief is that they were cutting full time to save money on benefits/higher salaries.&#xD;&#xA;&#xD;&#xA;This leads me into the money issue. This place is expensive. Rent is *----- stupid. I paid 935 bucks a month for a place near the school, and others werent that far behind if not paying more than myself. The school, if you are a US citizen, is outrageous with tuition. I lucked up since the exchange rate was in my favor when I paid tuition - I saved about 20%&#xD;&#xA;&#xD;&#xA;Now to game audio. They have taken great strides towards focusing on this discipline, but when I left it was only getting organized and narrowing their curriculum. They teach a bit on Fmod and Wwise, some on UDK. My main experience in game audio came by actually working on a project with the game design program and not from the classes. However, they are serious about this area of sound and they can only develop it more - its not going away thats for sure.&#xD;&#xA;&#xD;&#xA;My rating for people with NO background in audio is a 7/10 for the school. If you have a previous sound degree, I give it an 8/10. I found this to be a great supplement to my previous education, although it may be harder for people who are new to audio to really dive into everything and work on a ton of projects - audio is definitely a field where you need FIRST a solid base understanding to really progress with your style and develop your sound.&#xD;&#xA;&#xD;&#xA;Hope this helps. If you can shell the cash, it really is a cool experience. Will it help you land a job just by putting it on a resume? Probably not, but catapults your experience with working on a ton of projects, a ton of people, dealing with a lot of different situations, forcing you to find out what works for you and what doesnt, developing your workflow, etc -all within a short span of time which may have taken someone else years to gather the same amount of projects by poking around on the internet for remote projects (Unless you live in a high traffic media city like NYC LA Chicago, etc. All this experience helps a ton when you DO land that first job. You are more prepared to deal with what may come at you." ContentLicense="CC BY-SA 2.5" />
  <row Id="8839" PostHistoryTypeId="2" PostId="5242" RevisionGUID="83579ee8-2249-41e7-b753-5df9ef5b0206" CreationDate="2010-12-22T20:12:24.537" UserId="18160" Text="As I will be learning mixing every day from here on out, and quite possibly won't ever stop learning, I have a question regarding Sound Design and Mixing:&#xD;&#xA;&#xD;&#xA;Time and again, in most of the interviews and articles I have read, I have come across a constant - Storytelling. It's mentioned quite a bit that a mixer has to be able to tell a good story.&#xD;&#xA;&#xD;&#xA;Where does one learn this? What do you suggest is a good reference, practice, drilling, etc. to cultivate this skill? Or is one just born with it or does it only come after hours on the job? Is it able to be taught? Is it something that is mentored? Is there a Storytelling 101 class?&#xD;&#xA;&#xD;&#xA;I'm curious to find out from you what professionals like yourselves did to acquire this important skill to this line of work." ContentLicense="CC BY-SA 2.5" />
  <row Id="8840" PostHistoryTypeId="1" PostId="5242" RevisionGUID="83579ee8-2249-41e7-b753-5df9ef5b0206" CreationDate="2010-12-22T20:12:24.537" UserId="18160" Text="An Education in Storytelling" ContentLicense="CC BY-SA 2.5" />
  <row Id="8841" PostHistoryTypeId="3" PostId="5242" RevisionGUID="83579ee8-2249-41e7-b753-5df9ef5b0206" CreationDate="2010-12-22T20:12:24.537" UserId="18160" Text="&lt;storytelling&gt;&lt;skill&gt;&lt;learning&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8842" PostHistoryTypeId="2" PostId="5243" RevisionGUID="76f9dabe-80d9-47ce-8566-00c34acde941" CreationDate="2010-12-22T20:24:06.037" UserId="18160" Text="Hey Prod, FWIW I do know that in the 8 years I have been recording/editing dialogue I have never been asked to turn over a 192K track of edited dialogue. It has, however, been mostly 96K for narration and on-screen acting dialogue at 48K almost always.&#xD;&#xA;&#xD;&#xA;p.s. as Mr. Prebble said, use 24 bit over 16 bit always - ESPECIALLY for dialogue. I saw someone get fired from a project once for recording dialogue at 16 bit." ContentLicense="CC BY-SA 2.5" />
  <row Id="8843" PostHistoryTypeId="5" PostId="5243" RevisionGUID="d3be5672-f971-478c-a8cd-41bbe75be8f7" CreationDate="2010-12-22T20:31:13.667" UserId="18160" Comment="added 111 characters in body; edited body" Text="Hey Prod, FWIW I do know that in the 8 years I have been recording/editing dialogue I have never been asked to turn over a 192K track of edited dialogue. It has, however, been mostly 96K for narration and on-screen acting dialogue at 48K almost always.&#xD;&#xA;&#xD;&#xA;p.s. also FWIW, and I see you commented back you always record at 48K 24bit dialogue, but as Mr. Prebble said, use 24 bit over 16 bit always - ESPECIALLY for dialogue - I reiterate that because I saw someone get fired from a project once for recording dialogue at 16 bit." ContentLicense="CC BY-SA 2.5" />
  <row Id="8844" PostHistoryTypeId="2" PostId="5244" RevisionGUID="e206a856-498a-43fd-be39-b9dc50d14f58" CreationDate="2010-12-22T21:05:09.497" UserId="29" Text="For me:&#xD;&#xA;&#xD;&#xA; - Reading, primarily, but across different media: Graphic novels, actual novels, and nonfiction. &#xD;&#xA; - Film studies and semantics. &#xD;&#xA; - Storyboarding. I happen to also have done a lot of storyboarding, which is one of the most direct storytelling forms I've come across: Images and words, boiled down to their essence without the need for polish for a wider audience. &#xD;&#xA; - Specific Books: &#xD;&#xA;  - There's a wonderful book that I just got for the holidays called [Directing the Story][1], which is all about this topic and written by a classic Disney storyboard artist. One needn't be an artist in order to get a lot of value out of this book.&#xD;&#xA;  - Another classic for those involved in interactive media is Brenda Laurel's seminal book, [Computers as Theater][2].&#xD;&#xA;  - A forgotten classic that's out of print, also about interactive media (games, etc.), is Meadows' [Pause and Effect][3].&#xD;&#xA;  - Specifically for film, [Cinematic Storytelling][4] is pretty wonderful...punchy, to the point, and a great book to go through and think, &quot;How would sound underscore the base meaning of this storytelling technique?&quot; Not exhaustive but pretty thought provoking and easy to read small bits of at a time.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Directing-Story-Professional-Storytelling-Storyboarding/dp/0240810767&#xD;&#xA;  [2]: http://www.amazon.com/Computers-as-Theatre-Brenda-Laurel/dp/0201550601/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1293051660&amp;sr=1-1-&#xD;&#xA;  [3]: http://www.amazon.com/Pause-Effect-Art-Interactive-Narrative/dp/0735711712/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1293051757&amp;sr=1-1&#xD;&#xA;  [4]: http://www.amazon.com/Cinematic-Storytelling-Powerful-Conventions-Filmmaker/dp/193290705X/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1293051813&amp;sr=1-1" ContentLicense="CC BY-SA 2.5" />
  <row Id="8845" PostHistoryTypeId="2" PostId="5245" RevisionGUID="429c7bbb-1fe5-43b3-8c98-325318d44260" CreationDate="2010-12-22T21:09:19.247" UserId="61" Text="Go and watch one of your favorite movies. As you watch it, be aware of the sequences or scenes that really speak to you. Watch the movie in its entirety. When you're done, go back to those sequences or scenes and watch them again, this time in &quot;analyst&quot; mode; deconstruct them and figure out what it is about those scenes that involve you emotionally. Is it the score (or lack of)? Is it the dialog? Is it the sound design (or lack of)? Do this several times until you understand what the filmmaker has done to evoke your emotions.&#xD;&#xA;&#xD;&#xA;You've just completed Storytelling 101." ContentLicense="CC BY-SA 2.5" />
  <row Id="8846" PostHistoryTypeId="2" PostId="5246" RevisionGUID="786f54d9-a5b0-4407-8b6d-9b71cc16b613" CreationDate="2010-12-22T21:22:49.087" UserId="234" Text="I'll second what NoiseJockey has said and add two things...&#xD;&#xA;&#xD;&#xA;First, Walter Murch's excellent book, &quot;In the Blink of an Eye&quot;. Helped me a lot with this very issue. &#xD;&#xA;&#xD;&#xA;Second, and somewhat related, learn to edit picture. You don't have to do it as a living, but learning the art is useful. Picture editing is also all about story, and will definitely change the way you think about the sound. Plus it makes it sooo much easier to talk to picture editors when the time comes! &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8847" PostHistoryTypeId="2" PostId="5247" RevisionGUID="d8046d89-a9af-4165-a1fc-bc58eb91d42c" CreationDate="2010-12-22T22:05:06.597" UserId="474" Text="Hi all,&#xD;&#xA;&#xD;&#xA;lately I discovered an old pickup mic in my attic whose impedance I don't know... is there a cheap and easy way to estimate it? I'm aware that a precise measurement would require an oscilloscope and/or some kind of AC voltage source, but I don't want to kill it in the first place :) I just want to know if and what kind of preamp I need...&#xD;&#xA;&#xD;&#xA;best,&#xD;&#xA;Julian" ContentLicense="CC BY-SA 2.5" />
  <row Id="8848" PostHistoryTypeId="1" PostId="5247" RevisionGUID="d8046d89-a9af-4165-a1fc-bc58eb91d42c" CreationDate="2010-12-22T22:05:06.597" UserId="474" Text="Estimate a mic's impedance?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8849" PostHistoryTypeId="3" PostId="5247" RevisionGUID="d8046d89-a9af-4165-a1fc-bc58eb91d42c" CreationDate="2010-12-22T22:05:06.597" UserId="474" Text="&lt;microphone&gt;&lt;impedance&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8850" PostHistoryTypeId="4" PostId="2132" RevisionGUID="f72db5f2-6b20-4839-8b9a-299210a65d99" CreationDate="2010-12-22T22:20:03.247" UserId="18160" Comment="edited title" Text="Goddess Voice Mix" ContentLicense="CC BY-SA 2.5" />
  <row Id="8851" PostHistoryTypeId="2" PostId="5248" RevisionGUID="d58c454a-dcd1-40fe-aa50-fccb4a3eb581" CreationDate="2010-12-23T00:51:12.077" UserId="194" Text="A wise way to approach these things is to spend some more time working on what the specific problem is before heading into solutions.  Mixers that tell stories are less focused on how to make things sound good than they are focused on *what* to make sound good.&#xD;&#xA;&#xD;&#xA;I tend to relate mixers telling a story to the ability of a voice actor to interpret a script - you have a set of elements with which to work, but you have to use your mind and be empathetic to what the meaning of the words is in order to do your job well.&#xD;&#xA;&#xD;&#xA;To develop empathy I'd suggest going through the process of creating and delivering narrative emotional content in other mediums as was also suggested above.&#xD;&#xA;&#xD;&#xA;Storyboarding, picture editing, script writing, acting, even things like photography can give insight into the critical skill you're looking to develop - learning which notes to play and which ones to leave silent.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8852" PostHistoryTypeId="2" PostId="5249" RevisionGUID="f57b1762-a4ce-428a-815f-c8dd2690a650" CreationDate="2010-12-23T02:25:13.553" UserId="18160" Text="Linkin Park, BT, etc., each have their own signature stutter edit from time to time.&#xD;&#xA;&#xD;&#xA;I would like to incorporate something like this into a robot voice I have to create (sort of like an Eagle-Eye voice giving directions).&#xD;&#xA;&#xD;&#xA;Are there any rules of thumb or &quot;must do&quot;s to achieve an edit like these? A particular type of fade? A length of copying? I know BT released or will release an Izotope plug-in which creates these - however, that's lower on the totem pole of purchases I will be making in the near future. And, I'm versed in Pro Tools, so it should be pretty easy to figure out how to do... Right?&#xD;&#xA;&#xD;&#xA;One thing I found when playing around, is that if you take a sound or effect, duplicate a chunk of say 10 milliseconds over and over about 50 times, then take half of that (5 milliseconds), then half of that again, and again, it will create a great digital computer noise which rises in pitch (because the cycles are getting shorter, I guess).&#xD;&#xA;&#xD;&#xA;Thanks for any tips you care to share on this subject." ContentLicense="CC BY-SA 2.5" />
  <row Id="8853" PostHistoryTypeId="1" PostId="5249" RevisionGUID="f57b1762-a4ce-428a-815f-c8dd2690a650" CreationDate="2010-12-23T02:25:13.553" UserId="18160" Text="How do you create a stutter edit?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8854" PostHistoryTypeId="3" PostId="5249" RevisionGUID="f57b1762-a4ce-428a-815f-c8dd2690a650" CreationDate="2010-12-23T02:25:13.553" UserId="18160" Text="&lt;how-to&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8855" PostHistoryTypeId="2" PostId="5250" RevisionGUID="d1f3303a-26a6-49fa-b602-b4a88378bd0d" CreationDate="2010-12-23T03:01:43.643" UserId="28" Text="The best rule of thumb copy and pasting is to make your selection start and finish at the zero crossing.&#xD;&#xA;&#xD;&#xA;You can zoom right in and copy at the single cycle levels to create buzzy effects like BT. Or copy a few cycles.&#xD;&#xA;&#xD;&#xA;This kind of work is better done in an audio editor (Soundtrack Pro, Peak, Amadeus, etc) rather than a DAW. Just use your copy paste short cuts and go crazy.&#xD;&#xA;&#xD;&#xA;-=-&#xD;&#xA;&#xD;&#xA;The first assignment in my senior electroacoustic composition class was to compose a piece using just a mono recording of your voice, zero effects, only copy and paste. No chunk could be longer than a phoneme. That definitely gets you intimate with zoomed in digital audio! " ContentLicense="CC BY-SA 2.5" />
  <row Id="8856" PostHistoryTypeId="2" PostId="5251" RevisionGUID="90a129b1-9315-4de3-9ab8-5c2a77f88f79" CreationDate="2010-12-23T04:00:37.780" UserId="61" Text="If using Pro Tools, try Elastic time. The &quot;rhythmic&quot; mode produces some very interesting results when pushes beyond its useful limits." ContentLicense="CC BY-SA 2.5" />
  <row Id="8857" PostHistoryTypeId="2" PostId="5252" RevisionGUID="4be87ec8-ee4a-49a2-8b55-a9081bc797a8" CreationDate="2010-12-23T04:30:58.927" UserId="533" Text="The big trick to making great stutters is the rhythm. The best stutters in my opinion are rhythmic and varies. Figure out a rhythm/tempo and slice it that way. Then play around by omitting a sample or two to create a rhythmic variation. Much like a stutter in the stutter. Or a glitch." ContentLicense="CC BY-SA 2.5" />
  <row Id="8858" PostHistoryTypeId="2" PostId="5253" RevisionGUID="103495eb-635e-470a-af72-4db67d1c7bf0" CreationDate="2010-12-23T04:48:31.613" UserId="100" Text="Where I grew up in Alaska there was a very rich tradition of Native American storytelling. It helped me to appreciate early on what it's like to capture an audience through a rich story. Also (and probably a byproduct of living in Alaska), we spent many rainy Saturdays at the public library listening to authors read children's books or watching a shadow puppet theatre. I've found that moving your storytelling education away from cinema for a while can make your filmmaking much better. It's my opinion that there are many universal elements to telling a good story that are grounded in our DNA from centuries of sitting around the campfire and getting lost in stories. Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="8859" PostHistoryTypeId="2" PostId="5254" RevisionGUID="fcd1ddfb-620c-40a1-bd2b-c2f486f8f1ad" CreationDate="2010-12-23T05:15:21.193" UserId="760" Text="Usually, these effects are done in a sampler, like Kontakt, where you can modulate the loop length with a control parameter. This way, you take a long loop and make it only a 16th note long, for instance with the mod wheel. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8860" PostHistoryTypeId="2" PostId="5255" RevisionGUID="fb4e7ce8-40c6-4a75-a071-8a12f7f76fb1" CreationDate="2010-12-23T05:57:24.653" UserId="29" Text="I do the sampler-loop-length-param automation trick John mentioned, usually. &#xD;&#xA;&#xD;&#xA;For a different sound - as others have said, there are many flavors of this - or for a starter approach/easy way to generate some basic stuff, you can always use the excellent and free Buffer Override (stellar, must-have) or SupaTrigga (basic but great) plug-ins. Doing this THEN doing other stutter effects with the results printed to a track gets pretty fun.&#xD;&#xA;&#xD;&#xA;If you wanna get *really* extreme, download GleetchLab...you may need some shrooms to grok the interface, though." ContentLicense="CC BY-SA 2.5" />
  <row Id="8861" PostHistoryTypeId="5" PostId="5251" RevisionGUID="32717a20-3c4a-42d7-b4b3-bd48f3699460" CreationDate="2010-12-23T07:00:42.753" UserId="61" Comment="grammar" Text="If using Pro Tools, try Elastic time. The &quot;rhythmic&quot; mode produces some very interesting results when pushed beyond its normal parameters." ContentLicense="CC BY-SA 2.5" />
  <row Id="8862" PostHistoryTypeId="2" PostId="5256" RevisionGUID="c8fe0c9b-f1f6-451d-a8c7-2b9239e63398" CreationDate="2010-12-23T08:42:16.370" UserId="61" Text="OK Chuck,&#xD;&#xA;&#xD;&#xA;You've inspired ME! Posted a snippet of that intense rain we had in the valley today:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/awfulnicesound/torrential-rain-interior-awfulnice&#xD;&#xA;&#xD;&#xA;Not sure the recording really does it justice…there was so much power and violence in that storm. Scary rain!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8863" PostHistoryTypeId="2" PostId="5257" RevisionGUID="6473511b-34f3-4a40-bf32-ba0616299f6a" CreationDate="2010-12-23T08:46:25.420" UserId="641" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;Just thought I'd share my most recent discovery:&#xD;&#xA;www.radiolab.org&#xD;&#xA;&#xD;&#xA;It's a chat show that covers many topics, mostly highly unusual, but nicely produced and put together from a sound perspective!&#xD;&#xA;&#xD;&#xA;Enjoy!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8864" PostHistoryTypeId="1" PostId="5257" RevisionGUID="6473511b-34f3-4a40-bf32-ba0616299f6a" CreationDate="2010-12-23T08:46:25.420" UserId="641" Text="Radio Lab - A well and interestingly produced internet chat show" ContentLicense="CC BY-SA 2.5" />
  <row Id="8865" PostHistoryTypeId="3" PostId="5257" RevisionGUID="6473511b-34f3-4a40-bf32-ba0616299f6a" CreationDate="2010-12-23T08:46:25.420" UserId="641" Text="&lt;radio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8866" PostHistoryTypeId="5" PostId="5256" RevisionGUID="56c8dcb0-9310-4c3f-b7a3-21d0bb717f9a" CreationDate="2010-12-23T08:48:16.297" UserId="61" Comment="added 1 characters in body" Text="OK @chuck,&#xD;&#xA;&#xD;&#xA;You've inspired ME! Posted a snippet of that intense rain we had in the valley today:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/awfulnicesound/torrential-rain-interior-awfulnice&#xD;&#xA;&#xD;&#xA;Not sure the recording really does it justice…there was so much power and violence in that storm. Scary rain!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8867" PostHistoryTypeId="2" PostId="5258" RevisionGUID="386ded6b-d4c0-4671-8ed7-13339c6ead66" CreationDate="2010-12-23T13:31:45.803" UserId="761" Text="I've worked in Post for many years using both Pro Tools and Nuendo.  I'm a fan of both, but I think Nuendo has an edge and if it's what you know go with it.  Compatibility is always an issue, but even with Pro Tools to Pro Tools sessions there can be problems - different plug-ins and different engineers being the two biggest!  Most often I've taken OMFs and recreated mixes anyway.  Get some good RME hardware and Nuendo 5 - you can use the money you save to buy some hot plug-ins!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8868" PostHistoryTypeId="2" PostId="5259" RevisionGUID="14b5f29b-903d-44a3-a402-714fe9aea239" CreationDate="2010-12-23T13:43:12.363" UserId="743" Text="A buffer override is the typical way to get those sounds, like noise jockey mentioned. There are a couple free tools that compact glitch processing together.&#xD;&#xA;&#xD;&#xA;Try these,&#xD;&#xA;&#xD;&#xA;http://illformed.org/plugins/glitch/&#xD;&#xA;&#xD;&#xA;http://www.gleetchplug.com/gleetchplug/Main.html&#xD;&#xA;&#xD;&#xA;http://destroyfx.smartelectronix.com/&#xD;&#xA;&#xD;&#xA;And, if you have the time and the know how, do what Aphex twin and Squarepusher do, learn supercollider!  (lol)&#xD;&#xA;&#xD;&#xA;http://supercollider.sourceforge.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8869" PostHistoryTypeId="2" PostId="5260" RevisionGUID="f5f109d7-0762-4ee3-bef2-d0f15560dd96" CreationDate="2010-12-23T13:52:37.547" UserId="761" Text="At the end of the day a good Sound Designer is what the client want him/her to be.  Never forget who pays the bills and always give the client what they want.  Technical whizz, creative genius or both!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8870" PostHistoryTypeId="2" PostId="5261" RevisionGUID="f96ffb52-f381-43e7-8252-568a86fd7c99" CreationDate="2010-12-23T14:49:18.527" UserDisplayName="user80" Text="Both, it is up to the client how much of an artist they let you be, but you always have to be a technician." ContentLicense="CC BY-SA 2.5" />
  <row Id="8871" PostHistoryTypeId="2" PostId="5262" RevisionGUID="fff4db30-e4b3-427f-88b8-ce9cd97610f0" CreationDate="2010-12-23T16:46:10.040" UserId="762" Text="There's a movie that came out a couple years ago called &quot;In The City Of Sylvia&quot;.&#xD;&#xA;&#xD;&#xA;There wasn't much dialogue... but sound was used hand in hand with the image to create settings that drew you in.  Many scenes are simply a static camera and a sound field almost meant to simulate a moving painting with audio.  In one of the scenes where there's actual music, a group of violinists wander around an outdoor cafe, becoming part of the ambiance, but the music isn't part of the space...  really hypnotic.  It's a really amazing film, one in which sound design was the focus, and I'd love to get anyone else's take who's seen it.  If you haven't, you can get a good idea from the trailer.&#xD;&#xA;&#xD;&#xA;[youtube]dv2VKhY5w9M[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="8872" PostHistoryTypeId="2" PostId="5263" RevisionGUID="122c26a9-16d7-4814-9d92-d582cb51f101" CreationDate="2010-12-23T18:55:53.320" UserId="431" Text="Great question and great answers!  Here's some small things I like to do on the job.&#xD;&#xA;&#xD;&#xA;Screen the material first as a dramatist. By this I mean before before you think about sound at all, think about story. What is the central conflict, where are there moments of resolution, does the pacing feel flat anywhere, what connects with you personally, what works what doesn't? &#xD;&#xA;&#xD;&#xA;Think emotionally. Its very easy to get lost in making the soundtrack come alive technically - balancing your reverb between whats already in the dialogue and the space that viewer is seeing, making sure every syllable of principle dialogue is audible, etc. It's important to try and make time for things that seem superfluous - will taking out some high end in this room reverb and making the space bigger than it looks heighten the sense of isolation the characters are feeling? Is it more powerful if the audience finds this line of dialogue more difficult to understand, instead of crystal clear? This means that you end up doing things twice, as until you get seasoned (and I'm not there yet) you always want to have the technically correct treatment in your back pocket (via presets, muted tracks or an alternate session).&#xD;&#xA;&#xD;&#xA;When in doubt about something, ask &quot;Does it serve the story?&quot; And when you figure out how balance the answers to that question with the answers to &quot;Does it fit in the budget?&quot; please let me know. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8873" PostHistoryTypeId="2" PostId="5264" RevisionGUID="701cfaf7-4fe8-4a4c-9f72-eb83ac342e23" CreationDate="2010-12-24T10:31:59.307" UserDisplayName="user80" Text="If you are the only person who will ever use the room stick to what you know best.  &#xD;&#xA;&#xD;&#xA;If others need to use the room on a regular basis then choose the standard in your field, which is probably Pro Tools. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8874" PostHistoryTypeId="2" PostId="5265" RevisionGUID="f01aae90-e142-46d4-bf72-4ab123dcc089" CreationDate="2010-12-24T11:43:17.583" UserId="764" Text="i am working in sound editing and mixing field for 6 years,besides i have analyzed hundreds of movies M&amp;E Tracks and re-made some of them as an exercise,&#xD;&#xA;But i need to know more about sound designing and work at Professional and international level, So I am Going to study and taking internships in NZ or AUSTRALIA,&#xD;&#xA;I have researched about the schools there But Could you Guide me If You know any better idea for studying in NZ or maybe taking internships in the studios there , do you know any studios there?&#xD;&#xA;&#xD;&#xA;finally whats your offer as an professional person in this field and how can i get raised to work at international level?&#xD;&#xA;&#xD;&#xA;Thanks for Guidance," ContentLicense="CC BY-SA 2.5" />
  <row Id="8875" PostHistoryTypeId="1" PostId="5265" RevisionGUID="f01aae90-e142-46d4-bf72-4ab123dcc089" CreationDate="2010-12-24T11:43:17.583" UserId="764" Text="Sound Design Education In NZ" ContentLicense="CC BY-SA 2.5" />
  <row Id="8876" PostHistoryTypeId="3" PostId="5265" RevisionGUID="f01aae90-e142-46d4-bf72-4ab123dcc089" CreationDate="2010-12-24T11:43:17.583" UserId="764" Text="&lt;sound-design&gt;&lt;education&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8877" PostHistoryTypeId="2" PostId="5266" RevisionGUID="3810c45c-1adc-4097-8440-b4e0c98a6116" CreationDate="2010-12-24T18:28:11.873" UserDisplayName="user49" Text="As far as I'm aware there are no sound design schools in NZ - most of my friends who work in film sound post went to film school, since understanding the entire process of film making is a very important part of being a film sound editor.&#xD;&#xA;&#xD;&#xA;With regards to becoming a sound designer, theres no need for me to repeat what I wrote elsewhere at SSD, do some searches but read also this:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/284&#xD;&#xA;&#xD;&#xA;Just a note: NZ is a very small country, 4 million people and probably a total of a dozen working film sound editors total, with maybe 5 of those who work as supervising sound editors and 3 as sound designers. There are also plenty of young local people here wanting internships.... As per my comments in that other thread, most people who work in film sound got years of experience working in TV sound post first.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8878" PostHistoryTypeId="2" PostId="5267" RevisionGUID="dc63b51e-9766-4f18-bd16-42e2f509cc00" CreationDate="2010-12-24T21:25:12.260" UserId="198" Text="so many favorites... I've had a great year recording all kinds of stuff&#xD;&#xA;&#xD;&#xA;I came across this pedestrian suspension bridge in Calgary, hooked up some contact mics to the mainstay cables and had my mind blown.&#xD;&#xA;&#xD;&#xA;What you see is what you hear, no effects, just a bit of EQ&#xD;&#xA;http://www.vimeo.com/11176285" ContentLicense="CC BY-SA 2.5" />
  <row Id="8879" PostHistoryTypeId="2" PostId="5268" RevisionGUID="2e5be74a-d26a-406a-b8c9-ed872257e5cc" CreationDate="2010-12-24T23:13:12.327" UserId="558" Text="Some (very few) video game companies do a form of focus testing called 'Tissue Testing'.  They wire up players for their heart rate and have them play thru the game.  THey create an 'emotional map' and use the map to tweak the missions in the game (try not to have too many long lulls, build the peaks up thru a given mission, etc).  I learned of this process from CHarles Deenan - a great sound designer up at EA Canada (last i heard).&#xD;&#xA;&#xD;&#xA;I think watching a show before you start thinking about the actual sound fx with an 'eye' on the emotional map is a great first step in helping to tell the story that is supposed to already be in the show by the time the sound folks get the show." ContentLicense="CC BY-SA 2.5" />
  <row Id="8880" PostHistoryTypeId="2" PostId="5269" RevisionGUID="b1523ba9-346f-4f3b-9a7e-e7e64a2df9c3" CreationDate="2010-12-24T23:21:53.357" UserId="558" Text="I always find the more ears the better.  Play the scene for someone.  Maybe not even a sound person.  THis question is related to the story telling question that is on SSD right now.  Maybe there is a moment in the story that is not being addressed or supported.&#xD;&#xA;&#xD;&#xA;On one of my first films there was a shot of a missing/stolen engagement ring that is suddenly revealed.  It is dropped and spins while everyone watches.  I put together a design heavy spin sound with an s-ton of whooshes and such, but the scene just wasn't hitting right.  Played it for my girlfriend (now wife) and she immediately said, needs vocal reactions.  Once I put in some over the top gasps, the scene rocked.  Didn't even need the heavy sound design stuff.&#xD;&#xA;&#xD;&#xA;dr" ContentLicense="CC BY-SA 2.5" />
  <row Id="8881" PostHistoryTypeId="2" PostId="5270" RevisionGUID="c546910a-4bf1-4627-8ff0-0dd19f39d8a7" CreationDate="2010-12-25T10:01:26.337" UserId="765" Text="Hi, I got a H1 a week ago and have tested it a little since then.&#xD;&#xA;I'm really happy with the noisefloor and the sound of the mics.&#xD;&#xA;&#xD;&#xA;But as I have an zoom h4 (the old one) and have had problems with uneven levels between left and right mic, I thought I would test it straight away with the H1.&#xD;&#xA;&#xD;&#xA;It seems like my H1s left mic is about 3 db higher than the right one in average up to about 7 kHz somewhere after that the right mic goes al little stronger, maybe 1 db or so.&#xD;&#xA;&#xD;&#xA;I pointed it straight into one speaker of my beyerdynamic headphones and turned on white noise. That was really close in levels. &#xD;&#xA;&#xD;&#xA;But then I turned on a sinesweep 30 sec 20 - 20 000 Hz. Then I saw that they seemed uneven.&#xD;&#xA;&#xD;&#xA;here's the video: http://vimeo.com/18166571&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I Yesterday I just recorded some guitar, and this was recorded in mp3 320 kbps because I was just playing around.&#xD;&#xA;When I looked at it in RX2 I saw that it was uneven too.&#xD;&#xA;&#xD;&#xA;Here's the video: http://vimeo.com/18166553&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;After this long post, my real question is:&#xD;&#xA;&#xD;&#xA;Is this normal? Should I replace it with another H1?&#xD;&#xA;&#xD;&#xA;I'm aware of that I bought a 100 $ recorder so I won't cry if this is the way the h1s are. I really haven't heard the effect of these uneven matched microphones, I've just seen it. I'm just interested in knowing if I could get a better H1.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/18166571" ContentLicense="CC BY-SA 2.5" />
  <row Id="8882" PostHistoryTypeId="1" PostId="5270" RevisionGUID="c546910a-4bf1-4627-8ff0-0dd19f39d8a7" CreationDate="2010-12-25T10:01:26.337" UserId="765" Text="Zoom H1 unmatched mics?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8883" PostHistoryTypeId="3" PostId="5270" RevisionGUID="c546910a-4bf1-4627-8ff0-0dd19f39d8a7" CreationDate="2010-12-25T10:01:26.337" UserId="765" Text="&lt;h1&gt;&lt;zoom&gt;&lt;non-matching&gt;&lt;matching&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8884" PostHistoryTypeId="2" PostId="5271" RevisionGUID="7335c31f-faa7-49ae-8fd3-7d1841cc41dc" CreationDate="2010-12-25T14:59:53.560" UserId="275" Text="So, here is what we decided for the new control room and VO booth:&#xD;&#xA;&#xD;&#xA;Nuendo 5 for the primary software and we'll get PT9 Native when the need arises.  &#xD;&#xA;Waves 360 surround bundle &#xD;&#xA;Izotope Ozone 4&#xD;&#xA;Audioease Speakerphone&#xD;&#xA;Waves Restoration Bundle&#xD;&#xA;Waves Vocal Rider&#xD;&#xA;Mac Pro tower with dual 27&quot; monitors, 12GB RAM for now, Fibre Channel so the video and audio can stream from our server.&#xD;&#xA;Euphonic MC Control v2 with additional 8 fader expansion&#xD;&#xA;Neumann U87Ai&#xD;&#xA;Focus rite Red 7&#xD;&#xA;Genelec 8030.LSE surround speakers&#xD;&#xA;Dangerous Music ST/SR surround controller&#xD;&#xA;Mytek 8x192 converter with Lynx AES16e PCIe card&#xD;&#xA;&#xD;&#xA;Plus a variety of other gear to round out the needs. I'm sure we'll be tweaking and adding on gear as we go.  When/if the need arises we'll add PT9 Native at that point. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8885" PostHistoryTypeId="2" PostId="5272" RevisionGUID="4fe4a540-2771-4ab8-b271-43e1b3d85e21" CreationDate="2010-12-25T15:34:20.933" UserId="275" Text="Mono and stereo recordings are both helpful, depending on the circumstances.  Unless you're recording a specific sound for a specific project you never quite know when and how the sound will be used.  Any time I record sounds to add to my library I do it with three channels: a stereo set and a mono channel.  My Sanken CSS-5 goes in channels 1-2 on my SD442 then channels 1-2 on my 744t while my Sanken CS3E is in channel 3.  This enables me to have complete flexibility for the use of the sound but it does make for more work in editing them and keeping everything straight on the computer.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8886" PostHistoryTypeId="2" PostId="5273" RevisionGUID="147e5604-62f7-4468-841d-efad139c765e" CreationDate="2010-12-25T18:49:45.840" UserId="37" Text="too many variables i think but still you could pester the company so they know it's important characteristic  to the user?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8887" PostHistoryTypeId="2" PostId="5274" RevisionGUID="38d42c9d-3d51-4fe0-85e5-f4e301e3681d" CreationDate="2010-12-26T07:24:45.550" UserId="558" Text="If the waterfall is loud/powerful enough to handle some layering, try adding a subtle layer of empty cardboard or wood box - the bigger the better.  Try spraying a hose at it with about the same water speed as the waterfall.  Layer it in." ContentLicense="CC BY-SA 2.5" />
  <row Id="8888" PostHistoryTypeId="2" PostId="5275" RevisionGUID="f594e18f-e06f-47ee-94f2-aea6f2283b33" CreationDate="2010-12-26T07:27:28.243" UserId="558" Text="I love this site" ContentLicense="CC BY-SA 2.5" />
  <row Id="8889" PostHistoryTypeId="2" PostId="5276" RevisionGUID="03803746-1074-4657-8fee-b5e4cfca25df" CreationDate="2010-12-26T21:45:39.690" UserId="670" Text="I just moved and don't have my Casio Privia at my disposal. Right now I'm on a pretty tight budget and am looking at either the M-Audio Axiom 25 or Oxygen 25. Does anyone have any experience with these keyboards or have any other suggestions? Thank you all!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8890" PostHistoryTypeId="1" PostId="5276" RevisionGUID="03803746-1074-4657-8fee-b5e4cfca25df" CreationDate="2010-12-26T21:45:39.690" UserId="670" Text="MIDI keyboard for sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="8891" PostHistoryTypeId="3" PostId="5276" RevisionGUID="03803746-1074-4657-8fee-b5e4cfca25df" CreationDate="2010-12-26T21:45:39.690" UserId="670" Text="&lt;midi&gt;&lt;keyboard&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8892" PostHistoryTypeId="2" PostId="5277" RevisionGUID="387c6a00-8480-4549-86ce-b2cf73771b59" CreationDate="2010-12-27T00:21:56.973" UserId="29" Text="I'm afraid that I don't have experience with those specific keyboards, although they're pretty commonly used ones. I use the first-generation Novation Remote25; it's festooned with knobs and sliders, but the MIDI controller assignments and setup is a real pain. A real control surface separate from the keyboard is more ideal, but if you lack a specific control surface, it can offer at least some faders and pots. But be sure to check out how easy the keyboard's controls are to customize, and how many settings you can save!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8893" PostHistoryTypeId="2" PostId="5278" RevisionGUID="f255033f-cac1-4f5a-af29-ea63361e5979" CreationDate="2010-12-27T00:50:54.003" UserId="393" Text="I have an older Oxygen keyboard, and I like it okay -- the one thing I feel I'm always missing when I compose is decent drum pads.  I'd say go Axiom." ContentLicense="CC BY-SA 2.5" />
  <row Id="8894" PostHistoryTypeId="2" PostId="5279" RevisionGUID="4ecbdf39-8691-4e7d-ac95-51956b1ccfda" CreationDate="2010-12-27T07:03:01.493" UserId="767" Text="I have two sugestions. First try using a click removal tool that is usually used for cleaning up vinyl records. It will identify and remove sounds with fast transients such as tongue clicks, and leave other sounds with slower transients. Also try a different mic. You don't have to record everything with a U87 (which has an enhanced HF peak - right at the click frequency) A mic wth a less pronounced HF will sound fine - it will just sound like the mic was a little further away (as air absorbs high frequencies more than mids)." ContentLicense="CC BY-SA 2.5" />
  <row Id="8895" PostHistoryTypeId="2" PostId="5280" RevisionGUID="764f2aff-4ff5-4e44-9852-ae657706fb7d" CreationDate="2010-12-27T08:07:10.793" UserId="768" Text="As a guitarist I put my eye on [AKAI MPK Mini][1] - looks like very flexible controller to put short phrases, bass lines, parameters changes &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.akaipro.com/mpkmini" ContentLicense="CC BY-SA 2.5" />
  <row Id="8897" PostHistoryTypeId="2" PostId="5282" RevisionGUID="ebc5c9af-6fa5-4a19-901a-39344d1c2a70" CreationDate="2010-12-27T13:15:59.120" UserDisplayName="user80" Text="I was wondering about what brands on memory people were using?  I have always stuck to Sandisk Extreme III and have had no problems, but I have heard some horror stories and wondered what every one else uses. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8898" PostHistoryTypeId="1" PostId="5282" RevisionGUID="ebc5c9af-6fa5-4a19-901a-39344d1c2a70" CreationDate="2010-12-27T13:15:59.120" UserDisplayName="user80" Text="What solid state memory do you use?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8899" PostHistoryTypeId="3" PostId="5282" RevisionGUID="ebc5c9af-6fa5-4a19-901a-39344d1c2a70" CreationDate="2010-12-27T13:15:59.120" UserDisplayName="user80" Text="&lt;memory&gt;&lt;ssd&gt;&lt;storage&gt;&lt;recommendations&gt;&lt;flash&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8900" PostHistoryTypeId="2" PostId="5283" RevisionGUID="df7b1bdf-1e2e-4300-b7f7-06f37bd8e738" CreationDate="2010-12-27T13:19:11.413" UserDisplayName="user80" Text="I use Mac Pros and MacBooks.  I prefer using smaller screens for audio editing as this makes me attend to more of what I am listening to rather than reading values.  You obviously need a large screen for the video though.  My recommendation is the laptop with a large external monitor for video." ContentLicense="CC BY-SA 2.5" />
  <row Id="8901" PostHistoryTypeId="2" PostId="5284" RevisionGUID="7e32ac6d-5b4d-4510-a72a-de8de9d1b60e" CreationDate="2010-12-27T13:54:38.173" UserId="769" Text="I use an Akai LPK25.  It's good for jotting down ideas but I wouldn't really use it to record entire (timed) parts that often.  Has a great arpeggiator though.  It's a very basic keyboard designed for portable use, but it has much better feel and velocity response than all others in its class, and has a cool arpeggiator.  The rest of the time, I just use my Korg MS2000 as a MIDI controller if I need to.  Amazing synth!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8902" PostHistoryTypeId="2" PostId="5285" RevisionGUID="7bb88829-b84d-4079-8da6-d396b6d26d19" CreationDate="2010-12-27T15:31:46.173" UserId="220" Text="I have used Sandisk Ultra II CF cards for some time now and been very happy with them.  Never had a read/write fault in the 3 or 4 years I've had them.  Use them for both a stereo audio recorder and for a Canon DSLR.  Put thousands of hours of audio, 10,000+ pictures on each of the ones I have and never had an issue. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8903" PostHistoryTypeId="2" PostId="5286" RevisionGUID="4f321a85-e4a3-4e1a-9be2-d26a87547e81" CreationDate="2010-12-27T15:42:55.213" UserId="253" Text="If Australia is an option, then you could check out AFTRS. The current head of sound taught me while i was there, and he's an amazing guy, probably the best teacher i've ever had. The course, i've heard, isn't as good as it used to be, and is more expensive, but it's still very cheap in comparison to USA film schools. And they do have fantastic people teaching sound. not to mention the gear you get to play with.&#xD;&#xA;&#xD;&#xA;As far as internships go, you could try Big Bang or Huzzah in Sydney; or Music and Effects or Soundfirm in Melbourne. They're all very nice, so if you're polite but persistent, you could get a shot." ContentLicense="CC BY-SA 2.5" />
  <row Id="8904" PostHistoryTypeId="2" PostId="5287" RevisionGUID="df4e7ea0-43ff-401e-baae-042536d3055c" CreationDate="2010-12-27T16:55:23.390" UserDisplayName="user80" Text="We have over a dozen oxygen 8s all of which are still going strong, some of which are the original midiman model. Whichever model you buy the m-audio keyboards are a safe bet.  If you play the piano the semi-weighted keys on the axiom are a lot better. If you don't play the piano then the lighter oxygen keys will help when you need to trigger samples quickly." ContentLicense="CC BY-SA 2.5" />
  <row Id="8905" PostHistoryTypeId="2" PostId="5288" RevisionGUID="dc84f09e-c1c0-4aa9-9f54-1a6f55560e31" CreationDate="2010-12-27T18:25:03.280" UserId="338" Text="What does the future hold for sound design and plug-in technologies?  I see 3d audio plugins being released and becoming usable and affordable.  What else does everyone see, if you still have your crystal balls in almost 2011?&#xD;&#xA;&#xD;&#xA;What would you like to see/have happen?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8906" PostHistoryTypeId="1" PostId="5288" RevisionGUID="dc84f09e-c1c0-4aa9-9f54-1a6f55560e31" CreationDate="2010-12-27T18:25:03.280" UserId="338" Text="The future in sound design and plug-in technologies" ContentLicense="CC BY-SA 2.5" />
  <row Id="8907" PostHistoryTypeId="3" PostId="5288" RevisionGUID="dc84f09e-c1c0-4aa9-9f54-1a6f55560e31" CreationDate="2010-12-27T18:25:03.280" UserId="338" Text="&lt;future&gt;&lt;plugin&gt;&lt;ideas&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8908" PostHistoryTypeId="2" PostId="5289" RevisionGUID="26c60f07-1a73-49f3-9ffe-00ba006f605d" CreationDate="2010-12-27T22:46:34.880" UserId="61" Text="I'm looking forward to a Kinect-type interface for workstations in lieu of the standard QWERTY keyboard/tablet + stylus/trackball tools. Being able to stand and move around while working would be great from a physical well-being standpoint, since so many editors/designers suffer from back pain, carpal tunnel syndrome and just a generally sedentary lifestyle. Would also make work more inspiring (and potentially less repetitious) to see and interact with audio and regions and timelines in a 3D space. Think Minority Report…" ContentLicense="CC BY-SA 2.5" />
  <row Id="8911" PostHistoryTypeId="2" PostId="5291" RevisionGUID="b2bcf9e7-9ebe-4372-a78d-af724d36d1cd" CreationDate="2010-12-28T00:11:12.193" UserId="194" Text="I think the most obv answer is anything that taxes computing power now will become much more lightweight in the future.  Things like noise reduction, reverbs, synths, that sort of thing will continue to forge ahead.&#xD;&#xA;&#xD;&#xA;connectivity will increase as well so remote video serving and storage, remote mixing, iChat style mixing and cutting, cloud based sfx and music libraries, etc.&#xD;&#xA;&#xD;&#xA;Interactivity will continue its rise, so wii and kinect style interfaces both for creation and playback of sounds will continue.  Also, more and more mixes will happen at runtime outside of the videogame domain.  People will be able to choose to mute dialogue and fx and just listen to the music, or vice versa.  They'll be adding things and subtracting things from the tv mix because users will be more actively interacting with the content. This means more delivery of splits and reduced mix quality in the tv and internet world.  TV and film may also go choose-your-adventure style, which means multiple mix versions to cover various user decisions.  &#xD;&#xA;&#xD;&#xA;speech synthesis and recognition will continue being perfected.  At some point you'll just load in a script and just tweak computer voice inflections.  Famous actors will be voice-modeled, and you'll use them like graphic designers use fonts.&#xD;&#xA;&#xD;&#xA;budgets will go down or stay the same, expectations will continue to rise.&#xD;&#xA;&#xD;&#xA;speaker technology will change and allow for more pinpoint placement of things either in a crowd of people or on the sonic stage.  This will complicate mixing.&#xD;&#xA;&#xD;&#xA;microphone technology will continue to evolve.  mic arrays that extract point source material from dense sonic landscapes will come more into use.&#xD;&#xA;&#xD;&#xA;either that or none of that stuff will happen.  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8912" PostHistoryTypeId="5" PostId="5291" RevisionGUID="393193c4-9eb5-4212-a4b8-947cff884e6b" CreationDate="2010-12-28T00:16:52.087" UserId="194" Comment="added 233 characters in body" Text="I think the most obv answer is anything that taxes computing power now will become much more lightweight in the future.  Things like noise reduction, reverbs, synths, that sort of thing will continue to forge ahead.&#xD;&#xA;&#xD;&#xA;connectivity will increase as well so remote video serving and storage, remote mixing, iChat style mixing and cutting, cloud based sfx and music libraries, etc.&#xD;&#xA;&#xD;&#xA;Interactivity will continue its rise, so wii and kinect style interfaces both for creation and playback of sounds will continue.  Also, more and more mixes will happen at runtime outside of the videogame domain.  People will be able to choose to mute dialogue and fx and just listen to the music, or vice versa.  They'll be adding things and subtracting things from the tv mix because users will be more actively interacting with the content. This means more delivery of splits and reduced mix quality in the tv and internet world.  TV and film may also go choose-your-adventure style, which means multiple mix versions to cover various user decisions.  &#xD;&#xA;&#xD;&#xA;speech synthesis and recognition will continue being perfected.  At some point you'll just load in a script and just tweak computer voice inflections.  Famous actors will be voice-modeled, and you'll use them like graphic designers use fonts.&#xD;&#xA;&#xD;&#xA;budgets will go down or stay the same, expectations will continue to rise.&#xD;&#xA;&#xD;&#xA;speaker technology will change and allow for more pinpoint placement of things either in a crowd of people or on the sonic stage.  This will complicate mixing.&#xD;&#xA;&#xD;&#xA;microphone technology will continue to evolve.  mic arrays that extract point source material from dense sonic landscapes will come more into use.&#xD;&#xA;&#xD;&#xA;Massive corporations will continue to consolidate and crush competition.  Anyone that writes any software of use will be quickly consumed by Avid/Apple/Microsoft.  Everything will continue to get cracked and distributed for free.&#xD;&#xA;&#xD;&#xA;either that or none of that stuff will happen.  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8913" PostHistoryTypeId="2" PostId="5292" RevisionGUID="85c17fc4-b700-44f0-b7f2-3f2e1db6381b" CreationDate="2010-12-28T00:27:47.530" UserId="6420" Text="Having just got my hands on an iphone 4 It'll be interesting to see how things will develop in terms of sound design and mobile apps. Having all the touch screen interactivity, motion control type gubbins and wireless control opens up a lot of exciting possibilities. &#xD;&#xA;&#xD;&#xA;What would be cool is if plugin/app makers developed something like AU/VST plugin that would could load up that basically acted as a 'host' (like an audio &quot;Oscalator&quot;?). The audio streaming via wifi to your iPhone/iPad to an app that processed it in whichever app 'plugin' you had. For example using touch screen and accelerometer movement to control say a filter or morphing effect (I'm imagining something like Prosoniq Morp as an app! lol). Once processed its then streamed back to the 'host' AU/VST plugin in you DAW and hey presto!&#xD;&#xA;&#xD;&#xA;Maybe? ;)&#xD;&#xA;&#xD;&#xA;Who knows.. but I'm sure lots of cool things for sound design will develop&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8914" PostHistoryTypeId="2" PostId="5293" RevisionGUID="fafcbe48-5957-468a-8250-289044aa6b93" CreationDate="2010-12-28T01:17:39.790" UserId="670" Text="Thanks for all the suggestions. I think I'm going to go with the Axiom 25." ContentLicense="CC BY-SA 2.5" />
  <row Id="8915" PostHistoryTypeId="2" PostId="5294" RevisionGUID="aea19d68-6e92-4f2c-8954-837e0aef4759" CreationDate="2010-12-28T01:19:16.967" UserId="670" Text="Has anyone had experience with the Presonus Faderport or Frontier Design AlphaTrack?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8916" PostHistoryTypeId="1" PostId="5294" RevisionGUID="aea19d68-6e92-4f2c-8954-837e0aef4759" CreationDate="2010-12-28T01:19:16.967" UserId="670" Text="USB DAW Fader controller" ContentLicense="CC BY-SA 2.5" />
  <row Id="8917" PostHistoryTypeId="3" PostId="5294" RevisionGUID="aea19d68-6e92-4f2c-8954-837e0aef4759" CreationDate="2010-12-28T01:19:16.967" UserId="670" Text="&lt;fader&gt;&lt;controller&gt;&lt;midi&gt;&lt;usb&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8918" PostHistoryTypeId="2" PostId="5295" RevisionGUID="d68fd537-9473-4ed3-a6d3-d1132fefdc9a" CreationDate="2010-12-28T02:50:58.043" UserId="542" Text="I do have the Presonus Faderport running with Logic Express 8. The Fader and buttons work, the panpot doesnt(when I twist it the pan jumps from left to right irregulary).&#xD;&#xA;The controller itself feels good, even if you have to press the buttons really hard, which is why I rarely use them.&#xD;&#xA;&#xD;&#xA;To be honest: I used it for one project, but right now I do 90% of the automations via the editor in Logic or with the with the controllerknobs of my MIDI keyboard. I wont sell the Faderport, but I wont buy him again, since I rarely use it. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8919" PostHistoryTypeId="2" PostId="5296" RevisionGUID="204d0cb8-9a0b-45c7-b231-ef3ea1438a0a" CreationDate="2010-12-28T06:13:06.003" UserId="670" Text="The other day I accidentally hit the vibrate button on my razor before picking it up from the toothbrush holder where it resides. I thought it made an interesting sound so I recorded it. I just wish the recording didn't come out so soft. Enjoy!&#xD;&#xA;&#xD;&#xA;[Razor vibrations][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/mitchell-scott/razor-vibratin" ContentLicense="CC BY-SA 2.5" />
  <row Id="8920" PostHistoryTypeId="2" PostId="5297" RevisionGUID="df0753e1-e685-4594-b120-ec8dc4b2f273" CreationDate="2010-12-28T06:56:04.140" UserId="61" Text="A dual-mono hydrophone recording of 30 lobsters milling around in an underwater box. And would you believe I deleted it to make room on the card?? It's the &quot;one that got away&quot;…" ContentLicense="CC BY-SA 2.5" />
  <row Id="8921" PostHistoryTypeId="2" PostId="5298" RevisionGUID="d181ca68-20e0-43aa-a5c8-7794f05acbb8" CreationDate="2010-12-28T12:05:31.000" UserDisplayName="user80" Text="Try going to a scrap yard, they have fabulous machinery that uses different sizes of motors.  The really cool thing is that they are often happy to put the motors under different levels of stress, so that you can achieve a wide variety of sounds." ContentLicense="CC BY-SA 2.5" />
  <row Id="8922" PostHistoryTypeId="2" PostId="5299" RevisionGUID="047bcd75-e939-4edf-b54b-51b097af9329" CreationDate="2010-12-28T13:07:34.877" UserId="194" Text="my favorites are cameras and tape decks because they have complex movements.  I've never had much luck with the bigger more straightforward servos.  &#xD;&#xA;&#xD;&#xA;RC cars need more investigating in my world though..." ContentLicense="CC BY-SA 2.5" />
  <row Id="8923" PostHistoryTypeId="2" PostId="5300" RevisionGUID="c7d6fe72-efa4-4acb-aaf9-c3a7f7cd6da1" CreationDate="2010-12-28T16:00:41.293" UserId="220" Text="Rene is on to something - I think you can make some predictions based on the state of the movie industry.  Let's do this by the numbers:&#xD;&#xA;&#xD;&#xA; - Summer 2010 saw the worst movie theater attendance in 10 years.  November (prime Christmas movie time), had the worst attendance in 15 years.  3D was not the savior of the industry.  &#xD;&#xA; - In February of this year, Sony fired 450 people because of low DVD sales (not that it was their fault...) - about 12% lower this year than last.  Blu-Ray sales have not been any better.&#xD;&#xA; - In late 2009, a survey showed that 46% of households owned at least one HDTV.  With prices being low low low these days, I imagine that has increased significantly.  &#xD;&#xA; - Netflix and Redbox had huge gains this year.  KMart and Sears just launched an on-demand movie rental service, just as Amazon, Best Buy, and Wal-Mart have been doing.  To top it off, Amazon and Disney have started offering on-demand copies of movies when you buy the Blu-Ray.  &#xD;&#xA; - I am having trouble finding data on the television industry, but as always reality television is on the rise.&#xD;&#xA;&#xD;&#xA;What does it all mean when it comes down to sound designers and how we will be working?  Here are some of my opinions and ideas; I would love to hear what everyone thinks.  &#xD;&#xA;&#xD;&#xA; - Designing for compression.  Every radio station has a transmission audio processor that greatly affects the mix of a song.  Many mixers now create several mixes - one for the radio with stripped back processing and one for the CD.  I believe that films will need to have the same flexibility.  Streaming video can change the dynamic of your mix in ways that are not pleasant.  You've got to take that in to consideration - that massive explosion doesn't sound so huge compressed and then fed through sub-par HDTV speakers.&#xD;&#xA; - Working faster.  This is what we all strive to do regardless, but I think more than ever you will need to do more work faster to make a living.  There are some great plugins coming out that use a lot of processing power and take some time to do their thing - can you afford long processing times when you're trying to get work done?&#xD;&#xA; - Bit-rate and depth.  Our favorite topic.  [This list][1] is fascinating.  At the end of last year, the number of Blu-Ray discs with 96k or higher sample rates was about a dozen.  The number with uncompressed 48k, 24-bit was about 50.  Blu-Rays have the capacity, but I don't believe the audiences that purchase the vast majority of discs care.  Maybe my ears are not so great, but I have trouble telling the difference between different rates and compressions without a reference point to start.  I do not see 96k being implemented any more than it has been.&#xD;&#xA; - Computers will get faster and cheaper.  This we know.  I believe plugins will have trouble keeping up with all the processing available.  This might be in contradiction to the previous point, but it seems that a lot of plugins are not utilizing the hardware as well as they could.&#xD;&#xA; - Despite affordable HD cinema-looking cameras (Canon 7d, etc), affordable sound options (Zoom..), independent films will continue to look and sound poor.  Being mostly within the independent realm, this is frustrating.  The quality of work should be going up and challenging Hollywood, but it is not.  Hollywood itself is doing some very cool movies - digital effects are more realistic, sound is sounding amazing - but its quality has decreased as well from story to production quality.  I remember watching a movie shot on RED that was a wide release and had soft shots, terrible lighting, and some of the worst sound I've heard in a studio picture.  As an aside - are we doing things now with sound that we couldn't have 10 years ago with maybe more effort?  Are we just doing more cheaper?&#xD;&#xA;&#xD;&#xA;This isn't exactly in line with the question asked, but I think there are some things to think about.  I don't think there will be revolutions in audio, but definitely some evolution. Thanks for reading all of that, if you got through it!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avsforum.com/avs-vb/showthread.php?t=760714" ContentLicense="CC BY-SA 2.5" />
  <row Id="8924" PostHistoryTypeId="2" PostId="5301" RevisionGUID="0d785fbd-4f81-44b2-8c9c-40dfbb1f0551" CreationDate="2010-12-28T16:25:43.257" UserId="726" Text="If you're trying to use the stutter effect in Logic Pro, then I really recommend having a quick look at this tutorial by SF Logic Ninja. He shows how to get a really effective stutter on a drumbeat, but the same technique can be applied to other sounds:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/user/SFLogicNinja#p/u/53/xAIX-M0NEVQ&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8925" PostHistoryTypeId="2" PostId="5302" RevisionGUID="9001f26c-f7f7-4a17-91c4-2d0edc5afcf5" CreationDate="2010-12-28T17:17:57.717" UserId="746" Text="I'm not advertising anything here, but the future is really close, heh, Reaper v4 is planned for release and this is the most open/full of features/lightweight/audio quality-centric sequencer a sound designer can have. Full with features we prayed for years, scripting, open SDK, many community tools.. And it's just like a transparent layer between you and your creations. And have you seen their new surround panner?&#xD;&#xA;&#xD;&#xA;But for really futuristic stuff:&#xD;&#xA;&#xD;&#xA;1) Open project format for all sequencers&#xD;&#xA;&#xD;&#xA;2) Incorporation of syncing with other media related applications, like syncing time with Maya's timeline for animation and audio playback from your sequencer&#xD;&#xA;&#xD;&#xA;3) Real time streaming from my master-bus or auxiliary-bus for customer's review overIP&#xD;&#xA;&#xD;&#xA;4) Better quality for the voice processing tools due to more processing power and new techniques&#xD;&#xA;&#xD;&#xA;5) A true hi-end ambisonics field recorder with hd camera on top of that&#xD;&#xA;&#xD;&#xA;Many wishes to all for a creative and happy new year!!!&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8926" PostHistoryTypeId="2" PostId="5303" RevisionGUID="6f1902af-a5b2-4b8c-8468-154fac1fe521" CreationDate="2010-12-28T17:52:58.477" UserDisplayName="user80" Text="Enhancements to the DNA plug-in so that it works timbrally as well as spectrally.  That way we can separate out anything." ContentLicense="CC BY-SA 2.5" />
  <row Id="8927" PostHistoryTypeId="2" PostId="5304" RevisionGUID="c6a2fb54-771f-4d8b-a750-d488739dde22" CreationDate="2010-12-28T18:09:15.143" UserDisplayName="user80" Text="Take a speech track from anywhere and use it as a side chain on a noise gate or expander affecting the track that you want to stutter.&#xD;&#xA;&#xD;&#xA;Try different combinations of unrelated speech with a kick or snare track as triggers if you want it more rhythmic." ContentLicense="CC BY-SA 2.5" />
  <row Id="8928" PostHistoryTypeId="2" PostId="5305" RevisionGUID="253165ce-fed0-4ad0-a13a-f66bc723e467" CreationDate="2010-12-28T19:46:41.483" UserDisplayName="user49" Text="I hope my future includes an entirely malleable form of sound manipulation simultaneously in the time and frequency domains. Effortlessly with real time rendering at very high sample rates and using an intuitive but complex interface - like learning an acoustic instrument rather than studying for a computing degree.... I could see it in some ways as being a 3d holographic interface like a waterfall spectral display but with force feedback gloves (sub sounds are heavier etc) so you can grab frequencies, alter dynamics, placement &amp; alter them.... Overlaying multiple source elements can optionally involve merging, convolution, parameter morphing etc, all with instant super high resolution analysis and resynthesis, where the resynthesis is indistinguishible from the original... It also incorporates spatialisation/placement for 11.2 and beyond including motion tracking for video and/or live audio/ visual/data feeds... It runs on a future version of the ipod nano&#xD;&#xA;&#xD;&#xA;Closer to reality/immediate future, I'd love it if Waves actually developed their Doppler plugin - it hasnt been updated since I bought it five or ten years ago!?! Grrrrrrr.... Where is the LCR support? 5.1 support? 7.1 support? Variable speed/acceleration/deceleration movement? Variable proximity in approach/passby/away? Weather/humidity factors? Imho it is the best plugin they have ever made, and it is a great shame its been left to gather dust" ContentLicense="CC BY-SA 2.5" />
  <row Id="8929" PostHistoryTypeId="2" PostId="5306" RevisionGUID="6697f8a5-cc91-45d4-8f09-51c11ed66ba6" CreationDate="2010-12-28T19:54:06.713" UserId="758" Text="&#xD;&#xA;   &#xD;&#xA;I hope everyone enjoyed their Christmas. I've been meaning to put this up for a while, but i've been hesitant because I don't wanna look like some weirdo. Like the title suggests i'm pretty much into making this kind of sound, but I've noticed that not many people are into it where i'm from (Dublin). I was hoping to meet people on the forum who had like minded interests, and was maybe into making similar kind of stuff. It would be cool to talk, share ideas, music, recommendations etc... It would be great to setup a little community, a blog, or chat over the net, that would be sweet. If anyone is interested, or just wants to ridicule the idea , just send me a p.m. It would be great to meet individuals who are doing this, as i'm pretty much alone and it sucks. &#xD;&#xA;Thanks. &#xD;&#xA;&#xD;&#xA;( I know this is the whole point in a forum, but I just wanted to get to know people who are doing this, as it's pretty annoying when your friends tell you that just sounds like noise  ) &#xD;&#xA;&#xD;&#xA;Hope everyone had a good Christmas. " ContentLicense="CC BY-SA 2.5" />
  <row Id="8930" PostHistoryTypeId="1" PostId="5306" RevisionGUID="6697f8a5-cc91-45d4-8f09-51c11ed66ba6" CreationDate="2010-12-28T19:54:06.713" UserId="758" Text="Avant Garde Enthusiasts (drone, noise etc..)    " ContentLicense="CC BY-SA 2.5" />
  <row Id="8931" PostHistoryTypeId="3" PostId="5306" RevisionGUID="6697f8a5-cc91-45d4-8f09-51c11ed66ba6" CreationDate="2010-12-28T19:54:06.713" UserId="758" Text="&lt;sound-design&gt;&lt;community&gt;&lt;ambience&gt;&lt;drone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8932" PostHistoryTypeId="2" PostId="5307" RevisionGUID="5e0583f9-d9df-4584-b8ae-5ae8d07856e8" CreationDate="2010-12-28T23:19:05.727" UserId="37" Text="Kyma for Xbox. Pro Tools for iPhone, and Logic running on a mid-level microwave oven. Wristwatch 24/192 sound recorders. And the Euphonix MC Control will play Doom. &#xD;&#xA;&#xD;&#xA;Democracy (and FFT for all). Moarr of everything for less dollar. Legislation against the use of the General series, especially doors. Appreciation of mid frequencies. Traffic removal plugins.&#xD;&#xA;&#xD;&#xA;Anyway, back to Earth, hopefully more independent sound design libraries, small-scale control surfaces with automation features, tablet trackers &amp; DAWs. Hopefully better listening environments." ContentLicense="CC BY-SA 2.5" />
  <row Id="8934" PostHistoryTypeId="2" PostId="5308" RevisionGUID="25bfdd2d-3242-4528-a9be-7f4e9eb29e3d" CreationDate="2010-12-29T10:36:01.447" UserId="182" Text="- The introduction of [wave field synthesis][1] in cinemas. This will make doing sound much more difficult, but it will also add a level of realism that has the power to pull people from their 'surroundy' home setups into the theater.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Wave_field_synthesis&#xD;&#xA;&#xD;&#xA;- A transparent, foldable mat that you can cut to size and stick on any computer screen, lcd, plasma or wall, that adds multitouch functionality.&#xD;&#xA;The force feedback gloves as mentioned by Tim are an optional extra for if you want to feel the virtual faders and knobs and sounds.&#xD;&#xA;&#xD;&#xA;(cool topic btw!)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8935" PostHistoryTypeId="2" PostId="5309" RevisionGUID="8d848b2b-eede-4a79-91ea-359217598ccf" CreationDate="2010-12-29T11:07:02.397" UserId="772" Text="I'm currently sound designing for a presentation movie of a new interface system and i'm trying to figure out this shot : somebody jumps on a hi-tech, blue illuminated ground . A shockwave starts from his feet and distorts the ground all around. This is supposed to sound light and hi-tech, not harsh or heavy like a earthquake. Some low rumble wouldn't harm though, I guess.&#xD;&#xA;&#xD;&#xA;I've thought about a synth with an organic high-resonance filter that swipes from low to high frequencies, with some kind of light phaser. If you have ever ridden the &quot;Rock'n'Roller Coaster&quot; thrill ride in Disney Land Paris and remember the launch sequence sound design, you should have a pretty good idea of what i have in mind.&#xD;&#xA;&#xD;&#xA;Not sure it's gonna work, though, so what kind of sound would *you* design for this, and how ? " ContentLicense="CC BY-SA 2.5" />
  <row Id="8936" PostHistoryTypeId="1" PostId="5309" RevisionGUID="8d848b2b-eede-4a79-91ea-359217598ccf" CreationDate="2010-12-29T11:07:02.397" UserId="772" Text="Hi-tech ground shockwave ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8937" PostHistoryTypeId="3" PostId="5309" RevisionGUID="8d848b2b-eede-4a79-91ea-359217598ccf" CreationDate="2010-12-29T11:07:02.397" UserId="772" Text="&lt;floor&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8938" PostHistoryTypeId="5" PostId="5307" RevisionGUID="d2b37de5-e433-4db6-98e9-b82afc44482d" CreationDate="2010-12-29T13:25:17.203" UserId="37" Comment="added 187 characters in body" Text="Kyma for Xbox. Pro Tools for iPhone, and Logic running on a mid-level microwave oven. Wristwatch 24/192 sound recorders. And the Euphonix MC Control will play Doom. &#xD;&#xA;&#xD;&#xA;Democracy (and FFT for all). Moarr of everything for less dollar. Legislation against the use of the General series, especially doors. Appreciation of mid frequencies. Traffic removal plugins.&#xD;&#xA;&#xD;&#xA;Anyway, back to Earth, hopefully more independent sound design libraries, small-scale control surfaces with automation features, tablet trackers &amp; DAWs. Hopefully better listening environments.&#xD;&#xA;&#xD;&#xA;p.s. footstep midi sensors, positional actor sensors and accelerometers, cloth noise synthesis, particle synthesis for cgi, if you so much love tech. (the cgi one is actually present)" ContentLicense="CC BY-SA 2.5" />
  <row Id="8939" PostHistoryTypeId="5" PostId="5304" RevisionGUID="d91931ec-cb3c-467f-abdb-ef6d5fcf6a8a" CreationDate="2010-12-29T15:21:24.207" UserDisplayName="user80" Comment="added 21 characters in body" Text="Take a speech track from anywhere and then speed it up and use it as a side chain on a noise gate or expander affecting the track that you want to stutter.&#xD;&#xA;&#xD;&#xA;Try different combinations of unrelated speech with a kick or snare track as triggers if you want it more rhythmic." ContentLicense="CC BY-SA 2.5" />
  <row Id="8940" PostHistoryTypeId="2" PostId="5310" RevisionGUID="b38b413e-9a3a-4cb3-ab62-dd31e012e058" CreationDate="2010-12-29T15:23:52.347" UserDisplayName="user80" Text="How about a pitched up helicopter rotor blade passed through a doppler so that the pitch drops as it emanates away from the character?&#xD;&#xA;&#xD;&#xA;I would also include a blade scrape on each cycle so that it provides the feel of the wave 'cutting' through the material." ContentLicense="CC BY-SA 2.5" />
  <row Id="8941" PostHistoryTypeId="2" PostId="5311" RevisionGUID="d2893b9c-c15f-484c-8a60-5fc9ce2f5500" CreationDate="2010-12-29T16:55:07.857" UserId="774" Text="I just found this thread after recording about an hour of voiceover and driving myself crazy trying to reduce my clicks. I do a lot of narration that then gets sent to a producer for cleanup and final production. But it's annoying and embarrassing to send out a file filled with clicks! So I end up doing a fair amount of manual cleanup before i send it out. I've tried several filters in Audacity,but so far, no magic bullet.&#xD;&#xA;&#xD;&#xA;I do find that the granny smith apple idea works pretty well, at least for a few minutes into recording. But the discussion about better articulation is interesting. I've found that the more I articulate, the more clicks I hear. Perhaps because the tongue is working hard to be clear, and that can cause some freezing up or something. But I'll play with that further. &#xD;&#xA;&#xD;&#xA;I also find that if I can humidify my studio before I start, that helps a lot, too -- just using a room humidifer. Obviously can't leave it on for recording, so the usefulness is limited. But that also reminds me that this problem seems worse in the dry winter months.&#xD;&#xA;&#xD;&#xA;Thanks for all the ideas! MT" ContentLicense="CC BY-SA 2.5" />
  <row Id="8942" PostHistoryTypeId="2" PostId="5312" RevisionGUID="0bccd3f1-06f2-443c-9919-18b0fcc11326" CreationDate="2010-12-29T17:52:04.477" UserId="112" Text="I always do long takes and almost never do any voice announcing.  For one, when you go to edit the file you are increasing your workload because you have to edit out the voice in addition to editing the sfx.  Also, if you think about it ... when you drop a rock 5 times, you will see this in the .wav files when you go to edit, so you can name them as you edit them&#xD;&#xA;&#xD;&#xA;A long file is better because you only need to import one file into your DAW, instead of 20 or whatever.&#xD;&#xA;&#xD;&#xA;The only time I've announced is when the sound is very specific, like an exact type of antique car engine, or a specific type of gun for example&#xD;&#xA;&#xD;&#xA;Otherwise, you'll most likely recognize and remember what is was you recorded so don't bother wasting time announcing and stopping and restarting the record button.  You can do all the naming and organizing later in the process.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8943" PostHistoryTypeId="2" PostId="5313" RevisionGUID="f5a4d4c7-6042-43ee-9b5e-03cb3f2c891c" CreationDate="2010-12-30T02:50:08.537" UserId="18160" Text="Here is what I would do (without seeing the picture it goes with is hard to guess):&#xD;&#xA;&#xD;&#xA;I'd emphasize the ambiences before he jumps down or out of or from wherever he is, then fade to zero before he hits the ground.&#xD;&#xA;&#xD;&#xA;Then use a regular-old oscillator starting about 80 Hz and sweep it down to 25 (depending on what it will be played back on, add a DBX 120A, compress it maybe) as well as using a monotone element like bowed glass or something shrill and that has high-frequency content and pitch it using the same envelope, and then I'd try something cool like modem noise or 8-bit distortion or something really low-fi might sound great there. Or try turning the previous sine-wave into a saw-tooth or square wave and filter it and do crazy stuff like on of those Korg mini-keyboard synths. Might be awesome.&#xD;&#xA;&#xD;&#xA;The reference I'm thinking of for you to check out is in the Prologue to Lord of the Rings - Fellowship, when Sauron gets killed by the King and it fades to zero and theres just a low sine-wave blaring like a sonic boom." ContentLicense="CC BY-SA 2.5" />
  <row Id="8944" PostHistoryTypeId="5" PostId="5313" RevisionGUID="78e9ff13-6be7-45a5-b7f4-b7bd127c2102" CreationDate="2010-12-30T02:55:18.403" UserId="18160" Comment="added 262 characters in body" Text="Here is what I would do (without seeing the picture it goes with is hard to guess):&#xD;&#xA;&#xD;&#xA;I'd emphasize the ambiences before he jumps down or out of or from wherever he is, then fade to zero before he hits the ground.&#xD;&#xA;&#xD;&#xA;Then use a regular-old oscillator starting about 80 Hz and sweep it down to 25 (depending on what it will be played back on, add a DBX 120A, compress it maybe) as well as using a monotone element like bowed glass or something shrill and that has high-frequency content and pitch it using the same envelope, and then I'd try something cool like modem noise or 8-bit distortion or something really low-fi might sound great there. Or try turning the previous sine-wave into a saw-tooth or square wave and filter it and do crazy stuff like on one of those Korg mini-keyboard synths. Might be awesome.&#xD;&#xA;&#xD;&#xA;The reference I'm thinking of for you to check out is in the Prologue to Lord of the Rings - Fellowship, when Sauron gets killed by the King and it fades to zero and theres just a low sine-wave blaring like a sonic boom.&#xD;&#xA;&#xD;&#xA;But, things like this it's best to experiment and as you experiment you'll ditch previous ideas and go with new ones now acquired and just have fun - that's what designing sounds is all about.&#xD;&#xA;&#xD;&#xA;P.S. don't forget to post what you end up with! Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="8949" PostHistoryTypeId="2" PostId="5315" RevisionGUID="e4d306b6-af51-4e86-bd29-770062e37494" CreationDate="2010-12-30T13:01:33.183" UserDisplayName="user80" Text="Always leave the recorder running, otherwise you will miss something.  Make lots of notes on paper with the timings. It is incredibly useful to verbally slate but not always appropriate, especially if you have limited time.  Also avoid wiping your memory cards until you absolutely have to.  What you thought was a bad take is often a good take for a completely unrelated project." ContentLicense="CC BY-SA 2.5" />
  <row Id="8950" PostHistoryTypeId="2" PostId="5316" RevisionGUID="664ca5cf-7319-468f-bb1e-04d95a7159ca" CreationDate="2010-12-30T16:55:17.860" UserId="578" Text="Hello everybody,&#xD;&#xA;&#xD;&#xA;I am having an issue with Mid-Side recording that is really confusing me. I am using a Rode NTG3 as the mid, and a MKH30 as the side mic. I have been conducting tests using my voice and also a sine wave. The issue is that the stereo field is not properly translated after MS decoding. When I speak at 90 degrees off axis, this is translated after decoding as if my voice is more or less in the center. Whenever I speak at about 45 degrees off axis, the stereo positioning after decoding is correct. This issue happens on both left and right, so both 90 degrees L and R are positioned in the center. &#xD;&#xA;&#xD;&#xA;I have done various tests in order to find the root of the problem. With regards to decoding, I have tried three different types: manual, using the freeware MSED plugin in my DAW, and using the MS decoder in my field recorder (Tascam DR680). The result is all the time the same.&#xD;&#xA;&#xD;&#xA;I have also tried adjusting the width of the M/S decoding. The issue stays pretty much the same regardless of the width I set. The stereo field changes according to the width setting, but 90 degrees off axis is always centered.&#xD;&#xA;&#xD;&#xA;I have done tests using my Rode NT1a and NT2a, with the NT2a set to figure of eight and used as the side mic. This configuration behaves pretty much normally. The wider I set the MS width, the more pronounced the 90 degrees sound is placed at either hard L or R.&#xD;&#xA;&#xD;&#xA;I have done various adjustments of the recording gain of the NTG3 relative to the MKH30. As the NTG3 is more sensitive (31 mv/Pa) than the MKH30 (25mv/Pa), I'd assume that normally you would turn the gain of the NTG3 down a few dBs in order to get an even stereo field. Whatever adjustment I made to the gain, it never sounded like proper stereo in case of sounds coming at 90 degrees off axis.&#xD;&#xA;&#xD;&#xA;I've also had briefly access to a Neumann 191, and in fact had exactly the same issue as with the NTG3/MKH30, so this confuses matters even more. Neither of the mics that I have used are having any issues of themselves, it's just that when doing this test I get these results. What I'm trying to say is that I'm pretty sure that none of the mics I am using is faulty. &#xD;&#xA;&#xD;&#xA;I have also tried various cables, this is not the issue either. Neither is the issue with my recorder. I have used both my Tascam and my M-Audio soundcard, both with the same results. The MKH30 is mounted as close to the NTG3 as possible, and moving the position of the MKH30 did not help.&#xD;&#xA;&#xD;&#xA;I have uploaded a recording to showcase the issue. For this test, I played back a sine wave (440 hz) at about a meter distance at both 90 and 45 degrees off axis and recorded it simultaneously with the NTG3/MKH40 setup and my Rode NT4 for reference.&#xD;&#xA;&#xD;&#xA;I've added comments in the sound file to explain which is which. One can clearly hear that at 90 degrees, the MS setup captures the sine wave as if it's coming from the center, whereas at 45 degrees things are positioned correctly.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F8567618&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F8567618&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/daan-hendriks/ms-test&quot;&gt;MS test&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/daan-hendriks&quot;&gt;Daan Hendriks&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;If anybody has any idea what is going on here, I would be very grateful because I am out of ideas how to solve this.&#xD;&#xA;I will be renting another MKH30 with MKH50 and MKH60 to conduct more tests. Perhaps the issue has to do with the Rode and Sennheiser not being properly matched, but looking at the specs of both mics, there is not too much of a difference - one would still expect these mics to behave normally in a MS setup, I would think?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8951" PostHistoryTypeId="1" PostId="5316" RevisionGUID="664ca5cf-7319-468f-bb1e-04d95a7159ca" CreationDate="2010-12-30T16:55:17.860" UserId="578" Text="Issues with M/S recording - 90 degrees off axis positioned in center" ContentLicense="CC BY-SA 2.5" />
  <row Id="8952" PostHistoryTypeId="3" PostId="5316" RevisionGUID="664ca5cf-7319-468f-bb1e-04d95a7159ca" CreationDate="2010-12-30T16:55:17.860" UserId="578" Text="&lt;mid-side&gt;&lt;ntg3&gt;&lt;mkh30&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8953" PostHistoryTypeId="2" PostId="5317" RevisionGUID="94c5fc70-5501-4211-b7e3-0b29dc39eda2" CreationDate="2010-12-30T18:12:09.083" UserId="6499" Text="I have been searching around looking for some basic information on re conforming to new picture edits.  I have come across the write ups on specific auto conform programs which unfortunately do not seem to be compatible with Nuendo, which is the DAW that I use.  The only one that may seem to work is Editrace but still I can not confirm that.  &#xD;&#xA;&#xD;&#xA;We have not shot the film, but I want to make sure that the post workflow is smooth.  Sound is for the most part a written character in the story, so I have been designing sounds so the editor can use them to cut with and even to use on set in some instances.  &#xD;&#xA;&#xD;&#xA;This short is a thesis film and normally I require having a picture lock to avoid the issues with new picture cuts, but I know to make the best story and best film possible it will have to bounce back and forth between the picture editor and myself.&#xD;&#xA;&#xD;&#xA;I am not really looking for the easy one button auto conform, but more of a breakdown on the process even if I do it manually.  I have never used EDLs and that process, So does anyone have some links or places so I can read up on that process and familiarize myself with what the editor will need to do for me and what I need to do for them.  &#xD;&#xA;&#xD;&#xA;Unfortunately I am away from my house for the break and all of my books and reference materials are still on my bookshelf at home.  Any information on that process and insight into the professional workflow would be amazing.  The student film workflow is no where near the same process.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Michael Gilbert" ContentLicense="CC BY-SA 2.5" />
  <row Id="8954" PostHistoryTypeId="1" PostId="5317" RevisionGUID="94c5fc70-5501-4211-b7e3-0b29dc39eda2" CreationDate="2010-12-30T18:12:09.083" UserId="6499" Text="Some questions about reconforming to new picture edits" ContentLicense="CC BY-SA 2.5" />
  <row Id="8955" PostHistoryTypeId="3" PostId="5317" RevisionGUID="94c5fc70-5501-4211-b7e3-0b29dc39eda2" CreationDate="2010-12-30T18:12:09.083" UserId="6499" Text="&lt;conform&gt;&lt;edl&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8958" PostHistoryTypeId="5" PostId="5316" RevisionGUID="203457a4-5513-4a0b-a1ff-72741df33ec0" CreationDate="2010-12-30T19:42:09.933" UserId="578" Comment="added 251 characters in body" Text="Hello everybody,&#xD;&#xA;&#xD;&#xA;I am having an issue with Mid-Side recording that is really confusing me. I am using a Rode NTG3 as the mid, and a MKH30 as the side mic. I have been conducting tests using my voice and also a sine wave. The issue is that the stereo field is not properly translated after MS decoding. When I speak at 90 degrees off axis, this is translated after decoding as if my voice is more or less in the center. Whenever I speak at about 45 degrees off axis, the stereo positioning after decoding is correct. This issue happens on both left and right, so both 90 degrees L and R are positioned in the center. &#xD;&#xA;&#xD;&#xA;I have done various tests in order to find the root of the problem. With regards to decoding, I have tried three different types: manual, using the freeware MSED plugin in my DAW, and using the MS decoder in my field recorder (Tascam DR680). The result is all the time the same.&#xD;&#xA;&#xD;&#xA;I have also tried adjusting the width of the M/S decoding. The issue stays pretty much the same regardless of the width I set. The stereo field changes according to the width setting, but 90 degrees off axis is always centered.&#xD;&#xA;&#xD;&#xA;I have done tests using my Rode NT1a and NT2a, with the NT2a set to figure of eight and used as the side mic. This configuration behaves pretty much normally. The wider I set the MS width, the more pronounced the 90 degrees sound is placed at either hard L or R.&#xD;&#xA;&#xD;&#xA;I have done various adjustments of the recording gain of the NTG3 relative to the MKH30. As the NTG3 is more sensitive (31 mv/Pa) than the MKH30 (25mv/Pa), I'd assume that normally you would turn the gain of the NTG3 down a few dBs in order to get an even stereo field. Whatever adjustment I made to the gain, it never sounded like proper stereo in case of sounds coming at 90 degrees off axis.&#xD;&#xA;&#xD;&#xA;I've also had briefly access to a Neumann 191, and in fact had exactly the same issue as with the NTG3/MKH30, so this confuses matters even more. Neither of the mics that I have used are having any issues of themselves, it's just that when doing this test I get these results. What I'm trying to say is that I'm pretty sure that none of the mics I am using is faulty. &#xD;&#xA;&#xD;&#xA;I have also tried various cables, this is not the issue either. Neither is the issue with my recorder. I have used both my Tascam and my M-Audio soundcard, both with the same results. The MKH30 is mounted as close to the NTG3 as possible, and moving the position of the MKH30 did not help.&#xD;&#xA;&#xD;&#xA;I have uploaded a recording to showcase the issue. For this test, I played back a sine wave (440 hz) at about a meter distance at both 90 and 45 degrees off axis and recorded it simultaneously with the NTG3/MKH40 setup and my Rode NT4 for reference.&#xD;&#xA;&#xD;&#xA;I've added comments in the sound file to explain which is which. One can clearly hear that at 90 degrees, the MS setup captures the sine wave as if it's coming from the center, whereas at 45 degrees things are positioned correctly.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F8567618&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F8567618&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/daan-hendriks/ms-test&quot;&gt;MS test&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/daan-hendriks&quot;&gt;Daan Hendriks&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;If anybody has any idea what is going on here, I would be very grateful because I am out of ideas how to solve this.&#xD;&#xA;I will be renting another MKH30 with MKH50 and MKH60 to conduct more tests. Perhaps the issue has to do with the Rode and Sennheiser not being properly matched, but looking at the specs of both mics, there is not too much of a difference - one would still expect these mics to behave normally in a MS setup, I would think?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;-- EDIT:&#xD;&#xA;![alt text][1]&#xD;&#xA;This is how I had the mics positioned when I posted my question. After Ryans response, I have moved the MKH30 more backwards but the problem still persists.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://daanhendriks.co.uk/wp-content/images/ms_setup.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="8959" PostHistoryTypeId="2" PostId="5319" RevisionGUID="68c7a67b-bc6f-405a-b6f0-e953ebb3dec7" CreationDate="2010-12-30T19:48:04.397" UserId="601" Text="hi everybody!&#xD;&#xA;&#xD;&#xA;Is there any reason why this CF card (http://www.pretec.com/products/memory-cards/item/cf/233x-series) is NOT working with SD 702 ? It gives 'drive offline' message when I try to format. I've checked the card in a store where I bought it and it worked just fine on Windows Xp. but neither SD 702 nor any of my machines at home (windows 7 and mac) recognize it." ContentLicense="CC BY-SA 2.5" />
  <row Id="8960" PostHistoryTypeId="1" PostId="5319" RevisionGUID="68c7a67b-bc6f-405a-b6f0-e953ebb3dec7" CreationDate="2010-12-30T19:48:04.397" UserId="601" Text="CompactFlash card for SD 702" ContentLicense="CC BY-SA 2.5" />
  <row Id="8961" PostHistoryTypeId="3" PostId="5319" RevisionGUID="68c7a67b-bc6f-405a-b6f0-e953ebb3dec7" CreationDate="2010-12-30T19:48:04.397" UserId="601" Text="&lt;compact-flash-cards&gt;&lt;702&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8962" PostHistoryTypeId="2" PostId="5320" RevisionGUID="57b2ab88-d927-469a-8c69-63754db80313" CreationDate="2010-12-30T20:16:36.077" UserId="639" Text="I use pro tools to edit all my SFX recordings and was wondering why some people use Pro Tools and a separate wave editor. I was looking at [http://www.audiofile-engineering.com/waveeditor/][1] and can't seem to find anything special that it does that pro tools can not.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiofile-engineering.com/waveeditor/" ContentLicense="CC BY-SA 2.5" />
  <row Id="8963" PostHistoryTypeId="1" PostId="5320" RevisionGUID="57b2ab88-d927-469a-8c69-63754db80313" CreationDate="2010-12-30T20:16:36.077" UserId="639" Text="Difference between using a wave editor and a DAW like pro tools?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8964" PostHistoryTypeId="3" PostId="5320" RevisionGUID="57b2ab88-d927-469a-8c69-63754db80313" CreationDate="2010-12-30T20:16:36.077" UserId="639" Text="&lt;wave-editor&gt;&lt;pro&gt;&lt;tools&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8965" PostHistoryTypeId="2" PostId="5321" RevisionGUID="45609aad-c7f1-4a88-9e10-d38deb1419c4" CreationDate="2010-12-30T20:37:19.990" UserId="432" Text="The first thing I would suggest is to check for any firmware updates for the 702.&#xD;&#xA;&#xD;&#xA;As far as compact flash cards for recorders, not all cards are created equally. There are certain brands that, for some reason, just don't work well in devices like the Sound Devices 7 series or the Zaxcom Deva/Fusion series (I've heard of issues with Lexar brand, for instance).&#xD;&#xA;&#xD;&#xA;I use Sandisk, and have never had any issues. If a firmware update does not eliminate the problem, you may want to try a different brand." ContentLicense="CC BY-SA 2.5" />
  <row Id="8967" PostHistoryTypeId="2" PostId="5323" RevisionGUID="09ffb497-5d06-4694-84cf-55ecb16ec29d" CreationDate="2010-12-31T01:13:25.507" UserId="444" Text="I'm yet to come across the need to conform myself, but I've had my eye on this program for when the time comes.  It works with Nuendo.&#xD;&#xA;&#xD;&#xA;[Virtual Katy][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://virtualkay.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="8968" PostHistoryTypeId="2" PostId="5324" RevisionGUID="db9c6949-8579-4450-9cd9-5fc503dd8620" CreationDate="2010-12-31T01:24:52.437" UserId="61" Text="I'm revising my lost lobster recording with this entry -- a dual-contact mic recording of a high tension electricity tower during last night's über strong windstorm here in Los Angeles:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/awfulnicesound/high-tension-tower-in-strong-wind-awfulnice&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8969" PostHistoryTypeId="5" PostId="5324" RevisionGUID="af7d3167-128b-43af-8c15-0a12007fed4e" CreationDate="2010-12-31T02:20:39.893" UserId="61" Comment="edit" Text="I'm revising my lost lobster recording with this entry -- a dual-contact mic recording of a transmission tower during last night's über strong windstorm here in Los Angeles:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/awfulnicesound/high-tension-tower-in-strong-wind-awfulnice&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8970" PostHistoryTypeId="2" PostId="5325" RevisionGUID="e6312700-dca8-4318-ac9c-146304d03671" CreationDate="2010-12-31T02:25:55.137" UserId="679" Text="I use AE Waveeditor along with Ardour or Ableton Live depending on the project. Neither of those DAWs have any real wave editing capability, but I can vouch for Waveeditor's smooth workflow, and I'm sure that this is the reason that people use a dedicated wave editor when the task at hand is so specific. Waveeditor is interesting since it more closely resembles photoshop than other wave editors, and I find this allows more flexibility to be creative. In particular the layering workflow (of effects, and of multiple files) is well suited to the task of readying wave files to be dropped into your favourite DAW's sequencer. Although this can be achieved by other methods, including within pro tools. Wave editor's only real con is that it uses a fair amount of the cpu, and updates seem to be slow going, the next of which is said to dramatically reduce cpu usage, but seems to have been in beta forever. If you're at home using pro tools, then there's probably no reason to get a dedicated wave editor. &#xD;&#xA;&#xD;&#xA;oliver" ContentLicense="CC BY-SA 2.5" />
  <row Id="8971" PostHistoryTypeId="5" PostId="5323" RevisionGUID="f57d7e37-a13d-42b3-b08f-ac7c781549d8" CreationDate="2010-12-31T03:19:10.380" UserId="444" Comment="corrected link" Text="I'm yet to come across the need to conform myself, but I've had my eye on this program for when the time comes.  It works with Nuendo.&#xD;&#xA;&#xD;&#xA;[Virtual Katy][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://virtualkaty.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="8972" PostHistoryTypeId="2" PostId="5326" RevisionGUID="766995ce-0420-4e5a-a630-c4a53502bcd1" CreationDate="2010-12-31T03:39:57.317" UserId="194" Text="I use izotope RX as a wave editor, and it works wonderfully (though I wish I could crossfade in there).&#xD;&#xA;&#xD;&#xA;Really, the reason to use a wave editor is to bypass a couple of things you always have to do in a DAW situation:&#xD;&#xA;&#xD;&#xA;1)create a new session&#xD;&#xA;2)export or otherwise output sounds&#xD;&#xA;&#xD;&#xA;By using a wave editor you just dive into the sound and start hacking.  apple+s when you're done and move on.  this means if you just need to cut up chunks of a take, remove slates, do some EQ, or pull out a couple of annoying blips in the sound you can do so without any import or export steps.&#xD;&#xA;&#xD;&#xA;Also, destructive batch editing if that's your thing." ContentLicense="CC BY-SA 2.5" />
  <row Id="8973" PostHistoryTypeId="2" PostId="5327" RevisionGUID="ca322bdf-7a78-4f2f-baf8-0adcc2fa3e64" CreationDate="2010-12-31T12:17:49.973" UserId="6420" Text="There's some good stuff in John Purcell's book Dialogue Editing for Motion Pictures covering reconforms, edl's etc. Might be worth checking out.." ContentLicense="CC BY-SA 2.5" />
  <row Id="8974" PostHistoryTypeId="2" PostId="5328" RevisionGUID="18a13349-a735-49c0-8b57-e14aae8c1d15" CreationDate="2010-12-31T16:02:55.820" UserId="29" Text="I use BIAS Peak Pro (sometimes happily, sometimes not) for the same reasons that Rene outlined: *Immediacy*. It's simply a question of the right tool for the right context. If I'm editing a single sound for my own library, it's into the stereo wave editor I go. If I'm designing something complex enough to require multiple tracks, I dive into a DAW.&#xD;&#xA;&#xD;&#xA;Don't make the assumption that a wave editor will have more functionality than a DAW; it's quite the opposite. These lines are sometimes blurred, too. For example, Pro Tools, iZotope RX, Soundminer v4 Pro, and Adobe Audition have significant functional overlaps, but each is really good at extremely different things (DAW, audio surgery, library/DB, and wave editing, respectively). An analogy would be how any digital painter will of course have Painter, but they'll also have Photoshop, and probably Alias Sketchbook. Different tools for different contexts, even though there's some overlap. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8975" PostHistoryTypeId="2" PostId="5329" RevisionGUID="6703b75f-baf8-4642-9840-b7175736d467" CreationDate="2010-12-31T16:42:19.733" UserId="29" Text="I'm in the interface-creation business professionally, and in terms of UI: Purely gestural UI will not and cannot be used constantly throughout the day for productivity due to fatigue and, most importantly, accuracy. The larger your muscles, the less accurate they are: Notice you actually move a mouse with your fingers more than your forearm (try it the other way and you'll see what I mean). But, it's highly probable that some input gestures used sporadically for certain things (like, say, app switching or Mac OS Exposé) could be important accelerators for productivity. I think the future of interfaces is pretty thrilling: I see a lot more alternative controllers on the horizon, and touch/multi-touch being built into a lot of things (we already have touch-sensitive faders, so extrapolate from there!).&#xD;&#xA;&#xD;&#xA;In terms of actual sound design, here's my thinkin':&#xD;&#xA;&#xD;&#xA; - It's never been the case that software stands still while hardware leaps ahead...while that'd be nice, that also keeps opportunities for new workflows and options opening up. It also is what makes our legacy computers feel ever so slow when Version New of GreatDAW is released.&#xD;&#xA; - Because of that, things we now must render will be able to be done in real time.&#xD;&#xA; - Read about how cameras are evolving. They're proposing cameras where you can image many different depths and choose the plane of focus you want *in post*. Apply that to channels of audio, or recording levels, or 3D sound fields, etc. &#xD;&#xA; - The newest realtime synthesis methods from game design - which finally actually sound amazing - will be pulled into linear media workflows.&#xD;&#xA; - Procedurally-created sound for common objects that can be computer modeled will be realistic enough that they can compete with real-world recordings. This has already been demonstrated with breaking glass and other materials. Imagine sound sources as plugins, like Logic's Structure instrument on realism steroids.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8976" PostHistoryTypeId="2" PostId="5330" RevisionGUID="d32e06b7-5637-4fb5-937f-0d4b1a5c99c3" CreationDate="2010-12-31T17:39:16.997" UserId="29" Text="Not entirely sure what's to blame here, Daan, but some thoughts for you just the same, to see if this inspires fresh or oblique thinking about your challenge.&#xD;&#xA;&#xD;&#xA;1. Apologies if I missed this, but have you tried another mic with the MKH30? I know you tried MS with another pair, but the first troubleshooting step would be to choose a variable and either eliminate or alter it. The first thing I'd do is pick a mic that's not of an interference-tube (shotgun) design: An omni, cardioid, or even hypercardioid would be fine. I'd recommend renting or borrowing one.&#xD;&#xA;&#xD;&#xA;2. Your tests sound valid, but IMO doing tests with just one sound source can be misleading. When I rig up my MS mics, I stand in front with my arms stretched. I announce &quot;right&quot; and snap my right-hand fingers, then &quot;left,&quot; and snap my left-hand fingers, repeating a few times. This helps calibrate the stereo spread when I edit the final sound and even helps me identify if I'm mistakenly un-matrixing a MS recording that's been matrixed to LR stereo already!&#xD;&#xA;&#xD;&#xA;3. I didn't read much about your signal chain between your mics and the finished recording. Did you mention what recorder you're using? Are you matrixing through a preamp? Are you Is it possible you're using the recorder to matrix the MS recording to LR and you're re-matrixing it again in post?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8977" PostHistoryTypeId="2" PostId="5331" RevisionGUID="3957b520-1633-424d-a89c-6d6b64f6b165" CreationDate="2011-01-01T11:22:30.117" UserDisplayName="user80" Text="Something is definitely up with the figure of 8 mic.  I would rent another one as soon as possible. &#xD;&#xA;&#xD;&#xA;I would also suggest renting a standard sennheiser cardioid at the same time so that you can hear the difference between a standard cardioid and a shotgun in an m/s setup.  If you are working indoors it can make a huge difference.    " ContentLicense="CC BY-SA 2.5" />
  <row Id="8978" PostHistoryTypeId="2" PostId="5332" RevisionGUID="602492df-1062-4c0f-8e87-f545e5f2e6f9" CreationDate="2011-01-01T14:43:33.830" UserDisplayName="user80" Text="It is just speed and taste.  Wave editors are brilliant for working on single files without having to import and bounce to disk.  It can also be a bit like choosing between different mics or analog gear, the colouration is slightly different depending on the algorithms 5 find that I often have to be more drastic with the EQ in Pro Tools compared to wave editors." ContentLicense="CC BY-SA 2.5" />
  <row Id="8979" PostHistoryTypeId="2" PostId="5333" RevisionGUID="b56ee563-34a1-4c7c-893c-b89f4d1277a7" CreationDate="2011-01-02T07:19:14.920" UserId="598" Text="it is possible you have a wiring problem.  do your 2 XLR female cables go to 2 XLR males, or is there a 5 pin XLR in between?&#xD;&#xA;&#xD;&#xA;If you ever plug the side (figure 8) mic into the mid input, and the cardiod into the side, you might get the problem you are describing.&#xD;&#xA;&#xD;&#xA;just a thought,&#xD;&#xA;&#xD;&#xA;-greg-" ContentLicense="CC BY-SA 2.5" />
  <row Id="8980" PostHistoryTypeId="2" PostId="5334" RevisionGUID="21aab630-3d47-475f-837a-bdc437cd224c" CreationDate="2011-01-02T08:08:13.283" UserId="641" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;How can one create those scratches that DJ's do?  I have tried speeding up and slowing down samples manually, without satisfactory results.  Any pointerS?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8981" PostHistoryTypeId="1" PostId="5334" RevisionGUID="21aab630-3d47-475f-837a-bdc437cd224c" CreationDate="2011-01-02T08:08:13.283" UserId="641" Text="LP Scratch SSound Generation" ContentLicense="CC BY-SA 2.5" />
  <row Id="8982" PostHistoryTypeId="3" PostId="5334" RevisionGUID="21aab630-3d47-475f-837a-bdc437cd224c" CreationDate="2011-01-02T08:08:13.283" UserId="641" Text="&lt;scratching&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8983" PostHistoryTypeId="2" PostId="5335" RevisionGUID="b59d998a-c3f9-4769-961f-fe5d4e6486a7" CreationDate="2011-01-02T09:33:17.547" UserId="298" Text="I was doing it in Traktor DJ by mouse =)&#xD;&#xA;but if in one hand you will keep a fader and in the other graphic tablet with stylus - it might be succesful imitation" ContentLicense="CC BY-SA 2.5" />
  <row Id="8984" PostHistoryTypeId="2" PostId="5336" RevisionGUID="501d2f60-112d-4861-8176-92326625f522" CreationDate="2011-01-02T12:42:53.680" UserId="270" Text="If your software has a scrub function it will allow you to move forwards &amp; backwards manually, e.g. In Nuendo I can use the mouse to control the forward/backwards speeds with the jog wheel or with the scrub playback tool.&#xD;&#xA;&#xD;&#xA;If youre talking about the actual sound of the needle scratching on the vinyl you could easily record that if you have an old record player.  Otherwise plently of SFX libraries have that sound effect." ContentLicense="CC BY-SA 2.5" />
  <row Id="8985" PostHistoryTypeId="2" PostId="5337" RevisionGUID="04030dc7-854e-48fc-b4bc-c77bdfe55b31" CreationDate="2011-01-02T13:10:44.570" UserId="601" Text="try native-instruments Reaktor. I've seen some nice scratching machines there.&#xD;&#xA;&#xD;&#xA;https://co.native-instruments.com/index.php?id=userlibrary&amp;type=0&amp;ulbr=1&amp;plview=list&amp;word=scratch" ContentLicense="CC BY-SA 2.5" />
  <row Id="8986" PostHistoryTypeId="2" PostId="5338" RevisionGUID="01fbc286-0443-460b-9ebe-5184a11cf4ec" CreationDate="2011-01-02T14:10:33.627" UserId="393" Text="Speeding up and reversing a sample is only half of the scratch sound -- your material also plays a huge part.  98% of DJs, when they're scratching, are using spoken word, something that's basically white noise like a crowd, or a solo-A Capella singer.&#xD;&#xA;&#xD;&#xA;Anything musical almost never has the same results.&#xD;&#xA;&#xD;&#xA;Also, it's not entirely a speed-up thing; sometimes it's a matter of slowing it down and using the crossfader to cut out before and after the sample becomes recognizable.  But it's usually a speed-up thing.&#xD;&#xA;&#xD;&#xA;All in all, the main thing to consider is your sample.  If it doesn't sound good, try something else." ContentLicense="CC BY-SA 2.5" />
  <row Id="8987" PostHistoryTypeId="2" PostId="5339" RevisionGUID="f3a6c848-d7be-4a70-88b3-196c542b0857" CreationDate="2011-01-02T14:11:01.500" UserId="542" Text="I never used it, but it seems to  do what you want:&#xD;&#xA;http://www.kvraudio.com/db/163" ContentLicense="CC BY-SA 2.5" />
  <row Id="8988" PostHistoryTypeId="2" PostId="5340" RevisionGUID="e3d7027f-9392-4a84-af91-1d2a822944ad" CreationDate="2011-01-02T18:31:34.663" UserId="587" Text="*The following is an Unreal Development Kit question:*&#xD;&#xA;&#xD;&#xA;**Situation:**&#xD;&#xA;&#xD;&#xA;You have a sound file called &quot;sound2&quot; that plays directly after file &quot;sound1&quot; in a sound cue. Directly, as in delayed a certain amount of mili-seconds so it will sound &quot;attached&quot; to the first. This technique allows for randomization of layers within 1 cue, timed correctly with delays so its seamlessly 1 sound.&#xD;&#xA;&#xD;&#xA;**Question:**&#xD;&#xA;&#xD;&#xA;If &quot;sound1&quot; is triggered again by the user before &quot;sound2&quot; plays, how do you keep &quot;sound2&quot; from playing behind &quot;sound1&quot;?&#xD;&#xA;&#xD;&#xA;Basically, set a high priority level for &quot;sound1&quot; so that if it is triggered again before the cue plays &quot;sound2&quot;, it interrupts the chain and plays &quot;sound1&quot; again without overlapping &quot;sound2&quot;.&#xD;&#xA;&#xD;&#xA;Hopefully I made the question clear enough! Sometimes this stuff can get confusing without a diagram." ContentLicense="CC BY-SA 2.5" />
  <row Id="8989" PostHistoryTypeId="1" PostId="5340" RevisionGUID="e3d7027f-9392-4a84-af91-1d2a822944ad" CreationDate="2011-01-02T18:31:34.663" UserId="587" Text="Interrupting sound in a cue - UDK" ContentLicense="CC BY-SA 2.5" />
  <row Id="8990" PostHistoryTypeId="3" PostId="5340" RevisionGUID="e3d7027f-9392-4a84-af91-1d2a822944ad" CreationDate="2011-01-02T18:31:34.663" UserId="587" Text="&lt;gameaudio&gt;&lt;udk&gt;&lt;implementation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8991" PostHistoryTypeId="2" PostId="5341" RevisionGUID="0da257d1-6c79-43aa-91a6-a5f059b153a9" CreationDate="2011-01-02T20:02:01.647" UserId="393" Text="I haven't used the UDK, but it sounds like you need to assign a couple variables; one to be set to true while sound1 is playing, and false when its not, and the other to set for sound2. When they trigger the sound again, check the variables." ContentLicense="CC BY-SA 2.5" />
  <row Id="8992" PostHistoryTypeId="2" PostId="5342" RevisionGUID="96ff78a9-024f-4107-b71c-5426a8c2eeb0" CreationDate="2011-01-02T21:28:27.213" UserId="587" Text="I feel like I sit and wait a lot while searching through my library. Anyone else get the feeling they spend just as much time, if not more, waiting to audition sounds as they do editing them?&#xD;&#xA;&#xD;&#xA;Im guessing the only way to speed this up is to buy a faster hard drive, either Solid State or... I think ive seen a 10,000 some rpm drive? The other option is to partition depending on library, type of sound (in larger categories), etc. Any ideas?&#xD;&#xA;&#xD;&#xA;Also, I hear a lot about sound miner. But isnt this expensive/another program to run behind pro tools?&#xD;&#xA;&#xD;&#xA;Thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="8993" PostHistoryTypeId="1" PostId="5342" RevisionGUID="96ff78a9-024f-4107-b71c-5426a8c2eeb0" CreationDate="2011-01-02T21:28:27.213" UserId="587" Text="Library Search Speed" ContentLicense="CC BY-SA 2.5" />
  <row Id="8994" PostHistoryTypeId="3" PostId="5342" RevisionGUID="96ff78a9-024f-4107-b71c-5426a8c2eeb0" CreationDate="2011-01-02T21:28:27.213" UserId="587" Text="&lt;library&gt;&lt;speed&gt;&lt;harddrive&gt;&lt;search&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8995" PostHistoryTypeId="2" PostId="5343" RevisionGUID="dcd75df8-6a5b-4bb5-837d-ef6384809f85" CreationDate="2011-01-02T22:09:09.007" UserId="261" Text="If you own a copy of Ableton Live 8, you can download this pretty neat little Effect Rack, based on their Ping Pong Delay (!) that does an ok approximation of that 'speed up/slowdown' sound when scratchin. The link to the Fx rack is in this tutorial:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.massive-blog.com/2010/03/21/dubspot-pseudo-scratching-in-ableton-live-8/&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="8996" PostHistoryTypeId="2" PostId="5344" RevisionGUID="b4876aa3-f3f8-4c04-88ea-ca1b2db4905f" CreationDate="2011-01-03T01:20:21.950" UserId="19" Text="I think what you are looking for in the soundcue is called the &quot;Concatenator&quot;.  This node is used to play one sound directly after another.  Instead of using a delay node timed to the length of sound1 the concatenator node will play sound2 directly after sound1. That way you don't have to time out every delay node you use. And for an added bonus if the soundcue is triggered again sound2 will stop playing and restart with sound1." ContentLicense="CC BY-SA 2.5" />
  <row Id="8997" PostHistoryTypeId="2" PostId="5345" RevisionGUID="c75db474-4a20-4b43-ac18-d5b0a7c0467d" CreationDate="2011-01-03T06:12:35.753" UserDisplayName="user49" Text="no problem/waiting with sound miner with my main library database of 500,000+ sound files - how are you searching your library? I hate spotlight - slow as a wet week..." ContentLicense="CC BY-SA 2.5" />
  <row Id="8999" PostHistoryTypeId="2" PostId="5347" RevisionGUID="787ee55f-ed92-4b7f-b3a8-df854cfe0585" CreationDate="2011-01-03T07:05:39.053" UserId="18160" Text="As a stocking stuffer, I got a mini-slinky as a joke, and I shocked my wife because I was WAY more excited about receiving this joke toy (because I knew I could experiment recording it) than anyone would have ever reasonably suspected.&#xD;&#xA;&#xD;&#xA;Just for fun and experience, I plan on hanging it from the ceiling and recording it by plucking it with a metal guitar pick, tapping it with metal items, etc. etc. etc.&#xD;&#xA;&#xD;&#xA;What is the best way to record this?&#xD;&#xA;&#xD;&#xA;I thought of maybe a guitar pickup.&#xD;&#xA;&#xD;&#xA;I don't have access to a contact mic. I basically have in my arsenal some nice vintage large diaphragm condensers, a large Schoeps collection with many different types of capsules/bodies, a handful of some B&amp;K mics, and some others, but those are what I would try out first.&#xD;&#xA;&#xD;&#xA;Any ideas? Have you done something like this before? What are your thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9000" PostHistoryTypeId="1" PostId="5347" RevisionGUID="787ee55f-ed92-4b7f-b3a8-df854cfe0585" CreationDate="2011-01-03T07:05:39.053" UserId="18160" Text="Best way to record a Slinky" ContentLicense="CC BY-SA 2.5" />
  <row Id="9001" PostHistoryTypeId="3" PostId="5347" RevisionGUID="787ee55f-ed92-4b7f-b3a8-df854cfe0585" CreationDate="2011-01-03T07:05:39.053" UserId="18160" Text="&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9006" PostHistoryTypeId="2" PostId="5348" RevisionGUID="44136da7-f0e2-4dcd-b052-1875abd16cd3" CreationDate="2011-01-03T08:36:26.313" UserId="658" Text="Hi&#xD;&#xA;&#xD;&#xA;As I'm sure you're awhere Ben Burtt used a simlar thing to a slinky to create the sound for Eve's gun in the film Wall-e (great film for sound) for this he attached the slinky to a metal plate and then put a guitar pick-up on the plate.&#xD;&#xA;&#xD;&#xA;Also I' sre you will but try puting the Mic in the slinky half way down and tap it, you'll get some great effects.&#xD;&#xA;&#xD;&#xA;Have fun" ContentLicense="CC BY-SA 2.5" />
  <row Id="9007" PostHistoryTypeId="5" PostId="5348" RevisionGUID="096de9c0-f306-4130-a066-a8f0b3787d4a" CreationDate="2011-01-03T10:24:04.670" UserId="658" Comment="added 2 characters in body" Text="Hi&#xD;&#xA;&#xD;&#xA;As I'm sure you're awhere Ben Burtt used a simlar thing to a slinky to create the sound for Eve's gun in the film Wall-e (great film for sound) for this he attached the slinky to a metal plate and then put a guitar pick-up on the plate.&#xD;&#xA;&#xD;&#xA;Also I'm sure you will but try puting the Mic in the slinky half way down and tap it, you'll get some great effects.&#xD;&#xA;&#xD;&#xA;Have fun" ContentLicense="CC BY-SA 2.5" />
  <row Id="9008" PostHistoryTypeId="2" PostId="5349" RevisionGUID="41da72a7-5d36-438b-993e-ea8f7d10e17f" CreationDate="2011-01-03T11:12:52.740" UserId="37" Text="I have found much luck in clipping a miniature omni mic to one end of the slinky. very &quot;in the face&quot;. The effect in the slinky is caused by different frequencies of sound travelling at different speeds from one end of the slinky to the other (and back), so for a greater effect I would try the ends first..&#xD;&#xA;&#xD;&#xA;On the same topic, stuff a miniature mic inside an exercise spring for a resonating &quot;view&quot; of the world." ContentLicense="CC BY-SA 2.5" />
  <row Id="9009" PostHistoryTypeId="2" PostId="5350" RevisionGUID="18e9f63e-6235-4832-86a1-615a4f926056" CreationDate="2011-01-03T12:08:42.583" UserDisplayName="user80" Text="I'd make a contact mic and attach a speaker and use it as a simple spring reverb.&#xD;&#xA;&#xD;&#xA;http://home.earthlink.net/~erinys/contactmic.html&#xD;&#xA;&#xD;&#xA;Then I would get hold of different sizes and materials of slinkys and have a lot of fun colouring other sounds.&#xD;&#xA;&#xD;&#xA;If you just want to record the one you have without any fuss then a simple cardioid setup with you playing the slinky like an accordion can work surprisingly well.  After that start introducing different materials such as brushing the slinky against metal (smooth and rough) etc. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9010" PostHistoryTypeId="2" PostId="5351" RevisionGUID="89f449a9-fab4-4ad1-b76a-29245f660e51" CreationDate="2011-01-03T12:16:54.460" UserId="771" Text="IF am supposed to do long hours of boom operation in interviews, is there any technique to tackle the situation so that i can conserve my energy for the rest of the shoot." ContentLicense="CC BY-SA 2.5" />
  <row Id="9011" PostHistoryTypeId="1" PostId="5351" RevisionGUID="89f449a9-fab4-4ad1-b76a-29245f660e51" CreationDate="2011-01-03T12:16:54.460" UserId="771" Text="how to tackle long hours of boom operation?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9012" PostHistoryTypeId="3" PostId="5351" RevisionGUID="89f449a9-fab4-4ad1-b76a-29245f660e51" CreationDate="2011-01-03T12:16:54.460" UserId="771" Text="&lt;boom&gt;&lt;operation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9013" PostHistoryTypeId="2" PostId="5352" RevisionGUID="da32c505-dafb-4d92-891b-4a2b1fc28f2b" CreationDate="2011-01-03T12:22:40.003" UserDisplayName="user80" Text="I would definitely go for soundminer it really will speed up your workflow dramatically.  &#xD;&#xA;&#xD;&#xA;If you are unsure you can start with miniminer and then step up to the standard or pro edition later.&#xD;&#xA;&#xD;&#xA;The main thing is make sure that you complete the metadata as you add new sounds." ContentLicense="CC BY-SA 2.5" />
  <row Id="9014" PostHistoryTypeId="2" PostId="5353" RevisionGUID="8edb907a-fe73-4a42-9bf7-ce2d94e794e1" CreationDate="2011-01-03T12:35:48.173" UserDisplayName="user80" Text="I find that keeping my arms in the same position helps, I will rest the boom on my head in between takes, it looks daft but it helps me. &#xD;&#xA;&#xD;&#xA;I'd also take up a bit of weight training, you just need dumbbells, which you can keep in the house so there is no need to join a gym.&#xD;&#xA;&#xD;&#xA;Finally invest in a decent boom pole with good grip, you will find that it is nicely balanced and will help you rotate silently.&#xD;&#xA;&#xD;&#xA;If you are doing your job properly you will be so busy concentrating on making sure that you are not in anyone's way, not casting any shadows, not in shot, have a consistent audio perspective, have no movement noise, are minimizing reflections and anticipating responses that you will really not notice the fatigue until you hit your first break.&#xD;&#xA;&#xD;&#xA;It takes a while to get used to boom operation but it is worth it.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9015" PostHistoryTypeId="2" PostId="5354" RevisionGUID="e89f81cc-3fa6-4833-bef5-cb5b0052510c" CreationDate="2011-01-03T13:20:58.847" UserId="194" Text="If the interviews are relatively static you can consider investment in a boom stand that supports the pole for you but still allows you to pivot.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="9016" PostHistoryTypeId="2" PostId="5355" RevisionGUID="8cfe2d58-acc8-47d0-a898-e20728bc5c28" CreationDate="2011-01-03T14:19:16.070" UserId="432" Text="Iain and Rene have given two of the tips I would have mentioned, but I've got one other. You may want to look into an articulating boom. I don't know if any company besides K-tek makes them, but they're great if you're working with shorter distances from the subject.&#xD;&#xA;&#xD;&#xA;http://www.ktekbooms.com/products.php?id=39" ContentLicense="CC BY-SA 2.5" />
  <row Id="9017" PostHistoryTypeId="2" PostId="5356" RevisionGUID="3b034dfb-b78d-4b2b-8561-f70625807eab" CreationDate="2011-01-03T14:37:53.927" UserId="780" Text="![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/images/mics/ntg-3_polar.jpg&#xD;&#xA;&#xD;&#xA;Looking at the NTG-3 polar response, we can see that at 4K the mic null point is around +/- 90 degrees. So depending on frequency, a MS rig with that mic will result in almost no signal in the M channel and max signal in the S channel for a sound source at + or - 90 degrees. The safe pickup angle with the NTG-3 in MS would be around +/- 45 degrees as your tests confirm.&#xD;&#xA;&#xD;&#xA;If you want to do MS and want a large pickup angle, you should use a less directional mic as the M (omni to cardio)." ContentLicense="CC BY-SA 2.5" />
  <row Id="9018" PostHistoryTypeId="5" PostId="5356" RevisionGUID="1676c59b-919c-496f-ae4d-939596ab86bd" CreationDate="2011-01-03T15:28:52.477" UserId="780" Comment="added 82 characters in body" Text="![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/images/mics/ntg-3_polar.jpg&#xD;&#xA;&#xD;&#xA;Looking at the NTG-3 polar response, we can see that at 4K the mic null point is around +/- 90 degrees. So depending on frequency, a MS rig with that mic will result in almost no signal in the M channel and max signal in the S channel for a sound source at + or - 90 degrees. Once decoded, this will result in equal amplitude in L/R but with opposite polarity. The safe pickup angle with the NTG-3 in MS would be around +/- 45 degrees as your tests confirm.&#xD;&#xA;&#xD;&#xA;If you want to do MS with a large pickup angle, you should use a less directional mic for the M (omni to cardio)." ContentLicense="CC BY-SA 2.5" />
  <row Id="9019" PostHistoryTypeId="2" PostId="5357" RevisionGUID="55c203d9-2a5a-4a5f-a9a3-bd13fb553d19" CreationDate="2011-01-03T15:58:35.963" UserId="194" Text="FWIW contact mics can be relatively cheap and are one of the best ways to record those types of things.  &#xD;&#xA;&#xD;&#xA;[Here's the set that I have][1], and I'm very happy with it.  $54 from cold gold.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://contactmicrophones.com/products-bcm14ss.html&#xD;&#xA;  [2]: http://contactmicrophones.com/images/CG_stereoset_web.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="9020" PostHistoryTypeId="2" PostId="5358" RevisionGUID="228af31e-6171-43d5-99ed-396a1ff9f1e6" CreationDate="2011-01-03T16:34:16.683" UserId="762" Text="I've seen some people say that you shouldn't mix brands when dealing with midside, but I've also seen people say it doesn't matter.&#xD;&#xA;&#xD;&#xA;I just bought an MKH30 and am looking to pick up a hyper/super cardioid for the mid.&#xD;&#xA;&#xD;&#xA;Logic would say to get the Senn 8050, but the Schoeps CMC641 is such a standard for booming (I also want to use the it for dialogue), that I'd love to pick it up and use it with the MKH30.&#xD;&#xA;&#xD;&#xA;The 8050 is even a bit different from the MKH50, so would it really be that much worse of an idea to go for the CMC641.&#xD;&#xA;&#xD;&#xA;I rented both the 8050 and the CMC641, and liked both equally, but people rave about the Schoeps sound... and I could stomach the 500 dollars difference if it would sound great with the MKH30." ContentLicense="CC BY-SA 2.5" />
  <row Id="9021" PostHistoryTypeId="1" PostId="5358" RevisionGUID="228af31e-6171-43d5-99ed-396a1ff9f1e6" CreationDate="2011-01-03T16:34:16.683" UserId="762" Text="Mixing Midside Mid and Side" ContentLicense="CC BY-SA 2.5" />
  <row Id="9022" PostHistoryTypeId="3" PostId="5358" RevisionGUID="228af31e-6171-43d5-99ed-396a1ff9f1e6" CreationDate="2011-01-03T16:34:16.683" UserId="762" Text="&lt;midside&gt;&lt;schoeps&gt;&lt;sennheiser&gt;&lt;figure8&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9023" PostHistoryTypeId="4" PostId="5358" RevisionGUID="87cf1b2f-16ec-403a-95d3-50f3336c24b5" CreationDate="2011-01-03T17:02:47.850" UserId="762" Comment="edited title" Text="Mixing Midside Mid and Side Brands" ContentLicense="CC BY-SA 2.5" />
  <row Id="9024" PostHistoryTypeId="2" PostId="5359" RevisionGUID="1aa90316-da9f-4e91-b48c-a6d82325e61b" CreationDate="2011-01-03T18:31:09.433" UserId="641" Text="Having swung the boom on 9 feature films, I offer this:&#xD;&#xA;&#xD;&#xA;1) Sit down...during scene's and when you're not needed, sit down.  My feet are always the first things that complain.  But don't miss your rehearsals, they are crucial to successfully and painlessly swinging a scene!&#xD;&#xA;&#xD;&#xA;2) Learn the correct techniques on holding a boom.  Gently, without force.  Arms shoulder width and straight up (initially this may seem tiring, but after one or two days of this you will find it the easiest way to balance the boom with the least energy being expended).  Literally you want to rest the boom in your hands, not hold it as that chews away at your energy.  Bend your knees ever so slightly because locked knees will become painful too.  Conserve your energy whenever you can.  Move your whole body instead of moving your arms whenever you can - This gives you greater stability and reduces the amount of handling noise on the boom itself.&#xD;&#xA;&#xD;&#xA;3) Use your bones.  i.e. lock your arms in such a way that your bones and skeleton take the weight and not your muscles. I personally don't like doing this as I find it impedes your flexibility and ability to quickly adjust the boom for an actors unexpected movement, that being said, sometimes it works depending on the situation.&#xD;&#xA;&#xD;&#xA;4) Between takes, rest the boom on your foot (on your toes) and relax your arms and back muscles.&#xD;&#xA;&#xD;&#xA;5) Be organized:  Have extra batteries, cables, gaffer tape etc, with you in a belt pouch so you don't have to put everything down and delay the shoot whole you're running off to get something.&#xD;&#xA;&#xD;&#xA;6) Keep hydrated:  Sip water (not cool drink) between takes, not in huge gulps as your bladder will get the best of you, but small sips thats will allow your body to keep hydrated and you will conserve energy that way too.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;All that being said:  The sound mixer on one of the movies told me:  &quot;When you can serve me a glass of wine on a tray attached to your boom , without spilling a drop, I shall call you a boom swinger.&quot;  He did use me on three more movies after that one so I guess I was doing something right in his books!  :)&#xD;&#xA;&#xD;&#xA;Happy swinging and above all, enjoy it, you are in a privileged position with great responsibility!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9025" PostHistoryTypeId="2" PostId="5360" RevisionGUID="0f81cda3-b49b-45b7-8d2b-5c58185e5de0" CreationDate="2011-01-03T18:33:31.297" UserId="88" Text="One thing that makes a huge difference over time is simply keeping your arms as straight up as possible rather than out at an angle -- think of your body as an &quot;H.&quot;  This not only helps to prevent premature fatigue but will allow you more lateral movement of the boom without having to move your feet (leaning in and out with your hands closer together moves the mic farther)." ContentLicense="CC BY-SA 2.5" />
  <row Id="9030" PostHistoryTypeId="2" PostId="5363" RevisionGUID="1c48680f-774c-4f71-9739-1f548ce137ae" CreationDate="2011-01-03T20:30:32.427" UserId="29" Text="On paper, I'd think that the frequency responses must be about the same in order for a mismatched-brand MS rig to work, but really, it's gotta be all in the ears. Ryan is right: Try it with rentals, on material with widely different frequencies and transients, and see what sounds right. *(FWIW, Sennheiser has won't commit to making an 8000-series fig-8, AFAIK. Too bad!)*&#xD;&#xA;&#xD;&#xA;I think that most would qualify the Schoeps as more natural and transparent, while the Sennheisers are quieter and therefore are more often used for quiet natural ambiences. (I, too, love the punch of the MKH50. It's like the action hero to the Schoeps' stage actor.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9032" PostHistoryTypeId="2" PostId="5364" RevisionGUID="a0535daf-d288-4e46-937e-8e45f187e4fe" CreationDate="2011-01-04T01:20:30.667" UserId="743" Text="I think I understand what your asking C3Sound. In order to give the questions a try, I will need to know what kind of audio files you are fitting together.&#xD;&#xA;&#xD;&#xA;1. Are they all the same length and material, but with different mixes?&#xD;&#xA;&#xD;&#xA;2. Are they completely unique audio files, but there is an order you need them to play back in?&#xD;&#xA;&#xD;&#xA;Is it something else entirely?&#xD;&#xA;&#xD;&#xA;I think you can fake what your describing within the UDK Cue system (without messing directly in code). But its dependent on the scenario of the sound cue." ContentLicense="CC BY-SA 2.5" />
  <row Id="9034" PostHistoryTypeId="2" PostId="5366" RevisionGUID="0a57febc-c659-403c-bf14-c4fdfe1b3c95" CreationDate="2011-01-04T03:07:59.010" UserId="275" Text="A few things for you:&#xD;&#xA;&#xD;&#xA;If it is a sit down interview get a Remote Audio Boom Boy and a C-stand.  If the subject isn't stationary (in a chair) then holding the boom is obviously needed.  Nothing beats being in generally good physical conditional. Like everything in life, the better shape you're in the more energy you will have.  &#xD;&#xA;&#xD;&#xA;In spite of other responses on here, I would strongly advise AGAINST locking your arms.  You need to be quick and agile with the boom, not locked in.  Also, NEVER hold the boom on your shoulders or head during the take.  Between takes, sure, go for it.  During the take the movement against your coat, shoulder, head, etc can and will transmit through the boom pole and into the mic.  You don't notice it on headphones but when it is magnified through a theater system it becomes a huge problem.  &#xD;&#xA;&#xD;&#xA;If I am booming and mixing at the same time I am able to move the boom pole using very slight, careful, small movements with my fingers.  The more experience you have the more you will get used to what you can get away with and what you can't.&#xD;&#xA;&#xD;&#xA;I chuckle when a director or producer tells me they will just have a PA as the boom op!  I have never, in my 12 years of doing location work, come across a PA who was a good boom op.  I always tell the director/producer that the boom op is like a 1st AC/focus puller.  Would you trust a PA to be in charge of focus?  Nope!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9035" PostHistoryTypeId="2" PostId="5367" RevisionGUID="68ca8d47-5517-4335-91c3-5ef3fa041606" CreationDate="2011-01-04T03:53:26.803" UserId="132" Text="Testing everything out is extremely important.  I often use the MK4 instead of the Mk41 because I am looking for something a little more natural and open.  The MKH 50 and the MK41 and great respectively, but I find the cardiod to just sound more natural when it comes to ambiences -- that goes for the schoeps and the sennheiser models." ContentLicense="CC BY-SA 2.5" />
  <row Id="9036" PostHistoryTypeId="2" PostId="5368" RevisionGUID="3630e176-90d6-4a12-88a7-cc6d5e1189e8" CreationDate="2011-01-04T04:18:36.960" UserId="132" Text="Recording at Corkscrew Swamp in Naples Florida.  My brother is a sick photographer and he documented the day:&#xD;&#xA;&#xD;&#xA;http://daveraphael.com/blog/christmas-swamp/&#xD;&#xA;&#xD;&#xA;and the recordings are here:&#xD;&#xA;&#xD;&#xA;http://sepulchra.com/blog/?p=835&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9037" PostHistoryTypeId="2" PostId="5369" RevisionGUID="790865da-e278-449b-a24a-e0b8b176ac81" CreationDate="2011-01-04T06:41:55.430" UserId="418" Text="I use Soundtrack Pro for just about all destructive editing. It provides some features that I don't get elsewhere, can run scripts and batches and gives me access to all of my AU effects, plus the awesome Logic-only stuff like Space Designer, Delay Designer etc. Plus it's built specifically for the waveform editing, so it's efficient and &quot;just works&quot;." ContentLicense="CC BY-SA 2.5" />
  <row Id="9038" PostHistoryTypeId="4" PostId="4988" RevisionGUID="d18c9254-9acf-4d1d-81a1-69fa55b74313" CreationDate="2011-01-04T10:04:03.323" UserDisplayName="user80" Comment="spelling correction" Text="any good sound designing memories through photos to share? " ContentLicense="CC BY-SA 2.5" />
  <row Id="9039" PostHistoryTypeId="2" PostId="5370" RevisionGUID="bd4ff90e-9d36-4029-94be-56d1dd8d01fe" CreationDate="2011-01-04T10:13:20.440" UserDisplayName="user80" Text="I'd rent every suitable mic for a single session, test them indoors as well as outdoors with quiet as well as loud sources.  You will find greater consistency sticking to the Sennheiser but you will get a lot more punch from the Schoeps.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9040" PostHistoryTypeId="2" PostId="5371" RevisionGUID="82754020-a89d-4bd6-9c3a-6ad34e6866ea" CreationDate="2011-01-04T13:00:07.387" UserDisplayName="user80" Text="I sometimes use time as a cut off point.  If something is not working I just move on to the next thing, and then if I have time at the end I will come back to it.  Very often it is a lack of context, sometimes the solution is elsewhere in the project.  A sound that is used earlier or later can be reintroduced into the problem scene and it fixes everything.  &#xD;&#xA;&#xD;&#xA;On other occasions there was nothing wrong, and it was perfectionism creeping in at the cost of time.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9041" PostHistoryTypeId="4" PostId="5320" RevisionGUID="45c1c3d5-bc68-44f6-b255-f9099b1d95f6" CreationDate="2011-01-04T13:57:43.563" UserDisplayName="user80" Comment="edited title; edited tags" Text="Difference between using a wave editor and a DAW like Pro Tools?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9042" PostHistoryTypeId="5" PostId="5332" RevisionGUID="3c739ff1-d3f4-4125-b81e-c33cf961a81f" CreationDate="2011-01-04T13:58:32.537" UserDisplayName="user80" Comment="added 4 characters in body" Text="It is just speed and taste.  Wave editors are brilliant for working on single files without having to import and bounce to disk.  It can also be a bit like choosing between different mics or analog gear, the colouration is slightly different depending on the algorithms and I find that I often have to be more drastic with the EQ in Pro Tools compared to wave editors." ContentLicense="CC BY-SA 2.5" />
  <row Id="9043" PostHistoryTypeId="6" PostId="5320" RevisionGUID="45c1c3d5-bc68-44f6-b255-f9099b1d95f6" CreationDate="2011-01-04T13:57:43.563" UserDisplayName="user80" Comment="edited title; edited tags" Text="&lt;wave-editor&gt;&lt;pro-tools&gt;&lt;sfx&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9044" PostHistoryTypeId="4" PostId="4285" RevisionGUID="f1c16310-0e05-434d-a3f8-a779de1bfb20" CreationDate="2011-01-04T14:03:24.837" UserDisplayName="user80" Comment="edited tags; edited title" Text="Pro Tools and sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="9045" PostHistoryTypeId="6" PostId="4285" RevisionGUID="f1c16310-0e05-434d-a3f8-a779de1bfb20" CreationDate="2011-01-04T14:03:24.837" UserDisplayName="user80" Comment="edited tags; edited title" Text="&lt;pro-tools&gt;&lt;sound-design&gt;&lt;beginner&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9047" PostHistoryTypeId="6" PostId="3096" RevisionGUID="503b9766-34b9-4184-99e5-aceb5027b472" CreationDate="2011-01-04T14:04:15.100" UserDisplayName="user80" Comment="edited tags" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9048" PostHistoryTypeId="6" PostId="4018" RevisionGUID="17b54dd1-d4e1-4501-a167-4a4cd8110091" CreationDate="2011-01-04T14:04:36.897" UserDisplayName="user80" Comment="edited tags" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9049" PostHistoryTypeId="6" PostId="357" RevisionGUID="66a48910-bab0-4a84-8534-5999d6caa20b" CreationDate="2011-01-04T14:05:07.483" UserDisplayName="user80" Comment="edited tags" Text="&lt;gear&gt;&lt;pro-tools&gt;&lt;techniques&gt;&lt;post-production&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9050" PostHistoryTypeId="6" PostId="3007" RevisionGUID="9600895a-7df2-4244-ab2d-001335c51314" CreationDate="2011-01-04T14:05:24.943" UserDisplayName="user80" Comment="edited tags" Text="&lt;macbook-pro&gt;&lt;pro-tools&gt;&lt;mbox-2&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9051" PostHistoryTypeId="4" PostId="5091" RevisionGUID="0f4a04d4-68d3-41bd-857f-d3b203e02428" CreationDate="2011-01-04T14:07:14.643" UserDisplayName="user80" Comment="edited tags; edited title" Text="Pro Tools HD 9 vs Nuendo 5" ContentLicense="CC BY-SA 2.5" />
  <row Id="9052" PostHistoryTypeId="6" PostId="5091" RevisionGUID="0f4a04d4-68d3-41bd-857f-d3b203e02428" CreationDate="2011-01-04T14:07:14.643" UserDisplayName="user80" Comment="edited tags; edited title" Text="&lt;pro-tools&gt;&lt;nuendo&gt;&lt;surround-sound&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9053" PostHistoryTypeId="4" PostId="3188" RevisionGUID="2687e951-fcd8-49e4-bc25-90a8af0bad32" CreationDate="2011-01-04T14:07:24.580" UserDisplayName="user80" Comment="edited title" Text="The best Pro Tools pitchshifter" ContentLicense="CC BY-SA 2.5" />
  <row Id="9054" PostHistoryTypeId="6" PostId="4546" RevisionGUID="c4e25314-025f-420e-a6b7-d7a6c5874321" CreationDate="2011-01-04T14:07:40.760" UserDisplayName="user80" Comment="edited tags" Text="&lt;pro-tools&gt;&lt;dvtoolkit&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9055" PostHistoryTypeId="6" PostId="455" RevisionGUID="67a07584-d545-4eec-9ba3-a2042a93ee51" CreationDate="2011-01-04T14:10:38.397" UserDisplayName="user80" Comment="edited tags" Text="&lt;mixing&gt;&lt;m-and-e&gt;&lt;techniques&gt;&lt;stems&gt;&lt;re-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9056" PostHistoryTypeId="6" PostId="763" RevisionGUID="4e58a48e-0ff1-4d19-bd68-fd4d5a45aeb9" CreationDate="2011-01-04T14:51:11.117" UserDisplayName="user80" Comment="edited tags" Text="&lt;5.1&gt;&lt;surround-sound&gt;&lt;mixing&gt;&lt;panning&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9057" PostHistoryTypeId="6" PostId="648" RevisionGUID="5afc3467-854b-4f86-abb0-66ba44d2df32" CreationDate="2011-01-04T14:51:45.523" UserDisplayName="user80" Comment="edited tags" Text="&lt;post-production&gt;&lt;editing&gt;&lt;mixing&gt;&lt;feedback&gt;&lt;survey&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9058" PostHistoryTypeId="6" PostId="5121" RevisionGUID="de4ffda7-f3f1-469f-8191-ffd1e9ea3750" CreationDate="2011-01-04T14:53:08.897" UserDisplayName="user80" Comment="edited tags" Text="&lt;variations&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9059" PostHistoryTypeId="2" PostId="5372" RevisionGUID="a71773a6-dc7d-4035-b0d8-5a5aad6dc865" CreationDate="2011-01-04T14:56:23.940" UserId="771" Text="THANKS to everyone for there comments.......&#xD;&#xA;The only lapels available here are the Sennheiser G3 series.Is it advisable to use them over Sennheiser MKH416 if the interviews are over 1hr.Having said that i would like to add a fact that i have never seen a boom stand(in kolkata, india) and my budget never allows me accommodate a boom guy." ContentLicense="CC BY-SA 2.5" />
  <row Id="9060" PostHistoryTypeId="2" PostId="5373" RevisionGUID="b0f54be6-5035-436d-8dd0-c976c2e61ea9" CreationDate="2011-01-04T14:56:36.653" UserDisplayName="user80" Text="I would start with the THX specs, and then add from there.&#xD;&#xA;&#xD;&#xA;http://www.thx.com/professional/sound-engineer/thx-certified-studio-specifications/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9061" PostHistoryTypeId="6" PostId="5009" RevisionGUID="53078682-b7cc-4cad-ab45-f9de8dc8341e" CreationDate="2011-01-04T14:56:55.640" UserDisplayName="user80" Comment="edited tags" Text="&lt;surround-sound&gt;&lt;5.1&gt;&lt;plug-ins&gt;&lt;home-studio&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9062" PostHistoryTypeId="5" PostId="5351" RevisionGUID="690b8e6e-435b-4db7-a0c0-0fac158986f9" CreationDate="2011-01-04T16:14:18.290" UserDisplayName="user80" Comment="added 2 characters in body; edited title" Text="If I am supposed to do long hours of boom operation in interviews, is there any technique to tackle the situation so that i can conserve my energy for the rest of the shoot." ContentLicense="CC BY-SA 2.5" />
  <row Id="9063" PostHistoryTypeId="4" PostId="5351" RevisionGUID="690b8e6e-435b-4db7-a0c0-0fac158986f9" CreationDate="2011-01-04T16:14:18.290" UserDisplayName="user80" Comment="added 2 characters in body; edited title" Text="How to tackle long hours of boom operation?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9064" PostHistoryTypeId="5" PostId="5367" RevisionGUID="fa7d294f-79f2-4e6f-a27d-174cca40c9a3" CreationDate="2011-01-04T16:24:34.077" UserId="132" Comment="edited body" Text="Testing everything out is extremely important.  I often use the MK4 instead of the Mk41 because I am looking for something a little more natural and open.  The MKH 50 and the MK41 are great respectively, but I find the cardiod to just sound more natural when it comes to ambiences -- that goes for the schoeps and the sennheiser models." ContentLicense="CC BY-SA 2.5" />
  <row Id="9065" PostHistoryTypeId="2" PostId="5374" RevisionGUID="35820643-ce06-40cf-a85f-f6d99ac07111" CreationDate="2011-01-04T16:28:11.773" UserId="783" Text="Jog Wheel is my trick. I stay away from my mouse a much as I can. In fact the majority of my mixing is in a Fairlight System so I have no mouse. Just to the right of the console I have a series of keyboards attached to protools where I will do the creative sound design. So ergonomically I am sitting in front of faders the whole time with minimal use of a mouse. It just seems to get me closer to the sound when I can jog through it and really use my ears to edit or mix.  &#xD;&#xA;&#xD;&#xA;The Aeron chairs are a major help. After a long day I will start to kneel on the chair almost like a catcher in baseball would. The back really low and my knees in my chest. Socks off and almost on top of the console. Its amazing what we do for comfort when we are in the thick of a 14 hour day!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9066" PostHistoryTypeId="2" PostId="5375" RevisionGUID="900c3edc-56de-4849-9cf5-9614b5f0acea" CreationDate="2011-01-04T21:06:52.133" UserId="617" Text="hello!  I am also a fan of experimental music of all sorts.  My productions tend to be more beat oriented but I love doing DJ mixes of ambient/dron/noise stuff.  A few years ago I did a noise retrospective mix with music from 1913 to 2007, tracing the genealogy of noise music, which for me is simply the exploration of SOUND.  Perhaps you would enjoy it:&#xD;&#xA;&#xD;&#xA;http://www.spannered.org/radio/1152/&#xD;&#xA;&#xD;&#xA;I also have some more experimental music mixes here that you might enjoy:&#xD;&#xA;http://www.mixcloud.com/PrinceMarolo/&#xD;&#xA;&#xD;&#xA;Feel free to message, I love exchanging ideas about music" ContentLicense="CC BY-SA 2.5" />
  <row Id="9067" PostHistoryTypeId="2" PostId="5376" RevisionGUID="c67ab100-62ec-4f18-9bb5-174d66ca7827" CreationDate="2011-01-05T00:19:42.617" UserId="784" Text="**AKG 701**. *Amazing 1kHz &amp; Up.* They are extremely precise for spatial location and have truly unexaggerated mids and top end. Dialog, vocals, sibilance &amp; compression artifacts clearly represented. (They take a good week of full frequency medium loudness playback to &quot;Break-in&quot;)  &#xD;&#xA;&#xD;&#xA;**Sennheiser HD 650** *Amazing 1kHz &amp; Lower.* The low end is emphasized but incredible for picking out problems in low mids, bass and even sub-bass. Resonance, tuning and bass clarity clearly represented. &#xD;&#xA;&#xD;&#xA;I recommend buying these 2 pairs while interchanging for great Headphone accuracy. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9068" PostHistoryTypeId="5" PostId="3197" RevisionGUID="380d0d38-78f7-4ab7-89c6-24248e052a80" CreationDate="2011-01-05T01:23:30.703" UserId="61" Comment="additional information" Text="Although already mentioned, I love [Pitch n' Time][1]. Incredibly versatile, 3 algorithms for maximum flexibility, and features that allow the pitch to follow the time graph (varispeed) and a A/B time matching window a la [Vocalign][2]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://serato.com/pitchntime-pro&#xD;&#xA;  [2]: http://www.synchroarts.com/index.php?PAGEID=products&amp;ID=vocalign-pro-V4" ContentLicense="CC BY-SA 2.5" />
  <row Id="9131" PostHistoryTypeId="2" PostId="5377" RevisionGUID="feccec03-a695-4e91-bf4a-070f63f50ec2" CreationDate="2011-01-05T05:07:17.523" UserId="61" Text="Hard drives are cheap and copying several hundred gigs is easy and fast. So when it comes to the end of a project I will usually save a copy of the PT sessions that were used in the final mix, with all media, to an external drive with the intent of referencing them in the future. I don't attempt to break all of the elements out and catalog them in, say, Soundminer; rather, if I ever go back to those sessions I will know what was created, where it was created, and why it was created. I will have access to all of the layers and can pick and choose what I may need on that future date. Regarding design elements or the sessions used to create them, I tend to archive those separately and will probably drop those into Soundminer to be cataloged.&#xD;&#xA;&#xD;&#xA;     The other thing I don't tend to do is bounce out heavily designed things like &#xD;&#xA;    monster vocalizations or specialty weapons&quot;.&#xD;&#xA;&#xD;&#xA;I will disagree with you here. I've found that certain designed sounds have real uses outside of their intended purposes, for example: Temp dubs, quick design sessions, inspiration, etc. You can even grab snippets of said heavily-designed sounds and get a big sound happening really fast without having to go back to the design phase and start from scratch. This approach will not apply to every project, of course, but don't throw away that stuff you worked so hard to create just because you feel it is one-of-a-kind.&#xD;&#xA;&#xD;&#xA;Regarding foley, you don't want to let that go either since it is custom recorded sound. If the files are thoughtfully named, it's easy to throw them into a database program (soundminer), do a little metadata and then have them easily accessible for whatever project you're working on later." ContentLicense="CC BY-SA 2.5" />
  <row Id="9132" PostHistoryTypeId="2" PostId="5378" RevisionGUID="27e7ac8c-a7f4-4a51-88d8-7cccbe045e1a" CreationDate="2011-01-05T09:29:34.090" UserDisplayName="user80" Text="I keep everything.  I make DVD copies of the session, and all of the assets.  I also have them stored on hard drives, SSDs and in the cloud.  I would definitely spend the time to log the foley and add it to my database, you will get some jobs just on the strength of your sound library." ContentLicense="CC BY-SA 2.5" />
  <row Id="9133" PostHistoryTypeId="13" PostId="240" RevisionGUID="3c76bd60-2ede-46e7-978c-d18767965e8b" CreationDate="2011-01-05T09:52:38.947" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="9134" PostHistoryTypeId="6" PostId="4993" RevisionGUID="22d72377-ab42-4a8d-8f0e-ca641ada843b" CreationDate="2011-01-05T09:55:29.197" UserDisplayName="user80" Comment="edited tags" Text="&lt;mix&gt;&lt;dinosaur&gt;&lt;lowend&gt;&lt;laptop&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9135" PostHistoryTypeId="6" PostId="4838" RevisionGUID="d3728465-fd53-4596-92a8-a2cee4a98d8a" CreationDate="2011-01-05T09:55:44.750" UserDisplayName="user80" Comment="edited tags" Text="&lt;film&gt;&lt;mix&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9136" PostHistoryTypeId="6" PostId="4399" RevisionGUID="429cf931-2dad-4f02-9ea3-ce7bf9bd96b9" CreationDate="2011-01-05T09:56:00.493" UserDisplayName="user80" Comment="edited tags" Text="&lt;mix&gt;&lt;level&gt;&lt;broadcast&gt;&lt;television&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9137" PostHistoryTypeId="6" PostId="3801" RevisionGUID="4795fc77-dbc7-4838-878a-8695a0dbe46c" CreationDate="2011-01-05T09:56:48.183" UserDisplayName="user80" Comment="edited tags" Text="&lt;mix&gt;&lt;final&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9138" PostHistoryTypeId="6" PostId="1174" RevisionGUID="6830cd9c-8d1b-404a-acd4-ad9baa4bed2b" CreationDate="2011-01-05T09:57:04.737" UserDisplayName="user80" Comment="edited tags" Text="&lt;adr&gt;&lt;matching&gt;&lt;equalization&gt;&lt;mix&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9139" PostHistoryTypeId="6" PostId="5358" RevisionGUID="b9cdfa5d-e87b-41b1-927b-47c7e8244649" CreationDate="2011-01-05T10:00:16.813" UserDisplayName="user80" Comment="edited tags" Text="&lt;mid-side&gt;&lt;schoeps&gt;&lt;sennheiser&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9140" PostHistoryTypeId="5" PostId="3188" RevisionGUID="96ee3d56-2571-44a7-87cf-fd466b1c303f" CreationDate="2011-01-05T10:01:36.937" UserDisplayName="user80" Comment="Grammar and added tag" Text="Can anyone make a good suggestion for a good pitchshifter? The standard one is great if you want to 'adulterate' the sound in question, but I'd quite like one that keeps the sound reasonably intact when taken to extremes." ContentLicense="CC BY-SA 2.5" />
  <row Id="9141" PostHistoryTypeId="6" PostId="3188" RevisionGUID="96ee3d56-2571-44a7-87cf-fd466b1c303f" CreationDate="2011-01-05T10:01:36.937" UserDisplayName="user80" Comment="Grammar and added tag" Text="&lt;pitch-shifting&gt;&lt;pro-tools&gt;&lt;quality&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9142" PostHistoryTypeId="6" PostId="4617" RevisionGUID="df8a5d0f-0cc7-497c-bd57-7cc524227387" CreationDate="2011-01-05T16:36:49.763" UserDisplayName="user80" Comment="edited tags" Text="&lt;pro&gt;&lt;hockey&gt;&lt;live&gt;&lt;sound&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9143" PostHistoryTypeId="2" PostId="5379" RevisionGUID="c6322928-f3ee-4e59-8e82-a53f3c20c1ed" CreationDate="2011-01-05T18:34:24.700" UserId="578" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I just wanted to confirm that after having done more tests, including the same test with the same microphone types (NTG3+MKH30) but different mics (a friend of mine owns them both as well), my basic conclusion is:&#xD;&#xA;&#xD;&#xA;This combination is not ideal for MS if you want to capture a very wide stereo spread.&#xD;&#xA;&#xD;&#xA;Other people have pointed it out already, but yes, I'm convinced of that now also. It will work fine for not-so-wide (i.e. within 45 degrees pickup angle) source, so for spot fx work it's good. But obviously, this is not the setup to use for any sort of ambience recordings.&#xD;&#xA;&#xD;&#xA;I had read several times before that a shotgun is not ideal for MS, but now I see how it manifests itself, so it has been quite revealing. Interestingly, my friend did the same test with a MKH60/MKH30 setup, and even though that also revealed pretty much the same issue, it did sound a bit smoother. The jump from 90 degrees to 45 degrees wasn't as pronounced, so to speak. I presume it may have to do with the MKH60/30 combination being better matched in terms of frequency response curve.&#xD;&#xA;&#xD;&#xA;What surprises me is that I got similar results with a Neumann 191 as with the NTG3/MKH30. You'd expect the 191 having better matched capsules (frequency wise) and therefore have more of a smoothness to it in the stereo pickup angle, as with the MKH60/30 combination, but in the tests I did at least this was not the case.&#xD;&#xA;&#xD;&#xA;Thanks for your help, everybody." ContentLicense="CC BY-SA 2.5" />
  <row Id="9144" PostHistoryTypeId="2" PostId="5380" RevisionGUID="4a3c145b-8ce9-4400-9173-1696d8e641b0" CreationDate="2011-01-05T19:53:31.817" UserId="290" Text="And you have to spend it. Because the couch-demons will come after it if you don't. And you have to spend it on audio stuff.&#xD;&#xA;&#xD;&#xA;If it were me, I'd get either get a decent stereo shotgun (am undecided on what model... haven't tested yet) or a Paca (Kyma)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9145" PostHistoryTypeId="1" PostId="5380" RevisionGUID="4a3c145b-8ce9-4400-9173-1696d8e641b0" CreationDate="2011-01-05T19:53:31.817" UserId="290" Text="So you found $3000 under your couch. What do you buy?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9146" PostHistoryTypeId="3" PostId="5380" RevisionGUID="4a3c145b-8ce9-4400-9173-1696d8e641b0" CreationDate="2011-01-05T19:53:31.817" UserId="290" Text="&lt;fantasy&gt;&lt;buy&gt;&lt;gear&gt;&lt;money&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9147" PostHistoryTypeId="2" PostId="5381" RevisionGUID="75565f93-1995-430c-b563-097b1b89cd49" CreationDate="2011-01-05T20:01:32.620" UserId="61" Text="Either a Neumann 190 or a Schoeps whatever." ContentLicense="CC BY-SA 2.5" />
  <row Id="9148" PostHistoryTypeId="2" PostId="5382" RevisionGUID="acc645d9-c58c-4e46-8238-5bb50afc6e65" CreationDate="2011-01-05T20:36:30.060" UserId="103" Text="A sounddevices 702T and some of the independent sound libraries" ContentLicense="CC BY-SA 2.5" />
  <row Id="9149" PostHistoryTypeId="2" PostId="5383" RevisionGUID="9f8eb1dc-1222-4c36-b8b1-1fe86d670840" CreationDate="2011-01-05T20:54:01.600" UserId="18160" Text="Schoeps CMIT5U and a decent recorder.&#xD;&#xA;&#xD;&#xA;Or, if I have mics already, some good plug-ins." ContentLicense="CC BY-SA 2.5" />
  <row Id="9150" PostHistoryTypeId="2" PostId="5384" RevisionGUID="e640613a-7794-4076-86d6-33970ba10fd2" CreationDate="2011-01-05T21:16:01.743" UserId="253" Text="Reason, a KMR81, a convolution reverb (undecided), a service on the JBLs in my studio and indie FX libraries.&#xD;&#xA;&#xD;&#xA;Or maybe i could use it to convince my boss to crossgrade from Euphonix MC Pro control module to a D Command." ContentLicense="CC BY-SA 2.5" />
  <row Id="9151" PostHistoryTypeId="2" PostId="5385" RevisionGUID="924158a3-252e-4f90-82ba-2c388093f07d" CreationDate="2011-01-05T22:06:01.657" UserDisplayName="user80" Text="A sound devices recorder, any model will do." ContentLicense="CC BY-SA 2.5" />
  <row Id="9152" PostHistoryTypeId="5" PostId="5331" RevisionGUID="115cb6bc-fd9e-4746-be71-2ac3617a9a7f" CreationDate="2011-01-05T22:09:16.953" UserDisplayName="user80" Comment="deleted 152 characters in body" Text=" I would suggest renting a standard sennheiser cardioid so that you can hear the difference between a standard cardioid and a shotgun in an m/s setup.  It can make a huge difference.    " ContentLicense="CC BY-SA 2.5" />
  <row Id="9153" PostHistoryTypeId="2" PostId="5386" RevisionGUID="a4f395fc-0c51-49f7-8191-e54c8033907f" CreationDate="2011-01-06T01:55:23.657" UserDisplayName="user49" Text="I'd spend it on (field recording) travel - Indonesia, Japan, South Korea, VietNam, Cambodia...." ContentLicense="CC BY-SA 2.5" />
  <row Id="9154" PostHistoryTypeId="2" PostId="5387" RevisionGUID="83709aac-3753-4890-93ed-f29837716e2b" CreationDate="2011-01-06T02:10:53.880" UserDisplayName="user49" Text="Its a pretty broad definition but I listen to (&amp; sometimes make) some of these kinds of music (although I tend towards the more minimal in approach) but there are lots of existing communities online for this subject, a few worth checking out:&#xD;&#xA;&#xD;&#xA;http://www.12k.com/forum&#xD;&#xA;http://www.muffwiggler.com/forum/viewforum.php?f=22&#xD;&#xA;http://www.noiseguide.com/board/&#xD;&#xA;http://ihatemusic.noquam.com/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9155" PostHistoryTypeId="2" PostId="5388" RevisionGUID="b701575c-60ae-45b8-a194-4849b1d7254e" CreationDate="2011-01-06T02:35:07.870" UserId="244" Text="field recording mics (Sennheiser shotguns), and wind jammers" ContentLicense="CC BY-SA 2.5" />
  <row Id="9157" PostHistoryTypeId="2" PostId="5389" RevisionGUID="b0168aad-579f-44b9-956f-d2f359441d53" CreationDate="2011-01-06T14:44:18.783" UserDisplayName="user80" Text="If i can I will always record at 192 kHz, and I can still hear 17 kHz despite being considerably older than 27.  I have students who are considerably younger than 27 who struggle to hear 13 kHz.  &#xD;&#xA;&#xD;&#xA;The higher sampling rate does make a difference when it comes to reverberation, as it works in a similar manner to an LFO (Low Frequency Oscillator), so inaudible frequencies affect audible frequencies.    &#xD;&#xA;&#xD;&#xA;However, all of the cinemas I ever go to are lucky if they have the projector focused regularly, never mind having the audio properly calibrated.&#xD;&#xA;&#xD;&#xA;We will move to 192 kHz eventually, but there is so much that has to catch up first. &#xD;&#xA;&#xD;&#xA;The first thing that I would love is a loudspeaker with a flat frequency response even up to 17 kHz, even my favourite Genelecs colour the sound. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9158" PostHistoryTypeId="2" PostId="5390" RevisionGUID="ac9c864b-6e30-49b1-93f5-466b4c0af10e" CreationDate="2011-01-06T15:10:43.203" UserId="629" Text="Hello&#xD;&#xA;&#xD;&#xA;I am planning finishing my website off once I have finished my university degree and wondered if it was a good or bad idea to put up my final year project / dissertation as downloadable files for perspective employers to read?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="9159" PostHistoryTypeId="1" PostId="5390" RevisionGUID="ac9c864b-6e30-49b1-93f5-466b4c0af10e" CreationDate="2011-01-06T15:10:43.203" UserId="629" Text="University graduates - Do you offer your dissertation out on your website?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9160" PostHistoryTypeId="3" PostId="5390" RevisionGUID="ac9c864b-6e30-49b1-93f5-466b4c0af10e" CreationDate="2011-01-06T15:10:43.203" UserId="629" Text="&lt;university&gt;&lt;dissertation&gt;&lt;websites&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9161" PostHistoryTypeId="2" PostId="5391" RevisionGUID="0d741b9c-9855-4426-87c6-56f46c8589fe" CreationDate="2011-01-06T15:29:15.120" UserDisplayName="user80" Text="If you are proud of it then post as much as you can.  It is unlikely that any one will read your entire dissertation, but a prospective employer might browse sections if they are considering offering you work.  &#xD;&#xA;&#xD;&#xA;Personally I would concentrate on making a showreel and starting to work on as many projects as you can." ContentLicense="CC BY-SA 2.5" />
  <row Id="9162" PostHistoryTypeId="2" PostId="5392" RevisionGUID="dfe47479-6cd8-47eb-94f9-0cc919e32f47" CreationDate="2011-01-06T15:47:15.293" UserId="194" Text="I'd say its pretty impossible in the near term and pretty unlikely in the long term.&#xD;&#xA;&#xD;&#xA;First off, sample rate depth has serious consequences for the way that DAW and digitial processing work, and mixing is a processor intense activity.  In order for a process like an eq or summing mixer or distortion to work correctly, it has to do its process at double or 4x the rate it would at 48k.  Ever actually *try* mixing something complex at 192k?  Give it a spin and let us know how your computer holds up.&#xD;&#xA;&#xD;&#xA;Also, have you done a double-blind listening test between 48k and 96k?  Are you *sure* you can hear a difference?  I can certainly set one up for you.  What if I use 48k source sample rate material recorded outdoors and then encode each into AAC?  Because another issue is the production process:  Most audio for films is not captured at super high sample rates. Its captured at 48k, so unless you're asking your location sound dept to run at 192k then you're just upsampling the dialogue and pfx anyway.  &#xD;&#xA;&#xD;&#xA;Actually, that first point is the biggest one.  You're crippling your computing power and you are doing it for what will amount to zero sonic benefit.  This is doubly true when you consider that location source audio is captured at 48k, and the final distribution master is encoded in a lossy format.&#xD;&#xA;&#xD;&#xA;In the end quality is about content.  Mixing decisions are about story, not sample rates.  I'm not trying to be harsh, I'm just trying to steer you away from the placebo mentality that makes Monster Cables so much money.  Trust your ears, but only when your eyes aren't involved.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="9163" PostHistoryTypeId="2" PostId="5393" RevisionGUID="cda2d41e-abf5-4921-9031-34febf5418e3" CreationDate="2011-01-06T16:09:28.887" UserId="62" Text="I agree with Iain. Put mine up for a bit of fun though too." ContentLicense="CC BY-SA 2.5" />
  <row Id="9164" PostHistoryTypeId="2" PostId="5394" RevisionGUID="a80c1d4f-c8d8-4711-a174-369e38a74665" CreationDate="2011-01-06T16:19:31.327" UserId="238" Text="After I graduated I had both my dissertation and my final project on my site, as well as a link to them both on my C.V. When contacting pottential clients I used these to show people what I was about. And my dissertation (Sound effects and ambiances in film) was key to getting me one of my first gigs. The director read it and was impressed with what I had written, so gave me the job as sound designer on his short film. Once you start to get some work under your belt this becomes unnecessary as *real-world* client work will be viewed first and make university work irrelevant. Let the SSD community know if and when your work is up on your site. I'm sure people would be interested in it." ContentLicense="CC BY-SA 2.5" />
  <row Id="9166" PostHistoryTypeId="5" PostId="1566" RevisionGUID="b22161cc-f5c7-4691-a8f1-e4cfa1887602" CreationDate="2011-01-06T18:03:04.823" UserId="18160" Comment="deleted 98 characters in body" Text="In my opinion, I hear a drop in quality going from 96K to 48K.K.&#xD;&#xA;&#xD;&#xA;When do you think it will be standard to mix a film at 96K or possibly 192K and have it stay at that sample-rate?&#xD;&#xA;&#xD;&#xA;What are your guys' thoughts on 48K as opposed to 96K? Am I alone when I say I can hear a difference in quality between 48K and 96K?&#xD;&#xA;&#xD;&#xA;Also, when you record dialogue or effects or foley, do you record straight to 48K or do you record at 192 or 96 and then downconvert? And how do you do the downconverting?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9167" PostHistoryTypeId="2" PostId="5396" RevisionGUID="1d1162b7-5f8c-4e74-8fdf-673e58326c80" CreationDate="2011-01-06T19:31:20.590" UserId="338" Text="How does one go about finding work and getting experience in &quot;the field?&quot;  " ContentLicense="CC BY-SA 2.5" />
  <row Id="9168" PostHistoryTypeId="1" PostId="5396" RevisionGUID="1d1162b7-5f8c-4e74-8fdf-673e58326c80" CreationDate="2011-01-06T19:31:20.590" UserId="338" Text="How to find work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9169" PostHistoryTypeId="3" PostId="5396" RevisionGUID="1d1162b7-5f8c-4e74-8fdf-673e58326c80" CreationDate="2011-01-06T19:31:20.590" UserId="338" Text="&lt;design&gt;&lt;studios&gt;&lt;recording&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9171" PostHistoryTypeId="2" PostId="5398" RevisionGUID="eaf835e6-51ad-40fd-91a8-a57ea725f842" CreationDate="2011-01-06T20:30:02.797" UserId="432" Text="Ryan's suggestion of finding someone to work with is a good one. &quot;Beginning&quot; may not be the right wording, but the spirit is there. Look for people who are at or above your skill level to work with.&#xD;&#xA;&#xD;&#xA;One resource you can check is Meetup.com. Look for film/video production groups in your area and get involved with them, that site is pretty good for those sorts of things. You could also look for the nearest 48-hour film festival location and get involved with a group doing that.&#xD;&#xA;&#xD;&#xA;That will cover your basic networking with people who are at or near your skill level. Foster and maintain those relationships, you never know what they can lead to.&#xD;&#xA;&#xD;&#xA;On the more professional side, you should try to make contact with established company's/individuals that are in your area. I got my first internship at a professional studio by walking into every recording studio in Boston I could find, resume in hand. I worked there during my days off from work, and it made a big difference. With that being said though, don't allow your ego to get in the way.&#xD;&#xA;&#xD;&#xA;If you can get a job photocopying or answering phones somewhere you might like to work as an audio tech, take it. Let them know you're interested in more, make friends with the mixers/editors, and ask to sit in on sessions that occur outside of your normal working hours. If they let you do it, you should be cheerful, polite, dedicated and stay out of the way/keep your mouth shut. Let your work ethic speak for itself. Remember the three big quesitons: &quot;Do I **need** to say this now?&quot; &quot;Do **I** need to say this now?&quot; and &quot;Do I need to say this **now**?&quot; *[hint: if the answer to all three is, &quot;yes,&quot; then you can **think** about saying it.]*&#xD;&#xA;&#xD;&#xA;I'd like to say there is more to it, but there really isn't...other than persistence and one thing that none of us have control over, luck. There's a possibility that you might be able to do some of this long distance/telecommute. Who knows?! The internet is a wacky place now-a-days." ContentLicense="CC BY-SA 2.5" />
  <row Id="9172" PostHistoryTypeId="5" PostId="5398" RevisionGUID="1832e6f7-1def-4f6e-a6b3-ece2eb579024" CreationDate="2011-01-06T21:50:56.800" UserId="432" Comment="one more suggestion" Text="Ryan's suggestion of finding someone to work with is a good one. &quot;Beginning&quot; may not be the right wording, but the spirit is there. Look for people who are at or above your skill level to work with.&#xD;&#xA;&#xD;&#xA;One resource you can check is Meetup.com. Look for film/video production groups in your area and get involved with them, that site is pretty good for those sorts of things. You could also look for the nearest 48-hour film festival location and get involved with a group doing that.&#xD;&#xA;&#xD;&#xA;That will cover your basic networking with people who are at or near your skill level. Foster and maintain those relationships, you never know what they can lead to.&#xD;&#xA;&#xD;&#xA;On the more professional side, you should try to make contact with established company's/individuals that are in your area. I got my first internship at a professional studio by walking into every recording studio in Boston I could find, resume in hand. I worked there during my days off from work, and it made a big difference. With that being said though, don't allow your ego to get in the way.&#xD;&#xA;&#xD;&#xA;If you can get a job photocopying or answering phones somewhere you might like to work as an audio tech, take it. Let them know you're interested in more, make friends with the mixers/editors, and ask to sit in on sessions that occur outside of your normal working hours. If they let you do it, you should be cheerful, polite, dedicated and stay out of the way/keep your mouth shut. Let your work ethic speak for itself. Remember the three big quesitons: &quot;Do I **need** to say this now?&quot; &quot;Do **I** need to say this now?&quot; and &quot;Do I need to say this **now**?&quot; *[hint: if the answer to all three is, &quot;yes,&quot; then you can **think** about saying it.]*&#xD;&#xA;&#xD;&#xA;I'd like to say there is more to it, but there really isn't...other than persistence and one thing that none of us have control over, luck. There's a possibility that you might be able to do some of this long distance/telecommute. Who knows?! The internet is a wacky place now-a-days.&#xD;&#xA;&#xD;&#xA;**EDIT:** I neglected to mention looking into other local media companies that may not be directly in the filed you're looking at at the moment...which is funny considering I used to do dialogue editing for a company that produced web based compliance and ethics training courses. lol" ContentLicense="CC BY-SA 2.5" />
  <row Id="9173" PostHistoryTypeId="2" PostId="5399" RevisionGUID="8b41a0dc-366e-4800-b311-c38a040be7bf" CreationDate="2011-01-06T22:47:59.337" UserId="531" Text="I asked this same question not too long ago. &#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/4085/finding-audio-work-where-do-you-look&#xD;&#xA;&#xD;&#xA;Might be useful to ya. &#xD;&#xA;Cheers! " ContentLicense="CC BY-SA 2.5" />
  <row Id="9174" PostHistoryTypeId="2" PostId="5400" RevisionGUID="9cd2b4fb-70df-4194-b760-6e12364d6ab3" CreationDate="2011-01-06T23:22:04.297" UserId="18160" Text="I seem to remember reading about this phenomenon with omni mics before somewhere a long time ago,&#xD;&#xA;&#xD;&#xA;but I just took the opportunity to record a noisy vent in one of my rooms and I recorded it with an MK5 mic set in cardioid, and then I recorded it in omni, with no change of position of the mic.&#xD;&#xA;&#xD;&#xA;The cardioid mic had an average level of -52.9 dB and a peak of -38.8 dB.&#xD;&#xA;&#xD;&#xA;The omni mic had an average of -35.5 dB and a peak of -21.5 dB.&#xD;&#xA;&#xD;&#xA;Nothing changed on the preamp level or position of the mic, only the polar pattern.&#xD;&#xA;&#xD;&#xA;But it sounds like there is a whole lot more sub-bass and rumble on the omni, and the level is boosted quite a bit (which, I can understand that the whole room as opposed to the front of the mic is being recorded, but the sub-bass baffles me).&#xD;&#xA;&#xD;&#xA;Do I have a defective mic or does an omni pattern pick up a lot more sub-bass and rumble, and how come I didn't know about this before? Is this known about or written anywhere?&#xD;&#xA;&#xD;&#xA;Could I use this to an advantage for recording guns, for instance?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9175" PostHistoryTypeId="1" PostId="5400" RevisionGUID="9cd2b4fb-70df-4194-b760-6e12364d6ab3" CreationDate="2011-01-06T23:22:04.297" UserId="18160" Text="Omni mic sub bass boost?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9176" PostHistoryTypeId="3" PostId="5400" RevisionGUID="9cd2b4fb-70df-4194-b760-6e12364d6ab3" CreationDate="2011-01-06T23:22:04.297" UserId="18160" Text="&lt;schoeps&gt;&lt;omni&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9177" PostHistoryTypeId="2" PostId="5401" RevisionGUID="d5f9cf0b-3279-4c29-8bc7-fa5175a2f9f9" CreationDate="2011-01-07T03:50:42.100" UserId="517" Text="The proximity effect shouldn't occur with an omnidirectional microphone. [The Schoeps CCM 5/MK5 frequency response chart][1] shows that the omni configuration has a very flat frequency response down to 20 Hz, whereas the cardiod configuration begins to attenuate low frequencies at 100 Hz. In addition, you're probably picking up more LF in the room that the cardiod is rejecting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.schoeps.de/en/products/ccm5/graphics" ContentLicense="CC BY-SA 2.5" />
  <row Id="9178" PostHistoryTypeId="2" PostId="5402" RevisionGUID="f716bf89-d319-44f3-bbd2-69e502715195" CreationDate="2011-01-07T05:08:20.923" UserId="787" Text="As with answer 1, You **are** hearing proximity effect, except what you are hearing is due to the Cardioid patterns **lack** of bass response. Proximity effect is easy to hear on every polar pattern (except Omni of course) By comparison to Omni, any sound source at a distance from the mic will sound significantly bass light. This is a huge problem for inexperienced live vocalists or musicians in a studio not rooted to the spot.&#xD;&#xA;&#xD;&#xA;The Omni pattern of most condenser mics will give you the most accurate sound spectrum and a far superior low frequency extension, often lower than 20Hz.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9179" PostHistoryTypeId="2" PostId="5403" RevisionGUID="da2898b4-bdc9-41a9-9deb-d72db35f1f49" CreationDate="2011-01-07T10:37:40.893" UserId="118" Text="Baby Scratch on iPhone FTW!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9180" PostHistoryTypeId="2" PostId="5404" RevisionGUID="cd84d485-4db8-4544-893b-8e24929b4a70" CreationDate="2011-01-07T13:13:22.907" UserId="788" Text="Serato or Torq or Traktor." ContentLicense="CC BY-SA 2.5" />
  <row Id="9181" PostHistoryTypeId="16" PostId="5404" RevisionGUID="cd84d485-4db8-4544-893b-8e24929b4a70" CreationDate="2011-01-07T13:13:22.907" UserId="788" />
  <row Id="9182" PostHistoryTypeId="2" PostId="5405" RevisionGUID="d4e5321a-43d1-4f8c-8534-904ad248223e" CreationDate="2011-01-07T13:56:02.437" UserId="786" Text="Hi,&#xD;&#xA;&#xD;&#xA;If you have a sound coming into your mic setup at an angle of 90 degrees off axis, theoretically all of the sound pressure will be on the S microphone, and no sound pressure will be on the M microphone.&#xD;&#xA;&#xD;&#xA;So if you look at the waveforms in MS you will probably see the M signal as a flat line, and the S signal as a waveform. You could say that the M signal has a constant value of 0.&#xD;&#xA;&#xD;&#xA;If you then decode the MS recording into LR, either by manually summing og using a plugin, the sound in the Left speaker will be M+S, and the sound in the Right speaker will be M-S. If we equal M to 0, the signal in the Left speaker will be S, and the signal in the Right speaker will be -S. Identical, but opposite phase.&#xD;&#xA;&#xD;&#xA;Out of phase signals give you no sense of direction, if they are at the same level. So you will have a feeling of the sound coming from somewhere between the speakers, or next to your ears or perhaps even behind you. But you will not be able to pinpoint the direction.&#xD;&#xA;&#xD;&#xA;I use MS for recording stereo sounds most of the time. I like the sound of it and the ease of use, but it does have some limitations when it comes to very wide stereo sounds. Anyway most of the action is almost always within +-45 degrees off axis. I wouldn't worry that much about losing the action at +-90 degrees. &#xD;&#xA;&#xD;&#xA;If you really wish to capture a very wide stereo field, you should perhaps use an A-B setup or an X-Y setup, perhaps even a binaural setup. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9183" PostHistoryTypeId="2" PostId="5406" RevisionGUID="76774da5-99ab-4924-9c37-35214782bb87" CreationDate="2011-01-07T16:36:17.600" UserId="455" Text="Can someone explain LKFS and LEQ(A)?  The meters I use are all full scale and I'm curious how these relate." ContentLicense="CC BY-SA 2.5" />
  <row Id="9184" PostHistoryTypeId="2" PostId="5407" RevisionGUID="65e67030-3cb3-4886-b051-8d1a012c9674" CreationDate="2011-01-07T16:38:26.993" UserId="142" Text="I use two battle scratchers in one of my bands and I don't know anything that can reproduce a human at doing this. Different techniques like crabs, chirps, tears, flares etc etc etc can never be replicated well (its always so obvious when you hear an attempt to replicate a real dj that uses vinyl or even Sorato or cd decks. The speed these guys work at is amazing and one guy I know spends up to 4 hours a day practicing one technique until perfected. We use these guys as an instrument in the band and they practice as much as most musicians do. I am sure we would never try to replicate complex techniques for a guitar or violin and the it is really the same for scratching to as it needs a human who knows his instrument to make good sound from it. Unlike Dave's experience, most scratchers I know do not only use voice samples but use many different instrument samples in their sets. They can also easily make tunes up live with sine waves using pitch on the record deck. I feel that none of the software mentioned (apart from Serato or similar) can cut it at replacing a good DJ with decks unless you need very very simple scratches. Hope this helps " ContentLicense="CC BY-SA 2.5" />
  <row Id="9185" PostHistoryTypeId="2" PostId="5408" RevisionGUID="e3d5c5bd-fec2-482a-b35d-c29b3a2494a6" CreationDate="2011-01-07T17:24:46.280" UserId="474" Text="afaik, as opposed to pressure-gradient transducers, omnis work much like barometers: they simply convert any air pressure change to electricity. meaning, they even have to be high-pass-filtered or otherwise adapted so as not to transmit the ambient air pressure!&#xD;&#xA;&#xD;&#xA;pressure-gradient microphones, on the other hand, as we all know, use constructive and destructive interference to produce a certain polar pattern.&#xD;&#xA;&#xD;&#xA;in fact, a short google research on this was quite revealing: http://www.tonmeister.ca/main/textbook/node472.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="9186" PostHistoryTypeId="2" PostId="5409" RevisionGUID="cbe9ba84-04a4-4a43-b108-790b10c07165" CreationDate="2011-01-07T17:29:41.830" UserId="220" Text="A computer and new DAW software.  It serves so many fuctions!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9187" PostHistoryTypeId="2" PostId="5410" RevisionGUID="cb7bf0dd-8e6c-4095-9737-822afeae46eb" CreationDate="2011-01-07T18:54:05.767" UserId="6411" Text="I have this problem with purchase priorities all the time. I always try go for the option that will make me more money so I can afford to keep going down the list of potential gear purchases. Right now I'm torn between a laptop &amp; PT9 or learning new software.  There's an audio implementation course I've been eyeing..." ContentLicense="CC BY-SA 2.5" />
  <row Id="9188" PostHistoryTypeId="2" PostId="5411" RevisionGUID="9e66b41f-e822-42c7-91c1-a6deca132835" CreationDate="2011-01-07T19:01:32.763" UserId="18" Text="I'd buy a new couch.  Seriously, I hate mine." ContentLicense="CC BY-SA 2.5" />
  <row Id="9189" PostHistoryTypeId="2" PostId="5412" RevisionGUID="fbc27dfc-ec0a-4cc9-b7e9-7a479e22f90a" CreationDate="2011-01-07T20:22:46.493" UserId="238" Text="@Chuck - &#xD;&#xA;[The ultimate $3000 couch!][1]&#xD;&#xA;&#xD;&#xA;![alt text][2] &#xD;&#xA;&#xD;&#xA;Now that's what I call comfortable!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.asylum.com/2008/09/22/if-you-want-blue-balls-buy-this-3-000-couch/&#xD;&#xA;  [2]: http://freshome.com/wp-content/uploads/2007/11/feel-sofa2.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="9190" PostHistoryTypeId="2" PostId="5413" RevisionGUID="e0a49adc-c112-4b4d-a397-62925ecd55e8" CreationDate="2011-01-07T21:08:47.133" UserId="238" Text="Following on from Jay Jennings' post, [How Did They Do That?? Vol. 1: The Predator “clicks”][1], I thought I'd carry on the series with another classic, iconic sound - the Ghostbusters Proton Pack powering up. If anyone knows how it was done, please share your wisdom with us. And if there are any other Ghostbuster related sound knowledge why not share it here too. To give you a taster, check the video. There's a good example when they are in the lift (1min51).&#xD;&#xA;&#xD;&#xA;[youtube]nJ0lE01alik[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/4925/how-did-they-do-that-vol-1-the-predator-clicks" ContentLicense="CC BY-SA 2.5" />
  <row Id="9191" PostHistoryTypeId="1" PostId="5413" RevisionGUID="e0a49adc-c112-4b4d-a397-62925ecd55e8" CreationDate="2011-01-07T21:08:47.133" UserId="238" Text="How Did They Do That?? Vol. 2: Ghostbusters “proton pack”" ContentLicense="CC BY-SA 2.5" />
  <row Id="9192" PostHistoryTypeId="3" PostId="5413" RevisionGUID="e0a49adc-c112-4b4d-a397-62925ecd55e8" CreationDate="2011-01-07T21:08:47.133" UserId="238" Text="&lt;iconic-sounds&gt;&lt;film-sound-design&gt;&lt;creativity&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9193" PostHistoryTypeId="5" PostId="5407" RevisionGUID="a763792a-f95c-4689-97ee-8a44b2cded05" CreationDate="2011-01-07T22:12:57.217" UserId="142" Comment="added 36 characters in body" Text="I use two battle scratchers in one of my bands and I don't know anything that can reproduce a human at doing this. Different techniques like crabs, chirps, tears, flares etc etc etc can never be replicated well (its always so obvious when you hear an attempt to replicate a real dj that uses vinyl or even Sorato or cd decks). The speed these guys work at is amazing and one guy I know spends up to 4 hours a day practicing one technique until perfected. We use these guys as an instrument in the band and they practice as much as most musicians do. I am sure we would never try to replicate complex techniques for a guitar or violin and it is really the same for scratching too as it needs a human who knows his instrument to make good sound from it. Unlike Dave's experience, most scratchers I know do not only use voice samples but use many different instrument samples in their sets. They can also easily make tunes up live with sine waves using pitch on the record deck. I feel that none of the software mentioned (apart from Serato or similar as they still use the real techniques) can cut it at replacing a good DJ with decks unless you need very very simple scratches. Hope this helps " ContentLicense="CC BY-SA 2.5" />
  <row Id="9194" PostHistoryTypeId="2" PostId="5414" RevisionGUID="e83daae8-dcfa-488e-9b5e-8e235339a451" CreationDate="2011-01-07T23:26:13.890" UserId="418" Text="Over the past 10 years I've been making most of my living doing stock libraries, patches, virtual instruments etc which were geared pretty specifically toward musicians. These days though, I'm doing more and more library works which are designed more for use by video artists, app developers, folks scoring for TV etc.&#xD;&#xA;&#xD;&#xA;Most of my third party distributors sell my work at 16/44, some at 24/44. But lately I'm getting custom clientele, and requests from stock customers, who are asking for the libraries at 24/48. I usually record/produce at 24/96, and dither/convert downward from there for various distributions. &#xD;&#xA;&#xD;&#xA;I'm about to implement an overhaul to my workflow and want to streamline things, while outputting to a format that best meets the needs of my new growing customer base ie; non-musicians. &#xD;&#xA;&#xD;&#xA;So, for those of you working with moving picture; What sample rate and bit depth is generally the one that meets your needs best and fits as easily into your processes as possible? &#xD;&#xA;&#xD;&#xA;Thanks for any input." ContentLicense="CC BY-SA 2.5" />
  <row Id="9195" PostHistoryTypeId="1" PostId="5414" RevisionGUID="e83daae8-dcfa-488e-9b5e-8e235339a451" CreationDate="2011-01-07T23:26:13.890" UserId="418" Text="What are Your Preferred Bit/Sample Specs for Commercial Libraries?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9196" PostHistoryTypeId="3" PostId="5414" RevisionGUID="e83daae8-dcfa-488e-9b5e-8e235339a451" CreationDate="2011-01-07T23:26:13.890" UserId="418" Text="&lt;library&gt;&lt;sound-libraries&gt;&lt;sound-effects&gt;&lt;business&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9197" PostHistoryTypeId="2" PostId="5415" RevisionGUID="b7aaf289-57d5-4525-9469-f4f9a792dc01" CreationDate="2011-01-07T23:37:02.823" UserId="61" Text="Great question. My preference is to always acquire the sounds in their native format, ie. if they were recorded at 24bit 96k, that's how I want them delivered. That being said, if you're going to be recording things for libraries nowadays, I would definitely shoot at the highest available rates, which for most people is 24bit 192k. Recording at these specs will generate pretty large files, but hey, storage is cheap!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9198" PostHistoryTypeId="2" PostId="5416" RevisionGUID="db97ff79-d53a-403c-bb67-007695894cad" CreationDate="2011-01-07T23:49:48.170" UserId="238" Text="Jay's point on cheap storage is actually very relevant. Although higher bit rate / SR files are bigger in size, this is less of a problem than it used to be due to the above mentioned. Personally, I prefer have my effects in 24 Bit, 192K as this gives me the most flexibility. 96k sample rate is acceptable but I'd never compromise on the 24 bit depth. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9199" PostHistoryTypeId="5" PostId="5412" RevisionGUID="2db2a1a1-2611-4730-ac46-6207566683f4" CreationDate="2011-01-07T23:52:08.350" UserId="238" Comment="added 7 characters in body" Text="@Chuck @Shaun - &#xD;&#xA;[The ultimate $3000 couch!][1]&#xD;&#xA;&#xD;&#xA;![alt text][2] &#xD;&#xA;&#xD;&#xA;Now that's what I call comfortable!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.asylum.com/2008/09/22/if-you-want-blue-balls-buy-this-3-000-couch/&#xD;&#xA;  [2]: http://freshome.com/wp-content/uploads/2007/11/feel-sofa2.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="9201" PostHistoryTypeId="2" PostId="5418" RevisionGUID="a43f48bf-c0d3-4f80-8660-b13f753b50a4" CreationDate="2011-01-08T00:27:18.557" UserId="418" Text="Oh I suppose something shiny with the words &quot;Sound Devices&quot; on it would do. Any leftover change would go to the wife in an attempt to ease her anger. :P" ContentLicense="CC BY-SA 2.5" />
  <row Id="9202" PostHistoryTypeId="2" PostId="5419" RevisionGUID="65b0beca-123d-4f43-8e61-0ad081aa4b7b" CreationDate="2011-01-08T00:30:41.083" UserId="629" Text="3000 scratch cards :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9203" PostHistoryTypeId="2" PostId="5420" RevisionGUID="54846fd9-addd-40f4-8afb-ae941f70960e" CreationDate="2011-01-08T00:31:34.613" UserId="418" Text="+1 for a contact/sticky mic of some kind. There's probably a bunch of subtle springy weirdness happening in there that might only be captured by getting *inside* the slinky. &quot;Hear the slinky, be the slinky.&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9204" PostHistoryTypeId="2" PostId="5421" RevisionGUID="28806db7-d1b1-45a4-99d2-a3ba2553939a" CreationDate="2011-01-08T00:34:22.117" UserId="639" Text="I am taking a world music course this quarter and the professor brought in a bunch of crazy instruments (some he made) and I asked him if we can set up a time to record samples of these unique instruments. He said yeah so now I want to make sure I get it right, because there is only one shot. The instruments are percussive, stringed and a few I don't know what to classify as. I plan on bringing a SM57 for the really loud instruments and a large cap condenser for the quieter instruments. I have a shotgun and several other really nice mics I can use but what would be the mics you would bring to this session?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9205" PostHistoryTypeId="1" PostId="5421" RevisionGUID="28806db7-d1b1-45a4-99d2-a3ba2553939a" CreationDate="2011-01-08T00:34:22.117" UserId="639" Text="Recording world instruments, what type of mic(s) to use?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9206" PostHistoryTypeId="3" PostId="5421" RevisionGUID="28806db7-d1b1-45a4-99d2-a3ba2553939a" CreationDate="2011-01-08T00:34:22.117" UserId="639" Text="&lt;recording&gt;&lt;instruments&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9207" PostHistoryTypeId="6" PostId="5414" RevisionGUID="5c2261db-18d8-4f98-93c9-4d0a920e14df" CreationDate="2011-01-08T01:18:31.097" UserId="61" Comment="retag" Text="&lt;bit-depth&gt;&lt;sample-rate&gt;&lt;sound-libraries&gt;&lt;business&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9208" PostHistoryTypeId="2" PostId="5422" RevisionGUID="70fec86f-5847-43aa-a6d0-0e205f911942" CreationDate="2011-01-08T01:18:37.633" UserId="103" Text="That sounds awesome!&#xD;&#xA;&#xD;&#xA;How many channels do you have?&#xD;&#xA;&#xD;&#xA;A nice pair of Small diaphragm condensers and a pair of large diaphragms condensers should cover many bases very well, a contact mic wouldn't hurt.. &#xD;&#xA; And depending on the space you're going to record take a few extra mic stands so you can set the arms horizontally and set blankets and stuff for a little acoustic treatment if needed." ContentLicense="CC BY-SA 2.5" />
  <row Id="9209" PostHistoryTypeId="2" PostId="5423" RevisionGUID="e01d0205-2cab-49ea-9b73-e965089fbb5b" CreationDate="2011-01-08T01:20:51.237" UserId="18160" Text="Percussion I would use a stereo Royer SF-12. The last album I worked on I recorded bongos, congas, acoustic guitar, and ocarina with this mic and it worked beautifully on all of them.&#xD;&#xA;&#xD;&#xA;Flutes and such I'd use a Royer 122 if it needs brightness, or a regular 121.&#xD;&#xA;&#xD;&#xA;Loud stuff, yeah an SM57 would work, but maybe try a padded Schoeps MK5, MK6 or MK41 capsule. I also own an AKG C5 which beats an SM57 on certain things any day - it's like a dynamic mic but uses condenser technology.&#xD;&#xA;&#xD;&#xA;Large diaphragm condensers will sound good on the strings - though I prefer Schoeps myself. Also, ribbon mics sound great on strings to get a warmer sound.&#xD;&#xA;&#xD;&#xA;But, more important than the mics I think is WHERE you record these instruments.&#xD;&#xA;&#xD;&#xA;If it's a regular classroom with hard floors, parallel walls and a large blackboard/marker board with tons of windows, your acoustics are going to work against you.&#xD;&#xA;&#xD;&#xA;Find a nice, deadened if possible, but if not deadened then find a smooth echo which doesn't zing or bounce all over the place - especially the loud stuff.&#xD;&#xA;&#xD;&#xA;Maybe he knows of a studio you could use nearby... It would be well worth it.&#xD;&#xA;&#xD;&#xA;Also, sampling instruments and recording things &quot;for the sake of getting them recorded&quot; is actually a highly specialized field of recording which is much deeper and involved than having the person run through a musical scale once or twice.&#xD;&#xA;&#xD;&#xA;I recently recorded a grand piano and we spent 2 weeks at 8 hours a day recording every possible midi velocity and note and keeping it in tune and perfectly recorded. And we didn't use a person's finger on each key - it was a hammer which would hit exact velocities each time for exact accuracy. You might want to read up on how they record sample libraries - might be useful data for you there." ContentLicense="CC BY-SA 2.5" />
  <row Id="9210" PostHistoryTypeId="2" PostId="5424" RevisionGUID="b95366bc-3521-4ee3-ab8f-56021de93e65" CreationDate="2011-01-08T01:21:07.707" UserId="61" Text="Two PZMs taped back-to-back on a flat surface (ex. clipboard, piece of wood) and then hung from a mic stand above the instrument at 6-8' should give a really nice &quot;you are there&quot; image. This technique has been used on drumkits with great success." ContentLicense="CC BY-SA 2.5" />
  <row Id="9213" PostHistoryTypeId="5" PostId="5423" RevisionGUID="25b2338d-68ee-480a-ba20-f94b205496e3" CreationDate="2011-01-08T02:03:29.960" UserId="18160" Comment="added 5 characters in body" Text="Percussion I would use a stereo Royer SF-12. The last album I worked on I recorded bongos, congas, acoustic guitar, and ocarina with this mic and it worked beautifully on all of them.&#xD;&#xA;&#xD;&#xA;Flutes and such I'd use a Royer 122 if it needs brightness, or a regular 121.&#xD;&#xA;&#xD;&#xA;Loud stuff, yeah an SM57 would work, but maybe try a padded Schoeps MK5, MK6 or MK41 capsule. I also own an AKG C5 which beats an SM57 on certain things any day - it's like a dynamic mic but uses condenser technology.&#xD;&#xA;&#xD;&#xA;Large diaphragm condensers will sound good on the strings - though I prefer Schoeps myself. Also, ribbon mics sound great on strings to get a warmer sound.&#xD;&#xA;&#xD;&#xA;But, more important than the mics I think is WHERE you record these instruments.&#xD;&#xA;&#xD;&#xA;If it's a regular classroom with hard floors, parallel walls and a large blackboard/marker board with tons of windows, your acoustics are going to work against you.&#xD;&#xA;&#xD;&#xA;Find a nice, deadened if possible, but if not deadened then find a smooth echo which doesn't zing or bounce all over the place - especially the loud stuff.&#xD;&#xA;&#xD;&#xA;Maybe he knows of a studio you could use nearby... It would be well worth it.&#xD;&#xA;&#xD;&#xA;Also, sampling instruments and recording things &quot;for the sake of getting them recorded&quot; is actually a highly specialized field of recording which is much deeper and more involved than having the person run through a musical scale once or twice.&#xD;&#xA;&#xD;&#xA;I recently recorded a grand piano and we spent 2 weeks at 8 hours a day recording every possible midi velocity and note and keeping it in tune and perfectly recorded. And we didn't use a person's finger on each key - it was a hammer which would hit exact velocities each time for exact accuracy. You might want to read up on how they record sample libraries - might be useful data for you there." ContentLicense="CC BY-SA 2.5" />
  <row Id="9214" PostHistoryTypeId="2" PostId="5426" RevisionGUID="b8a2f992-0702-4531-88be-575ea42ddd93" CreationDate="2011-01-08T02:07:35.597" UserId="18160" Text="Recording FX sometimes goes up to 192K.&#xD;&#xA;&#xD;&#xA;When you're starting up there, how do you come down for delivery to the mixing stage? Which way sounds the best?&#xD;&#xA;&#xD;&#xA;And, do you do your editing in 192 or 96 all the way if you recorded it up there? Or do you downsample before cutting for picture?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9215" PostHistoryTypeId="1" PostId="5426" RevisionGUID="b8a2f992-0702-4531-88be-575ea42ddd93" CreationDate="2011-01-08T02:07:35.597" UserId="18160" Text="How are you downsampling your FX for your Final Mix?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9216" PostHistoryTypeId="3" PostId="5426" RevisionGUID="b8a2f992-0702-4531-88be-575ea42ddd93" CreationDate="2011-01-08T02:07:35.597" UserId="18160" Text="&lt;downsampling&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9217" PostHistoryTypeId="2" PostId="5427" RevisionGUID="12606e56-5988-47f6-ac5b-09ffeaea87bb" CreationDate="2011-01-08T02:33:04.017" UserId="234" Text="Can't speak for others but I edit at 48k always, just to make delivery that much easier, plus to save DSP... much of my FX recording and all of my foley is also done at that rate. I do however record at higher rates if I know that I'm going to be pitch shifting the effects... often I'll just bring them in at the lower rate without conversion to do this." ContentLicense="CC BY-SA 2.5" />
  <row Id="9218" PostHistoryTypeId="2" PostId="5428" RevisionGUID="6e1ff92a-95b2-406a-a40d-3f09b465817c" CreationDate="2011-01-08T11:17:05.657" UserId="168" Text="As mentioned, with percussion always make sure you have a good space to record in.&#xD;&#xA;&#xD;&#xA;My &quot;go to&quot; mics are the Royer 121, Earthworks QTC40, AKG C414 or the SM47 (if there really is nothing else). The only piece of 'percussion' that I've ever liked the 57 on is a snare drum. On location I've also got good sounds recording in MS (used a MKH60/30 pair) a couple of feet away from the source.&#xD;&#xA;&#xD;&#xA;Find a good space, get the player to perform, walk around, listen hard and experiment! Do something you haven't done before." ContentLicense="CC BY-SA 2.5" />
  <row Id="9219" PostHistoryTypeId="2" PostId="5429" RevisionGUID="9615417a-a823-47c2-9da2-82a90272dfdd" CreationDate="2011-01-08T12:52:04.430" UserDisplayName="user80" Text="If you can get hold of them I would go for some DPA or B&amp;K as they used to be known.  What you really want are totally flat response mics with fast attacks so that you can capture everything.  &#xD;&#xA;&#xD;&#xA;I would spend more time looking at the acoustics of the room that you plan to record in, try and arrange some baffles so that you can reduce the effect of room modes.&#xD;&#xA;&#xD;&#xA;You won't know what the instruments should sound like so many make sure that you spend some time with the professor to capture all of the potential sounds.  I would run a spreadsheet as you not only want all of the individual notes, but you also want the different dynamics and any modifiers such as mutes or sustains.  &#xD;&#xA;&#xD;&#xA;Finally I like to record the sounds from the player's as well as the audience's perspective as there can be a noticeable difference.&#xD;&#xA;&#xD;&#xA;If you want further ideas read up on the way that companies sample drum kits for virtual instruments." ContentLicense="CC BY-SA 2.5" />
  <row Id="9220" PostHistoryTypeId="2" PostId="5430" RevisionGUID="507e721c-b446-4fef-8899-7f5e26f13fb1" CreationDate="2011-01-08T12:56:38.657" UserDisplayName="user80" Text="I will try and work at 192 kHz for as long as possible, but when I think that I am happy or I have run out of time, I will save a session copy at 48 kHz and finish off from there. Basically I like to get all of the pitch correction and reverbs done at 192 kHz and everything else can be achieved at 48 kHz. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9221" PostHistoryTypeId="4" PostId="4182" RevisionGUID="4f3977a8-165c-4385-9628-377cdfaae7db" CreationDate="2011-01-08T12:57:46.350" UserDisplayName="user80" Comment="edited title" Text="Getting manual for Steinberg Houston Contoller" ContentLicense="CC BY-SA 2.5" />
  <row Id="9222" PostHistoryTypeId="2" PostId="5431" RevisionGUID="664d1702-e8a5-42ae-917a-5024ef056dae" CreationDate="2011-01-08T16:45:09.887" UserId="758" Text="Gear, gear, gear. Too many options.  &#xD;&#xA;&#xD;&#xA;I'm looking to pick up my first synth this month (software or hardware). As you can tell, i'm into creating dirt, gritty soundscapes. I have a chain of guitar pedals for manipulating a sound into something lo-fi, but I need to pick up a synth that will match my needs. I've narrowed it down to this:&#xD;&#xA;&#xD;&#xA;Hardware:DSI Desktop Evolver, Waldorf Blofeld, Alesis Micron, Doepfer Dark Energy.&#xD;&#xA;&#xD;&#xA;Software: Tassman 4, Reaktor, Omnisphere, Reaktor, Metasynth.&#xD;&#xA;&#xD;&#xA;I'm having trouble deciding software over hardware. I'd like to get something that I wouldn't have to spend years mastering. This is why I haven't picked up Reaktor, or indeed Komplete before. So many options, but such a learning curve.&#xD;&#xA;&#xD;&#xA;Has anyone any advice, or some recommendations for me?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9223" PostHistoryTypeId="1" PostId="5431" RevisionGUID="664d1702-e8a5-42ae-917a-5024ef056dae" CreationDate="2011-01-08T16:45:09.887" UserId="758" Text="New synth for the new year (drone,industrial, metal, noise)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9224" PostHistoryTypeId="3" PostId="5431" RevisionGUID="664d1702-e8a5-42ae-917a-5024ef056dae" CreationDate="2011-01-08T16:45:09.887" UserId="758" Text="&lt;drone&gt;&lt;beginner&gt;&lt;hardware&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9225" PostHistoryTypeId="2" PostId="5432" RevisionGUID="09a760e7-4240-4c08-87fe-28ddd00194bc" CreationDate="2011-01-08T17:11:07.303" UserId="194" Text="I cut at 48k, but have my higher res samples at native rates accessible inside of soundminer.  When I import them, I tend to varispeed on the way in." ContentLicense="CC BY-SA 2.5" />
  <row Id="9226" PostHistoryTypeId="2" PostId="5433" RevisionGUID="76d3633b-9acc-44b1-afbc-bc111ae4d591" CreationDate="2011-01-08T17:50:54.097" UserDisplayName="user80" Text="Have you thought about Zebra 2.5?  It is only $200 and there is a free demo to try.&#xD;&#xA;&#xD;&#xA;http://www.u-he.com/zebra/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9227" PostHistoryTypeId="2" PostId="5434" RevisionGUID="6c0aca99-a9f8-4d41-a03f-f394c99ef2e2" CreationDate="2011-01-08T19:41:07.467" UserDisplayName="user49" Text="I edit at 48k but have specific design sessions at higher sample rates for processing/manipulation etc.... One reason I dont work at 192kHz and 96khz is due to the fact that ProTools truncates the timeline at higher sample rates - I need a 12 hour timeline in my edit session due to having six reels of a film (at 01.00.00.00, 02.00.00.00 etc) and when I come to conform I need to keep two copies of the reels - the original reels (at 07.00.00.00, 08.00.00.00 etc) and the newly conformed versions back at 01.00.00.00.... This is not possible at 96kHz (maximum 7 hour timeline) or 192kHz (maximum 3 hour timeline) and it sucks! I posted on the Avid IdeaScale thingy about this issue....&#xD;&#xA;&#xD;&#xA;http://protools.ideascale.com/a/dtd/Increase-Session-Length/28191-3779&#xD;&#xA;&#xD;&#xA;For downrezzing 192k etc I either use SoundMiner or ProTools set to highest rez downsampling (check the prefs if you drag &amp; drop!)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9228" PostHistoryTypeId="2" PostId="5435" RevisionGUID="08df5b25-53ba-4993-b686-ec0635f495ad" CreationDate="2011-01-08T19:52:58.657" UserId="786" Text="I always work at 48k with one exception:&#xD;&#xA;&#xD;&#xA;I own a crappy but trusty first generation Zoom H4 recorder, which generates an audible noise while accessing the SD card at all sample rates below 96k. At 96k the noise gets inaudible, so I always record at 96k, but it gets converted to 48k, because my sessions are always at 48k.&#xD;&#xA;&#xD;&#xA;But I think I should try out the 96k sessions for pitch shifting.&#xD;&#xA;&#xD;&#xA;One should never be too old to try new tricks...." ContentLicense="CC BY-SA 2.5" />
  <row Id="9229" PostHistoryTypeId="2" PostId="5436" RevisionGUID="1375bd9d-f657-4c0d-9525-b9efbfb3a639" CreationDate="2011-01-08T19:53:46.987" UserId="474" Text="just interested because I'm planning to maybe get another soundpack since I was quite astonished by the quality of &quot;Acoustic Refractions&quot;. I use those quite a lot as a source of inspiration.&#xD;&#xA;&#xD;&#xA;what's your workflow when you go about designing sounds or soundscapes with KORE?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9230" PostHistoryTypeId="1" PostId="5436" RevisionGUID="1375bd9d-f657-4c0d-9525-b9efbfb3a639" CreationDate="2011-01-08T19:53:46.987" UserId="474" Text="KORE Users - what are your favorite soundpacks/-FX? what's your workflow?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9231" PostHistoryTypeId="3" PostId="5436" RevisionGUID="1375bd9d-f657-4c0d-9525-b9efbfb3a639" CreationDate="2011-01-08T19:53:46.987" UserId="474" Text="&lt;sound-design&gt;&lt;effects&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9232" PostHistoryTypeId="2" PostId="5437" RevisionGUID="c9632278-dacf-40ce-a5cb-44eb7ffcba97" CreationDate="2011-01-08T20:17:55.580" UserId="6420" Text="Hi All!&#xD;&#xA;&#xD;&#xA;Working on a project were there are quite a few off screen footsteps (2 pairs of feet) going on which I've painstakingly cut into Pro Tools. The director would now like them paced a bit slower and was wondering if there was a simple/easier way of doing this then going in and individually shifting each region a little bit at a time :/ I tried cutting them up and shifting them using Beat Detective by messing with the overall tempo but didn't get the results I was after. &#xD;&#xA;&#xD;&#xA;Basically looking for a way to highlight all the individual regions, then click the last one and drag it out whilst adding silence between each region that increases the more you drag! Not that I'm aware that's possible but would like a way of achieving the same result somehow in Pro Tools lol&#xD;&#xA;&#xD;&#xA;Cheers in advance,&#xD;&#xA;Andy " ContentLicense="CC BY-SA 2.5" />
  <row Id="9233" PostHistoryTypeId="1" PostId="5437" RevisionGUID="c9632278-dacf-40ce-a5cb-44eb7ffcba97" CreationDate="2011-01-08T20:17:55.580" UserId="6420" Text="Decreasing the pace of footsteps once they've been added (in Pro Tools)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9234" PostHistoryTypeId="3" PostId="5437" RevisionGUID="c9632278-dacf-40ce-a5cb-44eb7ffcba97" CreationDate="2011-01-08T20:17:55.580" UserId="6420" Text="&lt;pro&gt;&lt;tools&gt;&lt;foley&gt;&lt;footsteps&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9235" PostHistoryTypeId="2" PostId="5438" RevisionGUID="31f6561a-a9f7-41c3-8805-4a604626eba9" CreationDate="2011-01-08T20:22:25.207" UserId="629" Text="Hello&#xD;&#xA;&#xD;&#xA;I have been syncing a trailer today and things are sounding good but none of the sounds reach 0db on the master fader.&#xD;&#xA;&#xD;&#xA;Is is best to compress each audio track or each clip? Or do I normalize all of the audio clips then compress the master fader on bounce down?&#xD;&#xA;&#xD;&#xA;I'm finding it hard to come to a conclusion, any ideas?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="9236" PostHistoryTypeId="1" PostId="5438" RevisionGUID="31f6561a-a9f7-41c3-8805-4a604626eba9" CreationDate="2011-01-08T20:22:25.207" UserId="629" Text="Best way to bounce down using Pro Tools?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9237" PostHistoryTypeId="3" PostId="5438" RevisionGUID="31f6561a-a9f7-41c3-8805-4a604626eba9" CreationDate="2011-01-08T20:22:25.207" UserId="629" Text="&lt;pro-tools&gt;&lt;compression&gt;&lt;normalize&gt;&lt;0db&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9238" PostHistoryTypeId="2" PostId="5439" RevisionGUID="228854fe-3b61-4cba-bdd0-15d52b7b424e" CreationDate="2011-01-08T20:29:45.817" UserId="61" Text="My first thought was to try Elastic Time. You'll need to do the following: &#xD;&#xA;&#xD;&#xA; - highlight all of the individual&#xD;&#xA;   regions and duplicate them into one&#xD;&#xA;   continuous region.&#xD;&#xA; - turn on Elastic Time, which is&#xD;&#xA;   located under the channel name (the&#xD;&#xA;   grayed-out bar underneath the&#xD;&#xA;   automation status).&#xD;&#xA; - Elastic time has four modes. You'll want to select Rhythmic (since footsteps are&#xD;&#xA;   mostly atonal and depend on rhythm&#xD;&#xA;   more so than other types of sounds,&#xD;&#xA;   like vocals or servos).&#xD;&#xA; - Select WARP under the track view menu&#xD;&#xA;   (blocks, playlists, waveform, volume,&#xD;&#xA;   etc).&#xD;&#xA; - Now that you're in Warp mode, you&#xD;&#xA;   simple go to the end of the region&#xD;&#xA;   and drag it out. This will retain the&#xD;&#xA;   start time of the file, but&#xD;&#xA;   time-stretch all of the events to&#xD;&#xA;   make them fit to whatever length you&#xD;&#xA;   drag. The more you drag it out, the&#xD;&#xA;   more artifacts you'll introduce;&#xD;&#xA;   however, I've found Elastic Time to&#xD;&#xA;   be quite forgiving even with some&#xD;&#xA;   radical stretching.&#xD;&#xA;&#xD;&#xA;That's it. Once you're satisfied with the result, you can either leave Elastic Time enabled and not commit your changes, or turn it off and render a new file (which is important if you anticipate sending your session to another version of PT that may not support ET.)&#xD;&#xA;&#xD;&#xA;Here's an [Avid tutorial][1] that may help.&#xD;&#xA;&#xD;&#xA;Best of luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/US/avid-tv/ProToolsSoftwareQuantizingwithElasticTime" ContentLicense="CC BY-SA 2.5" />
  <row Id="9239" PostHistoryTypeId="5" PostId="5437" RevisionGUID="8dee6bd4-f0c0-474d-ba89-eaf1273a7b82" CreationDate="2011-01-08T21:27:17.177" UserId="6420" Comment="added 1 characters in body" Text="Hi All!&#xD;&#xA;&#xD;&#xA;Working on a project where there are quite a few off screen footsteps (2 pairs of feet) going on which I've painstakingly cut into Pro Tools. The director would now like them paced a bit slower and was wondering if there was a simple/easier way of doing this then going in and individually shifting each region a little bit at a time :/ I tried cutting them up and shifting them using Beat Detective by messing with the overall tempo but didn't get the results I was after. &#xD;&#xA;&#xD;&#xA;Basically looking for a way to highlight all the individual regions, then click the last one and drag it out whilst adding silence between each region that increases the more you drag! Not that I'm aware that's possible but would like a way of achieving the same result somehow in Pro Tools lol&#xD;&#xA;&#xD;&#xA;Cheers in advance,&#xD;&#xA;Andy " ContentLicense="CC BY-SA 2.5" />
  <row Id="9242" PostHistoryTypeId="2" PostId="5442" RevisionGUID="5c1165c8-8c14-4fec-8556-dbcc7ce47edd" CreationDate="2011-01-08T22:24:10.780" UserId="432" Text="First off, what are you using to meter? If all you're using are the track meters for Pro Tools, you may want to add in some other metering method for verification (even if it's just a plug-in on the Master Bus). In general, I don't trust DAW meters. I like to have at least one more for verification.&#xD;&#xA;&#xD;&#xA;Second, I have to echo Utopia's question. Why do you want things to hit zero? I've never met a mixer who wants to peg out their audio signal. Almost everyone I know leaves at least 1 dB at the top end of their mix (and those are in the most EXTREME cases).&#xD;&#xA;&#xD;&#xA;The most important question is: &quot;Does it sound good?&quot; When you're talking about the overall mix, no one is going to hear .5 dB or less of difference if that's what you need to get it up to zero. If it sounds good, and you're making good use of the dynamic range, just leave it as is." ContentLicense="CC BY-SA 2.5" />
  <row Id="9244" PostHistoryTypeId="2" PostId="5443" RevisionGUID="2c0d0d48-55f2-404e-9c62-8643c07d2790" CreationDate="2011-01-08T23:28:33.767" UserId="426" Text="Or 3000$ worth of scratch n' sniff cards" ContentLicense="CC BY-SA 2.5" />
  <row Id="9245" PostHistoryTypeId="6" PostId="5431" RevisionGUID="cfd0dfc7-a435-4abb-a61a-84d62de0be3d" CreationDate="2011-01-08T23:32:49.083" UserId="445" Comment="edited tags" Text="&lt;drone&gt;&lt;beginner&gt;&lt;hardware&gt;&lt;software&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9246" PostHistoryTypeId="2" PostId="5444" RevisionGUID="8eef881b-473c-4f48-95ae-89adc6b326f8" CreationDate="2011-01-08T23:36:45.580" UserId="445" Text="This is my band, &quot;Prótesis para una Bailarina&quot;&#xD;&#xA;&#xD;&#xA;[vimeo]18450231[/vimeo] " ContentLicense="CC BY-SA 2.5" />
  <row Id="9247" PostHistoryTypeId="6" PostId="2548" RevisionGUID="529af2da-0fa5-4c96-bb98-1e03ce54a6b8" CreationDate="2011-01-08T23:53:31.240" UserId="445" Comment="edited tags" Text="&lt;sound-design&gt;&lt;argentina&gt;&lt;documentary&gt;&lt;collaboration&gt;&lt;graduate&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9248" PostHistoryTypeId="2" PostId="5445" RevisionGUID="4e979e21-c129-41c1-a34d-a003f79a8823" CreationDate="2011-01-09T00:01:19.623" UserId="445" Text="I'm on the same boat as you. I'm going to NY in may and I'm looking for a synth. &#xD;&#xA;&#xD;&#xA;Have you checked the microKorg? It's a really cheap synth with a lot of possibilities. What do you think? Check this video of the synth paired with a Roland Space Echo (the new version):&#xD;&#xA;&#xD;&#xA;[youtube]tyCO1QufoCY[/youtube]&#xD;&#xA;&#xD;&#xA;And other cool things this synth can do:&#xD;&#xA;&#xD;&#xA;[youtube]_5NNVlsYT_g[/youtube]&#xD;&#xA;&#xD;&#xA;[youtube]XzT9NueR9ps[/youtube]&#xD;&#xA;&#xD;&#xA;[youtube]MRorYsNWzgM[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="9249" PostHistoryTypeId="2" PostId="5446" RevisionGUID="7add5c37-b6e0-4a0f-9fe9-60e580b63a68" CreationDate="2011-01-09T00:13:35.313" UserId="426" Text="All of those are awesome suggestions. Can you re-record some footsteps with a slower pace? Obviously, time and/or resources might make this suggestion/question impossible. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9250" PostHistoryTypeId="5" PostId="5439" RevisionGUID="597a6336-fdba-4f2f-9159-560c9089ccb2" CreationDate="2011-01-09T00:26:35.823" UserId="61" Comment="additional information" Text="My first thought was to try Elastic Time. You'll need to do the following: &#xD;&#xA;&#xD;&#xA; - highlight all of the individual&#xD;&#xA;   regions and duplicate them into one&#xD;&#xA;   continuous region.&#xD;&#xA; - turn on Elastic Time, which is&#xD;&#xA;   located under the channel name (the&#xD;&#xA;   grayed-out bar underneath the&#xD;&#xA;   automation status).&#xD;&#xA; - Elastic time has four modes. You'll want to select Rhythmic (since footsteps are&#xD;&#xA;   mostly atonal and depend on rhythm&#xD;&#xA;   more so than other types of sounds,&#xD;&#xA;   like vocals or servos).&#xD;&#xA; - Select WARP under the track view menu&#xD;&#xA;   (blocks, playlists, waveform, volume,&#xD;&#xA;   etc).&#xD;&#xA; - Now that you're in Warp mode, you&#xD;&#xA;   simple go to the end of the region&#xD;&#xA;   and drag it out. This will retain the&#xD;&#xA;   start time of the file, but&#xD;&#xA;   time-stretch all of the events to&#xD;&#xA;   make them fit to whatever length you&#xD;&#xA;   drag. The more you drag it out, the&#xD;&#xA;   more artifacts you'll introduce;&#xD;&#xA;   however, I've found Elastic Time to&#xD;&#xA;   be quite forgiving even with some&#xD;&#xA;   radical stretching.&#xD;&#xA;&#xD;&#xA;That's it. Once you're satisfied with the result, you can either leave Elastic Time enabled and not commit your changes, or turn it off and render a new file (which is important if you anticipate sending your session to another version of PT that may not support ET.) &#xD;&#xA;&#xD;&#xA;If I were you I would keep ET active so you can preview the new tempo for your director and see if it's what he/she is looking for. If you want to speed it up or slow it down, it's easy to make the changes non-destructively.&#xD;&#xA;&#xD;&#xA;Here's an [Avid tutorial][1] that may help.&#xD;&#xA;&#xD;&#xA;Best of luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/US/avid-tv/ProToolsSoftwareQuantizingwithElasticTime" ContentLicense="CC BY-SA 2.5" />
  <row Id="9251" PostHistoryTypeId="2" PostId="5447" RevisionGUID="c20fdc49-8f60-4b5a-934e-449188f08fd1" CreationDate="2011-01-09T00:28:40.360" UserId="426" Text="As all of the others have said, hitting 0dB on the meter might not be such a great idea. Dynamics can be one of our best tools to manipulate, er i mean influence our audience's emotions.&#xD;&#xA;&#xD;&#xA;I recall that in my days at school we had all kinds of problems with bouncing down in ProTools. My classmates and I had problems with tracks missing from the final bounce, the panning being a little out of whack, and volume relationships that were not what we had heard prior to bounce. It might have been the version of PT that we were using, and AVID has fixed the problems since then. I wonder if anyone else has had that kind of thing happen when bouncing in PT? &#xD;&#xA;&#xD;&#xA;What are you going to use the final product for? For what is your mix going to be used?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9252" PostHistoryTypeId="2" PostId="5448" RevisionGUID="cf52729f-f45f-490d-baaa-5d87b7c24f6b" CreationDate="2011-01-09T05:30:01.187" UserDisplayName="user49" Text="Clarifying what you want to use it for is the essential first step, and if you want polyphonic preset sounds then ignore this.... And my advice could be dangerous but I'd suggest starting a eurorack modular synth - maybe the Dark Energy is a good starting point (depends whether you want to synthesize sound or process it) but I can tell you this, it won't stop there! I bought a secondhand empty 6U Doepfer suitcase planning only to load it with modules for external processing - I started off with 3 modules: A Doepfer A119 Ext in/Envelope Follower, an A136 Distortion Waveshaper and an A105 Moog LPF.. The day they arrived I plugged my fun but crappy sounding Korg Kaossilator into it and instantly could not believe the sounds I could create with just these 3 modules - it could melt speakers! And thats not even using any control voltage... I next added filters that I've always loved and/or wanted eg Korg MS20 filter, Synthi filter etc... and 2 years later I have two 6U cases, 2 x 6U racks and a 3U rack full... Its the deepest instrument I've ever owned (&amp; way more fun than Kyma/MaxMSP/Reaktor etc) You need to do a lot of research as you are really building your ideal synth, one module at a time, which is good (its unique) and bad (it costs) but even those first three modules make any softsynth I've ever used seem so tame &amp; polite... Do some research on the eurorack section of muffwigglers forum.... But be warned, they don't call it eurocrack for no reason!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9253" PostHistoryTypeId="2" PostId="5449" RevisionGUID="b1494ec5-9b2f-465b-9f69-37850b273b01" CreationDate="2011-01-09T06:41:34.173" UserId="310" Text="I love my **Audio Technica ATH-M50** - I use it with portable recorder and at studio.&#xD;&#xA;&#xD;&#xA;![Audio Technica ATH-M50][1]&#xD;&#xA;&#xD;&#xA;**+** - Price, Mobility, Robustness, Jack reduction with screw-thread&#xD;&#xA;&#xD;&#xA;**-** - Weight, maybe Accuracy&#xD;&#xA;&#xD;&#xA;  [1]: http://eu.audio-technica.com/en/resources/medium/medium_ATH-M50.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="9254" PostHistoryTypeId="2" PostId="5450" RevisionGUID="394f3a98-6857-46c0-885c-41e5b01b4576" CreationDate="2011-01-09T07:44:41.167" UserId="786" Text="Ok, here's an easy way, which has worked for me a lot of times.&#xD;&#xA;&#xD;&#xA;1. copy the steps to another track and mute the original (if you want to use it later)&#xD;&#xA;&#xD;&#xA;2. continue to work in the new track&#xD;&#xA;&#xD;&#xA;3. mark up all the steps and make a duplicate audio file (ctrl-shift-3)&#xD;&#xA;&#xD;&#xA;4. switch the edit tool to stretch mode and stretch the audio file to the desired length" ContentLicense="CC BY-SA 2.5" />
  <row Id="9255" PostHistoryTypeId="2" PostId="5451" RevisionGUID="d76743ce-1d52-4579-8049-ae42c2061e0c" CreationDate="2011-01-09T10:27:39.033" UserId="474" Text="I own a pair of AKG K 271 (MKII), even though they don't offer the most linear frequency response available on the market, they can be quite helpful in the final mixdown phase, even more so if you get to know them a bit. I also sometimes use them for field and voice recording, because of the closed design.&#xD;&#xA;&#xD;&#xA;In November, I got the chance to listen to a Beyerdynamic Headzone PRO 2.1 system at a conference. First I was astonished by how good the DT 880 PRO sounded, but also by how well the head-tracking system works. I can imagine that for my home studio they could be quite useful in preparing a 5.1 pre-mix before going to the mixing studio..." ContentLicense="CC BY-SA 2.5" />
  <row Id="9256" PostHistoryTypeId="2" PostId="5452" RevisionGUID="2a6a7935-603c-4610-824d-795d79818dfe" CreationDate="2011-01-09T12:31:34.717" UserId="629" Text="I use Sennheiser HD 201 and wanting to upgrade as they are cheap and cheerful. &#xD;&#xA;&#xD;&#xA;Would I notice the difference between the Sony MDR7506 and the Sennheiser HD280?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9257" PostHistoryTypeId="5" PostId="5348" RevisionGUID="dec52df6-0d4c-42fc-8128-4c894c1310fb" CreationDate="2011-01-09T14:53:08.223" UserId="219" Comment="a few spelling mistakes I fixed" Text="Hi&#xD;&#xA;&#xD;&#xA;As I'm sure you're aware Ben Burtt used a simlar thing to a slinky to create the sound for Eve's gun in the film Wall-e (great film for sound) for this he attached the slinky to a metal plate and then put a guitar pick-up on the plate.&#xD;&#xA;&#xD;&#xA;Also I'm sure you will but try putting the mic in the slinky half way down and tap it, you'll get some great effects.&#xD;&#xA;&#xD;&#xA;Have fun!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9258" PostHistoryTypeId="2" PostId="5453" RevisionGUID="c7be2c5f-6623-4eb4-b384-e7b1381821bc" CreationDate="2011-01-09T15:12:54.217" UserId="786" Text="A DSI synth and some eurorack modules" ContentLicense="CC BY-SA 2.5" />
  <row Id="9259" PostHistoryTypeId="2" PostId="5454" RevisionGUID="827d209b-1fbe-4c85-b767-e98eb4e6a707" CreationDate="2011-01-09T16:08:28.927" UserId="786" Text="Hi, I'm about to start mix on a feature film, where I'm planning to pan the dialog throughout the film. &#xD;&#xA;&#xD;&#xA;A couple of years ago I did a film which was shot entirely as a POV. It was a very rough film, and I ended up panning all of the dialog all the way around the listener (as well as all other sounds). It worked out pretty well.&#xD;&#xA;&#xD;&#xA;This time the film has been shot normally, not as a POV. During sound editing we've already found out that panning dialog to the surrounds is problematic, but we're going to try tracking the dialog across the screen in LCR.&#xD;&#xA;&#xD;&#xA;My question is if anybody knows any good films for reference, with dialog panning consitently throughout the film?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9260" PostHistoryTypeId="1" PostId="5454" RevisionGUID="827d209b-1fbe-4c85-b767-e98eb4e6a707" CreationDate="2011-01-09T16:08:28.927" UserId="786" Text="Reference movies for dialog panning " ContentLicense="CC BY-SA 2.5" />
  <row Id="9261" PostHistoryTypeId="3" PostId="5454" RevisionGUID="827d209b-1fbe-4c85-b767-e98eb4e6a707" CreationDate="2011-01-09T16:08:28.927" UserId="786" Text="&lt;dialogue&gt;&lt;panning&gt;&lt;lcr&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9262" PostHistoryTypeId="2" PostId="5455" RevisionGUID="78302cb6-1eca-4c12-a630-7b8b0dfd7fdf" CreationDate="2011-01-09T16:44:44.867" UserId="786" Text="Hi, I usually improvise while recording in Ableton Live on my laptop. I keep on playing and just going with the flow until I have made 15-30 minutes of sound. Afterwards I export the recordings as files, which I then import into my Protools rig.&#xD;&#xA;&#xD;&#xA;Then I cut it, layer it, pitch it, audiosuite it, add library fx, mix it, to the picture in Protools." ContentLicense="CC BY-SA 2.5" />
  <row Id="9263" PostHistoryTypeId="2" PostId="5456" RevisionGUID="2456affa-080d-4bfc-ba1c-0112bc310cf7" CreationDate="2011-01-09T18:06:50.477" UserId="517" Text="I'm pretty sure that The Hurt Locker did a lot of DIA panning into the LR and even surround channels. That film was shot with a documentary style, so it might not equate to your feature, but it's probably worth checking out anyway as a good example of mixing." ContentLicense="CC BY-SA 2.5" />
  <row Id="9264" PostHistoryTypeId="2" PostId="5457" RevisionGUID="df709b7e-865b-4bb3-bf9c-a477a796a2cc" CreationDate="2011-01-09T18:13:06.327" UserDisplayName="user80" Text="If this is for a major release it might be a problem in large theaters, as the there are clarity issues for the audience on the far left and right if you use hard panning.&#xD;&#xA;&#xD;&#xA;I would suggest a more gentle approach, or at least a test with the director." ContentLicense="CC BY-SA 2.5" />
  <row Id="9265" PostHistoryTypeId="2" PostId="5458" RevisionGUID="4dbab14d-e484-4363-9a58-ca146179039c" CreationDate="2011-01-09T20:03:46.627" UserId="593" Text="Easy! Sound Devices 702, a small petrol bag to go with it and then a fast CF card with ginormous capacity. I better go look under my couch again..." ContentLicense="CC BY-SA 2.5" />
  <row Id="9266" PostHistoryTypeId="2" PostId="5459" RevisionGUID="4194b85c-da3b-4f12-9768-1a66211301ad" CreationDate="2011-01-09T20:31:53.487" UserId="18160" Text="Don't remember, but &quot;The Social Network&quot; is possibly the best movie I have ever seen for dialogue editing/mixing and I forget if there was much panning but the dialogue was absolutely fantastic and wall-to-wall - there must have been thousands of lines in that movie.&#xD;&#xA;&#xD;&#xA;Also, check out Pleasantville - I was told that was an excellent example of good dialogue.&#xD;&#xA;&#xD;&#xA;+1 for Hurt Locker." ContentLicense="CC BY-SA 2.5" />
  <row Id="9267" PostHistoryTypeId="2" PostId="5460" RevisionGUID="14c9b2b6-6177-4285-95af-2fedae8a4d39" CreationDate="2011-01-09T20:40:24.370" UserId="786" Text="I recommend Reaktor a lot. You have the ability to build your own synths, but it comes packed with a lot of weird, gritty synths and effects, capable of almost any sound you couldn't imagine... And there's a huge user library as well.&#xD;&#xA;&#xD;&#xA;You can always start out with the free Kore Player from Native Instruments, it has some Reaktor presets.&#xD;&#xA;&#xD;&#xA;As for hard synths, I would recommend everything from DSI. They have a nice, fat sound and lots of interesting presets to start out with.&#xD;&#xA;&#xD;&#xA;Just for fun, you could also get the Korg Monotron, and connect it to your guitar pedals. It has an audio input and the same filters as the old Korg MS-10. I love my Monotron almost as much as I love my MS-10." ContentLicense="CC BY-SA 2.5" />
  <row Id="9268" PostHistoryTypeId="5" PostId="5459" RevisionGUID="42d66645-0e37-4809-a697-2d6bf0b444f3" CreationDate="2011-01-09T21:11:32.367" UserId="18160" Comment="added 433 characters in body; deleted 20 characters in body; deleted 86 characters in body" Text="&quot;The Social Network&quot; is possibly the best movie I have ever seen for dialogue editing/mixing and I forget if there was much panning but the dialogue was absolutely fantastic and wall-to-wall - there must have been thousands of lines in that movie.&#xD;&#xA;&#xD;&#xA;But, as Ian hinted, if you go too far it starts to detract. But, using panning and the surrounds for a key element or sound effect is extremely effective sometimes: like in Lord of the Rings when the hobbits are first starting their journey in the forest and on the screen is a shot from behind Frodo and he reacts to an ugly bird call from behind him which was placed in the right surround speaker - very well done use of the surrounds.&#xD;&#xA;&#xD;&#xA;+1 for Hurt Locker." ContentLicense="CC BY-SA 2.5" />
  <row Id="9269" PostHistoryTypeId="2" PostId="5461" RevisionGUID="e43c9155-bca2-4e7c-bb67-19d5e7589f43" CreationDate="2011-01-09T21:17:09.853" UserId="103" Text="On district 9 on the scene when Christopher is trying to hide from the MNU guys with his kid you can hear the dialog ouside the shack letting you know exactly where they are, i thought it worked reeeally well in the theater!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9270" PostHistoryTypeId="2" PostId="5462" RevisionGUID="af6638e6-7a0d-45a9-afc0-b16a5bdee4ca" CreationDate="2011-01-09T21:57:39.190" UserId="432" Text="Very few films use dialogue panning for anything that is key to the story. As Iain mentioned there are clarity issue that can arise in larger viewing spaces, but there's also a Gestalt issue of &quot;good continuation.&quot; Our brain is wired to perceive sudden shifts in audio as a new sound; that makes us focus on it to synthesize it into the perception of our environment. If a line begins in the right channel and jumps to the left midsentence, our brain takes a split second to re-acquire the logical flow of the idea(s) being presented. In short, it's utterly distracting.&#xD;&#xA;&#xD;&#xA;This isn't to say it can't be done. Felipe's example of District 9 is an excellent one. But in that particular scene, our attention isn't focused on the voices outside, but on the characters. The voices outside the shed become a design element to heighten the emotional arc on screen, but they aren't carrying the primary narrative elements.&#xD;&#xA;&#xD;&#xA;Another film you might want to add to your list for reference/inspiration is Children of Men. Specifically that long shot with the car. It's a great example of visual and sound design working together in a very complex sequence." ContentLicense="CC BY-SA 2.5" />
  <row Id="9271" PostHistoryTypeId="2" PostId="5463" RevisionGUID="f11edd35-3475-40cd-a129-460e5be27142" CreationDate="2011-01-09T22:06:57.193" UserId="18160" Text="Ok, so this question's title isn't very clear, so let me explain:&#xD;&#xA;&#xD;&#xA;I'm looking for examples of when the villain of the movie has some identifying sound like clothing that makes noise, spurs on his boots, an identifying footstep gait, a tracking device etc. and clever uses of this sound to add suspense in a scene - such as that hotel scene in &quot;No Country for Old Men&quot; when the villain is walking closer to the closed door and all you hear is the beeping of the tracking device, which is absolutely brilliant use of off-screen sound in a movie to create suspense.&#xD;&#xA;&#xD;&#xA;I'm writing an essay for a director to show him how he can use sound to his advantage in his upcoming feature he has in a planning stage and I want him to realize how important sound is to the film as well as try to get him to add a special element like a tracking device or sound the villain makes which can add so much more tension to his chase scenes.&#xD;&#xA;&#xD;&#xA;And I don't want to just write about it, I want to show him examples from movies where this has been done with great benefit.&#xD;&#xA;&#xD;&#xA;So far, I only have these:&#xD;&#xA;&#xD;&#xA;- No Country for Old Men&#xD;&#xA;- Jurassic Park (T-Rex footsteps)&#xD;&#xA;- Lord of the Rings (the goblins in Moria, you only hear them before you see them)&#xD;&#xA;- I Am Legend (the first night you see Will Smith sleep in his bathtub without knowing why, and you hear the things outside his windows)&#xD;&#xA;&#xD;&#xA;If any other movies quickly come to mind could you please list them? That would be very helpful!&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9272" PostHistoryTypeId="1" PostId="5463" RevisionGUID="f11edd35-3475-40cd-a129-460e5be27142" CreationDate="2011-01-09T22:06:57.193" UserId="18160" Text="Favorite use of identifying sound for a villain." ContentLicense="CC BY-SA 2.5" />
  <row Id="9273" PostHistoryTypeId="3" PostId="5463" RevisionGUID="f11edd35-3475-40cd-a129-460e5be27142" CreationDate="2011-01-09T22:06:57.193" UserId="18160" Text="&lt;villain&gt;&lt;suspense&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9274" PostHistoryTypeId="2" PostId="5464" RevisionGUID="7848882b-1d57-4476-9622-5616f4ec7ca6" CreationDate="2011-01-09T22:24:29.050" UserId="6420" Text="You might want to check out a previous post that is pretty related:&#xD;&#xA;http://socialsounddesign.com/questions/1363/best-sound-design-for-a-villain&#xD;&#xA;&#xD;&#xA;I was watching some re-runs of Prison Break the other day (season 3 I think) and there's a villain character who when appears has a little musical motif when we see him. That's a random one that's popped in my head lol" ContentLicense="CC BY-SA 2.5" />
  <row Id="9275" PostHistoryTypeId="2" PostId="5465" RevisionGUID="e4de9d35-c865-45a1-b8f9-a5fb110b3190" CreationDate="2011-01-09T22:29:18.903" UserId="724" Text="Hi all,&#xD;&#xA;I'm relatively new to doing sound design so I was hoping that I could get some critiques from the community :)&#xD;&#xA;My background is in musical composition; I actually just got my undergrad degree in piano performance, though I composed a rather large amount, too. I feel that I have strong analytical abilities that help me create sound designs that are very unified to the whole project, but I feel that my economy of expression may need a boost hehe&#xD;&#xA;The Mass Effect trailer is my most recent attempt and the short film is from about a month ago. I'm trying to assemble a nice portfolio for grad school.&#xD;&#xA;&#xD;&#xA;I'd appreciate any feedback you can give! &#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;[vimeo]18569284[/vimeo]&#xD;&#xA;&#xD;&#xA;[vimeo]18595941[/vimeo]" ContentLicense="CC BY-SA 2.5" />
  <row Id="9276" PostHistoryTypeId="1" PostId="5465" RevisionGUID="e4de9d35-c865-45a1-b8f9-a5fb110b3190" CreationDate="2011-01-09T22:29:18.903" UserId="724" Text="Newbie Sound Designer Would Love Some Feedback " ContentLicense="CC BY-SA 2.5" />
  <row Id="9277" PostHistoryTypeId="3" PostId="5465" RevisionGUID="e4de9d35-c865-45a1-b8f9-a5fb110b3190" CreationDate="2011-01-09T22:29:18.903" UserId="724" Text="&lt;feedback&gt;&lt;critique&gt;&lt;newbie&gt;&lt;trailer&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9281" PostHistoryTypeId="2" PostId="5467" RevisionGUID="db23db72-d4f9-41ca-a7ca-8b79b28d353f" CreationDate="2011-01-09T23:34:56.167" UserId="786" Text="M by Fritz Lang. M whistles a tune heard off screen." ContentLicense="CC BY-SA 2.5" />
  <row Id="9282" PostHistoryTypeId="2" PostId="5468" RevisionGUID="19f1df95-cfdb-41de-a815-6fa6f842213f" CreationDate="2011-01-10T00:47:12.677" UserId="238" Text="One of the most iconic sounds in cinema: Darth Vader's breathing!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9284" PostHistoryTypeId="2" PostId="5469" RevisionGUID="ca512da5-e6ef-48e0-90be-21e9bd1603f4" CreationDate="2011-01-10T03:28:31.083" UserId="791" Text="greetings,&#xD;&#xA;&#xD;&#xA;I like field recording both in city and nature environment and have a long time question:&#xD;&#xA;&#xD;&#xA;I've been using zoom h4 with its inner mic and really like it. For next step, I tried three different types of external mic on zoom h4 and I found the same problem: Too low volume.&#xD;&#xA;&#xD;&#xA;First, I used rode NTG-2 through xrl on zoom4 and I found the volume is too much low. Hardly hear it, even though phantom +48v was on and mic was powered.  I googled on it and found that some people was mentioning about the same problem on this combination and necessity to have pre amp/mixer to zoom h4 when using external mic. But I found most of pre amp/mixer is pretty expensive a lot more than zoom h4 itself. So I'm wondering what is good solution for this situation. &#xD;&#xA;&#xD;&#xA;I also had same volume problem when using piezo mic with 1/4&quot; jack on zoom h4. It sounds too weak, so whenever working with piezo, Instead of zoom h4, I use my laptop with software, which is connected to m-audio recording interface. In this way, sounds are captured in better way. &#xD;&#xA;&#xD;&#xA;Same problem when using hydrophone mic, which I bought quite recently. The volume is not that extremely low, but even though with phantom power on, I think sound is not loud enough to record, especially in calm river. &#xD;&#xA;&#xD;&#xA;Doesn't zoom h4n have this problem? Is it better in terms of using external mic? &#xD;&#xA;&#xD;&#xA;Any advice or recommendation is appreciated.&#xD;&#xA;&#xD;&#xA;best    &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9285" PostHistoryTypeId="1" PostId="5469" RevisionGUID="ca512da5-e6ef-48e0-90be-21e9bd1603f4" CreationDate="2011-01-10T03:28:31.083" UserId="791" Text="zoom h4+rode ntg-2(other external mic, too) = extremely low volume" ContentLicense="CC BY-SA 2.5" />
  <row Id="9286" PostHistoryTypeId="3" PostId="5469" RevisionGUID="ca512da5-e6ef-48e0-90be-21e9bd1603f4" CreationDate="2011-01-10T03:28:31.083" UserId="791" Text="&lt;zoom&gt;&lt;h4&gt;&lt;ntg2&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9287" PostHistoryTypeId="2" PostId="5470" RevisionGUID="99d2803a-46dc-4f98-9b5e-333b180f1d07" CreationDate="2011-01-10T03:57:22.673" UserId="418" Text="+1 on not dismissing Reaktor just because you aren't into building your own stuff. Plenty of great machines included out of the box. Granular synthesis, drone-specific generators, weird effects, and of course, the latest 5.5 ships with Metaphysical Function again!&#xD;&#xA;&#xD;&#xA;On the hardware front, I find the Blofeld increasingly tempting, I'm a wavetable nut. You can load your own samples now too though. Great sounding little box." ContentLicense="CC BY-SA 2.5" />
  <row Id="9288" PostHistoryTypeId="2" PostId="5471" RevisionGUID="67398678-725e-4518-b45f-18df4ea86a4a" CreationDate="2011-01-10T04:13:36.580" UserId="418" Text="I've heard good stuff about all of Jeremiah Savage's KORE packs, though I don't own any. &#xD;&#xA;&#xD;&#xA;I use KORE mostly for designing my own stuff from scratch. It's just a super clean way to be able to layer multiple instances of any combination of instruments, from any number of software makers, into a single preset that can be tagged and recalled later in a snap. &#xD;&#xA;&#xD;&#xA;I will typically run KORE as an AU inside Live, Logic or AudioMulch for capturing my audio. Another neat thing which comes in surprisingly handy is the built-in step sequencer and arps. I keep a template preset with a series of C's and F#'s for when I want to generate a quick multisample set. I grab the audio in one shot, which gets dumped to AudioFinder, which splits it up for me, does pitch detection and names them automagically. Very helpful.&#xD;&#xA;&#xD;&#xA;Mostly I just really love being able to have a single database for all of my instrument/fx patches. Well almost, it can't save the native proprietary devices from the likes of Logic, Live or 'Mulch - but you can get around that to a degree in some of them with saving channel strips etc.&#xD;&#xA;&#xD;&#xA;Anyway, thumbs-up for KORE. Turned out to be a great investment and just kind of gets out of my way and helps me keep busy. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9289" PostHistoryTypeId="2" PostId="5472" RevisionGUID="2b24c530-f712-4f13-a219-f1b065e52478" CreationDate="2011-01-10T04:13:47.513" UserId="393" Text="A quick Google search says this hasn't been done, or at least publicized well..&#xD;&#xA;&#xD;&#xA;Slinky + Dry Ice.  Contact mic for sure, but you may get some sweet resonance in the middle.  Also, try it with an eBow and a violin bow.&#xD;&#xA;&#xD;&#xA;When I was a kid, I had a toy that was basically two tin cans with a slinky in the middle... that could lead to some sweet spacey reverb -- at least something worth making an impulse response out of." ContentLicense="CC BY-SA 2.5" />
  <row Id="9290" PostHistoryTypeId="2" PostId="5473" RevisionGUID="2db43fce-634a-4b66-bccd-114b39af1988" CreationDate="2011-01-10T04:47:58.480" UserId="253" Text="My range of experience with the H4N isn't huge, but i've recorded into it with an Oktava MK012 and a little homemade contact mic, and the level was just fine. What you describe, if it's a common problem, just isn't acceptable, even in a piece of &quot;prosumer&quot; gear. I'm sure people have been trying this, but maybe if you express enough dissatisfaction to Zoom customer service, they could help with an upgrade.&#xD;&#xA;&#xD;&#xA;Best of luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9291" PostHistoryTypeId="2" PostId="5474" RevisionGUID="c2be15c5-a421-47b1-8c9d-895f03f8c0db" CreationDate="2011-01-10T07:00:08.397" UserId="587" Text="You may have tried this, but try using phantom with the wall adapter plugged in --- something may have gone wrong with pulling the extra volts from the double A's (or whatever battery size it uses)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9293" PostHistoryTypeId="2" PostId="5476" RevisionGUID="c0c8b732-e398-4cfa-a17a-9a98ff2b2ed1" CreationDate="2011-01-10T08:08:28.057" UserId="270" Text="The footsteps of the murderer walking upstairs in Rear window&#xD;&#xA;&#xD;&#xA;The motion tracker in Alien - It was used in Alien to create suspense when it was detecting something that wasnt an Alien (a cat), and the same trick was used twice in Aliens..." ContentLicense="CC BY-SA 2.5" />
  <row Id="9295" PostHistoryTypeId="2" PostId="5477" RevisionGUID="559f6e0e-8747-44b1-9138-dccc696ae40a" CreationDate="2011-01-10T11:16:30.160" UserId="298" Text="I am newbie too, but I must say I liked your Mass effect trailer. Very cool sounds. &#xD;&#xA;But the ending seemed to me incompleted... Sound was too static and highpitched that gave me feeling that it needs something more around. Also you can try to lie some atmos upon sfx sounds." ContentLicense="CC BY-SA 2.5" />
  <row Id="9297" PostHistoryTypeId="2" PostId="5478" RevisionGUID="6efa9cab-4e65-4cc1-b337-d51cfc26aa73" CreationDate="2011-01-10T16:07:57.610" UserId="37" Text="stuff an AA battery in the NTG-2 and turn off phantom power. &#xD;&#xA;how does it sound?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9298" PostHistoryTypeId="2" PostId="5479" RevisionGUID="2ba7d1e3-a729-4b1b-be56-d27e1b716bc8" CreationDate="2011-01-10T16:34:24.930" UserId="410" Text="Hi everybody, I was reading this article : http://soundandpictureonline.com/2010/12/a-medal-mix-the-ea-sound-team-talks-audio-production/&#xD;&#xA;&#xD;&#xA;I was wondering if Kontakt or any other sampler could be a real solution for making ambiances?&#xD;&#xA;&#xD;&#xA;How can it speed up ambiances creation compared to a regular Cubase/protools only workflow ?&#xD;&#xA;&#xD;&#xA;Thank you guys, and enjoy the read.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9299" PostHistoryTypeId="1" PostId="5479" RevisionGUID="2ba7d1e3-a729-4b1b-be56-d27e1b716bc8" CreationDate="2011-01-10T16:34:24.930" UserId="410" Text="Kontakt or other sampler software for sound design ? " ContentLicense="CC BY-SA 2.5" />
  <row Id="9300" PostHistoryTypeId="3" PostId="5479" RevisionGUID="2ba7d1e3-a729-4b1b-be56-d27e1b716bc8" CreationDate="2011-01-10T16:34:24.930" UserId="410" Text="&lt;kontakt&gt;&lt;sound-design&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9301" PostHistoryTypeId="2" PostId="5480" RevisionGUID="6c4001c3-c9aa-4857-a15e-9805d2e1872c" CreationDate="2011-01-10T16:49:19.940" UserId="418" Text="Personally, for exotic ambiences and soundscapes, I much prefer to work in Alchemy over Kontakt. Not that Kontakt isn't capable of them, but Alchemy is really designed from the ground-up almost specifically for them - at least it sure feels and behaves that way for me. Couldn't live without it.&#xD;&#xA;&#xD;&#xA;I find Kontakt much better suited for when I need &quot;real&quot; instruments. Your mileage may vary, and Kontakt is certainly capable of all sorts of weirdness. They are all samplers, and at the end of the day it's got more to do with what you feed it than anything. &#xD;&#xA;&#xD;&#xA;I'd also recommend taking a look at Metasynth, and AudioMulch while you're at it. &#xD;&#xA;&#xD;&#xA;HTH." ContentLicense="CC BY-SA 2.5" />
  <row Id="9302" PostHistoryTypeId="2" PostId="5481" RevisionGUID="2c659857-aaa9-4e1f-9ccf-51136f13805f" CreationDate="2011-01-10T17:18:15.957" UserId="587" Text="Try Reaktor if you want to synthesize ambiences. Maybe even Absynth -- but if you ever synthesize ambiences, prepare for someone to comment that it sounds digital. If I synthesize a background, I usually couple it with a real layer element -- its kinda the same way you play off a fake orchestra by adding 1 real instrument, like a violin, and all the sudden its a whole different feel." ContentLicense="CC BY-SA 2.5" />
  <row Id="9303" PostHistoryTypeId="2" PostId="5482" RevisionGUID="f65ffd61-c688-4172-a961-1cb0863dfe5d" CreationDate="2011-01-10T17:19:17.483" UserId="792" Text="The new Pro Tools 9 has OMF import/export as standard now." ContentLicense="CC BY-SA 2.5" />
  <row Id="9304" PostHistoryTypeId="2" PostId="5483" RevisionGUID="3f8f9474-c1e9-48e9-9b65-5541c4fbbec0" CreationDate="2011-01-10T17:40:31.273" UserId="793" Text="For pure sound design, it's entirely up to you really. &#xD;&#xA;&#xD;&#xA;Kontakt is a pretty big piece of software once you get into scripting and all that, [Camel Audio's Alchemy][1] software is great for processing sounds if that more what you want to do, and so is [Native Insturments Absynth][2]. &#xD;&#xA;&#xD;&#xA;If you are willing to spend lots of time learning what is essentially a modular programming environment then [Reaktor][3] is well worth the effort (and things like [puredata][4], [Max/MSP][5] or [CSound][6] might let you take that stuff even further if you wanted to). An alternative with Reaktor is to purely use stuff other people have built but put new sounds into them, or use them as the basis for your own creations. If you only want to play with stuff other people have made then I believe there is a free version of Reaktor that only opens patches other people have made and doesn't let you edit them. There's also a Kontakt player that only opens Kontakt instruments but that will be more or less useless if you want to use your own raw materials to build new sounds.&#xD;&#xA;&#xD;&#xA;I would say that if you are doing music stuff at all then it's definitely worth having something that can at least import Kontakt patches; as a file format is seems to be almost as ubiquitous as the Akai S-series was through the 90s.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.camelaudio.com/Alchemy.php&#xD;&#xA;  [2]: http://www.native-instruments.com/en/products/producer/absynth-5/&#xD;&#xA;  [3]: http://www.native-instruments.com/en/products/producer/reaktor-5/&#xD;&#xA;  [4]: http://puredata.info/&#xD;&#xA;  [5]: http://cycling74.com/products/maxmspjitter/&#xD;&#xA;  [6]: http://www.csounds.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9305" PostHistoryTypeId="2" PostId="5484" RevisionGUID="90089c73-db6a-4c77-a1c8-d755c4550e53" CreationDate="2011-01-10T20:49:11.383" UserId="474" Text="I excessively use Kontakt for alienating recorded samples, since its ton of features (built-in FX, wavefile editing, scripting etc.) speeds up my workflow dramatically.&#xD;&#xA;&#xD;&#xA;That said, don't for get to try out morphing in Kontakt with AET!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9306" PostHistoryTypeId="2" PostId="5485" RevisionGUID="bc17cedf-2b49-4cf3-9fe7-614f3e3bf405" CreationDate="2011-01-10T21:12:26.647" UserId="19" Text="You are having the exact same problems that I have had in the past.  I think the main issue you are running into is the fact that the inputs into the H4 (both 1/4&quot; and XLR) are -10dB high impedance signal meant for a guitar level input.&#xD;&#xA;&#xD;&#xA;Zoom is not quick in their marketing material to mention this fact.  Its not until the last specifications page in the manual is that fact revealed.  I have almost the exact same gear you have listed (Zoom H4 + Rode NTG2) and have the same issues. I have even tried a hydrophone with similar results.&#xD;&#xA;&#xD;&#xA;I went a step further and purchased a Sound Devices MM-1 portable preamp to boost the level.  Plugging the hot +4dB line level low impedance output of the MM-1 into the inputs of the H4 completely overloaded.  Level mismatches and impedance mismatch makes for poor sound.  Only after buying a -10dB pad and inline impedance adapter have I come close to getting a good level. It just adds too many stages to the recording chain and less portability to make it very worthwhile.&#xD;&#xA;&#xD;&#xA;I am none to happy with Zoom on the decision to make the 1/4&quot; inputs be guitar level not mic level. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9307" PostHistoryTypeId="2" PostId="5486" RevisionGUID="e97ed89f-db98-4548-be00-66ed88127ab7" CreationDate="2011-01-11T01:20:56.067" UserId="533" Text="I believe that there is a misconception about Kontakt. It is an extremely powerful sampler but that doesn't mean that it is for musical content. Its just that most people have been producing kontakt patches that are musical because people are looking for it. &#xD;&#xA;&#xD;&#xA;Take a look at the video for this pack by NI and you can see how they create new ambiences. Its not the quickest way compared to just synthesizing it but you get extremely good results. I like the part about using the train sounds and layering it. &#xD;&#xA;http://native-instruments.com/#/en/products/producer/powered-by-kore/paranormal-spectrums/&#xD;&#xA;&#xD;&#xA;Kontakt can do this very well because it has an extremely powerful set of sound shaping tools. Honestly, the tools are way more than you would need to make musical instruments. You don't need to get into scripting if you are not building extremely complex instruments with live control. Scripting is really used if you want to package the instrument properly but since you are building ambiences, I don't think you will need the power of scripting. You could use it if you want to building the instrument nicely for constant sound generation. &#xD;&#xA;&#xD;&#xA;The usefulness of using Kontakt to build ambiences is the flexibility to pile various sounds on each other and change the way they interact. You could use ambience samples and sounds like the train leaving the station and manipulate into a nice ambience track. Then top it up with one of the many synths available in Kontakt to have a nice low moving drone. You could even layer another patch in with voices. Then you can ‘play’ the instrument with a midi controller and change parameters on the fly. You can edit the midi to clean up the performance as well. I feel that sounds are much more ‘alive’ if they were performed rather than dragging and dropping in. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9308" PostHistoryTypeId="2" PostId="5487" RevisionGUID="0d2e8cda-d1ca-485a-968a-1d7bec1b2483" CreationDate="2011-01-11T09:37:30.500" UserId="786" Text="We have the AlphaTrack in one of our studios and Command8 in two studios. I think it's a bit shaky, it makes some errors while recording fader moves in Protools, so I often end up mixing with the mouse instead of the fader.&#xD;&#xA;&#xD;&#xA;When I'm using faders, I'm often using more than one fader, for example balancing music tracks to reverb returns. This is not possible with the alphatrack. I strongly recommend getting a Command 8 over a single fader controller.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9309" PostHistoryTypeId="5" PostId="5479" RevisionGUID="23f0c6e0-b672-4837-96dd-e153b4d0aefd" CreationDate="2011-01-11T10:39:24.333" UserDisplayName="user80" Comment="Spelling correction" Text="Hi everybody, I was reading this article : http://soundandpictureonline.com/2010/12/a-medal-mix-the-ea-sound-team-talks-audio-production/&#xD;&#xA;&#xD;&#xA;I was wondering if Kontakt or any other sampler/synth could be a real solution for making ambiences?&#xD;&#xA;&#xD;&#xA;How can it speed up ambiences creation compared to a regular Cubase/Pro Tools only workflow?&#xD;&#xA;&#xD;&#xA;Thank you guys, and enjoy the read.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9310" PostHistoryTypeId="4" PostId="5479" RevisionGUID="23f0c6e0-b672-4837-96dd-e153b4d0aefd" CreationDate="2011-01-11T10:39:24.333" UserDisplayName="user80" Comment="Spelling correction" Text="Kontakt or other sampler/synth software for sound design ? " ContentLicense="CC BY-SA 2.5" />
  <row Id="9311" PostHistoryTypeId="5" PostId="5295" RevisionGUID="d62df20d-f406-47ec-8c97-a5d4d660d090" CreationDate="2011-01-11T10:41:07.433" UserDisplayName="user80" Comment="Spelling corrections" Text="I do have the Presonus Faderport running with Logic Express 8. The fader and buttons work, the panpot doesn't (when I twist it, the pan jumps from left to right irregulary).&#xD;&#xA;&#xD;&#xA;The controller itself feels good, even if you have to press the buttons really hard, which is why I rarely use them.&#xD;&#xA;&#xD;&#xA;To be honest: I used it for one project, but right now I do 90% of the automations via the editor in Logic or with the with the controller knobs of my MIDI keyboard. I won't sell the Faderport, but I won't buy it again, since I rarely use it. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9312" PostHistoryTypeId="5" PostId="5469" RevisionGUID="60ebd134-0ca1-4082-9811-00eba1927d62" CreationDate="2011-01-11T10:46:09.143" UserDisplayName="user80" Comment="Grammar and added tag" Text="greetings,&#xD;&#xA;&#xD;&#xA;I like field recording both in city and nature environment and have a question:&#xD;&#xA;&#xD;&#xA;I've been using Zoom h4 with its internal mics and really like it. I tried three different types of external mic on Zoom H4 and I found the same problem: Too low volume.&#xD;&#xA;&#xD;&#xA;First, I used rode NTG-2 through xrl on Zoom H4 and I found the volume is too low. I could hardly hear it, even though the phantom +48v was on and mic was powered.  I googled on it and found that some people were mentioning about the same problem on this combination and necessity to have pre amp/mixer to Zoom h4 when using external mic. But I found most of the pre-amps/mixers are pretty expensive, a lot more than Zoom H4 itself. So I'm wondering what would be an alternative solution. &#xD;&#xA;&#xD;&#xA;I also had same volume problems when using a piezo mic with the 1/4&quot; jack on the Zoom H4. It sounds too weak whenever I am working with the piezo. Instead of the Zoom H4, I use my laptop with software, which is connected to m-audio recording interface. In this way, sounds are captured in better way. &#xD;&#xA;&#xD;&#xA;Same problem when using hydrophone mic, which I bought quite recently. The volume is not that extremely low, but even though with phantom power on, I think sound is not loud enough to record, especially in a calm river. &#xD;&#xA;&#xD;&#xA;Does the zoom h4n have this problem? Is it better in terms of using external mic? &#xD;&#xA;&#xD;&#xA;Any advice or recommendations are appreciated.&#xD;&#xA;&#xD;&#xA;best    &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9313" PostHistoryTypeId="6" PostId="5469" RevisionGUID="60ebd134-0ca1-4082-9811-00eba1927d62" CreationDate="2011-01-11T10:46:09.143" UserDisplayName="user80" Comment="Grammar and added tag" Text="&lt;zoom&gt;&lt;h4&gt;&lt;ntg2&gt;&lt;preamp&gt;&lt;gain&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9314" PostHistoryTypeId="2" PostId="5488" RevisionGUID="c8d3cb82-37d9-42ca-828b-4fe39676b910" CreationDate="2011-01-11T10:48:47.547" UserDisplayName="user80" Text="You can currently purchase the mbox 2 mini for £131 with PT 8 LE, you can then crossgrade to 9 for £180, which has OMF conversion." ContentLicense="CC BY-SA 2.5" />
  <row Id="9315" PostHistoryTypeId="5" PostId="5477" RevisionGUID="fd49dbe1-4179-44ed-822a-bd4bc3983367" CreationDate="2011-01-11T11:47:08.933" UserDisplayName="user80" Comment="Grammar" Text="I am newbie too, but I must say I liked your Mass effect trailer. Very cool sounds. &#xD;&#xA;But the ending seemed to me incomplete... Sound was too static and highpitched that gave me feeling that it needs something more. Also you can try to lie some atmos upon sfx sounds." ContentLicense="CC BY-SA 2.5" />
  <row Id="9316" PostHistoryTypeId="6" PostId="5347" RevisionGUID="7b6d5a96-0503-458f-9460-1bdc213c9b4e" CreationDate="2011-01-11T11:48:19.057" UserDisplayName="user80" Comment="edited tags" Text="&lt;recording&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9317" PostHistoryTypeId="2" PostId="5489" RevisionGUID="4adf54e3-9bd6-443c-afb8-deb3f65db655" CreationDate="2011-01-11T11:58:53.183" UserId="795" Text="Are the use of virtual instruments in film music composition having a positive negative or both on the overall quality of film music?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9318" PostHistoryTypeId="1" PostId="5489" RevisionGUID="4adf54e3-9bd6-443c-afb8-deb3f65db655" CreationDate="2011-01-11T11:58:53.183" UserId="795" Text="Virtual Instruments in film music composition" ContentLicense="CC BY-SA 2.5" />
  <row Id="9319" PostHistoryTypeId="3" PostId="5489" RevisionGUID="4adf54e3-9bd6-443c-afb8-deb3f65db655" CreationDate="2011-01-11T11:58:53.183" UserId="795" Text="&lt;film&gt;&lt;music&gt;&lt;composer&gt;&lt;technology&gt;&lt;score&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9320" PostHistoryTypeId="2" PostId="5490" RevisionGUID="8e9c9d24-ddb7-4efa-929a-a93e9e41b59a" CreationDate="2011-01-11T12:05:55.603" UserId="63" Text="I use the PreSonus Faderport for a year or so now and it made my life a lot easier. For the money you spend on the one little devil it works like a charm. &#xD;&#xA;&#xD;&#xA;It is true that sometime the pan-pot knob does not respond well but if you cannot afford something large like a Mackie controller then it is very good (and cheap). &#xD;&#xA;&#xD;&#xA;I haven't used the Alphatrack so i cannot give you some some feedback. But i use the Faderport on all my projects for the time being, the best part is the automations though, it supports all the Logic modes for automation and i found it very very useful till now. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9321" PostHistoryTypeId="2" PostId="5491" RevisionGUID="13340007-64bc-42c6-9f87-2fed37cd3c34" CreationDate="2011-01-11T12:14:24.857" UserId="63" Text="need more than 3000$... :p" ContentLicense="CC BY-SA 2.5" />
  <row Id="9322" PostHistoryTypeId="2" PostId="5492" RevisionGUID="fc793ac0-fcaa-41ae-8378-51666ee30ff8" CreationDate="2011-01-11T14:47:40.820" UserId="393" Text="**Pros:** Have access to instrumentation you otherwise wouldn't, or couldn't play if you did.&#xD;&#xA;&#xD;&#xA;**Cons:** Reduces the human feel by reducing human error.  Some composers feel like using the same sounds as someone else is a bad thing.&#xD;&#xA;&#xD;&#xA;I think you're asking something as general as &quot;Is using a screwdriver to build this a bad thing?&quot;... VSTis are a tool, nothing else -- you either do well with them or you don't.  There are techniques to correct common &quot;problems,&quot; and there is almost always something to use.&#xD;&#xA;&#xD;&#xA;In any case, this is a sound design forum, not a composition forum, so we're all a bit biased when it comes to using something canned or recording our own stuff." ContentLicense="CC BY-SA 2.5" />
  <row Id="9323" PostHistoryTypeId="2" PostId="5493" RevisionGUID="17835cc5-ad82-440a-a448-3485df6d67e9" CreationDate="2011-01-11T16:56:52.683" UserId="658" Text="Hello&#xD;&#xA;&#xD;&#xA;I'm a student at the moment so moneys a bit tight. I'm currently running Pro tools 7.4 with a M-Box.&#xD;&#xA;&#xD;&#xA;I was wondering what peoples experience with Pro tools 9 is and whether it's worth spending the cash and upgrading. &#xD;&#xA;&#xD;&#xA;I'm mostly using it for mixing and editing sounds rather then creating new sounds.&#xD;&#xA;&#xD;&#xA;Thanks for your help" ContentLicense="CC BY-SA 2.5" />
  <row Id="9324" PostHistoryTypeId="1" PostId="5493" RevisionGUID="17835cc5-ad82-440a-a448-3485df6d67e9" CreationDate="2011-01-11T16:56:52.683" UserId="658" Text="Pro Tools 9, Should I go for it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9325" PostHistoryTypeId="3" PostId="5493" RevisionGUID="17835cc5-ad82-440a-a448-3485df6d67e9" CreationDate="2011-01-11T16:56:52.683" UserId="658" Text="&lt;pro-tools&gt;&lt;upgrade&gt;&lt;money&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9326" PostHistoryTypeId="2" PostId="5494" RevisionGUID="02486d4e-519a-4739-a084-682a467c3ebd" CreationDate="2011-01-11T17:00:04.257" UserId="6487" Text="I'd make me some headphones based on my custom HTRF that could emmulate playback in a dolby certified theatrical stage. That way I could really prep work at home in my project studio. &#xD;&#xA;&#xD;&#xA;The Realiser A8. Price US$3000 ex shipping, complete with measurement microphones, head-tracker and Stax headphones+amp (Basic Stax set). .....http://smyth-research.com/products.html&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9327" PostHistoryTypeId="2" PostId="5495" RevisionGUID="49c2bd30-9ced-49c4-9643-32da606ad2e9" CreationDate="2011-01-11T17:16:23.670" UserId="37" Text="not only do you get more tracks with PTLE8 and PT9, you do also get a nice collection of plugins that didn't exist in 7.4. also if tomorrow your situation changes and you're asked to import someone's video to work to, PT9 has something PT8 and 7.4 didn't have.. also a more polished interface will have you feeling in a different way. to some people it tends to be important.. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9328" PostHistoryTypeId="2" PostId="5496" RevisionGUID="7a2be46c-ed12-46fd-9e7f-a1bf74da536f" CreationDate="2011-01-11T17:57:58.310" UserId="234" Text="Let's not forget &quot;Them!&quot; (1954). Long before we ever see the giant ants, we hear their &quot;shriek&quot;, and it usually is heard before they attack. Apparently that was made by looping a recording of a squeaky truck fanbelt. Sound design before computers! :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9329" PostHistoryTypeId="2" PostId="5497" RevisionGUID="f72a597e-ef1e-4ba7-9aff-15bf0a424c31" CreationDate="2011-01-11T18:59:27.777" UserId="18" Text="As you said, you are a student and money is tight.  PT 7.4 is more than enough to edit, mix, and become proficient with the software.  Save your money, PT9 will not be a huge leap for you.  We don't always need the latest and greatest to do our work, when money is an issue, it is best to get by with what you have." ContentLicense="CC BY-SA 2.5" />
  <row Id="9330" PostHistoryTypeId="2" PostId="5498" RevisionGUID="3db504cd-77ec-4448-b6bf-0dfde6866f66" CreationDate="2011-01-11T19:19:53.357" UserId="6487" Text="I was legally blind for the first 5 years of my life. A dislocated muscle in my right eye gave me a floating eye. My brain had trouble resolving the issue as the distance from my the right and left perspective was not consistent.  I loved the sound of everything and was rather outgoing and loud. My whole family would moan with this mention, but I used to carry a case of toys to make noises with and tell stories using my brother as a sound making assistant on long car rides.  My mother put me in piano classes, and ballet as soon as my leg braces were off (another deformity) and my eye operation had healed.  I loved it. &#xD;&#xA;&#xD;&#xA;In 1985, my computer genius brother bought me a Cubase midi system.  I went nuts. I was obcessed with the sound of movies, fireside theater recordings, talk radio, cartoon voices and SFX, and music.  Sound comforts me.  Silence generally makes me uneasy.  I still have poor depth perception and am rather clumbsy. I get most of my information about the world though sound.  I was never a big fan of performing but I was always a big fan of creating a performance. I knew I didn't want to be a musician, but for a long time I didn't know what else I could do to make noise for a living.&#xD;&#xA;&#xD;&#xA;My grandfather always said &quot;Find what you do and then find a way to make money at it.&quot;  &quot;Then you will never work a day in your life.&quot;  As soon as I realized sound design and mix was a career, I started to place myself in the position to make money at what I was already doing (making noise). It is what I do. And I have been lucky enough to do it professionally for about 13 years. God bless." ContentLicense="CC BY-SA 2.5" />
  <row Id="9331" PostHistoryTypeId="2" PostId="5499" RevisionGUID="6989d1e7-6455-46c5-92de-8448234e0c4d" CreationDate="2011-01-11T19:48:30.580" UserId="88" Text="Hector pretty much nailed what I meant in the article: I used the source we got at Burro and Fort Irwin to build a large collection of battle elements such as weaponfire, explosion samples, mortar-bys, etc. (at various distances), then used Kontakt to perform them into Nuendo ambience sessions.  This saved a tremendous amount of time in the long run over what would have been the tedious task of individually cutting hundreds of weaponfire bursts/tails, single shots, artillery, mortar-bys, and so on.  Performing the elements via Kontakt (and using a lot of variations to keep anything from getting stale) resulted in natural-sounding background layers created very quickly.  Other samplers can of course be used in the same way.&#xD;&#xA;&#xD;&#xA;Kontakt is a very powerful piece of software which I barely scratched the surface of on MOH.  I don't have any experience using it for ambience *synthesis* (I've used Reaktor rather than Kontakt to create occasional synthy, electro-sci-fi elements), but it was very useful for the above." ContentLicense="CC BY-SA 2.5" />
  <row Id="9332" PostHistoryTypeId="5" PostId="5498" RevisionGUID="11de810a-5a97-4fd7-bda6-eee2115d3397" CreationDate="2011-01-11T19:54:15.363" UserId="6411" Comment="corrected spelling" Text="I was legally blind for the first 5 years of my life. A dislocated muscle in my right eye gave me a floating eye. My brain had trouble resolving the issue as the distance from my right and left perspective was not consistent.  I loved the sound of everything and was rather outgoing and loud. My whole family would moan with this mention, but I used to carry a case of toys to make noises with and tell stories using my brother as a sound making assistant on long car rides.  My mother put me in piano classes, and ballet as soon as my leg braces were off (another deformity) and my eye operation had healed.  I loved it. &#xD;&#xA;&#xD;&#xA;In 1985, my computer genius brother bought me a Cubase midi system.  I went nuts. I was obsessed with the sound of movies, fireside theater recordings, talk radio, cartoon voices and SFX, and music.  Sound comforts me.  Silence generally makes me uneasy.  I still have poor depth perception and am rather clumsy. I get most of my information about the world though sound.  I was never a big fan of performing but I was always a big fan of creating a performance. I knew I didn't want to be a musician, but for a long time I didn't know what else I could do to make noise for a living.&#xD;&#xA;&#xD;&#xA;My grandfather always said &quot;Find what you do and then find a way to make money at it. Then you will never work a day in your life.&quot;  As soon as I realized sound design and mix was a career, I started to place myself in the position to make money at what I was already doing (making noise). It is what I do. And I have been lucky enough to do it professionally for about 13 years. God bless." ContentLicense="CC BY-SA 2.5" />
  <row Id="9333" PostHistoryTypeId="2" PostId="5500" RevisionGUID="a746e808-0288-4fd4-af09-025103274bec" CreationDate="2011-01-12T07:53:20.020" UserId="348" Text="I was lucky to have been exposed to experimental/musique concrete/electro-acoustic genres from a fairly early age. One of the most amazing places that remained undiscovered until the iron curtain came down was the old Czechoslokaia. There, people like Iva Bitova, Achu-Achu, The Plastic People of the Universe, Pulnoc all were sercretly performing behind the governments backs with there own fusion of jazz/ambiant/opera/classical/rock combination's. A wonderful time for the west when they were finally exposed to the rest of the world. There are clips on YouTube of many from that part of the world. &#xD;&#xA;&#xD;&#xA;In  Montreal, there has been an experimental movement that has spanned decades with the likes of David Christian, Ned Bouhalassa and Jean-Claude Pellerin. The influence of Pierre Schaffier is huge there. Check it out on the net. &#xD;&#xA;&#xD;&#xA;I am not sure if NY's Knitting Factory is still going but I have a number of compilations on CD from the 90's. &#xD;&#xA;&#xD;&#xA;There are many of us out there. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9338" PostHistoryTypeId="2" PostId="5503" RevisionGUID="f5b6f185-7511-4237-a4b7-d2970ca82b33" CreationDate="2011-01-12T10:59:27.873" UserId="480" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I'm looking to buy a zeppelin for the microphone, but usually used in big productions I can not pay. I've looked at alternatives and found this, someone has tried and can compare it with other professionals?&#xD;&#xA;&#xD;&#xA;http://cgi.ebay.es/60cm-Blimp-Windscreen-Windjammer-Windshield-Fur-Cover-/140499923350?pt=LH_DefaultDomain_0&amp;hash=item20b672b196#ht_5529wt_905&#xD;&#xA;&#xD;&#xA;Thanks!!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9339" PostHistoryTypeId="1" PostId="5503" RevisionGUID="f5b6f185-7511-4237-a4b7-d2970ca82b33" CreationDate="2011-01-12T10:59:27.873" UserId="480" Text="Opinions about windshield blimp" ContentLicense="CC BY-SA 2.5" />
  <row Id="9340" PostHistoryTypeId="3" PostId="5503" RevisionGUID="f5b6f185-7511-4237-a4b7-d2970ca82b33" CreationDate="2011-01-12T10:59:27.873" UserId="480" Text="&lt;blimp&gt;&lt;windshield&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9341" PostHistoryTypeId="2" PostId="5504" RevisionGUID="657a93e3-b607-43a8-a33a-87f9bc03bd50" CreationDate="2011-01-12T13:20:31.557" UserId="142" Text="I think these are the ones being made in India. I have not used one myself but a guy I did some field recording with the other day had one and said t did the job well enough. Compared to a similar Rycote one I thought the plastic looked and felt quite brittle which would mean bits are more likely to snap on it. The guy said he also had to change the bands that came with it that hold the mic as they were not very good. You get what you pay for really and this will do the job but is not near the standards of a Rycote or even Rode wind shield. If you really have little money you can make your own windshield with very little trouble, they work well, the only downside is that if you turned up on a set with one you may receive a few funny looks. Here is an example of one method, I would recommend using old speaker fabric around the cage as this is essentially the same stuff used on the Rycote zeplins and will help with wind reduction whilst not effecting your recordings quality.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="9342" PostHistoryTypeId="2" PostId="5505" RevisionGUID="fe551cb9-6052-49f9-bea8-30c249a7d5db" CreationDate="2011-01-12T15:55:07.480" UserId="29" Text="@Alvar, the best commercially-available low-cost zeppelin that I've found is the Røde Blimp. The one you linked to looks an awful lot like a Sennheiser MZW windscreen, which currently retails online for US$360. I still prefer the modularity, flexibility, and performance of Rycote, as most on this board probably do also, but really, for the price the Røde Blimp can do the job in many circumstances.&#xD;&#xA; &#xD;&#xA;I am also aware of one or two Indian retailers on eBay who sell stuff on the cheap, sometimes major brands, sometimes their own, of pretty mixed quality...popular with the DV and no-budget/guerilla filmmaking scene, though.&#xD;&#xA;&#xD;&#xA;As @Lenny said, if you have more time than money, you can make your own. Tutorials abound online! (I've always been an admirer of the DIY windscreens of nature recordists who use dual NT1a's for nature ambiences!)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9343" PostHistoryTypeId="5" PostId="5504" RevisionGUID="c1218048-7a22-48f9-978e-622e8fb5fe79" CreationDate="2011-01-12T16:16:48.047" UserId="142" Comment="added 103 characters in body" Text="I think these are the ones being made in India. I have not used one myself but a guy I did some field recording with the other day had one and said t did the job well enough. Compared to a similar Rycote one I thought the plastic looked and felt quite brittle which would mean bits are more likely to snap on it. The guy said he also had to change the bands that came with it that hold the mic as they were not very good. You get what you pay for really and this will do the job but is not near the standards of a Rycote or even Rode wind shield. If you really have little money you can make your own windshield with very little trouble, they work well, the only downside is that if you turned up on a set with one you may receive a few funny looks. Here is an example of one method [link text][1] This one seems fine but I would also recommend using old speaker cover fabric around the cage as this is essentially the same stuff used on the Rycote zeplins and will help with wind reduction whilst not effecting your recordings quality.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.joelandkaren.com/mic-zeppelin/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9344" PostHistoryTypeId="2" PostId="5506" RevisionGUID="57323a24-a2ce-40e0-8acd-816d40a44163" CreationDate="2011-01-12T17:40:57.660" UserId="651" Text="The new Q3HD is pretty slick. Shooting in SD is as easy as going into the menu and selecting WVGA/30 or WVGA/60. Both modes look pretty decent for a small camera. &#xD;&#xA;&#xD;&#xA;The picture controls are rather limeted. In the Scene Selection you only have:&#xD;&#xA;&#xD;&#xA;Auto&#xD;&#xA;Concert Lighting &#xD;&#xA;Night&#xD;&#xA;&#xD;&#xA;So controls are pretty limited.&#xD;&#xA;&#xD;&#xA;I would recommend shooting with some kind of stabilizer. As shooting handheld with such a small device tends to produce jerky video. I tossed mine on a Steady Stick and that works well. Also, lots of handling noise if you're not careful while shooting handheld - another reason to avoid shooting without some kind of stabilizer. If I shoot handheld, I use the low cut to reduce rumble - and sliding of your hand across the plastic case is extremely loud. A windscreen would also be highly recommended - both indoors and out - even waving it around produces distortion. Other than that, since the mics are the same ones used in the H4n, the sound is very good.&#xD;&#xA;&#xD;&#xA;The 4xZoom is the electronic digital zoom type, so it looks aliased as opposed to other cameras with Optical Zoom where it looks perfect. I still love mine though and carry it all the time.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9345" PostHistoryTypeId="2" PostId="5507" RevisionGUID="b3475deb-f68d-4bec-849d-42e661123078" CreationDate="2011-01-12T19:30:51.147" UserDisplayName="user80" Text="How about using a Rycote Softie, they still give a decent sound and are robust?&#xD;&#xA;&#xD;&#xA;http://www.rycote.com/products/softie_kit/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9346" PostHistoryTypeId="5" PostId="5506" RevisionGUID="0b148ae9-6e84-4aff-9f6a-cc02c111434a" CreationDate="2011-01-12T19:32:52.380" UserDisplayName="user80" Comment="Spelling correction" Text="The new Q3HD is pretty slick. Shooting in SD is as easy as going into the menu and selecting WVGA/30 or WVGA/60. Both modes look pretty decent for a small camera. &#xD;&#xA;&#xD;&#xA;The picture controls are rather limited. In the Scene Selection you only have:&#xD;&#xA;&#xD;&#xA;Auto&#xD;&#xA;Concert Lighting &#xD;&#xA;Night&#xD;&#xA;&#xD;&#xA;So controls are pretty limited.&#xD;&#xA;&#xD;&#xA;I would recommend shooting with some kind of stabilizer. As shooting handheld with such a small device tends to produce jerky video. I tossed mine on a Steady Stick and that works well. Also, lots of handling noise if you're not careful while shooting handheld - another reason to avoid shooting without some kind of stabilizer. If I shoot handheld, I use the low cut to reduce rumble - and sliding of your hand across the plastic case is extremely loud. A windscreen would also be highly recommended - both indoors and out - even waving it around produces distortion. Other than that, since the mics are the same ones used in the H4n, the sound is very good.&#xD;&#xA;&#xD;&#xA;The 4xZoom is the electronic digital zoom type, so it looks aliased as opposed to other cameras with Optical Zoom where it looks perfect. I still love mine though and carry it all the time.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9347" PostHistoryTypeId="5" PostId="4584" RevisionGUID="f49a1422-73c6-4338-8eff-8af6b50a3e48" CreationDate="2011-01-12T19:33:42.410" UserDisplayName="user80" Comment="Spelling correction" Text="Here is one of the only videos that I have found. Good introduction of what it can do. vimeo.com/1823416" ContentLicense="CC BY-SA 2.5" />
  <row Id="9349" PostHistoryTypeId="2" PostId="5508" RevisionGUID="56ec9271-7d1e-4022-9890-4769b65e1ef9" CreationDate="2011-01-12T19:42:43.303" UserDisplayName="user49" Text="Keep an eye on ebay and other local secondhand markets - two of the four rycotes I own I bought secondhand.... Remember Rycotes have been around for a long time so there are perfectly functional old models around - one of mine would be well over 20 years old, the suspension and cage are in perfect condition, will replace the fluffy sometime soon but still...." ContentLicense="CC BY-SA 2.5" />
  <row Id="9350" PostHistoryTypeId="2" PostId="5509" RevisionGUID="02224175-d6aa-454a-9772-b5708ed6e329" CreationDate="2011-01-12T20:33:15.817" UserId="786" Text="I was wondering if anybody is using divergence while mixing in 5.1.&#xD;&#xA;&#xD;&#xA;I have mixed 10 feature films in 5.1, but I have never used divergence when panning. At first I didn't use it because I was afraid it would mess with the 2.0 version. But I'm not that concerned about 2.0 anymore with 5.1 in nearly all theatres.&#xD;&#xA;&#xD;&#xA;Anyway I mix without using divergence.&#xD;&#xA;&#xD;&#xA;What are your experiences?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9351" PostHistoryTypeId="1" PostId="5509" RevisionGUID="02224175-d6aa-454a-9772-b5708ed6e329" CreationDate="2011-01-12T20:33:15.817" UserId="786" Text="Divergence in Surround" ContentLicense="CC BY-SA 2.5" />
  <row Id="9352" PostHistoryTypeId="3" PostId="5509" RevisionGUID="02224175-d6aa-454a-9772-b5708ed6e329" CreationDate="2011-01-12T20:33:15.817" UserId="786" Text="&lt;5.1&gt;&lt;panning&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9355" PostHistoryTypeId="2" PostId="5511" RevisionGUID="65b00932-002a-47e9-a0ef-11ee9f67d259" CreationDate="2011-01-13T05:07:37.667" UserId="654" Text="Ive use divergence across the front to put a small amount stereo music into the Centre channel - it also comes in handy when you want to smear something, like a drone or ambience.&#xD;&#xA;The other thing is that is effects dolby processing -  which is predicated on unique information in channels to be down mixed and upmixed - so it can make drastic differences to things like your surrounds when they are LtRt processed and blown back up.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9356" PostHistoryTypeId="2" PostId="5512" RevisionGUID="58738730-2f07-422d-9d04-b30394143921" CreationDate="2011-01-13T05:17:35.983" UserId="654" Text="Keep in mind, to make sure we're all being clear, conforming is the process of getting field/production audio onto the timeline in sync with the picture edl. Used to be done with an EDL and a timecode DAT player and an application like Digi's &quot;post conform&quot;.&#xD;&#xA;&#xD;&#xA;Reconforming is chasing the picture to re-edit a timeline. Done either manually or using Editrace, VK or conformalizer.&#xD;&#xA;&#xD;&#xA;Sorry to be anal but it's good to be clear about the differences - there's much disinformation out there!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9357" PostHistoryTypeId="2" PostId="5513" RevisionGUID="d6089115-409a-4282-b3f7-b16752b15d71" CreationDate="2011-01-13T09:00:54.847" UserId="6499" Text="Ok.  So after a bit of research, I have realized that the need to conform does not exist in my project,  All the tracks will be just synced up by the assistant editor and I will get them back via omf.  &#xD;&#xA;&#xD;&#xA;The need for me to be able to reconform would help me out tremendously in preserving the things I will have done during predubs.  &#xD;&#xA;Talking with the editor, FCP does not generate a change edl showing the differences between two sequences.  He is able to export edls of both individually.  Am I safe in the conclusion that the change edl is what the programs or services like Editrace generate,  and then actually do a rough conform in your DAW based on those results?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9358" PostHistoryTypeId="2" PostId="5514" RevisionGUID="8e0cb922-76ea-4503-bacf-0cf205d28ac4" CreationDate="2011-01-13T13:02:12.623" UserId="348" Text="I remember that a few months back, someone copied a link to a site that had a great display on the frequency bandwidth and what frequencies affected which emotions and what instruments and or sounds made those frequencies or series of. I was wondering if anyone can remember what the name of the link was and also if anyone has any other resources that chat about frequency and emotional response. &#xD;&#xA;&#xD;&#xA;Thanks.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="9359" PostHistoryTypeId="1" PostId="5514" RevisionGUID="8e0cb922-76ea-4503-bacf-0cf205d28ac4" CreationDate="2011-01-13T13:02:12.623" UserId="348" Text="Frequency and emotional response" ContentLicense="CC BY-SA 2.5" />
  <row Id="9360" PostHistoryTypeId="3" PostId="5514" RevisionGUID="8e0cb922-76ea-4503-bacf-0cf205d28ac4" CreationDate="2011-01-13T13:02:12.623" UserId="348" Text="&lt;frequency&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9361" PostHistoryTypeId="2" PostId="5515" RevisionGUID="0351db66-1dca-40b5-b745-d5eeee94e2bd" CreationDate="2011-01-13T13:54:46.930" UserId="800" Text="Sennheiser HD280 Pros are great. I have a pair at every desk I use regularly; they're the headphones I use when I actually have to listen carefully and I care about isolation. I don't find the muffled, I find them very clear, and have used them continuously for long stretches.&#xD;&#xA;&#xD;&#xA;I have an HD650 set and an HD590 set; I prefer the HD650. Good for when there's not a lot of ambient noise. Feel much less isolating than an HD280 pair.&#xD;&#xA;&#xD;&#xA;For travel I have a Sennheiser PXC-450 pair. Not as good as the other ones, but the active isolation helps. Before I got these I used an HD280 pair, but the active component helps, as does the &quot;talk through&quot; button.&#xD;&#xA;&#xD;&#xA;For outside, I had a Koss KSC-75 on-ear pair, but they broke and I replaced them with Sony MDR-Q68LW pair. Not as good, but also not broken." ContentLicense="CC BY-SA 2.5" />
  <row Id="9363" PostHistoryTypeId="2" PostId="5517" RevisionGUID="18ebb529-fe2c-4fce-b925-df197e0d2ed5" CreationDate="2011-01-13T17:27:49.663" UserId="6487" Text="Great Advice all! &#xD;&#xA;&#xD;&#xA;I used to work with a guy who used to complain that our company was cr*p and that there was nothing worth his time there.  He stated he was too creative to work on government videos, corporate videos, and political ads. He felt he had spent too much on his education and on moving to the US from the UK to do our type of work.  So he showed up late for work, put in the bare minimum and got really cynical.  That was ten years ago. &#xD;&#xA;&#xD;&#xA;I also was frustrated and bored. However, I really do my best to find a way to add more than what is being asked of me in order to challenge myself and to please my clients.  &#xD;&#xA;I don't work on many government videos or political seasons anymore. Not that I snub any work of any kind on anything. I would work on them again without hesitation if the right opportunity presented itself.  But my current position provides me the blessing of working on broadcast or theatrical material almost exclusively. The work is much closer to my career goals.&#xD;&#xA;&#xD;&#xA;I know for a fact he still works for many of those same political clients and is still struggling. In truth, he is a very talented and educated professional.  In many ways, I envy his creativity.  But he allows his impatience and frustration to rob him of conviction and dedication to his art. I rarely see what he was really capable of.&#xD;&#xA;&#xD;&#xA;An artist needs no canvas to be creative. They do not wait to attain a special paint or brush. They find a way to make art wherever they are.&#xD;&#xA;  &#xD;&#xA;My advice is to stick it out if your company is willing to keep you here and set your goals higher than what is being required of you in every function of your job.  Network and find mentors.  Soak up all you can from the world you desire to be a part of.  Show what you can do as much as you possibly can in every instance on every job (no matter how menial). It may serve you well and it will definitely make you happier in the meantime.&#xD;&#xA;&#xD;&#xA;I haven’t attained my ultimate career dreams yet either.  But I am always moving closer, one project at a time. (Greg Gerlich if your out there listening....you should put me on your team. LOL)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9364" PostHistoryTypeId="2" PostId="5518" RevisionGUID="6a434759-7261-4953-ba52-7db503bd8a64" CreationDate="2011-01-13T18:24:42.163" UserId="265" Text="@Verkannt Great Idea! Im from Venezuela. maybe we can make a group on facebook or something. add me artix69@hotmail.com Greetings!!!&#xD;&#xA;&#xD;&#xA;Some of my sounds!( there are few of them )&#xD;&#xA;http://www.freesound.org/usersViewSingle.php?id=1760507&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9365" PostHistoryTypeId="2" PostId="5519" RevisionGUID="7c04f5cc-2531-44c2-9470-674988dba0cf" CreationDate="2011-01-13T18:59:43.827" UserDisplayName="user49" Text="If it helps, I really don't know many people who went into film sound editing immediately - its generally taken a few years of working on TV, short films etc... when I was at a similar stage to you I remember doing 3 years of a TV series that I didn't particularly love (thats 39 x 1 hour eps - yeech!) but apart from getting me a start, many things it did teach me long term were invaluable: how to edit fast, library management, the value of libraries, learning when field recording is essential, fitting in with a sound post team etc... I also got to learn other roles; dialogue editing, foley recording/editing, ADR recording etc - these experiences are invaluable later on if you become a supervisor/sound designer....&#xD;&#xA;&#xD;&#xA;Also something very valuable I learned that is maybe not apparent at the time; a number of the first features that I did, I got through having started a creative relationship with the directors and producers when they were making short films. So do not undervalue the importance of working on indie films, short films etc... It may take them years but every one of those people aspires to make a feature film, and when they do, you want to be the person they immediately think of, due to your efforts and help/collaboration when they were making smaller scale projects....&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9366" PostHistoryTypeId="5" PostId="5517" RevisionGUID="70e593f9-4f75-4f9f-9453-c0a72a7c7728" CreationDate="2011-01-13T19:15:33.707" UserId="6487" Comment="grammer" Text="Great Advice all! &#xD;&#xA;&#xD;&#xA;I used to work with a guy who used to complain that our company was cr*p and that there was nothing worth his time there.  He stated he was too creative to work on government videos, corporate videos, and political ads. He felt he had spent too much on his education and on moving to the US from the UK to do our type of work.  So he showed up late for work, put in the bare minimum and got really cynical.  That was ten years ago. &#xD;&#xA;&#xD;&#xA;I also was frustrated and bored. However, I really do my best to find a way to add more than what is being asked of me in order to challenge myself and to please my clients.  &#xD;&#xA;I don't work on many government videos or political seasons anymore. Not that I snub any work of any kind on anything. I would work on them again without hesitation if the right opportunity presented itself.  But my current position provides me the blessing of working on broadcast or theatrical material almost exclusively. The work is much closer to my career goals.&#xD;&#xA;&#xD;&#xA;I know for a fact he still works for many of those same political clients and is still struggling. In truth, he is a very talented and educated professional.  In many ways, I envy his creativity.  But he allows his impatience and frustration to rob him of conviction and dedication to his art. I rarely see what he was really capable of.&#xD;&#xA;&#xD;&#xA;An artist needs no canvas to be creative. They do not wait to attain a special paint or brush. They find a way to make art wherever they are.&#xD;&#xA;  &#xD;&#xA;My advice is to stick it out if your company is willing to keep you here and set your goals higher than what is being required of you in every function of your job.  Network and find mentors.  Soak up all you can from the world you desire to be a part of.  Show what you can do as much as you possibly can in every instance on every job (no matter how menial). It may serve you well and it will definitely make you happier in the meantime.&#xD;&#xA;&#xD;&#xA;I haven’t attained my ultimate career dreams yet either.  But I am always moving closer, one project at a time. (Greg Gerlich if you're out there listening....you should put me on your team. LOL)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9367" PostHistoryTypeId="5" PostId="5054" RevisionGUID="07072389-8998-4cf8-ae63-243c443ad1ce" CreationDate="2011-01-13T20:35:03.283" UserId="432" Comment="updated link" Text="**EDIT:** ***I'm about to put up the post with some of the recordings, pictures, and descriptions of what I captured on the U.S.S. Pampanito with the D50 on [my site][1]. There's a chance to win a copy of all of the sounds I recorded in the post.***&#xD;&#xA;&#xD;&#xA;I haven't used the NT4, but I have used the D-50. It's very clean for a handheld recorder. I've been meaning to get a post up on my website about the time Colin and I spent a little over an hour on a WWII sub recording switches, knobs and the like. All we had with us were handheld recorders, and I had the D50. I'll make sure to get that up tomorrow (with some of the sounds, of course) for everyone to check out.&#xD;&#xA;&#xD;&#xA;The pres on the D50 are pretty good, but I haven't used that particular model of Fostex recorder to make a comparison.&#xD;&#xA;&#xD;&#xA;It does have a screw hole for a standard consumer camera tripod on the back. So, it's easy to use with something like the Joby Gorillapod, or a larger camera tripod.&#xD;&#xA;&#xD;&#xA;As with any handheld recorder, it's highly susceptible to handling noise and wind. something you should consider when making your decision. Then again, you'll want to consider that for the NT4 as well. I know people have been able to fit the NT4 into a blimp/zepplin. So that one affords you a bit more ease in terms of manipulation than the D50.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynamicinterference.com/2010/12/11/on-the-u-s-s-pampanito/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9368" PostHistoryTypeId="2" PostId="5520" RevisionGUID="f5a766c2-7867-4c9d-9940-a11d3c9feb6e" CreationDate="2011-01-13T20:45:52.720" UserId="480" Text="Well, I'm in a situation similar to yours, and although I have no experience to speak with hawk eyes, but I can recommend that in these hard times where it costs to enter the visa, try to spend the minimum, and if that involves return to Australia, so be it.&#xD;&#xA;&#xD;&#xA;Now with the internet is not as important as ever to have personal presence at the sites, squeeze the most out of you where you can keep and I think one day you will return to NY with a work means agreed.&#xD;&#xA;&#xD;&#xA;Suerte Amigo!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9369" PostHistoryTypeId="2" PostId="5521" RevisionGUID="b1d9532a-05cf-4dd6-aa08-2efc89c4f185" CreationDate="2011-01-13T21:50:27.000" UserId="6411" Text="Just got the announcement of this in my inbox:&#xD;&#xA;&#xD;&#xA;[iZotope's Stutter Edit][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.izotope.com/products/audio/stutteredit/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9372" PostHistoryTypeId="12" PostId="1324" RevisionGUID="442da1af-f03d-4a0f-93e6-ce2e312cd690" CreationDate="2011-01-13T22:36:24.380" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9377" PostHistoryTypeId="12" PostId="1257" RevisionGUID="e9522c85-0dfa-4799-b27c-7808909daf4b" CreationDate="2011-01-13T22:38:03.017" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9378" PostHistoryTypeId="12" PostId="1961" RevisionGUID="e953885b-ed20-4b6d-9d5d-7b22936efc36" CreationDate="2011-01-13T22:38:10.133" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9385" PostHistoryTypeId="12" PostId="5206" RevisionGUID="607409e4-affb-49c9-a42c-3196bf1f57f6" CreationDate="2011-01-13T22:39:43.080" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9388" PostHistoryTypeId="12" PostId="3624" RevisionGUID="ebfee952-91f8-48ec-b90e-3858dc695d59" CreationDate="2011-01-13T22:40:04.990" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9405" PostHistoryTypeId="12" PostId="1142" RevisionGUID="9cb7ca98-8fc8-4671-87c6-e89db2b39ecf" CreationDate="2011-01-13T22:46:49.103" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9406" PostHistoryTypeId="13" PostId="1142" RevisionGUID="4517fb96-bb1f-4304-83f9-5708fb3b3bd5" CreationDate="2011-01-13T22:46:54.893" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9414" PostHistoryTypeId="12" PostId="3929" RevisionGUID="c6c39455-8525-4f7e-acce-fc33b3449b06" CreationDate="2011-01-13T22:48:39.547" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9415" PostHistoryTypeId="12" PostId="5423" RevisionGUID="aece8d74-f0e2-4a29-91b2-ecfb5eb58a15" CreationDate="2011-01-13T22:48:49.693" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9419" PostHistoryTypeId="12" PostId="3295" RevisionGUID="0f09e5de-39be-4adb-b454-389b114afe18" CreationDate="2011-01-13T22:49:38.570" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9434" PostHistoryTypeId="12" PostId="1199" RevisionGUID="83d0618c-5651-408f-9eb3-9cc741fba146" CreationDate="2011-01-13T22:51:32.843" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9440" PostHistoryTypeId="12" PostId="5383" RevisionGUID="fc88e0e9-c9c7-4661-9da4-20725b0d5bed" CreationDate="2011-01-13T22:53:26.813" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9456" PostHistoryTypeId="12" PostId="4570" RevisionGUID="21b59eb9-758a-4452-900c-885ec4d9d6dc" CreationDate="2011-01-13T22:56:21.953" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9461" PostHistoryTypeId="12" PostId="3703" RevisionGUID="8a47bcc6-e95a-4f64-9f45-7570cdc42ec4" CreationDate="2011-01-13T22:57:20.410" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9493" PostHistoryTypeId="12" PostId="2105" RevisionGUID="631e2a5a-f745-4336-923e-faf346c58534" CreationDate="2011-01-13T23:05:09.603" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9498" PostHistoryTypeId="5" PostId="1074" RevisionGUID="b69e4b2f-e0fb-496b-b7eb-e57f2c53d316" CreationDate="2011-01-13T23:06:24.340" UserId="18160" Comment="deleted 498 characters in body" Text="I use Oxford Suppressor.&#xD;&#xA;&#xD;&#xA;I also use a Dynamic EQ.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9518" PostHistoryTypeId="12" PostId="3270" RevisionGUID="df7ed371-4cd3-4ded-99db-ff39be372588" CreationDate="2011-01-13T23:11:35.333" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9519" PostHistoryTypeId="13" PostId="3270" RevisionGUID="d48e43ea-1129-41cc-a35c-768c15a4611b" CreationDate="2011-01-13T23:11:42.517" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9526" PostHistoryTypeId="12" PostId="5459" RevisionGUID="4b597bfe-3572-4ece-b678-bb3ae50e0eb8" CreationDate="2011-01-13T23:14:22.323" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9528" PostHistoryTypeId="2" PostId="5522" RevisionGUID="33baa687-9e48-4ab3-b2da-48f240053c28" CreationDate="2011-01-13T23:18:43.643" UserId="762" Text="I'd get both a Schoeps and a Sennheiser hyper so I could stop agonizing over this decision!!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9529" PostHistoryTypeId="2" PostId="5523" RevisionGUID="4a625dc1-2813-4a56-ac6d-f1225b640e6d" CreationDate="2011-01-14T04:54:28.213" UserDisplayName="user49" Text="I think the first viewing is critical, as it is the only screening where you can truly be an audience member. So it should be about having honest reactions &amp; solely watching the film, not distracted by any need to stop &amp; discuss or take notes or answer emails or ichat or anything (and there is no need for the director to attend that screening) That first screening is a reference for your instincts for the rest of the entire process.&#xD;&#xA;&#xD;&#xA;We then have a specific spotting screening - usually one for me (with the FX editor &amp; Foley editor) and a seperate one for the dialogue supervisor &amp; his editors... For a 90 minute film it would take 2-3 hours to spot...&#xD;&#xA;&#xD;&#xA;Depending on the situation I write notes on paper and/or drop markers - in many ways writing notes is less obtrusive &amp; disrupts the flow less, as you can write notes while picture plays... Eventually all notes end up as markers &amp; are conformed as the picture cut changes - I use the markers description field to tag specific things eg that need to be recorded, or to discuss w dialogue or composer etc&#xD;&#xA;&#xD;&#xA;On a number of films recently we haven't had the spot session until a few weeks into editorial (due to schedule issues etc) and I quite like it as an approach, as some questions/issues become apparent and/or are solved once you actually start work on it, and it sometimes means the spot session is more focused on deeper meaning rather than things which are more obvious, and chances are I've already tagged many of the aspects for discussion. It also means there are first versions of some FX to actually listen to at the same time, which is valuable. Spotting is about intent whereas its great to initiate the feedback &amp; evolution process as soon as possible.... This process happens even earlier when supplying temp FX to editorial, in which case I tend to get given a cut on a scene by scene basis &amp; follow my instincts &amp; then get feedback for the next picture edit revision. It of course varies project to project, and on both the experience &amp; preferred approach of each director...&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9530" PostHistoryTypeId="2" PostId="5524" RevisionGUID="aa024685-dca5-494f-8cfd-de89c1a17351" CreationDate="2011-01-14T04:57:34.980" UserDisplayName="user49" Text="Volume graph&#xD;&#xA;The dialogue editor usually does some while editing &amp; does others during final mix, as they become apparent...." ContentLicense="CC BY-SA 2.5" />
  <row Id="9531" PostHistoryTypeId="2" PostId="5525" RevisionGUID="f4b0a799-2f88-49bc-a8b5-590a676abb2a" CreationDate="2011-01-14T06:31:17.310" UserId="445" Text="I agree with Tim, the first and second screenings are unique. Don't let your technical and practical hunger interfere in this situation; be as innocent and pure audience member as you can. Of course this is not as easy, but try to focus on the characters and their story. If there are no typical characters, as in documentaries or advertisements, try to get the feel and the rhythm of the audiovisual.&#xD;&#xA;&#xD;&#xA;Fred Karlin, in his amazing &quot;On the track: a guide to contemporary film scoring&quot;, dedicates a hole chapter about this. He focuses on music, but I think many of his ideas apply to sound design as well, at least from my personal and professional experience. As he had a terrific sense of narration, I transcript here some excerpts [page 17]:&#xD;&#xA;&#xD;&#xA;&quot;Remember that the composer [sound designer for us] is often the first person outside the production staff to see the film; consequently the producer, director and editor will be interested in how successful they have been in delivering their emotional message&quot;.&#xD;&#xA;&#xD;&#xA;&quot;What should you look for during this first screening? As an overriding principle, ignore the details and concentrate on the film's effectiveness and emotional impact [...] It is crucial or the composer to notice how he feels the first and second time he sees the film&quot;.&#xD;&#xA;&#xD;&#xA;&quot;Monitor your reactions to remember them, but with as much objectivity as possible so you don't lose emotional contact with the film. Look for mood, feeling, texture, and the overall nature of the film and its emotional impact&quot;.&#xD;&#xA;&#xD;&#xA;&quot;Things to avoid include spotting the film, making too many mental notes regarding technical matters, and intellectualizing. These distractions will interfere with your initial emotional response to the film&quot;.&#xD;&#xA;&#xD;&#xA;I definitely recommend this book to anyone interested in serious film scoring AND sound design. It's not a cheap book, but a really well worth reading.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i829.photobucket.com/albums/zz212/alansende/400000000000000065469_s4.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="9532" PostHistoryTypeId="2" PostId="5526" RevisionGUID="700fee61-d4f5-4e64-9ea2-a0c955404dd3" CreationDate="2011-01-14T07:01:39.237" UserId="445" Text="This was a funny session for a short film we did 2 years ago, called &quot;Pedido Perdido&quot; by Felipe F. Koeraus. We taped a Zoom H4 to a bicycle and went outside for some recording. Here are some photos, and the short film if you want to watch it and hear the bike sounds:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i829.photobucket.com/albums/zz212/alansende/DSC02535.jpg&#xD;&#xA;  [2]: http://i829.photobucket.com/albums/zz212/alansende/DSC02538.jpg&#xD;&#xA;  [3]: http://i829.photobucket.com/albums/zz212/alansende/BiciAndada1.jpg&#xD;&#xA;  [4]: http://i829.photobucket.com/albums/zz212/alansende/Bicidadavuelta.jpg&#xD;&#xA;&#xD;&#xA;[youtube]Yj3dQDnAkvQ[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="9533" PostHistoryTypeId="2" PostId="5527" RevisionGUID="4baabf8a-18b3-4bcb-850d-5a178cb314c2" CreationDate="2011-01-14T08:10:27.463" UserId="801" Text="pmc reference speakers" ContentLicense="CC BY-SA 2.5" />
  <row Id="9535" PostHistoryTypeId="2" PostId="5529" RevisionGUID="8aea7d25-30de-49fa-9f0f-b07572f6ba23" CreationDate="2011-01-14T13:21:41.317" UserId="786" Text="I use the volume graph and I have the digidesign deesser on the dialogue bus, which is mostly bypassed, but automated and active if there are too many S's. I always use it in HF only mode.&#xD;&#xA;&#xD;&#xA;I only use it at the very end of working with dialogue, and only if necessary.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9536" PostHistoryTypeId="2" PostId="5530" RevisionGUID="8bbd751e-f76a-46aa-ab22-f02ceefeba91" CreationDate="2011-01-14T14:56:25.627" UserId="771" Text="I had a very bad experience recording ambiances on the mountains with the zoom recorder.It was very cold and windy.I was using the on-board XY mics and windshields(which comes along with the recorder).It was sounding OK in my sennheiser HD201 headphones.I had a trust on the results of the left channel cardioid mics(the right channel bidirectional mics are unusable bcoz of wind) but later found them producing lot of hiss sound while monitoring in the GENELEC passive speakers.My doubt is whether the hiss sound on one channel was produced because of the wind or me overshooting the mic gain to the extreme?&#xD;&#xA;Its performance otherwise was good.&#xD;&#xA;please urgently need Ur comments and advices" ContentLicense="CC BY-SA 2.5" />
  <row Id="9537" PostHistoryTypeId="1" PostId="5530" RevisionGUID="8bbd751e-f76a-46aa-ab22-f02ceefeba91" CreationDate="2011-01-14T14:56:25.627" UserId="771" Text="Using zoomH4n handy recorders in windy condition" ContentLicense="CC BY-SA 2.5" />
  <row Id="9538" PostHistoryTypeId="3" PostId="5530" RevisionGUID="8bbd751e-f76a-46aa-ab22-f02ceefeba91" CreationDate="2011-01-14T14:56:25.627" UserId="771" Text="&lt;handheld&gt;&lt;field-recorder&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9539" PostHistoryTypeId="2" PostId="5531" RevisionGUID="52626612-1a20-4fd6-b63f-7e3601537d29" CreationDate="2011-01-14T15:30:37.037" UserId="6411" Text="Hard to tell exactly without listening to the issue. Have you had this issue when not recording on windy mountains? If not, then yes, it may be the windscreen.&#xD;&#xA;&#xD;&#xA;I find the foam windscreens like the one that comes with the H4n to be more of a spit guard than a usable windscreen in anything more than a slight breeze. You need something with a longer fur to diffuse the wind before it hits the mic diaphragm. These [RedHead Windscreens][1] have been recommended around here before for the H4n and I believe one or two members have gone the DIY route, just buying the fabric and sewing one together.&#xD;&#xA;&#xD;&#xA;If you have had the issue off the mountain then you may be setting the gain too high and what you're hearing is the noise floor of the unit itself. Although I would imagine that with high gain in a windy situation the bigger problem would be clipping &amp; distortion with each gust of wind... Try getting closer to the sound source that you're hoping to capture and pull back the gain a bit.&#xD;&#xA;&#xD;&#xA;If you post a short clip of the issue up to [soundcloud][2] and link to it here we may be better able to diagnose your particular issue.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.redheadwindscreens.com/&#xD;&#xA;  [2]: http://soundcloud.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9540" PostHistoryTypeId="2" PostId="5532" RevisionGUID="9d86aa5d-48eb-4aa6-99f9-79e42c86d566" CreationDate="2011-01-14T22:23:30.610" UserId="6487" Text="I work in the world of TV programming with reality, documentary &amp; docudrama series work, lots of promos, some theatrical trailer work, and some independent film work.  My current gig is as an in-house television mixer for an internationally distributed television network.  Here, as in the total of my experience working in audio post, I am the sound &quot;person&quot; after production.  That is to say, I record VO, I do occasional ADR, I do a ton of dialog editing, make a lot of sound design, run a large amount of mixing sessions with clients, and even occasionally help develop standard operating procedures for the department and quality control requirements for the company.  I am the &quot;go to&quot; audio repair person as well as the creative contributor. But I know &quot;on lot&quot; and in large dub stage type environments this is not the case. And in truth, the team effort approach is what I find most attractive about these other forms of audio post.&#xD;&#xA;&#xD;&#xA;While I have senior level status in my multiple hat wearing audio post documentary, docudrama, reality, independent film, promo, trailer, and ad campaign world, I find it unlikely that this status would transfer (nor would I want it to at this point) to a dramatic higher budget lot gig or studio backed program or feature.  However, I feel after running a department, working in-house for a network, freelancing and putting in more than decade in the industry that I would not serve myself or my new company best by looking at intern opportunities and other base entry level positions.  But perhaps, the approach is so different that I am wrong.&#xD;&#xA;&#xD;&#xA;When moving from one type of audio post to another (mixer/sound designer in edutainment/reality television and independent film to a sound team working on high budgeted dramatic TV/film), what type of position should one seek in order to best serve themself, the project, and their fellow sound guys? Do I have to start over completely? What is an appropriate move?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9541" PostHistoryTypeId="1" PostId="5532" RevisionGUID="9d86aa5d-48eb-4aa6-99f9-79e42c86d566" CreationDate="2011-01-14T22:23:30.610" UserId="6487" Text="Moving worlds within audio post" ContentLicense="CC BY-SA 2.5" />
  <row Id="9542" PostHistoryTypeId="3" PostId="5532" RevisionGUID="9d86aa5d-48eb-4aa6-99f9-79e42c86d566" CreationDate="2011-01-14T22:23:30.610" UserId="6487" Text="&lt;career&gt;&lt;career-advice&gt;&lt;film-sound-design&gt;&lt;documentary&gt;&lt;reality-tv&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9543" PostHistoryTypeId="2" PostId="5533" RevisionGUID="19871735-445b-443b-9634-32d96e21e2c4" CreationDate="2011-01-14T23:09:43.600" UserId="6487" Text="I have done some work on incarnations of this show and have seen some outtakes etc that show a really dexterous boom guy.  They, in fact, do use a boom mic to grab dialog much of the time, certainly the wet and shirtless scenes. They also record great wild sfx.  I also suspect they plant a lav on trees and natural objects that we will be in his immediate space in a scene. I have seen that done a lot on the documentaries shot for Discovery.  &#xD;&#xA;&#xD;&#xA;You also have to take into account that much of his dialog is not dependent on external events occurring.  Meaning he is usally alone in a setting.  So they can retake until their hearts content as he wonders around a cliff or forest for the most part.  I have also spotted some ADR (wink).&#xD;&#xA;&#xD;&#xA;But hands down, that production company (Diverse Bristol) does an excellent job for sure. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9544" PostHistoryTypeId="2" PostId="5534" RevisionGUID="3811aa5f-bc84-4d77-8d04-8683c3e70091" CreationDate="2011-01-14T23:57:12.973" UserId="238" Text="There's an interesting article on Neal Romanek's website about the sounds of nature documentaries that is worth reading. [Part 1][1] talks about the fantastic work done by Huw Cordey and his team for the BBC's Planet Earth series and [part 2][2] looks at the work of Kate Hopkins and Tim Owens, sound designers who run Wounded Buffalo in Bristol (they were responsible for the sound design on The Blue Planet and The Life of Mammals, amongst others. &#xD;&#xA;&#xD;&#xA;Definitely worth a read to get an insight into some of the techniques used.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.nealromanek.com/sounds-of-nature-part-i/&#xD;&#xA;  [2]: http://www.nealromanek.com/blog/2007/12/sounds-of-nature-part-ii.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="9545" PostHistoryTypeId="2" PostId="5535" RevisionGUID="0fb944a2-762a-4569-bd16-78548ba6c139" CreationDate="2011-01-15T00:29:14.583" UserId="315" Text="Well, I made the move from a ten year position as an in house sound designer for nationals tv commercials at a music house, to a low paying, apprentice sound editor position at a facility doing higher budget film and some dramatic network tv.&#xD;&#xA;&#xD;&#xA;It was a huge cut in status and pay. I went from cutting, designing, and mixing high profile ads to buying groceries, serving as a runner (LA traffic is the worst), and even taking used motor oil from the company van to Pep Boys to be recycled. After some serious intern hazing, I eventually assumed assistant editor duties like conforming sound edits to picture changes, finding alt takes for dialog editors, and decoding OMFs, and cutting thousands of foley footsteps. &#xD;&#xA;&#xD;&#xA;I had to swallow my pride and my shock after looking at my first paycheck, but in retrospect I'm glad I took the plunge. I learned a lot about film audio post (I think it essential for every film sound editor to serve as an assistant at some point) and met a lot of great folks along the way. I earned a few semi-respectable film credits and recently made my way in to another job as an in house sound editor at a film studio; a dream job for me, so I'm glad I made the move.&#xD;&#xA;&#xD;&#xA;The thing I've noticed about being a mid-level post sound person is that it's nearly impossible to make a parallel move. You can go from one grunt position to another grunt position in post, or top level sound supervisors can move from one facility to another (since they likely have a devoted client base); but us mid level folks generally have to take a step down to move. Since we work in an apprentice-based field, a lot of film sound facilities have people that are working their way up the ranks. If you enter a place without paying your grunt dues, it's somewhat likely that you'll have some people resenting you.&#xD;&#xA;&#xD;&#xA;I can say that your background will make it easier for you to move up quickly, as it sounds like you have the skill set. The tight-deadline, triage-based, multiple sound skills needed to thrive in edutainment reality will serve you well in the film world. Best of luck. Don't think about it as starting over...just jumping on another ladder.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="9546" PostHistoryTypeId="5" PostId="5535" RevisionGUID="13e7f1be-fb18-48f6-9705-79fe9bf81b35" CreationDate="2011-01-15T01:31:50.057" UserId="315" Comment="deleted 4 characters in body" Text="Well, I made the move from a ten year position as an in house sound designer for nationals tv commercials at a music house, to a low paying, apprentice sound editor position at a facility doing higher budget film and some dramatic network tv.&#xD;&#xA;&#xD;&#xA;It was a huge cut in status and pay. I went from cutting, designing, and mixing high profile ads to buying groceries, serving as a runner (LA traffic is the worst), and even taking used motor oil from the company van to Pep Boys to be recycled. After some serious intern hazing, I eventually assumed assistant editor duties like conforming sound edits to picture changes, finding alt takes for dialog editors, decoding OMFs, and cutting thousands of foley footsteps. &#xD;&#xA;&#xD;&#xA;I had to swallow my pride and my shock after looking at my first paycheck, but in retrospect I'm glad I took the plunge. I learned a lot about film audio post (I think it essential for every film sound editor to serve as an assistant at some point) and met a lot of great folks along the way. I earned a few semi-respectable film credits and recently made my way in to another job as an in house sound editor at a film studio; a dream job for me, so I'm glad I made the move.&#xD;&#xA;&#xD;&#xA;The thing I've noticed about being a mid-level post sound person is that it's nearly impossible to make a parallel move. You can go from one grunt position to another grunt position in post, or top level sound supervisors can move from one facility to another (since they likely have a devoted client base); but us mid level folks generally have to take a step down to move. Since we work in an apprentice-based field, a lot of film sound facilities have people that are working their way up the ranks. If you enter a place without paying your grunt dues, it's somewhat likely that you'll have some people resenting you.&#xD;&#xA;&#xD;&#xA;I can say that your background will make it easier for you to move up quickly, as it sounds like you have the skill set. The tight-deadline, triage-based, multiple sound skills needed to thrive in edutainment reality will serve you well in the film world. Best of luck. Don't think about it as starting over...just jumping on another ladder.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="9547" PostHistoryTypeId="13" PostId="5206" RevisionGUID="a49b4530-8bd6-471e-b597-4a205dd8c248" CreationDate="2011-01-15T02:28:11.647" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9548" PostHistoryTypeId="2" PostId="5536" RevisionGUID="da8ec570-e261-400d-a507-8d6465b0ecdc" CreationDate="2011-01-15T07:25:23.890" UserId="244" Text="I'm currently looking for a great voice over microphone, i have around 1500 - 1800 dollars to spend? &#xD;&#xA;Suggestions? Its for a job but i need to now record them on my own now im moving away form the studio...&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9549" PostHistoryTypeId="1" PostId="5536" RevisionGUID="da8ec570-e261-400d-a507-8d6465b0ecdc" CreationDate="2011-01-15T07:25:23.890" UserId="244" Text="Vocal Microphone upto 1800 dollars!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9550" PostHistoryTypeId="3" PostId="5536" RevisionGUID="da8ec570-e261-400d-a507-8d6465b0ecdc" CreationDate="2011-01-15T07:25:23.890" UserId="244" Text="&lt;voice-over&gt;&lt;vocals&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9551" PostHistoryTypeId="2" PostId="5537" RevisionGUID="0a118e82-7357-43e8-82ff-d1f057554f22" CreationDate="2011-01-15T09:02:02.357" UserId="18" Text="I have a friend who does a lot of VO recording for games.  Next to the U87, he really likes the Blue Kiwi, which you can find in your price range if you shop around.&#xD;&#xA;&#xD;&#xA;I've used a Sennheiser 416 shotgun on VO in the past and really liked it.  The Shure SM7 dynamic mic is popular on VO/Radio and can be had for far below your budget.&#xD;&#xA;&#xD;&#xA;Keep in mind that one mic won't work for everyone so you might want to try renting some and see what works best on the voices you'll be recording. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9552" PostHistoryTypeId="2" PostId="5538" RevisionGUID="6d1236c6-5a3d-4cfb-b373-9c9d67e2754b" CreationDate="2011-01-15T12:43:24.650" UserId="803" Text="I'd go for the Sennheiser MKH 50 in both vocal- and fieldrecording." ContentLicense="CC BY-SA 2.5" />
  <row Id="9553" PostHistoryTypeId="2" PostId="5539" RevisionGUID="1be9a040-e12c-4e96-bbc3-004ba4547709" CreationDate="2011-01-15T13:10:29.493" UserId="768" Text="Its all depends of character of your voice and environment. Really, Sennheiser MKH 50 is good, but also Shure SM81 and others. But for VO I'd suggest to buy also a good VO-channel, say, APHEX 230 Master Voice Channel, DBX 263 or another of your choice. My suggestion.   " ContentLicense="CC BY-SA 2.5" />
  <row Id="9554" PostHistoryTypeId="2" PostId="5540" RevisionGUID="5666b4e7-112e-405c-bc9c-309277bcc24a" CreationDate="2011-01-15T13:27:01.440" UserId="103" Text="If you're looking into the neumann U87, check out Michael Jolys's mod of the &#xD;&#xA;Rode NT1A at [www.oktavamod.com][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.oktavamod.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="9555" PostHistoryTypeId="2" PostId="5541" RevisionGUID="8e275d6b-3d64-435b-842b-e609eb8010f6" CreationDate="2011-01-15T14:14:30.777" UserId="803" Text="With the SoundDevices 552 and the anounced AETA 4minX the industry is providing us with some really great gear. Having both a professional mixer and a recorder in one device is awesome! Are there more of these devices out there? &#xD;&#xA;&#xD;&#xA;I know of the Nagra LB, but that has only 2 inputs and I'm looking for a 3 input device. Something similar to a SoundDevices 302 but with an inbuild 3 track recorder.&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="9556" PostHistoryTypeId="1" PostId="5541" RevisionGUID="8e275d6b-3d64-435b-842b-e609eb8010f6" CreationDate="2011-01-15T14:14:30.777" UserId="803" Text="Fieldmixer / Recorder combo suggestions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9557" PostHistoryTypeId="3" PostId="5541" RevisionGUID="8e275d6b-3d64-435b-842b-e609eb8010f6" CreationDate="2011-01-15T14:14:30.777" UserId="803" Text="&lt;recorder-mixer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9558" PostHistoryTypeId="2" PostId="5542" RevisionGUID="de00c7b0-1fa2-4290-84c7-ec62122f1340" CreationDate="2011-01-15T14:22:05.557" UserId="37" Text="couple of things i learned the hard way&#xD;&#xA;&#xD;&#xA; - when it comes to wind, don't trust headphones. put on a windshield of the [hairy][1] kind. zeppelins suspend the mic floating in the middle of still air. that's the best.&#xD;&#xA; -countryside ambiences will give you hiss on a portable recorder. it's just too darn quiet compared to the city bustle so the gain is up there.. low-pass it, you have a chance of getting a useful recording.&#xD;&#xA; - recording quietness in 96khz on a portable unit has a chance of catching its [power system noise][2].&#xD;&#xA; - when listening back via monitors, always download the file to your computer first. my Sony's internal output has its own hiss which is not on the recording.&#xD;&#xA;&#xD;&#xA;hope this helps&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.co.uk/search?hl=en&amp;client=safari&amp;rls=en&amp;q=h4n+windjammer&amp;aq=f&amp;aqi=g-m1&amp;aql=&amp;oq=&#xD;&#xA;  [2]: http://taperssection.com/index.php?topic=139765.0" ContentLicense="CC BY-SA 2.5" />
  <row Id="9559" PostHistoryTypeId="2" PostId="5543" RevisionGUID="4500fc75-da48-49ad-8c46-39d947ed32a5" CreationDate="2011-01-15T15:21:35.200" UserId="432" Text="At least from what I've seen so far, most of the devices that are marketed as mixer/recorders only have two channels of record. If you're looking for a device with more tracks of record, they're probably just going to be called field/location recorders.&#xD;&#xA;&#xD;&#xA;I don't know of any that are only 3 track recorders, but maybe someone else on here does.&#xD;&#xA;&#xD;&#xA;The very cool thing about the 4minX is that it supports the newer AES42 format for digital microphones (i.e. the Schoeps SuperCMIT). Having that built in ain't such a bad thing. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9560" PostHistoryTypeId="2" PostId="5544" RevisionGUID="92639c11-00f3-4292-82db-b28cbc07b869" CreationDate="2011-01-15T15:28:52.833" UserId="768" Text="What are you shooting - is an answer. Nagra is great, but dead, now we got 6-8-10 channels of audio. How many channels you need? Simple stereo? 4 channels? Try gear from Zoom, Fostex, Panas? And then, - in what way you go to transfer your recordings - USB / Firewire? Maybe Onyx from Mackie + notebook? Fostex LR16? Oh, and again - **everything depends of style of your work**: fast right now quick or.. Thanks.&#xD;&#xA;   " ContentLicense="CC BY-SA 2.5" />
  <row Id="9561" PostHistoryTypeId="2" PostId="5545" RevisionGUID="d44ffa3e-d77b-4d83-800c-42651ec5f87d" CreationDate="2011-01-15T15:46:27.670" UserId="103" Text="The Sonosax Sx-ST has an available recorder module that records 8 tracks. I've never tried the module, but the mixer is incredible, and incredibly expensive to." ContentLicense="CC BY-SA 2.5" />
  <row Id="9562" PostHistoryTypeId="2" PostId="5546" RevisionGUID="8e5d184f-6a1a-4c48-88e0-ec1cce63c6d4" CreationDate="2011-01-15T15:51:45.840" UserId="132" Text="I've been dying to check out the new SONOSAX recordings, but here in the states their pricepoint is just a bit high for what they offer.  I'm sure they are more reasonable in europe:&#xD;&#xA;&#xD;&#xA;http://www.sonosax.ch/recorders/recorders_index.html&#xD;&#xA;&#xD;&#xA;Their gear is no joke and i would check it out." ContentLicense="CC BY-SA 2.5" />
  <row Id="9563" PostHistoryTypeId="2" PostId="5547" RevisionGUID="2639430c-f7c3-408a-969e-4eb8433d04dc" CreationDate="2011-01-15T15:59:07.343" UserId="596" Text="might be a lazy question but i'll give it a try anyway: what is the Logic Flex Time Editing equivalent in Ableton Live? is there any convenient built-in feature within Live for changing the duration of an audio fragment? " ContentLicense="CC BY-SA 2.5" />
  <row Id="9564" PostHistoryTypeId="1" PostId="5547" RevisionGUID="2639430c-f7c3-408a-969e-4eb8433d04dc" CreationDate="2011-01-15T15:59:07.343" UserId="596" Text="timestretch/flextime in Ableton Live" ContentLicense="CC BY-SA 2.5" />
  <row Id="9565" PostHistoryTypeId="3" PostId="5547" RevisionGUID="2639430c-f7c3-408a-969e-4eb8433d04dc" CreationDate="2011-01-15T15:59:07.343" UserId="596" Text="&lt;time-stretching&gt;&lt;ableton&gt;&lt;logic&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9566" PostHistoryTypeId="2" PostId="5548" RevisionGUID="303de773-8d6c-487d-8932-c83956901399" CreationDate="2011-01-15T16:16:07.653" UserId="132" Text="I have the transformer balanced Blue Mouse (the black one) that sounds great for VO, but it is the model of the the MIC before they went through all of the legal trouble with the guy in Latvia who was making their capsules and some of the electronics.  The Blue Mouse that is on the market post their legal split uses a different capsule which I have not heard.  &#xD;&#xA;&#xD;&#xA;If you google around about the blue stuff from years ago you'll find lots of ridiculous threads out there.  It was quite a dramatic fight.&#xD;&#xA;&#xD;&#xA;I you can find one used from before 2005 it would be worth it." ContentLicense="CC BY-SA 2.5" />
  <row Id="9567" PostHistoryTypeId="2" PostId="5549" RevisionGUID="549d0178-62d2-4d9e-bf95-3a11abd6f075" CreationDate="2011-01-15T16:21:05.163" UserId="194" Text="AT4050.&#xD;&#xA;&#xD;&#xA;We've A/Bd it against the U87, and the resemblance is striking.  The difference is in the extreme low end, but midrange and top are very very close." ContentLicense="CC BY-SA 2.5" />
  <row Id="9568" PostHistoryTypeId="5" PostId="5536" RevisionGUID="5c04ccb6-5897-4479-8593-e415b4c07a5f" CreationDate="2011-01-15T16:25:20.233" UserDisplayName="user80" Comment="added 2 characters in body" Text="I'm currently looking for a great voice over microphone, I have around 1500 - 1800 dollars to spend? &#xD;&#xA;Suggestions? It's for a job but I need to now record them on my own now I'm moving away from the studio...&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9569" PostHistoryTypeId="2" PostId="5550" RevisionGUID="ee771d57-6937-4a60-887b-0e201661112f" CreationDate="2011-01-15T17:58:35.550" UserId="806" Text="The equivalent to Flex in Logic is called Warping in Ableton Live. &#xD;&#xA;&#xD;&#xA;When you load a sample in Ableton Live project it is automatically warped. This means that Ableton Live attempts to detect the correct tempo and creates &quot;warp markers&quot; that are shown in the sample (clip) view. Warp markers are placed usually on ones and rhythm transients. You can now easily add, delete and move these warp markers to get the timing of the parts right.&#xD;&#xA;&#xD;&#xA;There are five different algorithms to do the time-stretching of a sample: Beats, Tones, Textures, Re-pitch and Complex. Each of these algorithms affect the sound in different manner. Usually Beats is good for drums, tones and textures work well for strings and human voices. Re-pitch creates a vinyl-like pitching effect on the sample when you move the warp markers. Complex works on any material, but is very CPU-intensive.&#xD;&#xA;&#xD;&#xA;Anyway, the whole deal of getting timing parts right and doing time-stretching in Ableton Live is very easy and fun. And playing with those algorithms is extremely fun, you can easily find new and unexpected results. Hope this helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9570" PostHistoryTypeId="2" PostId="5551" RevisionGUID="e03643d4-5860-40c2-bf41-f8df7bcf4f1a" CreationDate="2011-01-15T18:32:51.610" UserId="807" Text="This was asked back in July so I'm sure it's all history now. However .....  Here's my take. (my 1st)&#xD;&#xA;&#xD;&#xA;Being in an a big air conditioning shaft sounds like an tense situation. I'm hearing more actor's dialogue with reverb over whatever background music will be used to help set the mood.  Adding in all the metallic shuffling about might be overkill.&#xD;&#xA;&#xD;&#xA;Bottom line: ask your director. It's their call.&#xD;&#xA;&#xD;&#xA;Also, listen to the &quot;shaft&quot; scene in Aliens." ContentLicense="CC BY-SA 2.5" />
  <row Id="9571" PostHistoryTypeId="2" PostId="5552" RevisionGUID="5fca94e4-d746-4f32-bc9c-f261f11b56fb" CreationDate="2011-01-15T18:42:07.550" UserId="639" Text="It came free with my Sony PCM D50 and was wondering if it is a software people use for sfx editing and sound design. I use Pro tools 9 but this software may be quicker for editing raw soundfx and designing a sound. Your opinion?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9572" PostHistoryTypeId="1" PostId="5552" RevisionGUID="5fca94e4-d746-4f32-bc9c-f261f11b56fb" CreationDate="2011-01-15T18:42:07.550" UserId="639" Text="Does anyone here use Sony Sound Forge? " ContentLicense="CC BY-SA 2.5" />
  <row Id="9573" PostHistoryTypeId="3" PostId="5552" RevisionGUID="5fca94e4-d746-4f32-bc9c-f261f11b56fb" CreationDate="2011-01-15T18:42:07.550" UserId="639" Text="&lt;editor&gt;&lt;design&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9574" PostHistoryTypeId="2" PostId="5553" RevisionGUID="47ca664f-df04-4572-b34b-4e512035ed18" CreationDate="2011-01-15T18:58:18.213" UserId="400" Text="I've touched on Sound Forge a bit and like it a lot, but I know a few guys who reckon something like version 4.5 was the last good one (I forget why). They're using Wavelab nowadays FWIW.&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9575" PostHistoryTypeId="2" PostId="5554" RevisionGUID="1adcd8ea-a9cf-4070-8543-a1926e0f0f8c" CreationDate="2011-01-15T20:06:36.970" UserId="315" Text="I'd suggest looking at the new Brauner [Phanthera][1]. Nobody makes better mics than Brauner for this sort of work imho. We're using U87s and Brauner VMAs for VO where I work and the Brauner almost always wins.&#xD;&#xA;&#xD;&#xA;If you're recording just one voice, it really pays to demo a bunch of mics on the voice talent. You'd be surprised, sometimes a mic just fits a specific voice. An SM58 might even win.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/aug07/articles/braunerphanthera.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="9576" PostHistoryTypeId="2" PostId="5555" RevisionGUID="7c7cb071-74fd-45ac-b678-3d1c1c7522cc" CreationDate="2011-01-16T00:23:06.417" UserId="6600" Text="Just to add to the belated replies, in this kind of situation it may be worth looking into software such as Logic's impulse response utility to create a reverb that is true to the film location.  This would help in matching post production audio to dialogue and wild track recording." ContentLicense="CC BY-SA 2.5" />
  <row Id="9577" PostHistoryTypeId="2" PostId="5556" RevisionGUID="3c62fdc5-da0b-4eee-9267-746208cd825b" CreationDate="2011-01-16T00:28:29.457" UserId="808" Text="OK I understand your problems with wind with the ZOOMH4N: Even with a wind shield, if the wind is strong, it won't be enough with the windshield that comes with the recorder.&#xD;&#xA;I also strongly recommend getting a shield that match the onboard mics.&#xD;&#xA;&#xD;&#xA;**The wind noise you normally get with the zoom machine is a very characteristic low rumble, not a HISS.**&#xD;&#xA;If you can post the hiss online I can have a listen. &#xD;&#xA;&#xD;&#xA;Is your sound source loud enough? Hiss normally becomes evident with the Zoom when you crank up the gain quite a bit. I try and use the gain below 50% if using the onboard mics. (they aren't the best condensers out there. &#xD;&#xA;&#xD;&#xA;If you can get a couple of condensers to use with it- and you don't mind carrying them around the mountains!- then you are guaranteed a better quality recording, with higher levels and, with good wind-shields, a wind-free recording too!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9578" PostHistoryTypeId="5" PostId="5548" RevisionGUID="6ad27dbd-fe76-4470-a479-0a5aff1e2d81" CreationDate="2011-01-16T01:17:53.630" UserId="132" Comment="added 1 characters in body" Text="I have the transformer balanced Blue Mouse (the black one) that sounds great for VO, but it is the model of the the MIC before they went through all of the legal trouble with the guy in Latvia who was making their capsules and some of the electronics.  The Blue Mouse that is on the market post their legal split uses a different capsule which I have not heard.  &#xD;&#xA;&#xD;&#xA;If you google around about the blue stuff from years ago you'll find lots of ridiculous threads out there.  It was quite a dramatic fight.&#xD;&#xA;&#xD;&#xA;If you can find one used from before 2005 it would be worth it." ContentLicense="CC BY-SA 2.5" />
  <row Id="9579" PostHistoryTypeId="13" PostId="2105" RevisionGUID="a96341dc-170d-4542-979b-fc37a4b65186" CreationDate="2011-01-16T03:53:30.890" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9580" PostHistoryTypeId="2" PostId="5557" RevisionGUID="b8a39664-b09b-42d6-9fac-75a62ff6a0cd" CreationDate="2011-01-16T06:32:17.413" UserId="407" Text="I use soundforge quite alot, AFAIK it's a pretty common tool in game sound design. The reason being that you can play, edit, compare and master multiple single files, either individually or as a batch. It's great for seeing if all you individual footstep sounds or explosions have a similar RMS and tonal constancy, and making tweaks and edits after bouncing from your DAW before putting in game. Also if you bounce e.g. a 2 minute file of whoosh sounds, SF is a great place to sample accurately edit before putting them in game. Looping sounds in SF is also pretty nice.&#xD;&#xA;I also know alot of people who use it for batch dialogue editing and processing for games.&#xD;&#xA;I have never really come across a decent alternative that can do all the things that SF can do, especially in the ability to open view and edit multiple single files at a time.&#xD;&#xA;However having said all that I am not a great fan of the software. It has a habit of crashing and the standard plugins don't sound good.&#xD;&#xA;Getting back to your question, I would say yes it is much quicker for editing raw sound data, e.g. pulling the sounds out and creating new files from them, but any kind of metadata work or processing I would leave to Wave Agent and pro tools." ContentLicense="CC BY-SA 2.5" />
  <row Id="9581" PostHistoryTypeId="13" PostId="5423" RevisionGUID="97de1623-4799-43c7-926d-d52155fcffcf" CreationDate="2011-01-16T06:34:01.023" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9582" PostHistoryTypeId="2" PostId="5558" RevisionGUID="b70ae8b4-f53d-47fc-8a94-9407d8db5798" CreationDate="2011-01-16T06:45:36.143" UserId="338" Text="creaks, rats, a ratchet, moans" ContentLicense="CC BY-SA 2.5" />
  <row Id="9583" PostHistoryTypeId="2" PostId="5559" RevisionGUID="1dbd9ecc-d44d-4421-a715-027359df3213" CreationDate="2011-01-16T08:41:24.960" UserId="809" Text="Hey,&#xD;&#xA;&#xD;&#xA;Am interested to hear techniques for rotating air sounds - eg - dagger or axe been thrown.&#xD;&#xA;I know GRM tools doppler can do a fantastic job on this. (which I dont have unfortunately).&#xD;&#xA;&#xD;&#xA;Ive been playing around with SoundToys tremolator, automating speed up, and a bit of real time pitch with elastique and some EQ using a wind sound - which sounds pretty good.&#xD;&#xA;&#xD;&#xA;Any other interesting techniques people use?&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="9584" PostHistoryTypeId="1" PostId="5559" RevisionGUID="1dbd9ecc-d44d-4421-a715-027359df3213" CreationDate="2011-01-16T08:41:24.960" UserId="809" Text="Design for throwing /axis rotate sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="9585" PostHistoryTypeId="3" PostId="5559" RevisionGUID="1dbd9ecc-d44d-4421-a715-027359df3213" CreationDate="2011-01-16T08:41:24.960" UserId="809" Text="&lt;rotate&gt;&lt;doppler&gt;&lt;air&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9586" PostHistoryTypeId="2" PostId="5560" RevisionGUID="eb6ca76a-3a90-4f93-8fad-a99e3f2e103a" CreationDate="2011-01-16T09:53:08.380" UserId="786" Text="I usually use some whooshes or swooshes or swishes from the archive. You can also do it yourself by swinging around stuff in front of your microphone. You can use sticks or ropes for instance. You can act the movement of the axe, with mulpiple whooshes, so you get an organic feeling to the Sound.&#xD;&#xA;&#xD;&#xA;If you want to make the Sound by using doppler effects, you can also use Waves doppler plugin. I usually use it for slower sounds, like car passbys or the Sound of trees passing by when you're inside a car or a train. With trees i would feed the doppler with various kinds of Wind in trees. With cars i would feed it with traffic" ContentLicense="CC BY-SA 2.5" />
  <row Id="9587" PostHistoryTypeId="2" PostId="5561" RevisionGUID="50a14eb8-30df-4967-9898-0861487ebb3b" CreationDate="2011-01-16T10:12:07.407" UserId="69" Text="Maybe try VariFi mode of Elastic Time in ProTools + triangle tempo change.&#xD;&#xA;Or any LFO modulation of pitch in any sampler.&#xD;&#xA;Noise sources IMO would work much better than tonal.&#xD;&#xA;And than add some pan &amp; volume automation. &#xD;&#xA;&#xD;&#xA;and global slow pitch change when object is passing camera" ContentLicense="CC BY-SA 2.5" />
  <row Id="9588" PostHistoryTypeId="2" PostId="5562" RevisionGUID="e956671d-fd1a-4824-a1f1-eaa0b8e91f68" CreationDate="2011-01-16T10:39:03.967" UserId="801" Text="Thanks for all the linking &amp; sharing!&#xD;&#xA;ixi &amp; audiomunch is the bomb&#xD;&#xA;my secret weapon would be NI REAKTOR, cause it's such a wide impulsive environment&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9589" PostHistoryTypeId="2" PostId="5563" RevisionGUID="d6b0472c-1f9d-46c7-8cd6-3fb4ddb1dc1b" CreationDate="2011-01-16T12:51:06.320" UserId="6524" Text="All I've got is a Zoom H4n and I'm trying to get into the habit of recording and creating sounds myself, although everything I record usually sounds very weak I've tried using LFE's, EQing, pitch layering and stuff but it hardly does much I'm guessing I'm doing it all wrong, could you guys help me out with this? I also want to try using sweeteners and things but I don't know what kind of sounds to use and how to use them in way that it enhances the sound. Sorry if this question is overly noobie or whatever but any help will be appreciated thanks in advance." ContentLicense="CC BY-SA 2.5" />
  <row Id="9590" PostHistoryTypeId="1" PostId="5563" RevisionGUID="d6b0472c-1f9d-46c7-8cd6-3fb4ddb1dc1b" CreationDate="2011-01-16T12:51:06.320" UserId="6524" Text="Newbie Question: How to add more dynamics to recordings" ContentLicense="CC BY-SA 2.5" />
  <row Id="9591" PostHistoryTypeId="3" PostId="5563" RevisionGUID="d6b0472c-1f9d-46c7-8cd6-3fb4ddb1dc1b" CreationDate="2011-01-16T12:51:06.320" UserId="6524" Text="&lt;dynamics&gt;&lt;zoom-h4n&gt;&lt;eq&gt;&lt;lfe&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9592" PostHistoryTypeId="2" PostId="5564" RevisionGUID="741103be-fd87-45d0-983f-24664ad24764" CreationDate="2011-01-16T13:53:27.623" UserId="37" Text="not a noob question at all?&#xD;&#xA;&#xD;&#xA;A way to get more dynamics when recording: get closer.&#xD;&#xA;&#xD;&#xA;When tracklaying sometimes one can get a bit too conservative with edit and processing. I've seen a few instances of sounds being chopped and layered in a pretty bold manner, to great effect..&#xD;&#xA;&#xD;&#xA;Automate volume and EQ, things can quickly become drastic :)&#xD;&#xA;&#xD;&#xA;There are also tricks to the ear which increase perceived dynamics without altering levels drastically. Andy Farnell uses chirp impulses: [AK47 sound effect][1]. Walter Murch talks about this too ([excerpt][2], find &quot;wrench&quot; in text).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://obiwannabe.co.uk/tutorials/html/tutorial_AK47.html&#xD;&#xA;  [2]: http://complicationsensue.blogspot.com/2007/06/walter-murch.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="9593" PostHistoryTypeId="2" PostId="5565" RevisionGUID="a0acf2bd-6384-45a0-91e8-1133fa7ed3ed" CreationDate="2011-01-16T14:58:25.037" UserId="432" Text="From the review I've heard of the H4N from some people, it doesn't really do well with quieter sources. In fact, someone I spoke with at AES, who's used a ton of different handheld/pocket recorders, said that the only one that doesn't seem like it was designed exclusively to record concert audio is the Sony PCM-D50 (or the D1). It's the only one he's found that has a somewhat significant gain range to capture those quieter sounds. Then there's the question if you're using the onboard mics, or are pluggin into it.&#xD;&#xA;&#xD;&#xA;So, you might just be out of luck with the H4N as far as recording sounds pristinely.&#xD;&#xA;&#xD;&#xA;In general, to get more dynamic range out of your recordings, record at 24-bit. You can record at a slightly lower gain setting and still have a quiet recording, and then have room to capture louder events without distorting." ContentLicense="CC BY-SA 2.5" />
  <row Id="9594" PostHistoryTypeId="2" PostId="5566" RevisionGUID="b83dfac9-84c5-4926-9b1b-d92fecfc082f" CreationDate="2011-01-16T15:21:06.320" UserId="771" Text="Yesterday i happened to see the pyramix DAW.I am a Nuendo user and have got a basic experience working in protools.How is the performance of this software.Is it a widely used software?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9595" PostHistoryTypeId="1" PostId="5566" RevisionGUID="b83dfac9-84c5-4926-9b1b-d92fecfc082f" CreationDate="2011-01-16T15:21:06.320" UserId="771" Text="how is the performance of pyramix" ContentLicense="CC BY-SA 2.5" />
  <row Id="9596" PostHistoryTypeId="3" PostId="5566" RevisionGUID="b83dfac9-84c5-4926-9b1b-d92fecfc082f" CreationDate="2011-01-16T15:21:06.320" UserId="771" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9597" PostHistoryTypeId="5" PostId="3734" RevisionGUID="c6478184-2efc-4b2a-af6b-3b296d8155f4" CreationDate="2011-01-16T15:35:47.207" UserId="6411" Comment="deleted 5 characters in body" Text="It's more social than sound design, but I thought it might be cool to have a list of the gamers on here. So list your platform and tag, maybe include your favorite online game (or promote your own). As with other lists like this, mark your answer as **community wiki**. See you guys online!&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;PS3 - sfxmonkey&#xD;&#xA;&#xD;&#xA;currently playing - [Battlefield: Bad Company 2][1] / [COD Black Ops][2] / [Civilization Revolution][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.battlefieldbadcompany2.com/&#xD;&#xA;  [2]: http://www.callofduty.com/&#xD;&#xA;  [3]: http://www.civilizationrevolution.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9598" PostHistoryTypeId="2" PostId="5567" RevisionGUID="c253c36e-c9a5-4d0c-8426-701e9f41d1d8" CreationDate="2011-01-16T17:25:05.270" UserId="608" Text="I'll give the NTG 2 a go next month, get some field recording down and let you know how I get on :) Cheers all." ContentLicense="CC BY-SA 2.5" />
  <row Id="9599" PostHistoryTypeId="2" PostId="5568" RevisionGUID="a92a0e39-7823-4620-a768-141a059d97c3" CreationDate="2011-01-16T19:06:20.610" UserDisplayName="user49" Text="Have you experimented reversing sounds? &#xD;&#xA;Find or record a few dozen sounds with strong decays (metal gate slams, reverbant door slams, distant gun shots, explosions, pressure releases etc) - reverse them and try those for the approach/attack of the doppler.... For the decay of the doppler try lower frequency sounds.. &#xD;&#xA;&#xD;&#xA;Experiment by recording backwards performances for both the attack &amp; decay (ie have the shape of the sound you want in mind, but perform it knowing you will be reversing it) eg try dragging a wood saw across carpet in various shapes/performances, or scraping a machete across another metal object with the dynamic shape of the reverse of what you want....&#xD;&#xA;&#xD;&#xA;Metal sounds may work well for the dagger, as the right sound will inferr sharpness&#xD;&#xA;&#xD;&#xA;Obviously a woosh stops on impact, so a strong doppler up to the point of impact with an immediate/hard cut can accentuate the impact - but I think your question is for an object in flight? Try slowing the video to half speed, so you have more time to shape sounds to the actual movement, then pitch or timestretch it back to normal speed sync...&#xD;&#xA;&#xD;&#xA;Experiment with recording first rather than plugins - while recording your first idea you will think of many other ideas that might offer a more interesting solution than processing...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9600" PostHistoryTypeId="2" PostId="5569" RevisionGUID="48133eaa-e7e1-4aa2-a4d5-e0e52f7006ce" CreationDate="2011-01-16T20:21:29.170" UserId="786" Text="I don't think it is widely used, At least not in the areas where I work. I live and work in Denmark, in the film industry, and here approximately 100 % of the studios use Protools. I have traded Protools sessions with Germany, Sweden, Norway, Macedonia and USA, and I have never heard any requests for other formats.&#xD;&#xA;&#xD;&#xA;I have worked on Pyramix once, in a foley studio in Paris. I recorded foley with a french foley artist. It worked just fine, it was quick and robust, just as Protools is. It had two interesting features:&#xD;&#xA;&#xD;&#xA;1. the Vcube, which is a video soft/hardware solution for Pyramix. It has some very cool features. It can work with multiple video tracks, so you can make a small movie window in the corner of the picture, which is ahead of the main picture. This way the foley artist can be more prepared and more in sync, and the foley session runs smoother. You can change the setup at any time, since it is calculated in real time, which makes the system very flexible. I have tried doing the same in Protools, but you will have to render the video file in Quicktime Pro, so you can't change it on the fly, if you need the small picture to be in a different corner, or if you need a different delay between the pictures.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;2. When you finish a recording, a naming window pops up automatically, so you can name the region instead of having to double click the region first. This saves a little time.&#xD;&#xA;&#xD;&#xA;Apart from that, I can't see any reason to get a Pyramix system. On Protools you can trade sessions directly with most other studios, without losing automation or plugins (if you have agreed in advance on which plugins to use!). Pyramix can read and write Protools sessions, but it is an older version and not without difficulties.&#xD;&#xA;&#xD;&#xA;I'm afraid I can't say anything about Nuendo, as I am not a Nuendo user.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://lydtilfilm.dk/vcube.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="9601" PostHistoryTypeId="2" PostId="5570" RevisionGUID="d1ebc7c6-61f6-4d69-a39c-218662e7941f" CreationDate="2011-01-17T00:21:39.217" UserId="654" Text="This was chatted about recently on gearsluts post forum and one of the guys suggested running a 51 aux and inserting 6 multi-mono verbs across it. This is CPU hungry!! - BUT it gives you a panning 51 reverb, in that as you pan to that send, different proportions are sent through the individual channels.  You just link the controls across all of them (default). Or you can tailor each channel as desired by unlinking.&#xD;&#xA;If you then widen the divergence on the source panning to make it slightly forgiving you get a verb that moves the decay around with the panning of the source, which isn't easy to come by in a DAW. The system 6000 does it, but that's a pretty penny...Revibe, TL space, altiverb (AFIAK) and most goto verbs apply a tail within the surround space and dont follow any panning of the source.&#xD;&#xA;Keep in mind, when you're editing stuff like this, frequency content and levels generally translate ok from a well designed edit suite to a dub stage, but panning is often problematic, so I wouldnt render this stuff without talking to the mixer or running some tests.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9602" PostHistoryTypeId="2" PostId="5571" RevisionGUID="28238a60-2c8d-4d79-a8ec-4bf7b9f4070c" CreationDate="2011-01-17T00:28:12.730" UserId="654" Text="5.1 as a term was coined by Tomlinson Holman aka Mr THX. He's wading into this debate by putting forward 10.2 as an alternative to 7.1 - 10.2 has panning height and subs.&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://upload.wikimedia.org/wikipedia/en/c/c8/10.2_surround_sound_speaker_configuration.jpg&#xD;&#xA;&#xD;&#xA;It'll be interesting to see where this all goes in the coming years - mostly, these are formats for theatrical replay and it'll be ages before we see domestic systems take off IMHO." ContentLicense="CC BY-SA 2.5" />
  <row Id="9603" PostHistoryTypeId="2" PostId="5572" RevisionGUID="fb63b778-9508-488e-9a51-c188793709cb" CreationDate="2011-01-17T00:41:57.430" UserId="743" Text="There are a ton of great mics for under that price range, and some of them have been mentioned already. Before I started working on Game Sound, I worked exclusively in Pop Music production. Those studios and production teams have every kind of Mic imaginable, and they all serve a purpose depending on the Vocalist and Intention of the producer. &#xD;&#xA;&#xD;&#xA;One thing to keep in mind is how important the right Pre-Amp is to the scenario. A John Hardy M1 Pre for instance is incredible. I have used those Pres to make an SM58 sound like gold.&#xD;&#xA;&#xD;&#xA;Among too many others to mention, I suggest looking into the ECM-47 Tube condensor made by Gauge. Its inexpensive enough that you could also get a great Mic pre and stay in budget (or just another mic). &#xD;&#xA;&#xD;&#xA;That ECM-47 (or something like it) with a great Pre-Amp will sound better than a U87 through a bad pre. And, the U87 is more like $2,500.00 on its own.&#xD;&#xA;&#xD;&#xA;Try one of these Pres, to really get a great sound. &#xD;&#xA;1. http://www.transaudiogroup.com/daking/mic-pre-one.shtml&#xD;&#xA;   For about $600.00 &#xD;&#xA;&#xD;&#xA;2. http://www.true-systems.com/p-solo.html&#xD;&#xA;   For about $600.00&#xD;&#xA;&#xD;&#xA;3. http://www.sweetwater.com/store/detail/Solo610/&#xD;&#xA;   For about $799.00&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9604" PostHistoryTypeId="2" PostId="5573" RevisionGUID="54dba374-fb8f-4c84-a53f-54f2a97afe5a" CreationDate="2011-01-17T07:51:35.430" UserId="786" Text="I have the old H4, and in my experience it is too noisy for low level ambiences. It is really great if you are recording loud or medium loud ambiences. You should record at 96k to get the most from your equipment, but the noise floor is still pretty high.&#xD;&#xA;&#xD;&#xA;My best experiences with the H4 have been with external microphones, Sennheiser MKH 40/30 MS setup or Schoeps MS. These mics are very good and the noise floor is a lot lower.&#xD;&#xA;&#xD;&#xA;If you use the internal mics, I recommend just slipping the whole recorder inside a fur from a zeppelin, put it into record and place it on a rock or the roof of a car, so you don't get any handling noise. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9605" PostHistoryTypeId="2" PostId="5574" RevisionGUID="e5e11f2b-c1e2-48bd-8456-5ad8c35f12bc" CreationDate="2011-01-17T12:11:04.110" UserId="242" Text="Hi everyone.&#xD;&#xA;&#xD;&#xA;I was wondering if any of you guys had the chance to go through any type of work involving a hyper-realistic approach. I'm doing my Honours Project on a film that requires that sort of approach and it would be helpful to read and/or check other movies that have something to do with the likes of Jan Svankmajer or Tim Burton.&#xD;&#xA;&#xD;&#xA;Thanks in advance and keep up the good work.&#xD;&#xA;&#xD;&#xA;Marco" ContentLicense="CC BY-SA 2.5" />
  <row Id="9606" PostHistoryTypeId="1" PostId="5574" RevisionGUID="e5e11f2b-c1e2-48bd-8456-5ad8c35f12bc" CreationDate="2011-01-17T12:11:04.110" UserId="242" Text="Hyper realism in sound design approach" ContentLicense="CC BY-SA 2.5" />
  <row Id="9607" PostHistoryTypeId="3" PostId="5574" RevisionGUID="e5e11f2b-c1e2-48bd-8456-5ad8c35f12bc" CreationDate="2011-01-17T12:11:04.110" UserId="242" Text="&lt;hyper&gt;&lt;realism&gt;&lt;marco&gt;&lt;saez&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9608" PostHistoryTypeId="6" PostId="5574" RevisionGUID="1884080d-c908-44d9-b783-71336a341678" CreationDate="2011-01-17T12:36:51.020" UserDisplayName="user80" Comment="Edited tags" Text="&lt;hyper-realism&gt;&lt;recommendations&gt;&lt;sound-design&gt;&lt;movies&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9609" PostHistoryTypeId="5" PostId="5530" RevisionGUID="61999f3a-92c2-43ce-9a04-d110ce74569e" CreationDate="2011-01-17T12:39:49.273" UserDisplayName="user80" Comment="added 5 characters in body; edited tags; edited title" Text="I had a very bad experience recording ambiances on the mountains with the zoom recorder.It was very cold and windy.I was using the on-board XY mics and windshields(which comes along with the recorder).It was sounding OK in my sennheiser HD201 headphones.I had a trust on the results of the left channel cardioid mics(the right channel bidirectional mics are unusable bcoz of wind) but later found them producing lot of hiss sound while monitoring in the GENELEC passive speakers.My doubt is whether the hiss sound on one channel was produced because of the wind or me overshooting the mic gain to the extreme?&#xD;&#xA;Its performance otherwise was good.  Please, I urgently need your comments and advice." ContentLicense="CC BY-SA 2.5" />
  <row Id="9610" PostHistoryTypeId="4" PostId="5530" RevisionGUID="61999f3a-92c2-43ce-9a04-d110ce74569e" CreationDate="2011-01-17T12:39:49.273" UserDisplayName="user80" Comment="added 5 characters in body; edited tags; edited title" Text="Using Zoom H4n handy recorders in windy condition" ContentLicense="CC BY-SA 2.5" />
  <row Id="9611" PostHistoryTypeId="6" PostId="5530" RevisionGUID="61999f3a-92c2-43ce-9a04-d110ce74569e" CreationDate="2011-01-17T12:39:49.273" UserDisplayName="user80" Comment="added 5 characters in body; edited tags; edited title" Text="&lt;handheld&gt;&lt;field-recorder&gt;&lt;noise&gt;&lt;techniques&gt;&lt;problems&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9612" PostHistoryTypeId="2" PostId="5575" RevisionGUID="157b6cd6-88ea-4719-91ae-ceb6d656cd46" CreationDate="2011-01-17T12:50:42.063" UserDisplayName="user80" Text="There is no 1 perfect mic.  I would start with the AT4050 as mentioned above with a really good mic pre-amp such as the Aphex 230, which was also mentioned above.&#xD;&#xA;&#xD;&#xA;At a later date I would buy a large diaphragm dynamic (Shure SM7B or EV RE-30) and then you should pretty much for anything.  It really is down to having a choice of mics so that you can get the best out of each voice.&#xD;&#xA;&#xD;&#xA;The slow ballistics on a large diaphragm dynamic can really smooth out a staccato voice and the fast ballistics on a cardioid can make a drawl sound slightly cleaner." ContentLicense="CC BY-SA 2.5" />
  <row Id="9613" PostHistoryTypeId="2" PostId="5576" RevisionGUID="d16f7416-eb4c-4edb-9ecd-8fd66870c520" CreationDate="2011-01-17T15:51:35.033" UserId="194" Text="If I were to be hypothetically setting up a mic shootout, which initial setup would you see as most relevant?  &#xD;&#xA;&#xD;&#xA;Specifically, if I were to set up using one methodology and never change preamp levels for ensuing tests which would include voice recording, foley, ambiances etc - which set up would allow you to most directly assess the quality of each mic?&#xD;&#xA;&#xD;&#xA;-----------&#xD;&#xA;&#xD;&#xA;**setup A:**&#xD;&#xA;&#xD;&#xA; - 4 mics are setup with diaphragms as close to one another as possible&#xD;&#xA; - all pads and filters are switched out&#xD;&#xA; - calibration consists of recording pink noise in a controlled environment, and setting preamps so that input levels match&#xD;&#xA; - calibration set to 80dbspl of speaker pink noise = -20dbfs&#xD;&#xA; - differences in preamp levels required to achive calibration are noted&#xD;&#xA;&#xD;&#xA;**setup B:**&#xD;&#xA;&#xD;&#xA; - 4 mics are setup with diaphragms as close to one another as possible&#xD;&#xA; - all pads and filters are switched out&#xD;&#xA; - calibration consists of setting all preamps to the same level&#xD;&#xA; - differences in mic output are measured&#xD;&#xA;&#xD;&#xA;**setup C:**&#xD;&#xA;&#xD;&#xA; - you tell me.&#xD;&#xA;&#xD;&#xA;-------------&#xD;&#xA;Also, do you see any value in doing things like switching in an 80hz hipass at the mixer acros all mics?  I'm planning on running into a 552 for portability and consistency wrt mixer and preamp setup.&#xD;&#xA;&#xD;&#xA;I think setup A will put on display the tonal characteristics of the mics, while setup B will showcase the output level and maybe the dynamic handling a little better, though I'm not positive on that.&#xD;&#xA;&#xD;&#xA;Also, we all know that diff mics will react differently with diff preamps, so there's that too." ContentLicense="CC BY-SA 2.5" />
  <row Id="9614" PostHistoryTypeId="1" PostId="5576" RevisionGUID="d16f7416-eb4c-4edb-9ecd-8fd66870c520" CreationDate="2011-01-17T15:51:35.033" UserId="194" Text="opinions on setting up a mic test" ContentLicense="CC BY-SA 2.5" />
  <row Id="9615" PostHistoryTypeId="3" PostId="5576" RevisionGUID="d16f7416-eb4c-4edb-9ecd-8fd66870c520" CreationDate="2011-01-17T15:51:35.033" UserId="194" Text="&lt;microphone&gt;&lt;shootout&gt;&lt;calibration&gt;&lt;methodology&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9616" PostHistoryTypeId="2" PostId="5577" RevisionGUID="0a7b910a-6695-4c34-8801-2107fbf31c7f" CreationDate="2011-01-17T16:02:29.363" UserId="432" Text="Personally, when I A/B microphones, I try to eliminate as many variables as possible. I want the microphones in question to be the only.&#xD;&#xA;&#xD;&#xA;I ran a test with some shotgun microphones at work. I mounted a stand on the client desk in my control room, and played back a piece of classical music that had a reasonably broad spectral frequency. Pink noise is a perfectly valid test, and I had considered using that as well. Ultimately I decided that that was more abstract than what I was concerned with testing at that particular moment.&#xD;&#xA;&#xD;&#xA;I used the same cable, the same preamp, the same recorder and the same gain settings (because mic sensitivity is something that's good to know as well) for each mic. I ran through the tests with each mic in turn, making sure that the diaphragm of each mic matched the placement of the previous ones.&#xD;&#xA;&#xD;&#xA;It's a bit more tedious than what you've suggested, but it eliminates nearly every other variable that could have affected the results." ContentLicense="CC BY-SA 2.5" />
  <row Id="9617" PostHistoryTypeId="2" PostId="5578" RevisionGUID="4daacae9-a7fe-471a-ad12-ae8af0ed132b" CreationDate="2011-01-17T16:48:40.430" UserId="578" Text="Sound Forge is lightning fast for individual file editing. However, every new release seems to become slower and even more buggy. SF10, the latest, is worst of them all. I actually had to e-mail Sony support asking for a SF8 license because I hated Sound Forge 10 so much (the surprising thing is that they happily gave me that license).&#xD;&#xA;&#xD;&#xA;I do like Sound Forge for individual file editing, and I use it a lot - especially (but not exclusively) on dialogue.  It draws wave forms very clearly, so it's perfect for surgical editing. The batch editor is fast as well, although it can be buggy, you kind of need to know how to bypass its quirks. All the things Richard pointed out here earlier are true as well.&#xD;&#xA;&#xD;&#xA;On a side note, it may be worth looking into Adobe Audition if you are in the market for a audio editor. It's not as fast as Sound Forge, but you get much better built-in effects and a fantastic resampling engine in return. Moreover, the main reason to get Audition is for its spectral editing tools - quite similar to Izotope RX in fact. Depending on what kind of work you want to do, Audition is the better choice. I own both SF and Audition for this reason. I'd say, Sound Forge works best for fast, basic but important editing, whereas Audition is more of a creative tool which can do some fairly unique things.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9618" PostHistoryTypeId="5" PostId="5576" RevisionGUID="dae35453-3fb7-41d9-9d5a-cc77c50cbdd0" CreationDate="2011-01-17T17:05:52.417" UserId="194" Comment="added setups C and D; added 48 characters in body" Text="If I were to be hypothetically setting up a mic shootout, which initial setup would you see as most relevant?  &#xD;&#xA;&#xD;&#xA;Specifically, if I were to set up using one methodology and never change preamp levels for ensuing tests which would include &#xD;&#xA;&#xD;&#xA; - voice recording&#xD;&#xA; - foley&#xD;&#xA; - ambiances and room tones&#xD;&#xA; - off axis rejection&#xD;&#xA;&#xD;&#xA;which set up would allow you to most directly assess the quality of each mic?&#xD;&#xA;&#xD;&#xA;**edit-**To address the issue of removing variables like mic cables and preamps - I'd like to test more than just what comes out of my speakers, meaning that I'd like to test these mics recording real things in the real world, which means that I have to make a call as to whether I feel like I'll get more undue influence from things like preamps and cables than I will from things like different performances of the same thing - specifically voice performances in a room and room tones.  I'll add this setup as setup C here, but my argument against this setup is that I think different performances will add more variables to the equation than multiple cables into a mixer that is built to the tolerances of the 552.&#xD;&#xA;&#xD;&#xA;-----------&#xD;&#xA;&#xD;&#xA;**setup A:**&#xD;&#xA;&#xD;&#xA; - 4 mics are setup with diaphragms as close to one another as possible&#xD;&#xA; - all pads and filters are switched out&#xD;&#xA; - calibration consists of recording pink noise in a controlled environment, and setting preamps so that input levels match&#xD;&#xA; - calibration set to 80dbspl of speaker pink noise = -20dbfs&#xD;&#xA; - differences in preamp levels required to achive calibration are noted&#xD;&#xA;&#xD;&#xA;**setup B:**&#xD;&#xA;&#xD;&#xA; - 4 mics are setup with diaphragms as close to one another as possible&#xD;&#xA; - all pads and filters are switched out&#xD;&#xA; - calibration consists of setting all preamps to the same level&#xD;&#xA; - differences in mic output are measured&#xD;&#xA;&#xD;&#xA;**setup C:**&#xD;&#xA;&#xD;&#xA; - 4 mics tested separately - each using the same cable and preamp channel.  &#xD;&#xA; - each test will require a re-iteration of the performance in front of the mic&#xD;&#xA; - calibration via setup A&#xD;&#xA;&#xD;&#xA;**setup D:**&#xD;&#xA;&#xD;&#xA; - 4 mics tested separately - each using the same cable and preamp channel.  &#xD;&#xA; - each test will require a re-iteration of the performance in front of the mic&#xD;&#xA; - calibration via setup B&#xD;&#xA;&#xD;&#xA;-------------&#xD;&#xA;Also, do you see any value in doing things like switching in an 80hz hipass at the mixer acros all mics?  I'm planning on running into a 552 for portability and consistency wrt mixer and preamp setup.&#xD;&#xA;&#xD;&#xA;I think setup A will put on display the tonal characteristics of the mics, while setup B will showcase the output level and maybe the dynamic handling a little better, though I'm not positive on that.&#xD;&#xA;&#xD;&#xA;Also, setups A and B will both allow for the recording of the exact same performances for evaluation purposes, while setups C and D will require multiple iterations of the performances in order to use the same cables and preamp channels.&#xD;&#xA;&#xD;&#xA;thx!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9619" PostHistoryTypeId="5" PostId="5575" RevisionGUID="066ecfca-22ed-43f5-b7e3-cdcc6af4c103" CreationDate="2011-01-17T17:27:48.507" UserDisplayName="user80" Comment="added 9 characters in body" Text="There is no 1 perfect mic.  I would start with the AT4050 as mentioned above with a really good mic pre-amp such as the Aphex 230, which was also mentioned above.&#xD;&#xA;&#xD;&#xA;At a later date I would buy a large diaphragm dynamic (Shure SM7B or EV RE-30) and then you should pretty much be ready for anything.  It really is down to having a choice of mics so that you can get the best out of each voice.&#xD;&#xA;&#xD;&#xA;The slow ballistics on a large diaphragm dynamic can really smooth out a staccato voice and the fast ballistics on a cardioid can make a drawl sound slightly cleaner." ContentLicense="CC BY-SA 2.5" />
  <row Id="9620" PostHistoryTypeId="2" PostId="5579" RevisionGUID="7ee1e91d-d752-4b97-a832-52bdee651ad0" CreationDate="2011-01-17T19:46:10.720" UserId="6420" Text="Hi All,&#xD;&#xA;&#xD;&#xA;Today I got my hands on a Rycote windjammer for the H2. Roughly 10 minutes after trying it out around I seem to have lost my original windshield that came with it! Typical :/ Searched high and low to the point of almost losing my sanity but can't locate it anywhere. The Rycote works best over the top of the original windshield but as I seem to have lost it I was wondering where I could pick up another? Or does anyone have a spare lying around? ;)&#xD;&#xA;&#xD;&#xA;Any help much appreciated! &#xD;&#xA;Cheers,&#xD;&#xA;Andy" ContentLicense="CC BY-SA 2.5" />
  <row Id="9621" PostHistoryTypeId="1" PostId="5579" RevisionGUID="7ee1e91d-d752-4b97-a832-52bdee651ad0" CreationDate="2011-01-17T19:46:10.720" UserId="6420" Text="New Zoom H2 Windshield (the one it comes with)?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9622" PostHistoryTypeId="3" PostId="5579" RevisionGUID="7ee1e91d-d752-4b97-a832-52bdee651ad0" CreationDate="2011-01-17T19:46:10.720" UserId="6420" Text="&lt;zoom&gt;&lt;h2&gt;&lt;windshield&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9623" PostHistoryTypeId="2" PostId="5580" RevisionGUID="03822c24-e40b-4633-9616-77a61ea7c8f1" CreationDate="2011-01-17T19:48:43.877" UserId="112" Text="I think in sound as well ... fell into sound design whilst on the hunt for music composition gigs and found out I loved it .. cool question. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9624" PostHistoryTypeId="2" PostId="5581" RevisionGUID="3bd23eb6-72c3-4e7e-89d0-f54271ee9df3" CreationDate="2011-01-17T19:53:31.723" UserId="29" Text="I'd contact Samson. I've not seen the foam windscreens around for sale. I don't use my H2 anymore, but I'm keeping my foamy bits...they fit perfectly over the Senny MD421! :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9625" PostHistoryTypeId="5" PostId="5579" RevisionGUID="741bee9f-0bb5-4d24-8f3d-09cd06ad56bd" CreationDate="2011-01-17T20:01:14.430" UserId="6420" Comment="deleted 7 characters in body" Text="Hi All,&#xD;&#xA;&#xD;&#xA;Today I got my hands on a Rycote windjammer for the H2. Roughly 10 minutes after trying it out I seem to have lost my original windshield that came with it! Typical :/ Searched high and low to the point of almost losing my sanity but can't locate it anywhere. The Rycote works best over the top of the original windshield but as I seem to have lost it I was wondering where I could pick up another? Or does anyone have a spare lying around? ;)&#xD;&#xA;&#xD;&#xA;Any help much appreciated! &#xD;&#xA;Cheers,&#xD;&#xA;Andy" ContentLicense="CC BY-SA 2.5" />
  <row Id="9626" PostHistoryTypeId="2" PostId="5582" RevisionGUID="7043a712-0050-49a1-96c9-2280108c1eb8" CreationDate="2011-01-17T21:43:02.863" UserId="373" Text="Can anyone recommend a studio pre-amp with a low noise floor for recording foley? Don't worry about the $$$$££££, maybe just best in each price bracket!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9627" PostHistoryTypeId="1" PostId="5582" RevisionGUID="7043a712-0050-49a1-96c9-2280108c1eb8" CreationDate="2011-01-17T21:43:02.863" UserId="373" Text="Studio Pre-Amp with Low Noise Floor" ContentLicense="CC BY-SA 2.5" />
  <row Id="9628" PostHistoryTypeId="3" PostId="5582" RevisionGUID="7043a712-0050-49a1-96c9-2280108c1eb8" CreationDate="2011-01-17T21:43:02.863" UserId="373" Text="&lt;studio&gt;&lt;pre-amp&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9629" PostHistoryTypeId="5" PostId="5582" RevisionGUID="bb46f2ae-dc3c-4dae-aed3-f8b7afff6314" CreationDate="2011-01-17T21:51:17.030" UserId="373" Comment="added 66 characters in body; edited body" Text="Can anyone recommend a studio pre-amp with a low noise floor for recording foley? Don't worry about the $$$$££££, maybe just best in each price bracket!&#xD;&#xA;&#xD;&#xA;Edit: I'll mainly be using it with a Neumann KMR-81i or a 416." ContentLicense="CC BY-SA 2.5" />
  <row Id="9630" PostHistoryTypeId="2" PostId="5583" RevisionGUID="1da21723-d8e1-4910-a934-d8993ae30d80" CreationDate="2011-01-17T22:09:54.533" UserId="373" Text="The scene in the Godfather where he has to kill the bloke in the restaurant is probably the most famous example of hyper realistic sound in cinema." ContentLicense="CC BY-SA 2.5" />
  <row Id="9631" PostHistoryTypeId="2" PostId="5584" RevisionGUID="a19fe671-2625-472a-b02f-859fe25e5b86" CreationDate="2011-01-17T22:11:50.740" UserId="373" Text="XBOX360: noiseboy55&#xD;&#xA;&#xD;&#xA;Mainly Fifa!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9632" PostHistoryTypeId="16" PostId="5584" RevisionGUID="a19fe671-2625-472a-b02f-859fe25e5b86" CreationDate="2011-01-17T22:11:50.740" UserId="-1" />
  <row Id="9633" PostHistoryTypeId="2" PostId="5585" RevisionGUID="69043e76-af6e-476d-9702-a0e39c4fe9fd" CreationDate="2011-01-17T23:10:46.447" UserId="18" Text="Here are a few that I know are low noise, there first 2 are often used in Foley:&#xD;&#xA;&#xD;&#xA;John Hardy M1: http://www.johnhardyco.com/M-1details.html&#xD;&#xA;&#xD;&#xA;Milennia HV3: http://www.mil-media.com/hv-3c.html&#xD;&#xA;&#xD;&#xA;True Systems: http://www.true-systems.com/&#xD;&#xA;&#xD;&#xA;Grace: http://www.gracedesign.com/&#xD;&#xA;&#xD;&#xA;Great River: http://www.greatriverelectronics.com/&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9634" PostHistoryTypeId="2" PostId="5586" RevisionGUID="3a8931c0-c0a2-487c-8245-438ed08dd85b" CreationDate="2011-01-18T01:28:13.530" UserId="338" Text="What do you consider when you are offered a project?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9635" PostHistoryTypeId="1" PostId="5586" RevisionGUID="3a8931c0-c0a2-487c-8245-438ed08dd85b" CreationDate="2011-01-18T01:28:13.530" UserId="338" Text="What to consider when offered a project?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9636" PostHistoryTypeId="3" PostId="5586" RevisionGUID="3a8931c0-c0a2-487c-8245-438ed08dd85b" CreationDate="2011-01-18T01:28:13.530" UserId="338" Text="&lt;work&gt;&lt;project&gt;&lt;design&gt;&lt;questions&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9637" PostHistoryTypeId="2" PostId="5587" RevisionGUID="cb11cb8a-7c08-4735-8a8f-aa97051b9a14" CreationDate="2011-01-18T02:02:56.597" UserId="290" Text="PSN: RAGameSound&#xD;&#xA;Steam: Notafraud" ContentLicense="CC BY-SA 2.5" />
  <row Id="9638" PostHistoryTypeId="16" PostId="5587" RevisionGUID="cb11cb8a-7c08-4735-8a8f-aa97051b9a14" CreationDate="2011-01-18T02:02:56.597" UserId="-1" />
  <row Id="9639" PostHistoryTypeId="2" PostId="5588" RevisionGUID="0a7b33e9-e628-4579-9dab-877bbb68a83c" CreationDate="2011-01-18T02:58:31.890" UserId="693" Text="I didn't choose it. It chose me." ContentLicense="CC BY-SA 2.5" />
  <row Id="9640" PostHistoryTypeId="2" PostId="5589" RevisionGUID="9feff414-e700-4c4c-92e7-648c38634937" CreationDate="2011-01-18T03:07:08.907" UserId="812" Text="Have you heard about the Avant Garde Project?&#xD;&#xA;&#xD;&#xA;http://www.avantgardeproject.org/&#xD;&#xA;&#xD;&#xA;Actually it has now shut down which is very sad.. Didn't find out until now.  This guy was hosting dozens and dozens and dozens of hard to find avant garde electronic music recordings - most of which were unavailable on modern formats." ContentLicense="CC BY-SA 2.5" />
  <row Id="9641" PostHistoryTypeId="2" PostId="5590" RevisionGUID="94c796b7-c03c-4fea-8d66-ea8de875f98a" CreationDate="2011-01-18T04:51:14.680" UserId="639" Text="I have the waves silver bundle and use it on my mac with pro tools no problem but I also have windows XP installed on my bootcamp side of the drive where I run Sonar 8.5 and Sound Forge. For some reason waves doesn't work even though it is compatible with windows XP. Why is this? I email waves and they just said bootcamp is not compatible! But its running windows so why? Any ideas?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9642" PostHistoryTypeId="1" PostId="5590" RevisionGUID="94c796b7-c03c-4fea-8d66-ea8de875f98a" CreationDate="2011-01-18T04:51:14.680" UserId="639" Text="Waves plug-ins don't work on Mac's bootcamp?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9643" PostHistoryTypeId="3" PostId="5590" RevisionGUID="94c796b7-c03c-4fea-8d66-ea8de875f98a" CreationDate="2011-01-18T04:51:14.680" UserId="639" Text="&lt;waves&gt;&lt;compatibility&gt;&lt;mac&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9644" PostHistoryTypeId="2" PostId="5591" RevisionGUID="cb2118e7-b44c-4f9b-8ace-f6c5dc4861a6" CreationDate="2011-01-18T05:08:47.863" UserId="18" Text="Do you have your iLok drivers installed in Windows XP?  Go to ilok.com and make sure your ilok is recognized.&#xD;&#xA;&#xD;&#xA;I ran bootcamp with Windows 7, Waves worked fine on both the Windows and Mac side.  I can't imagine it would be different with XP." ContentLicense="CC BY-SA 2.5" />
  <row Id="9645" PostHistoryTypeId="5" PostId="5586" RevisionGUID="69bbd746-da92-4c67-9220-4dab11803972" CreationDate="2011-01-18T06:55:04.340" UserId="338" Comment="added 86 characters in body; edited tags; edited title" Text="Which games are pushing the limits of sound psychology right now?&#xD;&#xA;&#xD;&#xA;When will audio catch up with the 3d trend and what will that be?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9646" PostHistoryTypeId="4" PostId="5586" RevisionGUID="69bbd746-da92-4c67-9220-4dab11803972" CreationDate="2011-01-18T06:55:04.340" UserId="338" Comment="added 86 characters in body; edited tags; edited title" Text="What are some notable games for sound design that push the limits?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9647" PostHistoryTypeId="6" PostId="5586" RevisionGUID="69bbd746-da92-4c67-9220-4dab11803972" CreationDate="2011-01-18T06:55:04.340" UserId="338" Comment="added 86 characters in body; edited tags; edited title" Text="&lt;games&gt;&lt;project&gt;&lt;future&gt;&lt;3d&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9648" PostHistoryTypeId="2" PostId="5592" RevisionGUID="ac2240d7-af4b-4e38-806b-46511dee13db" CreationDate="2011-01-18T10:15:37.993" UserId="786" Text="The film is now mixed, and here is what we did:&#xD;&#xA;&#xD;&#xA;On the first day in the mix, while we were copying files, we checked out a couple of dvd's, Children of Men, Cloverfield and Irreversible. Children of Men and Cloverfield for the panning, and Irreversible for the LFE action in the start of the movie.&#xD;&#xA;&#xD;&#xA;Children of Men rarely uses dialogue panning in interior dialogue scenes, but uses 360 degrees panning in the exterior scenes and in scenes with crowds and action. It is a really great effect.&#xD;&#xA;&#xD;&#xA;Cloverfield uses very gentle panning in the interior scenes, and a little more in the exterior scenes. It doesn't seem to have any dialogue in the surrounds. -We only saw a couple of minutes of this film, because file copying was almost over... :-)&#xD;&#xA;&#xD;&#xA;We ended up panning the dialogue across the screen in all scenes, sending it to the front, but not to the surrounds. We narrowed the panning a bit, if it was too distracting, but generally it followed the position of the actors on screen. We used ReVibe in 5.1 for reverbs for everything. The dialogue panning translated well into LtRt, because we kept it up front.&#xD;&#xA;&#xD;&#xA;Thank you for the advice and for the recommended reference films." ContentLicense="CC BY-SA 2.5" />
  <row Id="9649" PostHistoryTypeId="2" PostId="5593" RevisionGUID="34f27b50-d4a4-4018-bb10-804d063075d5" CreationDate="2011-01-18T10:24:42.913" UserId="813" Text="BT Izotope Stutter is an amazing tool for design " ContentLicense="CC BY-SA 2.5" />
  <row Id="9650" PostHistoryTypeId="2" PostId="5594" RevisionGUID="2d24c5c3-0ffd-48ba-b496-c4845a3666e1" CreationDate="2011-01-18T11:41:50.293" UserDisplayName="user80" Text="Contact Samson directly, they are really friendly and sell spare parts for the H2.  My students regularly break the SD card slot covers and the replacements arrive next day from Samson in the UK. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9651" PostHistoryTypeId="6" PostId="5579" RevisionGUID="c9e0f799-b596-421b-b52a-67a01a1b0bbe" CreationDate="2011-01-18T11:42:25.507" UserDisplayName="user80" Comment="edited tags" Text="&lt;zoom&gt;&lt;h2&gt;&lt;windshield&gt;&lt;replacement-parts&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9652" PostHistoryTypeId="2" PostId="5595" RevisionGUID="bbe3edc9-730b-408f-ad51-d91e983f5493" CreationDate="2011-01-18T11:49:06.733" UserDisplayName="user80" Text="I would go for the Milennia HV-3C as they are quiet, have a flat response and are very reliable.&#xD;&#xA;&#xD;&#xA;The stepped gain is useful, as it allows you to match signals more easily if you have to re-record something (provided you remembered to take notes).&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9653" PostHistoryTypeId="6" PostId="5582" RevisionGUID="f1556a2c-752b-41ba-a3fc-0cc846ca3124" CreationDate="2011-01-18T11:50:14.033" UserDisplayName="user80" Comment="edited tags" Text="&lt;studio&gt;&lt;pre-amp&gt;&lt;foley&gt;&lt;recommendations&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9654" PostHistoryTypeId="2" PostId="5596" RevisionGUID="0a2c15c6-aa49-4744-b86f-1ea230e95124" CreationDate="2011-01-18T12:37:58.463" UserId="142" Text="Sound has definitly come a long way in cyberspace in recent years due to a decrease in audio technical restraints. The gamer can now be contrasted as a film viewer in many ways and film sound theory is now a part of gaming as we hear hollywood quality sound effects alongside cinematic orchestras in certain games. Your question is fairly open Chris as many would see sound psycology as creating a realistic acoustic cyberspace. A few games amongst others I played recently that I thought did this well were the Assassins Creed series (walking through the market places, really good crowd sound and interaction) and Dead Space which was sonically spot on, not forgetting the GTA series too which is a great accoustic space with the music actually being diagetic. It would help if character AI in sound was taken more seriously, in fallout new vegas (yes Bethesda released another unfinished game for us to test for them) I shot enemies that would then say &quot;did anybody just hear a sound&quot; not &quot;s**t I've just been shot&quot;. Games that are pushing sound psycology are not always the cinematic ones though, you have titles like Electroplankton for the DS. Here we have a solid example of a contemporary video game being a compositional instrument, it can be considered both a game and a sound toy. It has real musical potential unlike guitar hero or rock band etc and you can even record your own sounds into the program to make some great experimental masterpieces. In regards to your question when will audio catch up with 3d, in my opinion it surely is way ahead already as surround sound has been part of a number of games for a few years now. Many would argue that its maybe the graphics that need to catch up with the sound now even though the sound departments still struggle to get a fair budget in development.   " ContentLicense="CC BY-SA 2.5" />
  <row Id="9655" PostHistoryTypeId="5" PostId="5533" RevisionGUID="8079a7d3-6f3e-48cd-9f2a-045e5d3ca1b3" CreationDate="2011-01-18T14:15:31.317" UserId="6487" Comment="deleted 3 characters in body" Text="I have done some work on incarnations of this show and have seen some outtakes etc that show a really dexterous boom guy.  They, in fact, do use a boom mic to grab dialog much of the time, certainly the wet and shirtless scenes. They also record great wild sfx.  I also suspect they plant a lav on trees and natural objects that will be in his immediate space in a scene. I have seen that done a lot on the documentaries shot for Discovery.  &#xD;&#xA;&#xD;&#xA;You also have to take into account that much of his dialog is not dependent on external events occurring.  Meaning he is usally alone in a setting.  So they can retake until their hearts content as he wonders around a cliff or forest for the most part.  I have also spotted some ADR (wink).&#xD;&#xA;&#xD;&#xA;But hands down, that production company (Diverse Bristol) does an excellent job for sure. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9656" PostHistoryTypeId="2" PostId="5597" RevisionGUID="ea640a85-c522-49f4-bb77-440033af5675" CreationDate="2011-01-18T15:02:23.457" UserId="6487" Text="Battlefield Bad Company 2 is pretty awesome.  The realism aspect of this game borders on irresponsible. It will definitely have you jumping in your seat. I think it also won a Gamespot Best of 2010 for sound as well.  &#xD;&#xA;&#xD;&#xA;And I have to mention Charles Deenen's work on the Need for Speed Franchise.  That man does an amazing job of simulating appropriate doppler effects and POV auto sounds while still incorporating some surreal elements.  I am quite sure when I listen for the audio and am not playing first hand, that I have detected a touch of animal roar or jet engine.  He released a book as well on how to record cars called &quot;Need for Speed&quot;  Car Recording Guidebook.  He is a true master of the hyper-real and a really impressive teacher/speaker.  I have had the honor of cooresponding with him about gaming and he really did clear up a lot of what was very fuzzy to me in the world of game sound design very quickly.&#xD;&#xA;&#xD;&#xA;Finally, I too have to agree with Lenny above, Assasin's Creed impressed me as well. Great atmospheres and audio interaction. It had fabulous animation as well.  That was a piece of art. This had very detailed realism with very subjective abstract elements weaved in quite seamlessly. Very cinematic!&#xD;&#xA;&#xD;&#xA;I personally have a fondness for horror based sound design in games.  Max Payne, Silent Hill, and even Resident Evil were are very cool albeit not the newest titles. While game play simply is not as smooth and complex subjectively as cinema yet, the live user dependent panning features of SFX in gaming are quite effective in the genre of horror and really push the envelope for the psychological effectiveness of horror sound design in general.&#xD;&#xA;&#xD;&#xA;As far as when audio will catch up with the 3D, I believe in gaming this has everything to do with processing power and bandwidth.  But it is improving by leaps and bounds all the time.  Putting nice 3D graphics and audio in a game is still a very computer taxing process.  I have even heard game designers say that creating a console game is essentially like creating a interactive story running real-time video renders and triggering thousands of audio parameters and cues on an imac G3.   You have to consider that Pixar and Dreamworks don't have to render their animation in realtime or trigger their sound elements and processors individually and on the fly. We have the techology to make amazing 3D and incredible surround audio now.  The problem appears to be how we can put them both together and have them smoothly integrate in real-time while managing processing constraints?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9657" PostHistoryTypeId="2" PostId="5598" RevisionGUID="d6cf6572-5109-4048-b584-a0a36fff970f" CreationDate="2011-01-18T15:12:47.863" UserId="578" Text="Flower on PS3.&#xD;&#xA;&#xD;&#xA;Also, according to what I've heard from other people (havent played it myself yet) - Limbo on Xbox 360.&#xD;&#xA;&#xD;&#xA;And then some fantastic sounding AAA games (selecting ones that generally excel in all fields - music, sound design, dialogue):&#xD;&#xA;Red Dead Redemption, Batman Arkham Asylum, Uncharted 2, Dead Space, Assassin's Creed 2.&#xD;&#xA;&#xD;&#xA;As for the 3D trend, audio has been 3D for quite some time already :)&#xD;&#xA;But i'd be interested to experience this new Iosono format - http://www.iosono-sound.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9658" PostHistoryTypeId="2" PostId="5599" RevisionGUID="8cc6c988-c615-4f9c-a6f2-5eaceccfe527" CreationDate="2011-01-18T15:31:26.673" UserId="445" Text="heres a terrific site with lots of experimental recordings and films, both from renowned and also less known artists. It's called Ubu Web (hope some of you are familiar with 'Pataphysics)&#xD;&#xA;&#xD;&#xA;[ubuweb.com][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For example, there's a hard to find documentary about John Cage called &quot;I Have Nothing to Say and I Am Saying It&quot; (1990). Highly recommended.&#xD;&#xA;&#xD;&#xA;[ubu.com/film/cage_masters.html][2]&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ubuweb.com/&#xD;&#xA;  [2]: http://www.ubu.com/film/cage_masters.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="9659" PostHistoryTypeId="5" PostId="5533" RevisionGUID="fb9a9d7b-27f0-4e15-bbe3-bb39a9bcd303" CreationDate="2011-01-18T16:50:48.157" UserDisplayName="user80" Comment="added 1 characters in body" Text="I have done some work on incarnations of this show and have seen some outtakes etc that show a really dexterous boom guy.  They, in fact, do use a boom mic to grab dialog much of the time, certainly the wet and shirtless scenes. They also record great wild sfx.  I also suspect they plant a lav on trees and natural objects that will be in his immediate space in a scene. I have seen that done a lot on the documentaries shot for Discovery.  &#xD;&#xA;&#xD;&#xA;You also have to take into account that much of his dialog is not dependent on external events occurring.  Meaning he is usually alone in a setting.  So they can retake until their hearts content as he wonders around a cliff or forest for the most part.  I have also spotted some ADR (wink).&#xD;&#xA;&#xD;&#xA;But hands down, that production company (Diverse Bristol) does an excellent job for sure. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9660" PostHistoryTypeId="2" PostId="5600" RevisionGUID="b4b90be7-b6e7-48bb-9c0c-34984dfaa449" CreationDate="2011-01-18T19:34:54.693" UserId="286" Text="Does anyone do any heavy sound design on an iMac?  Just curious.  I was looking to purchase one for the home but I'm not too keen on its expandability (surround sound) and am wondering a bit about its performance.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Mike&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9661" PostHistoryTypeId="1" PostId="5600" RevisionGUID="b4b90be7-b6e7-48bb-9c0c-34984dfaa449" CreationDate="2011-01-18T19:34:54.693" UserId="286" Text="iMac Workstation" ContentLicense="CC BY-SA 2.5" />
  <row Id="9662" PostHistoryTypeId="3" PostId="5600" RevisionGUID="b4b90be7-b6e7-48bb-9c0c-34984dfaa449" CreationDate="2011-01-18T19:34:54.693" UserId="286" Text="&lt;imac&gt;&lt;daw&gt;&lt;workstation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9663" PostHistoryTypeId="2" PostId="5601" RevisionGUID="701c60ba-bded-41a0-9e48-c4fc8a35ca4e" CreationDate="2011-01-18T20:34:36.113" UserId="701" Text="We've got an i7 at the studio, lots of heavy sound work done on it.  Set up with a 5.1 Blue Sky Media Desk system for surround work; it is a beast, tons of power.  Don't know what you mean by its expandability re surround work, that's dependent on your audio i/o.  We run audio thru a Steinberg MR816 via a FW800 to 400 converter and use a Euphonix MC Pro for a controller.&#xD;&#xA;&#xD;&#xA;John." ContentLicense="CC BY-SA 2.5" />
  <row Id="9664" PostHistoryTypeId="5" PostId="5600" RevisionGUID="63568b38-2030-4701-802a-616b3e8a307a" CreationDate="2011-01-18T21:06:39.367" UserId="286" Comment="added 10 characters in body; deleted 10 characters in body" Text="Does anyone do any heavy sound design on an iMac?  Just curious.  I was looking to purchase one for the home but I'm not too keen on its expandability (surround sound) and am wondering a bit about its performance.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Mike&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9665" PostHistoryTypeId="2" PostId="5602" RevisionGUID="16e7434b-4e91-4602-ba5a-ed3ebaf0bca2" CreationDate="2011-01-18T23:35:56.003" UserId="589" Text="I think gear is not so important. There is a lot of gear out there that will do an excellent job. The most important thing is the room itself. I would therefore also start with the THX specs. Sadly the room is probably not only the most important but also the most expensive thing. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9666" PostHistoryTypeId="2" PostId="5603" RevisionGUID="60808d80-7258-4258-a62d-0ce048303366" CreationDate="2011-01-18T23:48:11.950" UserId="762" Text="When picking a foley mic, I've seen lots of recommendations, both hypers and shotguns, but I'm unclear as to where each would have their place in a foley kit.&#xD;&#xA;&#xD;&#xA;If not on a soundstage getting the sounds, rather in an apartment, would one pattern be preferred over the other... or do dialogue rules apply (hyper/super), even when doing small sounds like keyboard tapping, mouse clicking, pencil writing, etc.&#xD;&#xA;&#xD;&#xA;I've seen lots of praise for the Neumann KMR81i, as well as a hyper like MKH8050.&#xD;&#xA;&#xD;&#xA;And, sorry to get so specific, but I'm going to purchase an AT4050 because I really like the sound, so would buying this make it more reasonable to go for the shotgun for foley when trying to build a kit?  I've seen the Neumann TLM 103 recommended for foley, and the 4050 is another LDC..." ContentLicense="CC BY-SA 2.5" />
  <row Id="9667" PostHistoryTypeId="1" PostId="5603" RevisionGUID="60808d80-7258-4258-a62d-0ce048303366" CreationDate="2011-01-18T23:48:11.950" UserId="762" Text="Foley Mic: Shotgun vs Hyper?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9668" PostHistoryTypeId="3" PostId="5603" RevisionGUID="60808d80-7258-4258-a62d-0ce048303366" CreationDate="2011-01-18T23:48:11.950" UserId="762" Text="&lt;foley&gt;&lt;shotgun&gt;&lt;hypercardioid&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9669" PostHistoryTypeId="2" PostId="5604" RevisionGUID="57abe8c4-0929-4c65-bd28-e36949d7d16e" CreationDate="2011-01-19T00:54:41.367" UserId="629" Text="With Foley a common thing to do is to record very close to the source, for this polarity patterns probably won't produce much of a difference. If you want more sound to come in from behind the microphone then go for the hyper, other than that there isn't much of a difference." ContentLicense="CC BY-SA 2.5" />
  <row Id="9670" PostHistoryTypeId="2" PostId="5605" RevisionGUID="8bfb2c8a-3785-4523-b645-fd742d4250ba" CreationDate="2011-01-19T01:22:53.943" UserId="315" Text="Ultimately the acoustics of the space where you record foley and the distance of the artist from the mic are way more important than the mic pickup pattern. From my experience, most professional foley stages use multiple mics at different distances from the performer. The foley mixer will pick one or blend a couple mics to get the sound they're after. It is not uncommon to see a Neumann KM81 or U87, a Sennheiser mkh416 or 60, Sanken CS3, or even contact mics on a foley stage.&#xD;&#xA;&#xD;&#xA;If you're recording say, foley footsteps for scene in a large room where the actor is 15 feet from camera, the mixer will use the studio to their advantage and throw up a mic that is further away from the artist; adding more reflections/air to the recording. Most re-recording mixers love foley recorded this way, because it usually sits nicely with the production track without a ton of reverb wrangling/eq.&#xD;&#xA;&#xD;&#xA;If you are recording in an untreated apartment, I'd suggest going with a tighter pickup pattern, since there are likely to be unwanted reflections/room noise/acoustic mess in your recordings. Unless of course, your scene takes place in an apartment. Then you might be better off allowing more of the room into your foley tracks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9671" PostHistoryTypeId="2" PostId="5606" RevisionGUID="1e5a648b-9f2e-4dbc-8303-357ce5518058" CreationDate="2011-01-19T01:32:31.897" UserId="432" Text="Keep in mind that hyper's tend to have a more uniform pickup pattern across the spectrum. Shotgun mics (which are basically just hypers that use an interference tube) have resonant frequencies due to the fact that they **have** that interference tube. A shotgun's directionality increases the higher in the frequency spectrum you go, but in the lower end of the frequency spectrum they can get downright omni-directional.&#xD;&#xA;&#xD;&#xA;So, as far as using in an apartment, I'd suggest going for a hyper-cardioid mic. If you have thin walls between you and your neighbours, you'll have an easier time drowning them out from off-axis with the sound you're recording that's on-axis." ContentLicense="CC BY-SA 2.5" />
  <row Id="9676" PostHistoryTypeId="2" PostId="5608" RevisionGUID="fe673ca6-df16-4eee-9db8-fa4d9b52da41" CreationDate="2011-01-19T07:43:26.333" UserId="817" Text="I believe this is what I'm supposed to do.&#xD;&#xA;&#xD;&#xA;As a kid, just like many of you, I had an ear for distinguishing differences in the sounds of music and harmony, etc. My mother used to sing in the house when I was very little and I fell in love with music. I remember asking for piano lessons for my 5th birthday, but my parents couldn't afford them. My father bought me a kids Elvis guitar instead and I learned all the fingerings and note arrangements in the booklet that came with the guitar. Of course I was just 5 years old and the youngest of 4 boys, so the guitar disappeared at some point that I don't recall.&#xD;&#xA;&#xD;&#xA;At 8 years of age I started recording beats and keyboard phrases onto an old battery powered cassette recorder with my 11 year old cousin. He had an old toy polyphonic keyboard (3 octaves with the ability to play three notes at a time) that sounded like wind was blowing through it as I played chords. He used different sized books and plates and jars and metal things as his drum kit, while banging them with pencils and sticks, and what ever else made a cool noise.&#xD;&#xA;&#xD;&#xA;When I grew older my mother sang in our church choir in the alto section. By the age of 12 I was able to hear all the parts of the choir sections as separate independent entities, yet in perfect union as they blended. I learned all the parts to all the sections for all the songs our choir sang and my mom started bringing me to choir practice to be closer to the music. By 15 I was studying bassoon at LaGuardia Arts, high school of music and art, in Manhattan. As I approached graduation I was studying privately with one of the top students from Juilliard School's bassoon master's class.&#xD;&#xA;&#xD;&#xA;Due to a few misfortunate events I never went on to study music beyond LaGuardia, but a handful of years after graduation I started studying recording engineering and production. I fell in love with the electronics and equipment behind the music industry. Since then I've worked as a sound editor/producer for radio, to running live sound in small (very small) venues, producing various small projects out of my home production suite, as well as working as sound utility, boom operator, and production sound mixer, and sound transfer for a number of features, television shows, docs, commercials, webisodes, broadcast ENG shoots, etc.&#xD;&#xA;&#xD;&#xA;After these last 15 years of studying the details of recorded sound and learning the process of implementing recorded sound in film, the desire to create melodic performances with &quot;separate independent entities (of sound), yet in perfect union as they blend&quot; continues to be my passion. I'm just starting to learn the art of sound design and I realize the difficulty of this passion. I'm back to square one. I just want to make music again, but this time it'll be with manipulations of varied auditory constructs, blending them into perfect union with a musical score and moving picture.&#xD;&#xA;&#xD;&#xA;Thank you for the question. A wonderful end to a long day" ContentLicense="CC BY-SA 2.5" />
  <row Id="9677" PostHistoryTypeId="2" PostId="5609" RevisionGUID="b8784c0b-056b-43f5-b5bf-cf77c447ea07" CreationDate="2011-01-19T07:51:15.633" UserId="817" Text="The clicks and catches of different washing machines. Pretty mundane, but very cool, and very sequenced." ContentLicense="CC BY-SA 2.5" />
  <row Id="9678" PostHistoryTypeId="2" PostId="5610" RevisionGUID="4a897940-5300-4fc2-ae37-6e1036c67386" CreationDate="2011-01-19T08:07:41.910" UserId="348" Text="It is also important to consider the space you are recording in. Foley stages are quite different environments, acoustically speaking, from other studio environments. This is to accommodate recording interior and exterior scenes in the same space but having the ability to change the acoustic dimensions of the space using baffles or sound blankets. From what you are saying, you are recording in an apartment which means to say that you are in an uncontrolled environment. I would go with mics that will isolate as much of what you are recording from the environment you are in as well as sound blanketing as much of the space as possible. In normal situations, I use a variety of mics for both perspective as well as type of SFX being created. Large diaphragm mics are essential for heavy, intense sounds like slaps, body falls etc. But for footsteps, normal, small diaphragm mics like the schoeps MK4 are great. Many of the responses you have already received list great mic choices but ideally, location is really the most important factor. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9679" PostHistoryTypeId="2" PostId="5611" RevisionGUID="dd5ef961-95d4-4f78-81b9-2ca0432e75ff" CreationDate="2011-01-19T08:12:40.773" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;Just wanted some advice on what wireless system would be best when recording on a reality TV show. They want to go wireless on the exterior locations and some interior so that the boom operator has the freedom to move about. My concern is not all wireless systems are insulated properly against RI.I want a system that will be well insulated and stable with a good reach. What would you guys recommend for this? &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="9680" PostHistoryTypeId="1" PostId="5611" RevisionGUID="dd5ef961-95d4-4f78-81b9-2ca0432e75ff" CreationDate="2011-01-19T08:12:40.773" UserId="348" Text="wireless systems for on set recording " ContentLicense="CC BY-SA 2.5" />
  <row Id="9681" PostHistoryTypeId="3" PostId="5611" RevisionGUID="dd5ef961-95d4-4f78-81b9-2ca0432e75ff" CreationDate="2011-01-19T08:12:40.773" UserId="348" Text="&lt;wireless&gt;&lt;systems&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9682" PostHistoryTypeId="2" PostId="5612" RevisionGUID="74a20008-cff8-46e4-ba11-d9dcdd244936" CreationDate="2011-01-19T11:13:01.637" UserDisplayName="user80" Text="Any of the pro sennheiser systems are a safe bet.  The main thing is to make sure that you can change channels.  Also ask everyone to switch their mobiles off on set." ContentLicense="CC BY-SA 2.5" />
  <row Id="9683" PostHistoryTypeId="2" PostId="5613" RevisionGUID="f2a4ff50-850b-4ba7-8402-406ef3faa8b8" CreationDate="2011-01-19T11:15:02.870" UserId="818" Text="Hi &#xD;&#xA;&#xD;&#xA;I'm doing a trailer for an action/thriller film and I need to make some of those big boomy sounds that they use to emphasise picture cuts. Does anyone know where I could start with making these effects?&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 2.5" />
  <row Id="9684" PostHistoryTypeId="1" PostId="5613" RevisionGUID="f2a4ff50-850b-4ba7-8402-406ef3faa8b8" CreationDate="2011-01-19T11:15:02.870" UserId="818" Text="Big Trailer effects" ContentLicense="CC BY-SA 2.5" />
  <row Id="9685" PostHistoryTypeId="3" PostId="5613" RevisionGUID="f2a4ff50-850b-4ba7-8402-406ef3faa8b8" CreationDate="2011-01-19T11:15:02.870" UserId="818" Text="&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9686" PostHistoryTypeId="2" PostId="5614" RevisionGUID="35bbdaaa-2432-4301-94b2-e1829aa33586" CreationDate="2011-01-19T11:25:24.107" UserDisplayName="user80" Text="It is more down to your stylistic approach.  Some foley artists like to deliberately record off-axis, as they believe that this will sound more like it was recorded on set.  Others will only use cardioids directly on axis so that the sounds are as clean as possible and the recordings can be added to a library.&#xD;&#xA;&#xD;&#xA;I would base your mic choice upon which project you are working on.  I can wholeheartedly recommend the AT4050." ContentLicense="CC BY-SA 2.5" />
  <row Id="9687" PostHistoryTypeId="2" PostId="5615" RevisionGUID="b9a91ad2-f1a2-427d-a948-2be8c2046450" CreationDate="2011-01-19T11:27:43.857" UserDisplayName="user80" Text="Virtually any subtractive synth with an LFO.  Get a sound that is close to what you want and then start tweaking." ContentLicense="CC BY-SA 2.5" />
  <row Id="9688" PostHistoryTypeId="2" PostId="5616" RevisionGUID="353d91ec-eb29-48c9-a8b0-2bd722a074a5" CreationDate="2011-01-19T11:36:51.880" UserId="40" Text="I'd go with Lectrosonics or Zaxcom wireless. Can't go wrong with them. They get a bit pricey, but you get what you pay for.&#xD;&#xA;&#xD;&#xA;The Lectro and Zaxcom stuff will run you $2500+ per channel, but it's outstanding. I won't do a gig with anything less than that. There's just too much danger (getting hits and dropouts) with anything less.&#xD;&#xA;&#xD;&#xA;I like the Zaxcom wireless because of the built in micro-sd cards on the transmitters. If you run into any issues, you can pull the original recording. This will save you big time in critical situations...&#xD;&#xA;&#xD;&#xA;Never been a huge fan of Sennheiser wireless, but as long as you get a high end set (as in $1500+), you'll  be fine.&#xD;&#xA;&#xD;&#xA;Anything less than $1500 or so, you won't find to be both mobile and stable at decent distances. You'll have to fork out good money for that." ContentLicense="CC BY-SA 2.5" />
  <row Id="9689" PostHistoryTypeId="2" PostId="5617" RevisionGUID="6b582140-f8ae-469d-9e82-88fb1fadf9d4" CreationDate="2011-01-19T11:49:56.290" UserId="641" Text="I have been using the Sennheiser EW100 range for the last two years and for your typical interview situations and corporate shoots and even on commercials they have been fine, but if I were to do a drama or feature, I think I'd go with the lectrosonics, they are expensive, but you get what you pay for!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9690" PostHistoryTypeId="2" PostId="5618" RevisionGUID="ef276078-bee6-4b81-9ee6-e6efcf793246" CreationDate="2011-01-19T12:49:15.183" UserId="578" Text="Modify and tweak large metal impacts, layer then with synth material etc.&#xD;&#xA;Basically anything with a clear transient and impact and ideally recorded at high resolution will be useful source material - just start thinking big and boom and layer everything up :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9691" PostHistoryTypeId="2" PostId="5619" RevisionGUID="029c8a71-842c-49f4-a70e-41dd8e57ac0e" CreationDate="2011-01-19T14:10:48.317" UserId="786" Text="You could start with a 40 hz sine tone, add reverb and send it to the sub. Try slowing it down using vari-fi. You can also use explosions, pitch them down an octave or two and add reverb. You could use a reverse explosion for the beginning of the sound. You could also use an electronic bass drum sound like a 909 or an 808 to trigger the reverb." ContentLicense="CC BY-SA 2.5" />
  <row Id="9692" PostHistoryTypeId="2" PostId="5620" RevisionGUID="d3bc3557-e2f1-4d56-9888-98080f94a565" CreationDate="2011-01-19T14:30:58.087" UserId="771" Text="I have the experience of Dolby digital mixing for songs in my decently big film school studio.We have big industry standards JBL speakers for LCR and 3 to 4 LS and RS speakers each ( called pulz).&#xD;&#xA;Few days back i was asked by a studio guy to make a 5.1 song mix in a comparatively small studio with small Genelec speakers as LCR and 1 speaker each for LS and RS.Am doubtful about its output in big theater and bit concerned about the amount of reverb and delay that i should assign.Also will it be wise &amp; worth to take up the task?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9693" PostHistoryTypeId="1" PostId="5620" RevisionGUID="d3bc3557-e2f1-4d56-9888-98080f94a565" CreationDate="2011-01-19T14:30:58.087" UserId="771" Text="mixing 5.1 in a small studio ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9694" PostHistoryTypeId="3" PostId="5620" RevisionGUID="d3bc3557-e2f1-4d56-9888-98080f94a565" CreationDate="2011-01-19T14:30:58.087" UserId="771" Text="&lt;5.1&gt;&lt;mixing&gt;&lt;small&gt;&lt;studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9695" PostHistoryTypeId="2" PostId="5621" RevisionGUID="b519b8f0-5cb3-4bea-80d4-34edfafc46ba" CreationDate="2011-01-19T14:55:39.933" UserId="583" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;I'm making a war film and I'm stuck designing the ringing sound you get after being stunned by a Stun Grenade. it's the sort of sound you get from a tuning fork but louder... any ideas?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9696" PostHistoryTypeId="1" PostId="5621" RevisionGUID="b519b8f0-5cb3-4bea-80d4-34edfafc46ba" CreationDate="2011-01-19T14:55:39.933" UserId="583" Text="Sound Design - Stun Grenade " ContentLicense="CC BY-SA 2.5" />
  <row Id="9697" PostHistoryTypeId="3" PostId="5621" RevisionGUID="b519b8f0-5cb3-4bea-80d4-34edfafc46ba" CreationDate="2011-01-19T14:55:39.933" UserId="583" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9698" PostHistoryTypeId="2" PostId="5622" RevisionGUID="0b9d391d-c8f4-4ea6-8cc1-254700166ac8" CreationDate="2011-01-19T15:14:18.267" UserId="629" Text="I would suggest messing with a signal generator and pitching it at a high frequency, synths may also bring the desired effect." ContentLicense="CC BY-SA 2.5" />
  <row Id="9699" PostHistoryTypeId="2" PostId="5623" RevisionGUID="c2b208b4-e4b2-4159-a8ee-df58b0458fd6" CreationDate="2011-01-19T15:16:03.783" UserId="208" Text="Just before we switched from an oil fired boiler to gas, I recorded the 1200 liters oil tank, hitting its side. &#xD;&#xA;It made an extremely low, and eerie deep tone.&#xD;&#xA;Back in protools I cut some of mids and added some Altiverb reverb, and made a send to a DBX120a.&#xD;&#xA;It had the lows and a naturalness that I found nice.&#xD;&#xA;&#xD;&#xA;I could send an example if you want to?&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel " ContentLicense="CC BY-SA 2.5" />
  <row Id="9700" PostHistoryTypeId="5" PostId="5622" RevisionGUID="7005bae5-6ae3-48c5-93a6-97cad783c902" CreationDate="2011-01-19T15:21:37.073" UserId="629" Comment="more content" Text="I would suggest messing with a signal generator and pitching it at a high frequency, synths may also bring the desired effect.&#xD;&#xA;&#xD;&#xA;If you want to record something try water on a wine glass or similar." ContentLicense="CC BY-SA 2.5" />
  <row Id="9701" PostHistoryTypeId="2" PostId="5624" RevisionGUID="a6b561ce-429f-4a28-b1ba-6a2352b6218d" CreationDate="2011-01-19T17:14:15.643" UserId="445" Text="Hey sound designers!&#xD;&#xA;&#xD;&#xA;I'm thinking of buying a Dave Smith Instruments Mono Evolver Keyboard edition both for musical and sound design purposes.&#xD;&#xA;&#xD;&#xA;I will also add a Moog CP-251 for CV control.&#xD;&#xA;&#xD;&#xA;I'm pretty convinced on the overall sound of the synth, but sometimes I doubt about its expandability and because it's monophonic.&#xD;&#xA;&#xD;&#xA;If you have rare and/or experimental sounds from this synth, I will be grateful if you post it here, because it's difficult to find non-traditional uses of the DSI MEK.&#xD;&#xA;&#xD;&#xA;Are you using it? Are you happy with the synth? Someone using this combination of hardware? How does it perform live?&#xD;&#xA;&#xD;&#xA;Do you have any suggestions about other synths you think are best suited for sound design (and between $1000-$1500 brand new)?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Alan.&#xD;&#xA;&#xD;&#xA;![DSI MEK][2]&#xD;&#xA;&#xD;&#xA;![Moog CP-251][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/images/items/1800/CP251-xlarge.jpg&#xD;&#xA;  [2]: http://www.sweetwater.com/images/items/1800/MEKpe-xlarge.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="9702" PostHistoryTypeId="1" PostId="5624" RevisionGUID="a6b561ce-429f-4a28-b1ba-6a2352b6218d" CreationDate="2011-01-19T17:14:15.643" UserId="445" Text="DSI Mono Evolver Keyboard for Sound Design" ContentLicense="CC BY-SA 2.5" />
  <row Id="9703" PostHistoryTypeId="3" PostId="5624" RevisionGUID="a6b561ce-429f-4a28-b1ba-6a2352b6218d" CreationDate="2011-01-19T17:14:15.643" UserId="445" Text="&lt;synthesis&gt;&lt;sound-design&gt;&lt;hardware&gt;&lt;instruments&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9704" PostHistoryTypeId="4" PostId="5624" RevisionGUID="326e4b0f-b6fc-4c00-948f-c411febb454c" CreationDate="2011-01-19T17:20:08.367" UserId="445" Comment="edited title" Text="DSI Mono Evolver Keyboard synth for Sound Design" ContentLicense="CC BY-SA 2.5" />
  <row Id="9705" PostHistoryTypeId="2" PostId="5625" RevisionGUID="f62c7ca6-dc38-4e15-b6b8-884434e54102" CreationDate="2011-01-19T17:23:55.310" UserId="517" Text="It's definitely nowhere near perfect, but the Sennheiser G2's that I use get the job done. The ME-2 lavalier microphone that comes with the unit doesn't have a very good frequency response, so I replaced it with a Sanken COS-11 microphone that sounds much better, much less handling noise/cloth rustle generated from the cable. The other thing that I like about the G2 is that the battery life is fantastic - I've left the transmitter and receiver on all day without any problems.  When I used to use the Lectro 100 series, the receiver would chew through 2 9 volt batteries in 3 to 6 hours or so.&#xD;&#xA;&#xD;&#xA;If you do a frequency scan before you start rolling and are able to find a clear band, dropouts aren't as much of an issue. I've been able to get around 75 feet or so away and still have a clean signal, but that was in an isolated lecture hall environment. On reality where you don't have the flexibility to start and stop often, having the Lectro 411 or Zaxcom unit will make the difference. &#xD;&#xA;&#xD;&#xA;My advice is to think about what you'll want to be doing in the future. Getting a solid production sound kit together, especially for large scale reality work which can require 6 or more wireless running simultaneously, is definitely pricey. If you're going to be doing production sound long term and regularly, invest in the best equipment you can - Zaxcom or Lectrosonic units. If it's going to be periodic work, you may want to hold back and buy something cheaper like the Sennheiser G2 that well get the job done but not break the bank.&#xD;&#xA;&#xD;&#xA;Also, check out [Jeff Wexler's forum][1] which is devoted exclusively to production sound recording issues. You'll be able to find a lot of useful information there. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jwsound.net/SMF/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9706" PostHistoryTypeId="2" PostId="5626" RevisionGUID="4742b66d-e227-4c0d-9177-609861535af8" CreationDate="2011-01-19T17:59:09.987" UserDisplayName="user49" Text="GRM Freeze plugin is good for this - take any source material with high frequency content (eg a scream, a metal anvil hit, a tibetan singing bowl etc) and freeze its spectrum at the point of the frequencies you want. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9707" PostHistoryTypeId="2" PostId="5627" RevisionGUID="19455ef6-acbb-4a2a-946b-1a8a5d57dc7e" CreationDate="2011-01-19T18:45:38.123" UserId="701" Text="It can be done, you should start by reading this:&#xD;&#xA;&#xD;&#xA;http://duc.avid.com/showthread.php?t=87830&#xD;&#xA;&#xD;&#xA;John." ContentLicense="CC BY-SA 2.5" />
  <row Id="9708" PostHistoryTypeId="5" PostId="5616" RevisionGUID="9c2a356a-5ab4-49d5-aeb6-df7c31d3ee08" CreationDate="2011-01-19T19:51:46.667" UserId="40" Comment="added 558 characters in body" Text="I'd go with Lectrosonics or Zaxcom wireless. Can't go wrong with them. They get a bit pricey, but you get what you pay for.&#xD;&#xA;&#xD;&#xA;The Lectro and Zaxcom stuff will run you $2500+ per channel, but it's outstanding. I won't do a gig with anything less than that. There's just too much danger (getting hits and dropouts) with anything less.&#xD;&#xA;&#xD;&#xA;I like the Zaxcom wireless because of the built in micro-sd cards on the transmitters. If you run into any issues, you can pull the original recording. This will save you big time in critical situations...&#xD;&#xA;&#xD;&#xA;Never been a huge fan of Sennheiser wireless, but as long as you get a high end set (as in $1500+), you'll  be fine.&#xD;&#xA;&#xD;&#xA;Anything less than $1500 or so, you won't find to be both mobile and stable at decent distances. You'll have to fork out good money for that.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT:---------&#xD;&#xA;&#xD;&#xA;Forgot to mention this:&#xD;&#xA;&#xD;&#xA;Whatever you do, make sure to get a diversity system (receiver has two antennas). This DRASTICALLY reduces the number of dropouts, making your system more reliable. This is especially important when you have people moving around a lot. So whatever brand you decide on, make sure it's diversity (all your high end stuff is going to be diversity anyways).&#xD;&#xA;&#xD;&#xA;Sweetwater has a mini article about diversity [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/shop/live-sound/microphones/wireless_buying-guide.php#4" ContentLicense="CC BY-SA 2.5" />
  <row Id="9709" PostHistoryTypeId="2" PostId="5628" RevisionGUID="ce799b6d-808e-4df6-ab07-c766d2ca4af1" CreationDate="2011-01-19T20:08:59.727" UserId="286" Text="I purchased an &quot;audio&quot; desk that featured a central rack mountable section with shelf space above for video monitors.  Not taking into consideration the height, I soon began to realize that the video monitors are set to high for comfort.  This desk is very similar to the one I own:  http://www.guitarcenter.com/Omnirax-Force-12-Professional-Workstation-548081-i1173438.gc &#xD;&#xA;&#xD;&#xA;Notice how you would have to tilt your neck upwards in order to see the monitors?&#xD;&#xA;&#xD;&#xA;I was wondering if any of you had any suggestions for a future purchase.  I'm not looking for an Argosy desk or anything crazy.  I was thinking of getting a normal business desk and either mounting speakers or getting stands.  What are you thoughts and recommendations?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9710" PostHistoryTypeId="1" PostId="5628" RevisionGUID="ce799b6d-808e-4df6-ab07-c766d2ca4af1" CreationDate="2011-01-19T20:08:59.727" UserId="286" Text="Audio Furniture (Desk)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9711" PostHistoryTypeId="3" PostId="5628" RevisionGUID="ce799b6d-808e-4df6-ab07-c766d2ca4af1" CreationDate="2011-01-19T20:08:59.727" UserId="286" Text="&lt;furniture&gt;&lt;studio&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9712" PostHistoryTypeId="2" PostId="5629" RevisionGUID="968a9122-0519-4dab-996c-16081dfa7edc" CreationDate="2011-01-19T21:39:38.677" UserId="418" Text="Aside from a very select few makers, most &quot;studio furniture&quot; that is available in stores tends to be really crummy stuff in my opinion. They are usually just glorified particleboard computer desks with a few music-y things tacked on. &#xD;&#xA;&#xD;&#xA;Quiklok makes a WS workstation setup that is essentially a skeleton frame that you can adjust quite a bit. Add pieces, attachments, etc. &#xD;&#xA;&#xD;&#xA;And if you're looking for something more turnkey, these guys make the only over-the-counter units I've ever seen that look as though they are actually designed for musicians with some real thought put into them. http://www.mrack.com.au/&#xD;&#xA;&#xD;&#xA;I can't think of many others that are worth looking at. Specialty ergonomic desks are awesome but super expensive. Looking up (or down) at your screen is really bad for your back and neck and will lead to fatigue and pain. Eye level should be about at the top of the screen. Unfortunately most studio furniture makers don't take any of this stuff into account at all. &#xD;&#xA;&#xD;&#xA;You obviously can't lower your screens, but could you raise your chair at all? Even a few inches could make a big difference on the neck. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Personally, I prefer to work standing up most of the time, with little breaks of sitting to change it up. I use a $109 &quot;bar table&quot; from IKEA that is the perfect height and I just mounted a $20 IKEA tabletop I had laying around. It's pretty great. I use a tall drafters chair/stool for when I want to sit. In my case now, my computer screen sits way to low because I'm standing up so I needed to raise it rather than lower it. IKEA again. A $20 CD shelf thingy now acts as my &quot;meter bridge&quot; and keeps my monitor at perfect height. My actual monitors (speakers) are on little stands of their own so those were never an issue.&#xD;&#xA;&#xD;&#xA;Standing is awesome if you have back problems, burns calories and improves productivity. I urge people to give it a shot. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9713" PostHistoryTypeId="2" PostId="5630" RevisionGUID="a8f36a3f-00d7-4320-a475-f1ca5a1e5581" CreationDate="2011-01-19T21:46:02.287" UserId="315" Text="I've found that most studio furniture is way overpriced. The Argosy stuff is really nice, but at that price you could hire a skilled carpenter to build you whatever you want; which is what we did at a place I used to work at. We just provided him with a sketch and some hardware for racks and got a couple nice custom DAW desks.&#xD;&#xA;&#xD;&#xA;At home I used to use an [Ikea Jerker desk][1] (not my desk but you get the point) for my DAW/equipment with a rack underneath for years. For the money it was an awesome purchase. You could adjust the shelves to whatever height works with your cpu and speaker monitors. Unfortunately I think they've been discontinued. But I imagine they show up on Craigslist a lot.&#xD;&#xA;&#xD;&#xA;Since then, I've built my own desk. Which is basically a large sheet of birch plywood from Home Depot sitting on a couple audio racks. Not as nice as an Argosy, but it left me with more money to spend on other things.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.flickr.com/photos/penmachine/6022530/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9714" PostHistoryTypeId="2" PostId="5631" RevisionGUID="aabe28c8-cc0b-4fda-8b46-d0cd2b8a7683" CreationDate="2011-01-19T22:35:46.340" UserId="18" Text="I went from an Omnirax Coda EX (which I hated) to an Ikea Galant desk:&#xD;&#xA;&#xD;&#xA;http://www.ikea.com/us/en/catalog/products/S19852113&#xD;&#xA;&#xD;&#xA;I currently have a 60&quot; long desk and will be adding extensions to bring it to 90&quot; long.  I have 2 Dell 24&quot; monitors mounted on Ergotron monitor arms.  My speakers are now on floor-standing speaker stands I am much happier and more comfortable with this set up than the studio furniture type desks.  The only thing I lose is rack space, but I don't have a lot of rack gear anyway." ContentLicense="CC BY-SA 2.5" />
  <row Id="9715" PostHistoryTypeId="2" PostId="5632" RevisionGUID="ea30422a-64aa-4b00-ac38-995dd4578ace" CreationDate="2011-01-20T02:32:24.730" UserId="371" Text="Hello sound friends!&#xD;&#xA;&#xD;&#xA;I own a video producer and we need a new shotgun microphone (ya know, low budgets, we ended up trying the Yoga model which is, believe me, 15 euros hahahah). Unfortunately, being rarely in touch with shotgun mics of different brands and such, I don't have that equipment experience to tell which would be best. We simply want to record fiction with a decent quality. As simple as it gets. Which one would you suggest me to buy remembering that we are starters with not-that-much-money on our pockets?&#xD;&#xA;&#xD;&#xA;Thank you very much! You guys are always sooo helpfull!&#xD;&#xA;&#xD;&#xA;Kisses!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9716" PostHistoryTypeId="1" PostId="5632" RevisionGUID="ea30422a-64aa-4b00-ac38-995dd4578ace" CreationDate="2011-01-20T02:32:24.730" UserId="371" Text="Buying a shotgun microphone: which one?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9717" PostHistoryTypeId="3" PostId="5632" RevisionGUID="ea30422a-64aa-4b00-ac38-995dd4578ace" CreationDate="2011-01-20T02:32:24.730" UserId="371" Text="&lt;microphone&gt;&lt;shotgun&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9718" PostHistoryTypeId="2" PostId="5633" RevisionGUID="d69db17d-bda0-4d69-baef-b8b49f5d36fc" CreationDate="2011-01-20T02:36:39.340" UserId="371" Text="Hello Sound Friends!&#xD;&#xA;&#xD;&#xA;Are there any tips you guys find valuable for a starter in mixing content specially for the youtube platform? I noticed it damages the audio a lot after the conversion. What's the best way to deliver it to the uploader?&#xD;&#xA;&#xD;&#xA;Thank you very much,&#xD;&#xA;&#xD;&#xA;Fernanda" ContentLicense="CC BY-SA 2.5" />
  <row Id="9719" PostHistoryTypeId="1" PostId="5633" RevisionGUID="d69db17d-bda0-4d69-baef-b8b49f5d36fc" CreationDate="2011-01-20T02:36:39.340" UserId="371" Text="Mixing for youtube" ContentLicense="CC BY-SA 2.5" />
  <row Id="9720" PostHistoryTypeId="3" PostId="5633" RevisionGUID="d69db17d-bda0-4d69-baef-b8b49f5d36fc" CreationDate="2011-01-20T02:36:39.340" UserId="371" Text="&lt;youtube&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9721" PostHistoryTypeId="2" PostId="5634" RevisionGUID="e8a7232c-64a7-4cf5-87d7-11ebc275ccbc" CreationDate="2011-01-20T03:14:42.520" UserId="432" Text="The Sennheiser ME66 capsule with the K6 power supply goes for around $500. It's a solid entry-level shotgun.&#xD;&#xA;&#xD;&#xA;I know there are other models/brands that are cheaper, but I have no experience with them. Perhaps someone else does." ContentLicense="CC BY-SA 2.5" />
  <row Id="9722" PostHistoryTypeId="2" PostId="5635" RevisionGUID="7ecad0cf-e211-40fb-a3da-3c603f14bca8" CreationDate="2011-01-20T04:47:45.737" UserId="103" Text="I've never used Dave smith's stuff, but i really like the nord lead 2X, and the good old roland jp8080 (although you can't find that new), and i love the moog littlephatty and it fits your price range i think." ContentLicense="CC BY-SA 2.5" />
  <row Id="9726" PostHistoryTypeId="2" PostId="5637" RevisionGUID="e60d95ed-7986-4132-b4e6-b7d026e0f37e" CreationDate="2011-01-20T06:33:41.480" UserId="817" Text="Good choice on Nuendo. I run Nuendo 4 @ home in a small 5.1 setup, plus on a laptop for sessions on the go, with SSL Pro Convert always at hand. I use both PC and Mac. Most of the last six years has had me on set for a number of TV shows and features ranging from very low budget to very high, so my Nuendo system gets neglected quite a bit at home. But Last summer I got the phone call of a lifetime which offered me a position to mix second unit for a huge blockbuster film called Cowboys and Aliens. &#xD;&#xA;&#xD;&#xA;Most of my time was spent recording explosions and fight scenes, gun shots, etc. for the action and stunt scenes, but for six day I worked along side sound recordist Mark Ulano on first unit recording music that was performed live during specific dialogue scenes. I used Nuendo 4 on a my MacBook Pro that was jam synced to Mark Ulano's timecode off his Deva. I created a simple record session containing a few tracks for the instruments on set. &#xD;&#xA;&#xD;&#xA;It was very simple; piano for one scene and Fiddle for another. Because the musicians were in the scenes while film was rolling I had to conceal the microphones. I used Lectrosonics SMa wireless transmitting to a venue rackmount receiver running on my cart rig. I mixed the sessions on a Yamaha O1V96V2 sending audio feed into Nuendo via the Yamaha FireWire Bus Card. Timecode sync was performed via midi timecode. I have a midi patchbay with SMPTE I/O that accepts all SPMTE frame rates. Nuendo has a native function that allows for your sessions to slave off incoming SMPTE timecode which causes the record files to start and stop on the timeline automatically in sync with external timecode. Pro Tools requires a Sync I/O with Digi Translator, plus another post purchased feature to do the same thing Nuendo ships with natively.&#xD;&#xA;&#xD;&#xA;For the Piano I had two mics placed in a stereo configuration (Left @ left/center of the lower register; Right @ right/center of the high register) at the back of the upright piano on the outer rear frame allowing the mics to sit off of the sound board. I placed a third mic in the center of the keyboard (just behind the front cover; which was open; one of those old mid 1800 style pianos with the small door on the cover) where the pianist was performing to get the sound of the keys being touched. For the Fiddle scene I placed one mic on the chest of the fiddler (on the edge of his vest; westerns always have nice soft clothes) and a second mic in his hair with the mic capsule hanging on his ear facing down toward the fiddle. The performer fortunately decided to play the fiddle in the style of the day where you'd place the body of the fiddle below the chest on the stomach, instead of on the shoulder. This helped incredibly as both mics were able to capture the resonance of the instrument from a prime position.&#xD;&#xA;&#xD;&#xA;After recording the sessions I made sure to have all tracks labeled with instrument/mic placement etc. Then I labeled all the recorded files individually with scene name/take #/instrument/mic placement, etc. I then converted all the record sessions into Pro Tools sessions using SSL Pro Convert. Within Pro Convert you just select the session you want to convert and tell Pro Convert what type of session you want to create; in this case Pro Tools 7. You confirm your selection...and next thing you know you have the guys at DreamWorks telling you your Pro Tools sessions were great, and they dropped into the timeline of their Pro Tools sessions in perfect sync.&#xD;&#xA;&#xD;&#xA;I have to admit...Pro Tools is great, but I really love Nuendo!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9727" PostHistoryTypeId="2" PostId="5638" RevisionGUID="a14ddd65-3533-42d9-a662-7732d083dfdc" CreationDate="2011-01-20T07:40:26.987" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;I did originally ask what wireless kits you guys considered to be the best and I got some great responses, thanks. The lectro and Zaxcom lines look great. But I forgot to add in that I am looking at a transmitter/receiver combo for multi wireless booming on a reality TV series. Would you guys recommend the same sources or are there alternate options that I must consider. &#xD;&#xA;&#xD;&#xA;Thank. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9728" PostHistoryTypeId="1" PostId="5638" RevisionGUID="a14ddd65-3533-42d9-a662-7732d083dfdc" CreationDate="2011-01-20T07:40:26.987" UserId="348" Text="Best kit to boom wireless" ContentLicense="CC BY-SA 2.5" />
  <row Id="9729" PostHistoryTypeId="3" PostId="5638" RevisionGUID="a14ddd65-3533-42d9-a662-7732d083dfdc" CreationDate="2011-01-20T07:40:26.987" UserId="348" Text="&lt;wireless&gt;&lt;booming&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9730" PostHistoryTypeId="2" PostId="5639" RevisionGUID="74301f16-d442-4ce3-bfa1-fdd53129a36a" CreationDate="2011-01-20T07:48:06.693" UserId="641" Text="Pretty much the same in my opinion." ContentLicense="CC BY-SA 2.5" />
  <row Id="9732" PostHistoryTypeId="2" PostId="5641" RevisionGUID="68b179bc-fd63-40d0-b002-4d9cf6101f32" CreationDate="2011-01-20T08:01:06.173" UserId="703" Text="I would go for a Rode shotgun but remember: it´s the mind/ear who is gonna use it the more important piece on the chain." ContentLicense="CC BY-SA 2.5" />
  <row Id="9733" PostHistoryTypeId="2" PostId="5642" RevisionGUID="8d431629-ee54-46e5-924e-941ac13f2d12" CreationDate="2011-01-20T08:03:44.627" UserId="703" Text="I would go for a Rode mic but remember the sound dude is gonna use it is more important than the equipment you buy." ContentLicense="CC BY-SA 2.5" />
  <row Id="9734" PostHistoryTypeId="2" PostId="5643" RevisionGUID="46c3f35f-7bf2-4658-9241-8c0c794f5e7e" CreationDate="2011-01-20T11:15:49.847" UserId="786" Text="I would master the audio the same way I would master for television. This means using compressors and a multiband limiter to reduce dynamics. If you listen to hard (dynamically) compressed pop music in an mp3 file comperessed to 128 kbit, you will not hear as many artifacts as you would if it was a classical piece. This is partly due to the reduction of dynamics, and partly due to less complex material.&#xD;&#xA;&#xD;&#xA;For tv you can not go higher than -10dB FS. For the internet I would suggest you go a bit higher, -3 dB FS would be a good bet. That way it won't be too low compared to other internet audio, and it (probably) won't distort on bad pc/laptop speakers. But if you have to make a delivery which is going to be used for both tv and internet, I would stick with -10 dB and let the people who convert the material for Youtube normalize it to -3 dB (or whatever they use to do)&#xD;&#xA;&#xD;&#xA;I would also listen to the mix on a laptop with crappy speakers, to see if the dialogue is clear and good compared to other internet audio.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9735" PostHistoryTypeId="2" PostId="5644" RevisionGUID="93804832-c1e6-4d6b-a0d1-1ba56619d3d0" CreationDate="2011-01-20T11:39:45.063" UserId="142" Text="Audio Technica have some decent quality (for the price) mics in their lower budget range." ContentLicense="CC BY-SA 2.5" />
  <row Id="9736" PostHistoryTypeId="2" PostId="5645" RevisionGUID="3c3cb68f-b237-4548-b9bd-7ed6fb0ccd3d" CreationDate="2011-01-20T11:45:33.603" UserId="786" Text="I like to have a big desk with lots of space for paperwork, my laptop and a cup of coffee. So we have big desks (200cm x 90cm) with elevation. We bought them used from an architect at about 600-700$ a piece plus some ergonomic chairs. They are really nice and the surface is a lot more scratch resistant than what you get from IKEA. We probably couldn't afford them if we had to buy them new, so we were lucky...&#xD;&#xA;&#xD;&#xA;We have the speakers on stands, except the center speaker, which is in a box on a small IKEA kitchen table with a plasma screen on top. Not the best solution in the world, but it is a compromise between ergonomics and correct speaker position.&#xD;&#xA;&#xD;&#xA;Here is a picture:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://lydtilfilm.dk/studiob.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="9737" PostHistoryTypeId="2" PostId="5646" RevisionGUID="97294a4c-5010-4a83-bdba-b1b4c494d762" CreationDate="2011-01-20T12:25:48.227" UserId="238" Text="In terms of great value shotguns, I think the Rode NTG3 is probably best value versus quality. At full price, they go for about £400/€475 but, as Shaun said, you can often find them for a good price on eBay. If your budget can go up a bit, the Sennheiser MKH 416 is also a very versatile option. They go for about £700/€830." ContentLicense="CC BY-SA 2.5" />
  <row Id="9738" PostHistoryTypeId="2" PostId="5647" RevisionGUID="000f867b-64db-4f9f-8efb-8effe37f3824" CreationDate="2011-01-20T14:07:24.447" UserId="393" Text="The Road NTG-2 seems to be the favorite for indie sound guys on Vimeo... I'm looking into getting one myself, but I can't vouch for it any more than I've liked the sound in the videos I watched." ContentLicense="CC BY-SA 2.5" />
  <row Id="9739" PostHistoryTypeId="2" PostId="5648" RevisionGUID="11c7cc63-8e9b-497d-a9a9-a86dae315037" CreationDate="2011-01-20T14:09:04.523" UserId="393" Text="Don't forget the moment of silence after it hits, and maybe a low-pass fade in." ContentLicense="CC BY-SA 2.5" />
  <row Id="9740" PostHistoryTypeId="2" PostId="5649" RevisionGUID="2b69dc18-8dee-4a99-aef1-3407dec5c514" CreationDate="2011-01-20T14:32:14.297" UserId="393" Text="The best desk I've ever had wasn't a desk at all, but a kitchen table.  LOTS of space, nice and sturdy... stupid small offices.  Now I'm using the bottom half of an [Ikea Mikael Corner Workstation][1] with an additional sheet of plywood to give me a bit more surface area.  It's less than ideal, being in the corner, but you work with what you've got.&#xD;&#xA;&#xD;&#xA;As far as on-desk monitor stands, on the cheap, a couple [square pavers][2] separated with [adhesive rubber feet][3], and you've got some excellent decoupling.  You can probably find pavers for free on Craigslist, even.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://goo.gl/shY9L&#xD;&#xA;  [2]: http://goo.gl/qCQAh&#xD;&#xA;  [3]: http://goo.gl/vo76n" ContentLicense="CC BY-SA 2.5" />
  <row Id="9741" PostHistoryTypeId="2" PostId="5650" RevisionGUID="3197e36a-a3f5-4889-a8d9-658f5d7fbf05" CreationDate="2011-01-20T14:58:21.477" UserId="786" Text="I would say go for the DSI!&#xD;&#xA;&#xD;&#xA;I don't own one myself, but I have tried a couple of DSI synths, and they are really good! The analog sound of these things is incredible, dense and textured.&#xD;&#xA;&#xD;&#xA;If you need polyphony, I believe you can expand the evolver by connecting it to other DSI synths via a special interface. I know you can do it with some of the new DSI synths, but I'm not completely sure about the Evolver.&#xD;&#xA;&#xD;&#xA;I have started using modular synths for Sound design and I love it, but sometimes I wish I had bought a DSI instead." ContentLicense="CC BY-SA 2.5" />
  <row Id="9742" PostHistoryTypeId="2" PostId="5651" RevisionGUID="5fc72de9-4643-4d89-b99a-e4a5c60c5330" CreationDate="2011-01-20T15:03:29.940" UserId="619" Text="If you go the synth/signal generator route, I'd suggest using two sine waves very slighty detuned from each other.  This will add a beating effect as the sines move in and out of phase with each other (similar to a ringing wine glass).  " ContentLicense="CC BY-SA 2.5" />
  <row Id="9743" PostHistoryTypeId="2" PostId="5652" RevisionGUID="3a2d0c67-9074-4750-b52e-5bd51297954b" CreationDate="2011-01-20T15:18:26.373" UserId="619" Text="The MonoEvolver is a great synth for sure, but adding a CP-251 to it won't greatly extend its usefulness.  Unless you have some other gear that generates CV, the CP-251 will bascially be useful as an extra LFO (and the ME already has 4!) and an additional noise source. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9745" PostHistoryTypeId="2" PostId="5654" RevisionGUID="8dff7291-6076-4176-888d-832787868540" CreationDate="2011-01-20T17:07:44.333" UserId="629" Text="Rode NTG-2 gets my vote for an entry level shotgun microphone, from what I read many sound designers still take their NTG-2 with them with their other higher priced ones (416, 816, CSS5 etc) as for the money it is a great piece of kit." ContentLicense="CC BY-SA 2.5" />
  <row Id="9746" PostHistoryTypeId="2" PostId="5655" RevisionGUID="f812ec07-d739-426f-9361-15d7a3348206" CreationDate="2011-01-20T17:12:01.167" UserId="673" Text="some more good stuff&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/user/FMODTV" ContentLicense="CC BY-SA 2.5" />
  <row Id="9747" PostHistoryTypeId="2" PostId="5656" RevisionGUID="cfa87ab1-4b45-4aeb-a731-0380544603a1" CreationDate="2011-01-20T17:16:16.067" UserId="817" Text="Buy SSL Pro Convert. I mentioned it at the end of my answer above. It will allow you to work in Nuendo and save your Nuendo sessions as Pro Tools sessions. It works great, once you learn how to use it. It took me a day to learn and the night I figured it all out I was creating Pro Tools sessions for a big picture from Nuendo sessions that I recorded on location. The PT sessions allowed post to drop sync all the record files into their PT timeline in perfect sync.&#xD;&#xA;&#xD;&#xA;Good luck, and congratulations on the new system. Just reading your gear list is making me drool; Except for the fact that I love the Lynx Aurora converters instead of the others. They're all great, but the Lynx has been chosen by guys in the mastering world because of it's transparency and accuracy toward recreating the &quot;Natural Analog&quot; sound throughout the whole frequency spectrum. &#xD;&#xA;&#xD;&#xA;There's a guy in the UK who decided to purchase the Lynx Aurora over Weiss, Prism, Mytek, Benchmark and all the rest after an extensive time of listening and testing all the available &quot;professional quality&quot; converters on the market. According to him the Lynx Aurora was the only converter he trusted to place in line with his Nuemann Lathe. It was his top choice for mastering all finished product from CD to DVD and LP's. He's one of the go to mastering engineers for the London Symphony Orchestra, Vienna Symphony Orchestra, and a host of other european symphony houses and major labels.&#xD;&#xA;&#xD;&#xA;I decided to trust his word and I'm glad because I love my Aurora 16. &#xD;&#xA;&#xD;&#xA;Have fun making sound for movies.&#xD;&#xA;&#xD;&#xA;E. Santiago" ContentLicense="CC BY-SA 2.5" />
  <row Id="9748" PostHistoryTypeId="2" PostId="5657" RevisionGUID="e47b999a-3200-4287-9727-80290114b8ed" CreationDate="2011-01-20T17:59:47.297" UserId="238" Text="If you have Logic at your disposal, try messing around with the Sculpture Modeling Synth. It's an extremely versatile instrument. The *Cosmonaut Space Capsule* pre-set played in a fairly high octave is a great sound. Further sculpting will get you exactly the type of sound you're after." ContentLicense="CC BY-SA 2.5" />
  <row Id="9749" PostHistoryTypeId="2" PostId="5658" RevisionGUID="29bf90ff-6ed0-41cb-9f2e-4f601f622575" CreationDate="2011-01-20T20:39:34.467" UserId="219" Text="OK, I am calling out for anyone in the area of Paris, France. I do not have the necessary gear to record a car however if anyone of you does, well maybe you could come 'round and help yourself.&#xD;&#xA;&#xD;&#xA;I was told today that on Saturday I'll be recording dialogue for a scene for which a Maybach is being rented for 8 hours. I asked the director about whether we need the car's sounds for this scene, and he said &quot;it's ok, we'll add it in post&quot;... Now, WHERE are you going to find Maybach cars' recordings, M. Director?!&#xD;&#xA;&#xD;&#xA;I don't know about the location, whether it'll be noisy, reverberant or ideal... if someone is even remotely interested please be sure to give me a shout, that's what the first S in SSD is for :)&#xD;&#xA;&#xD;&#xA;I'd be happy to help with the recording, would you care to share the material so I can use it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9750" PostHistoryTypeId="1" PostId="5658" RevisionGUID="29bf90ff-6ed0-41cb-9f2e-4f601f622575" CreationDate="2011-01-20T20:39:34.467" UserId="219" Text="Paris - Saturday 22nd January - recording a Maybach" ContentLicense="CC BY-SA 2.5" />
  <row Id="9751" PostHistoryTypeId="3" PostId="5658" RevisionGUID="29bf90ff-6ed0-41cb-9f2e-4f601f622575" CreationDate="2011-01-20T20:39:34.467" UserId="219" Text="&lt;location-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9752" PostHistoryTypeId="16" PostId="5658" RevisionGUID="29bf90ff-6ed0-41cb-9f2e-4f601f622575" CreationDate="2011-01-20T20:39:34.467" UserId="219" />
  <row Id="9753" PostHistoryTypeId="2" PostId="5659" RevisionGUID="c69bea0f-ecf2-4db4-a763-b9fc5e9d2b74" CreationDate="2011-01-20T21:49:23.103" UserId="6420" Text="I've had some success in the past playing with feedback. Especially on my Macbook Pro. &#xD;&#xA;&#xD;&#xA;I used Logic (could be anything really) and selected an audio track to input the Built-In mic. Then record that but have the volume on the internal speakers up so it starts to feedback, but also raise and lower your hand over the mic (positioned around top left of the laptop body). Got some interesting effects doing that. Thanks to my friend Eilam for pointing that one out to me a while back noW! ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9754" PostHistoryTypeId="2" PostId="5660" RevisionGUID="80ef3670-3f4e-4206-a679-92a51cac2eb0" CreationDate="2011-01-20T23:19:33.173" UserId="432" Text="Hey folks. This is now the sixth month of the Sound Design Challenge I've been running. I've mentioned before that I'm always open to suggestions and interesting ideas. So, what are some things you'd like to see it encompass in the future?&#xD;&#xA;&#xD;&#xA;Some examples:&#xD;&#xA;&#xD;&#xA; - This month's addition of turning the&#xD;&#xA;   entries into crowd-sourced effects&#xD;&#xA;   library for all the participants.&#xD;&#xA; - There's a game audio challenge in the&#xD;&#xA;   works for the future that will be&#xD;&#xA;   geared for newbies (like me) to&#xD;&#xA;   participate as well, and I have some&#xD;&#xA;   good collaborators lined up to help&#xD;&#xA;   out with that one.&#xD;&#xA;&#xD;&#xA;Let me know if there is something you're dying to try in the future, and I'll see what can be done.&#xD;&#xA;&#xD;&#xA;*For anyone who is new and not familiar with what I'm talking about, I run a monthly sound design competition on my [website][1]. This month's challenge just started too, so it's a good time to get involved. ;)*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynamicinterference.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="9755" PostHistoryTypeId="1" PostId="5660" RevisionGUID="80ef3670-3f4e-4206-a679-92a51cac2eb0" CreationDate="2011-01-20T23:19:33.173" UserId="432" Text="What do you want out of the Sound Design Challenge in the future?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9756" PostHistoryTypeId="3" PostId="5660" RevisionGUID="80ef3670-3f4e-4206-a679-92a51cac2eb0" CreationDate="2011-01-20T23:19:33.173" UserId="432" Text="&lt;community&gt;&lt;skills-development&gt;&lt;sound-design&gt;&lt;survey&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9757" PostHistoryTypeId="2" PostId="5661" RevisionGUID="8205adda-31d5-4a7b-a64c-e1d05f316919" CreationDate="2011-01-21T00:53:19.827" UserId="629" Text="I think this months will give an indication into whether a collective independent libraries can be achieved. If successful maybe further collections could be incorporated into game audio (if a game programmer would get on-board to help), obviously this would take more than a month but would be very cool to be part of it.  &#xD;&#xA;&#xD;&#xA;Hope that makes sense." ContentLicense="CC BY-SA 2.5" />
  <row Id="9758" PostHistoryTypeId="5" PostId="5647" RevisionGUID="377a34a9-631d-4100-ae19-d5086bafca3c" CreationDate="2011-01-21T07:01:22.500" UserId="219" Comment="brand name spelling" Text="The Rode NTG-2 seems to be the favorite for indie sound guys on Vimeo... I'm looking into getting one myself, but I can't vouch for it any more than I've liked the sound in the videos I watched." ContentLicense="CC BY-SA 2.5" />
  <row Id="9759" PostHistoryTypeId="2" PostId="5662" RevisionGUID="b1705d73-6de7-4384-8a22-6475463130ce" CreationDate="2011-01-21T10:41:04.777" UserId="298" Text="I expect more specific goals, complex storytelling, far extended boundaries of sound challenge...&#xD;&#xA;&#xD;&#xA;You already made some of unique original goals in this way like that comics swords, for what you should be really honoured. &#xD;&#xA;Im gonna participate in Yeti part. Thanks for your initiative." ContentLicense="CC BY-SA 2.5" />
  <row Id="9760" PostHistoryTypeId="2" PostId="5663" RevisionGUID="8bb0729d-25af-4e13-8636-1a55f4d4ae88" CreationDate="2011-01-21T11:05:36.897" UserId="238" Text="Hey Justin,&#xD;&#xA;&#xD;&#xA;I'm in Paris but don't have my kit with me at the moment (still not fully installed in the city yet). However, if you need a hand I'd love to 'come round' and help out. &#xD;&#xA;&#xD;&#xA;Gimme an email and let me know - colinhuntersound[at]gmail[dot]com" ContentLicense="CC BY-SA 2.5" />
  <row Id="9761" PostHistoryTypeId="16" PostId="5663" RevisionGUID="8bb0729d-25af-4e13-8636-1a55f4d4ae88" CreationDate="2011-01-21T11:05:36.897" UserId="-1" />
  <row Id="9762" PostHistoryTypeId="2" PostId="5664" RevisionGUID="70248605-9efe-459f-b769-630d31ed74f0" CreationDate="2011-01-21T11:11:44.023" UserId="348" Text="How about a triangle? Just hit it and freeze the frequencies you want. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9763" PostHistoryTypeId="2" PostId="5665" RevisionGUID="12920e15-bb7f-4eac-a696-21529066bf05" CreationDate="2011-01-21T11:50:07.127" UserId="818" Text="I've needed a similar effect before and i used a couple of old springs from a sofa. when i struck them together, they had a great tone and much longer sustain time than something like a glass. then I looped the tone in kontakt with quite a long crossfade time and added some gentle pitch modulation. i think i may have also doubled up and slightly detuned resulting sound to get a more interesting sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="9764" PostHistoryTypeId="2" PostId="5666" RevisionGUID="54b67ff4-d2b2-42bc-9455-a32e51eacc35" CreationDate="2011-01-21T15:13:26.083" UserId="194" Text="My biggest hope is just that it keeps going, even if certain concepts end up getting revisited.  (actually, **especially** if concepts get revisited)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9765" PostHistoryTypeId="2" PostId="5667" RevisionGUID="20296b79-6b87-47d2-926a-5e6091590797" CreationDate="2011-01-21T15:54:19.167" UserId="397" Text="Hi guys,&#xD;&#xA;I was watching the Tron Legacy sound panel and Ms Whittle(sound supervisor)  mentions a specific software or hardware (i think its called nova) that they used to clean up the dialog eliminating a specific whine that the suit's lights generated [link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/tronlegacysoundshow&#xD;&#xA;&#xD;&#xA;Its around 16:25. Could anyone help out? &#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Marco" ContentLicense="CC BY-SA 2.5" />
  <row Id="9766" PostHistoryTypeId="1" PostId="5667" RevisionGUID="20296b79-6b87-47d2-926a-5e6091590797" CreationDate="2011-01-21T15:54:19.167" UserId="397" Text="Dialogue cleaning, Tron" ContentLicense="CC BY-SA 2.5" />
  <row Id="9767" PostHistoryTypeId="3" PostId="5667" RevisionGUID="20296b79-6b87-47d2-926a-5e6091590797" CreationDate="2011-01-21T15:54:19.167" UserId="397" Text="&lt;dialogue&gt;&lt;noise&gt;&lt;reduction&gt;&lt;tron&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9768" PostHistoryTypeId="2" PostId="5668" RevisionGUID="29704db1-3e2d-4cc3-9d69-fcf4fdeb2bbc" CreationDate="2011-01-21T16:05:44.190" UserId="397" Text="just an idea, what about blending in some frequency created by rubbing a crystal glass or a tibetan sing bowl?   " ContentLicense="CC BY-SA 2.5" />
  <row Id="9769" PostHistoryTypeId="2" PostId="5669" RevisionGUID="fbb4dd48-9ba8-4208-bf76-0b5fac4897cb" CreationDate="2011-01-21T16:07:30.153" UserId="619" Text="I beleive they're referring to Algorithmix reNOVAtor.&#xD;&#xA;&#xD;&#xA;http://www.avid.com/US/products/reNOVAtor&#xD;&#xA;&#xD;&#xA;http://www.algorithmix.com/en/renovator.htm&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9770" PostHistoryTypeId="2" PostId="5670" RevisionGUID="d45aaa48-0e55-4d04-ae34-4a08ca344fdd" CreationDate="2011-01-21T21:43:02.480" UserId="826" Text="What about Micron Explorer 100 Wireless systems? Made in the UK? What do you guys think? I'm thinking about buying a couple, heard some good things, but the information is scarce... You may want to check those." ContentLicense="CC BY-SA 2.5" />
  <row Id="9771" PostHistoryTypeId="2" PostId="5671" RevisionGUID="a7baefe3-fac1-4e51-a2b6-c7bd11f2e181" CreationDate="2011-01-22T03:56:04.787" UserId="827" Text="What would cause an amp to all of a sudden start sending a signal at a higher pitch and a faster speed?  &#xD;&#xA;&#xD;&#xA;    The System:&#xD;&#xA;    &#xD;&#xA;    Base System&#xD;&#xA;    Dell PC w/ SFX 5.60 build 24 -&gt; echo gina 24/96 -&gt; a&amp;h wz14:4:2+ ---&#xD;&#xA;    &#xD;&#xA;    Amps&#xD;&#xA;    ---&gt; mackie fr series m1200 -&gt; 2 ev sx300's&#xD;&#xA;    ---&gt; mackie fr series m800  -&gt; 2 apogee acs-1's&#xD;&#xA;    ---&gt; DBX 1231 Graphic EQ (functioning as a gate above 100hz) -&gt; tapco j1400 -&gt; JBL SR4725&#xD;&#xA;&#xD;&#xA;Everything has worked just fine.  I played an effect that comes through all 5 speakers and it sounded fine.  I stopped it, adjusted volumes in SFX, then replayed and the sound was out of sync.  After a lot of system testing, the mackie m1200 seems to be sending the signal at a faster rate and at a higher pitch than the others.  This literally happened out of know where without anyone touching the amps or system configuration.  &#xD;&#xA;&#xD;&#xA;Any insight into what is happening would be wonderful. Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="9772" PostHistoryTypeId="1" PostId="5671" RevisionGUID="a7baefe3-fac1-4e51-a2b6-c7bd11f2e181" CreationDate="2011-01-22T03:56:04.787" UserId="827" Text="Amp Syncing Problem" ContentLicense="CC BY-SA 2.5" />
  <row Id="9773" PostHistoryTypeId="3" PostId="5671" RevisionGUID="a7baefe3-fac1-4e51-a2b6-c7bd11f2e181" CreationDate="2011-01-22T03:56:04.787" UserId="827" Text="&lt;amplifier&gt;&lt;sync&gt;&lt;signal&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9774" PostHistoryTypeId="2" PostId="5672" RevisionGUID="ef810e62-f0a0-402b-bb8f-00ce14285ad0" CreationDate="2011-01-22T04:50:10.240" UserId="828" Text="Both of your Amps have the same power source and share the same common ground?&#xD;&#xA;&#xD;&#xA;May be this sound dumb, but have you check that the change in the pitch don't occurs in your D/A Stage.&#xD;&#xA;&#xD;&#xA;Instead of relay on the panner of a software, use Dolby white noise audio file in mono and change the output. Check if you hear any change over the outputs and change the amps for double check.&#xD;&#xA;&#xD;&#xA;Good Luck" ContentLicense="CC BY-SA 2.5" />
  <row Id="9775" PostHistoryTypeId="2" PostId="5673" RevisionGUID="8dc95aa1-1b8b-4369-9870-47820cf13381" CreationDate="2011-01-22T05:35:05.533" UserId="418" Text="This looks like it's going to shape into a nice resource, and the upcoming ebook sounds neat.&#xD;&#xA;&#xD;&#xA;http://www.gameaudio101.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9776" PostHistoryTypeId="5" PostId="5599" RevisionGUID="e663bd8a-3b59-4d9f-91db-0b76467abb32" CreationDate="2011-01-22T06:14:19.250" UserId="445" Comment="added 2 characters in body" Text="Here is a terrific site with lots of experimental recordings and films, both from renowned and also less known artists. It's called Ubu Web (hope some of you are familiar with 'Pataphysics)&#xD;&#xA;&#xD;&#xA;[ubuweb.com][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For example, there's a hard to find documentary about John Cage called &quot;I Have Nothing to Say and I Am Saying It&quot; (1990). Highly recommended.&#xD;&#xA;&#xD;&#xA;[ubu.com/film/cage_masters.html][2]&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ubuweb.com/&#xD;&#xA;  [2]: http://www.ubu.com/film/cage_masters.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="9777" PostHistoryTypeId="5" PostId="5624" RevisionGUID="c5bf16a7-4c62-477e-a492-397edb5cce74" CreationDate="2011-01-22T06:15:19.643" UserId="445" Comment="edited body" Text="Hey sound designers!&#xD;&#xA;&#xD;&#xA;I'm thinking of buying a Dave Smith Instruments Mono Evolver Keyboard edition both for musical and sound design purposes.&#xD;&#xA;&#xD;&#xA;I will also add a Moog CP-251 for CV control.&#xD;&#xA;&#xD;&#xA;I'm pretty convinced on the overall sound of the synth, but sometimes I doubt about its expandability and because it's monophonic.&#xD;&#xA;&#xD;&#xA;If you have rare and/or experimental sounds from this synth, I will be grateful if you post it here, because it's difficult to find non-traditional uses of the DSI MEK.&#xD;&#xA;&#xD;&#xA;Are you using it? Are you happy with the synth? Someone using this combination of hardware? How does it perform live?&#xD;&#xA;&#xD;&#xA;Do you have any suggestions about other synths you think are best suited for sound design (and between $1000-$1500 brand new)?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;Alan.&#xD;&#xA;&#xD;&#xA;![DSI MEK][2]&#xD;&#xA;&#xD;&#xA;![Moog CP-251][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/images/items/1800/CP251-xlarge.jpg&#xD;&#xA;  [2]: http://www.sweetwater.com/images/items/1800/MEKpe-xlarge.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="9778" PostHistoryTypeId="2" PostId="5674" RevisionGUID="bdbb611e-4579-49dd-a214-20dca13509a1" CreationDate="2011-01-22T08:19:28.500" UserId="771" Text="I am supposed to mix a song in Dolby digital.I wasn't there for the recording session and unfortunately the track is full of blows.I am using Nuendo 4 for the final mix.Is there any way to remove the blows.I have got a wave lab as plugins." ContentLicense="CC BY-SA 2.5" />
  <row Id="9779" PostHistoryTypeId="1" PostId="5674" RevisionGUID="bdbb611e-4579-49dd-a214-20dca13509a1" CreationDate="2011-01-22T08:19:28.500" UserId="771" Text="Removing blow sound in post production" ContentLicense="CC BY-SA 2.5" />
  <row Id="9780" PostHistoryTypeId="3" PostId="5674" RevisionGUID="bdbb611e-4579-49dd-a214-20dca13509a1" CreationDate="2011-01-22T08:19:28.500" UserId="771" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9781" PostHistoryTypeId="2" PostId="5675" RevisionGUID="7ea9b911-a9df-4b5c-9e7a-9463cbf43019" CreationDate="2011-01-22T09:05:04.757" UserId="771" Text="I am using Sennheiser HD201 for monitoring in documentaries.Where does a good headphone like Sony MDR 7506 make the actual difference.Sennheiser HD201 gave me a hard time in my last shoot since it didn't any hint of the hiss sound which i got in a mountain ambiance recording using ZOOM H4N (later found monitoring in my GENELEC speakers).Will this sound have been evident if i used Sony MDR series.&#xD;&#xA;&#xD;&#xA;Your comments please&#xD;&#xA;thanx" ContentLicense="CC BY-SA 2.5" />
  <row Id="9782" PostHistoryTypeId="1" PostId="5675" RevisionGUID="7ea9b911-a9df-4b5c-9e7a-9463cbf43019" CreationDate="2011-01-22T09:05:04.757" UserId="771" Text="How much differnce does a good headphone makes in recording ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9783" PostHistoryTypeId="3" PostId="5675" RevisionGUID="7ea9b911-a9df-4b5c-9e7a-9463cbf43019" CreationDate="2011-01-22T09:05:04.757" UserId="771" Text="&lt;headphones&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9784" PostHistoryTypeId="2" PostId="5676" RevisionGUID="184f42e8-03d1-4b32-b2ad-257f517cbddf" CreationDate="2011-01-22T17:27:43.773" UserId="18" Text="It's difficult to get an accurate picture of things in the field with headphones.  You will often find things back at the studio that you couldn't hear in the field through your headphones.&#xD;&#xA;&#xD;&#xA;That said, if you couldn't hear a hiss over your headphones that really stands out over your speakers, you might want to try another set of headphones.  You're using $15 headphones that are made for people who listen to 128k mp3s on an ipod.  I wouldn't expect them to give you anywhere near an accurate monitoring solution.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9785" PostHistoryTypeId="2" PostId="5677" RevisionGUID="acf6d4f3-d4db-417e-bea7-df9c5a3cad4d" CreationDate="2011-01-22T20:33:36.260" UserId="88" Text="+1 to Chuck's answer.&#xD;&#xA;&#xD;&#xA;&quot;Good&quot; may be partially determined by the type of shoot you're doing.  On a sound effects shoot, you may want to use something like HN-7506 in order to block out everything but what you're getting, while recording production dialogue on a film set might call for something more open like regular MDR-7506 (so you can easily hear crew conversation around you between takes without taking the headphones off all the time)." ContentLicense="CC BY-SA 2.5" />
  <row Id="9786" PostHistoryTypeId="2" PostId="5678" RevisionGUID="2b7e8e65-e0bd-4323-a66d-9f0c4d9f3e04" CreationDate="2011-01-22T21:21:34.353" UserId="445" Text="AS Tyler states, I would go for the standard Sony's if you are going to use them a lot when recording dialogs. But for sound effects I recommend you the Sennheiser HD280, which are closed cans with a lot of external attenuation. That will help you on hiss and hum/rumble identification while on the road.&#xD;&#xA;&#xD;&#xA;I use them all time, and they are also great for mixing in shared environments or at college's rooms. Very flat response and quite confortable.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.erikhedin.com/files/gallery-photos/IMG_0114.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="9787" PostHistoryTypeId="2" PostId="5679" RevisionGUID="2f23be47-ad52-4473-8150-e367eca99634" CreationDate="2011-01-22T23:14:03.573" UserId="37" Text="the genelecs boost highs in uncompromising manner.. i've actually gone as far as to fiddle with their dip switches at the back (at -2db now). for headphones there are a few threads around but a good pair definitely makes a difference. certainly it's a world of difference between hd-201 and a hd-25.. even though it might not be in the area where you've had problems..&#xD;&#xA;&#xD;&#xA;![headroom graph][1]&#xD;&#xA;&#xD;&#xA;  [1]: http://graphs.headphone.com/graphCompare.php?graphType=0&amp;graphID[]=473&amp;graphID[]=513" ContentLicense="CC BY-SA 2.5" />
  <row Id="9788" PostHistoryTypeId="2" PostId="5680" RevisionGUID="7bc7496a-bff6-4294-829b-046803c00a3a" CreationDate="2011-01-23T00:25:18.167" UserId="18160" Text="http://socialsounddesign.com/questions/1391/how-do-you-edit-out-wind" ContentLicense="CC BY-SA 2.5" />
  <row Id="9789" PostHistoryTypeId="13" PostId="5459" RevisionGUID="a0991f7a-4c09-424d-851b-9170314a36c3" CreationDate="2011-01-23T00:27:59.523" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9790" PostHistoryTypeId="2" PostId="5681" RevisionGUID="77daee03-07dd-44cb-bd7a-65f2b8d53962" CreationDate="2011-01-23T02:40:52.917" UserId="812" Text="Hello all, this is my first question on this forum.&#xD;&#xA;&#xD;&#xA;I'm curious about the use of infrasound in films/movies. I believe a number of studies have shown that infrasound (frequencies below 20Hz) can be used to instill a sense of suspense or even fear in a subject. In particular 19Hz is the resonating frequency of the eyeball and it has even been reported that this frequency can create visual disturbances.&#xD;&#xA;&#xD;&#xA;So, are these infrasound tricks common in sound design circles or frowned upon? Anyone have any funny stories or confessions? Perhaps infrasound can also be used to induce more positive feelings in an audience.&#xD;&#xA;&#xD;&#xA;Just curious,&#xD;&#xA;Iais&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9791" PostHistoryTypeId="1" PostId="5681" RevisionGUID="77daee03-07dd-44cb-bd7a-65f2b8d53962" CreationDate="2011-01-23T02:40:52.917" UserId="812" Text="Infrasound, 19Hz, Resonating Eyeballs and Other Psychoacoustic Tricks" ContentLicense="CC BY-SA 2.5" />
  <row Id="9792" PostHistoryTypeId="3" PostId="5681" RevisionGUID="77daee03-07dd-44cb-bd7a-65f2b8d53962" CreationDate="2011-01-23T02:40:52.917" UserId="812" Text="&lt;infrasound&gt;&lt;control&gt;&lt;movies&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9793" PostHistoryTypeId="5" PostId="5677" RevisionGUID="a5152e8e-7c94-484d-b8a4-453e5724f851" CreationDate="2011-01-23T03:56:35.037" UserId="88" Comment="added hyperlinks for real this time :)" Text="+1 to Chuck's answer.&#xD;&#xA;&#xD;&#xA;&quot;Good&quot; may be partially determined by the type of shoot you're doing.  On a sound effects shoot, you may want to use something like &lt;a href=&quot;http://www.remoteaudio.com/high_noise_headset/&quot;&gt;Remote Audio HN-7506&lt;/a&gt; in order to block out everything but what you're getting, while recording production dialogue on a film set might call for something more open like regular &lt;a href=&quot;http://pro.sony.com/bbsc/ssr/product-MDR7506/&quot;&gt;Sony MDR-7506&lt;/a&gt; (so you can easily hear crew conversation around you between takes without taking the headphones off all the time)." ContentLicense="CC BY-SA 2.5" />
  <row Id="9794" PostHistoryTypeId="2" PostId="5682" RevisionGUID="8820c88c-51c2-45fb-9838-c070ad2eaac2" CreationDate="2011-01-23T04:04:18.163" UserId="587" Text="I think that would be awesome if it was possibly being put into practice. Some would call it a bit manipulative, or the opposite, to be interpreted by the audience - yet art in general is supposed to be like that is it not?&#xD;&#xA;&#xD;&#xA;However, I know that infra and ultra sonic frequencies have to be produced by special transducers. I am not aware of theatre speakers that can output such an extended range of frequencies. I may be totally out of the loop though. (Maybe Lucas' water-tank subwoofers)&#xD;&#xA;&#xD;&#xA;If directors and sound teams were implementing such sounds, they would have to guarantee the use of these tools at each theatre that screened their show. So its not ultimately up to the flick, but up to the theatre showing it. Seems a bit hard to believe.&#xD;&#xA;&#xD;&#xA;Pretty cool idea though.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9795" PostHistoryTypeId="2" PostId="5683" RevisionGUID="9bf4c767-a72f-40f7-aec6-be16affa9e88" CreationDate="2011-01-23T06:05:06.063" UserId="771" Text="thanx for the comments" ContentLicense="CC BY-SA 2.5" />
  <row Id="9796" PostHistoryTypeId="2" PostId="5684" RevisionGUID="0fa94788-85c3-485a-b9d5-fee4e4f2a411" CreationDate="2011-01-23T06:13:31.090" UserId="830" Text="I agree on the Lectrosonics, great if you have the money. Another option is to hire them if you cannot afford to purchase them outright. Some audio production outfits will do that. In regards to the Sennheiser's the new EW100G3 range is quite good. Especially handy with the infra-red sync for channel programming. Makes pre-production on set a lot faster. The issue with them is that they are still big an bulky compared to the Lectro's. Not great for hiding on costumes at times. The other option to think about is also what Lav you want to put on the actors. If you working on a small set without a huge amount of distance from your cart and don't have the option to hire or the money for the Lectro's, grab the Sennheiser system and purchase some Sanken lavs, or my current fav is the new Rode lavs. Have fun with it." ContentLicense="CC BY-SA 2.5" />
  <row Id="9797" PostHistoryTypeId="2" PostId="5685" RevisionGUID="09429f1d-c71c-46d2-8679-ad3a12ef8c40" CreationDate="2011-01-23T06:25:28.097" UserId="830" Text="Good closed back headphone to isolate yourself from the environment is essential, but also consider the equipment you are monitoring from. The Zoom H4n, while a great bit of kit, doesn't have a very transparent headphone amp in it (this is only an observation from usage, I haven't looked for a frequency graph)." ContentLicense="CC BY-SA 2.5" />
  <row Id="9798" PostHistoryTypeId="2" PostId="5686" RevisionGUID="f3757623-906f-4fc8-a400-576094923369" CreationDate="2011-01-23T06:46:47.993" UserId="830" Text="Have a look at the new Rode Video-mic Pro. While I prefer a an NTG-2 or 3, this might get you sorted." ContentLicense="CC BY-SA 2.5" />
  <row Id="9799" PostHistoryTypeId="2" PostId="5687" RevisionGUID="0e0a9ce3-675d-4723-9eae-e3103c2d21cf" CreationDate="2011-01-23T08:38:31.303" UserId="641" Text="I have to say the Rode NTG3 is great value for money, ranks in a similar bracket to a Sennheiser 416 regarding performance and sound characteristics.  I recently bought one and I am loving it!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9800" PostHistoryTypeId="2" PostId="5688" RevisionGUID="871a18da-5032-4b75-93a1-4e1b7138b709" CreationDate="2011-01-23T10:22:26.140" UserId="830" Text="I love RadioLab, they have the philosophy that great stories can be given to you by sound design and fun story telling. Anyone wanting to do sound design for radio/podcasts/plays, etc. should have a listen. Plus the content is great as a bonus." ContentLicense="CC BY-SA 2.5" />
  <row Id="9801" PostHistoryTypeId="2" PostId="5689" RevisionGUID="3a79b9dc-2ac7-49ad-b083-69efe4e3efc8" CreationDate="2011-01-23T14:43:24.420" UserId="426" Text="Generally speaking, manipulation is something that we as sound designers regularly strive to do. Every time you use contrast to heighten the emotions of a scene, you are in effect manipulating the audience. &#xD;&#xA;&#xD;&#xA;So using infrasonic frequencies to heighten the emotion of the scene sounds like a good idea. Whether or not it actually works in practice is an entirely different thing though. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9802" PostHistoryTypeId="2" PostId="5690" RevisionGUID="26d1c18f-81bc-43b9-bb86-6ddca3c722cc" CreationDate="2011-01-23T16:05:56.380" UserId="182" Text="Mythbusters has an episode where they search for the so-called brown note: a frequency that supposedly triggers loss of bowel control.&#xD;&#xA;For some reason they only tested from 20 Hz upwards, found nothing and called the myth busted, but it still is funny to watch:&#xD;&#xA;&#xD;&#xA;[youtube]http://www.youtube.com/watch?v=mQFL-NLh0O8[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="9803" PostHistoryTypeId="12" PostId="5690" RevisionGUID="2c701223-cf6c-4331-9417-2f96231c7bb0" CreationDate="2011-01-23T16:06:45.067" UserId="182" Text="[{&quot;Id&quot;:182,&quot;DisplayName&quot;:&quot;EMV&quot;}]" />
  <row Id="9804" PostHistoryTypeId="5" PostId="5690" RevisionGUID="28ba63df-7fd7-45bb-b210-6c7dfd68ae00" CreationDate="2011-01-23T16:29:33.270" UserId="182" Comment="added 51 characters in body" Text="Mythbusters has an episode where they search for the so-called brown note: a frequency that supposedly triggers loss of bowel control.&#xD;&#xA;&#xD;&#xA;Starts after a minute or so. Their attempts are unfruitful even though they tested from 5 Hz up to 100 Hz.&#xD;&#xA;&#xD;&#xA;[youtube]http://www.youtube.com/watch?v=GL2zK8cpkdY[/youtube]&#xD;&#xA;&#xD;&#xA;[youtube]http://www.youtube.com/watch?v=piLoZ-eihXM[/youtube]&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9805" PostHistoryTypeId="13" PostId="5690" RevisionGUID="531323c7-f24f-481b-aebc-23d34831917c" CreationDate="2011-01-23T16:29:51.320" UserId="182" Text="[{&quot;Id&quot;:182,&quot;DisplayName&quot;:&quot;EMV&quot;}]" />
  <row Id="9806" PostHistoryTypeId="2" PostId="5691" RevisionGUID="2bb91a0d-be05-49f2-aa19-564f1284f2ad" CreationDate="2011-01-23T17:58:45.523" UserId="63" Text="i currently do all sound design and arranging mixing and music production on my Macbook (not the new one with unibody) and it still works like a charm! even with 30 channels of audio / midi with instruments and at least 2-3 plugins at each channel running! &#xD;&#xA;&#xD;&#xA;Macbook with 2.2 cpu with 2gb ram and 160gb HD at 5200rpm and M-Audio Fast track Pro, this setup keeps me running really good for 3-4 years now so i guess a new iMac will be more than enough for you. I forgot to mention i run Logic 9" ContentLicense="CC BY-SA 2.5" />
  <row Id="9807" PostHistoryTypeId="2" PostId="5692" RevisionGUID="8c515254-7ce3-444c-be71-d99407765238" CreationDate="2011-01-23T18:10:59.097" UserId="63" Text="Hello again all fellow sound designers!&#xD;&#xA;&#xD;&#xA;I post this to present to you my latest work in progress. Its in the form of a game by my team Tsimpountiii Games. We submitted our latest game GRAViii at kongregate.com for games made with Unity3D games. &#xD;&#xA;&#xD;&#xA;You can find the game here http://www.kongregate.com/games/tsimpountiii/graviii . Please play the game and vote for it if you like it (that is going to be a great help for us!).&#xD;&#xA;&#xD;&#xA;I used Logic 9 to produce the music and sound effects that you hear in the game and we are going to update the game regularly (next update coming tommorow 99% with more music / effects / levels and bug fixes). I used some recordings i did with my Sony PCM 50, of sea, some streams, and water drips! &#xD;&#xA;&#xD;&#xA;Please leave me some feedback whether you like it or not! Or any ideas you have! &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9808" PostHistoryTypeId="1" PostId="5692" RevisionGUID="8c515254-7ce3-444c-be71-d99407765238" CreationDate="2011-01-23T18:10:59.097" UserId="63" Text="Check my work in progress (Graviii game)" ContentLicense="CC BY-SA 2.5" />
  <row Id="9809" PostHistoryTypeId="3" PostId="5692" RevisionGUID="8c515254-7ce3-444c-be71-d99407765238" CreationDate="2011-01-23T18:10:59.097" UserId="63" Text="&lt;design&gt;&lt;games&gt;&lt;video-games&gt;&lt;game&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9810" PostHistoryTypeId="5" PostId="5690" RevisionGUID="6c8cac76-abeb-4592-b47d-5ad787e08c3f" CreationDate="2011-01-23T18:12:34.717" UserId="182" Comment="added 127 characters in body" Text="Mythbusters has an episode where they search for the so-called brown note: a frequency that supposedly triggers loss of bowel control.&#xD;&#xA;&#xD;&#xA;Starts after a minute or so. Their attempts are unfruitful even though they tested from 5 Hz up to 100 Hz.&#xD;&#xA;&#xD;&#xA;[youtube]http://www.youtube.com/watch?v=GL2zK8cpkdY[/youtube]&#xD;&#xA;http://www.youtube.com/watch?v=GL2zK8cpkdY&#xD;&#xA;&#xD;&#xA;[youtube]http://www.youtube.com/watch?v=piLoZ-eihXM[/youtube]&#xD;&#xA;http://www.youtube.com/watch?v=piLoZ-eihXM&#xD;&#xA;&#xD;&#xA;Edit: the youtube tags seem broken?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9811" PostHistoryTypeId="2" PostId="5693" RevisionGUID="51662eb6-2438-41e7-9d50-f844362b50de" CreationDate="2011-01-23T18:54:01.873" UserId="831" Text="Hi!&#xD;&#xA;You might also check some of these noise labels and sites. That might be good starting point for your own researches on that kind of music. Just to get you some input and inspiration.&#xD;&#xA;&#xD;&#xA;NoFunFest New York - annual Noise Festival held in Brookly, New York; check out their previous lineups too!&#xD;&#xA; - http://www.nofunfest.com/ &#xD;&#xA;&#xD;&#xA;**Two discussions on that topic on DIS**&#xD;&#xA; - http://drownedinsound.com/community/boards/music/4215886 and  http://drownedinsound.com/community/boards/music/4266241&#xD;&#xA;&#xD;&#xA;**Labels / Mailorder and the like:**&#xD;&#xA;&#xD;&#xA;Southern Records - [http://www.southern.net/][1]&#xD;&#xA;&#xD;&#xA;Haesten &amp; Korset - [http://hastenochkorset.blogspot.com/][2]&#xD;&#xA;&#xD;&#xA;Econore - [http://www.econore.com][3] &#xD;&#xA;&#xD;&#xA;Hospital Productions - [http://hospitalproductions.net/][4]&#xD;&#xA;&#xD;&#xA;A-Musik - [http://www.a-musik.com/][5]&#xD;&#xA;&#xD;&#xA;NotNotFun - [http://www.notnotfun.com/][6]&#xD;&#xA;&#xD;&#xA;Licht-ung - [http://www.licht-ung.de/][7] &#xD;&#xA;&#xD;&#xA;Toxic Factory Records -[http://toxicfactoryrecords.blogspot.com/][8] &#xD;&#xA;&#xD;&#xA;Slowboy - [http://www.slowboy.de/][9]&#xD;&#xA;&#xD;&#xA;there are a lot more! Those were just the ones that popped in my mind now...&#xD;&#xA;&#xD;&#xA;Hope that helps and you didn't already knew this. And ifyou have any sounds to listen to, tell us where we can hear it!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.southern.net/&#xD;&#xA;  [2]: http://hastenochkorset.blogspot.com/&#xD;&#xA;  [3]: http://www.econore.com&#xD;&#xA;  [4]: http://hospitalproductions.net/&#xD;&#xA;  [5]: http://www.a-musik.com/&#xD;&#xA;  [6]: http://www.notnotfun.com/&#xD;&#xA;  [7]: http://www.licht-ung.de/&#xD;&#xA;  [8]: http://toxicfactoryrecords.blogspot.com/&#xD;&#xA;  [9]: http://www.slowboy.de/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9812" PostHistoryTypeId="2" PostId="5694" RevisionGUID="33bada46-a416-4e03-aefa-8ca3f08744e8" CreationDate="2011-01-23T19:04:57.053" UserId="812" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I love working with drum samples but to give rhythm tracks my own character I also like to layer up synthesized drums and manipulate the parameters in real time. Sometimes I'll make sounds by hand using an analog modular or something similar but more and more these days I find I am using software.&#xD;&#xA;&#xD;&#xA;I'm looking for recommendations for good quality drum synth plugins for OS X (and also synths that are particularly useful for percussion).&#xD;&#xA;&#xD;&#xA;So far I've found the following software interesting for various reasons:&#xD;&#xA;&#xD;&#xA;[ImageLine DrumAxx][1]&#xD;&#xA;&#xD;&#xA;[AudioSpillage DrumSpillage][2]&#xD;&#xA;&#xD;&#xA;[LogicPro Sculpture][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Anything I'm missing? I'm not too interested in 'realism' but I like a lot flexibility for creating original sounds and excellent audio quality.&#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;Iais&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.image-line.com/documents/drumaxx.html&#xD;&#xA;  [2]: http://www.audiospillage.com/drumspillage.php&#xD;&#xA;  [3]: http://www.apple.com/sg/logicpro/sculpture.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="9813" PostHistoryTypeId="1" PostId="5694" RevisionGUID="33bada46-a416-4e03-aefa-8ca3f08744e8" CreationDate="2011-01-23T19:04:57.053" UserId="812" Text="Drum Synthesis Recommendations for OS X" ContentLicense="CC BY-SA 2.5" />
  <row Id="9814" PostHistoryTypeId="3" PostId="5694" RevisionGUID="33bada46-a416-4e03-aefa-8ca3f08744e8" CreationDate="2011-01-23T19:04:57.053" UserId="812" Text="&lt;drum&gt;&lt;synthesis&gt;&lt;plugin&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9815" PostHistoryTypeId="2" PostId="5695" RevisionGUID="8bd643fb-cd7b-439f-8cf2-95b5cbfa6298" CreationDate="2011-01-23T19:55:14.760" UserId="793" Text="The first two that spring to mind are Kong (which is part of the [ Propellerhead Reason/Record][1] package) and [Waldorf Attack][2] which is an older plug-in but works really well.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.propellerheads.se/reason5/&#xD;&#xA;  [2]: http://www.waldorfmusic.de/en/archive/attack.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="9816" PostHistoryTypeId="2" PostId="5696" RevisionGUID="8ce553ce-b94f-4d0f-a9e6-486e63a391fc" CreationDate="2011-01-23T20:34:23.583" UserId="6420" Text="Matt's answer was the first two that came to mind to me too! Other than that, it might be worth having a look at http://www.soniccharge.com/microtonic too" ContentLicense="CC BY-SA 2.5" />
  <row Id="9817" PostHistoryTypeId="2" PostId="5697" RevisionGUID="57441870-ed11-4b89-b037-80389c39884e" CreationDate="2011-01-23T22:59:04.843" UserId="587" Text="Ooo ooo! Look at Stylus!&#xD;&#xA;&#xD;&#xA;http://www.spectrasonics.net/instruments/stylusrmx.html&#xD;&#xA;&#xD;&#xA;Spectrasonics have a very good reputation - My fellow sound designers have raved about Spectrasonics Omnisphere as well.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9818" PostHistoryTypeId="2" PostId="5698" RevisionGUID="e466d6f0-0d3a-46b8-8267-8187a41c794f" CreationDate="2011-01-24T00:39:21.233" UserId="414" Text="I'm just a student trying to figure out what to do with my life. While sound design is fascinating, I'm also interested in designing the equipment that makes sound design possible. Does anybody know how one gets into that sort of thing? Are any sound designers building software on the side? Thanks ^_^" ContentLicense="CC BY-SA 2.5" />
  <row Id="9819" PostHistoryTypeId="1" PostId="5698" RevisionGUID="e466d6f0-0d3a-46b8-8267-8187a41c794f" CreationDate="2011-01-24T00:39:21.233" UserId="414" Text="What do you know about people who design audio equipment?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9820" PostHistoryTypeId="3" PostId="5698" RevisionGUID="e466d6f0-0d3a-46b8-8267-8187a41c794f" CreationDate="2011-01-24T00:39:21.233" UserId="414" Text="&lt;hardware&gt;&lt;software&gt;&lt;career-advice&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9821" PostHistoryTypeId="2" PostId="5699" RevisionGUID="d08fd9bd-8a8f-4c29-9a87-250e41561af0" CreationDate="2011-01-24T01:37:46.453" UserId="768" Text="I guess you own to be one with an excellent musical ears, the hearing of nuances knowbody hears. Go to musical school, at first, and choose any instrument you like. At second, you own to be on keen with technology - choose any - digital audio or wooden or metal.. And, at third, create something unusual, say audio plugin, paper violin - you should to be the designer. Good luck!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="9822" PostHistoryTypeId="2" PostId="5700" RevisionGUID="b766bba2-5b97-42b3-829c-bef589d9a2af" CreationDate="2011-01-24T02:20:02.063" UserId="29" Text="There are a lot of different aspects to how musical and audio equipment gets made. The people creating the guts of most pieces of hardware are electrical engineers by training. But the more things get virtualized and modeled in software, that's only half the battle. Then enters the audio programmers, of which there are many different stripes: The DSP algorithm writers, the analog modeling specialists, the FM synthesis addicts, and if you're really focused on this, sometimes one person can do some part of all of that. Then there's the actual user interface and control systems. Of course, every one of these roles needs to be musically inclined, or interested, to some degree, to ensure success. The most brilliant engineer won't sell anything if his devices don't solve some need for his/her users.&#xD;&#xA;&#xD;&#xA;It's way easier to get into writing software that makes sound if you start with existing toolkits that are a bit more visually oriented: Reaktor, Max/MSP, Pd, etc. If you're more comfy coding, you can start playing with Supercollider or cSound. If you're REALLY a developer type, you can write your own sound engines in pretty much whatever you want. There are some sound artists out there, like Richard Devine, who may not make a lot of software himself, but he's commissioned to make patches that show off the capabilities of new hardware and software synths from other manufacturers, which is a neat middle ground.&#xD;&#xA;&#xD;&#xA;I'd recommend looking for interviews with those who were involved with the creation of apps like Reason, some of the virtual instruments in Logic, and Ableton Live...those are just examples of apps released by (current or once) independent groups who would be more open to interviews with gory details, as opposed to the coders who might work at the larger firms out there. I'd also recommend looking into the biographies of such luminaries as Bob Moog, and look for interviews with the likes of David Smith and Roger Linn. &#xD;&#xA;&#xD;&#xA;If it were me, I'd learn about physics, acoustics, and music theory, learn how to program in C++, become a master in Max/MSP, perform music myself, make and master recordings, understand a bit about user experience, and peek into the basics of marketing oneself and one's products. Sound like a lot? We have our whole lives to dedicate to such things. Do your research and you'll surely find something that'll grab your attention and passion...and I'd start there.&#xD;&#xA;&#xD;&#xA;It's a crowded field, but the barrier to entry (available schooling, starting a website for promotion, learning on your own with the internet) is lower than ever. It's a deep road, but I'm a firm believer in having a supremely broad educational base, and this realm is a great example: Knowing a little about all the disciplines that go into making a musical instrument or piece of audio gear, physical or virtual, will give you insights others may lack, and lead you towards making that One Thing No One Has Done Yet which takes the audio world by storm." ContentLicense="CC BY-SA 2.5" />
  <row Id="9823" PostHistoryTypeId="5" PostId="5700" RevisionGUID="2e1c47fd-c96e-4a76-854e-24a17010f63a" CreationDate="2011-01-24T02:25:11.857" UserId="29" Comment="added 43 characters in body; added 88 characters in body" Text="*[such a deep topic! thanks for starting it, but apologies for the wordiness below]*&#xD;&#xA;&#xD;&#xA;There are a lot of different aspects to how musical and audio equipment gets made. The people creating the guts of most pieces of hardware are electrical engineers by training. But the more things get virtualized and modeled in software, that's only half the battle. Then enters the audio programmers, of which there are many different stripes: The DSP algorithm writers, the analog modeling specialists, the FM synthesis addicts, and if you're really focused on this, sometimes one person can do some part of all of that. Then there's the actual user interface and control systems. Of course, every one of these roles needs to be musically inclined, or interested, to some degree, to ensure success. The most brilliant engineer won't sell anything if his devices don't solve some need for his/her users.&#xD;&#xA;&#xD;&#xA;It's way easier to get into writing software that makes sound if you start with existing toolkits that are a bit more visually oriented: Reaktor, Max/MSP, Pd, etc. If you're more comfy coding, you can start playing with Supercollider or cSound. If you're REALLY a developer type, you can write your own sound engines in pretty much whatever you want. There are some sound artists out there, like Richard Devine, who may not make a lot of software himself, but he's commissioned to make patches that show off the capabilities of new hardware and software synths from other manufacturers, which is a neat middle ground.&#xD;&#xA;&#xD;&#xA;I'd recommend looking for interviews with those who were involved with the creation of apps like Reason, some of the virtual instruments in Logic, and Ableton Live...those are just examples of apps released by (current or once) independent groups who would be more open to interviews with gory details, as opposed to the coders who might work at the larger firms out there. I'd also recommend looking into the biographies of such luminaries as Bob Moog, and look for interviews with the likes of David Smith and Roger Linn. &#xD;&#xA;&#xD;&#xA;If it were me, I'd learn about physics, acoustics, and music theory, learn how to program in C++ (or at least ObjectiveC to do work on iOS), become a master in Max/MSP, perform music myself, make and master recordings, understand a bit about user experience, and peek into the basics of marketing oneself and one's products. Sound like a lot? We have our whole lives to dedicate to such things. Do your research and you'll surely find something that'll grab your attention and passion...and I'd start there.&#xD;&#xA;&#xD;&#xA;It's a crowded field, but the barrier to entry (available schooling, starting a website for promotion, learning on your own with the internet) is lower than ever. It's a deep road, but I'm a firm believer in having a supremely broad educational base, and this realm is a great example: Knowing a little about all the disciplines that go into making a musical instrument or piece of audio gear, physical or virtual, will give you insights others may lack, and lead you towards making that One Thing No One Has Done Yet which takes the audio world by storm." ContentLicense="CC BY-SA 2.5" />
  <row Id="9824" PostHistoryTypeId="2" PostId="5701" RevisionGUID="239aef9c-87c9-4383-b012-6e1146dc91d1" CreationDate="2011-01-24T07:56:33.440" UserId="37" Text="technically infrasound needs high intensity/volume to &quot;work&quot;, no?&#xD;&#xA;i wouldn't class these as psychoacoustic tricks. if 8 hz stops your heart from beating normally, it, ahem, sounds quite physical to me..&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9825" PostHistoryTypeId="2" PostId="5702" RevisionGUID="817e18aa-8f00-428e-8b4e-a9e3eb0ce600" CreationDate="2011-01-24T09:30:11.860" UserId="18" Text="If you're using Logic Pro (You didn't mention what DAW you use), it has a built in drum synth/drum machine instrument called Ultrabeat" ContentLicense="CC BY-SA 2.5" />
  <row Id="9826" PostHistoryTypeId="2" PostId="5703" RevisionGUID="eac45cad-ab66-4ec0-bc57-eb6ca5999f3c" CreationDate="2011-01-24T11:42:11.963" UserId="791" Text="Dear all, thanks for all answers sincerely. I found ChrisEngineAudio's reply quite helpful. I took some days out with zoom h4n + ntg 2 for field recording (birds, waves, winds, etc) and i was quite satisfied with volume level of results. So now i assume zoom h4n has better preamp function than zoom h4 and I'm going to sell my zoom h4 and buy used zoom h4n. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9827" PostHistoryTypeId="2" PostId="5704" RevisionGUID="668b3fb9-2438-46b4-be33-acbf2818c5a7" CreationDate="2011-01-24T13:48:54.370" UserId="373" Text="Anyone know of anywhere I can buy a Mojo SDI DVI - 7 BNC cable from in the UK? Can only find a couple of places via google and they both want to charge a fortune for postage! Theres no way it costs 10 pounds to post a cable!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9828" PostHistoryTypeId="1" PostId="5704" RevisionGUID="668b3fb9-2438-46b4-be33-acbf2818c5a7" CreationDate="2011-01-24T13:48:54.370" UserId="373" Text="Mojo SDI Cables" ContentLicense="CC BY-SA 2.5" />
  <row Id="9829" PostHistoryTypeId="3" PostId="5704" RevisionGUID="668b3fb9-2438-46b4-be33-acbf2818c5a7" CreationDate="2011-01-24T13:48:54.370" UserId="373" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9830" PostHistoryTypeId="2" PostId="5705" RevisionGUID="dc06ff82-ade1-45d6-acd5-1f304147c231" CreationDate="2011-01-24T14:43:39.287" UserId="238" Text="Not sure if this'll help, but you might want to try the following sites:&#xD;&#xA;&#xD;&#xA;[Creative Video][1]&#xD;&#xA;&#xD;&#xA;[Blue Cow Cables][2] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.creativevideo.co.uk/index.php?t=category//Cables//&#xD;&#xA;  [2]: http://www.bluecowcables.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9831" PostHistoryTypeId="2" PostId="5706" RevisionGUID="75ed6ab4-593c-494c-b606-2d96516eb911" CreationDate="2011-01-24T14:44:22.170" UserId="220" Text="It really depends on what you're talking about.&#xD;&#xA;&#xD;&#xA;Software design - this can really vary but you do need a strong programming background.  Know your C languages, visual coding, etc.  Really a computer science degree would be the best thing for a full time career.  In addition, I would get some circuits and DSP classes in to augment your knowledge.  This should be enough, then you just need to go courting the companies you really wish to work for.&#xD;&#xA;&#xD;&#xA;Hardware design - this, in my opinion, is a much more difficult route.  It generally requires an electrical engineering degree, with the possibility of some graduate work.  You need to understand electronics, circuit design, DSP, etc.  It is very math-heavy.  In addition, it would help to have a graduate degree in acoustics.  This can vary - check [this link][1] on what Georgia Tech requires for an acoustic engineering degree.&#xD;&#xA;&#xD;&#xA;I would also recommend going to Monster.com, searching for &quot;audio&quot;, and seeing the job requirements of a job you might like.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://users.ece.gatech.edu/mleach/acoustic/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9832" PostHistoryTypeId="2" PostId="5707" RevisionGUID="715c9175-9148-405d-952b-c9030af61fd6" CreationDate="2011-01-24T20:16:17.283" UserId="270" Text="Apart from the obvious stuff like preamp/converter quality &amp; size/weight, what useful new features should be invented in the next few years?&#xD;&#xA;&#xD;&#xA;I would like;&#xD;&#xA;&#xD;&#xA; - Custom rules to stop &amp; start recording - e.g. when an input level above -20dB is detected between 3-4am, start recording until it goes below -20db for 10 minutes.&#xD;&#xA;&#xD;&#xA; - Ability to take one mic input and route it to more than one preamp (so you can record a high &amp; low gain version of the mic source)&#xD;&#xA;&#xD;&#xA; - GPS which writes your location &amp; altitude to metadata during recording, with regular updates in case you move.  GPS changes the clock when you cross a time zone.&#xD;&#xA;&#xD;&#xA; - Ability to create custom shortcuts/macros for the most easily accessible buttons&#xD;&#xA;&#xD;&#xA; - Voice recognition to operate the recorder&#xD;&#xA;&#xD;&#xA; - Ability to control every function remotely - via a smart phone app, a computer on the internet, a dedicated radio control (with level meters and a display)&#xD;&#xA;&#xD;&#xA; - Wireless network interface (internet or lan) to transfer recordings to my computer, and to use remote computers as a recording medium.&#xD;&#xA;&#xD;&#xA; - Ability to store metadata during recording which tracks every change of setting made by the user over time, including gain on the preamps.  &#xD;&#xA;&#xD;&#xA; - Monitoring delay function - e.g. when im recording loud impacts I could add a 2 second delay so i can hear the recorded sound without hearing the actual thing simultaneously. (like confidence monitoring i suppose but more customisable)&#xD;&#xA;&#xD;&#xA; - Ability to charge mobile telephones &amp; usb devices.&#xD;&#xA;&#xD;&#xA; - Measure air temperature &amp; humidity, and regularly stamp the info into metadata during recording (and warning messages when temperature is too high/low for the unit to work properly)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Are there any devices that can do this stuff already ?&#xD;&#xA;&#xD;&#xA;If someone made a product with all those features I might give up my sound devices recorder.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9833" PostHistoryTypeId="1" PostId="5707" RevisionGUID="715c9175-9148-405d-952b-c9030af61fd6" CreationDate="2011-01-24T20:16:17.283" UserId="270" Text="How will portable recorders improve in the future?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9834" PostHistoryTypeId="3" PostId="5707" RevisionGUID="715c9175-9148-405d-952b-c9030af61fd6" CreationDate="2011-01-24T20:16:17.283" UserId="270" Text="&lt;portable-recorder&gt;&lt;future&gt;&lt;hardware&gt;&lt;ideas&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9835" PostHistoryTypeId="2" PostId="5708" RevisionGUID="9b513732-88f8-48d7-811f-bbaac89f8fd8" CreationDate="2011-01-24T21:29:49.930" UserId="37" Text="pocket:&#xD;&#xA; built in camera for visual tagging,&#xD;&#xA; silent buttons/no handling noise, &#xD;&#xA; on-board editing/trimming, as soon as apple give up their clickwheel patent.. &#xD;&#xA;pro:&#xD;&#xA; replay while recording. &#xD;&#xA; suggestion of optimal position related to source.&#xD;&#xA; wireless access/tethering so the files are available immediately for post.&#xD;&#xA;&#xD;&#xA;.." ContentLicense="CC BY-SA 2.5" />
  <row Id="9836" PostHistoryTypeId="2" PostId="5709" RevisionGUID="ce2d373d-0fa4-46ad-9ee1-573503e25afe" CreationDate="2011-01-24T23:37:01.483" UserId="29" Text="My wish list beyond what's been mentioned (wireless and geotagging are my faves):&#xD;&#xA;&#xD;&#xA; - Removable faceplate. All controls and meters, and headphone jack, remain on the faceplate. This would greatly facilitate easy access to control surfaces while tucking away the main recorder, either for reasons of stealth or environmental protection (from rain, etc.). Wired acceptable, but via Bluetooth would be even better.&#xD;&#xA; - Ability to always and ever record a duplicate channel for every primary channel that's -N dB lower than the channel you seem to be recording. Not unlike how Sony handles anti-distortion recording in its portables, but perhaps with user-controllable offsets. Would be great for gun and vehicle shoots!&#xD;&#xA; - If wirelessly enabled, hook up to an algorithmic, cloud-based speech-to-text service for automatic transcription. With timecode, if stripped into the recording, based on the recorder's capabilities." ContentLicense="CC BY-SA 2.5" />
  <row Id="9837" PostHistoryTypeId="5" PostId="5708" RevisionGUID="6f959b14-700e-4996-b602-8253ddff1c07" CreationDate="2011-01-25T00:57:55.343" UserId="37" Comment="added 172 characters in body" Text="pocket:&#xD;&#xA;&#xD;&#xA; - built in camera for visual tagging,&#xD;&#xA; - silent buttons/no handling noise,&#xD;&#xA; - on-board editing/trimming, as soon as&#xD;&#xA;   apple give up their clickwheel&#xD;&#xA;   patent..&#xD;&#xA;&#xD;&#xA;pro:&#xD;&#xA;&#xD;&#xA; - instant replay while recording.&#xD;&#xA; - suggestion of optimal mic position&#xD;&#xA;   related to source.&#xD;&#xA; - wireless access/tethering so the&#xD;&#xA;   files are available immediately for&#xD;&#xA;   post.&#xD;&#xA;&#xD;&#xA;.. btw Sony's PCM-D1/D50/M10 range already use a backup track of -20/-12dB lower level, it's just not recorded on the medium.. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9838" PostHistoryTypeId="2" PostId="5710" RevisionGUID="a4787c44-031d-434e-a1a3-4528c5d3860d" CreationDate="2011-01-25T01:44:18.883" UserId="812" Text="Thanks for all the input. I'm leaning heavily towards Drumspillage - it has a deep and 'modern' sound to my ears and I'm coming up with some very interesting and original kits with it pretty quickly. Actually, I love it!&#xD;&#xA;&#xD;&#xA;Thanks, Iais" ContentLicense="CC BY-SA 2.5" />
  <row Id="9839" PostHistoryTypeId="2" PostId="5711" RevisionGUID="4a87d3a0-ee3c-448d-ae13-fb7cabfc1c21" CreationDate="2011-01-25T09:27:41.000" UserId="832" Text="Hi&#xD;&#xA;&#xD;&#xA;Get the program sound booth.&#xD;&#xA;&#xD;&#xA;It may help you. &#xD;&#xA;contact me and ill do my best to help out&#xD;&#xA;&#xD;&#xA;nytyly@gmail.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="9840" PostHistoryTypeId="2" PostId="5712" RevisionGUID="6488338a-4608-4341-a61b-56d3ef5b1f11" CreationDate="2011-01-25T11:04:05.150" UserId="37" Text="Cassette tapes do have a lot of hiss, compared to modern day digital audio.. Old home cassettes do degrade and in the worst scenario you will only get one go of playback.&#xD;&#xA;&#xD;&#xA;Provided that your cassettes are mechanically OK (i.e. all the bits are in there, especially the one that presses the tape gently against the playhead), it's a case of cleaning the playhead, and adjusting it so it's aligned vertical/perpendicular to the tape/play-direction, or at least aligned with the head that recorded the material. A scary process if your tape is falling apart. Normally you shouldn't need to adjust this, but we're talking a time distance of 40 years...&#xD;&#xA;&#xD;&#xA;Record in 24bit. Disengage all noise reduction on the deck, modern day plugins will beat it in 9 cases out of 10. Also turn off any EQ/Loudness. Focus on getting the best possible sound into the computer first. &#xD;&#xA;&#xD;&#xA;Once you're past that point, look for EQ, multiband dynamic processors, a bit of gating.. even spectral noise reduction. There are professional tools on the market (RX !!) but they cost hard cash." ContentLicense="CC BY-SA 2.5" />
  <row Id="9841" PostHistoryTypeId="2" PostId="5713" RevisionGUID="0df4cddc-be55-475e-8539-bef6e6736219" CreationDate="2011-01-25T15:28:31.303" UserId="808" Text="For &quot;wind&quot; and &quot;pops&quot;, use your ear, you'll need to filter out around 150hz and below, but depends on the case! &#xD;&#xA;&#xD;&#xA;A good HP filter plugin should do it. If it's on vocals, it's easy to zoom in to the first ms. of a word, and you'll &quot;see&quot; the wind distortion. See if you can just apply the filter to that first section without filtering out the whole track, that way you get to keep some of the vocal's body. &#xD;&#xA;You might experience clicks after applying the filter in such a way: try to select the waveform in a way where a whole cycle is selected: that should help with the clicks.&#xD;&#xA;&#xD;&#xA;Mind me asking why you're &quot;mixing in Dolby&quot;?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9842" PostHistoryTypeId="2" PostId="5714" RevisionGUID="14006755-0325-4d19-be91-fac77d037bf5" CreationDate="2011-01-25T15:57:26.557" UserId="808" Text="I use my ear. I wouldn't use plugins to compensate for missing frequencies or different speaker &quot;colour&quot;. &#xD;&#xA;My monitors at home- HS 50's http://www.uniquesquared.com/eBayImgs/yamaha_hs50m_pair_thumb.jpg &#xD;&#xA;are quite flat:  http://www.moozek.com/postsfiles/hs50m/hs50m-vs-ns10.jpg &#xD;&#xA;When I go to a dubbing studio, I notice the speakers there have much stronger low-frequency response, so I've adjusted this by simply using a sub-woofer at home to compensate for the missing frequencies of the HS50s. &#xD;&#xA;Other than that, there's not much more I can do, since my room is completely different than the studios I work in and even the nearfield monitors are very different.&#xD;&#xA;In the end, I simply play the mix through different sets of speakers at home to get a sense of what it's sounding like. Dubbing studios are great for mixing, but they are quite unique, and if a mix is good at home and your friends studio, played with different speakers, you can't be far off! " ContentLicense="CC BY-SA 2.5" />
  <row Id="9843" PostHistoryTypeId="2" PostId="5715" RevisionGUID="5bc26afd-17b0-44b8-b78c-45eb4e1925a3" CreationDate="2011-01-25T16:11:30.510" UserId="808" Text="I would do what Unicity suggested. A main sine at a specific frequency and a second or more not so loud, coming in and out at very close frequency match. It'll create the beat he mentioned.&#xD;&#xA;&#xD;&#xA;Because of the high frequency nature of these rings, people might not pick it up if you try and reproduce the real thing. **Try bringing the frequency/cies down to around 7k and you'll get the desirable effect without losing prominence.**&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9844" PostHistoryTypeId="5" PostId="5715" RevisionGUID="0f5ef086-24b2-4ce7-9b97-552a78e6f6d6" CreationDate="2011-01-25T21:47:52.500" UserId="808" Comment="added 1 characters in body" Text="I would do what @Unicity suggested. A main sine at a specific frequency and a second or more not so loud, coming in and out at very close frequency match. It'll create the beat he mentioned.&#xD;&#xA;&#xD;&#xA;Because of the high frequency nature of these rings, people might not pick it up if you try and reproduce the real thing. **Try bringing the frequency/cies down to around 7k and you'll get the desirable effect without losing prominence.**&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9845" PostHistoryTypeId="2" PostId="5716" RevisionGUID="cbca887c-2547-4a55-89a9-2870731b818b" CreationDate="2011-01-25T21:56:14.977" UserId="808" Text="I've used Faderport on Protools 7.3 &amp; 8 without any probs. Good product, good value." ContentLicense="CC BY-SA 2.5" />
  <row Id="9846" PostHistoryTypeId="2" PostId="5717" RevisionGUID="34e316a2-3664-4d5d-89b1-c9570f1322a9" CreationDate="2011-01-25T22:45:07.573" UserDisplayName="user49" Text="I rely on experience - once you have taken material from your own studio to a dub stage a few times you soon can feel comfortable if its translating well (or if not do something about it). I use JBL LSR 5.1 speakers and they have always translated well. Of course there is a difference, there is a lot of air in a room the size of a dub stage/theatre.... so I don't work in near field, more mid field - my head is 4m or so from the front speakers &amp; sub.&#xD;&#xA;&#xD;&#xA;But there is a big difference mixing/balancing in a small room vs a dub stage. Pans for a start are just approximate in a small room eg if you panning an object from L-&gt;C-&gt;R in a  small room that pan is physically say 4m whereas on a dub stage that pan is more like 25m so your perception of position is much higher resolution....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9847" PostHistoryTypeId="2" PostId="5718" RevisionGUID="62055c41-adfa-4d60-86ac-6d2098625c6b" CreationDate="2011-01-25T22:55:06.667" UserDisplayName="user49" Text="I'd like a wireless version of Sound Devices C.Link ie wireless sample accurate sync between multiple recorders especially for situations when there are multiple recordists capturing the same material from different perspectives and they may not be within cable distance...&#xD;&#xA;&#xD;&#xA;I'd also like a tiny microphone that actors swallow (or maybe it sticks to a tooth) which constantly records &amp; transmits audio. A bit like an internal radio mic except instead of hiding it in hair or clothes its actually inside the actor. In post you would use some kind of internal body/throat impulse response to regain clean natural sounding dialogue.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9848" PostHistoryTypeId="2" PostId="5719" RevisionGUID="be59de4b-7e5f-4fe1-be08-20ef2af98ea2" CreationDate="2011-01-25T23:53:01.450" UserId="758" Text="I recently picked up some pedals along with a Mackie Vlz 802. &#xD;&#xA;&#xD;&#xA;I was hoping to integrate the pedals with the mackie, and in turn, use them as external effects in Live. I'm aware that I have to connect the mixer to the nio (my interface) by connecting the tape outs on the mackie, to the inputs on the nio. I'm using the outputs 1-2 on the nio for monitoring.&#xD;&#xA;&#xD;&#xA;I'm getting lost in relation to integrating the pedals with the mackie, to Ableton. I'm aware that I could connect the pedals by using the outputs and inputs of the nio, but that means I won't be able to integrate the mackie mixer, as well.&#xD;&#xA;&#xD;&#xA;The mixer is great because it allows more inputs for some of my external gear, but i'd love to be able to use some pedals as external effects with Live.&#xD;&#xA;&#xD;&#xA;Has anyone any ideas of setting this up? How do I setup an external affect in Ableton?&#xD;&#xA;&#xD;&#xA;I'm sorry if this is really basic, but any advice would be greatly appreciated.&#xD;&#xA;&#xD;&#xA;Al.&#xD;&#xA;&#xD;&#xA;Here is a picture of the Mackie:&#xD;&#xA;&#xD;&#xA;http://www.thomann.de/ie/prod_bdb_AR_20 ... ml?image=0&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here's a picture of the Nio:&#xD;&#xA;http://www.thomann.de/ie/prod_bdb_AR_13 ... ml?image=7" ContentLicense="CC BY-SA 2.5" />
  <row Id="9849" PostHistoryTypeId="1" PostId="5719" RevisionGUID="be59de4b-7e5f-4fe1-be08-20ef2af98ea2" CreationDate="2011-01-25T23:53:01.450" UserId="758" Text="Pedals as external effects" ContentLicense="CC BY-SA 2.5" />
  <row Id="9850" PostHistoryTypeId="3" PostId="5719" RevisionGUID="be59de4b-7e5f-4fe1-be08-20ef2af98ea2" CreationDate="2011-01-25T23:53:01.450" UserId="758" Text="&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9851" PostHistoryTypeId="2" PostId="5720" RevisionGUID="c5598bff-7fa7-4d2b-a646-d8ee9b5da08e" CreationDate="2011-01-26T00:45:48.383" UserId="542" Text="Well, your Mackie mixer has an ALT-Out and an aux-out. So connect your external effects to either the alt-out or the aux-out and route them back in via one of the channel input (or via the aux-return).&#xD;&#xA;&#xD;&#xA;(If you use guitar-effect pedals, you will need something to match the impendance, a cheap DI box will work , even if it is not the best solution)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9852" PostHistoryTypeId="2" PostId="5721" RevisionGUID="cb478909-802e-4902-a68a-d9f65c1d05b7" CreationDate="2011-01-26T01:29:22.927" UserId="426" Text="I have some possible production sound work coming up where I would be booming. What type of clothes would be the best to wear? Baggy clothes? Tight clothes? I vaguely remember going over something like that in a class back in college, but I can't remember what was suggested. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9853" PostHistoryTypeId="1" PostId="5721" RevisionGUID="cb478909-802e-4902-a68a-d9f65c1d05b7" CreationDate="2011-01-26T01:29:22.927" UserId="426" Text="Boom op clothing" ContentLicense="CC BY-SA 2.5" />
  <row Id="9854" PostHistoryTypeId="3" PostId="5721" RevisionGUID="cb478909-802e-4902-a68a-d9f65c1d05b7" CreationDate="2011-01-26T01:29:22.927" UserId="426" Text="&lt;boom-pole&gt;&lt;production&gt;&lt;production-sound&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9855" PostHistoryTypeId="2" PostId="5722" RevisionGUID="e0e0374e-732d-4824-a3b3-344e79e69b13" CreationDate="2011-01-26T01:36:37.937" UserId="426" Text="I'm in the midst of some dialog editing for a panel discussion that I recorded for a ministry at church. I've edited a couple panel discussions so far, with varying degrees of success. There are going to be more to come over the next year, so I would like to get a solid workflow down so that I am able to have a faster turnaround.&#xD;&#xA;&#xD;&#xA;I just thought I'd ask what process everyone goes through when beginning a dialog edit. My situation with this edit and future ones will be slightly different than editing for a tv show or film, but any wisdom I can glean from you all would be great!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9856" PostHistoryTypeId="1" PostId="5722" RevisionGUID="e0e0374e-732d-4824-a3b3-344e79e69b13" CreationDate="2011-01-26T01:36:37.937" UserId="426" Text="Workflow question: editing a panel discussion" ContentLicense="CC BY-SA 2.5" />
  <row Id="9857" PostHistoryTypeId="3" PostId="5722" RevisionGUID="e0e0374e-732d-4824-a3b3-344e79e69b13" CreationDate="2011-01-26T01:36:37.937" UserId="426" Text="&lt;dialog&gt;&lt;editing&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9858" PostHistoryTypeId="2" PostId="5723" RevisionGUID="723604ed-f347-4cd4-95ac-466b1c1d97b6" CreationDate="2011-01-26T01:51:22.043" UserId="103" Text="I like baggy pants, because they usually have bigger pockets, but the're no good if &quot;whispy&quot; or rustly, then i  would go with tight pants and utility belt. (they also go better with long-johns if its cold).&#xD;&#xA;Dressing dark may help avoiding reflections showing up in windows etc.&#xD;&#xA;And bring out the comfy shoes of course, and most definitely gloves if its cold. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9859" PostHistoryTypeId="2" PostId="5724" RevisionGUID="047d08a1-78bb-4ae1-905f-aa36e04e435a" CreationDate="2011-01-26T01:58:54.753" UserId="315" Text="I've mixed a few of these roundtable type deals for DVD extras. Some thoughts:&#xD;&#xA;&#xD;&#xA;1) Pick up John Purcell's book on dialog editing if you've never cut dialog before:&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/Dialogue-Editing-Motion-Pictures-Invisible/dp/0240809181&#xD;&#xA;&#xD;&#xA;2) The biggest issue with a panel of multiple speakers is mic bleed. If you leave mics open across the room, you're going to have early reflections in your tracks and lose intelligibility. I like to create a track for each panel member. I'll go through each track one by one, pick the mic each speaker sounds best on, and cut and mute all of the dead air when they aren't speaking; making sure to leave at least one mic open to maintain room tone. &#xD;&#xA;&#xD;&#xA;3) It is much better to mix your dialog without a ton of compression if you can swing it and have the time. Especially since these sorts of things are usually in reverberant theaters etc.. Use fader automation to dig out lines instead of relying on a slamming radio style compressor. I often hear overcompressed dialog when listening to mixes of this sort. Multiband compressors are also your friend on mixes like these, and when set properly can tame roomy build up in the lower mid range on your dialog tracks.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="9860" PostHistoryTypeId="2" PostId="5725" RevisionGUID="9945898a-106a-4310-9fb3-11d5625ebc02" CreationDate="2011-01-26T05:01:09.557" UserId="275" Text="Wear whatever is comfortable and doesn't make any noise. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9861" PostHistoryTypeId="2" PostId="5726" RevisionGUID="2556b8d6-82ee-48f2-9fd7-faff03438383" CreationDate="2011-01-26T05:13:00.190" UserId="833" Text="The Marantz PMD661 has a dual mono recording mode. When enabled, the left channel is recorded normally on the left side, and -20 dB down on the right channel.&#xD;&#xA;&#xD;&#xA;A lot of the features mentioned here... some sound OK, but I like minimalism and simplicity. I want to set levels, hit record, and go." ContentLicense="CC BY-SA 2.5" />
  <row Id="9862" PostHistoryTypeId="2" PostId="5727" RevisionGUID="960a2989-5aab-438e-ae6a-0260209c5980" CreationDate="2011-01-26T05:26:05.647" UserId="817" Text="Wear whatever you feel comfortable in. I wear simple darker tan cargo pants with medium sized pockets on the sides of the legs (Left side pocket for holding my sides [small copies of script for the days scenes], Right side for trash [gum wrappers, used gaff/paper tape, dead batteries]), black heavy duty t-shirts (short and long sleeves; Carhart's never wear out), and very comfortable rugged shoes (I wear very comfortable climbing shoes that have a non squeak sole that lasts forever).&#xD;&#xA;&#xD;&#xA;I also have a utility belt setup with my leatherman/flashlight/scissors/pen holder (small non-stick scissors [usually for cutting topstick, or making small holes inside pocket liners for hiding transmitters], blue push button ball point pen, black &amp; red fine point sharpie [for making notes on the sides]), two small camera pouches for 9v &amp; AA batteries (sometimes your utility sound guy is busy off set and you need new batteries in a pinch for actors wires, or your wireless boom), small headlamp case for my petzl Tikka, small neoprene water bottle case, medium sized utility case (holds sunglasses, quick battery tester, Rycote under &amp; over covers, &amp; a Lectrosonics SM Remote), plus a rock climbers chalk bag (for holding the excess cable from an internally cabled 20 foot boom pole). I roll the extra cable into a small 3 &amp; 1/2 inch &quot;over/under&quot; coil leaving the the side attached to the transmitter (clipped to the utility belt) close to my body and the side leading to the pole away from my body on the opposite side of the bag so I can easily pull more cable free if the pole needs to be lengthened quickly. Also, the chalk bag is centered at the front of my belt so I can easily switch the direction of the boom pole in my hands, depending upon the direction I need to stand to accommodate the camera crew (you always want to face the camera; it's always good practice to see what the camera is doing as you boom a scene, plus camera may need to motion to you for a quick change during a move and you don't want to miss their lead). The utility belt also carries my IFB feed from the sound mixer (so he can tell me when my work sucks; in private).&#xD;&#xA;&#xD;&#xA;I also wear Jersey gloves, the dark brown work glove you buy at home depot for a dollar a pair (6 bucks for a pack of 6; one pair last between 1 - 2 months). These gloves allow me to slide the pole effortlessly and quietly (twisting back &amp; forth/up &amp; down my guide hand [the hand that holds the weight of the pole]) for scenes with fast cues, and they also keep my hands clean for moments when I have to quickly work on an actors wire. Another good thing to do is have the cable from your headphones routed through your shirt. It's uncomfortable at first, but the payoff is that you never get caught on things or other crew members radios as you move during a scene or when you have to run on set for an unexpected &quot;Roll Sound&quot;, while you're eating cheetos at craft service.&#xD;&#xA;&#xD;&#xA;I've been booming with this setup for a few years, detailing it as I go, and it's worked great. I like to be a little over prepared; I'd rather have it and not need it than need it and not have it.&#xD;&#xA;&#xD;&#xA;Good luck, And have fun making sound for movies,&#xD;&#xA;&#xD;&#xA;E. Santiago" ContentLicense="CC BY-SA 2.5" />
  <row Id="9863" PostHistoryTypeId="2" PostId="5728" RevisionGUID="09fd6c65-5aaa-4a42-bb88-cda6b6594f2c" CreationDate="2011-01-26T06:10:17.790" UserId="18160" Text="Small point, but very valid (I've seen an a-list actor curse a boom op for this) I wouldn't wear yellow or something flashy that would distract the actors during the shot." ContentLicense="CC BY-SA 2.5" />
  <row Id="9864" PostHistoryTypeId="13" PostId="3624" RevisionGUID="a3ab5d7b-bddf-4d76-ba4f-509c5e4f3972" CreationDate="2011-01-26T06:17:16.140" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="9865" PostHistoryTypeId="2" PostId="5729" RevisionGUID="8ea46798-5691-4b87-8a85-9f732db28a31" CreationDate="2011-01-26T10:48:45.820" UserDisplayName="user80" Text="Natural fibres, dark colours and no logos.  Your clothes should be silent and you shouldn't have anything in your pockets that can make a noise either.  If you come too close to a light source you don't want any of it to bounce off you.  A funny t-shirt or distinctive logo can be distracting to an actor, keep everything plain.  On set you should blend into the background." ContentLicense="CC BY-SA 2.5" />
  <row Id="9866" PostHistoryTypeId="2" PostId="5730" RevisionGUID="a3b7955e-c3a9-486d-906f-67ccd03490fd" CreationDate="2011-01-26T14:25:12.767" UserId="37" Text="i like sticking a mild gate (-6 to -12db) on every track with a long pre-listen (20ms or more) and tuned to voice. that will get you around having to do fades if you must go on quickly. i'd probably also compress the material in high-threshold,high-ratio style, just to flatten the peaks. 200Hz and near that will be your enemy... &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9867" PostHistoryTypeId="2" PostId="5731" RevisionGUID="8c2b71d7-8354-475f-aa6a-a6d6a3156cbb" CreationDate="2011-01-26T22:52:01.037" UserDisplayName="user80" Text="If you can use downward expansion rather than noise gates as this will make it sound more natural.  You will still need to use compression, but keep it gentle with a fairly fast attack and release.  You will find that people talk over each other so everything has to sound natural.  &#xD;&#xA;&#xD;&#xA;A very simple trick that I like to use is alternate the phase of mics that are next to each other, obviously this depends on the distances between the mics, but it can help with separation.  &#xD;&#xA;&#xD;&#xA;I will also use subtle panning for the mix so that the listeners can use a bit of the cocktail party effect to keep track of who is saying what.&#xD;&#xA;&#xD;&#xA;The last thing is to work in shuffle mode when you are editing and make lots of notes during the recording so that you have a head start with what needs cut out rather than having to transcribe the lot before editing." ContentLicense="CC BY-SA 2.5" />
  <row Id="9868" PostHistoryTypeId="2" PostId="5732" RevisionGUID="81424565-6460-4456-841c-e8aa2d0b4047" CreationDate="2011-01-26T23:53:59.067" UserId="639" Text="I was wondering if anyone has experience doing sound design for some of the many games on the internet like Facebook apps and games or for phone games like angry birds..... Or if someone has info on how to get involved with this type of work. Thanks in advanced. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9869" PostHistoryTypeId="1" PostId="5732" RevisionGUID="81424565-6460-4456-841c-e8aa2d0b4047" CreationDate="2011-01-26T23:53:59.067" UserId="639" Text="Do you have any info. about sound design for small internet based games?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9870" PostHistoryTypeId="3" PostId="5732" RevisionGUID="81424565-6460-4456-841c-e8aa2d0b4047" CreationDate="2011-01-26T23:53:59.067" UserId="639" Text="&lt;game&gt;&lt;design&gt;&lt;internet&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9871" PostHistoryTypeId="2" PostId="5733" RevisionGUID="b0d09bc2-6e0c-41b1-ac8c-a3c04f729996" CreationDate="2011-01-27T01:53:32.083" UserId="455" Text="I haven't done any mixes for broadcast (T.V. ads) before but I'm in the position where I may be called upon to do so.&#xD;&#xA;&#xD;&#xA;I'm using the Waves L2 on my mix aux.  Setting the ceiling at -10dB, and the threshold at 0, I find that my mixes are lowered 10dB overall.  Why is my entire mix effected when the L2 threshold is set at 0?  Clearly the L2 threshold acts differently than a compressor threshold, and the L2 manual didn't answer my question.  Should I compensate by setting the threshold at -10dB as well?  If I do will I potentially distort areas in my signal chain?&#xD;&#xA;&#xD;&#xA;I'm curious as to how you guys use this and other limiters when mixing for TV.  I know the &quot;set your limiter to -10 or -8&quot; part, and I know a lot of people use the L2 limiter.  I guess I missed a step!  This could just be a simple answer, and I'm sure it is, I just feel like I'm missing something obvious here. &#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9872" PostHistoryTypeId="1" PostId="5733" RevisionGUID="b0d09bc2-6e0c-41b1-ac8c-a3c04f729996" CreationDate="2011-01-27T01:53:32.083" UserId="455" Text="Using limiters in a broadcast mix" ContentLicense="CC BY-SA 2.5" />
  <row Id="9873" PostHistoryTypeId="3" PostId="5733" RevisionGUID="b0d09bc2-6e0c-41b1-ac8c-a3c04f729996" CreationDate="2011-01-27T01:53:32.083" UserId="455" Text="&lt;mixing&gt;&lt;broadcast&gt;&lt;television&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9874" PostHistoryTypeId="2" PostId="5734" RevisionGUID="c146c301-3bd6-47ff-82eb-c4395957821d" CreationDate="2011-01-27T02:08:30.207" UserId="432" Text="First off, I found out recently that the L2 does not measure &quot;true peaks,&quot; so your signal may actually be going over that -10dB ceiling. Use the plain old L1 if you want to get a more respectable &quot;brick wall&quot; ceiling (though, to be honest, I'm not positive that it uses &quot;true peaks&quot; either). True peaking refers to issue of intersample peaks, it's a little bit voodoo, a little bit science, but beyond my abilities to explain further.&#xD;&#xA;&#xD;&#xA;I usually set the output max at -10dB, and the threshold at -11 or -11.5&#xD;&#xA;&#xD;&#xA;Second, if you're mixes are being ducked at broadcast, it's probably because the overall perceptual loudness level is to high. In other words, you're mixing too hot. The cheapest method you can use is the Phasescope plug-in that comes with Pro Tools. In the bottom left corner, you can select a setting labelled LEQA. Adjust the measurement time in the lower right hand corner and mix for around -27. This isn't by any means a precise method, but it will get you closer to actual broadcast spec." ContentLicense="CC BY-SA 2.5" />
  <row Id="9875" PostHistoryTypeId="2" PostId="5735" RevisionGUID="c6d67be2-81a9-4146-952f-e2835cd97b5f" CreationDate="2011-01-27T03:27:55.760" UserId="29" Text="I'd recommend specifically reading up on those involved in the *massively multiplayer online ultra-casual gaming* segment of the game industry, or online casual games in general. This should provide a list of studios making the types of games you describe: Simple, easy, fun (one would hope), and targeted well outside the very narrow demographic range of the hardcore gaming world. Zynga's the biggest player, obviously, but I live in Northern California and some days it feels like I can't spit without hitting a small indie casual game developer. :-)&#xD;&#xA;&#xD;&#xA;At that point, after learning about that industry, look at the delivery technologies used: Flash, Java, iOS, etc. etc. etc. etc. It's a super-balkanized industry, technically speaking.&#xD;&#xA;&#xD;&#xA;It's a pretty neat industry. The creative demands are still very high - although the hardcore gamers pooh-pooh it as lightweight, and I disagree, having seen several ultra-casual online games be produced - and juicy technical challenges abound. It's a great place for sound design riddled with personality, humor, and cuteness. (Yknow, making truly, genuinely &quot;cute&quot; is harder than one thinks.) There's a lot of room to groove in the market, which at the same time, because it's so mass-market, can be fickle sometimes.&#xD;&#xA;&#xD;&#xA;Once you get your research done, then it's straight-up, old-school networking and pavement-pounding. Despite my years of trying to prove the contrary, and failing, no industry has effective shortcuts to the inside. Be a good person, a talented mofo, a persistent SOB, and in the right place at the right time with the right collaborators...but, luck favors the prepared, as they say.&#xD;&#xA;&#xD;&#xA;Or, if you're so inclined, learn scripting or lightweight coding or similar and release your own game as a portfolio piece! Great entry point." ContentLicense="CC BY-SA 2.5" />
  <row Id="9876" PostHistoryTypeId="2" PostId="5736" RevisionGUID="c5b454b0-fc5f-46c9-b1b7-81b5f326c6ff" CreationDate="2011-01-27T05:41:11.950" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;Does anyone have any good source information on editing a guide track from location audio on FCP and/or Avid? I am specifically looking for tips on dialogue editing for picture editors when they are creating a guide track for the post sound process. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="9877" PostHistoryTypeId="1" PostId="5736" RevisionGUID="c5b454b0-fc5f-46c9-b1b7-81b5f326c6ff" CreationDate="2011-01-27T05:41:11.950" UserId="348" Text="Editing a guide track" ContentLicense="CC BY-SA 2.5" />
  <row Id="9878" PostHistoryTypeId="3" PostId="5736" RevisionGUID="c5b454b0-fc5f-46c9-b1b7-81b5f326c6ff" CreationDate="2011-01-27T05:41:11.950" UserId="348" Text="&lt;dialogue&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9879" PostHistoryTypeId="2" PostId="5737" RevisionGUID="4a57ad9e-b7d1-4af6-b82f-743a70234aea" CreationDate="2011-01-27T09:29:03.957" UserId="834" Text="I am researching into interfaces and control surfaces for Pro Tools (I may be looking to purchase one in the near future).  &#xD;&#xA;&#xD;&#xA;I'd like the ability to control mixing in pro tools using faders instead of a mouse which is a bit tedious.  I know the Command 8 does this, but the M Audio Project Mixer allows for mic inputs which is very useful.  Which would you say is the best?&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9880" PostHistoryTypeId="1" PostId="5737" RevisionGUID="4a57ad9e-b7d1-4af6-b82f-743a70234aea" CreationDate="2011-01-27T09:29:03.957" UserId="834" Text="Command 8 Interface vs M Audio Project Mixer" ContentLicense="CC BY-SA 2.5" />
  <row Id="9881" PostHistoryTypeId="3" PostId="5737" RevisionGUID="4a57ad9e-b7d1-4af6-b82f-743a70234aea" CreationDate="2011-01-27T09:29:03.957" UserId="834" Text="&lt;audio-interfaces&gt;&lt;controller&gt;&lt;m-audio&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9882" PostHistoryTypeId="2" PostId="5738" RevisionGUID="c77dc2b4-a2e4-44d0-87d7-946c16a65b38" CreationDate="2011-01-27T09:42:05.360" UserId="830" Text="I cannot comment on either but I thought I let you know about something that I have been playing around with as a solution that is really cheap and works for ProTools (and other DAW).&#xD;&#xA;&#xD;&#xA;AC-7 on the iPad&#xD;&#xA;&#xD;&#xA;[http://saitarasoftware.com/Site/Home.html][1]&#xD;&#xA;&#xD;&#xA;I was looking for a control surface the other day and came across this. It works surprisingly well. I am using it for automation at the moment in Cubase, but I'll be working in other environments soon.&#xD;&#xA;&#xD;&#xA;Not an answer to you question sorry, but maybe another option if you have an iPad that could get you out of trouble if you are in a hurry.&#xD;&#xA;&#xD;&#xA;  [1]: http://saitarasoftware.com/Site/Home.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="9883" PostHistoryTypeId="2" PostId="5739" RevisionGUID="8e30e8b8-8088-488a-9cf2-4c4a630075e9" CreationDate="2011-01-27T10:01:23.363" UserId="830" Text="I use a H4 with an NTG-2 all the time and have no problem with levels. Have you made sure that the software gain is turned up. Remember there is the basic hardware gain switches on the side, but also a more fine gain control in the software. I also recommend that you only work with battery for phantom power as the h4 put a high pitch squeal in the signal path which makes it next to useless." ContentLicense="CC BY-SA 2.5" />
  <row Id="9884" PostHistoryTypeId="2" PostId="5740" RevisionGUID="ce58c144-1d79-460a-87ee-3f5360728668" CreationDate="2011-01-27T11:34:51.027" UserId="835" Text="HI! Any ideas on miking techniques for recording an MBIRA in a studio!? akg c414, any other ideas, placement, etc.?! thanks!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9885" PostHistoryTypeId="1" PostId="5740" RevisionGUID="ce58c144-1d79-460a-87ee-3f5360728668" CreationDate="2011-01-27T11:34:51.027" UserId="835" Text="Lamellophone Miking techniques?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9886" PostHistoryTypeId="3" PostId="5740" RevisionGUID="ce58c144-1d79-460a-87ee-3f5360728668" CreationDate="2011-01-27T11:34:51.027" UserId="835" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9887" PostHistoryTypeId="2" PostId="5741" RevisionGUID="df3c4ca1-3315-4b36-9616-4dda336f3375" CreationDate="2011-01-27T12:06:24.190" UserId="801" Text="black outfit for less reflections, leukoplast water resistant tape, cant liv without it" ContentLicense="CC BY-SA 2.5" />
  <row Id="9888" PostHistoryTypeId="2" PostId="5742" RevisionGUID="b9c8cf0a-456a-41eb-b4d8-0e83a024ee98" CreationDate="2011-01-27T12:12:44.850" UserId="221" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I don't think you are comparing like with like the Command 8 is just a control surface and a MIDI interface, it isn't an audio interface. If you want a Command 8 with an audio interface then what you need is a 003 or a secondhand 002 interface from Digidesign.&#xD;&#xA;&#xD;&#xA;Mike." ContentLicense="CC BY-SA 2.5" />
  <row Id="9889" PostHistoryTypeId="2" PostId="5743" RevisionGUID="c57fc7b9-4f52-4a1e-bd35-744e53993317" CreationDate="2011-01-27T15:32:31.357" UserId="836" Text="Hi! I am looking for a decent preamp that would be used mainly for ADR recording and also for some voiceovers. The films that need some ADR are usually shot by MKH 416. It is important to be able to match the sound of the location and the ADR so what I need is a preamp that isnt colorizing too much. Any suggestions?&#xD;&#xA;Thanks " ContentLicense="CC BY-SA 2.5" />
  <row Id="9890" PostHistoryTypeId="1" PostId="5743" RevisionGUID="c57fc7b9-4f52-4a1e-bd35-744e53993317" CreationDate="2011-01-27T15:32:31.357" UserId="836" Text="Mic Preamp for ADR" ContentLicense="CC BY-SA 2.5" />
  <row Id="9891" PostHistoryTypeId="3" PostId="5743" RevisionGUID="c57fc7b9-4f52-4a1e-bd35-744e53993317" CreationDate="2011-01-27T15:32:31.357" UserId="836" Text="&lt;adr&gt;&lt;microphone&gt;&lt;pre-amp&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9892" PostHistoryTypeId="2" PostId="5744" RevisionGUID="3bd3e84c-c90f-4d53-b8bb-dae607b1ffaa" CreationDate="2011-01-27T15:36:13.567" UserId="103" Text="The sound devices mixpre would be a nice choice i think. It's pretty clear sounding, it's very likely to match production sound, AND you can use it for field recording as well as it runs on AA batteries.&#xD;&#xA;I'm getting one very soon and i'm looking forward to compare it to our API 3124" ContentLicense="CC BY-SA 2.5" />
  <row Id="9893" PostHistoryTypeId="2" PostId="5745" RevisionGUID="f6882c19-a32a-4c12-a96c-3f513e2e04b8" CreationDate="2011-01-27T16:37:43.870" UserId="315" Text="[Millenia HV-3][1] is about as flat, low noise, and uncolored as you can get. It would work well for ADR, but most voiceovers are recorded with a preamp with more color.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mil-media.com/products.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="9894" PostHistoryTypeId="2" PostId="5746" RevisionGUID="66ce9c04-c32d-4608-8e10-9cb55aba1847" CreationDate="2011-01-27T18:33:54.617" UserDisplayName="user80" Text="I use the command 8 and it is fine.  I use the 002 as well.  I would suggest getting the Command 8 just now and then the new mbox pro with 4 mic inputs a bit further down the line." ContentLicense="CC BY-SA 2.5" />
  <row Id="9895" PostHistoryTypeId="2" PostId="5747" RevisionGUID="991a7819-de33-45c7-832a-3b58065960e0" CreationDate="2011-01-27T18:36:32.267" UserId="220" Text="I'm not sure which type of mbira you will have - there appear to be a lot of styles and lengths.  If it's very long, I would put a stereo mic directly above (maybe at about 10 - 14 inches), plus a mic to the rear to avoid any hand sounds.  You also want to get a contact mic or (if you don't have one) a small capsule condenser on the resonant surface - you'll get some cool lows off of that which will help you fill out the sound.  What mics do you have available to you?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="9896" PostHistoryTypeId="2" PostId="5748" RevisionGUID="7d9b79f0-b766-47f6-accd-8a9d4c0be41a" CreationDate="2011-01-27T18:52:55.557" UserId="587" Text="From what I understand and practice is that dialog editors get a guide track from picture editors. The dialog editor may get a stereo or mono bounce of all the production audio (the takes that are chosen for picture) in addition to the OMF/AAF output of FCP or Avid.&#xD;&#xA;&#xD;&#xA;The dialog editor can send this guide track to the other editors like foley, sfx etc, but can also finish a dialog edit and send that as the guide track instead of the stereo/mono bounce he/she got earlier from picture edit.&#xD;&#xA;&#xD;&#xA;The process depends on where you work or if you work for yourself.&#xD;&#xA;&#xD;&#xA;Tips for dialog editing, theres a number of good resources/books! Heres one I have used.&#xD;&#xA;http://www.amazon.com/Dialogue-Editing-Motion-Pictures-Invisible/dp/0240809181&#xD;&#xA;&#xD;&#xA;I had to read some of this and it was extremely helpful." ContentLicense="CC BY-SA 2.5" />
  <row Id="9897" PostHistoryTypeId="2" PostId="5749" RevisionGUID="f55dc792-fc8b-454f-bb2a-e5d1bb88a36f" CreationDate="2011-01-27T19:45:00.710" UserId="837" Text="Hi.&#xD;&#xA;&#xD;&#xA;I work for a London Film sound post facility with 3 ADR stages. we use the Millenia HV-3 and it does sound great, but the gain pots are stepped. meaning it cant be ridden during a take.&#xD;&#xA;&#xD;&#xA;we favour the Focusright ISA428. Clean and neutral with unstepped gain and VU needle meters per strip with the option to add a digital A/D card.&#xD;&#xA;&#xD;&#xA;http://www.focusrite.com/uk/community/News/focusrite_announce_isa428_mkii&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Both great sounding pre's, just depends on your recording style." ContentLicense="CC BY-SA 2.5" />
  <row Id="9898" PostHistoryTypeId="2" PostId="5750" RevisionGUID="04d9be55-cadf-4b54-9b6d-339525988780" CreationDate="2011-01-27T19:56:00.037" UserId="194" Text="We cut with john hardy M1s that have integrated metering.  Flat and clean is what you're after.  I'm sure lots of the sound devices pres would work out well too." ContentLicense="CC BY-SA 2.5" />
  <row Id="9899" PostHistoryTypeId="2" PostId="5751" RevisionGUID="0bfc9252-b9d8-444b-ba19-a50c21f04286" CreationDate="2011-01-27T20:53:05.360" UserId="838" Text="This is a proverbial can of worms question. The actual &quot;bounce to disk&quot; command is still flawed even in PT9 HD in many instances. It's always safer to internally reprint to a new audio track. Our production company ALWAYS does this as a work flow. Every session wether music or post centric follows the same path. Bouncing can work well only if there are no live MIDI tracks and little automation. Since bouncing is real time you don't lose any time by reprinting in real time. After the print you just need to export the new region and you're good to go. As for the metering part of your question I agree that most DAW's are flawed in their metering so a third party plug-in like the included TL Master Meter (which is free) works well or even better yet an old school hardware metering solution such as the Dorroughs meters (though pricy). A better thought perhaps is what are you laying back for? Much of our post lays back at -6 while other mediums with picture have other requirements. Hitting 0 is mostly for music only sessions. That said of course there are many different philosophies regarding headroom and dynamic range. I personally feel 0 is too hot and We mix to -3 or 4 to give the mastering engineers headroom to work with. Of course the type of music you are mixing plays a major role in this as well. One last piece of input, if you use the internal print option through an aux track before the print audio track you can apply mastering plug-ins before the print. A little ML4000 or even an L3 can get you to the desired level very simply. We use an L3 in our chain to ensure we DON'T print above the required output level but you can also raise your level with these types of plug-in. I'm not promoting crushing your dynamics to make things louder but these plug-ins when used with some discretion and artistry can get the job done." ContentLicense="CC BY-SA 2.5" />
  <row Id="9900" PostHistoryTypeId="2" PostId="5752" RevisionGUID="6bb12615-d654-4dd9-b38a-c9e373997509" CreationDate="2011-01-27T23:20:26.693" UserId="786" Text="I like to use a preamp which has a little bit of character when driven, like a valve preamp, or using a transistor preamp with a valve microphone. The reason I do this is because it makes a relatively soft microphone sound a bit like a 416.&#xD;&#xA;&#xD;&#xA;I also think it is a bit too difficult for me to work with a shotgun microphone like the 416 in an ADR situation, where I cannot actively control the position of the microphone (unless I can afford a boom operator for the ADR - which never happens on my films). So I use a cardiod microphone like the MKH-50 in order to have a decent pickup pattern. The only exception is when I work in a very large ADR studio, where I can get the mic more than a meter away from the actor.&#xD;&#xA;&#xD;&#xA;The most precious part of dialogue is life, the little errors, the sense of movement. I think you lose that when forcing the actors to stand too still. You need these &quot;errors&quot; if you want the ADR dialogue to match the production sound. It is a lot easier to make the ADR work in the mix by matching up different types of microphones, than it is to make a stiff ADR acting performance work with a vivid on set performance.&#xD;&#xA;&#xD;&#xA;When matching up the ADR to the production sound, I use speakerphone quite a lot. Especially the mic modelling, where you can degrade the microphone. I also use altiverb. I usually make a copy of the sound on another track and audiosuite the copy, in order to get a mono version with a credible reverb, because I need quite a lot of reverb to match the natural reverb of the production sound. &#xD;&#xA;&#xD;&#xA;I can then mix the clean and the processed track until it sounds close to the production sound. I also EQ the ADR dialogue until it matches the production sound.&#xD;&#xA;&#xD;&#xA;I send all of the dialogue, ADR and production sound, to a reverb (at least stereo, sometimes 5.1) which ties it all together (like Lebovski's rug)." ContentLicense="CC BY-SA 2.5" />
  <row Id="9901" PostHistoryTypeId="2" PostId="5753" RevisionGUID="d3cc4bca-b134-4057-8095-edd9a8fd2450" CreationDate="2011-01-27T23:22:19.873" UserDisplayName="user80" Text="Millenia HV-3C is perfect.  You will be able to compress, if necessary afterwards as it has a decent dynamic range with a low noise floor." ContentLicense="CC BY-SA 2.5" />
  <row Id="9902" PostHistoryTypeId="2" PostId="5754" RevisionGUID="738475ea-7abb-4765-8235-226a42ef0d75" CreationDate="2011-01-28T05:24:18.760" UserId="290" Text="I've always been curious about this from a sound design perspective - using pedals creatively instead of in-the-box or rack effects. How does it affect your workflow? I find anything that adds extra steps to the creative process is an inhibitor to experimentation, so I've never bothered throwing up pedals or making the investment.&#xD;&#xA;&#xD;&#xA;Your thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9903" PostHistoryTypeId="2" PostId="5755" RevisionGUID="f18805ea-62b7-48c2-a030-dcd9d4d31967" CreationDate="2011-01-28T11:56:07.663" UserId="117" Text="I've recently bought this Line 6 Bass pod xt live and I've been thinking of using it just to see what I can create. Unfortunately, haven't had the time to do that... I promise once I do, I'll let you know." ContentLicense="CC BY-SA 2.5" />
  <row Id="9904" PostHistoryTypeId="2" PostId="5756" RevisionGUID="114aeb5e-3caa-4b65-b594-e9667b5343cd" CreationDate="2011-01-28T14:27:12.523" UserId="791" Text="hi bruce, thanks for reminding me of software gain. I knew about its use but can't remember whether i adjusted it right when i used external mic. I'll give it a try again. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9905" PostHistoryTypeId="2" PostId="5757" RevisionGUID="10cd0509-aea0-4655-9363-604fcf739202" CreationDate="2011-01-28T14:47:37.387" UserId="238" Text="Anyone who is doing binaural recordings, what mics/setup are you using (makes &amp; models of mics and for setup: binaural head, in-ear etc.) I'm looking at investing in some and would like to have some advice. I know [this question has been asked already][1] but I wanted to re-launch the question to see if we can get some more response.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks in advance.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2147/binaural-recording-and-asset-creation" ContentLicense="CC BY-SA 2.5" />
  <row Id="9906" PostHistoryTypeId="1" PostId="5757" RevisionGUID="10cd0509-aea0-4655-9363-604fcf739202" CreationDate="2011-01-28T14:47:37.387" UserId="238" Text="Binaural Recordings" ContentLicense="CC BY-SA 2.5" />
  <row Id="9907" PostHistoryTypeId="3" PostId="5757" RevisionGUID="10cd0509-aea0-4655-9363-604fcf739202" CreationDate="2011-01-28T14:47:37.387" UserId="238" Text="&lt;binaural&gt;&lt;field-recording&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9908" PostHistoryTypeId="2" PostId="5758" RevisionGUID="3cd5c070-74f5-4d7f-a8ef-617618caaebb" CreationDate="2011-01-28T16:05:44.670" UserId="840" Text="I was on an extremely tight budget (as usual) and I bought [these][1]. For the exra power needed for the electret mics I bought [this][2] and [this][3] to connect it to the inputs on my Zoom H4 recorder.&#xD;&#xA;&#xD;&#xA;With this cheap and cheerful set up I made recordings such as this one [MARKET][4] and this one [XMAS DECORATIONS][5]. The only adjustment to the originals was a bit of Eq to bring out the bass.&#xD;&#xA;&#xD;&#xA;Chris W&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://cgi.ebay.co.uk/BINAURAL-EAR-MOUNTED-ELECTRET-CONDENSER-MICROPHONE-/270504397416?pt=UK_Music_Instruments_Microphones_MJ&amp;hash=item3efb518a68&#xD;&#xA;  [2]: http://cgi.ebay.co.uk/STEREO-MICROPHONE-BATTERY-PHANTOM-POWER-PREAMP-MODULE-/270620193225?pt=UK_Consumer_Professional_RL&amp;hash=item3f023871c9&#xD;&#xA;  [3]: http://www.amazon.co.uk/3-5mm-Stereo-Socket-6-35mm-Adapter/dp/B003OSUY8I/ref=sr_1_37?s=electronics&amp;ie=UTF8&amp;qid=1296230391&amp;sr=1-37&#xD;&#xA;  [4]: http://soundcloud.com/chris-whitehead/whitby-uk-market-stall-being-dismantled-12-12-10&#xD;&#xA;  [5]: http://soundcloud.com/chris-whitehead/musical-xmas-decorations-at-victoria-garden-centre-whitby" ContentLicense="CC BY-SA 2.5" />
  <row Id="9909" PostHistoryTypeId="2" PostId="5759" RevisionGUID="7e1ac548-c103-4347-b338-de730097e03e" CreationDate="2011-01-28T16:20:50.157" UserId="242" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I was wondering what plug-ins would you consider interesting or industry standard to play as MIDI when scoring films with strings. I might use them at some point but my budget is pretty tight!&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Marco" ContentLicense="CC BY-SA 2.5" />
  <row Id="9910" PostHistoryTypeId="1" PostId="5759" RevisionGUID="7e1ac548-c103-4347-b338-de730097e03e" CreationDate="2011-01-28T16:20:50.157" UserId="242" Text="Your favourite strings plug-in?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9911" PostHistoryTypeId="3" PostId="5759" RevisionGUID="7e1ac548-c103-4347-b338-de730097e03e" CreationDate="2011-01-28T16:20:50.157" UserId="242" Text="&lt;plug-ins&gt;&lt;scoring&gt;&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9912" PostHistoryTypeId="2" PostId="5760" RevisionGUID="99b3660a-dd43-46af-820e-eda7cc12fb3e" CreationDate="2011-01-28T16:59:30.550" UserId="629" Text="Synful Orchestra is a great piece of kit! http://www.synful.com/ recommend it. Might be a bit expensive if you're on a tight budget as you say." ContentLicense="CC BY-SA 2.5" />
  <row Id="9913" PostHistoryTypeId="2" PostId="5761" RevisionGUID="3e52fe3a-bde8-4a78-9540-dae5637a7b8f" CreationDate="2011-01-28T17:28:19.573" UserId="18160" Text="Not sure how it works as a plug-in, but I know that most of the short films I mix are scored with Hollywood Strings and LA Strings. That seems to be the standard where I am." ContentLicense="CC BY-SA 2.5" />
  <row Id="9914" PostHistoryTypeId="2" PostId="5762" RevisionGUID="6087e9d6-0adf-4454-bff7-776b677dc92e" CreationDate="2011-01-28T17:37:13.107" UserId="315" Text="[This][1] would be the top end. But I've seen binaural heads built out of mannequin heads as well.&#xD;&#xA;&#xD;&#xA;A lot of folks swear by [Sound Professionals][2] binaural setups, which are way more entry level. I've heard some good recordings made by the headphone model.&#xD;&#xA;&#xD;&#xA;I would also look into making your own set with a couple of matched lavs. [DPA][3] 4060s or 4061s sound great and would serve you well.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.neumann.com/?lang=en&amp;id=current_microphones&amp;cid=ku100_description&#xD;&#xA;  [2]: http://www.soundprofessionals.com/cgi-bin/gold/category/110/mics&#xD;&#xA;  [3]: http://www.dpamicrophones.com/en/products.aspx?c=item&amp;category=128&amp;item=24035" ContentLicense="CC BY-SA 2.5" />
  <row Id="9915" PostHistoryTypeId="2" PostId="5763" RevisionGUID="2dfab754-987f-4165-b8c1-58685cf423af" CreationDate="2011-01-28T17:52:40.463" UserId="827" Text="Thank you Alejandro for your response.  After several days of troubleshooting and I think I figured out the problem.  I hope this might help others in the future.&#xD;&#xA;&#xD;&#xA;SFX 5.6 is apparently very temperamental. After testing and testing, the problem seemed to be following the amp, however when I used a cd player to play through all speakers, it was fine.  I plugged my ipod into the mixer and ran audio through all speakers and that was fine.  I ran audio through SFX again and the problem resurfaced. &#xD;&#xA;&#xD;&#xA;Turns out that, out of the 85 files that I had loaded into SFX for my show, 1 of them had a slightly higher bit rate than the rest. However, I hadn't checked this because I wasn't using the file in the show and all the files I was actually using were all the same bit rate and sample rate. I have had problems in the past with SFX doing weird things when all of its files don't have the exact same sample and bit rates, so I deleted the file and poof, like magic, I haven't had a problem since. &lt;Knock on Wood&gt;..." ContentLicense="CC BY-SA 2.5" />
  <row Id="9916" PostHistoryTypeId="5" PostId="5671" RevisionGUID="3fe8ecee-6f0f-42fe-b30d-d3e94ce48421" CreationDate="2011-01-28T17:54:52.397" UserId="827" Comment="added 10 characters in body" Text="What would cause an amp to all of a sudden start sending a signal at a higher pitch and a faster speed?  &#xD;&#xA;&#xD;&#xA;    The System:&#xD;&#xA;    &#xD;&#xA;    Base System&#xD;&#xA;    Dell PC w/ SFX 5.60 build 24 -&gt; echo gina 24/96 -&gt; a&amp;h wz14:4:2+ ---&#xD;&#xA;    &#xD;&#xA;    Amps&#xD;&#xA;    ---&gt; mackie fr series m1200 -&gt; 2 ev sx300's&#xD;&#xA;    ---&gt; mackie fr series m800  -&gt; 2 apogee acs-1's&#xD;&#xA;    ---&gt; DBX 1231 Graphic EQ (functioning as a gate for freq. below 100hz) -&gt; tapco j1400 -&gt; JBL SR4725&#xD;&#xA;&#xD;&#xA;Everything has worked just fine.  I played an effect that comes through all 5 speakers and it sounded fine.  I stopped it, adjusted volumes in SFX, then replayed and the sound was out of sync.  After a lot of system testing, the mackie m1200 seems to be sending the signal at a faster rate and at a higher pitch than the others.  This literally happened out of know where without anyone touching the amps or system configuration.  &#xD;&#xA;&#xD;&#xA;Any insight into what is happening would be wonderful. Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="9917" PostHistoryTypeId="2" PostId="5764" RevisionGUID="42c95acc-b76d-4d75-a2b4-525a613b6c5b" CreationDate="2011-01-28T18:17:40.487" UserId="587" Text="Im used to creating an Engine for a vehicle/ship in Wwise or Fmod where you can pull velocity variables to crossfade between engine loop speeds. Even start and stop with a skid sfx if you wanted. Furthermore, to process it with EQ's and other DSP given other variables as well.&#xD;&#xA;&#xD;&#xA;In UDK, I have pulled velocity information to determine whether or not a swimming loop plays in water if you are moving or standing still. This was done in Kismet and not the Cue Editor.&#xD;&#xA;&#xD;&#xA;So I am a bit stumped in UDK how to create an adaptive engine noise. Is there a way to crossfade between audio loops? Do I need to use Kismet again or can I use solely the Cue Editor? Right now I just have figured they limit you to 1 engine loop, and a start and stop sound.&#xD;&#xA;&#xD;&#xA;Any ideas?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9918" PostHistoryTypeId="1" PostId="5764" RevisionGUID="42c95acc-b76d-4d75-a2b4-525a613b6c5b" CreationDate="2011-01-28T18:17:40.487" UserId="587" Text="Adaptive Engine - UDK" ContentLicense="CC BY-SA 2.5" />
  <row Id="9919" PostHistoryTypeId="3" PostId="5764" RevisionGUID="42c95acc-b76d-4d75-a2b4-525a613b6c5b" CreationDate="2011-01-28T18:17:40.487" UserId="587" Text="&lt;udk&gt;&lt;gameaudio&gt;&lt;implementation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9920" PostHistoryTypeId="2" PostId="5765" RevisionGUID="2a772715-c34e-4fcd-ac3e-31b12dba47df" CreationDate="2011-01-28T20:30:01.423" UserId="841" Text="I have  a pair of 4060 on a kit by [Core-Sound][1], &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;They sound very rich and good in the low end. Very low profile too!&#xD;&#xA;&#xD;&#xA;I have another [kit][2] of binaurals by Core-sound, They are less sensitive with less bass and high's.  The high end binaurals with the DPA 4060 are really better.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.core-sound.com/bk/1.php&#xD;&#xA;  [2]: http://www.core-sound.com/mics/1.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="9921" PostHistoryTypeId="2" PostId="5766" RevisionGUID="9ff4f070-9160-4059-97c4-de24e9c38c05" CreationDate="2011-01-28T22:30:16.930" UserId="18160" Text="Hello everyone.&#xD;&#xA;&#xD;&#xA;I am right now mixing a promotional video for a band's album and the lead singer did some voice over to be put in at the beginning over a montage with a song from the album playing under him.&#xD;&#xA;&#xD;&#xA;It was recorded with the same mic as was used for the lead vocal of the album (a modified U-47) and so it's a bit duller than what I would like to sit in the mix as a VO.&#xD;&#xA;&#xD;&#xA;I unfortunately don't have the greatest analog EQs available to me (right now it's a choice of Euphonix channels, APIs and a few old Klark Tekniks) and I am trying to add more presence to the voice.&#xD;&#xA;&#xD;&#xA;As of now I have notched out the &quot;CH&quot;s (2.4K to 3.5K), the honk (700 to 900) and the boominess (200-250), and it sounds a bit too dull.&#xD;&#xA;&#xD;&#xA;The EQs I have tried on it already just add back the sibilance and not a nice airy, natural, pleasing presence that my other room is set up for.&#xD;&#xA;&#xD;&#xA;Does anyone have any suggestions as to add back that nice airy presence without adding back in the dirty, spitty sibilance other than adding top with EQ?&#xD;&#xA;&#xD;&#xA;I've gone through a few chamber reverb presets and it's just not jiving.&#xD;&#xA;&#xD;&#xA;Your suggestions and tales of experience is greatly appreciated." ContentLicense="CC BY-SA 2.5" />
  <row Id="9922" PostHistoryTypeId="1" PostId="5766" RevisionGUID="9ff4f070-9160-4059-97c4-de24e9c38c05" CreationDate="2011-01-28T22:30:16.930" UserId="18160" Text="Alternative ways of adding presence to a voice than just EQ." ContentLicense="CC BY-SA 2.5" />
  <row Id="9923" PostHistoryTypeId="3" PostId="5766" RevisionGUID="9ff4f070-9160-4059-97c4-de24e9c38c05" CreationDate="2011-01-28T22:30:16.930" UserId="18160" Text="&lt;voice&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9924" PostHistoryTypeId="2" PostId="5767" RevisionGUID="8e93d2f1-464e-48f7-8a93-4eb2b13f5bd4" CreationDate="2011-01-28T22:49:57.960" UserId="786" Text="Have you tried an exciter like the BBE maximizer?&#xD;&#xA;&#xD;&#xA;What about lifting from 6k to 12-14k? Above the sibilance?&#xD;&#xA;&#xD;&#xA;Soundsoap has an &quot;enhancement&quot; slider which does a bit of exciting, but be prepared to eq it afterwards." ContentLicense="CC BY-SA 2.5" />
  <row Id="9925" PostHistoryTypeId="2" PostId="5768" RevisionGUID="39029a5c-3c74-4437-84f7-76b7600c0ca5" CreationDate="2011-01-28T23:40:51.380" UserId="19" Text="The best way I have found to make an engine loop in a UDK soundcue is through a combination of concatenators and continuous modulators.  The concatenator node will trigger one sound after another so use this to transitions between your start and engine_idle. Or have start and engine_loop trigger separately from code. &#xD;&#xA;&#xD;&#xA;To loop and pitch your engine use a looping node and continuous modulator into the second input of the concatenator.  The continuous modulator uses a float parameter that can be changed from code to drive pitch and volume.   This node has Min/Max values for input and output, as RPM increases so does the pitch.  Reference the UDK hoverboard or most vehicles for an example of how they use the continuous modulator for vehicle engines.  The stop sound is triggered from a separate cue when the player leaves the vehicle.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://img251.imageshack.us/img251/8180/udkengineexample.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="9926" PostHistoryTypeId="2" PostId="5769" RevisionGUID="78c71575-a823-4567-810d-fcba9bf66a5c" CreationDate="2011-01-29T00:33:12.477" UserId="838" Text="The chain we use to track both ADR and dialog/VO is a u87 through an Avalon. That chain is somewhat of an industry standard in both game and film work. The Avalon does color the sound a bit (but in a way we like!) so if you really want the most transparent preamp the aforementioned Millenia is a great way to go. The noise floor is so low it's also great for foley. As posted before the gain pots are stepped but that's the only real concern. There are more budget friendly ways to go but you can't miss with this type of chain and good Mic's and Pre's don't really lose their value the way cpu based devices do so they are great long term investments. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9927" PostHistoryTypeId="2" PostId="5770" RevisionGUID="3ee4b4fa-771c-467a-b50d-c50d672285a9" CreationDate="2011-01-29T00:50:14.133" UserId="194" Text="you could potentially reamp the voice and re-record it with a speaker/mic combo that you like.  &#xD;&#xA;&#xD;&#xA;Something similar was done to the voices in transformers." ContentLicense="CC BY-SA 2.5" />
  <row Id="9928" PostHistoryTypeId="2" PostId="5771" RevisionGUID="c9a13b31-4387-4e82-9f22-0d55143b221a" CreationDate="2011-01-29T04:04:21.430" UserId="817" Text="All of these are great suggestions. I'd agree with trying an amp simulator to add some body to the voice, plus a slight bit of compression to enhance it's presence. Once you set a desired sound from your amp sim and compression, adjust your equalization to allow the voice to sound rich and natural (solo the voice to get your desired sound). After this I'd consider which frequencies in your new vocal setting are your dominant frequencies (those which lend most to it's presence/richness), and I'd create a slight notch of those frequencies in your music track (1 or 2 db for each frequency; only during the portions of the track where/when the voice is present [automated EQ] if possible]) to create a pocket in the mix for your vocal to take center stage. You might have to adjust the notch in your music slightly to get the best overall effect, and maybe even augment (boost) those frequencies in your vocal track ever so slightly also (1/2 - 1 db or so) to achieve the best pocket for your vocal.&#xD;&#xA;&#xD;&#xA;It sounds like a great project. Have fun,&#xD;&#xA;&#xD;&#xA;E. Santiago" ContentLicense="CC BY-SA 2.5" />
  <row Id="9929" PostHistoryTypeId="2" PostId="5772" RevisionGUID="7a39830e-38ed-436d-9ce0-a49c71ccf2fd" CreationDate="2011-01-29T04:18:24.463" UserId="817" Text="I'd like to work on something that goes 50 seasons back to back. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9931" PostHistoryTypeId="2" PostId="5774" RevisionGUID="4bb30c14-1483-4896-b9de-3eb8eef9e525" CreationDate="2011-01-29T05:55:15.690" UserId="587" Text="You cant go wrong with the H4.&#xD;&#xA;&#xD;&#xA;http://www.sweetwater.com/store/detail/H4N/&#xD;&#xA;&#xD;&#xA;This is a great stereo mic, as well as having the ability to use 2 more mics.&#xD;&#xA;&#xD;&#xA;You could use some great large diaphragm condensers for your warm vocal tone, and hand held it reporter style, as I see many people using the H2 reporter style over the TV right now. You could even use a shotgun on a boom if you needed! Talk about a versatile portable recorder for only 300 bucks!&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9932" PostHistoryTypeId="2" PostId="5775" RevisionGUID="28c5dc8a-9887-4bd1-9406-16dead79ee24" CreationDate="2011-01-29T06:35:58.203" UserId="830" Text="I do this all the time with an Zoom H4 (the model previous to H4n) and a Rode M3. Gives nice tone, looks professional and you can put a flag on it. I also use a Sennheiser E100G3 kit with the plugin transmitter to give the reporter even more freedom if you are using a simple camera setup (with a shotgun on the camera). " ContentLicense="CC BY-SA 2.5" />
  <row Id="9933" PostHistoryTypeId="2" PostId="5776" RevisionGUID="023200f6-7904-495a-89b0-ab75c083c150" CreationDate="2011-01-29T06:49:23.003" UserDisplayName="user49" Text="I know a few composers who swear by the Vienna Strings libraries - quite expensive but comprehensive... &#xD;&#xA;&#xD;&#xA;http://vsl.co.at/" ContentLicense="CC BY-SA 2.5" />
  <row Id="9934" PostHistoryTypeId="5" PostId="5775" RevisionGUID="aea5d35d-f1d1-493b-93f0-0c7e1239bcee" CreationDate="2011-01-29T07:49:57.023" UserId="830" Comment="added 1 characters in body" Text="I do this all the time with an Zoom H4 (the model previous to H4n) and a Rode M3. Gives nice tone, looks professional and you can put a flag on it. I also use a Sennheiser EW100G3 kit with the plugin transmitter to give the reporter even more freedom if you are using a simple camera setup (with a shotgun on the camera). " ContentLicense="CC BY-SA 2.5" />
  <row Id="9935" PostHistoryTypeId="2" PostId="5777" RevisionGUID="739d6bd2-9d90-47b0-8187-89aed47abfc9" CreationDate="2011-01-29T10:43:39.720" UserId="786" Text="It would be nice to be in Ren Klyce's shoes. To be in a position where you can be sound designer and re-recording mixer on films like Fight Club and Zodiac would be a dream job." ContentLicense="CC BY-SA 2.5" />
  <row Id="9937" PostHistoryTypeId="2" PostId="5779" RevisionGUID="acf0cc57-563f-4c3b-86d3-e65fbb899593" CreationDate="2011-01-29T14:32:41.077" UserId="771" Text="Before every mix i align the speaker( as told by my teachers) with a C-weighted SPL meter for 85db spl pink noise.Today for the first time am supposed to mix a 4 min trailer for a docu in my Sennheiser HD201 headphones (tats all i can get).Am concerned about the levels at which i should monitor.&#xD;&#xA;Any tips or comments......" ContentLicense="CC BY-SA 2.5" />
  <row Id="9938" PostHistoryTypeId="1" PostId="5779" RevisionGUID="acf0cc57-563f-4c3b-86d3-e65fbb899593" CreationDate="2011-01-29T14:32:41.077" UserId="771" Text="MIxing with heaphone" ContentLicense="CC BY-SA 2.5" />
  <row Id="9939" PostHistoryTypeId="3" PostId="5779" RevisionGUID="acf0cc57-563f-4c3b-86d3-e65fbb899593" CreationDate="2011-01-29T14:32:41.077" UserId="771" Text="&lt;headphone&gt;&lt;mixing&gt;&lt;tip&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9940" PostHistoryTypeId="2" PostId="5780" RevisionGUID="1b9f7ef5-56eb-4173-b956-19501b38594a" CreationDate="2011-01-29T15:59:17.983" UserId="234" Text="The basic rule about mixing with headphones is DON'T. There's an old saying the &quot;Headphones will break your heart&quot;. There can be issues with levels, reverb and panning when mixing on headphones and then listening back on speakers. However if that's all you have, that's all you have. There's no way to calibrate phones easily, unlike speakers. But, to start, get this: http://www.atsc.org/refs/a85/Speech_sample.wav&#xD;&#xA;&#xD;&#xA;That is a sample of speech that has been carefully chosen and measured to read -24LFKS. Adjust your headphone volume until the Dialog feels &quot;comfortable&quot; or &quot;right&quot;. This is then your &quot;reference&quot; level. Not perfect but will get you in the ballpark. Be sure before you actually deliver you do take the mix SOMEWHERE to listen to it on speakers. And be prepared to make some changes...&#xD;&#xA;&#xD;&#xA;I'll also point you here : http://www.soundonsound.com/sos/jan07/articles/mixingheadphones.htm#7&#xD;&#xA;&#xD;&#xA;A good article on various plug-ins that help alleviate some of the issues when mixing on phones. Again not perfect, but will help.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9941" PostHistoryTypeId="2" PostId="5781" RevisionGUID="47abcdac-faac-4e22-8688-798382860d58" CreationDate="2011-01-29T17:33:24.080" UserId="234" Text="Try a reverb with NO actual reverb tail, only ER. Make sure any hi-cut is off. Used as &quot;just a taste&quot; it can often add back that &quot;presence and air&quot;. An &quot;ambience&quot; preset will often do the same thing - I like the Ambient settings on the Digidesign Dverb." ContentLicense="CC BY-SA 2.5" />
  <row Id="9942" PostHistoryTypeId="2" PostId="5782" RevisionGUID="173496c2-cfc2-406f-b282-3e97666c96d4" CreationDate="2011-01-30T02:25:55.820" UserId="37" Text="The 201-s will hide a lot of sound (especially bass) from your ears so keep a spectrum analyser plugin very close. As with all headphone mixing, you will have to trust a combination of what you hear plus what you see on the best meters you have, as well as compare that to pre-existing reference material. If you're mixing in Pro Tools, Massey's HR Meter is great and so is the Phasescope plugin. The rest is in your [other question thread][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/5675/how-much-differnce-does-a-good-headphone-makes-in-recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="9943" PostHistoryTypeId="2" PostId="5783" RevisionGUID="f42fb979-c713-46b1-83e7-2a444cd1e73b" CreationDate="2011-01-30T04:43:25.900" UserId="418" Text="For those of use who can't afford a dummy head, we can use our own dumb head with the help of these little guys: http://www.sonicstudios.com/dsm.htm with very decent results. &#xD;&#xA;&#xD;&#xA;I got that tip from Karen at http://whitenoisemp3s.com/ and she's got some very lovely recordings available using them. &#xD;&#xA;&#xD;&#xA;Hope that helps. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9944" PostHistoryTypeId="2" PostId="5784" RevisionGUID="a777113e-0b48-4900-b22a-4872d4cbde98" CreationDate="2011-01-30T04:50:39.490" UserId="418" Text="+1 to everything stated above. Headphones definitely have their place, I get a long of meticulous design work and recording done with them. But for an actual mix, there's just no solid way to accurately represent a mix as it travels and hangs around in mid air. Monitor speakers are a must for that, in my opinion. I've tried the gimmicky simulator plugins and own a pair of rather expensive headphones but haven't come across anything I'd rely on. &#xD;&#xA;&#xD;&#xA;Reverb and bass tend to be the two main things that mixing with cans on can screw up the most, for me anyway. All that said, it's not impossible. A big part of using monitors is &quot;getting to know them&quot; and adjusting to what they are doing to your sound on any level. I suppose quality mixes could be achieved with some frequency analysis and a very intimate relationship with a good pair, but I personally haven't had the time or luck to get very far with that. I use them for what they do gracefully and use monitors for what they do best. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9945" PostHistoryTypeId="5" PostId="5779" RevisionGUID="7154be2a-319f-43da-80ad-434adc518eda" CreationDate="2011-01-30T07:54:45.467" UserDisplayName="user80" Comment="Grammar and added tags; added 1 characters in body" Text="Before every mix I align the speakers (as told by my teachers) with a C-weighted SPL meter for 85dB SPL pink noise. Today for the first time I am supposed to mix a 4 min trailer for a documentary in my Sennheiser HD201 headphones (that's all I can use).  I am concerned about the levels at which I should monitor.&#xD;&#xA;&#xD;&#xA;Does anyone have any tips or comments?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9946" PostHistoryTypeId="4" PostId="5779" RevisionGUID="7154be2a-319f-43da-80ad-434adc518eda" CreationDate="2011-01-30T07:54:45.467" UserDisplayName="user80" Comment="Grammar and added tags; added 1 characters in body" Text="MIxing with headphones" ContentLicense="CC BY-SA 2.5" />
  <row Id="9947" PostHistoryTypeId="6" PostId="5779" RevisionGUID="7154be2a-319f-43da-80ad-434adc518eda" CreationDate="2011-01-30T07:54:45.467" UserDisplayName="user80" Comment="Grammar and added tags; added 1 characters in body" Text="&lt;headphones&gt;&lt;mixing&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9948" PostHistoryTypeId="2" PostId="5785" RevisionGUID="823c3204-ebc7-402a-a5d3-4d9942808f88" CreationDate="2011-01-30T07:58:33.570" UserId="771" Text="Thanx for your comments.&#xD;&#xA;I will be definitely hear the final output in  domestic level and professional level speakers.Am also concerned about the re-verb and delay which i will be giving.I think this will be a nice exercise for me.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9949" PostHistoryTypeId="2" PostId="5786" RevisionGUID="c8e12b03-ce77-438e-b01e-9c0753afee9c" CreationDate="2011-01-30T08:01:20.297" UserDisplayName="user80" Text="How about the Roland R-44?&#xD;&#xA;&#xD;&#xA;4 mic pre-s and 4 tracks.  You can also use it as a 4 channel mixer.&#xD;&#xA;&#xD;&#xA;http://www.rolandsystemsgroup.com/products/100007&#xD;&#xA;&#xD;&#xA;US price $995&#xD;&#xA;&#xD;&#xA;I have one and am very happy with it.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="9950" PostHistoryTypeId="2" PostId="5787" RevisionGUID="707e4634-d4f3-40db-a7f6-b61ae8e2929c" CreationDate="2011-01-30T08:10:19.410" UserId="771" Text="What about Zaxcom Deva.....?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9951" PostHistoryTypeId="2" PostId="5788" RevisionGUID="b107e009-f056-4ada-a0b2-d912eef27b24" CreationDate="2011-01-30T10:56:48.313" UserId="280" Text="Hi to everybody! I have to buy my first headphones for field recording... &#xD;&#xA;I know that Sony 7506 are absolutely a standard and if I'll buy them I'll be ok for all my life :-)&#xD;&#xA;Before Buying 7506 I would like to see if there's something better around...I tried for a couple of days Ultrasone Pro 750. I think they were amazing. What do you think about? And what do you think about AKG K271?&#xD;&#xA;&#xD;&#xA;I wait for your opinion before buying!&#xD;&#xA;&#xD;&#xA;Francesco " ContentLicense="CC BY-SA 2.5" />
  <row Id="9952" PostHistoryTypeId="1" PostId="5788" RevisionGUID="b107e009-f056-4ada-a0b2-d912eef27b24" CreationDate="2011-01-30T10:56:48.313" UserId="280" Text="Headphones for field-recording...ultrasone?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9953" PostHistoryTypeId="3" PostId="5788" RevisionGUID="b107e009-f056-4ada-a0b2-d912eef27b24" CreationDate="2011-01-30T10:56:48.313" UserId="280" Text="&lt;ultrasone&gt;&lt;headphones&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9954" PostHistoryTypeId="2" PostId="5789" RevisionGUID="d28705c8-3f2f-40f7-8d6c-15bfab360bff" CreationDate="2011-01-30T11:36:49.053" UserId="238" Text="Hi Francesco,&#xD;&#xA;&#xD;&#xA;You should have a look at [this post][1] where the subject is discussed in quite a lot of detail. Other than the 7506's, a lot of people are using Beyerdynamic DT 770s. Have a look at the post and you'll see that a lot of this community have already voiced their views.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/61/what-are-your-favorite-headphones-and-why" ContentLicense="CC BY-SA 2.5" />
  <row Id="9955" PostHistoryTypeId="5" PostId="5731" RevisionGUID="c0d8296f-5dc4-4837-a918-f25084b8e7a3" CreationDate="2011-01-30T15:26:11.790" UserDisplayName="user80" Comment="added 4 characters in body" Text="If you can, use downward expansion rather than noise gates as this will make it sound more natural.  You will still need to use compression, but keep it gentle with a fairly fast attack and release.  You will find that people talk over each other so everything has to sound natural.  &#xD;&#xA;&#xD;&#xA;A very simple trick that I like to use is to alternate the phase of mics that are next to each other, obviously this depends on the distances between the mics, but it can help with separation.  &#xD;&#xA;&#xD;&#xA;I will also use subtle panning for the mix so that the listeners can use a bit of the cocktail party effect to keep track of who is saying what.&#xD;&#xA;&#xD;&#xA;The last thing is to work in shuffle mode when you are editing and make lots of notes during the recording so that you have a head start with what needs cut out rather than having to transcribe the lot before editing." ContentLicense="CC BY-SA 2.5" />
  <row Id="9956" PostHistoryTypeId="5" PostId="5788" RevisionGUID="f958bb5b-6f55-4207-946a-0f225221dd81" CreationDate="2011-01-30T15:30:27.523" UserDisplayName="user80" Comment="added 33 characters in body" Text="Hi everybody! I have to buy my first headphones for field recording.  I know that Sony 7506 are absolutely a standard and that if I buy them I'll be OK for the rest of my life. :-)&#xD;&#xA;&#xD;&#xA;Before buying the 7506s I would like to ask if there's anything better.  I tried a pair of Ultrasone Pro 750s for a couple of days. I thought they were amazing. What do you think about them? And what do you think about the AKG K271s?&#xD;&#xA;&#xD;&#xA;I will wait for your opinions before buying!&#xD;&#xA;&#xD;&#xA;Francesco " ContentLicense="CC BY-SA 2.5" />
  <row Id="9957" PostHistoryTypeId="6" PostId="5541" RevisionGUID="927cb532-1c9d-4e4d-ba16-e61ba8d221b6" CreationDate="2011-01-30T15:31:56.753" UserDisplayName="user80" Comment="edited tags" Text="&lt;recorder-mixer&gt;&lt;gear&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9958" PostHistoryTypeId="2" PostId="5790" RevisionGUID="36398537-909c-48f0-bae0-415a96c5b881" CreationDate="2011-01-30T15:37:34.820" UserDisplayName="user80" Text="I think that you have been set this task so that you understand the differences between listening through headphones and loudspeakers.  &#xD;&#xA;&#xD;&#xA;As has been mentioned above, you will have issues with bass, reverb and panning.  You will also be able to hear it all much clearer as there are no poor room acoustics to smudge the sound.  This clarity can tempt you to mix dialogue too low, when you think that it is perfect try adding at least 2-3 dB to the dialogue and you should be fine." ContentLicense="CC BY-SA 2.5" />
  <row Id="9959" PostHistoryTypeId="2" PostId="5791" RevisionGUID="e8595018-e42f-4acf-b767-6d1f3ae1552c" CreationDate="2011-01-30T15:43:20.890" UserDisplayName="user80" Text="If you already have a pair of omnis I would invest in a Jecklin disc.&#xD;&#xA;&#xD;&#xA;http://www.josephson.com/tn5.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="9960" PostHistoryTypeId="2" PostId="5792" RevisionGUID="fd64e955-eb9d-4450-a130-c4a856387893" CreationDate="2011-01-30T16:09:21.283" UserId="758" Text="I'm going to moving out soon, so looking to invest in a good set of headphones. I've been looking at these two for quite a while and I think one of them will do the job nicely. One question though. I have an Alesis io26 interface and was just wondering would I need an amp, or can I plug them straight in to the Alesis? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I know some of you are sick of headphone threads, but if anyone wanted to offer feedback, i would really like to hear from some current users.. Is there a massive difference between the two? &#xD;&#xA;&#xD;&#xA;Thank you.&#xD;&#xA;&#xD;&#xA;p.s.&#xD;&#xA;&#xD;&#xA;I checked the stats for the Alesis and found the following: &#xD;&#xA;&#xD;&#xA;Headphone Outputs &#xD;&#xA;Frequency response: +/-0.1 dB, 22Hz to 22kHz &#xD;&#xA;Power (@ 32 Ohms): 50mW &#xD;&#xA;Gain range: 20dB &#xD;&#xA;THD+N: &lt;0.05 % &#xD;&#xA;Signal-to-noise ratio: 100 dB, A-weighted &#xD;&#xA;Output impedance: 32 Ohm &#xD;&#xA;Load impedance range: 32 to 600 Ohms &#xD;&#xA;&#xD;&#xA;Will I be able run the senn's through it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9961" PostHistoryTypeId="1" PostId="5792" RevisionGUID="fd64e955-eb9d-4450-a130-c4a856387893" CreationDate="2011-01-30T16:09:21.283" UserId="758" Text="Sennheiser HD 650 vs.600 " ContentLicense="CC BY-SA 2.5" />
  <row Id="9962" PostHistoryTypeId="3" PostId="5792" RevisionGUID="fd64e955-eb9d-4450-a130-c4a856387893" CreationDate="2011-01-30T16:09:21.283" UserId="758" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9963" PostHistoryTypeId="2" PostId="5793" RevisionGUID="f283c38b-0e1a-4b29-af8f-8613673dcd63" CreationDate="2011-01-30T16:39:54.537" UserId="426" Text="Great post! It's awesome to see the huge amount of diversity on this forum! &#xD;&#xA;&#xD;&#xA;I'm currently living in Reston, VA about 30 minutes outside of DC. &#xD;&#xA;&#xD;&#xA;I'm working at a church as one of their audio technicians. One of my responsibilities includes acting as the broadcast mixer for the Saturday night and Sunday services.&#xD;&#xA;&#xD;&#xA;I haven't done much Sound Design work since college, but perusing this forum and other blogs and twitter feeds has whet my appetite to work on some stuff." ContentLicense="CC BY-SA 2.5" />
  <row Id="9964" PostHistoryTypeId="16" PostId="5793" RevisionGUID="f283c38b-0e1a-4b29-af8f-8613673dcd63" CreationDate="2011-01-30T16:39:54.537" UserId="-1" />
  <row Id="9965" PostHistoryTypeId="2" PostId="5794" RevisionGUID="6ca33dd2-4b70-41b3-b254-dc24823be641" CreationDate="2011-01-30T17:17:35.910" UserDisplayName="user80" Text="Simple delay is your best bet.  Delay the original track by about 30 ms and then mix the delay track back in with the original.  If this is not enough use a subtle distortion tool and apply to the delayed track, this will create additional harmonics which if you EQ out the fundamental frequencies which make the voice sound richer.  What you are trying to do is simulate the effect of a tube amplifier.  If you have access to a tube amp, even if it is for guitar pass the voice through it and mix with the original." ContentLicense="CC BY-SA 2.5" />
  <row Id="9966" PostHistoryTypeId="2" PostId="5795" RevisionGUID="12d216c0-4a63-49f1-866b-5ad51bc23960" CreationDate="2011-01-31T02:07:27.820" UserId="830" Text="I am a budding sound designer based in Launceston, Tasmania (Australia).&#xD;&#xA;&#xD;&#xA;My day job is varied as I run a new media company. I produced podcasts, consult on new media/trans-media. Lecture sometime for AFTRS and other places. I have worked on feature films and shorts as either sound technical assistant or sound recordist. Occasionally I also produce projects (video games, short films, radio). Basically I am a jack of all trades, but love sound.&#xD;&#xA;&#xD;&#xA;Started working in sound about 15 years ago but always mixed it with my other passion of technology. My main claim to fame is producing one of the longest running pop culture podcasts in the world, [(Cool) Shite on the Tube][1] (don't listen if you are afraid of some naughty language and un-PC commentary). I am also the technical director of [Supanova Pop Culture Expo][2] (the Comic-con of Australia).&#xD;&#xA;&#xD;&#xA;Loving this site. Heaps of great information and people. You all rock!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://coolshite.net&#xD;&#xA;  [2]: http://www.supanova.com.au" ContentLicense="CC BY-SA 2.5" />
  <row Id="9967" PostHistoryTypeId="16" PostId="5795" RevisionGUID="12d216c0-4a63-49f1-866b-5ad51bc23960" CreationDate="2011-01-31T02:07:27.820" UserId="-1" />
  <row Id="9968" PostHistoryTypeId="2" PostId="5796" RevisionGUID="5190817c-5f34-4e67-a65f-71b57e1d9f7e" CreationDate="2011-01-31T07:31:39.830" UserId="587" Text="I own SHD650's - AMAZING headphones.&#xD;&#xA;&#xD;&#xA;Quarter inch TRS is standard - comes with a 8th inch adapter.&#xD;&#xA;&#xD;&#xA;The Alesis is just like any other firewire I/O - you can plug right into the HP jack. The output volume from your DAW is what matters. There is a monitor mix knob so be sure to use reference tones for correct mixing volume.&#xD;&#xA;&#xD;&#xA;If you want to bypass the knob, just use your headphone jack as the output and your pre's for your ins. I would check your computer's audio card max sample rate output though - most are 48k as opposed to the I/O or control surfaces' that have 96k playback." ContentLicense="CC BY-SA 2.5" />
  <row Id="9969" PostHistoryTypeId="2" PostId="5797" RevisionGUID="876621bc-7cb5-4e71-a7ea-fbc496b8993e" CreationDate="2011-01-31T07:42:14.247" UserId="275" Text="Keep in mind that if you do a lot of field recording your headphones will get beat up, no matter how careful you are. The Ultrasone's are very nice but do you want them potentially getting beat up?  &#xD;&#xA;&#xD;&#xA;I have about a half dozen 7506's for field use. Yes, there are better sounding headphones on the market and at times I would like more isolation but they get the job done for a fraction of the price of Ultrasone's. " ContentLicense="CC BY-SA 2.5" />
  <row Id="9970" PostHistoryTypeId="2" PostId="5798" RevisionGUID="209ddddb-b2de-47d9-b42a-9de3fe4a4d60" CreationDate="2011-01-31T11:34:17.453" UserId="847" Text="@C3Sound, I've been playing around with trying to crossfade different engine loops as I was disappointed with the default system in UDK of simply using a single wav and changing it's pitch and volume.&#xD;&#xA;The only way to modify a playing sound's volume and pitch within UDK is to use the [Modify Property] object within Kismet. The only downside to this is that it actually changes the properties of the SoundCue so unless you reset the values when then any other reference to the SoundCue will playback at the new property values.&#xD;&#xA;&#xD;&#xA;I did come up with a different solution!&#xD;&#xA;I created my own Custom PlaySound object for use within Kismet. This object enables you to apply a fade to a given value over a given time by passing variables and then triggering the object.&#xD;&#xA;I also set it up so that if your SoundCue has a Continuous Modulator within it then you can pass additional variables from the Custom PlaySound object to the CM so that you also have control over the pitch of a sound.&#xD;&#xA;&#xD;&#xA;here's the source code of the object so you can experiment with it.&#xD;&#xA;If you've not done any scripting before, just copy the following text and paste it into a text editor and save as &quot;SeqAct_GATPlaySound.uc&quot;, then recompile your scripts. The object should appear within Kismet next time you run the Editor.&#xD;&#xA;&#xD;&#xA;/**&#xD;&#xA; * &#xD;&#xA; * Generates Kismet errors if &quot;Targetted&quot; to a specific actor.&#xD;&#xA; * - the AudioComponent doesn't have a spatialise function by default&#xD;&#xA; *  --- working on a fix&#xD;&#xA; * &#xD;&#xA; */&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;class SeqAct_GATPlaySound extends SequenceAction;&#xD;&#xA;&#xD;&#xA;// defining variables&#xD;&#xA;var() AudioComponent mySoundAC;&#xD;&#xA;var float myFadeTime;&#xD;&#xA;var float myFadeLevel;&#xD;&#xA;var() name CMParamName;&#xD;&#xA;var float CMParamValue;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;function Activated()&#xD;&#xA;	{&#xD;&#xA;		if (InputLinks[0].bHasImpulse)	// Plays Sound (quick fade in)&#xD;&#xA;			{&#xD;&#xA;				mySoundAC.FadeIn(0.2f,1.0f);&#xD;&#xA;			}&#xD;&#xA;			&#xD;&#xA;		if (InputLinks[1].bHasImpulse)		// Stops Sound (quick fade out)&#xD;&#xA;			{&#xD;&#xA;				mySoundAC.FadeOut(0.2f,0.0f);	&#xD;&#xA;			}&#xD;&#xA;			&#xD;&#xA;		if (InputLinks[2].bHasImpulse)		// Fade Sound according to user defined values&#xD;&#xA;			{&#xD;&#xA;				mySoundAC.AdjustVolume(myFadeTime,myFadeLevel);		// (fade time (f), end volume (f))&#xD;&#xA;			}&#xD;&#xA;			&#xD;&#xA;		if (InputLinks[3].bHasImpulse)		//Pass incoming value to the Coninuous Modulator (Param. defined within properties)&#xD;&#xA;			{&#xD;&#xA;				mySoundAC.SetFloatParameter(CMParamName, CMParamValue);     //CMParamName = Name within Cont. Mod.&#xD;&#xA;			}&#xD;&#xA;	}		&#xD;&#xA;	&#xD;&#xA;&#xD;&#xA;defaultproperties&#xD;&#xA;{&#xD;&#xA;	Begin Object Class=AudioComponent Name=YourSoundSound       //&quot;imports&quot; AudioComponent functionality&#xD;&#xA;    End Object&#xD;&#xA;    &#xD;&#xA;	mySoundAC=YourSoundSound    // defines the AudioComponent&#xD;&#xA;		&#xD;&#xA;	ObjName=&quot;GATPlaySound&quot;  // the name of the object as it appears in the New Action menu&#xD;&#xA;	ObjCategory=&quot;GATKismetActions&quot;  // where the object will appear within the New Action menu&#xD;&#xA;&#xD;&#xA;	// defining input links&#xD;&#xA;	InputLinks(0)=(LinkDesc=&quot;Play&quot;)&#xD;&#xA;	InputLInks(1)=(LinkDesc=&quot;Stop&quot;)&#xD;&#xA;	InputLInks(2)=(LinkDesc=&quot;Trigger Fade&quot;)&#xD;&#xA;	InputLinks(3)=(LinkDesc=&quot;Pass to Cont. Mod.&quot;)&#xD;&#xA;	&#xD;&#xA;	// defining variable links&#xD;&#xA;	VariableLinks(0)=(ExpectedType=class'SeqVar_Float',LinkDesc=&quot;Fade Time&quot;,PropertyName=myFadeTime)&#xD;&#xA;	VariableLinks(1)=(ExpectedType=class'SeqVar_Float',LinkDesc=&quot;Fade Level&quot;,PropertyName=myFadeLevel)&#xD;&#xA;	VariableLinks(2)=(ExpectedType=class'SeqVar_Float',LinkDesc=&quot;CM Param Value&quot;,PropertyName=CMParamValue)&#xD;&#xA;	VariableLinks(3)=(ExpectedType=class'SeqVar_Object',LinkDesc=&quot;Target&quot;,PropertyName=Targets)&#xD;&#xA;}&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If you have any questions about the object, I'd be happy to help out.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;PS. This object was developed as part of an upcoming book I'm working on (with a colleague) called the Game Audio Tutorial - which looks at practical implementation of audio within the UDK engine. Due out 29th March.&#xD;&#xA;[Amazon Link][1]&#xD;&#xA;&#xD;&#xA;Hope this helps,&#xD;&#xA;teed&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Game-Audio-Tutorial-Practical-Interactive/dp/0240817265/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1296473580&amp;sr=8-1" ContentLicense="CC BY-SA 2.5" />
  <row Id="9971" PostHistoryTypeId="2" PostId="5799" RevisionGUID="42d11a3a-6a73-4425-bd80-c68ba58c65b5" CreationDate="2011-01-31T11:35:36.563" UserId="847" Text="@C3Sound, I've been playing around with trying to crossfade different engine loops as I was disappointed with the default system in UDK of simply using a single wav and changing it's pitch and volume.&#xD;&#xA;The only way to modify a playing sound's volume and pitch within UDK is to use the [Modify Property] object within Kismet. The only downside to this is that it actually changes the properties of the SoundCue so unless you reset the values when then any other reference to the SoundCue will playback at the new property values.&#xD;&#xA;&#xD;&#xA;I did come up with a different solution!&#xD;&#xA;I created my own Custom PlaySound object for use within Kismet. This object enables you to apply a fade to a given value over a given time by passing variables and then triggering the object.&#xD;&#xA;I also set it up so that if your SoundCue has a Continuous Modulator within it then you can pass additional variables from the Custom PlaySound object to the CM so that you also have control over the pitch of a sound.&#xD;&#xA;&#xD;&#xA;here's the source code of the object so you can experiment with it.&#xD;&#xA;If you've not done any scripting before, just copy the following text and paste it into a text editor and save as &quot;SeqAct_GATPlaySound.uc&quot;, then recompile your scripts. The object should appear within Kismet next time you run the Editor.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;    /**&#xD;&#xA; * &#xD;&#xA; * Generates Kismet errors if &quot;Targetted&quot; to a specific actor.&#xD;&#xA; * - the AudioComponent doesn't have a spatialise function by default&#xD;&#xA; *  --- working on a fix&#xD;&#xA; * &#xD;&#xA; */&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;class SeqAct_GATPlaySound extends SequenceAction;&#xD;&#xA;&#xD;&#xA;// defining variables&#xD;&#xA;var() AudioComponent mySoundAC;&#xD;&#xA;var float myFadeTime;&#xD;&#xA;var float myFadeLevel;&#xD;&#xA;var() name CMParamName;&#xD;&#xA;var float CMParamValue;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;function Activated()&#xD;&#xA;	{&#xD;&#xA;		if (InputLinks[0].bHasImpulse)	// Plays Sound (quick fade in)&#xD;&#xA;			{&#xD;&#xA;				mySoundAC.FadeIn(0.2f,1.0f);&#xD;&#xA;			}&#xD;&#xA;			&#xD;&#xA;		if (InputLinks[1].bHasImpulse)		// Stops Sound (quick fade out)&#xD;&#xA;			{&#xD;&#xA;				mySoundAC.FadeOut(0.2f,0.0f);	&#xD;&#xA;			}&#xD;&#xA;			&#xD;&#xA;		if (InputLinks[2].bHasImpulse)		// Fade Sound according to user defined values&#xD;&#xA;			{&#xD;&#xA;				mySoundAC.AdjustVolume(myFadeTime,myFadeLevel);		// (fade time (f), end volume (f))&#xD;&#xA;			}&#xD;&#xA;			&#xD;&#xA;		if (InputLinks[3].bHasImpulse)		//Pass incoming value to the Coninuous Modulator (Param. defined within properties)&#xD;&#xA;			{&#xD;&#xA;				mySoundAC.SetFloatParameter(CMParamName, CMParamValue);     //CMParamName = Name within Cont. Mod.&#xD;&#xA;			}&#xD;&#xA;	}		&#xD;&#xA;	&#xD;&#xA;&#xD;&#xA;defaultproperties&#xD;&#xA;{&#xD;&#xA;	Begin Object Class=AudioComponent Name=YourSoundSound       //&quot;imports&quot; AudioComponent functionality&#xD;&#xA;    End Object&#xD;&#xA;    &#xD;&#xA;	mySoundAC=YourSoundSound    // defines the AudioComponent&#xD;&#xA;		&#xD;&#xA;	ObjName=&quot;GATPlaySound&quot;  // the name of the object as it appears in the New Action menu&#xD;&#xA;	ObjCategory=&quot;GATKismetActions&quot;  // where the object will appear within the New Action menu&#xD;&#xA;&#xD;&#xA;	// defining input links&#xD;&#xA;	InputLinks(0)=(LinkDesc=&quot;Play&quot;)&#xD;&#xA;	InputLInks(1)=(LinkDesc=&quot;Stop&quot;)&#xD;&#xA;	InputLInks(2)=(LinkDesc=&quot;Trigger Fade&quot;)&#xD;&#xA;	InputLinks(3)=(LinkDesc=&quot;Pass to Cont. Mod.&quot;)&#xD;&#xA;	&#xD;&#xA;	// defining variable links&#xD;&#xA;	VariableLinks(0)=(ExpectedType=class'SeqVar_Float',LinkDesc=&quot;Fade Time&quot;,PropertyName=myFadeTime)&#xD;&#xA;	VariableLinks(1)=(ExpectedType=class'SeqVar_Float',LinkDesc=&quot;Fade Level&quot;,PropertyName=myFadeLevel)&#xD;&#xA;	VariableLinks(2)=(ExpectedType=class'SeqVar_Float',LinkDesc=&quot;CM Param Value&quot;,PropertyName=CMParamValue)&#xD;&#xA;	VariableLinks(3)=(ExpectedType=class'SeqVar_Object',LinkDesc=&quot;Target&quot;,PropertyName=Targets)&#xD;&#xA;}&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If you have any questions about the object, I'd be happy to help out.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;PS. This object was developed as part of an upcoming book I'm working on (with a colleague) called the Game Audio Tutorial - which looks at practical implementation of audio within the UDK engine. Due out 29th March.&#xD;&#xA;[Amazon Link][1]&#xD;&#xA;&#xD;&#xA;Hope this helps,&#xD;&#xA;teed&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Game-Audio-Tutorial-Practical-Interactive/dp/0240817265/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1296473580&amp;sr=8-1" ContentLicense="CC BY-SA 2.5" />
  <row Id="9974" PostHistoryTypeId="2" PostId="5801" RevisionGUID="db5eb39d-92de-4505-8d93-bebf2af1daed" CreationDate="2011-01-31T12:55:53.583" UserId="63" Text="Hello all fellow sound guys!&#xD;&#xA;&#xD;&#xA;I am from Thessaloniki Greece but currently living in Athens Greece. &#xD;&#xA;&#xD;&#xA;I started my studies as a sound engineer stayed for 4-5 years around Greece and then i decided to make my dream come true and started Tsimpountiii Games. I do all the composing / sound / game design there for our games. And working on many many more projects including directing, sound programming, sound design, field recording, photography ... and the list goes on... &#xD;&#xA;&#xD;&#xA;You can check all of my work here http://www.tsimpountiii.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="9975" PostHistoryTypeId="16" PostId="5801" RevisionGUID="db5eb39d-92de-4505-8d93-bebf2af1daed" CreationDate="2011-01-31T12:55:53.583" UserId="-1" />
  <row Id="9977" PostHistoryTypeId="2" PostId="5802" RevisionGUID="54f8941c-9fa2-478c-9424-b90f5a506c43" CreationDate="2011-01-31T13:08:55.357" UserId="63" Text="Skywalker... definitely, where it all started! Someone can say!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9978" PostHistoryTypeId="2" PostId="5803" RevisionGUID="f80a500d-1a72-4394-a99e-21d55363bed4" CreationDate="2011-01-31T14:06:14.127" UserDisplayName="user80" Text="Anything at Skywalker." ContentLicense="CC BY-SA 2.5" />
  <row Id="9979" PostHistoryTypeId="2" PostId="5804" RevisionGUID="364af95f-c9e4-484d-9ee9-c75fd4e5b5dd" CreationDate="2011-01-31T17:31:07.217" UserId="801" Text="hello&#xD;&#xA;&#xD;&#xA;we're not alone, great to read all these intro's!&#xD;&#xA;&#xD;&#xA;I'm from Amsterdam, netherlands&#xD;&#xA;Started locationrecording on features, documentary, TV. Over the last years Music / Sounddesign work became my main focus. I work on Animation, Films, Commercials, Artstuff" ContentLicense="CC BY-SA 2.5" />
  <row Id="9980" PostHistoryTypeId="16" PostId="5804" RevisionGUID="364af95f-c9e4-484d-9ee9-c75fd4e5b5dd" CreationDate="2011-01-31T17:31:07.217" UserId="-1" />
  <row Id="9981" PostHistoryTypeId="2" PostId="5805" RevisionGUID="6bc5e491-7fad-4726-8a18-c1ca25bce72b" CreationDate="2011-01-31T17:34:34.293" UserId="801" Text="A friend of mine wants to learn basic audio editing, 2 or more tracks and asked me what kind of (free) program would be best to use on PC platform... Any idea's?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9982" PostHistoryTypeId="1" PostId="5805" RevisionGUID="6bc5e491-7fad-4726-8a18-c1ca25bce72b" CreationDate="2011-01-31T17:34:34.293" UserId="801" Text="Simple Audio-editor for PC" ContentLicense="CC BY-SA 2.5" />
  <row Id="9983" PostHistoryTypeId="3" PostId="5805" RevisionGUID="6bc5e491-7fad-4726-8a18-c1ca25bce72b" CreationDate="2011-01-31T17:34:34.293" UserId="801" Text="&lt;editing&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9984" PostHistoryTypeId="2" PostId="5806" RevisionGUID="f493ec5d-a61d-4c0a-8949-17474a27ade4" CreationDate="2011-01-31T17:53:42.187" UserId="234" Text="Audacity is available for PC :http://audacity.sourceforge.net/&#xD;&#xA;&#xD;&#xA;Should do the job nicely..." ContentLicense="CC BY-SA 2.5" />
  <row Id="9985" PostHistoryTypeId="2" PostId="5807" RevisionGUID="c24a29cc-c7db-4685-8434-295f31836aa5" CreationDate="2011-01-31T18:06:01.120" UserId="743" Text="Free? Audacity it is!" ContentLicense="CC BY-SA 2.5" />
  <row Id="9986" PostHistoryTypeId="2" PostId="5808" RevisionGUID="704c1060-29df-4098-9bcf-bfa986056901" CreationDate="2011-02-01T01:57:02.553" UserId="29" Text="One filmic example that comes to mind is the repetitive sequence used to visually abstract the scenes of dosing in Aronofsky's &quot;Requiem for a Dream.&quot; Not sure if that's closer to the idea you're aiming for.&#xD;&#xA;&#xD;&#xA;*Note: I'm not sure I'd have called out Svankmajer's sound as purposeful, and would have chocked it up to budgetary or technical reasons, but upon reflection, 100% of his films do have that quality, even later ones like Otasanek. At the same time, I hear a lot of that overly-dry-and-too-hot sound design in independent animations of many stripes. Hm. Interesting perspective, though, thanks for spinning up a thread on it.*" ContentLicense="CC BY-SA 2.5" />
  <row Id="9990" PostHistoryTypeId="2" PostId="5810" RevisionGUID="b2e5f6d0-e087-4c40-90b6-142d2948382c" CreationDate="2011-02-01T05:13:36.193" UserId="817" Text="I wish I'd known about this site much sooner. I'm a freelance location sound mixer/boom operator/sound utility for film and television based in Albuquerque, NM. I used to edit radio for a number of years and work out of my home production suite before I met a great sound mixer (and great friend) David Brownlow, who helped me get involved with film. &#xD;&#xA;&#xD;&#xA;I'm originally from NYC, born and raised in the bronx and moved to Brooklyn right after high school, plus lived in Florida for a short time years back. I fell in love with sound as a kid through music, and I think I love sound more than music today. I've been fortunate to work on a few great films, TV shows, and some Docs with great people and learn great things. This site is my new great place to listen and learn. Thanks for making this possible.&#xD;&#xA;&#xD;&#xA;E. Santiago&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9991" PostHistoryTypeId="16" PostId="5810" RevisionGUID="b2e5f6d0-e087-4c40-90b6-142d2948382c" CreationDate="2011-02-01T05:13:36.193" UserId="-1" />
  <row Id="9992" PostHistoryTypeId="2" PostId="5811" RevisionGUID="ea52500b-2b75-4923-b23f-8983e6cc3085" CreationDate="2011-02-01T07:07:53.273" UserId="186" Text="If you're interested in game audio sound design, GANG (the Game Audio Network Guild) at http://www.audiogang.org/ is a good place to start. They're quite supportive of students and rookies.&#xD;&#xA;&#xD;&#xA;AB&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9993" PostHistoryTypeId="2" PostId="5812" RevisionGUID="acf65100-5181-4f94-891e-67eb819eaac7" CreationDate="2011-02-01T11:09:36.427" UserId="37" Text="I'm a Cooledit person so have never thought I'd plug Sound Forge but that day has come. Personal thought but I find Audacity frustrating (same with GIMP). So there, spend $65 on Sound Forge Audio Studio (also comes free with Sony recorders) instead. [Read up][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sonycreativesoftware.com/audiostudio" ContentLicense="CC BY-SA 2.5" />
  <row Id="9994" PostHistoryTypeId="2" PostId="5813" RevisionGUID="fdfff3bd-821f-42d2-a37a-633319e956a1" CreationDate="2011-02-01T11:25:26.253" UserId="771" Text="I was editing and monitoring a song session in a pair of Genelec speakers.There was lot of pop sound in the vocals.I was planning to use pop filters to remove this during the final mix which was done in JBL speakers in Dolby digital format.But i couldn't find any pops while monitoring them in JBLs,infact it was sounding clean.How could this happen?" ContentLicense="CC BY-SA 2.5" />
  <row Id="9995" PostHistoryTypeId="1" PostId="5813" RevisionGUID="fdfff3bd-821f-42d2-a37a-633319e956a1" CreationDate="2011-02-01T11:25:26.253" UserId="771" Text="Pop sound in vocal recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="9996" PostHistoryTypeId="3" PostId="5813" RevisionGUID="fdfff3bd-821f-42d2-a37a-633319e956a1" CreationDate="2011-02-01T11:25:26.253" UserId="771" Text="&lt;pop&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="9997" PostHistoryTypeId="2" PostId="5814" RevisionGUID="b3c02dad-1a52-4bb6-8c58-f4edc18d23a4" CreationDate="2011-02-01T11:36:23.833" UserId="771" Text="I am a final Year film school student in India.I have worked in small fictions and documentaries &amp; have done some mixing in dolby digital formats.&#xD;&#xA;Thank for the website&#xD;&#xA;cheers" ContentLicense="CC BY-SA 2.5" />
  <row Id="9998" PostHistoryTypeId="16" PostId="5814" RevisionGUID="b3c02dad-1a52-4bb6-8c58-f4edc18d23a4" CreationDate="2011-02-01T11:36:23.833" UserId="-1" />
  <row Id="10000" PostHistoryTypeId="2" PostId="5816" RevisionGUID="66ca4983-bd82-463d-8854-9e9f9afd0249" CreationDate="2011-02-01T12:50:01.490" UserId="830" Text="Could be a few things. Check the wave form of your file where you hear a pop, you should easily see it. If you cannot see it, then check to see if the pop happens at the same place on multiple playbacks of the audio. It maybe that your speaker amp is dodgy and you are getting power spikes. Another option is that you could be putting to hot a level into the speaker amp (though very unlikely).&#xD;&#xA;&#xD;&#xA;You did record the vocals with a pop shield?&#xD;&#xA;&#xD;&#xA;That just some options to look at off the top of my head." ContentLicense="CC BY-SA 2.5" />
  <row Id="10001" PostHistoryTypeId="2" PostId="5817" RevisionGUID="20557619-c8a8-42fd-b95e-820ece44caef" CreationDate="2011-02-01T13:14:57.300" UserId="564" Text="I would check the waveform.  If you can find uniformity where the POP is, and a spike, then you have something that might needs to be re-recorded.  If you don't see the spike, bounce it real quick to a .WAV or .mp3 and give it a listen at low volume in the car." ContentLicense="CC BY-SA 2.5" />
  <row Id="10004" PostHistoryTypeId="2" PostId="5819" RevisionGUID="efa3cb70-2aab-4071-8f04-5e9710557e79" CreationDate="2011-02-01T21:46:30.057" UserId="18160" Text="Is the singer a male or female?&#xD;&#xA;&#xD;&#xA;Could be a few things:&#xD;&#xA;&#xD;&#xA;Could be a default EQ from a session template or a mixboard setup template that has a roll-off of 100 or 80 and below.&#xD;&#xA;&#xD;&#xA;Could be an EQ set up on the speakers to adjust the monitoring system for the room that rolls off the bass.&#xD;&#xA;&#xD;&#xA;Could be a bad crossover for the speakers and you aren't hearing the low lows on the speakers at all.&#xD;&#xA;&#xD;&#xA;Could be a bass drum hit perfectly in sync with the pop you were hearing...&#xD;&#xA;&#xD;&#xA;Could be a number of things.&#xD;&#xA;&#xD;&#xA;I'd cross-check on headphones and then cross-check the mix back on your Genelecs if you want to be sure.&#xD;&#xA;&#xD;&#xA;Otherwise, if it's a female you get a bit more leeway with how much you can filter it without eating into the voice. I find females have a register that goes down to about 200 to 150 (of course it varies from woman to woman). Men can get way lower and a baritone for instance is more difficult to edit pops out of than a soprano due to the frequency content of his voice." ContentLicense="CC BY-SA 2.5" />
  <row Id="10005" PostHistoryTypeId="2" PostId="5820" RevisionGUID="8518df68-6f35-41f6-8e3f-6520a1e726a4" CreationDate="2011-02-02T11:07:25.317" UserId="780" Text="&gt; Setting the ceiling at -10dB, and the threshold at 0, I find that my mixes are lowered 10dB overall. Why is my entire mix effected when the L2 threshold is set at 0?&#xD;&#xA;&#xD;&#xA;Setting the L2 (or the L1 for that matter) like that is in fact equivalent to... lowering everything by 10 dB. By putting the threshold at 0, nothing gets limited.&#xD;&#xA;&#xD;&#xA;For example, assuming that before inserting the L2 the max signal peaks at 0 dB, if the **threshold is set to -10 dB** on the L2, any signal going over -10 will be limited to -10.&#xD;&#xA;&#xD;&#xA;After the signal is limited at -10, the ceiling is set to the target maximum peak value. If the **ceiling is set at 0 dB**, the signal will be raised by 10 dB. This will result in a perceived raise in loudness, but not a raise in maximum peak value since we started with a signal that already peaked at 0 dB.&#xD;&#xA;&#xD;&#xA;In any case, you need to know the RMS and peak values that are accepted by a given broadcaster: some are more strict than others." ContentLicense="CC BY-SA 2.5" />
  <row Id="10006" PostHistoryTypeId="2" PostId="5821" RevisionGUID="ede154d0-4291-4e0d-8e42-71d53594d353" CreationDate="2011-02-02T13:47:34.967" UserId="37" Text="I'd say the Ceiling control is labelled wrong in the L series as it's not clear what it does, when in fact it's an output attenuator, and the Threshold control applies automatic gain compensation by as many dB. &#xD;&#xA;&#xD;&#xA;I.e. for a threshold of -10dB, there will be 10dB of gain compensation. With the ceiling set at -10dB (attenuation), you're pretty much looking at just shaving the peaks above -10dB and your signal staying the same. &#xD;&#xA;&#xD;&#xA;Threshold at 0, Ceiling at -10 = no limiting, no gain compensation, attenuation of -10dB.&#xD;&#xA;&#xD;&#xA;For a broadcast setup: threshold at -10, ceiling at -10, but if you're feeling adventurous with your meters, both at -8... :)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10007" PostHistoryTypeId="5" PostId="5821" RevisionGUID="94592551-00c1-4139-912a-c47e1f78c844" CreationDate="2011-02-02T16:43:57.403" UserId="37" Comment="added 12 characters in body" Text="I'd say the Ceiling control is labelled wrong in the L series as it's not clear what it does, when in fact it's an output attenuator, and the Threshold control applies automatic gain compensation by as many dB. &#xD;&#xA;&#xD;&#xA;I.e. for a threshold of -10dB, there will be 10dB of gain compensation. With the ceiling set at -10dB (attenuation), you're pretty much looking at just shaving the peaks above -10dB and the rest of your signal staying the same. &#xD;&#xA;&#xD;&#xA;Threshold at 0, Ceiling at -10 = no limiting, no gain compensation, attenuation of -10dB.&#xD;&#xA;&#xD;&#xA;For a broadcast setup: threshold at -10, ceiling at -10, but if you're feeling adventurous with your meters, both at -8... :)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10008" PostHistoryTypeId="2" PostId="5822" RevisionGUID="db2ed865-0e26-437a-92f1-711eba580da3" CreationDate="2011-02-02T17:21:46.873" UserId="61" Text="Greetings all,&#xD;&#xA;&#xD;&#xA;Political demonstrations and unrest on such a grand scale as what is occurring in Egypt right now are rare - that's what makes them so interesting to record and preserve. Although they can be unnerving and violent, finding a way to safely record an event like this is important, so long as it can be done without putting yourself in harm's way (at least not too much). The lo-fi snippets I've heard on the news have been amazing, imagine a high fidelity recording.&#xD;&#xA;&#xD;&#xA;Do we have any SSDers in that area? With internet access cut to most of that region it may be difficult to reach out to anyone there, but there is that off chance." ContentLicense="CC BY-SA 2.5" />
  <row Id="10009" PostHistoryTypeId="1" PostId="5822" RevisionGUID="db2ed865-0e26-437a-92f1-711eba580da3" CreationDate="2011-02-02T17:21:46.873" UserId="61" Text="Recording the upheaval in Egypt" ContentLicense="CC BY-SA 2.5" />
  <row Id="10010" PostHistoryTypeId="3" PostId="5822" RevisionGUID="db2ed865-0e26-437a-92f1-711eba580da3" CreationDate="2011-02-02T17:21:46.873" UserId="61" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10011" PostHistoryTypeId="16" PostId="5822" RevisionGUID="db2ed865-0e26-437a-92f1-711eba580da3" CreationDate="2011-02-02T17:21:46.873" UserId="61" />
  <row Id="10012" PostHistoryTypeId="2" PostId="5823" RevisionGUID="68eff8cd-4232-4711-9f93-c4b25fe38993" CreationDate="2011-02-02T17:43:28.463" UserId="238" Text="Very true Jay! These kind of moments are things that happen rarely and can often go down in history as being life-changing moments. I'd love to hear if any of the community are based over in Egypt. Your post inspired me to upload a recording to soundcloud. It's a recording I captured in downtown Bangkok last year during the anti-government demonstrations by the 'Red Shirts'. Sadly, a few days after I recorded this the demonstrations got a bit more nasty. The 'Red Shirts' refused to disperse and the army began to be more forceful. The resulting bloodshed left many dead and wounded. Unfortunately, I was only recording at 44.1KHz, 16 Bit.&#xD;&#xA;&#xD;&#xA;[soundcloud]colin-hunter/bangkok-demonstration[/soundcloud]" ContentLicense="CC BY-SA 2.5" />
  <row Id="10013" PostHistoryTypeId="16" PostId="5823" RevisionGUID="68eff8cd-4232-4711-9f93-c4b25fe38993" CreationDate="2011-02-02T17:43:28.463" UserId="-1" />
  <row Id="10014" PostHistoryTypeId="2" PostId="5824" RevisionGUID="894d4063-258a-480d-b86b-ee612f25836f" CreationDate="2011-02-02T18:35:56.510" UserId="315" Text="Not in Egypt, but I've recorded a couple large protests. Not only are they a great source of crowd sounds, but I feel that the recordings I've made are historically significant. The energy of those moments, and being in the middle of it with my gear, is also hard to forget.&#xD;&#xA;&#xD;&#xA;In 2008, a couple days after the elections, I was watching TV in my LA apartment when all of a sudden I heard a loud ruckus outside. Being the sound nerd that I am, I grabbed my Sony PCM D1 and threw on my shoes. I quickly realized that it was a massive protest march against Proposition 8 (banning gay marriage in CA). Hundreds of people were marching down my street. I rolled record and joined the march. I ended up recording until the drive on my Sony filled up. Tons of chants demanding equal rights, horn honks, screaming, police siren wailers, police on megaphones yelling at the marchers blocking traffic, news helicopters etc.. &#xD;&#xA;&#xD;&#xA;I also recorded a May Day Immigrant Rights protest in Downtown Los Angeles once. Upwards of 5,000 migrant workers chanting, drumming, yelling, megaphones, vuvuzelas. All bouncing off of the skyscrapers of Downtown LA. Wild stuff.&#xD;&#xA;&#xD;&#xA;I've worked a few of these sounds into film projects, but I imagine in the end that they'll be more important historically. Hopefully, they'll make it in to a documentary someday down the road." ContentLicense="CC BY-SA 2.5" />
  <row Id="10015" PostHistoryTypeId="16" PostId="5824" RevisionGUID="894d4063-258a-480d-b86b-ee612f25836f" CreationDate="2011-02-02T18:35:56.510" UserId="-1" />
  <row Id="10016" PostHistoryTypeId="5" PostId="5824" RevisionGUID="0aa857ba-b17e-4448-b9c1-a21db7bad3a3" CreationDate="2011-02-02T18:47:05.857" UserId="315" Comment="added 151 characters in body" Text="Not in Egypt, but I've recorded a couple large protests. Not only are they a great source of crowd sounds, but I feel that the recordings I've made are historically significant. The energy of those moments, and being in the middle of it with my gear, is also hard to forget.&#xD;&#xA;&#xD;&#xA;In 2008, a couple days after the elections, I was watching TV in my LA apartment when all of a sudden I heard a loud ruckus outside. Being the sound nerd that I am, I grabbed my Sony PCM D1 and threw on my shoes. I quickly realized that it was a massive protest march against Proposition 8 (banning gay marriage in CA). Hundreds of people were marching down my street. I rolled record and joined the march. I ended up recording until the drive on my Sony filled up. Tons of chants demanding equal rights, horn honks, screaming, police siren wailers, police on megaphones yelling at the marchers blocking traffic, news helicopters etc.. &#xD;&#xA;&#xD;&#xA;I also recorded a May Day Immigrant Rights protest in Downtown Los Angeles once. Upwards of 5,000 migrant workers protesting for immigrant rights, drumming, yelling, megaphones, vuvuzelas. All bouncing off of the skyscrapers of Downtown LA. Wild stuff. You can hear a sample of those recordings [here][1].&#xD;&#xA;&#xD;&#xA;I've worked a few of these sounds into film projects, but I imagine in the end that they'll be more important historically. Hopefully, they'll make it in to a documentary someday down the road.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/justin-pearson/may-day-protest-2008-jpfx" ContentLicense="CC BY-SA 2.5" />
  <row Id="10017" PostHistoryTypeId="2" PostId="5825" RevisionGUID="6ecb550d-baa2-4fef-9f09-eb666014f73d" CreationDate="2011-02-02T20:00:14.380" UserId="6524" Text="All I have is a portable recorder and live in a city with just cars going by everywhere and construction going on every now and again, This might be a stupid question but I live in Dubai UAE and I try to take my H4n everywhere I go but I never find anything interesting to record other than just cars, we also have a desert but how do you record sand in interesting ways. I'm new to recording sounds but all I can record for now is stuff I find around at home, what do you guys do or recommend I could do." ContentLicense="CC BY-SA 2.5" />
  <row Id="10018" PostHistoryTypeId="1" PostId="5825" RevisionGUID="6ecb550d-baa2-4fef-9f09-eb666014f73d" CreationDate="2011-02-02T20:00:14.380" UserId="6524" Text="Finding things to record on the go" ContentLicense="CC BY-SA 2.5" />
  <row Id="10019" PostHistoryTypeId="3" PostId="5825" RevisionGUID="6ecb550d-baa2-4fef-9f09-eb666014f73d" CreationDate="2011-02-02T20:00:14.380" UserId="6524" Text="&lt;field-recording&gt;&lt;city&gt;&lt;desert&gt;&lt;sand&gt;&lt;zoom-h4n&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10020" PostHistoryTypeId="2" PostId="5826" RevisionGUID="b4ed45c6-8dea-4061-a433-6e12fa8af838" CreationDate="2011-02-02T20:26:05.630" UserId="61" Text="Sometimes you need to take a step back from your everyday surroundings and find the interesting elements that you have become accustomed to hearing. Consider the following:&#xD;&#xA;&#xD;&#xA; - It is the year 2011. What types of&#xD;&#xA;   technology is in use around you? Cell&#xD;&#xA;   phones, office phones, PA systems,&#xD;&#xA;   intercoms…do these things sound&#xD;&#xA;   different in your city than they do&#xD;&#xA;   in other places?&#xD;&#xA;&#xD;&#xA; - The conversations taking place around&#xD;&#xA;   you are definitely unique. Drop into&#xD;&#xA;   a lobby, restaurant, bank, police&#xD;&#xA;   station, schoolyard, etc. and stealth&#xD;&#xA;   record for 10-15 minutes. The&#xD;&#xA;   close-up voices may not be useable&#xD;&#xA;   (because they are intelligible) but&#xD;&#xA;   the ambient stuff would be great.&#xD;&#xA; - Is there a nightclub scene in your&#xD;&#xA;   area? Hang out in a back alley and&#xD;&#xA;   record all the crowd wallas - once&#xD;&#xA;   you strip out the pumping bass from&#xD;&#xA;   the clubs you will have some really&#xD;&#xA;   nice stuff.&#xD;&#xA;&#xD;&#xA; - Sirens, horns, even vehicle engines&#xD;&#xA;   have unique sounds depending on where&#xD;&#xA;   you live. Go ahead, stand on that&#xD;&#xA;   street corner and grab it all!&#xD;&#xA;   Remember that the time of the day&#xD;&#xA;   (even the day of the week) will&#xD;&#xA;   provide you with variations.&#xD;&#xA;&#xD;&#xA;Think outside the box - what can I record that doesn't exist anywhere else in the world? What can you record that I cannot record here in the USA?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10021" PostHistoryTypeId="2" PostId="5827" RevisionGUID="8a4c76e7-c572-46fa-a5fc-1ee32b097376" CreationDate="2011-02-02T20:33:41.127" UserId="432" Text="I've been to Dubai, so I know what you're talking about. There's plenty of stuff you can record though, especially with something like the H4N...though I know that construction has died down a lot over the last few years.&#xD;&#xA;&#xD;&#xA;Obviously, you've got the beaches, you can easily collect wave sounds or just ambient crowd sounds from them.&#xD;&#xA;&#xD;&#xA;You can definitely sneak that thing into some of the outdoor bars, and no one will think twice if they even see it. You could visit the horse races and record ambiences there.&#xD;&#xA;&#xD;&#xA;There are always a number of events going on in Dubai, of course finding out what they are and where they're taking place can be a bit of a headache.&#xD;&#xA;&#xD;&#xA;There's the still very new transit system. I've ridden on that, and you should be able to collect some interesting sounds of the trains themselves. Plus, you can take it out to the Atlantis hotel on the Palm and grab sounds in that area.&#xD;&#xA;&#xD;&#xA;There's the massive arcade that Sega opened up in one of the malls there a year or so ago (right by the Burj Khalifa [spelling?]/formerly Burj Dubai). And there's a massive water fountain &quot;show&quot; that happens in that man made lake/canal outside.&#xD;&#xA;&#xD;&#xA;Or...If you're willing to shell out the cash. You could take it in to the ski slope in the Mall of the Emirates and strap it to your ski boots. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10022" PostHistoryTypeId="2" PostId="5828" RevisionGUID="ce8be4f1-4202-4ef8-9da1-6b6d487c4bcf" CreationDate="2011-02-02T20:36:23.560" UserId="29" Text="Jay's and Shaun's suggestions are totally wonderful! Here are a few more ideas...&#xD;&#xA;&#xD;&#xA; - Sand can bark, slide, chuff, and has a lot of voices. Travel out to the dunes with trays, cardboard sheets, different shoes, and have a blast...but watch out for sand in your recorder. Total warranty-voiding territory!&#xD;&#xA; - Where you live is full of climate control machinery. The drones and resonances of those machines, especially in interesting spaces like stairwells or machine rooms, can create amazing room tones and ambiences.&#xD;&#xA; - In such a built-up area, listen for places where the wind whips through cracks or cables.&#xD;&#xA; - Let the international nature of the place seep into your recordings. Don't fall into the belief that a recording that's not pristine doesn't have utility or character!&#xD;&#xA; - I'm dying for ANYONE to get recordings of the [robotic camel jockeys][1] starting to come into use over there.&#xD;&#xA;&#xD;&#xA;Hit the streets and share the results!&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Robot_jockey" ContentLicense="CC BY-SA 2.5" />
  <row Id="10023" PostHistoryTypeId="2" PostId="5829" RevisionGUID="612aa532-ac8d-46df-afac-61a16c271815" CreationDate="2011-02-02T22:17:27.243" UserId="835" Text="HI - I'm from Guatemala, living/working in Barcelona! &#xD;&#xA;Musician and sound designer! In my free time I'm trying to build an audio library of old/new mayan musical instruments for Kontakt and Ableton sampler!! Great community here, saludos!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10024" PostHistoryTypeId="16" PostId="5829" RevisionGUID="612aa532-ac8d-46df-afac-61a16c271815" CreationDate="2011-02-02T22:17:27.243" UserId="-1" />
  <row Id="10025" PostHistoryTypeId="2" PostId="5830" RevisionGUID="aa21301e-fbf8-496f-b21c-84cc4f67984a" CreationDate="2011-02-02T22:45:28.360" UserId="851" Text="Over at the phonography list, this guy Claudio posted a link to his site: [link text][1] [1]: http://fieldabuse.com/ where you can find some interesting recordings of the upheaval in Egypt. In his own words: &quot;*the recordings have been taken in Alexandria (Egypt) from the window of the&#xD;&#xA;school where my girlfriend was stucked for 5 days without internet&#xD;&#xA;connection and a small amount of food. The sounds have been recorded with a&#xD;&#xA;digital camera.*&quot; Don't know if he's on SSD, just taking the liberty of pointing in his direction... Anyhow, scary listening &amp; good luck over to Egypt! " ContentLicense="CC BY-SA 2.5" />
  <row Id="10026" PostHistoryTypeId="16" PostId="5830" RevisionGUID="aa21301e-fbf8-496f-b21c-84cc4f67984a" CreationDate="2011-02-02T22:45:28.360" UserId="-1" />
  <row Id="10027" PostHistoryTypeId="2" PostId="5831" RevisionGUID="c9fe2df7-c239-4386-98ba-d80cddcf8518" CreationDate="2011-02-03T06:30:00.250" UserId="18160" Text="A Brazilian voice-over talent I worked with said he used to work for a TV station in Brazil in the late 80s to 90s. He recorded a protest over there where he had to lug a 50-pound recorder around - he had a great story about it and he said he has never recorded nor heard that type of human emotion since - very intense. I can only imagine what it's like over in Egypt right now. Next time I record him I'll ask if he still has something to show us or if it's archived on the net anywhere." ContentLicense="CC BY-SA 2.5" />
  <row Id="10028" PostHistoryTypeId="16" PostId="5831" RevisionGUID="c9fe2df7-c239-4386-98ba-d80cddcf8518" CreationDate="2011-02-03T06:30:00.250" UserId="-1" />
  <row Id="10029" PostHistoryTypeId="2" PostId="5832" RevisionGUID="2b65b00d-7b7a-4041-9513-5415d35ee84d" CreationDate="2011-02-03T07:44:52.860" UserId="817" Text="Protests can be fun and crazy. In '97 I recorded protests in NYC for police brutality cases that were very consuming. Your heart tore as you heard the details of young kids who were accused of attacking police yet autopsy reports noted numerous bullet wounds entering the palms of these kids hands and palm side of their forearms (showing most were shot with their hands raised; with alleged attacker's firearms never being produced). These marches were fairly tame considering the cause, yet the crowds became wild as armored police officers filed into the streets near protest barriers toward the end of one march. Probably don't have those DATS anymore.&#xD;&#xA;&#xD;&#xA;I hope our friends in Egypt are as safe as I was in '97." ContentLicense="CC BY-SA 2.5" />
  <row Id="10030" PostHistoryTypeId="16" PostId="5832" RevisionGUID="2b65b00d-7b7a-4041-9513-5415d35ee84d" CreationDate="2011-02-03T07:44:52.860" UserId="-1" />
  <row Id="10034" PostHistoryTypeId="2" PostId="5833" RevisionGUID="564955b0-f828-463a-ae02-526eafd62116" CreationDate="2011-02-03T12:30:09.680" UserId="844" Text="What's the difference of versions of Sennheiser Headphones HD-25?&#xD;&#xA;&#xD;&#xA;HD-25 BE (Basic Edition)&#xD;&#xA;HD-25 Sky&#xD;&#xA;HD-25-1&#xD;&#xA;HD-25-1 II&#xD;&#xA;HD-25 SP&#xD;&#xA;HD-25 SP II&#xD;&#xA;HD-25 C II&#xD;&#xA;HD-25-13&#xD;&#xA;HD-25-13 II&#xD;&#xA;&#xD;&#xA;I allready ask to sennheiser team, i'm waiting for their answers. Soon i receive i'll post here.&#xD;&#xA;Meantime I'm hoping you can tell me by your experience or your personal knowledge..&#xD;&#xA;&#xD;&#xA;(My interest is for field-recording and studio needs)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10035" PostHistoryTypeId="1" PostId="5833" RevisionGUID="564955b0-f828-463a-ae02-526eafd62116" CreationDate="2011-02-03T12:30:09.680" UserId="844" Text="What's the difference of versions of Sennheiser Headphones HD-25?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10036" PostHistoryTypeId="3" PostId="5833" RevisionGUID="564955b0-f828-463a-ae02-526eafd62116" CreationDate="2011-02-03T12:30:09.680" UserId="844" Text="&lt;headphones&gt;&lt;sennheiser&gt;&lt;field-recording&gt;&lt;gear&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10037" PostHistoryTypeId="2" PostId="5834" RevisionGUID="6be94b3f-3624-417d-9fa5-1bc330124f33" CreationDate="2011-02-03T14:51:10.243" UserId="37" Text="Says it in this [PDF][1] on Sennheiser's website:&#xD;&#xA;&#xD;&#xA;HD25 &#xD;&#xA;&#xD;&#xA; - impedance:&#xD;&#xA;  - 70 Ω (HD 25-1 II)  &#xD;&#xA;  - 70 Ω (HD 25-C II) &#xD;&#xA;  - 600 Ω (HD 25-13 II)  &#xD;&#xA;  - 70 Ω (HD 25-II)&#xD;&#xA;&#xD;&#xA; - SPL: 120 dB&#xD;&#xA; - Frequency response: 16 – 22,000 Hz (- 3 dB)&#xD;&#xA;&#xD;&#xA;HD25 SP&#xD;&#xA;&#xD;&#xA; - impedance: 60 Ω&#xD;&#xA; - SPL: 100 dB ± 2 dB&#xD;&#xA; - Frequency response: 30 – 16,000 Hz (- 3 dB)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sennheiser.com/sennheiser/products.nsf/resources/EFB3A02B6D2C39E0C1257482003EE614/$File/HD_25-GB.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="10038" PostHistoryTypeId="5" PostId="5834" RevisionGUID="e042e441-89f2-4ec4-972f-df31298d48a7" CreationDate="2011-02-03T14:56:52.913" UserId="37" Comment="added 113 characters in body" Text="Says it in this [PDF][1] on Sennheiser's website:&#xD;&#xA;&#xD;&#xA;HD25 &#xD;&#xA;&#xD;&#xA; - impedance:&#xD;&#xA;  - 70 Ω (HD 25-1 II)  &#xD;&#xA;  - 70 Ω (HD 25-C II) &#xD;&#xA;  - 600 Ω (HD 25-13 II)  &#xD;&#xA;  - 70 Ω (HD 25-II)&#xD;&#xA;&#xD;&#xA; - cable length&#xD;&#xA;  - HD 25-1 II: 1,5 m &#xD;&#xA;  - HD 25-C II: 3 m (1 m) &#xD;&#xA;  - HD 25-13 II: 3 m &#xD;&#xA;  - HD 25-II: 2 m&#xD;&#xA;&#xD;&#xA; - SPL: 120 dB&#xD;&#xA; - Frequency response: 16 – 22,000 Hz (- 3 dB)&#xD;&#xA;&#xD;&#xA;HD25 SP&#xD;&#xA;&#xD;&#xA; - impedance: 60 Ω&#xD;&#xA; - SPL: 100 dB ± 2 dB&#xD;&#xA; - Frequency response: 30 – 16,000 Hz (- 3 dB)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sennheiser.com/sennheiser/products.nsf/resources/EFB3A02B6D2C39E0C1257482003EE614/$File/HD_25-GB.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="10039" PostHistoryTypeId="2" PostId="5835" RevisionGUID="8b47ba96-ff8a-400f-bdb7-94694c23f104" CreationDate="2011-02-03T16:24:11.077" UserId="854" Text="I'm new in the field and I hear these terms flying around and i'm down with most of them but when it comes to final mixing and mastering i get stunned as a person who does music and sound design so is there a difference between a final mixer and a mastering engineer and what is it (Detailed explanation and suggest reading material if possible)?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10040" PostHistoryTypeId="1" PostId="5835" RevisionGUID="8b47ba96-ff8a-400f-bdb7-94694c23f104" CreationDate="2011-02-03T16:24:11.077" UserId="854" Text="Final Mixer Vs. Mastering Engineer" ContentLicense="CC BY-SA 2.5" />
  <row Id="10041" PostHistoryTypeId="3" PostId="5835" RevisionGUID="8b47ba96-ff8a-400f-bdb7-94694c23f104" CreationDate="2011-02-03T16:24:11.077" UserId="854" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10042" PostHistoryTypeId="2" PostId="5836" RevisionGUID="ecd84a9f-499c-496c-92c4-ee9fb63ab765" CreationDate="2011-02-03T17:15:09.837" UserId="103" Text="A mixer's job is to get the recorded (and edited) individual instruments and make them work together, in a way where they serve their purpose in each moment of the song.&#xD;&#xA;&#xD;&#xA;A good book is David Gibson's &#xD;&#xA;&#xD;&#xA;The Art of Mixing: A Visual Guide to Recording, Engineering, and Production &#xD;&#xA;&#xD;&#xA;A mastering engineer's job is to take the final mixes as stereo tracks and polish them and making sure all the tracks sound coherent, ie there are as little differences as possible regarding loudness and frequency spectrum.&#xD;&#xA;&#xD;&#xA;THE book is Bob Katz's &#xD;&#xA;&#xD;&#xA;Mastering audio: the art and science.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10043" PostHistoryTypeId="5" PostId="5831" RevisionGUID="d253b7da-c475-4ad3-926a-b018ec4590cd" CreationDate="2011-02-03T17:54:46.120" UserId="18160" Comment="added 342 characters in body" Text="A Brazilian voice-over talent I worked with said he used to work for a TV station in Brazil in the late 80s to 90s. He recorded a protest over there where he had to lug a 50-pound recorder around - he had a great story about it and he said he has never recorded nor heard that type of human emotion since - very intense. I can only imagine what it's like over in Egypt right now. Next time I record him I'll ask if he still has something to show us or if it's archived on the net anywhere.&#xD;&#xA;&#xD;&#xA;Also, I'm friends with a cameraman who went to Columbia to do capture some footage and all through the night he was hearing a drug war going on (explosions, random machine-gun fire) and while he was waiting safely in an alleyway before he was told he could walk across the street by his bodyguard, he recorded some of the ambience for me." ContentLicense="CC BY-SA 2.5" />
  <row Id="10044" PostHistoryTypeId="5" PostId="5831" RevisionGUID="ac894096-4fcc-4967-b955-dd2e84d6e2fb" CreationDate="2011-02-03T18:09:18.070" UserId="18160" Comment="added 5 characters in body" Text="A Brazilian voice-over talent I worked with said he used to work for a TV station in Brazil in the late 80s to 90s. He recorded a protest over there where he had to lug a 50-pound recorder around - he had a great story about it and he said he has never recorded nor heard that type of human emotion since - very intense. I can only imagine what it's like over in Egypt right now. Next time I record him I'll ask if he still has something to show us or if it's archived on the net anywhere.&#xD;&#xA;&#xD;&#xA;Also, I'm friends with a cameraman who went to South America to do capture some footage and all through the night he was hearing a drug war going on (explosions, random machine-gun fire) and while he was waiting safely in an alleyway before he was told he could walk across the street by his bodyguard, he recorded some of the ambience for me." ContentLicense="CC BY-SA 2.5" />
  <row Id="10045" PostHistoryTypeId="2" PostId="5837" RevisionGUID="2ed310e4-9051-455c-9455-fc35a7940098" CreationDate="2011-02-03T19:40:39.890" UserId="37" Text="this is a question of inspiration.. &#xD;&#xA;&#xD;&#xA;here's a list i couldn't have written two years ago:&#xD;&#xA;&#xD;&#xA;- general ambience at odd times (v.early in the morning for instance)&#xD;&#xA;- street markets&#xD;&#xA;- dockyards&#xD;&#xA;- any quietness (it does have characters)&#xD;&#xA;- conversations, crowds are never enough&#xD;&#xA;- doors (never enough of those either)&#xD;&#xA;- fancy cars, especially if you can get inside&#xD;&#xA;- offices (they will sound different)&#xD;&#xA;- record downtown&#xD;&#xA;- get out of town and record there. suddenly things multiply by two.&#xD;&#xA;- birds. these are area-specific.&#xD;&#xA;- transport - trains especially.&#xD;&#xA;- any other things you cannot find outside of UAE.&#xD;&#xA;&#xD;&#xA;traffic all over everything is just one of your challenges.&#xD;&#xA;&#xD;&#xA;go for it. http://www.flickr.com/search/?q=dubai&amp;w=all" ContentLicense="CC BY-SA 2.5" />
  <row Id="10046" PostHistoryTypeId="2" PostId="5838" RevisionGUID="f0edd9f5-0c34-46cc-9a25-42c5612a1307" CreationDate="2011-02-03T20:03:38.863" UserId="18160" Text="Try to get into a big empty new building which has no hear or air systems in it yet - must be cool ambiences in there.&#xD;&#xA;&#xD;&#xA;Record the traffic through a tube or something interesting like that.&#xD;&#xA;&#xD;&#xA;Record an authentic Dubai train station or airport squawk box or PA system - those are always valuable to put the audience immediately into foreign surroundings in a movie.&#xD;&#xA;&#xD;&#xA;Forgive me if I sound like a cliche American, but I'm sure Camel vocals would be valuable recorded at 192K for use in monster movies.&#xD;&#xA;&#xD;&#xA;Record foreign ambiences that people would pay a pretty penny for over here in the states.&#xD;&#xA;&#xD;&#xA;I'm sure you can get close enough to some of the gigantic cranes and things there to get some great servo and mechanical sounds.&#xD;&#xA;&#xD;&#xA;The value of desert ambiences and clean desert wind can never be underestimated in anyone's library.&#xD;&#xA;&#xD;&#xA;Some of the musical instruments and things there could be awesome. Possibly getting a job recording a local musical group or theater house which puts on concerts?&#xD;&#xA;&#xD;&#xA;There is a myriad of ways to put recording to use." ContentLicense="CC BY-SA 2.5" />
  <row Id="10047" PostHistoryTypeId="5" PostId="5838" RevisionGUID="22fa7455-5976-4524-bb4c-aacfcf59631f" CreationDate="2011-02-03T20:09:27.713" UserId="18160" Comment="added 58 characters in body" Text="Young grasshopper, you are not listening close enough!&#xD;&#xA;&#xD;&#xA;Try to get into a big empty new building which has no hear or air systems in it yet - must be cool ambiences in there.&#xD;&#xA;&#xD;&#xA;Record the traffic through a tube or something interesting like that.&#xD;&#xA;&#xD;&#xA;Record an authentic Dubai train station or airport squawk box or PA system - those are always valuable to put the audience immediately into foreign surroundings in a movie.&#xD;&#xA;&#xD;&#xA;Forgive me if I sound like a cliche American, but I'm sure Camel vocals would be valuable recorded at 192K for use in monster movies.&#xD;&#xA;&#xD;&#xA;Record foreign ambiences that people would pay a pretty penny for over here in the states.&#xD;&#xA;&#xD;&#xA;I'm sure you can get close enough to some of the gigantic cranes and things there to get some great servo and mechanical sounds.&#xD;&#xA;&#xD;&#xA;The value of desert ambiences and clean desert wind can never be underestimated in anyone's library.&#xD;&#xA;&#xD;&#xA;Some of the musical instruments and things there could be awesome. Possibly getting a job recording a local musical group or theater house which puts on concerts?&#xD;&#xA;&#xD;&#xA;There is a myriad of ways to put recording to use." ContentLicense="CC BY-SA 2.5" />
  <row Id="10048" PostHistoryTypeId="2" PostId="5839" RevisionGUID="a8c3d47d-c62a-4143-84bc-f12f22907f1e" CreationDate="2011-02-03T22:20:08.140" UserId="855" Text="Another vote for RX! Just got RX 2 myself and it's amazing. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10049" PostHistoryTypeId="2" PostId="5840" RevisionGUID="ac1971e6-1f44-4017-ae92-c1cca467b278" CreationDate="2011-02-03T23:58:18.723" UserId="18160" Text="I just finished a course on the basics of film editing and production, and I'm wondering who else here thinks it's important to grasp certain concepts of film editing to perform better at sound editing? I ask because I've heard it said over and over that a good picture editor should know a bit about sound, so does this work in the reverse?&#xD;&#xA;&#xD;&#xA;Did you take a class? Or did you learn it as you went?&#xD;&#xA;&#xD;&#xA;What are your thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10050" PostHistoryTypeId="1" PostId="5840" RevisionGUID="ac1971e6-1f44-4017-ae92-c1cca467b278" CreationDate="2011-02-03T23:58:18.723" UserId="18160" Text="Would it help to know techniques of picture editing to perform better at sound editing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10051" PostHistoryTypeId="3" PostId="5840" RevisionGUID="ac1971e6-1f44-4017-ae92-c1cca467b278" CreationDate="2011-02-03T23:58:18.723" UserId="18160" Text="&lt;picture-editing&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10052" PostHistoryTypeId="5" PostId="5837" RevisionGUID="d7491571-bb78-4348-be29-506d358db6f4" CreationDate="2011-02-04T00:06:57.503" UserId="37" Comment="deleted 2 characters in body" Text="this is a matter of inspiration.. &#xD;&#xA;&#xD;&#xA;here's a list i couldn't have written two years ago:&#xD;&#xA;&#xD;&#xA;- general ambience at odd times (v.early in the morning for instance)&#xD;&#xA;- street markets&#xD;&#xA;- dockyards&#xD;&#xA;- any quietness (it does have characters)&#xD;&#xA;- conversations, crowds are never enough&#xD;&#xA;- doors (never enough of those either)&#xD;&#xA;- fancy cars, especially if you can get inside&#xD;&#xA;- offices (they will sound different)&#xD;&#xA;- record downtown&#xD;&#xA;- get out of town and record there. suddenly things multiply by two.&#xD;&#xA;- birds. these are area-specific.&#xD;&#xA;- transport - trains especially.&#xD;&#xA;- any other things you cannot find outside of UAE.&#xD;&#xA;&#xD;&#xA;traffic all over everything is just one of your challenges.&#xD;&#xA;&#xD;&#xA;go for it. http://www.flickr.com/search/?q=dubai&amp;w=all" ContentLicense="CC BY-SA 2.5" />
  <row Id="10053" PostHistoryTypeId="2" PostId="5841" RevisionGUID="d0ff7b97-2c2d-41a8-b0c1-6da17e8d7a13" CreationDate="2011-02-04T00:18:47.597" UserId="856" Text="Hi to all field recordists.&#xD;&#xA;&#xD;&#xA;If using a stereo shotgun microphone, how could you hear what it is you're recording through m/s encoding in real time (ex, not later on in the studio, rather while in the field)?&#xD;&#xA;&#xD;&#xA;could it be done without an external mixer? if so, how? if not, how?&#xD;&#xA;&#xD;&#xA;thanks, and have an awesome day!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10054" PostHistoryTypeId="1" PostId="5841" RevisionGUID="d0ff7b97-2c2d-41a8-b0c1-6da17e8d7a13" CreationDate="2011-02-04T00:18:47.597" UserId="856" Text="Field Recording M/S matrixing" ContentLicense="CC BY-SA 2.5" />
  <row Id="10055" PostHistoryTypeId="3" PostId="5841" RevisionGUID="d0ff7b97-2c2d-41a8-b0c1-6da17e8d7a13" CreationDate="2011-02-04T00:18:47.597" UserId="856" Text="&lt;field&gt;&lt;recording&gt;&lt;ms&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10056" PostHistoryTypeId="2" PostId="5842" RevisionGUID="d7cda6ef-791e-4a4a-b9bd-c4613a7cb64f" CreationDate="2011-02-04T00:21:34.387" UserId="37" Text="[Walter Murch][1]...&#xD;&#xA;&#xD;&#xA;Film editing has definitely become an area of interest for me, and quite organically, over the course of a few years of just watching; even though I'd consider a class to be overkill.&#xD;&#xA;&#xD;&#xA;Visual cut and sound perspective go hand in hand.. until they don't, for a number of reasons. I think to understand why the editor made the cut decisions can give many ideas about the sound, in terms of storytelling.&#xD;&#xA;&#xD;&#xA;Music goes even further by sometimes necessitating alterations in the edit (I'd love to read from people who experience this, as well as from composers who easily overcome it). &#xD;&#xA;&#xD;&#xA;It might be a good idea to know in advance if the editor is going to hate you for doing something that would bring the pic back to them...&#xD;&#xA;&#xD;&#xA;  [1]: http://filmsound.org/murch/waltermurch.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="10057" PostHistoryTypeId="2" PostId="5843" RevisionGUID="4ed4aa28-d10d-4f97-ba3d-7a5be60e72ef" CreationDate="2011-02-04T00:22:24.900" UserId="253" Text="Totallydefinitely105%!&#xD;&#xA;&#xD;&#xA;Picture editors agonise over things like rhythm, tempo and pacing. If the sound design doesn't pay any attention to these things, then it can work against them and ruin the flow. Scenes that were tight can seem to become more drawn out, and vice versa.&#xD;&#xA;&#xD;&#xA;Having said that, i don't care about the technical aspects any further than exporting omfs and embedding burnt in TC. The creative parts however, translate almost directly to what we do. I went to a small film school, and a lot of my good friends are picture editors, so i'm lucky enough to know a little bit about picture editing concepts from that. &#xD;&#xA;&#xD;&#xA;There seems to be a bit of a divide, in my experience, between picture editors and sound editors, but i've had some fantastic spotting sessions with editors. I strongly recommend inviting your picture editor to your spotting sessions; to check out your rough tracklay before you go to mix; and to your final mix. &#xD;&#xA;&#xD;&#xA;Also, is it just my friends, or do all picture editors love arguing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10058" PostHistoryTypeId="2" PostId="5844" RevisionGUID="266de1dc-3efa-408d-adc7-f1f73a1373ec" CreationDate="2011-02-04T00:54:57.497" UserId="10" Text="This would be helpful. Again: Murch. He is a master of editing (both film and sound).&#xD;&#xA;&#xD;&#xA;http://designingsound.tv/tag/the-art-of-the-guillotine/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10059" PostHistoryTypeId="2" PostId="5845" RevisionGUID="60cd1a7c-99a1-4caa-b38a-32499148e515" CreationDate="2011-02-04T02:09:07.757" UserId="338" Text="When you use sound you may use it to accentuate a situation or play out the emotions and ideas of the image through the sound or you might use the opposite of the image to dictate the sound.  When do you draw the line on this decision?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10060" PostHistoryTypeId="1" PostId="5845" RevisionGUID="60cd1a7c-99a1-4caa-b38a-32499148e515" CreationDate="2011-02-04T02:09:07.757" UserId="338" Text="When do you &quot;score the opposite&quot; in sound design including musically or when play out the image literally through sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10061" PostHistoryTypeId="3" PostId="5845" RevisionGUID="60cd1a7c-99a1-4caa-b38a-32499148e515" CreationDate="2011-02-04T02:09:07.757" UserId="338" Text="&lt;image&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10062" PostHistoryTypeId="2" PostId="5846" RevisionGUID="58edf21f-fef1-4ba5-8e61-1533bca1e1c4" CreationDate="2011-02-04T02:27:04.793" UserId="18160" Text="I'd have to see the edit before I made that adjudication. It depends on so many different things: What does the scene represent for the story? What's the importance of the scene? Is the scene in extreme slow motion? Or is it just a regular scene? Ad infinitum.&#xD;&#xA;&#xD;&#xA;But in the end, it all depends on what you want your audience to feel.&#xD;&#xA;&#xD;&#xA;If you want your audience to feel uncomfortable, I'll drop out the regular humming of an A/C in the room or something subtle to make the audience feel on edge. Take a rhythmic element which the audience gets used to like a constant clock ticking or water dropping in a faucet and make it skip a beat or something.&#xD;&#xA;&#xD;&#xA;I hope that helps answer the question you are asking. I unfortunately don't think I understood it fully." ContentLicense="CC BY-SA 2.5" />
  <row Id="10063" PostHistoryTypeId="5" PostId="5846" RevisionGUID="457d2897-0a3b-480a-b816-6ae4d68f6783" CreationDate="2011-02-04T02:32:37.183" UserId="18160" Comment="added 138 characters in body; added 32 characters in body; added 62 characters in body" Text="I'd have to see the edit before I made that adjudication. It depends on so many different things: What does the scene represent for the story? What's the importance of the scene? Is the scene in extreme slow motion? Or is it just a regular scene? Ad infinitum.&#xD;&#xA;&#xD;&#xA;But in the end, it all depends on what you want your audience to feel, the genre of the piece and the mood you are creating aurally.&#xD;&#xA;&#xD;&#xA;I think a slow-mo or surreal shot deserves a surreal sound design if only because the literal sound would be out of sync with the pix.&#xD;&#xA;&#xD;&#xA;But for something in real time, if you want your audience to feel uncomfortable, I'll drop out the regular humming of an A/C in the room or something subtle to make the audience feel on edge. Take a rhythmic element which the audience gets used to like a constant clock ticking or water dropping in a faucet and make it skip a beat or something.&#xD;&#xA;&#xD;&#xA;I hope that helps answer the question you are asking. I unfortunately don't think I understood it fully." ContentLicense="CC BY-SA 2.5" />
  <row Id="10064" PostHistoryTypeId="2" PostId="5847" RevisionGUID="7ca88e7f-511c-4fc1-9a10-aba4d9563a1b" CreationDate="2011-02-04T03:58:33.870" UserId="29" Text="My very first - second, actually - professional job was doing offline editing, whereby I'd basically make the crash edit/rough cut and the online editor would polish. It embedded in me the same principles I intuitively suspected in music, but never formally studied: tension, sustain, release, transition, context, technical coverage, point of view, rhythm, and narrative. I didn't embark on picture editing as a career, but to this day, almost anything I have done professionally, in interactive media and sound, relies on these principles.&#xD;&#xA;&#xD;&#xA;In no way do I think it's necessary, but in my experience, it absolutely helps, primarily in one sense: Building further context around the art of the narrative, linear or interactive, and how emotional reactions can be achieved via media over time. Which is, I'd hazard to guess, what most of us here care the most about at the end of the day." ContentLicense="CC BY-SA 2.5" />
  <row Id="10065" PostHistoryTypeId="2" PostId="5848" RevisionGUID="671bf8ae-f62e-430c-911f-28ff14fa2f09" CreationDate="2011-02-04T04:01:56.030" UserId="432" Text="Some recorders/mixers, i.e. many from Sound Devices, have M/S decoding built into the unit. Granted, I believe you're actually recording the decoded stereo signal using that functionality, but you can always derive the M/S signal again in your DAW if you like.&#xD;&#xA;&#xD;&#xA;You could also look around for one of AEA's MS38 Lite headphone amp. It was a very compact belt-pack decoder. They're discontinued now, but you might be able to find one used somewhere......just don't ask me where.&#xD;&#xA;&#xD;&#xA;Here's a [link][1] to their page showing their legacy (discontinued) M/S products.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wesdooley.com/aea/MS_Stereo.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="10066" PostHistoryTypeId="6" PostId="5841" RevisionGUID="93bfb31d-fec5-4171-90b8-a91e74086a42" CreationDate="2011-02-04T04:02:20.600" UserId="432" Comment="edited tags" Text="&lt;field&gt;&lt;recording&gt;&lt;ms&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10067" PostHistoryTypeId="2" PostId="5849" RevisionGUID="9f3289bf-3962-4556-86e7-3fc13cd5b52c" CreationDate="2011-02-04T04:07:36.133" UserDisplayName="user49" Text="Decisions such as these are made throughout all of sound editorial &amp; the mix.... doing the opposite (or unrelated) of what obviously suits the image can be powerful - but for me it doesn't tend to be arbitrary - finding a reason to put a 'wrong' sound can be the search for a metaphor... see Walter Murch quote in this rant:&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/metaphoric-sound&#xD;&#xA;&#xD;&#xA;“The metaphoric use of sound is one of the most fruitful, flexible and inexpensive means: by choosing carefully what to eliminate, and then adding back sounds that seem at first hearing to be somewhat at odds with the accompanying image, the filmmaker can open up a perceptual vacuum into which the mind of the audience must inevitably rush.&#xD;&#xA;Every successful reassociation is a kind of metaphor, and every metaphor is seen momentarily as a mistake, but then suddenly as a deeper truth about the thing named and our relationship to it. The greater the stretch between the “thing” and the “name,” the deeper the potential truth.”&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10068" PostHistoryTypeId="2" PostId="5850" RevisionGUID="087c8163-1d7a-4206-9936-aa7144336508" CreationDate="2011-02-04T04:17:07.397" UserDisplayName="user49" Text="I've read maybe half a dozen books on film editing, as much for theory as technical, as it is a fundamental part of filmic story telling. I'll edit this when I'm at home with some book suggestions but Walter Murchs In the Blink of an Eye is a very good starting point.&#xD;&#xA;&#xD;&#xA;Working as a sound editor you cannot help but learn about picture editing, as you spend all day reacting to it. Same goes for cinematography, focus &amp; lighting, acting, art direction etc...&#xD;&#xA;&#xD;&#xA;Your relationship with the picture editor on each film is also very, very important." ContentLicense="CC BY-SA 2.5" />
  <row Id="10069" PostHistoryTypeId="2" PostId="5851" RevisionGUID="e50c40fe-f7a5-4746-8d83-df072146ff1c" CreationDate="2011-02-04T04:18:57.410" UserDisplayName="user49" Text="I suggest you wear ear plugs for 24 hours, and then have a listen to your surroundings." ContentLicense="CC BY-SA 2.5" />
  <row Id="10070" PostHistoryTypeId="2" PostId="5852" RevisionGUID="41435c37-5846-4c3e-8583-fe3b35b8b475" CreationDate="2011-02-04T06:36:50.633" UserId="341" Text="Hi Folks. I'm a sound engineer from the UK now living in Macau and working on The House of Dancing Water theatre show by Franco Dragone. I'm also a sound recording artist, and progressing in that field, making &quot;cinema for the ear&quot; multi channel recordings and installations. My piece 'Airtight Orange Plastic Coffin' will be presented in a completely dark cinema environment at the Walter Reade Theater / Film Society of Lincoln Center in New York City next April as part of 'Unsound', a festival of experimental music and sound art.&#xD;&#xA;If any of you New Yorkers are interested, let me know and I'll give you more details.&#xD;&#xA;&#xD;&#xA;Nice to (virtually) meet you all." ContentLicense="CC BY-SA 2.5" />
  <row Id="10071" PostHistoryTypeId="16" PostId="5852" RevisionGUID="41435c37-5846-4c3e-8583-fe3b35b8b475" CreationDate="2011-02-04T06:36:50.633" UserId="-1" />
  <row Id="10072" PostHistoryTypeId="2" PostId="5853" RevisionGUID="729e45d8-7a31-4372-852a-fde50f7d1848" CreationDate="2011-02-04T07:36:24.067" UserId="348" Text="How about doing the skiing thing but do it down a sand dune with the recorder attached to your boots or ski's. Also, deserts have the most amazing wind sounds and coupled with the sand would be quite wonderful. Cannot wait to hear what you have done. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10073" PostHistoryTypeId="2" PostId="5854" RevisionGUID="f8dda7c3-6eae-4bcc-ac55-bab408249462" CreationDate="2011-02-04T08:13:18.033" UserId="18160" Text="Just finished watching Legend of the Guardians,&#xD;&#xA;&#xD;&#xA;and some of the dialogue lines were &quot;doubled&quot; or processed with lo-air or something because one word out of a sentence turned into this massive monster voice, but the rest of the sentence sounded normal.&#xD;&#xA;&#xD;&#xA;I'm curious to why the dialogue mixer chose to do that and what plug-ins or processing was used?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10074" PostHistoryTypeId="1" PostId="5854" RevisionGUID="f8dda7c3-6eae-4bcc-ac55-bab408249462" CreationDate="2011-02-04T08:13:18.033" UserId="18160" Text="How Did They Do That?? Vol. 3: Legend of the Guardians Dialogue" ContentLicense="CC BY-SA 2.5" />
  <row Id="10075" PostHistoryTypeId="3" PostId="5854" RevisionGUID="f8dda7c3-6eae-4bcc-ac55-bab408249462" CreationDate="2011-02-04T08:13:18.033" UserId="18160" Text="&lt;dialogue&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10076" PostHistoryTypeId="5" PostId="5854" RevisionGUID="d4428967-dd12-4a62-be03-5e67f2ac6315" CreationDate="2011-02-04T08:19:08.487" UserId="18160" Comment="added 46 characters in body" Text="Just finished watching Legend of the Guardians,&#xD;&#xA;&#xD;&#xA;and some of the dialogue lines were &quot;doubled&quot; or processed with lo-air or something because one word out of a sentence turned into this massive monster voice, but the rest of the sentence sounded normal.&#xD;&#xA;&#xD;&#xA;I'm curious to why the dialogue mixer chose to do that and what plug-ins or processing was used?&#xD;&#xA;&#xD;&#xA;Couldn't find any samples online to link.." ContentLicense="CC BY-SA 2.5" />
  <row Id="10078" PostHistoryTypeId="2" PostId="5856" RevisionGUID="f2d5e957-dfce-4e8e-a005-f9fffe82dfe9" CreationDate="2011-02-04T10:34:36.627" UserId="238" Text="I think that to become a master of film sound you need to understand many, many other art forms. Not just picture editing, though I totally agree that this is extremely beneficial, but also to understand the workflow and process of design, art, music, storytelling. We can take inspiration from theatre, dance, books etc. As a general rule, I really try to learn from other disciplines and apply their methods to my work. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10079" PostHistoryTypeId="2" PostId="5857" RevisionGUID="36d3150b-89a6-46c5-87a1-34e678d6c5d4" CreationDate="2011-02-04T10:37:16.353" UserId="568" Text="I wish i had me a desert escape. &#xD;&#xA;&#xD;&#xA;I'd go out n' shout and record&#xD;&#xA;&#xD;&#xA; .. every .. single .. take! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;How I'd bark my poor head off, &#xD;&#xA;&#xD;&#xA;man, what a bizarre set of sounds I'd make! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Hey, perhaps convince a friend to record as well,&#xD;&#xA;&#xD;&#xA;and their friends too!&#xD;&#xA;&#xD;&#xA;Say, that'd be *swell*.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Split them in half &#xD;&#xA;&#xD;&#xA;or keep them as one,&#xD;&#xA;&#xD;&#xA;Just remember recording is also having fun!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://blacksandsfilm.files.wordpress.com/2010/11/recording1.jpg&#xD;&#xA;&#xD;&#xA;This is not me" ContentLicense="CC BY-SA 2.5" />
  <row Id="10080" PostHistoryTypeId="2" PostId="5858" RevisionGUID="cbe721c1-958b-4af9-b68d-ad4df9298f36" CreationDate="2011-02-04T17:51:34.343" UserId="854" Text="This is an interesting question plus the answer are as equal. I did an experimental flick in my 3rd year of varsity and i wish i had come across ya'll a bit sooner after catching up with some of the answers and questions posted up, i think i can take a shot a it again. Much appreciated" ContentLicense="CC BY-SA 2.5" />
  <row Id="10081" PostHistoryTypeId="2" PostId="5859" RevisionGUID="8cb61beb-2a5c-4111-932d-9bb63997a82e" CreationDate="2011-02-04T17:58:41.537" UserId="854" Text="I fairly learned about the 5.1 studio and how you go about mixing it, but on Tv i heard about 7.2 surround sound system and i'm wondering are the dynamics the same or is there something different about it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10082" PostHistoryTypeId="1" PostId="5859" RevisionGUID="8cb61beb-2a5c-4111-932d-9bb63997a82e" CreationDate="2011-02-04T17:58:41.537" UserId="854" Text="5.1 Vs. 7.2 (Surround Sound System)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10083" PostHistoryTypeId="3" PostId="5859" RevisionGUID="8cb61beb-2a5c-4111-932d-9bb63997a82e" CreationDate="2011-02-04T17:58:41.537" UserId="854" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10084" PostHistoryTypeId="2" PostId="5860" RevisionGUID="3d5753b4-da1c-470c-9bb5-b838b7b5f3b4" CreationDate="2011-02-04T18:03:44.113" UserId="854" Text="I'm studying my honours degree this year and part of it is an internship, the joys of this is I get to choose who i intern under. My question is can anybody recommend me a brilliant Dolby digital sound designer who i can intern under and their website so that i can supply all their details to my institution   " ContentLicense="CC BY-SA 2.5" />
  <row Id="10085" PostHistoryTypeId="1" PostId="5860" RevisionGUID="3d5753b4-da1c-470c-9bb5-b838b7b5f3b4" CreationDate="2011-02-04T18:03:44.113" UserId="854" Text="Dolby Digital Sound Designer (In South Africa)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10086" PostHistoryTypeId="3" PostId="5860" RevisionGUID="3d5753b4-da1c-470c-9bb5-b838b7b5f3b4" CreationDate="2011-02-04T18:03:44.113" UserId="854" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10087" PostHistoryTypeId="2" PostId="5861" RevisionGUID="2dda32a2-4c8d-4304-8075-d2125c5a71b1" CreationDate="2011-02-04T18:06:46.343" UserId="393" Text="I'm not entirely sure what you're asking, but 5.1 and 7.2 are VERY different.  In 5.1, you have right and left front, right and left rear, center and sub.  7.1, you have all that, except sub is split into right and left, and you have additional right and left side speakers.&#xD;&#xA;&#xD;&#xA;So, when you're mixing, some things that would fully occupy left front and rear speakers in 5.1 could almost completely be housed in left side.  Sub is no longer mono, which means you actually have to think about which direction the low tones are coming from.  Also, twice the low-frequency channels means you may end up with too much bass.  Same for anything that happens in the side channels.  If you simply add those to a 5.1 mix, things that happen on the sides will have more weight because they're happening in 2 or 3 speakers, instead of just the one set.&#xD;&#xA;&#xD;&#xA;All in all, just as 5.1 is totally separate from stereo, 7.2 is separate from 5.1." ContentLicense="CC BY-SA 2.5" />
  <row Id="10088" PostHistoryTypeId="2" PostId="5862" RevisionGUID="47168397-db4d-407c-91c8-dd5ac572cec5" CreationDate="2011-02-04T18:13:45.720" UserDisplayName="user6508" Text="To add to what @Shaun said, the Sound Devices 7 series recorders allow you to either record the decoded M/S signal or record the separated M/S signal to each channel while monitoring through the headphones the decoded signal.&#xD;&#xA;&#xD;&#xA;Also, the Zoom H4n allows you to record the decoded M/S signal through the external XLR inputs.  I've used this when with my stereo shotgun (sennheiser 418s) while traveling or recording in environments where I'd risk damage to a $300 recorder rather than a $2000 one. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10089" PostHistoryTypeId="2" PostId="5863" RevisionGUID="adb51b6b-3d47-463f-a40e-a6eec3438aaa" CreationDate="2011-02-04T19:19:23.950" UserId="859" Text="@Shaun, basically I could record the mid mic to channel 1, and the figure 8 to channel 2, at the same time I could monitor the signal in M/S&#xD;&#xA;&#xD;&#xA;And when I import the files to my computer, I have 1 mid mic file, and 1 side mic file, which I could make M/S by putting them in my daw, doubling the 2nd channel and flipping its phase polarity.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10090" PostHistoryTypeId="2" PostId="5864" RevisionGUID="514cd265-d302-49f6-a273-04f294f791dd" CreationDate="2011-02-04T19:30:28.223" UserId="315" Text="Just to clarify, 7.2 isn't about directionality of the sub. There isn't a left and right sub per se, because subharmonic frequencies aren't directional. It's very difficult for the ear to perceive exactly where 40Hz is coming from. It's more about spreading the sub evenly around a room.&#xD;&#xA;&#xD;&#xA;Here's an [article][1] about various home theater speaker layouts.&#xD;&#xA;&#xD;&#xA;Here's a previous [thread][2] about 7.1 vs 5.1.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.the-home-cinema-guide.com/setting-up-surround-sound.html&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/1555/7-1-going-to-be-the-new-standard/1558#1558" ContentLicense="CC BY-SA 2.5" />
  <row Id="10091" PostHistoryTypeId="2" PostId="5865" RevisionGUID="2b360f7d-2d3c-4ee9-a941-539ebf88156e" CreationDate="2011-02-04T19:41:33.517" UserId="6435" Text="Keep your ears open for anything out of the ordinary. I just recorded a cool motor sound from a refrigerated truck that was parked up the street, and this morning I noticed the ice cream cooler in the cafeteria at work was broken and making a bizarre noise. Both were cool, unique sounds. You never know what you're gonna find. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10092" PostHistoryTypeId="5" PostId="5850" RevisionGUID="15a68174-c069-412e-bca0-48ab2862a2e8" CreationDate="2011-02-04T19:42:35.207" UserDisplayName="user49" Comment="added 512 characters in body; deleted 7 characters in body" Text="I've read maybe half a dozen books on film editing, as much for theory as technical, as it is a fundamental part of filmic story telling. I'll edit this when I'm at home with some book suggestions but Walter Murchs In the Blink of an Eye is a very good starting point.&#xD;&#xA;&#xD;&#xA;Working as a sound editor you cannot help but learn about picture editing, as you spend all day reacting to it. Same goes for cinematography, focus &amp; lighting, acting, art direction etc...&#xD;&#xA;&#xD;&#xA;Your relationship with the picture editor on each film is also very, very important.&#xD;&#xA;&#xD;&#xA;A few book suggestions:&#xD;&#xA;&#xD;&#xA; - In the Blink of an Eye by Walter Murch (excellent)&#xD;&#xA; - First Cut, Conversations with Film editors by Gabriella Oldham (excellent)&#xD;&#xA; - The Conversations, Walter Murch &amp; the Art of editing Film by Michael Ondaatje&#xD;&#xA; - Moviemakers' Master Class by Laurent Tirard (excellent)&#xD;&#xA; - Cinematic Storytelling by Jennifer Van Sijll&#xD;&#xA; - Setting Up Your Shots by Jeremy Vineyard&#xD;&#xA; - Behind the Seen - How Walter Murch edited Cold Mountain using Final Cut Pro by Charles Koppelam&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10093" PostHistoryTypeId="2" PostId="5866" RevisionGUID="7f09a82d-b6e8-4988-9514-a33f578a3147" CreationDate="2011-02-04T19:52:38.840" UserId="208" Text="Check out &quot;I am legend&quot;. Great abandoned ambience track." ContentLicense="CC BY-SA 2.5" />
  <row Id="10094" PostHistoryTypeId="2" PostId="5867" RevisionGUID="3c771889-c96c-4899-8f40-2002ab252f00" CreationDate="2011-02-04T20:30:39.787" UserId="817" Text="The bit I learned about 7.1 as opposed to 5.1 has to do more with enveloping the listener within the sound field. I went to a THX course over six years ago where one of our instructors explained that 7.1 surround had already been adopted as the standard for the gaming industry, because it allowed the gamer to be more engulfed within the sound field (creating a more realistic gaming experience). &#xD;&#xA;&#xD;&#xA;It allows for more accurate placement of sound toward the sides &amp; rear of the sound field, thus allowing the sound mixer a larger canvas to paint with. It's become the standard for mixing films shot in 3D because of the same reason. The link posted above by Justin Pearson is a great source for explaining this. &#xD;&#xA;&#xD;&#xA;The three dimensionality in sound gained by 7.1 over 5.1 has to do with adding two extra speakers sitting further behind the side speakers (I've seen them usually placed behind the listener projecting straight forward), creating more &quot;Space&quot; in the back of the sound field (more speakers means more places to put sound) for sounds to be localized or moved around in. Whereas with 5.1 the sound field is limited toward the rear because the Left Surround and Right Surround speakers are at the sides (sometime just behind the listener at their side) of the listener, with a very wide displacement of rear sound sources. Because of the wide displacement of the rear speakers and their placement at the sides of the listener, any sound panned between these speakers can seem to disappear from the back of the sound field as it moves through the listeners head and reappear as it moves toward the other speaker. The two extra speakers in a 7.1 setup allows extra &quot;space&quot; for the sound to pan through the sound field behind the listener, thus creating a more realistic movie experience.&#xD;&#xA;&#xD;&#xA;The good thing is that 5.1 mixes can be adapted to 7.1. 5.1 is still the standard, for the most part, when it comes to mixing sound for picture. It can be adapted to any playback format and is still widely in use for DVD and broadcast. I have to admit, I've spent more time mixing on set and over the shoulder without the need to think about playback standards, other than HD sample rate and +0.1% pull up, so if there are new standards to know I'd love to be schooled by any of you who live in that realm full time. I love sound!&#xD;&#xA;&#xD;&#xA;E. Santiago&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10095" PostHistoryTypeId="2" PostId="5868" RevisionGUID="4345d4bd-5823-4837-bfbf-08f179d9522d" CreationDate="2011-02-04T20:45:56.857" UserId="270" Text="&#xD;&#xA;- Slow creepy metal movement sounds (like metal signs swinging in the wind)&#xD;&#xA;- Water Drips&#xD;&#xA;- Wind chimes&#xD;&#xA;- Alarms / telephones going off, depending on how long it has been abandonded for...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10097" PostHistoryTypeId="2" PostId="5869" RevisionGUID="fbecb541-00f9-471d-8d68-adb1f2d2588c" CreationDate="2011-02-04T22:20:02.843" UserId="289" Text="I am using Protools LE 8 M-box 2 Pro and I want to do some mixing but I see there is no Level meter that is included in the package. And I don't have enough moolas to buy the DV TOOLKIT 2. Does anyone know where I can Download a level meter for Protools le 8 for free it need not even be fancy?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="10098" PostHistoryTypeId="1" PostId="5869" RevisionGUID="fbecb541-00f9-471d-8d68-adb1f2d2588c" CreationDate="2011-02-04T22:20:02.843" UserId="289" Text="Free Level Meter Plug-in" ContentLicense="CC BY-SA 2.5" />
  <row Id="10099" PostHistoryTypeId="3" PostId="5869" RevisionGUID="fbecb541-00f9-471d-8d68-adb1f2d2588c" CreationDate="2011-02-04T22:20:02.843" UserId="289" Text="&lt;plug-ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10100" PostHistoryTypeId="2" PostId="5870" RevisionGUID="0af894ed-68ac-4c61-97dd-a3f8388304f9" CreationDate="2011-02-04T22:49:45.947" UserId="432" Text="check your plug-in list, &quot;sound field&quot; category i believe, and see if you have the &quot;PhaseScope&quot; plug-in. it's a multi-channel type plug-in, so you can't run it on a mono track, that you can only instantiate on a track (no audiosuite). i can't remember if it's included with the digirack plugins in 8 LE (i believe it is), but that should suit your needs if it's there." ContentLicense="CC BY-SA 2.5" />
  <row Id="10101" PostHistoryTypeId="13" PostId="3295" RevisionGUID="10adfd74-e5b8-4686-b48b-f986c96791c1" CreationDate="2011-02-04T23:11:22.827" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="10102" PostHistoryTypeId="2" PostId="5871" RevisionGUID="697a3fae-031d-4900-8927-0c1eec496db8" CreationDate="2011-02-04T23:12:09.193" UserId="182" Text="Check out [Sonalksis FreeG][1]:&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;RTAS, VST and Audio Unit&#xD;&#xA;&#xD;&#xA;Mac and Windows&#xD;&#xA;&#xD;&#xA;And best of all: Free!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sonalksis.com/freeg.htm&#xD;&#xA;  [2]: http://www.sonalksis.com/images/freeg.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="10103" PostHistoryTypeId="2" PostId="5872" RevisionGUID="52d42c90-42e3-4c42-8838-be6d9dd6fde1" CreationDate="2011-02-04T23:40:46.253" UserId="860" Text="Check this site out, you'll probably find what you need ... http://www.darkwood.demon.co.uk/PC/meter.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="10104" PostHistoryTypeId="2" PostId="5873" RevisionGUID="09a562aa-05df-46df-80ef-20355c58eb76" CreationDate="2011-02-05T00:13:01.860" UserId="37" Text="http://www.smassey.com/plugin.html - couldn't do without HR Meter really.&#xD;&#xA;+&#xD;&#xA;http://brianleewhite.com/2009/11/04/metering-with-digirack-phasescope/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10105" PostHistoryTypeId="2" PostId="5874" RevisionGUID="5620ab4d-f362-4cc4-8988-57033d43633f" CreationDate="2011-02-05T04:34:52.840" UserId="517" Text="In addition to the ones listed, I really like the free version of [RNS Inspector][1]. Its meters aren't as big as the HR meter, but I find the spectral analysis tool handy for sound design and mixing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rndigital.com/inspector.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="10106" PostHistoryTypeId="2" PostId="5875" RevisionGUID="e62e2bf0-a61c-4e2b-bfcc-95269027f8bd" CreationDate="2011-02-05T05:31:37.550" UserId="18160" Text="Dear All,&#xD;&#xA;&#xD;&#xA;I'd like to share a win I had today in recording wind.&#xD;&#xA;&#xD;&#xA;I took a Coleman camping air mattress, filled it brimming full of air, and let it deflate by opening it up and placing a 5 pound weight on top of it to keep a steady flow of air.&#xD;&#xA;&#xD;&#xA;I got about a minute of time to work with a constant flow of air without any extraneous noise because it was inside my floating record room and it didn't require any fans or anything.&#xD;&#xA;&#xD;&#xA;What I got was custom-made air flow sounds by using different objects to obstruct the air stream I created - paper, glass cups, my hands, etc. etc. etc. I then took this detailed wind and layered it on top of a wide ORTF recording of &quot;air&quot; in a forest or desert, and I got a realistic exactly-the-sound-I-had-pre-visualized-in-my-mind and it worked perfectly for the scene I needed an extra little something for. (and it didn't have any birds or cars or planes in it so it could be featured in the mix!)&#xD;&#xA;&#xD;&#xA;This is probably also a cool way to create custom wooshes and pitched-down eerie wind sounds.&#xD;&#xA;&#xD;&#xA;Thought I'd let you guys know - it works very well IMHO.&#xD;&#xA;&#xD;&#xA;I also didn't know how else to tell you guys because I don't have a blog as I don't think a blog written by me would be that interesting...&#xD;&#xA;&#xD;&#xA;Anyway, enjoy!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="10107" PostHistoryTypeId="1" PostId="5875" RevisionGUID="e62e2bf0-a61c-4e2b-bfcc-95269027f8bd" CreationDate="2011-02-05T05:31:37.550" UserId="18160" Text="Discovery of Wind in the Studio" ContentLicense="CC BY-SA 2.5" />
  <row Id="10108" PostHistoryTypeId="3" PostId="5875" RevisionGUID="e62e2bf0-a61c-4e2b-bfcc-95269027f8bd" CreationDate="2011-02-05T05:31:37.550" UserId="18160" Text="&lt;wind&gt;&lt;air&gt;&lt;custom&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10110" PostHistoryTypeId="2" PostId="5877" RevisionGUID="79ba0001-8cb4-4b94-a8e1-5526e0166337" CreationDate="2011-02-05T08:35:38.557" UserId="62" Text="I came across this freeware plugin yesterday. It's by Flux and called Stereo Tool. Going to give it a bash next week.&#xD;&#xA;&#xD;&#xA;http://www.fluxhome.com/products/freewares/stereotool" ContentLicense="CC BY-SA 2.5" />
  <row Id="10111" PostHistoryTypeId="2" PostId="5878" RevisionGUID="681279cf-7488-4c67-9060-f8ae8a3f2ec9" CreationDate="2011-02-05T09:54:44.863" UserId="244" Text="My question is: has anybody tried to restore clipped audio successfully?&#xD;&#xA;Is there a method behind this, or processing tool to help restore this that i'm unaware?&#xD;&#xA;&#xD;&#xA;I have tried using compressor tools to minimize this, but never truly restores it somewhat..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10112" PostHistoryTypeId="1" PostId="5878" RevisionGUID="681279cf-7488-4c67-9060-f8ae8a3f2ec9" CreationDate="2011-02-05T09:54:44.863" UserId="244" Text="Vocal clipping restoration" ContentLicense="CC BY-SA 2.5" />
  <row Id="10113" PostHistoryTypeId="3" PostId="5878" RevisionGUID="681279cf-7488-4c67-9060-f8ae8a3f2ec9" CreationDate="2011-02-05T09:54:44.863" UserId="244" Text="&lt;clipping&gt;&lt;distortion&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10114" PostHistoryTypeId="2" PostId="5879" RevisionGUID="3da89f49-5ae6-4fc2-ae63-a29a00c5a54d" CreationDate="2011-02-05T10:53:20.123" UserId="6420" Text="Download a demo of Izotope RX2 and have a go on that. It's pretty impressive what it can do :) I've had great success before de-clipping audio signals." ContentLicense="CC BY-SA 2.5" />
  <row Id="10115" PostHistoryTypeId="2" PostId="5880" RevisionGUID="d65d6dfd-a284-486c-b5cc-3313ac9d193e" CreationDate="2011-02-05T13:11:48.820" UserId="28" Text="And the compressor is a preventative remedy, not a curative one (if you are trying to avoid clipping). &#xD;&#xA;&#xD;&#xA;You need to put the compressor before the distortion to avoid the clipping from happening. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10116" PostHistoryTypeId="2" PostId="5881" RevisionGUID="a71fa49d-ee82-40aa-87e2-eb9cea131ace" CreationDate="2011-02-05T14:38:29.553" UserId="786" Text="+1 on Izotope RX2&#xD;&#xA;&#xD;&#xA;I use it really often. The denoiser is fantastic, with impressive results and very little artifacts.&#xD;&#xA;&#xD;&#xA;The declipper works well on most clipped audio, and the decracle can help a bit on analog distortion.&#xD;&#xA;&#xD;&#xA;And then there's spectral repair, which kind of makes the impossible possible." ContentLicense="CC BY-SA 2.5" />
  <row Id="10117" PostHistoryTypeId="2" PostId="5882" RevisionGUID="9acf55d1-0b76-4719-96dc-1bb68c7fbba1" CreationDate="2011-02-05T18:26:06.350" UserId="46" Text="iZotope is good if you find the right threshold - too much and it makes loud clicks. I'd also highly recommend Sony Oxford's declicker - my go-to for distortion." ContentLicense="CC BY-SA 2.5" />
  <row Id="10118" PostHistoryTypeId="2" PostId="5883" RevisionGUID="cef0977c-2853-485f-a699-bad55d83707b" CreationDate="2011-02-05T22:18:25.867" UserId="18160" Text="Ok, ok.&#xD;&#xA;&#xD;&#xA;I finally worked out how to upload a file. I had to go all the way to a coffee shop for you guys. I hope you're happy!&#xD;&#xA;&#xD;&#xA;Here it is:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/utopiarc/wind-sample-1&#xD;&#xA;&#xD;&#xA;This was created using my camping mattress with an empty wooden kleenex box-frame (with the hole right next to the mattress opening so it created a whistle/acoustic guitar effect) and I varied the speed of the air flow with my hand on the mattress. The first one is the raw, the second one is a bit of processing I did for the final mix (it was also placed in on top of a wide stereo desert wind ambience).&#xD;&#xA;&#xD;&#xA;Hope you guys enjoy. I think if I worked at it I could get a better recording - more desolate perhaps.&#xD;&#xA;&#xD;&#xA;Mic used was a vintage U87 about 2 inches above the hole of the mattress via a tube pre into Pro Tools at 192K." ContentLicense="CC BY-SA 2.5" />
  <row Id="10119" PostHistoryTypeId="5" PostId="5875" RevisionGUID="29f9c308-b7b6-4dcd-9720-b2dbb3b3daaf" CreationDate="2011-02-05T22:27:06.243" UserId="18160" Comment="added 48 characters in body" Text="Dear All,&#xD;&#xA;&#xD;&#xA;I'd like to share a win I had today in recording wind.&#xD;&#xA;&#xD;&#xA;I took a Coleman camping air mattress, filled it brimming full of air, and let it deflate by opening it up and placing a 5 pound weight on top of it to keep a steady flow of air.&#xD;&#xA;&#xD;&#xA;I got about a minute of time to work with a constant flow of air without any extraneous noise because it was inside my floating record room and it didn't require any fans or anything.&#xD;&#xA;&#xD;&#xA;What I got was custom-made air flow sounds by using different objects to obstruct the air stream I created - paper, glass cups, my hands, etc. etc. etc. I then took this detailed wind and layered it on top of a wide ORTF recording of &quot;air&quot; in a forest or desert, and I got a realistic exactly-the-sound-I-had-pre-visualized-in-my-mind and it worked perfectly for the scene I needed an extra little something for. (and it didn't have any birds or cars or planes in it so it could be featured in the mix!)&#xD;&#xA;&#xD;&#xA;This is probably also a cool way to create custom wooshes and pitched-down eerie wind sounds.&#xD;&#xA;&#xD;&#xA;Thought I'd let you guys know - it works very well IMHO.&#xD;&#xA;&#xD;&#xA;I also didn't know how else to tell you guys because I don't have a blog as I don't think a blog written by me would be that interesting...&#xD;&#xA;&#xD;&#xA;Anyway, enjoy!&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/utopiarc/wind-sample-1&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="10120" PostHistoryTypeId="2" PostId="5884" RevisionGUID="5fd662ff-6a47-4fbb-920f-ace419cd50b5" CreationDate="2011-02-05T22:31:20.503" UserId="18160" Text="I have found in my experiences that there isn't one good plug-in for every type of distortion. You kind of have to try through a variety and choose the one which does the best job.&#xD;&#xA;&#xD;&#xA;I'd check out Izotope RX for sure, next I'd check Waves X-Crackle, next the Oxford's de-clipper, then possibly Adobe Audition.&#xD;&#xA;&#xD;&#xA;But check this article out:&#xD;&#xA;&#xD;&#xA;http://www.sonic-terrain.com/2010/12/buyers-guide-sound-restoration-software/&#xD;&#xA;&#xD;&#xA;That gives you more information on what types of plug-ins are available for this sort of thing so you get more reality on what is out there and can make better judgements thereby because you have more knowledge about them, thus being able to control your sound better." ContentLicense="CC BY-SA 2.5" />
  <row Id="10121" PostHistoryTypeId="5" PostId="5883" RevisionGUID="fc7cde3d-d540-4afb-b47c-8b34fe3681d9" CreationDate="2011-02-05T22:37:08.587" UserId="18160" Comment="added 108 characters in body; deleted 8 characters in body" Text="Ok, ok.&#xD;&#xA;&#xD;&#xA;I finally worked out how to upload a file (my own wi-fi keeps giving me an error right at the end of uploading - does anyone else have this problem?). I had to go all the way to a coffee shop for you guys. I hope you're happy!&#xD;&#xA;&#xD;&#xA;Here it is:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/utopiarc/wind-sample-1&#xD;&#xA;&#xD;&#xA;This was created using my camping mattress with an empty wooden kleenex box-frame (with the hole right next to the mattress opening so it created a whistle/acoustic guitar effect) and I varied the speed of the air flow with my hand on the mattress. The first one is the raw, the second one is a bit of processing I did for the final mix (it was also placed in on top of a wide stereo desert wind ambience).&#xD;&#xA;&#xD;&#xA;Hope you guys enjoy. I think if I worked at it I could get a better recording - more desolate perhaps.&#xD;&#xA;&#xD;&#xA;Mic used was a U87 about 2 inches above the hole of the mattress via a tube pre into Pro Tools at 192K." ContentLicense="CC BY-SA 2.5" />
  <row Id="10122" PostHistoryTypeId="2" PostId="5885" RevisionGUID="a26fad2a-ef9b-4a76-848a-3f97044be3ed" CreationDate="2011-02-06T05:26:24.083" UserId="61" Text="I've been interested in this idea for a while and am curious if anyone out there has attempted it: Setting up a mic (or array of mics) in one location and being able to record the signal from another location, either by controlling a recorder that is with the mics, or with a local recorder grabbing the feed via Internet, wifi, etc. The application here could be wildlife or nature recording (think thunder, wind, rain), crowd recordings (think a balcony in Egypt), etc.&#xD;&#xA;&#xD;&#xA;With bandwidth becoming more available and the amazing automation controls being developed for iPad and the like, this seems like it would work. Obstacles to consider would be power sources, battery life, protection from the elements, etc. But with the many webcams in operation throughout the world, why couldn't a similar technology translate to 24bit 96k audio transmission?&#xD;&#xA;&#xD;&#xA;Your thoughts are appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10123" PostHistoryTypeId="1" PostId="5885" RevisionGUID="a26fad2a-ef9b-4a76-848a-3f97044be3ed" CreationDate="2011-02-06T05:26:24.083" UserId="61" Text="Remote recording over the internet" ContentLicense="CC BY-SA 2.5" />
  <row Id="10124" PostHistoryTypeId="3" PostId="5885" RevisionGUID="a26fad2a-ef9b-4a76-848a-3f97044be3ed" CreationDate="2011-02-06T05:26:24.083" UserId="61" Text="&lt;field-recording&gt;&lt;remote&gt;&lt;wireless&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10125" PostHistoryTypeId="2" PostId="5886" RevisionGUID="9661397c-9232-430b-8717-d8bdaaaa647a" CreationDate="2011-02-06T05:58:56.810" UserId="338" Text="You could elaborate to include real time audio manipulation for samples throughout the world on different internet site.  Collaborative, live/real time, DAW or Audio Editor style manipulation.  There is something like this but not through the internet, it's this thing called Syzgryd, http://www.syzygryd.com/&#xD;&#xA;&#xD;&#xA;Even make a game out of it.  Each person has 30 seconds to manipulate the sample with an effect of some kind or through an online DAW.  With four people and two minutes, think of the creative possibilities.  Russia, USA, South America, Japan." ContentLicense="CC BY-SA 2.5" />
  <row Id="10126" PostHistoryTypeId="2" PostId="5887" RevisionGUID="82e5ec81-75da-4ff0-bf82-327ff6cc0358" CreationDate="2011-02-06T06:07:40.797" UserDisplayName="user49" Text="http://www.silophone.net/&#xD;&#xA;&#xD;&#xA;These aren't quite real time (there would presumably be a transmission delay) and are more about worldizing but no reason why its not possible&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/i-am-sitting-in-a-tank&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10127" PostHistoryTypeId="2" PostId="5888" RevisionGUID="26f8845c-0b80-43c1-a5a8-317ce054eddd" CreationDate="2011-02-06T10:32:51.430" UserId="474" Text="Hi folks,&#xD;&#xA;&#xD;&#xA;apart from my occupation as sound designer, my main focus (since I'm working at a university) lies in media (technology) research, software development, and (sonic) interaction design.&#xD;&#xA;&#xD;&#xA;As such I'm excited about the quasi-revolution that is taking place in the user interface realm through the development of tablet devices and the like. Also, software companies such as Native Instruments or Ableton are currently pursuing new ways of human-computer-interaction.&#xD;&#xA;&#xD;&#xA;Contrary to this, at the latest audio convention I attended, to me it seemed like the only innovation were the obligatory 16 channel strips added to the large mixing consoles, etc.&#xD;&#xA;&#xD;&#xA;Since I'm somewhat rooted in both worlds, I find these developments very exciting, and am constantly thinking of how a new kind of user interface which sort of abandons the old &quot;build a mixing console as a software package&quot; way of doing things, could revolutionize sound-design and mixing. Without any more allusions from my side, I would really be interested in what kind of interaction you envision for your future (computer) work?&#xD;&#xA;&#xD;&#xA;I'm also thankful if you have some thrilling examples of nice interaction design for me... I try to follow developments as tightly as possible, but there's so much going on at the moment...&#xD;&#xA;&#xD;&#xA;All the best,&#xD;&#xA;Julian" ContentLicense="CC BY-SA 2.5" />
  <row Id="10128" PostHistoryTypeId="1" PostId="5888" RevisionGUID="26f8845c-0b80-43c1-a5a8-317ce054eddd" CreationDate="2011-02-06T10:32:51.430" UserId="474" Text="What could a future (software) interface for sound-design/mixing look like?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10129" PostHistoryTypeId="3" PostId="5888" RevisionGUID="26f8845c-0b80-43c1-a5a8-317ce054eddd" CreationDate="2011-02-06T10:32:51.430" UserId="474" Text="&lt;sound-design&gt;&lt;mixing&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10130" PostHistoryTypeId="2" PostId="5889" RevisionGUID="58f1b87d-fdf7-4282-8149-c5a4c618d156" CreationDate="2011-02-06T12:57:14.513" UserId="861" Text="Interestingly I heard RIck Wakeman talking about recording over rented Swiss phonelines while playing a church organ with the band playing in the studio. Apparently there was latency but being Yes they managed to work around it... bloody good musicians." ContentLicense="CC BY-SA 2.5" />
  <row Id="10131" PostHistoryTypeId="2" PostId="5890" RevisionGUID="421c0d61-2073-49d0-bc57-dce33f8b6afc" CreationDate="2011-02-06T16:26:49.710" UserId="194" Text="with power, an internet connection and a secure place for a laptop and mics you do this with any remote-desktop software.  Just log into the remote computer and click record into PT, then ftp the files back to yourself." ContentLicense="CC BY-SA 2.5" />
  <row Id="10132" PostHistoryTypeId="2" PostId="5891" RevisionGUID="81c4178e-ccbb-4d3a-97a3-0d9921038fe6" CreationDate="2011-02-06T17:35:16.133" UserId="808" Text="A side point, I know having more speakers like 7.1 instead of 5.1 will make a big difference, but people tend to forget about compression!&#xD;&#xA;&#xD;&#xA;I'm not so sure about home appliances but when it comes to Cinema sound, the average 5.1 system in cinemas is AC-3, Dolby Digital.&#xD;&#xA;IMAX is also only 6 channels but UNCOMPRESSED audio. That makes a heck of a difference!&#xD;&#xA;&#xD;&#xA;Another very typical scenario in Cinemas is 7.1, like with Sony SDDS. The compression ratio is around 5:1. &#xD;&#xA;&#xD;&#xA;Less compression really does make a huge difference, and of course it has a direct result on dynamics. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10134" PostHistoryTypeId="2" PostId="5893" RevisionGUID="f679989b-2afc-4533-929f-b858058b1e86" CreationDate="2011-02-07T00:37:58.233" UserId="432" Text="check out http://www.sourceelements.com/&#xD;&#xA;&#xD;&#xA;i talked to the owner/developer of it about 2 years ago at an AES event, and watched a demonstration. it's a pretty elegant solution for pro tools control and data exchange over IP...kind of like isdn, only you're actually controlling the remote pro tools session with your local system.&#xD;&#xA;&#xD;&#xA;you control another pro tools system using yours, it feeds back compressed audio to your unit while you're working/recording to minimize latency. when you're done, you &quot;sync&quot; the two machines, and it downloads the full res. audio to your session; replacing the compressed audio files on your system.&#xD;&#xA;&#xD;&#xA;it's pretty cool, we've been thinking about implementing it at work for some of our long distance, co-production projects." ContentLicense="CC BY-SA 2.5" />
  <row Id="10135" PostHistoryTypeId="2" PostId="5894" RevisionGUID="ac98625d-bd97-4b8d-ae2e-a541102f0773" CreationDate="2011-02-07T01:02:57.210" UserId="253" Text="I had a mixing lecturer who told us that our generation would be the one to make huge changes in the physical aspects of mixing (eg. faders, pots, etc.). I'm constantly trying to think about what would improve things.&#xD;&#xA;&#xD;&#xA;One thing that comes to mind is some kind of X/Y touchscreen/tablet automation interface. You could set the X and Y axes to whatever parameter you choose (eg. volume/pan, volume/send vol, etc.). Maybe even add a third axis that's related to finger pressure. This might require greater finger dexterity, but i've been messing around with GRM plug ins lately (which have a similar X/Y axis with a dot on it that controls 2 parameters) and i find that having access to 2 parameters, with the one control, makes things more intuitive.&#xD;&#xA;&#xD;&#xA;Also, my feet don't do much while i'm mixing. It'd be pretty cool if i could have pedals to skip fader banks or stop/play or something." ContentLicense="CC BY-SA 2.5" />
  <row Id="10136" PostHistoryTypeId="2" PostId="5895" RevisionGUID="970e80fb-a25e-43f3-89e9-6a1a85a7e777" CreationDate="2011-02-07T05:16:47.890" UserDisplayName="user49" Text="Force feedback is one aspect totally lacking from a lot of computer based ui design. Whether its knobs on an analogue synth, controls on a real mixing desk or playing an acoustic instrument, part of what allows people to develop skill &amp; dexterity is friction - there is art in that friction!  These empty weightless gestures on many of the new devices really do not feel like the future to me. A simple example: I'd like a surround panner on my iPad but I suspect if I get one I'll end up sticking things like plastic disks on it to provide physical friction and/or to restrict movement.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10137" PostHistoryTypeId="6" PostId="5888" RevisionGUID="c3c192a8-7692-4e91-9c66-d6faa3698597" CreationDate="2011-02-07T06:53:10.790" UserId="830" Comment="edited tags" Text="&lt;sound-design&gt;&lt;mixing&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10142" PostHistoryTypeId="2" PostId="5898" RevisionGUID="8b1011aa-15fa-4d01-8891-0c636164cc8e" CreationDate="2011-02-07T08:05:12.387" UserId="348" Text="I teach in SD in South Africa and know a few people who are proficient in surround sound mixing and sound design. There are people here who claim they are but are not. You might want to contact Jim Petrak at www.soundsurfers.co.za or contact Waterfront Studio's in Cape Town. Both are good places but here, there are not many who truly understand what it is you are looking for. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10143" PostHistoryTypeId="2" PostId="5899" RevisionGUID="90960f0e-8971-4ad1-864a-ca6ec1c5a14d" CreationDate="2011-02-07T08:33:50.740" UserId="238" Text="I've not seen the film and when I did a quick search on the Internet, nothing came up about the sound editing processes. I reckon a gold badge should be on offer to the one that answers this!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10144" PostHistoryTypeId="2" PostId="5900" RevisionGUID="75355bf6-d5ad-4352-a0ba-980927a72bb0" CreationDate="2011-02-07T08:59:56.503" UserId="474" Text="@Tim:&#xD;&#xA;&#xD;&#xA;there is much truth in what you say. it reminds me of a short section in Theo van Leeuwen's &quot;Speech Music Sound&quot; (p. 138f): &#xD;&#xA;&#xD;&#xA;&quot;In this area, too, electronic sound presents a challenge, partly because it often becomes very much a 'mind event' rather than a body event, difficult to relate to physical, bodily experiences and physical, material objects, and partly because the kinds of actions we have to perform to produce them often bear little connection to the sounds themselves, as when a vibrato is produced by touching a button rather than by vibrating one's finger on the string, or the sound of a Spanish guitar by tapping the keys of a piano rather than by plucking strings. Sounds lose their materiality, their link with the actions that produce them, and as a result their meaning might increasingly come to be seen as conventional rather than motivated. If we are to keep mind and body together, and not reduce all semiotic action to moving a mouse on a mouse pad or tapping keys, we urgently need to develop new, subjectively meaningful 'interfaces' between physical actions and the sounds they produce.&quot;&#xD;&#xA;&#xD;&#xA;I believe, though, that this gap can be overcome. Maybe I'll make a dissertation out of it :)&#xD;&#xA;&#xD;&#xA;(sorry, this post was too long for a comment :) )" ContentLicense="CC BY-SA 2.5" />
  <row Id="10145" PostHistoryTypeId="2" PostId="5901" RevisionGUID="b5c263cb-bf13-4c3f-992d-13b5d985a5cd" CreationDate="2011-02-07T13:20:08.840" UserId="862" Text="Does anyone have any tricks for designing a sound like a cricket or crickets? I live in Scotland and recording actual crickets obviously isn't an option!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10146" PostHistoryTypeId="1" PostId="5901" RevisionGUID="b5c263cb-bf13-4c3f-992d-13b5d985a5cd" CreationDate="2011-02-07T13:20:08.840" UserId="862" Text="How do you design a cricket sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10147" PostHistoryTypeId="3" PostId="5901" RevisionGUID="b5c263cb-bf13-4c3f-992d-13b5d985a5cd" CreationDate="2011-02-07T13:20:08.840" UserId="862" Text="&lt;sound-design&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10148" PostHistoryTypeId="2" PostId="5902" RevisionGUID="39ce1db2-b3a0-4429-b3b4-aa7d5f265b60" CreationDate="2011-02-07T14:15:56.973" UserId="864" Text="If you're any good with your own voice try this: http://www.ehow.com/how_4702844_chirp-like-cricket.html&#xD;&#xA;&#xD;&#xA;and if you're not try a synth! Base the sound on a  white noise hiss and fiddle around with other pre-sets (those that sound like a ringing phone) until you have something clear and resonant. There's plenty of free cricket sound effects on-line if you need inspiration/a reference point. &#xD;&#xA;&#xD;&#xA;Failing that- go to your local reptile supply shop and buy a box of crickets! &#xD;&#xA;&#xD;&#xA;Happy noise making! &#xD;&#xA;&#xD;&#xA;Helen @LenSound" ContentLicense="CC BY-SA 2.5" />
  <row Id="10149" PostHistoryTypeId="2" PostId="5903" RevisionGUID="cde3114c-961d-4608-b347-6fa72400e8f5" CreationDate="2011-02-07T14:19:20.260" UserId="56" Text="Hi Graeme, &#xD;&#xA;I like crickets and I'm designing a cricket machine on [puredata][1].&#xD;&#xA;I've made a good cricket so far but it still lacks some frequencies.&#xD;&#xA;My puredata bible for sound design is here: http://obiwannabe.co.uk/tutorials/html/tutorials_main.html&#xD;&#xA;&#xD;&#xA;First I made a recording with some real crickets so I studied the waveform and the harmonic spectrum. A crick is made by 4 impulses (20ms each every 30ms). The dominant frequency is &#xD;&#xA;9350Hz with some 4700Hz.  Now I'm working on the resonance.&#xD;&#xA;I didn't try it but I'm shure you can do a great cricket with the Operator (Ableton Live instrument) and with many other vst synths. The advantage with pd is that you can simulate the strange tempo/notempo of the nature.&#xD;&#xA;I can give you the puredata patch if you like but I don't know how to attach files here.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://puredata.info/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10150" PostHistoryTypeId="5" PostId="5903" RevisionGUID="c7b289a7-d21f-4ec9-be6c-560b46ae386b" CreationDate="2011-02-07T15:25:15.447" UserId="56" Comment="edited body" Text="Hi Graeme, &#xD;&#xA;I like crickets and I'm designing a cricket machine on [puredata][1].&#xD;&#xA;I've made a good cricket so far but it still lacks some frequencies.&#xD;&#xA;My puredata bible for sound design is here: http://obiwannabe.co.uk/tutorials/html/tutorials_main.html&#xD;&#xA;&#xD;&#xA;First I made a recording with some real crickets so I studied the waveform and the harmonic spectrum. A chirp is made by 4 impulses (20ms each every 30ms). The dominant frequency is &#xD;&#xA;9350Hz with some 4700Hz.  Now I'm working on the resonance.&#xD;&#xA;I didn't try it but I'm shure you can do a great cricket with the Operator (Ableton Live instrument) and with many other vst synths. The advantage with pd is that you can simulate the strange tempo/notempo of the nature.&#xD;&#xA;I can give you the puredata patch if you like but I don't know how to attach files here.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://puredata.info/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10151" PostHistoryTypeId="6" PostId="5901" RevisionGUID="a3eae9c6-09f3-41c7-b505-ed57da4bde94" CreationDate="2011-02-07T15:29:33.843" UserId="56" Comment="edited tags" Text="&lt;sound-design&gt;&lt;ambience&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10152" PostHistoryTypeId="5" PostId="5903" RevisionGUID="3def2b1d-8602-410a-b50e-d5d64e625599" CreationDate="2011-02-07T15:59:57.077" UserId="56" Comment="deleted 1 characters in body" Text="Hi Graeme, &#xD;&#xA;I like crickets and I'm designing a cricket machine on [puredata][1].&#xD;&#xA;I've made a good cricket so far but it still lacks some frequencies.&#xD;&#xA;My puredata bible for sound design is here: http://obiwannabe.co.uk/tutorials/html/tutorials_main.html&#xD;&#xA;&#xD;&#xA;First I made a recording with some real crickets so I studied the waveform and the harmonic spectrum. A chirp is made by 4 impulses (20ms each every 30ms). The dominant frequency is &#xD;&#xA;9350Hz with some 4700Hz.  Now I'm working on the resonance.&#xD;&#xA;I didn't try it but I'm sure you can do a great cricket with the Operator (Ableton Live instrument) and with many other vst synths. The advantage with pd is that you can simulate the strange tempo/notempo of the nature.&#xD;&#xA;I can give you the puredata patch if you like but I don't know how to attach files here.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://puredata.info/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10153" PostHistoryTypeId="2" PostId="5904" RevisionGUID="2240c50c-b6e6-44e5-b1cd-48fb2c80db69" CreationDate="2011-02-07T16:11:01.097" UserId="29" Text="As a professional interaction designer (and that's for context, *not* to set myself up as any kind of expert), I think the &quot;future&quot; is hard to nail down without sounding either kooky or like Ray Kurzweil (which some would argue is the same thing). However, I can offer what I've seen and heard recently that might offer some suggestions and ideas for your exciting investigation.&#xD;&#xA;&#xD;&#xA; - For all the talk we do of placing sounds in the stereo (or any multi-channel) field, there's been no serious attempts to visualize it in a professional manner, covering spread, gain, and frequency.&#xD;&#xA; - I agree with Tim that haptic feedback is sorely lacking. While one always wants to remove *cognitive* friction, *physical* friction is what makes things truly tactile. This is why I tape printmaking paper on my drawing tablet: Plastic on plastic doesn't feel anything like the real drawing or writing I do on a daily basis, and the lack of physical friction creates cognitive friction as I try to be visually inspired while managing the oddness of the experience. (Many haptic feedback actuators are driven by low-frequency sound files playing back, let that simmer in your brain for the possibilities...)&#xD;&#xA; - I strongly believe that the future of interactions is a range of input methods, not just one. Not just gestural (massive fatigue and huge accuracy issues), not just keyboard (indirect, proxy control), not just speech recognition (failures in loud environments and in translation). We're in an era where we don't need to assume someone will input commands in just one way - remember that Kinect's most overlooked feature is that it's not just a gestural controller, but it does speech recog., too. That's a trend I think we'll see more of: Contextually-appropriate controllers.&#xD;&#xA; - People think of touch and multi-touch in terms of touch*screens*, but that's limiting. The touch-sensitive encoders and faders on mixing boards really is a huge productivity changer. Heck, for scrubbing, I'd probably rather have a ribbon controller on my keyboard than a jog wheel.&#xD;&#xA; - XY input devices like the Wacom Intuos and Bamboo, or even the XY touchpads on Novation controllers, allow for two axes of input rather than one, which is a huge think. Could the new Apple USB touchpad input device - heck, two of them at once - be an interesting model for mixing? (remember, though, that some things like faders probably still want strictly-controlled single-axis movement)&#xD;&#xA; - In my opinion, all interface design should reduce the apparent distance between input gesture and the system's response, yielding at least a perception of more direct manipulation of a value, setting, or a piece of content.&#xD;&#xA; - Investigate peoples' mental models of things like mixing and editing. Have them draw how they thing of sound data spatially, away from hardware and out of the studio environment. You might gain interesting insights...&#xD;&#xA; - The radically new is almost never adopted by the market. Look at the QWERTY keyboard as the ultimate example. The key is to retain enough affordances from the old way of doing things that people are drawn in and somewhat comfortable, and then sneak in some innovation around the way the familiar things work, or a new thing in addition. Dreyfuss (who largely created what we now know as human factors) calls such things &quot;survival forms:&quot; If you design a pencil sharpener to be even vaguely pencil-sharpener-esque, people will know what to do with it, but if it looks like a featureless egg, no one will know where to begin.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10155" PostHistoryTypeId="2" PostId="5905" RevisionGUID="7288375d-0dc9-46a8-93ea-ae1049b9d045" CreationDate="2011-02-07T19:16:33.890" UserId="258" Text="Hey everybody, &#xD;&#xA;&#xD;&#xA;I went to the local music shop and asked for a monitor solution for a small room (with a budget around 400 - 500 Euro, i know - that´s not really a budget but I cannot afford more) and these are the monitors that were shown to me:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Mackie MR 8&#xD;&#xA;&#xD;&#xA;Yamaha HS80M&#xD;&#xA;&#xD;&#xA;KRK RP 8 G2&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I really liked the transparency of the Yamahas but missed some of the bass... The MR8 sounded ok but less transparent. KRK... dunno... I would go for the HS80M.&#xD;&#xA;&#xD;&#xA;What do you think? Do you have any experience with these speakers? Any recommendations?&#xD;&#xA;&#xD;&#xA;Thanks a lot!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10156" PostHistoryTypeId="1" PostId="5905" RevisionGUID="7288375d-0dc9-46a8-93ea-ae1049b9d045" CreationDate="2011-02-07T19:16:33.890" UserId="258" Text="Yamaha HS80M vs KRK RP 8 G2 vs Mackie MR 8" ContentLicense="CC BY-SA 2.5" />
  <row Id="10157" PostHistoryTypeId="3" PostId="5905" RevisionGUID="7288375d-0dc9-46a8-93ea-ae1049b9d045" CreationDate="2011-02-07T19:16:33.890" UserId="258" Text="&lt;speakers&gt;&lt;monitors&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10158" PostHistoryTypeId="2" PostId="5906" RevisionGUID="72dfc41d-07a1-44dd-87ad-440b4efae34d" CreationDate="2011-02-07T19:32:35.557" UserId="865" Text="I'm trying to wrap my head around MS recording.&#xD;&#xA;&#xD;&#xA;If I'm working without an MS encoder, I'm recording onto two channels. One channel takes the centre cardioid, the other takes the figure of eight.&#xD;&#xA;&#xD;&#xA;So, one channel records the mid, the other the sides. But where does left and right come into play? Is it in the magic of the 'matrixing'?&#xD;&#xA;&#xD;&#xA;If I record a motorcycle going from mic left to mic right, will the listener perceive the same left right transition?&#xD;&#xA;&#xD;&#xA;Someone, please explain. My brain is an idiot." ContentLicense="CC BY-SA 2.5" />
  <row Id="10159" PostHistoryTypeId="1" PostId="5906" RevisionGUID="72dfc41d-07a1-44dd-87ad-440b4efae34d" CreationDate="2011-02-07T19:32:35.557" UserId="865" Text="Mid/Side, is it magic? But how does it know its left from its right?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10160" PostHistoryTypeId="3" PostId="5906" RevisionGUID="72dfc41d-07a1-44dd-87ad-440b4efae34d" CreationDate="2011-02-07T19:32:35.557" UserId="865" Text="&lt;mid-side&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10161" PostHistoryTypeId="2" PostId="5907" RevisionGUID="ad975c4b-d24c-4310-aaa9-9eb16f8984d5" CreationDate="2011-02-07T20:19:36.887" UserId="6420" Text="Probably worth a search on here as there's a few posts regarding MS..&#xD;&#xA;&#xD;&#xA;Also you might want to check out:&#xD;&#xA;http://www.wikirecording.org/Mid-Side_Microphone_Technique&#xD;&#xA;&#xD;&#xA;http://www.wikirecording.org/Mid-Side_Microphone_Technique and &#xD;&#xA;&#xD;&#xA;http://www.bluecataudio.com/Vault/Doc/MidSideProcessing.pdf&#xD;&#xA;&#xD;&#xA;hope that helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10162" PostHistoryTypeId="2" PostId="5908" RevisionGUID="8f291cf9-f51e-4590-a9ce-199390fdc620" CreationDate="2011-02-07T20:19:44.213" UserId="474" Text="in short: the side information is hidden in the figure of eight's phase information. figuratively: if a signal comes from left, it is added in phase to the mid signal: L = M + S, while it is subtracted from the right channel (R = M + (-S) -&gt; cancellation) because of the inverted phase. if it comes from right, the opposite is the case.&#xD;&#xA;&#xD;&#xA;erm... hth :) (not sure)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10163" PostHistoryTypeId="2" PostId="5909" RevisionGUID="15d80298-11f9-4daa-ac2b-2153d3b50bf5" CreationDate="2011-02-07T20:22:19.357" UserId="18160" Text="Good question. I had a hard time myself when I started out.&#xD;&#xA;&#xD;&#xA;The technique is using the cardioid mic pointed at the source, which gives you a mono source sent to both speakers. This is the main signal.&#xD;&#xA;&#xD;&#xA;The side signal is a bidirectional (figure of 8) mic pointed at 90 degrees from the subject you're aiming at and so this records the ambient signal (or signal from the Side).&#xD;&#xA;&#xD;&#xA;The mid mic is played back mono.&#xD;&#xA;&#xD;&#xA;The side mic is duplicated, switched in polarity on one of the channels. They are panned left and right respectively.&#xD;&#xA;&#xD;&#xA;When you point your mic directly at the source, the null spot of the figure-8 mic is pointed directly at it as well so all you get is mono &quot;in the center&quot; signal.&#xD;&#xA;&#xD;&#xA;When the source moves a bit to your left, it comes in also to the left lobe of the figure-8 pickup pattern, and so that shows up via the matrix on the left side, thus creating a stereo image.&#xD;&#xA;&#xD;&#xA;There is a lot more detail to go into, having to do with phase, polarity of mics, etc. but that's the basics of what you need to know." ContentLicense="CC BY-SA 2.5" />
  <row Id="10164" PostHistoryTypeId="5" PostId="5907" RevisionGUID="c74754b0-49ea-489b-b12f-b9ce23afbd98" CreationDate="2011-02-07T20:28:54.670" UserId="6420" Comment="added 4 characters in body" Text="Probably worth a search on here as there's a few posts regarding MS..&#xD;&#xA;&#xD;&#xA;Also you might want to check out:&#xD;&#xA;http://www.wikirecording.org/Mid-Side_Microphone_Technique&#xD;&#xA;&#xD;&#xA;http://www.recording-microphones.co.uk/Mid-Side-stereo.shtml &#xD;&#xA;and &#xD;&#xA;&#xD;&#xA;http://www.bluecataudio.com/Vault/Doc/MidSideProcessing.pdf&#xD;&#xA;&#xD;&#xA;hope that helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10165" PostHistoryTypeId="5" PostId="5909" RevisionGUID="0188e7a9-39dd-4291-90d6-94f8f911fea5" CreationDate="2011-02-07T20:30:29.103" UserId="18160" Comment="added 630 characters in body" Text="Good question. I had a hard time myself when I started out.&#xD;&#xA;&#xD;&#xA;The technique is using the cardioid mic pointed at the source, which gives you a mono source sent to both speakers. This is the main signal.&#xD;&#xA;&#xD;&#xA;The side signal is a bidirectional (figure of 8) mic pointed at 90 degrees from the subject you're aiming at and so this records the ambient signal (or signal from the Side).&#xD;&#xA;&#xD;&#xA;The mid mic is played back mono.&#xD;&#xA;&#xD;&#xA;The side mic is duplicated, switched in polarity on one of the channels. They are panned left and right respectively.&#xD;&#xA;&#xD;&#xA;When you point your mic directly at the source, the null spot of the figure-8 mic is pointed directly at it as well so all you get is mono &quot;in the center&quot; signal.&#xD;&#xA;&#xD;&#xA;When the source moves a bit to your left, it comes in also to the left lobe of the figure-8 pickup pattern, and so that shows up via the matrix on the left side, thus creating a stereo image.&#xD;&#xA;&#xD;&#xA;It's basically that anything on your left enters into the figure-8 with positive polarity, thus being reinforced in the left speaker and cancelled out in the right speaker. When the source is on the right, the figure-8 mic is now negative in polarity, and thus the flipped phase channel is being reinforced in the right speaker and cancelled out in the left speaker because the left speaker is now negative and canceling with the mid mic and the right side (which is flipped to positive now) is being reinforced. I think if you drew a sketch or saw a picture of it at one of the sites the other guys sent a link to would work.&#xD;&#xA;&#xD;&#xA;There is a lot more detail to go into, having to do with phase, polarity of mics, etc. but that's the basics of what you need to know." ContentLicense="CC BY-SA 2.5" />
  <row Id="10166" PostHistoryTypeId="2" PostId="5910" RevisionGUID="a2a70d77-6dd8-43ca-ac73-024f4724ecb9" CreationDate="2011-02-08T02:41:09.570" UserId="817" Text="I'd love to see the film now that you mention. I'm going to take a guess. &#xD;&#xA;&#xD;&#xA;1. They may have made a copy of the dialogue track for that section of dialogue (keeping it in sync with the original), then on the copy track they may have cut out all dialogue except the words selected for augmenting (processing those selected words how they liked using an insert patch or FX send), then blended the results using volume automation or some other automation.&#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;2. They just selected the individual words chosen for augmenting (either by creating cut points at front &amp; back of each word then selecting [or some other way]) and created a special processed plugin template, then applied the plugin template to all chosen words in the track, then created crossfades for the front and back of each selected word.&#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;3. Who knows?&#xD;&#xA;&#xD;&#xA;You'd have to separate the words in some way to add processing, yet keep the words in sync to the original dialogue track because it sucks to re-align dialogue to picture once it falls out of sync (especially if it's just a few chosen words in a whole scene), and you'd have to have a way to keep the processing for all distinct words available for adjustments on the fly, just in case a choice is made to make any adjustments on the processed sound toward the end of a final mix. The adjustment would have to be made quickly and affect all the processed words at the same time to keep you on schedule. I'd vote for something along the lines of guess # 1. It'd be fun to hear it and learn how they did it.&#xD;&#xA;&#xD;&#xA;Sounds like fun!&#xD;&#xA;&#xD;&#xA;E. Santiago" ContentLicense="CC BY-SA 2.5" />
  <row Id="10167" PostHistoryTypeId="2" PostId="5911" RevisionGUID="8ff21e4b-88ac-4f87-8398-f18b8b340f59" CreationDate="2011-02-08T02:43:45.760" UserId="817" Text="I just noticed I had three choice # 1's. Long day...I'd go with the first choice # 1.&#xD;&#xA;&#xD;&#xA;E. Santiago" ContentLicense="CC BY-SA 2.5" />
  <row Id="10168" PostHistoryTypeId="2" PostId="5912" RevisionGUID="25f81703-ea2f-4d3e-ba91-5a74cc30e3ba" CreationDate="2011-02-08T04:07:56.560" UserId="558" Text="I went in to buy the Mackies, but decided to listen to all.  I left with Adam A7s (paid a bit less too).  What they miss in the bass they make up for with really crisp highs.  They compared pretty favorably to some expensive Genelecs.  Had them for a year now.  still happy." ContentLicense="CC BY-SA 2.5" />
  <row Id="10169" PostHistoryTypeId="2" PostId="5913" RevisionGUID="6afda91f-09b3-4664-9555-b6cc5035a36a" CreationDate="2011-02-08T05:53:41.863" UserId="587" Text="I could start a blog on all these audio questions pertaining to UDK...&#xD;&#xA;&#xD;&#xA;So I need to hide EVERYTHING other than the audio actors and emitters. Literally the only thing in the real time view should just be audio icons.&#xD;&#xA;&#xD;&#xA;Anyone got any ideas? Chris? Hehe, I thought I would call ya out!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10170" PostHistoryTypeId="1" PostId="5913" RevisionGUID="6afda91f-09b3-4664-9555-b6cc5035a36a" CreationDate="2011-02-08T05:53:41.863" UserId="587" Text="Hide All+Show Audio Actors Only - UDK" ContentLicense="CC BY-SA 2.5" />
  <row Id="10171" PostHistoryTypeId="3" PostId="5913" RevisionGUID="6afda91f-09b3-4664-9555-b6cc5035a36a" CreationDate="2011-02-08T05:53:41.863" UserId="587" Text="&lt;gameaudio&gt;&lt;udk&gt;&lt;implementation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10172" PostHistoryTypeId="2" PostId="5914" RevisionGUID="14cc8bce-32d5-4201-af76-591f2e9c6c31" CreationDate="2011-02-08T06:21:01.190" UserId="444" Text="I have a pair of MR8's and have been pretty happy with them. There is a lack of transperency compared to some monitors, and sometimes I have problems with the higher frequencies. I thought the low end wasn't bad for their size.  But they are cheep 450USD&#xD;&#xA;&#xD;&#xA;That said, one thing I am happy about when working with them is how my mixes translate.  I've found when listening to my mixes through my home theatre (onkyo), my laptop, and through an iPad and even my car system, that everything I placed in the mix stayed there. The sounds that needed to pop did so, and the subtle sounds stayed subtle and didn't disapear.&#xD;&#xA;&#xD;&#xA;Also, I supplement them with a JBL LSR2300&#xD;&#xA;&#xD;&#xA;A buddy of mine had the KRKs and he said he liked them when tracking but didn't wasn't thrilled with mixing on them.  I never had a chance to mix on them myself.&#xD;&#xA;&#xD;&#xA;Good luck researching." ContentLicense="CC BY-SA 2.5" />
  <row Id="10173" PostHistoryTypeId="2" PostId="5915" RevisionGUID="50ca8776-5443-45fe-aebb-40a068c71efd" CreationDate="2011-02-08T09:11:57.140" UserId="88" Text="One way to simplify this is to create an audio-specific submap (if you haven't already) and move (or place upon creation) all of your audio actors there.  You can then show/hide the audio submap via the usual checkboxes in the Generic browser's level list.  This won't help for audio objects you've attached directly to actors that reside in other submaps or the main map, as UE3 won't let you create cross-level references.  It should help you to isolate a good deal of your audio actors -- possibly the majority, depending upon how you've implemented so far.  If they're already distributed throughout a map with lots of non-audio actors in it, you may have to manually select them and move them to the audio submap. &#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10174" PostHistoryTypeId="2" PostId="5916" RevisionGUID="0ca034d6-d82b-403f-ab99-51f72401b40f" CreationDate="2011-02-08T09:41:56.747" UserId="19" Text="Yeah this was a hard one to find.  Trying to show and hide exactly what you want can be a real pain.  There are two ways I have found:&#xD;&#xA;&#xD;&#xA;1. Select the type of actor you want to view in the editor, then right-click and choose Visibility-&gt;Show Selected Only.  This will hide everything else but that particular type of actor, however it hides other types of audio actors along with it.&#xD;&#xA;&#xD;&#xA;2.  Use the Scene Manager (Browser Windows-&gt;Scene) as a list to select all audio actors on the map.  You can use the Auto-Focus checkbox to select/view the actors simultaneously.  Again, right-click on an actor and choose Visibility-&gt;Show Selected Only.  This give you an easily selectable list to use for show/hide.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10175" PostHistoryTypeId="5" PostId="5915" RevisionGUID="c2f2570b-7e9c-426e-a6e4-452988deffde" CreationDate="2011-02-08T18:16:43.273" UserId="88" Comment="Added quotation marks in recognition of Chris's reminder that the multi-selection of actor types doesn't mean &quot;one by one.&quot;" Text="One way to simplify this is to create an audio-specific submap (if you haven't already) and move (or place upon creation) all of your audio actors there.  You can then show/hide the audio submap via the usual checkboxes in the Generic browser's level list.  This won't help for audio objects you've attached directly to actors that reside in other submaps or the main map, as UE3 won't let you create cross-level references.  It should help you to isolate a good deal of your audio actors -- possibly the majority, depending upon how you've implemented so far.  If they're already distributed throughout a map with lots of non-audio actors in it, you may have to &quot;manually&quot; select them and move them to the audio submap. &#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10176" PostHistoryTypeId="2" PostId="5917" RevisionGUID="09f34114-791f-48f8-beb3-ab416afb8149" CreationDate="2011-02-08T20:26:04.340" UserId="18160" Text="Dear all,&#xD;&#xA;&#xD;&#xA;I had to do some walking for a couple characters on a short film I am working on today.&#xD;&#xA;&#xD;&#xA;Last night I recorded the main character, and couldn't help but notice that it's really hard to walk without the additional cloth of my own clothes added to the sound.&#xD;&#xA;&#xD;&#xA;Luckily, my own clothes didn't sound different to what the character had on screen, but I'm curious to what the rules of thumb are for walking and what types of clothing to wear (shorts, type of pants, socks, etc.) for minimal cloth rustle while walking? For example, what if it's someone who has on a full suit made of a different material than what you have on and you want to add that sound in later?&#xD;&#xA;&#xD;&#xA;I'm sure this is covered in the book entitled &quot;The Foley Grail&quot; - I really need to purchase that book. But for now, any experience you might have that you could impart to me would be most excellent.&#xD;&#xA;&#xD;&#xA;Thanks in advance -&#xD;&#xA;&#xD;&#xA;Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="10177" PostHistoryTypeId="1" PostId="5917" RevisionGUID="09f34114-791f-48f8-beb3-ab416afb8149" CreationDate="2011-02-08T20:26:04.340" UserId="18160" Text="Walking/Running Advice" ContentLicense="CC BY-SA 2.5" />
  <row Id="10178" PostHistoryTypeId="3" PostId="5917" RevisionGUID="09f34114-791f-48f8-beb3-ab416afb8149" CreationDate="2011-02-08T20:26:04.340" UserId="18160" Text="&lt;walking&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10179" PostHistoryTypeId="2" PostId="5918" RevisionGUID="ca4a1807-fe12-4dda-8526-446e4a9c33f9" CreationDate="2011-02-08T20:40:54.330" UserId="103" Text="I always use the same shorts (yewwww!) that i've &quot;auditioned&quot; for two years ago. I went around in a store and rustled all the shorts they had until i found a pair that was really quiet.&#xD;&#xA;I always use those and a very tight tshirt (mind you i don't make the shirt look good haha) to keep the rustle to a minimum. Also i tend to squat a little bit when i'm walking, i find to have better control that way, and the byproduct of that is that the legs are a bit further apart also helping in reducing the rustle.&#xD;&#xA;&#xD;&#xA;For socks i try to use thin small socks, if i have some clean ones." ContentLicense="CC BY-SA 2.5" />
  <row Id="10180" PostHistoryTypeId="2" PostId="5919" RevisionGUID="df7780b5-3b99-4def-abec-714b966ce91d" CreationDate="2011-02-08T21:01:53.510" UserId="865" Text="I've been working in audiobooks for a little over ten years and, to be frank, I've had my fill. There's also the matter of cash flow. The family pot seems to have a hole in it and my career is going nowhere!&#xD;&#xA;&#xD;&#xA;Back when I was still green, I earned a City and Guilds diploma. This eventually led me into my current job as an audiobook editor. Apart from that, I have no other training or experience (apart from work experience in TV and a few short film shoots, and a little experience of film editing).&#xD;&#xA;&#xD;&#xA;I would like to get into film sound but have no idea where to go. I'm not London based. In that respect, I live in a fairly remote part of the country. I can't afford to live on a yearly income of less than £30,000 -- £27,000 at a push -- as there are bills to pay and mouths to feed (and yet more bills to pay).&#xD;&#xA;&#xD;&#xA;I'm not exactly over the hill yet but it seems that to enter this game you have to be fresh faced with plenty of time to sacrifice. Am I wrong?&#xD;&#xA;&#xD;&#xA;Okay, enough with the sprawling preamble. I'm not entirely sure what my question is. I guess I'm asking for someone to suggest the best direction. Thirty something audio guy with little professional experience other than audiobooks wants to earn £30k plus in the film industry, doesn't live near London (neither can he relocate) has he got his head in the clouds?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10181" PostHistoryTypeId="1" PostId="5919" RevisionGUID="df7780b5-3b99-4def-abec-714b966ce91d" CreationDate="2011-02-08T21:01:53.510" UserId="865" Text="(UK) Sidestepping into film sound... a possibility?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10182" PostHistoryTypeId="3" PostId="5919" RevisionGUID="df7780b5-3b99-4def-abec-714b966ce91d" CreationDate="2011-02-08T21:01:53.510" UserId="865" Text="&lt;career&gt;&lt;freelance&gt;&lt;money&gt;&lt;uk&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10183" PostHistoryTypeId="2" PostId="5920" RevisionGUID="64535915-66c5-4298-819a-b59b219caa52" CreationDate="2011-02-08T21:10:18.013" UserId="868" Text="Awesome samples!  I think you could make some amazing breathing sounds with this technique also.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="10184" PostHistoryTypeId="2" PostId="5921" RevisionGUID="b4c60107-7eab-4dbc-be5a-428c96d76c39" CreationDate="2011-02-08T21:55:35.707" UserId="869" Text="Different cables definitely can sound different.  Anybody who says otherwise simply doesn't know what they are talking about.  All you have to do is listen to a good stereo and try a few different brands connecting the CD player to the amp.  The differences are obvious.  The people who say &quot;it's just copper&quot; simply haven't sat down and tested it out.  I'm not saying it makes perfect sense, I'm just saying, it's true. Good luck with your search.  I'm searching for the best sounding mic cable right now myself." ContentLicense="CC BY-SA 2.5" />
  <row Id="10186" PostHistoryTypeId="2" PostId="5922" RevisionGUID="2bb6d08c-9e81-40b0-81eb-92f9af500ae7" CreationDate="2011-02-08T22:31:54.750" UserId="578" Text="I'm not really sure what to answer, but it sounds difficult. Perhaps you can look beyond film, and consider the games industry also. The games world isn't so focussed on London in the UK, it's all around the country. However it's not easy to get a first paid game audio job without some prior experience. &#xD;&#xA;&#xD;&#xA;Perhaps if you have some spare time you can use to look up mod teams (moddb.com) who need people who can provide sound effects. This will be unpaid but it will be a good starting point to hone your skills. Alternatively, visit iPhone/Android games developers forums and offer your skills and expertise. You can also go to websites such as elance.com and pitch for jobs that need sound people. Sites like elance usually offer paid jobs, but the pay is very low - and a lot of people are pitching for it. Again it won't be film work, but it will be a change, and it could be a step forward. &#xD;&#xA;&#xD;&#xA;As for film work - I am not really sure. You could try signing up to Shooting People (https://shootingpeople.org/account/auth.php), but to be honest, all audio jobs I've seen going on there in the past were unpaid, and still require you to be in London in most cases. &#xD;&#xA;&#xD;&#xA;Bottomline is that, I think, you will have to use every spare minute you have to work on low or even unpaid projects that are relevant to your career goals. Try to not work for free on projects that you know 'have a budget' (this is why I don't like Shooting People, for instance - but game mod teams is a different story), unless you really have the feeling it will further your chances.&#xD;&#xA;&#xD;&#xA;Other people might have much better advice than me, this is the best I could come up with given the paramaters of your situation - but good luck!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="10187" PostHistoryTypeId="5" PostId="5922" RevisionGUID="521c7796-beec-4056-942b-c65de3e82044" CreationDate="2011-02-08T22:36:56.477" UserId="578" Comment="added 30 characters in body" Text="I'm not really sure what to answer, but it sounds difficult. Perhaps you can look beyond film, and consider the games industry also. The games world isn't so focussed on London in the UK, it's all around the country. However it's not easy to get a first paid game audio job without some prior experience. &#xD;&#xA;&#xD;&#xA;Perhaps if you have some spare time you can use to look up mod teams (moddb.com) who need people who can provide sound effects. This will be unpaid but it will be a good starting point to hone your skills. Alternatively, visit iPhone/Android games developers forums and offer your skills and expertise. You can also go to websites such as elance.com and pitch for jobs that need sound people. Sites like elance usually offer paid jobs, but the pay is very low - and a lot of people are pitching for it. Again it won't be film work, but it will be a change, and it could be a step forward. &#xD;&#xA;&#xD;&#xA;As for film work - I am not really sure. You could try signing up to Shooting People (https://shootingpeople.org/account/auth.php), but to be honest, all audio jobs I've seen going on there in the past were unpaid, and still require you to be in London in most cases. &#xD;&#xA;&#xD;&#xA;Bottomline is that, I think, you will have continue in your current job and use every spare minute you have to work on low or even unpaid projects that are relevant to your career goals. Try to not work for free on projects that you know 'have a budget' (this is why I don't like Shooting People, for instance - but game mod teams is a different story), unless you really have the feeling it will further your chances.&#xD;&#xA;&#xD;&#xA;Other people might have much better advice than me, this is the best I could come up with given the paramaters of your situation - but good luck!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="10188" PostHistoryTypeId="2" PostId="5923" RevisionGUID="16b1acd8-e2e3-4f5d-b0cd-45852f58656f" CreationDate="2011-02-09T00:53:03.203" UserId="870" Text="Yeah, I think 'difficult' is probably the best way to describe this whole venture. (I have never considered the game industry. I don't think it's an area I would feel comfortable working in as I don't really know much about computer games. Film is my thing.)&#xD;&#xA;&#xD;&#xA;I'm going to give it a go nonetheless. When spring comes, I should have some time to go doorstepping a few post houses to get a clearer picture. Perhaps I'll find it's not really my bag and that I should keep audio as a hobby rather than a career.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10189" PostHistoryTypeId="2" PostId="5924" RevisionGUID="a9661150-c52c-4577-8ac5-8a26500bc229" CreationDate="2011-02-09T02:36:24.593" UserDisplayName="user49" Text="My favorite type of mic cables are the ones that work! I especially like them if they work even after they've been dragged through the mud, gaffer taped to cars, baked in the sun etc.... No matter how good the sales pitch is or whether they sound 0.0001% better when plugged into a preamp with wooden knobs, if a cable fails it fails 100% and there may never be a take 2, ever." ContentLicense="CC BY-SA 2.5" />
  <row Id="10190" PostHistoryTypeId="2" PostId="5925" RevisionGUID="4766c11c-cf46-4add-bed9-e0bdf7049ff6" CreationDate="2011-02-09T03:00:43.397" UserId="100" Text="As long as your willing to risk not making nearly as much as you want for a while, I say, &quot;Follow your bliss.&quot; I'm in an eerily similar situation, and still decided to pursuit film sound because I love doing it. You can't let age, geography, or ignorance hold you back. No matter how old you are, or where you live, if you put in the effort to learn the art, make connections, and don't let difficulties get you down, and you'll be successful and have a lot of fun doing it. Best of luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="10191" PostHistoryTypeId="2" PostId="5926" RevisionGUID="e231cb6a-54ba-4f3e-8772-3212e424b7a2" CreationDate="2011-02-09T06:23:52.163" UserId="871" Text="Atmospheres aside, also remeber tat without much background noise all the footsteps, cloth, object handling - any noise created by any people will be very noticble. Have you ever ben in a house when everyone is asleep and you are trying not to make any noise? Suddenly you are aware of every noise you make and things like creaking doors and shuffling through boxes are seem unnaturally loud and detailed. &#xD;&#xA;&#xD;&#xA;Another example is being in a shopping centre extra hours and hearing all the detals like light hums and escalators are rich with machine whirs and metal squeaks.So close mic things and pay attention to details would be my approach.&#xD;&#xA;&#xD;&#xA;For reference Fallout 3 and Fallout: New Vegas might be good. One of my favourite tricks in that is the sounds of metal buckling and straining when you pass something like a water tower; as if the nearly destroyed structure can barely hold its own weight." ContentLicense="CC BY-SA 2.5" />
  <row Id="10192" PostHistoryTypeId="2" PostId="5927" RevisionGUID="f3e35881-ac52-4574-9d9b-0611fb3e9a0e" CreationDate="2011-02-09T06:32:01.307" UserId="338" Text="When you are asked to work on a short, what is the proper process of communication between the  director and sound person?&#xD;&#xA;&#xD;&#xA;Do you ask for scripts or treatments and outlines?  Are most films written with treatments and outlines?&#xD;&#xA;&#xD;&#xA;How long does it take for sound to be completed on a 15 minute short film?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10193" PostHistoryTypeId="1" PostId="5927" RevisionGUID="f3e35881-ac52-4574-9d9b-0611fb3e9a0e" CreationDate="2011-02-09T06:32:01.307" UserId="338" Text="When asked to work on a short, what is the proper process?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10194" PostHistoryTypeId="3" PostId="5927" RevisionGUID="f3e35881-ac52-4574-9d9b-0611fb3e9a0e" CreationDate="2011-02-09T06:32:01.307" UserId="338" Text="&lt;short&gt;&lt;film&gt;&lt;process&gt;&lt;director&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10195" PostHistoryTypeId="2" PostId="5928" RevisionGUID="94ec9072-6bf8-42bf-91bc-60a1da3aef7b" CreationDate="2011-02-09T06:58:20.250" UserId="871" Text="If you like I have two cricket recordings from Australia that I could send your way. First is a shotgun mic on a single cricket chriping loudly and constantly with lttle variation. The other is a stereo recording which features a group of crickets chriping at regular intervals. Into the recording a second group of crickets joins in. Send me an email to kyle [at] cannedgeek.com if those are useful to you.&#xD;&#xA;&#xD;&#xA;I really should have more. There have been some great varieties of crickets I have been hearing this summer in my area. I am happy to just send those to you fo free - although if you have something to trade from Scotland in return that would be even better. ^^ " ContentLicense="CC BY-SA 2.5" />
  <row Id="10196" PostHistoryTypeId="2" PostId="5929" RevisionGUID="4950bc46-ab5b-4576-8f2b-345c22b76420" CreationDate="2011-02-09T07:26:32.460" UserId="253" Text="I've done a LOT of shorts and, assuming it's a low/no pay gig, things are a lot more relaxed than a bigger production, so you can push things a little.&#xD;&#xA;&#xD;&#xA;It's good to grab a script and, if they haven't shot it yet, submit a list of wild FX you think you may need to the location recordist. You may not get all or any of them, but it's always worth a shot. If there's something you think may be hard to source, such as an unusual car or something, then you should really let the director know how important it will be.&#xD;&#xA;&#xD;&#xA;Back in film school, we were given 3-4 weeks for a short, including foley and mix and whatnot, but we were pampered. Try to get a month, if you can, but 2-3 weeks is very fair.&#xD;&#xA;&#xD;&#xA;You should do a spotting session with the director and editor (where you get all their creative ideas, and pitch yours) once you reach picture lock, then do a runthrough with the director once you have all your elements in a rough balance. Then bring him/her in for the final mix. Some directors are keen to learn about the sound post process, but i find that showing an inexperienced director an incomplete mix isn't usually productive.&#xD;&#xA;&#xD;&#xA;Good luck man!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10197" PostHistoryTypeId="5" PostId="5903" RevisionGUID="2d956e72-6e99-4627-b2b6-7e8256e0b825" CreationDate="2011-02-09T12:10:19.390" UserId="56" Comment="added 31 characters in body" Text="Hi Graeme, &#xD;&#xA;I like crickets and I'm designing a cricket machine on [puredata][1].&#xD;&#xA;I've made a good cricket so far but it still lacks some frequencies.&#xD;&#xA;My puredata bible for sound design is here: http://obiwannabe.co.uk/tutorials/html/tutorials_main.html&#xD;&#xA;&#xD;&#xA;First I made a recording with some real crickets so I studied the waveform and the harmonic spectrum. A chirp is made by 4 impulses (20ms each every 30ms). The dominant frequency is &#xD;&#xA;4170Hz with some 8340, 12480, 16680Hz (a flat C note).  Now I'm working on the resonance.&#xD;&#xA;I didn't try it but I'm sure you can do a great cricket with the Operator (Ableton Live instrument) and with many other vst synths. The advantage with pd is that you can simulate the strange tempo/nontempo of the nature.&#xD;&#xA;I can give you the puredata patch if you like but I don't know how to attach files here.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://puredata.info/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10198" PostHistoryTypeId="2" PostId="5930" RevisionGUID="6ff83536-7e58-42ca-8363-9816367dd3c5" CreationDate="2011-02-09T13:36:49.620" UserId="629" Text="Hello everyone&#xD;&#xA;&#xD;&#xA;Please could I get some feedback on the clip with suggestions for improvements for the sound?&#xD;&#xA;&#xD;&#xA;Link - http://vimeo.com/19744059&#xD;&#xA;&#xD;&#xA;Thanks and I look forward to the replies.&#xD;&#xA;&#xD;&#xA;Adrian" ContentLicense="CC BY-SA 2.5" />
  <row Id="10199" PostHistoryTypeId="1" PostId="5930" RevisionGUID="6ff83536-7e58-42ca-8363-9816367dd3c5" CreationDate="2011-02-09T13:36:49.620" UserId="629" Text="Feedback on a 1 minute shortfilm?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10200" PostHistoryTypeId="3" PostId="5930" RevisionGUID="6ff83536-7e58-42ca-8363-9816367dd3c5" CreationDate="2011-02-09T13:36:49.620" UserId="629" Text="&lt;feedback&gt;&lt;shortfilm&gt;&lt;pro-tools&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10201" PostHistoryTypeId="2" PostId="5931" RevisionGUID="b05f4b14-997d-444c-ab8c-2d64fc098337" CreationDate="2011-02-09T15:48:17.277" UserId="338" Text="it seems like some offscreen sounds could punctuate the grey skinny character and that would help" ContentLicense="CC BY-SA 2.5" />
  <row Id="10202" PostHistoryTypeId="2" PostId="5932" RevisionGUID="64484f21-d84d-4513-8fae-5a69fe0b9398" CreationDate="2011-02-09T16:47:11.913" UserId="194" Text="this is silly.  More air mattress wind Ryan, that was awesome!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10203" PostHistoryTypeId="2" PostId="5933" RevisionGUID="93ecce85-2652-4581-b590-d4aa7317b7e8" CreationDate="2011-02-09T17:06:22.183" UserId="6411" Text="I try to get a copy of the script for any project that has one. For me, reading through the writer's original intention (or umpteenth rewrite) usually provides a better insight to the mood, settings, and character development which leads to better conversations with your producer/director about the goal of the piece. After all, that's usually where they start from.&#xD;&#xA;&#xD;&#xA;But that's assuming that there's a copy of the script available for you, and that the director followed it.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10204" PostHistoryTypeId="2" PostId="5934" RevisionGUID="229660d4-093d-447b-81c1-a25ca9676ef8" CreationDate="2011-02-09T18:10:54.420" UserId="455" Text="I like to read the script and make my own notes before talking to the director about it.  Think about backgrounds, important sound effects and potentially important sound design moments.  If you already have a list of ideas that correlate to specific areas of the script it makes you look a whole lot better.  It will also prepare you for when you actually receive the OMF from the editor.&#xD;&#xA;&#xD;&#xA;I 100% agree with @Roger Middenway about requesting specific effects to be recorded wild during production.  Use common sense to figure out what you A) Can't get from a library and B) think would add to the film or make your job easier/ higher quality.  Sometimes library effects don't match production sound, and most often original recordings sound more authentic than Sound Ideas or Hollywood Edge effects.  Those libraries are very good but the same effects tend to be used in a lot of films and tv shows. &#xD;&#xA;&#xD;&#xA;The last pre production suggestion I have is to talk to your director and location recorder about rolling sound on every take.  People love to shoot M.O.S. (no sound during certain takes) because they know what it means.  It's important to have a guide track for every take ESPECIALLY if there is dialog.  ADR is much more difficult than most people think.  Even if there is no dialog and you have to foley everything it's still very useful.  Would you rather draw something you've never seen by guessing or by looking at source material?&#xD;&#xA;&#xD;&#xA;Good luck with the film!  Be honest, realistic and understanding of the director's opinions and you'll do great." ContentLicense="CC BY-SA 2.5" />
  <row Id="10205" PostHistoryTypeId="2" PostId="5935" RevisionGUID="6f74b8b6-d76a-4ae0-83ce-ba6c4e28cabb" CreationDate="2011-02-09T18:22:36.950" UserId="455" Text="It's a fairly simple scene but I think you did a good job.  I couldn't hear any of your edits except for one of the last lines &quot;ridiculous.&quot;  Did you try and remove the hum?  There are plug ins that can do that for you, or you can use a spectral analysis plug in and reduce the frequency range.&#xD;&#xA;&#xD;&#xA;The panning door sound was pretty cool, I thought it worked very well.  It may be a bit loud but that's just my opinion.&#xD;&#xA;&#xD;&#xA;Overall the dialog was smooth and mixed up from the backgrounds.  I might mix the BG's down just a bit but, again, that's just my personal taste.  Nice work!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10206" PostHistoryTypeId="2" PostId="5936" RevisionGUID="87a29d5f-ffbc-4a86-96a8-05eb1284ce2c" CreationDate="2011-02-09T18:45:03.413" UserId="234" Text="I agree... overall very good. A few things I thought of... mostly really fine detail work.&#xD;&#xA;&#xD;&#xA;I probably would have hit the door opening at the beginning (on the street) very subtly - yes you wouldn't hear it in real life, but it helps sell the reality. Same with a little bit of street BG. Of course that might be a director's decision too...&#xD;&#xA;&#xD;&#xA;I didn't think the BG's were too loud, but the dish/glass layers felt too close - sounded like it was right at the table with them. Needs a bit of EQ and reverb to put it back in the room. And the crowd, to me, seemed a bit big for the scene (too many people for the space that we see). Again those may have been directors decisions.&#xD;&#xA;&#xD;&#xA;I agree with Chris - having the sound of the character scratching the card when he puts his head down, but before we cut to the CU of the card itself would have been good.&#xD;&#xA;&#xD;&#xA;On my big system, there was a definite sub rumble (super low, like 40-60hz )going on during the dialog - not annoying, but there. Not something that would be noticed on most systems, but someone with a well tuned sub might hear it. It's also possible it came from the encoding to vimeo.&#xD;&#xA;&#xD;&#xA;Finally, a little more foley/cloth stuff would really help bring it to life. For example when the main guy sits down, we don't hear cloth or a chair squeak. These are the little things that really help bring sound into life...&#xD;&#xA;&#xD;&#xA;Well done on the Dialog... nice and even overall. At the end of the day, in a short like this, it's all about two people talking, so dialog is truly king, and you served it well. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10207" PostHistoryTypeId="5" PostId="5929" RevisionGUID="2c8a8192-95b1-448e-bc1d-8c5050eaefab" CreationDate="2011-02-09T21:44:44.217" UserId="253" Comment="added 207 characters in body" Text="I've done a LOT of shorts and, assuming it's a low/no pay gig, things are a lot more relaxed than a bigger production, so you can push things a little.&#xD;&#xA;&#xD;&#xA;It's good to grab a script and, if they haven't shot it yet, submit a list of wild FX you think you may need to the location recordist. You may not get all or any of them, but it's always worth a shot. If there's something you think may be hard to source, such as an unusual car or something, then you should really let the director know how important it will be.&#xD;&#xA;&#xD;&#xA;Back in film school, we were given 3-4 weeks for a short, including foley and mix and whatnot, but we were pampered. Try to get a month, if you can, but 2-3 weeks is very fair.&#xD;&#xA;&#xD;&#xA;You should do a spotting session with the director and editor (where you get all their creative ideas, and pitch yours) once you reach picture lock, then do a runthrough with the director once you have all your elements in a rough balance. Then bring him/her in for the final mix. Some directors are keen to learn about the sound post process, but i find that showing an inexperienced director an incomplete mix isn't usually productive.&#xD;&#xA;&#xD;&#xA;Good luck man!&#xD;&#xA;&#xD;&#xA;Edit: One more thing; make sure your recordist gets at least 30 sec of room tone or &quot;atmos&quot; for each location (for each setup, if possible). That's important for stitching up gaps in your dialogue edit. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10208" PostHistoryTypeId="2" PostId="5937" RevisionGUID="7b53811d-94ff-4fd9-9b46-188df8ec7b6b" CreationDate="2011-02-09T22:53:01.700" UserId="873" Text="This website is great, thanks for the valuable information. I figured I would share my thoughts since I have just wrapped up work on a major hollywood film. Although only the sound assistant, I was working directly with the supervising sound editor and learned quite a bit. The question of panning backgrounds came up a lot. It was the first time this post-production house worked with this supervising sound editor and they weren't sure what he wanted. One of my many duties on the film was to keep feeding the supervisor all of our tracks for him to incorporate into the session. So I was present when he was listening to all the work. Generally he never wanted any background tracks panned unless directly necessary for the story to work. Even for FX he found that there was too much excessive panning. There was a scene with an exterior shower that was edited so that the shower was shifting all over the place. One sound editor had meticulously panned each shower element to follow each cut. The effect was very impressive and worked very well, but the supervising sound editor couldn't keep it. It was incredibly jarring no matter how you treated it. In fact, now that I think about it he didn't want any foley panned either." ContentLicense="CC BY-SA 2.5" />
  <row Id="10209" PostHistoryTypeId="2" PostId="5938" RevisionGUID="1f06e72e-10e9-4c96-992e-7cac7f99261e" CreationDate="2011-02-09T23:13:02.940" UserId="253" Text="Nice job; good work fitting all that ADR (it is totally ADR, right? - at least for the bigger guy).&#xD;&#xA;&#xD;&#xA;I'm going to be straightforward here, a few points:&#xD;&#xA;&#xD;&#xA;- Both characters sounded a little bit boxy, particularly the bigger guy. Sounded like you only had access to a small booth, maybe? A little bit of notch eq might help bring that down a little. Also, it depends on the style you're going for, but i felt a little more perspective on the characters (making their voices less present, perhaps with a touch of reverb) would have made the ADR seem more like it's coming from their mouths. For me, right now, it feels like it's sitting on top of their lips, if that makes sense.&#xD;&#xA;&#xD;&#xA;- As another way of selling the ADR, you could record and really push some foley. Clothing moves and bigger foley spots for character movements would go a long way. Also, you laid a great atmos, but perhaps you could make it a little more dynamic and bring out certain elements such as people moving chairs, walking, an espresso machine, stuff like that.&#xD;&#xA;&#xD;&#xA;- Overall, it seemed a little bit too clean, but that's more personal taste than anything. Little imperfections and aural details can help to sell a setting, as well as affect the audience's perception of time. For example, an awkward silence feels longer than a pause in dialogue punctuated by a car pass from outside, or someone dropping a fork. Although having said that, a fork drop can make a fantastic awkward moment; it all depends on context and timing.&#xD;&#xA;&#xD;&#xA;It seems like the biggest problem with the ADR is performance, but that's not down to you; sync is good. I hope this doesn't sound too negative, you've done a great job at cutting the ADR and creating an atmos track. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10210" PostHistoryTypeId="2" PostId="5939" RevisionGUID="bac64867-a136-453d-971b-ebec34a6165e" CreationDate="2011-02-10T06:38:01.037" UserId="736" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I have to do a quote for post sound production for a feature film and i'm not quite sure where to start. I did read Tim's answer to Colin's question (http://socialsounddesign.com/questions/796/indie-feature-production-and-post-production-audio-budgets) and this helped but I don't have hugh amounts of experience in this area.&#xD;&#xA;&#xD;&#xA;How long should it take/ should I allow for each post production process - dialogue, adr, sound effects, rerecording, etc. ?&#xD;&#xA;&#xD;&#xA;Obviously there are certain things that will need to be done, what else should I consider or more accurately what else should I look out for? &#xD;&#xA;&#xD;&#xA;I know this isn't strictly a sound design question, but my google research turned up minimal useful information and having learnt some hard lessons already I thought I should ask around. Any suggestions or advice will be greatly appreciated." ContentLicense="CC BY-SA 2.5" />
  <row Id="10211" PostHistoryTypeId="1" PostId="5939" RevisionGUID="bac64867-a136-453d-971b-ebec34a6165e" CreationDate="2011-02-10T06:38:01.037" UserId="736" Text="Quoting for post sound production." ContentLicense="CC BY-SA 2.5" />
  <row Id="10212" PostHistoryTypeId="3" PostId="5939" RevisionGUID="bac64867-a136-453d-971b-ebec34a6165e" CreationDate="2011-02-10T06:38:01.037" UserId="736" Text="&lt;post-production&gt;&lt;quote&gt;&lt;budget&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10213" PostHistoryTypeId="2" PostId="5940" RevisionGUID="72582aef-6849-4065-99dd-c16cbf8a200a" CreationDate="2011-02-10T07:10:56.257" UserId="315" Text="I just saw Black Swan the other day and I was impressed by the sound work. One thing I remember was in the scenes where they are dancing in the ballet studio. There was a pianist accompanying them in the room as they rehearsed. The camera tightly follows Portman as she spins dancing around. The piano (which is in mono) is panned to match the movement of her head, so we hear what a dancer would hear during rehearsals. It's great POV sound work and really gets us in the characters head, but it is also distracting in a good way. There's great use of this POV panning in the Hurt Locker and Children of Men to name other examples.&#xD;&#xA;&#xD;&#xA;A mono rain against window hard panned to match camera perspective would be really distracting unless it is serving a story point. The idea of using rain recorded at different angles and cutting between them on every shot also sounds distracting to me. I am convinced that the human ear is hyper sensitive to changes in the stereo/surround field; which is probably a survivalist trait which has kept us from getting hit by a car as pedestrians more than a few times in our lives.&#xD;&#xA;&#xD;&#xA;If I were looking to create a non-distracting rain on window ambience I would consider a few things:&#xD;&#xA;&#xD;&#xA;1) Start with your rain on window panned to match the camera perspective, ideally on an establishing shot which tells us we're in a house and it's raining. Then move it to the center on the next shot and keep it there. Your panned rain serves its purpose of establishing a sense of place and then gets out of the way. I doubt your audience (with the exception of a few sound nerds) will notice that you've given up on perspective after the first shot. I've seen some seasoned sound editors ignore perspective when cutting backgrounds, especially on scenes with a lot of camera cuts.&#xD;&#xA;&#xD;&#xA;2) Even though the rainy widow might be on the left in the first shot, think about the sound of interior rain. You most often hear it all around you inside. The sound of rain off of the roof, sliding down exterior walls, or slapping off of a surface away from the window. Create a stereo/LCR/quad/surround ambience that matches this feeling, but doesn't pull the ear too far to one speaker. Pan one stereo window recording of rain to the front speakers, and perhaps a more distant rain interior to the surrounds. That way you convey the depth of the space without a bunch of panning. Once you have a nice enveloping ambience, you'll find that you can use additional mono rain sounds (with perhaps a touch of stereo verb or slap) panned here and there to spice it up a bit,&#xD;&#xA;&#xD;&#xA;Just my 2 cents. Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="10214" PostHistoryTypeId="2" PostId="5941" RevisionGUID="5d56709e-ca74-4132-88a2-567203152f7a" CreationDate="2011-02-10T07:17:08.240" UserDisplayName="user49" Text="If you don't want to draw attention to panning movement, you can always put together &amp; predub layers that are effectively a constant perspective/point of view, then on other stems predub subtle elements that follow the cuts/perspectives to varying degrees. Then its a far less confrontational (either/or) scenario to try small degrees of the additional elements. A good mixer will 'feel' where to add such elements so they don't distract or draw attention to but gently support the drama etc...&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10215" PostHistoryTypeId="5" PostId="5940" RevisionGUID="4cb744cd-1479-470f-8cee-affd4ae77b5a" CreationDate="2011-02-10T07:17:33.593" UserId="315" Comment="deleted 2 characters in body" Text="I just saw Black Swan the other day and I was impressed by the sound work. One thing I remember was in the scenes where they are dancing in the ballet studio. There was a pianist accompanying them in the room as they rehearsed. The camera tightly follows Portman as she spins dancing around. The piano (which is in mono) is panned to match the movement of her head, so we hear what a dancer would hear during rehearsals. It's great POV sound work and really gets us in the characters head, but it is also distracting in a good way. There's great use of this POV panning in the Hurt Locker and Children of Men to name other examples.&#xD;&#xA;&#xD;&#xA;A mono rain against window hard panned to match camera perspective would be really distracting unless it is serving a story point. The idea of using rain recorded at different angles and cutting between them on every shot also sounds distracting to me. I am convinced that the human ear is hyper sensitive to changes in the stereo/surround field; which is probably a survivalist trait which has kept us from getting hit by a car as pedestrians more than a few times in our lives.&#xD;&#xA;&#xD;&#xA;If I were looking to create a non-distracting rain on window ambience I would consider a few things:&#xD;&#xA;&#xD;&#xA;1) Start with your rain on window panned to match the camera perspective, ideally on an establishing shot which tells us we're in a house and it's raining. Then move it to the center on the next shot and keep it there. Your panned rain serves its purpose of establishing a sense of place and then gets out of the way. I doubt your audience (with the exception of a few sound nerds) will notice that you've given up on perspective after the first shot. I've seen some seasoned sound editors ignore perspective when cutting backgrounds, especially on scenes with rapid picture cuts.&#xD;&#xA;&#xD;&#xA;2) Even though the rainy widow might be on the left in the first shot, think about the sound of interior rain. You most often hear it all around you inside. The sound of rain off of the roof, sliding down exterior walls, or slapping off of a surface away from the window. Create a stereo/LCR/quad/surround ambience that matches this feeling, but doesn't pull the ear too far to one speaker. Pan one stereo window recording of rain to the front speakers, and perhaps a more distant rain interior to the surrounds. That way you convey the depth of the space without a bunch of panning. Once you have a nice enveloping ambience, you'll find that you can use additional mono rain sounds (with perhaps a touch of stereo verb or slap) panned here and there to spice it up a bit,&#xD;&#xA;&#xD;&#xA;Just my 2 cents. Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="10216" PostHistoryTypeId="2" PostId="5942" RevisionGUID="ad1d4da9-0210-4d1a-93fc-e82157623a88" CreationDate="2011-02-10T07:23:13.547" UserDisplayName="user49" Text="answering a question with a question: If you live in a country that does not have crickets are you aware of when/how/why their presence occurs?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10217" PostHistoryTypeId="2" PostId="5943" RevisionGUID="874bbea2-b723-477d-974a-245aca38f119" CreationDate="2011-02-10T08:17:54.210" UserId="786" Text="I work in Denmark where the scale of productions (due to the fact that there are only 5 million people in the world who speak Danish) is close to or a bit bigger than American indie productions. I have only worked on one American indie feature, so my numbers may not be correct in your situation, but here they are:&#xD;&#xA;&#xD;&#xA;Dialogue editing (production sound): 3 weeks&#xD;&#xA;&#xD;&#xA;ADR including editing: 2-5 days&#xD;&#xA;&#xD;&#xA;Atmospheres and background: 3 weeks&#xD;&#xA;&#xD;&#xA;Sound design, music editing and supervising editing: 4 weeks&#xD;&#xA;&#xD;&#xA;Foley recording: 3-5 days&#xD;&#xA;&#xD;&#xA;Foley editing: 2-5 days&#xD;&#xA;&#xD;&#xA;Mixing: 8-10 days&#xD;&#xA;&#xD;&#xA;Delivery: 3 days&#xD;&#xA;&#xD;&#xA;The amount of foley depends on how much ADR you do, and the amount of ADR depends on how good your production sound is. This plan is for keeping as much of the production sound as possible and only ADR'ing where it is absolutely needed. If you need a lot of ADR you might want to use two weeks on ADR and editing.&#xD;&#xA;&#xD;&#xA;You may also want to mix the film for three weeks, but i don't think this is possible in indie films...&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10218" PostHistoryTypeId="2" PostId="5944" RevisionGUID="5b147301-e1e5-4d21-b195-2df61f984939" CreationDate="2011-02-10T08:56:07.373" UserId="641" Text="I have recently, as in this week, been approached by a games software company who mainly make games for mobile phones, with the request for some foley sounds and sound design.  I also found, during my research, reference to the software called PureData.&#xD;&#xA;&#xD;&#xA;How relevant is PureData to gaming sound design and production?  Is it a case of having to learn a programming language?  How else could one deliver sound to the programmers?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10219" PostHistoryTypeId="1" PostId="5944" RevisionGUID="5b147301-e1e5-4d21-b195-2df61f984939" CreationDate="2011-02-10T08:56:07.373" UserId="641" Text="PureData and Mobile Phone Games Sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="10220" PostHistoryTypeId="3" PostId="5944" RevisionGUID="5b147301-e1e5-4d21-b195-2df61f984939" CreationDate="2011-02-10T08:56:07.373" UserId="641" Text="&lt;puredata&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10221" PostHistoryTypeId="2" PostId="5945" RevisionGUID="bcf4e7fe-3878-482e-8e25-12f8e8d00e76" CreationDate="2011-02-10T09:33:14.710" UserId="400" Text="You wanna read some of the stuff done by this guy: http://www.videogameaudio.com/&#xD;&#xA;He's done a few papers on using Pd in conjunction with game engines.&#xD;&#xA;&#xD;&#xA;Also if you do some googling, a modified version of Puredata was used to create the music in EA's &quot;Spore&quot;.&#xD;&#xA;&#xD;&#xA;Here are some other cool links to check out:&#xD;&#xA;&#xD;&#xA;http://videogameaudio.com/AES-Feb2011/AES41-04Feb11-GranulationOfSoundInVideoGames-LeonardJPaul.pdf&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;http://vimeo.com/7122167&#xD;&#xA;&#xD;&#xA;Regarding the actual delivery of sounds on mobile games, it depends on the development environment... are they just asking you to create sounds and they'll take care of implementation on their end?&#xD;&#xA;&#xD;&#xA;There are people far more experience on this topic than me, so hopefully someone else will chime in here. Please correct me if I've made any mistakes people!&#xD;&#xA;&#xD;&#xA;Joe" ContentLicense="CC BY-SA 2.5" />
  <row Id="10222" PostHistoryTypeId="2" PostId="5946" RevisionGUID="91a71c2d-feae-43d4-9ee6-0b4087b78472" CreationDate="2011-02-10T10:58:12.237" UserId="63" Text="PureData one could say is the freeware version of Max/MSP. You can do a lot of stuff in Pure Data if you like this &quot;coding&quot; language. &#xD;&#xA;&#xD;&#xA;The best place to start with the basics is here http://www.pd-tutorial.com/ which is also free to download. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10223" PostHistoryTypeId="2" PostId="5947" RevisionGUID="34e3522a-2a88-4ac7-8d08-e09e20d24e1c" CreationDate="2011-02-10T11:53:58.403" UserId="791" Text="Hello everyone here!&#xD;&#xA;&#xD;&#xA;It's my second time to post question here :)&#xD;&#xA;&#xD;&#xA;I have one simple question. I try to rent Tascam DR-1 Portable Digital, MKH 60, and MKH 416P for few days. I'm wondering if it's possible to select two inputs (MIC input 1, input 2) and record two sources at the same at separate tracks? I asked rental guy on this, and he said yes. But now I looked at the manual, but it seems like i can choose only one input at a time. Do i understand correctly?&#xD;&#xA;  &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10224" PostHistoryTypeId="1" PostId="5947" RevisionGUID="34e3522a-2a88-4ac7-8d08-e09e20d24e1c" CreationDate="2011-02-10T11:53:58.403" UserId="791" Text="Recording two sound sources through two inputs at the same time with Tascam DR-1 Portable Digital?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10225" PostHistoryTypeId="3" PostId="5947" RevisionGUID="34e3522a-2a88-4ac7-8d08-e09e20d24e1c" CreationDate="2011-02-10T11:53:58.403" UserId="791" Text="&lt;tascam&gt;&lt;portable&gt;&lt;digital&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10226" PostHistoryTypeId="2" PostId="5948" RevisionGUID="ee169e98-5a88-4258-9039-874dca245196" CreationDate="2011-02-10T12:11:46.620" UserId="786" Text="I agree with Roger.&#xD;&#xA;&#xD;&#xA;I think you should try and find the boxy resonance and notch eq it away. And add some short, ugly reverb, to make it feel more like you hear the ADR resonating in the cafe.&#xD;&#xA;&#xD;&#xA;I really need some foley. He flicks the scratch card, as he enters the cafe and sits down. He needs some footsteps, chair noise and cloth sounds throughout the scene.&#xD;&#xA;&#xD;&#xA;I think the background noise is too smooth for me. It sounds like there's a big crowd in there, but from the outside it looks like a pretty small cafe. I know the crowd is not loud, but to me it sounds like 20 people chatting far away in a big room, I think it would be better with 2 or 3 people closer to the table. The music sounds pretty good, perhaps the reverb is a bit too long.&#xD;&#xA;&#xD;&#xA;It would be nice with some car passbys, perhaps a bus.&#xD;&#xA;&#xD;&#xA;You could also have a cappuccino machine in the cafe.&#xD;&#xA;&#xD;&#xA;It would also be nice if you build up a background sound for the exterior shot, with footsteps, the door opening and city sounds.&#xD;&#xA;&#xD;&#xA;I think the ADR is generally really good, there are some places, where you could edit it so it would be more in sync with the picture. It's not much, just to make it spot on. I usually listen to the production sound while syncing up the ADR, and then I cut and stretch the syllables of the ADR until it fits the production sound. I don't know what to do about the sentence at 0:42 where he stutters or mumbles, perhaps you can generate a credible stutter from an alternative take.&#xD;&#xA;&#xD;&#xA;I think you are good and you have done a great job syncing the ADR for this scene!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10227" PostHistoryTypeId="2" PostId="5949" RevisionGUID="bae96295-b3f0-442f-866a-36ec85e5081f" CreationDate="2011-02-10T13:10:10.677" UserId="432" Text="Morten's answer is great, but it may only apply to a certain scale of project. What you'll need to do is get a good idea of the scope of the work. Are they asking you to do everything, soup to nuts? How much work are they asking you to do, and do they truly understand how much work is required for their piece. Their expectations of what needs to be done, and the reality of the situation may be two VERY different things.&#xD;&#xA;&#xD;&#xA;Obviously, you don't want to dig your own grave in that situation. Try to get as much information out of them as you can before you make your quote. Once you and the producers/film-makers are in agreement about the scope of work, then you can start talking numbers. You can start THINKING numbers before you get any information out of them though.&#xD;&#xA;&#xD;&#xA;Start with something like Morten's sketch/schedule, and figure out how many days you need and what you would charge for each category. That's your starting point. As you have this discussion, you can adjust numbers (and days) up or down as necessary as you get a better idea of the scope and commitment.&#xD;&#xA;&#xD;&#xA;And of course, always remember that there are three possible descriptions/ways to approach any project: cheap, fast, good...but it can only be two." ContentLicense="CC BY-SA 2.5" />
  <row Id="10228" PostHistoryTypeId="2" PostId="5950" RevisionGUID="6b74e5e0-53af-46da-8661-bb55492d790e" CreationDate="2011-02-10T13:16:18.823" UserId="56" Text="[Pure Data][1] is a great software and you can do a lot with that.&#xD;&#xA;It's a graphical programming environment so you don't need to compile text strings. There are objects with functions and you make chains connecting one object to the other. &#xD;&#xA;I think it's easier for you to try it than talking about it. It's free and multiplatform and you can download it [here][2]. I suggest the &quot;extended&quot; version which includes many interesting externals.&#xD;&#xA;If you feel lost by the emptiness of the GUI the best place for help is the [forum][3], where loads of geeky genius are ready to help. &#xD;&#xA;As Nikos suggested &quot;[loadbang][4]&quot; by Johannes Kreidler is a great start, very clear and useful book indeed.&#xD;&#xA;So, quoting the great Andy Farnell &quot;use the source&quot;, use pd.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://puredata.info/&#xD;&#xA;  [2]: http://puredata.info/downloads&#xD;&#xA;  [3]: http://puredata.hurleur.com/&#xD;&#xA;  [4]: http://www.pd-tutorial.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10229" PostHistoryTypeId="2" PostId="5951" RevisionGUID="a50be562-46c3-43a8-9c25-b8a9d626d900" CreationDate="2011-02-10T13:40:57.370" UserId="56" Text="yes, it seems DR-1 has one stereo in and one mono in and you can choose one of them.&#xD;&#xA;if you have already solved the phontom power problem and both mics have a minijack output adaptor you could use the DR-1 stereo in for the two mono sources.You need a third Y adaptor with 2 female mono in - one male stereo out.  You'll have a stereo track (dual mono) with one mic per channel and just have to split them." ContentLicense="CC BY-SA 2.5" />
  <row Id="10230" PostHistoryTypeId="2" PostId="5952" RevisionGUID="05ceaf80-13df-4df2-98d1-396f7dd96c75" CreationDate="2011-02-10T14:47:17.737" UserId="874" Text="I'd say it depends on what you will do with it. MR8 are pretty famous for electronic music producers. I don't know much about KRK.&#xD;&#xA;&#xD;&#xA;I'm working as a sound designer for Ubisoft (France) we use Genelec and I have a pair of HS80M at home they sound different but you can correctly work on it without having big surprises when you get back to work with better monitoring speakers." ContentLicense="CC BY-SA 2.5" />
  <row Id="10231" PostHistoryTypeId="2" PostId="5953" RevisionGUID="db0a45fb-459a-4b28-8af1-fd69c466166a" CreationDate="2011-02-11T00:08:03.600" UserId="587" Text="Anyone know the reason Reaktor 5 would keep making noise after the plug-in is deactivated/bypassed/even REMOVED as an insert...&#xD;&#xA;&#xD;&#xA;It would seem like a buffer issue - but my buffer isnt infinitely long like this audio seems to be.&#xD;&#xA;&#xD;&#xA;Hmmm... NI service center have an update for Reaktor in PT9?&#xD;&#xA;&#xD;&#xA;I think I remember having this problem in 7.4 as well.&#xD;&#xA;&#xD;&#xA;Cool program, but weird as all get out as an Instrument." ContentLicense="CC BY-SA 2.5" />
  <row Id="10232" PostHistoryTypeId="1" PostId="5953" RevisionGUID="db0a45fb-459a-4b28-8af1-fd69c466166a" CreationDate="2011-02-11T00:08:03.600" UserId="587" Text="Reaktor 5 - Weird Issue" ContentLicense="CC BY-SA 2.5" />
  <row Id="10233" PostHistoryTypeId="3" PostId="5953" RevisionGUID="db0a45fb-459a-4b28-8af1-fd69c466166a" CreationDate="2011-02-11T00:08:03.600" UserId="587" Text="&lt;reaktor&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10234" PostHistoryTypeId="2" PostId="5954" RevisionGUID="c4e6bf8e-fd6a-4b9b-93b1-7a4ff819f477" CreationDate="2011-02-11T02:40:10.680" UserId="18160" Text="I know it's not a cricket, but to get a good synthesized cicada sound I'd try taking a recording of a baseball card being flipped by the spokes of a bike tire and pitch it up like 2 octaves to get that cool cicada sound effect. I'd also experiment with different types of material - like an old plastic credit card or plastic spoon." ContentLicense="CC BY-SA 2.5" />
  <row Id="10235" PostHistoryTypeId="2" PostId="5955" RevisionGUID="f673df0c-ba9a-4bfc-adce-8d9fc49d60f6" CreationDate="2011-02-11T12:50:51.983" UserId="37" Text="Just noticed this on Music of Sound:&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/cicadas-meet-pitch-shift&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10236" PostHistoryTypeId="2" PostId="5956" RevisionGUID="0525b166-bc56-401e-a458-deaee29e6512" CreationDate="2011-02-11T20:07:46.487" UserId="310" Text="Presonus Fadeport with Nuendo and Ableton... buttons are slightly heavy to touch but ratio between price/value is excellent." ContentLicense="CC BY-SA 2.5" />
  <row Id="10237" PostHistoryTypeId="2" PostId="5957" RevisionGUID="f3d69f4f-188c-4d77-b52b-5d2e4295614a" CreationDate="2011-02-11T20:35:59.927" UserId="865" Text="When nothing sounds good, your favourite album sounds terrible, you struggle to create anything to satisfy your ear, how do you kick your brain back into gear?&#xD;&#xA;&#xD;&#xA;I've gone through periods like this. It can be a downward spiral. I overcompensate or become cynical. Then sometimes I hear something and my brain goes: &quot;Ahhh! Thank you! I love this sound!&quot; and I think I'm back on track; only to be told that I've gone in completely the wrong direction. ...and then the cynicism grows stronger. &#xD;&#xA;&#xD;&#xA;How do you keep your ears keen and objective? &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10238" PostHistoryTypeId="1" PostId="5957" RevisionGUID="f3d69f4f-188c-4d77-b52b-5d2e4295614a" CreationDate="2011-02-11T20:35:59.927" UserId="865" Text="When the ears refuse to talk to the brain, what do you do?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10239" PostHistoryTypeId="3" PostId="5957" RevisionGUID="f3d69f4f-188c-4d77-b52b-5d2e4295614a" CreationDate="2011-02-11T20:35:59.927" UserId="865" Text="&lt;listening&gt;&lt;block&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10240" PostHistoryTypeId="2" PostId="5958" RevisionGUID="327e81cb-dbfc-4747-ad8a-f45c6208f530" CreationDate="2011-02-11T20:55:33.410" UserId="18160" Text="I take a walk and listen to real sounds in my environment to get a bearing on what the physical universe sounds like, and then return refreshed and with a fresh viewpoint to listen to my project.&#xD;&#xA;&#xD;&#xA;Also, as a quick handling, much like some painters use a shrinking glass eyepiece to view their painting in a different way, I swivel around in my aeron chair and listen to my song or mix from behind me and it usually snaps my preconceptions about it." ContentLicense="CC BY-SA 2.5" />
  <row Id="10241" PostHistoryTypeId="2" PostId="5959" RevisionGUID="c56ef945-7467-4272-9caf-582463812f0a" CreationDate="2011-02-11T21:04:23.340" UserId="37" Text="have a break.&#xD;&#xA;&#xD;&#xA;take a walk. climb a mountain. go stand by a lake or sea. get some sleep. reflect on things.&#xD;&#xA;&#xD;&#xA;been there so many times :/&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10242" PostHistoryTypeId="5" PostId="5958" RevisionGUID="ab34d5f4-d493-4360-8ab8-2e7ff6794328" CreationDate="2011-02-11T21:15:07.157" UserId="18160" Comment="deleted 76 characters in body" Text="I take a walk and listen to other things, and then return refreshed and with a fresh viewpoint to listen to my project.&#xD;&#xA;&#xD;&#xA;Also, as a quick handling, much like some painters use a shrinking glass eyepiece to view their painting in a different way, I swivel around in my aeron chair and listen to my song or mix from behind me and it usually snaps my preconceptions about it." ContentLicense="CC BY-SA 2.5" />
  <row Id="10243" PostHistoryTypeId="2" PostId="5960" RevisionGUID="8657d54d-0263-421b-984b-68b88173f210" CreationDate="2011-02-11T21:22:44.973" UserId="100" Text="I remember hearing that Albert Einstein, after running into a &quot;math-block&quot;, would turn to playing his violin for a short break. Some folks have said that engaging the opposite hemisphere of the brain and giving the other side a rest helped the genius clear his mind.&#xD;&#xA;&#xD;&#xA;Maybe try Sudoku for a while?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10244" PostHistoryTypeId="2" PostId="5961" RevisionGUID="21a2dce5-78fc-442a-9585-02b39090d15b" CreationDate="2011-02-11T21:25:21.607" UserId="629" Text="Right, I have uploaded the final bounce down. Many thanks for all of your feedback I feel it is definitely improved from the previous bounce down. I've done as much as I can given the time restraints and technical knowledge. Let me know what you think. Thanks &#xD;&#xA;&#xD;&#xA;Link - http://www.vimeo.com/19744059" ContentLicense="CC BY-SA 2.5" />
  <row Id="10245" PostHistoryTypeId="2" PostId="5962" RevisionGUID="a3dd0370-1d4f-473c-80c0-3e6aaada9168" CreationDate="2011-02-11T21:51:13.330" UserId="338" Text="make the worst sounding thing in the world.  take a break, change a habit you have in your life that is old." ContentLicense="CC BY-SA 2.5" />
  <row Id="10246" PostHistoryTypeId="2" PostId="5963" RevisionGUID="e6bb504f-73e4-4add-8cfa-c5f5e1d09864" CreationDate="2011-02-11T22:18:33.177" UserId="118" Text="I was just about to also launch into a long wishlist of potential recording possibilities when I was struck by everyone's (including mine) enthusiasm inspired by such a simple question (no offence).  I think we are all perhaps drawn in by the exciting hypothetical idea of a whole new strange town and world of sounds to capture. So with that in mind, what would get you inspired / excited?  Where would you like to be in the world and why?  This may help you realise what sort of sounds you like recording, eg.  Urban? Nature? People? Etc. and then look for the equivalent in your own environment.&#xD;&#xA;&#xD;&#xA;A few thoughts to add to hopefully jolt your creativity:&#xD;&#xA;&#xD;&#xA;- Think really big and really small.  Really big:  nearly (if not all) cities have their own acoustic character, try and tune into this and capture it in your recordings.  For example, nowadays emergency vehicle sirens are often the same in NY and London but I bet if you did a blind test of 2 recordings you could guess which was from NY and which was from London.  I don't know Dubai but I understand it has fairly extravagant town planning!  Hence even car passes can sound extraordinary if they're recorded on, say, a flyover sandwiched between a bunch of huge skyscrapers.  Really small:  take yourself out of your environment and perhaps look at objects rather than places.  Check out nathan's noise jockey blog for instance;  he frequently gets inspiration by taking household or thrift store objects out of their everyday context and looking at their sonic characteristics.&#xD;&#xA;- Look into the potential for using the desert as an outdoor recording space.  Living in London, I'm always very jealous of guys in LA getting to go into the desert to record all sorts away from the roar of traffic etc.  Don't take this space for granted or simply see it as a sand recording opportunity!&#xD;&#xA;&#xD;&#xA;- Apologies for the shameless plug but if you can't decide what to record, try having the decision made for you by getting involved in one of the online sound recording projects:  Tim's Hiss and a roar has a few 'subjects' going at the moment and 'the sound collectors' club' which I've set up encourages people to gather and share sounds based around a monthly theme.  These may help your mental block.&#xD;&#xA;&#xD;&#xA;-One last caveat:  there's some great suggestions listed in other replies but bear in mind that many of us work in post production sound and can consequently be quite obsessed about 'deconstructing' our environment into specific isolated sounds so that we can control them better in the studio.  This may not suit you if you are phonographer rather than a sound editor.&#xD;&#xA;&#xD;&#xA;Good luck!  I'm sure many of us are now itching to hear what you end up recording! &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10247" PostHistoryTypeId="2" PostId="5964" RevisionGUID="fdd31a94-9326-439c-a6e3-696dc3700c97" CreationDate="2011-02-11T22:57:44.460" UserId="18160" Text="Real quick question:&#xD;&#xA;&#xD;&#xA;What's the convention for abbreviating &quot;Foley&quot; in naming a track?&#xD;&#xA;&#xD;&#xA;FLY?&#xD;&#xA;FOL?&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 2.5" />
  <row Id="10248" PostHistoryTypeId="1" PostId="5964" RevisionGUID="fdd31a94-9326-439c-a6e3-696dc3700c97" CreationDate="2011-02-11T22:57:44.460" UserId="18160" Text="Abbreviation for Foley" ContentLicense="CC BY-SA 2.5" />
  <row Id="10249" PostHistoryTypeId="3" PostId="5964" RevisionGUID="fdd31a94-9326-439c-a6e3-696dc3700c97" CreationDate="2011-02-11T22:57:44.460" UserId="18160" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10250" PostHistoryTypeId="2" PostId="5965" RevisionGUID="1b480c62-fad4-4bf0-ad62-86ee18223d62" CreationDate="2011-02-11T23:04:35.087" UserId="194" Text="we just spell it out FWIW.  Foly1, Foly2, etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="10251" PostHistoryTypeId="5" PostId="5960" RevisionGUID="82ac965e-f89b-4b6c-898a-a3ee0f080389" CreationDate="2011-02-12T00:48:39.887" UserId="100" Comment="Added Graphic" Text="I remember hearing that Albert Einstein, after running into a &quot;math-block&quot;, would turn to playing his violin for a short break. Some folks have said that engaging the opposite hemisphere of the brain and giving the other side a rest helped the genius clear his mind.&#xD;&#xA;&#xD;&#xA;Maybe try Sudoku for a while?&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;  [1]: http://www.c2cinternet.org/images/left-brain-right-brain.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="10252" PostHistoryTypeId="2" PostId="5966" RevisionGUID="37471f17-cbec-486a-8880-bb9ff4098d5d" CreationDate="2011-02-12T00:57:13.073" UserId="61" Text="We typically layout foley in two groups: FS (or Feet) and Props, with each group being between 8-16 tracks wide." ContentLicense="CC BY-SA 2.5" />
  <row Id="10253" PostHistoryTypeId="2" PostId="5967" RevisionGUID="d037bc68-2762-4144-8452-610b8629a308" CreationDate="2011-02-12T04:14:23.847" UserDisplayName="user49" Text="Familiarity breeds contempt" ContentLicense="CC BY-SA 2.5" />
  <row Id="10254" PostHistoryTypeId="2" PostId="5968" RevisionGUID="10f98511-ce42-4ec5-a890-a0e9197058f2" CreationDate="2011-02-12T11:08:20.300" UserId="219" Text="Does it make it easier to stand the horror in a movie when you're part of its making process?&#xD;&#xA;&#xD;&#xA;I'm not quite sure how this sounds, but I particularly hate horror movies in the sense that I can't stand them. They are just psychologically too much for me. I wouldn't put it on my business card although I'd have to warn people that I wouldn't quite stand making one of these.&#xD;&#xA;&#xD;&#xA;I've actually never even had the occasion to work on a horror project, but when I arrived in the company where I'm working now (not as a sound guy), people (editors, mixers, etc.) kept joking around about how hard it was to work on some scenes of *Saw 7*. In my corner, I was barely laughing.&#xD;&#xA;&#xD;&#xA;Do you have issues with the horror genre? How do you deal with it? @tim prebble, I believe you've worked on *30 Days of Night*. How did you (did you?) cope with the most disgusting passages?&#xD;&#xA;&#xD;&#xA;I'm certainly not the only one with this handicap." ContentLicense="CC BY-SA 2.5" />
  <row Id="10255" PostHistoryTypeId="1" PostId="5968" RevisionGUID="10f98511-ce42-4ec5-a890-a0e9197058f2" CreationDate="2011-02-12T11:08:20.300" UserId="219" Text="Editor/mixer &quot;therapy&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10256" PostHistoryTypeId="3" PostId="5968" RevisionGUID="10f98511-ce42-4ec5-a890-a0e9197058f2" CreationDate="2011-02-12T11:08:20.300" UserId="219" Text="&lt;horror&gt;&lt;psychology&gt;&lt;moviemaking&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10258" PostHistoryTypeId="2" PostId="5970" RevisionGUID="d29fe48e-2aa4-41c7-9647-c2d72bfb40b7" CreationDate="2011-02-12T12:37:15.350" UserId="693" Text="It might possibly make it easier. I even used iPhone 3G recordings of my 2yr old daughters voice as the core of the main sound design motif an entire horror film and I was blowing my own mind, especially when I heard what I did on a massive system in suround as I had mixed it on only two hours of sleep over the course of three days. &#xD;&#xA;&#xD;&#xA;Sure, that's a slight bit narcisistic, but getting away with what I did is an amazing feat. At least to me it is.&#xD;&#xA;&#xD;&#xA;The gore doesn't bother me at all, and having been a part of a sound design team and as a lead sound designer for a feature horror film I have to say it was one of the most liberating and satisfying moments for me in my entire sound design career so far.&#xD;&#xA;&#xD;&#xA;I'm not sure what part of you can't separate reality from fiction (and you're not a lesser person for it, maybe I'm the messed up one), but even stuff as gory as Saw likely shouldn't bother you as much as it should seemingly present a challenge for you (at least that's the way I see it as an individual, but maybe I'm jaded). It's just a job (but I'm also a severe agnostic and less sensitive to such things, so who knows). &#xD;&#xA;&#xD;&#xA;If it does bother you, I think you might have possibly chosen the wrong career (or at least the wrong sector of said career). Sure, I'm not necessarily qualified to be an arbiter of taste or the final word in what it is to be an icon in our career path, but opportunities like this are sometimes golden in our chosen careers. Typically for very good reasons as well. It generally allows us certain freedoms that are usually taken for granted.&#xD;&#xA;&#xD;&#xA;Situations like this are typically lower in budget, but also allow a certain amount of freedom and experimentation that we as sound designers and back-end-budget creative types typically thrive on. They also end up being the very situations that we as extremely experimental individuals end up honing our skills on and allowing us to be able to get away with things we normally wouldn't be able to get away with. Which are usually the exact same things that allow us to learn how to respect and also push the boundaries of what we do.&#xD;&#xA;&#xD;&#xA;You're likely not the only one with this particular sentiment though. Don't feel like you're missing out on something or anything. Don't chase after things you don't want. That's futile. There's no preset path we should all be following. You're likely better off working on cartoons/animation where you usually get to do &quot;cleaner&quot; work and don't typically have to deal with any overtly gruesome material and leaving the gore to people like myself and vice versa. Not sure though. I hope that's somehow food for thought for you man.&#xD;&#xA;&#xD;&#xA;Here's to hoping you find what you want!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;You don't have to work on horror films. You can indeed push your career in the direction you want it to go in. You just have to believe, not give up and just go after it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;- I hope that doesn't come off as condescending at all. I actually meant that from the heart." ContentLicense="CC BY-SA 2.5" />
  <row Id="10259" PostHistoryTypeId="2" PostId="5971" RevisionGUID="32af8b5c-fc6d-44c4-af3b-8df989b015cc" CreationDate="2011-02-12T12:44:22.793" UserId="693" Text="I typically use F or FOL as a general Abbreviation.&#xD;&#xA;&#xD;&#xA;F_Steps - Self Explanatory&#xD;&#xA;F_Cloth - Also Self Explanatory&#xD;&#xA;F_Props or F_Inc for Foley Props or &quot;Incedental&quot; sounds like hand props or anything non-steps or cloth." ContentLicense="CC BY-SA 2.5" />
  <row Id="10260" PostHistoryTypeId="2" PostId="5972" RevisionGUID="bea5021f-53b4-41cc-a2c3-6f69368c3f3f" CreationDate="2011-02-12T13:06:27.687" UserId="693" Text="I agree with @tim prebble. Wear some earplugs for a bit to &quot;re-sensitize&quot; yourself. In essence what he's actually saying is a bit different though. He's also being a bit of a Jedi speaking in aphoristic tongues at the moment, lol. Which, I really really love actually. What he's really trying to tell you is that the world is full of sound, you only need to pay attention to the details and stop being distracted by the big picture.&#xD;&#xA;&#xD;&#xA;To be forward and honest, I don't think I've ever been at a loss for finding sounds to record, regardless of the environment. Sometimes it takes a bunch of bad/useless recordings to figure out where you're going wrong. Either way, just start recording stuff and when your hard drive starts to fill up with crap you'll eventually get it. It takes time to develop and ear for useful field recordings, a solid process for making them and a very in depth understanding of which ones you can make use of based on your familiarity of the tools you've mastered that happen to have at your disposal. ie: EQ, Dynamics, Noise Reduction or whatever makes the recordings useful to you. It could be a pedal board of guitar FX for all anyone knows. Another mans garbage is another mans treasure, no? &#xD;&#xA;&#xD;&#xA;It's even crazier in a position like Tim's because he's stuck deeming what might be useful for all people because he actually creates commercial libraries (Yes, listen to that man. He knows what he's talking about).&#xD;&#xA; &#xD;&#xA;My best advice besides what I said above is to just pay attention to the little details of the world and use your &quot;cocktail party&quot; skills a little more aggressively. You'll eventually refine your own techniques over time. Never stop asking questions though. Even the Jedi masters are still students and always will be. That's the nature of what we do." ContentLicense="CC BY-SA 2.5" />
  <row Id="10261" PostHistoryTypeId="2" PostId="5973" RevisionGUID="cdd184aa-5d47-4852-8037-0de385231c70" CreationDate="2011-02-12T13:14:13.150" UserId="693" Text="Either iZotope RX or you draw out the clips in the waveform using the pencil tool in Pro Tools manually if you don't have the budget for iZotope RX (but only if the budget is paying you enough to do it, otherwise you need to get someone to pay you more)." ContentLicense="CC BY-SA 2.5" />
  <row Id="10262" PostHistoryTypeId="2" PostId="5974" RevisionGUID="49431330-2394-476a-a8e0-a2efe9d579f0" CreationDate="2011-02-12T14:02:42.310" UserId="6420" Text="I enjoy horror films a lot. The scarier the better for me ;) I worked on The Human Centipede and that was pretty graphic in scenes, but it also shows off the power of sound and how as sound designers/editors we have the ability to really make an emotive connection with the audience. Even if that is just disgust lol With many horror and scary films the sound is what really makes it what it is. Try watching them with the sound off. Paranormal Activity 1/2 are good examples. Doesn't feel scary at all!&#xD;&#xA;&#xD;&#xA;Thats what I love about sound design. The ability to use sound to make an audience feel things that they probably wouldn't do without it. Immersing the moviegoer into the narrative and being part of the whole magic of it, driving it on. It's very cool :)&#xD;&#xA;&#xD;&#xA;You get used to seeing all the gory stuff though. Especially after you've seen that same scene 100 times! After all its just a movie ;) Working on a hard hitting documentary where you see footage of terrible things happening to people would be a different story though I think..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10263" PostHistoryTypeId="2" PostId="5975" RevisionGUID="1036a0fb-2c7c-4c1c-a52d-5773fa759b7b" CreationDate="2011-02-12T19:51:40.697" UserDisplayName="user49" Text="I've worked on 3 or 4 horror films and never had any psychological problems with them but each of them were well made films &amp; the content did not disgust me - I don't think I could or would work on films that are exploititive, which is what I consider those torture pron films like Saw to be. You might see it as a single genre, but like any genre there is a huge range within, from the excellent to the ridiculous/crass... Think of films like The Shining, The Omen, Let The Right One In - they are disturbing works of genius and I would happily work on them. But there are plenty of horror films I would not even bother watching, let along want to work on. Its about WHY; what is the motivation in the film for it to be horrific... So I'd be a little careful about discounting an entire genre based on your preconceptions...&#xD;&#xA;&#xD;&#xA;With 30 Days of Night, there are moments that if taken singularly are gross eg I spent hours making the sound of someones head being chopped off with an axe as authentic as possible. But two points: the action is not unmotivated. Why 30 Days works as a film is that you inevitably imagine yourself in the same situation - could you, if you had no other choice, do the same thing? You might instantly say no, but think of soldiers - they have to cross that line. The second point, which someone else made: its not real. Watching a film requires suspension of disbelief - whereas when you are making a film that at times can be near impossible, eg that head chop was partly Visual FX which were not complete when I started work on the film.... If you really can't control your suspension of disbelief as a film maker you would spend all day crying on a tragedy film or all day laughing on a comedy. Life isn't like that - how many times is a joke funny? How many times is a gorey scene repulsive? Usually only a few, the other 5000 times while you're working on it, the content does not affect you the way it does the fist time. Just as a surgeon has to get used to slicing open someones chest, you become desensitized to it.&#xD;&#xA;&#xD;&#xA;Funny story: when I was working on 30 Days of Night, a friend had rented some space in my building to shoot a stop motion short film. He was often working late at night when I also was in the studio working.... Every now &amp; again he'd come to see what the hell I was doing as it was freaking him out!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But, it might seem I am disregarding or arguing against your personal issue: you don't want to work on horror films. I TOTALLY support that approach. An important part of being an artist is deciding what you DO NOT DO (eg for me turning down 3 years work on LOTR was the best decision I have made in my entire career) Saying no is empowering. But you have to be resolute. Would you really turn down work on a film if Stanley Kubrick rose from the grave and made The Shining 2?&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=5Cb3ik6zP2I&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10264" PostHistoryTypeId="2" PostId="5976" RevisionGUID="1a72b0e3-bc2a-4dea-b2e4-9a3740a1dbd7" CreationDate="2011-02-12T21:50:15.490" UserId="88" Text="I'll just add that while it probably won't take long for you to be desensitized to the gore and the truer, &quot;gets-under-your-skin&quot; horror elements of a horror or splatter film, it's interesting to think about the potential for being more subtly affected by the imagery you'll be immersed in while working on the project -- both what you're creating as a sound designer and what's been created visually.&#xD;&#xA;&#xD;&#xA;Development cycle times for film and games vary by project.  When I sign up to work on a game, it's likely to be a commitment of at least two years.  During that time, I'll be saturated by concept art posted around the studio, visuals from gameplay, the sound work my team and I are creating, dailies or weeklies screenings, and so on -- essentially &quot;eating/sleeping/breathing&quot; the project for a *long* time.&#xD;&#xA;&#xD;&#xA;If you like a horror project and want to work on it, I'd think you'll get over the creepout factor pretty quickly, but I wonder if working on something Exorcist-like for years at a time would cause some subtle mood variances from, say, years of a Miyazaki animation." ContentLicense="CC BY-SA 2.5" />
  <row Id="10265" PostHistoryTypeId="2" PostId="5977" RevisionGUID="e9e14c8b-9bc9-40c1-a375-8579b61dc284" CreationDate="2011-02-12T22:36:48.127" UserId="6487" Text="This is an interesting question.  I have often wondered what the views of others are on this.&#xD;&#xA;&#xD;&#xA;I do a ton of broadcast work on serial killers and crime recently.  However, I do mostly documentary and reality based shows with tons of victim photos and creepy reenactments. &#xD;&#xA;&#xD;&#xA;Ironically, I long for more of the super gross sound design opportunities of the more gory dramatic work. I find it theoretically less disturbing than actual victim testimony and crime photos. A lot of times, I can't help thinking if the screams, victim struggles, metal scrapes, stabs, and head bursting open sounds I am making are really close to what these people have experienced.  The stuff I do tells real stories which, while I am not complaining at all, has gotten to me from time to time (less and less with each show). &#xD;&#xA;&#xD;&#xA;I think Tim is right.  You do get desensitized. I can get lost in the creation process and motivation of scaring the wits from someone while designing/mixing easily.  It becomes like applying fake blood at Halloween.  You know you are not bleeding to death.  It is just fun to convince someone else that you are for a second. The few opportunities I have had to work on a dramatic independent horror and thriller films were SO MUCH FUN!&#xD;&#xA;&#xD;&#xA;But, I started out working for political campaigns and government crisis and weapons systems videos.  Now that, often times felt scary.&#xD;&#xA;&#xD;&#xA;Worse Creep Out Eva:&#xD;&#xA;&#xD;&#xA;I freelanced for a 4 hour TV special about Hitler's doctors experiments on the mentally challenged, aging and handicapp which included actual experiment footage.  To make things worse, I was the only female on the team, working with a bunch of bigger dudes I didn't know, including an extremely aggressively amorous night building technician who kept leaving roses on my mix console, and I was on a 6pm to 2:30am ghost shift.  That was a little stressful the last few days or so...yeesh." ContentLicense="CC BY-SA 2.5" />
  <row Id="10266" PostHistoryTypeId="2" PostId="5978" RevisionGUID="43caa296-849b-4300-b326-2488fe312c08" CreationDate="2011-02-13T03:39:09.733" UserId="28" Text="I have never been one to watch gory films. I have always rationalized that my imagination is too wild, and the images get in my head and disrupt my sleep. (And I like my sleep to be peaceful, thank you very much.)&#xD;&#xA;&#xD;&#xA;Recently, I discovered that I *can* watch horror films. But, I plug my ears during the bloody bits. Seems strange and disrespectful as a fellow sound artist. I have the utmost respect. But if I'm going to relax and get deeply sucked into the movie, I can watch anything if it is on mute.&#xD;&#xA;&#xD;&#xA;That was as really interesting discovery for me.&#xD;&#xA;&#xD;&#xA;The other way, is to technically dissect the film. I find this enjoyable on a different level. Sometimes I want to turn off the voice in my head that guesses how I would recreate x effect. Maybe it's my background includes theatre acting as well as sound design. I naturally empathize with (worthwhile) characters.&#xD;&#xA;&#xD;&#xA;Cool question, Justin. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10267" PostHistoryTypeId="2" PostId="5979" RevisionGUID="c7710db5-cd31-4bdb-807c-c8239d39c74c" CreationDate="2011-02-13T08:11:38.623" UserId="801" Text="funny question.. dont know, i like to think about an animated episode i worked on with a screamin monster climbing the stairs in pure hate &amp; vengeance, i worked on this scene for 2 or 3 days and my heartbeatrate went seriously up... the same thing happened to the animator&#xD;&#xA;i guess we got so caught up in the emotions of that scene we synced our body's in a weird way&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10268" PostHistoryTypeId="2" PostId="5980" RevisionGUID="b1fac4c0-8e3a-4c01-950c-80c1f051f9c0" CreationDate="2011-02-13T09:13:32.993" UserId="876" Text="Hey so I have a on set recording job in April and the producer has already hired the equipment for me to get comfortable with and it is the Tascam BB 1000 CD, having briefly looked through the user manual I have been given the impression that it only records 44.1 KHz&#xD;&#xA;and 16 bit where I'm sure the industry standard is 48k and 24 bit?My question is that has anybody used this model and know any different? &#xD;&#xA;&#xD;&#xA;Below is link to show you the model&#xD;&#xA;[Tascam BB 1000 CD][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http:// http://tascam.com/product/bb-1000cd/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10269" PostHistoryTypeId="1" PostId="5980" RevisionGUID="b1fac4c0-8e3a-4c01-950c-80c1f051f9c0" CreationDate="2011-02-13T09:13:32.993" UserId="876" Text="Anyone had experience with or know of the Tascam BB 1000 CD?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10270" PostHistoryTypeId="3" PostId="5980" RevisionGUID="b1fac4c0-8e3a-4c01-950c-80c1f051f9c0" CreationDate="2011-02-13T09:13:32.993" UserId="876" Text="&lt;cd&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10271" PostHistoryTypeId="2" PostId="5981" RevisionGUID="0051f240-f7a5-46b4-891f-5670063c254c" CreationDate="2011-02-13T09:47:31.017" UserId="219" Text="Indeed, it looks very music oriented and a bit of a Swiss army knife for the budding musician. It has features you don't need and it seems to lack others you could need, like 48k/24b recording or a limiter. The specifications section does not even address sample and bit rates. It runs off 8 AA batteries which may be a bit of a pain depending on how long it lasts on one set of these (if you end up using 3 8-AA-battery-sets on set, that's 24 AA batteries, that's a damn lot of AA batteries)... Finally, I haven't even investigated the preamps.&#xD;&#xA;&#xD;&#xA;If I were you, I'd ask him if it would be fine to change recorder. If he says no, I'd buy one (or get lent one?) like an H4n or a DR-100 which would make my time on the shoot worth something more." ContentLicense="CC BY-SA 2.5" />
  <row Id="10272" PostHistoryTypeId="5" PostId="5981" RevisionGUID="aafedcbd-cfc3-4af3-a902-30a81b1def59" CreationDate="2011-02-13T09:56:47.333" UserId="219" Comment="added 174 characters in body" Text="Indeed, it looks very music oriented and a bit of a Swiss army knife for the budding musician. It has features you don't need and it seems to lack others you could need, like 48k/24b recording or a limiter. The specifications section does not even address sample and bit rates. It runs off 8 AA batteries which may be a bit of a pain depending on how long it lasts on one set of these (if you end up using 3 8-AA-battery-sets on set, that's 24 AA batteries, that's a damn lot of AA batteries)... Finally, I haven't even investigated the preamps.&#xD;&#xA;&#xD;&#xA;If I were you, I'd ask him if it would be fine to change recorder. If he says no, I'd buy one (or get lent one?) like an H4n or a DR-100 which would make my time on the shoot worth something more.&#xD;&#xA;&#xD;&#xA;EDIT: according to http://www.youtube.com/watch?v=vRfyLRyrhls, there is a built-in limiter. I keep thinking it's not adapted to what we do, simply from the lack of 48/24." ContentLicense="CC BY-SA 2.5" />
  <row Id="10273" PostHistoryTypeId="2" PostId="5982" RevisionGUID="8b1e6636-32a9-41e1-abef-1a2f752d6ed2" CreationDate="2011-02-13T10:38:47.230" UserId="373" Text="I just have 16 tracks simply called Foley 1 - 16. First 8 tracks feet, last 7 tracks spots, with the final track being cloth moves. I name the regions I record with abbreviations; FTS, MOVES etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="10274" PostHistoryTypeId="2" PostId="5983" RevisionGUID="bc56550f-20f1-4bee-b749-59b0d8adfae0" CreationDate="2011-02-13T15:21:48.123" UserId="426" Text="I haven't had the pleasure of working on a horror film, but I just saw a pretty good horror film that had some really good sound work in it. Case 39 was pretty scary and yet, not that gory. It was in the psychological horror sub genre rather than gore induced horror." ContentLicense="CC BY-SA 2.5" />
  <row Id="10275" PostHistoryTypeId="2" PostId="5984" RevisionGUID="8977be59-09b1-45d6-9d51-5ee3f3ec9bb3" CreationDate="2011-02-13T16:54:20.260" UserId="220" Text="Check out the [Tascam DR-680][1].  For the money, it's a very nice recorder and has 8 inputs, all tracked out to CF.  Mixing quickly isn't too bad - press to solo, change the mix.  For $800, can't go too wrong.  I've used Tascam products for a number of years and have been very happy.  &#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tascam.com/product/dr-680/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10276" PostHistoryTypeId="2" PostId="5985" RevisionGUID="c23842f4-a663-4602-8883-6a27457dac25" CreationDate="2011-02-13T20:33:33.470" UserId="786" Text="Go out for lunch, get some air.&#xD;&#xA;&#xD;&#xA;Buy a new album, surf on youtube for a couple of hours.&#xD;&#xA;&#xD;&#xA;Find a new plugin or synth or instrument, find some inspiration in something you haven't heard before.&#xD;&#xA;&#xD;&#xA;Pick up your kids early, go back to work after they sleep.&#xD;&#xA;&#xD;&#xA;Make your studio nice and comfortable, light a candle.&#xD;&#xA;&#xD;&#xA;Try to make just one good sound before you end your day, and come back the next day and listen to it.&#xD;&#xA;&#xD;&#xA;Sometimes creative work is just painfully slow, at other times good sounds come easy.&#xD;&#xA;&#xD;&#xA;If you are going in the completely wrong direction, then take another direction. Try to ask what they want from you. If you don't understand what they want, then ask them to use different words. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10277" PostHistoryTypeId="2" PostId="5986" RevisionGUID="2741eb37-1ba4-499b-ab99-d9ff7774937b" CreationDate="2011-02-14T00:59:28.507" UserId="801" Text="I think sex is a great solution" ContentLicense="CC BY-SA 2.5" />
  <row Id="10278" PostHistoryTypeId="2" PostId="5987" RevisionGUID="d81fda2d-6322-4dc6-be2d-604ecddb9f16" CreationDate="2011-02-14T05:05:51.017" UserId="693" Text="Here's a list of some of my items. You also have to understand the value in the other things you're doing, so I try to keep things as productive as I can so that way I don't feel it was a waste of time.  Even if it's not actually creating something. Sometimes what you're actually doing is creating inspiration, experience or knowledge.&#xD;&#xA;&#xD;&#xA;- Take a break or a nap, meditate about things other than the work at hand. Sometimes a step away from things are just what the doctor ordered.&#xD;&#xA;&#xD;&#xA;- Spend some time answering business emails, drumming up new business and doing all the stuff you hate doing. It'll make you appreciate the creative aspect a little more every time and you're likely to get back on with it a lot sooner. Maybe do that dreaded website update or update all your profiles on all those various work related forums and websites with your latest information.&#xD;&#xA;&#xD;&#xA;- Read a book, watch a movie or especially some behind the scenes material (**ALL** of the additional content videos on the deluxe re-release of THX-1138 are extremely inspiring. Especially the history of Zoetrope and the Walter Murch stuff). Even watching non-audio related behind the scenes stuff can be inspirational. There's a lot to learn from the work ethics or techniques and perspectives of the Editing and CG side of the industry. After that you can now use this time to  learn some new techniques and try out new strategies and methods of working. Force yourself to work in new ways and experiment. Watch some youtube videos of people demo'ing your favorite gear and try it out yourself. Maybe even apply the same techniques to a different piece of gear to see if you can get the same results. Sometimes you find something new in the process.&#xD;&#xA;&#xD;&#xA;- Create your own sound library. Go buy $20 worth of food or items from the hardware store or the local discount Dollar store, set up some mics and experiment. Record and document the types of sounds you get. Experiment a lot with different materials and ways of making sound with it. Record different items on different tracks so you don't lose track of what is what. Name the track after the material, then manually write down the track number/name and the action you're performing. Drop a memory location every time you perform a new type of action. Then go back and listen to it and find as many ways of describing the sound you're hearing (Soft, Abrasive, Crunchy, Brittle, Impact Metallic, Bowed, Chirping, Chiseled, Grinding, Etc), and write that down. Then go and chop it all up, name the files after the actual item and action and then metatag it with all your descriptors.&#xD;&#xA;&#xD;&#xA;- Get out the field recorder, buy a bag of balloons, grab a safety pin and walk around to different locations and make some impulse responses to use later on. Create a library out of those, then experiment with them in your favorite IR/Convolution reverb plug-in and see what types of results you get. Also try using other types of files instead of just Impulse Responses. That coin stamping impact from some sfx library might make for a very interesting Impulse Response. Maybe make a sound library out of the weird results you get.&#xD;&#xA;&#xD;&#xA;- Maybe take a movie that has a really interesting sound design sequence and load it up into your DAW and try and re-create it from scratch. That way you have an objective goal of how things are supposed to sound and you can be less critical of a fresh and original creation and you can ascertain whether you're reaching your intended goal because you know how it's supposed to sound in the end. You'll learn a lot in this process as well as improving your speed and technique.&#xD;&#xA;&#xD;&#xA;- Try making something (like a whole song with different instrument parts) out of only using one particular type of sound. Like an entire song using only the signal generator in pro tools or just sounds you can make with your voice. Start processing and mangling things so much that you have a kick drum, a snare, high hats, etc. You'll really learn the true versatility of sounds when you limit yourself to only a specific source material and develop techniques to force it to be what you want. All that information and practice and new techniques will come in very handy later on when you have to do things on a deadline and have less time to experiment creatively.&#xD;&#xA;&#xD;&#xA;Even if you don't make anything productive with any of this (sure, it can go a bit slow at times and it's easy to give up), at least it's time well spent learning new tricks to pull out of your bag later on.&#xD;&#xA;&#xD;&#xA;Oh, and sometimes Brian Eno's [Oblique Strategies][1] can help with a bit of inspiration as well.&#xD;&#xA;&#xD;&#xA;Hope that helps!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rtqe.net/ObliqueStrategies/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10279" PostHistoryTypeId="2" PostId="5988" RevisionGUID="750ec8a4-f085-4413-9113-8311f1dc216c" CreationDate="2011-02-14T05:37:08.110" UserId="693" Text="You could potentially get some work in the film industry doing ADR and Dialogue Editing. This might even work to get into the video game industry as well. You don't have to know anything about video games to record dialogue, chop it up and put it up on an ftp for your client, so don't let that intimidate you. The process and techniques for Audio Books isn't all that far off, so it seems you have enough experience to get your foot in the door in that way. &#xD;&#xA;&#xD;&#xA;I'm not sure if you'll have to be in London for that or not, as I don't live on that side of the pond. Who knows, if you can land a gig in London it might be worth it to rent a room of someone and spend M-F in London and spend the weekends at home until you get a big enough name for yourself and a sufficient rig to work from home (if you don't already have one). While you're at said post house spend as much free time possible learning other aspects of audio post so you can start to transition away from Dialogue if you're burnt out on it. If it's video games that work out (which you can likely do from home if you have a healthy list of decent voice actors), you now have contacts in that industry to hopefully start pulling sound effects work once you hone your craft at that a bit  (see my comment about my other reply to you on how to hone those particular skills).&#xD;&#xA;&#xD;&#xA;BTW... Mad respect to you for working so long on Audio Books. Dialogue editing is one of my least favorite aspects of Audio Post. I'd rather get a root canal because it's just not my cup o' tea.&#xD;&#xA;&#xD;&#xA;Also, like I just said... see my reply to your other question about what to do when you're uninspired. I put a bunch of tips in there that would also help in this scenario.&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10280" PostHistoryTypeId="2" PostId="5989" RevisionGUID="26f24253-d2a7-44a9-a8e7-f30ba1e988f0" CreationDate="2011-02-14T08:33:39.413" UserId="6524" Text="I was reading a question asked by Chris Nannny about [the amount of difference you get with good headphones][1] and its got me into thinking of getting some new ones. At the moment I own the same ones Chris' using the Sennheiser HD 201 with an H4n and to be honest I never take them with me because the wire is too long and I find them a little big to go around with, I was looking at the HD 25-1 II's and they seem to be the size I'm looking for but their a little too pricy for me atm. Could you guys give me some recommendations with headphones that are under $100, small to carry around and good for field recording. Thanks in Advance. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/5675/how-much-differnce-does-a-good-headphone-makes-in-recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="10281" PostHistoryTypeId="1" PostId="5989" RevisionGUID="26f24253-d2a7-44a9-a8e7-f30ba1e988f0" CreationDate="2011-02-14T08:33:39.413" UserId="6524" Text="Recommendations for affordable compact field recording headphones" ContentLicense="CC BY-SA 2.5" />
  <row Id="10282" PostHistoryTypeId="3" PostId="5989" RevisionGUID="26f24253-d2a7-44a9-a8e7-f30ba1e988f0" CreationDate="2011-02-14T08:33:39.413" UserId="6524" Text="&lt;field-recording&gt;&lt;headphones&gt;&lt;recommendations&gt;&lt;portable-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10283" PostHistoryTypeId="2" PostId="5990" RevisionGUID="4d902d70-815a-42ed-b3fc-8730bd37217c" CreationDate="2011-02-14T09:14:08.147" UserId="693" Text="My answer to this is going to be somewhat different or non-traditional to almost all of your responses thus far except for @NoiseJockey. This is also going to be a bit of a long reply, but hopefully interesting and insightful. I know there are a lot of questions on here about how you get your start in a field like this and I think the experiences I've had are a bit unique compared to most. This is actually going to end up being a bit of a bio more than anything. It's mostly because I will always consider myself a student and every project I work on ends up influencing me further and further because I really love this craft.&#xD;&#xA;&#xD;&#xA;Being 32 years old now (the beginning of 2011), of course I was deeply impacted by Ben Burtt's work on the Star Wars franchise, Walter Murch on THX1138, Frank Serafine on the original Tron, etc. but my true influence is a slight bit different.&#xD;&#xA;&#xD;&#xA;**The Sound:** The major influence that got me into what I do now was a 80's-Current day musical group called &quot;**Skinny Puppy**&quot;. They were an Experimental/Industrial/Avant-Garde Electronic group out of Vancouver, Canada that heavily experimented with sampling film, tv, their own found sounds and making very intense and cinematic music and soundscapes out of it along with synthesizers and a heavy amount of effects by really experimenting and pushing the envelope of how recording equipment was being used or what it was initially intended for. I guess you could say that besides using Oil Drums and other found sounds as percussion or effect loops or impacts and sweeteners in their compositions, at times they were even re-designing designed sounds that they sampled from films. They would take sounds from films and reverse them or drown them in reverb, pitch shifters, delays, flangers, phasers, distortion and so on. Guitar pedals and various esoteric effects mangling all these already interesting sounds to a new level. So they weren't straight up &quot;lifting/stealing&quot; the sounds, they were making something new out of them and making them their own and I was a huge fan. &#xD;&#xA;&#xD;&#xA;There were also other artists using similar techniques, Public Enemy (The industrial strength sampling terrorists of the hip-hop world), Artists off of Zoth Ommog Records, Older Industrial like Psychic TV, SPK, Cabaret Voltaire, Dive and Etc. Stockhausen, Reich, Cage, Kraftwerk and other Early Avant-Garde composers up to modern day luminaries like Amon Tobin, Aphex Twin, Autechre, etc. (Yeah, I think we'd get along well @NoiseJockey). None as initially influential as Skinny Puppy though. My A-Ha! moment was thus sort of similar to @NoiseJockey.&#xD;&#xA;&#xD;&#xA;**The Effect (in absurd detail):** When I was 15 years old I started my own musical project (am I actually admitting this?) one night when I was in a tiny recording studio (I mean this place was about 20ft x 20ft at most) that was owned by a punk rocker friend of mine's older brother. The studio mainly specialized in recording punk bands. I was a slight bit of a goth kid around that time (though mostly listening to Industrial and a lot various electronic music from Electro to Industrial to Techno, New Wave and Experimental) and true to the cliche, I had a book of poetry. We were also drinking quite a bit of vodka. *Side-Note: At this point in time I was more of a graphic based artist and a bit of a dabbler in other visual arts. Drawing, Sculpting, Photography, Etc. The first career I ever dreamed of having when I was a child was to be a comic book artist. *End Side-Note. &#xD;&#xA;&#xD;&#xA;In this studio they also happened to have a server rack full of various guitar effects units and they also had a Korg DW-8000 synthesizer, a Roland Octapad drum set and a VCR. My friend asked me if I wanted to make a song and happily enough I said &quot;sure&quot;, always being one interested in experimenting in new types of art. He introduced me to the various gear and gave me a brief description of what each piece does. Having a thorough interest in my favorite musicians recordings, I already had a pretty decent idea of the natural order of these things and a basic idea of what they all do. We played around for a while and I haphazardly designed/created and programmed some interesting sounds with the Octapads, DW-8000 and etc. &#xD;&#xA;&#xD;&#xA;One of the movies in the studio was &quot;Silence of the Lambs&quot; and we scanned through it for something appropriately spooky to sample from it and ended up with a loop recorded into a Roland Guitar FX rack unit of Jodi Foster saying &quot;Screaming, some type of screaming like a child's voice&quot; that we looped over and over with a backwards reverb to make it sound uber-spooky and cool. We pitched it to the tempo we wanted and then proceeded to come up with more cohesive musical parts that we had played around with just before. At this point I was playing the part of producer more than performer since I wasn't a musician by any means at that point. I was more directing him with my ideas and descriptions. I did compose some synth lines and played them on the recording though. I did also have a decent sense of rhythm. We recorded this sort of sound collage/song to the two track analog tape machine and moved on to something more upbeat which I ended up singing over (horribly, I might add) and then we called it a night or just ended up passing out considering the obscene amount of vodka we drank in the process of this excursion.&#xD;&#xA;&#xD;&#xA;The next morning I woke up on the floor of the studio with a cassette tape in my pocket (and quite a hangover). I went home and listened back to what we had created and it just totally blew my mind. We had created something out of nothing and in the end, the result was that we still had nothing. Well, nothing tangible besides the cassette as the physical carrier. I realized that we started with just these vibrations floating through the air and we manipulated them to our will and in the end we still only had vibrations floating through the air. It was an intangible piece of art that will forever morph and change based on mood, hearing abilities, listening environment and so on. It was a forever changing piece of art. It was like being a modern day Michaelangelo... only instead of marble we were carving our creations out of slabs of noise. From that moment on I knew I had found the ultimate art form (for me at least). I then promptly bought my first synth from a pawn shop and started a horrible band that got much better very quickly.&#xD;&#xA;&#xD;&#xA;Two years later I found a local studio to work at. This studio was the Audio Playground Synthesizer Studio and Museum. We had well over 1000 synths and over 300 drum machines. The largest known collection of synths in the world actually.  My first job there as an intern at 17 was to chop up and archive recordings of all these (mostly antique and classic) drum machines into one hits and loops. I also had to sketch out the machines, photograph them and document my sounds. Little did I know, this was my first bit of training into creating my own sound libraries. I helped the owner Alpha/Beta test and create synth presets for boutique and major synth manufacturers, I designed synth presets for and recorded the legendary Patrick Moraz and a whole slew of other artists. I assisted the owner in building the largest midi network in the world and I learned how to solder and do basic synth repair. We networked all the various studio rooms so you could patch a synth from any room into any other room. I worked there off and on for around 10+ years. I cut my teeth here in the mid 90's just as DAW's were starting to go somewhat mainstream and Opcode created the first real DAW. Opcode Studio Vision Pro. The first sequencer to incorporate MIDI and audio. Yamaha had also just released the O2R.&#xD;&#xA;&#xD;&#xA;By the time I was 21 I got an audio post internship at the largest post house in the Southeast, Century III on the back lot of Universal Studios FL. because my girlfriend at the time was a 2D compositor there and the audio guy needed an assistant. I then learned more about audio post and sound design. I helped design sounds for the ride installations for Universal and Disney, I worked on a bunch of Industrial work for Lockheed Martin and started to do a little TV work as well. They eventually closed a few years after 9/11 and I then worked in a few other industries and worked in a few small studios, as a private studio planner and DAW builder. I also did some remixes for some releases and etc. until Full Sail University called me when I was about 28. They said they found my resume somewhere and wanted to interview me for a position as an Instructor in the Audio Post department of the Recording Arts program. I was hired on and I finally got that Full Sail experience I always wanted when I was 17 but could never afford. I learned a lot when I was there, met some amazing people, received some amazing training and got to spend 2.5 years sharing my extreme love for all things audio in some jaw-dropping and amazing studios that I also had the privilege of using when off the clock. &#xD;&#xA;&#xD;&#xA;While working there I finally landed my first feature film job with a few co-workers in my department and I was lucky enough to take on the position of &quot;Sound Designer&quot;. It was sort of a trial by fire and I was responsible for the major scenes and the core &quot;sound&quot; of the film (which was a horror film, so I got to experiment a lot and really dive in head first). I did roughly about 45-60 solid featured minutes of very extreme and in-depth sound design out of the entire 90m film (well over 500GB of all original, custom non-stock library material). We finished the entire film in about 5 weeks (which is obscene for a team of 5 people handling all of the entire Audio Post duties while also working about 48 hours full time at Full Sail. I also got to pre-dub all my sound design stems in surround. &#xD;&#xA;&#xD;&#xA;About a month after that there were some layoffs and I ended up being one of them. I spent a few more months in Orlando, worked on a couple more feature films as a sound designer and then moved to NY to find work. I quickly realized NY is way overcrowded with people even more experienced that I was who were also out of work and righting for the same entry level/low paying jobs I was. I could hardly even find an internship position paying me more than turkey sandwiches and realized NY was a futile effort. I then moved to Denver (where I currently am) and I found more freelance work in 3 weeks than the 3 months I spent in NY. It's a modest market full of small scale Indy productions and a decent amount of advertising work and IT/Game development. Since being here I'm learning how to develop a freelance career since studios still aren't hiring due to the economy and I've started doing sound design for hardware and synth manufacturers. I'm developing my own sound libraries for a couple companies, doing a bit of local Audio Post work here and there and also concept designing a very extreme and versatile sound design plug-in for one of the software companies I do preset/sound design work for. So things are looking positive. I'd rather work for an employer since the business end isn't my strong suite and I'd love more feature film work. I really love the big scale crazy stuff where I get to experiment and innovate. I see this as a learning experience as well though. It's definitely teaching me my worth and how to be even more efficient.&#xD;&#xA;&#xD;&#xA;All that being said... my initial focus and transition from experimental electronic music to film was just an obvious path for me. It just made sense since I was using similar techniques, but simply applying them to different forms of media in slightly different ways. I've unfortunately spent a lot of time starting over in new sectors of the industry and haven't been able to get a steady hold in one particular one just yet, but I also find that it's provided to be very useful and has taught me to think outside the box, be versatile and a bit of a jack of all trades. It's helped me in every situation I've been in since. Especially since it's always more than we sign up for or what we think the job entails. It's also helped me dive a bit further than simply entry level positions. I've had years of sound editing and design experience, just not on a feature film, but I was able to get into that position based on my other experiences and skill. Not many people get to jump the line like that on their first feature film and I got really lucky. My main focus in the long run is more sound design work for feature films, but sometimes I like the distraction of a sound library, musical project or developing plug-ins.&#xD;&#xA;&#xD;&#xA;Wow, that was long. Sorry about that guys. Hopefully it was interesting. I desperately needed a break/distraction from an ADR/DX editing gig I'm not too enthusiastic about.&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10284" PostHistoryTypeId="2" PostId="5991" RevisionGUID="1f1c7920-b6d0-449b-83b7-2fc0a474a04b" CreationDate="2011-02-14T09:51:19.333" UserId="693" Text="I know this isn't necessarily a direct answer to your question, especially since thus far in my career I have always used headphones for field recording. *Chosen model is Ultrasone DJ-1's. Despite being marketed as &quot;DJ&quot; headphones... they're flat response, 10-22kHz freq response, Angled Drivers that provide stellar and natural pinna response and thus **amazing** stereo imaging. I can actually do 95% of my mixing in these and only occasionally reference the mains, spl and LM100 (the bain of my existence) for my mix levels. &#xD;&#xA;&#xD;&#xA;I've had my pair for around 7 years and they are hands down one of the best gear investments I've ever made. They are finally looking like they need to be replaced after 7 long years of absurdly heavy abuse. Not bad for a $300 investment. For heavy headphone users it's not out of the ordinary to spend $1-300 a year on headphones that need to be replaced every year or two. Especially if you travel with them a lot. I made the decision to buy mine after listening to the factory demo CD for about 10 seconds before I whipped out my checkbook. I've never made a faster, more spontaneous and unexpected gear buy in my life. I wasn't even planning on buying any headphones until the regional distributor walked into our studio and demo'd them. I actually bought his demo models since he didn't have any others on him. That's how bad I wanted them. They sold themselves.&#xD;&#xA;&#xD;&#xA;I started reconsidering using headphones at all after reading a very insightful and inspiring article on Designing Sound found [here][1] though. It might inspire you to fore-go headphones at all. Though I do understand how they can be inspirational by allowing you to focus on things your ears can't naturally hear and helping you somewhat isolate sounds from external distractions. It's an amazing read none the less.&#xD;&#xA;&#xD;&#xA;Oh, and any cable can be made shorter by either replacing the cable (if possible), modifying the length and soldering your own tip on or simply wrapping a portion of it and using velcro to fasten it. Just don't make any sharp bends as you don't want to damage the cable. The Ultrasone Pro line models like mine also feature a cable that unscrews at the ear cup (#1 reason most headphones typically need to be replaced, with the Ultrasones all you have to do is buy another $20 cable if it breaks), so all I have to do it find a shorter cable and twist it in. Sure, the Ultrasones are a bit pricey, but as I said before, I highly recommend them and they're worth it in both quality and build terms.&#xD;&#xA;&#xD;&#xA;Man, Ultrasone really needs to sponsor me. They've gotten so many recommendations from me over the years it's retarded. And that's just out of pure love and appreciation for my set of cans.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/09/david-farmer-special-field-recording-2010/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10286" PostHistoryTypeId="2" PostId="5993" RevisionGUID="d39ec5bb-bd66-47d9-8534-2b81d589f6b5" CreationDate="2011-02-14T10:12:46.583" UserId="693" Text="Here's a copy of my reply on another post about headphones and field recording:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My chosen model is Ultrasone DJ-1's. Despite being marketed as &quot;DJ&quot; headphones... they're flat response, 10-22kHz freq response, angled drivers that provide stellar and natural pinna response and thus... **amazing** stereo imaging. I can actually do 95% of my mixing in these and only occasionally reference the mains, spl and LM100 (the bain of my existence) for my mix levels.&#xD;&#xA;&#xD;&#xA;I've had my pair for around 7 years and they are hands down one of the best gear investments I've ever made. They are finally looking like they need to be replaced after 7 long years of absurdly heavy abuse. Not bad for a $300 investment. For heavy headphone users it's not out of the ordinary to spend $1-300 a year on headphones that need to be replaced every year or two. Especially if you travel with them a lot. I made the decision to buy mine after listening to the factory demo CD for about 10 seconds before I whipped out my checkbook. I've never made a faster, more spontaneous and unexpected gear buy in my life. I wasn't even planning on buying any headphones until the regional distributor walked into our studio and demo'd them. I actually bought his demo models since he didn't have any others on him. That's how bad I wanted them. They sold themselves.&#xD;&#xA;&#xD;&#xA;I started reconsidering using headphones at all after reading a very insightful and inspiring article on Designing Sound found here though. It might inspire you to fore-go headphones at all. Though I do understand how they can be inspirational by allowing you to focus on things your ears can't naturally hear and helping you somewhat isolate sounds from external distractions. It's an amazing read none the less.&#xD;&#xA;&#xD;&#xA;Oh, and any cable can be made shorter by either replacing the cable (if possible), modifying the length and soldering your own tip on or simply wrapping a portion of it and using velcro to fasten it. Just don't make any sharp bends as you don't want to damage the cable. The Ultrasone Pro line models like mine also feature a cable that unscrews at the ear cup (#1 reason most headphones typically need to be replaced, with the Ultrasones all you have to do is buy another $20 cable if it breaks), so all I have to do it find a shorter cable and twist it in. Sure, the Ultrasones are a bit pricey, but as I said before, I highly recommend them and they're worth it in both quality and build terms.&#xD;&#xA;&#xD;&#xA;Man, Ultrasone really needs to sponsor me. They've gotten so many recommendations from me over the years it's retarded. And that's just out of pure love and appreciation for my set of cans.&#xD;&#xA;&#xD;&#xA;Hope that helps!!!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10288" PostHistoryTypeId="2" PostId="5994" RevisionGUID="e4ec8f81-b5f5-469c-97f4-09371ba200d1" CreationDate="2011-02-14T11:01:09.627" UserId="693" Text="Since I've noticed sooooo many people her citing the &quot;Six Million Dollar Man&quot; signature sound effect in this thread and I thought I'd post a little about it. Obviously, I love and found it to be iconic as well. A while back I did a bunch of research to find out what it's origins were.&#xD;&#xA;&#xD;&#xA;The source of the original sound is from the tone leakage of a Hammond B3 Organ. Here's a sound file of it: 	files.me.com/synsynth/zfqb3u.wav *not sure how long that will last if I don't update that particular ftp account, so you might want to re-host and re-post to preserve it's legacy.&#xD;&#xA;&#xD;&#xA;The rest of it was all post processing which was simply an analog tape delay (I forget which model).&#xD;&#xA;&#xD;&#xA;Feel free to experiment with it. I did and I found it extremely rewarding. I had a lot of fun re-living and re-creating the legendary and detrimentally shaping sounds of my youth.&#xD;&#xA;&#xD;&#xA;Some notable and free analog tape-style delays for me that will produce similar effects if tweaked right include [Valhalla Freq Echo][1] (Mac only) and the Mdsp/Smartelectronix Analog Delay (Mac/PC) found [here][2], as well as the +Delay found in the [Soundhack &quot;Delay Trio&quot;][3] bundle (Mac/PC)&#xD;&#xA;&#xD;&#xA;Happy Tweaking!!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.valhalladsp.com/freqecho.html&#xD;&#xA;  [2]: http://mdsp.smartelectronix.com/analog-delay/&#xD;&#xA;  [3]: http://www.soundhack.com/freeware.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="10289" PostHistoryTypeId="2" PostId="5995" RevisionGUID="0fb890a5-f56f-4a81-b68a-d7b1a3808570" CreationDate="2011-02-14T11:23:54.520" UserId="37" Text="HD-25: closed back so good insulation, good low-frequency response for wind-control, fancy headband and smaller cans so they won't slip off your ears in awkward positions. and they look far less silly than larger cans like the 280s or dt770s. The 25-SP low-cost version has different drivers. (!)&#xD;&#xA;&#xD;&#xA;Sony's 7506 is a popular choice too. I've never used them." ContentLicense="CC BY-SA 2.5" />
  <row Id="10290" PostHistoryTypeId="2" PostId="5996" RevisionGUID="c5d7e777-d02c-4fc5-914f-0a93e83e685a" CreationDate="2011-02-14T11:36:51.330" UserId="37" Text="Narrative. If you can bring that and your editing skills from Audio Books, the rest is about deconstructing the process of film sound and finding where you fit. There is no shortage of work where bleeding edge sound effects work is not required,  but cleaning-up dialogue, adding backgrounds and small sound effects throughout is. No shortage of unpaid work either, great for cutting one's teeth (and pulling one's hair out). Definitely Dialogue Editing and ADR to explore first. Don't ignore games.. Certainly a few years of basic frustration and crazy excitement ahead.. Anyone know shortcuts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10291" PostHistoryTypeId="2" PostId="5997" RevisionGUID="a21099dc-d659-47de-8d8a-616a1bb6e0c3" CreationDate="2011-02-14T11:46:41.750" UserId="693" Text="@Tim @NoiseJockey - Oddly enough I'm a huge fan of the surround panner install on the Digi/Avid ICON consoles. Touch screen integration (+ the joystick) as well as variable glide functions ( via variable speed/velocity glide ratio via the jog wheel + Hot Key/Keystroke control variables) and it also doubles as a Pong interface ala: some of the SSL J and G series consoles. Slick stuff. Mixing without one is actually kind of shitty and overly complex without one, especially once you get spoiled by access to one an you have to go back to multiple automation pencil drawings or multiple fader combinations." ContentLicense="CC BY-SA 2.5" />
  <row Id="10292" PostHistoryTypeId="2" PostId="5998" RevisionGUID="f9f888fa-4525-4a84-b2d6-d49b7bfed179" CreationDate="2011-02-14T15:21:40.520" UserId="234" Text="This is interesting. I myself LOVE the genre and have worked on a number of projects from no to low budget. I seldom find myself affected by it. Yet I just finished working on a documentary on the 2010 Olympics here in Canada, and had to sit through the footage of that poor athlete on the luge smashing into the pole. The sound was the most disturbing part (and the only thing that ended up in the final cut).&#xD;&#xA;&#xD;&#xA;A friend of mine asked me why I could cut sound to people being dismembered or being eaten by Zombies, but not deal with that. After thinking about that I realized that it IS the difference between reality and fantasy. I can deal it with in fantasy by repeating to myself &quot;it's only a movie&quot;, but in reality I really wouldn't want to see any of this happen. Just where you draw the line. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10293" PostHistoryTypeId="2" PostId="5999" RevisionGUID="5d08c685-538a-42f6-b7ec-8c2f0a93efdd" CreationDate="2011-02-14T18:00:18.633" UserDisplayName="user49" Text="I use the Sennhesier PX200s with my iPod and as a backup/spare pair when field recording - they are designed for travel, they fold up into themselves...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.sennheiser.com/sennheiser/home_en.nsf/root/private_headsets_mobile_music_504163" ContentLicense="CC BY-SA 2.5" />
  <row Id="10294" PostHistoryTypeId="2" PostId="6000" RevisionGUID="207340e9-4d7d-4796-bfe5-69a9ee0adc07" CreationDate="2011-02-14T19:51:43.830" UserId="587" Text="I wanted to ask everyone what their experience is with using household items, or really any other non-instrument to either layer in, or as itself, into music and sound design.&#xD;&#xA;&#xD;&#xA;For instance, I shall share my experience.&#xD;&#xA;&#xD;&#xA;While recording music in my living room with a good drummer friend of mine, we stopped for a break and started rocking the Mario Party on N64 (as we are avid gamers of classic editions). The N64 crashed and the music went haywire, becoming unintelligible noise, and pulsing with a rhythm. And being in the frame of mind with the song we were recording... it happened to be half of the BPM we were at. So mic'd the TV and recorded the static, pulsating riff the tv was blaring and incorporated it into the end of the song. The instruments faded down and static faded up as the drums stayed present in the music creating a very interesting poly-rhythmic soup of craziness.&#xD;&#xA;&#xD;&#xA;Has a by-chance factor like this happened to any of you? Have you found awesome additions to a composition or sound design in a very unlikely place? Share stories below!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10295" PostHistoryTypeId="1" PostId="6000" RevisionGUID="207340e9-4d7d-4796-bfe5-69a9ee0adc07" CreationDate="2011-02-14T19:51:43.830" UserId="587" Text="Unmusical Items as Instruments in Music/Design" ContentLicense="CC BY-SA 2.5" />
  <row Id="10296" PostHistoryTypeId="3" PostId="6000" RevisionGUID="207340e9-4d7d-4796-bfe5-69a9ee0adc07" CreationDate="2011-02-14T19:51:43.830" UserId="587" Text="&lt;music&gt;&lt;instruments&gt;&lt;design&gt;&lt;inspiration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10297" PostHistoryTypeId="2" PostId="6001" RevisionGUID="f76107fd-e4ad-464e-9535-ce98af5df8a8" CreationDate="2011-02-14T20:37:36.183" UserId="29" Text="Absolutely, and I'd be shocked if this isn't something that 99% of the people on this board have done (and if I'm wrong, well, *tarnation*, get started!). &#xD;&#xA;&#xD;&#xA;It's especially easy to do in the realm of percussion: I've made drum kits and hits/impacts from everything from kitchen ware to wrecked cars. I've based drum loops around the rhythms of putting a coffee carafe back on a coffee maker. Empty plastic bear canisters as kick drums. Large metallic bowls as ersatz gongs. Anything with a motor for transitions, &quot;zippers,&quot; zings, and other stings. OMG, the list just goes on and on, and of course composers have been doing this since the days of *musique concrete*, and probably well before that.&#xD;&#xA;&#xD;&#xA;I also like the sound of instruments being abused, from the ol' industrial/experimental days of using fans to strum guitars, to bowing metallic objects like cymbals, to the classic *col legno* and other techniques for making percussive sounds on resonant-body instruments. Sometimes an instrument will freak out, too, like your story. I had an old Alesis QS6 (sample-playback synthesis) keyboard that would start freaking out when you triggered a C -2 note in your sequencer, triggering all sorts of weird playback freakiness, detuned and deep and weird as hell. Have that on an old DAT tape somewhere...&#xD;&#xA;&#xD;&#xA;I'm also not afraid to admit that when I'm stuck creatively, having instruments with randomization buttons or random-patch settings can be incredibly inspiring. :-)&#xD;&#xA;&#xD;&#xA;*(Funny side story: A friend of mine in an experimental group here in SF once had a big lottery tumbler and filled it with those small cow noisemakers, the ones that go &quot;moo&quot; in very low fidelity when turned upside down. He described the sound of these objects being churned in the tumbler as &quot;the sound of a thousand hamburgers being made!&quot;)*" ContentLicense="CC BY-SA 2.5" />
  <row Id="10298" PostHistoryTypeId="2" PostId="6002" RevisionGUID="19108ea6-d8b7-4611-8b23-03b5a6dbae5c" CreationDate="2011-02-14T21:21:57.863" UserId="6435" Text="Noise Jockey is right; I think it's something most of us will have done. First thing that springs to mind for me is doing an entire musical piece with cereal bowls and tea saucers floating in a bathtub, and another entirely out of stove parts, pots and pans and baker's racks." ContentLicense="CC BY-SA 2.5" />
  <row Id="10302" PostHistoryTypeId="2" PostId="6004" RevisionGUID="6b765ae7-e7c6-4e74-ba34-714219a85e13" CreationDate="2011-02-14T22:17:29.843" UserId="587" Text="Personally, the respect I for the group is just not normal.&#xD;&#xA;&#xD;&#xA;Talk about such all encompassing, engulfing, trancing, absorptive music.&#xD;&#xA;&#xD;&#xA;However, I wanted to start a thread about the techniques and software used, or could have been used at one time, in their music or in this genre of elecro-acoustic in general.&#xD;&#xA;&#xD;&#xA;Ableton Live, Beat slicing, classic drum machines, Pro Tools, Analog Synths, glitch repeats/delays, fx, tape manipulation - anything goes.&#xD;&#xA;&#xD;&#xA;I want to start this discussion of with one of their interviews from EM magazine.&#xD;&#xA;http://emusician.com/remixmag/artists_interviews/musicians/remix_tapeheads/&#xD;&#xA;&#xD;&#xA;This interview covers their production over a few different albums. The techniques they used to create some of their amazing songs, and the lives connected with such compositions.&#xD;&#xA;&#xD;&#xA;Some links to their unbelievable music:&#xD;&#xA;http://www.youtube.com/watch?v=vYnmP8HOZ00 - Sound In A Dark Room&#xD;&#xA;http://www.youtube.com/watch?v=YCspF-lz24A - Fahrenheit Fair Enough&#xD;&#xA;http://www.youtube.com/watch?v=c3u92RKP2V8 - When It Happens It Moves All By Itself&#xD;&#xA;&#xD;&#xA;Ill kick it of with a question related to Telefon: How has this type of music inspired you to push your creative boundaries? How did you respond and what types of explorations in audio resulted from such inspiration?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10303" PostHistoryTypeId="1" PostId="6004" RevisionGUID="6b765ae7-e7c6-4e74-ba34-714219a85e13" CreationDate="2011-02-14T22:17:29.843" UserId="587" Text="Telefon Tel Aviv - SSD Thread Tribute" ContentLicense="CC BY-SA 2.5" />
  <row Id="10304" PostHistoryTypeId="3" PostId="6004" RevisionGUID="6b765ae7-e7c6-4e74-ba34-714219a85e13" CreationDate="2011-02-14T22:17:29.843" UserId="587" Text="&lt;music&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10305" PostHistoryTypeId="2" PostId="6005" RevisionGUID="2a493378-9058-4e64-ab38-b056c6a56c61" CreationDate="2011-02-14T22:35:50.613" UserId="18160" Text="I'm getting ready to go out and capture some sounds for a possible boutique library and would like to survey you all.&#xD;&#xA;&#xD;&#xA;I have MK41 and MK5 capsules, a KMR81i, many dynamic mics etc. but no really good M/S mic or figure-8 mic to make a good M/S out of.&#xD;&#xA;&#xD;&#xA;Is it worth the trouble to try and find an MK6 I could borrow, or get my hands on a Neumann 191 to record with?&#xD;&#xA;&#xD;&#xA;I'm basically going to gain access to a state-of-the-art digital printing facility as well as a custom mill which has one of those super pressure water drills, computerized laser sculpting equipment, etc. etc. etc. and I'm wondering if just mono is going to be enough for this opportunity because I most likely won't have a second chance to record these things.&#xD;&#xA;&#xD;&#xA;I plan on doing ORTF for the ambiences I find, but what configuration is your preference for great spot effects such as machinery and small servos and robots and things?&#xD;&#xA;&#xD;&#xA;Thanks in advance for your answers." ContentLicense="CC BY-SA 2.5" />
  <row Id="10306" PostHistoryTypeId="1" PostId="6005" RevisionGUID="2a493378-9058-4e64-ab38-b056c6a56c61" CreationDate="2011-02-14T22:35:50.613" UserId="18160" Text="What's the next best stereo configuration to M/S?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10307" PostHistoryTypeId="3" PostId="6005" RevisionGUID="2a493378-9058-4e64-ab38-b056c6a56c61" CreationDate="2011-02-14T22:35:50.613" UserId="18160" Text="&lt;stereo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10308" PostHistoryTypeId="2" PostId="6006" RevisionGUID="31d5be87-e1d7-4726-8058-91b4a0be603a" CreationDate="2011-02-14T23:27:11.987" UserId="194" Text="I bet you can make a good pseudo m-s rig with 3 matched mics arranged like a &quot;T&quot; with all capsules touching.  In post just don't decode - leave center center, L to the left and R to the right.  bounce to stereo and you're good.  &#xD;&#xA;&#xD;&#xA;Or you could just go XY.  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10309" PostHistoryTypeId="2" PostId="6007" RevisionGUID="dcbacd2f-cda8-4a35-a4d2-c0e86bb66ff9" CreationDate="2011-02-14T23:27:34.793" UserId="23" Text="Having been set a task of creating mood specific sounds relating to emotional impulses and responses (I'm currently working on a project requiring a sound for love, among other feelings), I was wondering what everyone's approach/ideas/thoughts were on the process of creating fx and designs for subjective abstract feelings and emotions?&#xD;&#xA;&#xD;&#xA;Naturally, the blueprint for such sounds are usually laid by the director but as creative editors we, of course, have a large say in making something so deeply personal accessible to all whilst still relating to individualism.&#xD;&#xA;&#xD;&#xA;I'm not particularly looking for advice on creating a sound for love just interested to hear anyone's experiences in creating sounds for emotions we often struggle to describe with words, let alone represent with sound. &#xD;&#xA;&#xD;&#xA;Any other difficult individual sound tasks you've been asked to deliver, opinions on uses in film, or just chipping in with your two cents all are welcome.&#xD;&#xA;&#xD;&#xA;Nick" ContentLicense="CC BY-SA 2.5" />
  <row Id="10310" PostHistoryTypeId="1" PostId="6007" RevisionGUID="dcbacd2f-cda8-4a35-a4d2-c0e86bb66ff9" CreationDate="2011-02-14T23:27:34.793" UserId="23" Text="Abstract Design" ContentLicense="CC BY-SA 2.5" />
  <row Id="10311" PostHistoryTypeId="3" PostId="6007" RevisionGUID="dcbacd2f-cda8-4a35-a4d2-c0e86bb66ff9" CreationDate="2011-02-14T23:27:34.793" UserId="23" Text="&lt;emotions&gt;&lt;sound-design&gt;&lt;ideas&gt;&lt;abstract&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10312" PostHistoryTypeId="2" PostId="6008" RevisionGUID="b33a8994-21de-48f2-a9e6-bc057a2707f4" CreationDate="2011-02-14T23:28:09.583" UserId="315" Text="ORTF will sound great for the ambiences, especially if you're going for a wide stereo image without a ton of center energy.&#xD;&#xA;&#xD;&#xA;There are exceptions to the rule, but most fx editors would cut hard fx of the machines you describe (or sounds created from manipulated versions of your recordings) in mono, and the rerecording fx mixer would pan the machine on the dub stage to match the action on screen. I'd be more concerned with getting a nice focused mono recording of the machines, avoiding the HVAC, light hum, and reflections usually present in the facilities like the one you've described. &#xD;&#xA;&#xD;&#xA;That being said, most hard fx like these are still recorded in stereo. MS would be perfect for this, because you could master the recordings so they are focused mostly in the center, with a tad of the figure 8 to give it a sense of space. The MK6 or the cheaper MK8 would be a great match for your MK41. I've had an MK4 paired with an MK8 in my stereo zepplin for years and it's still my go to mic setup for almost anything.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10313" PostHistoryTypeId="5" PostId="6008" RevisionGUID="2d3311b3-dbea-4a75-b9da-59def5cc5aa1" CreationDate="2011-02-14T23:33:10.420" UserId="315" Comment="added 57 characters in body; added 30 characters in body" Text="ORTF will sound great for the ambiences, especially if you're going for a wide stereo image without a ton of center energy.&#xD;&#xA;&#xD;&#xA;There are exceptions to the rule, but most fx editors would cut hard fx of the machines you describe (or sounds created from manipulated versions of your recordings) in mono, and the rerecording fx mixer would pan the machine on the dub stage to match the action on screen. I'd be more concerned with getting a nice focused mono recording of the machines, avoiding the HVAC, light hum, and reflections usually present in the facilities like the one you've described. &#xD;&#xA;&#xD;&#xA;That being said, most hard fx like these are still recorded in stereo (I guess we've come to expect our fx libraries this way). MS would be perfect for this over any other stereo pattern, because you could master the recordings so they are focused mostly in the center, with a tad of the figure 8 to give it a sense of space. The MK6 or the cheaper MK8 would be a great match for your MK41. I've had an MK4 paired with an MK8 in my stereo zepplin for years and it's still my go to mic setup for almost anything.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10314" PostHistoryTypeId="5" PostId="6008" RevisionGUID="9cdaf364-a912-45c8-a22a-2290a30f398f" CreationDate="2011-02-14T23:38:17.367" UserId="315" Comment="added 174 characters in body" Text="ORTF will sound great for the ambiences, especially if you're going for a wide stereo image without a ton of center energy.&#xD;&#xA;&#xD;&#xA;There are exceptions to the rule, but most fx editors would cut hard fx of the machines you describe (or sounds created from manipulated versions of your recordings) in mono, and the rerecording fx mixer would pan the machine on the dub stage to match the action on screen. I'd be more concerned with getting a nice focused mono recording of the machines, avoiding the HVAC, light hum, and reflections usually present in the facilities like the one you've described. &#xD;&#xA;&#xD;&#xA;That being said, most hard fx like these are still recorded in stereo (I guess we've come to expect our fx libraries this way). MS would be perfect for this over any other stereo pattern, because you could master the recordings so they are focused mostly in the center, with a tad of the figure 8 to give it a sense of space. The MK6 or the cheaper MK8 would be a great match for your MK41. I've had an MK4 paired with an MK8 in my stereo zepplin for years and it's still my go to mic setup for almost anything.&#xD;&#xA;&#xD;&#xA;Since it sounds like you already have an ortf pair, you might also consider recording the machines in LCR; which would also give you flexibility in the mastering process.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10316" PostHistoryTypeId="2" PostId="6010" RevisionGUID="a5132917-c9e7-4411-bd95-a22f418bc667" CreationDate="2011-02-15T00:19:29.503" UserId="18160" Text="BT lives down the street and I've heard of him spending 6 months or more on a song editing it and making it &quot;perfect&quot;. He did release a plug-in via Izotope but I'm sure that's not all of his tricks up his sleeve.&#xD;&#xA;&#xD;&#xA;Thanks for the links - good music.&#xD;&#xA;&#xD;&#xA;This genre of music inspired me because two of my favorite artists (BT and Imogen Heap) mix their own tracks. They do it practically all on their own. A few of his songs have made me experiment with delays and stutter-edits (hence my question as to how to make them a few weeks back)." ContentLicense="CC BY-SA 2.5" />
  <row Id="10317" PostHistoryTypeId="5" PostId="6010" RevisionGUID="9d2fe1cd-17c1-4576-877e-5d6960594d0b" CreationDate="2011-02-15T00:37:02.397" UserId="18160" Comment="deleted 30 characters in body; edited body" Text="I've heard of BT spending a very long time on a song editing it and making it &quot;perfect&quot;. He did release a plug-in via Izotope but I'm sure that's not all of his tricks up his sleeve.&#xD;&#xA;&#xD;&#xA;Thanks for the links - good music.&#xD;&#xA;&#xD;&#xA;This genre of music inspired me because two of my favorite artists (BT and Imogen Heap) mix their own tracks. They do it practically all on their own. A few of his songs have made me experiment with delays and stutter-edits (hence my question as to how to make them a few weeks back)." ContentLicense="CC BY-SA 2.5" />
  <row Id="10318" PostHistoryTypeId="2" PostId="6011" RevisionGUID="85eca148-6d65-424a-aae9-37a74ae0c002" CreationDate="2011-02-15T00:59:53.790" UserId="743" Text="Teflon is amazing, I completely agree. BT and Izotope made a great plu-gin together. It is a fairly expensive version of many plugins that have been free for a long time, but it very well designed for sure. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10319" PostHistoryTypeId="2" PostId="6012" RevisionGUID="d444f613-549b-420c-b392-31682339f187" CreationDate="2011-02-15T01:09:52.340" UserId="338" Text="Any sound can evoke an emotion. You could look at it from the perspective of a sound + a mood = a sound that expresses a mood just like sound + image = the audiovisual tone.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="10320" PostHistoryTypeId="2" PostId="6013" RevisionGUID="e187c483-dc31-4c60-b7fe-5142aff485d9" CreationDate="2011-02-15T01:26:02.200" UserId="878" Text="I am an experimental composer and I have often used samples and effects in my work.  Some I have purchased but I am very interested in using my own because I am often looking for a specific sound which I can't find.  I want a good mic for short distance recording such as foley.  I want to record crunches, impacts, scraping sounds, water sounds, ect.  I want very good definition in the sound.  I am looking for recommendations.  Any help would be appreciated." ContentLicense="CC BY-SA 2.5" />
  <row Id="10321" PostHistoryTypeId="1" PostId="6013" RevisionGUID="e187c483-dc31-4c60-b7fe-5142aff485d9" CreationDate="2011-02-15T01:26:02.200" UserId="878" Text="Best mics for foley and sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="10322" PostHistoryTypeId="3" PostId="6013" RevisionGUID="e187c483-dc31-4c60-b7fe-5142aff485d9" CreationDate="2011-02-15T01:26:02.200" UserId="878" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10323" PostHistoryTypeId="2" PostId="6014" RevisionGUID="96cb7ab3-a211-47b4-ab62-c69f7468219f" CreationDate="2011-02-15T02:39:54.560" UserId="693" Text="I mostly agree with NoiseJockey.&#xD;&#xA;&#xD;&#xA;I've been using found sound in my works since I started. The fact that I could turn the entire world into my instrument really excited me. I'll use doors shutting/slamming for kick drums, I'll layer slight hints of glass breaking to add some crunch to a snare hit, 2x4's being smacked together, metal pipe impacts drowned in reverb for drones or ambient textures, reverse it to create some nice tension building transitions... pots, pans, utensils, cutlery, kitchen droors opening/closing, TV's being smashed, random radio chatter, NASA transmissions, automobiles, random found electronic devices, mechanical parts or junk, dying hard drives, etc. It's all fair game to me. I'll use anything and everything. I've even thrown wet contact mics in pans of hot oil to see what I could get.&#xD;&#xA;&#xD;&#xA;I shit you not, the deepest bass kick/LFE impact I've ever created was from smacking a metal trash can lid with a drum stick and then moving the lower lip of it to about 2 inches away from the condenser and just the vibrations coming off of it push so much air it would make Michael Bay's sound design team soil their pants.&#xD;&#xA;&#xD;&#xA;If you don't know how, learn how to solder and how to make contact mics and hydrophones. They're really cheap/easy to make and absolutely invaluable for stuff like this, and also if you're a sound designer.&#xD;&#xA;&#xD;&#xA;I'm even known to do crazy stuff [like this][1].&#xD;&#xA;&#xD;&#xA;This next one is really amazing though. I would have loved to be on location for [this one][2] with some shotguns and contact mics.&#xD;&#xA;&#xD;&#xA;You should also check out &quot;[Symphony for Dot Matrix Printers][3]&quot; by [The User]. It's really impressive.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Actually, last summer I started a project that I'm (very slowly) working on with a composer out of New York named Jim Coleman. We made location recordings of places that are sentimental to both of us last summer while I was in NY. We spent about 3 hours making recordings on the Williamsburg Bridge where we were recording traffic, hammer, stick and pipe strikes or scrapes on the bridge, rails and sidewalk. We got the train passing by, random trash laying around, wind, etc that I'll be chopping up, processing, turning into Battery Kits and Kontact instruments to make compositions that are inspired by the feelings we get in those locations, made only from sounds of those locations.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=364dzVsBs2o&amp;feature=player_embedded#at=32&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=0ZrLfuqkFnE&amp;feature=relmfu&#xD;&#xA;  [3]: http://www.theuser.org/dotmatrix/en/intro.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="10324" PostHistoryTypeId="2" PostId="6015" RevisionGUID="19d8e469-6350-4d52-b595-aa14d5b35c06" CreationDate="2011-02-15T02:50:04.610" UserDisplayName="user49" Text="The limit will be your budget, and bear in mind the best mic for interior recording will not necessarily be the best for exterior.... I personally would rather have a secondhand good mic than an avergae new mic... and you may well get a deal with a Rycote etc secondhand&#xD;&#xA;&#xD;&#xA;A few suggestions that I've used....&#xD;&#xA;&#xD;&#xA;Neumann KMR81 - mono short shotgun - very natural sounding, not hyped but can be underwhelming&#xD;&#xA;&#xD;&#xA;Sennheiser MKH416 - mono short shotgun - brighter - I personally don't like the 416 but many people swear by them&#xD;&#xA;&#xD;&#xA;Sanken CSS5 - stereo shotgun - reliably good, altho can be a little noisy in very quiet situations&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I also use a pair of Oktava MC012s and DPA 4060s.... but depends on the specific sound &amp; situations - a high quality larger diaphragm mic is always going to sound better than a lavalier....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10325" PostHistoryTypeId="2" PostId="6016" RevisionGUID="be649be6-d540-44b3-a948-631b113c81f4" CreationDate="2011-02-15T03:01:09.173" UserId="693" Text="Personally, I'm a huge fan of the Sennheiser MKH416. Mostly because you can always take top end off of a recording, but you can't really get it back all that easily. It's really amazing for the price. Neumann's are typically out of my price range.&#xD;&#xA;&#xD;&#xA;The Sennheiser MKH60 and 70 are pretty standard workhorses.&#xD;&#xA;&#xD;&#xA;I've acheived good stereo results with a matched pair of Rode NT5's.&#xD;&#xA;&#xD;&#xA;I've made some stereo recordings of impulse responses with a (borrowed) Neumann Binaural Head as well which turned out really amazing." ContentLicense="CC BY-SA 2.5" />
  <row Id="10326" PostHistoryTypeId="2" PostId="6017" RevisionGUID="163805db-a66b-4e44-af90-f0bb4affd0ae" CreationDate="2011-02-15T03:23:56.080" UserId="693" Text="I always record everything in mono except Ambiences or Vehicle By's. Mostly because when doing predubs or a re-recording final mix it's a real pain and very impractical to pan 2 channel sounds.&#xD;&#xA;&#xD;&#xA;For stereo recordings, different situations call for different mic'ing techniques. For Ambiences I would use X/Y if I'm in a rush but ideally ORTF (wider sounding, but weaker center image) and for Vehicle By's I'd use M/S (stronger and more flexible center image, but also decodes very well into mono). They both provide drastically different stereo images.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10327" PostHistoryTypeId="2" PostId="6018" RevisionGUID="d3dd48a8-d9d6-4c35-8763-21fd8d25d7a0" CreationDate="2011-02-15T03:26:31.653" UserId="429" Text="Hi In my opinion experimenting with PD and delivering &quot;some foley sounds and sound design&quot; for a mobile app are two separate things entirely. Client deliverables and PD aren't really part of the same stream. They can be parallel thought read below .. &#xD;&#xA;&#xD;&#xA;PD isn't a common way to hook sounds into a game. I've never hear of anyone using PD within the context of a basic mobile app and its really VERY rare for PD to be used at runtime for commercial games. Obviously there are a few exceptions. You don't need to learn PD or programming to work on sound for games. &#xD;&#xA;&#xD;&#xA;What you do need to know is how to communicate and understand the client expectations regarding how sounds would work within the context of the game so you can clearly define what A) you need to deliver and B) what the programmers need to do to get it working as intended.&#xD;&#xA;&#xD;&#xA;The most common way for sounds to get hooked into a game is by a programmer simply calling sounds in a VERY basic manner IE : when &quot;x&quot; happens play sounds OR play sound looped then stop loop once &quot;X&quot; happens.&#xD;&#xA;&#xD;&#xA;If you took the time to learn PD (months) you could build demo's to show clients and programmers how the audio interactivity could work. This helps communicate ideas faster and gives everyone the chance to give feedback on sounds as they might work in game. I wish I had a quick audio prototyping tool like PD it would solve a lot of problems early on in pre-production.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10328" PostHistoryTypeId="5" PostId="6018" RevisionGUID="97bf02f8-6a84-4560-b0fc-c68b0359181b" CreationDate="2011-02-15T03:32:25.797" UserId="429" Comment="improved " Text="Hi In my opinion experimenting with PD and delivering &quot;some foley sounds and sound design&quot; for a mobile app are two separate things entirely. Client deliverables and PD aren't really part of the same stream. They can be parallel thought read below .. &#xD;&#xA;&#xD;&#xA;PD isn't a common way to hook sounds into a game. I've never hear of anyone using PD within the context of a basic mobile app and its really VERY rare for PD to be used at runtime for commercial games. Obviously there are a few exceptions. You don't need to learn PD or programming to work on sound for games. &#xD;&#xA;&#xD;&#xA;What you do need to know is how to communicate and understand the client expectations regarding how sounds would work within the context of the game so you can clearly define what A) you need to deliver and B) what the programmers need to do to get it working as intended.&#xD;&#xA;&#xD;&#xA;The most common way for sounds to get hooked into a game is by a programmer simply calling sounds in a VERY basic manner IE : when &quot;x&quot; happens play sounds OR play sound looped then stop loop once &quot;X&quot; happens. Advanced audio features and middleware are not common in games until you get to large scale game development for PC and console. Most small developers particularly mobile developers are writing their own game engines anyway and they certainly won't have more than the most basic audio features. &#xD;&#xA;&#xD;&#xA;If you took the time to learn PD (months) you could build demo's to show clients and programmers how the audio interactivity could work. This helps communicate ideas faster and gives everyone the chance to give feedback on sounds as they might work in game. I wish I had a quick audio prototyping tool like PD it would solve a lot of problems early on in pre-production.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10329" PostHistoryTypeId="2" PostId="6019" RevisionGUID="5e6b4d3f-8808-4212-9750-9d2bd61fc506" CreationDate="2011-02-15T03:32:36.320" UserId="577" Text="When the first Zunes were on display at Best Buy, they had the music video for 1.618 (from BT's This Binary Universe) pre-loaded on them.&#xD;&#xA;&#xD;&#xA;Those were a pretty intensely inspiring couple of minutes, I could not take off those headphones for anything. I got some weird looks from people in best buy lol&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10330" PostHistoryTypeId="2" PostId="6020" RevisionGUID="6335a9f0-705f-40ee-807f-cd6121647b52" CreationDate="2011-02-15T03:50:13.417" UserId="693" Text="I have always printed stems with all the panning and relative levels and print those down into various types multi-channel stems based on the content type. I also try to keep harmonically similar content on different stems as well that way there are less EQ changes needed during the re-recording stage. &#xD;&#xA;&#xD;&#xA;I believe the only reason I've been able to get away with the panning is because I have always been the re-recording mixer on the projects I have worked on as well.&#xD;&#xA;&#xD;&#xA;All the mixing was generally done &quot;in the box&quot; with Pro Tools since I've always used a D-Control or nothing at all since I reached a stage where I was mixing.&#xD;&#xA;&#xD;&#xA;If you have any more specific questions I'd be more than happy to answer." ContentLicense="CC BY-SA 2.5" />
  <row Id="10331" PostHistoryTypeId="2" PostId="6021" RevisionGUID="fcc3a4ed-ef26-48f7-a9c0-3da80ff4f425" CreationDate="2011-02-15T04:38:44.367" UserId="29" Text="I too like the MKHs a lot, because they're so deadly silent.  I sometimes double-mic percussive sounds with both a small condenser and a dynamic, like a MD421.&#xD;&#xA;&#xD;&#xA;However, they're so low-end-happy that I've had a really hard time doing close-up recordings of subtle stuff like pages flipping...sounds like a bull in a china shop. I think, as Tim said, large condenser mics are too often overlooked for such things - way quiet and can be very detailed. The new Senny MK4 may hold a lot of promise for not a ton of dough! LDC's can be found pretty inexpensively, with good specs!&#xD;&#xA;&#xD;&#xA;I also use the DPA 4060's and Oktava MK012's, but for very specific things. They're both a lot noisier than the mics I mentioned above. My Oktavas are used for stunt mics and loud sources, and the DPA's are for stealth ambiences and other special uses." ContentLicense="CC BY-SA 2.5" />
  <row Id="10332" PostHistoryTypeId="2" PostId="6022" RevisionGUID="0ab903b1-5ca0-478b-956a-a728a4538eac" CreationDate="2011-02-15T04:45:04.840" UserId="29" Text="I too am always blown away by Telefon Tel Aviv's work (RIP). I think the strength of their work is based on (relative to lessons sound designers could take away):&#xD;&#xA;&#xD;&#xA; - Contrast. Beautiful guitar and vocals next to lush synths next to very skittery percussion. Many artists attempt this blend, but their ability to render each layer as very articulate without creating sonic mush (unless that's the goal, which they do let happen) is pretty well-honed. &#xD;&#xA; - Emotion. Their choices of key, instrumentation and the above contrast creates this amazing sense of melancholy, remembrance, nostalgia, or sometimes just a sunny summer day. &#xD;&#xA; - Disregard for fitting into categories. Song by song it could be shoegazer alt rock or glitchtronica, and it doesn't matter. It all has the same thematic and emotional core, and that's what unites the work(s) all together.&#xD;&#xA;&#xD;&#xA;Quite possibly the ultimate &quot;beautifully-shot indie road movie about getting divorced and driving across the US in the autumn&quot; music. :-p" ContentLicense="CC BY-SA 2.5" />
  <row Id="10333" PostHistoryTypeId="2" PostId="6023" RevisionGUID="5d2010f6-4eec-49aa-bcc0-8bea8f6fb4fc" CreationDate="2011-02-15T08:44:57.307" UserId="238" Text="As Tim mentioned, budget is the main player here. Your mic choice will really depend on where you will be using it most (i.e. interior/exterior) and how much you are willing to spend. I'm also a fan of the 416, but for a very affordable condenser mic that does a great job on low-level recordings (often the case when capturing Foley), the Rode NT1-A is worth looking at. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10335" PostHistoryTypeId="2" PostId="6024" RevisionGUID="94c90ca0-9126-40a7-9f5e-1345316ad2f3" CreationDate="2011-02-15T14:15:47.347" UserId="220" Text="Wander into your local music store and look for a [Microphone Windscreen][1].  The come in different sizes and should slip on over the top of the H2.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.guitarcenter.com/Musician-s-Gear-Microphone-Windscreen-421657-i1400374.gc" ContentLicense="CC BY-SA 2.5" />
  <row Id="10336" PostHistoryTypeId="2" PostId="6025" RevisionGUID="05b9403a-a70b-469c-8c93-5386fe11fa8f" CreationDate="2011-02-15T16:40:09.077" UserId="880" Text="Hi There,&#xD;&#xA;&#xD;&#xA;I'm working on a drama-doc and need to find recordings from Islamabad Airport for it.&#xD;&#xA;&#xD;&#xA;I was wondering whether anyone has any sort of recording from there?&#xD;&#xA;&#xD;&#xA;Any help would be hugely appreciated .&#xD;&#xA;&#xD;&#xA;Many thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="10337" PostHistoryTypeId="1" PostId="6025" RevisionGUID="05b9403a-a70b-469c-8c93-5386fe11fa8f" CreationDate="2011-02-15T16:40:09.077" UserId="880" Text="Looking for SFX- Islamabad Airport Ambience" ContentLicense="CC BY-SA 2.5" />
  <row Id="10338" PostHistoryTypeId="3" PostId="6025" RevisionGUID="05b9403a-a70b-469c-8c93-5386fe11fa8f" CreationDate="2011-02-15T16:40:09.077" UserId="880" Text="&lt;sfx&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10339" PostHistoryTypeId="2" PostId="6026" RevisionGUID="cf95730c-0393-4a22-b9d5-c3f0c9a0bfea" CreationDate="2011-02-15T18:01:14.577" UserId="6487" Text="I was going to watch a short part of this and give some feedback but I found myself 20 minutes in before I knew it.  The voices are very clear and the ambience well placed in the mix.  Very nice! &#xD;&#xA;&#xD;&#xA;I also would love to hear more Haiti recordings as well....Soundcloud?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10340" PostHistoryTypeId="2" PostId="6027" RevisionGUID="0fab1574-dede-4091-96a6-c57147cad5ca" CreationDate="2011-02-15T18:59:08.057" UserId="6487" Text="One of the things I really try to consider as part of my sound design process is the use of sounds that express the prescence of emotion themselves, not just the literal scene and object oriented sounds within it. Although, I do believe all literal based sounds can and often should be created with the influence of a subjective emotion in mind as well.  Think about how many foot steps on concrete you have heard in films. Some clearly convey the lonely defenseless victim and some describe the commanding detective or confident hero. Remember the &quot;Unusal Suspects&quot; scene at the end of the film when Verbal changes the pacing, weight and drag of his footsteps after leaving the police station? It was clear in those footsteps alone that he had just changed personas from a crippled desperate con man to a confident slick mastermind. And yet, they are still just more footsteps.&#xD;&#xA;&#xD;&#xA;At times, a less sonically leading approach is specified or desirable, which can also be a subjective choice.  But I recommend always taking a look at the story and opening up your mind to the potential of not only adding literal but also any emotionally evocative sound design elements that you can incorporate in a non object oriented manner.  Some of the pieces I am most proud of are effective because they are able to reference an emotion quickly with the help of a reoccurring subjective sonic element that essentially embodes &quot;fear&quot; or &quot;delerium&quot; for that particular narrative.  &#xD;&#xA;&#xD;&#xA;I would start with &quot;who's eyes&quot; the story is being seen from.  How would he personally define these emotions?  You could also use cultural, geographical, and generational cues for inspiration and style.  You can have your subjective ambience elements reflect a force that is outside of the main POV. For example, you could use them to play the force of the world against the struggling protagonist.  &#xD;&#xA;&#xD;&#xA;The possibilities are really endless. And especially with a director that is specifically looking to hear these types of sounds incorporated into his story, it sounds like you are about to have a lot of fun.&#xD;&#xA;&#xD;&#xA;I would love to hear what you come up with. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10344" PostHistoryTypeId="2" PostId="6029" RevisionGUID="d70e69a8-82ad-4654-b0f2-15a377bfc956" CreationDate="2011-02-15T20:27:14.247" UserId="338" Text="Well my two cents is this:  Middle Eastern Music, puttering jeeps, rickety sounding cars, sand, islamic V.O. and loop group/walla" ContentLicense="CC BY-SA 2.5" />
  <row Id="10345" PostHistoryTypeId="2" PostId="6030" RevisionGUID="f7c43d2a-014f-4d09-8efc-6cf4d424f098" CreationDate="2011-02-15T20:45:02.493" UserId="693" Text="I agree with @MixingManiac's advice and analogies. Good stuff.&#xD;&#xA;&#xD;&#xA;to expand on his advice a bit... it's not necessarily the harmonic or frequency content of the material as much as it is repetition and leitmotif via sound design. &quot;Subconscious&quot; sounds and not &quot;literal&quot; sounds are likely the way to go in your situation. It does indeed sound like you're about to have a lot of fun and freedom to experiment. I'd definitely take advantage of that type of situation as much as possible. If the directors work is quality then it'll likely end up being a really good demo/showpiece.&#xD;&#xA;&#xD;&#xA;My experience example would be a horror film I worked on where I decided upon several core source material sounds and a couple specific processing techniques to use as the basis and representation for the presence of all of the &quot;evil&quot; in the movie (mostly because it was a ghostly presence as opposed to a specific entity). Limiting my sound sources allowed me to focus on very specific things without having to waste time digging through stock libraries. I got to make all my own field recordings and make it 100% original. I was then able to focus more on the process and application over how it was necessarily going to be perceived. In effect, I was creating and forcing the way it was to be perceived. If you want an example you can hear, then you can check out the clip below. &#xD;&#xA;&#xD;&#xA;Here's some info on the sound sources and techniques:&#xD;&#xA;In this case, all of the sounds started with field recordings I made of my daughter laughing and talking as a happy 2.5yr old does, prepared and tortured violin and piano (typically using a very jagged toothed metal file), a bunch of creaking doors and a couple other random things. I then recorded them to a Studer 2&quot; analog tape machine at 30ips and recorded them back into Pro Tools at 15 and 7.5ips to get a more natural timestretching and pitch shift. I then left some of the sounds as is regular speed with no further DSP wankery, maybe all it required was just good placement, trimming, fades or reversing. Some was more extensive going through DSP FX chains that were 10 plug-ins deep or maybe some very extreme spectral based time stretching (or a combination of both). Another example in there is that I used violin plucks/pitch harmonics drenched in reverb for the blood droplets. Some of the door creeks are used as is with no processing, that was how I recorded them. Or how I used the file scraping on piano string recordings to represent the abrasiveness of the concrete or the grinding teeth. The opening sound is a single word from my daughter put through extreme spectral timestretching (which I use a lot). It almost takes on the characteristics of a ship hull resonating from tension.&#xD;&#xA;&#xD;&#xA;What it mostly goes to show is that you don't necessarily have to use recordings of traditionally creepy things to use as creepy sounds (ie: literal or cliche). In the case of my daughter laughing and rambling on in the way a 2yr old randomly does when they're happy it was just the opposite. It was now the context I used it in and the repetition that bred familiarity. So over the course of the film, once you start to hear these similar sounds happening you subconsciously started to associate them with the fact that some evil stuff was about to happen. As is very often the case, sometimes creepy and dissonant sounds can represent love better that lush warm synth pads or wind chimes. Mostly because it typically better represents the feeling of longing and depth better than the aforementioned cliche sounds. Sometimes it might require using those cliche sounds in a new way or context like I did with the creaking door sounds (which are admittedly a bit cliche for a horror film) and processing then using analog or spectral timestretching. The important part is that I just didn't use the door sounds for a physical door being shown on the screen. I used it as a tension sweetener.&#xD;&#xA;&#xD;&#xA;[vimeo]11765995[/vimeo]&#xD;&#xA;&#xD;&#xA;A good Hollywood example would be the &quot;Chi chi chi, ha ha ha&quot; vocal sound effect from the Friday the 13th series. You hear that specific sound and you know what's up. Of course it'd be really silly if Jason went around making that sound with his mouth, thus it's a subconscious sound and informs the listener about the emotion they should be feeling through it's repetitive usage and it's selective placement. Unlike using Darth Vaders iconic leitmotif style breathing as an example, which is very well a sound that is supposedly actually happening due to a breathing apparatus in his suit and therefore not a subconscious sound that doesn't actually happen in real life (like Jason making funny breathing delay effects with his mouth).&#xD;&#xA;&#xD;&#xA;Hope that helps!&#xD;&#xA;&#xD;&#xA;I can't necessarily think of any other examples off the top of my head right this second and sorry for only using horror films as my reference (it's just that they're typically so damn good at stuff like this). I'm sure some other people will have some other examples of subconscious sound effects." ContentLicense="CC BY-SA 2.5" />
  <row Id="10346" PostHistoryTypeId="2" PostId="6031" RevisionGUID="ba26e16a-ce2d-42f4-a659-42fa34c13aa9" CreationDate="2011-02-15T21:28:06.457" UserId="261" Text="Hi All,&#xD;&#xA;&#xD;&#xA;I've been tasked with sound design for a commercial (for Web), where the final mix should sound, in the client's words, 'like it was filmed with a mobile phone. I.e. lo-fi, but not too much. It should however, not at all sound like a TV commercial&quot;.&#xD;&#xA;&#xD;&#xA;The cut I've been given have embedded (camera)audio that already sounds, well, bad. This is my source audio. So I don't think I will have to go far to get it sounding lo fi. I do however have to make a sound for a pop-up logo and text.&#xD;&#xA;&#xD;&#xA;So: &#xD;&#xA;&#xD;&#xA;- Which process(es) would you use to degrade the audio to that 'mobile phone' quality ?&#xD;&#xA;&#xD;&#xA;- Would you mix the logo and text sfx to the same quality as the other elements or would you have it 'placed above' the rest of the mix(including foleys, raw audio etc) ?&#xD;&#xA;&#xD;&#xA;My approach would be to do all the foleys and spot fx, with emphasis on the main actions (the character dive bombs into a pool, for instance), mix it down at high quality and then export to and then back from iMovie on my iPhone to get that nasty sound.&#xD;&#xA;Then I'd do a second mix with the sound design elements on top and mix that down at high quality again.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Kurt&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="10347" PostHistoryTypeId="1" PostId="6031" RevisionGUID="ba26e16a-ce2d-42f4-a659-42fa34c13aa9" CreationDate="2011-02-15T21:28:06.457" UserId="261" Text="Imitating the audio quality of a typical mobile phone video" ContentLicense="CC BY-SA 2.5" />
  <row Id="10348" PostHistoryTypeId="3" PostId="6031" RevisionGUID="ba26e16a-ce2d-42f4-a659-42fa34c13aa9" CreationDate="2011-02-15T21:28:06.457" UserId="261" Text="&lt;mixing&gt;&lt;techniques&gt;&lt;commercials&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10349" PostHistoryTypeId="2" PostId="6032" RevisionGUID="46e33b97-e9bc-435e-9fd2-a46b4e96f809" CreationDate="2011-02-15T21:31:53.647" UserId="300" Text="One of my favourite kickdrums in my kit was made from me accidentally hitting the handle of a boom-pole against a sink. Perfect combination of attack, note, and distortion distortion!  ---  Sounds big as well as having wicked cut-through. [Used it on this track, amongst others&#xD;&#xA;][1]&#xD;&#xA;&#xD;&#xA;  [1]: http://mrhayday.bandcamp.com/track/acker-off-upcoming-ep-miscellaneous-expenses" ContentLicense="CC BY-SA 2.5" />
  <row Id="10350" PostHistoryTypeId="2" PostId="6033" RevisionGUID="b9591526-0a74-477b-9cdf-380ce1b72060" CreationDate="2011-02-15T21:41:00.197" UserId="235" Text="  I have a [blog][1] mostly dedicated to just this subject.  I did a series on making music with just a [ball point pen][2].  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.brendanjhogan.com/blog&#xD;&#xA;  [2]: http://www.brendanjhogan.com/blog/?p=97" ContentLicense="CC BY-SA 2.5" />
  <row Id="10351" PostHistoryTypeId="2" PostId="6034" RevisionGUID="52e0c7ef-82df-47a6-97a2-b1c8d14ea504" CreationDate="2011-02-15T21:55:39.287" UserId="37" Text="worldizing! play and record the whole thing through a cellphone and alter the original until it sounds halfway there. the clients will then likely want you to back off some more. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10358" PostHistoryTypeId="2" PostId="6037" RevisionGUID="1726718d-6a72-43c5-a4b4-44954f4fd3ac" CreationDate="2011-02-16T00:49:41.830" UserDisplayName="user49" Text="This is obviously hypothetical, but if you were doing all the sound editing for a short film and were only allowed five plugins, which five would you choose? This isn't about mixing or music - you would be editing &amp; preparing elements for a film mix:&#xD;&#xA;&#xD;&#xA; - production sound/dialogue and ADR &#xD;&#xA; - ambiences&#xD;&#xA; - sound effects&#xD;&#xA; - foley&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Presume there are no built in plug ins so eg if you want to use the PT AudioSuite Gain plug in, then you'd have to list it as one of your five....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10359" PostHistoryTypeId="1" PostId="6037" RevisionGUID="1726718d-6a72-43c5-a4b4-44954f4fd3ac" CreationDate="2011-02-16T00:49:41.830" UserDisplayName="user49" Text="What five plugins are the most essential for your sound editing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10360" PostHistoryTypeId="3" PostId="6037" RevisionGUID="1726718d-6a72-43c5-a4b4-44954f4fd3ac" CreationDate="2011-02-16T00:49:41.830" UserDisplayName="user49" Text="&lt;plug-ins&gt;&lt;editing&gt;&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10361" PostHistoryTypeId="2" PostId="6038" RevisionGUID="ff1e72d5-4a71-4ed9-8fd4-f9646f6f2f6b" CreationDate="2011-02-16T01:47:16.890" UserId="587" Text="WNS Noise supressor&#xD;&#xA;&#xD;&#xA;iZotope RX2&#xD;&#xA;&#xD;&#xA;Compressor/limiter&#xD;&#xA;&#xD;&#xA;Trim&#xD;&#xA;&#xD;&#xA;iZotop Ozone 4" ContentLicense="CC BY-SA 2.5" />
  <row Id="10362" PostHistoryTypeId="2" PostId="6039" RevisionGUID="cc0055a1-4826-44bf-88ce-678c2a4774d3" CreationDate="2011-02-16T01:56:52.323" UserId="338" Text="Hey, I have a question about how to make nice, thick, tough car sounds.  I have some good recordings of car sounds and was wondering if there are any good techniques to beef them up and make them sound real.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="10363" PostHistoryTypeId="1" PostId="6039" RevisionGUID="cc0055a1-4826-44bf-88ce-678c2a4774d3" CreationDate="2011-02-16T01:56:52.323" UserId="338" Text="Car Sounds Creation " ContentLicense="CC BY-SA 2.5" />
  <row Id="10364" PostHistoryTypeId="3" PostId="6039" RevisionGUID="cc0055a1-4826-44bf-88ce-678c2a4774d3" CreationDate="2011-02-16T01:56:52.323" UserId="338" Text="&lt;design&gt;&lt;tips&gt;&lt;car&gt;&lt;sounds&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10365" PostHistoryTypeId="2" PostId="6040" RevisionGUID="163637b7-bc94-49e7-bbd1-621b9fc3f3c5" CreationDate="2011-02-16T01:58:31.123" UserId="338" Text="Izotope RX2&#xD;&#xA;&#xD;&#xA;Ping pong&#xD;&#xA;&#xD;&#xA;EQ&#xD;&#xA;&#xD;&#xA;Time/Pitch&#xD;&#xA;&#xD;&#xA;Reaktor-Metaphysical function" ContentLicense="CC BY-SA 2.5" />
  <row Id="10366" PostHistoryTypeId="2" PostId="6041" RevisionGUID="7349b423-2b0a-44a3-bc1e-9b785e22e55e" CreationDate="2011-02-16T01:59:02.510" UserId="587" Text="Use speakerphone by audioease.&#xD;&#xA;&#xD;&#xA;http://www.audioease.com/Pages/Speakerphone/speakerphone.html&#xD;&#xA;&#xD;&#xA;&quot;A bad GSM connection on a busy sidewalk, a bullhorn with feedback and a helicopter overhead, or a 1952 rockabilly guitar amp in a recording studio live room: The Speakerphone audio plug-in gives you authentic speakers of any size together with their natural environments.&#xD;&#xA;&#xD;&#xA;All the walkie-talkies, distant transistor radios, upstairs TV sets, bullhorns, cell phones and guitar cabinets you will ever need. Speakerphone (Mac , Windows, iLok or challenge response) will add dial tones, operator, static, and you can select from a wealth of ambiences on either the caller or receiver's end.&#xD;&#xA;&#xD;&#xA;400 speaker impulse responses, 23 microphones, 106 'Covers' (from blankets to car trunks), 53 Altiverb rooms and outdoor spaces, 5 gigabyte of ambiences and sound FX, and 12 DSP modules from Leslie to GSM compression, conveniently presented to you in well over 500 presets.&quot;&#xD;&#xA;&#xD;&#xA;This plug-in is amazing." ContentLicense="CC BY-SA 2.5" />
  <row Id="10367" PostHistoryTypeId="2" PostId="6042" RevisionGUID="8e0275df-a329-4a02-9bd9-1688a6cfe8e7" CreationDate="2011-02-16T02:17:24.100" UserId="881" Text="EQ (Pref Waves Q10 or similar)&#xD;&#xA;&#xD;&#xA;Pitch Shift (Pref Serato Pitch'n'Time or Sound Toys SPEED)&#xD;&#xA;&#xD;&#xA;Reverb (Pref Altiverb)&#xD;&#xA;&#xD;&#xA;Doppler &#xD;&#xA;&#xD;&#xA;Gain &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10368" PostHistoryTypeId="2" PostId="6043" RevisionGUID="32bcac4e-86c0-4054-b027-7a01ed3cba3b" CreationDate="2011-02-16T02:22:40.383" UserId="762" Text="I'm actually in a similar situation being that the mic you describe is what I'm now looking for and have been researching for the last several months.  I'm in the process of building a kit, and I feel like I've gotten two of the three pieces.  I bought an AT4050 for my large diaphragm condensor for reasons mentioned, a stereo pair of the DPA 4060s for stereo ambiance in the city, and am split between the Schoeps CMC641 / Neumann KMR81i for my more directional mic to sort of round out the kit (for now) for more focused effects.&#xD;&#xA; &#xD;&#xA;The AT4050 has been brilliant in the short time that I've had it, so that may be one to look at – it's an LDC with switchable patterns, and affordable at about 500 bucks – but it only whetted my appetite for something a bit more directional, so maybe rent the Schoeps as well.  It sounds very detailed and realistic.&#xD;&#xA;&#xD;&#xA;I really can't claim to give a definitive answer (I'm still very new to this), just share a little insight into my thought process and the research I've been doing.&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="10369" PostHistoryTypeId="2" PostId="6044" RevisionGUID="ee53618c-1616-4ad5-a09c-44f5e3c6ebae" CreationDate="2011-02-16T02:29:50.977" UserId="18160" Text="Cedar DNS2000&#xD;&#xA;&#xD;&#xA;Oxford EQ&#xD;&#xA;&#xD;&#xA;Pitch n Time&#xD;&#xA;&#xD;&#xA;Altiverb&#xD;&#xA;&#xD;&#xA;Reverse" ContentLicense="CC BY-SA 2.5" />
  <row Id="10370" PostHistoryTypeId="2" PostId="6045" RevisionGUID="90b3b36b-c1e9-42b8-95d8-eda82ed3910e" CreationDate="2011-02-16T02:37:23.630" UserId="693" Text="Ooh, this is a tough one. Really good question though. I suppose it depends what genre of film it would be. Wish I didn't have to list standard audio suite stuff.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Absolute core, must have plug-ins for me would likely have to be:&#xD;&#xA;&#xD;&#xA;- Roger Nichols Digital: Uniquel-Izer / Firium (same plug, renamed after sale to a different company)&#xD;&#xA;&#xD;&#xA;- Altiverb&#xD;&#xA;&#xD;&#xA;- Gain&#xD;&#xA;&#xD;&#xA;- Reverse&#xD;&#xA;&#xD;&#xA;- Pitch Shift (also have a pref for Pitch'n'Time or Speed)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Now for a list of my five favorites not mentioned above:&#xD;&#xA;&#xD;&#xA;- GRM Tools (both bundles but use spectral more)&#xD;&#xA;&#xD;&#xA;- Reaktor&#xD;&#xA;&#xD;&#xA;- Paulstretch (extreme time stretch, standalone)&#xD;&#xA;&#xD;&#xA;- SoundToys Bundle&#xD;&#xA;&#xD;&#xA;- Soundhack (plug-in's and standalone)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10371" PostHistoryTypeId="2" PostId="6046" RevisionGUID="17f6d91d-fbde-4a1b-b505-5c0680594592" CreationDate="2011-02-16T02:39:59.320" UserId="10" Text="- Analog Channel&#xD;&#xA;- Renaissance Channel Strip&#xD;&#xA;- GTR&#xD;&#xA;- Pitch n' Time Pro&#xD;&#xA;- RX2" ContentLicense="CC BY-SA 2.5" />
  <row Id="10372" PostHistoryTypeId="2" PostId="6047" RevisionGUID="77750837-3841-4e1e-a172-b958f31c81e1" CreationDate="2011-02-16T02:56:30.073" UserId="300" Text=" - Altiverb&#xD;&#xA; - Pitch n Time&#xD;&#xA; - Reverse&#xD;&#xA; - Oxford EQ&#xD;&#xA; - ML4000" ContentLicense="CC BY-SA 2.5" />
  <row Id="10373" PostHistoryTypeId="2" PostId="6048" RevisionGUID="eb161a48-0cfe-4979-8c0d-6d9f867ed910" CreationDate="2011-02-16T03:08:28.913" UserId="100" Text=" - Waves WNS&#xD;&#xA; - Digi EQ3 7-Band&#xD;&#xA; - Waves L2&#xD;&#xA; - Audio Ease Altiverb&#xD;&#xA; - Digi Signal Generator&#xD;&#xA;&#xD;&#xA;So difficult to choose, but an excellent question. Thanks, Tim." ContentLicense="CC BY-SA 2.5" />
  <row Id="10374" PostHistoryTypeId="2" PostId="6049" RevisionGUID="26a738b3-eb01-40ff-8e1c-7ded88981f86" CreationDate="2011-02-16T05:08:23.097" UserId="194" Text="If I could see the film before choosing my plugs that's probably be useful.  :)&#xD;&#xA;&#xD;&#xA;Given a relatively stylized short, I'd go with:&#xD;&#xA;&#xD;&#xA; - Izotope Alloy - this can control all of my dynamic and eq needs&#xD;&#xA; - Izotope RX2&#xD;&#xA; - Pitch N Time&#xD;&#xA; - Reverse&#xD;&#xA; - Altiverb&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10375" PostHistoryTypeId="2" PostId="6050" RevisionGUID="ab5712cc-7c19-4c02-98de-a12868879f05" CreationDate="2011-02-16T06:07:00.383" UserId="18160" Text="Well, working on this sound design challenge myself, I found the &quot;Max Bass&quot; and &quot;Lo-Air&quot; plug-ins a godsend on those thin car recordings." ContentLicense="CC BY-SA 2.5" />
  <row Id="10376" PostHistoryTypeId="5" PostId="2269" RevisionGUID="118f3279-1cba-4bdf-85e8-baf11b7a7925" CreationDate="2011-02-16T07:51:08.190" UserId="61" Comment="Additional info" Text="The best dialog mixers in the world struggle daily with matching ADR to the production track. One of the reasons for this is that there are so many variables that occur during filming that are not easily remedied or recreated in post-production, ie. generator hums that fluctuate and resist EQ notching, broadband noise from a variety of light buzzes, traffic wash, etc. Even with the best tools at their disposal, it is a time consuming process whose results rarely escape the discerning ear.&#xD;&#xA;&#xD;&#xA;Interiors can be as difficult to match as exteriors. The interior recording comes with its own set of challenges, not least of which being strange reflections and/or resonances that cannot be recreated with current plug-in technology (or old-school technology, for that matter).&#xD;&#xA;&#xD;&#xA;The best thing you can teach your students is how to train their ears for this type of work. It really comes down to patient use of traditional filters and compressors - there are no short cuts or magic bullets. &#xD;&#xA;&#xD;&#xA;A few techniques you may find useful:&#xD;&#xA;&#xD;&#xA; - Capture an impulse response (IR) of&#xD;&#xA;   the various locations during filming&#xD;&#xA;   that can be used in post-production&#xD;&#xA;   to help the ADR match the track. May be of limited use but it's worth having just in case.&#xD;&#xA; - Use noise reduction technology, ie. CEDAR,&#xD;&#xA;   Izotope RX, WNS, and Z-Noise.&#xD;&#xA; - Record the ADR in the same way&#xD;&#xA;   it was originally captured, ie. if&#xD;&#xA;   you're trying to match lines filmed&#xD;&#xA;   on a rooftop, try recording the&#xD;&#xA;   talent outside - this way you immediately avoid having to make your interior ADR sound like exterior production. Of course this has to be executed with caution due to exterior noise, but sometimes it makes more sense to match the realism rather than fight it.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10377" PostHistoryTypeId="2" PostId="6051" RevisionGUID="1879ccd0-d1d1-4a6f-8630-8562abbe756a" CreationDate="2011-02-16T10:19:24.107" UserId="883" Text="Pure Data is great for interactivity and real-time sound generation if that's what you need for this project. It's now easy to embed within mobile applications on iOS and Android thanks to Peter Brinkmann's [libpd][1]. It's already being used as an audio backend for reactive music application [RjDj][2] and the hugely popular [Inception App][3] by the same makers.&#xD;&#xA;&#xD;&#xA;I've been using it for about a year now to create reactive and interactive audio/music and can honestly say it's one of the greatest audio tools I've come across.  &#xD;&#xA;&#xD;&#xA;It's probably not the most efficient way for audio in games but it's relatively low entry barrier (compared to other programming languages), flexibility and the fact it's free and open source (Vanilla version) makes it worth considering. &#xD;&#xA;&#xD;&#xA;I must however agree with other answers on here that if you will mainly be doing foley and general sound design you should not even think about using Pd. It's completely useless for that ;)    &#xD;&#xA;&#xD;&#xA;  [1]: http://gitorious.org/pdlib/ &quot;libpd&quot;&#xD;&#xA;  [2]: http://rjdj.me/ &quot;RjDj&quot;&#xD;&#xA;  [3]: http://inceptiontheapp.com/ &quot;Inception App&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10378" PostHistoryTypeId="2" PostId="6052" RevisionGUID="a27755a3-54ff-4ac1-9d1a-50a52c138e5f" CreationDate="2011-02-16T12:26:46.553" UserId="629" Text="I use a Zoom H4n and when I'm recording something that is quiet I get a lot of hiss. The room is good acoustically with no interfering sounds I don't know why it happens. I have used various cables into my Rode NTG-2 but there was no difference. Would getting a pre-amp before it goes into the H4n, reduce the hiss?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="10379" PostHistoryTypeId="1" PostId="6052" RevisionGUID="a27755a3-54ff-4ac1-9d1a-50a52c138e5f" CreationDate="2011-02-16T12:26:46.553" UserId="629" Text="Problem with a High Noise Floor in my Recordings" ContentLicense="CC BY-SA 2.5" />
  <row Id="10380" PostHistoryTypeId="3" PostId="6052" RevisionGUID="a27755a3-54ff-4ac1-9d1a-50a52c138e5f" CreationDate="2011-02-16T12:26:46.553" UserId="629" Text="&lt;hiss&gt;&lt;zoom-h4n&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10381" PostHistoryTypeId="2" PostId="6053" RevisionGUID="da5877c5-be41-4dc7-a851-580bd3ec27b3" CreationDate="2011-02-16T13:35:08.430" UserId="432" Text="Yes, a separate (better) pre-amp would help. Most of the handheld recorders that are out there are designed for recording loud sound sources; concerts and the like. So, the amount of available gain and noise floor are not comparable to the higher quality pre-amps in professional recorders.&#xD;&#xA;&#xD;&#xA;The only exception to this seems to be the Sony handhelds; PCM-D50/D1 definitely, but I'm not sure about the PCM-M10. Of course, the downside with those units is that they don't have XLR inputs." ContentLicense="CC BY-SA 2.5" />
  <row Id="10382" PostHistoryTypeId="2" PostId="6054" RevisionGUID="b03176b1-1b5a-41c9-a952-b72165dfa764" CreationDate="2011-02-16T15:10:59.840" UserId="46" Text="See also this sticky from the DUC - lot of repeated info from here but good advice nonetheless: http://duc.avid.com/showthread.php?t=270918" ContentLicense="CC BY-SA 2.5" />
  <row Id="10383" PostHistoryTypeId="2" PostId="6055" RevisionGUID="48d15314-e384-49a0-9868-b78379585ace" CreationDate="2011-02-16T16:31:42.533" UserId="884" Text="Hi,&#xD;&#xA;&#xD;&#xA;I was asked to create the sound for a locust swarm, however not a usual one, but one that is characterised by its evil and metallic buzz, sort of otherworldly, mutated...&#xD;&#xA;&#xD;&#xA;Now my main problem is that I am stuck with the basic swarm noise and I was wondering if maybe anyone of you had an idea of how to create that... I dind't find any good samples online, but maybe you have some?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thank you for any suggestions!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10384" PostHistoryTypeId="1" PostId="6055" RevisionGUID="48d15314-e384-49a0-9868-b78379585ace" CreationDate="2011-02-16T16:31:42.533" UserId="884" Text="evil locust swarm" ContentLicense="CC BY-SA 2.5" />
  <row Id="10385" PostHistoryTypeId="3" PostId="6055" RevisionGUID="48d15314-e384-49a0-9868-b78379585ace" CreationDate="2011-02-16T16:31:42.533" UserId="884" Text="&lt;sound-design&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10386" PostHistoryTypeId="2" PostId="6056" RevisionGUID="8bcb43e2-86e6-43a8-8fb6-9918d1da421a" CreationDate="2011-02-16T17:38:43.463" UserId="885" Text="you could experiment with a suitably raspy, metallic source(s) (air conditioning/engine sounds?) and experiment with granular resynthesis - KTgranulator is an allright free vst- randomising pitch and panning might help with the swarm idea?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10387" PostHistoryTypeId="2" PostId="6057" RevisionGUID="193ed633-db65-4c05-9057-6afd4d9a8f08" CreationDate="2011-02-16T17:47:40.053" UserDisplayName="user49" Text="my $0.05&#xD;&#xA;&#xD;&#xA;- EQ&#xD;&#xA;- Reverse&#xD;&#xA;- Reverb&#xD;&#xA;- Doppler&#xD;&#xA;- Pitch shift&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10388" PostHistoryTypeId="2" PostId="6058" RevisionGUID="444341a2-2be7-4d7a-a7d3-f8248d336209" CreationDate="2011-02-16T18:19:29.847" UserId="18160" Text="Start out in mono and very thin and small. As they swarm, pull them out into stereo/5.1 (depending on your medium) and use layers of pitched down flies, other bugs and such - there is a great library you can buy made here:&#xD;&#xA;http://www.therecordist.com/sbhd-ifly01-flying-insects&#xD;&#xA;http://www.therecordist.com/sbhd-ifly02-flying-insects-2&#xD;&#xA;&#xD;&#xA;Also, I'd experiment with dragging a duffle bag on different surfaces or rubbing a piece of metal on different ribbed surfaces to get a sort of a wing-flap sound and pitch/process those." ContentLicense="CC BY-SA 2.5" />
  <row Id="10389" PostHistoryTypeId="2" PostId="6059" RevisionGUID="8145aa45-9906-4c7e-87f4-1f1da57d4b11" CreationDate="2011-02-16T18:35:12.497" UserId="25" Text="hi! I have a doubt about Final, omf s and original audio files.&#xD;&#xA;I have received a project from a client. They send me omf s at 48 khz/16 bits, because the sequence where they edited in Final Cut was set up in that way, but the original audio files were recorded at 48khz/24 bits.&#xD;&#xA;My question is this: if the Final Cut´s project was set up at 16 bits, the original audio files were rendered to match this bit depht? And what happens if they change the sequence setting to 24 bits, or the omf s export setting? It would rendered the already rendered file to match 24 bits again? or it would link to the original 24 bits audio file?&#xD;&#xA;I hope that my questions are clear enough!&#xD;&#xA;Thanks a lot in advance!&#xD;&#xA;Bye! " ContentLicense="CC BY-SA 2.5" />
  <row Id="10390" PostHistoryTypeId="1" PostId="6059" RevisionGUID="8145aa45-9906-4c7e-87f4-1f1da57d4b11" CreationDate="2011-02-16T18:35:12.497" UserId="25" Text="Question about audio files and Final Cut" ContentLicense="CC BY-SA 2.5" />
  <row Id="10391" PostHistoryTypeId="3" PostId="6059" RevisionGUID="8145aa45-9906-4c7e-87f4-1f1da57d4b11" CreationDate="2011-02-16T18:35:12.497" UserId="25" Text="&lt;final&gt;&lt;cut&gt;&lt;omf&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10392" PostHistoryTypeId="2" PostId="6060" RevisionGUID="55e4d343-32c2-4171-bfe8-8c267fbd8e4e" CreationDate="2011-02-16T18:45:26.630" UserId="29" Text="I'm working on an installation where the sound will probably be reproduced on a parabolic speaker; the frequency response could be worse (as low as 150Hz with a 2'-wide dish), but the frequency reproduction chart looks like a wriggling earthworm. It's all over the place with peaks and valleys, sure to make for an exciting final EQ process...&#xD;&#xA;&#xD;&#xA;Does anyone have experience designing for such sound reproduction systems and have any advice or warnings to share?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10393" PostHistoryTypeId="1" PostId="6060" RevisionGUID="55e4d343-32c2-4171-bfe8-8c267fbd8e4e" CreationDate="2011-02-16T18:45:26.630" UserId="29" Text="Parabolic Speakers: Any experiences?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10394" PostHistoryTypeId="3" PostId="6060" RevisionGUID="55e4d343-32c2-4171-bfe8-8c267fbd8e4e" CreationDate="2011-02-16T18:45:26.630" UserId="29" Text="&lt;loudspeakers&gt;&lt;speakers&gt;&lt;frequency-response&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10395" PostHistoryTypeId="2" PostId="6061" RevisionGUID="86fc1a4c-5e37-43cd-80bb-974f89b227c7" CreationDate="2011-02-16T19:02:24.457" UserId="194" Text="Utopia has good ideas here.  I'd also experiment with the upside down bike technique for textures a la noise jockey.  maybe add some distortion and metal sounds to taste.&#xD;&#xA;&#xD;&#xA;[vimeo]10682116[/vimeo]" ContentLicense="CC BY-SA 2.5" />
  <row Id="10396" PostHistoryTypeId="2" PostId="6062" RevisionGUID="744f1164-6133-4fd9-9618-19da4cd8c169" CreationDate="2011-02-16T19:10:31.050" UserId="220" Text="Is this for a museum (intimate sound) or for a long throw (like outdoor walkway)?  Generally the sound design is pretty similar to designing for a cell phone - not much low end, the meat of it in the 2k - 4k frequency range.  Also remember that it throws mid and high frequencies way farther than a normal speaker , so keep everything pretty flat or you'll end up having weird frequency spikes as you get farther away.  &#xD;&#xA;&#xD;&#xA;[Here][1] (pdf alert) is a nice little paper on Meyer's Parabolic Speaker.  If you know the speakers you're using, call up the manufacturers - engineers love talking about the products and can give you more in-depth pointers (probably more than you want/need).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.meyersound.com/pdf/products/industrial_series/sb-1_qa.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="10397" PostHistoryTypeId="2" PostId="6063" RevisionGUID="e81ecca2-70e1-4f15-a518-dbb0d8832d79" CreationDate="2011-02-16T19:10:44.210" UserId="786" Text=" - EQ (Digi EQ7)&#xD;&#xA; - Compressor (Waves RComp)&#xD;&#xA; - Noise Reduction (Izotope RX2)&#xD;&#xA; - Pitch shift (Timeshift will do ok)&#xD;&#xA; - Reverb (ReVibe)&#xD;&#xA;&#xD;&#xA;Arrghh, I'll have to live without reverse and a good mastering limiter (ML4000 is the best), but i can't do without the comp either...." ContentLicense="CC BY-SA 2.5" />
  <row Id="10398" PostHistoryTypeId="2" PostId="6064" RevisionGUID="6ac63b14-e930-4f60-b7e7-b25a663896df" CreationDate="2011-02-16T19:39:55.007" UserId="786" Text="For me the most important part of making ADR work is getting a good performance from the actor. If the actor speaks too softly or doesn't scream when supposed to, it doesn't work no matter how close the character in sound matches the production sound. If you need to hit the actor to make him scream, then get someone to hit him! If you need to push and shake the actor then do it. Imperfections in the ADR make it sound more like the production sound.&#xD;&#xA;&#xD;&#xA;I use a lot of reverb on all dialogue, production sound and ADR, to make it rounded and nice and to give a bit of stereophonic/5.1 life to the scene. The ADR normally gets a little more reverb than the production sound, typically a mono convolution reverb to match the early reflections you hear in the production sound.&#xD;&#xA;&#xD;&#xA;I have no rules about EQ'ing other than just tweaking all bands until it matches the production sound. The production sound may have some pretty mean EQ'ing as well, especially with lavs hidden under clothes. You may want to tweak the production sound just before and after the ADR line to match the ADR, if they are too far apart in character.&#xD;&#xA;&#xD;&#xA;If you have access to a big recording stage, then use it and try to match the microphones from the production sound. But often you are stuck in a small booth, and then you'll have to use the microphone that sounds best in that booth. There is no need to use a 416 or MKH60 in a small booth, it will only make you unhappy." ContentLicense="CC BY-SA 2.5" />
  <row Id="10399" PostHistoryTypeId="2" PostId="6065" RevisionGUID="4ca2e4e3-12c1-4e05-8244-05b9668a3200" CreationDate="2011-02-16T20:54:53.763" UserId="886" Text="Syrah Compressor&#xD;&#xA;&#xD;&#xA;Wave Arts Panorama&#xD;&#xA;&#xD;&#xA;Meta Flanger&#xD;&#xA;&#xD;&#xA;Absynth&#xD;&#xA;&#xD;&#xA;TCE" ContentLicense="CC BY-SA 2.5" />
  <row Id="10400" PostHistoryTypeId="2" PostId="6066" RevisionGUID="29623d99-1e47-4eb3-88cf-9e2432654d9d" CreationDate="2011-02-16T21:01:45.187" UserId="886" Text="I also am working on the sound design challenge.  I beefed my sounds up with Time/Pitch.  It can simulate a revving with almost any type of sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="10401" PostHistoryTypeId="2" PostId="6067" RevisionGUID="acf84d5a-915e-4760-b176-9b5d007c4449" CreationDate="2011-02-16T21:47:02.210" UserId="845" Text="I've recently fried a guitar pickup onto a guitar cable for the purposes of recording Electro-magnetic signals.  The idea is to be able to record all the wonderful sounds that things like flashing neon signs and power boxes make.  The pickup is nice and small and fits easily into my kit case.  However, the other things in that kit include, a short-shot condenser and my H2 recorder.  My worry is that the strength of the pickup's magnets will be enough to do damage to the mic, and possibly wipe the SD card in the H2 or damage the electronics.&#xD;&#xA;&#xD;&#xA;Is this in any way a reasonable concern, or am I just being paranoid? " ContentLicense="CC BY-SA 2.5" />
  <row Id="10402" PostHistoryTypeId="1" PostId="6067" RevisionGUID="acf84d5a-915e-4760-b176-9b5d007c4449" CreationDate="2011-02-16T21:47:02.210" UserId="845" Text="Magnetism, microphones, and SD cards." ContentLicense="CC BY-SA 2.5" />
  <row Id="10403" PostHistoryTypeId="3" PostId="6067" RevisionGUID="acf84d5a-915e-4760-b176-9b5d007c4449" CreationDate="2011-02-16T21:47:02.210" UserId="845" Text="&lt;compact-flash-cards&gt;&lt;field-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10404" PostHistoryTypeId="2" PostId="6068" RevisionGUID="68a54f80-b5d8-49a5-9aa3-723ee93c2f76" CreationDate="2011-02-16T21:51:28.967" UserId="845" Text="Does anybody know of a reasonably inexpensive portable (i.e. battery powered) phantom power supply?  Most of the ones I've seen are in the $150-$200 range.  Or is that in itself inexpensive?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10405" PostHistoryTypeId="1" PostId="6068" RevisionGUID="68a54f80-b5d8-49a5-9aa3-723ee93c2f76" CreationDate="2011-02-16T21:51:28.967" UserId="845" Text="Portable phantom power" ContentLicense="CC BY-SA 2.5" />
  <row Id="10406" PostHistoryTypeId="3" PostId="6068" RevisionGUID="68a54f80-b5d8-49a5-9aa3-723ee93c2f76" CreationDate="2011-02-16T21:51:28.967" UserId="845" Text="&lt;phantom&gt;&lt;power&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10407" PostHistoryTypeId="2" PostId="6069" RevisionGUID="cd4c1718-dd3a-489b-b027-6ec353ce63b0" CreationDate="2011-02-16T21:54:40.867" UserId="845" Text="I find that the harmonic exciter in iZotope's Ozone 4 does the trick on almost anything.&#xD;&#xA;&#xD;&#xA;Try some heavily low-pass-filtered pink noise.  It might be a bit too rumbly, but if you use it sparingly it'll add a lot of weight." ContentLicense="CC BY-SA 2.5" />
  <row Id="10408" PostHistoryTypeId="2" PostId="6070" RevisionGUID="71a1753e-d52f-4823-aa66-cdb622fcc563" CreationDate="2011-02-16T22:42:31.737" UserId="863" Text="Behringer do some inexpensive ones. I realise many people frown at Behringer but its a battery pack, how can it go so wrong? :)&#xD;&#xA;&#xD;&#xA;Behringer PS400" ContentLicense="CC BY-SA 2.5" />
  <row Id="10409" PostHistoryTypeId="2" PostId="6071" RevisionGUID="1926756b-f6c8-41ad-b3b5-6dd5925fd5a0" CreationDate="2011-02-16T23:07:02.197" UserId="18160" Text="One thing to consider is the quality of this pack you are buying because cheaper may not necessarily be better.&#xD;&#xA;&#xD;&#xA;The money you saved on buying a cheap battery pack could never buy back your reputation lost if you were to turn to the director and say &quot;Sorry, can I have that scene played one more time? My mic ran out of juice or malfunctioned.&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10410" PostHistoryTypeId="2" PostId="6072" RevisionGUID="92c5cc60-8358-4707-8e3c-deb7324ed5a7" CreationDate="2011-02-16T23:13:11.683" UserId="886" Text="I always add a excite plugin, then pitch shift, and then double.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="10411" PostHistoryTypeId="2" PostId="6073" RevisionGUID="f276b349-78f0-428d-817b-ffac1acbb8a8" CreationDate="2011-02-16T23:35:57.010" UserId="863" Text="No one has mentioned it but, Atonement is one of my favourites.&#xD;&#xA;&#xD;&#xA;You can see where the sound designers have worked with the composer closely, the massive steadicam shot is exceptional, I'm sure it wasn't easy to record sound on that. effects and music mix and blend together into scenes.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=BB8tVQ_pWFA&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10412" PostHistoryTypeId="2" PostId="6074" RevisionGUID="243e7ea5-e5ad-4a8e-99b8-9d45e160e102" CreationDate="2011-02-16T23:42:01.020" UserId="393" Text="Never underestimate subtle growls and screams mixed in... play off the primal instinct of the listeners." ContentLicense="CC BY-SA 2.5" />
  <row Id="10413" PostHistoryTypeId="5" PostId="5822" RevisionGUID="a5bfd37d-c117-44dc-bc63-681d4496fd96" CreationDate="2011-02-17T00:02:16.887" UserId="61" Comment="additional information" Text="Greetings all,&#xD;&#xA;&#xD;&#xA;Political demonstrations and unrest on such a grand scale as what is occurring in Egypt, Iran and Syria right now are rare - that's what makes them so interesting to record and preserve. Although they can be unnerving and violent, finding a way to safely record an event like this is important, so long as it can be done without putting yourself in harm's way (at least not too much). The lo-fi snippets I've heard on the news have been amazing, imagine a high fidelity recording.&#xD;&#xA;&#xD;&#xA;Do we have any SSDers in those areas?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10414" PostHistoryTypeId="4" PostId="5822" RevisionGUID="a5bfd37d-c117-44dc-bc63-681d4496fd96" CreationDate="2011-02-17T00:02:16.887" UserId="61" Comment="additional information" Text="Recording the upheaval in the Middle East" ContentLicense="CC BY-SA 2.5" />
  <row Id="10415" PostHistoryTypeId="2" PostId="6075" RevisionGUID="d771ea66-e64e-4626-91f7-094a85e6f66e" CreationDate="2011-02-17T00:11:01.547" UserId="432" Text="Theoretically, the magnet in the pickup shouldn't affect any solid state storage device. SSD's are arrays of capacitors, which store voltage. As far as I know, and I stress here that I only have an amateur understanding of electrical circuits and electronics, the only way to change the value of stored voltage in a capacitor is to put it under load or to apply a voltage to it.&#xD;&#xA;&#xD;&#xA;Only the voltage idea can be imparted using a permanent magnet, and that would require repeated movement along a path of the circuit to generate any voltage. I think that's unlikely to occur. If you're really concerned, just make sure that there's a &quot;compartment&quot; in your case that will hold it in a fixed position, which goes without saying as far as gear is concerned anyways.&#xD;&#xA;&#xD;&#xA;As for your mic, I'd say chances are slim it will cause any ill effects. It definitely won't harm the internal ciruitry in any way. Maybe it could cause strain on the diaphragm over a long period of time, which would affect the mechanics of it's response. Speakers have been known to be affected when their cone is held in a fully extruded/intruded position for a long period of time, so the idea might apply to a microphone's diaphragm as well. My guess? It's not going to happen. If you're worried, just keep the pickup away from the diaphragm (base of the interference tube on your shotgun), and you should be fine. A 1/2&quot; should be enough, and 3/4&quot; or more is definitely a safe zone." ContentLicense="CC BY-SA 2.5" />
  <row Id="10416" PostHistoryTypeId="2" PostId="6076" RevisionGUID="ebc0fbb3-c9fd-4ee1-a6b7-760d57b0c316" CreationDate="2011-02-17T00:26:42.947" UserId="280" Text="I agree with almost al the others answers, but I want to tell to everybody to take a look to BARAKA. I've seen it three days ago and I think it's unbelievably emotional for the use of sounds and musics!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10417" PostHistoryTypeId="2" PostId="6077" RevisionGUID="9229f902-774f-4a93-8947-fbd5fd450286" CreationDate="2011-02-17T02:12:39.983" UserId="414" Text="While I remain interested in sound design, I am also interested in audio hardware/software engineering. The only program that really covers what I'm looking at is at Georgia Tech. However, I'm only a college freshman, and programs can change or disappear in three years. Does anyone know of any other similar Master's programs? Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="10418" PostHistoryTypeId="1" PostId="6077" RevisionGUID="9229f902-774f-4a93-8947-fbd5fd450286" CreationDate="2011-02-17T02:12:39.983" UserId="414" Text="Are there any graduate programs similar to Georgia Tech's?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10419" PostHistoryTypeId="3" PostId="6077" RevisionGUID="9229f902-774f-4a93-8947-fbd5fd450286" CreationDate="2011-02-17T02:12:39.983" UserId="414" Text="&lt;hardware&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10420" PostHistoryTypeId="2" PostId="6078" RevisionGUID="c78314da-272c-4d11-add3-7e6547f2eed4" CreationDate="2011-02-17T02:19:24.557" UserId="432" Text="You may want to look into the programs at Carnegie Mellon. They used to have programs along those lines (actual scientific engineering as it relates to audio) years ago...maybe they still do." ContentLicense="CC BY-SA 2.5" />
  <row Id="10421" PostHistoryTypeId="2" PostId="6079" RevisionGUID="27423e4d-3ba5-44d8-8629-4be5fbe4724e" CreationDate="2011-02-17T02:38:06.983" UserId="693" Text="I know [CalArts][1] has a Music Technology Program. It's pretty in depth as well. However, It seems you want something even more technical than what they are offering (even though what they do is very intensive and experimental). They focus on programming and instrument design more in the context of performance and art than to say become a hardware designer for a company like Korg or to Design DSP algorithms and micro chips for Analog Devices.&#xD;&#xA;&#xD;&#xA;Check out the &quot;[Links][2]&quot; section of the CalArts site as well. Of note would be the Music Technology Institutions section. In there I'm sure you can find just the exact type of info you're looking for considering they're listing institutions like the Georgia Tech, Princeton Sound Lab, Columbia, UC Berkley, MIT Media Lab and IRCAM.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mtiid.calarts.edu/&#xD;&#xA;  [2]: http://mtiid.calarts.edu/links" ContentLicense="CC BY-SA 2.5" />
  <row Id="10422" PostHistoryTypeId="2" PostId="6080" RevisionGUID="eecabec4-f97f-46ca-b6f6-69c7e5199a36" CreationDate="2011-02-17T03:02:03.090" UserId="587" Text="Here is another source for SD cards and magnets. Reinforcing Shauns statement above.&#xD;&#xA;&#xD;&#xA;http://www.pcworld.com/article/116572/busting_the_biggest_pc_myths.html&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10423" PostHistoryTypeId="2" PostId="6081" RevisionGUID="da2ee6c4-de5c-46af-98fa-e09253066e55" CreationDate="2011-02-17T03:30:35.097" UserId="845" Text="I've been wondering about this one myself.  I've heard rumours of one in either Blackpool or Manchester in the UK, though I haven't actually sat down and looked.  Might be cool though, finding a school in Europe somewhere and geeking out on audio." ContentLicense="CC BY-SA 2.5" />
  <row Id="10424" PostHistoryTypeId="2" PostId="6082" RevisionGUID="e66779cf-20cd-4e47-88d7-bb17020d83bd" CreationDate="2011-02-17T04:00:48.837" UserId="605" Text="I have just this week been working on a similar sound. Mine were more 'digital' sounding, so I used some bit reduction, a bit of subtle flanging, some panning, and a neat trick I picked up from watching a panel discussion with the tron legacy sound team talking about creating movement in the sound of the discs by waving a microphone in front of the speakers like a light sabre." ContentLicense="CC BY-SA 2.5" />
  <row Id="10425" PostHistoryTypeId="2" PostId="6083" RevisionGUID="6e07b5b9-2ba0-4609-9ee3-6a960d70e7c1" CreationDate="2011-02-17T04:44:34.570" UserId="693" Text="You can use an electric shaver to make a metallic buzz. I'd experiment with various different shavers as well to get different tones if you can.&#xD;&#xA;&#xD;&#xA;When recording them, wave the mic in front of them to get doppler sweeps, layer them randomly to give it movement and while editing them try using various layers of pitch shifting, granulation, comb filtering and maybe a touch of reverb to make some heavy metallic droning sounds.&#xD;&#xA;&#xD;&#xA;You should also find several pairs of heavy and light gauge scissors and record the sound of you making a lot of very fast snipping noises so you can also layer those, maybe pitch them up and down and add delays to to get a more precise and detailed metallic wing flapping sound. You'll likely have to roll off the low end of these sounds with an EQ though as you'll already have heavy buzzes and drones from the electric shavers being pitched and layered.&#xD;&#xA;&#xD;&#xA;When you're done you can automate volume, EQ, reverb and panning to simulate doppler, proximity and intensity.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Good luck and post the results and how you got there if you can. I'd like to hear what you do with it and what ended up working." ContentLicense="CC BY-SA 2.5" />
  <row Id="10426" PostHistoryTypeId="2" PostId="6084" RevisionGUID="25cf10a9-3dbc-49f3-9d16-54599a1b30f4" CreationDate="2011-02-17T05:57:32.063" UserId="338" Text="I made a car engine out of pitch shifted pig squeals, cannons, squeaks, and a few other odds n ends" ContentLicense="CC BY-SA 2.5" />
  <row Id="10427" PostHistoryTypeId="2" PostId="6085" RevisionGUID="df8d37e0-8cb5-4219-b1b8-7b4a62704882" CreationDate="2011-02-17T06:02:47.110" UserId="18160" Text="Ok,&#xD;&#xA;&#xD;&#xA;Just got through recording a celeb who was just getting over a cold.&#xD;&#xA;&#xD;&#xA;I said no way to the producer. Producer told me deal with it. I said there is no way to deal with it. He said, just do it - there is no time.&#xD;&#xA;&#xD;&#xA;What do I do?&#xD;&#xA;&#xD;&#xA;I don't think it's fair to me or the celeb and I voiced this more than once during the session and I was regarded by the producer as an incompetent. There isn't really a way to get in touch with the director...&#xD;&#xA;&#xD;&#xA;I notch out the honk factor which is 100X worse because this talent is stuffed up. It's a bit better but it's just not full anymore and sounds sucked.&#xD;&#xA;&#xD;&#xA;I have been through this route before with recording talent &quot;because it can't wait&quot; when they're sick or just getting over a sickness, and ALL of them we've had to re-record. This one isn't likely to be re-recorded as that would be a lot of money.&#xD;&#xA;&#xD;&#xA;I'm asking you, my colleagues, if there is such a thing that can make someone sound well again as a last resort. Have any of you been in similar shoes? What did you do to handle the recording?&#xD;&#xA;&#xD;&#xA;Don't know what I am going to do... Hope people don't think I'm incompetent that I couldn't cause a miracle and make someone sound un-stuffed up with mic placement/mixing..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10428" PostHistoryTypeId="1" PostId="6085" RevisionGUID="df8d37e0-8cb5-4219-b1b8-7b4a62704882" CreationDate="2011-02-17T06:02:47.110" UserId="18160" Text="De-Sickness plug-in?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10429" PostHistoryTypeId="3" PostId="6085" RevisionGUID="df8d37e0-8cb5-4219-b1b8-7b4a62704882" CreationDate="2011-02-17T06:02:47.110" UserId="18160" Text="&lt;voice&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10430" PostHistoryTypeId="5" PostId="6085" RevisionGUID="21934553-cbd8-4349-bc3c-75771d8e2c95" CreationDate="2011-02-17T06:07:51.457" UserId="18160" Comment="deleted 1 characters in body; added 51 characters in body" Text="Ok,&#xD;&#xA;&#xD;&#xA;Just got through recording a celeb who was just getting over a cold.&#xD;&#xA;&#xD;&#xA;I said no way to the producer. Producer told me deal with it. I said there is no way to deal with it. He said, just do it - there is no time.&#xD;&#xA;&#xD;&#xA;What do I do?&#xD;&#xA;&#xD;&#xA;I don't think it's fair to me or the celeb and I voiced this more than once during the session and I was regarded by the producer as an incompetent. There isn't really a way to get in touch with the director...&#xD;&#xA;&#xD;&#xA;I notch out the honk factor which is 100X worse because this talent is stuffed up. It's a bit better but it's just not full anymore and sounds sucked.&#xD;&#xA;&#xD;&#xA;I have been through this route before with recording talent &quot;because it can't wait&quot; when they're sick or just getting over a sickness, and ALL of them I've had to re-record, all the while with me thinking &quot;I told you so...&quot;. This one isn't likely to be re-recorded as that would be a lot of money.&#xD;&#xA;&#xD;&#xA;I'm asking you, my colleagues, if there is such a thing that can make someone sound well again as a last resort. Have any of you been in similar shoes? What did you do to handle the recording?&#xD;&#xA;&#xD;&#xA;Don't know what I am going to do... Hope people don't think I'm incompetent that I couldn't cause a miracle and make someone sound un-stuffed up with mic placement/mixing..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10431" PostHistoryTypeId="2" PostId="6086" RevisionGUID="56eca408-c38f-41d3-b01b-f5e79a0da334" CreationDate="2011-02-17T06:49:37.383" UserId="693" Text="You can try EQ, but to be honest I can't think of a single thing that will make it sit right if it's as bad as you say it is. A little raspy is one thing, but honking and nasally is another. I'm not necessarily an ADR mix specialist though.&#xD;&#xA;&#xD;&#xA;If it was the producer making the bad decision to let you record it then let him eat his words and let them pay you to do it again . If they think you're incompetent and they go elsewhere then that's likely business you're not going to want to come back. At least the talent knows you stuck up for them and you did the right thing. It will likely get back to the director when the celeb complains about having to do it again and that the producer should have listened to you in the first place. And if the producer is known for having such an attitude then it's likely that anyone that knows him well enough to hear him complain likely also knows to take it with a grain of salt if he's badmouthing you.&#xD;&#xA;&#xD;&#xA;However, keep in mind that regardless of the fact that we're not only a service, but a provider of a long crafted professional opinion and expertise doesn't matter to people like that most of the time. They see it as paying you for a service and I wouldn't let it bother you one bit." ContentLicense="CC BY-SA 2.5" />
  <row Id="10432" PostHistoryTypeId="2" PostId="6087" RevisionGUID="2afd6e63-e726-4861-ad4f-4dd4e591491e" CreationDate="2011-02-17T06:49:46.160" UserId="40" Text="Other than a bit of EQing (which you mentioned), and perhaps a bit of gating (to get rid of some smacking and weird breaths), I don't think you have much to go on. I suppose if you can find a decent breath or two in there you can go crazy replacing labored breaths and such.&#xD;&#xA;&#xD;&#xA;I do agree that it was unfair to you to expect so much - a cold can actually change the timbre of a voice - very difficult to fudge it into place...&#xD;&#xA;&#xD;&#xA;Then again, I'm not a dialogue editor, so there might be a process I'm not aware of, but I'm sure it's not an easy one..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10433" PostHistoryTypeId="2" PostId="6088" RevisionGUID="7fb7a095-2b2d-4556-be7b-0a6a93c5be9a" CreationDate="2011-02-17T07:24:46.523" UserId="40" Text="We've got a bunch of parabolic installations at work - top-down style, projecting to the floor (from only about a foot above the listener). While I've never designed anything for one of them, I have definitely noticed that they have a wonky frequency response. Very little low end, lots of high-mids.&#xD;&#xA;&#xD;&#xA;What will be played back? Music? Dialogue? Full range content?&#xD;&#xA;&#xD;&#xA;Any chance you get to play with one before the install?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10434" PostHistoryTypeId="2" PostId="6089" RevisionGUID="4471ca2f-e888-4f58-a032-420a241ca86a" CreationDate="2011-02-17T07:30:40.913" UserId="40" Text="Yeah, the Zoom doesn't do too well with quiet sources. A good preamp before it would definitely help out a lot. It would allow you to hit the recorder much harder and allow for much better gain staging.&#xD;&#xA;&#xD;&#xA;However, the Rode NTG-2 isn't know for being all that quiet either...&#xD;&#xA;&#xD;&#xA;How quiet are you talking about?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10435" PostHistoryTypeId="2" PostId="6090" RevisionGUID="562ec6a6-7b4f-427a-bc35-7804abe601fd" CreationDate="2011-02-17T08:50:47.980" UserId="887" Text="A day in the life, huh? First and foremost you have my sympathies. Our clients see maybe 10% of what we actually do and tend think our only knowledge is &quot;here's the 'better' button, and over here; the 'suck'-button&quot;... So the only REAL soloution is better sound education for directors and producers. That said, the audience knows as little as the producer, and having done this for a few years, I wanted to tell you that I have been in your exact situation a few times, and sometimes - not saying this is one of them, as I have not heard the recordings - I have made a big fuzz, anly to have someone else filter the hell out the recordings and ship them. In one of these cases, a major feature dub, I am still annoyed by the actor's clogged up nose four years later - but no one else seems to notice...&#xD;&#xA;I am taking time out to write this simply because the lack of understanding on part of the client combined with what they conceive as an acceptable result could cause them to see you as the boy who cried wolf, and you might never get that &quot;told you so&quot; moment... &#xD;&#xA;&#xD;&#xA;On the technical side I would make one &quot;regular&quot; edit and one harshely filtered (removing all traces of proximity, simply dipping a lot around 400, sometimes does the trick...), and bring in a few friends or colleagues (if you have some scattered 'round the office) and blind test. If it still sucks on both/all levels, you know what to do...&#xD;&#xA;&#xD;&#xA;Good luck to you, and may your nxt assignment be snot free in all respects.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10436" PostHistoryTypeId="2" PostId="6091" RevisionGUID="b902a821-1849-4df7-a19e-ad670ad13376" CreationDate="2011-02-17T09:06:57.953" UserId="884" Text="cool thanks for the ideas, great help!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10437" PostHistoryTypeId="2" PostId="6092" RevisionGUID="14c6e26f-6481-4776-9a5d-036b658eb0fc" CreationDate="2011-02-17T16:29:13.840" UserId="338" Text="It seems like there could be a spectral / timbre comparison somewhere out there in development land for this." ContentLicense="CC BY-SA 2.5" />
  <row Id="10438" PostHistoryTypeId="2" PostId="6093" RevisionGUID="ed223e5f-96fd-41ef-9106-dac26aa78557" CreationDate="2011-02-17T17:01:08.433" UserId="220" Text="I like penguinherder's idea - get a relatively clean track as your base, and then layer on a track that his some specific frequencies bumped - 2k - 4k, roll off all the rest.  Bring it up in the mix until it sounds...normal.  &#xD;&#xA;&#xD;&#xA;Other than that... really sucks.  There is no &quot;make better&quot; setting that I know of!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10439" PostHistoryTypeId="2" PostId="6094" RevisionGUID="c3fe9241-1136-447f-85e4-142f6ac5ade9" CreationDate="2011-02-17T19:43:19.977" UserId="18160" Text="Why does everyone think The Shining is a scary movie?&#xD;&#xA;&#xD;&#xA;I keep hearing this, but I don't understand.&#xD;&#xA;&#xD;&#xA;I don't know about you, but this is the Shining I saw:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Os6raCCmAFk&#xD;&#xA;&#xD;&#xA;It was the feel good movie of the year..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10440" PostHistoryTypeId="5" PostId="6094" RevisionGUID="46dedc61-72ce-4296-978e-37b8185eedb3" CreationDate="2011-02-17T19:48:50.527" UserId="18160" Comment="added 560 characters in body" Text="Why does everyone think The Shining is a scary movie?&#xD;&#xA;&#xD;&#xA;I keep hearing this, but I don't understand.&#xD;&#xA;&#xD;&#xA;I don't know about you, but this is the Shining I saw:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Os6raCCmAFk&#xD;&#xA;&#xD;&#xA;It was the feel good movie of the year...&#xD;&#xA;&#xD;&#xA;(hope that cheers you up, Justin)&#xD;&#xA;&#xD;&#xA;I've worked on a few pretty gory films in my career.&#xD;&#xA;&#xD;&#xA;Best thing I could think of was to either put my favorite music on in the room while cutting/syncing effects and take frequent breaks/walks and call my wife.&#xD;&#xA;&#xD;&#xA;But, you are totally capable of choosing your path and you don't necessarily need to work on horror films 100% of the time. I can't really think of a single sound designer who is pigeon-holed as a &quot;horror&quot; genre sound designer - possibly for the very reason that it's emotionally taxing and exhausting." ContentLicense="CC BY-SA 2.5" />
  <row Id="10441" PostHistoryTypeId="2" PostId="6095" RevisionGUID="f3668d1c-0328-46d2-9bdf-1e472d761294" CreationDate="2011-02-17T22:12:42.023" UserId="845" Text="A big thing to bear in mind is that most people can't/don't hear distortion the way us sound geeks do.  The only time they really do notice is when it draws attention to itself.  That is, most people won't notice unless it's really pervasive (present throughout the entire spectrum) or particularly sharp (in the upper end of the spectrum).  So your problem isn't getting rid of *all* of the distortion, just the annoying bits.&#xD;&#xA;&#xD;&#xA;If you don't have access to any noise reduction software (expensive) I find a great trick is to take a filter that can do a 24dB/8va cut (EQ3 1-band in PT), set it to low pass and roll it down as far as you can go. Chances are you'll get down to about 7-7.5kHz before stuff starts to get too dull to be conscionable.  If you need to go further, try lightening up the curve to 18 or 12dB/8va.&#xD;&#xA;&#xD;&#xA;Alternatively, if your distortion is more localized, take a band in a paragraphic EQ and set the Q to about 5-7 and sweep through the spectrum.  Generally speaking, most of the annoying stuff in distortion occurs up above 2.5-3kHz.  For me it's usually somewhere around 8-10k.  When you find it, just dip it out.  You'd be amazed how much you can push before things start sounding *really* dull/bad.&#xD;&#xA;&#xD;&#xA;If this isn't a recurring problem I would second the idea of d/l-ing a demo of the iZotope stuff.  It really is fantastic. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10442" PostHistoryTypeId="2" PostId="6096" RevisionGUID="6bce864b-e1fe-4e1c-a201-aa0b2e369e46" CreationDate="2011-02-17T22:52:11.753" UserId="118" Text="This might be a bit of a longshot and I haven't tried this myself BUT.....because a cold basically narrows your pipes - principally your nasal passage - could a throat modelling plugin such as Antares Throat or the new Flux Ircam plugins help to compensate for that narrowing which affects the vocal sound?  I'm pretty sure any treatment would also need the eq'ing as mentioned in other comments, but perhaps worth a go?  Or if there is any way of having a recording of the artist's voice without a cold, perhaps combine this with some EQ matching?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="10443" PostHistoryTypeId="2" PostId="6097" RevisionGUID="91817071-5948-4909-a547-3f84e3cfcf83" CreationDate="2011-02-18T00:23:27.393" UserId="888" Text="Hello .&#xD;&#xA;I'm wannabe sound designer.&#xD;&#xA;All times i'm trying to learn as much as i can by reading,watching,listening and trying.&#xD;&#xA;Before i start work with young filmakers in non-budget production, i build my portfolio by re-designing sound of my favourite movies.&#xD;&#xA;So here is one of those.&#xD;&#xA;i recorded everything by myself with zoom H4 and Ronde NT1 (except guns) . The most difficult part were ADR , as i havent got pro-actors to record the dialouges.&#xD;&#xA;I wold appreciate any feedback .&#xD;&#xA;&#xD;&#xA;soe here it is---&#xD;&#xA;[rec redesign][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/19055196&#xD;&#xA;&#xD;&#xA;thanks.&#xD;&#xA;Maciej.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10444" PostHistoryTypeId="1" PostId="6097" RevisionGUID="91817071-5948-4909-a547-3f84e3cfcf83" CreationDate="2011-02-18T00:23:27.393" UserId="888" Text="feedback on re-design scene from [Rec]" ContentLicense="CC BY-SA 2.5" />
  <row Id="10445" PostHistoryTypeId="3" PostId="6097" RevisionGUID="91817071-5948-4909-a547-3f84e3cfcf83" CreationDate="2011-02-18T00:23:27.393" UserId="888" Text="&lt;feedback&gt;&lt;horror&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10446" PostHistoryTypeId="2" PostId="6098" RevisionGUID="5e0ba072-a01c-4d87-92a3-6a8ed73119ef" CreationDate="2011-02-18T01:34:24.623" UserId="103" Text="Very nice!&#xD;&#xA;&#xD;&#xA;Can i suggest just the bullet casings falling after the shots?&#xD;&#xA;And maybe putting some bullhorn shouting outside, as well as a bit more reverb on the sirens,&#xD;&#xA;and in the end muffling the girl's sighs just a little and a bit of verb, bit since her back is turned to the camera (unless the idea is that she's wearing a lav)&#xD;&#xA;&#xD;&#xA;nice work!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10447" PostHistoryTypeId="2" PostId="6099" RevisionGUID="43f7f93a-25dd-4dcc-90c2-5cf052ceb2fb" CreationDate="2011-02-18T02:06:27.113" UserId="830" Text="Great work.&#xD;&#xA;&#xD;&#xA;Apart from what @Filipe said, I did find that the initial &quot;moan&quot; sound was a bit to omni-directional. It needs to give a bit more feel for the space (doesn't seem to mesh with the reverb you used on the actors). Also as above the sirens need either a longer loop or some randomly different sounds (honks, etc) to break up the loop. Maybe mute it more and give it just the smallest pan to the right (so it feels more like it outside)." ContentLicense="CC BY-SA 2.5" />
  <row Id="10448" PostHistoryTypeId="2" PostId="6100" RevisionGUID="8a8cdb46-473d-4e86-9173-6e95084cf781" CreationDate="2011-02-18T05:49:28.883" UserId="407" Text="I actually think that PureData/MaxMSP/SuperCollider/CSound or whichever audio programming language is really handy to know for game sound designers. And here is 2 practicle examples why :) ---&#xD;&#xA;My weapon of choice is SuperCollider - currently we are looking at our weapon sounds and how they playback in game. In SuperCollider I can mock up a system to imitate what I want the weapon to do in the game, chuck in the sounds I want and see what it sounds like. The whole prototype takes about 2 hours. I can then fine tune and change the code and the sounds to taiste. I then can tell the 'real' programmers what I want. It's a damn sight quicker than bugging the programmers for prototype code. This approach is much the same as what LeonardJPaul point is.&#xD;&#xA;Another example of great use of Max/MSP is EA's Sims. (If someone knows this story better than me please elaborate) - Basically from what I understand is that their entire VO recording process is pretty much automated using Max/MSP. From recording to editing and file naming. How that came to be is that one of the sound designers there could script in MAX.&#xD;&#xA;So even though I agree it's pretty useless for actual sound creation or implementation in games, it can be really handy for testing or creating pipelines.&#xD;&#xA;-- my 2cents -- :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10449" PostHistoryTypeId="2" PostId="6101" RevisionGUID="457f8b59-9c62-4701-9847-600feee0ea90" CreationDate="2011-02-18T06:42:51.303" UserId="6571" Text=" - WAVES REQ &#xD;&#xA; - WAVES RCHannel &#xD;&#xA; - WAVES RBass&#xD;&#xA; - WAVES L3-LL MultiMaximizer &#xD;&#xA; - iZotope RX 2" ContentLicense="CC BY-SA 2.5" />
  <row Id="10450" PostHistoryTypeId="2" PostId="6102" RevisionGUID="2ed9eac0-3bbf-46da-b57c-8cced993806f" CreationDate="2011-02-18T10:53:05.803" UserId="348" Text="I got a chance to play with the CMIT and it is truly amazing. I recorded some dialogue for fun from different angles and distances in different locations and the reverse noise cancellation is something to behold. Also, they have an incredible reach- up to 4-5 metres away and you can still get decent dialogue. The pads and roll offs are also excellent. I would definitely buy one if I had the money. Thanks Scheops. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10451" PostHistoryTypeId="2" PostId="6103" RevisionGUID="95492946-524e-4aef-8406-516dc26f8ba0" CreationDate="2011-02-18T15:30:07.940" UserId="37" Text="... just don't connect the super-cmit to a battery-powered box.. 170mA! " ContentLicense="CC BY-SA 2.5" />
  <row Id="10452" PostHistoryTypeId="5" PostId="6097" RevisionGUID="9d033274-9be1-40d0-9995-1c84c6a8a342" CreationDate="2011-02-18T20:09:25.953" UserId="219" Comment="formatting and spelling; deleted 5 characters in body" Text="Hello. I'm a wannabe sound designer. All times i'm trying to learn as much as i can by reading, watching, listening and trying. Before I start working with young filmmakers in no-budget productions, I want to build my portfolio by re-designing the sound of my favourite movies. So here is one of those. I recorded everything by myself with a Zoom H4 and a Rode NT1 (except guns). The most difficult part was ADR as I havent got professional actors to record the dialogues. I would appreciate any feedback.&#xD;&#xA;&#xD;&#xA;so here it is---&#xD;&#xA;[rec redesign][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/19055196&#xD;&#xA;&#xD;&#xA;thanks.&#xD;&#xA;Maciej.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10453" PostHistoryTypeId="2" PostId="6104" RevisionGUID="621cbbf1-133b-4666-bb8e-7a28266b3a6f" CreationDate="2011-02-18T20:46:28.787" UserId="813" Text=" - Revibe&#xD;&#xA; - Pitch and Time&#xD;&#xA; - Reverse&#xD;&#xA; - H Delay&#xD;&#xA; - Sans Amp&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10454" PostHistoryTypeId="2" PostId="6105" RevisionGUID="da34d348-b4cb-4a2f-be2c-77e57bb985c1" CreationDate="2011-02-18T21:01:54.643" UserId="889" Text="I use Reaper which allows me to automate the play rate.  It's basically the same thing as using a sampler and pitch wheel.  Higher sample rates help a bunch!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10455" PostHistoryTypeId="2" PostId="6106" RevisionGUID="e6de4701-7e1a-4c0d-b646-2dec9de25776" CreationDate="2011-02-18T22:37:25.163" UserId="37" Text="Say you're working on audio to a CGI/animation project on a tight schedule. On top of all rendered images there's a layer of title graphics which also need their own sounds (now missing). Deadline is in three days, and the creative studio will take two days to send a locked video with everything included. Until then there are still temp animatics here and there, some graphics are missing, and the cut will definitely change, throwing sound effects work out of sync. Sound is missing that final touch and polish.&#xD;&#xA;&#xD;&#xA;Considering there's very little time left, would you sit and work on the remaining sound elements before receiving a final cut, and opt to reconform later? Or would you rather wait and potentially get involved in a blame game later? Maybe nag the video people to get the cut done at the cost of being irritating? &#xD;&#xA;&#xD;&#xA;Please share your view.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10456" PostHistoryTypeId="1" PostId="6106" RevisionGUID="e6de4701-7e1a-4c0d-b646-2dec9de25776" CreationDate="2011-02-18T22:37:25.163" UserId="37" Text="work and reconform or wait?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10457" PostHistoryTypeId="3" PostId="6106" RevisionGUID="e6de4701-7e1a-4c0d-b646-2dec9de25776" CreationDate="2011-02-18T22:37:25.163" UserId="37" Text="&lt;workflow&gt;&lt;conform&gt;&lt;animation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10458" PostHistoryTypeId="2" PostId="6107" RevisionGUID="fd5757b3-aa37-46f0-927f-3010b4024c63" CreationDate="2011-02-18T22:46:23.003" UserId="18160" Text="I am right now going through the same problem you are facing right now.&#xD;&#xA;&#xD;&#xA;I have a short film that is needed by this Monday and the picture edit isn't done yet.&#xD;&#xA;&#xD;&#xA;I did a lot of work on it (4 complete days) and I have even worldized the whole voice track which is a newscast playing over a TV and there are more lines the editor wants to place in (which I didn't have before i.e. I have to re-set up my worldizing again).&#xD;&#xA;&#xD;&#xA;In retrospect, I think what I should have done is:&#xD;&#xA;&#xD;&#xA;A) Pulled the backgrounds, spot effects I know I would need, and designed a rough palette of sounds to use when the picture is done.&#xD;&#xA;&#xD;&#xA;B) Not worldized anything until it was locked (unless there is no chance of additional material being added)&#xD;&#xA;&#xD;&#xA;C) Not synced any footsteps or anything perfectly yet.&#xD;&#xA;&#xD;&#xA;Something that will make the changes easier is I requested from the editor an EDL for both the version I am working on now and the finished edit so I can conform using that which will be much easier (i.e. I will know exactly how many frames things shifted and what's a new shot, etc.) This may or may not help you because they are working on CGI shots..&#xD;&#xA;&#xD;&#xA;I would ask the editor what shots are going to stay and for sure going to be in the edit and work on those until they are synced and perfect, and anything that might change wait for until the picture is locked - but start getting something ready for when that time comes." ContentLicense="CC BY-SA 2.5" />
  <row Id="10459" PostHistoryTypeId="5" PostId="6107" RevisionGUID="ac8186c1-18e1-40c8-9ce9-25df8879d7d6" CreationDate="2011-02-18T22:52:39.140" UserId="18160" Comment="added 483 characters in body" Text="I am right now going through the same problem you are facing right now.&#xD;&#xA;&#xD;&#xA;I have a short film that is needed by this Monday and the picture edit isn't done yet.&#xD;&#xA;&#xD;&#xA;I did a lot of work on it (4 complete days) and I have even worldized the whole voice track which is a newscast playing over a TV and there are more lines the editor wants to place in (which I didn't have before i.e. I have to re-set up my worldizing again).&#xD;&#xA;&#xD;&#xA;In retrospect, I think what I should have done is:&#xD;&#xA;&#xD;&#xA;A) Pulled the backgrounds, spot effects I know I would need, and designed a rough palette of sounds to use when the picture is done.&#xD;&#xA;&#xD;&#xA;B) Not worldized anything until it was locked (unless there is no chance of additional material being added)&#xD;&#xA;&#xD;&#xA;C) Not synced any footsteps or anything perfectly yet.&#xD;&#xA;&#xD;&#xA;Something that will make the changes easier is I requested from the editor an EDL for both the version I am working on now and the finished edit so I can conform using that which will be much easier (i.e. I will know exactly how many frames things shifted and what's a new shot, etc.) This may or may not help you because they are working on CGI shots..&#xD;&#xA;&#xD;&#xA;I would ask the editor what shots are going to stay and for sure going to be in the edit and work on those until they are synced and perfect, and anything that might change wait for until the picture is locked - but start getting something ready for when that time comes.&#xD;&#xA;&#xD;&#xA;And do make an effort to find out why you are getting it later. It makes it impossible to do your job and it sounds like the visual dept has already missed a few of their deadlines which pushes you back - and that's not ok in my book. Find out via whoever is appropriate (director, producer, etc.) and make sure it doesn't happen in the future if you're working with them again. It endangers your job and it shouldn't be like that, but things like this do happen unfortunately..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10460" PostHistoryTypeId="2" PostId="6108" RevisionGUID="dcf103e2-a9da-417b-b1ad-a76403e76792" CreationDate="2011-02-18T22:56:04.587" UserId="801" Text="i would always reconform &amp; never wait" ContentLicense="CC BY-SA 2.5" />
  <row Id="10461" PostHistoryTypeId="2" PostId="6109" RevisionGUID="22a0cd4b-3493-42ff-bc19-5cda2f751e25" CreationDate="2011-02-18T23:36:53.663" UserId="786" Text="I would also say work instead of wait. There is nothing worse than waiting, you'll just get in a bad mood, and when you get the material in 2 days, it will be tough to get on top of the situation. Try to get some fresh temp material from the CGI guys, just a little bit, so you can get a feel of what they are doing.&#xD;&#xA;&#xD;&#xA;Reconforming is a normal part of the game, even though it can be annoying at times. I have had editors changing the edit in many films, and it has almost always made the film better. &#xD;&#xA;&#xD;&#xA;Sometimes you will have to move your deadline too, if they suddenly come up with a new edit, or you may have to hire someone extra to reconform, if the schedule is tight." ContentLicense="CC BY-SA 2.5" />
  <row Id="10462" PostHistoryTypeId="2" PostId="6110" RevisionGUID="6bff67e9-9541-4d95-b9bd-1b3b089d8ad4" CreationDate="2011-02-19T01:05:31.273" UserId="693" Text="Vari-Fi if I'm in Pro Tools. &#xD;&#xA;&#xD;&#xA;If I'm in another environment like Reaper I can either automate the playrate, In reaper and any other hosts I can always automate a pitch plug-in, I could use a sampler with a pitch wheel as well or if I have a lower bitrate file and I want it to try and stay as clean and alias free I will use an analog tape style delay and sweep the feedback and delay times.&#xD;&#xA;&#xD;&#xA;There are definitely many ways to skin this cat but Vari-Fi and Delay plug-in's are my favorite. Vari-Fi because it's precise, Delay because I might get some awesome unexpected results." ContentLicense="CC BY-SA 2.5" />
  <row Id="10463" PostHistoryTypeId="2" PostId="6111" RevisionGUID="8677f3a5-4048-46af-9915-8095adffea68" CreationDate="2011-02-19T05:42:55.357" UserId="670" Text=" - Reverse&#xD;&#xA; - Pitch Shift&#xD;&#xA; - EQ&#xD;&#xA; - Sans Amp&#xD;&#xA; - Reverb" ContentLicense="CC BY-SA 2.5" />
  <row Id="10464" PostHistoryTypeId="2" PostId="6112" RevisionGUID="3eb0c92a-a1ca-40b0-a814-99e36374ca8e" CreationDate="2011-02-19T05:56:48.410" UserId="18160" Text="I am constantly adding to my library and organizing it.&#xD;&#xA;&#xD;&#xA;I still have about 50 gigs worth of recordings I still need to go through and catalogue from various vacations and recording opportunities and friend's donations.&#xD;&#xA;&#xD;&#xA;What percentage of your time do you spend organizing your library and keeping it neat and orderly?&#xD;&#xA;&#xD;&#xA;Do you tend to organize just after a project you work on while all the sounds and elements you created are fresh in your mind?&#xD;&#xA;&#xD;&#xA;I'd say my time is easily split 50/50 with organizing/production. That includes organizing and setting up folders and notes for the next project I am going to do, so it's really more like 25% of the time that I'm just concentrating on my library itself.&#xD;&#xA;&#xD;&#xA;What does your pie chart look like?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10465" PostHistoryTypeId="1" PostId="6112" RevisionGUID="3eb0c92a-a1ca-40b0-a814-99e36374ca8e" CreationDate="2011-02-19T05:56:48.410" UserId="18160" Text="What percentage of your time do you spend organizing your library?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10466" PostHistoryTypeId="3" PostId="6112" RevisionGUID="3eb0c92a-a1ca-40b0-a814-99e36374ca8e" CreationDate="2011-02-19T05:56:48.410" UserId="18160" Text="&lt;organize&gt;&lt;time&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10467" PostHistoryTypeId="2" PostId="6113" RevisionGUID="8eb5d52f-a3dd-4750-bbd1-47a1d674375a" CreationDate="2011-02-19T07:14:49.613" UserId="587" Text="If I had a steady job then I would spend more time in my off hours cataloging/organizing than looking for the next gig hahaha.&#xD;&#xA;&#xD;&#xA;One option I have recently started using:&#xD;&#xA;&#xD;&#xA;Ideally, when my hard drives are networked together, when I have a project that I have gone back and renamed all my baked sfx and such, my project backup hard drive is available to be searched. So If I have done something with a ton of servos and I liked some of the ones I had used or made, boom - easy searching.&#xD;&#xA;&#xD;&#xA;Its the poor sound designers way of not buying soundminer. However, I do remember whining earlier about how my hard drives take too long to search through... hahah oh well.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10468" PostHistoryTypeId="2" PostId="6114" RevisionGUID="6d8d29ef-18f8-4d64-975b-8830515cf7bb" CreationDate="2011-02-19T07:22:16.960" UserId="338" Text="Can this be a thread for tips on mixing dialogue?&#xD;&#xA;&#xD;&#xA;Do you EQ the voice a certain way or ever use different sync for different characters?  Reverb/delay?&#xD;&#xA;&#xD;&#xA;Do you have a certain workflow for the dial mix?&#xD;&#xA;&#xD;&#xA;Do you treat the mix differently for things like camera angles or whether the character's back is facing the camera?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10469" PostHistoryTypeId="1" PostId="6114" RevisionGUID="6d8d29ef-18f8-4d64-975b-8830515cf7bb" CreationDate="2011-02-19T07:22:16.960" UserId="338" Text="Tips for mixing dialogue" ContentLicense="CC BY-SA 2.5" />
  <row Id="10470" PostHistoryTypeId="3" PostId="6114" RevisionGUID="6d8d29ef-18f8-4d64-975b-8830515cf7bb" CreationDate="2011-02-19T07:22:16.960" UserId="338" Text="&lt;mixing&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10471" PostHistoryTypeId="2" PostId="6115" RevisionGUID="c1583225-54e3-447e-bc5b-e242fdd1f20c" CreationDate="2011-02-19T08:08:58.113" UserId="243" Text="I would like to know if it would be possible to get the output from the internal microphone on the camera (I'll find out the exact model name for you, it's for a pilot I'm working on next weekend) as well as recording the output from an me66 mic on a boom pole. At the same time&#xD;&#xA;&#xD;&#xA;The trick in recording it will be to pan the int camera mic to the left (lets say) and the me66 mic (on the xlr input) to the right. We have basically no budget so we can get the basics, it would be nice to get a set recorder but If I can get a boompole, me 66 and a fluffy that's fine. &#xD;&#xA;&#xD;&#xA;I'm working on the idea that we will only have 1 camera and that's where my idea of panning the two different mics on the camera comes in.&#xD;&#xA;&#xD;&#xA;I want to do this so that I have more choice when it comes to editing the sound in post. &#xD;&#xA;&#xD;&#xA;Can it be done because I've been trained to always switch off the int mic on the camera when using an XLR input. Besides the phasing which could be fixable in post (there may be a a few split seconds delay) can it be done?&#xD;&#xA;The challenge is that it's all on tape in the camera so playback might not be possible after a take.&#xD;&#xA;&#xD;&#xA;Thanks sonic samurais  " ContentLicense="CC BY-SA 2.5" />
  <row Id="10472" PostHistoryTypeId="1" PostId="6115" RevisionGUID="c1583225-54e3-447e-bc5b-e242fdd1f20c" CreationDate="2011-02-19T08:08:58.113" UserId="243" Text="double check: using an internal camera microphone WITH an XLR input " ContentLicense="CC BY-SA 2.5" />
  <row Id="10473" PostHistoryTypeId="3" PostId="6115" RevisionGUID="c1583225-54e3-447e-bc5b-e242fdd1f20c" CreationDate="2011-02-19T08:08:58.113" UserId="243" Text="&lt;internalcameramicrophoone&gt;&lt;xlrinput&gt;&lt;panningrecordingsoncamera&gt;&lt;sepreaterecordingsononeca&gt;&lt;possible&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10474" PostHistoryTypeId="2" PostId="6116" RevisionGUID="c68acf40-1403-471b-b69e-ba99e3fad869" CreationDate="2011-02-19T08:38:28.677" UserId="6435" Text="It depends on the camera. On a Panasonic HVX200 it can be done pretty easily. But different cameras have different features." ContentLicense="CC BY-SA 2.5" />
  <row Id="10475" PostHistoryTypeId="5" PostId="6106" RevisionGUID="417074ef-9c6c-473b-a70b-1466d2e2810d" CreationDate="2011-02-19T10:43:57.577" UserId="37" Comment="added 62 characters in body" Text="Say you're working on audio to a CGI/animation project on a tight schedule. On top of all rendered images there's a layer of title graphics which also need their own sounds (now missing). Deadline is in three days, and the creative studio will take two days to send a locked video with everything included. Until then there are still temp animatics here and there, some graphics are missing, and the cut will definitely change, throwing sound effects work out of sync. &#xD;&#xA;&#xD;&#xA;Most of the sound is there. (Same with music.) Sound is missing a few elements, final touch and polish.&#xD;&#xA;&#xD;&#xA;Considering there's very little time left, would you sit and work on the remaining sound elements before receiving a final cut, and opt to reconform later? Or would you rather wait and potentially get involved in a blame game later? Maybe nag the video people to get the cut done at the cost of being irritating? &#xD;&#xA;&#xD;&#xA;Please share your view.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10476" PostHistoryTypeId="6" PostId="6115" RevisionGUID="c8c0ee19-7f87-4db1-8193-063bd090fbec" CreationDate="2011-02-19T11:52:17.827" UserId="2" Comment="cleaned up tags" Text="&lt;location-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10477" PostHistoryTypeId="2" PostId="6117" RevisionGUID="94e607f3-0c33-479b-a9a2-6040f0724710" CreationDate="2011-02-19T12:18:38.147" UserId="194" Text="I spend between 4 and 10 hours per week on the databasing side, depending on what's been going on.  this is in addition to what it usually a 45-55 hour workweek." ContentLicense="CC BY-SA 2.5" />
  <row Id="10478" PostHistoryTypeId="5" PostId="6117" RevisionGUID="fd5cbec2-bab7-4bba-a9b3-3fade09e82a7" CreationDate="2011-02-19T12:33:04.143" UserId="194" Comment="added 145 characters in body" Text="I spend between 4 and 10 hours per week on the databasing side, depending on what's been going on.  this is in addition to what it usually a 45-55 hour workweek.  If my weeks get longer due to projects or deadlines then my databasing time gets pushed back.  If my weekes get shorter then it gets pushed up." ContentLicense="CC BY-SA 2.5" />
  <row Id="10479" PostHistoryTypeId="2" PostId="6118" RevisionGUID="7e478606-b715-40b1-a7b9-1aa187e0467b" CreationDate="2011-02-19T12:49:01.247" UserId="786" Text="0.05% organizing the library.&#xD;&#xA;&#xD;&#xA;The rest of the time I'm editing, mixing, planning this Production and the next, recording ADR, on the phone with the composer, the director, the production company, staring at the Wall looking for inspiration. Perhaps 1-2% of the time i spend designing new sounds or recording sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="10480" PostHistoryTypeId="2" PostId="6119" RevisionGUID="0892a1a8-e0da-4365-8d12-9b2834796684" CreationDate="2011-02-19T19:56:22.093" UserId="673" Text="Hey guys! &#xD;&#xA;&#xD;&#xA;I hate to spam with more videos with feedback required. But i need your help. &#xD;&#xA;&#xD;&#xA;I want to apply to do a placement in the summer or possibly even a year long placement (either in UK or USA, although i would preffer USA).&#xD;&#xA;&#xD;&#xA;I've been putting together some stuff. I just finished a clip of a video that i want to use as a part of my prtfolio. The whole finished version is a clip around 5min. I've never contacted any companies before so i'm a little bit worried and i don't really know what to expect.&#xD;&#xA;&#xD;&#xA;Let me know what you think. Any criticism is more than welcome (as long as it's constructive ;)&#xD;&#xA;&#xD;&#xA;clip: http://vimeo.com/20109475&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;rest of my stuff if you have some time to kill: http://harmonoize.wordpress.com/about/&#xD;&#xA;&#xD;&#xA;Thanks!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10481" PostHistoryTypeId="1" PostId="6119" RevisionGUID="0892a1a8-e0da-4365-8d12-9b2834796684" CreationDate="2011-02-19T19:56:22.093" UserId="673" Text="Feedback needed" ContentLicense="CC BY-SA 2.5" />
  <row Id="10482" PostHistoryTypeId="3" PostId="6119" RevisionGUID="0892a1a8-e0da-4365-8d12-9b2834796684" CreationDate="2011-02-19T19:56:22.093" UserId="673" Text="&lt;feedback&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10483" PostHistoryTypeId="2" PostId="6120" RevisionGUID="4dfa53a3-21a8-4d62-8d70-ebd12e5ccce9" CreationDate="2011-02-19T20:19:36.303" UserId="587" Text="Short on time - I may revist this in a bit - heres my 4 liner critique:&#xD;&#xA;&#xD;&#xA;It is really LOUD. I mean REALLY LOUD. Check your reference signal and monitoring levels before mixing. You have a lot of high end spectrum sitting in this.&#xD;&#xA;&#xD;&#xA;Id like to hear more organic detail on the dog - record a dog for it, less reverb or room sound on its chomping maybe. Its a bit sharp.&#xD;&#xA;&#xD;&#xA;The footsteps sound weird at the end.&#xD;&#xA;&#xD;&#xA;Overall it feels really surreal and matches the mood of the picture. It sounds very artsy in a way. Sometimes I feel like its a bit too synthetic at times... but it is the Animatrix so its whatevs.&#xD;&#xA;&#xD;&#xA;Cool things." ContentLicense="CC BY-SA 2.5" />
  <row Id="10484" PostHistoryTypeId="2" PostId="6121" RevisionGUID="727004fe-ac3f-4e83-acdd-1b65dd9ad665" CreationDate="2011-02-19T20:19:59.157" UserId="717" Text="When you say &quot;pickup mic&quot; which is it? &#xD;&#xA;Does it look like the sort of thing that would be stuck on the body of a musical instrument IE a pickup. They are hi impedance, often very high impedance that would be best plugged into an active DI box that would have an input impedance in the Meg Ohm region.&#xD;&#xA;Or is it a mic? If so the kind of connector on it can give a good clue as to the impedance.&#xD;&#xA;If it were a 3 pin XLR, then low Z (impedance). &#xD;&#xA;&#xD;&#xA;BTW to actually test the output Z you do NOT need a voltage source.&#xD;&#xA;The basic method is:-&#xD;&#xA;1)put the mic in front of a loudspeaker with a constant tone or noise source coming out of it.&#xD;&#xA;2) connect mic to something that has a very hi Z input, yes an oscilloscope would do fine, or a DI box connected to a mixer, computer soundcard, anything that can show you level.&#xD;&#xA;3) What this will show you is the so called &quot;open circuit&quot; output, or what come out the mic with no appreciable or significant load.&#xD;&#xA;4) you then put a variable resistor across the 2 wires coming out the mic. You are now adding a load, adjust the resistor till the level goes to half what you started with. &#xD;&#xA;If you are looking at a meter calibrated in dB's this is when the level has dropped by 6dB. If a scope, the waveform is 1/2 as high, if a millivolt meter 1/2 the voltage.&#xD;&#xA;5) measure what resistance value you had to use to do this. This is the source Impedance.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;   " ContentLicense="CC BY-SA 2.5" />
  <row Id="10485" PostHistoryTypeId="5" PostId="6118" RevisionGUID="3af502d0-4660-495e-9318-8cf83363670e" CreationDate="2011-02-19T20:20:19.157" UserId="786" Comment="edited body" Text="0.05% organizing the library.&#xD;&#xA;&#xD;&#xA;The rest of the time I'm editing, mixing, planning this Production and the next, recording ADR, on the phone with the composer, the director, the production company, staring at the wall looking for inspiration. Perhaps 1-2% of the time i spend designing new sounds or recording sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="10486" PostHistoryTypeId="2" PostId="6122" RevisionGUID="13b17bc5-561a-4e39-99ef-d9467051d26b" CreationDate="2011-02-19T21:36:25.027" UserId="18160" Text="Ok here are my 2 cents from quite a bit of experience in dialogue editing/mixing:&#xD;&#xA;&#xD;&#xA;1) Whistles must be edited out by the editor and fixed before it hits the mixing stage.&#xD;&#xA;&#xD;&#xA;I have mixed hours of narration and dialogue with many whistles, and when I was starting out I tried to find the exact frequency of the whistle (2.5 to 4K) to notch out or de-ess with a dynamic notch EQ or Oxford Suppressor, what have you, and the amount of time I spent trying to fiddle with de-essers and parameters to make it breath well with the rest of the voice, it would have saved me 80% of the time if I just snipped out the whistle. I can see them now in waveforms and I have a CH and S sound copied at the end or beginning of the session to fly in if I come across a bad whistle. It sounds so much better and doesn't give you unnecessary processing on the rest of the voice if all you're trying to handle is 2 or 3 whistles in one minute of dialogue or narration.&#xD;&#xA;&#xD;&#xA;2) EQing a voice is different for every voice. I have heard mixers tell me &quot;I ALWAYS add 'air' to the voice around 16K&quot; etc., and this is utter rubbish. Every recording is different, different acoustics, different mics, different recording equipment being used. Each voice you mix will require you to first hear it newly and EQ it specifically for that voice. I have never come across 2 different recordings having the exact same EQ. You have to listen.&#xD;&#xA;&#xD;&#xA;3) Absolutely run low-pass filters on a voice if his back is to the camera. Your reference is any Pixar film (specifically The Incredibles) when Samuel L. J's character is searching his house for his super-suit, and his back is to the camera, and his voice is muffled, and he turns to the camera to say &quot;Woman! Where is mah supah suit!!!&quot; his voice is all of a sudden more present and brighter - it adds so much more dimension to the mix when the voice is mixed like that. It's a volume-ride and low-pass filter + reverb ride type of thing." ContentLicense="CC BY-SA 2.5" />
  <row Id="10487" PostHistoryTypeId="5" PostId="6122" RevisionGUID="c14c50e0-8f9a-4e30-9be5-473571008759" CreationDate="2011-02-19T21:44:20.700" UserId="18160" Comment="added 1 characters in body; added 37 characters in body" Text="Ok here are my 2 cents from quite a bit of experience in dialogue editing/mixing:&#xD;&#xA;&#xD;&#xA;1) Whistles must be edited out by the editor and fixed before it hits the mixing stage.&#xD;&#xA;&#xD;&#xA;I have mixed hours of narration and dialogue with many whistles, and when I was starting out I tried to find the exact frequency of the whistle (2.5 to 4K) to notch out or de-ess with a dynamic notch EQ or Oxford Suppressor, what have you, and the amount of time I spent trying to fiddle with de-essers and parameters to make it breathe well with the rest of the voice, it would have saved me 80% of the time if I just snipped out the whistle. I can see them now in waveforms and I have a CH and S sound copied at the end or beginning of the session to fly in if I come across a bad whistle. It sounds so much better and doesn't give you unnecessary processing on the rest of the voice if all you're trying to handle is 2 or 3 whistles in one minute of dialogue or narration.&#xD;&#xA;&#xD;&#xA;2) EQing a voice is different for every voice. I have heard mixers tell me &quot;I ALWAYS add 'air' to the voice around 16K and notch out the 2.5K automatically&quot; etc., and this is utter rubbish. Every recording is different, different acoustics, different mics, different recording equipment being used. Each voice you mix will require you to first hear it newly and EQ it specifically for that voice. I have never come across 2 different recordings having the exact same EQ. You have to listen.&#xD;&#xA;&#xD;&#xA;3) Absolutely run low-pass filters on a voice if his back is to the camera. Your reference is any Pixar film (specifically The Incredibles) when Samuel L. J's character is searching his house for his super-suit, and his back is to the camera, and his voice is muffled, and he turns to the camera to say &quot;Woman! Where is mah supah suit!!!&quot; his voice is all of a sudden more present and brighter - it adds so much more dimension to the mix when the voice is mixed like that. It's a volume-ride and low-pass filter + reverb ride type of thing." ContentLicense="CC BY-SA 2.5" />
  <row Id="10488" PostHistoryTypeId="5" PostId="6122" RevisionGUID="f9383824-e8af-41d6-aab6-ef97922604ba" CreationDate="2011-02-19T21:55:59.543" UserId="18160" Comment="added 1 characters in body" Text="Ok here are my 2 cents from a little bit of experience in dialogue editing/mixing:&#xD;&#xA;&#xD;&#xA;1) Whistles must be edited out by the editor and fixed before it hits the mixing stage.&#xD;&#xA;&#xD;&#xA;I have mixed hours of narration and dialogue with many whistles, and when I was starting out I tried to find the exact frequency of the whistle (2.5 to 4K) to notch out or de-ess with a dynamic notch EQ or Oxford Suppressor, what have you, and the amount of time I spent trying to fiddle with de-essers and parameters to make it breathe well with the rest of the voice, it would have saved me 80% of the time if I just snipped out the whistle. I can see them now in waveforms and I have a CH and S sound copied at the end or beginning of the session to fly in if I come across a bad whistle. It sounds so much better and doesn't give you unnecessary processing on the rest of the voice if all you're trying to handle is 2 or 3 whistles in one minute of dialogue or narration.&#xD;&#xA;&#xD;&#xA;2) EQing a voice is different for every voice. I have heard mixers tell me &quot;I ALWAYS add 'air' to the voice around 16K and notch out the 2.5K automatically&quot; etc., and this is utter rubbish. Every recording is different, different acoustics, different mics, different recording equipment being used. Each voice you mix will require you to first hear it newly and EQ it specifically for that voice. I have never come across 2 different recordings having the exact same EQ. You have to listen.&#xD;&#xA;&#xD;&#xA;3) Absolutely run low-pass filters on a voice if his back is to the camera. Your reference is any Pixar film (specifically The Incredibles) when Samuel L. J's character is searching his house for his super-suit, and his back is to the camera, and his voice is muffled, and he turns to the camera to say &quot;Woman! Where is mah supah suit!!!&quot; his voice is all of a sudden more present and brighter - it adds so much more dimension to the mix when the voice is mixed like that. It's a volume-ride and low-pass filter + reverb ride type of thing." ContentLicense="CC BY-SA 2.5" />
  <row Id="10489" PostHistoryTypeId="5" PostId="6122" RevisionGUID="4d2a0fbe-2a2a-414f-a35b-b5723d3b952b" CreationDate="2011-02-19T22:10:21.613" UserId="18160" Comment="deleted 9 characters in body; added 273 characters in body" Text="Ok here are my 2 cents from a little bit of experience in dialogue editing/mixing:&#xD;&#xA;&#xD;&#xA;1) Whistles must be edited out by the editor and fixed before it hits the mixing stage.&#xD;&#xA;&#xD;&#xA;I have mixed narration and dialogue with many whistles, and when I was starting out I tried to find the exact frequency of the whistle (2.5 to 4K) to notch out or de-ess with a dynamic notch EQ or Oxford Suppressor, what have you, and the amount of time I spent trying to fiddle with de-essers and parameters to make it breathe well with the rest of the voice, it would have saved me 80% of the time if I just snipped out the whistle. I can see them now in waveforms and I have a CH and S sound copied at the end or beginning of the session to fly in if I come across a bad whistle. It sounds so much better and doesn't give you unnecessary processing on the rest of the voice if all you're trying to handle is 2 or 3 whistles in one minute of dialogue or narration.&#xD;&#xA;&#xD;&#xA;2) EQing a voice is different for every voice. I have heard mixers tell me &quot;I ALWAYS add 'air' to the voice around 16K and notch out the 2.5K automatically&quot; etc., and this is utter rubbish. Every recording is different, different acoustics, different mics, different recording equipment being used. Each voice you mix will require you to first hear it newly and EQ it specifically for that voice. I have never come across 2 different recordings having the exact same EQ. You have to listen.&#xD;&#xA;&#xD;&#xA;3) Absolutely run low-pass filters on a voice if his back is to the camera. Your reference is any Pixar film (specifically The Incredibles) when Samuel L. J's character is searching his house for his super-suit, and his back is to the camera, and his voice is muffled, and he turns to the camera to say &quot;Woman! Where is mah supah suit!!!&quot; his voice is all of a sudden more present and brighter - it adds so much more dimension to the mix when the voice is mixed like that. It's a volume-ride and low-pass filter + reverb ride type of thing.&#xD;&#xA;&#xD;&#xA;4) Something I learned from music mixing but also applies to final mixing, which is you EQ the voice with everything in the soundtrack playing - don't EQ it solo. You can set a temp EQ with it in solo but always check how it sits in the mix with all the other elements." ContentLicense="CC BY-SA 2.5" />
  <row Id="10490" PostHistoryTypeId="2" PostId="6123" RevisionGUID="c0fb179f-254c-41a1-bc56-90b63c13b4f1" CreationDate="2011-02-20T05:11:56.247" UserId="801" Text="filming russian firefighters who we're drunk &amp; smoked cigarettes while flying way to old &amp; heavy helicopters&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10491" PostHistoryTypeId="2" PostId="6124" RevisionGUID="8663bd3c-775b-445b-8148-2916428dfec8" CreationDate="2011-02-20T13:44:34.413" UserId="891" Text="Generally I think everything has to fit the individual project and if that means no predub at all or what ever, than I would try to go that way. But in the last couple of years I had a strong tendency in regards to recording predubs.&#xD;&#xA;&#xD;&#xA;So normally I try to print dialogue and foley predubs. Though lately I also tried keeping foleys virtual which worked pretty well and makes the M&amp;E process easier.&#xD;&#xA;&#xD;&#xA;The reason for me is that I tend to work very heavily on the production tracks to get them just how I like them, which might involve a lot of processing and outboard. So a Dial/Foley Premix session easily pushes an HD3 to its max with me, if I have to mix in the box.&#xD;&#xA;&#xD;&#xA;On the other hand I have not printed FX or Ambience predubs in many years now. With remote faders or groups and the likes it is so easy to keep a &quot;fresh&quot; layer of logic for the main mix that today it would feel like a real restriction to physically print the predub.&#xD;&#xA;This method works for me in all kinds of setups: &#xD;&#xA;&#xD;&#xA;1)complete mix in Pro Tools. &#xD;&#xA;&#xD;&#xA;2)predub in ProTools (or just parts) - main mix on a desk (Harrison or Euphonix mainly here). &#xD;&#xA;&#xD;&#xA;3)all on the desk.&#xD;&#xA;&#xD;&#xA;I have to admit, that conforming is not a big issue too often for me. Depending on the amount of changes you'll have to decide, if you want to conform just the recorded predubs or the source session and then print again. In any case I keep a bunch of spare tracks on the dialogue system in the main mix in order to be able to always go back even to the Avid tracks and just restart from scratch, if necessary and wanted.&#xD;&#xA;&#xD;&#xA;There are more whys, pros and cons, but I feel it might get a bit too long here." ContentLicense="CC BY-SA 2.5" />
  <row Id="10492" PostHistoryTypeId="2" PostId="6125" RevisionGUID="dd7191ec-becb-4205-b4b6-2805dd8b85c4" CreationDate="2011-02-20T14:16:10.940" UserId="891" Text="I don't like to use divergence. A lot of people seem to related to it in terms of &quot;I've widened/spread this sound a bit&quot;, which for me only seems kind of true if you are sitting in the sweet spot. As soon as you are off the axis things tend to fall to that side.&#xD;&#xA;&#xD;&#xA;So instead I rather try to generate a true stereo signal from a mono source and either mix the two or just use the stereo. Whatever works.&#xD;&#xA;&#xD;&#xA;But divergence never felt comfortable for me. So I also only used it very seldom." ContentLicense="CC BY-SA 2.5" />
  <row Id="10493" PostHistoryTypeId="2" PostId="6126" RevisionGUID="37f7592d-f507-401e-a91a-40b387d2ee3d" CreationDate="2011-02-20T15:16:16.580" UserId="892" Text="Hey there, First time here :D&#xD;&#xA;&#xD;&#xA;I was wondering if anyone had any ideas on achieving the tree 'grown' sound used on the Tree Ents from Lord Of The Rings and World Of Warcraft. &#xD;&#xA;&#xD;&#xA;The sound is like a arcing of wood, almost a deep floor board 'grown', it is fairly hard to describe. But i was wondering if there is a cheat (even synthetic) ways of getting this sound without having to get hold of a load of wood etc etc.&#xD;&#xA;&#xD;&#xA;I'm a &quot;expert&quot; Ableton Live so I'll understand many synthetic solutions! &#xD;&#xA;&#xD;&#xA;Thanks - Caius" ContentLicense="CC BY-SA 2.5" />
  <row Id="10494" PostHistoryTypeId="1" PostId="6126" RevisionGUID="37f7592d-f507-401e-a91a-40b387d2ee3d" CreationDate="2011-02-20T15:16:16.580" UserId="892" Text="Tree Grown Sound Effect (Tree Ents in LoTR)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10495" PostHistoryTypeId="3" PostId="6126" RevisionGUID="37f7592d-f507-401e-a91a-40b387d2ee3d" CreationDate="2011-02-20T15:16:16.580" UserId="892" Text="&lt;floor&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10496" PostHistoryTypeId="2" PostId="6127" RevisionGUID="3653c06d-3522-4a7c-bb9c-8bf68cfeb319" CreationDate="2011-02-20T17:37:45.427" UserId="338" Text="So I have an entire mountain of dialogue that has rain noise all through it.  &#xD;&#xA;&#xD;&#xA;There is also a good deal of clipping throughout the movie.&#xD;&#xA;&#xD;&#xA;Does anybody have a clue about how to remove the rain splatters in particular?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10497" PostHistoryTypeId="1" PostId="6127" RevisionGUID="3653c06d-3522-4a7c-bb9c-8bf68cfeb319" CreationDate="2011-02-20T17:37:45.427" UserId="338" Text="How do you remove rain noise?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10498" PostHistoryTypeId="3" PostId="6127" RevisionGUID="3653c06d-3522-4a7c-bb9c-8bf68cfeb319" CreationDate="2011-02-20T17:37:45.427" UserId="338" Text="&lt;noise&gt;&lt;removal&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10499" PostHistoryTypeId="5" PostId="6127" RevisionGUID="b27fba92-7397-45e3-be4a-48a9aa166893" CreationDate="2011-02-20T18:03:30.047" UserId="338" Comment="added 112 characters in body; added 49 characters in body" Text="So I have an entire mountain of dialogue that has rain noise all through it.  &#xD;&#xA;&#xD;&#xA;There is also a good deal of clipping throughout the movie.&#xD;&#xA;&#xD;&#xA;Does anybody have a clue about how to remove the rain splatters in particular?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT:: Also, can anyone explain the aliasing sound you get sometimes in the NR process?  I'm using Izotope&#xD;&#xA;&#xD;&#xA;Do you have a online site to learn about RX2?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10500" PostHistoryTypeId="2" PostId="6128" RevisionGUID="ecdd379d-f6f8-4125-9b41-accbf3d859a3" CreationDate="2011-02-20T18:08:40.367" UserId="786" Text="Try Izotope RX. Use the denoiser to remove some of the broadband noise, and ride the volume, so you decrease the volume between the words. You can remove some of the splatters with spectral repair. Make a mono background atmosphere which sounds dry, which you can use to mask the rest of the rain sounds." ContentLicense="CC BY-SA 2.5" />
  <row Id="10501" PostHistoryTypeId="2" PostId="6129" RevisionGUID="f57b6e0b-d54e-439d-b5a8-de487655e787" CreationDate="2011-02-20T19:30:36.863" UserId="786" Text="I haven't used a console since 2004, and I try to keep everything virtual until the end. I live and work in Denmark, Europe, so the productions are smaller than in the US. Normally I can have all my tracks virtual and online with plugins and stem busses on two HD3 rigs, which is what you normally find in mixing stages here in Denmark.&#xD;&#xA;&#xD;&#xA;Normally we are two mixers working at the same time. If I am the supervising sound editor / sound designer / re-recording mixer (in Denmark the sound crew is smaller than in the US), I have the dialogue, music and sound design stems on my rig, and my fellow mixer has the rest (bg's, fx and foley) on his/her rig.&#xD;&#xA;&#xD;&#xA;The duration of the mix is typically 2-3 weeks. I try to go through the film 3 times over this period. I don't do dialogue/foley predubs. In 3 weeks I would do a rough mix of everything the first week, a detailed mix the next week and a final mix the last week. There will be around 2 screenings during the mix, where the producer and the editor and a pair of fresh ears will be invited. The director will hang around most of the time, not so much in the first part of the mix, and more in the end.&#xD;&#xA;&#xD;&#xA;I have tried to do dialogue predubs, but it sucks the energy out of me, and since I am in command I do it my way. I need the mixing process to stay fresh until the end.&#xD;&#xA;&#xD;&#xA;I print the stems during Dolby transfer, and I make the M&amp;E in an editing room afterwards, by opening up the dialogue and foley stems again. I never use outboard equipment for reverbs in the dialogue/foley stems, I only use the same plugins I have in my own editing room. This way I get an extra day or so of creativity in the mixing stage.&#xD;&#xA;&#xD;&#xA;Re-conforming is pretty simple when you are staying virtual." ContentLicense="CC BY-SA 2.5" />
  <row Id="10502" PostHistoryTypeId="2" PostId="6130" RevisionGUID="0e00b638-7d57-4b5a-9a69-37bf105d2219" CreationDate="2011-02-20T19:32:47.227" UserId="37" Text="Are you refering to the smearing sound in NR? That's normally when you push it a bit too hard. Perfect FFT and FIR algorithms don't exist; plus, subtracting noise heavily may create an inverse print of it on the useful signal. It's all a big tradeoff... &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10503" PostHistoryTypeId="2" PostId="6131" RevisionGUID="7e765b3a-7007-45d1-be8f-249ba312e8fa" CreationDate="2011-02-20T19:34:13.147" UserId="219" Text="I will offer potential elements of answer concerning aliasing (as an artifact from over-processing a source signal). It is bound to be a phenomenon occurring independently from the process you are trying to apply. Any plugin might generate some aliasing or artifacts in a broader sense.&#xD;&#xA;&#xD;&#xA;As you process a source signal, the processor reshapes the waveform using quite simple maths (in the end, all the maths electronics can do is add or divide). Basically, a processor adds to the original signal the statistical signal that it thinks will compliment best the component you're trying to isolate.&#xD;&#xA;&#xD;&#xA;In the case of BNR, it calculates a statistical image of the noise and will smudge the waveform where it finds that the original signal features a &quot;picture&quot; of the statistically accurate noise. The more you push it, the more it's going to smudge the waveform and it'll start critically eroding the signal you're trying to focus on and listen to.&#xD;&#xA;&#xD;&#xA;In effect this creates irregularities in the flow of waves that, when played back, are not natural sounding. Aliasing is merely an artifact that generates a particular sound; as it happens, the artifacts are organized in such a way that you seem to hear this tin foil kind of sound (that's the most obvious example, although aliasing can exist at any frequency although I have reasons to believe it'll always appear gradually from the high-end of the spectrum).&#xD;&#xA;&#xD;&#xA;As a final note, the aliasing effect also happens when you record a sound. You may have heard of the &quot;Nyquist frequency&quot; or &quot;Nyquist theorem&quot;. It's simple physics: to capture a certain frequency correctly, you must sample its waveform at least twice per cycle. Say you can only record with a sample rate of 20kHz, you'll be capturing frequencies just fine until 10kHz, only you won't be able to reproduce higher frequency correctly. I'm even gonna draw a diagram that'll explain this simply :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10504" PostHistoryTypeId="2" PostId="6132" RevisionGUID="1c6c69ca-1351-4f84-9a8d-977c0a469921" CreationDate="2011-02-20T19:58:13.777" UserId="639" Text="I have been trying to sell my Fostex FR2-LE on amazon.com and craigslist.com but Its just not getting sold. What other sites do you use to sell and buy used gear?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10505" PostHistoryTypeId="1" PostId="6132" RevisionGUID="1c6c69ca-1351-4f84-9a8d-977c0a469921" CreationDate="2011-02-20T19:58:13.777" UserId="639" Text="What websites do you use to sell/buy used gear?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10506" PostHistoryTypeId="3" PostId="6132" RevisionGUID="1c6c69ca-1351-4f84-9a8d-977c0a469921" CreationDate="2011-02-20T19:58:13.777" UserId="639" Text="&lt;field&gt;&lt;recorder&gt;&lt;selling&gt;&lt;buying&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10507" PostHistoryTypeId="5" PostId="6131" RevisionGUID="707a3931-a29a-4018-acc4-39aa2a69d57f" CreationDate="2011-02-20T20:29:04.897" UserId="219" Comment="added 120 characters in body" Text="I will offer potential elements of answer concerning aliasing (as an artifact from over-processing a source signal). It is bound to be a phenomenon occurring independently from the process you are trying to apply. Any plugin might generate some aliasing or artifacts in a broader sense.&#xD;&#xA;&#xD;&#xA;As you process a source signal, the processor reshapes the waveform using quite simple maths (in the end, all the maths electronics can do is add or divide). Basically, a processor adds to the original signal the statistical signal that it thinks will compliment best the component you're trying to isolate.&#xD;&#xA;&#xD;&#xA;In the case of BNR, it calculates a statistical image of the noise and will smudge the waveform where it finds that the original signal features a &quot;picture&quot; of the statistically accurate noise. The more you push it, the more it's going to smudge the waveform and it'll start critically eroding the signal you're trying to focus on and listen to.&#xD;&#xA;&#xD;&#xA;In effect this creates irregularities in the flow of waves that, when played back, are not natural sounding. Aliasing is merely an artifact that generates a particular sound; as it happens, the artifacts are organized in such a way that you seem to hear this tin foil kind of sound (that's the most obvious example, although aliasing can exist at any frequency although I have reasons to believe it'll always appear gradually from the high-end of the spectrum).&#xD;&#xA;&#xD;&#xA;As a final note, the aliasing effect also happens when you record a sound. You may have heard of the &quot;Nyquist frequency&quot; or &quot;Nyquist theorem&quot;. It's simple physics: to capture a certain frequency correctly, you must sample its waveform at least twice per cycle. Say you can only record with a sample rate of 20kHz, you'll be capturing frequencies just fine until 10kHz, only you won't be able to reproduce higher frequency correctly. I'm even gonna draw a diagram that'll explain this simply :)&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;https://docs.google.com/drawings/pub?id=1I7p99vlqntFgsNxSSO0kp3q6HI-1zP8QtD4vHWhbfrY&amp;amp;w=960&amp;amp;h=720&quot;&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10508" PostHistoryTypeId="2" PostId="6133" RevisionGUID="80286646-235b-4361-b6bb-6e12c18edbba" CreationDate="2011-02-20T20:57:37.363" UserId="217" Text="I actually suggested this in another thread, but for a tense rope sound effect.  But trying stretching leather with your hands or thumbs as a base for the sound. Then maybe add some splintering wood.  Pitch shift around until you find the right pitch, and work from there. &#xD;&#xA;&#xD;&#xA;I think somebody else in the same thread mentioned a Wicker basket (credit to that person).&#xD;&#xA;&#xD;&#xA;Hope it helps." ContentLicense="CC BY-SA 2.5" />
  <row Id="10509" PostHistoryTypeId="2" PostId="6134" RevisionGUID="88288101-a590-425c-9e4c-09bb049fe20b" CreationDate="2011-02-20T21:33:32.443" UserId="432" Text="That's the kind of item that people need to be looking for if you want to sell it; and we're kind of a niche crowd.&#xD;&#xA;&#xD;&#xA;Ebay's an option, you could also try the &quot;discussion group&quot; on http://jwsound.net (there's a &quot;want to buy - want to sell&quot; category). You may also want to consider a consignment sale through houses like Trew Audio or Location Sound. Another possibility is that perhaps a rental house would consider buying it from you; probably not all that likely, but you never know. In any case, I'd say you shouldn't expect a quick turn-around.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="10510" PostHistoryTypeId="2" PostId="6135" RevisionGUID="6cd19171-edd6-4bb6-a0ac-17c3bbb8db6d" CreationDate="2011-02-20T22:17:54.883" UserId="253" Text="I second (or third?) the gentle RX and volume riding. Also, Waves C4 set to the noise reduction factory setting, if you have it, is very helpful to introduce after the other noise reduction.&#xD;&#xA;&#xD;&#xA;Also, can you use rain in your atmos tracks? Or some other kind of atmos that will help mask your noise." ContentLicense="CC BY-SA 2.5" />
  <row Id="10512" PostHistoryTypeId="2" PostId="6137" RevisionGUID="8a54f270-02b8-48d6-866b-8cb731afe218" CreationDate="2011-02-20T23:20:55.247" UserId="830" Text="Most cameras switch the internal off as soon as you plug in and external source. You will need to grab the manual for your camera to find out. Most manufacturers have their manuals online if you don't have access to the original one that came with the camera.&#xD;&#xA;&#xD;&#xA;The other option if you are in areas that has easy access to power is to grab a mixing desk (i don't assume that you can get a field mixer) and 2 mics (beg, borrow but don't steal) and run the panned mix directly into the camera.&#xD;&#xA;&#xD;&#xA;One thing to note which ever way you go is to try to off the auto gain system if the camera it and manually set your levels. All these things will come down to the camera you are using, so study that manual and get the equipment before going on set and do tests (if you can).&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10513" PostHistoryTypeId="2" PostId="6138" RevisionGUID="f092d603-a70e-4e1a-ae74-5bdf5bac398c" CreationDate="2011-02-20T23:45:46.250" UserId="18160" Text="It's Sunday.&#xD;&#xA;&#xD;&#xA;Here's another recording I just did.&#xD;&#xA;&#xD;&#xA;This time I took the same Kleenex box I used before and without any air flow, I stuck it on the ground, placed the hole right next to the U87 and rubbed the top of the box with my finger in slow motions, making the nuances of the wind you hear here:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/utopiarc/wind-sample-2&#xD;&#xA;&#xD;&#xA;The first section is the raw recording, and the second section is with a bit of reverb added.&#xD;&#xA;&#xD;&#xA;Let me know what you think." ContentLicense="CC BY-SA 2.5" />
  <row Id="10514" PostHistoryTypeId="1" PostId="6138" RevisionGUID="f092d603-a70e-4e1a-ae74-5bdf5bac398c" CreationDate="2011-02-20T23:45:46.250" UserId="18160" Text="Another Discovery of Wind in the Studio" ContentLicense="CC BY-SA 2.5" />
  <row Id="10515" PostHistoryTypeId="3" PostId="6138" RevisionGUID="f092d603-a70e-4e1a-ae74-5bdf5bac398c" CreationDate="2011-02-20T23:45:46.250" UserId="18160" Text="&lt;wind&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10516" PostHistoryTypeId="12" PostId="6122" RevisionGUID="8adb3e35-ffa4-4f75-8921-d405b5393ddb" CreationDate="2011-02-21T00:12:26.090" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="10517" PostHistoryTypeId="2" PostId="6139" RevisionGUID="636c3212-075c-4b0d-9e0e-f88975fd957c" CreationDate="2011-02-21T00:26:37.853" UserId="40" Text="I sold my FR2-LE on Ebay fairly quickly. I think I only had it up there for a week or two.&#xD;&#xA;&#xD;&#xA;All of the ways Shaun mentioned are good options as well. Trew, Coffey, and Tai all have consignment sales that you could probably sell through.&#xD;&#xA;&#xD;&#xA;You might try shooting an email blast out to some of the yahoo sound groups (Sound_Design, phonography, gameaudiopro). That would shoot out to people who would have a use for it.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10518" PostHistoryTypeId="2" PostId="6140" RevisionGUID="4bcbfae1-7e89-4f64-9eab-344972ce4ac7" CreationDate="2011-02-21T00:33:35.950" UserId="18160" Text="Hello,&#xD;&#xA;&#xD;&#xA;In the film I am working on there is quite a bit of cloth scratch I am getting on the lav mics used by the boom op.&#xD;&#xA;&#xD;&#xA;After watching The King's Speech and the interview from the production recordist, I was amazed at how much lav mics were used in that film.&#xD;&#xA;&#xD;&#xA;Do any of you have any tips I can use to minimize cloth scratch on a lav mic or point me in the direction where there might be more data on this?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10519" PostHistoryTypeId="1" PostId="6140" RevisionGUID="4bcbfae1-7e89-4f64-9eab-344972ce4ac7" CreationDate="2011-02-21T00:33:35.950" UserId="18160" Text="Lav mic mounting tips" ContentLicense="CC BY-SA 2.5" />
  <row Id="10520" PostHistoryTypeId="3" PostId="6140" RevisionGUID="4bcbfae1-7e89-4f64-9eab-344972ce4ac7" CreationDate="2011-02-21T00:33:35.950" UserId="18160" Text="&lt;lavalier&gt;&lt;microphone&gt;&lt;placement&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10521" PostHistoryTypeId="5" PostId="6140" RevisionGUID="90142a4c-bf93-495e-b59a-7cfff23ea9b6" CreationDate="2011-02-21T00:42:10.803" UserId="18160" Comment="added 283 characters in body" Text="Hello,&#xD;&#xA;&#xD;&#xA;In the film I am working on there is quite a bit of cloth scratch I am getting on the lav mics used by the boom op.&#xD;&#xA;&#xD;&#xA;After watching The King's Speech and the interview from the production recordist, I was amazed at how much lav mics were used in that film.&#xD;&#xA;&#xD;&#xA;Do any of you have any tips I can use to minimize cloth scratch on a lav mic or point me in the direction where there might be more data on this?&#xD;&#xA;&#xD;&#xA;I am honestly amazed at how films are able to use a lapel mic at all hidden under all that clothing.&#xD;&#xA;&#xD;&#xA;Is there something basic I am not doing? I feel like there is because no lapel recording I have gotten yet is very mixable. There is slim to no level and there is no presence." ContentLicense="CC BY-SA 2.5" />
  <row Id="10522" PostHistoryTypeId="2" PostId="6141" RevisionGUID="22220e86-cee0-4ed0-8cb0-566fe5984312" CreationDate="2011-02-21T01:15:17.643" UserId="693" Text="If you post it up on ebay or somewhere else and you are a twitter user you can join the Sound Designers &quot;Twibe&quot; I created and post it there. It's a pretty solid network and many of the users will re-tweet it to their network to help.&#xD;&#xA;&#xD;&#xA;http://www.twibes.com/group/SoundDesigners&#xD;&#xA;&#xD;&#xA;All the other mentions are good outlets.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10523" PostHistoryTypeId="2" PostId="6142" RevisionGUID="383610a2-f0dd-4784-89c4-844abc24ee1f" CreationDate="2011-02-21T01:57:45.617" UserId="863" Text="I hate lapels and was also amazed by the fact he said there was a lot of lapel work involved. He does mention though that he spoke to the costume designers during pre-production so it's possible there were hidden areas on the garment to place the mics which weren't under lots of layers of clothing.&#xD;&#xA;&#xD;&#xA;I have found though that looping it between tape or two bits of sponge or card or rolled up tape to the lower part of the chest between garments works at times, I try to hide mics in shots more than anything though.&#xD;&#xA;&#xD;&#xA;Not had to deal with it in post yet, but I would try a decrackler and spectral repair I guess. Which just sounds sooo painful :(&#xD;&#xA;&#xD;&#xA;Interested to hear how you get on!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10524" PostHistoryTypeId="5" PostId="6140" RevisionGUID="f2fb2d65-58ac-4ec1-a2a8-7cf78ee53ddd" CreationDate="2011-02-21T02:14:41.207" UserId="18160" Comment="added 15 characters in body" Text="Hello,&#xD;&#xA;&#xD;&#xA;In the film I am working on there is quite a bit of cloth scratch I am getting on the lav mics used by the boom op.&#xD;&#xA;&#xD;&#xA;After watching The King's Speech and the interview from the production recordist, I was amazed at how much lav mics were used in that film.&#xD;&#xA;&#xD;&#xA;Do any of you have any tips I can use to minimize cloth scratch on a lav mic while shooting or point me in the direction where there might be more data on this?&#xD;&#xA;&#xD;&#xA;I am honestly amazed at how films are able to use a lapel mic at all hidden under all that clothing.&#xD;&#xA;&#xD;&#xA;Is there something basic I am not doing? I feel like there is because no lapel recording I have gotten yet is very mixable. There is slim to no level and there is no presence." ContentLicense="CC BY-SA 2.5" />
  <row Id="10525" PostHistoryTypeId="2" PostId="6143" RevisionGUID="34f332d1-b81b-4f07-9b64-9b14df990700" CreationDate="2011-02-21T03:21:04.827" UserId="220" Text="A lot of it has to do with the type of mic you are using.  The mics that come with Sennheisers and Shures are quite large and will give you problems if you're not very careful.  I recommend using a Countryman mic - the head is a few millimeters wide and can easily be hidden without worry about scratching.  On the skin, protected by a piece of mole skin should eliminate most of your problems. &#xD;&#xA;&#xD;&#xA;What model mics are you working with?  Where are you placing them?  &#xD;&#xA;&#xD;&#xA;Also pay attention to the materials used - lacy bras tend to cause scratching not only on the mic, but just on skin and clothing nearby.  It's an uncomfortable conversation, but if everybody is professional about it, you can request soft cotton undergarments.  Same goes for undershirts, etc.  &#xD;&#xA;&#xD;&#xA;There's a lot to lapel micing - there are some great conversations here as well as other guides online.  Do lots of reading, and do some testing on yourself in spare time.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="10526" PostHistoryTypeId="2" PostId="6144" RevisionGUID="d590fe64-a6b8-4ef8-af6f-7d1fa262478c" CreationDate="2011-02-21T03:47:55.507" UserId="432" Text="Good ol' fashioned tape my friend, especially if it's going to be underneath clothing. Ideally, you tape it on both sides; kind of like a lav sandwich on two piece of tape as the bread. For example, you might use some &quot;topstick&quot; to secure the mic to someone's skin, then use some double sided tape or medical tape to tape the other side to the inside of the garments. If there are multiple pieces of garment/costume in that area, tape each layer to the one above and below it.&#xD;&#xA;&#xD;&#xA;Doing this will minimize cloth movement in the immediate vicinity of the mic. If done properly, you can get up to about 65 or 70 percent reduction in clothing noise (sometimes more, depending on the fabric and the design of the costume). Useful trick." ContentLicense="CC BY-SA 2.5" />
  <row Id="10527" PostHistoryTypeId="2" PostId="6145" RevisionGUID="c8f6d9b3-65c2-4d16-999e-fb25a990d63f" CreationDate="2011-02-21T03:58:03.700" UserId="338" Text="After fighting a time battle in a 48 hour film comp, I now realize the importance of organizing my library.  It still is not organized but it will be helpful next time to have a more organized library.  &#xD;&#xA;&#xD;&#xA;How do people organize their libraries?  Do you have folders that say like, sparkly or big hit, etc…?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10528" PostHistoryTypeId="5" PostId="1130" RevisionGUID="7c47f3ca-8f72-4e42-9ae1-26dac57c234e" CreationDate="2011-02-21T05:02:16.653" UserId="18160" Comment="deleted 656 characters in body" Text="Dear All,&#xD;&#xA;&#xD;&#xA;Do any of you tend to place the mic for perspective? Like if the person's feet are off screen, would you place the mic high or further away to make it less &quot;in your face&quot;?&#xD;&#xA;&#xD;&#xA;In my experience, trying to record something &quot;close so there are no room reflections&quot; so that you can &quot;fix perspective in the mix&quot; doesn't ever work. Like if you want to make a close-miced dialogue line sound distant, I find that a low-pass filter just makes it sound dull and doesn't sound realistically farther away at all.&#xD;&#xA;&#xD;&#xA;I'm curious to what you sound designers do and if you constantly change perspective of the mic based on what you see on screen." ContentLicense="CC BY-SA 2.5" />
  <row Id="10529" PostHistoryTypeId="5" PostId="2701" RevisionGUID="b760772c-f0bd-4da2-838d-fbaeeaa0543a" CreationDate="2011-02-21T05:05:40.193" UserId="18160" Comment="deleted 1479 characters in body" Text="Here's an interesting question and I hope it's answerable and not too general.&#xD;&#xA;&#xD;&#xA;What are some good ways of creating excitement in your sound design? How do you really thrill the audience with sound?&#xD;&#xA;&#xD;&#xA;I know most of it comes from content and film editing. For instance, it is far easier to make an action/thriller movie thrill the audience than a teletubbies episode; or is it?&#xD;&#xA;&#xD;&#xA;Dynamics?&#xD;&#xA;&#xD;&#xA;Counterpointing?&#xD;&#xA;&#xD;&#xA;Certain timbres of sounds?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10530" PostHistoryTypeId="5" PostId="3375" RevisionGUID="8db50943-1fed-42fe-9eea-d5ea7a34017f" CreationDate="2011-02-21T05:12:43.533" UserId="18160" Comment="deleted 631 characters in body" Text="Okay so I am going to be doing some foley soon for an action piece.&#xD;&#xA;&#xD;&#xA;I was mesmerized by the realism of foley in The Hurt Locker, Green Zone and most of all, Saving Private Ryan.&#xD;&#xA;&#xD;&#xA;The film I am going to be working on is along those lines. Fast cut and hand-held documentary style.&#xD;&#xA;&#xD;&#xA;I don't want my foley to sound like it's recorded in a super-dead acoustically perfect studio. I want it to be gritty and real like those movies.&#xD;&#xA;&#xD;&#xA;Any idea on how I can make the foley sound great and real and have the sharpness and realism as those movies?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10531" PostHistoryTypeId="5" PostId="3064" RevisionGUID="17fd9594-4715-4051-b3f4-6f1f12bbfc9d" CreationDate="2011-02-21T05:17:15.597" UserId="18160" Comment="deleted 317 characters in body; edited title" Text="Things I would do differently after watching it again:&#xD;&#xA;&#xD;&#xA;- Offset the track so it has the proper echo delay.&#xD;&#xA;&#xD;&#xA;- Found more crumbling sounds for the roof caving in (but they would have to be the proper perspective i.e. you wouldn't hear rocks crumbling from that far away).&#xD;&#xA;&#xD;&#xA;- Balanced it out so it builds more and climaxes better.&#xD;&#xA;&#xD;&#xA;- Added more distant echo rumbles.&#xD;&#xA;&#xD;&#xA;[vimeo]14342987[/vimeo]&#xD;&#xA;&#xD;&#xA;http://vimeo.com/14342987" ContentLicense="CC BY-SA 2.5" />
  <row Id="10532" PostHistoryTypeId="4" PostId="3064" RevisionGUID="17fd9594-4715-4051-b3f4-6f1f12bbfc9d" CreationDate="2011-02-21T05:17:15.597" UserId="18160" Comment="deleted 317 characters in body; edited title" Text="Looking for critiques on a practice sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="10533" PostHistoryTypeId="5" PostId="3254" RevisionGUID="d8a62c80-f255-4896-8a23-8373929a9b4e" CreationDate="2011-02-21T05:19:09.403" UserId="18160" Comment="deleted 106 characters in body" Text="Question regarding mixing:&#xD;&#xA;&#xD;&#xA;Is dialogue always mixed at the same level no matter what type of movie you're mixing?&#xD;&#xA;&#xD;&#xA;Example:&#xD;&#xA;&#xD;&#xA;Terminator 2 - explosions all over the place. Dialogue, yelling, during those scenes are naturally going to be a lower level to let more impact of explosions come through.&#xD;&#xA;&#xD;&#xA;He's just not that into you - No explosions or gunfights. Just talking - wall to wall dialogue with little or no loud spot effects.&#xD;&#xA;&#xD;&#xA;Does the dialogue still get placed down in level if it's only talking? Or do you mix it higher if that's the only thing going on in the mix?&#xD;&#xA;&#xD;&#xA;What are your thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10534" PostHistoryTypeId="5" PostId="3343" RevisionGUID="8b581e77-48d0-45c8-8c47-504215e87518" CreationDate="2011-02-21T05:27:19.503" UserId="18160" Comment="deleted 955 characters in body" Text="Hello everyone.&#xD;&#xA;&#xD;&#xA;What script stand do you use?&#xD;&#xA;&#xD;&#xA;Colin Hart touched upon metal mic stands creating reflections, and I'm sure this also applies to script stands - also paper.&#xD;&#xA;&#xD;&#xA;Anyone know anything about what they use for film scoring stages? I heard they use &quot;digital paper&quot; or little screens that have the music score on them and they control it.&#xD;&#xA;&#xD;&#xA;Your assistance is always appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10535" PostHistoryTypeId="5" PostId="1856" RevisionGUID="a08cfb21-3712-482e-b511-f9717a8f3313" CreationDate="2011-02-21T05:28:36.473" UserId="18160" Comment="deleted 167 characters in body" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I don't really have an easy set-up way of monitoring in the record room (where the talent and mics are) over speakers.&#xD;&#xA;&#xD;&#xA;Sometimes in fight scenes, the talent wants to have the headphones off. This means I need to lead him in with beeps/guide tracks via a speaker. But then he may switch back quickly to headphones and I need to be quick and on the ball about switching.&#xD;&#xA;&#xD;&#xA;The only way I could conceive of doing it was to make totally new tracks with the guide tracks on them and assigning them to the same voice (Pro Tools) as the record track - thus whenever the record track is recording, there is no guide track playing. But, this means I have to have duplicate guide tracks in the session and it can get a bit cluttered up.&#xD;&#xA;&#xD;&#xA;Does anyone have a similar and hopefully simpler method of monitoring set-up for your ADR recording sessions? For both Speakers and Headphones? I'd like to keep as much of it in the box as possible.&#xD;&#xA;&#xD;&#xA;Thanks - Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="10536" PostHistoryTypeId="5" PostId="2531" RevisionGUID="d710534c-8f0b-471c-a31e-0d76fca78dcf" CreationDate="2011-02-21T05:31:19.360" UserId="18160" Comment="added 54 characters in body" Text="I had this thought while I was dreaming last night:&#xD;&#xA;&#xD;&#xA;If I were to do a huge chase scene with a police car chase etc.,&#xD;&#xA;&#xD;&#xA;I'd take the video along with me and record the same car on the same surface doing the same stunts (that can be safely done with a stunt driver [not all the car flips for example]) but you can at least get the screeches in the right places...&#xD;&#xA;&#xD;&#xA;Has this been thought of before?&#xD;&#xA;&#xD;&#xA;Is this what is done in the industry?&#xD;&#xA;&#xD;&#xA;Or does the sound team usually just get told &quot;You have a 15 minute car chase-scene with 3 cars through an Italian village&quot; and the sound team HAS to start recording it and not wait for the picture to be edited because by then it would be too late?&#xD;&#xA;&#xD;&#xA;Have you ever gotten an edit of an action scene early enough to be able to do this sort of &quot;sound effect ADR&quot;? Like you see the car squeeling out and swerving certain ways and you try to recreate that for sound in the desert with a stuntman and show him the video? Or do you just go out before-hand and record the screeches blind without any reference and rely on editing it together in Pro Tools to match the screen?&#xD;&#xA;&#xD;&#xA;And for that matter, would it be worth it to go to great lengths and do foley work outdoors in the same environment (say a forest meadow or some other place with somewhat controllable ambience) to get the correct echo on the recording? How often (if ever) is this sort of thing done? I know it was done on the submarine movie that Walter Murch did with great success.&#xD;&#xA;&#xD;&#xA;Just wondering... Sorry if it's a lame question but it's been on my mind.&#xD;&#xA;&#xD;&#xA;UPDATE: The movie &quot;127 Hours&quot; did this apparently." ContentLicense="CC BY-SA 2.5" />
  <row Id="10537" PostHistoryTypeId="5" PostId="1985" RevisionGUID="d45c5028-e347-418a-9aed-62b4f5370b57" CreationDate="2011-02-21T05:33:35.273" UserId="18160" Comment="deleted 630 characters in body" Text="Quick survey:&#xD;&#xA;&#xD;&#xA;How many tools do you use in the box and how many are actual pieces of rack gear?&#xD;&#xA;&#xD;&#xA;What type of mixboard do you have and do you still use volume/pan automation on it?&#xD;&#xA;&#xD;&#xA;I'm curious to what you use." ContentLicense="CC BY-SA 2.5" />
  <row Id="10538" PostHistoryTypeId="5" PostId="1042" RevisionGUID="5b79b2c7-d404-4ab0-9a47-86b93b4ea771" CreationDate="2011-02-21T05:34:58.227" UserId="18160" Comment="deleted 340 characters in body" Text="I'm curious if anyone else uses a smaller speaker system or near-fields along with your main monitors to mix or cut effects on.&#xD;&#xA;&#xD;&#xA;What are you all working on?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10540" PostHistoryTypeId="5" PostId="4838" RevisionGUID="071f6c7f-7ce0-4b20-a4c2-03152b9f7587" CreationDate="2011-02-21T05:41:43.563" UserId="18160" Comment="added 1 characters in body" Text="So when you are predubbing do you/your re-recording mixer print stems &amp; replay those in the final mix, or do you just write automation and all the original edit tracks runs live?&#xD;&#xA;If you could qualify your answer with the type of mixing desk being used, and what the impact of conforming has on your approach that would also be valuable....." ContentLicense="CC BY-SA 2.5" />
  <row Id="10541" PostHistoryTypeId="5" PostId="5413" RevisionGUID="59ed2e26-17a4-451e-ab08-cbd3e151459d" CreationDate="2011-02-21T05:43:39.113" UserId="18160" Comment="added 3 characters in body" Text="Following on from Jay Jennings' post, [How Did They Do That?? Vol. 1: The Predator “clicks”][1], I thought I'd carry on the series with another classic, iconic sound - the Ghostbusters Proton Pack powering up. If anyone knows how it was done, please share your wisdom with us. And if there are any other Ghostbuster related sound knowledge why not share it here too. To give you a taster, check the video. There's a good example when they are in the lift (1min51sec).&#xD;&#xA;&#xD;&#xA;[youtube]nJ0lE01alik[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/4925/how-did-they-do-that-vol-1-the-predator-clicks" ContentLicense="CC BY-SA 2.5" />
  <row Id="10542" PostHistoryTypeId="5" PostId="6114" RevisionGUID="bd3c47df-81d3-4587-a8c3-f84478164748" CreationDate="2011-02-21T05:45:08.160" UserId="18160" Comment="added 2 characters in body" Text="Can this be a thread for tips on mixing dialogue?&#xD;&#xA;&#xD;&#xA;Do you EQ the voice a certain way or ever use different sync for different characters?  Reverb/delay?&#xD;&#xA;&#xD;&#xA;Do you have a certain workflow for the dial mix?&#xD;&#xA;&#xD;&#xA;Do you treat the mix differently for things like camera angles or whether the character's back is facing the camera?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10543" PostHistoryTypeId="5" PostId="5692" RevisionGUID="6ea79450-beb8-4c97-94e0-5af65d4f194d" CreationDate="2011-02-21T05:45:36.573" UserId="18160" Comment="added 2 characters in body" Text="Hello again all fellow sound designers!&#xD;&#xA;&#xD;&#xA;I post this to present to you my latest work in progress. Its in the form of a game by my team Tsimpountiii Games. We submitted our latest game GRAViii at kongregate.com for games made with Unity3D games. &#xD;&#xA;&#xD;&#xA;You can find the game here http://www.kongregate.com/games/tsimpountiii/graviii . Please play the game and vote for it if you like it (that is going to be a great help for us!).&#xD;&#xA;&#xD;&#xA;I used Logic 9 to produce the music and sound effects that you hear in the game and we are going to update the game regularly (next update coming tommorow 99% with more music / effects / levels and bug fixes). I used some recordings i did with my Sony PCM 50, of sea, some streams, and water drips! &#xD;&#xA;&#xD;&#xA;Please leave me some feedback whether you like it or not! Or any ideas you have! &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10545" PostHistoryTypeId="5" PostId="5019" RevisionGUID="dc29f2bf-dae7-4df6-a6b2-fe0f9b492549" CreationDate="2011-02-21T05:46:18.653" UserId="18160" Comment="added 2 characters in body" Text="Im using waveagent to deal with metadata and on the originator section it is labeled as either Fostex FR2-LE (my recorder) or Pro Tools (my DAW). How do I make this say what I want like my name (ShaunKellyFX: category). Also the originator reference has a crazy name like xy7eu5thuji? How can I make this say something like 01, 02.....&#xD;&#xA;&#xD;&#xA;On waveagent it says the originator info is generated when converting a standard WAV to a BWF when is this happening so I can name it properly?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10546" PostHistoryTypeId="5" PostId="4627" RevisionGUID="c134e7aa-a993-4e80-a5ce-3edc8f97b9f3" CreationDate="2011-02-21T05:46:34.870" UserId="18160" Comment="added 2 characters in body" Text="I'm looking for a creative way to tag and enter metadata into my database of audio files and synth patches. I realize that any list would be particular to the person creating it but is there a way for to us to collaborate on this site, creating a list of descriptive words and phrases particularly useful in a sound design search database ? &#xD;&#xA;&#xD;&#xA;I wondered if there were someway to collect descriptions we could share and vote up similar to how some aspects of this site works IE: when I enter tags for a post it automagically finds similar or same words. For example if 32 people had entered or maybe even voted for &quot;be-jizzle-dazle&quot; as a useful description then it would pop up to the top of a list of useful sound design words &amp; phrases.&#xD;&#xA;&#xD;&#xA;Or is there another online tool that might have been built for another purpose that I can co-opt for this task .. ?? Any comment would be awesome .. let me know what you think !&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10547" PostHistoryTypeId="5" PostId="3584" RevisionGUID="470ac5dd-c512-47a7-b9a9-435a67d6cf10" CreationDate="2011-02-21T05:47:00.273" UserId="18160" Comment="added 2 characters in body" Text="Have used the [Shure A27M][1] mounting kit and really liked it, but also need a couple of blimps with shockmounts that will accommodate pencil mics like the O12s, Neumann 184s, etc. A pistol grip attachment would be a huge +1. Thanks in advance -&#xD;&#xA;&#xD;&#xA;Oh, and did I mention affordable??   :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fullcompass.com/product/305049.html&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10548" PostHistoryTypeId="5" PostId="1655" RevisionGUID="538d8942-9533-4412-b754-5c187285b517" CreationDate="2011-02-21T05:47:29.957" UserId="18160" Comment="added 2 characters in body" Text="Hi,&#xD;&#xA;&#xD;&#xA;Just had a discussion with our local Nagra/Scheops supplier and he was raving about the new SuperCMIT shotgun microphone. It is currently been used here in the stadiums for the World Cup. There have been mixed reports about the quality of the mic and was just wondering if anyone has had the opportunity to use it? I am doing a trial run with it in a couple of weeks.&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="10549" PostHistoryTypeId="5" PostId="6115" RevisionGUID="754c0545-60cc-4c94-9d97-2bf265a58ae3" CreationDate="2011-02-21T05:47:53.980" UserId="18160" Comment="added 2 characters in body" Text="I would like to know if it would be possible to get the output from the internal microphone on the camera (I'll find out the exact model name for you, it's for a pilot I'm working on next weekend) as well as recording the output from an me66 mic on a boom pole. At the same time&#xD;&#xA;&#xD;&#xA;The trick in recording it will be to pan the int camera mic to the left (lets say) and the me66 mic (on the xlr input) to the right. We have basically no budget so we can get the basics, it would be nice to get a set recorder but If I can get a boompole, me 66 and a fluffy that's fine. &#xD;&#xA;&#xD;&#xA;I'm working on the idea that we will only have 1 camera and that's where my idea of panning the two different mics on the camera comes in.&#xD;&#xA;&#xD;&#xA;I want to do this so that I have more choice when it comes to editing the sound in post. &#xD;&#xA;&#xD;&#xA;Can it be done because I've been trained to always switch off the int mic on the camera when using an XLR input. Besides the phasing which could be fixable in post (there may be a a few split seconds delay) can it be done?&#xD;&#xA;The challenge is that it's all on tape in the camera so playback might not be possible after a take.&#xD;&#xA;&#xD;&#xA;Thanks sonic samurais  &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10550" PostHistoryTypeId="5" PostId="6138" RevisionGUID="95664dcd-54c2-48a0-8cb7-cea5993877db" CreationDate="2011-02-21T05:48:42.210" UserId="18160" Comment="deleted 31 characters in body" Text="It's Sunday.&#xD;&#xA;&#xD;&#xA;Here's another recording I just did.&#xD;&#xA;&#xD;&#xA;This time I took the same Kleenex box I used before and without any air flow, I stuck it on the ground, placed the hole right next to the U87 and rubbed the top of the box with my finger in slow motions, making the nuances of the wind you hear here:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/utopiarc/wind-sample-2&#xD;&#xA;&#xD;&#xA;The first section is the raw recording, and the second section is with a bit of reverb added." ContentLicense="CC BY-SA 2.5" />
  <row Id="10551" PostHistoryTypeId="2" PostId="6146" RevisionGUID="4b8c07e2-f3f5-459f-91b2-ae33bfc6d91a" CreationDate="2011-02-21T08:01:39.260" UserId="786" Text="We have 3 studios with Adam P11's and a small studio with Genelec 8020's.&#xD;&#xA;&#xD;&#xA;At home I have nothing but Sennheiser HD-650 headphones, so I rarely work from home." ContentLicense="CC BY-SA 2.5" />
  <row Id="10552" PostHistoryTypeId="2" PostId="6147" RevisionGUID="86c0550f-a42c-4ac2-87a1-f3209e67266f" CreationDate="2011-02-21T08:04:25.453" UserId="786" Text="My outboard gear consists of a mic preamp and my collection of analog and modular synths. Everything else is in the box." ContentLicense="CC BY-SA 2.5" />
  <row Id="10553" PostHistoryTypeId="2" PostId="6148" RevisionGUID="91321338-1d64-4ce8-9a70-db2190082325" CreationDate="2011-02-21T08:33:48.630" UserId="673" Text="Looks pretty cool. Just a quick run just before work. &#xD;&#xA;&#xD;&#xA;Few things from the game design point of view -&gt; you might want to consider pop-up instructions BEFORE the gameplay starts, it was kinda annoying trying to read the instructions while my orb was being sucked by a red one heh. And also, some kind of menu button would be useful, just to reset the level if you get stuck.&#xD;&#xA;&#xD;&#xA;I'll get back onto this later on today. Really reminds me of osmos. In a good way!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10554" PostHistoryTypeId="2" PostId="6149" RevisionGUID="99f986f9-e1f0-4992-9414-0fa5c031fa51" CreationDate="2011-02-21T13:09:24.130" UserId="396" Text="I may soon be making my first foray into designing sound for a website user interface. I'd be interested to hear some tips and experiences from those that have done this before.&#xD;&#xA;&#xD;&#xA;How do you strike a balance between a full, varied audio experience and a cluttered one? Would you have both rollover and click sounds for a given element, or only a sound for one of those states? I understand that a certain amount of this would be briefed by the client, but I'm sure our discretion would come into play as well.&#xD;&#xA;&#xD;&#xA;My specific example is a digital/retro-futuristic one, but I'm interested in general concepts of interface design. (@NoiseJockey I think this one might be for you!)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10555" PostHistoryTypeId="1" PostId="6149" RevisionGUID="99f986f9-e1f0-4992-9414-0fa5c031fa51" CreationDate="2011-02-21T13:09:24.130" UserId="396" Text="User Interface (website) sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="10556" PostHistoryTypeId="3" PostId="6149" RevisionGUID="99f986f9-e1f0-4992-9414-0fa5c031fa51" CreationDate="2011-02-21T13:09:24.130" UserId="396" Text="&lt;websites&gt;&lt;ui&gt;&lt;design&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10557" PostHistoryTypeId="2" PostId="6150" RevisionGUID="4d04f76a-c1c9-4e16-8152-186fba94a290" CreationDate="2011-02-21T13:41:26.083" UserDisplayName="user80" Text="I have an Focusrite Octopre,and the 8 channel mic pre for Pro Tools HD.  I also have a Rane 6 channel headphone amp and a Rane 8 channel mixer.  Apart from the Command 8 and the Novation keyboard everything else is either A/D converters or MIDI routing.&#xD;&#xA;&#xD;&#xA;I like everything to be in the box.  You can waste so much time with analogue gear, especially sorting out tuning and earth problems." ContentLicense="CC BY-SA 2.5" />
  <row Id="10558" PostHistoryTypeId="2" PostId="6151" RevisionGUID="7ef9324c-379e-4404-b2f8-3ca226c43f42" CreationDate="2011-02-21T13:43:37.473" UserDisplayName="user80" Text="Keep everything subtle, roll over and click sounds work well, but blend them in to the background so that they sound natural rather than overt." ContentLicense="CC BY-SA 2.5" />
  <row Id="10559" PostHistoryTypeId="6" PostId="6138" RevisionGUID="34400989-aa1c-408c-a414-cac25685e50c" CreationDate="2011-02-21T13:45:29.800" UserDisplayName="user80" Comment="edited tags" Text="&lt;wind&gt;&lt;techniques&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10560" PostHistoryTypeId="2" PostId="6152" RevisionGUID="acb418a1-a4e2-4e86-babb-4af08951880c" CreationDate="2011-02-21T14:06:26.330" UserId="721" Text="Make sure you don't make &quot;autoplay&quot; default for music. (if you plan to put one for background and such). It simply annoys most people." ContentLicense="CC BY-SA 2.5" />
  <row Id="10564" PostHistoryTypeId="2" PostId="6154" RevisionGUID="3de67dfe-e64e-440d-8774-b51bb1a5d4ea" CreationDate="2011-02-21T15:02:37.800" UserId="693" Text="I know that in Ric Viers' Sound Effects Bible he has a whole section dedicated to library organization and tagging that's supposed to be pretty good.&#xD;&#xA;&#xD;&#xA;Personally, I keep the file named after what the actual source is and when I tag I try to describe the nature of the sound ie: impact, scrape, creak, ambience, atmospheric, sweep, whoosh, wooden, hollow, metal, resonant, bright, dark, creepy, wet, dry, bubbly, thud, etc. I personally try to avoid coming up with lists of what it could be used for. I could spend hours wasting time doing that. I'll only list something like that if it's a very obvious connection. Otherwise I add on potential uses as I use a sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="10565" PostHistoryTypeId="2" PostId="6155" RevisionGUID="f93cd0ad-b43f-4fb6-b20f-b5d059fa82a6" CreationDate="2011-02-21T16:03:00.840" UserId="194" Text="I'm very interested in this as well.  My general principle is to start out by describing what that sound actually was (metal door slam hard ext) and then go into as many textural descriptors as I can (deep thick resonant rattle) and finally if the sound is exception or specific I'll give it another tag (badass) that is uniform to that kind of thing.  My unique tags include badass, blip, ui, foly, and etoll." ContentLicense="CC BY-SA 2.5" />
  <row Id="10566" PostHistoryTypeId="2" PostId="6156" RevisionGUID="39efd660-6f06-47a8-b093-977b3c810a36" CreationDate="2011-02-21T17:45:53.780" UserId="18160" Text="I personally think a subtle sound for when the mouse rides over a link or button is professional, sort of like the first Starcraft but even more subtle and a lower frequency - blend this in with background sounds like Iain suggested and I think you would have a step up on many sites out there.&#xD;&#xA;&#xD;&#xA;Don't forget to try wetting down the button clicks with a bit of reverb. For example, I love the reverb they put on the lock button sound on my iPod touch." ContentLicense="CC BY-SA 2.5" />
  <row Id="10567" PostHistoryTypeId="5" PostId="6138" RevisionGUID="2c517ccd-55b2-472e-a631-e4d3474b4989" CreationDate="2011-02-21T17:56:58.263" UserId="2" Comment="added soundloud player; deleted 1 characters in body" Text="It's Sunday.&#xD;&#xA;&#xD;&#xA;Here's another recording I just did.&#xD;&#xA;&#xD;&#xA;This time I took the same Kleenex box I used before and without any air flow, I stuck it on the ground, placed the hole right next to the U87 and rubbed the top of the box with my finger in slow motions, making the nuances of the wind you hear here:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/utopiarc/wind-sample-2&#xD;&#xA;&#xD;&#xA;[soundcloud]utopiarc/wind-sample-2[/soundcloud]&#xD;&#xA;&#xD;&#xA;The first section is the raw recording, and the second section is with a bit of reverb added." ContentLicense="CC BY-SA 2.5" />
  <row Id="10568" PostHistoryTypeId="2" PostId="6157" RevisionGUID="5e499f91-df7f-4cfb-8261-9cbcf6ce65e6" CreationDate="2011-02-21T18:02:22.630" UserId="88" Text="To follow up Shaun's reply, it can help to fold the tape (I used to use 1&quot; cloth gaff tape if the mic was being taped to clothing) into tight, sticky-side-out triangles.  This is a good shape for securing the mic firmly without getting in its way.  (As mentioned, obviously use medical tape and not gaffers' if taping to skin.)&#xD;&#xA;&#xD;&#xA;Here's a nice article on lav technique from the guy who got me into production sound:&#xD;&#xA;http://www.filmunderground.com/46/Article/NWFS/mics%20-%20lavalier.htm&#xD;&#xA;&#xD;&#xA;I always found that the water spray/Static Guard trick helps a lot with (acoustic) clothing noise.&#xD;&#xA;&#xD;&#xA;I believe the COS-11 is fairly transparent as lavs go (as opposed to proximity, which will capture voice with very little presence).  Not sure why it would sound so tight -- I'd guess maybe it should be moved an inch or two away from the talent's mouth, but if you're having trouble with level too...hmm." ContentLicense="CC BY-SA 2.5" />
  <row Id="10569" PostHistoryTypeId="5" PostId="6157" RevisionGUID="2d44540b-5809-4847-b897-babadba2061c" CreationDate="2011-02-21T18:28:58.560" UserId="88" Comment="Fred Ginsburg's terms, not mine :)" Text="To follow up Shaun's reply, it can help to fold the tape (I used to use 1&quot; cloth gaff tape if the mic was being taped to clothing) into tight, sticky-side-out triangles.  This is a good shape for securing the mic firmly without getting in its way.  (As mentioned, obviously use medical tape and not gaffers' if taping to skin.)&#xD;&#xA;&#xD;&#xA;Here's a nice article on lav technique from the guy who got me into production sound:&#xD;&#xA;http://www.filmunderground.com/46/Article/NWFS/mics%20-%20lavalier.htm&#xD;&#xA;&#xD;&#xA;I always found that the water spray/Static Guard trick helps a lot with (acoustic) clothing noise.&#xD;&#xA;&#xD;&#xA;To borrow Fred's terms, I believe the COS-11 is fairly transparent as lavs go (as opposed to proximity, which will capture voice with very little presence).  Not sure why it would sound so tight -- I'd guess maybe it should be moved an inch or two away from the talent's mouth, but if you're having trouble with level too...hmm." ContentLicense="CC BY-SA 2.5" />
  <row Id="10570" PostHistoryTypeId="2" PostId="6158" RevisionGUID="0a25d787-8143-4616-9b2c-d8ac2fe83ad6" CreationDate="2011-02-21T19:52:47.953" UserId="786" Text="Practise is the key to finding good spots for hiding the mic while keeping the clothes noise to a minimum. If you have the chance, try and experiment with gear before you are on the set, as time is limited and placing the microphone can be an awkward situation. Try out different kinds of clothes too.&#xD;&#xA;&#xD;&#xA;The best microphones I've used are the DPA 4060 miniature mics. They are a little bigger than the Sanken COS-11 and a lot bigger than the Countryman (which is extremely small), but they sound 10 times better than the others. And they come with a specially designed plastic &quot;concealer&quot; which is really simple to use and eliminates about 50% of the clothes noise. You fasten the plastic thing together with double sided tape to the inside of the outermost layer of clothes.&#xD;&#xA;&#xD;&#xA;Whatever the mic, try to get hold of some double sided tape and some medical tape, if you need to place the mic directly onto the skin.&#xD;&#xA;&#xD;&#xA;When you place the mic, try to place it in the middle of the chest, right above the heart, where the chest caves in a little bit. If you place it higher, you get more clothes rustle, and if you place it close to the neck you lose a lot of the high  frequencies, as the chin shades for the direct sound.&#xD;&#xA;&#xD;&#xA;If you are working with a shirt with buttons, or a polo shirt, you can place the mic between the buttons, facing towards the open air. If the actor wears a tie, you can place it in the knot, facing down. DPA has a special foam piece for this purpose, but you Can make your own foam piece if you are using a different mic.&#xD;&#xA;&#xD;&#xA;There is a lot more you can do, for instance you can sometimes hide the mic in the actors hair, with a little help from the makeup department, but you'll have to learn by experimenting...." ContentLicense="CC BY-SA 2.5" />
  <row Id="10571" PostHistoryTypeId="2" PostId="6159" RevisionGUID="c3e1916d-7c06-4892-8ed9-1713f2073813" CreationDate="2011-02-21T20:04:42.370" UserId="238" Text="The use of sound on a website really depends on what type of site it is. An autoplay BG ambiance can be very effective for a site such as a promo for a documentary or film (eg: [Green][1]). But as Audile has said, in many instances autoplay ambiances/music can be irritating for the user. If your client decides to go with this, make sure they are not too loud (try to ensure you are involved in the testing once the sounds are implemented).&#xD;&#xA;&#xD;&#xA;Rollover SFX can be a great tool to aid usability but again, be cautious not to use sounds that are too &quot;in your face&quot;. A great example of an effective button-click sound can be found on the [Devine Sound][2] website. It's not a rollover sound but a mouse-up sound for each menu item (i.e. when the user releases the mouse button). Very subtle and very slick. But bare in mind that this is a sound design and music production website, so sounds are a big selling point.  &#xD;&#xA;&#xD;&#xA;Make sure you liaise with the client and fully understand their needs and wants. Keep things simple (I would say don't have both rollover and click as this may confuse the user). Ensure you have a level of consistency through the sounds in the site. Don't forget, silence can be a useful tool when designing sound for a website. And most importantly, make sure there is a sound on/off button that is easily accessible for the user.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.greenthefilm.com/&#xD;&#xA;  [2]: http://www.devinesound.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10572" PostHistoryTypeId="2" PostId="6160" RevisionGUID="e0317a19-90c9-47ba-8bec-fcca63682331" CreationDate="2011-02-21T20:55:15.680" UserId="37" Text="This is so tough to work on! First imagine all users coming to the website either a] having music already playing or b] appreciating silence (or c] being in a quiet work environment). &#xD;&#xA;&#xD;&#xA;For any ambience, do account for tabbed browsing and/or leaving the desk for whatever reason. Not uncommon to have 10 tabs open and if one of them plays a continuous background ambience, things quickly get annoying, as the user's aural focus is somewhere their visual focus isn't. Best to fade it out after a while or just monitor if the user is still on the site. (You can do so by following their mouse x-y position or querying window.focus or something)&#xD;&#xA;&#xD;&#xA;Hover/Rollover sounds on buttons - very, very subtle. Once you make them that subtle, make them even more subtle. Do account for devices that don't have hover states! iPad, iPhone and such.&#xD;&#xA;&#xD;&#xA;Click sounds on buttons = great challenge. I tried doing a set of click sounds a while back. The user must not wait for a sound to play before they see their content. We're talking half-a-second-kind-of-sound. The timing resolution of the ear + the lag on trackpad clicks can give you grief as you should expect up to half second of delay between the click and the sound playing back.&#xD;&#xA;&#xD;&#xA;Preload your sounds ;) &#xD;&#xA;&#xD;&#xA;Maybe not a good idea to mix at full scale digital. Imagine someone playing classical music on their headphones whilst browsing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Hope these help...." ContentLicense="CC BY-SA 2.5" />
  <row Id="10573" PostHistoryTypeId="2" PostId="6161" RevisionGUID="1394c668-1bdf-42ad-a0a4-97d9827714fb" CreationDate="2011-02-21T21:06:02.890" UserId="338" Text="I recently worked on a lot of dialogue that was digitally distorted probably because the microphone was damaged.  Can anyone think of a time or place where digital distortion is used beneficially?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10574" PostHistoryTypeId="1" PostId="6161" RevisionGUID="1394c668-1bdf-42ad-a0a4-97d9827714fb" CreationDate="2011-02-21T21:06:02.890" UserId="338" Text="Any good use for digital distortion?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10575" PostHistoryTypeId="3" PostId="6161" RevisionGUID="1394c668-1bdf-42ad-a0a4-97d9827714fb" CreationDate="2011-02-21T21:06:02.890" UserId="338" Text="&lt;distortion&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10576" PostHistoryTypeId="13" PostId="6122" RevisionGUID="275e5b81-a082-4ac8-90cd-7323c5a520ae" CreationDate="2011-02-21T21:14:20.357" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="10577" PostHistoryTypeId="5" PostId="6122" RevisionGUID="565f1a23-a257-4373-b0b9-b70cf0a2c511" CreationDate="2011-02-21T21:16:21.660" UserId="18160" Comment="added 120 characters in body" Text="Ok here are my 2 cents from a little bit of experience in dialogue editing/mixing:&#xD;&#xA;&#xD;&#xA;1) Whistles must be edited out by the editor and fixed before it hits the mixing stage.&#xD;&#xA;&#xD;&#xA;I have mixed narration and dialogue with many whistles, and when I was starting out I tried to find the exact frequency of the whistle (2.5 to 4K) to notch out or de-ess with a dynamic notch EQ or Oxford Suppressor, what have you, and the amount of time I spent trying to fiddle with de-essers and parameters to make it breathe well with the rest of the voice, it would have saved me 80% of the time if I just snipped out the whistle. I can see them now in waveforms and I have a CH and S sound copied at the end or beginning of the session to fly in if I come across a bad whistle. It sounds so much better and doesn't give you unnecessary processing on the rest of the voice if all you're trying to handle is 2 or 3 whistles in one minute of dialogue or narration.&#xD;&#xA;&#xD;&#xA;2) EQing a voice is different for every voice. I have heard mixers tell me &quot;I ALWAYS add 'air' to the voice around 16K and notch out the 2.5K automatically&quot; etc., and this is utter rubbish. Every recording is different, different acoustics, different mics, different recording equipment being used. Each voice you mix will require you to first hear it newly and EQ it specifically for that voice. I have never come across 2 different recordings having the exact same EQ. You have to listen.&#xD;&#xA;&#xD;&#xA;3) Absolutely run low-pass filters on a voice if his back is to the camera. Your reference is any Pixar film (specifically The Incredibles) when Samuel L. J's character is searching his house for his super-suit, and his back is to the camera, and his voice is muffled, and he turns to the camera to say &quot;Woman! Where is mah supah suit!!!&quot; his voice is all of a sudden more present and brighter - it adds so much more dimension to the mix when the voice is mixed like that. It's a volume-ride and low-pass filter + reverb ride type of thing.&#xD;&#xA;&#xD;&#xA;4) Something I learned from music mixing but also applies to final mixing, which is you EQ the voice with everything in the soundtrack playing - don't EQ it solo. You can set a temp EQ with it in solo but always check how it sits in the mix with all the other elements.&#xD;&#xA;&#xD;&#xA;5) Adding early reflections to a voice can add a lot of realism and presence to a voice that's not possible with EQ." ContentLicense="CC BY-SA 2.5" />
  <row Id="10578" PostHistoryTypeId="5" PostId="6161" RevisionGUID="b6953b57-5d21-4e05-ab52-5b2e599a8549" CreationDate="2011-02-21T21:34:31.610" UserId="338" Comment="elaboration" Text="I recently worked on a lot of dialogue that was digitally distorted probably because the microphone was damaged.  Can anyone think of a time or place where digital distortion is used beneficially?  It seems like it is a nasty toxin that must be avoided and kept in a cage somewhere or it will jump out and bite your ears off but I'm sure it has a place in the audio-food chain, and if it doesn't, maybe it can.&#xD;&#xA;&#xD;&#xA;Also, I suppose this might also include using a bitcrush plug-in, but I'd like to tackle that in a seperate question.  What strategies have you employed when layering sounds, creating atmosphere, or other general uses for bit-crush/alias sounds from plugins?  What psychoacoustic/psychological effect do you go for when you use it and what are the general effects on the psyche of hearing bit-crush/alias sounds even subtly?  What are you two hundred rupies?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10579" PostHistoryTypeId="2" PostId="6162" RevisionGUID="d6cca377-cbf6-4efd-9c31-cb4959209b33" CreationDate="2011-02-21T23:35:07.590" UserId="18160" Text="I used distortion in a film when a helicopter pilot was going down to crash and yelling cries for help - it added an extra dynamic to the soundtrack - a sense of urgency and danger. It worked because the shot was from outside the helicopter so I luckily could play the scene as if you're listening to a radio feed of the pilot's headset. I think I used the cosmonaut plug-in on it but I can't remember. It did sound digitally crushed, though." ContentLicense="CC BY-SA 2.5" />
  <row Id="10580" PostHistoryTypeId="5" PostId="6148" RevisionGUID="04d69db5-31e7-43e1-b9cc-0bf8c934f4d1" CreationDate="2011-02-22T00:48:57.007" UserId="673" Comment="added 1085 characters in body" Text="Looks pretty cool. Just a quick run just before work. &#xD;&#xA;&#xD;&#xA;Few things from the game design point of view -&gt; you might want to consider pop-up instructions BEFORE the gameplay starts, it was kinda annoying trying to read the instructions while my orb was being sucked by a red one heh. And also, some kind of menu button would be useful, just to reset the level if you get stuck.&#xD;&#xA;&#xD;&#xA;I'll get back onto this later on today. Really reminds me of osmos. In a good way!&#xD;&#xA;&#xD;&#xA;Ok, so after a revisit, here are some things that i noticed:&#xD;&#xA;&#xD;&#xA;- the game should progress normally from zone to zone. instead i was stuck in a loop fro a couple of levels not even realising haha ;)&#xD;&#xA;- maybe you can think of some complete/fail short music sting?&#xD;&#xA;- don't have a clue about how this engine works, but here is an idea: is it possible to put in a couple of tracks choosen on random? i mean, for example; each time you restart the level you have a bank of 5/6 different music tracks for the engine to start the level with. this decreases the 'annoying-repetitiveness' of the game. at the same time increasing gameplay and addictiveness.&#xD;&#xA;- the 'loading'screen is kinda blurry. is that supposed to give an 'underwater' effect? not sure how i feel about it. &#xD;&#xA;- at first i thought that i would like to hear more sound design for the 'evil-bubbles', but then i changed my mind. in some moments of the game it could just create noise.&#xD;&#xA;&#xD;&#xA;Overall -&gt; I love the game. great time waster ;) will definitely get it once you've released it on iOS.&#xD;&#xA;&#xD;&#xA;Good luck with the project!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10581" PostHistoryTypeId="2" PostId="6163" RevisionGUID="5174ad85-369b-4c87-8488-cd8ae447f8ce" CreationDate="2011-02-22T04:18:03.593" UserId="693" Text="It's definitely a tricky effect to use. It generally has to be appropriate to the sound needed. You also have to be very careful and decisive with it since it can completely overtake a sound. I personally see it more as a Sound Design tool than a Mixing Tool.&#xD;&#xA;&#xD;&#xA;The most common examples of using Distortion and Bitcrushing would be for tech/computer/robotic sounds. Think Terminator, The Matrix and Etc. &#xD;&#xA;&#xD;&#xA;Other examples off the top of my head would be when designing sounds for animals, creatures and aliens. In those situations they will likely be used more sparingly.&#xD;&#xA;&#xD;&#xA;Another more extensive use would be to futz something along the lines of a radio/television transmission or signal that needs to cut in and out and have a bit of signal degradation, static or crunch.&#xD;&#xA;&#xD;&#xA;Unlike mastering music, I can't think of any beneficial/proper mixing uses (I'm likely to be corrected on this by more seasoned film/tv mixers) because once someone adds distortion to say a Bear element of a T-Rex roar to give it some more bite (which from what I remember, they were using a bit of distortion and tape saturation during Jurassic Park), then I personally consider that to be sound design that's simply being done at the mixing stage.&#xD;&#xA;&#xD;&#xA;Also, good quality, flexible Digital Distortion is hard to come by because it usually sounds cliche and typical. My personal favorites would be Audio Damage &quot;Kombinat&quot;, Ohm Force &quot;Ohmicide&quot; and iZotope &quot;Trash&quot; (in that order). For Bitcrushing I'll usually use Soundhack &quot;Decimate&quot; or this freeware one I found called &quot;MultiBandBitCrusher&quot; that's been removed from circulation but I have a few backups on different drives and another on my FTP since I love it so much. Oh, D16 Group make some decent Distortion and Bitcrushing plug-ins as well.&#xD;&#xA;&#xD;&#xA;If I'm going outboard then I usually go straight for Guitar FX Pedals, Tube Head's with a Hotplate and a nice cab. Typically Analog pedals, but there are some decent one's out there as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="10582" PostHistoryTypeId="2" PostId="6164" RevisionGUID="ec63b3f6-4099-4bdc-be60-f8a28de31d18" CreationDate="2011-02-22T05:05:38.900" UserId="693" Text="+1 on the Raven sounds. I was outside my house yesterday and there was a Raven in a tree about 30ft from me and it sounded exactly like the Predator Clicks. Just a dab of the right reverb tone on it to make it sound a little wet and that's it. Once I heard it I immediately thought of this thread. &#xD;&#xA;&#xD;&#xA;Next time I have a chance to sit outside and record them I will. I'll post the recordings if I get the right one's. I've noticed them up in that tree many times since I moved into this house 2 months ago. They are very vocal birds that can mimic everything from other birds and creatures to humans, music and etc. When they are separated from their mate they will mimic their mates call to locate each other. Definitely not just the stereotypical caw/screech that you're used to hearing in movies. They can get downright demonic sounding too. I'd love to make a bunch of good versatile recordings of them and use them for a horror film sometime." ContentLicense="CC BY-SA 2.5" />
  <row Id="10583" PostHistoryTypeId="6" PostId="6161" RevisionGUID="a80bfad7-3998-41a7-874c-cb0d8695f001" CreationDate="2011-02-22T05:16:50.130" UserId="693" Comment="edited tags" Text="&lt;distortion&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10584" PostHistoryTypeId="2" PostId="6165" RevisionGUID="64e74c00-1146-4edf-a9da-21a57e4fdb5c" CreationDate="2011-02-22T06:47:46.910" UserId="348" Text="Utopia, nice answer and some really interesting tips. I too am always searching for new and improved ways of dealing with dialogue and ADR.  I did post a question a while back on SSD and got soem terrific feedback. Here it is:&#xD;&#xA;http://socialsounddesign.com/questions/2263/processing-adr-to-match-interiors-and-exteriors&#xD;&#xA;&#xD;&#xA;I feel that when dealing with dialogue in post, it is subject to a series of stages whereby you clean and sync it and then with the ambiance start to EQ it to match the space, perspective, camera angles etc. From there, there will be obvious tweaking and leveling to make sure that your dialogue doesn't get lost in the design. &#xD;&#xA;&#xD;&#xA;Good luck. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10585" PostHistoryTypeId="2" PostId="6166" RevisionGUID="05c7ae22-edd5-428d-8e2d-b073ea0d8b9a" CreationDate="2011-02-22T07:50:15.070" UserId="348" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I have been asked to get some ideas for what is required regarding sound gear for on set recording and for post production. I do have some ideas but if anyone has some links that would point me in the right direction, that would be great. It is for an educational institution that is sadly quite stingy with money so whatever you can offer would be greatly appreciated. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10586" PostHistoryTypeId="1" PostId="6166" RevisionGUID="05c7ae22-edd5-428d-8e2d-b073ea0d8b9a" CreationDate="2011-02-22T07:50:15.070" UserId="348" Text="Specs for sound in 3D" ContentLicense="CC BY-SA 2.5" />
  <row Id="10587" PostHistoryTypeId="3" PostId="6166" RevisionGUID="05c7ae22-edd5-428d-8e2d-b073ea0d8b9a" CreationDate="2011-02-22T07:50:15.070" UserId="348" Text="&lt;3d&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10588" PostHistoryTypeId="2" PostId="6167" RevisionGUID="42721f68-9787-480c-9d8e-81bde959df3f" CreationDate="2011-02-22T09:49:21.587" UserId="786" Text="I have used digital distortion of different kinds a few times. I like the texture of it, but it doesn't suit every film. For instance if you're doing a classic Jane Austen Victorian movie, you probably wouldn't go there, but if you're doing a sci-fi movie, it could very well be an acceptable part of the sound design. But of course it would be both bold and fun to do it in the Victorian movie... :)&#xD;&#xA;&#xD;&#xA;I have always loved noise in general, especially ever since my sound teacher at film school hated it, so I have tried to find good use for it whenever possible. There are many flavours of noise, from soft crackle (radio static, record scratches, optical film noise) over distortion (valves, guitar fx) techical noise (pink, white) to digital noise (jitter, bit crushers, buffer override, faulty media), and sometimes you need just a little bit of noise to bring the sound to life.&#xD;&#xA;&#xD;&#xA;In my first feature film as supervising sound editor / sound designer / re-recording mixer, we had a scene, where it had to sound like the film itself was breaking apart. The picture was jumping all over the place, with lots of jump cuts and repeated footage, and since we were working in Dolby Digital, I thought digital errors were at its place. I used some automated bit crushing on the atmospheres, slowly decreasing the bit depth and sample rate down to around 4 bit / 1000 Hz or worse. I used buffer override on the dialogue, overlaying different errors about 10 times, as well as playing back the dialogue from a disc man while shaking it like mad to provoke errors. It was pretty extreme and loud in the end, and everybody loved it (except the so-called quality control guys, who couldn't understad it). It wasn't a science fiction film, but a pretty arty film with lots of texture to everything.&#xD;&#xA;&#xD;&#xA;On another project, a low budget science fiction short film in black and white, I used a bit crusher in the mastering chain, bringing the sample rate down to 22 kHz and 12 bit, making everything sound like it came out of an old Akai 900 sampler. This was also pretty succesful, the director loved it, so we went with it. On 35 mm, in Dolby SR, it sounded magical!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10589" PostHistoryTypeId="5" PostId="6167" RevisionGUID="2464ba03-ded7-4187-933a-829e1842f173" CreationDate="2011-02-22T11:40:23.383" UserId="786" Comment="added 1 characters in body" Text="I have used digital distortion of different kinds a few times. I like the texture of it, but it doesn't suit every film. For instance if you're doing a classic Jane Austen Victorian movie, you probably wouldn't go there, but if you're doing a sci-fi movie, it could very well be an acceptable part of the sound design. But of course it would be both bold and fun to do it in the Victorian movie... :)&#xD;&#xA;&#xD;&#xA;I have always loved noise in general, especially ever since my sound teacher at film school hated it, so I have tried to find good use for it whenever possible. There are many flavours of noise, from soft crackle (radio static, record scratches, optical film noise) over distortion (valves, guitar fx) techical noise (pink, white) to digital noise (jitter, bit crushers, buffer override, faulty media), and sometimes you need just a little bit of noise to bring the sound to life.&#xD;&#xA;&#xD;&#xA;In my first feature film as supervising sound editor / sound designer / re-recording mixer, we had a scene, where it had to sound like the film itself was breaking apart. The picture was jumping all over the place, with lots of jump cuts and repeated footage, and since we were working in Dolby Digital, I thought digital errors were at its place. I used some automated bit crushing on the atmospheres, slowly decreasing the bit depth and sample rate down to around 4 bit / 1000 Hz or worse. I used buffer override on the dialogue, overlaying different errors about 10 times, as well as playing back the dialogue from a disc man while shaking it like mad to provoke errors. It was pretty extreme and loud in the end, and everybody loved it (except the so-called quality control guys, who couldn't understand it). It wasn't a science fiction film, but a pretty arty film with lots of texture to everything.&#xD;&#xA;&#xD;&#xA;On another project, a low budget science fiction short film in black and white, I used a bit crusher in the mastering chain, bringing the sample rate down to 22 kHz and 12 bit, making everything sound like it came out of an old Akai 900 sampler. This was also pretty succesful, the director loved it, so we went with it. On 35 mm, in Dolby SR, it sounded magical!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10590" PostHistoryTypeId="2" PostId="6168" RevisionGUID="f153c5cb-7f84-4bd9-bcfe-d42ab07a75ad" CreationDate="2011-02-22T13:16:48.780" UserId="432" Text="Audio for film has been in 3d for decades. You're dealing with the same gear and the same production/mixing philosophies (possibly with some exceptions in regards to panning). Thus far, no one has mixed a film while having a full 3d visual; they've still been working with a 2d print and occasionally checking out a 3d version for reference. What difference there is lies simply in creative approach, which is going to be influenced the most by discussions with the director.&#xD;&#xA;&#xD;&#xA;So:&#xD;&#xA;&#xD;&#xA;On set production gear = same&#xD;&#xA;&#xD;&#xA;Post production gear = same (5.1 system)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10591" PostHistoryTypeId="2" PostId="6169" RevisionGUID="fbf099e7-655d-4dc6-9302-2980f626fece" CreationDate="2011-02-22T13:17:43.877" UserId="726" Text="Hi all!&#xD;&#xA;&#xD;&#xA;I'm cautiously venturing into the sound-to-film world, and have landed a non-paid role as boom operator/sound technician for a local community video project. Needless to say I am a little anxious due to this being my first experience of boom operation on a film production. Since I don't own my own rig yet, the director has got hold of a Sennheiser MKE 300 and Boom pole with a mic booster. I run Logic Pro on a macbook, and am just wondering if there's anyone who's got experience of operating this mic and have worked on set by hooking it up to a laptop (I believe it has a 3.5mm jack output) and any tips for a smooth days shooting? Or any tips at all?! One area of concern for me is if there's dialogue between two people in fairly close proximity to each other, do I need to switch the mic back and fourth between the two actors, or keep it central in between the actors? The reason I'm saying this is that upon looking at the script it tends to be very short dialogue between characters and I don't know if I'd be able to keep up! I was planning on using my Zoom H2 recorder to record background ambiences aswell - is this recommended?&#xD;&#xA;&#xD;&#xA;Thanks in advance from a sound novice!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10592" PostHistoryTypeId="1" PostId="6169" RevisionGUID="fbf099e7-655d-4dc6-9302-2980f626fece" CreationDate="2011-02-22T13:17:43.877" UserId="726" Text="First sound technician role!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10593" PostHistoryTypeId="3" PostId="6169" RevisionGUID="fbf099e7-655d-4dc6-9302-2980f626fece" CreationDate="2011-02-22T13:17:43.877" UserId="726" Text="&lt;boom-operator&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10594" PostHistoryTypeId="2" PostId="6170" RevisionGUID="cb2c3f15-5ee7-4e93-a24d-5bf1c343dfa4" CreationDate="2011-02-22T13:21:59.897" UserId="830" Text="I just booked a gig as a sound recordist for a very short doco that I have been advised is being shot on 16mm. While I have had a moderate amount of experience with digital formats, working with film is actually new to me.&#xD;&#xA;&#xD;&#xA;My kit will be 1 Lav &amp; 1 boom into a field mixer and then recorded into a Zoom H4n. We are just following one guy around for 2 days with some sit down interviews and some footage of him with his work. Nothing that would normally be hard, but I must admit I am feeling that I could be missing something.&#xD;&#xA;&#xD;&#xA;I have a standard slate (non smart) for the camera assistant. Obviously no timecode, but I have looked at using an iPad smart slate (any advantages in this?).&#xD;&#xA;&#xD;&#xA;So any tips or things I should look out for?&#xD;&#xA;&#xD;&#xA;Thanks in advance for any advice." ContentLicense="CC BY-SA 2.5" />
  <row Id="10595" PostHistoryTypeId="1" PostId="6170" RevisionGUID="cb2c3f15-5ee7-4e93-a24d-5bf1c343dfa4" CreationDate="2011-02-22T13:21:59.897" UserId="830" Text="Advise on shooting on 16mm" ContentLicense="CC BY-SA 2.5" />
  <row Id="10596" PostHistoryTypeId="3" PostId="6170" RevisionGUID="cb2c3f15-5ee7-4e93-a24d-5bf1c343dfa4" CreationDate="2011-02-22T13:21:59.897" UserId="830" Text="&lt;recordist&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10597" PostHistoryTypeId="2" PostId="6171" RevisionGUID="53812256-0a7b-428f-b1a4-911eee46e0a5" CreationDate="2011-02-22T13:35:41.620" UserId="830" Text="Without getting into the actual recording technicals. As a boom operator you will work depending on how things are shot. If the scene is being shot as a master (really wide normally), you cover it as best you can without getting into picture. Then normally the DOP will move in for mids and close ups. These are the ones to get spot on. When you are working with both actors on screen at once, you need to try moving the mic to cover both their performance as best you can. When the DOP move is for close up, then just cover the actor in shot and not worry about the other actor out of shot. This way you get good coverage for editing later. The other issue you might encounter is overlaps. This is when the actors talk over the top of each other. This will happen in masters and mid shots, but always try to make sure that the director/1st AD know that you need people to give each other room in close ups. The sound editor will love you for it (and in reality it's part of your job).&#xD;&#xA;&#xD;&#xA;Now onto your recording format. This could be problematic if you are just sending your audio direct to the laptop without a mixer in between. You will not have any control over levels and will need to make sure that you have headphones (do this anyway) on to listen to the audio for clipping, etc. The situation is far from optimum, but if that is all you have, then get the gear together and practice with it before the shoot.&#xD;&#xA;&#xD;&#xA;Also, keep a log of your recordings with scene numbers, takes, etc.&#xD;&#xA;&#xD;&#xA;One more thing is to make sure you get recordings of room tone. This is when everyone is quite and you get 1-2 minutes of just the sound of the room. This is used in editing to smooth over dialogue transitions and other things.&#xD;&#xA;&#xD;&#xA;Lastly, if you are recording directly to your computer, make sure you backup before leaving for the day incase something happens to the machine. Nothing worst that having to explain to everyone why they need to reshoot a whole day.&#xD;&#xA;&#xD;&#xA;I hope this helps. Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="10598" PostHistoryTypeId="2" PostId="6172" RevisionGUID="b3e33448-b3e3-4f28-bf81-5569957ed2c7" CreationDate="2011-02-22T13:48:03.310" UserId="891" Text="I agree with Chris and ntkeep. &#xD;&#xA;&#xD;&#xA;But for me not only every film is different. It is every scene that might have it's own dynamics. The better this dynamic manipulation is done the less you will notice, when watching a film from top to end. But when jumping anywhere at random things might feel a bit strange in the very beginning, before you adopt to the relations again.&#xD;&#xA;&#xD;&#xA;But that means – as said before – that dialogue will guide everything else.&#xD;&#xA;&#xD;&#xA;The benefit of this instead of a fixed loudness level is that you control your audience a lot more. Taking down the volume just a bit in a tense scene might get people to sit up a bit more and be alert. &#xD;&#xA;&#xD;&#xA;It also affects the performance of actors sometimes. So stressing a word or exaggerating the dynamics of a row can definitely support the actors performance.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10599" PostHistoryTypeId="2" PostId="6173" RevisionGUID="a7f70477-8dd3-44f1-a612-bb6e11f300fa" CreationDate="2011-02-22T14:00:02.230" UserId="253" Text="The main issue i can think of is camera noise. If you're shooting out doors it's less of an issue, but if you're shooting indoors, it can be bad. Try to convince the director/DOP to rent a &quot;blimp&quot; or &quot;barney&quot; to block out the noise. There is an underwhelming amount of info online about this, but i'll try to update with a link when i get to work.&#xD;&#xA;&#xD;&#xA;Also, it might help for you to attend the camera tests to check if they have any squeaky mags." ContentLicense="CC BY-SA 2.5" />
  <row Id="10600" PostHistoryTypeId="2" PostId="6174" RevisionGUID="112c7b82-4882-4e2a-92c5-fe74131a3439" CreationDate="2011-02-22T17:20:36.287" UserId="673" Text="Any more feedback? Some other people?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10601" PostHistoryTypeId="2" PostId="6175" RevisionGUID="eb0929c5-90fb-40a4-8037-c9becea6f5e7" CreationDate="2011-02-22T18:12:12.433" UserId="103" Text="Hi Guys&#xD;&#xA;I've been researching some good mics for nature recording, since i can't&#xD;&#xA;afford the obvious sennheiser MKH line right now, and i came across with these&#xD;&#xA;&#xD;&#xA;[http://www.jzmic.com/en/products/28][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jzmic.com/en/products/28&#xD;&#xA;&#xD;&#xA;The specs seem seriously impressive for the price (800euros for a pair)&#xD;&#xA;with 3 different capsules&#xD;&#xA;&#xD;&#xA;Has anybody had a chance to hear these?&#xD;&#xA;&#xD;&#xA;Thanks, and sorry if i'm beating a the &quot;which microphone&quot; horse" ContentLicense="CC BY-SA 2.5" />
  <row Id="10602" PostHistoryTypeId="1" PostId="6175" RevisionGUID="eb0929c5-90fb-40a4-8037-c9becea6f5e7" CreationDate="2011-02-22T18:12:12.433" UserId="103" Text="Jz BT201 mics for nature recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="10603" PostHistoryTypeId="3" PostId="6175" RevisionGUID="eb0929c5-90fb-40a4-8037-c9becea6f5e7" CreationDate="2011-02-22T18:12:12.433" UserId="103" Text="&lt;microphone&gt;&lt;nature-recording&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10604" PostHistoryTypeId="5" PostId="6175" RevisionGUID="d01feb35-72bc-4195-a1d4-33ab595cb730" CreationDate="2011-02-22T18:18:08.553" UserId="103" Comment="deleted 2 characters in body" Text="Hi Guys&#xD;&#xA;I've been researching some good mics for nature recording, since i can't&#xD;&#xA;afford the obvious sennheiser MKH line right now, and i came across with these&#xD;&#xA;&#xD;&#xA;[http://www.jzmic.com/en/products/28][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jzmic.com/en/products/28&#xD;&#xA;&#xD;&#xA;The specs seem seriously impressive for the price (800euros for a pair)&#xD;&#xA;with 3 different capsules&#xD;&#xA;&#xD;&#xA;Has anybody had a chance to hear these?&#xD;&#xA;&#xD;&#xA;Thanks, and sorry if i'm beating the &quot;which microphone&quot; horse" ContentLicense="CC BY-SA 2.5" />
  <row Id="10605" PostHistoryTypeId="2" PostId="6176" RevisionGUID="26928208-af50-4a27-9c99-0ee83770e3b8" CreationDate="2011-02-22T19:32:22.863" UserId="28" Text="Death Magnetic?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10606" PostHistoryTypeId="2" PostId="6177" RevisionGUID="0223aa21-ff55-41ac-b5bd-3ec434fe5ece" CreationDate="2011-02-22T21:53:17.727" UserId="37" Text="Tomorrow's sound designers will stick bit-crushers on tech just like today's ones stick Vinyl, Speakerphone, and tape saturators on various things to date their sound and/or make it authentic. Can't wait ;) And then glitch is an aesthetic on its own, and it's already in some less mainstream titles..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10607" PostHistoryTypeId="2" PostId="6178" RevisionGUID="7464aea4-cc78-4268-adad-44872f9cd007" CreationDate="2011-02-22T22:00:54.490" UserId="432" Text="If all you're using the iPad slate for is time code, I'd just skip it and use the standard slate.&#xD;&#xA;&#xD;&#xA;Since I assume you'll be using a digital audio medium, you should confirm with whoever is supervising post what &quot;frame rate&quot; they want the audio recorded/delivered at. It's especially important when you get to telecine transfers and syncing. Using something other than they're planning for could cause sync headaches in post. Better to ask them (and let them make the mistake if it's going to occur), than assume they can work with whatever you give them." ContentLicense="CC BY-SA 2.5" />
  <row Id="10608" PostHistoryTypeId="2" PostId="6179" RevisionGUID="80aabd09-f8cb-4879-b748-2f3c2440e04b" CreationDate="2011-02-22T22:06:47.567" UserId="18160" Text="When all else fails, have the person slating clap his hands. This is the best audio sync-up I can think of and it's free!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10609" PostHistoryTypeId="2" PostId="6180" RevisionGUID="a8d8a227-bdee-46dd-9978-ac32b65eaa1d" CreationDate="2011-02-22T22:18:56.803" UserId="432" Text="I don't know man. I'm always interested in new mic companys and their models, but I get skeptical when they don't list qualifying data on the specs.&#xD;&#xA;&#xD;&#xA;What's the deviation in frequency response? What is the reference level for the sensitivity rating? [Usually it's 1V at 1Pa, but that's a dangerous assumption if it's not listed.] Those are the kinds of omissions that make me worry. I'd definitely look for some reviews first." ContentLicense="CC BY-SA 2.5" />
  <row Id="10610" PostHistoryTypeId="2" PostId="6181" RevisionGUID="6b17caee-9b2d-47f3-9ccc-9fb6ca13fcb7" CreationDate="2011-02-22T22:38:14.430" UserId="63" Text="I really liked it S_Mich. My only suggestion is to add some footsteps at the beginning and middle of the video (this is truly personal opinion though). I have to agree with C3Sound about the levels that are very loud, and the footsteps at the end are weird (maybe check the reverb?) " ContentLicense="CC BY-SA 2.5" />
  <row Id="10611" PostHistoryTypeId="2" PostId="6182" RevisionGUID="89a7180c-4f2d-4939-b189-3dd8c0e3f731" CreationDate="2011-02-22T23:22:38.253" UserId="88" Text="I've used a bit of digital distortion in sci-fi (combined with the sound of a bad mic connection on a 744T and other heavily-processed elements) for the sound of a character's battle suit taking explosive damage.  The tricky part was getting it to sound like something was seriously wrong with the suit without making it sound like the user's playback equipment was dying.  It ended up being so low in the mix it was nearly subliminal, but still communicated a toxic &quot;yikes, something's very wrong here&quot; feel." ContentLicense="CC BY-SA 2.5" />
  <row Id="10612" PostHistoryTypeId="2" PostId="6183" RevisionGUID="c7b1ba5c-2c71-49ae-8aba-90b95734b304" CreationDate="2011-02-23T00:47:02.630" UserId="18160" Text="Alright, not exactly a Sound Design question but I don't think there is a forum having to do with ears and the people on it possibly wouldn't understand my question so please bear with me:&#xD;&#xA;&#xD;&#xA;Have you ever worried about one of your ears being less sensitive than the other?&#xD;&#xA;&#xD;&#xA;What is the best way to test if one ear reacts different than the other when listening?&#xD;&#xA;&#xD;&#xA;For example, from time to time I think I notice a drop in high-end in my right ear compared with my left, but I flip on an oscillator and send it soaring high up to about 17-18K and can still hear it off the speaker and headphone in my right ear. It gets to the point where I am running off a mix in headphones and I think it's left-heavy just because of my hearing but I switch around the phones and it's because the mix was left-heavy. I've also thought that I was perceiving more high-end on the left of the mix because my Pro Tools keyboard/monitor cart sits to my left while I mix so maybe it's the resultant early refs I get from the screen.&#xD;&#xA;&#xD;&#xA;I have taken hearing tests and passed with flying colors but it still irks me that one ear might be different than the other.&#xD;&#xA;&#xD;&#xA;Is this something to be worried about? What's the best way to test? What are your thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10613" PostHistoryTypeId="1" PostId="6183" RevisionGUID="c7b1ba5c-2c71-49ae-8aba-90b95734b304" CreationDate="2011-02-23T00:47:02.630" UserId="18160" Text="What's the most accurate hearing test?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10614" PostHistoryTypeId="3" PostId="6183" RevisionGUID="c7b1ba5c-2c71-49ae-8aba-90b95734b304" CreationDate="2011-02-23T00:47:02.630" UserId="18160" Text="&lt;hearing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10615" PostHistoryTypeId="5" PostId="6145" RevisionGUID="e0cd0adf-82ed-4072-9388-32d0f83efa1d" CreationDate="2011-02-23T01:06:17.223" UserId="338" Comment="added 218 characters in body" Text="After fighting a time battle in a 48 hour film comp, I now realize the importance of organizing my library.  It still is not organized but it will be helpful next time to have a more organized library.  &#xD;&#xA;&#xD;&#xA;How do people organize their libraries?  Do you have folders that say like, sparkly or big hit, etc…?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also..after going through my library, renaming everything, and organizing everything has taken days and I'm not done yet. But, it is great because I get to hear every single sound as I go through and rename them." ContentLicense="CC BY-SA 2.5" />
  <row Id="10616" PostHistoryTypeId="2" PostId="6184" RevisionGUID="ea0058b4-537c-4cfb-aa86-d0a82ebcb748" CreationDate="2011-02-23T01:18:48.887" UserId="338" Text="I'm in the process of organizing my entire library.  &#xD;&#xA;&#xD;&#xA;What I'd really like now is a way to search the library rather than MacOSx search or PT search.  I'm naming my files like. bird.whipporwill.call  with periods to try and help the search engine.  &#xD;&#xA;&#xD;&#xA;Is there a free one out there that I can pick up? Does anybody know how to alter the preferences of the MacOSx finder search or PT9's search?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10617" PostHistoryTypeId="1" PostId="6184" RevisionGUID="ea0058b4-537c-4cfb-aa86-d0a82ebcb748" CreationDate="2011-02-23T01:18:48.887" UserId="338" Text="Free sound library, catalog or search engine" ContentLicense="CC BY-SA 2.5" />
  <row Id="10618" PostHistoryTypeId="3" PostId="6184" RevisionGUID="ea0058b4-537c-4cfb-aa86-d0a82ebcb748" CreationDate="2011-02-23T01:18:48.887" UserId="338" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10619" PostHistoryTypeId="2" PostId="6185" RevisionGUID="67c2118a-994d-4098-9266-ac7bf5c73873" CreationDate="2011-02-23T03:09:19.410" UserId="587" Text="So you had a stereo track needing to be cut up into 300+ lines of triggerable game audio dialog.&#xD;&#xA;&#xD;&#xA;You strip-silence, bake in your fades after adjustment of front and back end handle padding (seems like B's T's and S's can trick strip silence into pre-mature 0 crossings), and rename.&#xD;&#xA;&#xD;&#xA;Now you have a stereo track of 300+ lines of solid edit dialog, named correctly, and ready to be implemented.... crap.... you realize that they vary in dynamic, in addition to some swanky noise reduction done by the voice actor him/herself blowing up the T's and S's and Ch's. You need compression, EQ or de-esser, and maybe even some fancy FX to beef it up a bit.&#xD;&#xA;&#xD;&#xA;If you run it through an aux, youve just baked it into another stereo track needing to be cut up again. If you highlight everything and Audiosuite it, youve just baked everything into a track needing to be cut up again. If you normalize everything so you can level it all out before fx processing... well you get the picture, it seems like every option and technique to quell such issues seems to end in cutting it all up again.&#xD;&#xA;&#xD;&#xA;Any ideas in how to keep the individual files intact, while batch processing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10620" PostHistoryTypeId="1" PostId="6185" RevisionGUID="67c2118a-994d-4098-9266-ac7bf5c73873" CreationDate="2011-02-23T03:09:19.410" UserId="587" Text="Batch Processing Voice Over Lines" ContentLicense="CC BY-SA 2.5" />
  <row Id="10621" PostHistoryTypeId="3" PostId="6185" RevisionGUID="67c2118a-994d-4098-9266-ac7bf5c73873" CreationDate="2011-02-23T03:09:19.410" UserId="587" Text="&lt;batch-processing&gt;&lt;dialog&gt;&lt;voice-over&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10622" PostHistoryTypeId="2" PostId="6186" RevisionGUID="974a96e0-ee7b-4a5e-8805-4927610c4a22" CreationDate="2011-02-23T03:31:27.690" UserId="587" Text="Ah man, I just came across a cool one the other day.&#xD;&#xA;&#xD;&#xA;*franticly tick taps google*&#xD;&#xA;&#xD;&#xA;*fails and asks fellow sound designer Francis Hooper (friggin' amazing btw)*&#xD;&#xA;&#xD;&#xA;Basehead. Its like 300 bucks as opposed to the 600-900 soundminder search. In terms of differences Im not up to date on them.&#xD;&#xA;&#xD;&#xA;Some other ones include:&#xD;&#xA;&#xD;&#xA;media monkey&#xD;&#xA;&#xD;&#xA;library monkey&#xD;&#xA;&#xD;&#xA;wtf is up with monkey monkey&#xD;&#xA;&#xD;&#xA;Iced Audio&#xD;&#xA;&#xD;&#xA;NetMix&#xD;&#xA;&#xD;&#xA;Shew, I know there is a few more out there.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10623" PostHistoryTypeId="2" PostId="6187" RevisionGUID="0eeb931d-2dce-42d1-b954-823a20329b4b" CreationDate="2011-02-23T04:01:50.947" UserId="587" Text="*Warning* Nasty detail in message *Warning*&#xD;&#xA;&#xD;&#xA;I once had a sinus infection that backed up into my nasal passage and forced its way into my ear canal. It pushed a hole through my right ear drum. It had to be the most painful thing I have ever experienced in my entire life.&#xD;&#xA;&#xD;&#xA;I went to an audiologist for a hearing test after the healing was finished, to test my frequency response and everything was normal and balanced in both sides. So never fear the abilities of the human body to repair itself.&#xD;&#xA;&#xD;&#xA;The test was in a &quot;anechoic chamber&quot; as they would want to call it. However, I advised on his air conditioning outside of his booth. They ran a series of bleeps, noise, etc. and perception tests at a number of amplitudes and map it out on a graph comparing ears. Its a great way of seeing how your body responds to the spectrum.&#xD;&#xA;&#xD;&#xA;Whats awesome is that this is covered by your insurance if audio is your main profession. This has to be proven of course to your insurance company by degree, company W-2, or whatever self employed business form or tax receipt you can grab. Not only is the test covered, but those awesome custom molded ear decibel reducers can be covered as well (this seems to be more debatable by insurance companies - their argument can be something like, &quot;We wouldnt expect an engineer to be in a bumping night club if they wanted to protect their ears.&quot; Shows you how much they know about the industry eh?&#xD;&#xA;&#xD;&#xA;Anyways, just my experience. Check out going to an audiologist. They are handy people for us!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10624" PostHistoryTypeId="2" PostId="6188" RevisionGUID="f836571a-df56-40ff-b1c1-4299ab80d151" CreationDate="2011-02-23T04:45:18.333" UserId="693" Text="Batch processing can only be used for certain processes. For Gain/Normalization, Batch Fades, Etc. I'd recommend Sound Forge. I've yet to find an editor since my switch to Mac as a main platform that I'm happy with.&#xD;&#xA;&#xD;&#xA;What you need to do if you're using Pro Tools is develop a workflow that saves you as much time and involvement as possible.&#xD;&#xA;&#xD;&#xA;One huge thing to realize is that Pro Tools has a function in Audio Suite where you can select to process it as one large file, or to process individually. This only works with certain types of processing though, as some files need to be analyzed per region (like the &quot;Find Level&quot; function in &quot;Gain&quot;) and you can't automate that in Pro Tools like you can in Sound Forge.&#xD;&#xA;&#xD;&#xA;So you have to sort it into steps based on what you can do as a batch and the most appropriate time to perform certain functions without jeopardizing the effectiveness of what is needed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here's an example Workflow in PT:&#xD;&#xA;&#xD;&#xA;The first thing you want to do is separate all your parts to different tracks based on noise types and then run your noise reduction on them. That way you're avoiding to have to chop them all up yet again and you can run it as one big file per track if they have the same noise. Then you can chop and separate based on sibilance processing types, Sort those to different tracks and repeat the process with this next type of processing.&#xD;&#xA;&#xD;&#xA;The next thing you're going to want to do after your last round of processing and strip silence is to select all and Batch Fade. &#xD;&#xA;&#xD;&#xA;Then sort your regions onto tracks that are named as close as possible to the naming convention you need these files named as. Ex: Dia_Duke or VO_Radio_Announcer or whatever the specs are. You're basically sorting by character (I'm presuming the game dev wants the characters name in the file so they can properly code it into the game).&#xD;&#xA;&#xD;&#xA;Then go region by region and Consolidate (Shift+Option+3). What this will do is create a new file that's already mostly named because PT names a newly created file on a track after whatever the name of the track is and adds an underscore and a number to the end. &#xD;&#xA;&#xD;&#xA;Then, if you require additional naming then you go file by file (I'd do this just after consolidating while the file is still selected) *Turn of Tab to Transient and Tab and Shift+Tab are your friend to jump region to region and select without having to touch your mouse. Rename (Shift+CMD+R), Then select all and Export Region Definitions (Shift+CMD+Y), Select all then Export Regions as Files (Shift+CMD+K) which will allow you to export all your cleaned up, processed renamed and trimmed files into a specific directory. &#xD;&#xA;&#xD;&#xA;*Remember that holding down the Option/Alt Key in Pro Tools is a &quot;Do To All&quot; and even works in some dialog prompts (like when it keeps asking you if you want to export the region definition for each file. Holding down Option will say &quot;OK&quot; to all.&#xD;&#xA;&#xD;&#xA;All this is really is understanding your tools, what they're capable of and developing a workflow to save you time and efforts to make sure you are doing the least amount of work possible without having to repeat any efforts. Every time I have to do something I think it over and wonder how can I get this down into with the least steps possible with the tools I have. I also use a modification of this process to chop up my field recordings into libraries. Then I take them into my search program(s) and add the meta tags as a batch process and then modify them one by one as needed. It's also similar to how I do ADR Editing as well.&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10625" PostHistoryTypeId="5" PostId="6188" RevisionGUID="e8a70f59-60a2-4010-b2ca-d2acca251b74" CreationDate="2011-02-23T04:53:10.240" UserId="693" Comment="clarified a few typo's and other things." Text="Batch processing can only be used for certain processes. For Gain/Normalization, Batch Fades, Etc. I'd recommend Sound Forge. I've yet to find an editor since my switch to Mac as a main platform that I'm happy with.&#xD;&#xA;&#xD;&#xA;What you need to do if you're using Pro Tools is develop a workflow that saves you as much time and involvement as possible.&#xD;&#xA;&#xD;&#xA;One huge thing to realize is that Pro Tools has a function in Audio Suite where you can select to process it as one large file, or to process individually. This only works with certain types of processing though, as some files need to be analyzed per region (like the &quot;Find Level&quot; function in &quot;Gain&quot;) and you can't automate that in Pro Tools like you can in Sound Forge.&#xD;&#xA;&#xD;&#xA;So you have to sort it into steps based on what you can do as a batch and the most appropriate time to perform certain functions without jeopardizing the effectiveness of what is needed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here's an example Workflow in PT: (this might be a bit lengthy in description)&#xD;&#xA;&#xD;&#xA;The first thing you want to do is separate all your parts to different tracks based on noise types and then run your noise reduction on them. That way you're avoiding to have to chop them all up yet again and you can run it as one big file per track if they have the same noise. Then you can chop and separate based on sibilance processing types, Sort those to different tracks and repeat the process with the next type of processing. If I remember correctly, you can batch normalize, just make sure it's set for Peak and not RMS. Also make sure that you have the correct processing type set (per region or whatever they call it) and then hit ok/process.&#xD;&#xA;&#xD;&#xA;The next thing you're going to want to do after your last round of processing and strip silence is to select all and Batch Fade. &#xD;&#xA;&#xD;&#xA;Then sort your regions onto tracks that are named as close as possible to the naming convention you need these files named as. Ex: Dia_Duke or VO_Radio_Announcer or whatever the specs are. You're basically sorting by character (I'm presuming the game dev wants the characters name in the file so they can properly code it into the game).&#xD;&#xA;&#xD;&#xA;Then go region by region and Consolidate (Shift+Option+3). What this will do is create a new file that's already mostly named because PT names a newly created file on a track after whatever the name of the track is and adds an underscore and a number to the end. &#xD;&#xA;&#xD;&#xA;Then, if you require additional naming then you go file by file (I'd do this just after consolidating while the file is still selected) *Turn of Tab to Transient and Tab and Shift+Tab are your friend to jump region to region and select without having to touch your mouse. Rename (Shift+CMD+R), Then select all and Export Region Definitions (Shift+CMD+Y), Select all then Export Regions as Files (Shift+CMD+K) which will allow you to export all your cleaned up, processed renamed and trimmed files into a specific directory. &#xD;&#xA;&#xD;&#xA;*Remember that holding down the Option/Alt Key + Clicking in Pro Tools is a &quot;Do To All&quot; Modifier based on what you have selected (be it track names or regions) and even works in some dialog prompts (like when it keeps asking you if you want to export the region definition for each file. Holding down Option will say &quot;OK&quot; to all.&#xD;&#xA;&#xD;&#xA;All this is really is understanding your tools, what they're capable of and developing a workflow to save you time and efforts to make sure you are doing the least amount of work possible without having to repeat any efforts. Every time I have to do something I think it over and wonder how can I get this down into with the least steps possible with the tools I have. I also use a modification of this process to chop up my field recordings into libraries. Then I take them into my search program(s) and add the meta tags as a batch process and then modify them one by one as needed. It's also similar to how I do ADR Editing as well.&#xD;&#xA;&#xD;&#xA;Someone else might have some better suggestions or modifications to this process to suggest also.&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10631" PostHistoryTypeId="2" PostId="6190" RevisionGUID="4f71363b-4ec4-450b-b2c4-a7d3ee57a3f7" CreationDate="2011-02-23T05:57:53.777" UserId="6571" Text="Try iTunes also" ContentLicense="CC BY-SA 2.5" />
  <row Id="10632" PostHistoryTypeId="2" PostId="6191" RevisionGUID="d7187e8d-11e8-4fff-b8d1-b56472423f69" CreationDate="2011-02-23T06:24:12.780" UserId="693" Text="Ok, considering the company here I'm sure there are quite a few of you who have had some experience with sleep disorders. Situations like this can be hard to diagnose and usually require a very lengthy sleep analysis process that most of us can't afford to undergo since it is very involved, very expensive and quite lengthy to undertake, meaning we'd have to put our lives on hold and that's usually not a welcome thing to do in our industry. These situations can also be harmful to our careers, health and lives and I figured maybe some stories and solutions can be shared by all to help make our lives a bit better.&#xD;&#xA;&#xD;&#xA;Personally, I finally realized after many years of trial and error I have a circadian rhythm sleep disorder what's known as [DSPS - Delayed Sleep-Phase Syndrome][1] which basically means I'm nocturnal by nature aka a &quot;Night Owl&quot;. I can function as a &quot;normal&quot; human being with no sleep issues, except that my hours are shifted to be an alternate from the normal expectancies of society. It's not necessarily a matter of choice to be in this situation (as I like mornings very much). It's also a lifelong condition with no known treatment.&#xD;&#xA;&#xD;&#xA;Since my early teenage years I've tried to figure out why I can never fall asleep before 2/4am and being a very deep sleeper, often require additional assistance other than an alarm to wake up if I have to wake before my body's internal clock says it's natural to do so. I've tried shifting my schedule, sleep aids and so on. Nothing has ever had a lasting effect on me (or other DSPSer's). The only time I've ever found a normal pattern is when I was working 5pm-1am while teaching Audio Post at a University that operates 24/7 for a few years. It allowed me to go to bed around 3-5am and wake up around Noon-1pm and everything worked great until they started shifting schedules around constantly which caused me severe insomnia which eventually broke down into other similar sleep disorders. &#xD;&#xA;&#xD;&#xA;I can work normal hours, but what happens is that I become an insomniac by sleeping only 1-2 hours a night and binge sleeping when I can in order to accommodate a &quot;normal&quot; 9-5 schedule. Besides affecting performance, the human body can only take this for so long before you develop symptoms of [SWSD - Shift Work Sleep Disorder][2], [Non-24][3] and even certain traits of [Narcolepsy][4] by falling asleep without knowing it and not being able to wake according to normal practices, shifting/drifting sleep patterns and so on. This eventually bites all us DSPSer's in the ass and everyone thinks it's a lifestyle choice and something we have control over. Unfortunately we struggle to accommodate the rest of the world for seemingly our entire lives and it's quite difficult, especially when everyone things you can do something about it.&#xD;&#xA;&#xD;&#xA;Ironically enough, since any known treatment never lasts longer than a few months to a year (this is widespread for people with DSPS) the only known way to deal with this is to find employment that suits these hours. Luckily, the entertainment industry partially falls in that category. My only issue is that if I want to be employed (other than self employed/freelance) in the Audio Post sector (which I prefer) typical M-F 9-5 business hours with a lot of late night deadline crunches being the norm.&#xD;&#xA;&#xD;&#xA;So, I find myself self employed/freelance trying to create opportunities for myself in this industry during times of a rather slow economic depression and it's going much slower than I wish/need it to be and need to figure out some different solutions. Personally, I'm not much of a business fan. I'd rather show up to work and the boss says &quot;I need this done by X time&quot; and I go off into my studio and do my job, never having to worry about contracts, billing/finance or drumming up new business. It's just not my strong suit.&#xD;&#xA;&#xD;&#xA;Anyone have any suggestions, experiences or anecdotes?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Delayed_sleep_phase_syndrome&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Shift_work_sleep_disorder&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Non-24-hour_sleep-wake_syndrome&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Narcolepsy" ContentLicense="CC BY-SA 2.5" />
  <row Id="10633" PostHistoryTypeId="1" PostId="6191" RevisionGUID="d7187e8d-11e8-4fff-b8d1-b56472423f69" CreationDate="2011-02-23T06:24:12.780" UserId="693" Text="Sleep Disorders" ContentLicense="CC BY-SA 2.5" />
  <row Id="10634" PostHistoryTypeId="3" PostId="6191" RevisionGUID="d7187e8d-11e8-4fff-b8d1-b56472423f69" CreationDate="2011-02-23T06:24:12.780" UserId="693" Text="&lt;health&gt;&lt;career&gt;&lt;experiences&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10635" PostHistoryTypeId="2" PostId="6192" RevisionGUID="38259e8c-a596-4920-8dcb-924530ed3010" CreationDate="2011-02-23T06:27:18.607" UserId="18160" Text="What do you do when you are &quot;forced&quot; artistically to do something all your experience and advices have told you not to?&#xD;&#xA;&#xD;&#xA;Do you grin and bear it? Do you try to present it to him/her with hopes he/she agrees and changes it? Do you hope your sound designer friends don't watch it?&#xD;&#xA;&#xD;&#xA;I disagree with the way a few things on the film were changed and I don't know what I can do to make myself feel better about them. I guess in the end we all work for the director, though.&#xD;&#xA;&#xD;&#xA;I'm curious if anyone else has been in this situation and what came out of it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10636" PostHistoryTypeId="1" PostId="6192" RevisionGUID="38259e8c-a596-4920-8dcb-924530ed3010" CreationDate="2011-02-23T06:27:18.607" UserId="18160" Text="Disagreements with the director." ContentLicense="CC BY-SA 2.5" />
  <row Id="10637" PostHistoryTypeId="3" PostId="6192" RevisionGUID="38259e8c-a596-4920-8dcb-924530ed3010" CreationDate="2011-02-23T06:27:18.607" UserId="18160" Text="&lt;director&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10638" PostHistoryTypeId="5" PostId="6188" RevisionGUID="155caf08-fae3-4414-84dc-3a4f8042754d" CreationDate="2011-02-23T06:35:05.943" UserId="693" Comment="fixed technical detail" Text="Batch processing can only be used for certain processes. For Gain/Normalization, Batch Fades, Etc. I'd recommend Sound Forge. I've yet to find an editor since my switch to Mac as a main platform that I'm happy with.&#xD;&#xA;&#xD;&#xA;What you need to do if you're using Pro Tools is develop a workflow that saves you as much time and involvement as possible.&#xD;&#xA;&#xD;&#xA;One huge thing to realize is that Pro Tools has a function in Audio Suite where you can select to process it as one large file, or to process individually. This only works with certain types of processing though, as some files need to be analyzed per region (like the &quot;Find Level&quot; function in &quot;Gain&quot;) and you can't automate that in Pro Tools like you can in Sound Forge.&#xD;&#xA;&#xD;&#xA;So you have to sort it into steps based on what you can do as a batch and the most appropriate time to perform certain functions without jeopardizing the effectiveness of what is needed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here's an example Workflow in PT: (this might be a bit lengthy in description)&#xD;&#xA;&#xD;&#xA;The first thing you want to do is separate all your parts to different tracks based on noise types and then run your noise reduction on them. That way you're avoiding to have to chop them all up yet again and you can run it as one big file per track if they have the same noise. Then you can chop and separate based on sibilance processing types, Sort those to different tracks and repeat the process with the next type of processing. If I remember correctly, you might be able to batch normalize, just make sure it's set for Peak and not RMS. Also make sure that you have the correct processing type set (per region or whatever they call it) and then hit ok/process.&#xD;&#xA;&#xD;&#xA;The next thing you're going to want to do after your last round of processing and strip silence is to select all and Batch Fade. &#xD;&#xA;&#xD;&#xA;Then sort your regions onto tracks that are named as close as possible to the naming convention you need these files named as. Ex: Dia_Duke or VO_Radio_Announcer or whatever the specs are. You're basically sorting by character (I'm presuming the game dev wants the characters name in the file so they can properly code it into the game).&#xD;&#xA;&#xD;&#xA;Then go region by region and Consolidate (Shift+Option+3). What this will do is create a new file that's already mostly named because PT names a newly created file on a track after whatever the name of the track is and adds an underscore and a number to the end. &#xD;&#xA;&#xD;&#xA;Then, if you require additional naming then you go file by file (I'd do this just after consolidating while the file is still selected) *Turn of Tab to Transient and Tab and Shift+Tab are your friend to jump region to region and select without having to touch your mouse. Rename (Shift+CMD+R), Then select all and Export Region Definitions (Shift+CMD+Y), Select all then Export Regions as Files (Shift+CMD+K) which will allow you to export all your cleaned up, processed renamed and trimmed files into a specific directory. &#xD;&#xA;&#xD;&#xA;*Remember that holding down the Option/Alt Key + Clicking in Pro Tools is a &quot;Do To All&quot; Modifier based on what you have selected (be it track names or regions) and even works in some dialog prompts (like when it keeps asking you if you want to export the region definition for each file. Holding down Option will say &quot;OK&quot; to all.&#xD;&#xA;&#xD;&#xA;All this is really is understanding your tools, what they're capable of and developing a workflow to save you time and efforts to make sure you are doing the least amount of work possible without having to repeat any efforts. Every time I have to do something I think it over and wonder how can I get this down into with the least steps possible with the tools I have. I also use a modification of this process to chop up my field recordings into libraries. Then I take them into my search program(s) and add the meta tags as a batch process and then modify them one by one as needed. It's also similar to how I do ADR Editing as well.&#xD;&#xA;&#xD;&#xA;Someone else might have some better suggestions or modifications to this process to suggest also.&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10639" PostHistoryTypeId="2" PostId="6193" RevisionGUID="5de8f2ec-bede-4220-9e6a-71a96991a647" CreationDate="2011-02-23T06:40:30.600" UserId="693" Text="You sort of answered your own question.&#xD;&#xA;&#xD;&#xA;It all really depends on how questionable the situation is, but if there's one thing to remember if you already agreed to do the job is that ultimately it's about the Directors vision, not yours.&#xD;&#xA;&#xD;&#xA;You might want to provide alternate and informed options so they can hopefully choose wisely. Don't give them more than two alternates though, otherwise you may give them option anxiety.&#xD;&#xA;&#xD;&#xA;You really just have to learn that sometimes your material might get deleted or replaced and roll with it. It's happened to the best of us and will undoubtedly happen to all of us in our lifetime/careers." ContentLicense="CC BY-SA 2.5" />
  <row Id="10640" PostHistoryTypeId="2" PostId="6194" RevisionGUID="23dd245b-ca72-445c-8840-f759ee592bab" CreationDate="2011-02-23T07:04:52.047" UserId="290" Text="Heyo! I used to run into this situation pretty often, especially while in film school, but as I've grown professionally I've realized that more often than not the problem is not the director's inexperience / poor opinion / limited budget etc., but my own failure to totally grok the experience they're trying to craft.&#xD;&#xA;&#xD;&#xA;Here's the important thing: Ultimately, it's the director's film, and what they think sounds right is much more important than what you think sounds right. They're the lead creative force behind the project, and if they're making uninteresting or cliched sound decisions, you have to either re-evaluate your understanding of what this movie is supposed to be, or you have to convince the director of why your particular decisions are the right ones for the movie they're making.&#xD;&#xA;&#xD;&#xA;What doesn't work is just saying something's a bad decision, or doesn't sound good, or isn't the way things are done. Every project is different, and the director knows that just because something is &quot;wrong&quot; for other projects doesn't make it wrong for this one. You have to come at it from their perspective, and really focus on why a particular decision doesn't work for this particular movie.&#xD;&#xA;&#xD;&#xA;Finally, it's crucial that you and the director be making the same movie. Disagreements are healthy as long as they ultimately either enlighten you with an aspect of the director's vision you hadn't considered, or enlighten the director with a way to achieve that vision they hadn't considered. If you're having a *lot* of disagreements, then before becoming frustrated with the director you should think long and hard about what it is that you're not getting about their vision. And if even after that you think the director's wrong, be prepared with rationales specific to *this* film, *this* audience, etc.&#xD;&#xA;&#xD;&#xA;But I'd recommend absolutely stating your opinions and being prepared to learn something. If you don't voice your disagreements, the collaboration is doomed because you're idea of what this movie should be (sound like) don't match the client's.&#xD;&#xA;&#xD;&#xA;Sorry for the long post. My 2cents :-D&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10641" PostHistoryTypeId="2" PostId="6195" RevisionGUID="345e0700-570d-48de-9286-b31401af8730" CreationDate="2011-02-23T07:10:00.677" UserId="728" Text="@Syndicate Oh I didn't know about this DSPS stuff. I have been nocturnal since years... I feel I am more active at night as I can concentrate better without having to worry about day time distractions. I also worked graveyard shift as a sound designer/mixer at a Television Network which had Five channels and to design sound and mix for on-air promos would require lot of creative and attention space. It worked fine.. I didn't mind it but I also had to travel 3 hours in crowded train daily home-work-home. After around 9 months of this routine, I started having some side-effects as my body felt tired which started reflecting in my creativity and work in general.&#xD;&#xA;&#xD;&#xA;Luckily by that time, I had gotten an offer to study Masters programme in the UK, so I quit my job at the right time before it could get worse. Conclusion is... even though I am nocturnal by nature, daily routine of day-time sleeping and night-time working pattern will affect your body and mind eventually. I still haven't figured out the way to tackle this.. as I am writing this post early morning after having stayed awake whole night and working on some projects..haha.. but atleast it is not a daily routine now.&#xD;&#xA;&#xD;&#xA;@Chris I have attended the 10-day Vipassana course some years ago... one of the best experiences ever. Though I do not practice it these days... needs dedication.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10642" PostHistoryTypeId="2" PostId="6196" RevisionGUID="01a9f9c3-f97f-42d4-9309-8181dfa38585" CreationDate="2011-02-23T07:13:24.897" UserId="693" Text="I know there have been some twitter threads on here so I have to make this a question as I didn't want this to be buried at the end of a ton of posts since this is more of a group networking invite.&#xD;&#xA;&#xD;&#xA;About a year and a half ago I started a &quot;Twibe&quot; for sound designers.&#xD;&#xA;&#xD;&#xA;What a Twibe does is it aggregates tweets from the members into your twitter feed using specific keywords without having to follow that twitter user. Say for example someone has occasional interesting tweets about Sound Design, but happens to not be able to separate business and private and list a bunch of disgusting food that they're eating all the time or maybe complaining about their love life or whatever. This way, you only see the tweets from them that feature these set key words. &#xD;&#xA;&#xD;&#xA;I have the keywords for the group set to Sound Design, SoundDesigners and Audio. So if you use any of those in your tweet, it will be fed to the Twibe.&#xD;&#xA;&#xD;&#xA;We have some great and legendary members on board including Practitioners, Educators, Students, Companies, Tutorial Creators, Other networks and more. We try to help each other out with networking, promotion and learning opportunities by re-tweeting each others posts, contributing new posts to the Twibe and it's dead simple to use. I've met some great new colleagues through there over time and I've learned a lot from others.&#xD;&#xA;&#xD;&#xA;Would you like to come join us? (my obligatory question to satisfy this post, lol)&#xD;&#xA;&#xD;&#xA;http://www.twibes.com/group/SoundDesigners or the master shortened URL is http://twib.es/3DM&#xD;&#xA;&#xD;&#xA;I'm on there and Twitter as @SynSynth and I look forward to seeing you all there." ContentLicense="CC BY-SA 2.5" />
  <row Id="10643" PostHistoryTypeId="1" PostId="6196" RevisionGUID="01a9f9c3-f97f-42d4-9309-8181dfa38585" CreationDate="2011-02-23T07:13:24.897" UserId="693" Text="Twitter Users on here?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10644" PostHistoryTypeId="3" PostId="6196" RevisionGUID="01a9f9c3-f97f-42d4-9309-8181dfa38585" CreationDate="2011-02-23T07:13:24.897" UserId="693" Text="&lt;social-network&gt;&lt;career&gt;&lt;networking&gt;&lt;education&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10645" PostHistoryTypeId="2" PostId="6197" RevisionGUID="95fb0a6e-54d8-4bf5-bca8-d703e88dd91e" CreationDate="2011-02-23T07:26:00.883" UserId="587" Text="Joined up! See everyone around on the Twibe!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10646" PostHistoryTypeId="2" PostId="6198" RevisionGUID="09e2c30c-c2b8-4e55-aacf-b974673bca29" CreationDate="2011-02-23T07:26:11.780" UserId="290" Text="may be a silly question, but how do I follow the twibe?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10647" PostHistoryTypeId="5" PostId="6197" RevisionGUID="eaae567c-c32f-4b46-ad4f-a580ef5e9a02" CreationDate="2011-02-23T07:33:38.407" UserId="587" Comment="added 468 characters in body" Text="Joined up! See everyone around on the Twibe!&#xD;&#xA;&#xD;&#xA;@everyone&#xD;&#xA;&#xD;&#xA;Twibe is what seems to be a separate entity connected to twitter. Go to the link Synth posted and click tweet to join twibe. Itll take you to your twitter page and paste it automatically into your tweet bar. Tweet it, and it will say you need to allow twibe access to your account. Say yes or ok and itll redirect you to the twibe site. Verify with your email address, and go check it to click the link in your email to verify. Once done, your golden." ContentLicense="CC BY-SA 2.5" />
  <row Id="10648" PostHistoryTypeId="5" PostId="6196" RevisionGUID="a083d41a-b01c-43b6-8ec7-33d665539490" CreationDate="2011-02-23T07:37:59.820" UserId="693" Comment="Added info" Text="I know there have been some twitter threads on here so I have to make this a question as I didn't want this to be buried at the end of a ton of posts since this is more of a group networking invite.&#xD;&#xA;&#xD;&#xA;About a year and a half ago I started a &quot;Twibe&quot; for sound designers.&#xD;&#xA;&#xD;&#xA;What a Twibe does is it aggregates tweets from the members into your twitter feed using specific keywords without having to follow that twitter user. Say for example someone has occasional interesting tweets about Sound Design, but happens to not be able to separate business and private and list a bunch of disgusting food that they're eating all the time or maybe complaining about their love life or whatever. This way, you only see the tweets from them that feature these set key words. &#xD;&#xA;&#xD;&#xA;I have the keywords for the group set to Sound Design, SoundDesigners and Audio. So if you use any of those in your tweet, it will be fed to the Twibe.&#xD;&#xA;&#xD;&#xA;We have some great and legendary members on board including Practitioners, Educators, Students, Companies, Tutorial Creators, Other networks and more. We try to help each other out with networking, promotion and learning opportunities by re-tweeting each others posts, contributing new posts to the Twibe and it's dead simple to use. I've met some great new colleagues through there over time and I've learned a lot from others.&#xD;&#xA;&#xD;&#xA;Would you like to come join us? (my obligatory question to satisfy this post, lol)&#xD;&#xA;&#xD;&#xA;http://www.twibes.com/group/SoundDesigners or the master shortened URL is http://twib.es/3DM&#xD;&#xA;&#xD;&#xA;There's a big green arrow button that says &quot;Tweet to Join&quot;. It uses your Twitter profile info as your Twibe profile info. You just have to allow Twibes to access your twitter account. Simple as that.&#xD;&#xA;&#xD;&#xA;I'm on there and Twitter as @SynSynth and I look forward to seeing you all there." ContentLicense="CC BY-SA 2.5" />
  <row Id="10649" PostHistoryTypeId="5" PostId="6197" RevisionGUID="4b535400-6970-4b24-b1bb-b0c490a398d8" CreationDate="2011-02-23T07:41:25.150" UserId="587" Comment="stupid grammar" Text="Joined up! See everyone around on the Twibe!&#xD;&#xA;&#xD;&#xA;@everyone&#xD;&#xA;&#xD;&#xA;Twibe is what seems to be a separate entity connected to twitter. Go to the link Synth posted and click tweet to join twibe. Itll take you to your twitter page and paste it automatically into your tweet bar. Tweet it, and it will say you need to allow twibe access to your account. Say yes or ok and itll redirect you to the twibe site. Verify with your email address, and go check it to click the link in your email to verify. Once done, youre golden." ContentLicense="CC BY-SA 2.5" />
  <row Id="10650" PostHistoryTypeId="5" PostId="6196" RevisionGUID="97934854-9a0b-4813-aada-2892d0d06a7a" CreationDate="2011-02-23T07:54:32.677" UserId="693" Comment="added info" Text="I know there have been some twitter threads on here so I have to make this a question as I didn't want this to be buried at the end of a ton of posts since this is more of a group networking invite.&#xD;&#xA;&#xD;&#xA;About a year and a half ago I started a &quot;Twibe&quot; for sound designers.&#xD;&#xA;&#xD;&#xA;What a Twibe does is it aggregates tweets from the members into your twitter feed using specific keywords without having to follow that twitter user. Say for example someone has occasional interesting tweets about Sound Design, but happens to not be able to separate business and private and list a bunch of disgusting food that they're eating all the time or maybe complaining about their love life or whatever. This way, you only see the tweets from them that feature these set key words. &#xD;&#xA;&#xD;&#xA;I have the keywords for the group set to Sound Design, SoundDesigners and Audio. So if you use any of those in your tweet, it will be fed to the Twibe.&#xD;&#xA;&#xD;&#xA;We have some great and legendary members on board including Practitioners, Educators, Students, Companies, Tutorial Creators, Other networks and more. We try to help each other out with networking, promotion and learning opportunities by re-tweeting each others posts, contributing new posts to the Twibe and it's dead simple to use. I've met some great new colleagues through there over time and I've learned a lot from others.&#xD;&#xA;&#xD;&#xA;Would you like to come join us? (my obligatory question to satisfy this post, lol)&#xD;&#xA;&#xD;&#xA;http://www.twibes.com/group/SoundDesigners or the master shortened URL is http://twib.es/3DM&#xD;&#xA;&#xD;&#xA;There's a big green arrow button that says &quot;Tweet to Join&quot;. It uses your Twitter profile info as your Twibe profile info. You just have to allow Twibes to access your twitter account. Also, in order to not to have to visit the twibe and see the aggregate feed be sure to follow these instructions:&#xD;&#xA;&#xD;&#xA;Be sure to click “Make Twitter List” just above the members’ photos on the twibe page, Twibes will create a Twitter list for you that you will be able to see on Twitter. Twibes will add/remove people from the Twitter list as they join or leave the twibe, usually within a day or two.&#xD;&#xA;&#xD;&#xA;It's as simple as that.&#xD;&#xA;&#xD;&#xA;I'm on there and Twitter as @SynSynth and I look forward to seeing you all there." ContentLicense="CC BY-SA 2.5" />
  <row Id="10651" PostHistoryTypeId="5" PostId="6196" RevisionGUID="27b04e58-b670-44c6-aea4-69a5f62cbcc5" CreationDate="2011-02-23T08:07:58.147" UserId="693" Comment="fixed info" Text="I know there have been some twitter threads on here so I have to make this a question as I didn't want this to be buried at the end of a ton of posts since this is more of a group networking invite.&#xD;&#xA;&#xD;&#xA;About a year and a half ago I started a &quot;Twibe&quot; for sound designers.&#xD;&#xA;&#xD;&#xA;What a Twibe does is it aggregates tweets from the members into the Twibe feed using specific keywords without having to follow that twitter user. Say for example someone has occasional interesting tweets about Sound Design, but happens to not be able to separate business and private and list a bunch of disgusting food that they're eating all the time or maybe complaining about their love life or whatever. This way, you only see the tweets from them that feature these set key words. &#xD;&#xA;&#xD;&#xA;I have the keywords for the group set to Sound Design, SoundDesigners and Audio. So if you use any of those in your tweet, it will be fed to the Twibe.&#xD;&#xA;&#xD;&#xA;We have some great and legendary members on board including Practitioners, Educators, Students, Companies, Tutorial Creators, Other networks and more. We try to help each other out with networking, promotion and learning opportunities by re-tweeting each others posts, contributing new posts to the Twibe and it's dead simple to use. I've met some great new colleagues through there over time and I've learned a lot from others.&#xD;&#xA;&#xD;&#xA;Would you like to come join us? (my obligatory question to satisfy this post, lol)&#xD;&#xA;&#xD;&#xA;http://www.twibes.com/group/SoundDesigners or the master shortened URL is http://twib.es/3DM&#xD;&#xA;&#xD;&#xA;There's a big green arrow button that says &quot;Tweet to Join&quot;. It uses your Twitter profile info as your Twibe profile info. You just have to allow Twibes to access your twitter account. &#xD;&#xA;&#xD;&#xA;Also, in order to not to have to visit the twibe and see the aggregate feed be sure to follow these instructions:&#xD;&#xA;&#xD;&#xA;Be sure to click “Make Twitter List” just above the members’ photos on the twibe page, Twibes will create a Twitter list for you that you will be able to see on Twitter. Twibes will add/remove people from the Twitter list as they join or leave the twibe, usually within a day or two.&#xD;&#xA;&#xD;&#xA;It's as simple as that.&#xD;&#xA;&#xD;&#xA;I'm on there and Twitter as @SynSynth and I look forward to seeing you all there." ContentLicense="CC BY-SA 2.5" />
  <row Id="10652" PostHistoryTypeId="2" PostId="6199" RevisionGUID="437f2df9-2387-4642-8db8-f162408163e5" CreationDate="2011-02-23T10:42:36.437" UserId="786" Text="Right now I'm just using the Finder. I'm working in somebody else's studio without Soundminer, so I brought my library disk in order to speed up things a little bit. So I'm searching my sound archive folder while in preview mode (press space in finder while focused on a file), and dragging and dropping directly into Protools on the track. At least this works super fine with stereo files - a bit risky though with mono files - if they are 48k 24 bit mono WAV, they are simply added to my session instead of being copied to my session folder, which is a no go!&#xD;&#xA;&#xD;&#xA;So if the files turn out to be mono, I import them using the Protools import menu, and copy them to the session.&#xD;&#xA;&#xD;&#xA;Of course I can't spot inside files or just import parts of a soundfile, but it works pretty well for a free solution." ContentLicense="CC BY-SA 2.5" />
  <row Id="10653" PostHistoryTypeId="2" PostId="6200" RevisionGUID="c883e946-a957-4d7a-b9ca-b71e01ed3f1d" CreationDate="2011-02-23T13:34:33.717" UserId="194" Text="protools won't help you here, you'll need an outside program.  Fortunately there are quite a few out there.&#xD;&#xA;&#xD;&#xA;Soundforge is kind of the defacto standard for this type of thing, but its PC only so it may not be your cup o tea.  The reason it rocks though is because you can set up a plugin chain and run the batch while setting the output to a new folder - resulting in a processed folder with correct file names all done in one fell swoop.&#xD;&#xA;&#xD;&#xA;On the mac side you've got Izotope RX2 which has a batch process function and an ability to run VST plugins.  This is really only viable if you need one plug or effect though, since you're not auditioning an entire chain.&#xD;&#xA;&#xD;&#xA;Soundminer is another entirely viable option here that we've used before.  Take your edited and named files and run them through a renamer, adding the suffix &quot;-pre&quot; to them.  Chuck all of your pre files into soundminer and open up the vst rack.  Add plugins to your heart's content, and jump around the various files to make sure that your results are consistent throughout.  Once you're satisfied just hightlight all of them and spot them into a fresh protools session.  Export into a new folder and remove the suffix.  done." ContentLicense="CC BY-SA 2.5" />
  <row Id="10654" PostHistoryTypeId="2" PostId="6201" RevisionGUID="85469caf-7305-43cb-a8f1-6e95d97039e5" CreationDate="2011-02-23T14:49:28.007" UserId="37" Text="director calls the shots ;) &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10655" PostHistoryTypeId="2" PostId="6202" RevisionGUID="1871c04c-d0dd-4428-b57f-b986dc34b8ce" CreationDate="2011-02-23T15:13:12.700" UserId="6524" Text="Here's a great article on something sort of similar from [Lifehacker][1] it was posted just a few days ago.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://lifehacker.com/#!5765795/how-to-complain-to-get-what-you-want-without-being-a-huge-asshole" ContentLicense="CC BY-SA 2.5" />
  <row Id="10656" PostHistoryTypeId="2" PostId="6203" RevisionGUID="7d9caa14-4916-4957-8ee5-f18d11bfb308" CreationDate="2011-02-23T15:25:03.853" UserDisplayName="user80" Text="The director is always right.  Our job is to be invisible and support everyone else." ContentLicense="CC BY-SA 2.5" />
  <row Id="10658" PostHistoryTypeId="2" PostId="6204" RevisionGUID="85c48903-b1fc-4858-83d6-4e0e3091c525" CreationDate="2011-02-23T18:56:48.977" UserId="826" Text="Hello, I am looking for a online database of sound effects that has the same audio files that you can find on commercial cd's so i can buy separately just the sound i need. I've heard some sounds that would be perfect for a project at my friend's studio but don't want to buy whole collection. The example would be Hollywood Edge Foley series. Are there any 1:1 online copies of cd's?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10659" PostHistoryTypeId="1" PostId="6204" RevisionGUID="85c48903-b1fc-4858-83d6-4e0e3091c525" CreationDate="2011-02-23T18:56:48.977" UserId="826" Text="any online sfx library that has the exact (the same) files that are sold on cd's?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10660" PostHistoryTypeId="3" PostId="6204" RevisionGUID="85c48903-b1fc-4858-83d6-4e0e3091c525" CreationDate="2011-02-23T18:56:48.977" UserId="826" Text="&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10661" PostHistoryTypeId="2" PostId="6205" RevisionGUID="0cbc51ec-c66e-4a81-837f-bd4f2cd1d459" CreationDate="2011-02-23T19:10:12.940" UserId="432" Text="I'm not aware of any that do specifically what you are looking for.&#xD;&#xA;&#xD;&#xA;You could try contacting those libraries to see if they will sell you just the specific sounds you are looking for, but there are a bunch of online resources that sell individual sound files you can purchase. Sounddogs.com is one of the best resources in that respect." ContentLicense="CC BY-SA 2.5" />
  <row Id="10662" PostHistoryTypeId="2" PostId="6206" RevisionGUID="21c12089-67b9-492e-8207-c19abe404422" CreationDate="2011-02-23T19:24:50.757" UserId="786" Text="There's also sonomic.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="10663" PostHistoryTypeId="2" PostId="6207" RevisionGUID="241c336b-1341-417b-b487-2f108aa9b24a" CreationDate="2011-02-23T19:55:21.880" UserId="18" Text="Sounddogs.com has all the Sound Ideas and Soundstorm stuff.  Not sure if any site has HW Edge." ContentLicense="CC BY-SA 2.5" />
  <row Id="10664" PostHistoryTypeId="2" PostId="6208" RevisionGUID="e85e22d6-f019-4e50-8911-8a84c8220a27" CreationDate="2011-02-23T20:02:05.580" UserId="6524" Text="I don't know if any of you have seen this but I just found it while looking up bird songs on youtube and I was pretty amazed.. &#xD;&#xA;&#xD;&#xA;[youtube]VjE0Kdfos4Y[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="10665" PostHistoryTypeId="1" PostId="6208" RevisionGUID="e85e22d6-f019-4e50-8911-8a84c8220a27" CreationDate="2011-02-23T20:02:05.580" UserId="6524" Text="A Living Sound Effect Library" ContentLicense="CC BY-SA 2.5" />
  <row Id="10666" PostHistoryTypeId="3" PostId="6208" RevisionGUID="e85e22d6-f019-4e50-8911-8a84c8220a27" CreationDate="2011-02-23T20:02:05.580" UserId="6524" Text="&lt;birds&gt;&lt;sounds&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10667" PostHistoryTypeId="2" PostId="6209" RevisionGUID="ead5c6ce-dccd-4f66-9f7d-3060b6e9e137" CreationDate="2011-02-23T20:07:24.000" UserId="889" Text="Gamecues seems to be a pretty good place to start. It offers many sound effects from the Sound Ideas collections, BlastwaveFX, and others.  There's an integrated search engine on the website which I believe allows you to sort by author/publisher.  I'm not sure if the have any Hollywood Edge sounds though.  [http://www.gamecues.com/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gamecues.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10670" PostHistoryTypeId="2" PostId="6211" RevisionGUID="02285bde-8e2a-43f4-8371-dcaeafccd879" CreationDate="2011-02-23T21:32:20.410" UserId="887" Text="I kind of just needed an excuse to post this fabulous article from the BBC.&#xD;&#xA;&#xD;&#xA;http://www.bbc.co.uk/news/technology-12510702&#xD;&#xA;&#xD;&#xA;It is basically a software that does what the leighman has always asked of us - and we have always laughed at them for... (Do I sound really old now?)&#xD;&#xA;&#xD;&#xA;So what do you guys think? Will it take over for Pro Tools? Or integrate in it? How is it useful for us who generally work in the exact opposite direction? Implications for cleaning up production sound, etc, etc... &#xD;&#xA;&#xD;&#xA;Would be fun to hear your thoughts on this. Or better yet, anyone tried it...?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10671" PostHistoryTypeId="1" PostId="6211" RevisionGUID="02285bde-8e2a-43f4-8371-dcaeafccd879" CreationDate="2011-02-23T21:32:20.410" UserId="887" Text="What are the implications of this new software?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10672" PostHistoryTypeId="3" PostId="6211" RevisionGUID="02285bde-8e2a-43f4-8371-dcaeafccd879" CreationDate="2011-02-23T21:32:20.410" UserId="887" Text="&lt;software&gt;&lt;future&gt;&lt;theory&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10673" PostHistoryTypeId="2" PostId="6212" RevisionGUID="a5f69d1b-ded6-462b-b520-7b20d0fcc4ad" CreationDate="2011-02-23T22:02:01.053" UserId="801" Text="Hello,&#xD;&#xA;&#xD;&#xA;Production is finished and now the US producer asks me to send the music clearance forms....?&#xD;&#xA;I know these in Holland, but not in the US&#xD;&#xA;Does anybody has an idea of where to get these forms, are they standard? should i make something up?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10674" PostHistoryTypeId="1" PostId="6212" RevisionGUID="a5f69d1b-ded6-462b-b520-7b20d0fcc4ad" CreationDate="2011-02-23T22:02:01.053" UserId="801" Text="Music clearance forms" ContentLicense="CC BY-SA 2.5" />
  <row Id="10675" PostHistoryTypeId="3" PostId="6212" RevisionGUID="a5f69d1b-ded6-462b-b520-7b20d0fcc4ad" CreationDate="2011-02-23T22:02:01.053" UserId="801" Text="&lt;music&gt;&lt;clearance&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10676" PostHistoryTypeId="2" PostId="6213" RevisionGUID="b880a710-848f-4e9c-9635-6f614f0771f0" CreationDate="2011-02-23T22:20:56.247" UserId="863" Text="We use Adobe Audition in the studio for this. You can set up and save a batch and even add plugins into the process, we've got altiverb running on a batch for example. Just open it up, select run batch, select the files you want and the export folder, all the settings and wham leave it running come back an hour later, all done :) &#xD;&#xA;&#xD;&#xA;Very easy to use and set up.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10677" PostHistoryTypeId="2" PostId="6214" RevisionGUID="13a4a6a1-8de7-4c1b-aa81-70a9c9b43d42" CreationDate="2011-02-23T22:38:20.930" UserId="863" Text="One of the sound designers for Alien vs Predators gave a short seminar at my university and he said that the predator clicks were performed by an actor. So as long as he wasn't lying, I can vouch for that claim!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10678" PostHistoryTypeId="2" PostId="6215" RevisionGUID="ffaab8fb-4440-4bea-84f1-7e0cf1e938eb" CreationDate="2011-02-23T22:42:14.263" UserId="56" Text="It seems a nice software. The first thing I can think of is sound cleaning and restoration.&#xD;&#xA;There are a lot of possibilities in composition as well but I'm not sure this software is better than others. May it'd be very good for remixes or useful if you want to extract just a track from a mix." ContentLicense="CC BY-SA 2.5" />
  <row Id="10679" PostHistoryTypeId="2" PostId="6216" RevisionGUID="6eeff0bb-fadd-4165-92de-26f439578f62" CreationDate="2011-02-23T22:58:12.193" UserId="432" Text="Celemony has had something like this out for a while now (Melodyne). You can check out information about it at: http://www.celemony.com/cms/index.php?id=products_editor" ContentLicense="CC BY-SA 2.5" />
  <row Id="10680" PostHistoryTypeId="2" PostId="6217" RevisionGUID="d5b893f8-8630-423a-bfa4-1ea1379f9ca5" CreationDate="2011-02-23T22:59:27.123" UserId="863" Text="Depending on the situation handed to me, my role and the quality of the recordings, I take different approaches.&#xD;&#xA;&#xD;&#xA;In an idea situation: The sound recordist may have recorded onto multiple mics, lapel + boom, so I check which is sounding best first. &#xD;&#xA;&#xD;&#xA;If the sound recordist is good, thye will have taken roomtone/presence/atmos, so I'll just cut the dialogue as tightly as possible with in/out fades, use noise reduction/deesser/declick if needed and set levels nice and evenly so they hit where I want them to, Lapel mics will need some EQing to match the boom. I then add the room tone and edit the levels so the edits/cuts are not noticeable.&#xD;&#xA;&#xD;&#xA;If the sound recordist is very good they will have also taken wild tracks of dialogue and then I can replace any lines which I may have discrepancies with. If the sound recordist is further still on the ball they will have also recorded some foley in the environment which I can then continue to add in so I can make sure I don't need to use any production track other than for dialogue.&#xD;&#xA;&#xD;&#xA;Then I will consider recommending doing extra foley or ADR, at which point I hope the Sound recordist is a god and has taken some convolution recordings so we can match any ADR to the scenes.&#xD;&#xA;&#xD;&#xA;In a non idea situation: it's a case of a hell of a lot more work than should be needed to find a few seconds of atmos in takes to loop, noise reduction, filling gaps with what you can, spending ages with EQ and reverb to match ADR to production. So not needed for an extra few minutes on set to record." ContentLicense="CC BY-SA 2.5" />
  <row Id="10681" PostHistoryTypeId="2" PostId="6218" RevisionGUID="3f8e7eba-d1cc-4643-ba5f-74bbebf976de" CreationDate="2011-02-23T23:18:21.883" UserId="845" Text="You know, I've started three different versions of a reply to your post, each one with a different opinion, and found myself caught by some contradiction or other.  So here's my final attempt.&#xD;&#xA;&#xD;&#xA;I can't help but think that the best analogy for what I'm thinking is in fact directly linked to what we do.  The way a source sounds depends on myriad things:  the size of the room; the air temperature/humidity; the amount of absorption/diffusion present; how loud the source is; if there is anything in the room that will resonate sympathetically with it; and a whole host of others.  But the fundamental point is that it's all connected, change one and everything changes.  So, no matter what you're learning and no matter where you're learning it, it'll affect how you understand everything else.  I learned more about mixing music by recording and cleaning up voiceovers than I ever did actually *mixing music.*  I'm exaggerating, of course, but the finesse stuff, beyond simple levelling and getting rid of &quot;boominess&quot;, I learned from trying to EQ bad rooms out of VO recordings.  &#xD;&#xA;&#xD;&#xA;So I can't honestly say that I take any approach other than simply trying to learn as much about everything as I possibly can and hope that it will end up being of some kind of use.  I suppose you call it the Jack of all Trades approach.  Personally I've always been annoyed by guitar players who call themselves musicians but can't play any other instrument.  You don't play music, you play *guitar*!    &#xD;&#xA;&#xD;&#xA;Meh, that's not quite how I wanted to explain it either (that second analogy was more music than sound design), bugger.  I think you understand what I mean though.  The clich&amp;eacute; is far more than the clich&amp;eacute; of its clich&amp;eacute;." ContentLicense="CC BY-SA 2.5" />
  <row Id="10682" PostHistoryTypeId="2" PostId="6219" RevisionGUID="2e98c568-5dc7-4be8-89b9-115e186c9a3d" CreationDate="2011-02-23T23:43:26.097" UserId="338" Text="well, I was just going through some drones and I'll bet the new software could help take out some annoying beeps that are in there but spectral repair could do the same&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10683" PostHistoryTypeId="2" PostId="6220" RevisionGUID="4c38f270-854d-4131-b506-6825c0aa06d0" CreationDate="2011-02-23T23:49:54.917" UserId="432" Text="So, this question is for anyone out there who has used both Rode and Rycote wind protection systems. Twice now I've heard people say they prefer the Rode system over the Rycote (Haydn Payne here on SSD being one of them). I'm curious if there's anyone else here who has used both and has a preference for one over the other.&#xD;&#xA;&#xD;&#xA;I'm trying to make a decision on future purchases. The Rode price point is very appealing, and I could probably mod it to take a Rycote Connbox if I really wanted to get silly. Any thoughts on durability and functional performance of the two brands? I'm just looking at this comparison for single mic systems (not stereo/m-s).&#xD;&#xA;&#xD;&#xA;[I'm aware that Sennheiser makes zeppelin kits as well. We have two at work, and I'm not impressed with the way the back cap fits. They're out of the running as far as I'm concerned.]&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 2.5" />
  <row Id="10684" PostHistoryTypeId="1" PostId="6220" RevisionGUID="4c38f270-854d-4131-b506-6825c0aa06d0" CreationDate="2011-02-23T23:49:54.917" UserId="432" Text="Rode vs. Rycote" ContentLicense="CC BY-SA 2.5" />
  <row Id="10685" PostHistoryTypeId="3" PostId="6220" RevisionGUID="4c38f270-854d-4131-b506-6825c0aa06d0" CreationDate="2011-02-23T23:49:54.917" UserId="432" Text="&lt;field-recording&gt;&lt;wind-protection&gt;&lt;blimps&gt;&lt;opinion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10686" PostHistoryTypeId="2" PostId="6221" RevisionGUID="f56ef952-00ea-45f4-bb19-142a58ded24e" CreationDate="2011-02-24T00:23:16.750" UserId="217" Text="I have used both, but each are used in different situations.&#xD;&#xA;&#xD;&#xA;My Rode Blimp is used to house my NT4 and normally sits on a microphone stand whilst recording ambiences out and about.&#xD;&#xA;&#xD;&#xA;The Rycote I have only been getting to know over the last few months. I usually use stuck on the end of a boom pole housing a Shotgun for outside dialogue.&#xD;&#xA;&#xD;&#xA;The Rycote is a bit lighter which makes boom holding easier. The Rode is larger, and my NT4 fits nicely in it. I haven't had the opportunity to try each microphone in the other zeppelin to compare sound qualities.&#xD;&#xA;&#xD;&#xA;What I do prefer about the Rode though is the mechanisms on the handle. It is easy to adjust angles and the position of the zeppelin cage. &#xD;&#xA;&#xD;&#xA;Some people worry about the life of the Rode. It comes with the Rode 10 year Warranty. The Rycote can have a long life. But in my opinion, even if the Rode does die after 10 years of use.  At half of the price of the Rycote, I would hope that in 10 years time, there would be better technologies and a better product on the market." ContentLicense="CC BY-SA 2.5" />
  <row Id="10687" PostHistoryTypeId="12" PostId="6221" RevisionGUID="115c618c-6cbb-4729-adac-dae1691f752c" CreationDate="2011-02-24T00:23:59.127" UserId="217" Text="[{&quot;Id&quot;:217,&quot;DisplayName&quot;:&quot;Audious Sound&quot;}]" />
  <row Id="10688" PostHistoryTypeId="13" PostId="6221" RevisionGUID="b94c70f1-3b9b-45d4-a4bb-ba5395ff4f62" CreationDate="2011-02-24T00:24:03.600" UserId="217" Text="[{&quot;Id&quot;:217,&quot;DisplayName&quot;:&quot;Audious Sound&quot;}]" />
  <row Id="10689" PostHistoryTypeId="12" PostId="6221" RevisionGUID="a970fc60-2b8d-4b38-82b3-bce9aec73703" CreationDate="2011-02-24T00:24:09.973" UserId="217" Text="[{&quot;Id&quot;:217,&quot;DisplayName&quot;:&quot;Audious Sound&quot;}]" />
  <row Id="10690" PostHistoryTypeId="2" PostId="6222" RevisionGUID="573f0600-d416-4562-a01f-8b4e014b05dd" CreationDate="2011-02-24T01:34:13.613" UserId="863" Text="I own the rode blimp myself and the production company I freelance at has Rycotes, so I've used both. The connectors inside are much more stable in the Rode, interchangeable for different mics. I'm not sure if the model of the rycotes I've used is older but the way they work is by twisting them to get them taught and then clicking the mic in which is really unstable if you're moving around a lot with them. There is a lot less movement with the rode I've found and the way the cable comes out the blimp is excellent with the main cable connecting into the handle rather than into the blimp itself. The metal switch to lock the handle is excellent and more efficient as well than the standard twisting knob. &#xD;&#xA;&#xD;&#xA;I've had some really good recordings in windy conditions with both, and the price is significantly cheaper. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10691" PostHistoryTypeId="2" PostId="6223" RevisionGUID="d00a7aff-885c-4594-ba48-28cf0640aecd" CreationDate="2011-02-24T03:20:04.470" UserId="863" Text="Give them examples and feed them ideas and reasons why it will work better than what they want. A lot of the times directors don't have a clue about sound. If you're on the job from pre-production show how much you know about sound by requesting specific things from the recordist (unless you're doing it yourself) and make your position and opinion an important one from the start. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10692" PostHistoryTypeId="2" PostId="6224" RevisionGUID="d2bd5d6e-b96d-415d-ab60-dc4adb766a71" CreationDate="2011-02-24T04:36:04.173" UserId="194" Text="I own the Rode and have the Rycote at work.&#xD;&#xA;&#xD;&#xA;The Rode blimp has several characteristics that are pretty dramatically different from the Rycote:&#xD;&#xA;&#xD;&#xA; - It's *much* heavier.  Probably 2 or 3x as heavy.  If your intent is to just mount it on a manfrotto lightstand and roll on sounds then this isn't an issue.  If you plan on swinging it on the end of a boompole then you're probably in for a long day.&#xD;&#xA;&#xD;&#xA; - It's *much* wider.  I can fit my PCM D50 comfortably inside of the circle rings.  I could never do that with the Rycote.  [picture here][1]&#xD;&#xA;&#xD;&#xA; - The threads on the endcap are much thicker.  The Rycote's endcaps are a little fiddly by comparison.&#xD;&#xA;&#xD;&#xA; - It has an integrated cable that it built well&#xD;&#xA;&#xD;&#xA; - It ships with a fuzzy.  The Rycote does not.&#xD;&#xA;&#xD;&#xA; - The mounting rail is much thicker and sturdier than the Rycote's but again at the cost of weight.&#xD;&#xA;&#xD;&#xA; - It has a quick release latch for the pivot point, and a thumb wheel to slide the unit up and down on the mount rails.&#xD;&#xA;&#xD;&#xA;If it were me I'd suggest the Rycote for film booming work and the Rode for sfx recording.  That thing just isn't going to break.  :)&#xD;&#xA;&#xD;&#xA;  [1]: http://s3.amazonaws.com/twitpic/photos/large/239292684.jpg?AWSAccessKeyId=0ZRYP5X5F6FSMBCCSE82&amp;Expires=1298522714&amp;Signature=VCcu91NwaSCAJyPBUZZIoBooEJ8%3D" ContentLicense="CC BY-SA 2.5" />
  <row Id="10693" PostHistoryTypeId="2" PostId="6225" RevisionGUID="d23cd73d-134e-482e-af1a-7bf404b2ba2c" CreationDate="2011-02-24T06:14:02.250" UserId="18160" Text="I'm working on a music video right now which is more like a short film and I need something that communicates Africa (there is a cut-away of someone dancing in Africa for a second while the song expands out into an international hit). The director wants a sound effect that communicates Africa to be placed there.&#xD;&#xA;&#xD;&#xA;I've tried a few animals, just not jiving. It's for a jive band and there is a trombone player - maybe I'll place in a trombone lick that mimics an elephant blow.&#xD;&#xA;&#xD;&#xA;Any ideas of a sound effect that communicates Africa in less than a second? " ContentLicense="CC BY-SA 2.5" />
  <row Id="10694" PostHistoryTypeId="1" PostId="6225" RevisionGUID="d23cd73d-134e-482e-af1a-7bf404b2ba2c" CreationDate="2011-02-24T06:14:02.250" UserId="18160" Text="If you had to communicate Africa in one sound effect one second long, what would it be?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10695" PostHistoryTypeId="3" PostId="6225" RevisionGUID="d23cd73d-134e-482e-af1a-7bf404b2ba2c" CreationDate="2011-02-24T06:14:02.250" UserId="18160" Text="&lt;africa&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10696" PostHistoryTypeId="2" PostId="6226" RevisionGUID="8d766f55-0fae-469d-bb11-e1b89b24622c" CreationDate="2011-02-24T06:27:24.200" UserId="338" Text="african music, where they show a picture of a safari with a giraffe, the bug noise also, and maybe an elephant or sounds of chains or a special drum or chant, shakers" ContentLicense="CC BY-SA 2.5" />
  <row Id="10697" PostHistoryTypeId="2" PostId="6227" RevisionGUID="d362fd1e-9910-4e14-9b7f-4037ad70ef32" CreationDate="2011-02-24T06:33:09.493" UserId="61" Text="I am believing more and more that mixing dialog for film/TV may be the most difficult and under appreciated of all the crafts in the post-production process. There are no rules, no silver bullets or do-all plugins that can do the job for you; it all boils down to having well trained ears, lots of patience and tons of experience.&#xD;&#xA;&#xD;&#xA;That said, there are a few procedures that most dialog mixers I know will run through:&#xD;&#xA;&#xD;&#xA; - Listen to the reel in a full&#xD;&#xA;   playback, making notes of problem&#xD;&#xA;   areas (phasing, hums, buzzes, etc)&#xD;&#xA;   and getting to know the material.&#xD;&#xA;   This not only benefits the mixer but&#xD;&#xA;   also gives the dialog editors another&#xD;&#xA;   opportunity to fix edits, create more&#xD;&#xA;   fills, take another pass at cleaning&#xD;&#xA;   with Izotope Rx (or similar&#xD;&#xA;   software), and the ADR editors&#xD;&#xA;   another chance to cue for lines that&#xD;&#xA;   need to be looped. Collaboration&#xD;&#xA;   between editors and mixers is key.&#xD;&#xA; - Begin leveling out the material and&#xD;&#xA;   fixing the tracks with basic remedial&#xD;&#xA;   filters and compression, ie.&#xD;&#xA;   low-passing AC hums and traffic&#xD;&#xA;   washes, high-passing hiss, and&#xD;&#xA;   keeping transients in check.&#xD;&#xA; - Start working on the really&#xD;&#xA;   problematic stuff. This can include&#xD;&#xA;   more aggressive filtering and&#xD;&#xA;   limiting, as well as advanced&#xD;&#xA;   hardware or software noise reduction, specifically a&#xD;&#xA;   CEDAR box, Waves WNS or similar. Patient,&#xD;&#xA;   multi-pass use of these tools can turn&#xD;&#xA;   a horrible sounding line into&#xD;&#xA;   something useful, which could save a&#xD;&#xA;   director from having to bring an&#xD;&#xA;   actor in for ADR.&#xD;&#xA; - Apply reverb, delays, etc where&#xD;&#xA;   appropriate. There are no rules here.&#xD;&#xA;   You can have simple situations like&#xD;&#xA;   an alley delay slap or big warehouse&#xD;&#xA;   echo, or a long tunnel verb or some&#xD;&#xA;   crazy robotic treatment, or futzing&#xD;&#xA;   for telephone angles or radio&#xD;&#xA;   transmission. I mostly see this as a&#xD;&#xA;   last step and not done until the&#xD;&#xA;   final mix when the director is&#xD;&#xA;   present to approve all the&#xD;&#xA;   treatments.&#xD;&#xA;&#xD;&#xA;Hope that begins to scratch the surface of your question!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10698" PostHistoryTypeId="2" PostId="6228" RevisionGUID="1c69d749-db59-4abe-b5c7-38e9d166a955" CreationDate="2011-02-24T07:04:21.593" UserId="670" Text="maybe a quick drum roll on a djembe or conga drum" ContentLicense="CC BY-SA 2.5" />
  <row Id="10699" PostHistoryTypeId="2" PostId="6229" RevisionGUID="fdd2cb37-415c-4fda-8c22-b285432de181" CreationDate="2011-02-24T07:10:25.730" UserId="898" Text="Survivorman has a great commercial bump-in/bump-out sfx hit that has an &quot;Africa&quot; sound to it. This just happens to be a clip from the Africa episode, but it's in all of his episodes. Some inspiration, maybe. [Click Here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=i1nu8EiEP8I&amp;feature=player_detailpage#t=517s &quot;here&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10700" PostHistoryTypeId="2" PostId="6230" RevisionGUID="4adcd8ea-6a58-4eeb-9932-0b8fd988ba6c" CreationDate="2011-02-24T07:30:36.603" UserId="899" Text="a short african chant..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10701" PostHistoryTypeId="2" PostId="6231" RevisionGUID="ab2debdd-0678-4dd8-a513-1f414570f1f7" CreationDate="2011-02-24T07:38:03.803" UserId="728" Text="May be a Tribal chant phrase accompanied with a drum roll/hit might work. For me Africa is more about people" ContentLicense="CC BY-SA 2.5" />
  <row Id="10702" PostHistoryTypeId="5" PostId="6215" RevisionGUID="24b25d73-486c-48e9-a16e-92960da637f1" CreationDate="2011-02-24T07:53:56.120" UserId="56" Comment="added 3 characters in body" Text="It seems a nice software. The first thing I can think of is sound cleaning and restoration.&#xD;&#xA;There are a lot of possibilities in composition as well but I'm not sure this software is better than others. May be it'd be very good for remixes or useful if you want to extract just a track from a mix." ContentLicense="CC BY-SA 2.5" />
  <row Id="10703" PostHistoryTypeId="2" PostId="6232" RevisionGUID="8942dbbd-285c-4ac1-bf9c-d973f54f1bd6" CreationDate="2011-02-24T09:13:18.077" UserId="100" Text="I hear either a djembe or a kalimba. Good luck with the project." ContentLicense="CC BY-SA 2.5" />
  <row Id="10704" PostHistoryTypeId="2" PostId="6233" RevisionGUID="d3bc5f61-1f46-40f1-abad-732b5b00cbe3" CreationDate="2011-02-24T09:54:56.540" UserId="37" Text="vuvuzela.&#xD;&#xA;&#xD;&#xA;(just kidding)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10705" PostHistoryTypeId="2" PostId="6234" RevisionGUID="bece52e2-e975-4633-bc46-835f06d85661" CreationDate="2011-02-24T10:20:00.150" UserId="673" Text="I hear a short chant (more like a single shout) mixed with with a drum roll. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10706" PostHistoryTypeId="2" PostId="6235" RevisionGUID="82408546-e063-449b-bd18-3508592cac5e" CreationDate="2011-02-24T10:53:40.267" UserId="693" Text="This isn't something you couldn't do before with Sound Forge, EQ and a little knowledge and creativity. I've been abusing audio software like this since I started 17 years ago.&#xD;&#xA;&#xD;&#xA;It's actually even easier now with iZotope RX, FFT and Spectral DSP. Not to mention the capabilities of Celemony.&#xD;&#xA;&#xD;&#xA;And for someone that likes the &quot;Homeliness&quot; of Acid, his software sure does have a lot of unnecessary frills that look a bit like Rock Band. Besides that, the results didn't sound any better than what I could do with the rudimentary and current tools I mentioned in my opening statement. Actually, his personal remix sounded a bit muted and worse than the original source, I'm sure video/mp3 compression has something to do with that and I can't properly judge it based on that, but the example of the original was moderately clear and his &quot;beeps&quot; were a bit muted, so that certainly has to account for something.&#xD;&#xA;&#xD;&#xA;Maybe I should remix the BBC theme and they'll write an article on me because it's just shy of shameless self promotion.&#xD;&#xA;&#xD;&#xA;All I have to say is that I hope it lives up to it's claim. If it does and he markets it as a novelty (which it sort of seems he is), then that means it'll be a big push for the pro side of the industry to keep innovating." ContentLicense="CC BY-SA 2.5" />
  <row Id="10707" PostHistoryTypeId="13" PostId="6221" RevisionGUID="3c328709-cb6c-49dd-817e-2cf1071bc594" CreationDate="2011-02-24T11:48:56.027" UserId="217" Text="[{&quot;Id&quot;:217,&quot;DisplayName&quot;:&quot;Audious Sound&quot;}]" />
  <row Id="10708" PostHistoryTypeId="2" PostId="6236" RevisionGUID="b4ed8e94-a93a-401d-9599-97507eab8d6e" CreationDate="2011-02-24T15:51:59.720" UserId="82" Text="Check out http://www.audiomicro.com.  They have a lot of Hollywood Edge sounds available individually.  You might need to do an advanced search and narrow the results to the artist &quot;hollywoodedge&quot; to find them." ContentLicense="CC BY-SA 2.5" />
  <row Id="10709" PostHistoryTypeId="2" PostId="6237" RevisionGUID="f5c9ad92-8413-42ff-9b90-13e40ab1b4b5" CreationDate="2011-02-24T17:35:22.187" UserId="6435" Text="I believe SFXSource.com has the BBC libraries." ContentLicense="CC BY-SA 2.5" />
  <row Id="10710" PostHistoryTypeId="2" PostId="6238" RevisionGUID="2f313772-b7c1-4afc-9b17-b908a1595af7" CreationDate="2011-02-24T18:46:50.217" UserId="338" Text="So I was wondering how many employ drones and how many use stingers or accents in sound design?  When you use a drone, what is your intention with it, when do you use it?  I read in a book that drones help people go back to the tonal center and that with a drone, the mind is more free to wander through other steps.  &#xD;&#xA;What are your techniques in making drones?  What instruments usually do you use/sounds? Reverb? Delays? Reverse?  &#xD;&#xA;What about stingers, do you have a preference over using musical instruments/heavily processed sounds or both?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10711" PostHistoryTypeId="1" PostId="6238" RevisionGUID="2f313772-b7c1-4afc-9b17-b908a1595af7" CreationDate="2011-02-24T18:46:50.217" UserId="338" Text="Making/using Drones, and Stingers" ContentLicense="CC BY-SA 2.5" />
  <row Id="10712" PostHistoryTypeId="3" PostId="6238" RevisionGUID="2f313772-b7c1-4afc-9b17-b908a1595af7" CreationDate="2011-02-24T18:46:50.217" UserId="338" Text="&lt;stingers&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10713" PostHistoryTypeId="2" PostId="6239" RevisionGUID="e22b1575-652c-4bbc-801a-5e0beed20fa7" CreationDate="2011-02-24T18:52:55.997" UserId="18160" Text="How would you set up your Pro Tools session for producing about 20 versions of a concert intro video which has one VO line change for each different version?&#xD;&#xA;&#xD;&#xA;There are 20 cities on the tour and each city gets their own version of the intro, but the rest of the video is exactly the same.&#xD;&#xA;&#xD;&#xA;I'd like to try to keep the mixes in one Pro Tools session but with the stems and final mix files all in one, it might get kind of hard. So far, I've been saving as and doing the changes for each one - I think that's the safest way to do it.&#xD;&#xA;&#xD;&#xA;I thought of playlists, separate tracks, etc, but with a Dia, FX and Mix runoff track for each version, that's 60 tracks down below.&#xD;&#xA;&#xD;&#xA;How would you guys go about setting up a little factory for this sort of thing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10714" PostHistoryTypeId="1" PostId="6239" RevisionGUID="e22b1575-652c-4bbc-801a-5e0beed20fa7" CreationDate="2011-02-24T18:52:55.997" UserId="18160" Text="Mass producing a video that has one change in audio per unit." ContentLicense="CC BY-SA 2.5" />
  <row Id="10715" PostHistoryTypeId="3" PostId="6239" RevisionGUID="e22b1575-652c-4bbc-801a-5e0beed20fa7" CreationDate="2011-02-24T18:52:55.997" UserId="18160" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10717" PostHistoryTypeId="2" PostId="6241" RevisionGUID="e3c5ad45-6688-49a0-b647-d2489fd751e5" CreationDate="2011-02-24T19:16:23.337" UserId="793" Text="I mostly use Vari-Fi as well, but sometimes use Elastic Time set to varispeed to experiment with settings across multiple tracks - just enable elastic time on the tracks and drop the tempo to lower the speed. The only thing to watch out for there is that if any of your tracks are set to ticks rather than samples, then they'll all move on the timeline to match the tempo which probably isn't what you want." ContentLicense="CC BY-SA 2.5" />
  <row Id="10718" PostHistoryTypeId="2" PostId="6242" RevisionGUID="7f088c05-b196-4e5b-9fdc-3ffe7e1758da" CreationDate="2011-02-24T19:20:09.010" UserId="786" Text="You could make 20 different VO tracks, named after the city, if the VO is the only thing that changes. Then make all VO tracks except the one you're working with right now inactive. Bounce the mix to a file that includes the city's name, and then you'll have a folder with 20 final mixes, ready to be synced to the videos. Plus one session with everything accesible." ContentLicense="CC BY-SA 2.5" />
  <row Id="10719" PostHistoryTypeId="2" PostId="6243" RevisionGUID="794f5064-7c55-45e2-b0a5-abcc288406ec" CreationDate="2011-02-24T20:13:28.077" UserId="6411" Text="This sounds a lot like promo work. Here's how I handle it in Pro Tools:&#xD;&#xA;&#xD;&#xA; - Enable your &quot;all&quot; group, select the entire duration of the mix&#xD;&#xA; - Advance in your timeline an appropriate amount of time. I usually like to start on the next even minute after picture end.&#xD;&#xA; - Plop a Marker down and call it the name of your distinguishing characteristic of the new mix. In this case it would be the name of your ALT city.&#xD;&#xA; - Paste the entire mix&#xD;&#xA; - Repeat for the number of versions you have. In your case, another 18 times. Each time calling the next marker the next name on your list.&#xD;&#xA; - Disable the &quot;all&quot; group.&#xD;&#xA; - Duplicate your VO track, un-check &quot;Active Playlist&quot; and &quot;Alternate Playlist.&quot; This will give you the same processing and bussing on your new ALT VO track. &#xD;&#xA; - Rename it to distinguish it. I name mine ALT TAGS, or TAG VO you may prefer something else.&#xD;&#xA; - Go to each marker and edit in your alt line. Making sure that the ALT you edit in matches the Marker name.&#xD;&#xA;&#xD;&#xA;Now here's where it depends on the project...&#xD;&#xA;&#xD;&#xA;If it's a short promo, I'll just re-record the entire thing, double-click and rename the file according to the tag/code.&#xD;&#xA;&#xD;&#xA;If it's longer ( &gt;:30) I'll usually record the full mix to a track first and copy/paste it along into each marker. This allows me to just punch in the change for each version, check/crossfade the punch, select each mix, Consolidate Region (Cmd+Shift+3), and rename.&#xD;&#xA;&#xD;&#xA;Check out this &lt;a href=&quot;http://vimeo.com/17014908&quot;&gt;Promo Time Lapse&lt;/a&gt; video. It's very similar to the process that he goes through in the 02:27-02:41 - Tagging section." ContentLicense="CC BY-SA 2.5" />
  <row Id="10720" PostHistoryTypeId="6" PostId="6239" RevisionGUID="30a6dc71-10c7-4e16-ae22-c346f4df0ed1" CreationDate="2011-02-24T20:19:21.413" UserId="6411" Comment="Added tags" Text="&lt;procedure&gt;&lt;post-production&gt;&lt;tagging&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10721" PostHistoryTypeId="2" PostId="6244" RevisionGUID="8aa45582-8a11-459e-a77e-2bc2bcc3880f" CreationDate="2011-02-24T20:44:24.350" UserId="900" Text="Hey Bram,&#xD;&#xA;&#xD;&#xA;You can ask the MU for clearance forms - give them a call and they'll be very helpful. That is, of course, if you paid MU rates!&#xD;&#xA;&#xD;&#xA;If you're not talking about musicians for a session, you'll need clearance from whatever record label you have cleared the music with - it'll be a synchronisation &amp; master usage license.&#xD;&#xA;&#xD;&#xA;cheers&#xD;&#xA;Tom" ContentLicense="CC BY-SA 2.5" />
  <row Id="10722" PostHistoryTypeId="2" PostId="6245" RevisionGUID="0522c1d1-0566-4a6a-9858-ae6737db0a52" CreationDate="2011-02-24T22:56:59.740" UserId="587" Text="There has been a post for podcasts on SSD before, but I wanted to thread game audio media.&#xD;&#xA;&#xD;&#xA;Video-casting has been popular for a bit, now that we have programs that host the content for quick download onto smart phones. iTunes, Vuze, and others are pretty solid for this.&#xD;&#xA;&#xD;&#xA;So far I have found these:&#xD;&#xA;&#xD;&#xA;Podcasts:&#xD;&#xA;&#xD;&#xA; - GameAudio Podcast - Video Game Audio&#xD;&#xA; - 1Up.com - &quot;The Sound Test&quot; - Video&#xD;&#xA;   Game Music&#xD;&#xA;&#xD;&#xA;Vidcasts:&#xD;&#xA;&#xD;&#xA; - Machinima - &quot;The Art of the Game&quot; -&#xD;&#xA;   Game Audio and Design&#xD;&#xA; - Soundworks Collection - Select&#xD;&#xA;   Episodes on Game Audio&#xD;&#xA;&#xD;&#xA;I want to open this up to everyone and let people tag their own game audio casting they keep up with - The more we listen, the more we learn!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10723" PostHistoryTypeId="1" PostId="6245" RevisionGUID="0522c1d1-0566-4a6a-9858-ae6737db0a52" CreationDate="2011-02-24T22:56:59.740" UserId="587" Text="Game Audio Podcasts/Vidcasts" ContentLicense="CC BY-SA 2.5" />
  <row Id="10724" PostHistoryTypeId="3" PostId="6245" RevisionGUID="0522c1d1-0566-4a6a-9858-ae6737db0a52" CreationDate="2011-02-24T22:56:59.740" UserId="587" Text="&lt;gameaudio&gt;&lt;podcasts&gt;&lt;media&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10725" PostHistoryTypeId="2" PostId="6246" RevisionGUID="66fdd07b-42ae-4d55-96c4-b224ad8f6f16" CreationDate="2011-02-24T23:05:25.990" UserId="18160" Text="Check out:&#xD;&#xA;&#xD;&#xA;http://designingsound.tv/&#xD;&#xA;&#xD;&#xA;and filter it by Game Audio." ContentLicense="CC BY-SA 2.5" />
  <row Id="10726" PostHistoryTypeId="2" PostId="6247" RevisionGUID="476607fb-4623-446f-b677-968b1a615807" CreationDate="2011-02-25T00:44:25.157" UserId="338" Text="If you get a rough cut of a movie, and then work on it, then you get another cut, how do you keep track of the work you are doing and keep it in sync?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10727" PostHistoryTypeId="1" PostId="6247" RevisionGUID="476607fb-4623-446f-b677-968b1a615807" CreationDate="2011-02-25T00:44:25.157" UserId="338" Text="How do you keep track of picture/audio edits for sync?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10728" PostHistoryTypeId="3" PostId="6247" RevisionGUID="476607fb-4623-446f-b677-968b1a615807" CreationDate="2011-02-25T00:44:25.157" UserId="338" Text="&lt;knowledge&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10729" PostHistoryTypeId="2" PostId="6248" RevisionGUID="1d6bad73-1f22-4ee9-8888-e6b29d7186af" CreationDate="2011-02-25T01:24:43.190" UserId="587" Text="You want to ask for an EDL&#xD;&#xA;&#xD;&#xA;In case you havent seen one before, its a readout of the timecode/frame information of the current cut - then next to current is the new revised cuts timecode/frame information. This is also accompanied by a + or - frames to tell you if they added or subtracted frames onto or from that current point. This method can vary depending upon system or picture editor working on the film.&#xD;&#xA;&#xD;&#xA;Will edit more in a sec." ContentLicense="CC BY-SA 2.5" />
  <row Id="10730" PostHistoryTypeId="2" PostId="6249" RevisionGUID="42840599-5c8a-4596-9555-eceef2e8049f" CreationDate="2011-02-25T01:30:32.213" UserId="728" Text="EDLs, Markers and reference soundtrack (if available) are your friends in any kind of multi-edit projects. Once you know the changes, you can group tracks and edit accordingly." ContentLicense="CC BY-SA 2.5" />
  <row Id="10731" PostHistoryTypeId="2" PostId="6250" RevisionGUID="ece78f52-7ef7-4ee4-a39e-6919b44f1a1f" CreationDate="2011-02-25T01:31:53.017" UserId="338" Text="How do you compress a video so that it is a manageable size for protools?  What codec do you recommend and what is a manageable size for LE?  The original video is 360 mb and it is 7min color.  I can't seem to get the right settings in compressor.  Mp4 size only brings it down to 310mb and h.264 brought it up to 1.1gig.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10732" PostHistoryTypeId="1" PostId="6250" RevisionGUID="ece78f52-7ef7-4ee4-a39e-6919b44f1a1f" CreationDate="2011-02-25T01:31:53.017" UserId="338" Text="Video Compression" ContentLicense="CC BY-SA 2.5" />
  <row Id="10733" PostHistoryTypeId="3" PostId="6250" RevisionGUID="ece78f52-7ef7-4ee4-a39e-6919b44f1a1f" CreationDate="2011-02-25T01:31:53.017" UserId="338" Text="&lt;video.compression.technic&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10734" PostHistoryTypeId="2" PostId="6251" RevisionGUID="690a66da-a012-4596-ad8d-e12d071c6cf5" CreationDate="2011-02-25T01:32:30.533" UserId="338" Text="Right, thats what I thought.  EDL.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="10735" PostHistoryTypeId="5" PostId="6248" RevisionGUID="e3bd41f3-7402-4fb0-bae5-08dc6d50b042" CreationDate="2011-02-25T01:35:13.283" UserId="587" Comment="added 253 characters in body" Text="You want to ask for an EDL&#xD;&#xA;&#xD;&#xA;In case you havent seen one before, its a readout of the timecode/frame information of the current cut - then next to current is the new revised cuts timecode/frame information. This is also accompanied by a + or - frames to tell you if they added or subtracted frames onto or from that current point. This method can vary depending upon system or picture editor working on the film.&#xD;&#xA;&#xD;&#xA;If they cant provide an EDL, ask for a list of where they made cuts and how many frames were added/subtracted. If its a do it yourself kinda film where people might not know how to print an EDL etc, asking this way makes more sense and still gets you the info you need to edit." ContentLicense="CC BY-SA 2.5" />
  <row Id="10736" PostHistoryTypeId="2" PostId="6252" RevisionGUID="04fc8ab8-3cb9-44ad-8350-51e01e3ab0ba" CreationDate="2011-02-25T01:38:57.010" UserId="587" Text="LE works best with DV-NTSC - if you have some processing power to your comp you can always go H.264 for smaller file size, but sometimes PT can go crazy trying to crank DSP and decompress video at the same time. Only would say use this if you have a quad-core or i7.&#xD;&#xA;&#xD;&#xA;H264 shouldnt increase file size. Use Quicktime Pro 7 and make sure everything stays the same with framerate and double check audio isnt being jacked up from 44.1 to 48k or something like that.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10737" PostHistoryTypeId="2" PostId="6253" RevisionGUID="68c4e47f-ad74-469b-b5e5-53724c8ac5e2" CreationDate="2011-02-25T01:49:07.073" UserId="587" Text="For software look into the Komplete series from Native Instruments.&#xD;&#xA;&#xD;&#xA;Reaktor, Absynth, Evolve, and Tonehammer are some solid virtual instruments that produce great results.&#xD;&#xA;&#xD;&#xA;If you want to get crazy, grab a stringed instrument and mic it up - play it with a bow or drumstick, maybe even a piece of metal. Process that jam with some fx and mix in some reverb. See how that comes out. Oooo! Or some resonant piece of metal like a popcorn bucket and press a back massager really hard against the bottom... then put water in it... then blow it up! Muhahahahahahaha.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10738" PostHistoryTypeId="2" PostId="6254" RevisionGUID="6c278cbd-748b-4935-aefa-18f4883d0af8" CreationDate="2011-02-25T02:02:19.320" UserId="432" Text="File size is less of an issue than bit-rate is. People from Avid will tell you to stay away from H.264 with Pro Tools if you can.&#xD;&#xA;&#xD;&#xA;As C3Sound mentioned, DV is best (whether you're using NTSC or PAL...). So, use DV NTSC/PAL or DV50 NTSC/PAL as needed. If you have the option 2 Pass VBR will net you a more efficient encode. It takes longer, but it runs smoother.&#xD;&#xA;&#xD;&#xA;As I've already mentioned, bit rate/streaming is a big factor. You'll find the video will play back much smoother and cause less strain in your PT session if you have a separate/dedicated video drive. For the best functionality with video, Pro Tools likes 3 drive (OS, Project/Audio, and Video). If you can split out the data onto multiple drives that way, the actual seek time of the drive and the bus speed will be less of an issue." ContentLicense="CC BY-SA 2.5" />
  <row Id="10739" PostHistoryTypeId="5" PostId="1157" RevisionGUID="a21c6312-b412-42b4-b983-38153bfb8c40" CreationDate="2011-02-25T02:26:56.047" UserId="18160" Comment="added 299 characters in body" Text="Sorry, I don't have much time right now to write a detailed answer (I'll be around later to) but I want to stress this:&#xD;&#xA;&#xD;&#xA;Consistency in tonality.&#xD;&#xA;&#xD;&#xA;Today we have no clue what shot will be edited against what other shot and I know from personal experience mixing that consistency in production sound saves hours of time for the dialogue editors/mixers.&#xD;&#xA;&#xD;&#xA;By this I mean 2 people having a conversation with each other that you know will be edited together back and forth but may be shot hours apart to have a similar relative distance from the boom/lav. You don't want someone with proximity effect and someone far away from the mic.&#xD;&#xA;&#xD;&#xA;Do your homework. Look to see what may be needed for the shoot and bring it - like the answer Edward gave. You never know what will come up or what you may be asked for.&#xD;&#xA;&#xD;&#xA;I personally never back down or compromise quality by one inch. If you consider that what your microphones are picking up is 90% of what you will be putting out the theater speakers, this is a correct estimation of importance to production sound. Do not let yourself be &quot;bullied&quot; around on set. Fight for your quality of sound. If you don't, it's like the Director of Photography saying &quot;Well, the lights really couldn't get too close tot the subject today so we're going to have to re-shoot the scenes we filmed today&quot;. Carefully analyzing Avatar and The Hurt Locker led me to believe that the sound oscars went to The Hurt Locker because the production sound was so phenomenal (they only ADRed 4 lines or something on the principal characters).&#xD;&#xA;&#xD;&#xA;In my experience in doing ADR, unless you are working with a brilliant actor, the original production sound will ALWAYS be the better delivery on the actor's part. It will also be better sync,  match the projection, match the emotion the actor has on his face, BECAUSE IT'S THE ORIGINAL. Pardon me but I think the fact you have to do ADR on 98% of a movie is a criticism to the production sound team (unless there are weather or ambient sounds you have no control over like planes, ocean, rain, etc.) But, doing ADR for an indoor talky scene on a sound stage is absolutely doable to keep the production sound.&#xD;&#xA;&#xD;&#xA;Get wild lines from the actors when they're standing around - coordinate with the director ahead of time. Get some wild lines that are not even part of the script that you think you might need, and effort grunts and such, so you have them in a library for that actor. I know that The Hurt Locker used many lines and pieces of words from other takes that weren't used in the movie. This is for example, the actor cussing because he's frustrated, or efforts doing something physical, etc.&#xD;&#xA;&#xD;&#xA;Grow eyes in the back of your head: The best boom operator I have ever met (said to be the best in the business) walked backwards while keeping his eyes on his mic and actor while stepping over cables and generators and equipment while walking backwards - if he tripped he would have ruined the scene.&#xD;&#xA;&#xD;&#xA;Stay alert. Especially when you're shooting on film. Film is extremely expensive when you have to re-take things. It's a lot more expensive than hard-drive space or DVDs when you're shooting on HD.&#xD;&#xA;&#xD;&#xA;Work out your arms - especially doing incline benching. Buy a light mic. The Schoeps CMIT 5U weighs possibly less than a 4th of the weight of a standard SM57. It actually weighs about as heavy as an expensive ball-point pen. That can help your arm fatigue enormously. If you don't believe me on the importance of working out and getting your arms in shape, try painting your ceiling with a roller, or simply just hold your hands and arms up above your head - IT'S TIRING!!&#xD;&#xA;&#xD;&#xA;Become inventive. Mics are small and can be hidden other places than on a boom pole. Put it inside a plant. Put it inside someone's baseball cap. Cleverly work out how to mic someone in a bikini. Always check out a scene before-hand if you have to time and work out the best position of the mic.&#xD;&#xA;&#xD;&#xA;Now more than ever with multi-camera shooting it's most important to coordinate with the cameramen and director on exactly where you can be and still be out of frame because of the cross-framing that happens. Sometimes there can be 4 cameras going at once and you need to know exactly where they will be to be able to stay out of frame.&#xD;&#xA;&#xD;&#xA;EDIT: I forgot to mention an important point, and that is you must have breath mints at all times. If you're micing up someone you're going to be very close to them. Always have breath mints or gum handy in your pocket when you go to strap a lapel on someone you're going to get really close to." ContentLicense="CC BY-SA 2.5" />
  <row Id="10740" PostHistoryTypeId="2" PostId="6255" RevisionGUID="760a865b-1760-4bec-9009-b869e7353ab9" CreationDate="2011-02-25T03:15:51.487" UserId="37" Text="If you're not sending the video out to a Firewire box, photo-jpeg is a nice codec to use - reasonable size, seeks incredibly fast (intraframe) and is very quick to transcode from MP4. I have a habit of running any video I receive through QT Sync, and export to photo-jpeg (Quicktime Movie). H.264 is cpu-intensive and I haven't seen either Pro-Tools or Logic seek accurately within it or any other mpeg-4.. Of course, if you have a firewire box, then DV all the way. &#xD;&#xA;&#xD;&#xA;7 min 360mb is just fine. It would be roughly 500mb in high quality Photojpeg. 7 minutes in DV would be way more.." ContentLicense="CC BY-SA 2.5" />
  <row Id="10741" PostHistoryTypeId="2" PostId="6256" RevisionGUID="49cc5520-7ad1-4dbe-8367-9e131cb35508" CreationDate="2011-02-25T03:35:47.977" UserId="396" Text="I use Easyfind from [Devon technologies][1]. Again, it doesn't support audio-specific functions, but works very well if your filenames contain keywords. OS X Quick Look is built in for easy auditioning, and it can search across network volumes that may not be indexed by Spotlight.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.devon-technologies.com/products/freeware/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10742" PostHistoryTypeId="6" PostId="6250" RevisionGUID="edbcf438-a3ae-421b-bee6-46f3f68c8850" CreationDate="2011-02-25T03:36:22.873" UserId="396" Comment="edited tags" Text="&lt;video&gt;&lt;compression&gt;&lt;technical&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10743" PostHistoryTypeId="2" PostId="6257" RevisionGUID="416fd498-b8d0-4065-96fc-5fae5771ec2f" CreationDate="2011-02-25T03:57:24.010" UserId="220" Text="360mb for a 7 minute file is pretty small.  Not sure if anything smaller will be good enough quality to do sound design for anything detailed you'd have to see.  &#xD;&#xA;&#xD;&#xA;I generally use H.264 or a Quicktime .mov.  The trick to a smaller size is the bitrate.  It's a quick calculation to see how big the file will be.  You can also take HD footage and scale it down to a smaller screen resolution.&#xD;&#xA;&#xD;&#xA;Who is getting you your video files?  Are you creating the output yourself?  I generally request a .mov from the editor and then go from there. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10744" PostHistoryTypeId="2" PostId="6258" RevisionGUID="6760a298-fd9a-407f-a022-06e6ead46652" CreationDate="2011-02-25T05:44:27.200" UserId="558" Text="I believe that it is the designer's job to help express the director's (or creative lead's in the case of games) vision of the show, but if you have some experience, then you probably have some insights that no one else has and IT IS YOUR JOB to present them (hopefully in a manner that isn't confrontational or egocentric).  &#xD;&#xA;&#xD;&#xA;When my input is not taken then i fall back on advice I was given a long time ago by an experienced mixer at the old Todd AO East.  He said that you have to know what hills are worth dying on.  A small sound during an inconsequential scene is probably not the place to dig your heels in.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10745" PostHistoryTypeId="2" PostId="6259" RevisionGUID="2d4a266d-e748-4cca-96f4-95c930399ddd" CreationDate="2011-02-25T05:46:46.997" UserId="338" Text="If someone asks you to work for them, should you ask to see the picture first if it's available?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10746" PostHistoryTypeId="1" PostId="6259" RevisionGUID="2d4a266d-e748-4cca-96f4-95c930399ddd" CreationDate="2011-02-25T05:46:46.997" UserId="338" Text="Before taking on a project, what to consider?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10747" PostHistoryTypeId="3" PostId="6259" RevisionGUID="2d4a266d-e748-4cca-96f4-95c930399ddd" CreationDate="2011-02-25T05:46:46.997" UserId="338" Text="&lt;experience&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10748" PostHistoryTypeId="2" PostId="6260" RevisionGUID="2c167962-2b1a-441f-ac82-3f297ae50295" CreationDate="2011-02-25T05:52:47.213" UserId="18160" Text="Hopefully the picture isn't shot yet and they're taking you on in Pre-Production." ContentLicense="CC BY-SA 2.5" />
  <row Id="10749" PostHistoryTypeId="2" PostId="6261" RevisionGUID="5b140a51-6cfb-4783-a773-eb9063c99ef9" CreationDate="2011-02-25T06:28:02.843" UserId="338" Text="I compressed it in compressor with DV/DVCPRO - NTSC, Linear PCM, Timecode and the file is now 2GB.  It is an 8:45 second movie 2 audio channels bitrate total 30,000.  Why is it growing in size when i compress it?  The original file is LinearPCM H.264, bit rate 5700, 374 mb." ContentLicense="CC BY-SA 2.5" />
  <row Id="10750" PostHistoryTypeId="2" PostId="6262" RevisionGUID="f2407406-2707-497d-9b4a-4eec78caa044" CreationDate="2011-02-25T06:37:41.890" UserId="397" Text="In analogy, the boom operator, does what the focus puller does. He'll position the mic in front of the actor in order to capture correctly (focus) the dialogue avoiding also any noise. He must know perfectly the dialogue, in order to switch from one actor to the other. It gets difficult when the actors improvise and That's where the experience gets into the play. He can tell from seconds before when the actor will speak or turn. That requires also great concentration. He must also know the lenses. What kind of frame creates each and one of the lenses. The diference between a 50 and an 85, for example. He has to avoid any light source so the boom pole or the mic doesn't create any shadow in the frame. He moves as the actors move taking care of not creating any noises. He's the ninja in the set that &quot;dances&quot; with the actors! &#xD;&#xA;&#xD;&#xA;The following link is an excellent example of a first class boom op. &#xD;&#xA;&#xD;&#xA;[link text][1]&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=4mPQL9PUI-w" ContentLicense="CC BY-SA 2.5" />
  <row Id="10751" PostHistoryTypeId="2" PostId="6263" RevisionGUID="2f9cc04e-7742-460a-ab0d-becb97555de0" CreationDate="2011-02-25T06:47:23.967" UserId="887" Text="All good, but I am more interested in what this means in terms of industry standards etc. Both Auto Tune, Melodyne, the Izotope bundles and other more forensic software does this, but basically this software takes all of these functionalities and wraps them in a nice, user friendly (melodyne-like) interface. Would it in any way make our lives as audio proffesionals easier?&#xD;&#xA;&#xD;&#xA;Think of a scene from a symphonic orchestra playing, and you have a long steadycam shot that swipes by differend instruments - all the sound supplied from recordings are one close and one 20m AB-recording. Could this SW now - or in the future if they keep developing - be a tool to amplify the perspectives we're seeing on screen?&#xD;&#xA;&#xD;&#xA;And I agree, Syndicate Sythetique, that the sound quality is a bit iffy, but to play devils advocate - when did 1. generation of anything actually work... ;o)&#xD;&#xA;&#xD;&#xA;Also, it brings up the question of copyright again, should anyone be allowed to mangle someone elses work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10752" PostHistoryTypeId="2" PostId="6264" RevisionGUID="6a72e4ac-455f-4411-aeec-a4d3ea70fc32" CreationDate="2011-02-25T06:48:29.253" UserId="830" Text="While not dedicated to game audio, the Irrational Behaviour podcast by Irrational Games is brilliant for an inside look at the industry. They have great production values and the content is very well informed. They have done a dedicated episode on game sound design and do constantly talk about how importent it is.&#xD;&#xA;&#xD;&#xA;http://irrationalgames.com/insider/irrational-behavior/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10753" PostHistoryTypeId="2" PostId="6265" RevisionGUID="17774d19-e92c-4a76-ac33-46cbb0b7b90c" CreationDate="2011-02-25T07:54:04.597" UserId="817" Text="@Mark, @ Justin, A harness would just get in the way. On set you need to be very agile, balancing the &quot;Dance&quot; as mentioned by Anand. Often you're creating an ever changing choreography with your camera op and his focus puller, as well as the dolly grip, dolly, and/or other grips who may be screening wind for a stedicam operator, possibly holding a large bounce card along side a moving camera, and even electric crew who might have to dance around with you holding a special light rig extended on a pole (most often needing to place the light near to where you want your shotgun mic), and you also have set decoration, etc, etc...&#xD;&#xA;&#xD;&#xA;As you can see it can get very crowded around camera during a take so your first two objectives should always be to know your surroundings and to make friends with your on set crew. I like to take the approach that Camera is Key, Sound is Support. Both positions are just as important to the production as the other, but since camera's objective is to capture the visual stimuli (which sells the movie), our objective should be to give them the right of way and take the back seat while we capture the &quot;essence&quot; of that visual with a strong supportive approach using well thought out boom handling, plant micing, and creative lav mic technique. It may sound crazy, but you get much more leeway on set from your crew when you make space for your other supporting crew instead of fighting for your perfect boom spot; remember, your boom pole does extend. Of course, you have to make sure you don't get taken advantage of, and that's where making friends through on set etiquette and helpfulness becomes your leverage.&#xD;&#xA;&#xD;&#xA;For example, You should be on set as much as possible to watch rehearsals (unless they tell you to leave for a private rehearsal between the director and cast; never let them tell you to leave if it's not a private rehearsal_on some low budgets they try to tell sound they're not needed for crew rehearsals because they think all we do is stick a mic in the room and we're good:NOT GOOD), and most importantly to watch the DP and Gaffer creating the scene with lights as well as what the Key Grip is having his crew set up for flags, bounces, silks, etc (don't forget your set decoration). If you have a general idea of how the actors are going to play the scene (They don't always act the scene exactly as rehearsed) and know where all your lights, flags, bounces, and screens are going to play, as well as where your set dec is placed, you'll have the opportunity to create your own work flow in advance by determining possible shadow areas, places where you may get stuck behind crew, areas where you may get in the way of necessary camera moves, etc. If you keep this as your approach you'll get to the point where you can stay on the scene with your mic placement, yet be completely out of your crews way, and out of the light. Your DP will notice that you're thinking about (and respecting) his creative decisions, your grip and electric crew will appreciate your concern for their hard work, your set dec will be glad you don't break things on set, and in the end they will be willing make space for you to work when things get ugly. I made friends with John Toll booming the pilot of Breaking Bad just because I was on set every time he was directing his gaffer and light crew. He wasn't always easy on me, but he made sure I had the time and space I needed to get my best position when things got ugly. I had the best time learning while watching him work; a great DP.&#xD;&#xA;&#xD;&#xA;In regards to the question of multiple boom operators during a scene, yes it happens if the production allows your mixer to have a third (Sound Utility/Cable Guy) on your sound team. The amount of people in a scene is not the main reason for having a second boom on set as much as is the total movement and placement of actors and their lines during the scene. What I mean is that you can have a scene with four or five people sitting around a table with loads of dialogue and get it all with one boom, no wires or plant mics. This is where being on set for all rehearsals and reading your script (as well as brushing up with your sides) pays off. Knowing the dialogue and how the actors play out the scene gives you enough understanding of what your mic placement and cues will be, even if the actors change it up and ad lib. You'll become as much a part of the scene as they are, yet taking the back seat as the supporting foundation that solidifies the full stimuli, essence, and experience of the whole; very fun and very cool stuff man! You may have another scene with two people saying just a few words, yet they will be 20 or more feet from each other speaking just above whisper levels. Your sound utility will hold second boom over whoever the sound mixer determines he should, and you both supply the substance of a very impacting and emotional scene; it's just amazing. There may be another situation where you're almost running with the boom pole extended 3/4 out and you have to lead three actors through two door ways then down a hallway to a corridor where they split off and finish the scene with a full 360 degree pan; who know what you can do then? I've boomed those shots often and they're loads of fun. Your time invested in helping your camera crew with space and movement and effort in learning tour boundaries with the lighting DP creates with your electric crew will pay off tremendously. The you all have a burger at lunch and talk about how crazy the last shot was.&#xD;&#xA;&#xD;&#xA;The point is to allow yourself to be teachable and flexible on set every day. Help rather than hinder. I have a lot of great grip friends because I helped a handful them carry a dolly down a steep 15 foot drop off when they were short handed. The same grips help me when I'm in need today, and I helped them with that dolly 5 years ago. You're making movies, but in the end you're making life long friends who you will one day watch receive great awards.&#xD;&#xA;I love making movies and I love what I do, but I love the people I do this with much more.&#xD;&#xA;&#xD;&#xA;E. Santiago" ContentLicense="CC BY-SA 2.5" />
  <row Id="10754" PostHistoryTypeId="2" PostId="6266" RevisionGUID="a90430f1-bfed-4d65-a776-b4abfd65eb05" CreationDate="2011-02-25T12:30:48.847" UserId="903" Text="DSI's does not need any special interfacies to be polychained together. If wanting to add more polyphony all that is needed is evolvers and MIDI cables.&#xD;&#xA;There is polychain parameters in units that just needs to be turned on. I have MEK and desktop in polychain. Works well.&#xD;&#xA;&#xD;&#xA;You can find more info about polychaining evolvers from DSI site. It is good to know that earliest desktop models need newer OS chip that can be ordered from DSI.&#xD;&#xA;(Models from certain serial number forward can be polychained withh newer models without chip upgrade..).&#xD;&#xA;&#xD;&#xA;All other evolvers can be chained together without upgrade. :)&#xD;&#xA;&#xD;&#xA;I don't find it very wise to group too many desktops together as their audio signals also need to be mixed together.. and they need space. Also price point needs to be concidered carefully, like when it's good move to go to poly evolver rack instead of desktops.&#xD;&#xA;&#xD;&#xA;For me having MEK / PEK with knobs is mandatory for editing sounds.. desktops interface is just painfully slow. :)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10755" PostHistoryTypeId="2" PostId="6267" RevisionGUID="11d322e6-bda8-47f3-bbe0-d88765d179f0" CreationDate="2011-02-25T12:42:48.953" UserId="786" Text="For me the drones (and the music) are what gives the film its sonic identity. When I work on a film, I try to narrow down the infinite number of possibilities of making sound design to a concept that fits the film.&#xD;&#xA;&#xD;&#xA;For instance I did a pilot for a film, which is a horror film in an old summerhouse / abandoned farm somewhere in the woods. While we were doing the pilot, I had access to a similar old abandoned farm where, in one of the barns, there was an old harmonium. A lot of the keys were stuck, and as i pumped air through the thing, the most dense cluster chords emerged. I did a 20 minute recording session with my Zoom H4, afterwards I took the recordings back to my studio and pitched them down an octave or so and added some reverb, and created some dark textured drones for the film. Somehow the feeling of the lonely harmonium in the barn connected to the feeling of an abandoned house inhabited by something evil.&#xD;&#xA;&#xD;&#xA;On a feature film, which I finished about a month ago, I had a concept of using single oscillator analog synths for the drones, making simple tones which would be treated with resonant filters and different types of analog distortion. The drones were constantly evolving because I was constantly turning the knobs while creating them. This also gave a pretty precise palette of possibilities and thereby a strong sense of identity for the film.&#xD;&#xA;&#xD;&#xA;On earlier films I have used Reaktor synths (especially the travellizer) quite a lot, but right now I am in an analog phase of my life. I might get back to Reactor later on, it is definetely a fantastic piece of software!&#xD;&#xA;&#xD;&#xA;I also use stingers to spice things up. I don't spend so much time inventing them, mostly I just go through my library, searching for &quot;lfe&quot; or &quot;stinger&quot; or &quot;flame&quot; or &quot;dragon&quot; or &quot;whoosh&quot; or &quot;explosion&quot; or whatever comes to mind. I then edit, layer, pitch, mix, reverse, add reverb and so on, until I am satisfied with the sting. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10756" PostHistoryTypeId="2" PostId="6268" RevisionGUID="ebcbfd32-b963-4e21-917c-256214fc3bfe" CreationDate="2011-02-25T13:16:34.533" UserId="786" Text="Ask for information on the project. Is it a paid job? If so, do you have the time to work for free or not? If it is without pay, I would definetely ask to see the film in advance - if available. If it isn't shot yet, I would like to read a synopsis or treatment. If I know the director in advance, either in real life or by reputation, I could also make my decision based on that. If for instance I was asked to work on a film by David Fincher or Lars von Trier, I would probably say yes at once. If my schedule was free and the job is paid I would also say yes." ContentLicense="CC BY-SA 2.5" />
  <row Id="10757" PostHistoryTypeId="2" PostId="6269" RevisionGUID="c03a6bba-d282-4cbc-8c97-1731296f45ae" CreationDate="2011-02-25T14:13:41.127" UserId="117" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I'm stuck with this one. I have to Foley the sound of someone caressing a tiger. I've tried different things without any success. Do you have any ideas?&#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;Marco" ContentLicense="CC BY-SA 2.5" />
  <row Id="10758" PostHistoryTypeId="1" PostId="6269" RevisionGUID="c03a6bba-d282-4cbc-8c97-1731296f45ae" CreationDate="2011-02-25T14:13:41.127" UserId="117" Text="Foley Caress tiger" ContentLicense="CC BY-SA 2.5" />
  <row Id="10759" PostHistoryTypeId="3" PostId="6269" RevisionGUID="c03a6bba-d282-4cbc-8c97-1731296f45ae" CreationDate="2011-02-25T14:13:41.127" UserId="117" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10760" PostHistoryTypeId="2" PostId="6270" RevisionGUID="30389258-ea81-4fe2-861d-bc974a440db8" CreationDate="2011-02-25T14:50:24.853" UserId="103" Text="Scraping chest or legs  hair  with finger nails might do the trick" ContentLicense="CC BY-SA 2.5" />
  <row Id="10761" PostHistoryTypeId="2" PostId="6271" RevisionGUID="67cb026e-7101-4898-b024-04d95b0eb9aa" CreationDate="2011-02-25T15:41:21.373" UserId="6411" Text="Edit your post to let us know what you've already tried, that way we're not backtracking. I'm guessing that it's a relatively quiet, emotional scene. So the first things that come to mind are more about expressing the caress &amp; less about the thought that there's a tiger in the room:&#xD;&#xA;&#xD;&#xA; - Feather duster&#xD;&#xA; - Stuffed animal&#xD;&#xA; - Sweater&#xD;&#xA; - Fur coat (or a Rycote windjammer)&#xD;&#xA; - Throw pillows&#xD;&#xA; - Bath robe&#xD;&#xA;&#xD;&#xA;Basically things that have a softness to them with enough texture to make them sound a little interesting.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10762" PostHistoryTypeId="2" PostId="6272" RevisionGUID="f4f441ce-bf16-46cd-bde4-16243d782b18" CreationDate="2011-02-25T16:52:53.160" UserId="338" Text="If you have a good bird library, you might find some really wierd bird calls that you could use for that.  Don't forget the purring&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10763" PostHistoryTypeId="2" PostId="6273" RevisionGUID="1faaf1af-5cbc-4d4d-8f20-98c729c3773d" CreationDate="2011-02-25T16:59:08.117" UserId="432" Text="I like to get as much information as I can about the project ahead of time:&#xD;&#xA;&#xD;&#xA; - What's the scope of work&#xD;&#xA; - How long is the project&#xD;&#xA; - Do I find the project/material interesting&#xD;&#xA; - How well have they planned for audio post (or haven't they)? What do they want the audio to do in their project?&#xD;&#xA; - Do I have the time to provide what they're looking for?&#xD;&#xA;&#xD;&#xA;I've mentioned in another [thread][1] on this site that a project can described as &quot;Good,&quot; &quot;Fast,&quot; or &quot;Cheap.&quot; It can be any two of those three ideas, but it will be the direct opposite of the third (i.e. for a project to be &quot;Good&quot; and &quot;Fast,&quot; it will NOT be cheap...&quot;Fast&quot; and &quot;Cheap&quot; will not be &quot;Good&quot;). This is one of the biggest factors for me to be involved in a project. Personally, for freelance work, I will not allow myself to work on something that will not be good. [I have less say at my day job. ;)] My work reflects on me and my skills. If the circumstances do not offer me the opportunity to put forth my best effort, I will not take it. Which brings me to the next idea.&#xD;&#xA;&#xD;&#xA;Do not oversell yourself...to the client, or yourself. If you have doubts about your ability to handle a particular assignment, make sure you evaluate them carefully. Know what you're getting yourself into. Know what your time is worth, and what the different tasks for a project requires. Completing any project is a system of controlled attrition; you won't be able to do everything perfectly. Make sure priorities are discussed and agreed upon (this goes back to the &quot;scope&quot; bullet-point), before you agree to start on the project.&#xD;&#xA;&#xD;&#xA;And don't forget, you don't have to be the only audio person who works on a given project.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/5939/quoting-for-post-sound-production" ContentLicense="CC BY-SA 2.5" />
  <row Id="10764" PostHistoryTypeId="2" PostId="6274" RevisionGUID="e1c793a2-6538-4e60-8bce-b0f19f82c95d" CreationDate="2011-02-25T18:19:02.583" UserId="18160" Text="Go pet a cat and see what it sounds like.&#xD;&#xA;&#xD;&#xA;You don't necessarily hear the fur but you hear the person's foley and cloth. Make sure that is in there, too.&#xD;&#xA;&#xD;&#xA;I'd try a rabbit's fur or other things made out of fur. Even try stroking your own hair (no offense if you don't have any)." ContentLicense="CC BY-SA 2.5" />
  <row Id="10765" PostHistoryTypeId="5" PostId="6274" RevisionGUID="1297a6ed-7fcd-40cd-9c59-61683eda5ed9" CreationDate="2011-02-25T18:25:28.360" UserId="18160" Comment="added 213 characters in body; added 2 characters in body" Text="First thing I'd check out is if there is a music cue going there if you have the ability to coordinate with the sound super or the music scoring guys. It may be too low that it won't be heard in the first place.&#xD;&#xA;&#xD;&#xA;Go pet a cat and see what it sounds like.&#xD;&#xA;&#xD;&#xA;You don't necessarily hear the fur but you hear the person's foley and cloth. Make sure that is in there, too.&#xD;&#xA;&#xD;&#xA;I'd try a rabbit's fur or other things made out of fur. Even try stroking your own hair (no offense if you don't have any)." ContentLicense="CC BY-SA 2.5" />
  <row Id="10766" PostHistoryTypeId="2" PostId="6275" RevisionGUID="8fdc4198-9c69-4988-914a-0c3233ddf8dd" CreationDate="2011-02-25T20:19:24.130" UserId="315" Text="Just did something like this recently. Take the furry from a zepplin and put it against your chest to add some deep fleshy resonance and rub away. SImple really." ContentLicense="CC BY-SA 2.5" />
  <row Id="10767" PostHistoryTypeId="5" PostId="6272" RevisionGUID="3cd4b57a-5290-4d6c-986e-5722b05a0a9c" CreationDate="2011-02-25T20:32:54.800" UserId="338" Comment="edits" Text="If you have a good bird library, you might find some really wierd bird calls that you could use for that.  Don't forget the purring.  &#xD;&#xA;&#xD;&#xA;I'm pretty sure it was humming bird winds i was thinking of." ContentLicense="CC BY-SA 2.5" />
  <row Id="10768" PostHistoryTypeId="2" PostId="6276" RevisionGUID="44974d49-c750-4a08-9ad3-968f17f750e3" CreationDate="2011-02-25T21:12:01.800" UserId="338" Text="So I've read it and now I've heard it.  &#xD;&#xA;&#xD;&#xA;How many people have heard such a thing?  What does it mean (other than the obvious) and what can you say?  Might it also mean that these things can be lower in the mix and should be so that we don't hear them on a concious level?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10769" PostHistoryTypeId="1" PostId="6276" RevisionGUID="44974d49-c750-4a08-9ad3-968f17f750e3" CreationDate="2011-02-25T21:12:01.800" UserId="338" Text="&quot;But there aren't any of [insert object/animal/sound/etc] in the movie.&quot;  How many indie directors say that and what is the relevance?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10770" PostHistoryTypeId="3" PostId="6276" RevisionGUID="44974d49-c750-4a08-9ad3-968f17f750e3" CreationDate="2011-02-25T21:12:01.800" UserId="338" Text="&lt;sound.director.indie&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10771" PostHistoryTypeId="2" PostId="6277" RevisionGUID="7301508f-b8f1-4be9-97be-f5a057c28f65" CreationDate="2011-02-25T21:28:04.560" UserId="18160" Text="To me, it means the director might not be using sound to it's fullest potential. I obviously don't know what was filled in the blank and what the context was, because of course &quot;This film doesn't have any dinosaurs in it&quot; is a valid thing to say when you're working on a Western film, but when sound is used cleverly to forward the story I think it can benefit the audience's experience.&#xD;&#xA;&#xD;&#xA;Your reference to show them is here:&#xD;&#xA;&#xD;&#xA;http://www.filmsound.org/articles/designing_for_sound.htm&#xD;&#xA;&#xD;&#xA;Read the section entitled: Darkness Around the Edge of the Frame&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;Writing for Sound&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;Starving the Eye, The Usefulness of Ambiguity." ContentLicense="CC BY-SA 2.5" />
  <row Id="10772" PostHistoryTypeId="2" PostId="6278" RevisionGUID="e4646380-3b13-4e5d-a67c-33c5a4558a0a" CreationDate="2011-02-25T23:08:57.887" UserId="253" Text="This is a major pet peeve for me. Funny story: in one session i had, the director was jiggling his foot during a scene, which was causing the chair to squeak a little. Afterwards he said &quot;i don't know about that bird, can you take it out?&quot;.&#xD;&#xA;&#xD;&#xA;But in all seriousness, it's easy for an inexperienced (and maybe experienced) director to become attached to what they did or didn't hear on set, or to the guide track that they've been listening to throughout the picture edit. Then, when they notice something new that they hadn't expected, they can be automatically resistant to it. &#xD;&#xA;&#xD;&#xA;Mainly, i think that if they're noticing it, perhaps i haven't integrated it as well as i could. Ideally, if i've done it right, the director will feel the effect it has and welcome it, rather than have their attention drawn to the sound effect itself.&#xD;&#xA;&#xD;&#xA;On the other hand, maybe they're focusing too hard on listening, instead of feeling the ebb and flow of tension/mood/emotion and whatnot. In this case, i'd explain what my intentions are for the sound, and the thought process behind it. Then, maybe, they'll be more receptive to the effect that the sound has, or perhaps we can then come up with something the director likes, which has a similar effect." ContentLicense="CC BY-SA 2.5" />
  <row Id="10773" PostHistoryTypeId="2" PostId="6279" RevisionGUID="9b9ecb2f-a0e0-417a-a2e8-de11ee836163" CreationDate="2011-02-26T04:38:42.007" UserId="693" Text="A friend of mine used only his DS PolyEvolver for a film score last year and won some awards. That machine is a beast.&#xD;&#xA;&#xD;&#xA;http://www.hulu.com/watch/186191/indieflix-shorts-222" ContentLicense="CC BY-SA 2.5" />
  <row Id="10774" PostHistoryTypeId="2" PostId="6280" RevisionGUID="f191306b-d239-4a70-91c9-03273c7243cb" CreationDate="2011-02-26T20:22:39.093" UserId="455" Text="I'm currently in the running to get on a found footage horror film- basically the same thing as Blair Witch and Paranormal Activity.  The goal for the film is for it to appear to have been authentic, found footage.  I've never done a film like this before so I'm wondering if any of you have worked on something similar.  Here are my questions and thoughts:&#xD;&#xA;&#xD;&#xA;Backgrounds:&#xD;&#xA;To what extent should backgrounds be used?  The audio is supposed to be coming from a hidden camera that the main character wears.  I feel like stereo backgrounds may pop out and be &quot;unrealistic&quot; in the context of the film.  What do you think about mono bgs?  Should I approach the design the same way as if I were to be designing backgrounds for a narrative piece?&#xD;&#xA;&#xD;&#xA;Mixing:&#xD;&#xA;Here is where I'm struggling as well.  In theory the film should be mixed in mono- right?  I'm no expert on hidden cameras but I'm pretty sure most of them don't record in stereo.  However, this is a horror film and there is going to be a lot of off screen sound happening, including dialog.  I think I may be able to get away with some panning, but used minimally and very carefully according to the importance of the sounds/ voices.  Thoughts?&#xD;&#xA;&#xD;&#xA;I have yet to go back and reference similar films (Paranormal, Blair Witch) so if anyone has recently seen them, or have ever thought about these issues it would be great to know what to listen for.  Also if you have any other films to suggest that are on Netflix I'd like to take a look at those as well.  The producer mentioned Cloverfield but I can't bring myself to watch that!  (I've seen clips of the film and had a discussion about it and it doesn't seem anything like Cloverfield.)&#xD;&#xA;&#xD;&#xA;Thanks for your help!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10775" PostHistoryTypeId="1" PostId="6280" RevisionGUID="f191306b-d239-4a70-91c9-03273c7243cb" CreationDate="2011-02-26T20:22:39.093" UserId="455" Text="Designing and mixing sound for a &quot;found footage&quot; horror film" ContentLicense="CC BY-SA 2.5" />
  <row Id="10776" PostHistoryTypeId="3" PostId="6280" RevisionGUID="f191306b-d239-4a70-91c9-03273c7243cb" CreationDate="2011-02-26T20:22:39.093" UserId="455" Text="&lt;designing&gt;&lt;mixing&gt;&lt;horror&gt;&lt;found&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10777" PostHistoryTypeId="2" PostId="6281" RevisionGUID="c9c93d52-feba-4296-8371-63b0378a1cd0" CreationDate="2011-02-26T20:33:04.133" UserId="629" Text="Hello everyone if you have time could you give my clip a watch and give me any pointers to improve?  Sadly the conversion Vimeo has done has really effected the sound quality for some reason?&#xD;&#xA;&#xD;&#xA;Link - http://vimeo.com/20410288&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10778" PostHistoryTypeId="1" PostId="6281" RevisionGUID="c9c93d52-feba-4296-8371-63b0378a1cd0" CreationDate="2011-02-26T20:33:04.133" UserId="629" Text="Game trailer feedback?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10779" PostHistoryTypeId="3" PostId="6281" RevisionGUID="c9c93d52-feba-4296-8371-63b0378a1cd0" CreationDate="2011-02-26T20:33:04.133" UserId="629" Text="&lt;feedback&gt;&lt;trailer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10783" PostHistoryTypeId="2" PostId="6283" RevisionGUID="96a88a03-778e-45e5-a9cb-c4cb6863d044" CreationDate="2011-02-27T01:20:26.803" UserId="6600" Text="I haven't worked on a production like this but maybe a good start would be to get some appropriate pieces of camera footage and do a frequency analysis of the corresponding audio.  If your sound design reflects this it won't seem too out of place.  Needless to say avoid any eccentric 'hollywood' type sound effects.&#xD;&#xA;&#xD;&#xA;Also would be probably worth looking at getting an impulse response of the various film locations if possible so that you can create your own reverb preset and easily match SFX to wildtrack recordings.  I know Logic has a supporting application that does this and I'm sure there are alternatives.&#xD;&#xA;&#xD;&#xA;With regards to backgrounds I would suggest keeping them as realistic as possible and change the mood subtly.  For example I think in Blair Witch they did stuff like cutting the sounds of background birds and insects to instil tension and being suddenly remote and lonely.&#xD;&#xA;&#xD;&#xA;Your approach to mono vs stereo seems logical to me, I guess go with whatever works.  Another 'found footage' film to check out is a French one called Man Bites Dog which is a bit dark in places just to warn you but actually a pretty good if I remember rightly." ContentLicense="CC BY-SA 2.5" />
  <row Id="10784" PostHistoryTypeId="2" PostId="6284" RevisionGUID="bcde8fbe-3717-4f15-8168-4f810dd60f2d" CreationDate="2011-02-27T05:15:29.967" UserId="338" Text="It sounds pretty gnarly to me!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10785" PostHistoryTypeId="2" PostId="6285" RevisionGUID="d1927118-9b70-43ab-994d-9516c0f323ee" CreationDate="2011-02-27T06:12:23.590" UserId="18160" Text="This would be an excellent opportunity to utilize distortion - i.e. people screaming their heads off getting appropriately clipped on the camera mic could add a lot to the emotion and feeling of the film. In addition to that, you might make good use of camera handling noise when they are running away from something or dropping the camera, etc. - much like a stinger or musical &quot;boo&quot; moment in conventional horror films.&#xD;&#xA;&#xD;&#xA;And for starters, if the whole movie is from the viewpoint of the camera, **CAPTURE EVERY SINGLE BIT OF SOUND FROM WHEN THEY FILM ON THE SAME CAMERA BEING USED!!!** That might just be what ends up being the final soundtrack - at least it will be extremely authentic.&#xD;&#xA;&#xD;&#xA;This seems like a fantastic utilization of sound for film.&#xD;&#xA;&#xD;&#xA;Good luck and please post up examples of what you come up with." ContentLicense="CC BY-SA 2.5" />
  <row Id="10786" PostHistoryTypeId="5" PostId="6285" RevisionGUID="35adac9e-e8ab-4f3a-aa1b-84f31a1b2473" CreationDate="2011-02-27T06:21:18.443" UserId="18160" Comment="added 185 characters in body" Text="This would be an excellent opportunity to utilize distortion - i.e. people screaming their heads off getting appropriately clipped on the camera mic could add a lot to the emotion and feeling of the film. In addition to that, you might make good use of camera handling noise when they are running away from something or dropping the camera, etc. - much like a stinger or musical &quot;boo&quot; moment in conventional horror films.&#xD;&#xA;&#xD;&#xA;And for starters, if the whole movie is from the viewpoint of the camera, **CAPTURE EVERY SINGLE BIT OF SOUND FROM WHEN THEY FILM ON THE SAME CAMERA BEING USED!!!** That might just be what ends up being the final soundtrack - at least it will be extremely authentic.&#xD;&#xA;&#xD;&#xA;This seems like a fantastic utilization of sound for film.&#xD;&#xA;&#xD;&#xA;Good luck and please post up examples of what you come up with.&#xD;&#xA;&#xD;&#xA;Of course, check out this article from the great Miguel at Designing Sound: http://designingsound.org/2010/04/exclusive-interview-with-oriol-tarrago-sound-designer-of-rec-and-rec-2/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10787" PostHistoryTypeId="2" PostId="6286" RevisionGUID="5ee04f30-2a4c-43c8-a280-b20fb459deef" CreationDate="2011-02-27T07:16:19.577" UserId="397" Text="Guys,&#xD;&#xA;&#xD;&#xA;Thanks for your interest and for your help! I finally used the rycote windjammer and see if its aproved. &#xD;&#xA;&#xD;&#xA;Best regards,&#xD;&#xA;Marco" ContentLicense="CC BY-SA 2.5" />
  <row Id="10788" PostHistoryTypeId="2" PostId="6287" RevisionGUID="6d5e9719-df3b-4922-a43a-5d676591aec0" CreationDate="2011-02-27T10:00:17.737" UserId="786" Text="Clearly most cameras today record via their built-in stereo microphone, unless you are working with a mobile phone concept, where i haven't yet seen built-in stereo mics. But if it is a DV or HDV or SD-card camera, the microphone is probably stereo.&#xD;&#xA;&#xD;&#xA;Which leads to the next part of what I think is interesting in sound design for &quot;found footage&quot; horror movies. In real found footage the sound is almost never mono, or &quot;nice symmetrical stereo&quot; as the sound we would normally make when doing sound design for a film.&#xD;&#xA;&#xD;&#xA;The dialogue will always be shifted somewhat to the left or right, depending on where the character speaking (or screaming!) is in the frame. Only when they are dead center, the dialogue will be in mono.&#xD;&#xA;&#xD;&#xA;Because editing makes the characters jump around the screen stereo-wise, it may be nice to narrow down the stereo image of the dialogue, so you don't confuse the audience too much. But I would say try it out and don't be scared of trying something new!&#xD;&#xA;&#xD;&#xA;Also if the camera is dropped and is lying on its side, one of the sides can be blocked, shifting all of the sound to the other side, again making the sound track very assymetrical. This is pretty extreme and may not suit your film, but I think it is worth trying out, at least just for inspiration.&#xD;&#xA;&#xD;&#xA;If you try to work with some amount of difference between left and right in all aspects of the sound design, you will have palette for sound design which is much wider than mono, while still being credible and true to the &quot;found footage&quot; concept.&#xD;&#xA;&#xD;&#xA;I would absolutely recommend checking out Cloverfield for inspiration. It may be a far out monster movie, but the sense of pov and found footage is very well done." ContentLicense="CC BY-SA 2.5" />
  <row Id="10789" PostHistoryTypeId="5" PostId="5020" RevisionGUID="b728394f-65dd-421c-b2a4-3b481d714149" CreationDate="2011-02-27T18:42:07.530" UserId="315" Comment="added 3 characters in body" Text="Most film mixers use a variety of reverbs/delays depending on the scene/environment. Sometimes mono up the center or panned, stereo in the LR, or 5.0 etc.. Sometimes two stereo pairs with one set to a different pre-delay in the rear. There are a variety of choices to be made, and great mixers know how to create the right immersive sound with a large sweet spot, without muddying up the theater in a wet mess. With 7.1, they are given two more channels on the side to play with.&#xD;&#xA;&#xD;&#xA;Say your scene takes place in a dark alley. A mixer might call up a general 2.0 outdoor reverb for the dialog in the LR, and a 5.1 reverb for the fx with an early reflection to simulate a narrow stone walled space, and add a mono slap delay panned to the left on some of the louder fx to simulate the slap off of a building. Lots of creative choices being made depending on the environment/storytelling.&#xD;&#xA;&#xD;&#xA;On the typical dub stage, you'll see a single or multiple TC System 6000s, Lexicon 960s or 480s on the desk; with units strictly for the dialog/music mixer and units for the fx mixer. On a TC 6000 for example, you can set it up to run 4 stereo verbs or one 5.1 verb. You'll often see the mixers switch between the two through the course of a reel." ContentLicense="CC BY-SA 2.5" />
  <row Id="10790" PostHistoryTypeId="2" PostId="6288" RevisionGUID="3b32a2cb-47ec-4215-93ac-c73d2c87e87d" CreationDate="2011-02-27T23:10:48.440" UserId="338" Text="I'm editing dialogue and I'm not sure if I should make cuts for each shot six frames before the shot or not.  Or should I after.  Does anybody have an opinion on when to cut?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10791" PostHistoryTypeId="1" PostId="6288" RevisionGUID="3b32a2cb-47ec-4215-93ac-c73d2c87e87d" CreationDate="2011-02-27T23:10:48.440" UserId="338" Text="When to cut a region, before or after the picture and how many frames?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10792" PostHistoryTypeId="3" PostId="6288" RevisionGUID="3b32a2cb-47ec-4215-93ac-c73d2c87e87d" CreationDate="2011-02-27T23:10:48.440" UserId="338" Text="&lt;cutting&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10793" PostHistoryTypeId="6" PostId="6276" RevisionGUID="cd037c77-bfa3-4fc3-80ef-52b724d04dd3" CreationDate="2011-02-27T23:48:05.117" UserId="414" Comment="edited tags" Text="&lt;director&gt;&lt;indie&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10794" PostHistoryTypeId="2" PostId="6289" RevisionGUID="ef3ce336-afa6-44e9-848e-10fe4439b416" CreationDate="2011-02-28T00:04:16.783" UserId="253" Text="There's no hard and fast rule here; anything goes, as long as it makes the cut invisible. Dialogue editing is all about smoothing out the bumps/clicks/noises/etc, so you may have to try a few things to make it work. &#xD;&#xA;&#xD;&#xA;I find that 2(ish) frame equal power crossfades work pretty well. If you have a bit of an ambience change (that you can't repair with fill), you may want a longer x fade. Another thing to think of is whether to make the audio cut on the picture cut, or before/after. The former might make the picture cut too jarring, but a picture cut that's jarring by itself might cover up your audio cut. It's all heavily dependent on context, though." ContentLicense="CC BY-SA 2.5" />
  <row Id="10795" PostHistoryTypeId="5" PostId="6288" RevisionGUID="656eed49-a36a-4048-8c9e-a36ed0352d6c" CreationDate="2011-02-28T02:44:36.720" UserId="338" Comment="added 28 characters in body" Text="I'm editing dialogue and I'm not sure if I should make cuts for each shot six frames before the shot or not.  Or should I after.  Does anybody have an opinion on when to cut?&#xD;&#xA;Specifically for Dialogue." ContentLicense="CC BY-SA 2.5" />
  <row Id="10797" PostHistoryTypeId="2" PostId="6291" RevisionGUID="5da6a903-a926-499d-b106-9a45fb1ed2d9" CreationDate="2011-02-28T08:24:54.590" UserId="786" Text="I agree with the &quot;anything goes&quot; rule, sometimes you need a long fade and at other times you need a very short fade. &#xD;&#xA;&#xD;&#xA;I for instance you are doing a scene with a lot of jump cuts or pov, you may not want any fades at all, or just a very short fade of max 1 frame to take away the click sound. If I am doing a scene with very short cuts, I always let the fade start on the cut, not before. In my experience it feels right that way.&#xD;&#xA;&#xD;&#xA;On other occasions you may want to hide the fades, so it can be wise to split the dialogue over several tracks, so you can make different fades for the sound that is ending and the sound that is beginning. For instance you may have some background noise in the first sound, which you may want to fade out slowly, and the incoming sound starts with a bit of dialogue right at the first frame. By putting the two sounds on separate tracks, you have full flexibility on making the fades sound good.&#xD;&#xA;&#xD;&#xA;One rule I find you can have about where to place the fades, is that if you start the fade too early before the edit, you kind of draw a bit of attention to the fade. It is easier to hide the fade if you make it on and after the cut than it is to hide it before the cut, unless there is some background noise on the incoming sound, which you need to give a long fade in." ContentLicense="CC BY-SA 2.5" />
  <row Id="10798" PostHistoryTypeId="2" PostId="6292" RevisionGUID="c97016e2-dda9-4269-a809-440bbcf84ce3" CreationDate="2011-02-28T13:05:17.687" UserId="198" Text="One serious issue to consider is that you'll definitely need wind protection for Nature Recording. Looking at the shape of those mics I don't know if you'll be able to fit a ball gag and fur cover on those.&#xD;&#xA;&#xD;&#xA;For those who can't afford Sennehisers, usually the Audio Technica AT4021/22 (cards/omnis) are recommended. I have a pair of the AT4021's I use for nature/ambient recording and I'm very satisfied.&#xD;&#xA;&#xD;&#xA;There is also an older version of the ATs named 3031/32 that you can sometimes find deals on. The specs are more or less the same.&#xD;&#xA;&#xD;&#xA;Check the Nature Sound Recordists list for exhaustive discussion on microphones:&#xD;&#xA;http://tech.groups.yahoo.com/group/naturerecordists/ " ContentLicense="CC BY-SA 2.5" />
  <row Id="10799" PostHistoryTypeId="2" PostId="6293" RevisionGUID="83a356ae-fee2-468c-a883-8d6b3b71dc4c" CreationDate="2011-02-28T13:33:54.507" UserId="801" Text="Maybe he was influenced by the productiondepartment?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10800" PostHistoryTypeId="2" PostId="6294" RevisionGUID="a78ad68d-1fde-41ea-9093-11007290c636" CreationDate="2011-02-28T13:50:41.263" UserId="908" Text="I have the BT 201 3/s and I'm very satisfied, the best thing is that the sound is very clear and doesn't need EQ. Well I'm using mostly on drums and perucssions so don't know how they would act in field recording. Here's a review about them http://recordinghacks.com/2011/01/13/jz-dmk1-review/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10801" PostHistoryTypeId="2" PostId="6295" RevisionGUID="9a4427f3-80fd-49dc-8884-42b94225b4fd" CreationDate="2011-02-28T16:10:58.803" UserId="393" Text="Quick back story... On my drive home, I drive next to a fairly busy train track on an otherwise unused road -- the track is about half a mile either direction from any crossings, so I won't have to worry about the train's horn in a stereo pass-by.  I plan on recording the pass-by sometime soon (it's been far too cold lately to sit out and wait for the train), but I was also thinking about ways to maximize the single experience.&#xD;&#xA;&#xD;&#xA;One of the thoughts was using contact mics on the rails, to get the sound of the train approaching from as far away as I can.  My biggest fear from this is if I'm recording hot, will the signal from those mics damage my h4n as the train passes (which I suspect will be enough to damage the mics), or is this relatively safe to my equipment?&#xD;&#xA;&#xD;&#xA;Just to clarify, I plan on being probably 30+ feet away as the train passes, with the h4n set up on a gorillapod 15-20 feet away, or as far away as I can with the contact mic's cord." ContentLicense="CC BY-SA 2.5" />
  <row Id="10802" PostHistoryTypeId="1" PostId="6295" RevisionGUID="9a4427f3-80fd-49dc-8884-42b94225b4fd" CreationDate="2011-02-28T16:10:58.803" UserId="393" Text="Can you damage a sound recorder (not microphone) by recording too hot?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10803" PostHistoryTypeId="3" PostId="6295" RevisionGUID="9a4427f3-80fd-49dc-8884-42b94225b4fd" CreationDate="2011-02-28T16:10:58.803" UserId="393" Text="&lt;zoom-h4n&gt;&lt;field-recording&gt;&lt;contact-mic&gt;&lt;safety&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10804" PostHistoryTypeId="2" PostId="6296" RevisionGUID="2507dc07-8101-4359-ad1f-e804d20b3c3a" CreationDate="2011-02-28T16:21:21.020" UserId="393" Text="Take it to the field... design your sounds without any accounting for atmosphere or the camera mic, then lug your monitors to a suitable location and actually record the sound using a camera mic.  (Of course, record the sound with regular microphones as well, and build an impulse response using the built in camera mic.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10805" PostHistoryTypeId="2" PostId="6297" RevisionGUID="2f8cad40-42b4-47a1-9fec-d31e47cef960" CreationDate="2011-02-28T16:24:02.277" UserId="393" Text="http://www.youtube.com/watch?v=NcfTYQW38fU&#xD;&#xA;&#xD;&#xA;If you haven't seen that, it's pretty interesting.  The Faderport's automation is significantly smoother." ContentLicense="CC BY-SA 2.5" />
  <row Id="10806" PostHistoryTypeId="2" PostId="6298" RevisionGUID="bfe037d3-d9c7-46b5-886b-f639ba6b1478" CreationDate="2011-02-28T17:02:11.853" UserId="543" Text="hey, nice work!&#xD;&#xA;&#xD;&#xA;a few things that come to mind: &#xD;&#xA;&#xD;&#xA;a) it seems quite out of sync to me? or is that the vimeo-issue you mentioned?&#xD;&#xA;&#xD;&#xA;b) it would be really nice, if you could work out the unique character from each car... what i mean is, that an audi will sound very different to a lamborghini... would be nice to hear this... &#xD;&#xA;you could also establish those different sounds at the very beginning (the logo-animation) - 4 cars - 4 colors.&#xD;&#xA;&#xD;&#xA;c) have you tried adding something for the changing environment-colors? i think some subtle sounds could make them much more noticable...&#xD;&#xA;&#xD;&#xA;hope this helps :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10807" PostHistoryTypeId="2" PostId="6299" RevisionGUID="1121dc41-f031-4164-9a58-ec4fd9f9f82d" CreationDate="2011-02-28T17:09:14.827" UserId="63" Text="after much online searching guys i discovered that there are more portable preamps available in the market... and cheaper. Of course i dont expect them to have the same quality as the Sound Devices one but... &#xD;&#xA;&#xD;&#xA;One i found is called ART PHANTOM II PRO and you can see it here http://www.thomann.de/gr/art_phantom_ii_pro_b_stock.htm for just 64 euros. &#xD;&#xA;&#xD;&#xA;and the other one is ROLLS PB 224 B found here http://www.thomann.de/gr/rolls_rb_224_b.htm for 120 euros. &#xD;&#xA;&#xD;&#xA;anyone tested any of those 2 so we can have some feedback about the noise levels and quality?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10808" PostHistoryTypeId="2" PostId="6300" RevisionGUID="a16c5158-f988-4141-a06d-09fabd68582c" CreationDate="2011-02-28T17:13:59.047" UserId="63" Text="Verkannt the thing you have to know about this is that, the higher the impedance of the headphones the lower the levels are going to be. &#xD;&#xA;&#xD;&#xA;To be sure get beyerdynamic DT 770 PRO (80 ohm). There is another model at 250 ohms but it will sound to weak with your setup, in general the lesser the ohms of the headphones the greater the level should be. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10809" PostHistoryTypeId="2" PostId="6301" RevisionGUID="92182e92-fddd-4c2d-9cb9-a85e90f15200" CreationDate="2011-02-28T17:24:17.070" UserId="234" Text="Hi All,&#xD;&#xA;&#xD;&#xA;I'm working on a film that the director and I want to do a LOT of worldizing on. Now I've done some, but I thought I'd throw it out to the brain-trust around here. What speakers do YOU use for worldizing (especially in Outside environments) and why?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10810" PostHistoryTypeId="1" PostId="6301" RevisionGUID="92182e92-fddd-4c2d-9cb9-a85e90f15200" CreationDate="2011-02-28T17:24:17.070" UserId="234" Text="What speakers do you use for Worldizing..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10811" PostHistoryTypeId="3" PostId="6301" RevisionGUID="92182e92-fddd-4c2d-9cb9-a85e90f15200" CreationDate="2011-02-28T17:24:17.070" UserId="234" Text="&lt;worldizing&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10812" PostHistoryTypeId="2" PostId="6302" RevisionGUID="94528b5b-08b0-4f47-8e47-40c3c3ddd0ab" CreationDate="2011-02-28T17:27:07.437" UserId="786" Text="You may get a distorted recording, if it is too hot, but it won't damage your recorder.&#xD;&#xA;&#xD;&#xA;The ways I have damaged equipment has been through physical violence, powersurges or sea water. Oh and also the occasional loudspeaker from playing too loud..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10813" PostHistoryTypeId="2" PostId="6303" RevisionGUID="ec077724-ca22-4bf4-9293-4d988282e3a8" CreationDate="2011-02-28T17:34:34.033" UserId="786" Text="I would probably use a convolution reverb instead. It's a lot more flexible and it saves a lot of time. But you could make your own IR's. I would use a good and linear active studio monitor as the speaker. If it's over long distances outside, I might try a bigger speaker, like from a PA system." ContentLicense="CC BY-SA 2.5" />
  <row Id="10814" PostHistoryTypeId="2" PostId="6304" RevisionGUID="341a4476-def8-4b63-a862-ececf2ff080c" CreationDate="2011-02-28T17:46:08.630" UserId="315" Text="Powered studio monitors are the best, because they're pretty self contained. The guys at Audio Ease have theirs wired to a car battery.&#xD;&#xA;&#xD;&#xA;I would also look for powerful monitors with a flat frequency response, the less &quot;speaker-y&quot; sounding the better; unless you're going for that sound. I've used Genelecs or cheaper Tannoys for this sort of thing, or if you're lazy a car stereo can also do the trick.&#xD;&#xA;&#xD;&#xA;Here's a [great article][1] on worldizing.&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.editorsguild.com/v2/magazine/Newsletter/MarApr04/marapr04_worldizing.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="10815" PostHistoryTypeId="2" PostId="6305" RevisionGUID="29e93cf1-8b10-43f2-929e-acad2b2482d6" CreationDate="2011-02-28T18:45:10.403" UserDisplayName="user49" Text="Not sure about that - I remember reading years ago of guys recording onboard F1 engines, the SPLs were so high the dynamic mics they were using were generating volts rather than millivolts, which I dont imagine preamps would like too much. They had to pad them down LOTs to get a recordable signal... But I dont imagine your normal distortion/over level sitations would damage your recorder..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10816" PostHistoryTypeId="2" PostId="6306" RevisionGUID="96002171-5781-484b-ba6c-636588c33cd5" CreationDate="2011-02-28T18:49:44.210" UserDisplayName="user49" Text="It depends what the outcome you want eg worldizing might mean car radio or transistor radio, in which case thats what you would want to replay through... Otherwise studio monitors feed from a car battery with an inverter would like be the go... When worldizing rumbles I found my studio subwoofer was a lot better than my bass guitar amp/bin - I guess in that case it was purity of sub signal that created the most resonance" ContentLicense="CC BY-SA 2.5" />
  <row Id="10821" PostHistoryTypeId="2" PostId="6309" RevisionGUID="86877d8b-178f-4682-a6ee-0c1a778dc5b6" CreationDate="2011-03-01T02:26:19.560" UserId="693" Text="Since IR's have come up quite a bit and I'm a big fan of them, here's a few suggestions and my .02 on it.&#xD;&#xA;&#xD;&#xA;In the example of needing something played through a car stereo, you could always create an IR of not just the car interior, but the impulse being played through the car stereo, thus getting you a much closer result than just trying to capture the acoustics of the car. &#xD;&#xA;&#xD;&#xA;An IR is simply the mathematical measurement of the dynamics of an &quot;environment&quot;. Impulses don't just simply capture the reverb, but how a specific sound reacts in any variable of &quot;environments&quot; and the software then creates a convolution algorithm from that IR, whether that IR be from a physical space or the limitations and parameters of a specific signal passing through different stages of a piece of hardware, cables and it's settings. Any recording you ever make is essentially an IR of that source signal going through the various stages of processing you imparted upon it. It's now represented as a waveform in a digital file or on tape or whatever the medium. We call it a recording, but in reality it's actually an archive of an impulse response. We just typically don't view it on that much of a microscopic detailed level.&#xD;&#xA;&#xD;&#xA;Example: Focusrite's Liquid Mix is essentially just Impulses being recorded through gear with incremental settings so that they can essentially &quot;clone&quot; the gear by creating a range of IR's that it calculates between. Thus supposedly giving you as close as an accurate representation of what that piece of gear is able to do to a signal. In essence, making it much more complex than the single snapshot style of Waves' Q-Clone or a simple Convolution Reverb with minimal parameters. &#xD;&#xA;&#xD;&#xA;All the Convolution IR plug-in is doing is imparting the dynamic characteristics of an &quot;environment&quot; on the input sound based off of the dynamics of the IR that's loaded into it. Which is exactly like what we would be doing by &quot;worldizing&quot; something. We're just doing it in the analog realm as opposed to archiving that analog realm for future use as an IR (which is exactly what AudioEase's Speakerphone is). It's really not too far off from how a vocoder works (in a very loose concept). &#xD;&#xA;&#xD;&#xA;Whether the results are realistic and usable depends entirely on the quality of the IR made. The only difference is that the IR may offer more or less dynamic control depending on what the IR is made of. You will have less control with an IR of a piece of gear that has countless setting variations than you would of a impulse being recorded in a simple environment that you can do nothing to change besides mic and source placement when creating your IR. &#xD;&#xA;&#xD;&#xA;So, to save you time in the future if you happen to need to worldize sounds coming through a car radio a lot. You could maybe spend a day doing cars with different grade stereo's and cabin sizes to create a worldized IR car stereo library to choose from. You could also do this with cellphones, various TV's, radios and so on (Or you could buy Speakerphone, but that takes the fun and a bit of the originality out of it in my opinion). Personally, when making my own IR's I would use various sorts of Impulse triggers from very short white noise bursts to full test tone sweeps to get some variation.&#xD;&#xA;&#xD;&#xA;Hope that wasn't overly complex or wordy and it helps. Mostly, have fun with it." ContentLicense="CC BY-SA 2.5" />
  <row Id="10824" PostHistoryTypeId="6" PostId="6301" RevisionGUID="e71afbd4-0452-4e83-becd-4d0783c1b009" CreationDate="2011-03-01T08:38:21.060" UserId="693" Comment="edited tags" Text="&lt;worldizing&gt;&lt;gear&gt;&lt;convolution&gt;&lt;impulse-response&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10825" PostHistoryTypeId="2" PostId="6310" RevisionGUID="6bfc03a6-3739-4644-8d3a-9dc4cbc4603c" CreationDate="2011-03-01T13:02:37.550" UserId="220" Text="I have used the Fostex 6301Bs with very good results for IR recording.  They're pretty flat on the EQ side, don't use much power, and are very portable. &#xD;&#xA;&#xD;&#xA;Not sure what's &quot;best&quot;, but that's what I use.  A lot of the responses here are very good.&#xD;&#xA;&#xD;&#xA;It's not a bad idea to get a measurement mic and do some testing on your speakers.  It can help you EQ your worldizing recording to keep it accurate to the original." ContentLicense="CC BY-SA 2.5" />
  <row Id="10826" PostHistoryTypeId="2" PostId="6311" RevisionGUID="2b55943e-2bdb-48c4-830d-c1ca1819d665" CreationDate="2011-03-01T15:36:10.520" UserId="393" Text="Here's something I never thought I'd do here... ask a question related to my day job. :D&#xD;&#xA;&#xD;&#xA;I'm a technician in a nursing simulation lab -- I get to play with human simulators all day -- and I've convinced the director to purchase better vocal sounds for the mannequins.  We went with [Partners in Ryhme's Human Sound Effects][1] because the library fit our needs perfectly, and now that I've copied the WAVs onto our equipment, they're making the mannequins crash on playback.&#xD;&#xA;&#xD;&#xA;The best I can tell is it's a problem with either the bit rate (705kbps vs the original's 352) or the sample rate (44kHz vs 22), so I need to batch-process 445 files to get the new files to match up with the existing files.&#xD;&#xA;&#xD;&#xA;The problem is I don't know how to do that... I know how to do it one-by-one, but that'll take me all day.&#xD;&#xA;&#xD;&#xA;Do any of you know of a cheap or free program that I can do this with?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.partnersinrhyme.com/wmcstore/WMCshop.cgi?action=dbview&amp;id=RSFX03" ContentLicense="CC BY-SA 2.5" />
  <row Id="10827" PostHistoryTypeId="1" PostId="6311" RevisionGUID="2b55943e-2bdb-48c4-830d-c1ca1819d665" CreationDate="2011-03-01T15:36:10.520" UserId="393" Text="Batch changing bit and sample rate" ContentLicense="CC BY-SA 2.5" />
  <row Id="10828" PostHistoryTypeId="3" PostId="6311" RevisionGUID="2b55943e-2bdb-48c4-830d-c1ca1819d665" CreationDate="2011-03-01T15:36:10.520" UserId="393" Text="&lt;bitrate&gt;&lt;sample-rate&gt;&lt;downsampling&gt;&lt;batch-processing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10829" PostHistoryTypeId="2" PostId="6312" RevisionGUID="d3966dea-9976-4e1b-9b8a-58945f23a05c" CreationDate="2011-03-01T15:45:56.487" UserId="220" Text="ITunes will resample all files brought in to it.  Change the input settings and copy to folder to what you need, and it should do it for you.  &#xD;&#xA;&#xD;&#xA;I know you can batch process sample rate conversions in Adobe Audition as well, but that is not that cheap ($350).  " ContentLicense="CC BY-SA 2.5" />
  <row Id="10830" PostHistoryTypeId="2" PostId="6313" RevisionGUID="63f737c9-09a5-4afa-9ebe-e15866732389" CreationDate="2011-03-01T15:56:51.423" UserId="393" Text="The way I read your sentence gave me this idea: You're presenting your mix (we'll say it's the tank scene in Saving Private Ryan) and he immediately hears the chickens clucking instead of the boards falling.  &quot;But there aren't any chickens in this scene!&quot;&#xD;&#xA;&#xD;&#xA;At that point, I feel like his statement is completely relevant because it's showing that at least one person is seeing through your sound design on first listen." ContentLicense="CC BY-SA 2.5" />
  <row Id="10831" PostHistoryTypeId="2" PostId="6314" RevisionGUID="9336f674-115d-4932-b36c-bc97cecd138d" CreationDate="2011-03-01T16:28:07.703" UserId="693" Text="[Reaper DAW][1] has a native batch processing utility and it's a pro level app compared to iTunes. (The trial is unlimited use, full functionality and if you want to buy it the license is quite affordable compared to other DAW's). It's also dead simple to use.&#xD;&#xA;&#xD;&#xA;If you need instructions then let me know.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://reaper.fm/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10832" PostHistoryTypeId="2" PostId="6315" RevisionGUID="a6bb29cc-71a6-41f0-bec4-2246a1f59167" CreationDate="2011-03-01T17:36:54.767" UserId="46" Text="http://www.monkey-tools.com/soundgrinder/" ContentLicense="CC BY-SA 2.5" />
  <row Id="10833" PostHistoryTypeId="2" PostId="6316" RevisionGUID="3d2c6f57-f823-4806-874d-09e6081f7e02" CreationDate="2011-03-01T19:15:03.167" UserId="6487" Text="I just finished creating a consolidated Sound Effects database of over 77000 assets last year.  The files came in all mismatched with various file types and sample rates.  I highly recommend BarbaBatch. It is fairly cheap, super fast, and it accepts and creates all types of variations of file types that many programs don't, like lower bit rates and sample rates.   &#xD;&#xA;&#xD;&#xA;It will even convert files within subfolders and create a mirror hierarchy of subfolders with the converted elements.  I literally would drop the folder full of folders and crazy mismatch assets from the server and go to lunch.  I would return with a complete copy of my files, extension names replaced without error, and situated in a mirrored hierachy of subfolders in my new specified location. Two thumbs up for Barba Batch!  I think it has a trial download too." ContentLicense="CC BY-SA 2.5" />
  <row Id="10834" PostHistoryTypeId="2" PostId="6317" RevisionGUID="9519cb4f-2b3f-4e93-bdff-429c20f48e2e" CreationDate="2011-03-01T23:11:05.983" UserId="396" Text="I've used contact mics to record trains, and if I recall correctly I did make some recordings with the mics attached to the rails. Didn't harm the recorder, and in fact the levels were ok too provided the gain was low enough. Sticking contact mics onto the heated pipes of a running steam engine was probably a bit more dicey!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10835" PostHistoryTypeId="2" PostId="6318" RevisionGUID="94495301-143b-480b-9a1a-717a59981f22" CreationDate="2011-03-02T01:03:33.783" UserId="18160" Text="Sounddogs.com&#xD;&#xA;&#xD;&#xA;Look up Pakistan Walla, Urdu Walla, etc.&#xD;&#xA;&#xD;&#xA;You don't have to have a recording that was done inside the airport.&#xD;&#xA;&#xD;&#xA;A quick google search shows that it's got parallel floor/ceiling with tile floors and long wide open floors which means a bit of a long decay on anything happening.&#xD;&#xA;&#xD;&#xA;Get an airport ambience (like what you hear in any airport, lots of verb of people walking and rolling luggage, tonal hums of large air conditioners, etc. and sprinkle in some ADR callouts you find on Sounddogs.&#xD;&#xA;&#xD;&#xA;Then, get some specific lines and futz them to sound like they are being announced over a P.A.&#xD;&#xA;&#xD;&#xA;It's pretty simple." ContentLicense="CC BY-SA 2.5" />
  <row Id="10836" PostHistoryTypeId="2" PostId="6319" RevisionGUID="9b2f33f2-cd80-48c0-abdb-da5ff5d68bed" CreationDate="2011-03-02T03:33:28.803" UserId="338" Text="Do you ever mix your channels using different mic's from the production sound?&#xD;&#xA;&#xD;&#xA;Like for example:  there is a line saying &quot;Hey whats that&quot; and it is recorded on both a boom and lav into the same recorder, do you ever mix both of these channels together or only use one of them?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10837" PostHistoryTypeId="1" PostId="6319" RevisionGUID="9b2f33f2-cd80-48c0-abdb-da5ff5d68bed" CreationDate="2011-03-02T03:33:28.803" UserId="338" Text="Production sound mic mixing" ContentLicense="CC BY-SA 2.5" />
  <row Id="10838" PostHistoryTypeId="3" PostId="6319" RevisionGUID="9b2f33f2-cd80-48c0-abdb-da5ff5d68bed" CreationDate="2011-03-02T03:33:28.803" UserId="338" Text="&lt;production&gt;&lt;microphone&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10839" PostHistoryTypeId="2" PostId="6320" RevisionGUID="6bd2e628-022d-43fa-b67d-380fe65cecc7" CreationDate="2011-03-02T03:45:17.797" UserId="469" Text="COS-11's, B6's, ME2's, and Trams are all used widely in location sound.  The advantage of the B6 is that it is waterproof although it tends to send a bit more harsh than the COS-11 which is my preferred lav as well.  Although the ME2's and it's variants that are included with the Sennheiser G2's and G3's can sound pretty decent as well.  &#xD;&#xA;&#xD;&#xA;I've tried many different tapes and techniques.  To my ears, cloth tape rubs against itself and is easily picked up in the lav.  What usually sounds best and what I end up using 90% of the time is 3M Transpore Tape (clear medical tape with small holes found at CVS or most drug stores) or 3M Blenderm Tape (clear brownish surgical tape - much harder to find). I use both of these tapes in different situations.  You can tape either directly to the skin, and they don't usually make any noise (the Transpore tends to be louder than the Blenderm). Blenderm is waterproof and is immune to sweating actors.  The Transpore can irritate some people's skin but most actors don't even notice it's there.  A stress relief guided under the pectoral area and taped on the side of the body will help reduce strain and unwanted sounds related to it.  An ankle pack for the transmitter is usually best if you don't want it to print, although ankle and thigh packs are useful too in certain wardrobe situations.&#xD;&#xA;&#xD;&#xA;For outdoor use the Rycote windcovers can work pretty well.  The undercovers and overcovers can both be used indoors especially in cases of noisy layers rubbing against each other, mileage varies with this one.  Experimentation is key in awkward wardrobe situations.  &#xD;&#xA;&#xD;&#xA;Anyways, seriously try the Transpore and Blenderm if you can get your hands on it.  I feel it is the one production sound secret that I must share with the world because when I tried it for the first time my ears really perked up!  It's still not the universal solution but there never is one for location sound.  It's about improvising and making the best of what you have!  ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10840" PostHistoryTypeId="2" PostId="6321" RevisionGUID="300d5856-4628-4234-857e-0b5e2e87621a" CreationDate="2011-03-02T04:03:01.823" UserId="18160" Text="Per the interview done on the production mixer for King's Speech, he did do a bit of mixing of the 2 mics (boom and lav and sometimes spot mic and lav).&#xD;&#xA;&#xD;&#xA;Personally, I use booms only and rarely use the lav unless that is the only choice or the boom is distorted of off-mic.&#xD;&#xA;&#xD;&#xA;It's a personal preference. I think some mixers like having a chesty lav mixed with a boom to sort of even out the proximity.&#xD;&#xA;&#xD;&#xA;That's for the mix. While recording the dialogue on the set, I ALWAYS keep both mics separate and **NEVER** commit a mix of the two mics to a recorder (unless there is absolutely no possible way to do so due to lack of adequate recorder inputs). This is so they can be separated later on while mixing if needed. There is, however, sometimes a mix that gets bussed together for the picture editor to work with (which is sort of like a temp mixdown of the dialogue mics onto a stereo or mono track) and this usually doesn't get used in the final mix.&#xD;&#xA;&#xD;&#xA;There is definitely no hard rule that says you must do either method. If it sounds good, it's good." ContentLicense="CC BY-SA 2.5" />
  <row Id="10841" PostHistoryTypeId="2" PostId="6322" RevisionGUID="ee58ceb4-89a6-483a-9f1c-edcf142e5826" CreationDate="2011-03-02T04:20:23.013" UserDisplayName="user49" Text="As I understand it, these days it is common practice for production sound when recording multitrack to provide a mix on channel 1 (which is what the AVID editor uses) and then split each mic to seperate channels on tracks 2-8 (which is what the dialogue editor uses)&#xD;&#xA;&#xD;&#xA;The mix on channel 1 is important as that is what is heard in rushes and therefore what the recordists work is judged by in the short term..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10842" PostHistoryTypeId="2" PostId="6323" RevisionGUID="f4a7b8de-af49-4bea-80e8-a58e89ba91cd" CreationDate="2011-03-02T04:58:13.467" UserId="18160" Text="I may be supervising a film being shot next year which has conflicts between two armies.&#xD;&#xA;&#xD;&#xA;I'm thinking of new and interesting ways to utilize tools to add an artistic touch to the mix starting with the recording.&#xD;&#xA;&#xD;&#xA;I thought of using warmer mics for the &quot;good guys&quot; and colder, darker and a bit edgier mics for the &quot;bad guys&quot;. I know this could be done with EQ and all, but I was thinking maybe capturing the original timbre differently from both sides could a) make it easier to know when we are with the bad guys and b) artistically separate the two sides c) add a dynamic to the mix which isn't possible to add with post production tools.&#xD;&#xA;&#xD;&#xA;Further, does a certain type of genre or motif of a film determine which mics and techniques you use for let's say, foley and field recording? i.e. different positions and mics for a romantic comedy as opposed to a thriller? Or do you always invariably record those footsteps and cloth rustles and things with the exact same mic and exact same position?&#xD;&#xA;&#xD;&#xA;Do you think I'm splitting hairs here? Or is it good to always be thinking of new ways to forward the film's motif?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10843" PostHistoryTypeId="1" PostId="6323" RevisionGUID="f4a7b8de-af49-4bea-80e8-a58e89ba91cd" CreationDate="2011-03-02T04:58:13.467" UserId="18160" Text="Would motif or artistic direction influence what mics you use?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10844" PostHistoryTypeId="3" PostId="6323" RevisionGUID="f4a7b8de-af49-4bea-80e8-a58e89ba91cd" CreationDate="2011-03-02T04:58:13.467" UserId="18160" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10845" PostHistoryTypeId="2" PostId="6324" RevisionGUID="ca4a3b5b-5bad-40b9-828b-cc12fa5d481a" CreationDate="2011-03-02T05:15:38.647" UserId="194" Text="&gt; Do you think I'm splitting hairs here?&#xD;&#xA;&gt; Or is it good to always be thinking of&#xD;&#xA;&gt; new ways to forward the film's motif?&#xD;&#xA;&#xD;&#xA;It may be a little of both.&#xD;&#xA;&#xD;&#xA;I usually let utility dictate my mic choice, so for example if I'm recording something that's very quiet in a studio I'll tend to go to the AT 4050s, and if I'm out in the world trying to isolate a sound from its environment I'll go to the MKH 60 or 70.  In between those extremes we have more ability to try different things and be successful.&#xD;&#xA;&#xD;&#xA;I'd say you haven't really given enough info to get a useful answer yet though.  What are you talking about using the different styles of mics for?  Production sound?  foley? sfx recording? ambiances?  all of the above?&#xD;&#xA;&#xD;&#xA;Also, which specific mics are you looking to employ for one side vs the other?  There may not be a world of difference between a &quot;warm&quot; lav and a &quot;colder&quot; one if that's the application.  Side address condensers are where you'll probably find the greatest differentials from mic to mic, but again I don't know the specifics of the application yet." ContentLicense="CC BY-SA 2.5" />
  <row Id="10846" PostHistoryTypeId="2" PostId="6325" RevisionGUID="99700747-cd94-448d-b824-3f563598004a" CreationDate="2011-03-02T05:26:04.810" UserId="693" Text="While normally I'm all for pushing the envelope and experimenting, this is a slightly different scenario with a few things to consider.&#xD;&#xA;&#xD;&#xA;The first and most important one is that you're on location and you only have one chance at this. A lot of time, money and effort are going into this scenario on more than your own behalf. It's not really the best time to be experimenting unless it's very well thought out, encourage by the director and there's a tried and tested method for how to undertake this experiment.&#xD;&#xA;&#xD;&#xA;Sure, it sounds great in theory, but it's typically better to get the best and cleanest signal you can and leave those types of creative decisions for post production. There are a lot of reasons why certain techniques are more prevalent... and that's because they've been proven to work. And to be realistic, I can't really think of anything that can't be done in the post-production realm. Maybe that's just because I don't limit my imagination and am a &quot;I'll find a way&quot; type of person though.&#xD;&#xA;&#xD;&#xA;If you really want to do this, I suggest getting some friends together and doing some trial runs with different mic's and different placements, etc. and then determine with the director if that's something you want to permanently impose on the recording or not.&#xD;&#xA;&#xD;&#xA;While on one hand you're imposing a decisive artistic limitation on the recordings and that can be sort of cool (like working with a limited set of tools on purpose), you're also closing it off to versatility and it's potential usability by gambling on whether it will be an asset or detriment to the end result." ContentLicense="CC BY-SA 2.5" />
  <row Id="10847" PostHistoryTypeId="2" PostId="6326" RevisionGUID="518ce728-32ef-44ce-ab00-3bbace6d6499" CreationDate="2011-03-02T08:28:08.660" UserId="238" Text="I think it's an interesting idea in theory, but there are too many risks involved. Lets say you capture the dialogue using different mics to differentiate between the two armies. Then you get to post and the director turns round and says, 'nah this ain't working, lets have all the dialogue sounding the same'. You've given yourself a real headache. &#xD;&#xA;&#xD;&#xA;A less risky option would be, as Syndicate Synthetique has said, to double mic all dialogue using your chosen mics, giving you the flexibility to experiment, but this would also create more work. Another option would be to look at using different ambiances that could play the role of differentiating between the goodies and the baddies. &#xD;&#xA;&#xD;&#xA;Whatever you chose to do, testing and experimentation are going to be key. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10848" PostHistoryTypeId="2" PostId="6327" RevisionGUID="16586189-d966-4025-9e75-8ef20d819f3f" CreationDate="2011-03-02T09:29:44.597" UserId="786" Text="When I record production sound, I record all the microphones on separate tracks as well as a 2 track mixdown with the boom on one track and a mix of the lavs on the other track. This two track mixdown is for rushes and also for the editor. The editor gets the separate tracks as well, as there may be times, when the editor wants to get to the individual tracks. Everything of course also goes the sound editing.&#xD;&#xA;&#xD;&#xA;I never mix the boom and the lavs together on one track and I never deliver just a mono track to the editors. All the editors I know hate mono mixdowns, as the mono mixes you make while on set are mostly of too poor quality for them to use. So when they get mono mixes, they always have to use the separate tracks, which slows down their editing quite a lot, and then they get pissed at the recordist...&#xD;&#xA;&#xD;&#xA;So my normal track layout would be:&#xD;&#xA;&#xD;&#xA;A stereo file containing:&#xD;&#xA;&#xD;&#xA;Track 1: Boom&#xD;&#xA;Track 2: Mixdown of lav mics&#xD;&#xA;&#xD;&#xA;A multitrack fil containing:&#xD;&#xA;&#xD;&#xA;Track 1: Boom&#xD;&#xA;Track 2-8 or 2-10: Separate lav mics, placed mics, ambient MS mics or whatever.&#xD;&#xA;&#xD;&#xA;The Sounddevices 788 and all of the Deva's can generate these two files simultaneously while recording.&#xD;&#xA;&#xD;&#xA;If there is no boom mic in the scene, I might send some lav mics to track 1 and some to track 2 of the stereo file, just to give the editors some freedom while editing." ContentLicense="CC BY-SA 2.5" />
  <row Id="10853" PostHistoryTypeId="2" PostId="6329" RevisionGUID="6be38b06-bb53-4111-9ffa-5bc692464951" CreationDate="2011-03-02T14:40:42.747" UserId="910" Text="I'm starting Foley recording today in Sound Eng class. All of this IS relevant, but don't be afraid to try something silly. I had to put together a bank of sound effects before for the same class, and did cut down on the silliness to the point of only including a basic coconut &quot;horse hooves&quot; track. I did pass, but it could have gotten a far better grade had I experimented more.&#xD;&#xA;&#xD;&#xA;When you're having fun, it's going well. Don't get bogged down in &quot;perfection&quot; because more often than not you never notice the perfect take until you listen back because you're not focusing too much on it." ContentLicense="CC BY-SA 2.5" />
  <row Id="10854" PostHistoryTypeId="2" PostId="6330" RevisionGUID="43858fc7-b8c7-41fa-a0d3-ce91d9b6bfcf" CreationDate="2011-03-02T14:41:31.327" UserId="243" Text="well it's a question really. &#xD;&#xA;&#xD;&#xA;Do you make sure the mix down doesn't peak above -10 Db for instance, or do you you mix so that each element IN the mix doesn't peak at -10 Db?&#xD;&#xA;&#xD;&#xA;I would think you want the mix to be as loud as possible (max 0 db), then take the mix down and export it so that it doesn't peak at -10.&#xD;&#xA;&#xD;&#xA;I'm only asking because I start mixing what I recorded for a TV pilot tomorrow and I imagine their broadcast level is +/- -10 Db. If that isn't the case I can just change it, but I would need conformation with regards to making the mix not peaking -10." ContentLicense="CC BY-SA 2.5" />
  <row Id="10855" PostHistoryTypeId="2" PostId="6331" RevisionGUID="e27ccde4-ec52-4825-94bb-a3c751695800" CreationDate="2011-03-02T17:23:15.790" UserId="786" Text="In Denmark, where I live and work, we normally get around 5 days to do all of the foley for a feature film. This varies though, as some films may require more time and/or have more money. But anyway speed is important. If you work fast, you'll be able to make every single foley sound you can imagine for the film.&#xD;&#xA;&#xD;&#xA;If you are going to work with an experienced foley artist, try to learn as much as you can from the artist. If you are interested and polite, you can have a lot of fun while recording good foley. The first time I recorded foley was with a foley artist who has made around 300 films over the years, so I learned quite a lot. I have worked with him on almost every film since then, and we have a very good working relationship.&#xD;&#xA;&#xD;&#xA;Try to be fast and flexible, so you can improvise when you get new ideas.&#xD;&#xA;&#xD;&#xA;I never write down cues in advance, but I know the film well.&#xD;&#xA;&#xD;&#xA;We go through the film scene by scene.&#xD;&#xA;&#xD;&#xA;First we do clothes. This is like a soft start, where we can get a feel for the scene. Clothes sounds aren't too dependent on being spot-on sync, so the foley artist can get a feel for the rhythm and we can keep a look out for what sounds we might need to do.&#xD;&#xA;&#xD;&#xA;Then we do the steps.&#xD;&#xA;&#xD;&#xA;After the steps we do everything else. And with everything I mean everything that moves or could make any kind of noise in the picture. Of course you may not want to have foley wind noises in the final mix, but you might want to have the sound of a flag waving in the wind.&#xD;&#xA;&#xD;&#xA;I always give the sound files a name right after recording. I name them by scene, description and a number if i have more of the same, like: &quot;murder knife 2&quot; or &quot;sex bed&quot; or &quot;airport steps Jack 3&quot;.&#xD;&#xA;&#xD;&#xA;Always keep in mind that you have to work fast and make about a reel a day if you have 5 days for the film. So you'll sometimes have to accept things that are not perfectly in sync, but almost, and move on befor you get too tired of the film.&#xD;&#xA;&#xD;&#xA;After a couple of days you will get a little crazy and start judging the sound of your own footsteps when you return home from work...." ContentLicense="CC BY-SA 2.5" />
  <row Id="10856" PostHistoryTypeId="13" PostId="1324" RevisionGUID="865c8587-6461-41a6-b36a-71545771c5e8" CreationDate="2011-03-02T17:42:30.050" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="10857" PostHistoryTypeId="2" PostId="6332" RevisionGUID="d438c7c1-4167-48aa-89ae-78b7ab2edb42" CreationDate="2011-03-02T17:56:27.510" UserId="234" Text="From a Post Production standpoint... it depends... :)&#xD;&#xA;&#xD;&#xA;For example in one show I do, there are multiple radio's plus a boom. In a case where a character is far across the room, for example, he's be radio'd. But depending on the perspective of the shot, I might mix a bit of the boom in to get the natural room 'verb. I'll often do this for characters walking into a shot, IF the line can be treated as such. Sometimes story requirements require the line to  be crystal clear. Usually I use both channels when the boom is just too far away, but the radio sounds too &quot;dry&quot;. A combination of the two can be useful then. &#xD;&#xA;&#xD;&#xA;On the other hand, if both are close enough, or it's a situation where one character is lav'd and the other is boomed, and both are being picked up by both. I'll pick the one best track to avoid phasing issues." ContentLicense="CC BY-SA 2.5" />
  <row Id="10858" PostHistoryTypeId="5" PostId="5960" RevisionGUID="534fb239-b40b-48fb-8698-f9438c4c4156" CreationDate="2011-03-02T20:59:46.193" UserId="100" Comment="Removed Graphic" Text="I remember hearing that Albert Einstein, after running into a &quot;math-block&quot;, would turn to playing his violin for a short break. Some folks have said that engaging the opposite hemisphere of the brain and giving the other side a rest helped the genius clear his mind.&#xD;&#xA;&#xD;&#xA;Maybe try Sudoku for a while?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10859" PostHistoryTypeId="2" PostId="6333" RevisionGUID="2d676354-1b09-48f5-8d2f-4ceeffa1d4b6" CreationDate="2011-03-02T21:52:03.363" UserId="194" Text="anyone recording these?  I'd be willing to trade some of my stuff for any of that.  thx!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10860" PostHistoryTypeId="1" PostId="6333" RevisionGUID="2d676354-1b09-48f5-8d2f-4ceeffa1d4b6" CreationDate="2011-03-02T21:52:03.363" UserId="194" Text="wisconsin protests" ContentLicense="CC BY-SA 2.5" />
  <row Id="10861" PostHistoryTypeId="3" PostId="6333" RevisionGUID="2d676354-1b09-48f5-8d2f-4ceeffa1d4b6" CreationDate="2011-03-02T21:52:03.363" UserId="194" Text="&lt;field&gt;&lt;recording&gt;&lt;crowd&gt;&lt;trade&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10862" PostHistoryTypeId="2" PostId="6334" RevisionGUID="e1124f7f-8622-47e7-81ca-293b0fb6f552" CreationDate="2011-03-02T23:10:07.310" UserId="587" Text="Anyone out here right now? It would be great to meet up with some of you all and talk shop! Ill be around the expo the whole time. Send me an email or linkedin message!&#xD;&#xA;&#xD;&#xA;ccc@c3sound.com&#xD;&#xA;http://www.linkedin.com/in/c3sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="10863" PostHistoryTypeId="1" PostId="6334" RevisionGUID="e1124f7f-8622-47e7-81ca-293b0fb6f552" CreationDate="2011-03-02T23:10:07.310" UserId="587" Text="GDC 2011 - San Fran" ContentLicense="CC BY-SA 2.5" />
  <row Id="10864" PostHistoryTypeId="3" PostId="6334" RevisionGUID="e1124f7f-8622-47e7-81ca-293b0fb6f552" CreationDate="2011-03-02T23:10:07.310" UserId="587" Text="&lt;gdc&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10865" PostHistoryTypeId="2" PostId="6335" RevisionGUID="24f1f3f7-d1b8-4e87-a6b5-3e8371435c1e" CreationDate="2011-03-03T00:11:36.003" UserId="817" Text="Mixing the different elements together to a dedicated mix track should be chosen if it's absolutely needed, in order to create a natural feel in the sound of the production mix track. As mentioned by Utopia (If it sounds good, it's good) and Morten, your production sound mixer usually has a number of dedicated record tracks to accommodate the various mic elements on set during a particular scene, e.g.:&#xD;&#xA;&#xD;&#xA;Track 1: Mix&#xD;&#xA; &#xD;&#xA;Track 2: Boom (Isolated)&#xD;&#xA; &#xD;&#xA;Track 3: Wire 1 (Isolated; Usually named by character)&#xD;&#xA; &#xD;&#xA;Track 4: Wire 2 (Isolated; Usually named by character)&#xD;&#xA; &#xD;&#xA;Track 5: Plant 1 (Isolated)&#xD;&#xA; &#xD;&#xA;Track 6: Etc...&#xD;&#xA;&#xD;&#xA;There may be differences between how production sound mixers will create their track workflow, dependent on whether they have first and second boom, the amount of wires placed on cast, and also whether they have plant mics arranged around a set during a scene. Most often the boom will have precedence in the mix, leaving any wires or plant mics routed only to the iso tracks and not mixed into the dedicated mix track. But there are times when a wire (Lav) will need to be mixed into the dedicated mix track due to the nature of a scene. &#xD;&#xA;&#xD;&#xA;For example, you may have a scene in which an actor is leaning forward and talking, the whole time, facing his/her feet, and the frame line is 4 feet above their head. The Shotgun mic on the end of the boom pole can only do so much to dig out the sweet spot of the actors voice when the closest they can get to the action is 6 inches above the frame line, which is 4 feet above the actor's head. That's 4 and 1/2 feet above the sweet spot, and sometimes the boom op is dodging a shadow falling just beside the actors shoulder caused by a light sitting just above the shot. In this case the wire will play (just enough to get the clarity of the voice), along with the boom in the dedicated mix track. The idea would be to have the boom play most of the mix, while adding the wire into the mix at a lower level, but just enough to have the articulation of the dialogue pop in the mix, while keeping the timbre of the dialogue sounding as it would when only carried by the boom. This can be difficult because wires don't usually sound as good as a shotgun mic (boom). That's where using great lavs (Sanken COS-11, Countryman B6) and using good mic placement pays off. Wires can sound very good, when placed well on an actor.&#xD;&#xA;&#xD;&#xA;What most mixers do (as well as what I do) is have my boom op and utility talk into the wires individually along side the shotgun mic to check the phase between the mic signals being added to the mix track before they go out on set. I try to do this early in the beginning of the day, testing phase for all my wires between the shotgun, so I know that my phase assignments are set well just in case I need to mix the mic signals together on the mix track. Sometimes a certain mic will be placed on a different transmitter and I'll have to check phase again, no problem, I just have the boom op hold the shotgun mic over an actor and ask the actor to say a few lines and I adjust phase. When out of phase, the sound of the mix track will get thin, with the two mic signal causing a certain amount of cancellation. When in phase the sound of the mix track will be strong and robust, because the two signals will sum together with an additive effect. Even then, you mix in the separate elements only when needed, in order to properly support the essence of the picture on screen. You want it to sound so natural that the viewer believes what they're hearing, without knowing they are hearing the scene.&#xD;&#xA;&#xD;&#xA;Three years ago I mixed a feature set in a prison. We had everything from fights to court scenes, intimate scenes between actors speaking into telephone hand sets in visiting booths with glass between them, as well as heavy dialogue scenes in real prison cells where the actors had their shirts off. We did everything from micing the perimeter walls of an outside yard set for wide shots featuring shirtless dialogue scenes, to placing a small shotgun mic on a small Arri 35 mini handheld film camera for fast moving fight scenes, to placing a Sanken Cub-01 on the bottom of a matt box for scenes in a real prison cell measuring 9ft x 4ft where camera was making numerous 360 degree turns following a shirtless actor (fortunately) speaking the whole time in front of the camera lens. During some scenes in this prison cell I was able to tape Sanken COS-11 Lav mics to the back walls near the actors as they delivered lines shirtless, while mixing in the boom (which could only come a couple feet into the cell because of a wide frame) to add body to the mix. The lavs played most of the scene while the boom applied a sense of space to the scene. You get the picture...&#xD;&#xA;&#xD;&#xA;If it sounds good, it's good (great quote Utopia). The only issue I've had has been listening to films I've mixed after they release. The few films I've mixed have come out on DVD and I can always hear either my mistakes, or missing elements from my original production mix track. You always remember what you mixed for a scene, and sometimes you can tell when only one out of the few elements you mixed into the dedicated mix track is playing. It throws the whole scene out of whack in your head because you're expecting what you mixed, and you only hear the boom, or the wire, etc. Most people don't hear it, just you. So you have to say, well, as long as the pay check was on time and had all the right digits. The fun part is when you hear your work and the scene is so good that you get transported into the reality of it all, you forget you're watching a movie and you just enjoy the experience. It's what keeps us going back for more.&#xD;&#xA;&#xD;&#xA;I love making sound for movies!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10866" PostHistoryTypeId="2" PostId="6336" RevisionGUID="634473f0-7853-46b5-afb3-173e2b923027" CreationDate="2011-03-03T00:31:31.103" UserDisplayName="user6513" Text="If there have have been many edits and you're pressed for time, a conforming program like Virtual Kathy would help. There's a 48hr trial version and that should be enough to get you through it. You will still need the EDL though." ContentLicense="CC BY-SA 2.5" />
  <row Id="10867" PostHistoryTypeId="2" PostId="6337" RevisionGUID="3766bd49-86dd-418d-aa3f-dbfad4c0850a" CreationDate="2011-03-03T02:28:50.983" UserId="517" Text="Generally when I'm cutting Foley, if someone walks off screen or out of a room I'll cut at least a handful of footsteps to follow them out - their sudden absence would certainly be missed. &#xD;&#xA;&#xD;&#xA;I'm feeling a little more iffy when it comes to cloth Foley though. Cloth is far less a discrete sound than footsteps and in my mind is thus harder to place when not keyed to a specific visible action. &#xD;&#xA;&#xD;&#xA;My question to you all - do you let cloth movement continue for off screen action or does your cloth Foley go away once a character has left the screen?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10868" PostHistoryTypeId="1" PostId="6337" RevisionGUID="3766bd49-86dd-418d-aa3f-dbfad4c0850a" CreationDate="2011-03-03T02:28:50.983" UserId="517" Text="Cloth Foley Off Screen?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10869" PostHistoryTypeId="3" PostId="6337" RevisionGUID="3766bd49-86dd-418d-aa3f-dbfad4c0850a" CreationDate="2011-03-03T02:28:50.983" UserId="517" Text="&lt;cloth&gt;&lt;foley&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10870" PostHistoryTypeId="2" PostId="6338" RevisionGUID="69f0d957-6586-4407-9b99-91d1c499a1df" CreationDate="2011-03-03T02:52:44.443" UserId="300" Text="Cloth accompanying the footsteps for a character leaving a scene can be very useful, so I would cut for perspective in the same way that you would for the feet. However depending on how detailed the foley artist is with their cloth pass, I find the attention is often drawn to the next on screen character pretty quickly, unless they make a point of discrete passes for situations where characters leave.. so you don't always have much to work with." ContentLicense="CC BY-SA 2.5" />
  <row Id="10871" PostHistoryTypeId="2" PostId="6339" RevisionGUID="d833cd67-aeef-457a-858b-0af58c6a0a4f" CreationDate="2011-03-03T02:54:41.263" UserDisplayName="user49" Text="Depending on the context &amp; type of cloth I'd tail it off fairly rapidly.... but a leather jacket would be heard longer than a silk blouse... same for Batmans cape vs the cats pyjamas.... Footsteps are relatively a lot louder than cloth so they would/should trail longer.... Another context to bear in mind: if there is ADR, cloth is important" ContentLicense="CC BY-SA 2.5" />
  <row Id="10873" PostHistoryTypeId="2" PostId="6341" RevisionGUID="562c4081-69f0-4db6-884f-6b7bd2f1cc36" CreationDate="2011-03-03T06:21:28.163" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;I had an inquiry into the use of lapel mics in a crowded scene and whether or not sound would bleed into the mics causing distortion and cancellation. I remember watching the great Altman's Nashville and how he used lapels constantly and yet they sound fabulous and this is before all the whistles and bells we have today for tidying up a scene. My question is, in a crowded scene of principle actors where you have an over head boom for general dialogue and lapels for actors a little bit off the axis of the boom and all the actors are speaking rapidly, is there danger of this &quot;bleeding&quot; occurring? Hope this is clear. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="10874" PostHistoryTypeId="1" PostId="6341" RevisionGUID="562c4081-69f0-4db6-884f-6b7bd2f1cc36" CreationDate="2011-03-03T06:21:28.163" UserId="348" Text="Lapel mic bleeding" ContentLicense="CC BY-SA 2.5" />
  <row Id="10875" PostHistoryTypeId="3" PostId="6341" RevisionGUID="562c4081-69f0-4db6-884f-6b7bd2f1cc36" CreationDate="2011-03-03T06:21:28.163" UserId="348" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10876" PostHistoryTypeId="2" PostId="6342" RevisionGUID="b7b852ef-f846-4111-b3f3-f8e671020b53" CreationDate="2011-03-03T08:53:54.327" UserId="786" Text="There is not necessarily any distortion or cancellation, but with multiple microphones you always get a little bit of phasing. The way to get out of this is by actively mixing the microphones, so the characters, who don't have lines, are lowered in the mix. It is nut just problems like phasing, you get rid of that way, it is also the most common problem with lapel mics: cloth rustle!&#xD;&#xA;&#xD;&#xA;There is not that much &quot;whistles and bells&quot; to mixing. If the scene is following the script, you will be able to mix the scene for the editing while recording. If it is more improvised, you will have to accept more noise, as you can not mix as aggressively. &#xD;&#xA;&#xD;&#xA;Always record the raw channels as well, so you can do the dialogue editing properly afterwards. When editing dialogue I normally stick to the boom, and use the lapel mics only when necessary." ContentLicense="CC BY-SA 2.5" />
  <row Id="10877" PostHistoryTypeId="2" PostId="6343" RevisionGUID="5e302155-55b5-4c2e-9f4e-dd9a9340c4a1" CreationDate="2011-03-03T08:55:52.453" UserId="63" Text="What seems to help me a lot in these kind of situations is to call or meet a friend for a coffee, and actually start to talk to him about the project i am on. I found that when i try to explain something to someone that is totally clueless about the project and the particular field, most of the times i am actually seeing the correct answer that was in front of me! &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10878" PostHistoryTypeId="2" PostId="6344" RevisionGUID="a329f8b8-9426-47cb-8519-e57c50ba7f7d" CreationDate="2011-03-03T11:27:31.003" UserId="912" Text="Hey folks!&#xD;&#xA;&#xD;&#xA;I like to use the TLM 103 and a Neumann 184 as &quot;Room Mic&quot; placed a little further away from the action. The TLM generates a warm close sound - combined with the 184 you can do some really good mixes.&#xD;&#xA;Technically seen a good mixing console combined with good Preamps and a good acoustic in your recording room do the rest. &#xD;&#xA;But in my opinion the most important thing is to have the feeling for what (and how it) really happens in the scene. What is important, what needs to be accentuated, ...&#xD;&#xA;For this reason I like to hear The Hurt Locker´s opening scene over and over again. All the guys who worked in the Sound PostPro did a damn good job.&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;Alex&#xD;&#xA;&#xD;&#xA;------------------------------------------------------------------&#xD;&#xA;Never Trust Your Ears .:production sound recording &amp; sounddesign:." ContentLicense="CC BY-SA 2.5" />
  <row Id="10879" PostHistoryTypeId="2" PostId="6345" RevisionGUID="20fceb27-dbd3-44e8-be5d-1b27bc13d7c7" CreationDate="2011-03-03T14:17:12.100" UserId="198" Text="I noticed Rob Danielson has a track up on soundcloud&#xD;&#xA;http://soundcloud.com/rob-d/20110222-1" ContentLicense="CC BY-SA 2.5" />
  <row Id="10880" PostHistoryTypeId="2" PostId="6346" RevisionGUID="03281c07-5181-4cc5-9a52-2d6dcce07baa" CreationDate="2011-03-03T15:16:16.250" UserId="808" Text="My practice is to cover it anyway, even a few seconds offscreen. Let the mixer decide how much of it to hear if at all.&#xD;&#xA;&#xD;&#xA;If I'm recording/editing Foley and then doing the mixing too, it's easier to decide at the mixing stage too, when you have *all the stems* in a session. The cloth might get lost over the BGs, rest of the foley, music, etc. Then you'll be able to bring it up or get rid of it completely if unnecessary.   &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10881" PostHistoryTypeId="2" PostId="6347" RevisionGUID="ee31332b-49dd-48ae-8ed3-93a4082676ed" CreationDate="2011-03-03T17:44:52.683" UserId="6499" Text="I'm helping a friend prepare the sound for his thesis to be handed over to a professional sound house.  I am going to have a very limited time to work on it and the university and I use Nuendo and the house uses Pro Tools.  My question to all is where should I try and focus?  As a mixer/ designer, what would you prefer to have done by a student to help?  The budget for the post house is very limited, so the more I can do before handing over the better, but I am not really sure what would be most helpful.  I am used to being the only person doing sound for the entire film, and I usually cut all my dialogue first.  I am afraid that doing that will not transfer properly to pro tools without being destructive to the audio.         &#xD;&#xA;&#xD;&#xA;I am also asking this question to the mixer at the house, but I wanted to get some feedback from everyone here.  I do have protools LE, but my familiarity with pro tools is minimal at best.  Doing anything in pro tools would allow me to hand over a session, but the amount of work I could do in the time would be greatly reduced.  &#xD;&#xA;&#xD;&#xA;My other thought was to actually do as much design and sfx placement in avid and then hand over an omf that would have more than the average amount of audio work done for student films. &#xD;&#xA;&#xD;&#xA;What are everyones thoughts or feelings on it. &#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Mike Gilbert" ContentLicense="CC BY-SA 2.5" />
  <row Id="10882" PostHistoryTypeId="1" PostId="6347" RevisionGUID="ee31332b-49dd-48ae-8ed3-93a4082676ed" CreationDate="2011-03-03T17:44:52.683" UserId="6499" Text="Student preparing a project for a professional.  Any tips?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10883" PostHistoryTypeId="3" PostId="6347" RevisionGUID="ee31332b-49dd-48ae-8ed3-93a4082676ed" CreationDate="2011-03-03T17:44:52.683" UserId="6499" Text="&lt;preparation&gt;&lt;student&gt;&lt;thesis&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10884" PostHistoryTypeId="2" PostId="6348" RevisionGUID="277fdc0e-2727-487b-af43-937cbf9a078f" CreationDate="2011-03-03T17:53:07.437" UserId="338" Text="In order to do this, I'm assuming it requires the clocks on the camera to be accurate, record keeping of time codes of the camera but a zoom does not have a time code so how do you match the two together.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10885" PostHistoryTypeId="1" PostId="6348" RevisionGUID="277fdc0e-2727-487b-af43-937cbf9a078f" CreationDate="2011-03-03T17:53:07.437" UserId="338" Text="Sync audio - image production recording and avoiding the use of &quot;Plural Eyes&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10886" PostHistoryTypeId="3" PostId="6348" RevisionGUID="277fdc0e-2727-487b-af43-937cbf9a078f" CreationDate="2011-03-03T17:53:07.437" UserId="338" Text="&lt;sync&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10887" PostHistoryTypeId="2" PostId="6349" RevisionGUID="a84c8415-a1b4-4b1c-af54-1e2695a83da1" CreationDate="2011-03-03T18:10:19.287" UserId="18160" Text="Clap your hands in front of the cameras and tab to transient to put it into the ballpark and then nudge it around until it either phase cancels or gets to where you want it.&#xD;&#xA;&#xD;&#xA;It's pretty simple. If I'm given a speech at a podium to mix that is out of sync or someone shuffle-deleted on my dialogue track and it's way past the levels of undo to fix, I look for words that start with P or B and find the frame where the speaker's lip closes, put a marker, and then I put a sync point exactly where the P or B word starts in the audio, and then shift-cntrl-click and it's pretty close - then I nudge for perfection.&#xD;&#xA;&#xD;&#xA;I've never used Plural Eyes but I just watched their promo video on the website and it actually looks like it would save a lot of time.&#xD;&#xA;&#xD;&#xA;But isn't it more for video editors rather than audio?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10888" PostHistoryTypeId="2" PostId="6350" RevisionGUID="dfaf76ac-6e5a-4c9f-bf34-29765bc1fc03" CreationDate="2011-03-03T19:05:40.977" UserId="178" Text="If you are doing narrative filmmaking, use a clapboard slate and sync the frame where the slate closes with the sound of the slate closing.&#xD;&#xA;&#xD;&#xA;If you are editing multiple sound files of the same event, find a percussive moment they have in common and use that as a reference. A hard consonant, the first snare drum hit of the song, etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="10889" PostHistoryTypeId="2" PostId="6351" RevisionGUID="d5debc45-7ad5-4d1f-8a22-a199ff94170a" CreationDate="2011-03-03T19:12:19.193" UserId="338" Text="I'm clocking in some freebie hours, re-aligning audio for a project that was butchered with plural eyes program and I'm seeing patterns of sync that remind of of the harmonics after a Fundamental Frequency and I was wondering if people have any comments on experiences you've had like this.&#xD;&#xA;It seems to me that before and after the exact sync point between audio and video (image) (i'm using samples)  there are certain points that seem in a rythm or a correct harmonic disposition to it.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="10890" PostHistoryTypeId="1" PostId="6351" RevisionGUID="d5debc45-7ad5-4d1f-8a22-a199ff94170a" CreationDate="2011-03-03T19:12:19.193" UserId="338" Text="Sync audio -Harmonics of sync (not frequency)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10891" PostHistoryTypeId="3" PostId="6351" RevisionGUID="d5debc45-7ad5-4d1f-8a22-a199ff94170a" CreationDate="2011-03-03T19:12:19.193" UserId="338" Text="&lt;sync&gt;&lt;fundamental&gt;&lt;frequency&gt;&lt;question&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10892" PostHistoryTypeId="2" PostId="6352" RevisionGUID="e38a7cb0-a4a5-4906-956f-92b0272c6a90" CreationDate="2011-03-03T23:55:34.510" UserId="393" Text="I agree with everyone above, but as an object lesson pay attention to people that leave your field of sight or walk out of the room you're in." ContentLicense="CC BY-SA 2.5" />
  <row Id="10893" PostHistoryTypeId="2" PostId="6353" RevisionGUID="a52323af-0bfb-44f3-8874-67d9fab7e79c" CreationDate="2011-03-04T08:23:03.150" UserId="786" Text="Being a Protools user, I would say the most problematic thing to me when getting projects from Nuendo, is that I can only get an AAF import. This means no plugins, no plugin automation and no sends. So I would prefer the dialogue to be edited with cuts, fades, crossfades and volume automation, but don't spend too much time on EQ'ing as the EQ will be lost in the transfer.&#xD;&#xA;&#xD;&#xA;Should you want to EQ or use other plugins, you should export both the tracks without plugins (but with editing) and the tracks with rendered plugins.&#xD;&#xA;&#xD;&#xA;If you are doing effects, you should also try and stay clear of insert fx, but render the fx into the soundfiles, so they are transferred in the AAF. If you have an FX sound you are not sure of, include the original sound as well.&#xD;&#xA;&#xD;&#xA;Before you get too deep into editing, make a quick test export/import to see what information gets lost." ContentLicense="CC BY-SA 2.5" />
  <row Id="10894" PostHistoryTypeId="2" PostId="6354" RevisionGUID="1cb682e9-8f68-4920-b27a-59078b3cdbf0" CreationDate="2011-03-04T13:13:12.663" UserId="37" Text="Have your sound rushes near, as well as a copy of the initial OMF you started with. Maybe print them stems of what you've done yourself using Nuendo? The question in the comment under your question can indeed determine better what to and what not to do." ContentLicense="CC BY-SA 2.5" />
  <row Id="10896" PostHistoryTypeId="2" PostId="6356" RevisionGUID="9df2e936-c899-4bf6-b4db-2f3d9b204f41" CreationDate="2011-03-04T18:38:22.283" UserId="18160" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;I've been assigned a task this morning that possibly some of you have been there and done.&#xD;&#xA;&#xD;&#xA;My coworker received a recording of trumpets, sax, trombones, etc., big band stuff, which was tracked at a studio which had a digital mixboard. They recorded at 96K via a 48K digital board.&#xD;&#xA;&#xD;&#xA;I don't know how it happened, but the resultant tracks have all sorts of little digital clicks (exactly the clicks you hear when your word clock or clocking device is not synced).&#xD;&#xA;&#xD;&#xA;It's for a time sensitive project and he told me there is no way to get them to re-record (this was the first thing I told him after he told me this bad news).&#xD;&#xA;&#xD;&#xA;Anyway, have any of you received tracks like this that had this exact problem? And what did you find was most effective in handling it?&#xD;&#xA;&#xD;&#xA;Right now I'm just going through each track and penciling each click out - which is fine, but it's going to take up my time a bit and if I can get it done faster, that would be best for everyone involved, including the client's wallet. This is after trying Izotope, X-Crackle, X-Click and the Sonnox restore plug-ins to no avail.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10897" PostHistoryTypeId="1" PostId="6356" RevisionGUID="9df2e936-c899-4bf6-b4db-2f3d9b204f41" CreationDate="2011-03-04T18:38:22.283" UserId="18160" Text="De-Clicking due to clocking issues" ContentLicense="CC BY-SA 2.5" />
  <row Id="10898" PostHistoryTypeId="3" PostId="6356" RevisionGUID="9df2e936-c899-4bf6-b4db-2f3d9b204f41" CreationDate="2011-03-04T18:38:22.283" UserId="18160" Text="&lt;digital&gt;&lt;clock&gt;&lt;clicks&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10899" PostHistoryTypeId="2" PostId="6357" RevisionGUID="bda9b204-550f-4839-980a-ebe451b3aad5" CreationDate="2011-03-04T18:49:07.867" UserId="194" Text="In my experience batch processes really don't work well wrt to removing clicks.  RX spectral repair is amazing for that kind of stuff, but it still takes a manual select/render/playback process for each click, so still pretty time intensive. &#xD;&#xA;&#xD;&#xA;I'd recommend that over penciling, but only marginally." ContentLicense="CC BY-SA 2.5" />
  <row Id="10900" PostHistoryTypeId="2" PostId="6358" RevisionGUID="d830560c-5cb2-4538-b1ba-a2c5f63f76d1" CreationDate="2011-03-04T19:22:38.097" UserId="235" Text="Hi all,  I'm trying to create a list of best practices for interfacing with video editors.  I know very little about the video side of things and often work with editors who know very little about the audio side.  Navigating the realm between the two can be tricky.  What are your methods for managing this transition?    Some more specific questions-&#xD;&#xA;&#xD;&#xA;When requesting a reference video file what codecs and formats do you prefer?&#xD;&#xA;&#xD;&#xA;Timecode obviously, do you insist on a 2 pop?  At the beginning and the end?&#xD;&#xA;&#xD;&#xA;In order to save time, how do you prefer the video editor organize tracks before sending them over via OMF?  &#xD;&#xA;&#xD;&#xA;When there's an option, do you prefer reels or one large file?&#xD;&#xA;&#xD;&#xA;If an editor wants to really prep the tracks to cut down on audio post costs, what audio work, if any, should the video editor undertake?  Splitting out dialog from production SFX?&#xD;&#xA;&#xD;&#xA;When receiving hard drives of alternate takes and other production recordings, are there any file naming and organizational conventions you insist on or request?   &#xD;&#xA;&#xD;&#xA;Anything I'm forgetting?&#xD;&#xA;&#xD;&#xA;Thank you all so so much in advance!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="10901" PostHistoryTypeId="1" PostId="6358" RevisionGUID="d830560c-5cb2-4538-b1ba-a2c5f63f76d1" CreationDate="2011-03-04T19:22:38.097" UserId="235" Text="Working with video editors" ContentLicense="CC BY-SA 2.5" />
  <row Id="10902" PostHistoryTypeId="3" PostId="6358" RevisionGUID="d830560c-5cb2-4538-b1ba-a2c5f63f76d1" CreationDate="2011-03-04T19:22:38.097" UserId="235" Text="&lt;workflow&gt;&lt;video&gt;&lt;format&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10903" PostHistoryTypeId="2" PostId="6359" RevisionGUID="349bff91-9846-425d-bbbb-ba3d647a75d0" CreationDate="2011-03-04T20:17:14.773" UserId="432" Text="I prefer to get standard def reference videos, things just tend to run smoother in tools that way. I'd suggest trying to stay away from any HD codecs. I do like them to include their &quot;mix&quot; when they export the reference video, because I'll pull that in as a reference within my session.&#xD;&#xA;&#xD;&#xA;I always request pops at head and tail, this is usually best presented as making things easier for the editor. If you send back the final mix with pops, they have a fast and easy way to initially verify sync when they drop it back into the timeline. I do ask for large handles, minimum of 5 seconds (especially if the omf is coming from a Final Cut system), unless the omf they're exporting references the original files (rather than contains them). Final Cut can't reference original media from an OMF, it will only consolidate regions. So, don't forget those handles.&#xD;&#xA;&#xD;&#xA;If the editor does any organization of the omf it does make life a little easier, but I always end up reorganizing it anyways. I open the omf, copy/duplicate all of the tracks and hide the originals from the omf. Hiding the originals saves the layout in case I royally screw something up. Working with those copies, I then move the audio files around as I'd like to have them: dialogue over several tracks, production/ambience, hard effects, music, etc. Once I have everything split out. I duplicate the playlists, save and close the session.&#xD;&#xA;&#xD;&#xA;I'll create new sessions for each of my tasks, and import the respective tracks (copying all source audio files). So, I'll import only dialogue tracks from my omf configuration session into my dialogue edit session. Now I'm working with copies of the original files, because some of the things I do can be destructive/permanently change the waveform (like the pencil tool). I'm also working off the duplicated playlist that I created in the omf session; again, so the layout is saved on a previous playlist in case I screw something up. Redundant backups and ways to quickly correct a bad decision are goods thing. And we all need them sooner or later.&#xD;&#xA;&#xD;&#xA;On longer form projects, I prefer reels. I say that, because they may lock a section of the picture well before the whole is done. No reason I should wait until the whole project is done before I start working on sections of it. That just seems inefficient to me. There are plenty of times though when I get brought in at the last minute; in that case, I'm usually getting one big one. This is all really up to what you work out with the director/producer. Go with whatever workflow is going to be more efficient for the project.&#xD;&#xA;&#xD;&#xA;I  don't ever ask the editor to do any work. If they choose to that's fine. I'm not going to step on any toes by telling them not to, but I don't request it. I discard all fades, crossfades, pan and volume automation the omfs contain. I have the reference audio track that I can listen to for that information if I'm confused by something.&#xD;&#xA;&#xD;&#xA;I haven't ever worked on a project that had money for anyone other than the editor to conduct media management, and they usually only have time to organize things in a way that makes sense for them while editing. There's usually a fair bit of logic in that though, so I don't think of it as a handicap. I do request any logging data or sound reports that might be available. I'll usually ask for an EDL as well. This is a must if the omf is going to come from Final Cut, because FCP creates new metadata for the files it includes in the omf. Without and EDL, you'll have no idea where a clip came from if you need an alternate take or some other piece of audio. Those documents have covered most of my needs in the past." ContentLicense="CC BY-SA 2.5" />
  <row Id="10904" PostHistoryTypeId="2" PostId="6360" RevisionGUID="7e9ebccb-685a-44a6-9349-898a13acaa80" CreationDate="2011-03-04T20:30:50.380" UserId="670" Text="I'm starting to get professional jobs for my sound design services and I only have Pro Tools 8 M-Powered. What would be the best way to work with the video editor since I cannot import OMF files. Should I just import the .mov file and start syncing up the dialog from there? Or is there a more efficient way? Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10905" PostHistoryTypeId="1" PostId="6360" RevisionGUID="7e9ebccb-685a-44a6-9349-898a13acaa80" CreationDate="2011-03-04T20:30:50.380" UserId="670" Text="Pro Tools M-Powered and syncing to video " ContentLicense="CC BY-SA 2.5" />
  <row Id="10906" PostHistoryTypeId="3" PostId="6360" RevisionGUID="7e9ebccb-685a-44a6-9349-898a13acaa80" CreationDate="2011-03-04T20:30:50.380" UserId="670" Text="&lt;sync&gt;&lt;pro&gt;&lt;tools&gt;&lt;m-powered-8&gt;&lt;omf&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10907" PostHistoryTypeId="2" PostId="6361" RevisionGUID="78af1cc5-9d80-4cd8-b2cb-662f540c691b" CreationDate="2011-03-04T20:53:59.300" UserId="587" Text="You could grab a demo of a software that allows OMF import, make sure its sync with video, then bounce a full length mono or stereo file out and import that into pro tools.&#xD;&#xA;&#xD;&#xA;Otherwise, you may be manually syncing omf.... ugh. Hope there aren't a lot of takes/cuts!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10908" PostHistoryTypeId="2" PostId="6362" RevisionGUID="1ff151a6-f1d5-40c6-b421-6d88a10a3347" CreationDate="2011-03-04T21:09:35.560" UserId="194" Text="check the stuff ![in this][1] thread for a wide ref:&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/post-production-forum/550303-open-letter-video-editors-things-sound-mixers-wish-you-would-do.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/post-production-forum/550303-open-letter-video-editors-things-sound-mixers-wish-you-would-do.html&#xD;&#xA;&#xD;&#xA;Here's what I posted there:&#xD;&#xA;&#xD;&#xA;&gt; requirements for AAF:&#xD;&#xA;&gt; &#xD;&#xA;&gt;     * head and tail sync pops&#xD;&#xA;&gt;     * handles (min 3 seconds, pref 5 seconds)&#xD;&#xA;&gt;     * original sync audio even if alts have been selected&#xD;&#xA;&gt;     * no audio has been destructively processed in any way&#xD;&#xA;&gt; &#xD;&#xA;&gt; requirements for quicktime:&#xD;&#xA;&gt; &#xD;&#xA;&gt;     * small timecode burn in&#xD;&#xA;&gt;     * quicktime framerate that matches tc burn&#xD;&#xA;&gt; &#xD;&#xA;&gt; don't expect things to come back in&#xD;&#xA;&gt; sync and sounding right if you don't&#xD;&#xA;&gt; deliver all of the audio elements in&#xD;&#xA;&gt; sync and as high res as possible.&#xD;&#xA;&gt; &#xD;&#xA;&gt; above and beyond:&#xD;&#xA;&gt; &#xD;&#xA;&gt;     * volume rides showing intent&#xD;&#xA;&gt;     * written notes&#xD;&#xA;&gt;     * organized tracks&#xD;&#xA;&gt;     * realistic deadlines&#xD;&#xA;&gt; &#xD;&#xA;&gt; going above and beyond isn't&#xD;&#xA;&gt; incredibly difficult, but it is&#xD;&#xA;&gt; outside of the minimum requirements&#xD;&#xA;&gt; you'll need to get your project done&#xD;&#xA;&gt; well. Going above and beyond will get&#xD;&#xA;&gt; your project done more efficiently and&#xD;&#xA;&gt; with fewer human errors, however.&#xD;&#xA;&#xD;&#xA;I'll add that getting all soundrolls and logs well in advance can help with prep and give the post facility something to get started with even before picture comes in." ContentLicense="CC BY-SA 2.5" />
  <row Id="10909" PostHistoryTypeId="2" PostId="6363" RevisionGUID="382b2f6d-3c86-47da-ab63-6593f0d690ca" CreationDate="2011-03-04T21:31:43.963" UserId="253" Text="Shaun and Rene gave great answers, so i'll just add things that they haven't mentioned:&#xD;&#xA;&#xD;&#xA; - At AFTRS, where i studied, the editors are taught to lay out (assuming they're working with 2 audio tracks per clip - this would be different if they're using 4) tracks 1-4 as location sound, 5-6 as sound FX, and 7-10 as music. I can't remember exactly, but this was pretty much it, and it worked well.&#xD;&#xA;&#xD;&#xA; - I prefer DV streams if they're delivering in person. DV is a little big for ftp, so i ask for motion jpeg A if they're delivering online. However, this is an old (legacy) codec, which a lot of editors won't know how to access, so if it's not a huge project i'll accept an mpeg. With burnt in timecode in the top right corner (or somewhere that won't obscure stuff you'll need to foley).&#xD;&#xA;&#xD;&#xA; - Another practice the editors are taught at AFTRS is to deliver, in the guide track included in the video file, sync and FX on the left channel and temp music on the right. This isn't so much for us as for the composers, but it's a great idea.&#xD;&#xA;&#xD;&#xA; - Rene already posted this, but the editor also needs to undo any processing they've done on the audio. I've received audio that's been hammered by FCP/Soundtrack Pro noise reduction. It was horrible." ContentLicense="CC BY-SA 2.5" />
  <row Id="10910" PostHistoryTypeId="2" PostId="6364" RevisionGUID="ac47969f-138d-411b-b478-d52441e7ff13" CreationDate="2011-03-05T03:05:02.370" UserId="863" Text="If you are getting a lot of jobs, then invest in upgrading to Pro Tools 9, OMF importing is so important." ContentLicense="CC BY-SA 2.5" />
  <row Id="10911" PostHistoryTypeId="2" PostId="6365" RevisionGUID="1f2f073e-389f-4fd8-a915-5a18faa9d32a" CreationDate="2011-03-05T03:12:34.987" UserId="863" Text="I've completed a 2.0 mix for a short film, the director wants to take this to a studio to attempt to mix it to 5.1.&#xD;&#xA;&#xD;&#xA;The engineer has asked me to give him the pro-tools file, but the audio folder is 13.5gb as it contains some stuff I haven't even used or big files which I've cut down, I don't want to give him that, it's pointless and a waste of space.&#xD;&#xA;&#xD;&#xA;I tried an OMF but I couldn't get the automation to copy across + it didn't copy what effects I used in the channel.?&#xD;&#xA;&#xD;&#xA;I'll tackle him not having these effects after :)&#xD;&#xA;&#xD;&#xA;What can I do?&#xD;&#xA;&#xD;&#xA;I am using pro-tools 9.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10912" PostHistoryTypeId="1" PostId="6365" RevisionGUID="1f2f073e-389f-4fd8-a915-5a18faa9d32a" CreationDate="2011-03-05T03:12:34.987" UserId="863" Text="Exporting pro-tools project for 5.1" ContentLicense="CC BY-SA 2.5" />
  <row Id="10913" PostHistoryTypeId="3" PostId="6365" RevisionGUID="1f2f073e-389f-4fd8-a915-5a18faa9d32a" CreationDate="2011-03-05T03:12:34.987" UserId="863" Text="&lt;pro-tools&gt;&lt;omf&gt;&lt;exporting&gt;&lt;aaf&gt;&lt;5.1&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10914" PostHistoryTypeId="2" PostId="6366" RevisionGUID="4a08ba4c-3a69-4602-bf5c-a86537a7f2d6" CreationDate="2011-03-05T03:28:55.317" UserId="18160" Text="Save As.&#xD;&#xA;&#xD;&#xA;Select all unused. Remove (don't delete).&#xD;&#xA;&#xD;&#xA;Make a new session and import session data with &quot;Consolidate from source media&quot; enabled with a handle of like 5 seconds or so? (it asks for milliseconds so put 5000)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10915" PostHistoryTypeId="2" PostId="6367" RevisionGUID="79c303e1-6665-43a8-9f04-7b8f47b718b6" CreationDate="2011-03-05T04:14:10.163" UserId="693" Text="I soooooo feel for you right now!&#xD;&#xA;&#xD;&#xA;I've been on an NR / Click and Kill mission with a 12m long ADR scene that's non-stop dialog and It's been murder. There are hard drive clicks in the background and 3 Beep Bleed from the headphones through out the entire thing . &#xD;&#xA;&#xD;&#xA;I feel like I've been listening to the same CD skipping for my entire life. I have found that iZotope Spectral Repair has been a lifesaver in this process (otherwise drawing waveforms out as well), though without it I'd tell them to get f'd or re-record (I've come close a few times but my professionalism and pride won't allow me. I'm finally about done with it as of this weekend and it will be a very long time or a retarded high paycheck before I take on another ADR/DX Editing gig.&#xD;&#xA;&#xD;&#xA;Best of luck to you and let us know what works out!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10916" PostHistoryTypeId="2" PostId="6368" RevisionGUID="e83e5ace-3749-43ec-8dfc-dcd97aba7acd" CreationDate="2011-03-05T04:18:49.973" UserId="863" Text="I've gotten so frustrated in recent times with editors who think they're the &quot;dogs bollocks&quot; and cannot work out how to properly export an OMF or send me a video file that I want. I've had mpegs, avi's, omfs with tracks missing, unorganised audio etc.&#xD;&#xA;&#xD;&#xA;http://michaelkammes.com/tag/pro-tools/&#xD;&#xA;&#xD;&#xA;This page is quite helpful, although I'm sure there's others and possibly better ones out there for video editors to get a guide from.&#xD;&#xA;&#xD;&#xA;One thing I do ask for is to deliver tracks in 1 mono channel per video track and not the typical FCP L+R channels and to label them clearly (if that's possible). It's their work and there can be times where they may have over lapped another clip onto another and you delete a channel you might accidentally delete another thing etc etc.&#xD;&#xA;&#xD;&#xA;I also ask them to consolidate their tracks as much as possible.&#xD;&#xA;&#xD;&#xA;hardcoded TC at the correct fps, starting at 10:00 and 2 pops to bring it in.&#xD;&#xA;&#xD;&#xA;Out of the last 5 films I've done post for, I've had all of this once... the one time I didn't ask for it... brought a smile to my face :)&#xD;&#xA;&#xD;&#xA;Another point is, the sound recordist should really organise the sound files as well and clearly label and place them in folders... ambiance, foley, dialogue, wildtrack etc before delivering to vid editor, hopefully the vid editor picks up on this and starts dropping room tones, ambiances etc in and even lays out better dialogue options as ideas." ContentLicense="CC BY-SA 2.5" />
  <row Id="10917" PostHistoryTypeId="2" PostId="6369" RevisionGUID="bbad53c3-86fe-4d4d-a56c-9d122ab20a1b" CreationDate="2011-03-05T04:24:59.413" UserId="693" Text="Actually, you **should** do a &quot;Save Copy In&quot; first... don't &quot;save as&quot; unless you want to permanently get rid of your unused files (which I highly advise against until something is long over). If you only do a &quot;Save As&quot; all it does is create a new Pro Tools file and it still references the same audio files in the Audio Files folder as your previous session and you **will** delete the files not appearing in the timeline.&#xD;&#xA;&#xD;&#xA;When you do this &quot;Save Copy In&quot; (which is how you should/can actually create an exact duplicate of a session), choose &quot;All Audio Files&quot; to be copied with it. You may want to also check plug-in settings and some of the other options just in case you didn't print all your effects or mix elements down, especially if they're disregarding your 2.0 mix and will now be mixing for surround. &#xD;&#xA;&#xD;&#xA;Then open that new session you created, once open hit Shift + CMD +U (mac) / Shift + Ctrl + U (PC) to select unused regions. Then Hit Shift + CMD/Ctrl + B to &quot;Clear Selected&quot;. It will then ask you if you want to &quot;remove from session&quot; or permanently &quot;Delete&quot; from disk. When you select &quot;Delete&quot; hold down &quot;option/alt&quot; and it will prevent you from having to click &quot;OK&quot; over and over a million times. That will reduce your file size as much as it can be reduced.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10918" PostHistoryTypeId="2" PostId="6370" RevisionGUID="8020e759-0d57-4108-b40e-a4841ed255bf" CreationDate="2011-03-05T06:16:08.043" UserId="558" Text="IS there a site somewhere that has downloadable wav files of the same material (dialog, musical instrument, etc) using the same signal path (mic pre/mixer channel/AD converter) but different mics so I can download and listen in my own studio?&#xD;&#xA;&#xD;&#xA;THis sounds like a nice idea if it doesnt exist." ContentLicense="CC BY-SA 2.5" />
  <row Id="10919" PostHistoryTypeId="1" PostId="6370" RevisionGUID="8020e759-0d57-4108-b40e-a4841ed255bf" CreationDate="2011-03-05T06:16:08.043" UserId="558" Text="AB Mic comparisons" ContentLicense="CC BY-SA 2.5" />
  <row Id="10920" PostHistoryTypeId="3" PostId="6370" RevisionGUID="8020e759-0d57-4108-b40e-a4841ed255bf" CreationDate="2011-03-05T06:16:08.043" UserId="558" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10921" PostHistoryTypeId="2" PostId="6371" RevisionGUID="b0d47cf2-947c-40f3-8f99-bb0b3106e259" CreationDate="2011-03-05T12:56:58.287" UserId="432" Text="I don't think what you're looking exists on any sort of a comprehensive scale, though this is a very cool site that comes close: http://www.ear-machine.com/myMicSoundIntro.html&#xD;&#xA;&#xD;&#xA;You can always ask around about specific mics. A lot of people on here have access to a wide range, and might be willing to help out if they have time." ContentLicense="CC BY-SA 2.5" />
  <row Id="10922" PostHistoryTypeId="2" PostId="6372" RevisionGUID="1145bdfd-09c6-4ca5-917b-7529df2463a0" CreationDate="2011-03-05T16:29:56.907" UserDisplayName="user914" Text="Hey,&#xD;&#xA;&#xD;&#xA;I just attended the Waves Sound Design Competition 2011.&#xD;&#xA;The task was to create the sound design for trailer.&#xD;&#xA;There were only a few sounds by Hollywood Edge you were allowed to use.&#xD;&#xA;And you were only allowed to use Plugins of the Waves Sound Design Suite.&#xD;&#xA;&#xD;&#xA;Now I would like to get feedback from you about my entry to learn as much as possible:&#xD;&#xA;&#xD;&#xA;http://vimeo.com/20391704&#xD;&#xA;&#xD;&#xA;I'm pretty happy with the created sounds.&#xD;&#xA;But now I'm not so happy with the mixing.&#xD;&#xA;&#xD;&#xA;What do you think?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10923" PostHistoryTypeId="1" PostId="6372" RevisionGUID="1145bdfd-09c6-4ca5-917b-7529df2463a0" CreationDate="2011-03-05T16:29:56.907" UserDisplayName="user914" Text="Waves Sound Design Competition. What do you think?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10924" PostHistoryTypeId="3" PostId="6372" RevisionGUID="1145bdfd-09c6-4ca5-917b-7529df2463a0" CreationDate="2011-03-05T16:29:56.907" UserDisplayName="user914" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10925" PostHistoryTypeId="2" PostId="6373" RevisionGUID="92f4547f-9d39-46ff-9c7a-193da4910831" CreationDate="2011-03-05T17:01:54.423" UserId="6524" Text="Sounds pretty good, its a lot like mine but better, I just made mine for fun when I was bored and I thought I would send it in cause I made it anyway, crappy thing is I couldn't figure out how to get the demo to download with the iLok thing so I just used the plugins from Cubase LE5 check it out if you like, you'll see its pretty similar.. &#xD;&#xA;[vimeo]20164022[/vimeo]" ContentLicense="CC BY-SA 2.5" />
  <row Id="10926" PostHistoryTypeId="2" PostId="6374" RevisionGUID="7aa09e7c-525d-4e3a-99dd-b3a11173a21d" CreationDate="2011-03-05T17:19:29.087" UserId="670" Text="I really enjoy the kind of atmosphere you created in the opening sequence before the driver gets in the crash. Overall I think you did a great job. Here's my entry: &#xD;&#xA;&#xD;&#xA;http://vimeo.com/20503845" ContentLicense="CC BY-SA 2.5" />
  <row Id="10927" PostHistoryTypeId="2" PostId="6375" RevisionGUID="131dfb14-71e2-4fbc-bab4-c2ff91512b80" CreationDate="2011-03-05T17:32:42.780" UserId="863" Text="nice work, sounds really rich and awesome,&#xD;&#xA;&#xD;&#xA;There's a lot of low end in there and fighting eachother, I'd say it's a case of EQing different elements to have them sit in their own fq range. &#xD;&#xA;&#xD;&#xA;Why have you taken the commentary out? I wasn't sure what yours was about until it got to the crash scene, the metal sounds are great, I really liked Mitchell's ending, the fly back into the race worked well." ContentLicense="CC BY-SA 2.5" />
  <row Id="10928" PostHistoryTypeId="2" PostId="6376" RevisionGUID="28236c20-95db-401d-b529-45f547ab97e9" CreationDate="2011-03-05T18:28:47.177" UserId="517" Text="When I'm prepping for a mix, I create a new blank session and use Import Session Data to bring in only the tracks that I need. Not only does this ensure that extraneous media doesn't balloon up the data size of your session, it also means that you're not bringing in any material that's on bench/work or OMF tracks that can add a lot of unnecessary files. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10929" PostHistoryTypeId="2" PostId="6377" RevisionGUID="30cdd7ac-7719-41ae-b5f0-3c254a48326c" CreationDate="2011-03-05T18:55:18.170" UserId="298" Text="Two works i ve watched from that contest and your sounds really good. Nice dynamics, clarity of sound and accents, though, there is always something to polish..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10930" PostHistoryTypeId="2" PostId="6378" RevisionGUID="f7613384-fbdc-4d3d-9617-161851cce73b" CreationDate="2011-03-05T20:51:49.563" UserId="338" Text="Hey, does anybody have any suggestions for removing the low level hum of a microphone?&#xD;&#xA;&#xD;&#xA;It's noticeable enough to be heard across cuts.&#xD;&#xA;&#xD;&#xA;I've tried removing it with Izotope but I'm not confident that it is worth it because it somewhat effects the audio quality of dialogue, etc.  How much is too much when you affect the quality of stuff through noise reduction?  I ask this because I realize that other people don't hear things the same as the audio community.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10931" PostHistoryTypeId="1" PostId="6378" RevisionGUID="f7613384-fbdc-4d3d-9617-161851cce73b" CreationDate="2011-03-05T20:51:49.563" UserId="338" Text="Noise Removal, Self noise Hum" ContentLicense="CC BY-SA 2.5" />
  <row Id="10932" PostHistoryTypeId="3" PostId="6378" RevisionGUID="f7613384-fbdc-4d3d-9617-161851cce73b" CreationDate="2011-03-05T20:51:49.563" UserId="338" Text="&lt;noise&gt;&lt;reduction&gt;&lt;hum&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10933" PostHistoryTypeId="2" PostId="6379" RevisionGUID="110a5fb0-9c08-4f5b-9328-1bc1c075f44b" CreationDate="2011-03-05T21:38:01.917" UserId="786" Text="When you reduce noise you often have to put something else in there instead, in order to mask the artifacts of noise reduction. You can also mask the noise without removing it with a nice background atmosphere. &#xD;&#xA;&#xD;&#xA;Noise will always be a part of the sound you capture. You do not necessarily need to remove it, if it isn't annoying at normal listening volume. I would rather listen to a bit of noise than I would listen to an extremely noise-reduced sound.&#xD;&#xA;&#xD;&#xA;If you get a lot of broadband self noise from the microphone it can be because the gain is too high or there is an auto-gain in the camera, constantly amplifying unwanted noise. This can be pretty hard to remove, so try a combination of noise reduction, gain automation and masking with background tracks." ContentLicense="CC BY-SA 2.5" />
  <row Id="10934" PostHistoryTypeId="2" PostId="6380" RevisionGUID="17625224-6d00-459d-943a-8960be55c942" CreationDate="2011-03-05T22:18:20.903" UserId="432" Text="Excellent points, Morten.&#xD;&#xA;&#xD;&#xA;The other thing about &quot;hum,&quot; is that it has a lot of additional content at octaves. For example, when we refer to the sound of 60-cycle hum, the most prevalent frequency we're actually hearing is aactually at 120hz. There is additional content at 240, 480, etc. A comb filter can help reduce that, but it will need to be used with care because of the effect it will have on other content within the signal (also notice that I only said &quot;help&quot;)." ContentLicense="CC BY-SA 2.5" />
  <row Id="10935" PostHistoryTypeId="2" PostId="6381" RevisionGUID="f909ebfd-2a1e-4b24-994f-34f2ef7aaa9a" CreationDate="2011-03-05T22:23:44.220" UserId="18160" Text="I'm thinking about going. I went last year - was a lot of fun.&#xD;&#xA;&#xD;&#xA;Who plans on going?&#xD;&#xA;&#xD;&#xA;And possibly do an SSD meet-up?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10936" PostHistoryTypeId="1" PostId="6381" RevisionGUID="f909ebfd-2a1e-4b24-994f-34f2ef7aaa9a" CreationDate="2011-03-05T22:23:44.220" UserId="18160" Text="NAB 2011 - Who's going?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10937" PostHistoryTypeId="3" PostId="6381" RevisionGUID="f909ebfd-2a1e-4b24-994f-34f2ef7aaa9a" CreationDate="2011-03-05T22:23:44.220" UserId="18160" Text="&lt;nab&gt;&lt;2011&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10938" PostHistoryTypeId="2" PostId="6382" RevisionGUID="001b6353-d307-4599-adf2-cc5475bb12c4" CreationDate="2011-03-05T23:05:35.683" UserId="88" Text="Damn...missed this.  I was there all week. :(" ContentLicense="CC BY-SA 2.5" />
  <row Id="10939" PostHistoryTypeId="2" PostId="6383" RevisionGUID="13585179-1999-4a3f-871b-889c420c6a68" CreationDate="2011-03-05T23:18:44.087" UserId="235" Text="Take a look at the discussion here. Looks very similar to your question.&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/3573/omf-options-workaround" ContentLicense="CC BY-SA 2.5" />
  <row Id="10940" PostHistoryTypeId="2" PostId="6384" RevisionGUID="c791ffce-2c05-4b59-acf6-457a3fa99786" CreationDate="2011-03-06T00:41:51.570" UserDisplayName="user6513" Text="I would boom it with something less directional like the MKH-50 but it really depends on the script and what you want to achieve. You will probably get some phase cancellation as Morten has pointed out, but there is the 'invert phase' function on mixers like the Sound Devices 302 or 442, so that could help some. The bleeding is really dependent on the gain settings and the proximity of the actors to one another. Think of it as when recording drums, everything bleeds into every mic, so the only way you can get some isolation it to either add a noise gate or record them separately. Don't know if a dynamic mic is usable for your situation, but it's something to consider. Perhaps all the actors could carry a slurpee for you to hide the mic in. :-)&#xD;&#xA;&#xD;&#xA;With distortion, I reckon you might break a couple of finger nails if one or two of the characters started shouting and screaming though. That would bleed into the other mics, and if you're mixing it down, then you will run a high risk distortion. However if you are recording discretely to different tracks, then you won't have to worry." ContentLicense="CC BY-SA 2.5" />
  <row Id="10941" PostHistoryTypeId="2" PostId="6385" RevisionGUID="8b51c49a-d32e-4914-b71e-63f8fc179e06" CreationDate="2011-03-06T04:12:10.040" UserId="178" Text="It's not free, but if you buy the Killer Home Recording e-book at recordingreview.com, it has a lot of different mic comparisons. The site also has a few of them up for free as well. I believe I've also seen CD-ROM products in the past that had similar information." ContentLicense="CC BY-SA 2.5" />
  <row Id="10942" PostHistoryTypeId="2" PostId="6386" RevisionGUID="33617596-c1ca-45d3-aee8-c534a00ca5bd" CreationDate="2011-03-06T07:07:09.727" UserId="786" Text="You can probably find a cheap Digitranslator licence on eBay. I bought a few used licences on eBay when I started out a couple of years ago, saved me a lot of money.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10943" PostHistoryTypeId="2" PostId="6387" RevisionGUID="25aad420-6156-4c3c-93a5-4a5ae75d0737" CreationDate="2011-03-06T16:04:40.420" UserDisplayName="user914" Text="Thank you for your comments!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I probably would do the mixing different if I could redo it.&#xD;&#xA;I would amplify the tonal background at the crash shot to give it a strange ambience.&#xD;&#xA;I would let the small whooshes of glass and metal parts be more present.&#xD;&#xA;And I would mix the race ambience (crowd and race) up to focus on the race feeling.&#xD;&#xA;I guess I wouldn't put the commentary in focus because it conflicts with the slow motion.&#xD;&#xA;&#xD;&#xA;Perhaps I would put the collage of real-time race sounds under the waves logo,&#xD;&#xA;which &quot;freezes&quot; when the video begins. Which I had in a previous version. :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="10944" PostHistoryTypeId="2" PostId="6388" RevisionGUID="e014e79a-bd94-43bb-b2c9-76e7aceb3b31" CreationDate="2011-03-06T17:31:55.550" UserId="220" Text="Yikes, didn't know how nervous I would be putting my work out to such a great group of professionals, but here we go:&#xD;&#xA;&#xD;&#xA;[WAIT][1] is a short film I wrote and produced last year.  In addition, as a challenge to myself, I did a full rebuild of the sound including all ADR, foley, and SFX.  &#xD;&#xA;&#xD;&#xA;Please let me know what you think - any feedback is welcome.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/12307052" ContentLicense="CC BY-SA 2.5" />
  <row Id="10945" PostHistoryTypeId="1" PostId="6388" RevisionGUID="e014e79a-bd94-43bb-b2c9-76e7aceb3b31" CreationDate="2011-03-06T17:31:55.550" UserId="220" Text="Feedback on Short Film Sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="10946" PostHistoryTypeId="3" PostId="6388" RevisionGUID="e014e79a-bd94-43bb-b2c9-76e7aceb3b31" CreationDate="2011-03-06T17:31:55.550" UserId="220" Text="&lt;shortfilm&gt;&lt;feedback&gt;&lt;design&gt;&lt;adr&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10947" PostHistoryTypeId="2" PostId="6389" RevisionGUID="2dc9ce9e-1599-4a28-8397-3ca6e4661b00" CreationDate="2011-03-06T18:06:09.467" UserId="338" Text="When you mix, do you have a certain db level that you try and keep all your levels at and then compress the peaks?&#xD;&#xA;&#xD;&#xA;Are there certain levels for dialogue?&#xD;&#xA;&#xD;&#xA;Does using the gain audiosuite plugin between different regions combined with a meters tool sound like the right idea?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10948" PostHistoryTypeId="1" PostId="6389" RevisionGUID="2dc9ce9e-1599-4a28-8397-3ca6e4661b00" CreationDate="2011-03-06T18:06:09.467" UserId="338" Text="During the mix, keeping levels right" ContentLicense="CC BY-SA 2.5" />
  <row Id="10949" PostHistoryTypeId="3" PostId="6389" RevisionGUID="2dc9ce9e-1599-4a28-8397-3ca6e4661b00" CreationDate="2011-03-06T18:06:09.467" UserId="338" Text="&lt;mix&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10950" PostHistoryTypeId="5" PostId="6389" RevisionGUID="898e2065-5670-4e62-8538-9cc356de1f36" CreationDate="2011-03-06T18:13:27.900" UserId="338" Comment="added 72 characters in body" Text="When you mix, do you have a certain db level that you try and keep all your levels at and then compress the peaks?&#xD;&#xA;&#xD;&#xA;Are there certain levels for dialogue?&#xD;&#xA;&#xD;&#xA;Does using the gain audiosuite plugin for intial level setting between different regions combined with a meters tool sound like the right idea?  After that you would use vol. automation?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10951" PostHistoryTypeId="5" PostId="6389" RevisionGUID="1f514d9a-9fc6-4ec6-9a8e-e797a7a657e8" CreationDate="2011-03-06T18:23:54.323" UserId="338" Comment="added 33 characters in body" Text="When you mix, do you have a certain db level that you try and keep all your levels at and then compress the peaks?&#xD;&#xA;&#xD;&#xA;Are there certain levels for dialogue?&#xD;&#xA;&#xD;&#xA;Does using the gain audiosuite plugin for intial level setting between different regions combined with a meters tool sound like the right idea?  After that you would use vol. automation?&#xD;&#xA;&#xD;&#xA;Is there a specific level for fx?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10952" PostHistoryTypeId="2" PostId="6390" RevisionGUID="ed5c0034-0fe7-4fca-9a6a-9f767f479d4e" CreationDate="2011-03-06T18:34:55.983" UserId="701" Text="I'll be here, Vegas is home. Would be fun to do a meet and greet. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10953" PostHistoryTypeId="2" PostId="6391" RevisionGUID="29d38b32-0e95-458b-a1df-785d11a9f93e" CreationDate="2011-03-06T18:47:36.097" UserId="432" Text="I mix for -24dB LKFS for all the television work I do, but I'm usually not looking at the meters to do that. If you're monitors are calibrated correctly, it shouldn't take you long to learn what the proper level sounds like. Mixing by ear is a lot more natural and usually turns out a better product.&#xD;&#xA;&#xD;&#xA;I always start with the dialogue. Basically, my dialogue premix is very close to what it will be in the final mix. I know what it should sound like and get it there before I touch anything else. When I go to final, I mix everything else around it. I usually don't touch the levels for dialogue at that stage, but will make adjustments as needed to any compression and eq I'm using on the DX tracks.&#xD;&#xA;&#xD;&#xA;I'll run my rough mix programs through the LM100 for reference after I've done the bulk of the work, and look for trouble spots that get outside of the +/- 2dB range from -24 LKFS. Then I'll go back and tweak if necessary, but I usually don't need to for levels. Most of the tweaks I make are for balance and subtlety, rather than overall levels.&#xD;&#xA;&#xD;&#xA;In general, I avoid using the Gain plug-in unless something can't be brought to a reasonable level using just the typical volume automation. If the +12dB to -infinity dB within the mixer doesn't do enough, it's usually a good idea to consider replacing the audio to begin with." ContentLicense="CC BY-SA 2.5" />
  <row Id="10954" PostHistoryTypeId="5" PostId="6389" RevisionGUID="a2f50554-eddd-420d-8933-e42b04bacc65" CreationDate="2011-03-06T20:42:58.653" UserId="338" Comment="added 439 characters in body" Text="When you mix, do you have a certain db level that you try and keep all your levels at and then compress the peaks?&#xD;&#xA;&#xD;&#xA;Are there certain levels for dialogue?&#xD;&#xA;&#xD;&#xA;Does using the gain audiosuite plugin for intial level setting between different regions combined with a meters tool sound like the right idea?  After that you would use vol. automation?&#xD;&#xA;&#xD;&#xA;Is there a specific level for fx?&#xD;&#xA;&#xD;&#xA;What level should you suggest to have the Dialogue Premix at??&#xD;&#xA;&#xD;&#xA;I was also wondering, how much compression for dialogue you would say is TOO much. I'm under the impression that it is a subjective thing but after about 6-8 db compression would you say that it is too much? &#xD;&#xA;&#xD;&#xA;…and finally…&#xD;&#xA;&#xD;&#xA;I noticed the PAZ Meter doesn't recognize automation level changes so I'm guessing the only thing you can do is to put it on a master fader?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10955" PostHistoryTypeId="2" PostId="6392" RevisionGUID="1b74372e-2ed0-4f15-958e-d893a12dee76" CreationDate="2011-03-06T20:44:43.817" UserId="300" Text="Chris, just to add to what Shaun has already said, the 'Trim' plugin is your friend when it comes to pre-dynamics gain on the individual dialogue channels. It's like another volume fader working before your compressor \ de-esser \ whatever \ plugins.&#xD;&#xA;&#xD;&#xA;Printing audiosuite 'Gain' will lock your regions in stone, and mean that you won't be able edit the handles later on (audio before \ after the region that is hiding in the wings) which is something that you may want to do if you change your mind about an edit.&#xD;&#xA;&#xD;&#xA;Automating the Trim means that you can set your channel compression + de-essing to work pretty well with whatever you throw at it, and lets you regulate the level going in to them so that you don't need to constantly adjust their thresholds region by region. Of course you may only need to automate the Trim on occasion, depending on the consistency of the location record. To make audio from a lot of different locations work together, expect a bit more work.&#xD;&#xA;&#xD;&#xA;Just one way of doing things&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10956" PostHistoryTypeId="5" PostId="6389" RevisionGUID="a3f916c3-da23-4103-920f-16079304c3df" CreationDate="2011-03-06T20:51:11.667" UserId="338" Comment="added 70 characters in body" Text="When you mix, do you have a certain db level that you try and keep all your levels at and then compress the peaks?&#xD;&#xA;&#xD;&#xA;Are there certain levels for dialogue?&#xD;&#xA;&#xD;&#xA;Does using the gain audiosuite plugin for intial level setting between different regions combined with a meters tool sound like the right idea?  After that you would use vol. automation?&#xD;&#xA;&#xD;&#xA;Is there a specific level for fx?&#xD;&#xA;&#xD;&#xA;What level should you suggest to have the Dialogue Premix at??&#xD;&#xA;&#xD;&#xA;I was also wondering, how much compression for dialogue you would say is TOO much. I'm under the impression that it is a subjective thing but after about 6-8 db compression would you say that it is too much? &#xD;&#xA;&#xD;&#xA;…and finally…&#xD;&#xA;&#xD;&#xA;I noticed the PAZ Meter doesn't recognize automation level changes so I'm guessing the only thing you can do is to put it on a master fader and is there a disadvantage to having the response set to a low value?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10957" PostHistoryTypeId="5" PostId="6392" RevisionGUID="1b8cac06-39ac-46ba-a217-aae3fe3c32db" CreationDate="2011-03-06T23:23:40.327" UserId="300" Comment="additional" Text="Chris, just to add to what Shaun has already said, the 'Trim' plugin is your friend when it comes to pre-dynamics gain on the individual dialogue channels. It's like another volume fader working before your compressor \ de-esser \ whatever \ plugins.&#xD;&#xA;&#xD;&#xA;Printing audiosuite 'Gain' will lock your regions in stone, and mean that you won't be able edit the handles later on (audio before \ after the region that is hiding in the wings) which is something that you may want to do if you change your mind about an edit.&#xD;&#xA;&#xD;&#xA;Automating the Trim means that you can set your channel compression + de-essing to work pretty well with whatever you throw at it, and lets you regulate the level going in to them so that you don't need to constantly adjust their thresholds region by region. Of course you may only need to automate the Trim on occasion, depending on the consistency of the location record. To make audio from a lot of different locations work together, expect a bit more work.&#xD;&#xA;&#xD;&#xA;Just one way of doing things&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&quot;I noticed the PAZ Meter doesn't recognize automation level changes so I'm guessing the only thing you can do is to put it on a master fader and is there a disadvantage to having the response set to a low value?&quot;. &#xD;&#xA;&#xD;&#xA;Where is your PAZ in the chain? It's best to have meters sitting on their own Aux, and send to them from your main buss if you want to keep an eye on what is happening overall, post all automation and plugins. When it comes to levels, these are different for every network, go take a look for some delivery specs --- chances are you'll need to use a meter that gives you LEQ or LKFS levels, which are a way to measure perceived dialogue loudness (which is what Shaun mentioned in his post with the -24dB LKFS). &#xD;&#xA;&#xD;&#xA;As far as &quot;how much compression for dialogue you would say is TOO much&quot; --  consider what you may be turning UP in the quiet patches. If you're hitting your dialogue with 8dB of compression then that's potentially 8dB of gain on the noise in between. No rules here really.... and there are techniques to minimise the quiet patches with downward expansion, but as a rule (hah..) you shouldn't need to slam your dialogue with &quot;6-8dB&quot; of compression to achieve control. &#xD;&#xA;&#xD;&#xA;But it all depends on what you've got... and how long you have to mix!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10958" PostHistoryTypeId="2" PostId="6393" RevisionGUID="f2aae366-9de0-4a43-a581-089951355ee1" CreationDate="2011-03-07T00:02:00.910" UserId="300" Text="Are you using the Spectral Repair part of your Izotope Rx ?&#xD;&#xA;Pulling out specific frequencies as opposed to the broadband 'wash' often means you get less artifacting for this sort of noise.&#xD;&#xA;&#xD;&#xA;Or, if you have the waves Q10 it's amazing what you can do with a tight, tight bandwith to remove specific frequencies. If they're constant it's really easy... if they move.. it's a bit trickier. As Shaun says they'll be based around whatever your power runs at (50hz, 60hz) but could be any of the harmonics (multiples) above that number, 60, 120, 180, 240 etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="10959" PostHistoryTypeId="2" PostId="6394" RevisionGUID="a9510f70-f4c4-4f3f-8944-25c2bbea0e11" CreationDate="2011-03-07T05:20:55.187" UserId="338" Text="When you are mixing and you are using EQ, how are you supposed to do it?  &#xD;&#xA;&#xD;&#xA;Are you supposed to put an EQ on a track and arm all the automations for it and then use the automations each time you want to EQ a region on the track?&#xD;&#xA;&#xD;&#xA;Is there an easy way to write plug-in automation to a track without a controller?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10960" PostHistoryTypeId="1" PostId="6394" RevisionGUID="a9510f70-f4c4-4f3f-8944-25c2bbea0e11" CreationDate="2011-03-07T05:20:55.187" UserId="338" Text="Mixing EQ, the Mix" ContentLicense="CC BY-SA 2.5" />
  <row Id="10961" PostHistoryTypeId="3" PostId="6394" RevisionGUID="a9510f70-f4c4-4f3f-8944-25c2bbea0e11" CreationDate="2011-03-07T05:20:55.187" UserId="338" Text="&lt;mixing&gt;&lt;eq&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10962" PostHistoryTypeId="5" PostId="6394" RevisionGUID="2ad861d8-8bed-471a-9440-ea1811390760" CreationDate="2011-03-07T05:41:52.423" UserId="338" Comment="added 4 characters in body" Text="When you are mixing and you are using EQ, how are you supposed to do it?  &#xD;&#xA;&#xD;&#xA;Are you supposed to put an EQ on a track and arm all the automations for it and then use the automations each time you want to EQ a region on the track?&#xD;&#xA;&#xD;&#xA;Is there an easy way to write plug-in automation to a track without a controller?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10963" PostHistoryTypeId="2" PostId="6395" RevisionGUID="a7fae25b-5a06-4251-ab27-258fad195bbb" CreationDate="2011-03-07T05:59:40.590" UserId="103" Text="The easiest way for me is to make a selection on the region i want to eq, then use Preview mode, do the eq i want and capture, then write to all&#xD;&#xA;&#xD;&#xA;Alternatively, to make a selection on the region i want to eq and loop play it with the automation in write mode and tweak until it sounds like i want it to. just dont forget to put the track back to read mode if you don't have the switch to latch after automation pass activated on the preferences." ContentLicense="CC BY-SA 2.5" />
  <row Id="10964" PostHistoryTypeId="2" PostId="6396" RevisionGUID="b76cbeba-8e78-43a9-b580-3625da85560a" CreationDate="2011-03-07T08:05:49.933" UserId="786" Text="I put an EQ on all dialogue tracks. &#xD;&#xA;&#xD;&#xA;First I apply a general lo-cut and a general hi-cut to all tracks. The hi-cut will be somewhere around 13k and the lo-cut somewhere between 80-125 Hz, depending on how it all sounds. I always use steep 24 dB filters.&#xD;&#xA;&#xD;&#xA;Normally I work on HD, so I also use the automation preview to find the right EQ, and then write to all. I am almost always in touch mode.&#xD;&#xA;&#xD;&#xA;If I am working on LE, I tweak the controls with the mouse, but I will probably be in latch mode, so it doesn't snap back all the time...&#xD;&#xA;&#xD;&#xA;You can also press cmd+ctrl while clicking on a control, and then the parameter graph pops up on the track, so you can make quick general changes." ContentLicense="CC BY-SA 2.5" />
  <row Id="10965" PostHistoryTypeId="2" PostId="6397" RevisionGUID="b8116788-d91f-40a4-81e8-0c11978c3836" CreationDate="2011-03-07T09:52:42.637" UserId="601" Text="Client is a corporation in Europe.&#xD;&#xA;The project is an instructional/safety video.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10966" PostHistoryTypeId="1" PostId="6397" RevisionGUID="b8116788-d91f-40a4-81e8-0c11978c3836" CreationDate="2011-03-07T09:52:42.637" UserId="601" Text="how much should I charge for recording and editing 800 lines of text?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10967" PostHistoryTypeId="3" PostId="6397" RevisionGUID="b8116788-d91f-40a4-81e8-0c11978c3836" CreationDate="2011-03-07T09:52:42.637" UserId="601" Text="&lt;dialogue-recording&gt;&lt;rates&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10968" PostHistoryTypeId="5" PostId="6397" RevisionGUID="ff40780c-1c9d-4986-8c8d-994a5aec6206" CreationDate="2011-03-07T11:42:58.047" UserId="601" Comment="added 221 characters in body" Text="Client is a corporation in Europe.&#xD;&#xA;The project is an instructional/safety video.&#xD;&#xA;&#xD;&#xA;I pretty much got all equipment needed, an actor willing to read and a studio.&#xD;&#xA;Just need to set a good price for the actual work on per hour basis.&#xD;&#xA;&#xD;&#xA;need a quick answer ;)&#xD;&#xA;any suggestion will be greatly appreciated.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10969" PostHistoryTypeId="2" PostId="6398" RevisionGUID="934014e4-77fa-4dd1-a9fc-c70e29d993db" CreationDate="2011-03-07T13:03:09.940" UserId="587" Text="How much do you think you would want to pay for your audio?&#xD;&#xA;&#xD;&#xA;Union rates in some areas are around 500-800 dollars a day for an experienced editor or mixer - don't quote me, as this is that last I remember a reference to &quot;the paycheck.&quot; If anyone knows, chime in.&#xD;&#xA;&#xD;&#xA;You also have which currency conversion to consider.&#xD;&#xA;&#xD;&#xA;I feel  charge concordant with your skill, and it seems to work out.&#xD;&#xA;&#xD;&#xA;Sounds like a good VO session for sure - Good luck! Get some good takes&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10970" PostHistoryTypeId="2" PostId="6399" RevisionGUID="d2f84efd-a25e-48ed-bd26-66d1e7c81332" CreationDate="2011-03-07T13:05:13.307" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;I had a students come in and try to dump a Nuendo 4 project on to the MACs in my department and all was well until he realized that all his automation was not included in the OMF. &#xD;&#xA;&#xD;&#xA;Is there something that has to be done in order for him to transfer everything, automation included onto a drive and then to be able to dump it onto another computer and work with Nuendo from there? &#xD;&#xA;&#xD;&#xA;Thanks " ContentLicense="CC BY-SA 2.5" />
  <row Id="10971" PostHistoryTypeId="1" PostId="6399" RevisionGUID="d2f84efd-a25e-48ed-bd26-66d1e7c81332" CreationDate="2011-03-07T13:05:13.307" UserId="348" Text="Moving Nuendo Project" ContentLicense="CC BY-SA 2.5" />
  <row Id="10972" PostHistoryTypeId="3" PostId="6399" RevisionGUID="d2f84efd-a25e-48ed-bd26-66d1e7c81332" CreationDate="2011-03-07T13:05:13.307" UserId="348" Text="&lt;nuendo&gt;&lt;omf&gt;&lt;transfer&gt;&lt;issue&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10973" PostHistoryTypeId="2" PostId="6400" RevisionGUID="fc48cc1e-d499-4c8d-8728-3c6fda6140a8" CreationDate="2011-03-07T13:31:58.720" UserId="194" Text="Here's how I would do it:&#xD;&#xA;&#xD;&#xA;figure out your hourly rate.&#xD;&#xA;estimate how long it will take to record everything.&#xD;&#xA;allot 2 or 3x your record time for editing naming and output&#xD;&#xA;have a line item for archival and delivery&#xD;&#xA;&#xD;&#xA;add and done." ContentLicense="CC BY-SA 2.5" />
  <row Id="10974" PostHistoryTypeId="2" PostId="6401" RevisionGUID="cc840631-769b-4041-8357-dc39c60b56ef" CreationDate="2011-03-07T15:37:21.377" UserId="510" Text="I need a little bit more info to form an opinion on this. Your saying he has an .omf that he imported into Nuendo? and the automation he did in his editing software did not transcribe?  If this is the case. There are some check boxes that need to be checked when importing said .omf,  I will say that I have found in Nuendo importing any .omf i cannot rely on the volume automation from the editor. I have always had stray points that can throw your mix off. " ContentLicense="CC BY-SA 2.5" />
  <row Id="10975" PostHistoryTypeId="2" PostId="6402" RevisionGUID="1c97dcd7-26ef-48b0-8bb7-565674c84906" CreationDate="2011-03-07T15:39:56.670" UserId="863" Text="more cloth and foley would make the adr feel more realistic. The ADR is too clean and very dead, need to add some life to it, subtle reverb/reflections. I like the music." ContentLicense="CC BY-SA 2.5" />
  <row Id="10976" PostHistoryTypeId="2" PostId="6403" RevisionGUID="edee089d-b0f3-4088-b13e-5a35c5bb94c7" CreationDate="2011-03-07T17:42:38.500" UserId="242" Text="Hi there&#xD;&#xA;&#xD;&#xA;I am finishing my dissertation for an Honours project on sound design. I have been a member of this forum for a while now, and my project requires that a sound designer evaluates my work, in order to include some specialized comments in the Evaluation chapter of the dissertation.&#xD;&#xA;&#xD;&#xA;The short film is a mixture of realism, hyperrealism and surrealism. It is 20 minutes long, not too lomg! The thing is that I would need to have a chat through Skype, or any other way that let us having a proper conversation, for they will be questions and answers. That would be difficult by email or by posting here.&#xD;&#xA;&#xD;&#xA;Maybe it is too much too ask, but I consider the film could be interesting for some of you guys. It is possible that this will happen at the end of next week, as my dissertation is due on the 30th. I would be very grateful if any of you could give me hand (or a pair of ears!) with this.&#xD;&#xA;&#xD;&#xA;Thanks for your time and I will be waiting for your responses." ContentLicense="CC BY-SA 2.5" />
  <row Id="10977" PostHistoryTypeId="1" PostId="6403" RevisionGUID="edee089d-b0f3-4088-b13e-5a35c5bb94c7" CreationDate="2011-03-07T17:42:38.500" UserId="242" Text="Feedback for an honours project in sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="10978" PostHistoryTypeId="3" PostId="6403" RevisionGUID="edee089d-b0f3-4088-b13e-5a35c5bb94c7" CreationDate="2011-03-07T17:42:38.500" UserId="242" Text="&lt;honours&gt;&lt;project&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10979" PostHistoryTypeId="4" PostId="6403" RevisionGUID="280f176c-637b-469f-8466-5bdb39a67697" CreationDate="2011-03-07T18:08:41.890" UserId="242" Comment="edited title" Text="Feedback for an honours project on sound design" ContentLicense="CC BY-SA 2.5" />
  <row Id="10980" PostHistoryTypeId="2" PostId="6404" RevisionGUID="8e3d902a-7bb8-48e9-853a-51a36a65f84f" CreationDate="2011-03-07T18:37:24.840" UserId="629" Text="Very good film, great idea.&#xD;&#xA;&#xD;&#xA;Few of my points, the footsteps on the steps at the girls front door sounded very boxy probably just a little bit of reverb could help it. Also maybe add a few footsteps when the girl is leaving emphasising the snow at 6.15 onwards.&#xD;&#xA;&#xD;&#xA;I really felt I needed the sound of the girl breathing around 1.14, it would really enhance the scene.&#xD;&#xA;&#xD;&#xA;ADR for me could have had a bit of reverb when the girl is talking to the driver outside of the bus but liked the environment for inside. A lot of the lines were out of sync which put me off but the quality of recording is very good. &#xD;&#xA;&#xD;&#xA;When the first bus pulls away from the stop it changes gear 3 times before it has moved away from the shot (is that normal?) and it fades away too soon.&#xD;&#xA;&#xD;&#xA;The music to the track is spot on its great. Hope this helps, nice work." ContentLicense="CC BY-SA 2.5" />
  <row Id="10981" PostHistoryTypeId="2" PostId="6405" RevisionGUID="a339f19c-9f93-4a7d-8be7-0c6da7ea8036" CreationDate="2011-03-07T18:55:30.083" UserId="455" Text="I'm working on a feature film now that, if all goes well, will be widely distributed.  Through friends and colleges I have acquired several sound effects libraries, some of which are very well known and probably used by everyone reading this post.  I don't plan on using a lot of library effects, as most of the sounds will be recorded.&#xD;&#xA;&#xD;&#xA;If I were to use a few effects from a Sound Ideas or a Hollywood Edge library, is there a danger of being sued?  I've heard plenty of stories of people telling me it's too hard to trace where a sound came from but what is the reality of this?  &#xD;&#xA;&#xD;&#xA;I don't want to put the producers in a bad situation and I certainly don't want to destroy the film.  It is a low budget feature so buying up libraries isn't an option.  It's cheaper for us to use a few library sounds here and there to avoid having to rent out the foley stage.&#xD;&#xA;&#xD;&#xA;Any feedback would be great.  Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10982" PostHistoryTypeId="1" PostId="6405" RevisionGUID="a339f19c-9f93-4a7d-8be7-0c6da7ea8036" CreationDate="2011-03-07T18:55:30.083" UserId="455" Text="Legal use of sound effects" ContentLicense="CC BY-SA 2.5" />
  <row Id="10983" PostHistoryTypeId="3" PostId="6405" RevisionGUID="a339f19c-9f93-4a7d-8be7-0c6da7ea8036" CreationDate="2011-03-07T18:55:30.083" UserId="455" Text="&lt;effects&gt;&lt;legal&gt;&lt;use&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10984" PostHistoryTypeId="13" PostId="3929" RevisionGUID="da4c7b4e-2793-4b0e-9b26-84e3404730b3" CreationDate="2011-03-07T18:58:38.503" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="10985" PostHistoryTypeId="2" PostId="6406" RevisionGUID="cc5411a5-860c-402b-b22f-a90159d8ed80" CreationDate="2011-03-07T18:59:04.640" UserId="338" Text="What sounds could represent bright, happy, joyful, youthful, natural'ness?" ContentLicense="CC BY-SA 2.5" />
  <row Id="10986" PostHistoryTypeId="1" PostId="6406" RevisionGUID="cc5411a5-860c-402b-b22f-a90159d8ed80" CreationDate="2011-03-07T18:59:04.640" UserId="338" Text="What sound represents &quot;happy&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10987" PostHistoryTypeId="3" PostId="6406" RevisionGUID="cc5411a5-860c-402b-b22f-a90159d8ed80" CreationDate="2011-03-07T18:59:04.640" UserId="338" Text="&lt;a&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10988" PostHistoryTypeId="2" PostId="6407" RevisionGUID="62ec013f-0979-4d74-aa12-4a6c974dac6e" CreationDate="2011-03-07T19:00:36.073" UserId="18160" Text="This question has been answered ad nauseam.&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/3928/pirate-audio-samples-how-risky-is-it-really&#xD;&#xA;&#xD;&#xA;In my opinion, if you don't own the library, don't use it for commercial or professional use.&#xD;&#xA;&#xD;&#xA;People worked hard to record and create those sounds.&#xD;&#xA;&#xD;&#xA;&quot;It is a low budget feature so buying up libraries isn't an option.&quot;&#xD;&#xA;&#xD;&#xA;If it's low budget, would you also steal a camera to shoot it with? If buying a camera isn't an option..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10989" PostHistoryTypeId="5" PostId="6407" RevisionGUID="38f22958-fb08-4c47-9588-a04af6c36ece" CreationDate="2011-03-07T19:06:00.650" UserId="18160" Comment="added 13 characters in body; added 380 characters in body; added 10 characters in body" Text="This question has been answered ad nauseam.&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/3928/pirate-audio-samples-how-risky-is-it-really&#xD;&#xA;&#xD;&#xA;In my opinion, if you don't own the library, don't use it for commercial or professional use.&#xD;&#xA;&#xD;&#xA;People worked hard to record and create those sounds.&#xD;&#xA;&#xD;&#xA;Also:&#xD;&#xA;&#xD;&#xA;**&quot;It is a low budget feature so buying up libraries isn't an option.&quot;**&#xD;&#xA;&#xD;&#xA;If it's low budget, would you also steal a camera to shoot it with? If buying a camera isn't an option...&#xD;&#xA;&#xD;&#xA;And one more thing:&#xD;&#xA;&#xD;&#xA;You don't always have to rent out a foley stage.&#xD;&#xA;&#xD;&#xA;Take a Zoom or a cheaper recording set-up (provided you have one) and record the foley in a location that approximates the movie. This is how King's Speech was done, as well as 127 Hours (sort of). It sounds more authentic and can be cheaper for you because you don't need to rent a stage. Use your imagination!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10990" PostHistoryTypeId="5" PostId="6407" RevisionGUID="a1afba95-1d3a-4f95-a3fa-104062e3cd3f" CreationDate="2011-03-07T19:11:53.080" UserId="18160" Comment="added 153 characters in body; added 123 characters in body; added 226 characters in body" Text="This question has been answered ad nauseam.&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/3928/pirate-audio-samples-how-risky-is-it-really&#xD;&#xA;&#xD;&#xA;In my opinion, if you don't own the library, don't use it for commercial or professional use.&#xD;&#xA;&#xD;&#xA;People worked hard to record and create those sounds.&#xD;&#xA;&#xD;&#xA;Also:&#xD;&#xA;&#xD;&#xA;**&quot;It is a low budget feature so buying up libraries isn't an option.&quot;**&#xD;&#xA;&#xD;&#xA;If it's low budget, would you also steal a camera to shoot it with? If buying a camera isn't an option...&#xD;&#xA;&#xD;&#xA;And one more thing:&#xD;&#xA;&#xD;&#xA;You don't always have to rent out a foley stage.&#xD;&#xA;&#xD;&#xA;Take a Zoom or a cheaper recording set-up (provided you have one) and record the foley in a location that approximates the movie. This is how King's Speech was done, as well as 127 Hours (sort of - they didn't use a Zoom but they used the location in King's Speech and 127 Hours built a rock set-up to record the foley). It sounds more authentic and can be cheaper for you because you don't need to rent a stage. Use your imagination! There is no hard rule for how to create a good sounding soundtrack for a movie. I'm sure you can work out a cheaper solution than to pirate audio files.&#xD;&#xA;&#xD;&#xA;And if the sound you need is some difficult thing to record like Wind without birds or something, I'm sure some of us on this site would be happy to help you out and give you tips on how to create those sounds on your own." ContentLicense="CC BY-SA 2.5" />
  <row Id="10991" PostHistoryTypeId="2" PostId="6408" RevisionGUID="580142fe-2fb8-4c17-923f-a4f74aa6b00a" CreationDate="2011-03-07T19:23:18.713" UserId="693" Text="... that feels like it's never going to end or that it just can't be done.&#xD;&#xA;&#xD;&#xA;Then, when you finally finish... you realize you just totally crushed it and you hear angels singing Leonard Cohen's &quot;Hallejula&quot;?&#xD;&#xA;&#xD;&#xA;I just had one of those moments on an ADR project that took 8 weeks of about 20 hours a week (Dialog editing is one of my weak spots since I mostly prefer sound design and mixing). The original location recording had several different types of major broadband noise and static spikes and volume jumps all through out it (completely unusable). Unfortunately the scene was 13m long and was wall to wall dialog. I had to do the adr, sync, foley, then do NR, editing and mix. Unfortunately for me I undercharged and that made me less enthusiastic to tackle it once I realized how deep I got myself in. It eventually became a mission just to see if I could get it done.&#xD;&#xA;&#xD;&#xA;I finally did it and man, does it feel good. It's nice to know you can move those mountains if you keep your nose to the grindstone and resist the temptation to give up.&#xD;&#xA;&#xD;&#xA;I thought I'd bring it up, maybe see if you guys have any similar stories so hopefully we can all remember that we can accomplish anything if we set our hearts and minds to it.&#xD;&#xA;&#xD;&#xA;Here's to those moments!&#xD;&#xA;&#xD;&#xA;- Cheers!" ContentLicense="CC BY-SA 2.5" />
  <row Id="10992" PostHistoryTypeId="1" PostId="6408" RevisionGUID="580142fe-2fb8-4c17-923f-a4f74aa6b00a" CreationDate="2011-03-07T19:23:18.713" UserId="693" Text="Ever have one of those projects..." ContentLicense="CC BY-SA 2.5" />
  <row Id="10993" PostHistoryTypeId="3" PostId="6408" RevisionGUID="580142fe-2fb8-4c17-923f-a4f74aa6b00a" CreationDate="2011-03-07T19:23:18.713" UserId="693" Text="&lt;inspiration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10994" PostHistoryTypeId="2" PostId="6409" RevisionGUID="beec6f68-6caf-473b-8187-aec9e3969119" CreationDate="2011-03-07T19:28:19.323" UserId="18160" Text="I had to create from nothing 3 whole lines of re-written dialogue for an actor who was on a cruise ship in the middle of the Gulf of Mexico and the film was being released before he got back. It was someone else's mistake which somehow landed on my lap and I had a gun to my head to fix it by the release.&#xD;&#xA;&#xD;&#xA;I used my own voice for sibilance and consonants which didn't require the actor's vocal chords (Fs, Ss, Ts, Ks, CHs, etc)&#xD;&#xA;&#xD;&#xA;I spent a week working on these 3 sentences using the rest of his dialogue, finding the right vowel sounds because an N going into an A sounds different than an N going into an E, for example.&#xD;&#xA;&#xD;&#xA;When I finished, I went over with the sound super not to tell anyone who didn't know already about what I did so people didn't have attention on it and weren't &quot;listening out for those three lines&quot;.&#xD;&#xA;&#xD;&#xA;The film was passed with 10 other little fixes which didn't have anything to do with the 3 whole lines I created from literally scratch.&#xD;&#xA;&#xD;&#xA;That was a big accomplishment for me." ContentLicense="CC BY-SA 2.5" />
  <row Id="10995" PostHistoryTypeId="2" PostId="6410" RevisionGUID="41d62bf1-dd7c-4e1a-b95e-32623e1afc63" CreationDate="2011-03-07T19:35:52.170" UserId="18160" Text="What's the context?&#xD;&#xA;&#xD;&#xA;Children laughing comes to mind.&#xD;&#xA;&#xD;&#xA;It can also be subliminally placed in the ambiences you choose. An ambience with lighter wind and happy birds for example. A happy news story playing in the background instead of a gloomy one. The kids laughing and playing outside next door. Etc. etc. etc., the list can go on.&#xD;&#xA;&#xD;&#xA;I think I can help more if I know what context you have." ContentLicense="CC BY-SA 2.5" />
  <row Id="10996" PostHistoryTypeId="6" PostId="6408" RevisionGUID="a53311a4-d7ce-4072-bea1-ea1c5c41bca0" CreationDate="2011-03-07T19:47:04.897" UserId="693" Comment="added a tag" Text="&lt;inspiration&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="10997" PostHistoryTypeId="5" PostId="6407" RevisionGUID="b149903a-f24f-44b6-a974-62b161d3b526" CreationDate="2011-03-07T19:59:41.727" UserId="18160" Comment="deleted 217 characters in body; deleted 73 characters in body" Text="This question has been answered ad nauseam.&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/3928/pirate-audio-samples-how-risky-is-it-really&#xD;&#xA;&#xD;&#xA;In my opinion, if you don't own the library, don't use it for commercial or professional use.&#xD;&#xA;&#xD;&#xA;People worked hard to record and create those sounds!&#xD;&#xA;&#xD;&#xA;You don't always have to rent out a foley stage.&#xD;&#xA;&#xD;&#xA;Take a Zoom or a cheaper recording set-up (provided you have one) and record the foley in a location that approximates the movie. This is how King's Speech was done, as well as 127 Hours (sort of - they didn't use a Zoom but they used the location in King's Speech and 127 Hours built a rock set-up to record the foley). It sounds more authentic and can be cheaper for you because you don't need to rent a stage. Use your imagination! There is no hard rule for how to create a good sounding soundtrack for a movie.&#xD;&#xA;&#xD;&#xA;And if the sound you need is some difficult thing to record like Wind without birds or something, I'm sure some of us on this site would be happy to help you out and give you tips on how to create those sounds on your own." ContentLicense="CC BY-SA 2.5" />
  <row Id="10998" PostHistoryTypeId="5" PostId="6409" RevisionGUID="7f7128b0-d3c3-4bec-8ab6-6d4bebd82ebe" CreationDate="2011-03-07T21:36:43.753" UserId="18160" Comment="deleted 1 characters in body" Text="I had to create from nothing 3 whole lines of re-written dialogue for an actor who was on a cruise ship in the middle of the Gulf of Mexico and the film was being released before he got back. It was someone else's mistake which somehow landed on my lap and I had a gun to my head to fix it by the release.&#xD;&#xA;&#xD;&#xA;I used my own voice for sibilance and consonants which didn't require the actor's vocal cords (Fs, Ss, Ts, Ks, CHs, etc)&#xD;&#xA;&#xD;&#xA;I spent a week working on these 3 sentences using the rest of his dialogue, finding the right vowel sounds because an N going into an A sounds different than an N going into an E, for example.&#xD;&#xA;&#xD;&#xA;When I finished, I went over with the sound super not to tell anyone who didn't know already about what I did so people didn't have attention on it and weren't &quot;listening out for those three lines&quot;.&#xD;&#xA;&#xD;&#xA;The film was passed with 10 other little fixes which didn't have anything to do with the 3 whole lines I created from literally scratch.&#xD;&#xA;&#xD;&#xA;That was a big accomplishment for me." ContentLicense="CC BY-SA 2.5" />
  <row Id="10999" PostHistoryTypeId="5" PostId="6409" RevisionGUID="b5ce3df1-3161-4e9e-b5ff-18fce4b9de1d" CreationDate="2011-03-07T21:49:47.773" UserId="18160" Comment="added 7 characters in body" Text="I had to create from nothing 3 whole lines of re-written dialogue for an actor who was on a cruise ship in the middle of the Gulf of Mexico and the film was being released the day after he got back. It was someone else's mistake which somehow landed on my lap and I had a gun to my head to fix it by the release.&#xD;&#xA;&#xD;&#xA;I used my own voice for sibilance and consonants which didn't require the actor's vocal cords (Fs, Ss, Ts, Ks, CHs, etc)&#xD;&#xA;&#xD;&#xA;I spent a week working on these 3 sentences using the rest of his dialogue, finding the right vowel sounds because an N going into an A sounds different than an N going into an E, for example.&#xD;&#xA;&#xD;&#xA;When I finished, I went over with the sound super not to tell anyone who didn't know already about what I did so people didn't have attention on it and weren't &quot;listening out for those three lines&quot;.&#xD;&#xA;&#xD;&#xA;The film was passed with 10 other little fixes which didn't have anything to do with the 3 whole lines I created from literally scratch.&#xD;&#xA;&#xD;&#xA;That was a big accomplishment for me." ContentLicense="CC BY-SA 2.5" />
  <row Id="11000" PostHistoryTypeId="5" PostId="6393" RevisionGUID="265700d3-74b0-4720-9e16-9c46254c3a80" CreationDate="2011-03-08T03:26:56.143" UserId="300" Comment="additional comments" Text="Are you using the Spectral Repair part of your Izotope Rx ?&#xD;&#xA;Pulling out specific frequencies as opposed to the broadband 'wash' often means you get less artifacting for this sort of noise.&#xD;&#xA;&#xD;&#xA;Or, if you have the waves Q10 it's amazing what you can do with a tight, tight bandwith to remove specific frequencies. If they're constant it's really easy... if they move.. it's a bit trickier. As Shaun says they'll be based around whatever your power runs at (50hz, 60hz) but could be any of the harmonics (multiples) above that number, 60, 120, 180, 240 etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;... in response to your comment:&#xD;&#xA;&#xD;&#xA;@Chris, ah ok, I think the 'hum' in the subject line might be at odds with the kind of noise you're dealing with. Have you tried some fast downward expansion in the upper ranges? If you have the C4 or ML4000 try setting the top two bands of the expander to a range of eg.-6db and set your thresholds so that when there is no dialogue there is -6db of expansion, but when there _is_ dialogue it is opening up to 0db. Have the attack as fast as you can, and with the release find the line between following the decay of the words naturally while avoiding 'blooming' where you can hear the noise tailing out. &#xD;&#xA;&#xD;&#xA;It's amazing how much you can trick the ear simply by turning things down. This will avoid the artifacting you're talking about but maybe introduce other problems... (take a listen to exterior scenes on tv shows that have obviously not been ADR'd and you can often hear the ext noise moving _with_ the dialogue.) &#xD;&#xA;&#xD;&#xA;Lesser of two evils?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11001" PostHistoryTypeId="2" PostId="6411" RevisionGUID="d8b30e75-e84a-4117-8985-bc11e1453eba" CreationDate="2011-03-08T08:38:57.050" UserId="786" Text="Try playing with contrasts. &#xD;&#xA;&#xD;&#xA;Make the house with the old lady sound scary. Creaky floorboards, a little bit of scary wind, the house settling in the wind. A couple of dark drones / room tones to make a general feeling of being uncomfortable. Lots of reverb would also make the house more disturbing.&#xD;&#xA;&#xD;&#xA;Make the field light, with a few birds, bees, crickets. Light gusts of wind in the waving grass (foley?). Like the feeling of lying in a field on a summer day and just listening to the wind and nature around you.&#xD;&#xA;&#xD;&#xA;You can even take elements from the happy world and use them as transitions, like letting the light wind in the field turn into a gust and a shudder in the old lady's house. Or use crickets or insects as transition, where it goes from a natural lightness to something evil, crawling, scraping somewhere...." ContentLicense="CC BY-SA 2.5" />
  <row Id="11002" PostHistoryTypeId="2" PostId="6412" RevisionGUID="b3d0c947-733c-40a2-af08-b80e55f8ca85" CreationDate="2011-03-08T12:17:07.157" UserId="726" Text="Hi all! I was offered to be &quot;the sound guy&quot; for a recent lo/no short film, and was kindly offered a shotgun mic and boom pole for the job. I was planning on recording onto my laptop (since I don't own a field recorder) and came across the &lt;a href=&quot;http://www.vosgames.nl/products/BoomRecorder/&quot;&gt;&quot;Boom Recorder&quot;&lt;/a&gt; software from VOSGAMES.&#xD;&#xA;&#xD;&#xA;I must say that I am very impressed with this product, as it did away with me having to write down file numbers/notes etc on paper, with the take number automatically updating after you stop recording.&#xD;&#xA;&#xD;&#xA;The files are stored as wavs in chronological order in a dedicated simple to read file. The only problem I had with it was having to go back to the laptop to adjust levels (I was the boom op on set) and craning my neck to see the meter on screen. &#xD;&#xA;&#xD;&#xA;I am currently running the trial version, and am giving serious thoughts to purchasing the full version, and am just wondering if anyone else has had any experience/problems/annoying quirks whilst using it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11003" PostHistoryTypeId="1" PostId="6412" RevisionGUID="b3d0c947-733c-40a2-af08-b80e55f8ca85" CreationDate="2011-03-08T12:17:07.157" UserId="726" Text="Boom Recorder Software" ContentLicense="CC BY-SA 2.5" />
  <row Id="11004" PostHistoryTypeId="3" PostId="6412" RevisionGUID="b3d0c947-733c-40a2-af08-b80e55f8ca85" CreationDate="2011-03-08T12:17:07.157" UserId="726" Text="&lt;software&gt;&lt;boom-operator&gt;&lt;shortfilm&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11005" PostHistoryTypeId="2" PostId="6413" RevisionGUID="a1afe445-4448-409a-a8e3-a81bfea66e8b" CreationDate="2011-03-08T13:51:47.720" UserId="916" Text="Hello.&#xD;&#xA;&#xD;&#xA;I've been doing a lot of research for my price bracket. I'm wanting to enjoy the summer recording lots of sounds and getting good at technique and editing. I want the sound quality to be good... Good enough to use in sound design, games and such.&#xD;&#xA;&#xD;&#xA;But I need some kit. Moving my laptop with my Apogee Duet and microphones etc is just out of the question. I need something separate I can take out and get good results with.&#xD;&#xA;&#xD;&#xA;**Fostex FR2-LE Portable CF Field Recorder**&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;I did research on it's preamps and listened to some sound comparisons of various units. In my price range, this piece of kit seems to have decent, clean microphone preamps and is obviously portable and allows for external microphones. The unit operates at up to 24bit 96khz, I'm thinking of using it at 24bit 48khz. The disadvantages I can see are that it's a bit plastic and the battery compartment is badly designed. Maybe not so much of an issue? What's the opinions? Clean enough preamps for the sounds I want to record?&#xD;&#xA;&#xD;&#xA;**Rode NTG-2 Dual Powered Shotgun Condenser Microphone**&#xD;&#xA;![alt text][2]&#xD;&#xA;I want a basic microphone, something to use with a blimp, on a boom pole etc. It seems pretty much most sounds I'll generally be capturing will be mono. Obviously I want stereo too, but maybe this will come in the next lot of sound recording purchases. The reviews of this microphone seem pretty decent. But maybe there is better out there?&#xD;&#xA;&#xD;&#xA;**Rode Microphone Accessories**&#xD;&#xA;![alt text][3]&#xD;&#xA;![alt text][4]&#xD;&#xA;![alt text][5]&#xD;&#xA;These are the Rode PG2 Combined Pistol Grip and Shockmount, WS6 Deluxe Windshield and the Mini-Boompole. I was looking at the Rode Blimp, but I'm wanting something portable. I'm hoping that the Deluxe Windshield would do enough to combat most wind, I do understand that a proper blimp would be more effective. Again, maybe something to look at in the next lot of purchases. I was thinking this small range will give me hand control of the mic, give me a boom pole to capture stuff out of my immediate reach (which also attaches to the pistol grip) and the windshield to obviously offer (some) protection against the wind.&#xD;&#xA;&#xD;&#xA;**Conclusion**&#xD;&#xA;&#xD;&#xA;Will all of this be a decent quality starter package? Am I missing something? Will it get me on the right track? Any advice at all would be greatly appreciated.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dv247.com/assets/products/40463_l.jpg&#xD;&#xA;  [2]: http://www.dv247.com/assets/products/28143_l.jpg&#xD;&#xA;  [3]: http://www.dv247.com/assets/products/57344_l.jpg&#xD;&#xA;  [4]: http://www.dv247.com/assets/products/57346_l.jpg&#xD;&#xA;  [5]: http://www.dv247.com/assets/products/35486_l.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="11006" PostHistoryTypeId="1" PostId="6413" RevisionGUID="a1afe445-4448-409a-a8e3-a81bfea66e8b" CreationDate="2011-03-08T13:51:47.720" UserId="916" Text="Advice on my starter sound recording kit I have researched?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11007" PostHistoryTypeId="3" PostId="6413" RevisionGUID="a1afe445-4448-409a-a8e3-a81bfea66e8b" CreationDate="2011-03-08T13:51:47.720" UserId="916" Text="&lt;beginner&gt;&lt;starter&gt;&lt;recording&gt;&lt;kit&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11008" PostHistoryTypeId="2" PostId="6414" RevisionGUID="b283d30a-3e5b-4bd0-aa95-82b6e3a61738" CreationDate="2011-03-08T14:23:57.960" UserId="400" Text="From what I've learned from asking the same questions, you can't go wrong with the kit you've listed there. My experience is nothing compared to some of the guys on the site however, so I'll let someone else confirm this.&#xD;&#xA;&#xD;&#xA;Personally, I'd grab a cardioid mic of some sort too if your budget can stretch to it, shotguns can't do everything.&#xD;&#xA;&#xD;&#xA;Hope this helps,&#xD;&#xA;&#xD;&#xA;Joe" ContentLicense="CC BY-SA 2.5" />
  <row Id="11009" PostHistoryTypeId="2" PostId="6415" RevisionGUID="22573753-d244-4027-9f0c-26454d6e460d" CreationDate="2011-03-08T14:36:38.717" UserId="432" Text="Yes, this a reasonable starter package.&#xD;&#xA;&#xD;&#xA;Fostex products have good pre-amps overall, so I think you'll be happy with them. I've heard that they're headphone outputs lately have been fairly noisy. So that's something to keep in mind while you're recording; the recordings will actually be cleaner than they sound through the headphones.&#xD;&#xA;&#xD;&#xA;I've also heard from numerous people that the NTG-2 just isn't that great. Most prefer the NTG-3 if they're going with Rode mics.&#xD;&#xA;&#xD;&#xA;Check out SpectrumAudio.com, they typically have good deals on Rode gear. For instance, they sell the Rode Blimp, which goes for $299 most places, for $236 (so you may want to consider that upgrade if they'll save you enough money over the entire package you're thinking of). Just a caveat, you won't see any of the discounts they offer unless you've created an account with them and logged in. The price drop will appear in the shopping cart though. The site has random deals on a bunch of stuff, and I've bought from them in the past (a pair of CK93 hypercardioid capsules for my AKG SE300B bodies)." ContentLicense="CC BY-SA 2.5" />
  <row Id="11010" PostHistoryTypeId="2" PostId="6416" RevisionGUID="d3b14aff-87c5-4403-9c00-5b38dc0645ad" CreationDate="2011-03-08T14:45:27.697" UserId="542" Text="Seems to be a nice package. The only thing I would change is the boom pole. Since I recently needed a cheap boom pole I had a look at the Røde since my university uses them. But I spent my money on a K&amp;M boom pole...10€ cheaper and feels a little lighter. Also the thread at the end of the pole seems to be more stable than the one at the Røde. &#xD;&#xA;Most of the threads of the Røde poles we have at university are broken. Even if it's normal, that gear used by a lot of people gets broken after a certain time, it still seems not to be very rugged.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11011" PostHistoryTypeId="2" PostId="6417" RevisionGUID="8bb5e9de-994c-4f11-862c-eca5427963be" CreationDate="2011-03-08T14:51:20.820" UserId="641" Text="I have not worked with the Fostex you listed, but I can vouch for the Rode NTG2...it is a good mic, with a bit too much low end presence for my liking, so as was previously mentioned, if you can, try get the NTG3, which is a superb mic IMHO, comparable to the Sennheiser 416.&#xD;&#xA;&#xD;&#xA;I'm not sure what the pricing difference is in recorders, but I would recommend looking at the Sound Devices (http://www.sounddevices.com/) product range, their pre-amps are superb, though they may be a bit pricey.  The overall quality of their products is top notch!&#xD;&#xA;&#xD;&#xA;The boom pole, dead-cat and pistol grip are fine, although you should combine the gear you're planning to use with the best set of headphones you can afford.  Personally I like the Sennheiser SD25HD's.&#xD;&#xA;&#xD;&#xA;Good luck!  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11012" PostHistoryTypeId="2" PostId="6418" RevisionGUID="4b154e06-f8d4-45b7-96cc-29c46783e851" CreationDate="2011-03-08T15:14:58.233" UserId="6524" Text="I pretty new aswell but I think its pretty good just two weeks ago I got myself a NTG-2 with a Blimp and Mini-Boompole all from Rode and I record on my Zoom H4n which is alright cause I can get stereo sounds recorded but I think it would sound better on FR-2 LE I not entirely never used it though." ContentLicense="CC BY-SA 2.5" />
  <row Id="11013" PostHistoryTypeId="2" PostId="6419" RevisionGUID="a7d85935-c58f-4b26-82ba-a400b775b5f9" CreationDate="2011-03-08T16:47:41.403" UserDisplayName="user6513" Text="Mic: &#xD;&#xA;I vote for the NTG-3. It's comparable to the Sennheiser MKH416 and most professionals wouldn't probably be able to discern between the 2. &#xD;&#xA;&#xD;&#xA;Windshield:&#xD;&#xA;Drop the Blimp and WS6 if you can, I own the Blimp and I don't like it because of it's weight and clumsy construct. I would rather go for the Rycote softie as a windshield. &#xD;&#xA;&#xD;&#xA;Shockmount:&#xD;&#xA;Again if you can spare the extra cash, go with a Rycote shock mount instead of the Rode. Better construct and design there, but the Rode can do the job.&#xD;&#xA;&#xD;&#xA;Boompole:&#xD;&#xA;I wouldn't worry too much about the weight of the pole, just how durable it is. Sure the lighter the better, but when you're starting out, a heavier pole helps you build the muscles to swing the lighter boom like a ninja ^_-&#xD;&#xA;&#xD;&#xA;Recorder:&#xD;&#xA;I like the Zoom H4n's portability, but their preamps are... well you get what you pay. So the FR2-LE is a pretty decent choice.&#xD;&#xA;&#xD;&#xA;If you can go for quality, do it. If you can't, that's all good too cause you will learn how to work with your gear. A good buddy of mine, who has a great many years as a sound recordist under his belt, still uses his very first mixer, an old PSC Promix, really bad preamps, but he's learnt how to extract gold from it. :D" ContentLicense="CC BY-SA 2.5" />
  <row Id="11014" PostHistoryTypeId="2" PostId="6420" RevisionGUID="7a408281-1df1-45e3-b94f-6216d412e9e5" CreationDate="2011-03-08T16:57:52.740" UserDisplayName="user6513" Text="Try http://www.sonomic.com/. They have all the major sound libraries, and what you can do is buy the individual sound effect. It's a worthwhile subscription if you don't have time to record your own sounds or can't afford to buy a sound library yet." ContentLicense="CC BY-SA 2.5" />
  <row Id="11015" PostHistoryTypeId="2" PostId="6421" RevisionGUID="76ea163c-d3fd-4d8c-8d28-53b2be6aeb90" CreationDate="2011-03-08T16:58:16.340" UserId="726" Text="I can vouch for the Fostex FR2-LE, it's a really simple yet highly effective field recorder, with good quality audio. I've never had any trouble with mine, and seems to be the ideal introduction device, yet offers a 'professional feel'. There's a detailed review of it in this months &lt;a href=&quot;http://www.soundonsound.com/sos/mar11/articles/fostex-fr2le.htm&quot;&gt;Sound on Sound&lt;/a&gt; magazine, which also recommends the &lt;a href=&quot;http://www.solidstatesound.co.uk/marantz_pmd661.htm&quot;&gt;Marantz PMD 661&lt;/a&gt; as an alternative lower budget field recorder, although I haven't had the opportunity to test this one yet. &#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11016" PostHistoryTypeId="2" PostId="6422" RevisionGUID="6027c0b6-f3a9-4028-a244-cb3a04511c06" CreationDate="2011-03-08T17:49:07.910" UserId="18160" Text="I like capturing low level sounds at 192K and making them larger than life by down-pitching them via sample rate.&#xD;&#xA;&#xD;&#xA;One problem I sometimes run into is that the hiss of my preamp is a bit too much because I have it boosted so high, and when it gets down-pitched two octaves, that hiss that was previously around 10K and above is somewhere around 4K and it is very apparent.&#xD;&#xA;&#xD;&#xA;Do any of you have a similar phenomenon when you record and down-pitch sounds from 192K, and what sequence do you noise reduce it? Most of my noise reduction plug-ins don't work at 192K anyway, so do you drop it to 96K and reduce it there, and then drop it to 48K?&#xD;&#xA;&#xD;&#xA;I'm curious if anyone has run into this before and what you do to handle it." ContentLicense="CC BY-SA 2.5" />
  <row Id="11017" PostHistoryTypeId="1" PostId="6422" RevisionGUID="6027c0b6-f3a9-4028-a244-cb3a04511c06" CreationDate="2011-03-08T17:49:07.910" UserId="18160" Text="Handling hiss at 192K" ContentLicense="CC BY-SA 2.5" />
  <row Id="11018" PostHistoryTypeId="3" PostId="6422" RevisionGUID="6027c0b6-f3a9-4028-a244-cb3a04511c06" CreationDate="2011-03-08T17:49:07.910" UserId="18160" Text="&lt;192k&gt;&lt;hiss&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11019" PostHistoryTypeId="2" PostId="6423" RevisionGUID="7d0d2f1f-f6c9-4a23-b36a-8409281863ec" CreationDate="2011-03-08T17:51:58.203" UserId="18160" Text="I have a question regarding 192K recordings you do:&#xD;&#xA;&#xD;&#xA;Do you file 3 versions of them? 192K, 96K and 48K, each with their respective down-pitched versions?&#xD;&#xA;&#xD;&#xA;Or do you file the recordings only at 192K and somehow label them so you know in soundminer what to do (i.e. add them to your 48K session via import audio instead of sample rate converting them so you get the down-pitch effect?)&#xD;&#xA;&#xD;&#xA;What's the usual protocol on this sort of thing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11020" PostHistoryTypeId="1" PostId="6423" RevisionGUID="7d0d2f1f-f6c9-4a23-b36a-8409281863ec" CreationDate="2011-03-08T17:51:58.203" UserId="18160" Text="Filing 192K Files" ContentLicense="CC BY-SA 2.5" />
  <row Id="11021" PostHistoryTypeId="3" PostId="6423" RevisionGUID="7d0d2f1f-f6c9-4a23-b36a-8409281863ec" CreationDate="2011-03-08T17:51:58.203" UserId="18160" Text="&lt;192k&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11022" PostHistoryTypeId="2" PostId="6424" RevisionGUID="ebfeb9bc-8332-44e1-8e14-c6b1217c262e" CreationDate="2011-03-08T18:27:07.027" UserId="194" Text="IMO your weakest link in that package is the mic.  You'll outgrow it quickly, so be prepared to make the biggest future upgrade there, and be prepared to do it sooner than you may want." ContentLicense="CC BY-SA 2.5" />
  <row Id="11023" PostHistoryTypeId="2" PostId="6425" RevisionGUID="d4d151a1-77f0-4fca-9e2f-a1cec3e243d5" CreationDate="2011-03-08T18:29:21.050" UserId="194" Text="I have the sample rate column visible in SM.  I let SM do the downsampling into sessions, and use varispeed to taste straight out.  I don't keep downsampled versions in my library.  Waste of drivespace/headspace IMO." ContentLicense="CC BY-SA 2.5" />
  <row Id="11024" PostHistoryTypeId="2" PostId="6426" RevisionGUID="852c2474-9e34-4cb0-a029-d49bbb1d00e3" CreationDate="2011-03-08T18:31:15.450" UserId="194" Text="Izotope RX does work at native sample rates.  I've been known to address some obv problems that are outside my hearing range just by visually identifing them. &#xD;&#xA;&#xD;&#xA;alternatively just wait until you hear a sound in a downpitched context before de-noising it." ContentLicense="CC BY-SA 2.5" />
  <row Id="11025" PostHistoryTypeId="2" PostId="6427" RevisionGUID="41a9b389-59a4-4ce1-91e6-c708aa5f6ecc" CreationDate="2011-03-08T19:26:56.753" UserId="61" Text="Whenever you use noise reduction you will always introduce some measure of digital artifacts. And you should be especially wary at the higher sample rates, because once you drop your sounds down a few octaves you will likely notice it more. &#xD;&#xA;&#xD;&#xA;I think your best approach is to stave off the problem at its root, which is the preamp. Try positioning your mic closer to the sound source, or try a different (and hopefully quieter) preamp. Also, don't forget about the rest of your signal chain; the hiss could be coming from your microphone, the cable, or the console." ContentLicense="CC BY-SA 2.5" />
  <row Id="11026" PostHistoryTypeId="2" PostId="6428" RevisionGUID="6baed963-fe28-4378-8db2-3cf6197ee86c" CreationDate="2011-03-08T21:00:11.877" UserId="2" Text="OMF is not the way you want to go. You're going from Nuendo to Nuendo, so you can just move the project file (with all the files involved). &#xD;&#xA;&#xD;&#xA;So for this, I recommend going: **File &gt; Save Project To New Folder** then pick a folder you want to save to and what I do is choose: **Remove Unused Media**, which gets rid of files in your pool that aren't actually being used. This way you minimize the size of the project when moving it around. This is GREAT for archiving. &#xD;&#xA;&#xD;&#xA;If you choose **Minimize Audio Files** then it will trim the audio to only what you are using.&#xD;&#xA;&#xD;&#xA;By doing it this way, all your plugin automations and all that (assuming they are on both systems) will remain the same. &#xD;&#xA;&#xD;&#xA;Hope this helps :-)   " ContentLicense="CC BY-SA 2.5" />
  <row Id="11027" PostHistoryTypeId="2" PostId="6429" RevisionGUID="70253d27-40b2-4f3f-900c-5734615eda67" CreationDate="2011-03-08T21:52:39.137" UserId="18160" Text="I suggest looking at this before you buy that mini boom-pole:&#xD;&#xA;&#xD;&#xA;http://www.instructables.com/id/Easy-Boom-Pole-for-Under-$30.00!!!/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11028" PostHistoryTypeId="5" PostId="3631" RevisionGUID="19eb6d36-ad00-45cb-b47d-b106b786a153" CreationDate="2011-03-08T22:10:06.270" UserId="18160" Comment="deleted 6 characters in body" Text="I do both, and personally, for projects I like working with a group I know and trust.&#xD;&#xA;&#xD;&#xA;That is not to say that working by yourself can't be done with great results (Hurt Locker, for instance), but I'm just more of a people person myself.&#xD;&#xA;&#xD;&#xA;You can brainstorm and work with ideas and come up with new viewpoints in a group. On your own, you're stuck with your own experience - which right now I'm finding tough because I am working on a project on my own this very minute and have hit a &quot;designer's block&quot; slump.&#xD;&#xA;&#xD;&#xA;Sure, you can call all the shots when you're by yourself, but sometimes it's good to receive direction from a supervisor you know and trust the opinion of.&#xD;&#xA;&#xD;&#xA;I find working by myself is bad for my health (staying up until 4 or sometimes 8 in the morning, drinking red-bull, missing family activities...)&#xD;&#xA;&#xD;&#xA;There are pros and cons to working in both. But, in the end, I like working in a group better than on my own because of the faster work-flow and overall feeling of morale when it's all done. I mean, when you finish a movie by yourself, who are you going to party with? :)&#xD;&#xA;&#xD;&#xA;Think of what the mixing stage must have been like when you had Erik Aadahl and Ethan Van Der Ryn in there at the same time (Transformers)... Must have been awesome and fun to work with them.. I can only dream.... The fun those guys must have. Some of the stages I have seen have basketball hoops and ping-pong tables for breaks. It must be a blast.&#xD;&#xA;&#xD;&#xA;Oh yeah and here's a great article I almost forgot to post a link to:&#xD;&#xA;&#xD;&#xA;https://www.editorsguild.com/Magazine.cfm?ArticleID=848&#xD;&#xA;&#xD;&#xA;It's about sound design teams and how they work together." ContentLicense="CC BY-SA 2.5" />
  <row Id="11029" PostHistoryTypeId="2" PostId="6430" RevisionGUID="081647d7-d295-4595-8225-d9cf0d52a850" CreationDate="2011-03-09T01:21:56.220" UserId="338" Text="How do you get into working with a team? I'd like to edit and design with a team.  As a person with less than a year of experience with sound design and about two years of editing, how would I find work with a team?  I figure that it would be easier if I were living around LA.  It's great having a forum though where I can learn from all these greats and mentors.&#xD;&#xA;I recently pulled a 29 hour work day and I was also wondering if that is common in this field.  I have to say that I thoroughly enjoyed it and would have gone on for another 24 but I had an engagement.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11030" PostHistoryTypeId="5" PostId="3376" RevisionGUID="d41baf54-6954-4ee0-a2a9-58f70c67ee61" CreationDate="2011-03-09T05:17:35.750" UserId="61" Comment="Addl info" Text="One of the things that makes foley sound like foley is the interior room acoustic. With that in mind, you may want to try recording as much as possible in an exterior environment (assuming the scenes are exterior). Recording outside will give you a feeling of &quot;air&quot;, hard to explain but you know it when you hear it. The recordings may match in better against production, which is key -- not knowing where production sound ends and sound design begins is what you're shooting for.&#xD;&#xA;&#xD;&#xA;I completely agree with Tim that shooting foley to picture while outside is not efficient nor would it be an easy setup. My advice to record exterior was not meant to be to picture, but rather wild tracks that you later edit to picture, just like sound effects recording.&#xD;&#xA;&#xD;&#xA;Regarding mics, I'd experiment and try multiple mics on your sources. Grab at multichannel recorder of your choice and plug in a whole slew of mics; shotguns, cardiods, even a 5.1 setup may sound great (DPA makes a great one that is enclosed in a small housing and captures a stunning, realistic image)." ContentLicense="CC BY-SA 2.5" />
  <row Id="11031" PostHistoryTypeId="13" PostId="3376" RevisionGUID="d8bbfc1a-8cdf-4dfa-8733-4587203018c0" CreationDate="2011-03-09T05:17:47.253" UserId="61" Text="[{&quot;Id&quot;:61,&quot;DisplayName&quot;:&quot;Jay Jennings&quot;}]" />
  <row Id="11032" PostHistoryTypeId="2" PostId="6431" RevisionGUID="011b6781-c659-416e-b42a-906f29551b50" CreationDate="2011-03-09T05:24:08.953" UserId="18160" Text="I just finished listening to the Tron sound panel from Soundworks and they used varying degrees of distortion on the dialogue of the program characters depending on their position in the computer program hierarchy - more human, less distortion/more computer, more distortion." ContentLicense="CC BY-SA 2.5" />
  <row Id="11033" PostHistoryTypeId="2" PostId="6432" RevisionGUID="69c7871d-5e00-4ad4-be8f-7bbc558ea9e1" CreationDate="2011-03-09T05:30:56.803" UserId="390" Text="I think it's interesting how I feel about these two samples. I like the ME2 Trailer better than the film but I think the sound design is better in the short film. The sound design for the trailer seems to occur outside of the film environment.  Thats the overall feel I get. Its as if I'm seeing this gorgeous imagery but the sound that accompanies it does not feel  organhatic to the imagery. You have some muted high pitched clicks for the text that comes across the screen. I would bring that up.  I would also re-think the opening sound for the Mass effect trailer. The diagetic sound of static is appropriate. But the non-diagetic sound of what sounds like the sound of smashing a chord on an electric piano is distracting. I would also choose another sound. Something that is not so hot. Pick a cooler sound. The action on screen is pretty serene. So instead of starting out with that harsh chord, select something softer. The sound design at the end of the trailer with the mechanical eye focusing on you should reach its peak with regards to tension. Also, there should be sounds associated with the movement of every one of those small parts. &#xD;&#xA;&#xD;&#xA;In re-doing this, first work on the diagetic audio. Get the keystrokes or blips to occur with the text, for example. Then go over it with a selection of nondiagetic sounds to enhance the emotion of the piece. I think you have a good selection with that trailer. I think I'll give that trailer a shot myself. It's been a while since I did a sound replacement trailer and I need to update my reel! I'll share my work as well.  &#xD;&#xA;&#xD;&#xA;I only share my opinion as a fan of sound design! I still have a lot to learn technically, tho." ContentLicense="CC BY-SA 2.5" />
  <row Id="11038" PostHistoryTypeId="6" PostId="6403" RevisionGUID="183ab32d-ae85-4230-9e26-c64aaae6e2b4" CreationDate="2011-03-09T09:52:31.427" UserId="242" Comment="edited tags" Text="&lt;honours&gt;&lt;project&gt;&lt;surrealism&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11039" PostHistoryTypeId="2" PostId="6435" RevisionGUID="67741429-1f06-4120-a091-f6f427fb0f25" CreationDate="2011-03-09T10:02:18.850" UserId="786" Text="I love teamwork and I love working alone. Once the projects get to a certain size, it is necessary to work in teams. But I think teams need a hierarchy and a division of individual tasks to work.&#xD;&#xA;&#xD;&#xA;If I am supervising the project, I always work as the sound designer as well. I usually try to get other people to edit the dialogue and the naturalistic sounding background atmospheres, so I can concentrate on music, sound design and recording ADR. And of course all of the interaction with the director and the production company goes through me. I often record the foley with an experienced foley artist, but i NEVER edit the foley, I die if I have to....&#xD;&#xA;&#xD;&#xA;I like to be in control of everything, but the talents of my co-workers give so much life to the film, which I could not have done myself. It also frees my mind, so I can think about getting deep down into the stuff, that I need to do. I do give directions about how I want the dialogue to be edited, or how I want the backgrounds to sound, but I also leave lots of space for the sound editors own taste.&#xD;&#xA;&#xD;&#xA;It is also a question of chemistry. You need to be able to give critique and directions without taking away the sound editor's confidence. You also need to be open minded and take in the good stuff that you hadn't expected, this is what makes the film better.&#xD;&#xA;&#xD;&#xA;If somebody else is supervising, I find it very hard for me to do sound design, sound fx and backgrounds. So I prefer working with dialogue. It is a task I know I'm good at, and it is mostly pretty obvious how it should sound. Mostly, though I am working as the supervising sound editor....." ContentLicense="CC BY-SA 2.5" />
  <row Id="11040" PostHistoryTypeId="5" PostId="6435" RevisionGUID="dc09a312-2afa-4b06-a9bb-6400579b902d" CreationDate="2011-03-09T14:20:53.763" UserId="786" Comment="added 1 characters in body" Text="I love teamwork and I love working alone. Once the projects get to a certain size, it is necessary to work in teams. But I think teams need a hierarchy and a division of individual tasks to work.&#xD;&#xA;&#xD;&#xA;If I am supervising the project, I always work as the sound designer as well. I usually try to get other people to edit the dialogue and the naturalistic sounding background atmospheres, so I can concentrate on music, sound design and recording ADR. And of course all of the interaction with the director and the production company goes through me. I often record the foley with an experienced foley artist, but i NEVER edit the foley, I die if I have to....&#xD;&#xA;&#xD;&#xA;I like to be in control of everything, but the talents of my co-workers give so much life to the film, which I could not have done myself. It also frees my mind, so I can think about getting deep down into the stuff, that I need to do. I do give directions about how I want the dialogue to be edited, or how I want the backgrounds to sound, but I also leave lots of space for the sound editors own taste.&#xD;&#xA;&#xD;&#xA;It is also a question of chemistry. You need to be able to give critique and directions without taking away the sound editor's confidence. You also need to be open minded and take in the good stuff that you hadn't expected, this is what makes the film better.&#xD;&#xA;&#xD;&#xA;If somebody else is supervising, I find it very hard for me to do sound design, sound fx and backgrounds. So I prefer working with dialogue. It is a task I know I'm good at, and it is mostly pretty obvious how it should sound. Mostly, though, I am working as the supervising sound editor....." ContentLicense="CC BY-SA 2.5" />
  <row Id="11041" PostHistoryTypeId="2" PostId="6436" RevisionGUID="3cd10433-1e62-466b-b299-a2698d976fb1" CreationDate="2011-03-09T15:43:27.993" UserId="845" Text="![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicofsound.co.nz/zimages/Samoa205.jpg&#xD;&#xA;&#xD;&#xA;Anybody know what these are called?&#xD;&#xA;I really dig the reverse-folding legs, and the fact that they look like they weigh half a pound at most.  In fact, they look kinda like re-purposed cheapie music stands, but I barely trust those things to hold up a script, let alone expensive mics.&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;..W.." ContentLicense="CC BY-SA 2.5" />
  <row Id="11042" PostHistoryTypeId="1" PostId="6436" RevisionGUID="3cd10433-1e62-466b-b299-a2698d976fb1" CreationDate="2011-03-09T15:43:27.993" UserId="845" Text="Tim Prebble's mic stands." ContentLicense="CC BY-SA 2.5" />
  <row Id="11043" PostHistoryTypeId="3" PostId="6436" RevisionGUID="3cd10433-1e62-466b-b299-a2698d976fb1" CreationDate="2011-03-09T15:43:27.993" UserId="845" Text="&lt;microphone-stand&gt;&lt;travel&gt;&lt;portable&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11044" PostHistoryTypeId="2" PostId="6437" RevisionGUID="9b2ae80c-ee08-4674-a16b-5f90d0607d56" CreationDate="2011-03-09T16:05:24.357" UserId="285" Text="Manfrotto 5001B Nano Black light stand  http://www.bhphotovideo.com/c/product/612771-REG/Manfrotto_5001B_5001B_Nano_Black_Light.html&#xD;&#xA;&#xD;&#xA;They are great.  It is threaded for a pistol grip on the top, very very light, collapses down to a nice tight parcel and the wide base when fully open makes them pretty sturdy.&#xD;&#xA;&#xD;&#xA;Plus they are not outrageously priced.  &#xD;&#xA;&#xD;&#xA;PS I think these stands were Noise Jockey's find originally (or at least I saw it on his site first)&#xD;&#xA;http://www.noisejockey.net/blog/2009/07/07/lightweight-mic-stands-in-the-field/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11045" PostHistoryTypeId="2" PostId="6438" RevisionGUID="b51c8869-3bc0-4ff1-84a0-6f7e3feaeee5" CreationDate="2011-03-09T16:42:59.940" UserId="69" Text="Here is the post with everything described:&#xD;&#xA;http://www.musicofsound.co.nz/blog/safe-travel-with-gear-2" ContentLicense="CC BY-SA 2.5" />
  <row Id="11046" PostHistoryTypeId="2" PostId="6439" RevisionGUID="a7e8be10-69ea-428b-91a0-0b1b00ff92df" CreationDate="2011-03-09T17:20:29.400" UserId="670" Text="Right now Sweetwater is selling this package for $180. I don't have any Waves plug-ins and am still using the EQ and D-Verb that came with Pro Tools. Would this be a wise investment?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11047" PostHistoryTypeId="1" PostId="6439" RevisionGUID="a7e8be10-69ea-428b-91a0-0b1b00ff92df" CreationDate="2011-03-09T17:20:29.400" UserId="670" Text="Waves Native Power Pack" ContentLicense="CC BY-SA 2.5" />
  <row Id="11048" PostHistoryTypeId="3" PostId="6439" RevisionGUID="a7e8be10-69ea-428b-91a0-0b1b00ff92df" CreationDate="2011-03-09T17:20:29.400" UserId="670" Text="&lt;waves&gt;&lt;pro-tools&gt;&lt;plug-ins&gt;&lt;native&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11049" PostHistoryTypeId="2" PostId="6440" RevisionGUID="4c1eadc7-38c4-4698-9846-b2ce39daf16f" CreationDate="2011-03-09T17:51:13.927" UserId="18160" Text="It's 168.75 at Amazon. http://www.amazon.com/Waves-Native-Power-Pack-Standard/dp/B0007CG5DC&#xD;&#xA;&#xD;&#xA;If you're serious about getting into sound design and making it your profession, I highly recommend these plug-ins as a good starter package in the wonderful world of plug-in processing.&#xD;&#xA;&#xD;&#xA;There is a mixer I work with who brings his dongle with him when we mix a film together and he has the Mercury bundle. Out of all those plug-ins to choose from I think Renn Axe, Q10 and L1/L2 are a staple and should be in anyone's toolbox IMO." ContentLicense="CC BY-SA 2.5" />
  <row Id="11050" PostHistoryTypeId="5" PostId="6440" RevisionGUID="e5d8c7e2-675f-46ec-a99d-52e7be462184" CreationDate="2011-03-09T17:57:14.833" UserId="18160" Comment="added 1 characters in body; deleted 393 characters in body; added 52 characters in body" Text="It's $168.75 at Amazon. http://www.amazon.com/Waves-Native-Power-Pack-Standard/dp/B0007CG5DC&#xD;&#xA;&#xD;&#xA;Renn Axe, Q10 and L1 are GREAT plug-ins! I say, go for it if you've got the money available." ContentLicense="CC BY-SA 2.5" />
  <row Id="11051" PostHistoryTypeId="5" PostId="3631" RevisionGUID="254e8f85-4b1e-407a-b4e4-3e27355ea1e1" CreationDate="2011-03-09T17:59:11.450" UserId="18160" Comment="deleted 29 characters in body" Text="I do both, and personally, for projects I like working with a group I know and trust.&#xD;&#xA;&#xD;&#xA;That is not to say that working by yourself can't be done with great results but I'm just more of a people person myself.&#xD;&#xA;&#xD;&#xA;You can brainstorm and work with ideas and come up with new viewpoints in a group. On your own, you're stuck with your own experience - which right now I'm finding tough because I am working on a project on my own this very minute and have hit a &quot;designer's block&quot; slump.&#xD;&#xA;&#xD;&#xA;Sure, you can call all the shots when you're by yourself, but sometimes it's good to receive direction from a supervisor you know and trust the opinion of.&#xD;&#xA;&#xD;&#xA;I find working by myself is bad for my health (staying up until 4 or sometimes 8 in the morning, drinking red-bull, missing family activities...)&#xD;&#xA;&#xD;&#xA;There are pros and cons to working in both. But, in the end, I like working in a group better than on my own because of the faster work-flow and overall feeling of morale when it's all done. I mean, when you finish a movie by yourself, who are you going to party with? :)&#xD;&#xA;&#xD;&#xA;Think of what the mixing stage must have been like when you had Erik Aadahl and Ethan Van Der Ryn in there at the same time (Transformers)... Must have been awesome and fun to work with them.. I can only dream.... The fun those guys must have. Some of the stages I have seen have basketball hoops and ping-pong tables for breaks. It must be a blast.&#xD;&#xA;&#xD;&#xA;Oh yeah and here's a great article I almost forgot to post a link to:&#xD;&#xA;&#xD;&#xA;https://www.editorsguild.com/Magazine.cfm?ArticleID=848&#xD;&#xA;&#xD;&#xA;It's about sound design teams and how they work together." ContentLicense="CC BY-SA 2.5" />
  <row Id="11052" PostHistoryTypeId="2" PostId="6441" RevisionGUID="6ab92110-263d-4baf-afd2-f7e1ddfaabe4" CreationDate="2011-03-09T18:22:37.713" UserId="6411" Text="The Native Power Pack is a great bundle. It's one of the first Waves bundles I bought &amp; you get some very powerful tools worth twice that price (which is roughly what I paid years &amp; years ago). It's also a good way to get in on the upgrade path: cheap buy-in, great tools for the time being, good value on the trade up. If the wallet's fat from tax refunds buy it." ContentLicense="CC BY-SA 2.5" />
  <row Id="11053" PostHistoryTypeId="2" PostId="6442" RevisionGUID="fa46004a-522f-402c-a581-cbe26ac9bc6e" CreationDate="2011-03-09T18:52:33.297" UserId="253" Text="Definitely go for it, at that price. I still rate digi eq over Q10, but i couldn't live without L1. It's also good to have a reverb that's a little more sophisticated than Dverb, although i still think Dverb is a great tool if you use it right." ContentLicense="CC BY-SA 2.5" />
  <row Id="11054" PostHistoryTypeId="2" PostId="6443" RevisionGUID="eadbf5b5-1b45-4801-b414-d51c359ad220" CreationDate="2011-03-09T23:29:58.430" UserId="18160" Text="I created a lot of custom footsteps and cloth movement geared toward specific characters and movements for a project and I just wrapped it up.&#xD;&#xA;&#xD;&#xA;If you record a ton of material like this and use it for a specific film, do you take the time to consolidate and file the recordings you've done for later use? Things like footsteps, cloth movement, glass downs, etc.&#xD;&#xA;&#xD;&#xA;Or do you discard it, back it up with that project and not save any of it in your library because it was too specific for that project and the next project will get it's own recordings newly anyway?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11055" PostHistoryTypeId="1" PostId="6443" RevisionGUID="eadbf5b5-1b45-4801-b414-d51c359ad220" CreationDate="2011-03-09T23:29:58.430" UserId="18160" Text="Do you file your foley?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11056" PostHistoryTypeId="3" PostId="6443" RevisionGUID="eadbf5b5-1b45-4801-b414-d51c359ad220" CreationDate="2011-03-09T23:29:58.430" UserId="18160" Text="&lt;foley&gt;&lt;filing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11057" PostHistoryTypeId="2" PostId="6444" RevisionGUID="3b4e5100-f2a8-48ec-aa7c-ca597ea7d712" CreationDate="2011-03-10T00:23:31.723" UserId="100" Text="I've been saved many times by recutting foley from old projects to sync with footsteps, hoofsteps, etc. Still can't beat the work by a good foley artist." ContentLicense="CC BY-SA 2.5" />
  <row Id="11058" PostHistoryTypeId="2" PostId="6445" RevisionGUID="4e964baa-5fa6-467a-850f-1e2b8c5ca241" CreationDate="2011-03-10T00:32:15.363" UserId="61" Text="Definitely keep that material! Don't file it away, no matter how specific you think it may be. There will inevitably come a time when you need such-and-such sound, and you'll remember that you did something very similar for a show years ago but no longer have it in your library. There will always be a use for well-recorded and well-performed foley - not necessarily to use for an entire track, perhaps, but surely to get you through some rough cuts/temp dubs, etc. I've even found occasion to use portions of FX or BG predubs, such as 5 channel winds, room tones or wallas, or 5.1 gunshots, design hits, whooshes, etc. Just because you created them for a specific show doesn't mean they can't be applied either partially or fully somewhere else.&#xD;&#xA;&#xD;&#xA;Regarding filing or entering in metadata, it's an excellent idea to do so if you have time but mostly I just pull all of the material for a show into a folder and then drag that into Soundminer. Then I'll search the name of the show and drill down thru the results from there." ContentLicense="CC BY-SA 2.5" />
  <row Id="11060" PostHistoryTypeId="2" PostId="6446" RevisionGUID="51d8ee7f-b697-496e-8eb5-c2f88d77bde1" CreationDate="2011-03-10T04:35:16.757" UserId="234" Text="I used it on three or four lo-budgets I did a few years ago. The software itself is quite good. I think I had only one or two crashes across the whole time. I was running it on a Powerbook G4 with an Mbox, which allowed fairly flexible monitoring. The downside is that you're lugging a laptop around - which can be an issue in  the, shall we say, more &quot;hostile&quot; environments you find on a low-budget shoot. Make sure you have a Rain Cover and a sun hood if you're doing any exterior stuff. And when you're on one man duty (booming and mixing) then a good bluetooth or IR remote is a godsend." ContentLicense="CC BY-SA 2.5" />
  <row Id="11061" PostHistoryTypeId="5" PostId="3376" RevisionGUID="5dfd9632-9bb3-4a03-983e-36028139eeb5" CreationDate="2011-03-10T05:40:13.907" UserId="61" Comment="Spelling" Text="One of the things that makes foley sound like foley is the interior room acoustic. With that in mind, you may want to try recording as much as possible in an exterior environment (assuming the scenes are exterior). Recording outside will give you a feeling of &quot;air&quot;, hard to explain but you know it when you hear it. The recordings may match in better against production, which is key -- not knowing where production sound ends and sound design begins is what you're shooting for.&#xD;&#xA;&#xD;&#xA;I completely agree with Tim that shooting foley to picture while outside is not efficient nor would it be an easy setup. My advice to record exterior was not meant to be to picture, but rather wild tracks that you later edit to picture, just like sound effects recording.&#xD;&#xA;&#xD;&#xA;Regarding mics, I'd experiment and try multiple mics on your sources. Grab a multichannel recorder of your choice and plug in a whole slew of mics; shotguns, cardiods, even a 5.1 setup may sound great (DPA makes a great one that is enclosed in a small housing and captures a stunning, realistic image)." ContentLicense="CC BY-SA 2.5" />
  <row Id="11062" PostHistoryTypeId="2" PostId="6447" RevisionGUID="18e8f993-5cd0-4c2d-ba92-1455670a9065" CreationDate="2011-03-10T09:05:13.277" UserId="338" Text="Can you record Foley with a Zoom H4N?&#xD;&#xA;&#xD;&#xA;If so, should you use a small space, a slappy space, or open space, or other?  &#xD;&#xA;&#xD;&#xA;I'm finishing a short and I wish I had the proper tools for foley recording but I may not and that is what this post is about.  The foley I would record is struggling in the grass, (movement), and 2 pickups of a picture.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11063" PostHistoryTypeId="1" PostId="6447" RevisionGUID="18e8f993-5cd0-4c2d-ba92-1455670a9065" CreationDate="2011-03-10T09:05:13.277" UserId="338" Text="Recording Foley with a ZOOM" ContentLicense="CC BY-SA 2.5" />
  <row Id="11064" PostHistoryTypeId="3" PostId="6447" RevisionGUID="18e8f993-5cd0-4c2d-ba92-1455670a9065" CreationDate="2011-03-10T09:05:13.277" UserId="338" Text="&lt;foley&gt;&lt;recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11065" PostHistoryTypeId="2" PostId="6448" RevisionGUID="ee59cab4-d271-4556-83d0-1715999c3061" CreationDate="2011-03-10T09:20:09.147" UserId="61" Text="You can record foley with any mic, including the Zoom. Its not the ideal tool for that application but hey, if it's all you have then you'd better use it! Personally I've gotten some pretty good recordings out of my H2. Make sure you position the Zoom very close to the source since the mic pres are noisy and the capsules aren't too sensitive. By getting closer you'll hopefully capture a fuller recording and more low end.&#xD;&#xA;&#xD;&#xA;Regarding the space, most foley is recorded in a tight room with minimal to no reflections. If you want to try to match into the movie a bit better, you may want to record in an approximate environment, ie. the actor is walking inside a tunnel, so you perform your foley in an echoey room (or an actual tunnel!). You'll be committing to the sound, but that's not necessarily a bad thing." ContentLicense="CC BY-SA 2.5" />
  <row Id="11066" PostHistoryTypeId="2" PostId="6449" RevisionGUID="60dd53b1-c992-4f7d-91af-8b456a718410" CreationDate="2011-03-10T09:56:07.403" UserId="919" Text="My name is Eddie.  I've played the guitar since the dark ages ( 49 yrs old) now and now would like to lay down and layer some guitar work and MIDI work into a DAW.  I have'nt worked with many.  I found Cakewalk was'nt bad; easy enough but 'weak' as far as ability goes. User-friendliness was'nt exactly a feature of Cubase (did my head in completely). Of late been using M-Audio Session w/Fasttrack USB ( Fun. REAL easy. Not bad for a quicky session but limited functionality overall). Been reviewing Ableton, FL Studio Reaper, Sonar.  Spoilt for choice nowadays, it's great.  I'm a fairly intelligent guy though I'm no tech head and would like to keep it simple and within my budget ( no more than about £250).  Your time would be very much appreciated.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11067" PostHistoryTypeId="1" PostId="6449" RevisionGUID="60dd53b1-c992-4f7d-91af-8b456a718410" CreationDate="2011-03-10T09:56:07.403" UserId="919" Text="Which DAW should I buy?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11068" PostHistoryTypeId="3" PostId="6449" RevisionGUID="60dd53b1-c992-4f7d-91af-8b456a718410" CreationDate="2011-03-10T09:56:07.403" UserId="919" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11069" PostHistoryTypeId="2" PostId="6450" RevisionGUID="60868b45-63bf-4c06-a73a-2a2703624827" CreationDate="2011-03-10T10:10:00.680" UserId="6524" Text="Yeah what Jay said I used to use it when it was all I had, make sure you set it to mono when recording though otherwise it will sound awkward." ContentLicense="CC BY-SA 2.5" />
  <row Id="11070" PostHistoryTypeId="2" PostId="6451" RevisionGUID="eef8907f-f0f3-4011-9e2b-3d352402e699" CreationDate="2011-03-10T10:37:00.287" UserId="37" Text="Difficult to say. Sometimes it depends on what you will want to do with it. For projects that you would want to hand in to other people to finish, the choice of DAW is more important. &#xD;&#xA;&#xD;&#xA;For straight tracking, editing, and mixing, pretty much any DAW will do - Pro Tools, Logic, Cubase, Sonar (by Cakewalk), Record, Studio One, Tracktion, Digital Performer, FL, Reaper even (but [read this][1]), the list goes on..&#xD;&#xA;&#xD;&#xA;For drastic processing choices are different. Ableton Live is a bit more experimental than other DAWs, especially with clip-based mode. Have seen people produce great material with Sony Acid. On the far end, you can quickly overheat your brain with Renoise, Reason, Audiomulch - convoluted and typically aimed at electronic music producers.&#xD;&#xA;&#xD;&#xA;Healthy communities surround all major DAWs - especially the first few above (+ Ableton). You will be glad to see that DAWs have grown up and are more user-friendly than ever. Nice testament (Mac OS X only): Garage Band. &#xD;&#xA;&#xD;&#xA;On the Mac I'd easily recommend Logic Express. Not sure on Windows. Maybe Cubase Artist? &#xD;&#xA;&#xD;&#xA;Your choice might also be an economy-edition Pro Tools packaged with an M-Audio interface. &#xD;&#xA;&#xD;&#xA;Maybe add another £100 to your budget for a wider choice. Or try more alternative offerings. (Steinberg Sequel anyone?). &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://eesn.tumblr.com/post/753366845" ContentLicense="CC BY-SA 2.5" />
  <row Id="11071" PostHistoryTypeId="2" PostId="6452" RevisionGUID="9e116bb4-9ce4-4089-89c1-4ddac795a423" CreationDate="2011-03-10T12:23:15.620" UserId="142" Text="Type in DAW into the search above as I am sure there have been some big discussions on this already." ContentLicense="CC BY-SA 2.5" />
  <row Id="11072" PostHistoryTypeId="2" PostId="6453" RevisionGUID="2b6adfd0-1673-46c7-9c9e-b51747d00046" CreationDate="2011-03-10T12:35:09.627" UserId="920" Text="Magic! Really appreciate your reply.  I did review that Pro Tools software + M-audio package as a more comfortable step-up for me, having had so much fun on my journey with M-audio Session w/Fasttrack USB.  PRO TOOLS gets the nod for me for being proven quality, collaterally within my budget.  Thanks for clearing that s**t up for me!!!&#xD;&#xA;&#xD;&#xA;@eddie&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11074" PostHistoryTypeId="2" PostId="6455" RevisionGUID="f4b3462d-316a-47a8-af41-e799c65f11f3" CreationDate="2011-03-10T13:28:27.570" UserId="103" Text="Hi Everybody&#xD;&#xA;&#xD;&#xA;Redesigned the sound for tthis gameplay capture video.&#xD;&#xA;Your feedback is much apreciated!&#xD;&#xA;&#xD;&#xA;[vimeo]20855046[/vimeo]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11075" PostHistoryTypeId="1" PostId="6455" RevisionGUID="f4b3462d-316a-47a8-af41-e799c65f11f3" CreationDate="2011-03-10T13:28:27.570" UserId="103" Text="Feedback please?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11076" PostHistoryTypeId="3" PostId="6455" RevisionGUID="f4b3462d-316a-47a8-af41-e799c65f11f3" CreationDate="2011-03-10T13:28:27.570" UserId="103" Text="&lt;sound-design&gt;&lt;video-games&gt;&lt;demo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11078" PostHistoryTypeId="2" PostId="6456" RevisionGUID="7199a73c-986b-4484-8b4a-a61513620871" CreationDate="2011-03-10T14:42:51.873" UserId="393" Text="I just wrote out a long critique, then realized that the headphones I'm listening on are far from adequate and I was hearing far more sweeteners than anything with bass.&#xD;&#xA;&#xD;&#xA;After turning it up, the environment felt better, but I was still lacking the weighty impacts that would result from mechs multiple stories tall.  Also, IMO, the HUD sounds inside the cockpit are a bit too loud.&#xD;&#xA;&#xD;&#xA;I'll give a much better critique when I can watch this on my home machine with decent monitors." ContentLicense="CC BY-SA 2.5" />
  <row Id="11079" PostHistoryTypeId="2" PostId="6457" RevisionGUID="8868b204-2f04-43db-acf7-a5c6a433c8cb" CreationDate="2011-03-10T15:22:39.620" UserDisplayName="user914" Text="I pretty much thought the same as Dave.&#xD;&#xA;&#xD;&#xA;The steps and movements (for example the rocket hatch at 0:31s) are to weak. &#xD;&#xA;Not to quiet but to small.&#xD;&#xA;The same for the collapsed building.&#xD;&#xA;&#xD;&#xA;You don't realize the monstrous size of this things. (Which you surely intend)&#xD;&#xA;&#xD;&#xA;I like the HUD sounds. But they are to loud.&#xD;&#xA;&#xD;&#xA;I don't like the machine gun sound.&#xD;&#xA;And it feels strange that its louder inside than outside the cockpit.&#xD;&#xA;&#xD;&#xA;It needs more ambience. (Especially outside) Or will there be music?&#xD;&#xA;&#xD;&#xA;In comparison I watched the original after i watched yours.&#xD;&#xA;I like your sound design more than that.&#xD;&#xA;But without the voices and the music you don't get the emotional impact.&#xD;&#xA;And with the music of the original trailer it's to much sound design, IMO." ContentLicense="CC BY-SA 2.5" />
  <row Id="11080" PostHistoryTypeId="2" PostId="6458" RevisionGUID="efed95f6-28ed-4337-91d3-8d6269e6f8d9" CreationDate="2011-03-10T18:47:30.997" UserId="338" Text="It all depends on what you want to do with it. like for post production, tracking, midi composing, performing" ContentLicense="CC BY-SA 2.5" />
  <row Id="11081" PostHistoryTypeId="2" PostId="6459" RevisionGUID="e3d6a8ee-a5c4-471e-9628-d9fe3dad9344" CreationDate="2011-03-10T18:58:40.370" UserId="338" Text="I think the sounds are great but it is a little bit too much.  Theres too many of them or they are too loud.  I don't know if you are trying to go for a Battlefield 3 type thing with no music at all or not but something like that or a bit of atmosphhere instead of of the many sounds because they are most likely mixed a little high and get annoying with the reptetivity." ContentLicense="CC BY-SA 2.5" />
  <row Id="11082" PostHistoryTypeId="2" PostId="6460" RevisionGUID="33e8d3e0-f252-423d-b540-77c1cf22e244" CreationDate="2011-03-10T19:11:05.307" UserId="922" Text="I seems sounds mostly ok, did you record them by yourself or you use some library? &#xD;&#xA;The main thing that it should be different sound inside and outside your mech, just try play with reverb and frequencies. Inside short metal, outside open space big delay, something like this. When you're inside cabin you hear outside sounds with different frequency range less mid-high and high sounds. Outside metal meets rockets and bullets, ricochets. It will be good hear pilot reaction too:)) sorry for my english" ContentLicense="CC BY-SA 2.5" />
  <row Id="11083" PostHistoryTypeId="2" PostId="6461" RevisionGUID="167ec753-4394-47c6-9cb9-ef61996d0f1b" CreationDate="2011-03-10T19:53:08.893" UserId="338" Text="When you are designing a  background/ambience, do you change the layers for every camera angle?  Do you ever drop all of the 'scape out if there is a shot that comes up on the screen with something that is not part of the 'scape and makes a noise?&#xD;&#xA;&#xD;&#xA;Do you ever use spatial processing for recorded sounds that are already of ambiences or are they wide enough already?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11084" PostHistoryTypeId="1" PostId="6461" RevisionGUID="167ec753-4394-47c6-9cb9-ef61996d0f1b" CreationDate="2011-03-10T19:53:08.893" UserId="338" Text="Designing a background/ambience" ContentLicense="CC BY-SA 2.5" />
  <row Id="11085" PostHistoryTypeId="3" PostId="6461" RevisionGUID="167ec753-4394-47c6-9cb9-ef61996d0f1b" CreationDate="2011-03-10T19:53:08.893" UserId="338" Text="&lt;backgroundambience&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11086" PostHistoryTypeId="2" PostId="6462" RevisionGUID="5de67e88-d508-4eb2-bbeb-a7b8ee0f5da7" CreationDate="2011-03-10T19:57:39.447" UserId="517" Text="You might want to consider investing in a microphone stand with a boom arm so that you can mount the H4N on a stand. You'll probably need a thread adapter to fit the H4N's tripod thread to the boom arm's, which will be much larger.&#xD;&#xA;&#xD;&#xA;This will allow you to find the best fixed close-mic position for the H4N, eliminate handling noise and free up your hands for the Foley performance. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11087" PostHistoryTypeId="2" PostId="6463" RevisionGUID="0b50fb75-001b-4df8-b79d-9170c2987e9c" CreationDate="2011-03-10T20:48:08.050" UserId="786" Text="Yes, yes and yes.&#xD;&#xA;&#xD;&#xA;I try to make changes in backgrounds in every cut, or at least changes when you cut between close-ups and totals. There are also changes within cuts, in order to describe the surroundings. The changes can be subtle, but the should in my opinion be frequent in order to keep the scene interesting to watch. It is good to have many tracks of material to build your backgrounds from, then you can easily make subtle changes, as well as more pronounced changes.&#xD;&#xA;&#xD;&#xA;If you want to bring full attention to a specific element, it can always be a good idea to remove something else, including backgrounds.&#xD;&#xA;&#xD;&#xA;I use spatial processing (do you mean reverbs?) whenever necessary. If for instance I have a sound of a car driving by in the street, but I need it to be further away, I will add some reverb and delay as well as decrease its volume, in order to make it sound right." ContentLicense="CC BY-SA 2.5" />
  <row Id="11088" PostHistoryTypeId="2" PostId="6464" RevisionGUID="5f990edd-ec98-4a12-ad34-d7fa7759802f" CreationDate="2011-03-10T20:48:16.090" UserId="393" Text="I don't change for every camera angle, unless it's to the perspective of a deaf person (hasn't happened yet).  As far as dropping out the atmos for things like flashbacks, I guess it's all a matter of how long the flashback is, and what kind of movie it is -- I'd almost always drop it out for a darker film, regardless of length.&#xD;&#xA;&#xD;&#xA;As for spacial processing, I haven't used it to make a scene wider, but I have used it to make things feel farther away, or even alien to the scene (but that also includes a bit of effects processing, too)." ContentLicense="CC BY-SA 2.5" />
  <row Id="11089" PostHistoryTypeId="2" PostId="6465" RevisionGUID="fbbb1a69-ef97-453e-b531-09dfe116585c" CreationDate="2011-03-10T20:51:37.040" UserId="393" Text="Consider that you'll need to be able to import video as well -- you don't need to be able to edit it, just import it.  Not ever DAW can do this, or do this well. Sonar, for instance, is picky about what type of video it is." ContentLicense="CC BY-SA 2.5" />
  <row Id="11090" PostHistoryTypeId="2" PostId="6466" RevisionGUID="a054b7c3-cab0-434d-b032-af42f2c87ce4" CreationDate="2011-03-10T20:52:13.670" UserId="315" Text="There's no hard rule or answer for most of your questions. These are creative choices. Make these choices in a way that serves the story and the style of storytelling in the film.&#xD;&#xA;&#xD;&#xA;That being said. Generally a background is used primarily to anchor the audience in an environment, establish a sense of place, and give the hard fx and foley a place to live and breathe. It is not customary to change a background on every shot in a scene, and often you'll see sound editors going with one static background through an entire scene (with perhaps some subtle layer changes to sell a cut or perspective change). It's usually pretty distracting to the audience to have dramatic changes in background every few seconds, unless of course a dramatic change will serve the storytelling.&#xD;&#xA;&#xD;&#xA;Spatial processing can be used on backgrounds, I've certainly used an imager to spread a narrow bg before. Although most often width is just handled with simple panning. Mono backgrounds are also your friend.&#xD;&#xA;&#xD;&#xA;Backgrounds are also often muted in a film mix, especially if there's wall to wall music going on or a ton of hard fx. They just end up cluttering the mix." ContentLicense="CC BY-SA 2.5" />
  <row Id="11091" PostHistoryTypeId="2" PostId="6467" RevisionGUID="87be5609-9428-4289-9117-c28daf20c25b" CreationDate="2011-03-10T20:53:29.847" UserId="393" Text="I almost ALWAYS add some sort of bit-crushed element to my explosions.  For more realism, I pull it back so it just adds a bit of meat, but it's still there." ContentLicense="CC BY-SA 2.5" />
  <row Id="11092" PostHistoryTypeId="2" PostId="6468" RevisionGUID="57e1c299-a8f4-447f-a910-782544395a39" CreationDate="2011-03-10T21:23:02.380" UserId="517" Text="When cutting and laying out backgrounds (and pretty much all of the soundtrack), I try to put myself in the shoes of the re-recording mixer. Ask yourself, &quot;Is my layout going to make things easy to mix?&quot;&#xD;&#xA;&#xD;&#xA;I only split for perspective or add/remove BG layers if I feel like the mixer will want to make a drastic change, whether it be level, EQ or something else, to enhance the story. If you split tracks or make changes too often, it's going to slow down the mixer. As Justin mentioned, backgrounds anchor the audience in the film's soundtrack - changes should inform the audience of a nuance or a new direction that the film has taken.&#xD;&#xA;&#xD;&#xA;Of course if you're mixing the film yourself, you don't need to worry about this as much, since you'll be intimately familiar with the material. It's still " ContentLicense="CC BY-SA 2.5" />
  <row Id="11093" PostHistoryTypeId="2" PostId="6469" RevisionGUID="0b0378e7-0761-4d88-8653-bc25823c42f7" CreationDate="2011-03-10T21:48:36.457" UserId="922" Text="Make sure that you have director's support and actors too. I seems you should have good picture in mind what you want to get in mix and you will be able to explain it to somebody who do not understand why you can't make it usual way. If you have such support and time to make this even if you do not get good result you get full picture what is really happening, basic to make good studio foley." ContentLicense="CC BY-SA 2.5" />
  <row Id="11094" PostHistoryTypeId="2" PostId="6470" RevisionGUID="488db548-08f7-4406-870e-33c3b3f68cdc" CreationDate="2011-03-10T22:19:39.327" UserId="338" Text="When you use convolution reverb to alter the timbre of a sound, does anybody  have some ideas about how this works?&#xD;&#xA;&#xD;&#xA;For example, you load an IR of a metal ride cymbal and you send voices through it, the timbre has a metallic ring.  &#xD;&#xA;&#xD;&#xA;What would be usable for creating a fluffy, soft, pillow timbre?&#xD;&#xA;&#xD;&#xA;Are there any other sly manipulations that this forum would care to share?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11095" PostHistoryTypeId="1" PostId="6470" RevisionGUID="488db548-08f7-4406-870e-33c3b3f68cdc" CreationDate="2011-03-10T22:19:39.327" UserId="338" Text="Understanding convolution and subtle processing to alter timbres of sounds" ContentLicense="CC BY-SA 2.5" />
  <row Id="11096" PostHistoryTypeId="3" PostId="6470" RevisionGUID="488db548-08f7-4406-870e-33c3b3f68cdc" CreationDate="2011-03-10T22:19:39.327" UserId="338" Text="&lt;timbre&gt;&lt;modification&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11097" PostHistoryTypeId="2" PostId="6471" RevisionGUID="2cb4cf5a-c431-4c81-a3c5-9c47ab8f3e5d" CreationDate="2011-03-10T22:29:45.690" UserId="922" Text="I wrote music for one program called Big fish and add some fx but I'm not sure whether they help it or not. &#xD;&#xA;&#xD;&#xA;[vimeo]20887044[/vimeo]&#xD;&#xA;What do you think about? Any feedback is welcome.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11098" PostHistoryTypeId="1" PostId="6471" RevisionGUID="2cb4cf5a-c431-4c81-a3c5-9c47ab8f3e5d" CreationDate="2011-03-10T22:29:45.690" UserId="922" Text="Big fish effects feedback needed" ContentLicense="CC BY-SA 2.5" />
  <row Id="11099" PostHistoryTypeId="3" PostId="6471" RevisionGUID="2cb4cf5a-c431-4c81-a3c5-9c47ab8f3e5d" CreationDate="2011-03-10T22:29:45.690" UserId="922" Text="&lt;sound-design&gt;&lt;music&gt;&lt;television&gt;&lt;broadcast&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11100" PostHistoryTypeId="2" PostId="6472" RevisionGUID="c3795c56-f01e-4468-be65-f03c476a06ef" CreationDate="2011-03-10T22:42:36.607" UserId="393" Text="I wish I could.  Vegas is awfully close to me, but it's not in the budget.&#xD;&#xA;&#xD;&#xA;Do let me know if you end up in SLC, though." ContentLicense="CC BY-SA 2.5" />
  <row Id="11101" PostHistoryTypeId="2" PostId="6473" RevisionGUID="0f48a70b-34f1-4711-9f94-c889d699b275" CreationDate="2011-03-10T23:22:44.233" UserId="923" Text="I 'm going! Lets organize a meetup!&#xD;&#xA;&#xD;&#xA;Tasos/ Soundsnap.com owner, leading sound effects site" ContentLicense="CC BY-SA 2.5" />
  <row Id="11102" PostHistoryTypeId="2" PostId="6474" RevisionGUID="1927ab48-8676-4c2f-bc20-a893541e7d50" CreationDate="2011-03-10T23:31:36.573" UserId="61" Text="There have been some great discussions on this subject, [here's a quick link][1]. &#xD;&#xA;&#xD;&#xA;As I understand it, convolution algorithms work on the principle of common frequencies being reinforced. Example, if you have a source sound with a lot of midrange frequencies and you process it through an impulse response which also has a lot of midrange, the resulting sound will be…wait for it…heavy on the midrange! Knowing that, you can push voices through metallic IRs, glassy/crystal IRs, or doors through IRs that are chock full of low end, like tunnels, cisterns or other large spaces.&#xD;&#xA;&#xD;&#xA;If you're looking for a soft-type of timbre, I'd try some of the smaller spaces like closets or boxes. Also remember that you can craft your own IRs using simple sounds like a finger snap run through a multi-tap delay, or a gunshot echoing through a canyon.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/search?q=convolution" ContentLicense="CC BY-SA 2.5" />
  <row Id="11103" PostHistoryTypeId="2" PostId="6475" RevisionGUID="e383a6aa-3240-4242-94ce-e558a77c4019" CreationDate="2011-03-11T00:30:05.087" UserId="923" Text="What do you guys think about Soundsnap.com?&#xD;&#xA;Its my sound effects website and I 'm working on improving it.&#xD;&#xA;&#xD;&#xA;I 'm looking for feedback from the sound community to see what areas of the site we can improve.&#xD;&#xA;&#xD;&#xA;Thanks in advance for your help." ContentLicense="CC BY-SA 2.5" />
  <row Id="11104" PostHistoryTypeId="1" PostId="6475" RevisionGUID="e383a6aa-3240-4242-94ce-e558a77c4019" CreationDate="2011-03-11T00:30:05.087" UserId="923" Text="Soundsnap.com feedback" ContentLicense="CC BY-SA 2.5" />
  <row Id="11105" PostHistoryTypeId="3" PostId="6475" RevisionGUID="e383a6aa-3240-4242-94ce-e558a77c4019" CreationDate="2011-03-11T00:30:05.087" UserId="923" Text="&lt;effects&gt;&lt;websites&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11106" PostHistoryTypeId="2" PostId="6476" RevisionGUID="24ec9064-ae01-4add-b3af-e2150d31b232" CreationDate="2011-03-11T01:53:21.753" UserId="338" Text="What are some good examples of an eerie (or not) memory flashback (or flashforward)?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11107" PostHistoryTypeId="1" PostId="6476" RevisionGUID="24ec9064-ae01-4add-b3af-e2150d31b232" CreationDate="2011-03-11T01:53:21.753" UserId="338" Text="Great Examples of an Eerie (or not) Memory Flashback" ContentLicense="CC BY-SA 2.5" />
  <row Id="11108" PostHistoryTypeId="3" PostId="6476" RevisionGUID="24ec9064-ae01-4add-b3af-e2150d31b232" CreationDate="2011-03-11T01:53:21.753" UserId="338" Text="&lt;examples&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11109" PostHistoryTypeId="2" PostId="6477" RevisionGUID="f19628ad-677a-404a-9bea-3241b56ca035" CreationDate="2011-03-11T06:15:34.350" UserId="670" Text="Hey guys I just finished up my demo reel and wanted to get some feedback on it. http://vimeo.com/20907263&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11110" PostHistoryTypeId="1" PostId="6477" RevisionGUID="f19628ad-677a-404a-9bea-3241b56ca035" CreationDate="2011-03-11T06:15:34.350" UserId="670" Text="Feedback on my demo reel" ContentLicense="CC BY-SA 2.5" />
  <row Id="11111" PostHistoryTypeId="3" PostId="6477" RevisionGUID="f19628ad-677a-404a-9bea-3241b56ca035" CreationDate="2011-03-11T06:15:34.350" UserId="670" Text="&lt;demo-reel&gt;&lt;sound-design&gt;&lt;critique&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11112" PostHistoryTypeId="2" PostId="6478" RevisionGUID="c3cba232-6787-48af-9bb2-b32815a0133a" CreationDate="2011-03-11T07:35:15.993" UserId="238" Text="Have a look at these posts:&#xD;&#xA;&#xD;&#xA;[Which DAW do you use?][1]&#xD;&#xA;&#xD;&#xA;[What DAW should I go for?][2]&#xD;&#xA;&#xD;&#xA;There are a lot of very useful comments in these two discussions...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/509/which-daw-do-you-use&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/4490/what-daw-should-i-go-for" ContentLicense="CC BY-SA 2.5" />
  <row Id="11113" PostHistoryTypeId="2" PostId="6479" RevisionGUID="b002208b-ea5e-4f86-b720-4de684e5803c" CreationDate="2011-03-11T09:49:24.043" UserId="62" Text="I'm one of your &quot;old school&quot; members. I have to say I love the idea of the site. I use it a lot for getting something specific or different (as in not in the usual libraries) and has got me out of a hole plenty of times.&#xD;&#xA;&#xD;&#xA;However I do have 2 things I'd like to add. There's one thing I wish you'd bring back, the ability for me to upload and sell individual sound recordings. I'm guessing that the vetting process which I'm sure is a mammoth undertaking.&#xD;&#xA;&#xD;&#xA;My other issue is that some of the sounds are of a fairly poor quality. Some have background hiss and hum while others are clipped. I don't want to get into naming files and therefore people but it has rendered some files unusable in a TV broadcast setting. Perhaps vetting the person instead of every single file might be a way around the workload. Or perhaps you could add a way of reporting a poor recording and make the users become the vettors (is that a word)?&#xD;&#xA;&#xD;&#xA;Please forgive me if this comes across harsh but I really do love the site and am frequently on there looking for sounds.&#xD;&#xA;&#xD;&#xA;Good luck with it and long may it continue!&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="11114" PostHistoryTypeId="2" PostId="6480" RevisionGUID="68b59652-acae-422b-ae90-25f3cdf689f1" CreationDate="2011-03-11T10:07:16.160" UserId="37" Text="old school ftw. has saved me a few times already." ContentLicense="CC BY-SA 2.5" />
  <row Id="11115" PostHistoryTypeId="2" PostId="6481" RevisionGUID="7a9fa07c-b051-428a-aea8-6941d528d704" CreationDate="2011-03-11T10:12:40.380" UserId="238" Text="I too discovered Soundsnap a couple of years back (does that make me an old skool user too?) and definitely agree with Ian's point about quality. The idea of the site is great and allows us to access very specific sounds and to purchase a license for individual sounds. This is very useful. &#xD;&#xA;&#xD;&#xA;However, I think that the quality issue is something that can cause many of us to hesitate using Soundsnap. Most sounds are available in MP3 and WAV formats. Personally, when I'm working on a project I will never use an MP3 sound (unless it was so unique that I had no choice), even if I will eventually render down my final mix as an MP3 (for an iOS-platform game for example). I prefer to use the highest possible quality (96KHz 24 Bit or 192KHz 24 Bit if poss) that allows me more flexibility. &#xD;&#xA;&#xD;&#xA;Forgive me if I'm wrong, but I can't seem to find anywhere on the site where the quality of sound files is discussed. And it's been a while since I purchased a sound so maybe this issue has been addressed. But overall, it's a great site in terms of usability. Very easy to search and I love the clean layout.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11116" PostHistoryTypeId="2" PostId="6482" RevisionGUID="2241c998-3cfd-47c8-af7d-5186363abde0" CreationDate="2011-03-11T13:58:19.673" UserId="63" Text="Soundsnap.com is great how it is! Though the enemy of the better is the best... I would only suggest some upgrade on the search engine with more tag keywords and stuff to make it easier to find what are you looking for. &#xD;&#xA;&#xD;&#xA;Congrats though!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11117" PostHistoryTypeId="2" PostId="6483" RevisionGUID="38d49f8d-3eb1-4cc8-aa2e-c83457185503" CreationDate="2011-03-11T16:34:19.817" UserId="217" Text="I have been using Soundsnap for a number of years and I am also an &quot;Old Skool&quot; member. I remember the change from a free to paid for service that you offered. &#xD;&#xA;&#xD;&#xA;You once had an active community on the website forums, which seems to have diminished since the change has taken place. I particularly liked the Request a sound forum. It would be great to grow that community again, or work with another great community of Sound People.&#xD;&#xA;&#xD;&#xA;As IanJPalmer said, it would be great to be able to upload individual Sounds to your library. Infact, I'd rather upload mine to your library than to some of the others out there because I love the layout and simplicity of the website.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11118" PostHistoryTypeId="2" PostId="6484" RevisionGUID="d8a46c84-83e0-4ebb-8a6b-adda0fea58c5" CreationDate="2011-03-11T18:39:14.953" UserId="235" Text="Hi Tazos,&#xD;&#xA;  Another &quot;old school&quot; user here and lover of Soundsnap.  I don't know what I would do without you guys actually.  Would it be possible for you to implement some file naming conventions for your submitters.  Right now the files are named all sorts of ways and sometimes those names are very non-descriptive. This means I end up renaming them but then I don't know if I've already downloaded that file and I end up with a lot of duplicates.  I also agree with the above commenters but above all, keep up the good work and thank you!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11119" PostHistoryTypeId="5" PostId="6477" RevisionGUID="fbcade7c-1a8f-46ea-a77c-615d41174253" CreationDate="2011-03-11T21:02:17.617" UserId="670" Comment="added 56 characters in body" Text="Hey guys I'm still new to the field of sound design and just finished up my demo reel. I was seeing if I could get some feedback on it. http://vimeo.com/20907263&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11120" PostHistoryTypeId="2" PostId="6485" RevisionGUID="c02b280d-52e9-445c-a2eb-3b6145ad6a95" CreationDate="2011-03-11T21:59:23.417" UserId="863" Text="for music, Ableton everytime, and if this is just for a hobby you can get Live Lite.&#xD;&#xA;&#xD;&#xA; - Easy user interface &#xD;&#xA; - You can sketch in ideas as well as lay them out in a more traditional DAW style&#xD;&#xA; - Adding effects is easy, automating effects even easier&#xD;&#xA; - Brilliant standard instruments straight out of the box&#xD;&#xA; - easy routing in from external midi or usb / audio inputs&#xD;&#xA; - Great for sound design sketching not just musical&#xD;&#xA; - Brilliant warping ability for music and again very easy to use&#xD;&#xA; - manipulating sounds as you play them is possible, or stick on the LOOPER (in LIVE 8+) and it's like a loop pedal and keep adding effects and go crazy&#xD;&#xA; - less of a CPU hog&#xD;&#xA;&#xD;&#xA;Only downside is that there is no timecode :(&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11121" PostHistoryTypeId="2" PostId="6486" RevisionGUID="c813c0b3-e787-4a0b-9085-9c7b6bfe27ef" CreationDate="2011-03-11T22:38:36.403" UserId="6435" Text="Some of the partial-memory sequences in the Bourne movies are pretty cool. Also any of the &quot;Harry's Rules&quot; flashbacks in Dexter." ContentLicense="CC BY-SA 2.5" />
  <row Id="11122" PostHistoryTypeId="2" PostId="6487" RevisionGUID="dda32657-6426-46d1-b744-6ca614313ae7" CreationDate="2011-03-12T02:26:09.037" UserId="926" Text="I am using  hydrophone in my pool for a FPS underwater game I am working on. Like everyone here has stated, the Cinematic version of the underwater sound is completely different than what it actually is. &#xD;&#xA;&#xD;&#xA;If you are going for a connection to reality, then by all means switch gears. There are some very good reasons for this, especially considering that most of us aren't aware of the realistic sound to begin with. &#xD;&#xA;&#xD;&#xA;A dark and muffled sound from a Submarine obviously makes sense though, design wise. It adds the sense that you are in the great deep ocean. Psychologically, we tend to associate something vast with a certain ominous low end power. &#xD;&#xA;&#xD;&#xA;After some experiementing with my hydrophone, I found that I could just record in my booth, and effect the recording with some EQ and such to get the same result. With higher fidelity of course. &#xD;&#xA;&#xD;&#xA;However, I do suggest taking a good size large cymbal, and striking it with something metal. Have the Cymbal half in / half out of the water. Record it with the hydrophone from various distances. It gives you some amazing and strange elements for scary aesthetics. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11123" PostHistoryTypeId="2" PostId="6488" RevisionGUID="f355c44c-3407-4b76-b8ff-b319a9df2aa0" CreationDate="2011-03-12T16:51:28.530" UserId="194" Text="I just did a [100 whooshes][1] session yesterday using only water elements for a project.&#xD;&#xA;&#xD;&#xA;What I've found is that if you make good 96k recordings of various above ground water sources and varispeed them down to the 15-30% range you end up with and underwater vibe that retains the high end.  Run them through a doppler and you get whooshes.  I used streams, a very gently moving fountain and a small distant waterfall as my sources.&#xD;&#xA;&#xD;&#xA;I'll post some up later on.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/02/charles-deenen-special-100-whooshes-in-2-minutes/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11124" PostHistoryTypeId="2" PostId="6489" RevisionGUID="d7522b5e-8014-4751-80d5-57f32eec433e" CreationDate="2011-03-12T21:41:43.697" UserId="728" Text="Interesting discussion... I have several queries though. Why is hydrophone considered as something that can capture underwater sounds the way human ears can hear sounds under water? I personally feel hydrophones can not do justice to how we hear sounds under water. The analogy would be the way camera can see clearly under water but our eyes can not... similar our ears do not hear as clearly as hydrophones capture sounds with all HFs and other details.&#xD;&#xA;&#xD;&#xA;Personally I do not have any under water hearing experience, but I do believe that it will sound different (from hollywood sounds and hydrophone sounds) depending on some factors such as&#xD;&#xA;whether our ears are bare or are covered under scuba diving suit?&#xD;&#xA;the water pressure level on our ears/body... as we go deeper the pressure will increase and hence the way we hear sounds.&#xD;&#xA;the viscosity/salinity might affect the hearing.. the dead sea might sound different from the arabian sea.&#xD;&#xA;the state of the water... flowing or stagnant or waves.&#xD;&#xA;&#xD;&#xA;I guess there is no straight answer to underwater sounds... there is more to it than we know of. I guess it is one of the most difficult &quot;spaces&quot; to emulate or physically model.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11125" PostHistoryTypeId="2" PostId="6490" RevisionGUID="822a3320-8d04-409d-9526-50bf00947440" CreationDate="2011-03-12T22:37:53.963" UserId="728" Text="So far I have only come across Shepard-Risset Glissando. Does anyone know more audio illusions/tricks which boggle human brain?&#xD;&#xA;&#xD;&#xA;Recently I came up with an applied version of Shepard-Risset tone by creating an audio illusion of a sound of a bottle never filling up... Here is the link http://tumblr.com/xrp1pvqqh9 and youtube video&#xD;&#xA;http://www.youtube.com/watch?v=mkXAng5fetk&amp;hd=1&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Would like to know if any of you are experimenting with auditory illusions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11126" PostHistoryTypeId="1" PostId="6490" RevisionGUID="822a3320-8d04-409d-9526-50bf00947440" CreationDate="2011-03-12T22:37:53.963" UserId="728" Text="Audio Illusions" ContentLicense="CC BY-SA 2.5" />
  <row Id="11127" PostHistoryTypeId="3" PostId="6490" RevisionGUID="822a3320-8d04-409d-9526-50bf00947440" CreationDate="2011-03-12T22:37:53.963" UserId="728" Text="&lt;audio-illusion&gt;&lt;sound-design&gt;&lt;tricks&gt;&lt;experimental&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11128" PostHistoryTypeId="2" PostId="6491" RevisionGUID="c463f0e2-8004-4754-8d8d-8849335d2db0" CreationDate="2011-03-12T22:55:35.900" UserId="28" Text="Check out &quot;Auditory Scene Analysis&quot; by Al Bregman. &#xD;&#xA;&#xD;&#xA;http://webpages.mcgill.ca/staff/Group2/abregm1/web/downloadstoc.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="11129" PostHistoryTypeId="2" PostId="6492" RevisionGUID="50c80183-ff41-4fa9-9580-b950b631a824" CreationDate="2011-03-12T23:11:51.710" UserId="393" Text="I know it's not exactly what you're looking for, but I absolutely love the illusion of the &quot;false center&quot; created by a pair of evenly-spaced monitors." ContentLicense="CC BY-SA 2.5" />
  <row Id="11130" PostHistoryTypeId="2" PostId="6493" RevisionGUID="403fc383-1f46-409a-9b3a-77dd2416f072" CreationDate="2011-03-13T00:18:12.603" UserId="786" Text="The McGurk effect is a pretty interesting trick.&#xD;&#xA;[Wikipedia][1] and [Youtube][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/McGurk_effect&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=ypd5txtGdGw" ContentLicense="CC BY-SA 2.5" />
  <row Id="11131" PostHistoryTypeId="2" PostId="6494" RevisionGUID="1e1bfec6-5af3-43bc-850a-b1a546193aa6" CreationDate="2011-03-13T00:58:14.270" UserId="338" Text="I have to admit, that soundsnap is pretty nice.  Very affordable sounds and an amazing variety of ambiences at least since that's all I've looked into so far.  Good quality preview and skilled recordists.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11132" PostHistoryTypeId="2" PostId="6495" RevisionGUID="7a09f03e-318e-4ccb-b8ea-ee67911243f4" CreationDate="2011-03-13T09:17:13.250" UserId="786" Text="I have been a member of soundsnap for a long time, but I must say I almost haven't used it since it changed to the new business model. I thought it was pretty cool that you could share good sounds and in return get access to all the other sounds for free. I had hoped it would be possible with the new business model to still share sounds and at least get a discount on a membership and have the feeling of being part of a community, but sadly I think that part has faded. Soundsnap is just not so appealing to me anymore. &#xD;&#xA;&#xD;&#xA;I used Soundsnap for the special and personal sounds, you do not normally find in archives. They are perhaps not as special and personal as the sounds you might find in freesound.org, but at least you don't have to deal with the confusing licenses. I can't really use an internet based sound archive for the bread and butter sound effects, because it is simply too slow. When I work in soundminer, I just import the sounds i think I might use, check them out in the track and discard them afterwards, if they don't feel right. &#xD;&#xA;&#xD;&#xA;When paying per sound effect, this process is simply too slow and too inefficient for me.&#xD;&#xA;&#xD;&#xA;It is still a great site, but perhaps I have just bought too many sound effects to need it the way it is now." ContentLicense="CC BY-SA 2.5" />
  <row Id="11133" PostHistoryTypeId="2" PostId="6496" RevisionGUID="9c1a9b10-7009-4ab2-822f-a684dc426e09" CreationDate="2011-03-13T09:19:12.190" UserId="693" Text="To be honest, sometimes realism isn't the best answer. The whole point is to tell the story effectively and sometimes that suspends the rules of physics and requires us to do things that feel and sound right as opposed to what is technically and scientifically correct.&#xD;&#xA;&#xD;&#xA;Therefore, when dealing with semi-unfamiliar situations like space, being underwater, or time slowing down or speeding up and so on... which are not overtly common human experiences; I tend to design and mix for feel and not necessarily authenticity all the time.&#xD;&#xA;&#xD;&#xA;ie: the perception of bullets can slow down in the matrix, so why should they still sound like real bullets, simply slowed down? I don't see why CGI experts get to have all the fun of suspending disbelief and we do not. We're here to tell a story, not archive scientific history (unless that is your project, then by all means, please do so).&#xD;&#xA;&#xD;&#xA;I do try to strive for authenticity, but I'm sure we've all found at times that it just doesn't suit the purpose." ContentLicense="CC BY-SA 2.5" />
  <row Id="11134" PostHistoryTypeId="2" PostId="6497" RevisionGUID="4a36d1f1-8ee6-4a32-b94f-39071615d208" CreationDate="2011-03-13T09:50:39.757" UserId="693" Text="I recently found this amazing site that mixes a live feed of carefully selected ambient music tracks from soundcloud with police scanner chatter from several cities (only one city at a time) that sounds so unbelieveably lush and just utterly and amazingly beautiful. It's almost creepy how well this actually works together.&#xD;&#xA;&#xD;&#xA;It came to my attention since one of my recent ambient/cinematic pieces was chosen to be one of the featured songs and I got over 1000 plays on soundcloud within 3 days and I was wondering why/how.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here's the site:&#xD;&#xA;&#xD;&#xA;[http://youarelistening.to][1]&#xD;&#xA;&#xD;&#xA;You can choose the city transmission that you want to feed your mix. LA, NY, Chicago, Montreal.&#xD;&#xA;&#xD;&#xA;I also find that it sounds really interesting if you open multiple tabs of the same location and stop the music (soundcloud player) on any/all the duplicates except the original, thus giving you multiple copies of the scanner feed (with a slight time delay on each) on top of the one single ambient song.&#xD;&#xA;&#xD;&#xA;I even took a bit of time to record some of the chatter with variable multitudes of instances because some of the sounds just sounded so interesting and potentially useful.&#xD;&#xA;&#xD;&#xA;I know when my daughter was finally old enough I kept the &quot;baby monitors&quot; we used to listen in on her when she was sleeping just in-case I ever possibly needed them for some &quot;worldizing&quot; or any signal processing that they might be appropriate for. I've actually been able to use them a few times to great results. &#xD;&#xA;&#xD;&#xA;I've also heard some storied of people actually having things transmitted through radio transmissions so they can be re-recorded for the results.&#xD;&#xA;&#xD;&#xA;Hopefully some of you have some interesting stories about related things. Please share.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youarelistening.to" ContentLicense="CC BY-SA 2.5" />
  <row Id="11135" PostHistoryTypeId="1" PostId="6497" RevisionGUID="4a36d1f1-8ee6-4a32-b94f-39071615d208" CreationDate="2011-03-13T09:50:39.757" UserId="693" Text="Scanner/Radio/Transmission Fans out there?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11136" PostHistoryTypeId="3" PostId="6497" RevisionGUID="4a36d1f1-8ee6-4a32-b94f-39071615d208" CreationDate="2011-03-13T09:50:39.757" UserId="693" Text="&lt;ambience&gt;&lt;experimental&gt;&lt;music&gt;&lt;radio-frequency&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11137" PostHistoryTypeId="5" PostId="6497" RevisionGUID="912c198a-f191-4ad6-bcdd-8bed525ce0d5" CreationDate="2011-03-13T11:05:22.433" UserId="693" Comment="spelling correction" Text="I recently found this amazing site that mixes a live feed of carefully selected ambient music tracks from soundcloud with police scanner chatter from several cities (only one city at a time) that sounds so unbelieveably lush and just utterly and amazingly beautiful. It's almost creepy how well this actually works together.&#xD;&#xA;&#xD;&#xA;It came to my attention since one of my recent ambient/cinematic pieces was chosen to be one of the featured songs and I got over 1000 plays on soundcloud within 3 days and I was wondering why/how.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here's the site:&#xD;&#xA;&#xD;&#xA;[http://youarelistening.to][1]&#xD;&#xA;&#xD;&#xA;You can choose the city transmission that you want to feed your mix. LA, NY, Chicago, Montreal.&#xD;&#xA;&#xD;&#xA;I also find that it sounds really interesting if you open multiple tabs of the same location and stop the music (soundcloud player) on any/all the duplicates except the original, thus giving you multiple copies of the scanner feed (with a slight time delay on each) on top of the one single ambient song.&#xD;&#xA;&#xD;&#xA;I even took a bit of time to record some of the chatter with variable multitudes of instances because some of the sounds just sounded so interesting and potentially useful.&#xD;&#xA;&#xD;&#xA;I know when my daughter was finally old enough I kept the &quot;baby monitors&quot; we used to listen in on her when she was sleeping just in-case I ever possibly needed them for some &quot;worldizing&quot; or any signal processing that they might be appropriate for. I've actually been able to use them a few times to great results. &#xD;&#xA;&#xD;&#xA;I've also heard some great stories of people actually having things transmitted through radio transmissions (like Walter Murch for THX 1138) so they can be re-recorded it for the &quot;worldized&quot; and unpredictable results.&#xD;&#xA;&#xD;&#xA;Hopefully some of you have some interesting stories about related things. Please share.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youarelistening.to" ContentLicense="CC BY-SA 2.5" />
  <row Id="11138" PostHistoryTypeId="5" PostId="6497" RevisionGUID="7ce1694b-b00f-4006-a06a-f0fcf3f0fda5" CreationDate="2011-03-13T11:18:18.360" UserId="693" Comment="spelling correction" Text="I recently found this amazing site that mixes a live feed of carefully selected ambient music tracks from soundcloud with police scanner chatter from several cities (only one city at a time) that sounds so unbelieveably lush and just utterly and amazingly beautiful. It's almost creepy how well this actually works together.&#xD;&#xA;&#xD;&#xA;It came to my attention since one of my recent ambient/cinematic pieces was chosen to be one of the featured songs and I got over 1000 plays on soundcloud within 3 days and I was wondering why/how.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here's the site:&#xD;&#xA;&#xD;&#xA;[http://youarelistening.to][1]&#xD;&#xA;&#xD;&#xA;You can choose the city transmission that you want to feed your mix. LA, NY, Chicago, Montreal.&#xD;&#xA;&#xD;&#xA;I also find that it sounds really interesting if you open multiple tabs of the same location and stop the music (soundcloud player) on any/all the duplicates except the original, thus giving you multiple copies of the scanner feed (with a slight time delay on each) on top of the one single ambient song.&#xD;&#xA;&#xD;&#xA;I even took a bit of time to record some of the chatter with variable multitudes of instances because some of the sounds just sounded so interesting and potentially useful.&#xD;&#xA;&#xD;&#xA;I know when my daughter was finally old enough I kept the &quot;baby monitors&quot; we used to listen in on her when she was sleeping just in-case I ever possibly needed them for some &quot;worldizing&quot; or any signal processing that they might be appropriate for. I've actually been able to use them a few times to great results. &#xD;&#xA;&#xD;&#xA;I've also heard some great stories of people actually having things transmitted through radio transmissions (like Walter Murch for THX 1138) so they can re-record it for the &quot;worldized&quot; and unpredictable results.&#xD;&#xA;&#xD;&#xA;Hopefully some of you have some interesting stories about related things. Please share.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youarelistening.to" ContentLicense="CC BY-SA 2.5" />
  <row Id="11139" PostHistoryTypeId="2" PostId="6498" RevisionGUID="51d66dd0-d15e-4733-bd8f-2a94dafe89ee" CreationDate="2011-03-13T11:30:24.273" UserId="63" Text="Good morning from Greece guys! I was surfing the internet today and i found something very interesting indeed! A toolkit created for foley artists dedicated for making the classic Swoosh, thud, bash, shwud sounds we see in movies so much. &#xD;&#xA;&#xD;&#xA;I havent't found where you can order this beautiful hand made toolkit but i think anyone can build his own easily if you can find different kind of leather skins. &#xD;&#xA;&#xD;&#xA;I post it here cause i think many will find this project interesting! Enjoy!&#xD;&#xA;Original site here: [Chiara Onida][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://chiarao.blogspot.com/p/work.html&#xD;&#xA;  [2]: http://www.yankodesign.com/images/design_news/2011/03/10/toolkit_01.jpg&#xD;&#xA;  [3]: http://www.yankodesign.com/images/design_news/2011/03/11/toolkit2.jpg&#xD;&#xA;  [4]: http://www.yankodesign.com/images/design_news/2011/03/11/toolkit.jpg&#xD;&#xA;  [5]: http://www.yankodesign.com/images/design_news/2011/03/10/toolkit_04.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="11140" PostHistoryTypeId="1" PostId="6498" RevisionGUID="51d66dd0-d15e-4733-bd8f-2a94dafe89ee" CreationDate="2011-03-13T11:30:24.273" UserId="63" Text="Foley artist leather toolkit!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11141" PostHistoryTypeId="3" PostId="6498" RevisionGUID="51d66dd0-d15e-4733-bd8f-2a94dafe89ee" CreationDate="2011-03-13T11:30:24.273" UserId="63" Text="&lt;foley&gt;&lt;foley-artist&gt;&lt;sound-design&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11142" PostHistoryTypeId="2" PostId="6499" RevisionGUID="d077faaf-efac-4928-aca9-d62a941cb5be" CreationDate="2011-03-13T11:42:04.023" UserId="922" Text="it need to decide what is the purpose of this reel then it helps you to decide what part to take out. For example you want to show game producer that you can make good shoots and war athmosphere or film producer how you work with narration. Trailers it different thing than sound design of whole picture of game. In movie and games they should see that you keep attention on every detail. Trailers especially for movies it short advertising they have 10-20 sec on the TV 30 sec on radio mostly and it's also story but very short it has begining-progress-end. I suggest you to leave EA game but give it more complete form, movie &quot;colonial kitchen&quot; if you have moment how narration is changing ( maybe they leave this restaurant and go to pub:), and work a little bit more on animation, it little bit scretchy on my point of view, maybe it could be soft. and write what is your job exactly in all these cuts.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11143" PostHistoryTypeId="2" PostId="6500" RevisionGUID="a1465f42-2cf9-45f7-87ef-7d6d598b77aa" CreationDate="2011-03-13T14:59:12.990" UserId="587" Text="&lt;b&gt;Scenario:&lt;/b&gt;&#xD;&#xA;&#xD;&#xA;You were picked up by a remotely run (no studio, just run over the internet on no server - skype file transfer only) indie developer, one with a goal in mind by a certain date. You were only asked to sign a NDA and NO OTHER contract. Throughout the relationship you have with the developer you were led to believe that once/if the game is picked up by a publisher, you will have a compensated contract/salary job at the to-be-studio.&#xD;&#xA;&#xD;&#xA;All work was submitted, implemented, and used in the game.&#xD;&#xA;&#xD;&#xA;Immediately after the date/goal, you and the rest of the audio team/composer gets let-go. This included even some of the developers that were responsible for a majority of the visual elements in the game as well. Some of these people after faithfully being with the studio for over a year and a half. The reason given to dropped developers: &quot;The game is going in a different direction,&quot; and then you come to find out the rest of the current developers were being told that the canned developers &quot;found something else&quot; or had been &quot;picked up by other developers,&quot; which was not the case.&#xD;&#xA;&#xD;&#xA;You come to find out that this had happened on smaller scales throughout the dev cycle of the game. And other scenarios as demanding work (in all cases visual elements as models/animations/fx) in an unrealistic time frame, especially with no compensation, then canning the ** volunteer developer ** when they didnt deliver.&#xD;&#xA;&#xD;&#xA;&lt;b&gt;The aftermath:&lt;/b&gt;&#xD;&#xA;&#xD;&#xA;This seems to be a textbook example of pyramid developing. A very significant number of past-developers for the studio are now coming forward with complaints on their history with the company.&#xD;&#xA;&#xD;&#xA;The past-developers are now asking for their material to be pulled, to use their content for other projects and productive sources. The previous developers are asking for their content NOT to be published or legal action will be pursued.&#xD;&#xA;&#xD;&#xA;&lt;b&gt;Question:&lt;/b&gt;&#xD;&#xA;&#xD;&#xA;With no contract stating employment, compensation, nor copyright ownership - do the previous devlopers have a leg to stand on when asking for their content to be pulled from the game?&#xD;&#xA;&#xD;&#xA;My view is that with no ownership of copyright contract, (the project files - session files - and game asset files that were created on the canned developers computers, time stamped and with personal computer info burnt into the project file meta data as proof that they created it and not the project manager) the material is subject for removal of the studios game at the asset creators will. I had to study a year and a half of contract, legal, and copyright in the entertainment industry during my schooling - and it is very much contract based. No contract = no ownership for the receiving party = copyrights are retained by creator.&#xD;&#xA;&#xD;&#xA;Your thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11144" PostHistoryTypeId="1" PostId="6500" RevisionGUID="a1465f42-2cf9-45f7-87ef-7d6d598b77aa" CreationDate="2011-03-13T14:59:12.990" UserId="587" Text="No-Contract Legal Issue" ContentLicense="CC BY-SA 2.5" />
  <row Id="11145" PostHistoryTypeId="3" PostId="6500" RevisionGUID="a1465f42-2cf9-45f7-87ef-7d6d598b77aa" CreationDate="2011-03-13T14:59:12.990" UserId="587" Text="&lt;copyright&gt;&lt;legal&gt;&lt;gameaudio&gt;&lt;indie&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11146" PostHistoryTypeId="2" PostId="6501" RevisionGUID="0eaed99f-f804-40c9-abd8-eb920cc3dfc4" CreationDate="2011-03-13T15:04:21.233" UserId="37" Text="Do any documents matter if you don't have the strength for legal proceedings?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11147" PostHistoryTypeId="2" PostId="6502" RevisionGUID="e690dfba-e419-454a-8034-4cd18edbfb63" CreationDate="2011-03-13T16:16:18.543" UserId="2" Text="Your music and FX compliment it super well! Really awesome music and animation. Well done. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11148" PostHistoryTypeId="2" PostId="6503" RevisionGUID="5f921f38-b31f-4f5c-b81d-e4d9ccd0a6a8" CreationDate="2011-03-13T17:09:29.110" UserId="194" Text="that really is beautiful.  nice find!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11149" PostHistoryTypeId="2" PostId="6504" RevisionGUID="813e78f0-452e-4491-bf59-617afe898811" CreationDate="2011-03-13T17:54:23.483" UserId="238" Text="Nice! Thanks for sharing!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11150" PostHistoryTypeId="2" PostId="6505" RevisionGUID="b7bb8995-f8c7-44b0-b90d-097bfb44f99f" CreationDate="2011-03-13T18:10:19.590" UserId="243" Text="It's me again :D. I have shot the pilot for the reality TV show. It has two main parts the first one is shot in studio (not really too much of a problem), the other part is documentary style. This includes recording sound of their performances, I had a particular issue when it came to the drums; the drown out most of the other sound you could barely hear the vocalist (the drums drown it out and the recording is very distorted). &#xD;&#xA;&#xD;&#xA;We then shot the same band at their performance in a bar, here I used my cheese box (presence of mind) and brought my xenyx 802 mixer, it's a basic mixer but it was the only option I had to get as many recordings as possible. There were to camera and they used their onboard mics. I used the 2 XLR inputs on the mixer to jack into the guitar amp and the other into a microphone that was possitioned facing the band. N.B it was a VERY low budget production (pilot) so I did the best with what I had. &#xD;&#xA;&#xD;&#xA;I got a clean recording of the lead guitar (jack to amp to mixer) and the other dynamic microphone picked up the rest (drums, bass and vocals). There was still distortion on the dynamic microphone but it was adequate enough to capture the feel and sound of the amateur rock band.  &#xD;&#xA;&#xD;&#xA;What I want to know is (with a set recorder: we can only get the zoom H4n) is there a way to cut down on the distortion on the drums? I imagine it would be a low cut filter, but that would be a condenser microphone (me66 most probably because all the sound gear hired would need to be multi-functional. I'm nervous of using a condeser like the me66 for this purpose (it's directional) whereas a dynamic microphone could pick up everything else. &#xD;&#xA;&#xD;&#xA;It must be noted that the band is amateur so I don't have the luxury of having a p.a system and or mixer to record. Ni ether can I plug straight into the singer's microphone because they need it for playback. &#xD;&#xA;&#xD;&#xA;Basically because it is a reality T.V show, the recording is pretty much guerrilla style. The crew need to be able to mve on their feet pretty quickly so during the performace I manned the mixer (hence the camera's recording interviews on the on boards). &#xD;&#xA;&#xD;&#xA;Finished post production and my worrying/stressing about the sound turned out to be unnecessary. The quality of the performance recordings is acceptable considering it is reality TV, but I want to know if the recordings of the bands' performance can be perfect, take into consideration I will have access to 2 me66s, a lapel and a zoom H4n. &#xD;&#xA;&#xD;&#xA;Does the zoom H4n haea low cut filter on it? I have never used one before but I will try go passed the place where we will rent it from to double check." ContentLicense="CC BY-SA 2.5" />
  <row Id="11151" PostHistoryTypeId="1" PostId="6505" RevisionGUID="b7bb8995-f8c7-44b0-b90d-097bfb44f99f" CreationDate="2011-03-13T18:10:19.590" UserId="243" Text="live performances" ContentLicense="CC BY-SA 2.5" />
  <row Id="11152" PostHistoryTypeId="3" PostId="6505" RevisionGUID="b7bb8995-f8c7-44b0-b90d-097bfb44f99f" CreationDate="2011-03-13T18:10:19.590" UserId="243" Text="&lt;reality-tv&gt;&lt;recording-live-performanc&gt;&lt;avoid-distortion&gt;&lt;guerrilla-style-recording&gt;&lt;clean-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11153" PostHistoryTypeId="2" PostId="6506" RevisionGUID="a8f94a1b-3c07-4b29-94a0-66bc7e68cc4d" CreationDate="2011-03-13T18:56:31.480" UserId="922" Text="What music libraries your are using? Can you advise some not very pricy ones with rock, ska, raggae, so modern music in good quality?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11154" PostHistoryTypeId="1" PostId="6506" RevisionGUID="a8f94a1b-3c07-4b29-94a0-66bc7e68cc4d" CreationDate="2011-03-13T18:56:31.480" UserId="922" Text="music libraries" ContentLicense="CC BY-SA 2.5" />
  <row Id="11155" PostHistoryTypeId="3" PostId="6506" RevisionGUID="a8f94a1b-3c07-4b29-94a0-66bc7e68cc4d" CreationDate="2011-03-13T18:56:31.480" UserId="922" Text="&lt;music&gt;&lt;television&gt;&lt;copyright&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11156" PostHistoryTypeId="6" PostId="6505" RevisionGUID="c65846a1-47a8-4b41-90de-ba1b17647df8" CreationDate="2011-03-13T19:41:52.953" UserId="2" Comment="clean up tags" Text="&lt;reality-tv&gt;&lt;recording&gt;&lt;live-performance&gt;&lt;distortion&gt;&lt;guerrilla&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11157" PostHistoryTypeId="2" PostId="6507" RevisionGUID="4f61f2d9-0729-4b84-903c-bff31aab423c" CreationDate="2011-03-13T19:53:27.673" UserId="587" Text="http://www.5alarmmusic.com/&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11158" PostHistoryTypeId="2" PostId="6508" RevisionGUID="dc0b1345-04fd-436c-b6db-8ca317f99594" CreationDate="2011-03-13T20:04:34.020" UserId="587" Text="Lo Cut isnt the issue, dont use a low cut - you arent clipping the signal because of a low frequencies unless you have thrown the mic up against the kick. &#xD;&#xA;&#xD;&#xA;I would position the stereo pair on the h4n in front of the band a ways back, but not too far to pick up too much room, and then place a sm57 closer to the singers speaker output (since you arent using a PA, im guessing he/she is using something to amplify the voice) and another sm57 or like an audix D6 at the bass amp. This will capture your drums and guitar naturally and give you control over the bass and vox levels. If you want to raise your guitar in the mix, just raise the mid-mid/highs using an EQ.&#xD;&#xA;&#xD;&#xA;If I remember correctly you can 4 channel the h4 using both mic inputs and the onboard stereo pair at the same time.&#xD;&#xA;&#xD;&#xA;Also look into using the onboard limiter and compressor as well. This will level out your dynamics making a live performance sound more even with this type of quick setup and low budget recording." ContentLicense="CC BY-SA 2.5" />
  <row Id="11159" PostHistoryTypeId="2" PostId="6509" RevisionGUID="9101b6d4-afa4-4e7e-afbb-f02a70cee1ec" CreationDate="2011-03-13T20:27:25.330" UserId="786" Text="This is cool! Fantastic and unusual combination of sound and design...." ContentLicense="CC BY-SA 2.5" />
  <row Id="11160" PostHistoryTypeId="2" PostId="6510" RevisionGUID="a426f1be-d672-4934-8279-83e856888a07" CreationDate="2011-03-13T20:47:47.683" UserId="220" Text="Looks cool.  The guy has some interesting sound-related items, including a &quot;dictionary of sound&quot; where he tries to put into onomatopoeic words the sounds an item can make.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11161" PostHistoryTypeId="2" PostId="6511" RevisionGUID="6862b655-3ca0-405f-b4cf-12943e83427f" CreationDate="2011-03-13T22:12:31.727" UserId="393" Text="Search MySpace, Facebook, and other places bands put music and contact them about using their music in whatever project you're working on.  You can possibly get music for cheap or free that way.&#xD;&#xA;&#xD;&#xA;Another option is to look for composers that can easily write that stuff for you (for instance, I've played in rock, punk, metal, ska, and reggae bands for the last thirteen years)." ContentLicense="CC BY-SA 2.5" />
  <row Id="11162" PostHistoryTypeId="2" PostId="6512" RevisionGUID="6f241d0b-da49-48d6-8ea6-c40e7dbe7c52" CreationDate="2011-03-14T02:22:18.790" UserId="253" Text="I'm not sure how well known this tip is, but some foley artists i've met use Mr Sheen (furniture polish, not the actor) to make the leather extra creaky." ContentLicense="CC BY-SA 2.5" />
  <row Id="11163" PostHistoryTypeId="2" PostId="6513" RevisionGUID="1b441f9c-14d0-40f2-883e-5a3b12a2321e" CreationDate="2011-03-14T02:26:37.123" UserId="253" Text="I'm not sure about the legal side, but make an entry in http://www.ripoffreport.com/&#xD;&#xA;&#xD;&#xA;In my experience, entries on this site rank pretty high on google. So, at very least, it could serve as a warning to anyone thinking of working with them." ContentLicense="CC BY-SA 2.5" />
  <row Id="11164" PostHistoryTypeId="2" PostId="6514" RevisionGUID="db1ae61b-0da1-48a4-bef3-3d62796e0f6e" CreationDate="2011-03-14T03:12:07.803" UserId="930" Text="Check out the 'Franssen Effect' aswell!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11165" PostHistoryTypeId="2" PostId="6515" RevisionGUID="fdc2ee17-6cf5-4201-9ec2-be0dad968ae8" CreationDate="2011-03-14T09:50:08.320" UserId="2" Text="I watched the excellent documentary, [Catfish][1]. The sound was done by Coll Anderson. &#xD;&#xA;&#xD;&#xA;There's debate as to whether or not it is real. I wonder if we can tell from the sound if it is or not. &#xD;&#xA;&#xD;&#xA;**[spoiler alert]** &#xD;&#xA;&#xD;&#xA;When they are meeting the family, which supposedly do not know that they are filming, they all sound decently miked. This means (I think) that they would either see a boom or have had a radio mic put onto them... &#xD;&#xA;&#xD;&#xA;Any thoughts?    &#xD;&#xA;&#xD;&#xA;*ps: this is an after thought, I would need to watch it again to make sure.* &#xD;&#xA;  [1]: http://www.imdb.com/title/tt1584016/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11166" PostHistoryTypeId="1" PostId="6515" RevisionGUID="fdc2ee17-6cf5-4201-9ec2-be0dad968ae8" CreationDate="2011-03-14T09:50:08.320" UserId="2" Text="Catfish - Can we tell from the sound if it's real or not? " ContentLicense="CC BY-SA 2.5" />
  <row Id="11167" PostHistoryTypeId="3" PostId="6515" RevisionGUID="fdc2ee17-6cf5-4201-9ec2-be0dad968ae8" CreationDate="2011-03-14T09:50:08.320" UserId="2" Text="&lt;analysis&gt;&lt;documentary&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11168" PostHistoryTypeId="2" PostId="6516" RevisionGUID="f25b4b07-45c2-4e90-86d5-e48ccf9598d0" CreationDate="2011-03-14T11:00:26.467" UserId="931" Text="I have yet to watch it but a lot of &quot;documentaries&quot; and reality based productions are in fact staged.&#xD;&#xA;&#xD;&#xA;They also could have dubbed everything with ADR? Although I think that is probably not too cost effective if you ask me." ContentLicense="CC BY-SA 2.5" />
  <row Id="11169" PostHistoryTypeId="2" PostId="6517" RevisionGUID="4823d083-18ff-4761-bd76-c8f4c7674b5e" CreationDate="2011-03-14T11:03:17.683" UserId="931" Text="I read about this on reddit, I feel very sorry for the whole team. &#xD;&#xA;Maybe you guys could get together and try to contact a lawyer as a whole. With all your logs there might be something that can be done?&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="11170" PostHistoryTypeId="2" PostId="6518" RevisionGUID="2eb3767f-749d-4efa-a4cd-5164e2b4c574" CreationDate="2011-03-14T12:36:00.110" UserId="432" Text="I haven't seen this one, but I work on documentaries and am replacing sound ALL THE TIME!&#xD;&#xA;&#xD;&#xA;I try to stick with the actual sounds that were recorded, or at least cut in a clean version of a sound from what we're actually hearing, but it's not  uncommon to have producers/directors ask for the sound to be changed for more impact or &quot;realism.&quot; It can be very strange at times." ContentLicense="CC BY-SA 2.5" />
  <row Id="11171" PostHistoryTypeId="5" PostId="6516" RevisionGUID="9101ec30-7412-4dcd-9061-233bd914eaee" CreationDate="2011-03-14T13:59:26.890" UserId="931" Comment="added 242 characters in body" Text="I have yet to watch it but a lot of &quot;documentaries&quot; and reality based productions are in fact staged.&#xD;&#xA;&#xD;&#xA;They also could have dubbed everything with ADR? Although I think that is probably not too cost effective if you ask me.&#xD;&#xA;&#xD;&#xA;edit: I am watching it right now and it seems the set-up is the following:&#xD;&#xA;-One lavalier mic, under Nev's shirt.&#xD;&#xA;-The camera built-in Microphone..&#xD;&#xA;&#xD;&#xA;With this you should be able to pick up voice that is relatively close quite decently." ContentLicense="CC BY-SA 2.5" />
  <row Id="11172" PostHistoryTypeId="5" PostId="6488" RevisionGUID="d84e63e2-eff9-4df0-82f7-aa48b894d123" CreationDate="2011-03-14T14:26:49.797" UserId="194" Comment="added link" Text="I just did a [100 whooshes][1] session yesterday using only water elements for a project.&#xD;&#xA;&#xD;&#xA;What I've found is that if you make good 96k recordings of various above ground water sources and varispeed them down to the 15-30% range you end up with and underwater vibe that retains the high end.  Run them through a doppler and you get whooshes.  I used streams, a very gently moving fountain and a small distant waterfall as my sources.&#xD;&#xA;&#xD;&#xA;I'll post some up later on.&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;update: here's some of the output.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[soundcloud]rcoronado/underwater-wave-whooshes[/soundcloud]&#xD;&#xA;&#xD;&#xA;Source recordings were all done with a PCM D50.  Sources included fountains, streams, small waterfalls and a car wash sprayer.&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/02/charles-deenen-special-100-whooshes-in-2-minutes/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11173" PostHistoryTypeId="2" PostId="6519" RevisionGUID="04c77d45-8ad8-4a75-b082-8ec736981668" CreationDate="2011-03-14T15:46:13.750" UserId="693" Text="It seems that this isn't something that's commercially available. It looks to be more of a student project based on the info from the site.&#xD;&#xA;&#xD;&#xA;It's still a really neat idea. The tools will eventually become less and less easy to get variation out of, and will eventually only be useful for doing sounds in sync but even at that point I'm sure you can still get some great sounds out of it if used creatively." ContentLicense="CC BY-SA 2.5" />
  <row Id="11174" PostHistoryTypeId="2" PostId="6520" RevisionGUID="8c00179f-c135-4292-8cb0-21a963cf9370" CreationDate="2011-03-14T16:04:38.517" UserId="805" Text="The initial meeting, before they go back to the car to grab more equipment doesn't sound too great. I think after the initial introduction they would have been miked in some way. As for real/fake, I think it's a bit of both. Either way, it's one of the most enjoyable films I've seen for years. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11175" PostHistoryTypeId="2" PostId="6521" RevisionGUID="29243ab7-f62b-4ee1-b262-9f0f99b9d4e3" CreationDate="2011-03-14T20:04:25.847" UserId="338" Text="How do you make a sound, sound &quot;soft around the edges?&quot;   &#xD;&#xA;&#xD;&#xA;I know that you can compress a reversed sound and then reverse it again.&#xD;&#xA;Fluffy crossed with cartoon is the sound quality.&#xD;&#xA;&#xD;&#xA;Reverb? Compression? EQ?  Layering?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11176" PostHistoryTypeId="1" PostId="6521" RevisionGUID="29243ab7-f62b-4ee1-b262-9f0f99b9d4e3" CreationDate="2011-03-14T20:04:25.847" UserId="338" Text="How to make a sound soft and cartoony" ContentLicense="CC BY-SA 2.5" />
  <row Id="11177" PostHistoryTypeId="3" PostId="6521" RevisionGUID="29243ab7-f62b-4ee1-b262-9f0f99b9d4e3" CreationDate="2011-03-14T20:04:25.847" UserId="338" Text="&lt;design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11178" PostHistoryTypeId="2" PostId="6522" RevisionGUID="e6c16517-84e8-4e4d-af42-268f4d57763e" CreationDate="2011-03-14T20:08:41.300" UserId="338" Text="Does everybody use a -3dB pan depth?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11179" PostHistoryTypeId="1" PostId="6522" RevisionGUID="e6c16517-84e8-4e4d-af42-268f4d57763e" CreationDate="2011-03-14T20:08:41.300" UserId="338" Text="How is your pan depth set?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11180" PostHistoryTypeId="3" PostId="6522" RevisionGUID="e6c16517-84e8-4e4d-af42-268f4d57763e" CreationDate="2011-03-14T20:08:41.300" UserId="338" Text="&lt;depth&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11181" PostHistoryTypeId="2" PostId="6523" RevisionGUID="05218e36-e459-4562-9db8-9ab093abdd03" CreationDate="2011-03-14T20:15:08.630" UserId="587" Text="Try baking in reverb on a duplicate layer and mixing the dry and wet that way. Sometimes it helps to be able to process the dry and wet layers independently.&#xD;&#xA;&#xD;&#xA;Drop some of the presence out of the sound, the frequencies humans hear at a higher volume than others because of the way we perceive sound. I believe this is based on the Flecher-Munson Curve. Look here: http://www.vettaville.nl/vvFletcher%20Munson%20eng.htm and see where it says around 500-5000hz we perceive these to be louder than lower or higher frequencies. Drop some of these out and maybe it will feel less detailed, adding to your fuzziness quality (in addition to the other techniques as well).&#xD;&#xA;&#xD;&#xA;I know older recordings sound a lot less crisp than newer, well recorded audio. Try looking online or in your library for some old recordings and layer those in. Sometimes that thick muffled quality can be exactly what layer you are looking to add.&#xD;&#xA;&#xD;&#xA;I know the Hana Barbara stuff is very cartoony, this library might have the more cartoony layers for your design as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="11182" PostHistoryTypeId="2" PostId="6524" RevisionGUID="45a0f2b8-4d73-419e-949d-09dae75c3942" CreationDate="2011-03-14T20:18:50.840" UserId="587" Text="I believe thats pretty much the standard according to the stereo pan law. I hear it translates into mono better as well.&#xD;&#xA;&#xD;&#xA;I think some DAWs let you change the setting to others, but the only other setting I have seen/heard of is the -4.5 for SSL consoles." ContentLicense="CC BY-SA 2.5" />
  <row Id="11183" PostHistoryTypeId="2" PostId="6525" RevisionGUID="a9a0c814-4ffb-4384-946b-8cb37ad50a61" CreationDate="2011-03-14T20:47:36.807" UserId="194" Text="Not to answer my own question here, but ![this link][1] was kind of causally posted in one of Tim Prebble's detritus posts recently, and I almost missed it.&#xD;&#xA;&#xD;&#xA;Its actually a big discussion and meditation on whether to be a generalist or a specialist.  &#xD;&#xA;&#xD;&#xA;Two things I picked up from this.  &#xD;&#xA;&#xD;&#xA;1)There's an element of innate bias towards generalism or specialization that one can't really control, so the best option would be to identify it and roll towards it.  In my case, I *think* I'm innately a generalist, despite my desire to be a specialist.  This comes mostly after looking this chart over:&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;2)Generalism vs specialization is a matter of context.  Here's another quote from the post linked above:&#xD;&#xA;&#xD;&#xA;&gt; Winston Fletcher, in his book Tantrums&#xD;&#xA;&gt; and Talent – How to get the best from&#xD;&#xA;&gt; creative people:&#xD;&#xA;&gt; &#xD;&#xA;&gt;&quot; In the creative industries specialisation of labour applies with&#xD;&#xA;&gt; a vengeance. Most creators, thought&#xD;&#xA;&gt; they may not realise it, have a narrow&#xD;&#xA;&gt; range of creative abilities. Feature&#xD;&#xA;&gt; writers rarely make good fictions&#xD;&#xA;&gt; writers; designers are quite different&#xD;&#xA;&gt; from illustrators; fashion&#xD;&#xA;&gt; photographers can’t shoot portraits;&#xD;&#xA;&gt; still photographers can’t shoot&#xD;&#xA;&gt; movies; in advertising few creators of&#xD;&#xA;&gt; press advertising are really good at&#xD;&#xA;&gt; television commercials…. one of my&#xD;&#xA;&gt; partners is an outstanding editor of&#xD;&#xA;&gt; comedy programmes. At a pinch he can&#xD;&#xA;&gt; edit anything – but he has an instinct&#xD;&#xA;&gt; for the timing of hilarious sequences.&quot;&#xD;&#xA;&gt;     (Tantrums and Talent, p.49)&#xD;&#xA;&#xD;&#xA;This applies easily to audio.  A great field recordist may not be the best film mixer, ADR editor or sound designer.  The scope of audio is so wide as to invite the label of a generalist from within and specialist from outside of the field.  Labels don't matter so much, its focus and effort that do to me.  Labels give me some context though, in that I can draw comfort from certain decisions.  &#xD;&#xA;&#xD;&#xA;In the end there are no easy answers, and certain strategic decisions are already kind of made for us both through genetics and environment.  I'm still kind of thinking on this though, because I believe that the conscious decisions that we make in this respect are important.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wishfulthinking.co.uk/2008/03/11/is-it-better-to-be-a-creative-generalist-or-a-specialist/&#xD;&#xA;  [2]: http://www.wishfulthinking.co.uk/blog/wp-content/samecoin.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="11184" PostHistoryTypeId="5" PostId="6525" RevisionGUID="143ae921-c973-4ee8-b66a-3d680010154d" CreationDate="2011-03-14T20:54:37.977" UserId="194" Comment="added 105 characters in body" Text="Not to answer my own question here, but ![this link][1] was kind of causally posted in one of Tim Prebble's detritus posts recently, and I almost missed it.&#xD;&#xA;&#xD;&#xA;http://www.wishfulthinking.co.uk/2008/03/11/is-it-better-to-be-a-creative-generalist-or-a-specialist/&#xD;&#xA;&#xD;&#xA;Its actually a big discussion and meditation on whether to be a generalist or a specialist.  &#xD;&#xA;&#xD;&#xA;Two things I picked up from this.  &#xD;&#xA;&#xD;&#xA;1)There's an element of innate bias towards generalism or specialization that one can't really control, so the best option would be to identify it and roll towards it.  In my case, I *think* I'm innately a generalist, despite my desire to be a specialist.  This comes mostly after looking this chart over:&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;2)Generalism vs specialization is a matter of context.  Here's another quote from the post linked above:&#xD;&#xA;&#xD;&#xA;&gt; Winston Fletcher, in his book Tantrums&#xD;&#xA;&gt; and Talent – How to get the best from&#xD;&#xA;&gt; creative people:&#xD;&#xA;&gt; &#xD;&#xA;&gt;&quot; In the creative industries specialisation of labour applies with&#xD;&#xA;&gt; a vengeance. Most creators, thought&#xD;&#xA;&gt; they may not realise it, have a narrow&#xD;&#xA;&gt; range of creative abilities. Feature&#xD;&#xA;&gt; writers rarely make good fictions&#xD;&#xA;&gt; writers; designers are quite different&#xD;&#xA;&gt; from illustrators; fashion&#xD;&#xA;&gt; photographers can’t shoot portraits;&#xD;&#xA;&gt; still photographers can’t shoot&#xD;&#xA;&gt; movies; in advertising few creators of&#xD;&#xA;&gt; press advertising are really good at&#xD;&#xA;&gt; television commercials…. one of my&#xD;&#xA;&gt; partners is an outstanding editor of&#xD;&#xA;&gt; comedy programmes. At a pinch he can&#xD;&#xA;&gt; edit anything – but he has an instinct&#xD;&#xA;&gt; for the timing of hilarious sequences.&quot;&#xD;&#xA;&gt;     (Tantrums and Talent, p.49)&#xD;&#xA;&#xD;&#xA;This applies easily to audio.  A great field recordist may not be the best film mixer, ADR editor or sound designer.  The scope of audio is so wide as to invite the label of a generalist from within and specialist from outside of the field.  Labels don't matter so much, its focus and effort that do to me.  Labels give me some context though, in that I can draw comfort from certain decisions.  &#xD;&#xA;&#xD;&#xA;In the end there are no easy answers, and certain strategic decisions are already kind of made for us both through genetics and environment.  I'm still kind of thinking on this though, because I believe that the conscious decisions that we make in this respect are important.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wishfulthinking.co.uk/2008/03/11/is-it-better-to-be-a-creative-generalist-or-a-specialist/&#xD;&#xA;  [2]: http://www.wishfulthinking.co.uk/blog/wp-content/samecoin.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="11188" PostHistoryTypeId="2" PostId="6527" RevisionGUID="6abf3d46-c984-4455-ba6d-2fd888a5e81f" CreationDate="2011-03-14T21:14:40.733" UserId="338" Text="How would you separate the early reflections from the diffuse in an Impulse Response?&#xD;&#xA;&#xD;&#xA;I'm talking about before you put it into a convolution plugin.&#xD;&#xA;&#xD;&#xA;I'd like to use only the early responses of a file but IR-L is not built for that kind of massive processing.  &#xD;&#xA;&#xD;&#xA;The IR could be any type of sound really, how would you separate the early reflections from the diffuse?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11189" PostHistoryTypeId="1" PostId="6527" RevisionGUID="6abf3d46-c984-4455-ba6d-2fd888a5e81f" CreationDate="2011-03-14T21:14:40.733" UserId="338" Text="Seperating Early reflections from Diffuse in an Impulse Response" ContentLicense="CC BY-SA 2.5" />
  <row Id="11190" PostHistoryTypeId="3" PostId="6527" RevisionGUID="6abf3d46-c984-4455-ba6d-2fd888a5e81f" CreationDate="2011-03-14T21:14:40.733" UserId="338" Text="&lt;ir&gt;&lt;convolution&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11192" PostHistoryTypeId="2" PostId="6528" RevisionGUID="ec3012aa-3666-4b18-aafb-5193453e8b9f" CreationDate="2011-03-15T00:11:58.337" UserId="670" Text="I'm looking into getting some bass traps for my tiny apartment room. Has anyone heard of The Foam Factory company? They sell foam bass traps and my budget is pretty low. I was thinking about putting one or two in each corner of the room. What do you guys think? &#xD;&#xA;http://www.thefoamfactory.com/acousticfoam/bassbroad.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="11193" PostHistoryTypeId="1" PostId="6528" RevisionGUID="ec3012aa-3666-4b18-aafb-5193453e8b9f" CreationDate="2011-03-15T00:11:58.337" UserId="670" Text="Looking into bass traps" ContentLicense="CC BY-SA 2.5" />
  <row Id="11194" PostHistoryTypeId="3" PostId="6528" RevisionGUID="ec3012aa-3666-4b18-aafb-5193453e8b9f" CreationDate="2011-03-15T00:11:58.337" UserId="670" Text="&lt;bass&gt;&lt;room-treatment&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11195" PostHistoryTypeId="2" PostId="6529" RevisionGUID="22e62b10-bf22-4a9d-8ff2-c71dcdc60a90" CreationDate="2011-03-15T00:17:22.713" UserId="338" Text="I can't say anything about bass traps but I have outfitted my bedroom 16/18 foot (????) with OC panels about 9 of them and in the corners (incidentally where my speakers are pointing) i have them hung &quot;caddy corner.&quot;  &#xD;&#xA;&#xD;&#xA;The room is carpeted and the freq response in the room is nice after the panels and this severely helped with bass management as well.  I could stuff blankets behind the corner panels if I had the time/money or use foam and it would probably cut down on the bass a little bit.&#xD;&#xA;&#xD;&#xA;It is incredibly important to be working in a treated room and anything that you can do towards this, you will notice and appreciate in the end.&#xD;&#xA;&#xD;&#xA;The 9 OC panels after hanging and wrapping cost me around 250-300 dollars.  Over a couple months, that was do'able for me." ContentLicense="CC BY-SA 2.5" />
  <row Id="11196" PostHistoryTypeId="2" PostId="6530" RevisionGUID="99cb7e11-337e-40b7-88fd-0e8ce0f7c8f8" CreationDate="2011-03-15T01:53:06.360" UserId="61" Text="Altiverb gives you separate controls for both ER and Tail (gain and delay). I haven't used TL Space in a while but I believe that also provides separate controls for those parameters. These processes are obviously done post-IR conversion; I don't know of a method of stripping the ER out from the longer reverberation before using the IR in a convolution plug-in." ContentLicense="CC BY-SA 2.5" />
  <row Id="11197" PostHistoryTypeId="2" PostId="6531" RevisionGUID="07df3127-e4ca-4188-a8a3-242ff3f178b6" CreationDate="2011-03-15T05:32:52.557" UserId="587" Text="Im with Jay - but this plug-in might do something you would like:&#xD;&#xA;&#xD;&#xA;http://www.sonnoxplugins.com/pub/plugins/products/Reverb-Product_Info.htm&#xD;&#xA;&#xD;&#xA;Look into that. It may be worth your time.&#xD;&#xA;&#xD;&#xA;It has an independent ER mix fader." ContentLicense="CC BY-SA 2.5" />
  <row Id="11198" PostHistoryTypeId="2" PostId="6532" RevisionGUID="f68b4a95-e255-4594-b535-ab923b7d12f3" CreationDate="2011-03-15T07:25:02.660" UserId="2" Text="I was shooting on a beach with gail force wind... The actress was literally acting at a 45º angle to prevent from flying away! Thanks to the Rycote [lavalier windjammers][1], the wind didn't destroy everything.  &#xD;&#xA;&#xD;&#xA;That said, I feel like the wind added a lot of interference. Spurts of interference to be more precise. I really had to be as close as possible to the transmitter to minimize this. I obviously changed channels to check that that wasn't the issue. &#xD;&#xA;&#xD;&#xA;Is this a common problem? Or is it merely a coincidence?  &#xD;&#xA;&#xD;&#xA;I have the Sennheiser G3. &#xD;&#xA;&#xD;&#xA;Thanks! &#xD;&#xA;  [1]: http://www.rycote.com/products/personal_mic_solutions/lavalier_windjammer_furry/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11199" PostHistoryTypeId="1" PostId="6532" RevisionGUID="f68b4a95-e255-4594-b535-ab923b7d12f3" CreationDate="2011-03-15T07:25:02.660" UserId="2" Text="Does wind affect radio mic transmission? " ContentLicense="CC BY-SA 2.5" />
  <row Id="11200" PostHistoryTypeId="3" PostId="6532" RevisionGUID="f68b4a95-e255-4594-b535-ab923b7d12f3" CreationDate="2011-03-15T07:25:02.660" UserId="2" Text="&lt;wireless&gt;&lt;problem&gt;&lt;location-recording&gt;&lt;interference&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11201" PostHistoryTypeId="2" PostId="6533" RevisionGUID="0bbe8cb8-d178-44f9-b19d-1d61ee113b56" CreationDate="2011-03-15T09:04:16.567" UserId="338" Text="This is a massive thread (hopefully next year have thousands of responses) to share the possibilities of modifications, modulations, tremolations, reverberations, layerations, tricks, techniques, psychoacoustics, processing, victories, defeats, and examples, ideas, interesting results, themes, your process, signal flow, changes over time, unique things other people never thought of...&#xD;&#xA;&#xD;&#xA;Once we pass on knowledge to others, it clears a space in the mind where we had this knowledge and that space is then available to be developed with fresh, new ideas.  Teaching someone is often the best way to learn.  This thread will benefit the person who divulges their experience and it also benefit the person who reads this new idea and is able to learn something new.   It's like subtractive EQ by taking away, you are actually adding.  People all over the world will look at this thread and if you have time, share something that you have discovered, it might inspire you to create something new, and if you can share that maybe the cycle will continue.&#xD;&#xA;&#xD;&#xA;Something that inspired me to make this thread is when I was messing with convolution and I found a clip of laughter.  I shortened it to around a millisecond and put it into a reverb and sent it to a mono voice recording.  The sound was really happy, way happier than the laughter itself.  It sounded almost &quot;pad-like.&quot;  &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11202" PostHistoryTypeId="1" PostId="6533" RevisionGUID="0bbe8cb8-d178-44f9-b19d-1d61ee113b56" CreationDate="2011-03-15T09:04:16.567" UserId="338" Text="Massive thread of ideas, processes, processing, techniques, examples, to help you help yourself (while sharing with others)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11203" PostHistoryTypeId="3" PostId="6533" RevisionGUID="0bbe8cb8-d178-44f9-b19d-1d61ee113b56" CreationDate="2011-03-15T09:04:16.567" UserId="338" Text="&lt;sound-design&gt;&lt;ideas&gt;&lt;examples&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11204" PostHistoryTypeId="2" PostId="6534" RevisionGUID="992aadc6-973b-431b-a80d-53945c704304" CreationDate="2011-03-15T10:20:02.663" UserId="63" Text="Concerning physics this should not happen at all as far as i know Andrew. The wave length of the broadcast is far greater and very different than the actual wind frequencies.&#xD;&#xA;&#xD;&#xA;Probably the wind was so strong that surpassed the windjammers?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11205" PostHistoryTypeId="2" PostId="6535" RevisionGUID="40f01d6e-ad8b-446d-9c7e-22ea392589cd" CreationDate="2011-03-15T11:12:29.717" UserId="578" Text="There's something I don't understand about the Soundsnap licensing model, and this has prevented me from really using so far, even though I'm interested in subscribing for the 'Annual pack'.&#xD;&#xA;&#xD;&#xA;In the FAQ it says:&lt;br&gt;&#xD;&#xA;&lt;em&gt;For how long can I use the downloads I bought? Are there limitations?&lt;/em&gt; &lt;br&gt;&#xD;&#xA;There is a limitation of two years on all packs you purchase. &lt;br&gt;You will have to download your sounds within two years after your first download.&#xD;&#xA;&#xD;&#xA;But in the license itself I cannot find anything about having a 2 year restriction on the license of the sounds I purchase. How does this work then? I don't really like the idea of having to renew the license on sounds I purchased every two years. Maybe I'm just confused by the wording of the FAQ question/answer though?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11206" PostHistoryTypeId="2" PostId="6536" RevisionGUID="ab70e243-3dd1-4900-a6a3-214e959bb662" CreationDate="2011-03-15T14:30:44.523" UserId="393" Text="Where I'm at in my career in sound -- near novice -- I have no choice but to raise the floor.  Directors and game designers in my budget-bracket can't afford anything but a one-shot guy (and 95% of what I do is in the box).  It's unfortunate, really... I'd love more of a chance to get out and record." ContentLicense="CC BY-SA 2.5" />
  <row Id="11207" PostHistoryTypeId="2" PostId="6537" RevisionGUID="197a15a9-bb27-4be5-8f0f-42504dfcc863" CreationDate="2011-03-15T14:36:41.310" UserId="432" Text="Radio frequencies are essentially transmissions of light. We'll stay away from the discussions of wave based matter (photons) since that not what this site is about....that and the fact that I'd be talking out of my ass. ;)&#xD;&#xA;&#xD;&#xA;Nikos is probably right. As an example, they do have the &quot;high wind&quot; variants for the zeppling kits, which are a lot denser than the typical dead cat.&#xD;&#xA;&#xD;&#xA;Another possibility is that wind was putting strain on the receiving antenna. If alignment with the actual signal gets off, you may pick up interference. That's my best guess outside actual wind noise." ContentLicense="CC BY-SA 2.5" />
  <row Id="11208" PostHistoryTypeId="2" PostId="6538" RevisionGUID="97828db9-57aa-41a2-ab3e-ef03b609872e" CreationDate="2011-03-15T14:37:59.170" UserId="393" Text="Wind by itself cannot effect wireless transmissions, but it can have side effects that can, like raising the static electricity in an area.  Also, if the wind was a byproduct of a storm front, lightning and thunder storms can effect the signal, too.&#xD;&#xA;&#xD;&#xA;What wind can do, though, is greatly distort sound waves by changing the air pressure between the source and the mic -- and, thus, changing the speed and direction in which the sound waves are traveling." ContentLicense="CC BY-SA 2.5" />
  <row Id="11209" PostHistoryTypeId="2" PostId="6539" RevisionGUID="5a70f466-33b6-4581-8a8d-7c99859a6836" CreationDate="2011-03-15T15:49:08.620" UserId="393" Text="I know it's been covered before about permissions and clearance for field recording -- and the general rule of thumb is to ask forgiveness not permission; be courteous and upfront if approached by people of authority; and leave if and when they ask you to -- but what about areas that there's absolutely no way to simply walk into.  Hospitals, military bases, ect.&#xD;&#xA;&#xD;&#xA;**How do you go about getting permission to record in those areas?  Do you have a usual shpeal you tell to their HR / PR / Risk Management departments?  Do you have to worry about HIPAA and levels of military clearance?**&#xD;&#xA;&#xD;&#xA;Any tips or guidance on this would be awesome, as it's something I'll probably be dealing with in the next few months (for work, for a sound-related study in medical simulation, which I'm pretty excited about)." ContentLicense="CC BY-SA 2.5" />
  <row Id="11210" PostHistoryTypeId="1" PostId="6539" RevisionGUID="5a70f466-33b6-4581-8a8d-7c99859a6836" CreationDate="2011-03-15T15:49:08.620" UserId="393" Text="Field-recording in areas you absolutely need clearance for" ContentLicense="CC BY-SA 2.5" />
  <row Id="11211" PostHistoryTypeId="3" PostId="6539" RevisionGUID="5a70f466-33b6-4581-8a8d-7c99859a6836" CreationDate="2011-03-15T15:49:08.620" UserId="393" Text="&lt;field-recording&gt;&lt;clearance&gt;&lt;legal&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11212" PostHistoryTypeId="2" PostId="6540" RevisionGUID="1df2489e-bcb9-4f12-8b39-fa13029dd88c" CreationDate="2011-03-15T16:38:11.347" UserId="2" Text="What I do is whenever I shoot on a location that might be useful (military base, animal rehabilitation center, etc.) I get a contact detail and introduce myself as a sound effects recordist, then sweetly tell them that I would LOVE to go back without cameras and just record sounds. This has been my way in many times. &#xD;&#xA;&#xD;&#xA;Apart from that, it's really about who you know. For example, last year, I met the head engineer for the [Gautrain][1], and explained what I do and said that it would be amazing to record during their tests. He managed to get me in (although the dates never worked out because I was booked on another job). But generally, people with clout in the organization/enterprise will be able to get you in.  &#xD;&#xA;&#xD;&#xA;How to do it officially, well I have no idea!  &#xD;&#xA;&#xD;&#xA;*ps: this is in South Africa... probably not as hectic as in other countries.*  &#xD;&#xA;&#xD;&#xA;  [1]: http://www.gautrain.co.za/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11213" PostHistoryTypeId="2" PostId="6541" RevisionGUID="da4c5bec-9e27-4f8f-a820-543d6c4b89ab" CreationDate="2011-03-15T17:15:40.550" UserId="234" Text="Many cities have a &quot;Film Office&quot; - an ombudsman of sorts, designed to help filmmakers get this sort of clearance. If you have one in your city, that's an excellent place to start, as they often have the contacts you need to get in &quot;officially&quot; to these sorts of locations. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11214" PostHistoryTypeId="2" PostId="6542" RevisionGUID="56ce983a-1325-4851-80b3-6cf27e0a3d49" CreationDate="2011-03-15T19:05:52.883" UserId="270" Text="If you wear hi viz clothing, a hard hat, &amp; a lanyard with an ID card, people may just assume you are meant to be there.&#xD;&#xA;&#xD;&#xA;I have done that a couple of times, but never anywhere really risky like inside a military base! ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11215" PostHistoryTypeId="2" PostId="6543" RevisionGUID="31051e21-6e9e-4dac-92c3-f6d65d864d62" CreationDate="2011-03-15T20:00:34.583" UserId="728" Text="Thanks guys... you have put up some good stuff to dig out there. Also this another audiorty illusion called Diana Deutsch's Scale Illusion is quite intriguing. I am planning to do an applied version of the illusion from sound design pespective...worth investigating I feel." ContentLicense="CC BY-SA 2.5" />
  <row Id="11216" PostHistoryTypeId="2" PostId="6544" RevisionGUID="c9d3ca54-3de4-4291-9802-c18de1d85fcf" CreationDate="2011-03-15T22:05:50.320" UserId="693" Text="I know we're all generally creative types and what that means is that we all likely have our own very intricate and specific preferences as to how we like to set up, organize and decorate our workspace environments; not to mention how we manage and maintain them. &#xD;&#xA;&#xD;&#xA;Some of us have practically OCD preferences for how we wrap and organize our cables, hard drives desktops, etc. and some of us have a giant rats nest of cables and piles of disks, paperwork and scraps of who knows what laying all over the place. Some of Us are minimalists when it comes to decorating and some of us love to have tons of figurines and memorabilia all over the place. Some are very conservative and some are more relaxed and personable.&#xD;&#xA;&#xD;&#xA;What I'm wondering is what are your preferences and habits in regards to your workspace and why? How do you feel (or have experienced proof of how) it benefits your inspiration, process and work? Also, if you entertain clients in this space, how do you feel it effects that aspect as well?&#xD;&#xA;&#xD;&#xA;Maybe we can all learn something from each other." ContentLicense="CC BY-SA 2.5" />
  <row Id="11217" PostHistoryTypeId="1" PostId="6544" RevisionGUID="c9d3ca54-3de4-4291-9802-c18de1d85fcf" CreationDate="2011-03-15T22:05:50.320" UserId="693" Text="What Are Your Workspace Preferences and Why?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11218" PostHistoryTypeId="3" PostId="6544" RevisionGUID="c9d3ca54-3de4-4291-9802-c18de1d85fcf" CreationDate="2011-03-15T22:05:50.320" UserId="693" Text="&lt;workspace&gt;&lt;organization&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11219" PostHistoryTypeId="2" PostId="6545" RevisionGUID="acc2130a-33ec-4efe-93bc-f8cd288bbbd9" CreationDate="2011-03-15T22:38:24.197" UserId="400" Text="Oddly, the only thing I find a real constant is that I'll rearrange my setup from time to time. This varies from simply removing a MIDI keyboard so I have more space on my desk, to mounting my iMac and monitor on a shelf above my interface and hard drives.&#xD;&#xA;&#xD;&#xA;I THNIK this helps with my creativity but in honesty, I might just be imagining it!&#xD;&#xA;&#xD;&#xA;Apart from this, I make sure the rest of the room is clinically neat and tidy (but not necessarily clean, a bit of dust doesn't disturb me), making sure everything is tidied away.&#xD;&#xA;&#xD;&#xA;Would love to hear about how other people approach &quot;studio feng shui&quot;...&#xD;&#xA;&#xD;&#xA;Joe" ContentLicense="CC BY-SA 2.5" />
  <row Id="11220" PostHistoryTypeId="2" PostId="6546" RevisionGUID="1aa95140-2c65-4dbf-8ac5-746447f517b9" CreationDate="2011-03-15T23:06:22.953" UserId="61" Text="Hello all,&#xD;&#xA;&#xD;&#xA;Looking for some references regarding types of nature found on the islands near Thailand, some of which are resort locales and others, I assume, are mostly uninhabited. I realize that there are many, many islands in this part of the world and don't need exact species (although that would be nice!), just some general guidelines. Mostly would like to know what types of sounds can be heard near the beach, both day and night. Dense birds and insects? Sparse? Any sea birds to speak of?&#xD;&#xA;&#xD;&#xA;Appreciate only specific responses, rather than suggestions on how to make it sound &quot;jungle-y&quot;. Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11221" PostHistoryTypeId="1" PostId="6546" RevisionGUID="1aa95140-2c65-4dbf-8ac5-746447f517b9" CreationDate="2011-03-15T23:06:22.953" UserId="61" Text="Nature on the islands near Thailand" ContentLicense="CC BY-SA 2.5" />
  <row Id="11222" PostHistoryTypeId="3" PostId="6546" RevisionGUID="1aa95140-2c65-4dbf-8ac5-746447f517b9" CreationDate="2011-03-15T23:06:22.953" UserId="61" Text="&lt;field-recording&gt;&lt;nature-recording&gt;&lt;reference&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11223" PostHistoryTypeId="2" PostId="6547" RevisionGUID="104a896d-98a8-4daa-95bb-4415ce622eda" CreationDate="2011-03-15T23:12:25.593" UserId="61" Text="I've recently converted from sitting to standing up, something I've been wanting to try for many years. It came about mostly because I find myself either seated or laying down for the majority of my life, which just can't be good. So far I've had mixed results, partly due to the fact that my space as it exists right now isn't really designed for standing, so it's a bit Mickey-Mouse regarding monitor height, speaker distance and angle, etc. However, I do find my energy is WAY up and mid-afternoon slumps to be diminishing, and my feet are finally starting to not ache so much (the 1st 2 weeks were killer!)." ContentLicense="CC BY-SA 2.5" />
  <row Id="11226" PostHistoryTypeId="2" PostId="6549" RevisionGUID="2af7560b-4e54-4c03-a57e-df6ebd1ece44" CreationDate="2011-03-16T00:08:18.067" UserId="6411" Text="At the office I try and keep a tidy space, somewhere healthy between OCD and a rats nest. I can typically clean house in 5 minutes to get the room presentable for clients. But I must say, I do like piles. They remind me of what needs to be done, and eliminating a pile equals accomplishment.&#xD;&#xA;&#xD;&#xA;At the console I always need a legal pad within reach. Sharpies, highlighters, pencils are usually strewn about. A work order usually sits atop a stack of Mix &amp; EQ mags. But that's about all the desk space I have in my immediate area. To the right we have a client desk and that's played host to a pile or two in its time. Two guitars and a bass stand in the corner, next to the MIDI keyboard that I set up when the need arises. Guitar pedals line the floor just below the patch bay for when I either a) have a free moment or b) need some inspiration.&#xD;&#xA;&#xD;&#xA;I try and keep anything that makes noise up by me. Only quiet items should fall into the client domain, coffee table books, Sudoku and other silent time-occupiers. But if we're done with a mix, and you want to kill some time while I'm making files or whatever, sure, you can play my guitar.&#xD;&#xA;&#xD;&#xA;I do like to streamline things. Reaching awkwardly over my keyboard for a fader too many times resulted in a new, apple low-profile keyboard. That ache in my right shoulder went away when I unplugged my mouse and started using keyboard shortcuts. Direct result? I got faster both at editing and mixing.&#xD;&#xA;&#xD;&#xA;In an attempt to focus my attention a bit I have started using &quot;Spaces&quot; on my Mac. Pro Tools and only Pro Tools gets space 1. Email, internet, and other eyeball drawing distractions get put away in one space. Productivity apps (calendars, ftp, toast, etc.) get another.&#xD;&#xA;&#xD;&#xA;But the number one thing that is key to my workspace is a solid, sound-proof door. Not only because it shuts out the noise (distractions) from the hall. But when it's closed, I have my own experimental performance stage. It's total playtime, and nobody but me is there to judge it. I can make all the mistakes I need to in order to get to the right answer, and when I emerge a genius it's only because no one else heard all the failures. ;) Plus, no one wants to hear you rocking out during your free moment when they aren't as lucky!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11227" PostHistoryTypeId="2" PostId="6550" RevisionGUID="6754f4ac-cbd6-4b21-a4d8-d7cec772938b" CreationDate="2011-03-16T00:13:38.380" UserId="338" Text="My studio is in my bedroom and I always work better if I have the bed made unless I'm really putting in some hours and then the rest of life kind of vanishes/disappears." ContentLicense="CC BY-SA 2.5" />
  <row Id="11228" PostHistoryTypeId="2" PostId="6551" RevisionGUID="47f4c571-82f3-4117-8d59-15f32bc875ee" CreationDate="2011-03-16T02:04:25.417" UserId="445" Text="Are you going? Anyone has attended past conferences?&#xD;&#xA;&#xD;&#xA;I would like to meet some of you this summer in NY!!&#xD;&#xA;&#xD;&#xA;http://steinhardt.nyu.edu/music/scoring/conference" ContentLicense="CC BY-SA 2.5" />
  <row Id="11229" PostHistoryTypeId="1" PostId="6551" RevisionGUID="47f4c571-82f3-4117-8d59-15f32bc875ee" CreationDate="2011-03-16T02:04:25.417" UserId="445" Text="Music &amp; The Moving Image Conference - NYU, May 20-22, 2011 " ContentLicense="CC BY-SA 2.5" />
  <row Id="11230" PostHistoryTypeId="3" PostId="6551" RevisionGUID="47f4c571-82f3-4117-8d59-15f32bc875ee" CreationDate="2011-03-16T02:04:25.417" UserId="445" Text="&lt;music&gt;&lt;sound&gt;&lt;education&gt;&lt;conference&gt;&lt;nyu&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11231" PostHistoryTypeId="2" PostId="6552" RevisionGUID="45a3031d-101c-4443-8bdd-c803c67c08d7" CreationDate="2011-03-16T02:59:48.740" UserDisplayName="user6513" Text="I like to keep my floor carpeted and clean. I get tired easily when I'm editing so I always end up taking a nap on the floor. For some reason I continue to tell myself that because the floor is hard and uncomfortable, I'll wake up at some point to continue working. :D&#xD;&#xA;&#xD;&#xA;I like to put toys on my desk and speakers too. When I do some late sessions and the director wants to sit in, I ask them to buy me a Happy Meal from MacDonald's for me for supper, and keep the toy around to play with.&#xD;&#xA;&#xD;&#xA;And when I'm starting out on a project, usually setting it up, cleaning the dialogue or whatever mundane task, I like to have a film running in the background. Usually with the director's, sound designer's or composer's commentary switched on. I think this kinda started when I was in uni and whilst attending lectures, I would listen till I got inspired by something and then start working on my project work then and continue drifting in and out of what was being said. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11232" PostHistoryTypeId="2" PostId="6553" RevisionGUID="b649e45d-4379-4b86-a6c3-9e8d6e5d4265" CreationDate="2011-03-16T08:07:39.937" UserId="2" Text="Here are some examples. You can listen for yourself :-) &#xD;&#xA;&#xD;&#xA;I recorded these over 6 years ago, these are actually some of my first recordings. In other words, they don't sound good...   &#xD;&#xA;&#xD;&#xA;Here's the link to all three: http://soundcloud.com/soundplusdesign/sets/islandreferences I named them with all the info I have.&#xD;&#xA;&#xD;&#xA;Just to contextualize, here's some info on the island: http://en.wikipedia.org/wiki/Haad_Khuad&#xD;&#xA;&#xD;&#xA;And this is what it looked like: &#xD;&#xA; &#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bottlebeach.com/images2/Bottlebeach2.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="11233" PostHistoryTypeId="2" PostId="6554" RevisionGUID="9598e1a7-44ab-4d41-bb5e-3dab66db5ca1" CreationDate="2011-03-16T08:28:51.130" UserId="238" Text="As you rightly suggested, the sounds vary depending on the size of the island and how developed it is. An island like Phuket is very big (550 sq. KM) with over 300 000 residents, plus probably twice as many tourists at any one time. Therefore, human-generated noise becomes part of the overall ambiance and also disturbs the natural sonic environment which exists. &#xD;&#xA;&#xD;&#xA;One sound that I noticed was very prominent everywhere in Thailand was the cicadas. However, these vary greatly depending on the natural environment they are in. For example, I was on a small, relatively unknown island called Koh Phayam on Thailand's West coast and there was a jungle in the middle of the island. Here, the cicadas were singing in chorus very intensely (there must have been literally thousands of them on each tree). On more built up islands (the touristy Ko Phi Phi Don for example) the cicadas are much less intense. Another factor that makes a difference is the time of day. I noticed that the cicada calls varied depending on the time of day. &#xD;&#xA;&#xD;&#xA;In terms of bird calls, I'm no birdwatcher so I can't give you names of species, but I've uploaded a little mix of the various ambiances I captured around the country which features some bird calls as well as the cicada variations I've already discussed. Again with the bird calls, a lot depends on the type and size of the island. I hope it helps. &#xD;&#xA;&#xD;&#xA;[soundcloud]colin-hunter/thailand-nature[/soundcloud]" ContentLicense="CC BY-SA 2.5" />
  <row Id="11234" PostHistoryTypeId="2" PostId="6555" RevisionGUID="da015ae4-2490-402f-bcdc-8e4b25619301" CreationDate="2011-03-16T13:14:31.803" UserId="348" Text="When recording in a public place such as a mall, I don't usually have a problem because I am not recording images. If the security approach me and ask what I am doing, I always tell them that I am recording a general ambiance for myself and nothing too specific such as eavesdropping on a conversation and such. But if I suspect a problem, then I will arrange with security and human resources to get clearance. In the case of hospitals, schools, police stations etc, I always set up a session well in advance with the right people so that everyone knows who I am and what areas I will be recording in.I went recording in some Zulu villages, and I was advised to meet with the local chief first, present him with a gift (usually alcohol) and then explain to his majesty why I was there and what I was doing. Very exciting really. I find that planning in advance will prevent problems and present those in area of authority a sense of respect from your part. &#xD;&#xA;&#xD;&#xA;Have fun  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11235" PostHistoryTypeId="2" PostId="6556" RevisionGUID="0a4c0487-1901-43e6-83ef-0ec77fb2914f" CreationDate="2011-03-16T15:21:59.350" UserId="845" Text="I've lately been getting back into doing simpler stuff playing with sidechains, particularly gates.  Super compressing different tones (pink noise, static, 40Hz, walla, etc.) and gating them to dialogue, footsteps, and the like.  It may not be applicable for every project, but for the one I'm working on right now it lets me add a lot of subtext while hiding behind hard effects.&#xD;&#xA;&#xD;&#xA;It's also nice because in stead of having these textures baked in, you can automate some variability into them so they move with the progression of the action. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11236" PostHistoryTypeId="2" PostId="6557" RevisionGUID="8f0ad1e0-7fa2-48a3-ab16-edeaf5ea902a" CreationDate="2011-03-16T18:24:30.010" UserId="726" Text="Hi all!&#xD;&#xA;&#xD;&#xA;I've been roped in at the very last minute (this morning!) to do the sound for a lo/no film, and have been supplied with an Edirol R-44 recorder. This was pretty daunting as I'm quite new to production sound (only boomed twice before) and was lumbered with trying to figure out the operation of this recorder 10min before shooting! &#xD;&#xA;&#xD;&#xA;Anyway, I managed to get it working and finished the 1st day shooting and am very impressed with this recorder (I've only used the Fostex FR2-LE before). However, I found it nigh on impossible to read the levels on the screen outdoors in natural light. So I set the gain levels when &quot;blocking&quot; with one hand and the other hand holding the boom in the general direction of the action. I set the gain to be sure there was no clipping and I believe was averaging around -20dB (when I could see the meter). I was also using headphones and it sounded ok. My question to the seasoned professionals is what sound levels do you generally aim to record to on film production shoots; running,footsteps and dialogue (indoors &amp; outdoors)? And do you keep the same level gain for the different takes for consistency? Also, when recording atmos, I was wondering if you keep the same level gain you have been using when recording takes, or do you up the gain for a better sound-to-noise ratio?&#xD;&#xA;&#xD;&#xA;Does anyone have any hints/tips on workflow with Edirol R-44 aswell?&#xD;&#xA;&#xD;&#xA;Any thoughts or answers will be gratefully appreciated!&#xD;&#xA;Many thanks!! " ContentLicense="CC BY-SA 2.5" />
  <row Id="11237" PostHistoryTypeId="1" PostId="6557" RevisionGUID="8f0ad1e0-7fa2-48a3-ab16-edeaf5ea902a" CreationDate="2011-03-16T18:24:30.010" UserId="726" Text="Edirol R-44 Sound Operation &amp; Sound Levels" ContentLicense="CC BY-SA 2.5" />
  <row Id="11238" PostHistoryTypeId="3" PostId="6557" RevisionGUID="8f0ad1e0-7fa2-48a3-ab16-edeaf5ea902a" CreationDate="2011-03-16T18:24:30.010" UserId="726" Text="&lt;boom-operator&gt;&lt;edirol&gt;&lt;production-sound&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11239" PostHistoryTypeId="2" PostId="6558" RevisionGUID="4aace837-fd8f-4036-8cde-6f45af5c9580" CreationDate="2011-03-16T20:05:42.547" UserId="264" Text="Howdy,&#xD;&#xA;&#xD;&#xA;Question says it all. I'm looking to learn how to edit analog audio on my professor's Moviola, but first I need to track down some 35mm magnetic film. A few searches on Google aren't turning up much beyond historical articles. Any leads would be appreciated.&#xD;&#xA;&#xD;&#xA;~Cheers&#xD;&#xA;Miles" ContentLicense="CC BY-SA 2.5" />
  <row Id="11240" PostHistoryTypeId="1" PostId="6558" RevisionGUID="4aace837-fd8f-4036-8cde-6f45af5c9580" CreationDate="2011-03-16T20:05:42.547" UserId="264" Text="Where to purchase Mag Stock?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11241" PostHistoryTypeId="3" PostId="6558" RevisionGUID="4aace837-fd8f-4036-8cde-6f45af5c9580" CreationDate="2011-03-16T20:05:42.547" UserId="264" Text="&lt;analog&gt;&lt;film&gt;&lt;stock&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11242" PostHistoryTypeId="5" PostId="2630" RevisionGUID="0854dcc4-006b-47ff-8bd0-eca1ee2806bb" CreationDate="2011-03-16T20:35:02.037" UserId="18160" Comment="added 15 characters in body; added 116 characters in body" Text="I never had the privilege of cutting tape and splicing tape.&#xD;&#xA;&#xD;&#xA;However, the studio I work at owns a couple great tape machines.&#xD;&#xA;&#xD;&#xA;What sound effects do you think would sound great on tape?&#xD;&#xA;&#xD;&#xA;I know Horns and Brass record great on tape,&#xD;&#xA;&#xD;&#xA;therefore, would cymbals being bowed and dry ice on metal sound good?&#xD;&#xA;&#xD;&#xA;How about gunshots? I'm sure they'd sound great,&#xD;&#xA;&#xD;&#xA;And swordfighting?&#xD;&#xA;&#xD;&#xA;Basically, my guess is anything with high transients in it will sound good and softened by recording it to tape.&#xD;&#xA;&#xD;&#xA;Has anyone tried anything of the like?&#xD;&#xA;&#xD;&#xA;I'm wary of wasting a bunch of tape with my sound effect experiments and tape isn't cheap now-a-days, so if anyone has already tried this sort of thing and found something doesn't sound good let me know." ContentLicense="CC BY-SA 2.5" />
  <row Id="11243" PostHistoryTypeId="2" PostId="6559" RevisionGUID="f143133e-c284-48e0-a33b-529254256414" CreationDate="2011-03-16T20:47:36.713" UserId="937" Text="forget the laptop unless you are shooting video with a dslr, other than that do what you can to get audio into the camera, this will drastically reduce editing time AND streamline the workflow, if your importing files form logic, either you are syncing by hand/ear/eyes or you used SMPTE time code to sync them(and if your camera has smpte it will most probably have audio ins and will be more reliable as an audio recorder than any laptop in the field) also recording to the camera cuts out the whole logging time codes, scenes names ect... your a sound guy and what you do is capture, manipulate and reproduce audio, not scribble down timecodes.&#xD;&#xA;&#xD;&#xA;treat mcu and wide shots the same, never compromise your sound, listen to what your doing and try to save the editor(s) as much time as possible, if a problem can be fixed or prevented in the field then fix or prevent it, dont let the &quot;we´ll fix it in post&quot; mentality get to you. listen carefully with your trusted headphones, which after your ears and your mic, is your most valuable peice of kit. try to acheive a homogenous sound in all situations, nothing teaches you more about mics than booming, you will find out for yourself the best ways to mix sound sources, move quietly and deliberatlely, form a strong bond with the camera op, he will help you stay covert in the shot and in the long run will probably be the only person in the production who goes through what you go through(they have it worse, although, cameras are getting lighter and lighter...)&#xD;&#xA;&#xD;&#xA;in the end its not what the books, magazines and random guys on the internet say that count, its what your ears tell you upon review.&#xD;&#xA;&#xD;&#xA;have fun!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11244" PostHistoryTypeId="2" PostId="6560" RevisionGUID="80343a93-c3e4-4274-bb16-c6b32b4ed5bb" CreationDate="2011-03-16T21:21:30.943" UserId="735" Text="Block with one hand?  Why don't you just use 2&quot; paper tape and create yourself a 'hood' for the LCD screen?&#xD;&#xA;&#xD;&#xA;You should be fine around -20 dBFS as long as you're recording 48/24bit.  They'll have to bring that up in post. I tend to record a bit hotter just out of habit in the video world.&#xD;&#xA;&#xD;&#xA;I also wouldn't worry recording footsteps and running WITH dialogue.  You actually want to deaden that stuff.&#xD;&#xA;&#xD;&#xA;I'd try and keep the level you recorded the room tone at the same level." ContentLicense="CC BY-SA 2.5" />
  <row Id="11245" PostHistoryTypeId="2" PostId="6561" RevisionGUID="4d727d56-1acf-44b5-ad0f-99eaa2d4e029" CreationDate="2011-03-16T22:31:24.213" UserId="18160" Text="Sometimes it helps to check out some home movies of vacations at the spot you're trying to figure out the sound for.&#xD;&#xA;&#xD;&#xA;This is what I found from a quick search:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=3tXggzZA1m8&amp;feature=fvwrel&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=BwEJi6wSQpA&amp;feature=fvwrel&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=oN1jDqPJrtA&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=jx5acTubIPE&amp;feature=related&#xD;&#xA;&#xD;&#xA;Got to love the wind on the camera mics." ContentLicense="CC BY-SA 2.5" />
  <row Id="11246" PostHistoryTypeId="5" PostId="6561" RevisionGUID="35d36cb9-f16c-4d98-b299-5c0119337cee" CreationDate="2011-03-16T22:37:43.960" UserId="18160" Comment="added 113 characters in body; deleted 62 characters in body" Text="Sometimes it helps to check out some home movies of vacations at the spot you're trying to figure out the sound for.&#xD;&#xA;&#xD;&#xA;This is what I found from a quick search:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=3tXggzZA1m8&amp;feature=fvwrel&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=BwEJi6wSQpA&amp;feature=fvwrel&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=oN1jDqPJrtA&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=jx5acTubIPE&amp;feature=related&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=DsQ8DkAVMZg&amp;NR=1&#xD;&#xA;&#xD;&#xA;Got to love the wind on the camera mics." ContentLicense="CC BY-SA 2.5" />
  <row Id="11251" PostHistoryTypeId="2" PostId="6564" RevisionGUID="2a94c157-04fa-4ffa-8911-9b629b839c27" CreationDate="2011-03-17T01:13:38.383" UserId="18160" Text="I thought maybe we could make a list of sounds that occur which have never been recorded before to our knowledge.&#xD;&#xA;&#xD;&#xA;So, if you were given a golden ticket, good for one isolated recording of anything you could think of no matter how difficult it would be to capture it, what would it be?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11252" PostHistoryTypeId="1" PostId="6564" RevisionGUID="2a94c157-04fa-4ffa-8911-9b629b839c27" CreationDate="2011-03-17T01:13:38.383" UserId="18160" Text="Sounds that have never been recorded before." ContentLicense="CC BY-SA 2.5" />
  <row Id="11253" PostHistoryTypeId="3" PostId="6564" RevisionGUID="2a94c157-04fa-4ffa-8911-9b629b839c27" CreationDate="2011-03-17T01:13:38.383" UserId="18160" Text="&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11255" PostHistoryTypeId="2" PostId="6565" RevisionGUID="817e620b-96ac-4195-8a0f-71fb633632d7" CreationDate="2011-03-17T02:05:49.140" UserId="393" Text="That's a bloody tough one.  I can think of a multitude of things that I personally haven't recorded, but would love to, but I'm having a really hard time thinking of anything that hasn't been recorded." ContentLicense="CC BY-SA 2.5" />
  <row Id="11256" PostHistoryTypeId="2" PostId="6566" RevisionGUID="bd0cd196-4103-40bb-8dab-55598349f623" CreationDate="2011-03-17T02:27:57.920" UserId="264" Text="God? Perhaps a Martian sandstorm -- someone should stick a M/S mic on the next rover. Also, Creatures that died out before the late 19th century. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11257" PostHistoryTypeId="2" PostId="6567" RevisionGUID="3538e976-e980-4143-9341-5a4af2c694df" CreationDate="2011-03-17T03:03:56.170" UserId="931" Text="I tried one of those machines when recording a theater play.&#xD;&#xA;As far as I remember it has some sort of LED light built-in no? Isn't that enough? Otherwise tape or whaever diy solution you can come up with should be enough.&#xD;&#xA;&#xD;&#xA;Like Eqtion Audio said, usually you try to record dialogue and not so much ambience/action (that is usually added in post production)." ContentLicense="CC BY-SA 2.5" />
  <row Id="11258" PostHistoryTypeId="2" PostId="6568" RevisionGUID="56eb9025-34b7-49e0-8959-7bf0ea288a6a" CreationDate="2011-03-17T06:40:23.083" UserId="219" Text="Has an active volcano ever been recorded? I imagine you could have a good recording session going there with MS, contact mics, omnis..." ContentLicense="CC BY-SA 2.5" />
  <row Id="11259" PostHistoryTypeId="2" PostId="6569" RevisionGUID="70804156-975c-4285-9324-d8eb4e5cb231" CreationDate="2011-03-17T06:46:04.860" UserDisplayName="user49" Text="my only suggestion would involve time travel, so probably not very realistic... no golden ticket could make that happen" ContentLicense="CC BY-SA 2.5" />
  <row Id="11260" PostHistoryTypeId="2" PostId="6570" RevisionGUID="fc4c2453-0c9a-4b50-ac07-1c00bf92782d" CreationDate="2011-03-17T07:00:31.037" UserDisplayName="user49" Text="I aspire to minimalism but fail regularly, and I've heard people say things like 'tidy mind, messy workspace' and vice versa... which makes me feel better. But my goals of minimalism are thwarted by (cue technical term) 'doing stuff' - you simply do not find interesting sounds from a pile of metal (or whatever) through having a tidy workspace. Show me a tidy foley room and I'll show you someone who hasn't done much work lately. &#xD;&#xA;&#xD;&#xA;Organised and seemingly chaotic, is different to actually chaotic. If you have to record ADR in your foley room (god/jah/buddha forbid) or have commercial clients or anyone who doesnt really appreciate that sound design is a messy, experimental business that requires you to get your hands dirty, then it is your job to educate them. Every director I've worked with gets a big smile on their face when I demonstrate some VERY random props that are going into their soundtrack, especially when they hear them in context.&#xD;&#xA;&#xD;&#xA;But I aspire to minimalism. I would LOVE to have the budget to have someone design my dream minimalist cliff top studio.... but two weeks later it would be cluttered with inspiring (to me) sound generating props directly relevant to my current projects/obsessions....&#xD;&#xA;&#xD;&#xA;c'est la vie&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11261" PostHistoryTypeId="2" PostId="6571" RevisionGUID="1141c54b-9c6f-4389-ac38-bd7e3ebb4f87" CreationDate="2011-03-17T07:13:06.913" UserDisplayName="user49" Text="I'll try &amp; get permission to post the best example I have of sounds recorded on a Nagra, which illustrate the difference beautifully, but don't hold your breath as they were cannons from a certain pirate trilogy... The best I can do is try &amp; explain it/dance about architecture: the digital recordings are very, very good, especially the wider recordings where bottom end has had time to swell, no complaints there... but the Nagra recordings are like someone did a seperate session with a different prop that was much larger and both easier on the ear and more powerful at the same time. As per my comment about tape saturation plugins vs moog sim plugins, it was like a totally different experience. If you've actually been there, there is no comparison. And that was at 15ips. Anyone who has used a Nagra knows that you transfer to digital at 15ips, then rewind switch to 7.5ips, retransfer, rewind, and transfer at 3.75ips... The results are totally unlike any digital plugins or processes that I've ever heard.... And I am biting my lip saying this, but convenience as a reason not to use a Nagra? Come on, if generations of production sound recordists got a crick in their neck using them to capture dialogue for some of the best films ever made then surely its not too much hassle to at least try? As someone once gave me the best advice I've ever heard: Trust your own ears, only&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11262" PostHistoryTypeId="2" PostId="6572" RevisionGUID="d48bb294-d3d1-4ba5-881d-bb2a1b2fa6ff" CreationDate="2011-03-17T09:04:12.050" UserId="6524" Text="Has anyone ever got a hydrophone into someones stomach to record those weird stomach growls? I guess that could be cool, unless those cameras doctors use have mics on them." ContentLicense="CC BY-SA 2.5" />
  <row Id="11263" PostHistoryTypeId="2" PostId="6573" RevisionGUID="a74d2e27-9d8f-43c2-bf75-042899466a61" CreationDate="2011-03-17T09:12:26.373" UserId="786" Text="Lunar footsteps. You would probably have to use contact mics due to the lack of atmosphere..." ContentLicense="CC BY-SA 2.5" />
  <row Id="11264" PostHistoryTypeId="2" PostId="6574" RevisionGUID="fe51e055-f254-4b28-a5cb-8dbb39c69cd8" CreationDate="2011-03-17T13:29:14.893" UserId="641" Text="The tree that falls in the forest when there's no one there to see it fall?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11265" PostHistoryTypeId="2" PostId="6575" RevisionGUID="1af17a97-ec34-4b6f-a0ad-0fae34cf03ef" CreationDate="2011-03-17T15:23:08.623" UserId="194" Text="We all know the standards.  The Sennheiser MKH series, The Schoeps Collette system, anything Neumann, etc.&#xD;&#xA;&#xD;&#xA;The question here is, what is your most underrated mic (for any purpose) and why?&#xD;&#xA;&#xD;&#xA;For me its the audio technica 4050.  Its our workhorse, I never see it mentioned anywhere, its ludicrously inexpensive and its stood up to some pretty serious A/B tests.&#xD;&#xA;&#xD;&#xA;Its character is similar to a U87.  We once did a shootout with the 4050 vs the U87 and were surprised with how close that mic really comes to it.  A little different in the extreme low end, but that's about it.&#xD;&#xA;&#xD;&#xA;It's also deadly quiet.  That 4050 through a John Hardy M1 pre is about as quiet as you can get, and is consistently well below the 35ish db noise floor in our recording spaces - even when pretty wide open.&#xD;&#xA;&#xD;&#xA;I like using this mic with a little distance between it and the source.  Proximity effect isn't so bad with it, but the character of the recordings is just a little more pure with some space IMO.&#xD;&#xA;&#xD;&#xA;OK, find me some other gems." ContentLicense="CC BY-SA 2.5" />
  <row Id="11266" PostHistoryTypeId="1" PostId="6575" RevisionGUID="1af17a97-ec34-4b6f-a0ad-0fae34cf03ef" CreationDate="2011-03-17T15:23:08.623" UserId="194" Text="Underrated microphones" ContentLicense="CC BY-SA 2.5" />
  <row Id="11267" PostHistoryTypeId="3" PostId="6575" RevisionGUID="1af17a97-ec34-4b6f-a0ad-0fae34cf03ef" CreationDate="2011-03-17T15:23:08.623" UserId="194" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11268" PostHistoryTypeId="2" PostId="6576" RevisionGUID="4b1dd547-862b-4685-abc5-11e2213c409a" CreationDate="2011-03-17T16:29:12.393" UserId="693" Text="Don't forget that many things are recorded for scientific purposes as opposed to sound design.&#xD;&#xA;&#xD;&#xA;I'm pretty sure that if it's been experienced, then it's been recorded. If not to tape or hard drive, then to our hearts and minds.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11269" PostHistoryTypeId="5" PostId="6565" RevisionGUID="0fb3008e-6f7e-4cb3-a321-43ad44f4077d" CreationDate="2011-03-17T16:40:58.630" UserId="393" Comment="improved formatting" Text="That's a bloody tough one.  I can think of a multitude of things that I personally haven't recorded, and would love to, but I'm having a really hard time thinking of anything that hasn't been recorded." ContentLicense="CC BY-SA 2.5" />
  <row Id="11273" PostHistoryTypeId="2" PostId="6578" RevisionGUID="d61fbc38-d6b6-41c1-9b55-123780bcb002" CreationDate="2011-03-17T17:39:41.990" UserId="338" Text="Editor sends me m4v files and PT does not recognize it as a movie when I attempt to import.&#xD;&#xA;&#xD;&#xA;I push through compressor-mp4 setting and it spits out a usable movie.  The frame rate is now 29.97 but the editor says the frame rate was 24, that is the frame rate of the OMF.&#xD;&#xA;What the *@#%" ContentLicense="CC BY-SA 2.5" />
  <row Id="11274" PostHistoryTypeId="1" PostId="6578" RevisionGUID="d61fbc38-d6b6-41c1-9b55-123780bcb002" CreationDate="2011-03-17T17:39:41.990" UserId="338" Text="PT not recognizing an M4V file" ContentLicense="CC BY-SA 2.5" />
  <row Id="11275" PostHistoryTypeId="3" PostId="6578" RevisionGUID="d61fbc38-d6b6-41c1-9b55-123780bcb002" CreationDate="2011-03-17T17:39:41.990" UserId="338" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11276" PostHistoryTypeId="2" PostId="6579" RevisionGUID="df7721cf-cb98-405d-8fb0-f5b0a036532f" CreationDate="2011-03-17T17:42:07.503" UserId="194" Text="mp4s are the bane of my existence lately.  Its the web standard, so video guys think that audio post want that, but of course PT is completely incompatible, as it QT pro.&#xD;&#xA;&#xD;&#xA;ask your editor for a mov file.&#xD;&#xA;&#xD;&#xA;Sometimes changing the extension in the finder to mov works, but generally just get your editors out of the habit of delivering mp4 for audio post work." ContentLicense="CC BY-SA 2.5" />
  <row Id="11277" PostHistoryTypeId="2" PostId="6580" RevisionGUID="afd4c60b-981b-477a-bff1-fe9e9a9230b6" CreationDate="2011-03-17T17:42:48.940" UserId="18160" Text="Open it and export a new file from Quicktime Pro to a file type you know will work with Pro Tools.&#xD;&#xA;&#xD;&#xA;I know exactly what you are going through right now - it happens to me a lot when I set up to mix ADR.&#xD;&#xA;&#xD;&#xA;I'm pretty fortunate because I have an Avid team downstairs who I can just send it to and they'll convert it to pretty much whatever I need.&#xD;&#xA;&#xD;&#xA;Sorry to hear you're having trouble today. Wish I could be of more help -" ContentLicense="CC BY-SA 2.5" />
  <row Id="11278" PostHistoryTypeId="2" PostId="6581" RevisionGUID="ae96ac39-b853-4f50-9758-94ebce1678b3" CreationDate="2011-03-17T17:46:53.927" UserId="338" Text="By doing either of these things, will it mysteriously change the frame rate?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11279" PostHistoryTypeId="2" PostId="6582" RevisionGUID="de604acf-8318-4ed2-82e3-12bc61929e89" CreationDate="2011-03-17T17:48:28.573" UserId="338" Text="Or are OMF's mysteriously in 24 fps sometimes?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11280" PostHistoryTypeId="2" PostId="6583" RevisionGUID="ef154e96-d0bd-478c-a775-1551f8b159e0" CreationDate="2011-03-17T18:03:03.617" UserId="178" Text="The Audix SCX1-HC is a great hypercardioid mic. It seems to be practically unknown, but I love mine and would buy one again. I'm using it primarily as a boom mic for independent film shoots." ContentLicense="CC BY-SA 2.5" />
  <row Id="11281" PostHistoryTypeId="2" PostId="6584" RevisionGUID="4c4e806d-10de-4c82-82f4-42d7e359054f" CreationDate="2011-03-17T18:09:49.540" UserId="6499" Text="So Ive actually decided to purchase Pro Tools 9 do everything at my own studio and not use the universities facilities.  Due to some track limitations and sometimes having to work on a laptop away from my home, I am planning on working in a stem based project workflow  DIAL session, Music, Foley, SFX, and BGs, and a master session of the stems.  I also planning on making 1 large session at the end combining all the sessions' tracks together.  This will leave the options open for the rerecording mixer.  &#xD;&#xA;&#xD;&#xA;We are only getting 1 day of mix time at the studio unfortunantly so I am trying to have as much done as possible.&#xD;&#xA;&#xD;&#xA;I have never really had to make a project that was touched by anyone but myself.  So for track ordering with dialogue I am planning on Following the layout in John Purcells book Dialogue editing for motion pictures.  Have DIAL A-J some PFX tracks, Work tracks ADR etc.&#xD;&#xA;&#xD;&#xA;My question now, when working in a SFX or BG or foley stem, what kind of track layout/ordering is used? Is there a standard or should I just make everything obvious.  Do you use 1 track per sound effect or use a set of tracks per scene and then have automation reset any parameters between scenes thereby allowing the reuse of tracks.&#xD;&#xA;&#xD;&#xA;It is a short film around 30 minutes long, so It will most likely all be contained in a single reel.&#xD;&#xA;    &#xD;&#xA;If anyone could send me towards some reference material on that or just a template track listing that you usually start with.&#xD;&#xA;&#xD;&#xA;I am still waiting on specs from the studio which will also dictate my layouts.&#xD;&#xA;&#xD;&#xA;I am thinking the stems all labeled very well combined with logs,notes, and metadata from any of the sound fx I create should suffice, but then again, I am stepping out of my normal student/independent element and want to make sure I maximize the productivity in our 1 day and hopefully make a good impression on the mixer.&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11282" PostHistoryTypeId="2" PostId="6585" RevisionGUID="e46450b8-2ff1-4542-954e-9556313e5d09" CreationDate="2011-03-17T18:14:17.280" UserId="194" Text="I think I currently work in an environment that is a notch or two more clinical than I would like for sound design, but works really well for hosting clients.&#xD;&#xA;&#xD;&#xA;Like Tim, I believe that the tools in front of you greatly influence your creative flow.  As such I'd love a sound design specific space that was *moderately* messy.  keyboards, mics, props, patchbays, cables, etc.  All out in space and ready to grab.&#xD;&#xA;&#xD;&#xA;Actually messy is a bad word to use for what I'd like.  More like hyper-functional.  &#xD;&#xA;&#xD;&#xA; - I like a clean desk, especially behind me.&#xD;&#xA; - I'd like a nice mic on a radio boom arm that I could swing around to record stuff on said clean desk.&#xD;&#xA; - I'd like a small keyboard controller on a rolling surface that I could push in and out as needed.&#xD;&#xA; - I'd like another controller device or two within arms reach&#xD;&#xA; - I'd like a mediumish cabinet in the room that I could use to house props&#xD;&#xA; - I'd like nice variable lighting that I could use to set &quot;vibe&quot;&#xD;&#xA; - I'd like a couple of &quot;beater&quot; computers in the room with their own video monitors and keyboards. Maybe even laptops. I could use them for specific processing tasks or to try experimental software on without worrying about my main rig.&#xD;&#xA; - I'd like a DSLR on a tripod in the room to videotape stuff with&#xD;&#xA; - I'd like a couple of speaker systems to check mixes on, and a laptop monitoring rig as well.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11283" PostHistoryTypeId="2" PostId="6586" RevisionGUID="a4309dbc-e2e3-42f4-bc6a-275f88099b1b" CreationDate="2011-03-17T18:16:57.590" UserId="18160" Text="Here are a few mics some executives cringe at when I pull them out of my mic locker to use:&#xD;&#xA;&#xD;&#xA;AKG 414 on voice-over. One of the mixers I apprenticed under hates this mic for some reason. I use it as a secret weapon against loud Castilian and Latam voice-overs. The &quot;ah&quot; factor is seriously reduced compared to a U87. I think it has something to do with the off-axis response - it's pretty dead in the back.&#xD;&#xA;&#xD;&#xA;AKG C5 with it's grill unscrewed. I use this mic with the top foam grill of it taken off. I get it pretty close to the source and it's wonderful. It, too, has an extreme attenuation in the off-axis response and in a review I read about it, the only way the person was able to make it feed back in a live situation was to hold the capsule directly towards the bell of the speaker.&#xD;&#xA;&#xD;&#xA;A 10-inch speaker modified to be a kick drum mic. I use this in combination with 2 other kick drum mics. The speaker adds this extreme low-end slump (25-50 Hz). It makes it full. I learned this from the music mixer I work with now.&#xD;&#xA;&#xD;&#xA;Shure SM7. I held in my hands the same mic as was used to record the vocals on Thriller and asked Bruce what his favorite VO mic was and his reply was the SM7 that I was holding. This is also what he used on Vincent Price for the song. I am unsure what the difference is between a SM7 and an SM7B, but Bruce's sounded absolutely fantastic on a voice. You must make sure you have a quiet pre-amp to use it with, though, because you have to boost it quite a bit to get any sort of level out of it. Rumor has it that this is the mic used on the lead singer of Red Hot Chili Peppers and Metallica.&#xD;&#xA;&#xD;&#xA;Mojave mics. Specifically the pencil-condenser ones (I'm unsure what model though - was a while back and we only had demo ones). I thought these sounded lovely on a grand piano. On a voice they held their own against an MK41 and MKH50.&#xD;&#xA;&#xD;&#xA;Sanken COS-11 as a voice-over mic. Just mounting it on a mic stand and placing it about 6 inches from the actor's mouth sounded pretty darn good considering it's a lapel. Try it - you might be surprised.&#xD;&#xA;&#xD;&#xA;Telefunken M-80. This mic was touted as being the &quot;SM57 Killer&quot;. That hasn't happened yet, but the mixer I am working with got a prototype as a gift and we use it on snare, guitar cabinets, etc. getting a wonderful sound.&#xD;&#xA;&#xD;&#xA;If I think of more I'll update my answer." ContentLicense="CC BY-SA 2.5" />
  <row Id="11284" PostHistoryTypeId="2" PostId="6587" RevisionGUID="c6935c98-277b-421c-9baa-08fbfce8a635" CreationDate="2011-03-17T18:19:15.963" UserId="88" Text="I just gave a few calls to some houses I used to buy mag stock from.  None of them seems to carry it anymore.  I feel old now.&#xD;&#xA;&#xD;&#xA;I did locate a couple of potential leads, albeit in Australia, so shipping for something as heavy as 35mm mag would probably be vicious.&#xD;&#xA;&#xD;&#xA;Sound &amp; Vision AU: http://www.sound-vision.com.au/products/audio_data.html&#xD;&#xA;Steadi Systems: http://www.steadisystems.com/&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11285" PostHistoryTypeId="2" PostId="6588" RevisionGUID="78199e47-f14a-43fd-9dc3-c1424ae8c166" CreationDate="2011-03-17T18:23:14.910" UserId="18160" Text="http://designingsound.org/2010/03/erik-aadahl-special-editing-for-the-mix/&#xD;&#xA;&#xD;&#xA;Check this out. It might be exactly what you are searching for." ContentLicense="CC BY-SA 2.5" />
  <row Id="11286" PostHistoryTypeId="5" PostId="6586" RevisionGUID="b89b0176-014a-4aad-a8f9-72c43beefdfe" CreationDate="2011-03-17T18:25:41.163" UserId="18160" Comment="added 258 characters in body; added 1 characters in body; added 18 characters in body; added 426 characters in body; added 32 characters in body" Text="Here are a few mics some executives cringe at when I pull them out of my mic locker to use:&#xD;&#xA;&#xD;&#xA;AKG 414 on voice-over. One of the mixers I apprenticed under hates this mic for some reason. I use it as a secret weapon against loud Castilian and Latam voice-overs. The &quot;ah&quot; factor is seriously reduced compared to a U87. I think it has something to do with the off-axis response - it's pretty dead in the back.&#xD;&#xA;&#xD;&#xA;AKG C5 with it's grill unscrewed. I use this mic with the top foam grill of it taken off. I get it pretty close to the source and it's wonderful. It, too, has an extreme attenuation in the off-axis response and in a review I read about it, the only way the person was able to make it feed back in a live situation was to hold the capsule directly towards the bell of the speaker.&#xD;&#xA;&#xD;&#xA;A 10-inch speaker modified to be a kick drum mic. I use this in combination with 2 other kick drum mics. The speaker adds this extreme low-end slump (25-50 Hz). It makes it full. I learned this from the music mixer I work with now.&#xD;&#xA;&#xD;&#xA;Shure SM7. I held in my hands the same mic as was used to record the vocals on Thriller and asked Bruce what his favorite VO mic was and his reply was the SM7 that I was holding. This is also what he used on Vincent Price for the song. I am unsure what the difference is between a SM7 and an SM7B, but Bruce's sounded absolutely fantastic on a voice. You must make sure you have a quiet pre-amp to use it with, though, because you have to boost it quite a bit to get any sort of level out of it. Rumor has it that this is the mic used on the lead singer of Red Hot Chili Peppers and Metallica.&#xD;&#xA;&#xD;&#xA;Mojave mics. Specifically the pencil-condenser ones (I'm unsure what model though - was a while back and we only had demo ones). I thought these sounded lovely on a grand piano. On a voice they held their own against an MK41 and MKH50.&#xD;&#xA;&#xD;&#xA;Sanken COS-11 as a voice-over mic. Just mounting it on a mic stand and placing it about 6 inches from the actor's mouth sounded pretty darn good considering it's a lapel. Try it - you might be surprised.&#xD;&#xA;&#xD;&#xA;Telefunken M-80. This mic was touted as being the &quot;SM57 Killer&quot;. That hasn't happened yet, but the mixer I am working with got a prototype as a gift and we use it on snare, guitar cabinets, etc. getting a wonderful sound.&#xD;&#xA;&#xD;&#xA;I'm not surprised you like the sound of the 4050. I record the voice of E! in Italian and he told me that the engineer over at E! replaced out every single studio that had a U87 for recording dubbing voice-overs for that station for 4050s a long time ago. It's a great mic.&#xD;&#xA;&#xD;&#xA;Although I have never tried recording anything with this mic, a good friend of mine raves about this Studio Projects C-1 mic at his website here: http://www.coreyburton.com/&#xD;&#xA;Click the link on the left under &quot;Rants and Reviews&quot; that says &quot;Studio Projects C-1 Microphone&quot; and read his review. It sounds like a pretty good find - and I totally trust his ears and opinion. He's one of the best voice over actors that I have ever had the privilege to record.&#xD;&#xA;&#xD;&#xA;If I think of more I'll update my answer." ContentLicense="CC BY-SA 2.5" />
  <row Id="11287" PostHistoryTypeId="2" PostId="6589" RevisionGUID="71c293ef-9993-4204-a661-7712a715c863" CreationDate="2011-03-17T18:30:34.127" UserId="18" Text="I usually use MPEG Streamclip to convert movies to play nice with PT:&#xD;&#xA;&#xD;&#xA;http://www.squared5.com/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11288" PostHistoryTypeId="5" PostId="6586" RevisionGUID="93f82008-b2fe-4f4b-8a18-784305e20db7" CreationDate="2011-03-17T18:34:06.487" UserId="18160" Comment="deleted 434 characters in body" Text="Here are a few mics some executives cringe at when I pull them out of my mic locker to use:&#xD;&#xA;&#xD;&#xA;AKG 414 on voice-over. One of the mixers I apprenticed under hates this mic for some reason. I use it as a secret weapon against loud Castilian and Latam voice-overs. The &quot;ah&quot; factor is seriously reduced compared to a U87. I think it has something to do with the off-axis response - it's pretty dead in the back.&#xD;&#xA;&#xD;&#xA;AKG C5 with it's grill unscrewed. I use this mic with the top foam grill of it taken off. I get it pretty close to the source and it's wonderful. It, too, has an extreme attenuation in the off-axis response and in a review I read about it, the only way the person was able to make it feed back in a live situation was to hold the capsule directly towards the bell of the speaker.&#xD;&#xA;&#xD;&#xA;A 10-inch speaker modified to be a kick drum mic. I use this in combination with 2 other kick drum mics. The speaker adds this extreme low-end slump (25-50 Hz). It makes it full. I learned this from the music mixer I work with now.&#xD;&#xA;&#xD;&#xA;Shure SM7. I held in my hands the same mic as was used to record the vocals on Thriller and asked Bruce what his favorite VO mic was and his reply was the SM7 that I was holding. This is also what he used on Vincent Price for the song. I am unsure what the difference is between a SM7 and an SM7B, but Bruce's sounded absolutely fantastic on a voice. You must make sure you have a quiet pre-amp to use it with, though, because you have to boost it quite a bit to get any sort of level out of it. Rumor has it that this is the mic used on the lead singer of Red Hot Chili Peppers and Metallica.&#xD;&#xA;&#xD;&#xA;Mojave mics. Specifically the pencil-condenser ones (I'm unsure what model though - was a while back and we only had demo ones). I thought these sounded lovely on a grand piano. On a voice they held their own against an MK41 and MKH50.&#xD;&#xA;&#xD;&#xA;Sanken COS-11 as a voice-over mic. Just mounting it on a mic stand and placing it about 6 inches from the actor's mouth sounded pretty darn good considering it's a lapel. Try it - you might be surprised.&#xD;&#xA;&#xD;&#xA;Telefunken M-80. This mic was touted as being the &quot;SM57 Killer&quot;. That hasn't happened yet, but the mixer I am working with got a prototype as a gift and we use it on snare, guitar cabinets, etc. getting a wonderful sound.&#xD;&#xA;&#xD;&#xA;I'm not surprised you like the sound of the 4050. I record the voice of E! in Italian and he told me that the engineer over at E! replaced out every single studio that had a U87 for recording dubbing voice-overs for that station for 4050s a long time ago. It's a great mic.&#xD;&#xA;&#xD;&#xA;Studio Projects C-1.&#xD;&#xA;&#xD;&#xA;If I think of more I'll update my answer." ContentLicense="CC BY-SA 2.5" />
  <row Id="11289" PostHistoryTypeId="2" PostId="6590" RevisionGUID="a6f715b7-ccf0-4407-9bef-78db9acac3e8" CreationDate="2011-03-17T18:56:48.800" UserId="338" Text="I've pretty much narrowed it down.  The MV4 file is in 23.98 and so is the OMF.  PT LE does not have 23.98 support so the editor is bouncing a new mp4 and OMF so I can edit myself to death in the next two weeks.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11290" PostHistoryTypeId="2" PostId="6591" RevisionGUID="807974e6-12f4-426c-b04e-302ff4667860" CreationDate="2011-03-17T19:12:08.950" UserDisplayName="user6513" Text="Actually ProTools LE will not support anything but .mov files. The MV4 container is not going to work. If it's spitting out the wrong frame rate from Compressor, could it be due to the settings? At any rate, you should try to get an intraframe compressed .mov file." ContentLicense="CC BY-SA 2.5" />
  <row Id="11291" PostHistoryTypeId="5" PostId="6587" RevisionGUID="2ef84887-6121-4e00-9d69-d0dcc8b630fa" CreationDate="2011-03-17T19:25:23.290" UserId="88" Comment="added 2 characters in body" Text="I just gave a few calls to some houses I used to buy mag stock from.  None of them seems to carry it anymore.  I feel old now.&#xD;&#xA;&#xD;&#xA;I did locate a couple of potential leads, albeit in Australia, so shipping for something as heavy as 35mm mag would probably be vicious.&#xD;&#xA;&#xD;&#xA;Sound &amp; Vision AU: http://www.sound-vision.com.au/products/audio_data.html&#xD;&#xA;&#xD;&#xA;Steadi Systems: http://www.steadisystems.com/&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11292" PostHistoryTypeId="2" PostId="6592" RevisionGUID="74088f1c-f29c-4602-afb8-72a30be9a4b7" CreationDate="2011-03-17T20:41:59.427" UserId="18160" Text="Have any of you used [these plug-ins?][1]&#xD;&#xA;&#xD;&#xA;How do they sound?&#xD;&#xA;&#xD;&#xA;I'm demoing them now but I would like to see what you guys think of them if you've used them.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.uaudio.com/uad-plug-ins.html?utm_medium=banner&amp;utm_campaign=satellite&amp;utm_content=mixonline&amp;utm_source=mixonline" ContentLicense="CC BY-SA 2.5" />
  <row Id="11293" PostHistoryTypeId="1" PostId="6592" RevisionGUID="74088f1c-f29c-4602-afb8-72a30be9a4b7" CreationDate="2011-03-17T20:41:59.427" UserId="18160" Text="UAD2 Plug-ins - Have you used them?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11294" PostHistoryTypeId="3" PostId="6592" RevisionGUID="74088f1c-f29c-4602-afb8-72a30be9a4b7" CreationDate="2011-03-17T20:41:59.427" UserId="18160" Text="&lt;plug-ins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11299" PostHistoryTypeId="2" PostId="6594" RevisionGUID="e9e717e8-13d4-4c28-b66b-81d0e416c8c3" CreationDate="2011-03-17T22:55:52.237" UserId="863" Text="The sound of HAARP as it shoots ions into the sky." ContentLicense="CC BY-SA 2.5" />
  <row Id="11300" PostHistoryTypeId="2" PostId="6595" RevisionGUID="8586fd84-7b2c-4fed-aaaf-08cab4d3f8d0" CreationDate="2011-03-17T23:50:44.553" UserId="6420" Text="The sound of a heart breaking! lol&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11301" PostHistoryTypeId="2" PostId="6596" RevisionGUID="1d482c12-bf33-4f6f-9971-3cbc31f46723" CreationDate="2011-03-17T23:56:21.433" UserId="587" Text="I want to hear what it sounds like in my stomach as I digest some red hot chili.&#xD;&#xA;&#xD;&#xA;Anyone have a acid proof lav?&#xD;&#xA;&#xD;&#xA;...This is actually a pretty good idea... I might try this..." ContentLicense="CC BY-SA 2.5" />
  <row Id="11302" PostHistoryTypeId="2" PostId="6597" RevisionGUID="7c776add-3983-4c49-beb6-015de09eb780" CreationDate="2011-03-18T00:09:57.363" UserId="6420" Text="Evening all!&#xD;&#xA;&#xD;&#xA;I've got a week off next week and need to fill my time constructively by not watching any daytime tv lol Was thinking of going out and about to record some stuff and wondering if anyone had any specific requests? I live on the coast so stuff like waves/shores/gulls etc will be no probs. Was thinking of doing some stealth stuff too like public ambience sounds; malls, museums, gym, swimming pools, town centres, pub wallas etc. I'll be doing it with my Zoom H2 so if anyone wants anything specific let me know :)&#xD;&#xA;Andy" ContentLicense="CC BY-SA 2.5" />
  <row Id="11303" PostHistoryTypeId="1" PostId="6597" RevisionGUID="7c776add-3983-4c49-beb6-015de09eb780" CreationDate="2011-03-18T00:09:57.363" UserId="6420" Text="Have time to kill next week. Gonna do some location recordings. Any suggestions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11304" PostHistoryTypeId="3" PostId="6597" RevisionGUID="7c776add-3983-4c49-beb6-015de09eb780" CreationDate="2011-03-18T00:09:57.363" UserId="6420" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11305" PostHistoryTypeId="2" PostId="6598" RevisionGUID="0113ad6e-6fb8-40ee-bf77-aea46af42c57" CreationDate="2011-03-18T00:12:11.883" UserId="18160" Text="Are there any vitamins or supplements or vegetables or procedures you know of that promote healthy and long-lasting ears?&#xD;&#xA;&#xD;&#xA;I'm 25 and I want to continue in this business for many years." ContentLicense="CC BY-SA 2.5" />
  <row Id="11306" PostHistoryTypeId="1" PostId="6598" RevisionGUID="0113ad6e-6fb8-40ee-bf77-aea46af42c57" CreationDate="2011-03-18T00:12:11.883" UserId="18160" Text="Carrots are for eyes as ________ are for ears." ContentLicense="CC BY-SA 2.5" />
  <row Id="11307" PostHistoryTypeId="3" PostId="6598" RevisionGUID="0113ad6e-6fb8-40ee-bf77-aea46af42c57" CreationDate="2011-03-18T00:12:11.883" UserId="18160" Text="&lt;ear&gt;&lt;hearing&gt;&lt;health&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11308" PostHistoryTypeId="2" PostId="6599" RevisionGUID="f6362a66-2247-42e6-bcba-ae9bfd713aef" CreationDate="2011-03-18T00:20:10.300" UserId="18160" Text="Where exactly do you live?&#xD;&#xA;&#xD;&#xA;Is there a small airport near where you live? Visit it and record some of those prop planes and such!&#xD;&#xA;&#xD;&#xA;Maybe visit a zoo?&#xD;&#xA;&#xD;&#xA;Take your recorder to a subway and hope there isn't many people around - I remember the Metro in L.A. sounding like a spaceship when it comes through.&#xD;&#xA;&#xD;&#xA;Or visit a theme park like Six Flags or something and strap it to your chest (hopefully with good wind protection) and get the sounds of the people on the ride and the roller coasters etc.!&#xD;&#xA;&#xD;&#xA;Possibilities are endless!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11309" PostHistoryTypeId="2" PostId="6600" RevisionGUID="0478fe7c-1e1d-496d-9e51-f6df03fbc3a4" CreationDate="2011-03-18T00:37:23.887" UserId="393" Text="According to a quick Google search...&#xD;&#xA;&#xD;&#xA;Foods: Spinach, Potatoes, Broccoli, red meats, liver, Wheat germ, mango, kiwi, peanuts&#xD;&#xA;&#xD;&#xA;Supplement: Alpha Lipoic Acid, Vitamin E&#xD;&#xA;&#xD;&#xA;http://www.associatedcontent.com/article/387917/listen_up_foods_and_supplements_that.html (doesn't site sources)&#xD;&#xA;&#xD;&#xA;As many of vitamin E's benefits are well documented, there are certain risks of ingestion of vitamin E that need to be described. For example, if you take beta blockers for cardio-vascular health, you should know that vitamin E can interfere with their action. Likewise, if you take coumadin, a &quot;blood thinner&quot; that is derived from warfarin, vitamin E supplementation may increase your risk of bleeding.&#xD;&#xA;&#xD;&#xA;As with all meds and supplements, you really should check your doctor or pharmacist before you get started. THe University of Maryland has a good site describing vitamin E's benefits and risks:&#xD;&#xA;&#xD;&#xA;http://www.umm.edu/altmed/articles/vitamin-e-000341.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="11310" PostHistoryTypeId="2" PostId="6601" RevisionGUID="63986407-7444-40c1-ace6-f49d36e22d79" CreationDate="2011-03-18T00:43:33.487" UserId="432" Text="Ear plugs. I guess you can't eat those though.....&#xD;&#xA;&#xD;&#xA;or can you.....?&#xD;&#xA;&#xD;&#xA;In all seriousness, the things you need to protect most in your ears are those tiny cilia like receptors deep down in the inner ear. Once one breaks, the frequencies that were dependent on that particular one drop significantly (if not entirely). Wearing earplugs in loud situations will preserve your hearing better than any particular food." ContentLicense="CC BY-SA 2.5" />
  <row Id="11311" PostHistoryTypeId="2" PostId="6602" RevisionGUID="63cedbca-099a-4bd2-bb3f-71d124832059" CreationDate="2011-03-18T01:05:47.337" UserId="61" Text="A quick wiki search presented these possibilities, all of which I'd love to hear:&#xD;&#xA;&#xD;&#xA; - The Bournemouth Pleasure Gardens;&#xD;&#xA; - The graveyard at St. Peter's Church,&#xD;&#xA;   Bournemouth, where Mary Shelley is&#xD;&#xA;   buried;&#xD;&#xA; - Traffic or other atmos from The&#xD;&#xA;   Square;&#xD;&#xA; - Interior or exterior atmos at&#xD;&#xA;   Bournemouth University;&#xD;&#xA; - Make a call to Parvalux (the UK's&#xD;&#xA;   largest fractional horsepower motor)&#xD;&#xA;   and see if you can get a tour?&#xD;&#xA;&#xD;&#xA;If you're planning ahead, perhaps you can rent some better mics and a recorder for the air show coming up this August?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11312" PostHistoryTypeId="2" PostId="6603" RevisionGUID="b5092a61-0d6e-47cc-b771-c5dcbe752505" CreationDate="2011-03-18T01:07:43.843" UserId="432" Text="I'm still running tests and trying them out in different situations, but I recently bought a pair of AKG Blue Line - C391B's (AKG SE300B body with CK91 cardiod capsules). I bought one on the cheap, and was impressed enough after initial tests that I bought the second (also on the cheap). It's a modular system with all the major pickup patterns available (including shotgun - supercardiod/lobar).&#xD;&#xA;&#xD;&#xA;The CK91 cardiod capsules have a nice, relatively even, frequency response and have less proximity effect than the AT4050's. They have a higher noise floor than the 4050's, but that's not hard to do. So, I'd still rate them respectable in that department. I found a pretty good deal on the CK93 (hypercardiod) capsules through SpectrumAudio.com. So, I grabbed a pair of those, but haven't had time to test them out yet. From  other people I've spoken with who have these sets though, the CK93 is the standout capsule in the line. I'm looking forward to testing them out. I can't speak about the omni, figure 8 or shotgun capsules&#xD;&#xA;&#xD;&#xA;They're moderately priced, and a good value for the money. If you can find one in decent condition used (like I did), even more so." ContentLicense="CC BY-SA 2.5" />
  <row Id="11313" PostHistoryTypeId="2" PostId="6604" RevisionGUID="2980423e-994d-4a0c-a780-7f5d9f11f153" CreationDate="2011-03-18T01:31:53.227" UserId="18160" Text="Even if the sound was bad, let's not speak about it. Tell us what the plus points were.&#xD;&#xA;&#xD;&#xA;Last movie I watched was The Fighter.&#xD;&#xA;&#xD;&#xA;Wonderful punch sounds and crowd editing. The best part was the scene at the end before the last round of the last fight - the sound pulled you in and put you on the edge of your seat for what was going to happen next. Some of it was created with delays, some of it with EQ on the announcer's voice. Some of it just fading out to zero. And then focusing on the dialogue between Mark and Christian - and then BAM you're right back into the fight again. Seamless. Great sounding movie." ContentLicense="CC BY-SA 2.5" />
  <row Id="11314" PostHistoryTypeId="1" PostId="6604" RevisionGUID="2980423e-994d-4a0c-a780-7f5d9f11f153" CreationDate="2011-03-18T01:31:53.227" UserId="18160" Text="Tell us about the last movie you watched and what the best thing about the sound was." ContentLicense="CC BY-SA 2.5" />
  <row Id="11315" PostHistoryTypeId="3" PostId="6604" RevisionGUID="2980423e-994d-4a0c-a780-7f5d9f11f153" CreationDate="2011-03-18T01:31:53.227" UserId="18160" Text="&lt;movies&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11316" PostHistoryTypeId="5" PostId="6551" RevisionGUID="70fdedc5-0a4b-4aa6-98b3-2091b22c318a" CreationDate="2011-03-18T01:39:57.730" UserId="445" Comment="added 99 characters in body; edited tags" Text="Despite the name of the symposium, there are many conferences about sound design as well.&#xD;&#xA;&#xD;&#xA;So... Are you going? Anyone has attended past conferences?&#xD;&#xA;&#xD;&#xA;I would like to meet some of you this summer in NY!!&#xD;&#xA;&#xD;&#xA;http://steinhardt.nyu.edu/music/scoring/conference" ContentLicense="CC BY-SA 2.5" />
  <row Id="11317" PostHistoryTypeId="6" PostId="6551" RevisionGUID="70fdedc5-0a4b-4aa6-98b3-2091b22c318a" CreationDate="2011-03-18T01:39:57.730" UserId="445" Comment="added 99 characters in body; edited tags" Text="&lt;music&gt;&lt;sound-design&gt;&lt;education&gt;&lt;conference&gt;&lt;nyu&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11318" PostHistoryTypeId="2" PostId="6605" RevisionGUID="bb6e97cf-6c74-42b9-b682-dc7a38cee5e0" CreationDate="2011-03-18T02:05:58.630" UserId="670" Text="The sound of someones brain during an adrenaline rush." ContentLicense="CC BY-SA 2.5" />
  <row Id="11319" PostHistoryTypeId="2" PostId="6606" RevisionGUID="307284d7-7776-4bbb-9445-e59298b559b6" CreationDate="2011-03-18T02:49:27.423" UserId="393" Text="I've got a pair of Redheads (gunmetal and black), and I love them -- after awhile, a naked h4n just looks wrong.&#xD;&#xA;&#xD;&#xA;I just ordered the Portable Recorder Suspension Kit from Rycote, which comes with a WindJammer, so I plan on doing a head-to-head comparison with fans." ContentLicense="CC BY-SA 2.5" />
  <row Id="11320" PostHistoryTypeId="2" PostId="6607" RevisionGUID="3a8647c8-2180-4666-8092-381b7ad9f189" CreationDate="2011-03-18T02:59:02.413" UserId="393" Text="I absolutely MUST have the area to the left of my keyboard clean so I can put stuff there, like whatever bricabrac I'm playing with, or whatever I'm drinking.  I'll pile things on my midi keyboard and turntables (like they are now) before I let that area become unusable." ContentLicense="CC BY-SA 2.5" />
  <row Id="11321" PostHistoryTypeId="2" PostId="6608" RevisionGUID="77b2a704-8689-4c7b-824e-e6e4c9ebf4f8" CreationDate="2011-03-18T05:30:21.483" UserId="338" Text="The sound of silence!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11322" PostHistoryTypeId="2" PostId="6609" RevisionGUID="16413cbd-09a2-4892-9d90-ee21e1e304dc" CreationDate="2011-03-18T05:35:06.173" UserId="338" Text="I watched Up.  The plus points were the talking dogs and the one talking alpha dog with the faulty collar.  There was a lot of interesting panning going on, perhaps using an underdeveloped 3d sound algorithm.  I noticed there tended to be quite a bit of reverb on any dialogue.  The first third of the movie had the most sound design/work done on it and then after that it tapered off and picked up at the end (IMHO).  Good non-diegetic sound when the boy is lured into the old house.  Was suprised when the balloons popped out of his house and all in all it was a pretty good movie.  During the initial encounter with the dog's rustling the bushes and with the red eyes, that was really well done because I thought that there were monsters or aliens or robots or something in the bushes.  The mother's call to her children and their return call was nice.  Music fit pretty well and the waterfall's ominous rumble played an important part and it changed throughout the few times that it was represented (few?).  I also love the soft processing that hollywood/animation/pixar whatever, is done on everything to &quot;cut any sharp edges that might be sticking out.&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11323" PostHistoryTypeId="2" PostId="6610" RevisionGUID="828edbb6-89d1-4e12-977f-ea3acc82ac63" CreationDate="2011-03-18T05:37:05.607" UserId="338" Text="Sounds rad.  Record some talks and post 'em up!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11324" PostHistoryTypeId="2" PostId="6611" RevisionGUID="4774aa91-dd1a-4fdb-bab4-72cca3e48ba9" CreationDate="2011-03-18T05:39:19.347" UserId="338" Text="Try rooftop recording, plane recording from a distance, record everything through a tube/box/bottle, rustling in trees, make hydrophone recordings, do tons of contact mic recordings maybe while in a cardboard box or drinking glass, some walla" ContentLicense="CC BY-SA 2.5" />
  <row Id="11325" PostHistoryTypeId="2" PostId="6612" RevisionGUID="b906a3da-22be-4d1c-abac-5cd76864ca10" CreationDate="2011-03-18T05:40:51.467" UserId="338" Text="What accelerator card are you using?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11326" PostHistoryTypeId="2" PostId="6613" RevisionGUID="f21b83ba-8614-4358-895d-904456de8bbe" CreationDate="2011-03-18T06:27:45.653" UserId="348" Text="I loved 127 Hours. The authenticity of the landscapes were both geographically accurate and underplayed which allowed me to get sucked into the world of the story. The way Boyle uses the world around Ralston as he is stuck and Ralstons dementia setting he beautifully balanced. You really do get a sense of Ralston coming to terms with his decision to cut off his arm (the nerve cutting was amazing) and his mental degradation.   " ContentLicense="CC BY-SA 2.5" />
  <row Id="11327" PostHistoryTypeId="2" PostId="6614" RevisionGUID="b39c0926-30bb-4bcb-b83b-be0cee8622e6" CreationDate="2011-03-18T07:47:24.773" UserId="2" Text="...what would it be? &#xD;&#xA;&#xD;&#xA;I'm doing a talk to the South African Guild of Editors. I have a good idea of what I want to talk about, but I can only speak from my context. Hearing from other sound designers (you) would help a lot in being objective and covering all perspectives.   &#xD;&#xA;&#xD;&#xA;**Topics covered:** (any other ones you think would be important?)&#xD;&#xA;&#xD;&#xA;- Making sound editing decision. &#xD;&#xA;- The picture editor &amp; sound designer relationship.&#xD;&#xA;- Editing choices that impact the sound design. &#xD;&#xA;- Deliverables for sound.&#xD;&#xA;&#xD;&#xA;Obviously there are different types of projects. The long haul ones that you give your life for, the short one day jobs for cash, and everything in between. &#xD;&#xA;&#xD;&#xA;I really look forward to hearing what you have to share! &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11328" PostHistoryTypeId="1" PostId="6614" RevisionGUID="b39c0926-30bb-4bcb-b83b-be0cee8622e6" CreationDate="2011-03-18T07:47:24.773" UserId="2" Text="If you could tell your picture editor anything... " ContentLicense="CC BY-SA 2.5" />
  <row Id="11329" PostHistoryTypeId="3" PostId="6614" RevisionGUID="b39c0926-30bb-4bcb-b83b-be0cee8622e6" CreationDate="2011-03-18T07:47:24.773" UserId="2" Text="&lt;picture-editor&gt;&lt;relationship&gt;&lt;sound-designer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11330" PostHistoryTypeId="2" PostId="6615" RevisionGUID="5fa621e3-d720-4a49-bdf0-1f1c73c33d01" CreationDate="2011-03-18T07:51:10.713" UserId="338" Text="I'm wondering how reliable the Apple Compressor is.  I'd like to convert a photo JPG to an MP4 file and am hoping to do it in a fashion that does not &quot;unsync&quot; anything audio/video related.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11331" PostHistoryTypeId="1" PostId="6615" RevisionGUID="5fa621e3-d720-4a49-bdf0-1f1c73c33d01" CreationDate="2011-03-18T07:51:10.713" UserId="338" Text="Is Apple Compressor Reliable for MP4 Conversion" ContentLicense="CC BY-SA 2.5" />
  <row Id="11332" PostHistoryTypeId="3" PostId="6615" RevisionGUID="5fa621e3-d720-4a49-bdf0-1f1c73c33d01" CreationDate="2011-03-18T07:51:10.713" UserId="338" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11333" PostHistoryTypeId="2" PostId="6616" RevisionGUID="5cdedbfe-7b3b-408d-bf3d-cedb50984489" CreationDate="2011-03-18T08:57:08.043" UserId="830" Text="Not sure I am getting you. A jpg is a single frame and doesn't have the ability to put audio track with it. My only idea of what you ay be doing is loading an audio track in Quicktime 7 and attaching a image to it as a poster image and saving it out as a &quot;movie&quot;. If you are doing that, then I am not sure.&#xD;&#xA;&#xD;&#xA;Regardless compressor is normally fairly reliable in doing conversions. It can be a very powerful way of batching up lots of conversions for different media types and not have issues." ContentLicense="CC BY-SA 2.5" />
  <row Id="11334" PostHistoryTypeId="2" PostId="6617" RevisionGUID="f7bb8caf-8e48-4714-a2a9-327aff0bcf10" CreationDate="2011-03-18T09:33:36.053" UserId="938" Text="I'm after a location recording bag for my SD744T, and nothing more! All the bags I've looked at sof far seem designed to hold a mixer, recorder and 17 wireless receivers. Can anyone recommend something small and compact?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11335" PostHistoryTypeId="1" PostId="6617" RevisionGUID="f7bb8caf-8e48-4714-a2a9-327aff0bcf10" CreationDate="2011-03-18T09:33:36.053" UserId="938" Text="Smallest bag for SD744T" ContentLicense="CC BY-SA 2.5" />
  <row Id="11336" PostHistoryTypeId="3" PostId="6617" RevisionGUID="f7bb8caf-8e48-4714-a2a9-327aff0bcf10" CreationDate="2011-03-18T09:33:36.053" UserId="938" Text="&lt;location&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11337" PostHistoryTypeId="2" PostId="6618" RevisionGUID="adeb26f4-4622-4b25-8ec5-78f93cb03caf" CreationDate="2011-03-18T09:50:19.670" UserId="2" Text="I think the 744 is the exact size as the 702 (don't take my word for it). If that's the case, you can get the [Sound Devices CS-3 Production Case][1].  &#xD;&#xA;&#xD;&#xA;It does have a pouch at the front, but you can take it off. There's also some extra space at the bottom, but it doesn't affect you as your machine is attached at the top. It's useful if you have a bigger battery, or want to tuck away your excess cable. &#xD;&#xA;&#xD;&#xA;If you're only after a bag to carry it, and not for use while recording, then you can get the [CS-MAN Utility Case][2]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/399052-REG/Sound_Devices_CS_3_CS_3_Production_Case.html&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/product/400234-REG/Sound_Devices_CS_MAN_CS_MAN_Utility_Case.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="11338" PostHistoryTypeId="2" PostId="6619" RevisionGUID="9cb9e891-fa61-49aa-af50-a7bcc265824b" CreationDate="2011-03-18T09:53:35.923" UserId="939" Text="Check out the Portabrace bags for the 7-series recorders, the AR-7.&#xD;&#xA;&#xD;&#xA;http://www.coffeysound.com/PortaBrace-AR-7-Audio-Recorder-Case.html&#xD;&#xA;&#xD;&#xA;I use it all the time and i don't think it's that bulky + it has some extra space for accessories." ContentLicense="CC BY-SA 2.5" />
  <row Id="11339" PostHistoryTypeId="2" PostId="6620" RevisionGUID="217c22fb-534f-49f0-9e2a-737367118d21" CreationDate="2011-03-18T09:55:51.447" UserId="37" Text="I do this kind of conversion all the time using Quicktime Pro. It works just fine. So would Compressor. Stick to common frame rates and sample rates for peace of mind on any device." ContentLicense="CC BY-SA 2.5" />
  <row Id="11340" PostHistoryTypeId="2" PostId="6621" RevisionGUID="69937740-6384-4e5d-9a1d-140f0b6369b5" CreationDate="2011-03-18T10:06:31.940" UserId="830" Text="Build them yourself. &#xD;&#xA;&#xD;&#xA;There are heaps of tutorials out there and can be done fairly cheap. Make triangle floor stand wedges and then no need to attach them to the walls. You can also move them around to tune your room.&#xD;&#xA;&#xD;&#xA;Most of your issue will be around the corners of the room. The high end reflections will the killer for the centre of your walls and will need something different to diffuse them.&#xD;&#xA;&#xD;&#xA;Also look at what is on your floor. If you apartment is a wooden floor then put a rug/thick matt down. Even put some rubber under your DAW table and sub-woofer.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="11341" PostHistoryTypeId="2" PostId="6622" RevisionGUID="c4aae3ad-8418-4cdb-97a7-b74e8e340d0e" CreationDate="2011-03-18T10:06:38.730" UserId="37" Text="The steam railway in Swanage runs on weekends. &#xD;&#xA;If you get to that area, go out in the open fields, far away from traffic, and record. You'll get a lot of hiss with a Zoom H2 but there's beauty in that too.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11342" PostHistoryTypeId="5" PostId="6597" RevisionGUID="ae0d6c01-4f2a-4d74-96ef-6672a6a960c7" CreationDate="2011-03-18T10:08:23.690" UserId="37" Comment="added location" Text="Evening all!&#xD;&#xA;&#xD;&#xA;I've got a week off next week and need to fill my time constructively by not watching any daytime tv lol Was thinking of going out and about to record some stuff and wondering if anyone had any specific requests? I live on the coast so stuff like waves/shores/gulls etc will be no probs. Was thinking of doing some stealth stuff too like public ambience sounds; malls, museums, gym, swimming pools, town centres, pub wallas etc. I'll be doing it with my Zoom H2 so if anyone wants anything specific let me know :)&#xD;&#xA;Andy&#xD;&#xA;&#xD;&#xA;edit: I live in Bournemouth, UK at present." ContentLicense="CC BY-SA 2.5" />
  <row Id="11343" PostHistoryTypeId="2" PostId="6623" RevisionGUID="06d933e4-b2fc-490b-8324-98d312d8de89" CreationDate="2011-03-18T10:10:01.490" UserId="37" Text="Solar flares...." ContentLicense="CC BY-SA 2.5" />
  <row Id="11344" PostHistoryTypeId="2" PostId="6624" RevisionGUID="7471d0a2-7b2e-439d-b0e8-808f295f0206" CreationDate="2011-03-18T10:11:26.170" UserId="830" Text="Ideas off the top of my head.&#xD;&#xA;&#xD;&#xA;Look up local festivals and events that you can get into for free and have the possibility of interesting sounds.&#xD;&#xA;&#xD;&#xA;Head to old-school arcades, clock shops, and other more unusual shops.&#xD;&#xA;&#xD;&#xA;Do you have any longer passways that have traffic and are accessible safely. Grab the difference sound of cars going in and out of the passway and reverb decay.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11345" PostHistoryTypeId="2" PostId="6625" RevisionGUID="544ac8ed-9749-445f-86b7-ffb522da4cf7" CreationDate="2011-03-18T14:08:19.810" UserId="261" Text="According to this website, this clip claims to be a an audio recording of the earthquake in Japan.&#xD;&#xA;&#xD;&#xA;http://fooyoh.com/news/5919440" ContentLicense="CC BY-SA 2.5" />
  <row Id="11346" PostHistoryTypeId="1" PostId="6625" RevisionGUID="544ac8ed-9749-445f-86b7-ffb522da4cf7" CreationDate="2011-03-18T14:08:19.810" UserId="261" Text="&quot;This is What the Japan Earthquake Sounded Like...&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11347" PostHistoryTypeId="3" PostId="6625" RevisionGUID="544ac8ed-9749-445f-86b7-ffb522da4cf7" CreationDate="2011-03-18T14:08:19.810" UserId="261" Text="&lt;interesting&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11348" PostHistoryTypeId="2" PostId="6626" RevisionGUID="d4ada55d-47e5-4279-b3ab-ce19a00ed55f" CreationDate="2011-03-18T14:47:40.610" UserId="194" Text="I'd actually love some costal recordings.  Ports, docs, beaches, etc.  I'm inland so that kind of stuff isn't so easy for me to get to.&#xD;&#xA;&#xD;&#xA;If you do manage to get that stuff shoot me a message and I'll trade some sounds for them.&#xD;&#xA;&#xD;&#xA;thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11349" PostHistoryTypeId="2" PostId="6627" RevisionGUID="4299f625-16af-4b4f-9cd8-4327938ecc5a" CreationDate="2011-03-18T14:51:51.883" UserId="234" Text="I'm going to assume that you mean you have a Movie in Photo-JPEG codec (yes it IS a valid legacy Quicktime Format), and would like to convert it to MP4. Compressor simply uses the Quicktime Engine, so as far as sync goes it will be no better or worse than anything else (i.e. FFMPEG or anything that uses that specific engine). Like @georgi.m said, stick with common frame rates and sample rates.&#xD;&#xA;&#xD;&#xA;Bear in mind that Photo-JPEG is an INTRA frame codec, while MP4 is an INTER frame codec, which means that rather than individually compressing each frame, the movie is compressed in Groups of Pictures (GOP). Essentially the start, middle and end of each GOP is compressed and then the frames in-between  are interpolated (oversimplification, but gets the gist). The end result is much lower data rate for a given picture. However the tradeoff is that the CPU (as opposed the the Hard Drive) has to work harder to decode the movie. The other tradeoff is that the Audio and Video streams are decoupled for decode than re-integrated on the playback. In theory this works fine, but in practice, a slow computer or slow connection WILL result in sync being off (it taking longer to decode the video than the audio). This has NOTHING to do with the program used to encode the MP4, and everything to do with the computer playing it back." ContentLicense="CC BY-SA 2.5" />
  <row Id="11350" PostHistoryTypeId="2" PostId="6628" RevisionGUID="de81afed-75e0-4e47-9915-613af5ca531f" CreationDate="2011-03-18T15:10:33.220" UserId="393" Text="I realize this isn't a typical question for SSD -- we almost never talk about the film making process, because most of the stuff we do is post.  But, I'm doin' it!&#xD;&#xA;&#xD;&#xA;I've run into something of a dilemma where the people I know who are making movies and want me to do sound aren't making movies that I think will be any good (or any fun, which is more the case), and the people I know who are making films I'd love to do sound for won't let me do it, even for free.  I realize that finishing my demo reel would probably fix a chunk of this problem.&#xD;&#xA;&#xD;&#xA;Even still, there are some things that I would love to do the sound for that I can't even validly hope they'll land on my plate.  For this example, I'll use the current desire: a post-apocalyptic western that's NOT a space western.  Very similar to The Book of Eli, in fact.&#xD;&#xA;&#xD;&#xA;So, I've taken it upon myself that if no one is going to make it, then I might as well so I can at least do the sound for it.&#xD;&#xA;&#xD;&#xA;Which leads me to my actual question: **after I have a decent script, what do I do with it? Is finding a producer the next step in this process?**&#xD;&#xA;&#xD;&#xA;**Also, since I'm asking, have any of you done something like this, or know of any sound designers that are also writers?**" ContentLicense="CC BY-SA 2.5" />
  <row Id="11351" PostHistoryTypeId="1" PostId="6628" RevisionGUID="de81afed-75e0-4e47-9915-613af5ca531f" CreationDate="2011-03-18T15:10:33.220" UserId="393" Text="The film-making process for a sound desiner pretending to be a writer" ContentLicense="CC BY-SA 2.5" />
  <row Id="11352" PostHistoryTypeId="3" PostId="6628" RevisionGUID="de81afed-75e0-4e47-9915-613af5ca531f" CreationDate="2011-03-18T15:10:33.220" UserId="393" Text="&lt;film&gt;&lt;writing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11353" PostHistoryTypeId="2" PostId="6629" RevisionGUID="5037e6e0-d55f-4e46-ba35-bee9dc2fb658" CreationDate="2011-03-18T15:12:06.830" UserId="432" Text="Probably too many to list, but the ones that are bugging me the most from my current project are:&#xD;&#xA;&#xD;&#xA;1. If you're going to cut to music, particularly when you're showing the performers on screen, you'd better understand how to identify the beat and phrasing of music. Cut on the beat, and make sure the cut is between phrases (not in the middle of one).&#xD;&#xA;&#xD;&#xA;2. Don't decide for me what channels of production audio you think are best (multi-mic situations). Send them all to me and let me choose; otherwise, I'm sending the director back to you when there are complaints that the sound of dialogue doesn't match between edits.&#xD;&#xA;&#xD;&#xA;These suggestions don't usually apply to good editors, but I have worked with too many &quot;experienced&quot; editors who don't know how to cut to music. #2 there typically only applies to newbies, which is the current situation I'm in." ContentLicense="CC BY-SA 2.5" />
  <row Id="11354" PostHistoryTypeId="2" PostId="6630" RevisionGUID="67e5b862-6ff1-4091-b770-9376ea509b78" CreationDate="2011-03-18T15:47:14.057" UserId="411" Text="[Listening to the deep ocean environment][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://listentothedeep.com/acoustics/index.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="11355" PostHistoryTypeId="12" PostId="6630" RevisionGUID="b23fd902-f596-4b18-862e-33c7cfe63a93" CreationDate="2011-03-18T15:48:30.187" UserId="411" Text="[{&quot;Id&quot;:411,&quot;DisplayName&quot;:&quot;soundseller&quot;}]" />
  <row Id="11356" PostHistoryTypeId="13" PostId="6630" RevisionGUID="e3112f51-2602-4bb0-994f-56ac4985c973" CreationDate="2011-03-18T15:49:29.607" UserId="411" Text="[{&quot;Id&quot;:411,&quot;DisplayName&quot;:&quot;soundseller&quot;}]" />
  <row Id="11357" PostHistoryTypeId="5" PostId="6630" RevisionGUID="92f7d756-05df-4972-b038-ab588d97a7c4" CreationDate="2011-03-18T15:54:36.947" UserId="411" Comment="added 9 characters in body" Text="Source:&#xD;&#xA;[Listening to the deep ocean environment][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://listentothedeep.com/acoustics/index.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="11358" PostHistoryTypeId="2" PostId="6631" RevisionGUID="dbac7b2c-3c9d-4f8f-bea7-ef3cc5ea8ce3" CreationDate="2011-03-18T15:55:38.473" UserId="220" Text="Rewrite, rewrite, rewrite.  Then put it down, wait, and rewrite some more.  A decent script will make a decent to terrible movie.  A great script will make a great to terrible movie.  Until that script is PERFECT, don't go forward with the idea of shooting.  &#xD;&#xA;&#xD;&#xA;Watch Tales From the Script (on netflix watch it now).  &#xD;&#xA;&#xD;&#xA;After that, it depends on what you want to do with the film.  Do you want to direct it?  Produce it?  Fund it?  Sell your script?  Do everything - write, direct, star, edit, score, etc?&#xD;&#xA;&#xD;&#xA;Get a budget together.  There are tons of great guidelines to help you.  This will determine what you can and can't do.  There are projects I have shelved because it is not financially feasible for me to shoot for now.  &#xD;&#xA;&#xD;&#xA;If you're self-funding on an indie budget, get a producer and director on board.  Take the hiring very seriously - they will help create your vision.  From there, they will start in to the pre-production process.&#xD;&#xA;&#xD;&#xA;You've really got to decide why you're doing this.  If it's to have a cool demo piece, get a few friends together, film a 5 minute action scene on a Saturday, and do the sound design.  If it's to create a dream film, you've got a lot of work to do before you can even think about doing the sound design.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11359" PostHistoryTypeId="2" PostId="6632" RevisionGUID="bcbd3572-efcc-4cfd-a53a-12298595e100" CreationDate="2011-03-18T16:13:27.413" UserId="941" Text="In my expereince Sound Designers are sound designers and not script writers." ContentLicense="CC BY-SA 2.5" />
  <row Id="11360" PostHistoryTypeId="2" PostId="6633" RevisionGUID="47b540c3-70b6-4d2d-8fad-7191966d4336" CreationDate="2011-03-18T16:32:57.897" UserId="941" Text="As a sound designer I'm pretty precious about my work and in previous projects have also undertaken the score as well but with my latest project am working remotely with another part of the team responsible for the score. I usually make alot of tension drones as part of the design as well as additional FX, unusual foley etc etc. &#xD;&#xA;&#xD;&#xA;I really want the best for the film but feel its going to be a waste of my time continuing writing atmospheres if the scorist is going to take that role upon himself... (most of the atmospheres are drones being inbetween where I feel the score will be and sit in the LFE nb/*score hasnt been composed yet*)&#xD;&#xA;&#xD;&#xA;Where is the line between score and design? Its an interesting line and a very blurry one. &#xD;&#xA;&#xD;&#xA;Has anyone else any thoughts on this?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11361" PostHistoryTypeId="1" PostId="6633" RevisionGUID="47b540c3-70b6-4d2d-8fad-7191966d4336" CreationDate="2011-03-18T16:32:57.897" UserId="941" Text="The blur between Sound Design and Score." ContentLicense="CC BY-SA 2.5" />
  <row Id="11362" PostHistoryTypeId="3" PostId="6633" RevisionGUID="47b540c3-70b6-4d2d-8fad-7191966d4336" CreationDate="2011-03-18T16:32:57.897" UserId="941" Text="&lt;sound-design&gt;&lt;score&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11363" PostHistoryTypeId="2" PostId="6634" RevisionGUID="f61c3126-87ff-4b34-b42f-92977c0e30e3" CreationDate="2011-03-18T16:59:43.783" UserId="18160" Text="Deja vu.&#xD;&#xA;&#xD;&#xA;Check out these answers:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/425/films-which-blur-the-distinction-between-score-and-sound-design" ContentLicense="CC BY-SA 2.5" />
  <row Id="11364" PostHistoryTypeId="2" PostId="6635" RevisionGUID="08689ac4-ec8d-4f37-9069-1cfd4ce0b0ca" CreationDate="2011-03-18T17:11:10.753" UserId="728" Text="For my Final Project at the sound school, I wrote an audio-script for the audiobook on one of the Choose Your Own Adventure stories. The format of the script was similar to the radio script, giving info about the proper dialogues and the ambience and the incidental sounds. Since it was an adapted script and was focussed on extremely concise form of the story (from 90 odd pages of the book to 20-odd pages of the script), the challenge was tough.&#xD;&#xA;&#xD;&#xA;My suggestion would be, since you are a sound designer, it will be best if you pitch your script in an audio format (an extract may be) along with the text script. The format of the text script should give a good picture to the producers and the audio extract will help in enhancing the feel and fire up the imagination.&#xD;&#xA;&#xD;&#xA;And finally be realistic about the feasibility... the film-making process has lots of things beyond script writing. I am sure someone with experience in film-making will guide you properly about that." ContentLicense="CC BY-SA 2.5" />
  <row Id="11365" PostHistoryTypeId="2" PostId="6636" RevisionGUID="3cd6d543-caab-4e58-952d-667c3176ac5b" CreationDate="2011-03-18T17:12:10.937" UserId="194" Text="For the purposes of your talk I'd address the following:&#xD;&#xA;&#xD;&#xA;Creative editing for sound:&#xD;&#xA;&#xD;&#xA; - visuals are style, story is substance, sound is emotion.&#xD;&#xA; - for emotional impact, **leave space in the edit.** Sound is tied to time in a way that visuals are not, and as such the better you get at setting things up with space the more effective it will be when you knock them down with the &quot;big moment&quot;.  Cramming a bunch of stuff together demonstrates a lack of substance.&#xD;&#xA; - find films you love and watch them with the sound off.  Pay attention to the amount of time certain things seem to hang and observe how unnerving it can be to stare at things with good spacing when the sound is absent.  Then do the opposite, rip the soundtrack from the same film and listen to it in headphones with your eyes closed while sitting or laying down.  Without the visuals.  Observe how the pacing and tempo don't seem to have any real holes and recognize the degree to which sound dictates pacing.  Take time to try and describe the more interesting sounds you're hearing on paper as you listen.&#xD;&#xA;&#xD;&#xA;the editor/sound designer relationship:&#xD;&#xA;&#xD;&#xA; - learn the language of sound.  Specifically learn what tempo, compression, and loudness mean on a technical level.  Also learn how to describe specific sonic textures.  Learn the appropriate ways to use words like soft, sharp, warm, cold, fluttery, thick, smooth, coarse, etc.  This will help you communicate.&#xD;&#xA; - don't say &quot;hollow.&quot;  say &quot;verby&quot;&#xD;&#xA; - never give the following direction &quot;I'll know it when I hear it.&quot;  Always have an idea of what you want, or otherwise trust the person you've hired to know what he/she wants.&#xD;&#xA; - never make mix decisions on laptop speakers.&#xD;&#xA; - learn to trust your own ears.  If something doesn't sound right then it isn't right.  If it isn't right, use the language of sound to direct.  &#xD;&#xA; - understand that sound and sound design are creative and emotional mediums.  As such, temper your language and direction to respect the emotional and creative process that it takes to achieve anything in that realm.  Also, allot the appropriate time it takes to do the job well when you need it done well.&#xD;&#xA;&#xD;&#xA;technical editing for sound:&#xD;&#xA;&#xD;&#xA; - editing for sound is essentially **collaborative** editing.  As such things like documentation, naming schemes and any other way to facilitate communication are the key elements.&#xD;&#xA;&#xD;&#xA; - log and transfer clips with appropriate names on import.&#xD;&#xA; - trust your ears with the source audio.   If something sounds wrong in the edit suite, then it is wrong.  Take steps early to rectify that, or plan for what post will have to do.  &#xD;&#xA; - never render audio effects destructively if your project is going through audio post.&#xD;&#xA; - deliver complete sound rolls well in advance of picture lock.&#xD;&#xA; - have a head an tail pop in the session for sync ref.&#xD;&#xA; - keep your audio tracks logically organized.  When you deliver them we can see them exactly as you're working with them, and untangling your mess is expensive and prone to human error.&#xD;&#xA; - know the exact frame rate and sample rate of your session.  &#xD;&#xA; - plan to deliver in enough time for the audio department to do its job when you're done.&#xD;&#xA; - always plan for revisions.&#xD;&#xA;&#xD;&#xA;delivery&#xD;&#xA;&#xD;&#xA; - sit with an audio post guy or gal and ask them to critique a video delivery when you can.  Do this more than once.&#xD;&#xA; - never deliver mp4 or m4v files.&#xD;&#xA; - deliver quicktimes formatted with a timecode burn in, head and tail pops, and the appropriate frame rate.  DV codec is the most compatible codec, but check with your audio dept for what they prefer.&#xD;&#xA; - name your quicktime with the project name and version number.&#xD;&#xA; - deliver an edl named with the project name and version number.&#xD;&#xA; - deliver an AAF or OMF that has audio embedded.  Include at least 5 seconds of handles on the clips.  Include all appropriate audio from the project.&#xD;&#xA; - name the AAF or OMF with the project name and version number.&#xD;&#xA; - send an email or other written form of instruction with any notes and with contact info and delivery requirements." ContentLicense="CC BY-SA 2.5" />
  <row Id="11366" PostHistoryTypeId="2" PostId="6637" RevisionGUID="e2785f78-1c6e-4a1a-96fe-0e0339ada4c8" CreationDate="2011-03-18T17:14:05.490" UserId="393" Text="Contact the person scoring it... perhaps you can work together.  Worst case scenario, you can find out what key the scene is going to be in and tune your drones to that." ContentLicense="CC BY-SA 2.5" />
  <row Id="11367" PostHistoryTypeId="2" PostId="6638" RevisionGUID="c622eeca-6df4-457b-8694-30b75ffc807f" CreationDate="2011-03-18T17:18:00.420" UserId="18160" Text="Hand out copies of this article from Randy Thom:&#xD;&#xA;&#xD;&#xA;http://www.filmsound.org/articles/designing_for_sound.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="11368" PostHistoryTypeId="2" PostId="6639" RevisionGUID="a30ad7c4-2b08-4492-b701-90e8a9ccd1a1" CreationDate="2011-03-18T17:19:29.900" UserId="235" Text="  I started out writing and producing radio dramas for a community radio station.  My sound design skills were pretty awful back then so I keep them hidden now, but it was tons of fun and I'd like to try and find the time to do it again.  Radio dramas provide a very interesting writing challenge and one well suited to sound designers.  Plus, they don't cost as much as movies.  Radio dramas, like books, require all the visual input to be provided by the audience making them an intensely personal experience.  If you're just starting out writing, you might want to consider radio dramas as a much lower cost way of getting started.  Like VCProd said, rewrite rewrite rewrite but really the best thing would be to write a bunch of scripts and pick the best one.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11372" PostHistoryTypeId="2" PostId="6641" RevisionGUID="42a23d92-1cde-4bae-b4a9-3635941b7052" CreationDate="2011-03-18T17:52:31.587" UserId="88" Text="The &lt;a href=&quot;http://www.trewaudio.com/store/product.php?productid=1114&amp;cat=0&amp;page=1&quot;&gt;Petrol  PS607 Deca (small mixer bag)&lt;/a&gt; is a great &quot;just the recorder&quot; option.  It's smaller than the ads make it appear (in a good way).  You can take off the two small accessory pouches if you don't want them.  The zippered side flaps that allow access to the recorder's controls are made of flexible windbreaker-esque material, so they squish down when empty and add next to zero size to the bag.  An internal divider allows the bag to carry the 744 and/or a small mixer.  It's tinier and more streamlined than the Portabrace equivalents I've seen.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11374" PostHistoryTypeId="2" PostId="6642" RevisionGUID="4e8461fd-1b0a-49e0-b918-6685ecabef93" CreationDate="2011-03-18T18:16:05.890" UserId="924" Text="I worked on a play where I was doing sound effects and some parts of the score, and a composer was doing other parts of the score.&#xD;&#xA;&#xD;&#xA;At one point he sent score pieces to me to integrate into sound effects cues, and he and I did try to communicate as best we could--sending bits back and forth for reference.&#xD;&#xA;&#xD;&#xA;It was a carnival sideshow themed play, so forgiving to some disjointedness, but communication/coordination as much as possible is key." ContentLicense="CC BY-SA 2.5" />
  <row Id="11375" PostHistoryTypeId="2" PostId="6643" RevisionGUID="80260d48-8514-4145-a616-b61726839ca2" CreationDate="2011-03-18T19:05:51.830" UserId="670" Text="So, I'm working on this stop-motion claymation short and there's a shot where these two porcupines are walking in from opposite sides of the screen toward one another and they're basically walking at the same pace. The director however wants me to offset one of the porcupines footsteps, but that would throw off the sync. I already panned each porcupines footsteps to their sides and to follow them as they come into the center of the screen where they meet.  &#xD;&#xA;&#xD;&#xA;What would you guys suggest?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11376" PostHistoryTypeId="1" PostId="6643" RevisionGUID="80260d48-8514-4145-a616-b61726839ca2" CreationDate="2011-03-18T19:05:51.830" UserId="670" Text="footstep sync problems" ContentLicense="CC BY-SA 2.5" />
  <row Id="11377" PostHistoryTypeId="3" PostId="6643" RevisionGUID="80260d48-8514-4145-a616-b61726839ca2" CreationDate="2011-03-18T19:05:51.830" UserId="670" Text="&lt;footsteps&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11378" PostHistoryTypeId="2" PostId="6644" RevisionGUID="54149031-9e75-43e0-929a-1e29505c19e5" CreationDate="2011-03-18T19:22:38.713" UserId="393" Text="Do it, show the director both versions back to back and explain yourself.  If you feel strongly about keeping the steps in sync with the video, you need to express that, but ultimately it's the director's decision." ContentLicense="CC BY-SA 2.5" />
  <row Id="11379" PostHistoryTypeId="2" PostId="6645" RevisionGUID="80b95621-37ef-4b2d-bb2b-946a1e4a5510" CreationDate="2011-03-18T19:44:00.910" UserId="194" Text="I just went through this process last month.&#xD;&#xA;&#xD;&#xA;We did a short called &quot;bottles&quot;, and I was the DP and will do audio post as well.  it was a short that'll run about 15 minutes, which felt incredibly long during production.  I'd advise against a feature as your first endeavor, go as short as you can go for the first project.  Also, don't shoot The Thing You Care About Most as the first project.&#xD;&#xA;&#xD;&#xA;First, to echo VC prod - your script probably isn't ready yet.  edit it down, cut it, and edit it further.  revise until you're absolutely ready and the thing is very very interesting and tight.&#xD;&#xA;&#xD;&#xA;Once your script is in place and locked locked locked down, then you are ready to **begin** preparing.&#xD;&#xA;&#xD;&#xA;Get a small core of key people on board that will see this thing through to the end with you.  Get creative and technical roles and boundaries down in stone, or there will be problems on the set.  Your producer, director, DP and set/props/wardrobe person should all be in this group.  They should love your script and be willing to contribute blood sweat and tears to the project until the completion of shooting.  This will cost them sleep, money, other opportunities, and lots and lots of time.  They will have to work closely with one another throughout the process.&#xD;&#xA;&#xD;&#xA;Once your core team is in place the producer will be in charge of recruiting the rest of the crew.  Craigslist is that person's frienemy.  &#xD;&#xA;&#xD;&#xA;While crewing is being done, the DP and director need to get the shot sheet worked out.  The shot sheet is a breakdown of the script that describes each individual planned shot including camera angle, camera mount, whether audio is being recorded, location, time of day, and which actors are in the shot.  This is intensively time consuming.&#xD;&#xA;&#xD;&#xA;From the shot sheet the AD or some other inner circle crew member can create the shooting schedule.  The shooting schedule is the bible by which the AD will crack whips and document what's been covered and what hasn't.  The process of creating and maintaining a shot sheet is a big logistical challenge even on short films, and is impossible to deal with if the script isn't locked down and agreed upon, because changes in script will lead to ugly continuity issues if not tracked carefully.  This is because logistically it often makes sense to shoot the script dramatically out of order so that the schedule can accommodate finite resources like time of day with regard to sunlight, or certain locations or actors to which you may only have limited access due to their own schedules.&#xD;&#xA;&#xD;&#xA;People in charge of props, wardrobe and set design will do a separate breakdown.&#xD;&#xA;&#xD;&#xA;With all of the planning in place, schedule the shoot and get rolling.  &#xD;&#xA;&#xD;&#xA;-----------&#xD;&#xA;&#xD;&#xA;My experience as DP of that short we shot last month was kind of harrowing.  Every weekend was two consecutive 12 hour days, which came after many evening hours of work preparing for that weekend's shoot.  &#xD;&#xA;&#xD;&#xA;The director and I both had to work diplomatically both with each other and with the actors and crew throughout the process.  We were all learning at lightspeed and on the fly, which was both exhilarating and exhausting.  As DP, I found that I completely lacked the brainspace to watch things like continuity, acting, and wardrobe while I was focusing on everything else like focus, lensing, aperture, backgrounds, shadows and lighting.  &#xD;&#xA;&#xD;&#xA;In the end, I discovered at least this many things about myself:&#xD;&#xA;&#xD;&#xA; - I'm at least technically able to do the photography part of a short film project&#xD;&#xA; - I get creatively exhausted when I have no days off&#xD;&#xA; - I have no desire to DP a feature&#xD;&#xA; - I love audio&#xD;&#xA; - I'm still very far away from having a technical DP skillset that allows for exremely creative decisions in the midst of a crew working on a schedule.  I found myself finding more creative shots than planned *occasionally*, but certainly not frequently.&#xD;&#xA; - I enjoy working with actors&#xD;&#xA; - days are very very short&#xD;&#xA; - cloud cover can dramatically impact a shooting schedule.&#xD;&#xA; - it was easy even for me to dismiss audio on the set.  I found myself thinking, &quot;well that's not important, I can do it in post.&quot;  Now, I'm fully aware of what I'm capable of in post, so maybe I was having those thoughts from a more informed positions than some video guy would, but I was having those thoughts nonetheless.&#xD;&#xA; - I aspire to do more things, but even shorter formats.  Maybe 3 to 7 minute intensely creative shorts.  &#xD;&#xA;&#xD;&#xA; &#xD;&#xA;---------&#xD;&#xA;&#xD;&#xA;Overall, I'd recommend the process to anyone that has the time and inclination to do it.  Its humbling, inspiring and exhausting, but it give one a perspective that he'd never have otherwise." ContentLicense="CC BY-SA 2.5" />
  <row Id="11380" PostHistoryTypeId="2" PostId="6646" RevisionGUID="be67c6b6-9003-442a-914b-3add6f4beeec" CreationDate="2011-03-18T19:44:38.507" UserId="253" Text="How many fps is it? Because animation tends to have a lower fps than live action, you'll probably have a little bit more leeway sync-wise, meaning you can separate the footsteps, yet still have them both occur in the same frame of picture. Also, you could try giving their feet slightly different aural characteristics.&#xD;&#xA;&#xD;&#xA;Without knowing much about the situation, i'd guess that what the director means by that suggestion is that they're concerned that it'll only sound like 1 pair of footsteps onscreen. Or perhaps they want more of a sense of chaos/movement.&#xD;&#xA;&#xD;&#xA;Minor rant: some directors try to tell us exactly what to do, rather than make us understand their intention. It's down to us, then, to try and decode what their intention actually is." ContentLicense="CC BY-SA 2.5" />
  <row Id="11381" PostHistoryTypeId="2" PostId="6647" RevisionGUID="8bd479f6-3b1c-4cec-acc9-3bfb65175d07" CreationDate="2011-03-18T20:12:50.060" UserId="18160" Text="Don't porcupines walk on 4 legs?&#xD;&#xA;&#xD;&#xA;I think it would be fine to offset them.&#xD;&#xA;&#xD;&#xA;One thing I have learned about working with directors is that you must must must try their idea for them no matter how ridiculous the idea is - after all, he is the one entrusted with the success of the film. The good directors are the ones who notice it's not quite right and will let you reset it and do it the way you wanted to - but you must be willing to try anything he says.&#xD;&#xA;&#xD;&#xA;At least try it and see if it works - I think it will because of the four feet and 2 of them might be hidden anyway.&#xD;&#xA;&#xD;&#xA;The amount of leeway I have seen some people use up with ADR lip flap, I think you will be totally safe with slightly out of sync footsteps. Plus, if the footstep is a bit transient, all you would need is a few frames to offset them to the ear." ContentLicense="CC BY-SA 2.5" />
  <row Id="11382" PostHistoryTypeId="6" PostId="6551" RevisionGUID="6f96de5f-7a77-4961-b902-183b1c448608" CreationDate="2011-03-18T21:22:14.743" UserId="445" Comment="edited tags" Text="&lt;music&gt;&lt;sound-design&gt;&lt;education&gt;&lt;conference&gt;&lt;interviews&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11383" PostHistoryTypeId="2" PostId="6648" RevisionGUID="a9c89322-220c-4d9b-b650-adb8b1101226" CreationDate="2011-03-18T21:36:19.027" UserId="845" Text="If this is just going to be a pet project I'd suggest doing it as a radio drama.  For one thing, you'll be able to be as self-indulgent/vulgar/over-the-top as you damn well please, which in my opinion ends up in better work.  If you stop yourself halfway you'll never know how far you could have gone, and if you go too far you can always pull back.  Particularly if you're planning to do a post-apocalyptic western (which is actually an idea I've been working on for a while too, though mine has zombies), you want to be able to get *really* creepy.  And I must say that when you hit that perfect line it's the most fulfilling thing in the world to hear a soundscape you've created come together to present a coherent story.  Especially without all those annoying pictures distracting you from what's really important.&#xD;&#xA;&#xD;&#xA;If you decide to, let me know, we could do a script trade.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11384" PostHistoryTypeId="4" PostId="6628" RevisionGUID="b848d954-7b4f-4061-ac62-da961e5e773b" CreationDate="2011-03-18T21:36:52.500" UserId="61" Comment="spelling, grammar" Text="The film-making process for a sound designer pretending to be a writer" ContentLicense="CC BY-SA 2.5" />
  <row Id="11385" PostHistoryTypeId="2" PostId="6649" RevisionGUID="94d6b75d-40a3-4c2c-9e9d-04f79fec2964" CreationDate="2011-03-18T22:18:06.977" UserId="338" Text="Maybe a simple I love you" ContentLicense="CC BY-SA 2.5" />
  <row Id="11386" PostHistoryTypeId="2" PostId="6650" RevisionGUID="9d7ff65c-9cc4-4886-b6bc-b045f92b196c" CreationDate="2011-03-18T22:19:19.283" UserId="18160" Text="My next task is creating a robotic voice that gives information to the main character.&#xD;&#xA;&#xD;&#xA;One idea I had was to create an effect much like when a cell phone is breaking up and the voice gets all choppy and digitally distorted. It's kind of hard to explain, but it is what happens when a cell phone is about to disconnect or is out of range and it's almost mono-tone. Does anyone know of a plug-in that can achieve this effect?&#xD;&#xA;&#xD;&#xA;Any advice would be much appreciated. Even general tips on how to make a good robotic voice would be great." ContentLicense="CC BY-SA 2.5" />
  <row Id="11387" PostHistoryTypeId="1" PostId="6650" RevisionGUID="9d7ff65c-9cc4-4886-b6bc-b045f92b196c" CreationDate="2011-03-18T22:19:19.283" UserId="18160" Text="Good Effects for Robot Voice" ContentLicense="CC BY-SA 2.5" />
  <row Id="11388" PostHistoryTypeId="3" PostId="6650" RevisionGUID="9d7ff65c-9cc4-4886-b6bc-b045f92b196c" CreationDate="2011-03-18T22:19:19.283" UserId="18160" Text="&lt;robot&gt;&lt;voice&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11389" PostHistoryTypeId="2" PostId="6651" RevisionGUID="74b687fe-1d6e-4219-9b4b-4dcc87b2d868" CreationDate="2011-03-18T22:29:48.020" UserId="338" Text="My suggestion is to play with using 1 millisecond or less (more if thats the only way for the plug-in to work) sounds as filters, then lower the dry/wet ratio and rev. time.  Use it to filter your rev, delay, voice, etc…I found that a soft sound from a cardboard box when cut to .01ms softened the timbre of dialogue. You could try dBlue Glitch/ Buffer override, some reaktor ensemble with graining." ContentLicense="CC BY-SA 2.5" />
  <row Id="11390" PostHistoryTypeId="2" PostId="6652" RevisionGUID="f7b00124-eb24-43ac-9724-df2aeb409f67" CreationDate="2011-03-18T22:30:21.903" UserId="253" Text="This is probably a little different to what you have in mind, but you could try worldising it through Skype (with a direct in/out of the computers being used). That does some weird stuff when it starts struggling and dropping packets. You could use a torrent client or similar to hog the bandwidth and force Skype to struggle.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11391" PostHistoryTypeId="2" PostId="6653" RevisionGUID="cd42b5af-26b8-4e69-b78e-66e05e22dec2" CreationDate="2011-03-18T22:52:09.483" UserId="234" Text="If you have Waves, try the &quot;reflective room&quot; preset on MetaFlanger - my go to when I don't want TOO much effect to distort the actual words (I'm using it on a Kid's show where the dialog needs to be clear). You can also try the Morphoder for the classic &quot;Cylon&quot; effect (The &quot;Robbie&quot; preset is a good start). Finally, if you're in ProTools, try the Sci-Fi plug-in, and D-Verb with the &quot;Ambience&quot; setting -good metallic sounds." ContentLicense="CC BY-SA 2.5" />
  <row Id="11392" PostHistoryTypeId="2" PostId="6654" RevisionGUID="db59053a-f686-4338-91e7-2107e9e03a92" CreationDate="2011-03-18T23:05:58.783" UserId="670" Text="This might be a little generic, but you could always try using a vocoder and vocalizing it yourself. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11393" PostHistoryTypeId="2" PostId="6655" RevisionGUID="84015703-0d9a-4fac-ab2b-6fc88716619a" CreationDate="2011-03-18T23:13:43.737" UserId="100" Text="We had a fun one by using Digi's Pitch plugin on the dialog, but having it set to monophonic rather than the default polyphonic. Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="11394" PostHistoryTypeId="2" PostId="6656" RevisionGUID="273d3b7d-bb25-40eb-83e9-c1a5606d35a9" CreationDate="2011-03-18T23:16:25.763" UserId="61" Text="[Speakerphone][1] has some cell phone settings that will achieve that effect for you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audioease.com/Pages/Speakerphone/speakerphone.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="11395" PostHistoryTypeId="2" PostId="6657" RevisionGUID="34a95c5f-fb9e-4d0b-a2f5-c6ad4fa20ee7" CreationDate="2011-03-18T23:32:07.453" UserId="445" Text="• Don't cut in the middle of phrases/words!! &#xD;&#xA;&#xD;&#xA;• Choose takes not only because of the good image, they need to SOUND good as well.&#xD;&#xA;&#xD;&#xA;• Give us all the tracks, please.&#xD;&#xA;&#xD;&#xA;• Be open to accept modifications on the edit to achieve better emotional storytelling (obviously with director's blessing).&#xD;&#xA;&#xD;&#xA;• Think about sound design potential to *tell without showing*. Believe in off screen sound!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11396" PostHistoryTypeId="2" PostId="6658" RevisionGUID="37f8a9c0-60ad-454b-ad7e-b6cb3d77fa64" CreationDate="2011-03-19T01:33:23.290" UserId="18160" Text="Is there a rule of thumb or general rule for what gets sent to the sub woofer and how much of it?&#xD;&#xA;&#xD;&#xA;I know there are controls on some plug-ins that let you choose what the crossover is and I was wondering if there is a generally accepted setting that is standard in the industry that you set it at, or if it's just by listening and seeing what sounds right in the mix?&#xD;&#xA;&#xD;&#xA;I apologize if this is a newbie question - but I figured I'd ask since no-one else has and I might be out of the loop.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11397" PostHistoryTypeId="1" PostId="6658" RevisionGUID="37f8a9c0-60ad-454b-ad7e-b6cb3d77fa64" CreationDate="2011-03-19T01:33:23.290" UserId="18160" Text="General rule for the sub woofer" ContentLicense="CC BY-SA 2.5" />
  <row Id="11398" PostHistoryTypeId="3" PostId="6658" RevisionGUID="37f8a9c0-60ad-454b-ad7e-b6cb3d77fa64" CreationDate="2011-03-19T01:33:23.290" UserId="18160" Text="&lt;rule&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11399" PostHistoryTypeId="2" PostId="6659" RevisionGUID="081b2f24-013f-468d-9680-d816f93776e8" CreationDate="2011-03-19T02:55:46.100" UserId="517" Text="A very simple but effective way of making sounds more electronic/digital is using the Time Compression/Expansion Trim tool in ProTools to expand and compress the sound several times in a row and finally back to the original length, resulting in a file that definitely sounds digitally processed." ContentLicense="CC BY-SA 2.5" />
  <row Id="11400" PostHistoryTypeId="2" PostId="6660" RevisionGUID="9dcc456f-ab67-4eff-aa7e-c839cbcbaa34" CreationDate="2011-03-19T02:59:47.817" UserId="942" Text="I infer that you´re talking about a surround mix. Generally, I try to think about what makes my body vibrate to certain sounds in real life and use that. Train tracks, strong footsteps, music in a club. Explosions are a great way to exploit it as well. Start the explosion with a lot of mids to get the crack and end with a lot of low end to carry it through. You say you're not very experienced, so maybe you are talking about a stereo mix. I would be very careful about it. Try to think about how many people will listen through a subwoofer in a properly set up system. Not many. Most will hear them through laptop speakers or tv speakers, so use them to hear the effect that the subwoofer is having." ContentLicense="CC BY-SA 2.5" />
  <row Id="11401" PostHistoryTypeId="2" PostId="6661" RevisionGUID="fd404461-cb4b-4172-8006-c795694d2923" CreationDate="2011-03-19T03:24:45.530" UserId="943" Text="The AT3032 is the most excellent low noise omni condenser, that sold for a song when it was still available. Audio-Technica discovered how good it really was, discontinued it, and replaced it with an identical model at a higher price." ContentLicense="CC BY-SA 2.5" />
  <row Id="11402" PostHistoryTypeId="5" PostId="6658" RevisionGUID="c880f500-e443-43b1-9f2f-d90e154df947" CreationDate="2011-03-19T03:24:57.593" UserId="18160" Comment="added 23 characters in body" Text="When mixing 5.1 films, is there a rule of thumb or general rule for what gets sent to the sub woofer and how much of it?&#xD;&#xA;&#xD;&#xA;I know there are controls on some plug-ins that let you choose what the crossover is and I was wondering if there is a generally accepted setting that is standard in the industry that you set it at, or if it's just by listening and seeing what sounds right in the mix?&#xD;&#xA;&#xD;&#xA;I apologize if this is a newbie question - but I figured I'd ask since no-one else has and I might be out of the loop.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11403" PostHistoryTypeId="2" PostId="6662" RevisionGUID="ff0899a2-e7e8-4105-9756-bd8229e6c0b1" CreationDate="2011-03-19T04:06:16.807" UserId="881" Text="I think that line is always different depending on what you are working on and who you are working with. &#xD;&#xA;&#xD;&#xA;Is the picture cut locked? (Silly question I know.) &#xD;&#xA;Are there particular places you've marked as possible sound and music 'blurring' points?&#xD;&#xA;&#xD;&#xA;I think constant communication is vital. Vital.&#xD;&#xA;&#xD;&#xA;Perhaps sit down (or skype) with the director and the composer and spot through some sections of the film that you may have particular ideas about. &#xD;&#xA;&#xD;&#xA;You can spot potential places for the music and sound to 'hold hands'. &#xD;&#xA;&#xD;&#xA;How does the director feel about this collaboration between score and design?&#xD;&#xA;How does the composer(s) feel? Are they all open to the idea?&#xD;&#xA;&#xD;&#xA;All the best for the film, Mark&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11404" PostHistoryTypeId="2" PostId="6663" RevisionGUID="f7b1eeb7-0479-4770-90a5-2d900ac61d0a" CreationDate="2011-03-19T04:33:24.297" UserId="845" Text="If you're into a more DIY way of doing it...&#xD;&#xA;&#xD;&#xA;Try blowing up a balloon and speaking into the point furthest from the mic.  Your voice will modulate the natural resonance of the balloon and add a really cool character to it.  Use different size/shape balloons and pitch/time shift to taste." ContentLicense="CC BY-SA 2.5" />
  <row Id="11405" PostHistoryTypeId="2" PostId="6664" RevisionGUID="b521bfcc-3cb4-4a33-ace1-eeac540887b4" CreationDate="2011-03-19T04:43:34.643" UserId="670" Text="A client has recently asked me to send them each individual sound from the short I just worked on. They said it was just in case they have to change something later on. Is this normal protocol or would they normally come back to you and ask you to change it if anything needs to be done? " ContentLicense="CC BY-SA 2.5" />
  <row Id="11406" PostHistoryTypeId="1" PostId="6664" RevisionGUID="b521bfcc-3cb4-4a33-ace1-eeac540887b4" CreationDate="2011-03-19T04:43:34.643" UserId="670" Text="Client asking for sound files" ContentLicense="CC BY-SA 2.5" />
  <row Id="11407" PostHistoryTypeId="3" PostId="6664" RevisionGUID="b521bfcc-3cb4-4a33-ace1-eeac540887b4" CreationDate="2011-03-19T04:43:34.643" UserId="670" Text="&lt;clients&gt;&lt;files&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11408" PostHistoryTypeId="2" PostId="6665" RevisionGUID="415ff9de-014d-4f77-8d68-98df8e679721" CreationDate="2011-03-19T05:02:17.600" UserId="845" Text="I hate to see a thread idea like this one go down the tubes...&#xD;&#xA;&#xD;&#xA;I just remembered this idea for another post: balloon vocoder.  Blow up a balloon, put it between your mouth and the microphone, speak.  Robot voice!  Different sizes and shapes of balloons give you different resonances.  Plus, you feel like a total idiot, which is the best part." ContentLicense="CC BY-SA 2.5" />
  <row Id="11409" PostHistoryTypeId="2" PostId="6666" RevisionGUID="1f96d809-09e4-4fc0-9b6c-359278c83fbe" CreationDate="2011-03-19T05:06:12.327" UserId="338" Text="Sounds aren't always yours to give, if they are part of the hollywood edge library and you payed for them…well, I'm a n00b but I'd think twice" ContentLicense="CC BY-SA 2.5" />
  <row Id="11410" PostHistoryTypeId="2" PostId="6667" RevisionGUID="920c3af2-4ed0-4f68-8c52-a8e624aabcf5" CreationDate="2011-03-19T05:28:28.840" UserId="845" Text="Avoid the -ines.  Caffeine, nicotine, amphetamines, and, I was once told antihistamines.&#xD;&#xA;&#xD;&#xA;Remember also that anything to do with the sinuses and glands can have an effect as well.  I have constant sinus trouble as a result of smoking shitty cigarettes and it totally messes with my Eustachian tubes (they run from the middle ear to the *checks wikipedia* nasopharynx)." ContentLicense="CC BY-SA 2.5" />
  <row Id="11411" PostHistoryTypeId="2" PostId="6668" RevisionGUID="d5f9b206-8272-49cf-a81d-32ab2c652be6" CreationDate="2011-03-19T05:42:35.400" UserId="845" Text="I bought one two days ago and noticed that something like that was going on.  I didn't do any proper testing, but eyeballing the meters as I was recording I noticed that I was getting more on the right side than the left.  But it could simply be that the right was being enhanced by some unnoticed reflection.&#xD;&#xA;&#xD;&#xA;I wouldn't be suprised if they didn't bother to put as much effort into constructing/QCing the mics in a unit intended for consumers/amatuers.  I'm not too bothered about it since a) it cost $100, and b) it's intended to live in my pocket simply for the sake of emergency &quot;holy shit that sounds awesome!&quot; moments. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11412" PostHistoryTypeId="2" PostId="6669" RevisionGUID="1593631e-bf78-4e6d-9728-7e1bce45bdcb" CreationDate="2011-03-19T05:44:58.417" UserId="6435" Text="I generally provide my clients (on request) with splits, but rarely the actual session file. That usually only happens if I'm unable to work on a revision, and I have to pass the project to another studio.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11413" PostHistoryTypeId="2" PostId="6670" RevisionGUID="32f0a83f-4346-4faa-9289-db0aebdbd36f" CreationDate="2011-03-19T05:53:50.913" UserId="6435" Text="The last movie I watched was *2010*, and I remember being struck by the reverb on Roy Scheider's narration voiceover. I didn't recall there being reverb (the last time I watched the movie was a couple of years after it came out), and I haven't heard that too often on narration. Don't know if that was the &quot;best&quot; thing about the sound; I have always been a fan of the varying treatments on Keir Dullea's voice as the &quot;Not Quite Dave Bowman&quot; character appears in his/its different guises. I suppose the best thing for me would be the treatment of the HAL and SAL voices. There's a strange compression happening as well as the EQ etc. that just sounds amazing." ContentLicense="CC BY-SA 2.5" />
  <row Id="11414" PostHistoryTypeId="2" PostId="6671" RevisionGUID="106e6ad8-1bce-4d7d-99b8-4b6ed06515a2" CreationDate="2011-03-19T07:29:46.990" UserId="6524" Text="I don't know much about stuff we can consume to make our ears better but I've been reading about NIHD and stuff also check this out its pretty interesting and helpful, don't know if you've seen them before though.&#xD;&#xA;[youtube]watch?v=rRepnhXq33s[/youtube]&#xD;&#xA;[youtube]watch?v=ELgvDMTKyBE[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="11415" PostHistoryTypeId="5" PostId="6671" RevisionGUID="f49c9fa5-20c9-42e2-839d-cc9117690e40" CreationDate="2011-03-19T07:35:10.523" UserId="6524" Comment="deleted 16 characters in body" Text="I don't know much about stuff we can consume to make our ears better but I've been reading about NIHD and stuff also check this out its pretty interesting and helpful, don't know if you've seen them before though.&#xD;&#xA;[youtube]rRepnhXq33s[/youtube]&#xD;&#xA;[youtube]ELgvDMTKyBE[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="11416" PostHistoryTypeId="2" PostId="6672" RevisionGUID="dc209c01-f42f-4495-a86d-07f4c4a74977" CreationDate="2011-03-19T08:20:40.103" UserId="407" Text="Splits - (if I understand the term correctly) is something I often request from freelancers. Basically I ask for a rendered version of the different elements in the scene e.g. Guns on one stereo track, explosions on another, ambience etc. The reason being that when the inevitable 11th hour 59th minute changes to a cut scene/trailer (or what ever) happens, it means it's easy to edit up the material in house and get it out without having to get the respective freelancer out of bed at 2 in the morning to ask him to start making changes so we can hit the following days deadline.&#xD;&#xA;Also when doing stuff in house we often supply the splits to the film editors really early on in the editing process so they can drop them in and edit them along with the visuals. It is not the best way to work as far as creativity is concerned but it means a lot less hanging around waiting for the edit to be locked and then starting work.&#xD;&#xA;As for handing over whole sessions that is not something I would request or give out." ContentLicense="CC BY-SA 2.5" />
  <row Id="11417" PostHistoryTypeId="2" PostId="6673" RevisionGUID="e03b3246-abd5-46b6-ae31-4da4108ca00c" CreationDate="2011-03-19T08:28:38.157" UserId="407" Text="Dead snow - for the sound of a zombies head being mangled by the tracks of a snow mobile.&#xD;&#xA;The best visual aspect is the expression on the zombies faces as their guts fall out - it's been a long time since I have laughed so much - brilliantly done film :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11418" PostHistoryTypeId="2" PostId="6674" RevisionGUID="d190592f-4c5f-4413-92e8-c2feb9c0a5b8" CreationDate="2011-03-19T08:42:11.913" UserId="641" Text="No Country For Old Men...beautifully done, the way sound in a movie should be IMHO!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11419" PostHistoryTypeId="2" PostId="6675" RevisionGUID="fc01c561-8f3a-46ac-a9c0-cf966ac508ef" CreationDate="2011-03-19T10:02:15.400" UserId="219" Text="You should provide them the sounds you think they have ownership rights over, i.e. what was recorded on set, or what you recorded for this specific project if they &quot;owned your time&quot; (e.g. were paying you)... whatever sound you were able to originally capture/get while they were supporting you. This, you owe it to them for they created the opportunity for you to make those sounds.&#xD;&#xA;&#xD;&#xA;Whatever you genuinely reckon you don't owe them, maybe because you gave of your own time to obtain it, you shouldn't provide them with.&#xD;&#xA;&#xD;&#xA;Finally, ask yourself: would you ever consider working on this project again? There are projects I'm happy to let go myself." ContentLicense="CC BY-SA 2.5" />
  <row Id="11420" PostHistoryTypeId="2" PostId="6676" RevisionGUID="46a906d1-1199-454e-91a0-4f4105f6627e" CreationDate="2011-03-19T10:28:45.327" UserId="63" Text="The last movie i watched was 127 Hours and i really loved the parts where the protagonist heard music from his headphones but the ambient sound and his footsteps and the other sounds he made where also heard." ContentLicense="CC BY-SA 2.5" />
  <row Id="11421" PostHistoryTypeId="2" PostId="6677" RevisionGUID="87a9b75f-6cf7-42cd-a91b-348ae7028c94" CreationDate="2011-03-19T11:05:09.743" UserId="786" Text="I would say just give it all away. Session files, sound files, stems, final mixes, m&amp;e. If they are going to make changes or might want to do a remake or a part 2 or 3 or 4 of the film, it would be nice for everybody to have access to the individual files. This way you also relieve yourself from the responsibility to keep all the files for ages and ages. You may want to keep it, but it is a good feeling to know there is another copy out there somewhere, should your harddrive crash or get damaged.&#xD;&#xA;&#xD;&#xA;So when they come back in 8 months and they have finally got the funding for the special effects scene everybody has dreamt about, and you are working on your first big feature film for a major studio and don't have any time to help them out, you can just tell them: &quot;Sorry, I can't do it right now, I'm working on this big project, so if you just take the files I gave you, you should be able to open up the project and continue working on it. If you haven't found a sound designer, I can recommend (insert your best sound designer friend here) he/she's very good and I trust him to do the work very well.&quot;&#xD;&#xA;&#xD;&#xA;What I am really saying is that a positive and open attitude will probably help you more in the long run working with clients. It will give you a good reputation along with your sound designing skills.&#xD;&#xA;&#xD;&#xA;Legally, if it's a paid job, the client probably owns the rights to your work anyway. And your work is not just the final mix and the sounds you may have created for the project, but also your sound editing, even if that includes bought archive effects. Technically they are still synced to the project even though they are individual sound files in a session. The client can not distribute the archive effects in their original form outside this production, and if they do it is their problem, not your problem, you haven't done anything wrong." ContentLicense="CC BY-SA 2.5" />
  <row Id="11422" PostHistoryTypeId="2" PostId="6678" RevisionGUID="810c0267-0c53-43f6-9758-1050508b1de0" CreationDate="2011-03-19T11:29:25.280" UserId="786" Text="If you are going to talk about documentaries, then try to make the point about intelligible dialogue. &#xD;&#xA;&#xD;&#xA;If have often worked on documentaries where the editor and the director have fallen in love with a specific sound bite, where the main character says something important, but almost impossible to understand. Often they didn't understand it themselves until the 10th time they heard it, but it is the only event in all of their material, where the point comes across.&#xD;&#xA;&#xD;&#xA;The problem is that if it is so hard to understand, it will probably be impossible to make it intelligible in the sound editing, no matter how much EQ'ing or noise reduction you use.&#xD;&#xA;&#xD;&#xA;The way to solve this problem is to try to tell the story in different ways, create some other scenes to help out the scene with the bad dialogue, so this piece of information you were supposed to get from the bad dialogue doesn't get too important. &#xD;&#xA;&#xD;&#xA;The final possibility is to have subtitles in that scene." ContentLicense="CC BY-SA 2.5" />
  <row Id="11423" PostHistoryTypeId="2" PostId="6679" RevisionGUID="ac4903aa-994c-464e-8014-9be65d05e9c0" CreationDate="2011-03-19T12:06:03.193" UserId="786" Text="I sometimes put a lo-pass filter at 100 Hz on the sub, not always but that depends on the material I send to the sub.&#xD;&#xA;&#xD;&#xA;Generally I send LFE effects to the sub and i spill some of other sounds I want to have that lo end too. For instance I almost always send music to the sub, not too much, but enough to make it sound rich and full. If I have a sound with a lot of nice lo frequency information in it, I will probably send some to the sub.&#xD;&#xA;&#xD;&#xA;Generally you can't trust the level of the subwoofer too much, because it varies from cinema to cinema. It depends a lot on the size of the room, so if you are in a huge cinema with 1000-2000 seats you will normally get a lot more percieved bass than you get in a smaller room. So if you are playing it soft in a small editing room, it may get really loud in a big cinema, but even if you are making soft sub sends on a mixing stage, it may still get really loud in a big cinema.&#xD;&#xA;&#xD;&#xA;The only rule I have is that I try not to rely too much on the sub. I use it very actively, sometimes nearly all of the time, but the film needs to sound good even if you turn off the subwoofer. The point needs to be put across even without the subwoofer, so you need to use the front speakers as well.&#xD;&#xA;&#xD;&#xA;If you watch a DVD on a tv set in stereo, the DVD-player discards the LFE channel before downmixing to stereo.&#xD;&#xA;&#xD;&#xA;My first feature film as sound designer went to the Cannes film festival in 2003, where it was shown in the &quot;Semaine de la Critique&quot;. This isn't the main programme, so it wasn't shown in the big, Dolby-approved, cinemas, but instead it was shown in a small art cinema.&#xD;&#xA;&#xD;&#xA;The cinema was lousy, with a loud air conditioning and a film operator who initially refused to play the film at Dolby level 7. The theater couldn't even play back Dolby Digital, so wa had to go with Dolby SR instead.&#xD;&#xA;&#xD;&#xA;At one point in the film, I had made a soft sub &quot;wash&quot; or &quot;whoosh&quot; in a quiet scene, which only played in the LFE channel. In the SR version it was of course a part of the stereo mix, but in this lousy cinema, they had no subwoofer, so instead of the warm bass sound washing over you, you would only hear the soundtrack get thin as all of the energy of the soundtrack was taken up by a sound you couldn't hear.&#xD;&#xA;&#xD;&#xA;A couple of months later I saw it in the biggest cinema in Copenhagen with 1100 seats, in Dolby Digital, at Dolby level 7, and the soft sub bass sound was there again, only not as soft as in the mixing stage. It felt twice as loud and made the seats rattle, which also wasn't the effect I wanted." ContentLicense="CC BY-SA 2.5" />
  <row Id="11424" PostHistoryTypeId="2" PostId="6680" RevisionGUID="2bc04a7f-34e7-4789-a395-9f5d3da86ac7" CreationDate="2011-03-19T15:55:51.580" UserId="587" Text="Do NOT drink tonic water... that means I had to quit drinking Gin and Tonic. Anything that contains quinine can cause Tinnitus. Same with smoking cigarettes." ContentLicense="CC BY-SA 2.5" />
  <row Id="11425" PostHistoryTypeId="2" PostId="6681" RevisionGUID="1d8c0c3e-2819-47bd-9313-0d32c7e39a19" CreationDate="2011-03-19T17:06:54.640" UserId="37" Text="&quot;less is more&quot;?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11426" PostHistoryTypeId="2" PostId="6682" RevisionGUID="2b6445fa-59d6-4c68-ac99-db313c57c1a5" CreationDate="2011-03-19T17:10:11.677" UserId="693" Text="I rarely use anything out of sound libraries as it is and I much prefer to make custom recordings, but regardless... I do all of the following anyways, mostly because I refuse to deal with clients BS after the project is completed anymore except within a very specified range of conditions. I'm not archiving, troubleshooting or anything for free anymore. You have to draw a line somewhere, otherwise most of them will just continue to walk all over you. So, here are my general &quot;rules&quot; about this matter:&#xD;&#xA;&#xD;&#xA;Due to the complexity and differences in EULA's, I don't provide my clients with anything except the agreed upon deliverables: Printmaster, M&amp;E Stems and sometimes Individual Element Predubs / Stems (Depends on the project really, I may only be sending over the score I composed or the Foley Stems). They receive these files digitally via FTP or DVD. They pay the shipping or I charge a $10 &quot;Technology&quot; fee for FTP. I always keep the hard drive.&#xD;&#xA;&#xD;&#xA;To keep in compliance with all parties what I do is bill them for their dedicated hard drive, for yearly storage and maintenance fees to keep their data in the archives from 1-5 years. At the end of the term they have a final notice to have another duplicate of their deliverables sent to them via DVD or FTP. They pay shipping/transfer fees once again. The drive is wiped clean and the files are no longer retrievable. The length of terms is 2yrs Min - 5yrs Max at their request. I keep the terms no longer than 5 years because hard drives may be technologically out-dated after 5 years, so if they want me to keep it in the archives we'd draw up a new contract with a new drive (I've never had that happen though). In the meantime, while still within the contract range, duplicate copies of the deliverables will be provided at a rate of $20. handling fee per DVD + Postage (again, I charge a $10. &quot;technology&quot; fee for FTP delivery, because servers don't pay for themselves). Needless to say, clients seem to keep better track of their deliverables and I tend to get less calls for duplicates nowadays.&#xD;&#xA;&#xD;&#xA;In the interim, if they need changes that I would normally have made if the project were still fresh, I am on contract to do so at my original hourly rate unless it it out of my scope. Typically, if the individual files need to be accessed in any further complexity than what they can get from the stems I have already provided them with then that is what falls in my scope. Outside of their contract range, if we renewed the archival contract I now will charge them my current hourly rates.&#xD;&#xA;&#xD;&#xA;All of this shows up on the invoice as: Archival, Maintenance and Modifications. I then itemize the Hard Drive, Maintenance Fees, Length of Archival, Disposal Options, Modification Rates and advanced archival rates/renewall. ie: Hard Drive: $100. Yearly Drive Maintenance @ $5. per year for 5 Years: $25. Shipping/Delivery Fees, Hourly Modification Rates, Etc.&#xD;&#xA;&#xD;&#xA;Sure, it seems like a lot, but it works out. I got the original concept for this from a freelance Video Editor I worked with because I was wondering how he manages such a huge archive for all the HD video files for a multitude of clients. He gave me a loose overview of what I explained above and I just tailored it for audio and what I do.&#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;*Oh, for small projects I only charge them for one single Terabyte Drive (and I mirror a backup for are on another drive of mine). For larger projects like a feature film I charge them for two drives. &#xD;&#xA;&#xD;&#xA;For repeat clients I will waive hard drive fees if their projects are small enough to use the same drive, however… that drive expires at the end of the terms for the initial project and a new archival contract will have to be made on a new drive if it either expires or fills up." ContentLicense="CC BY-SA 2.5" />
  <row Id="11427" PostHistoryTypeId="5" PostId="6682" RevisionGUID="ecb3f5f2-da8c-4def-b481-3e7ddbd7ba18" CreationDate="2011-03-19T17:54:37.047" UserId="693" Comment="spelli" Text="I rarely use anything out of sound libraries as it is and I much prefer to make custom recordings, but regardless... I do all of the following anyways, mostly because I refuse to deal with clients BS after the project is completed anymore except within a very specified range of conditions. I'm not archiving, troubleshooting or anything for free anymore. You have to draw a line somewhere, otherwise most of them will just continue to walk all over you. So, here are my general &quot;rules&quot; about this matter:&#xD;&#xA;&#xD;&#xA;Due to the complexity and differences in EULA's, I don't provide my clients with anything except the agreed upon deliverables: Printmaster, M&amp;E Stems and sometimes Individual Element Predubs / Stems (Depends on the project really, I may only be sending over the score I composed or the Foley Stems). They receive these files digitally via FTP or DVD. They pay the shipping or I charge a $10 &quot;Technology&quot; fee for FTP. I always keep the hard drive.&#xD;&#xA;&#xD;&#xA;To keep in compliance with all parties what I do is bill them for their own dedicated hard drive, for yearly storage and maintenance fees to keep their data in the archives from 2-5 years. At the end of the term they have a final notice to have another duplicate of their deliverables sent to them via DVD or FTP. They have 30 business days to respond and they pay shipping/transfer fees once again. The drive is then wiped clean and the files are no longer retrievable. The length of terms is 2yrs Min - 5yrs Max at their request. I keep the terms no longer than 5 years because hard drives may be technologically out-dated after 5 years, so if they want me to keep it in the archives any longer, we'd draw up a new contract with a new drive (I've never had that happen though). In the meantime, while still within the contract range, duplicate copies of the deliverables will be provided at a rate of $20. handling fee per DVD + Postage (again, I charge a $10. &quot;technology&quot; fee for FTP delivery, because servers don't pay for themselves). Needless to say, clients seem to keep better track of their deliverables and I tend to get less calls for duplicates nowadays.&#xD;&#xA;&#xD;&#xA;In the interim, if they need changes that I would normally have made if the project were still fresh, I am on contract to do so at my original hourly rate unless it is out of my scope. Typically, if the individual files need to be accessed in any further complexity than what they can get from the stems I have already provided them with; then that is what falls in my scope. Outside of their contract range, if we have renewed the archival contract I now will charge them whatever my current hourly rates are at the current date.&#xD;&#xA;&#xD;&#xA;All of this shows up on the invoice as: Archival, Maintenance and Modifications. I then itemize the Hard Drive, Maintenance Fees, Length of Archival, Disposal Options, Modification Rates and advanced archival rates/renewall. ie: Hard Drive: $100. Yearly Drive Maintenance @ $5. per year for 5 Years: $25. Shipping/Delivery Fees, Hourly Modification Rates, Etc.&#xD;&#xA;&#xD;&#xA;Sure, it seems like a lot, but it works out. I got the original concept for this from a freelance Video Editor I worked with because I was wondering how he manages such a huge archive for all the HD video files for a multitude of clients. He gave me a loose overview of what I explained above and I just tailored it for audio and what I do. It's definitely a much more professional way of handling such a complex issue and helps keep everyone happy.&#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;*Oh, for small projects I only charge them for one single Terabyte Drive (and I mirror a backup for them on another drive of mine for free). For larger projects like a feature film I charge them for two drives since they are paying for their own mirror backup.&#xD;&#xA;&#xD;&#xA;For repeat clients I will waive additional hard drive fees after they have two drives to their account if their projects are small enough to use the same drive with the second drive becoming the mirror. However… that drive expires at the end of the terms for the initial project and a new archival contract will have to be made on a new drive if it either expires or fills up." ContentLicense="CC BY-SA 2.5" />
  <row Id="11428" PostHistoryTypeId="2" PostId="6683" RevisionGUID="ccc0f2a6-4e6b-4ff8-8980-8ebe1a1b75bd" CreationDate="2011-03-19T18:18:29.383" UserId="693" Text="For a traditional Robot voice you should likely go with a vocoder.&#xD;&#xA;&#xD;&#xA;For the telephone effect you are speaking of, think of what a telephone does to a voice.&#xD;&#xA;&#xD;&#xA;First matter to deal with is bandwidth. You're typically not going to get a full range of frequencies out of a cellphone, so use an EQ to limit the bandwidth to say somewhere around, 300-3000Hz. That will chop all your lows and highs and make it sound as if it's coming through a telephone.&#xD;&#xA;&#xD;&#xA;Once the signal starts getting choppy from a low signal (meaning less connection bandwidth), that you're going to want to add clicks and pops (maybe try iZotope vinyl for this as a cheap solution) or you could vocode the EQ'd voice with some actual vinyl pops using a vocoder.&#xD;&#xA;&#xD;&#xA;Then as it gets even worse you're going to want to use some type of Decimation/Bit-Reduction plug in to add that digital chirp and chops/drop outs until it turns into random chunks of low-bitrate static mumbling.&#xD;&#xA;&#xD;&#xA;As cool as it may sound, using something like dBlue's Glitch plug-in won't necessarily get you what you want since a &quot;glitching&quot; effect is a &quot;repeat&quot; and that hardly ever happens on a phone. One thing that does happen is sometimes you get a echo or delay. It might be cool on something that takes place in the future or an alternate reality though. As much as I love and endorse dBlue's GLitch, it should be used in the proper context, otherwise you'll be over-designing your sound.&#xD;&#xA;&#xD;&#xA;There are other techniques, but I tried to keep it on the cheap using only EQ, Vinyl or a Vocoder, some decimation and maybe some delay. Most of these FX except Vinyl come free with most DAW's. And I believe iZotope Vinyl is a free plug-in. Speakerphone is awesome and effective, but also a bit expensive. So if you understand the core of what you need to do, you can do it with a handful of small and cheap fx.&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11429" PostHistoryTypeId="2" PostId="6684" RevisionGUID="f15d26a1-967f-4013-a7e3-dfdf5e6eed78" CreationDate="2011-03-19T18:56:34.130" UserId="431" Text="Ring Modulation is pretty classic for robot voices. With a 30k sine wave for the carrier and the effect at about 50% wet, you've got yourself a Dalek." ContentLicense="CC BY-SA 2.5" />
  <row Id="11430" PostHistoryTypeId="2" PostId="6685" RevisionGUID="17322394-5216-4181-b36e-157c8a291f02" CreationDate="2011-03-19T19:33:37.297" UserId="693" Text="You should have a sit down/teleconference/video chat meeting with all of them, but most importantly, what does the director want?&#xD;&#xA;&#xD;&#xA;You may find that the person doing the score may not want to do all the atmospheric stuff and only wants to do melodies, thus leaving you the opportunity to do the drones and atmospherics. Or maybe they want to do it all, leaving you only hard fx/conscious sounds (see it, hear it type sounds, no sweeteners or subconscious/subliminal sounds) to cut.&#xD;&#xA;&#xD;&#xA;The only way to figure this out, have people not step on each others toes or duplicate each others efforts is to communicate. The directors vision being most important. But it can also be collaborative as well once you find out each others strengths and weaknesses. Communication is key to all of this.&#xD;&#xA;&#xD;&#xA;The other option is that you both do what you want and over work and leave it up to the director and mixer to decide which they want to keep. You typically want to avoid this though as it may be additional work you might not be getting compensated for very well in the first place. No sense in over working if you don't have to or have limited time and budget.&#xD;&#xA;&#xD;&#xA;Good Luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11431" PostHistoryTypeId="2" PostId="6686" RevisionGUID="beeec429-8841-4f41-9fe5-037093bdd4a3" CreationDate="2011-03-19T21:55:49.507" UserId="338" Text="So this is my first time working with an EDL.  I was wondering how exactly you can import it into Pro Tools (can you?) and if not, how do you get the thing to do what you want so it does the thing that it's supposed to do?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Should I tell the editor to make the EDL an OMF?&#xD;&#xA;&#xD;&#xA;What free programs are out there to support my cause?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11432" PostHistoryTypeId="1" PostId="6686" RevisionGUID="beeec429-8841-4f41-9fe5-037093bdd4a3" CreationDate="2011-03-19T21:55:49.507" UserId="338" Text="Working with an EDL, what?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11433" PostHistoryTypeId="3" PostId="6686" RevisionGUID="beeec429-8841-4f41-9fe5-037093bdd4a3" CreationDate="2011-03-19T21:55:49.507" UserId="338" Text="&lt;edl&gt;&lt;tutorial&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11434" PostHistoryTypeId="2" PostId="6687" RevisionGUID="39ebfd6a-12ef-412d-8d77-6770d957d9fc" CreationDate="2011-03-19T22:51:42.807" UserId="37" Text="ah, the wonderful world of Maggot Software ;)&#xD;&#xA;&#xD;&#xA;ask the editor for an OMF instead." ContentLicense="CC BY-SA 2.5" />
  <row Id="11435" PostHistoryTypeId="2" PostId="6688" RevisionGUID="183ef700-92c4-4467-8ad9-69d4864dcdee" CreationDate="2011-03-19T23:47:12.630" UserId="315" Text="There are 2 software solutions:&#xD;&#xA;&#xD;&#xA;[Titan][1]&#xD;&#xA;&#xD;&#xA;[Virtual Katy][2]&#xD;&#xA;&#xD;&#xA;Neither are anywhere near free. But both offer demos.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.synchroarts.com/index.php?PAGEID=products&amp;ID=titan&#xD;&#xA;  [2]: http://www.virtualkaty.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11436" PostHistoryTypeId="2" PostId="6689" RevisionGUID="b20bff98-02ad-4270-91a1-2fa84533b622" CreationDate="2011-03-20T02:39:24.687" UserId="270" Text="I would have loved to have gone, but its too expensive for me at the moment :(&#xD;&#xA;&#xD;&#xA;The Game audio podcast did a great round up of the most interesting events - http://www.gameaudiopodcast.com/?m=201103&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11437" PostHistoryTypeId="2" PostId="6690" RevisionGUID="95afc218-99fc-47fc-af85-2bfa41b7a36b" CreationDate="2011-03-20T02:52:34.797" UserId="432" Text="EDL's are useful in a few regards:&#xD;&#xA;&#xD;&#xA;1. If you have an auto-assembler program (like Titan), it can be used to build a Pro Tools session that refers to original source media. OMF's can do this as well, but only those exported from Avid. Final Cut Pro OMF's consolidate and embed media; you get handles, but not the entire file (and forget about any metadata that it used to have, Final Cut will completely rewrite it in reference to the timeline).&#xD;&#xA;&#xD;&#xA;2. They can be used to conform your existing session to a new version of picture edit (using software like Virtual Katy). Rather than going through and making all the cuts, copies, pastes, and deletions manually, there are programs that will compare two EDL's and make these adjustments to you session automatically (and very quickly too).&#xD;&#xA;&#xD;&#xA;3. They provide useful information about the clips in your session. Specifically, they tell you the source media for your clips. This is helpful if you need to go find alternate takes/clean fill/etc., because you can see which &quot;source tape&quot; they came from. Chances are, that additional material is not going to be included in the OMF sent to you, and having that information cuts down the amount of time you spend hunting down the material.&#xD;&#xA;&#xD;&#xA;EDL's alone cannot be used to automatically create a session in Pro Tools without the third party software Justin mentioned and I repeated (note that the two pieces of software are better at one task than the other...from what I've heard anyways). If you know how to read an EDL, you can build your session manually...but that can be a very time consuming endeavor. Get an OMF from your editor instead. If you will have access to the original source materials used to build the timeline, and think you may have need to hunt for some of the aforementioned materials (alternate takes, clean fill...), then ask for an EDL **in addition** to the OMF.&#xD;&#xA;&#xD;&#xA;Regardless, I suggest you learn how to read an EDL. It's not all that complicated, and it's a useful skill to boot. A quick google search should return some useful results." ContentLicense="CC BY-SA 2.5" />
  <row Id="11438" PostHistoryTypeId="2" PostId="6691" RevisionGUID="c03a57a6-5221-4e04-9212-24810b62433e" CreationDate="2011-03-20T04:40:46.457" UserId="393" Text="I got back from watching Rango about 20 minutes ago... that movie is great, by the way (but I wonder if it would be so awesome if you didn't love westerns).&#xD;&#xA;&#xD;&#xA;Sound wise, this movie is solid, though I'm not particularly fond of the sounds of biplanes for bats (I understand WHY they did it, but I almost feel like they would have been more menacing with leathery flaps and squeaks and screeches).  My absolutely favorite sound design moment in the film was where Rango was running in the glass bottle -- the difference in sound from inside and outside the bottle, and the hum as it moved in and out through the neck of the bottle.&#xD;&#xA;&#xD;&#xA;Also, I remember thinking in the beginning of the movie that the atmos in the desert were too lively -- too many cars and the general hum that's generally present around humanity -- but given the revelation near the end it makes perfect sense." ContentLicense="CC BY-SA 2.5" />
  <row Id="11439" PostHistoryTypeId="2" PostId="6692" RevisionGUID="138dc774-b034-49b1-9962-621e3c90664f" CreationDate="2011-03-20T10:37:41.030" UserId="876" Text="Hey so I have a on set recording job coming up in South Africa, it is a 90 minute film, I have been told that in south africa they still use 16 bit so i was wondering if i record in 24 bit can you take it down to 16 bit with out effecting the sound? I want to be safe I know 24 bit is better. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11440" PostHistoryTypeId="1" PostId="6692" RevisionGUID="138dc774-b034-49b1-9962-621e3c90664f" CreationDate="2011-03-20T10:37:41.030" UserId="876" Text="24 bit in south africa" ContentLicense="CC BY-SA 2.5" />
  <row Id="11441" PostHistoryTypeId="3" PostId="6692" RevisionGUID="138dc774-b034-49b1-9962-621e3c90664f" CreationDate="2011-03-20T10:37:41.030" UserId="876" Text="&lt;south&gt;&lt;africa&gt;&lt;bitrate&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11442" PostHistoryTypeId="2" PostId="6693" RevisionGUID="8cf2a58b-bb8b-4b33-b1ae-ad79718e0a86" CreationDate="2011-03-20T10:53:26.647" UserId="673" Text="48kHZ, 16bit is a standard for video.&#xD;&#xA;But yes, you can bounce it down to 16bit without any problems." ContentLicense="CC BY-SA 2.5" />
  <row Id="11443" PostHistoryTypeId="2" PostId="6694" RevisionGUID="9e568b87-3032-4615-a2b3-5c9c62dbdf14" CreationDate="2011-03-20T11:08:25.503" UserId="37" Text="Record in 16bit, and don't worry about levels. They'll fix it in post.&#xD;&#xA;&#xD;&#xA;Errr... no.&#xD;&#xA;&#xD;&#xA;24bit is well recognised in any DAW, regardless of geography, so you can work in 24 bit from start till end. When it comes to output, the product has to end in 48khz/16bit. But your work sessions can still be in 24bit. &#xD;&#xA;&#xD;&#xA;Converting 24bit to 16bit does not affect the content of the recording, other than losing resolution. With loud sounds this matters less. With soft ones, and with sounds that need processing (think EQ, compression, noise reduction, etc), bit depth becomes very important.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11444" PostHistoryTypeId="2" PostId="6695" RevisionGUID="a8a0d113-a6c5-4925-acf5-46d396bd8f1c" CreationDate="2011-03-20T11:38:54.103" UserId="2" Text="I'm in South Africa, and I ALWAYS record at 24bit. Even if they drop it later, it's better to record at 24bit as you get a better signal-to-noise ratio. &#xD;&#xA;&#xD;&#xA;When lowering the bit depth, it's a good idea to apply dithering though... Otherwise you get some added noise to your recordings. &#xD;&#xA;&#xD;&#xA;I've been on this mission, here in SA, to get everyone into 24bit. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11445" PostHistoryTypeId="2" PostId="6696" RevisionGUID="051a874b-580f-4dea-b717-aba99a098f04" CreationDate="2011-03-20T11:54:07.340" UserId="63" Text="The Behringer B-1 condenser is a mic that costs around 100$ and has a sound quality of a 400$ or more mic... Its not recommended for very pro work but its an awesome backup mic that you dont have to care for it so much, cause its so so cheap! I can highly recommend it  for testing and dangerous works. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11446" PostHistoryTypeId="2" PostId="6697" RevisionGUID="41235560-2989-450a-93c7-d7e9c5c335ef" CreationDate="2011-03-20T13:01:35.813" UserId="941" Text="OMF's can be *extremely* moody. The lastest project i'm working on with an OMF export from Premiere CS5 was horrendous, in the end we had to cut the OMF's into 10 minute chunks with encapsulation otherwise my DAW would just spit the whole thing out, dreadful as i needed the handles to work on the dialogue tracks." ContentLicense="CC BY-SA 2.5" />
  <row Id="11447" PostHistoryTypeId="2" PostId="6698" RevisionGUID="fc9d6e6e-5a26-4c7b-bf88-ade40c4836b3" CreationDate="2011-03-20T16:48:50.673" UserId="393" Text="Today, while in the shower, I was thinking about all the things I could record in my own home with my h4n (thanks largely to the inspiration from the [Sounds of Star Wars][1] book, which EVERYONE who's into sound needs to have), and, as always, I kind of fixated on the possibilities I have in a '66 Cadillac sitting in my garage.  It's old, it smells amazing, and has all the sounds you'd associate with a car of that era (minus the engine sounds... it doesn't run, right now).&#xD;&#xA;&#xD;&#xA;I would LOVE to record this car, but my garage is tiny, untreated, and would most likely reflect sounds like a mirror.&#xD;&#xA;&#xD;&#xA;**Would something like the [sE Electronics Reflexion][2] help this problem, at least enough to get decent quality recordings?  For the price, am I better off picking up an NTG-2, or would that suffer the same reflection problems?**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Sounds-Star-Wars-J-W-Rinzler/dp/0811875466&#xD;&#xA;  [2]: http://www.sweetwater.com/store/detail/Reflexion/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11448" PostHistoryTypeId="1" PostId="6698" RevisionGUID="fc9d6e6e-5a26-4c7b-bf88-ade40c4836b3" CreationDate="2011-03-20T16:48:50.673" UserId="393" Text="sE Electronics Reflexion to improve field recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="11449" PostHistoryTypeId="3" PostId="6698" RevisionGUID="fc9d6e6e-5a26-4c7b-bf88-ade40c4836b3" CreationDate="2011-03-20T16:48:50.673" UserId="393" Text="&lt;field-recording&gt;&lt;sound-dampening&gt;&lt;echo&gt;&lt;zoom-h4n&gt;&lt;cars&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11450" PostHistoryTypeId="2" PostId="6699" RevisionGUID="a36bd3ff-f960-493d-b5b6-b7724dfabb4a" CreationDate="2011-03-20T17:47:35.627" UserId="285" Text="I have been looking at expanding my mic collection and I am thinking about buying a Sanken CSS-5.  I will be renting one for a few days soon to test it out.  Does anyone have any go to things they always record when trying out a new mic?&#xD;&#xA;&#xD;&#xA;I don't really mean doing a mic shoot out like described on this thread (http://socialsounddesign.com/questions/5576/opinions-on-setting-up-a-mic-test), more like if you have any tips on how to best get the feel of a mic the first time you get you hands on it, a good way to really run it through its paces.&#xD;&#xA;&#xD;&#xA;Currently my plans are to grab some ambiences with it in its two stereo modes in both loud and quiet environments, as well as record some foley-esque props with it in mono.  Basically just work with it on whatever the week throws my way.  Any further suggestions would be great.&#xD;&#xA;&#xD;&#xA;Tips don't have to apply to the CSS-5 any ideas getting to know a new mic would be great.&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11451" PostHistoryTypeId="1" PostId="6699" RevisionGUID="a36bd3ff-f960-493d-b5b6-b7724dfabb4a" CreationDate="2011-03-20T17:47:35.627" UserId="285" Text="Microphone test drive" ContentLicense="CC BY-SA 2.5" />
  <row Id="11452" PostHistoryTypeId="3" PostId="6699" RevisionGUID="a36bd3ff-f960-493d-b5b6-b7724dfabb4a" CreationDate="2011-03-20T17:47:35.627" UserId="285" Text="&lt;microphone&gt;&lt;test&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11453" PostHistoryTypeId="2" PostId="6700" RevisionGUID="33f4e7bd-348a-43b3-825b-99b45262a92a" CreationDate="2011-03-20T18:33:31.277" UserId="238" Text="Not exactly along the telephone idea, but definitely a robot-voice go-to, [Sonic Charge's BitSpeek][1] is an awesome tool and very affordable!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soniccharge.com/bitspeek" ContentLicense="CC BY-SA 2.5" />
  <row Id="11454" PostHistoryTypeId="2" PostId="6701" RevisionGUID="36beecb0-520c-42f6-ba27-f169f8edace7" CreationDate="2011-03-20T18:35:08.827" UserId="916" Text="Hello. Sorry for the noob question.&#xD;&#xA;&#xD;&#xA;I recently put up a post on here about the equipment I want to buy as a starter package. I want to start a small sound effects label with professional sounding sounds. I know (and believe) I can do this if my technique is proper, even if the equipment I am using isn't 'top professional quality'.&#xD;&#xA;&#xD;&#xA;It looks like I'm settling on a Fostex FR2 LE recorder, a Rode NTG-3 shotgun microphone, a Rycote 18cm Softie kit (with pistol grip) and K&amp;M mini boom pole (I was told the thread is stronger on this boom pole, than it is on the Rode boom pole - any other mini boom pole suggestions??). I do currently have a small Zoom H2 recorder for extreme portability - but the sound quality of it really is quite poor.&#xD;&#xA;&#xD;&#xA;I feel this is a good kit and I'm hopefully getting it for just over £1000. Still alot of money in anyone's book! But this seems like a package.&#xD;&#xA;&#xD;&#xA;I'm planning trips all around the UK already to start recording. And I am planning a trip to South East Asia with the main purpose of recording.&#xD;&#xA;&#xD;&#xA;BUT... My budget just cannot cover getting a stereo microphone too. Unless I sacrifice the Rode NTG-3 for a cheaper shotgun and get a stereo microphone as well. I'm not sure this is wise, but maybe it is? &#xD;&#xA;&#xD;&#xA;When it comes to using sound effects made by another, how important is stereo really? Of course, I understand that ambience should be recorded in stereo (or more channels) but I really want to get this project off the ground. But I also don't want to mess up my opportunities for not having a stereo microphone. I do have the Zoom H2, but it is a bit rubbish (the noise of it is the worst thing, all my Borneo recordings were rubbish because of this - though I didn't focus on sound on that trip).&#xD;&#xA;&#xD;&#xA;For example, recording a bird call. Would that be in stereo? Or mono? Recording sounds of the jungle, stereo or mono? Etc. etc. Should I be worried about not having a stereo microphone in my starter package as I start to go on these missions of recording?&#xD;&#xA;&#xD;&#xA;Many thanks, James" ContentLicense="CC BY-SA 2.5" />
  <row Id="11455" PostHistoryTypeId="1" PostId="6701" RevisionGUID="36beecb0-520c-42f6-ba27-f169f8edace7" CreationDate="2011-03-20T18:35:08.827" UserId="916" Text="How important is a stereo microphone when starting out?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11456" PostHistoryTypeId="3" PostId="6701" RevisionGUID="36beecb0-520c-42f6-ba27-f169f8edace7" CreationDate="2011-03-20T18:35:08.827" UserId="916" Text="&lt;stereo&gt;&lt;microphone&gt;&lt;beginner&gt;&lt;field-recording&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11457" PostHistoryTypeId="2" PostId="6702" RevisionGUID="46555f00-35d6-4205-9e3c-57e003602d92" CreationDate="2011-03-20T19:09:48.050" UserId="315" Text="I'd suggest waiting on the boom pole and mount the rycote on a cheaper mic stand or camera tripod if cash is an issue. Use the cash to record MS, by picking up a cheaper figure-8 pattern mic to pair with your shotgun like an [ambient emesser][1].&#xD;&#xA;&#xD;&#xA;If that's too much cash, I'd say go ahead and record mono. A good mono recording is better than nothing at all. Besides, you'd be surprised how many fx editors just use one side of a stereo recording when cutting spot fx anyway. It gives the mixer much more control with panning on the dub stage. &#xD;&#xA;&#xD;&#xA;Ambiences on the other hand, should almost always be recorded in stereo. A solution to this for you would be to create stereo ambiences in post from mono recordings. With a little editing and careful attention to phase and movement in the stereo field, it is possible to create a great stereo ambience from a mono recording. Just take different sections of the same mono recording and pan them left and right to make a dual mono stereo. The results can be surprisingly good if done with a bit of care.&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ambient.de/produkte/mikrofone/emesser/emesser_e.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="11458" PostHistoryTypeId="2" PostId="6703" RevisionGUID="72336097-c892-4c84-a524-5df540b7fc35" CreationDate="2011-03-20T19:21:47.003" UserId="946" Text="If budget is an issue, I would look on ebay. There's a couple of Audio Technica AT825 right now for as little as $1..." ContentLicense="CC BY-SA 2.5" />
  <row Id="11459" PostHistoryTypeId="2" PostId="6704" RevisionGUID="b8872c69-97e4-4475-b83b-c04a332f9c16" CreationDate="2011-03-20T22:08:49.307" UserId="393" Text="Another suggestion is to forsake the Fostex for a bit and go for something with a matched pair of stereo mics attached to it, like the h4n (I absolutely love mine).  It won't LOOK as professional, but it's a decent recorder in it's own right, and when you're out recording with your shotgun, you'll probably have it in a bag anyway." ContentLicense="CC BY-SA 2.5" />
  <row Id="11460" PostHistoryTypeId="2" PostId="6705" RevisionGUID="16f86541-4a9f-4806-befb-030191d24e64" CreationDate="2011-03-20T22:53:34.067" UserId="786" Text="I would say stereo is more important than mono, if you are recording in the field while travelling. Mono is for when you are up close to the sound, and when there's no real spatial information to be gathered. Stereo, on the other hand, is everything when it comes to capturing ambiences.&#xD;&#xA;&#xD;&#xA;I use stereo sound effects all the time. If I only need it in mono, I'll narrow the pan or just use one channel. I will not spend any money on buying an ambience sound effect, if it is in mono.&#xD;&#xA;&#xD;&#xA;Get a good quality stereo mic as your first priority, and bring your Zoom H2 along to record some surround atmospheres. If it is loud, it will probably be quite nice on the H2, and it doesn't hurt to get more material..." ContentLicense="CC BY-SA 2.5" />
  <row Id="11461" PostHistoryTypeId="2" PostId="6706" RevisionGUID="0ce3f556-2d8e-4b53-85e1-12aefee95f7e" CreationDate="2011-03-20T23:11:03.777" UserId="393" Text="Another suggestion that was mentioned in another thread was to use the sound of a scraped cymbal as an impulse response, to add a metallic texture.  You could also run the final sounds through smaller, plastic-y speakers and then mix it with a hollow impulse response the size of a beer keg to get the sound that it is, in fact, coming out of a robot. (Assuming the robot is hollow sounding, that is.)&#xD;&#xA;&#xD;&#xA;For the dialogue itself, go through the lines and find any repeated phrases or words.  Only cut those a single time, and ALWAYS reuse them.  If you say &quot;I don't like that&quot; three times, all three will be different, but a robot will say it 100% the same 100% of the time (unless he's programmed otherwise).  Then use the same words to make up other phrases. &quot;Not| *like | that*&quot;.  Finally, when you're cutting the dialogue together, add a tiny amount of radio static between them as the computer searches for the right sound.  (Adding the sound of a hard-drive searching or writing subtly under the vocal tones could help sell this idea.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11462" PostHistoryTypeId="2" PostId="6707" RevisionGUID="375e9e50-e31a-48c0-b329-5f383ec98358" CreationDate="2011-03-20T23:46:24.637" UserId="947" Text="Usually the OMF's we get only contain the audio mixdown from the multitrack recorder on set.  Great for video editing, but we need to recapture the 24 bit, 48k audio from set along with all the iso mic channels. We get an EDL from the editor (audio edits only) and then use Titan to re-conform the edit using the higher quality audio.&#xD;&#xA;&#xD;&#xA;I have been making use of EDL's for the last few years in conjunction with Titan. In order to work properly, I need to request an audio-pnly EDL where all dissolves have been converted to cuts (because Titan can't really make sense of them). I still need to work on an EDL in a text editor to &quot;clean&quot; by removing references to black, etc. Titan is very expensive but it works *extremely* well once you understand it. Using Fix Sync within Titan is also a fantastic feature that works very very well for ensuring a sample accurate sync.  &#xD;&#xA;&#xD;&#xA;Geez, this sounds like an infomercial." ContentLicense="CC BY-SA 2.5" />
  <row Id="11463" PostHistoryTypeId="2" PostId="6708" RevisionGUID="be38b353-bdec-46c9-b970-fbce554a99fd" CreationDate="2011-03-20T23:53:43.990" UserId="338" Text="I &quot;experienced (watch+listened)&quot; Kick Ass recently.  It was an awkward movie that seemed awkward unless I reminded myself that it was based off a comic book and that is what made it awkward.  The score was recycled from 28 days later (epic zombie music) for some parts and I feel like they could have used sound a little more to pump up the comic book based action." ContentLicense="CC BY-SA 2.5" />
  <row Id="11464" PostHistoryTypeId="2" PostId="6709" RevisionGUID="0ac3ce90-0d5f-4386-8ed1-92e099fc1128" CreationDate="2011-03-20T23:55:29.700" UserId="338" Text="Join the Pyramind network and get access to tons of GDC Audio Videos" ContentLicense="CC BY-SA 2.5" />
  <row Id="11465" PostHistoryTypeId="2" PostId="6710" RevisionGUID="952afef1-f8dc-4e8c-a020-01be9da2316a" CreationDate="2011-03-21T01:35:54.360" UserId="275" Text="What speakers and converters are you folks listening through?  An AT 4050 sounds like crap next to a U87.  A U47 blows away a U87.  All of the Behringer mics are complete garbage as well!  &#xD;&#xA;Once you get all pieces in your signal chain at a high level, quality wise, you start to see how cheap microphones are more like paper weights. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11466" PostHistoryTypeId="2" PostId="6711" RevisionGUID="e11e3d15-8433-4e33-afd4-ba4fef4f8a56" CreationDate="2011-03-21T01:50:46.647" UserId="275" Text="You own everything unless specified otherwise in your contract with the client.  They are hiring your and your facility as a service.  It is reasonable to deliver stems, the overall mix, and thats about it.  They should already have a copy of the production sound.  All of the sound effects within their movie either came from sound effects libraries or you recorded, edited, and mixed yourself.  Those are the tools by which you created their END product, the mix.  &#xD;&#xA;&#xD;&#xA;When you get your car repaired do you own the tools the mechanic used on your car after they completed the job?  Of course not.  &#xD;&#xA;&#xD;&#xA;Now, if you choose to hand over all of the source files you certainly can and there may be very good reasons to do that.  Perhaps you have a good working relationship with the client, perhaps you have an agreement that you can also do with whatever you want with the original files, sound effects, etc.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11467" PostHistoryTypeId="2" PostId="6712" RevisionGUID="96872834-ab0d-4e03-9dba-afbaaafde6ec" CreationDate="2011-03-21T02:04:08.550" UserId="275" Text="A lot of it depends on the effect and the end use of that effect.  Whenever I record ambience I use three channels: stereo Sanken CSS-5 and a mono CS3E into a Sound Devices 442 and 744t.  All my bases are coved and I know I have flexibility in post.  &#xD;&#xA;&#xD;&#xA;When you a record an ambient track to be used as a base stereo or 5.1 is good.  But, everything else should be in mono.  You have no idea of how the panning or placement of that effect needs to be with the picture.  Mono is far more useful than you could imagine!&#xD;&#xA;&#xD;&#xA;As far as the Zoom is concerned, they aren't good recorders.  Plain and simple. They are fine for their price point but they pale in comparison to Sound Devices, Zaxcom, or Aaton field gear.  You get what you pay for.    " ContentLicense="CC BY-SA 2.5" />
  <row Id="11468" PostHistoryTypeId="2" PostId="6713" RevisionGUID="32d435e7-8b78-4c81-b16c-282e62da07d3" CreationDate="2011-03-21T02:09:58.980" UserId="275" Text="There is a reason why we have THX and Dolby certified rooms!  Dub stages are for mixing theatrical releases.  If you're trying to mix a theatrical release in a small room your results will never be as intended.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11469" PostHistoryTypeId="2" PostId="6714" RevisionGUID="77dc0ee6-726b-47ad-ad01-4d90200ef5e0" CreationDate="2011-03-21T02:15:39.320" UserId="275" Text="The sound supervisor on the project defines those roles and how the score and sound design will work together.  In the absence of a sound supervisor your best, and only bet, is good communication with the other party.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11470" PostHistoryTypeId="2" PostId="6715" RevisionGUID="f9bcb296-1326-4dcf-91e5-a7d1a2e393d2" CreationDate="2011-03-21T03:15:52.157" UserDisplayName="user6513" Text="If you were recording a voiceover, then the SE Reflexion will definitely help you rid the reflections from the garage. But a car engine is way too big, too loud for the SE Reflexion to do anything but perhaps even add to the noise. With loud sounds like the car engine, you should be bringing it out to a relatively quiet street to record. &#xD;&#xA;&#xD;&#xA;Remember that when recording sounds, the 'loudness' of the sound is relative to the space you are recording in. A small and soft sound like a bicycle bell would get lost in the ambience of the city, that's why you will have to bring it into a smaller space to record.&#xD;&#xA;&#xD;&#xA;Between the H4n's in-built microphones compared to the NTG-2, the NTG-2 will yield better results for your recordings. If you're recording outdoors though, don't forget to get a windshield for your mic too!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11471" PostHistoryTypeId="2" PostId="6716" RevisionGUID="3ae69353-98ea-45e8-a544-38fe065c367a" CreationDate="2011-03-21T13:45:18.580" UserId="390" Text="So, I was watching the series finale to Big Love last night and the three sister wives were riding down the highway in, I think, a Mini Cooper with the top dropped down. The dialogue was absolutely clear. It does not look like they used ADR here. The actors were quite still so I really think we're hearing audio that was captured on location with well-hidden Lavs on each of the actresses.  At one point, Barb's hair is all over her face and I can only imagine that she did not brush it out of her eyes because they may have been instructed to not move at all so as to not risk the dreaded cloth noise running over the mics. &#xD;&#xA;&#xD;&#xA;[Here's the link to the clip.][1]&#xD;&#xA;&#xD;&#xA;How many of you guys were thinking about sound during that scene? I imagine that they did a great job filtering out wind noise and engine noise in post. Or do you think it's possible to get great audio in that scene with minimal work in post?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hbo.com/big-love?autoplay=true&amp;cmpid=ABC655#/big-love/episodes/5/53-where-men-and-mountains-meet/video/ep-53-scene-clip-on-the-road-.html/eNrjcmbOUM-PSXHMS8ypLMlMDkhMT-VLzE1lzmcu1CzLTEnNh8k45+eVpFaUsDFyMjKySSeWluQX5CRW2pYUlaayMQIAUmYXOA==" ContentLicense="CC BY-SA 2.5" />
  <row Id="11472" PostHistoryTypeId="1" PostId="6716" RevisionGUID="3ae69353-98ea-45e8-a544-38fe065c367a" CreationDate="2011-03-21T13:45:18.580" UserId="390" Text="Big Love Series Finale - Barb's New Car Scene - How'd they get such clean dialogue?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11473" PostHistoryTypeId="3" PostId="6716" RevisionGUID="3ae69353-98ea-45e8-a544-38fe065c367a" CreationDate="2011-03-21T13:45:18.580" UserId="390" Text="&lt;car&gt;&lt;dialogue-recording&gt;&lt;driving&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11474" PostHistoryTypeId="2" PostId="6717" RevisionGUID="e0a00daf-9b23-4ebd-880f-13c8043ce56a" CreationDate="2011-03-21T14:16:24.677" UserId="6462" Text="Hi&#xD;&#xA;My opinion on this is that they actually used booms with good windshields. For the most part the car would have been on a trailer/flatbed truck (I think you can actually see part of this truck at 0.39, above the drivers door) and this would mean that there could, potentially, be one or two boom ops on the truck as well. Using good boom technique and shotguns it's possible to get close sound and reduce the background sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="11475" PostHistoryTypeId="2" PostId="6718" RevisionGUID="30ff2b7d-4d4d-48ee-857c-dfab02be2454" CreationDate="2011-03-21T15:29:05.283" UserId="393" Text="Just a warning, I'll probably be referencing the Sound of Star Wars a lot in the next little bit.&#xD;&#xA;&#xD;&#xA;In the introduction, by Ben Burtt, he talks about how he would record the sounds of movies -- and still does -- to simply listen to the audio.  Instead of rewatching movies, he plays them back on headphones and listens.&#xD;&#xA;&#xD;&#xA;I was wondering if any of you do that -- I know I've never done it, but I may try.  Also, is there any software that can make this easier than setting up mics, or using Audacity to record what I hear in real time." ContentLicense="CC BY-SA 2.5" />
  <row Id="11476" PostHistoryTypeId="1" PostId="6718" RevisionGUID="30ff2b7d-4d4d-48ee-857c-dfab02be2454" CreationDate="2011-03-21T15:29:05.283" UserId="393" Text="&quot;Re-watching&quot; movies through audio rips" ContentLicense="CC BY-SA 2.5" />
  <row Id="11477" PostHistoryTypeId="3" PostId="6718" RevisionGUID="30ff2b7d-4d4d-48ee-857c-dfab02be2454" CreationDate="2011-03-21T15:29:05.283" UserId="393" Text="&lt;practice&gt;&lt;listening&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11478" PostHistoryTypeId="2" PostId="6719" RevisionGUID="201ea2d4-a02b-4503-b0c9-893d4882eaff" CreationDate="2011-03-21T16:54:42.957" UserId="432" Text="There used to be a piece of software for Mac called DVDxDV. It could rip the audio track out of a disc as a separate quicktime file. It's been a long time since I've had a need for that software, so I don't know if it's still around.&#xD;&#xA;&#xD;&#xA;I believe there's a way to do it using MPEG Streamclip (which is PC or Mac), so you may want to look into that." ContentLicense="CC BY-SA 2.5" />
  <row Id="11479" PostHistoryTypeId="2" PostId="6720" RevisionGUID="934d2e22-09e4-419c-a69b-fa6f56516d14" CreationDate="2011-03-21T16:55:47.793" UserId="234" Text="Used to do that all the time as a pre-teen... of course VCR's were as commonplace in those days. I'd patch the output of the TV or rented VCR into my tape deck and hit record. &#xD;&#xA;&#xD;&#xA;Today, you can try MPEGStreamclip for non-protected DVD's and MacTheRipper or Handbrake for commercial ones... There are similar pieces of software on the windows side (Do a search for DVD Ripper)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11480" PostHistoryTypeId="2" PostId="6721" RevisionGUID="cebee9dc-1af0-4734-b31b-db31babe36cf" CreationDate="2011-03-21T16:57:27.983" UserId="142" Text="We used to have to do it at uni for many films. It is a form of what Pierre Schaeffer termed 'reduced listening' and it is a valuable exercise as it really gets you to listen too and analyse the sounds without our usual lazy spoon fed way of hearing them whilst the visual forces a context onto us. There is a chapter on this in Michel Chion's book Audio-Vision, Sound on Screen which if you have not read I highly recommend. I would not bother using software for this purpose as eyelids are great for stopping an image alongside a blindfold or earphones with a chair turned away from the screen. These techniques all work very well :-) " ContentLicense="CC BY-SA 2.5" />
  <row Id="11481" PostHistoryTypeId="2" PostId="6722" RevisionGUID="2dfefeb1-ea34-473f-a363-e3a51f910f53" CreationDate="2011-03-21T17:08:06.003" UserId="286" Text="Mac The Ripper and MedaCoder Audio Edition.  Both free.&#xD;&#xA;&#xD;&#xA;The cool thing about this is you can then import the multi-channel streams into Pro Tools and solo individual channels.  Great for referencing how designers and mixers are using the surrounds, center and LFE channels." ContentLicense="CC BY-SA 2.5" />
  <row Id="11482" PostHistoryTypeId="2" PostId="6723" RevisionGUID="14d1a575-2f1c-41a2-9628-24dc17801171" CreationDate="2011-03-21T19:48:27.083" UserId="786" Text="I also think it is not ADR. If you listen closely, you can hear the wind noise/rumble around the lines of dialogue. There isn't much of the very high frequencies in the dialogue, suggesting that it has been recorded using a lot of wind protection. They have probably used fixed microphones from below, combined with lav mics.&#xD;&#xA;&#xD;&#xA;They have probably edited out everything except the dialogue when the car is moving, and then they have probably used eq, noise reduction and volume to make it sound properly." ContentLicense="CC BY-SA 2.5" />
  <row Id="11483" PostHistoryTypeId="2" PostId="6724" RevisionGUID="15e45468-5505-4beb-a9b5-5e7626e5d85b" CreationDate="2011-03-21T21:15:05.743" UserId="390" Text="As a kid, I held a tape recorder to the Television while Aliens played on HBO or some cable channel. At night, my brother and I would listen to Aliens from start to finish and it was JUST as good as watching the movie. Ha! But I haven't done anything like that since then." ContentLicense="CC BY-SA 2.5" />
  <row Id="11484" PostHistoryTypeId="2" PostId="6725" RevisionGUID="b30b4479-dab6-4e08-a7d3-839ce051026d" CreationDate="2011-03-21T21:21:33.027" UserId="390" Text="Capture some squirrels making noise or actually barking. I was taking out the trash when I used to live in a Long Island suburb when some squirrels were running around the tree branches above me. They looked adorable until I heard one of them make this grotesque sounding bark. It totally kills their image, imho. They should remain silent!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11485" PostHistoryTypeId="2" PostId="6726" RevisionGUID="1a9f248a-8f0c-4dd3-bf1c-0e980369dcf5" CreationDate="2011-03-21T22:29:28.163" UserId="61" Text="We've heard this sound before (think Star Wars), and I've never tried to create it but have wondered about how it is done. Then I heard it again today [here][1] and did some research:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&quot;That's not ring modulation. It's Single SideBand Suppressed Carrier Amplitude Modulation, or SSB. Essentially, take an AM signal, cut it in half and remove the carrier. This means it takes up about half the spectrum and is still perfectly understandable, if not exactly broadcast quality. When receiving the signal, the radio reinserts the carrier and demodulates, resulting in that hollow sounding voice coming from the speakers. There's quite a lot of interesting things to listen to on shortwave, besides the usual broadcasters. Things can get even more interesting if you have the software to decode military and utility digital signals.&quot; *[seanc0x0 from BoingBoing]*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Anyone out there successfully created this sound before? Would love to hear your examples.&#xD;&#xA;  [1]: http://www.wired.com/dangerroom/2011/03/secret-libya-psyops/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11486" PostHistoryTypeId="1" PostId="6726" RevisionGUID="1a9f248a-8f0c-4dd3-bf1c-0e980369dcf5" CreationDate="2011-03-21T22:29:28.163" UserId="61" Text="How do you create Single SideBand Modulation (SSB)?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11487" PostHistoryTypeId="3" PostId="6726" RevisionGUID="1a9f248a-8f0c-4dd3-bf1c-0e980369dcf5" CreationDate="2011-03-21T22:29:28.163" UserId="61" Text="&lt;modulation&gt;&lt;speech&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11488" PostHistoryTypeId="2" PostId="6727" RevisionGUID="5070bdf9-03d5-45a5-8c0b-df6aff626a05" CreationDate="2011-03-21T23:57:09.203" UserId="432" Text="I've never actually tried to create that effect. Interesting note though, AM signals and vocoders operate on pretty much the same principles. So, that might be one way to do it." ContentLicense="CC BY-SA 2.5" />
  <row Id="11489" PostHistoryTypeId="5" PostId="6726" RevisionGUID="98787c76-6604-4179-9d6f-77c87e9fb8b3" CreationDate="2011-03-22T00:01:15.860" UserId="61" Comment="reword" Text="We've heard this sound before (think Star Wars), and I've never tried to create it but have wondered about how it is done. Then I heard it again today [here][1] and stumbled upon one person's explanation:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&quot;That's not ring modulation. It's Single SideBand Suppressed Carrier Amplitude Modulation, or SSB. Essentially, take an AM signal, cut it in half and remove the carrier. This means it takes up about half the spectrum and is still perfectly understandable, if not exactly broadcast quality. When receiving the signal, the radio reinserts the carrier and demodulates, resulting in that hollow sounding voice coming from the speakers.&quot; *[seanc0x0 from BoingBoing]*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Anyone out there successfully created this sound before? Would love to hear your examples.&#xD;&#xA;  [1]: http://www.wired.com/dangerroom/2011/03/secret-libya-psyops/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11491" PostHistoryTypeId="2" PostId="6729" RevisionGUID="f3657605-94ef-46e5-9acd-5c9c737c8985" CreationDate="2011-03-22T00:03:59.850" UserId="728" Text="I don't get the weird grunting sound at 00.11" ContentLicense="CC BY-SA 2.5" />
  <row Id="11492" PostHistoryTypeId="2" PostId="6730" RevisionGUID="9d570990-c9d0-4c7b-ae4a-d1bd3f2887a1" CreationDate="2011-03-22T02:10:00.620" UserId="845" Text="A while ago I was doing some research into building a voiceover iso booth and I came across a design for a PVC Pipe/Blanket design that I think would work perfectly for you (Link: [Guerilla VO Booth][1]).  For my purposes didn't provide enough isolation since I'm not trying to get rid of just the room, but everything else as well (neighbours, outside traffic, footsteps upstairs).&#xD;&#xA;&#xD;&#xA;What I think will work would be to make only two sides of the full booth, maybe three depending on how you plan to do it.  Then you can arrange them around whatever part of your car that you're working with.  It won't get rid of everything, but if you get your mic placement down and put them in the way of your major reflections, you should be able to get things pretty tight.&#xD;&#xA;&#xD;&#xA;Plus, if it doesn't work, you're only out about $50, and you'll have a bunch of sound blankets (which every recordist should have), *and* some extra PVC to make awesome pipe resonances with.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.michiganacademyofmediaarts.org/ma-blog/build-a-guerilla-sound-booth-by-videomaker/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11493" PostHistoryTypeId="2" PostId="6731" RevisionGUID="fc682918-8791-48c9-b29d-b1743712e432" CreationDate="2011-03-22T02:22:41.040" UserId="845" Text="I too would recommend the H4N.  Granted it may not be the *best* recorder (see above) it certainly does a very good job all things considered.  I don't own one, but I've used one for both ambiences and hard effects, and it really is awesome.  Added bonus is the fact that it'll provide phantom power for your NTG-3.&#xD;&#xA;&#xD;&#xA;Buy the Zaxcom and Sound Devices stuff when you have the bazillions of pounds that you will make off this first library.  But you can't make any money if you don't have anything to record onto." ContentLicense="CC BY-SA 2.5" />
  <row Id="11494" PostHistoryTypeId="5" PostId="6731" RevisionGUID="5d2e6c8a-b52e-49b2-b59b-a4064c8e622a" CreationDate="2011-03-22T02:33:35.907" UserId="845" Comment="added 5 characters in body" Text="I too would recommend the H4N.  Granted it may not be the *best* recorder (see above), but it certainly does a very good job all things considered.  I don't own one, but I've used one for both ambiences and hard effects, and it really is awesome.  Added bonus is the fact that it'll provide phantom power for your NTG-3.&#xD;&#xA;&#xD;&#xA;Buy the Zaxcom and Sound Devices stuff when you have the bazillions of pounds that you will make off this first library.  But you can't make any money if you don't have anything to record onto." ContentLicense="CC BY-SA 2.5" />
  <row Id="11495" PostHistoryTypeId="2" PostId="6732" RevisionGUID="9286ac91-74b0-42b7-a501-8893a60c2c23" CreationDate="2011-03-22T02:50:04.123" UserId="18160" Text="I just got finished doing live sound for an awards show and dinner and music show.&#xD;&#xA;&#xD;&#xA;I must say, I personally like studio work much better. You only need to move and set up your equipment once and it stays like that.&#xD;&#xA;&#xD;&#xA;It seemed like 80% of the job was moving equipment and setting up/coiling cables.&#xD;&#xA;&#xD;&#xA;Do any of you do any type of live sound work? If so, what type and what do you do?&#xD;&#xA;&#xD;&#xA;What items do you feel are absolutely necessary to bring with you for the job and why?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11496" PostHistoryTypeId="1" PostId="6732" RevisionGUID="9286ac91-74b0-42b7-a501-8893a60c2c23" CreationDate="2011-03-22T02:50:04.123" UserId="18160" Text="Do any of you do live sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11497" PostHistoryTypeId="3" PostId="6732" RevisionGUID="9286ac91-74b0-42b7-a501-8893a60c2c23" CreationDate="2011-03-22T02:50:04.123" UserId="18160" Text="&lt;live&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11498" PostHistoryTypeId="2" PostId="6733" RevisionGUID="5c6c0aff-f6b5-4373-a1e6-c0234522760b" CreationDate="2011-03-22T03:43:38.650" UserId="393" Text="Every week at church, we load in our gear into a movie theater, set up everything, play, and tear it down when we're done.  I've sat in on sound more than a few times, but I'm generally on guitar or bass." ContentLicense="CC BY-SA 2.5" />
  <row Id="11499" PostHistoryTypeId="2" PostId="6734" RevisionGUID="8e94bed9-0aba-4462-973a-8d0a48679fc8" CreationDate="2011-03-22T04:52:39.023" UserId="949" Text="I am the lead tech at a 2000 seat church.  Most of the equipment is set up permanently, biggest challenge is adjusting to a live performance.  It's like writing automation in real time.  Knowing the material as well as the musicians themselves is key." ContentLicense="CC BY-SA 2.5" />
  <row Id="11500" PostHistoryTypeId="4" PostId="6726" RevisionGUID="5c60ad8b-809a-4ea5-8f61-b1d4f3d66c86" CreationDate="2011-03-22T05:18:56.260" UserId="61" Comment="spelling" Text="How do you create Single Sideband Modulation (SSB)?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11501" PostHistoryTypeId="2" PostId="6735" RevisionGUID="bd363b67-2fd5-4c08-9088-ce50507ec660" CreationDate="2011-03-22T05:29:16.777" UserId="429" Text="sorry for jumping on your thread but its related  .. I was on location in Cuba this past week and found the stock Sony windscreen for my D-50 wouldn't cut out enough wind. I feel like I needed a giant fuzzy hat for my D-50 the wind was quite strong .. any suggestions for a larger windscreen or a better solution for strong wind ??" ContentLicense="CC BY-SA 2.5" />
  <row Id="11502" PostHistoryTypeId="2" PostId="6736" RevisionGUID="5e749522-23d0-436e-97c5-cf753db6b52d" CreationDate="2011-03-22T06:16:48.527" UserId="315" Text="I wouldn't be surprised if they used a couple Sanken CUB mics mounted directly on the sun visors of the car for the front two actors. An old trick used by many production mixers. I do think they also boom when filming on a flatbed though." ContentLicense="CC BY-SA 2.5" />
  <row Id="11503" PostHistoryTypeId="2" PostId="6737" RevisionGUID="e8af5079-9765-4d41-a05b-b0f6ce9d6f31" CreationDate="2011-03-22T07:19:05.403" UserDisplayName="user49" Text="No matter what your role is (boom, recordist, dialogue editor, sound editor, rerecording mixer etc) on a film (short, long or otherwise) do you read the script before starting?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11504" PostHistoryTypeId="1" PostId="6737" RevisionGUID="e8af5079-9765-4d41-a05b-b0f6ce9d6f31" CreationDate="2011-03-22T07:19:05.403" UserDisplayName="user49" Text="Do you read scripts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11505" PostHistoryTypeId="3" PostId="6737" RevisionGUID="e8af5079-9765-4d41-a05b-b0f6ce9d6f31" CreationDate="2011-03-22T07:19:05.403" UserDisplayName="user49" Text="&lt;script&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11506" PostHistoryTypeId="2" PostId="6738" RevisionGUID="5b2cd923-1c79-4af8-bd4f-3045cddfb87a" CreationDate="2011-03-22T07:45:56.047" UserId="786" Text="If I get a copy of the script, I read it, always! Not to read it would be inpolite, and it is the best way to prepare you for the work ahead.&#xD;&#xA;&#xD;&#xA;If I am only working as supervising sound editor / sound designer / re-recording mixer, and the film is already in editing, I am not always presented with a copy of the script, but with a rough cut of the film instead. In this case I am not asking for the script, but normally I am contacted before they shoot the film, and so I get to read the script." ContentLicense="CC BY-SA 2.5" />
  <row Id="11507" PostHistoryTypeId="2" PostId="6739" RevisionGUID="0c10b6a1-3fe8-4b2f-906c-8f7abcb30f83" CreationDate="2011-03-22T08:01:31.837" UserId="371" Text="Sometimes, when you're operating the boom mic and there's only one used in a dialogue, It's highly recommended that you read it so you know how u'll need to move it. So you find out when actor 1 line's over so that you can turn it and capture the actor 2's line. &#xD;&#xA;At least in Brazil, where the independent production's budget is always low, you MUST be aware of that kind of stuff. We usually have only one mic here. About me, I had my 3 meals today, don't worry. LOL :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11508" PostHistoryTypeId="2" PostId="6740" RevisionGUID="c5fb20da-b235-4171-8174-60232283b606" CreationDate="2011-03-22T08:05:18.593" UserId="371" Text="My guess? They will probably keep it in 16 bits anyway. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11509" PostHistoryTypeId="2" PostId="6741" RevisionGUID="eda09874-29a1-478a-af98-cc8917d182b2" CreationDate="2011-03-22T08:14:38.170" UserId="641" Text="Yes, I always read the script...at least once.  On the day of the shoot I like to have it handy, though usually you get given &quot;Sides&quot;...the pages out of the script scheduled to be shot that day, which I refer to prior to shooting a scene.  I sort of memorize lines roughly and try to be there for every rehearsal the actors and director may have.  It helps you prepare your boom movements, which mics to use, decide on the ambient sounds you may wish to capture and stuff like that.&#xD;&#xA;It also tells you (as a boom swinger) just how long some scenes are going to be and you can prepare yourself for them!  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11510" PostHistoryTypeId="2" PostId="6742" RevisionGUID="c883a1ff-a2e6-48b8-ad0e-c1bcffa8b600" CreationDate="2011-03-22T08:54:42.567" UserId="118" Text="I'd agree about loud / quiet / atmoses / spots.  I'd perhaps add crowd and voice recording, including your own as I feel we often have an instinctive sense of when this sounds how we think it should.&#xD;&#xA;The only other suggestions I can add are to experiment with it's off mic coloration / rejection as well as it's bass proximity.&#xD;&#xA;It's worth making recordings with it alongside your usual mic that you know well or any mic that you know is very neutral.  So much of this sort of assessment is obviously relative therefore it always makes it a lot easier to hear characteristics when A/Bing.&#xD;&#xA;&#xD;&#xA;I'll be really interested to hear everyone's opinions on this topic as I've just started a new feature for members of The Sound Collectors' Club called 'MicCheck' which is basically somewhere for members to share their mic demo / shootout recordings.  Together we can hopefully,over time, accumulate a pretty comprehensive collection of samples of different Mics for others to audition and download to compare properly in your own DAW.  Hence this should save people having to trawl the net for streamed lo-fi MP3s of someone playing a trombone or something.  Anyway, I'll certainly be taking on board any comments here. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11511" PostHistoryTypeId="2" PostId="6743" RevisionGUID="18d5c4e7-42fe-4a6c-8abf-903377c01a73" CreationDate="2011-03-22T09:33:23.513" UserId="62" Text="Speaking from a purely post production point of view I always prefer to read a script beforehand. I think it helps in a variety of ways, some aesthetic and some practical. It enables me to source difficult or specific sounds before production has started for example.&#xD;&#xA;&#xD;&#xA;I also find it helps get a feel for a film/series, especially in animation where the editing is often more an assembly and probably wont be straying too far from the script.&#xD;&#xA;&#xD;&#xA;If nothing else it can help start a dialogue between you and the Director/Producer which we all know is best to start as early as possible to ensure you're all on the same page from the off." ContentLicense="CC BY-SA 2.5" />
  <row Id="11512" PostHistoryTypeId="2" PostId="6744" RevisionGUID="2d25833d-65ef-4803-be64-87f6e5cc8e4c" CreationDate="2011-03-22T10:11:27.540" UserId="941" Text="I find the script essential and sometimes where available the story board (especially if i'm working on an animation project)&#xD;&#xA;&#xD;&#xA;At present on the project i'm working on, without the script I'd be a bit lost as i'm editing the dialogue as well as designing and until I have been working on the film for a couple more weeks it helps immerse myself with the characters. It also helps me communicate more with the director in terms of specific sound design placements as we can talk the same language in terms of reference points and we're on the same page..&#xD;&#xA;&#xD;&#xA;Before starting I was lucky to obtain the script and read it thoroughly before starting, kinda gives you a head start." ContentLicense="CC BY-SA 2.5" />
  <row Id="11513" PostHistoryTypeId="2" PostId="6745" RevisionGUID="54bebd9f-df8e-48b1-bc53-841ef2f17e33" CreationDate="2011-03-22T12:52:31.150" UserId="830" Text="Yes, I do if there is one available when recording or boom swinging. In narrative style film making this is always a must. I also generally ask for sides for each day as well, especially on a shoot where the director/writer/producer keep changing up the dialogue." ContentLicense="CC BY-SA 2.5" />
  <row Id="11514" PostHistoryTypeId="2" PostId="6746" RevisionGUID="0756bbf6-a0c6-4601-afde-c8aae62d2300" CreationDate="2011-03-22T13:16:58.607" UserId="243" Text="The zoom h4n is a brilliant set recorder! Now after I have recorded a session using all the channels (the xlr inputs and onboard mics) when I take the SD card or usb and put into in a computer will there be files for each channel's recordings? " ContentLicense="CC BY-SA 2.5" />
  <row Id="11515" PostHistoryTypeId="1" PostId="6746" RevisionGUID="0756bbf6-a0c6-4601-afde-c8aae62d2300" CreationDate="2011-03-22T13:16:58.607" UserId="243" Text="zoom h4n multi track recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="11516" PostHistoryTypeId="3" PostId="6746" RevisionGUID="0756bbf6-a0c6-4601-afde-c8aae62d2300" CreationDate="2011-03-22T13:16:58.607" UserId="243" Text="&lt;zoom-h4n&gt;&lt;editing&gt;&lt;files&gt;&lt;multichannel&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11517" PostHistoryTypeId="2" PostId="6747" RevisionGUID="33f35648-118d-4f74-a8ba-e49e63989ed5" CreationDate="2011-03-22T13:19:48.303" UserId="393" Text="There will be a pair of stereo files per recording in the 4ch folder, named appropriately." ContentLicense="CC BY-SA 2.5" />
  <row Id="11518" PostHistoryTypeId="2" PostId="6748" RevisionGUID="ff16ab34-5107-4dd2-89a4-3b8e46aa5bcc" CreationDate="2011-03-22T13:23:31.283" UserId="393" Text="I only recently started reading scripts -- thanks to my wild notion of writing my own movies simply so I can do sound for them -- and I wish it was mentioned earlier.  Scripts are invaluable.&#xD;&#xA;&#xD;&#xA;On an unrelated note, I just started building mind-maps of things I can record at my work and at my house, so I plan on going through scripts and doing this per-scene, as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="11519" PostHistoryTypeId="2" PostId="6749" RevisionGUID="8d84d19e-46ec-4316-baba-748b23d28bc8" CreationDate="2011-03-22T14:47:37.383" UserId="709" Text="As a sound editor/designer for film and broadcast, I make sure I do everything I can to get a script in my hands, no matter how early in the process it is.  Before meeting about the film, I make sure to have read the script more than twice, and make notations all over it - ideas about the sound and how we can treat and add to the scenes through sound.  Additionally, if I'm working with a vet director, I will often view a few of his/her films prior to our first meeting, if not only to be able to bring up some specifics about the soundtrack in comparison to the script we're discussing.&#xD;&#xA;&#xD;&#xA;I had a director decide to work with me because of all the sound editors he spoke with, only one actually read through and was ready to share ideas about the film (me).  The others were initially only concerned with budget and time, and brought no creative ideas to the table at that point.&#xD;&#xA;&#xD;&#xA;That film turned out to have made the final 10 cut for an Oscar nomination (but unfortunately did not make the final cut).  That film put me on a stage at Skywalker working with Gary Rizzo and Richard Hymns.  That film put me in the Stag Theater watching our film next to Gary Rydstrom and behind Gwen Whittle.&#xD;&#xA;&#xD;&#xA;I'm not bragging.  I'm saying that I went the extra mile and it paid off in ways I would have never dreamed of.&#xD;&#xA;&#xD;&#xA;If we don't make a big deal about getting a script *and* meeting with the director prior to working together, then I think we're often overlooked as a creative part of the process.  We all have worked with people who don't want/need the creative input, or simply regard sound as a supporting creative role.  Make a big deal of yourself and the work you do.  Doesn't matter if you play a role in production or post-production.  Make a big deal." ContentLicense="CC BY-SA 2.5" />
  <row Id="11520" PostHistoryTypeId="2" PostId="6750" RevisionGUID="e17e0b69-7698-4f68-ada1-0f05453f56b8" CreationDate="2011-03-22T15:14:34.657" UserId="709" Text="Hey all - &#xD;&#xA;&#xD;&#xA;This post is in regards to relationships with other post facilities and post-production operators/creatives in your community.&#xD;&#xA;&#xD;&#xA;I'm a part of a mid-sized post production facility.  We (our department as well as the facility) often get requests from both freelancers and staff at other post facilities for tours, informational meetings, etc.  We're always eager to meet with creatives in our market (even if they're comptetitors) and show off our facility.  &#xD;&#xA;&#xD;&#xA;On the other end, I also make a point of visiting other local post facilities and meeting with some of my peers in the local community.&#xD;&#xA;&#xD;&#xA;I have a couple of questions here - &#xD;&#xA;&#xD;&#xA;1.  Do you make the time to socialize with your peers, who in many cases are also your direct competitors?&#xD;&#xA;&#xD;&#xA;2.  Do you specifically keep certain peers/competitors out of your facility?&#xD;&#xA;&#xD;&#xA;3.  Have you ever been specifically denied a tour at a facility in your community?&#xD;&#xA;&#xD;&#xA;Just curious of the general vibe of other post-production communities worldwide.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11521" PostHistoryTypeId="1" PostId="6750" RevisionGUID="e17e0b69-7698-4f68-ada1-0f05453f56b8" CreationDate="2011-03-22T15:14:34.657" UserId="709" Text="Post production communities" ContentLicense="CC BY-SA 2.5" />
  <row Id="11522" PostHistoryTypeId="3" PostId="6750" RevisionGUID="e17e0b69-7698-4f68-ada1-0f05453f56b8" CreationDate="2011-03-22T15:14:34.657" UserId="709" Text="&lt;post-production&gt;&lt;facility&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11523" PostHistoryTypeId="2" PostId="6751" RevisionGUID="48f10a5b-772d-45cf-a8f8-d455fdefc524" CreationDate="2011-03-22T15:21:54.837" UserId="845" Text="I did live sound for two years.  It was something I just kinda fell into when I was coming out of audio school.  Definitely not part of the plan... but looking back on it I realize that it taught me more about what we do than pretty much anything else I've done.  If nothing else, you learn how to hear through noise; you'd be amazed how much noise 200 people can make.  Toss a couple of guitars and a drumkit into the mix and it gets scary.&#xD;&#xA;&#xD;&#xA;Most clubs and bars are not properly set up to have 100 dB or more of sound pumped into them.  Bare walls and floors, parallel surfaces, signal chains with no power amp protection.  One place I worked at (Sneaky Dee's, for anyone who knows the Toronto club scene) had a 20 foot wall of windows running all the way from stage right to the mix position, knee height to the ceiling.  No curtains, nothing.  You shoulda heard a drumkit in there, mental.  The high-end would scrape your face off.  Unless the place was packed to the rafters it sounded like complete garbage.&#xD;&#xA;&#xD;&#xA;But, there was something about it.  On the right night, great band, full crowd...  something would happen.  The closing band would come on, the crowd would scream, the floors would shake, the air would move, the faders would float to where they needed to be, and all I could do was stare.  It didn't often happen, but it was this weird moment of frenetic stillness.  Everything that was bothering you, all the shit, would just drift away.  One perfect hour in a life of late nights, afternoon mornings, 6 am breakfasts, coffee, cigarettes, and booze.  One single hour of exultant human energy, reveling in the pain of being alive.&#xD;&#xA;&#xD;&#xA;That's the one thing I miss.  Not that it doesn't happen doing what I do now, but it's a different kind of thing.  Now it's so much more controlled.  The anticipation of the unexpected isn't there.  I don't know, it's hard to explain.&#xD;&#xA;&#xD;&#xA;All that to say, if you get the opportunity to do it, do it.  Your first couple of gigs will be a shitstorm of mistakes and stress, all you will notice is how bad the room is, the limitations of the gear, and how little you're getting paid. But, once you find your flow, once you know where you stand, it's a joy.  Every night comes together and you can just stand back and watch people at play." ContentLicense="CC BY-SA 2.5" />
  <row Id="11524" PostHistoryTypeId="2" PostId="6752" RevisionGUID="928727b2-3c54-4e69-a6fe-3dbabb292a7b" CreationDate="2011-03-22T15:37:29.000" UserId="950" Text="Have any of you tried this mic? It´s a low cost mic, but I´ve read some good reviews. I´m just recording some voices for a demo project, and can´t afford an expensive mic. I´ve been using the built in mic in the H4, but I guess that this mic could make better takes. If you do know something about it, can it be used with a Zoom H4?  It does need phantom power but the H4 have it, so that should be no problem. I would really appreciate your comments.... GUATEGUAY" ContentLicense="CC BY-SA 2.5" />
  <row Id="11525" PostHistoryTypeId="1" PostId="6752" RevisionGUID="928727b2-3c54-4e69-a6fe-3dbabb292a7b" CreationDate="2011-03-22T15:37:29.000" UserId="950" Text="T-Bone SC450 mic..." ContentLicense="CC BY-SA 2.5" />
  <row Id="11526" PostHistoryTypeId="3" PostId="6752" RevisionGUID="928727b2-3c54-4e69-a6fe-3dbabb292a7b" CreationDate="2011-03-22T15:37:29.000" UserId="950" Text="&lt;zoom-h4n&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11527" PostHistoryTypeId="5" PostId="6726" RevisionGUID="f623ac62-d0dc-4c56-9d61-7ea1976ce7e6" CreationDate="2011-03-22T15:49:36.027" UserId="61" Comment="additional information" Text="We've heard this sound before (think Star Wars), and I've never tried to create it but have wondered about how it is done. Then I heard it again today [here][1] and stumbled upon one person's explanation:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&quot;That's not ring modulation. It's Single SideBand Suppressed Carrier Amplitude Modulation, or SSB. Essentially, take an AM signal, cut it in half and remove the carrier. This means it takes up about half the spectrum and is still perfectly understandable, if not exactly broadcast quality. When receiving the signal, the radio reinserts the carrier and demodulates, resulting in that hollow sounding voice coming from the speakers.&quot; *[seanc0x0 from BoingBoing]*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Has anyone out there successfully created this sound before? Would love to hear your examples.&#xD;&#xA;  [1]: http://www.wired.com/dangerroom/2011/03/secret-libya-psyops/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11528" PostHistoryTypeId="2" PostId="6753" RevisionGUID="e69c1a7f-efc0-4af4-94b8-827f602a6ca1" CreationDate="2011-03-22T15:56:39.640" UserId="6435" Text="I'm generally happy to show someone around our place. No one's ever specifically refused to show me their place. To the first question...I wish I did spend more time socializing. In the facility I work at it's all too easy to just stay in and do the work, and not find the time to get to know other folks and what they're doing. Which to me is crazy and frustrating. I'm in a major city, I've been a sound guy for almost twenty years here, and I feel like I know less than a handful of other engineers/designers in the community. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11529" PostHistoryTypeId="2" PostId="6754" RevisionGUID="21faee74-effc-4784-9488-58663982a02e" CreationDate="2011-03-22T16:23:36.727" UserId="951" Text="Absynth has such an effect as a preset, they call it frequency shift.&#xD;&#xA;In Puredata there's a (perhaps more accurate) hilbert~ object. In the Wikipedia entry&#xD;&#xA;http://en.wikipedia.org/wiki/Hilbert_transform&#xD;&#xA;you need to scroll down to find &quot;SSB modulation&quot;." ContentLicense="CC BY-SA 2.5" />
  <row Id="11530" PostHistoryTypeId="2" PostId="6755" RevisionGUID="f03e7829-25a0-4071-b75a-060eb0055a83" CreationDate="2011-03-22T16:33:42.373" UserId="938" Text="If your aim is to sell your sound effects, then you should consider that people are snobbish - a lot of people will be put off buying your product if they see that it was recorded on a Fostex FR2-LE (or a Zoom). Whilst a Sound Devices recorder is expensive to buy, they can be hired by the day pretty cheaply from a lot of companies and give your product kudos. Likewise you can hire mic's very cheaply too - theatre sound hire company rates often work out more cheaply for a few weeks hire. &#xD;&#xA;&#xD;&#xA;If you're recording FX then you should be recording in stereo. The film world may prefer fx in mono but everyone else prefers them in stereo. There are some reasonably good stereo rifle mics out there you can buy that aren't to expensive. I have the Audio Technica BP4029 which is great.&#xD;&#xA;&#xD;&#xA;If you're on a budget then I wouldn't worry about the boom pole.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11531" PostHistoryTypeId="2" PostId="6756" RevisionGUID="4fd73255-ae3e-48e0-8e67-85136138d467" CreationDate="2011-03-22T17:17:09.127" UserId="517" Text="For me it depends on what the state of the film is. Often when directors or producers get in touch with me for sound editing, they'll already be editing or even picture locked. In this situation, I don't ask for the script - the film has already been shaped in editorial and is not the same film that the script envisioned.&#xD;&#xA;&#xD;&#xA;If a project is brought to me in its pre-production stages, I will read the script carefully in order to understand what will be required from the sound department. If I'm handling production sound, there will inevitably be things that I find I'll need to prepare for - fight scenes, &quot;live&quot; performances that I'll insist to the director should be performed to playback, etc. &#xD;&#xA;&#xD;&#xA;If I'm still only doing post sound work, it's useful to read the script in pre-production to decide out what major elements of the soundtrack will be need to be recorded in post and what *has* to be captured during production. Recently, I was working on a short film that was funded by Toyota Japan and featured the Toyota Mark-X, a car that physically does not exist in Los Angeles (where I'm based). I stressed to the director how important it would be that the production sound crew record great production tracks and wild sound FX for the car, and things worked out pretty well in the end." ContentLicense="CC BY-SA 2.5" />
  <row Id="11532" PostHistoryTypeId="2" PostId="6757" RevisionGUID="7e681cbe-640d-4117-a7b7-a25145393e72" CreationDate="2011-03-22T19:27:38.190" UserId="18160" Text="Absa-frickin-lutely." ContentLicense="CC BY-SA 2.5" />
  <row Id="11533" PostHistoryTypeId="2" PostId="6758" RevisionGUID="b6ff8983-699f-488e-84ad-0b9870319fda" CreationDate="2011-03-22T19:52:08.657" UserId="786" Text="I normally do post sound and sometimes I record production sound. It's actually almost been 2 years since the last time I was on the set, but this fall I may record another feature film. It is healthy to be out on location, talking to people who aren't all sound people. Getting some fresh air and perhaps a bit of sun for the studio tan.&#xD;&#xA;&#xD;&#xA;On the other hand, I NEVER do live sound. I tried it once, and I sucked! I just make too many errors, when it's live. I like to capture sound, to design sound, to edit sound and to take some time mixing it all together. But I don't like to do it all at the same time." ContentLicense="CC BY-SA 2.5" />
  <row Id="11534" PostHistoryTypeId="2" PostId="6759" RevisionGUID="8f921ce3-65d3-4d69-8657-c0239f3ff15e" CreationDate="2011-03-22T19:55:16.833" UserId="863" Text="Scrap the boom pole and get a small mic stand.&#xD;&#xA;&#xD;&#xA;You want a proper blimp not a softie kit, England is windy! look into the Rode blimp.&#xD;&#xA;&#xD;&#xA;You'll want ambiances in stereo, spot sounds are perfect as mono.&#xD;&#xA;&#xD;&#xA;The recorder shouldn't matter too much, but the preamps will, so the FR2LE is great but you'll need preamps if you're really thinking of selling stuff on.&#xD;&#xA;&#xD;&#xA;NTG-3 is great but I had My first one replaced with a later version (high serial #) as it wouldn't work in cold temperatures so the same things could be effected by high humidity in south asia.&#xD;&#xA;&#xD;&#xA;It sounds like you're just starting out, and as much as I admire the determination to create a sfx label, take one step at a time and take it as a learning curve and learn yourself what you need, you probably won't sell any of the sounds you capture on your first venture considering how many professionals there already are out there. &#xD;&#xA;&#xD;&#xA;The first solo project I recorded stereo ambiances in New York for a university project on an H4N, they sound great and I learnt a lot just using that for 3 weeks which has now lead me to move to the next stage and that's buying mics and new recorders and so forth.&#xD;&#xA;&#xD;&#xA;If anything as you're British, try to capture as much British stuff as possible, it's hard to find British orientated ambiances and sfx... took me ages to find some British birds to fit a scene." ContentLicense="CC BY-SA 2.5" />
  <row Id="11535" PostHistoryTypeId="2" PostId="6760" RevisionGUID="f3ddd455-1ef9-4478-960c-0b7d36e54328" CreationDate="2011-03-22T20:11:30.170" UserId="238" Text="I spent 5 years working as a freelance live sound tech, but I was mainly in the corporate world (conferences and presentations). It was a great learning experience from a sound tech point of view, as well as dealing with high-pressure, client-facing situations. I also learnt a lot about economics and how the financial system works! As for live gigs (clubs and concerts), I've always stayed away due to the fear of going deaf or getting tinnitus! " ContentLicense="CC BY-SA 2.5" />
  <row Id="11538" PostHistoryTypeId="2" PostId="6762" RevisionGUID="b6b94035-ba1e-4cea-b9e2-7ee3a18253ea" CreationDate="2011-03-22T20:31:53.240" UserId="726" Text="Just watched &quot;Zidane: A 21st Century Portrait&quot; and thought the whole sound and feel of the  film was mesmeric. Randy Thom was appointed sound designer and the score was composed by Mogwai.&#xD;&#xA;&#xD;&#xA;It follows a full 90min of Zinedine Zidane, a French footballer, in a match he played for Real Madrid. The way the crowd swoon in and out of the soundtrack, the close sounds of him dragging his boots along the grass and the quietness and assuredness of his breathing really do draw you into the beautifully crafted soundscape. It is more of an arty kind of film, rather than a story film, but I found it very engaging nonetheless. &#xD;&#xA;&#xD;&#xA;The score complements the video footage perfectly, and mixes in with the other sounds really well. I would thoroughly recommend watching this film, even if you're not a football fan, as it really does give you a totally different perspective of how a film can be shot/edited/scored without the necessity of a story! Here's the &lt;a href=&quot;http://www.imdb.com/title/tt0478337/&quot;&gt;imdb&lt;/a&gt;." ContentLicense="CC BY-SA 2.5" />
  <row Id="11539" PostHistoryTypeId="5" PostId="6731" RevisionGUID="a1cb6920-4cc4-4e20-82e4-3f051f478bb7" CreationDate="2011-03-22T21:25:01.027" UserId="845" Comment="deleted 59 characters in body" Text="I too would recommend the H4N.  It certainly does a very good job all things considered.  I don't own one, but I've used one for both ambiences and hard effects, and it really is awesome.  Added bonus is the fact that it'll provide phantom power for your NTG-3.&#xD;&#xA;&#xD;&#xA;Buy the Zaxcom and Sound Devices stuff when you have the bazillions of pounds that you will make off this first library.  But you can't make any money if you don't have anything to record onto." ContentLicense="CC BY-SA 2.5" />
  <row Id="11540" PostHistoryTypeId="2" PostId="6763" RevisionGUID="499e2745-b3bb-4335-ad50-1e1f559ebdc9" CreationDate="2011-03-22T21:40:52.340" UserId="18160" Text="Whenever I do mic tests or get a new mic to check out, I always compare it to a mic I know very well.&#xD;&#xA;&#xD;&#xA;For LDCs I compare it to a vintage U87 or NU48.&#xD;&#xA;&#xD;&#xA;For SDCs I compare it to a Schoeps MK5 or MK41 capsule.&#xD;&#xA;&#xD;&#xA;Do you own a mic you know the characteristics of very well to put it up against?&#xD;&#xA;&#xD;&#xA;By doing this I get a better idea of what the mic sounds like and can do and possibly what sources it would be good to use on." ContentLicense="CC BY-SA 2.5" />
  <row Id="11541" PostHistoryTypeId="5" PostId="6763" RevisionGUID="23d5726a-f2d4-45d0-9dc5-6b4f5db1640b" CreationDate="2011-03-22T21:47:30.617" UserId="18160" Comment="added 628 characters in body" Text="Whenever I do mic tests or get a new mic to check out, I always compare it to a mic I know very well.&#xD;&#xA;&#xD;&#xA;For LDCs I compare it to a vintage U87 or NU48.&#xD;&#xA;&#xD;&#xA;For SDCs I compare it to a Schoeps MK5 or MK41 capsule.&#xD;&#xA;&#xD;&#xA;Do you own a mic you know the characteristics of very well to put it up against?&#xD;&#xA;&#xD;&#xA;By doing this I get a better idea of what the mic sounds like and can do and possibly what sources it would be good to use on.&#xD;&#xA;&#xD;&#xA;Then, what I do is put it up in different acoustical scenarios. An empty bare-walled room which is very echoey. Outside with no reflections. In a long hall with very little early reflections and long decay.&#xD;&#xA;&#xD;&#xA;Try it on transient sources to see how it handles peaks and transients like a snare drum or cracks of a whip.&#xD;&#xA;&#xD;&#xA;Try it on lots of low-end by either worldizing low sine waves or recording bassy traffic. See how it responds.&#xD;&#xA;&#xD;&#xA;If I could, I would see how it performs in extreme weather conditions - provided you have easy access to them (and no, I don't mean putting it in a freezer and coming back 20 mins later)." ContentLicense="CC BY-SA 2.5" />
  <row Id="11542" PostHistoryTypeId="2" PostId="6764" RevisionGUID="143d59e9-6639-4945-b41e-e0ed1816628c" CreationDate="2011-03-22T22:03:59.440" UserId="317" Text="If you have access to Kyma X. There's a prototype called SingleSideBandRM in &quot;Modulation&quot;.&#xD;&#xA;&#xD;&#xA;It does nonharmonic frequency scaling of the input.  Takes the input and does a 90 degree phase shift between the left and right channels at the frequency specified in the Frequency parameter field.  Multiplies this by a QuadratureOscillator with sine in the left and cosine in the right.  The resulting ring modulation gives you sum and difference frequencies but, because they are 90 degrees out of phase, the difference frequency is mostly cancelled out, leaving you with single side band modulation." ContentLicense="CC BY-SA 2.5" />
  <row Id="11543" PostHistoryTypeId="2" PostId="6765" RevisionGUID="b5e8382f-c2a0-435e-ada7-601eb22d03a2" CreationDate="2011-03-22T22:07:16.033" UserId="709" Text="&quot;The Proposition&quot;.&#xD;&#xA;&#xD;&#xA;The desert wind was so effective I could taste the dirt and grit in my mouth.  I so badly wanted a drink of water but couldn't pause the movie for the life of me.  The ambiences were beautifully dark, and most of the soundtrack (not musical soundtrack) perfectly complemented the awesome wide shots of the Australian Outback.  The revolvers had a certain wear-and-tear element to them, like sand and dust coated the inside mechanics.&#xD;&#xA;&#xD;&#xA;It was less that certain sounds or layers stood out to me, and more that the lines between sonic and aural experiences were blurred.  I was there in the film, not an observer.&#xD;&#xA;&#xD;&#xA;I'm not big on Westerns.  I just happened upon this film by chance.  Was in theaters for a very short time, but kind of disappeared I guess.&#xD;&#xA;&#xD;&#xA;Directed by John Hillcoat.  He also directed &quot;The Road&quot;, another one of my faves." ContentLicense="CC BY-SA 2.5" />
  <row Id="11544" PostHistoryTypeId="2" PostId="6766" RevisionGUID="3002f7fa-7756-46ff-8a63-af8c4eabace5" CreationDate="2011-03-22T23:16:40.073" UserId="6499" Text="I've been working in the Live Sound Industry here in New Orleans since 2005.  Primarily now I Mix Monitors and FOH and on really high profile shows I am a systems tech.  Ive done Jazzfest, Voodoo Fest, Essence Fest for the past 5 years and pretty much most of everything in between here.  I also mix at the clubs here and there but have been getting away from club work due to low pay to BS ratio.  &#xD;&#xA;&#xD;&#xA;Things I never leave home without when working a concert.&#xD;&#xA;&#xD;&#xA;1. Earplugs&#xD;&#xA;2. Leatherman&#xD;&#xA;3. My Headphones&#xD;&#xA;4. Multimeter&#xD;&#xA;5. Q box- whirlwind makes this,  I use it pretty much every gig&#xD;&#xA;6. Sharpie&#xD;&#xA;7. Sweater or jacket.&#xD;&#xA;&#xD;&#xA;With those things and my ears I can pretty much troubleshoot and repair most problems that arise on shows.  For extended festivals where I am systems tech, I bring some more tools and things that just make my job easier but not necessary. &#xD;&#xA;&#xD;&#xA;I am really trying to move away from the live sound production and move into post production, but in New Orleans,  Films don't finish here so its hard to get work in a real studio.  Everything I do in post is mainly Student/Low budget films/documentaries/commercials at my own home studio.  I am trying to work my way up to a larger facility where I can be a part of a team.  If anyone needs an intern Im willing to relocate to learn :P&#xD;&#xA;&#xD;&#xA;I fell into the live sound industry while in film school which unfortunately has made it increasingly more difficult to graduate and go to school while I work.&#xD;&#xA;&#xD;&#xA;I do love live sound.  There is something about it that is on par with &quot;religious&quot; experiences.  The unity of a crowd and the energy that happens is amazing.  Unfortunately I love my ears more, and I am quickly realizing how detrimental concert work is to my ears.  &#xD;&#xA;&#xD;&#xA;Doing live sound also means there is not another take, so it has taught me how to adapt quickly and come up with unique solutions to problems that the audience does not even know exist.  They are not always the prettiest looking, but they are solutions.  You learn to make it work with what is available to you, you always talk about wanting or having better gear, but in the end you make it happen, the show must go on.  &#xD;&#xA;&#xD;&#xA;I have also learned to trust my instincts and my ears.  I second guess myself a lot in the studio situation,  Live does not grant me that luxury.  Mixing a festival is a rough situation especially when you have some 40-48 inputs and no sound check.  You learn to prioritize and dial in your essentials first, then you can come back in and sweeten it all up and then finally get a true mix going in which you accent and support what the musicians are doing.  The last part does not always happen because frankly you don't know the material well enough and you end up chasing everything in the mix. &#xD;&#xA;&#xD;&#xA;Live sound is like driving a monster truck,  you hit some bumps along the way but keep going forward.  Studio work is like driving a really nice Cadillac,  you take your time and make sure it is perfect.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="11545" PostHistoryTypeId="2" PostId="6767" RevisionGUID="bb632fb5-37cf-4f2d-b40f-38392f0e3daf" CreationDate="2011-03-23T00:48:11.007" UserId="830" Text="I did live sound regularly for years, but now only do a handful of gigs. I do love the challenge of working out something on the fly, but I also dislike the tempers that come with some of the talent. The biggest issue for me when I was doing it apart from always been asked to pump the volume (I believe in matching the level to the room/area), was the very late nights.&#xD;&#xA;&#xD;&#xA;Now I only do a few gigs a year as a technical director for Supanova Pop Culture Expos www.supanova.com.au (think comic-con for Australia) and these are more the set and forget panel style, with the occasional curveball. So nothing too stressing or challenging.&#xD;&#xA;&#xD;&#xA;The biggest thing I do now is mix my podcast live to a internet audience 2-4 a week (www.coolshite.net). This involves mic mixing, skype hook ups, video mixing, sound fx, music and anything else just to make it hard for myself. While not a concert, it can operate like a hybrid of live audio and studio audio. Fun!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11547" PostHistoryTypeId="2" PostId="6769" RevisionGUID="f8753971-b0d9-4d3b-8be4-9e3b36527ba6" CreationDate="2011-03-23T01:07:00.653" UserId="6411" Text="Compressor works fine, but we use [MPEG Streamclip][1] for all our conversions to mp4. For some reason it has a faster conversion rate with equal quality.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.squared5.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11548" PostHistoryTypeId="2" PostId="6770" RevisionGUID="c1c05036-732c-47f1-ad8d-62aaa88e3910" CreationDate="2011-03-23T01:10:27.957" UserId="178" Text="I was the FOH engineer for about three years at an all ages club in Southern California in the late 90's. We got everything from local high school bands to touring international bands.&#xD;&#xA;&#xD;&#xA;Here are some of the things I learned.&#xD;&#xA;&#xD;&#xA;Wear earplugs. You can get musician's earplugs custom fit to your ears with a range of Etymotic diaphragms to attenuate to different levels. They sound much better than the cheapo foam earplugs, and the frequency response is much better.&#xD;&#xA;&#xD;&#xA;Create a CD full of songs that you are familiar with and that represent different sound elements (e.g. cymbals that are on the verge of too bright, standup bass that sounds great, etc.). If you're not using pink noise, you'll want to set up the house EQ on the sound system so that it sounds good to you. You also need to ring out the system by having someone on a stage mic talk into it, and then raise the volume slowly until it feeds back. Now notch that frequency down on the house EQ. Repeat this a few times. You have just increased the effective bandwidth of your sound system tremendously. There are also fancy devices that do this for you.&#xD;&#xA;&#xD;&#xA;A live mix is really only half of a mix. If you turned the sound system off entirely, the room would not fall silent. Therefore, your job is to fill in the other half of the sound so that the room gets a full, correct mix of the sound system and stage volume from the band. This is why if you ever hear a recording taken straight off the board in a club the vocals sound way too loud.&#xD;&#xA;&#xD;&#xA;Stage volume is the enemy. There is an inherent minimum volume that a rock band can play at. That minimum volume is dictated by the drums. Since they are a loud acoustic instrument, they will form the lower bound of how quiet the band can be. I always told the bands to try and match the drummer in terms of volume.&#xD;&#xA;&#xD;&#xA;You want to avoid volume wars, e.g. everything louder than everything else. Bands never ask you to lower the volume of anything, they only want to raise the volume of an instrument, usually the one they are playing. Sometimes if a vocalist asked for more of themselves in the monitors, I would simply notch out the high mids on the guitars in their monitors, giving them the perception of more volume, which is what they really wanted after all.&#xD;&#xA;&#xD;&#xA;Many mixing engineers are somewhat baffled by monitor mixes. These are very important. During soundcheck, after things were pretty well dialed in, I would always walk up on the stage while the band was playing through a song and stand by each band member in turn, making note of how it sounded. A lot of bands, especially less experienced ones, can't yet articulate exactly what they need in the monitors, but if you can help them hear what they need to hear (generally the band, with an emphasis on themselves) they will play better and love you.&#xD;&#xA;&#xD;&#xA;Some bands are just going to be jerks, no matter what you do. Read &quot;How to Win Friends and Influence People&quot;. It helps. Live sound is paid, on the job, assertiveness training, whether you like it or not. You can't win 'em all, but if you do well you can win most of the time.&#xD;&#xA;&#xD;&#xA;When you do a soundcheck, write down all of the settings. If there are any opening bands or if anyone monkeys with the board, you need to be able to recall your settings in a repeatable fashion.&#xD;&#xA;&#xD;&#xA;During soundcheck, you will have more reverb and high end sound in the room, since the crowd isn't there yet. Plan for this and mix a little on the bright side during soundcheck, since people are basically sound absorbers.&#xD;&#xA;&#xD;&#xA;Even if you're mixing industrial, punk rock, or death metal, never let the mix sound harsh. Mics like the Shure SM57 and SM58 have a presence peak around 4kHz. If the majority of the mics on the stage are like this, the whole mix is just trying to cut through itself, and it's way too much.&#xD;&#xA;&#xD;&#xA;The first song when the band goes up on stage is probably going to be the roughest. Maybe the guitarist changed their settings since the soundcheck (but hopefully not). To a certain extent, anything can happen, so you have to be ready to dial things in quickly. During the first song, the first priority is to make sure that you can roughly hear everything. The next step is to solo each track and make sure the gain settings on the VU meters are consistent with where you set them during soundcheck. You have to play &quot;search and destroy&quot; with noise, and the best way to do this is to go channel by channel and try to EQ out frequencies that are detracting from the mix. For example, if a guitarist has a lower end amp that is WAY too bright and harsh, don't be afraid to apply drastic corrections at the EQ. Remember, you're only doing half a mix, so overdo it a bit in the other direction so it balances with the stage volume. The larger the room, the less drastic you should be with these things.&#xD;&#xA;&#xD;&#xA;Sometimes you just can't win. I remember many punk rock shows I mixed where one band would sound awful no matter what I did. Then the next band would get up on stage with an almost identical configuration of players and instruments, and sound great with almost no effort. Frankly, if the band sucks, you can only do damage control. If both guitars and the bass are all competing with each other in the same octave, their amps are all cranked up way too high, the drummer is light on the kick and snare but heavy on the cymbals, and the singer alternates between whispering and screaming, there's only so much you can do. Compressors on the vocals can at least force things into the right volume range if you're doing total damage control.&#xD;&#xA;&#xD;&#xA;On average, metal bands are more egotistical and hard to deal with than punk and ska bands. Goth and emo bands were usually highly reasonable. There are always exceptions though.&#xD;&#xA;&#xD;&#xA;You have to &quot;own&quot; the stage, and make the bands respect you. At least with the type of music I was mixing, the bands would sometimes damage the equipment. They have to know that this is not OK, and they will have to pay for it. I don't suppose this applies to anyone mixing church services.&#xD;&#xA;&#xD;&#xA;If you don't know already, learn how to wrap cables properly. Overhand, underhand.&#xD;&#xA;&#xD;&#xA;Don't let your amps go into thermal protect mode. If you drive them too hard, you will blow speaker drivers, or the amps will shut down for a few minutes, or both. If it's summer and the place is packed and the amps are on the edge, sticking a fan near the amp rack can get more mileage out of them. I never blew a speaker driver, but many of the engineers that came before me blew out several. They had a whole row of blown out 2&quot; compression tweeter drivers up in the sound booth, with Sharpie writing detailing how they died and who was responsible.&#xD;&#xA;&#xD;&#xA;Live sound was both great and terrible. When it was fun, it was really fun. When it was work, it was really work." ContentLicense="CC BY-SA 2.5" />
  <row Id="11549" PostHistoryTypeId="2" PostId="6771" RevisionGUID="a4e5a217-916e-4b23-ad5d-f305b3146973" CreationDate="2011-03-23T09:11:45.850" UserId="62" Text="Nice question, it's something I've been thinking about for a while now. I do like the irony of a social group of competitors. Having spent a lot of time socialising online (there's pretty much zero socialising within the industry where I live) in the last year I've fallen in with a really nice bunch of people (on Twitter). There's people who are well into their careers and those just starting out or even still at Uni. We all have a grand old time though and I've not come across any unpleasantness at all. We all congratulate each other's successes and give support to anyone with problems.&#xD;&#xA;&#xD;&#xA;This site too is like that too. Where else can one go to ask questions and not be patronised or beaten down for asking such a &quot;stupid&quot; question?&#xD;&#xA;&#xD;&#xA;We are all competitors but that doesn't stop the notion of healthy competition. It's like we've all realised it makes for a nicer world with added benefits (such as tech support or feedback on ones work).&#xD;&#xA;&#xD;&#xA;Long may it continue.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 2.5" />
  <row Id="11550" PostHistoryTypeId="2" PostId="6772" RevisionGUID="36731052-0183-4d31-8bdc-ba9a710107dc" CreationDate="2011-03-23T09:47:55.640" UserId="578" Text="It's my general feeling that the audio community at large is much more open and keen on sharing experience/insights/techniques/tips to colleagues - or competitors, depending on how you want to see them. From people I know who work as video editors and graphic designers, there seems to be more of a safeguarding one's own little island going on, especially amongst more senior people. Of course that is a generalising statement, but these people tell me they're amazed that 'us audio guys' talk so openly to each other.&#xD;&#xA;&#xD;&#xA;Which I think is a great aspect of being 'in audio' :)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11551" PostHistoryTypeId="2" PostId="6773" RevisionGUID="85ba7b2b-b64b-404d-a0bb-735bb155b7b5" CreationDate="2011-03-23T12:29:30.430" UserId="943" Text="Not only am I well familiar with this practice but I developed a name for these pieces... since the name &quot;soundtrack&quot; is already in use as a term that means only the score. By calling them **kinoscapes** I emphasised the practice of visual dissociation. Two decades ago I was broadcasting these on my radio arts programme *Missing 15 Minutes*." ContentLicense="CC BY-SA 2.5" />
  <row Id="11552" PostHistoryTypeId="5" PostId="6773" RevisionGUID="b6064044-e800-46e5-998a-e6592a325794" CreationDate="2011-03-23T12:34:31.157" UserId="943" Comment="added 74 characters in body" Text="Not only am I well familiar with this practice but I developed a name for these pieces... since the name &quot;soundtrack&quot; is already in use as a term that means only the score. By calling them **kinoscapes** I emphasised the practice of visual dissociation. Two decades ago I was broadcasting these on my radio arts programme *Missing 15 Minutes*.&#xD;&#xA;&#xD;&#xA;As for tools, the free DVD Ripper app I used to use appears to be MIA." ContentLicense="CC BY-SA 2.5" />
  <row Id="11553" PostHistoryTypeId="5" PostId="6773" RevisionGUID="5b9fb59e-1f9a-4085-a186-551cd34c9b97" CreationDate="2011-03-23T12:39:42.630" UserId="943" Comment="added 35 characters in body" Text="Not only am I well familiar with this practice but I developed a name for these pieces... since the name &quot;soundtrack&quot; is already in use as a term that means only the score. By calling them **kinoscapes** I emphasised the practice of visual dissociation. Two decades ago I was broadcasting these on my radio arts programme *Missing 15 Minutes*.&#xD;&#xA;&#xD;&#xA;As for tools, I believe that the open source [HandBrake][1] is your man.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://handbrake.fr/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11557" PostHistoryTypeId="2" PostId="6775" RevisionGUID="92439691-cd9d-41b0-a05d-64d455a9e7cd" CreationDate="2011-03-23T15:50:33.553" UserId="6420" Text="Hi all!&#xD;&#xA;&#xD;&#xA;Was doing some location recording in a shopping mall today and recorded a cool sounding rickety lift going down with me in it. Unfortunately I seem to have picked up the sound of my mobile phone interference too! Really annoying. Anyone had any luck removing that kind of blipty-blipt sound before?&#xD;&#xA;&#xD;&#xA;If anyone would like to try then heres the sound ;)&#xD;&#xA;http://soundcloud.com/andrewjohnlewis/annoying-mobile&#xD;&#xA;&#xD;&#xA;Any help would be appreciated. I reckon I'll probably just have to record it again at some point though :(&#xD;&#xA;&#xD;&#xA;Cheers, Andy" ContentLicense="CC BY-SA 2.5" />
  <row Id="11558" PostHistoryTypeId="1" PostId="6775" RevisionGUID="92439691-cd9d-41b0-a05d-64d455a9e7cd" CreationDate="2011-03-23T15:50:33.553" UserId="6420" Text="Removing cell phone interference" ContentLicense="CC BY-SA 2.5" />
  <row Id="11559" PostHistoryTypeId="3" PostId="6775" RevisionGUID="92439691-cd9d-41b0-a05d-64d455a9e7cd" CreationDate="2011-03-23T15:50:33.553" UserId="6420" Text="&lt;mobile&gt;&lt;phone&gt;&lt;interference&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11560" PostHistoryTypeId="2" PostId="6776" RevisionGUID="0ab23c52-2279-4998-ab3b-228c948ffc8d" CreationDate="2011-03-23T15:53:37.967" UserId="641" Text="Hmm, I'm no expert, but I believe that it is impossible to take out...though I may be wrong. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11561" PostHistoryTypeId="2" PostId="6777" RevisionGUID="32dab4f6-6294-45e2-90f3-f8ccfc206d03" CreationDate="2011-03-23T16:10:07.450" UserId="61" Text="I'd try simple editing first, using fill from the surrounding regions to cover over the interference you're cutting out. If that fails, I'd go to Izotope RX's Spectrum Repair." ContentLicense="CC BY-SA 2.5" />
  <row Id="11562" PostHistoryTypeId="5" PostId="6722" RevisionGUID="9cdba281-e671-4042-ba5f-9753eb60f6f0" CreationDate="2011-03-23T17:06:02.670" UserId="286" Comment="added 1 characters in body" Text="Mac The Ripper and MediaCoder Audio Edition.  Both free.&#xD;&#xA;&#xD;&#xA;The cool thing about this is you can then import the multi-channel streams into Pro Tools and solo individual channels.  Great for referencing how designers and mixers are using the surrounds, center and LFE channels." ContentLicense="CC BY-SA 2.5" />
  <row Id="11563" PostHistoryTypeId="2" PostId="6778" RevisionGUID="e82b76fe-556e-4245-a626-f21b97ca0da5" CreationDate="2011-03-23T17:51:25.350" UserId="886" Text="I've found that people in the post-production community are generally uptight assholes who rarely give advice or share techniques. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11564" PostHistoryTypeId="2" PostId="6779" RevisionGUID="9f821aa4-8717-441d-8f4c-9971641e5fba" CreationDate="2011-03-23T18:20:50.777" UserId="393" Text="Almost everything has fmod and Wwise, and many engines have their own (xact, scream, whatever it's called in the udk), but flash is downright awful with audio and it doesn't appear to be getting any better.&#xD;&#xA;&#xD;&#xA;Right now, to tweak sounds in the games my brother and I are making, I either have to go in and change the code or, even worse, go back to the sequencer and change the WAV.&#xD;&#xA;&#xD;&#xA;**Is there a better way?  Is there an existing audio solution that I can do all my editing outside the code without destructively editing the wav file?**" ContentLicense="CC BY-SA 2.5" />
  <row Id="11565" PostHistoryTypeId="1" PostId="6779" RevisionGUID="9f821aa4-8717-441d-8f4c-9971641e5fba" CreationDate="2011-03-23T18:20:50.777" UserId="393" Text="Middleware for Flash / AS3" ContentLicense="CC BY-SA 2.5" />
  <row Id="11566" PostHistoryTypeId="3" PostId="6779" RevisionGUID="9f821aa4-8717-441d-8f4c-9971641e5fba" CreationDate="2011-03-23T18:20:50.777" UserId="393" Text="&lt;flash&gt;&lt;middleware&gt;&lt;fmod&gt;&lt;wwise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11567" PostHistoryTypeId="5" PostId="6778" RevisionGUID="09d1520f-6625-4896-bebb-5b377cd29c93" CreationDate="2011-03-23T18:48:07.140" UserId="886" Comment="deleted 37 characters in body" Text="I've found that people in the post-production community who give advice and share techniques. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11568" PostHistoryTypeId="2" PostId="6780" RevisionGUID="fb6b40df-b669-44c4-8d8d-4a592d0ec79a" CreationDate="2011-03-23T19:09:07.980" UserId="238" Text="Whether online (twitter, blogs etc.) or in the physical sense, **it's all about networking!** I'd say that most of my initial networking contacts are made through the Internet, either by my personal blog, sites like social sound design or through LinkedIn. If I get to know someone online who lives and works in my area (Paris), I'll generally suggets meeting up. As others have already said, audio peeps are usually quite up for meeting up and talking shop!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11569" PostHistoryTypeId="2" PostId="6781" RevisionGUID="50d53fb6-7be9-467b-8354-ad68af693253" CreationDate="2011-03-23T20:07:10.207" UserId="6487" Text="I personally love the opportunity to talk shop and am quite assertive when I find a name or person who I think would be interesting to chat with.  I have made many a professional contact by taking the time to write some fan mail to a hard working mixer or designer. &#xD;&#xA;&#xD;&#xA;And while I have never been turned down for a tour, I have been asked to come back when things aren't so busy or had trouble finding a contact who is appropriate to approach.  In fact, I am still trying to find someone who would give me some insight on working for Warner Bros TV and possibly a tour.  But, I am sure it is just a matter of time (Big fan of those guys, but they do stay busy.). While some people are closed off and are not so open when their knowledge or facilities, this is easy to determine within a moment or two of shaking their hands and most audio guys seem to delight in a good nerdy conversation and show and tell.&#xD;&#xA;&#xD;&#xA;I always suggest a tour of my facility and I don't worry so much about competition.  I married a competitor after all.  The knowledge and contacts one can gather through a friendly chat and studio walk through have always outweighed the fear of competition in my book.  I have taken many calls from professional buddies who are stuck technically with an issue and I have made many calls asking for help myself.&#xD;&#xA;&#xD;&#xA;Besides we tend to be a transitory group.  You never know who you may work for or with one day. Some of the proudest moments in my career are when I can pair a good gig with a great audio guy or a great client with a solid professional talent.  These things have only ever happened by forging relationships with new folks everywhere I go." ContentLicense="CC BY-SA 2.5" />
  <row Id="11570" PostHistoryTypeId="2" PostId="6782" RevisionGUID="ea458417-5a90-4de5-a4f7-a8502663f4c9" CreationDate="2011-03-23T20:20:28.590" UserId="18160" Text="The first part of it sounds clean.&#xD;&#xA;&#xD;&#xA;Otherwise, I have no clue how to remove that other than maybe 10 hours of spectral analyzing and deleting with Izotope RX." ContentLicense="CC BY-SA 2.5" />
  <row Id="11571" PostHistoryTypeId="2" PostId="6783" RevisionGUID="fe308e60-1e76-492f-9ae3-525770ac58c7" CreationDate="2011-03-23T20:37:19.677" UserId="6487" Text="Jascha,&#xD;&#xA;&#xD;&#xA;I am surprised our general rhythm is so similar on this piece. Great work. I particularly like the higher end elements in the opening ambience. &#xD;&#xA;&#xD;&#xA;What settings did you use to make your Pro Tools output before uploading to vimeo?  I feel like I lost a lot of high and lows in the vimeo compression that I can still hear in your file.&#xD;&#xA;&#xD;&#xA;Here's mine:&#xD;&#xA;http://vimeo.com/20453237" ContentLicense="CC BY-SA 2.5" />
  <row Id="11572" PostHistoryTypeId="2" PostId="6784" RevisionGUID="625e03f4-e5ca-4b4c-a0e4-6fd4aff41eaa" CreationDate="2011-03-23T20:46:08.273" UserId="943" Text="Do not compromise on sound quality. It's better to get excellent mono than middling mono and middling stereo. As far as fidelity goes, the Fostex FR2-LE is a great recorder that gives up nothing on sound quality to a SD unit... though it does compromise on build. Absolutely **do not** abandon the Fostex for a hand-held unit. You've noticed that the H2 is no match for the FR2-LE; the same is true for all the rest.&#xD;&#xA;&#xD;&#xA;However, if you do need a hand-held unit as a second recorder, the Sony PCM-10 is the best for this purpose as it contains two omni mics and has the lowest noise floor of any unit its size. This might work for you if you can get this recorder close enough to your target. BTW, I have a [series of article][1] on this topic on my blog.&#xD;&#xA;&#xD;&#xA;There are plenty of inexpensive microphone options for stereo recording, so long as you don't mind using two mics and not a single dual cap design. The AT4022 at $350 is one such choice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.theatreofnoise.com/2010/12/sony-pcm-m10-and-olympus-ls-10-sound.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="11573" PostHistoryTypeId="2" PostId="6785" RevisionGUID="fd319b09-ff93-4f4d-9874-3e02ae51cd04" CreationDate="2011-03-23T20:53:20.133" UserId="6487" Text="I am considering a Masters in Film Production to supplement my B.S. in Audio Post and 13 years experience of audio post for mainly TV.  My ambition is to expand my repertoire and become more attractive to theatrical film sound teams.  Lora Hirschberg graduated from NYU's film school and got work at Zoetrope...(shrug) I figure it can't hurt.&#xD;&#xA;&#xD;&#xA;How many of you have gone to film school and how many of you think it is worth it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11574" PostHistoryTypeId="1" PostId="6785" RevisionGUID="fd319b09-ff93-4f4d-9874-3e02ae51cd04" CreationDate="2011-03-23T20:53:20.133" UserId="6487" Text="Film school: Worth it or not?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11575" PostHistoryTypeId="3" PostId="6785" RevisionGUID="fd319b09-ff93-4f4d-9874-3e02ae51cd04" CreationDate="2011-03-23T20:53:20.133" UserId="6487" Text="&lt;film-school&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11576" PostHistoryTypeId="2" PostId="6786" RevisionGUID="55436e73-838d-4525-88e7-68bfac8b8ade" CreationDate="2011-03-23T21:19:59.793" UserId="18160" Text="My two cents is this:&#xD;&#xA;&#xD;&#xA;I learned everything I know about sound design and recording/editing sound effects by just doing it and reading Designing Sound religiously, asking a ton of questions on this site, and reading the blog of many great professional sound designers.&#xD;&#xA;&#xD;&#xA;If there is anything you don't feel certain about that you know you will learn from going to a film school like the one you mentioned, go for it. But, I think you can absolutely get to where you want to go without going through school and learning on the job and from your peers.&#xD;&#xA;&#xD;&#xA;But, ultimately it's your choice. No-one can make it for you. If you feel film school is right for you, go for it! It's your road map to draw and follow!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11577" PostHistoryTypeId="5" PostId="6780" RevisionGUID="d610cfe6-5e3f-4ee1-b4ff-7e68847de16f" CreationDate="2011-03-23T21:22:42.877" UserId="238" Comment="edited body; added 1 characters in body" Text="Whether online (twitter, blogs etc.) or in the physical sense, **it's all about networking!** I'd say that most of my initial networking contacts are made through the Internet, either via my personal blog, sites like social sound design or through LinkedIn. If I get to know someone online who lives and works in my area (Paris), I'll generally suggest meeting up. As others have already said, audio peeps are usually quite up for meeting up and talking shop!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11578" PostHistoryTypeId="5" PostId="6786" RevisionGUID="299f9e84-ca25-437e-948e-fd4a81bead18" CreationDate="2011-03-23T21:28:31.370" UserId="18160" Comment="added 328 characters in body; added 128 characters in body" Text="My two cents is this:&#xD;&#xA;&#xD;&#xA;I learned everything I know about sound design and recording/editing sound effects by just doing it and reading Designing Sound religiously, asking a ton of questions on this site, and reading the blog of many great professional sound designers.&#xD;&#xA;&#xD;&#xA;If there is anything you don't feel certain about that you know you will learn from going to a film school like the one you mentioned, go for it. But, I think you can absolutely get to where you want to go without going through school and learning on the job and from your peers.&#xD;&#xA;&#xD;&#xA;I do know that those who have gone to film school that I work with each tell me film school was not worth it for them, that they feel like if they were just to work on projects and learn on the job they would have learned what they did in school - not one person I know who has gone to film school has told me &quot;it is imperative that you go to film school - you will not make it in this industry if you don't!&quot;. That's an interesting statistic, I think.&#xD;&#xA;&#xD;&#xA;But, ultimately it's your choice. No-one can make it for you. If you feel film school is right for you, go for it! It's your road map to draw and follow!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11579" PostHistoryTypeId="2" PostId="6787" RevisionGUID="9929c933-4275-4b6f-a4e7-11d354467140" CreationDate="2011-03-23T23:15:29.497" UserId="845" Text="I don't know if I'm just being naive, but I've always felt uncomfortable thinking about other audio industry peeps as &quot;competitors.&quot;  Maybe it's just that I'm new to the game and haven't fully realized how cutthroat it can be, but it doesn't feel that way to me.&#xD;&#xA;&#xD;&#xA;I worked in the financial industry for a while, and those guys are monsters.  Just evil, selfish people, with very little regard for others, unless the other has a bunch of money to spend.  With the exception of a very, very few, I've never met any speaker lovers who were through and through jerks like that." ContentLicense="CC BY-SA 2.5" />
  <row Id="11580" PostHistoryTypeId="2" PostId="6788" RevisionGUID="c4f47ad9-bbde-4d48-a374-21bf4d7b871e" CreationDate="2011-03-24T00:25:22.917" UserId="587" Text="Ill post mine, since I believe I have something relevant to add.&#xD;&#xA;&#xD;&#xA;I have a bachelors in the recording arts, and a post grad in sound design. Both from two of the top schools you could go for such disciplines, Middle Tennessee State and Vancouver Film School.&#xD;&#xA;&#xD;&#xA;What I know is that before I went to these schools, I was just a guitar player with basic knowledge of signal flow and that I knew something happened to the signal with stomp boxes before it got to my cabinet. What I knew afterwards happened to be years of theory, technique, practices of the industries, and a more rounded understanding of the business that I planned to pursue... and I was only 23 years old.&#xD;&#xA;&#xD;&#xA;These schools will teach you the practices and techniques used in the industry right now. As well as new concepts coming down the road or just now emerging into the industry. US universities will be more geared towards theory and how it WAS done, in addition to knowledge grounded over many sub disciplines within the array of jobs that make up the audio industry. While tech schools will focus on the more current, yet leave out a good chunk of past practice, understanding of the industry from past to present - leaving a more focused gaze on a specific line of work once you graduate.&#xD;&#xA;&#xD;&#xA;Yes you can buy books, read all the threads you want, re-design all the media you can find, and bug the living poo out of the people in the industry right now on all the basics, not to mention make a living within the industry. And you can be just as successful as anyone else.&#xD;&#xA;&#xD;&#xA;However, what I do know is the industry is not what it was in the 80's. Or the 70's for that matter (Video Games) and DEFINITELY not what it was in the film industry. The people leaving the industry now found themselves in it before they knew what the job title was in most cases. You are just now getting the steady flow of graduates that are actually studying what they never studied to do in the first place. The amount of change that has occurred in the business practice, techniques of content creation, technology, and basically everything else to simply create the same art that was invented out of the realm of this type of media engineering is staggering. And whats even more daunting is that this curve that we follow on how we create this media/art is not linear. Its exponential. One may say that this is the reason why NOT to go to school for this type of deal, but I disagree. Its a reason to CATCH UP.&#xD;&#xA;&#xD;&#xA;My point is, if your family isnt in the industry, and you never worked at a radio station or grew up working in a posting house, or had the luxury of following in the footsteps of a more knowledgeable person through an internship or apprenticeship &lt;b&gt;AND/OR&lt;/B&gt; you have no past experience in this type of industry... I think its a good reason to go to school. Theres much to learn, and its just continually piling up on top of what should be known to work in the industry.&#xD;&#xA;&#xD;&#xA;To sum up, and for people who have misunderstood my post:&#xD;&#xA;&#xD;&#xA;I think schooling is good to condense many years of trial and error, others experience and techniques, and understanding of the industry in a shorter amount of time than what it would take if you knew nothing of the industry at all before you decided to pursue it. What you end up with is a very broad knowledge base, and the ability to pick a path within that base that you excel at, and run with it. Beyond the above mentioned points, it helps you figure out what exactly you want to do in life within the entertainment industry.&#xD;&#xA;&#xD;&#xA;However, I feel with todays access to information - the material is out there. And if you have enough get-go in you to find and learn all of it - then you are saving a shit-ton of money. Go to conferences, join the societies, check out webinars and online tutorials. School is expensive. It can really make a dent in your ability to move into the correct area after graduation as its possible to have sucked your finances up. Many cons of the schooling option reside with the financial burden that can be placed upon your shoulders. If you have the cash, then its not an issue.&#xD;&#xA;&#xD;&#xA;I agree with Utopia. &lt;b&gt;It is learning by doing&lt;/b&gt; for sure, but if you can hack absorbing an enormous amount of information, practice, and get a hands on look with facing the amount of pressure that exists out in really doing the type of work that will be asked of you within the industry (not to mention getting into some of these schools' programs in the first place) schooling is one hell of a way to fast-track yourself up-to-date with much of what is out here now.&#xD;&#xA;&#xD;&#xA;If you go to school thinking you can school the day, party at night... you may find yourself on the short end of the stick. Only a very small percentage of people can pull that off and come out actually knowing what they are doing.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11581" PostHistoryTypeId="2" PostId="6789" RevisionGUID="639446e7-253f-4eda-a9cd-de9bb250cac8" CreationDate="2011-03-24T00:30:58.467" UserId="786" Text="To me, film school was definitely worth it. I went to film school from when I was 25 years old until I was 29. When I started film school I had around 2 years of experience from the film business after dropping out from university (physics).&#xD;&#xA;&#xD;&#xA;In Denmark, where I live and work, there is one national film school and a couple of private film schools. The national film school has a very close connection to the danish film business, with lots of guest teachers who are actively working in the business. So when you're learning how to boom or how to hide lav mics in clothes, the guy who is showing it to you actually knows how it is done, and does it regularly in the business.&#xD;&#xA;&#xD;&#xA;The most important part of film school, the part that makes it special, is that you get to know a bunch of people at roughly the same age and experience as you. You get to learn together with them, party with them and fight with them, and these people will be a big part of your network for years to come. Today I run a sound studio with 4 suites together with 5 sound guys, and we all know each other from film school. We went to film school at roughly the same time.&#xD;&#xA;&#xD;&#xA;I don't know how it is in America, how much it costs and how great the expertice is at the school, but I would go for the best film school with the best reputation and see if I could get in.&#xD;&#xA;&#xD;&#xA;You have a lot of experience with 13 years of work behind you, so if you choose to go to film school, you have to choose a place where you can actually learn something. Talk to the teachers at the school before you apply to go there, ask them if they think you can learn something from them.&#xD;&#xA;&#xD;&#xA;I'm glad I didn't have kids and lived in a cheap flat when I went to film school. Today it would be impossible for me to go to film school because I wouldn't be able to pay the rent and feed my kids and still spend the amount of time required to really get the most out of film school." ContentLicense="CC BY-SA 2.5" />
  <row Id="11582" PostHistoryTypeId="2" PostId="6790" RevisionGUID="5841a35d-4624-4937-b9ed-cd40b0f986f9" CreationDate="2011-03-24T00:51:01.750" UserId="432" Text="Knowing your background, where you work, and having listened to/watched some of the shows you've worked on...could it hurt? Possibly.&#xD;&#xA;&#xD;&#xA;People like you and me, who've been working mostly in TV, probably need to accept the fact that we'd have to start near the bottom again. It's a different industry, with different workflow and team dynamics than we're used to. You already have the technical skills. What you lack is the contacts and the body of work within the industry. You might make them if you studied at a place like USC, but the two years spent there might be better served working in the grunt positions, making friend and showing off your skills...you might have to start in the grunt positions anyways after grad school. Since I know you, I'm fairly confident that kind of situation would piss you off to no end...and I'm not going to listen to Steve moan about your angst. ;)&#xD;&#xA;&#xD;&#xA;You're in a different position than I was when I went to grad school years ago. I was transitioning from the live sound reinforcement world to recording and film/TV. It made a little more sense for me to go that route. I didn't have the skills or the contacts, I had to find a way to get a little of both.&#xD;&#xA;&#xD;&#xA;Sometimes all it takes is a gamble. You're going to be making one either way. Figure out how to load the dice as best you can and go for it." ContentLicense="CC BY-SA 2.5" />
  <row Id="11583" PostHistoryTypeId="5" PostId="6788" RevisionGUID="201adeae-4550-48fd-b8d2-1935e7d63bb8" CreationDate="2011-03-24T01:01:08.927" UserId="587" Comment="added 198 characters in body" Text="Ill post mine, since I believe I have something relevant to add.&#xD;&#xA;&#xD;&#xA;I have a bachelors in the recording arts, and a post grad in sound design. Both from two of the top schools you could go for such disciplines, Middle Tennessee State and Vancouver Film School.&#xD;&#xA;&#xD;&#xA;What I know is that before I went to these schools, I was just a guitar player with basic knowledge of signal flow and that I knew something happened to the signal with stomp boxes before it got to my cabinet. What I knew afterwards happened to be years of theory, technique, practices of the industries, and a more rounded understanding of the business that I planned to pursue... and I was only 23 years old.&#xD;&#xA;&#xD;&#xA;These schools will teach you the practices and techniques used in the industry right now. As well as new concepts coming down the road or just now emerging into the industry. US universities will be more geared towards theory and how it WAS done, in addition to knowledge grounded over many sub disciplines within the array of jobs that make up the audio industry. While tech schools will focus on the more current, yet leave out a good chunk of past practice, understanding of the industry from past to present - leaving a more focused gaze on a specific line of work once you graduate.&#xD;&#xA;&#xD;&#xA;Yes you can buy books, read all the threads you want, re-design all the media you can find, and bug the living poo out of the people in the industry right now on all the basics, not to mention make a living within the industry. And you can be just as successful as anyone else.&#xD;&#xA;&#xD;&#xA;However, what I do know is the industry is not what it was in the 80's. Or the 70's for that matter (Video Games) and DEFINITELY not what it was in the film industry. The people leaving the industry now found themselves in it before they knew what the job title was in most cases. You are just now getting the steady flow of graduates that are actually studying what they never studied to do in the first place. The amount of change that has occurred in the business practice, techniques of content creation, technology, and basically everything else to simply create the same art that was invented out of the realm of this type of media engineering is staggering. And whats even more daunting is that this curve that we follow on how we create this media/art is not linear. Its exponential. One may say that this is the reason why NOT to go to school for this type of deal, but I disagree. Its a reason to CATCH UP.&#xD;&#xA;&#xD;&#xA;My point is, if your family isnt in the industry, and you never worked at a radio station or grew up working in a posting house, or had the luxury of following in the footsteps of a more knowledgeable person through an internship or apprenticeship &lt;b&gt;AND/OR&lt;/B&gt; you have no past experience in this type of industry... I think its a good reason to go to school. Theres much to learn, and its just continually piling up on top of what should be known to work in the industry.&#xD;&#xA;&#xD;&#xA;To sum up, and for people who have misunderstood my post:&#xD;&#xA;&#xD;&#xA;I think schooling is good to condense many years of trial and error, others experience and techniques, and understanding of the industry in a shorter amount of time than what it would take if you knew nothing of the industry at all before you decided to pursue it. What you end up with is a very broad knowledge base, and the ability to pick a path within that base that you excel at, and run with it. Beyond the above mentioned points, it helps you figure out what exactly you want to do in life within the entertainment industry.&#xD;&#xA;&#xD;&#xA;However, I feel with todays access to information - the material is out there. And if you have enough get-go in you to find and learn all of it - then you are saving a shit-ton of money. Go to conferences, join the societies, check out webinars and online tutorials. School is expensive. It can really make a dent in your ability to move into the correct area after graduation as its possible to have sucked your finances up. Many cons of the schooling option reside with the financial burden that can be placed upon your shoulders. &#xD;&#xA;&#xD;&#xA;I agree with Utopia. &lt;b&gt;It is learning by doing&lt;/b&gt; for sure, but if you can hack absorbing an enormous amount of information, practice, and get a hands on look with facing the amount of pressure that exists out in really doing the type of work that will be asked of you within the industry (not to mention getting into some of these schools' programs in the first place) schooling is one hell of a way to fast-track yourself up-to-date with much of what is out here now.&#xD;&#xA;&#xD;&#xA;Also like Shaun says, if one already has the &quot;in&quot; into the industry, maybe you shouldn't go and try working a different angle. Its all up to you in the end. It could be easier for someone to slide in from the side than from the ground up.&#xD;&#xA;&#xD;&#xA;If you go to school thinking you can school the day, party at night... you may find yourself on the short end of the stick. Only a very small percentage of people can pull that off and come out actually knowing what they are doing.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11584" PostHistoryTypeId="2" PostId="6791" RevisionGUID="051e4308-7014-446d-a17c-fb9cf41d60a4" CreationDate="2011-03-24T02:23:05.243" UserDisplayName="user6513" Text="Did a quick search and found this&#xD;&#xA;&#xD;&#xA;http://forums.macrumors.com/showthread.php?t=706791&#xD;&#xA;&#xD;&#xA;Apparently it works using a vinyl click reduction software coupled with some honeycomb filtering. I can see how this will work in theory, but it's gonna be a lot more pain than re-recording I reckon. :D" ContentLicense="CC BY-SA 2.5" />
  <row Id="11585" PostHistoryTypeId="2" PostId="6792" RevisionGUID="a861500d-b121-40ba-83b8-19c0a7b1ce53" CreationDate="2011-03-24T03:25:52.063" UserId="845" Text="So, in my iTravels I've spent a ton of time reading through acoustics threads on message boards like GearSlutz and TapeOp.  The information on those sites really is top notch, and all the people seem more than willing to help.  I now know how to identify all of the problem frequencies in my room, how many panels to hang and where, how deep my bass-traps need to be, &amp;tc.  The problem is that the thrust of the responses and advice always seems to suggest an emphasis on function over form.&#xD;&#xA;&#xD;&#xA;Now, you may rightly accuse me of being shallow and superficial, but I just can't work in dank dark places with walls covered in ugly burlap and lit by hand-me-down lava lamps.  The problem follows...  &#xD;&#xA;&#xD;&#xA;I am one of the many who at this point can only afford to work out of my apartment.  Problema: it's a basement.  So, it's cold and close. Natural light doesn't exist, and the ceiling pots that are there are horribly placed, and blah, blah, blah.&#xD;&#xA;&#xD;&#xA;What I'm wondering is how you guys feel about this and how you've managed to fix up your spaces so your brain can focus on making fantastic sounding things.  What have you done for aesthetics and light; ergonomics and comfort?   I'm not an adherent to he mystical/pocket gouging side of Feng Shui, but there is definitely a sense of flow to well-designed rooms that mine totally lacks at the moment.  &#xD;&#xA;&#xD;&#xA;Any thoughts/advice/photos would be more than much appreciated.&#xD;&#xA;&#xD;&#xA;Hugs.&#xD;&#xA;&#xD;&#xA;GaH" ContentLicense="CC BY-SA 2.5" />
  <row Id="11586" PostHistoryTypeId="1" PostId="6792" RevisionGUID="a861500d-b121-40ba-83b8-19c0a7b1ce53" CreationDate="2011-03-24T03:25:52.063" UserId="845" Text="Creative Spaces " ContentLicense="CC BY-SA 2.5" />
  <row Id="11587" PostHistoryTypeId="3" PostId="6792" RevisionGUID="a861500d-b121-40ba-83b8-19c0a7b1ce53" CreationDate="2011-03-24T03:25:52.063" UserId="845" Text="&lt;studio&gt;&lt;design&gt;&lt;creativity&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11588" PostHistoryTypeId="2" PostId="6793" RevisionGUID="08fa2af6-7119-432f-b004-8d2c4c94595a" CreationDate="2011-03-24T04:38:54.937" UserId="954" Text="Thanks for all the good information happy I found this page" ContentLicense="CC BY-SA 2.5" />
  <row Id="11594" PostHistoryTypeId="2" PostId="6796" RevisionGUID="d6f06091-5bd1-4e70-87cd-008eeb5b185b" CreationDate="2011-03-24T06:38:24.553" UserId="338" Text="Owens and Corning board has done it for me, but I'd say, time and money!  Try to float your floor, cloud your ceiling and do as much as possible to keep the pings down." ContentLicense="CC BY-SA 2.5" />
  <row Id="11595" PostHistoryTypeId="2" PostId="6797" RevisionGUID="f2dc51ba-5b6e-4096-a1e7-7e464ab8280d" CreationDate="2011-03-24T06:59:52.843" UserDisplayName="user49" Text="A few thoughts on this:&#xD;&#xA;&#xD;&#xA;1. if you have seriously been working in TV sound post for over 10 years, and want to move into film the issue may not be with upskilling, it may have more do with other issues. I am surmising so don't take offence but TV is regular work i.e. a series is 6+ months work and a facility can hire staff based on that scenario. In my experience film is predominatly freelance; 3 months work and you are effectively unemployed again. For me this is a benefit of the scenario but for many it is not.&#xD;&#xA;&#xD;&#xA;2. Forcing change is incredibly healthy. At some point we all say to ourselves &quot;I dont do that any more, THIS is what I do&quot; and your resolve is important. But also be very aware that these days education is a business. They will tell any number of lies/hyperbole to get you to sign up. When really, with your skills, one film as an intern/assistant is all you need to prove your worth and make solid contacts. But personality is as important as technical skills &amp; creativity.&#xD;&#xA;&#xD;&#xA;In your situation i would personally save up so you can sustain 6+ months of indeterminate income, and then find someone who is an experienced film sound editor prepared to take you on as an intern at whatever rate they have budgeted. That will be all you need.&#xD;&#xA;&#xD;&#xA;Good assistants are worth their weight in gold, and rarer than hens teeth. (FWIW people who have no film credits &amp; describe themselves as sound designers dont tend to make good assistants.)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11596" PostHistoryTypeId="2" PostId="6798" RevisionGUID="4064d554-6efe-4edf-ac3a-e4b5838fcc3b" CreationDate="2011-03-24T07:06:59.493" UserDisplayName="user49" Text="I'm a huge fan of&#xD;&#xA;&#xD;&#xA;1. high ceilings&#xD;&#xA;&#xD;&#xA;2. large dimensions (sub bass is limited by dimensions)&#xD;&#xA;&#xD;&#xA;3. bass traps&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;As far as form goes, no one can give you advice on that. It is intensely personal.&#xD;&#xA;Do your own research &amp; assemble a stack of references that you like, then borrow elements from them....&#xD;&#xA;&#xD;&#xA;Those wood coated expensive studios aesthetically repulse me (although with an unlimited budget I'd be prepared to put up with a certain amount of wood for acoustic reasons) &#xD;&#xA;But some of the visual/spatial minimalist environments I love the most acoustically would be a nightmare.... &#xD;&#xA;&#xD;&#xA;Follow your muse.&#xD;&#xA;&#xD;&#xA;Then ask your muse to take the acoustics into account....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11597" PostHistoryTypeId="2" PostId="6799" RevisionGUID="f982c5ce-af52-4fb4-9e51-70d315af608b" CreationDate="2011-03-24T08:51:11.943" UserId="396" Text="While I generally work in Pro Tools for sound design projects, occasionally I wish to process a sound using a plug-in which is only available as an Audio Unit.&#xD;&#xA;&#xD;&#xA;Inevitably I have to fire up Logic or Soundtrack Pro in order to access the plugins, however I find that it slows down my workflow having to using such fully featured DAWs for such a simple task, when I'll be bringing the processed audio file back into Pro Tools anyway.&#xD;&#xA;&#xD;&#xA;So, my question is in two parts:&#xD;&#xA;&#xD;&#xA; 1. Does anyone know of a very lightweight audio unit host that can load a sound file, process, and export it? It wouldn't need many features, so inexpensive or open-source/free would be good too!&#xD;&#xA;&#xD;&#xA; 2. Would other people in the community find a utility like this helpful? - As I haven't been able to find something that quite does what I'm looking for, I thought I'd have a go at putting together a little app myself, that simply loads an audio file, processes it, and outputs a processed version. If anyone is interested in trying the app out, I'd be really interested to hear if it would be useful to the community to develop it further - it can be downloaded from [http://goo.gl/6d8N2][1] (Dropbox link). It's still very rough around the edges, but the basic functionality should work (OS X only at this point, I'm afraid).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://goo.gl/6d8N2" ContentLicense="CC BY-SA 2.5" />
  <row Id="11598" PostHistoryTypeId="1" PostId="6799" RevisionGUID="f982c5ce-af52-4fb4-9e51-70d315af608b" CreationDate="2011-03-24T08:51:11.943" UserId="396" Text="A simple, quick Audio Unit host?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11599" PostHistoryTypeId="3" PostId="6799" RevisionGUID="f982c5ce-af52-4fb4-9e51-70d315af608b" CreationDate="2011-03-24T08:51:11.943" UserId="396" Text="&lt;software&gt;&lt;plug-ins&gt;&lt;processing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11600" PostHistoryTypeId="2" PostId="6800" RevisionGUID="31db26e2-4cf6-4dc0-80ec-25da0f788f3e" CreationDate="2011-03-24T08:53:07.847" UserId="786" Text="Right now my home studio consists of a MacBook Pro running Protools, Sennheiser HD 465 headphones and a bunch of external hard drives. Sometimes I work in the living room, sometimes I work in bed. That is of course because my real studio is no longer at home.&#xD;&#xA;&#xD;&#xA;When I started my studio 3 years ago, I had an iMac G5 with Protools LE and an Mbox 2. I found a cheap room with some friendly companies next door, who were also in the film business. So I didn't have to worry too much about sound levels.&#xD;&#xA;&#xD;&#xA;The room was around 12 sq meters, I don't know how many square feet that is, but it was ok for a studio. There was a black wall to wall carpet on the floor, and no further acoustic treatment. But it was allright for working with tv in stereo. I bought a cheap Ikea desk and placed it roughly in the center of the room, I bought some used Behringer monitors and placed them on stands with at least 30 cm to the wall, so I didn't get too many reflections from the walls.&#xD;&#xA;&#xD;&#xA;I bought some nice lamps from Ikea, some nice looking shelves (also Ikea), and I started buying old synths. I also bought a nice designer lamp and started buying some art for the walls.&#xD;&#xA;&#xD;&#xA;I tried to surround myself with things I liked, and the place had a very nice and warm feeling.&#xD;&#xA;&#xD;&#xA;These pictures are from after I had upgraded to Protools HD.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;After having this studio of my own for a year and a half, I joined forces with some friends and since then we have shared studios. We have moved and built 4 studios together, with a lot of the old equipment as well as some new.&#xD;&#xA;&#xD;&#xA;This is what it looked like a couple of months ago, but now it has improved a bit, for instance the plasma screen is now hanging properly on the wall... and we have Adam P11 monitors instead of the old Behringer...&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://lydtilfilm.dk/P1020795.jpg&#xD;&#xA;  [2]: http://lydtilfilm.dk/P1020798.jpg&#xD;&#xA;  [3]: http://lydtilfilm.dk/P1030875.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="11601" PostHistoryTypeId="2" PostId="6801" RevisionGUID="2bb5b444-074c-40b1-af17-6db11395bc76" CreationDate="2011-03-24T09:11:54.593" UserId="578" Text="You could make your basstraps look like paintings by printing artwork on the fabrics. Or at least select some colourful fabric for a less dark and depressing environment. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11602" PostHistoryTypeId="2" PostId="6802" RevisionGUID="9b1fd46f-8b95-4235-838d-09c563a167ea" CreationDate="2011-03-24T09:40:00.383" UserId="793" Text="Garageband maybe? Or [Audacity][1]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11603" PostHistoryTypeId="2" PostId="6803" RevisionGUID="700a449f-d45e-4efa-b20a-e627b1cdf7d9" CreationDate="2011-03-24T09:51:37.093" UserId="310" Text="**From very lightweight:**&#xD;&#xA;&#xD;&#xA;WIN: Audacity, Steinberg Wavelab LE (limited by sample rate to 96 kHz!)&#xD;&#xA;&#xD;&#xA;MAC: ?, Bias Peak LE" ContentLicense="CC BY-SA 2.5" />
  <row Id="11604" PostHistoryTypeId="2" PostId="6804" RevisionGUID="a8c05eae-5ec6-4b59-aeff-8d1b4d460606" CreationDate="2011-03-24T10:00:58.380" UserId="37" Text="Things are a lot better than they were a while back.&#xD;&#xA;&#xD;&#xA;Audition is coming on the Mac and it looks pretty good. Get a [free beta][1] from Adobe Labs.&#xD;&#xA;&#xD;&#xA;Mac again, [Sound Studio][2] fires up and operates incredibly fast, at the cost of being buggy.&#xD;&#xA;&#xD;&#xA;[WaveEditor][3] is popular too, but I find it too slow and convoluted for my taste.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://labs.adobe.com/technologies/audition/&#xD;&#xA;  [2]: http://felttip.com/ss/&#xD;&#xA;  [3]: http://www.audiofile-engineering.com/waveeditor/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11605" PostHistoryTypeId="2" PostId="6805" RevisionGUID="644ea203-4f56-4c53-aae9-ea7c0eb4301e" CreationDate="2011-03-24T11:11:28.303" UserId="313" Text="[Plogue bidule][1] it's great soft. Used rewired it's very useful.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.plogue.com/?page_id=56" ContentLicense="CC BY-SA 2.5" />
  <row Id="11607" PostHistoryTypeId="5" PostId="6792" RevisionGUID="85980882-964f-458e-9d0f-0ec2e3e3749e" CreationDate="2011-03-24T12:59:16.623" UserId="845" Comment="grammar" Text="So, in my iTravels I've spent a ton of time reading through acoustics threads on message boards like GearSlutz and TapeOp.  The information on those sites really is top notch, and all the people seem more than willing to help.  I now know how to identify all of the problem frequencies in my room, how many panels to hang and where, how deep my bass-traps need to be, &amp;tc.  The problem is that the thrust of the responses and advice always seems to suggest an emphasis on function over form.&#xD;&#xA;&#xD;&#xA;Now, you may rightly accuse me of being shallow and superficial, but I just can't work in dank dark places with walls covered in ugly burlap and lit by hand-me-down lava lamps.  The problem follows...  &#xD;&#xA;&#xD;&#xA;I am one of the many who at this point can only afford to work out of my apartment.  Problema: it's a basement.  So, it's cold and close. Natural light doesn't exist, and the ceiling pots are horribly placed, and blah, blah, blah.&#xD;&#xA;&#xD;&#xA;What I'm wondering is how you guys feel about this and how you've managed to fix up your spaces so your brain can focus on making fantastic sounding things.  What have you done for aesthetics and light; ergonomics and comfort?   I'm not an adherent to he mystical/pocket gouging side of Feng Shui, but there is definitely a sense of flow to well-designed rooms that mine totally lacks at the moment.  &#xD;&#xA;&#xD;&#xA;Any thoughts/advice/photos would be more than much appreciated.&#xD;&#xA;&#xD;&#xA;Hugs.&#xD;&#xA;&#xD;&#xA;GaH" ContentLicense="CC BY-SA 2.5" />
  <row Id="11608" PostHistoryTypeId="2" PostId="6806" RevisionGUID="86f334e3-0608-40f0-a7a6-f08efc33077e" CreationDate="2011-03-24T13:10:34.830" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;Just wanted to know if anyone had any reviews or experiences with using the BeyerDynamic MCE72 stereo mic? How does it compare with other stereo mics? &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11609" PostHistoryTypeId="1" PostId="6806" RevisionGUID="86f334e3-0608-40f0-a7a6-f08efc33077e" CreationDate="2011-03-24T13:10:34.830" UserId="348" Text="Stereo Microphone" ContentLicense="CC BY-SA 2.5" />
  <row Id="11610" PostHistoryTypeId="3" PostId="6806" RevisionGUID="86f334e3-0608-40f0-a7a6-f08efc33077e" CreationDate="2011-03-24T13:10:34.830" UserId="348" Text="&lt;stereo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11611" PostHistoryTypeId="2" PostId="6807" RevisionGUID="2f9ff52e-7dbc-4761-8735-5cedf067ffb7" CreationDate="2011-03-24T14:29:07.900" UserId="955" Text="Im also looking for the same kind of thing. So equipment to record but thats also able to use as a mixer between a videocamera and microphone. (But a little cheaper than the sugestions above). I found these products: &#xD;&#xA;&#xD;&#xA;Roland VS100: http://www.hhb.co.uk/hhb/uk/products/detail.asp?ID=3342 &#xD;&#xA;Tascam dp-004: http://www.tascam.com/products/dp-004;9,16,3707,14.html &#xD;&#xA;Tascam dp-008: http://www.tascam.com/products/dp-008;9,16,3805,19.html&#xD;&#xA;&#xD;&#xA;Im sure that you can make some nice recordings with these things, but Im a little bit afraid that it won't work very well as a mixer for a videocamera. (and I understood that you need to have a balanced output or something if you want to use it with a videocamera? Is that right? And do these recorders above have balanced outputs?)  &#xD;&#xA;&#xD;&#xA;(And VCProd: is this Tascam DR-680 good for live-videomixing as well? )" ContentLicense="CC BY-SA 2.5" />
  <row Id="11612" PostHistoryTypeId="2" PostId="6808" RevisionGUID="657a1557-7eb4-4dfb-8155-72cb43e8fd8b" CreationDate="2011-03-24T15:04:06.637" UserId="28" Text="I can't recommend [Amadeus Pro][1] enough. Very fast. Very stable. Very affordable.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hairersoft.com/AmadeusPro/AmadeusPro.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="11613" PostHistoryTypeId="2" PostId="6809" RevisionGUID="b96200d6-9e79-44f1-8736-eba7ff8e8474" CreationDate="2011-03-24T16:43:48.880" UserId="373" Text="Hey guys, I keep having this annoying Pro Tools bug; the next start end key (&quot;) keeps swapping shortcuts with the tab key, so instead of heading to the next region when I hit it, it changes the edit mode! Driving me crackers. Could also end up being deadly if I knock into shuffle mode and accidently pull my edits out of sync. Any ideas on how to correct this? it goes on restart, but thats a pain. Pro Tools HD 8.4 on a PC if you need to know....&#xD;&#xA;&#xD;&#xA;thanks in advance!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11614" PostHistoryTypeId="1" PostId="6809" RevisionGUID="b96200d6-9e79-44f1-8736-eba7ff8e8474" CreationDate="2011-03-24T16:43:48.880" UserId="373" Text="pro tools swapping shortcut keys around!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11615" PostHistoryTypeId="3" PostId="6809" RevisionGUID="b96200d6-9e79-44f1-8736-eba7ff8e8474" CreationDate="2011-03-24T16:43:48.880" UserId="373" Text="&lt;pro&gt;&lt;tools&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11616" PostHistoryTypeId="2" PostId="6810" RevisionGUID="fa04f4e8-5950-461d-a750-a55217a379d3" CreationDate="2011-03-24T16:50:22.440" UserId="18160" Text="I've never had this problem. Have you tried a different keyboard? Sounds like something mechanically wrong if one key suddenly does another function. Possibly look on the DUC if anyone has had a similar problem?&#xD;&#xA;&#xD;&#xA;If worse comes to worse and you still need to work today, a quick fix to this would be to put yourself into Shuffle Lock mode - that ensures you never go into Shuffle by accident." ContentLicense="CC BY-SA 2.5" />
  <row Id="11617" PostHistoryTypeId="2" PostId="6811" RevisionGUID="38bfcbf6-5675-4031-9ba5-f7d05cfa1ef0" CreationDate="2011-03-24T18:35:01.307" UserId="18160" Text="In order of importance please list A, B, C, D below starting with the most important to you:&#xD;&#xA;&#xD;&#xA;When you are considering a job, what are the most important aspects to you:&#xD;&#xA;&#xD;&#xA;A) The people involved.&#xD;&#xA;&#xD;&#xA;B) The amount you are paid.&#xD;&#xA;&#xD;&#xA;C) The hours you will have to put in.&#xD;&#xA;&#xD;&#xA;D) The size and importance of the project.&#xD;&#xA;&#xD;&#xA;E) Other" ContentLicense="CC BY-SA 2.5" />
  <row Id="11618" PostHistoryTypeId="1" PostId="6811" RevisionGUID="38bfcbf6-5675-4031-9ba5-f7d05cfa1ef0" CreationDate="2011-03-24T18:35:01.307" UserId="18160" Text="Quick survey re: job offers" ContentLicense="CC BY-SA 2.5" />
  <row Id="11619" PostHistoryTypeId="3" PostId="6811" RevisionGUID="38bfcbf6-5675-4031-9ba5-f7d05cfa1ef0" CreationDate="2011-03-24T18:35:01.307" UserId="18160" Text="&lt;survey&gt;&lt;job-opportunities&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11620" PostHistoryTypeId="16" PostId="6811" RevisionGUID="38bfcbf6-5675-4031-9ba5-f7d05cfa1ef0" CreationDate="2011-03-24T18:35:56.883" UserId="18160" />
  <row Id="11621" PostHistoryTypeId="2" PostId="6812" RevisionGUID="d85b6997-1b4e-4b7b-acf7-52410842486a" CreationDate="2011-03-24T18:52:53.260" UserId="432" Text="For me?&#xD;&#xA;&#xD;&#xA;A (people involved) and E (particular elements about the project that appeal to me) tie for first place. I suppose you could argue that &quot;importance&quot; of the project from D is part of my definition of &quot;Other.&quot; I consider it more a reflection of perceived personal importance, how important do **I** find it, rather than necessarily broader cultural importance.&#xD;&#xA;&#xD;&#xA;C (hours) follows, because I've got to make sure I have the time to commit to the project. I guess the other half of D (size) is directly tied to this idea.&#xD;&#xA;&#xD;&#xA;B (pay) comes last for me. I'm not knocking it's importance in the decision making process, but I consider it separately from the previous elements. When I get through the other considerations, I'm better informed to weigh this factor." ContentLicense="CC BY-SA 2.5" />
  <row Id="11622" PostHistoryTypeId="16" PostId="6812" RevisionGUID="d85b6997-1b4e-4b7b-acf7-52410842486a" CreationDate="2011-03-24T18:52:53.260" UserId="-1" />
  <row Id="11623" PostHistoryTypeId="2" PostId="6813" RevisionGUID="c08f664c-76ad-4b10-868b-dbb7e14fe183" CreationDate="2011-03-24T19:00:02.693" UserId="18160" Text="Here's mine:&#xD;&#xA;&#xD;&#xA;A)&#xD;&#xA;&#xD;&#xA;D)&#xD;&#xA;&#xD;&#xA;B)&#xD;&#xA;&#xD;&#xA;C)&#xD;&#xA;&#xD;&#xA;Basically, I'd rather work with a group I enjoy being around and that enjoys having me around. I also like making big effects so the size and importance of the project is very important to me. I really could care less how much work I need to put in just as long as I'm happy with it in the end and that I've done my utmost (the past 3 weeks I've worked on average 80-hour weeks for the current project I'm working on putting in many late nights making it perfect). I wanted to see what everyone else's position is on this type of thing to see if I'm just crazy in not going for the money or the lessened hours.." ContentLicense="CC BY-SA 2.5" />
  <row Id="11624" PostHistoryTypeId="16" PostId="6813" RevisionGUID="c08f664c-76ad-4b10-868b-dbb7e14fe183" CreationDate="2011-03-24T19:00:02.693" UserId="-1" />
  <row Id="11625" PostHistoryTypeId="5" PostId="6792" RevisionGUID="bc3eb867-b6dd-40c5-8c61-bb18bf19192d" CreationDate="2011-03-24T19:05:07.557" UserId="845" Comment="grammar" Text="So, in my iTravels I've spent a ton of time reading through acoustics threads on message boards like GearSlutz and TapeOp.  The information on those sites really is top notch, and all the people seem more than willing to help.  I now know how to identify all of the problem frequencies in my room, how many panels to hang and where, how deep my bass-traps need to be, &amp;tc.  The problem is that the thrust of the responses and advice always seems to suggest an emphasis on function over form.&#xD;&#xA;&#xD;&#xA;Now, you may rightly accuse me of being shallow and superficial, but I just can't work in dank dark places with walls covered in ugly burlap and lit by hand-me-down lava lamps.  The problem follows...  &#xD;&#xA;&#xD;&#xA;I am one of the many who at this point can only afford to work out of my apartment.  Problema: it's a basement.  So, it's cold and close. Natural light doesn't exist, the ceiling pots are horribly placed, and blah, blah, blah.&#xD;&#xA;&#xD;&#xA;What I'm wondering is how you guys feel about this and how you've managed to fix up your spaces so your brain can focus on making fantastic sounding things.  What have you done for aesthetics and light; ergonomics and comfort?   I'm not an adherent to the mystical/pocket gouging side of Feng Shui, but there is definitely a sense of flow to well-designed rooms that mine totally lacks at the moment.  &#xD;&#xA;&#xD;&#xA;Any thoughts/advice/photos would be more than much appreciated.&#xD;&#xA;&#xD;&#xA;Hugs.&#xD;&#xA;&#xD;&#xA;GaH" ContentLicense="CC BY-SA 2.5" />
  <row Id="11626" PostHistoryTypeId="2" PostId="6814" RevisionGUID="b9e4666e-b81f-4240-9ddd-a6ab929b3572" CreationDate="2011-03-24T19:15:34.937" UserId="194" Text="There are basically two factors there when you boil it down.  Here's my ranking:&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;**1) B/C*D**&#xD;&#xA;&#xD;&#xA;**2) A**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;------&#xD;&#xA;A key aspect of staying in business is one's ability to balance the ratio of payment to project scope.  Staying in business is integral to one's ability to do projects.&#xD;&#xA;&#xD;&#xA;So I'd list the ratio of B to C and D as the first aspect of deciding whether a company can take on a job.  &#xD;&#xA;&#xD;&#xA;with that said, I generally stay very very flexible with regards to the amount of hours I'll dedicate to the creative process.  If the scope of the project is relatively fixed (as in a film mix with predefined deliverables) then I'll not be billing hourly as I do what I do to find the best sounds I can find.  If the scope is not fixed (as in a long-form narration record and edit for ongoing online training) then we bill hourly and invoice periodically.&#xD;&#xA;&#xD;&#xA;people are great, but if I have a crappy client with a good budget I'm likely to do the work, just as I'm likely to turn down or otherwise limit a good client who's got nothing to spend on audio.  On the edges of that are the really great people that we'll do favors for, and the really crappy ones who you eventually have to move on from." ContentLicense="CC BY-SA 2.5" />
  <row Id="11627" PostHistoryTypeId="16" PostId="6814" RevisionGUID="b9e4666e-b81f-4240-9ddd-a6ab929b3572" CreationDate="2011-03-24T19:15:34.937" UserId="-1" />
  <row Id="11628" PostHistoryTypeId="2" PostId="6815" RevisionGUID="375e5f79-d02c-4256-89ba-60631cfa874e" CreationDate="2011-03-24T19:21:53.763" UserId="217" Text="A) The people involved. Will it be a networking event on the side?&#xD;&#xA;&#xD;&#xA;D) The size/importance of the project. Helps decide how my experience and expertise can help, what I can bring to a project and what I might learn.&#xD;&#xA;&#xD;&#xA;B) This is affect by the above. If I'm working on a project where I am likely to gain import skills and experience then I am happy to negotiate a lower rate. There are other factors involved in this decision though.&#xD;&#xA;&#xD;&#xA;E) I rarely consider the hours of work. Since I am willing to put alot into the project to get it finished. We've all worked 17 hour days on set. Yes, it's uncomfortable, but it feels good when the team pulls together and it works fine. However, I do take into consideration what other projects I have on at the time and don't allow to fatigue get in the way of them.  I also take this aspect into consideration when negotiating a rate. I charge more for 17 hours than I do 8 hours.&#xD;&#xA;&#xD;&#xA;All of this is pretty flexible for each project.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11629" PostHistoryTypeId="16" PostId="6815" RevisionGUID="375e5f79-d02c-4256-89ba-60631cfa874e" CreationDate="2011-03-24T19:21:53.763" UserId="-1" />
  <row Id="11630" PostHistoryTypeId="2" PostId="6816" RevisionGUID="d7e5ff6a-44c3-449a-aec8-7d8429d0e95c" CreationDate="2011-03-24T20:45:29.070" UserId="845" Text="You might want to check which language your OS has your keyboard set to.  There are slight differences between the three Englishes (US, British, Canadian), though I'm not exactly sure what they are." ContentLicense="CC BY-SA 2.5" />
  <row Id="11631" PostHistoryTypeId="6" PostId="6806" RevisionGUID="1538bac4-456a-40d7-b4ee-b5fd3ed4816c" CreationDate="2011-03-24T21:17:12.837" UserId="182" Comment="edited tags" Text="&lt;stereo&gt;&lt;microphone&gt;&lt;microphones&gt;&lt;review&gt;&lt;experiences&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11632" PostHistoryTypeId="2" PostId="6817" RevisionGUID="b33e2279-636c-421d-bea2-9319939db6d2" CreationDate="2011-03-24T21:34:05.017" UserId="182" Text="I'm currently in the process of building my own panel absorbers that I will hang on the wall with a little spacing between the wall and the panel. The plan is to add LED-strips on the back of the panels so that there is an indirect glow coming from behind them.&#xD;&#xA;As a little DIY project, I'm doing it the fancy way: RGB LED-strips that can be controlled from a central point so that I can change the mood on the fly.&#xD;&#xA;I haven't decided yet what to do with the fabric of the absorbers. The canvas print is nice, but quite expensive, especially for the surface area that I need to cover.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I think balanced lighting is very important for everybody, the rest depends on personal preference. I like a degree of minimalism and brightness (white walls, little decoration), others might like cosiness and ornaments.&#xD;&#xA;&#xD;&#xA;Regarding natural light in your basement: I heard from a fellow sound designer/musician that he has a very powerful lamp in his room/studio that he calls the sun. You could even make a fake window and put lots of lights behind matte white glass in a frame, or try out those 'daylight-bulbs' that are supposed to emit a light spectrum similar to the sun." ContentLicense="CC BY-SA 2.5" />
  <row Id="11633" PostHistoryTypeId="2" PostId="6818" RevisionGUID="bc00427a-07fc-42ec-a166-a09b353bdcfb" CreationDate="2011-03-24T21:46:14.270" UserId="393" Text="E) Other: The job itself -- is this something I want to show off to my friends and family, or something I have a personal interest in, or is it just another job.&#xD;&#xA;&#xD;&#xA;A) The people involved.&#xD;&#xA;&#xD;&#xA;B) The amount you are paid. [devided by (Thanks for that Rene)] C) The hours you will have to put in.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;D) The size and importance of the project.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Where I'm at, both in terms of location and step of my career ladder, it's easy to find people I want to work with but a lot of their projects are ones that I don't really want to support.&#xD;&#xA;&#xD;&#xA;I'm coming to realize that, while my Sound Design CV isn't all that impressive, I don't need to rely on it to survive at this point in my life, since my day job isn't all that bad, and I've got enough material to build my demo reel. Now it's picking and choosing projects as I see fit, to work on things that I'll be happy with in the end as opposed to things that are just a paycheck.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11634" PostHistoryTypeId="16" PostId="6818" RevisionGUID="bc00427a-07fc-42ec-a166-a09b353bdcfb" CreationDate="2011-03-24T21:46:14.270" UserId="-1" />
  <row Id="11635" PostHistoryTypeId="2" PostId="6819" RevisionGUID="eb310830-7612-45e6-9634-48dd4236fded" CreationDate="2011-03-24T22:55:31.307" UserId="956" Text="**Twistedwave** (MAC only)!!  Very good!&#xD;&#xA;&#xD;&#xA;It's perfect for simple process. And you can make batch processing (plugin process, split or interleave audio files, convert sample rate, rename, etc...).&#xD;&#xA;&#xD;&#xA;Simple, powerfull and not expensive!&#xD;&#xA;&#xD;&#xA;ciao" ContentLicense="CC BY-SA 2.5" />
  <row Id="11636" PostHistoryTypeId="4" PostId="6806" RevisionGUID="d4548879-cf51-42c2-ba4f-a8c4cfed43e0" CreationDate="2011-03-24T23:02:53.327" UserId="2" Comment="tag + Title" Text="Stereo Microphone (BeyerDynamic MCE72)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11637" PostHistoryTypeId="6" PostId="6806" RevisionGUID="d4548879-cf51-42c2-ba4f-a8c4cfed43e0" CreationDate="2011-03-24T23:02:53.327" UserId="2" Comment="tag + Title" Text="&lt;stereo&gt;&lt;microphone&gt;&lt;review&gt;&lt;experiences&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11638" PostHistoryTypeId="2" PostId="6820" RevisionGUID="b20ab6e6-408f-4d30-bb80-07ea10021203" CreationDate="2011-03-25T05:52:39.380" UserId="61" Text="I have an original MBox that doesn't play well with PT9 HD. Poor thing just sits on the shelf all day, waiting to be put to good use. So, can I use it as an aggregate device with the new version of Pro Tools? If so, how?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11639" PostHistoryTypeId="1" PostId="6820" RevisionGUID="b20ab6e6-408f-4d30-bb80-07ea10021203" CreationDate="2011-03-25T05:52:39.380" UserId="61" Text="Pro Tools 9 and aggregate device use" ContentLicense="CC BY-SA 2.5" />
  <row Id="11640" PostHistoryTypeId="3" PostId="6820" RevisionGUID="b20ab6e6-408f-4d30-bb80-07ea10021203" CreationDate="2011-03-25T05:52:39.380" UserId="61" Text="&lt;pro-tools&gt;&lt;mbox&gt;&lt;hardware&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11641" PostHistoryTypeId="2" PostId="6821" RevisionGUID="4b9e3cbd-a125-4056-a5c7-5e828c4059d0" CreationDate="2011-03-25T06:54:36.240" UserId="407" Text="Hi,&#xD;&#xA;&#xD;&#xA;Could anyone give me a quick rundown on what the desert in Arizona sounds like? e.g. are there crickets? any particular types of birds, or any other distinctive sounds to that part of the world. Any links to references or suggestions would be highly appreciated." ContentLicense="CC BY-SA 2.5" />
  <row Id="11642" PostHistoryTypeId="1" PostId="6821" RevisionGUID="4b9e3cbd-a125-4056-a5c7-5e828c4059d0" CreationDate="2011-03-25T06:54:36.240" UserId="407" Text="What does the Arizona desert sound like?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11643" PostHistoryTypeId="3" PostId="6821" RevisionGUID="4b9e3cbd-a125-4056-a5c7-5e828c4059d0" CreationDate="2011-03-25T06:54:36.240" UserId="407" Text="&lt;backgroundambience&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11644" PostHistoryTypeId="2" PostId="6822" RevisionGUID="2f403f07-cec7-46c8-b413-570ad25e986f" CreationDate="2011-03-25T08:26:31.950" UserId="517" Text="Not 100% sure, but I think the MBox should work under the aggregate I/O. To use it, you need to enable it in Audio MIDI Setup, which you can find in Applications/Utilities. Select the Pro Tools Aggregate I/O and check off your MBox under the Use column and you should be good to go." ContentLicense="CC BY-SA 2.5" />
  <row Id="11645" PostHistoryTypeId="2" PostId="6823" RevisionGUID="f7f6ab87-a337-431e-b1f4-a1a72458d8bf" CreationDate="2011-03-25T12:51:36.583" UserId="510" Text="I have some video with audio recorded on an iPhone of the AZ low desert. It's during the day. Mostly wind noise. I went 4 wheeling all over the desert with my brother inlaw in November. What I noticed during the day was wind and a few jets flying by really high. At night coyotes and wind and a few critters here and there. Pretty peaceful. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11646" PostHistoryTypeId="2" PostId="6824" RevisionGUID="be83bc74-6653-439f-b839-d304c366829d" CreationDate="2011-03-25T13:03:08.593" UserId="510" Text="My two cents after going to full sail and getting my AS and now almost finished with my BA in cinema television is this. You get out of it what you put into it. &#xD;&#xA;&#xD;&#xA;The reason I went on to get my BA is I get a 75% discount and my job allows for me to go without any real conflicts. Also I do not care what anyone says about it not helping you advance. That's bs. It does open more doors, ESP if you go a corporate route. Esperience and quality of work do however go a long way. &#xD;&#xA;&#xD;&#xA;You also cannot discount the contacts you will make in film school. Who knows where they might end up. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11647" PostHistoryTypeId="2" PostId="6825" RevisionGUID="69be4f48-eea8-4368-b528-65b9a495d6ba" CreationDate="2011-03-25T13:56:06.053" UserId="253" Text="I actually did a short set in the Arizona desert, having never heard it before. I watched a bunch of youtube videos, and all that came from that was the cactus wren, which is a pretty cool sounding bird.&#xD;&#xA;&#xD;&#xA;Then i threw in some distant highway; the odd slow, lingering plane pass; wind in brush; wind on sand; a little wind on the mic for effect. I also had a lone cricket in places, but that was more because the film was set at dawn than anything.&#xD;&#xA;&#xD;&#xA;The director said it was pretty spot on. If your location recordist got any wilds or atmos tracks, that would give you some great reference." ContentLicense="CC BY-SA 2.5" />
  <row Id="11648" PostHistoryTypeId="5" PostId="6820" RevisionGUID="b900443d-2e6c-4553-baec-e8c4da644319" CreationDate="2011-03-25T16:21:05.167" UserId="61" Comment="additional information" Text="I have an original MBox that doesn't play well with PT9 HD. Poor thing just sits on the shelf all day, waiting to be put to good use. So, can I use it as an aggregate device with the new version of Pro Tools? If so, how? Do I connect thru USB, SPDIF, Line Out, or other?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11649" PostHistoryTypeId="2" PostId="6826" RevisionGUID="7948c8ff-2d7d-4737-a571-056f94c830a0" CreationDate="2011-03-25T16:49:57.017" UserId="432" Text="Meant to respond to this sooner. -3dB is the default because of it's relation to power level and phantom imaging. If you want a full strength image centered between two sources, the crossing point of two &quot;equal power&quot; curves needs to be at -3dB. If it's lower, it will sound weaker as it moves through the center point of the image; higher, and it will sound stronger. -3dB just helps you maintain that even stereo field.&#xD;&#xA;&#xD;&#xA;As such, I don't mess with it in my DAW's settings. ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11650" PostHistoryTypeId="2" PostId="6827" RevisionGUID="e83a9e2c-b0b2-4e82-8b65-31eac0cffa87" CreationDate="2011-03-25T17:32:59.003" UserId="6487" Text="@MixingManiac&#xD;&#xA;&#xD;&#xA;Loves the twitter." ContentLicense="CC BY-SA 2.5" />
  <row Id="11651" PostHistoryTypeId="16" PostId="6827" RevisionGUID="e83a9e2c-b0b2-4e82-8b65-31eac0cffa87" CreationDate="2011-03-25T17:32:59.003" UserId="-1" />
  <row Id="11652" PostHistoryTypeId="2" PostId="6828" RevisionGUID="15fce3a5-3695-400a-b264-7bb42c4863f1" CreationDate="2011-03-25T17:51:47.493" UserId="957" Text="Personally I think the best education for those interested in working in film sound should start with cinema studies and film history. If you are at all technically savvy you will be able to learn most mixing and editing systems. But having a knowledge of film history and filmmakers is as valuable or more valuable than your tech skills." ContentLicense="CC BY-SA 2.5" />
  <row Id="11653" PostHistoryTypeId="2" PostId="6829" RevisionGUID="e6ce5de4-5106-4935-ad83-8967f55f8dbd" CreationDate="2011-03-25T18:08:07.670" UserId="709" Text="@phonetical&#xD;&#xA;&#xD;&#xA;I go back and forth with it.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11654" PostHistoryTypeId="16" PostId="6829" RevisionGUID="e6ce5de4-5106-4935-ad83-8967f55f8dbd" CreationDate="2011-03-25T18:08:07.670" UserId="-1" />
  <row Id="11655" PostHistoryTypeId="2" PostId="6830" RevisionGUID="8aef96ec-fd54-47b2-8ff8-967114285278" CreationDate="2011-03-25T19:59:41.150" UserId="601" Text="@1000machines&#xD;&#xA;   ...see you there ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11656" PostHistoryTypeId="16" PostId="6830" RevisionGUID="8aef96ec-fd54-47b2-8ff8-967114285278" CreationDate="2011-03-25T19:59:41.150" UserId="-1" />
  <row Id="11657" PostHistoryTypeId="2" PostId="6831" RevisionGUID="51b37795-ecd0-409b-bbe1-00a429709488" CreationDate="2011-03-25T20:06:58.413" UserId="558" Text="I have an AT 822 stereo mic that has been really nice for ambiences.  Its very inexpensive as well.  Back when i did more film work i would take my sony DAT-man and the 822 all over the place.  THere is a big brother (825), but I am not too familiar with it.&#xD;&#xA;&#xD;&#xA;David" ContentLicense="CC BY-SA 2.5" />
  <row Id="11658" PostHistoryTypeId="2" PostId="6832" RevisionGUID="8fe7d531-75f1-44ba-9b9c-5a9f25273066" CreationDate="2011-03-25T20:28:30.690" UserId="693" Text="You can find me as @synsynth" ContentLicense="CC BY-SA 2.5" />
  <row Id="11659" PostHistoryTypeId="16" PostId="6832" RevisionGUID="8fe7d531-75f1-44ba-9b9c-5a9f25273066" CreationDate="2011-03-25T20:28:30.690" UserId="-1" />
  <row Id="11660" PostHistoryTypeId="5" PostId="6820" RevisionGUID="30d02969-6c75-4473-a5fe-b9fae595d26c" CreationDate="2011-03-25T20:35:58.893" UserId="61" Comment="spelling, grammar" Text="I have an original MBox that doesn't play well with PT9 HD. Poor thing just sits on the shelf all day, waiting to be put to good use. Can I use it as an aggregate device with the new version of Pro Tools? If so, how? Do I connect thru USB, SPDIF, Line Out, or other?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11661" PostHistoryTypeId="5" PostId="6817" RevisionGUID="e8145f35-f54f-4130-8b86-38bc1b9ec06f" CreationDate="2011-03-25T21:14:37.270" UserId="182" Comment="added picture" Text="I'm currently in the process of building my own panel absorbers that I will hang on the wall with a little spacing between the wall and the panel. The plan is to add LED-strips on the back of the panels so that there is an indirect glow coming from behind them.&#xD;&#xA;As a little DIY project, I'm doing it the fancy way: RGB LED-strips that can be controlled from a central point so that I can change the mood on the fly.&#xD;&#xA;I haven't decided yet what to do with the fabric of the absorbers. The canvas print is nice, but quite expensive, especially for the surface area that I need to cover.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;I think balanced lighting is very important for everybody, the rest depends on personal preference. I like a degree of minimalism and brightness (white walls, little decoration), others might like cosiness and ornaments.&#xD;&#xA;&#xD;&#xA;Regarding natural light in your basement: I heard from a fellow sound designer/musician that he has a very powerful lamp in his room/studio that he calls the sun. You could even make a fake window and put lots of lights behind matte white glass in a frame, or try out those 'daylight-bulbs' that are supposed to emit a light spectrum similar to the sun.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i52.tinypic.com/eb50ts.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="11662" PostHistoryTypeId="5" PostId="6817" RevisionGUID="df88a66e-c163-42ed-a583-2b36c7233f98" CreationDate="2011-03-25T21:27:41.507" UserId="182" Comment="edited body" Text="I'm currently in the process of building my own panel absorbers that I will hang on the wall with a little spacing between the wall and the panel. The plan is to add LED-strips on the back of the panels so that there is an indirect glow coming from behind them.&#xD;&#xA;As a little DIY project, I'm doing it the fancy way: RGB LED-strips that can be controlled from a central point so that I can change the mood on the fly.&#xD;&#xA;I haven't decided yet what to do with the fabric of the absorbers. The canvas print is nice, but quite expensive, especially for the surface area that I need to cover.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;I think balanced lighting is very important for everybody, the rest depends on personal preference. I like a degree of minimalism and brightness (white walls, little decoration), others might like cosiness and ornaments.&#xD;&#xA;&#xD;&#xA;Regarding natural light in your basement: I heard from a fellow sound designer/musician that he has a very powerful lamp in his room/studio that he calls the sun. You could even make a fake window and put lots of lights behind matte white glass in a frame, or try out those 'daylight-bulbs' that are supposed to emit a light spectrum similar to the sun.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i54.tinypic.com/kco477.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="11663" PostHistoryTypeId="2" PostId="6833" RevisionGUID="33a77ad3-691e-4ded-8616-5222fcd9bac4" CreationDate="2011-03-25T22:10:25.393" UserId="587" Text="@C3Sound&#xD;&#xA;&#xD;&#xA;I use it, but mainly just for leaving messages to people who dont use linkedin or facebook&#xD;&#xA;&#xD;&#xA;Sometimes ill throw up links and such." ContentLicense="CC BY-SA 2.5" />
  <row Id="11664" PostHistoryTypeId="16" PostId="6833" RevisionGUID="33a77ad3-691e-4ded-8616-5222fcd9bac4" CreationDate="2011-03-25T22:10:25.393" UserId="-1" />
  <row Id="11665" PostHistoryTypeId="2" PostId="6834" RevisionGUID="445d62fe-7038-4584-bf71-2128eb17b45a" CreationDate="2011-03-25T22:54:28.887" UserId="587" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I know there has been multiple threads on having groups on Sound Cloud, Twitter, Poll Surveys, etc... But as SSD has been becoming more populated, I feel like there could be a pretty slick app that could be made and connected to the forum.&#xD;&#xA;&#xD;&#xA;I find using Safari or any other browser is a bit wonky with zooming in and out, tapping on the fields and trying to navigate the tabs. Even though SSD is pretty simple already, I think an App could be beneficial for a more Mobile friendly environment.&#xD;&#xA;&#xD;&#xA;Its possible that I could come up with the interface for this, but the programming I wouldnt be able to produce. I do have a number of friends who program apps, but I would need the go ahead from a moderator of SSD.&#xD;&#xA;&#xD;&#xA;Comment or Bump if you think this should be done, or comment on if you think it would even be worth it. I do know that sometimes I find myself away from a computer or without my laptop and could use the ability to ask a quick question. It could help if one was in the field for a few days and needed a suggestion.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11666" PostHistoryTypeId="1" PostId="6834" RevisionGUID="445d62fe-7038-4584-bf71-2128eb17b45a" CreationDate="2011-03-25T22:54:28.887" UserId="587" Text="SSD App Needed?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11667" PostHistoryTypeId="3" PostId="6834" RevisionGUID="445d62fe-7038-4584-bf71-2128eb17b45a" CreationDate="2011-03-25T22:54:28.887" UserId="587" Text="&lt;app&gt;&lt;ssd&gt;&lt;suggestion&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11668" PostHistoryTypeId="2" PostId="6835" RevisionGUID="30cd7037-5438-4183-bc7e-54beb3279834" CreationDate="2011-03-25T23:01:48.467" UserId="18160" Text="I'm designing a human rights documentary and there are shots being used of Mr. Martin Luther King in Washington D.C.&#xD;&#xA;&#xD;&#xA;Could someone please point me in the direction of where I can find the original audio clips to use? &quot;I have a dream today&quot;?&#xD;&#xA;&#xD;&#xA;Is it legal to use this audio? The picture editors using the picture do not have the audio and I figure if they have the OK to use the pictures, I would have the OK to use the audio, right?&#xD;&#xA;&#xD;&#xA;Also please let me know if I'm not supposed to use the audio." ContentLicense="CC BY-SA 2.5" />
  <row Id="11669" PostHistoryTypeId="1" PostId="6835" RevisionGUID="30cd7037-5438-4183-bc7e-54beb3279834" CreationDate="2011-03-25T23:01:48.467" UserId="18160" Text="Martin Luther King Speech" ContentLicense="CC BY-SA 2.5" />
  <row Id="11670" PostHistoryTypeId="3" PostId="6835" RevisionGUID="30cd7037-5438-4183-bc7e-54beb3279834" CreationDate="2011-03-25T23:01:48.467" UserId="18160" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11671" PostHistoryTypeId="2" PostId="6836" RevisionGUID="0ccdee5b-36f6-48f6-ac45-0539339a75fe" CreationDate="2011-03-25T23:28:17.437" UserId="587" Text="http://www.archive.org/details/MLKDream&#xD;&#xA;&#xD;&#xA;There ya go - public archive." ContentLicense="CC BY-SA 2.5" />
  <row Id="11672" PostHistoryTypeId="2" PostId="6837" RevisionGUID="0fd85371-c72f-48c2-a8aa-0fb9d5169edb" CreationDate="2011-03-25T23:55:49.930" UserId="578" Text="Yes!&#xD;&#xA;&#xD;&#xA;Fumbled from my phone." ContentLicense="CC BY-SA 2.5" />
  <row Id="11673" PostHistoryTypeId="2" PostId="6838" RevisionGUID="16942299-8103-48ad-9c49-9111197ae384" CreationDate="2011-03-25T23:56:10.977" UserId="315" Text="Hitchcock flicks are full of them, like [this][1] one from Spellbound designed by Salvador Dali.&#xD;&#xA;&#xD;&#xA;All of the movie Memento.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://fan.tcm.com/_Alfred-Hitchcock-about-his-collaboration-with-Dali-on-Spellbound/VIDEO/967772/66470.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="11674" PostHistoryTypeId="2" PostId="6839" RevisionGUID="f613b38b-949d-4bff-bf58-e9ad3ed64847" CreationDate="2011-03-26T00:19:31.103" UserId="338" Text="How does a tiger growl make you feel?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11675" PostHistoryTypeId="1" PostId="6839" RevisionGUID="f613b38b-949d-4bff-bf58-e9ad3ed64847" CreationDate="2011-03-26T00:19:31.103" UserId="338" Text="How does a tiger growl make you feel?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11676" PostHistoryTypeId="3" PostId="6839" RevisionGUID="f613b38b-949d-4bff-bf58-e9ad3ed64847" CreationDate="2011-03-26T00:19:31.103" UserId="338" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11677" PostHistoryTypeId="5" PostId="6834" RevisionGUID="ca65a834-f046-4a7d-a3b7-41a4bca7f53d" CreationDate="2011-03-26T01:06:51.450" UserId="587" Comment="Picture Added" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I know there has been multiple threads on having groups on Sound Cloud, Twitter, Poll Surveys, etc... But as SSD has been becoming more populated, I feel like there could be a pretty slick app that could be made and connected to the forum.&#xD;&#xA;&#xD;&#xA;I find using Safari or any other browser is a bit wonky with zooming in and out, tapping on the fields and trying to navigate the tabs. Even though SSD is pretty simple already, I think an App could be beneficial for a more Mobile friendly environment.&#xD;&#xA;&#xD;&#xA;Its possible that I could come up with the interface for this, but the programming I wouldnt be able to produce. I do have a number of friends who program apps, but I would need the go ahead from a moderator of SSD.&#xD;&#xA;&#xD;&#xA;Comment or Bump if you think this should be done, or comment on if you think it would even be worth it. I do know that sometimes I find myself away from a computer or without my laptop and could use the ability to ask a quick question. It could help if one was in the field for a few days and needed a suggestion.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i1197.photobucket.com/albums/aa425/c3sound/SSDApp_Mock1.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="11678" PostHistoryTypeId="2" PostId="6840" RevisionGUID="0fbb4cea-5674-46c9-a37e-3f7f878518af" CreationDate="2011-03-26T01:21:26.090" UserId="18160" Text="The prototype is great but needs a search button. :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11679" PostHistoryTypeId="2" PostId="6841" RevisionGUID="b1674d9d-0547-4bac-93df-10621c30485c" CreationDate="2011-03-26T03:10:39.847" UserId="845" Text="[http://www.youtube.com/watch?v=NonmwOcnQKQ&amp;feature=related][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=NonmwOcnQKQ&amp;feature=related" ContentLicense="CC BY-SA 2.5" />
  <row Id="11680" PostHistoryTypeId="2" PostId="6842" RevisionGUID="02946cf8-9e0e-4c80-9b22-bf6f4bbf9c3a" CreationDate="2011-03-26T03:12:52.150" UserId="845" Text="[http://www.youtube.com/watch?v=pHZm52nvBB4&amp;feature=related][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=pHZm52nvBB4&amp;feature=related" ContentLicense="CC BY-SA 2.5" />
  <row Id="11681" PostHistoryTypeId="2" PostId="6843" RevisionGUID="a3f71c02-f009-44ca-ad71-a255faaba399" CreationDate="2011-03-26T03:18:46.470" UserId="6411" Text="I'd probably use it. I'd probably enjoy using it if it had all the functionality of the web page. I don't necessarily mind viewing SSD on my iPod touch, I'd say the main drawback is writing posts/comments. If you can improve that experience, I'd be all about it." ContentLicense="CC BY-SA 2.5" />
  <row Id="11682" PostHistoryTypeId="2" PostId="6844" RevisionGUID="f0bda587-f545-4f5d-b412-64283c193db5" CreationDate="2011-03-26T04:29:51.407" UserId="338" Text="When you are mixing with downward expansion and the downward expander creates holes during the fades at the ends of dialogue regions, what do you do?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11683" PostHistoryTypeId="1" PostId="6844" RevisionGUID="f0bda587-f545-4f5d-b412-64283c193db5" CreationDate="2011-03-26T04:29:51.407" UserId="338" Text="When you are mixing with a downward expansion" ContentLicense="CC BY-SA 2.5" />
  <row Id="11684" PostHistoryTypeId="3" PostId="6844" RevisionGUID="f0bda587-f545-4f5d-b412-64283c193db5" CreationDate="2011-03-26T04:29:51.407" UserId="338" Text="&lt;mix&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11685" PostHistoryTypeId="5" PostId="6792" RevisionGUID="34630083-07ee-48fd-82f4-ddb0e3de6408" CreationDate="2011-03-26T04:54:32.737" UserId="845" Comment="Added photo and accompanying commentary." Text="So, in my iTravels I've spent a ton of time reading through acoustics threads on message boards like GearSlutz and TapeOp.  The information on those sites really is top notch, and all the people seem more than willing to help.  I now know how to identify all of the problem frequencies in my room, how many panels to hang and where, how deep my bass-traps need to be, &amp;tc.  The problem is that the thrust of the responses and advice always seems to suggest an emphasis on function over form.&#xD;&#xA;&#xD;&#xA;Now, you may rightly accuse me of being shallow and superficial, but I just can't work in dank dark places with walls covered in ugly burlap and lit by hand-me-down lava lamps.  The problem follows...  &#xD;&#xA;&#xD;&#xA;I am one of the many who at this point can only afford to work out of my apartment.  Problema: it's a basement.  So, it's cold and close. Natural light doesn't exist, the ceiling pots are horribly placed, and blah, blah, blah.&#xD;&#xA;&#xD;&#xA;What I'm wondering is how you guys feel about this and how you've managed to fix up your spaces so your brain can focus on making fantastic sounding things.  What have you done for aesthetics and light; ergonomics and comfort?   I'm not an adherent to the mystical/pocket gouging side of Feng Shui, but there is definitely a sense of flow to well-designed rooms that mine totally lacks at the moment.  &#xD;&#xA;&#xD;&#xA;Any thoughts/advice/photos would be more than much appreciated.&#xD;&#xA;&#xD;&#xA;Hugs.&#xD;&#xA;&#xD;&#xA;GaH&#xD;&#xA;&#xD;&#xA;*Edit&#xD;&#xA;&#xD;&#xA;Apropos to the question:&#xD;&#xA;&#xD;&#xA;![g.a.harry's old setup.][1]&#xD;&#xA;&#xD;&#xA;It makes me sad just looking at it.  That's with the overhead lights on too.  I don't know how I ever managed to get anything done.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://lh5.googleusercontent.com/-uDGtElOXCFo/TY1vp_4sTDI/AAAAAAAAAAU/UYMKkQaJuk4/s1600/IMG_0250%255B1%255D.JPG" ContentLicense="CC BY-SA 2.5" />
  <row Id="11686" PostHistoryTypeId="2" PostId="6845" RevisionGUID="34941cb9-12a4-4141-aec0-b8c78c282797" CreationDate="2011-03-26T04:58:23.337" UserId="253" Text="In my experience, it's best to use expansion on dialogue lightly; around 6dB max. And make sure your fill and/or sync fx tracks are going through the same expansion. That way, it should just rise and fall with the dialogue, and not draw attention to itself by pumping too much." ContentLicense="CC BY-SA 2.5" />
  <row Id="11687" PostHistoryTypeId="2" PostId="6846" RevisionGUID="7c607f44-e09d-4fc9-8440-dd6327b2180a" CreationDate="2011-03-26T05:22:03.417" UserId="587" Text="I concur with Rodger - try messing with the attack and release settings to slow up the drop.&#xD;&#xA;&#xD;&#xA;The other option is to use fill between the dialog regions. This is the way I cut dialog. Grab some &quot;room&quot; from another take not used and fill in your gaps. This allows for a smooth scene." ContentLicense="CC BY-SA 2.5" />
  <row Id="11688" PostHistoryTypeId="2" PostId="6847" RevisionGUID="2afce52a-eed5-49d5-83f1-ea77d687894d" CreationDate="2011-03-26T06:16:39.023" UserId="786" Text="When you are experiencing holes or gaps in the audio, use fills, turn the expansion down a notch or turn the expansion off alltogether. If it does too much, it might not be the right plugin at the moment. Too much processing is always worse than too little processing. You can always automate the bypass.&#xD;&#xA;&#xD;&#xA;I normally don't use expanders, I manually write volume automation and use noise reduction instead. Should i use an expander, it would be a multiband expander like the Waves C4, it has a lot less of the &quot;pumping&quot; sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="11689" PostHistoryTypeId="2" PostId="6848" RevisionGUID="9b66e224-ba40-4d0f-a4d7-23128b3069f3" CreationDate="2011-03-26T08:28:41.660" UserId="37" Text="aaand increase Release time a little." ContentLicense="CC BY-SA 2.5" />
  <row Id="11694" PostHistoryTypeId="2" PostId="6850" RevisionGUID="e95ad04f-df3c-4b39-9671-67a50bff16d6" CreationDate="2011-03-26T11:45:38.190" UserId="6524" Text="If you would like to know when I farted or what it smelt like and don't mind a ton of links to youtube videos..&#xD;&#xA;&#xD;&#xA;follow me @StephenSaldanha" ContentLicense="CC BY-SA 2.5" />
  <row Id="11695" PostHistoryTypeId="16" PostId="6850" RevisionGUID="e95ad04f-df3c-4b39-9671-67a50bff16d6" CreationDate="2011-03-26T11:45:38.190" UserId="-1" />
  <row Id="11696" PostHistoryTypeId="5" PostId="6850" RevisionGUID="a384d840-a240-4420-b841-490ebc72ce11" CreationDate="2011-03-26T12:16:25.113" UserId="6524" Comment="added 52 characters in body" Text="If you would like to know when I farted or what it smelt like and don't mind a ton of links to youtube videos..&#xD;&#xA;&#xD;&#xA;follow me [@StephenSaldanha][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://twitter.com/StephenSaldanha" ContentLicense="CC BY-SA 2.5" />
  <row Id="11697" PostHistoryTypeId="2" PostId="6851" RevisionGUID="4a0bd127-2436-4dd6-808e-751709b803bf" CreationDate="2011-03-26T12:52:55.950" UserId="876" Text="Hey so I am doing onset recording in april, we are shooting in a abandoned hospital and I have been told some of the rooms are very reverberant and have echoes, was wondering if I could get any tips on how to handle this? &#xD;&#xA;&#xD;&#xA;Will appreciate any help allot. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11698" PostHistoryTypeId="1" PostId="6851" RevisionGUID="4a0bd127-2436-4dd6-808e-751709b803bf" CreationDate="2011-03-26T12:52:55.950" UserId="876" Text="Reverberant set " ContentLicense="CC BY-SA 2.5" />
  <row Id="11699" PostHistoryTypeId="3" PostId="6851" RevisionGUID="4a0bd127-2436-4dd6-808e-751709b803bf" CreationDate="2011-03-26T12:52:55.950" UserId="876" Text="&lt;reverberant&gt;&lt;location&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11700" PostHistoryTypeId="2" PostId="6852" RevisionGUID="deec48a3-0db7-4427-a540-674b887de437" CreationDate="2011-03-26T12:53:49.537" UserId="2" Text="You have a big fat eager &quot;yes please&quot; from me :-)&#xD;&#xA;&#xD;&#xA;That would be amazing. Let me know if I can do anything. My email is andrew [at]soundplusdesign [dot]com" ContentLicense="CC BY-SA 2.5" />
  <row Id="11701" PostHistoryTypeId="2" PostId="6853" RevisionGUID="0afe684d-cf79-4915-9dcb-52c8254eceb4" CreationDate="2011-03-26T13:22:28.617" UserId="432" Text="Sound blankets outside of the visual frame, or even building some mobile baffles that you can position randomly around the rooms out of the shot. You might even be able to get away with hiding some in the shots (i.e. behind the privacy curtains and stands you frequently see in hospitals.&#xD;&#xA;&#xD;&#xA;Bubble wrap on windows that are out of frame can be a big help to both the sound and camera/lighting departments. Diffuses outside light and breaks up a hard acoustically reflective surface.&#xD;&#xA;&#xD;&#xA;Hypercardioid mics (as opposed to shotgun)&#xD;&#xA;&#xD;&#xA;Taping down thin carpets or pieces of fabric for actors to stand and walk on if the floor won't be in the shot. You may want to look into ways to modify the soles of their shoes (attach some absorptive material) if stuff on the floor is going to be an issue. It would have to be something that leaves them some traction though...don't want them falling and hurting themselves. ;)&#xD;&#xA;&#xD;&#xA;I'm sure other people will come up with some additional ideas as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="11702" PostHistoryTypeId="2" PostId="6854" RevisionGUID="cd2d5172-c902-4a14-835b-83b0eac50a77" CreationDate="2011-03-26T16:46:24.683" UserId="182" Text="I like the idea, but wouldn't it be much easier and quicker to have the website detect the type of browser (via User Agent) and display a compact version optimized for mobile browsers?&#xD;&#xA;This is how loads of websites work, and it is sort of supported by Stack Exchange, the platform that SSD runs on (see stackmobile.com).&#xD;&#xA;&#xD;&#xA;Plus, the Stack Exchange API is read only at the moment, so that means that a real app would not be able to add answers or comments, only read them ([source][1]).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://meta.stackoverflow.com/questions/74366/stack-overflow-mobile-site" ContentLicense="CC BY-SA 2.5" />
  <row Id="11703" PostHistoryTypeId="6" PostId="6834" RevisionGUID="07056659-2339-444b-91c1-3503e664af26" CreationDate="2011-03-26T16:50:52.717" UserId="182" Comment="edited tags" Text="&lt;app&gt;&lt;ssd&gt;&lt;suggestion&gt;&lt;mobile-phone&gt;&lt;mobile&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11704" PostHistoryTypeId="2" PostId="6855" RevisionGUID="5dbf0a14-779f-4e6f-9a98-c416cc0cbea5" CreationDate="2011-03-26T17:10:41.950" UserId="960" Text="i am a pro stills photographer and very keen to shoot a 1/2 hour pilot in hd video. with my project i plan to do the filming and sound myself as i will be filming my wife as the host, unfortunately no budget for a third person. i have been told that the canon 5D is the way to go, but it cannot support good quality sound. i need all my gear to fit into one pelican case. i need to have the options of a rifle mic, a wireless mic setup (2) and record ambient sound if necessary.  i was told that the Zoom H4n was the best recorder using PluralEyes software to sync. i heard that there might be problems with this software as it needs clean sound to sync. finding an affordable rifle mic and wireless mic set-up is going to be a challenge. the subject matter includes music and interviews. i am on a very tight budget and would really appreciate any input. thank you, Rodney" ContentLicense="CC BY-SA 2.5" />
  <row Id="11705" PostHistoryTypeId="1" PostId="6855" RevisionGUID="5dbf0a14-779f-4e6f-9a98-c416cc0cbea5" CreationDate="2011-03-26T17:10:41.950" UserId="960" Text="Sound solution for Canon 5D for 1/2 hour pilot" ContentLicense="CC BY-SA 2.5" />
  <row Id="11706" PostHistoryTypeId="3" PostId="6855" RevisionGUID="5dbf0a14-779f-4e6f-9a98-c416cc0cbea5" CreationDate="2011-03-26T17:10:41.950" UserId="960" Text="&lt;wild-sound&gt;&lt;low-budget&gt;&lt;canon-5d&gt;&lt;zoom-h4n&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11707" PostHistoryTypeId="2" PostId="6856" RevisionGUID="a1f80ae9-d760-4482-9537-abd59587779b" CreationDate="2011-03-26T18:06:24.097" UserId="587" Text="Check out this shotgun mic specifically designed for the 5d - widely used and reviewed.&#xD;&#xA;&#xD;&#xA;http://www.bhphotovideo.com/c/product/534023-REG/Sennheiser_MKE_400_MKE_400_Compact_Video.html&#xD;&#xA;&#xD;&#xA;Relatively cheap too!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11708" PostHistoryTypeId="2" PostId="6857" RevisionGUID="0ee545cb-bb25-48e6-a236-03bd3c067695" CreationDate="2011-03-26T19:05:22.027" UserId="6524" Text="This might be a stupid question but I have a hard time dealing with it though, I use a Zoom H4n with a dead kitten windscreen I want to take it with me everywhere I go but I find it a little to big to fit in my pocket. During the winter time it was alright cause I had my hoodie on most of the time and it would fit in those pockets, So I'm wondering how do you guys carry around your handheld recorders?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11709" PostHistoryTypeId="1" PostId="6857" RevisionGUID="0ee545cb-bb25-48e6-a236-03bd3c067695" CreationDate="2011-03-26T19:05:22.027" UserId="6524" Text="How do you wander about with your Handheld Recorder?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11710" PostHistoryTypeId="3" PostId="6857" RevisionGUID="0ee545cb-bb25-48e6-a236-03bd3c067695" CreationDate="2011-03-26T19:05:22.027" UserId="6524" Text="&lt;travel&gt;&lt;handheld&gt;&lt;recorder&gt;&lt;zoom&gt;&lt;zoom-h4n&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11711" PostHistoryTypeId="2" PostId="6858" RevisionGUID="725995a4-9701-4354-b49a-d65c22e69641" CreationDate="2011-03-26T19:17:01.983" UserId="134" Text="I actually want to amplify and enhance the cell phone interference you often hear when speaker setups are un-shielded.  I wondered if I could reverse tactics people are using to get rid of it?  The idea is to have an art project where the sound is actually everyone's phone checking in and receiving texts and such in real time.&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11712" PostHistoryTypeId="1" PostId="6858" RevisionGUID="725995a4-9701-4354-b49a-d65c22e69641" CreationDate="2011-03-26T19:17:01.983" UserId="134" Text="Cell Phone noise wanted" ContentLicense="CC BY-SA 2.5" />
  <row Id="11713" PostHistoryTypeId="3" PostId="6858" RevisionGUID="725995a4-9701-4354-b49a-d65c22e69641" CreationDate="2011-03-26T19:17:01.983" UserId="134" Text="&lt;noise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11714" PostHistoryTypeId="2" PostId="6859" RevisionGUID="e11fe049-4041-4b21-a343-d0fadfd1d866" CreationDate="2011-03-26T19:38:13.870" UserId="587" Text="Look for the plug-in called Speakerphone. It give you independent controls over all aspects of many many different kinds of speakers, including cell phones. Thea ck trolls range from distortion to radio interference complete with EQs and more. It's really a must have." ContentLicense="CC BY-SA 2.5" />
  <row Id="11715" PostHistoryTypeId="2" PostId="6860" RevisionGUID="9a65b8d1-56ed-4a50-9b61-3f6ef8dabfc4" CreationDate="2011-03-26T19:57:52.543" UserId="103" Text="I carry my sony m10 in my pocket, wrapped in a sock which i use as wind protection as well, but its considerably smaller than the zoom...&#xD;&#xA;When i only used a zoom h4 i just had it in a backpack, which i carried all the time anyway " ContentLicense="CC BY-SA 2.5" />
  <row Id="11716" PostHistoryTypeId="5" PostId="6856" RevisionGUID="f7554a8a-59a9-4ad9-ab6f-594de40a60bc" CreationDate="2011-03-26T20:07:23.680" UserId="587" Comment="additional information" Text="Check out this shotgun mic designed for use with the 5d and other similar DSLR's - widely used and reviewed.&#xD;&#xA;&#xD;&#xA;http://www.bhphotovideo.com/c/product/534023-REG/Sennheiser_MKE_400_MKE_400_Compact_Video.html&#xD;&#xA;&#xD;&#xA;Relatively cheap for such a mic too! &#xD;&#xA;&#xD;&#xA;--------&#xD;&#xA;With the lav, if you were really on a tight budget, you could use the same mic input on the 5d for:&#xD;&#xA;&#xD;&#xA;http://www.bhphotovideo.com/c/product/659062-REG/Pearstone_9111930_OLM_10_Omnidirectional_Lavalier_Microphone.html&#xD;&#xA;&#xD;&#xA;This has a 20 foot long cable, and its very cheap - cant say much for the quality as I have never  known anyone to use it before, but it could work." ContentLicense="CC BY-SA 2.5" />
  <row Id="11717" PostHistoryTypeId="5" PostId="6859" RevisionGUID="c095d749-80ea-4eb7-bdcb-71dc24ed61c1" CreationDate="2011-03-26T20:09:44.457" UserId="587" Comment="Spelling Error/Clarification" Text="Look for the plug-in called Speakerphone. It give you independent controls over all aspects of many many different kinds of speakers, including cell phones. Thea controls range from distortion to radio interference complete with EQs and more. It's really a must have.&#xD;&#xA;&#xD;&#xA;I believe by using some of the radio interference controls (automated to move around the graph) within the cell phone speaker preset, you could achieve your desired result" ContentLicense="CC BY-SA 2.5" />
  <row Id="11718" PostHistoryTypeId="2" PostId="6861" RevisionGUID="dc994a0a-fd46-4c05-af93-5277ed4cefdd" CreationDate="2011-03-26T20:28:25.847" UserId="587" Text="*Warning* (Not a replacement for an H4n or Sound Devices - just another use for your phone) *Warning*&#xD;&#xA;&#xD;&#xA;The iPhone uses a Mono mic input on a TRRS connection, so I was wondering what other mics you could use with the iPhone. Snag a good enough mic and you have yourself a solid portable recorder on the go.&#xD;&#xA;&#xD;&#xA;Check this out:&#xD;&#xA;&#xD;&#xA;http://www.bhphotovideo.com/c/product/728175-REG/Comprehensive_MPS4RA_XLRJ_6IN_Premium_4_pole_TRRS_3_5mm.html&#xD;&#xA;&#xD;&#xA;Its an XLR to TRRS adapter.&#xD;&#xA;&#xD;&#xA;Now grab this if you want to use a shotgun mic:&#xD;&#xA;&#xD;&#xA;http://www.bhphotovideo.com/c/product/242696-REG/Audix_APS_911_APS911_Phantom_Power_Supply.html&#xD;&#xA;&#xD;&#xA;And for 60 bucks you now have the option to throw a couple pieces of gear into your backpack and have the ability to whip out your phone with your favorite mic to record away!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11719" PostHistoryTypeId="1" PostId="6861" RevisionGUID="dc994a0a-fd46-4c05-af93-5277ed4cefdd" CreationDate="2011-03-26T20:28:25.847" UserId="587" Text="Smartphone as a Pro Portable Recorder" ContentLicense="CC BY-SA 2.5" />
  <row Id="11720" PostHistoryTypeId="3" PostId="6861" RevisionGUID="dc994a0a-fd46-4c05-af93-5277ed4cefdd" CreationDate="2011-03-26T20:28:25.847" UserId="587" Text="&lt;portable-recorder&gt;&lt;iphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11721" PostHistoryTypeId="2" PostId="6862" RevisionGUID="0308926c-f95a-4af3-be4e-2718180efdbf" CreationDate="2011-03-26T21:38:11.423" UserId="40" Text="Have you used this method before?&#xD;&#xA;&#xD;&#xA;I have two similar adapters, and with any program / any mic I've used, the audio comes through very &quot;thin&quot; (iPhone 4). Seems as if the frequency response on that input is a bit wonky (which makes sense, since it's purposed to use over a telephone network).&#xD;&#xA;&#xD;&#xA;I have, however, seen successful recordings done via the 30-pin port. There are a number of companies out there that use the 30-pin as a connection for their interfaces. Works very well. I know you can use the Sound Devices USBPre 2 on the iPad. Possibly on the iPhone? Alesis and a few other companies also have interfaces that work well.&#xD;&#xA;&#xD;&#xA;Again, this is all about the iPhone. Not sure how other smartphones would work." ContentLicense="CC BY-SA 2.5" />
  <row Id="11722" PostHistoryTypeId="2" PostId="6863" RevisionGUID="75f66494-67a4-4658-a90d-240f1ea33d6e" CreationDate="2011-03-26T21:40:16.473" UserId="253" Text="The other day, i was worldising some stuff through my iphone. I kept getting that interference when the mic was too close, so i had to back it off a few feet before it disappeared. I'd guess that you could get the interference pretty well in a quiet environment if you set your phone to silent/vibrate off; put the mic pretty close; and then sent it texts/called it." ContentLicense="CC BY-SA 2.5" />
  <row Id="11723" PostHistoryTypeId="2" PostId="6864" RevisionGUID="4bfab9d2-726c-4c9b-b690-8fde48f51ff3" CreationDate="2011-03-26T21:46:27.150" UserId="18160" Text="I just recorded a bit of ADR and I need to expand the person's syllable about 6 frames longer (he didn't emphasize a word properly - unfortunately it was his first time doing ADR and he didn't have a firm grasp of timing and tempo and I've got to help him out a bit)&#xD;&#xA;&#xD;&#xA;What is the best plug-in or method to expand it keeping the pitch the way it is and not adding in many artifacts?&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 2.5" />
  <row Id="11724" PostHistoryTypeId="1" PostId="6864" RevisionGUID="4bfab9d2-726c-4c9b-b690-8fde48f51ff3" CreationDate="2011-03-26T21:46:27.150" UserId="18160" Text="Best time expansion for a voice - ADR Editing" ContentLicense="CC BY-SA 2.5" />
  <row Id="11725" PostHistoryTypeId="3" PostId="6864" RevisionGUID="4bfab9d2-726c-4c9b-b690-8fde48f51ff3" CreationDate="2011-03-26T21:46:27.150" UserId="18160" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11726" PostHistoryTypeId="2" PostId="6865" RevisionGUID="caf07f4a-0126-410b-867d-d4b0facb6123" CreationDate="2011-03-26T21:49:45.800" UserId="40" Text="Are you looking to reproduce it yourself or do you just want a recording of it? I do believe I have a recording of it somewhere...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also, which kind of interference are you looking for? CDMA makes a different interference sound than the IDEN network that Sprint / Nextel Network.&#xD;&#xA;&#xD;&#xA;CDMA makes that &quot;beep bepbepbep bepbepbep bepbepbep&quot; sound, where IDEN makes more of a &quot;Ffftt ffftt ffftt&quot; sound. (please excuse my attempts at onomatopoeia).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I have found that lav mics tend to be extremely sensitive to the interference. So, theoretically, if you wrapped a lav around a phone a few times, then connected the phone to a call (obviously one that wasn't making any noise! Perhaps try putting the call on hold...), then leave the phone in a silent room. You would probably get a decent amount of RF noise." ContentLicense="CC BY-SA 2.5" />
  <row Id="11727" PostHistoryTypeId="2" PostId="6866" RevisionGUID="cf425fa8-a851-47d9-9c46-1fc507d4e7f5" CreationDate="2011-03-26T21:55:43.433" UserId="40" Text="I used to carry my Olympus in my pocket, since it was so small, but I've recently gotten a Sony D50 - much bigger. I'm currently exploring possibilities myself now, but here are a few solutions I've considered:&#xD;&#xA;&#xD;&#xA;-I generally have a messenger bag with me, so I could keep it in there most of the time.&#xD;&#xA;-Perhaps a small camera bag with a belt loop or shoulder strap&#xD;&#xA;-Maybe get a bag for it and connect it to yourself with a carabiner.   &#xD;&#xA;-Perhaps have some sort of large &quot;belt clip&quot; system, not dissimilar to a phone holster&#xD;&#xA;-Speaking of holsters, you could buy a pistol holster large enough to fit your recorder and carry it in that.&#xD;&#xA;-Cargo pants / shorts?&#xD;&#xA;&#xD;&#xA;Just some ideas. Hopefully one of them works for you or sparks an idea! Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11728" PostHistoryTypeId="2" PostId="6867" RevisionGUID="e19ac68b-16e3-49c2-b582-ba2313b8a054" CreationDate="2011-03-26T22:09:07.310" UserId="40" Text="The most important thing for getting good sound it getting the mic off the camera and close to the talent. While a separate recorder is optimal, it is not crucial for what you are trying to accomplish.&#xD;&#xA;&#xD;&#xA;The Beachtek DXA-SLR is an adapter that will hook a pro microphone up to your 5D. You can find it on ebay for as little as $350, possibly lower. Pair that with a half-decent shotgun mic (like a RØDE NTG-2 - which can be battery powered - currently seeing it for under $200 on ebay), and a homemade boom pole (painter's pole from home depot - $20), and you'll be set.&#xD;&#xA;&#xD;&#xA;Read my article on boom operation here to prep the boom op: http://www.colinhartonline.com/?p=336&#xD;&#xA;&#xD;&#xA;That gets you respectable sound quality for under $600, and you can turn around and sell most of it on ebay for nearly as much as you paid for it.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11729" PostHistoryTypeId="5" PostId="6866" RevisionGUID="eb3f79c8-10b8-4546-be37-ad99af9325c8" CreationDate="2011-03-26T22:47:10.130" UserId="40" Comment="formatting errors" Text="I used to carry my Olympus in my pocket, since it was so small, but I've recently gotten a Sony D50 - much bigger. I'm currently exploring possibilities myself now, but here are a few solutions I've considered:&#xD;&#xA;&#xD;&#xA;-I generally have a messenger bag with me, so I could keep it in there most of the time.   &#xD;&#xA;-Perhaps a small camera bag with a belt loop or shoulder strap.   &#xD;&#xA;-Maybe get a bag for it and connect it to yourself with a carabiner.   &#xD;&#xA;-Perhaps have some sort of large &quot;belt clip&quot; system, not dissimilar to a phone holster  &#xD;&#xA;-Speaking of holsters, you could buy a pistol holster large enough to fit your recorder and carry it in that.&#xD;&#xA;-Cargo pants / shorts?&#xD;&#xA;&#xD;&#xA;Just some ideas. Hopefully one of them works for you or sparks an idea! Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11730" PostHistoryTypeId="2" PostId="6868" RevisionGUID="d0bda4de-2c8d-4480-b184-4717aa9a4562" CreationDate="2011-03-26T22:58:07.420" UserId="845" Text="I bought an H1 for this specific purpose.  It's a tiny little guy that lives quite happily in the front pockets of all my jackets/hoodies/sweaters.  It's got the same mic setup as the H4N, which is nice, and because of it I've caught some very cool stuff that I have sorely missed." ContentLicense="CC BY-SA 2.5" />
  <row Id="11731" PostHistoryTypeId="2" PostId="6869" RevisionGUID="279fe8b3-d48d-4eed-b118-2cfdee1354c1" CreationDate="2011-03-26T22:58:08.313" UserId="517" Text="Serato Pitch 'n Time Pro is a great tool for ADR syncing, especially when using the voice time expansion algorithm and the waveform comparison panel." ContentLicense="CC BY-SA 2.5" />
  <row Id="11732" PostHistoryTypeId="2" PostId="6870" RevisionGUID="abafcc31-7e11-428d-a7f4-5b8bbe6abddb" CreationDate="2011-03-26T23:04:42.683" UserId="517" Text="As Shaun mentioned, sound blankets on C stands will be a lifesaver - inch them in as close as you can to the talent to reduce reflections off the walls. But it will also  most likely be a problem for the camera and lighting departments so you'll want to coordinate with them in pre-production. &#xD;&#xA;&#xD;&#xA;There is a great product called Hush Heels that consists of adhesive shoe-sole-shaped pieces of sound-absorbing foam designed to reduce footstep sound during production recording. I've found it pretty effective in the past. &#xD;&#xA;&#xD;&#xA;The most important thing to think about is how much reverberation is appropriate to the scene. If the scene is set in a hospital, having some reverb is more than likely a good thing. If the director doesn't shoot closeup coverage, which will be what you'll want to use in sound editorial, definitely get closeup perspective wild lines." ContentLicense="CC BY-SA 2.5" />
  <row Id="11733" PostHistoryTypeId="2" PostId="6871" RevisionGUID="1135622d-781f-4782-a057-f109a9dc5cdf" CreationDate="2011-03-26T23:17:41.543" UserId="6411" Text="I carry a messenger bag with me most days. My M10 fits perfectly in the cushioned cell phone pocket inside. If you're against having to keep track of a bag full of crap, maybe just a cell holster would fit?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11734" PostHistoryTypeId="2" PostId="6872" RevisionGUID="57082c2c-7c96-4a12-ac73-5a8656460c00" CreationDate="2011-03-26T23:51:15.133" UserId="219" Text="*[Audio Post Production for Television and Film - An Introduction to Technology and Techniques][1]* (Hilary Wyatt, Tim Amyes)&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;I have found myself reading this book a lot recently. It provides an insight into ADR work (which I was originally interested in) though I am enjoying reading -- again -- about all aspects of audio postproduction in details. The book makes it seem like you could blindly trust it your freshly-out-of-production film and that it'll come out as good as it'll ever be.&#xD;&#xA;&#xD;&#xA;For what it's worth I find it easier to read than Yewdall.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://books.google.fr/books?id=tvs5BZzhiuwC&amp;printsec=frontcover&#xD;&#xA;  [2]: http://images.amazon.com/images/P/0240519477.01._SX240_SCLZZZZZZZ_.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="11735" PostHistoryTypeId="16" PostId="6872" RevisionGUID="57082c2c-7c96-4a12-ac73-5a8656460c00" CreationDate="2011-03-26T23:51:15.133" UserId="-1" />
  <row Id="11736" PostHistoryTypeId="2" PostId="6873" RevisionGUID="285098ec-cd0a-412c-92d7-673137242681" CreationDate="2011-03-27T02:10:13.337" UserId="37" Text="Film, a Sound Art&#xD;&#xA;&#xD;&#xA;http://www.amazon.co.uk/Film-Sound-Art-Culture/dp/023113777X/&#xD;&#xA;&#xD;&#xA;Chion's music may be hard to swallow, but this book is well engaging and easy to read (especially compared to Audio Vision)&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;and The Conversations&#xD;&#xA;&#xD;&#xA;http://www.amazon.co.uk/Conversations-Walter-Murch-Editing-Film/dp/0375709827/&#xD;&#xA;&#xD;&#xA;Not so much a sound design book, but a true source of inspiration. &#xD;&#xA;Very grateful to the people I first borrowed it from. They lurk around here.. :]&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ecx.images-amazon.com/images/I/41qhSJsG5KL._SL500_AA300_.jpg&#xD;&#xA;  [2]: http://ecx.images-amazon.com/images/I/515TVZVM8VL._SL500_AA300_.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="11737" PostHistoryTypeId="16" PostId="6873" RevisionGUID="285098ec-cd0a-412c-92d7-673137242681" CreationDate="2011-03-27T02:10:13.337" UserId="-1" />
  <row Id="11743" PostHistoryTypeId="2" PostId="6875" RevisionGUID="2b5ecc8f-7c80-43d7-ab88-8b75c8b1f456" CreationDate="2011-03-27T04:24:15.383" UserDisplayName="user49" Text="What sample rate did you record at? That will have a huge bearing on how well you can achieve this..... 96k or higher is always advisable" ContentLicense="CC BY-SA 2.5" />
  <row Id="11744" PostHistoryTypeId="2" PostId="6876" RevisionGUID="216438b8-dac1-4046-979e-e9a293863c50" CreationDate="2011-03-27T04:26:51.420" UserDisplayName="user49" Text="It of course depends entirely on the context - if it is about to eat me &amp; I am defenceless then I will be feeling fear/panic etc (or maybe elation/peace if I have accepted my inevitable end)  but if its a cute furry cub and I am completely safe I will not be feeling fear...&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11745" PostHistoryTypeId="5" PostId="6841" RevisionGUID="3db0d6a4-24a6-49f7-9103-47fdaa9ff725" CreationDate="2011-03-27T05:27:43.163" UserId="845" Comment="added 14 characters in body" Text="Hello kitty.&#xD;&#xA;[http://www.youtube.com/watch?v=NonmwOcnQKQ&amp;feature=related][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=NonmwOcnQKQ&amp;feature=related" ContentLicense="CC BY-SA 2.5" />
  <row Id="11746" PostHistoryTypeId="5" PostId="6842" RevisionGUID="d3f3028f-0a48-4f5a-a3e5-4d99b766cfdb" CreationDate="2011-03-27T05:28:15.283" UserId="845" Comment="added 50 characters in body" Text="Big cat sounds.  Some really cool stuff in here.&#xD;&#xA;[http://www.youtube.com/watch?v=pHZm52nvBB4&amp;feature=related][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=pHZm52nvBB4&amp;feature=related" ContentLicense="CC BY-SA 2.5" />
  <row Id="11747" PostHistoryTypeId="2" PostId="6877" RevisionGUID="0e32199f-3595-437b-a181-abbd5efd7cf2" CreationDate="2011-03-27T05:36:45.347" UserId="338" Text="Say an old man is shaking a watch while talking to his daughter and his hand is shaking and you can hear his watch.  Is there a program or software that can deduce the location of the sound and separate it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11748" PostHistoryTypeId="1" PostId="6877" RevisionGUID="0e32199f-3595-437b-a181-abbd5efd7cf2" CreationDate="2011-03-27T05:36:45.347" UserId="338" Text="Is there a program or software out there that can trace the sound of something to the image that makes it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11749" PostHistoryTypeId="3" PostId="6877" RevisionGUID="0e32199f-3595-437b-a181-abbd5efd7cf2" CreationDate="2011-03-27T05:36:45.347" UserId="338" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11750" PostHistoryTypeId="2" PostId="6878" RevisionGUID="8a4a41db-f28b-4ffa-8a92-0bbcbd7746a6" CreationDate="2011-03-27T05:58:06.467" UserId="18160" Text="If you're talking about spectral analyzation, Adobe Audition and Izotope do this. But my favorite is Cedar Retouch. But as far as automatically finding it, the only thing I have seen is on Sonnox DeNoise and that's mainly for sirens and hums that fluctuate frequency. Not sure if I completely understand your question, though. Let me know if I understood correctly." ContentLicense="CC BY-SA 2.5" />
  <row Id="11751" PostHistoryTypeId="2" PostId="6879" RevisionGUID="9e6f1285-2032-4040-8932-0fd658954e3c" CreationDate="2011-03-27T06:03:00.477" UserId="338" Text="Ok, I see how spectrum algorithm determines this and I guess you did answer my question.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11752" PostHistoryTypeId="2" PostId="6880" RevisionGUID="19125794-3893-4bdd-a5a8-029bba16f589" CreationDate="2011-03-27T06:53:45.060" UserId="830" Text="I have been working with a Canon 7D and I can tell you that you don't want to be using sound on the camera or any DSLR at the moment.&#xD;&#xA;&#xD;&#xA;So used a H4n separate from the camera. If you can, grab a rode video mic pro and put that on the camera or alternatively just use the inbuilt mic for syncing (not for production audio). Remember depending on the DOP or camera operator may not have audio levels to look at once recording (let alone you getting anywhere near the LCD to check). So ALWAYS use something like a H4n to record.&#xD;&#xA;&#xD;&#xA;Secondly, use a slate or just clap your hands. Even if the audio screws up on the camera, you can still sync it. Some cameras and older firmware don't even give you audio levels on the LCD once recording, so a slate is still important even if you are using puarleyes for sync later (it covers your butt).&#xD;&#xA;&#xD;&#xA;Good luck. DSLR shooting is heaps of fun and is changing the way indy cinema and tv is working and I am loving working in the field. Basically vision is having a revolution like audio did with portable field recorders (especially digital systems)." ContentLicense="CC BY-SA 2.5" />
  <row Id="11753" PostHistoryTypeId="2" PostId="6881" RevisionGUID="aa918f07-94e6-4a60-913d-629ec4b3eb83" CreationDate="2011-03-27T07:02:23.760" UserId="531" Text="I haven't updated or tweeted much but i hope to in the coming months to talk about various projects I'll be working on. &#xD;&#xA;Cheers! &#xD;&#xA;KTCSound&#xD;&#xA;www.KTCSound.com " ContentLicense="CC BY-SA 2.5" />
  <row Id="11754" PostHistoryTypeId="16" PostId="6881" RevisionGUID="aa918f07-94e6-4a60-913d-629ec4b3eb83" CreationDate="2011-03-27T07:02:23.760" UserId="-1" />
  <row Id="11755" PostHistoryTypeId="2" PostId="6882" RevisionGUID="5e5c88c0-aa06-4dc9-9b33-8809c7d04db3" CreationDate="2011-03-27T07:04:05.630" UserId="61" Text="Since Pitch n Time was mentioned, I'll only add that the &quot;v&quot; setting (meaning &quot; for voice&quot;) would be the best algorithm for your intended use. Although I will also say that I usually end up having to live with more digital artifacts than i would like when using this tool.&#xD;&#xA;&#xD;&#xA;My advice would be to try Elasic Time, which comes with the latest versions of PT. Very easy to use, non-destructive, and pretty forgiving when it coes to long stretches." ContentLicense="CC BY-SA 2.5" />
  <row Id="11756" PostHistoryTypeId="2" PostId="6883" RevisionGUID="a75a7501-abd2-4764-bf1f-44ee9bfbf01a" CreationDate="2011-03-27T07:12:34.823" UserId="786" Text="If you set the preferences for TCE to &quot;male voice&quot; in one of the preferences windows, you can make the stock protools time expansion work better with the material when you are using it as a tool. If it sounds too bad, you can perhaps just stretch it only 4 frames and make the pause between &quot;thou&quot; and &quot;sand&quot; a little longer. You can also cheat a bit by starting the syllable &quot;thou&quot; a frame later, if you can't get rid of the artifacts." ContentLicense="CC BY-SA 2.5" />
  <row Id="11757" PostHistoryTypeId="2" PostId="6884" RevisionGUID="4366ecc1-7c1d-42c3-8d32-4cc4285bf3d5" CreationDate="2011-03-27T08:06:16.083" UserId="830" Text="@bmoyle here&#xD;&#xA;&#xD;&#xA;TIme to create a new list I think :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11758" PostHistoryTypeId="16" PostId="6884" RevisionGUID="4366ecc1-7c1d-42c3-8d32-4cc4285bf3d5" CreationDate="2011-03-27T08:06:16.083" UserId="-1" />
  <row Id="11759" PostHistoryTypeId="2" PostId="6885" RevisionGUID="af0ed8a0-5ecd-42c0-91fc-10256b0bc7de" CreationDate="2011-03-27T09:56:53.357" UserId="2" Text="A while back I had an idea to do something along those lines. Using computer vision to track the location of a given object or section from an image and have the programme change parameters from a plugin. This way I could automatize certain elements, such as camera whips or footsteps. &#xD;&#xA;&#xD;&#xA;As far as I know, there is no such thing out there.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11760" PostHistoryTypeId="2" PostId="6886" RevisionGUID="215aaf63-200c-48a3-9b16-bd807dfe275e" CreationDate="2011-03-27T16:13:42.483" UserId="310" Text="+1 for Twitter @bilekt3" ContentLicense="CC BY-SA 2.5" />
  <row Id="11761" PostHistoryTypeId="16" PostId="6886" RevisionGUID="215aaf63-200c-48a3-9b16-bd807dfe275e" CreationDate="2011-03-27T16:13:42.483" UserId="-1" />
  <row Id="11762" PostHistoryTypeId="2" PostId="6887" RevisionGUID="c5530993-fa84-4390-8a46-9bb57b4d3100" CreationDate="2011-03-27T17:09:20.000" UserId="202" Text="Hi all&#xD;&#xA;A friend of mine is working on a little doc (not commercial) about is journey in the US (we live in Italy). He did  some field recording, but missed the Amtrak onboard announcement when his train arrived at the New York station.&#xD;&#xA;&#xD;&#xA;Does anybody have that announcement recorded and doesn't mind to share it? &#xD;&#xA;&#xD;&#xA;Let me know&#xD;&#xA;&#xD;&#xA;Thanks in advance&#xD;&#xA;&#xD;&#xA;Davide" ContentLicense="CC BY-SA 2.5" />
  <row Id="11763" PostHistoryTypeId="1" PostId="6887" RevisionGUID="c5530993-fa84-4390-8a46-9bb57b4d3100" CreationDate="2011-03-27T17:09:20.000" UserId="202" Text="Amtrak onboard announcement New York" ContentLicense="CC BY-SA 2.5" />
  <row Id="11764" PostHistoryTypeId="3" PostId="6887" RevisionGUID="c5530993-fa84-4390-8a46-9bb57b4d3100" CreationDate="2011-03-27T17:09:20.000" UserId="202" Text="&lt;field-recording&gt;&lt;sharing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11765" PostHistoryTypeId="2" PostId="6888" RevisionGUID="b4478eca-df3c-4c0f-b7a2-264ddd4a746a" CreationDate="2011-03-27T17:33:25.937" UserId="845" Text="I have the announcement from the waiting lounge somewhere.  Would that work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11766" PostHistoryTypeId="5" PostId="6887" RevisionGUID="9683f3f0-2165-44e4-8235-854a736ebb51" CreationDate="2011-03-27T17:42:22.680" UserId="202" Comment="Corrected spelling" Text="Hi all&#xD;&#xA;A friend of mine is working on a little doc (not commercial) about his journey in the US (we live in Italy). He did  some field recording, but missed the Amtrak onboard announcement when his train arrived at the New York station.&#xD;&#xA;&#xD;&#xA;Does anybody have that announcement recorded and doesn't mind to share it? &#xD;&#xA;&#xD;&#xA;Let me know&#xD;&#xA;&#xD;&#xA;Thanks in advance&#xD;&#xA;&#xD;&#xA;Davide" ContentLicense="CC BY-SA 2.5" />
  <row Id="11767" PostHistoryTypeId="2" PostId="6889" RevisionGUID="6acc4838-f0b7-4193-9282-8320b5482126" CreationDate="2011-03-27T19:48:15.070" UserId="962" Text="Last summer I took my three year old son to a zoo. We saw a tiger that was walking restlessly in an outdoor cage. It came towards us and a inch thick glass was all that seperated us fron the tiger who stood 3 meters away. The tiger let a few roars out. It was honestly quite humbling and startling. It had a very low roar. Wish I would have had my H4n with me." ContentLicense="CC BY-SA 2.5" />
  <row Id="11768" PostHistoryTypeId="2" PostId="6890" RevisionGUID="67df47b1-aea4-47f9-b7b6-058043267d60" CreationDate="2011-03-27T20:25:59.317" UserId="18160" Text="I'm currently specing a new mix room to be built and wanted to get input if you're willing to share it on runoffs and how your line works:&#xD;&#xA;&#xD;&#xA;How many Pro Tools stations do you have on your dub stage? or If you've worked on a major dub-stage, what would be the ideal amount of Pro Tools systems?&#xD;&#xA;&#xD;&#xA;Are you set up to run all stems at once? Is this ideal to have?&#xD;&#xA;&#xD;&#xA;What is your workflow for running off your mixes?&#xD;&#xA;&#xD;&#xA;What do you wish you had set up that you don't for running off?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11769" PostHistoryTypeId="1" PostId="6890" RevisionGUID="67df47b1-aea4-47f9-b7b6-058043267d60" CreationDate="2011-03-27T20:25:59.317" UserId="18160" Text="Final Mix Runoff Workflow" ContentLicense="CC BY-SA 2.5" />
  <row Id="11770" PostHistoryTypeId="3" PostId="6890" RevisionGUID="67df47b1-aea4-47f9-b7b6-058043267d60" CreationDate="2011-03-27T20:25:59.317" UserId="18160" Text="&lt;mix&gt;&lt;stage&gt;&lt;dubbing-stage&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11771" PostHistoryTypeId="2" PostId="6891" RevisionGUID="5de6d9d7-55e0-4194-848a-fee453903363" CreationDate="2011-03-27T20:49:56.050" UserId="338" Text="There was some dialogue with a guys voice saying &quot;everyday&quot; but his mouth didn't move like that and spectral repair from izotope blurred it so now it matches the mouth and it sounds like he said mmm or hmm" ContentLicense="CC BY-SA 2.5" />
  <row Id="11772" PostHistoryTypeId="2" PostId="6892" RevisionGUID="401de190-c735-4b91-8d7e-6fac7560d663" CreationDate="2011-03-27T21:31:38.383" UserId="238" Text="Gggggggggreat!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[youtube]3b-utGn-UUI[/youtube]" ContentLicense="CC BY-SA 2.5" />
  <row Id="11773" PostHistoryTypeId="5" PostId="6841" RevisionGUID="cf46ba80-20c8-482a-a6d2-94bc8909d898" CreationDate="2011-03-27T22:12:22.327" UserId="845" Comment="added 16 characters in body; deleted 92 characters in body" Text="Hello kitty.&#xD;&#xA;http://www.youtube.com/watch?v=NonmwOcnQKQ&amp;feature=related" ContentLicense="CC BY-SA 2.5" />
  <row Id="11774" PostHistoryTypeId="2" PostId="6893" RevisionGUID="b1a8a087-dc93-4f22-896e-739e3a4e14b4" CreationDate="2011-03-27T23:41:03.753" UserId="285" Text="This is one of my most frustrating situations, How to have to recorder ready to go at all times without it becoming a burden and start dragging down your &quot;normal&quot; day to day life.  I have the Sony D50 and ideally I try to throw it in a bag so it is nearby where ever I go, thats great for work days when I have a bag with me already filled with hard drives and a laptop as I go to the studio or screenings around town.  But the problem is that the perfect sound tends to happen when you are just wondering killing time on the weekend and have nothing with you, and it drives me crazy when that sound gets away.  I got a ZoomH2 because it is small enough to pop in most pockets and I thought that would be my solution.  Even though its quality is not the best it is better to get the sound on a so-so recorder then not get it at all - right?  But my problem with the H2 is it seems to take forever to boot up, and by the time it does sometimes the sound is lost even though I had the recorder with me.  &#xD;&#xA;&#xD;&#xA;The same thing has happened in my house where something is happening out side and then by the time I run to the basement grab my recording rig and point the mic I have missed the event entirely.  So as of a month ago between recording gigs, I have been keeping my stereo shotgun mic in its blimp on a mic stand cabled up to my field recorder in my living room, ready to go when something great presents itself.  Now my real problem is convincing my wife this is a good long term idea, as this is not her version of interior decoration.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11775" PostHistoryTypeId="2" PostId="6894" RevisionGUID="b16c2eca-fd63-42f9-a60d-011fddcd94ca" CreationDate="2011-03-27T23:52:22.067" UserId="285" Text="That would be great to have.  Needed it two weeks ago though, where were you then?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11776" PostHistoryTypeId="2" PostId="6895" RevisionGUID="0fcd433e-d074-42bf-82b3-1f7a8cff9673" CreationDate="2011-03-28T00:36:08.660" UserId="693" Text="This weekend I went and brought my daughter to see Gnomeo &amp; Juliet.&#xD;&#xA;&#xD;&#xA;It was a well done flick. The animation was great, lots of laughs for adults as well as kids and so on, great performances by the voice actors and some awesome cameos (Hulk Hogan and Ozzy Osbourne, how awesome!) but what really caught me was the foley.&#xD;&#xA;&#xD;&#xA;Instead of using traditional footsteps they actually used the materials the characters were made out of. ie: in regards to foot steps; ceramic and/or concrete for the Gnomes, what sounded like metal rods for the Flamingo and etc. It was a great touch that really brought it all to life for me. The last thing I was expecting when going to see this was such a standout foley performance. My only gripe is that I wish there were more of it in there, which I'm sure it was... but it was sometimes mixed a little too low for my tastes.&#xD;&#xA;&#xD;&#xA;Does anyone know who the foley artist was on that? There isn't one listed on imdb. Only the recordist was listed.&#xD;&#xA;&#xD;&#xA;Can anyone name any other examples of your favorite foley that stands out above the rest? " ContentLicense="CC BY-SA 2.5" />
  <row Id="11777" PostHistoryTypeId="1" PostId="6895" RevisionGUID="0fcd433e-d074-42bf-82b3-1f7a8cff9673" CreationDate="2011-03-28T00:36:08.660" UserId="693" Text="Thoughtful Foley" ContentLicense="CC BY-SA 2.5" />
  <row Id="11778" PostHistoryTypeId="3" PostId="6895" RevisionGUID="0fcd433e-d074-42bf-82b3-1f7a8cff9673" CreationDate="2011-03-28T00:36:08.660" UserId="693" Text="&lt;foley&gt;&lt;foley-artist&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11779" PostHistoryTypeId="2" PostId="6896" RevisionGUID="b0edf400-9be3-492a-973d-9bacd28c81d7" CreationDate="2011-03-28T00:44:24.420" UserId="338" Text="Izotope Decrackle has a cellphone preset, you could output the crackle from that." ContentLicense="CC BY-SA 2.5" />
  <row Id="11780" PostHistoryTypeId="2" PostId="6897" RevisionGUID="cc2d674d-ff72-48fa-9a2f-2129bc84cbc2" CreationDate="2011-03-28T01:07:53.790" UserId="18160" Text="Foley Artist - Jack Stew&#xD;&#xA;Foley Artist - Andrea King&#xD;&#xA;Foley Artist - Nicolas Becker&#xD;&#xA;Foley Mixer - Ed Colyer&#xD;&#xA;Foley Mixer - Adam Mendez&#xD;&#xA;Foley Mixer - Glen Gathard&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Go here and you can see the full cast and credit list:&#xD;&#xA;&#xD;&#xA;http://movies.nytimes.com/movie/385176/Gnomeo-and-Juliet/credits&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Some of the best foley I have ever seen I've mentioned before here is that of &quot;The Lovely Bones&quot;.&#xD;&#xA;&#xD;&#xA;I love the part in the beginning when Stanley Tucci is building the doll-house and every piece of foley sounded like it was recorded to be it's harshest, and most violent and put the audience on edge just from the foley of building a doll-house. I am pretty sure this quality of recording was planned on purpose." ContentLicense="CC BY-SA 2.5" />
  <row Id="11781" PostHistoryTypeId="2" PostId="6898" RevisionGUID="0e561bae-7661-4dba-8748-da302838fe91" CreationDate="2011-03-28T02:03:58.920" UserId="29" Text="I've got my Sony PCM-D50 in a small zipper pouch with an emergency pair of earbuds, spare rechargeable batteries, and a couple of tiny cables (and room for a telephone coil pickup or contact mic). This stays in my daily carry-everything shoulder bag. That's for everyday life.&#xD;&#xA;&#xD;&#xA;When I'm hiking, traveling, or vacationing, I strip down to the recorder, earbuds, and spare batteries and all that lives in my camera bag (holster-style, worn over the shoulder), which I never go anywhere without or have stored securely elsewhere." ContentLicense="CC BY-SA 2.5" />
  <row Id="11782" PostHistoryTypeId="2" PostId="6899" RevisionGUID="fbb85a7b-967d-4ebf-91cc-aedc98a712eb" CreationDate="2011-03-28T04:08:04.613" UserId="338" Text="Only rich sound designers can afford smartphones" ContentLicense="CC BY-SA 2.5" />
  <row Id="11783" PostHistoryTypeId="2" PostId="6900" RevisionGUID="46e3878a-8268-4223-8744-6343fbcb3aed" CreationDate="2011-03-28T05:30:53.353" UserDisplayName="user49" Text="Another film with exceptionally characterful foley (&amp; mix) is Winged Migration&#xD;&#xA;&#xD;&#xA;If I remember right, the foley artist got a major credit (maybe not front credit, but a card/lead credit) and the work is beautiful, at times the foley turns into the score etc... &#xD;&#xA;I think it was the same team who also made Microcosmos, another film with beautiful detailed foley, for the amazing macro photography... &#xD;&#xA;&#xD;&#xA;Both films are documentaries but not in any usual sense&#xD;&#xA;&#xD;&#xA;http://www.imdb.com/title/tt0301727/&#xD;&#xA;http://www.imdb.com/title/tt0117040/&#xD;&#xA;&#xD;&#xA;(interesting IMDb trivia: &quot;Filmmakers exposed the eggs of some of the birds to the sounds of people and film cameras so that the birds would not be afraid of them later&quot;)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11784" PostHistoryTypeId="2" PostId="6901" RevisionGUID="893c0ff7-0db7-414b-9a30-8955b73be0b4" CreationDate="2011-03-28T08:05:50.370" UserId="348" Text="There are so many films where SFX and foley stand out above the rest. I love &quot;UP&quot; for the realism in the foley and it was mixed so well that the images and sound worked beautifully. Also, The Triplets of Bellville (Bellville Rendez-vous) for the foley. fantastic in it's realism and how it worked with the dark animation and the films somber mood. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11785" PostHistoryTypeId="2" PostId="6902" RevisionGUID="dc1a57a4-03cc-4f7b-aeae-71cfa41c7e1d" CreationDate="2011-03-28T09:57:06.473" UserId="261" Text="I'm thinking about swapping out my MBP 13&quot; hard drive for a 128 GB SSD, in the hope that it will be more battery efficient.&#xD;&#xA;&#xD;&#xA;Do any of you have experience with these drives?&#xD;&#xA;&#xD;&#xA;How is the battery life?&#xD;&#xA;Does read/write speed deteriorate with time?&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 2.5" />
  <row Id="11786" PostHistoryTypeId="1" PostId="6902" RevisionGUID="dc1a57a4-03cc-4f7b-aeae-71cfa41c7e1d" CreationDate="2011-03-28T09:57:06.473" UserId="261" Text="Anybody using a laptop with an SSD as the main drive?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11787" PostHistoryTypeId="3" PostId="6902" RevisionGUID="dc1a57a4-03cc-4f7b-aeae-71cfa41c7e1d" CreationDate="2011-03-28T09:57:06.473" UserId="261" Text="&lt;computer&gt;&lt;storage&gt;&lt;portable-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11788" PostHistoryTypeId="2" PostId="6903" RevisionGUID="4add45cf-5abf-49aa-8ac1-538773788245" CreationDate="2011-03-28T10:46:45.840" UserId="400" Text="I can't comment personally, but from what I've read, you'll notice extremely fast boot times for the system and applications. Read/Write speed does currently deteriorate with time due to the lack of TRIM support:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/TRIM&#xD;&#xA;&#xD;&#xA;But OSX 10.7 will add this. Formatting the drive would restore its read/write times but of course, if you're using it as an OS drive, that's hardly a solution.&#xD;&#xA;&#xD;&#xA;If you search around the Avid DUC, I' sure someone had PT running on one of the newer Macbook Airs, and those have static drives for their system, so that might give you an idea of the performance increase.&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;Joe" ContentLicense="CC BY-SA 2.5" />
  <row Id="11789" PostHistoryTypeId="2" PostId="6904" RevisionGUID="ed357dc7-a152-44e1-8e70-5b59022f7975" CreationDate="2011-03-28T11:39:55.227" UserId="961" Text="Hi Guys! my first post in this wonderful site. so many thanks in advance..&#xD;&#xA;&#xD;&#xA;what I'm looking for is a pro tools session, (feature film/drama sound design/editing session) for me to download, in order to see the session way of organization and work flow. &#xD;&#xA;&#xD;&#xA;I'm about to begin working on a feature film as a sound designer, and been a complete autodidact, I've started having fears and thoughts about my flow thinking maybe I'm not doing something right, and dreams about the dolby editor screaming at me and embarrassing me in front of the director and producer (I'm sure some of you know what I'm talking about (-:  )&#xD;&#xA;&#xD;&#xA;Anyway, i'd love to know what is the pro setup of work flow. for example : do they open a master bus for all the dialog and sync channels? and whats on it ? ( EQ? COMP? maybe noise reduction?) and if so, what do they do when the scene is changing? after all, you cant possibly have one EQ for all the dialog sound during 90 minutes film. &#xD;&#xA;&#xD;&#xA;Do they use at all on-line plugs or that everything is been process in the sorces with audio suit? &#xD;&#xA;&#xD;&#xA;in short , and sorry for been so clumsy, what I'm asking is, how do you handle so many scenes that needs so many different treats, in session and tracks wise.&#xD;&#xA;&#xD;&#xA;thank you so much for even read this.&#xD;&#xA;&#xD;&#xA;N.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11790" PostHistoryTypeId="1" PostId="6904" RevisionGUID="ed357dc7-a152-44e1-8e70-5b59022f7975" CreationDate="2011-03-28T11:39:55.227" UserId="961" Text="sound design demo session for protools?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11791" PostHistoryTypeId="3" PostId="6904" RevisionGUID="ed357dc7-a152-44e1-8e70-5b59022f7975" CreationDate="2011-03-28T11:39:55.227" UserId="961" Text="&lt;design&gt;&lt;demo&gt;&lt;session&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11792" PostHistoryTypeId="2" PostId="6905" RevisionGUID="67cc92d3-48c4-41be-8fa0-75069c7c140d" CreationDate="2011-03-28T14:21:08.943" UserId="845" Text="So, we all love our gigs/hobbies, right?  We have devoted our lives to hearing beyond the capabilities of a normal human being.  We work our ears to the bone getting everything right all the time.  Hours and days fine tuning the resonances in our room tone drones...&#xD;&#xA;&#xD;&#xA;Right after I read the new post on { Sound + Design }, Designing Sound, SoundWorks, Music of Sound, Audiotuts, sounDesign, and Sonic Terrain, and answer a couple of threads on SSD.  Ooooh and there's a shotgun mic shootout on YouTube that I've been meaning to get to, maybe I'll check that out.  And Ric Viers has a new video on Designing Sound, and there's that back issue interview with Randy Thom/Walter Murch/Ben Burtt/Alan Splet that someone posted about somewhere.  Oh and...&#xD;&#xA;&#xD;&#xA;Anybody got any suggestions for managing the business of keeping up on the business while still being able to get on with your business?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11793" PostHistoryTypeId="1" PostId="6905" RevisionGUID="67cc92d3-48c4-41be-8fa0-75069c7c140d" CreationDate="2011-03-28T14:21:08.943" UserId="845" Text="Procrastinate Schmrocrastinate" ContentLicense="CC BY-SA 2.5" />
  <row Id="11794" PostHistoryTypeId="3" PostId="6905" RevisionGUID="67cc92d3-48c4-41be-8fa0-75069c7c140d" CreationDate="2011-03-28T14:21:08.943" UserId="845" Text="&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11795" PostHistoryTypeId="2" PostId="6906" RevisionGUID="ae8114f2-b978-4947-954b-1a8110a6dbee" CreationDate="2011-03-28T14:32:10.393" UserId="194" Text="google reader and twitter.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;**google reader**&#xD;&#xA;&#xD;&#xA;I have my google reader loaded up with all of the sites you listed above and a few others, all sitting neatly in a folder labeled &quot;audio&quot;  SSD puts a new entry up for every question.&#xD;&#xA;&#xD;&#xA;I also have folders labeled &quot;film making&quot; &quot;politics&quot; &quot;creativity&quot; and &quot;sports&quot; full of various things that I like to wrap my head around.&#xD;&#xA;&#xD;&#xA;Keystrokes inside of google reader are simple, and have me zipping quickly through the various things the internets produce.  J is next, K is prev.  V kicks the website open in a new tab, and apple W closes the tab and returns me to the reader.  Presto, lightspeed info.&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;**twitter**&#xD;&#xA;&#xD;&#xA;I'm a recent convert, but now a true believer.  follow some of the people in that [twitter thread][1], then spend a moment exploring who they follow and look for anything else interesting.&#xD;&#xA;&#xD;&#xA;Typically I'll spend a moment looking through someone's tweets before following them.  If that first page of stuff doesn't look like something I've been missing out on then I don't follow. &#xD;&#xA;&#xD;&#xA;The twitter feed is like an info mainline to your brain.  Sometimes its inane, but if you're selective about what you put in that feed the signal to noise can get very good.&#xD;&#xA;&#xD;&#xA;--------&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2941/hey-guys-girls-so-who-tweets-here" ContentLicense="CC BY-SA 2.5" />
  <row Id="11796" PostHistoryTypeId="5" PostId="6906" RevisionGUID="5f3941a0-1ed2-4344-9f30-650e70a4bfce" CreationDate="2011-03-28T14:37:35.230" UserId="194" Comment="added 113 characters in body" Text="google reader and twitter.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;**google reader**&#xD;&#xA;&#xD;&#xA;I have my google reader loaded up with all of the sites you listed above and a few others, all sitting neatly in a folder labeled &quot;audio&quot;  SSD puts a new entry up for every question.&#xD;&#xA;&#xD;&#xA;I also have folders labeled &quot;film making&quot; &quot;politics&quot; &quot;creativity&quot; and &quot;sports&quot; full of various things that I like to wrap my head around.&#xD;&#xA;&#xD;&#xA;Keystrokes inside of google reader are simple, and have me zipping quickly through the various things the internets produce.  J is next, K is prev.  V kicks the website open in a new tab, and apple W closes the tab and returns me to the reader.  Presto, lightspeed info.&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;**twitter**&#xD;&#xA;&#xD;&#xA;I'm a recent convert, but now a true believer.  follow some of the people in that [twitter thread][1], then spend a moment exploring who they follow and look for anything else interesting.&#xD;&#xA;&#xD;&#xA;Typically I'll spend a moment looking through someone's tweets before following them.  If that first page of stuff doesn't look like something I've been missing out on then I don't follow. &#xD;&#xA;&#xD;&#xA;The twitter feed is like an info mainline to your brain.  Sometimes its inane, but if you're selective about what you put in that feed the signal to noise can get very good.&#xD;&#xA;&#xD;&#xA;--------&#xD;&#xA;&#xD;&#xA;both of these have nice iphone and ipad apps that let me check them out when I'm waiting around for anything.&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2941/hey-guys-girls-so-who-tweets-here" ContentLicense="CC BY-SA 2.5" />
  <row Id="11797" PostHistoryTypeId="2" PostId="6907" RevisionGUID="ef5f66fd-3f26-4bad-9a58-63a80831a763" CreationDate="2011-03-28T14:55:24.277" UserId="963" Text="Yea, I agree. Try to use elastic audio and warp markers.  You can cheat it by using a separate track and copy and paste the second part of that syllable to the 2nd track for emphasis" ContentLicense="CC BY-SA 2.5" />
  <row Id="11798" PostHistoryTypeId="2" PostId="6908" RevisionGUID="320e9302-c724-4727-aae7-98f1c8907899" CreationDate="2011-03-28T15:14:45.430" UserId="220" Text="You could really make a full time career out of keeping up with professional and casual publications.  The key is prioritizing and setting up dedicated reading time.&#xD;&#xA;&#xD;&#xA;I have about 45 minutes of &quot;coffee time&quot; each morning where I read interesting, sometimes useful information, as well as a few webcomics, reading the news, and checking some unrelated blogs.  &#xD;&#xA;&#xD;&#xA;After that, it's work time.  During my lunch break, I spend time reading more serious publications that I know will directly benefit me.&#xD;&#xA;&#xD;&#xA;Other than that, I have a specific amount of time each week I schedule for searching for new work and formal training for certification, new software skills, etc.  &#xD;&#xA;&#xD;&#xA;Best thing to do is sort through all of your feeds and sort them into &quot;just for fun,&quot;  &quot;industry related,&quot; and &quot;knowledge base growth.&quot;  While it is important to be connected to the industry, there is more value in information that benefits you in a direct way.  &#xD;&#xA;&#xD;&#xA;Good luck sorting through the pile!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11799" PostHistoryTypeId="2" PostId="6909" RevisionGUID="357f5c57-2d57-4052-8ccb-2a56e51562bd" CreationDate="2011-03-28T15:36:42.960" UserId="393" Text="One of the nice features of looking like I do is that no one really notices WHAT I'm doing.  Still, just use it as you want -- hold it like a gun if that's your thing, or set it on a tripod and just watch.  People will generally only hassle you if you look like you're not supposed to be doing what you're doing, and you're hardly breaking any law recording sound.&#xD;&#xA;&#xD;&#xA;I read once of someone carrying business cards that said something along the lines of:&#xD;&#xA;&#xD;&#xA;&quot;(Please read silently)  &#xD;&#xA;I'm recording sound, not video.  &#xD;&#xA;Please refrain from asking me questions.  Thank you.&quot;&#xD;&#xA;&#xD;&#xA;That may help, too." ContentLicense="CC BY-SA 2.5" />
  <row Id="11800" PostHistoryTypeId="2" PostId="6910" RevisionGUID="05a568ce-865f-4c01-95d7-45716e5ccd1e" CreationDate="2011-03-28T15:38:12.003" UserId="338" Text="I have a dedicated time for internet surfing and I close my mail program and turn off my phone when I'm clicking away." ContentLicense="CC BY-SA 2.5" />
  <row Id="11801" PostHistoryTypeId="2" PostId="6911" RevisionGUID="f621f652-d43c-49c6-8d27-c19041296d55" CreationDate="2011-03-28T15:47:24.280" UserId="338" Text="I dont think there is any one way to do it.  The best idea is to experiment!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11803" PostHistoryTypeId="2" PostId="6913" RevisionGUID="bc5725e8-5327-4886-82b0-d311f2dc58e4" CreationDate="2011-03-28T16:26:51.057" UserId="182" Text="I put the hybrid disk mentioned by C3Sound in my 2007 MBP. It's a Seagate Momentus XT 500 GB with 4 GB flash. It runs all right and is quite a bit faster than the stock drive, but it's not the holy grail that the manufacturer wants you to believe it is:&#xD;&#xA;&#xD;&#xA;- You have no control over what goes on the solid state part, that's automatic (the files that are used the most go on the 4 GB part).&#xD;&#xA;- There are some problems with the drive spinning down at the wrong time, and then immediately spinning back up. This causes the interface of my DAW to freeze for a few seconds, though audio continues without interruptions. This is supposed to be fixed with a firmware update, but I haven't tested that yet because the update tool is windows only.&#xD;&#xA;- It's not nearly as fast as a proper SSD, say a Crucial or Corsair Vertex or Intel drive.&#xD;&#xA;- It actually uses more power, generates more heat and makes more noise compared to the stock drive, because the stock one runs at 5400 rpm and this one at 7200.&#xD;&#xA;&#xD;&#xA;So it's a compromise between storage space and speed for a low price. If you want speed and battery efficiency, I'd suggest a proper ssd, with an external 2.5&quot; 5400 rpm hard drive for storage." ContentLicense="CC BY-SA 2.5" />
  <row Id="11805" PostHistoryTypeId="2" PostId="6914" RevisionGUID="3e9d8276-6a3c-47e3-ad03-c96c4f0070cb" CreationDate="2011-03-28T17:04:33.407" UserId="418" Text="I have tons from LIRR, track announcements, onboard, waiting area etc. Nothing Amtrak-specific but they are basically the same. Let me know if you are interested and I'll try to dig something up. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11806" PostHistoryTypeId="2" PostId="6915" RevisionGUID="25de66d7-1ce1-4422-84d8-1193c5c96e41" CreationDate="2011-03-28T17:34:52.747" UserId="315" Text="There are usually 3 PT stations on a dub stage. One for the the fx editor, one for the dialog editor, and one for the music editor. The mixers often also have monitors/mouse set up on some sort of kvm switch so they can look, take control of any of the three systems while they are mixing. The stems are then usually routed to a recorder and/or additional PT rig in the machine room and recorded all at once.&#xD;&#xA;&#xD;&#xA;This system is efficient and works well when every station has a talented person behind it  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11807" PostHistoryTypeId="2" PostId="6916" RevisionGUID="0a43288e-2a72-4770-a556-39e6c9a38543" CreationDate="2011-03-28T17:45:20.140" UserId="18160" Text="Here is what I have gleaned in my experiences:&#xD;&#xA;&#xD;&#xA;For a 90+ minute film there is usually a Pro Tools session for each reel of film.&#xD;&#xA;&#xD;&#xA;This can also be broken down to a Pro Tools session for each different element of the soundtrack:&#xD;&#xA;&#xD;&#xA;Dialogue - FX - Music&#xD;&#xA;&#xD;&#xA;And the FX can further be broken down:&#xD;&#xA;&#xD;&#xA;- Hard FX&#xD;&#xA;- Foley&#xD;&#xA;- Backgrounds&#xD;&#xA;- Gunshots (if there is a lot of them in the film and they play a key role)&#xD;&#xA;- etc. etc. etc.&#xD;&#xA;&#xD;&#xA;These sessions are then usually pre-dubed, meaning brought to a dubbing stage and mixed on their own and run off to a 5.1 stem which is then compiled with the other stems as laid out above. There is no limit to the amount of stems you can create, but when you get to above a certain amount of stems it may not be worth the trouble of running stems because you are left with so many..&#xD;&#xA;&#xD;&#xA;I have also seen films be mixed all in one session with all elements inside it at once. To some extent how you go about organizing your sessions is the equipment you have available to you and what you find works best for you.&#xD;&#xA;&#xD;&#xA;Anyway, I think you would learn a lot if you read this article from Designing Sound:&#xD;&#xA;http://designingsound.org/2010/03/erik-aadahl-special-editing-for-the-mix/&#xD;&#xA;&#xD;&#xA;Check that out. There are also good tutorials on Designing Sound TV ( http://designingsound.tv/ ) on how Pro Tools sessions are used with aux buses, plug-ins, etc. etc. and the workflow of it. There is a lot to it and I unfortunately don't have the time to write it all out but if you have specific questions after you explore a bit at those sites let us know and we'll be happy to help further.&#xD;&#xA;&#xD;&#xA;Also, Chris is right wherein there is no right way to do it. There are ways that I have found to be the most optimum sonic quality and the most efficient, but in the end, if it sounds good it's good." ContentLicense="CC BY-SA 2.5" />
  <row Id="11808" PostHistoryTypeId="2" PostId="6917" RevisionGUID="3b476cfb-22c4-4333-8744-7e56d212e936" CreationDate="2011-03-28T17:47:17.940" UserId="40" Text="@colinhart&#xD;&#xA;&#xD;&#xA;Love twitter" ContentLicense="CC BY-SA 2.5" />
  <row Id="11809" PostHistoryTypeId="16" PostId="6917" RevisionGUID="3b476cfb-22c4-4333-8744-7e56d212e936" CreationDate="2011-03-28T17:47:17.940" UserId="-1" />
  <row Id="11810" PostHistoryTypeId="2" PostId="6918" RevisionGUID="d4c4a930-b780-4b28-afce-c00b5bf78f4b" CreationDate="2011-03-28T18:03:56.207" UserId="845" Text="A revelatory idea I picked up recently from the honourable Mr. Prebble is recording at the highest bitrate I possibly can to facilitate pitch shifting.  Dropping a 192k file into a 48k or 96k session without converting forces quarter or half-time playback for the particular file.  This does away with having to worry about artifacts generated by sketchy time and pitch stretch algorithms. Perfect for creating ambiences, rumbles, and monster voices." ContentLicense="CC BY-SA 2.5" />
  <row Id="11811" PostHistoryTypeId="5" PostId="6915" RevisionGUID="f35d7cac-67c8-48b9-9457-feef158f3c45" CreationDate="2011-03-28T18:25:07.097" UserId="315" Comment="deleted 4 characters in body" Text="There are usually 3 PT stations on a dub stage. One for the fx editor, one for the dialog editor, and one for the music editor. The mixers often also have monitors/mouse set up on some sort of kvm switch so they can look, take control of any of the three systems while they are mixing. The stems are then usually routed to a recorder and/or additional PT rig in the machine room and recorded all at once.&#xD;&#xA;&#xD;&#xA;This system is efficient and works well when every station has a talented person behind it  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11812" PostHistoryTypeId="2" PostId="6919" RevisionGUID="3470248b-1d3c-4021-a1bc-124b3bc7bf53" CreationDate="2011-03-28T18:33:47.213" UserDisplayName="user6508" Text="To add to what @Utopia said, once you've looked at the links for info about layout, I've always found it extremely helpful to reach out to the mixer who's going to be dealing with your material.  At our facility we have a general template and layout for our shows, but each of the 4 sets of mixers like things layed out a bit differently.  This also opens up the channels of communication." ContentLicense="CC BY-SA 2.5" />
  <row Id="11813" PostHistoryTypeId="2" PostId="6920" RevisionGUID="bd0e246c-b520-4f38-b641-491ab95d4103" CreationDate="2011-03-28T19:18:09.367" UserId="6411" Text="I know I've read stories on here about some of you buying thrift store mics that you take in and get tweaked into great mics at amazing bargains.&#xD;&#xA;&#xD;&#xA;The 414 at work has been giving us some issues that lead us to believe a good once over by a proper technician would be in order. Only problem is, I have no idea what kind of tech we should send it out to.&#xD;&#xA;&#xD;&#xA;So when you get your super pawn shop bargain or your old standby mic just starts performing badly, who do you send it out to? Back to the manufacturer? Do you have a particular guy you recommend? Can you find someone in the yellow pages? What kind of tech am I looking for?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11814" PostHistoryTypeId="1" PostId="6920" RevisionGUID="bd0e246c-b520-4f38-b641-491ab95d4103" CreationDate="2011-03-28T19:18:09.367" UserId="6411" Text="Microphone Rehab / Reconditioning" ContentLicense="CC BY-SA 2.5" />
  <row Id="11815" PostHistoryTypeId="3" PostId="6920" RevisionGUID="bd0e246c-b520-4f38-b641-491ab95d4103" CreationDate="2011-03-28T19:18:09.367" UserId="6411" Text="&lt;equipment&gt;&lt;microphone&gt;&lt;repair&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11817" PostHistoryTypeId="2" PostId="6922" RevisionGUID="ff570a59-52fc-41f7-88a9-1a380d448aac" CreationDate="2011-03-28T19:20:19.640" UserId="219" Text="You can read about this in many books (off the top of my head I'd say *Dialogue Editing for Motion Picture* or *Practical Art of Motion Picture Sound*), although I did watch [this video][1] about this a few weeks ago on Designing Sound. &#xD;&#xA;&#xD;&#xA;Do some research about it and actually struggle (or not, but I reckon you would) to understand what is needed and why it is that way. I don't think you'll be able to hide that it is your first time, although you shouldn't be concerned by that issue. Rather put all your attention to providing material that's easy to work with for whoever will use it (the mixer maybe).&#xD;&#xA;&#xD;&#xA;I hope you'll enjoy the project!&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/11/jamey-scott-special-stem-workflow-video-tutorial/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11819" PostHistoryTypeId="2" PostId="6923" RevisionGUID="f03db858-5040-4ad9-b10d-cf94aef3ff92" CreationDate="2011-03-28T19:56:08.023" UserId="964" Text="I like Bob Payne at vintage loop.  He has taken in mics that no sane person would try to fix.  He has also traded for less-valuable but more functional new stock that he has for sale." ContentLicense="CC BY-SA 2.5" />
  <row Id="11820" PostHistoryTypeId="2" PostId="6924" RevisionGUID="3afe214f-b95c-454d-80cc-436709830aba" CreationDate="2011-03-28T19:56:27.323" UserId="432" Text="When our AKG C12-VR started acting funny, we called up AKG and got an RMA number. They have a few specific technicians that they work with, I got the impression that they weren't working directly for AKG, but were contractors.&#xD;&#xA;&#xD;&#xA;Long story short...it was worth it, in my opinion, to send it into a manufacturer approved tech. You may want to contact www.recordinghacks.com and ask for some recommendations to get some other options though." ContentLicense="CC BY-SA 2.5" />
  <row Id="11821" PostHistoryTypeId="2" PostId="6925" RevisionGUID="baca7d16-0fc5-4816-a290-e7707f6d5adc" CreationDate="2011-03-28T20:26:34.310" UserId="558" Text="I was doing some research on a nice set of in-ear  buds mostly for iPod use.  Thought I'd start here.  &#xD;&#xA;&#xD;&#xA;I had some shures that were pretty nice, but they broke (cable separated from bud) a while back and I am sick of my Apple buds.  $150-250 price range.  Ruggedness is a good thing.&#xD;&#xA;&#xD;&#xA;any thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11822" PostHistoryTypeId="1" PostId="6925" RevisionGUID="baca7d16-0fc5-4816-a290-e7707f6d5adc" CreationDate="2011-03-28T20:26:34.310" UserId="558" Text="Earbud recommendations?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11823" PostHistoryTypeId="3" PostId="6925" RevisionGUID="baca7d16-0fc5-4816-a290-e7707f6d5adc" CreationDate="2011-03-28T20:26:34.310" UserId="558" Text="&lt;earbuds&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11824" PostHistoryTypeId="2" PostId="6926" RevisionGUID="ba762e4a-c76f-4b00-bd91-8e6d815a8d44" CreationDate="2011-03-28T20:26:55.477" UserId="18160" Text="What is your source material and what exactly is the sound for?&#xD;&#xA;&#xD;&#xA;I have a few ideas but if I knew what sound you were trying to make more fluffy and soft I think I could give a better suggestion." ContentLicense="CC BY-SA 2.5" />
  <row Id="11825" PostHistoryTypeId="2" PostId="6927" RevisionGUID="3e55291d-3ee3-4919-8e55-d6da9b86c567" CreationDate="2011-03-28T20:29:38.250" UserId="18160" Text="I was given a pair of Monster buds which were quite nice but they had that sort of &quot;bass booster&quot; boom box quality to them.&#xD;&#xA;&#xD;&#xA;But, I prefer the Ultimate Ears collection - I own a pair of custom in-ear molds for stage monitoring as well as a cheaper universal-fit model. They come with 3 different sizes of ear bud fittings to best fit your ear.&#xD;&#xA;&#xD;&#xA;http://ultimateears.com/en-us/products/universal&#xD;&#xA;&#xD;&#xA;They will have a booth at NAB this year if you want to wait and try their whole line.&#xD;&#xA;&#xD;&#xA;Please do keep your Apple stock ear-buds, though. I keep a pair around to cross-check my mixes because this is what 90% of the people use on iPods. So they're still good to have a pair around." ContentLicense="CC BY-SA 2.5" />
  <row Id="11826" PostHistoryTypeId="5" PostId="6820" RevisionGUID="d52031d5-968b-4d76-bd86-69f1400d121d" CreationDate="2011-03-28T20:35:49.583" UserId="61" Comment="deleted 3 characters in body" Text="I have an original MBox that doesn't play well with PT9 HD. Poor thing just sits on the shelf all day, waiting to be put to good use. Can I use it as an aggregate device with the new version of Pro Tools? If so, how? Do I connect thru USB, SPDIF, Line Out, or...?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11827" PostHistoryTypeId="2" PostId="6928" RevisionGUID="9a5bd1f5-f559-4089-a024-a64f179316e0" CreationDate="2011-03-28T21:26:37.593" UserId="37" Text="i dunno. getting some of these myself. think i'm not alone......&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i51.tinypic.com/34es5k7.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="11828" PostHistoryTypeId="2" PostId="6929" RevisionGUID="29700291-b911-4c16-93d3-c40b5d52c156" CreationDate="2011-03-28T21:49:32.740" UserId="6411" Text="Take this with a large gain of salt as I don't have PT9 yet, so I haven't personally had my hands on it to see this first hand:&#xD;&#xA;&#xD;&#xA;As I understand PT9's use of the term &quot;aggregate devices&quot;, it basically means non-Avid audio hardware/software interfaces. So, for example, you can set up a [MOTU Traveller mk3][1], [Cycling 74's Soundflower][2] or even your Mac's Line In as an input device under Setup &gt; Hardware Setup and have it pop up on your Setup &gt; I/O page. However, the devices still connect in the same USB2/Firewire/System Extension manner that they normally would be used with any other DAW.&#xD;&#xA;&#xD;&#xA;This might explain it a little better (it has visual aids):&#xD;&#xA;[Aggregate Devices Function Demo][3]&#xD;&#xA;&#xD;&#xA;But, because Avid's [Pro Tools 9.0 Approved Audio Interfaces and Peripherals][4] page has this little disclaimer:&#xD;&#xA;&#xD;&#xA;&gt; ***Please Note:** The original Mbox (1st generation) and Digi 001 are not compatible with Pro Tools 9, and are not eligible for the Pro Tools LE to Pro Tools 9 Crossgrade. One of the above Avid audio interfaces is required for the special Pro Tools 9 Crossgrade from LE pricing.*&#xD;&#xA;&#xD;&#xA;I'd imagine that you're simply outta luck on using that original MBox with PT9. I'd go a step further to blame it on the original MBox's older USB input vs. USB2 that I would expect to see in the specs of the devices that are approved. But now I'm just hypothesizing, and making sweeping assumptions. So, let's just forget that last part.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.motu.com/products/motuaudio/traveler-mk3/&#xD;&#xA;  [2]: http://cycling74.com/products/soundflower/&#xD;&#xA;  [3]: http://www.youtube.com/watch?v=-a-BenGz2oo&#xD;&#xA;  [4]: http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=380563" ContentLicense="CC BY-SA 2.5" />
  <row Id="11829" PostHistoryTypeId="2" PostId="6930" RevisionGUID="e92f46b1-5cee-40d0-948c-e924d0e3680d" CreationDate="2011-03-28T22:12:43.543" UserId="943" Text="I cannot recommend buds at all. They are too dangerous in terms of both completely blocking the sounds of the outside world and permitting spurious sound levels to get directly to your eardrum. Besides which, music is mixed as though people with entire ears (including the pinna) are listening. By bypassing the outer ears you are changing the sound of what you are hearing.&#xD;&#xA;&#xD;&#xA;Buds for on-stage monitoring where levels are controlled by the engineer are another matter." ContentLicense="CC BY-SA 2.5" />
  <row Id="11830" PostHistoryTypeId="5" PostId="6928" RevisionGUID="0578b8e1-28ef-421b-b178-4619984e4762" CreationDate="2011-03-28T22:38:28.047" UserId="37" Comment="added 470 characters in body" Text="i dunno. getting some of these myself. think i'm not alone......&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;I also noticed that PT9 uninstalls the Mbox 2 Coreaudio driver/extension and replaces it with a &quot;Digi Coreaudio device&quot; one. I imagine if you manage to get your original Mbox 1 running in CoreAudio mode, then PT9 will be happy using it. Yet I suspect they wouldn't want to do anything CoreAudio on that box.&#xD;&#xA;&#xD;&#xA;I suspect the first Mbox was made by Focusrite so that might help to a certain extent when tracking a driver (esp via the osx86 community). I wouldn't bet on it.&#xD;&#xA;&#xD;&#xA;  [1]: http://i51.tinypic.com/34es5k7.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="11831" PostHistoryTypeId="2" PostId="6931" RevisionGUID="6ef03c07-9b43-42e4-9e58-b4bacd29ea79" CreationDate="2011-03-28T23:19:20.473" UserId="18160" Text="+1 on Google Reader. It makes viewing updates and new posts of blogs so much simpler.&#xD;&#xA;&#xD;&#xA;I make it a point to have my iPad or my laptop by my side while I work because I am constantly consolidating or exporting files and in that 5 minutes I can help someone on here or read a bit of an interview and pause it when the export is done and keep working and resume reading at the next break. (Like right now I'm consolidating a mix I just completed and then exporting it for submission).&#xD;&#xA;&#xD;&#xA;It's also useful to stop and read for a bit in silence while you're editing or mixing to give your ears a rest and reboot your creativity.&#xD;&#xA;&#xD;&#xA;Bruce Swedien said he still reads industry magazines and info at least 2 hours a day." ContentLicense="CC BY-SA 2.5" />
  <row Id="11832" PostHistoryTypeId="5" PostId="6931" RevisionGUID="053cd7eb-eb7d-4a94-87d4-10e853fec9ca" CreationDate="2011-03-28T23:26:02.043" UserId="18160" Comment="added 20 characters in body" Text="+1 on Google Reader. It makes viewing updates and new posts of blogs so much simpler.&#xD;&#xA;&#xD;&#xA;I make it a point to have my iPad or my laptop by my side while I work because I am constantly consolidating or exporting files and in that 5 minutes I can help someone on here or read a bit of an interview and pause it when the export is done and keep working and resume reading at the next break. (Like right now I'm consolidating a mix I just completed and then exporting it for submission).&#xD;&#xA;&#xD;&#xA;It's also useful to stop and read for a bit in silence while you're editing or mixing to give your ears a rest and reboot your creativity.&#xD;&#xA;&#xD;&#xA;Top pro mixers I have worked with say they still read industry magazines and info at least 2 hours a day." ContentLicense="CC BY-SA 2.5" />
  <row Id="11833" PostHistoryTypeId="5" PostId="6905" RevisionGUID="97a8f275-4be3-42a1-8ce4-4bfd65401b00" CreationDate="2011-03-28T23:37:56.577" UserId="845" Comment="Added info; edited body" Text="So, we all love our gigs/hobbies, right?  We have devoted our lives to hearing beyond the capabilities of a normal human being.  We work our ears to the bone getting everything right all the time.  Hours and days fine tuning the resonances in our room tone drones...&#xD;&#xA;&#xD;&#xA;Right after I read the new post on { Sound + Design }, Designing Sound, SoundWorks, Music of Sound, Audiotuts, sounDesign, and Sonic Terrain, and answer a couple of threads on SSD.  Ooooh and there's a shotgun mic shootout on YouTube that I've been meaning to get to, maybe I'll check that out.  And Ric Viers has a new video on Designing Sound, and there's that back issue interview with Randy Thom/Walter Murch/Ben Burtt/Alan Splet that someone posted about somewhere.  Oh and...&#xD;&#xA;&#xD;&#xA;Anybody got any suggestions for managing the business of keeping up on the business while still being able to get on with your business?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;Edit:  &#xD;&#xA;&#xD;&#xA;Just discovered that my online RSS reader NetVibes now has a mobile version of their site, which you can turn into a WebApp.  So now I can catch up with all of my reading on the bus to work... aaaand spend all of my money on Bandwidth overages.&#xD;&#xA;It also has a Read Later function so I don't have to read everything NOW for fear of never being able to find it again in the wash of textNoise. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11834" PostHistoryTypeId="2" PostId="6932" RevisionGUID="06dcc148-45c3-4000-ba75-3f80886cedb2" CreationDate="2011-03-29T01:21:04.050" UserId="338" Text="Wow, I have now discovered the purity of downward expansion." ContentLicense="CC BY-SA 2.5" />
  <row Id="11835" PostHistoryTypeId="2" PostId="6933" RevisionGUID="5cd88ff0-f25e-43fb-943d-9cd66c9f68d7" CreationDate="2011-03-29T01:29:27.420" UserId="18160" Text="One trick I like using is one I learned when someone taught me how pickpockets steal from you.&#xD;&#xA;&#xD;&#xA;Now, hear me out:&#xD;&#xA;&#xD;&#xA;Pickpockets bump into you at another spot of your body, like your arm, and while they bump into you they also reach in your pocket and steal your wallet. The trick is that you're being hit in the shoulder or arm and this is where your attention goes to and you don't notice that you also have someone reaching into your pocket to steal your wallet.&#xD;&#xA;&#xD;&#xA;I have sometimes (not all the time) used this to distract the audience's attention to something blatantly obvious like an out-of-sync ADR line that can't be helped or a noisy recording.&#xD;&#xA;&#xD;&#xA;The last time I used this successfully was in a music video where the director wanted to hear the person the camera was focused on but I didn't have the original dialogue because it was a b-roll camera which wasn't taking good audio so I didn't have the line at all. I edited it together from other lines the same person said in a different scene and the sync was OK but not perfect. The scene was inside a diner, so I put in an effect of someone dropping plates right when the camera focused on her so you hear this a bit more predominantly than the dialogue, but you still hear the dialogue. This helped the fact that it wasn't what the person originally said but it worked because you don't really notice it was a bit out of sync because I used this &quot;pickpocket&quot; type of technique, distracting the audience for a moment with another sound and it worked pretty good I think. At least the executives on the approval lines didn't seem to notice. Beware over-doing it because in most cases you'll need that noisy line of dialogue to be clearly understood, in which case this technique is pretty much useless. But I thought I'd mention it anyway! :-) Also, always check your pockets when someone &quot;accidentally&quot; bumps into you in the airport or subway or other crowded places." ContentLicense="CC BY-SA 2.5" />
  <row Id="11836" PostHistoryTypeId="2" PostId="6934" RevisionGUID="ce3dedb0-aa32-46b5-bdf9-17dad3015c9f" CreationDate="2011-03-29T03:25:02.693" UserId="393" Text="I've said it before, and I'll probably say it again: I kind of hate the Wilhelm Scream.  It's overused, to the point that people with absolutely no knowledge of who Ben Burtt is can recognize it -- and when you hear it, it ALWAYS takes you out of the film.  It's so cliche that it's cliche to mention how cliche it is.&#xD;&#xA;&#xD;&#xA;That doesn't mean I don't respect it... Every good thing needs a few inside jokes and subtle nods to it's forefathers, which the Wilhelm Scream really is.  But the way the Scream is used now-a-days isn't getting the job done.  Instead, it's become &quot;Hey, Ben... Didja hear me use your sound?!  I pretty much muted EVERYTHING else so you couldn't miss it...&quot;&#xD;&#xA;&#xD;&#xA;I want to change that.&#xD;&#xA;&#xD;&#xA;First, a question: **What are some films / games / radio dramas that use the Wilhelm Scream in a way that's appropriate -- or, better yet, secret and subtle?**&#xD;&#xA;&#xD;&#xA;And, second, a challenge: **In your next project, or the one after that, or even one specifically for this, hide the Wilhelm Scream some place, and let us find it.** Instead of Where's Waldo (or Wally for those of you who aren't Americans), let's play Where's Wilhelm.&#xD;&#xA;&#xD;&#xA;For example, [At :40][1], I could have sworn the Scream was slipped in there.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.madman.com.au/catalogue/view/13969/the-lost-thing" ContentLicense="CC BY-SA 2.5" />
  <row Id="11837" PostHistoryTypeId="1" PostId="6934" RevisionGUID="ce3dedb0-aa32-46b5-bdf9-17dad3015c9f" CreationDate="2011-03-29T03:25:02.693" UserId="393" Text="Where's Wilhelm?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11838" PostHistoryTypeId="3" PostId="6934" RevisionGUID="ce3dedb0-aa32-46b5-bdf9-17dad3015c9f" CreationDate="2011-03-29T03:25:02.693" UserId="393" Text="&lt;wilhelm-scream&gt;&lt;challenge&gt;&lt;social&gt;&lt;subtlety&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11839" PostHistoryTypeId="2" PostId="6935" RevisionGUID="51cd30d7-0f20-4ddc-9259-c00dca2211aa" CreationDate="2011-03-29T04:13:03.053" UserId="845" Text="I remember watching a video somewhere online with a strange looking man talking about the Wilhelm scream.  He was some kind of film sound historian.  Anyway, according to him, your idea was exactly what those guys were doing.  For about 20 years the Wilhelm was a Hollywood inside joke.  They would put it into literally everything and wait/watch to see if anyone noticed.  Only in recent years have nerdlingers like us caught on to it and started to moan about it being clich&amp;eacute;.  I too rather dislike it, but probably only because I didn't come up with the idea myself..." ContentLicense="CC BY-SA 2.5" />
  <row Id="11840" PostHistoryTypeId="2" PostId="6936" RevisionGUID="34a65b39-e120-4e80-b492-ddff1ea1967e" CreationDate="2011-03-29T04:21:39.573" UserId="845" Text="I picked this idea up from some blog or another.&#xD;&#xA;  &#xD;&#xA;Go to your work and nab a few of those cantilevered paperclips (the ones that really, really hurt when you stick your finger in and let it close). Then do this:&#xD;&#xA;&#xD;&#xA;![Ghetto Patchbay #1][1]&#xD;&#xA;&#xD;&#xA;(In 1,2 and Out 1,2)&#xD;&#xA;&#xD;&#xA;And this:&#xD;&#xA;&#xD;&#xA;![Ghetto Patchbay #2][2]&#xD;&#xA;&#xD;&#xA;Poor Man's patchbay!&#xD;&#xA;&#xD;&#xA;The intended application was for USB cables that get used for multiple devices; to keep them from getting their way and falling behind and off the side of your desk.  In this case it works particularly nicely.  You will note that in the top photo, the cables are labelled 1, 2 and Out1, Out2.  Simply put, I've built the world's ghettoest patchbay.  It really is nice, because I use a lot of analog guitar pedals as outboard effects.  This way my I/O, such as it is, is kept tidy, and I don't have to do any reaching around the back of my setup to plug/unplug cables, knocking expensive things over.  Also, I don't have to drop a bunch of money to buy a 36 channel patchbay, of which I'll use maybe 6.  I can expand/contract it as needed at virtually no expense.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://3.bp.blogspot.com/-tReU7Q2gcsU/TZFUMWko_zI/AAAAAAAAABk/bl6Skrm0GAg/s1600/Cable+clips+1+001.JPG&#xD;&#xA;  [2]: http://1.bp.blogspot.com/-AC4PwVcIYyM/TZFUGwYyUZI/AAAAAAAAABg/LVfiN9LCYLE/s1600/Cable+clips+1+002.JPG" ContentLicense="CC BY-SA 2.5" />
  <row Id="11841" PostHistoryTypeId="1" PostId="6936" RevisionGUID="34a65b39-e120-4e80-b492-ddff1ea1967e" CreationDate="2011-03-29T04:21:39.573" UserId="845" Text="A Patchbay for Anyone Who Is Broke." ContentLicense="CC BY-SA 2.5" />
  <row Id="11842" PostHistoryTypeId="3" PostId="6936" RevisionGUID="34a65b39-e120-4e80-b492-ddff1ea1967e" CreationDate="2011-03-29T04:21:39.573" UserId="845" Text="&lt;diy&gt;&lt;patchbay&gt;&lt;organization&gt;&lt;creative-spaces&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11843" PostHistoryTypeId="2" PostId="6937" RevisionGUID="b4c2741a-772d-4b62-a85e-56362f426f01" CreationDate="2011-03-29T04:33:29.013" UserId="18160" Text="In Tron, one of the bikers in the light bike scenes that gets killed, they digitally distorted the wilhelm scream.&#xD;&#xA;&#xD;&#xA;This can be heard in the Soundworks collection special sound panel on Tron." ContentLicense="CC BY-SA 2.5" />
  <row Id="11844" PostHistoryTypeId="5" PostId="6937" RevisionGUID="5890a9a9-4190-4bec-852f-52fa44e32695" CreationDate="2011-03-29T04:38:43.023" UserId="18160" Comment="added 80 characters in body" Text="In Tron, one of the bikers in the light bike scenes that gets killed, they digitally distorted the wilhelm scream.&#xD;&#xA;&#xD;&#xA;This can be heard in the Soundworks collection special sound panel on Tron.&#xD;&#xA;&#xD;&#xA;I didn't notice it when I watched it in theaters, so I guess that qualifies." ContentLicense="CC BY-SA 2.5" />
  <row Id="11845" PostHistoryTypeId="2" PostId="6938" RevisionGUID="cfd8089a-5701-4946-8099-0704744a63e0" CreationDate="2011-03-29T04:39:23.220" UserId="845" Text="Just tried out your Sound Doodle.  Very enjoyable.  Still figuring out some of the functionality, but I likes it.&#xD;&#xA;&#xD;&#xA;*Doffs Hat*" ContentLicense="CC BY-SA 2.5" />
  <row Id="11846" PostHistoryTypeId="1" PostId="6938" RevisionGUID="cfd8089a-5701-4946-8099-0704744a63e0" CreationDate="2011-03-29T04:39:23.220" UserId="845" Text="High-Five Mr. Spitz" ContentLicense="CC BY-SA 2.5" />
  <row Id="11847" PostHistoryTypeId="3" PostId="6938" RevisionGUID="cfd8089a-5701-4946-8099-0704744a63e0" CreationDate="2011-03-29T04:39:23.220" UserId="845" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11848" PostHistoryTypeId="2" PostId="6939" RevisionGUID="b9aba60a-94d1-4f8d-bae5-fe61c1aa7074" CreationDate="2011-03-29T05:56:41.447" UserId="965" Text="I own both a Röde blimp and several Rycote, both old an new. I much prefer Rycote.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Rycote kit 4**&#xD;&#xA;&#xD;&#xA;Positive&#xD;&#xA;&#xD;&#xA;+ Lightweight&#xD;&#xA;+ can be mounted on a boom without the handle (saves weight)&#xD;&#xA;+ con-box ix great&#xD;&#xA;+ lyre suspension is great&#xD;&#xA;+ smaller size&#xD;&#xA;+ great fur&#xD;&#xA;+ additional acessories such as the &quot;hard wind cover&quot; (great in the forest)&#xD;&#xA;+ great support, have upgraded two 20 years old kits with new handle, lyre mounts, fur, etc.&#xD;&#xA;&#xD;&#xA;Negative&#xD;&#xA;&#xD;&#xA;- expensive&#xD;&#xA;- one of my 20 years old Rycote has some cracks.&#xD;&#xA;- harder to adjust the balance (position of the handle)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Röde blimp**&#xD;&#xA;&#xD;&#xA;Positive&#xD;&#xA;&#xD;&#xA;+ sturdy&#xD;&#xA;+ less expensive&#xD;&#xA;+ &quot;easy&quot; to adjust the balance (position of the handle)&#xD;&#xA;&#xD;&#xA;Negative&#xD;&#xA;&#xD;&#xA;- heavy&#xD;&#xA;- no con-box&#xD;&#xA;- XLR contacts are heavy!&#xD;&#xA;- Cable is less flexible&#xD;&#xA;- old O-ring suspension&#xD;&#xA;- the small plastic-rubber thing used to fix the cable is not fixed so it's easy to lose.&#xD;&#xA;- the fur is not as good as the one that comes with Rycote.&#xD;&#xA;- the ajustment for handle position and angle looks good on paper, but is a bit fiddly to use.&#xD;&#xA;- did I say it's heavy?&#xD;&#xA;- overall finish is not as good&#xD;&#xA;&#xD;&#xA;I have yet to compare the impact they make on the recorded sound, but my guess would be that Rycote will color the sound far less.&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="11849" PostHistoryTypeId="2" PostId="6940" RevisionGUID="51f2e501-7e8e-430b-ab78-a52884a11ae8" CreationDate="2011-03-29T06:32:01.420" UserId="18160" Text="Andrew is the best." ContentLicense="CC BY-SA 2.5" />
  <row Id="11850" PostHistoryTypeId="2" PostId="6941" RevisionGUID="24db199b-30e5-45fc-9c9f-6dbbe40bc1b4" CreationDate="2011-03-29T10:50:10.060" UserId="641" Text="Yup, I have had some fun too, Andrew, good on yer!  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11851" PostHistoryTypeId="2" PostId="6942" RevisionGUID="38020228-665e-4200-921b-c39a90c60387" CreationDate="2011-03-29T10:53:25.753" UserId="641" Text="This goes out to my fellow South African colleagues out there:&#xD;&#xA;Is there a spec of dB levels / mix standards that is required by the SABC/MNET/E-TV for a commercial/program's final mix output and if so, where can I git me filthy grubby paws on it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11852" PostHistoryTypeId="1" PostId="6942" RevisionGUID="38020228-665e-4200-921b-c39a90c60387" CreationDate="2011-03-29T10:53:25.753" UserId="641" Text="Final Sound Mix technical specs" ContentLicense="CC BY-SA 2.5" />
  <row Id="11853" PostHistoryTypeId="3" PostId="6942" RevisionGUID="38020228-665e-4200-921b-c39a90c60387" CreationDate="2011-03-29T10:53:25.753" UserId="641" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11854" PostHistoryTypeId="2" PostId="6943" RevisionGUID="df64bc42-7e02-4eb0-9dfa-86138b69ab46" CreationDate="2011-03-29T11:27:59.577" UserId="641" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;I want to do some final sound mixing in Reaper but it cannot open the OMF files!  Can anyone shed some light on this issue?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11855" PostHistoryTypeId="1" PostId="6943" RevisionGUID="df64bc42-7e02-4eb0-9dfa-86138b69ab46" CreationDate="2011-03-29T11:27:59.577" UserId="641" Text="Reaper DAW and OMF files" ContentLicense="CC BY-SA 2.5" />
  <row Id="11856" PostHistoryTypeId="3" PostId="6943" RevisionGUID="df64bc42-7e02-4eb0-9dfa-86138b69ab46" CreationDate="2011-03-29T11:27:59.577" UserId="641" Text="&lt;omf&gt;&lt;reaper&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11857" PostHistoryTypeId="2" PostId="6944" RevisionGUID="3af8e11a-be82-4650-9412-bd9f3b60fdaa" CreationDate="2011-03-29T12:28:13.677" UserId="432" Text="In the animated film, Over the Hedge, it was used as an insect scream (I can't remember if it was a death scream or not). It was pitched and processed perfectly to fit that insect. I laughed my ass off, and my wife just looked at me like I was an idiot. I'm all for clever uses of the scream, it's just that it feels like too many people throw it in as is just to say they did. I've heard it in a couple of cartoons on TV lately (and sometimes multiple episodes within a series).&#xD;&#xA;&#xD;&#xA;Needless to say, that grates on my nerves." ContentLicense="CC BY-SA 2.5" />
  <row Id="11858" PostHistoryTypeId="2" PostId="6945" RevisionGUID="307e15c7-c89b-4230-8b54-c759e41f9758" CreationDate="2011-03-29T13:13:51.073" UserId="393" Text="If you feel that you NEED a patch bay, can't afford to buy one, and are handy with a soldering iron, they're easy enough to build.  A power drill and a couple rack-blanks, followed by a handful of TRS jacks and about 10 ft. of wire, and you're there.&#xD;&#xA;&#xD;&#xA;If you're really ambitious, you could wire in a volume pot to every line, which would make your DIY patch bay more functional than a lot of professional ones.&#xD;&#xA;&#xD;&#xA;That said, this is an excellent idea for anyone who can't, or doesn't want to, build their own." ContentLicense="CC BY-SA 2.5" />
  <row Id="11859" PostHistoryTypeId="2" PostId="6946" RevisionGUID="e7259b78-0cc2-426d-bd68-c1626c4a36ca" CreationDate="2011-03-29T13:40:25.963" UserId="786" Text="I have used Sennheiser CX-300 II with my ipod, and they sound good, around 100 times better than the Apple earbuds, and better than other earbuds in the same price range. I think they are cheaper than the $150-250 price range, probably about $50-70, so they are probably not as good as the Shure buds or the Ultimate. But I tend to break my earbuds at regular intervals, so I like them cheap...&#xD;&#xA;&#xD;&#xA;I like earbuds for stealth recording, it feels more natural for me to wear earbuds than headphones in the street." ContentLicense="CC BY-SA 2.5" />
  <row Id="11860" PostHistoryTypeId="2" PostId="6947" RevisionGUID="bf2c0989-cf42-4b42-b17a-aa81e4a645c8" CreationDate="2011-03-29T14:00:26.517" UserId="2" Text="I don't think Reaper allows for OMF import. I remember a while back I wanted to give Reaper an honest try, but it didn't support OMF so gave up. It's been a while so they may have added this functionality. Although based on your question, I take it they didn't :-)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11861" PostHistoryTypeId="2" PostId="6948" RevisionGUID="d778baa4-97a4-4a67-8ada-51a8bf815a13" CreationDate="2011-03-29T15:16:35.933" UserId="708" Text="Hi guys&#xD;&#xA;&#xD;&#xA;Big fan of the site. I've been doing some research between the NTG-3 and the MKH-416 and am trying to decide between the two. Budget aside, is the MKH-416 worth the extra that you're paying ? I am interested in recording sound effects and the idea of the narrow pattern of the shotgun is appealing to me. I know this debate has been talked about enough, but I'm curious about what you guys think. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="11862" PostHistoryTypeId="1" PostId="6948" RevisionGUID="d778baa4-97a4-4a67-8ada-51a8bf815a13" CreationDate="2011-03-29T15:16:35.933" UserId="708" Text="The NTG-3 vs MKH-416 choice" ContentLicense="CC BY-SA 2.5" />
  <row Id="11863" PostHistoryTypeId="3" PostId="6948" RevisionGUID="d778baa4-97a4-4a67-8ada-51a8bf815a13" CreationDate="2011-03-29T15:16:35.933" UserId="708" Text="&lt;microphone&gt;&lt;sound-effects-recording&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11864" PostHistoryTypeId="2" PostId="6949" RevisionGUID="02a07e8b-79a7-451a-89d5-f4439eb34beb" CreationDate="2011-03-29T15:32:03.120" UserId="37" Text="I believe this has already been [answered on Gearslutz][1] or simply [here][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/post-production-forum/594631-ntg-3-vs-mkh-416-a.html&#xD;&#xA;  [2]: http://www.gearslutz.com/board/5866666-post71.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="11865" PostHistoryTypeId="2" PostId="6950" RevisionGUID="f61fc3d4-0e34-442f-a9ec-7c029dd64065" CreationDate="2011-03-29T16:02:41.683" UserId="6487" Text="I agree with Morten. The Sennheiser CX-300 II don't suck and blow away the apple default phones.  They are really good recommendation for the price range.&#xD;&#xA;&#xD;&#xA;But for $150-250, I think you can demand a bit more.  The Etymotic HF5 look pretty awesome. And, I cannot stress how awesome it is to have custom audiologist molded earbuds. I believe this set may come with a voucher for custom molds. &#xD;&#xA;&#xD;&#xA;I recommend this website for reviews and info on all types of headphones. &#xD;&#xA;http://www.headphone.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="11866" PostHistoryTypeId="2" PostId="6951" RevisionGUID="86ddfbc6-8440-4d96-8b9f-6fe5fbf7729d" CreationDate="2011-03-29T16:19:39.917" UserId="6462" Text="Hi&#xD;&#xA;I have used the 416 for years and would normally go for that on a shoot, but I recently bought the Rode NTG3 and I can honestly say that I love it. Perhaps not more than the 416, but certainly my mic of choice for the time being. The sound of the NTG3 is slightly warmer than the 416 and has a few degrees larger pickup pattern.&#xD;&#xA;I have just done a couple of days on a sitcom and solely used the NTG3.&#xD;&#xA;I also record sound effects with it and it's brilliant for that purpose as well, extremely low self noise and with it being suitable for many conditions you can get sounds in places you would have not normally wanted to put a mic. For expample, recording while having a shower (with the recorder outside of course) or in a sauna!!&#xD;&#xA;Good luck with the recording and if you get the NTG I hope you enjoy using at much as I do." ContentLicense="CC BY-SA 2.5" />
  <row Id="11867" PostHistoryTypeId="2" PostId="6952" RevisionGUID="fe54c77c-d823-45f5-a251-06e9140d321f" CreationDate="2011-03-29T16:36:49.417" UserId="510" Text="I have 4 extra 96 tt if u want one, if u pay to ship i am sure I can send u one. Ryanhdd@yahoo.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="11868" PostHistoryTypeId="2" PostId="6953" RevisionGUID="dbb44eab-4c41-4586-b4f0-217c25c77354" CreationDate="2011-03-29T16:39:17.577" UserId="510" Text="I have a 500g sssd in my mbp. Running nuendo with no issues. Its super fast and works fine. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11870" PostHistoryTypeId="2" PostId="6955" RevisionGUID="e047f486-f2f5-461b-8f52-2ad29f52e741" CreationDate="2011-03-29T17:45:37.517" UserId="6435" Text="I have a client who requests that the Wilhelm Scream be put in to each of her projects. I also designed sound for a play last year, the script for which specifically called for the Goofy Holler to be used." ContentLicense="CC BY-SA 2.5" />
  <row Id="11871" PostHistoryTypeId="2" PostId="6956" RevisionGUID="299ca1d6-38c6-49e6-9837-bc31b0cad7e5" CreationDate="2011-03-29T18:06:43.603" UserId="969" Text="Andre, they probably follow AES guidelines and standards which are available (for $$) at the AES website. Maybe someone here has a current set? If you are simply creating a stereo mix then it's pretty much the same as it is for music mixes; well balanced, full frequency mixes with just a touch of buss compression. You should place a brick-wall limiter over the final mix buss set to -0.01 db to protect from digital clipping.&#xD;&#xA;&#xD;&#xA; If you are creating a surround mix then you should essentially do the same thing only with muluti-channel compression and final brick-wall limiting. You might simply contact the network and ask about surround formats they support, if any. &#xD;&#xA;&#xD;&#xA;It's never a bad idea to include test tones such as 10 sec of 1khz sine wave at -18 db as reference. If you are delivering your project on DVD, be sure to make tones a separate chapter index. If you are handing your mix to a video editor, be sure they don't screw things up by changing levels prior to finishing/authoring.&#xD;&#xA;&#xD;&#xA;One thing I've learned over the years is that I don't need to make things overly loud and compressed, the station will do that for sure. Mix TV, Film and commercials to sound good on your reference monitors and in your car, on your tv, even if you have to raise the level a bit on your tv. At broadcast, they typically iron your mix completely flat with something like a TC Finalizer or some other such box.&#xD;&#xA;&#xD;&#xA;Just go for it and know that there is very likely a cool person at the network that would be happy to answer your questions." ContentLicense="CC BY-SA 2.5" />
  <row Id="11872" PostHistoryTypeId="2" PostId="6957" RevisionGUID="f092df72-c8ed-4f5f-b422-bd98288a02f7" CreationDate="2011-03-29T18:12:44.950" UserDisplayName="user49" Text="Have you tried FREEDOM? (OSX &amp; Windows)&#xD;&#xA;http://macfreedom.com/&#xD;&#xA;&#xD;&#xA;It disables all network communications for a period that you set.&#xD;&#xA;Then there is no way you can be disturbed (as long as you switch your phone off too)&#xD;&#xA;&#xD;&#xA;Its fascinating to try: choose eg 30 minutes and get back to work&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11873" PostHistoryTypeId="2" PostId="6958" RevisionGUID="09b279af-1dca-4308-93eb-4c0456d36b99" CreationDate="2011-03-29T19:17:48.117" UserId="6462" Text="Rycote all the way!!&#xD;&#xA;I've used them for years and they have never let me down.&#xD;&#xA;I have just taken deliver of the S-Series which is excellent, extremely light so a joy to have on the end of the boom and with 'furry' being integrated there is one less thing to go missing. It fits my new NTG3 perfectly and if you put a shorter or longer mic in the cradle you can get other end pieces to attach.&#xD;&#xA;The Rycote Lyre system is incredible, virtually indestructible and you don't have to worry about the mic detaching or twisting." ContentLicense="CC BY-SA 2.5" />
  <row Id="11874" PostHistoryTypeId="2" PostId="6959" RevisionGUID="8ee49c43-fea4-4024-a3aa-f4eea9c8c645" CreationDate="2011-03-29T21:07:30.450" UserId="970" Text="Hi&#xD;&#xA;&#xD;&#xA;I would like to comment on my website featuring sound design, sound effects and analog syntehesis tutorials. You can also see my works on the site.&lt;br&gt;&lt;br&gt;&#xD;&#xA;Any and all comments welcome.&#xD;&#xA;[link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;a polish version for those interested:&#xD;&#xA;[link text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://knobz.net &quot;KNOBZ.NET - Sound Effects. Sound Design. Audio Engieneering.&quot;&#xD;&#xA;  [2]: http://knobz.pl &quot;KNOBZ.PL - Efekty dźwiękowe. Sound Design. Realizacja dźwięku.&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11875" PostHistoryTypeId="1" PostId="6959" RevisionGUID="8ee49c43-fea4-4024-a3aa-f4eea9c8c645" CreationDate="2011-03-29T21:07:30.450" UserId="970" Text="Opinion on website" ContentLicense="CC BY-SA 2.5" />
  <row Id="11876" PostHistoryTypeId="3" PostId="6959" RevisionGUID="8ee49c43-fea4-4024-a3aa-f4eea9c8c645" CreationDate="2011-03-29T21:07:30.450" UserId="970" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11877" PostHistoryTypeId="2" PostId="6960" RevisionGUID="19b0d8df-5d75-4f4c-9885-905ff5bab7a8" CreationDate="2011-03-29T21:09:47.170" UserId="238" Text="I use [Net News Wire][1] as my RSS reader and this is one of my start up items so I can see all the new threads once I've booted up my machine. Then, as I get to work I'll close the software so I don't get distracted. Next time I fire it up, it'll update me on what has been posted and I'll go through what's new and interesting. &#xD;&#xA;&#xD;&#xA;One thing I've come to realise since I've been using an RSS reader is the importance of subscribing ONLY to feeds that you have a genuine interest to read regularly. It's all too easy to subscribe to every sound design blog out there, as well as other interesting stuff on the web, but you then spend most of your time sifting through all the unread posts. I think it's best to keep your subscriptions to a minimum. Remember it's quality not quantity! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://netnewswireapp.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11878" PostHistoryTypeId="2" PostId="6961" RevisionGUID="4b218e15-9863-4190-8ad3-237818f037d7" CreationDate="2011-03-29T21:12:35.807" UserId="18160" Text="Here is my opinion:&#xD;&#xA;&#xD;&#xA;You didn't post a link to this site in your links section!&#xD;&#xA;&#xD;&#xA;Otherwise, good design and layout." ContentLicense="CC BY-SA 2.5" />
  <row Id="11879" PostHistoryTypeId="2" PostId="6962" RevisionGUID="12adb628-028b-4e0f-82bb-d5fc8f233662" CreationDate="2011-03-29T21:17:53.763" UserId="6499" Text="So my trusty Tascam HDP2 bit the dust yesterday while recording.  Im going to send it off to be repaired, but it really got me looking at replacement options.  &#xD;&#xA;&#xD;&#xA;I have my issues with the tascam and really am looking at upgrading quality in addition to having a functioning recorder.&#xD;&#xA;&#xD;&#xA;For my purposes I usually find myself wanting a third channel while doing sound effects recording.  My stereo mic and a shotgun and sometimes a fourth with my barcus berry or something.&#xD;&#xA;&#xD;&#xA;I would like a 744 and then get a mix pre or something to have 4 pres but the cost for the setup is a bit more than what will be in my range for awhile.&#xD;&#xA;&#xD;&#xA;A new/used 702 is possible.  I also am looking at possibly the Fostex PD6.  There are a few on consignment and used at various places and fall into the price range I can swing, specifically one at gotham sound for 1500.  The pd6 seems like it would satisfy my multi track dilemmas and it would also be a good recorder for the seldom production audio gigs I get.&#xD;&#xA;&#xD;&#xA;I want to know is what is everyone's experience with the PD6.  Most of the time When traversing the city I only have a shotgun with me cabled up and my stereo mic in the bag, so more than 2 channels while walking around is not needed.  I would only be breaking into multi channels on recording sessions that I plan out, not on my daily recording walks.  Will the PD6 just be way to large and cumbersome to take with me on my strolls around the city?&#xD;&#xA;&#xD;&#xA;Im torn between the two, the portability/size/battery consumption of the 702 verses the multi-track/and eng mix capability of the fostex. Im pretty sure they are both along the same lines of sonic quality but I want to get some additional verification from those who have used them.  Ive read many reviews on the both and many people swear by both of them, but im looking for the stuff that doesn't make it to the reviews.  Example on the tascam is that the first recording of a file starts it with take _00.  It doesn't change quality but makes hell on the editors and assistants at times, and just annoys me.  &#xD;&#xA;&#xD;&#xA;Mike  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11880" PostHistoryTypeId="1" PostId="6962" RevisionGUID="12adb628-028b-4e0f-82bb-d5fc8f233662" CreationDate="2011-03-29T21:17:53.763" UserId="6499" Text="My recorder died, time for a new one." ContentLicense="CC BY-SA 2.5" />
  <row Id="11881" PostHistoryTypeId="3" PostId="6962" RevisionGUID="12adb628-028b-4e0f-82bb-d5fc8f233662" CreationDate="2011-03-29T21:17:53.763" UserId="6499" Text="&lt;recorder&gt;&lt;fostex&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11882" PostHistoryTypeId="2" PostId="6963" RevisionGUID="46e1c93e-c6a7-4f21-b57a-7f1bbbfb76a8" CreationDate="2011-03-29T22:52:17.780" UserDisplayName="user914" Text="NTG-3: Did anybody notice a problem with cold or/and humid conditions?&#xD;&#xA;&#xD;&#xA;I recently read something about it somewhere." ContentLicense="CC BY-SA 2.5" />
  <row Id="11883" PostHistoryTypeId="2" PostId="6964" RevisionGUID="e46bd5c3-db74-4f20-9ef9-13a3f70754a4" CreationDate="2011-03-29T23:08:09.300" UserId="217" Text="I actually make a point of tweeting using the hashtag #wilhelmscream whenever I hear one in a film or TV show. For those of you who use Twitter, maybe we should use the #WHERESWILHELM has tag whenever we spot one.&#xD;&#xA;&#xD;&#xA;I have noticed a few, but these are the ones that I remember.&#xD;&#xA;&#xD;&#xA;I have noticed that Tarantino uses it quite alot, I have heard it in both Kill Bill 1 (Crazy88's scene) and Reservoir Dogs (when Mr Pink is running from the police).&#xD;&#xA;&#xD;&#xA;My twitter timeline, tells me I heard it in an episode of American Dad recently. I can't remember which episode it was, but the chances are it was one of the most recent ones." ContentLicense="CC BY-SA 2.5" />
  <row Id="11884" PostHistoryTypeId="5" PostId="6964" RevisionGUID="91f160f0-3319-4809-95ae-68cdfd35049a" CreationDate="2011-03-29T23:15:10.787" UserId="217" Comment="edited body" Text="I actually make a point of tweeting using the hashtag #WILHELMSCREAM whenever I hear one in a film or TV show. For those of you who use Twitter, maybe we should use the #WHERESWILHELM hashtag whenever we spot one.&#xD;&#xA;&#xD;&#xA;I have noticed a few, but these are the ones that I remember.&#xD;&#xA;&#xD;&#xA;I have noticed that Tarantino uses it quite alot, I have heard it in both Kill Bill 1 (Crazy88's scene) and Reservoir Dogs (when Mr Pink is running from the police).&#xD;&#xA;&#xD;&#xA;My twitter timeline, tells me I heard it in an episode of American Dad recently. I can't remember which episode it was, but the chances are it was one of the most recent ones." ContentLicense="CC BY-SA 2.5" />
  <row Id="11885" PostHistoryTypeId="2" PostId="6965" RevisionGUID="8be95644-66c8-4576-a278-cb2a99541996" CreationDate="2011-03-29T23:50:36.010" UserId="845" Text="I'm sitting in the ProTools 9 demo right now, and I swear to Jimmy that I heard a Willy in the episode of The Pacific they used as an example. It was pitched and mixed in with another scream, but it was definitely there. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11886" PostHistoryTypeId="2" PostId="6966" RevisionGUID="ced2ea88-b829-466c-b5e4-0f408bdaba09" CreationDate="2011-03-30T03:07:39.530" UserId="845" Text="Hi team,&#xD;&#xA;&#xD;&#xA;A question for all you foley/location/EFX recordists out there...&#xD;&#xA;&#xD;&#xA;I recently spent an hour or two with a few balloons in my quiet room.  Yes, microphones were involved...  I recorded the entire time with an H4N and a large diaphragm condenser, blowing them up, squeaking, spinning wooden dowels around inside, &amp;tc.  This means that I have a stereo file from the onboard mics and a mono for the condenser, both of which are nigh on two hours long.  &#xD;&#xA;&#xD;&#xA;I didn't have a plan since I was just fooling around with a borrowed recorder to see what kind of sounds I could get.  However, I've just spent the last half hour editing and now that I've looked up, I see that I've only cut 3 minutes worth of clean sounds so far and still have more than an hour and a half worth of raw stuff to go through.  And it's not as if I can just eyeball it and skip to bits that look like they might be good; too many easy to miss nuances that sit way down with tiny waveforms. &#xD;&#xA;&#xD;&#xA;My question is, how do I go organize my recordings so that I don't have to spend all of the rest of my life editing balloon squeaks?&#xD;&#xA;&#xD;&#xA;When you're doing a foley or EFX session, do you have a particular order in which you do things?  i.e./ Specific movements first (breaths, then squeaks, then spins), then move onto the silly/fun part trying to make it make weird noises?  &#xD;&#xA;&#xD;&#xA;Or does it take just as much time either way, so just have at 'er and worry about it later?&#xD;&#xA;&#xD;&#xA;It makes sense to me to plan stuff out (at least have a general idea of what I want), but I worry that sticking too closely to a rule like that might miss opportunities to get great sounds.  The problem with that is that I'm totally ADD and get sonically sidetracked/fixated really easily.  I'm planning to do a day in the forest soon, and I know I'll end up with at least twice the two hours I did with balloons.&#xD;&#xA;&#xD;&#xA;Also, on the editing side, how do you know when to stop?  which stuff is actually likely useable, and what's not?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11887" PostHistoryTypeId="1" PostId="6966" RevisionGUID="ced2ea88-b829-466c-b5e4-0f408bdaba09" CreationDate="2011-03-30T03:07:39.530" UserId="845" Text="Gigantic Foley/EFX sessions." ContentLicense="CC BY-SA 2.5" />
  <row Id="11888" PostHistoryTypeId="3" PostId="6966" RevisionGUID="ced2ea88-b829-466c-b5e4-0f408bdaba09" CreationDate="2011-03-30T03:07:39.530" UserId="845" Text="&lt;foley&gt;&lt;foley-editing&gt;&lt;session-organization&gt;&lt;planning&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11889" PostHistoryTypeId="2" PostId="6967" RevisionGUID="7c54de94-4264-4be4-8146-aacfe3dd6f12" CreationDate="2011-03-30T03:13:50.840" UserId="845" Text="As an RSS junkie, I can say that having a feed would be a great idea.  Especially if you plan to do regular updates.  &#xD;&#xA;&#xD;&#xA;I don't know how you would implement something like this, but a user input section where people can submit their own ideas would be cool too.&#xD;&#xA;&#xD;&#xA;The concept is fantastic though.  I love learning how other people do their stuff." ContentLicense="CC BY-SA 2.5" />
  <row Id="11890" PostHistoryTypeId="2" PostId="6968" RevisionGUID="d3a6bdf4-857d-4dc4-9261-e8d1bc714abf" CreationDate="2011-03-30T03:19:10.657" UserId="393" Text="The Sound Effects Bible actually hits on this... first, verbally slate EVERYTHING, so you know what you're looking for; second, do something loud to create a visible peak so you can see the separation on the waveform; third, always allow two seconds before and after the effect so you get all the nuances. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11891" PostHistoryTypeId="2" PostId="6969" RevisionGUID="f86b2a74-f834-4d0c-8a82-b272da45c1dd" CreationDate="2011-03-30T05:29:11.437" UserId="18160" Text="This is exactly why I got a Pro Tools controller (moveable computer stand with keyboard/mouse on a KVM switcher extension) for inside the foley room.&#xD;&#xA;&#xD;&#xA;This way I can stop and start as I wish or put markers in as I go.&#xD;&#xA;&#xD;&#xA;I hear tell that there is an app which can wirelessly control Pro Tools, but I haven't looked into it.&#xD;&#xA;&#xD;&#xA;Marking and keeping track of recording sessions of this type is *extremely* important.&#xD;&#xA;&#xD;&#xA;I went through a couple sessions like the one you described wherein I had no markers or notes on what was where and I figured out the best method for myself would be to have the computer next to me as I recorded so I could stop and start and even delete takes that were not needed. I also have had to work alone without a team pretty much my whole career and I do know that on larger foley stages there is a foley mixer who is in the control room while the foley artist is recording the actions and the mixer is compiling and noting all of the material.&#xD;&#xA;&#xD;&#xA;This is in effect, stopping you from having to do your work twice, saving you time (read: money) in the recording and editing of a film.&#xD;&#xA;&#xD;&#xA;Unfortunately this method won't work with recording on an H4n handheld recorder, but you could possibly take notes on where the timer is on each audio file you record and do it that way.&#xD;&#xA;&#xD;&#xA;Clapping and verbal slates are also very useful, as Dave described." ContentLicense="CC BY-SA 2.5" />
  <row Id="11892" PostHistoryTypeId="5" PostId="6969" RevisionGUID="5947cd7b-c368-49c9-94d7-0a0dea502a0b" CreationDate="2011-03-30T05:34:22.457" UserId="18160" Comment="added 74 characters in body" Text="This is exactly why I got a Pro Tools controller (moveable computer stand with keyboard/mouse on a KVM switcher extension) for inside the foley room.&#xD;&#xA;&#xD;&#xA;This way I can stop and start as I wish or put markers in as I go.&#xD;&#xA;&#xD;&#xA;I hear tell that there is an app which can wirelessly control Pro Tools, but I haven't looked into it.&#xD;&#xA;&#xD;&#xA;Marking and keeping track of recording sessions of this type is *extremely* important.&#xD;&#xA;&#xD;&#xA;I went through a couple sessions like the one you described wherein I had no markers or notes on what was where and I figured out the best method for myself would be to have the computer next to me as I recorded so I could stop and start and even delete takes that were not needed. I also have had to work alone without a team pretty much my whole career and I do know that on larger foley stages there is a foley mixer who is in the control room while the foley artist is recording the actions and the mixer is compiling and noting all of the material.&#xD;&#xA;&#xD;&#xA;This is in effect, stopping you from having to do your work twice, saving you time (read: money) in the recording and editing of a film.&#xD;&#xA;&#xD;&#xA;Unfortunately this method won't work with recording on an H4n handheld recorder, but you could possibly take notes on where the timer is on each audio file you record and do it that way.&#xD;&#xA;&#xD;&#xA;Clapping and verbal slates are also very useful, as Dave described.&#xD;&#xA;&#xD;&#xA;(Edit: I also really don't hope you're serious about the ADD thing...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11893" PostHistoryTypeId="2" PostId="6970" RevisionGUID="0e36603f-5835-4968-9007-1900486d34df" CreationDate="2011-03-30T06:36:06.383" UserId="348" Text="It is fantastic!!! Well done bru. Going to get the students to look into it. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11894" PostHistoryTypeId="2" PostId="6971" RevisionGUID="27642ce7-cbed-4852-ab4b-924a058aaa43" CreationDate="2011-03-30T06:56:18.643" UserDisplayName="user49" Text="Follow the law of diminishing returns:&#xD;&#xA;&#xD;&#xA;1. Archive the unedited recordings into your library, so nothing is lost&#xD;&#xA;&#xD;&#xA;2. Split the recording into (compiled) sections based on the type of sound, and export it as seperate files.. Do not presuppose the future use for it i.e. don't do too much editing or mastering or whatever.... its source material for projects that dont exist yet.... In a near real time pass (with no editing) its not too hard to split out types of sounds to tracks below eg &#xD;&#xA;&#xD;&#xA; - track 1&amp;2 = source material&#xD;&#xA; - track 3&amp;4 = balloon pops&#xD;&#xA; - track 5&amp;6 = balloon rubbing&#xD;&#xA; - track 7&amp;8 = balloon air release&#xD;&#xA; - track 9&amp;10 = balloon air inflate etc&#xD;&#xA;&#xD;&#xA;FWIW two hours of source material is really not a huge amount (my Samoa trip generated 27+ hours of material) But you could easily spend an entire day on 30 seconds worth. Wait for a context/project to warrant getting that detailed with it. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Diminishing returns - don't invest time unless you have a specific planned use for it...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11895" PostHistoryTypeId="2" PostId="6972" RevisionGUID="03262de8-f00c-4a14-a1f4-faccd9d11d57" CreationDate="2011-03-30T08:55:52.373" UserId="930" Text="I found a smallish article on this the other day when looking for SFX library software.&#xD;&#xA;&#xD;&#xA;Iced Audio's AudioFinder website came up with this:&#xD;&#xA;&#xD;&#xA;[CLICK HERE][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.icedaudio.com/main/&#xD;&#xA;&#xD;&#xA;Hope that helps,&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 2.5" />
  <row Id="11896" PostHistoryTypeId="2" PostId="6973" RevisionGUID="fd71e86b-c15f-44bf-b158-6e882e316a5f" CreationDate="2011-03-30T09:01:10.860" UserId="930" Text="I've been researching the same topic and have come to the conclusion that they are very similar microphones.&#xD;&#xA;&#xD;&#xA;I've come to understand the MKH has a narrower pickup pattern and a flatter bass response.&#xD;&#xA;&#xD;&#xA;However, on the rode website, Ric Viers does a video about the microphone and states that the microphones purpose is to knock the top shotgun off it's perch (referencing the MKH 416) - so I think it's safe to assume that for all intents and purposes, they're practically the same.&#xD;&#xA;&#xD;&#xA;I also read an opinion somewhere (I'll try and find it again) where someone summed it up this way:&#xD;&#xA;&#xD;&#xA;&quot;If you're buying the microphone for yourself, get the NTG-3. If you're freelancing, get the MKH-416 because the name will attract work&quot;&#xD;&#xA;&#xD;&#xA;Hope this help,&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 2.5" />
  <row Id="11897" PostHistoryTypeId="2" PostId="6974" RevisionGUID="8e449492-f76c-4fe4-9372-5bc65e134c76" CreationDate="2011-03-30T09:34:04.313" UserId="578" Text="My take on the NTG3 - it's a fantastic mic. I've never used the MKH 416 but I also checked all the comparison material and opinions online and yeah, it seemed close enough.&#xD;&#xA;&#xD;&#xA;The only thing with the NTG3 - you have to be aware that it's quite bassy, and it doesn't have a low cut filter. I personally don't have any problem with that, but I know some people who didn't like the mic because of that. I don't know if the MKH416 has a low cut filter, but I believe it does?&#xD;&#xA;&#xD;&#xA;Anyway, the way I see it is that a lo cut filter is mainly useful for dialogue recordists. I only really record sound effects so I don't mind at all - can fix things in post if really necessary, and I don't have to run around with a boom pole, worrying about low frequency rumble from handling or cable noise.&#xD;&#xA;&#xD;&#xA;However, if you have a bit of extra budget... May be worth scanning eBay for a MKH60. It's really a big step up from the NTG3/MKH416 in terms of smoothness, natural representation, transparency. It's more expensive - but on eBay I see it go sometimes for a little more than a MKH416, and in this case, the price difference is most definitely worth it over the NTG3!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11898" PostHistoryTypeId="2" PostId="6975" RevisionGUID="27a4f056-f979-48b5-b08c-7d06f60d0420" CreationDate="2011-03-30T09:49:54.580" UserId="972" Text="heeeehee great stuff!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11899" PostHistoryTypeId="2" PostId="6976" RevisionGUID="0ccc2aef-cbb7-4cdd-b77e-3b7ad0b03c50" CreationDate="2011-03-30T17:20:27.840" UserId="338" Text="Hi so I have a troubleshoot.&#xD;&#xA;&#xD;&#xA;I've been automating a 14 minute film with downward expansion and for some reason, the automation gets erased.  Anyone know why?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I go before a section turn it to off, run through, select settings and go back to the beginning of the section, put in write and go through.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11900" PostHistoryTypeId="1" PostId="6976" RevisionGUID="0ccc2aef-cbb7-4cdd-b77e-3b7ad0b03c50" CreationDate="2011-03-30T17:20:27.840" UserId="338" Text="Pro tools automation" ContentLicense="CC BY-SA 2.5" />
  <row Id="11901" PostHistoryTypeId="3" PostId="6976" RevisionGUID="0ccc2aef-cbb7-4cdd-b77e-3b7ad0b03c50" CreationDate="2011-03-30T17:20:27.840" UserId="338" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11902" PostHistoryTypeId="2" PostId="6977" RevisionGUID="1e08f9c7-bef7-405d-ba70-c4cf3f7a3c45" CreationDate="2011-03-30T17:34:36.187" UserId="18160" Text="What automation mode were you in?&#xD;&#xA;&#xD;&#xA;In your automation control window, was &quot;Plug-in&quot; or &quot;Volume&quot; write enabled?&#xD;&#xA;&#xD;&#xA;What do you mean by &quot;automating downward expansion&quot;? This is usually set and forgotten about with a plug-in.&#xD;&#xA;&#xD;&#xA;And what do you mean &quot;turn it to off&quot;?&#xD;&#xA;&#xD;&#xA;If you mean you are setting the controls for the plug-in with the automation off, you MUST copy the automation settings before turning automation back on, because once it's reading automation again it switches back to whatever your track has written to it - i.e. if you don't copy the settings before you enable automation again, all your fiddling and work will be gone once it's snapped back to what was previously there.&#xD;&#xA;&#xD;&#xA;Let me know if I understood correctly." ContentLicense="CC BY-SA 2.5" />
  <row Id="11903" PostHistoryTypeId="2" PostId="6978" RevisionGUID="614e5f41-88bb-43cd-8513-b68d7c7dc4d0" CreationDate="2011-03-30T20:18:16.430" UserId="693" Text="I generally follow @Tim's Advice on Diminishing Returns, however... for smaller sessions I have a workflow set up that picks up where his advice about separating things onto separate tracks leaves off. &#xD;&#xA;&#xD;&#xA;Depending on your speed, it's entirely possible to have 2 hours worth of recordings neatly edited, named and archived in about 1-4 hours depending how much variation is in the session. &#xD;&#xA;&#xD;&#xA;I posted about it somewhere on [here][1] once before. It was in relation to batch processing V/O lines, but it applies here as well. It's all mostly understanding how to make Pro Tools do your work for you.&#xD;&#xA;&#xD;&#xA;It breaks down into steps like this:&#xD;&#xA;&#xD;&#xA;0. Back up all recordings to a master folder labeled &quot;Unedited&quot; or &quot;Original&quot;. Then create an editing session. Import/Copy all your files into your session.&#xD;&#xA;&#xD;&#xA;1. CLEAN: Run Noise Reduction on the whole file (if it's all in the same location/has the same noise floor) if you want to get rid of Ambience/Roomtone. This step is optional depending on several factors.&#xD;&#xA;&#xD;&#xA;2. ORGANIZE: Separate Sounds onto separate tracks according to noise type. Name your tracks after whatever the sound is. ie: Balloon_Inflate/Balloon_Deflate/Balloon_Squeak/Balloon_Pop (use singular terms if these are being chopped into singular sounds).&#xD;&#xA;&#xD;&#xA;3. EDIT: Run Strip Silence to have it do most of your topping and tailing for you.&#xD;&#xA;&#xD;&#xA;4. FADE: Batch Fade with the smallest fade possible.&#xD;&#xA;&#xD;&#xA;5. CREATE NEW FILE/RENAME: Tab + Shift Tab (with Tab to transient Turned Off) to jump from region to region and Consolidate the regions one by one. Shift+Opt/Alt+3) This will then create a new file (and not just a child region) which is named after the track and it will add a number to it every time you consolidate. Delete empty and unwanted regions as you come across them. Also perform additional top and tailing if you need more done. Strip silence won't get all of them perfect. Be sure to leave small handles/buffer space and be careful with sounds that have a long tail. You don't want to accidentally chop these off. So preview questionable sounds before you commit to a consolidation.&#xD;&#xA;&#xD;&#xA;6. CLEAN UP: Go track by track and select everything on the track and look in your look in your regions bin to make sure no child files are selected. If there are, select them one by one and delete them as you do not want these ending up in your master collection. Then with only the regions you want remaining make sure nothing is selected and hit Shift+CMD(mac)/Ctrl(pc)+U will select unused regions. Delete these from your session.&#xD;&#xA;&#xD;&#xA;7. EXPORT: Select all remaining Regions and hit: Shift+CMD(mac)/Ctrl(PC)+K and this will export regions as files. Create a new Folder next to the &quot;unedited&quot; one you created earlier. Name this one &quot;Edited&quot;. This will place copies of all your new neatly cleaned, edited with baked fades, renamed and numbered files into a neat and tidy folder.&#xD;&#xA;&#xD;&#xA;In addition, sometimes if there are hundreds of similar variations I might select a handful of the prime examples and delete the rest if they are that similar. Or, I might take a batch of 10/20 sounds and make one file out of those as opposed to hundreds if they are not too drastically different and are similar but not exact.&#xD;&#xA;&#xD;&#xA;If you need further explanation, just ask.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/6185/batch-processing-voice-over-lines/6188#6188" ContentLicense="CC BY-SA 2.5" />
  <row Id="11904" PostHistoryTypeId="2" PostId="6979" RevisionGUID="1957a9c6-639f-4c07-a96f-815c1d0daf0a" CreationDate="2011-03-30T21:35:56.407" UserId="693" Text="From what I remember, on the Sound Devices you can set it to start at whatever number you want.&#xD;&#xA;&#xD;&#xA;I've never used the PD6, but I have used a SD722 a lot and I loved it. It's super portable, veyr lightweight and really easy to use. If you're announcing your takes at the beginning of recordings the track/take number it displays is the one you previously recorded. The built in Pre-Amps in the Sound Devices are great." ContentLicense="CC BY-SA 2.5" />
  <row Id="11905" PostHistoryTypeId="5" PostId="6979" RevisionGUID="600f999d-6b27-4cb8-8314-281645b3ec25" CreationDate="2011-03-30T21:57:36.680" UserId="61" Comment="spelling, grammar" Text="From what I remember, on the Sound Devices you can set it to start at whatever number you want.&#xD;&#xA;&#xD;&#xA;I've never used the PD6, but I have used a SD722 a lot and I loved it. It's super portable, very lightweight and really easy to use. If you're announcing your takes at the beginning of recordings the track/take number it displays is the one you previously recorded. The built in Pre-Amps in the Sound Devices are great." ContentLicense="CC BY-SA 2.5" />
  <row Id="11906" PostHistoryTypeId="2" PostId="6980" RevisionGUID="698b6d6d-b58b-4592-b775-8dc90ae2adb5" CreationDate="2011-03-31T04:51:10.023" UserId="786" Text="I know the PD-6 very well. I have recorded 2 feature films on the PD-6 and I will NEVER use it again! It is pretty versatile with the 6 full-featured inputs, the integrated mixer and the ability to record a separate stereo mixdown.&#xD;&#xA;&#xD;&#xA;It doesn't sound as good as the Sound Devices recorders. The preamps are ok but not the best.&#xD;&#xA;&#xD;&#xA;The big issue with the PD-6 is the optical drive. It is incredibly slow and it breaks down easily, with lots of periodic errors. I have had errors on the optical drive with 3 different PD-6's on the same film, which got me quite angry... I've had an error where I would test the machine in advance and everything looks fine, it records and plays back as expected, but on the set it won't record, which is rather annoying when everybody is waiting for you.&#xD;&#xA;&#xD;&#xA;The optical drive isn't produced anymore, so the optical media can be hard to find.&#xD;&#xA;&#xD;&#xA;I believe you can just record to the internal 40 GB harddrive, but it is formatted in 27 partitions of 1.3 GB just like the optical drive, giving you a max recording time of 24 minutes in 6 tracks / 48 k / 24 bit. If I have more than 2 mics at the same time, I will always record 6 tracks, because I need to give a stereo mixdown to the editor. You need to plan ahead and format partitions / discs in advance, because it takes a couple of minutes to do the formatting each time.&#xD;&#xA;&#xD;&#xA;All in all the PD-6 is a very capable machine, but it is a first generation portable multitrack and rather outdated. If you buy a used one, make sure it has been taken well care of, has low mileage and hasn't been used by many people." ContentLicense="CC BY-SA 2.5" />
  <row Id="11910" PostHistoryTypeId="2" PostId="6982" RevisionGUID="94d2dca6-c9ac-4ade-93a4-e465cab4aa64" CreationDate="2011-03-31T05:09:40.210" UserId="18160" Text="Hello,&#xD;&#xA;&#xD;&#xA;I am looking at upgrading a traveling rig I use for live events and I am looking at exchanging 24 rack units of backup recording devices for this 1 rack unit JoeCo Blackbox Recorder:&#xD;&#xA;&#xD;&#xA;http://www.joeco.co.uk/main/BBR_introduction.html&#xD;&#xA;&#xD;&#xA;Has anyone used one?&#xD;&#xA;&#xD;&#xA;This would go on as my backup recorder to a Pro Tools I/O.&#xD;&#xA;&#xD;&#xA;I had one in to test but this was in optimum recording environments on my line conditioned power. I am curious if it holds up under actual live, dark back stage, heat of the moment recording situations?&#xD;&#xA;&#xD;&#xA;This could also be a good unit for you guys to bring with you on big gunshot recording sessions.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="11911" PostHistoryTypeId="1" PostId="6982" RevisionGUID="94d2dca6-c9ac-4ade-93a4-e465cab4aa64" CreationDate="2011-03-31T05:09:40.210" UserId="18160" Text="JoeCo Blackbox Recorder - Anyone used one?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11912" PostHistoryTypeId="3" PostId="6982" RevisionGUID="94d2dca6-c9ac-4ade-93a4-e465cab4aa64" CreationDate="2011-03-31T05:09:40.210" UserId="18160" Text="&lt;recorder&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11913" PostHistoryTypeId="2" PostId="6983" RevisionGUID="68bbd4f1-85c4-49f3-bbe2-fdd6efae4efd" CreationDate="2011-03-31T09:16:28.580" UserId="786" Text="A quick Google search got me this:&#xD;&#xA;&#xD;&#xA;[link text][1]&#xD;&#xA;&#xD;&#xA;It is a SABC technical specifications paper from 2004, back in the old analog days, where it says you should make a test tone at 50% volume and not let the program exceed 100% volume (which is 6 dB above the test tone).&#xD;&#xA;&#xD;&#xA;Translated to digital scale that means you should make a test tone at -18 dB FS and put at brickwall limiter at -12 dB FS. If you have a Waves L1, L3 or a McDSP ML4000, you should use one of those as they are pretty transparent, and you need to compress your program a bit for television, as it is often viewed at a lower volume than your mixing volume.&#xD;&#xA;&#xD;&#xA;In Europe you can not exceed -10 dB as the max level for your program, or it won't be approved.&#xD;&#xA;&#xD;&#xA;There may be new technical specifications coming up, requiring loudness metering, but you'll probably be fine with this for now.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.editorsguildsa.org/resources_delivery/SABC_technical_standards_1.0.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="11914" PostHistoryTypeId="2" PostId="6984" RevisionGUID="a8a6bf93-e053-4b6b-b2c6-f16f93e31d37" CreationDate="2011-03-31T11:15:48.507" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;Just wanted some clarification on a definition that I read in one of my students papers but I cannot seem to find it on the net. Can someone offer mean the definition of &quot;Lacing a sound effect&quot;. ? &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11915" PostHistoryTypeId="1" PostId="6984" RevisionGUID="a8a6bf93-e053-4b6b-b2c6-f16f93e31d37" CreationDate="2011-03-31T11:15:48.507" UserId="348" Text="Lacing a sound effect?? " ContentLicense="CC BY-SA 2.5" />
  <row Id="11916" PostHistoryTypeId="3" PostId="6984" RevisionGUID="a8a6bf93-e053-4b6b-b2c6-f16f93e31d37" CreationDate="2011-03-31T11:15:48.507" UserId="348" Text="&lt;a&gt;&lt;sound&gt;&lt;effect&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11917" PostHistoryTypeId="2" PostId="6985" RevisionGUID="09b10a33-8d2b-4b70-b575-276b6451fe79" CreationDate="2011-03-31T12:41:06.313" UserId="7811" Text="@dimitri you don't say which mic or recorder you are using, but almost all non-budget field recorders have M/S monitoring features.&#xD;&#xA;&#xD;&#xA;This is not always the case with field mixers though." ContentLicense="CC BY-SA 2.5" />
  <row Id="11918" PostHistoryTypeId="2" PostId="6986" RevisionGUID="99b4c658-6a73-47ce-b4d5-1c8ee105f01b" CreationDate="2011-03-31T13:05:03.713" UserId="393" Text="I've never heard of it, myself, but I'm hardly as experienced as others on here.  My first thought would be that it's adding sweeteners or texture to a bigger effect, in the same way you'd lace a drug with another drug.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11919" PostHistoryTypeId="2" PostId="6987" RevisionGUID="bab49426-366f-4a00-b77b-3091acd3b37c" CreationDate="2011-03-31T14:02:50.360" UserId="7811" Text="I've been unsuccessfully looking for a single point stereo MS mic, that isn't a shotgun, for some time.&#xD;&#xA;&#xD;&#xA;I had the Sony ECM MS957 many years ago and that's hardly professional.&#xD;&#xA;&#xD;&#xA;I've used the VP88 for a few years and it's simply too noisy for ambient work. &#xD;&#xA;&#xD;&#xA;I see there is now the MS957PRO - but is it really pro? &#xD;&#xA;&#xD;&#xA;Surely there's a better option out there?&#xD;&#xA;&#xD;&#xA;They no longer make the Pearl MS mics and a full Schoeps MS set is a little too bulky and expensive for my needs. &#xD;&#xA;&#xD;&#xA;Anybody got any better ideas?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="11920" PostHistoryTypeId="1" PostId="6987" RevisionGUID="bab49426-366f-4a00-b77b-3091acd3b37c" CreationDate="2011-03-31T14:02:50.360" UserId="7811" Text="single point stereo m/s NOT shotgun" ContentLicense="CC BY-SA 2.5" />
  <row Id="11921" PostHistoryTypeId="3" PostId="6987" RevisionGUID="bab49426-366f-4a00-b77b-3091acd3b37c" CreationDate="2011-03-31T14:02:50.360" UserId="7811" Text="&lt;stereo&gt;&lt;mid-side&gt;&lt;microphone&gt;&lt;field-recording&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11922" PostHistoryTypeId="2" PostId="6988" RevisionGUID="2fbe14c1-9a33-4c08-8deb-7083bf051078" CreationDate="2011-03-31T14:25:31.850" UserId="845" Text="Well the only other one I know of is the [Ambient Products Emesser][1], but I get the feeling that this isn't what you're gonna want.  By single point I assume you mean a single unit that it's an M/S system contained in a single chassis.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ambient.de/produkte/mikrofone/emesser/emesser_e.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="11923" PostHistoryTypeId="2" PostId="6989" RevisionGUID="78ac8938-e59f-4f88-9d8e-bb5fbf46b76a" CreationDate="2011-03-31T14:55:52.550" UserId="234" Text="&quot;Lacing&quot; a sound effect could refer to the old method of &quot;lacing up tape&quot; - i.e actually putting it on the machine and feeding it to through the heads to a take up reel... as in the expression &quot;let's lace up those car by's and see what we've got...&quot;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11924" PostHistoryTypeId="2" PostId="6990" RevisionGUID="3aae0d91-5e84-42a7-bd76-80ad30aa2553" CreationDate="2011-03-31T15:12:36.937" UserId="285" Text="I think Sonsey must be right.&#xD;&#xA;&#xD;&#xA;&quot;Lace it up on the dubber and see how it flies&quot; &#xD;&#xA;&#xD;&#xA;Maybe it means lacing the coffee of the director right before the screening so they are more receptive to the cut they are about to hear?  Highly illegal but most likely very effective.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11925" PostHistoryTypeId="2" PostId="6991" RevisionGUID="a3c7c6d2-c435-46bf-b7c3-1f875220a0b2" CreationDate="2011-03-31T17:31:40.887" UserId="18160" Text="What about something like this?&#xD;&#xA;&#xD;&#xA;http://audiomonde.hu/index2.php?option=com_docman&amp;task=doc_view&amp;gid=1291&amp;Itemid=181" ContentLicense="CC BY-SA 2.5" />
  <row Id="11926" PostHistoryTypeId="12" PostId="6991" RevisionGUID="35d4d5d6-1356-473b-bb8d-e75a3a2509f8" CreationDate="2011-03-31T17:31:57.987" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="11927" PostHistoryTypeId="13" PostId="6991" RevisionGUID="5863c0ea-6c07-4420-90ea-f55ad4502f67" CreationDate="2011-03-31T17:34:45.210" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="11928" PostHistoryTypeId="2" PostId="6992" RevisionGUID="f4542774-619c-4f83-89c6-9ee1366f964a" CreationDate="2011-03-31T17:53:11.560" UserId="238" Text="I'm currently researching for an upcoming project in which I'll be using a wireless setup for the first time (transmitting from bag to camera). I've read a couple of similar posts on wireless setups and most people are recommending Zaxcom or Lectrosonics so I've already had a look at their products and will try to go with one of them. SD card backup recording on the Zaxcoms is a good safeguard against any pottential drop-outs.&#xD;&#xA;&#xD;&#xA;The documentary is about a comedy festival in Morocco and we'll be following a French comedian (the main subject of the doc) during his time at the festival. We'll be doing quite a lot of filming out and about, hence the need of freedom between camera and soundman. I'll be mixing on an SD442 with a boom mic and wireless lavs, then wirelessly transmitting the mix to the camera. &#xD;&#xA;&#xD;&#xA;My main questions are:&#xD;&#xA;&#xD;&#xA; - &#xD;&#xA;Do any of you guys have experience in this type of setup? Can you breakdown how you'd go about setting up?&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA; - Are there any obvious problems I could run into?&#xD;&#xA;&#xD;&#xA; - Is there any way to use one device that can both receive the signal from the lav and transmit the output from the mixer or will I need separate receivers and transmitters? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 2.5" />
  <row Id="11929" PostHistoryTypeId="1" PostId="6992" RevisionGUID="f4542774-619c-4f83-89c6-9ee1366f964a" CreationDate="2011-03-31T17:53:11.560" UserId="238" Text="Wireless options for a documentary shoot" ContentLicense="CC BY-SA 2.5" />
  <row Id="11930" PostHistoryTypeId="3" PostId="6992" RevisionGUID="f4542774-619c-4f83-89c6-9ee1366f964a" CreationDate="2011-03-31T17:53:11.560" UserId="238" Text="&lt;wireless&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11931" PostHistoryTypeId="2" PostId="6993" RevisionGUID="30275dcd-ba09-4cda-ab90-ef13eb87a51c" CreationDate="2011-03-31T18:21:33.827" UserId="418" Text="I am waiting for the first company to release a ***high-quality*** dock connector stereo mic for the iPhone. It's gotta happen soon. I would have thought Apogee would have had something like this to market by now. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11934" PostHistoryTypeId="2" PostId="6995" RevisionGUID="3f24a45a-e538-4bdb-a86a-602d6274c358" CreationDate="2011-03-31T19:11:12.917" UserId="103" Text="There is also the avantone CK40, i've never heard it&#xD;&#xA;but i'd love to try it curious&#xD;&#xA;&#xD;&#xA;[http://www.sweetwater.com/store/detail/CK40/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/store/detail/CK40/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11936" PostHistoryTypeId="2" PostId="6996" RevisionGUID="b97a8fab-4140-4b63-8bc7-fdf78fabcbb8" CreationDate="2011-03-31T20:06:36.283" UserId="973" Text="Hi i have had some experience in wireless which i thought i should share.&#xD;&#xA;I mixed on a Rolls MX422 with a boom and Lapels..i had taken one output from my mixer and hooked it up with a sennheiser EW100 bodypack transmitter which was on my mixer bag with an XLRF to EP cable..and put the reciever on the camera this gave me some independace as to where i could be on feild..&#xD;&#xA;&#xD;&#xA;but i must warn you..keep an eye on the batteries of the transmitter because if it gets weak it gives you a very annoying radio disturbance.. this also happens if your too far away from the camera or if your transmitter and reciever are not in healthy distance of each other&#xD;&#xA;&#xD;&#xA;the MX422 gives me two outputs..so the one's used up for camera.. and the other i took straight into my Zoom H4N..to have a copy of my own.. &#xD;&#xA;&#xD;&#xA;Hope this helps :)&#xD;&#xA;cheers &#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 2.5" />
  <row Id="11937" PostHistoryTypeId="2" PostId="6997" RevisionGUID="c59beecb-bedf-4c6c-a624-717ad0459b56" CreationDate="2011-03-31T20:35:14.547" UserId="974" Text="Hello,&#xD;&#xA;   Here's one method I've used. I have a SD 744T recorder and 552 mixer. For an untethered setup I record everything to discrete tracks and the camera records audio with camera mic. The audio and video is synced in post with Pluraleyes. Camera audio is used only for sync. See link:&#xD;&#xA;http://www.singularsoftware.com/pluraleyes.html&#xD;&#xA;&#xD;&#xA;Don't forget to match date and time in the recorder and camera. Very helpful in post. &#xD;&#xA;&#xD;&#xA;  My 744 double records, SD and internal harddrive and my 552 also has a 2 channel recorder. I haven't gone over 4 channels yet.  I also have in my kit a Comtek IFB  system that allows me to send audio to three IFB receivers. &#xD;&#xA;  This setup eliminates the wireless link between mixer and camera therefore improving the quality of your sound and you have control over the mix in post with the discrete tracks." ContentLicense="CC BY-SA 2.5" />
  <row Id="11938" PostHistoryTypeId="2" PostId="6998" RevisionGUID="4fc7e2d2-53e7-4bee-a095-50dae4ec0698" CreationDate="2011-03-31T21:15:33.903" UserId="338" Text="My software secret weapon is Wave Arts Panorama.  I always achieve good results (so far) when I use it to place a sound far away or to the side.  It has mediocre results with putting the sound behind and the coloration is noticeable but it works for me so far (I still havn't heard back from Lucas Arts dubbing stage where things are probably more exact and demanding of software)" ContentLicense="CC BY-SA 2.5" />
  <row Id="11939" PostHistoryTypeId="16" PostId="6998" RevisionGUID="4fc7e2d2-53e7-4bee-a095-50dae4ec0698" CreationDate="2011-03-31T21:15:33.903" UserId="-1" />
  <row Id="11940" PostHistoryTypeId="2" PostId="6999" RevisionGUID="4289259c-512a-496f-8204-9328008bc608" CreationDate="2011-03-31T21:41:08.727" UserId="255" Text="I know its not really an M/S mic, but how about the Soundfield ST350?&#xD;&#xA;&#xD;&#xA;Its single-point, portable and high quality. The pre-amp can also be switched to output M/S instead of Left/Right. And if you've got the track count, B-Format!&#xD;&#xA;&#xD;&#xA;It's a little bit expensive though...&#xD;&#xA;&#xD;&#xA;http://www.soundfield.com/products/st350.php&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![Soundfield ST350][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.studiocare.com/store/images/products/Soundfield/SSOVST350_2.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="11941" PostHistoryTypeId="2" PostId="7000" RevisionGUID="703aecd3-ab44-4883-a556-48b03dd4fede" CreationDate="2011-03-31T21:44:20.173" UserId="455" Text="Can anyone else shed some light on this?  I'm converting a mix for DVD as well and I followed Andres' specs, but the dynamics aren't coming through as the Producer would like.  &#xD;&#xA;&#xD;&#xA;I explained that small television speakers won't translate the same way a theater will.  Unfortunately I couldn't give him a definite answer on DVD mix specs because I've never translated a mix for DVD and I truly don't know for sure if what I'm doing is right.&#xD;&#xA;&#xD;&#xA;It's a horror film so naturally a lot of the scares rely on sudden, loud FX.  His concern is that he has to turn his television up all the way and the dialog still isn't very loud (average of -20dBFS.)  A friend of mine does mixes for DVD and she recommended the L1+Ultramaximizer set with a threshold and ceiling of -9.5.  This of course SMASHED my dynamics.&#xD;&#xA;&#xD;&#xA;Does anyone have a suggestion on how to word things so I can convince him/ educate him correctly?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11942" PostHistoryTypeId="5" PostId="6999" RevisionGUID="3cadd9e3-ffd6-47b8-ac58-3b53cd2812e7" CreationDate="2011-03-31T21:48:01.297" UserId="255" Comment="added 19 characters in body" Text="I know its not really an M/S mic, but how about the Soundfield ST350?&#xD;&#xA;&#xD;&#xA;Its single-point, portable (fits in a rycote) and high quality. The pre-amp can also be switched to output M/S instead of Left/Right. And if you've got the track count, B-Format!&#xD;&#xA;&#xD;&#xA;It's a little bit expensive though...&#xD;&#xA;&#xD;&#xA;http://www.soundfield.com/products/st350.php&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![Soundfield ST350][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.studiocare.com/store/images/products/Soundfield/SSOVST350_2.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="11943" PostHistoryTypeId="2" PostId="7001" RevisionGUID="196d6524-6212-456d-9439-852638b97fbb" CreationDate="2011-03-31T21:48:35.277" UserId="290" Text="Hey game audio folks. I'm wondering what *you* do.&#xD;&#xA;&#xD;&#xA;Here's what I'm looking at:&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here's what's happening. I have a sound effect that I've mixed a bunch of different layers of sound into (the first. I know I want some of these randomized, or separated into looping/ramp-up-to-loop assets. The first cluster of sounds is the whole effect, the next few clusters are the same thing with elements muted so I can render out regions that will be re-mixed together in the UDK.&#xD;&#xA;&#xD;&#xA;But this isn't ideal, as I can't get instant response on the effect of what I'm doing in game? Once we implement WWise, I'll be able to play the sound effect (in WWise) and render over the assets (from Reaper) to hear new results, right?&#xD;&#xA;&#xD;&#xA;What do you do?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wraughk.com/DropboxPermanent/SSD1.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="11944" PostHistoryTypeId="1" PostId="7001" RevisionGUID="196d6524-6212-456d-9439-852638b97fbb" CreationDate="2011-03-31T21:48:35.277" UserId="290" Text="From DAW to Game Engine. There must be a better way!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11945" PostHistoryTypeId="3" PostId="7001" RevisionGUID="196d6524-6212-456d-9439-852638b97fbb" CreationDate="2011-03-31T21:48:35.277" UserId="290" Text="&lt;game&gt;&lt;workflow&gt;&lt;daw&gt;&lt;wwise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11946" PostHistoryTypeId="2" PostId="7002" RevisionGUID="ab915cfa-b4a8-4102-82eb-3d9392e06453" CreationDate="2011-03-31T22:28:43.760" UserId="976" Text="I haven't heard of it either but good ideas from the others. When you ask him,  please post back." ContentLicense="CC BY-SA 2.5" />
  <row Id="11947" PostHistoryTypeId="2" PostId="7003" RevisionGUID="cfa7e803-e94a-48cb-b17b-6313b1d2118a" CreationDate="2011-03-31T22:29:24.703" UserId="976" Text="I haven't heard of it either but good ideas from the others. When you ask him,  please post back." ContentLicense="CC BY-SA 2.5" />
  <row Id="11948" PostHistoryTypeId="5" PostId="6998" RevisionGUID="0b9a6b92-3de8-4edb-bae5-2e37071ebb83" CreationDate="2011-03-31T22:45:23.290" UserId="338" Comment="deleted 127 characters in body" Text="My software secret weapon is Wave Arts Panorama.  I always achieve good results (so far) when I use it to place a sound far away or to the side.  It has mediocre results with putting the sound behind and the coloration is noticeable but it works for me." ContentLicense="CC BY-SA 2.5" />
  <row Id="11949" PostHistoryTypeId="2" PostId="7004" RevisionGUID="5f026ead-0705-4144-871a-9eea04c0f6c1" CreationDate="2011-03-31T22:58:44.283" UserId="18160" Text="In an auditorium situation (such as the Kodak Theater), how would you set up your audience mics to capture the audience of an awards-type show most naturally?&#xD;&#xA;&#xD;&#xA;Keep in mind the podium would be in mono in the final mix.&#xD;&#xA;&#xD;&#xA;How would you configure the stereo image and which mics would you use? Where would you place the microphones? (preferably mics that would work merely at the end of an XLR cable without any extra power boxes, etc).&#xD;&#xA;&#xD;&#xA;Does anyone have experience doing this type of gig?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11950" PostHistoryTypeId="1" PostId="7004" RevisionGUID="5f026ead-0705-4144-871a-9eea04c0f6c1" CreationDate="2011-03-31T22:58:44.283" UserId="18160" Text="What mic set-up would you use to capture a crowd?" ContentLicense="CC BY-SA 2.5" />
  <row Id="11951" PostHistoryTypeId="3" PostId="7004" RevisionGUID="5f026ead-0705-4144-871a-9eea04c0f6c1" CreationDate="2011-03-31T22:58:44.283" UserId="18160" Text="&lt;audience&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11952" PostHistoryTypeId="2" PostId="7005" RevisionGUID="f897801d-0923-4f37-988e-65505bb272ea" CreationDate="2011-03-31T23:05:28.817" UserId="587" Text="Boundary mics facing the crowd a bit higher up above head level on the left and right walls say a little bit in front of half-way center crowd, maybe an additional 2 on the front wall facing the crowd same height.&#xD;&#xA;&#xD;&#xA;Thats how some mega-churches mic up their congregation.&#xD;&#xA;&#xD;&#xA;Other than that, and beyond using a matched pair, thats all I got." ContentLicense="CC BY-SA 2.5" />
  <row Id="11953" PostHistoryTypeId="2" PostId="7006" RevisionGUID="02095f57-0244-43b7-ace2-729103e156b9" CreationDate="2011-04-01T01:49:11.890" UserId="7811" Text="i was once stopped from recording ambience at the train station in York (UK). I was using a hand-held recorder (H4n i think) and being reasonably subtle about it, but station security spotted me and i was told to stop and that I needed a permit. which i'm pretty sure is not true." ContentLicense="CC BY-SA 2.5" />
  <row Id="11954" PostHistoryTypeId="2" PostId="7007" RevisionGUID="cbca61b7-332e-42ab-a172-54da9ef4ce27" CreationDate="2011-04-01T06:45:24.100" UserId="18160" Text="I just finished watching this movie:&#xD;&#xA;&#xD;&#xA;What an amazing job on the sound design.&#xD;&#xA;&#xD;&#xA;The score was extremely good.&#xD;&#xA;&#xD;&#xA;The ambiences were top notch.&#xD;&#xA;&#xD;&#xA;I wish I had that many good horse SFX to draw from because the horse was detailed and you got every bit of emotion out of it.&#xD;&#xA;&#xD;&#xA;The detail of the chameleon effects were as exacting as R2-D2. I wish I knew how to make emotion like that for a mute character that well with sound alone!&#xD;&#xA;&#xD;&#xA;The comedic timing was awesome.&#xD;&#xA;&#xD;&#xA;One detail I noticed which I wish I could ask the sound designer if that was his intent because it's what I got from it was in the fight scene in the quarry, when the main character Flynn gets hit by the big horse and drops his frying pan of a weapon and it goes dead silent and the pause is long enough so you hear nothing but the pan hit the ground, it makes the perfect &quot;uh oh&quot; pitch which added to the comic &quot;uh oh&quot; moment it was because here was the main character suddenly without a weapon. What a perfect use of sound design to forward the story - was it pitched that way to make the &quot;uh oh&quot; sound?&#xD;&#xA;&#xD;&#xA;Anyway, the production value of this movie was just awesome and I think it will be a Disney classic right up there with any of the Pixar films and earlier animated films.&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 2.5" />
  <row Id="11955" PostHistoryTypeId="1" PostId="7007" RevisionGUID="cbca61b7-332e-42ab-a172-54da9ef4ce27" CreationDate="2011-04-01T06:45:24.100" UserId="18160" Text="A Study in Effective Sound Design Vol 2: Tangled" ContentLicense="CC BY-SA 2.5" />
  <row Id="11956" PostHistoryTypeId="3" PostId="7007" RevisionGUID="cbca61b7-332e-42ab-a172-54da9ef4ce27" CreationDate="2011-04-01T06:45:24.100" UserId="18160" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11957" PostHistoryTypeId="16" PostId="7007" RevisionGUID="cbca61b7-332e-42ab-a172-54da9ef4ce27" CreationDate="2011-04-01T06:46:45.237" UserId="18160" />
  <row Id="11958" PostHistoryTypeId="2" PostId="7008" RevisionGUID="447b5aee-7f32-4b5c-a6cd-61bfae4091a9" CreationDate="2011-04-01T07:04:03.500" UserId="693" Text="I saw this in the theater and I'd have to agree. The sound effects, music and mix were amazing. Everything was emotive, well placed and there for a reason. Nothing was done to excess, just enough to suit it's purpose.&#xD;&#xA;&#xD;&#xA;Considering the frying pan was such a key element and they made a joke out of it a few times I'm pretty sure it was intentional." ContentLicense="CC BY-SA 2.5" />
  <row Id="11959" PostHistoryTypeId="16" PostId="7008" RevisionGUID="447b5aee-7f32-4b5c-a6cd-61bfae4091a9" CreationDate="2011-04-01T07:04:03.500" UserId="-1" />
  <row Id="11960" PostHistoryTypeId="2" PostId="7009" RevisionGUID="4bee718a-8d01-4421-b522-ec8ebb74cdc8" CreationDate="2011-04-01T07:12:06.930" UserId="641" Text="I did a recording just this weekend of an evangelical gathering of 30,000 plus people with Angus Buchan (Faith Like Potatoes) in an open field out in the countryside and I used a Sanken CMS9 Stereo mic recording as a stereo pair onto my Sound Devices 552.  I also used a Zoom H4 from the stage, next to the onstage mixers booth, pointing at the crowd.  Finally I used my Senheisser 816T as well.&#xD;&#xA;I used the 816 and the CMS9 from various perspectives around the crowd to see what sound I would get and I am very happy with the results&#xD;&#xA;All three configurations gave me satisfactory recordings of what I needed, though the Zoom H4 does sound a little thin in comparison to the other mic's.&#xD;&#xA;&#xD;&#xA;Experiment and you'll quickly find the setup that works well for you!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11961" PostHistoryTypeId="5" PostId="7009" RevisionGUID="53033922-e19e-46c0-82f5-3fd1e5bc42cb" CreationDate="2011-04-01T07:17:21.703" UserId="641" Comment="added 1 characters in body" Text="I did a recording just this weekend of an evangelical gathering of 30,000 plus people with Angus Buchan (Faith Like Potatoes) in an open field out in the countryside and I used a Sanken CMS9 Stereo mic recording as a stereo pair onto my Sound Devices 552.  I also used a Zoom H4 from the stage, next to the onstage mixers booth, pointing at the crowd.  Finally I used my Senheisser 816T as well.&#xD;&#xA;I used the 816 and the CMS9 from various perspectives around the crowd to see what sound I would get and I am very happy with the results.&#xD;&#xA;All three configurations gave me satisfactory recordings of what I needed, though the Zoom H4 does sound a little thin in comparison to the other mic's.&#xD;&#xA;&#xD;&#xA;Experiment and you'll quickly find the setup that works well for you!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11962" PostHistoryTypeId="2" PostId="7010" RevisionGUID="386f1b65-2660-45fa-a20d-8c8c302f6c67" CreationDate="2011-04-01T07:53:04.713" UserId="693" Text="The winners were announced. The list is [here][1]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2011/04/waves-sound-design-competition-finalists-and-winner/" ContentLicense="CC BY-SA 2.5" />
  <row Id="11964" PostHistoryTypeId="2" PostId="7012" RevisionGUID="d99faad5-ffd4-4423-b4cd-177ebc079c1e" CreationDate="2011-04-01T17:33:56.597" UserId="315" Text="I do recordings like this all the time. I'd suggest an LCR setup if you can swing it. &#xD;&#xA;&#xD;&#xA;3 widely spaced omnis (like the front of a Decca tree) facing the audience sounds killer. 3 channels gives you the perfect amount of control over width when mixing with a mono speaker at a podium. You can start by adding a tad of the center crowd signal to the mix keeping the speakers voice up front and intelligible. Then add the L and R mics to taste, depending on how wide you want the stereo image to be. Wide sounds great with this sort of thing, but sometimes too wide can be distracting.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="11965" PostHistoryTypeId="2" PostId="7013" RevisionGUID="9fa05d06-2e65-48ad-a940-3fe98b9abc63" CreationDate="2011-04-01T17:40:50.307" UserDisplayName="user6513" Text="If its for an added recording for post, I reckon, the Zoom H2 is pretty good for recording the audience. I've placed one at the center, bottom of the stage on a mic stand. Set the H2 to record in quad, and mixed the 4 channels. Had to wrap the whole recorder in black gaffer tape so that it wouldn't distract the audience but the recording was pretty amazing.&#xD;&#xA;&#xD;&#xA;http://www.audiosparx.com/sa/summary/play.cfm/sound_iid.341514&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11969" PostHistoryTypeId="2" PostId="7015" RevisionGUID="2c04291f-3a7d-4ef6-bec1-0ec748dfb939" CreationDate="2011-04-01T18:33:56.357" UserDisplayName="user6513" Text="Depending on the camera you are using, there are quite a few options available to you.&#xD;&#xA;&#xD;&#xA;How about getting mounted receivers on the cameras. Depending on brand and type, Lectrosonics has a couple of options to help you mount the receivers on the camera, and even use the v-mount battery.&#xD;&#xA;&#xD;&#xA;If I had the option of using a recorder like the SD552 or SD744, I would have the boom transmitted to 1 receiver on the camera, and the another on the recorder. Put a -10dB pad on the receiver on the camera, because you won't be able to affect this with the mixer, but let it be a safe recording which will give you the option of using if the recording on your mixer distorts due to unforeseen circumstances.&#xD;&#xA;&#xD;&#xA;The wireless mics can be transmitted to the recorder and you can send the mixed audio into the other receiver on the camera. If you were using a SD744, you could then still record the 3 tracks separately.&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;&#xD;&#xA;Boom -&gt; Wireless Transmitter -&gt; 1. Receiver on Camera Input 1 (-10dB pad on input level)&#xD;&#xA;                             -&gt; 2. Receiver on Recorder Input 1 (normal levels)&#xD;&#xA;&#xD;&#xA;Wireless Mic 1 &amp; 2 -&gt; Receiver on Recorder Input 2&#xD;&#xA;                   -&gt; Receiver on Recorder Input 3&#xD;&#xA;                   =  Mixed signal -&gt; Wireless Transmitter -&gt; Receiver on Camera Input 2&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11970" PostHistoryTypeId="2" PostId="7016" RevisionGUID="746a347e-d02a-43c6-9849-8cb2ff419764" CreationDate="2011-04-01T19:41:42.653" UserId="393" Text="Today, I was at my work recording the internal motor of our birthing simulator (you really can never have too many servo sounds), and I noticed that the sound of the birth itself (the plastic baby exiting the silicone birthing canal) was ALMOST worth recording.&#xD;&#xA;&#xD;&#xA;![Who knew you could fit a microphone there?!][1]&#xD;&#xA;&#xD;&#xA;So, I lubed up my hand and was basically porno-style fisting our mannequin because it made a decent noise.  I had the decency to close the curtain to that particular bay, but I can't imagine anyone who walked in (unless they were from this forum) would truly understand what I was doing.&#xD;&#xA;&#xD;&#xA;So, I ask you... **What is the weirdest thing you've done for the sound of it?**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://farm6.static.flickr.com/5105/5579857109_aec1bed989_z.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="11971" PostHistoryTypeId="1" PostId="7016" RevisionGUID="746a347e-d02a-43c6-9849-8cb2ff419764" CreationDate="2011-04-01T19:41:42.653" UserId="393" Text="Weirdest thing you've ever done for sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="11972" PostHistoryTypeId="3" PostId="7016" RevisionGUID="746a347e-d02a-43c6-9849-8cb2ff419764" CreationDate="2011-04-01T19:41:42.653" UserId="393" Text="&lt;field-recording&gt;&lt;zoom-h4n&gt;&lt;weird&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11973" PostHistoryTypeId="2" PostId="7017" RevisionGUID="a0f20c7e-a496-4275-9a30-61c5fafd3837" CreationDate="2011-04-01T21:57:02.757" UserId="845" Text="So, I'm a young guy.  I've got years ahead of me and billions of decisions to make.  Over the years I've come to realize and expect that I will get more than a few of them wrong.  And I'm okay with that.&#xD;&#xA;&#xD;&#xA;What's been on my mind lately is the way forward.  I've already answered the big question.  I know the beginning and the end, but the middle eludes me.&#xD;&#xA;&#xD;&#xA;I look around this space and I see some guys with really heavy resum&amp;eacute;s, some really fantastic work.  At times it's hard, at least for me, not to be intimidated.  &#xD;&#xA;&#xD;&#xA;I guess what I want to know is... did it work out the way you planned it?  Did you even have a plan?  Did you have any idea where you were going when you started?&#xD;&#xA;&#xD;&#xA;'Cause all I have right now is the certainty that I want to design sound professionally.  What I'm having trouble with is seeing through the mire of possibility to the path that'll get me there.&#xD;&#xA;&#xD;&#xA;Thanks in advance for indulging my insecurity and self-doubt." ContentLicense="CC BY-SA 2.5" />
  <row Id="11974" PostHistoryTypeId="1" PostId="7017" RevisionGUID="a0f20c7e-a496-4275-9a30-61c5fafd3837" CreationDate="2011-04-01T21:57:02.757" UserId="845" Text="The Way Forward" ContentLicense="CC BY-SA 2.5" />
  <row Id="11975" PostHistoryTypeId="3" PostId="7017" RevisionGUID="a0f20c7e-a496-4275-9a30-61c5fafd3837" CreationDate="2011-04-01T21:57:02.757" UserId="845" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11976" PostHistoryTypeId="2" PostId="7018" RevisionGUID="6d304ef8-2ab6-4b72-89f1-444f7c05f22a" CreationDate="2011-04-01T22:10:56.520" UserId="809" Text="Hey&#xD;&#xA;&#xD;&#xA;Looking for any bright ideas to help me... Im a sound editor recording some feet in my lounge  for a feature - I have a creaky old hollow wood floor which is absolutely perfect for deck of a ship, better than any foley studio surfaces. Problem Im having is reducing room reflections on recording.&#xD;&#xA;Save for professionally treating my lounge, which aint gonna happen! Any suggestions?&#xD;&#xA;&#xD;&#xA;I have tried recording with a huge quilt over me, and mic inside, and still sounded too roomy to be honest, plus difficulty in reducing movement noise.&#xD;&#xA;Im using a 416 into a H4, though have access to various other mics &amp; lapel mics.&#xD;&#xA;&#xD;&#xA;Someone suggested attaching a lapel mic to my ankle, which I may try - but any other suggestion be appreciated..&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11977" PostHistoryTypeId="1" PostId="7018" RevisionGUID="6d304ef8-2ab6-4b72-89f1-444f7c05f22a" CreationDate="2011-04-01T22:10:56.520" UserId="809" Text="Reducing room on recordings" ContentLicense="CC BY-SA 2.5" />
  <row Id="11978" PostHistoryTypeId="3" PostId="7018" RevisionGUID="6d304ef8-2ab6-4b72-89f1-444f7c05f22a" CreationDate="2011-04-01T22:10:56.520" UserId="809" Text="&lt;recording&gt;&lt;foley&gt;&lt;reverb&gt;&lt;reverberant&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11979" PostHistoryTypeId="2" PostId="7019" RevisionGUID="7f4091c1-2f94-4f5e-ae87-b26cf9918db1" CreationDate="2011-04-01T22:42:56.927" UserId="393" Text="If it's an option, record it from below.  Then again, perhaps the boomyness below it is actually the problem.&#xD;&#xA;&#xD;&#xA;Professional studios have those movable sound-absorbing panels, and you can build something similar with some 2x6s, rockwool, and canvas to seal them up.  Also, moving blankets can work as sound blankets in a pinch." ContentLicense="CC BY-SA 2.5" />
  <row Id="11981" PostHistoryTypeId="2" PostId="7021" RevisionGUID="3bd347e7-5865-49c5-80bb-be64a670f1f6" CreationDate="2011-04-01T22:51:28.813" UserId="393" Text="When I was in Jr. High, right before I started making all my bad decisions, I was planning on being a professional saxophonist, most likely playing on a cruise ship.  I'd already been scouted by colleges -- I realize that's against the rules, but they didn't seem to care -- and knew I'd have a full ride at quite a few colleges if I just kept my grades up.&#xD;&#xA;&#xD;&#xA;My sophomore year in high school, I was playing sax and clarinet in the orchestra pit for our school play, The Wizard of Oz, and I met a girl.  And yadda yadda, we had a kid.  So, naturally, instead of stepping up and doing it right, I dropped out of school and became an absolute deadbeat both to society and to my first son.&#xD;&#xA;&#xD;&#xA;I pretty much coasted through the next five years of my life until I got my room mate (not my girlfriend), who is now my wife, pregnant.  That was my wake up call and I'm only now back to the place I was my sophomore year in high school, both in terms of skill as a sax player and in my preparation for any sort of real career.&#xD;&#xA;&#xD;&#xA;So, no... it didn't go how I'd planned it.  But I know that if it had, I would never have ended up where I'm at now, and sound design as a career may have never crossed my plate.&#xD;&#xA;&#xD;&#xA;I'm only 28, which is a baby in terms of most professionals in the world, but I feel I'm too old to really be starting any career.  I've gotta do it anyway, and now I'm mentally prepared for it.&#xD;&#xA;&#xD;&#xA;Two words of advice: don't do things you know you'll regret 10 years later (you'll know those decisions when they come up...), and NEVER STOP LEARNING, even if it's not related to sound design.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="11982" PostHistoryTypeId="2" PostId="7022" RevisionGUID="9e85ba38-3c3e-418a-9589-01f495b12d97" CreationDate="2011-04-02T00:54:20.093" UserDisplayName="user49" Text="I went to Film School specifically to become a sound effects editor, but I spent a few years at University beforehand doing the wrong thing. After film school I got a start as a trainee working on TV series and I knew I was in the right field. A few years later when I got to work on a film I knew THAT was what I wanted to do. When I turned 30 I spent six months questioning everything; was THIS what I wanted to do? I came to the conclusion it absolutely totally was, and I have followed my instincts ever since. The only conclusion I have come up with is that working on films just gets deeper and deeper... But it is not for everyone (some people prefer a 9 to 5 job) - you should keep an open mind and get experience in lots of aspects of the field you choose, it might turn out you are a better dialogue editor than sound effects editor or whatever...&#xD;&#xA;&#xD;&#xA;Relatedly a young person asked me a while ago at what stage did I arrive at a place that I knew what I was doing.... I had to be honest and say never, that place doesn't exist... Film is art, no one gets to the end of their life (let alone the middle) and says 'ah I am so glad I now know everything...' Experience is valuable &amp; your instincts are based on it, but as Dave said NEVER STOP LEARNING. And WORK HARD - you would be surprised how many people do not and if there is one golden rule, its that the harder you work the luckier you get. Always do more than what people expect.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11986" PostHistoryTypeId="2" PostId="7024" RevisionGUID="ebc81b83-571c-496c-b577-c5e531fe2df6" CreationDate="2011-04-02T02:17:31.093" UserId="18160" Text="Drop packing blankets across the whole floor and only lay bare what you want to record on.&#xD;&#xA;&#xD;&#xA;Then, put packing blankets over mic stands and put those in a circle all the way around you.&#xD;&#xA;&#xD;&#xA;If that STILL doesn't work, I'd search for another room that has a lot of upholstery and couches and chairs with cushions etc.&#xD;&#xA;&#xD;&#xA;Or just get 5 to 10 people to come in and stand in the room with you (if this is feasible). This always deadens a room and reflection by about 30% I've found when recording multi-cast audiobooks. Make sure they are quiet!" ContentLicense="CC BY-SA 2.5" />
  <row Id="11988" PostHistoryTypeId="2" PostId="7025" RevisionGUID="621cb2b7-fd79-41ac-afb6-e61fa424f6cf" CreationDate="2011-04-02T05:06:48.067" UserId="253" Text="There are 2 films from the same director, Kyoshi Kurosawa, that use silence in an interesting way. Not just designed silence, but an absolutely (or, if not, very close to) dead soundtrack.&#xD;&#xA;&#xD;&#xA;Cure (1997) has a scene where the antagonist (to use the term loosely) hypnotises a doctor. I can't remember the exact details but, as he speaks to her (doing the whole hypnotist soothing voice thing) the image cuts to some water, spilled from a glass, trickling along the floor. It's accompanied by the sound of water oozing over the floor, then fades to nothing briefly. Very eerie, and creates a strange effect.&#xD;&#xA;&#xD;&#xA;Tokyo Sonata (2008) has a scene in which a mother sees off her rebellious teenage son, who's leaving to join the army. As the bus he's in pulls off, there's a tight POV (from the mother's perspective) of her son's face in the window, which is accompanied by a brief dead spot in the soundtrack. The scene was already quite emotional but, somehow, the dip to silence gave me a lump in my throat." ContentLicense="CC BY-SA 2.5" />
  <row Id="11989" PostHistoryTypeId="2" PostId="7026" RevisionGUID="e0f94c5f-8ba0-40b2-9c32-85fb6f25a655" CreationDate="2011-04-02T06:35:53.020" UserId="845" Text="I've never actually mixed anything for either theater or DVD, but I do descriptive video (mixing narration into completed sound tracks for the sake of the visually impaired). Basically, my job is to match levels with whatever programme I happen to be working on. This means that I sit all day and watch the Master to make sure I don't blow anything out. &#xD;&#xA;&#xD;&#xA;Sadly the average mix level tends to run the gamut. It really depends on the kind of show/movie and the era in which it was made. Recent reality shows are L1-Ed bricks with a constant level of -10. The movie Black Hawk Down was similar, with sustained peaks as high as -3, but an average non-action dialogue level of about -20, action dialogue was give or take -10. A River Runs Through It sat at somewhere around -25 to -28, the very occasional peak at -6, and even rarer sustained peak at about -10. The reason for the difference is the date that the L1/L2 were invented, and simply that DAWs can deliver a *much* greater dynamic range than tape. &#xD;&#xA;&#xD;&#xA;As a general rule though, it looks as if most films end up at -20 to -22. Most TV sits around -12 to -16. &#xD;&#xA;&#xD;&#xA;The station I work for likes the final product to come out with a dialogue level of -20-ish, and a sustained peak of -10, one shots to -5 or so are OK, but only on the odd occasion. This means that i often have to alter the dynamics of the original. Personally, this breaks my heart. I hate mussing up other people's hard work. But it's what *THEY* want, so that's what I do. &#xD;&#xA;&#xD;&#xA;If I understand you correctly you're printing to DVD but it's going to be played in a theatre, yes?  If so, your dynamic range can be much greater because the system and the room (for the most part) has been designed to accommodate it. I may be completely wrong in this, but as long as you're not in the red or reaching for the volume knob in the quiet bits, you should be fine. " ContentLicense="CC BY-SA 2.5" />
  <row Id="11990" PostHistoryTypeId="2" PostId="7027" RevisionGUID="8f726bf3-9501-4de5-87e7-79ce3d8a309f" CreationDate="2011-04-02T09:19:52.147" UserId="809" Text="Great ideas, thanks! Though dont have access below really. I just discovered 'de verb' plugin, working wonders in making recordings usable, de reverbing the recordings. Anyone else use this? " ContentLicense="CC BY-SA 2.5" />
  <row Id="11991" PostHistoryTypeId="2" PostId="7028" RevisionGUID="823cca57-2cf6-4096-959f-b1aabf288a81" CreationDate="2011-04-02T10:25:40.173" UserId="930" Text="Check this plug-in out: &#xD;&#xA;&#xD;&#xA;[SPL De-Verb][1]&#xD;&#xA;&#xD;&#xA;It gets rid of the reverb tail pretty well, however, it does keep some early reflections.&#xD;&#xA;&#xD;&#xA;Sounds great though, and is probably more than worth a try!&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://spl.info/software/microplugs/de-verb.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="11992" PostHistoryTypeId="2" PostId="7029" RevisionGUID="5270c6a5-c57a-4bf6-8352-91fe3f5d81bc" CreationDate="2011-04-02T13:57:11.067" UserId="397" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I just send a bounce file i made on PT to the editor of this project and he says that at the end of the file the sync is out and gets worse and worse. I've checked my settings on my session setup and everything is ok. Have ever encounter such a problem? if so, how can it be solved?&#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;Marco" ContentLicense="CC BY-SA 2.5" />
  <row Id="11993" PostHistoryTypeId="1" PostId="7029" RevisionGUID="5270c6a5-c57a-4bf6-8352-91fe3f5d81bc" CreationDate="2011-04-02T13:57:11.067" UserId="397" Text="Bounce of PT out of sync on FC" ContentLicense="CC BY-SA 2.5" />
  <row Id="11994" PostHistoryTypeId="3" PostId="7029" RevisionGUID="5270c6a5-c57a-4bf6-8352-91fe3f5d81bc" CreationDate="2011-04-02T13:57:11.067" UserId="397" Text="&lt;pt&gt;&lt;bounce&gt;&lt;final&gt;&lt;cut&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="11995" PostHistoryTypeId="2" PostId="7030" RevisionGUID="01066024-9cbf-4e1b-bae4-ad5a4a423e97" CreationDate="2011-04-02T14:36:20.340" UserId="234" Text="Hi Marco,&#xD;&#xA;&#xD;&#xA;Sounds like the famous FCP bug/feature... Details are here: [http://duc.avid.com/showthread.php?t=212057][1]&#xD;&#xA;&#xD;&#xA;Basically if Final Cut's capture AND Sequence settings don't match, Final Cut will try and conform the audio, resulting in it going out of sync. The editor can either match up the two and then get a NEW copy of the file from you (make sure you send him a new copy...FCP &quot;marks&quot; the file once it's been imported as needing to be adjusted and will do it regardless) or you can use Sebsky Tools to ouput a Quicktime Movie at the right frame rate.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://duc.avid.com/showthread.php?t=212057" ContentLicense="CC BY-SA 2.5" />
  <row Id="12000" PostHistoryTypeId="2" PostId="7032" RevisionGUID="37932d94-0c0f-437a-b134-1ca0c34552f7" CreationDate="2011-04-02T22:05:00.033" UserId="845" Text="Anybody got any tips on performing noise reduction without using any of the fancy NR tools (iZotope RX, X-Noise, et. al.?).  I'm one of those youngsters who has never really had to work without them, so I'm finding myself a bit flummoxed.&#xD;&#xA;&#xD;&#xA;I'm working on a project whose primary mandate is authenticity of aspect, nothing canned, and everything as raw and real as possible.  Apparently raw + real = poorly recorded, but I won't start into that.  Now, I know for a fact that if I leave everything as RawReal as possible (read, do nothing to the location dialogue at all) I'm going to get a moon high stack of notes from everyone involved.  So I thought I'd kick it old school and work some sushi chef magic with tight Q exacto knives.&#xD;&#xA;&#xD;&#xA;What that means, of course, is that I've been sitting here all day playing with multiple instances of the 7-band EQ3 and the Expander/Gate Dyn 3, chopping up great swaths of room tone and mucking about with side-chains. But I just can't seem to find a setup that works for me.&#xD;&#xA;&#xD;&#xA;The tack I've been trying to take is not to remove *all* of the noise, just the annoying bits, 3.2k, 15k, 6.5k, 2.5k, etc.  But it all ends up sounding like they're talking into a mattress...&#xD;&#xA;&#xD;&#xA;Any ideas on places to start?  Bands to look at? thresholds and expander ratios that might work?&#xD;&#xA;&#xD;&#xA;I'll use RX if I have to, but it'd feel like cheating.&#xD;&#xA;&#xD;&#xA;Tanx!" ContentLicense="CC BY-SA 2.5" />
  <row Id="12001" PostHistoryTypeId="1" PostId="7032" RevisionGUID="37932d94-0c0f-437a-b134-1ca0c34552f7" CreationDate="2011-04-02T22:05:00.033" UserId="845" Text="Noise Removal, Old School" ContentLicense="CC BY-SA 2.5" />
  <row Id="12002" PostHistoryTypeId="3" PostId="7032" RevisionGUID="37932d94-0c0f-437a-b134-1ca0c34552f7" CreationDate="2011-04-02T22:05:00.033" UserId="845" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12003" PostHistoryTypeId="2" PostId="7033" RevisionGUID="2f94d1c5-2bb0-4f1d-9ebd-2f8a4c417072" CreationDate="2011-04-02T22:38:45.870" UserId="693" Text="Using the tools you have is far from cheating, however I do appreciate your interest in learning alternate methods. &#xD;&#xA;&#xD;&#xA;Personally, I've never had to really kick it old school with noise removal with the exception of experimenting and doing what you're doing and experimenting with EQ and Gain. One trick I've been able to use from time to time is canceling out the noise via phase inversion trickery and EQ filters. This is a little tricky to get working properly but it is possible depending on what the source of and how cyclic your ambient noise is." ContentLicense="CC BY-SA 2.5" />
  <row Id="12004" PostHistoryTypeId="2" PostId="7034" RevisionGUID="7fc0ddc5-d25d-4a54-88f7-acbcb9959439" CreationDate="2011-04-02T23:53:28.950" UserId="845" Text="Lately it seems that a lot of people have been asking about how to remove reverb from location dialogue, and I've been dealing with it myself on a current project.  Because I have no life, I've been sitting (on a Saturday night) playing with the dialogue, trying to see if I can get rid of this ass ton of horrible noise.  I will be heart-broken if someone has already come up with this, but I think I've just invented a Multi-Band Gate:&#xD;&#xA;&#xD;&#xA;![Routing Setup for Multi-Band Gate][1]&#xD;&#xA;&#xD;&#xA;In the example above you will see that I have 4 compressors and only one gate.  Explanation follows:&#xD;&#xA;&#xD;&#xA;Of late I've been finding many references to multi-band compression as a great noise removal tool if you don't have fancy NR plugs like iZotope RX.  So, I thought I'd give it a try.  Sadly, I don't own a multi-band compressor, so I thought I'd make one.  The principle is really pretty simple, here's how you do it:&#xD;&#xA;&#xD;&#xA;Take your original signal and route it into 4 (or more if you like) separate Aux Channels.  In the inserts drop in an EQ7 (or anything else with a top and bottom filter in it), and slice it up into it's component bands.  In this case I've done Low: 0-120Hz, Low-Mid 120-1000Hz, Mid: 1,000-7,500Hz, High: 7.5kHz-20kHz.  For the sticklers out there, I know that this is not precisely how the bands are broken up, but this is how my brain thinks they *should* be (don't ask me, he's a really weird dude).  So, I picked numbers that split the spectrum up nicely.  You can set it pretty much however you like, same goes for your slopes.  &#xD;&#xA;&#xD;&#xA;Once you're done with that, all 4 Auxiliary tracks are routed back into a single track, thereby giving a single overall volume control.  The ultimate aim is to have the 4 filtered tracks come back sounding exactly the same as the single original. &#xD;&#xA;&#xD;&#xA;Once you have your bands and crossovers playing nice together you can drop in your compressors.  So, in stead of compressing the entire signal, you can pick a *part* of the signal and compress that.  In this case, I tried it on all 4 bands and it just wasn't working, if anything it was making the reverb worse.  Naturally, I proceeded to get really frustrated and irritated with myself for wasting so much time on a stupid idea, until...&#xD;&#xA;&#xD;&#xA;My brain went sideways and remembered that a lot of people like to use gates/expanders when faced with large amounts of noise or room.  So I dropped in a gate on one of the bands.  For me, the most irritating and noticeable part of a big reverb tail is the mid-ish band 1-5kHz (I suspect this will be true for most people) so that's where I put my gate.  My band as-set was a little wider than that, but I was more interested to see if it would actually work than being absolute in my bandwidth accuracy.&#xD;&#xA;&#xD;&#xA;Now, I generally find gates used on dialogue to be really choppy and obvious, unless it's done spectacularly (a feat which I will readily admit I've never accomplished).  It's the high-end hiss jumping in and out that gives it away.  However, in this case, because it's only gating 1-7.5k, all of the high-end hiss is left exactly where it was in the first place.  This means that you can set your gate to really cut hard, and the rest of the frequency content of your signal will cover your tracks for you.  This is doubly true if your content is as F*^*ING noisy as mine is.&#xD;&#xA;&#xD;&#xA;And I have to say, it really works well.  There are three great things about it:&#xD;&#xA;&#xD;&#xA;One:  The reverb is most definitely still there, but it doesn't eat into the dialogue in the way that it used to.  &#xD;&#xA;&#xD;&#xA;Two: You're not losing the Mid content of the dialogue entirely, just the tail, so the words themselves actually end up sounding pretty close to the original.&#xD;&#xA;&#xD;&#xA;Three:  Like the reverb, the part of the spectrum that gives ambient noise its beef is the 1-5k range, so this method controls a lot of that too.&#xD;&#xA;&#xD;&#xA;Bonus Prize!: You can use the remaining 5 EQ bands in the EQ7s to shape each band of your multi-band gated signal.  This quadruples the number of bands you have to use on the entire thing.  You've just built yourself a 20-band paragraphic EQ.&#xD;&#xA;&#xD;&#xA;As you can see I'd already dropped a compressor onto each band, so I used it on the high end to control some of the hiss and the rumble, and everything sounds way less terrible than it used to.&#xD;&#xA;&#xD;&#xA;Oh, and another really cool thing... this method also gives you large-scale faders for controlling the volume of each band, in stead of the fiddly little knobs in the EQs themselves.&#xD;&#xA;&#xD;&#xA;I am totally high-fiving myself right now.&#xD;&#xA;&#xD;&#xA;  [1]: http://1.bp.blogspot.com/-73NdQu2q9lA/TZexAQ8gV3I/AAAAAAAAAB0/Hy6p4XweyHU/s1600/016.JPG" ContentLicense="CC BY-SA 2.5" />
  <row Id="12005" PostHistoryTypeId="1" PostId="7034" RevisionGUID="7fc0ddc5-d25d-4a54-88f7-acbcb9959439" CreationDate="2011-04-02T23:53:28.950" UserId="845" Text="How To: Minimizing reverb with a multi-band gate." ContentLicense="CC BY-SA 2.5" />
  <row Id="12006" PostHistoryTypeId="3" PostId="7034" RevisionGUID="7fc0ddc5-d25d-4a54-88f7-acbcb9959439" CreationDate="2011-04-02T23:53:28.950" UserId="845" Text="&lt;room-tone-removal&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12007" PostHistoryTypeId="16" PostId="7034" RevisionGUID="7fc0ddc5-d25d-4a54-88f7-acbcb9959439" CreationDate="2011-04-02T23:53:28.950" UserId="845" />
  <row Id="12008" PostHistoryTypeId="5" PostId="7034" RevisionGUID="ce808648-8b3c-4867-92e5-544bd7e5b99f" CreationDate="2011-04-03T00:01:55.850" UserId="845" Comment="added 5 characters in body" Text="Lately it seems that a lot of people have been asking about how to remove reverb from location dialogue, and I've been dealing with it myself on a current project.  Because I have no life, I've been sitting (on a Saturday night) playing with the dialogue, trying to see if I can get rid of this ass ton of horrible noise.  I will be heart-broken if someone has already come up with this, but I think I've just invented a Multi-Band Gate:&#xD;&#xA;&#xD;&#xA;![Routing Setup for Multi-Band Gate][1]&#xD;&#xA;&#xD;&#xA;In the example above you will see that I have 4 compressors and only one gate.  Explanation follows:&#xD;&#xA;&#xD;&#xA;Of late I've been finding many references to multi-band compression as a great noise removal tool if you don't have fancy NR plugs like iZotope RX.  So, I thought I'd give it a try.  Sadly, I don't own a multi-band compressor, so I thought I'd make one.  The principle is really pretty simple, here's how you do it:&#xD;&#xA;&#xD;&#xA;Take your original signal and route it into 4 (or more if you like) separate Aux Channels.  In the inserts drop in an EQ7 (or anything else with a top and bottom filter in it), and slice it up into it's component bands.  In this case I've done Low: 0-120Hz, Low-Mid 120-1000Hz, Mid: 1,000-7,500Hz, High: 7.5kHz-20kHz.  For the sticklers out there, I know that this is not precisely how the bands are broken up, but this is how my brain thinks they *should* be (don't ask me, he's a really weird dude).  So, I picked numbers that split the spectrum up nicely.  You can set it pretty much however you like, same goes for your slopes.  &#xD;&#xA;&#xD;&#xA;Once you're done with that, all 4 Auxiliary tracks are routed back into a single track, thereby giving a single overall volume control.  The ultimate aim is to have the 4 filtered tracks come back sounding exactly the same as the single original. &#xD;&#xA;&#xD;&#xA;Once you have your bands and crossovers playing nice together you can drop in your compressors.  So, in stead of compressing the entire signal, you can pick a *part* of the signal and compress that.  In this case, I tried it on all 4 bands and it just wasn't working, if anything it was making the reverb worse.  Naturally, I proceeded to get really frustrated and irritated with myself for wasting so much time on a stupid idea, until...&#xD;&#xA;&#xD;&#xA;My brain went sideways and remembered that a lot of people like to use gates/expanders when faced with large amounts of noise or room.  So I dropped in a gate on one of the bands.  For me, the most irritating and noticeable part of a big reverb tail is the mid-ish band 1-5kHz (I suspect this will be true for most people) so that's where I put my gate.  My band as-set was a little wider than that, but I was more interested to see if it would actually work than being absolute in my bandwidth accuracy.&#xD;&#xA;&#xD;&#xA;Now, I generally find gates used on dialogue to be really choppy and obvious, unless it's done spectacularly (a feat which I will readily admit I've never accomplished).  It's the high-end hiss jumping in and out that gives it away.  However, in this case, because it's only gating 1-7.5k, all of the high-end hiss is left exactly where it was in the first place.  This means that you can set your gate to really cut hard, and the rest of the frequency content of your signal will cover your tracks for you.  This is doubly true if your content is as F*^*ING noisy as mine is.&#xD;&#xA;&#xD;&#xA;And I have to say, it really works well.  There are three great things about it:&#xD;&#xA;&#xD;&#xA;One:  The reverb is most definitely still there, but it doesn't eat into the dialogue in the way that it used to.  &#xD;&#xA;&#xD;&#xA;Two: You're not losing the Mid content of the dialogue entirely, just the tail, so the words themselves actually end up sounding pretty close to the original.&#xD;&#xA;&#xD;&#xA;Three:  Like the reverb, the part of the spectrum that gives ambient noise its beef is the 1-5k range, so this method controls a lot of that too.&#xD;&#xA;&#xD;&#xA;Bonus Prize!: You can use the remaining 5 EQ bands in the EQ7s to shape each band of your multi-band gated signal.  This quadruples the number of bands you have to use on the entire thing.  You've just built yourself a 20-band paragraphic EQ.&#xD;&#xA;&#xD;&#xA;As you can see I'd already dropped a compressor onto each band, so I used it on the high and low ends to control some of the hiss and rumble, and everything sounds way less terrible than it used to.&#xD;&#xA;&#xD;&#xA;Oh, and another really cool thing... this method also gives you large-scale faders for controlling the volume of each band, in stead of the fiddly little knobs in the EQs themselves.&#xD;&#xA;&#xD;&#xA;I am totally high-fiving myself right now.&#xD;&#xA;&#xD;&#xA;  [1]: http://1.bp.blogspot.com/-73NdQu2q9lA/TZexAQ8gV3I/AAAAAAAAAB0/Hy6p4XweyHU/s1600/016.JPG" ContentLicense="CC BY-SA 2.5" />
  <row Id="12009" PostHistoryTypeId="2" PostId="7035" RevisionGUID="891d88a1-41a2-4e1f-8a57-9e8a5214b87c" CreationDate="2011-04-03T01:37:35.673" UserId="217" Text="I've trekked across marsh land on my own at 3am in the morning not really knowing what I might find, but hoping to find something interesting to record.&#xD;&#xA;&#xD;&#xA;And I happened to be in luck. At around 4am-5am I came across this: &#xD;&#xA;&#xD;&#xA;[soundcloud]audious/sea-bird-dawn-chorus[/soundcloud]&#xD;&#xA;&#xD;&#xA;I've got about 45mins of this in total, maybe more.&#xD;&#xA;&#xD;&#xA;I don't know if that counts as doing something weird... but I certainly felt like a bit of weirdo at the time :)." ContentLicense="CC BY-SA 2.5" />
  <row Id="12010" PostHistoryTypeId="2" PostId="7036" RevisionGUID="a70fc201-ff78-45f0-9d2a-3e9542be682e" CreationDate="2011-04-03T04:32:48.200" UserId="845" Text="I put my H1 in a ten foot long, 4 inch pipe and went to the video store to rent SoundTracker.  Not that weird in and of itself, but it is the first time I've ever set a piece of gear down and literally walked away.&#xD;&#xA;&#xD;&#xA;[soundcloud] g-a-harry/pipe-resonance-1 [/soundcloud]" ContentLicense="CC BY-SA 2.5" />
  <row Id="12011" PostHistoryTypeId="5" PostId="7034" RevisionGUID="a010ae95-7346-4a84-a957-800000f8a14b" CreationDate="2011-04-03T04:53:38.733" UserId="845" Comment="Added examples" Text="Lately it seems that a lot of people have been asking about how to remove reverb from location dialogue, and I've been dealing with it myself on a current project.  Because I have no life, I've been sitting (on a Saturday night) playing with the dialogue, trying to see if I can get rid of this ass ton of horrible noise.  I will be heart-broken if someone has already come up with this, but I think I've just invented a Multi-Band Gate:&#xD;&#xA;&#xD;&#xA;![Routing Setup for Multi-Band Gate][1]&#xD;&#xA;&#xD;&#xA;In the example above you will see that I have 4 compressors and only one gate.  Explanation follows:&#xD;&#xA;&#xD;&#xA;Of late I've been finding many references to multi-band compression as a great noise removal tool if you don't have fancy NR plugs like iZotope RX.  So, I thought I'd give it a try.  Sadly, I don't own a multi-band compressor, so I thought I'd make one.  The principle is really pretty simple, here's how you do it:&#xD;&#xA;&#xD;&#xA;Take your original signal and route it into 4 (or more if you like) separate Aux Channels.  In the inserts drop in an EQ7 (or anything else with a top and bottom filter in it), and slice it up into it's component bands.  In this case I've done Low: 0-120Hz, Low-Mid 120-1000Hz, Mid: 1,000-7,500Hz, High: 7.5kHz-20kHz.  For the sticklers out there, I know that this is not precisely how the bands are broken up, but this is how my brain thinks they *should* be (don't ask me, he's a really weird dude).  So, I picked numbers that split the spectrum up nicely.  You can set it pretty much however you like, same goes for your slopes.  &#xD;&#xA;&#xD;&#xA;Once you're done with that, all 4 Auxiliary tracks are routed back into a single track, thereby giving a single overall volume control.  The ultimate aim is to have the 4 filtered tracks come back sounding exactly the same as the single original. &#xD;&#xA;&#xD;&#xA;Once you have your bands and crossovers playing nice together you can drop in your compressors.  So, in stead of compressing the entire signal, you can pick a *part* of the signal and compress that.  In this case, I tried it on all 4 bands and it just wasn't working, if anything it was making the reverb worse.  Naturally, I proceeded to get really frustrated and irritated with myself for wasting so much time on a stupid idea, until...&#xD;&#xA;&#xD;&#xA;My brain went sideways and remembered that a lot of people like to use gates/expanders when faced with large amounts of noise or room.  So I dropped in a gate on one of the bands.  For me, the most irritating and noticeable part of a big reverb tail is the mid-ish band 1-5kHz (I suspect this will be true for most people) so that's where I put my gate.  My band as-set was a little wider than that, but I was more interested to see if it would actually work than being absolute in my bandwidth accuracy.&#xD;&#xA;&#xD;&#xA;Now, I generally find gates used on dialogue to be really choppy and obvious, unless it's done spectacularly (a feat which I will readily admit I've never accomplished).  It's the high-end hiss jumping in and out that gives it away.  However, in this case, because it's only gating 1-7.5k, all of the high-end hiss is left exactly where it was in the first place.  This means that you can set your gate to really cut hard, and the rest of the frequency content of your signal will cover your tracks for you.  This is doubly true if your content is as F*^*ING noisy as mine is.&#xD;&#xA;&#xD;&#xA;And I have to say, it really works well.  There are three great things about it:&#xD;&#xA;&#xD;&#xA;One:  The reverb is most definitely still there, but it doesn't eat into the dialogue in the way that it used to.  &#xD;&#xA;&#xD;&#xA;Two: You're not losing the Mid content of the dialogue entirely, just the tail, so the words themselves actually end up sounding pretty close to the original.&#xD;&#xA;&#xD;&#xA;Three:  Like the reverb, the part of the spectrum that gives ambient noise its beef is the 1-5k range, so this method controls a lot of that too.&#xD;&#xA;&#xD;&#xA;Bonus Prize!: You can use the remaining 5 EQ bands in the EQ7s to shape each band of your multi-band gated signal.  This quadruples the number of bands you have to use on the entire thing.  You've just built yourself a 20-band paragraphic EQ.&#xD;&#xA;&#xD;&#xA;As you can see I'd already dropped a compressor onto each band, so I used it on the high and low ends to control some of the hiss and rumble, and everything sounds way less terrible than it used to.&#xD;&#xA;&#xD;&#xA;Oh, and another really cool thing... this method also gives you large-scale faders for controlling the volume of each band, in stead of the fiddly little knobs in the EQs themselves.&#xD;&#xA;&#xD;&#xA;I am totally high-fiving myself right now.&#xD;&#xA;&#xD;&#xA;  [1]: http://1.bp.blogspot.com/-73NdQu2q9lA/TZexAQ8gV3I/AAAAAAAAAB0/Hy6p4XweyHU/s1600/016.JPG&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;&#xD;&#xA;Your Wish = My Command&#xD;&#xA;&#xD;&#xA;[soundcloud] g-a-harry/sets/before-and-after-side-chain [/soundcloud]&#xD;&#xA;&#xD;&#xA;Still needs a touch-up.  But now I actually have something to work with." ContentLicense="CC BY-SA 2.5" />
  <row Id="12012" PostHistoryTypeId="4" PostId="7034" RevisionGUID="870fda60-38d7-4e22-9156-2a49c78640d6" CreationDate="2011-04-03T04:59:39.643" UserId="845" Comment="corrected title" Text="How To: Minimizing noise and reverb with a multi-band gate." ContentLicense="CC BY-SA 2.5" />
  <row Id="12013" PostHistoryTypeId="5" PostId="7034" RevisionGUID="3953c7f4-e902-442a-993a-ac6b598f666c" CreationDate="2011-04-03T15:24:48.077" UserId="845" Comment="deleted 2 characters in body; added 66 characters in body" Text="Lately it seems that a lot of people have been asking about how to remove reverb from location dialogue, and I've been dealing with it myself on a current project.  Because I have no life, I've been sitting (on a Saturday night) playing with the dialogue, trying to see if I can get rid of this ass ton of horrible noise.  I will be heart-broken if someone has already come up with this, but I think I've just invented a Multi-Band Gate:&#xD;&#xA;&#xD;&#xA;![Routing Setup for Multi-Band Gate][1]&#xD;&#xA;&#xD;&#xA;In the example above you will see that I have 4 compressors and only one gate.  Explanation follows:&#xD;&#xA;&#xD;&#xA;Of late I've been finding many references to multi-band compression as a great noise removal tool if you don't have fancy NR plugs like iZotope RX.  So, I thought I'd give it a try.  Sadly, I don't own a multi-band compressor, so I thought I'd make one.  The principle is really pretty simple, here's how you do it:&#xD;&#xA;&#xD;&#xA;Take your original signal and route it into 4 (or more if you like) separate Aux Channels.  In the inserts drop in an EQ7 (or anything else with a top and bottom filter in it), and slice it up into it's component bands.  In this case I've done Low: 0-120Hz, Low-Mid 120-1000Hz, Mid: 1,000-7,500Hz, High: 7.5kHz-20kHz.  For the sticklers out there, I know that this is not precisely how the bands are broken up, but this is how my brain thinks they *should* be (don't ask me, he's a really weird dude).  So, I picked numbers that split the spectrum up nicely.  You can set it pretty much however you like, same goes for your slopes.  &#xD;&#xA;&#xD;&#xA;Once you're done with that, all 4 Auxiliary tracks are routed back into a single track, thereby giving a single overall volume control.  The ultimate aim is to have the 4 filtered tracks come back sounding exactly the same as the single original. &#xD;&#xA;&#xD;&#xA;Once you have your bands and crossovers playing nice together you can drop in your compressors.  So, in stead of compressing the entire signal, you can pick a *part* of the signal and compress that.  In this case, I tried it on all 4 bands and it just wasn't working, if anything it was making the reverb worse.  Naturally, I proceeded to get really frustrated and irritated with myself for wasting so much time on a stupid idea, until...&#xD;&#xA;&#xD;&#xA;My brain went sideways and remembered that a lot of people like to use gates/expanders when faced with large amounts of noise or room.  So I dropped in a gate on one of the bands.  For me, the most irritating and noticeable part of a big reverb tail is the mid-ish band 1-5kHz (I suspect this will be true for most people) so that's where I put my gate.  My band as-set was a little wider than that, but I was more interested to see if it would actually work than being absolute in my bandwidth accuracy.&#xD;&#xA;&#xD;&#xA;Now, I generally find gates used on dialogue to be really choppy and obvious, unless it's done spectacularly (a feat which I will readily admit I've never accomplished).  It's the high-end hiss jumping in and out that gives it away.  However, in this case, because it's only gating 1-7.5k, all of the high-end hiss is left exactly where it was in the first place.  This means that you can set your gate to really cut hard, and the rest of the frequency content of your signal will cover your tracks for you.  This is doubly true if your content is as F*^*ING noisy as mine is.&#xD;&#xA;&#xD;&#xA;And I have to say, it really works well.  There are three great things about it:&#xD;&#xA;&#xD;&#xA;One:  The reverb is most definitely still there, but it doesn't eat into the dialogue in the way that it used to.  &#xD;&#xA;&#xD;&#xA;Two: You're not losing the Mid content of the dialogue entirely, just the tail, so the words themselves actually end up sounding pretty close to the original.&#xD;&#xA;&#xD;&#xA;Three:  Like the reverb, the part of the spectrum that gives ambient noise its beef is the 1-5k range, so this method controls a lot of that too.&#xD;&#xA;&#xD;&#xA;Bonus Prize!: You can use the remaining 5 EQ bands in the EQ7s to shape each band of your multi-band gated signal.  This quadruples the number of bands you have to use on the entire thing.  You've just built yourself a 20-band paragraphic EQ.&#xD;&#xA;&#xD;&#xA;As you can see I'd already dropped a compressor onto each band, so I used it on the high and low ends to control some of the hiss and rumble, and everything sounds way less terrible than it used to.&#xD;&#xA;&#xD;&#xA;Oh, and another really cool thing... this method also gives you large-scale faders for controlling the volume of each band, in stead of the fiddly little knobs in the EQs themselves.&#xD;&#xA;&#xD;&#xA;I am totally high-fiving myself right now.&#xD;&#xA;&#xD;&#xA;  [1]: http://1.bp.blogspot.com/-73NdQu2q9lA/TZexAQ8gV3I/AAAAAAAAAB0/Hy6p4XweyHU/s1600/016.JPG&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;&#xD;&#xA;Your Wish = My Command&#xD;&#xA;&#xD;&#xA;Before:&#xD;&#xA;[soundcloud]g-a-harry/after-side-chain-gate[/soundcloud]&#xD;&#xA;&#xD;&#xA;After:&#xD;&#xA;[soundcloud]g-a-harry/after-side-chain-gate[/soundcloud]&#xD;&#xA;&#xD;&#xA;Still needs a touch-up.  But now I actually have something to work with." ContentLicense="CC BY-SA 2.5" />
  <row Id="12014" PostHistoryTypeId="5" PostId="7036" RevisionGUID="7394a74b-3344-43df-890d-7fd4166b8983" CreationDate="2011-04-03T15:25:54.660" UserId="845" Comment="deleted 2 characters in body" Text="I put my H1 in a ten foot long, 4 inch pipe and went to the video store to rent SoundTracker.  Not that weird in and of itself, but it is the first time I've ever set a piece of gear down and literally walked away.&#xD;&#xA;&#xD;&#xA;[soundcloud]g-a-harry/pipe-resonance-1[/soundcloud]" ContentLicense="CC BY-SA 2.5" />
  <row Id="12015" PostHistoryTypeId="5" PostId="7034" RevisionGUID="049149e2-7c7d-4a30-a7b6-436a4dc481e8" CreationDate="2011-04-03T15:30:26.550" UserId="845" Comment="added 1 characters in body" Text="Lately it seems that a lot of people have been asking about how to remove reverb from location dialogue, and I've been dealing with it myself on a current project.  Because I have no life, I've been sitting (on a Saturday night) playing with the dialogue, trying to see if I can get rid of this ass ton of horrible noise.  I will be heart-broken if someone has already come up with this, but I think I've just invented a Multi-Band Gate:&#xD;&#xA;&#xD;&#xA;![Routing Setup for Multi-Band Gate][1]&#xD;&#xA;&#xD;&#xA;In the example above you will see that I have 4 compressors and only one gate.  Explanation follows:&#xD;&#xA;&#xD;&#xA;Of late I've been finding many references to multi-band compression as a great noise removal tool if you don't have fancy NR plugs like iZotope RX.  So, I thought I'd give it a try.  Sadly, I don't own a multi-band compressor, so I thought I'd make one.  The principle is really pretty simple, here's how you do it:&#xD;&#xA;&#xD;&#xA;Take your original signal and route it into 4 (or more if you like) separate Aux Channels.  In the inserts drop in an EQ7 (or anything else with a top and bottom filter in it), and slice it up into it's component bands.  In this case I've done Low: 0-120Hz, Low-Mid 120-1000Hz, Mid: 1,000-7,500Hz, High: 7.5kHz-20kHz.  For the sticklers out there, I know that this is not precisely how the bands are broken up, but this is how my brain thinks they *should* be (don't ask me, he's a really weird dude).  So, I picked numbers that split the spectrum up nicely.  You can set it pretty much however you like, same goes for your slopes.  &#xD;&#xA;&#xD;&#xA;Once you're done with that, all 4 Auxiliary tracks are routed back into a single track, thereby giving a single overall volume control.  The ultimate aim is to have the 4 filtered tracks come back sounding exactly the same as the single original. &#xD;&#xA;&#xD;&#xA;Once you have your bands and crossovers playing nice together you can drop in your compressors.  So, in stead of compressing the entire signal, you can pick a *part* of the signal and compress that.  In this case, I tried it on all 4 bands and it just wasn't working, if anything it was making the reverb worse.  Naturally, I proceeded to get really frustrated and irritated with myself for wasting so much time on a stupid idea, until...&#xD;&#xA;&#xD;&#xA;My brain went sideways and remembered that a lot of people like to use gates/expanders when faced with large amounts of noise or room.  So I dropped in a gate on one of the bands.  For me, the most irritating and noticeable part of a big reverb tail is the mid-ish band 1-5kHz (I suspect this will be true for most people) so that's where I put my gate.  My band as-set was a little wider than that, but I was more interested to see if it would actually work than being absolute in my bandwidth accuracy.&#xD;&#xA;&#xD;&#xA;Now, I generally find gates used on dialogue to be really choppy and obvious, unless it's done spectacularly (a feat which I will readily admit I've never accomplished).  It's the high-end hiss jumping in and out that gives it away.  However, in this case, because it's only gating 1-7.5k, all of the high-end hiss is left exactly where it was in the first place.  This means that you can set your gate to really cut hard, and the rest of the frequency content of your signal will cover your tracks for you.  This is doubly true if your content is as F*^*ING noisy as mine is.&#xD;&#xA;&#xD;&#xA;And I have to say, it really works well.  There are three great things about it:&#xD;&#xA;&#xD;&#xA;One:  The reverb is most definitely still there, but it doesn't eat into the dialogue in the way that it used to.  &#xD;&#xA;&#xD;&#xA;Two: You're not losing the Mid content of the dialogue entirely, just the tail, so the words themselves actually end up sounding pretty close to the original.&#xD;&#xA;&#xD;&#xA;Three:  Like the reverb, the part of the spectrum that gives ambient noise its beef is the 1-5k range, so this method controls a lot of that too.&#xD;&#xA;&#xD;&#xA;Bonus Prize!: You can use the remaining 5 EQ bands in the EQ7s to shape each band of your multi-band gated signal.  This quadruples the number of bands you have to use on the entire thing.  You've just built yourself a 20-band paragraphic EQ.&#xD;&#xA;&#xD;&#xA;As you can see I'd already dropped a compressor onto each band, so I used it on the high and low ends to control some of the hiss and rumble, and everything sounds way less terrible than it used to.&#xD;&#xA;&#xD;&#xA;Oh, and another really cool thing... this method also gives you large-scale faders for controlling the volume of each band, in stead of the fiddly little knobs in the EQs themselves.&#xD;&#xA;&#xD;&#xA;I am totally high-fiving myself right now.&#xD;&#xA;&#xD;&#xA;  [1]: http://1.bp.blogspot.com/-73NdQu2q9lA/TZexAQ8gV3I/AAAAAAAAAB0/Hy6p4XweyHU/s1600/016.JPG&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;&#xD;&#xA;Your Wish = My Command&#xD;&#xA;&#xD;&#xA;Before:&#xD;&#xA;[soundcloud]g-a-harry/before-side-chain-gate[/soundcloud]&#xD;&#xA;&#xD;&#xA;After:&#xD;&#xA;[soundcloud]g-a-harry/after-side-chain-gate[/soundcloud]&#xD;&#xA;&#xD;&#xA;Still needs a touch-up.  But now I actually have something to work with." ContentLicense="CC BY-SA 2.5" />
  <row Id="12016" PostHistoryTypeId="2" PostId="7037" RevisionGUID="cc708e26-d966-42be-b306-2f40878cf54a" CreationDate="2011-04-03T15:53:17.560" UserId="474" Text="Hi crowd,&#xD;&#xA;&#xD;&#xA;I'm looking for small (probably better passive) speakers for a multi-channel (16 channels twice) audio installation. I intend to mount them on a wall. Any suggestions?&#xD;&#xA;&#xD;&#xA;cheers,&#xD;&#xA;Julian&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12017" PostHistoryTypeId="1" PostId="7037" RevisionGUID="cc708e26-d966-42be-b306-2f40878cf54a" CreationDate="2011-04-03T15:53:17.560" UserId="474" Text="Small passive speakers?" ContentLicense="CC BY-SA 2.5" />
  <row Id="12018" PostHistoryTypeId="3" PostId="7037" RevisionGUID="cc708e26-d966-42be-b306-2f40878cf54a" CreationDate="2011-04-03T15:53:17.560" UserId="474" Text="&lt;small&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12019" PostHistoryTypeId="2" PostId="7038" RevisionGUID="0cff5281-1d6a-4c04-841f-417169860d59" CreationDate="2011-04-03T17:11:13.347" UserId="432" Text="You can buy naked speakers from a lot of different electronics supply companies. It might be a good way to go for you, because they'll be very cheap. The down-side is that they won't have any kind of housing to speak of, and you may have to do some soldering (or at least get some clip leads) to cable them up.&#xD;&#xA;&#xD;&#xA;As an example, here's what www.allelectronics.com offers: http://www.allelectronics.com/make-a-store/category/580/Speakers/1.html&#xD;&#xA;&#xD;&#xA;I've ordered from this company before, and have been happy with their service. There are plenty of other places you can order from though." ContentLicense="CC BY-SA 2.5" />
  <row Id="12020" PostHistoryTypeId="2" PostId="7039" RevisionGUID="613b7c89-742a-4de1-8df8-b5f3232ba784" CreationDate="2011-04-03T18:54:58.417" UserId="578" Text="I think planning and having a clear idea / long term strategy of where you want to go are very important - not because your plans will always come exactly true, but, to paraphrase former US President Eisenhouwer, when the shit hits the fan and everything or everybody is going mental, you can keep a clear head and act according to your principles and goals.&#xD;&#xA;&#xD;&#xA;The best plans I've had were often also the scariest ones, as the biggest decisions are about weighing up benefits vs doubts, without knowing for a fact the outcome. One major guideline I've always followed is: do I want to end up 10 years from now, sitting in a pub, and telling somebody about all the great and exciting plans I once had, but never acted upon? If the answer is no, I know I need to follow whichever idea has grabbed hold of me.&#xD;&#xA;&#xD;&#xA;There's also the luck factor: you need luck to advance, and you can enforce luck up to an extent by, like mr Prebble said, working hard, and 'being there' (aka networking, but I'd rather call it 'making friends', because a person who's clearly 'networking' can come across as too slimy for my taste).&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12021" PostHistoryTypeId="2" PostId="7040" RevisionGUID="01836786-d4c9-45b6-8a0a-3aecd971952a" CreationDate="2011-04-03T19:17:59.403" UserId="6499" Text="SOUNDSCAPE: The School of Sound Lectures 1998-2001&#xD;&#xA;&#xD;&#xA;Edited by Larry Sider, Diane Freeman and Jerry Sider&#xD;&#xA;&#xD;&#xA;Republished September 2010 by The School of Sound&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Collection of Lectures Covering a wide variety of topics relating to sound and picture.  Definantly worth ithttp://www.schoolofsound.co.uk/content/book.htm!" ContentLicense="CC BY-SA 2.5" />
  <row Id="12022" PostHistoryTypeId="16" PostId="7040" RevisionGUID="01836786-d4c9-45b6-8a0a-3aecd971952a" CreationDate="2011-04-03T19:17:59.403" UserId="-1" />
  <row Id="12023" PostHistoryTypeId="2" PostId="7041" RevisionGUID="3e0089f8-5bc6-4493-8cbd-b3344e04262e" CreationDate="2011-04-03T20:04:26.773" UserId="338" Text="@G.A.harry  New school is the New old school!" ContentLicense="CC BY-SA 2.5" />
  <row Id="12024" PostHistoryTypeId="2" PostId="7042" RevisionGUID="a675e6f6-3be9-408b-9e82-5b19e13805f4" CreationDate="2011-04-03T21:26:07.743" UserId="37" Text="Multiband expansion. WaveArts Multidynamics or Waves C4/C6 do this. There's others.&#xD;&#xA;&#xD;&#xA;Use EQ to remove offending room modes, then add multiband dynamics gently.. " ContentLicense="CC BY-SA 2.5" />
  <row Id="12025" PostHistoryTypeId="2" PostId="7043" RevisionGUID="bbd6ba17-7663-462d-9430-746f9d9b52e9" CreationDate="2011-04-03T22:03:34.797" UserId="845" Text="How exactly is meta-data organized within the files themselves?  Are there generic categories setup within the data structure of a .wav, or can they be assigned manually, i.e. differently by each program that makes use of the files?&#xD;&#xA;&#xD;&#xA;The reason for the question is that I'm currently embedding meta-data via PT, but I do have plans (eventually) to buy soundminer.  I don't want to do all of this embedding now, only to turn around in 8 or 12 months time and have to re-do the entire thing because soundminer uses its own categorization system." ContentLicense="CC BY-SA 2.5" />
  <row Id="12026" PostHistoryTypeId="1" PostId="7043" RevisionGUID="bbd6ba17-7663-462d-9430-746f9d9b52e9" CreationDate="2011-04-03T22:03:34.797" UserId="845" Text="The Specifics of Meta-Data" ContentLicense="CC BY-SA 2.5" />
  <row Id="12027" PostHistoryTypeId="3" PostId="7043" RevisionGUID="bbd6ba17-7663-462d-9430-746f9d9b52e9" CreationDate="2011-04-03T22:03:34.797" UserId="845" Text="&lt;metadata&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12029" PostHistoryTypeId="2" PostId="7045" RevisionGUID="97cfad0c-ad10-42c5-97a4-c15f687bed09" CreationDate="2011-04-03T23:38:31.223" UserId="37" Text="You might have already seen this but in case you haven't, there are two excellent posts on the subject on Tim Prebble's website: &#xD;&#xA;&#xD;&#xA;[You and your Metadata...][1]&#xD;&#xA;&#xD;&#xA;[Metadata support in Sound Library Apps][2]&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicofsound.co.nz/blog/you-and-your-metadata&#xD;&#xA;  [2]: http://www.musicofsound.co.nz/blog/metadata-support-in-sound-library-apps" ContentLicense="CC BY-SA 2.5" />
  <row Id="12030" PostHistoryTypeId="2" PostId="7046" RevisionGUID="22ee1d4b-e6ca-4f51-a1bc-9c678bf90303" CreationDate="2011-04-04T04:30:41.003" UserId="253" Text="Just a quick note: i've found that, for dialogue, if you use a narrowish Q (around 3 or 4?) in the vicinity of 800Hz-1kHz, you can lower a bit of the noise without interfering too much with the signal.&#xD;&#xA;&#xD;&#xA;My 2 cents on the phase inversion stuff: not worth the time. In order to cancel out your noise, you'd pretty much need to record it from the exact same angle, with the exact same mic, at exactly the same time as the noise in your recording, etc. If there's even a slight difference in the phase inverted noise recording, you'll just be adding to the noise in your dialogue. Maybe, if you work really hard on it, you could weaken the noise a little, but the chances of getting it right are very slim.&#xD;&#xA;&#xD;&#xA;I'm happy to be educated on this, but this is the conclusion i came to when i had a similar problem way back in the pre-RX days." ContentLicense="CC BY-SA 2.5" />
  <row Id="12031" PostHistoryTypeId="2" PostId="7047" RevisionGUID="f078e51f-dcd8-42dc-bd74-2a05dc063e79" CreationDate="2011-04-04T06:16:11.920" UserId="455" Text="I just did some ADR recording for a film that's more interesting rather than weird.&#xD;&#xA;&#xD;&#xA;We were matching dialog that was recorded on a $250 point and shoot camera.  This camera was mounted to a helmet which the main actor wore throughout most of the film.  What we needed to do was record a speaker phone from the main actors perspective and here's how we did it:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;1)  Conferenced myself with the other actors as a talkbalk.  The room mic created feedback because everyone was on speaker phone.  One of the actors was at his house so this is how he communicated with myself and the producer.&#xD;&#xA;&#xD;&#xA;2)  Had the main actor wearing the helmet with the camera attached.&#xD;&#xA;&#xD;&#xA;3)  Rolled video (to later strip audio from) and a room mic as a reference for each take.&#xD;&#xA;&#xD;&#xA;For the rest of the actors we taped the helmet rig onto a mic stand and had to roll video for each take.  It was very tedious to go back and strip the audio out of nearly 90 quicktime videos, but overall the dialog matched production really well.  Worth it!" ContentLicense="CC BY-SA 2.5" />
  <row Id="12032" PostHistoryTypeId="5" PostId="7040" RevisionGUID="463a69bc-6ba4-41c6-a725-9f72aea5fd3a" CreationDate="2011-04-04T06:33:41.963" UserId="219" Comment="added 90 characters in body" Text="SOUNDSCAPE: The School of Sound Lectures 1998-2001&#xD;&#xA;&#xD;&#xA;Edited by Larry Sider, Diane Freeman and Jerry Sider&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Republished September 2010 by The School of Sound&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Collection of Lectures Covering a wide variety of topics relating to sound and picture.  Definantly worth ithttp://www.schoolofsound.co.uk/content/book.htm!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://img2.shoptoit.ca/images/detail/68203000/68203901.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="12033" PostHistoryTypeId="2" PostId="7048" RevisionGUID="9b167e3e-adf1-409d-adc5-0a4e20770620" CreationDate="2011-04-04T07:48:36.413" UserId="338" Text="The book of life is an amazing resource.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="12034" PostHistoryTypeId="16" PostId="7048" RevisionGUID="9b167e3e-adf1-409d-adc5-0a4e20770620" CreationDate="2011-04-04T07:48:36.413" UserId="-1" />
  <row Id="12036" PostHistoryTypeId="5" PostId="7045" RevisionGUID="68515868-a74b-4282-ba1f-b7ba9af952b5" CreationDate="2011-04-04T09:15:00.623" UserId="37" Comment="+3rd link" Text="You might have already seen this but in case you haven't, there are &lt;strike&gt;two&lt;/strike&gt; three excellent posts on the subject on Tim Prebble's website: &#xD;&#xA;&#xD;&#xA;[You and your Metadata...][1]&#xD;&#xA;&#xD;&#xA;[Metadata support in Sound Library Apps][2]&#xD;&#xA;&#xD;&#xA;+&#xD;&#xA;&#xD;&#xA;[Metadata: Additional Fields?][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicofsound.co.nz/blog/you-and-your-metadata&#xD;&#xA;  [2]: http://www.musicofsound.co.nz/blog/metadata-support-in-sound-library-apps&#xD;&#xA;  [3]: http://www.musicofsound.co.nz/blog/metadata-additional-fields" ContentLicense="CC BY-SA 2.5" />
  <row Id="12037" PostHistoryTypeId="2" PostId="7049" RevisionGUID="a82766d2-5fc0-4104-b4cf-cf6c42d355db" CreationDate="2011-04-04T11:38:32.680" UserId="641" Text="@Andrew, I do mainly onset production recordings, on commercials, corporates and features and I have used my 552 with great success in all mediums.&#xD;&#xA;&#xD;&#xA;IMHO if you want a mixer with a built in recorder, the 552 is great!  It's all in one box, the same size as the 702 and your set to go!&#xD;&#xA;With the 702 or the 722, you would have to hook up to an external mixer and thats extra cash to outlay, extra gear to carry with you and extra batteries, cables and what ever else you might feel you need.&#xD;&#xA;&#xD;&#xA;Admittedly, I haven't used it for Sound Effects recording...so I am of no help there!   :P&#xD;&#xA;&#xD;&#xA;The pain I have is after a shoot, downloading the files and then typing up the sound report (which I am convinced nobody even looks at!) and that is where I'd love the 702 or 722...actually, in truth, I'd love the 788T.  Thats a really impressive piece of hardware!&#xD;&#xA;&#xD;&#xA;Good luck, mate!" ContentLicense="CC BY-SA 2.5" />
  <row Id="12038" PostHistoryTypeId="5" PostId="7034" RevisionGUID="df3a0463-2398-450a-b0a3-7f48e9d2a86f" CreationDate="2011-04-04T12:19:23.030" UserId="845" Comment="added 158 characters in body; edited title" Text="(EDIT: Found out that I *definitely* didn't invent this.  Heart breaks (celery snap + cold spaghetti sauce squish + the sound of a tiny, tiny violin))&#xD;&#xA;&#xD;&#xA;Lately it seems that a lot of people have been asking about how to remove reverb from location dialogue, and I've been dealing with it myself on a current project.  Because I have no life, I've been sitting (on a Saturday night) playing with the dialogue, trying to see if I can get rid of this ass ton of horrible noise.  I will be heart-broken if someone has already come up with this, but I think I've just invented a Multi-Band Gate:&#xD;&#xA;&#xD;&#xA;![Routing Setup for Multi-Band Expander][1]&#xD;&#xA;&#xD;&#xA;In the example above you will see that I have 4 compressors and only one gate.  Explanation follows:&#xD;&#xA;&#xD;&#xA;Of late I've been finding many references to multi-band compression as a great noise removal tool if you don't have fancy NR plugs like iZotope RX.  So, I thought I'd give it a try.  Sadly, I don't own a multi-band compressor, so I thought I'd make one.  The principle is really pretty simple, here's how you do it:&#xD;&#xA;&#xD;&#xA;Take your original signal and route it into 4 (or more if you like) separate Aux Channels.  In the inserts drop in an EQ7 (or anything else with a top and bottom filter in it), and slice it up into it's component bands.  In this case I've done Low: 0-120Hz, Low-Mid 120-1000Hz, Mid: 1,000-7,500Hz, High: 7.5kHz-20kHz.  For the sticklers out there, I know that this is not precisely how the bands are broken up, but this is how my brain thinks they *should* be (don't ask me, he's a really weird dude).  So, I picked numbers that split the spectrum up nicely.  You can set it pretty much however you like, same goes for your slopes.  &#xD;&#xA;&#xD;&#xA;Once you're done with that, all 4 Auxiliary tracks are routed back into a single track, thereby giving a single overall volume control.  The ultimate aim is to have the 4 filtered tracks come back sounding exactly the same as the single original. &#xD;&#xA;&#xD;&#xA;Once you have your bands and crossovers playing nice together you can drop in your compressors.  So, in stead of compressing the entire signal, you can pick a *part* of the signal and compress that.  In this case, I tried it on all 4 bands and it just wasn't working, if anything it was making the reverb worse.  Naturally, I proceeded to get really frustrated and irritated with myself for wasting so much time on a stupid idea, until...&#xD;&#xA;&#xD;&#xA;My brain went sideways and remembered that a lot of people like to use gates/expanders when faced with large amounts of noise or room.  So I dropped in a gate on one of the bands.  For me, the most irritating and noticeable part of a big reverb tail is the mid-ish band 1-5kHz (I suspect this will be true for most people) so that's where I put my gate.  My band as-set was a little wider than that, but I was more interested to see if it would actually work than being absolute in my bandwidth accuracy.&#xD;&#xA;&#xD;&#xA;Now, I generally find gates used on dialogue to be really choppy and obvious, unless it's done spectacularly (a feat which I will readily admit I've never accomplished).  It's the high-end hiss jumping in and out that gives it away.  However, in this case, because it's only gating 1-7.5k, all of the high-end hiss is left exactly where it was in the first place.  This means that you can set your gate to really cut hard, and the rest of the frequency content of your signal will cover your tracks for you.  This is doubly true if your content is as F*^*ING noisy as mine is.&#xD;&#xA;&#xD;&#xA;And I have to say, it really works well.  There are three great things about it:&#xD;&#xA;&#xD;&#xA;One:  The reverb is most definitely still there, but it doesn't eat into the dialogue in the way that it used to.  &#xD;&#xA;&#xD;&#xA;Two: You're not losing the Mid content of the dialogue entirely, just the tail, so the words themselves actually end up sounding pretty close to the original.&#xD;&#xA;&#xD;&#xA;Three:  Like the reverb, the part of the spectrum that gives ambient noise its beef is the 1-5k range, so this method controls a lot of that too.&#xD;&#xA;&#xD;&#xA;Bonus Prize!: You can use the remaining 5 EQ bands in the EQ7s to shape each band of your multi-band gated signal.  This quadruples the number of bands you have to use on the entire thing.  You've just built yourself a 20-band paragraphic EQ.&#xD;&#xA;&#xD;&#xA;As you can see I'd already dropped a compressor onto each band, so I used it on the high and low ends to control some of the hiss and rumble, and everything sounds way less terrible than it used to.&#xD;&#xA;&#xD;&#xA;Oh, and another really cool thing... this method also gives you large-scale faders for controlling the volume of each band, in stead of the fiddly little knobs in the EQs themselves.&#xD;&#xA;&#xD;&#xA;I am totally high-fiving myself right now.&#xD;&#xA;&#xD;&#xA;  [1]: http://1.bp.blogspot.com/-73NdQu2q9lA/TZexAQ8gV3I/AAAAAAAAAB0/Hy6p4XweyHU/s1600/016.JPG&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;&#xD;&#xA;Your Wish = My Command&#xD;&#xA;&#xD;&#xA;Before:&#xD;&#xA;[soundcloud]g-a-harry/before-side-chain-gate[/soundcloud]&#xD;&#xA;&#xD;&#xA;After:&#xD;&#xA;[soundcloud]g-a-harry/after-side-chain-gate[/soundcloud]&#xD;&#xA;&#xD;&#xA;Still needs a touch-up.  But now I actually have something to work with." ContentLicense="CC BY-SA 2.5" />
  <row Id="12039" PostHistoryTypeId="4" PostId="7034" RevisionGUID="df3a0463-2398-450a-b0a3-7f48e9d2a86f" CreationDate="2011-04-04T12:19:23.030" UserId="845" Comment="added 158 characters in body; edited title" Text="How To: Minimizing noise and reverb with DIY multi-band expansion." ContentLicense="CC BY-SA 2.5" />
  <row Id="12040" PostHistoryTypeId="5" PostId="7042" RevisionGUID="74b3c7f2-8caf-4846-ae5d-563954e6b197" CreationDate="2011-04-04T14:13:11.110" UserId="37" Comment="added 1 characters in body" Text="Multiband expansion. WaveArts Multidynamics, McDSPs ML4000, or Waves C4/C6 do this. &#xD;&#xA;&#xD;&#xA;Use EQ to remove offending room modes, then add multiband dynamics gently.. " ContentLicense="CC BY-SA 2.5" />
  <row Id="12041" PostHistoryTypeId="2" PostId="7050" RevisionGUID="d1cc3e00-375e-4265-8f8b-ee323e3cabca" CreationDate="2011-04-04T16:25:30.617" UserId="709" Text="A while back I had the opportunity to work directly with Sound Editor Richard Hymns - we flew him in an he and I spent about 3 days in my studio working with me to tweak some sound editing + design for the short film &quot;Ana's Playground&quot;.&#xD;&#xA;&#xD;&#xA;At the point at which he came in, the entire soundtrack for the film was mostly complete.  We were chatting over lunch one day and he asked how I usually work when sound editing - if I worked in an &quot;element-by-element&quot; or a &quot;scene-by-scene&quot; protocol.  I realized at that point that I had gone scene-by-scene, creating the soundtrack for the entire scene before moving into the next scene - amb/bkgrds/fx/foley all being cut into the film at the same time to create a more &quot;finished version&quot; of what the scene should feel like before moving onto the next shots.  Richard confirmed that he can't work any other way but to build the scene top to bottom before moving on.&#xD;&#xA;&#xD;&#xA;Last year I sound edited the feature &quot;Stuck Between Stations&quot; - a drama with very little action, much different than &quot;Ana's Playground&quot;.  This time, I found myself working in the opposite fashion - cutting in amb/bkgrds beginning to end before moving onto foley, then fx, etc. &#xD;&#xA;&#xD;&#xA;I'm working on another short film right now and I'm finding I'm having much better luck building scene-by-scene than I would have going element-by-element.  &#xD;&#xA;&#xD;&#xA;Do you find that the way you build the soundtrack to a film depends on the type of story?  The genre?  The length of the film?  The director?  Does it change for you every project?  Game time decision?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12042" PostHistoryTypeId="1" PostId="7050" RevisionGUID="d1cc3e00-375e-4265-8f8b-ee323e3cabca" CreationDate="2011-04-04T16:25:30.617" UserId="709" Text="Building the soundtrack" ContentLicense="CC BY-SA 2.5" />
  <row Id="12043" PostHistoryTypeId="3" PostId="7050" RevisionGUID="d1cc3e00-375e-4265-8f8b-ee323e3cabca" CreationDate="2011-04-04T16:25:30.617" UserId="709" Text="&lt;film-sound-design&gt;&lt;building-a-soundtrack&gt;&lt;workflow&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12044" PostHistoryTypeId="2" PostId="7051" RevisionGUID="7dba7577-ddbe-41db-92e9-71202605bb1e" CreationDate="2011-04-04T16:43:37.680" UserId="315" Text="Well I just finished mixing a feature using Cedar DNS, Izotope RX, Waves C4 and tons of eq automation and it still sounds raw due to the nature of the production sound. Far from cheating IMHO. If the mixers of Citizen Kane had this gear they would of used it too.&#xD;&#xA;&#xD;&#xA;Plus one for multiband expansion in your case, like Waves C4 or WaveArts Multidynamics. Besides those just emulate what the old school gear (I.E. Dolby CAt 43) did anyway.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="12045" PostHistoryTypeId="2" PostId="7052" RevisionGUID="2186fc81-2ced-41ef-9bbc-7576f16cf05f" CreationDate="2011-04-04T17:51:07.620" UserId="845" Text="You know what... I've never actually thought about it before.  &#xD;&#xA;&#xD;&#xA;Now that I *am* thinking about it, I suppose that I mostly go scene by scene, unless it's something super short that only has one or two scenes in it, then I go element by element.&#xD;&#xA;&#xD;&#xA;I'm going to make a point of trying it the longform way in the future.  I like to try as many different ways of doing things as possible, and this is a totally new idea to me.&#xD;&#xA;&#xD;&#xA;It'll be interesting to see what kind of responses you get.  It could be really indicative of people's psychologies, that being their innate natural approaches to work.  Almost like a left-brain, right-brain kind of thing..." ContentLicense="CC BY-SA 2.5" />
  <row Id="12046" PostHistoryTypeId="2" PostId="7053" RevisionGUID="5851f880-dc30-477c-8836-b1bf0b803a15" CreationDate="2011-04-04T18:55:13.070" UserId="432" Text="Hmm...that's a good question. Typically, I find I do a scene from top to bottom. It's pretty rare for me to cut one type of element across a picture before moving on to the next. I'm usually a one man team as far as edit and mix goes, so I almost always go through and handle any dialogue work/needs across the entire picture first.&#xD;&#xA;&#xD;&#xA;If I am ever inclined to handle one element first, it's usually because of ridiculous deadlines where I have concerns about meeting final delivery. In that situation, I prefer to build up the detail of each scene concurrently. At least, that way, I can ensure consistency across the picture.&#xD;&#xA;&#xD;&#xA;That's a pretty rare situation for me lately (thankfully). Regardless of whether I'm working scene by scene or across picture, I tend to start with ambiences/backgrounds immediately after the dialogue. It helps me figure out the remaining needs of the scene a bit more clearly." ContentLicense="CC BY-SA 2.5" />
  <row Id="12047" PostHistoryTypeId="2" PostId="7054" RevisionGUID="48c1c2d4-f2c4-4cfb-b870-52bdda1be3e6" CreationDate="2011-04-04T21:59:53.083" UserId="393" Text="Coming from super short Flash games into bigger projects, I still do element-by-element, though I'd absolutely love to get into a scene-by-scene mindset." ContentLicense="CC BY-SA 2.5" />
  <row Id="12048" PostHistoryTypeId="2" PostId="7055" RevisionGUID="e9517709-f9d2-4012-a0a8-bd70fcb44e23" CreationDate="2011-04-04T23:12:42.280" UserId="290" Text="Hey guys!&#xD;&#xA;  Just wanted to see what your experience on Mac OS X 10.6.x has been like. I've been putting off upgrading because it was unstable with so many audio applications for a while. My concerns, followed by what I know so far:&#xD;&#xA;&#xD;&#xA;Compatibility with Reaper:&#xD;&#xA;  No recent complaints on forums.&#xD;&#xA;&#xD;&#xA;Compatibility with Pro Tools:&#xD;&#xA;  No problem, right?&#xD;&#xA;&#xD;&#xA;Compatibility with all-sorts-a-little-audio-tools I've downloaded (like SPEAR):&#xD;&#xA;  Biggest risk - but that's the nature of the beast&#xD;&#xA;&#xD;&#xA;Compatibility with Max/MSP:&#xD;&#xA;  No clear data&#xD;&#xA;&#xD;&#xA;Compatibility with Wavelab 7:&#xD;&#xA;  Here's *why* I need to upgrade. Wavelab 7 is only 10.6.x&#xD;&#xA;&#xD;&#xA;Compatibility with plug-ins:&#xD;&#xA;  Another crapshoot?" ContentLicense="CC BY-SA 2.5" />
  <row Id="12049" PostHistoryTypeId="1" PostId="7055" RevisionGUID="e9517709-f9d2-4012-a0a8-bd70fcb44e23" CreationDate="2011-04-04T23:12:42.280" UserId="290" Text="Does Snow Leopard work yet?" ContentLicense="CC BY-SA 2.5" />
  <row Id="12050" PostHistoryTypeId="3" PostId="7055" RevisionGUID="e9517709-f9d2-4012-a0a8-bd70fcb44e23" CreationDate="2011-04-04T23:12:42.280" UserId="290" Text="&lt;mac&gt;&lt;compatibility&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12051" PostHistoryTypeId="2" PostId="7056" RevisionGUID="ca67495e-199a-4516-af99-75ccad669151" CreationDate="2011-04-04T23:19:35.517" UserId="253" Text="I've had 0 problems so far with PT HD 9, RME Fireface, Euphonix MC, Waves Gold Native, Izotope RX+Spectron, Dolby Media Meter.&#xD;&#xA;&#xD;&#xA;I can't get Paulstretch to work... For that matter, when i've used it on my 10.5.8 lately, it's been full of glitchy bad distortion too." ContentLicense="CC BY-SA 2.5" />
  <row Id="12052" PostHistoryTypeId="2" PostId="7057" RevisionGUID="81fdb358-8e6d-4767-848c-3eb7b8c6a47b" CreationDate="2011-04-04T23:37:20.657" UserId="693" Text="I've got a 17&quot; MBP with an MBox2 and I'm on 10.6.5 and don't really have any problems with any audio apps that aren't due to me running 75+ tracks with a ridiculous amount of plug-ins.&#xD;&#xA;&#xD;&#xA;Some of the main apps I'm running:&#xD;&#xA;Reaper (I'm always updated to the latest version), Pro Tools LE 8.1, iZotope RX, Wave Editor, MetaSynth Pro 4.0, Waves Diamond Bundle, NI Komplete 4, Adobe CS4, and an insane amount of Plug-Ins&#xD;&#xA;&#xD;&#xA;With Reaper I do occasionally have trouble with the PPC Bridge Plug-Ins, but that's sort of to be expected.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I do get a retarded amount of Kernel Panics. I believe it's mostly because I only powercycle my 17&quot; MacBook Pro every few days and I get the panics with no apps open just when I go to restart. No one else I know gets these Kernel Panics though, so I'm thinking it's how long I wait to powercycle and possibly the drives I have connected to my system." ContentLicense="CC BY-SA 2.5" />
  <row Id="12053" PostHistoryTypeId="2" PostId="7058" RevisionGUID="32cd707d-a7b1-41a5-9f28-1a7239bba05a" CreationDate="2011-04-05T00:17:41.723" UserId="980" Text="Would the h4n be a viable recording device for a run and gun feature doc shot on 5d and 7d cannon,  With 416/rycote/boom and radio lav for 2 channels and the sterio mic for room/street atmos track?&#xD;&#xA;Or should I get an over the shoulder fostex mixer and solid state recorder and use the H4n as backup?&#xD;&#xA;The specs of the H4n seem good but how good are the pre/amps? It would save a lot of space as the doc runs from Dubai to Palestine&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12054" PostHistoryTypeId="1" PostId="7058" RevisionGUID="32cd707d-a7b1-41a5-9f28-1a7239bba05a" CreationDate="2011-04-05T00:17:41.723" UserId="980" Text="I am looking at doing a run and gun feature doc" ContentLicense="CC BY-SA 2.5" />
  <row Id="12055" PostHistoryTypeId="3" PostId="7058" RevisionGUID="32cd707d-a7b1-41a5-9f28-1a7239bba05a" CreationDate="2011-04-05T00:17:41.723" UserId="980" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12056" PostHistoryTypeId="2" PostId="7059" RevisionGUID="c227dbb9-baa4-4fd6-9447-c4a521ef3bc7" CreationDate="2011-04-05T01:52:25.780" UserId="845" Text="This guy's a bit of a Rode fanboy, but he's the only person I've seen do straightup, one-take shootouts.&#xD;&#xA; &#xD;&#xA;[youtube]FbzNgmrCBQs[/youtube]&#xD;&#xA;&#xD;&#xA;[youtube]gZc2HzKMSsw[/youtube]&#xD;&#xA;&#xD;&#xA;[youtube]g5xDbNczhRs[/youtube]&#xD;&#xA;&#xD;&#xA;[youtube]KImKWfucfdw[/youtube]&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12057" PostHistoryTypeId="5" PostId="7059" RevisionGUID="c86ae0ef-46aa-4d09-b976-60fc5f1b91ff" CreationDate="2011-04-05T02:03:06.513" UserId="845" Comment="added 408 characters in body" Text="This guy's a bit of a Rode fanboy, but he's the only person I've seen do straightup, one-take shootouts.&#xD;&#xA;&#xD;&#xA;Oh, if I may, I'd recommend going to the actual you tube page for each of these and watching them in 480p instead of 360p.  Huge difference in audio quality.  When you're on their respective pages, there should be a box below the timeline that says 360p.  Clicking it usually gives you a pop-up menu for playback quality, pick the highest you can get.  3 of the 4 of these are available in at least 480p.&#xD;&#xA; &#xD;&#xA;[youtube]FbzNgmrCBQs[/youtube]&#xD;&#xA;&#xD;&#xA;[youtube]gZc2HzKMSsw[/youtube]&#xD;&#xA;&#xD;&#xA;[youtube]g5xDbNczhRs[/youtube]&#xD;&#xA;&#xD;&#xA;[youtube]KImKWfucfdw[/youtube]&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12058" PostHistoryTypeId="2" PostId="7060" RevisionGUID="a33d40cf-6742-4bd1-8366-c33d463536f7" CreationDate="2011-04-05T03:27:40.837" UserId="981" Text="I need to record a ~50 piece woodwind orchestra and am using a Nagra VI which has 6 inputs. I want the best recording using the fewest mics. I have a pr of Neumann M150s which I was going to&#xD;&#xA;place about 6 ft apart 6 ft above the middle of the orchestra. I do not have another M150 for the front mic and was thinking of using a pr of M147s over the two front woodwind sections.  Any comments on how to do this? There are large dynamics and we have only one chance to do the deed.&#xD;&#xA;&#xD;&#xA;All imputs appreciated " ContentLicense="CC BY-SA 2.5" />
  <row Id="12059" PostHistoryTypeId="1" PostId="7060" RevisionGUID="a33d40cf-6742-4bd1-8366-c33d463536f7" CreationDate="2011-04-05T03:27:40.837" UserId="981" Text="Recording Orchestra Groups with Omni mics and M-S matrix" ContentLicense="CC BY-SA 2.5" />
  <row Id="12060" PostHistoryTypeId="3" PostId="7060" RevisionGUID="a33d40cf-6742-4bd1-8366-c33d463536f7" CreationDate="2011-04-05T03:27:40.837" UserId="981" Text="&lt;microphone-positioning&gt;&lt;recording&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12061" PostHistoryTypeId="2" PostId="7061" RevisionGUID="57c7aec7-a5b7-45fc-83d9-4f688efef6f6" CreationDate="2011-04-05T03:36:27.037" UserId="28" Text="I installed 10.6 on my Macbook, and had all kinds of sync problems with Logic and Live, and Text Edit. Ffs. BUT, my laptop is... counting my fingers, 4 years old. So, what on earth was I thinking? I bought it with 10.4. It weathered 10.5 just fine. And because I thought that SL was mainly cutting out the PPC cruft, I thought it would optimize my machine! Bah. I went back.&#xD;&#xA;&#xD;&#xA;SO, there's your caveat. I'd advise against it on an older machine.&#xD;&#xA;&#xD;&#xA;4 years... where does the time fly?" ContentLicense="CC BY-SA 2.5" />
  <row Id="12062" PostHistoryTypeId="2" PostId="7062" RevisionGUID="e4e96508-998a-47bf-8032-365e55437cfa" CreationDate="2011-04-05T05:38:21.767" UserId="40" Text="If you can afford a mixer and recorder, definitely go with that! A stand alone mixer will definitely sound better than the Zoom's preamps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also, while he H4n is capable of providing acceptable sound, you can't mix with it. You pretty much have to set it and forget it - you can't really get away with riding the gains on a zoom.&#xD;&#xA;&#xD;&#xA;Also, I wouldn't use the internal stereo mics for atmos - most of that would be done in post anyways. You could get some wild track of it if you really wanted to (if you can get the crew quiet for long enough!), but in the quietest of situations, the Zoom's internal mics will probably be too noisy anyways.&#xD;&#xA;&#xD;&#xA;Just my 2 cents.&#xD;&#xA;&#xD;&#xA;Just another quick side note - be careful with the 7D - they like to drift a lot, especially on longer shots (5d does sometimes as well). See if you can convince them to stick with shorter shots!" ContentLicense="CC BY-SA 2.5" />
  <row Id="12063" PostHistoryTypeId="2" PostId="7063" RevisionGUID="5b3ed38b-ee5a-44ef-bdd1-4104a1293a9c" CreationDate="2011-04-05T05:57:56.727" UserId="40" Text="Try bringing some large / thick pillows rather close to what you are recording, forming a boundary between your sound and the rest of the room. Aim the mic at the sound, facing towards the pillows. Usually deadens fairly well.&#xD;&#xA;&#xD;&#xA;Also, make sure your mic is as close to the source as you can get it, while maintaining a decent sonic quality." ContentLicense="CC BY-SA 2.5" />
  <row Id="12064" PostHistoryTypeId="2" PostId="7064" RevisionGUID="9bb8fded-509e-4443-b0f3-85b4ecd1e485" CreationDate="2011-04-05T06:25:34.080" UserId="2" Text="A few issues with Max/MSP. Sometimes when working on very old patches that need updated externals. This doesn't happen often, and it's very easy to get working again.   &#xD;&#xA;&#xD;&#xA;When working with java I had issues compiling. But now seems fine. &#xD;&#xA;&#xD;&#xA;I think that 10.6 has been out so long that you'll have more problems not updating than updating. I would do it. " ContentLicense="CC BY-SA 2.5" />
  <row Id="12065" PostHistoryTypeId="2" PostId="7065" RevisionGUID="f8d8b094-2f21-4588-b241-62975ca23313" CreationDate="2011-04-05T06:59:40.757" UserId="2" Text="Last minute, yes. But I just got myself a ticket! Will be there some time between the 11th and the 14th. &#xD;&#xA;&#xD;&#xA;Would be awesome to meet up. &#xD;&#xA;&#xD;&#xA;Hurray!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="12066" PostHistoryTypeId="2" PostId="7066" RevisionGUID="affa074c-fdc7-4f35-9560-7332641632e2" CreationDate="2011-04-05T08:02:47.813" UserId="542" Text="Actually I still use OSX 10.5.8 and Wavelab 7 LE is working. Of course it could be, that the non-LE versions do need 10.6.x , but that would be very strange.&#xD;&#xA;If you can wait some more months: OSX Lion will be out soon (at least this is what Apple says) which should drop the price for the Snow Leopard update." ContentLicense="CC BY-SA 2.5" />
  <row Id="12067" PostHistoryTypeId="2" PostId="7067" RevisionGUID="10f17419-2dfa-4248-a0c5-e4a99a84d821" CreationDate="2011-04-05T09:17:49.710" UserId="37" Text="10.6.6 on a i5 laptop. No identifiable problems for which to blame the OS with one exception - graphics. Had to revert extensions to &quot;SL graphics update 1.0&quot; (the hard way). Not installing 10.6.7 unless something really breaks here.." ContentLicense="CC BY-SA 2.5" />
  <row Id="12068" PostHistoryTypeId="2" PostId="7068" RevisionGUID="4258e0f6-2792-4720-b973-239459029425" CreationDate="2011-04-05T12:06:21.893" UserId="432" Text="Traditional, and heavily loved, setup for orchestra is ORTF behind the conductor, with flanking omni's toward the wings. ORTF picks up the main spread, and the omni's are used to enhance/widen the stereo image as needed. You could use remaining channels for accent mics for areas/instruments that might need a little more clarity (best to listen to a rehearsal beforehand if you can)." ContentLicense="CC BY-SA 2.5" />
  <row Id="12069" PostHistoryTypeId="2" PostId="7069" RevisionGUID="afa42bc6-65e1-499e-ad54-80b63284e1c3" CreationDate="2011-04-05T14:22:32.020" UserId="63" Text="I have no problem at all with Snow leopard running on old MacBook plus Logic 9, Waves bundle and some Native Instruments instruments. Handles just fine and no compatibility issues. " ContentLicense="CC BY-SA 2.5" />
  <row Id="12070" PostHistoryTypeId="2" PostId="7070" RevisionGUID="8959bdac-8ead-41f3-894b-16842324863c" CreationDate="2011-04-05T14:28:11.830" UserId="63" Text="One technique i tried successfully was to get some really talented musicians and let them improvise watching the film themselves without sound ( i told them some info about the &quot;feeling&quot; and emotions i wanted them to acchieve beforehand though ). &#xD;&#xA;&#xD;&#xA;I found after that in the mix of the whole sound of the movie was really successful, I had some &quot;different points of view&quot; with each musician and instrument they played, and i that resulted in having many choices of tracks when i mixed with sound effects and dialog also!&#xD;&#xA;&#xD;&#xA;You should try this but it really helps to have some good musicians (or yourself!) to play, each one has something &quot;different&quot; to tell with his music!" ContentLicense="CC BY-SA 2.5" />
  <row Id="12071" PostHistoryTypeId="2" PostId="7071" RevisionGUID="d79040da-3417-46c6-ac85-700e682ff45e" CreationDate="2011-04-05T14:38:07.400" UserId="194" Text="when handling a project alone I personally work in layers, probably as you'd call element to element.&#xD;&#xA;&#xD;&#xA;This allows me to get into that headspace fully, as well as to re-use certain elements when I need consistency (eg a BGFX environment or a specific weapon/door/vehicle sound). I tend to go BGFX, SFX, sound design, foley. (project dependent).  Also, the one element that needs no other sonic context is BGFX.  That layer *is* the sonic context, so IMO its important to spend time on that first all the way through and get it just right before diving in to other things.  If I run across something specific WRT sfx or sound design when I'm cutting BGFX, I'll note it in the session and move on.&#xD;&#xA;&#xD;&#xA;When working in a team environment working in layers allows more efficient distribution of work.  IOW, the foley team can be working at the same time as the bgfx cutter and the sound designer. " ContentLicense="CC BY-SA 2.5" />
  <row Id="12072" PostHistoryTypeId="2" PostId="7072" RevisionGUID="d8fc69e9-b20b-4ebe-9a8b-fe318d39f5cc" CreationDate="2011-04-05T15:17:03.200" UserId="845" Text="Hello Folks,&#xD;&#xA;&#xD;&#xA;I'm wondering if any of you guys have any tips or tricks for creating realistic ambiences from scratch, i.e. without using any pre-recorded material.  &#xD;&#xA;&#xD;&#xA;I'm working on a radio drama set in a lunar space station, so it's going to be all air-filtration systems, computer hums, and spaceships flying around.  Very tight, very close.  I have a bunch of great recordings of air-conditioners and small generators and stuff that I've been collecting over the last few months, but I'd like to see if I can build all of it using analog synths and the signal generator in PT.  I'm going for a style similar to Space Force, X Minus-1, Hitchhiker's Guide to the Galaxy, and Journey Into Space, so I thought I'd try and emulate their way of producing atmospheres for the scenes.&#xD;&#xA;&#xD;&#xA;I've got a few going already, but wanted to see if you guys had any experience doing this, or had made any cool discoveries as to how to put stuff together.  My biggest concern is figuring out how to get things like power-generators and computer banks to sit in a space in a realistic way.&#xD;&#xA;&#xD;&#xA;Other than that, anything weird and wacky that'll add a bit of texture and motion is more than welcome as well.&#xD;&#xA;&#xD;&#xA;High fives!" ContentLicense="CC BY-SA 2.5" />
  <row Id="12073" PostHistoryTypeId="1" PostId="7072" RevisionGUID="d8fc69e9-b20b-4ebe-9a8b-fe318d39f5cc" CreationDate="2011-04-05T15:17:03.200" UserId="845" Text="Building Ambiences From Scratch" ContentLicense="CC BY-SA 2.5" />
  <row Id="12074" PostHistoryTypeId="3" PostId="7072" RevisionGUID="d8fc69e9-b20b-4ebe-9a8b-fe318d39f5cc" CreationDate="2011-04-05T15:17:03.200" UserId="845" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12075" PostHistoryTypeId="2" PostId="7073" RevisionGUID="569b2042-8599-4b76-bb32-fd8dfb8529ec" CreationDate="2011-04-05T15:33:53.017" UserId="393" Text="Max, Reaktor, AudioMulch, or PureData.  And Paul's Stretch to finish it off.&#xD;&#xA;&#xD;&#xA;I'd recommend layering your real recordings with your synthesized sounds for a bit more realism -- our ears know when something isn't real." ContentLicense="CC BY-SA 2.5" />
  <row Id="12076" PostHistoryTypeId="2" PostId="7074" RevisionGUID="38f9aa4d-9f11-4215-aff8-d987877ee364" CreationDate="2011-04-05T16:18:26.657" UserId="194" Text="If you missed it, check out the Peter Albrechtsen ![special on BGFX][1] from Designing Sound.&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2011/02/peter-albrechtsen-special-backgrounds-in-the-foreground/&#xD;&#xA;&#xD;&#xA;One thing I'd suggest to you is that you'll want more than just drones and textures in there.  You'll want a whole bunch of distant mic'd one-off events that you can reverberate and sprinkle in to taste.  Things like space doors, beeps, maybe servos, chair creaks, metal taps, etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2011/02/peter-albrechtsen-special-backgrounds-in-the-foreground/" ContentLicense="CC BY-SA 2.5" />
  <row Id="12077" PostHistoryTypeId="2" PostId="7075" RevisionGUID="c693c37f-fc01-4356-920b-e149eff7baef" CreationDate="2011-04-05T16:34:13.957" UserId="285" Text="I work mostly on animation projects and I find it nearly impossible to work scene by scene.  When I get the pictures there is no sound at all other then the dialog. Hard SFX never seem to sit right with out a solid amb edit already completed, so I find it an absolute necessity to do a full pass of the AMB/BGs before I start cutting anything else.  This is helpful for a few reasons in addition to grounding the scenes.  It also lets me go through the entirety of the project and see everything again in full editing mode in my brain, I tend to catch lots of things that I missed in the screening with the director.  This gives me time to contact the director with any follow up questions while there is time to hash it out still.  It also lets me dig in and plan how long different sections of the project will take to complete.  I also find that AMB/BGs are a easy thing to neglect and we often forget just how important they are to making a scene feel &quot;real&quot;, I would worry if I was doing everything in one sweeping pass that I would short change the ambiences in order to have fun cutting the spot effects which are generally much more interesting to work on.&#xD;&#xA;&#xD;&#xA;Next I tend to do a pass on the hard effects, with a foley pass last as the icing on the cake. Also this way you can use the foley pass as a backup to help out any SFX that need a some more attention.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12078" PostHistoryTypeId="5" PostId="1659" RevisionGUID="acf9a4d7-3649-421a-a1fd-a5a626350b6a" CreationDate="2011-04-05T16:36:54.707" UserId="6411" Comment="added 288 characters in body" Text="I think monitor arms are a must. Looking straight ahead rather than slightly down makes all the difference to me. And 2 computer monitors minimum, three if you don't have an external video screen (TV, projector).&#xD;&#xA;&#xD;&#xA;I have a Command 8 for home and use a D-Command at work. If I had waited, I'd probably have gotten the MC Command as opposed to the Command 8, just for it's ability to program macros and expandability. The D-Command is great with it's ability to dive into plug-ins, and have pretty much any control at my fingertips. On my most recent show I abandoned the mouse (almost unplugged it) just to see if I could get by without it. Not only was I faster using keyboard shortcuts and the control surface, but that annoying pain in my right shoulder decreased significantly!&#xD;&#xA;&#xD;&#xA;While I am looking at getting a new chair in the next month (at the recommendation of my chiropractor) my favorite ergonomic tool has been a stability ball. You simply can't slouch. I only bring it out once or twice a week, just to kinda readjust. But after a long day at the console, it's great for a stretch. And an added bonus, it has a nice deep ring to it when bounced off walls.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;UPDATE:&#xD;&#xA;&#xD;&#xA;Just stumbled across this [workspace planner][1]. Enter your height and it'll spit out the correct heights and distances for your chair, keyboard, &amp; screens whether sitting or standing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ergotron.com/tabid/305/language/en-us/default.aspx" ContentLicense="CC BY-SA 2.5" />
  <row Id="12079" PostHistoryTypeId="2" PostId="7076" RevisionGUID="ae47a486-417f-4ca8-afbe-0c2eb7af74f9" CreationDate="2011-04-05T16:44:13.393" UserId="285" Text="If you have the budget get a Sound Devices MixPre, it is still pretty small and will not add too much bulk to your travels but it will drastically improve the sound you get out of the H4n.  &#xD;&#xA;&#xD;&#xA;Take a stroll through ebay, or craiglist and you should be able to find a MixPre used for a pretty good price.  Plus they are pretty solidly made, so you can be fairly sure a used one will still be a workhorse." ContentLicense="CC BY-SA 2.5" />
  <row Id="12080" PostHistoryTypeId="2" PostId="7077" RevisionGUID="53986ecd-474b-436f-99f7-acc1c9651adc" CreationDate="2011-04-05T17:20:07.633" UserId="285" Text="A while ago I had a project that had a CGI sequence that tracked through the digestive system of a character that was about to vomit.  I have a bunch of mild food allergies so I ate a couple things that mess me up a bit and then slapped my Aquarian Audio H2a-XLR Hydrophone on my stomach as a contact mic and recorded the madness that ensued.  I got some amazing groans, rumbles and squishes.  Worked like a charm in the final mix and after a good night sleep I was back to normal. (I feel like I might have told this story before on SSD but could not find it)&#xD;&#xA;&#xD;&#xA;Recently I did some more internal recordings and posted these up on my audio nerd blog, check them out:  http://www.azimuthaudio.ca/azimuth-blog/2011/3/19/stomach-rumbling.html " ContentLicense="CC BY-SA 2.5" />
  <row Id="12081" PostHistoryTypeId="2" PostId="7078" RevisionGUID="386a5189-1a09-41dd-8e69-be7c8b96b5d8" CreationDate="2011-04-05T17:55:08.100" UserId="285" Text="I found the best way to focus on the business side to get lots of work done and not get lost in all the info out there is to buy a house and a mortgage.  Suddenly the parts of the business that lead directly to a pay cheque will seem a lot easier to focus on. I am sure a kid would help the process even further.&#xD;&#xA;&#xD;&#xA;I find that if you narrow your daily reads down to a few solid reliable sites, they tend to link you to everything you need, and then on the days when you don't have a lot of work going on you can dig in to the second and third tier sites.  We are living in an amazing time for sound design info, I can't imagine how things would be for me if all this information was available so easily when I was in college/starting out.  I had to read manuals damn it!  Who does that anymore with youtube tutorials, forums and blogs helping out now. " ContentLicense="CC BY-SA 2.5" />
  <row Id="12082" PostHistoryTypeId="2" PostId="7079" RevisionGUID="f3d22ac0-d774-43db-a58f-7f59610f05d9" CreationDate="2011-04-05T21:10:32.850" UserId="709" Text="Control Surface - I swear by the Euphonix MC/MC Pro.  Ergonomically well designed, padded wrist rest, fully programmable/customizable soft switches, and layouts for most every app we would need to use.  If there isn't a keyset, you can create one for however you like to work.  &#xD;&#xA;Expensive, but I find very much worth it.&#xD;&#xA;&#xD;&#xA;The Artist Series is very nice too, but I find I would need them mounted inside my console in order for them to feel natural.&#xD;&#xA;&#xD;&#xA;Re: chairs - I used to be an Aeron guy.  Still slouched in them, and arm rests got in my way.  Went out to Skywalker and sat in a HÅG Capisco - loved it, bought one, and have not looked back since.  Started with just the stool (no back), but upgraded to one with the back included.  http://www.haginc.com/products/hag-capisco/" ContentLicense="CC BY-SA 2.5" />
  <row Id="12083" PostHistoryTypeId="2" PostId="7080" RevisionGUID="6b995c36-6743-4fa7-995f-af44cf8e55e1" CreationDate="2011-04-05T22:11:47.930" UserId="18160" Text="I've been asked to supervise the set recordings of an upcoming short film and I was wondering how much it is necessary to try to get from the locations itself while shooting?&#xD;&#xA;&#xD;&#xA;Is it worth planning to be there and trying to get all the door opens and closes, ambiences, walla from actors on set, etc. etc.? My instincts say to try and get each and every little detail I can possibly get - but I also know there's about 30 other people there making noise.&#xD;&#xA;&#xD;&#xA;What is your opinion and what is your philosophy when boom oping a shoot with regards to capturing hard FX such as doors, footsteps, foley etc.?&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 2.5" />
  <row Id="12084" PostHistoryTypeId="1" PostId="7080" RevisionGUID="6b995c36-6743-4fa7-995f-af44cf8e55e1" CreationDate="2011-04-05T22:11:47.930" UserId="18160" Text="How many sounds do you try to capture on the set?" ContentLicense="CC BY-SA 2.5" />
  <row Id="12085" PostHistoryTypeId="3" PostId="7080" RevisionGUID="6b995c36-6743-4fa7-995f-af44cf8e55e1" CreationDate="2011-04-05T22:11:47.930" UserId="18160" Text="&lt;location&gt;&lt;sound-effects&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12086" PostHistoryTypeId="5" PostId="7080" RevisionGUID="9efff31c-e119-443a-adb6-f24b308574e4" CreationDate="2011-04-05T22:24:56.137" UserId="18160" Comment="deleted 5 characters in body" Text="I've been asked to supervise the set recordings of an upcoming short film and I was wondering how much it is necessary to try to get from the locations itself while shooting?&#xD;&#xA;&#xD;&#xA;Is it worth planning to be there and trying to get all the door opens and closes, ambiences, walla from actors on set, etc. etc.? My instincts say to try and get each and every little detail I can possibly get - but I also know there's about 30 other people there making noise.&#xD;&#xA;&#xD;&#xA;What is your opinion and what is your philosophy when boom oping a shoot with regards to capturing FX such as doors, footsteps, foley etc.?&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 2.5" />
  <row Id="12087" PostHistoryTypeId="2" PostId="7081" RevisionGUID="a1a594dc-4f68-46f9-90cf-4ad3eddb989c" CreationDate="2011-04-05T22:37:16.953" UserId="670" Text="I definitely try to capture door openings/closings, room tone, and any handling of objects by a character if they're not talking. Rarely will I be able to get footsteps, unless there's no dialogue during the scene. " ContentLicense="CC BY-SA 2.5" />
  <row Id="12088" PostHistoryTypeId="2" PostId="7082" RevisionGUID="dee4fe65-179e-4906-9ef6-ff8bb794ef2c" CreationDate="2011-04-05T23:50:00.023" UserId="558" Text="The downside to wav editors is they are clunkier than DAWs when it comes to layering (especially sound forge).  Based on your session, you do a lot of layering.&#xD;&#xA;&#xD;&#xA;My answer is not a very pleasing one, but trial and error leads to experience which leads to quicker development of assets.&#xD;&#xA;&#xD;&#xA;wWise is an awesome tool.  Judging from your session, I am guessing that you do a lot of your 'randomizing' in your DAW (it looks like you have 5 versions of the above effect).  wWise gives you the opportunity to do some of that work in the wWise tool itself.  &#xD;&#xA;&#xD;&#xA;Also, randomizing the relative start times of a layered sound is just as effective at creating large numbers of unique FX as randomizing pitches and volumes of an unlayered (single wav file) effect.  This can be done in wWise and can actually save RAM.&#xD;&#xA;&#xD;&#xA;Either way, I find DAWs the best solution for now.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12089" PostHistoryTypeId="2" PostId="7083" RevisionGUID="fc3f6452-3f63-4fd0-8d04-e01d43b016a8" CreationDate="2011-04-05T23:55:08.750" UserId="558" Text="Not familiar with reaper, but I know that Ptools does not play well with others because of the their insistence on separate L and R files.  Getting OMF between PT and Nuendo is a bitch unless you buy SSDs $600 conversion software (which i have never used, but has a good rep on the boards)." ContentLicense="CC BY-SA 2.5" />
  <row Id="12090" PostHistoryTypeId="2" PostId="7084" RevisionGUID="0bf97c6d-df9d-41bf-8c92-c9d4bf885416" CreationDate="2011-04-05T23:57:03.210" UserId="558" Text="Sounds like fun.  Any thought about a PC port for us Windows Heathens?" ContentLicense="CC BY-SA 2.5" />
  <row Id="12091" PostHistoryTypeId="2" PostId="7085" RevisionGUID="ee4eb6f8-1d38-44b8-82cd-46d3a679e6b9" CreationDate="2011-04-06T00:20:00.783" UserId="455" Text="I'm in the position where I may be offered a job editing and mixing sound for reality television.  I eventually want to work in feature films as an editor, working my way up to sound design.  &#xD;&#xA;&#xD;&#xA;I've only been in Los Angeles for about 9 months and I'm worried that if I start a full time job in T.V. it will become more and more difficult to transition into features.  A steady paycheck sounds really nice right now, but I didn't move here for that; I moved here to start down the path of working full time on feature films.&#xD;&#xA;&#xD;&#xA;What would you guys recommend if I am offered the job?  I'm a bit lost in this decision.  I also ask because I have worked on some reality shows before and that work seems to be picking up.&#xD;&#xA;&#xD;&#xA;I have a lot to learn about television and film so I feel the decisions I make early on are going to have a long term impact on my career.  Am I being paranoid?&#xD;&#xA;&#xD;&#xA;Any advice or suggestions would be greatly appreciated.  &#xD;&#xA;&#xD;&#xA;Thank you for your help!  " ContentLicense="CC BY-SA 2.5" />
  <row Id="12092" PostHistoryTypeId="1" PostId="7085" RevisionGUID="ee4eb6f8-1d38-44b8-82cd-46d3a679e6b9" CreationDate="2011-04-06T00:20:00.783" UserId="455" Text="In need of some career advice." ContentLicense="CC BY-SA 2.5" />
  <row Id="12093" PostHistoryTypeId="3" PostId="7085" RevisionGUID="ee4eb6f8-1d38-44b8-82cd-46d3a679e6b9" CreationDate="2011-04-06T00:20:00.783" UserId="455" Text="&lt;career&gt;&lt;feature&gt;&lt;film&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12094" PostHistoryTypeId="2" PostId="7086" RevisionGUID="b042cd4c-b992-4840-9d7e-3fd5a3a9cf36" CreationDate="2011-04-06T02:31:09.353" UserId="930" Text="I would take the job, but set myself a target, a date, where if I'm not moving into feature films by then - leave and try elsewhere.&#xD;&#xA;&#xD;&#xA;If you are truly interested in feature films, this may be a great step in that direction by getting into the industry - but that date that you set is your failsafe in case it leads in the opposite direction. &#xD;&#xA;&#xD;&#xA;So I would evaluate how long you'll give maximum to move into feature films 6 months? 1 year? 2 years? Whatever it is worth to you, and then stick to it whilst still actively looking for feature film jobs.&#xD;&#xA;&#xD;&#xA;And who knows? You might actually prefer Reality TV!&#xD;&#xA;&#xD;&#xA;Hope this helps,&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 2.5" />
  <row Id="12095" PostHistoryTypeId="2" PostId="7087" RevisionGUID="f6096873-00e9-46d8-8907-0586477c53ae" CreationDate="2011-04-06T02:53:14.463" UserId="845" Text="To me, the real question is... What would you be doing otherwise?  Waiting tables?  Bicycle messenger?  Answering phones?&#xD;&#xA;&#xD;&#xA;I hope that doesn't sound condescending, 'cause I'm certainly not in a place where I can condescend.  But, as my dad always says, &quot;It's easier to find a job when you have one.&quot;  And I'd say that's doubly true for our business.  Another of my favourites is, &quot;If you don't go to the party, you won't get the girl.&quot;  The best way to meet sound mixers is to be one.&#xD;&#xA;&#xD;&#xA;The other way to look at it is that you are guaranteed to learn an unbelievable amount of stuff.  The sound design for *reality* is much less fancy than for film, but you'll have to work your ass off to make the location recordings listenable.  I spend most of my time fixing terribly recorded dialogue and VoiceOvers, and I can tell you that my ears have learned more doing that than all of my fun projects combined.&#xD;&#xA;&#xD;&#xA;Good luck, and fingers crossed." ContentLicense="CC BY-SA 2.5" />
  <row Id="12096" PostHistoryTypeId="5" PostId="7087" RevisionGUID="92a1dd83-18a1-4e88-9494-9ada58f8951f" CreationDate="2011-04-06T03:02:33.087" UserId="845" Comment="added 469 characters in body" Text="I've been in a similar position of late.  Leave the job I have for a different one, or stay where I am and climb the ladder?  To me, the real question is... What would you be doing otherwise?  Waiting tables?  Bicycle messenger?  Answering phones?&#xD;&#xA;&#xD;&#xA;I hope that doesn't sound condescending, 'cause I'm certainly not in a place where I can condescend.  But, as my dad always says, &quot;It's easier to find a job when you have one.&quot;  And I'd say that's doubly true for our business.  Another of my favourites is, &quot;If you don't go to the party, you won't get the girl.&quot;  The best way to meet sound mixers is to be one.&#xD;&#xA;&#xD;&#xA;The other way to look at it is that you are guaranteed to learn an unbelievable amount of stuff.  The sound design for *reality* is much less fancy than for film, but you'll have to work your ass off to make the location recordings listenable.  I spend most of my time fixing terribly recorded dialogue and VoiceOvers, and I can tell you that my ears have learned more doing that than all of my fun projects combined.&#xD;&#xA;&#xD;&#xA;Did you find that working with that kind of content made you miserable?  Was it OK?  Was it pretty fun?  I'd say that if you enjoyed it even a little, go for it.  Save some money put together a good system, and start working on indie films.  Very rarely does our passion become our job first time 'round, so take every opportunity you can.&#xD;&#xA;&#xD;&#xA;Good luck, and fingers crossed." ContentLicense="CC BY-SA 2.5" />
  <row Id="12097" PostHistoryTypeId="2" PostId="7088" RevisionGUID="20a541cc-2bb3-4385-a57d-c7c92d6b194a" CreationDate="2011-04-06T03:19:05.627" UserId="983" Text="Pencil tool, null point editing and high pass filters.  There isn't such thing as a mouth noise, wind or p-pop that can't be cleaned with skill." ContentLicense="CC BY-SA 2.5" />
  <row Id="12098" PostHistoryTypeId="2" PostId="7089" RevisionGUID="66d7c230-174d-472c-8168-fa6b9f58d8ec" CreationDate="2011-04-06T04:04:33.070" UserId="845" Text="X-Click and x-crackle work wonders. They rarely get rid of the entire click, but they do a lot to soften it to where it's no longer much of an issue. Perfect if you doing hours worth of VO. " ContentLicense="CC BY-SA 2.5" />
  <row Id="12099" PostHistoryTypeId="2" PostId="7090" RevisionGUID="d596ca30-5200-405f-821d-a86a0eb0d028" CreationDate="2011-04-06T05:23:42.130" UserId="40" Text="Hey Ryan,&#xD;&#xA;&#xD;&#xA;My philosophy is to get as much as you can. If time allows you to get wild effects on set, go for it! Even if the post guys don't end up using it, they have something to work with. If there's something really cool on set that makes a unique noise (something that might be difficult to find in a library), I'll try to make sure to get a half decent recording of it. Sometimes this means doing a wild recording of it, and sometimes it means planting a mic for the effect and sending it to an iso track. Just make sure to note all of that kind of stuff in a detailed manner on the sound report so the post guys know what everything is.&#xD;&#xA;&#xD;&#xA;All of that being said, my main focus would be to get the dialogue as clean as possible. So make sure nobody opens or shuts a door over a line, etc... Make sure that the effects that you do get don't interfere with the lines. Probably common sense, but just thought I'd mention it.&#xD;&#xA;&#xD;&#xA;Hope all is well,&#xD;&#xA;&#xD;&#xA;Colin" ContentLicense="CC BY-SA 2.5" />
  <row Id="12100" PostHistoryTypeId="2" PostId="7091" RevisionGUID="b7ab928b-eead-47b5-be96-ec2b2ae77c2a" CreationDate="2011-04-06T05:26:48.743" UserId="979" Text="I understand your dilemma, while I have not found myself in the same position, it seems that perhaps this is more a question of lifestyle, rather than just career. Taking a full time job in television allows for a steady paycheck and constant income, and at the same time you could be in a position to impress people who may one day give you a chance at the, &quot;big screen.&quot; Also, like previously mentioned, you're guaranteed to learn a lot and gain experience necessary for the big screen. In all the readings I have done about major motion picture sound designers/sound editors like Richard King and Jon Johnson (Academy Award winners by the way) they didn't just become successful overnight, although we would all like that for oursleves! This might be a chance to really learn some new techniques or invent some of your own. Either way, I wish you the best and hope you make the right decision for yourself.&#xD;&#xA;&#xD;&#xA;-Blessings" ContentLicense="CC BY-SA 2.5" />
  <row Id="12101" PostHistoryTypeId="2" PostId="7092" RevisionGUID="d2a5930e-4e93-4c97-9d65-a7128c11863c" CreationDate="2011-04-06T06:37:45.833" UserId="6462" Text="Hi&#xD;&#xA;I have used and very much like the speakers from a company called Audica. They are a UK based company and the communication I have had with them has been extremely helpful.&#xD;&#xA;The website address is www.audicapro.co.uk&#xD;&#xA;&#xD;&#xA;I have seen their products used in churches, stores, restaurants etc and I've been impressed whenever I see / hear them.&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 2.5" />
  <row Id="12102" PostHistoryTypeId="2" PostId="7093" RevisionGUID="7c161e11-3563-4e12-add9-98b8ece02133" CreationDate="2011-04-06T09:10:49.467" UserDisplayName="user49" Text="For me it varies with every project. Instinctively I'd say I like to start with an ambience pass through the whole film and while I'm doing that I notice &amp; drop markers/make lists of all kinds of stuff.... But some projects start by being given a scene or a short sequence to do temp FX for picture editorial... Some start by getting the entire rough cut, scene by scene &amp; temping all FX/ambience... &#xD;&#xA;Ideally; watching the cut without having to do anything is best, so as to have an honest reaction and provide feedback/input to the cut... But once the schedule starts my goal is always to attempt the most difficult/subjective elements within the first week, because those elements benefit the most from iterative evolution...." ContentLicense="CC BY-SA 2.5" />
  <row Id="12103" PostHistoryTypeId="2" PostId="7094" RevisionGUID="86ffbc75-42f8-4962-95b3-cfc8322973aa" CreationDate="2011-04-06T09:31:06.523" UserId="693" Text="Oddly enough, with all this talk of the pencil tool, I'm surprised no one has suggested an actual pencil. I've actually seen some engineers (who I really trust that have several Grammy's on their wall***) have the singers practice with a pencil or pen in their mouth. What it does is it teaches them to enunciate without using their tongue. Stick a pen in your mouth and try speaking for a while. Pay attention to what it does when you try to get things to sound right. It teaches you to speak with your diaphragm, vocal chords, your lips and mouth.&#xD;&#xA;&#xD;&#xA;*** Not that I trust them because of their honors and awards though. I trust them because they're actually good. These are the types of engineers that can tell if you tuned up with a different guitar tuner the day before." ContentLicense="CC BY-SA 2.5" />
  <row Id="12104" PostHistoryTypeId="2" PostId="7095" RevisionGUID="da5f5e10-002a-4172-814a-f8add0fb0d34" CreationDate="2011-04-06T12:07:40.247" UserId="255" Text="+1 for ORTF. We recorded the Liverpool Philharmonic String Quintet and Flute Quartet a couple of weeks ago using this technique (with Neumann KM184) and it turned out great. Really nice detail and balanced spatial imaging. We also used a pair of spaced omni's (DPA 4006) up on the balcony/upper circle for ambient pickup, which worked well in bringing a sense of the recording space back into the recording as the ORTF pair was a little 'dry'.&#xD;&#xA;&#xD;&#xA;We also used another DPA 4006 for an accent mic on the cello, in the end we didn't use it as the ORTF was more than enough. Although it was nice having the option. Make sure you delay any accent mics back to your main stereo pair.&#xD;&#xA;&#xD;&#xA;As far as dynamic range goes, just try and setup before any rehearsals on the day if possible and set your gain accordingly. The one thing to watch out for is any applause, so maybe err on the side of caution with levels if you've only got one shot at it. Rehearsals were also a good chance to grab some room tone after the musicians had finished to help with editing afterwards. &#xD;&#xA;&#xD;&#xA;If you can I'd really recommend getting hold of a copy of John Eargle's book &quot;The Microphone Book&quot;, really great advice on recording Classical Music and plenty of tips throughout.&#xD;&#xA;&#xD;&#xA;Hope thats of some help anyway.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="12105" PostHistoryTypeId="2" PostId="7096" RevisionGUID="a0d0dafe-8965-47f3-9402-2851c50a96bd" CreationDate="2011-04-06T13:18:53.643" UserId="393" Text="I've been thinking about this a lot, since I saw this video [link text][1] in fact.  As far as I can tell, there's nothing going on with the strings -- he's muting them with his left hand -- which means the rest of the guitar is just a large object getting in the way.&#xD;&#xA;&#xD;&#xA;So I was thinking about taking a super hot pickup and wiring it up to a piece of wood just large enough to hold the pickup, a volume pot, and a jack, and attaching some sort of clamp to the wood to allow me to clamp it to a mic stand, and to make positioning easier.  Also, where the guitar's bridge would normally be grounded, I'd connect it to an alligator clamp (this would allow me to use the pickup on a tension cable or cymbal as though the cable were a huge guitar string).&#xD;&#xA;&#xD;&#xA;**I was wondering if any of you have ever done something like this... used a pickup, sans guitar, as a microphone for sound design.**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/13506350" ContentLicense="CC BY-SA 2.5" />
  <row Id="12106" PostHistoryTypeId="1" PostId="7096" RevisionGUID="a0d0dafe-8965-47f3-9402-2851c50a96bd" CreationDate="2011-04-06T13:18:53.643" UserId="393" Text="Guitar pickups as a &quot;microphone&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12107" PostHistoryTypeId="3" PostId="7096" RevisionGUID="a0d0dafe-8965-47f3-9402-2851c50a96bd" CreationDate="2011-04-06T13:18:53.643" UserId="393" Text="&lt;guitar&gt;&lt;innovation&gt;&lt;diy&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12108" PostHistoryTypeId="2" PostId="7097" RevisionGUID="233f5dd5-be87-4c5b-8554-e66e0d198287" CreationDate="2011-04-06T13:36:35.217" UserId="194" Text="Hi Dave,&#xD;&#xA;&#xD;&#xA;what you're seeing in that vid is the pickup used as an electrostatic conductor.  Jean Eduard Miclot put up a cool blog post a little while back that inspired me to build one one myself.&#xD;&#xA;&#xD;&#xA;http://jedsound.com/blog/?p=200&#xD;&#xA;&#xD;&#xA;you'll also see some examples of his rig in action in his videos&#xD;&#xA;&#xD;&#xA;http://jedsound.com/blog/?p=368&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;really the setup is much simpler than what you describe, and in my version I don't externally ground the pickup.  I just run one side if the cable to pin 2 and the other to pin 3. &#xD;&#xA;&#xD;&#xA;its important to pick a non-humbucker so that your magnets and coils are more sensitive to the magnetic fields around them.   then put on your ears and start listening.  I find lcd monitors, small motors, and electronic transmitters like remote controls and bluetooth devices to give me the craziest and coolest sounding stuff." ContentLicense="CC BY-SA 2.5" />
  <row Id="12109" PostHistoryTypeId="2" PostId="7098" RevisionGUID="96e8d3c0-924a-4cd5-8ba5-3d98c09fd6f5" CreationDate="2011-04-06T14:00:45.540" UserId="845" Text="+1.  27&quot; Mac monitors make the most amazing sounds.  Photocopiers are great for really subtle servo type stuff.  Electric pencil sharpeners if you need an electronic punch in the face.  In my excitement I almost tried to record the sound of my computer... which would have been a terrible idea.&#xD;&#xA;&#xD;&#xA;I came across one really cool thing I while trying to record a fan, one of those desk-size ones with the metal grill around the blades.  If you hold the pickup against, or just slightly away from, the grilles you can pluck them and it gives this really eerie reverb.  I've been thinking about buying a bunch of coat hangers, straightening them out, and somehow attaching a speaker to them.  Home made pseudo-spring reverb." ContentLicense="CC BY-SA 2.5" />
  <row Id="12110" PostHistoryTypeId="2" PostId="7099" RevisionGUID="a6977649-cf90-4f49-a459-a71f74641ca8" CreationDate="2011-04-06T14:42:20.217" UserId="469" Text="I agree with Colin about getting as much as you can while on set.  It can often be a battle on a quick-paced or low-budget set to pick up wild sfx, and sometimes even room tone.  The problem is that everyone usually has to stop what they are doing and wait while you grab your recording.  On fast paced shoots, I have sometimes shown up early in the morning just to grab sfx.  Another great technique if you are moving around to different locations is to stay at a location an extra half hour to grab wild sfx (with permission of the AD).  &#xD;&#xA;&#xD;&#xA;They will usually say yes and by the time you get to the next location, the crew will probably still be unloading." ContentLicense="CC BY-SA 2.5" />
  <row Id="12112" PostHistoryTypeId="5" PostId="5172" RevisionGUID="4260c7a8-7ed0-42a4-9755-1834c19af0ba" CreationDate="2011-04-06T17:19:28.203" UserId="194" Comment="added 29 characters in body" Text="For me its close between [the implosion of Texas Stadium][1] (audio is in the link)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;and the timelapsed audio of the trains and traffic in Deep Ellum.&#xD;&#xA;&#xD;&#xA;[vimeo]http://vimeo.com/13991711[/vimeo]&#xD;&#xA;&#xD;&#xA;http://vimeo.com/13991711&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/post-production-forum/483127-tx-stadium-implosion.html&#xD;&#xA;  [2]: http://images.blippitt.com/wp-content/uploads/2010/04/texas_stadium_implosion.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="12113" PostHistoryTypeId="2" PostId="7101" RevisionGUID="862ec842-8550-4943-a4d4-e183734ddbd7" CreationDate="2011-04-06T17:30:40.940" UserId="786" Text="My list of sounds to record on set is as follows (in order of priority):&#xD;&#xA;&#xD;&#xA;1- Dialogue&#xD;&#xA;&#xD;&#xA;If I only get to capture the dialogue, it is still a good day. If I fail to capture the dialogue, because I'm busy recording less important sounds, I'm not doing a good job as sound recordist. It is THE most important part of recording on set, and it is the most expensive sound to reproduce afterwards.&#xD;&#xA;&#xD;&#xA;2- Wild tracks of dialogue&#xD;&#xA;&#xD;&#xA;If for some reason I don't get a single clear take of the dialogue of a scene, I will ask for permission to do a wild track of the dialogue of the scene. This is not something which should happen with every scene, because you have to do it on set, just after the scene, while the scene is still fresh in the memory of the actors. You also have to keep everybody on set silent, so if you do it too often, people will just get tired of you and make it harder for you to capture clean dialogue in the first place. I do wild tracks less than once per day.&#xD;&#xA;&#xD;&#xA;3- Walla from actors/extras&#xD;&#xA;&#xD;&#xA;This Can also be pretty hard/expensive/impossible to do in post, so you should record this. Extras should be miming when in talking in the background, so you need their sound at some point. This can be planned in advance, but you have to keep reminding the AD of it, because sometimes they forget you and send all the extras home before you get your recording :-(&#xD;&#xA;&#xD;&#xA;4- Ambiences&#xD;&#xA;&#xD;&#xA;Try getting the sounds that are unique to the location. Background that may set a tone or be an interesting element in the sound design. I always carry a couple of zoom H4 and H2 recorders, so i can quickly go and pick up some interesting sounds, without having to carry my main recorder, which is set up for recording dialogue. Sometimes I record ambiences on the Zooms while the crew (and I) are shooting the scenes, because people are quiet at that time. I would also use the Zoom to get an interesting perspective on the action in the scene, for instance by mounting it close to the camera to get a point of view sound in chase scenes. All of this I try to do without interfering with the rest of the crew, sometimes delaying my lunch break by 10 minutes or so.&#xD;&#xA;&#xD;&#xA;I don't spend any time recording IR's and I am generally not very interested i recording doors, but maybe that's just me being more of an ambiences kind of guy..." ContentLicense="CC BY-SA 2.5" />
  <row Id="12114" PostHistoryTypeId="2" PostId="7102" RevisionGUID="409c044f-45f0-454c-b1a3-928c28165dd0" CreationDate="2011-04-06T18:30:05.203" UserId="709" Text="Agree with Rene and that DS post - one offs help.&#xD;&#xA;&#xD;&#xA;I've been working on a series of 5.1 Sci Fi Hallway ambiences, influenced by films like Alien, Moon, etc.  I would agree that apart from the ventilation noises and the self noise/vibration of the vehicle/station itself that various random, but subtle, electronic- or mechanical-based sounds help sell the environment.  I'd think about what sorts of resources the people on the station will be relying upon in order to survive: Re-oxygenating machines, water recycling units, vent motors, motors to control the pitch of the solar panels on the ship/station, random intercom communications from a different part of the vehicle, battery rechargers, atmospheric regulators.&#xD;&#xA;&#xD;&#xA;God I love good scifi films.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12115" PostHistoryTypeId="2" PostId="7103" RevisionGUID="b39382c4-d886-4aa0-b87b-628b76edc1a4" CreationDate="2011-04-06T19:10:04.613" UserId="194" Text="Try not to think of products that already exist.  Try to think of what you want the next things to do here.&#xD;&#xA;&#xD;&#xA;How would your ideal mobile sfx recording rig work?&#xD;&#xA;&#xD;&#xA;Here's my thought:&#xD;&#xA;&#xD;&#xA;I think I'd like a series of tiny modular devices that can plug into my existing mics.&#xD;&#xA;&#xD;&#xA;Ideally each module would be about the size and shape of the schoeps cut filter that goes on the collette system mics (only with a female xlr on one side and a closed end on the other)  &#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;This module would house a phantom power unit, preamp, D/A converter, and wireless xmitter.  It would also have an integrated pad and hipass.  Each module would have integrated rechargeable power supplies that could be supplemented with external battery packs if required.  If it were a little longer than the schoeps pad in order to fit all of that I'd still be ok with it.  :P  &#xD;&#xA;&#xD;&#xA;when recording, each module would power and capture the signal, then wirelessly transmit it to a master base station with routable channels and monitoring.  From the base station you could remtoely adjust all parameters on each module including on/off, level, hipass, pad, sample rate, bit depth, etc.&#xD;&#xA;&#xD;&#xA;the base station would have usb or firewire ports available for HD connections, and could also wirelessly sync with ftp and other cloud based services.  of course full recording templates including routing, naming scheme and other things would be included.&#xD;&#xA;&#xD;&#xA;with a rig like this you could essentially just leave the modules attached to the mics during transport.  you're wireless, so you don't have to worry about hauling tons of cables around.  You also don't have to worry about cable handling noise.  all of your setup can be done the day before the shoot, so that when the shoot date arrives you just set up your mics, turn on the system and start rolling.&#xD;&#xA;&#xD;&#xA;Of course, the major prereq for a system like this is that it would both work and be bulletproof.  a buggy or unreliable wireless rig like this would be as much of a nightmare as a rock solid one would be a dream.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://schoeps.de/IMG/products/product_pics/cut1_0.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="12116" PostHistoryTypeId="1" PostId="7103" RevisionGUID="b39382c4-d886-4aa0-b87b-628b76edc1a4" CreationDate="2011-04-06T19:10:04.613" UserId="194" Text="Paradigm Shift - your ideal mobile recording rig" ContentLicense="CC BY-SA 2.5" />
  <row Id="12117" PostHistoryTypeId="3" PostId="7103" RevisionGUID="b39382c4-d886-4aa0-b87b-628b76edc1a4" CreationDate="2011-04-06T19:10:04.613" UserId="194" Text="&lt;innovation&gt;&lt;gear&gt;&lt;technology&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12118" PostHistoryTypeId="2" PostId="7104" RevisionGUID="97851db5-6bf8-4958-a457-b28abef9942b" CreationDate="2011-04-06T19:19:25.137" UserId="670" Text="I just jumped on-board to do the sound design for this 30min short. The director has asked me to gather SFX, ambiences, etc. before the picture is locked. This is my first big project. Is a movie file with a timecode necessary before picture lock if I'm just putting together (and gathering) SFX. Also, I won't need an OMF file till the picture is &quot;locked&quot;, correct?  Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="12119" PostHistoryTypeId="1" PostId="7104" RevisionGUID="97851db5-6bf8-4958-a457-b28abef9942b" CreationDate="2011-04-06T19:19:25.137" UserId="670" Text="Starting before picture lock" ContentLicense="CC BY-SA 2.5" />
  <row Id="12120" PostHistoryTypeId="3" PostId="7104" RevisionGUID="97851db5-6bf8-4958-a457-b28abef9942b" CreationDate="2011-04-06T19:19:25.137" UserId="670" Text="&lt;omf&gt;&lt;picture&gt;&lt;timecode&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12121" PostHistoryTypeId="2" PostId="7105" RevisionGUID="8aa21c6c-4a39-49da-ab24-0e194f7c33bd" CreationDate="2011-04-06T19:38:04.617" UserId="393" Text="If you're just gathering sounds, you won't be placing them against the picture in any sort of locked-down fashion.  If I gather correctly, you're building your source library, and not actually designing the sounds -- yet.&#xD;&#xA;&#xD;&#xA;Depending on what you and the director are using, it's possible that you could start laying down the start of the final soundtrack and he'd just export an XML document whenever he makes changes -- I've only read about that, though, so someone else will need to speak up if you need more information." ContentLicense="CC BY-SA 2.5" />
  <row Id="12122" PostHistoryTypeId="2" PostId="7106" RevisionGUID="43a2116c-6898-437b-b7b9-130ff29b6972" CreationDate="2011-04-06T19:50:45.977" UserId="845" Text="For myself, I'd like a pair of glasses with three omnis embedded into them. One at the curve of each arm and one at the bridge. Tri-aural recording!&#xD;&#xA;&#xD;&#xA;Same again for shoes, a nice water and vibration-isolated faux leather acoustic membrane across the front of the foot and a cavity in the heels for wireless transmitters. Great for foley and traffic passbys. &#xD;&#xA;&#xD;&#xA;A three to five channel, single-unit mic. 5.1 in one. &#xD;&#xA;&#xD;&#xA;A remote control hover boom. &#xD;&#xA;&#xD;&#xA;Sorry, I'm being silly. &#xD;&#xA;&#xD;&#xA;Oooh, wireless nano mics that you can stick directly to surfaces. No more annoying packs, or having to hide them in the talent's hair. &#xD;&#xA;&#xD;&#xA;I'm serious about the glasses though..." ContentLicense="CC BY-SA 2.5" />
  <row Id="12123" PostHistoryTypeId="2" PostId="7107" RevisionGUID="46768d3d-83e7-4cf6-9240-e0d6d8fccd33" CreationDate="2011-04-06T20:07:38.810" UserId="393" Text="I'll expand on your idea, Rene... have the mics connect to your portable mixer that then wirelessly (we'll just invent some more wireless technology so this doesn't get in the way) sends the recording back to storage in your van.  That way, if things go incredibly wrong and you fall into a river, everything you recorded is still fine.  Also, you could be transporting hundreds of terabytes in your van -- hotswappable, of course.&#xD;&#xA;&#xD;&#xA;Or am I taking a step in the wrong direction when I REALLY want an A-team van full of A/V racks?" ContentLicense="CC BY-SA 2.5" />
  <row Id="12124" PostHistoryTypeId="2" PostId="7108" RevisionGUID="cd9684ba-416b-45db-b1be-06e56a5bf21f" CreationDate="2011-04-06T20:08:54.117" UserId="845" Text="I'd recommend going through the samples you record and collect and making notes about where you see them going, how you plan to effect them, etc. Also try to figure out what the most difficult stuff is going to be and maybe do a couple temp passes to get the feel down. " ContentLicense="CC BY-SA 2.5" />
  <row Id="12125" PostHistoryTypeId="2" PostId="7109" RevisionGUID="aa8b1ede-95c4-4c0f-95ba-fdbd96c97d18" CreationDate="2011-04-06T21:06:05.317" UserId="118" Text="Couple of quick suggestions for space tones:&#xD;&#xA;&#xD;&#xA;Synthetic:  Some synths such as 'Circle' have a 'vowel filter' which can help make your noise more tonal, especially the 'o' one.  &#xD;&#xA;&#xD;&#xA;Recorded:  Stick your mic in interesting containers such as large vases, large metal cans, etc. then blow gently across the mouth of the container.  GRM Freeze can help make it a consistent tone.&#xD;&#xA;&#xD;&#xA;Whichever one you do, I would then mess about with IRs to control the sense of space required.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="12126" PostHistoryTypeId="2" PostId="7110" RevisionGUID="77c0a840-9968-406a-9306-f75ff8036658" CreationDate="2011-04-06T22:04:32.187" UserId="234" Text="I actually like to start gathering and designing sounds as soon as possible, assuming it's in the budget (if that is a concern, this may be a &quot;labour of love&quot;). I do however, like to get a copy of the picture in whatever form it is... that way I can see what the visual look is, and get a feel for the way the audio may work. It's also useful for flagging potential ADR issues to come." ContentLicense="CC BY-SA 2.5" />
  <row Id="12127" PostHistoryTypeId="2" PostId="7111" RevisionGUID="2d98c819-e88f-4859-ad20-eb8a4f77a2db" CreationDate="2011-04-06T22:58:24.757" UserId="845" Text="I work at a TV station as a dialogue/V.O. editor and mixer.  I like my job.  It's not difficult, it pays OK, and it affords me the time/money to build up my freelance business without having to absolutely kill myself.&#xD;&#xA;&#xD;&#xA;There are five other editors.  Here's the problem: four of the five are fine.  One is very much not.  &#xD;&#xA;&#xD;&#xA;I really hate to be a dick, but he works excruciatingly slowly, and his work is just *barely* passable. However, our system is set up such that there is little oversight and very little accountability, i.e. no one at the end of the pipe seems to notice, or know who works on what episode.  This is a major frustration in and of itself but shall be saved for another day.&#xD;&#xA;&#xD;&#xA;The job itself is a bit of a rollercoaster, super busy for 3 months, then pretty much dead for the next 3.  Lately we've been going through a slow-patch, not much work coming in.  So, I can understand why he takes his time (I do too).  But considering the amount of time he takes to finish even the simplest project his work is just pathetic.&#xD;&#xA;&#xD;&#xA;Aside from the obvious, the reason this is so frustrating is that two of my best friends are editors/sound designers too. One works retail, the other babysits DJs at a club down town, destroying his ears (even with earplugs in) for $120 a night.  They are at least as good at sound stuff as I am, and certainly have the same amount of enthusiasm.  I just hate seeing someone so complacent getting paid to not do a job that others would love to.&#xD;&#xA;&#xD;&#xA;I hate to sound so selfish, petty, and proud, maybe he's got shit going on in his life and our mediocre channel isn't the utmost in his mind at the moment...&#xD;&#xA;&#xD;&#xA;But he's simply not doing right by the content we produce and the people who produce it.  It may not be the best stuff in the world, but there are people out there who really appreciate it, and it's sad to see them disrespected like this.  I consider it my duty as an audiocentric person, and to other audiocents, to do the best I can with what I've got, even if the content itself is kind of crap.&#xD;&#xA;&#xD;&#xA;Is there a dimplomatic/non-confrontational/non-threatening way to bring this up?  &#xD;&#xA;&#xD;&#xA;I had at one point thought of going to HR, and I know that's what they're there for, but it seemed a bit callow.  It's not even that I simply want him fired, he's not a bad guy and that would be a shitty thing to do.  I guess I'm just frustrated, angry, and at a bit of a loss for what to do...&#xD;&#xA;&#xD;&#xA;Thoughts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="12128" PostHistoryTypeId="1" PostId="7111" RevisionGUID="2d98c819-e88f-4859-ad20-eb8a4f77a2db" CreationDate="2011-04-06T22:58:24.757" UserId="845" Text="A Question about Diplomacy" ContentLicense="CC BY-SA 2.5" />
  <row Id="12129" PostHistoryTypeId="3" PostId="7111" RevisionGUID="2d98c819-e88f-4859-ad20-eb8a4f77a2db" CreationDate="2011-04-06T22:58:24.757" UserId="845" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12130" PostHistoryTypeId="2" PostId="7112" RevisionGUID="e8385f5c-582d-4ffe-a726-031ed6a48cb4" CreationDate="2011-04-06T23:29:32.523" UserId="18160" Text="Come at it from this angle:&#xD;&#xA;&#xD;&#xA;I would bring it up with your supervisor or whoever has authority in this situation and tell them that the blind and visually impaired have far far far more advanced hearing than the average listener. Their hearing is actually extremely good and from what I understand they can notice faults in audio programs very easily, so this is all the more reason to have competent audio editors on the team.&#xD;&#xA;&#xD;&#xA;I would institute a system where you do keep track of who does what, how much gets done, etc. Statistics. Manage it by statistics, and put penalties in for those who aren't producing enough or poor products.&#xD;&#xA;&#xD;&#xA;It is a poor position to be in when you have to pull the slack of a co-worker. You are only justified in getting mad at them if they are purposefully not doing their best and not trying at all.&#xD;&#xA;&#xD;&#xA;It would be a different story if this guy was trying his best and working hard to learn and get better. If that's the case, I would try to find out what he doesn't understand about editing and help him out to get better. But, from what you wrote it seems like he's not giving his all which should be made known to whoever is above you IMHO." ContentLicense="CC BY-SA 2.5" />
  <row Id="12131" PostHistoryTypeId="2" PostId="7113" RevisionGUID="435cc8bf-f2a2-489c-ae0f-db07c21fbc50" CreationDate="2011-04-07T01:17:48.953" UserId="37" Text="Live and let live. &#xD;&#xA;Someone told me this early in my life and I'm glad they did. If you're not his boss, then it's not responsibility, and you shouldn't care. If you are, then, well, you would have already fired him. People do have all sorts of shit going on in their lives and the reasons behind &quot;unsatisfactory&quot; performance could vary from trivial to very convoluted. If you feel ready to take the plunge and sympathise with someone else's circumstances then maybe ask him how's things. Otherwise best you can do is to practice damage control, or just have a chat before you bring this up in public... no? If you really want to go the right way about this, then sit down and build in a workflow that provides for accountability. Only then (I think) can you point finger in any direction. (Hope this doesn't sound harsh.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="12132" PostHistoryTypeId="2" PostId="7114" RevisionGUID="0c6103b5-b733-4980-8aba-fe483c5ad77e" CreationDate="2011-04-07T01:45:58.813" UserId="429" Text="I think you're asking a workflow question. I think I know what you're talking about and the frustration of working in a multitrack DAW only to deliver to another multi track audio engine where you have to rebuild it all anyway.&#xD;&#xA;&#xD;&#xA;The DAW is only 1 part of a larger scheme of tools you need for &quot;modular iteration and contextual previewing&quot;. Same thing with a wave editor that's only 1 part. I would also add a sampler / sequencer and the actual middleware to the mix to thats at least 4 independent tools. I run these on 3 separate machines networked by digital audio and MIDI over IP.&#xD;&#xA;&#xD;&#xA;I make sure I spend the time to precisely balance the levels and match output configurations with all these tools and the game engine / audio middleware. So as I'm creating its within the context of the middleware and other reference playback sources all balanced and placed as they would be in game. Basically it takes time but you have to create the environment where the tools are flexibly routed allowing you to preview source material and your creative ideas as though they are &quot;in game&quot;. I also have had a test kit and a retail PS3 balanced out in the the mix. I work like this in surround at medium volume. I also have a downmix to a TV set to low volume. When I need more precise detail I put on headphones that are set fairly loud. I NEVER change the volume my 5.1, TV or headphones .. EVER.&#xD;&#xA;&#xD;&#xA;Once you're working more with the middleware you can decide if breaking the sounds into smaller parts works for the game and the content. If you decide to use the middleware to design the sound then your use of the DAW and other tools might be much more simple. The downside is that you'll be limited to the middleware technology. With wise that ain't so bad because its so good. It's not as great if your working in FMOD.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12133" PostHistoryTypeId="2" PostId="7115" RevisionGUID="42a10d32-6727-4b50-8ffd-9be8bd283209" CreationDate="2011-04-07T01:56:14.613" UserId="18160" Text="A recording system where you just put the mic up in the general area and it records 3 tracks and in post you can zoom in and out anywhere in the field with perfect presence.&#xD;&#xA;&#xD;&#xA;Oh, they already have this. A buddy of mine invented it." ContentLicense="CC BY-SA 2.5" />
  <row Id="12134" PostHistoryTypeId="2" PostId="7116" RevisionGUID="cb226287-ad77-494f-9fb7-4445087f99cd" CreationDate="2011-04-07T03:55:28.767" UserId="194" Text="here's my opinion:&#xD;&#xA;&#xD;&#xA;don't worry about it.  &#xD;&#xA;&#xD;&#xA;Do what you do and you'll end up where you need to be.  Your co worker's work will make him expendable, and he'll end up where he needs to be as well.&#xD;&#xA;&#xD;&#xA;your friends will likewise end up in the places that they earn for themselves.&#xD;&#xA;&#xD;&#xA;You can't control anything in this world except for your own actions.  If those actions can be influential to the situation then that's what they can be, but generally I'd focus on getting as good as I can for myself first.  Opportunities for change will inevitably present themselves without you having to push it." ContentLicense="CC BY-SA 2.5" />
  <row Id="12135" PostHistoryTypeId="2" PostId="7117" RevisionGUID="ef5deb9d-739d-4f75-a653-e2ed718a0857" CreationDate="2011-04-07T05:37:08.220" UserId="338" Text="Offer a better solution.  When it comes to diplomacy I think that &quot;How to Win Friends and Influence People&quot; is a great learning utensil (it's a book).  &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12136" PostHistoryTypeId="2" PostId="7118" RevisionGUID="f35f9b22-d83a-4092-9bfa-57d18cb5276e" CreationDate="2011-04-07T06:46:27.133" UserId="18160" Text="I went on that shoot today that I will be supervising the sound of.&#xD;&#xA;&#xD;&#xA;We were in an L.A. metro station. (BTW did you know it costs about $20,000 for a shooting permit in a subway?? I'd rather buy microphones and shoot everything inconspicuously on a Canon 7D or something... Anyway, I digress)&#xD;&#xA;&#xD;&#xA;Coming down the escalator I noticed it made an awesome rhythmic mechanical sound which could be pitched down and used as a large machine or some other contraption that has a rhythm to it.&#xD;&#xA;&#xD;&#xA;I'll upload some later when I get a chance, but whenever you're around escalators with a mic, I suggest sitting at the bottom of one and record very close-miced to the steps going under - it sounds awesome." ContentLicense="CC BY-SA 2.5" />
  <row Id="12137" PostHistoryTypeId="1" PostId="7118" RevisionGUID="f35f9b22-d83a-4092-9bfa-57d18cb5276e" CreationDate="2011-04-07T06:46:27.133" UserId="18160" Text="Escalators....." ContentLicense="CC BY-SA 2.5" />
  <row Id="12138" PostHistoryTypeId="3" PostId="7118" RevisionGUID="f35f9b22-d83a-4092-9bfa-57d18cb5276e" CreationDate="2011-04-07T06:46:27.133" UserId="18160" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12139" PostHistoryTypeId="2" PostId="7119" RevisionGUID="b67c51ff-e4b0-4e58-ac0c-024013cc74e1" CreationDate="2011-04-07T07:09:56.020" UserId="469" Text="I second &quot;How to Win Friends and Influence People&quot; as a great book!!&#xD;&#xA;&#xD;&#xA;This quote came to mind as I was writing this.....&#xD;&#xA;&#xD;&#xA;*&quot;The art of life is to show your hand. There is no diplomacy like candor. You may lose by it now and then, but it will be a loss well gained if you do. Nothing is so boring as having to keep up a deception.&quot;* - E. V. Lucas&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I say that if you like the guy and respect him as a person, you should let him know his work isn't up to par.  I personally would never tell a boss that a coworker's performance is lacking unless they were making egregious errors or being unsafe.  That's just me though.  I have been in a similar situation to you where there were 5 people doing the same job and one of them was not so much incompetent as he was a slacker.  I eventually ended up leaving, not because of him but to take a better job.&#xD;&#xA;&#xD;&#xA;Your coworker might be plugging along thinking that everything is going great at work since as you said, &quot;there is no oversight&quot;.  Than one day he might get fired.  If you think he is worth it, maybe you can find a way to put it to him gently?!  On the other hand, if the guy is a cocky bastard, who you don't think has the ability or ambition to improve, than forget about offering him any help and maybe consider talking to the boss... :(&#xD;&#xA;&#xD;&#xA;Maintaining tact while doling out criticism is difficult but can be rewarding.  If I were him, I would be thankful for the criticism, especially if I were unaware of my shortcomings.  If you constructively criticize his work but also offer him guidance, help, or tutoring, and he turns it down, than at least you will have a clean conscience.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12140" PostHistoryTypeId="5" PostId="7113" RevisionGUID="6f69a1de-ce7f-432f-8694-ede3b8ba2281" CreationDate="2011-04-07T08:41:45.440" UserId="37" Comment="added 5 characters in body" Text="Live and let live. &#xD;&#xA;Someone told me this early in my life and I'm glad they did. If you're not his boss, then it's not your responsibility, and you shouldn't care. If you are, then, well, you would have already fired him. People do have all sorts of shit going on in their lives and the reasons behind &quot;unsatisfactory&quot; performance could vary from trivial to very convoluted. If you feel ready to take the plunge and sympathise with someone else's circumstances then maybe ask him how's things. Otherwise best you can do is to practice damage control, or just have a chat before you bring this up in public... no? If you really want to go the right way about this, then sit down and build in a workflow that provides for accountability. Only then (I think) can you point finger in any direction. (Hope this doesn't sound harsh.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="12141" PostHistoryTypeId="2" PostId="7120" RevisionGUID="29b9f8ba-bc5a-4948-90d1-269462d1d21b" CreationDate="2011-04-07T08:55:39.007" UserId="826" Text="TASCAM DR-680 is not very good at using it as a mixer, because it's outputs are set for Nominal output level: –10 dBV (0.3 V), and are RCA. Also, there is some interference on the outputs as i have observed - not a very clean signal. So not a professional signal for a videocamera. And it also has only one knob for mixing. The internal mixer interface is very nice though and you can set pans/levels and then route that mix to tracks 7-8 that record as a stereo preview wav file that contains all tracks." ContentLicense="CC BY-SA 2.5" />
  <row Id="12142" PostHistoryTypeId="2" PostId="7121" RevisionGUID="782d3951-655b-4a17-81f8-3bc8cee7f43a" CreationDate="2011-04-07T10:52:54.650" UserId="348" Text="Starting to collect asap is crucial in respect to time as well as getting a good feel of the film before you actually start to design. I like to go through the script and hi-light stuff and build ambience folders, effects folder, dialogue etc. I also like to listen to the on-set stuff before so that I know what I need to go out and also hi-lighting potential ADR  areas and crucial foley segments if there is a a budget/time constraint. " ContentLicense="CC BY-SA 2.5" />
  <row Id="12143" PostHistoryTypeId="2" PostId="7122" RevisionGUID="f48206a5-8edd-46a9-aa4b-3678f087d98b" CreationDate="2011-04-07T13:45:59.333" UserId="194" Text="as others have said, read the script, look at whatever you have access to from the shoot and start gathering sounds.  &#xD;&#xA;&#xD;&#xA;Also, get the sound rolls ASAP and start going through them.  If you have soundminer, put them in that and begin adding the metadata that's spoken into the slates for each file.  This will be invaluable during the dialogue edit because you can quickly jump to the soundrolls and audition every take of a problematic line before cueing anything for ADR.  You can also jump straight to the takes for the shot your working on to find room tones and foley.  This assumes that your picture editor logs and transfers the video in some manner that is coherent with the slates.  &#xD;&#xA;&#xD;&#xA;I'd also add that you should use this opportunity to get with the picture editor and lock down a workflow system that includes:&#xD;&#xA;&#xD;&#xA; - audio post deliverables ( http://socialsounddesign.com/questions/6614/if-you-could-tell-your-picture-editor-anything )&#xD;&#xA; - version numbering scheme for the edit.  Version numbers will allow you to get preliminary edits that you can work with while keeping your sessions in line with picture changes.  &#xD;&#xA; - a post schedule with specific milestones&#xD;&#xA; - a contact list of the actors (for scheduling ADR)&#xD;&#xA;&#xD;&#xA;Try to sit in on the edit here and there if you can.  Picture editors and directors may discuss audio things during the edit that you'd otherwise not be privvy to.  You'll learn a lot about the specific emotions that a director will look for in the soundtrack if you can be a fly on the wall during parts of the edit.  &#xD;&#xA;&#xD;&#xA;You can also (diplomatically) chime in if you see something that's going to be an audio problem happening later.  Don't be a nuisance though, be an asset in this setting." ContentLicense="CC BY-SA 2.5" />
  <row Id="12144" PostHistoryTypeId="2" PostId="7123" RevisionGUID="bb8bfd7e-9358-4f26-81b0-b119edc36512" CreationDate="2011-04-07T15:52:14.593" UserId="234" Text="@g.a. harry, you suffer from that most horrid of all afflictions in a sound editor... passion! :) OK, that was meant as a joke. But I can see from your post that you, much like many of us, have a real passion for your work, even when it's total !@#$ you're working on - you still want it to be the best it can. This is admirable, and indeed will take you far. BUT, take it from someone to whom this lesson falls under the whole &quot;things I've learned after it was too late&quot; department. You cannot MAKE another person be passionate. You can inspire them, you can lead by example, but you cannot MAKE them. Accepting that not everyone is as passionate about their work as you are, is a hard lesson, but one well learned. As you go on, you're passion will take you to new heights, but there will always be those at any level who are not. Accepting that fact will make the journey much more fun, and much quicker to. I know that sounds pretty &quot;new age&quot;, but it is true." ContentLicense="CC BY-SA 2.5" />
  <row Id="12145" PostHistoryTypeId="2" PostId="7124" RevisionGUID="f8eea9f8-86b5-47be-9d01-556781cee95e" CreationDate="2011-04-07T16:28:11.727" UserId="40" Text="I have a recording of an NYC subway station escalator floating around my blog somewhere. I  think it was from last April.&#xD;&#xA;&#xD;&#xA;Lots of cool sounds any rhythms from an escalator, and of course, my favorite - tons of sympathetic harmonics from metal on metal vibration! Wonderful source for recording at 192 and forcing to a lower sample rate :-)&#xD;&#xA;&#xD;&#xA;Would love to hear it!" ContentLicense="CC BY-SA 2.5" />
  <row Id="12146" PostHistoryTypeId="2" PostId="7125" RevisionGUID="6b446329-41cf-4183-abf8-aaf6377c19f5" CreationDate="2011-04-07T16:50:41.103" UserId="338" Text="I tried to pick up the sound of the sand blowing across the beach the other day with my Zoom.  Havn't checked out whether or not I win yet!" ContentLicense="CC BY-SA 2.5" />
  <row Id="12147" PostHistoryTypeId="2" PostId="7126" RevisionGUID="cafc6ee4-b445-47fc-89af-9e8ddb369d08" CreationDate="2011-04-07T16:52:45.770" UserId="338" Text="Has anybody read this book yet?&#xD;&#xA;&#xD;&#xA;Apparently it is written for the UDK which for the time is only free for PC.  Is it worth picking it up if you use OSX?&#xD;&#xA;&#xD;&#xA;Does UDK translate to any OSX game audio programs?" ContentLicense="CC BY-SA 2.5" />
  <row Id="12148" PostHistoryTypeId="1" PostId="7126" RevisionGUID="cafc6ee4-b445-47fc-89af-9e8ddb369d08" CreationDate="2011-04-07T16:52:45.770" UserId="338" Text="The Game Audio Tutorial" ContentLicense="CC BY-SA 2.5" />
  <row Id="12149" PostHistoryTypeId="3" PostId="7126" RevisionGUID="cafc6ee4-b445-47fc-89af-9e8ddb369d08" CreationDate="2011-04-07T16:52:45.770" UserId="338" Text="&lt;games&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12150" PostHistoryTypeId="2" PostId="7127" RevisionGUID="7cabe7a5-5541-432c-ab03-7cebc4e5c45f" CreationDate="2011-04-07T17:42:40.433" UserId="728" Text="Few days ago, I had a twitter conversation with Andrew Quinn (One of the main contributors of the GAT book). This is what he said about the Game Audio Tutorial book.&#xD;&#xA; *&quot;It covers all the theory required to implement game audio. It just uses the udk to give you a practical example &amp; exercise. It can easily be applied to middleware. There is a lot of overlap in techniques and terminology.&quot;*&#xD;&#xA;&#xD;&#xA;The book will be release around April Month end I guess. But I think some people have read the early copies distributed by the authors.&#xD;&#xA;&#xD;&#xA;From whatever I have got to know about this book, I think It is going to be one of the must-have's for any game audio enthusiast." ContentLicense="CC BY-SA 2.5" />
  <row Id="12151" PostHistoryTypeId="2" PostId="7128" RevisionGUID="7fe26cb3-29fe-4b91-9ad2-11f00d0c4484" CreationDate="2011-04-07T18:12:47.877" UserId="18160" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I cut together some sounds I got.&#xD;&#xA;&#xD;&#xA;First 2 are escalators I recorded. One had a nice squeeky belt and the other had an awesome rizzing light near it. Both I think could make some good machine or mechanical rhythm for something.&#xD;&#xA;&#xD;&#xA;Next are some train departures which have a great migraine inducing whine and then some good whistling wind afterwards.&#xD;&#xA;&#xD;&#xA;Then, I put a take of a full ride from one station to the next complete with station announce and door closing - I wanted to get the full ride in one take and get all the sounds I needed.&#xD;&#xA;&#xD;&#xA;Hope you enjoy!&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/utopiarc/subway-fx-la&#xD;&#xA;&#xD;&#xA;I really like those escalators." ContentLicense="CC BY-SA 2.5" />
  <row Id="12152" PostHistoryTypeId="2" PostId="7129" RevisionGUID="2520b0ee-ce0f-41d5-bbdc-5b26b56936e0" CreationDate="2011-04-07T23:38:00.057" UserId="986" Text="I've been working full time as a sound engineer for music and TV buisness since 2000.&#xD;&#xA;In the few last years, I was mainly using Protools 7/8HD and Nuendo 3/4.&#xD;&#xA;&#xD;&#xA;When you are working as a professionnal, the system/software need to be a extension of your thoughts...it need to be fast, flexible and without limitations.&#xD;&#xA;&#xD;&#xA;I my opinion Protools 9HD is the way to go...mainly because of is way to work with automations, it's ease with editing, it's hardware I/O (less user frendly but so flexible) and it's low latency.&#xD;&#xA;Also, when you have to do a very long session (over 1 hour), it is very easy to do a quick fix in Protools without having to redo the entire bounce.&#xD;&#xA;&#xD;&#xA;I've tryed very hard to edit and to use automations in Nuendo (for plugins, pan, volume, etc.) without acheiving the 1/3 of what I am able to do in Protools.&#xD;&#xA;I got pretty fustrated by all those limitations so I am now only using Protools 9HD.&#xD;&#xA;&#xD;&#xA;Conclusion: &#xD;&#xA;Neundo vs Protools LE= Nuendo&#xD;&#xA;Nuendo vs Protools HD= Protools&#xD;&#xA;&#xD;&#xA;*Sorry for my bad english.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="12153" PostHistoryTypeId="16" PostId="7129" RevisionGUID="2520b0ee-ce0f-41d5-bbdc-5b26b56936e0" CreationDate="2011-04-07T23:38:00.057" UserId="986" />
  <row Id="12154" PostHistoryTypeId="2" PostId="7130" RevisionGUID="8b25bfa7-70ae-4c3b-ada7-548b9f9de989" CreationDate="2011-04-08T00:37:58.287" UserId="220" Text="Okay, so after some pondering, I went ahead and got AA Translator - cheap $160 license for the full version.  &#xD;&#xA;&#xD;&#xA;I have an OMF exported from FCP with an mp4 guide track.  The OMF properly translated to a Reaper rpp project file and it also exported to a Sony Vegas EDL text file.  Both files opened up perfectly without any problems. &#xD;&#xA;&#xD;&#xA;Only issue:  Neither load to Reaper or Vegas contained the video file (an mp4).  I wonder if the OMF did not contain the video file and they just made a reference track.  Not a big deal for Vegas - the OMF log told me all the offsets were 00:00, so I just dropped it in and the video file lined up no problem with everything.&#xD;&#xA;&#xD;&#xA;Reaper, on the other hand, only loaded the audio from the mp4 file, no video.  Are you sure Reaper can view a video track?  Reaper definitely works for the audio, but not being able to track with the video will still leave me using Vegas." ContentLicense="CC BY-SA 3.0" />
  <row Id="12155" PostHistoryTypeId="5" PostId="7130" RevisionGUID="e4c394ea-caae-4877-9df9-eadbec535e1f" CreationDate="2011-04-08T00:49:35.963" UserId="220" Comment="clarity" Text="Okay, so after some pondering, I went ahead and got AA Translator - cheap $160 license for the full version.  &#xD;&#xA;&#xD;&#xA;I have an OMF exported from FCP with an mp4 guide track.  The OMF properly translated to a Reaper rpp project file and it also exported to a Sony Vegas EDL text file.  Both files opened up perfectly without any problems. &#xD;&#xA;&#xD;&#xA;Only issue:  Neither load to Reaper or Vegas contained the video file (an mp4).  I wonder if the OMF did not contain the video file and they just made a reference track after the fact.  Not a big deal for Vegas - the OMF log told me all the offsets were 00:00, so I just dropped it in and the video file lined up no problem with everything.&#xD;&#xA;&#xD;&#xA;Reaper, on the other hand, only loaded the audio from the mp4 file, no video.  Are you sure Reaper can view a video track?  Reaper definitely works for the audio, but not being able to track with the video will still leave me using Vegas." ContentLicense="CC BY-SA 3.0" />
  <row Id="12156" PostHistoryTypeId="2" PostId="7131" RevisionGUID="2ab2f6f6-4615-4d60-88db-5361b5d77a50" CreationDate="2011-04-08T02:18:24.517" UserId="393" Text="So, my Rycote kit just showed up so I excitedly pulled out my h4n and connected everything, only to discover one annoying -- and apparently common from the factory -- thing about my h4n:  the record button and the stamina switch rattle when I shake it.&#xD;&#xA;&#xD;&#xA;**Is there a better solution to stop this than tape?**" ContentLicense="CC BY-SA 3.0" />
  <row Id="12157" PostHistoryTypeId="1" PostId="7131" RevisionGUID="2ab2f6f6-4615-4d60-88db-5361b5d77a50" CreationDate="2011-04-08T02:18:24.517" UserId="393" Text="WTF? Zoom h4n rattle." ContentLicense="CC BY-SA 3.0" />
  <row Id="12158" PostHistoryTypeId="3" PostId="7131" RevisionGUID="2ab2f6f6-4615-4d60-88db-5361b5d77a50" CreationDate="2011-04-08T02:18:24.517" UserId="393" Text="&lt;zoom-h4n&gt;&lt;self-noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12159" PostHistoryTypeId="2" PostId="7132" RevisionGUID="a9089efd-1551-49d1-be1e-f8ef79cf7066" CreationDate="2011-04-08T03:00:23.307" UserId="987" Text="Heath Ledger's scream in four feathers. At the end of the film he's fighting the prison guard, and screams right before he head butts the guy. My favorite of all time. Anybody know how that was done?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12160" PostHistoryTypeId="13" PostId="1199" RevisionGUID="57f3aa8d-b2fd-4353-b2d8-c4732367f5a1" CreationDate="2011-04-08T04:02:10.820" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="12161" PostHistoryTypeId="2" PostId="7133" RevisionGUID="28afdb89-3bca-4c2b-87a3-bd7ed1709a05" CreationDate="2011-04-08T04:26:30.890" UserId="693" Text="I'm gonna have to give another vote for Akira. It depends which version though. There are actually two English overdubs.&#xD;&#xA;&#xD;&#xA;The original, which is my personal favorite was released by Streamline Video which was later distro'd by MGM/UA. The second version is from 2001 and that one is by Pioneer Entertainment and imo, the english dubs just lack the emotion (despite the better sync). The characters lacked the vocal character and emotion of the original dub. &#xD;&#xA;&#xD;&#xA;Who knows, maybe it was nostalgia and the Pioneer dub just didn't live up to my expectations.&#xD;&#xA;&#xD;&#xA;While the noise floor on the original version is admittedly a bit high, it's understandable considering when it was done. The 2001 Pioneer version has better sync, but the voices just don't live up to it for me and the mix is heavily drowned in verb in all the wrong places.&#xD;&#xA;&#xD;&#xA;It's mostly the screams and vocalizations from Akira that I remember and in the newer version they just seems to not be as unique or emotive to me, besides the mix being not so well thought out or all that realistic.&#xD;&#xA;&#xD;&#xA;It's kind of interesting because apparently there has been a lot of debate about this in the Anime community; which I'm led to believe because there are comparison videos on youtube. And thus makes this an interesting example for just this very topic.&#xD;&#xA;&#xD;&#xA;The comparison of the scream sequence from this scene starts at 1:59, which has one of the most memorable Akira screams Original@2:30, 2nd Version @3:18 ). You should watch the 1st comparison before the scream sequence I mentioned and then the one I suggested to see what I'm talking about with the mix being drowned in excessive reverb in the wrong places.&#xD;&#xA;&#xD;&#xA;Enjoy!&#xD;&#xA;&#xD;&#xA;[youtube]qjn3hHToUiU[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="12162" PostHistoryTypeId="2" PostId="7134" RevisionGUID="890d8b4d-5000-4a46-a316-4fa11254aa23" CreationDate="2011-04-08T07:35:26.953" UserId="786" Text="The invasion of the Bodysnatchers from 1978 really does it for me!&#xD;&#xA;&#xD;&#xA;&lt;iframe title=&quot;YouTube video player&quot; width=&quot;480&quot; height=&quot;390&quot; src=&quot;http://www.youtube.com/embed/GEStsLJZhzo&quot; frameborder=&quot;0&quot; allowfullscreen&gt;&lt;/iframe&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12163" PostHistoryTypeId="5" PostId="7134" RevisionGUID="ff4759dc-5a78-45ce-9977-fe926f111587" CreationDate="2011-04-08T07:40:48.690" UserId="786" Comment="added 2 characters in body; added 2 characters in body; deleted 108 characters in body; deleted 4 characters in body; added 23 characters in body" Text="The invasion of the Bodysnatchers from 1978 really does it for me!&#xD;&#xA;[youtube][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=GEStsLJZhzo" ContentLicense="CC BY-SA 3.0" />
  <row Id="12164" PostHistoryTypeId="2" PostId="7135" RevisionGUID="640d60fc-1865-4912-93f6-95b594386f97" CreationDate="2011-04-08T07:56:32.943" UserId="641" Text="I recently (5 April 2011) purchased the new Pro Tools 9.0 Full version.  I am running an iMac i3 processor with 4Gb's Ram  and a Presonus Firebox.  I was apprehensive about it all working having searched forums and read reviews where people mentioned major issues with their hardware and Pro Tools 9.0.&#xD;&#xA;&#xD;&#xA;I must report, although an absolute beginner with Pro Tools, I am ecstatic!  It installed with no problems, and ran full tilt with the demo files and interfaced with my M-Audio KeyRig 49 flawlessly.&#xD;&#xA;&#xD;&#xA;I then downloaded and applied the update to Pro Tools 9.0.2 and was again ecstatic when it launched again without a hiccup and has had me digging into it with much gusto since!Happily, no issues nor problems encountered at all!&#xD;&#xA;&#xD;&#xA;EDIT: The new Pro-Tools 9.0 comes with the ability to import OMF and AAF files!  Thank goodness!  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12165" PostHistoryTypeId="2" PostId="7136" RevisionGUID="eb0cb572-d3b1-460a-85b8-d40c63f59680" CreationDate="2011-04-08T08:01:10.317" UserId="786" Text="I would ask for an OMF. It will make it a little easier to fix sync when the picture is locked, and you can also rearrange the sounds from the OMF to make better room for your sounds.&#xD;&#xA;&#xD;&#xA;I wouldn't spend time on dialogue or metadata at this point, you'll have plenty to do with that once the picture is locked. Now is the time to get into the more creative side of your sound design, and try to figure out what types of ambiences helps the story. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12166" PostHistoryTypeId="2" PostId="7137" RevisionGUID="d7c74566-330f-421b-8e60-6b3dd457c25b" CreationDate="2011-04-08T09:33:23.977" UserId="493" Text="I've recently purchased the Blastwave FX Starter FX royalty-free library, and used/edited/mixed some of its sound effects alongside my personally recorded ones in a game.&#xD;&#xA;&#xD;&#xA;I've read over the License Agreement and tried Google and this site as well, but can't find an answer to whether or not I have to credit the library's use in the game's credits or not.  Because they're royalty-free, I don't have to, correct?&#xD;&#xA;&#xD;&#xA;Also, if I were to use the game segments in a demo reel, do I have to mention the library's use every time?&#xD;&#xA;&#xD;&#xA;Sorry if this is a rookie question, but I'm just discovering the power of purchasing libraries for sounds you can't record yourself on a short schedule.  My original goal for my whole sound design career was to never use anything that wasn't my own recording.  Was that too ambitious?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12167" PostHistoryTypeId="1" PostId="7137" RevisionGUID="d7c74566-330f-421b-8e60-6b3dd457c25b" CreationDate="2011-04-08T09:33:23.977" UserId="493" Text="Giving Credit on Royalty-Free Sound Libraries" ContentLicense="CC BY-SA 3.0" />
  <row Id="12168" PostHistoryTypeId="3" PostId="7137" RevisionGUID="d7c74566-330f-421b-8e60-6b3dd457c25b" CreationDate="2011-04-08T09:33:23.977" UserId="493" Text="&lt;royalties&gt;&lt;royalty-free&gt;&lt;sound-libraries&gt;&lt;legality&gt;&lt;credit&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12169" PostHistoryTypeId="2" PostId="7138" RevisionGUID="05f5de72-b5ee-4721-99bd-73313b043f33" CreationDate="2011-04-08T10:38:37.587" UserId="641" Text="Place it on a cushion, serenade it with a violin and serve it grapes and sweet wine?   :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="12170" PostHistoryTypeId="2" PostId="7139" RevisionGUID="f169edd9-672d-4c81-a876-4309f1e08485" CreationDate="2011-04-08T11:11:26.333" UserId="786" Text="You could ask Blastwave FX directly to get an answer.&#xD;&#xA;&#xD;&#xA;Personally I use lots of library fx, and I don't consider myself less of a sound designer because of that. I also use synths, plugins and own recordings in my work, but they are all just tools along with the fx libraries." ContentLicense="CC BY-SA 3.0" />
  <row Id="12171" PostHistoryTypeId="2" PostId="7140" RevisionGUID="6d550fc0-f2e9-4773-b044-6edf496118a1" CreationDate="2011-04-08T12:21:55.817" UserId="845" Text="M-audio ProFire 26/26 and PT 9 bare. &#xD;&#xA;&#xD;&#xA;Having used an M-box2 mini and 7.4 for years it's a definite step up. Perhaps not the *best* interface ever, but I like it better than any of the 002s or 003s I've had the chance to use in the past. &#xD;&#xA;&#xD;&#xA;I used to do a lot of music so the 8 analog I/O came in very handy. Now that I'm more sound design and SFX focussed I record through an H4N in tandem with an Audio Technica 2035 for center focus. I'm very happy with it. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;When I get sick of my room I take my MacBook pro, my dongle, and some headphones to my (thankfully) relatively quiet local coffee shop and edit my samples. I love 9 for not having to carry the M-box around any more. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12172" PostHistoryTypeId="2" PostId="7141" RevisionGUID="f683fb34-03a6-4545-a26f-dad2c20ff6c9" CreationDate="2011-04-08T12:44:00.973" UserId="845" Text="I've never recorded an escalator, but I was at my local Ikea a week or two ago and discovered that the elevator to the parking lot made a lovely whooooooooorumph kind of noise as it came in for a landing.  Found that it sounded best in one of the low corners and spent 20 minutes riding it, totally weirding out the other customers. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12173" PostHistoryTypeId="2" PostId="7142" RevisionGUID="afb6631c-941d-431b-b370-a33ada7cf029" CreationDate="2011-04-08T13:52:44.373" UserId="261" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;Was asked to write a cost proposal for a promo spot destined for cinema here in Switzerland and the producer replied with the following:&#xD;&#xA;&#xD;&#xA;&quot;...Btw, how is it if the sound has to be dolby SR-D in the end - for cinema. Does everything have to be produced in dolby or can this be done later at the sound studio? Can you produce dolby sounds?&quot;&#xD;&#xA;&#xD;&#xA;I'm confused. Isn't &quot;Dolby SR-D&quot; a playback specification? Mhmmmm?&#xD;&#xA;&#xD;&#xA;Yours in anticipation,&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 3.0" />
  <row Id="12174" PostHistoryTypeId="1" PostId="7142" RevisionGUID="afb6631c-941d-431b-b370-a33ada7cf029" CreationDate="2011-04-08T13:52:44.373" UserId="261" Text="Warning!!! A real NOOB question: Can I produce &quot;Dolby&quot; sounds at home...." ContentLicense="CC BY-SA 3.0" />
  <row Id="12175" PostHistoryTypeId="3" PostId="7142" RevisionGUID="afb6631c-941d-431b-b370-a33ada7cf029" CreationDate="2011-04-08T13:52:44.373" UserId="261" Text="&lt;dolby&gt;&lt;playback&gt;&lt;mixing&gt;&lt;clients&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12176" PostHistoryTypeId="2" PostId="7143" RevisionGUID="bff9a0a3-98fe-4f8d-84a1-66b87374918d" CreationDate="2011-04-08T14:03:36.787" UserId="872" Text="&#xD;&#xA;I'd just throw them on. Its good manners and you cover your ass, just in case" ContentLicense="CC BY-SA 3.0" />
  <row Id="12177" PostHistoryTypeId="2" PostId="7144" RevisionGUID="546bad5f-3181-4566-b449-ac5486d64a42" CreationDate="2011-04-08T14:13:18.730" UserId="845" Text="Mark Hamill didn't do too badly at the end of Empire. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12178" PostHistoryTypeId="2" PostId="7145" RevisionGUID="4a39c646-0b1a-40b4-a294-c2493cff3264" CreationDate="2011-04-08T14:43:47.020" UserId="234" Text="All Spinal Tap &quot;DOBLY&quot; jokes aside, you are correct. SR-D is a playback specification. The &quot;sounds&quot; are not produced in Dolby.&#xD;&#xA;&#xD;&#xA;In most countries, a Dolby Approved studio is required, and a Dolby representative/engineer brings the DMU in and creates the SR-D master file, which a lab then puts on the physical film. Dolby requires a license fee be paid to actually do all this, so I would contact your Dolby labs directly to find out exactly how much that is. If you're studio hasn't been approved by Dolby for Printmastering, then you should find a studio that is, and find out how much they would charge for their time as well for your quote. Plan on booking at least a day there (more if it's a really long promo) to find out how the stuff you prepped in your studio, plays back in a proper cinema environment, and make any adjustments to keep the clients happy. There's also some excellent information [here][1] on Dolby requirements. Also check the room calibration thread at the DUC for additional info. Finally Dolby.com has some excellent white papers and articles on all this, if you have a fair amount of time to search (I find it difficult to get to where I want to go on the site, but that could just be me...)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/post-production-forum/199189-dolby-facility-approval-requirements.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="12179" PostHistoryTypeId="2" PostId="7146" RevisionGUID="13a71e3f-413d-49b2-8e26-e593ece63992" CreationDate="2011-04-08T14:55:25.580" UserId="234" Text="@Dave Matney,&#xD;&#xA;&#xD;&#xA;Mine does, but I have to shake it pretty violently... does the Rycote rig make it worse? As a general rule, mine ALWAYS looks like an ad for Gorilla tape. It may not be elegant, but it is cheap and effective. Rick Viers seems to use a lot, judging from his videos. :) I DO make sure I take it off after every use, to keep the gunkys away.&#xD;&#xA;&#xD;&#xA;Overall I love my H4n, but let's face it, it's not built to take the abuse we folks will probably heap on it (and WHAT'S WITH THE @#$%$ SD SLOT COVER!!!??) . You pays you're money and you takes your choice. Until I can get my own SD744, this will do :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12180" PostHistoryTypeId="2" PostId="7147" RevisionGUID="1692f378-d73b-470e-bec0-0dc3f7d16b1a" CreationDate="2011-04-08T15:12:33.523" UserId="963" Text="agreed.  Use some tape to tape down the stamina switch... or if you NEVER use the stamina switch, use some clear nail polish to have it stay in place.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12181" PostHistoryTypeId="2" PostId="7148" RevisionGUID="1b6b0e48-0c02-4364-874a-b2d9896b7bda" CreationDate="2011-04-08T15:59:42.277" UserId="963" Text="**Pro Tools Surround Sound Mixing** &#xD;&#xA;Great book to understand how Pro Tools addresses Surround Sound and how to setup outputs.&#xD;&#xA;&#xD;&#xA;[Pro Tools Surround Sound Mixing][1]&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.com/url?sa=t&amp;source=web&amp;cd=1&amp;ved=0CBUQFjAA&amp;url=http%3A%2F%2Fwww.amazon.com%2FTools-Surround-Sound-Mixing-Book%2Fdp%2F087930832X&amp;rct=j&amp;q=Pro%20Tools%20Surround%20Sound%20Mixing&amp;ei=uzCfTbKHIpOI0QGPv5WKBQ&amp;usg=AFQjCNHul6800oJbrDRa5ma7P5IbUZvZPA&amp;sig2=6hYoIxoV5CTzN-0eLhNjOw&amp;cad=rja&#xD;&#xA;  [2]: http://ecx.images-amazon.com/images/I/51onxUw1thL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_AA300_SH20_OU01_.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="12182" PostHistoryTypeId="16" PostId="7148" RevisionGUID="1b6b0e48-0c02-4364-874a-b2d9896b7bda" CreationDate="2011-04-08T15:59:42.277" UserId="-1" />
  <row Id="12183" PostHistoryTypeId="2" PostId="7149" RevisionGUID="fa470d2a-35a2-47b3-b58b-5ce221a57b9f" CreationDate="2011-04-08T16:03:29.957" UserId="6524" Text="When you can't seem to figure out how to get your projects and ideas to sound just the way you want it to be." ContentLicense="CC BY-SA 3.0" />
  <row Id="12184" PostHistoryTypeId="1" PostId="7149" RevisionGUID="fa470d2a-35a2-47b3-b58b-5ce221a57b9f" CreationDate="2011-04-08T16:03:29.957" UserId="6524" Text="How do you deal with technical constraints that limit your creativity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12185" PostHistoryTypeId="3" PostId="7149" RevisionGUID="fa470d2a-35a2-47b3-b58b-5ce221a57b9f" CreationDate="2011-04-08T16:03:29.957" UserId="6524" Text="&lt;solving&gt;&lt;technical&gt;&lt;problems&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12186" PostHistoryTypeId="2" PostId="7150" RevisionGUID="9ef97682-5645-4606-827f-2bb7dca7bace" CreationDate="2011-04-08T16:04:49.257" UserId="963" Text="TAKE...THE...JOB&#xD;&#xA;&#xD;&#xA;A) It'll build up your resume within the industry (it shows that other people TRUST you / references)&#xD;&#xA;B) It's a steady paycheck.  This will allow you to not starve while doing SOMETHING you enjoy. &#xD;&#xA;C)  Transition to film is easy if you have references and you're networking.  &#xD;&#xA;&#xD;&#xA;I'd kill to be in your position. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12187" PostHistoryTypeId="2" PostId="7151" RevisionGUID="e3a38879-0f43-4832-9f2e-d68a00dd4867" CreationDate="2011-04-08T16:31:11.750" UserId="393" Text="I use FreeSound.org like crazy, and one of their bylaws is that I attribute EVERYTHING.  You can see how I did it here: [Silent Hill 3 Redub][1]&#xD;&#xA;&#xD;&#xA;Because I doubt I'll ever NOT use FreeSound, I plan on attributing everything the same way.  For larger projects, I'll put a link to a full attribution list within the credits.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/13963957" ContentLicense="CC BY-SA 3.0" />
  <row Id="12188" PostHistoryTypeId="2" PostId="7152" RevisionGUID="fb9aecc8-5eb4-42e0-b116-69c3b050bf04" CreationDate="2011-04-08T16:34:34.857" UserId="963" Text="Like some have said X-Click/Crackle works wonders.  I personally love WaveArts restoration package as its low cpu usage.  &#xD;&#xA;&#xD;&#xA;However, each VO artist is different.  &#xD;&#xA;&#xD;&#xA;However as you're opposed to practical advice, I can only say what has worked good for me.  &#xD;&#xA;Use a boom mic and point it at the persons chest / diaphram.  This should eliminate MOST of the mouth noises while retaining the majority of the clarity of sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12189" PostHistoryTypeId="2" PostId="7153" RevisionGUID="6c3876f1-905a-4223-93f0-f7f3d939b237" CreationDate="2011-04-08T16:37:47.783" UserId="338" Text="How much time have you really spent on it?  Is your theory sound?  Have you taken a step back?Did you ask for advice?  Do you realize that this business can take awhile?  &#xD;&#xA;&#xD;&#xA;Design towards the sound in your mind and get to know your plugins better, most of all, spend a lot more time on it until you have the experience to do it quickly.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12190" PostHistoryTypeId="2" PostId="7154" RevisionGUID="0885f14d-a58a-4da6-9854-99af3b9126f7" CreationDate="2011-04-08T16:43:40.453" UserId="558" Text="I feel like half my job is solving problems, and I find that creatively stimulating.  I work mostly in games these days, which is much more technical than traditional post and it suits me well.  But I love the challenge of knowing what I want something to sound like, but not knowing how to get there.&#xD;&#xA;&#xD;&#xA;Also, there are so many different impediments to good sound aside from the purely creative problems, (time constraints, tool constraints, management issues, creative differences...) that when its just me banging my head against a purely sound issue, I love it.&#xD;&#xA;&#xD;&#xA;my $0.02" ContentLicense="CC BY-SA 3.0" />
  <row Id="12191" PostHistoryTypeId="2" PostId="7155" RevisionGUID="bd0d6f81-28c5-414b-8529-c8897f1a4741" CreationDate="2011-04-08T17:03:07.863" UserId="194" Text="I'm considering going a day or two with no sight (just wearing a blindfold).&#xD;&#xA;&#xD;&#xA;Not as some kind of artistic statement or anything, just to experience it.  I'd like to really force my ears to tune in to the world in a way they can't otherwise.  The wifey is on board, so I just need to figure out a few things:&#xD;&#xA;&#xD;&#xA; - what should I do during the day?&#xD;&#xA; - how should I prepare the things around me?&#xD;&#xA; - what can I absolutely not do? (eg: drive, work a computer, etc)&#xD;&#xA; - under what circumstances should I break the seal and remove the blindfold early?&#xD;&#xA;&#xD;&#xA;thoughts?&#xD;&#xA;&#xD;&#xA;should I not bother?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12192" PostHistoryTypeId="1" PostId="7155" RevisionGUID="bd0d6f81-28c5-414b-8529-c8897f1a4741" CreationDate="2011-04-08T17:03:07.863" UserId="194" Text="a day or two without sight" ContentLicense="CC BY-SA 3.0" />
  <row Id="12193" PostHistoryTypeId="3" PostId="7155" RevisionGUID="bd0d6f81-28c5-414b-8529-c8897f1a4741" CreationDate="2011-04-08T17:03:07.863" UserId="194" Text="&lt;experience&gt;&lt;listening&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12194" PostHistoryTypeId="2" PostId="7156" RevisionGUID="03559d6a-5f7a-4927-9769-82d2c6cbc792" CreationDate="2011-04-08T17:05:42.383" UserId="548" Text="Looking at the new MixPre-D by Sound Devices I got the idea that perhaps it would be possible to connect it to a Sony PCM D-50 digitally. After some googling I found out that there indeed are portable SPDIF-AES/EBU converters such as a HOSA ODL 312. So, my question is: Will I be able to record MixPre-D's AES/EBU XLR output 24-bit signal digitally via the D-50 mini-Toslink input with a converter like this?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12195" PostHistoryTypeId="1" PostId="7156" RevisionGUID="03559d6a-5f7a-4927-9769-82d2c6cbc792" CreationDate="2011-04-08T17:05:42.383" UserId="548" Text="Connecting MixPre-D to a Sony PCM D-50 via a OPT-S/PDIF AES-EBU Converter?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12196" PostHistoryTypeId="3" PostId="7156" RevisionGUID="03559d6a-5f7a-4927-9769-82d2c6cbc792" CreationDate="2011-04-08T17:05:42.383" UserId="548" Text="&lt;pcm-d50&gt;&lt;converter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12197" PostHistoryTypeId="2" PostId="7157" RevisionGUID="87d0eb2b-5459-4453-aec3-9110e33ad0e7" CreationDate="2011-04-08T17:05:50.610" UserId="963" Text="TASCAM DR-680 looks awesome.  Wish I would have been able to save for that. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12198" PostHistoryTypeId="2" PostId="7158" RevisionGUID="7b8bd52b-1adb-40b1-8f70-17618741489c" CreationDate="2011-04-08T17:06:46.257" UserId="338" Text="Go for it !    I like to use earplugs anytime I am &quot;in transit&quot; or even shopping.  &#xD;&#xA;&#xD;&#xA;Once I meditated for 10 days straight-10 hours a day and other than that all I did was sleep and eat.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="12199" PostHistoryTypeId="2" PostId="7159" RevisionGUID="2b9d77ca-c621-4705-bf13-c26b51b4072e" CreationDate="2011-04-08T18:01:44.153" UserId="63" Text="Sounds like a very creative &quot;phase&quot;!!! You got me totaly excited about this &quot;project&quot; of yours! I will try it in the first chance I will have. &#xD;&#xA;&#xD;&#xA;I guess i will try find myself into as many places with different soundscapes I do not know and recognise!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12200" PostHistoryTypeId="2" PostId="7160" RevisionGUID="1cf07f09-c927-4bc9-910c-5b782df7a522" CreationDate="2011-04-08T18:03:24.713" UserId="963" Text="Yea, reaper does not natively support OMF.  Reaper in general is weak to sync / working with video.   &#xD;&#xA;&#xD;&#xA;I just wish someone could fix the AAF from sony vegas to pro tools problem. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12201" PostHistoryTypeId="2" PostId="7161" RevisionGUID="12d699c9-1996-40b8-b345-9034714ac5f0" CreationDate="2011-04-08T18:05:43.040" UserId="63" Text="Giving credit is always good. It helps build up good relations. I mean look at this marvelous site! It has tons of information from pros and amateurs at the same time.&#xD;&#xA;&#xD;&#xA;I guess that for your situation AVnintendo it is not a legal thing to give credits, but as i said before, everything helps and a good community has to give credits to each other. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12202" PostHistoryTypeId="2" PostId="7162" RevisionGUID="8a7f528c-3bcb-4e7e-a94c-438d05b40f10" CreationDate="2011-04-08T18:09:55.127" UserId="238" Text="I think it's an awesome idea! I would just go for it without planning too much. Maybe stock up on food so you don't have to hit the supermarket, but other than that, just go for it. You may find that you are unable to pull off a full two days on the first attempt. Stuff might come up that'll be too difficult (or dangerous) to overcome. But I'd really try to do everything that you'd normally do. Watch TV shows or films with audio description turned on. Go out into public places (again, be careful that it's not too dangerous, i.e. crossing busy roads, metro stations etc.). In terms of breaking the seal and removing the blindfold, common sense will tell you whether something is an emergency or not. You may want to have a look at this website for a bit more inspiration, help and guidance:&#xD;&#xA;&#xD;&#xA;http://www.rnib.org.uk&#xD;&#xA;&#xD;&#xA;Good luck and let us know how it goes!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12203" PostHistoryTypeId="2" PostId="7163" RevisionGUID="5b89ce76-7dff-46c3-a98e-4a2f3c28dba9" CreationDate="2011-04-08T18:15:56.703" UserId="963" Text="Yep, I use Avid hardware (an old Mbox2).  Works well for what I use it for.  I use it via SPDIF to my Presonus Central Station for my DA conversion.  Mainly just a dongle, but it does offload some of the cpu for processing audio. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12204" PostHistoryTypeId="2" PostId="7164" RevisionGUID="8d753180-6408-4cca-9394-0baa8010faba" CreationDate="2011-04-08T18:20:44.560" UserId="234" Text="I USED to use a 002 at home (HD2/192 at the big studio), but since PT9, I've had better stability using my good ol' MOTU828mk3, and it's one less interface to deal with (I also use it with Logic for composition)." ContentLicense="CC BY-SA 3.0" />
  <row Id="12205" PostHistoryTypeId="2" PostId="7165" RevisionGUID="c467d4d4-bfa7-4b24-ad54-94bc3622e753" CreationDate="2011-04-08T18:30:53.123" UserId="220" Text="TO DO:&#xD;&#xA;I'd go to a city, mall, somewhere with a lot of &quot;stuff&quot;.  As much as you can enjoy the sounds of outdoors, I feel that because the visual doesn't change too much in the woods, it's very easy to focus on the sound.  In a social setting where everything/body is in motion, the visual can be overpowering.&#xD;&#xA;&#xD;&#xA;GO SEE A MOVIE.  Yes, for sure - see a packed movie, something where there will be lot of people - listen to the film, listen to the reaction.  See an action movie, like Hanna - see what sounds get a reaction.  See what reactions happen without a strong sound to back it up. &#xD;&#xA;&#xD;&#xA;For added fun, have your wife quietly describe the action to you and see if someone gets angry, and then very sheepish when the realize you're &quot;blind&quot;.&#xD;&#xA;&#xD;&#xA;Go out to eat as well - again, somewhere busy.  Go alone and see how it goes.. ask someone to read you the menu.  &#xD;&#xA;&#xD;&#xA;This may get me in trouble here, but do something mind altering.  Drink a few beers, or whatever.  It always alters my ears a little. I imagine without your eyes it will be more.  &#xD;&#xA;&#xD;&#xA;Also, despite what I said above, go out and sit outside for a while.  Try at night - there's a lot going on that happens when you're asleep.&#xD;&#xA;&#xD;&#xA;TO PREP:&#xD;&#xA;Figure out how to keep track of your money:  [Only use cash.][1] Follow the guidelines here.&#xD;&#xA;&#xD;&#xA;Clean your house, make sure the things you NEED, like your beer, toothbrush, wallet, phone, etc are all there and you know where they are.  &#xD;&#xA;&#xD;&#xA;Plan your days well, but leave some time for you to just chill, listen to some music, browse your favorite website with [WebbIE][2].&#xD;&#xA;&#xD;&#xA;Keep wet wipes with you - you will be using your hands a lot and will probably be touching a lot of things you wouldn't normally.  &#xD;&#xA;&#xD;&#xA;Make sure you have a sleep mask so you don't accidentally wake up and forget you can't see.  Get blacked glasses for going out and some kind of walk aid.  It's tiring to keep your eyes shut, just keep things going.&#xD;&#xA;&#xD;&#xA;You're not really blind, and this isn't a life-in-the-shoes exercise, but you still need to prep as if you were going to be blind.&#xD;&#xA;&#xD;&#xA;DO NOT:&#xD;&#xA;Drive, brawl, run with scissors.&#xD;&#xA;&#xD;&#xA;WHEN TO STOP:&#xD;&#xA;Common sense should dictate that one :)&#xD;&#xA;&#xD;&#xA;Good luck!  I look forward to hearing what you experience!!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.afb.org/section.asp?SectionID=40&amp;TopicID=215&amp;DocumentID=2232&#xD;&#xA;  [2]: http://www.webbie.org.uk/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12206" PostHistoryTypeId="2" PostId="7166" RevisionGUID="48d278b7-81d1-40f7-8ee4-820201d99304" CreationDate="2011-04-08T18:32:53.527" UserId="963" Text="Royalty-free libraries TYPICALLY do not require to be mentioned in credits in there TOS, however putting special thanks to the makers of the library at the end is a nice touch. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12207" PostHistoryTypeId="2" PostId="7167" RevisionGUID="93aba94e-288c-451d-a81b-0e5d3e35ee1a" CreationDate="2011-04-08T18:48:26.887" UserDisplayName="user49" Text="Are you sure that actually is &quot;technical constraints&quot; that are limiting your creativity? I might be completely wrong but that sounds like someone not owning a problem &quot;its not me! Its the gear, or lack of&quot; - what gear are you referring to?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12208" PostHistoryTypeId="2" PostId="7168" RevisionGUID="727341cc-b3b5-43c7-b4d7-f5c71226f03f" CreationDate="2011-04-08T18:53:31.350" UserDisplayName="user49" Text="I would be incredibly surprised if you had to credit them, because in many circumstances it would be unrealistic to expect it to be possible. If I went to a films producer with a list of eg 100 freesound credits I'd get laughed out of the office. &quot;Whats next? crediting every prop the art director used?&quot;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12209" PostHistoryTypeId="2" PostId="7169" RevisionGUID="856b84db-3116-4a03-8a10-74dd3230f7c5" CreationDate="2011-04-08T19:19:00.737" UserId="963" Text="ME2 trailer has a very Metal Gear Solid Like feel to it.  All synth based.  Sounds together had cohesion, but not with the scene shown.  Like the previous person posted, needs additional sounds to bring a person into the environment. &#xD;&#xA;&#xD;&#xA;Dinner with a movie:  &#xD;&#xA;More appropriate sound design, but sound seems to lose cohesion with eachother.  No room tone to link the sounds together.   Personally, I didn't like the tv reverse vox thing.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="12213" PostHistoryTypeId="2" PostId="7171" RevisionGUID="57006953-8e67-4ce7-9300-b4c4b9dc7106" CreationDate="2011-04-08T19:44:23.733" UserId="988" Text="What are the pros and cons of each?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12214" PostHistoryTypeId="1" PostId="7171" RevisionGUID="57006953-8e67-4ce7-9300-b4c4b9dc7106" CreationDate="2011-04-08T19:44:23.733" UserId="988" Text="Boom poles: aluminium vs carbon fibre" ContentLicense="CC BY-SA 3.0" />
  <row Id="12215" PostHistoryTypeId="3" PostId="7171" RevisionGUID="57006953-8e67-4ce7-9300-b4c4b9dc7106" CreationDate="2011-04-08T19:44:23.733" UserId="988" Text="&lt;boom-pole&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12216" PostHistoryTypeId="2" PostId="7172" RevisionGUID="0a23ca28-d9fd-4e32-8ed1-86bbb8ca8ee0" CreationDate="2011-04-08T20:02:23.923" UserId="989" Text="I have a 702 - and from a sound quality perspective it's fantastic.  However a major limittaion is that if you need to mix more than two channels then you need to use an external mixer for ALL the channels - you cannot mix in an additional line source, so the excellent internal mic preamps are wasted.&#xD;&#xA;With the 552 you can pan any channel to mix into the recoded L and R tracks, so you have considerably more flexibility, either on its own or in combination with a external mixer." ContentLicense="CC BY-SA 3.0" />
  <row Id="12218" PostHistoryTypeId="2" PostId="7173" RevisionGUID="718863db-3a41-4722-9062-500e152bfc9c" CreationDate="2011-04-08T20:50:46.920" UserId="28" Text="I am scoring a children's dvd and there is a game of &quot;hide and seek,&quot; where we want to spoof the Mission Impossible theme. I'm changing bits: the bass line is in triplets and plays different notes at the turn-arounds. This part, I'm not worried about, it sounds different, but implies the original.&#xD;&#xA;&#xD;&#xA;What worries me is how closely I can rip off the descending flute line that comes in at about 15 seconds in this [video][1].&#xD;&#xA;&#xD;&#xA;Is there room for parody without needing to ask permission? What do you think?&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/mWGeRgFa-hI" ContentLicense="CC BY-SA 3.0" />
  <row Id="12219" PostHistoryTypeId="1" PostId="7173" RevisionGUID="718863db-3a41-4722-9062-500e152bfc9c" CreationDate="2011-04-08T20:50:46.920" UserId="28" Text="How close can you spoof a melody?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12220" PostHistoryTypeId="3" PostId="7173" RevisionGUID="718863db-3a41-4722-9062-500e152bfc9c" CreationDate="2011-04-08T20:50:46.920" UserId="28" Text="&lt;composition&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12221" PostHistoryTypeId="2" PostId="7174" RevisionGUID="98fbab5f-db63-4eda-a6c7-c8190479cf84" CreationDate="2011-04-08T21:11:50.397" UserId="979" Text="I'm pretty sure there is always a line between spoofing and copy right infringement.(Especially in the music world.) You may want to seek out a professional's opinion. I've been curious about doing something like this too, in a different medium, however. I have a toll free number (1-877-476-0778) that is for copyright questions and submissions. You can find it off of this website: http://www.copyright.gov/ this is the online presence of the United States Copyright Office. Hope this helps you in your endeavor, and if you find anything out, please let me know! I'd be interested in what you find." ContentLicense="CC BY-SA 3.0" />
  <row Id="12222" PostHistoryTypeId="2" PostId="7175" RevisionGUID="4e23fdc7-f445-4cd9-82a4-37e33fe33c77" CreationDate="2011-04-08T21:26:26.517" UserId="990" Text="The obvious difference is weight." ContentLicense="CC BY-SA 3.0" />
  <row Id="12223" PostHistoryTypeId="2" PostId="7176" RevisionGUID="09c3ad69-9568-4085-9019-12c1b47e518b" CreationDate="2011-04-08T21:27:14.380" UserId="6435" Text="I usually find that technical constraints push me to be more creative, not less. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12224" PostHistoryTypeId="2" PostId="7177" RevisionGUID="ad9bbff5-8579-44a7-8a62-0ae586b5fb4a" CreationDate="2011-04-08T21:27:41.833" UserId="285" Text="The main thing is weight - carbon fibre is lighter.&#xD;&#xA;&#xD;&#xA;Another thing to consider if you plan on being really rough with a boom pole is that aluminium will dent fairly easily, so get one with as thick walls to the pipes as possible.  Carbon Fibre won't dent, but will crack, you can still use a poll with a dent, once the fibre cracks you either have to replace the cracked section or get a whole new one if you can't find a replacement section.  &#xD;&#xA;&#xD;&#xA;The difference in weight won't seem drastic on the show floor in a store but will seem gigantic around the 12 minute mark of holding it over your head.  Your best bet is to get the most expensive carbon fibre boom you can afford and then treat it with respect, so dents and cracks are not an issue at all.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="12225" PostHistoryTypeId="2" PostId="7178" RevisionGUID="4a3f6265-23eb-41bc-bede-2b25dc4167a2" CreationDate="2011-04-08T21:41:16.853" UserId="18160" Text="Someone gave me a boom pole to test out the other day and while testing it out I noticed:&#xD;&#xA;&#xD;&#xA;A) It didn't have a cloth-covered-cable inside it so the cable slapped the inside of the pole and made noise,&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;B) It had excessive handling noise from just touching it and moving it around. I had to be extremely gentle.&#xD;&#xA;&#xD;&#xA;This got me to thinking if you guys have any tricks like this one I made up yesterday. Tell me what you think. I think it would be awesome to invent:&#xD;&#xA;&#xD;&#xA;I put on a hoodie sweatshirt and so with the hood off, I had a padding on the upper part of my back where I let the boom pole rest on my shoulders and it worked perfectly. I could stand there for hours and not get tired. Only problem was this:&#xD;&#xA;&#xD;&#xA;When you have 2 actors talking to each other, face to face, I found that I wanted to put the mic directly in the middle of them and tilt the mic back and forth towards the person who was talking at that instant while they were having a conversation. While I was on the shoulders, this caused a bit of noise between their lines as I swiveled the mic.&#xD;&#xA;&#xD;&#xA;Has anyone invented a shoulder thing which silently lets you tilt and swivel the boom without much noise?&#xD;&#xA;&#xD;&#xA;Or was the boom pole just low-grade and cheap because it made handling noise to begin with? I guess there could be better poles which isolate the cable better so it doesn't let noise into the mic...&#xD;&#xA;&#xD;&#xA;Just a thought I had yesterday. Could be the next craze in boom oping - a pad for your upper neck to rest the pole on so it doesn't tire you out!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12226" PostHistoryTypeId="1" PostId="7178" RevisionGUID="4a3f6265-23eb-41bc-bede-2b25dc4167a2" CreationDate="2011-04-08T21:41:16.853" UserId="18160" Text="Boom pole tricks to reduce handling noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="12227" PostHistoryTypeId="3" PostId="7178" RevisionGUID="4a3f6265-23eb-41bc-bede-2b25dc4167a2" CreationDate="2011-04-08T21:41:16.853" UserId="18160" Text="&lt;boom-pole&gt;&lt;boom-operator&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12228" PostHistoryTypeId="2" PostId="7179" RevisionGUID="19050023-1db1-4316-a163-ba63358b101d" CreationDate="2011-04-08T21:49:00.863" UserId="285" Text="As long as you purchased the Blastwav library legally (from them or a authorized distributor) you do not have to credit them.  By legal purchase you buy &quot;the right to synchronize the audio content from any Blastwave FX royalty free product with audio and/or visual productions&quot;, that is quoted from the &quot;License info&quot; PDF that came with the libraries I have purchased from them.  No where does it say you have to credit them.&#xD;&#xA;&#xD;&#xA;Others are correct about freesound.org they clearly state that you do have to credit all uses, but you also get it for free.  This means that anything going to air on TV essentially can't use freesound.org because there is no way a producer will make room in the minuscule time they have for credits to list where SFX came from.  Most of the time you are lucky if the SFX editor credit rolls on air for most TV shows." ContentLicense="CC BY-SA 3.0" />
  <row Id="12229" PostHistoryTypeId="2" PostId="7180" RevisionGUID="ef7b83c4-905f-4511-8210-71c28184ce93" CreationDate="2011-04-08T21:55:44.263" UserId="18160" Text="A mixer I apprenticed under once told me &quot;This isn't a 7-11. Turn the lights down&quot;.&#xD;&#xA;&#xD;&#xA;That was his way of saying he likes to work with the lights dimmed to almost off while editing or mixing because he says humans are visual creatures - i.e. when the lights are dimmed, you are more prone to have better listening abilities than when they are bright.&#xD;&#xA;&#xD;&#xA;Do you work with the lights on? How much light do you prefer to use?&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;Do you then dim your computer screen to compensate for the dim room lights? It hurts my eyes when the room lights are dimmed!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12230" PostHistoryTypeId="1" PostId="7180" RevisionGUID="ef7b83c4-905f-4511-8210-71c28184ce93" CreationDate="2011-04-08T21:55:44.263" UserId="18160" Text="Do you work with the lights dimmed?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12231" PostHistoryTypeId="3" PostId="7180" RevisionGUID="ef7b83c4-905f-4511-8210-71c28184ce93" CreationDate="2011-04-08T21:55:44.263" UserId="18160" Text="&lt;lighting&gt;&lt;ergonomics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12232" PostHistoryTypeId="2" PostId="7181" RevisionGUID="cf045993-35c5-4fbe-982c-8edc565f7fde" CreationDate="2011-04-08T22:05:14.647" UserId="963" Text="Typically if you get a lot of handling noise its caused by 2 things..&#xD;&#xA;&#xD;&#xA;A) the cable (needs to be taped/velcro down in place. &#xD;&#xA;B) The shock mount twisted too tight to the boom pole.  - when this happens, all the vibrations go straight through the shock mount to the mic.&#xD;&#xA;&#xD;&#xA;I recommend using cotton 3/4 gloves.  This allows you to articulate the boom smoothly in your palm, but use your fingers for grip. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12233" PostHistoryTypeId="2" PostId="7182" RevisionGUID="67e7aa14-fd11-429f-9d75-88415818b7af" CreationDate="2011-04-08T22:07:23.577" UserId="812" Text="I think if you dim the lights then your sense of hearing becomes slightly heightened. I always prefer to make critical audio judgements in the dark!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12234" PostHistoryTypeId="2" PostId="7183" RevisionGUID="e41be526-c01b-4c5b-8864-62155d070e82" CreationDate="2011-04-08T22:10:31.350" UserId="845" Text="It depends on what I'm doing.&#xD;&#xA;&#xD;&#xA;If I'm doing creative stuff the lights are always on full.  I've got overhead lights, plus two lamps on my desk pointed at the ceiling for more diffuse lighting.  I even bought a smoked glass table-top to spread the light out a bit more.&#xD;&#xA;&#xD;&#xA;I can't think in the dark, I need stimulation.  It may hamper my auditory sensitivity, but I feel like my brain is better able to move around the space.  I guess a good analogy for how I feel about trying to be creative in a dark room is that it would be like trying to put together a big puzzle on a small table.  All of your pieces have to stay in the bottom of the box, because there's nowhere else to put them.  Creativity needs a lot of room to spread itself out.&#xD;&#xA;&#xD;&#xA;On the other hand, when I'm doing more precision stuff, mixing/EQing/level matching I tend to keep it darker.  Not for the specific reason that your (seemingly slightly mean) former boss used to give, but just because it feels better that way.  Come to think of it, I guess it does kind of force the focus onto the screen and what's coming out of the speakers...&#xD;&#xA;&#xD;&#xA;My interest of late has been moreso in the creative side of things than the technical, so the lights are up full most of the time.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12235" PostHistoryTypeId="2" PostId="7184" RevisionGUID="7233b2fd-be63-4ad3-94dc-1b98933faef0" CreationDate="2011-04-08T22:24:45.197" UserId="693" Text="My primary suggestions are going to focus mostly on the &quot;DON'T&quot; category. There will also be some &quot;DO's&quot; as well. While yes, common sense should dictate the moments you should break the seal; there are better measures than attempting to use common sense during the act as opposed to planning ahead (which is obviously what you're trying to do).&#xD;&#xA;&#xD;&#xA;The first thing I would do would be to perform a 24hr test run inside your home/garden before venturing out into public. That way you'll be able to answer a lot of your own questions and even some that you (or we) are likely not thinking of, especially considering I'm pretty sure the majority of people answering here are not blind. You may want to contact a center for blind assistance and inform them of your quest for enlightenment and ask them if they have any suggestions for you. Just be sure to be respectful and not insulting in any way.&#xD;&#xA;&#xD;&#xA;While doing your first experiment in you're home (or yard if you have one) try using a walking stick to get used to how to use one effectively. You also might want to use a mouth guard while walking around so you don't fall and accidentally lose your teeth. Hide sharp knives, moves glass tables into a place you won't be in. Get some paper or plastic plates and cups. Try to think like a blind person and set up your environment as they would. While I've never been in the home of a blind person, I'm pretty sure it's safe to assume they have the majority of their furniture against walls or set up to help guide them. Sort of like the back of a couch acting as a rail to help you define your location in a room or to help guide you towards a hallway leading to your bedroom. Oh, and wear shoes with a strong toe cap. You're very likely to stub or break a toe quite easily.&#xD;&#xA;&#xD;&#xA;When you feel ready and confident enough to go out in public, be sure to have a friend with you during your first excursions and during the more dangerous ones. That way you have a babysitter that will make sure your first external excursion isn't your last. Also, with having someone with you there will be less chances of someone trying to rob you or something (you'll obviously be an easy mark considering you'll be wearing a visible blindfold). &#xD;&#xA;&#xD;&#xA;As an initial exterior experiment you may want to consider doing a more basic task like taking a walk around the block. Something you may want to do would be to count your steps during the blocks (and the blocks and turns themselves), especially the last one where you are trying to locate your home. If you live in a neighborhood where a lot of the homes are based around the same 5 models, it might be all too easy to accidentally enter the wrong home. Have your friend with you, hold their hand and continue practicing with the walking stick. Try to pay attention to the terrain and memorize it. You don't want to trip over a crack or a overgrown tree root in the sidewalk. Try to set up some landmark object you can feel to let you know that you have arrived at your house again. This can be a simple garden gnome or some object at the entrance to your walkway or doorway. &#xD;&#xA;&#xD;&#xA;I'm not trying to jinx you, scare you or anything like that. Since much of this sounds a bit scary... it's just that it's a very interesting, but also very dangerous experiment. Instead of being born blind and gradually learning how to deal things through naturally progressing experiences (likely with parents who have their eyesight guiding you), you've gone your whole life accustomed to certain abilities and naturally taking them for granted. It's definitely better to be safe than sorry. While this is an awesome and likely highly enlightening experiment, you don't want to potentially lose any of your bodily capabilities (like fingers, teeth, toes... or even your eyesight) while doing it. Ease yourself into this with some trial runs in safe controlled environments before diving into the deep end.&#xD;&#xA;&#xD;&#xA;Good luck and be safe. This sounds like it'll be a cool experiment. Please do post about the results after you're done. Some of us may want to try this some time and I'm sure your feedback would be insightful." ContentLicense="CC BY-SA 3.0" />
  <row Id="12236" PostHistoryTypeId="2" PostId="7185" RevisionGUID="a296e380-db1f-4a0d-abcc-d9648b0b30ba" CreationDate="2011-04-08T22:35:14.043" UserId="693" Text="Personally I like it dim or heavily diffused. Bright lights give me a headache and I find the darkness to be more atmospheric and inspiring. Sometimes I might open the blinds for some natural light as long as there isn't direct sunlight.&#xD;&#xA;&#xD;&#xA;I like the concept of it forcing you to focus more on what you hear than potential visual distractions around the room." ContentLicense="CC BY-SA 3.0" />
  <row Id="12237" PostHistoryTypeId="2" PostId="7186" RevisionGUID="e40d5030-04dc-41e3-8ade-136136f6209b" CreationDate="2011-04-08T22:39:37.417" UserId="219" Text="I own a very basic Beyerdynamic (K&amp;M) 10' 4-sections aluminium boom pole. The grip is a velvet-like fabric covering the entire first section. When booming, my wrist closest to the mic will do all the tilting as my other wrist remains still. This means that the pole has to rotate in my still hand, the one the furthest away from the mic.&#xD;&#xA;&#xD;&#xA;The issue I then run into is that the grip doesn't make for a smooth/quiet rotation at all, and the gripping of my palm on the rough fabric resonates in the pole. I now wear a leather glove on my still hand (lamb leather, maybe that makes all the difference...) and it doesn't make this rustling noise anymore when I rotate the pole.&#xD;&#xA;&#xD;&#xA;I wonder if having the pole resting on your shoulder while booming is not something to be avoided. Anyway, you could probably wear some sort of leather shoulder pad to keep tilting but avoid noise making..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12238" PostHistoryTypeId="2" PostId="7187" RevisionGUID="cd983ff8-437f-4e42-983a-f9aa5294c9f5" CreationDate="2011-04-08T22:43:27.240" UserId="693" Text="If it's something like not having funds for or access to a mobile recording device (or a reasonably adequate one) to go record somewhere your standalone setup cables and mic's can't reach, then that's one thing.&#xD;&#xA;&#xD;&#xA;Otherwise in my opinion there's no such thing as anything that limits my creativity except my own lack of imagination or problem solving skills (both which can be trained and curated).&#xD;&#xA;&#xD;&#xA;And like several others have mentioned in this thread, I find that technical limitations usually force me to be more creative as well.&#xD;&#xA;&#xD;&#xA;It's a matter of knowing the tools you have and their capabilities and the ways you can potentially use (and abuse) them.&#xD;&#xA;&#xD;&#xA;If the Beatles did what they did with a 4 track then I think it's safe to say I should spend more time thinking outside the box and trying to innovate in times of perceived technical limitations." ContentLicense="CC BY-SA 3.0" />
  <row Id="12239" PostHistoryTypeId="2" PostId="7188" RevisionGUID="b063c33e-e643-4723-a40b-6909a16717d0" CreationDate="2011-04-08T23:46:49.810" UserId="845" Text="Maybe try and find a film, game, or Tv show that's in the same vein as what you're working on and watch it. Keep an ear out for sounds you like and spend some time trying to think of how it/they was/were made. &#xD;&#xA;&#xD;&#xA;Take your time and try absolutely everything you can think of. Especially if it seems silly and you're convinced it won't work. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12240" PostHistoryTypeId="5" PostId="7183" RevisionGUID="42b9f526-efcd-429b-8620-1c38a0e314f4" CreationDate="2011-04-08T23:52:45.567" UserId="845" Comment="added 82 characters in body" Text="It depends on what I'm doing.&#xD;&#xA;&#xD;&#xA;If I'm doing creative stuff the lights are always on full.  I've got overhead lights, plus two lamps on my desk pointed at the ceiling for more diffuse lighting.  I even bought a smoked glass table-top to spread the light out a bit more.&#xD;&#xA;&#xD;&#xA;I can't think in the dark, I need stimulation.  It may hamper my auditory sensitivity, but I feel like my brain is better able to move around the space.  I guess a good analogy for how I feel about trying to be creative in a dark room is that it would be like trying to put together a big puzzle on a small table.  All of your pieces have to stay in the bottom of the box, because there's nowhere else to put them.  Creativity needs a lot of room to spread itself out.&#xD;&#xA;&#xD;&#xA;Also, it's harder to stare off into the distance when you can't see anything. &#xD;&#xA;&#xD;&#xA;On the other hand, when I'm doing more precision stuff, mixing/EQing/level matching I tend to keep it darker.  Not for the specific reason that your (seemingly slightly mean) former boss used to give, but just because it feels better that way.  Come to think of it, I guess it does kind of force the focus onto the screen and what's coming out of the speakers...&#xD;&#xA;&#xD;&#xA;My interest of late has been moreso in the creative side of things than the technical, so the lights are up full most of the time.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12241" PostHistoryTypeId="2" PostId="7189" RevisionGUID="9e56141b-944e-4f0f-9c7d-ff41d36545b1" CreationDate="2011-04-09T00:15:02.640" UserId="963" Text="Depends on the conditions... for my project studio, I had to completely rewire the lighting because it was too bright.  Now I have awake and dim (theatre) mode for my lighting.  I liked editing audio and watching films in the dark.  Anything I need to be speedy about I turn on the lights as I'm more awake with the lights up. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12242" PostHistoryTypeId="2" PostId="7190" RevisionGUID="c552ce4d-fe2c-4798-a9d0-bc5fc11d61c3" CreationDate="2011-04-09T00:18:13.337" UserId="963" Text="wow, sounds great! PROPS!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12243" PostHistoryTypeId="5" PostId="7180" RevisionGUID="62a87b3c-6168-4c13-aeb5-9521153b12f5" CreationDate="2011-04-09T00:19:44.457" UserId="18160" Comment="added 25 characters in body" Text="A mixer I apprenticed under once told me &quot;I don't like feeling like I work at a 7-11. Turn the lights down&quot;.&#xD;&#xA;&#xD;&#xA;That was his way of saying he likes to work with the lights dimmed to almost off while editing or mixing because he says humans are visual creatures - i.e. when the lights are dimmed, you are more prone to have better listening abilities than when they are bright.&#xD;&#xA;&#xD;&#xA;Do you work with the lights on? How much light do you prefer to use?&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;Do you then dim your computer screen to compensate for the dim room lights? It hurts my eyes when the room lights are dimmed!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12244" PostHistoryTypeId="2" PostId="7191" RevisionGUID="58eef824-8043-4d77-9259-826b1fb8d39a" CreationDate="2011-04-09T00:22:20.023" UserId="963" Text="I'm pretty confident its a turbine with added synth filtered. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12245" PostHistoryTypeId="2" PostId="7192" RevisionGUID="1ceb54e5-4595-4e71-8ea8-81293cbb6b0e" CreationDate="2011-04-09T00:37:45.817" UserId="963" Text="Like others have said... in your specific situation... the best thing to do to isolate reflections would be sound blankets/moving blankets. LOTS of them.   you can rent them or buy them. &#xD;&#xA;&#xD;&#xA;Personally, after owning both the H4N and NTG-2, the NTG-2 mic blows the onboard mics away...no contest. However, you don't need a NTG-2 to take great foley takes.  For stuff like this, which may have high impacts, you may want to use a dynamic mic (super / hyper cardiod preferred, but not required)&#xD;&#xA;&#xD;&#xA;For very low frequency sounds, a large diaphragm dynamic or tube mic works great.  &#xD;&#xA;&#xD;&#xA;For quiet sounds, use your best condenser mic you have.  &#xD;&#xA;-------------------------&#xD;&#xA;&#xD;&#xA;side note, I'd also recommend building a few absorption panels as those can be helpful in controlling lower frequency reflections. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12246" PostHistoryTypeId="2" PostId="7193" RevisionGUID="25f659aa-fa51-4d99-ab16-da99661dea60" CreationDate="2011-04-09T00:41:23.220" UserId="963" Text="Most affordable blimp is the RODE blimp.  Probably best in its price range. &#xD;&#xA;&#xD;&#xA;$300&#xD;&#xA;[RODE BLIMP][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/579335-REG/Rode_BLIMP_Blimp_Complete_Windshield.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="12247" PostHistoryTypeId="2" PostId="7194" RevisionGUID="8a555bde-7e10-4cec-9b91-afdbe060ec20" CreationDate="2011-04-09T01:15:25.097" UserId="18160" Text="The new Nightmare on Elm Street did a wonderful job of transporting a listener from a dream into reality, back to a dream, etc.&#xD;&#xA;&#xD;&#xA;The Ring had some good eerie flashbacks.&#xD;&#xA;&#xD;&#xA;I like the Gladiator flashbacks and flashforwards of him going to heaven and seeing his family again.&#xD;&#xA;&#xD;&#xA;Lord of the Rings - Return of the King - the whole intro scene and fight between pre-Smeagol and the other hobbit.&#xD;&#xA;&#xD;&#xA;Didn't Apocalypse Now have some great scenes of this nature?&#xD;&#xA;&#xD;&#xA;Google is your friend:&#xD;&#xA;&#xD;&#xA;Butterfly Effect&#xD;&#xA;&#xD;&#xA;The Fugitive&#xD;&#xA;&#xD;&#xA;Basic&#xD;&#xA;&#xD;&#xA;The General's Daughter&#xD;&#xA;&#xD;&#xA;Minority Report&#xD;&#xA;&#xD;&#xA;Casablanca&#xD;&#xA;&#xD;&#xA;I Am Legend&#xD;&#xA;&#xD;&#xA;Jacob's Ladder&#xD;&#xA;&#xD;&#xA;Vanilla Sky&#xD;&#xA;&#xD;&#xA;The Notebook&#xD;&#xA;&#xD;&#xA;Fight Club&#xD;&#xA;&#xD;&#xA;Benjamin Button&#xD;&#xA;&#xD;&#xA;Forest Gump" ContentLicense="CC BY-SA 3.0" />
  <row Id="12248" PostHistoryTypeId="2" PostId="7195" RevisionGUID="4f4a69d5-0d46-44b3-a43f-e7068495a6cc" CreationDate="2011-04-09T01:18:31.330" UserId="393" Text="At this moment, I'm editing some video for work that we hired an (awful) camera / sound guy for from our University's library.  His camera work wasn't bad, considering all he did was aim the camera and hit record, but his sound was awful (He ran 2 wireless lavs and an on-camera shotgun into a 8-channel Mackie Mixer that he ran back into the camera; he rode the levels passively, adjusted the lavs mid-sentence on the wireless receiver, and kept things at the red the whole time.)&#xD;&#xA;&#xD;&#xA;Luckily, I was also recording with some overhead condensers (think the type churches have for their choirs) and my h4n back by the camera.  Between his cameras, my security-style cameras, and a Flip I set up for safety sake, I'll have something usable and that's all that matters to me right now.  However, when his levels weren't peaking, his lavs were the best audio source to use because my sim lab is incredibly live.&#xD;&#xA;&#xD;&#xA;Depending on the quality of my editing, there's a chance that my simulation lab will start to offer an in-house video service -- not pro quality, but far better than the crap that's currently available (see the awful camera guy above).&#xD;&#xA;&#xD;&#xA;Because of the position of my ceiling cameras, which my director will insist we use in addition to maybe two portable cameras, a boom mic is out of the question, though I know it's the best bang for my buck.&#xD;&#xA;&#xD;&#xA;I'm already going to suggest a Zoom R16 as the mobile recording unit for all sound, since I can track everything individually, and I can run the overhead mics into that.  What I'm not sure on is lav mics -- I've never used them.  We're on a budget -- in fact, we had to reduce our budget from last year -- and wireless is preferable but not necessary.&#xD;&#xA;&#xD;&#xA;**Any suggestions?**" ContentLicense="CC BY-SA 3.0" />
  <row Id="12249" PostHistoryTypeId="1" PostId="7195" RevisionGUID="4f4a69d5-0d46-44b3-a43f-e7068495a6cc" CreationDate="2011-04-09T01:18:31.330" UserId="393" Text="Decent wireless/wired lav mic kit" ContentLicense="CC BY-SA 3.0" />
  <row Id="12250" PostHistoryTypeId="3" PostId="7195" RevisionGUID="4f4a69d5-0d46-44b3-a43f-e7068495a6cc" CreationDate="2011-04-09T01:18:31.330" UserId="393" Text="&lt;lavalier&gt;&lt;live-sound&gt;&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12251" PostHistoryTypeId="2" PostId="7196" RevisionGUID="2b5db1ec-0092-4e07-9d5d-7b2c9fe3c9e9" CreationDate="2011-04-09T02:09:31.190" UserId="469" Text="I've been working on creating hits similar to the type you see in movie trailers and tv spots and am having a creative block on what I should record next.  This has been discussed in various questions before but I am still interested in more ideas.  The Charles Deenan article on Whooshes and his video on sound design on Waves website are also very helpful.  &#xD;&#xA;&#xD;&#xA;**What do you think would be good source material for creating huge hits, impacts, and whooshes?**&#xD;&#xA;&#xD;&#xA;*Some of the things I have recorded and used so far are:* &#xD;&#xA;large metal doors (still trying to find the type that you have to close with a wheel)&#xD;&#xA;dumptrucks and garbage trucks&#xD;&#xA;construction impacts (often difficult to get without alot of ambience)&#xD;&#xA;banging everything in my kitchen against everything else at 192 and pitching down&#xD;&#xA;subway trains&#xD;&#xA;breaking glass&#xD;&#xA;oven rack (if you haven't recorded your oven rack you should, it can make many sounds)&#xD;&#xA;dock work (hard to get close to the action, still working on finding a liason)&#xD;&#xA;car wrecking yards (usually near freeways but the impacts are so loud it sometimes does not matter)&#xD;&#xA;&#xD;&#xA;*Some of the things I would like to record but have not had the opportunity yet:*&#xD;&#xA;demolitions&#xD;&#xA;explosions&#xD;&#xA;guns&#xD;&#xA;bombs&#xD;&#xA;water plant (cool sucking and whooshing sounds)&#xD;&#xA;car plant (all kinds of servo sounds and large metal sounds)&#xD;&#xA;factory that makes weights (that has to sound cool)&#xD;&#xA;any factory in general &#xD;&#xA;sawmill&#xD;&#xA;wood shop&#xD;&#xA;crash test center&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any ideas?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12252" PostHistoryTypeId="1" PostId="7196" RevisionGUID="2b5db1ec-0092-4e07-9d5d-7b2c9fe3c9e9" CreationDate="2011-04-09T02:09:31.190" UserId="469" Text="Source Material for Hits, Impacts, or Whooshes..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12253" PostHistoryTypeId="3" PostId="7196" RevisionGUID="2b5db1ec-0092-4e07-9d5d-7b2c9fe3c9e9" CreationDate="2011-04-09T02:09:31.190" UserId="469" Text="&lt;impacts&gt;&lt;ideas&gt;&lt;brainstorm&gt;&lt;whooshes&gt;&lt;hits&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12254" PostHistoryTypeId="2" PostId="7197" RevisionGUID="9b6d283a-013a-4c3b-be61-26a58a14f3cb" CreationDate="2011-04-09T02:17:58.377" UserId="393" Text="Garage doors, inside metal garbage cans, a kick drum played with a drumstick, inside your car's engine compartment or trunk and slam the hood, dry ice bombs in various sized bottles... Even without pitching any of those down, you'll have some decent source material for impacts.&#xD;&#xA;&#xD;&#xA;For wooshes, try various lengths and thicknesses of PVC pipe." ContentLicense="CC BY-SA 3.0" />
  <row Id="12255" PostHistoryTypeId="2" PostId="7198" RevisionGUID="f66f5df1-ac28-4ee4-ad2e-0df8f56c3323" CreationDate="2011-04-09T04:01:03.977" UserId="845" Text="I haven't done any of these yet myself... but I've been making a list.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;## Bangs ##&#xD;&#xA;&#xD;&#xA;Sheet metal, plywood + sledgehammer, handclaps pitched down.  &#xD;&#xA;&#xD;&#xA;A chair in my office drops so fast when you pull the handle that the base crashes down on top of the wheels with a wicked bang.  &#xD;&#xA;&#xD;&#xA;Staccato piano mashes.  &#xD;&#xA;&#xD;&#xA;Drop bits of wood off your roof onto concrete (or more wood/dirt/large gourds/empty garbage cans/full garbage cans).  Ditto for cinderblocks, iron bars, eggs.  &#xD;&#xA;&#xD;&#xA;When I was in university one of my less well advised friends made a potato gun from some pvc that made a thunderous ssssssssThwoup! kind of sound.&#xD;&#xA;&#xD;&#xA;Sudden releases of pressure, the first split second of a shaken up pop can being opened, champagne corks popping.&#xD;&#xA;&#xD;&#xA;Got some pretty useful stuff from a recent balloon session.  Pitched up and down some of the squeals would be great for missle/rocket/bullet flybys.  &#xD;&#xA;&#xD;&#xA;Find a good bass player and get him to do some individual slaps through a distortion/octave pedal.  Snare drum sat on top of a floor tom.&#xD;&#xA;&#xD;&#xA;Guitar string snaps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Swooshes&#xD;&#xA;--------&#xD;&#xA;&#xD;&#xA;Tie a knot in the end of an old ratty towel and flick it.  &#xD;&#xA;&#xD;&#xA;Large canvas sheets.  &#xD;&#xA;&#xD;&#xA;Squash/tennis rackets. &#xD;&#xA;&#xD;&#xA;Golf clubs.  &#xD;&#xA;&#xD;&#xA;Dead XLR cables, whipped.  &#xD;&#xA;&#xD;&#xA;Car aerials/straightened out coat hangers. &#xD;&#xA;&#xD;&#xA;Tie basically anything onto the end of a piece of string and whip it around.&#xD;&#xA;&#xD;&#xA;Whiffle balls.  Baseballs.  &#xD;&#xA;&#xD;&#xA;Drill a bunch of holes in the rim of a frisbee and huck it past your mic setup." ContentLicense="CC BY-SA 3.0" />
  <row Id="12256" PostHistoryTypeId="2" PostId="7199" RevisionGUID="88bd35d7-a268-4338-9774-5683a5774c81" CreationDate="2011-04-09T05:04:27.463" UserId="845" Text="Hola,&#xD;&#xA;&#xD;&#xA;I just re-watched the first Transformers movie and now find myself completely overwhelmed and kind of craving something with a bit more of a soft touch.  I know that my question is something of a corollary of [Films to Study for Excellence in Sound Design][1], but either I've seen them, or they look to have a bit too much of a WOW factor for what I'm interested in focusing on for the time being.&#xD;&#xA;&#xD;&#xA;I've recently started a self-directed course of study in sound design where I'm actually stopping, taking notes, and re-watching sections until I figure out what's happening in the sound; of which Transformers was the first.  It was quite the job too.  It's one of those hypnotic flicks where you tend to drift off into space somewhere in the middle and get jolted back in for the final epic fight-battle-save-the-world.  Very difficult to keep track of what's going on.&#xD;&#xA;&#xD;&#xA;Anyway, I have put together something of a list for myself, but I thought I'd solicit some recommendations from you fine folks.&#xD;&#xA;&#xD;&#xA;What I'm looking for are kind of 'anti-sound' movies, if you take my meaning.  Very much along the lines of a No Country for Old Men or There Will be Blood.  Basically, no guns, no explosions, no car chases, no laser weapons or force shields.  Nothing big and nothing BLAOW!&#xD;&#xA;&#xD;&#xA;Please don't get me wrong, I absolutely *adore* that stuff and always find myself amazed at the innate ability that some guys/gals have for making amazing sounding things.  But I currently have a desire for fragility, subtlety, and quiet.  I'm finding myself more and more fascinated with texture and composition and the subtext that a well-placed gust of wind can carry into a scene.  &#xD;&#xA;&#xD;&#xA;That's the stuff that I want to learn how to do.  Motion without moving, push without shove, air without wind, and various other poetical sounding near-clich&amp;eacute;s.&#xD;&#xA;&#xD;&#xA;Any non-North American and non-English movies you can think of would be most welcome as well.  Reading subtitles is to me the perfect marriage of my three favourite things in the world, words, pictures, and sounds.  I saw an amazing flick from Thailand a couple of years ago and am saddened by the fact that I can't remember its title, I'd love to see more.&#xD;&#xA;&#xD;&#xA;Here are a few from my list.&#xD;&#xA;&#xD;&#xA; - Eyes Wide Shut&#xD;&#xA; - Solaris (The Soderbergh version, though I do intend to see the original) &#xD;&#xA; - Three Colours Trilogy and the Decalogue (two series by the same director)&#xD;&#xA; - Amelie&#xD;&#xA; - Delicatessen&#xD;&#xA;&#xD;&#xA;I suppose if I wanted to be terribly pretentious I could say that I'm looking for Films not *movies*, but I won't even get into that one, : ).&#xD;&#xA;&#xD;&#xA;Thanks Kindly&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2032/films-to-study-for-excellence-in-sound-design" ContentLicense="CC BY-SA 3.0" />
  <row Id="12257" PostHistoryTypeId="1" PostId="7199" RevisionGUID="88bd35d7-a268-4338-9774-5683a5774c81" CreationDate="2011-04-09T05:04:27.463" UserId="845" Text="The Softer Side of Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="12258" PostHistoryTypeId="3" PostId="7199" RevisionGUID="88bd35d7-a268-4338-9774-5683a5774c81" CreationDate="2011-04-09T05:04:27.463" UserId="845" Text="&lt;quiet&gt;&lt;composition&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12259" PostHistoryTypeId="2" PostId="7200" RevisionGUID="96f90707-389e-41b8-b72c-680c63733f42" CreationDate="2011-04-09T05:31:10.340" UserId="18160" Text="The Tree of Life (you have to wait for it)&#xD;&#xA;&#xD;&#xA;True Grit&#xD;&#xA;&#xD;&#xA;The Assassination of Jesse James...&#xD;&#xA;&#xD;&#xA;The New World&#xD;&#xA;&#xD;&#xA;The Thin Red Line (between the fight scenes)&#xD;&#xA;&#xD;&#xA;The Social Network&#xD;&#xA;&#xD;&#xA;The Shining&#xD;&#xA;&#xD;&#xA;Babel&#xD;&#xA;&#xD;&#xA;The English Patient&#xD;&#xA;&#xD;&#xA;Panic Room&#xD;&#xA;&#xD;&#xA;The King's Speech&#xD;&#xA;&#xD;&#xA;The Hurt Locker (how foley and ambient sounds add to the suspense of the story)&#xD;&#xA;&#xD;&#xA;Shutter Island&#xD;&#xA;&#xD;&#xA;Uncle Boonmee Who Can Recall His Past Lives&#xD;&#xA;&#xD;&#xA;Memoirs of a Geisha&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I want a full report tomorrow. 5,000 words." ContentLicense="CC BY-SA 3.0" />
  <row Id="12260" PostHistoryTypeId="5" PostId="7200" RevisionGUID="a9dff036-7b4e-4f99-a55e-5fd288e14600" CreationDate="2011-04-09T05:36:27.813" UserId="18160" Comment="added 15 characters in body" Text="The Tree of Life (you have to wait for it)&#xD;&#xA;&#xD;&#xA;True Grit&#xD;&#xA;&#xD;&#xA;The Assassination of Jesse James...&#xD;&#xA;&#xD;&#xA;The New World&#xD;&#xA;&#xD;&#xA;The Thin Red Line (between the fight scenes)&#xD;&#xA;&#xD;&#xA;The Social Network&#xD;&#xA;&#xD;&#xA;The Shining&#xD;&#xA;&#xD;&#xA;Babel&#xD;&#xA;&#xD;&#xA;The English Patient&#xD;&#xA;&#xD;&#xA;Panic Room&#xD;&#xA;&#xD;&#xA;Vanilla Sky&#xD;&#xA;&#xD;&#xA;The King's Speech&#xD;&#xA;&#xD;&#xA;The Hurt Locker (how foley and ambient sounds add to the suspense of the story)&#xD;&#xA;&#xD;&#xA;Shutter Island&#xD;&#xA;&#xD;&#xA;Uncle Boonmee Who Can Recall His Past Lives&#xD;&#xA;&#xD;&#xA;Memoirs of a Geisha&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I want a full report tomorrow. 5,000 words." ContentLicense="CC BY-SA 3.0" />
  <row Id="12261" PostHistoryTypeId="2" PostId="7201" RevisionGUID="25c0b398-70ce-4838-a2c7-242e279876c1" CreationDate="2011-04-09T06:15:32.253" UserId="469" Text="A) I have a 12' PSC Elite coiled cable boom, it doesn't have a cloth cable, rather the glossy hard plastic finished kind, and I rarely experience handling noise with it.  The only time I experienced handling noise is when it is fully collapsed and I am moving very quickly at which point I have learned that a smaller boom with an external cable works better.&#xD;&#xA;&#xD;&#xA;B) The main causes of handling noise are microphone choice, experience of the boom-op, quality of shockmount, quality of boom, and proper use of a low-pass filter.  Some say not using gloves causes handling noise.  I don't use gloves and I don't experience any problems with handling noise but I have nothing against wearing gloves if it works for you.&#xD;&#xA;&#xD;&#xA;I am not the most experienced boom-op in the world but I've worked on over a dozen shorts and one feature and have some tips in no particular order that might help.&#xD;&#xA;&#xD;&#xA;1. I don't know about the boom shoulder pad idea.  It is definitely considered bad form for a boom-op to rest the boom on his shoulders during shooting unless it is a steady close-up which doesn't require the boom-op to move and even then you might get some looks.  Resting on your shoulders between takes is okay as long as you mind your surroundings and stay out of peoples way.  There is no way to avoid transmitting clothing rustle to the mic if you are rotating on your shoulder.  Instead rotate it gently with your back hand while holding it your front hand fingertips.  Often I like to press my thumb to my index finger and rest the boom there if there is not much motion in a shot.  Less surface area means less chance of vibrations being transmitted through the boom pole when you move and makes me feel like I have more precision sometimes.&#xD;&#xA;&#xD;&#xA;2. If there is a long interval between takes, shorten your pole to stay out of the way of everyone on set.  You avoid getting your mic knocked around and bonking people.&#xD;&#xA;&#xD;&#xA;3. Try extending your arms all of the way with a slight bend in your elbows when booming.  You can almost lock your elbows (dont' really lock them this could hurt you).  It is much easier to hold a pole for long durations like this.  If you get tired slightly changing your position helps.  You can almost hold the pole indefinitely like this. Especially when combined with the next tip.&#xD;&#xA;&#xD;&#xA;4. If the 'H' position gets tiring, angle the mic downwards more and put your back arm lower towards your hip for rest.  If you get tired during a take, move your back arm between the fully extended up position, and close by your hip position for relief, while minding to keep the mic on axis.  Try different variations of front and back arms in various positions and find something that is comfortable.&#xD;&#xA;&#xD;&#xA;5. A good shockmount is really important.  I use the Rycote Invision shockmount indoors - which works very well.  They make it with different lyres for most production microphones.  If I had the money to blow I'd get a Cinela mount but they are about $300 a pop vs. $60.  Cinela makes mounts that are designed for specific models of microphones and they truly eliminate handling noise.  What I like about the Invision is that the design inherently reduces handling noise through it's high tech use of flexible plastic material and shape that absorbs lower frequencies.  Be sure to use the clip on the back of the shockmount to stop any vibrations from traveling up the cable to the microphone.  There should not be pressure on the cable between the clip and the microphone rather it should be somewhat slack.  A Rycote conn-box can help isolate the cable if you have lots of handling noise problems.&#xD;&#xA;&#xD;&#xA;6. If you hear cable slap inside of a coiled cable boom, the cable may just need to be replaced having been stretched out past it's original specs, it may need to be extended a bit more, or it may be a cheap boom.  People seem to have success with many different brands though.  Some prefer to externally cable the boom and hold it with their hand to avoid the problem.  External cables are required on extremely long booms.&#xD;&#xA;&#xD;&#xA;7. Microphone choice is a huge factor in handling noise.  For instance the Sennhesier MKH8000 series of mics tends to suffer from handling noise. The older MKH40, MKH50, etc, do not.&#xD;&#xA;&#xD;&#xA;8. If you are outdoors most people use a Rycote Windjammer setup, Rode and others make decent alternatives for the price.  If you want to go top of the line, Cinela makes fully suspended blimps that are ridiculous, but most sound mixers are using Rycote.&#xD;&#xA;&#xD;&#xA;Hope I don't sound preachy just trying to help!  There's a million other things that I can't think of right now too...  Maybe I'll add some later." ContentLicense="CC BY-SA 3.0" />
  <row Id="12262" PostHistoryTypeId="2" PostId="7202" RevisionGUID="4e2a1c0d-13f5-44c8-bbfa-da420c969b73" CreationDate="2011-04-09T08:28:19.607" UserId="817" Text="Unfortunately booming is the part of film sound that is always in the process of movement.&#xD;&#xA;&#xD;&#xA;I've been booming professionally on features and television for 6 years and each time I hold the pole over a scene I'm on the ready for quick movements and changes. You never know when an actor decides to change his or her blocking; you have to be ready for the unexpected because that may be the last take before the director decides to move on. For handling noise I wear soft jersey gloves and handle the pole carefully. The gloves allow me to slide the pole in various directions in my guiding hand effortlessly and quietly. The guiding hand changes depending on where I am positioned near camera. I always try to face camera so I can keep an eye on the camera moves and the operator (who might be trying to get my attention for some reason). Make friends with camera and your life as a boom operator will be pleasant.&#xD;&#xA;&#xD;&#xA;I carry a 20 foot and a 10 foot pole with quick release systems in my boom stand every day. It's good to have a long and short pole for different sized sets, and having the ability to vary the size of your boom helps to avoid discomfort when you need to hold the pole for long periods of time. You also avoid handling noise by optimizing pole length because your body has more comfort, thus reducing muscle tension and shaking, etc. My 20 foot pole has a straight cable and the 10 foot pole has a coiled cable. They both have the tendency to be either noisy or quiet, depending on how I handle them. I don't think either pole is noisier than the other. I've learned that it's all about comfort. If you can find a comfortable pole length for the position you have to operate it in, then you're most likely to avoid a lot of handling noise no matter how much movement is in the scene.&#xD;&#xA;&#xD;&#xA;In regards to getting tired out. It's something you just have to get used to. My lower back is what hurts the most when I boom a full show (usually a few weeks long or more). My shoulders don't have as much fatigue because I've become one with my boom poles and my arms have adjusted to the weight of the poles in their various lengths. I'd say it would be good to stretch a lot and make sure to stretch your back often. And get massages when you can (they're expensive, but necessary).&#xD;&#xA;&#xD;&#xA;Have fun making sound for movies,&#xD;&#xA;&#xD;&#xA;E. Santiago" ContentLicense="CC BY-SA 3.0" />
  <row Id="12263" PostHistoryTypeId="2" PostId="7203" RevisionGUID="1c9a5347-b06c-4c3b-8aaa-db428a59f2d9" CreationDate="2011-04-09T08:49:23.820" UserId="61" Text="I'm surprised Amelie is on your list; that film sticks in my mind as leaning heavily on &quot;design&quot;-type sound effects to support the visual style.&#xD;&#xA;&#xD;&#xA;I heartily recommend [Road To Perdition][1]. It is a striking film, beautifully shot and designed, with a soundtrack that is refreshingly sparse and effective and chock full of tasty details and nuances.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0257044/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12264" PostHistoryTypeId="2" PostId="7204" RevisionGUID="308387a1-f531-4fe1-8277-2af196b0d646" CreationDate="2011-04-09T09:08:02.203" UserId="238" Text="*Elephant* by Gus Van Sant is a great example of a film whose impact heavily relies on the sound design, yet the soundtrack is very organic! I think it's a masterpiece! &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12265" PostHistoryTypeId="2" PostId="7205" RevisionGUID="9c5369cd-a5ac-4824-ab03-eb0d5558d240" CreationDate="2011-04-09T09:09:37.017" UserId="37" Text="Micmacs definitely, and La Haine - very subversive at times.." ContentLicense="CC BY-SA 3.0" />
  <row Id="12266" PostHistoryTypeId="2" PostId="7206" RevisionGUID="5f2ae5dc-4f47-482b-b2d5-29afddee98c5" CreationDate="2011-04-09T09:16:56.797" UserId="6420" Text="Another one which seems to fit your bill would be The Lives of Others (German: Das Leben der Anderen). It's a great film, with great sound and I can't recommend it enough. Go check it out ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12267" PostHistoryTypeId="2" PostId="7207" RevisionGUID="03b0c0ab-870b-4e1a-8b5f-48e6de5b85d9" CreationDate="2011-04-09T10:01:09.283" UserId="863" Text=" - The Proposition - Great subtle ambiances and an amazing soundtrack by Nick Cave.&#xD;&#xA;&#xD;&#xA; - Atonement - A masterpiece of sound design, I say it every time as well.&#xD;&#xA;&#xD;&#xA; - 127 Hours - Brilliant" ContentLicense="CC BY-SA 3.0" />
  <row Id="12268" PostHistoryTypeId="2" PostId="7208" RevisionGUID="3bd721f2-3e48-41de-903c-41564465a60b" CreationDate="2011-04-09T10:35:20.880" UserId="182" Text="[Sunshine][1], amazing, brooding atmosphere.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0448134/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12269" PostHistoryTypeId="2" PostId="7209" RevisionGUID="0d6a9336-7fdf-429f-bf8f-592fedef1c11" CreationDate="2011-04-09T11:43:05.407" UserId="930" Text="Try 'Old Boy'. Might be something similar to what you're looking for.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="12270" PostHistoryTypeId="2" PostId="7210" RevisionGUID="af059992-61cd-4241-b475-60ec3b32b87d" CreationDate="2011-04-09T13:13:15.777" UserId="505" Text="&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=IMgovfQjxUA&amp;feature=player_embedded" ContentLicense="CC BY-SA 3.0" />
  <row Id="12271" PostHistoryTypeId="2" PostId="7211" RevisionGUID="4fb266cd-6b6a-4ee1-ac9f-6397a3d83311" CreationDate="2011-04-09T13:36:33.883" UserId="963" Text="I'm pretty site that the zoom 16 only records to a single stereo track. &#xD;&#xA;&#xD;&#xA;Anways, the best wireless set out there for decent price is the Sen G3 kit. However one channel costs $500+" ContentLicense="CC BY-SA 3.0" />
  <row Id="12272" PostHistoryTypeId="2" PostId="7212" RevisionGUID="2649f319-0df8-4343-b775-a386e5ce851e" CreationDate="2011-04-09T15:36:33.857" UserId="194" Text=" - house of flying daggers&#xD;&#xA; - do no country for old men twice&#xD;&#xA; - oh brother where art thou&#xD;&#xA; - dead poets society&#xD;&#xA; - good will hunting&#xD;&#xA; - book of Eli" ContentLicense="CC BY-SA 3.0" />
  <row Id="12273" PostHistoryTypeId="2" PostId="7213" RevisionGUID="4e5c4d10-ae7c-49be-b5ef-286a9cf0fce1" CreationDate="2011-04-09T16:19:21.090" UserId="786" Text="2001: A space odyssey&#xD;&#xA;Julien Donkeyboy&#xD;&#xA;Antichrist&#xD;&#xA;Children of men&#xD;&#xA;The Conversation&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12274" PostHistoryTypeId="5" PostId="7213" RevisionGUID="427fb9f3-75bc-4c25-b138-351f520b87fd" CreationDate="2011-04-09T16:28:42.480" UserId="786" Comment="added 8 characters in body" Text="2001: A space odyssey&#xD;&#xA;&#xD;&#xA;Julien Donkeyboy&#xD;&#xA;&#xD;&#xA;Antichrist&#xD;&#xA;&#xD;&#xA;Children of men&#xD;&#xA;&#xD;&#xA;The Conversation&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12275" PostHistoryTypeId="5" PostId="7204" RevisionGUID="44cbae98-215a-4b50-9045-ab691bef5c1e" CreationDate="2011-04-09T16:36:09.020" UserId="238" Comment="added video link" Text="*Elephant* by Gus Van Sant is a great example of a film whose impact heavily relies on the sound design, yet the soundtrack is very organic! I think it's a masterpiece! &#xD;&#xA;&#xD;&#xA;UPDATE:&#xD;&#xA;&#xD;&#xA;[youtube]8UcvxNNJJ-A[/youtube]&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12276" PostHistoryTypeId="5" PostId="7199" RevisionGUID="bed817d2-ce62-439b-b895-5b55e6f0d0f5" CreationDate="2011-04-09T16:51:14.563" UserId="845" Comment="added 78 characters in body" Text="Hola,&#xD;&#xA;&#xD;&#xA;I just re-watched the first Transformers movie and now find myself completely overwhelmed and kind of craving something with a bit more of a soft touch.  I know that my question is something of a corollary of [Films to Study for Excellence in Sound Design][1], but either I've seen them, or they look to have a bit too much of a WOW factor for what I'm interested in focusing on for the time being.&#xD;&#xA;&#xD;&#xA;I've recently started a self-directed course of study in sound design where I'm actually stopping, taking notes, and re-watching sections until I figure out what's happening in the sound; of which Transformers was the first.  It was quite the job too.  It's one of those hypnotic flicks where you tend to drift off into space somewhere in the middle and get jolted back in for the final epic fight-battle-save-the-world.  Very difficult to keep track of what's going on.&#xD;&#xA;&#xD;&#xA;Anyway, I have put together something of a list for myself, but I thought I'd solicit some recommendations from you fine folks.&#xD;&#xA;&#xD;&#xA;What I'm looking for are kind of 'anti-sound' movies, if you take my meaning.  Very much along the lines of a No Country for Old Men or There Will be Blood.  Basically, no guns, no explosions, no car chases, no laser weapons or force shields.  Nothing big and nothing BLAOW!&#xD;&#xA;&#xD;&#xA;Please don't get me wrong, I absolutely *adore* that stuff and always find myself amazed at the innate ability that some guys/gals have for making amazing sounding things.  But I currently have a desire for fragility, subtlety, and quiet.  I'm finding myself more and more fascinated with texture and composition and the subtext that a well-placed gust of wind can carry into a scene.  &#xD;&#xA;&#xD;&#xA;That's the stuff that I want to learn how to do.  Motion without moving, push without shove, air without wind, and various other poetical sounding near-clich&amp;eacute;s.&#xD;&#xA;&#xD;&#xA;Any non-North American and non-English movies you can think of would be most welcome as well.  Reading subtitles is to me the perfect marriage of my three favourite things in the world, words, pictures, and sounds.  I saw an amazing flick from Thailand a couple of years ago and am saddened by the fact that I can't remember its title, I'd love to see more.&#xD;&#xA;&#xD;&#xA;Here are a few from my list.&#xD;&#xA;&#xD;&#xA; - Eyes Wide Shut&#xD;&#xA; - Solaris (The Soderbergh version, though I do intend to see the original) &#xD;&#xA; - Three Colours Trilogy and the Decalogue (two series by the same director)&#xD;&#xA; - Amelie&#xD;&#xA; - Delicatessen&#xD;&#xA;&#xD;&#xA;I suppose if I wanted to be terribly pretentious I could say that I'm looking for Films not *movies*, but I won't even get into that one, : ).&#xD;&#xA;&#xD;&#xA;Thanks Kindly&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;You guys are awesome, keep 'em comin'.  More = merrier.&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2032/films-to-study-for-excellence-in-sound-design" ContentLicense="CC BY-SA 3.0" />
  <row Id="12277" PostHistoryTypeId="2" PostId="7214" RevisionGUID="3c7030f4-ed54-4676-9fdf-1059868d6f55" CreationDate="2011-04-09T17:51:17.127" UserId="6524" Text="I find it really hard to make short sounds longer in length, I don't know if this was a good idea but I was trying to take a bike by and make sound like a bike engine that's constantly running. Also I was wondering what techniques you can use to make sounds that are sort of like the Reedman scene in Transformers ROTF (Sorry this video is sort of long I couldn't find any other footage of it on youtube):&#xD;&#xA;[vimeo]8450426[/vimeo]" ContentLicense="CC BY-SA 3.0" />
  <row Id="12278" PostHistoryTypeId="1" PostId="7214" RevisionGUID="3c7030f4-ed54-4676-9fdf-1059868d6f55" CreationDate="2011-04-09T17:51:17.127" UserId="6524" Text="Any Tips for a Newbie on Looping?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12279" PostHistoryTypeId="3" PostId="7214" RevisionGUID="3c7030f4-ed54-4676-9fdf-1059868d6f55" CreationDate="2011-04-09T17:51:17.127" UserId="6524" Text="&lt;tips&gt;&lt;tricks&gt;&lt;tutorial&gt;&lt;looping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12280" PostHistoryTypeId="2" PostId="7215" RevisionGUID="675f8f97-0651-45d5-bb35-981ec9a6eefb" CreationDate="2011-04-09T18:14:04.847" UserId="393" Text="First off, it's nearly impossible to take any sort of drive/ride/fly-by and use it to loop because of the doppler effect.  Unless the passby is REALLY slow, you're not going to get enough material at the same pitch.&#xD;&#xA;&#xD;&#xA;For looping, the sound needs to start and end in the same place, pitch and volume wise, or it'll be noticeable.  For the sound of the motorcycle, your easiest bet would be to record about a minute of the bike in a stationary position, at the RPM you want, and then loop that.&#xD;&#xA;&#xD;&#xA;As for the Reedman scene, I'd made that a separate post, and specify WHAT sounds you're talking about.  There are A LOT of sounds in that scene, not just individual source elements but a lot of little things happening within the scene. Not to mention that they explain a major element in the scene already.  Also, a minute:second mark of where to jump to in the video would help.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12281" PostHistoryTypeId="2" PostId="7216" RevisionGUID="738bbacf-a566-49ac-973a-a03692e3ea00" CreationDate="2011-04-09T18:35:54.440" UserId="393" Text="When I was watching the Transformers: ROTF Sound Profile for the Reedman Scene (about 5 minutes in), there was the sound of the little steel balls rolling around on the floor and it sounded, to me, like the sound of a drinking glass or a glass bowl rolling around -- then I had to stop and figure out whether I was remembering the actual sound or just the sound that I've heard associated with that image in various films.&#xD;&#xA;&#xD;&#xA;I was wondering, just out of curiosity, whether any of you have a hard time remembering whether a sound was real or designed, specifically when you're writing up your list of things you'd like to record that day or when you're trying to separate source elements in a film you're watching in a &quot;how did they do that?!&quot; moment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12282" PostHistoryTypeId="1" PostId="7216" RevisionGUID="738bbacf-a566-49ac-973a-a03692e3ea00" CreationDate="2011-04-09T18:35:54.440" UserId="393" Text="Separating real sounds from sound design before you record." ContentLicense="CC BY-SA 3.0" />
  <row Id="12283" PostHistoryTypeId="3" PostId="7216" RevisionGUID="738bbacf-a566-49ac-973a-a03692e3ea00" CreationDate="2011-04-09T18:35:54.440" UserId="393" Text="&lt;memory&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12284" PostHistoryTypeId="5" PostId="7155" RevisionGUID="7330bc13-43b6-4490-84a0-3fbfc140d0f9" CreationDate="2011-04-09T18:41:23.350" UserId="194" Comment="added 418 characters in body" Text="I'm considering going a day or two with no sight (just wearing a blindfold).&#xD;&#xA;&#xD;&#xA;Not as some kind of artistic statement or anything, just to experience it.  I'd like to really force my ears to tune in to the world in a way they can't otherwise.  The wifey is on board, so I just need to figure out a few things:&#xD;&#xA;&#xD;&#xA; - what should I do during the day?&#xD;&#xA; - how should I prepare the things around me?&#xD;&#xA; - what can I absolutely not do? (eg: drive, work a computer, etc)&#xD;&#xA; - under what circumstances should I break the seal and remove the blindfold early?&#xD;&#xA;&#xD;&#xA;thoughts?&#xD;&#xA;&#xD;&#xA;------&#xD;&#xA;&#xD;&#xA;edit:&#xD;&#xA;&#xD;&#xA;I'm pretty floored by the amount and quality of the responses to this one.  looks like I have to do it now.  :)&#xD;&#xA;&#xD;&#xA;I'll figure a way to either video blog or audio blog what's going on when I do.  &#xD;&#xA;&#xD;&#xA;Also, it seems i'm still going to be able to use my iphone almost seamlessly.  been playing with voiceover for a while and its pretty dang intuitive.&#xD;&#xA;&#xD;&#xA;thanks again for all of the support.  I'll put together my findings.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12285" PostHistoryTypeId="5" PostId="7214" RevisionGUID="97850848-d93a-4ffc-a646-f689d3c299f9" CreationDate="2011-04-09T18:50:48.477" UserId="6524" Comment="More Info" Text="I find it really hard to make short sounds longer in length, I don't know if this was a good idea but I was trying to take a bike by and make sound like a bike engine that's constantly running. Also I was wondering what techniques one could use when editing sounds that are sort of like the Reedman scene in Transformers ROTF where they used a &quot;buzzing magnet&quot; that makes a short little buzz, and make it sound like a continuous thing while it transforms (Sorry this video is sort of long I couldn't find any other footage of it on youtube, Skip to 3:37 to hear what its about or 4:42 for the scene):&#xD;&#xA;[vimeo]8450426[/vimeo]" ContentLicense="CC BY-SA 3.0" />
  <row Id="12287" PostHistoryTypeId="2" PostId="7218" RevisionGUID="3ba35d6e-0712-4e7b-a564-c838ca41a549" CreationDate="2011-04-09T19:35:51.560" UserId="238" Text="When I watch a film I can't help but analyse the soundtrack. Since working in sound I have gradually lost the ability to be totally taken away with what is happening on-screen as I am constantly thinking, *ah that ambiance is amazing* or *is that a Euler's disk layered in that effect?* The same thing happened the first time I started to DJ (back in the late 90's). Before owning a pair of 1210s I used to go out to clubs and have a wicked time, no matter how well the DJ could mix. It was all about the tunes he would drop. Then, as I started to learn to mix I realised how badly some DJs would clang out a mix and it totally changed my way of enjoying a night out. Then I got into producing music and started to realise that a lot of the big party tunes were actually not that well produced and many, very under-rated tunes were examples of top-notch production. And then it happened with film. It's great when you go and watch a movie that has an excellent sound track but equally frustrating when you go and watch a movie where a typical Hollywood music score abrasively dominates everything and destroys any of the sound effects and ambiances. &#xD;&#xA;&#xD;&#xA;Anyway, going slightly off-subject there, sorry! Back to the question: I find it very hard to remember whether sounds were &quot;real&quot; (i.e. a recording of the actual object the sound is matched to) or designed (something completely obsolete) the first time I watch a movie. It is only when I watch a film for a second or third time that I seem to be able to remember specific sound moments in detail. I guess in my first experiences all my senses are discovering new things and I'm following the story, usually as the director wants me to.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="12289" PostHistoryTypeId="2" PostId="7219" RevisionGUID="6e1d7071-691e-4778-80e1-f4404d2d6735" CreationDate="2011-04-09T19:47:02.433" UserId="728" Text="Eraserhead&#xD;&#xA;&#xD;&#xA;Stalker&#xD;&#xA;&#xD;&#xA;Enter the void&#xD;&#xA;&#xD;&#xA;Micmacs&#xD;&#xA;&#xD;&#xA;Hidden/Cache&#xD;&#xA;&#xD;&#xA;Delicatessen&#xD;&#xA;&#xD;&#xA;Elephant&#xD;&#xA;&#xD;&#xA;Inland Empire&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12290" PostHistoryTypeId="2" PostId="7220" RevisionGUID="1e1ad1e3-e6cd-45eb-948c-2fbb516eaa3d" CreationDate="2011-04-09T19:47:25.377" UserId="238" Text="Just a guess, but it sounds like they may have used a [Kyma][1] to manipulate the magnet recording. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.symbolicsound.com/cgi-bin/bin/view/Company/WebHome" ContentLicense="CC BY-SA 3.0" />
  <row Id="12291" PostHistoryTypeId="2" PostId="7221" RevisionGUID="d03f78af-7734-4888-963e-d237ec5b5136" CreationDate="2011-04-09T19:49:23.417" UserId="6411" Text="My room has four sets of dimmable lights plus fluorescent overheads. The overheads only ever come on when I need to get behind the desk to fix some technical deal. The dimmable lights are usually half power or lower. They provide sufficient task/ambient lighting so I don't feel like I'm going blind. But I tend to agree that limited sight increases your other senses. I'd say that my lights are their lowest when I'm mixing or reviewing a mix.&#xD;&#xA;&#xD;&#xA;Regarding computer screens, I think their brightness is only set to about 45-50% anyway, so I don't typically dim them any further. However, there have been many occasions where I'll take it a step further and just turn off the computer screens. With the D-Command in front of me, I have access to pretty much any info that the screen would tell me by the time I'm mixing. The screens can be more of a distraction than a help. Turning them off forces me to focus on the sounds coming out of the speakers rather than the ones scrolling across the timeline." ContentLicense="CC BY-SA 3.0" />
  <row Id="12292" PostHistoryTypeId="2" PostId="7222" RevisionGUID="9097e494-937e-46aa-9342-7447afe36fc3" CreationDate="2011-04-09T19:49:56.413" UserId="845" Text="Ahhh, memory, she is a fickle one. &#xD;&#xA;&#xD;&#xA;Lately, I've been trying not to worry so much about whether a sound is really real or not.  In a certain sense, any sound that isn't part of the original location recordings done on the day isn't a 'real' sound.  It's all very literally designed, in the sense that you may choose one glass shattering over another because it has more impact, or sounds sadder, or something of that ilk.&#xD;&#xA;&#xD;&#xA;But, yes.  I have a miserable time of it as far as that goes.  It's the same problem that I have with music (particularly bothersome since I'm a hackislash-musician), I cannot for the life of me remember a melody, progression, or song until it's being played back to me.  Then I know it back to front.  Same goes with SFX.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12294" PostHistoryTypeId="2" PostId="7223" RevisionGUID="8e359e47-c3bc-4f48-a534-ee703c0fc363" CreationDate="2011-04-09T21:41:36.987" UserId="845" Text="I *know* that everyone here's gonna have an opinion on this one. &#xD;&#xA;&#xD;&#xA;Are you a CMD+S kinda guy?  Maybe you're a gal who likes to party with Option+Shift+3.  Keep it sneaky with CMD+Shift+U?&#xD;&#xA;&#xD;&#xA;For my two cents I'm going with plain old B in edit window keyboard focus, split region. Best ever... In my humble opinion. &#xD;&#xA;&#xD;&#xA;One each! " ContentLicense="CC BY-SA 3.0" />
  <row Id="12295" PostHistoryTypeId="1" PostId="7223" RevisionGUID="8e359e47-c3bc-4f48-a534-ee703c0fc363" CreationDate="2011-04-09T21:41:36.987" UserId="845" Text="Favourite PT quick-key?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12296" PostHistoryTypeId="3" PostId="7223" RevisionGUID="8e359e47-c3bc-4f48-a534-ee703c0fc363" CreationDate="2011-04-09T21:41:36.987" UserId="845" Text="&lt;pt-quick-keys&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12297" PostHistoryTypeId="2" PostId="7224" RevisionGUID="efdb5ce5-115d-4a0e-8d96-bb7e5bcc062b" CreationDate="2011-04-09T22:09:15.780" UserId="728" Text="My left hand fingers are super-savers ... they have got a mind of their own." ContentLicense="CC BY-SA 3.0" />
  <row Id="12298" PostHistoryTypeId="2" PostId="7225" RevisionGUID="0a9ac6f6-329e-4c6d-8819-6c631ef828fe" CreationDate="2011-04-09T22:16:29.583" UserId="400" Text="I love switching tools with Cmd + the numbers, and also love zoom in and out with Cmd + Square brackets :)&#xD;&#xA;&#xD;&#xA;This thread will probably end up showing me stuff I didn't even know existed!&#xD;&#xA;&#xD;&#xA;Joe" ContentLicense="CC BY-SA 3.0" />
  <row Id="12299" PostHistoryTypeId="2" PostId="7226" RevisionGUID="d2c4b7cb-bd6d-433a-86b9-308de4266489" CreationDate="2011-04-09T22:16:43.560" UserId="37" Text="⌥⇧3 of course....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12300" PostHistoryTypeId="2" PostId="7227" RevisionGUID="ea91fa36-5331-481b-a929-c7dd440cde30" CreationDate="2011-04-09T22:36:35.120" UserId="219" Text="⌥F to focus on the selection, then adjust with ⌘+[ and ⌘+].&#xD;&#xA;&#xD;&#xA;Also &lt; and &gt; to nudge a region." ContentLicense="CC BY-SA 3.0" />
  <row Id="12301" PostHistoryTypeId="2" PostId="7228" RevisionGUID="218cc685-5b22-4543-aba0-0a2c98f83d11" CreationDate="2011-04-09T22:47:14.930" UserId="930" Text="Cmd + ⌥ + / for automation &quot;Write to current...&quot; &#xD;&#xA;&#xD;&#xA;Great for snapshot automation.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="12302" PostHistoryTypeId="2" PostId="7229" RevisionGUID="10553d5a-1d1a-46d9-9ca7-5e76a65cd920" CreationDate="2011-04-09T22:50:45.370" UserId="18160" Text="Shift + Command + W&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Because I know I'm done with that project.&#xD;&#xA;&#xD;&#xA;:)&#xD;&#xA;&#xD;&#xA;Oh and:&#xD;&#xA;&#xD;&#xA;Control + Option + Command + Shift + A&#xD;&#xA;&#xD;&#xA;Opens my Disk Allocation. I made that shortcut 6 years ago and always kept it. On other computers that don't have it programmed I think the computer is frozen." ContentLicense="CC BY-SA 3.0" />
  <row Id="12303" PostHistoryTypeId="2" PostId="7230" RevisionGUID="694b453a-e7c1-46d5-80c7-9e04b3c0c3ac" CreationDate="2011-04-09T23:03:45.397" UserId="699" Text="Perhaps not my &quot;favorite&quot;, but ⇧S to solo a track is invaluable to me. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12304" PostHistoryTypeId="5" PostId="7226" RevisionGUID="e350de5a-ed4a-4457-a179-b33af877779c" CreationDate="2011-04-09T23:05:14.170" UserId="37" Comment="added 67 characters in body; deleted 2 characters in body" Text="⌥⇧3 of course.... it often signals the end of things.. a milestone. great feeling.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12305" PostHistoryTypeId="5" PostId="7227" RevisionGUID="cae30e89-570b-4dd3-9197-f58808ac5683" CreationDate="2011-04-09T23:13:39.560" UserId="18160" Comment="edited body" Text="⌥F to focus on the selection, then adjust with ⌘+[ and ⌘-].&#xD;&#xA;&#xD;&#xA;Also &lt; and &gt; to nudge a region." ContentLicense="CC BY-SA 3.0" />
  <row Id="12306" PostHistoryTypeId="2" PostId="7231" RevisionGUID="5fb7f694-568f-4517-bdfc-a6891a94fcb5" CreationDate="2011-04-10T01:13:53.513" UserId="469" Text="Great answers so far.  I will add...&#xD;&#xA;&#xD;&#xA;Once Upon a Time in the West - The quieter moments of this film have always struck me as very well sound designed.  I love the shot towards the beginning where the fly is buzzing around a guy's head for over a minute on a steady shot.&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="12307" PostHistoryTypeId="2" PostId="7232" RevisionGUID="e83044d6-7e9e-460d-be1f-f87a654dfda5" CreationDate="2011-04-10T02:05:51.797" UserId="845" Text="For all you freelancers out there... &#xD;&#xA;&#xD;&#xA;What system do you guys use to keep track of how long a project takes you?  I'm currently a 9-5er, but would much prefer to go freelance.  To whit, I've got my first hourly gig coming up, and I want to make sure I'm not ripping either them or myself off.  I met a guy once who told me that if he works on anything at all (even for an hour) he calls it a day, or at least 3-4 hours (like plumbers and locksmiths).  That always seemed kinda shitty to me, but for all I know it's the norm.&#xD;&#xA;&#xD;&#xA;I've got a little countdown timer guy that I use when I know I've got a time limit, i.e. I'm grabbing a couple hours of work in between the waves of action that life pushes my way.  The problem is that it's notification plays out my compy's main audio outs, and I have my interface switched to software return 7/8 so I sometimes don't notice.&#xD;&#xA;&#xD;&#xA;Also, how do you figure out your rates?  I know that most of the time it depends on the project budget and other concerns, but do you have a particular calculation method?  I was once told to take the amount I'd need to get by if I was doing 40 hours a week, then double it.  Is that a fair ask?&#xD;&#xA;&#xD;&#xA;Friendliness." ContentLicense="CC BY-SA 3.0" />
  <row Id="12308" PostHistoryTypeId="1" PostId="7232" RevisionGUID="e83044d6-7e9e-460d-be1f-f87a654dfda5" CreationDate="2011-04-10T02:05:51.797" UserId="845" Text="Keeping track of hours." ContentLicense="CC BY-SA 3.0" />
  <row Id="12309" PostHistoryTypeId="3" PostId="7232" RevisionGUID="e83044d6-7e9e-460d-be1f-f87a654dfda5" CreationDate="2011-04-10T02:05:51.797" UserId="845" Text="&lt;freelance&gt;&lt;getting-paid&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12310" PostHistoryTypeId="2" PostId="7233" RevisionGUID="97bfab50-4540-4403-83c3-726b3f1f0432" CreationDate="2011-04-10T03:50:28.447" UserId="558" Text="There is a sequence near the end of Children Of Men where the hero is trying to make his way thru a battle into a building that is under siege in order to save someone, and it is truly stunning.  5 minutes or so with almost no dialog, the music is very sound designy and everything else is sound and fear.  AWESOME!&#xD;&#xA;&#xD;&#xA;I kinda like the 1st matrix movie as well, but that's more like the Transformer's sound track." ContentLicense="CC BY-SA 3.0" />
  <row Id="12311" PostHistoryTypeId="2" PostId="7234" RevisionGUID="c26f7484-b587-468e-b202-b3f8f866625b" CreationDate="2011-04-10T04:06:33.687" UserId="558" Text="There are 2 parts to any game audio system (regardless whether it is middle-ware or home grown).  The Tool used by the designers to create assets and the Audio Engine that runs as part of the actual game and handles the real time playback of everything.  &#xD;&#xA;&#xD;&#xA;Right now the big 2 are wWise and FMOD.  The FMOD tool (called fmod designer) I believe is available for MAC.  wwise is not.  There are many companies that use FMOD's game engine, but build their own tools.  THis is not really possible wwise as they are really tightly linked.  &#xD;&#xA;&#xD;&#xA;I very much recommend downloading either, looking at the examples and/or video tutorials (wwise has some good ones) and then play around with it.  &#xD;&#xA;&#xD;&#xA;Being tied to a Tool/Game Audio Engine is what really differentiates game audio from traditional audio post." ContentLicense="CC BY-SA 3.0" />
  <row Id="12312" PostHistoryTypeId="2" PostId="7235" RevisionGUID="38d6a92c-b8a1-4236-98c3-b379d985ce32" CreationDate="2011-04-10T04:31:59.457" UserId="40" Text="I work with a day / half-day rate system.&#xD;&#xA;&#xD;&#xA;Anything that takes me up to 5 hours, I charge half-day. 6 - 10 hours, full day rate. After 10 hours, I sometimes charge a little extra, but not always - it depends on how intense those 12 hours will be...&#xD;&#xA;&#xD;&#xA;Generally my half-day rate is somewhere around 3/4 of my full day. For instance, if my day rate was $1000, I might charge between $600 and $750 for a half-day - again, depending on my responsibilities on the project.&#xD;&#xA;&#xD;&#xA;If a project comes my way that I know is only going to take an hour or two and will be really easy, I will occasionally negotiate a lower rate than my half-day, but not always. The reason being that if I take a 2 hour long project, chances are I won't be able to book another gig that day - maybe not even a half-day project, so I won't be able to make up the money elsewhere. Essentially, even though it's not taking up all that time, it's still &quot;taking up&quot; the time. A lot of that goes out the window if you're making up your own schedule and not working on a pre-planned production's schedule.&#xD;&#xA;&#xD;&#xA;Again, I use discretion. If I know a project really has a tight budget and I want to help them out, I will - as long as I can still pay my bills.&#xD;&#xA;&#xD;&#xA;I never work on an hourly schedule, but I know people that do. A lot of my colleagues will use Filemaker Pro or Mac Freelance (or other project management software - Bento is another) to track hours. Works pretty well for them, but you have to make sure to be aware of the clock and not forget to pause it! Something I can see myself forgetting to do..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12313" PostHistoryTypeId="2" PostId="7236" RevisionGUID="5dbd16fe-0570-4584-8af7-08928b13279d" CreationDate="2011-04-10T04:45:29.883" UserId="338" Text="command q&#xD;&#xA;&#xD;&#xA;&lt; &gt; nudge&#xD;&#xA;&#xD;&#xA;i wish i knew more though&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;command option i&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12314" PostHistoryTypeId="2" PostId="7237" RevisionGUID="37bc6a17-fa2f-49b5-a4c7-5c6811cea509" CreationDate="2011-04-10T06:10:50.497" UserId="285" Text="I find that there is no catch all answer that works in all situations.  Like Colin mentions a good way to go is the Half day/full day billing system, the way Colin describes it is basically how I do it and this works well.  On series work I normally charge per episode.  In the first few episodes it normally takes longer to cut a show but once you have designed a lot of the signature elements the later episodes of a series become faster to cut since you have a better feel for the world the show takes place in.  Finally for a few select clients I will charge by the hour, this is not ideal but sometimes it is the best option to make things work for both sides.  If you do work by the hour make sure you have a minimum number of hours you will charge.  You don't want to be going out for an hour of work as it will normally not be worth your time.&#xD;&#xA;&#xD;&#xA;I find the main thing is to keep the communication lines open with the client and make sure you are both on the same page.  Many clients have different projects with different budgets so if you can be flexible you can keep clients coming back.  &#xD;&#xA;&#xD;&#xA;In terms of rates - that is the trickiest part.  Hard to offer advice with out knowing what what exactly you are charging for and what your experience level is.  Are you using your own gear or going into a studio to do the work on their gear?  SFX editing normally means you are bringing a SFX library to the project as part of your service and that library is an important asset, so normally you would charge more for SFX editing then for dialog or music editing where the client is supplying the material you will be working with.  Are you doing any field recording?  All these things can effect you rate, so again no one rate can rule them all.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="12315" PostHistoryTypeId="2" PostId="7238" RevisionGUID="4ea9238f-c4fb-4dca-b236-2aa978df4d3b" CreationDate="2011-04-10T08:12:57.237" UserId="654" Text="cntrl-opt-grab to put a copy of a region at my current cursor location or its variant:&#xD;&#xA;cntrl-shift-opt-grab to put a copy of a region with its sync point lined up at my current cursor position. Invaluable to quickly move stuff around.&#xD;&#xA;[http://vimeo.com/13974712][1] - the rest of them.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/13974712" ContentLicense="CC BY-SA 3.0" />
  <row Id="12316" PostHistoryTypeId="5" PostId="7227" RevisionGUID="537914b6-329c-425d-9296-5a6988ea9d8a" CreationDate="2011-04-10T11:09:24.730" UserId="219" Comment="deleted 2 characters in body" Text="⌥F to focus on the selection, then adjust with ⌘[ and ⌘].&#xD;&#xA;&#xD;&#xA;Also &lt; and &gt; to nudge a region." ContentLicense="CC BY-SA 3.0" />
  <row Id="12317" PostHistoryTypeId="2" PostId="7239" RevisionGUID="3cb14055-6c27-4c17-b7a3-4d47b4a5d256" CreationDate="2011-04-10T14:25:59.023" UserId="887" Text="cmd-? for toggling waveform and volume. On a 100hr project it could potentially be lunch break in saved time compared to the mouse method. I like PT, but I like it more with high blood sugar levels." ContentLicense="CC BY-SA 3.0" />
  <row Id="12318" PostHistoryTypeId="2" PostId="7240" RevisionGUID="b85df9ad-ca3c-4156-9ea7-b96ae187754f" CreationDate="2011-04-10T14:51:09.043" UserId="429" Text="my left hand is always parked on the Q W E R T an the A S keys . The zoom presets 1 2 3 4 5 are also just above and very useful too. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12319" PostHistoryTypeId="2" PostId="7241" RevisionGUID="bb398a45-2947-4790-8abf-1131d15ac02e" CreationDate="2011-04-10T15:15:35.293" UserId="963" Text="Gotta say with edit window (command) focus Q and W are my favs. &#xD;&#xA;When you have a selection, Q or W respectively moves the zoom focus to the beginning or end of the selection respectively. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12320" PostHistoryTypeId="2" PostId="7242" RevisionGUID="4dead0f9-8385-49d4-85a2-5c46d24b39eb" CreationDate="2011-04-10T15:24:39.333" UserId="863" Text="I don't know about sci fi, I've still not worked on one yet, Although spot/incident sounds for backgrounds make a massive difference.&#xD;&#xA;&#xD;&#xA;Layering up spot/incident sounds to sit with the ambiance you have or created is important to give it some realism.I always thought that the Battlestar Galactica tv shows had some great sound design on it, so you should check that out if you haven't already. &#xD;&#xA;&#xD;&#xA;Talking from experience from a film I worked on, just adding some cicadas subtly into the background really brought the atmosphere alive, I guess less is more and don't go too over the top with it." ContentLicense="CC BY-SA 3.0" />
  <row Id="12321" PostHistoryTypeId="2" PostId="7243" RevisionGUID="bf2bdb64-3651-44c0-9b27-e88266758eb5" CreationDate="2011-04-10T15:36:13.933" UserId="863" Text="An on set sound recordist is a tough job as I'm sure you know Utopia. Mainly tough because the AD forgets about you, the Director and producer don't know what you need and the extras and actors and everyone else thinks everything can be done in post.&#xD;&#xA;&#xD;&#xA;Just be stern and demand stuff, if they don't let you, explain to them when they have to pay for post work why they have to pay so much and that when you asked for it they should've granted you that time to capture extra sound.&#xD;&#xA;&#xD;&#xA; 1. Dialogue&#xD;&#xA; 2. Wild track&#xD;&#xA; 3. Room tone&#xD;&#xA; 4. Impulse Response&#xD;&#xA; 5. Extra effects&#xD;&#xA;&#xD;&#xA;It should run in that order for me. If you have that IR you can work with library / foley sounds easily enough and have them sit in the mix well.&#xD;&#xA;&#xD;&#xA;Be stubborn, the crew will hate you but once the film is out they will realise what a great job you done." ContentLicense="CC BY-SA 3.0" />
  <row Id="12322" PostHistoryTypeId="2" PostId="7244" RevisionGUID="7bd53577-7037-49ea-bac5-035b2e7eb6dc" CreationDate="2011-04-10T16:03:02.797" UserId="517" Text="Most of my standard ones have already been mentioned. To zoom the waveform height up and down, I use CMD+OPT+[ and CMD+OPT+] (you can also hold down OPT+SHIFT and spin the scroll wheel). &#xD;&#xA;&#xD;&#xA;Another good one is CMD+H which heals a region that you've cut with B or CMD+E.&#xD;&#xA;&#xD;&#xA;A fairly obscure one that's very handy when you need it are grid and nudge value adjust. I find that when I need to do quarter frame or subframe editing, it's quicker than changing the values with the mouse. CMD+OPT+NUMBERPAD + and CMD+OPT+NUMBERPAD - adjust the nudge value. CTRL+OPT+NUMBERPAD + and CTRL+OPT+NUMBERPAD - control the grid value." ContentLicense="CC BY-SA 3.0" />
  <row Id="12323" PostHistoryTypeId="2" PostId="7245" RevisionGUID="e29061d7-5107-4226-94a8-e5a743eeff20" CreationDate="2011-04-10T18:48:19.030" UserId="220" Text="This is a &quot;what is that&quot; sort of question, and also, a &quot;why can't I find an example of it&quot; question. &#xD;&#xA;&#xD;&#xA;In some older martial arts movies, and goofy action sequences, the action will slow down as some flies through the air, or does something incredible and instead of music or a slow-mo sound, there is this really reverb-y &quot;tick tick tick tick&quot;.  I don't think it's used seriously any more. &#xD;&#xA;&#xD;&#xA;So questions are:&#xD;&#xA;-Can you give an example, cause I sure can't find one.&#xD;&#xA;-Does it have a name?&#xD;&#xA;-How is/was it first made?&#xD;&#xA;&#xD;&#xA;Thank ya!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12324" PostHistoryTypeId="1" PostId="7245" RevisionGUID="e29061d7-5107-4226-94a8-e5a743eeff20" CreationDate="2011-04-10T18:48:19.030" UserId="220" Text="Slow Motion Comedic Action Effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="12325" PostHistoryTypeId="3" PostId="7245" RevisionGUID="e29061d7-5107-4226-94a8-e5a743eeff20" CreationDate="2011-04-10T18:48:19.030" UserId="220" Text="&lt;reverb&gt;&lt;slow&gt;&lt;motion&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12326" PostHistoryTypeId="2" PostId="7246" RevisionGUID="a25ab6e2-7bd4-444d-a262-ab1fec996ee6" CreationDate="2011-04-10T19:05:04.263" UserDisplayName="user49" Text="My favourites/constantly used Quickeys/shortcuts fall into three categories:&#xD;&#xA;&#xD;&#xA;**mouseless editing:**&#xD;&#xA;&#xD;&#xA; - move cursor to next/prev region boundary: tab, OPT tab&#xD;&#xA; - select between cursor and next/prev region boundary: SHIFT tab, OPT SHIFT tab&#xD;&#xA; - move region earlier/later by nudge value: +/-&#xD;&#xA; - change nudge value: CMD OPT +/-&#xD;&#xA; - trim region start boundary by nudge value: OPT +/-&#xD;&#xA; - trim region end boundary by nudge value:CMD +/-&#xD;&#xA; - move file contents within region boundaries: CNTOL +/-&#xD;&#xA; - fade from cursor to front/end: Quickeys script&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**accessing/tweaking automation:**&#xD;&#xA;&#xD;&#xA; - display volume automation: CMD minus&#xD;&#xA; - display pan automation: Quickeys script: CMD minus, CMD CNTRL right arrow x 5 (with 5.1 output)&#xD;&#xA; - delete all pan automation: Quickeys menu action&#xD;&#xA;&#xD;&#xA;**varispeed manipulation**&#xD;&#xA;&#xD;&#xA; - play stereo track forwards: CNTRL numeric keypad 5&#xD;&#xA; - play backwards/forwards: CNTRL numeric keypad minus/plus&#xD;&#xA; - play half speed: CNTRL numeric keypad 2&#xD;&#xA; - play quarter speed: CNTRL numeric keypad 1&#xD;&#xA; - display Pitch AS plug: Quickeys menu action&#xD;&#xA; - display Pitch n Time AS plug: Quickeys menu action&#xD;&#xA; - display Reverse AS plug: Quickeys menu action&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;plus CNTRL Q = displays Quickeys Editor&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12327" PostHistoryTypeId="2" PostId="7247" RevisionGUID="fd2e4d61-eb91-4739-a3f8-70abfbb67455" CreationDate="2011-04-10T19:15:57.943" UserDisplayName="user49" Text="I'm normally on a project for X weeks (16-26) where a week = 50 hours.... only very occasionally do I do hourly rate (eg prepping a trailer) but its fairly rare. My rate varies with scale and budget of the project. I've seen editors who whine if their 'usual' rate gets reduced, but they fail to take into consideration that they may be asking for a higher rate than everyone else on the team, including the DOP and picture editor! But we aren't union in NZ (thank god/jah/buddha) and never will be.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12329" PostHistoryTypeId="16" PostId="7223" RevisionGUID="220cc21e-d769-45d0-9efc-bfcb33dc848b" CreationDate="2011-04-10T20:15:43.040" UserId="845" />
  <row Id="12330" PostHistoryTypeId="2" PostId="7249" RevisionGUID="02fde14c-0d22-413e-85c0-aa40db651b14" CreationDate="2011-04-10T20:50:59.933" UserId="991" Text="Im reading this book right now, and love it so far. Well written, great examples, and great content provided by the authors through a download. &#xD;&#xA;&#xD;&#xA;So far, I highly recommend it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12331" PostHistoryTypeId="2" PostId="7250" RevisionGUID="94e45a9d-1f73-48c1-8050-e32c89fcbe07" CreationDate="2011-04-10T21:17:11.900" UserId="238" Text="Not quite sure what you mean but generally in the old kung-fu flicks any slow-down moments of intense fighting action were accompanied by a heavy touch of reverb.&#xD;&#xA;&#xD;&#xA;From around 3min20 in this clip:&#xD;&#xA;&#xD;&#xA;[youtube]LYBFDQJPPwQ[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And some good examples in this clip:&#xD;&#xA;&#xD;&#xA;[youtube]wA5XAafIfiQ[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="12332" PostHistoryTypeId="2" PostId="7251" RevisionGUID="a165f320-d299-4a0e-b239-357062ffbb45" CreationDate="2011-04-10T21:19:11.087" UserId="845" Text="I think there's one at the end of this clip yes?&#xD;&#xA;&#xD;&#xA;[youtube]7eYESAPx0n0[/youtube]&#xD;&#xA;&#xD;&#xA;To me it sounds like the reversed delay of a Kendo stick smack.&#xD;&#xA;&#xD;&#xA;Take your sound.  Reverse it.  Record the delay to another track.  Flip the original back and line it up with the first hit of the delay.  &#xD;&#xA;&#xD;&#xA;I tried it to see if I could do it:  &#xD;&#xA;&#xD;&#xA;[soundcloud]g-a-harry/kung-fu-slo-mo-test-2[/soundcloud]&#xD;&#xA;&#xD;&#xA;The sound is an 8-bit snare hit, pitched up about an octave and a half.  Added some filtered pink to get in the tape degredation. Doesn't *quite* work, but it's on the right track." ContentLicense="CC BY-SA 3.0" />
  <row Id="12333" PostHistoryTypeId="5" PostId="7251" RevisionGUID="331df901-0447-41d9-82d2-d5c28f663738" CreationDate="2011-04-10T21:25:14.417" UserId="845" Comment="added 27 characters in body" Text="I think there's one at the end of this clip yes?&#xD;&#xA;&#xD;&#xA;[youtube]7eYESAPx0n0[/youtube]&#xD;&#xA;&#xD;&#xA;To me it sounds like the reversed delay of a Kendo stick smack.&#xD;&#xA;&#xD;&#xA;Take your sound.  Reverse it.  Record the delay to another track.  Flip the original back and line it up with the first hit of the delay.  &#xD;&#xA;&#xD;&#xA;I tried it to see if I could do it:  &#xD;&#xA;&#xD;&#xA;[soundcloud]g-a-harry/kung-fu-slo-mo-test-2[/soundcloud]&#xD;&#xA;&#xD;&#xA;The sound is an 8-bit snare hit, pitched up about an octave and a half.  Added some filtered pink to get in the tape degredation. Doesn't *quite* work (the impact is kinda weak), but it's on the right track." ContentLicense="CC BY-SA 3.0" />
  <row Id="12334" PostHistoryTypeId="2" PostId="7252" RevisionGUID="36b5028d-e711-4582-9ac5-2431ca80d7e1" CreationDate="2011-04-10T21:28:16.360" UserId="708" Text="Hi Guys,&#xD;&#xA;&#xD;&#xA;I have been recently playing around with Wwise and the CUBE game that you can download from AK's site. I've become somewhat comfortable with the program but am constantly hitting small walls (not literally). My problems stem from the game, and the lack of desirable switches and events that are not programmed into it. I've come across a few sites that gives some help on adding little features, but the one I've been searching for is an event for when you land from a jump (a normal jump). As far as I know, there is no event for this in CUBE.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Has anyone here with programming experience (which I have none of) written in this event within CUBE? I have no experience with writing code but am able to copy/paste and compile :)&#xD;&#xA;Would anyone be open to sharing the code for that event (if not, that's completely fine)?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;BTW, I came across Graham Gatheral's page, which has some nice examples which are all well explained if any one is interested :&#xD;&#xA;&#xD;&#xA;http://www.gatheral.co.uk/index.html&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12335" PostHistoryTypeId="1" PostId="7252" RevisionGUID="36b5028d-e711-4582-9ac5-2431ca80d7e1" CreationDate="2011-04-10T21:28:16.360" UserId="708" Text="Wwise and CUBE event for landing a jump" ContentLicense="CC BY-SA 3.0" />
  <row Id="12336" PostHistoryTypeId="3" PostId="7252" RevisionGUID="36b5028d-e711-4582-9ac5-2431ca80d7e1" CreationDate="2011-04-10T21:28:16.360" UserId="708" Text="&lt;gameaudio&gt;&lt;wwise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12337" PostHistoryTypeId="2" PostId="7253" RevisionGUID="cd0c4c59-8e5c-4862-bfbb-3aaecc7fe724" CreationDate="2011-04-11T00:12:59.940" UserId="455" Text="I've been wondering about game audio lately.  I studied sound for picture at school and currently work in the field as well.  I've wanted to know more about game audio so I appreciate the responses to this question.  I'll be on the lookout for this book.&#xD;&#xA;&#xD;&#xA;Thanks SSD community!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12338" PostHistoryTypeId="2" PostId="7254" RevisionGUID="27f8f226-111b-41a2-ae13-b4090862c2a3" CreationDate="2011-04-11T00:36:31.093" UserId="396" Text="As several people have stated, crediting is not necessary with the synchronization license that you have purchased from Blastwave FX.&#xD;&#xA;&#xD;&#xA;One thing to be aware of though, is that there are some uses that the synchronization license does not cover, i.e. mobile apps (e.g. iPhone, iPad etc) and some web apps. You may wish to look into that if your game is for a mobile platform.&#xD;&#xA;&#xD;&#xA;There's some helpful information at the [Pro Sound Effects Blog][1] (they are a Blastwave FX distributor).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.prosoundeffects.com/blog/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12339" PostHistoryTypeId="2" PostId="7255" RevisionGUID="6b649470-55be-4572-8510-41a430f25226" CreationDate="2011-04-11T10:28:44.617" UserId="786" Text="I use reverbs all the time on dialogue, no matter what the project. There may be the occasional voiceover that gets away completely dry, but everything else gets a little bit (or a lot) of reverb. I use reverbs as a kind of glue, that ties the dialogue tracks together. Most of the time it sounds realistic, often a bit larger than real life and sometimes a lot larger than life. The film itself kind of dictates what is appropriate...&#xD;&#xA;&#xD;&#xA;I use all kinds of reverbs, and often I use Altiverb or TL-Space if I want that realistic feeling of convolution reverbs.&#xD;&#xA;&#xD;&#xA;I have been the supervising sound editor on 10 feature films and on 5 of them I have also been the sound mixer on set. I have recorded tons of dialogue and lots and lots of ambient atmospheres to get as much sound as possible from the set. But I have not yet recorded any IR's. &#xD;&#xA;&#xD;&#xA;To me it is very important to be able to work quickly on set and almost instantly adapt to changes. I don't want to be the guy who slows down the production, and I think it is a lot more fun to be a little busy on set than just to be waiting all of the time. I also try to make the recording gear as small and light as possible. The boomer is working with a wireless transmitter and I am running everything on batteries most of the time as I generally wear my recording equipment.&#xD;&#xA;&#xD;&#xA;After a 2 year break from being on set, I am probably going to record one or two feature films this fall. And I would like to try recording som IR's.&#xD;&#xA;&#xD;&#xA;I am wondering what the general experience is with recording IR's. Especially feature film experience, where you are recording for 6-7 weeks with changing locations. Is anybody using starter guns? Or do you use speakers? How often do you do IR's? &#xD;&#xA;&#xD;&#xA;And I would also like to know about the post production side of IR's. Are they useful to you? Do you end up using them, or do you end up using another kind of reverb, because film often creates its own space, which isn't necessarily realistic? Again, actual feature film experience is what i am searching for...&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12340" PostHistoryTypeId="1" PostId="7255" RevisionGUID="6b649470-55be-4572-8510-41a430f25226" CreationDate="2011-04-11T10:28:44.617" UserId="786" Text="Serious use of self-recorded IR's" ContentLicense="CC BY-SA 3.0" />
  <row Id="12341" PostHistoryTypeId="3" PostId="7255" RevisionGUID="6b649470-55be-4572-8510-41a430f25226" CreationDate="2011-04-11T10:28:44.617" UserId="786" Text="&lt;recording&gt;&lt;reverb&gt;&lt;convolution&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12342" PostHistoryTypeId="5" PostId="7134" RevisionGUID="a9db6411-c4ee-447f-bc34-447ef99dca49" CreationDate="2011-04-11T10:34:55.323" UserId="786" Comment="deleted 35 characters in body" Text="The invasion of the Bodysnatchers from 1978 really does it for me!&#xD;&#xA;&#xD;&#xA;[youtube]GEStsLJZhzo[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="12343" PostHistoryTypeId="2" PostId="7256" RevisionGUID="cd01b6da-ef2b-4ac3-81b9-d753dd79d1d8" CreationDate="2011-04-11T13:39:51.693" UserId="608" Text="It's got to be the Wilhelm no?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12344" PostHistoryTypeId="2" PostId="7257" RevisionGUID="dc0ecff4-61d5-4758-b85a-e50ee5107802" CreationDate="2011-04-11T14:06:34.840" UserId="6411" Text="I'm loving this thread. For what it's worth I'm on 8.1, have my numeric keyboard set to Transport and have the &quot;a/z&quot; box checked in the Edit window to enable Keyboard Focus. Here's a few I haven't seen yet:&#xD;&#xA;&#xD;&#xA; - CMD + OPT + Tab = Toggles Tab to transients on/off&#xD;&#xA; - CNTRL + Numeric Keys 1-9 = Shuttle selected track (1= min, 5=normal, 9=max) while the numeric - &amp; + toggle forward/reverse playback. 0 stops, ESC or spacebar exits Shuttle mode.&#xD;&#xA; - R / T = Zoom Out / In (One less key to hit than CMD + [/])&#xD;&#xA; - E = Zoom Toggle selected track&#xD;&#xA; - CMD + CNTRL + Right Arrow/Left Arrow = Displays next automation lane on main track. Tim mentioned this, but it works without a Quickkeys script also. Just keep pressing the arrow.&#xD;&#xA; - CMD + OPT + W = Closes all plugin windows&#xD;&#xA;&#xD;&#xA;I've also gone into System Preferences &gt; Keyboard &gt; Keyboard Shortcuts and added some Application specific shortcuts to PT.  All you have to do is click + to add a new shortcut, type in the Menu Title *exactly* as it is shown in any Menu or Sub-Menu and then assign a Keyboard Shortcut to it. Here's some of mine:&#xD;&#xA;&#xD;&#xA; - CNTRL + I = Open I/O window&#xD;&#xA; - CMND + SHIFT + P = Open Peripherals window&#xD;&#xA; - CMD + SHIFT + A = Make Track Inactive&#xD;&#xA; - CMD + CNTRL + S = Save As...&#xD;&#xA; - CMND + SHIFT + S = Save Copy In...&#xD;&#xA; - CMND + SHIFT + 1, 2, 4, 5, 6, 7, 8, 9, 0 = Opens frequently used AS plugin windows &#xD;&#xA;&#xD;&#xA;Notice how I skipped CMND + SHIFT + 3 on that last one? Yeah, don't overwrite that one.  Only problem with this is determining if you are overwriting an existing keyboard shortcut. But, if you do they're not lost forever. Just go back in to the Keyboard Shortcut and reassign your new shortcut to something else. &#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="12345" PostHistoryTypeId="16" PostId="7257" RevisionGUID="dc0ecff4-61d5-4758-b85a-e50ee5107802" CreationDate="2011-04-11T14:06:34.840" UserId="-1" />
  <row Id="12346" PostHistoryTypeId="2" PostId="7258" RevisionGUID="aeaed491-f024-4b66-a795-fef5834dbfe8" CreationDate="2011-04-11T16:35:14.893" UserId="6420" Text="A couple more handy ones for automation.. (I'm using a Mac by the way)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Control + Option + Command + Click on a plug-in parameter to shortcut enable its automation.&#xD;&#xA;&#xD;&#xA;Control + Command + Click on a parameter to view its automation lane (ie fader volume, pan or plug-in parameter)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Would be great if there was a way to &quot;Sticky&quot; this thread too ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12347" PostHistoryTypeId="16" PostId="7258" RevisionGUID="aeaed491-f024-4b66-a795-fef5834dbfe8" CreationDate="2011-04-11T16:35:14.893" UserId="-1" />
  <row Id="12348" PostHistoryTypeId="2" PostId="7259" RevisionGUID="5354efce-22cb-4fa7-9fb6-38d80927ef17" CreationDate="2011-04-11T16:43:09.983" UserId="995" Text="Hello, Morten, IR's are just great, Logic has its own IR's utility, so tehre you can have an easy way of creating your own. For recording setup maybe this can be useful:&#xD;&#xA;&#xD;&#xA;http://www.megaupload.com/?d=OGGN4YDM&#xD;&#xA;&#xD;&#xA;P.S. Your work is really great" ContentLicense="CC BY-SA 3.0" />
  <row Id="12349" PostHistoryTypeId="2" PostId="7260" RevisionGUID="0fb1ac2a-3ba4-4496-bc01-6342162ded7d" CreationDate="2011-04-11T18:00:52.973" UserId="338" Text="Somebody should make an Iphone app for IR capturing." ContentLicense="CC BY-SA 3.0" />
  <row Id="12350" PostHistoryTypeId="2" PostId="7261" RevisionGUID="9dc50614-10d3-4ff9-8cf5-cc46acd4fa74" CreationDate="2011-04-11T18:05:04.843" UserId="845" Text="I would never pretend to have much experience with this on film sets, I have recoreded a couple of my own just for Ss and Gs.  &#xD;&#xA;&#xD;&#xA;I found that they would never come out quite the way I wanted them to, or remembered the space sounding.  I did some reading to figure out why and came across this article which details how to go about doing it: [Acting on Impulse][1].  The one thing that the author really stressed, and that I think may interfere with any IRs you try to do on set, is that you really need the space to be dead still when you're making your recording.  Any kind of background sound that isn't the natural response of the room (i.e. lights buzzing, people breathing/scuffin their feet in impatience, &amp;tc.) will be interpreted by your reverb unit as part of the natural RT60 of your room. I also assume that 30-60 people standing in whatver space you're shooting in will affect the sound somewhat as well, giving you a slightly skewed version of the space you were actually trying to emulate.&#xD;&#xA;&#xD;&#xA;But again, I'm not an expert on these things.  Do check out the article though.  It's a good read, very informative.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://emusician.com/tutorials/emusic_acting_impulse/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12351" PostHistoryTypeId="2" PostId="7262" RevisionGUID="2f70d81a-8ff3-4528-aaa3-ade29d37e708" CreationDate="2011-04-11T19:07:31.580" UserId="253" Text="**For use of silence:**&#xD;&#xA;&#xD;&#xA;Cure (1997)&#xD;&#xA;&#xD;&#xA;Tokyo Sonata (2008)&#xD;&#xA;&#xD;&#xA;**For delicate atmospheres and interesting foley (or vice versa):**&#xD;&#xA;&#xD;&#xA;Humanité (Humanity) (1999)&#xD;&#xA;&#xD;&#xA;Silent Light (2007)&#xD;&#xA;&#xD;&#xA;Dans Ma Peau (In My Skin) (2002)&#xD;&#xA;&#xD;&#xA;**And just because i really liked them for no specific reason i can give right now (and they're not over the top sound design films):**&#xD;&#xA;&#xD;&#xA;Noise (2007)&#xD;&#xA;&#xD;&#xA;Michael Clayton (2007)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12352" PostHistoryTypeId="2" PostId="7263" RevisionGUID="c2dd3f5d-7e8c-4db0-8f7c-deee725e7d67" CreationDate="2011-04-11T20:29:18.693" UserId="6487" Text="I agree with Azimuth. Flexibility can keep clients coming back.&#xD;&#xA;&#xD;&#xA;Some clients I work with really need an hourly rate.  Others I may take on at a project rate with stipulations in contract form at the beginning as to how far over the estimate time they can go before additional charges will apply.  &#xD;&#xA;&#xD;&#xA;I have also done a half day and full day rate system.  For most, I do 24 hour cancellation minimums unless they move the project to an unbooked alternate date.  I have had seasons where I will give client &quot;A&quot; a first hold on my time without any obligation but will require full payment whether they cancel or not if that time was challenged and requested by a client &quot;B&quot; and they (client &quot;A&quot;) opted to keep that time firmly available to them.  &#xD;&#xA;&#xD;&#xA;It all depends on the project's/client's needs.  The most important thing is to communicate clearly.  I always like to discuss their project's needs and vision first, talk about what we both need in order to work together, and them put it in writing.  It protects the both of you.  Communication is key and every project is different.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12353" PostHistoryTypeId="5" PostId="7263" RevisionGUID="2e364ae7-84e8-4281-8b40-e80b247f79b7" CreationDate="2011-04-11T20:34:43.660" UserId="6487" Comment="added 441 characters in body; deleted 5 characters in body" Text="I agree with Azimuth. Flexibility can keep clients coming back.&#xD;&#xA;&#xD;&#xA;Some clients I work with really need an hourly rate.  Others I may take on at a project rate with stipulations in contract form at the beginning as to how far over the estimate time they can go before additional charges will apply.  &#xD;&#xA;&#xD;&#xA;I have also done a half day and full day rate system.  For most, I do 24 hour cancellation minimums unless they move the project to an unbooked alternate date.  I have had seasons where I will give client &quot;A&quot; a first hold on my time without any obligation but will require full payment whether they cancel or not if that time was challenged and requested by a client &quot;B&quot; and they (client &quot;A&quot;) opted to keep that time firmly available to them.  &#xD;&#xA;&#xD;&#xA;It all depends on the project's/client's needs.  The most important thing is to communicate clearly.  I always like to discuss their project's needs and vision first, talk about what we both need in order to work together, and put it in writing.  It protects the both of you.  Communication is key and every project is different.&#xD;&#xA;&#xD;&#xA;As far as determining your actual rate, consider the job and compare it to the services available in your area for similar gear access, skill, and experience.  Talk to your buddies.  You want to come up with a rate that is fair to you, the client, and the market.  You don't want to go around undercutting the world all the time.  This will just bring down the value of the service and it will make it harder for everyone to make a living." ContentLicense="CC BY-SA 3.0" />
  <row Id="12354" PostHistoryTypeId="2" PostId="7264" RevisionGUID="5ca52a24-4035-4c3e-8a60-0fd493c01925" CreationDate="2011-04-11T20:37:16.560" UserId="194" Text="need a prop for the handling of cash about yeah big:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Since, you know, I don't have a stack of cash that size on me.  on screen this cash is pulled out of a counting machine, patted flat and placed on a table.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm cutting up an old book now, but any other thoughts would be appreciated.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.economywatch.com/images/5_trillion.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="12355" PostHistoryTypeId="1" PostId="7264" RevisionGUID="5ca52a24-4035-4c3e-8a60-0fd493c01925" CreationDate="2011-04-11T20:37:16.560" UserId="194" Text="foley prop needed: a stack of cash" ContentLicense="CC BY-SA 3.0" />
  <row Id="12356" PostHistoryTypeId="3" PostId="7264" RevisionGUID="5ca52a24-4035-4c3e-8a60-0fd493c01925" CreationDate="2011-04-11T20:37:16.560" UserId="194" Text="&lt;foley&gt;&lt;props&gt;&lt;money&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12357" PostHistoryTypeId="2" PostId="7265" RevisionGUID="a1008360-16ab-486d-b0db-90c4ce313d63" CreationDate="2011-04-11T20:51:21.967" UserId="18160" Text="Possibly take a bunch of folded newspapers so they aren't too thin?&#xD;&#xA;&#xD;&#xA;This might make that &quot;flap&quot; noise. Does someone flip it like a deck of cards or do they just move it?&#xD;&#xA;&#xD;&#xA;A bunch of b&amp;w newspapers folded to be the same size of a wad of cash (like USA Today) could work..&#xD;&#xA;&#xD;&#xA;I'll think of more and ask my colleagues and I'll let you know what we come up with." ContentLicense="CC BY-SA 3.0" />
  <row Id="12358" PostHistoryTypeId="2" PostId="7266" RevisionGUID="16a95705-bed8-4787-85d1-e9b5a370940f" CreationDate="2011-04-11T21:06:21.850" UserId="100" Text="I keep hearing a beat up deck of cards being handled loosely, but maybe with the pitch down a couple of cents.&#xD;&#xA;&#xD;&#xA;Or you could get $50 in singles from the bank." ContentLicense="CC BY-SA 3.0" />
  <row Id="12359" PostHistoryTypeId="2" PostId="7267" RevisionGUID="39849714-207d-4359-b498-cf1603029df0" CreationDate="2011-04-11T21:09:56.840" UserId="373" Text="monopoly money? already cut the right size. to be honest i cant see real money and paper sounding noticeably different, its the sync performance that really matters to make you believe the sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="12360" PostHistoryTypeId="2" PostId="7268" RevisionGUID="1571b5ea-a9a9-4555-90b6-8bc49b362515" CreationDate="2011-04-11T21:27:44.670" UserId="338" Text="Use coins instead" ContentLicense="CC BY-SA 3.0" />
  <row Id="12364" PostHistoryTypeId="2" PostId="7270" RevisionGUID="963a7ff3-3ab1-437c-9396-0960dc06aa85" CreationDate="2011-04-11T22:43:41.130" UserId="194" Text="The cut book ended up working out perfectly.  I needed a lot of bills (several hundred), and I needed the paper to sound both thick, non-laminated, and a little worn, so the book pages gave me the depth and almost the texture I needed.&#xD;&#xA;&#xD;&#xA;To finish the trick I took a few real bills and put them on either side of the stack, and took about 15 book made bills, crumpled them, opened them back up and put them inside the rest of the stack in intervals.  &#xD;&#xA;&#xD;&#xA;foley went very quickly, and with a little eq they sounded exactly like they looked.  &#xD;&#xA;&#xD;&#xA;and now I have a new prop built.  :)&#xD;&#xA;&#xD;&#xA;thx for the help." ContentLicense="CC BY-SA 3.0" />
  <row Id="12365" PostHistoryTypeId="2" PostId="7271" RevisionGUID="223a2766-397c-4fc7-a8f5-f0c334e5b521" CreationDate="2011-04-11T23:45:48.547" UserId="558" Text="a sound like that will often be hooked up thru an animation system.  That is a system, usually separate from the audio tool and sometimes outside the game tool, that allows the designer to attach 'cues' ('events' in wwise) to specific frames of an animation.  It is possible that for this example system they did not provide an animation sound system.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12366" PostHistoryTypeId="2" PostId="7272" RevisionGUID="3a3a8cf7-3d36-4a15-91e2-a67c52f1aafe" CreationDate="2011-04-11T23:53:26.850" UserId="253" Text="I'm currently final mixing a low budget feature, here's the deal:&#xD;&#xA;&#xD;&#xA;I'm mixing in a smallish room (16'x13') on JBL LSR 4328s + sub, set up for 5.1, but i'm not totally sure how to make sure my mix translates well to a theatre context.&#xD;&#xA;&#xD;&#xA;My main concern is bass; i've split the FX and music masters into &gt;80Hz (to 5.0) and &lt;80Hz (sent straight to LFE) so i can control the bass somewhat, and make sure i don't blow up the sub of any systems that have bass management. Are there any guidelines as to how the bass in my smaller room will translate to a theatre? &#xD;&#xA;&#xD;&#xA;For now, i'm doing a lot of meter watching and keeping the LFE from peaking above the 5.0 levels in heavy FX sequences, as well as using MaxxBass to retain some perceived lows. I know this is far from an ideal way to mix; i'll be doing a pass on a good-sized dub stage later on, but i'd like to make my stab in the dark as accurate as possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="12367" PostHistoryTypeId="1" PostId="7272" RevisionGUID="3a3a8cf7-3d36-4a15-91e2-a67c52f1aafe" CreationDate="2011-04-11T23:53:26.850" UserId="253" Text="Mixing Environments: How they translate" ContentLicense="CC BY-SA 3.0" />
  <row Id="12368" PostHistoryTypeId="3" PostId="7272" RevisionGUID="3a3a8cf7-3d36-4a15-91e2-a67c52f1aafe" CreationDate="2011-04-11T23:53:26.850" UserId="253" Text="&lt;mixing&gt;&lt;bass&gt;&lt;lfe&gt;&lt;5.1&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12369" PostHistoryTypeId="2" PostId="7273" RevisionGUID="b6bf57ec-26f7-4479-a00d-7bd6dc7e8328" CreationDate="2011-04-12T00:02:50.013" UserId="18160" Text="Quick question about anyone who has been around dialogue mixing on a stage for a feature:&#xD;&#xA;&#xD;&#xA;I'm looking at purchasing a hardware CEDAR system for a new studio being built.&#xD;&#xA;&#xD;&#xA;It only has 2 channels of processing.&#xD;&#xA;&#xD;&#xA;On a stage, how are CEDAR systems used in terms of workflow?&#xD;&#xA;&#xD;&#xA;Does the dialogue mixer re-record the dialogue via the CEDAR onto another track and then do the next voice the same way? (this is the way I currently work)&#xD;&#xA;&#xD;&#xA;Or is it usually used as an overall bus on every voice and left on the whole time much like an outboard compressor or signal chain?&#xD;&#xA;&#xD;&#xA;Thanks for your help." ContentLicense="CC BY-SA 3.0" />
  <row Id="12370" PostHistoryTypeId="1" PostId="7273" RevisionGUID="b6bf57ec-26f7-4479-a00d-7bd6dc7e8328" CreationDate="2011-04-12T00:02:50.013" UserId="18160" Text="CEDARs on Dub Stages" ContentLicense="CC BY-SA 3.0" />
  <row Id="12371" PostHistoryTypeId="3" PostId="7273" RevisionGUID="b6bf57ec-26f7-4479-a00d-7bd6dc7e8328" CreationDate="2011-04-12T00:02:50.013" UserId="18160" Text="&lt;cedar&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12372" PostHistoryTypeId="2" PostId="7274" RevisionGUID="b06c812b-4a8a-4acc-aafa-f96f05ae1950" CreationDate="2011-04-12T00:19:44.867" UserId="40" Text="We use ours in a dialogue chain. All of the dialogue goes through it together (not separately per track). Also, using a Cedar is sort of like mixing. You often have to ride the faders on it to get what you want, and you often do it in real-time. You can get automation support for it as well, but they never use it here.&#xD;&#xA;&#xD;&#xA;The thing works wonders. I would recommend it to anyone who can possibly get their hands on it." ContentLicense="CC BY-SA 3.0" />
  <row Id="12373" PostHistoryTypeId="2" PostId="7275" RevisionGUID="fd822d27-606e-4186-94a6-a48b848ce6ed" CreationDate="2011-04-12T00:41:53.257" UserId="693" Text="One of my favorites is one that's in PT by mistake (ie: a programming error). It only works on Mac as well.&#xD;&#xA;&#xD;&#xA;Shift + Opt + 3 creates a consolidated selection. However, if you add Ctrl to it before you hot 3 then it will fill your selection with a 1K -20dB sine wave. Which is perfect for making 2pops and 3beeps.&#xD;&#xA;&#xD;&#xA;I have other favorites, but this one stands out as a bit unique." ContentLicense="CC BY-SA 3.0" />
  <row Id="12374" PostHistoryTypeId="16" PostId="7275" RevisionGUID="fd822d27-606e-4186-94a6-a48b848ce6ed" CreationDate="2011-04-12T00:41:53.257" UserId="-1" />
  <row Id="12375" PostHistoryTypeId="5" PostId="7275" RevisionGUID="524741e1-668f-476c-8eae-bff407abf99f" CreationDate="2011-04-12T03:00:26.473" UserId="693" Comment="added more info" Text="One of my favorites is one that's in PT by mistake (ie: a programming error). It only works on Mac as well.&#xD;&#xA;&#xD;&#xA;Shift + Opt + 3 creates a consolidated selection. However, if you add Ctrl to it before you hot 3 then it will fill your selection with a 1K -20dB sine wave. Which is perfect for making 2pops and 3beeps.&#xD;&#xA;&#xD;&#xA;I have other favorites, but this one stands out as a bit unique.&#xD;&#xA;&#xD;&#xA;-----Everything below was edited in-----&#xD;&#xA;&#xD;&#xA;Here's some added one's that I use the most. Keep in mind I typically work in Command Focus A/Z mode.&#xD;&#xA;&#xD;&#xA;R and T in command focus mode = Zoom Out+In&#xD;&#xA;&#xD;&#xA;CMD + to toggle Edit/Mix window&#xD;&#xA;Shift + CMD + N = New Track (CMD + Arrow keys add additional shortcuts in track creation window like changing channel and track types, Shift + CMD + Up/Down Arrows = Add or Subtract a new entry line) &#xD;&#xA;&#xD;&#xA;B = Separate Region &#xD;&#xA;&#xD;&#xA;CMD + T = Top &amp; Tail (Trim region start and end to selection)&#xD;&#xA;&#xD;&#xA;CMD + F = Fade Utility + D &amp; G Fade to start/end/ Tools.&#xD;&#xA;&#xD;&#xA;Option + C = Clear Clip Indicators&#xD;&#xA;&#xD;&#xA;Shift + Option + 3 = Consolidate&#xD;&#xA;&#xD;&#xA;Shift + Spacebar = Halfspeed Playback or Halfspeed Record.&#xD;&#xA;&#xD;&#xA;Shift + CMD + U = Select Unused.&#xD;&#xA;&#xD;&#xA;F = Focus Cursor&#xD;&#xA;&#xD;&#xA;Option + F = Focus Selection to screen width.&#xD;&#xA;&#xD;&#xA;~ = Toggle Editing mode&#xD;&#xA;&#xD;&#xA;Tab, Shift Tab, Option Tab and Shift Option Tab all for navigating between regions and making selections.&#xD;&#xA;&#xD;&#xA;P and ; for moving the cursor/selection up and down tracks&#xD;&#xA;&#xD;&#xA;CTRL + Click and Drag to retain time position while moving regions up and down tracks.&#xD;&#xA;&#xD;&#xA;Option = Option Does to All&#xD;&#xA;&#xD;&#xA;Shift + Option = Does to Selected&#xD;&#xA;&#xD;&#xA;CMD + D = Duplicate at end of Region&#xD;&#xA;&#xD;&#xA;Option + Click and Drag = Copies and Drags Copy to New Location&#xD;&#xA;&#xD;&#xA;Option + Ctrl + Click Drag Up or Down will Duplicate Region Vertically with Time Constraints.&#xD;&#xA;&#xD;&#xA;Shift + , = Drop Sync Point on Region.&#xD;&#xA;&#xD;&#xA;Control + Click = Snap Region Start to cursor&#xD;&#xA;Control + CMD + Click = Snap Region End to cursor&#xD;&#xA;Shift + Ctrl + Click = Snap Sync Point to Cursor&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I could go on and on. I'll stop here though.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12376" PostHistoryTypeId="5" PostId="7275" RevisionGUID="e5a3881e-59af-49e0-bb58-f020bc17a9d2" CreationDate="2011-04-12T03:09:23.883" UserId="693" Comment="added more info" Text="One of my favorites is one that's in PT by mistake (ie: a programming error). It only works on Mac as well.&#xD;&#xA;&#xD;&#xA;Shift + Opt + 3 creates a consolidated selection. However, if you add Ctrl to it before you hot 3 then it will fill your selection with a 1K -20dB sine wave. Which is perfect for making 2pops and 3beeps.&#xD;&#xA;&#xD;&#xA;I have other favorites, but this one stands out as a bit unique.&#xD;&#xA;&#xD;&#xA;-----Everything below was edited in-----&#xD;&#xA;&#xD;&#xA;Here's some added one's that I use the most. Keep in mind I typically work in Command Focus A/Z mode.&#xD;&#xA;&#xD;&#xA;R and T in command focus mode = Zoom Out+In&#xD;&#xA;&#xD;&#xA;CMD + to toggle Edit/Mix window&#xD;&#xA;Shift + CMD + N = New Track (CMD + Arrow keys add additional shortcuts in track creation window like changing channel and track types, Shift + CMD + Up/Down Arrows = Add or Subtract a new entry line) &#xD;&#xA;&#xD;&#xA;B = Separate Region &#xD;&#xA;&#xD;&#xA;CMD + T = Top &amp; Tail (Trim region start and end to selection)&#xD;&#xA;&#xD;&#xA;CMD + F = Fade Utility + D &amp; G Fade to start/end/ Tools.&#xD;&#xA;&#xD;&#xA;Option + C = Clear Clip Indicators&#xD;&#xA;&#xD;&#xA;Shift + Option + 3 = Consolidate&#xD;&#xA;&#xD;&#xA;Shift + Spacebar = Halfspeed Playback or Halfspeed Record.&#xD;&#xA;&#xD;&#xA;Shift + CMD + U = Select Unused.&#xD;&#xA;&#xD;&#xA;F = Focus Cursor&#xD;&#xA;&#xD;&#xA;Option + F = Focus Selection to screen width.&#xD;&#xA;&#xD;&#xA;~ = Toggle Editing mode&#xD;&#xA;&#xD;&#xA;Tab, Shift Tab, Option Tab and Shift Option Tab all for navigating between regions and making selections.&#xD;&#xA;&#xD;&#xA;P and ; for moving the cursor/selection up and down tracks&#xD;&#xA;&#xD;&#xA;CTRL + Click and Drag to retain time position while moving regions up and down tracks.&#xD;&#xA;&#xD;&#xA;Option = Option Does to All&#xD;&#xA;&#xD;&#xA;Shift + Option = Does to Selected&#xD;&#xA;&#xD;&#xA;CMD + D = Duplicate at end of Region&#xD;&#xA;&#xD;&#xA;Option + Click and Drag = Copies and Drags Copy to New Location&#xD;&#xA;&#xD;&#xA;Option + Ctrl + Click Drag Up or Down will Duplicate Region Vertically with Time Constraints.&#xD;&#xA;&#xD;&#xA;Shift + , = Drop Sync Point on Region.&#xD;&#xA;&#xD;&#xA;Control + Click = Snap Region Start to cursor&#xD;&#xA;Control + CMD + Click = Snap Region End to cursor&#xD;&#xA;Shift + Ctrl + Click = Snap Sync Point to Cursor&#xD;&#xA;&#xD;&#xA;Opt + Ctrl + CMD + Down Arrow to fit tracks to window height.&#xD;&#xA;&#xD;&#xA;E = Explode&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I could go on and on. I'll stop here though.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12377" PostHistoryTypeId="2" PostId="7276" RevisionGUID="b1df1483-04b5-4850-bf7b-06897d624af8" CreationDate="2011-04-12T03:13:09.317" UserId="845" Text="So, I just came across this line in a Craig's List post:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&gt; &quot;This is a non paying job, I am not&#xD;&#xA;&gt; getting paid either. Strictly&#xD;&#xA;&gt; freelance.&quot;&#xD;&#xA;&#xD;&#xA;Clearly this person seems to think that freelance = free.  It got me thinking, perhaps we ought to take the word 'free' out.  It seems only to encourage those who are reticent about paying for work in the first place.  Is there a better term for someone who doesn't work for anyone in particular?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12378" PostHistoryTypeId="1" PostId="7276" RevisionGUID="b1df1483-04b5-4850-bf7b-06897d624af8" CreationDate="2011-04-12T03:13:09.317" UserId="845" Text="Another Term for Freelance" ContentLicense="CC BY-SA 3.0" />
  <row Id="12379" PostHistoryTypeId="3" PostId="7276" RevisionGUID="b1df1483-04b5-4850-bf7b-06897d624af8" CreationDate="2011-04-12T03:13:09.317" UserId="845" Text="&lt;freelance&gt;&lt;terminology&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12380" PostHistoryTypeId="2" PostId="7277" RevisionGUID="fa8087d1-f47a-4529-81d8-75c00943495e" CreationDate="2011-04-12T03:29:19.133" UserId="18160" Text="Pay-me-a-lot-lance. kidding...&#xD;&#xA;&#xD;&#xA;Hmm. I don't know. Freelance has been used for such a long time.&#xD;&#xA;&#xD;&#xA;Independent? Nah.&#xD;&#xA;&#xD;&#xA;Self-employed? Nah.&#xD;&#xA;&#xD;&#xA;I can't really think of a better name that wouldn't be an equal misnomer." ContentLicense="CC BY-SA 3.0" />
  <row Id="12381" PostHistoryTypeId="2" PostId="7278" RevisionGUID="d258ff8a-659d-46e4-a3f5-fe516254132b" CreationDate="2011-04-12T04:08:15.577" UserDisplayName="user49" Text="IMHO theres nothing wrong with the term freelance - no need to change behaviour because of some linguistically challenged person with a hobbyist/personal project on a craigslist somewhere...  I see the term freelance meaning FREE to do the work that you want, without an obligation to a facility or a boss etc. Freelance is a very common term in many fields of employment, not just film/sound etc...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12382" PostHistoryTypeId="2" PostId="7279" RevisionGUID="ea7e41fc-2619-462e-8c48-fe2479419196" CreationDate="2011-04-12T06:46:19.493" UserId="62" Text="Would you consider the DNSOne RTAS plugin? I've used it and I know other people rave about it. It really doesn't use much system resources and is fully automatable too. And of course you can have multiple instances of it. Plus if you're whole workflow has it then you could have it from your dial edit phase to the final mix without having to re-record anything.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 3.0" />
  <row Id="12383" PostHistoryTypeId="2" PostId="7280" RevisionGUID="9a91cd9e-4748-41df-9748-b59d26beb4d8" CreationDate="2011-04-12T08:22:21.010" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am in the process of putting together a proposal for the institute where I work to build and redesign sound editing suits. We want to build 6 rooms to accommodate the computer, speakers and enough room to have the producer/director come in and view with the editor. We don't have a huge amount of space but we have an area whereby we can build 6 small isolate cubicles. &#xD;&#xA;&#xD;&#xA;What i want to know is the best materials to use to sound proof the rooms and also create an adequate sweet spot for the editor. &#xD;&#xA;&#xD;&#xA;Does anyone have any suggestions/websites etc?&#xD;&#xA;&#xD;&#xA;Thanks.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="12384" PostHistoryTypeId="1" PostId="7280" RevisionGUID="9a91cd9e-4748-41df-9748-b59d26beb4d8" CreationDate="2011-04-12T08:22:21.010" UserId="348" Text="Setting up an editing suit" ContentLicense="CC BY-SA 3.0" />
  <row Id="12385" PostHistoryTypeId="3" PostId="7280" RevisionGUID="9a91cd9e-4748-41df-9748-b59d26beb4d8" CreationDate="2011-04-12T08:22:21.010" UserId="348" Text="&lt;a&gt;&lt;sound&gt;&lt;room&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12389" PostHistoryTypeId="2" PostId="7282" RevisionGUID="ad108cba-a67c-493c-a2f8-309d6eb6cc71" CreationDate="2011-04-12T11:17:36.750" UserId="786" Text="It is really hard to imagine what your mix will sound like in the dubbing stage. I think there are 4 key elements that you have to be careful about, and you have to be able to make changes when you go to the dubbing stage.&#xD;&#xA;&#xD;&#xA;1 Volume&#xD;&#xA;&#xD;&#xA;You have to work at a fairly high volume in your editing suite in order to get some decent dynamics into your work. If you compress your material too hard in the editing room, it will sound harsh in the dubbing stage.&#xD;&#xA;&#xD;&#xA;2 Front speaker EQ&#xD;&#xA;&#xD;&#xA;Since the speakers in a dubbing stage have horn tweeters behind the screen, you need to do some general EQ'ing to make it sound right in the dubbing stage. Do this right away, so your ears don't get used to a dull or harsh dialogue track. Remove the frequencies you don't need with hi- and lo-pass filters. Especially with dialogue and foley tracks. I always put a hi-pass on the dialogue somewhere between 80-130 Hz depending on the voice and a lo-pass at around 13k. The foley tracks get the same treatment. I have mixed a couple of films on dubbing stages with two-way cinema speakers, and if it is played back on three-way cinema speakers, you get a little more definition in the very high frequencies, so you can hear the  background noise in your foley tracks turning on and off if you don't filter out the very high frequencies. You probably also need to adjust the general EQ of the music bus.&#xD;&#xA;&#xD;&#xA;3 Surrounds&#xD;&#xA;&#xD;&#xA;The surrounds are quite diffuse in a real dubbing stage. Instead of coming out of two discrete speakers right behind your ears, the sound comes out of two arrays of speakers somewhere above and behind your ears. They are also delayed a bit by the Dolby system in the cinema, so be prepared to adjust the general surround volume.&#xD;&#xA;&#xD;&#xA;4 Bass / LFE&#xD;&#xA;&#xD;&#xA;The bass is the hardest part. I would set the crossover at around 100 Hz instead of 80 Hz. Bass gets louder in bigger rooms because of the laws of physics allowing longer wavelengths (=lower frequencies) to exist in the bigger room. It also varies from one dubbing stage to another. I wouldn't worry too much about the bass in your editing room, it will sound differently in the dubbing stage, and it is not the most important part of your sound design.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12390" PostHistoryTypeId="2" PostId="7283" RevisionGUID="e2a7602a-d3d0-45d1-a478-c56f641a592c" CreationDate="2011-04-12T12:26:43.353" UserId="6487" Text="PS3-Belladelmuerto&#xD;&#xA;&#xD;&#xA;COD Black Ops / Civilization Revolution" ContentLicense="CC BY-SA 3.0" />
  <row Id="12391" PostHistoryTypeId="16" PostId="7283" RevisionGUID="e2a7602a-d3d0-45d1-a478-c56f641a592c" CreationDate="2011-04-12T12:26:43.353" UserId="-1" />
  <row Id="12392" PostHistoryTypeId="2" PostId="7284" RevisionGUID="cdd836ea-6b0d-430b-bfcc-d766fd0f4bfa" CreationDate="2011-04-12T12:27:47.030" UserId="194" Text="maybe start here?&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/studio-building-acoustics/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12393" PostHistoryTypeId="5" PostId="7280" RevisionGUID="b3bddbcc-63f8-41cf-aa9b-d11e66c4f568" CreationDate="2011-04-12T14:46:06.460" UserId="6411" Comment="corrected spelling" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am in the process of putting together a proposal for the institute where I work to build and redesign sound editing suites. We want to build 6 rooms to accommodate the computer, speakers and enough room to have the producer/director come in and view with the editor. We don't have a huge amount of space but we have an area whereby we can build 6 small isolate cubicles. &#xD;&#xA;&#xD;&#xA;What i want to know is the best materials to use to sound proof the rooms and also create an adequate sweet spot for the editor. &#xD;&#xA;&#xD;&#xA;Does anyone have any suggestions/websites etc?&#xD;&#xA;&#xD;&#xA;Thanks.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="12394" PostHistoryTypeId="4" PostId="7280" RevisionGUID="b3bddbcc-63f8-41cf-aa9b-d11e66c4f568" CreationDate="2011-04-12T14:46:06.460" UserId="6411" Comment="corrected spelling" Text="Setting up an editing suite" ContentLicense="CC BY-SA 3.0" />
  <row Id="12395" PostHistoryTypeId="2" PostId="7285" RevisionGUID="7a6b2e5b-a274-405b-9fe6-01b1b3ac9476" CreationDate="2011-04-12T15:56:59.273" UserId="270" Text="I recommend not having the computers in the isolated rooms.  The sound in the rooms could  be much nicer if you keep all the computers in a rack in a seperate room and use extension cables to get speakers &amp; monitors etc into the editing suites.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12396" PostHistoryTypeId="2" PostId="7286" RevisionGUID="2ad85913-3834-465b-9e4a-42550de64ab8" CreationDate="2011-04-12T15:59:27.803" UserId="338" Text="Hi all,&#xD;&#xA;How do you find work for game audio?  Any tips appreciated!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12397" PostHistoryTypeId="1" PostId="7286" RevisionGUID="2ad85913-3834-465b-9e4a-42550de64ab8" CreationDate="2011-04-12T15:59:27.803" UserId="338" Text="How to find work for game audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12398" PostHistoryTypeId="3" PostId="7286" RevisionGUID="2ad85913-3834-465b-9e4a-42550de64ab8" CreationDate="2011-04-12T15:59:27.803" UserId="338" Text="&lt;game&gt;&lt;design&gt;&lt;work&gt;&lt;experience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12399" PostHistoryTypeId="2" PostId="7287" RevisionGUID="7a814d9e-29d1-462a-9b4a-c8ed7383e7f4" CreationDate="2011-04-12T16:21:48.077" UserId="238" Text="Freelance is a term that is used in many, many languages - an anglicism that is internationally recognised. And many different professions around the globe use this term. It's just a shame that someone has seen the free in freelance and got a bit confused. Actually it's quite funny! " ContentLicense="CC BY-SA 3.0" />
  <row Id="12400" PostHistoryTypeId="2" PostId="7288" RevisionGUID="7617b4ef-a596-4d7b-b0ae-1d18475202bc" CreationDate="2011-04-12T16:45:34.980" UserId="290" Text="Contract work or In-house work?&#xD;&#xA;&#xD;&#xA;For contract work:&#xD;&#xA;&#xD;&#xA;The game industry is smaller than the film industry, in terms of people. And the indie side of the game industry is WAY smaller than the indie side of the film industry. So the &quot;it's not what you know, it's who you know&quot; mantra applies even more. The only way to get enough contract work to run a business on is to get to know people. Go to GDC, Indiecade, IGDA meetings, Game Jams, anywhere where industry hangs out. It takes a long time. I started focusing hardcore on the game scene almost two years ago, and I'm only now at the point where I'm known/trusted enough to get routinely hired on interesting projects." ContentLicense="CC BY-SA 3.0" />
  <row Id="12401" PostHistoryTypeId="2" PostId="7289" RevisionGUID="f7740484-70e2-48d1-9286-af4fce2a3813" CreationDate="2011-04-12T17:01:18.560" UserId="290" Text="I hear &quot;independent contractor&quot; a lot. It's a mouthful, but it doesn't have the same connotations as &quot;freelance&quot; does." ContentLicense="CC BY-SA 3.0" />
  <row Id="12402" PostHistoryTypeId="2" PostId="7290" RevisionGUID="943cb2a4-e5fa-4986-90fa-a78b87eb6e7d" CreationDate="2011-04-12T17:04:04.390" UserId="845" Text="I haven't read this book myself because I'm not yet at the point of building my own studio, but from what I've heard, this is the book to get: [Home Recording Studio: Build it Like the Pros, by Gervais Rod][1].&#xD;&#xA;&#xD;&#xA;This may sound snooty, but try as much as possible to limit the involvement of any non-audio related persons in the design decision making.  You can get yourself into real trouble if you do stuff the wrong way (i.e. for the sake of saving some money).  The truth of it is that the monumental problems that nodes of 125Hz, 200Hz, 250Hz, 341Hz, 672Hz and 983Hz would cause *us* at the mix position, is a shrug of the shoulders to an operations manager.  &#xD;&#xA;&#xD;&#xA;You're going to have to build walls between walls, use double layers of drywall, and buy buckets and buckets of green-glue or quietglue, all of which makes doing it properly rather more expensive than just throwing up some two-by-fours and gypsum board and calling it a day.&#xD;&#xA;&#xD;&#xA;In my recent experience: &#xD;&#xA;&#xD;&#xA;The (otherwise very nice) guy who designed and commissioned the new &quot;mix&quot; rooms at my work is a broadcast technician.  This means that all of the rooms are beautifully set up with dual 29&quot; computer monitors, RME ADI-4 DDs, multi-channel intercom systems, 8 channel data-routers, and video screens that route from and play extremely nicely with a TerraBlock.  To be honest, it's really quite wonderful.  Only problem is that the Terrablock and servers and everything loud is housed in a room that is right across the hall from and *shares a ventilation duct with our main recording booth*.  &#xD;&#xA;&#xD;&#xA;A step further, two of the mix rooms and the main recording booth also have perfectly vertical 4' x 6' windows in them.  In the case of the recording booth this window is *literally* right next to the readers sitting position.&#xD;&#xA;&#xD;&#xA;The problems are not insurmountable, but depending on who is coming in to read for us on a given day, they can add at least an hour's worth of work to a project with a 6 hour turnaround time.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Home-Recording-Studio-Build-Like/dp/143545717X/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1302625881&amp;sr=8-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12403" PostHistoryTypeId="2" PostId="7291" RevisionGUID="d7619378-e415-4394-9a61-33241a92e255" CreationDate="2011-04-12T17:06:11.623" UserId="998" Text="&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Actually, the game industry is way larger than the film industry.  It brings in a helluva lot more revenue as well.&#xD;&#xA;&#xD;&#xA;The best way to find work is to submit your portfolio to other sound designers and network with them!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12404" PostHistoryTypeId="2" PostId="7292" RevisionGUID="0d368cf2-a818-40be-bf87-4b1aba80eb31" CreationDate="2011-04-12T17:55:46.770" UserId="290" Text="I bought both the Alphatrack and Faderport a little while ago to A/B test them, decide which I wanted to keep (thank you Sweetwater!). Here's my conclusion:&#xD;&#xA;&#xD;&#xA;ALPHATRACK: Really gorgeous device, buttons, etc, made editing a cinch. And it runs off of USB power. Which means you can mix in the airplane... I guess. But the fader is super loud - I mean loud enough that for automation following it completely invalidates itself as a tool for fine-tuning audio. I thought this may be a one-off, so I ordered a replacement. The two were equally loud. However, if you're mixing in an airplane, the sound of the fader itself probably isn't a problem :-P. I'm surprised more people don't complain about the loudness of the fader. Also, I hear that there's some latency in recording automation, but I did not experience this.&#xD;&#xA;&#xD;&#xA;FADERPORT: It's bulky. It needs power (DC adaptor), and the buttons are a little sticky. And, I mean, let's face it, it ain't nearly as pretty as the Alphatrack. But you're not buying a single-fader control surface for the looks, you're buying it for the fader. And the fader on this thing is excellent. The device itself is cheaper, but my understanding is that PreSonus spent a lot more money on the fader itself than FrontierDesign did. Better fader = more power (hence, AC Adaptor) and less money for bells and whistles (hence, ugly interface, sticky buttons). But I use this almost every day. It's smooth, integrates perfectly in Reaper and Pro Tools, and *quiet*." ContentLicense="CC BY-SA 3.0" />
  <row Id="12405" PostHistoryTypeId="2" PostId="7293" RevisionGUID="ea1721cb-5e2e-4a7a-8d19-276d1ed4410a" CreationDate="2011-04-12T19:52:54.597" UserId="998" Text="My sources tell me that this book is mostly outdated information and most companies use middle-ware like fmod and wwise.  This makes the book a &quot;joke&quot; and not very applicable to most people.&#xD;&#xA;&#xD;&#xA;Correct me if I'm wrong." ContentLicense="CC BY-SA 3.0" />
  <row Id="12406" PostHistoryTypeId="2" PostId="7294" RevisionGUID="304558be-e93b-40e4-9b39-2fc9885832f2" CreationDate="2011-04-12T20:12:06.973" UserId="63" Text="First of all Chris! Where are you from? For example I am from Greece and because here there is little to none work on this subject I started my own team to make games! " ContentLicense="CC BY-SA 3.0" />
  <row Id="12407" PostHistoryTypeId="2" PostId="7295" RevisionGUID="194d7286-f5a5-4928-94df-52ab6c6a8ef7" CreationDate="2011-04-12T21:05:31.623" UserId="930" Text="There's a great article that's just been put up on Designing Sound by Rodney Gates. Here's the link:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2011/04/rodney-gates-special-getting-the-gig-a-guide-to-becoming-a-video-game-sound-designer/&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="12408" PostHistoryTypeId="2" PostId="7296" RevisionGUID="6adf597c-e15c-46ca-bc5e-99f6f6514bff" CreationDate="2011-04-12T22:21:31.950" UserId="936" Text="Definitely networking, don't be afraid to contact audio directors and try and get some work on indie titles. Learning about middleware such as Wise and FMOD is useful, if nothing else it shows willingness to learn. Enthusiasm, good communication and a varied portfolio are all important." ContentLicense="CC BY-SA 3.0" />
  <row Id="12409" PostHistoryTypeId="2" PostId="7297" RevisionGUID="f36c9744-2ff3-48d3-9192-081db3bf05fd" CreationDate="2011-04-12T22:49:08.177" UserId="338" Text="Imagnine you are being sucked into a TV, what sound would it make?&#xD;&#xA;&#xD;&#xA;Or what if you had just teleported into a zone and somebody asked you about this sound design technique.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12410" PostHistoryTypeId="1" PostId="7297" RevisionGUID="f36c9744-2ff3-48d3-9192-081db3bf05fd" CreationDate="2011-04-12T22:49:08.177" UserId="338" Text="How to make a suction sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12411" PostHistoryTypeId="3" PostId="7297" RevisionGUID="f36c9744-2ff3-48d3-9192-081db3bf05fd" CreationDate="2011-04-12T22:49:08.177" UserId="338" Text="&lt;design&gt;&lt;ideas&gt;&lt;cloud&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12412" PostHistoryTypeId="2" PostId="7298" RevisionGUID="4453cf61-aa3f-4889-8039-bfff8f2566e9" CreationDate="2011-04-12T22:50:27.097" UserId="338" Text="I'm trying to stretch out water to make it so that it is kind of on repeat.  Only a certain portion of it.  How do you do that, with a compressor or EQ??  Seriously, what kind of layering techniques would you tell someone to do and stuff if there was a ray gun to your head that would turn you inside out in a half hour?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Or to time blur the .wav/aiff" ContentLicense="CC BY-SA 3.0" />
  <row Id="12413" PostHistoryTypeId="1" PostId="7298" RevisionGUID="4453cf61-aa3f-4889-8039-bfff8f2566e9" CreationDate="2011-04-12T22:50:27.097" UserId="338" Text="Techniques for stretching out water to make it a constant sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="12414" PostHistoryTypeId="3" PostId="7298" RevisionGUID="4453cf61-aa3f-4889-8039-bfff8f2566e9" CreationDate="2011-04-12T22:50:27.097" UserId="338" Text="&lt;design&gt;&lt;ideas&gt;&lt;cloud&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12415" PostHistoryTypeId="2" PostId="7299" RevisionGUID="bb39e528-4d35-4f02-995b-a41f783553a8" CreationDate="2011-04-12T23:21:21.137" UserId="37" Text="I am more than certain this will give you a cool idea: &#xD;&#xA;[the cicada principle][1] (via one Tim Prebble)&#xD;&#xA;&#xD;&#xA;... aaaaaaand if repetition isn't your thing, try [Notam Mammut][2] ?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designfestival.com/the-cicada-principle-and-why-it-matters-to-web-designers/&#xD;&#xA;  [2]: http://www.notam02.no/web/2005/10/mammut-2/?lang=en" ContentLicense="CC BY-SA 3.0" />
  <row Id="12416" PostHistoryTypeId="2" PostId="7300" RevisionGUID="cae5e910-fb0a-4596-ab05-7e8d746395e5" CreationDate="2011-04-12T23:25:04.623" UserId="930" Text="I'd add a normal kind of 'sucking' sound like a reversed plunger or something similar, and add some kind of electronic sound as well, maybe an automated low-pass filter sweep on a White Noise sample?&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="12417" PostHistoryTypeId="2" PostId="7301" RevisionGUID="6c763c13-e32a-47ee-8d3f-c94fa1ad7deb" CreationDate="2011-04-12T23:54:01.143" UserId="793" Text="Have you got anything you can do Granular synthesis with? I've found that can work quite well with water if you only have a small amount of source material to work with.&#xD;&#xA;&#xD;&#xA;Also adding a little white noise might help, perhaps with a slow-moving LFO on a filter or on the amplitude." ContentLicense="CC BY-SA 3.0" />
  <row Id="12418" PostHistoryTypeId="2" PostId="7302" RevisionGUID="6a1108dc-9b69-4fe1-b3b9-178f5f64e798" CreationDate="2011-04-12T23:59:39.077" UserId="930" Text="Duplicating and cross fading might work depending on how long your audio file is?&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="12419" PostHistoryTypeId="2" PostId="7303" RevisionGUID="db2ad302-480b-4817-b0d6-ae21c4e16377" CreationDate="2011-04-13T02:12:46.020" UserId="728" Text="Just had a quick go at it... very nice game" ContentLicense="CC BY-SA 3.0" />
  <row Id="12420" PostHistoryTypeId="2" PostId="7304" RevisionGUID="6b369615-fc56-4e8e-8351-a8f03395c71a" CreationDate="2011-04-13T03:08:34.563" UserId="845" Text="Waves dashing themselves against rocks, reversed, pitched down, slowed to half and gradually sped up to double as you get closer to the screen. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12421" PostHistoryTypeId="2" PostId="7305" RevisionGUID="4d170d07-6281-44a5-bda9-8eccf0238ca5" CreationDate="2011-04-13T06:16:37.980" UserId="118" Text="Check out GRM Freezing; if set carefully it can create an endless track from only a short source sample." ContentLicense="CC BY-SA 3.0" />
  <row Id="12422" PostHistoryTypeId="2" PostId="7306" RevisionGUID="ede63d74-6306-43d9-b8f3-125d7bc7c65c" CreationDate="2011-04-13T07:00:09.567" UserId="400" Text="If you're on Mac OSX, these are similar to the GRM Tools but free:&#xD;&#xA;&#xD;&#xA;http://www.michaelnorris.info/soundmagicspectral/index.html&#xD;&#xA;&#xD;&#xA;Joe" ContentLicense="CC BY-SA 3.0" />
  <row Id="12423" PostHistoryTypeId="2" PostId="7307" RevisionGUID="36d47065-b395-475c-b29d-a840a53a047b" CreationDate="2011-04-13T07:04:51.153" UserId="845" Text="When working within Story-Space, at what point do you generally begin to move into working on the Non-Diegetic (i.e. the subtextual/emotional) part of the design?  I know that every space, even a literally described one, can carry emotional context with it, but I'm wondering if I shouldn't wait until the scenes are better established before starting to interpret them emotionally. I don't want to jump the gun and marry myself to sounds that end up being misleading or incorrect...&#xD;&#xA;&#xD;&#xA;Thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12424" PostHistoryTypeId="1" PostId="7307" RevisionGUID="36d47065-b395-475c-b29d-a840a53a047b" CreationDate="2011-04-13T07:04:51.153" UserId="845" Text="Starting Points: Diegetic vs. Non-Diegetic" ContentLicense="CC BY-SA 3.0" />
  <row Id="12425" PostHistoryTypeId="3" PostId="7307" RevisionGUID="36d47065-b395-475c-b29d-a840a53a047b" CreationDate="2011-04-13T07:04:51.153" UserId="845" Text="&lt;spaces&gt;&lt;emotional-interpretation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12426" PostHistoryTypeId="2" PostId="7308" RevisionGUID="f5ebc349-2a4c-48bf-b03e-cf8577a3c2aa" CreationDate="2011-04-13T07:49:35.133" UserId="61" Text="Tried and true methods include:&#xD;&#xA;&#xD;&#xA; - Duplicating and crossfading&#xD;&#xA; - Duplicating and reversing&#xD;&#xA; - Combination of the above 2&#xD;&#xA; - Varispeeding to make longer sections,&#xD;&#xA;   then using them as layers underneath&#xD;&#xA;   the original.&#xD;&#xA;&#xD;&#xA;Fancier methods include:&#xD;&#xA;&#xD;&#xA; - PT elastic time&#xD;&#xA; - Paulstretch renders" ContentLicense="CC BY-SA 3.0" />
  <row Id="12427" PostHistoryTypeId="2" PostId="7309" RevisionGUID="14efb5db-326f-4382-9da2-f2c155895aee" CreationDate="2011-04-13T11:05:09.787" UserId="37" Text="Truth be told, Mac gaming lags behind PC gaming, and with development for consoles like Xbox, PS, or Wii, done largely on Windows systems, there is not much middleware of that class available for Mac (although Fmod is now on the Mac too). You will likely be booting up in Windows to do this, so the more resolved you are to the fact, the less the frustration and pain. &#xD;&#xA;&#xD;&#xA;UDK, Wwise and FMod are the three names brought up when discussing game audio. UDK may be old, but the concepts are largely the same, and the fantastic level editor makes it easy to test your concept and/or ideas. Launching Wwise for the first time felt like I was facing a pretty solid wall. The same way you can test ideas in UDK, you can test in Cube/Wwise. &#xD;&#xA;&#xD;&#xA;Quinn (mentioned above) is right in pointing out that the theory and principles remain the same. It is down to the individual developer to implement these in any app (including OSX apps). In case you end up developing your own audio layer, inspiration from these solutions is a great starting point as it would mean you can bring in audio developer(s) and/or sound artists easier than with a proprietary layer that ignores such concepts.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If i'm not wrong at the time iOS/OSX only provide core, &quot;low-level&quot;, tools for sound playback. Console/platform SDKs may provide the necessary software to automate cues, triggers, levels, panning, or DSP features (Nintendo DS can do psychoacoustic wide-stereo!). Middleware like Wwise and Fmod can automate the organisation, processing, and exporting of assets for multiple platforms - very important if a title is released across several platforms. There's an important factor in these solutions channeling the developers and artists into a common workflow, which then easily justifies borrowing concepts from e.g. UDK, Fmod, Wwise, etc.&#xD;&#xA;&#xD;&#xA;Everyone in game audio is aware that UDK is &quot;old&quot;, but you rarely see people complain that the concepts in UDK audio are wrong.. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12428" PostHistoryTypeId="2" PostId="7310" RevisionGUID="7526cb77-17a1-4289-8243-810e0923df17" CreationDate="2011-04-13T11:08:14.710" UserDisplayName="user49" Text="It's all part of the same approach to me ie I follow my instincts (and then evolve the results) as to what the film/scene/moment needs. I've always found the term diegetic to be used by people analyzing films rather than making them (that's not a criticism, just an observation) Surely all parts of the soundtrack carry emotion depending on their context, so for me it's hard/impossible to generalize about. I am stating the obvious but film is a complex art, and each film reveals its meaning/s over time. There is no time too soon or too late to be thinking about the emotional contribution sound can make..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12429" PostHistoryTypeId="2" PostId="7311" RevisionGUID="89d54e29-c934-4919-8575-ca05a5e73c51" CreationDate="2011-04-13T11:33:58.850" UserId="786" Text="I go there right away, I can't help it!&#xD;&#xA;&#xD;&#xA;If I intuitively feel like adding an emotional sound to a scene, it is probably the right emotion for me. It is a starting point for building the emotional sound.&#xD;&#xA;&#xD;&#xA;It may end up sounding differently in the end, in fact it always does, but I need to attack the problem and work with it, in order to understand how the emotion interacts with the film.&#xD;&#xA;&#xD;&#xA;When the director sees my work, he may like it or he may not like it, or he may like some of it. Either way working with sound for films is a collaboration between the sound designer and the director, where the sound designer helps the director complete his vision for the film. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12430" PostHistoryTypeId="2" PostId="7312" RevisionGUID="bdc1cd1c-65dd-41e4-b61f-14b38d625e1a" CreationDate="2011-04-13T14:41:33.747" UserId="338" Text="It depends on how brave and confident you are" ContentLicense="CC BY-SA 3.0" />
  <row Id="12431" PostHistoryTypeId="2" PostId="7313" RevisionGUID="ae5c71d1-598c-4e0e-bda2-99e19eb1fb8c" CreationDate="2011-04-13T15:33:37.767" UserId="578" Text="Apart from all the tips mentioned above, let's not forget a very obvious one: be a gamer! You need to know your industry. So one aspect of that is knowing what's out there in terms of the games. Play as many as you can, old/new/interesting/boring/etcetcetc - although trying to finish them all is probably not the best idea in terms of time management...&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="12432" PostHistoryTypeId="2" PostId="7314" RevisionGUID="ace05c36-8b91-4eff-add5-04181fba2c26" CreationDate="2011-04-13T16:24:50.733" UserId="886" Text="I usually don't start with either.  I'll layer in the most rediculus sound/music possible.  Something that I have no real connection with to the film, put it in no particular order and at random.  Then I do random processing, reversals, etc and watch the film in it's entirety.  After that I remove everything and start from scratch." ContentLicense="CC BY-SA 3.0" />
  <row Id="12433" PostHistoryTypeId="2" PostId="7315" RevisionGUID="2b1eb22b-382c-4b2a-a29b-028ccc2f38a6" CreationDate="2011-04-13T16:29:02.610" UserId="886" Text="Use a mouth!  Actually any kind of reverse can be a suction.  After you reverse, add reverb or fx delay and reverse again!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12434" PostHistoryTypeId="2" PostId="7316" RevisionGUID="249f815d-03da-42e1-8b45-dc4f699cb45d" CreationDate="2011-04-13T21:42:26.317" UserId="393" Text="I'm sure you've noticed, but I've been doing a bit of video editing at my work -- video in Vegas Movie Studio, then audio in Reaper -- and last week I imported my WAVs from Vegas into Reaper and saw those beautiful red marker lines.&#xD;&#xA;&#xD;&#xA;I immediately knew what they were -- I'd been using makers like crazy in Vegas -- and they've made everything SOO much easier.  It's really nice to be able to edit dialogue without having the video open (it saves me a bit of RAM), and to just know where I'm at.&#xD;&#xA;&#xD;&#xA;In any case, I didn't want to ask a question so much as elate how much I now love BWFs." ContentLicense="CC BY-SA 3.0" />
  <row Id="12435" PostHistoryTypeId="1" PostId="7316" RevisionGUID="249f815d-03da-42e1-8b45-dc4f699cb45d" CreationDate="2011-04-13T21:42:26.317" UserId="393" Text="BWF Files -- Why didn't someone tell me about them sooner?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12436" PostHistoryTypeId="3" PostId="7316" RevisionGUID="249f815d-03da-42e1-8b45-dc4f699cb45d" CreationDate="2011-04-13T21:42:26.317" UserId="393" Text="&lt;bwf&gt;&lt;vegas&gt;&lt;reaper&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12437" PostHistoryTypeId="2" PostId="7317" RevisionGUID="da02e7c9-ea43-4d09-b6a1-9ff2b4a8aed4" CreationDate="2011-04-13T22:06:17.927" UserId="979" Text="What does the Badminton World Federation have anything to do with sound design?? ok lame joke... But yeah, super convenient. I'm also really liking Reaper as an alternative DAW to Logic Pro. I just recently started learning about BWF files myself, haven't come across a specific instance where I needed to use them, but at any rate, I figure it's good to know about them.&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="12438" PostHistoryTypeId="2" PostId="7318" RevisionGUID="6f901f1a-9034-4c39-9384-5231539f48a4" CreationDate="2011-04-13T22:10:56.860" UserId="1002" Text="&#xD;&#xA;Hi,&#xD;&#xA;&#xD;&#xA;Let me introduce you to http://audiocatz.com for ADR Loop Group and Character Revoicing.&#xD;&#xA;&#xD;&#xA;Any questions - just drop us an Email&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Vanessa Baker&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12439" PostHistoryTypeId="2" PostId="7319" RevisionGUID="93d2bb2d-f62c-490d-a44a-8354a723253e" CreationDate="2011-04-13T23:23:22.800" UserId="845" Text="Doesn't Pro-Tools use BWF natively?  &#xD;&#xA;&#xD;&#xA;Wait, it's not supposed to sound like that...  &#xD;&#xA;&#xD;&#xA;I just want to know if I can get in on the BWF party." ContentLicense="CC BY-SA 3.0" />
  <row Id="12440" PostHistoryTypeId="2" PostId="7320" RevisionGUID="97b34dd2-3816-4261-ab4c-de827fe68fd9" CreationDate="2011-04-14T01:31:17.793" UserId="338" Text="What would you do if a director keeps flaking on giving you a contract/crew form to get your slice of the pie?&#xD;&#xA;&#xD;&#xA;It's one of my first professional projects.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12441" PostHistoryTypeId="1" PostId="7320" RevisionGUID="97b34dd2-3816-4261-ab4c-de827fe68fd9" CreationDate="2011-04-14T01:31:17.793" UserId="338" Text="No contract flake" ContentLicense="CC BY-SA 3.0" />
  <row Id="12442" PostHistoryTypeId="3" PostId="7320" RevisionGUID="97b34dd2-3816-4261-ab4c-de827fe68fd9" CreationDate="2011-04-14T01:31:17.793" UserId="338" Text="&lt;business&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12443" PostHistoryTypeId="2" PostId="7321" RevisionGUID="aee5095b-c4fb-42ba-8d4c-0dce75f54123" CreationDate="2011-04-14T02:29:03.540" UserId="469" Text="BWF WAVS do rock.  Yes, they work in Pro Tools as well. I enjoy dropping markers in files on my 702t when recording sound effects and keeping a written log for faster editing later.  &#xD;&#xA;&#xD;&#xA;Be careful using .wav files in Final Cut Pro though.  May sound dumb, but I and others have experienced serious freezes and other issues related to .wav files in Final Cut Pro.  I always convert all of my files to .aif before importing them into Final Cut.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="12444" PostHistoryTypeId="2" PostId="7322" RevisionGUID="91119d2f-0fca-4ec3-ba18-079447db2c86" CreationDate="2011-04-14T03:28:22.893" UserId="670" Text="I'm looking to get a new interface and was looking at three options:&#xD;&#xA;&#xD;&#xA; - Mbox 3&#xD;&#xA; - Apogee Duet w/breakout box&#xD;&#xA; - Apogee Duet 2&#xD;&#xA;&#xD;&#xA;I don't have Pro Tools HD so I don't have a need for 192kHz, just 96kHz with quiet preamps with at least 2 XLR inputs and 2 balanced outputs. Does anyone have experience with the first two interfaces? " ContentLicense="CC BY-SA 3.0" />
  <row Id="12445" PostHistoryTypeId="1" PostId="7322" RevisionGUID="91119d2f-0fca-4ec3-ba18-079447db2c86" CreationDate="2011-04-14T03:28:22.893" UserId="670" Text="New audio interface" ContentLicense="CC BY-SA 3.0" />
  <row Id="12446" PostHistoryTypeId="3" PostId="7322" RevisionGUID="91119d2f-0fca-4ec3-ba18-079447db2c86" CreationDate="2011-04-14T03:28:22.893" UserId="670" Text="&lt;audio-interfaces&gt;&lt;pre-amp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12448" PostHistoryTypeId="2" PostId="7324" RevisionGUID="de70334a-5d24-42dd-b925-6db087d59bae" CreationDate="2011-04-14T05:49:31.320" UserDisplayName="user49" Text="Have you started the project yet?&#xD;&#xA;&#xD;&#xA;I rarely get contracts, more often I get a deal memo which is simpler &amp; states the basic terms (project/schedule/rates/payment schedule/overtime rates etc) &#xD;&#xA;&#xD;&#xA;You could always provide your own deal memo and ask them to sign it? &#xD;&#xA;There are plenty of example deal memoes online if you do a search...&#xD;&#xA;&#xD;&#xA;http://www.filmunderground.com/72/Article/NWFS/Deal%20Memos.htm&#xD;&#xA;http://www.trewaudio.com/audioflow/2009/01/22/doing-a-deal&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12449" PostHistoryTypeId="2" PostId="7325" RevisionGUID="513aaa51-80d8-4495-a554-1144310c80a2" CreationDate="2011-04-14T06:37:54.550" UserDisplayName="user6513" Text="But as a recorder, the R16 will only record at 44.1kHz. Which will be slightly out of sync with your footage.&#xD;&#xA;http://www.zoom.co.jp/english/products/r16/&#xD;&#xA;&#xD;&#xA;With Zoom, you will have to go with the R24 to record at 48kHz.&#xD;&#xA;&#xD;&#xA;A good mic with even better booming technique beats lavs mics for me. But it really depends on your application. I love the boom, but there are times when a ridiculous shot is called for and the only way you're gonna record it clean is with a lav. Or... since it's already so wide, there usually isn't any big issues with sync sound, so I just record it wild and edit it in later.&#xD;&#xA;&#xD;&#xA;I concur with Sean that the G3s are a bang for your buck. Lectrosonics are definitely the ones to get, but on a budget, the G3s hold their weight pretty darn well.&#xD;&#xA;&#xD;&#xA;If you're gonna run multicam, with a separate recorder, don't forget about how you're gonna sync them all back up." ContentLicense="CC BY-SA 3.0" />
  <row Id="12450" PostHistoryTypeId="5" PostId="7322" RevisionGUID="61dcc484-dec9-4707-a9eb-ffa010b0378a" CreationDate="2011-04-14T09:26:49.497" UserId="670" Comment="added 25 characters in body" Text="I'm looking to get a new interface and was looking at three options:&#xD;&#xA;&#xD;&#xA; - Mbox 3&#xD;&#xA; - Apogee Duet w/breakout box&#xD;&#xA; - Apogee Duet 2&#xD;&#xA;&#xD;&#xA;I don't have Pro Tools HD so I don't have a need for 192kHz, just 96kHz with quiet preamps with at least 2 XLR inputs and 2 balanced outputs. Does anyone have experience with the first two interfaces? &#xD;&#xA;&#xD;&#xA;Price range: $300-600" ContentLicense="CC BY-SA 3.0" />
  <row Id="12451" PostHistoryTypeId="2" PostId="7326" RevisionGUID="d0fe10ab-35ac-4411-9675-facde19e5393" CreationDate="2011-04-14T09:57:52.317" UserId="6420" Text="Have you considered the new RME Babyface? That looks pretty tasty too! &#xD;&#xA;&#xD;&#xA;Also the Sound Devices USBPre2 looks nice ;)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12453" PostHistoryTypeId="2" PostId="7327" RevisionGUID="44bab745-6ea4-4934-ac7d-bee004bbeb9e" CreationDate="2011-04-14T14:34:45.037" UserId="868" Text="Have you or anyone else looked at the Tascam DR680?  It seems to be in the right price range, and does multitrack recording at 96k.  I am around the same price range as you are, and am looking to upgrade from a laptop based &quot;portable&quot; system, and would like to hear if anyone has any experience with this device. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12454" PostHistoryTypeId="2" PostId="7328" RevisionGUID="e609593a-26c6-4325-bc2f-8705362d2597" CreationDate="2011-04-14T16:25:30.000" UserId="708" Text="There was a comparison done between the new Mbox3 and the Duet at DUC for what it's worth:&#xD;&#xA;&#xD;&#xA;http://duc.avid.com/showthread.php?t=289565&#xD;&#xA;&#xD;&#xA;I am assuming you will be using PT9 as your DAW and that you are on a Mac...&#xD;&#xA;&#xD;&#xA;As @Andy mentioned, I would also check out RME as their drivers are rock-solid and have decent converters/pres" ContentLicense="CC BY-SA 3.0" />
  <row Id="12455" PostHistoryTypeId="2" PostId="7329" RevisionGUID="86d799a3-42ed-41de-a766-3e5f57b792b2" CreationDate="2011-04-14T16:58:53.910" UserId="845" Text="What kind of level do you think would be best for recording sounds outdoors?&#xD;&#xA;Do I want to aim to leave my preamps at unity and then level up in PT if necessary, or record everything as hot as possible at the time?&#xD;&#xA;&#xD;&#xA;I'm going on a recording mission this weekend to a local forest quiet-zone to try and capture some wind and leaves in situ.  I'm currently recording to an H1 and H2, whose preamps are decidedly not the best, so I'd rather not induce any more noise than I have to.  Or will the inherent noise be there no matter what I do, so save the processing time and any potential quality degredation that the Gain and Normalize plugs might cause?&#xD;&#xA;&#xD;&#xA;Thanka much." ContentLicense="CC BY-SA 3.0" />
  <row Id="12456" PostHistoryTypeId="1" PostId="7329" RevisionGUID="86d799a3-42ed-41de-a766-3e5f57b792b2" CreationDate="2011-04-14T16:58:53.910" UserId="845" Text="Outdoor Recording Level Recommendations" ContentLicense="CC BY-SA 3.0" />
  <row Id="12457" PostHistoryTypeId="3" PostId="7329" RevisionGUID="86d799a3-42ed-41de-a766-3e5f57b792b2" CreationDate="2011-04-14T16:58:53.910" UserId="845" Text="&lt;location-recording&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12458" PostHistoryTypeId="2" PostId="7330" RevisionGUID="cdd6b401-abe9-4c64-934c-3413c8ee398f" CreationDate="2011-04-14T17:07:23.667" UserId="310" Text="For me Nuendo is good choice. I recommended this article http://www.boxoftoys.ca/?p=198, where author explain that is absolutely does not matter what sw you choose. But sometimes is necessary to think with whom you going to cooperate." ContentLicense="CC BY-SA 3.0" />
  <row Id="12459" PostHistoryTypeId="2" PostId="7331" RevisionGUID="ba64695c-88db-462b-98cc-663e4c654e42" CreationDate="2011-04-14T17:31:59.883" UserId="61" Text="Not to be a naysayer but I wouldn't expect too much from your H1 or H2 for that type of  recording. As you said, their preamps leave much to be desired and are really not suited for very quiet surroundings like the location you mentioned. You may want to consider using an external mic/mics and preamp, and using the H1/H2 soley as a recorder.&#xD;&#xA;&#xD;&#xA;Regarding the rec levels, that will depend on the preamps you choose, but there's really no reason to push it too high since you'll only be introducing noise and hiss. I always recommend recording at the highest bit/sample rate available to you; this will give you more flexibility when mastering with noise reduction plugs, EQs, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="12460" PostHistoryTypeId="2" PostId="7332" RevisionGUID="baab3ce2-4251-4db1-90a5-55d2dccbe503" CreationDate="2011-04-14T17:35:03.930" UserId="393" Text="What's the purpose of these recordings?  Atmos? Stand-alone recordings that will be the focal point upon playback (lordy, that sounds pretentious when I say it outloud)?  Source material for design?&#xD;&#xA;&#xD;&#xA;Admittedly, my answer is the same for all of the above -- given your setup -- but it may help someone else with more experience answer.&#xD;&#xA;&#xD;&#xA;My suggestion is to record at unity and adjust later in PT.  PT's gain control has got to be better than the gain control on either unit." ContentLicense="CC BY-SA 3.0" />
  <row Id="12461" PostHistoryTypeId="2" PostId="7333" RevisionGUID="ec502d6c-d443-4f86-a539-6d8cab881759" CreationDate="2011-04-14T18:07:17.840" UserId="194" Text="fwiw, part of what's noisy on those recorders are the mics themselves, not just the pres.  Also the headphone amps aren't the cleanest ever, so its difficult to trust your ears wrt how much noise you have going on.&#xD;&#xA;&#xD;&#xA;I'd personally tend to record at 24-bit and look for the sweet spot in the preamp.  You don't have to cut hot generally (despite ric vier's comments on DS), but just find a place where you're not getting waay too much hiss.  &#xD;&#xA;&#xD;&#xA;Also, think about wind protection.  if it gets gusty out there your regular fuzzy may not be enough.  &#xD;&#xA;&#xD;&#xA;Maybe try an experiment if you have enough time.  Roll 5 minutes at what seems like an appropriate level, then jack that sucker up and roll 5 more minutes from the same location.  Re-eval back in the studio later on." ContentLicense="CC BY-SA 3.0" />
  <row Id="12462" PostHistoryTypeId="2" PostId="7334" RevisionGUID="c473a3eb-2a23-47e5-845e-bd2149272617" CreationDate="2011-04-14T18:09:08.373" UserId="132" Text="I have the usbpre2 when I head out on he road and it is rock solid. I actually like the headphone amp better than the Apogee Ensemble I own." ContentLicense="CC BY-SA 3.0" />
  <row Id="12463" PostHistoryTypeId="2" PostId="7335" RevisionGUID="96894223-185b-4187-bf7c-3b63c6721f8f" CreationDate="2011-04-14T18:31:40.897" UserId="18160" Text="If you don't mind and in consideration of other SSD members, please place any information you wish to impart to us regarding NAB 2011 in this thread.&#xD;&#xA;&#xD;&#xA;Thank you very much." ContentLicense="CC BY-SA 3.0" />
  <row Id="12464" PostHistoryTypeId="1" PostId="7335" RevisionGUID="96894223-185b-4187-bf7c-3b63c6721f8f" CreationDate="2011-04-14T18:31:40.897" UserId="18160" Text="NAB 2011 - Findings" ContentLicense="CC BY-SA 3.0" />
  <row Id="12465" PostHistoryTypeId="3" PostId="7335" RevisionGUID="96894223-185b-4187-bf7c-3b63c6721f8f" CreationDate="2011-04-14T18:31:40.897" UserId="18160" Text="&lt;nab&gt;&lt;2011&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12466" PostHistoryTypeId="16" PostId="7335" RevisionGUID="96894223-185b-4187-bf7c-3b63c6721f8f" CreationDate="2011-04-14T18:31:40.897" UserId="18160" />
  <row Id="12467" PostHistoryTypeId="2" PostId="7336" RevisionGUID="6b909805-0352-43e1-812a-def044a78c68" CreationDate="2011-04-14T21:03:06.717" UserId="558" Text="I have used RME for years.  they are set and forget.  I havent dont any A-B testing to say they are the best, but rock solid." ContentLicense="CC BY-SA 3.0" />
  <row Id="12468" PostHistoryTypeId="2" PostId="7337" RevisionGUID="1030df8d-7a96-49d1-a01e-953b54797bf8" CreationDate="2011-04-14T21:23:45.120" UserId="728" Text="I have been recording with H1 for quite some time now... and I have found the quality of the recordings quite impressive if you record at 96/24. I usually check the audition levels first and then set the input level according to the output I get in my cans..generally, I keep them high so that I do not have to normalize or increase gain later on, as that will increase the noise/hiss too.&#xD;&#xA;&#xD;&#xA;Regardless of outdoors or indoors, I make sure to find a sweet spot and direction where the in-built XY stereo-mics will be facing... I have observed this is one of the major factors how good your recordings will sound.&#xD;&#xA;&#xD;&#xA;Experiment with different placements and levels, but always record on 96-kHz/24-bit. Do not feel that the recorder will not give good results just because it is cheap, quite often a good recording practice gives out the best results even with a cheap portable recorder.&#xD;&#xA;&#xD;&#xA;If you are interested, you might want to check my recordings where I have used only Zoom H1 and no post-processing or gain adjustments. http://soundcloud.com/auralscope" ContentLicense="CC BY-SA 3.0" />
  <row Id="12469" PostHistoryTypeId="5" PostId="7337" RevisionGUID="da22c4f6-f037-46da-bd6b-5b085fd31a4e" CreationDate="2011-04-14T21:30:01.643" UserId="728" Comment="added 137 characters in body; deleted 2 characters in body" Text="I have been recording with H1 for quite some time now... and I have found the quality of the recordings quite impressive if you record at 96/24. I usually check the audition levels first and then set the input level according to the output I get in my cans..generally, I keep them high so that I do not have to normalize or increase gain later on, as that will increase the noise/hiss too.&#xD;&#xA;&#xD;&#xA;Regardless of outdoors or indoors, I make sure to find a sweet spot and direction where the in-built XY stereo-mics will be facing... I have observed this is one of the major factors how good your recordings will sound.&#xD;&#xA;&#xD;&#xA;Experiment with different placements and levels, but always record on 96-kHz/24-bit. Do not feel that the recorder will not give good results just because it is cheap, quite often a good recording practice gives out the best results even with a cheap portable recorder.&#xD;&#xA;&#xD;&#xA;If you are interested, you might want to check my recordings where I have used only Zoom H1 and no post-processing or gain adjustments. http://soundcloud.com/auralscope&#xD;&#xA;&#xD;&#xA;Edit: Just linking this recording, as it is more relevant to your question.&#xD;&#xA;&#xD;&#xA;[soundcloud]auralscope/squabbling-birds[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="12470" PostHistoryTypeId="2" PostId="7338" RevisionGUID="501e59d7-a777-4d7a-9410-945e79873956" CreationDate="2011-04-14T21:48:19.693" UserId="1004" Text="Sorry for another newbie thread, guys. I've read other threads with similar questions but couldn't seem to find exactly what I was looking for, so here goes:&#xD;&#xA;&#xD;&#xA;I've wanted to work in film post/sound design/sound fx since I was very young and am now realizing it as a career in my mid 20's. I plan to go to Vancouver Film School's sound program hopefully next year if all works out well, so if any of you are familiar with the program and have any tips or comments, don't hesitate to share. I'd like to eventually work in game audio or television/film sound, but I'm unsure what my next step should be.&#xD;&#xA;&#xD;&#xA;What I've accumulated so far regarding info/gear:&#xD;&#xA;-Sony PCM-M10 recorder&#xD;&#xA;-Ableton Live 8&#xD;&#xA;-M-Audio FastTrack Pro&#xD;&#xA;-A small library of sounds I've recorded, mainly ambiance and nature recordings.&#xD;&#xA;-&quot;Sound Effects Bible&quot; by Ric Viers&#xD;&#xA;-&quot;Foley Grail&quot; by Vanessa Ament&#xD;&#xA;-&quot;Sound Design&quot; by David Sonnenschein&#xD;&#xA;-&quot;Complete Guide to Game Audio&quot; by Aaron Marks&#xD;&#xA;-&quot;Modern Recording Techniques&quot; 7th edition&#xD;&#xA;&#xD;&#xA;I am currently working my way through those books, but am still unaware as to how I go about practicing adding sound to picture. I've just started working with Ableton which is a very fun program, but I'm not sure how or if it can work with video just yet. My recording and mixing skills are still in the beginning phase, so I really need to learn and practice those skills but have little guidance as to how to approach them.&#xD;&#xA;&#xD;&#xA;So I seem to be on the right course, I'm assuming, but other than recording and collecting audio, I seem to be in the dark as to what to do with these sounds. I know Protools is in my future, but I'm trying to work with what I've got for now. &#xD;&#xA;&#xD;&#xA;So what should my next steps be? And how do I practice and develop this skill to prepare myself for a career in audio? &#xD;&#xA;&#xD;&#xA;Any advice you have will be greatly appreciated!&#xD;&#xA;Thank you.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="12471" PostHistoryTypeId="1" PostId="7338" RevisionGUID="501e59d7-a777-4d7a-9410-945e79873956" CreationDate="2011-04-14T21:48:19.693" UserId="1004" Text="Advice for a beginner." ContentLicense="CC BY-SA 3.0" />
  <row Id="12472" PostHistoryTypeId="3" PostId="7338" RevisionGUID="501e59d7-a777-4d7a-9410-945e79873956" CreationDate="2011-04-14T21:48:19.693" UserId="1004" Text="&lt;beginner&gt;&lt;film-school&gt;&lt;ableton&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12473" PostHistoryTypeId="2" PostId="7339" RevisionGUID="9d4b2937-f76d-4d16-bbed-200032b1c785" CreationDate="2011-04-14T22:40:07.877" UserId="6499" Text="Im not a professional, but things I will do for little projects to play around with is either A find a short clip of something and put all the sound to it, or B  I like finding still cgi images of crazy things and then design a minute of so of an audio world to accompany the still image.  Then ill add some kind of event taking place in the world.  The stills method allows me to be a bit more creative because i'm not tied to the picture, I am just using it for a direction to head.&#xD;&#xA;&#xD;&#xA;Deviant Art is a cool place to look for stills.  &#xD;&#xA;&#xD;&#xA;Try only using your own audio that you record for all of them.  It will help you understand how and what to do and not do while recording.  &#xD;&#xA;&#xD;&#xA;Ableton is a fun program I use alot to design crazy effects and things, I still cut to picture in Nuendo and am now teaching myself pro tools, but I always go back to ableton to play around with stuff using my midi keyboard.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12474" PostHistoryTypeId="2" PostId="7340" RevisionGUID="496939f4-07d4-4b2d-8c26-691cdb11f54d" CreationDate="2011-04-15T01:49:51.590" UserId="845" Text="Anybody know what unity would be for the H1 and H2?  I've always just assumed that it was 50, but that could be horribly wrong." ContentLicense="CC BY-SA 3.0" />
  <row Id="12475" PostHistoryTypeId="2" PostId="7341" RevisionGUID="628be25a-bd7c-4877-85cb-58bd4767e326" CreationDate="2011-04-15T03:41:36.477" UserId="18160" Text="Some advice for when you go to Vancouver Film School,&#xD;&#xA;&#xD;&#xA;I have heard a lot of great comments about it,&#xD;&#xA;&#xD;&#xA;but ultimately, you get out of this type of school what you put into it. Ask more questions than any other student. Work as hard as you can and learn as much as you can. It will pay off in the long-run.&#xD;&#xA;&#xD;&#xA;I've seen people pay $30,000 for a school that basically taught him what the book says,&#xD;&#xA;&#xD;&#xA;and I've seen people pay $30,000 for a school and made the teacher teach him more than the other students because he worked hard, asked a lot of questions, made it his purpose to excel and learn as much as he possibly could get out of that school. Because of it he got to work on more projects and meet more contacts and basically get more than his money's worth." ContentLicense="CC BY-SA 3.0" />
  <row Id="12476" PostHistoryTypeId="2" PostId="7342" RevisionGUID="fbe73284-a14f-4131-9ddd-f4396ab5442d" CreationDate="2011-04-15T03:48:49.980" UserId="338" Text="Dude, if you are in your mid20s and you can go to Vancouver Film School, you should thank your lucky stars.  Not everybody out there has a gnarly opportunity like that.  If you can go that far I'd say that worrying is not worth half your time and if you know what you want it shouldn't be hard to get it or go after it." ContentLicense="CC BY-SA 3.0" />
  <row Id="12477" PostHistoryTypeId="2" PostId="7343" RevisionGUID="e732ffb8-552b-4cfc-bf04-ef3b2375fb6f" CreationDate="2011-04-15T03:51:39.837" UserId="338" Text="Recording at different levels is a good idea.  It depends on what you want to record.  How much background noise etc.  You have an advantage of knowing what the material is going to be used for." ContentLicense="CC BY-SA 3.0" />
  <row Id="12478" PostHistoryTypeId="2" PostId="7344" RevisionGUID="b8d2b772-bf27-4da9-8c38-007e67189bed" CreationDate="2011-04-15T05:17:47.557" UserId="893" Text="I'm a post-guy: in 10 years of working on sound, I've never been on set before! But I was lucky enough to be sent on location to do some ADR last week, as an actor was leaving the country and the producers wanted to get as much stuff done as possible to make things simpler down the track (without the need for Dolbyfax/ISDN/Sourceconnect headaches)&#xD;&#xA;&#xD;&#xA;I packed up my laptop (&amp; portable studio), and whilst there had the thought to record some IRs to make the dialogue &amp; foley mixes a little easier. The production was being shot on two different stages, so whilst they were shooting on the first stage, I set up my gear on the second and vice versa, so the set was as quiet as possible.&#xD;&#xA;&#xD;&#xA;To record the IRs, I used a Genelec 8030 to playback the sweep tones, and recorded into a 744 with a few different mics and perspectives. I've been using Altiverb for years now, but never actually recorded my own IRs before, and I was paranoid about the noise on set: generators in the background, buzz from the lights (I did record as often as possible with the lights off), exhaust/extraction fans in the walls. I recorded take after take (or sweep after sweep) trying to get the perfect/cleanest IR.&#xD;&#xA;&#xD;&#xA;I then painstakingly cut the different sweeps and ran them through the preprocessor them (as an aside - the preprocessing/naming process for Altiverb is ABSOLUTELY RIDICULOUS!) to see how they turned out. I was amazed. Nearly every single one turned out great. I had recorded 1 second sweeps, 10 second sweeps, and 30 second sweeps and I expected that I would mostly end up using the 1 &amp; 10 sec sweeps because the noise in the 30 was just too much - but in every case but 2, I ended up using the 30 seconders! The reverbs form the 30 second sweeps were marginally fuller/richer than the shorter sweeps, and the noise that I was so worried about was inaudible.&#xD;&#xA;&#xD;&#xA;And then when I put Altiverb over the ADR tracks, the session literally mixed itself - so much easier than using a stock reverb or preset, and lessened the need for drastic EQing as well. Sure - these reverbs don't sound as good as the factory supplied IRs, but that is not the purpose. The purpose is to make post-recordings match location recordings, and for this they were perfect. I may not end up using these reverbs on later projects, but they are without question invaluable for this specific project.&#xD;&#xA;&#xD;&#xA;In short, I'd strongly recommend recording IRs if you have the chance - if there is a full crew on set, then it might not be possible to get 30 sec sweeps, but if you can record two takes of 10 sec sweeps, it will save you so much messing around later on. (I don't think you need any more than two takes - I recorded upwards of 6 or 7 takes sometimes, and by the time I'd run them through the preprocessor, I couldn't tell the difference. Record two - pick the cleanest in your DAW, and only run the best one through the preprocessor - should be a no brainer)&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12479" PostHistoryTypeId="2" PostId="7345" RevisionGUID="4a35d557-a776-4823-abd2-ca56bb50be05" CreationDate="2011-04-15T05:20:25.937" UserDisplayName="user49" Text="The only two things that have interested me so far are &#xD;&#xA;&#xD;&#xA;the Sound Devices PIX&#xD;&#xA;http://www.sounddevices.com/products/pix.htm&#xD;&#xA;&#xD;&#xA;Sennheiser MKH8060 and MKH8070 microphones&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_studio-recording-mics_mkh-8000_504240&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_wired-microphones_studio-recording-mics_mkh-8000_504241" ContentLicense="CC BY-SA 3.0" />
  <row Id="12480" PostHistoryTypeId="16" PostId="7345" RevisionGUID="4a35d557-a776-4823-abd2-ca56bb50be05" CreationDate="2011-04-15T05:20:25.937" UserId="-1" />
  <row Id="12481" PostHistoryTypeId="2" PostId="7346" RevisionGUID="7c089c70-aa45-401f-9190-16d9b01dab10" CreationDate="2011-04-15T07:11:55.990" UserId="863" Text="Nuendo is fantastic for vo recordings, ADR and foley, the lane set up is brilliant and the easy to use shortcuts allows you to switch between all of them in seconds.&#xD;&#xA;&#xD;&#xA;You can also edit volume and fades instantly, so gives you a chance to do a quick edit for anything you recorded.&#xD;&#xA;&#xD;&#xA;Pro tools is the standard, but it doesn't mean it's the best. I always record in Nuendo and mix/edit in pro tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="12482" PostHistoryTypeId="5" PostId="4219" RevisionGUID="f56b1486-d3ed-4758-8158-cb8834f08567" CreationDate="2011-04-15T11:19:37.780" UserId="578" Comment="deleted 126 characters in body" Text="I've owned the Tascam for a few weeks now. It's my first proper field recorder, and I bought it for similar reasons as why you're interested in it - financially it's a very attractive proposition.&#xD;&#xA;&#xD;&#xA;I did a lot of research before I bought it, and found some data sheets that indicated that the preamps are very quiet, pretty close to Sound Devices 722 in fact. Have a look [here][1] and [here][2]. I also read comments from people on the Yahoo Nature Recordists group, and most were positive. Some people did encounter some issues, mainly with SD cards behaving strangely. I personally did not have this problem so far.&#xD;&#xA;&#xD;&#xA;My personal experiences with it are very positive so far. I like the unit a lot. The sound quality of the preamps seems good to my ears. The operation is straightforward, a few quirks, but nothing that bothers me. I do have a few things that I need to figure out though - I have a clicking noise on preamps 5&amp;6 (at about -60dB) when they're switched to the mic level. I need to work out if this is can be fixed by installing the latest firmware update - stupidly enough I haven't done this yet. Otherwise I may have a faulty unit, it seems - but it's not a fault that stops me from using it, although I will exchange it for a new unit if the problem persists.&#xD;&#xA;&#xD;&#xA;Another thing I've found is that it may be fairly sensitive to interference, perhaps the shielding of the preamps isn't as good as what a Sound Devices might be, but I am not entirely sure of this yet either - need to do more tests, etc.&#xD;&#xA;&#xD;&#xA;All in all, a great device. I can record 6 analogue channels simultaneously in the field and it cost me £700 only (found a good deal). With the 2 additional digital inputs I could do 8 track recordings even... The self noise of the preamps is very low, so I can use it with the quietest microphones available. The metering is a bit iffy, but so far this hasn't been an issue for me. The headphone amp is pretty loud, but noisy. As long as you remind yourself that all that noise doesn't print to the recording, you can live with it. It's small, very portable. Light-weight also.&#xD;&#xA;&#xD;&#xA;Build-quality - well, it's a bit plasticky perhaps, but if you keep it in a good bag/case then that's fine. All in all, this is of course a very, very cheap unit for the amount of inputs you get and the quality of the preamps. So yes, the slightly plastic feel of the unit is one of the trade-offs. Also, the built in limiter and lo cut are useless (not that I want to use either of those in the field anyway) - they're useless cause they're in the digital domain, so yeah pretty pointless really. &#xD;&#xA;&#xD;&#xA;Battery life - get good batteries and a proper charger, and you'll be OK. A friend of mine owns the Tascam as well and he used it last weekends for several hours in a row without the batteries failing him, I think he was using 2 or 3 inputs with phantom power. I haven't done very hardcore tests for the battery life yet, so far I haven't encountered any issues. Swapping the batteries goes easily as well anyway, but yeah that's not necessarily what you want to hear of course...&#xD;&#xA;&#xD;&#xA;I considered the Fostex FR-2LE and Marantz PMD661 as well, because they also have great preamps. However these are stereo units. I figured I rather spend a few hundred pounds more and be able to record 6 channel or more. Clearly, if you want to do more than stereo channel recordings, the only option out there is this Tascam, or big shitloads of money for a Sound Devices, a Deva, and whatnot...&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;Feel free to fire me any questions if you want know more. If it wasn't clear, I'd definitely recommend this device :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;-- Update: &#xD;&#xA;It now also has a M/S matrix, since the latest firmware update.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avisoft.com/recordertests.htm&#xD;&#xA;  [2]: https://pantherfile.uwm.edu/type/www/audio-reports/RecorderList/RecorderList.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="12483" PostHistoryTypeId="2" PostId="7347" RevisionGUID="69f5854e-ba3b-42de-ac95-a198297f7e53" CreationDate="2011-04-15T12:11:42.337" UserId="826" Text="I own the DR-680 for a couple of months now. I'm using it for film work - i use SD 442 mixer with it's direct outs going into the tascam, and i'm very satisfied. I didnt test the preamps standalone, but heard a lot that they are very clean and adequate quality (better than R-44). It accepts a very hot signal with line in, and that was my priority so you get full headroom with external +4 mixers. The built in mixer is very nice and ergonomic too - in the last firmware update you can gang channels together for trimming input gain, panning and mixing levels. There's one knob only, yes, but i find it sufficient as i record iso tracks all the time for post. It even works pretty nice in the bag - i was worried that play stop buttons are on the top, but you can do most of the things without touching the top - for example you can stop recording by hitting pause twice. The only fault i find in this unit that bothers me (except maybe -10dbV line outputs, but i have mixer for that) is software based - you cannot easily change the take number - the unit just counts forward even when you change the filename. Easily solved via software update, i guess. Please tascam :-) If you have any more questions feel free to ask!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12484" PostHistoryTypeId="2" PostId="7348" RevisionGUID="e6f00f06-82fa-45c4-b767-af7886674da3" CreationDate="2011-04-15T16:19:21.253" UserId="178" Text="The only possible way to know for sure is to test.&#xD;&#xA;&#xD;&#xA;I can tell you that when I've done experiments on my own equipment (that is different than what you have), I found that mic preamp noise scaled faster than the signal. In other words, at a certain point, there was a threshold where it was better to just not turn the preamp up past that point and boost the rest digitally.&#xD;&#xA;&#xD;&#xA;Consider recording the same thing a few times first in a controlled environment. Record the same quiet source with different preamp settings. Take note of the settings for each clip. Bring them all into your DAW or sound editor. Boost the sound levels of the quieter clips (either by manually raising the levels or normalizing them), so that the source material has the same apparent volume in each clip. Now, which one sounds the best? Which one has the most noise?&#xD;&#xA;&#xD;&#xA;Once you do this, you will have the answer to your question. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12485" PostHistoryTypeId="5" PostId="7329" RevisionGUID="aacbd144-2ebc-44da-b677-b3d35981f323" CreationDate="2011-04-15T17:28:47.433" UserId="845" Comment="added 243 characters in body" Text="What kind of level do you think would be best for recording sounds outdoors?&#xD;&#xA;Do I want to aim to leave my preamps at unity and then level up in PT if necessary, or record everything as hot as possible at the time?&#xD;&#xA;&#xD;&#xA;I'm going on a recording mission this weekend to a local forest quiet-zone to try and capture some wind and leaves in situ.  I'm currently recording to an H1 and H2, whose preamps are decidedly not the best, so I'd rather not induce any more noise than I have to.  Or will the inherent noise be there no matter what I do, so save the processing time and any potential quality degredation that the Gain and Normalize plugs might cause?&#xD;&#xA;&#xD;&#xA;Thanka much.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA; EDIT:&#xD;&#xA;&#xD;&#xA;Just found this [article about the problem with unity gain][1].  Not all of it applies (or is necessarily comprehensible to non-electronics people), but it's interesting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rane.com/note124.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="12486" PostHistoryTypeId="4" PostId="7338" RevisionGUID="63354304-e6e9-44f5-bbff-ea5c80b77c4b" CreationDate="2011-04-16T02:40:12.660" UserId="1004" Comment="edited title" Text="Advice for a beginner. (I know, I know..)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12487" PostHistoryTypeId="2" PostId="7349" RevisionGUID="21aa0ae4-9aa2-4a36-a7eb-e2da83735982" CreationDate="2011-04-16T05:00:31.280" UserId="18160" Text="So I got a chance to visit an old church today which is over 300,000 square feet total with my recording equipment to poke around and see what I could find to record. Not a soul was on the premises except myself, so I decided to record some ambiences and room tones and at least get a head start on material for the upcoming Hiss and a Roar Room Tone library.&#xD;&#xA;&#xD;&#xA;While recording, I thought of some great tips for recording quiet ambiences which I have not seen written anywhere else (forgive me if it's already been covered on this site or another):&#xD;&#xA;&#xD;&#xA;1. **Don't wear a loud watch.** I was wearing an analog watch today which has a ticking second hand which is not even that loud (unnoticeable when I'm wearing it) but when you boost your mics up to capture that wonderful wafting air in an old stone church, you're going to hear every tick of that darn thing.&#xD;&#xA;&#xD;&#xA;2. **Watch how loud you breathe if you're staying close to your mics.** The slightest whistle of your nose or breath will be amplified to digital 0.&#xD;&#xA;&#xD;&#xA;3. **If you have the chance, get the recorder started and just walk away** and leave for 5 minutes and then come back. I found it hard to be perfectly still and not make a sound while sitting kneeling in gravel or trying to hold a mic up towards something and not have to shift my weight to be more comfortable or twitch my grip or scratch a leg, etc. It's far better to just take yourself out of the equation - especially when capturing quiet sounds. I understand if you are afraid of your setup getting swiped by someone, but try to leave it for a bit. In this case, it would probably be good to bring a headphone extension cable so you can still monitor your recording from afar to make sure a raccoon or something hasn't begun slashing away at your windjammer.&#xD;&#xA;&#xD;&#xA;4. **Take your time to find the right mic placement.** I spent an extra 3 to 5 minutes to find the exact right spot for the mics. I found the perfect placement to get an even spread of my ORTF configuration on both my Schoeps pair and Senn pair - and they each had quite a difference in position to get a similar spread. It is tricky but I wanted to capture an even and not lopsided balance between left and right.&#xD;&#xA;&#xD;&#xA;5. **Traffic is sometimes a good thing to have in the recording.** Sometimes when you're in a house close to a street, it's good to have that wash of traffic outside because some movies will have that situation where you see traffic passing by outside a window and to have a completely dead ambience and trying to low-pass an outside recording of traffic isn't the most realistic sound for it - traffic from an indoors perspective is valuable, too.&#xD;&#xA;&#xD;&#xA;6. **Keep an eye out for holes in the wall or skinnier doors.** Great suppliers of whistles and moans.&#xD;&#xA;&#xD;&#xA;- Funny anecdote from today: I was inside the extremely large chapel and I hear footsteps on the roof start from the back of the chapel al the way to the front and then every so often I hear a footstep or stirring on the roof. They were definitely something human because there was a definite left-right-left-right cadence to them - not like an animal or something. So I go upstairs and make it to the roof and look to see who's up there because I'm already scared out of my wits being alone and all, and lo and behold - no-one was there. Spooky." ContentLicense="CC BY-SA 3.0" />
  <row Id="12488" PostHistoryTypeId="1" PostId="7349" RevisionGUID="21aa0ae4-9aa2-4a36-a7eb-e2da83735982" CreationDate="2011-04-16T05:00:31.280" UserId="18160" Text="Quiet Ambience Recording Tips" ContentLicense="CC BY-SA 3.0" />
  <row Id="12489" PostHistoryTypeId="3" PostId="7349" RevisionGUID="21aa0ae4-9aa2-4a36-a7eb-e2da83735982" CreationDate="2011-04-16T05:00:31.280" UserId="18160" Text="&lt;quiet&gt;&lt;ambience&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12490" PostHistoryTypeId="5" PostId="7349" RevisionGUID="4f577be7-a095-467d-9e76-49fe726bf78d" CreationDate="2011-04-16T05:09:08.610" UserId="18160" Comment="added 583 characters in body" Text="So I got a chance to visit an old church today which is over 300,000 square feet total with my recording equipment to poke around and see what I could find to record. Not a soul was on the premises except myself, so I decided to record some ambiences and room tones and at least get a head start on material for the upcoming Hiss and a Roar Room Tone library.&#xD;&#xA;&#xD;&#xA;While recording, I thought of some great tips for recording quiet ambiences which I have not seen written anywhere else (forgive me if it's already been covered on this site or another):&#xD;&#xA;&#xD;&#xA;1. **Don't wear a loud watch.** I was wearing an analog watch today which has a ticking second hand which is not even that loud (unnoticeable when I'm wearing it) but when you boost your mics up to capture that wonderful wafting air in an old stone church, you're going to hear every tick of that darn thing.&#xD;&#xA;&#xD;&#xA;2. **Watch how loud you breathe if you're staying close to your mics.** The slightest whistle of your nose or breath will be amplified to digital 0.&#xD;&#xA;&#xD;&#xA;3. **If you have the chance, get the recorder started and just walk away** and leave for 5 minutes and then come back. I found it hard to be perfectly still and not make a sound while sitting kneeling in gravel or trying to hold a mic up towards something and not have to shift my weight to be more comfortable or twitch my grip or scratch a leg, etc. It's far better to just take yourself out of the equation - especially when capturing quiet sounds. I understand if you are afraid of your setup getting swiped by someone, but try to leave it for a bit. In this case, it would probably be good to bring a headphone extension cable so you can still monitor your recording from afar to make sure a raccoon or something hasn't begun slashing away at your windjammer.&#xD;&#xA;&#xD;&#xA;4. **Take your time to find the right mic placement.** I spent an extra 3 to 5 minutes to find the exact right spot for the mics. I found the perfect placement to get an even spread of my ORTF configuration on both my Schoeps pair and Senn pair - and they each had quite a difference in position to get a similar spread. It is tricky but I wanted to capture an even and not lopsided balance between left and right.&#xD;&#xA;&#xD;&#xA;5. **Traffic is sometimes a good thing to have in the recording.** Sometimes when you're in a house close to a street, it's good to have that wash of traffic outside because some movies will have that situation where you see traffic passing by outside a window and to have a completely dead ambience and trying to low-pass an outside recording of traffic isn't the most realistic sound for it - traffic from an indoors perspective is valuable, too.&#xD;&#xA;&#xD;&#xA;6. **In addition to the above, if there are any doors or windows, it's great to have that door opening and closing to that outside ambience.** For when a character walks in or leaves, I always find it hard to re-create that phasey ambience that happens when a door opens or closes. I record this by having the door unlatched before I do anything, then open and close the door without making a sound from the door latch or knob, so I get that washy, phasey, shhhhhhwheeeewwhwhhhhh of the outside ambience getting louder and then fading when the door opens and closes respectively.&#xD;&#xA;&#xD;&#xA;7. **Keep an eye out for holes in the wall or skinnier doors.** Great suppliers of whistles and moans.&#xD;&#xA;&#xD;&#xA;- Funny anecdote from today: I was inside the extremely large chapel and I hear footsteps on the roof start from the back of the chapel al the way to the front and then every so often I hear a footstep or stirring on the roof. They were definitely something human because there was a definite left-right-left-right cadence to them - not like an animal or something. So I go upstairs and make it to the roof and look to see who's up there because I'm already scared out of my wits being alone and all, and lo and behold - no-one was there. Spooky." ContentLicense="CC BY-SA 3.0" />
  <row Id="12491" PostHistoryTypeId="5" PostId="7329" RevisionGUID="3d187c71-910d-461f-aebe-e35829703dae" CreationDate="2011-04-16T06:02:21.383" UserId="845" Comment="added 17 characters in body" Text="What kind of level do you think would be best for recording sounds outdoors?&#xD;&#xA;Do I want to aim to leave my preamps at unity and then level up in PT if necessary, or record everything as hot as possible at the time?&#xD;&#xA;&#xD;&#xA;I'm going on a recording mission this weekend to a local forest quiet-zone to try and capture some wind and leaves in situ.  I'm currently recording to an H1 and H2, whose preamps are decidedly not the best, so I'd rather not induce any more noise than I have to.  Or will the inherent noise be there no matter what I do, so save the processing time and any potential quality degredation that the Gain and Normalize plugs might cause?&#xD;&#xA;&#xD;&#xA;Thanka much.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA; EDIT:&#xD;&#xA;&#xD;&#xA;Just found this [article about the problem with unity gain][1].  Not all of it applies (or is necessarily comprehensible to non-electronics people, myself included), but it's interesting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rane.com/note124.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="12492" PostHistoryTypeId="2" PostId="7350" RevisionGUID="41e48496-47b8-42a6-b658-6c53e1cdfb0d" CreationDate="2011-04-16T06:42:41.347" UserId="845" Text="To follow up on @Michael 's post...&#xD;&#xA;&#xD;&#xA;I'm not a professional either, yet. But I went to a recording school called [OIART][1] and while I was there spent my entire last semester designing idents (or stingers, slugs, or spots). really great practice, especially if you don't know anyone in the biz just yet. &#xD;&#xA;&#xD;&#xA;Go to [www.idents.tv][2], watch through all of the videos on mute and pick the 7 to 10 that you find the most visually stimulating. Design them... Twice. If you can, write music for them.  Really try to figure out what the underlying feeling is (pretty chipper for the most part, but that's the stuff I've always found most difficult, creepy is really pretty easy), and build sounds to match. &#xD;&#xA;&#xD;&#xA;The best part of practicing on idents is that they're super short (30 seconds or less, sometimes 10), and they're a lot of achievement with much less effort (I find that just *finishing* something gives me a real boost).  Also, they all have some semblance of the three act structure. Find the climactic moment and make that sound and everything else will fall into place. I find there's a kind of keystone to every design and once you find it the rest is sailing. &#xD;&#xA;&#xD;&#xA;The best best part is that when you look up after a month of super fun not work you'll have a whole stack of increasingly awesomely designed spots to show to people who you want to give you moneys. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://Www.OIART.ca&#xD;&#xA;  [2]: http://Www.idents.tv" ContentLicense="CC BY-SA 3.0" />
  <row Id="12493" PostHistoryTypeId="2" PostId="7351" RevisionGUID="e8c273f4-7c3d-480b-ada8-00f8faf240fd" CreationDate="2011-04-16T17:13:56.957" UserId="29" Text="I couldn't spend too long at NAB, sadly, but I did swing by for a morning and whipped through the exhibitors to get a few first impressions.&#xD;&#xA;&#xD;&#xA;The Sound Devices PIX series are pretty bomber, as one would expect, and perfectly leverages what they've been good at in the past: Bulletproof media capture on solid state devices. I love the modular drive sleds into which you pop an SSD of your choice, as well as an onboard CF slot for immediate backup. Acts as a pass-through and a video scaler, depending on which model you get, and the screen is not unlike that of an iPhone 4. Perhaps not of total interest for most here, but for those of us (like myself and @tim), it represents a great new entry into that market that's priced competitively for how solidly the device is built. And maybe a glimpse into the strategic, industrial-design, and UI-design future for their audio devices..?&#xD;&#xA;&#xD;&#xA;The Zaxcom Nomad looks great, too! It's clearly aimed at production mixers working out of a bag, though - they're not supporting anything more than 96khz. But with a somewhat modular design, it's a slick unit. If you need higher sample rates primarily for multi-channel effects recording, methinks the 788 is still the bee's knees.&#xD;&#xA;&#xD;&#xA;The new MKH8000 series, of course, are supremely interesting. I demoed them just a tad, but didn't try the all-digital ones. On the show floor, there's no way I could really consider them critically. But they're as you'd expect: No surprises. But, that means that they're solid, lightweight, and sound amazing. ;-)&#xD;&#xA;&#xD;&#xA;I chatted about digital microphones with Sanken and DPA representatives; Sanken was noncommittal, but DPA made a resounding statement that they don't think digital mics are in their foreseeable future. I'm certainly not arguing that digital mics are the future, far from it, but with some players moving that way, I thought it'd be interesting to hear what others are planning in terms of their future product lines.&#xD;&#xA;&#xD;&#xA;Possibly the most overlooked on-location production development was a tiny new company in Pasedena, CA called inovativ (spelled correctly, believe it or not). They make AV field carts. But the cool thing is that they're collapsable, shippable, and the designers are all ex- or current mountain bike designers. Their high-end carts have a rear-suspension mountain bike shock *on each wheel*. Insane. Still, great design and the lower-end units would be very mobile for those of us who sometime need field cars but lack the vans or support trucks to carry them into the field.&#xD;&#xA;&#xD;&#xA;I got some drool on the Deca bags shown in Petrol's booth, too. And talk about DSLR support and stabilization rigs, oh, man...the floodgates have opened..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12494" PostHistoryTypeId="16" PostId="7351" RevisionGUID="e8c273f4-7c3d-480b-ada8-00f8faf240fd" CreationDate="2011-04-16T17:13:56.957" UserId="-1" />
  <row Id="12495" PostHistoryTypeId="2" PostId="7352" RevisionGUID="2a652c07-c224-42f2-b4c1-404480b54a9c" CreationDate="2011-04-16T17:22:30.290" UserId="2" Text="NAB was amazing! Got to meet in person many of the peeps I only know online. What a treat. &#xD;&#xA;&#xD;&#xA;**What cool things have I found?** &#xD;&#xA;&#xD;&#xA;1. [MixPre D][1]. Was keen to buy it right there and then, but it's not available for the next few weeks :-( Whats great about it compared to the old one? Mainly, the monitoring LEDs are so much better, and obviously the digital ability. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;2. [Sony MDR 7520][2] headphones. These sound incredible! These headphones do not seem to color the sound at all! These sounded really really awesome! And again, I couldn't buy them cause they aren't officially out yet :-( &#xD;&#xA;&#xD;&#xA;3. As Tim says, I listened to the Sennheiser [MKH8060 and MKH8070][3] mics, and they sounded amazing! &#xD;&#xA;&#xD;&#xA;3. Spoke to the Sennheiser engineer about how noisy the side capsules are on my MKH 418s, and they gave me the reason as to why! Turns out that when they designed the mic, it wasn't created to be decoded in the middle but much more towards the mid. This is why when you decode balanced in the center, the sides end up being so much louder and thus more noiser.  &#xD;&#xA;&#xD;&#xA;4. Happiness. Yes, I found happiness there.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sounddevices.com/products/mixpre-d.htm&#xD;&#xA;  [2]: http://pro.sony.com/bbsc/ssr/cat-audio/cat-headphones/product-MDR7520/&#xD;&#xA;  [3]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/press_releases_110411" ContentLicense="CC BY-SA 3.0" />
  <row Id="12496" PostHistoryTypeId="16" PostId="7352" RevisionGUID="2a652c07-c224-42f2-b4c1-404480b54a9c" CreationDate="2011-04-16T17:22:30.290" UserId="-1" />
  <row Id="12497" PostHistoryTypeId="2" PostId="7353" RevisionGUID="5e1cd8b2-bc26-413a-9227-dd56d2dee389" CreationDate="2011-04-16T17:40:40.127" UserId="444" Text="I Personally love the UADplug-ins.  When I was apprenticing, the studio I was at used them regularly in our mixes.  The Neve's 1081 and 1073 EQ's where almost always used.  The DreamVerb and EMT 180 again where almost always used.  My personal favorite is the Roland RE-201, ALOT of fun to play with. They have plug-ins that emulate old school hardware, like the Fairchild 670, as well.&#xD;&#xA;&#xD;&#xA;I think they sound great, but I think they're focused for 'sound design' in a musical realm.  Are you composing? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12498" PostHistoryTypeId="2" PostId="7354" RevisionGUID="600c4e2d-63e5-4765-8a43-7e3537d60237" CreationDate="2011-04-16T19:55:51.003" UserId="880" Text="Has anyone had a chance to try this mic?&#xD;&#xA;&#xD;&#xA;How does it compare to Rode Nt4. &#xD;&#xA;&#xD;&#xA;Many thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="12499" PostHistoryTypeId="1" PostId="7354" RevisionGUID="600c4e2d-63e5-4765-8a43-7e3537d60237" CreationDate="2011-04-16T19:55:51.003" UserId="880" Text="Audio Technica BP4025 for atmos???" ContentLicense="CC BY-SA 3.0" />
  <row Id="12500" PostHistoryTypeId="3" PostId="7354" RevisionGUID="600c4e2d-63e5-4765-8a43-7e3537d60237" CreationDate="2011-04-16T19:55:51.003" UserId="880" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12501" PostHistoryTypeId="2" PostId="7355" RevisionGUID="7e603529-2bd8-4ee5-a5ef-63bc5fa7c986" CreationDate="2011-04-16T19:57:30.257" UserId="737" Text="Hi! I make a post here because don't know anything about Pro Tools, I'm a Nuendo user, and want to take the next step to Pro Tools, but I don't know this is right or wrong... is Pro Tools LE 8 for post production? without the dv toolkit (it's really far from my budget) or I must stay with Nuendo...&#xD;&#xA;&#xD;&#xA;I'm a student yet... but it's the chance to, in a few months, make the post for a indi movie, and I'm very exited about that...&#xD;&#xA;&#xD;&#xA;Sorry for my english, I'm a spanish talker... &#xD;&#xA;&#xD;&#xA;Enrique" ContentLicense="CC BY-SA 3.0" />
  <row Id="12502" PostHistoryTypeId="1" PostId="7355" RevisionGUID="7e603529-2bd8-4ee5-a5ef-63bc5fa7c986" CreationDate="2011-04-16T19:57:30.257" UserId="737" Text="Help! Pro Tools LE 8 in Sound Post-Production" ContentLicense="CC BY-SA 3.0" />
  <row Id="12503" PostHistoryTypeId="3" PostId="7355" RevisionGUID="7e603529-2bd8-4ee5-a5ef-63bc5fa7c986" CreationDate="2011-04-16T19:57:30.257" UserId="737" Text="&lt;pro&gt;&lt;tools&gt;&lt;dvtoolkit&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12504" PostHistoryTypeId="2" PostId="7356" RevisionGUID="6d59d543-0132-4f5c-8665-bce6ffba638b" CreationDate="2011-04-16T21:12:42.730" UserId="1005" Text="You can work with video in Ableton, all you've got to do is go under your sequencer/timeline view and drag a video in. I will say that as somebody who has done it, Ableton isn't all that great for trying to do sound for film. It's a useful sound design tool, but as far as your actual editing goes, I'd recommend trying to use Nuendo or Pro Tools. Both are kind of expensive, obviously, but I've heard that the shareware Reaper works decently for post as well. &#xD;&#xA;&#xD;&#xA;Books wise, I'd like to add Dialogue Editing for Motion Pictures//John Purcell. Very useful, and his dialogue editing techniques/workflow are in many ways also applicable to FX editing.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12505" PostHistoryTypeId="2" PostId="7357" RevisionGUID="96ce4ae8-3213-4e3b-a7bc-237862380985" CreationDate="2011-04-16T23:02:06.760" UserId="708" Text="I've used PT 8 for post production for small projects. The limitations that I found hampering without the DV Toolkit is the smaller track count  (which I believe is 48 simultaneous voices) and no time code option in the counter (all you get is time with milliseconds and bars/beats), as well as the lack of continuous scrolling. Do you already have PT 8? These options are &quot;unlocked&quot; in PT9 (and you get more tracks, not sure about the scrolling). If you can manage without these functions,  you can still do post prod with PT8 (you may have to juggle tracks)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12506" PostHistoryTypeId="5" PostId="7351" RevisionGUID="1fa02921-54f4-4338-8a0b-87ceef9e50b4" CreationDate="2011-04-17T01:18:23.413" UserId="29" Comment="added 1 characters in body" Text="I couldn't spend too long at NAB, sadly, but I did swing by for a morning and whipped through the exhibitors to get a few first impressions.&#xD;&#xA;&#xD;&#xA;The Sound Devices PIX series are pretty bomber, as one would expect, and perfectly leverages what they've been good at in the past: Bulletproof media capture on solid state devices. I love the modular drive sleds into which you pop an SSD of your choice, as well as an onboard CF slot for immediate backup. Acts as a pass-through and a video scaler, depending on which model you get, and the screen is not unlike that of an iPhone 4. Perhaps not of total interest for most here, but for those of us (like myself and @tim), it represents a great new entry into that market that's priced competitively for how solidly the device is built. And maybe a glimpse into the strategic, industrial-design, and UI-design future for their audio devices..?&#xD;&#xA;&#xD;&#xA;The Zaxcom Nomad looks great, too! It's clearly aimed at production mixers working out of a bag, though - they're not supporting anything more than 96khz. But with a somewhat modular design, it's a slick unit. If you need higher sample rates primarily for multi-channel effects recording, methinks the 788 is still the bee's knees.&#xD;&#xA;&#xD;&#xA;The new MKH8000 series, of course, are supremely interesting. I demoed them just a tad, but didn't try the all-digital ones. On the show floor, there's no way I could really consider them critically. But they're as you'd expect: No surprises. But, that means that they're solid, lightweight, and sound amazing. ;-)&#xD;&#xA;&#xD;&#xA;I chatted about digital microphones with Sanken and DPA representatives; Sanken was noncommittal, but DPA made a resounding statement that they don't think digital mics are in their foreseeable future. I'm certainly not arguing that digital mics are the future, far from it, but with some players moving that way, I thought it'd be interesting to hear what others are planning in terms of their future product lines.&#xD;&#xA;&#xD;&#xA;Possibly the most overlooked on-location production development was a tiny new company in Pasedena, CA called inovativ (spelled correctly, believe it or not). They make AV field carts. But the cool thing is that they're collapsable, shippable, and the designers are all ex- or current mountain bike designers. Their high-end carts have a rear-suspension mountain bike shock *on each wheel*. Insane. Still, great design and the lower-end units would be very mobile for those of us who sometime need field carts but lack the vans or support trucks to carry them into the field.&#xD;&#xA;&#xD;&#xA;I got some drool on the Deca bags shown in Petrol's booth, too. And talk about DSLR support and stabilization rigs, oh, man...the floodgates have opened..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12507" PostHistoryTypeId="2" PostId="7358" RevisionGUID="ed1cf60e-cf88-4e71-b2a6-59b74a8b60ef" CreationDate="2011-04-17T05:09:42.737" UserId="1006" Text="I have had the luck of working in several large, analog rooms stacked with some incredible outboard gear. Many of which now appear as emulations in UAD. &#xD;&#xA;As plugins started coming out, many, many developers would claim to have *finally* made a faithful recreation of, say, the Urei 1176LN. I tried all of them, because I really didn't want to face mixing drums without one. They all sucked. &#xD;&#xA;The moment I tried the UAD version, I was sold. It almost exactly recreates everything you expect from the 1176LN—even the noise!&#xD;&#xA;Same goes for all the plugins I've chosen to purchase: The LA-2A, the Pultec EQs, the SSL bus compressor... have all sounded more or less exactly as I remembered the originals sounding. &#xD;&#xA;And the others: Fairchild 670; Roland Dimension D, Plate 140; Heliios EQ—though I never used the originals—sound so good that I can only assume that they hit the nail on the head on those as well!&#xD;&#xA;Though any powered card like this is going to introduce latency, UAD has minimised this to the degree that I can actually track with a couple UAD plugs on the input (if I wanted to). &#xD;&#xA;&#xD;&#xA;I whole-heartedly recommend this plugin system to anyone. &#xD;&#xA;&#xD;&#xA;Go ahead and [listen to some mixes][1] done with plenty of UAD plugs:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://thedemoking.com/?p=605" ContentLicense="CC BY-SA 3.0" />
  <row Id="12508" PostHistoryTypeId="2" PostId="7359" RevisionGUID="a84c6b59-15d3-4763-811a-f007b5d5c4f0" CreationDate="2011-04-17T06:39:55.100" UserId="845" Text="I've seen a bunch of questions about sound design/engineering education around the board and have looked into most of the recommended schools and programs.  Sadly, most of them seem only to offer courses and curriculum that mirror the school that I went to a few years ago.&#xD;&#xA;&#xD;&#xA;Since then I've been out working on various things in various places and I have learned a ton of stuff and developed chops I never thought I'd have.  But I feel like there is more out there, more to what we do, than I am able to learn working on my own.  I've been studying films and TV, building a library, practicing, but it seems like really slow going.&#xD;&#xA;&#xD;&#xA;I'm looking for a more immersive kind of program focused solely on sound creation, manipulation, and design.  I hate to use the word, but I want something a little more academic.  I've got the basics down, now all I want to do is dig deeper and really figure this thing out.&#xD;&#xA;&#xD;&#xA;The [MSc programme at the University of Edinburgh][1] looks fantastic and I'm waiting on a reply from the director, but thought I'd ask to see if you guys know of anything else that might be similar (or even better).&#xD;&#xA;&#xD;&#xA;Many thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sd.caad.ed.ac.uk/mscsounddesign/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12509" PostHistoryTypeId="1" PostId="7359" RevisionGUID="a84c6b59-15d3-4763-811a-f007b5d5c4f0" CreationDate="2011-04-17T06:39:55.100" UserId="845" Text="Head in the Sand - SD Masters Programs" ContentLicense="CC BY-SA 3.0" />
  <row Id="12510" PostHistoryTypeId="3" PostId="7359" RevisionGUID="a84c6b59-15d3-4763-811a-f007b5d5c4f0" CreationDate="2011-04-17T06:39:55.100" UserId="845" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12511" PostHistoryTypeId="2" PostId="7360" RevisionGUID="5d3e2bdd-ae08-48e4-8b22-bdadba1e2294" CreationDate="2011-04-17T08:18:49.827" UserId="931" Text="I recently went to an open day at the NFTS, check their two year [sound design for film and television][1] course. it sounded like very hands on and practical but it's an MA recognized by the Royal College of Art. Applications close on the 12th of May, and the course itself starts in January 2012.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.nfts.co.uk/courses/sound-design-for-film-and-television" ContentLicense="CC BY-SA 3.0" />
  <row Id="12512" PostHistoryTypeId="2" PostId="7361" RevisionGUID="81f9a2e9-9d3d-4c14-a26a-8d0b8d2c4929" CreationDate="2011-04-17T09:28:31.893" UserId="1007" Text="With regards to game audio, two of my Masters lecturers have just released a 'practical guide to sound and music for interactive games' called 'The Game Audio Tutorial'. It's been written with the aim of getting sound designers and composers thinking about sound from a game perspective and comes with an enormous tutorial level that can be loaded into the (free) Unreal Development Kit game engine software for tinkering. - http://www.thegameaudiotutorial.com/&#xD;&#xA;&#xD;&#xA;I'd also highly recommend Karen Collins' 'Game Sound: an introduction to the History, Theory and Practice of Video Game Music and Sound Design' as a more recent overview of the subject.&#xD;&#xA;&#xD;&#xA;For practising game sound design, there are a few free-for-personal-use game engines out there to download (UDK has the most potential for audio imo). With a bit of patience it won't be long before you're playing around with your own sounds in the supplied example levels. It also wouldn't hurt to try some sound design projects in game audio middleware programs (also free for personal use) such as Fmod and Wwise. Both of these have in-depth tutorials showing the kind of things you can do with them.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12513" PostHistoryTypeId="2" PostId="7362" RevisionGUID="e32dd890-6702-46c0-8231-2df13866a1b4" CreationDate="2011-04-17T10:44:01.667" UserId="6420" Text="I graduated from Bournemouth University with a Masters there in Sound Design late 2008   I think the course has changed slightly since but there was a heavier bias towards theory than somewhere like NFTS. &#xD;&#xA;&#xD;&#xA;http://onlineservices.bournemouth.ac.uk/Courses/Course.aspx?course=1935&amp;name=Sound+Production+for+Film+and+Television &#xD;&#xA;&#xD;&#xA;Theory is all well and good but practical experience is worth more than anything. If I could have I would've done NFTS course too lol had interview lined up for place but thought I'd be broke for life if I did that! :p I've heard lots of good things about it though and as it's a film school you might meet the next 'big thing' director there to carry on any colloborations with ;) dont forget networking your ass off wherever you go!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12514" PostHistoryTypeId="2" PostId="7363" RevisionGUID="af5f0d56-592f-4830-982c-3c517c74d41b" CreationDate="2011-04-17T11:36:52.173" UserId="407" Text="Here in Helsinki we have a masters course for - [Sound in New Media][1] - to my knowledge it is one of the few if not the only masters program to specialize in sound in Europe. The course is run in English and if you are quick you can graduate in around 2 years. It is definitely more academic being a masters, and you'll be given the freedom to follow your own path as you wish.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mlab.taik.fi/studies/master_of_arts/sound_in_new_media/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12515" PostHistoryTypeId="2" PostId="7364" RevisionGUID="5a88609e-b0e7-4652-828d-f7e8aad150af" CreationDate="2011-04-17T14:45:56.450" UserId="1005" Text="I would be sure to mix the radio mics, learn the script beforehand or have one next to you so you can crossfade seemlessly between them as actors pick up their lines. Also, if there are a bunch of background actors doing walla, see if you can have them not do that. This is standard practice, group walla is always looped/cut later. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12516" PostHistoryTypeId="2" PostId="7365" RevisionGUID="62107d74-c213-4c2c-9cde-deede6410cc8" CreationDate="2011-04-17T18:57:29.800" UserId="315" Text="Getting your technical skills up to par is very important and it sounds like you're heading in the right direction.&#xD;&#xA;&#xD;&#xA;My question to you is what are you doing to hone your creative skills? A great author not only knows how to use a typewriter or a pen, but they've read and studied hundreds and hundreds of great books by other authors as well.&#xD;&#xA;&#xD;&#xA;I'd suggest making your way through as many of the best sounding films out there as you can in preparation for your studies. Or playing the best sounding games. It amazing what can be learned from studying/listening/dissecting the work of the great masters. The tools of the trade change over time, but the great sound designers know how to tell stories.&#xD;&#xA;&#xD;&#xA;I'd also suggest field recording as much as possible to build a custom and unique sfx library.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="12517" PostHistoryTypeId="2" PostId="7366" RevisionGUID="fb2b08da-0331-4fcf-92ff-bb73258bd7bb" CreationDate="2011-04-17T18:59:08.237" UserId="786" Text="As you are a student, you should be able to get the cheaper student version of PT9, which is probably identical in features to the full version.&#xD;&#xA;&#xD;&#xA;With PT9 you can do all of the OMF/AAF importing and you also have proper timecode, even without the dv toolkit. You also get 96 audio tracks, which should be enough a lot of projects.&#xD;&#xA;&#xD;&#xA;Whether or not you should make the transition to Pro Tools really depends on the community you are going to work with. Use the same program the others are using, this will make it much easier for you to exchange projects with others, as well as getting jobs in studios.&#xD;&#xA;&#xD;&#xA;In the Danish film business, where I am working, there are roughly 0% Nuendo users and 100% Pro Tools users, so not being able to use Pro Tools would be pretty limiting for getting jobs here." ContentLicense="CC BY-SA 3.0" />
  <row Id="12518" PostHistoryTypeId="5" PostId="7363" RevisionGUID="46ed050d-793f-4509-bd1b-d19c5769420e" CreationDate="2011-04-18T05:14:01.287" UserId="407" Comment="added 14 characters in body" Text="Here in Helsinki we have a masters course for - [Sound in New Media][1] - to my knowledge it is one of the few if not the only masters program to specialize in interactive &#xD;&#xA;sound in Europe. The course is run in English and if you are quick you can graduate in around 2 years. It is definitely more academic being a masters, and you'll be given the freedom to follow your own path as you wish.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mlab.taik.fi/studies/master_of_arts/sound_in_new_media/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12519" PostHistoryTypeId="2" PostId="7367" RevisionGUID="97775433-e6ee-4672-8ca4-0742b44b5840" CreationDate="2011-04-18T07:27:27.950" UserId="1008" Text="I have never had this issue before, but I recorded a session and now it is not letting me bounce it to the desktop or my external (where I normally bounce to).  The error statement it gives me says the requested file size is too large for the file type to support.&#xD;&#xA;I am frustrated and curious as to why this just started happening with this session after almost 2 years of dealing with ProTools 8.&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="12520" PostHistoryTypeId="1" PostId="7367" RevisionGUID="97775433-e6ee-4672-8ca4-0742b44b5840" CreationDate="2011-04-18T07:27:27.950" UserId="1008" Text="Trouble Bouncing a Session :(" ContentLicense="CC BY-SA 3.0" />
  <row Id="12521" PostHistoryTypeId="3" PostId="7367" RevisionGUID="97775433-e6ee-4672-8ca4-0742b44b5840" CreationDate="2011-04-18T07:27:27.950" UserId="1008" Text="&lt;filesize&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12522" PostHistoryTypeId="2" PostId="7368" RevisionGUID="be417e15-2b94-4b66-a1b7-9ff56212840f" CreationDate="2011-04-18T08:50:44.187" UserId="746" Text="Are you using an old format hard drive? FAT32 has limitations on file size." ContentLicense="CC BY-SA 3.0" />
  <row Id="12523" PostHistoryTypeId="2" PostId="7369" RevisionGUID="30c695b3-bd7b-4c16-8aa0-a67f2c171d9a" CreationDate="2011-04-18T14:06:00.227" UserId="2" Text="I want to build myself a dummy head. I found a tutorial: http://digdagga.com/dummy/ using these silicone ears: http://www.binauralears.com/.&#xD;&#xA;&#xD;&#xA;Has anyone tried it? Or has other easier/cheaper options? I want to use the DPA 4060 matched pair to do this, and they are expensive so I don't won't it to be destructive. I really want to be able to insert and take out the mics easily so I can use them in other scenarios too.  &#xD;&#xA;&#xD;&#xA;Thanks for any tips. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12524" PostHistoryTypeId="1" PostId="7369" RevisionGUID="30c695b3-bd7b-4c16-8aa0-a67f2c171d9a" CreationDate="2011-04-18T14:06:00.227" UserId="2" Text="Binaural Dummy Head [DIY]" ContentLicense="CC BY-SA 3.0" />
  <row Id="12525" PostHistoryTypeId="3" PostId="7369" RevisionGUID="30c695b3-bd7b-4c16-8aa0-a67f2c171d9a" CreationDate="2011-04-18T14:06:00.227" UserId="2" Text="&lt;binaural&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12526" PostHistoryTypeId="2" PostId="7370" RevisionGUID="91e47539-b8ce-4694-93bf-032462d96920" CreationDate="2011-04-18T14:42:20.097" UserId="1010" Text="I think you'll get better results with other capsules. I've made checks with the 4060's and not worth for the money. I think you'll get the best results with the Sonic Studios (similar price i think). If you want cheaper options with good image try with Shure WL183 or Sound Professionals. &#xD;&#xA;Best regards.&#xD;&#xA;&#xD;&#xA;Fran" ContentLicense="CC BY-SA 3.0" />
  <row Id="12528" PostHistoryTypeId="2" PostId="7372" RevisionGUID="fd19207f-e342-49d3-8c43-7f1192fa30a2" CreationDate="2011-04-18T14:47:49.007" UserId="931" Text="Agree with Panozkp, is it a fat32 volume? If so you are limited to 4 gb minus 1 byte.&#xD;&#xA;&#xD;&#xA;Also Wav &amp; aiff files have a 4gb (sometimes 2gb) size limit as well. I think this might be your issue, since it does specify that it's too large for the file type.&#xD;&#xA;&#xD;&#xA;What is the sample rate / length / number of channels of your bounce file?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12529" PostHistoryTypeId="2" PostId="7373" RevisionGUID="facfb369-dd51-461a-81c7-a1027cb30fa5" CreationDate="2011-04-18T14:51:32.980" UserId="980" Text="Hi I have posted before about a gun'n'run feature doc in the middle east.  I have decided on a mix/pre with lav and boom, I am still wondering about the H4n as a solid state recorder, the mixpre will output pro line via xlr,  &#xD;&#xA;&#xD;&#xA;what about the H4n is it consumer line level? If so will I need a (In-Line XLR Attenuator Pad -15dB)&#xD;&#xA;&#xD;&#xA;Does the xlr in the H4n only have mic level or will it switch to line?&#xD;&#xA;Or will I need to go from Balanced XLR from the mixpre to unbalanced jack to use line level in the H4n, would this be possible?&#xD;&#xA;&#xD;&#xA;Thankyou in advance&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12530" PostHistoryTypeId="1" PostId="7373" RevisionGUID="facfb369-dd51-461a-81c7-a1027cb30fa5" CreationDate="2011-04-18T14:51:32.980" UserId="980" Text="h4n and sound devices mix/pre" ContentLicense="CC BY-SA 3.0" />
  <row Id="12531" PostHistoryTypeId="3" PostId="7373" RevisionGUID="facfb369-dd51-461a-81c7-a1027cb30fa5" CreationDate="2011-04-18T14:51:32.980" UserId="980" Text="&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12532" PostHistoryTypeId="2" PostId="7374" RevisionGUID="bf27c9f5-d6ed-4511-b1cd-e40d6b574427" CreationDate="2011-04-18T15:03:04.377" UserId="1011" Text="I recorded in [White Sands National Monument][1] once.  It's in New Mexico of course but generally the same area.&#xD;&#xA;&#xD;&#xA;It was completely dead.  Only a few twittering birds in the distance, the occassional airplane flying over and that was it.&#xD;&#xA;&#xD;&#xA;Waited for hours, no substantial change.&#xD;&#xA;&#xD;&#xA;Paul&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/White_Sands_National_Monument" ContentLicense="CC BY-SA 3.0" />
  <row Id="12533" PostHistoryTypeId="2" PostId="7375" RevisionGUID="77266be1-22ba-498c-9396-2a2961132c7a" CreationDate="2011-04-18T15:04:25.187" UserId="1011" Text="I'm usually carrying around something in my messenger bag anyway, so I always throw an H4n in as well.&#xD;&#xA;&#xD;&#xA;Paul" ContentLicense="CC BY-SA 3.0" />
  <row Id="12534" PostHistoryTypeId="2" PostId="7376" RevisionGUID="54915f52-c559-4904-ab27-b5e1b8f983e0" CreationDate="2011-04-18T15:08:05.197" UserId="1011" Text="I'm not directly sure of Blastwave's policy, however...&#xD;&#xA;&#xD;&#xA;I ran/managed sounddogs.com for years, and our policy was &quot;credit is not required but is appreciated&quot;.  I use the same policy on my own site [airbornesound.com][1].&#xD;&#xA;&#xD;&#xA;I have worked with a lot of sound libraries (Soundsnap, sound-effect.com) and this is the generally the attitude they all adopt.&#xD;&#xA;&#xD;&#xA;So I think you'll be safe with no credit at all.&#xD;&#xA;&#xD;&#xA;Paul&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.airbornesound.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12535" PostHistoryTypeId="5" PostId="7370" RevisionGUID="5d3ea3e8-2e51-4076-8709-d53266b54bc0" CreationDate="2011-04-18T15:14:23.907" UserId="2" Comment="combined two answers" Text="I think you'll get better results with other capsules. I've made checks with the 4060's and not worth for the money. I think you'll get the best results with the Sonic Studios (similar price i think). If you want cheaper options with good image try with Shure WL183 or Sound Professionals. &#xD;&#xA;&#xD;&#xA;Also depends on what you want to get, stereo image, good definition, portability... My personal opinion is that is better to have a amazing stereo image than a high-end quality and definition.&#xD;&#xA;&#xD;&#xA;Best regards.&#xD;&#xA;&#xD;&#xA;Fran" ContentLicense="CC BY-SA 3.0" />
  <row Id="12537" PostHistoryTypeId="2" PostId="7377" RevisionGUID="a11c00a3-ac34-4186-9ae7-625a522a2a17" CreationDate="2011-04-18T15:25:13.013" UserId="2" Text="Has anyone used them as a lavalier mic (dialogue, not singing)?  &#xD;&#xA;&#xD;&#xA;The reason I'm keen on these (yes I know they are expensive), is that I can get a matched pair to use as binaural mics and they are great to have in my kit for recording SFX. I like that I can put a high frequency boost grill for when the cloths are a little thick... So although these mics are pricey, I feel that they are versatile, and thus cheaper on the long run.  &#xD;&#xA;&#xD;&#xA;Also, are the 4061s definitely better than the 4060s as a lavalier? The 4061s run less hot than the 4060s. &#xD;&#xA;&#xD;&#xA;Thanks for any advice. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12538" PostHistoryTypeId="1" PostId="7377" RevisionGUID="a11c00a3-ac34-4186-9ae7-625a522a2a17" CreationDate="2011-04-18T15:25:13.013" UserId="2" Text="DPA 4061 as Lavalier? " ContentLicense="CC BY-SA 3.0" />
  <row Id="12539" PostHistoryTypeId="3" PostId="7377" RevisionGUID="a11c00a3-ac34-4186-9ae7-625a522a2a17" CreationDate="2011-04-18T15:25:13.013" UserId="2" Text="&lt;dpa&gt;&lt;lavalier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12540" PostHistoryTypeId="2" PostId="7378" RevisionGUID="94833776-934e-41da-8161-254e135b1ffa" CreationDate="2011-04-18T15:38:02.073" UserId="1011" Text="The H4n manual is a bit confusing about this.  Additionally, there is nothing in the menus that directly specifies a switch from Mic to Line.&#xD;&#xA;&#xD;&#xA;(You can download the manual for the H4n [here][1].)&#xD;&#xA;&#xD;&#xA;According to what I've read (never tried it myself), you will need a pad for pro line level.  Apparently it can only handle consumer line level and not pro line level.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'll reference these other threads on the subject, it's been batted around quite a bit.&#xD;&#xA;&#xD;&#xA;http://www.dvinfo.net/forum/all-things-audio/478727-zoom-h4n-line-input.html&#xD;&#xA;&#xD;&#xA;http://forums.creativecow.net/thread/30/865141&#xD;&#xA;&#xD;&#xA;http://www.martin-doppelbauer.de/fieldrecorder/distortions.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Paul Virostek&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://s3.amazonaws.com/samsontech/related_docs/H4n-manual.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="12541" PostHistoryTypeId="2" PostId="7379" RevisionGUID="a4d829f7-6acd-40a8-9e00-8c1b2c000544" CreationDate="2011-04-18T16:05:25.893" UserId="338" Text="millions of years ago, it sounded like an ocean" ContentLicense="CC BY-SA 3.0" />
  <row Id="12543" PostHistoryTypeId="2" PostId="7380" RevisionGUID="b0e17a26-e5c8-4838-85dd-78948dd271fe" CreationDate="2011-04-18T16:20:16.857" UserId="708" Text="Dan McComb discusses this in quite detail on his website using the H4n and SD Mix Pre&#xD;&#xA;He suggests the Pink Noise -25db attenuation cable to lower the gain going into the H4n (has a nice right angle jack). The discussion is in two parts and ends with an audio comparison. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.danmccomb.com/posts/880/zoom-h4n-with-sound-devices-mixpre-how-to-properly-connect-the-two-for-pristine-audio/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12544" PostHistoryTypeId="2" PostId="7381" RevisionGUID="67b62005-dc64-4a1c-b2d9-bc25daf16a71" CreationDate="2011-04-18T17:19:48.753" UserId="6462" Text="Just to add my view!&#xD;&#xA;If you are getting the MixPre then do you really need a recorder with XLR inputs? Why not consider the Sony PCM-M10 or the PCM-D50. They are superior recorders in every way, the build quality is superb (I have the D50 and it's incredible), they have a very sophisticated limiter which is very good and the battery life is phenomenal! (I am still on my first set of batteries after almost 2 weeks of pretty heavy use!!)&#xD;&#xA;You can also plug the MixPre directly into the line input of the recorder from the tape output, if you do need to reduce the level the recorder has a 20db pad switch built in.&#xD;&#xA;&#xD;&#xA;I did an awful lot of research when I was looking for a portable recorder and for my needs the PDM-D50 was the best choice. If you get the chance to hold the recorders you will feel the quality difference immediately, the moment I held the H4N I knew that I would never buy a Zoom recorder, it's incredibly plasticy and it feels like it will break any second. If you have no backup recorder I would not go for the H4N and look for something that is built from metal.&#xD;&#xA;&#xD;&#xA;Good luck with your project." ContentLicense="CC BY-SA 3.0" />
  <row Id="12545" PostHistoryTypeId="2" PostId="7382" RevisionGUID="96b8493c-aaee-458e-97e7-ea32e37f5fba" CreationDate="2011-04-18T17:31:03.900" UserId="285" Text="Hopefully Colin Hart can chime in on this.  He has a post on his blog from last year recording a train with a DIY dummy head.  http://www.colinhartonline.com/?p=285&#xD;&#xA;&#xD;&#xA;He might have some good dos and don'ts based on his experience.&#xD;&#xA;&#xD;&#xA;Colin?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12546" PostHistoryTypeId="2" PostId="7383" RevisionGUID="0fdd3aa4-8654-420c-84bd-4fd25014df12" CreationDate="2011-04-18T18:27:04.153" UserDisplayName="user49" Text="The term 'better' really depends on the particular use. As I understand it the 4061s are a less sensitive 4060 and are very good for recording loud sound sources (eg placing close to a vehicle exhaust) If you were recording quieter sounds or ambiences then the 4060 would be a better choice... " ContentLicense="CC BY-SA 3.0" />
  <row Id="12547" PostHistoryTypeId="2" PostId="7384" RevisionGUID="efddf7bf-f23e-49d5-9902-6a423145113a" CreationDate="2011-04-18T23:37:58.677" UserId="7811" Text="I recently acquired a BP4025 and love it to bits. It's way ahead of the NT4. The BP4025 is rich, sensitive (low noise) with a very pleasing stereo image. I bought it for a field recording trip to Cambodia and it proved to be ideal for the ambient recording I was using it for.&#xD;&#xA;&#xD;&#xA;My NT4 sounds brittle and harsh by comparison.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12548" PostHistoryTypeId="2" PostId="7385" RevisionGUID="d37ed1fb-1135-48a8-9383-5315b610f17d" CreationDate="2011-04-19T00:25:40.107" UserId="29" Text="I'm preparing for a mic shootout at a local store as I consider which one to buy. Besides bringing one reference mic of my own and my own recorder, I'm also planning on preparing a few spoken phrases and bringing a handful of props to test things like transient handling and frequency response: Finger cymbals, keyring with keys, small drum (open bottom). Is there anything specific that YOU'D bring to such a session to test-drive small-condenser mics for purchase?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12549" PostHistoryTypeId="1" PostId="7385" RevisionGUID="d37ed1fb-1135-48a8-9383-5315b610f17d" CreationDate="2011-04-19T00:25:40.107" UserId="29" Text="Microphone Evaluation Sessions" ContentLicense="CC BY-SA 3.0" />
  <row Id="12550" PostHistoryTypeId="3" PostId="7385" RevisionGUID="d37ed1fb-1135-48a8-9383-5315b610f17d" CreationDate="2011-04-19T00:25:40.107" UserId="29" Text="&lt;microphone&gt;&lt;test&gt;&lt;evaluation&gt;&lt;preparation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12551" PostHistoryTypeId="2" PostId="7386" RevisionGUID="220b8c72-4e0e-42af-bb54-84ecb2dedc26" CreationDate="2011-04-19T00:41:13.477" UserId="315" Text="The 4060s will clip if you're recording a loud source. I've taped mine to loud machinery or an acoustic guitar strummed loud and they'll clip on occasion. But they are fantastic sounding mics and work great for more delicate stuff. I'd go with them over the 4061s, unless you're planning on just recording loud spl stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="12552" PostHistoryTypeId="2" PostId="7387" RevisionGUID="d6d4485a-a681-48cd-b926-6a01afa3da6b" CreationDate="2011-04-19T00:41:33.430" UserId="728" Text="Wine glasses. A simple hit/ting sound can give lots of information regarding the tone, clarity and transient handling. Plus you can also fill the glasses with water to get different pitches. And if you fancy, either have wine or break the glasses (as the final test) after all the tests are carried out." ContentLicense="CC BY-SA 3.0" />
  <row Id="12553" PostHistoryTypeId="2" PostId="7388" RevisionGUID="723caf36-73cb-484b-a6e2-01cbe6edeeee" CreationDate="2011-04-19T01:13:12.477" UserId="194" Text="transient response - a loud bell, and a loud non-resonant piece of wood or metal&#xD;&#xA;axis response - a rain stick.  start on axis and move off while the beads flow.  good approximation of white noise.&#xD;&#xA;other - a balloon.  lots of frequency expressions possible that could reveal interesting characteristics.&#xD;&#xA;&#xD;&#xA;Generally I'd really just roll with your voice though.  speaking, whispering, etc.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12554" PostHistoryTypeId="2" PostId="7389" RevisionGUID="0c860eca-b076-4dcd-ac7d-257c6fd5b512" CreationDate="2011-04-19T01:13:46.280" UserId="18160" Text="Dear Nathan,&#xD;&#xA;&#xD;&#xA;Hey!&#xD;&#xA;&#xD;&#xA;I've done many of these:&#xD;&#xA;&#xD;&#xA;I've tested them on:&#xD;&#xA;&#xD;&#xA;Glass bottle with a stick.&#xD;&#xA;&#xD;&#xA;A small chain.&#xD;&#xA;&#xD;&#xA;Crumpling up a newspaper.&#xD;&#xA;&#xD;&#xA;I'd also bring a signal generator and a small speaker to set the levels exactly the same each time before carrying out a test because the relative levels (if one mic is boosted a bit more than the other) can give a false sense of presence boost or &quot;warmth&quot; which is simply a 3 dB or less difference in level.&#xD;&#xA;&#xD;&#xA;I'd also be ready to take them outside to see how their overall noise rejection sounds.&#xD;&#xA;&#xD;&#xA;I'd also speak into the back of each of the mics to see how much coloration happens to the off-axis pickup.&#xD;&#xA;&#xD;&#xA;I'd also bring a sibilance script - like &quot;Sally sold sea-shells at the sea shore&quot; to get an idea as to how sibilant or smooth it is relatively.&#xD;&#xA;&#xD;&#xA;Just some ideas." ContentLicense="CC BY-SA 3.0" />
  <row Id="12555" PostHistoryTypeId="5" PostId="7389" RevisionGUID="ba372647-2c66-4ad7-82d6-484be220df35" CreationDate="2011-04-19T01:20:44.980" UserId="18160" Comment="added 173 characters in body" Text="Dear Nathan,&#xD;&#xA;&#xD;&#xA;Hey!&#xD;&#xA;&#xD;&#xA;I've done many of these:&#xD;&#xA;&#xD;&#xA;I've tested them on:&#xD;&#xA;&#xD;&#xA;Glass bottle with a stick.&#xD;&#xA;&#xD;&#xA;A small chain.&#xD;&#xA;&#xD;&#xA;Crumpling up a newspaper or plastic bag, or even a small chip bag.&#xD;&#xA;&#xD;&#xA;I'd also bring a signal generator and a small speaker to set the levels exactly the same each time before carrying out a test because the relative levels (if one mic is boosted a bit more than the other) can give a false sense of presence boost or &quot;warmth&quot; which is simply a 3 dB or less difference in level.&#xD;&#xA;&#xD;&#xA;I'd also be ready to take them outside to see how their overall noise rejection sounds.&#xD;&#xA;&#xD;&#xA;I'd also speak into the back of each of the mics to see how much coloration happens to the off-axis pickup.&#xD;&#xA;&#xD;&#xA;I'd also bring a sibilance script - like &quot;Sally sold sea-shells at the sea shore&quot; to get an idea as to how sibilant or smooth it is relatively.&#xD;&#xA;&#xD;&#xA;And, I would do a plosive check if you plan on using it on voice. Some mics are way more susceptible and it's good to know that.&#xD;&#xA;&#xD;&#xA;Just some ideas." ContentLicense="CC BY-SA 3.0" />
  <row Id="12556" PostHistoryTypeId="5" PostId="7389" RevisionGUID="541e520a-bedc-45a3-bc74-b033346a0373" CreationDate="2011-04-19T01:29:00.143" UserId="18160" Comment="added 308 characters in body" Text="Dear Nathan,&#xD;&#xA;&#xD;&#xA;Hey!&#xD;&#xA;&#xD;&#xA;I've done many of these:&#xD;&#xA;&#xD;&#xA;I've tested them on:&#xD;&#xA;&#xD;&#xA;Glass bottle with a stick.&#xD;&#xA;&#xD;&#xA;A small chain.&#xD;&#xA;&#xD;&#xA;Crumpling up a newspaper or plastic bag, or even a small chip bag.&#xD;&#xA;&#xD;&#xA;I'd also bring a signal generator and a small speaker to set the levels exactly the same each time before carrying out a test because the relative levels (if one mic is boosted a bit more than the other) can give a false sense of presence boost or &quot;warmth&quot; which is simply a 3 dB or less difference in level.&#xD;&#xA;&#xD;&#xA;I'd also be ready to take them outside to see how their overall noise rejection sounds.&#xD;&#xA;&#xD;&#xA;I'd also speak into the back of each of the mics to see how much coloration happens to the off-axis pickup.&#xD;&#xA;&#xD;&#xA;I'd also bring a sibilance script - like &quot;Sally sold sea-shells at the sea shore&quot; to get an idea as to how sibilant or smooth it is relatively.&#xD;&#xA;&#xD;&#xA;And, I would do a plosive check if you plan on using it on voice. Some mics are way more susceptible and it's good to know that.&#xD;&#xA;&#xD;&#xA;But, ultimately, I'd just play around with it and walk around and see how it sounds in the headphones and see what you think of it - it's weight, it's size, it's directionality. Just see how it reacts at different distances to the source and off-axis and choose what sounds the best to you!&#xD;&#xA;&#xD;&#xA;Just some ideas.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12557" PostHistoryTypeId="2" PostId="7390" RevisionGUID="834f521d-7a10-4872-a928-ffa421b15bc1" CreationDate="2011-04-19T02:32:48.010" UserId="132" Text="The 4060s are definitely more sensitive than the 4061 and handle a little less SPL.  That said, I used the DPA 4060s when recording my rocket library and they did pretty damn well." ContentLicense="CC BY-SA 3.0" />
  <row Id="12558" PostHistoryTypeId="2" PostId="7391" RevisionGUID="add57c5f-6ede-4e01-8931-661769ed458c" CreationDate="2011-04-19T06:39:21.277" UserId="786" Text="The 4060 is the perfect lav in my opinion. The 4061 is good as well, though you'll have to gain it more, but it has a very low noise floor, so you'll be fine on most occasions. Normally I would use the 4060 for dialogue and switch to the 4061 for loud surroundings / shouting. Be sure to get a couple of the concealers to go with the mics, if you want to use them as lavs, it is a very good solution to the common problem of cloth noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="12559" PostHistoryTypeId="2" PostId="7392" RevisionGUID="ff05b99a-e463-43e3-bc92-3ae01be0ca65" CreationDate="2011-04-19T09:31:24.067" UserId="142" Text="The 4060 is in no way inferior to the 4061. Many highly regarded nature recordists use a stereo pair of 4060s for ambience with great results, the 4061s would not be as suitable for this use. The only time I would go for a 4061 would be in fairly or very loud conditions." ContentLicense="CC BY-SA 3.0" />
  <row Id="12560" PostHistoryTypeId="2" PostId="7393" RevisionGUID="66599b8d-f4bc-4d84-898b-9c6f79927e30" CreationDate="2011-04-19T12:46:53.053" UserId="826" Text="DPA's 4060 and 4061 are THE lavaliers. Sometimes they record too much :-) Eg, when the source sounds bad it will be very truthful, so - bad :-) But otherwise, great quality. You get what you pay for. And you can easily use them with 48V adaptors for music recording  (google ONNO SCHOLTZE)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12561" PostHistoryTypeId="2" PostId="7394" RevisionGUID="cebb75af-6bf7-4d44-b935-33263e510b22" CreationDate="2011-04-19T16:12:21.590" UserId="244" Text="hmm i think that the majority of people have not been to the Arizona desert so you could design from a blank canvas and most wouldn't question it. &#xD;&#xA;I dont live too far from the Nullabor desert (Western Australia) and it doesn't make an incredible amount of sound, but at different times of the day/night the dynamics of the sound changes. Morning you hear lots of birds of numerous kinds.. Nighttime you mostly hear mosquitos, wind through the bush,, up close you can hear lizards/skinks etc.. scuttling about the place. Its very calming, but also eerie, depending on your perspective of design." ContentLicense="CC BY-SA 3.0" />
  <row Id="12562" PostHistoryTypeId="2" PostId="7395" RevisionGUID="a0e1c968-60fa-46a0-95b1-7f0789c3a38d" CreationDate="2011-04-19T16:53:37.677" UserId="954" Text="The D50 is a great recorder but how are you syncing to picture ? if you don't sync to video you probably don't need a shot gun I use the D50 with NY4 and NT 3 and it is fantastic. David  [http://www.freshcutsoundeffects.com][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freshcutsoundeffects.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="12563" PostHistoryTypeId="5" PostId="7389" RevisionGUID="7958b7e8-9e82-4e01-96c0-f8ab3ef14022" CreationDate="2011-04-19T20:12:46.180" UserId="18160" Comment="deleted 444 characters in body" Text="Dear Nathan,&#xD;&#xA;&#xD;&#xA;Hey!&#xD;&#xA;&#xD;&#xA;I've done many of these:&#xD;&#xA;&#xD;&#xA;I've tested them on:&#xD;&#xA;&#xD;&#xA;Glass bottle with a stick.&#xD;&#xA;&#xD;&#xA;A small chain.&#xD;&#xA;&#xD;&#xA;Crumpling up a newspaper or plastic bag, or even a small chip bag.&#xD;&#xA;&#xD;&#xA;I'd also be ready to take them outside to see how their overall noise rejection sounds.&#xD;&#xA;&#xD;&#xA;I'd also speak into the back of each of the mics to see how much coloration happens to the off-axis pickup.&#xD;&#xA;&#xD;&#xA;I'd also bring a sibilance script - like &quot;Sally sold sea-shells at the sea shore&quot; to get an idea as to how sibilant or smooth it is relatively.&#xD;&#xA;&#xD;&#xA;But, ultimately, I'd just play around with it and walk around and see how it sounds in the headphones and see what you think of it - it's weight, it's size, it's directionality. Just see how it reacts at different distances to the source and off-axis and choose what sounds the best to you!&#xD;&#xA;&#xD;&#xA;Just some ideas.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12564" PostHistoryTypeId="2" PostId="7396" RevisionGUID="69f076fc-8101-4179-bfc2-cdd0939ea872" CreationDate="2011-04-20T00:54:11.013" UserId="432" Text="i don't know what size the drum you're going to bring is, but you might want to bring something that will generate some low-end frequencies. maybe an empty water cooler jug?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12565" PostHistoryTypeId="2" PostId="7397" RevisionGUID="56f7379d-8065-41a8-8f96-897e97236ea7" CreationDate="2011-04-20T04:11:28.343" UserId="845" Text="Rubber bands are a favourite of mine when playing with friends' toys, especially stereo mics.  The big, fat, blue ones.  Stretch one out and pluck it against your chin, high-end snap + low end res." ContentLicense="CC BY-SA 3.0" />
  <row Id="12566" PostHistoryTypeId="2" PostId="7398" RevisionGUID="23f085d9-9af3-4bec-b3f4-f56a11208907" CreationDate="2011-04-20T04:24:40.160" UserId="338" Text="Does anybody use midi controllers for sound design?&#xD;&#xA;&#xD;&#xA;More specifically does anybody use a monome?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12567" PostHistoryTypeId="1" PostId="7398" RevisionGUID="23f085d9-9af3-4bec-b3f4-f56a11208907" CreationDate="2011-04-20T04:24:40.160" UserId="338" Text="Midi controllers/ more specifically, a monome--open ended question" ContentLicense="CC BY-SA 3.0" />
  <row Id="12568" PostHistoryTypeId="3" PostId="7398" RevisionGUID="23f085d9-9af3-4bec-b3f4-f56a11208907" CreationDate="2011-04-20T04:24:40.160" UserId="338" Text="&lt;techniques&gt;&lt;war&gt;&lt;strategy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12569" PostHistoryTypeId="2" PostId="7399" RevisionGUID="d8a98b57-c757-4a72-86dc-3f1dc65cb878" CreationDate="2011-04-20T04:30:55.347" UserId="393" Text="It's not your traditional sound design, but the guy over at [SeeYouInSleep][1] uses one all the time.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://seeyouinsleep.com/blog/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12570" PostHistoryTypeId="2" PostId="7400" RevisionGUID="da0c6ffb-5871-4d3d-a6ea-05be1a1e6c28" CreationDate="2011-04-20T04:34:30.677" UserId="338" Text="Can someone explain what happens technically when you use multiple instances of stereo widening?&#xD;&#xA;&#xD;&#xA;     After you throw one imager on the track, it widens it to an extent.  After you throw three more on, it strips the sound a little bit.&#xD;&#xA;&#xD;&#xA;What is actually happening?&#xD;&#xA;&#xD;&#xA;Is there a limit to how wide it can go?  &#xD;&#xA;&#xD;&#xA;How do we make things sound infinitely wide?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12571" PostHistoryTypeId="1" PostId="7400" RevisionGUID="da0c6ffb-5871-4d3d-a6ea-05be1a1e6c28" CreationDate="2011-04-20T04:34:30.677" UserId="338" Text="Can someone explain what happens technically when you use multiple instances of stereo widening?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12572" PostHistoryTypeId="3" PostId="7400" RevisionGUID="da0c6ffb-5871-4d3d-a6ea-05be1a1e6c28" CreationDate="2011-04-20T04:34:30.677" UserId="338" Text="&lt;super&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12573" PostHistoryTypeId="2" PostId="7401" RevisionGUID="366782b5-e672-4a80-9076-4333390de487" CreationDate="2011-04-20T04:48:16.497" UserId="18160" Text="Some people say a closely matched pair (consecutive serial numbers ideally) is the best possible way to record in stereo.&#xD;&#xA;&#xD;&#xA;Others say the difference in capsules (i.e., unmatched pairs) is important to achieve a good stereo spread.&#xD;&#xA;&#xD;&#xA;What is true for you, and why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12574" PostHistoryTypeId="1" PostId="7401" RevisionGUID="366782b5-e672-4a80-9076-4333390de487" CreationDate="2011-04-20T04:48:16.497" UserId="18160" Text="Matched or Unmatched?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12575" PostHistoryTypeId="3" PostId="7401" RevisionGUID="366782b5-e672-4a80-9076-4333390de487" CreationDate="2011-04-20T04:48:16.497" UserId="18160" Text="&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12576" PostHistoryTypeId="2" PostId="7402" RevisionGUID="5dcbbc55-8f15-41b7-a4f4-2237dc07ff06" CreationDate="2011-04-20T05:44:20.453" UserId="338" Text="for interesting use of the stereo field, I thought I'd point out this song….&#xD;&#xA;http://www.youtube.com/watch?v=GPVT8vrX8XQ&amp;feature=related&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12577" PostHistoryTypeId="2" PostId="7403" RevisionGUID="f880dce9-5936-41f1-a823-c90826ce6bde" CreationDate="2011-04-20T06:03:56.207" UserId="845" Text="Well, if my unmatched ears are any indication, I'd say that functionally speaking the difference is negligible.  The stereo image in my head does me well enough.  It's kind of like debating the difference between Duracell and Energizer batteries in guitar pedals.  I'm sure there is a difference, but only if you *know* there's a difference..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12578" PostHistoryTypeId="2" PostId="7404" RevisionGUID="a8f15be5-f631-496b-b6a8-ad2796d89950" CreationDate="2011-04-20T06:08:20.920" UserId="396" Text="I record and edit a lot of short to medium length VO, however the opportunity's come up to look in to doing some slightly longer form productions - specifically, podcasts of about 20 minutes in length.&#xD;&#xA;&#xD;&#xA;I'm wondering if people would have any general workflow-related advice, for a scripted, magazine-style dialogue piece of this length?&#xD;&#xA;&#xD;&#xA;Also, what kind of amount of time would you allow for recording and editing a 20 minute episode?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12579" PostHistoryTypeId="1" PostId="7404" RevisionGUID="a8f15be5-f631-496b-b6a8-ad2796d89950" CreationDate="2011-04-20T06:08:20.920" UserId="396" Text="Podcasting considerations" ContentLicense="CC BY-SA 3.0" />
  <row Id="12580" PostHistoryTypeId="3" PostId="7404" RevisionGUID="a8f15be5-f631-496b-b6a8-ad2796d89950" CreationDate="2011-04-20T06:08:20.920" UserId="396" Text="&lt;podcasts&gt;&lt;radio&gt;&lt;voice-over&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12584" PostHistoryTypeId="2" PostId="7406" RevisionGUID="71f8f687-0272-4513-a948-dbee89883d98" CreationDate="2011-04-20T06:25:23.697" UserId="396" Text="If the aim is to capture as 'true' a stereo image as possible, my preference would be for a matched pair, to avoid uneven colouration which could subtly affect the imaging.&#xD;&#xA;&#xD;&#xA;This would be particularly true for e.g. classical music recording. For recording in more unpredictable situations I would probably be a bit less concerned. I'm taking as a given that you do mean mics of the same make/model?&#xD;&#xA;&#xD;&#xA;I would say that mic technique - spacing, angle, positioning etc is a much more important factor in getting a good stereo spread." ContentLicense="CC BY-SA 3.0" />
  <row Id="12585" PostHistoryTypeId="2" PostId="7407" RevisionGUID="46ad0f48-5363-423d-a2b1-5eec2da4bc5a" CreationDate="2011-04-20T07:03:52.257" UserId="18" Text="I think that a matched pair was a bigger deal years ago when things were handmade and there were not as many machines in the process.  Today, even if a mic is assembled by hand, all of the major parts are built to spec by machines.  &#xD;&#xA;&#xD;&#xA;At least with decent mics, I think you'd be hard pressed to tell much of a difference between two of the same model built around the same time.  My Sennheiser MKH800's are not matched, I can't tell them apart.  Might be a different story with the cheaper mics, since their QC can at times be less than ideal." ContentLicense="CC BY-SA 3.0" />
  <row Id="12586" PostHistoryTypeId="2" PostId="7408" RevisionGUID="ded1a6e6-f4ff-46e2-b721-3d1b3a9a6588" CreationDate="2011-04-20T08:04:21.653" UserDisplayName="user49" Text="What are you recording with your matched or unmatched pair of mics?&#xD;&#xA;That has the most influence on whether matched or not mics matter.... ie context&#xD;&#xA;&#xD;&#xA;If it was a pristine stereo image of a stunning performer playing a beautiful instrument that you were after, a matched pair might be essential.... But if its two discrete variations/extreme stereo of a sound source then matchedness might be irrelevant...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12587" PostHistoryTypeId="2" PostId="7409" RevisionGUID="fd00adb6-22c9-47dd-9600-27e02fbe6d67" CreationDate="2011-04-20T08:34:54.250" UserId="786" Text="When you widen a stereo sound, you usually increase the amount of out-of-phase information in the sound. These are the differences between the right and the left channel. The max amount of processing is when the two channels are completely out of phase, which doesn't sound wide but just gives the eerie feeling of not being able to locate the source of the sound. Out-of-phase audio cancels itself in mono." ContentLicense="CC BY-SA 3.0" />
  <row Id="12588" PostHistoryTypeId="2" PostId="7410" RevisionGUID="f86c543d-25ca-4487-afce-c9b96beeeee5" CreationDate="2011-04-20T09:33:12.880" UserId="1014" Text="Hi,&#xD;&#xA;&#xD;&#xA;sometimes when I listen to some library demos I notice deep and powerful reverbs, especially on hit and impacts. I would mind if those sounds are delivered dry or with reverbs.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="12589" PostHistoryTypeId="1" PostId="7410" RevisionGUID="f86c543d-25ca-4487-afce-c9b96beeeee5" CreationDate="2011-04-20T09:33:12.880" UserId="1014" Text="Reverbs in sound effects library" ContentLicense="CC BY-SA 3.0" />
  <row Id="12590" PostHistoryTypeId="3" PostId="7410" RevisionGUID="f86c543d-25ca-4487-afce-c9b96beeeee5" CreationDate="2011-04-20T09:33:12.880" UserId="1014" Text="&lt;reverb&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12591" PostHistoryTypeId="2" PostId="7411" RevisionGUID="5eb8fc3a-7a50-4759-9bea-e8829402986d" CreationDate="2011-04-20T10:34:29.753" UserId="863" Text="ok I will try to remember" ContentLicense="CC BY-SA 3.0" />
  <row Id="12592" PostHistoryTypeId="2" PostId="7412" RevisionGUID="b4c4dcbb-243c-49cb-b5e3-9a1a419f547d" CreationDate="2011-04-20T13:05:11.013" UserId="1011" Text="Great point, Luca.  I personally avoid any processing and let the editor/designer decide what is appropriate.&#xD;&#xA;&#xD;&#xA;I wonder what the community prefers regarding reverb and compression?  Add reverb and compression?  Leave it out?  Should a library supply two versions - processed and dry?&#xD;&#xA;&#xD;&#xA;Paul Virostek" ContentLicense="CC BY-SA 3.0" />
  <row Id="12593" PostHistoryTypeId="2" PostId="7413" RevisionGUID="e8358f0a-dfdd-4a6e-be15-b476ba36197e" CreationDate="2011-04-20T13:24:01.717" UserId="194" Text="[Boom library][1] tends to produce sfx packages with both raw elements (labeld construction kits) and fully processed and layered sounds (labeled designed).&#xD;&#xA;&#xD;&#xA;I personally think this is a good approach, since sometimes the immediacy of having a fully designed sound already put together is appropriate given certain budgets and timelines, and other times you really want the base elements so you can build something fresh and tailored.&#xD;&#xA;&#xD;&#xA;Also, I'll note that in many of the sounds that I personally end up using when building hits and impacts the raw elements are actually recorded in a reverberant space, so there's that.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.boomlibrary.com/index.php?option=com_content&amp;view=article&amp;id=5" ContentLicense="CC BY-SA 3.0" />
  <row Id="12594" PostHistoryTypeId="2" PostId="7414" RevisionGUID="feedf20a-c5c2-4b60-8be5-f2da54c2221d" CreationDate="2011-04-20T13:37:38.020" UserId="393" Text="Sound libraries released for film editors (with little to no audio skill) tend to be fully processed and designed.  It's possible that's what you're working with." ContentLicense="CC BY-SA 3.0" />
  <row Id="12595" PostHistoryTypeId="2" PostId="7415" RevisionGUID="1307000b-81eb-4d53-ac56-483fca0ea9fc" CreationDate="2011-04-20T16:27:21.533" UserId="817" Text="I had the opportunity to listen to recordings made on matched schoeps a while back and I remember the recordings sounding beautiful, but it was so long ago I don't remember what the recordings were of. I do remember the sound of recordings I made 5 years ago of a cello, flute and guitar being performed in a large 6 foot tall, 50 or so foot long colvert that went under a back country road near the Sandia Mountains just north of Albuquerque, NM. &#xD;&#xA;&#xD;&#xA;I set up two AKG C-451B condensers (Serial #: 22793 &amp; 22869); unmatched) approximately 5 feet into the colvert, the cellist about 15 feet deeper into the colvert, and the flautist (or Flutist; which ever you prefer)/guitarist another 20 feet deeper (using distance to create a natural mix presence). The stereo image was pretty well intact and balanced (both image wise and sonically). As you all know microphones capture everything, especially the things our minds tend to neglect when listening bare. At first I thought my levels were overloaded because of a strange sound that made me think the recording was distorting, then I realized the sound was a result of dry hairs on the cellist's bow scraping harshly along the steel strings of the cello. I asked the cellist to put more rosin on his bow. Unfortunately he forgot to pack his rosin that morning. &#xD;&#xA;&#xD;&#xA;The recordings were a mixture of some very beautiful soft passages played in a largo and andante tempo, then moving quickly into moments of allegro and vivace, which caused the scratching of the bow; thus killing the moment for me. I don't think a matched pair would have made any difference in helping this session. Fortunately it was just for fun, not money; and the recordings were for private use of the cellist and his friend, the flautist/guitarist.&#xD;&#xA;&#xD;&#xA;If I was hired to record an ensemble for real I would probably set up a matched pair of schoeps or another microphone similar in quality just for the heck of it. But as Chuck Russom mentioned, I don't think it would matter much with todays technology. I'd also consider setting up a 5.1 array just to give the ensemble the option to be ready for a surround release...and charge a bit more.&#xD;&#xA;&#xD;&#xA;If your purpose for creating a stereo pair is solely for ambience recording, then a matched pair is not necessary. Tim Prebble makes a great point above, and when you watch his videos and listen to his recordings, you see that his approach is simple, using varied microphones, yet his work is stunning.&#xD;&#xA;&#xD;&#xA;E. Santiago" ContentLicense="CC BY-SA 3.0" />
  <row Id="12596" PostHistoryTypeId="2" PostId="7416" RevisionGUID="e6cfb1ca-e653-4d64-af1e-3b4a95942393" CreationDate="2011-04-20T16:59:47.563" UserId="886" Text="stereo images are outdated techniques" ContentLicense="CC BY-SA 3.0" />
  <row Id="12597" PostHistoryTypeId="2" PostId="7417" RevisionGUID="1245d838-154e-482b-ae98-06d2171745fa" CreationDate="2011-04-20T17:01:23.537" UserId="886" Text="I used to like sound ideas before i developed the ear for all the wierd subliminal sounsd in there and now it's half useless because the sounds aren't raw but are a creation by sound ideas sound designers.  my friend jessica is coming out with a library soon that should have what we are all looking for." ContentLicense="CC BY-SA 3.0" />
  <row Id="12598" PostHistoryTypeId="2" PostId="7418" RevisionGUID="d4e5c527-d119-4804-855d-426c7a144e38" CreationDate="2011-04-20T17:03:41.817" UserId="886" Text="i can't explain it.  i think the sound gets deleted though once it reaches a certain point on the end points of the speaker cones" ContentLicense="CC BY-SA 3.0" />
  <row Id="12599" PostHistoryTypeId="2" PostId="7419" RevisionGUID="91814670-6e0a-4dab-af29-c0077e8c893c" CreationDate="2011-04-20T17:04:59.100" UserId="886" Text="monomes are for music and you should never use them or any other midi controllers in sound ediiting" ContentLicense="CC BY-SA 3.0" />
  <row Id="12600" PostHistoryTypeId="2" PostId="7420" RevisionGUID="012b93ec-98c4-4c26-81ea-d8ec5a603e35" CreationDate="2011-04-20T17:56:35.823" UserId="194" Text="**This is tagged as a community wiki.**&#xD;&#xA;&#xD;&#xA;What I'd like to collect here is a compilation of the best websites for *individual companies* you know of.  Something of a gold standard.  The reason is to define a list of best-in-class company websites out there that our companies can look to for guidance and inspiration as we continue to develop our own websites.&#xD;&#xA;&#xD;&#xA;I'd also like to define this list **away from the boutique sfx sales websites**, as I feel those probably deserve their own thread/lists and they need to perform different functions.&#xD;&#xA;&#xD;&#xA;Finally, I'd like to specifically **exclude** blogs.  Again, those serve a different purpose and probably deserve their own list.&#xD;&#xA;&#xD;&#xA;With those restrictions in mind, anything else goes on this list.  Websites from graphic design companies, architecture firms, film editing companies, audio production companies, and any other industry are completely fair game.  &#xD;&#xA;&#xD;&#xA;Also, if you can please rate the websites you link to on a scale of 1-5 for the following:&#xD;&#xA;&#xD;&#xA; - speed&#xD;&#xA; - navigation/layout&#xD;&#xA; - mobile compatibility&#xD;&#xA; - style&#xD;&#xA; - content&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;&#xD;&#xA;so to recap:  &#xD;&#xA;&#xD;&#xA; - no mediocre websites, only the best.&#xD;&#xA; - no blogs.   &#xD;&#xA; - no shopping based websites.&#xD;&#xA; - please rate on above criteria and offer any other comments.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12601" PostHistoryTypeId="1" PostId="7420" RevisionGUID="012b93ec-98c4-4c26-81ea-d8ec5a603e35" CreationDate="2011-04-20T17:56:35.823" UserId="194" Text="produciton company websites: best of" ContentLicense="CC BY-SA 3.0" />
  <row Id="12602" PostHistoryTypeId="3" PostId="7420" RevisionGUID="012b93ec-98c4-4c26-81ea-d8ec5a603e35" CreationDate="2011-04-20T17:56:35.823" UserId="194" Text="&lt;websites&gt;&lt;design&gt;&lt;marketing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12603" PostHistoryTypeId="16" PostId="7420" RevisionGUID="012b93ec-98c4-4c26-81ea-d8ec5a603e35" CreationDate="2011-04-20T17:56:35.823" UserId="194" />
  <row Id="12604" PostHistoryTypeId="2" PostId="7421" RevisionGUID="f699a359-8430-4bf1-9f5b-d1894d85f87d" CreationDate="2011-04-20T19:24:19.600" UserId="578" Text="Figure out the fundamental Hz of your car sounds (hoping you got fairly steady engine or exhaust loops - forget it if you're working with drive bys) and mix in synthesized tones of the same pitch. This is, for technical reasons, probably more applicable to games than anything else though..&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12605" PostHistoryTypeId="2" PostId="7422" RevisionGUID="d3ce0f42-9b33-47a5-a49a-1f0c2b56ea23" CreationDate="2011-04-20T19:41:18.963" UserId="886" Text="well anybody who is still working as a stereo person is pulling the world down because technology is changing and we need people to think a little differently so go ahead and vote me down but I'm up." ContentLicense="CC BY-SA 3.0" />
  <row Id="12606" PostHistoryTypeId="5" PostId="7416" RevisionGUID="f0b39c2a-7721-4610-a71f-90d0176a1767" CreationDate="2011-04-20T20:40:51.690" UserId="219" Comment="corrected spelling" Text="Stereo images are outdated techniques." ContentLicense="CC BY-SA 3.0" />
  <row Id="12607" PostHistoryTypeId="2" PostId="7423" RevisionGUID="7c689671-3a6a-4a52-91cc-a936805d0140" CreationDate="2011-04-20T20:40:52.720" UserId="845" Text="I use midi for standard stuff like filter sweeps and granulation control.  The monome is an interesting idea.  You could definitely use it to augment ambiences/drones in a more linear/musical kind of way and keep in time with the score (if there is one)." ContentLicense="CC BY-SA 3.0" />
  <row Id="12608" PostHistoryTypeId="5" PostId="7422" RevisionGUID="145b7260-dd40-4a9c-ade6-1bd9342a4785" CreationDate="2011-04-20T20:42:15.770" UserId="219" Comment="added 1 characters in body" Text="Well, anybody who is still working as a stereo person is pulling the world down because technology is changing and we need people to think a little differently so go ahead and vote me down but I'm up." ContentLicense="CC BY-SA 3.0" />
  <row Id="12609" PostHistoryTypeId="2" PostId="7424" RevisionGUID="c38d554b-548c-4e58-a7f1-963cb10d7351" CreationDate="2011-04-20T21:00:11.317" UserId="845" Text="Anybody know what kind of algorithms/applications they use for this?  Cuz I'm on hold right now and whenever the music overloads the system there's this wicked pink noise distortion that takes over the entire signal.  I want to use it on everything." ContentLicense="CC BY-SA 3.0" />
  <row Id="12610" PostHistoryTypeId="1" PostId="7424" RevisionGUID="c38d554b-548c-4e58-a7f1-963cb10d7351" CreationDate="2011-04-20T21:00:11.317" UserId="845" Text="On Hold Audio/Data Compression" ContentLicense="CC BY-SA 3.0" />
  <row Id="12611" PostHistoryTypeId="3" PostId="7424" RevisionGUID="c38d554b-548c-4e58-a7f1-963cb10d7351" CreationDate="2011-04-20T21:00:11.317" UserId="845" Text="&lt;distortion&gt;&lt;compression-algorithm&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12612" PostHistoryTypeId="2" PostId="7425" RevisionGUID="c9149a2f-8569-40b3-a7c7-697b961590a0" CreationDate="2011-04-20T21:41:52.077" UserId="728" Text="In India, when I was recording localization IVRs, they used A-law 8-bit/8-kHz. I am not sure whether it is the international standard for telecom services. I am sure Europe is A-law algorithm as well and Northern America has u-law (Mu-Law) algorithm." ContentLicense="CC BY-SA 3.0" />
  <row Id="12614" PostHistoryTypeId="2" PostId="7426" RevisionGUID="0c05d44a-e5e3-4cf7-9903-a007d206fd47" CreationDate="2011-04-21T00:08:47.970" UserId="61" Text="Distortion can be very useful in this regard. Most car recordings are very clean and need to be messed-up a bit to become believable. Experiment with varying degrees of distortion and see what sticks - each car and each situation will be different. Also, as mentioned before, bass enhancers like LoAir and Rbass are great for adding that nice meaty bottom. And when you're all done with those processes, finish it off with some limiting and see where you end up." ContentLicense="CC BY-SA 3.0" />
  <row Id="12616" PostHistoryTypeId="2" PostId="7428" RevisionGUID="094f4886-293e-4198-8928-c4485ed57378" CreationDate="2011-04-21T03:47:47.773" UserId="393" Text="Don't be afraid to add some hot rod to your mix... and if you want it to sound vicious, a growl of some sort will blend nicely." ContentLicense="CC BY-SA 3.0" />
  <row Id="12617" PostHistoryTypeId="2" PostId="7429" RevisionGUID="2ca7cc93-d8b6-4437-ac04-eedd12dbf891" CreationDate="2011-04-21T04:07:20.687" UserId="845" Text="Ssssssshhhhhheeeeeeeeooooooooowwww. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12618" PostHistoryTypeId="2" PostId="7430" RevisionGUID="f1108ae8-ac27-4232-a004-06f3c6ec0b37" CreationDate="2011-04-21T05:13:03.527" UserId="29" Text="Interesting timing: I just spent a week in the desert on the California-Arizona border. &#xD;&#xA;&#xD;&#xA;You didn't mention time of year or day, which are big factors. If there are any flowers in bloom (spring), bees will be everywhere. Mornings will definitely have birdsong. Depends on the altitude, too, and terrain; there'll be *some* life everywhere unless, as stated before, it's dunes, but that's rare terrain. Frogs and crickets you'll hear mostly at night, near water and non-succulent plants, respectively, both of which can be scarce. (Make no mistake, the smallest water-filled hole can scream with frogsong after dark.) Raptors inhabit both open and mountainous desert terrain, including owls, and ravens are also common (stay away from that DAMN HAWK! :-p). Coyotes at night for sure. Lizards will often make all sorts of skittery movement sounds as humans (or any threats) approach. And, of course, wind in the bushes, and the scouring of wind-borne sand when things get really blustery (especially across roads). &#xD;&#xA;&#xD;&#xA;Don't forget to keep altitude in mind; Arizona has quite a lot of variation in the height of its terrain!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12619" PostHistoryTypeId="2" PostId="7431" RevisionGUID="dd02408b-5d9f-4e0f-9335-bdcbeb3b0e04" CreationDate="2011-04-21T06:23:11.983" UserId="338" Text="Anybody have an insight?&#xD;&#xA;&#xD;&#xA;Very little fx, little mixing? little ambience?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="12620" PostHistoryTypeId="1" PostId="7431" RevisionGUID="dd02408b-5d9f-4e0f-9335-bdcbeb3b0e04" CreationDate="2011-04-21T06:23:11.983" UserId="338" Text="Sound for a mockumentary genre " ContentLicense="CC BY-SA 3.0" />
  <row Id="12621" PostHistoryTypeId="3" PostId="7431" RevisionGUID="dd02408b-5d9f-4e0f-9335-bdcbeb3b0e04" CreationDate="2011-04-21T06:23:11.983" UserId="338" Text="&lt;genre&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12622" PostHistoryTypeId="2" PostId="7432" RevisionGUID="91e3f807-682c-4bdd-a3e0-79f450819fc8" CreationDate="2011-04-21T06:30:24.013" UserId="845" Text="What object or device makes this sound?&#xD;&#xA;&#xD;&#xA;Mrouw-ouw-ouw-ouw-ouw-ouw-mmmmmmmmm" ContentLicense="CC BY-SA 3.0" />
  <row Id="12623" PostHistoryTypeId="1" PostId="7432" RevisionGUID="91e3f807-682c-4bdd-a3e0-79f450819fc8" CreationDate="2011-04-21T06:30:24.013" UserId="845" Text="Onomatopoeia Charades #1" ContentLicense="CC BY-SA 3.0" />
  <row Id="12624" PostHistoryTypeId="3" PostId="7432" RevisionGUID="91e3f807-682c-4bdd-a3e0-79f450819fc8" CreationDate="2011-04-21T06:30:24.013" UserId="845" Text="&lt;onomatopoeia-charades&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12625" PostHistoryTypeId="2" PostId="7433" RevisionGUID="bfcc026f-bab9-4367-aac9-e114891126e7" CreationDate="2011-04-21T06:35:31.140" UserId="845" Text="What style of doc is it mocking?&#xD;&#xA;&#xD;&#xA;I'd say that you would want to be very heavy handed. Super-dramatic ambiences and over the top transitions. Gigantic piano/synth hits when something important happens.&#xD;&#xA;&#xD;&#xA;Oh, and reverse everything.  Very dramatic. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12626" PostHistoryTypeId="2" PostId="7434" RevisionGUID="a4e0e6c7-e626-4820-9fae-6d26c101529c" CreationDate="2011-04-21T06:36:22.897" UserId="219" Text="A bee hive driving off?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12627" PostHistoryTypeId="2" PostId="7435" RevisionGUID="7045b070-585a-4b04-8dab-cec37c20dd8c" CreationDate="2011-04-21T06:55:18.467" UserId="6524" Text="I know a lot of people would want some recordings of the Muslim Prayers from a Mosque so I recorded one a couple of days ago, just so you know its not a super duper fantastical recording cause it was one on a H4n on my cousins apartment terrace, (I'll try to get better ones one day) but anyway its like 9mins and 300mb and I can't upload it and share it like I usually do on Soundcloud cause my internet is too slow, and even when I do that I need to upload then in mp3. What other alternatives are out there that I could use? I've used dropbox before but I don't think it would be any faster.&#xD;&#xA;&#xD;&#xA;Here's something for you if you want it, its in .mp3 though:&#xD;&#xA;[soundcloud]stephensaldanha/sets/indian-cricket-fans/[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="12628" PostHistoryTypeId="1" PostId="7435" RevisionGUID="7045b070-585a-4b04-8dab-cec37c20dd8c" CreationDate="2011-04-21T06:55:18.467" UserId="6524" Text="What do you use to upload big files on? (For Slower Internet Connections)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12629" PostHistoryTypeId="3" PostId="7435" RevisionGUID="7045b070-585a-4b04-8dab-cec37c20dd8c" CreationDate="2011-04-21T06:55:18.467" UserId="6524" Text="&lt;big&gt;&lt;sfx&gt;&lt;file&gt;&lt;indians&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12630" PostHistoryTypeId="5" PostId="7435" RevisionGUID="3c988e9c-6fb4-4085-868a-85a83059856d" CreationDate="2011-04-21T07:02:48.813" UserId="6524" Comment="added 10 characters in body" Text="I know a lot of people would want some recordings of the Muslim Prayers from a Mosque so I recorded one a couple of days ago, just so you know its not a super duper fantastical recording cause it was one on a H4n on my cousins apartment terrace, (I'll try to get better ones one day) but anyway its like 9mins and 300mb and I can't upload it and share it like I usually do on Soundcloud cause my internet is too slow (512kbps), and even when I do that I need to upload then in mp3. What other alternatives are out there that I could use? I've used dropbox before but I don't think it would be any faster.&#xD;&#xA;&#xD;&#xA;Here's something for you if you want it, its in .mp3 though:&#xD;&#xA;[soundcloud]stephensaldanha/sets/indian-cricket-fans/[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="12631" PostHistoryTypeId="2" PostId="7436" RevisionGUID="a2c2f96b-833c-44bd-8546-ff9481eb4121" CreationDate="2011-04-21T07:04:17.530" UserId="786" Text="That must be the Easter Bunny" ContentLicense="CC BY-SA 3.0" />
  <row Id="12632" PostHistoryTypeId="2" PostId="7437" RevisionGUID="d52ddfc5-8209-41e2-901a-303faa39105d" CreationDate="2011-04-21T09:37:14.210" UserId="103" Text="Sounds like a light saber turning on and then a slow swing" ContentLicense="CC BY-SA 3.0" />
  <row Id="12637" PostHistoryTypeId="2" PostId="7439" RevisionGUID="44bdb2a7-ea7c-4fac-a4cc-41df30c54f66" CreationDate="2011-04-21T09:43:52.763" UserId="863" Text="www.wetransfer.com is great, no pop up ads or codes that you need to put in to download, no queues either. Just pretty advertisement while your file downloads at max speeds.&#xD;&#xA;&#xD;&#xA;Lovely! :) and a 2gb limit." ContentLicense="CC BY-SA 3.0" />
  <row Id="12638" PostHistoryTypeId="2" PostId="7440" RevisionGUID="f8271e60-39c7-40a0-8383-44f72642eab2" CreationDate="2011-04-21T10:29:21.697" UserId="823" Text="I'm going to go for a 1998 Honda Civic starting from cold." ContentLicense="CC BY-SA 3.0" />
  <row Id="12639" PostHistoryTypeId="5" PostId="7435" RevisionGUID="73afe582-38bc-4e70-9a03-738f57088605" CreationDate="2011-04-21T11:30:44.163" UserId="6524" Comment="added 43 characters in body; edited tags; added 33 characters in body" Text="I know a lot of people would want some recordings of the Muslim Prayers from a Mosque so I recorded one a couple of days ago, just so you know its not a super duper fantastical recording cause it was one on a H4n on my cousins apartment terrace, (I'll try to get better ones one day) but anyway its like 9mins and 300mb and I can't upload it and share it like I usually do on Soundcloud cause my internet is too slow (512kbps), and even when I do that I need to upload then in mp3. What other alternatives are out there that I could use? I've used dropbox before but I don't think it would be any faster.&#xD;&#xA;&#xD;&#xA;Here's the recording its in .mp3 though, if you like it and want it I'll edit out all the silent bits and send it do you in 96k 24bit:&#xD;&#xA;[soundcloud]stephensaldanha/arabic-mosque-muslim-prayer[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="12640" PostHistoryTypeId="6" PostId="7435" RevisionGUID="73afe582-38bc-4e70-9a03-738f57088605" CreationDate="2011-04-21T11:30:44.163" UserId="6524" Comment="added 43 characters in body; edited tags; added 33 characters in body" Text="&lt;big&gt;&lt;files&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12641" PostHistoryTypeId="2" PostId="7441" RevisionGUID="eede6c6d-3ad8-4c69-8f76-06930aa74e88" CreationDate="2011-04-21T12:45:19.023" UserId="348" Text="Does any one know any web sites that have a good glossary of definitions of audio terms? I am looking for a definition for POV sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="12642" PostHistoryTypeId="1" PostId="7441" RevisionGUID="eede6c6d-3ad8-4c69-8f76-06930aa74e88" CreationDate="2011-04-21T12:45:19.023" UserId="348" Text="POV Definition." ContentLicense="CC BY-SA 3.0" />
  <row Id="12643" PostHistoryTypeId="3" PostId="7441" RevisionGUID="eede6c6d-3ad8-4c69-8f76-06930aa74e88" CreationDate="2011-04-21T12:45:19.023" UserId="348" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12644" PostHistoryTypeId="2" PostId="7442" RevisionGUID="b00b13d9-e711-4e87-8277-7de7c15e3b7d" CreationDate="2011-04-21T13:17:03.813" UserId="393" Text="http://www.filmsound.org/terminology.htm&#xD;&#xA;&#xD;&#xA;But there's nothing there for POV." ContentLicense="CC BY-SA 3.0" />
  <row Id="12645" PostHistoryTypeId="2" PostId="7443" RevisionGUID="e845f939-e563-4e19-9231-9b578e3a0b8a" CreationDate="2011-04-21T13:18:00.817" UserId="393" Text="ge.tt&#xD;&#xA;&#xD;&#xA;No limit, files are available to download immediately (though it means people wait with unfinished downloads while you upload), and it's five characters long." ContentLicense="CC BY-SA 3.0" />
  <row Id="12646" PostHistoryTypeId="2" PostId="7444" RevisionGUID="d089ebc9-30d1-4149-a49f-bc4897a12f85" CreationDate="2011-04-21T13:19:28.990" UserId="393" Text="Lots of wind in your microphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="12647" PostHistoryTypeId="2" PostId="7445" RevisionGUID="663f8bae-ff74-4b16-809c-2f98f3c0e914" CreationDate="2011-04-21T13:25:54.743" UserId="1014" Text="maybe a didjeridoo?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12648" PostHistoryTypeId="2" PostId="7446" RevisionGUID="e8cfa1b4-2afd-4e6a-861d-547fb035c9e4" CreationDate="2011-04-21T13:28:53.193" UserId="234" Text="POV sound is Point Of View sound... in other words, the sound as heard by a specific character. An example would be where a character has just been near an explosion and everything is muffled and we hear the ringing in his/her ears. Another common example would be when one character is talking to another and person being talked to &quot;zones out&quot; and the character talking becomes muffled, or very distant or completely silent. Often followed by a sudden return to &quot;real&quot; sound. One of the most famous POV sound situations  is the Predator, from any of the Predator Movies. &#xD;&#xA;&#xD;&#xA;POV sound often involves removing rather than adding things." ContentLicense="CC BY-SA 3.0" />
  <row Id="12649" PostHistoryTypeId="2" PostId="7447" RevisionGUID="d83e2d2e-e7d7-4787-817a-79a95f9e14a0" CreationDate="2011-04-21T13:52:57.460" UserId="830" Text="If you are not to concerned with time, then I recommend Dropbox. Great way to collaborate and share files without the need to do lots of emailing and external websites, etc. It also keeps backups incase you remove a file accidentally, therefore not needing to reupload." ContentLicense="CC BY-SA 3.0" />
  <row Id="12650" PostHistoryTypeId="2" PostId="7448" RevisionGUID="7d610090-2485-40ef-ae1f-6419db3155af" CreationDate="2011-04-21T14:06:17.967" UserId="830" Text="Hi All,&#xD;&#xA;&#xD;&#xA;I am looking at doing some M-S recording for some of the live shows I produce for audience reactions. This isn't dependant on a camera as most of the audio is generally used in podcasting and radio formats.&#xD;&#xA;&#xD;&#xA;The plan is that I will use a omni for the mid channel, a figure 8 in the side channel which is fairly standard. Then also mix in wireless handhelds in mono from the presenters that will be wondering around the audience (think about the audience in a circle). The whole thing will be done to a stereo file, not separate channels.&#xD;&#xA;&#xD;&#xA;Will having the handhelds directly put into the mix screw up the M-S recording? My logic says no, and the stereo image should be fine and collapse to mono without any issue. Am I missing anything here?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12651" PostHistoryTypeId="1" PostId="7448" RevisionGUID="7d610090-2485-40ef-ae1f-6419db3155af" CreationDate="2011-04-21T14:06:17.967" UserId="830" Text="M-S Matrix Recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="12652" PostHistoryTypeId="3" PostId="7448" RevisionGUID="7d610090-2485-40ef-ae1f-6419db3155af" CreationDate="2011-04-21T14:06:17.967" UserId="830" Text="&lt;mid-side&gt;&lt;audience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12653" PostHistoryTypeId="2" PostId="7449" RevisionGUID="2d1fa908-665f-49a1-a1a3-bb8cb22bb35f" CreationDate="2011-04-21T14:21:03.853" UserId="182" Text="If you're recording the decoded M-S tracks as stereo, and add the handhelds in dead center there will be no problems with the mix, and mono-compatibility will be retained.&#xD;&#xA;&#xD;&#xA;I don't know if it is an option, but you could think about recording the M-S channels without decoding, and adding the handhelds to the M-channel. That way you have control over the stereo image of the audience afterwards, while the handhelds will remain in the center no matter what you do." ContentLicense="CC BY-SA 3.0" />
  <row Id="12654" PostHistoryTypeId="2" PostId="7450" RevisionGUID="c81990c6-cf24-4eb3-9dfa-f31bef7b04ea" CreationDate="2011-04-21T14:30:06.473" UserDisplayName="user80" Text="There should not be amy problems if you decode the m/s before adding the extra voice channels.&#xD;&#xA;&#xD;&#xA;However there will be the normal phase problems if the presenter ever comes close to the m/s mics and his or her voice is picked up by both.  The general rule for radio is if the mics are close try and only have one open mic at a time. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12656" PostHistoryTypeId="2" PostId="7451" RevisionGUID="4888a982-0bb5-4d40-98ee-fd1f66c66788" CreationDate="2011-04-21T15:03:01.853" UserId="830" Text="I produce heaps of podcasts and each show is slightly different.&#xD;&#xA;&#xD;&#xA;If it is scripted and you are using a trained professional to do the reading, they should be able to do the recording with minimal stuff ups, and in turn removing the need to do lots of editing. If you are using someone that isn't so great a cold reads, then be prepared to spend time putting together a final product.&#xD;&#xA;&#xD;&#xA;My advise is that if you can, be a bit flexible with your presentation. Podcasts can have a few vocal hickups and make it feel much more natural than a very edited piece and generally will keep people more interested in the presenter.&#xD;&#xA;&#xD;&#xA;When you do your first recording session, note the time that it takes to do the recording and then budget on double that for the edit. You can make life easier for yourself if you mark edit points as the presenter stumbles to save relistening to the whole thing to find the mistakes. That being said, you will need to listen to the whole thing at some stage to check the edit.&#xD;&#xA;&#xD;&#xA;As you do more and get confortable with the format, then your production workflow will speed up. I personally do nearly everything on the fly now like a radio show, but the types of shows I produce don't require editing as it more informal chatting.&#xD;&#xA;&#xD;&#xA;Good luck with the podcast and I hope this helps a bit." ContentLicense="CC BY-SA 3.0" />
  <row Id="12657" PostHistoryTypeId="5" PostId="7450" RevisionGUID="a32cb654-b109-4b92-81fb-2c805ef4d4e9" CreationDate="2011-04-21T15:05:18.540" UserDisplayName="user80" Comment="edited body" Text="There should not be any problems if you decode the m/s before adding the extra voice channels.&#xD;&#xA;&#xD;&#xA;However there will be the normal phase problems if the presenter ever comes close to the m/s mics and his or her voice is picked up by both.  The general rule for radio is if the mics are close try and only have one open mic at a time. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12658" PostHistoryTypeId="2" PostId="7452" RevisionGUID="32b3b6a9-325b-437c-abf6-dee0e71b43b3" CreationDate="2011-04-21T15:31:35.863" UserId="338" Text="a dog in heat makes that noise" ContentLicense="CC BY-SA 3.0" />
  <row Id="12659" PostHistoryTypeId="5" PostId="7432" RevisionGUID="3c9aa33a-383a-4462-bdbc-89d3ba9054e6" CreationDate="2011-04-21T16:01:31.693" UserId="845" Comment="added 132 characters in body" Text="What object or device makes this sound?&#xD;&#xA;&#xD;&#xA;Mrouw-ouw-ouw-ouw-ouw-ouw-mmmmmmmmm&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;Keep em comin' everybody. I'll leave it open for a couple more days so everybody can get a chance to guess. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12660" PostHistoryTypeId="2" PostId="7453" RevisionGUID="803418ae-43f3-44a9-b2a4-f532b677a63a" CreationDate="2011-04-21T16:32:36.603" UserId="1015" Text="During the millenium era, I think 2007 was the best film-releasing year so far, while &quot;No Country for Old Men&quot; preserving their marvelous claim upon Oscar's Best Picture, &quot;There Will Be Blood&quot;, &quot;Atonement&quot;, &quot;I'm Not There&quot;, and &quot;Michael Clayton&quot; are absolutely best film-contenders last decade among others..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12661" PostHistoryTypeId="2" PostId="7454" RevisionGUID="36b69e24-9d7b-43bf-9088-3f224df004f0" CreationDate="2011-04-21T17:14:46.740" UserId="29" Text="[Dubstep][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=ZfnDRA4t1ms" ContentLicense="CC BY-SA 3.0" />
  <row Id="12662" PostHistoryTypeId="2" PostId="7455" RevisionGUID="5ba0b5cb-a800-492a-9e6a-412e06026ca8" CreationDate="2011-04-21T17:38:32.643" UserId="18160" Text="Sounds like a '67 Camaro." ContentLicense="CC BY-SA 3.0" />
  <row Id="12663" PostHistoryTypeId="2" PostId="7456" RevisionGUID="97ab1060-a80e-4958-a820-f58df3afaa8e" CreationDate="2011-04-21T18:47:26.777" UserId="6420" Text="Hey Sonsey,&#xD;&#xA;&#xD;&#xA;My Masters project was all about POV sound. If you fancy I can send you a copy of it. It may bore you to death though lol There's quite a few films in it I've referenced and further sources for reading if you were interested. Drop me a msg if you (or anyone) wants it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12664" PostHistoryTypeId="2" PostId="7457" RevisionGUID="719eafc9-2bd3-4ba5-b8f7-2ede3ca74d2f" CreationDate="2011-04-21T20:03:09.107" UserId="338" Text="Do you ever use frequency shifter plugins and how??" ContentLicense="CC BY-SA 3.0" />
  <row Id="12665" PostHistoryTypeId="1" PostId="7457" RevisionGUID="719eafc9-2bd3-4ba5-b8f7-2ede3ca74d2f" CreationDate="2011-04-21T20:03:09.107" UserId="338" Text="Do you ever use Frequency Shifter plugins and how" ContentLicense="CC BY-SA 3.0" />
  <row Id="12666" PostHistoryTypeId="3" PostId="7457" RevisionGUID="719eafc9-2bd3-4ba5-b8f7-2ede3ca74d2f" CreationDate="2011-04-21T20:03:09.107" UserId="338" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12667" PostHistoryTypeId="5" PostId="7455" RevisionGUID="19698e47-e0bc-4169-b5ab-74101b0515f5" CreationDate="2011-04-21T20:08:52.993" UserId="18160" Comment="added 38 characters in body" Text="Sounds like a '67 Camaro when you make your voice rough enough." ContentLicense="CC BY-SA 3.0" />
  <row Id="12668" PostHistoryTypeId="2" PostId="7458" RevisionGUID="7ab4cddc-8023-460f-aeb9-fd0519ed2607" CreationDate="2011-04-21T21:44:30.600" UserId="1011" Text="I wrote a field recording-oriented glossary on my site, www.airbornesound.com... &#xD;&#xA;&#xD;&#xA;[http://www.airbornesound.com/sound-effects-definitions][1]&#xD;&#xA;&#xD;&#xA;I have POV on there, although it is in a field recording context, is that what you mean? &#xD;&#xA;&#xD;&#xA;I've always thought POV to be:&#xD;&#xA;&#xD;&#xA;&quot;how the target sound is affected by the position of the microphone including distance, angle, or whether the recording is made inside or outside relative to the sound recorded&quot;&#xD;&#xA;&#xD;&#xA;A bit clunky maybe.  Feedback?&#xD;&#xA;&#xD;&#xA;Anyway the glossary may be lacking a few terms so if anyone thinks there's others I should add let me know.&#xD;&#xA;&#xD;&#xA;Paul Virostek&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.airbornesound.com/sound-effects-definitions" ContentLicense="CC BY-SA 3.0" />
  <row Id="12669" PostHistoryTypeId="2" PostId="7459" RevisionGUID="dfb326d1-9594-4e3d-9dd0-fd4c7d803f0b" CreationDate="2011-04-21T22:13:23.307" UserId="845" Text="Anybody got any fun ideas for non-computer based sound design?&#xD;&#xA;&#xD;&#xA;Got a long weekend coming up with plenty of spare time.  I'm planning on playing with my reel to reel to do some tape feedback stuff.&#xD;&#xA;&#xD;&#xA;I've got guitars, a bass, pedals, keyboards, and an electric piano.  I'm going to mess with them, but has anybody come across and cool/fun/weird/noisy/frightening combinations?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12670" PostHistoryTypeId="1" PostId="7459" RevisionGUID="dfb326d1-9594-4e3d-9dd0-fd4c7d803f0b" CreationDate="2011-04-21T22:13:23.307" UserId="845" Text="MOC - Mit Out Computer" ContentLicense="CC BY-SA 3.0" />
  <row Id="12671" PostHistoryTypeId="3" PostId="7459" RevisionGUID="dfb326d1-9594-4e3d-9dd0-fd4c7d803f0b" CreationDate="2011-04-21T22:13:23.307" UserId="845" Text="&lt;creativity&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12672" PostHistoryTypeId="2" PostId="7460" RevisionGUID="17e63ed9-51aa-483a-bd67-1f7208ad22f0" CreationDate="2011-04-22T01:00:40.217" UserId="7811" Text="Diva, 1981 french film directed by Jean-Jacques Beineix.&#xD;&#xA;&#xD;&#xA;Sound recording is key plot device in the film.&#xD;&#xA;&#xD;&#xA;http://www.imdb.com/title/tt0082269/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12673" PostHistoryTypeId="2" PostId="7461" RevisionGUID="cd535fef-c095-43f3-b037-c186b7ed7f23" CreationDate="2011-04-22T04:31:22.303" UserId="338" Text="How about…recording the entire weekend…processing it with a time stretch plugin into 4 minutes." ContentLicense="CC BY-SA 3.0" />
  <row Id="12674" PostHistoryTypeId="5" PostId="7456" RevisionGUID="574224dc-8cb6-4f8c-8d00-cc331ec97f69" CreationDate="2011-04-22T06:52:06.917" UserId="6420" Comment="added 3 characters in body" Text="Hey oinkaudio,&#xD;&#xA;&#xD;&#xA;My Masters project was all about POV sound. If you fancy I can send you a copy of it. It may bore you to death though lol There's quite a few films in it I've referenced and further sources for reading if you were interested. Drop me a msg if you (or anyone) wants it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12675" PostHistoryTypeId="2" PostId="7462" RevisionGUID="f52244c0-bd06-49a3-8b63-b410e9e61b2b" CreationDate="2011-04-22T11:02:44.770" UserId="168" Text="I'd recently used the GRM tools FreqShift plugin to create a monster scream. The final sound was a mix of FreqShift, PitchAccum, SoundToys Crystallizer &amp; some reverb. The &quot;meat&quot; of the sound was achieved using FreqShift though. It's great fun to use on voices or animals to create zombie or creature-ish textures.&#xD;&#xA;&#xD;&#xA;You can listen to it here:&#xD;&#xA;http://soundcloud.com/ntkeep/the-scream-before-after&#xD;&#xA;&#xD;&#xA;The scream was layered under a mirror shattering so it was meant to sound a bit broken/granulated." ContentLicense="CC BY-SA 3.0" />
  <row Id="12676" PostHistoryTypeId="2" PostId="7463" RevisionGUID="fd5fc851-4e76-4896-8e46-8c463308d92c" CreationDate="2011-04-22T11:22:16.467" UserId="168" Text="Toy shop! Look around the local toy shop for interesting objects. Maybe try constructing mechanical objects that make sounds and build your own kit of &quot;sound objects&quot;?&#xD;&#xA;&#xD;&#xA;Or: for sounds that you would approach to design with plugins, try and create them with objects around you or with your voice. Think outside the screen! " ContentLicense="CC BY-SA 3.0" />
  <row Id="12677" PostHistoryTypeId="2" PostId="7464" RevisionGUID="bd070c02-e606-4b43-9793-076f2c8ef521" CreationDate="2011-04-22T15:08:36.793" UserId="29" Text="Fun I usually have with sound design away from the computer:&#xD;&#xA;&#xD;&#xA; - The thrift store and urban re-use stores are my personal favorite &quot;gear shops.&quot; &#xD;&#xA; - A soft percussion mallet, a contact mic, and a field recorder can keep me out of the studio and entertained all day.&#xD;&#xA; - Rubber, water, and panes of glass can be combined for endless hours o' fun.&#xD;&#xA; - Real instruments are far richer than virtual ones, even as fun as software is.&#xD;&#xA; - In urban areas, a telephone pickup coil can capture all sorts of wacky RF shenanigans.&#xD;&#xA; - My new favorite toy is a pocket-sized shortwave radio. Some crazy stuff out there in the ether.&#xD;&#xA; - Testing the limits of the human voice (hard to do if anyone's around!).&#xD;&#xA; - Taking a hike or bike, going somewhere nice, sitting and listening. I'm just as happy to come away with ideas, inspirations, insights, or rejuvenation as opposed to actual usable sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="12678" PostHistoryTypeId="2" PostId="7465" RevisionGUID="c2c21357-c876-4597-97b9-a38b1cd28156" CreationDate="2011-04-22T17:27:09.830" UserId="186" Text="Paul Frindle's Dynamic Spectrum Mapper (DSM) can capture a spectral and compression map from one track and apply it against another. Available as an RTAS/AU/VST plug-in for Mac.&#xD;&#xA;&#xD;&#xA;http://www.proaudiodsp.com/products/dsm/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12679" PostHistoryTypeId="2" PostId="7466" RevisionGUID="0308500f-8f46-4282-a6de-ddb7878648d8" CreationDate="2011-04-22T21:35:44.110" UserId="845" Text="With having applied to the master's program in Edinburgh I've started thinking about the gear I'm going to need to have with me.  Even if I don't get in, I've been feeling a little over-encumbered with the amount of *stuff* that I have.  Relative to most people/studios/setups it's probably not that much, but my setup is definitely starting to feel a bit cluttered.  Plus, what I've got at the moment is simply too big to traipse around with.&#xD;&#xA;&#xD;&#xA;The other thing is that I see this jaunt to Scotland as the beginning of a journey of sorts, one whose aim is definitely not to return to where I currently am.  Anywhere but here.  My (highly romantic) idea is to become something of a traveling troubadour soundguy.&#xD;&#xA;&#xD;&#xA;I can leave stuff with my parents, but I'm considering selling everything I don't need or use all that often (guitar amps, keyboards, multi-channel interface, &amp;tc).  Partly for the cash, but also to re-jig my setup so it'll be a little more streamlined.&#xD;&#xA;&#xD;&#xA;What would you guys recommend for a compact, extremely portable setup?&#xD;&#xA;&#xD;&#xA;I've got a 2008 MacBook Pro and an MBox 2 Mini which is nice and small, but it's old and noisy, and only does 48k.  I've also got an H1 and an H2, and I'm considering getting an an [Apogee Duet2][1].  I don't really need fancy speakers at this point since the university is fully equipped and I've got a nice set of headphones.&#xD;&#xA;&#xD;&#xA;Basically, the idea is to be able to pack my entire setup into a backpack and be able to whip it out and be ready to go by the time the computer boots up.&#xD;&#xA;&#xD;&#xA;Thoughts?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.apogeedigital.com/products/duet2.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="12680" PostHistoryTypeId="1" PostId="7466" RevisionGUID="0308500f-8f46-4282-a6de-ddb7878648d8" CreationDate="2011-04-22T21:35:44.110" UserId="845" Text="The Bare Minimum" ContentLicense="CC BY-SA 3.0" />
  <row Id="12681" PostHistoryTypeId="3" PostId="7466" RevisionGUID="0308500f-8f46-4282-a6de-ddb7878648d8" CreationDate="2011-04-22T21:35:44.110" UserId="845" Text="&lt;travel&gt;&lt;portable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12682" PostHistoryTypeId="2" PostId="7467" RevisionGUID="54880599-ec55-4c9b-968f-f0cca7921130" CreationDate="2011-04-22T21:55:55.577" UserId="338" Text="How can you modulate the pitch of a clip with a delay plugin?&#xD;&#xA;&#xD;&#xA;Do you use the feedback?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12683" PostHistoryTypeId="1" PostId="7467" RevisionGUID="54880599-ec55-4c9b-968f-f0cca7921130" CreationDate="2011-04-22T21:55:55.577" UserId="338" Text="How to pitch modulate with a delay plugin" ContentLicense="CC BY-SA 3.0" />
  <row Id="12684" PostHistoryTypeId="3" PostId="7467" RevisionGUID="54880599-ec55-4c9b-968f-f0cca7921130" CreationDate="2011-04-22T21:55:55.577" UserId="338" Text="&lt;pitch&gt;&lt;modulation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12685" PostHistoryTypeId="2" PostId="7468" RevisionGUID="289ca25b-1306-4971-b725-519ab90bfc66" CreationDate="2011-04-22T22:04:49.900" UserId="400" Text="SoundDevices USBPre2! Great soundcard for up to 96k AND can use it in the field with a USB battery pack :) Replace your Mbox with that.&#xD;&#xA;&#xD;&#xA;Joe" ContentLicense="CC BY-SA 3.0" />
  <row Id="12686" PostHistoryTypeId="2" PostId="7469" RevisionGUID="eedd0af0-a3d7-4d9c-afb4-d14eec10dc30" CreationDate="2011-04-22T22:14:44.157" UserId="6420" Text="Well if you're considering getting a Duet then you may as well cough up for another half decent mic to go with it. I take it you're thinking of using the Mac as a primary recording device in that respect? (as opposed to the Zooms?) Plenty of low/mid range mics to choose from. Try and make the most of the uni's gear too! But then again, field recording with a laptop had it's own strengths/weaknesses.&#xD;&#xA;&#xD;&#xA;Speaking as someone who did a Masters in sound design I'd reconsider buying some monitors of some kind. I know on my course it wasn't always easy to gain access to the studios to work. And as yet you don't know where you'll be staying in relation to uni so you might not be keen to spend all the late nights there if you can work from home ;)mixing on headphones is a bit of a ball ache really! May sound good to you but you'll be in for a shock when it's played back in a proper environment lol&#xD;&#xA;&#xD;&#xA;Good luck with the application anyway!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12687" PostHistoryTypeId="2" PostId="7470" RevisionGUID="a73b7cf4-1cca-48ea-876a-31119d738a16" CreationDate="2011-04-22T23:27:52.773" UserId="29" Text="If I had it to do all over again, here'd be my field recording and editing kit:&#xD;&#xA;&#xD;&#xA; - 15&quot; laptop. Smaller isn't powerful enough, larger is too heavy if your intent is to be portable.&#xD;&#xA; - 2.5&quot; hard drive for backup purposes. Maybe two (one for archiving and one for bootable backup, or perhaps two identical backups, one onsite and one offsite).&#xD;&#xA; - Handheld recorder, like a PCM-D50. Stealthy, light, can be used alone or with items below.&#xD;&#xA; - Small 2-channel preamp to feel the handheld recorder, like a MixPre2. If you can live with 96kHz, can double as an audio interface. (If not, a USBPre2.)&#xD;&#xA; - 2 pairs of headphones: Either one open one closed, or one Sony 7506 and another that's truer/flatter&#xD;&#xA; - 1 pair of active near-field monitors, small&#xD;&#xA; - 1 good hypercardioid mic, 1 good stereo mic, 1 contact mic. First two need shock and wind protection, and pistol grip (one can be shared between both mics)&#xD;&#xA; - 1 boom pole (somewhat optional)&#xD;&#xA; - 1 tabletop tripod, like a Gorillapod&#xD;&#xA; - 1 portable control surface, even if it's a couple of the Korg nano series units. Ideally, one with knobs, keys, and pads.&#xD;&#xA; - Box of connectors&#xD;&#xA; - Only the cables I needed to connect the above gear together&#xD;&#xA;&#xD;&#xA;I needed one kit for both home and in the field, and I couldn't afford to build a kit for each, that'd be my approach. Just my own approach, though, your, and others', needs may vary!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12688" PostHistoryTypeId="2" PostId="7471" RevisionGUID="2e639536-e374-4540-84f8-b2108a247879" CreationDate="2011-04-23T05:33:59.607" UserId="168" Text="In addition to the movies mentioned I remember 'Seven Pounds' having some subtle but beautiful sequences - for every time the Will Smith character thought about his family and the accident. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12689" PostHistoryTypeId="2" PostId="7472" RevisionGUID="e00cd730-b0db-41ab-af33-3066867978d1" CreationDate="2011-04-23T08:21:12.110" UserId="238" Text="In Shane Meadow's [Dead Man's Shoes][1] there are a lot of memory flashbacks. They play a pivotal role in the film and are realised by using grainy black and white for the visuals and a very subtle HPF, some reverberation and a bit of delay for the audio. Very simple, yet very effective.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0419677/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12690" PostHistoryTypeId="2" PostId="7473" RevisionGUID="f54bc977-8e6a-4569-8136-a36cd1568669" CreationDate="2011-04-23T12:44:34.340" UserId="930" Text="In relation to the Rode Blimp. Here's a great article detailing how you can fit a stereo ORTF/NOS hybrid into one:&#xD;&#xA;&#xD;&#xA;[http://audiofieldrecordings.wordpress.com/2010/09/09/rode-nt5-microphones-modified-ortfnos-recording-technique/][1]&#xD;&#xA;&#xD;&#xA;This is presuming you want a spaced xy pair, rather than MS?&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audiofieldrecordings.wordpress.com/2010/09/09/rode-nt5-microphones-modified-ortfnos-recording-technique/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12691" PostHistoryTypeId="2" PostId="7474" RevisionGUID="51bc6765-2096-4357-8455-cab191189c2a" CreationDate="2011-04-23T12:53:11.080" UserId="601" Text="you use a lot of feedback and very small time interval (from 1 to 10 ms). like this :&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://dl-web.dropbox.com/get/Photos/simpleDelay.JPG?w=09648dd1&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12692" PostHistoryTypeId="2" PostId="7475" RevisionGUID="84b456da-c1cc-4a64-ac85-d16cd2b8fe94" CreationDate="2011-04-23T14:18:49.600" UserId="937" Text="Im my mind POV sound would just be binaural or surround audio recorded with either a dummy head setup or a traditional stereo mic(or array) setup. The term point of view lends itself more to video in conjunction with audio(view being the key word here)i.e. what you hear in relation to what you see (if an object is seen at your left and audio is coming from the right of the rear he audio does not match the POV)&#xD;&#xA;I think subjective sound/audio would be a more fitting description.&#xD;&#xA;&#xD;&#xA;anyhoo this is all imo&#xD;&#xA;&#xD;&#xA;m.caldeira" ContentLicense="CC BY-SA 3.0" />
  <row Id="12693" PostHistoryTypeId="2" PostId="7476" RevisionGUID="a9786d31-bea7-4beb-aa9c-ccd4c59825a7" CreationDate="2011-04-23T23:05:20.963" UserId="1014" Text="well, indeed you'll get a pitched sound using very shorts delay with a lot of feedback.. but if you want to do some pitch modulation out of a delay, you need to modulate the delay line. if you are on a modular environment (reaktor, max, etc.) try to patch a control signal (envelope generator, lfo) to a delayed signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="12694" PostHistoryTypeId="2" PostId="7477" RevisionGUID="f1b40c15-62e4-4fe7-aae6-6799b64f2489" CreationDate="2011-04-24T05:30:53.647" UserId="18160" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;An executive of the studio I work at has a birthday coming up and my coworkers and I want to give something with a sound twist to it.&#xD;&#xA;&#xD;&#xA;I had the thought of giving 5 great examples of movies with fantastic sound design - but ones most likely never seen before. This rules out the box office hits within the past 10 years or so.&#xD;&#xA;&#xD;&#xA;So, if you don't mind, would you care to share 5 obscure movies (not graphic, inappropriate or offensive) which have awesome, awesome, fantastic, wonderful examples of great sound design?&#xD;&#xA;&#xD;&#xA;Uncle Boonmee and Boy comes to mind.&#xD;&#xA;&#xD;&#xA;Please, Tim, I'm sure you have a bunch of these off the top of your head. (also, how can I buy a copy of Boy? I'm searching for it now with no luck).&#xD;&#xA;&#xD;&#xA;Thank you so much in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12695" PostHistoryTypeId="1" PostId="7477" RevisionGUID="f1b40c15-62e4-4fe7-aae6-6799b64f2489" CreationDate="2011-04-24T05:30:53.647" UserId="18160" Text="Sound Design Birthday Ideas" ContentLicense="CC BY-SA 3.0" />
  <row Id="12696" PostHistoryTypeId="3" PostId="7477" RevisionGUID="f1b40c15-62e4-4fe7-aae6-6799b64f2489" CreationDate="2011-04-24T05:30:53.647" UserId="18160" Text="&lt;obscure&gt;&lt;movies&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12697" PostHistoryTypeId="2" PostId="7478" RevisionGUID="346e7df4-b5dc-4568-8ae2-241a9da0321e" CreationDate="2011-04-24T06:34:57.997" UserId="6435" Text="&quot;The Conversation&quot; and &quot;THX 1138&quot; spring to mind." ContentLicense="CC BY-SA 3.0" />
  <row Id="12698" PostHistoryTypeId="2" PostId="7479" RevisionGUID="7812249c-a09c-4001-b567-834b04fc5b04" CreationDate="2011-04-24T07:43:52.637" UserDisplayName="user49" Text="A few suggestions:&#xD;&#xA;&#xD;&#xA;Touch the Sound&#xD;&#xA;http://www.imdb.com/title/tt0424509/&#xD;&#xA;(great documentary about deaf percussionist Evelyn Glennie)&#xD;&#xA;&#xD;&#xA;3-Iron&#xD;&#xA;http://www.imdb.com/title/tt0423866/&#xD;&#xA;(a great movie with only six lines of dialogue)&#xD;&#xA;&#xD;&#xA;Not sure if its out on DVD but:&#xD;&#xA;The Sound of Noise&#xD;&#xA;http://www.imdb.com/title/tt1278449/&#xD;&#xA;&#xD;&#xA;Is he at all musical? &#xD;&#xA;I'd be pretty impressed with one of those punch-your-own-tune music boxes:&#xD;&#xA;http://www.grand-illusions.com/acatalog/Music_and_Audio_Toys.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Another option, I gave someone their own domain name as a birthday present...&#xD;&#xA;&#xD;&#xA;Will add any others as I think of them...." ContentLicense="CC BY-SA 3.0" />
  <row Id="12699" PostHistoryTypeId="2" PostId="7480" RevisionGUID="d0205f91-4ce4-4253-ac8f-7ef47f46a2bc" CreationDate="2011-04-24T09:04:29.070" UserId="243" Text="hzt guys, just a question, I've recently purchased an axiom25 midi controller, nuendo 4 recognizes it and there is an input when i press a key on the controller why am i not hearing anything also do i have have to download something from the steinberg site?&#xD;&#xA;&#xD;&#xA;thanks and happy easter" ContentLicense="CC BY-SA 3.0" />
  <row Id="12700" PostHistoryTypeId="1" PostId="7480" RevisionGUID="d0205f91-4ce4-4253-ac8f-7ef47f46a2bc" CreationDate="2011-04-24T09:04:29.070" UserId="243" Text="midi setup axiom25 on nuendo 4" ContentLicense="CC BY-SA 3.0" />
  <row Id="12701" PostHistoryTypeId="3" PostId="7480" RevisionGUID="d0205f91-4ce4-4253-ac8f-7ef47f46a2bc" CreationDate="2011-04-24T09:04:29.070" UserId="243" Text="&lt;midi&gt;&lt;setup&gt;&lt;nuendo4&gt;&lt;steinberg&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12702" PostHistoryTypeId="2" PostId="7481" RevisionGUID="f9eb2130-87b7-45c4-a8f9-0f82c2d224e0" CreationDate="2011-04-24T12:48:35.860" UserId="542" Text="Actually I think that they simply put several of the buzzing-magnet sounds one after another. Maybe they used some delays to have more of a blurred sound. Because the magnets are mixed with other sounds they seem to melt into one continuous sound. ( plus that modulated delay kinda consolidates the sounds ).&#xD;&#xA;&#xD;&#xA;Besides that I have to +1 Dave's answer" ContentLicense="CC BY-SA 3.0" />
  <row Id="12703" PostHistoryTypeId="2" PostId="7482" RevisionGUID="c43e03bf-4d48-467d-966d-4c2eef35dad8" CreationDate="2011-04-24T13:18:00.140" UserId="542" Text="This question may seem rather stupid, but I wonder how do you thank people for letting you record at their place or their stuff.&#xD;&#xA;Some days ago I came by a local scrapeyard and asked the guy in charge if I could record some stuff they had there. He was very friendly and let me ran around and since I want to go there again in the near future I was wondering how to say thank you.&#xD;&#xA;&#xD;&#xA;So what do you do? Do you just say &quot;Thanks&quot; or do you do something in exchange?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12704" PostHistoryTypeId="1" PostId="7482" RevisionGUID="c43e03bf-4d48-467d-966d-4c2eef35dad8" CreationDate="2011-04-24T13:18:00.140" UserId="542" Text="How do you thank somebody for letting you record their stuff?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12705" PostHistoryTypeId="3" PostId="7482" RevisionGUID="c43e03bf-4d48-467d-966d-4c2eef35dad8" CreationDate="2011-04-24T13:18:00.140" UserId="542" Text="&lt;thank&gt;&lt;social&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12706" PostHistoryTypeId="2" PostId="7483" RevisionGUID="be0af162-0f51-4bd6-b331-385afd18f146" CreationDate="2011-04-24T14:16:33.460" UserId="1014" Text="a bootle of good red wine can be a nice way to say thank you :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12708" PostHistoryTypeId="2" PostId="7485" RevisionGUID="ca10b64d-b8cd-49bc-8e45-7501e8d6a581" CreationDate="2011-04-24T16:33:27.247" UserDisplayName="user80" Text="A good bottle of red wine is always a safe bet." ContentLicense="CC BY-SA 3.0" />
  <row Id="12709" PostHistoryTypeId="2" PostId="7486" RevisionGUID="8f22a325-b29c-4902-8887-bfd8474f3827" CreationDate="2011-04-24T17:40:03.157" UserId="132" Text="If it is a museum, I often make a tax deductible donation. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12710" PostHistoryTypeId="2" PostId="7487" RevisionGUID="7bb1d181-314a-4cb4-96a3-bd1aab394c70" CreationDate="2011-04-24T19:03:35.410" UserId="132" Text="Check out &quot;into great Silence&quot; -- lots of silence!  http://www.imdb.com/title/tt0478160/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12711" PostHistoryTypeId="2" PostId="7488" RevisionGUID="90e8eb78-d2b2-4d1b-813e-f6505291196a" CreationDate="2011-04-24T20:08:32.060" UserDisplayName="user49" Text="The main thing is that whatever you do, you need to have them on your side so if you get back to the studio and discover you need to do a second or third recording session, that (a) they will be happy to have you back again and (b) you haven't set such a high precedent that you can't afford to return!&#xD;&#xA;&#xD;&#xA;It also depends how much of their time/resources I've used.... Most (non-professional) vehicle owners I've used are usually happy with $100 for a few hours of their &amp; their vehicles time.... I often find vehicles to record by finding someone selling one, so to get an extra $100 for a vehicle they are selling can help them out, and usually people are interested in what you're doing &amp; why.... Also think of their hourly rate, as you will be using their time... (If I ask them for a figure I always pay them more than they ask)&#xD;&#xA;&#xD;&#xA;But if its a small thing or a favour then I agree with Iain, a nice bottle of red or bubbles or a dozen beer depending on their likely favourite, but appreciate some people dont drink and will appreciate something else (petrol voucher? chocolates?)&#xD;&#xA;&#xD;&#xA;Being a scrapyard they are probably beer drinkers - did you notice any crates of empties? You definitely want to reward them as you may go back there again in the future....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12712" PostHistoryTypeId="2" PostId="7489" RevisionGUID="99add00f-7355-4f15-8f24-2ff5a1aee164" CreationDate="2011-04-25T00:30:27.267" UserDisplayName="user6513" Text="Kwaidan (1964)&#xD;&#xA;http://www.imdb.com/title/tt0058279/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12713" PostHistoryTypeId="2" PostId="7490" RevisionGUID="1f29d1af-5927-48a6-a4ee-18a74d61d3eb" CreationDate="2011-04-25T05:15:04.293" UserId="6669" Text="Hearme, I'm in the VFS SD program myself right now and about halfway through it, so there's my bias. Long post incoming!&#xD;&#xA;&#xD;&#xA;I don't want to seem too pro-VFS, so I'll start by saying:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------------------------------&#xD;&#xA;You Don't Need It..&#xD;&#xA;-----------------&#xD;&#xA;&#xD;&#xA;As everyone's said, you absolutely *don't* need the program. No one else in this thread so far has gone here and they're all Sound Designers of a degree; it's totally possible to go it on your own. I know this sounds obvious, but I repeat it only so that you don't get so caught up in the idea of VFS as your next step that you put off starting your career proper.&#xD;&#xA;&#xD;&#xA;If you have the drive and the resources and -- most importantly -- the time to make this career switch, you could even do better spending the money you would spend on tuition (if you're still able to get it outside of an academic loan) on a little time off and a lot of gear to get you started. VFS won't provide you with anything gear-wise and you'll need to pick all that up after you graduate, anyways, so you would get a head start in that regard.&#xD;&#xA;&#xD;&#xA;**Things You Can Do // Get Your Hands Dirty**&#xD;&#xA;&#xD;&#xA;- Watch the movies everyone lists on this site, analyze what the sound's trying to do emotionally, read and watch everything on Designing Sound and DesigningSound.TV. You won't *really* learn anything until you get you start trying it for yourself, though..&#xD;&#xA;- Grab royalty-free animations and try to create sounds for them.&#xD;&#xA;- Cut sounds for creatures. Start with your voice and record a bunch of different layers, learn what they're like as they come together. You'll learn a lot about EQing, plugin/sound manipulation and consistency with an exercise like this.&#xD;&#xA;- Cut sci-fi sounds. We still don't know what a laser is supposed to sound like, so start anywhere and enjoy the journey.&#xD;&#xA;- Record you and your friends d8oing voiceover dubs for random movie clips and try to cut them into perfect sync with the clips themselves. Dialogue Editing hurts, respect it.&#xD;&#xA;- Try to recreate all the SFX of a clip doing some homemade Foley in your garage or wherever. This'll teach you some resourcefulness. It's also fun as hell!&#xD;&#xA;- Read any number of articles out there on recording vehicles and grab some audio of your car doing a dozen different things, then try to cut a vehicle scene. Vehicles will make you cry.&#xD;&#xA;- Cut fight scenes.&#xD;&#xA;- Cut robots.&#xD;&#xA;- Cut superpowers.&#xD;&#xA;- Make homemade music videos, try using only the song itself as source material for any special effects moments you'd want to hit in the music video/trailer as well.&#xD;&#xA;&#xD;&#xA;I can't advocate pirating software, plugins, library sounds, but do what you need to do to practice. DON'T get too caught up in the plugin, though.. most of the time, most of the work for me is in picking good source sounds. It's tough to polish shit into diamonds.&#xD;&#xA;&#xD;&#xA;**In terms of a DAW**, you'll be using Pro Tools (Mac, sometimes PC) almost exclusively for your linear/post editing in the program, so if you wanted to get a head start, you could start there. Especially easy now that Pro Tools 9 doesn't require you to buy any proprietary Avid hardware to run it. Learn &quot;too much&quot; of PT, though, and you may find your first two months' at VFS a bit of a waste of money, as that's when all the introductory stuff is taught. Not something I'd really consider a problem, but there it is.&#xD;&#xA;&#xD;&#xA;**Take everyone's advice about self-promotion, networking, asking questions and staying humble as well**. You're lucky to have a community like SSD kicking around to help you out, because I've found that some in audio (generally, and on newsgroups etc.) are randomly really elitist about their work and shrug off these &quot;beginner&quot; questions, though they obviously had to be beginners themselves at some point.&#xD;&#xA;&#xD;&#xA;**And keep believing it will pay off!** You probably won't get rich, but if it's what you truly want, there is a career out there waiting for you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------------------------------&#xD;&#xA;&#xD;&#xA;That all said..&#xD;&#xA;&#xD;&#xA;Reasons Why You Might Still Want It&#xD;&#xA;-----------------------------------&#xD;&#xA;&#xD;&#xA;Considering all of the above, whether you should attend or not is going to be a really personal thing. In my case, I wanted to make a major career switch, but couldn't find the time or the extreme self-discipline to teach myself it the way I wanted to while still paying rent, having a girlfriend, seeing friends, going out, etc. I wanted to go off the map and just grind sound for a year, take a bit of a risk, see if I could cut it. This has been VFS for me, and I've learned a ton in these past six months considering where I was. But man, is there ever so much to learn.&#xD;&#xA;&#xD;&#xA;My attitude in coming here is as someone said above: you get out of a program like this what you put into it. If you're going to work harder than the rest of your class (very difficult in a really motivated class - don't give up if you're not the big fish in a small pond!), ask the best questions and just devote yourself to this stuff, I think it's worth your while. It's not an easy year nor any sort of hand-out. Be prepared to work your ass off.&#xD;&#xA;&#xD;&#xA;**Some Pros:**&#xD;&#xA;&#xD;&#xA;**VFS has some great teachers.** Mostly it has good ones, though. The great ones will inspire you, show you things you didn't know, and bring work out of you that you didn't know you were capable of. The good ones might just show you some things you didn't know and give you a little structure (in the form of assignments) within which to teach yourself. If you come here, identify the greats and stick with them. It's what you're paying for.&#xD;&#xA;&#xD;&#xA;**You will have constant support in the form of up to 15 others going through the same shit as you, day in, day out.** If you thrive around people (I do) and don't know if you could pull this off in a year's time in your own basement with some tutorials, this will be super appealing to you. I've found that around 20% of each class really wants to kick the shit out of the program and will help you push yourself to do better work than you would otherwise. Identify these people, friend them, compete with them and ask always for their feedback and you'll be exploiting one of the best parts of the program.&#xD;&#xA;&#xD;&#xA;**Gear Access.** You've got a big playground of mics of all different types and brands, recorders, MIDI controllers and plugin-loaded iLoks here to check out throughout the entire year. The facilities are pretty tops, too. Some of the computers could use upgrading, but it's nice to get to ramp up to speed on a real-deal mixing console in a 5.1 room -- or the ICON -- even if you'll never get to touch one again in your life. Check out and try different types of mics, bunches at a time, record stuff, and find the ones you like, and you'll learn a ton about recording outside of what the courses will teach you. You can't afford to experiment like this without coming to a stocked school or working at a shop that's got this stuff (which would probably require some SD experience), so it's another pro.&#xD;&#xA;&#xD;&#xA;**Structure.** If you're not great at organization and self-discipline and all that, it doesn't mean you can't end up a brilliant sound designer. They're things that can be fixed, and if you weren't born a motivated, blog-posting, constantly experimenting machine, you could at least drop the loan to try to turn yourself into one. I'm willing to bet that most of the sound designers out there were, in fact, normal people at one point who needed a little nudge at some point along the way to get started. There's no shame in wanting to send yourself to boot camp, and trust me - it's a very tough ride, tougher if you make it harder for yourself.&#xD;&#xA;&#xD;&#xA;Finally, my blog and some VFS work so far is up at www.lucafusi.com, take a look and see what you'd be getting into. I'm not out in the working world yet, but someday soon I will be, and no matter what happens, I feel good about my choice. Make yours and own it!&#xD;&#xA;&#xD;&#xA;Feel free to hit me up at me@lucafusi.com anytime if you have any more questions about how things run up here, I'm not an advisor or anything, but I spent a while trying to find information on what really happened in this program before coming here and often turned up empty-handed.&#xD;&#xA;&#xD;&#xA;Whew.&#xD;&#xA;&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="12715" PostHistoryTypeId="2" PostId="7492" RevisionGUID="3d945cb2-0708-4ab1-bf5d-09be1d340b15" CreationDate="2011-04-25T06:28:42.753" UserId="338" Text="Take the money and run..metaphorically…joke.." ContentLicense="CC BY-SA 3.0" />
  <row Id="12716" PostHistoryTypeId="2" PostId="7493" RevisionGUID="5c2a97b7-c597-475b-a803-8a7e83a7f900" CreationDate="2011-04-25T09:57:35.027" UserId="6462" Text="Hi&#xD;&#xA;&#xD;&#xA;I am looking for an online backup solution for my SFX Library and computer. I am considering IDrive as you can select the folders you want to backup and the retrieval process is easy.&#xD;&#xA;But are there any other solutions that I have missed?&#xD;&#xA;I have backup drives in 2 locations but I want the piece of mind in having another totally 'offsite' backup.&#xD;&#xA;Any advice is welcome!&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12717" PostHistoryTypeId="1" PostId="7493" RevisionGUID="5c2a97b7-c597-475b-a803-8a7e83a7f900" CreationDate="2011-04-25T09:57:35.027" UserId="6462" Text="Online Back up for SFX" ContentLicense="CC BY-SA 3.0" />
  <row Id="12718" PostHistoryTypeId="3" PostId="7493" RevisionGUID="5c2a97b7-c597-475b-a803-8a7e83a7f900" CreationDate="2011-04-25T09:57:35.027" UserId="6462" Text="&lt;backups&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12719" PostHistoryTypeId="2" PostId="7494" RevisionGUID="ca9fec35-7dd1-4b57-b6e7-8e986ba812f6" CreationDate="2011-04-25T10:33:14.757" UserId="629" Text="Dropbox is a good choice, only 2gb storage. You can pay for more though.&#xD;&#xA;&#xD;&#xA;Other than that, if you haven't already buy some webspace and upload all your library via FTP for safe storage. Then upload new files when you have them.&#xD;&#xA;&#xD;&#xA;Also if you have a Hotmail account you should have a &quot;Skydrive&quot;, basically on-line storage where you get an impressive 250gb limit." ContentLicense="CC BY-SA 3.0" />
  <row Id="12720" PostHistoryTypeId="2" PostId="7495" RevisionGUID="e39cfca3-ad06-4505-8797-2cf7ca9e24e4" CreationDate="2011-04-25T12:53:40.437" UserId="1019" Text="There are also things like backblaze / mozy.&#xD;&#xA;Or maybe just setup a remote NAS at a friends house?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12723" PostHistoryTypeId="2" PostId="7497" RevisionGUID="864bc56e-df50-4546-8070-d1f127079027" CreationDate="2011-04-25T13:19:55.840" UserId="786" Text="To me POV sound is pretty much like the binaural concept, except it is constructed to follow the POV of the image. The most important part of the POV lies in the stereo information, so that a pan of the image is reflected in a pan of the stereo image. If a car drives through the picture, the sound follows its position. If the camera shifts 90 degrees to the right, the whole sound image shifts 90 degrees to the right. If an actor starts a line of dialogue dead center and then walks to the left and behind the camera, his sound follows his position.&#xD;&#xA;&#xD;&#xA; Children of Men has a lot of scenes, where the sound is created in this way." ContentLicense="CC BY-SA 3.0" />
  <row Id="12724" PostHistoryTypeId="2" PostId="7498" RevisionGUID="14ecab15-da47-440c-8327-a1d7030d2194" CreationDate="2011-04-25T13:27:54.670" UserId="2" Text="Amazon S3? Been wanting to start using it for storage... But haven't yet taken the plunge. I also haven't done the calculations to see how much it would actually cost. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12725" PostHistoryTypeId="2" PostId="7499" RevisionGUID="ecffc169-3cfd-4ca3-8828-ba33ddc2f689" CreationDate="2011-04-25T15:56:44.653" UserDisplayName="user6513" Text="a cat at night meowing while clawing at the room door trying to get in." ContentLicense="CC BY-SA 3.0" />
  <row Id="12726" PostHistoryTypeId="2" PostId="7500" RevisionGUID="470147d7-c0d1-41f3-be10-389940ff7665" CreationDate="2011-04-25T16:38:06.453" UserId="18" Text="How much data are you talking about?  Online backup is slow and can get expensive fast.  I don't use online backup for my SFX Library, because it is just too damn big.  Instead I back up to hard drives and have 2 offsite backups (at 2 different locations).&#xD;&#xA;&#xD;&#xA;I do backup my current work online.  I've tried a few services and currently use Dropbox.  I found iDisk to be slower and more expensive than Dropbox.  Amazon S3 is the cheapest solution, but since there is no cap on the amount of data that you can store there, I wasn't managing my data very well and was getting hit with rather large monthly bills.&#xD;&#xA;&#xD;&#xA;With Dropbox I have 200 gigs (I pay annually for that).  The assets for my current projects (PT Sessions and audio files, docs, reference material, ect) are kept in my Dropbox folder and are automatically (and constantly) syncing.  Since I have a 200 gig cap, I have to manage my data as Dropbox starts to fill up.  This means that I need to archive old projects and clean up unused audio from completed PT Sessions.&#xD;&#xA;&#xD;&#xA;200 gigs works well for me.  I may only run into issues if I have multiple projects running at once, which very rarely happens.  I'm usually able to finish a project and archive the stuff to offsite drives before I get too deep into the next one.  I could also add more Dropbox storage if I needed too.&#xD;&#xA;&#xD;&#xA;One thing to keep in mind, is that if you are syncing large amounts of data, the initial sync will take many days." ContentLicense="CC BY-SA 3.0" />
  <row Id="12727" PostHistoryTypeId="5" PostId="7432" RevisionGUID="4f96e88e-128e-4d54-bf63-4d4325a5e66d" CreationDate="2011-04-25T17:23:30.873" UserId="845" Comment="added 141 characters in body" Text="What object or device makes this sound?&#xD;&#xA;&#xD;&#xA;Mrouw-ouw-ouw-ouw-ouw-ouw-mmmmmmmmm&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;Keep em comin' everybody. I'll leave it open for a couple more days so everybody can get a chance to guess. &#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;Valiant efforts everybody! I wish I could up vot you all many times. &#xD;&#xA;&#xD;&#xA;ANSWER:&#xD;&#xA;&#xD;&#xA;A dishwasher going into it's drying cycle. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12728" PostHistoryTypeId="2" PostId="7501" RevisionGUID="2d745a1c-0b82-4574-8c9e-cb75b7a572f3" CreationDate="2011-04-25T17:32:25.477" UserId="845" Text="Welcome to installment Number Two.  What object or device makes this sound?:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;kIng-FWOOOOOoooooshshshshshshshsh.....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Happy guessing!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12729" PostHistoryTypeId="1" PostId="7501" RevisionGUID="2d745a1c-0b82-4574-8c9e-cb75b7a572f3" CreationDate="2011-04-25T17:32:25.477" UserId="845" Text="Onomatopoeia Charades #2" ContentLicense="CC BY-SA 3.0" />
  <row Id="12730" PostHistoryTypeId="3" PostId="7501" RevisionGUID="2d745a1c-0b82-4574-8c9e-cb75b7a572f3" CreationDate="2011-04-25T17:32:25.477" UserId="845" Text="&lt;onomatopoeia-charades&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12731" PostHistoryTypeId="2" PostId="7502" RevisionGUID="954033fe-9bf9-4628-b39b-475a4d87b5c4" CreationDate="2011-04-25T18:16:40.583" UserId="1014" Text="may be a catapult? XD" ContentLicense="CC BY-SA 3.0" />
  <row Id="12732" PostHistoryTypeId="2" PostId="7503" RevisionGUID="d7b4de9c-512e-434e-8ee0-177b08894f0a" CreationDate="2011-04-25T18:43:03.253" UserId="1014" Text="as IT Manager in a leader industry, I can suggest you to buy a reliable RAID 1 external disk. In this way, all data are mirrored on two drives. Do a backup at least once a week and, for more security, once a month do a backup on another drive. Use online solution only for critical files.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12733" PostHistoryTypeId="2" PostId="7504" RevisionGUID="5fd9f540-a750-485f-90dc-ea225af8b55d" CreationDate="2011-04-25T18:51:09.900" UserId="7811" Text="I'd vote for Amazon S3 using the Jungledisk front end.&#xD;&#xA;&#xD;&#xA;Dropbox is great, but expensive (it uses S3, but marks up the storage cost). It also seems to have a huge CPU overhead when diff-ing large files.&#xD;&#xA;&#xD;&#xA;Jungledisk gives you more control of versioning as well as when and how you want to backup." ContentLicense="CC BY-SA 3.0" />
  <row Id="12734" PostHistoryTypeId="2" PostId="7505" RevisionGUID="9b70e44d-f847-4921-8ba9-80b3d258b5c4" CreationDate="2011-04-25T19:07:04.087" UserId="728" Text="I think it sounds like... Opening a beer or coke can." ContentLicense="CC BY-SA 3.0" />
  <row Id="12735" PostHistoryTypeId="2" PostId="7506" RevisionGUID="7648286e-46a5-47c0-a72c-287c769eeadf" CreationDate="2011-04-25T19:15:01.490" UserDisplayName="user49" Text="For those suggesting Amazon S3 I worked through the initial &amp; monthly costs of it:&#xD;&#xA;http://www.musicofsound.co.nz/blog/a-cloud-based-fx-library-possible" ContentLicense="CC BY-SA 3.0" />
  <row Id="12736" PostHistoryTypeId="2" PostId="7507" RevisionGUID="5e919d56-b0a7-426e-8237-a86a6e5fa6c9" CreationDate="2011-04-25T19:33:19.600" UserId="18160" Text="It's one of those clicking water sprinklers for a lawn,&#xD;&#xA;&#xD;&#xA;the sh-sh-sh-sh-sh totally gives it away." ContentLicense="CC BY-SA 3.0" />
  <row Id="12737" PostHistoryTypeId="2" PostId="7508" RevisionGUID="dc3d96eb-059f-496d-8470-5c4ba76614d4" CreationDate="2011-04-25T21:12:07.020" UserId="338" Text="So hey everyone, I'm working on this short and the director wants a shitload of roomtone..I'm wondering how one could make roomtone more oppressive.  &#xD;&#xA;Thanks.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12738" PostHistoryTypeId="1" PostId="7508" RevisionGUID="dc3d96eb-059f-496d-8470-5c4ba76614d4" CreationDate="2011-04-25T21:12:07.020" UserId="338" Text="How to make room tone more oppressive??" ContentLicense="CC BY-SA 3.0" />
  <row Id="12739" PostHistoryTypeId="3" PostId="7508" RevisionGUID="dc3d96eb-059f-496d-8470-5c4ba76614d4" CreationDate="2011-04-25T21:12:07.020" UserId="338" Text="&lt;room&gt;&lt;tone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12740" PostHistoryTypeId="2" PostId="7509" RevisionGUID="30400ce4-49c9-4f92-a861-34afb4f2ffdb" CreationDate="2011-04-25T21:27:50.673" UserId="786" Text="Well, I'm not sure I understand what you mean about room tone. If you just mean the &quot;airy&quot; feeling that you get from a static room tone, you can try and layer different flavours of room tones, for instance a dark hum layered with a large stone room and put in a bit of airconditioning. You can make it evolve and shift from cut to cut or from location to location.&#xD;&#xA;&#xD;&#xA;You can also think about what the environment would sound like, and blend in a bit of traffic, people on the street, sirens, wind, birds, whatever suits the story. If the sounds are too clean, try to muffle them with a reverb that sounds like the room you are trying to describe. You can also EQ it as well, but try the reverb first, print it using Audiosuite, make it 100% wet. If it isn't enough, give it some more reverb on top, like the delay between buildings or a convolution reverb of a pipe or vacuum cleaner hose." ContentLicense="CC BY-SA 3.0" />
  <row Id="12741" PostHistoryTypeId="2" PostId="7510" RevisionGUID="f2c6df44-5c5e-48b2-a478-fec4924e400e" CreationDate="2011-04-25T21:40:29.207" UserId="845" Text="Filter some pink noise into reverb.  Play just the wet signal and maybe send some of your dialogue track into the verb to make it sound a little more authentic." ContentLicense="CC BY-SA 3.0" />
  <row Id="12742" PostHistoryTypeId="2" PostId="7511" RevisionGUID="8c937c2e-2417-4d12-adc5-44ede8478e19" CreationDate="2011-04-25T21:51:13.613" UserId="18160" Text="Oppresive as in dark and eerie?&#xD;&#xA;&#xD;&#xA;Put a low tone in it.&#xD;&#xA;&#xD;&#xA;Rattles - a shaking AC vent is awesome in these instances.&#xD;&#xA;&#xD;&#xA;A tree branch tapping a window.&#xD;&#xA;&#xD;&#xA;A far-off hissing noise.&#xD;&#xA;&#xD;&#xA;Every now and again, a children laughing verbed out like it's coming down from around the corner of a hall you cannot see.&#xD;&#xA;&#xD;&#xA;A nice deep rumbly bus going by outside (depending on where it is obviously)&#xD;&#xA;&#xD;&#xA;A dog barking outside.&#xD;&#xA;&#xD;&#xA;It all depends on the mood you want to create with the audience, and what Oppressive means in this sense. Hope the above helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="12743" PostHistoryTypeId="5" PostId="7502" RevisionGUID="6a3becc9-9aee-490c-af90-8db4d1c00086" CreationDate="2011-04-25T21:58:37.107" UserId="1014" Comment="added 17 characters in body" Text="may be a catapult? XD&#xD;&#xA;or a toilet lol" ContentLicense="CC BY-SA 3.0" />
  <row Id="12744" PostHistoryTypeId="2" PostId="7512" RevisionGUID="346264ad-57c2-4511-88dc-910889fd5c98" CreationDate="2011-04-25T22:28:58.223" UserId="558" Text="one word:    fans" ContentLicense="CC BY-SA 3.0" />
  <row Id="12745" PostHistoryTypeId="2" PostId="7513" RevisionGUID="08406d85-fcf3-4587-82ff-c057f1fde5ed" CreationDate="2011-04-25T22:30:08.867" UserId="393" Text="A shovel falling over, handle first, onto the pressure valve of a compressed air tank, breaking it off." ContentLicense="CC BY-SA 3.0" />
  <row Id="12746" PostHistoryTypeId="5" PostId="7511" RevisionGUID="b38d03ee-6e90-4a44-bc04-09d43beb937a" CreationDate="2011-04-25T22:38:09.093" UserId="18160" Comment="added 1127 characters in body" Text="Oppresive as in dark and eerie?&#xD;&#xA;&#xD;&#xA;Put a low tone in it.&#xD;&#xA;&#xD;&#xA;Rattles - a shaking AC vent is awesome in these instances.&#xD;&#xA;&#xD;&#xA;A tree branch tapping a window.&#xD;&#xA;&#xD;&#xA;A far-off hissing noise.&#xD;&#xA;&#xD;&#xA;Every now and again, a children laughing verbed out like it's coming down from around the corner of a hall you cannot see.&#xD;&#xA;&#xD;&#xA;A nice deep rumbly bus going by outside (depending on where it is obviously)&#xD;&#xA;&#xD;&#xA;A dog barking outside.&#xD;&#xA;&#xD;&#xA;It all depends on the mood you want to create with the audience, and what Oppressive means in this sense. Hope the above helps.&#xD;&#xA;&#xD;&#xA;EDIT: Awkwardly Funny Ambience:&#xD;&#xA;&#xD;&#xA;Get some funny sounding ambiences like a higher frequency rattle or a funny clock tick.&#xD;&#xA;&#xD;&#xA;Also, get the scriptwriter to write something in like a coffee maker drip or a leaky sink where everything else is silent and the two people are staring at each other and the leaky sink keeps falling and then it gets louder and louder and it's awkwardly funny.&#xD;&#xA;&#xD;&#xA;Or, write in that the main character taps his fingers over and over on the desk while he's staring at the person.&#xD;&#xA;&#xD;&#xA;But again, this is all in pre-prod and I'm sorry if you've been given something to add an awkwardly funny ambience to after it's been shot and edited - which should really be thought with while shooting so instead of having to put obviously recognizable sounds in that are &quot;off screen&quot; because they didn't shoot a close-up of the leaky sink or the tapping of fingers or other things in the environment, you have more leeway to work with things. It's always easier to make a sound work for something you see visually than to make the audience know what they're hearing when it's &quot;off screen&quot; (read: lack of pre-prod)." ContentLicense="CC BY-SA 3.0" />
  <row Id="12747" PostHistoryTypeId="2" PostId="7514" RevisionGUID="f012b61c-2112-4745-89bf-ea54664c7cf6" CreationDate="2011-04-25T22:41:29.340" UserId="18160" Text="I'm the Winklevii of this game (i.e. I had the idea for it and g.a.harry actually made it) and I get 2 guesses on this one:&#xD;&#xA;&#xD;&#xA;A garbage disposal starting and cutting up spare food down the sink!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12748" PostHistoryTypeId="2" PostId="7515" RevisionGUID="13880af7-5e82-4e68-a679-0648b9583244" CreationDate="2011-04-26T00:41:03.023" UserId="61" Text="In your case it sounds like &quot;oppressive&quot; needs to be read as &quot;tight&quot; or &quot;confining&quot;, rather than low and scary, given the subject matter. If that's correct, then you need to focus on close, claustrophobic sounds,  things that will make you shift in your seat and make you want to get some air. My first thought is fluorescent lighting. Nothing says office atmosphere like that. After that I'd try AC vents, computer fans and hard drives, or perhaps a soda machine compressor humming away.&#xD;&#xA;&#xD;&#xA;Sounds like a real challenge...good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12749" PostHistoryTypeId="2" PostId="7516" RevisionGUID="b39e0b1b-2755-479b-8feb-9227f29ccb2f" CreationDate="2011-04-26T04:30:54.550" UserId="18160" Text="Apparently it's very good, and in some studios it's the first choice to go to for ambient noise reduction, and the CEDAR is second...&#xD;&#xA;&#xD;&#xA;Has anyone used one? Care to advise as to it's quality?&#xD;&#xA;&#xD;&#xA;http://www.rspe.com/iZotope-ANR-B-Adaptive-Realtime-Noise-Reduction-Hardware/vmj_estore.tpl.html&#xD;&#xA;&#xD;&#xA;http://www.izotope.com/products/audio/anrb/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12750" PostHistoryTypeId="1" PostId="7516" RevisionGUID="b39e0b1b-2755-479b-8feb-9227f29ccb2f" CreationDate="2011-04-26T04:30:54.550" UserId="18160" Text="Anyone used the Izotope ANR-B Noise Reduction unit?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12751" PostHistoryTypeId="3" PostId="7516" RevisionGUID="b39e0b1b-2755-479b-8feb-9227f29ccb2f" CreationDate="2011-04-26T04:30:54.550" UserId="18160" Text="&lt;izotope&gt;&lt;hardware&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12752" PostHistoryTypeId="2" PostId="7517" RevisionGUID="3a1e846c-2ed3-42e2-9422-af568471ee1f" CreationDate="2011-04-26T05:38:24.587" UserId="746" Text="This is a standalone hardware unit, I guess this is for live or broadcast use, why not using the offline iZotope RX Advanced which is a great and surgical precision and far more accurate on handling and tweaking. Also comes with many  more tools and a great user interface.&#xD;&#xA;&#xD;&#xA;Are you in need of real time processing on your audio clean-up chain?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12753" PostHistoryTypeId="2" PostId="7518" RevisionGUID="b6ca6adc-d725-42d4-8625-562b3d41fdb1" CreationDate="2011-04-26T05:43:08.930" UserId="746" Text="My first sequencer was made by me but it was a simple frequency player made on assembly and pascal for a game I was programming when I was a kid. Serious sequencing: Started on Logic on windows PC, then got Nuendo, some months of using Radar24, Digital Performer and ProTools in various productions and then Sonar Producer, now I'm only using Reaper and never looking back again! :-P" ContentLicense="CC BY-SA 3.0" />
  <row Id="12754" PostHistoryTypeId="5" PostId="7517" RevisionGUID="37adf709-0f90-4d3e-a138-23357d52450c" CreationDate="2011-04-26T05:44:13.330" UserId="746" Comment="added 8 characters in body" Text="This is a standalone hardware unit, I guess this is for live or broadcast use, why not using the offline iZotope RX Advanced which is a great and surgical precision and far more accurate on handling and tweaking. Also comes with many  more tools and a great user interface.&#xD;&#xA;&#xD;&#xA;@Utopia Are you in need of real time processing on your audio clean-up chain?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12755" PostHistoryTypeId="2" PostId="7519" RevisionGUID="98f39d3d-3b86-4a11-9e5f-544bf94d515e" CreationDate="2011-04-26T05:47:25.273" UserId="746" Text="@Justin I use to clean my audio files one by one, never use batch process without knowing what I'm doing in detail, so yes, de-noise them with a tool like iZotope RX or something like that, and of course keep the original files somewhere. Also try always to eliminate noise while you record by using different mic angles and other similar techniques." ContentLicense="CC BY-SA 3.0" />
  <row Id="12756" PostHistoryTypeId="2" PostId="7520" RevisionGUID="7a766b2b-75f2-4129-b65c-f5077303ebe7" CreationDate="2011-04-26T08:39:16.577" UserId="786" Text="The first sequencer I met was the Steinberg Pro 24 on the Atari ST in 1987, which evolved into Cubase a couple of years later. Not a DAW, just a MIDI sequencer, so I guess it doesn't count.&#xD;&#xA;&#xD;&#xA;In 1994 i did some work on a local radio station, which was my first real experience with audio editing, cutting reel-to-reel tape. Sometime in 94 we got a Digidesign Session 8 hard disc recording system, which in our case was PC based. 8 tracks straight up, no plugins except track EQ.&#xD;&#xA;&#xD;&#xA;In 1995 I started in the film business on the WaveFrame, also 8 tracks. It needed dual scsi chains to pull the audio from the drives quickly enough. It did these realtime crossfades, where you didn't have to wait for the machine to render the fades, which took some time on other systems. It had an integrated mixer, which could be used for MS matrixing as well as some EQ'ing, it also had a time stretching tool, but that took quite a while... The best thing on the Waveframe was shuttling at very low speed, it had a really gritty sound. You could record that on to a DAT tape and then back into the Waveframe. &#xD;&#xA;&#xD;&#xA;Later on I worked on a waveframe with 16 tracks, which actually meant two waveframe systems controlled by on computer. You could drag and drop the sound files freely on the first 8 tracks or on the last 8 tracks, but if you dragged them from tracks 1-8 to tracks 9-16, it would copy the files from one interface running its own set of SCSI discs to the other interface, also running its own set of SCSI discs. I believe the max track count on the Waveframe at that time was 24 tracks, still no plug-ins. Oh, almost forgot, you could make the playhead go from right to left instead of left to right.&#xD;&#xA;&#xD;&#xA;While at film school I worked a bit on the Avid AudioVision, which had around 24 tracks and audiosuite plugins. It was like an Avid MediaComposer just focusing on audio. You could sort your audio files in bins and work with different sequences. Some people still miss this feature.&#xD;&#xA;&#xD;&#xA;In 1997 I started working in Pro Tools, it was around version 3.1 or so. I believe it was fixed at 16 or 24 tracks. Suddenly there was the TDM bus with plugins and audiosuite plugins as well, it was quite confusing for me at first, but I have gotten used to it since then.... ;-)&#xD;&#xA;&#xD;&#xA;In 2002 I bought a PC laptop, because I was a PC man and I wanted to install Pro Tools. It didn't work, however, because my laptop was incompatible with the Digidesign M-Box, so I had to install Nuendo instead. I did a little bit of work in Nuendo, but I never got used to it, so the next time I bought a computer I switched to Mac and Pro Tools.&#xD;&#xA;&#xD;&#xA;Now I own a studio together with 5 other sound guys, we run 4 studios equipped with Pro Tools 9, from an HD3 over two HD native down to one regular Pro Tools 9 (used to be LE). I am running Pro Tools 8 LE on my MacBook Pro as well as Ableton Live Suite 8." ContentLicense="CC BY-SA 3.0" />
  <row Id="12757" PostHistoryTypeId="2" PostId="7521" RevisionGUID="c99cd1f0-e511-45c9-8184-6d1443ac8c05" CreationDate="2011-04-26T08:55:55.507" UserId="348" Text="Hi all. &#xD;&#xA;&#xD;&#xA;I would like to know how to make a sound of a stone wall cracking? &#xD;&#xA;&#xD;&#xA;If any one can give me some direction it will be great. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12758" PostHistoryTypeId="1" PostId="7521" RevisionGUID="c99cd1f0-e511-45c9-8184-6d1443ac8c05" CreationDate="2011-04-26T08:55:55.507" UserId="348" Text="Stone wall cracking." ContentLicense="CC BY-SA 3.0" />
  <row Id="12759" PostHistoryTypeId="3" PostId="7521" RevisionGUID="c99cd1f0-e511-45c9-8184-6d1443ac8c05" CreationDate="2011-04-26T08:55:55.507" UserId="348" Text="&lt;cracking&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12760" PostHistoryTypeId="2" PostId="7522" RevisionGUID="7c074edd-db09-40fe-beb2-7e9b91ea6aa5" CreationDate="2011-04-26T09:03:38.937" UserId="61" Text="My first job was at a recording studio with 6 rooms, each with a different DAW. And I had to know how to work each one! A daunting challenge, coming out of school with no real DAW training to speak of since we had focused mainly on analog technologies.&#xD;&#xA;&#xD;&#xA;Three of the workstations were ones nobody has mentioned yet:&#xD;&#xA;&#xD;&#xA;**NED Synclavier**&#xD;&#xA;![alt text][1]&#xD;&#xA;At $100,000 each in its heyday, it was an incredible, unrivaled machine, and many still feel that way today. Who can forget the 6 foot tower and 12&quot; WORM drives? How about that 5 1/4&quot; floppy?? When the black-and-white editing screen finally evolved into the color EditView software, it was a glimpse into what ProTools would eventually become.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Lexicon Opus**&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;It also came in a desktop version called the Opus-e. A great editing system for its time; one could become extremely fast on it after getting to know the surface. Looks a bit like an Icon, no?&#xD;&#xA;&#xD;&#xA;**SSL ScreenSound and Scenaria**&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;A pen-based DAW, both of these were geared towards engineers versed in film sound and displayed the regions moving from the bottom to the top of the screen, as film would move on a flatbed/KEM.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;*So interesting*…as I trolled the internet looking for images of these DAWs, I was shocked by how difficult it was. We're only about 10-15 years out from when these guys were the go-to tools in the industry and everybody had at least one. Now you can't even find a picture…go figure.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://1.bp.blogspot.com/_rScBRKlTdoE/S_s_NCqD3pI/AAAAAAABEqg/UANySwuMbJU/s1600/IMG_6219.jpg&#xD;&#xA;  [2]: http://chambinator.free.fr/pics/opus.jpg&#xD;&#xA;  [3]: http://www.nonlinear.info/scenaria.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="12761" PostHistoryTypeId="2" PostId="7523" RevisionGUID="f36fb89c-b5f9-4335-a06d-d49f1f0931e8" CreationDate="2011-04-26T09:05:50.637" UserId="61" Text="As usual, it depends on your situation. How big is the wall? Large stones or small? Cracking, as in stress? Or cracking, as in crumbling to the ground? What is causing it to crack?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12762" PostHistoryTypeId="2" PostId="7524" RevisionGUID="e90b64c5-e171-4c88-81d3-338d39e19a80" CreationDate="2011-04-26T10:24:43.130" UserId="6420" Text="How about playing with some wood creaks and snaps and pitching them down an octave or two?&#xD;&#xA;Try different layers etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="12763" PostHistoryTypeId="2" PostId="7525" RevisionGUID="a3cb8991-511c-4e8e-93a1-d65352242c96" CreationDate="2011-04-26T10:39:23.017" UserId="6420" Text="How about some sounds like phones constantly ringing but subtly in the BG? I always find it annoying when they go unanswered for ages in an office environment! Might add a bit if tension/unease to the scene if appropriate? Oh and the constant sounds of photocopiers/printers brings home to me the oppressive, soul sapping nature of tedious offce work! lol" ContentLicense="CC BY-SA 3.0" />
  <row Id="12764" PostHistoryTypeId="2" PostId="7526" RevisionGUID="2f7ecd50-d242-40a6-9847-6f2e16758cc7" CreationDate="2011-04-26T10:45:17.600" UserDisplayName="user80" Text="Ice can work well for this, freeze two items together with lots of water and then pull them apart.  You can vary the objects from cloth soaked in water through to solid objects such as ceramic or plastic dishes." ContentLicense="CC BY-SA 3.0" />
  <row Id="12765" PostHistoryTypeId="2" PostId="7527" RevisionGUID="070920da-1b7a-4e5d-8bed-cf2a303c3a0f" CreationDate="2011-04-26T11:33:30.557" UserId="510" Text="We have Two izotope units we also have 3 cedar dns1500. The Izotope are built well and I prefer them over the cedars. Izo's work better at noise like skype feed stuff. Very transparent and really work like the plugins. The cedar does have more control having a low mid and high band. Where as the izo just has adaptive button with threshold and reduction u kinda rely on the izo to do what it needs to do and it does a very good job.  @utopia" ContentLicense="CC BY-SA 3.0" />
  <row Id="12766" PostHistoryTypeId="2" PostId="7528" RevisionGUID="c91ea5dd-1dea-41a9-82e0-50888efe241c" CreationDate="2011-04-26T12:35:36.150" UserId="6462" Text="Try finding some sounds of cracking / breaking bones. Horror libraries are great for these. Add in some creaking and even some rubber stretching. Worked well for me in a similar type of clip." ContentLicense="CC BY-SA 3.0" />
  <row Id="12767" PostHistoryTypeId="2" PostId="7529" RevisionGUID="10ca8448-2760-45f4-a9af-bb22e0dedf22" CreationDate="2011-04-26T14:56:28.123" UserId="168" Text="I've pitched down Chuck Russom's rock library and its worked well for such a thing - depends on how big you need it to sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="12768" PostHistoryTypeId="5" PostId="4255" RevisionGUID="efcff184-7ad4-4c18-819d-fba244653d9f" CreationDate="2011-04-26T15:03:37.827" UserId="629" Comment="updated post" Text="PS3: StarskyUK&#xD;&#xA;&#xD;&#xA;Steam: ade2j&#xD;&#xA;&#xD;&#xA;Currently playing Fifa 2011 &amp; F1 on PS3.&#xD;&#xA;&#xD;&#xA;On the PC I'm on still playing on CoD 4, Company of Heroes, FM2011 and CoD 7 now and then." ContentLicense="CC BY-SA 3.0" />
  <row Id="12769" PostHistoryTypeId="2" PostId="7530" RevisionGUID="0fdbbd8a-aeca-4c1f-a0d3-078cdd56ad20" CreationDate="2011-04-26T15:21:40.190" UserDisplayName="user80" Text="Try introducing a tinnitus whine anywhere between 2-4 kHz, it doesn't need to be loud, it will quickly become very annoying and oppressive." ContentLicense="CC BY-SA 3.0" />
  <row Id="12770" PostHistoryTypeId="2" PostId="7531" RevisionGUID="eb21cd54-b542-45e8-ba76-954776aceadf" CreationDate="2011-04-26T15:35:31.530" UserId="845" Text="So, I've finally gotten around to d/l-ing the demo for Max/MSP.  I've been going through the Tutes and learning a whole bunch.  I'm now at the point where I think I can start building some stuff.  I've already done one that picks a word at random from a list and inputs it into a sentence.  It's really fun, but it's a little simplistic and I'd like to move on to something audio related.&#xD;&#xA;&#xD;&#xA;Can anybody think of any simple audio ideas to start on that won't be too complex?  I've got ideas for building massive interactive generative music engines and stuff like that, but I figure I'd better figure out how to get my britches on before I go outgrowing them.&#xD;&#xA;&#xD;&#xA;I've been thinking of something like a delay module or distortion unit, but I have no idea how much work and depth of skillset I'll need to be able to actually do something like that.  Ideally I'd like to finish it before the demo runs out (still saving for a full copy).&#xD;&#xA;&#xD;&#xA;Snuggles&#xD;&#xA;&#xD;&#xA;GaH" ContentLicense="CC BY-SA 3.0" />
  <row Id="12771" PostHistoryTypeId="1" PostId="7531" RevisionGUID="eb21cd54-b542-45e8-ba76-954776aceadf" CreationDate="2011-04-26T15:35:31.530" UserId="845" Text="N00b to Max/MSP " ContentLicense="CC BY-SA 3.0" />
  <row Id="12772" PostHistoryTypeId="3" PostId="7531" RevisionGUID="eb21cd54-b542-45e8-ba76-954776aceadf" CreationDate="2011-04-26T15:35:31.530" UserId="845" Text="&lt;max-msp&gt;&lt;beginner&gt;&lt;programming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12773" PostHistoryTypeId="5" PostId="7515" RevisionGUID="097e3dea-e9f4-422e-8705-3e6a3c160d40" CreationDate="2011-04-26T15:57:02.343" UserId="61" Comment="added 1 characters in body" Text="In your case it sounds like &quot;oppressive&quot; needs to be read as &quot;tight&quot; or &quot;confining&quot;, rather than low and scary, given the subject matter. If that's correct, then you need to focus on close, claustrophobic sounds,  things that will make you shift in your seat and make you want to get some air. My first thought is fluorescent lighting. Nothing says office atmosphere like that. After that I'd try AC vents, computer fans and hard drives, or perhaps a soda machine compressor humming away.&#xD;&#xA;&#xD;&#xA;Sounds like a real challenge...good luck!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12774" PostHistoryTypeId="2" PostId="7532" RevisionGUID="573ba464-d10c-4c94-8578-0b0fa50a6fc9" CreationDate="2011-04-26T16:01:36.707" UserId="338" Text="rice krispies sitting in a bowl of milk pitched down a little bit?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12775" PostHistoryTypeId="2" PostId="7533" RevisionGUID="5ab797f3-3ba5-43eb-8cc5-55a17a659027" CreationDate="2011-04-26T16:05:46.897" UserId="132" Text="I know someone who mounted schoeps on a stereo rycote hot shoe bar http://www.rycote.com/products/accessoriesspares/stereo_bar_assembly/ the smaller one and used the rycote ball gags for wind protection and it worked quite well.  he was doing ORTF In the field.  You might want to give Buzz Turner a call at http://turneraudio.com.  he's been the guy who distributes rycote in the US and is super knowledgeable.  He's helped me work through a number of funky setups over the years.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12776" PostHistoryTypeId="2" PostId="7534" RevisionGUID="3dddf72c-6fc3-4a7b-8203-2650e6d9cd89" CreationDate="2011-04-26T16:07:31.870" UserId="543" Text="check out the msp tutrials... (help / msp-tutorials) &#xD;&#xA;they'll teach you all the basics you need to know to create and manipulate sound-effects in MAX... or just set yourself a goal (like a frequency-reactive delay, or ... whatever) and research the nodes you need to know to create it... this method might take a little bit longer, but it's probably more fun ;) also the reference and the node-help-files (rightclick the hot-inlet of a node) are very helpful!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12777" PostHistoryTypeId="2" PostId="7535" RevisionGUID="88d6ab86-4c23-4609-9801-129a1cd437d4" CreationDate="2011-04-26T16:36:38.923" UserId="37" Text="add hum........." ContentLicense="CC BY-SA 3.0" />
  <row Id="12778" PostHistoryTypeId="2" PostId="7536" RevisionGUID="6740ab04-1b12-4d17-95c1-d01c22e9706e" CreationDate="2011-04-26T17:08:52.120" UserId="601" Text="check out this guy: http://www.youtube.com/user/BazTutorials&#xD;&#xA;&#xD;&#xA;he's got a lot of short max/msp tutorials, most of them about audio&#xD;&#xA;&#xD;&#xA;and lately he started a playlist called  'patch a day'  ;) so you'll have plenty of 'simple audio ideas' to choose from.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="12779" PostHistoryTypeId="2" PostId="7537" RevisionGUID="3b3a533c-99b4-4a0c-b995-39e2800186b8" CreationDate="2011-04-26T17:27:30.993" UserId="182" Text="Some tips for beginning Max/MSP users:&#xD;&#xA;&#xD;&#xA;- Check out the **examples** (Extras menu &gt; Examples) and unlock the patcher to see how they are built up. Try to understand how they work.&#xD;&#xA;- **Every help file of every object is a Max-patcher too**: you can unlock them, select and copy what you need and paste it into your own patch. Watch out with editing the help patches: if you then save it, it permanently overwrites the help file.&#xD;&#xA;- Check out the **Object Thesaurus** in the Reference, with it you can search for a certain functionality and it will list the object to use.&#xD;&#xA;- **Learn the hotkeys**: cmd-e to lock/unlock the patcher, i for new int box, f for new float box, n for new object, m for new message, t for new toggle, b for new bang, c for new comment, cmd-shift-e to group the selected items into a subpatcher, cmd-k (on windows, cmd = ctrl) for hide on lock, cmd-l for show on lock, cmd-y and cmd-shift-y for align objects/patch cords (this is ctrl-shift-a on windows) and more.&#xD;&#xA;- **Comment your work**. Max/MSP is a programming language, and if you create some complex logic during a eureka-moment you will thank yourself later if you annotated it with a short explanation on how it works. It makes debugging a lot easier.&#xD;&#xA;- **Turn on 'probing'** in the Debug menu so that when you hover with the mouse over a signal cord, you will see its current amplitude.&#xD;&#xA;- **Use [print] often** in the creation process to check if objects output the values you expect them to. You can remove the print objects later on when you have verified that everything works.&#xD;&#xA;- Make yourself familiar with the **difference between Max and MSP**, meaning the differences of doing stuff at scheduler rate vs at audio rate.&#xD;&#xA;- Learn what the **settings in the 'DSP Status' window** do and what to check when the sound isn't working.&#xD;&#xA;- **Learn how pattrstorage works** early on and build your patches with that in mind. Adding preset-storage capability later on is a pain in the ass.&#xD;&#xA;- Before trying to build something, **search the forum** for it ( http://cycling74.com/forums ) Chances are someone had the same idea before you and has posted an example patch. This also applies when you get stuck with something: search the forum because you probably won't be the first to have this particular problem.&#xD;&#xA;- Talking about the forum: read this topic http://cycling74.com/forums/topic.php?id=26095 - it tells you how to post patches on the forum and other basic, need to know stuff.&#xD;&#xA;- If you have created something awesome, return the favor and **share it on the forum**!&#xD;&#xA;- **Check out http://maxobjects.com** : there are lots and lots of abstractions and cool externals that add to the functionality of Max/MSP or make your life a little bit easier. Watch out with externals that are for one platform only though, you might run into compatibility problems later.&#xD;&#xA;- While you're there, download the following libraries: **ejies, jasch, jb** (use the search function). Very useful stuff.&#xD;&#xA;- **There are bugs in the program, and it will crash**. **So save often** and think of some kind of versioning strategy. If you think you found a bug, search the forum first. When nothing comes up, make a new post that explains how to reproduce the bug, along with a tiny example patch. It will then most likely be fixed in the next version (this goes quite quickly, and the staff is very responsive).&#xD;&#xA;&#xD;&#xA;Sound-design specific stuff:&#xD;&#xA;&#xD;&#xA;- Watch the volume when using headphones. If you're working with signals while they are connected to the dac (output), unexpected stuff might cause very loud output. &#xD;&#xA;- In the same vein, limit the input values of resonant filters, because they can produce nasty output. [clip] and [clip~] are your friends.&#xD;&#xA;- Make yourself familiar with sfrecord~, sfplay~, groove~, record~ and buffer~. Writing and reading audio files is essential if you have created something cool and want to save it.&#xD;&#xA;- To avoid clicks when changing the volume of a signal with a non-signal number, or some other signal parameter (of a filter for example), put an [append 20]---[line~] in the signal flow to smooth the values in the audio domain.&#xD;&#xA;- Check out pfft~ and the examples regarding fft and convolution. Quite advanced stuff, but it can be loads of fun too.&#xD;&#xA;- Do you have a midi controller? Check out midiin, and create a little patch with you specific controller settings already set up and routed so that you only need to drop it in any patch you make to add midi functionality. Doing sound design with knobs is more intuitive and more fun than with the mouse only.&#xD;&#xA;- Check out Max for Live if you want better integration of your Max-creations with a DAW.&#xD;&#xA;- Build or find a constant-power fading and panning patcher, you will need it when crossfading or panning between signals.&#xD;&#xA;- Learn how poly~ works early on and build patches with lots of parallel stuff around poly from the beginning. Think synths and other layered or multi-timbral sound generators and modifiers.&#xD;&#xA;&#xD;&#xA;Some more ideas to build:&#xD;&#xA;&#xD;&#xA;- A phaser;&#xD;&#xA;- A multi-tap delay;&#xD;&#xA;- An LFO-driven variable filter;&#xD;&#xA;- An amplitude-driven filter with smoothing;&#xD;&#xA;- A basic subtractive synth, which you can then extend with frequency modulation, the above effects, ADSR envelopes (using [function] or [adsr~], a step sequencer [techno], other waveforms (you can steal this from the X.FM~ synth in the examples) and more crazy stuff.&#xD;&#xA;&#xD;&#xA;As you can tell, I spent far too much time with Max/MSP, and I still am. And yet, though I can create anything I want with Max+MSP, the world of Jitter (video) is still relatively unexplored territory where even more wonders await..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12780" PostHistoryTypeId="2" PostId="7538" RevisionGUID="793d8325-2d3d-46fe-833c-083f3ecfa2f8" CreationDate="2011-04-26T17:38:02.413" UserId="510" Text="@JM V It depends on how you set this up. You have to have a midi track and then you have to assign a controller to that track. You will see the midi track with midi data when you press a key. From what I am reading is that you are half way there. You have to tell the midi controller (Axiom) what you want it to play. When you look at the midi track you should see a place to assign it a sound like the harmony (VST instruments) (a synth, which is like a keyboard, which is what gives the sounds you want. Then when you can pick the patch you want. I hope this makes sense to you. If not let me know and I can try to make it more clear. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12781" PostHistoryTypeId="2" PostId="7539" RevisionGUID="0f4e6af0-9b13-4394-8d4b-e89d6b5346e6" CreationDate="2011-04-26T18:21:42.743" UserId="938" Text="Hi all,&#xD;&#xA;&#xD;&#xA;Imagine this shot: MCU of prop plane, it peels off to the left out of shot&#xD;&#xA;Not having a real plane to play with I'm using stock library FX. Obviously planes don't really make that noise that we've come to associate with climbs and turns but it's a very firmly established cliché that I'd like to recreate. How do most people achieve it? Now I can imagine doing a certain amount with pitch-ing of engines and cutting into fly-by's, but I feel like I'm missing a trick?&#xD;&#xA;cheers&#xD;&#xA;g" ContentLicense="CC BY-SA 3.0" />
  <row Id="12782" PostHistoryTypeId="1" PostId="7539" RevisionGUID="0f4e6af0-9b13-4394-8d4b-e89d6b5346e6" CreationDate="2011-04-26T18:21:42.743" UserId="938" Text="Plane peel off's, climbs and dives" ContentLicense="CC BY-SA 3.0" />
  <row Id="12783" PostHistoryTypeId="3" PostId="7539" RevisionGUID="0f4e6af0-9b13-4394-8d4b-e89d6b5346e6" CreationDate="2011-04-26T18:21:42.743" UserId="938" Text="&lt;film-sound-design&gt;&lt;planes&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12784" PostHistoryTypeId="2" PostId="7540" RevisionGUID="43de7330-626d-481c-8ad2-6d2e5882518b" CreationDate="2011-04-26T18:33:47.130" UserId="61" Text="You're on the right track...these types of effects are usually achieved by combining bys, approaches, sways, and steadies that may or may not be pitch shifted or otherwise affected. Also, experiment with layering other vehicles underneath the original sound for added dynamics, ie. a fast helicopter by may help you with a quick peel-off, or a jet by could help sell speed. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12785" PostHistoryTypeId="2" PostId="7541" RevisionGUID="8fa29b72-b6ec-43d9-b2c5-8ecca9e885f1" CreationDate="2011-04-26T19:14:45.037" UserId="37" Text="What? Nobody started from a mod tracker? &#xD;&#xA;&#xD;&#xA;Here goes: &#xD;&#xA;&#xD;&#xA;ModEdit (4ch) &gt; Scream Tracker (16ch) &gt; Impulse Tracker (64ch) &gt; Logic 4.7, 5, 7, 8; PTLE8 &gt;  now Logic 9, PT 9&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;Cool Edit &gt; Cool Edit Pro &gt; Sound Studio &gt; now back to Adobe Audition on the Mac.&#xD;&#xA;&#xD;&#xA;Trivia thing about old-school trackers -&gt; there were no effects - no EQ, compression, etc. Those were all &quot;do it yourself&quot; - from elementary stuff like flanging and delay, to the more interesting fake reverb, sound stretching and shuffle-tempo-delays (Logic only got one with Delay Designer). Great for reverse-engineering sound techniques, and the compact (self-contained) format was practically open-source.. &#xD;&#xA;&#xD;&#xA;Tragic ending, to arrive at Pro Tools after all this, but hey... (::wink::)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12786" PostHistoryTypeId="2" PostId="7542" RevisionGUID="1a0edf67-a5a8-41af-bc9c-065c63ff8861" CreationDate="2011-04-26T20:54:54.233" UserId="18160" Text="I would try just plain-old volume automation.&#xD;&#xA;&#xD;&#xA;If that doesn't do it, try adding a very light doppler effect to that.&#xD;&#xA;&#xD;&#xA;But, a rapid increase and decrease of volume might go a long way to making your mundane engine drones have more life and movement." ContentLicense="CC BY-SA 3.0" />
  <row Id="12787" PostHistoryTypeId="2" PostId="7543" RevisionGUID="4d3b8be8-fe9d-4ea3-b1df-6d90fcec0442" CreationDate="2011-04-26T21:18:53.087" UserId="654" Text="Actually PT III systems came in nubus and PCI variations. My first rig was a refurb PT III PCI based system with 1 xIO card and 1x DSP card and a Miromotion DC30 for outboard video - all that housed in a might G3 300MHz computer.&#xD;&#xA;I started earning a living driving the DSP poststation however, great system. Super fast for cutting promos and ads.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12788" PostHistoryTypeId="2" PostId="7544" RevisionGUID="e6cbb2ef-3e7b-4b33-b2cd-17d578f71c8c" CreationDate="2011-04-26T21:23:37.493" UserId="1014" Text="FastTracker II FTW! Then I moved on Cakewalk -&gt; Cubasis and then the born of virtual instruments with Cubase VST. I started programming my own sounds over ten years ago with a Yamaha DX-21, Seer System's Reality and Retro AS-1. Amazing stuff! Discovering and learning synthesis by myself was really a kind of magic. I really got into a dark tunnel when I discovered modular synthesizers such as SynC, SynthEdit and so on (passing through the 'infamous' Kurzweil VAST Engine) until Reaktor, which still my fav in software synthesizers. Back to DAWs I moved to Apple Logic Pro on 2005 and Ableton Live 6 in 2006. This couple still my actual setup. I tried to use ProTools LE some year ago, with an MBOX 2 but the poor quality of the soundcard let me take the decision to park PT for a while. Now that digidesign detached their software from the hardware I may try PT again :)&#xD;&#xA;&#xD;&#xA;L. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12789" PostHistoryTypeId="2" PostId="7545" RevisionGUID="c405ba0d-2c74-4952-8bd2-bd2edded4065" CreationDate="2011-04-26T21:43:50.937" UserId="18160" Text="Let's say I had a mic on a gooseneck on a podium, and the PA was blaring and very loud.&#xD;&#xA;&#xD;&#xA;The gooseneck is pretty much bolted to the floor.&#xD;&#xA;&#xD;&#xA;There is usually a huge feedback ring around 250-300.&#xD;&#xA;&#xD;&#xA;Could this theoretically be caused by a sympathetic vibration from the floor of the stage as well as the neck of the gooseneck?&#xD;&#xA;&#xD;&#xA;How would one go about isolating a gooseneck such as a podium mic from the floor or any other surface which might be rumbling?&#xD;&#xA;&#xD;&#xA;Thanks in advance for your help." ContentLicense="CC BY-SA 3.0" />
  <row Id="12790" PostHistoryTypeId="1" PostId="7545" RevisionGUID="c405ba0d-2c74-4952-8bd2-bd2edded4065" CreationDate="2011-04-26T21:43:50.937" UserId="18160" Text="Question about podium mics which you may be able to help with." ContentLicense="CC BY-SA 3.0" />
  <row Id="12791" PostHistoryTypeId="3" PostId="7545" RevisionGUID="c405ba0d-2c74-4952-8bd2-bd2edded4065" CreationDate="2011-04-26T21:43:50.937" UserId="18160" Text="&lt;podium&gt;&lt;feedback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12792" PostHistoryTypeId="2" PostId="7546" RevisionGUID="7c148009-017e-4260-bf1f-f1051c75cbdb" CreationDate="2011-04-26T22:01:23.733" UserId="393" Text="Hi-pass it... Or at least EQ it way down.  Assuming the 250-300 Hz range really is the problem.&#xD;&#xA;&#xD;&#xA;Can you move the loudspeakers so they're in front of the mic, or angle them at all?&#xD;&#xA;&#xD;&#xA;And how hot are you keeping your signal?  I know that's probably already something you've considered, as well as proper mic technique of your presenter, but it's good to revisit it." ContentLicense="CC BY-SA 3.0" />
  <row Id="12793" PostHistoryTypeId="2" PostId="7547" RevisionGUID="4c5f8ef6-f350-4cf6-8449-0c94ceebd83d" CreationDate="2011-04-26T23:15:01.490" UserId="711" Text="Use and infrasound. Most of the time, they are related to natural disasters: volcanoes, ligthning, earthquakes, avalanches ... Since its not consiously perceived, most people are annoyed, having a weird feeling of fear, like supernatural events are taking place. Sometimes even makes them sick ! " ContentLicense="CC BY-SA 3.0" />
  <row Id="12794" PostHistoryTypeId="2" PostId="7548" RevisionGUID="55d6d14f-afc8-4407-9c0c-90aeb7051fef" CreationDate="2011-04-26T23:42:07.923" UserId="558" Text="The Hunger has some interesting stuff&#xD;&#xA;Most Robert Altman films have good sound.  MASH has a really interesting approach to dialog and sound - people talking over each other, very naturalistic performances.&#xD;&#xA;&#xD;&#xA;ALso, a really interesting doc about the guy who invented the Theremin (called &quot;Theremin&quot;).  Not really about sound design, but in the ear ballpark." ContentLicense="CC BY-SA 3.0" />
  <row Id="12795" PostHistoryTypeId="2" PostId="7549" RevisionGUID="3aaa5fcd-bde0-498e-a8a6-509869bc5e10" CreationDate="2011-04-27T01:00:48.730" UserId="701" Text="Let's see, after tape it was the NED Post Pro and the Studer Dyaxis.  Then SSL Screensound, AMS Audiofile, ProTools 4 thru 6 and now Nuendo 5.x.  With some PT's 8 thrown in when needed.  I have fond memories of the Screensound but for speed it was the AMS Audiofile, once you got used to it you could fly on the edits!&#xD;&#xA;&#xD;&#xA;John." ContentLicense="CC BY-SA 3.0" />
  <row Id="12796" PostHistoryTypeId="2" PostId="7550" RevisionGUID="8e685354-465e-44ec-b87d-63baadca0be4" CreationDate="2011-04-27T01:50:10.850" UserId="667" Text="Does your typical analog non-powered mixer boost the mic inputs to line level for all the signal processing ie. effects, eq, panning, or does it remain mic level?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="12797" PostHistoryTypeId="1" PostId="7550" RevisionGUID="8e685354-465e-44ec-b87d-63baadca0be4" CreationDate="2011-04-27T01:50:10.850" UserId="667" Text="Do analog mixers boost mic level to line level?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12798" PostHistoryTypeId="3" PostId="7550" RevisionGUID="8e685354-465e-44ec-b87d-63baadca0be4" CreationDate="2011-04-27T01:50:10.850" UserId="667" Text="&lt;mixer&gt;&lt;line&gt;&lt;level&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12799" PostHistoryTypeId="2" PostId="7551" RevisionGUID="0afe6008-b2e1-4ad9-bb3b-af85d9dcd94c" CreationDate="2011-04-27T03:05:23.713" UserId="194" Text="generally anything with a preamp moves signal from mic level to line level.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="12800" PostHistoryTypeId="2" PostId="7552" RevisionGUID="54118a91-d73a-4c9a-ab30-41f226886fc0" CreationDate="2011-04-27T06:36:01.127" UserId="6462" Text="Hi&#xD;&#xA;You said that the gooseneck was bolted to the floor but didn't state as to whether the mic was permanently fixed to the gooseneck, ie the cable going through the gooseneck into the floor as well. If that is not the case and the mic is removable then there are a number of options.&#xD;&#xA;First, to check if the feedback is caused by the attached GN. remove the mic and just hold it gently, this will isolate it from the floor, get someone to jump up and down and see if you still get the same feedback.&#xD;&#xA;Second. Make sure that the GN is not bent too much.&#xD;&#xA;&#xD;&#xA;There are connectors and adaptors available that are designed to reduce podium noise and rumble. You can get an isolated XLR socket that will connect to the podium or floor that is basically surrounded in soft rubber. You can also get an isolating microphone clip that can help to eliminate stand-transmitted noise.&#xD;&#xA;&#xD;&#xA;What microphone are you using?&#xD;&#xA;&#xD;&#xA;Hope this helps. I can give you links to that kind of equipment if you need any more help." ContentLicense="CC BY-SA 3.0" />
  <row Id="12801" PostHistoryTypeId="2" PostId="7553" RevisionGUID="79da25da-122f-4443-aed5-6eef36959b6d" CreationDate="2011-04-27T06:49:21.023" UserDisplayName="user80" Text="What mic are you using?&#xD;&#xA;&#xD;&#xA;The feedback is most likely due to the dimensions of the room, which creates a standing wave.  What you normally do is use a notch filter, a 31 band graphic equalizer is perfect for this.  Then you can cut the offending frequencies until they are just below the level of excitement. Another approach is to switch to a supercardioid mic.  &#xD;&#xA;&#xD;&#xA;It is unlikely that vibrations from the floor or stage are causing the feedback, I would look at the sound transmitted through air first.  If you want to check, just hire a suspension mount for the mic and pop it on a normal stand in the same position as the podium mic.  If the feedback goes away then it is definitely the stage." ContentLicense="CC BY-SA 3.0" />
  <row Id="12802" PostHistoryTypeId="5" PostId="7537" RevisionGUID="eede00ac-a7fb-4d20-bd8c-b4d725cee3b9" CreationDate="2011-04-27T07:09:44.813" UserId="182" Comment="added the line about Quickrecord." Text="Some tips for beginning Max/MSP users:&#xD;&#xA;&#xD;&#xA;- Check out the **examples** (Extras menu &gt; Examples) and unlock the patcher to see how they are built up. Try to understand how they work.&#xD;&#xA;- **Every help file of every object is a Max-patcher too**: you can unlock them, select and copy what you need and paste it into your own patch. Watch out with editing the help patches: if you then save it, it permanently overwrites the help file.&#xD;&#xA;- Check out the **Object Thesaurus** in the Reference, with it you can search for a certain functionality and it will list the object to use.&#xD;&#xA;- **Learn the hotkeys**: cmd-e to lock/unlock the patcher, i for new int box, f for new float box, n for new object, m for new message, t for new toggle, b for new bang, c for new comment, cmd-shift-e to group the selected items into a subpatcher, cmd-k (on windows, cmd = ctrl) for hide on lock, cmd-l for show on lock, cmd-y and cmd-shift-y for align objects/patch cords (this is ctrl-shift-a on windows) and more.&#xD;&#xA;- **Comment your work**. Max/MSP is a programming language, and if you create some complex logic during a eureka-moment you will thank yourself later if you annotated it with a short explanation on how it works. It makes debugging a lot easier.&#xD;&#xA;- **Turn on 'probing'** in the Debug menu so that when you hover with the mouse over a signal cord, you will see its current amplitude.&#xD;&#xA;- **Use [print] often** in the creation process to check if objects output the values you expect them to. You can remove the print objects later on when you have verified that everything works.&#xD;&#xA;- Make yourself familiar with the **difference between Max and MSP**, meaning the differences of doing stuff at scheduler rate vs at audio rate.&#xD;&#xA;- Learn what the **settings in the 'DSP Status' window** do and what to check when the sound isn't working.&#xD;&#xA;- **Learn how pattrstorage works** early on and build your patches with that in mind. Adding preset-storage capability later on is a pain in the ass.&#xD;&#xA;- Before trying to build something, **search the forum** for it ( http://cycling74.com/forums ) Chances are someone had the same idea before you and has posted an example patch. This also applies when you get stuck with something: search the forum because you probably won't be the first to have this particular problem.&#xD;&#xA;- Talking about the forum: read this topic http://cycling74.com/forums/topic.php?id=26095 - it tells you how to post patches on the forum and other basic, need to know stuff.&#xD;&#xA;- If you have created something awesome, return the favor and **share it on the forum**!&#xD;&#xA;- **Check out http://maxobjects.com** : there are lots and lots of abstractions and cool externals that add to the functionality of Max/MSP or make your life a little bit easier. Watch out with externals that are for one platform only though, you might run into compatibility problems later.&#xD;&#xA;- While you're there, download the following libraries: **ejies, jasch, jb** (use the search function). Very useful stuff.&#xD;&#xA;- **There are bugs in the program, and it will crash**. **So save often** and think of some kind of versioning strategy. If you think you found a bug, search the forum first. When nothing comes up, make a new post that explains how to reproduce the bug, along with a tiny example patch. It will then most likely be fixed in the next version (this goes quite quickly, and the staff is very responsive).&#xD;&#xA;&#xD;&#xA;Sound-design specific stuff:&#xD;&#xA;&#xD;&#xA;- Watch the volume when using headphones. If you're working with signals while they are connected to the dac (output), unexpected stuff might cause very loud output. &#xD;&#xA;- In the same vein, limit the input values of resonant filters, because they can produce nasty output. [clip] and [clip~] are your friends.&#xD;&#xA;- Make yourself familiar with sfrecord~, sfplay~, groove~, record~ and buffer~. Writing and reading audio files is essential if you have created something cool and want to save it. In the Extras menu is a little tool called Quickrecord, this lets you record and save whatever is being sent to the dac.&#xD;&#xA;- To avoid clicks when changing the volume of a signal with a non-signal number, or some other signal parameter (of a filter for example), put an [append 20]---[line~] in the signal flow to smooth the values in the audio domain.&#xD;&#xA;- Check out pfft~ and the examples regarding fft and convolution. Quite advanced stuff, but it can be loads of fun too.&#xD;&#xA;- Do you have a midi controller? Check out midiin, and create a little patch with you specific controller settings already set up and routed so that you only need to drop it in any patch you make to add midi functionality. Doing sound design with knobs is more intuitive and more fun than with the mouse only.&#xD;&#xA;- Check out Max for Live if you want better integration of your Max-creations with a DAW.&#xD;&#xA;- Build or find a constant-power fading and panning patcher, you will need it when crossfading or panning between signals.&#xD;&#xA;- Learn how poly~ works early on and build patches with lots of parallel stuff around poly from the beginning. Think synths and other layered or multi-timbral sound generators and modifiers.&#xD;&#xA;&#xD;&#xA;Some more ideas to build:&#xD;&#xA;&#xD;&#xA;- A phaser;&#xD;&#xA;- A multi-tap delay;&#xD;&#xA;- An LFO-driven variable filter;&#xD;&#xA;- An amplitude-driven filter with smoothing;&#xD;&#xA;- A basic subtractive synth, which you can then extend with frequency modulation, the above effects, ADSR envelopes (using [function] or [adsr~], a step sequencer [techno], other waveforms (you can steal this from the X.FM~ synth in the examples) and more crazy stuff.&#xD;&#xA;&#xD;&#xA;As you can tell, I spent far too much time with Max/MSP, and I still am. And yet, though I can create anything I want with Max+MSP, the world of Jitter (video) is still relatively unexplored territory where even more wonders await..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12803" PostHistoryTypeId="2" PostId="7554" RevisionGUID="84a7dc25-bcf2-4b0e-8cbc-c89beec61562" CreationDate="2011-04-27T10:24:41.503" UserId="6462" Text="Just a thought that occurred to me the other day while I was out with my PCM-D50.&#xD;&#xA;&#xD;&#xA;I always have my recorder with me just in case some sonic delight rears it head, but I don't always have headphones with me, or don't have time to get them out and plug them in. But in this case I treat the recordings like I did when I used to take photos on film. Make all the adjustments you can, point in the correct direction and then press record (like the shutter), but you are not sure of how the recording turned out until you get home. This gives me the same buzz that I used to get with photos on film, waiting to see / hear the results. Some recordings are good and some are bad. Sometimes I hear something that I didn't hear when I make the recording but if I had been wearing headphones (and heard it) then I might have deleted the file, but on decent speakers / headphones in a quiet room that sound that would have caused me to delete the file is a gem that I will keep.&#xD;&#xA;&#xD;&#xA;I know it's not great practice to record without headphones (I always wear them if i'm on a planned recording session) but sometimes you will get great results from your &quot;Blind&quot; recordings.&#xD;&#xA;&#xD;&#xA;I'd love to hear other stories and opinions on this. Does anyone else get the same buzz like you did with film cameras (or are most people on here too young to remember film?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12804" PostHistoryTypeId="1" PostId="7554" RevisionGUID="84a7dc25-bcf2-4b0e-8cbc-c89beec61562" CreationDate="2011-04-27T10:24:41.503" UserId="6462" Text="Recording &quot;Blind&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12805" PostHistoryTypeId="3" PostId="7554" RevisionGUID="84a7dc25-bcf2-4b0e-8cbc-c89beec61562" CreationDate="2011-04-27T10:24:41.503" UserId="6462" Text="&lt;field-recording&gt;&lt;sony-pcm-d50&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12806" PostHistoryTypeId="5" PostId="7537" RevisionGUID="b07b360d-f90a-4882-8fd2-7b5739290138" CreationDate="2011-04-27T10:50:40.553" UserId="182" Comment="added 312 characters in body" Text="Some tips for beginning Max/MSP users:&#xD;&#xA;&#xD;&#xA;- Check out the **examples** (Extras menu &gt; Examples) and unlock the patcher to see how they are built up. Try to understand how they work.&#xD;&#xA;- **Every help file of every object is a Max-patcher too**: you can unlock them, select and copy what you need and paste it into your own patch. Watch out with editing the help patches: if you then save it, it permanently overwrites the help file.&#xD;&#xA;- Check out the **Object Thesaurus** in the Reference, with it you can search for a certain functionality and it will list the object to use.&#xD;&#xA;- **Learn the hotkeys**: cmd-e to lock/unlock the patcher, i for new int box, f for new float box, n for new object, m for new message, t for new toggle, b for new bang, c for new comment, cmd-shift-e to group the selected items into a subpatcher, cmd-k (on windows, cmd = ctrl) for hide on lock, cmd-l for show on lock, cmd-y and cmd-shift-y for align objects/patch cords (this is ctrl-shift-a on windows) and more.&#xD;&#xA;- **Comment your work**. Max/MSP is a programming language, and if you create some complex logic during a eureka-moment you will thank yourself later if you annotated it with a short explanation on how it works. It makes debugging a lot easier.&#xD;&#xA;- **Turn on 'probing'** in the Debug menu so that when you hover with the mouse over a signal cord, you will see its current amplitude.&#xD;&#xA;- **Use [print] often** in the creation process to check if objects output the values you expect them to. You can remove the print objects later on when you have verified that everything works.&#xD;&#xA;- Make yourself familiar with the **difference between Max and MSP**, meaning the differences of doing stuff at scheduler rate vs at audio rate.&#xD;&#xA;- Learn what the **settings in the 'DSP Status' window** do and what to check when the sound isn't working.&#xD;&#xA;- **Learn how pattrstorage works** early on and build your patches with that in mind. Adding preset-storage capability later on is a pain in the ass.&#xD;&#xA;- Before trying to build something, **search the forum** for it ( http://cycling74.com/forums ) Chances are someone had the same idea before you and has posted an example patch. This also applies when you get stuck with something: search the forum because you probably won't be the first to have this particular problem.&#xD;&#xA;- Talking about the forum: read this topic http://cycling74.com/forums/topic.php?id=26095 - it tells you how to post patches on the forum and other basic, need to know stuff.&#xD;&#xA;- If you have created something awesome, return the favor and **share it on the forum**!&#xD;&#xA;- **Check out http://maxobjects.com** : there are lots and lots of abstractions and cool externals that add to the functionality of Max/MSP or make your life a little bit easier. Watch out with externals that are for one platform only though, you might run into compatibility problems later.&#xD;&#xA;- While you're there, download the following libraries: **ejies, jasch, jb** (use the search function). Very useful stuff.&#xD;&#xA;- Watch out for feedback loops in a data (or signal) stream (an object feeding data back to itself at the same rate as it receives it). Max often catches this situation and shuts down the scheduler with a warning, but sometimes it doesn't and Max will become unresponsive or even crash. Speaking about crashes:&#xD;&#xA;- **There are bugs in the program, and it will crash**. **So save often** and think of some kind of versioning strategy. If you think you found a bug, search the forum first. When nothing comes up, make a new post that explains how to reproduce the bug, along with a tiny example patch. It will then most likely be fixed in the next version (this goes quite quickly, and the staff is very responsive).&#xD;&#xA;&#xD;&#xA;Sound-design specific stuff:&#xD;&#xA;&#xD;&#xA;- Watch the volume when using headphones. If you're working with signals while they are connected to the dac (output), unexpected stuff might cause very loud output. &#xD;&#xA;- In the same vein, limit the input values of resonant filters, because they can produce nasty output. [clip] and [clip~] are your friends.&#xD;&#xA;- Make yourself familiar with sfrecord~, sfplay~, groove~, record~ and buffer~. Writing and reading audio files is essential if you have created something cool and want to save it. In the Extras menu is a little tool called Quickrecord, this lets you record and save whatever is being sent to the dac.&#xD;&#xA;- To avoid clicks when changing the volume of a signal with a non-signal number, or some other signal parameter (of a filter for example), put an [append 20]---[line~] in the signal flow to smooth the values in the audio domain.&#xD;&#xA;- Check out pfft~ and the examples regarding fft and convolution. Quite advanced stuff, but it can be loads of fun too.&#xD;&#xA;- Do you have a midi controller? Check out midiin, and create a little patch with you specific controller settings already set up and routed so that you only need to drop it in any patch you make to add midi functionality. Doing sound design with knobs is more intuitive and more fun than with the mouse only.&#xD;&#xA;- Check out Max for Live if you want better integration of your Max-creations with a DAW.&#xD;&#xA;- Build or find a constant-power fading and panning patcher, you will need it when crossfading or panning between signals.&#xD;&#xA;- Learn how poly~ works early on and build patches with lots of parallel stuff around poly from the beginning. Think synths and other layered or multi-timbral sound generators and modifiers.&#xD;&#xA;&#xD;&#xA;Some more ideas to build:&#xD;&#xA;&#xD;&#xA;- A phaser;&#xD;&#xA;- A multi-tap delay;&#xD;&#xA;- An LFO-driven variable filter;&#xD;&#xA;- An amplitude-driven filter with smoothing;&#xD;&#xA;- A basic subtractive synth, which you can then extend with frequency modulation, the above effects, ADSR envelopes (using [function] or [adsr~], a step sequencer [techno], other waveforms (you can steal this from the X.FM~ synth in the examples) and more crazy stuff.&#xD;&#xA;&#xD;&#xA;As you can tell, I spent far too much time with Max/MSP, and I still am. And yet, though I can create anything I want with Max+MSP, the world of Jitter (video) is still relatively unexplored territory where even more wonders await..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12807" PostHistoryTypeId="2" PostId="7555" RevisionGUID="a98db647-c88c-471b-99e7-2d7632838a71" CreationDate="2011-04-27T11:03:01.577" UserId="845" Text="My first, and favourite story, is putting my H1 in a rack of 10 foot lengths of PVC pipe and walking away for half an hour.  I had no idea what to expect, and freaked out for 10 minutes when I came back and tried to remember which pipe I'd put it in.&#xD;&#xA;&#xD;&#xA;This is what came out.&#xD;&#xA;&#xD;&#xA;[soundcloud]g-a-harry/pipe-resonance-1[/soundcloud].&#xD;&#xA;&#xD;&#xA;At the moment I'm doing a lot of ambience recording, and I find that I actually much prefer to record them without headphones on.  For one thing, I like the experience of sitting in silence.  The other is that I find that there's something in the conversion from reality, to recorder, to headphones that feels extremely unnatural to my ears.  It's probably that my recorder is shitty, but I'm working on that one.&#xD;&#xA;&#xD;&#xA;For specific EFX, I'd say headphones are essential, but for spaces and ambiences you're not going for the best sound, your going for what it *sounds like* so it's not quite so important.  I may be stretching the bounds of language  with my distinction there, but I find my reasoning for this one difficult to explain.&#xD;&#xA;&#xD;&#xA;Plus, with headphones you're tied to your machine.  With quiet quiet stuff it's usually best to remove yourself from the noise making equation." ContentLicense="CC BY-SA 3.0" />
  <row Id="12808" PostHistoryTypeId="2" PostId="7556" RevisionGUID="79472abb-d2fc-4331-8511-349514471a04" CreationDate="2011-04-27T11:42:11.763" UserDisplayName="user80" Text="Almost all mixers work at line level, although what everyone classes as line level is not the same.  Pro line level = +4 dBu and consumer line level = -10 dBu." ContentLicense="CC BY-SA 3.0" />
  <row Id="12809" PostHistoryTypeId="2" PostId="7557" RevisionGUID="88b87cfb-cc00-4731-8183-d005b1c22fd4" CreationDate="2011-04-27T12:04:55.863" UserId="1011" Text="Great post.&#xD;&#xA;&#xD;&#xA;I record blind often.  It's a good challenge.&#xD;&#xA;&#xD;&#xA;I usually do this when I'm stealth recording crowds.  Yesterday I was in a cafe, the CD they were playing ended and they forgot to put on more music.  I was in the middle of a bustling cafe with a lot of character and no music?  Golden opportunity.  I pulled out my H4n discreetly and recorded blind.&#xD;&#xA;&#xD;&#xA;It definitely is a buzz and I like your comparison with film cameras (I love shooting film or Polaroid!).&#xD;&#xA;&#xD;&#xA;From a technical standpoint, after using the same mic and recorder for years, I find that you can eventually know the scope of what a mic can pick up, when it will crap out, etc.  &#xD;&#xA;&#xD;&#xA;I find you need to be very aware of your surroundings and very focused.  It's a good challenge that brings out a lot creativity." ContentLicense="CC BY-SA 3.0" />
  <row Id="12810" PostHistoryTypeId="2" PostId="7558" RevisionGUID="87066857-bffe-426a-8e3c-5d5efa6a8524" CreationDate="2011-04-27T12:06:10.943" UserId="6420" Text="Quite often when I'm out recording ambiences I'll not wear any headphones. Helps me go unnoticed when I'm trying to be stealth! lol&#xD;&#xA;&#xD;&#xA;Actually, David Farmer is one of the prominent sound designers out there who never wears headphones when recording in the field. Theres a good article about his field recording exploits here..&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/09/david-farmer-special-field-recording-2010/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12811" PostHistoryTypeId="2" PostId="7559" RevisionGUID="2c597bf0-bbbc-40d7-8787-5b9811514a87" CreationDate="2011-04-27T12:21:46.847" UserId="432" Text="I've never heard of a &quot;non-powered mixer&quot; that handles amplification from mic to line level. Hell, I haven't even really heard of many (if any) &quot;non-powered&quot; mixers to begin with. amplifiers need both a signal source, and a power supply.&#xD;&#xA;&#xD;&#xA;Do you have a particular model your thinking of? Because this question honestly doesn't make much sense to me." ContentLicense="CC BY-SA 3.0" />
  <row Id="12812" PostHistoryTypeId="2" PostId="7560" RevisionGUID="971a6218-2a90-44f5-8725-b3c481e3a643" CreationDate="2011-04-27T14:43:20.280" UserId="338" Text="Something that nobody has recorded is the sound of a sock nylon string pulled out of a sock and plucked on teeth" ContentLicense="CC BY-SA 3.0" />
  <row Id="12813" PostHistoryTypeId="2" PostId="7561" RevisionGUID="679e980e-15e8-4387-9f9e-ad292b7289cf" CreationDate="2011-04-27T17:11:30.453" UserId="18160" Text="Recording room ambience in a house the other day I unexpectedly got an awesome dog barking from an indoors perspective. I'm saving this for sure. I also got a plane passing by from an indoors perspective.&#xD;&#xA;&#xD;&#xA;On a live recording of a 3 piece jazz band I was mixing, the recorder must have glitched and for half a song it was aliasing, distorting, doing all sorts of weird pitching to the point where it didn't even sound like music anymore - just awesome glitchy digital noise. This is perfect for when I work on Transformers 5 (yes, I did wish for that on my birthday on 20 April, 2011. I wish E-squared visited here regularly!).&#xD;&#xA;&#xD;&#xA;Recording a long beach ambience in Hawaii I thought I was just getting surf when I came back 20 minutes later and listened to the recordings and found I had captured coconuts falling (just like in Castaway).&#xD;&#xA;&#xD;&#xA;At Canon Beach, Oregon, I set my mics up to record, took a nap for about 10 minutes and woke up to see that a king crab had walked up and grabbed ahold of my windjammer." ContentLicense="CC BY-SA 3.0" />
  <row Id="12814" PostHistoryTypeId="5" PostId="7561" RevisionGUID="313bcbf9-6e33-424e-b3fe-3c7c64ca038e" CreationDate="2011-04-27T17:16:33.163" UserId="18160" Comment="deleted 1 characters in body" Text="Recording room ambience in a house the other day I unexpectedly got an awesome dog barking from an indoors perspective. I'm saving this for sure. I also got a plane passing by from an indoors perspective.&#xD;&#xA;&#xD;&#xA;On a live recording of a 3 piece jazz band I was mixing, the recorder must have glitched and for half a song it was aliasing, distorting, doing all sorts of weird pitching to the point where it didn't even sound like music anymore - just awesome glitchy digital noise. This is perfect for when I work on Transformers 5 (yes, I did wish for that on my birthday on 20 April, 2011. I wish E-squared visited here regularly!).&#xD;&#xA;&#xD;&#xA;Recording a long beach ambience in Hawaii I thought I was just getting surf when I came back 20 minutes later and listened to the recordings and found I had captured coconuts falling (just like in Castaway).&#xD;&#xA;&#xD;&#xA;At Canon Beach, Oregon, I set my mics up to record, took a nap for about 10 minutes and woke up to see that a big crab had walked up and grabbed ahold of my windjammer." ContentLicense="CC BY-SA 3.0" />
  <row Id="12815" PostHistoryTypeId="5" PostId="7561" RevisionGUID="af2a28a1-0235-45e2-a4e8-775b6504a382" CreationDate="2011-04-27T18:23:28.283" UserId="18160" Comment="deleted 172 characters in body" Text="Recording room ambience in a house the other day I unexpectedly got an awesome dog barking from an indoors perspective. I'm saving this for sure. I also got a plane passing by from an indoors perspective.&#xD;&#xA;&#xD;&#xA;On a live recording of a 3 piece jazz band I was mixing, the recorder must have glitched and for half a song it was aliasing, distorting, doing all sorts of weird pitching to the point where it didn't even sound like music anymore - just awesome glitchy digital noise. This is perfect for when I work on Transformers 5 (yes, I did wish for that on my birthday on 20 April, 2011. I wish E-squared visited here regularly!).&#xD;&#xA;&#xD;&#xA;Recording a long beach ambience in Hawaii I thought I was just getting surf when I came back 20 minutes later and listened to the recordings and found I had captured coconuts falling (just like in Castaway)." ContentLicense="CC BY-SA 3.0" />
  <row Id="12816" PostHistoryTypeId="2" PostId="7562" RevisionGUID="d8e7680b-0b87-4aee-b792-1d1968872ac0" CreationDate="2011-04-27T18:55:29.760" UserId="558" Text="I work mostly in video games.  Folks love free video games." ContentLicense="CC BY-SA 3.0" />
  <row Id="12817" PostHistoryTypeId="2" PostId="7563" RevisionGUID="6261c281-c326-4cc4-9bd1-308af842cd38" CreationDate="2011-04-27T21:18:56.657" UserId="558" Text="I'd get my 'Opcode Rules' tattoo removed" ContentLicense="CC BY-SA 3.0" />
  <row Id="12818" PostHistoryTypeId="2" PostId="7564" RevisionGUID="57a34187-251b-49e4-a7b4-27936b222c9d" CreationDate="2011-04-27T21:48:52.803" UserId="338" Text="When you are working on a film and creating everything…do you find that your mood affects your ideas and work/creativity?  Sometimes you might be in a blistery mood which might bring you to cut negative sound effects while other days you could be walking on sunshine and creating more positive ones…?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12819" PostHistoryTypeId="1" PostId="7564" RevisionGUID="57a34187-251b-49e4-a7b4-27936b222c9d" CreationDate="2011-04-27T21:48:52.803" UserId="338" Text="How much does your mood affect your work/creative accuracy?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12820" PostHistoryTypeId="3" PostId="7564" RevisionGUID="57a34187-251b-49e4-a7b4-27936b222c9d" CreationDate="2011-04-27T21:48:52.803" UserId="338" Text="&lt;mood&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12821" PostHistoryTypeId="2" PostId="7565" RevisionGUID="4ba391fc-0fa8-4e1a-b422-01ab544d1097" CreationDate="2011-04-27T23:09:00.953" UserId="88" Text="It's impossible for me to be in a bad mood when I'm working on sound. ;)&#xD;&#xA;&#xD;&#xA;Seriously, though, it's rarely an issue, but if I'm having a rough day and have a ton of sounds to work on, I may try to tackle the more violent/gory/dark ones first -- I think I may end up channeling some of the negative funk into the work, resulting in (one would hope) more violent/gorier/darker sounds.  If I'm happy with the results, my mood improves and I walk away happier (or maybe shift to working on happier sounds).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12822" PostHistoryTypeId="2" PostId="7566" RevisionGUID="d5977c2c-4209-4e49-8270-ddcc15cd3cb4" CreationDate="2011-04-28T00:01:50.320" UserId="1022" Text="I'm suffering from this today.  &#xD;&#xA;&#xD;&#xA;Last night I was watching a NHL playoff hockey game on TV.  It turned out to be a great game with a lot of ups and downs, and I was emotionally attached to the game as any superfan should be!  Screaming, cheering, feeling of dred, and an extreme high once the game ended.&#xD;&#xA;&#xD;&#xA;Today, I'm emotionally spent.  I can hardly look at the screen let alone try to create the sound palate for a monster in the movie I'm current working on.  Trying to struggle through it, but I'll probably just call it a day and start fresh tomorrow." ContentLicense="CC BY-SA 3.0" />
  <row Id="12823" PostHistoryTypeId="2" PostId="7567" RevisionGUID="998aaea3-a24e-4784-baa0-1013762393bb" CreationDate="2011-04-28T00:37:13.770" UserId="29" Text="For me, it varies based on the task and the mood.&#xD;&#xA;&#xD;&#xA;If I'm angry or preoccupied and need to create original concepts, thoughts, and designs, forget it. The same is true if I'm tired, sleep-deprived, or anxious. To be truly creative, I need to have no mental barriers in effect, or they need to be small enough that some willpower can crush them for a while. I can't paddle down the river while swatting mosquitoes with both hands. &#xD;&#xA;&#xD;&#xA;If I need to do repetitive tasks, asset creation or straight-up production work, then it matters a lot less. Getting into the zone of repetitive tasks done accurately and rapidly is something that I actually find improves my mood, as long as nothing goes wrong. I do find that art for myself - drawing, making music, just creating sound - is a great way to also harness those emotions and feel better at the end of it. However, that's not problem solving for someone else, that's working through my own problems.&#xD;&#xA;&#xD;&#xA;Despite the many stories of tortured creative souls, I find that staying physically healthy and mentally refreshed is pretty important for creation of work for client and coming up with insightful solutions to design problems. YMMV." ContentLicense="CC BY-SA 3.0" />
  <row Id="12824" PostHistoryTypeId="2" PostId="7568" RevisionGUID="ecc8b7d3-e1a0-415c-82af-bbc854579bf9" CreationDate="2011-04-28T00:41:56.217" UserId="29" Text="First digital audio experience was coding single audio events in BASIC on a [TI99][1]. First exposure to ProTools was v2. First &quot;serious&quot; sequencer and DAW combo for music was Jeremy Sagan's Metro sequencer slaved to Deck v2. Switched to MOTU Digital Performer and then to Apple Logic, wrapping all the way back to ProTools again after 10 years. Quite a journey.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Texas_Instruments_TI-99/4A" ContentLicense="CC BY-SA 3.0" />
  <row Id="12825" PostHistoryTypeId="2" PostId="7569" RevisionGUID="73b6431c-41d4-4945-8e7a-ca54e4a839d5" CreationDate="2011-04-28T01:55:51.247" UserId="558" Text="I find there are days when nothing i do sounds good to me.  It takes me 2 to 3 times longer than normal to cut even simple stuff.  This happens both for audio post and for music.&#xD;&#xA;&#xD;&#xA;My solutions:&#xD;&#xA;&#xD;&#xA;try to do more mundane/mechanical things - session clean-up, library work, laybacks, etc&#xD;&#xA;try to remind myself that my state of mind is just that, a state of mind.&#xD;&#xA;learn something new (new tech, new apps, new bands)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12826" PostHistoryTypeId="2" PostId="7570" RevisionGUID="0d958cbc-1b4e-4f59-ab44-7f08ad0a1260" CreationDate="2011-04-28T02:33:26.460" UserId="18160" Text="The films I work on, the director is boss, and it would be unprofessional for me to let my own mood and personal life interfere with the film's soundtrack if it was not aligned with the director's vision.&#xD;&#xA;&#xD;&#xA;That said, if I was ready to punch someone's face in from my personal life, I would definitely try to channel that emotion into whatever sound work I was working on at the time.&#xD;&#xA;&#xD;&#xA;But, it had to align with the project and the director's ideals before I chose to do that.&#xD;&#xA;&#xD;&#xA;Otherwise, I try to be as professional as possible and not let personal matters hinder the work I am being paid to do on someone's film." ContentLicense="CC BY-SA 3.0" />
  <row Id="12827" PostHistoryTypeId="2" PostId="7571" RevisionGUID="7f47e425-0ec8-4d0f-9bf4-fc50a542250c" CreationDate="2011-04-28T04:33:21.297" UserId="670" Text="I've been looking for a recording of a '68 Plymouth Barracuda or something close that has a v80 engine, but I can't seem to find it anywhere. Have any of you guys recorded this car and are willing to share? I need the start of the engine, and an idling of the car while it's on for the scene when the two characters are driving. Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12828" PostHistoryTypeId="1" PostId="7571" RevisionGUID="7f47e425-0ec8-4d0f-9bf4-fc50a542250c" CreationDate="2011-04-28T04:33:21.297" UserId="670" Text="Vintage Car Models" ContentLicense="CC BY-SA 3.0" />
  <row Id="12829" PostHistoryTypeId="3" PostId="7571" RevisionGUID="7f47e425-0ec8-4d0f-9bf4-fc50a542250c" CreationDate="2011-04-28T04:33:21.297" UserId="670" Text="&lt;cars&gt;&lt;engine&gt;&lt;vintage&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12830" PostHistoryTypeId="2" PostId="7572" RevisionGUID="104dcdb3-8af3-4f30-9889-9ad1b3ef36a2" CreationDate="2011-04-28T04:37:42.133" UserId="845" Text="Hey Team Rocket,&#xD;&#xA;&#xD;&#xA;So, after a few days hard play with Max/MSP, I've built myself a little noisemaker that I think a lot of people would really enjoy.  I plan to make it available to all my aurally oriented friends (including everybody here) for testing/critique.  But before I do that I want to make sure I've got my copyright bases covered.&#xD;&#xA;&#xD;&#xA;Creative Commons really appeals to me since I'm not planning to charge for it (maybe do the donations thing), but I don't know how it works with software.  I'm going to look into it, but I thought I'd ask the nice folks here as well.&#xD;&#xA;&#xD;&#xA;Anybody have any experience with doing this?  Does simply hosting the original files (including &quot;beta&quot; drafts) on my site/ftp server work well enough for these purposes, or do I have to be a little more official?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12831" PostHistoryTypeId="1" PostId="7572" RevisionGUID="104dcdb3-8af3-4f30-9889-9ad1b3ef36a2" CreationDate="2011-04-28T04:37:42.133" UserId="845" Text="Copyright/Creative Commons for Software" ContentLicense="CC BY-SA 3.0" />
  <row Id="12832" PostHistoryTypeId="3" PostId="7572" RevisionGUID="104dcdb3-8af3-4f30-9889-9ad1b3ef36a2" CreationDate="2011-04-28T04:37:42.133" UserId="845" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12833" PostHistoryTypeId="2" PostId="7573" RevisionGUID="ab118fa5-4104-4475-b2ea-674cce1a74aa" CreationDate="2011-04-28T04:59:14.723" UserId="693" Text="I love that you used &quot;noise maker&quot; and and &quot;enjoy&quot; in correlation. Only a place like here can you get away with that. Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12834" PostHistoryTypeId="2" PostId="7574" RevisionGUID="8e7a0f61-f663-4763-8bc2-22c62b7af380" CreationDate="2011-04-28T05:01:48.143" UserDisplayName="user49" Text="I recorded a V8 Cuda years ago for a film, will have a look" ContentLicense="CC BY-SA 3.0" />
  <row Id="12835" PostHistoryTypeId="5" PostId="7571" RevisionGUID="2dc8f833-84b0-4545-9c64-71957f68f9da" CreationDate="2011-04-28T05:33:23.057" UserId="670" Comment="typo; deleted 36 characters in body" Text="I've been looking for a recording of a '68 Plymouth Barracuda or something close that has a v80 engine, but I can't seem to find it anywhere. Have any of you guys recorded this car and are willing to share? I need the start of the engine, and an idling and driving of the car while it's on for the scene. Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12836" PostHistoryTypeId="2" PostId="7575" RevisionGUID="58c96b1e-ff11-4a8d-a8f6-504565f8b5eb" CreationDate="2011-04-28T05:46:30.180" UserId="833" Text="Use one of the existing open source software licenses! Creative Commons came later, and was largely an attempt to bring the success of open source to artistic works.&#xD;&#xA;&#xD;&#xA;Look into both the GPL and BSD licenses. They have been used for thousands and thousands of projects, including a sizeable chunk of the software that runs the internet.&#xD;&#xA;&#xD;&#xA;A vastly simplified summary is that the GPL requires people redistributing your code or making derivitave works to also distribute the source code. The BSD license allows others to redistribute the code and software, but also allows them to create derivitave works without releasing the changes they made to the code.&#xD;&#xA;&#xD;&#xA;There is more to it, of course. I'd recommend just reading both licenses. Neither one is very long at all by legal standards.&#xD;&#xA;&#xD;&#xA;If you release it as open source software, also consider releasing it on sourceforge.net and publicizing it on freshmeat.net.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12837" PostHistoryTypeId="2" PostId="7576" RevisionGUID="1080c73c-d963-42dc-a87c-48562ec768dd" CreationDate="2011-04-28T06:06:08.487" UserId="18160" Text="Buy a ticket to attend the royal wedding.&#xD;&#xA;&#xD;&#xA;and record it lol&#xD;&#xA;&#xD;&#xA;maybe not the wedding itself but the deserted streets of london - I could get a pure Big Ben ring with no traffic!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12838" PostHistoryTypeId="13" PostId="5383" RevisionGUID="b95c488e-456e-4262-ba8a-fbc06357cc38" CreationDate="2011-04-28T06:06:53.817" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="12839" PostHistoryTypeId="2" PostId="7577" RevisionGUID="0fc03e9e-bb83-4b8a-b01b-050b923eb96b" CreationDate="2011-04-28T07:58:25.580" UserId="37" Text="Buy a few hours of Ben Burtt's time :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12840" PostHistoryTypeId="2" PostId="7578" RevisionGUID="88501f43-0e58-41b3-b6ae-d940194747c7" CreationDate="2011-04-28T13:03:11.197" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am having some difficulty identifying a problem on Nuendo. Under the &quot;Performance Metre&quot; on the top row of the tools, the metre is fluctuating up and down, going into the red. The system is lagging which may or may not be the result of this but when I put my cursor over the Performance Metre, it says &quot;Disk Cache Overload&quot;. I have searched for a reason behind this and have failed to come up with anything. Can anyone shed any light on this situation. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="12841" PostHistoryTypeId="1" PostId="7578" RevisionGUID="88501f43-0e58-41b3-b6ae-d940194747c7" CreationDate="2011-04-28T13:03:11.197" UserId="348" Text="Trouble on Nuendo" ContentLicense="CC BY-SA 3.0" />
  <row Id="12842" PostHistoryTypeId="3" PostId="7578" RevisionGUID="88501f43-0e58-41b3-b6ae-d940194747c7" CreationDate="2011-04-28T13:03:11.197" UserId="348" Text="&lt;nuendo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12843" PostHistoryTypeId="2" PostId="7579" RevisionGUID="7d0c17cf-6896-4570-bf77-02806cd1cf44" CreationDate="2011-04-28T14:11:14.520" UserId="1023" Text="I had a similar problem&#xD;&#xA;&#xD;&#xA;and it was related to the videoplayback part. At the end it turned out the the harddisk was not fast enough to playback the video in that compression. I had to use a different video playback compression at that time.&#xD;&#xA;&#xD;&#xA;Hope that helps&#xD;&#xA;&#xD;&#xA;luigi" ContentLicense="CC BY-SA 3.0" />
  <row Id="12844" PostHistoryTypeId="2" PostId="7580" RevisionGUID="318adfac-e159-40be-bfd9-79453b711ab0" CreationDate="2011-04-28T14:20:04.963" UserId="310" Text="On windows look at the performance meters and resource monitor in system task manager (task manager, performance, resource monitor). &#xD;&#xA;&#xD;&#xA;Is Nuendo only one app running? Try kill anything else and look what's happened to performance meter.&#xD;&#xA;&#xD;&#xA;What's your setup (Hdd speed, ram, cpu etc.) anyway?&#xD;&#xA;&#xD;&#xA;On mac you can do similar test. &#xD;&#xA;&#xD;&#xA;As @gigicarlo mentioned maybe video can caused problems." ContentLicense="CC BY-SA 3.0" />
  <row Id="12845" PostHistoryTypeId="2" PostId="7581" RevisionGUID="a2fa2f91-2bd5-4a51-80f5-4d51bb826649" CreationDate="2011-04-28T14:57:57.377" UserId="6411" Text="Headphones or not, I hardly ever delete a file in the field. It's one more unique sound to add to my library than I had before. It may be crap, but it's my crap, and I'll determine the likelihood of it's potential when I get back to the studio. Even crap can be useful some days.&#xD;&#xA;&#xD;&#xA;Like you, I often record &quot;deaf&quot; simply because I happen upon a sound, whip out the recorder and capture it as best as my experience can offer. Additionally, as many have mentioned, people get unnerved when you start waving around a microphone, but they get conspicuous when you've got both a microphone and headphones. On one of my early recordings with my M10 I was casually trolling along the New Jersey shore, monitoring my recording, trying to figure out what the on-board mics sounded like. I walked by a small group of elder gentlemen camped on the sand when one guy got wise and exclaimed &quot;Hey, psssh! We're being Zoomed!&quot; For reasons greater than a clean recording, I pocketed my headphones and kept moving along.&#xD;&#xA;&#xD;&#xA;But I am conflicted about this. Because most are random, unplanned events I want to be sure that I record it as cleanly as possible as it might not happen again in my presence.  Add to that my limited experience in capturing sounds in an uncontrolled environment (ie field vs studio),  and the self-doubt mounts up.&#xD;&#xA;&#xD;&#xA;Obviously, the only thing that will help assuage that is getting out there and gaining the experience, analyzing the results, and learning from the successes and failures. And that's the current plan.&#xD;&#xA;&#xD;&#xA;I've actually just ordered a stereo set of 4060s for an upcoming vacation to Spain where I hope to get some binaural recordings. I plan to mount them onto a set of headphones, so monitoring will be nigh impossible. I anticipate many test runs before we actually depart. I'd hate to come back from this trip with multiple gigs of handling noise and wind buffeting." ContentLicense="CC BY-SA 3.0" />
  <row Id="12846" PostHistoryTypeId="2" PostId="7582" RevisionGUID="2fc39ecf-e5a7-461a-a354-b3326fd150b8" CreationDate="2011-04-28T15:07:51.747" UserId="29" Text="Lots of solid ideas here! The only thing I'd add is that I often try to make tones that are either minor chords or specifically are atonal, or at uncomfortable intervals. Depends on if there's a music bed or not, but I like subtly pitching sounds not just higher or lower, but at specific intervals to one another. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12851" PostHistoryTypeId="2" PostId="7584" RevisionGUID="52fc4443-b794-4c6f-a02a-e679b5248d51" CreationDate="2011-04-28T17:53:24.357" UserId="18160" Text="Would this SFX collection be valuable to you?:&#xD;&#xA;&#xD;&#xA;International Airports ambience with walla and intercom announcements where possible.&#xD;&#xA;&#xD;&#xA;China,&#xD;&#xA;India,&#xD;&#xA;Europe,&#xD;&#xA;UK,&#xD;&#xA;US,&#xD;&#xA;Australia,&#xD;&#xA;Russia,&#xD;&#xA;Japan,&#xD;&#xA;South America,&#xD;&#xA;Central America,&#xD;&#xA;the list goes on..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12852" PostHistoryTypeId="1" PostId="7584" RevisionGUID="52fc4443-b794-4c6f-a02a-e679b5248d51" CreationDate="2011-04-28T17:53:24.357" UserId="18160" Text="Boutique Library: International Airports?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12853" PostHistoryTypeId="3" PostId="7584" RevisionGUID="52fc4443-b794-4c6f-a02a-e679b5248d51" CreationDate="2011-04-28T17:53:24.357" UserId="18160" Text="&lt;boutique&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12854" PostHistoryTypeId="2" PostId="7585" RevisionGUID="75c6b9ee-ccb4-47ea-badc-67bec99b86c3" CreationDate="2011-04-28T18:05:14.040" UserId="285" Text="I personally have not come across the need for these sounds in my projects so far, but it is certainly the type of thing that when you need it quickly it would be a big pain to get, so I bet it could be useful too many people.&#xD;&#xA;&#xD;&#xA;This library is already out there   http://www.soundscalpel.com/soundeffects/pack/airport-internal-ambiences/&#xD;&#xA;Again I don't have it so I have no review as to its quality, but there is lots of room to cover more and varied airports worldwide.&#xD;&#xA;&#xD;&#xA;I would say go for it.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12855" PostHistoryTypeId="2" PostId="7586" RevisionGUID="cdd28a8a-f84f-4a47-8a26-7d7ceeb4cc84" CreationDate="2011-04-28T18:08:32.037" UserId="61" Text="The elements would need to have a good amount of separation, ie. wallas not tied to p.a. announcements, since those often need to be kept on their own pre dubs and split out for foreign versions (M&amp;E).  But yes, if properly mastered it would be a very handy collection of sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="12857" PostHistoryTypeId="2" PostId="7588" RevisionGUID="65af270f-2ea9-465a-9414-973be28765ee" CreationDate="2011-04-28T18:15:19.357" UserId="596" Text="hi,&#xD;&#xA;&#xD;&#xA;i was asked to do sound design / processing for a live performance-art act. specifically, i need to be able to pick up live sounds from several locations across the stage, mix and process them simultaneously. one challenging scenario is this: the performer/dancer will be crawling on the surface of some sort of round metal container (about 4 meter diameter) full of gravel (about 1 meter deep). what i want to do is install a few microphones inside the gravel pool (say place them 20-30cm deep), in order to pick up and amplify the friction sound produced by the gravel as the performer will crawl on its surface. additionally, i'd like to be able to pick up and amplify the performer's breathings as he crawls. &#xD;&#xA;&#xD;&#xA;question 1: what would be the best type of microphones to use in order to pick up the gravel sound?  &#xD;&#xA;&#xD;&#xA;question 2: what would be the best way to pick up the performer's breathings? - the solution must not involve attaching a mike to the performer's body. &#xD;&#xA;&#xD;&#xA;thanks,&#xD;&#xA;K." ContentLicense="CC BY-SA 3.0" />
  <row Id="12858" PostHistoryTypeId="1" PostId="7588" RevisionGUID="65af270f-2ea9-465a-9414-973be28765ee" CreationDate="2011-04-28T18:15:19.357" UserId="596" Text="capturing and processing sounds in a special live-performance situation" ContentLicense="CC BY-SA 3.0" />
  <row Id="12859" PostHistoryTypeId="3" PostId="7588" RevisionGUID="65af270f-2ea9-465a-9414-973be28765ee" CreationDate="2011-04-28T18:15:19.357" UserId="596" Text="&lt;recording&gt;&lt;pickup&gt;&lt;performance&gt;&lt;live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12861" PostHistoryTypeId="2" PostId="7590" RevisionGUID="c88c0013-4d60-4e45-b18d-deb3120bfb8c" CreationDate="2011-04-28T18:39:16.357" UserId="18" Text="Also, keep in mind that at least in the US, music is everywhere.  I've never been able to record in a US airport due to music and or TV playing in the background.  I still can't understand why we can't have spaces in this country that don't have music." ContentLicense="CC BY-SA 3.0" />
  <row Id="12863" PostHistoryTypeId="2" PostId="7591" RevisionGUID="2d76f310-fc97-440b-9cc2-307c6dfccc0c" CreationDate="2011-04-28T19:01:57.927" UserId="1014" Text="for gravels, i would opt for contact mics / piezo strips.&#xD;&#xA;&#xD;&#xA;for breathings.. well, if you can't attach anything to the performer's body, you can only try with a shotgun mic placed on top of it (if he will stay in the same place for the whole performance)." ContentLicense="CC BY-SA 3.0" />
  <row Id="12864" PostHistoryTypeId="2" PostId="7592" RevisionGUID="90b178cc-d5b6-449a-bda9-76a2fa709ad5" CreationDate="2011-04-28T20:06:53.420" UserId="423" Text="Hey All,&#xD;&#xA;&#xD;&#xA;This is my first time posting!  I wanted to get some feedback on my sounds.  I've been designing sound for Radio for years...I got sick of typical cheesy stuff I was forced to produce with and started making my own.  Now I'm looking at taking my sound design into TV/Film.  Just a couple simple things to check out...I'd appreciate any feedback/criticism/love/coffee.  &#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/joeedwards/sound-design-sample-11-blast-2&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/joeedwards/sound-design-sample-1-jet" ContentLicense="CC BY-SA 3.0" />
  <row Id="12865" PostHistoryTypeId="1" PostId="7592" RevisionGUID="90b178cc-d5b6-449a-bda9-76a2fa709ad5" CreationDate="2011-04-28T20:06:53.420" UserId="423" Text="Feedback On My Sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="12866" PostHistoryTypeId="3" PostId="7592" RevisionGUID="90b178cc-d5b6-449a-bda9-76a2fa709ad5" CreationDate="2011-04-28T20:06:53.420" UserId="423" Text="&lt;feedback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12867" PostHistoryTypeId="2" PostId="7593" RevisionGUID="2e296022-b264-418b-8677-f7b4f9ff2ec4" CreationDate="2011-04-28T21:09:49.990" UserId="18160" Text="Welcome to SSD.&#xD;&#xA;&#xD;&#xA;Those sound awesome.&#xD;&#xA;&#xD;&#xA;Out of context or what these sounds would be used for I have no right to say anything critical about them.&#xD;&#xA;&#xD;&#xA;From what I can tell there is nothing blatantly technically wrong with them, no distortion, clipping, aliasing etc.&#xD;&#xA;&#xD;&#xA;Care to share how you created these? Info like what types of source files you used and how you processed them together? I'd love to know if you don't mind." ContentLicense="CC BY-SA 3.0" />
  <row Id="12868" PostHistoryTypeId="2" PostId="7594" RevisionGUID="b8a2f43a-0ffb-4641-922d-b16899b64aef" CreationDate="2011-04-28T23:20:16.143" UserId="930" Text="I agree that recording blind is sometimes necessary some situations.&#xD;&#xA;&#xD;&#xA;One personal example of this is that I went to an airfield recently to record some helicopter/aeroplane fly bys, and I was standing there with headphones on, NTG-3 in hand, when I'd hear a plane in the distance and frantically look and point the microphone around to see where it was coming from. &#xD;&#xA;&#xD;&#xA;Turned out that it was easier to localize the sound without the headphones on, and to prevent the noise of me putting my headphones back on, had to leave them off!&#xD;&#xA;&#xD;&#xA;The recordings turned out sounding great, which they wouldn't have done if I couldn't localize the aeroplane or had the sound of me scrambling to put my headphones back on.&#xD;&#xA;&#xD;&#xA;I'm going to blog about this recording venture later this week, and will mention this point.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Fred" ContentLicense="CC BY-SA 3.0" />
  <row Id="12869" PostHistoryTypeId="5" PostId="7594" RevisionGUID="91077ff5-f14d-4ca0-92a8-3584aa3de6e9" CreationDate="2011-04-28T23:48:26.537" UserId="930" Comment="added 3 characters in body" Text="I agree that recording blind is sometimes necessary in some situations.&#xD;&#xA;&#xD;&#xA;One personal example of this is that I went to an airfield recently to record some helicopter/aeroplane fly bys, and I was standing there with headphones on, NTG-3 in hand, when I'd hear a plane in the distance and frantically look and point the microphone around to see where it was coming from. &#xD;&#xA;&#xD;&#xA;Turned out that it was easier to localize the sound without the headphones on, and to prevent the noise of me putting my headphones back on, had to leave them off!&#xD;&#xA;&#xD;&#xA;The recordings turned out sounding great, which they wouldn't have done if I couldn't localize the aeroplane or had the sound of me scrambling to put my headphones back on.&#xD;&#xA;&#xD;&#xA;I'm going to blog about this recording venture later this week, and will mention this point.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Fred" ContentLicense="CC BY-SA 3.0" />
  <row Id="12870" PostHistoryTypeId="2" PostId="7595" RevisionGUID="4776b93c-6d40-431f-848f-332386b1969f" CreationDate="2011-04-29T01:20:56.847" UserId="18160" Text="I recently finished a film which required foley for cannibal natives.&#xD;&#xA;&#xD;&#xA;I needed foley for shell and bone necklaces.&#xD;&#xA;&#xD;&#xA;I had nowhere to turn to,&#xD;&#xA;&#xD;&#xA;until a friend of mine discarded his pistachio shell cup!&#xD;&#xA;&#xD;&#xA;I was saved!&#xD;&#xA;&#xD;&#xA;I bought a bag of roasted and salted pistachios.&#xD;&#xA;&#xD;&#xA;Taking a handful, I began to create some very convincing foley for the natives running about.&#xD;&#xA;&#xD;&#xA;I'll upload some samples tomorrow with an update to this post." ContentLicense="CC BY-SA 3.0" />
  <row Id="12871" PostHistoryTypeId="1" PostId="7595" RevisionGUID="4776b93c-6d40-431f-848f-332386b1969f" CreationDate="2011-04-29T01:20:56.847" UserId="18160" Text="Pistachios - Taste and Sound Great" ContentLicense="CC BY-SA 3.0" />
  <row Id="12872" PostHistoryTypeId="3" PostId="7595" RevisionGUID="4776b93c-6d40-431f-848f-332386b1969f" CreationDate="2011-04-29T01:20:56.847" UserId="18160" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12873" PostHistoryTypeId="2" PostId="7596" RevisionGUID="e84b036e-033d-4ca8-92ad-7ec45f9f2883" CreationDate="2011-04-29T01:43:48.517" UserId="863" Text="interesting... did you make a chain out of them or just held them in your hand?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12874" PostHistoryTypeId="2" PostId="7597" RevisionGUID="cc3f8eac-f748-4c50-a17b-8e6cfacc5c35" CreationDate="2011-04-29T08:43:23.590" UserId="845" Text="The only thing I'd put in a gravel pit is an SM-57 or 58. Those things are crazy durable. anything less robust will be seriously damaged. Sound quality is kind of crap though. &#xD;&#xA;&#xD;&#xA;My next thought is that you could rent 4 wireless mic kits and set them around the edge of the pool (or just two on opposite sides from each other). I'm assuming that the performer will have a particular way of doing the gravel sequence since it's part of a larger routine. In that case you can get down to one if they're really consistent in rehearsal." ContentLicense="CC BY-SA 3.0" />
  <row Id="12876" PostHistoryTypeId="2" PostId="7599" RevisionGUID="89fbaffc-46eb-4347-b28a-2c9b7ea1e6af" CreationDate="2011-04-29T13:31:17.083" UserId="6462" Text="I'm a fan of Steinberg Wavelab. I've been using it on and off for years and for editing SFX it's great." ContentLicense="CC BY-SA 3.0" />
  <row Id="12877" PostHistoryTypeId="2" PostId="7600" RevisionGUID="558dd6f9-6aad-4aab-8904-f45463558b59" CreationDate="2011-04-29T13:36:28.887" UserId="845" Text="So, I can't say that I much care about the wedding that took place this morning.  But I did catch a bit of it on the TVs at work.  I was surprised to see that the audio was swinging in and out of sync with the picture.  I can see there being a delay across both video and audio, but just the sound seems a little bit weird.  Anybody know why this might be?  Did somebody screw up the sample rate pulldown or something?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12878" PostHistoryTypeId="1" PostId="7600" RevisionGUID="558dd6f9-6aad-4aab-8904-f45463558b59" CreationDate="2011-04-29T13:36:28.887" UserId="845" Text="Royal Wedding Audio Sync Issues" ContentLicense="CC BY-SA 3.0" />
  <row Id="12879" PostHistoryTypeId="3" PostId="7600" RevisionGUID="558dd6f9-6aad-4aab-8904-f45463558b59" CreationDate="2011-04-29T13:36:28.887" UserId="845" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12880" PostHistoryTypeId="2" PostId="7601" RevisionGUID="a1a9a4b1-d6ee-4294-95c4-25b3b0173b4e" CreationDate="2011-04-29T14:11:53.690" UserDisplayName="user80" Text="It normally occurs when you compress the data as video and audio use different codecs, usually the audio is delayed to keep it in sync." ContentLicense="CC BY-SA 3.0" />
  <row Id="12881" PostHistoryTypeId="2" PostId="7602" RevisionGUID="038934d9-bad1-4f4e-ae59-2fccfcf02de3" CreationDate="2011-04-29T14:34:19.507" UserDisplayName="user80" Text="It might be worth discussing a wireless with the performer otherwise you are going to have cables everywhere.  If they are really anti-wireless then you could rent a parabolic dish and connect it to a wireless transmitter and follow the artist round with that.&#xD;&#xA;&#xD;&#xA;When I have had to do unusual events like this I mic everything with Audio Technica cardioid lavalier mics in AT8418 Unimounts and have attached them successfully to all sorts of objects.&#xD;&#xA;&#xD;&#xA;The unimount has a built in pop screen which also acts partially as a suspension mount, as the foam completely encases the mic isolating it from the support." ContentLicense="CC BY-SA 3.0" />
  <row Id="12882" PostHistoryTypeId="2" PostId="7603" RevisionGUID="2bc6483b-d788-4887-9e74-f16b69743c26" CreationDate="2011-04-29T16:17:10.310" UserId="845" Text="I would go Johnny Mnemonic and take out a piece of my brain and replace it with a couple hundred gigs of solid state memory.  Then I'd have three XLR plugs, and three Sound Devices pres jacked into the base of my spine and routed up my spinal column to the memory cards.  Then I'd have Apogee design me some micro A/D converters.&#xD;&#xA;&#xD;&#xA;*Then* I'd put on my tri-aural sono-glasses and go walkabout.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12883" PostHistoryTypeId="2" PostId="7604" RevisionGUID="295ae68f-6de5-45ce-9964-a896807c2b8f" CreationDate="2011-04-29T16:47:08.607" UserId="393" Text="[Black Lion Audio Signature modded Digi 003r][1], and a [Rode NGT-3 Ultimate Bundle from Performance Audio][2].&#xD;&#xA;&#xD;&#xA;  [1]: http://blacklionaudio.com/content.php?p=8&#xD;&#xA;  [2]: http://www.performanceaudio.com/cgi/product_view.cgi?products_id=21499" ContentLicense="CC BY-SA 3.0" />
  <row Id="12884" PostHistoryTypeId="5" PostId="5527" RevisionGUID="5037edd1-0ffe-4585-95b9-6c0aad3f8669" CreationDate="2011-04-29T17:20:55.453" UserId="61" Comment="Reword" Text="PSI reference speakers" ContentLicense="CC BY-SA 3.0" />
  <row Id="12886" PostHistoryTypeId="5" PostId="5381" RevisionGUID="8086abf8-29dd-49b1-8ad4-96c2c550a284" CreationDate="2011-04-29T17:29:35.577" UserId="61" Comment="Redo" Text="I'd buy another couch in hopes of funding another $3000 underneath!&#xD;&#xA;&#xD;&#xA;Barring that, I'd pickup Nuendo and an Apogee interface. It looks to be a serious challenger to PT9, would love to explore it in a professional film environment and see how they really stack up." ContentLicense="CC BY-SA 3.0" />
  <row Id="12887" PostHistoryTypeId="2" PostId="7605" RevisionGUID="0e8f86cf-cffd-4c87-a99e-8ff2e4caaefa" CreationDate="2011-04-29T17:49:01.520" UserId="29" Text="A used muscle car, a Remington M580 shotgun, a box of shells, a potato sack, and a Ronald Reagan or clown mask. Then I'd rob a bank for the all-Schoeps collection that I'd really want.&#xD;&#xA;&#xD;&#xA;I'd kick down some of the three gees for Bear McCreary to score the heist. ;-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12896" PostHistoryTypeId="2" PostId="7610" RevisionGUID="b59b8aa6-8f2f-4314-b210-215d2b3f4049" CreationDate="2011-04-29T19:51:04.303" UserId="985" Text="A ticket to the Seychelles - for field recording purpose of course.. ambiences in cocktail bars, sand moving slowly on the beach, waves clapping lazily against my boat... don't expect me to be back any time soon." ContentLicense="CC BY-SA 3.0" />
  <row Id="12897" PostHistoryTypeId="2" PostId="7611" RevisionGUID="728aca47-8740-456d-a58e-1ec0148a7c54" CreationDate="2011-04-29T21:15:06.963" UserId="1025" Text="Hi, I don't know if anyone in sound design uses the term &quot;audio charter&quot; or &quot;sound charter&quot; the way they use &quot;graphic charter&quot; in graphic design... but if there was an equivalent to a &quot;graphic charter&quot; in sound, what do you think it would include ? What are the basic elements it would be made of ? &#xD;&#xA;&#xD;&#xA;Say you had to design the audio identity for a video game, how would you go about it ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12898" PostHistoryTypeId="1" PostId="7611" RevisionGUID="728aca47-8740-456d-a58e-1ec0148a7c54" CreationDate="2011-04-29T21:15:06.963" UserId="1025" Text="Audio equivalent of a graphic charter" ContentLicense="CC BY-SA 3.0" />
  <row Id="12899" PostHistoryTypeId="3" PostId="7611" RevisionGUID="728aca47-8740-456d-a58e-1ec0148a7c54" CreationDate="2011-04-29T21:15:06.963" UserId="1025" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12900" PostHistoryTypeId="2" PostId="7612" RevisionGUID="78e3a0b1-52d2-402a-b973-419933521a4d" CreationDate="2011-04-29T21:59:16.183" UserId="845" Text="I think that would depend on the kind of game you're making, no?&#xD;&#xA;&#xD;&#xA;I haven't yet had the privilege of participating in the sound design for a video game, but here's how I think you might be able to characterize some of my/other people's favourite games:&#xD;&#xA;&#xD;&#xA;Call of Duty - Real, harsh, stark, controlled sharp, heavy, accurate, and sometimes dissonant.&#xD;&#xA;&#xD;&#xA;Little Big World - Soft, round, bouncy, warm, harmonic, abstract, and consonant.&#xD;&#xA;&#xD;&#xA;DeadSpace/BioShock - Deep, ominous, spacey, creepy, moody, dissonant but harmonic.&#xD;&#xA;&#xD;&#xA;Uncharted 2 - Hollywood, clean, precisely shaped, smooth, easy on the ears.&#xD;&#xA;&#xD;&#xA;8-Bit sidescroller - Clean, sharp, abstract, textured but rounded edges. &#xD;&#xA;&#xD;&#xA;Fallout 3 and NV - Call of Duty + DeadSpace/BioShock.&#xD;&#xA;&#xD;&#xA;But yeah, a lot of it will be determined by the look and playing style of the game.  You'll also probably have to work from vague descriptions given by the game director like, &quot;I don't know, can you maybe make it feel like we're underwater and on fire, but not?  Know what I mean?&quot;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12904" PostHistoryTypeId="2" PostId="7614" RevisionGUID="8385dbdb-873a-4edd-bb18-fc60cbef822d" CreationDate="2011-04-30T01:36:55.813" UserId="29" Text="What you're describing sounds like a combination of a Design Brief and a Style Guide, on the visual side. I've seen hundreds of such documents, produced probably as many, and have worked with audio equivalents from my clients' audio branding houses. What follows is my aggregate experience, which might vary from others' experiences.&#xD;&#xA;&#xD;&#xA; - There is a list of &quot;descriptors&quot; that captures the desired emotional results. Yes, these are often adjectives, but sometimes nouns and adverbs, and it could be anything from emotions to materials.&#xD;&#xA; - There is a list of comparable works done by others. In design, these are called &quot;mood boards.&quot; In audio, they can often be unlicensed, not-for-distribution compilations of songs, but they might also be visuals! This is where the designer(s) cobble together existing works that share something with the final mood or vibe of what is to be designed anew. It's a collage or compilation because it's not about matching on just one thing; it's about how a lot of things, which overlap with each other, suggest possible design approaches for the new thing(s) being designed.&#xD;&#xA; - There is an initial stab at a &quot;design language,&quot; or a set of key design principles, which serve to focus decision making and establish a framework on which, and against which, decisions can be made, measured, or debated.&#xD;&#xA; - How abstract vs. specific such a document is varies based on the project, as it should Sometimes they're very high level, sometimes they're so dialed in that there's not a lot of room to groove. Brand is a big driver here.&#xD;&#xA;&#xD;&#xA;In the context of a game, I'd simply port a lot of this over. Many game properties have evolved into brands, and those that haven't can still be defined by their unique value propositions (what makes them truly unique). Having audio design follow the inspiration of what makes the game unique in terms of look and game play makes sense. (Although it'd sure be interesting to go the other way around, wouldn't it?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12905" PostHistoryTypeId="2" PostId="7615" RevisionGUID="52017b5e-9326-40dd-9eff-c7f116ffeae1" CreationDate="2011-04-30T02:19:12.897" UserId="1028" Text="I saw this sync issue on the Today Show feed as well, so I assume it was switched in a truck locally and then distributed. Having worked as a sound engineer for various conferences and other multi-camera events, such as TED and eg, I can tell you that video always takes longer to process than audio in the truck. Sound is never late, always video, because there's a lot more information to process. It looked to me as though the long lens cameras had much more delay than those near the altar. I imagine there was some extra processing on those long lens cameras of some sort for some reason, not sure what that might be, going on in real time that required what looks like 300ms of delay. For example converting SD to HD or changing frame rate has required that amount of frame delay in the past. As hardware improves, so do demands. Anyhow, I noticed there were only a couple of camera angles with the sync issue. Audio cannot delay different amounts for different cameras shooting the same scene, because that would create huge glitches. So the folks in the truck were bitching about that the whole time, I'm sure, and then there probably were some beatings afterwards." ContentLicense="CC BY-SA 3.0" />
  <row Id="12906" PostHistoryTypeId="5" PostId="7615" RevisionGUID="326a1e37-340b-4b7f-914f-9992e9844f4f" CreationDate="2011-04-30T02:24:45.610" UserId="1028" Comment="added 116 characters in body" Text="I saw this sync issue on the Today Show feed as well, so I assume it was switched in a truck locally and then distributed. Having worked as a sound engineer for various conferences and other multi-camera events, such as TED and eg, I can tell you that video always takes longer to process than audio in the truck. Sound is never late, always video, because there's a lot more information to process. It looked to me as though the long lens cameras had much more delay than those near the altar. I imagine there was some extra processing on those long lens cameras of some sort for some reason, not sure what that might be, going on in real time that required what looks like 300ms of delay. For example converting SD to HD or changing frame rate has required that amount of frame delay on events I've worked on. In those cases, the delay was consistent, I just delayed microphone audio to make everything match up. As hardware improves, so do demands. Anyhow, I noticed there were only a couple of camera angles with the sync issue. Audio cannot delay different amounts for different cameras shooting the same scene, because that would create huge glitches. So the folks in the truck were bitching about that the whole time, I'm sure, and then there probably were some beatings afterwards." ContentLicense="CC BY-SA 3.0" />
  <row Id="12907" PostHistoryTypeId="2" PostId="7616" RevisionGUID="cd78234d-4787-41ba-831b-19c8253907e3" CreationDate="2011-04-30T06:54:53.080" UserId="1027" Text="Hi All,&#xD;&#xA;&#xD;&#xA;I'm looking to buy one or two lavs, whether wireless or not doesn't matter, and budget is no issue since a couple of us will all pitch in. &#xD;&#xA;&#xD;&#xA;What I'm looking for is a lav that will work well on voices (male and femle) in office environments where there are fans/air conditioning that can't be turned off). &#xD;&#xA;&#xD;&#xA;Your advice and experience would be deeply appreciated.&#xD;&#xA;&#xD;&#xA;Thank you! " ContentLicense="CC BY-SA 3.0" />
  <row Id="12908" PostHistoryTypeId="1" PostId="7616" RevisionGUID="cd78234d-4787-41ba-831b-19c8253907e3" CreationDate="2011-04-30T06:54:53.080" UserId="1027" Text="Ideal lavs for non-ideal office environments (think loud fans that can't be turned off)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12909" PostHistoryTypeId="3" PostId="7616" RevisionGUID="cd78234d-4787-41ba-831b-19c8253907e3" CreationDate="2011-04-30T06:54:53.080" UserId="1027" Text="&lt;lavalier&gt;&lt;location-recording&gt;&lt;dslr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12910" PostHistoryTypeId="2" PostId="7617" RevisionGUID="1098ef4a-f018-4158-a6b3-8b6191696239" CreationDate="2011-04-30T14:55:04.877" UserId="29" Text="If it were me, my first approach would be to ensure that you get room tone for noise reduction; funny how on run-n-gun corporate shoots, I've sometimes seen that totally get overlooked. The success of this will depend on if the subjects are moving; I'd get room tone for each shooting angle/location to be ultra-safe. Since that's all focused around fixing in post, though, it's hard to know how clean that'll make your dialogue. iZotope RX is stellar for such things.&#xD;&#xA;&#xD;&#xA;This would want to be to be paired with a carefully tech scout of the location with a facilities manager and see if you can put sound blankets around to deaden the sound in specific places. Work with the producer and DP for shooting angles that don't force the lavs to be exposed directly to the fan noise. Grabbing room noise for noise reduction during that tech shoot, using the lavs you want to use, wouldn't be a bad idea if you can spare the time.&#xD;&#xA;&#xD;&#xA;If these top two techniques work, then it's pretty much whatever lavs sound good on the respective voices. MAny love the COS-11 and DPA 4060's, but just as many love cheaper models like the Trams and Countrymans.&#xD;&#xA;&#xD;&#xA;A final alternative might be to get cardioid-pattern lavs. These tend not to be too popular, but they do have their place in really challenging environments. You'd HAVE to rent some and do some tests to see if that'd really help your situation, though, before committing to a purchase.&#xD;&#xA;&#xD;&#xA;Just a handful of initial ideas..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12911" PostHistoryTypeId="2" PostId="7618" RevisionGUID="7e6c9411-b76c-4ed3-85f9-688be616e4c8" CreationDate="2011-04-30T15:48:34.230" UserId="194" Text="I'll vote for the COS-11.  &#xD;&#xA;&#xD;&#xA;That with proper placement can really handle a lot of intense situations and always sounds good.  I used those mics on a shoot recently where I had a grill cooking, lawnmowers going, and some kids about 150 yards away cheering and ended up with much better audio than I had anticipated given the challenges." ContentLicense="CC BY-SA 3.0" />
  <row Id="12912" PostHistoryTypeId="2" PostId="7619" RevisionGUID="68b12925-daf2-42db-8d01-d2acd9f59a94" CreationDate="2011-04-30T19:05:12.437" UserId="786" Text="I like the DPA 4060 more than the Sanken COS-11, because I think it sounds better and for me it is easier to hide under clothes with less cloth noise than the Sanken.&#xD;&#xA;&#xD;&#xA;If you have the possibility to remove noise afterwards with Izotope RX, I wouldn't worry too much about recording room tones, you'll probably get loads of clean tones between sentences for Izotope to work with, it really doesn't need more than a second or so to capture the noise profile. If you have the Advanced version of Izotope RX2, it can even adapt to a changing noise profile.&#xD;&#xA;&#xD;&#xA;If your setup is going to be for live use, you might want to invest in a stand-alone noise reduction, such as the Izotope ANR-B (I believe they used it on the Vuvuzelas in the World Cup last year!) or a Cedar.&#xD;&#xA;&#xD;&#xA;Oh, I almost forgot, if you can place the actors with their back to the noise source, their body will act as a wall blocking for a part of the unwanted noise, so you don't have to remove as much afterwards..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12913" PostHistoryTypeId="2" PostId="7620" RevisionGUID="50515ab4-8db0-444c-bd28-8d1cca2dd6e1" CreationDate="2011-04-30T19:05:25.103" UserId="315" Text="A well boomed actor with a hypercardiod shotgun can sound just as good if not better than a lav (and more natural sounding) in less than ideal shooting environments. Experiment with booming from below the actors as well or under a desk etc..&#xD;&#xA;&#xD;&#xA;Plus one for DPA 4060s for lavs though if booming is completely out of the question.&#xD;&#xA;&#xD;&#xA;Another thing to consider is using plant mics. A pzm like a Sanken CUB mounted on a desk, cubicle, or prop computer screen in front of the actor would probably sound better than a lav and just as inconspicuous. &#xD;&#xA;&#xD;&#xA;And make sure to grab plenty of room tone, you'll need it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12914" PostHistoryTypeId="5" PostId="7501" RevisionGUID="1656d97d-7679-476a-a3aa-4a676af37c8a" CreationDate="2011-04-30T22:18:30.157" UserId="845" Comment="added 62 characters in body" Text="Welcome to installment Number Two.  What object or device makes this sound?:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;kIng-FWOOOOOoooooshshshshshshshsh.....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Happy guessing!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;ANSWER:&#xD;&#xA;&#xD;&#xA;The toilet on an airplane. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12915" PostHistoryTypeId="2" PostId="7621" RevisionGUID="64137b0c-1add-417e-bdd3-5590e13d964d" CreationDate="2011-04-30T22:29:49.290" UserId="2" Text="I absolutely LOVE my DPA 4060s. I used them for the first time on a shoot yesterday and I can't believe how great they sound. Had almost no issues with cloths rustling, they were easy to hide, and with the concealer they are super easy to attach. Don't buy the film kit though, it's a rip off. But buy the high frequency boost grills and concealers. &#xD;&#xA;&#xD;&#xA;Maybe if you're only interested in location recording, then you might wanna get the DPA 4071s instead of the 4060s... They are pre-EQed with a high pass, and high freq boost. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12916" PostHistoryTypeId="2" PostId="7622" RevisionGUID="972ebf6c-56a4-4ba2-879e-05aa24843f2e" CreationDate="2011-04-30T22:46:43.470" UserId="930" Text="This definitely needs to become a regular post. Weekly?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12917" PostHistoryTypeId="2" PostId="7623" RevisionGUID="875c8624-39d0-46ce-9676-a882ad3b33cb" CreationDate="2011-05-01T08:51:25.653" UserId="641" Text="I recently purchased Izotope RX and I am blown away by it's abilities to remove noise and hum and such from recordings.  It really is as good as what people have claimed it to be!&#xD;&#xA;&#xD;&#xA;However, I just finished shooting for three days on a TV drama in locations that were really the pits as far as sound environments for clean dialogue go.  The previous soundie told me that had been the norm for the last 7 months of shooting he had been doing with the show and as far as he knew they used Izotope or a similar software to fix this in post.  He told me he would end up doing nothing on set other than ensuring good levels and room tones and forget about the noise in the back ground (Highways with trucks, cars and motorbikes, air-conditioning systems, generators etc).  This seemed rather obscene to me.&#xD;&#xA;&#xD;&#xA;The question arose in my head:  The fact that I know that the final mix chaps (chapettes) have the ability to clean up my recordings, would I still attempt to get as pristine dialogue recordings as I could, given the environment I was subjected to or would I simply sit back and be complacent and put my faith in the final mix noise removal systems?&#xD;&#xA;My conclusion:  I would try my utmost and record as if there was no noise removal system in place, as I have recorded for the last three years.&#xD;&#xA;&#xD;&#xA;Dont get me wrong, I believe that Izotope RX is a god send for those days where location is the pits, but most of the work I do involves my sound going to some other place (not my studio) for post work and my name goes with it and I don't know if they will be able to fix the faults that I know are there.  It just seems to me that the technology advances have a spin off and the newer sound recordists emerging out there have a lot of crutches they depend on, instead of learning the means to obtain a good product that needs very little or no post production in order to sound good.&#xD;&#xA;&#xD;&#xA;Comments?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12918" PostHistoryTypeId="1" PostId="7623" RevisionGUID="875c8624-39d0-46ce-9676-a882ad3b33cb" CreationDate="2011-05-01T08:51:25.653" UserId="641" Text="Does Izotope RX and similar software make the location sound recordist complacent?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12919" PostHistoryTypeId="3" PostId="7623" RevisionGUID="875c8624-39d0-46ce-9676-a882ad3b33cb" CreationDate="2011-05-01T08:51:25.653" UserId="641" Text="&lt;sound-quality&gt;&lt;recording&gt;&lt;izotpe-rx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12920" PostHistoryTypeId="2" PostId="7624" RevisionGUID="501ac417-6009-491f-b71e-4ed44fda01bd" CreationDate="2011-05-01T08:56:43.273" UserId="641" Text="The DOP is freaking because the sun is setting and the light is disappearing and you say: &quot;I don't care as long as it sounds good!&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12921" PostHistoryTypeId="2" PostId="7625" RevisionGUID="5a9e412a-f9f1-4e18-bc59-4cfa8efd9f96" CreationDate="2011-05-01T09:00:08.980" UserId="641" Text="I recon you're talking about one of those clay pigeon launchers.&#xD;&#xA;They give a nice &quot;king&quot; sound as they release and the clay pigeons have a FWOOOOOoooooshshshshshshshsh.....&#xD;&#xA;sound as they fly off.  &#xD;&#xA;&#xD;&#xA;All thats missing is the &quot;BHAROM&quot; of the shotgun going off directly afterwards!  :D&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12922" PostHistoryTypeId="6" PostId="7623" RevisionGUID="1e7da49d-1e62-4672-abf2-0335aca07e06" CreationDate="2011-05-01T11:06:53.113" UserId="1027" Comment="edited tags" Text="&lt;sound-quality&gt;&lt;recording&gt;&lt;izotope&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12923" PostHistoryTypeId="2" PostId="7626" RevisionGUID="de1da4fc-6122-42c4-a75f-a87ea99652cb" CreationDate="2011-05-01T12:51:05.100" UserId="6487" Text="Interesting...I had this thought a while back as a production mixer came in with my client, handed off some material, gave me a sheet with channel assignments and notes and said, &quot;It sounds pretty noisy now, but you have noise reduction stuff, right?  I mean, that is your job anyway, right?&quot; &#xD;&#xA;&#xD;&#xA;While we can do a lot more at a quicker pace in post than we used to, there are times where even Izotope RX will not save you.  Besides budgets in post are being cut and time booked to complete a project is shorter and shorter, limiting my ability to address every issue on every project.  Furthermore, extra money spent fixing audio issues to raise the audibility of sound is often subtracted from sound design and mix, making the end project less effective and sophisticated.   &#xD;&#xA;&#xD;&#xA;If I was asked about the quality of production audio by a client, which I often am, and I felt the quality was poor and the production sound guy's attitude was that we can fix anything in post verses a situation where he was doing the best he could in a bad situation, I would advise the client ( and I have once or twice....) to use someone with a higher standard of quality next time. &#xD;&#xA;&#xD;&#xA;I do what I do in order to make an engaging project.  I would never advise against someone who communicated that he tried all he could and the situation was just very poor for recording, but to do a lesser job because you think slack can be picked up somewhere else in another department is not fair to the client or the project.  This may sound harsh, but, I would expect someone to do the same to me if I did my job without giving a full effort and applying all possible resources to making my stage in the process as pristine as possible.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12924" PostHistoryTypeId="2" PostId="7627" RevisionGUID="ed7af277-d0ec-4a8a-b988-dbcae831b9b5" CreationDate="2011-05-01T14:37:37.667" UserId="863" Text="I've slagged off a lot of recordists to directors and producers in the last year, but I also do sound recording and realise how hard it can be. Sometimes this noise is unavoidable, especially if it's not a high budget production where you can close off streets, demand things to be switched off, build a set in a studio or be fighting against time to get things shot.&#xD;&#xA;&#xD;&#xA;Noise reduction software has really closed the gap between top end films and short/low budge productions." ContentLicense="CC BY-SA 3.0" />
  <row Id="12925" PostHistoryTypeId="2" PostId="7628" RevisionGUID="720b43e1-03d9-4160-84c7-274943b37db5" CreationDate="2011-05-01T17:02:32.500" UserId="432" Text="I think the larger problem has, and always will be, with the producer/director. I'm not laying all the blame on them, because there are lazy recordists out there. There can also be other considerations at work regarding performance/delivery, budget and overall importance. It's their job to look at the big picture, and there may be a cost benefit to ignoring a particular issue and moving on as scheduled.&#xD;&#xA;&#xD;&#xA;That being said, there are ones who have a better view than others. Most location recordists will set up a system to notify someone if there are troublesome noise levels, background ambience, etc. Some will try to explain the cost benefits of addressing it there in that moment, over fixing it in post. As MixingManiac pointed out, the costs can be aesthetic in nature as well. Ultimately, it's the producer/director who makes the final call on set.&#xD;&#xA;&#xD;&#xA;You've may have had different experiences than I have, Andre...I do mainly post, but some location recording as well...but it's been my experience that most P/D's are infintely more patient with the camera operator than the recordist. I've also, on occassion, been told flat out, &quot;I don't care,&quot; after pointing out a sound issue after a particular take. For the most part on set, image is king. You politely mention an issue once, then politely go on about your business after you've been ignored. The assumption that it can be remedied in post usually gets made by someone other than the recordist.&#xD;&#xA;&#xD;&#xA;Basically, I agree with you. Keep doing the best you can in a given situation, but maybe that previous soundie had just been completely demoralized after 7 months of being ignored." ContentLicense="CC BY-SA 3.0" />
  <row Id="12926" PostHistoryTypeId="2" PostId="7629" RevisionGUID="c719dbd5-dbbe-4fb9-850d-d8f45c86a6b5" CreationDate="2011-05-01T18:04:55.460" UserId="845" Text="Fantastic question. &#xD;&#xA;&#xD;&#xA;To be honest, I'm torn. I can't speak for location recordists and hardly dare speak *about* them (after all, they carry very long metal sticks), but I do have a very little experience working as a boom op with a few different mixers. It's actually a fascinating gig, especially if you're working with a different mixer every shoot like I was, you get to hear the whole spectrum of opinion. &#xD;&#xA;&#xD;&#xA;I agree to a large degree with @Shaun.  However, I will add one thing that I noticed during my short tenure as a boomie.  There is a gaping communication death void that stands between the production and post-production sound crews. I have *never* met or even spoken to a single one of the people who have had to mix my work. I have *no* idea what the recordings actually sound like outside of my headphones. I've heard final mixes (two producers actually sent me a free copy of the DVD. Weird, huh?), but that's definitely not the same thing. &#xD;&#xA;&#xD;&#xA;What I'm getting at is that I found that situation extremely frustrating and demoralizing. It was emotionally difficult, not really having time to properly check takes and always having that horrible feeling of burning film for the sake of tape. And then there's day 15 of an outdoor shoot in the middle of Canadian February, where it's impossible not to say &quot;fuck it, they can take that car out in post, I don't give a shit anymore.&quot;&#xD;&#xA;&#xD;&#xA;I hope all of the location guys here don't take this the wrong way, but a lot of the guys I worked with didn't actually know what is and isn't possible in post.  Add to that, as @Shaun said, that a lot of Ps and Ds make it sound like everything can be fixed later (as if they know) or that they don't care either way.  In the face of that I can totally understand why some guys might come around to feeling like microphone monkeys whose job is redundant and could be done to an equal standard by a fostex shotgun mounted on a mic stand facing the wrong direcrion.&#xD;&#xA;&#xD;&#xA;I think it really needs to be communicated that while we're ecstatic about being able to use RX to get rid of everything but dialogue, we'd rather not.  We'd be overjoyed to receive an entire shoot's worth of dialogue that we can drop, chop, and not have to worry about.  Or, at least, I would.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12927" PostHistoryTypeId="2" PostId="7630" RevisionGUID="d7e31a77-79c1-43ce-abeb-e4f557498ccc" CreationDate="2011-05-01T18:18:53.620" UserId="845" Text="... you buy your shoes according to how much noise they make when you walk.&#xD;&#xA;&#xD;&#xA;... you keep coins in your back pocket because those pockets move less than the front ones, and the coins make less noise back there.  Even if you're not recording..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12928" PostHistoryTypeId="2" PostId="7631" RevisionGUID="84bf80b5-003f-4882-a55b-dbfc819757ae" CreationDate="2011-05-01T19:51:46.630" UserId="18160" Text="&quot;Fix it in post&quot;&#xD;&#xA;&#xD;&#xA;&quot;Can't you handle it later?&quot;&#xD;&#xA;&#xD;&#xA;I liken it to the musician who doesn't learn the song and basically plays the notes of the melody but ASSUMES the Pro Tools operator can nudge the notes perfectly in time. That's what digital recording has done to the musician. Back in the old days, the Beatles would do their albums in pretty much one take on 4 tracks. Insane huh? Now, if the musician screws up, instead of immediately saying &quot;Oops, let me take that again so it's perfect&quot;, he says &quot;WHY CAN'T YOU JUST NUDGE IT INTO TIME?!?!&quot; as if you're doing something wrong or didn't do a good job, when he's the one who screwed up." ContentLicense="CC BY-SA 3.0" />
  <row Id="12929" PostHistoryTypeId="2" PostId="7632" RevisionGUID="06cffba5-93ed-4ed1-baa8-fa2fef336002" CreationDate="2011-05-01T20:49:53.660" UserId="238" Text="It's a very important issue, but I think that location recorders are not really at fault here. Certainly the location recorders that I know are extremely professional, and proud of their work - they all go out of their way to capture the cleanest, highest quality audio. If a recordist is serious about his/her profession, they will generally be very aware that their reputation is on the line and reputations go a very long way in our line of work. &#xD;&#xA;&#xD;&#xA;However, as others have previously discussed, the issue of &quot;fix it in post&quot; is still very common. Although not always the case, I think one of the problems is when budgets are cut, standards often drop, and the sound department is one area that is often affected. It is not uncommon for a &quot;low-budget&quot; production to completely overlook a boom op and use the camera's on-board mics only. This obviously leads to poor quality audio being captured by someone who doesn't really understand how to properly capture audio. [See this post for similar a discussion][1].&#xD;&#xA;&#xD;&#xA;Sadly, many people in the production process have become aware of tools such as iZotope RX and many have wrongly come to rely on them. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2563/what-does-the-future-hold" ContentLicense="CC BY-SA 3.0" />
  <row Id="12936" PostHistoryTypeId="5" PostId="7631" RevisionGUID="46e07a6b-7ffe-4000-907d-b90269eed081" CreationDate="2011-05-01T22:24:41.420" UserId="18160" Comment="added 811 characters in body" Text="&quot;Fix it in post&quot;&#xD;&#xA;&#xD;&#xA;&quot;Can't you handle it later?&quot;&#xD;&#xA;&#xD;&#xA;I liken it to the musician who doesn't learn the song and basically plays the notes of the melody but ASSUMES the Pro Tools operator can nudge the notes perfectly in time. That's what digital recording has done to the musician. Back in the old days, the Beatles would do their albums in pretty much one take on 4 tracks. Insane huh? Now, if the musician screws up, instead of immediately saying &quot;Oops, let me take that again so it's perfect&quot;, he says &quot;WHY CAN'T YOU JUST NUDGE IT INTO TIME?!?!&quot; as if you're doing something wrong or didn't do a good job, when he's the one who screwed up.&#xD;&#xA;&#xD;&#xA;EDIT: One thing I wanted to add when I just re-read the question is that:&#xD;&#xA;&#xD;&#xA;Most audio &quot;tricks&quot; and &quot;miracles&quot; only occur when the original recording was horrible to begin with. Capturing the audio on set in as high quality as possible is the key to having a great mix. It doesn't matter how much fancy restoration software and hardware you have to reconstruct bad recordings with, they will never sound as good as a proper recording done under ideal conditions on a set. This is said IMHO from years of experience with poor field recording audio that has had to undergo miracles to make anything of it. (for example, a singing trio where the mic was placed backwards, lapel mics placed under the person's chin to collect all the wind from Ss and Ts, and waterfalls, generators, ocean wash, etc. etc. etc.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12938" PostHistoryTypeId="2" PostId="7635" RevisionGUID="6110a372-6b6e-4914-b870-775d7dc968fa" CreationDate="2011-05-02T02:12:18.030" UserId="432" Text="...you've ever set up more than two mics for one sound source.&#xD;&#xA;&#xD;&#xA;...you've ever tried to explain the difference between room tone and ambience to someone.&#xD;&#xA;&#xD;&#xA;...you've ever worn earplugs and headphones simultaneously." ContentLicense="CC BY-SA 3.0" />
  <row Id="12939" PostHistoryTypeId="2" PostId="7636" RevisionGUID="8955e130-c19c-413a-b2bf-b0f252907616" CreationDate="2011-05-02T04:03:28.290" UserId="1029" Text="After reading this I feel a hundred times less-strange than before, as I've just accumulated a full glass of pistachio shells over the past few days. Decided to save them for some experimentation :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="12940" PostHistoryTypeId="2" PostId="7637" RevisionGUID="a1d63673-511b-446e-8ed9-f472b0dabc0f" CreationDate="2011-05-02T04:37:22.287" UserId="338" Text="oh yeah, pistacios always sounded great to me..taste great too, hard to get enough.  such amazing shells." ContentLicense="CC BY-SA 3.0" />
  <row Id="12941" PostHistoryTypeId="2" PostId="7638" RevisionGUID="9d6f81ef-a12d-4baa-a25e-bc0f6e17818f" CreationDate="2011-05-02T04:56:34.597" UserId="61" Text="Come on, DC folks, don't disappoint! I want to hear some recording reports tomorrow morning!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12942" PostHistoryTypeId="1" PostId="7638" RevisionGUID="9d6f81ef-a12d-4baa-a25e-bc0f6e17818f" CreationDate="2011-05-02T04:56:34.597" UserId="61" Text="Osama is dead -- Who's recording the crowds outside the White House right now?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12943" PostHistoryTypeId="3" PostId="7638" RevisionGUID="9d6f81ef-a12d-4baa-a25e-bc0f6e17818f" CreationDate="2011-05-02T04:56:34.597" UserId="61" Text="&lt;crowd&gt;&lt;field-recording&gt;&lt;historical&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12944" PostHistoryTypeId="2" PostId="7639" RevisionGUID="fee6f9ba-8eed-4e05-9f91-313e0a6d60db" CreationDate="2011-05-02T04:59:00.843" UserId="18160" Text="I vote for Steve Urban to be the chosen one." ContentLicense="CC BY-SA 3.0" />
  <row Id="12945" PostHistoryTypeId="5" PostId="7638" RevisionGUID="80339d2a-04dd-4274-b72d-4c66d62663b0" CreationDate="2011-05-02T06:33:55.937" UserId="61" Comment="added 83 characters in body; edited title" Text="Come on folks, don't disappoint! Chance of a lifetime!! I hope to hear some SoundCloud samples tomorrow morning!&#xD;&#xA;&#xD;&#xA;PS&gt; Steve, get out of bed and get down to Pennsylvania Ave!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12946" PostHistoryTypeId="4" PostId="7638" RevisionGUID="80339d2a-04dd-4274-b72d-4c66d62663b0" CreationDate="2011-05-02T06:33:55.937" UserId="61" Comment="added 83 characters in body; edited title" Text="Osama is dead -- Who's recording the crowds in NYC and outside the White House?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12947" PostHistoryTypeId="2" PostId="7640" RevisionGUID="b718e132-56fc-496c-af6d-b0ccbd9055c0" CreationDate="2011-05-02T07:30:23.847" UserId="693" Text="Considering we're all unified through sound I'll really try to leave this as politics free as possible. I really hope this thread doesn't turn into a political debate.&#xD;&#xA;&#xD;&#xA;As interesting as it might be historically, I'm not sure how much of it would be usable considering it's all chants of &quot;USA, USA, USA&quot;, &quot;We Are The Champions&quot; and &quot;Hey Hey Hey, Goodbye&quot;.&#xD;&#xA;&#xD;&#xA;Personally I'm not really sure if I'd want proof of such a mass amount of people gloating about someone's death, even considering who it is and the negative impact that this individual has triggered to ripple effect the entire world. Especially when considering how controversial the subject is. Actually, I sort of would want the recording for personal and historical reasons... but I'm not sure I'd ever use it for anything except maybe the lulls between the chants. They're very time/place specific (and very content specific) and you wouldn't really be able to get away with using them in something except a historical documentary without someone noticing considering all the mass media coverage.&#xD;&#xA;&#xD;&#xA;To be honest, the whole &quot;gloating&quot; thing kind of really gives me the creeps. It's nice to have (a bit of) closure to the situation and I know what that means to (directly) thousands and potentially billions of people, but it really sucks to know the steps that have been tread to get here and the way &quot;we&quot; as a group, as &quot;Americans&quot; will be perceived for all of the &quot;celebrations&quot; and &quot;gloating&quot;. I'm happy about the situation on one hand and sad/disappointed on the other and the best way to sum that up is a quote I found floating around earlier that I thought was a little apropos:&#xD;&#xA;&#xD;&#xA;“I’ve never wished a man dead, but I have read some obituaries with great pleasure.”&#xD;&#xA;&#xD;&#xA;— Mark Twain&#xD;&#xA;&#xD;&#xA;Since I've never had to deal with Public Recording rights then I'm wondering what the legal ramifications of using such a recording would be. I know for images/film you typically have to get a waiver... but I suppose the news gets away with it, so why can't we?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12948" PostHistoryTypeId="2" PostId="7641" RevisionGUID="820a097f-5dfd-4dea-b56e-8ca1fc82d359" CreationDate="2011-05-02T07:32:42.990" UserId="693" Text="This thread is making me crave some pistachios. &#xD;&#xA;&#xD;&#xA;That is all." ContentLicense="CC BY-SA 3.0" />
  <row Id="12949" PostHistoryTypeId="4" PostId="7638" RevisionGUID="1d35e907-7136-4936-b8a0-0ae4997f970f" CreationDate="2011-05-02T07:53:53.653" UserId="61" Comment="edited title" Text="Death of Osama Bin Laden -- so who's recording the crowds in NYC and outside the White House?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12950" PostHistoryTypeId="2" PostId="7642" RevisionGUID="7cd69ec5-a0be-49d5-a58a-ed0f5befba86" CreationDate="2011-05-02T08:52:22.610" UserId="6462" Text="So, this is kind of an embarrassing question as it alway seems to raise eyebrows.&#xD;&#xA;&#xD;&#xA;I'm looking at trying out some underwater recording and I'm looking to find out your recommendations as to which condoms are best for covering the microphone. There are many different types, thicknesses etc, so which ones are best? Is strawberry flavored better than banana? just kidding! I'd also like to know what you have used to clean the mic afterwards?&#xD;&#xA;&#xD;&#xA;I'm going to use a Sennheiser E845 (similar to an SM58, I actually prefer it to a 58!) and see what sounds I get.&#xD;&#xA;&#xD;&#xA;Thanks in advance for your help." ContentLicense="CC BY-SA 3.0" />
  <row Id="12951" PostHistoryTypeId="1" PostId="7642" RevisionGUID="7cd69ec5-a0be-49d5-a58a-ed0f5befba86" CreationDate="2011-05-02T08:52:22.610" UserId="6462" Text="Waterproof covering for microphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="12952" PostHistoryTypeId="3" PostId="7642" RevisionGUID="7cd69ec5-a0be-49d5-a58a-ed0f5befba86" CreationDate="2011-05-02T08:52:22.610" UserId="6462" Text="&lt;microphone&gt;&lt;hydrophone&gt;&lt;waterproof&gt;&lt;underwater&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12954" PostHistoryTypeId="2" PostId="7643" RevisionGUID="3f98d3de-5253-459a-832c-8d4137031bb0" CreationDate="2011-05-02T09:29:16.100" UserId="2" Text="I have no idea what condom to use, but definitely don't go deep! Wow, that sounds wrong... The pressure builds up quick underwater and whatever gap you may have between the cable and the condom will get water quick if the pressure is too much. Make sure you secure as well as you can that area. Maybe with some hot glue and gorilla tape? " ContentLicense="CC BY-SA 3.0" />
  <row Id="12955" PostHistoryTypeId="2" PostId="7644" RevisionGUID="74af960d-d399-444e-b015-0206928da540" CreationDate="2011-05-02T09:39:26.240" UserId="693" Text="Sometimes balloons will work better if you're going to use anything more than an SM57 or an SM58 (which are usually ideal since you'll only be losing about $100us if something were to go wrong and the mic gets damaged.&#xD;&#xA;&#xD;&#xA;Rule #1, ALWAYS use unlubricated condoms. Lamb Skin condoms smell really funky so completely avoid them, even the unlubed ones; besides... skin is more delicate and prone to tearing easier than latex.&#xD;&#xA;&#xD;&#xA;Also look into the balloons that are typically used for bending into animal shapes, as they're pretty durable and shaped well for things like shotgun mics. You also might want to get a pair of soft tipped reverse jewelers pliers to help get the opening open large enough to get it on your mic. Typically these &quot;animal shape balloons&quot; will be more &quot;form fitting&quot;, have a tighter seal and not leave a weird smell that might make your clients think weird things about you if they ever get close enough to your mics to smell them.&#xD;&#xA;&#xD;&#xA;As far as for cleaning them I would suggest very carefully using unscented baby wipes, as they typically have very gentle chemicals if any at all. They're actually really great for cleaning a lot of things (as I found out very quickly after my wife and I having our daughter 4 years ago)." ContentLicense="CC BY-SA 3.0" />
  <row Id="12956" PostHistoryTypeId="2" PostId="7645" RevisionGUID="378da382-91df-48ea-8c6a-13d4ae8e1030" CreationDate="2011-05-02T10:15:59.947" UserId="786" Text="I would go for unlubricated condoms instead of balloons, they're a lot easier to put on.&#xD;&#xA;&#xD;&#xA;I tried it in film school with a Sennheiser 416, and it worked perfectly. We hung the mic from a boom pole like a fishing pole and made some recordings in a swimming pool. I believe we closed the opening at the end with lots of gaffer tape and elastic bands.&#xD;&#xA;&#xD;&#xA;I believe we fooled around with it in a pretty careless and playful way, captured lots of interesting sounds, but luckily the condom didn't break and we didn't get a lot of small microphone babies..." ContentLicense="CC BY-SA 3.0" />
  <row Id="12960" PostHistoryTypeId="2" PostId="7648" RevisionGUID="0be57255-bd2c-44ab-b835-2ac31385c847" CreationDate="2011-05-02T15:47:15.710" UserId="6499" Text="I know for concerts and music festivals I use a product called Microphome.  Its a foam microphone cleaning kit.  I know it makes the artist feel better after I have gone up and used their personal vocal microphone to dial and tune their monitor mix, or at music festivals when every person shares mics.&#xD;&#xA;&#xD;&#xA;Ive never tried the condom trick on a microphone, I ended up just getting a hydrophone from aquarian audio.  Great products and great prices.  Its only slightly more expensive  than a 58 or 57.      " ContentLicense="CC BY-SA 3.0" />
  <row Id="12961" PostHistoryTypeId="2" PostId="7649" RevisionGUID="25b2c642-ccc1-4166-ab35-8e4f5e3b3469" CreationDate="2011-05-02T16:29:14.863" UserId="6499" Text="So upon reading all the great interviews and posts on BG creation/layering, im finally designing a specific set of backgrounds for a film.  Im trying to make a background that can convey the harsh danger of a homeless girl living on the street.  Its a series of 4 scripted scenes that in reality are one large flowing scene.  There are 3 parts that are a stationary non moving and in the middle there is a long walk and talk steadi-cam shot covering about 8 blocks or so.&#xD;&#xA;&#xD;&#xA;I currently have a hand-full of static stereo recordings I made in the neighborhood in which it was filmed.(I ended up being pretty uncomfortable there recording at night :P)    I like them quite a bit, as one you can here a building alarm/buzzer in the distance, the other has a lone siren build up to many police/ambulance sirens and progressively get closer.  There third is a general air with a single cricket going on.  &#xD;&#xA;&#xD;&#xA;I am planning on using train sounds in combination with the alarms and sirens to bring in the harshness and removing them to take away the danger at certain times that parallel the emotional arc Ive got going.  BTW waiting for a train to come is a pain, I wish there would be published freight train schedules.  &#xD;&#xA;&#xD;&#xA;Any other ideas of things I can use to help convey the sense of danger?&#xD;&#xA;&#xD;&#xA;Also during walk and talks, do you guys try and use backgrounds that were actually not recorded static.  I was thinking about trying to record a couple stereo backgrounds while slowly moving down the street, or do you think having single effects like light buzzing or dogs ac units etc dopplering by would do enough to convey that movement?  We are mixing in stereo for this project FYI.&#xD;&#xA;&#xD;&#xA;Any help would be appreciated as I am almost done cutting all the dialogue and will jumping into the BGs very heavily in the next few days.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Mike" ContentLicense="CC BY-SA 3.0" />
  <row Id="12962" PostHistoryTypeId="1" PostId="7649" RevisionGUID="25b2c642-ccc1-4166-ab35-8e4f5e3b3469" CreationDate="2011-05-02T16:29:14.863" UserId="6499" Text="Any tips on creating &quot;dangerous/harsh Backgrounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="12963" PostHistoryTypeId="3" PostId="7649" RevisionGUID="25b2c642-ccc1-4166-ab35-8e4f5e3b3469" CreationDate="2011-05-02T16:29:14.863" UserId="6499" Text="&lt;background&gt;&lt;ambiance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12964" PostHistoryTypeId="2" PostId="7650" RevisionGUID="9a8ca652-cb25-4a66-b9ab-b132c15e7354" CreationDate="2011-05-02T16:50:37.657" UserId="845" Text="How much motion is there in the stereo ones you have, i.e. Moving traffic, people walking past?  If there's enough of that you'll probably be fine with moving hits (trains, dogs, etc). If there isn't much of that you could try the moving recording, as long as you don't go too fast. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12965" PostHistoryTypeId="2" PostId="7651" RevisionGUID="5ae114a9-b724-40e1-bca2-17eeddd4b163" CreationDate="2011-05-02T17:14:02.797" UserId="61" Text="Michael,&#xD;&#xA;&#xD;&#xA;Thanks for providing so much information up front - sounds like a great project to be involved in!&#xD;&#xA;&#xD;&#xA;You've done the film a great service by going to the actual locations to record. Although there are a plethora of high-quality sound libraries available today, nothing can beat well-recorded custom recorded FX, imho. Here are a few points I try to follow when creating my backgrounds:&#xD;&#xA;&#xD;&#xA; - **Layering**&#xD;&#xA;Rarely do I rely on a single mono or stereo track to make up a particular background. Try layering several tracks for maximum depth and complexity, ie. close traffic, mid traffic and distant traffic would become your &quot;traffic&quot; predub. These individual tracks could include a distant freeway, a mid-shot of an alley, a few close passbys, some distant busses, etc. This also applies to other categories such as air, walla, and nature.&#xD;&#xA; - **Panning**&#xD;&#xA;Make the most of the stereo image with thoughtful and dynamic panning that contributes to the story being told. Examine the camera angles and pan appropriately, ie. if you see the sidewalk/curb on the left and an open space on the right, try panning most of your traffics left and some walla to the right, or perhaps there is an alley out of frame somewhere? Maybe there are people over there doing something interesting? Make you panning tell part of the story.&#xD;&#xA; - **Specific Events**&#xD;&#xA;Backgrounds should not be limited to long static recordings. For feature films I create a separate predub for &quot;spotted BGs&quot;, or sounds that are single events but function as part of the fabric of the background. These could include anything: In your case, think doppler horns, an interesting piece of walla, a ratty car passby, a shopping cart, a snippet of police radio, etc. The idea is to incorporate these single events into the mix so they become a part of the world, as opposed to being a featured sounds that grab your attention, as most &quot;hard fx&quot; do.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Creating danger can be subjective, but it sounds like you're on the right track. Don't be afraid to embrace clichés, since those sounds will speak to your audience right away. Sirens, distant yelling, distant gunshots or backfires, bassy &quot;hip hop&quot; car bys, train brake squeals…these are all good, time-tested sounds that will work. Other ideas? Try silence, low drones, steam escaping from a subway vent, subway passbys through the vent, etc. Try drawing on the things that made you uncomfortable when you were recording there.&#xD;&#xA;&#xD;&#xA;Lastly, recording moving backgrounds is an EXCELLENT idea. I just finished a film where a lot of recording was done this way and it yielded a huge amount of great flavors I could pull from and use as spotted BGs. One great thing about this approach is that you really get a sense of the acoustics of the space; the reflections off the walls and buildings, the distance of various wallas and traffics, and the slight dopplering of everything in your tracks brings a realism that is hard to replicate any other way. Try to be as stealthy as possible so nobody notices what you're up to, and you'll be able to capture people doing things they might not normally do if they knew you had an open mic. " ContentLicense="CC BY-SA 3.0" />
  <row Id="12966" PostHistoryTypeId="2" PostId="7652" RevisionGUID="4e28a899-179a-49e1-9276-1e1c86415451" CreationDate="2011-05-02T17:24:52.777" UserId="18160" Text="Tips on making a dangerous environment:&#xD;&#xA;&#xD;&#xA;- Experiment with some gang walla or callouts in the background. Or (no offense to anyone) poverty-stricken area callouts.&#xD;&#xA;&#xD;&#xA;- Tire peel-outs.&#xD;&#xA;&#xD;&#xA;- Gigantic truck lorries or bus bys which are loud and on the verge of being harsh to the ear. These are what make me feel uncomfortable on the street.&#xD;&#xA;&#xD;&#xA;- Nice old jalopy car SFX (there is one file in my library called jalopy which is an awesome older gas guzzling engine).&#xD;&#xA;&#xD;&#xA;- I'd experiment with putting in cars going through water or puddles to make a subliminal feeling of cold and wetness - this always makes me feel cold and dreary - like it has just rained.&#xD;&#xA;&#xD;&#xA;- ANGER and HATRED -filled arguments in the background.&#xD;&#xA;&#xD;&#xA;- Car alarms.&#xD;&#xA;&#xD;&#xA;- Sirens like you said - great idea.&#xD;&#xA;&#xD;&#xA;- People coughing.&#xD;&#xA;&#xD;&#xA;- Wind blowing trash or leaves in the street/gutter.&#xD;&#xA;&#xD;&#xA;- Jay's suggestions of subway hiss and bys are awesome.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;That's all I can think of right now. I'll re-visit this later if I think of any more during the day.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;P.S. I've archived Jay's answer for later use because it smokes." ContentLicense="CC BY-SA 3.0" />
  <row Id="12967" PostHistoryTypeId="4" PostId="7649" RevisionGUID="ca84b117-1936-40a3-816b-44670a5d0188" CreationDate="2011-05-02T17:30:46.320" UserId="61" Comment="edited tags; edited title" Text="Any tips on creating &quot;dangerous/harsh&quot; backgrounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="12968" PostHistoryTypeId="6" PostId="7649" RevisionGUID="ca84b117-1936-40a3-816b-44670a5d0188" CreationDate="2011-05-02T17:30:46.320" UserId="61" Comment="edited tags; edited title" Text="&lt;background&gt;&lt;ambiance&gt;&lt;sound-design&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12969" PostHistoryTypeId="2" PostId="7653" RevisionGUID="02b82de3-7bb0-4f93-811f-b1c2164b809b" CreationDate="2011-05-02T18:29:43.187" UserId="6411" Text="Well, at least the AP got it.&#xD;&#xA;&#xD;&#xA;Ground Zero, NYC&#xD;&#xA;&#xD;&#xA;[youtube]LKPmWsE_G38[/youtube]&#xD;&#xA;&#xD;&#xA;White House, Washington, DC&#xD;&#xA;&#xD;&#xA;[youtube]K5XVAugy_3I[/youtube]&#xD;&#xA;&#xD;&#xA;*hangs head in shame...*" ContentLicense="CC BY-SA 3.0" />
  <row Id="12970" PostHistoryTypeId="16" PostId="7653" RevisionGUID="02b82de3-7bb0-4f93-811f-b1c2164b809b" CreationDate="2011-05-02T18:29:43.187" UserId="6411" />
  <row Id="12971" PostHistoryTypeId="2" PostId="7654" RevisionGUID="323e3bea-f417-43b1-83ab-2eabc2eb9920" CreationDate="2011-05-02T18:47:00.540" UserId="845" Text="Hi all,&#xD;&#xA;&#xD;&#xA;So, I've been watching this lecture on microsound given by Barry Traux.  &#xD;&#xA;&#xD;&#xA;[vimeo]7122776[/vimeo]&#xD;&#xA;&#xD;&#xA;I'm inruiged, enthralled, fascinated, and pretty much every kind of -ed by it.  I understand far less of what he's talking about than I'd like to.  I'm also realizing how much more there is to this whole game than I previously thought.  From what I gather in order to really get what he's talking about I'll need a much better understanding of granular synthesis and Fourier theorem.  Both are frighteningly interesting and seem intimidatingly complex from where I sit.&#xD;&#xA;&#xD;&#xA;The [Granular Synthesis page at wikipedia][1] is a nice intro, but is nowhere near as detailed as I'd like.  What are some good references for the uninitiated? Has anyone studied this in depth and know of any books/websites designed for the layman?  The simpler the starting point the better.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Granular_synthesis" ContentLicense="CC BY-SA 3.0" />
  <row Id="12972" PostHistoryTypeId="1" PostId="7654" RevisionGUID="323e3bea-f417-43b1-83ab-2eabc2eb9920" CreationDate="2011-05-02T18:47:00.540" UserId="845" Text="Microsound/Fourier/Granular Synthesis" ContentLicense="CC BY-SA 3.0" />
  <row Id="12973" PostHistoryTypeId="3" PostId="7654" RevisionGUID="323e3bea-f417-43b1-83ab-2eabc2eb9920" CreationDate="2011-05-02T18:47:00.540" UserId="845" Text="&lt;granular-synthesis&gt;&lt;microsound&gt;&lt;learning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12974" PostHistoryTypeId="2" PostId="7655" RevisionGUID="0ca15880-c1c3-4b97-959c-b5f4da0f340f" CreationDate="2011-05-02T18:56:57.700" UserId="18160" Text="I have a question regarding boom oping.&#xD;&#xA;&#xD;&#xA;A friend of mine asked me what exercises he should be doing to improve his stamina and strength when doing 10 to 14 hour day boom oping. He finds it very difficult to get through a long day like that and I'd like to help him out if I can.&#xD;&#xA;&#xD;&#xA;I told him that incline benching is very helpful. Also, I suggested he use a lighter pole with a lighter microphone, such as the CMIT 5U.&#xD;&#xA;&#xD;&#xA;But, I don't do booming as my primary job.&#xD;&#xA;&#xD;&#xA;Would any of you professional boom ops care to share how you keep your arms in shape? If at all? Or if you just continue to do the job and your arms gradually build up a tolerance for long days?&#xD;&#xA;&#xD;&#xA;Thank you very much in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="12975" PostHistoryTypeId="1" PostId="7655" RevisionGUID="0ca15880-c1c3-4b97-959c-b5f4da0f340f" CreationDate="2011-05-02T18:56:57.700" UserId="18160" Text="Attn: Boom Ops - How do you stay in shape?" ContentLicense="CC BY-SA 3.0" />
  <row Id="12976" PostHistoryTypeId="3" PostId="7655" RevisionGUID="0ca15880-c1c3-4b97-959c-b5f4da0f340f" CreationDate="2011-05-02T18:56:57.700" UserId="18160" Text="&lt;boom-operator&gt;&lt;boom-pole&gt;&lt;health&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12978" PostHistoryTypeId="2" PostId="7657" RevisionGUID="99166a43-b097-4496-9b50-212ba2376b0d" CreationDate="2011-05-02T19:36:32.397" UserId="904" Text="This is a huge and interesting subject but I bet you'll want to become familiar with Curtis Roads and his books before too long. &#xD;&#xA;&#xD;&#xA;Start with this series of videos and then get his book 'Microsound' and 'Computer Music Tutorial': [link text][1]&#xD;&#xA;&#xD;&#xA;Also, from one of Barry Truax's own pages: [link text][2]&#xD;&#xA;&#xD;&#xA;  [1]: http://www.synthtopia.com/content/2009/05/12/secrets-granular-synthesis-curtis-roads/&#xD;&#xA;  [2]: http://www.sfu.ca/~truax/mviva.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="12979" PostHistoryTypeId="2" PostId="7658" RevisionGUID="0f7487f9-fd2c-4010-89b4-2f4346f55b77" CreationDate="2011-05-02T19:46:26.230" UserId="103" Text="Those can be tough gigs... depending on the pacing (usually i get more tired in&#xD;&#xA;slow paced shots actually, but that's a side note)&#xD;&#xA;&#xD;&#xA;I'm an avid biker and swimmer, i find that helps me to keep nimble.&#xD;&#xA;&#xD;&#xA;Also i do this exercise below, often, for 1 or two minutes. It helps&#xD;&#xA;keeping the lower back fit, for bag work.&#xD;&#xA;[link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dailymail.co.uk/health/article-1120673/How-perfect-plank.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="12980" PostHistoryTypeId="2" PostId="7659" RevisionGUID="fded36ce-da9e-45b7-9975-5fe9567c5d5c" CreationDate="2011-05-02T19:47:37.497" UserId="1014" Text="I second cebec. I own both books and are one of my best readings. Microsounds is very fascinating and useful to learn concepts of granular synthesis.&#xD;&#xA;&#xD;&#xA;L.&#xD;&#xA;&#xD;&#xA;p.s.: cebec, are you the same of electro-music? :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="12981" PostHistoryTypeId="2" PostId="7660" RevisionGUID="ccd75222-a674-43b6-a72d-919bb57f65c4" CreationDate="2011-05-02T19:48:59.313" UserId="393" Text="... you have a long-standing arrangement with all your beer drinking friends to save their bottles because you can never have too many shatter sounds.&#xD;&#xA;&#xD;&#xA;... you have about 100 empty beer bottles in your garage just waiting for the moment their lives will come to a gloriously sweetened end.&#xD;&#xA;&#xD;&#xA;... you have your friends trained to report all unique sounds they hear to you. eg. someone runs out of the public restroom to find you simply to say &quot;Oh my god, you have to hear the motor on that paper towel dispenser!&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12982" PostHistoryTypeId="2" PostId="7661" RevisionGUID="c3acb85d-e676-4395-9de5-a68411193559" CreationDate="2011-05-02T20:05:50.707" UserId="6411" Text="So, um, yeah. I totally missed the boat on this one. But hopefully my blunder can become  a good lesson for all of us.&#xD;&#xA;&#xD;&#xA;Once in a lifetime sound can happen at *any* time. Being prepared with the right gear doesn't amount to a hill of beans if you don't show up to the session. Learn to recognize the opportunities that present themselves and participate in them.&#xD;&#xA;&#xD;&#xA;This may mean you have to get out of bed." ContentLicense="CC BY-SA 3.0" />
  <row Id="12983" PostHistoryTypeId="2" PostId="7662" RevisionGUID="8befc77f-d4c6-44bd-975a-0a7d74083c26" CreationDate="2011-05-02T20:06:21.013" UserId="100" Text="[&quot;Any form of training must mirror the specific demands of the sport.&quot;][1] Because booming involves muscle endurance rather than muscle strength, my advice would be to grab a boom pole and hold it up for as long as you can, and as often as you stand it, using the same range of motion you would expect to use for the gig. If you're going to do any exercises for endurance, try moderate/lower resistance with higher repetitions.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sport-fitness-advisor.com/muscular-endurance.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="12984" PostHistoryTypeId="2" PostId="7663" RevisionGUID="d8904b51-85e1-48cd-bbdf-c079a2e7ea55" CreationDate="2011-05-02T20:46:35.750" UserId="253" Text="On top of what everyone else has said, absence of sound can be very effective when used in the right place. &#xD;&#xA;&#xD;&#xA;Silence can create different feelings, depending on exactly how it's woven into your atmos, but can make things very uncomfortable when incorporated just the right way. This silence could be created with &quot;synonyms of silence&quot; such as a single cricket, or very distant car burnout (or any of the other great suggestions from Jay and Utopia). You could also experiment with bringing your soundtrack down to nothing, but that relies heavily on the film's aural style." ContentLicense="CC BY-SA 3.0" />
  <row Id="12985" PostHistoryTypeId="5" PostId="7638" RevisionGUID="2e2bbc00-9d87-4fcc-903d-48840b3867d7" CreationDate="2011-05-02T22:36:16.337" UserId="61" Comment="added 3 characters in body" Text="Come on folks, don't disappoint me! Chance of a lifetime!! I hope to hear some SoundCloud samples tomorrow morning!&#xD;&#xA;&#xD;&#xA;PS&gt; Steve, get out of bed and get down to Pennsylvania Ave!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12986" PostHistoryTypeId="2" PostId="7664" RevisionGUID="0ebc2454-7e11-4d24-ae69-6fa1b6823c82" CreationDate="2011-05-03T03:27:25.207" UserId="429" Text="**SEQUENCER / SAMPLERS** &#xD;&#xA;&#xD;&#xA; - Roland S-330 with Atari 1040st /&#xD;&#xA;   cubase&#xD;&#xA;   &#xD;&#xA; - Akai S1000 with Atari 1040st / cubase&#xD;&#xA;   &#xD;&#xA; - Kurzwiel K-2000 with Cubase PC&#xD;&#xA;&#xD;&#xA; - AKAI S2000 with Logic PC&#xD;&#xA;&#xD;&#xA; - Fostex RD-8 ADAT tape machine with Fruity Loops PC&#xD;&#xA;&#xD;&#xA; - Yamaha SU-700&#xD;&#xA;&#xD;&#xA; - MPC2000XL&#xD;&#xA;&#xD;&#xA; - Reason&#xD;&#xA;&#xD;&#xA;**DAW's**&#xD;&#xA;&#xD;&#xA; - Sonic Solutions on a Nubus Mac&#xD;&#xA;   &#xD;&#xA; - Sonicfoundry Acid on a PC&#xD;&#xA;   &#xD;&#xA; - Emagic Logic for PC&#xD;&#xA;   &#xD;&#xA; - Digidesign Protools Mix v5 software&#xD;&#xA;&#xD;&#xA; - Digital Performer 4&#xD;&#xA;   &#xD;&#xA; - Avid Protools HD and v9 Software&#xD;&#xA;&#xD;&#xA;I think I might have tried to emulate my favourite features / workflow from each of these system over the years. Now I'm mainly working in Protools as my main DAW with other tools for creative and technical specialties. I'm really stuck on using soft samplers and synths as my main creative tools I really don;t use ProTools for much more than MIDI and mixing.&#xD;&#xA;&#xD;&#xA;**Features I liked :**&#xD;&#xA;&#xD;&#xA; - Live sample edit and send to K2000&#xD;&#xA; - Speed and ease of use with the SU-700 FX and sequencing&#xD;&#xA; - Chunks in DP&#xD;&#xA; - Unlinked play head and zoom in sonic solutions&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12987" PostHistoryTypeId="2" PostId="7665" RevisionGUID="ea8200be-2dde-4917-84c5-6f040f943ddc" CreationDate="2011-05-03T04:03:40.983" UserId="565" Text="Everything written in this thread is really great advice!  Let me give one additional piece of advice about layering from a re-recording mixers point of view.&#xD;&#xA;&#xD;&#xA;As Michael wrote in his original post, he has recorded a few static BG tracks from the original location that have certain elements in them that he likes.  Now being that these are from the original location they will really compliment the original production dialog track, but try to not rely on these tracks as the main bed for the scene though.  &#xD;&#xA;&#xD;&#xA;One of the tracks that Michael mentions has a great siren in it and could be one of the &quot;harsh/dangerous&quot; elements he's looking for.  Now this track may sound awesome in the edit suite, but once it gets onto the dub stage, for example, that siren may very well clash with the score.  You might be able to move the sync on the sound to get it out of the way, but more often then not, it tends to just get dropped.  &#xD;&#xA;&#xD;&#xA;This is where the layering is so important.  Once it has been decided that the siren needs to go, everything else that was in that track also disappears.  The night air, traffic, possible distant walla is gone.  This will leave a major hole in the soundtrack that needs to be refilled.  By layering in all of those elements that are present in the original track, you can rebuild the scene.  By having these tracks as well, can give you more options in placing them around in the speakers to really fill out the scene.&#xD;&#xA;&#xD;&#xA;Another situation where this can and does happen all the time, is after the main mix is done and you are mixing the M&amp;E.  This is where you find out that the sunny park scene in the domestic mix has discernible English present in it.  You find the track that has the English in it turns out to be not only the kids playing, but also the birds, traffic and wind.  Once that track is dropped the scene turns into a barren desolate landscape!  Hehehe&#xD;&#xA;This is when as the mixer you have to scramble to find something to put back into the scene.&#xD;&#xA;&#xD;&#xA;Now those are worse case scenarios, but they do come up from time to time.  It's nice to be able to have choices on the dub stage when it happens. Also remember the dub stage is a really expensive place to be re-editing tracks!  &#xD;&#xA;&#xD;&#xA;Just my 2 cents.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="12988" PostHistoryTypeId="6" PostId="7649" RevisionGUID="247a82ad-7941-452b-ae8d-6b39f3cc6f6a" CreationDate="2011-05-03T04:28:22.203" UserId="61" Comment="edited tags" Text="&lt;background&gt;&lt;ambiance&gt;&lt;sound-design&gt;&lt;field-recording&gt;&lt;emotion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="12989" PostHistoryTypeId="2" PostId="7666" RevisionGUID="02bed1cb-23f7-497b-8ac4-cc574dd84673" CreationDate="2011-05-03T04:43:58.450" UserId="817" Text="I started recording simple beats with keyboard riffs when I was 9 years old (1982) on an old cassette recorder. My cousin would create most of the beats with different sticks, books, and dumbell weights while I played the riffs with a toy keyboard that allowed for two octaves and three keys to be played at once. &#xD;&#xA;&#xD;&#xA;Years later, after not recording anything, I started working with two track 1/4 inch tape at WBAI in New York City. I learned to edit pretty well on tape. After a while I purchased my first setup: Sony DAT Man and a Fostex Model 20. Soon after I traded in the DAT Man for an HHB PDR 1000 (no timecode), and bumped up to Cubase VST (1997). &#xD;&#xA;&#xD;&#xA;I worked in radio some time later where I ran a Sony Vegas system for a few years. Very fast edit suite. I also ran an Akai hard disk edit system that was very smooth and reliable; I just don't remember the model number. Spent time with Cool Edit Pro and Acid, Reason, etc.&#xD;&#xA;&#xD;&#xA;I wound up moving into Pro Tools LE for a while, then went back to Steinberg when they released Nuendo Version 1. I currently run Nuendo in a small 5.1 setup at my home production suite, but I use Metacorder and a Sound Devices 744T when mixing dialogue for television and film. I also have Nuendo running on my location cart system for special situations.&#xD;&#xA;&#xD;&#xA;The love of spending more money on more gear!" ContentLicense="CC BY-SA 3.0" />
  <row Id="12990" PostHistoryTypeId="2" PostId="7667" RevisionGUID="351d0b66-c782-4335-9d61-0787f0928de2" CreationDate="2011-05-03T05:11:17.877" UserId="348" Text="I found in the past that endurance light weight lifting helped. Not the heavy bulk building exercises. Also, swimming and cross country ski machines are good as they help to build muscular endurance, especially on those long takes. As said above, the size and weight of the mic is also crucial.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="12991" PostHistoryTypeId="2" PostId="7668" RevisionGUID="3058eea8-1045-4662-a937-ca0f648e3750" CreationDate="2011-05-03T06:25:24.123" UserId="1031" Text="I usually work scene-by-scene.  Like some others who've posted already, I tend to be the one man sound editorial team.  If, while editing dialogue, I get an idea of a needed sfx or background, I take a note and mull it over as I finish cutting the dialogue.  This keeps me in the soup of the scene and the notes can simmer with the scene in my head while I work.  I then go back and tackle the notes I've taken in addition to any director notes.  I can't seem to move on until I've fleshed out those ideas.&#xD;&#xA;Working this way also helps keep the mountain of work manageable.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="12992" PostHistoryTypeId="2" PostId="7669" RevisionGUID="3a142b43-3303-4311-85d2-84aa61464ce4" CreationDate="2011-05-03T08:22:36.647" UserId="1031" Text="+1 on the WaveAgent from SoundDevices suggestion.  It holds a special place in my dock.&#xD;&#xA;&#xD;&#xA;Also, one that hasn't been mentioned is AudioMove from one of the myriad brilliant minds at LCS (now owned by the also brilliant minds at Meyer Sound).  It even works over a network.&#xD;&#xA;There's a clever little toggle switch in the upper right to split multi-track files.  &#xD;&#xA;https://public.msli.com/lcs/audiomove/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12993" PostHistoryTypeId="5" PostId="7669" RevisionGUID="cced8107-3eb7-4684-819e-f7b609af1eb8" CreationDate="2011-05-03T08:27:36.803" UserId="1031" Comment="added 77 characters in body" Text="+1 on the WaveAgent from SoundDevices suggestion.  It holds a special place in my dock.&#xD;&#xA;&#xD;&#xA;Also, one that hasn't been mentioned is AudioMove from one of the myriad brilliant minds at LCS (now owned by the also brilliant minds at Meyer Sound).  It even works over a network.&#xD;&#xA;There's a clever little toggle switch in the upper right to split multi-track files.  &#xD;&#xA;https://public.msli.com/lcs/audiomove/&#xD;&#xA;&#xD;&#xA;(edit) Forgot to mention that AudioMove does batch processing quite well." ContentLicense="CC BY-SA 3.0" />
  <row Id="12995" PostHistoryTypeId="2" PostId="7670" RevisionGUID="257d22f1-2ffe-40d4-888d-2cf2b84a9a59" CreationDate="2011-05-03T09:51:09.207" UserId="6462" Text="You could also give AudioGate a try. It's a piece of software from Korg and used to just be available for the MR series of recorders but is now free. It's actually very good for converting. Go to http://www.korguser.net/audiogate/" ContentLicense="CC BY-SA 3.0" />
  <row Id="12996" PostHistoryTypeId="2" PostId="7671" RevisionGUID="c865c496-5fee-4d40-a515-29eebdcbeae5" CreationDate="2011-05-03T10:15:57.100" UserId="1025" Text="Any subjective views ? =&gt; Panting, heavy breathing and heartbeats" ContentLicense="CC BY-SA 3.0" />
  <row Id="12997" PostHistoryTypeId="2" PostId="7672" RevisionGUID="193a045d-11ae-49bf-9720-d8508188aa71" CreationDate="2011-05-03T12:22:33.750" UserId="596" Text="i'm still quite disappointed with the rather archaic way of grouping tracks in logic. with grouping i mean the ability to collect a number of tracks into a group or a single track, and control all contained tracks at once, in order to keep in the arrangement window clean and tidy. i know of the Folders feature in logic, but i never really got used to working with it. i'm curious how do logic users here approach this issue? ... when using the Folders feature, is it even possible to assign an effect / process all tracks in the folder without creating an additional aux channel?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="12998" PostHistoryTypeId="1" PostId="7672" RevisionGUID="193a045d-11ae-49bf-9720-d8508188aa71" CreationDate="2011-05-03T12:22:33.750" UserId="596" Text="grouping tracks in Logic 9" ContentLicense="CC BY-SA 3.0" />
  <row Id="12999" PostHistoryTypeId="3" PostId="7672" RevisionGUID="193a045d-11ae-49bf-9720-d8508188aa71" CreationDate="2011-05-03T12:22:33.750" UserId="596" Text="&lt;logic&gt;&lt;group&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13000" PostHistoryTypeId="2" PostId="7673" RevisionGUID="9a72b8d4-47d2-4089-993b-c75803bdcfe9" CreationDate="2011-05-03T12:33:41.233" UserId="6420" Text="Might be worth trying to play with some tonal BG sounds is possible too to manipulate them in a way to make them sound a bit dissonant/oppressive. Things like aircon and perhaps other broadband type sounds. &#xD;&#xA;&#xD;&#xA;I was coming back from a weekend away just gone and stopped at a multi-storey car park. There were some big air-con/filtering units going off in the background and they had this tone to them which reminded me of a large swarm of bees. I whipped out my hand-held recorder (much to my girlfriends bemusement lol) and recorded a short sample. Not as long as I'd have hoped though :/ It had a pretty ominous vibe to it! I could have imagined that working quite well as a bed underneath other sounds of bees etc. Not that I expect your scene has a bee swarm in it though! lol&#xD;&#xA;&#xD;&#xA;Annoyingly though, I'm currently without internet access at home so can't upload anything but will do when I finally get connected again... &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13001" PostHistoryTypeId="2" PostId="7674" RevisionGUID="bf9079c8-2393-498d-afd1-aef6306f055f" CreationDate="2011-05-03T12:46:42.930" UserId="904" Text="Hi Luca! -- yes, that's me. &#xD;&#xA;&#xD;&#xA;Here are two free standalone applications for Win/OSX that you can use to explore granular and pulsar synthesis. Max4Live versions are also available: [link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.densitygs.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13002" PostHistoryTypeId="2" PostId="7675" RevisionGUID="ef0ead3a-55cf-4fd4-8c93-b6e4c95b3087" CreationDate="2011-05-03T13:24:13.433" UserId="1032" Text="How do you mean, archaic way of grouping tracks? PT and other DAW-s has the same feature set also as Logic.&#xD;&#xA;As far as I know, folder tracks, only offers better grouping and handling of tracks, and house cleaning work, and also recording workflow and group editing features, but no inserts for them without addition aux bus-es. &#xD;&#xA;There is a great tutorial on MacProVideo with folder workflow, from SFLogicNinja:&#xD;&#xA;http://www.macprovideo.com/tutorial/logic407&#xD;&#xA;&#xD;&#xA;My workflow for grouping, contains submixes of instrument groups, or audio tracks grouping. And If I need automation on Aux buses, I simply creata an Arrangement track to those buses, and working with them as audio tracks as far as inserts, sends and automation. If fx printing needed to those busses, simply recording them to an audio track.&#xD;&#xA;Additionally, you can hide audio tracks for the group, if the space and clean arrangement is needed, and create arrangement track for the group as I mentioned earlier." ContentLicense="CC BY-SA 3.0" />
  <row Id="13003" PostHistoryTypeId="2" PostId="7676" RevisionGUID="34dd786c-1307-401b-9be8-af6aeea8b3fd" CreationDate="2011-05-03T17:11:21.517" UserId="18160" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;Today I'm looking to find the best possible wind protection for a lav mic. Something that does a great job, yet also sounds good in the bargain. I know, a catch 22, right?&#xD;&#xA;&#xD;&#xA;So I was thinking about it, and a question came blowing into my mind: what's the best possible position for the mic while still keeping great tonality on someone?&#xD;&#xA;&#xD;&#xA;I mean, when I have worked on several plays at a theater and miked the actors up with the lav in the dead center of their chest, it worked HORRIBLY because whenever you say a word with an S, the air is directed straight down to your chest. Try it. Put your hand under your chin and  say &quot;Sally&quot;, and you feel a ton of air just gushing down towards that poor diaphragm.&#xD;&#xA;&#xD;&#xA;So, obviously that's not the most ideal spot for a lav. Okay, so do you put it on the shoulder? How far do you place it to the left or right?&#xD;&#xA;&#xD;&#xA;What is the best possible wind protection (while still sounding great) for a lav mic to ensure there are no pops or wind?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13004" PostHistoryTypeId="1" PostId="7676" RevisionGUID="34dd786c-1307-401b-9be8-af6aeea8b3fd" CreationDate="2011-05-03T17:11:21.517" UserId="18160" Text="Wind protection for a Lav" ContentLicense="CC BY-SA 3.0" />
  <row Id="13005" PostHistoryTypeId="3" PostId="7676" RevisionGUID="34dd786c-1307-401b-9be8-af6aeea8b3fd" CreationDate="2011-05-03T17:11:21.517" UserId="18160" Text="&lt;lavalier&gt;&lt;microphone&gt;&lt;wind&gt;&lt;protection&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13006" PostHistoryTypeId="2" PostId="7677" RevisionGUID="59778957-95d4-4d9e-be13-b2e2b86c7994" CreationDate="2011-05-03T17:41:07.210" UserId="6499" Text="I appreciate all the feedback, it has given me a lot to think about and experiment with.  If I only had more time to do everything!  Ill try and do some SC links of things once I get out of dialogue editing phase and get a chance to play some more with the Bgs. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13007" PostHistoryTypeId="2" PostId="7678" RevisionGUID="70d28f4d-596c-48b1-84b9-f84cd76bf229" CreationDate="2011-05-03T19:13:36.017" UserId="845" Text="Not technically a sound question, but I figure if I tag it as &quot;facilitating creativity&quot; or &quot;location recording documentation&quot; or somesuch I should be able to get away with it, yes?&#xD;&#xA;&#xD;&#xA;Here goes:&#xD;&#xA;&#xD;&#xA;In spite of the fact that I am (shudder) an iPhone owner, I still like to carry a journal around for longer-form writing sessions and diagram drawings.  For years and years I've used the in/famous Moleskine pocket friendly notebook.  Frankly, I'm tired of it.  I'm tired of getting that *oh, so you're a &quot;writer&quot;* look from people when I pull it out to jot down an idea.  And, yes, there's the fact that they've become oh so fashionable over the last 5 years.  And, yes, I am vain enough to be strongly affected by that.&#xD;&#xA;&#xD;&#xA;Plus, the combination of having both terrible handwriting and large hands makes them excruciatingly frustrating to write in when standing on the subway or in the back of a table-less venue. &#xD;&#xA;&#xD;&#xA;I want something hardcover in lined 8 1/2 x 11 that'll be able to endure permanent residence in my bag. It'd also be nice to be able to put it down on surfaces without having to worry so much about there being a drop or two of beer/water to smudge all of my precious squiggles.  &#xD;&#xA;&#xD;&#xA;So, my question is... Do you guys have any particular kinds/brands/styles of notebooks that you prefer to use?  Do you just go to staples or wherever and grab one of those 900 page ring-bound behemoths that last for years and years and years?  If not/so, why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13008" PostHistoryTypeId="1" PostId="7678" RevisionGUID="70d28f4d-596c-48b1-84b9-f84cd76bf229" CreationDate="2011-05-03T19:13:36.017" UserId="845" Text="Sick of the Moleskine" ContentLicense="CC BY-SA 3.0" />
  <row Id="13009" PostHistoryTypeId="3" PostId="7678" RevisionGUID="70d28f4d-596c-48b1-84b9-f84cd76bf229" CreationDate="2011-05-03T19:13:36.017" UserId="845" Text="&lt;creative-spaces&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13010" PostHistoryTypeId="2" PostId="7679" RevisionGUID="b9231d95-b071-4a11-9713-69b18bc43e88" CreationDate="2011-05-03T19:27:29.990" UserId="18160" Text="How about getting an iPad and using a smaller 4x3 notepad for the things you HAVE to write?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13011" PostHistoryTypeId="2" PostId="7680" RevisionGUID="75ad3284-a6f9-4484-9f34-2a17cea7a202" CreationDate="2011-05-03T19:27:51.473" UserId="845" Text="As far as I understand, for stage use they're generally skin-tone and hidden in the hair/wig.&#xD;&#xA;&#xD;&#xA;Personally, I despise the centre-chest placement.  I think it sounds poopy and gets soooooo much clothing rustle, even with those snazzy rubber protector things that the fancy guys use.&#xD;&#xA;&#xD;&#xA;Head/hair placement gets it away from all of that, and I would think might be easier to deal with if you have costume changes between scenes.  Plus, you don't have to get all grabby with members of the female persuasion, which I'm sure they'd appreciate." ContentLicense="CC BY-SA 3.0" />
  <row Id="13012" PostHistoryTypeId="2" PostId="7681" RevisionGUID="855e208f-a791-4f23-903a-356ea57b6e2b" CreationDate="2011-05-03T20:09:02.763" UserDisplayName="user49" Text="You sure they aren't looking at your microphones &amp; recorder rather than an inconsequential notebook? I can't imagine people looking at someone who is obviously a sound recordist, seeing the moleskin &amp; thinking 'hes a writer.... quick give him the look!'&#xD;&#xA;&#xD;&#xA;But maybe one of those grid lined books is the answer, then when they see you they can give you the 'he's a physicist/mathematician/outsider artist' look instead ;)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13013" PostHistoryTypeId="2" PostId="7682" RevisionGUID="b832929d-f914-47aa-ba33-d0b4eef55956" CreationDate="2011-05-03T20:23:32.360" UserId="1035" Text="I think the best solution is for you to become an actual writer. Then it won't bother you anymore. When they give you the &quot;oh, so you're a 'writer'&quot; look you can confidently respond &quot;Yes. Yes I am.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13014" PostHistoryTypeId="2" PostId="7683" RevisionGUID="20307eff-ffff-46f3-bb9a-07afa134532a" CreationDate="2011-05-03T21:48:17.733" UserId="6411" Text="While I'm a fan of my moleskine because it's small and gets the job done, I'm also a fan of the composition book. Particularly graph-lined composition books.&#xD;&#xA;&#xD;&#xA;[This one][1] seems pretty cool because each page is half quadrille and half college rule so you've got your mapping, sketching, doodle area plus the dedicated area for notes.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.teacherdirect.com/cgi-bin/sgin0108.exe?UID=5216030820295671&amp;T1=09000+MEA&amp;FNM=00&amp;UREQA=N&amp;GEN1=&amp;GEN0=" ContentLicense="CC BY-SA 3.0" />
  <row Id="13015" PostHistoryTypeId="2" PostId="7684" RevisionGUID="022d4910-8906-4c86-9d24-e117540a7c70" CreationDate="2011-05-03T22:28:18.087" UserId="517" Text="Many lavs have mesh caps that should help diffuse any air the actor pushes its way.&#xD;&#xA;&#xD;&#xA;For actual wind buffeting (as opposed to spoken word air), Rycote makes a product called Overcovers. Basically it's like a windjammer for lavs. Koala also makes one, but I think it's less disposable than the Rycote ones. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13016" PostHistoryTypeId="2" PostId="7685" RevisionGUID="df4ba3d9-419f-4585-a6ea-f5b619b5b7dd" CreationDate="2011-05-03T22:35:37.120" UserId="238" Text="I'm a fan of [Black n Red][1]. They all have hard covers which offer both protection and a useful hard flat surface and they'll definitely protect your notes from the odd beer spillage. Maybe a bit too corporate for some peoples liking (actually I discovered them when I worked in the financial industry in London) but in terms of practicality I think they're right up there.&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.blacknred.com/&#xD;&#xA;  [2]: http://image1.euroffice.co.uk/image/Oxford-Black-n-Red-Book-Wirebound-90gsm-A4---Pack-5---B67004-B67004-h0.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="13017" PostHistoryTypeId="2" PostId="7686" RevisionGUID="3fb3c1b0-6275-4a3c-9915-26ae91f9bc4f" CreationDate="2011-05-03T23:19:40.870" UserId="393" Text="I swear by those black and white &quot;GhostWriter&quot; (from the PBS TV show) notebooks... you can pick them up virtually anywhere (I've picked up more than a few at gas stations).&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://coloradoartstudio.com/wp-content/uploads/2008/09/cover.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="13018" PostHistoryTypeId="2" PostId="7687" RevisionGUID="ca0d61e1-da37-4ebd-bc67-ddd43ba09849" CreationDate="2011-05-04T00:25:24.100" UserId="29" Text="[Canson-brand sketchbooks][1]. Can't stand lines, begrudgingly accept grids, hate spiral bindings that get crushed in bags. Hardcover, heavy paper, burly, traditionally bound, great tooth to the paper. Been sketching in them (and Moleskines) for 20 years and they're solid. But heavy.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.com/search?aq=0&amp;oq=canson+sketc&amp;sourceid=chrome&amp;ie=UTF-8&amp;q=canson+sketchbook#q=canson+sketchbook&amp;hl=en&amp;safe=active&amp;prmd=ivns&amp;source=lnms&amp;tbm=shop&amp;ei=YJzATcbQBKTmiAKokYGZAw&amp;sa=X&amp;oi=mode_link&amp;ct=mode&amp;cd=5&amp;ved=0CDAQ_AUoBA&amp;bav=on.2,or.r_gc.r_pw.&amp;fp=8687a3ca9331bf41&amp;biw=1159&amp;bih=675" ContentLicense="CC BY-SA 3.0" />
  <row Id="13019" PostHistoryTypeId="2" PostId="7688" RevisionGUID="40190cf7-37fd-44ee-969e-41f71b77fcb4" CreationDate="2011-05-04T02:59:31.347" UserId="565" Text="This discussion reminds me of a joke that a production sound mixer told me once:&#xD;&#xA;&#xD;&#xA;A movie crew sets up for a few days in a small town, and encourages the locals to come down to set to be backround extras.  Three young ladies from the town see this as an opportunity to find their knights in shining armor to take them from the small town to Hollywood.&#xD;&#xA;&#xD;&#xA;After being on set for a few hours, the girls talk to each other to see which of the crew they want to get to &quot;know better&quot;.  The first of the three says &quot;I think I want to have the director be my guy. He'll put me in the movie and give me some great lines and I'll be a star!&quot;  The second girl pipes up and says &quot;I'm going after the DoP.  When I'm in a scene he'll go out of his way to make sure that I'm lit correctly and make me look better then the lead actress!&quot;&#xD;&#xA;The third girl looks at the other two and says &quot;You two are crazy, I'm going with the sound guy!&quot;  Now the other two girls look perplexed and after a few moments the ask her in unison, &quot;Why the sound guy????&quot;  The third girl replies, &quot;Haven't you two been paying attention all today?  It doesn't matter what is going on, all everyone keeps yelling is 'SCREW SOUND!&quot;&#xD;&#xA;&#xD;&#xA;/rimshot&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13020" PostHistoryTypeId="2" PostId="7689" RevisionGUID="8b000879-f357-4549-9ce7-874299d5a4b0" CreationDate="2011-05-04T05:54:46.923" UserId="348" Text="For film, I try to mount it under a collar secured with medical tape. I have also used those roles of stretchy ankle wraps around a persons chest and mounted the mic there and it worked very nicely. But that was when they were wearing only a single layer of clothing. I have found, interestingly enough, toilet paper wrapped around the mic with only the top showing under the central button column of a shirt works pretty good. I always put a screen on to prevent wind pops from those hard p's, t's and s's. Under a tie is good when the character is wearing one but I find that it is a little close for film. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13021" PostHistoryTypeId="2" PostId="7690" RevisionGUID="aaf870a5-a6aa-474a-8da2-f07a699917c4" CreationDate="2011-05-04T10:31:13.863" UserId="63" Text="I found this upcoming recorder with 1080p video recording as well. I saw the specs and everything seems like the older Olympus recorder, but unfortunately i did not have the luck to test it. &#xD;&#xA;&#xD;&#xA;Anyone got any comments on the older one to share? &#xD;&#xA;&#xD;&#xA;I found the press release here:&#xD;&#xA;&#xD;&#xA;http://www.engadget.com/2011/05/03/olympus-ls-20m-boasts-dual-mics-and-1080p-recording-split-pers/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13022" PostHistoryTypeId="1" PostId="7690" RevisionGUID="aaf870a5-a6aa-474a-8da2-f07a699917c4" CreationDate="2011-05-04T10:31:13.863" UserId="63" Text="Olympus' LS-20M you think might be worth the money?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13023" PostHistoryTypeId="3" PostId="7690" RevisionGUID="aaf870a5-a6aa-474a-8da2-f07a699917c4" CreationDate="2011-05-04T10:31:13.863" UserId="63" Text="&lt;recorder&gt;&lt;portable-recorder&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13024" PostHistoryTypeId="2" PostId="7691" RevisionGUID="d821210e-9317-4748-a666-85a935b61252" CreationDate="2011-05-04T11:33:52.410" UserId="1037" Text="Hi! My first question here!&#xD;&#xA;I was wondering if anybody got any good tips on creating frozen bodyparts that gets riped apart?&#xD;&#xA;&#xD;&#xA;Example:&#xD;&#xA;A mans hand gets frozen so badly that it's practically ice and another man shakes his hand, the hand gets stuck on the frozen mans hand and the other man tries to get his hand out and ends up ripping the frozen mans hand with him! (Maybe not the best example but it involves what i'm looking for)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13025" PostHistoryTypeId="1" PostId="7691" RevisionGUID="d821210e-9317-4748-a666-85a935b61252" CreationDate="2011-05-04T11:33:52.410" UserId="1037" Text="Tips on creating &quot;frozen bodypart riped apart&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13026" PostHistoryTypeId="3" PostId="7691" RevisionGUID="d821210e-9317-4748-a666-85a935b61252" CreationDate="2011-05-04T11:33:52.410" UserId="1037" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13027" PostHistoryTypeId="2" PostId="7692" RevisionGUID="c2c8dd39-5823-4fcf-a50c-cb0ce221c8d7" CreationDate="2011-05-04T11:55:22.437" UserId="37" Text="buy chicken, put in freezer, wait a few hours, take out, press record... there's a starting point?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13028" PostHistoryTypeId="2" PostId="7693" RevisionGUID="724d5f1a-ad3a-4201-86ad-412dfe363f56" CreationDate="2011-05-04T12:10:46.203" UserId="6420" Text="+1 above..&#xD;&#xA;&#xD;&#xA;Maybe also try something with Cauliflower or cabbage too? Try cutting about 1/3 the way through and then get your fingers in to rip it apart in one quick motion. Try freezing that for a while first too." ContentLicense="CC BY-SA 3.0" />
  <row Id="13029" PostHistoryTypeId="2" PostId="7694" RevisionGUID="33075870-d449-4892-b88c-534c08583ebd" CreationDate="2011-05-04T12:54:09.613" UserId="142" Text="I have been very pleased with my LS11. For the price it is a great little device and have got some good recordings with the built on mics. I also use with a pair of lav mics in the plug in power for ambience recording. I would say the only letdown for many would be the lack of XLR inputs but for me I wanted something pocket size and this fitted the bill as I find many of the zooms etc so chunky that once you are taking microphones out to use with them I might as well bring my higher end recorder out." ContentLicense="CC BY-SA 3.0" />
  <row Id="13030" PostHistoryTypeId="2" PostId="7695" RevisionGUID="b7e3d11e-ed9a-4090-8e76-a60a509a6015" CreationDate="2011-05-04T13:09:32.783" UserId="393" Text="Soak paper towels and freeze them, then pull them apart -- individually, and in stacks -- until it stops sounding good (this may happen immediately.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13031" PostHistoryTypeId="2" PostId="7696" RevisionGUID="c0c434c9-2a8c-45ac-9c24-9f9cbc0ca698" CreationDate="2011-05-04T13:54:15.723" UserId="565" Text="My initial reaction to that is COOL, I WANT ONE!  But then I realized that you can't put any type of wind screen on it without covering up the camera.  It's still pretty cool though." ContentLicense="CC BY-SA 3.0" />
  <row Id="13032" PostHistoryTypeId="16" PostId="7696" RevisionGUID="c0c434c9-2a8c-45ac-9c24-9f9cbc0ca698" CreationDate="2011-05-04T13:54:15.723" UserId="565" />
  <row Id="13033" PostHistoryTypeId="2" PostId="7697" RevisionGUID="cb0dab5b-9ed6-4e3e-a9ef-d8ed88f5e78b" CreationDate="2011-05-04T16:33:33.920" UserId="18160" Text="I'd get a snowcone or shave-ice (fine shave ice, not the crushed ice from the refrige) and play around with it as a sweetener to the great suggestions above." ContentLicense="CC BY-SA 3.0" />
  <row Id="13034" PostHistoryTypeId="5" PostId="7695" RevisionGUID="2d60260f-8e46-47d8-8ff1-55a8ac5a4b48" CreationDate="2011-05-04T16:43:59.563" UserId="393" Comment="Added some stuff..." Text="Soak paper towels and freeze them, then pull them apart -- individually, and in stacks -- until it stops sounding good (this may happen immediately.)&#xD;&#xA;&#xD;&#xA;Add some gooey wet noodles or tearing fruit sounds, as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="13035" PostHistoryTypeId="5" PostId="7697" RevisionGUID="c77ebe9d-8eac-4619-936e-650d9b4d87c5" CreationDate="2011-05-04T16:44:06.773" UserId="18160" Comment="added 214 characters in body" Text="I'd get a snowcone or shave-ice (fine shave ice, not the crushed ice from the refrige) and play around with it as a sweetener to the great suggestions above.&#xD;&#xA;&#xD;&#xA;The specific sound I'm thinking of is when you bite off a popsicle and that shaven, bristling, splintering sound of ice you hear in your mouth - this could be a good detail to add in.&#xD;&#xA;&#xD;&#xA;It's all about details." ContentLicense="CC BY-SA 3.0" />
  <row Id="13036" PostHistoryTypeId="5" PostId="7697" RevisionGUID="302a1c09-cd44-47ff-9832-0c4614a266bd" CreationDate="2011-05-04T16:52:05.637" UserId="18160" Comment="added 136 characters in body; added 109 characters in body" Text="I'd get a snowcone or shave-ice (fine shave ice, not the crushed ice from the refrige) and play around with it as a sweetener to the great suggestions above.&#xD;&#xA;&#xD;&#xA;The specific sound I'm thinking of is when you bite off a popsicle and that shaven, bristling, splintering sound of ice you hear in your mouth - this could be a good detail to add in.&#xD;&#xA;&#xD;&#xA;It's all about details.&#xD;&#xA;&#xD;&#xA;P.S. If you don't have access to shave ice, freezing a watermelon may work, or freezing a 1-liter bottle of soda (coke, pepsi, etc.)&#xD;&#xA;&#xD;&#xA;Above all, take proper precaution not to get all of our great messy frozen suggestions on the microphone!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13037" PostHistoryTypeId="2" PostId="7698" RevisionGUID="ff7a92f7-ebf5-4d6b-aa18-79994af1be27" CreationDate="2011-05-04T17:23:46.717" UserId="558" Text="I am always looking to add tunes to my 'faves' playlist (a playlist strictly limited to songs that rate 9 or 10/10).  I'm not talking about hipster 'no one's ever heard of this before' stuff.  Just solid, well played, well made music from any genre or time period.&#xD;&#xA;&#xD;&#xA;My best sources are:&#xD;&#xA;&#xD;&#xA;Friends recommendations&#xD;&#xA;Pandora&#xD;&#xA;KCRW&#xD;&#xA;WFMU&#xD;&#xA;&#xD;&#xA;any hidden stations/services/anythings?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13038" PostHistoryTypeId="1" PostId="7698" RevisionGUID="ff7a92f7-ebf5-4d6b-aa18-79994af1be27" CreationDate="2011-05-04T17:23:46.717" UserId="558" Text="What are your sources for new/unknown music? - Not exactly sound design but..." ContentLicense="CC BY-SA 3.0" />
  <row Id="13039" PostHistoryTypeId="3" PostId="7698" RevisionGUID="ff7a92f7-ebf5-4d6b-aa18-79994af1be27" CreationDate="2011-05-04T17:23:46.717" UserId="558" Text="&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13040" PostHistoryTypeId="2" PostId="7699" RevisionGUID="53b2c265-78c0-4ee4-86fb-b84f777566d0" CreationDate="2011-05-04T17:41:08.347" UserDisplayName="user49" Text="Sounds like a perfect excuse for some dry ice experiments, buy a chilli bin full" ContentLicense="CC BY-SA 3.0" />
  <row Id="13041" PostHistoryTypeId="2" PostId="7700" RevisionGUID="8bb3bc30-16c5-4f19-a862-e9f556ec35d7" CreationDate="2011-05-04T17:49:37.210" UserId="845" Text="Living in Canada I can't get Pandora, so I use [Last.fm][1]'s Similar Artists.  It's works out pretty well most of the time.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.last.fm" ContentLicense="CC BY-SA 3.0" />
  <row Id="13043" PostHistoryTypeId="2" PostId="7702" RevisionGUID="237a966f-79e3-4a33-abf8-e352601863a5" CreationDate="2011-05-04T18:34:29.017" UserDisplayName="user49" Text="For me its usually via people/DJs whos taste or genres I like eg Giles Peterson Worldwide show on BBC (download at alldj.com) or Stinky Jim on BFM - they find the gems, and publish tracklists for their shows so its then easy enough to find &amp; get more music from the artists that appeal..." ContentLicense="CC BY-SA 3.0" />
  <row Id="13046" PostHistoryTypeId="2" PostId="7704" RevisionGUID="539d2291-ccee-490e-9068-58fd8a2c1815" CreationDate="2011-05-04T19:37:41.917" UserId="238" Text="Check out [Radio Nova][1]. They've been broadcasting out of Paris since 1981 and always play a nice eclectic mix. It's a good way to discover new music. [Ledjam Radio][2] is another very good website-based radio station, though unlike Radio Nova they don't have a feed that plays through iTunes so you have to listen through the browser. But it's a cool station with lots of good old and new tunes. I also use Spotify a lot and often discover new music by browsing through other peoples' playlists. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.novaplanet.com/&#xD;&#xA;  [2]: http://www.ledjamradio.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13048" PostHistoryTypeId="2" PostId="7706" RevisionGUID="454e30c6-29e6-423b-8529-a1d478fb86dd" CreationDate="2011-05-04T20:29:53.883" UserId="1038" Text="There's nothing like a well-curated radio show.  Plus, it seems like every radio station on the planet is online now.  Some places I go for things I never knew I never knew:&#xD;&#xA;&#xD;&#xA;WKCR (wkcr.org) - Phil Schaap is a walking, talking jazz-cyclopedia.&#xD;&#xA;&#xD;&#xA;WFMU (wfmu.org), [Beware the Blog][3], and the [Free Music Archive][4]&#xD;&#xA;&#xD;&#xA;WFUV (wfuv.org)&#xD;&#xA;&#xD;&#xA;[East Village Radio][6]&#xD;&#xA;&#xD;&#xA;Even though the free service is crammed with ads, I like searching [Grooveshark][7] for keywords.  Like, how about every song ever made about [socks][8].  &quot;Oh yeah, I haven't listened to King Missile in forever!&quot;  This can last days...&#xD;&#xA;&#xD;&#xA;-david&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wkcr.org&#xD;&#xA;  [2]: http://wfmu.org/&#xD;&#xA;  [3]: http://blog.wfmu.org/&#xD;&#xA;  [4]: http://freemusicarchive.org/&#xD;&#xA;  [5]: http://www.wfuv.org/&#xD;&#xA;  [6]: http://www.eastvillageradio.com/&#xD;&#xA;  [7]: http://www.grooveshark.com&#xD;&#xA;  [8]: http://grooveshark.com/#/search?q=socks" ContentLicense="CC BY-SA 3.0" />
  <row Id="13050" PostHistoryTypeId="2" PostId="7707" RevisionGUID="a1bb0bfb-9c6a-4bb5-a3b4-28f30c02bcb3" CreationDate="2011-05-04T20:45:32.897" UserId="18160" Text="Have you tried Ping? Might be a good way to find artists on there... I don't use it myself, but it might be worth checking out." ContentLicense="CC BY-SA 3.0" />
  <row Id="13051" PostHistoryTypeId="2" PostId="7708" RevisionGUID="51db62b0-114c-44d2-9822-81847f3f971d" CreationDate="2011-05-04T21:38:36.867" UserId="178" Text="Just buy all the TV On The Radio albums and you should be all set for a while :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13052" PostHistoryTypeId="2" PostId="7709" RevisionGUID="61ee258f-0d3d-477c-a781-62d3d4f0a0dd" CreationDate="2011-05-04T22:42:24.213" UserId="693" Text="- Contact Mic (and regular) recordings of packing tape being peeled off of glass (commonly used for creating lightning ripples).&#xD;&#xA;&#xD;&#xA;- Also tearing a cardboard box slowly might work as well.&#xD;&#xA;&#xD;&#xA;- Crumbling cellophane slowly.&#xD;&#xA;&#xD;&#xA;Those might do the trick or at least be a nice thing to layer in. Maybe a bit of choice timestretching and other types of post processing, especially some careful eq filtering to give the sound motion. I've used all the above sounds once when I wanted sort of a glacier splitting type sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="13053" PostHistoryTypeId="5" PostId="7709" RevisionGUID="caa90d51-61c5-493e-8031-aa58cb264fd6" CreationDate="2011-05-04T23:41:21.370" UserId="693" Comment="Clarified some info." Text="- Contact Mic (and regular) recordings of packing tape being peeled off of glass (commonly used for creating lightning ripples).&#xD;&#xA;&#xD;&#xA;- Also tearing a cardboard box slowly might work as well.&#xD;&#xA;&#xD;&#xA;- Crumbling cellophane slowly. *Both hard and soft cellophane ie: cigarette wrapper vs saran wrap&#xD;&#xA;&#xD;&#xA;Those might do the trick or at least be a nice thing to layer in. Maybe a bit of choice timestretching and other types of post processing, especially some careful eq filtering to give the sound motion. I've used all the above sounds once when I wanted sort of a glacier splitting type sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="13055" PostHistoryTypeId="2" PostId="7711" RevisionGUID="afef07e2-b39d-4b16-bc83-9ce7bd55ad7a" CreationDate="2011-05-05T02:08:11.403" UserId="132" Text="I'm a big fan of Rhodia pads. I used to be a moelskine guy but I switched to Rhodia when I kept wanting to tear pages out.  I used the grid based pads.  http://www.rhodiapads.com/rhodia_pad.shtml" ContentLicense="CC BY-SA 3.0" />
  <row Id="13056" PostHistoryTypeId="2" PostId="7712" RevisionGUID="cf46ad97-3d50-4696-8b8e-ddcbd41b7373" CreationDate="2011-05-05T02:16:14.897" UserId="88" Text="http://www.thesixtyone.com/ can be pretty good." ContentLicense="CC BY-SA 3.0" />
  <row Id="13057" PostHistoryTypeId="2" PostId="7713" RevisionGUID="a4a80c73-9894-49e6-86a1-08be70ead963" CreationDate="2011-05-05T02:18:32.713" UserId="132" Text="Aquarius Records in SF has a great weekly email and they always provide samples to playback on their website: http://www.aquariusrecords.org/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13058" PostHistoryTypeId="2" PostId="7714" RevisionGUID="3e5a14e3-3276-42ea-9612-4ec50d4fffcd" CreationDate="2011-05-05T05:46:06.223" UserId="1039" Text="I am a Novice Sound Designer and would like to do field recording to build my own personal library of sounds.  I am looking for some advise on which recording equipment and microphones I should purchase to get me started?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13059" PostHistoryTypeId="1" PostId="7714" RevisionGUID="3e5a14e3-3276-42ea-9612-4ec50d4fffcd" CreationDate="2011-05-05T05:46:06.223" UserId="1039" Text="Field Recording Equipment " ContentLicense="CC BY-SA 3.0" />
  <row Id="13060" PostHistoryTypeId="3" PostId="7714" RevisionGUID="3e5a14e3-3276-42ea-9612-4ec50d4fffcd" CreationDate="2011-05-05T05:46:06.223" UserId="1039" Text="&lt;recording&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13061" PostHistoryTypeId="2" PostId="7715" RevisionGUID="78c9fae3-dfca-462d-a238-30742645ff85" CreationDate="2011-05-05T05:48:01.077" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am interested in finding out peoples experiences with using rechargeable batteries in radio mics. In the past, I have always used fresh Duracell's with back-up's simply because I didn't want to find myself without full power. Now, with all these new rechargeables on the market, has anyone any experience with them in the case of radio's and what sort of life do they have on a day to day set. We have Sennheiser ew100 G3 and the sk 100 G3 series. &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13062" PostHistoryTypeId="1" PostId="7715" RevisionGUID="78c9fae3-dfca-462d-a238-30742645ff85" CreationDate="2011-05-05T05:48:01.077" UserId="348" Text="Rechargable Batteries for Radio mics" ContentLicense="CC BY-SA 3.0" />
  <row Id="13063" PostHistoryTypeId="3" PostId="7715" RevisionGUID="78c9fae3-dfca-462d-a238-30742645ff85" CreationDate="2011-05-05T05:48:01.077" UserId="348" Text="&lt;rechargable&gt;&lt;radio&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13064" PostHistoryTypeId="2" PostId="7716" RevisionGUID="675acaeb-715f-43bb-94e4-5c8cefedca96" CreationDate="2011-05-05T06:09:34.603" UserId="418" Text="Freezer-burned meat is great for this. It tears more easily, makes more sound, but still sounds like meat. A thin piece of cheap chuck steak should sound work nicely. You can get a bunch of takes from one good size steak, then layer them up and mix and match them together for more sounds/body parts. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13065" PostHistoryTypeId="2" PostId="7717" RevisionGUID="327757b7-b60a-40a9-b12e-f01873bb08a1" CreationDate="2011-05-05T08:02:39.813" UserDisplayName="user80" Text="Layer a rip of velcro, paper, cardboard and cloth in sync so that it sounds like a single source, pitch shift down the cardboard and then add a layered bone crack (celery, carrot or chicken) to taste." ContentLicense="CC BY-SA 3.0" />
  <row Id="13066" PostHistoryTypeId="5" PostId="7691" RevisionGUID="beb19f83-1a8e-4670-ab16-7ba2f326f50e" CreationDate="2011-05-05T09:28:09.063" UserDisplayName="user80" Comment="spelling corrections" Text="Hi! My first question here!&#xD;&#xA;&#xD;&#xA;I was wondering if anybody has any good tips for creating frozen bodyparts that gets ripped apart?&#xD;&#xA;&#xD;&#xA;Example:&#xD;&#xA;A man's hand gets frozen so badly that it's practically ice and another man shakes his hand, the hand gets stuck on the frozen mans hand and the other man tries to get his hand out and ends up ripping the frozen man's hand with him! (Maybe not the best example but it involves what I'm looking for)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13067" PostHistoryTypeId="4" PostId="7691" RevisionGUID="beb19f83-1a8e-4670-ab16-7ba2f326f50e" CreationDate="2011-05-05T09:28:09.063" UserDisplayName="user80" Comment="spelling corrections" Text="Tips on creating &quot;frozen bodypart ripped apart&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13069" PostHistoryTypeId="2" PostId="7718" RevisionGUID="4695f024-20a2-4cd4-b8f7-b906cb20b74e" CreationDate="2011-05-05T12:27:53.277" UserDisplayName="user6513" Text="Some fun for those of you who are bored.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=yT5LOtQSSn8&amp;feature=youtu.be&#xD;&#xA;&#xD;&#xA;&lt;iframe width=&quot;425&quot; height=&quot;349&quot; src=&quot;http://www.youtube.com/embed/yT5LOtQSSn8&quot; frameborder=&quot;0&quot; allowfullscreen&gt;&lt;/iframe&gt;&#xD;&#xA;&#xD;&#xA;They claim that the recording is live and no effects were added in. I'm not convinced. What do you guys think? Is this all the room, or has it been mixed?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13070" PostHistoryTypeId="1" PostId="7718" RevisionGUID="4695f024-20a2-4cd4-b8f7-b906cb20b74e" CreationDate="2011-05-05T12:27:53.277" UserDisplayName="user6513" Text="Listening Test on Reverb" ContentLicense="CC BY-SA 3.0" />
  <row Id="13071" PostHistoryTypeId="3" PostId="7718" RevisionGUID="4695f024-20a2-4cd4-b8f7-b906cb20b74e" CreationDate="2011-05-05T12:27:53.277" UserDisplayName="user6513" Text="&lt;youtube&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13072" PostHistoryTypeId="2" PostId="7719" RevisionGUID="e26037b3-a92c-40d8-8829-06ceda4bf47f" CreationDate="2011-05-05T12:59:16.837" UserId="990" Text="NiMh batteries will last the whole day or even more." ContentLicense="CC BY-SA 3.0" />
  <row Id="13073" PostHistoryTypeId="2" PostId="7720" RevisionGUID="b4c30691-9277-453b-bbd7-0d79367cd02d" CreationDate="2011-05-05T13:14:03.587" UserId="845" Text="A room like that (what I assume to be a bedroom of some description) simply isn't big enough to have a tail that long.  Even bare walls like that would only give a tight flutter, something akin to a slap-back delay but limited to 1-2k and up.  Ugly.&#xD;&#xA;&#xD;&#xA;Judging by the balance between voice/verb it has to have been added, from that kind of perspective the room would have to be... um... very large." ContentLicense="CC BY-SA 3.0" />
  <row Id="13074" PostHistoryTypeId="2" PostId="7721" RevisionGUID="392cbcf7-083d-4033-9c44-f43357168628" CreationDate="2011-05-05T13:15:44.373" UserId="37" Text="listen to the voice at 2:40 then forward to 3:08, just before the &quot;yay&quot;. sounds different..no?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13075" PostHistoryTypeId="2" PostId="7722" RevisionGUID="2478f13f-c329-4a3c-8073-15fb9b042363" CreationDate="2011-05-05T13:38:43.583" UserDisplayName="user80" Text="Artificial reverb." ContentLicense="CC BY-SA 3.0" />
  <row Id="13076" PostHistoryTypeId="2" PostId="7723" RevisionGUID="e6dbfbbc-5de5-421b-8091-94dc1beda799" CreationDate="2011-05-05T13:46:04.823" UserId="500" Text="I work as a sound engineer at a large theatre in Chicago, and NiMh is the way to go.  Most of the brand names will work alright (energizer, duracell, rayovac), but what will serve you better is a higher mAH rating on the battery.  We use 'Tenergy' brand with nice charger bays that 'refresh' the battery as well as recharge it (also indicate charge level).  We've had great success going this way.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13077" PostHistoryTypeId="2" PostId="7724" RevisionGUID="b32f1045-9080-4488-b532-547b15e2e5b6" CreationDate="2011-05-05T15:12:34.807" UserId="868" Text="Artificial Reverb.  There is a single microphone, yet there is stereo image.  If the microphone were stereo (which I am sure it isn't) then there voices would be naturally panned in that image as they are on either side of it, but there voices are in the center.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13078" PostHistoryTypeId="5" PostId="7724" RevisionGUID="ee254581-2f36-4d4d-bd2f-45ff01a387b7" CreationDate="2011-05-05T15:18:22.240" UserDisplayName="user80" Comment="Spelling correction" Text="Artificial Reverb.  There is a single microphone, yet there is stereo image.  If the microphone were stereo (which I am sure it isn't) then there voices would be naturally panned in that image as they are on either side of it, but their voices are in the center.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13079" PostHistoryTypeId="5" PostId="7654" RevisionGUID="74216001-9cf0-4c06-b36b-45913dc0c936" CreationDate="2011-05-05T15:33:00.120" UserId="6411" Comment="corrected spelling" Text="Hi all,&#xD;&#xA;&#xD;&#xA;So, I've been watching this lecture on microsound given by Barry Truax.  &#xD;&#xA;&#xD;&#xA;[vimeo]7122776[/vimeo]&#xD;&#xA;&#xD;&#xA;I'm inruiged, enthralled, fascinated, and pretty much every kind of -ed by it.  I understand far less of what he's talking about than I'd like to.  I'm also realizing how much more there is to this whole game than I previously thought.  From what I gather in order to really get what he's talking about I'll need a much better understanding of granular synthesis and Fourier theorem.  Both are frighteningly interesting and seem intimidatingly complex from where I sit.&#xD;&#xA;&#xD;&#xA;The [Granular Synthesis page at wikipedia][1] is a nice intro, but is nowhere near as detailed as I'd like.  What are some good references for the uninitiated? Has anyone studied this in depth and know of any books/websites designed for the layman?  The simpler the starting point the better.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Granular_synthesis" ContentLicense="CC BY-SA 3.0" />
  <row Id="13080" PostHistoryTypeId="2" PostId="7725" RevisionGUID="c9508ee6-40b7-4f0b-bc05-b86c97998b2e" CreationDate="2011-05-05T15:41:50.627" UserId="6411" Text="@Carmine &amp; @Chris,&#xD;&#xA;&#xD;&#xA;There are a number of questions similar to both of yours that have gone into this topic. &#xD;&#xA;&#xD;&#xA;Like:&#xD;&#xA;http://socialsounddesign.com/questions/2214/needing-some-advice-for-a-small-budget-sound-recording-setup&#xD;&#xA;&#xD;&#xA;or :&#xD;&#xA;http://socialsounddesign.com/questions/300/budget-not-large-really-need-to-get-an-on-location-sound-kit-together-for-a-poss&#xD;&#xA;&#xD;&#xA;Starting to the right under the &quot;Related&quot; column heading will get you started. The content is dynamic and changes for every question page, so it can lead you straight down the rabbit hole.&#xD;&#xA;&#xD;&#xA;When you have more specific inquiries use the search bar at the top right of the screen or click the Tags button in the menu bar at the top of this page to see if a question similar to your own has already been asked." ContentLicense="CC BY-SA 3.0" />
  <row Id="13082" PostHistoryTypeId="2" PostId="7727" RevisionGUID="016c2311-618d-419a-97ef-916b2e7e0dc4" CreationDate="2011-05-05T20:22:59.223" UserId="18160" Text="I'm disappointed.&#xD;&#xA;&#xD;&#xA;1) They changed the lyrics.&#xD;&#xA;&#xD;&#xA;2) They claim it's the room?&#xD;&#xA;&#xD;&#xA;Listen to the artificial-sounding zings on the tails of sibilance and hard consonants like Ks and Ts. That's at least a 2.0 if not longer added artificial verb and they're tightly up against a wall which makes me think it's their bedroom.&#xD;&#xA;&#xD;&#xA;I totally agree with Iain and Mike. It's a mono mic...&#xD;&#xA;&#xD;&#xA;Maybe they meant that they didn't use effects like Autotune or Melodyne to pitch correct the singing? It's quite obvious it's a fake added verb." ContentLicense="CC BY-SA 3.0" />
  <row Id="13084" PostHistoryTypeId="2" PostId="7729" RevisionGUID="52150c55-335b-4885-8893-92630bb11316" CreationDate="2011-05-05T21:50:28.017" UserId="400" Text="So I posted this on my blog the other day, some of you on Twitter might've read it already:&#xD;&#xA;&#xD;&#xA;http://joecavers.tumblr.com/post/5217565021/crisis-or-evolution&#xD;&#xA;&#xD;&#xA;This was really weighing down on my heavily for a while and I was just wondering basically, if anyone here had had a similar experience? It'd be cool to hear about it if so.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Joe" ContentLicense="CC BY-SA 3.0" />
  <row Id="13085" PostHistoryTypeId="1" PostId="7729" RevisionGUID="52150c55-335b-4885-8893-92630bb11316" CreationDate="2011-05-05T21:50:28.017" UserId="400" Text="Evolution of your appreciation for sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="13086" PostHistoryTypeId="3" PostId="7729" RevisionGUID="52150c55-335b-4885-8893-92630bb11316" CreationDate="2011-05-05T21:50:28.017" UserId="400" Text="&lt;guidance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13087" PostHistoryTypeId="2" PostId="7730" RevisionGUID="f94b868a-6876-488a-b489-25daf3c17b83" CreationDate="2011-05-05T21:55:17.833" UserId="1038" Text="To be fair, the camera never does a 360 pan around.  For all we know there could be a gothic cathedral on the other side of that mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="13088" PostHistoryTypeId="2" PostId="7731" RevisionGUID="12f15990-c0e0-443b-a5e7-c671813c1b2b" CreationDate="2011-05-05T22:06:27.890" UserId="2" Text="I've used a bunch. But recently I bought the Sanyo Eneloop, and they are very cheap and great! They last me a whole day on my G3s without any worries. I combine this with a Sony CycleEnergy, which takes 15 min to charge them up. With these high speed chargers you get the same amount of time out of your batteries, but the difference is that the life of them is shorter. So after a year or two you'll probably need to throw them away. Not a big deal when paying $12.95 for a pack of 4 Eneloops. &#xD;&#xA;&#xD;&#xA;Hope this helps. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13089" PostHistoryTypeId="5" PostId="7727" RevisionGUID="c808050e-0d41-46f8-87e5-29a46e1f2026" CreationDate="2011-05-05T22:09:03.647" UserId="18160" Comment="added 276 characters in body; added 11 characters in body; deleted 23 characters in body; deleted 7 characters in body" Text="Good singing, though.&#xD;&#xA;&#xD;&#xA;They claim it's the room?&#xD;&#xA;&#xD;&#xA;Listen to the artificial-sounding zings on the tails of sibilance and hard consonants like Ks and Ts. That's at least a 2.0 if not longer added artificial verb and they're tightly up against a wall which makes me think it's their bedroom.&#xD;&#xA;&#xD;&#xA;I totally agree with Iain and Mike. It's a mono mic...&#xD;&#xA;&#xD;&#xA;But hey, all we have is the compressed audio of You-Tube to listen to. Also, they are bumping the Rode mic in frame like a punching bag and it doesn't make any noise. Perhaps there is a nice stereo pair of Senn or Schoeps behind the camera?&#xD;&#xA;&#xD;&#xA;And what's the point in claiming it's unedited after they put reverb on it? I don't get why that's such a big deal that they put it in their description...&#xD;&#xA;&#xD;&#xA;The world will never know..." ContentLicense="CC BY-SA 3.0" />
  <row Id="13090" PostHistoryTypeId="2" PostId="7732" RevisionGUID="67afbecf-d9a3-483b-aebd-e71eafca17d7" CreationDate="2011-05-05T22:11:06.693" UserId="37" Text="Unaware of your musical interests but in case you would like an exploratory trip, browse through this post - http://socialsounddesign.com/questions/3713/inspiration-from-the-world-of-music-production .&#xD;&#xA;&#xD;&#xA;Sometimes dry periods of interest or inspiration last longer than we want. I've experienced something similar but that only made my interest in modern music more focused, as well as had me explore the area of film scores, contemporary classical composition, and sound design in music (there is!). A spoke in the wheels for sure, but it did not impair my abilities to create, only had me back off and reconsider the acts of listening and composition.&#xD;&#xA;&#xD;&#xA;The music industry has nearly imposed this model of briefly targeting listeners at the peak of their interest; you can usually tag a generation with a few artist names that describe an half or whole decade nicely. Radio people seem to have it in their head that music taste is locked in the late teen years and then use that to define and control their audience groups.. But I might be wrong.&#xD;&#xA;&#xD;&#xA;Having said all this, I've just borrowed two more books on music, so certainly a complex question." ContentLicense="CC BY-SA 3.0" />
  <row Id="13091" PostHistoryTypeId="2" PostId="7733" RevisionGUID="34c51f9a-4f8a-43d1-a1f8-a662e73492e3" CreationDate="2011-05-05T23:25:51.257" UserId="845" Text="I'm currently in a very similar situation.&#xD;&#xA;&#xD;&#xA;I spent most of my late teens and early twenties writing prolifically (350+ songs) in all kinds of genres, simply for the joy of it.  Then, somewhere about a year ago my entire brain just seemed to dry up.  Everything was too obvious, too derivative, too this, and too that.  It had all been done, and better.&#xD;&#xA;&#xD;&#xA;Haven't quite managed to kick myself out of it.  This may be a cop-out, but I think it's a consequence of the tendency to be over-analytical.  To obsess is to eventually come to know (or *think* you know) everything about whatever it is you're obsessed with.  Couple that with a desire for individuality and originality, and every time you sit down to do something you find your ears filling up with clich&amp;eacute;s and references, eventually driving you nutz.&#xD;&#xA;&#xD;&#xA;I've stopped *trying* to make music (actively trying only makes things worse) and have been taking some time away to work on other things (sound design for one) until I can find the joy again.  Hopefully that'll be soon.  But if it never comes back that's ok.  It was something I did, and did well, and now I'm just interested in other things.&#xD;&#xA;&#xD;&#xA;@georgi.m,  I think the radio people *want* that to be true.  It makes people easier to categorize and market too.  But over the last 10 years I've moved from &quot;alternative&quot;, to math-rock, to counry, to metal, to canadian indie-folk-pop, to electronica, to IDM, to ambient, which is where I currently find myself.  Though I can feel it starting to slide into neo-classical, which I'm sure will eventually turn into classical proper.  &#xD;&#xA;&#xD;&#xA;To live is to grow, no matter what the advertisers tell you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13092" PostHistoryTypeId="2" PostId="7734" RevisionGUID="5292c5da-b593-45c2-a5fe-73a288be23e8" CreationDate="2011-05-06T01:24:25.373" UserId="845" Text="Hey Team,&#xD;&#xA;&#xD;&#xA;I just made my first attempt at making a granular synth patch.&#xD;&#xA;&#xD;&#xA;[soundcloud]g-a-harry/call-me-distant-and-ill-come[/soundcloud]&#xD;&#xA;&#xD;&#xA;Apologies for the 1000 tons of reverb, but bare it sounded kinda harsh.&#xD;&#xA;&#xD;&#xA;I'm trying to figure out how to make it a little more palatable without having to do too much processing after the fact.  So any advice/critique/suggestions/ideas would be most welcome.  Particularly with regards to non-reverb softening.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13093" PostHistoryTypeId="1" PostId="7734" RevisionGUID="5292c5da-b593-45c2-a5fe-73a288be23e8" CreationDate="2011-05-06T01:24:25.373" UserId="845" Text="First Try at Gettin Grainy " ContentLicense="CC BY-SA 3.0" />
  <row Id="13094" PostHistoryTypeId="3" PostId="7734" RevisionGUID="5292c5da-b593-45c2-a5fe-73a288be23e8" CreationDate="2011-05-06T01:24:25.373" UserId="845" Text="&lt;granular-synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13095" PostHistoryTypeId="16" PostId="7725" RevisionGUID="90367198-6adf-48fe-86e0-ac6a6637f1b5" CreationDate="2011-05-06T02:18:14.983" UserId="6411" Comment="Grammar" />
  <row Id="13096" PostHistoryTypeId="5" PostId="7725" RevisionGUID="90367198-6adf-48fe-86e0-ac6a6637f1b5" CreationDate="2011-05-06T02:18:14.983" UserId="6411" Comment="Grammar" Text="@Carmine &amp; @Chris,&#xD;&#xA;&#xD;&#xA;There are a number of questions similar to both of yours that have gone into this topic. &#xD;&#xA;&#xD;&#xA;Like:&#xD;&#xA;http://socialsounddesign.com/questions/2214/needing-some-advice-for-a-small-budget-sound-recording-setup&#xD;&#xA;&#xD;&#xA;or :&#xD;&#xA;http://socialsounddesign.com/questions/300/budget-not-large-really-need-to-get-an-on-location-sound-kit-together-for-a-poss&#xD;&#xA;&#xD;&#xA;Starting to the right under the &quot;Related&quot; column heading will get you going. The content is dynamic and changes for every question page, so it can lead you straight down the rabbit hole.&#xD;&#xA;&#xD;&#xA;When you have more specific inquiries, use the search bar at the top right of the screen or click the Tags button in the menu bar at the top of this page to see if a question similar to your own has already been asked." ContentLicense="CC BY-SA 3.0" />
  <row Id="13097" PostHistoryTypeId="2" PostId="7735" RevisionGUID="9cb7a086-0d4d-44c5-86cd-37b043863a2d" CreationDate="2011-05-06T03:07:24.493" UserId="29" Text="For me, it's all about Powerex AA's with Maha chargers and iPower 9-volts with their own brand of charger, based on advice I've gotten online from production soundies. Duracell Alkalines for backups. All AA's are stored in [these][1], with specific orientations up or down to show that they're expended or fully charged. Oof, those Duracell rechargeables are junk and have given me nothing but trouble.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://countycomm.com/CBH.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="13098" PostHistoryTypeId="2" PostId="7736" RevisionGUID="52fbfa99-00b1-4245-bc0b-f462744d3d85" CreationDate="2011-05-06T06:04:32.040" UserDisplayName="user49" Text="probably stating the obvious re sources of inspiration, but it is important to remember that inspiration often comes from action ie through doing. If you don't feel inspired or don't know how to approach something, try doing the totally wrong thing. Inevitably half way through doing the wrong thing you will stumble across something or react to something that may spark your imagination towards more interesting territory.....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13099" PostHistoryTypeId="2" PostId="7737" RevisionGUID="f3043e73-a69b-4a58-8f71-6eaf0814fbe4" CreationDate="2011-05-06T08:03:35.723" UserId="338" Text="Interested in what you come up with…something I've been curious about but not tinkered with" ContentLicense="CC BY-SA 3.0" />
  <row Id="13100" PostHistoryTypeId="2" PostId="7738" RevisionGUID="2fd3930a-d65b-4cfa-9962-74cf3911d400" CreationDate="2011-05-06T09:55:07.007" UserId="826" Text="I second the Eneloop AA's. They're new technology - Low self discharge, which is perfect for wireless. For my Micron wireless i use 9v iPower 520 mAH batteries though. They last good 6-7 hours too. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13101" PostHistoryTypeId="2" PostId="7739" RevisionGUID="4c3535fd-54c9-4e6f-a0c7-fd782119cd88" CreationDate="2011-05-06T11:23:24.040" UserId="407" Text="If you watch the mic during the recording it waves around as if someone is holding it just off camera - The guitar sounds like it was mic'd seperately, as everyone has mentioned already there is a stereo image and reverb. And to my ears there is different reverb on the guitar than on the vox. It may well have been an un-edited but it certainly wasn't recorded in that space with that gear. But if it was recorded there and then and we are all totally wrong then thumbs up to them;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13102" PostHistoryTypeId="5" PostId="7734" RevisionGUID="f8f12b21-eac6-4015-885a-c503ba204fbf" CreationDate="2011-05-06T11:56:05.297" UserId="845" Comment="added 1 characters in body; deleted 1 characters in body" Text="Hey Team,&#xD;&#xA;&#xD;&#xA;I just made my first attempt at making a granular synth patch.&#xD;&#xA;&#xD;&#xA;[soundcloud]g-a-harry/call-me-distant-and-ill-come[/soundcloud]&#xD;&#xA;&#xD;&#xA;Apologies for the 1000 tons of reverb, but bare it sounded kinda harsh.&#xD;&#xA;&#xD;&#xA;I'm trying to figure out how to make it a little more palatable without having to do too much processing after the fact.  So any advice/critique/suggestions/ideas would be most welcome.  Particularly with regards to non-reverb softening.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13104" PostHistoryTypeId="2" PostId="7740" RevisionGUID="23e22b89-616d-4712-b7b9-bf2814c199f8" CreationDate="2011-05-06T17:18:45.010" UserId="1035" Text="Picture editors aren't going to edit the location dialogue very much. On occasion they might create a little bit of fill to smooth out a transition, but it will be improperly placed and often loopy sounding. You'll also hear constant squaring off of the audio between shots. Also, depending on the location sound recordist, the picture editor might only work with one of several available tracks of audio. Nowadays it's not entirely uncommon for production sound mixers to create a polywave file with isolated lavs, boom(s), plant mics, and also a standard lav mix. This is where your OMF/AAF comes into play.&#xD;&#xA;&#xD;&#xA;@C3Sound Generally speaking, you actually **don't** want to be splitting by character. Splitting by shot number/angle works better for the mixer as overall they are processing to reduce the overall noise of a scene. The exception is in documentary. As far as fill goes, it's also good to avoid creating separate fill tracks. Fill is present underneath the dialogue, and you fill out between, before and after the modulation.&#xD;&#xA;&#xD;&#xA;PFX (any kind of sound effect captured during filming aside from footsteps, cloth movement) should be split off but then fill should be placed where the PFX used to be in the dialogue track. Most of the time when you do PFX they will be some sort of percussive sound, a cup down, a hammer, something like that. You want to cut and use fades to eliminate both the room sound and the reverb as much as possible. This stuff, if used by the FX mixer, will be processed later. You eliminate the room sound because of the back fill you've created. If fill was left in there, suddenly when the PFX happened the noise floor would double. &#xD;&#xA;&#xD;&#xA;The reason we mostly split off the percussive sounding things is they make the multi-band expanders pump undesirably at the mix stage. That, and they will be part of the M&amp;E. Movement, though, is considered part of the &quot;life&quot; of the dialogue track and will generally be covered/sweetened with Foley for the M&amp;E." ContentLicense="CC BY-SA 3.0" />
  <row Id="13106" PostHistoryTypeId="2" PostId="7742" RevisionGUID="30ff15d2-baf5-4322-8afb-caa6a42de883" CreationDate="2011-05-06T19:58:44.967" UserId="238" Text="I've just got back from watching Jerzy Skolimowski's *[Essential Killing][1]* and wondered if anyone else had seen it. Throughout the film there is almost no dialogue (only a few lines at the very beginning of the film) as we follow an escaped terrorist, deafened by an explosion, trying to evade re-capture. Even the music score is very minimal and doesn't feature heavily. &#xD;&#xA;&#xD;&#xA;It's a very bold attempt to make a movie with no dialogue. The story (obviously told by only image, and music/ambiances/sfx/foley) did manage to keep me interested from start to finish. But I feel that the sound design kind of played it a bit too safe. Don't get me wrong, it was good but I would have loved to see some more experimental stuff going on. Seems like a great opportunity to really push the limits when there is no dialogue and very little music dominating the soundtrack.&#xD;&#xA;&#xD;&#xA;Anyone else seen it? What did you think?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt1561768/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13107" PostHistoryTypeId="1" PostId="7742" RevisionGUID="30ff15d2-baf5-4322-8afb-caa6a42de883" CreationDate="2011-05-06T19:58:44.967" UserId="238" Text="The Sound of &quot;Essential Killing&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13108" PostHistoryTypeId="3" PostId="7742" RevisionGUID="30ff15d2-baf5-4322-8afb-caa6a42de883" CreationDate="2011-05-06T19:58:44.967" UserId="238" Text="&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13109" PostHistoryTypeId="5" PostId="7742" RevisionGUID="135dccf9-5767-44c9-9d61-99d01bfb3994" CreationDate="2011-05-06T20:08:03.533" UserId="238" Comment="added trailer video" Text="I've just got back from watching Jerzy Skolimowski's *[Essential Killing][1]* and wondered if anyone else had seen it. Throughout the film there is almost no dialogue (only a few lines at the very beginning of the film) as we follow an escaped terrorist, deafened by an explosion, trying to evade re-capture. Even the music score is very minimal and doesn't feature heavily. &#xD;&#xA;&#xD;&#xA;It's a very bold attempt to make a movie with no dialogue. The story (obviously told by only image, and music/ambiances/sfx/foley) did manage to keep me interested from start to finish. But I feel that the sound design kind of played it a bit too safe. Don't get me wrong, it was good but I would have loved to see some more experimental stuff going on. Seems like a great opportunity to really push the limits when there is no dialogue and very little music dominating the soundtrack.&#xD;&#xA;&#xD;&#xA;Anyone else seen it? What did you think?&#xD;&#xA;&#xD;&#xA;[youtube]t9_loH84cmo[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt1561768/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13110" PostHistoryTypeId="2" PostId="7743" RevisionGUID="f478848b-8c87-4533-86df-785005a014ae" CreationDate="2011-05-06T20:12:04.867" UserId="18160" Text="This type of movie can be every sound designer's dream or worst nightmare.&#xD;&#xA;&#xD;&#xA;I personally would love to work on a challenge like this.&#xD;&#xA;&#xD;&#xA;Thanks for posting this - I'll have to check it out." ContentLicense="CC BY-SA 3.0" />
  <row Id="13111" PostHistoryTypeId="2" PostId="7744" RevisionGUID="394746b9-2806-4782-8c9d-17ce10768887" CreationDate="2011-05-06T21:43:50.927" UserId="1044" Text="I felt similar...I didn't love the movie to begin with (had high expectation going into it though). For a sound designer, this SHOULD be a dream scenario. One where the sound crew can be extremely creative in the mix, recording and the edit. You're creativity can be minimized if the director has a clear vision for the sound of the movie and is active in the process. But it's always nice to work with a director who is aware of the importance in sound. Nevertheless, there is always room for creativity and experimentation on a project. It just happens to be in Essential Killing, there is a very small amount. The simplicity does however convey the story in a good manner and fits the emotions of the character as well as the environment. &#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13112" PostHistoryTypeId="2" PostId="7745" RevisionGUID="0feacadf-0e64-473a-9ee7-2f8db6e30c99" CreationDate="2011-05-06T21:49:31.490" UserId="609" Text="I bet they just fired up Garage Band or something similar for the audio recording.  Depending on what type of session you want, it'll use a predefined channel strip with verb, etc...&#xD;&#xA;&#xD;&#xA;In fact, the default &quot;Female Basic&quot; channel on a new &quot;Voice&quot; session sounds remarkably similar :) &#xD;&#xA;&#xD;&#xA;If your using a person as a mic stand, you're probably not checking the not-displayed-by-default channel strip settings for effects.  Also, by default, the recorded signal is not played out during recording.  They wouldn't have heard the 'echo' until playback.  Easy enough to make that mistake if you don't live and breathe this stuff.  &#xD;&#xA;&#xD;&#xA;Good on 'em for making music!  The tools should come second anyway." ContentLicense="CC BY-SA 3.0" />
  <row Id="13113" PostHistoryTypeId="2" PostId="7746" RevisionGUID="ab3ba94e-5a3e-4303-8081-654c8facd2b3" CreationDate="2011-05-06T21:51:38.123" UserId="1044" Text="The **Zoom H4n** is a versatile, reliable piece of equipment at a very reasonable price. Highly recommend it; however, there are many other options...i'd look at the specs. and read into them. There ultimately is not correct answer...just depends on your preferences and price range. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13114" PostHistoryTypeId="5" PostId="7746" RevisionGUID="de791b3c-c80f-40d0-92c8-6d4920922756" CreationDate="2011-05-06T23:58:14.500" UserId="1044" Comment="added 23 characters in body" Text="The **Zoom H4n** is a versatile, easy-to-use, reliable piece of equipment at a very reasonable price. Highly recommend it; however, there are many other options...i'd look at the specs. and read into them. There ultimately is no correct answer...just depends on your preferences and price range. &#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13115" PostHistoryTypeId="2" PostId="7747" RevisionGUID="e846f10c-72b8-4d3c-84d8-2845eeb93ed7" CreationDate="2011-05-07T00:11:11.267" UserId="338" Text="Does anybody here ever do sound for motion graphics? &#xD;&#xA;Stuff for 3d artists like website...http://www.mographwiki.net/Main_Page&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13116" PostHistoryTypeId="1" PostId="7747" RevisionGUID="e846f10c-72b8-4d3c-84d8-2845eeb93ed7" CreationDate="2011-05-07T00:11:11.267" UserId="338" Text="Does anybody here ever do sound for motion graphics?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13117" PostHistoryTypeId="3" PostId="7747" RevisionGUID="e846f10c-72b8-4d3c-84d8-2845eeb93ed7" CreationDate="2011-05-07T00:11:11.267" UserId="338" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13118" PostHistoryTypeId="2" PostId="7748" RevisionGUID="3154c99a-1edc-433d-9d88-ffdda927739c" CreationDate="2011-05-07T01:07:40.797" UserId="1045" Text="Yeah my team specializes in that you can see our work at www.fntv.com. If you are looking for someone to do sound design for MG feel free to contact me at pete@claymorepictures.com we'll hook you up. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13119" PostHistoryTypeId="2" PostId="7749" RevisionGUID="15f208ac-2a20-4e7f-b9d9-f645fea3a29b" CreationDate="2011-05-07T02:44:45.333" UserId="44" Text="yup - http://www.CypherAudio.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="13120" PostHistoryTypeId="2" PostId="7750" RevisionGUID="a7575b8d-b241-4670-b32f-5a562044e1ef" CreationDate="2011-05-07T05:27:40.373" UserId="845" Text="Hmmm... I see we are starting to get some fishermen dipping their rods into our little backwater. Interesting.  Could be good, could be bad. Either way I don't suppose there's any way to stop it. &#xD;&#xA;&#xD;&#xA;I've done a little bit here and there, mostly for fun to be frank. I did a couple quick things for my cousin a while back. I really enjoy them. You can get a little weirder than usual. Plus, they're short, sweet, and you get the quick hit of doing something awesome in about 5 hours. &#xD;&#xA;&#xD;&#xA;I had a couple MG guys whose work I was following for a while (their sound designers were really good too), but they both dried up about 6 months ago. I assume they either got corporate gigs, or decided to get &quot;real&quot; jobs. &#xD;&#xA;&#xD;&#xA;I have no idea if it's a viable market to really focus on, seems like most companies are happy to either have their video editor slap something together, or just leave it blank. But then again, if you're persuasive/good enough I'd bet there're tons of CG school grads and little production companies who'd throw you a bill or two to spice up their visuals.  &#xD;&#xA;&#xD;&#xA;Do you have something coming up, or are you just asking out of interest?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13121" PostHistoryTypeId="2" PostId="7751" RevisionGUID="76d31123-6fa1-441c-9555-e0606a117266" CreationDate="2011-05-07T09:45:44.827" UserId="1046" Text="what are the microphones,cameras and mixers used in recording a television series?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13122" PostHistoryTypeId="1" PostId="7751" RevisionGUID="76d31123-6fa1-441c-9555-e0606a117266" CreationDate="2011-05-07T09:45:44.827" UserId="1046" Text="tv series production" ContentLicense="CC BY-SA 3.0" />
  <row Id="13123" PostHistoryTypeId="3" PostId="7751" RevisionGUID="76d31123-6fa1-441c-9555-e0606a117266" CreationDate="2011-05-07T09:45:44.827" UserId="1046" Text="&lt;google-earth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13124" PostHistoryTypeId="2" PostId="7752" RevisionGUID="b8c9a36b-e034-4044-86ad-aceebc891f77" CreationDate="2011-05-07T10:19:27.417" UserId="62" Text="Lots of different ones." ContentLicense="CC BY-SA 3.0" />
  <row Id="13125" PostHistoryTypeId="2" PostId="7753" RevisionGUID="97fd3724-ffd0-4a51-9622-1d6913fd5c0a" CreationDate="2011-05-07T10:30:24.410" UserId="400" Text="That question is too broad to be answered, you need to be more specific. Are you just generally interested, or are you planning on getting involved with the audio side of a T.V. series? Try searching the forum before posting, most likely the results will enable you to fine-tune your request into something we can answer." ContentLicense="CC BY-SA 3.0" />
  <row Id="13127" PostHistoryTypeId="2" PostId="7755" RevisionGUID="6e949e11-dae1-4270-abd0-eba2264cc399" CreationDate="2011-05-07T11:19:32.083" UserId="880" Text="I have just purchased Porta Brace AR7 for my Sound Devices 702 and I am utterly disapointed with it.&#xD;&#xA;&#xD;&#xA;It has a major design fault!!!! Velcro strips on the sides that protect recorder from sliding left/right are in a totally wrong place. They obstruct headphone volume potentiometer and input. I find this very frustrating considering that the case cost me 180$ . &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Is it just me or other users have the same issue with this product???&#xD;&#xA;&#xD;&#xA;I tried to get in touch with Porta Brace and asked them if they could modify it for me but unfortunately no joy!!!&#xD;&#xA;&#xD;&#xA;Anyone considering to get one of these......don't bother. There are few more alternatives that are much better but  i  found them to late . Too bad!&#xD;&#xA;&#xD;&#xA;http://www.petrolbags.com/Sound-Bags?q=node/1168" ContentLicense="CC BY-SA 3.0" />
  <row Id="13128" PostHistoryTypeId="1" PostId="7755" RevisionGUID="6e949e11-dae1-4270-abd0-eba2264cc399" CreationDate="2011-05-07T11:19:32.083" UserId="880" Text="Porta Brace audio recorder case AR7 design fault? " ContentLicense="CC BY-SA 3.0" />
  <row Id="13129" PostHistoryTypeId="3" PostId="7755" RevisionGUID="6e949e11-dae1-4270-abd0-eba2264cc399" CreationDate="2011-05-07T11:19:32.083" UserId="880" Text="&lt;cases&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13130" PostHistoryTypeId="2" PostId="7756" RevisionGUID="52f7bfd8-89ea-4f43-a930-09fe99fd5d73" CreationDate="2011-05-07T12:26:56.587" UserDisplayName="user6513" Text="Like many other here, I've done some too, but the platform for motion graphics don't usually call for audio unless it's a tvc. I find most of them are generally quite happy using a piece of music as a guide track for their work." ContentLicense="CC BY-SA 3.0" />
  <row Id="13131" PostHistoryTypeId="2" PostId="7757" RevisionGUID="ac14598c-170f-4fdb-a55a-21f2639ef35a" CreationDate="2011-05-07T12:29:21.577" UserId="132" Text="I did not have this issue. I would sometimes get annoyed that the bag's side panes would close at the wrong times, but if you spend some time &quot;working out&quot; those panels it is a quite useful and durable bag.  It you play around with it you can use the velcro to almost keep the panels &quot;permanently&quot; open." ContentLicense="CC BY-SA 3.0" />
  <row Id="13132" PostHistoryTypeId="2" PostId="7758" RevisionGUID="70c8d3fb-bb69-4719-aa8d-b01f36a09c32" CreationDate="2011-05-07T13:20:13.633" UserId="1045" Text="At Footnote, we're using the Sony EX3 for our host shoots, we're using a Letus to give it a little more character and make it feel less like video. Out on the road we use mainly Cannon 7D and 5D. &#xD;&#xA;&#xD;&#xA;As for audio, our field recorder is a Sound Devices 788T (love that thing) For host shoots we use a Neumann TLM 103 (Love that mic!) On the road our main mic for interviews is a Lectrosonics MM400c with a Countryman B6. MM400c is great because it's &quot;water proof&quot; I say that because everything has it's limits, but it's a good pack. And you won't find a better lav then countryman. (well maybe, but then you're really dropping some coin.)&#xD;&#xA;&#xD;&#xA;I have had over all good results with this setup. &#xD;&#xA;&#xD;&#xA;Peter-John Campbell" ContentLicense="CC BY-SA 3.0" />
  <row Id="13133" PostHistoryTypeId="2" PostId="7759" RevisionGUID="70960a34-1aa6-43fd-8599-13d31ff01193" CreationDate="2011-05-07T14:53:13.590" UserId="1039" Text="I did some research and thus far came up with the following list of purchases and would like your thoughts.  My immediate budget is $1000-$1500.&#xD;&#xA;&#xD;&#xA; Phase 1 Purchase&#xD;&#xA;&#xD;&#xA; - Tascam HD-P2 or Tascam DR-680 or Edirol R-44 Field Recorder (not sure which one) &#xD;&#xA; - Rode NTG -1 Shotgun Microphone&#xD;&#xA; - Rode Blip and accessories&#xD;&#xA; - Rode Mini Boompole&#xD;&#xA; - Audio Technica ATH-M35 Headphones&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; Phase 2 Purchase&#xD;&#xA; - Mac Book Pro 15&quot; 2.0GHz, 4GB RAM, 500GB HD with Apple Care&#xD;&#xA; - Avid Mbox 3 with Pro Tools 9 software&#xD;&#xA; - Glyph 500GB 7200 RPM portable HD&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; Phase 3 Purchase&#xD;&#xA;&#xD;&#xA; - Sennheiser EvolutionEW 112P #G ENG wireless transmitter / receiver w/LAV&#xD;&#xA;&#xD;&#xA; Thanks&#xD;&#xA;&#xD;&#xA; Carmine M" ContentLicense="CC BY-SA 3.0" />
  <row Id="13134" PostHistoryTypeId="1" PostId="7759" RevisionGUID="70960a34-1aa6-43fd-8599-13d31ff01193" CreationDate="2011-05-07T14:53:13.590" UserId="1039" Text="Sound Design Equipment" ContentLicense="CC BY-SA 3.0" />
  <row Id="13135" PostHistoryTypeId="3" PostId="7759" RevisionGUID="70960a34-1aa6-43fd-8599-13d31ff01193" CreationDate="2011-05-07T14:53:13.590" UserId="1039" Text="&lt;equipment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13136" PostHistoryTypeId="2" PostId="7760" RevisionGUID="e91d3107-c662-4a1e-87b2-1ef108d2b9db" CreationDate="2011-05-07T15:25:58.967" UserId="40" Text="Out of those recorders, I'd definitely go with the R-44. Heard lots of good things about it - I'd say it's the best bang for it's buck in that price range.&#xD;&#xA;&#xD;&#xA;The RØDE NTG-1 is a decent mic to start with, but that would be one of the first things I'd upgrade once you get a bit more money. There is a very large price jump from low end shotguns to high end shot guns, so I realize it won't be able to happen right away - but again, the NTG-1 is a great mic to start with.&#xD;&#xA;&#xD;&#xA;Love the RØDE blimp. Haven't seen the RØDE boom pole, but I'm sure it's fine. I like the fact that it has foam on the grip - will help with handling noise a lot.&#xD;&#xA;&#xD;&#xA;If you are going to be using the boom pole indoors, I might consider getting another shock mount (in addition to the blimp) since the blimp is a little big and heavy to be used indoors, and your NTG-1 will only come with a simple mic clip. The NTG-1 is very susceptible to handling noise, so you will want to make sure it's properly shock mounted. You can usually find a decent shock mount for a boom pole for under $50&#xD;&#xA;&#xD;&#xA;The only other thing I would really look at is the headphones. I would see if you can upgrade to the Sony MDR7506 headphones if you can - they are pretty much standard issue field phones.&#xD;&#xA;&#xD;&#xA;One last question - why the wireless? Or is this gear for production audio as well? Remember that you'll need some sort of bag (pro or otherwise - pro is usually easier, but I've seen people make do with less) to do ENG work. In that price range, the Sennheiser Evo series is definitely the best, just realize that it doesn't have a very long range (safely). In a crowded room, I MIGHT give it 50' - 75' line of sight before I start worrying about hits and dropouts. If you are doing ENG and staying close range though, you'll have no problems.&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13139" PostHistoryTypeId="2" PostId="7762" RevisionGUID="edf35f29-5e71-41d6-aa00-2fa2e2f032ab" CreationDate="2011-05-07T16:09:57.033" UserId="517" Text="Colin makes some very good points. The most important one I think is whether or not you plan on doing production sound recording in addition to FX recording for sound design. If yes, then you're on the right track, gear-wise. &#xD;&#xA;&#xD;&#xA;If not, then the Sennheiser wireless kit and possibly the boom pole as well aren't necessary for immediate purchases. For FX recording (depending on what you're doing), a shockmount may be a more significant initial investment than a boom pole. &#xD;&#xA;&#xD;&#xA;Don't forget to budget in for XLR cables, some kind of harness or bag to keep your hands free and a case of some kind to keep it all together. If you plan on doing Foley or performance-based recording of any kind, a mic stand is a good idea as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="13140" PostHistoryTypeId="2" PostId="7763" RevisionGUID="f5987fe1-4d6f-4602-97b1-f36ec4870ba7" CreationDate="2011-05-07T16:15:51.433" UserId="1035" Text="For the people that do this stuff regularly, I've always kind of wondered...what types of things do you do to create these abstract sounds? Care to share any techniques?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13141" PostHistoryTypeId="2" PostId="7764" RevisionGUID="2a24e02f-0c59-4193-abad-22e64127c2af" CreationDate="2011-05-07T16:25:02.707" UserDisplayName="user80" Text="I use the R-44 and can thoroughly recommend it.  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13142" PostHistoryTypeId="5" PostId="7751" RevisionGUID="a01eb9db-5bcc-40eb-8ca6-db0e2b362297" CreationDate="2011-05-07T16:26:58.227" UserDisplayName="user80" Comment="edited body; edited tags" Text="What are the microphones,cameras and mixers used in recording a television series?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13143" PostHistoryTypeId="6" PostId="7751" RevisionGUID="a01eb9db-5bcc-40eb-8ca6-db0e2b362297" CreationDate="2011-05-07T16:26:58.227" UserDisplayName="user80" Comment="edited body; edited tags" Text="&lt;television&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13145" PostHistoryTypeId="2" PostId="7766" RevisionGUID="c8a9a0c9-9410-4f31-b759-695805a30e27" CreationDate="2011-05-07T19:17:07.703" UserId="18160" Text="Welcome to SSD.&#xD;&#xA;&#xD;&#xA;Please be a little more specific on what exactly you'd like to find out about TV production.&#xD;&#xA;&#xD;&#xA;This is certainly a board you can ask questions about TV audio, but it's mostly a Sound Design oriented group of individuals who discuss Sound Design concepts. To ask a question so general I consider a waste of a valuable resource that has become known as SSD. Every single person who frequents this board is professional in some aspect of the Sound Design industry, so their time and advice is golden. This seems more like a question for Yahoo Answers and has most likely already been answered elsewhere.&#xD;&#xA;&#xD;&#xA;I like to think of it as kind of like the major leagues of Sound Design for the TV, Film, Performing Arts and Gaming industry.&#xD;&#xA;&#xD;&#xA;I'm sure this link will get you what you're asking for:&#xD;&#xA;&#xD;&#xA;http://lmgtfy.com/?q=what+mics+are+used+for+television+shows?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13146" PostHistoryTypeId="2" PostId="7767" RevisionGUID="151d7a5f-60fb-404d-9344-7c47dac4547d" CreationDate="2011-05-07T19:48:19.170" UserId="670" Text="Right now I'm currently running PT9 on a 2008 Macbook Santa Rosa with 4GB 2.2 GHz Intel Core 2 Duo and am looking into getting one of the new MBP i7 quad cores. I can't decide whether or not to go with the 2.0 or 2.2 GHz. Will it make a big difference in speed? I don't really need the graphics upgrade, and will have 8GB of ram. Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="13147" PostHistoryTypeId="1" PostId="7767" RevisionGUID="151d7a5f-60fb-404d-9344-7c47dac4547d" CreationDate="2011-05-07T19:48:19.170" UserId="670" Text="Purchasing a new mac" ContentLicense="CC BY-SA 3.0" />
  <row Id="13148" PostHistoryTypeId="3" PostId="7767" RevisionGUID="151d7a5f-60fb-404d-9344-7c47dac4547d" CreationDate="2011-05-07T19:48:19.170" UserId="670" Text="&lt;macbook-pro&gt;&lt;processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13149" PostHistoryTypeId="5" PostId="7751" RevisionGUID="e7680d95-f647-4f10-863a-ed2ec16c32d2" CreationDate="2011-05-07T20:16:45.520" UserId="18160" Comment="added 1 characters in body" Text="What are the microphones, cameras and mixers used in recording a television series?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13150" PostHistoryTypeId="2" PostId="7768" RevisionGUID="1c8fdcf5-afad-4df3-b976-94c4f4cde751" CreationDate="2011-05-07T20:27:45.507" UserId="400" Text="From what I've read, RAM will make a bigger difference than CPU speed, so you probably wouldn't notice much difference with the 2.2 GHz. If you can afford to, why not? Keeps your machine futureproof for longer!&#xD;&#xA;&#xD;&#xA;Other people might chime in with their own experience too, but that's what I've read for the most part." ContentLicense="CC BY-SA 3.0" />
  <row Id="13151" PostHistoryTypeId="2" PostId="7769" RevisionGUID="5c79695b-c255-475a-8a7f-8090e1f18b0c" CreationDate="2011-05-07T20:36:54.213" UserId="1014" Text="check if there is a bus speed difference between the 2.0 and 2.2 models. this can really make difference." ContentLicense="CC BY-SA 3.0" />
  <row Id="13153" PostHistoryTypeId="2" PostId="7771" RevisionGUID="1ea6cf36-5663-4099-9528-87d218658611" CreationDate="2011-05-07T21:46:05.563" UserDisplayName="user49" Text="Didnt have time to wade through the comparison but have a look here:&#xD;&#xA;http://www.primatelabs.ca/geekbench/mac-benchmarks/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13154" PostHistoryTypeId="2" PostId="7772" RevisionGUID="97f4a474-c271-4f06-a6e9-4457f6052ab1" CreationDate="2011-05-07T22:31:18.030" UserId="1044" Text="I am looking to buy software to organize my sound recordings. I record, edit and mix on a Pro Tools 9 system use a Mac computer. It be great to hear from some professionals or any sound guys who use such software (like/including soundminer). &#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;&#xD;&#xA;-Jonathan" ContentLicense="CC BY-SA 3.0" />
  <row Id="13155" PostHistoryTypeId="1" PostId="7772" RevisionGUID="97f4a474-c271-4f06-a6e9-4457f6052ab1" CreationDate="2011-05-07T22:31:18.030" UserId="1044" Text="Suggestions for 'sound fx library management software'" ContentLicense="CC BY-SA 3.0" />
  <row Id="13156" PostHistoryTypeId="3" PostId="7772" RevisionGUID="97f4a474-c271-4f06-a6e9-4457f6052ab1" CreationDate="2011-05-07T22:31:18.030" UserId="1044" Text="&lt;software&gt;&lt;recording&gt;&lt;file-organization&gt;&lt;soundminer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13157" PostHistoryTypeId="2" PostId="7773" RevisionGUID="6029d955-9568-46d8-ba98-f93020d47397" CreationDate="2011-05-07T22:42:21.413" UserId="400" Text="I've heard great things about Audiofinder for the budget conscious ( http://www.icedaudio.com/ ) from a few people, hopefully Georgi will chime in here, he's a fan. It has a spot to Pro Tools feature which I already know I'd be using day in day out if I had it, as well as the ability to edit and search metadata for your files.&#xD;&#xA;&#xD;&#xA;Soundminer comes highly recommended too but I've never tried it so can't comment." ContentLicense="CC BY-SA 3.0" />
  <row Id="13158" PostHistoryTypeId="2" PostId="7774" RevisionGUID="7ac79be0-643b-4b55-b30d-d30601b9d8e7" CreationDate="2011-05-07T22:52:19.003" UserId="18160" Text="Soundminer would be my vote.&#xD;&#xA;&#xD;&#xA;I've tried several different methods and this is by far the fastest and most streamlined workflow IMHO." ContentLicense="CC BY-SA 3.0" />
  <row Id="13159" PostHistoryTypeId="5" PostId="7774" RevisionGUID="87535508-de1c-471f-a501-1f870ec5acf7" CreationDate="2011-05-07T22:59:43.373" UserId="18160" Comment="added 188 characters in body" Text="Soundminer would be my vote.&#xD;&#xA;&#xD;&#xA;I've tried several different methods and this is by far the fastest and most streamlined workflow IMHO.&#xD;&#xA;&#xD;&#xA;A similar question has already been asked, however, I encourage you to read it first:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/122/a-good-value-sound-library-search-engine-for-the-mac" ContentLicense="CC BY-SA 3.0" />
  <row Id="13160" PostHistoryTypeId="2" PostId="7775" RevisionGUID="ed7001f4-9193-4a30-83ec-704022a0c498" CreationDate="2011-05-08T00:11:35.073" UserId="845" Text="Personally, I wouldn't buy the M-box.  But that may just be a result of unbelievably huge bias against Avid. I know the new line is supposed to be a huge step up from the previous one, but I have a hard time believing it. &#xD;&#xA;&#xD;&#xA;There's also the matter of it only doing 96k.  I'm sure it doesn't seem that important right now, but once you start playing with your sounds (especially time stretching), you're gonna be annoyed that you can't get up to 192k.  There are a lot of good interfaces out there with better specs than the MBox.&#xD;&#xA;&#xD;&#xA;Then again, I'm sure you end up gettting a better deal on the software than buying both PT *and* another interface.&#xD;&#xA;&#xD;&#xA;By the way...&#xD;&#xA;&#xD;&#xA;Ditto on the phones.  The 7506s also fold up into themselves, which just about halves the amount of space they take up.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13161" PostHistoryTypeId="2" PostId="7776" RevisionGUID="f4dbe004-ed92-43a6-b383-a783dbb769ac" CreationDate="2011-05-08T00:32:24.370" UserDisplayName="user49" Text="I use SoundMiner v4 Pro and its easily been worth the investment....&#xD;&#xA;To compare other options I surveyed metadata support in sound library apps a while ago:&#xD;&#xA;http://www.musicofsound.co.nz/blog/metadata-support-in-sound-library-apps" ContentLicense="CC BY-SA 3.0" />
  <row Id="13162" PostHistoryTypeId="2" PostId="7777" RevisionGUID="a81611a4-5e23-4df9-b701-fb7e4c12b5e8" CreationDate="2011-05-08T01:43:38.100" UserId="1045" Text="WGN America requires -20 for unity gain." ContentLicense="CC BY-SA 3.0" />
  <row Id="13163" PostHistoryTypeId="2" PostId="7778" RevisionGUID="5860b966-1dae-4121-9c4d-c1a83c5f2754" CreationDate="2011-05-08T11:06:57.080" UserId="63" Text="The big difference is between i5 and i7, i7s are far better in so many ways. for music purposes just look for a good CPU, RAM (the faster-greater Mhz the better) and the screen size you are comfortable with... &#xD;&#xA;&#xD;&#xA;oh! i almost forgot! usbs, firewires, and connectivity is also a big issue for &quot;music laptops&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13164" PostHistoryTypeId="2" PostId="7779" RevisionGUID="4a914827-232e-45eb-a0dd-5906df28b6b8" CreationDate="2011-05-08T11:07:33.133" UserId="1050" Text="I was recently approached by a film producer and asked if I'd be happy to have my songs being used for their film (80mins). I agreed as it's a great way to promote your music. But they asked me what's my expected income from that and I have no idea how much I should charge them. The tracks are my original works, unreleased so there is no problem with getting in touch with a record label etc. Then also comes the royalties etc.. Can someone explain to me how it all works?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13165" PostHistoryTypeId="1" PostId="7779" RevisionGUID="4a914827-232e-45eb-a0dd-5906df28b6b8" CreationDate="2011-05-08T11:07:33.133" UserId="1050" Text="How much should I charge for my music being used in a film" ContentLicense="CC BY-SA 3.0" />
  <row Id="13166" PostHistoryTypeId="3" PostId="7779" RevisionGUID="4a914827-232e-45eb-a0dd-5906df28b6b8" CreationDate="2011-05-08T11:07:33.133" UserId="1050" Text="&lt;music&gt;&lt;royalties&gt;&lt;film&gt;&lt;payment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13167" PostHistoryTypeId="2" PostId="7780" RevisionGUID="68d036ac-8c08-4e98-98a3-3baf95a84f8e" CreationDate="2011-05-08T11:53:07.077" UserId="880" Text="I use SoundMiner V4 Pro too.&#xD;&#xA;&#xD;&#xA;In my opinion this is the best software out there! Its very pricey but its well worth it. &#xD;&#xA;&#xD;&#xA;If you are spending 12 hours every day searching for SFX this is the way to go." ContentLicense="CC BY-SA 3.0" />
  <row Id="13168" PostHistoryTypeId="2" PostId="7781" RevisionGUID="758e7cf4-8d7e-4b42-b6dc-b8690d085e6d" CreationDate="2011-05-08T15:26:15.777" UserId="900" Text="Hi,&#xD;&#xA;This is my day job. It entirely depends on the budget of the film, how much of your track is used, and most importantly - how 'well known' or unreplaceable the track is.&#xD;&#xA;If you can get back to me on a few of those questions I might be able to help.&#xD;&#xA;&#xD;&#xA;Tom&#xD;&#xA;(cutting edge group)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13169" PostHistoryTypeId="2" PostId="7782" RevisionGUID="4afa2048-bb12-4d9f-a09b-39b42a528595" CreationDate="2011-05-08T15:29:24.867" UserId="182" Text="Usually the musician and the film producer come into contact through a publisher that arranges the deal (and gets a cut which is rather large nowadays).&#xD;&#xA;&#xD;&#xA;You can be your own publisher in this individual case, which means you have to negotiate the terms by which you make your music available to them. There are draft contracts floating around on the web, so if you google for them, you might find some examples on what goes into such a contract.&#xD;&#xA;Some things that should be covered:&#xD;&#xA;&#xD;&#xA;- exclusivity or non-exclusivity (will they be the only ones that are allowed to use the music or will you also sell/license it to other parties?);&#xD;&#xA;- payment (It is customary that the songs are licensed for a fixed fee, and not for a percentage of something. How much you can ask for a song greatly depends on your track record, 'famousness' and the budget of the film producer. It may be a couple of hundred bucks for a song to a few thousand).&#xD;&#xA;- royalties are usually handled by the collecting agency of your country, if both you and the film maker are registered to them (check out http://en.wikipedia.org/wiki/Royalties#Music_royalties)&#xD;&#xA;- the publishing scope (only for this movie or are they allowed to use it for other productions as well? And what about trailers and 'making ofs'?); &#xD;&#xA;- the publishing medium (dvd, online, but maybe also a separate soundtrack); &#xD;&#xA;- the publishing timeframe (this should include something about possible rereleases); &#xD;&#xA;- the publishing location (think about international releases);&#xD;&#xA;&#xD;&#xA;Many of these items may be a matter of negotiation. In any case, it might be useful to get professional advice from a specialist that can help you establish the terms of the deal.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13170" PostHistoryTypeId="2" PostId="7783" RevisionGUID="1f81caa0-fea8-4a03-8746-3fb747f6dae9" CreationDate="2011-05-08T15:35:32.527" UserId="182" Text="You can install the RAM yourself. It's very easy and can save you over a hundred bucks. The difference between 2.0 and 2.2 is minimal, considering the difference in price. Instead, you could opt for the 2.0 one and do the RAM upgrade yourself.&#xD;&#xA;(check out http://www.ifixit.com/Browse/MacBook_Pro for instructions on how to install the RAM)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13171" PostHistoryTypeId="2" PostId="7784" RevisionGUID="928b6684-fe21-41ac-b5ef-b09af7b1a05b" CreationDate="2011-05-08T17:45:40.553" UserId="1051" Text="KEXP Seattle. You can stream all of the DJ's shows but my personal fav is John Richards. Independant radio. No commercials. Wide variety." ContentLicense="CC BY-SA 3.0" />
  <row Id="13172" PostHistoryTypeId="2" PostId="7785" RevisionGUID="ea747ea0-e1c5-4bbc-89e5-d57f4ac82897" CreationDate="2011-05-08T18:29:28.260" UserId="1044" Text="Two well-known,free resources for a wide-variety of music: Youtube and ITunes Radio&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13173" PostHistoryTypeId="2" PostId="7786" RevisionGUID="59ca915f-ae55-4dc4-a9e7-71d0c9b2f0b0" CreationDate="2011-05-08T21:51:16.217" UserId="1052" Text="Peter Engh makes the SonicOrbit a dedicated MS decoder." ContentLicense="CC BY-SA 3.0" />
  <row Id="13174" PostHistoryTypeId="2" PostId="7787" RevisionGUID="f70d4e64-9d68-4cb1-9c5e-dd11f362d5a7" CreationDate="2011-05-09T05:23:02.490" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am a lecturer at a private university and was wondering if any of my SSD peers have any advice on how to clean up the diaphragms on the various condenser mics that we have. We have the ME 66 mics, the AT 4073 gradient condenser mic's and the AT 8035 gradient condenser mic's. They are constantly being used by students and I am sure that they have never been cleaned. I was out with a friend and he had the ME 66 and when I listened to it, it sounded a lot fuller and cleaner than our mics which made me suspect that they had never been cleaned. There is no buzzing but I am sure that they need a bit of a make over. &#xD;&#xA;&#xD;&#xA;Thanks. &#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="13175" PostHistoryTypeId="1" PostId="7787" RevisionGUID="f70d4e64-9d68-4cb1-9c5e-dd11f362d5a7" CreationDate="2011-05-09T05:23:02.490" UserId="348" Text="How to clean a microphone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13176" PostHistoryTypeId="3" PostId="7787" RevisionGUID="f70d4e64-9d68-4cb1-9c5e-dd11f362d5a7" CreationDate="2011-05-09T05:23:02.490" UserId="348" Text="&lt;cleaning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13177" PostHistoryTypeId="2" PostId="7788" RevisionGUID="a0b549b3-d04d-4189-a598-264fe7009a4e" CreationDate="2011-05-09T08:51:26.007" UserId="863" Text="Hi Chris,&#xD;&#xA;&#xD;&#xA;I'm not sure its something that just anyone can do. You would need to find a specialist to refurbish them. Contact Sennheiser and AT directly to find someone local to you." ContentLicense="CC BY-SA 3.0" />
  <row Id="13178" PostHistoryTypeId="2" PostId="7789" RevisionGUID="a0ca8c97-020b-4087-8cbc-e2b7c40bf9fd" CreationDate="2011-05-09T09:03:58.930" UserId="931" Text="To me it sounds like they need to be serviced.&#xD;&#xA;&#xD;&#xA;I have no experience with the AT's but the ME66 don't seem easy to take appart. I guess you could do some gentle cleaning with a soft brush, but I kind of doubt it will solve your problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="13179" PostHistoryTypeId="2" PostId="7790" RevisionGUID="b64f14ef-46a7-424d-a887-9f231c416258" CreationDate="2011-05-09T12:33:54.003" UserId="238" Text="Maybe a simple question, but how long do silicon bags stay good for. If I keep them with my mics to protect from humidity, do I need to change them occasionally or are they good forever...?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13180" PostHistoryTypeId="1" PostId="7790" RevisionGUID="b64f14ef-46a7-424d-a887-9f231c416258" CreationDate="2011-05-09T12:33:54.003" UserId="238" Text="Silicon Keep-Dry Bags" ContentLicense="CC BY-SA 3.0" />
  <row Id="13181" PostHistoryTypeId="3" PostId="7790" RevisionGUID="b64f14ef-46a7-424d-a887-9f231c416258" CreationDate="2011-05-09T12:33:54.003" UserId="238" Text="&lt;humidity&gt;&lt;silicon&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13182" PostHistoryTypeId="2" PostId="7791" RevisionGUID="d8aeba22-63d6-449a-b9c6-5497269ff3b1" CreationDate="2011-05-09T15:48:15.823" UserId="2" Text="I really wouldn't attempt to clean a mic myself. I think it's a good time to get it serviced and checked up. (unless that's also what you mean). &#xD;&#xA;&#xD;&#xA;I brought my mic to Sennheiser South Africa and they serviced it for free... Not sure if they would have charged me if it were damaged. They even cleaned some corosion off my cable. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13183" PostHistoryTypeId="2" PostId="7792" RevisionGUID="a7c54f16-4304-4504-aa62-f8934b1c958d" CreationDate="2011-05-09T19:16:25.723" UserDisplayName="user49" Text="I use the Pelican Peli Desiccant Silica Gel containers and they are listed as 'reuseable' so as long as moisture is removed from them I presume they can be reused indefinitely" ContentLicense="CC BY-SA 3.0" />
  <row Id="13184" PostHistoryTypeId="2" PostId="7793" RevisionGUID="5e3039d5-f584-497a-a11c-fdec0b68c5ba" CreationDate="2011-05-09T19:18:13.983" UserId="558" Text="Did you compare the 2 mics on the same PA system?  If not, it is likely that you are hearing a difference in PA's amps, Speakers, rooms, and even mic placement ( how close to the mouth the mic is held makes a HUGE difference in the sound) and not Mics.&#xD;&#xA;&#xD;&#xA;I am reading your comments 'cleaner' and 'fuller' as high frequency response and lower frequency response (I could easily be wrong here).  Older and badly treated mics will lose their high frequencies.   The lows - specifically low-mids associated with male voices - are not going to fade as much." ContentLicense="CC BY-SA 3.0" />
  <row Id="13185" PostHistoryTypeId="2" PostId="7794" RevisionGUID="b8cf9b41-f879-4a07-8b27-974aa4a85782" CreationDate="2011-05-09T19:20:32.660" UserId="220" Text="Right, so, mics are delicate but they're not made of wafer-thin glass :)  Here's some things you can do to clean up your mic:&#xD;&#xA;&#xD;&#xA;-Any grilles or screens can be taken off and given a nice wash in warm water, then rubbed with isopropyl alcohol to make sure it's completely dry and princess pretty.  &#xD;&#xA;&#xD;&#xA;-If you have a capsule-type mic, take the capsule off and wipe down the contacts with a slightly damp alcohol-soaked cotton swab.  &#xD;&#xA;&#xD;&#xA;-You *can* clean the diaphragm, just be careful.  I've used damp swabs, but I've been told for more delicate mics, use a little cheap paint brush, stick it into a stream of steam coming off of boiling water or a teakettle for a few seconds to get it damp, and then gently brush off all dust and schmutz.  [Read this linkydo for good info.][1]  He brings up the point that some old mics use PVC in the diaphragms, so know what you're working with before you dive in.  If your diaphragm is in serious trouble, it should be replaced professionally.  You'll know if this is the case - it should sound terrible.  &#xD;&#xA;&#xD;&#xA;-Down on the connector side, your XLR can get pretty nasty. These are pretty easy just to replace.  There's a little screw holding it in - take it out.  These are just the connector portion of any XLR cable connector.  A little solder and you are set.  If you're not comfortable with soldering, there are crimp and screw down terminal connectors as well, although soldering will be the best way to preserve the cable length that may be a bit precious.&#xD;&#xA;&#xD;&#xA;-I regularly use [CAIG Labs DeoxIT][2] to keep the XLRs in good shape.  Just squirt in a little bit, then use an XLR cable end to work it onto the pins and wipe up any excess.  I would ask the rental/borrow department at the school to make this part of their check-in process.&#xD;&#xA;&#xD;&#xA;And, of course, if it ain't broke - don't clean it!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.josephson.com/clean.txt&#xD;&#xA;  [2]: http://store.caig.com/s.nl/sc.2/category.188/.f" ContentLicense="CC BY-SA 3.0" />
  <row Id="13186" PostHistoryTypeId="2" PostId="7795" RevisionGUID="67b446ba-ccce-4ca1-9acf-ba71615c0530" CreationDate="2011-05-09T20:31:40.630" UserId="290" Text="Hey There,&#xD;&#xA;  I just finished a mix session with a client. He's a creative guy, very into sound, but I found myself with a collaboration issue I really don't have an answer to.&#xD;&#xA;  That is, I would hear stuff he just wouldn't. Maybe an eencie bit excess bass here, or the timing being slightly off on something. Milliseconds. It all makes a difference that everyone *feels* but only someone trained in audio, or with a very particular ear, would *notice*. &#xD;&#xA;  And that's stuff we have to approach in the mix, right? I mean, that's why we get hired - because we notice stuff most people don't. But when you're mixing, and the client's right there, and every minute is worth x dollars to them, and you're describing what you're doing but the client genuinely doesn't hear a difference, what do we do?&#xD;&#xA;&#xD;&#xA;  Mind you, I'm not talking here about a client who disagrees with the mixer. It's my firm position that, in those situations, the client is *always* right, because it's their project and they just know it better than you do. What I'm talking about is when the work is so subtle / nitty-gritty, or not even *so* subtle and nitty-gritty, but just subtle enough that the client can't hear it, or doesn't know how to hear it.&#xD;&#xA;&#xD;&#xA;  Do you take pains to make sure the client *can* hear the difference? Do you just move on and ignore it? Obviously, I really don't want to let the client get bored, because if they're bored they're less on their toes creatively. So spending huge amounts of time &quot;fixing&quot; something they don't identify as a &quot;problem&quot; is unappealing. But leaving it unfixed, or unoptimized, or just un-awesome isn't appealing either.&#xD;&#xA;&#xD;&#xA;  The nightmare situation at the extreme end of this challenge, I think, is when a client starts to suspect you're not really changing anything. Fortunately that hasn't happened to me, but I've heard stories. &#xD;&#xA;&#xD;&#xA;  So what do you do?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13187" PostHistoryTypeId="1" PostId="7795" RevisionGUID="67b446ba-ccce-4ca1-9acf-ba71615c0530" CreationDate="2011-05-09T20:31:40.630" UserId="290" Text="Mixing with the client - how to deal with the nitty gritty" ContentLicense="CC BY-SA 3.0" />
  <row Id="13188" PostHistoryTypeId="3" PostId="7795" RevisionGUID="67b446ba-ccce-4ca1-9acf-ba71615c0530" CreationDate="2011-05-09T20:31:40.630" UserId="290" Text="&lt;mixing&gt;&lt;collaboration&gt;&lt;subtlety&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13189" PostHistoryTypeId="2" PostId="7796" RevisionGUID="772a7066-beda-4ab3-9abe-aec5d0c8bd5e" CreationDate="2011-05-09T20:53:14.257" UserId="46" Text="I try to focus on what they care about first, especially if they're sitting right next to me or over my shoulder. As you said, the last thing you want to do is frustrate your client by messing with something they can't really hear or don't care about.&#xD;&#xA;&#xD;&#xA;If you sense their impatience, drop a note or marker to yourself and fix it when they go to the bathroom, are on a phone call, or before your final print.&#xD;&#xA;&#xD;&#xA;In the end, client trumps craft. Do your best to squeeze in all that extra craft and care that you can, but remember that in a lot of situations, it doesn't necessarily matter how GOOD you are that keeps the job for you - it's the relationship with your producer, director, editor, etc.&#xD;&#xA;&#xD;&#xA;Speed will work to your advantage too - if you can solve the problem quickly and unobtrusively, even better!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13190" PostHistoryTypeId="2" PostId="7797" RevisionGUID="8ba92d62-0344-404b-a56d-2f5c3d5ad1ce" CreationDate="2011-05-09T20:56:40.560" UserId="578" Text="I tried the demo for Basehead on Mac - it's relatively inexpensive compared to Soundminer v4 (Pro), but I personally did not really like it. Have now started using Soundminer HD+. It's very good, and fast in both searching and adding metadata. However there's one big issue with it that I failed to notice before purchasing: it only transcodes up to 48kHz. You can still export higher res audio files by simply dragging and dropping, but the transcoding is used for a lot of its more funky project file sorting/organisation functions. In other words, that functionality becomes moot as soon as you're working with files of higher resolution than 48K. For this, you'll need to spend $200 more and get v4 (which I've never used).&#xD;&#xA;&#xD;&#xA;All in all I would still recommend Soundminer HD+, certainly when compared to Basehead which is in its price class, for its ease of use and file search/library management.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13191" PostHistoryTypeId="2" PostId="7798" RevisionGUID="55658661-837b-442b-a2d7-fcf8b2e7788a" CreationDate="2011-05-09T20:57:39.270" UserId="253" Text="Haha, well it's one thing to &quot;apply a 0dB attenuation across all faders&quot; when the client asks for something you strongly think is unnecessary, but i wouldn't worry too much about the client not noticing the differences resulting from the changes you want to make. &#xD;&#xA;&#xD;&#xA;I don't know your exact workflow, but i like to take care of my changes before the client comes in. If we're really pressed for time, though, i mention that i have some small mixing tweaks i want to make later on, and briefly explain them, before moving on with the client's changes. In my experience, they're generally fine with it, and it shows that you're willing to go the extra mile." ContentLicense="CC BY-SA 3.0" />
  <row Id="13192" PostHistoryTypeId="2" PostId="7799" RevisionGUID="d926467e-0b96-4627-bdf3-53fb069acc79" CreationDate="2011-05-09T21:31:13.503" UserId="46" Text="Nice blog article here: http://www.musicofsound.co.nz/blog/gear-for-starting-out-field-recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="13193" PostHistoryTypeId="2" PostId="7800" RevisionGUID="56f90d54-b6da-49f9-97fc-b8425e4004ff" CreationDate="2011-05-09T21:37:01.763" UserId="194" Text="I think the answer here depends on context.&#xD;&#xA;&#xD;&#xA;Is this a film mix?  short?  tv show? industrial?  If its any of those things you probably didn't finish your premix before the client arrived, as those things should be addressed during the premix step.&#xD;&#xA;&#xD;&#xA;Is this a radio spot?  tv or radio spot?  something where the client was hanging around for the entire process?  In that case you should just do as others have said and address client needs first, with a comment that you'll fix the other stuff in another pass later on.  Mark the things you intend to change and move on." ContentLicense="CC BY-SA 3.0" />
  <row Id="13194" PostHistoryTypeId="2" PostId="7801" RevisionGUID="e5d41dd0-d3db-4ceb-9fbe-ce1f362aa305" CreationDate="2011-05-09T23:12:35.837" UserDisplayName="user49" Text="I think you need to clarify whether its a technical issue (ie a foley footstep that is 2F late) or a creative one. If they have signed off on the mix you could be in very dodgy territory to make creative changes without their permission and approval. Inevitably when the project plays in a theatre with crap sound &amp; they call &amp; ask 'did you change anything from when I signed off on it?' You need to be able to answer honestly...&#xD;&#xA;&#xD;&#xA;In a complex mix technical faults are picked up right through until the print master is finished, so saying it should have been fixed in the premix does not reflect reality. Predubs get conformed, VFX get updated, picture conforms sometimes do not match the offline etc etc...&#xD;&#xA;Technical faults must be addressed, your defence in that case is that the mix may be rejected by a QC check if you do not address them....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13195" PostHistoryTypeId="2" PostId="7802" RevisionGUID="81815da8-b243-489a-8911-a5c47a5dfb22" CreationDate="2011-05-10T04:54:28.060" UserId="1054" Text="Hi, first point: i'm finishing a 12 hour editing session but these situation it's so familiar to me that i must leave a comment before go home.&#xD;&#xA;Well, obviously your client doesn't know what he is doing in the studio, you can't tell him that directly because if you do it, you are destroying any possibility of a peaceful relationship, but it is a crucial part of your job to put his ass and ears in the right place. Time and experience teach me that working in sound its a tricky balance between ears and relations with persons. I can't tell exactly how you can pass this communication problem, but that's what it is.&#xD;&#xA;I know that sometimes it's a difficult situation, but maybe a good conversation and a clear definition of workflow can help.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13196" PostHistoryTypeId="2" PostId="7803" RevisionGUID="0b9f1d4c-16bf-415f-8bce-7b424ff10c1d" CreationDate="2011-05-10T08:28:59.673" UserDisplayName="user80" Text="I would just get your head down and get on with it.  You don't need to stop the client from becoming bored, he or she is an adult.  Work within your time budget and say to the client that if they want to jump in at any time please feel free.  Decide yourself if a change is reasonable within the budget, normally if you want absolute perfection you have to do it in your own time, unpaid.  The main thing is make it as perfect as you can within the budget." ContentLicense="CC BY-SA 3.0" />
  <row Id="13197" PostHistoryTypeId="2" PostId="7804" RevisionGUID="0bd3f9bf-7351-4bfe-a73c-2d090ee42eaa" CreationDate="2011-05-10T09:50:43.130" UserId="599" Text="I think Soundminer Pro V4 is a great piece of software. Especially if you are recording lots of your own sound, the metadata options are very good. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13198" PostHistoryTypeId="2" PostId="7805" RevisionGUID="c31e34a4-b457-4ea9-8762-5787e26310fa" CreationDate="2011-05-10T10:47:20.413" UserId="182" Text="From http://en.wikipedia.org/wiki/Silica_gel:&#xD;&#xA;&#xD;&#xA;&gt; Silica gel's high surface area (around 800 m²/g) allows it to absorb water readily, making it useful as a desiccant (drying agent). **Once saturated with water, the gel can be regenerated by heating it to 120 °C (250 °F) for two hours.** Some types of silica gel will &quot;pop&quot; when exposed to enough water.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13199" PostHistoryTypeId="2" PostId="7806" RevisionGUID="8d4f3ad6-c706-418b-a27d-214b41ceebde" CreationDate="2011-05-10T12:19:43.027" UserId="6420" Text="Hi all,&#xD;&#xA;&#xD;&#xA;Went to see Insidious over the weekend. A bit of a scary one I thought! Usual shock tactics where sound was concerned but it did the job of making me crap my pants a few times pretty well!&#xD;&#xA;&#xD;&#xA;There was a scene in the film where a house intruder alarm went off. Boy was it loud! Never really experienced such a continued ear piercing assault like that before. It did the job of making me feel uncomfortable and placing myself a bit more sympathetically with the characters, and it got me wondering if there wear any other films where sound has deliberately been used to make the viewer feel physically uncomfortable? I literally had to put my fingers in my ears at one point! Not that I'm complaining though, it was a fun film to sit through :)&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Andy&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13200" PostHistoryTypeId="1" PostId="7806" RevisionGUID="8d4f3ad6-c706-418b-a27d-214b41ceebde" CreationDate="2011-05-10T12:19:43.027" UserId="6420" Text="Movies made to make you feel uncomfortable.." ContentLicense="CC BY-SA 3.0" />
  <row Id="13201" PostHistoryTypeId="3" PostId="7806" RevisionGUID="8d4f3ad6-c706-418b-a27d-214b41ceebde" CreationDate="2011-05-10T12:19:43.027" UserId="6420" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13202" PostHistoryTypeId="2" PostId="7807" RevisionGUID="1df85780-241b-42aa-ba25-eb336b4667c0" CreationDate="2011-05-10T13:00:49.510" UserId="103" Text="I can think of the opening scene from Gaspar Noe's &quot;Irreversible&quot;...&#xD;&#xA;I'm sooo never watching that movie again! (not that i didn't like it, just way to much)&#xD;&#xA;And Alejandro Gonzalez Inarritu's &quot;Amores Perros&quot; gets really intense/uncomfortable sound wise to on the dog fight scenes" ContentLicense="CC BY-SA 3.0" />
  <row Id="13203" PostHistoryTypeId="2" PostId="7808" RevisionGUID="00d432ed-efc8-493e-be2f-e5a72f2d83e6" CreationDate="2011-05-10T13:26:39.057" UserId="423" Text="This is my sound re-design of a cool video game trailer.  I yanked the audio track and completely re-designed all the sound.  I used the signal generator in Pro Tools and audio from a short recording session in my garage.  I'd like to get some feedback...what I did right/wrong/weird/cool.  Used some drills, screws dropped on cement, me kicking my garage door and more.  Vimeo link below.  Thanks!&#xD;&#xA;&#xD;&#xA;http://www.vimeo.com/23530894" ContentLicense="CC BY-SA 3.0" />
  <row Id="13204" PostHistoryTypeId="1" PostId="7808" RevisionGUID="00d432ed-efc8-493e-be2f-e5a72f2d83e6" CreationDate="2011-05-10T13:26:39.057" UserId="423" Text="Looking for feedback on my sound re-design..." ContentLicense="CC BY-SA 3.0" />
  <row Id="13205" PostHistoryTypeId="3" PostId="7808" RevisionGUID="00d432ed-efc8-493e-be2f-e5a72f2d83e6" CreationDate="2011-05-10T13:26:39.057" UserId="423" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13206" PostHistoryTypeId="5" PostId="7790" RevisionGUID="00669b90-61d0-4b12-bd3f-73d55f38bcad" CreationDate="2011-05-10T13:47:13.457" UserId="6411" Comment="corrected spelling" Text="Maybe a simple question, but how long do silica bags stay good for. If I keep them with my mics to protect from humidity, do I need to change them occasionally or are they good forever...?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13207" PostHistoryTypeId="4" PostId="7790" RevisionGUID="00669b90-61d0-4b12-bd3f-73d55f38bcad" CreationDate="2011-05-10T13:47:13.457" UserId="6411" Comment="corrected spelling" Text="Silica Keep-Dry Bags" ContentLicense="CC BY-SA 3.0" />
  <row Id="13208" PostHistoryTypeId="6" PostId="7790" RevisionGUID="00669b90-61d0-4b12-bd3f-73d55f38bcad" CreationDate="2011-05-10T13:47:13.457" UserId="6411" Comment="corrected spelling" Text="&lt;humidity&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13209" PostHistoryTypeId="2" PostId="7809" RevisionGUID="7b636bfb-8fc0-4cca-b249-2e54798cbe06" CreationDate="2011-05-10T14:03:43.540" UserId="1055" Text="this is great, thou few minuses in my opinion, that are basically a matter of taste...&#xD;&#xA;&#xD;&#xA;first, &quot;music&quot; felt a little bit repetitive...&#xD;&#xA;second, robot(geth, or whatever...i cant remember their race name :) ) at the end...it has these mechanisms on his head, also a lens in his eye, that is a great visual material to make sound for (thou i noticed that you did almost the same sound as in original trailer)..&#xD;&#xA;&#xD;&#xA;ok, the good thing is that i really like your version of glitches and letters typing/appearing over the original trailer ;)&#xD;&#xA;&#xD;&#xA;p.s.: sorry for my not so very good english ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13210" PostHistoryTypeId="2" PostId="7810" RevisionGUID="7e4d4ee3-2427-4241-918e-485417cb2f0a" CreationDate="2011-05-10T14:08:29.523" UserId="1056" Text="Hi Chris&#xD;&#xA;&#xD;&#xA;I have had extensive experience with students and mics - that sad reality is that they do not have respect for the equipment and do not handle it with care. Every time a mic gets dropped or banged against something there is a chance that the diaphragm will sustain some damage. This is a fact of life. A mic with a damaged diaphragm may continue to work, but the sound characteristics will most definitely be affected. Therefore, even if you clean them, the odds are they will not sound much better.&#xD;&#xA;&#xD;&#xA;Is sound quality a crucial factor or is the technique you are teaching more important? If it is the former, you are probably looking at the expense of new diaphragms. Also, unless there is rigorous control over future usage, it will not be long until you are back in the same situation. If it is the latter, I wouldn't bother fiddling with them until they stop functioning altogether.&#xD;&#xA;&#xD;&#xA;Obviously you know your requirements and intentions better than anyone else but, personally, I would send the 4073 to the agents to be refurbished and then lock it away so the students can't get hold of it. Let them screw the others up and, when they do, replace them with something cheap and robust. Our students required mics for field recording and interview purposes, so I bought a pair of EV635As and (nearly 10 years later) they are still going strong.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13211" PostHistoryTypeId="2" PostId="7811" RevisionGUID="c552b521-5cab-4788-a241-5406e657dabb" CreationDate="2011-05-10T15:12:43.230" UserId="1044" Text="Irreversible is definitely a brilliant suggestoin. Any done by Gasper Noe would be. I also would highly recommend any David Lynch films, but most noteworthy would be Eraserhead.&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13212" PostHistoryTypeId="2" PostId="7812" RevisionGUID="d58bc270-e6a0-4355-8c36-92d9e787af2d" CreationDate="2011-05-10T15:17:57.807" UserDisplayName="user6513" Text="If you can get the gel out of the bag, and if they are hard little beads, what you could do to reuse them is put them on a fry pan, without the oil of cause, and heat it up until it changes color. You'll have to put them back into the bag quickly before they start reabsorbing moisture again. &#xD;&#xA;&#xD;&#xA;I've generally given up on trying to use them because they are too troublesome to reuse. Lazy me. Ha" ContentLicense="CC BY-SA 3.0" />
  <row Id="13213" PostHistoryTypeId="2" PostId="7813" RevisionGUID="c539b9e5-12c7-4f4a-8ae6-d9f1c0c7a951" CreationDate="2011-05-10T15:27:05.670" UserId="845" Text="Pan's Labyrinth was a spectacular creepfest.  As was The Orphanage. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13214" PostHistoryTypeId="2" PostId="7814" RevisionGUID="2df304dc-7dde-40bc-a6e1-b0f0e67b308b" CreationDate="2011-05-10T15:29:31.267" UserDisplayName="user6513" Text="From asian cinema&#xD;&#xA;&#xD;&#xA;Audition and Gozu by Takeshi Miike puts me on the edge everytime I watch them. The gore is great, but his SFX designer is pretty damn awesome too. &#xD;&#xA;&#xD;&#xA;Kiyoshi Kurosawa's Pulse (Kairo) is quite a good one too." ContentLicense="CC BY-SA 3.0" />
  <row Id="13215" PostHistoryTypeId="2" PostId="7815" RevisionGUID="9f3f14da-bcdb-4dc0-9157-1e259c86b215" CreationDate="2011-05-10T16:27:34.410" UserId="234" Text="Don't know if it was INTENTIONAL, but in &quot;Blade Runner&quot;, the sound offscreen as Roy is crushing Tyrell's skull still makes me wince... probably worse because you DON'T see it! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13216" PostHistoryTypeId="2" PostId="7816" RevisionGUID="9a345d9b-75e0-4d2a-b275-f6f5a3c98ca9" CreationDate="2011-05-10T16:37:43.457" UserId="234" Text="WOW! Well done. Love the glitch sounds, and the text as @Linas mentioned. I also like how everything goes quiet after &quot;KILLED IN ACTION&quot; for a moment.&#xD;&#xA; &#xD;&#xA;I did find that the robot at the end was a little low in volume, would have liked to have heard more as the energy comes on, and the servos kick in, leading to the flare.  Also I probably would have gone for more crescendo in the score at that point to REALLY kick the audience in the pants for the big reveal. That's the point you can really play with dynamics, building up to loud and then having it all go away as the name comes up. BUT... those are more taste/aesthetic things." ContentLicense="CC BY-SA 3.0" />
  <row Id="13217" PostHistoryTypeId="2" PostId="7817" RevisionGUID="bc33f273-5087-42e8-a424-448867bb50a1" CreationDate="2011-05-10T16:46:43.933" UserId="18160" Text="The Ring - For whatever reason, the sound in that movie disturbed me when I saw it in theaters when I was 15. This is why I am afraid of static/white-noise now.&#xD;&#xA;&#xD;&#xA;The Cell - awesome abstract sound design. Worth the watch in my opinion!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13218" PostHistoryTypeId="2" PostId="7818" RevisionGUID="fdc43c56-d4d5-4a5a-9981-f8bf6532e23f" CreationDate="2011-05-10T17:50:36.663" UserId="6411" Text="I fell down an internet rabbit hole one day and wound up at http://wefuckinglovemusic.blogspot.com/&#xD;&#xA;&#xD;&#xA;While I'm not entirely hip to having to download a mediafire .zip of the album to listen (I would prefer that they stream and offer a way for you to buy), it's a great jumping off point for adding some new artists to my collection." ContentLicense="CC BY-SA 3.0" />
  <row Id="13219" PostHistoryTypeId="2" PostId="7819" RevisionGUID="af205511-ebdf-4f86-b997-6f289dddd145" CreationDate="2011-05-10T19:35:31.193" UserId="432" Text="I agree with what's already been said about the metallic/scrape element (&quot;music&quot;), it's a bit repetitive and dulls the flow of the piece. It's texture is great though!&#xD;&#xA;&#xD;&#xA;If you wanted to rework that element, I'd say to mess with the duration/timing of the phrases, change the frequency content, and apply some additional filtering every now and then. Give that piece of your design some movement and life, and it will really help your pacing." ContentLicense="CC BY-SA 3.0" />
  <row Id="13220" PostHistoryTypeId="2" PostId="7820" RevisionGUID="8483be21-e8b4-45e8-8f47-a420d0f2c6bf" CreationDate="2011-05-10T20:15:08.313" UserId="285" Text="I assume you have this figured out by now since this was asked a while ago but B&amp;H sell it and since it is virtually weightless I am guessing shipping would be pretty cheap if you don't live near by.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.bhphotovideo.com/c/product/703336-REG/Zoom_S_SP02691_Foam_Windscreen_for_H2.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="13221" PostHistoryTypeId="2" PostId="7821" RevisionGUID="ece41b70-42d9-4d67-bebd-6940556f6b36" CreationDate="2011-05-10T20:35:11.907" UserDisplayName="user80" Text="*The Birds* by Hitchcock.  The mix of synths with real birds gives me the creeps." ContentLicense="CC BY-SA 3.0" />
  <row Id="13222" PostHistoryTypeId="2" PostId="7822" RevisionGUID="47750bca-544f-4839-849d-d59bca0bf74b" CreationDate="2011-05-10T23:23:53.940" UserId="1058" Text="Hi, I really hope someone can help me out here!&#xD;&#xA;&#xD;&#xA;Basically we recorded a song at my friends house, and I put it on my usb to bring it home and mix it. Everything shows up, all the tracks and the wav forms. BUT! my asio meter is maxed out. It plays but very very choppy and, well almost inaudible. No matter how much I play with the buffer size and latency compensations the meter won't even come down a percentage.&#xD;&#xA;&#xD;&#xA;Obviously I am working on a different device (M-Audio ultra FROM a tubefire), but that shouldn't effect it like this could it?&#xD;&#xA;&#xD;&#xA;if anyone has an idea it woul be greatly, greatly appreciated. thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13223" PostHistoryTypeId="1" PostId="7822" RevisionGUID="47750bca-544f-4839-849d-d59bca0bf74b" CreationDate="2011-05-10T23:23:53.940" UserId="1058" Text="Moving files from computer to computer with Nuendo." ContentLicense="CC BY-SA 3.0" />
  <row Id="13224" PostHistoryTypeId="3" PostId="7822" RevisionGUID="47750bca-544f-4839-849d-d59bca0bf74b" CreationDate="2011-05-10T23:23:53.940" UserId="1058" Text="&lt;nuendo&gt;&lt;file&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13225" PostHistoryTypeId="2" PostId="7823" RevisionGUID="184ff9a7-a003-4cea-8d70-477115dde08d" CreationDate="2011-05-11T02:01:26.903" UserId="845" Text="Say you were thinking about building little noise modules to sell for a couple bucks each. &#xD;&#xA;&#xD;&#xA;Further, say that you don't yet have a website and though you do in time intend to, at the moment you don't really have the knowhow/time to set up a site with it's own shopping basket. &#xD;&#xA;&#xD;&#xA;Where would you host them?&lt;br&gt;&#xD;&#xA;Is there a BandCamp/Soundcloud for software?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13226" PostHistoryTypeId="1" PostId="7823" RevisionGUID="184ff9a7-a003-4cea-8d70-477115dde08d" CreationDate="2011-05-11T02:01:26.903" UserId="845" Text="Selling stuff..." ContentLicense="CC BY-SA 3.0" />
  <row Id="13227" PostHistoryTypeId="3" PostId="7823" RevisionGUID="184ff9a7-a003-4cea-8d70-477115dde08d" CreationDate="2011-05-11T02:01:26.903" UserId="845" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13228" PostHistoryTypeId="2" PostId="7824" RevisionGUID="cb44662e-35dd-48d9-92bc-49b7c036396b" CreationDate="2011-05-11T03:27:59.873" UserId="393" Text="I'm sure you could make Etsy work for it." ContentLicense="CC BY-SA 3.0" />
  <row Id="13229" PostHistoryTypeId="2" PostId="7825" RevisionGUID="90d0762f-f1be-4663-be49-28700f007524" CreationDate="2011-05-11T03:48:24.463" UserId="693" Text="You could also use ebay. &#xD;&#xA;&#xD;&#xA;However, it's pretty easy to buy a webdomain and server space, set up a wordpress site from a template and incorporate a paypal account into a website to sell your stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="13230" PostHistoryTypeId="2" PostId="7826" RevisionGUID="d252db11-b9ec-4966-a140-a20594477a6b" CreationDate="2011-05-11T04:39:08.243" UserId="693" Text="There are certain parts of &quot;Requiem for a Dream&quot; that just really make my skin crawl. Not simply due to the sound, which was quite effective, but also the content matter. There are also parts of &quot;Black Swan&quot; that get pretty close as well.&#xD;&#xA;&#xD;&#xA;Other mentions off the top of my head:&#xD;&#xA;- Tod Brownings &quot;Freaks&quot; (forever burned into my psyche since I saw it at the early age of 11)&#xD;&#xA;&#xD;&#xA;- Gaspar Noe's &quot;Enter The Void&quot; can be a bit unsettling at times.&#xD;&#xA;&#xD;&#xA;- Shinya Tsukamoto's &quot;Tetsuo - The Iron Man&quot; has some pretty heavy music that I would imagine would be pretty intimidating and definitely have a psychological impact on the listener if you're not into traditional Industrial music and Music Concrete.&#xD;&#xA;&#xD;&#xA;- &quot;Winters Bone&quot; was a bit disturbing to me at times, not because of the sound in the film... but because it's a pretty bleak portrait of some really desolate sections of America and it's really sad to see such a reality.&#xD;&#xA;&#xD;&#xA;- Larry Clarks &quot;Kids&quot; has a similar effect as Winters Bone, not because of the sound, but because of content matter.&#xD;&#xA;&#xD;&#xA;- Tobe Hooper's &quot;Texas Chainsaw Massacre&quot; (the original). It's not the sound in this one either. Oddly enough it's the color scheme in this one that really freaks me out. Maybe it was the type of color processing or something, but the natural lighting combined with the colors just messes me up.&#xD;&#xA;&#xD;&#xA;- The Shining - Not sure why, but the carpet in the hotel freaks me out. I'm fine with the rest of the movie, but the carpet can almost give me nightmares.&#xD;&#xA;&#xD;&#xA;That's all that comes to mind at the moment. If more come up I'll add them.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13231" PostHistoryTypeId="5" PostId="7825" RevisionGUID="ff787f8e-7796-40cb-bc9b-a3a41e163d5e" CreationDate="2011-05-11T06:07:45.280" UserId="693" Comment="addition" Text="You could also use ebay. &#xD;&#xA;&#xD;&#xA;However, it's pretty easy to buy a webdomain and server space, set up a wordpress site from a template and incorporate a paypal account into a website to sell your stuff.&#xD;&#xA;&#xD;&#xA;Oh, and as far as I know there isn't an &quot;App Store&quot; specifically for what you're inquiring about." ContentLicense="CC BY-SA 3.0" />
  <row Id="13232" PostHistoryTypeId="2" PostId="7827" RevisionGUID="c1d15115-0432-4401-99af-7a22a9d6093d" CreationDate="2011-05-11T06:47:24.483" UserId="118" Text="Goodsie.com might suit your needs." ContentLicense="CC BY-SA 3.0" />
  <row Id="13233" PostHistoryTypeId="2" PostId="7828" RevisionGUID="ad085ce7-9d48-4dd9-95d8-95a318c12d2c" CreationDate="2011-05-11T09:20:56.540" UserId="2" Text="I'm doing an installation where I need to simulate the sound of a stadium from the player's perspective. It needs to sound huge and really exciting! I already have some sounds that work from various jobs and recording missions I've had, but I need a ton more!&#xD;&#xA;&#xD;&#xA;**sounds &amp; perspectives** (I can obviously edit and process these sounds)&#xD;&#xA;&#xD;&#xA; - From inside changing room (maybe stomping, distant chanting, players walking)&#xD;&#xA; - From almost out, but still inside (screaming, chanting, stomping, crowd building up)&#xD;&#xA; - From the rugby pitch, with swells of crowd going wild. &#xD;&#xA;&#xD;&#xA;I'm trying to get access to a game over the weekend, but the schedule is super tight (I have three days to do it all, including recording, design and programming). &#xD;&#xA;&#xD;&#xA;Does anyone have some sounds they don't mind letting me use? We can do a swop. Or does anyone know what library (high quality pref) has some of these? It doesn't have to be rugby only, I can mix and match to make it work. &#xD;&#xA;&#xD;&#xA;Thanks so much for any help on this." ContentLicense="CC BY-SA 3.0" />
  <row Id="13234" PostHistoryTypeId="1" PostId="7828" RevisionGUID="ad085ce7-9d48-4dd9-95d8-95a318c12d2c" CreationDate="2011-05-11T09:20:56.540" UserId="2" Text="(Rugby) stadium crowds [request]" ContentLicense="CC BY-SA 3.0" />
  <row Id="13235" PostHistoryTypeId="3" PostId="7828" RevisionGUID="ad085ce7-9d48-4dd9-95d8-95a318c12d2c" CreationDate="2011-05-11T09:20:56.540" UserId="2" Text="&lt;request&gt;&lt;recording&gt;&lt;crowd&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13236" PostHistoryTypeId="2" PostId="7829" RevisionGUID="248f6563-06e3-4a3e-b43c-f1aaff6cb10b" CreationDate="2011-05-11T10:39:52.787" UserId="261" Text="Hey,&#xD;&#xA;&#xD;&#xA;I'm going to a footbal game tonight and was planning on recording some crowd chanting/singing etc. Might only be able record from the 'terrace perspective', but my seat is on the first row... might be something in there for you? &#xD;&#xA;&#xD;&#xA;The games between FC Basel and FC Zürich get quite heated, with a lot of singing, screaming, flares being fired, PA announcements reprimanding flare-firers and the like.&#xD;&#xA;&#xD;&#xA;Will put it on dropbox when I get home tonight..&#xD;&#xA;&#xD;&#xA;Your installation sounds really interesting! Who/what is it for?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 3.0" />
  <row Id="13237" PostHistoryTypeId="2" PostId="7830" RevisionGUID="12f3672e-3980-4b37-9cb4-da273e30f20c" CreationDate="2011-05-11T11:58:53.123" UserId="348" Text="I would offer Nacho Cerda's &quot;Aftermath&quot;, Karim Hussain's Subconscious Cruelty, Audition. These films are both visual and sonically really traumatizing. In Aftermath, it is the stillness of the ambiance in harmony with what is being played out on screen that left me feeling unnerved. Happy mind warping. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13238" PostHistoryTypeId="2" PostId="7831" RevisionGUID="384be945-0fc9-495d-8750-97a0cc1b60dc" CreationDate="2011-05-11T13:02:34.367" UserId="1038" Text="Apologies if this is outside the purview of this forum, but I thought that if people here are doing fun things with all kinds of sound, why not?&#xD;&#xA;&#xD;&#xA;I'm curious to know if anyone here has used a video signal AS an audio signal.  I'm doubly curious to know if anyone has ever recorded video to an audio format (tape, digital, vinyl, etc.), and has then been able to transcode back to video.&#xD;&#xA;&#xD;&#xA;Am I correct in thinking the obstacles have to do with bandwidth?  My understanding is that a black and white video signal can be up to 5 Mhz, obviously problematic for audio media.&#xD;&#xA;&#xD;&#xA;[Pixelvision][1] and [Vinyl Video][2] seem to have overcome these obstacles.  In the case of the former, the solution was to speed up the tape, effectively increasing bandwidth.  I'm not sure about the latter - looks like they've employed some kind of mystery decoder box.&#xD;&#xA;&#xD;&#xA;But what if you wanted to be able to encode and decode video without extra hardware, using the medium's standard speeds/sample rates?  Are there any suggestions on creating a &quot;low bandwidth&quot; video signal, which could maintain useful information in the audio range?  Or would you suspect that the only way to make this happen would be to use some kind of encoder/decoder?  Or the more likely answer, which is that there's something I haven't even thought of!&#xD;&#xA;&#xD;&#xA;-dh&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/PXL-2000&#xD;&#xA;  [2]: http://www.vinylvideo.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13239" PostHistoryTypeId="1" PostId="7831" RevisionGUID="384be945-0fc9-495d-8750-97a0cc1b60dc" CreationDate="2011-05-11T13:02:34.367" UserId="1038" Text="Video As Audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13240" PostHistoryTypeId="3" PostId="7831" RevisionGUID="384be945-0fc9-495d-8750-97a0cc1b60dc" CreationDate="2011-05-11T13:02:34.367" UserId="1038" Text="&lt;video&gt;&lt;signal-processing&gt;&lt;experimental&gt;&lt;weird&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13241" PostHistoryTypeId="2" PostId="7832" RevisionGUID="dc0f4176-8528-412c-91f5-29901b5cd0d1" CreationDate="2011-05-11T13:32:01.310" UserId="194" Text="I also have some football game recordings.  FC dallas vs some other random team.  Vuvzelas, drumming, cheers, fireworks, idling, etc.&#xD;&#xA;&#xD;&#xA;ping me and I'll hook you up." ContentLicense="CC BY-SA 3.0" />
  <row Id="13242" PostHistoryTypeId="2" PostId="7833" RevisionGUID="f5fca550-8f05-48fd-a3b7-68f6bcfc60ba" CreationDate="2011-05-11T13:52:34.453" UserId="636" Text="Hi&#xD;&#xA;&#xD;&#xA;I was wondering if there is a way to mix sounds together using Cubase to create a binaural mix. I've tried the Longcat plugin but it doesn't sound quite right. &#xD;&#xA;&#xD;&#xA;If anyone has any tips it would be greatly appreciated.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="13243" PostHistoryTypeId="1" PostId="7833" RevisionGUID="f5fca550-8f05-48fd-a3b7-68f6bcfc60ba" CreationDate="2011-05-11T13:52:34.453" UserId="636" Text="Binaural Mixing using Cubase" ContentLicense="CC BY-SA 3.0" />
  <row Id="13244" PostHistoryTypeId="3" PostId="7833" RevisionGUID="f5fca550-8f05-48fd-a3b7-68f6bcfc60ba" CreationDate="2011-05-11T13:52:34.453" UserId="636" Text="&lt;binaural&gt;&lt;cubase&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13246" PostHistoryTypeId="5" PostId="7823" RevisionGUID="247bf0d6-38f3-4dce-99b6-19953bc50383" CreationDate="2011-05-11T14:35:58.373" UserId="845" Comment="added 118 characters in body; edited body" Text="Say you were thinking about building little noise modules to sell for a couple bucks each. &#xD;&#xA;&#xD;&#xA;Further, say that you don't yet have a website and though you do in time intend to, at the moment you don't really have the knowhow/time to set up a site with it's own shopping basket. &#xD;&#xA;&#xD;&#xA;Where would you host them?&lt;br&gt;&#xD;&#xA;Is there a BandCamp/Soundcloud for software?&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;I just found a wordpress plugin called Dippsy - http://dippsy.cz.cc/?page_id=57. Looks like just the ticket. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13247" PostHistoryTypeId="2" PostId="7835" RevisionGUID="189a9741-9690-4ddc-81b1-46cfc9f23198" CreationDate="2011-05-11T14:39:09.570" UserId="1060" Text="The Hype Machine is pretty good, it's a music blog aggregator.  It's mostly on the eclectic side, but found lots of good artists there.  http://hypem.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13248" PostHistoryTypeId="2" PostId="7836" RevisionGUID="cfdfcba2-5142-470c-b01a-c3d0854a7004" CreationDate="2011-05-11T14:56:13.677" UserId="103" Text="I never did anything like that, but at [the place i worked at for a while in new york][1], Adam Rokhsar did a lot of cool stuff like that. My favorite was when he played a picture as audio and captured that from the other side of the room and translated the result back to picture. Really cool and unpredictable results.&#xD;&#xA;That was done with Max/MSP&#xD;&#xA;You can check some of his stuff at: [http://makeyourselftransparent.tumblr.com/][2] &#xD;&#xA;&#xD;&#xA;I can put you in touch with him if you want.&#xD;&#xA;  [1]: http://www.harvestworks.org/&#xD;&#xA;  [2]: http://makeyourselftransparent.tumblr.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13249" PostHistoryTypeId="2" PostId="7837" RevisionGUID="870e94cd-1d31-4c7a-a122-1dcb18c62803" CreationDate="2011-05-11T14:57:34.917" UserDisplayName="user6513" Text="I got intrigued and just had a go at taking the video out of my DVD player into my recorder's line in. Got a constant buzz with some harmonics in the higher frequencies.&#xD;&#xA;&#xD;&#xA;I reckon you're on the right track with bandwidth... you could obviously use a lower bandwidth cable, or one with high impedance or resistance to try to get a usable signal. Perhaps add resistors along the chain? I's guessing you'll end up doing a fair bit of circuit bending if you want to be getting something more interesting.&#xD;&#xA;&#xD;&#xA;On another note, I'm still wanting to try out my new toy. An induction coil pick up that will pick up electrical signals.&#xD;&#xA;http://hydrophones.blogspot.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13250" PostHistoryTypeId="2" PostId="7838" RevisionGUID="25c85043-cce4-4550-87e8-95cbb0e81687" CreationDate="2011-05-11T15:34:13.910" UserId="182" Text="In my recent adventures with recording car sounds I found out that the exterior mics are only usable up to speeds of about 100 km/h (62 mph). Any faster and the wind noise becomes too loud, and over 150 km/h (93 mph) the wind gusts in the fur even started to modulate the rest of the sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm using a widebody Rycote blimp with Windjammer (Schoeps Double Mid-Side setup inside), attached to the car body rear with a big suction cup. Putting the mic on the front or top of the car would make things impossible at much lower speeds already.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What can I do to get even more protection from wind at these and faster speeds?&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(disclaimer: closed track, professional driver, the suction cup holds fine up to 250 km/h)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rycote.com//images/uploads/products/main/010903_STEREO_WINDSHIELD_AD.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="13251" PostHistoryTypeId="1" PostId="7838" RevisionGUID="25c85043-cce4-4550-87e8-95cbb0e81687" CreationDate="2011-05-11T15:34:13.910" UserId="182" Text="Extreme wind protection (100+ km/h)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13252" PostHistoryTypeId="3" PostId="7838" RevisionGUID="25c85043-cce4-4550-87e8-95cbb0e81687" CreationDate="2011-05-11T15:34:13.910" UserId="182" Text="&lt;wind-protection&gt;&lt;windscreens&gt;&lt;cars&gt;&lt;location-recording&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13253" PostHistoryTypeId="2" PostId="7839" RevisionGUID="fd248619-6dba-4b71-b8f6-095958f3736a" CreationDate="2011-05-11T15:53:04.193" UserId="863" Text="IRREVERSIBLE gets my vote, what an amazing stunning film. 127 HOURS is great too... also what always gets me is the sound of the teeth on the curb in American History X" ContentLicense="CC BY-SA 3.0" />
  <row Id="13254" PostHistoryTypeId="2" PostId="7840" RevisionGUID="1f21d2cc-ccc4-4c68-b406-0f3e54fc9d30" CreationDate="2011-05-11T16:47:59.033" UserId="1061" Text="DONT USE STAMINA MODE for Video unless synch is not important.&#xD;&#xA;44.1 will eventually fall out of synch on longer takes&#xD;&#xA;you want to be in 48/16 or 48/24 if you are going to synch for 24fps.&#xD;&#xA;&#xD;&#xA;found this out the hard way ;)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13255" PostHistoryTypeId="16" PostId="7823" RevisionGUID="eea84596-d7b0-4aa3-9c89-d18f86e3e122" CreationDate="2011-05-11T17:17:19.640" UserId="845" />
  <row Id="13256" PostHistoryTypeId="2" PostId="7841" RevisionGUID="5afe54f1-b1e2-48c7-9689-ebe61ffa8b1f" CreationDate="2011-05-11T20:57:37.200" UserId="728" Text="Cannibal Holocaust. 'nuff said." ContentLicense="CC BY-SA 3.0" />
  <row Id="13257" PostHistoryTypeId="2" PostId="7842" RevisionGUID="bfd45e62-001a-49a3-8e37-470f3c4e6cb2" CreationDate="2011-05-11T21:00:21.420" UserId="202" Text="Hi all&#xD;&#xA;&#xD;&#xA;I finally have a Sennheiser mkh-30 to pair with my mkh-60. I bought it used. While checking it, I noticed how the 30 is sensitive to movements and vibrations, even in my Rycote kit: lots of low freq rumble. &#xD;&#xA;&#xD;&#xA;Tomorrow I'll listen to the recording tests in studio, but is it normal? I see in the specs that it goes down to 40 hz, but it really pick up lots of rumble with every slightly movement.&#xD;&#xA;&#xD;&#xA;If it is ok, do you record with your HPF turned on or apply the eq later, in the studio while decoding the MS recording?&#xD;&#xA;&#xD;&#xA;Thanks in advance, and sorry for the dumb question&#xD;&#xA;&#xD;&#xA;Davide" ContentLicense="CC BY-SA 3.0" />
  <row Id="13258" PostHistoryTypeId="1" PostId="7842" RevisionGUID="bfd45e62-001a-49a3-8e37-470f3c4e6cb2" CreationDate="2011-05-11T21:00:21.420" UserId="202" Text="Low freq rumble with Sennheiser Mkh30" ContentLicense="CC BY-SA 3.0" />
  <row Id="13259" PostHistoryTypeId="3" PostId="7842" RevisionGUID="bfd45e62-001a-49a3-8e37-470f3c4e6cb2" CreationDate="2011-05-11T21:00:21.420" UserId="202" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13260" PostHistoryTypeId="2" PostId="7843" RevisionGUID="039d6ec6-94f2-4b81-88a7-4091f2c2a3f7" CreationDate="2011-05-11T22:41:10.557" UserId="1054" Text="As a ADR editor, i love to do everything just by editing (only cut), without using any plugin, (well, sometimes just an hi-pass filter). The results are pretty good, and i appreciate the lo-tech charm of doing everything with almost nothing, besides, i like purepitch from soundtoys and sounshifter from Waves." ContentLicense="CC BY-SA 3.0" />
  <row Id="13261" PostHistoryTypeId="16" PostId="7843" RevisionGUID="039d6ec6-94f2-4b81-88a7-4091f2c2a3f7" CreationDate="2011-05-11T22:41:10.557" UserId="-1" />
  <row Id="13262" PostHistoryTypeId="2" PostId="7844" RevisionGUID="7573a76b-5957-4e8e-a6ed-9a003eea19c4" CreationDate="2011-05-11T22:53:16.820" UserId="693" Text="You might find some interesting/helpful mic'ing techniques in this video.&#xD;&#xA;&#xD;&#xA;[youtube]sY7KhvdtB9I[/youtube]&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13263" PostHistoryTypeId="2" PostId="7845" RevisionGUID="1c0ab086-83fc-499e-9bb3-afc5252ca032" CreationDate="2011-05-11T22:57:37.350" UserId="432" Text="If you don't have a connbox, I'd suggest getting one...or at least using some gaff. tape to fix the mic cable in place. It's been my experience that loose cables are usually the culprit when you get rumble in suspension situations. If you find another solution though, do share." ContentLicense="CC BY-SA 3.0" />
  <row Id="13264" PostHistoryTypeId="2" PostId="7846" RevisionGUID="c3bbbdeb-90c4-45af-b7e2-ba2db2a3c2db" CreationDate="2011-05-11T23:16:54.203" UserId="845" Text="Hmm...&#xD;&#xA;&#xD;&#xA;You could try building a buffer of some kind around the mic position.  Cardboard and duct tape first came to mind, then the rest of my brain kicked in and told me how stupid that was.  &#xD;&#xA;&#xD;&#xA;Can you fit a single rycote inside the double?  I have no idea how you'd rig that up, but it's a thought.&#xD;&#xA;&#xD;&#xA;You could try building an enclosure out of chicken wire or something like that and cover it with a reasonably thick fabric.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13265" PostHistoryTypeId="2" PostId="7847" RevisionGUID="bc6716cb-3303-4fda-a2d3-8a09ccd06cbe" CreationDate="2011-05-12T01:51:47.260" UserId="845" Text="I've actually been looking into something similar lately.&#xD;&#xA;My thoughts on this have been to use something like Max/MSP to do real-time conversions from the MHz range to the Hz and kHz range.&#xD;&#xA;&#xD;&#xA;The problem is that from what I can tell about the light-spectrum distribution of colours, it appears that the exponential pitch/octave progression of sound is not matched by light/video.  In fact, rather than any kind of direct progression (whether linear or exponential) the light spectrum works in frequency band &quot;blobs&quot;, green and violet being the biggest.  This poses an obvious problem for direct (1,000 : 1 or 10,000 : 1 conversion).  I've been looking around for a while to see if anyone has done the math and come up with the necessary equations.  So far I haven't found anything easy enough for me to understand.&#xD;&#xA;&#xD;&#xA;I don't know how &quot;musical&quot; you want your resulting sound to be, but if your aim (like mine) is for anything even approaching consonance, I fear we may have a fair bit of complicated math in our future." ContentLicense="CC BY-SA 3.0" />
  <row Id="13266" PostHistoryTypeId="2" PostId="7848" RevisionGUID="9d2213bb-ab0d-4cd5-b86c-8de9848e50fe" CreationDate="2011-05-12T01:52:03.370" UserId="194" Text="At those speeds drafting is probably going to yield the best results.  You'll probably gain a lot of latitude by placing the mic in such a way as to not have it come into direct wind contact.  &#xD;&#xA;&#xD;&#xA;This usually means placing it on the rear of the vehicle in the jetstream it causes, but you could potentially rig up some other kind of wind shear with another suction cup and some form of fin, though you'd have to test that rig out to make sure it doesn't generate any new noise on its own.  &#xD;&#xA;&#xD;&#xA;I've had good luck by using smaller mics that can be tucked into wind protected corners of vehicles for high speed recordings (just be sure to mechanically isolate them from the frame).  The Sanken COS11 comes with me for every vehicle record I do.  Sanken CUBs work wonders as well.&#xD;&#xA;&#xD;&#xA;wind is an incredibly difficult thing to deal with on vehicle recordings that I haven't personally mastered yet.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13267" PostHistoryTypeId="2" PostId="7849" RevisionGUID="3fa96a31-cfb6-4b58-8bc6-68a7f4bfe36d" CreationDate="2011-05-12T02:00:26.020" UserId="558" Text="Try muting (or deleting) most of the tracks and see if your system behaves better.  If it does, you may need to do something to improve performance (better HD, buffer sizes, driver check, fewer plugs).  &#xD;&#xA;&#xD;&#xA;If not, then you might have a system setup problem (driver check, I/O issues, project settings, etc)&#xD;&#xA;&#xD;&#xA;good luck&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13270" PostHistoryTypeId="2" PostId="7851" RevisionGUID="c605c06f-1b8d-4955-8206-14aabb8130c1" CreationDate="2011-05-12T05:42:04.347" UserDisplayName="user6513" Text="One of the special features on the Master and Commander DVD has a look at how Richard King went about capturing the sound of the sails. I vaguely remember them driving them through a desert at some really fast speeds to for the recordings." ContentLicense="CC BY-SA 3.0" />
  <row Id="13271" PostHistoryTypeId="2" PostId="7852" RevisionGUID="d29ffa5b-3fc2-4445-9b8e-02021224fc5a" CreationDate="2011-05-12T06:38:30.380" UserId="270" Text="I think Rycote make 'Hi Wind covers' designed for more severe wind than just using their normal wind jammers, not sure if they make them for stereo baskets but its worth asking." ContentLicense="CC BY-SA 3.0" />
  <row Id="13272" PostHistoryTypeId="2" PostId="7853" RevisionGUID="ba180ee4-54cc-495e-8fea-0a35963e281a" CreationDate="2011-05-12T07:24:50.570" UserDisplayName="user80" Text="Try switching the mics to a single omni, they are less prone to wind noise. &#xD;&#xA;&#xD;&#xA;You could also add a wind screen directly to the mic.  &#xD;&#xA;&#xD;&#xA;If you reverse the position of the mic, so it is facing away from the direction of travel there will be less wind hitting the capsule directly.&#xD;&#xA;&#xD;&#xA;If you still want stereo attach an omni to each side of the vehicle just behind the rear view mirror which will provide a little additional wind protection. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13273" PostHistoryTypeId="2" PostId="7854" RevisionGUID="3d05fb61-2a8c-4baf-a646-47885019f510" CreationDate="2011-05-12T08:33:06.870" UserId="693" Text="Considering the recent &quot;Osama Death Crowd Field Recordings&quot; conversation... if you actually found some of them then bits of those might be useful if they're nondescript enough. Even ripping some of the audio from youtube using &quot;Audio Hijack&quot; and drowning it in chorus and/or reverb might prove useful for at least a bit of massive crowd/chorusing backfill noise, if not useful for more.&#xD;&#xA;&#xD;&#xA;See that? I'm practically eating my own words from that last thread just a little more than a week later. lol" ContentLicense="CC BY-SA 3.0" />
  <row Id="13274" PostHistoryTypeId="5" PostId="7853" RevisionGUID="e28141ae-2421-4015-a9db-6bc3c03ac6e4" CreationDate="2011-05-12T09:01:40.103" UserDisplayName="user80" Comment="deleted 85 characters in body; added 7 characters in body; added 17 characters in body" Text="Try switching the mics to a single omni within the blimp, they are less prone to wind noise. &#xD;&#xA;&#xD;&#xA;You could also add a wind screen directly to the mic.  &#xD;&#xA;&#xD;&#xA;If you reverse the position of the mic, so it is facing away from the direction of travel there will be less wind hitting the capsule directly.&#xD;&#xA;&#xD;&#xA;If you still want stereo attach a spaced omni pair to the rear of the vehicle. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13275" PostHistoryTypeId="2" PostId="7855" RevisionGUID="0d1326bd-fd94-4cf5-b511-0c7bfee0e23f" CreationDate="2011-05-12T14:08:44.430" UserDisplayName="user80" Text="I would suggest hiring an identical mic and checking if the rumble is still present.  If the mic was second hand you might find that the capsule is moving very slightly in the mounting." ContentLicense="CC BY-SA 3.0" />
  <row Id="13276" PostHistoryTypeId="2" PostId="7856" RevisionGUID="75b09f24-6416-478f-b1e9-255de9b88123" CreationDate="2011-05-12T14:22:00.913" UserId="285" Text="I just did a session with a surly cat named Cringer, and got some great sounds out of it.  I have a blog post about it you can find here - http://www.azimuthaudio.ca/&#xD;&#xA;  At the end of the post there is a link to download &quot;The Cringer Collection&quot;, 30 individual files of kitty vocalizations, with Soundminer Metadata.  Feel free to pull them down and add them to your library if you like." ContentLicense="CC BY-SA 3.0" />
  <row Id="13277" PostHistoryTypeId="2" PostId="7857" RevisionGUID="cceccd4c-a86c-4d68-b174-3c7467225561" CreationDate="2011-05-12T14:47:00.503" UserId="29" Text="I've got a Senny MKH MS pair in a Rycote windscreen, with a connbox (dual 3-pin to 5-pin XLR, natch). I've never had an issue with LF rumble from the MKH30 that I can recall, at least with regards to handling noise. I know I always keep the HPF's off on the mics, but I do sometimes use a HPF on the recorder for nature sounds. I think you're on the right track: Get the connbox into your setup and see if it helps. If not, you might consider servicing, but I'd be very surprised if you needed to return the mic due to loose construction or fittings." ContentLicense="CC BY-SA 3.0" />
  <row Id="13278" PostHistoryTypeId="2" PostId="7858" RevisionGUID="212ea28f-5c86-46f6-91ad-13237479ade7" CreationDate="2011-05-12T16:21:30.730" UserId="531" Text="Its an amazingly intuitive sound finder.&#xD;&#xA;[http://www.youtube.com/watch?v=XMLylqa5Gck][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=XMLylqa5Gck&#xD;&#xA;&#xD;&#xA;Load in all of your sounds and it automatically sorts them by similarity.&#xD;&#xA;Pretty damn amazing. &#xD;&#xA;They just released a public beta test. &#xD;&#xA;&#xD;&#xA;Enjoy&#xD;&#xA;&#xD;&#xA;http://soundtorch.com/Default.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="13279" PostHistoryTypeId="1" PostId="7858" RevisionGUID="212ea28f-5c86-46f6-91ad-13237479ade7" CreationDate="2011-05-12T16:21:30.730" UserId="531" Text="Have any of you tried Soundtorch? " ContentLicense="CC BY-SA 3.0" />
  <row Id="13280" PostHistoryTypeId="3" PostId="7858" RevisionGUID="212ea28f-5c86-46f6-91ad-13237479ade7" CreationDate="2011-05-12T16:21:30.730" UserId="531" Text="&lt;design&gt;&lt;management&gt;&lt;data&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13281" PostHistoryTypeId="2" PostId="7859" RevisionGUID="39123006-53e7-408d-a19f-f3cbee63e98f" CreationDate="2011-05-12T16:33:44.427" UserId="863" Text="How were you recording? I've only encountered rumbling when recording some foley, I ended up wrapping the legs of the mic stand in foam and this solved my problem.&#xD;&#xA;&#xD;&#xA;Also depending on the room, you can sometimes pick up what sounds like rumble, but its just the tone of the room." ContentLicense="CC BY-SA 3.0" />
  <row Id="13282" PostHistoryTypeId="2" PostId="7860" RevisionGUID="fd20bcf5-b9eb-46e7-9aae-0ebcbd7b815c" CreationDate="2011-05-12T17:19:08.167" UserId="1063" Text="Looks pretty cool...quite similar to Diego Schwartz's [CatArt][1] built with Max/MSP and FTM - a wonderful tool/instrument&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://imtr.ircam.fr/imtr/CataRT" ContentLicense="CC BY-SA 3.0" />
  <row Id="13283" PostHistoryTypeId="2" PostId="7861" RevisionGUID="0d109c0d-185b-4d13-9724-8335a6642010" CreationDate="2011-05-12T17:21:50.493" UserId="565" Text="I've tried the beta, and after a conversation with the developer, it doesn't work so well with WinXP yet, but they are working on it.  I'm going to be upgrading to Windows 7 in the next week or so, so I'll give an update once I'm able to play with it." ContentLicense="CC BY-SA 3.0" />
  <row Id="13289" PostHistoryTypeId="2" PostId="7863" RevisionGUID="3087669e-5ac2-4b1b-bde3-629668ffbf25" CreationDate="2011-05-12T21:21:47.207" UserId="786" Text="Great! I would love to run it through our 160.000 sounds archive. I really, really hope they make a mac version!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13291" PostHistoryTypeId="2" PostId="7865" RevisionGUID="f3d94b4d-a4fa-4f77-8b89-aaaa23ef2cf5" CreationDate="2011-05-12T21:42:31.483" UserId="786" Text="Figure of eight microphones such as the MKH-30 are by their design quite a lot more sensitive to movement than other microphone types. I don't remember the exact reason, but it has got something to do with the way it is equally sensitive on both sides of the membrane, making it more sensitive to impacts, wind and very low frequencies. So you need to keep a steady hand when moving it around, especially when recording quieter sounds.&#xD;&#xA;&#xD;&#xA;I have used (rented) a lot of different Sennheiser MS microphone setups (MKH-40/30 or MKH 50/30) over the years, and I have often experienced more rumble related to movement on the MKH-30 compared to the other microphone.&#xD;&#xA;&#xD;&#xA;So it may not be a faulty microphone, but I think it is a good idea to compare your MKH-30 with another MKH-30 anyway.&#xD;&#xA;&#xD;&#xA;With the right rycote and cables you should be able to get a useable recording, even if you and the rest of the crew are running." ContentLicense="CC BY-SA 3.0" />
  <row Id="13293" PostHistoryTypeId="2" PostId="7867" RevisionGUID="90153382-91b5-4bfa-b1e5-daadd667048a" CreationDate="2011-05-13T00:24:46.900" UserId="693" Text="I really hope it makes all those sputtering and morphing sounds when you use it and there isn't any additional sound design done to the video demo. Would be wicked to use it for doing sound design itself." ContentLicense="CC BY-SA 3.0" />
  <row Id="13294" PostHistoryTypeId="2" PostId="7868" RevisionGUID="a75786a9-8250-4fa7-879c-0dac7eb18f41" CreationDate="2011-05-13T02:29:46.353" UserId="845" Text="WaveArts (I'm pretty sure it's them) also makes a plug that does 3D modeling. I was never a huge fan of plugins that do that stuff... as you said they never sound quite right. &#xD;&#xA;&#xD;&#xA;Sadly, the only way to get it as good as real is to record it as good as real. For the time being anyway. &#xD;&#xA;&#xD;&#xA;However, there is a lot to be said for very careful EQing to place things in the stereo field. Appropriate leveling will do a lot of the work for you too. But to get the sound behind you, you really need to record it binaurally. &#xD;&#xA;&#xD;&#xA;You could try worldizing your samples and moving a baffle (a sweater or small (quiet) pillow) in front of your mics to approximate the frequency interference of your pinna. I've never tried it, but it seems like it could work, kinda. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13295" PostHistoryTypeId="2" PostId="7869" RevisionGUID="47a5d48b-bbe0-496d-93a9-cc75a7ca88d0" CreationDate="2011-05-13T05:25:58.347" UserId="1044" Text="I was curious how many of you went to school (and where about if so) and how many of you picked up your craft in another way (how so?).&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13296" PostHistoryTypeId="1" PostId="7869" RevisionGUID="47a5d48b-bbe0-496d-93a9-cc75a7ca88d0" CreationDate="2011-05-13T05:25:58.347" UserId="1044" Text="How many of you went to school for sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13297" PostHistoryTypeId="3" PostId="7869" RevisionGUID="47a5d48b-bbe0-496d-93a9-cc75a7ca88d0" CreationDate="2011-05-13T05:25:58.347" UserId="1044" Text="&lt;sound-design&gt;&lt;film-school&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13298" PostHistoryTypeId="2" PostId="7870" RevisionGUID="9f4cefb6-f1f9-4d35-aefd-3fce1bcd896a" CreationDate="2011-05-13T06:23:32.783" UserId="1005" Text="Well, I'm *currently* going to school for sound at the Savannah College of Art and Design. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13299" PostHistoryTypeId="2" PostId="7871" RevisionGUID="2a352eed-e149-4523-8207-9a2b968115ad" CreationDate="2011-05-13T06:37:50.587" UserId="1065" Text="I graduated from the Recording Workshop (Chilicothe Oh) in 2000. audiio engineering &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13300" PostHistoryTypeId="2" PostId="7872" RevisionGUID="8ccb6c32-be04-43c7-a830-107955e52b36" CreationDate="2011-05-13T07:00:07.253" UserId="371" Text="IAV- Instituto de Audio e Video (Audio and Video Institute, altho there's no video classes at all LOL) in Brazil :) FANTASTIC school! Did Fundamentals of Audio and Pro Tools courses :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13301" PostHistoryTypeId="2" PostId="7873" RevisionGUID="3fa86161-7f17-47f9-b695-d0d9b85bc0b8" CreationDate="2011-05-13T07:02:05.843" UserId="371" Text="The furry wind shield (&quot;dead cat&quot; and other funny names) for this kind of situations is a MUST! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13302" PostHistoryTypeId="2" PostId="7874" RevisionGUID="a7702969-2f84-431e-8328-cb6e2c5d0205" CreationDate="2011-05-13T07:38:48.570" UserId="786" Text="I graduated from the National Danish Film School in 2001, where I studied sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="13303" PostHistoryTypeId="2" PostId="7875" RevisionGUID="6a6890bf-b5bf-44c8-a2d5-53285f38a2a5" CreationDate="2011-05-13T08:18:55.460" UserId="930" Text="Currently studying at the Liverpool Institute for Performing Arts (LIPA). 3 weeks left to go!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13304" PostHistoryTypeId="2" PostId="7876" RevisionGUID="d7f1da45-b4e8-407f-a747-049941d96a65" CreationDate="2011-05-13T09:18:42.697" UserId="1066" Text="Currently in my graduation year sound design at The school of arts Utrecht, The Netherlands. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13305" PostHistoryTypeId="2" PostId="7877" RevisionGUID="b0add0d0-0648-4d6c-9981-65dd0a7a5d91" CreationDate="2011-05-13T09:56:53.530" UserId="618" Text="I'm actually working on the sound design of a short film.&#xD;&#xA;&#xD;&#xA;There are 2 main characters, a young married couple. The man is fly-fishing in a small river, and his wife is embroiding on the bank at the same time. It's all about couple psychology.&#xD;&#xA;Also, the director wants me to treat the sound of the river almost as a character.&#xD;&#xA;&#xD;&#xA;Are there great examples of feature films that would be inspiring in this case ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13306" PostHistoryTypeId="1" PostId="7877" RevisionGUID="b0add0d0-0648-4d6c-9981-65dd0a7a5d91" CreationDate="2011-05-13T09:56:53.530" UserId="618" Text="Need good examples of riverside films" ContentLicense="CC BY-SA 3.0" />
  <row Id="13307" PostHistoryTypeId="3" PostId="7877" RevisionGUID="b0add0d0-0648-4d6c-9981-65dd0a7a5d91" CreationDate="2011-05-13T09:56:53.530" UserId="618" Text="&lt;shortfilm&gt;&lt;short&gt;&lt;examples&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13308" PostHistoryTypeId="2" PostId="7878" RevisionGUID="de509f4f-e617-41a2-9f45-fa7cdb5844e5" CreationDate="2011-05-13T10:07:56.353" UserId="242" Text="HND on Sound Production at Jewel&amp;Esk Valley College in Edinburgh, BSc Honours Degree on Digital Media at Edinburgh Napier University, and currently doing a Masters on Sound Design at the University of Edinburgh." ContentLicense="CC BY-SA 3.0" />
  <row Id="13309" PostHistoryTypeId="2" PostId="7879" RevisionGUID="2666610c-1679-405a-bef9-eb5be48a3642" CreationDate="2011-05-13T10:11:16.603" UserId="863" Text="Graduated, BA Degree in Sound arts and design at University of Arts London, London College of Communication.&#xD;&#xA;&#xD;&#xA;I do not recommend it if you wish to do go into post production for film. On the other hand if you enjoy recording and sound art, go!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13310" PostHistoryTypeId="2" PostId="7880" RevisionGUID="41698364-caac-4293-873a-20f56ccb9479" CreationDate="2011-05-13T10:39:14.120" UserId="103" Text="You HAVE to watch &quot;A river runs trough it&quot;. Its about fly fishing as well.&#xD;&#xA;The sound designer and Re recording mixer was Gary Rydstrom.&#xD;&#xA;It sounds gorgeous and its an awesome film over all.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13311" PostHistoryTypeId="2" PostId="7881" RevisionGUID="59aa92a2-38d4-4318-980c-42e03ea58a0c" CreationDate="2011-05-13T10:40:29.927" UserId="348" Text="Hi all,&#xD;&#xA;&#xD;&#xA;Just wondering if anyone has had any experiences with the Samson GT Studio monitors. I have heard some good things about them and there are some interesting reports out there regarding their performance. But I thought it would be interesting to hear what you SSD's had to say as well. &#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;Chris " ContentLicense="CC BY-SA 3.0" />
  <row Id="13312" PostHistoryTypeId="1" PostId="7881" RevisionGUID="59aa92a2-38d4-4318-980c-42e03ea58a0c" CreationDate="2011-05-13T10:40:29.927" UserId="348" Text="Samson GT Studio Monitors" ContentLicense="CC BY-SA 3.0" />
  <row Id="13313" PostHistoryTypeId="3" PostId="7881" RevisionGUID="59aa92a2-38d4-4318-980c-42e03ea58a0c" CreationDate="2011-05-13T10:40:29.927" UserId="348" Text="&lt;studio&gt;&lt;monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13314" PostHistoryTypeId="2" PostId="7882" RevisionGUID="376c608f-795c-4a75-bbc7-7d7663200d52" CreationDate="2011-05-13T12:00:27.070" UserId="641" Text="I have two Sennheiser EW100 (G1's I think) radio mic kits, but they only put out 10mW and I often have issues with dropouts.&#xD;&#xA;Now I am looking at purchasing the Lectrosonics LMa series of transmitters and the UCR100 receivers, together with the MP152 lapel mics.&#xD;&#xA;Does anyone have experience with the LMa and UCR100 setup and the MP152 microphones?  I'd love to hear your views and comments!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13315" PostHistoryTypeId="1" PostId="7882" RevisionGUID="376c608f-795c-4a75-bbc7-7d7663200d52" CreationDate="2011-05-13T12:00:27.070" UserId="641" Text="Lectrosonics LMa's vs Sennheiser EW100's" ContentLicense="CC BY-SA 3.0" />
  <row Id="13316" PostHistoryTypeId="3" PostId="7882" RevisionGUID="376c608f-795c-4a75-bbc7-7d7663200d52" CreationDate="2011-05-13T12:00:27.070" UserId="641" Text="&lt;radiomics&gt;&lt;lectrosonics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13317" PostHistoryTypeId="2" PostId="7883" RevisionGUID="fd092bb3-432e-4591-a4bf-d99d0b1cd65a" CreationDate="2011-05-13T12:48:30.713" UserId="1055" Text="ok, after reading small reviews, and also looking at the tech specs at samson webpage, i don't think that its a good monitoring system, and also, i don't think that is a good all in one system, basically you got active monitors(with amplifiers inside), also you got cheap 16-bit 44.1kHz/48kHz interface with phantom power...this means it should sound noisy, and knowing overall samson monitors, these shouldn't be better than any of the other samson studio monitors(all of they'r monitors are quite...bad).&#xD;&#xA;&#xD;&#xA;also other thing that there aren't actually good monitors at this price range... you can take one krk monitor that cost a little bit less,but that isn't actually that great too.&#xD;&#xA;&#xD;&#xA;anyway if your budget is small, i think you should go and just listen to them and decide it for yourself, who knows maybe samson did a great job creating these ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13318" PostHistoryTypeId="2" PostId="7884" RevisionGUID="0622330f-8dde-4f3e-a734-84976d797e67" CreationDate="2011-05-13T12:57:18.593" UserId="253" Text="I did an undergrad BA in film and tv at Queensland College of Art, then a MA in Sound Design at AFTRS (Australian Film, TV and Radio School). People seem to put down film school, but good teachers and a flexible/up-to-date curriculum can really funnel that knowledge into your head." ContentLicense="CC BY-SA 3.0" />
  <row Id="13319" PostHistoryTypeId="2" PostId="7885" RevisionGUID="efe6bd27-43d0-4433-81b1-266b167d1a90" CreationDate="2011-05-13T13:47:04.007" UserId="194" Text="[AAS in sound technology][1] from South Plains College in Levelland.&#xD;&#xA;&#xD;&#xA;I learned all of my fundamentals there - acoustics, mic theory, signal flow, electronics, troubleshooting, basic mixing, etc.&#xD;&#xA;&#xD;&#xA;From there I interned, got hired and started learning at warp speed on the job.  Still learning as fast as I can 12 years later.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://catalog.southplainscollege.acalog.com/preview_program.php?catoid=38&amp;poid=565&amp;returnto=698" ContentLicense="CC BY-SA 3.0" />
  <row Id="13320" PostHistoryTypeId="2" PostId="7886" RevisionGUID="3c132a18-6892-4cce-9d8e-bdae8bbb97db" CreationDate="2011-05-13T14:12:48.213" UserId="46" Text="I had a few sound classes in my undergrad curriculum in multimedia but learned most everything about professional audio work on the job at an unpaid internship which shortly thereafter turned into full-time job." ContentLicense="CC BY-SA 3.0" />
  <row Id="13321" PostHistoryTypeId="2" PostId="7887" RevisionGUID="7774d637-ff20-44d0-84ca-b436ebd0bca6" CreationDate="2011-05-13T14:59:13.120" UserId="1067" Text="I have one and it's great value-for-money. Robust build, low self-noise, rich sound.&#xD;&#xA;&#xD;&#xA;Wrote a lengthy review of it on the blog part of my site, with some sample recordings:&#xD;&#xA;&#xD;&#xA;http://www.soundsurvey.org.uk/index.php/survey/blog_comments/1081/&#xD;&#xA;&#xD;&#xA;Note re. Rode blimp - the BP4025 does fit into the blimp, but it's not a good idea to walk around for long with the mic mounted inside. The BP4025 has a head-heavy design, and the swaying motion of you walking can make it work its way loose of the suspension." ContentLicense="CC BY-SA 3.0" />
  <row Id="13322" PostHistoryTypeId="2" PostId="7888" RevisionGUID="06fa32fd-c5e9-456b-8452-8635be75ea00" CreationDate="2011-05-13T15:21:19.933" UserId="217" Text="Hi, I have been working on a few documentaries/interviews over the past few months. More recently, I have been working on a few Ob-Doc TV shows where having to hide Radio Mics on people has been important. More often or not, the characters that I have been working with have been &quot;ordinary people&quot; who haven't really minded a little bit of fudging around to get some right if something needs adjusting.&#xD;&#xA;&#xD;&#xA;I have just been offered a job, where we will be working with UK Prime Minister David Cameron for a few hours. I have to say, I am a little bit nervous and I feel I should prepare my Radio Micing skills to make sure everything goes 100% smoothly.&#xD;&#xA;&#xD;&#xA;Baring in mind this is an Ob-Doc, normally I would tape the mic to the chest of the character and have it under their clothing so it is out of shot. However, I don't think that I will be able to get away with asking Mr Cameron to do this.&#xD;&#xA;&#xD;&#xA;This may ofcourse not be the case and I may only need to boom him, or this may be a sit down formal interview where I can pin a mic to his tie and it remain out of shot. I am yet to hear the full details. But I am asking this questions just so I can be prepared for anything.&#xD;&#xA;&#xD;&#xA;So, I am really interested in what Etiquette people use when working with people of this Profile and how to ensure that I get 100% perfect sound.&#xD;&#xA;&#xD;&#xA;How do you speak to them? &#xD;&#xA;&#xD;&#xA;Where do you place the microphone?&#xD;&#xA;&#xD;&#xA;Where do you place the transmitter?&#xD;&#xA;&#xD;&#xA;How do you make sure they are comfortable with this?&#xD;&#xA;&#xD;&#xA;Is there a 1,2,3 step-by-step guide for this sort of thing?&#xD;&#xA;&#xD;&#xA;I have worked with the producer before, so she must feel confident that I am good enough for this. But there is no harm in brushing up my knowledge before hand.&#xD;&#xA;&#xD;&#xA;I have read alot of the Lapel/Radio mic related threads in the forum already, so I am mostly interested in work Etiquette than mic positioning. However, any pro tips and must have accessory recommendations are also encouraged. &#xD;&#xA;&#xD;&#xA;Thanks, and I will edit this question once I get more details on the style of the shoot." ContentLicense="CC BY-SA 3.0" />
  <row Id="13323" PostHistoryTypeId="1" PostId="7888" RevisionGUID="06fa32fd-c5e9-456b-8452-8635be75ea00" CreationDate="2011-05-13T15:21:19.933" UserId="217" Text="Etiquette when Micing High Profile People " ContentLicense="CC BY-SA 3.0" />
  <row Id="13324" PostHistoryTypeId="3" PostId="7888" RevisionGUID="06fa32fd-c5e9-456b-8452-8635be75ea00" CreationDate="2011-05-13T15:21:19.933" UserId="217" Text="&lt;radiomics&gt;&lt;lapel&gt;&lt;lavalier&gt;&lt;etiquette&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13325" PostHistoryTypeId="2" PostId="7889" RevisionGUID="39d32abc-29d9-4e1b-8c3e-0562dcb9c654" CreationDate="2011-05-13T15:32:12.790" UserId="1067" Text="I deal with 'high profile' people at work sometimes - academics, occasional high-ranking politicians, diplomats etc.&#xD;&#xA;&#xD;&#xA;1. Be polite and pleasant but don't be deferential. Smile and look them in the eye. Don't waste time on small talk. Answer any pleasantries they come out with in a friendly but concise way. You have a job to get on with and so have they.&#xD;&#xA;&#xD;&#xA;2. If you must address anyone as 'sir' or 'madam', only use it once at the beginning of the conversation.&#xD;&#xA;&#xD;&#xA;3. I've never mic'ed up any of those people visting my work, but I'd imagine you wouldn't lay hands on them unless absolutely necessary and you would always proceed this with a 'May I?', explaining what you need to do and waiting for their assent or otherwise. I imagine they can attach mics to lapels and so on for themselves. Point to yourself to indicate where you want the mic to go, not at them." ContentLicense="CC BY-SA 3.0" />
  <row Id="13326" PostHistoryTypeId="2" PostId="7890" RevisionGUID="44ad2473-24b5-4b56-8354-ad1f8fe7a050" CreationDate="2011-05-13T15:52:57.783" UserId="194" Text="Always explain everything you're about to do before you do it, and work confidently.  These people have been miked up countless times, so they're usually privvy to the routine, but they operate at a high level and can smell fear/inexperience a mile away.  In the end, they want to be around people that know how to make them sound good with minimal hassle and they appreciate that situation when they're in it.&#xD;&#xA;&#xD;&#xA;If you're anxious, I would def suggest getting a buddy with a suit on to run a few practice installs.  Have him give you some attitude so you can be prepared for worst case.&#xD;&#xA;&#xD;&#xA;maybe try this:&#xD;&#xA;&#xD;&#xA;&quot;Hello sir, my name is XXX and I'll be miking you up today.  I'm going to pin this mic right there on your clothes and run the cable over here to keep it out of view.  I'll use some gaff tape right here around your collar to keep everything in place.  Great.  Now I'm going to drop this transmitter down the back of your jacket, and you can clip it on your belt there.  I'll switch it on and get you to talk to me in just a moment.&quot;&#xD;&#xA;&#xD;&#xA;that's how I approached Nolan Ryan and his wife anyway.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13327" PostHistoryTypeId="2" PostId="7891" RevisionGUID="d2ddcac6-9f5e-4829-b523-61715fc23038" CreationDate="2011-05-13T16:30:40.663" UserId="217" Text="I did a National Diploma in &quot;Popular Music&quot;, and a BA in &quot;Music, Technoloy and Innovation&quot;. Most of this time was spent playing around with different microphones, hardware and Software packages and gaining confidence in using them. We also learnt alot about acoustics which I do still think about when working.&#xD;&#xA;&#xD;&#xA;I have certainly learnt more since working in the real world. But to get those real world jobs you need to be able to prove that you are interested in the area that you want to work in. Qualifications do help this, but are not a guarantee to get the job.&#xD;&#xA;&#xD;&#xA;After Uni, I interned a few times and ran alot of my own sound recording projects, set up a blog and podcast just to show employers I am interested in what I am doing. I then started to do unpaid projects with other people to build contacts and experience. This was the most important part of my CV and receives alot of attention during interviews.&#xD;&#xA;&#xD;&#xA;I think going to University gave me the confidence to go out and build my portfolio and experience. If I hadn't have gone to University I would probably not have gone down a different route. But that is how I am and the opportunities that I have had. I have met many other people who haven't been to University and still do a great job at what they do." ContentLicense="CC BY-SA 3.0" />
  <row Id="13328" PostHistoryTypeId="2" PostId="7892" RevisionGUID="c5fa9f26-4433-4726-9811-b420983b2c05" CreationDate="2011-05-13T16:44:01.617" UserId="1068" Text="I received a BA in Sound Design/Audio Post-Production from Emerson College in Boston, MA.&#xD;&#xA;&#xD;&#xA;While the classes were alright, I learned the most by spending my weekends in the school's studios and out on set. Academics can only prep you so much for what goes on in the real world, and by simply getting out and doing it, you can learn much more." ContentLicense="CC BY-SA 3.0" />
  <row Id="13329" PostHistoryTypeId="2" PostId="7893" RevisionGUID="cd2cafd4-bf2d-4d6b-8d4d-188af91f7a62" CreationDate="2011-05-13T16:51:46.800" UserId="1068" Text="Always be courteous and polite. I've made a habit of checking with the AD about how the person prefers to be addressed before I interact with them. This cuts down on the chance of them being offended at the get-go. I've also had a producer introduce me, which was exceptionally helpful. &#xD;&#xA;&#xD;&#xA;Everything else that has been said stands. Be polite, courteous, and inform them of what you're doing before you do it. I've worked with a number of people who would stop me halfway through and simply state &quot;Do whatever you need to do! I'll be fine.&quot; Even then, I'll let them know what's going on, which they do appreciate. &#xD;&#xA;&#xD;&#xA;As always, your mileage may vary" ContentLicense="CC BY-SA 3.0" />
  <row Id="13330" PostHistoryTypeId="2" PostId="7894" RevisionGUID="268d7e5a-3e12-4ca6-8369-968ba02a2158" CreationDate="2011-05-13T17:25:44.593" UserId="397" Text="I studied sound engineering in Universidad Vicente Perez Rosales, Santiago of Chile. I had the luck to have amazing teachers. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13331" PostHistoryTypeId="2" PostId="7895" RevisionGUID="16e8cef0-4c81-46e3-a0c3-6212e880fbf3" CreationDate="2011-05-13T17:38:49.910" UserId="517" Text="I studied film with a specialization in sound in USC's Cinema School graduate program. I'll be paying back my student loans for a looooong time, but I wouldn't be a sound designer without having gone through it. The sound faculty is excellent and I learned a lot while I was there." ContentLicense="CC BY-SA 3.0" />
  <row Id="13332" PostHistoryTypeId="2" PostId="7896" RevisionGUID="d9189902-1f99-4e36-870d-825d41ac68b1" CreationDate="2011-05-13T17:41:39.423" UserId="338" Text="I have a cold actually its been going on for almost a week.&#xD;&#xA;&#xD;&#xA;How do you do a mix when you have a cold?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13333" PostHistoryTypeId="1" PostId="7896" RevisionGUID="d9189902-1f99-4e36-870d-825d41ac68b1" CreationDate="2011-05-13T17:41:39.423" UserId="338" Text="What is the best way to mix when you have a cold?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13334" PostHistoryTypeId="3" PostId="7896" RevisionGUID="d9189902-1f99-4e36-870d-825d41ac68b1" CreationDate="2011-05-13T17:41:39.423" UserId="338" Text="&lt;stereo&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13335" PostHistoryTypeId="2" PostId="7897" RevisionGUID="b06a9256-5477-40f7-876e-db31760f62a4" CreationDate="2011-05-13T17:43:10.313" UserId="517" Text="It's been a while since I've seen it, but The River Wild featured a fairly dynamic and large river. Some of the earlier more serene scenes before they hit the rapids and whirlpools might be useful to you." ContentLicense="CC BY-SA 3.0" />
  <row Id="13336" PostHistoryTypeId="2" PostId="7898" RevisionGUID="49341726-cc36-4146-9dd9-5a5719b4db62" CreationDate="2011-05-13T18:09:42.340" UserId="1044" Text="Well, Apocalypse Now (one of the best movies for sound) has a lot of scenes that take place on the river. I'd check it out as a reference. &#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13337" PostHistoryTypeId="2" PostId="7899" RevisionGUID="de8e51e3-61ed-42b7-b2af-a4ed05375d80" CreationDate="2011-05-13T18:11:33.387" UserId="1044" Text="After a hot shower, with a cup of tea!&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13338" PostHistoryTypeId="2" PostId="7900" RevisionGUID="41c2d7e9-0e34-4cfe-9dc6-e37c5331411d" CreationDate="2011-05-13T19:25:21.943" UserId="6411" Text="Poorly! Ha!&#xD;&#xA;&#xD;&#xA;Okay seriously, when I'm sick I lean on my meters/frequency analyzers and try not to do anything too wildly outside of the norm. Taking chances in the mix are best left to healthy ears. I'll also call in a co-worker for a second opinion before it's client time.&#xD;&#xA;&#xD;&#xA;But like @TheSoundMonster, I'll drink hot tea all day. Usually after the third, I start to feel I can hear again. Liquids and steam are your friends.  I have the benefit of having my gym directly across the street which has a steam room. I'll sit in there with a jug of water for 20-30 minutes and just flush the ill out." ContentLicense="CC BY-SA 3.0" />
  <row Id="13339" PostHistoryTypeId="2" PostId="7901" RevisionGUID="bf67998e-7277-43bb-968c-b4c9e5908e31" CreationDate="2011-05-13T19:36:50.123" UserId="253" Text="Great advice from Rene, London and Sam. I used to work on a national TV show, which involved miking up a lot of guests (some of them fairly famous - in australia, at least), and i found that it's not as intimidating as you initially feel it will be.&#xD;&#xA;&#xD;&#xA;Introduce yourself, tell them what you're doing, and do it quickly and effectively. In other words, treat them like anyone else you'd be miking up. They'll probably be busy with something else and ignore you while you do it. However, some people can get a little snippy if it seems to take too long.&#xD;&#xA;&#xD;&#xA;Also, maybe chat to your producer about whether or not they care about a lapel mic being visible. It'll sound a lot better and, if you clip it on neatly, i think it's perfectly acceptable for a TV presenter or politician to have a mic visible; it's just part of the medium. Some producers might have a problem with it, but the average viewer isn't going to see it, or care if they see it." ContentLicense="CC BY-SA 3.0" />
  <row Id="13340" PostHistoryTypeId="2" PostId="7902" RevisionGUID="45499c23-388f-46e3-a83c-f168234ed4d5" CreationDate="2011-05-13T20:57:34.757" UserId="565" Text="Mixing with a full blown head cold is tough.  I've had to endure through it more then a few times.  The first line of defense that I use is an extra long, as hot as you can handle shower first thing in the morning.  I try to not take much in the way of medication as this can make me groggy.  If my ears are plugged I try to chew gum throughout the day.  The constant motion of your jaw can open up the Eustachian tubes to allow them to drain a bit.&#xD;&#xA;&#xD;&#xA;When we break for lunch I'll listen back to what has been mixed to that point on a few different systems (mains, headphones, tv speakers) to make sure the balances are alright and that I haven't EQ'd something more then I normally would to compensate for my plugged ears.  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13341" PostHistoryTypeId="2" PostId="7903" RevisionGUID="b0dea034-1b20-4590-ae04-70d8abc38df5" CreationDate="2011-05-13T21:41:14.957" UserDisplayName="user49" Text="I went to NZFTT Film School in Christchurch in 1990 - my theory is this: if you are going to be a film sound editor, then you need to learn to be a film maker. Sound may be your chosen field, but to actively collaborate in the process of film making you need to have at least a basic understanding of all the other roles.... " ContentLicense="CC BY-SA 3.0" />
  <row Id="13342" PostHistoryTypeId="2" PostId="7904" RevisionGUID="715b3841-558a-498e-8f66-520ae633389a" CreationDate="2011-05-13T22:02:33.440" UserId="88" Text="If hot liquids, steam, and gum-chewing don't get your Eustachian tubes clear, your doctor may be willing to prescribe a heavy-duty nasal spray which can work wonders.  &#xD;&#xA;&#xD;&#xA;Twice over the last six years or so, I've gotten (without a full-blown cold) some weird sinus inflammation whose only symptom was hypersensitivity to low and low mid sounds.  Editing and mixing (accurately) became pretty much impossible, but in each case, my doctor put me on a prescription nasal spray that cleared the issue up almost immediately.&#xD;&#xA;&#xD;&#xA;You can also try the over-the-counter nasal sprays like Afrin, but I don't recommend it as their overuse will actually make your symptoms worse.  Hope you feel better and are mixing clearly soon." ContentLicense="CC BY-SA 3.0" />
  <row Id="13343" PostHistoryTypeId="2" PostId="7905" RevisionGUID="100e52aa-47f1-4eb5-b541-e045db532ffa" CreationDate="2011-05-14T00:04:03.540" UserId="132" Text="It seems like you have some good suggestions for troubleshooting but High Pass Filters are really necessary when you are &quot;cueing&quot; when using a Rycote. Whether it is on a boom or handheld with a pistol grip, you are going to need a high pass.  As Nathan mentioned, the connbox is a step in the right direction. Personally, I feel like the connbox should just be a standard part of the product. If you look at the Rycote product design, you have mics that are suspended by bands and they are designed to move a bit, so that is where he high-pass comes in. The newer lyres don't function this way, but having a 60 Hz roll off is never a bad idea.  The MKHs also have an exaggerated low end, so I can't image having a gentle 60 hz high pass is going to be a real issue for your recording, but it will definitely deal with a lot of &quot;vibration&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13344" PostHistoryTypeId="2" PostId="7906" RevisionGUID="087c5157-b810-475b-95e8-9c1163429d75" CreationDate="2011-05-14T02:49:53.993" UserId="6435" Text="BA in Telecommunications (which was the department that housed the TV and Radio/audio programs) from Michigan State University." ContentLicense="CC BY-SA 3.0" />
  <row Id="13345" PostHistoryTypeId="2" PostId="7907" RevisionGUID="990ba7e8-202d-4eb1-bcd6-3c40d064e213" CreationDate="2011-05-14T03:23:01.413" UserId="6411" Text="Wondering if any of you wandering souls have an idea for backing up your recordings while away from your computers for an extended period of time.&#xD;&#xA;&#xD;&#xA;Here's my deal...&#xD;&#xA;&#xD;&#xA;I'm heading to Spain for a couple weeks and have decided to take a small rig along (M10, MixPre, 4060s) I have a couple of 16gb microsdhc cards to take, but it occurs to me that I don't have a laptop and, as far as I can tell, won't have a way in place to backup any recordings until I return from my trip. Oops.&#xD;&#xA;&#xD;&#xA;One thing I do have is a 32gb iPad and I will be purchasing the camera connection kit over the weekend. From what I've read it won't handle data transfer from anything but a camera, but I though it might be worth a try connector the M10 straight to it. Maybe the files will transfer as .movs? Anyone try this yet? But between the M10 and my camera I wonder how far this will actually get me.&#xD;&#xA;&#xD;&#xA;I have seen a company that makes a portable backup drive that has an sd slot which is an option, albeit a pricey one. But I'm just wondering if anybody here has a more clever solution.&#xD;&#xA;&#xD;&#xA;In the meantime, is there anyone located in Madrid or Barcelona that might be able to transfer media to DVD?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13346" PostHistoryTypeId="1" PostId="7907" RevisionGUID="990ba7e8-202d-4eb1-bcd6-3c40d064e213" CreationDate="2011-05-14T03:23:01.413" UserId="6411" Text="Backing up on the go" ContentLicense="CC BY-SA 3.0" />
  <row Id="13347" PostHistoryTypeId="3" PostId="7907" RevisionGUID="990ba7e8-202d-4eb1-bcd6-3c40d064e213" CreationDate="2011-05-14T03:23:01.413" UserId="6411" Text="&lt;field-recording&gt;&lt;backups&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13348" PostHistoryTypeId="2" PostId="7908" RevisionGUID="ad3a3cc5-0dbd-44d3-b3aa-80cdb6ba3f7c" CreationDate="2011-05-14T05:14:26.977" UserId="693" Text="You could always bring a small cheap card reader and maybe go to a library or an internet cafe to transfer your data to a cloud based system.&#xD;&#xA;&#xD;&#xA;Yes, I know people in Barca. Possibly madrid as well. A couple of Electro making ex-EBM fans at that. I'm sure they'd be down to help and they might even have some good suggestions of stuff to do while you're in the city. They're really good people.&#xD;&#xA;&#xD;&#xA;I'll get in touch with them and see if they're ok with it and I'll get you their contact info through facebook (I'm James Jaret Kojac on there if for some reason you didn't mentally connect this account and that one). When will you be in both those areas? If for some reason they're out of town they may be able to refer you to someone." ContentLicense="CC BY-SA 3.0" />
  <row Id="13349" PostHistoryTypeId="2" PostId="7909" RevisionGUID="c939c645-96a9-4012-8a08-44ae7d33d92a" CreationDate="2011-05-14T09:46:48.977" UserId="202" Text="You could buy a 702 for your everyday use and when needed rent another Sound Devices and link them with the C.Link cable. &#xD;&#xA;&#xD;&#xA;That's what I'm going to do when my recorder (HDP2) die." ContentLicense="CC BY-SA 3.0" />
  <row Id="13350" PostHistoryTypeId="5" PostId="7909" RevisionGUID="6388cf76-9896-4c5a-967c-e99ff595a6f4" CreationDate="2011-05-14T10:02:42.233" UserId="202" Comment="added 9 characters in body" Text="You could buy a 702 for your everyday use and when needed rent another Sound Devices and link them with the C.Link cable. &#xD;&#xA;&#xD;&#xA;That's what I'm going to do when my recorder (HDP2 here too) die." ContentLicense="CC BY-SA 3.0" />
  <row Id="13351" PostHistoryTypeId="2" PostId="7910" RevisionGUID="5967d3f0-e524-40ad-a3c2-2cacaf8c28f8" CreationDate="2011-05-14T11:35:45.940" UserId="63" Text="I am in my graduation year for around 4 years... I still need to pass 2 classes! I was in the Music Technology and Acoustics department in Crete, Greece. I am happy i was there cause i got all the necessary knowledge i needed afterwards. &#xD;&#xA;&#xD;&#xA;I am still not interested to get my diploma though cause it has actually not value at all... I learned afterwards that diplomas are not valuable, but knowledge is! (of course that is my point of view and might not apply for other countries / personalities)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13352" PostHistoryTypeId="2" PostId="7911" RevisionGUID="94a363fc-c96f-4039-8996-aa55256b1564" CreationDate="2011-05-14T14:17:29.923" UserId="298" Text="We all see the downward trend in compact disc usage. Major recording labels refused from CD manufacturing and the global production gently falls. &#xD;&#xA;&#xD;&#xA;But what we have now is the valueless, weightless binary clouds called digital distribution - information in its purest form. I think we are loosing something what always was Additional information, things that help and point our attention along with the sound.&#xD;&#xA;&#xD;&#xA;Now, speaking about the music - as digital form becomes predominate alternative, what will be the next physical form of sharing sound if it ever will, what do you think?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13353" PostHistoryTypeId="1" PostId="7911" RevisionGUID="94a363fc-c96f-4039-8996-aa55256b1564" CreationDate="2011-05-14T14:17:29.923" UserId="298" Text="Your thoughts on the next kind of media storage" ContentLicense="CC BY-SA 3.0" />
  <row Id="13354" PostHistoryTypeId="3" PostId="7911" RevisionGUID="94a363fc-c96f-4039-8996-aa55256b1564" CreationDate="2011-05-14T14:17:29.923" UserId="298" Text="&lt;digital&gt;&lt;cd&gt;&lt;distribution&gt;&lt;future&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13355" PostHistoryTypeId="2" PostId="7912" RevisionGUID="9f3ef876-fe73-4982-ba38-c045841b070d" CreationDate="2011-05-14T15:45:56.097" UserId="182" Text="I'm going into philosophical mode here...&#xD;&#xA;&#xD;&#xA;Are music and sound in their essence not intangible things? &#xD;&#xA;&#xD;&#xA;You can't hold it, own it or touch it. It is the carrier of a recording of that music or sound that is the tangible part, and this has been defined by technological constraints.&#xD;&#xA;&#xD;&#xA;Then, the recording industry added value and desirability to the tangible carrier by supplementing it with visual artwork and a nice casing.&#xD;&#xA;That worked very well, because that made the carrier a collectible, something that has a function even when the music is not played: some people put their favourite records on display, as decoration.&#xD;&#xA;&#xD;&#xA;But if you think about it, now that the carrier becomes intangible, the music itself doesn't lose any value. The act of physically browsing through your tangible music collection might disappear over time, but new forms like the gesture controlled browsing on an ipod/ipad will become the new equivalents I think." ContentLicense="CC BY-SA 3.0" />
  <row Id="13356" PostHistoryTypeId="2" PostId="7913" RevisionGUID="fef9aa87-8eef-4610-9aa2-767e86726af6" CreationDate="2011-05-14T16:06:36.590" UserId="341" Text="As quality is sacrificed in favour of quantity (mp3's and tiny pplastic earphones) I hope we see a return to concerts and live sound events being the best option for experiencing pure audio. Social events opposed to elitist collections. It used to be that if you could hear music and you traced it to its source you would find a musician or a musical instrument. Now you nearly always find a speaker." ContentLicense="CC BY-SA 3.0" />
  <row Id="13357" PostHistoryTypeId="2" PostId="7914" RevisionGUID="01e33e19-b779-4f34-a9db-22bc4077ab19" CreationDate="2011-05-14T16:21:53.273" UserId="596" Text="hi,&#xD;&#xA;i'm looking for a sample library or cheap license music to create a background tune for a production i just finished. desired style is electronic lounge/chillout. any recommendations?&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="13358" PostHistoryTypeId="1" PostId="7914" RevisionGUID="01e33e19-b779-4f34-a9db-22bc4077ab19" CreationDate="2011-05-14T16:21:53.273" UserId="596" Text="chillout/loungy background tune" ContentLicense="CC BY-SA 3.0" />
  <row Id="13359" PostHistoryTypeId="3" PostId="7914" RevisionGUID="01e33e19-b779-4f34-a9db-22bc4077ab19" CreationDate="2011-05-14T16:21:53.273" UserId="596" Text="&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13360" PostHistoryTypeId="2" PostId="7915" RevisionGUID="9dbf1c7e-1215-43c6-a04d-247f60305f64" CreationDate="2011-05-14T16:57:12.483" UserId="1055" Text="if you like something from my older works contact me, i will give it away for free http://soundcloud.com/formatnone&#xD;&#xA;&#xD;&#xA;thou the style might be not so suitable for you...still...check it ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13361" PostHistoryTypeId="2" PostId="7916" RevisionGUID="38a889c1-0309-42cd-bdf3-c22131c17acb" CreationDate="2011-05-14T17:41:21.617" UserId="63" Text="I guess if you have a cold really damages the mixing/editing capabilities you have. So then you have to go with experience and instinct, and of course some anti-cold/flu medicine would help! " ContentLicense="CC BY-SA 3.0" />
  <row Id="13362" PostHistoryTypeId="2" PostId="7917" RevisionGUID="8b68dc9c-d9d3-4a51-82c6-1f78c1735592" CreationDate="2011-05-14T18:24:45.590" UserId="833" Text="Try and support the FLAC format where possible. Physical media probably isn't going to make a big comeback. Also, buying used CD's is both cheaper and sounds better than iTunes compressed downloads." ContentLicense="CC BY-SA 3.0" />
  <row Id="13363" PostHistoryTypeId="2" PostId="7918" RevisionGUID="a26b3208-3770-4258-97f5-b6b47c6fca40" CreationDate="2011-05-14T19:55:08.120" UserId="1044" Text="Killer Tracks is pretty good! http://www.killertracks.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13364" PostHistoryTypeId="2" PostId="7919" RevisionGUID="d4fecd0b-8e91-4000-96b1-5109e3123705" CreationDate="2011-05-14T20:51:38.140" UserDisplayName="user49" Text="I own two of the first FM3 Buddha Machines and they are an interesting means of distributing music - by default the listener is engaged in a form on interaction with them: choosing the loops that play, positioning the devices in acoustic space etc... As a viable &amp; interesting medium how could they be improved? Better fidelity and the ability to transfer new soundsets to them would be a start. And if it was an open platform, other artists could publish music sets for them...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.fm3buddhamachine.com/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13365" PostHistoryTypeId="2" PostId="7920" RevisionGUID="0a475ab1-0f82-4c44-91f5-51cdd4dd5894" CreationDate="2011-05-14T22:05:08.580" UserId="1067" Text="There will be more file formats developed for streaming or downloading, but can't see any new dedicated sound carriers being developed. There will likely just be advances in general-purpose physical memory.&#xD;&#xA;&#xD;&#xA;Vinyl will probably outlive CDs as a niche market, and people will experiment with objects which promote and enable linking to music data, like something with a QR code printed on it that can be handed out.&#xD;&#xA;&#xD;&#xA;I miss the excitement of LPs and 7&quot; singles and the culture of the record shop. They were a great platform for artwork and there's something about the way they age and acquire their patina of creases and scratches which is very appealing." ContentLicense="CC BY-SA 3.0" />
  <row Id="13366" PostHistoryTypeId="2" PostId="7921" RevisionGUID="3a1bb2fa-f00c-404e-aaf2-b94806d8fa3f" CreationDate="2011-05-14T23:22:21.023" UserId="851" Text="I am living in Madrid. Can help you with the backups no problem, depends though when you gonna be traveling through, since i am gonna be out of town for work during a couple of weeks in the coming month. Look for Peter Memmer on Facebook &amp; we'll figure out when and how to hook up...  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13369" PostHistoryTypeId="2" PostId="7923" RevisionGUID="864a4a3b-c523-4d5e-a100-63a920d4a7dc" CreationDate="2011-05-15T02:07:17.353" UserId="1069" Text="I would recommend that you jailbreak your iPad and get iFile.&#xD;&#xA;&#xD;&#xA;iFile basically is a jailbreak app that you get through Cydia (probably the most popular jailbreak app store) that let's you access the files on your iPad like an actual computer. It also lets you access the files of anything you connect to it. Normally the iPad will only let you read the DCIM folder. It's a great file manager, it lets you do anything you can think of like make shortcuts, send files to apps (like Dropbox), move files around, even make zip files.&#xD;&#xA;&#xD;&#xA;I usually take my Zoom H4n and Panasonic TM700 camcorder with me and backup onto my iPad. The H4n doesn't connect to the iPad but the TM700 does. BUT when I connect to the TM700 it only can access the internal storage not the sd card. So yeah, your M10 may not connect, but you can always use the SD card reader for that.&#xD;&#xA;&#xD;&#xA;After I backup of the files I usually make a zip and name and date the file. Sometimes I'll zip the files and upload them Dropbox when I get a chance but usually not since I usually have a lot of 1080p video. If you have 3g, which I wish I had sometimes, I would definitely start backing up as soon as possible onto Dropbox.&#xD;&#xA;&#xD;&#xA;If you aren't jailbroken I would definitely recommend that you do mainly for this one feature. Then you will start fixing all the other limitations Apple puts on the device. Personally I find the thing almost useless if it isn't jailbroken! " ContentLicense="CC BY-SA 3.0" />
  <row Id="13370" PostHistoryTypeId="2" PostId="7924" RevisionGUID="89f1970b-bdae-4c43-be4f-9fbbafce0162" CreationDate="2011-05-15T04:57:37.977" UserId="244" Text="Studied at Leeds Metropolitan University 2005 - 2008 (BSc): &quot;Creative Music and Sound Technology&quot;.&#xD;&#xA;&#xD;&#xA;Quite a broad course of sound design: Music Recording/Film Post/Audio/Interactive Audio Design/Electro Acoustic Music/Psycho Acoustics.&#xD;&#xA;&#xD;&#xA;Fully recommend great tools and facilities and most importantly great teachers!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13371" PostHistoryTypeId="2" PostId="7925" RevisionGUID="fd7dd123-406e-4ee0-a7f9-4dfed2d5200f" CreationDate="2011-05-15T05:36:12.160" UserId="845" Text="Ontario&lt;br/&gt;&#xD;&#xA;Institute&lt;br/&gt;&#xD;&#xA;of&lt;br/&gt;&#xD;&#xA;Audio&lt;br/&gt;&#xD;&#xA;Recording&lt;br/&gt;&#xD;&#xA;Technology&lt;br/&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13372" PostHistoryTypeId="2" PostId="7926" RevisionGUID="8fec62a0-c39b-4f22-82a6-d3123aa55255" CreationDate="2011-05-15T06:59:51.977" UserId="693" Text="This might be a little long winded, but I think I have likely some interesting and unique insight to the question and the information you seek.&#xD;&#xA;&#xD;&#xA;Well, I never attended school for Audio (sort of,like I said... my situation is a bit unique). I started making &quot;Industrial&quot; music (music made mostly with found sounds, samplers, synthesizers and effects) and started working in recording studios by the time I was 17. I realized that I loved sound for picture just as much due to it's similarities with the type of music I was making, where the entire world of sound is your instrument. It took me a while before I was able to secure employment (in the audio industry) where I could get by financially and it took several (re: many unpaid and low paid) internships, but I really value my experiences and I think I made the most of them. &#xD;&#xA;&#xD;&#xA;I started this on the cusp of &quot;Recording Engineering Schools&quot; becoming a prominent and now almost &quot;accepted&quot; thing. I essentially grew up in Winter Park, FL. Which is the home to Full Sail. When I was 18/19 I wanted to go there but I couldn't afford it and thus couldn't attend. I spent the next 10 years working in Music and Post studios, working in a synth museum, getting my hands on any project I could (hopefully it paid). Did sound design for ride installations at Universal Studios Islands of Adventure, Disney World... Industrial work for Lockheed Martin. Actually, a lot of what I did was on the cusp of many other things as well. When I first started it was the mid-90's and the advent of Analog to Digital... and I was in a decent growth market area that then crashed hard after 9/11. I got to learn the best of both technologies, see the struggle to adapt to these seriously new technologies, then the struggle to adapt to the new economy. It's been rough, but I've learned a lot and I'm still here.&#xD;&#xA;&#xD;&#xA;10 Years after my start at the synth museum at 17 I was then called upon to go teach audio post at Full Sail. So oddly, after 10 years of wanting to go there, I finally got my &quot;Full Sail&quot; experience, except it was from the other side of the desk. And being someone who had to beg and fight for every scrap of info that they learned over the previous 10 years; from observing the students there over the course of 2.5 years teaching there... I have realized that an education (no matter what your focus/major is) is only what you make of it. I had amazing students that were sponges trying to soak up every bit of info that any of us had to offer and then there were students that felt like they didn't have to work for it or that they were entitled because of how much money they paid to be there. Some I would hire, some I wouldn't. It really depends on a multitude of things. &#xD;&#xA;&#xD;&#xA;One major flaw that many of the students had was that after they graduated they thought they were &quot;experts&quot;. A formal education is only an introduction. Almost any profession (and especially Audio) is a craft that is mostly learned &quot;hands-on&quot; through trial and error. It's 1/2 Science and 1/2 Art. Hence why we are an internship/apprentice based industry that hasn't had a traditional &quot;formal education/curriculum&quot; until the past 15 years. What it really is is an opportunity to get your hands on equipment that only the combined tuition of many students can buy. The chance to soak up information from a mass group of experienced professionals centrally located in one area where if you really dig and push them for it, you can learn even more than the average student. It's a chance to have an accelerated opportunity to learn things in 2 years that took me 4-6yrs on my own out in the real world. It's also a chance to meet people that you may spend the rest of your life working with. &#xD;&#xA;&#xD;&#xA;It's far too common for instructors/teachers to be apathetic, especially if they've been in the industry and educational field for a while and/or if they're underpaid. If you don't care about your education, neither will they. If you fight for it you will earn their respect and they will go above and beyond for you. Some of them will initially go the extra mile and try and get you interested (I am/was one of those teachers), but you really only get one shot with that. You have to want to make the most of it and no one can care for you. I've seen students graduate on to massive Hollywood films and Academy Awards and Platinum Records to ex-students who now work at Fast Food joints. It's all what you make of it.&#xD;&#xA;&#xD;&#xA;If I were considering hiring anyone to work for me the things I would consider is whether or not they pay attention, how well they listen, how dedicated they are, how much do they care about the quality of their work and are they capable of learning how to improve these things? I could care less if your work isn't groundbreaking as long as you have the aptitude to listen and learn. You could be the next Ben Burtt, but if you can't listen, learn, or you're apathetic to work ethic or you have an ego the size of Russia, then I'd rather have someone with less experience, that might not be able to pull it off 100% yet... but can be trained and encouraged. Work ethic and comprehension go a long way. Skills and experience help as well, but they can also be a drawback. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In the end, in reality all it still really boils down to is &quot;how well do you know your stuff, how good of a job can you do, how well can you listen and learn as well as how fast can you do it and for what price?&quot;&#xD;&#xA;&#xD;&#xA;A degree means nothing if you can't use it to your advantage. Sure, it may show some people you're dedicated and can complete a project (even if that project is simply your degree program). The situation may make you contacts and it may accelerate the amount of time you spend learning certain concepts, but if you still suck after that or you didn't and don't take advantage of your opportunities then none of it matters.&#xD;&#xA;&#xD;&#xA;Anyways... that's my shiny two cents from someone who's been on both sides of the desk from a rather unique perspective." ContentLicense="CC BY-SA 3.0" />
  <row Id="13373" PostHistoryTypeId="2" PostId="7927" RevisionGUID="d83fe06e-72f2-4fdf-80ee-d8c00c214dab" CreationDate="2011-05-15T08:02:07.167" UserId="533" Text="[AudioJungle][1] is a great source for such material. Well. The tracks aren't free but the prices are quite low when compared to buying an entire library. Preview the tracks to see if something suits you. There's also a free track every month and if you're lucky, it might be the track for you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audiojungle.net?ref=hectorlee" ContentLicense="CC BY-SA 3.0" />
  <row Id="13374" PostHistoryTypeId="2" PostId="7928" RevisionGUID="e84b06dd-99fb-4846-9455-3e9b2c59d7b4" CreationDate="2011-05-15T12:05:39.687" UserId="2" Text="Softly... If you listen to loud sounds with a cold, you increase quite a bit your chances of damaging your ears. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13375" PostHistoryTypeId="2" PostId="7929" RevisionGUID="8a59e213-3029-4c29-9a5f-d270d4b34b87" CreationDate="2011-05-15T15:38:18.637" UserId="29" Text="Photographers seem to like the Hyperdrive, a unit like you described, Steve: A hard drive in a case with a card slots and only enough firmware to do dumps of the cards to the internal HD. If you're traveling without a host PC, it's a nice but spendy solution. The specs don't say it won't back up arbitrary file types, but worth asking the company or a salesperson at a big retailer, or getting it early enough to test with. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13376" PostHistoryTypeId="2" PostId="7930" RevisionGUID="3e1ad56c-1836-4485-8562-1e54dbc3b8b6" CreationDate="2011-05-15T17:20:29.197" UserId="863" Text="do you not have an external hard drive and back stuff up at a net cafe/library?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13377" PostHistoryTypeId="2" PostId="7931" RevisionGUID="ce4057da-edcd-4d2b-ba5f-d8fb837ed15c" CreationDate="2011-05-15T17:30:43.970" UserId="863" Text="At every opportunity refer to him as dear." ContentLicense="CC BY-SA 3.0" />
  <row Id="13378" PostHistoryTypeId="2" PostId="7932" RevisionGUID="cc833877-923e-4e34-8c7f-1fcf1f49c927" CreationDate="2011-05-15T17:32:25.437" UserId="6499" Text="For about 300 dollars you can pick up a netbook with built in card reader and usb ports.  That would also allow you to have a small computer to still handle emails and whatnot at cafe's.  Most have about 160GB of HD space plus the ability to hook up external drive.  If all your doing is transferring files, then that would work fine." ContentLicense="CC BY-SA 3.0" />
  <row Id="13379" PostHistoryTypeId="2" PostId="7933" RevisionGUID="01345a71-4eeb-48c7-8d0a-b92ca2124c39" CreationDate="2011-05-15T17:39:50.053" UserId="194" Text="I think there are two basic near to medium term answers:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;1)&#xD;&#xA;&#xD;&#xA;music alone will move mostly to cloud based streaming anywhere type storage - meaning basically you're not going to have anything physical at all.  Pandora, last fm, and others already do this, and Google, Amazon, Apple et all are making major moves in that direction as well.&#xD;&#xA;&#xD;&#xA;Artists and labels will utilize the new infrastructure to get the songs out, then monetize them after gaining popularity by touring and selling licensing rights.  CD sales really won't work as revenue generators for much longer.  &#xD;&#xA;&#xD;&#xA;2) &#xD;&#xA;&#xD;&#xA;Music that requires physical media will still not really have physical media, but will instead move more towards tying itself to visual media.  The proliferation of DSLR video, the quicker easier tools to create animation, and the explosion of inexpensive and good looking video production will force artists to differentiate the songs they really want to push by adding video content.  Video or otherwise visual content is also the only way listeners will sit and take in music as works of art anymore, because people just won't sit and put on a record to hear it play.&#xD;&#xA;&#xD;&#xA;------&#xD;&#xA;&#xD;&#xA;both of those elements are already the present, but in the near and medium term they will just further cement themselves as the absolute norm.  Further out than that is completely unpredictable IMO.&#xD;&#xA;&#xD;&#xA;I'd guess that interactive elements would come further into play, but I have no idea how." ContentLicense="CC BY-SA 3.0" />
  <row Id="13380" PostHistoryTypeId="2" PostId="7934" RevisionGUID="4f8e93a1-f903-4bcc-ac09-406088770725" CreationDate="2011-05-15T17:50:42.480" UserId="6499" Text="I know in Live situations say at speeches and press conferences,  All high level politicians I have dealt,  President, VP, First Lady's etc, have the white house av staff that travels with them.  Usually their assistant, Secret Service, or the AV staff will Mic them up.  From my experience, they generally do it correctly, it is in their best interest that the person they work for sounds great.&#xD;&#xA;&#xD;&#xA;I have also found that generally most high profile has been miced up countless times and they are way way more comfortable with the process than you are haha.  &#xD;&#xA;&#xD;&#xA;But like everyone else said,  Talk them through it step by step,  demonstrate on yourself,  make sure your FREQS and Levels are spot on before you get to them, and have everything you could possibly need with you to do it before approaching them.  &#xD;&#xA;&#xD;&#xA;If it is at an event,  always have a backup plan like planting a lav at the podium, grabbing the house feed.  Sometimes people land and walk right on stage and then off they go." ContentLicense="CC BY-SA 3.0" />
  <row Id="13382" PostHistoryTypeId="2" PostId="7935" RevisionGUID="60a533d4-0598-4f18-b40e-680c061c6729" CreationDate="2011-05-15T18:50:37.667" UserId="1070" Text="I've been working in the industry for almost six years.  I've come across all types of engineers and a majority of them have a hard time hearing.  Recently I've been wondering why this is the case?  How is an industry full of sound professionals lacking in good hearing?&#xD;&#xA;Another curious phenomenon that I've come across is DJs.  DJ's have the worst hearing because they stand in a club all day sometimes with a speaker pointed directly at them and for some reason, they can still get a crowd dancing by their mixing skills.  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13383" PostHistoryTypeId="1" PostId="7935" RevisionGUID="60a533d4-0598-4f18-b40e-680c061c6729" CreationDate="2011-05-15T18:50:37.667" UserId="1070" Text="Damaged Ears are common" ContentLicense="CC BY-SA 3.0" />
  <row Id="13384" PostHistoryTypeId="3" PostId="7935" RevisionGUID="60a533d4-0598-4f18-b40e-680c061c6729" CreationDate="2011-05-15T18:50:37.667" UserId="1070" Text="&lt;ear&gt;&lt;health&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13385" PostHistoryTypeId="2" PostId="7936" RevisionGUID="5e7eeb15-1c46-4bf5-8be5-dd506008b704" CreationDate="2011-05-15T19:25:04.410" UserId="845" Text="That's why I've pretty much quit drinking, smoking, and going to bars of any kind.  People are inconsiderate and extremely noisy to begin with, let alone when they're drunk.  It's a little too much for me to take most of the time.&#xD;&#xA;&#xD;&#xA;There's almost nothing out there that is damaging to the ears that isn't the product of human creation.  So, unless you're willing to go out of your way to avoid it (i.e. stop leaving the house) it's something you'll just have to reconcile yourself to." ContentLicense="CC BY-SA 3.0" />
  <row Id="13386" PostHistoryTypeId="5" PostId="7907" RevisionGUID="1a4f852e-f0c5-41d3-a4ee-91a76f9755d2" CreationDate="2011-05-15T19:46:28.287" UserId="6411" Comment="Update" Text="Wondering if any of you wandering souls have an idea for backing up your recordings while away from your computers for an extended period of time.&#xD;&#xA;&#xD;&#xA;Here's my deal...&#xD;&#xA;&#xD;&#xA;I'm heading to Spain for a couple weeks and have decided to take a small rig along (M10, MixPre, 4060s) I have a couple of 16gb microsdhc cards to take, but it occurs to me that I don't have a laptop and, as far as I can tell, won't have a way in place to backup any recordings until I return from my trip. Oops.&#xD;&#xA;&#xD;&#xA;One thing I do have is a 32gb iPad and I will be purchasing the camera connection kit over the weekend. From what I've read it won't handle data transfer from anything but a camera, but I though it might be worth a try connecting the M10 straight to it. Maybe the files will transfer as .movs? Anyone try this yet? But between the M10 and my camera I wonder how far this will actually get me.&#xD;&#xA;&#xD;&#xA;**UPDATE - The iPad camera connection kit doesn't like connecting straight to the M10. It gives the error of &quot;This accessory uses too much power.&quot; I've temporarily misplaced my microsd card reader. Once I find it I'll try again, but expect to get a similar error.**&#xD;&#xA;&#xD;&#xA;I have seen a company that makes a portable backup drive that has an sd slot which is an option, albeit a pricey one. But I'm just wondering if anybody here has a more clever solution.&#xD;&#xA;&#xD;&#xA;In the meantime, is there anyone located in Madrid or Barcelona that might be able to transfer media to DVD?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13387" PostHistoryTypeId="2" PostId="7937" RevisionGUID="b83c2f7d-be75-48db-93e0-84591ad9eb6f" CreationDate="2011-05-15T19:49:25.710" UserDisplayName="user49" Text="Two things to take with you to a dub stage: an SPL meter &amp; ear plugs!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13388" PostHistoryTypeId="2" PostId="7938" RevisionGUID="e401816f-1b7a-42ce-9343-f212b596fd86" CreationDate="2011-05-15T20:00:34.087" UserId="1063" Text="I have slight tinnitus (almost pure sine tone around 8k) around 4-6dB above my minimum sensitivity threshold from noisy rehearsal rooms and such when I was too daft to know better.  I've tested and had tested my hearing response, which is still pretty good (range/weighting &amp; sensitivity). At low levels the HF drone I hear cuts through a bit, but I barely consciously notice it any more.  The most negative effect was on confidence, after paranoia about it getting worse and affecting my ability to work with detailed sound effectively.  Eventually I figured it's about using what you have effectively...for DJs where you're working off crowd reactions, as long as their hearing's &quot;functional&quot; it can work.  Since I got tinnitus (5 years ago) I've assiduously worn earplugs when necessary and it hasn't gotten worse (or noticeably affected my ability to work), so, err, rock on. And wear earplugs, our health system can only stockpile so many hearing aids..." ContentLicense="CC BY-SA 3.0" />
  <row Id="13389" PostHistoryTypeId="2" PostId="7939" RevisionGUID="0a74e2fb-0160-4685-8440-f06504ec84ff" CreationDate="2011-05-15T21:18:08.173" UserId="300" Text="For what it's worth I've found that less coffee and less booze (.. unfortunately) results in less ringing for me. I got quite paranoid for a while when I moved to the suburbs, because it's dead quiet and all of a sudden my ears were keeping me awake at night! I'd read nightmare stories about things like Menieres and figured I was going down that path. &#xD;&#xA;&#xD;&#xA;Alas! less rum.. less beans.. less tinnitus.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13390" PostHistoryTypeId="5" PostId="7939" RevisionGUID="b1589b6c-f294-4e3a-b091-e81628843e8d" CreationDate="2011-05-15T21:34:30.847" UserId="300" Comment="deleted 2 characters in body" Text="For what it's worth I've found that less coffee and less booze (.. unfortunately) results in less ringing for me. I got quite paranoid for a while when I moved to the suburbs, because it's dead quiet and all of a sudden my ears were keeping me awake at night! I'd read nightmare stories about things like Menieres and figured I was going down that path. &#xD;&#xA;&#xD;&#xA;Alas! less rum.. less beans.. no tinnitus.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13391" PostHistoryTypeId="2" PostId="7940" RevisionGUID="ea0ed0f0-6094-4d93-afc1-3348b8f308fa" CreationDate="2011-05-15T22:46:19.543" UserId="300" Text="I'm recording a couple of cars for a film, and they need to sound like theyre on their last legs.&#xD;&#xA;&#xD;&#xA;I don't actually know any mechanics, so does anyone know if I'll damage anything by .. pulling off a lead to one of the spark plugs for example? Or adjusting the timing?&#xD;&#xA;&#xD;&#xA;Anyone else done something similar?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And is there a way to force a car to backfire?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Cheers for any suggestions!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13392" PostHistoryTypeId="1" PostId="7940" RevisionGUID="ea0ed0f0-6094-4d93-afc1-3348b8f308fa" CreationDate="2011-05-15T22:46:19.543" UserId="300" Text="How to make a car sound bad?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13393" PostHistoryTypeId="3" PostId="7940" RevisionGUID="ea0ed0f0-6094-4d93-afc1-3348b8f308fa" CreationDate="2011-05-15T22:46:19.543" UserId="300" Text="&lt;cars&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13394" PostHistoryTypeId="2" PostId="7941" RevisionGUID="5c458cb5-c78a-4dcd-8a02-5151e3ca8d2a" CreationDate="2011-05-15T23:05:52.123" UserId="6669" Text="I don't know if I'd go screwing around with unplugging/unscrewing too much of a big mass of running metal and gasoline without some proper supervision, nor do you want to pay for having to repair the thing if you make any big slip-ups.&#xD;&#xA;&#xD;&#xA;That said, some amateur ideas:&#xD;&#xA;&#xD;&#xA;* Why not pop in to a local mechanic and ask what you can do to get the machine sounding a bit grimier at the front desk? If you tell them what it's for, they might be intrigued and have some great ideas for you.&#xD;&#xA;&#xD;&#xA;* Taking the muffler off would probably help to lend a little more of a raw, beaten-up sound to the vehicle.&#xD;&#xA;&#xD;&#xA;* Maybe also try poking your mic configuration around until you find one or two spots that rattles (if they're there), then make sure you bring that layer up in the pre/final mix.&#xD;&#xA;&#xD;&#xA;Interested to see what everyone says in here! I'm editing/premixing a big chase scene right now and am becoming super interested in the mechanics of really nasty-sounding cars." ContentLicense="CC BY-SA 3.0" />
  <row Id="13395" PostHistoryTypeId="2" PostId="7942" RevisionGUID="034b5cb5-d888-4b4f-8baf-80998766e75c" CreationDate="2011-05-15T23:10:37.450" UserId="830" Text="For me it was being a naive teenager in a rockband and one a-hole of a music teacher that make sure that us noise people practiced in the most inappropriate room (all concrete)  in the school. No earplugs and little sense, but working in clubs mixing in my 20's didn't help the issue either. Training about noise and earring damage needs to be done early on and anyone that put someone into danger knowingly should be charged or fined or something.&#xD;&#xA;&#xD;&#xA;I always carry earplugs in my wallet now, and generally avoid working in loud environments, I also don't go out to concerts anymore (except in a very blue moon)." ContentLicense="CC BY-SA 3.0" />
  <row Id="13396" PostHistoryTypeId="2" PostId="7943" RevisionGUID="32ed9cbc-8506-4078-953f-08aa57a41067" CreationDate="2011-05-15T23:54:45.377" UserId="1045" Text="You're right. I have found the same thing to be true. I am very protective of my ears and what I expose them too. (Maybe to a point of annoying my wife.) I know a lot of guys who blare their music at dbs that would I would never think of, or go to car races and other sporting events where you know it's going to be loud. You only get one shot with your ears and if you're going to make money with them you are choosing that lifestyle. &#xD;&#xA;&#xD;&#xA;Ear plugs are good to keep on you." ContentLicense="CC BY-SA 3.0" />
  <row Id="13397" PostHistoryTypeId="2" PostId="7944" RevisionGUID="dd40ae9c-f3ea-4c3c-a9f6-e8d3e4aa96d4" CreationDate="2011-05-16T00:00:13.243" UserId="1070" Text="Does Tinnitus severely affect youability to mix or design and has the ringing ever gone away" ContentLicense="CC BY-SA 3.0" />
  <row Id="13398" PostHistoryTypeId="2" PostId="7945" RevisionGUID="1c663007-6371-4c46-ab49-8abad566dfe0" CreationDate="2011-05-16T00:11:55.410" UserId="1072" Text="Like Luca pointed out mic configuration and placement is key. Point around and look for rattles or elements you may want to layer in and use. &#xD;&#xA;&#xD;&#xA;It could be great if you can try and find a car that you can abuse a little to produce some sounds.&#xD;&#xA;&#xD;&#xA;Maybe loosen a heat shield covering the exhaust under the engine or add a metal plate to induce a rattle.&#xD;&#xA;&#xD;&#xA;Pull one of the ignition cables going to one of the spark plugs so that one cylinder does not fire. This will produce a poor idle and engine performance. &#xD;&#xA;&#xD;&#xA;Putting holes in the exhaust system and close micing the exhaust can add a layer too&#xD;&#xA;&#xD;&#xA;Breaking off pieces of the radiator fan and leaving them hanging will make a horrible sound as well...&#xD;&#xA;&#xD;&#xA;Depending on what the image calls for and how far you are able to go with it.&#xD;&#xA;&#xD;&#xA;For a comedic engine effect, I often like to use a higher pitched and smaller, struggling engine sound to give off the impression the motor is trying much harder that it should be. &#xD;&#xA;&#xD;&#xA;In one film, a character was riding a motor powered bar stool and we wanted to come across this way, so we recorded a small 49cc pocket bike with a heavy driver to give the impression. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13399" PostHistoryTypeId="2" PostId="7946" RevisionGUID="3759e99c-397c-4961-9049-a1c829364aec" CreationDate="2011-05-16T01:47:52.137" UserId="88" Text="Musician's earplugs are a godsend.  Pricey compared to foamies, but a lifelong investment in your perception and continuing career (not to mention getting to hear the shows you attend in a more accurate way than with over-the-counter plugs).&#xD;&#xA;&#xD;&#xA;That said, I only know a few colleagues who own them, and can't believe DJs or any other high-SPL professionals can get by without them.  Hard to imagine a lot of those guys being performant after a few years of sledgehammering their ears in clubs.  I've worked with guys who have incredible talent and nearly-flawless hearing, but whose sensitivity to highs has decreased a bit despite their best efforts.  It could just be due to the inevitable effects of age, but all the more reason to do everything we can to preserve what we've got." ContentLicense="CC BY-SA 3.0" />
  <row Id="13400" PostHistoryTypeId="2" PostId="7947" RevisionGUID="8503eda2-e006-47f3-aae9-44f578aeec37" CreationDate="2011-05-16T02:23:15.350" UserId="253" Text="I strongly believe that the quality of your hearing has little bearing on your work. Our active/critical listening skills are in our brain, not our ears. It's important to take care of your ears, but your critical listening and creativity are much more important than your ability to pick out a 17k tone (and hopefully you'd have measures in place to make sure you pick up any unwelcome high frequencies).&#xD;&#xA;&#xD;&#xA;IMHO, the majority of our audience care a lot more about emotional content than audiophile quality." ContentLicense="CC BY-SA 3.0" />
  <row Id="13401" PostHistoryTypeId="2" PostId="7948" RevisionGUID="c081e990-bd68-4893-887c-a4965a6d9f07" CreationDate="2011-05-16T02:33:56.627" UserDisplayName="user6513" Text="I have a pair of ear plugs which I carry them all around except for the time I really need them. But the alternative I found is pretty accessible and easy to acquire. Whenever I step into an ear killing environment, I head straight for the toilet first, grab some toilet paper, wet em, and stuff them in my ears. Works well for the blasting music, but people have to speak a little louder. Doesn't really matter I reckon since they would have to speak up even if I didn't block my ears.&#xD;&#xA;&#xD;&#xA;On another note, I recently took up some drumming lessons and my friend who was coaching me was a little concerned at how soft I played. She told me it was rare for anyone wanting to learn drums to hit them so softly, but I replied that I couldn't hit them any louder cos it was hurting my ears. Hahaha... played much better after I put on the earplugs. That was a first for her." ContentLicense="CC BY-SA 3.0" />
  <row Id="13402" PostHistoryTypeId="2" PostId="7949" RevisionGUID="b1fa8e20-3c25-4a61-91fe-416d0b746ee5" CreationDate="2011-05-16T02:41:47.897" UserId="845" Text="Decongestants!  Sudafed!  Robitussen!&#xD;&#xA;&#xD;&#xA;Godsend.  It's all got to do with the airflow inside your brain box.  I get chronic sinus inflammation and garbage that messes terribly with my head area.  &#xD;&#xA;  &#xD;&#xA;If you relieve the pressure on your Eustachian tubes caused by sinus inflammation/congestion, the air can flow again and you'll be able to hear much better.  Plus, the acetaminophen makes the jackhammer on your temple go away, which makes for a much more enjoyable mixing experience. &#xD;&#xA;&#xD;&#xA;Plus, I'm convinced that a lot of it is psychological.  You feel like crap so everything sounds like crap.  Maybe?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13403" PostHistoryTypeId="2" PostId="7950" RevisionGUID="83fc198d-d414-4232-84a8-4d9370dc75b6" CreationDate="2011-05-16T03:39:12.207" UserId="1072" Text="I have a Foley folder in my library that contains sections organized by folders for each action (fs, cloth, specific props etc) Rarely will I spot a film with this Foley in the edit, but it has proven to help many times when something is missing from the Foley team during a mix or to fill some gaps on a project that can not afford a Foley budget." ContentLicense="CC BY-SA 3.0" />
  <row Id="13404" PostHistoryTypeId="2" PostId="7951" RevisionGUID="daa34657-7aa0-4bec-af49-3bd4da016d9f" CreationDate="2011-05-16T07:23:56.603" UserDisplayName="user80" Text="Make sure that you tell the Prime Minister when the mic is live, and remind him to take it off afterwards.&#xD;&#xA;&#xD;&#xA;The previous Prime Minister had a mishap.&#xD;&#xA;&#xD;&#xA;http://www.timesonline.co.uk/tol/news/politics/article7110398.ece" ContentLicense="CC BY-SA 3.0" />
  <row Id="13405" PostHistoryTypeId="5" PostId="7951" RevisionGUID="a6b77e9f-4cf4-4283-8346-27b42acea643" CreationDate="2011-05-16T07:30:58.183" UserDisplayName="user80" Comment="deleted 35 characters in body" Text="Make sure that you tell the Prime Minister when the mic is live, and remind him to take it off afterwards.&#xD;&#xA;&#xD;&#xA;The previous Prime Minister had a mishap.&#xD;&#xA;&#xD;&#xA;[youtube]TbhPWAMx2y0[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="13406" PostHistoryTypeId="2" PostId="7952" RevisionGUID="7d960dd3-0e95-4294-a0f1-db76340c7742" CreationDate="2011-05-16T08:02:14.323" UserId="400" Text="This article is maybe pertinent?&#xD;&#xA;&#xD;&#xA;Someone talks about interviewing Morgan Freeman and trying not to be in the way.&#xD;&#xA;http://www.boxoftoys.ca/?p=180&#xD;&#xA;&#xD;&#xA;Joe" ContentLicense="CC BY-SA 3.0" />
  <row Id="13407" PostHistoryTypeId="2" PostId="7953" RevisionGUID="bd933b48-10c6-4e6e-b45e-33501a9aa6b3" CreationDate="2011-05-16T08:08:12.380" UserId="786" Text="When I was 14 I damaged my ears for the first time with my first walkman, I then started playing in a rock band. 7-8 years later I was at a concert which was so loud, it gave me tinnitus for a month, a year later I had a similar experience.&#xD;&#xA;&#xD;&#xA;Then I started protecting my ears, as I was getting scared of losing my hearing and as I was starting to work professionally with sound. I kept on playing in a rock band for 7-8 more years, but I was careful about wearing earplugs at rehearsals and concerts, so it didn't get any worse.&#xD;&#xA;&#xD;&#xA;Now I am 38 years old and my hearing is still damaged from the early, wild years, but it is not so bad, it doesn't affect my ability to work. My &quot;professional hearing&quot; has gotten a lot better over the years through experience.&#xD;&#xA;&#xD;&#xA;When I am working as a re-recording mixer, it occasionally gets very loud in the dubbing theatre, but I never wear earplugs. But then I am not working on big Hollywood blockbusting action movies, the films I get are more arty and not necessarily so loud. But there may be gunshots or explosions and loud action scenes, and those scenes have to be loud. So after working on a loud scene, I do feel quite tired, so that is usually a good time for a coffee break.&#xD;&#xA;&#xD;&#xA;I only rarely go to concerts or clubs, because I like to stay home with my kids instead. But occasionally I go, and if it gets loud, I enjoy it a lot, and I use earplugs if it is too loud for my ears. But I just love the physical feeling you get from very loud music. It instantly puts a smile on my face!&#xD;&#xA;&#xD;&#xA;I listen to music and podcasts on my iPhone almost every day, while cycling to work or when I'm out running. Sometimes I play quite loud. I know it may be dangerous for my hearing if I overdo it, but I can't seem to live without it. I just like the emotional rush from being engulfed by music. It inspires me to make better sound for the films I work on.&#xD;&#xA;&#xD;&#xA;I love sound, and I also love loud sounds. I need them in my life just like need my coffee to be strong." ContentLicense="CC BY-SA 3.0" />
  <row Id="13408" PostHistoryTypeId="2" PostId="7954" RevisionGUID="93958732-b882-4297-b8b2-60d8a0a4d796" CreationDate="2011-05-16T08:12:08.583" UserId="786" Text="What about going to a scrapyard and record one or two of the cars there?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13409" PostHistoryTypeId="2" PostId="7955" RevisionGUID="c0930075-1d7b-4d67-a0b9-a799e1177541" CreationDate="2011-05-16T08:47:01.800" UserId="850" Text="Hi all!&#xD;&#xA;&#xD;&#xA;I'm very interested in Game and Film Sound Design and I'm actually working on a diploma thesis on this topic. I'm wondering if there are **specific Categories for Game Sound Design**, other than the ones from Movie Sound Design (Sound Effects, Speech, Music). &#xD;&#xA;&#xD;&#xA;How do you Game Sound Designers out there categorize your sounds? Do you have certain systems or categorizing-methods? Do you know literature related to this topic? &#xD;&#xA;&#xD;&#xA;Thanks!!&#xD;&#xA;&#xD;&#xA;Best greetings from Austria,&#xD;&#xA;Christian" ContentLicense="CC BY-SA 3.0" />
  <row Id="13410" PostHistoryTypeId="1" PostId="7955" RevisionGUID="c0930075-1d7b-4d67-a0b9-a799e1177541" CreationDate="2011-05-16T08:47:01.800" UserId="850" Text="Game-Sound Categories?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13411" PostHistoryTypeId="3" PostId="7955" RevisionGUID="c0930075-1d7b-4d67-a0b9-a799e1177541" CreationDate="2011-05-16T08:47:01.800" UserId="850" Text="&lt;sound-design&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13412" PostHistoryTypeId="2" PostId="7956" RevisionGUID="4771ace8-4451-43cb-af7f-0c3def30d08b" CreationDate="2011-05-16T09:50:48.303" UserId="863" Text="Not sure what you want, what is the title of your thesis?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;These books I found helpful when I was writing my paper:&#xD;&#xA;&#xD;&#xA;Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema by David Sonnenschein&#xD;&#xA;&#xD;&#xA;The Practical Art of Motion Picture Sound by David Lewis Yewdall MPSE&#xD;&#xA;&#xD;&#xA;Film Sound: Theory and Practice by B Weis" ContentLicense="CC BY-SA 3.0" />
  <row Id="13413" PostHistoryTypeId="2" PostId="7957" RevisionGUID="d3971650-e01e-481b-b6f6-1666a4d3a070" CreationDate="2011-05-16T10:39:35.587" UserId="341" Text="I was at an AES meeting a year or so ago concerned with archiving, maintaining and restoring old analog masters (specifically The Beatles). The guy giving the presentation played a recording (and showed us the waveform) of a track that had a problem 12Khz noise running through it. He played a before and after and asked if anyone could hear the difference. Only two guys out of maybe two hundred audio professionals could hear the 12K and they were the youngest people in the room." ContentLicense="CC BY-SA 3.0" />
  <row Id="13414" PostHistoryTypeId="5" PostId="7948" RevisionGUID="3cbdaa40-894d-4f95-9af8-27e838177427" CreationDate="2011-05-16T11:59:53.813" UserDisplayName="user6513" Comment="fixed grammar" Text="I have a pair of ear plugs which I carry all around except for the times I really need them. But the alternative I found is pretty accessible and easy to acquire. Whenever I step into an ear killing environment, I head straight for the toilet first, grab some toilet paper, wet em, and stuff them in my ears. Works well for the blasting music, but people have to speak a little louder. Doesn't really matter I reckon since they would have to speak up even if I didn't block my ears.&#xD;&#xA;&#xD;&#xA;On another note, I recently took up some drumming lessons and my friend who was coaching me was a little concerned at how soft I played. She told me it was rare for anyone wanting to learn drums to hit them so softly, but I replied that I couldn't hit them any louder cos it was hurting my ears. Hahaha... played much better after I put on the earplugs. That was a first for her." ContentLicense="CC BY-SA 3.0" />
  <row Id="13415" PostHistoryTypeId="2" PostId="7958" RevisionGUID="e460e710-19bf-4269-8c1d-58cf8dbd727c" CreationDate="2011-05-16T12:30:17.400" UserDisplayName="user80" Text="I would expect that almost everyone who works with audio has some form of hearing damage.&#xD;&#xA;&#xD;&#xA;Here is a list of time taken to receive a dose equivalent to the upper exposure action value in the UK (85 dB).  &#xD;&#xA;&#xD;&#xA;85 dB = 8 hours&#xD;&#xA;95 dB = 45 minutes&#xD;&#xA;100 dB = 15 minutes&#xD;&#xA;105 dB = 5 minutes&#xD;&#xA;110 dB = under 2 minutes&#xD;&#xA;115 dB = under 30 seconds&#xD;&#xA;&#xD;&#xA;I know have spectrafoo running with a calibrated mic when I am working to keep track on what I am exposing everyone to.&#xD;&#xA;&#xD;&#xA;There are simple wall signs that illuminate when you reach a specified limit, but I have yet to come across one in any studio.  There is even a cool personal system that includes ear plugs that you can carry with you." ContentLicense="CC BY-SA 3.0" />
  <row Id="13416" PostHistoryTypeId="2" PostId="7959" RevisionGUID="29434ab4-1ece-4be9-98ff-2e7fbacf0d4d" CreationDate="2011-05-16T12:40:59.393" UserId="182" Text="I asked a mechanic, you can disconnect the power to one of the spark plugs to make the engine run with one cylinder less without risk of breaking the engine, and it will produce a very imbalanced sound indeed. Though running for thousands of miles like this is not such a good idea.&#xD;&#xA;&#xD;&#xA;You can also disconnect / tamper with the oxygen and fuel sensors to screw up the mixture and make it run too rich or too lean.&#xD;&#xA;&#xD;&#xA;You could hold metal plates or other stuff against the running engine or exhaust to create extra rattling." ContentLicense="CC BY-SA 3.0" />
  <row Id="13417" PostHistoryTypeId="2" PostId="7960" RevisionGUID="f5a0edcc-3ec2-4671-8872-7c9d7da0b315" CreationDate="2011-05-16T12:41:05.023" UserId="168" Text="Like everyone else: Hot tea and steam.&#xD;&#xA;&#xD;&#xA;But I also make it a point to listen to other material that I've mixed to understand how differently I'm hearing things. I usually find it tough to judge the low end and tend to brighten up dialogues more than usual when I have a cold - so I pay extra attention to these areas and try and not compensate." ContentLicense="CC BY-SA 3.0" />
  <row Id="13418" PostHistoryTypeId="2" PostId="7961" RevisionGUID="016340d9-c618-4025-8834-12a248d92fc4" CreationDate="2011-05-16T12:56:14.517" UserId="1073" Text="Nice choice you made. In my opinion Nuendo is of superior quality than PT9 (algorithm wise) and it can do a lot as a standard package. Industry standard is just a marketing concept, so don't be fooled by that and a lot of pro movie scores in Holywood are done in Nuendo these days for a reason. On the other side...ask yourself what do you really need. Everybody is always thinking in terms of 'what can it do', but the point is...what do you really (basically) need and what will you really use! Crappy recordings need a lot...good recordings don't need much. The less you do...the better the quality of the audio, bla bla bla, you catch my drift. &#xD;&#xA;&#xD;&#xA;If you have a certain workflow with specific things around it, which works for you...and you can get it done in Nuendo, then stick with it. That mac monster you want to buy won't cost you tracks or other things. It will do just fine. &#xD;&#xA;Remember that learning/discovering new ways is always a good thing! So start learning PT9 too. &#xD;&#xA;&#xD;&#xA;What I would like to add: Get PT9 native aswell and install it on a separate machine linked on your network (if you have one). Then go Edward Sandiago's way with SSL pro convert. This way you have both and engineers can use whatever works for them. But you must make sure PT9 is up and running, because clients don't want to come in and have a hassle to get things up and running. That situation will cost you.&#xD;&#xA;&#xD;&#xA;PS&#xD;&#xA;Personally I noticed that in the US most studio's are PT based. In Europe &amp; AustralAsia studio's are more Nuendo based.&#xD;&#xA;Learn both. Knowledge = power!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="13419" PostHistoryTypeId="2" PostId="7962" RevisionGUID="849ea05f-4329-4678-8932-c0caed7c2bb8" CreationDate="2011-05-16T13:00:05.980" UserId="1074" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;i recently thought if its any good to have 2 mics on a boompole, like a super cardioid an a shotgun for example. One with a wider pattern, an one thight, and you can choose late which one to take. I don't know if there are any shockmount or windshield for that purpose.&#xD;&#xA;It was just a thought.&#xD;&#xA;Im looking forward for your opinions.&#xD;&#xA;Greets." ContentLicense="CC BY-SA 3.0" />
  <row Id="13420" PostHistoryTypeId="1" PostId="7962" RevisionGUID="849ea05f-4329-4678-8932-c0caed7c2bb8" CreationDate="2011-05-16T13:00:05.980" UserId="1074" Text="Booming with 2 Mics?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13421" PostHistoryTypeId="3" PostId="7962" RevisionGUID="849ea05f-4329-4678-8932-c0caed7c2bb8" CreationDate="2011-05-16T13:00:05.980" UserId="1074" Text="&lt;field-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13422" PostHistoryTypeId="2" PostId="7963" RevisionGUID="051b0c1e-e9e4-444c-8de0-b487b35775f8" CreationDate="2011-05-16T13:01:24.867" UserDisplayName="user80" Text="Any system designed for M/S will accommodate two mics." ContentLicense="CC BY-SA 3.0" />
  <row Id="13423" PostHistoryTypeId="5" PostId="5095" RevisionGUID="d2c51640-3fb9-4dde-809d-699bbf928a0f" CreationDate="2011-05-16T13:03:01.260" UserDisplayName="user80" Comment="added 2 characters in body" Text="How many professional studios use Nuendo? There's a reason why Pro Tools is the standard. In your situation, I personally wouldn't go with any native solution. You're asking for trouble. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13424" PostHistoryTypeId="2" PostId="7964" RevisionGUID="454c03d3-48e3-4288-9e8d-413d008153e6" CreationDate="2011-05-16T13:40:21.357" UserId="220" Text="I used to meticulously catalog and double back up my digital photos and scanned negative.  I still keep all of the negatives in a binder, but my digital organization has fallen by the wayside.  Why?  Flickr has become my way of storing originals and organizing my photos.  Even sets I don't want anybody to see (personal, boring, the gajillion photos people sent of my wedding), I still upload and just set to private.  The original is still there if I ever want a print.  I should probably do a backup with FlickrTouchr every once in a while just in case Flickr goes weird on me, but I really don't worry about losing those files.  &#xD;&#xA;&#xD;&#xA;When it comes to sound effects and ambiance, I'm in a different boat.  I have not been very good about staying organized and tagging my metadata.  I usually just search by file name, since that gets me close to what I want anyway.  I have several terrabites allocated just to backing up my sound files.  I wish there was a better way to have all of this in a cloud and grab it whenever I needed it.  With the ability to use Reaper on just about any machine, I've carried mixes across computer and on vacation, but I really don't want to lug around a few hard drives with me as well.  &#xD;&#xA;&#xD;&#xA;Could Sound Cloud be a viable option of storing SFX and being able to grab them from anywhere?  Google Music [~DROOL~][1] was just announced as well.  It's in beta, but it basically allows you to upload all of your music and access it anywhere streaming.  I wonder if they will also support grabbing the originals.  If that's the case, I would gladly drop a few terrabites of SFX and ambiance on to Google's servers and pay the money to store it.&#xD;&#xA;&#xD;&#xA;I love the idea of cloud computing.  There are a few in-browser sound editors, but none of them work too well.  Maybe in the future we can leave work, hop on a tablet at home, and continue editing from the same session. &#xD;&#xA;&#xD;&#xA;Thoughts?  Ideas?  Help enable my disorganization :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://music.google.com/about/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13425" PostHistoryTypeId="1" PostId="7964" RevisionGUID="454c03d3-48e3-4288-9e8d-413d008153e6" CreationDate="2011-05-16T13:40:21.357" UserId="220" Text="Using Sound Cloud or Google Music like Flickr?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13426" PostHistoryTypeId="3" PostId="7964" RevisionGUID="454c03d3-48e3-4288-9e8d-413d008153e6" CreationDate="2011-05-16T13:40:21.357" UserId="220" Text="&lt;soundcloud&gt;&lt;organization&gt;&lt;cloud&gt;&lt;storage&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13427" PostHistoryTypeId="2" PostId="7965" RevisionGUID="43ca17dd-ae6c-4833-9e16-e82418980273" CreationDate="2011-05-16T14:24:11.470" UserId="999" Text="If you use something along the lines of a shotgun and an omni mic, you'll get very different sounding results from each. &#xD;&#xA;&#xD;&#xA;The other use I can imagine is a system I sometimes use for ADR with two shotgun mics on stands so I can get a close perspective and a further perspective, it also means if your closer mic clips theres a chance the performance isn't lost as the second one was less likely to clip from a distance. &#xD;&#xA;&#xD;&#xA;Sometimes for ambient recordings ill use two mics on a mic stand with a stereo bar, and walk that around with a wind shield over the top, into my Fostex-LE. &#xD;&#xA;&#xD;&#xA;Recently though I have found it easier just to concentrate on getting great sound on one mic, it saves me space on my recorder, and stops me getting overwhelmed by having to adjust gain/monitor to different mics at once.&#xD;&#xA;&#xD;&#xA;I heard on the Kings Speech the sound recordist put microphones almost everywhere so he had loads of takes he could choose from.&#xD;&#xA;&#xD;&#xA;Everything is worth a try though! " ContentLicense="CC BY-SA 3.0" />
  <row Id="13428" PostHistoryTypeId="2" PostId="7966" RevisionGUID="938faf6a-c503-47cc-a0dc-7c5439a0d3d0" CreationDate="2011-05-16T14:29:43.757" UserId="6524" Text="I'm not sure if you've found a solution to this problem yet, but even I deal with this same problem with the same gear and at the moment, and unable to afford new preamps or a good noise-removal software like Izotope RX. One thing I guess I have to do to get the best sound (if EQ isn't an option) is to use Audacity's noise-removal, I was surprised at how well it worked, I always leave 2 seconds of silence before the recording (which I'm following from Ric Viers' SFX Bible) and then import to Audacity, highlight the silence get the noise profile and mainly use these settings most of the time:&#xD;&#xA;&#xD;&#xA;[Noise Reduction: -24dB]&#xD;&#xA;[Sensitivity: 0.00]&#xD;&#xA;[Frequency Smoothing:1000]&#xD;&#xA;[Attack/Decay time:0.00]&#xD;&#xA;&#xD;&#xA;Obviously adjust it if it sounds weird but most of the time I get pretty good results, let me know if you've figured out anything yet :) Also read this article written by Stephen Schutze it helped out quite a bit http://www.stephanschutze.com/noise-reduction.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="13429" PostHistoryTypeId="2" PostId="7967" RevisionGUID="57afc2e2-e5ae-47bd-88a2-6d243e74bfb3" CreationDate="2011-05-16T14:57:59.950" UserId="6669" Text="David, just saw this this morning and thought of your question.&#xD;&#xA;&#xD;&#xA;It's not a direct video signal-&gt;audio conversion, but with the right amount of parameters and routing set up, you could probably still get some very dynamic results out of a video signal:&#xD;&#xA;&#xD;&#xA;http://www.synthtopia.com/content/2011/05/16/video-to-midi-in-max-for-live/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13430" PostHistoryTypeId="5" PostId="7966" RevisionGUID="a861ef4f-d152-49e4-9424-0ae5d0429015" CreationDate="2011-05-16T15:30:27.543" UserId="6524" Comment="deleted 5 characters in body; added 29 characters in body" Text="I'm not sure if you've found a solution to this problem yet, but even I deal with this same problem with the same gear and at the moment unable to afford new preamps or a good noise-removal software like Izotope RX. One thing I guess I have to do to get the best sound (if EQ isn't an option) is to use Audacity's noise-removal, I was surprised at how well it worked, I always leave 2 seconds of silence before the recording (which I'm following from Ric Viers' SFX Bible) and then import to Audacity, highlight the silence get the noise profile and then highlight the whole file and apply these settings most of the time:&#xD;&#xA;&#xD;&#xA;[Noise Reduction: -24dB]&#xD;&#xA;[Sensitivity: 0.00]&#xD;&#xA;[Frequency Smoothing:1000]&#xD;&#xA;[Attack/Decay time:0.00]&#xD;&#xA;&#xD;&#xA;Obviously adjust it if it sounds weird but most of the time I get pretty good results, let me know if you've figured out anything yet :) Also read this article written by Stephen Schutze it helped out quite a bit http://www.stephanschutze.com/noise-reduction.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="13434" PostHistoryTypeId="2" PostId="7969" RevisionGUID="61e9c49f-1de3-4f3a-a1e4-98e55414cd96" CreationDate="2011-05-16T15:35:50.793" UserId="1056" Text="Unfortunately for most of us in the industry, by the time we realise this is not just a hobby but something we want to do for a living, we have already suffered some degree of hearing damage. Part of the problem is also that, because the hearing loss is gradual and our ears are so good at compensating, we have usually suffered noticeable damage by the time we realise.&#xD;&#xA;&#xD;&#xA;It is usually only at this point that we discover that our hearing loss is irreversible and the only compensation is by use of a hearing aid.  The upside is that, because our ears are so adaptable, we can usually carry on with our chosen career. We learn to put measures in place to compensate for our shortcomings.&#xD;&#xA;&#xD;&#xA;Some recommended measures:&#xD;&#xA;1) Ultrasone headphones for monitoring purposes&#xD;&#xA;2) A set of Etymotic musicians earplugs for the studio&#xD;&#xA;3) A set of Etymotic EB15 earplugs to carry with you - just in case&#xD;&#xA;&#xD;&#xA;I have recently started to notice some damage myself. While my hearing is still fair, I am starting to struggle to hone in on a specific sound source (e.g. a voice in a crowd). Like everyone else, I'm kicking myself now that I didn't take more care 20 years ago." ContentLicense="CC BY-SA 3.0" />
  <row Id="13435" PostHistoryTypeId="5" PostId="7966" RevisionGUID="da975049-7cd2-4779-a64b-d3edabd7b32d" CreationDate="2011-05-16T15:41:53.920" UserId="6524" Comment="added 90 characters in body" Text="I'm not sure if you've found a solution to this problem yet, but even I deal with this same problem with the same gear and at the moment unable to afford new preamps or a good noise-removal software like Izotope RX. One thing I guess I have to do to get the best sound (if EQ isn't an option) is to use Audacity's noise-removal, I was surprised at how well it worked, I always leave 2 seconds of silence before the recording (which I'm following from Ric Viers' SFX Bible) and then import to Audacity, highlight the silence get the noise profile and then highlight the whole file and apply these settings most of the time:&#xD;&#xA;&#xD;&#xA;[Noise Reduction: -24dB]&#xD;&#xA;[Sensitivity: 0.00]&#xD;&#xA;[Frequency Smoothing:1000]&#xD;&#xA;[Attack/Decay time:0.00]&#xD;&#xA;&#xD;&#xA;Here's an example:&#xD;&#xA;&#xD;&#xA;[soundcloud]stephensaldanha/audacitys-noise-removal[/soundcloud]&#xD;&#xA;&#xD;&#xA;Obviously adjust it if it sounds weird but most of the time I get pretty good results, let me know if you've figured out anything yet :) Also read this article written by Stephen Schutze it helped out quite a bit http://www.stephanschutze.com/noise-reduction.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="13436" PostHistoryTypeId="5" PostId="6445" RevisionGUID="06456706-a0d9-48ba-a59e-319140c48b62" CreationDate="2011-05-16T16:14:02.700" UserId="61" Comment="reformatting" Text="Definitely keep that material! Don't file it away, no matter how specific you think it may be. There will inevitably come a time when you need such-and-such sound, and you'll remember that you did something very similar for a show years ago but no longer have it in your library. There will always be a use for well-recorded and well-performed foley - not necessarily to use for an entire track, perhaps, but surely to get you through some rough cuts/temp dubs, etc. &#xD;&#xA;&#xD;&#xA;On a similar note, there will be occasions where you can use portions of FX or BG predubs, such as 5 channel winds, room tones or wallas, or 5.1 gunshots, design hits, whooshes, etc. Just because you created them for a specific show doesn't mean they can't be applied either partially or fully somewhere else.&#xD;&#xA;&#xD;&#xA;Regarding filing or entering in metadata, it's an excellent idea to do so if you have time but mostly I just pull all of the material for a show into a folder and then drag that into Soundminer. Then I'll search the name of the show and drill down thru the results from there." ContentLicense="CC BY-SA 3.0" />
  <row Id="13440" PostHistoryTypeId="2" PostId="7973" RevisionGUID="5ba14416-e408-4c8a-923f-715f97782ec7" CreationDate="2011-05-16T17:30:13.427" UserId="558" Text="Categories in Game sound are functional at heart.  You can think of them as buses. They are used for mixing purposes, and sometimes for DSP purposes.  For example, if a player dives under water you may want some of the sounds of the game to change (i.e. pitched down, EQed, etc).  But some sounds should remain intact (UI sounds, some dialog that needs to be understood).  Categories are used to accomplish this.&#xD;&#xA;&#xD;&#xA;The construction of categories will follow the needs of the game.  Generally at the top the categories are the same as film.  Dialog, Music, FX.  This allows for the sliders you see in most game option menus that lets the player lower or remove sound.  But sub-categories are very important.  For example, in most games some dialog is important enough that the rest of the mix is ducked so the line can be heard better (mission critical dialog, dramatic dialog).  Other lines are not (chatter).  Usually that is reflected in dialog sub-categories:  critical, non-critical.  the same may be true for particularly important SFX sequences.  If you have destroyed the Eiffel Tower during a fire fight, it might be nice to lower the sound of the chattering machine gun right next to you so  you can hear the groaning metal of the giant structure  collapsing around you.  Again, categories are used to accomplish this.&#xD;&#xA;&#xD;&#xA;Hope this helps" ContentLicense="CC BY-SA 3.0" />
  <row Id="13441" PostHistoryTypeId="2" PostId="7974" RevisionGUID="d2ca6999-33d6-4391-8a33-c082b7408e13" CreationDate="2011-05-16T18:07:55.417" UserId="1076" Text="SFX&#xD;&#xA;&#xD;&#xA;Music&#xD;&#xA;&#xD;&#xA;Ambience&#xD;&#xA;&#xD;&#xA;UI&#xD;&#xA;&#xD;&#xA;VO" ContentLicense="CC BY-SA 3.0" />
  <row Id="13442" PostHistoryTypeId="2" PostId="7975" RevisionGUID="29430691-ff70-4c64-9cb5-ae0f76878295" CreationDate="2011-05-16T18:43:51.813" UserId="88" Text="To add to David's great examples, categories/mix groups are sometimes subcategorized further to enable mix variety/propriety (and sometimes save a bit of memory).  For example, it's common for games with firearms to have weaponfire sounds which use many layers, one or more of which are tails that match specific environments (tight or spacious interiors, urban streets, more open exteriors, etc).  Rather than just assign every layer of weaponfire to a &quot;Weaponfire&quot; group, these various tails can be assigned different subcategories and then modulated at runtime to match the player's current environment.&#xD;&#xA;&#xD;&#xA;Also, player and NPC sounds of most categories (dialogue, cloth, gear, weaponfire, bodyfalls, anything) are often assigned their own player- or NPC-specific groups to allow more control." ContentLicense="CC BY-SA 3.0" />
  <row Id="13443" PostHistoryTypeId="2" PostId="7976" RevisionGUID="591d6ca6-44a9-427a-a0ab-4343dd5a72d0" CreationDate="2011-05-16T19:46:33.380" UserId="2" Text="Should I switch off phantom power before plugging in my mics that require phantom? I hear a click when I don't switch the machine/phantom power off. I tend to do it, but if I don't need to that would save me some time :-) &#xD;&#xA;&#xD;&#xA;Thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="13444" PostHistoryTypeId="1" PostId="7976" RevisionGUID="591d6ca6-44a9-427a-a0ab-4343dd5a72d0" CreationDate="2011-05-16T19:46:33.380" UserId="2" Text="Is it bad to plugin a mic when phantom power is on? " ContentLicense="CC BY-SA 3.0" />
  <row Id="13445" PostHistoryTypeId="3" PostId="7976" RevisionGUID="591d6ca6-44a9-427a-a0ab-4343dd5a72d0" CreationDate="2011-05-16T19:46:33.380" UserId="2" Text="&lt;gear&gt;&lt;microphone&gt;&lt;maintenance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13446" PostHistoryTypeId="4" PostId="7976" RevisionGUID="8e0fc630-c4d3-4cc4-8669-edcf7968ea6f" CreationDate="2011-05-16T20:01:48.080" UserId="2" Comment="edited title" Text="Is it bad to plug in a mic when phantom power is on? " ContentLicense="CC BY-SA 3.0" />
  <row Id="13447" PostHistoryTypeId="2" PostId="7977" RevisionGUID="0de1fc09-86c2-4c2d-a0af-13dd4c093621" CreationDate="2011-05-16T20:03:49.757" UserId="220" Text="I would beware some ribbon mics - they can be a bit finicky with power - but on the whole, it's not a problem.  I would make sure the channel is muted so you don't have potential speaker/ear damage from the pop.  Beyond that, you're fine.  &#xD;&#xA;&#xD;&#xA;I've never seen a warning with a mic about phantom power.  If it were a problem, you'd think we'd be warned ;)  I do it all the time with a variety of mics and I've never had an issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="13448" PostHistoryTypeId="2" PostId="7978" RevisionGUID="50dbee53-e053-4e3e-9643-e4f36ae26bce" CreationDate="2011-05-16T20:05:43.867" UserId="670" Text="I just started working on the dialog for this short film that only used lavs. First off there are times where cloth movement got recorded during the take. The director doesn't want to do ADR on the CU shots, because he wants performance over clarity and that's when a lot of the cloth movement occurred. Is there anything I can do to get rid of the cloth movement? Here's one of the dialog tracks:&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F15378698&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F15378698&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/mitchell-scott/bar-03-4-1&quot;&gt;BAR 03-4.1&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/mitchell-scott&quot;&gt;Mitchell Scott&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;Also, is it possible to make the recorded lav takes sound anywhere near the depth and fullness of a shotgun mic? Thanks!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13449" PostHistoryTypeId="1" PostId="7978" RevisionGUID="50dbee53-e053-4e3e-9643-e4f36ae26bce" CreationDate="2011-05-16T20:05:43.867" UserId="670" Text="All lav production sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="13450" PostHistoryTypeId="3" PostId="7978" RevisionGUID="50dbee53-e053-4e3e-9643-e4f36ae26bce" CreationDate="2011-05-16T20:05:43.867" UserId="670" Text="&lt;lavalier&gt;&lt;production-sound&gt;&lt;dialog&gt;&lt;cloth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13451" PostHistoryTypeId="2" PostId="7979" RevisionGUID="e367e174-025c-4934-a793-fba85c4cfa42" CreationDate="2011-05-16T20:19:08.433" UserId="338" Text="When I found out that I had gone through a 20 min short dialogue editing using an expander instead of a gate, I immediately went back and switched it all to gate and went back through the project.  Upon going back through, I am confronted with this fact:  the gate is being far less effective of shaving off the thin layer of noise that I was looking for.  The Dialogue was recorded very well.  &#xD;&#xA;Anybody use expanders for this?  Maybe I should go back and switch to expander again.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13452" PostHistoryTypeId="1" PostId="7979" RevisionGUID="e367e174-025c-4934-a793-fba85c4cfa42" CreationDate="2011-05-16T20:19:08.433" UserId="338" Text="Using a expander for noise reduction, Yes or No" ContentLicense="CC BY-SA 3.0" />
  <row Id="13453" PostHistoryTypeId="3" PostId="7979" RevisionGUID="e367e174-025c-4934-a793-fba85c4cfa42" CreationDate="2011-05-16T20:19:08.433" UserId="338" Text="&lt;noise&gt;&lt;reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13454" PostHistoryTypeId="2" PostId="7980" RevisionGUID="d4e28203-5d83-4d43-8122-59393cb41aa6" CreationDate="2011-05-16T20:38:10.413" UserId="234" Text="Gates are usually too &quot;harsh&quot; for dialog work - the shutting off of room tone below the threshold is very noticeable. If you have it, try something like the C4 or the WaveArts Multidynamics to do multiband expansion (both have  noise reduction presets that are a good starting point). These are even more effective at removing noise without harming the signal than broadband expansion. Lots of mixers (myself included) use that as a first go to when we need NR, saving things like the Izotope for more surgical requirements. Basically things like the Cedar DNS (and before it the Dolby 43/430) are very specialized multiband expanders.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13455" PostHistoryTypeId="2" PostId="7981" RevisionGUID="8f4a3023-2ac4-4de7-a910-448d0f17b2a4" CreationDate="2011-05-16T20:57:42.170" UserId="178" Text="The best use of gates that I know of is to put them on the toms on a drum kit in a live band situation, to minimize bleed from the other instruments on the stage. I don't think I'd ever use them in dialog editing though." ContentLicense="CC BY-SA 3.0" />
  <row Id="13456" PostHistoryTypeId="2" PostId="7982" RevisionGUID="e209d19c-c2c8-4734-80f6-d45cd29b3cd6" CreationDate="2011-05-16T21:05:54.147" UserId="786" Text="You can try Izotope decrackle, and see if it helps you a little bit, apart from that I would suggest you mix the tracks actively, so you decrease the volume of the individual tracks between the dialogue.&#xD;&#xA;&#xD;&#xA;The loudest guy in the track, who I presume is the one wearing the mic, sounds pretty good on my MacBook speakers, so it should be possible to get a full and rich sound of him. &#xD;&#xA;&#xD;&#xA;I would use the two major tools for getting the dialogue to sound nice and full: EQ for the characteristics of the voice and reverb to give it a bit of air, so it doesn't sound too close all of the time.&#xD;&#xA;&#xD;&#xA;I am totally with the performance over clarity, performance is always most important to me!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13457" PostHistoryTypeId="2" PostId="7983" RevisionGUID="46aba9f8-648e-44c1-b545-c46edcaa39fb" CreationDate="2011-05-16T21:12:53.253" UserId="37" Text="multiband expansion might be the answer you're looking for..&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13458" PostHistoryTypeId="2" PostId="7984" RevisionGUID="a3776e1c-bbd4-4efe-b6ae-762c25e2ff41" CreationDate="2011-05-16T21:22:01.377" UserId="338" Text="I'm finding that through the use of an expander, I can decrease the noise background but at he cost of a little clarity of speach.  The expander may be decreasing the quiet noises that occur in speach like &quot;B&quot; and &quot;F&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13459" PostHistoryTypeId="5" PostId="7984" RevisionGUID="bac0f255-b1db-4519-be5e-ae7a2d2bd674" CreationDate="2011-05-16T21:36:37.803" UserId="338" Comment="question" Text="I'm finding that through the use of an expander, I can decrease the noise background but at he cost of a little clarity of speach.  The expander may be decreasing the quiet noises that occur in speach like &quot;B&quot; and &quot;F&quot;&#xD;&#xA;&#xD;&#xA;Do you think this is because the expander is removing ER or other reflections or is it the other reason?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13460" PostHistoryTypeId="2" PostId="7985" RevisionGUID="607df842-2553-43bf-93a2-180cedfda080" CreationDate="2011-05-16T21:42:53.247" UserId="194" Text="**multiband expander ftw.**  &#xD;&#xA;&#xD;&#xA; - Waves C4, set preset to &quot;4 band noise reducer&quot;&#xD;&#xA; - set threshold just above noise floor&#xD;&#xA; - set range a little wider than the preset&#xD;&#xA; - set gain to taste&#xD;&#xA; - profit!&#xD;&#xA;&#xD;&#xA;Izotope alloy also sounds great for this application&#xD;&#xA;&#xD;&#xA;Cedar DNS is essentially just a multiband expander.&#xD;&#xA;&#xD;&#xA;Any of these can gain you 4-6 db of noise reduction pretty easily and with little negative side effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="13461" PostHistoryTypeId="2" PostId="7986" RevisionGUID="75d432cb-6fb1-4f54-8d05-4dd6a3642018" CreationDate="2011-05-16T21:57:25.430" UserId="1058" Text="Anyone know of any?&#xD;&#xA;&#xD;&#xA;basically free beats etc but hopefully with some atmosphere recordings, like cities, crowds what have ya..&#xD;&#xA;&#xD;&#xA;thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13462" PostHistoryTypeId="1" PostId="7986" RevisionGUID="75d432cb-6fb1-4f54-8d05-4dd6a3642018" CreationDate="2011-05-16T21:57:25.430" UserId="1058" Text="Searching for free downloadable Loop and Recording databases." ContentLicense="CC BY-SA 3.0" />
  <row Id="13463" PostHistoryTypeId="3" PostId="7986" RevisionGUID="75d432cb-6fb1-4f54-8d05-4dd6a3642018" CreationDate="2011-05-16T21:57:25.430" UserId="1058" Text="&lt;recording&gt;&lt;atmosphere&gt;&lt;sounds&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13464" PostHistoryTypeId="2" PostId="7987" RevisionGUID="078cdd6b-9935-480c-8989-73b5c2edc249" CreationDate="2011-05-16T22:26:12.547" UserId="1072" Text="I use the Oxford DeClicker almost exclusively for this purpose. It works almost perfectly on the stock settings and you can often &quot;blindly&quot; add it to a clip for great results.&#xD;&#xA;&#xD;&#xA;From there its a matter of eq to get it sounding better. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13465" PostHistoryTypeId="2" PostId="7988" RevisionGUID="a86d1cc3-2f52-4a3b-9970-475b14087dd2" CreationDate="2011-05-16T22:56:56.017" UserId="1056" Text="Hi Mitchell&#xD;&#xA;&#xD;&#xA;If you're doing the dialogue, it's your reputation on the line, not the director's.  I always consider whether I would find it acceptable and, if not, I believe I would not be doing my job if I submitted it as a final product.&#xD;&#xA;&#xD;&#xA;Budgetary constraints are one thing but, if not the case here, there is no excuse for sub-standard dialogue. iZotope RX Spectral Repair is a fantastic tool for removing unwanted impulse and transient noise but, if the sample clip you provided is anything to go by, I reckon opting for the ADR would be cheaper, quicker and offer superior results." ContentLicense="CC BY-SA 3.0" />
  <row Id="13466" PostHistoryTypeId="2" PostId="7989" RevisionGUID="5d446646-eeff-4f1a-95b1-f7ed583d9721" CreationDate="2011-05-16T23:00:04.043" UserId="393" Text="I've always liked [Looperman][1] for musical loops.  As far as non-musical, [The Freesound Project][2] has been my go to for anything I need for free, but I've generally had to make my own loops from their existing atmos.  With both sites you need to credit the original author.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.looperman.com/&#xD;&#xA;  [2]: http://freesound.org" ContentLicense="CC BY-SA 3.0" />
  <row Id="13467" PostHistoryTypeId="2" PostId="7990" RevisionGUID="778b8333-93c1-4128-8ad8-e59e46dbf51f" CreationDate="2011-05-16T23:28:32.047" UserId="29" Text="I've always been taught to never hot-plug a mic, and to shut off phantom power when connecting or disconnecting condenser mics. Not sure if this is old-school paranoia or solid advice from my mentors, but either way, it's a habit I've developed. There's a somewhat he-said-she-said thread discussing this at [Home Recording][1], and a more reasoned technical discussion over at [Gearslutz][2]. It does indeed seem to boil down to the design of the preamp and the mic, to some degree. Some Tascam users [report frying mics on their US-122's][3], but I'd be shocked if anyone has done so between, say, a Sound Devices pre and a Senny or Neumann. (would love to hear otherwise, though)&#xD;&#xA;&#xD;&#xA;The one thing that everyone seems to agree on is the issue of what happens when you plug a dynamic mic into phantom power! :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://homerecording.com/bbs/equipment-forums/microphones/what-dangers-unplugging-mics-phantom-power-85161/&#xD;&#xA;  [2]: http://www.gearslutz.com/board/geekslutz-forum/189083-hot-plugging-xlr-phantom-power.html&#xD;&#xA;  [3]: http://tascamforums.com/index.php?showtopic=12100" ContentLicense="CC BY-SA 3.0" />
  <row Id="13468" PostHistoryTypeId="2" PostId="7991" RevisionGUID="ab35a578-dd9d-408c-bd33-7f62958cf140" CreationDate="2011-05-16T23:40:19.560" UserId="863" Text="I hate using lavs, next time ask to do wild tracks, there are also a couple good threads on here on lav tips to make sure you get the best recordng.&#xD;&#xA;&#xD;&#xA;At present with all you have to work with, try out some noise reduction/crackle plugins " ContentLicense="CC BY-SA 3.0" />
  <row Id="13469" PostHistoryTypeId="2" PostId="7992" RevisionGUID="6c1b2074-c002-4279-a722-772657c1ecc2" CreationDate="2011-05-16T23:53:50.077" UserId="667" Text="check out http://www.soundjay.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13470" PostHistoryTypeId="2" PostId="7993" RevisionGUID="d469b1e2-895c-43a3-83d3-09e86e49beec" CreationDate="2011-05-17T01:16:22.133" UserId="845" Text="So, along with my newfound interest in granular synthesis, I've also been getting really into glitch-beats and IDM.  My new thought is to find a way to convolve the two. &#xD;&#xA;&#xD;&#xA;I'm currently working on assembling a collection of granular friendly sound samples, so that's all good.  What I'm now trying to figure out are a few fun/innovative ways of making the samples for a fairly large glitch-kit.  Half-chopped square waves, digital distortion, etc.&#xD;&#xA;&#xD;&#xA;I've read accounts of people burning sounds to CDs, scratching them all to hell on gravel, then re-importing the tracks and chopping out the juicier glitches.  I've done a bit of digital distortion stuff internally with pro-tools.  But I'm coming up empty handed as far as ideas for generating crazy sounds.&#xD;&#xA;&#xD;&#xA;Anybody got suggestions for making some ugly-ass pops and clicks and crackles? " ContentLicense="CC BY-SA 3.0" />
  <row Id="13471" PostHistoryTypeId="1" PostId="7993" RevisionGUID="d469b1e2-895c-43a3-83d3-09e86e49beec" CreationDate="2011-05-17T01:16:22.133" UserId="845" Text="Snap, Crackle, and Pop (Making Glitches)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13472" PostHistoryTypeId="3" PostId="7993" RevisionGUID="d469b1e2-895c-43a3-83d3-09e86e49beec" CreationDate="2011-05-17T01:16:22.133" UserId="845" Text="&lt;glitch&gt;&lt;snap-crackle-pop&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13473" PostHistoryTypeId="2" PostId="7994" RevisionGUID="f5eee3a2-841b-42b0-b875-925d3801e629" CreationDate="2011-05-17T01:30:12.663" UserId="18160" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I want to share another discovery in my studio.&#xD;&#xA;&#xD;&#xA;I recently bought a used camera lens of e-bay to use with my digital camera.&#xD;&#xA;&#xD;&#xA;It was sent to me in a small cardboard box with a ton of bubble wrapping inside of it.&#xD;&#xA;&#xD;&#xA;I took the lens out to examine it, and stuffed the bubble wrap back inside the box.&#xD;&#xA;&#xD;&#xA;I turned my back to the box and examined the lens.&#xD;&#xA;&#xD;&#xA;I suddenly heard the sound of a crackling fire behind me. You know, one of those sappy log camp fires with loud snaps and pops. It's caused by the natural unfolding of the paper after it's been stuffed in a box - it sounds surprisingly realistic.&#xD;&#xA;&#xD;&#xA;I instantly ran inside the record room and recorded it.&#xD;&#xA;&#xD;&#xA;I'll post up a sample tomorrow." ContentLicense="CC BY-SA 3.0" />
  <row Id="13474" PostHistoryTypeId="1" PostId="7994" RevisionGUID="f5eee3a2-841b-42b0-b875-925d3801e629" CreationDate="2011-05-17T01:30:12.663" UserId="18160" Text="I have created FIRE!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13475" PostHistoryTypeId="3" PostId="7994" RevisionGUID="f5eee3a2-841b-42b0-b875-925d3801e629" CreationDate="2011-05-17T01:30:12.663" UserId="18160" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13476" PostHistoryTypeId="2" PostId="7995" RevisionGUID="f125cdb2-3cb6-4387-ad52-8f5d2972693e" CreationDate="2011-05-17T01:36:29.810" UserId="845" Text="[youtube]Vrd13cGv2GU[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="13477" PostHistoryTypeId="2" PostId="7996" RevisionGUID="f52841af-1478-45de-a7ac-464efeb2d304" CreationDate="2011-05-17T01:39:12.540" UserId="29" Text="[Gleetchlab.][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gleetchplug.com/gleetchplug/Software.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="13478" PostHistoryTypeId="2" PostId="7997" RevisionGUID="90908407-2296-4d56-9670-478a4068fa44" CreationDate="2011-05-17T01:40:52.280" UserId="18160" Text="I don't think it's much of an issue.&#xD;&#xA;&#xD;&#xA;I've been taught much like Nathan to plug in mics and then powering on the preamp.&#xD;&#xA;&#xD;&#xA;This is *EXPECIALLY* important when handling older condenser mics which have their own outside power supply, like a U-47 or U-67. Always plug in the mics with the power supply DISCONNECTED from the wall because you never know about those 40 year-old or older power supplies... maybe that switch doesn't work... A wise investment, because I've seen someone tampering with an old C-12 mic (disconnecting it with the power still hot) and getting shocked by it and thrown across the room and having a black thumb because of it.&#xD;&#xA;&#xD;&#xA;But, those are the older mics.&#xD;&#xA;&#xD;&#xA;Newer ribbons, if the XLR is incorrectly wired, can be fried by the phantom power - so you have to watch out. I have a little tester I use before I plug in any of my ribbons that tells me if the cable I am using is wired correctly. It's pretty common - Royer even has some warranty and will replace a mic after your first barbecue.&#xD;&#xA;&#xD;&#xA;Newer condenser mics I am pretty certain wont be a problem, but I like to flip it off while switching mics because I like to keep my mics clean and in perfect condition." ContentLicense="CC BY-SA 3.0" />
  <row Id="13479" PostHistoryTypeId="2" PostId="7998" RevisionGUID="b436515e-df3f-49b1-b0f1-fcdd29cd11c8" CreationDate="2011-05-17T01:49:46.640" UserId="234" Text="SoundHack on Mac and SoundForge on the PC can open ANY file as an audio file... try opening your Word Documents, your pdf's etc... all sorts of interesting glitches there!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13480" PostHistoryTypeId="2" PostId="7999" RevisionGUID="133142e8-f47a-42b3-9076-74d256edc0cd" CreationDate="2011-05-17T02:08:14.253" UserId="432" Text="That's not too surprising. Plastic wrap (celophane) was a fairly standard foley prop for creating fire sounds for a while. It's always fun finding those things by accident though. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13481" PostHistoryTypeId="2" PostId="8000" RevisionGUID="a65f6f77-f5ed-478e-9fee-f17c853b94c7" CreationDate="2011-05-17T02:15:23.180" UserId="693" Text="Much like @NoiseJockey and @Utopia, I've always been taught to switch off the phantom power. I also have many friends that do Audiotronics who say it's perfectly fine to hotswap modern mics, as they have better and more reliable resistors and capacitors in them that will prevent them from getting fried. Vintage mics are less reliable, have (Technologically/Safety) inferior designs and you should take due care with them and the only other thing you should be careful of is defective equipment or to be a bit extra careful with Ribbon Mics as they're a more sensitive and finicky component." ContentLicense="CC BY-SA 3.0" />
  <row Id="13482" PostHistoryTypeId="2" PostId="8001" RevisionGUID="d9e67c4a-4b5d-47de-99b2-de2768b5b1bb" CreationDate="2011-05-17T02:25:20.697" UserId="693" Text="Lots of custom recordings and very heavy FX chains are where I'd start. You might want to avoid common plug-ins like Stutteredit, Glitch, Etc. They've become so over abused that they sound a bit cliche and predictable to me (and a lot of other well respected IDM producers I know). If you put in the time to go the extra mile and not use the quick and easy route the hard work pays off.&#xD;&#xA;&#xD;&#xA;Some of my FX chains get 10-15 plug-ins deep. I stay away from presets and pretty much custom design everything in my music 90% of the time. I'll make 10+ variations of a percussion pattern and then chop and slice those into new patterns as well. I'm really big into Delays, reverbs, bitcrushers, distortions, and filters. Tons of multi-routed FX auxes, shit tons of automation, mutes and fx punches.&#xD;&#xA;&#xD;&#xA;If you want me to name a couple of my favorite plug-in's just ask. I have a huge list. But it's not only the plug-ins/fx gear you use, but how you use (or misuse) it." ContentLicense="CC BY-SA 3.0" />
  <row Id="13483" PostHistoryTypeId="2" PostId="8002" RevisionGUID="c61813d4-d2d2-4514-92de-6e0090b1a07a" CreationDate="2011-05-17T02:32:47.697" UserId="432" Text="Just to echo what everyone else has said here, it's probably not a problem for modern mics (except maybe ribbons). If anything funky does happen, the ground pin is always the first to actually connect between your cable and the mic/pre. So, there's at least a path established to ground to help deal with low-level discharges. That is, of course, unless the cable's damaged or you're using a cable that has a &quot;ground lift&quot; at one end (more likely to come across that in live sound situations).&#xD;&#xA;&#xD;&#xA;All that being said, I still do the cold swapping I was taught years ago. If nothing else, it protects your ears and your monitors." ContentLicense="CC BY-SA 3.0" />
  <row Id="13484" PostHistoryTypeId="2" PostId="8003" RevisionGUID="b229b9c8-22db-4419-b621-0d7d9844bee9" CreationDate="2011-05-17T02:33:23.370" UserDisplayName="user6513" Text="A loose cable connection would give you some cool spikes and cracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="13486" PostHistoryTypeId="2" PostId="8005" RevisionGUID="63552d15-df63-4920-9177-1ddc599cf152" CreationDate="2011-05-17T05:51:20.660" UserId="348" Text="Looking forward to hearing it Utopia. I use a potato chip packet or the wrapping from a vacuum sealed coffee packet like Nabob. But the bubble wrap also sounds interesting. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13487" PostHistoryTypeId="2" PostId="8006" RevisionGUID="7700c429-ba51-4676-b916-c8afb072189e" CreationDate="2011-05-17T06:21:54.383" UserId="2" Text="[Soundcloud][1]? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13488" PostHistoryTypeId="2" PostId="8007" RevisionGUID="df7e2a1c-5efd-400f-b837-b6dfcf8b1b70" CreationDate="2011-05-17T06:30:25.620" UserId="219" Text="I don't mean to steal the limelight here @Utopia, but I -- quite intentionally though -- created fire last summer with bubble wrap, the microfiber cloth that came with my Mac and the very thin paper that sometimes come inside new shoes filling them up.&#xD;&#xA;&#xD;&#xA;I used the bubble wrap for bursts while the thin paper gave a nice, quite intense, crackling. The microfiber cloth gave me the best &quot;flame flap&quot; since it is soft and dense. I'll post a sample too!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13489" PostHistoryTypeId="2" PostId="8008" RevisionGUID="8422f35d-f9fc-4b80-aad7-52b423642c0a" CreationDate="2011-05-17T08:22:34.367" UserId="786" Text="Destroy FX, especially Buffer Override, has always been a classic. VST and Audio Units, and they're free....&#xD;&#xA;[Destroy FX][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://destroyfx.smartelectronix.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13490" PostHistoryTypeId="2" PostId="8009" RevisionGUID="0e28c838-7438-4518-803d-a3cc2eda1cb6" CreationDate="2011-05-17T10:18:13.323" UserId="863" Text="post samples! great stuff! if you haven't seen it:&#xD;&#xA;http://soundworkscollection.com/imagineering&#xD;&#xA;&#xD;&#xA;at 5 minutes he shows how they created fire :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="13491" PostHistoryTypeId="2" PostId="8010" RevisionGUID="1975fd54-1dba-4193-b1e0-88a37b76ec41" CreationDate="2011-05-17T10:43:17.570" UserId="261" Text="@DavidHerman&#xD;&#xA;&#xD;&#xA;Hey &#xD;&#xA;&#xD;&#xA;MAybe you want to have a look at [THIS][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audiocookbook.org/sound_design/gms-interface-design-using-controlp5/&#xD;&#xA;&#xD;&#xA;I havent followed the progress of this application lately, but it looks really cool.&#xD;&#xA;basically it reads gestures from a video input which are then mapped to MIDI or OSC controls ad the rest is magic, as they say.&#xD;&#xA;But he adds in the second paragraph that he was looking at patching the code to allow a pre-recorded video to control the synthesiser...&#xD;&#xA;&#xD;&#xA;Not exactly what you were looking for, but interesting nonetheless.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 3.0" />
  <row Id="13492" PostHistoryTypeId="2" PostId="8011" RevisionGUID="8812729f-2f93-479b-b1e6-6425fc056738" CreationDate="2011-05-17T13:12:05.480" UserId="863" Text="You are getting into the realms of sound art and noise music. There are a lot of artists, and if anything it is worth researching them.&#xD;&#xA;&#xD;&#xA;I had the pleasure to meet and hear this great man perform in a tiny room at my university, it's a starting point: http://www.youtube.com/watch?v=AmdCmoaQTJY&#xD;&#xA;&#xD;&#xA;I recommend getting off your computer, and just playing with electronics and destroying instruments, recording sounds in the street, doing everything electronically can only get you so far. &#xD;&#xA;&#xD;&#xA;There is a great CD (I can't remember the artist) who mangled, scratched and destroyed Michael Jacksons beat it record, and it was brilliant... if I can find out I'll let you know." ContentLicense="CC BY-SA 3.0" />
  <row Id="13493" PostHistoryTypeId="2" PostId="8012" RevisionGUID="efc99995-1efe-43e8-abdc-04c264ba9d4e" CreationDate="2011-05-17T15:59:53.367" UserId="6435" Text="I've had hard drives go pear-shaped on me, and corrupt a bunch of sound files. Hasn't happened in a while, thank goodness, but when it does I try to record the corrupt sounds onto another recorder really quickly before I go into repair mode. Good source of trashy, glitchy, noisy sounds. Just used a bunch of them for a theatre design last month in fact." ContentLicense="CC BY-SA 3.0" />
  <row Id="13494" PostHistoryTypeId="2" PostId="8013" RevisionGUID="8a799a08-354b-4d22-8582-36e6f29e30b0" CreationDate="2011-05-17T16:41:48.270" UserId="118" Text="The Sound Collectors' Club is not totally free (£20 annual membership fee) but once you've joined you can download as many recordings as you like for no further cost from a variety of different themed collections such as 'Wind' and 'Night and Day' atmoses from around the world.  The only requirement is that you have to contribute a recording of your own to a collection in order to be able to gain access to it.  In this way, we are gradually building a crowdsourced online sound FX library.&#xD;&#xA;&#xD;&#xA;For more info, check out:&#xD;&#xA;&#xD;&#xA;http://thesoundcollectorsclub.wordpress.com/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="13495" PostHistoryTypeId="2" PostId="8014" RevisionGUID="44beac01-306c-4318-b38f-dad6ce2321ec" CreationDate="2011-05-17T17:29:18.800" UserId="285" Text="I think it might be a nightmare to get your library up onto soundcloud.  Does it have a batch uploader?  It might be a good thing to start doing with all files created from here on out but getting the bulk of an existing library up in way that was searchable would be a lot more work then just carrying around a hard drive when you need it I think.  The future will be headed in this direction for sure but it is still a few years away sadly.  Tim Prebble did a cost breakdown of getting his SFX library up to a cloud and found it would be too expensive currently.  http://www.musicofsound.co.nz/blog/a-cloud-based-fx-library-possible&#xD;&#xA;&#xD;&#xA;But Apple just bought 12 petabytes of storage for iTunes.  I think that means over 12 million terabytes or 1.07 billion gigs.  So it looks like soon everything will be able to be in a cloud somewhere, because as Apple goes the industry seems to follow." ContentLicense="CC BY-SA 3.0" />
  <row Id="13496" PostHistoryTypeId="2" PostId="8015" RevisionGUID="ab9f96fe-de09-4cd7-8280-997d7dd14bf0" CreationDate="2011-05-17T17:43:05.643" UserId="845" Text="Wouldn't it be easier and cheaper to just buy server space and upload everything to there?  Google is bound to have limits as to the amount of stuff you can upload for free, and there's no way you're going to be able to afford to do terrabytes worth of transfer through a consumer/commercial service.&#xD;&#xA;&#xD;&#xA;Plus, I'm sure there's some fancy PHP databasing thing you could do to keep things organized.  I'm willing to bet that gMusic will hold everything in one directory and go by mp3 artist/album/title metadata.  It'll basically just be an online iTunes, which is ok for a few thousand files, but ten-twenty-thirty thousand files would be a nightmare." ContentLicense="CC BY-SA 3.0" />
  <row Id="13497" PostHistoryTypeId="2" PostId="8016" RevisionGUID="30fd4363-e38e-4ce1-95c2-b650e55affa6" CreationDate="2011-05-17T18:46:24.687" UserId="937" Text="i've never really had any issues with it, although it seems rather crass to hotswap a powered mic especially tubes and ribbons....&#xD;&#xA;whatever you do you should ALWAYS mute the channel who's mic your switching, then you definitely wont hear a pop, you also definitely wont damage you amp, monitors or the eardrums of any unsuspecting musician who might have his IEMs in....." ContentLicense="CC BY-SA 3.0" />
  <row Id="13498" PostHistoryTypeId="2" PostId="8017" RevisionGUID="ed6eb241-c89d-4848-b9ec-da4921d48eaa" CreationDate="2011-05-17T19:38:01.010" UserId="432" Text="Let's leave the recorders, mics, boompoles and windscreens out of this list. What unique pieces of extra gear do you always have in your kit, and why? For example here are two items from our kits at work:&#xD;&#xA;&#xD;&#xA;Number 1.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;We use these to manage our cables; either coiling, or mounting to a boompole/stand. These are also great because they're entirely velcro, which means you can create a little fixed loop when wrapping it around things. Useful for hooking coils of cable slack to a carabiner on your recording bag while running around. We usually buy this stuff at Lowes or Home Depot.&#xD;&#xA;&#xD;&#xA;Number 2.&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;The Scotty Baitcaster is a kind of a poor man's boom holder. We've removed ours from that mounting plate, and the post fits into a Matthellini C-clamp nicely. It's great for when we're doing static shot interviews, because the video guys always bring some C-stands with them. [Heavy, but useful more often than not.] So, I'll grab one, mount this on top, and I don't have to worry about handling noise or my arms getting tired during long interviews.&#xD;&#xA;&#xD;&#xA;So, what other interesting pieces of gear are you guys using?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://images.lowes.com/product/converted/075967/075967911416lg.jpg&#xD;&#xA;  [2]: http://kayakfishinggear.com/ProductImages/Scotty-Baitcaster-Rod-Holde.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="13499" PostHistoryTypeId="1" PostId="8017" RevisionGUID="ed6eb241-c89d-4848-b9ec-da4921d48eaa" CreationDate="2011-05-17T19:38:01.010" UserId="432" Text="What non-standard gear is an important part of your kit" ContentLicense="CC BY-SA 3.0" />
  <row Id="13500" PostHistoryTypeId="3" PostId="8017" RevisionGUID="ed6eb241-c89d-4848-b9ec-da4921d48eaa" CreationDate="2011-05-17T19:38:01.010" UserId="432" Text="&lt;location-recording&gt;&lt;tools&gt;&lt;kit-bag&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13501" PostHistoryTypeId="2" PostId="8018" RevisionGUID="7d3f66d3-d043-4452-bb73-01ae04dc5ca3" CreationDate="2011-05-17T20:13:17.957" UserId="1072" Text="I was wondering. When mounting the MKH416 in a rycote suspension, do you place the opening (grill) area of the mic &quot;top and bottom&quot; so that it is not blocked by the plastic tabs that hold it in place on the Rycote suspension or do you place it &quot;sideways&quot; so that the plastic is covering part of the slotted grill area of the mic?&#xD;&#xA;&#xD;&#xA;Hope I explained this question properly! Thanks! If need be I can take pics. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13502" PostHistoryTypeId="1" PostId="8018" RevisionGUID="7d3f66d3-d043-4452-bb73-01ae04dc5ca3" CreationDate="2011-05-17T20:13:17.957" UserId="1072" Text="Which way do you mount your 416 in the zep?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13503" PostHistoryTypeId="3" PostId="8018" RevisionGUID="7d3f66d3-d043-4452-bb73-01ae04dc5ca3" CreationDate="2011-05-17T20:13:17.957" UserId="1072" Text="&lt;microphone&gt;&lt;field-recording&gt;&lt;sennheiser&gt;&lt;how-to&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13504" PostHistoryTypeId="2" PostId="8019" RevisionGUID="6ae88f9a-85a3-4faf-b042-41d0aaef1a2f" CreationDate="2011-05-17T20:17:27.420" UserId="1072" Text="Hmm theres a lot that comes to mind. Nice one with the Baitcaster!!! Thats exactly what I need!! &#xD;&#xA;&#xD;&#xA;I carry a cap-gun in my kit. I use this to trigger the reverberative qualities of a space to create an impulse response. &#xD;&#xA;&#xD;&#xA;Condoms! For dunking mics underwater or recording in the rain. &#xD;&#xA;&#xD;&#xA;A basic makeup kit has come in handy on shoots to reduce shininess when the budget for a makeup person is non existent.&#xD;&#xA;&#xD;&#xA;First aid stuff has also been pretty nice! &#xD;&#xA;&#xD;&#xA;Thats off the top of my head, Ill add some comments after looking through my kit. &#xD;&#xA;&#xD;&#xA;Cool topic!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13505" PostHistoryTypeId="2" PostId="8020" RevisionGUID="ecea1e82-27c5-4f70-a9f4-501fd96fdad0" CreationDate="2011-05-17T20:18:43.127" UserId="18160" Text="Packing blankets. My god, these are a lifesaver when the director or cameraman says &quot;WOW, LOOK AT THIS AWESOME FRAME I CAN GET FOR THE INTERVIEW INSIDE THIS GLASS BOX OF PARALLEL WALLS!!!&quot;&#xD;&#xA;&#xD;&#xA;A pair of nice work gloves - I got mine at home depot for $14.&#xD;&#xA;&#xD;&#xA;A nifty wind foam built for a blumlein pair. I have one that fits two MK6 capsules. They are awesome.&#xD;&#xA;&#xD;&#xA;Gaffer tape.&#xD;&#xA;&#xD;&#xA;I also like my lazer tilt sensor/measurement tool to know exactly how many feet of cable I'll need for a particular cable run and what angle things are pointed at.&#xD;&#xA;&#xD;&#xA;It's kind of a no-brainer, but some paper tape and a sharpie can be indispensable when plugging into a 12-channel snake and you want to make sure what cable you're running is the right one to plug into..&#xD;&#xA;&#xD;&#xA;A camera - even if it's on your phone or iPod. I have learned from Tim Prebble that taking photos of what and where you record is very important and is much more professional if you want to release it later in a library." ContentLicense="CC BY-SA 3.0" />
  <row Id="13506" PostHistoryTypeId="5" PostId="8020" RevisionGUID="cb8db01e-f7f3-4704-89ad-692217b4d849" CreationDate="2011-05-17T20:24:18.283" UserId="18160" Comment="added 50 characters in body" Text="Packing blankets. My god, these are a lifesaver when the director or cameraman says &quot;WOW, LOOK AT THIS AWESOME FRAME I CAN GET FOR THE INTERVIEW INSIDE THIS GLASS BOX OF PARALLEL WALLS!!!&quot;&#xD;&#xA;&#xD;&#xA;A pair of nice work gloves - I got mine at home depot for $14.&#xD;&#xA;&#xD;&#xA;A nifty wind foam built for a blumlein pair. I have one that fits two MK6 capsules. They are awesome.&#xD;&#xA;&#xD;&#xA;Gaffer tape.&#xD;&#xA;&#xD;&#xA;I also like my lazer tilt sensor/measurement tool to know exactly how many feet of cable I'll need for a particular cable run and what angle things are pointed at.&#xD;&#xA;&#xD;&#xA;It's kind of a no-brainer, but some paper tape and a sharpie can be indispensable when plugging into a 12-channel snake and you want to make sure what cable you're running is the right one to plug into..&#xD;&#xA;&#xD;&#xA;A camera - even if it's on your phone or iPod. I have learned from Tim Prebble that taking photos of what and where you record is very important and is much more professional if you want to release it later in a library.&#xD;&#xA;&#xD;&#xA;Small LED flashlight or a flashlight headband." ContentLicense="CC BY-SA 3.0" />
  <row Id="13507" PostHistoryTypeId="2" PostId="8021" RevisionGUID="9abe0044-a79e-48b9-a093-b995164f29f5" CreationDate="2011-05-17T20:24:37.733" UserId="338" Text="I made fire out of a flanger and toothpicks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13508" PostHistoryTypeId="2" PostId="8022" RevisionGUID="d7e4e0f3-d8bf-424b-8507-c7e18eda3f8d" CreationDate="2011-05-17T21:59:14.913" UserId="432" Text="I don't have a 416...but with shotgun mics in general, i try not to cover the grills. They're an essential part of what makes an interference tube and interference tube. Another relevant point with windscreens is to keep the end from extending beyond the boundary of body and &quot;cap&quot; (the rounded end area) of your windscreen." ContentLicense="CC BY-SA 3.0" />
  <row Id="13509" PostHistoryTypeId="2" PostId="8023" RevisionGUID="75a50252-2082-4aec-9d76-1c01f590b239" CreationDate="2011-05-17T22:12:16.290" UserId="6462" Text="So here's the scenario. You are boom opping in the forest (or anywhere in the countryside for that matter) and in the middle of a really important shot, you feel the prick of a fine needle, and as you look you see a mosquito happily sucking away at your hand.&#xD;&#xA;&#xD;&#xA;What do you do?&#xD;&#xA;&#xD;&#xA;Obviously you have to grin an bear it and let it have it's fill!! There is no way you're going to ruin a shot because of a mozzy, plus it's guaranteed to have gone by the time someone asks what happened. I'm sure you don't want to endure a days worth of 'wimpy sound guy' jokes from the lighting crew!&#xD;&#xA;&#xD;&#xA;But, anyway, my question is, has anyone found any lotions, potions, magic spells, hints or tips that help to keep the buggers away?&#xD;&#xA;&#xD;&#xA;This time of year always brings out tonnes of the nasties and I don't want to end up as the main course." ContentLicense="CC BY-SA 3.0" />
  <row Id="13510" PostHistoryTypeId="1" PostId="8023" RevisionGUID="75a50252-2082-4aec-9d76-1c01f590b239" CreationDate="2011-05-17T22:12:16.290" UserId="6462" Text="Insects love boom ops!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13511" PostHistoryTypeId="3" PostId="8023" RevisionGUID="75a50252-2082-4aec-9d76-1c01f590b239" CreationDate="2011-05-17T22:12:16.290" UserId="6462" Text="&lt;boom-operator&gt;&lt;insects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13512" PostHistoryTypeId="2" PostId="8024" RevisionGUID="c7bf1ae1-7474-48de-9585-6132648d2a8a" CreationDate="2011-05-17T22:38:36.237" UserId="238" Text="Two (well actually three) essential pieces of kit that are pretty non-technical:&#xD;&#xA;&#xD;&#xA;Tape essentials: Gaffer and Sparky&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Multitool (mine's a Leatherman Wave)&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tools-supplies.co.uk/ekmps/shops/sjhowardwork/images/dt201.jpg&#xD;&#xA;  [2]: http://www.leathermans.co.uk/images09/Leatherman-Wave/Leatherman-Wave.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="13513" PostHistoryTypeId="2" PostId="8025" RevisionGUID="a5146766-7a38-4bf4-811c-6cffbe6d5985" CreationDate="2011-05-17T22:42:10.440" UserId="393" Text="Garlic and onions, and lots of them.  Something about eating garlic and onions keeps them away... not completely, but it's noticeably less than normal.&#xD;&#xA;&#xD;&#xA;Also, keep a ginger around (... except me, unless you're offering me a job), 'cause mosquitos tend to favor the fairer skinned, in my opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="13514" PostHistoryTypeId="5" PostId="8020" RevisionGUID="8a7a0b5a-62be-4019-93fb-b69a38daaaf6" CreationDate="2011-05-17T23:48:15.953" UserId="18160" Comment="added 341 characters in body; added 207 characters in body; added 74 characters in body" Text="Packing blankets. My god, these are a lifesaver when the director or cameraman says &quot;WOW, LOOK AT THIS AWESOME FRAME I CAN GET FOR THE INTERVIEW INSIDE THIS GLASS BOX OF PARALLEL WALLS!!!&quot;&#xD;&#xA;&#xD;&#xA;A pair of nice work gloves - I got mine at home depot for $14.&#xD;&#xA;&#xD;&#xA;A nifty wind foam built for a blumlein pair. I have one that fits two MK6 capsules. They are awesome.&#xD;&#xA;&#xD;&#xA;Gaffer tape.&#xD;&#xA;&#xD;&#xA;I also like my lazer tilt sensor/measurement tool to know exactly how many feet of cable I'll need for a particular cable run and what angle things are pointed at.&#xD;&#xA;&#xD;&#xA;It's kind of a no-brainer, but some paper tape and a sharpie can be indispensable when plugging into a 12-channel snake and you want to make sure what cable you're running is the right one to plug into..&#xD;&#xA;&#xD;&#xA;A camera - even if it's on your phone or iPod. I have learned from Tim Prebble that taking photos of what and where you record is very important and is much more professional if you want to release it later in a library.&#xD;&#xA;&#xD;&#xA;Small LED flashlight or a flashlight headband.&#xD;&#xA;&#xD;&#xA;EDIT: I forgot an important one which I listed in my Duties of a Boom Op answer, but it also applies here:&#xD;&#xA;&#xD;&#xA;Breath mints. When micing up celebrities or VIPs or even just regular actors, it's important you have fresh breath because most of the time you have to be very close to the people. Also, just working in a small space with other crew members, it's nice to keep your breath so fresh and so clean, clean. Reason I bring this up is because I've witnessed someone placing a lapel on a celeb on a shoot who had bad breath and the celeb let him hear about it loudly (not to mention he wasn't hired on the next gig)." ContentLicense="CC BY-SA 3.0" />
  <row Id="13515" PostHistoryTypeId="2" PostId="8026" RevisionGUID="706c45a3-b974-4b2a-be19-66487e4f241f" CreationDate="2011-05-17T23:55:49.230" UserId="18160" Text="I listened to the track and I have a few questions. Forgive me if I'm wrong because I only had my laptop speakers (no headphones) available right now to listen to it:&#xD;&#xA;&#xD;&#xA;If you're trying to use that track for the woman's dialogue, you've got the wrong mic. The mic sounds like it's on the guy who says &quot;Wallace vs. Chavez...&quot; and this sounds pretty clean to me when he's talking. Just snip out the noisy stuff and replace foley to it.&#xD;&#xA;&#xD;&#xA;Do you have another channel for the woman? Hope you do... Otherwise, I don't know what to do with that. ADR it. Sounds like there is way too much cloth to signal ratio and it's utterly unusable.&#xD;&#xA;&#xD;&#xA;Tips to make a lav sound bigger:&#xD;&#xA;&#xD;&#xA;- Add bass to it but don't make it &quot;chesty&quot;.&#xD;&#xA;- Add a nice warm boomy reverb of a room if they're indoors. The lavs I have heard are one for one really dead (because they have cloth and such over them) and this will help give them body and weight." ContentLicense="CC BY-SA 3.0" />
  <row Id="13516" PostHistoryTypeId="5" PostId="8026" RevisionGUID="c91be8de-c455-49f5-bdc7-731ceb068a71" CreationDate="2011-05-18T00:02:28.610" UserId="18160" Comment="added 144 characters in body" Text="I listened to the track and I have a few questions. Forgive me if I'm wrong because I only had my laptop speakers (no headphones) available right now to listen to it:&#xD;&#xA;&#xD;&#xA;If you're trying to use that track for the woman's dialogue, you've got the wrong mic. The mic sounds like it's on the guy who says &quot;Wallace vs. Chavez...&quot; and this sounds pretty clean to me when he's talking (relatively. It will still require penciling out the little ticks and snaps, but I think I could make something of it if ADR was not an option). Just snip out the noisy stuff and replace foley to it.&#xD;&#xA;&#xD;&#xA;Do you have another channel for the woman? Hope you do... Otherwise, I don't know what to do with that. ADR it. Sounds like there is way too much cloth to signal ratio and it's utterly unusable.&#xD;&#xA;&#xD;&#xA;Tips to make a lav sound bigger:&#xD;&#xA;&#xD;&#xA;- Add bass to it but don't make it &quot;chesty&quot;.&#xD;&#xA;- Add a nice warm boomy reverb of a room if they're indoors. The lavs I have heard are one for one really dead (because they have cloth and such over them) and this will help give them body and weight." ContentLicense="CC BY-SA 3.0" />
  <row Id="13517" PostHistoryTypeId="2" PostId="8027" RevisionGUID="2cd3c601-fdf6-4586-9cd1-c203837a0c5b" CreationDate="2011-05-18T00:14:46.863" UserId="18160" Text="I remember my first time micing up an A-List. I know exactly how you feel right now.&#xD;&#xA;&#xD;&#xA;They respect competence. I suggest having an altoids case nearby at all times and throw one in just before you mic him. I also suggest being ready to ask him politely to take off his jingly watch or pocket-watch. Also, don't be afraid to jump in and start micing and not waiting for someone to tell you when to do your job - do it politely of course - and they will respect you for this. Show interest in wanting to make it perfect.&#xD;&#xA;&#xD;&#xA;I had everything set up 3 hours before-hand and I double and triple-checked my lines to ensure they were clean and ready to record.&#xD;&#xA;&#xD;&#xA;I set up every possible alternative way of recording (lavs, wireless, headphones, no headphones, boomed mic, different types of boom mics ready, etc. etc.)&#xD;&#xA;&#xD;&#xA;This was an ADR session I did so I'm sure an off-the-cuff interview will be much easier (i.e. you don't need to be able to play back video/audio, etc.)&#xD;&#xA;&#xD;&#xA;I would definitely try to boom this interview and not use a lav mic. This will also make it easier to mic him if you're worried about getting too close." ContentLicense="CC BY-SA 3.0" />
  <row Id="13518" PostHistoryTypeId="5" PostId="8001" RevisionGUID="13a5fb3a-69aa-479e-9e28-4c897b395492" CreationDate="2011-05-18T00:41:35.800" UserId="693" Comment="added more info" Text="Lots of custom recordings (I'm especially fond of not just using standard mics, but contact mics at the same time as regular mics). I'm very big into custom recordings and found sounds. I'm also big on very heavy FX chains. That's where I'd start if you want unique and interesting results. You might want to avoid common plug-ins like Stutteredit, Glitch, Etc. They've become so over abused that they sound a bit cliche and predictable to me (and a lot of other well respected IDM producers I know). If you put in the time to go the extra mile and not use the quick and easy route the hard work pays off. Anyone can slap an autoslice/fx and call it glitch (and it usually shows).&#xD;&#xA;&#xD;&#xA;Some of my FX chains get 10-15 plug-ins deep. I basicaly made a modular environment out of my plug-ins (and outboard gear as well). I stay away from presets and pretty much custom design everything in my music 90% of the time. I'll make 10+ variations of a percussion pattern and then chop and slice those into new patterns as well. I'm really big into Delays, reverbs, bitcrushers, distortions, and filters. Tons of multi-routed FX auxes, shit tons of automation, mutes and fx punches. Some of this requires splitting busses out to other FX chains at different stages in the signal flow. Sometimes they're split with multiband filters sending different portions of the signal to different effects for some twisted layering. Needless to say, these are also some of my favorite effects for sound design for picture as well. Most of these would go in my &quot;secret weapons&quot; list for that other thread on here.&#xD;&#xA;&#xD;&#xA;Some of my favorites have already been mentioned here like: the Soundhack bundles (I Beta test for them and the new PVOC bundle out soon is insane) and Buffer Override (amongst other sick stuff from Destroy FX). Although you could consider it synthesis with the level I take it all to, I'm not even going to get into actual synthesis with this list. I'm just going to keep it as strictly DSP FX. Some of these are freeware, some are paid. You'll have to do all that research on your own.&#xD;&#xA;&#xD;&#xA;**Others I love are:** &#xD;&#xA;&#xD;&#xA;- Favorites of specific categories denoted with a *&#xD;&#xA;&#xD;&#xA;**Spectral/Morph/Esoteric/Granular:** (can't pick a fave in this category since most are very different and strange)&#xD;&#xA;&#xD;&#xA;- Little Endian &quot;SpectrumWorx&quot; (you can find an audio demo of some of the preset bundle I'm doing for them on my soundcloud page)&#xD;&#xA;&#xD;&#xA;- GRM Tools (both bundles)&#xD;&#xA;&#xD;&#xA;- Michael Norris FX&#xD;&#xA;&#xD;&#xA;- Audio Damage: &quot;Automaton&quot; &#xD;&#xA;&#xD;&#xA;- Audio Ease &quot;Nautilus Bundle&quot; (mainly for RiverRun)&#xD;&#xA;&#xD;&#xA;- Paulstretch&#xD;&#xA;&#xD;&#xA;- Metasynth&#xD;&#xA;&#xD;&#xA;- Twisted Tools &quot;Scapes&quot; and &quot;Buffeater&quot; (commercial ensembles for Reaktor)&#xD;&#xA;&#xD;&#xA;- Tim Exiles &quot;TheFinger&quot; (commercial ensemble for Reaktor)&#xD;&#xA;&#xD;&#xA;- Reaktor Ensembles: &quot;LazerVerb&quot;, &quot;GrainCube&quot;, &quot;Frame 2&quot; &amp; &quot;Gods Beatbox&quot;&#xD;&#xA;&#xD;&#xA;**Distortions/Decimators/Bit Reduction:**&#xD;&#xA;&#xD;&#xA;- *Audio Damage &quot;Kombinat&quot;&#xD;&#xA;&#xD;&#xA;- D16 &quot;Redoptor&quot;, &quot;Decimort&quot; and &quot;Devistor&quot;&#xD;&#xA;&#xD;&#xA;- OhmForce &quot;Ohmicide&quot;&#xD;&#xA;&#xD;&#xA;- Camel &quot;Phat3&quot; and &quot;Camel Crusher&quot;&#xD;&#xA;&#xD;&#xA;**Filters:**&#xD;&#xA;&#xD;&#xA;- *FabFilter &quot;Volcano2&quot;&#xD;&#xA;&#xD;&#xA;- SugarBytes &quot;WOW&quot;&#xD;&#xA;&#xD;&#xA;**Delays:**&#xD;&#xA;&#xD;&#xA;- *u-He &quot;MFM2&quot;&#xD;&#xA;&#xD;&#xA;- FabFilter &quot;Timeless&quot;&#xD;&#xA;&#xD;&#xA;- Camel &quot;Space&quot;&#xD;&#xA;&#xD;&#xA;- OhmForce &quot;Ohmboys&quot;&#xD;&#xA;&#xD;&#xA;- *Valhalla &quot;FreqEcho&quot;&#xD;&#xA;&#xD;&#xA;- Native Instruments &quot;Spektral Delay&quot;&#xD;&#xA;&#xD;&#xA;- *Smartelectronix &quot;Analog Delay&quot;&#xD;&#xA;&#xD;&#xA;**Verbs:**&#xD;&#xA;&#xD;&#xA;- *AudioEase &quot;Altiverb&quot; (This is a must have. Mostly for realistic, as well as strange convolution verb fx)&#xD;&#xA;&#xD;&#xA;- *2C Audio &quot;Aetherverb&quot; Strange/grainy/Self Modulating Algorhythmic verb&#xD;&#xA;&#xD;&#xA;- D16 &quot;Toraverb&quot;&#xD;&#xA;&#xD;&#xA;- Valhalla &quot;Shimmer&quot;&#xD;&#xA;&#xD;&#xA;**Multi-FX Bundles:**&#xD;&#xA;&#xD;&#xA;- *Soundtoys Bundle&#xD;&#xA;&#xD;&#xA;- u-He &quot;uHbik&quot;&#xD;&#xA;&#xD;&#xA;- Waves - These sort of go without saying. Waves isn't as extreme as the other two, but helps when you need something not so extreme.&#xD;&#xA;&#xD;&#xA;**Other:**&#xD;&#xA;&#xD;&#xA;- Reaper DAW: This is a highly recommended mention from me. It has some cool effects bundled in with it, but I'm mentioning it because it's more like a modular audio environment instead of a typical DAW. With Assignable Parameter LFO's, Extremely flexible Routing, Timestretch, Tempo and Playback tricks you can turn anything into a modular beast in this thing. I love it.&#xD;&#xA;&#xD;&#xA;- Adobe Soundbooth: I mention this because it has some really wicked Spectral Editing capabilities (which is really awesome) and Timestretch functions (that are not the smoothest, but very interesting and unique).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Some of those are the same type of effects, but sometimes I prefer one over the other due to slight character differences or differences in features. I try to stay away from Autocut/Slice or Step Based FX since they're way overused &amp; easy to spot/gimmicky/cliche to me now, like I said before, it's better to do the work yourself. The Finger, Scapes &amp; Buffeater work on a bit of that glitch principle, but if worked right can give you some really wicked results since they're all about real time modification and morphing instead of simply triggering step based effects and slices. There are a ton of other weird home made effects and plug-ins I could mention but this list is pretty extensive (as well as expensive if you were to try to acquire it all at once). So I'll leave it at that.&#xD;&#xA;&#xD;&#xA;I'll modify this post again when I have a bit more time later tonight to give you some solid music references." ContentLicense="CC BY-SA 3.0" />
  <row Id="13519" PostHistoryTypeId="2" PostId="8028" RevisionGUID="49152fb8-790f-4417-848b-1a0c6704c5e2" CreationDate="2011-05-18T00:57:52.107" UserId="1078" Text="Ha, I was dealing with exactly the same problem about a month ago, shooting all exteriors in the woods in SC. Luckily production provided a lot of bug repellent, besides that I just dealt with the heat of long sleeve shirts/long pants." ContentLicense="CC BY-SA 3.0" />
  <row Id="13520" PostHistoryTypeId="2" PostId="8029" RevisionGUID="80642624-1630-4876-a69b-ee9dc7c89f9d" CreationDate="2011-05-18T01:03:42.313" UserId="1078" Text="Just one random little trick I've got, maybe it's a bit obvious to some, but if you use Ableton, try playing a sound file and messing with the transpose knob. Route the output of your audio track to another audio track and record the performance." ContentLicense="CC BY-SA 3.0" />
  <row Id="13521" PostHistoryTypeId="2" PostId="8030" RevisionGUID="31ff58d2-6514-4086-8f8e-cda93cbc255b" CreationDate="2011-05-18T01:08:09.373" UserId="1078" Text="I've got a short animation I'm working on where a statue comes alive and wreaks havoc on a bunch of chickens. Lately, I'm having a bit of difficulty with its footsteps. I've been trying to use different types of boulder/rock crashing/exploding sounds as well as putting an LPF on rocket-type explosions and using fades to give them a shorter decay. Anybody have any other interesting ideas to try out/experience cutting to something like this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13522" PostHistoryTypeId="1" PostId="8030" RevisionGUID="31ff58d2-6514-4086-8f8e-cda93cbc255b" CreationDate="2011-05-18T01:08:09.373" UserId="1078" Text="Monster footsteps (animation)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13523" PostHistoryTypeId="3" PostId="8030" RevisionGUID="31ff58d2-6514-4086-8f8e-cda93cbc255b" CreationDate="2011-05-18T01:08:09.373" UserId="1078" Text="&lt;animation&gt;&lt;sound-design&gt;&lt;footsteps&gt;&lt;monster&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13524" PostHistoryTypeId="2" PostId="8031" RevisionGUID="7958068e-98bc-4b3e-bfc3-cff0e15db234" CreationDate="2011-05-18T01:13:14.440" UserId="1078" Text="Medical tape. Now, I am a bit newer to production audio than many here, but I've used this a few times to get a wireless mic onto an actor. It's been pretty much the only way I could figure how to do it when all they've got on is a thin t-shirt. Incidentally, you may also want to have a razor and shaving foam handy :D. &#xD;&#xA;&#xD;&#xA;They also make little holsters for wireless transmitters designed to strap around someone's thigh. Very useful for when a talent (especially females) have tight dresses on.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13525" PostHistoryTypeId="2" PostId="8032" RevisionGUID="83b495cf-c232-4fce-b25e-e4127a915698" CreationDate="2011-05-18T01:17:14.177" UserId="253" Text="On top of the footsteps, you should think about the effect the footsteps have on their surrounding environment. This could be rattling floorboards in a chicken coop, slapback from distant hills, debris falling, anything like that." ContentLicense="CC BY-SA 3.0" />
  <row Id="13526" PostHistoryTypeId="2" PostId="8033" RevisionGUID="ba6a79d8-bc01-4587-bed0-26f7383fbacc" CreationDate="2011-05-18T01:40:20.897" UserDisplayName="user6513" Text="How about thunder for the footsteps? I agree with Roger on the effects of the footsteps on the surrounding so perhaps some earthquake or avalanche type rumbling as well. The faster he walks, the bigger the 'earthquake' he causes." ContentLicense="CC BY-SA 3.0" />
  <row Id="13527" PostHistoryTypeId="2" PostId="8034" RevisionGUID="8d4aea58-2db1-4579-9be4-ebc4c203096c" CreationDate="2011-05-18T01:47:34.073" UserId="1045" Text="Maybe something like an concert base drumb, maybe put some metallic pieces on it to give it that low rubble with a rattle. I really want to see this sequence, it sound great.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13528" PostHistoryTypeId="2" PostId="8035" RevisionGUID="8e8a4dc6-c597-483e-b805-052be8b80d17" CreationDate="2011-05-18T01:50:14.803" UserDisplayName="user6513" Text="I bring sweets and chocs just in case the shoot eats into our meal times and my gastric starts acting up." ContentLicense="CC BY-SA 3.0" />
  <row Id="13529" PostHistoryTypeId="2" PostId="8036" RevisionGUID="a5797438-b845-498f-b860-2364ba7098c8" CreationDate="2011-05-18T02:00:42.320" UserId="1045" Text="My Merrell shoes." ContentLicense="CC BY-SA 3.0" />
  <row Id="13530" PostHistoryTypeId="2" PostId="8037" RevisionGUID="03dd1cb3-729c-4367-b0af-1efc1bc00dd4" CreationDate="2011-05-18T02:08:41.740" UserId="18160" Text="Pitch the chickens up a bit to give the contrast effect of the footsteps sounding deeper and lower." ContentLicense="CC BY-SA 3.0" />
  <row Id="13531" PostHistoryTypeId="2" PostId="8038" RevisionGUID="782666a8-eac6-4c31-8985-8383d952861e" CreationDate="2011-05-18T03:02:55.147" UserId="18160" Text="I'm right now working on a film with an intro much like The Hurt Locker but this film is in India. Estab shots on slums and poverty-stricken streets.&#xD;&#xA;&#xD;&#xA;I really like the intro to The Hurt Locker with the megaphone speech and the gritty ambiences.&#xD;&#xA;&#xD;&#xA;Has anyone been to India? Do you know what a street such as this one would have included sound-wise?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13532" PostHistoryTypeId="1" PostId="8038" RevisionGUID="782666a8-eac6-4c31-8985-8383d952861e" CreationDate="2011-05-18T03:02:55.147" UserId="18160" Text="India Street Ambience" ContentLicense="CC BY-SA 3.0" />
  <row Id="13533" PostHistoryTypeId="3" PostId="8038" RevisionGUID="782666a8-eac6-4c31-8985-8383d952861e" CreationDate="2011-05-18T03:02:55.147" UserId="18160" Text="&lt;street&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13534" PostHistoryTypeId="2" PostId="8039" RevisionGUID="fcdc1b58-fa99-441d-a14a-0b438673b875" CreationDate="2011-05-18T03:46:22.083" UserId="1045" Text="If it's a busy market street. A lot of traffic, small cars and mopeds, rickshaws both pulled by motor bike or horses, lots of people. &#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="13535" PostHistoryTypeId="2" PostId="8040" RevisionGUID="17c00b4d-1f9a-45dd-b0ca-18fe78e5c224" CreationDate="2011-05-18T04:57:36.460" UserId="168" Text="It depends on what sort of urban setting the slum is in. Hard carts are a rare sight these days and a lot of the slums even have televisions. You could layer these sounds:&#xD;&#xA;&#xD;&#xA; - Crows (lots of them)&#xD;&#xA; - Indian Koyal (bird)&#xD;&#xA; - Pigeons (wing flap/cooeing depending on location)&#xD;&#xA; - Chickens&#xD;&#xA; - Distant television&#xD;&#xA; - Dogs&#xD;&#xA; - kids playing&#xD;&#xA; - Two wheelers&#xD;&#xA; - three wheeler auto rickshaws &#xD;&#xA; - Metal utensils (maybe something cooking on a kerosene stove)&#xD;&#xA; - Radio&#xD;&#xA; - Hand washing clothes&#xD;&#xA; - Faucet/water running &#xD;&#xA; - Traffic ambiance (trucks, motorcycles, cars..make sure there are enough horns heard)&#xD;&#xA;&#xD;&#xA;Email me (nothingtokeep[at]gmail[dot]com), I probably could share a few sounds with you.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13536" PostHistoryTypeId="2" PostId="8041" RevisionGUID="15641f6a-428c-433b-9b1a-3fb35d29a1fa" CreationDate="2011-05-18T06:41:59.957" UserId="1080" Text="Hello.&#xD;&#xA;&#xD;&#xA;I have been in India last month and record a lot of sounds.&#xD;&#xA;You can ear some examples on my blog :&#xD;&#xA;www.faunethic.org&#xD;&#xA;&#xD;&#xA;Maybe i can share some sounds too.&#xD;&#xA;&#xD;&#xA;Bye.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13537" PostHistoryTypeId="2" PostId="8042" RevisionGUID="02dd576a-55f9-4b90-aa98-037b90dd9f64" CreationDate="2011-05-18T07:22:37.307" UserId="338" Text="Heres something I discovered by accident once. I was doing a sound remix for fun and I was making footsteps of a giant robot monster that destroys buildings.  Open the sound of rubbing a balloon and use that, pitch it, whatever..." ContentLicense="CC BY-SA 3.0" />
  <row Id="13538" PostHistoryTypeId="2" PostId="8043" RevisionGUID="b87b00ef-e1c9-4833-af57-62d733f3d1d5" CreationDate="2011-05-18T07:23:44.250" UserId="338" Text="Indian musical instruments" ContentLicense="CC BY-SA 3.0" />
  <row Id="13539" PostHistoryTypeId="2" PostId="8044" RevisionGUID="a8ccaf34-1d33-43e3-9b43-0348be20514c" CreationDate="2011-05-18T07:51:48.710" UserId="1056" Text="Seriously though, there's a product called OFF Deep Woods that you should carry with you at all times when shooting on location. It gives the longest protection without constant re-application (up to 2 hours). Eucalyptus oil is also effective and can be found at just about any pharmacy or health shop. Just test a small area on your skin first (for sensitivity) if you haven't used it before. WARNING:The smell tends to keep away more than just mosquitoes.&#xD;&#xA;&#xD;&#xA;TIP 1: It is only necessary to apply any bug repellent to exposed skin, but ensure you get good coverage. Otherwise, those little buggers tend to hone in on the one area you missed.&#xD;&#xA;&#xD;&#xA;TIP 2: Most bug repellents tend to irritate your eyes, so don't apply to your forehead area (in case of perspiration) and be careful not to wipe your eyes with your hands." ContentLicense="CC BY-SA 3.0" />
  <row Id="13540" PostHistoryTypeId="2" PostId="8045" RevisionGUID="a3ca94e3-0b92-43a1-852a-aeb8294a58e1" CreationDate="2011-05-18T08:08:03.060" UserId="1056" Text="1) CAIG A/V Survival Kit - this has saved me so many times (corroded connectors, scratchy faders, etc, etc, etc)&#xD;&#xA;&#xD;&#xA;2) Medi-keel throat lozenges - a lifesaver when one of the talent suddenly gets a frog in his throat" ContentLicense="CC BY-SA 3.0" />
  <row Id="13541" PostHistoryTypeId="2" PostId="8046" RevisionGUID="4afb8977-bbba-42d7-8c95-eaa8570d464e" CreationDate="2011-05-18T08:22:20.640" UserId="1056" Text="Don't forget the street vendors!  Indian street vendors tend to be pretty vocal." ContentLicense="CC BY-SA 3.0" />
  <row Id="13542" PostHistoryTypeId="2" PostId="8047" RevisionGUID="c882e34d-da63-47a2-9582-4e2b580586d7" CreationDate="2011-05-18T10:06:23.610" UserId="993" Text="I'm very happy with the Zoom H4n. That and a Sennheiser ME66 K6 is a solid investment. I've been using both for boom swinging, field recording and such for a couple of years now.  Stamina mode is nice if you need to record 11 hours straight, but you don't need it. Stick to recording at 48kHz if you're recording to sync with film or video. The battery life of the Zoom is plenty - and you can get more if you put another battery in the K6 instead of using phantom.&#xD;&#xA;Here are some of the main pros and cons of the unit you should find relevant to your interests:&#xD;&#xA;&#xD;&#xA;PROS&#xD;&#xA;&#xD;&#xA;- It costs half the price of the cheapest audio field recorder, but has nearly all the essential functionality&#xD;&#xA;- Two inputs on the bottom are combo XLR/quarter inch inputs&#xD;&#xA;- Built in stereo mic - or plug in your own mic into the 3.5mm input on the backet&#xD;&#xA;- Record up to 96kHz 24bit into two channel mode, or up to 48kHz in four channel mode (channels 3 and 4 are the stere mics)&#xD;&#xA;- Small and light. Gives you much more mobility than most large field recorders&#xD;&#xA;- Great battery life and runs on two AA batteries. You lose a couple of hours when your running powered mics, but the life is long enough. Invest in 4 or so rechargable batteries and you'll be good&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;CONS&#xD;&#xA;&#xD;&#xA;- Volume controls are buttons; can be tricky to quickly adjust volume for say a scene where a character whispers and then fires a gun&#xD;&#xA;- Only output is the 3.5mm jack, so you can't really run a cable out into the XLR input on the camera. You have to record and sync later&#xD;&#xA;- Can't rename folders and renaming files takes time. I really like the scene/shot/take file name generators some proper field recorders have. As is I take time to rename files on the computer before passing to the editor&#xD;&#xA;- Slow bootup time. Never timed it but maybe 20 - 30 seconds. Enough to miss that helicopter that you spotted coming towards you&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13543" PostHistoryTypeId="2" PostId="8048" RevisionGUID="312c7d52-299e-49bb-a6c5-dd00315ae6ea" CreationDate="2011-05-18T10:45:59.253" UserId="1005" Text="I haven't done it personally, but I know many who have used the H4N for production sound. One thing is that it doesn't do timecode that I'm aware of. Depending on the film editor, this won't be an issue - especially if they have something like PluralEyes. However, I could see the file naming and lack of TC making extended ENG work -very- tedious both in the field and during post.&#xD;&#xA;&#xD;&#xA;All that aside, though, it's cheap and can get the job done in a pinch. Also great for capturing sound effects. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13544" PostHistoryTypeId="2" PostId="8049" RevisionGUID="e2d4111a-b252-42c2-aafc-eb049f3dd291" CreationDate="2011-05-18T10:51:45.383" UserId="168" Text="For its price it's pretty good.&#xD;&#xA;&#xD;&#xA;The biggest con, and also because of 'selective' advertising by Zoom/Samson, are the quarter inch inputs. While the specs label them as line inputs, they are nothing more than Hi-Z unbalanced inputs. So the only way to use them with a mixer or external pres is to use unbalanced outputs with a 15-20 dB pad. &#xD;&#xA;&#xD;&#xA;Here is a nice comparision (preamps, noise floor, distortion) of the H4n with the Edirol R-4, H4 and Sony D-50:&#xD;&#xA;&#xD;&#xA;http://www.martin-doppelbauer.de/fieldrecorder/index.html&#xD;&#xA;&#xD;&#xA;You might also want to check Rene Coronado's handheld recorder shoot out:&#xD;&#xA;&#xD;&#xA;http://thesoundmyheadmakes.blogspot.com/2010/11/handheld-recorder-shootout-part-1-specs.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="13545" PostHistoryTypeId="2" PostId="8050" RevisionGUID="5e37841b-9aa1-43f5-af87-44271b1864e1" CreationDate="2011-05-18T10:52:57.190" UserId="1005" Text="Wow, these are all some great ideas.&#xD;&#xA;&#xD;&#xA;@Roger had definitely thought of that, since the monster is running around a temple ruin I'm messing a lot with additional smaller rock debris sounds, although your comment sparked the idea of its entrance affecting the BGs, having birds suddenly scattering.&#xD;&#xA;&#xD;&#xA;@Tak I'll have to try out the thunder and let you know of the results.&#xD;&#xA;&#xD;&#xA;@Peter I've got something kind of similar going on for my &quot;bass&quot; layer right now, some very deep footsteps that sound a bit like gigantic de-tuned drums.&#xD;&#xA;&#xD;&#xA;@Chris That's...interesting. I'll have to mess with that to see what you mean, but did the balloon sound emulate the sound of bending steel in the buildings or something?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13546" PostHistoryTypeId="2" PostId="8051" RevisionGUID="a62b4a48-2918-474d-9f55-6b4a28e60e45" CreationDate="2011-05-18T11:05:04.767" UserId="1035" Text="Another thing I thought of: If you're the type to use sound blankets, bring a few &quot;A&quot; clamps. Can't always guarantee G+E will be able to spare any. I've got the luxury of being able to check out gear as part of my tuition, so I also tend to bring my own C-stands and sandbags. Mark 'em with an S so grips keep their hands off ;)." ContentLicense="CC BY-SA 3.0" />
  <row Id="13547" PostHistoryTypeId="2" PostId="8052" RevisionGUID="dc478a4f-6a06-4673-b460-415080e114ca" CreationDate="2011-05-18T11:19:06.320" UserId="1035" Text="What about generative (is that the right term?) sound effects? I have no idea how that stuff works, but I always assumed with something like, say, a metal box you can pick up and drop, the object itself is physically modeling that type of object in the real world, and how it would react sonically to being dropped at various angles, rolling around, etc. Is that covered by a whole different set of people in the pipeline?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13548" PostHistoryTypeId="2" PostId="8053" RevisionGUID="85fa075b-92cf-44d7-9c1e-a50fc887d1ae" CreationDate="2011-05-18T11:20:34.367" UserId="1035" Text="Seems like it'd normally slow me down, but as far as those roadblock moments (particularly with music production) could be very interesting." ContentLicense="CC BY-SA 3.0" />
  <row Id="13549" PostHistoryTypeId="2" PostId="8054" RevisionGUID="3ea323ca-90d6-4507-b7f5-b0726b465bda" CreationDate="2011-05-18T11:25:17.590" UserId="1035" Text="I obsessively keep every single thing I capture, including any extra bits during a voice recording session. Normally I don't keep the actual lines/song if it wasn't my stuff, but I've used bits and pieces of off-the-cuff talking for tons of things. A laugh I once got has become one of my favorite group ADR spikes while a snippet of a phrase said by another actor was manipulated until it became an element of an alien turbine sound effect for a game." ContentLicense="CC BY-SA 3.0" />
  <row Id="13550" PostHistoryTypeId="2" PostId="8055" RevisionGUID="6b7df791-f39a-41b2-a14d-005331cff032" CreationDate="2011-05-18T11:34:58.470" UserId="407" Text="There are also technical categories e.g. one-shot, looping, streamed etc. these have an influence on how you understand the function of the sound in the game." ContentLicense="CC BY-SA 3.0" />
  <row Id="13551" PostHistoryTypeId="2" PostId="8056" RevisionGUID="b25a872f-f072-489c-b9e2-ba5fb97c6e70" CreationDate="2011-05-18T11:56:56.103" UserId="432" Text="Another trick I learned a long time ago involves those fabric softener sheets for use in a clothes dryer. They work great for keeping bugs away. They work nearly as well as bug spray, and don't smell as bad. Stuff one under your hat, and it will usually keep the bastards away from your head." ContentLicense="CC BY-SA 3.0" />
  <row Id="13553" PostHistoryTypeId="2" PostId="8058" RevisionGUID="70507375-1273-437c-a500-30487025b157" CreationDate="2011-05-18T13:22:51.890" UserId="220" Text="Skin So Soft!  Works great on gnats, no-see-ums, skeeters, and black flies (and supposedly ticks).  Horse owners slather that on their horses before rides as well.  I also tend to drench whatever hat I'm wearing in a cocktail of citronella, OFF Deep Woods, and Skin So Soft.  It stinks, but it makes me a beacon of do-not-touch.&#xD;&#xA;&#xD;&#xA;Also, even though it may be hot out and uncomfortable, wear a hat, long pants, high boots, long sleeves, and full-finger gloves (I use Mechanics gloves), to avoid any bites there.  Reduces chance of sunburn and bites, and can keep ticks from crawling where the sun don't shine." ContentLicense="CC BY-SA 3.0" />
  <row Id="13554" PostHistoryTypeId="2" PostId="8059" RevisionGUID="06b341b9-8867-48f3-8491-3b3d4574c401" CreationDate="2011-05-18T15:25:44.407" UserId="397" Text="A search on youtube shows that a street market's ambience includes all the elements that the rest of the guys have indicated.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="13555" PostHistoryTypeId="2" PostId="8060" RevisionGUID="a264a525-f640-4c41-b32a-80230a0fa36b" CreationDate="2011-05-18T16:10:52.547" UserId="29" Text="I'm sure there are subspecies of insects worldwide that react differently to things, but I've A-B tested DEET repellents and natural repellents (herbal, catnip, citronella) here in California's Sierra Nevada. I hate DEET as a chemical, especially since one must be very careful about handling plastics with the high-concentration stuff...it can, has, and will melt soft plastics (such as Zoom H2's, Rycote windscreens, etc.).&#xD;&#xA;&#xD;&#xA;For the mosquitoes here, *nothing* worked except 30%+ DEET. Nada, Zip. Frustrating, but those were the results. Remember that everyone's biochemistry is different, so your mileage may vary. But this was true for both me (normal attractant of bugs, I'd say) and my girlfriend (massive magnet for skeeters, for some unknown reason).&#xD;&#xA;&#xD;&#xA;As many others have said, the other strategy is to cover up. This sucks because it'll often be hottest when the bugs are at their most swarmin'-est. Gloves are critical, and many companies make gloves just for sun protection, which are lighter and breathe better. But, covering up will prevent the need for DEET and sunscreen, as @VCProd very astutely points out, which IMO are good tradeoffs. If sweat in your eyes is a big problem, look into a rubber-gasketed [Halo headband][1]. They work very well, and are available in baseball cap styles too. Don't overlook the classic (and often ignored) mosquito headnets, too. Booming outside? Think like a hiker/backpacker.&#xD;&#xA;&#xD;&#xA;  [1]: http://store.haloheadband.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="13557" PostHistoryTypeId="2" PostId="8061" RevisionGUID="66f2a71b-974b-4544-b40b-e25a94005b67" CreationDate="2011-05-18T20:50:19.383" UserId="845" Text="Tab to transient in keyboard focus mode, then hit &quot;a&quot;.  Auto sizes the region to the cursor point.  Works at the end of a region too (minus the tab to transient) with &quot;s&quot;.&#xD;&#xA;&#xD;&#xA;Goes great with &quot;option + f&quot;, which auto-zooms to the width of the selected region." ContentLicense="CC BY-SA 3.0" />
  <row Id="13558" PostHistoryTypeId="16" PostId="8061" RevisionGUID="66f2a71b-974b-4544-b40b-e25a94005b67" CreationDate="2011-05-18T20:50:19.383" UserId="-1" />
  <row Id="13559" PostHistoryTypeId="2" PostId="8062" RevisionGUID="5fd263e3-cf70-4a15-9fa5-6354c8e00a94" CreationDate="2011-05-18T21:02:40.050" UserId="1082" Text="Two simple quick keys for PT that are frequently used:&#xD;&#xA;&#xD;&#xA;COMMAND + Z = undo last move&#xD;&#xA;COMMAND + S = quick save (you never know when PT will freeze or shutdown)&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13560" PostHistoryTypeId="16" PostId="8062" RevisionGUID="5fd263e3-cf70-4a15-9fa5-6354c8e00a94" CreationDate="2011-05-18T21:02:40.050" UserId="-1" />
  <row Id="13561" PostHistoryTypeId="2" PostId="8063" RevisionGUID="e6db1f47-960e-4f94-882a-73b97681bc55" CreationDate="2011-05-19T03:11:54.023" UserDisplayName="user49" Text="No matter what genre of music you listen to, you'll find something here:&#xD;&#xA;&#xD;&#xA;http://www.delicious.com/tag/mp3blog" ContentLicense="CC BY-SA 3.0" />
  <row Id="13562" PostHistoryTypeId="2" PostId="8064" RevisionGUID="be4c34ff-045a-499a-bc93-fa6b7b06bd35" CreationDate="2011-05-19T04:24:01.203" UserId="693" Text="http://www.foxnews.com/health/2011/05/18/cdc-warns-public-prepare-zombie-apocalypse/?test=latestnews&#xD;&#xA;&#xD;&#xA;Would you grab your field recording kit?&#xD;&#xA;&#xD;&#xA;Would you modify a shotgun or a shovel to have a mic on the end?&#xD;&#xA;&#xD;&#xA;Are you prepared?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13563" PostHistoryTypeId="1" PostId="8064" RevisionGUID="be4c34ff-045a-499a-bc93-fa6b7b06bd35" CreationDate="2011-05-19T04:24:01.203" UserId="693" Text="So what would you do in this situation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13564" PostHistoryTypeId="3" PostId="8064" RevisionGUID="be4c34ff-045a-499a-bc93-fa6b7b06bd35" CreationDate="2011-05-19T04:24:01.203" UserId="693" Text="&lt;field-recording&gt;&lt;preparation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13565" PostHistoryTypeId="2" PostId="8065" RevisionGUID="4e7a7a67-e212-43d6-9682-5d53a8840b7b" CreationDate="2011-05-19T04:40:16.330" UserId="338" Text="i would sacrifice my limbs to get a contact mic down one of their throats" ContentLicense="CC BY-SA 3.0" />
  <row Id="13566" PostHistoryTypeId="2" PostId="8066" RevisionGUID="bc478329-517e-4f9d-a5cf-b1dddd444aa0" CreationDate="2011-05-19T05:03:25.780" UserId="6435" Text="I think I'd get some good distance ambiences from the top of a building, then when I finally needed to move, rig up some sort of binaural-head array on my helmet (not going outside without body armor, football pads, something!) to record more up-close stuff as I fight my way through the teeming masses of the undead." ContentLicense="CC BY-SA 3.0" />
  <row Id="13567" PostHistoryTypeId="2" PostId="8067" RevisionGUID="ad64b3d2-9258-4bea-9e54-c5ad9ed4cc6b" CreationDate="2011-05-19T05:34:59.570" UserDisplayName="user6513" Text="You guys are crazy! I would rather prepare some wireless bombs, throw it in their midst or stuff it down their throats and get an awesome recording while killing a zombie!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13568" PostHistoryTypeId="2" PostId="8068" RevisionGUID="ac90f707-4ee1-487e-845a-3c73009ebcd9" CreationDate="2011-05-19T09:35:20.810" UserId="1083" Text="Just thought I would join in here. I had the same problem Bruce is right but it is the level setting in the input menu. You click on it if you bring the cursor to the track you want to adjust and the move the jog wheel left or right you will see a very very small indicator move left or right to adjust the level if you set this to approx -6 it should be fine.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13569" PostHistoryTypeId="2" PostId="8069" RevisionGUID="5ffd1aaa-c9f0-4a21-a312-7c48591d7566" CreationDate="2011-05-19T10:03:21.777" UserId="37" Text="remote microphones embedded in bullets.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13570" PostHistoryTypeId="2" PostId="8070" RevisionGUID="3bc32b80-9dc4-4593-a437-cae78fd4c98c" CreationDate="2011-05-19T10:57:03.737" UserDisplayName="user80" Text="Attach as many bugs as possible to different zombies and start recording.&#xD;&#xA;&#xD;&#xA;http://www.advanced-intelligence.com/audio.html#!au046&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13571" PostHistoryTypeId="2" PostId="8071" RevisionGUID="3ee6ea26-35ef-46cf-ac84-de7d7babb25e" CreationDate="2011-05-19T11:39:45.200" UserId="1084" Text="Harmonium in the background. We had a lot of street vendor stuff (check your region/language). There are horns constantly and we found that we had take a heap out because they would drive the audience nuts. Agree with the crows as well - we had an interior dialogue where a crow got into the building, it took forever to edit it out. I went back and watched Slumdog Millionaire. Have a look at The Waiting City" ContentLicense="CC BY-SA 3.0" />
  <row Id="13572" PostHistoryTypeId="2" PostId="8072" RevisionGUID="11f5da93-ed82-46c0-9146-90320803b0de" CreationDate="2011-05-19T12:17:04.387" UserId="253" Text="I bet real life zombies don't sound as cool as the ones in movies. But i guess you could buy some sheep brains or something, then dangle them above the zombies, and train them to do some loop group for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="13573" PostHistoryTypeId="2" PostId="8073" RevisionGUID="675ba62e-16c4-41e4-bfda-e4f640090e28" CreationDate="2011-05-19T15:06:16.253" UserId="6411" Text="Wireless lav your 4 slowest, yet-to-be-zombified friends. That way you get the attack, the change, and the subsequent zombie walla. Changing the battery would suck though." ContentLicense="CC BY-SA 3.0" />
  <row Id="13574" PostHistoryTypeId="2" PostId="8074" RevisionGUID="0aebef4e-3c39-42f5-b6c5-d443fd26e25c" CreationDate="2011-05-19T16:38:04.887" UserId="18160" Text="I'd set up that zooming microphone they have above the Staples Center basketball court above the center of the town so I could get all subsequent recordings with the ability to zoom in on each attack - all from the safety of my very own zombie-shelter.&#xD;&#xA;&#xD;&#xA;http://www.lakersnation.com/staples-center-has-a-new-microphone-tmz-would-love/2010/10/05/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13575" PostHistoryTypeId="5" PostId="7966" RevisionGUID="c1d75e2a-8508-4fb2-8d5c-e58dcfed90b0" CreationDate="2011-05-19T16:59:19.220" UserId="6524" Comment="added 60 characters in body; added 7 characters in body" Text="I'm not sure if you've found a solution to this problem yet, but even I deal with this same problem with the same gear and at the moment unable to afford new preamps or a good noise-removal software like Izotope RX. One thing I guess I have to do to get the best sound (if EQ isn't an option) is to use Audacity's noise-removal, I was surprised at how well it worked, I always leave 2 seconds of silence before the recording (which I'm following from Ric Viers' SFX Bible) and then import to Audacity, EQ out all the frequencies that aren't present in the sound I want, highlight the silence get the noise profile and then highlight the whole file and apply these settings most of the time:&#xD;&#xA;&#xD;&#xA;[Noise Reduction: -24dB]&#xD;&#xA;[Sensitivity: 0.00]&#xD;&#xA;[Frequency Smoothing:500]&#xD;&#xA;[Attack/Decay time:0.00]&#xD;&#xA;&#xD;&#xA;Here's an example:&#xD;&#xA;&#xD;&#xA;[soundcloud]stephensaldanha/audacitys-noise-removal[/soundcloud]&#xD;&#xA;&#xD;&#xA;Obviously adjust it if it sounds weird but most of the time I get pretty good results, let me know if you've figured out anything yet :) Also read this article written by Stephen Schutze it helped out quite a bit http://www.stephanschutze.com/noise-reduction.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="13576" PostHistoryTypeId="2" PostId="8075" RevisionGUID="6e17e370-9135-4f01-99f0-a0b4a1880f98" CreationDate="2011-05-19T17:46:15.567" UserId="558" Text="It was the school of hard (loud?) knocks for me. &#xD;&#xA;&#xD;&#xA;I studied Computers in college and worked as a programmer (finance industry), for a while.  Then quit and interned for free on the picture editing side of an indie film. Then I moved over to sound (I always knew I was more interested in sound than picture).  After that, I volunteered my time at a small NYC studio in exchange for access to equipment late at night.  I struck a deal at that studio where I could bring in late night clients if the studio got 50% and I still worked days for free.  &#xD;&#xA;&#xD;&#xA;Eventually I got a pro-tools rig and paying day jobs and became a free-lancer in NYC.  Got into games by luck.  Now I mostly do game audio, but still do the occasional audio post or scoring gig." ContentLicense="CC BY-SA 3.0" />
  <row Id="13577" PostHistoryTypeId="2" PostId="8076" RevisionGUID="4d5e6537-c13f-494f-9a73-82a4250a7fee" CreationDate="2011-05-19T19:10:28.717" UserId="168" Text="I'm gonna stack up enough batteries for power so you guys can take backups and fall asleep knowing your data is safe (even if you awake as a Zombie the next morning). &#xD;&#xA;&#xD;&#xA;No free lunch. SFX swap for power supply.&#xD;&#xA;&#xD;&#xA;;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13578" PostHistoryTypeId="2" PostId="8077" RevisionGUID="2d8da22e-bd00-40ca-9f97-a1b714c800bf" CreationDate="2011-05-19T20:20:14.493" UserId="1086" Text="I use sink mats, (I think you call them that?) small rubber mats you put in the sink to keep the water in the sink... I use that for stopping ventilation holes in apartments and such. They are super handy, requires no tape! &#xD;&#xA;&#xD;&#xA;I also use paper clips for lavs, in case I don't have a &quot;concealer&quot; (plastic pieces you get for DPA-lavs). I bend the paper clips and sort of build a holder for the lavs so that shirts and cloth don't ever get near the mic. Sometimes i find that to be even better than the concealer cause it gets smaller and is harder to see under the clothes. &#xD;&#xA;&#xD;&#xA;Floor protectors! You can stick them on actor's and team's shoes when you can't put rugs or mats on the floor for step-dampening. &#xD;&#xA;&#xD;&#xA;This probably isn't gear-related just &quot;the-way-i-work&quot;-related, but I also always carry mic stands, clamps (we call them superclamps in Sweden), magic arms, to put mics on, so I can record off-sounds like ambiances while in the take.. Like for instance a commercial I was shooting I had a few mic stands and just set up a stereo-rig outside of the apartment we were shooting in. Why? The shot was looking out the window showing the backyard. I figured I wouldn't have time for a wild track of that exterior since we were on a tight schedule so I just set that up real quick and got it good!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13579" PostHistoryTypeId="2" PostId="8078" RevisionGUID="6d701095-c67e-4fd5-a3ac-d37aefec9920" CreationDate="2011-05-19T20:27:40.003" UserId="1086" Text="H4n is fantastic! &#xD;&#xA;I use it with my Sound Devices 302 mixer. Works awesome since I can set the output volume of my 302 to be lower than line, cause H4n can't take line signal through the inputs. &#xD;&#xA;&#xD;&#xA;I can recommend you to buy a remote though, it's 29 dollars or so I think.. It's great cause then you can hide the H4n in a backpack or as I do, under the mixer in the little pouch in the bag. So that it's never touched by rain and stuff. The remote has controls for pretty much everything. The only bad thing is that you have to use your ears for monitoring :P, so be sure to set the right level before you stow the device away... The remote is of course also good if you put the h4n on a boom pole, if you were planning on that...&#xD;&#xA;&#xD;&#xA;Anywho it's a great purchase!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13580" PostHistoryTypeId="2" PostId="8079" RevisionGUID="996db1b0-a869-48e0-a665-f822c1787745" CreationDate="2011-05-19T21:09:51.360" UserId="6487" Text="You play a mental game with yourself guessing how many people, their size, if they have a dog, and their gender, based on sound information alone, have just passed behind you while sitting on a parkbench. (Also a good game at the beach.) " ContentLicense="CC BY-SA 3.0" />
  <row Id="13581" PostHistoryTypeId="2" PostId="8080" RevisionGUID="2f540b5d-b050-4526-a002-027cc7eaa88f" CreationDate="2011-05-19T21:22:17.860" UserId="1039" Text="Hi All:&#xD;&#xA;&#xD;&#xA;This is a great forum - I have learned so much, in the short time I have been a member.&#xD;&#xA;&#xD;&#xA;I am getting requests to do Sound Design work and people are asking me how much I charge.  &#xD;&#xA;As a Novice Sound Designer can anyone offer any suggestions as too what I should charge or how to go about figuring it out? &#xD;&#xA;&#xD;&#xA;I read some other threads on subjects closely related and some suggest to provide a SOW, which is great advise.  I am very confident in creating a statement of work as I've had experience in another industry doing this, but am not sure what the going rate for Sound Designers is and what type of payment structures there are.&#xD;&#xA;&#xD;&#xA;If possible, in the future, I would like to charge royalties on custom design sound but am not sure how realistic this is.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Carmine M&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13582" PostHistoryTypeId="1" PostId="8080" RevisionGUID="2f540b5d-b050-4526-a002-027cc7eaa88f" CreationDate="2011-05-19T21:22:17.860" UserId="1039" Text="Rate of Pay for Services" ContentLicense="CC BY-SA 3.0" />
  <row Id="13583" PostHistoryTypeId="3" PostId="8080" RevisionGUID="2f540b5d-b050-4526-a002-027cc7eaa88f" CreationDate="2011-05-19T21:22:17.860" UserId="1039" Text="&lt;rate&gt;&lt;payment&gt;&lt;royalties&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13584" PostHistoryTypeId="2" PostId="8081" RevisionGUID="134f4a8d-a7c5-4a0b-877b-bb1035abded8" CreationDate="2011-05-19T21:40:43.903" UserId="1039" Text="Hi Everyone:&#xD;&#xA;&#xD;&#xA;As a Novice Designer I have been using Audacity to create sounds that I've been asked to do by others.  Although, Audacity is a great tool,  I feel I should be graduating to a software product that offers more and better functionality. I know that Protools is the defacto industry standard and eventually I must use it.  In the meantime, as part of my learning journey, I am considering using Reaper. I've heard good things about Reaper and would like your opinion on whether Reaper is a good stepping stone to Protools from a learning and productivity perspective or should I just delve out the dollars and buy Protools.&#xD;&#xA;&#xD;&#xA;Also would a synthesizer allow me to be more flexible in creating sounds?  Or should I just record sounds and manipulate them with software? &#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Carmine M&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13585" PostHistoryTypeId="1" PostId="8081" RevisionGUID="134f4a8d-a7c5-4a0b-877b-bb1035abded8" CreationDate="2011-05-19T21:40:43.903" UserId="1039" Text="Audio Software &amp; Synthesizer" ContentLicense="CC BY-SA 3.0" />
  <row Id="13586" PostHistoryTypeId="3" PostId="8081" RevisionGUID="134f4a8d-a7c5-4a0b-877b-bb1035abded8" CreationDate="2011-05-19T21:40:43.903" UserId="1039" Text="&lt;software&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13587" PostHistoryTypeId="2" PostId="8082" RevisionGUID="f662fa2d-ec8d-4851-8247-c3ea49b1326e" CreationDate="2011-05-19T22:13:20.747" UserId="863" Text="I've never heard of anyone having royalties on sound effects or designed sounds. You sell it for royalty free or you don't, it's not music. (although I guess the use of Apples starting chord might receive royalties).&#xD;&#xA;&#xD;&#xA;As for charging, you say you're new to it and a novice, what level exactly, how much do you have under your belt? I know a guy who offered to do some sound design for some student short films, he was getting paid well for it, a novice, infact he'd never done any sound design before and he did an awful job and ruined 3 films which could've turned out good. You don't want that reputation.if you charge a lot and your work isn't very good, then it's going to work against you. Be realistic and work your way up and raise your rates as you learn and improve. &#xD;&#xA;&#xD;&#xA;In my experience I started doing shorts, got some small promo's and ads and this has moved up and up and I now can expect anything from £200-400 for a days work, depending on the company. I still do low paid work if it's of good quality.&#xD;&#xA;&#xD;&#xA;Goodluck&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13588" PostHistoryTypeId="2" PostId="8083" RevisionGUID="56e24ea0-4576-469f-9d3a-2c2eb14d95c9" CreationDate="2011-05-19T22:19:47.127" UserId="863" Text="What do you want to do? sound for film? recordings? music? &#xD;&#xA;&#xD;&#xA;If you want to do film, you need pro tools or an equivlent that can give you timecode and decent video support, at present Nuendo is the only other piece of software I would recommend, but that's more expensive.&#xD;&#xA;&#xD;&#xA;Otherwise you can probably use Reaper for the rest." ContentLicense="CC BY-SA 3.0" />
  <row Id="13589" PostHistoryTypeId="2" PostId="8084" RevisionGUID="ab3c9ce5-7325-4afd-8306-f9a0bbbd315c" CreationDate="2011-05-19T22:22:12.577" UserId="999" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;Im just wondering if any of you have any techniques used to create Hollywood style booms and sweeps. Like the bass-heavy booms between cuts in trailers, and swooshes- in things like screen-wipes between scenes.&#xD;&#xA;&#xD;&#xA;I made a few booms today by taking kick drum samples, eq'ing the high end away and adding different types of reverb but it still feels like somethings missing.&#xD;&#xA;&#xD;&#xA;Any hints or tips?&#xD;&#xA;&#xD;&#xA;Cheers, &#xD;&#xA;&#xD;&#xA;Kyle" ContentLicense="CC BY-SA 3.0" />
  <row Id="13590" PostHistoryTypeId="1" PostId="8084" RevisionGUID="ab3c9ce5-7325-4afd-8306-f9a0bbbd315c" CreationDate="2011-05-19T22:22:12.577" UserId="999" Text="Hollywood Style &quot;Booms and swooshes&quot; for layering?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13591" PostHistoryTypeId="3" PostId="8084" RevisionGUID="ab3c9ce5-7325-4afd-8306-f9a0bbbd315c" CreationDate="2011-05-19T22:22:12.577" UserId="999" Text="&lt;sound-design&gt;&lt;hits&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13592" PostHistoryTypeId="2" PostId="8085" RevisionGUID="14c81c0e-9d03-42ae-bfb9-66af884e026b" CreationDate="2011-05-19T22:30:55.020" UserId="863" Text="Different sounds/samples all layered and mixed, you want some highs in there, you want some bass you want some mids. You will want something hitting the sub bass freq too. EQ them, add reverbs and you got it. Same goes for swooshes." ContentLicense="CC BY-SA 3.0" />
  <row Id="13593" PostHistoryTypeId="2" PostId="8086" RevisionGUID="48330afc-bf64-43a9-bf0e-7770cc6fbc71" CreationDate="2011-05-19T22:41:20.587" UserId="261" Text="I attended AFDA in Cape Town, South Africa, where I took a sound design major. towards the end of my degree I was totally burnt out and kinda had a nervous breakdown from the workload( well not just school, but from PAing on tv commercials to pay my rent) &#xD;&#xA;In the end I traumatised myself by delivering a crappy degree project, which shook my confidence in my ability to do sound. So I ended up spending the next 3,5 years working in Production....&#xD;&#xA;It's only in the last 1,5 years that I've started doing sound, with lo/no pay jobs then some-pay jobs and now more and more properly paid gigs.&#xD;&#xA;&#xD;&#xA;In a way now I'm starting from scratch, re-learning how to do location sound, editing dialogue etc. Which for me is good, as I needed the distance/time to realise that I wanted to do this job badly enough.&#xD;&#xA;Anyway, I think school was good in the sense that I learnt a helluva lot about how films are made and unmade(personal experience to boot).&#xD;&#xA;But that's just my long, boring story.&#xD;&#xA;One of the best sound editors I know hasn't been near a film school/sound training course.  He studied biology !" ContentLicense="CC BY-SA 3.0" />
  <row Id="13594" PostHistoryTypeId="2" PostId="8087" RevisionGUID="b9a23c65-cf59-45dc-a96e-4ebfbc43120e" CreationDate="2011-05-19T22:48:55.587" UserId="261" Text="It depends mainly, as above, on your experience. Look up on the website of your region/state/country's sound editor's guild or film production unions website as to what their guidelines are. &#xD;&#xA;These lists are normally broken down in to payscales based on experience and job description.&#xD;&#xA;You might not always get the mentioned rate,depending on the project budget, but the numbers are a good way of protecting both you and your client." ContentLicense="CC BY-SA 3.0" />
  <row Id="13595" PostHistoryTypeId="2" PostId="8088" RevisionGUID="10d79ac6-b295-47d3-a1eb-18b911df5835" CreationDate="2011-05-19T22:56:08.027" UserDisplayName="user49" Text="Techniques? These are all very basic sound design techniques but how about doing some recording of sounds more closely related to what you're after? For hits/stings go record some big door slams/metal hits/train shunts etc ie sounds with lots of weight &amp; resonance - pitch them down &amp; layer them, and use a subharmonic synth (eg Lo Ender plugin) to add low freq energy.... Try convolution reverbs to make them more mysterious/less identifiable... For swooshes, try recording some objects being swished past a mic eg a tree branch.... or try reversing gun shots or explosions &amp; layering them with the tails of other sounds... There are so many possibilities.....&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13596" PostHistoryTypeId="2" PostId="8089" RevisionGUID="ff0d6899-2d95-496b-b798-e5180a1d6c87" CreationDate="2011-05-19T22:56:14.410" UserId="1013" Text="For a larger than life type of sound, my first port of call would be a fully featured synth and/or drum machine.  It's definitely a matter of taste.  You'll need layers as Ed says above, all carefully sculpted together.  Wide panning can add drama, but can also end in cheese." ContentLicense="CC BY-SA 3.0" />
  <row Id="13597" PostHistoryTypeId="2" PostId="8090" RevisionGUID="211b7a1a-c70c-4bd8-8028-86072131bd19" CreationDate="2011-05-19T23:12:39.180" UserId="1045" Text="For some good swishes, us a thin dowel rod and pretend it's a sward, swish it around in front of the mic (careful don't hit it.) - You might want to record with a flat EQ and and maybe think about using a higher bit rate to get as much range as possible. &#xD;&#xA;&#xD;&#xA;For booms, you can't beat a good trash can (well that's exactly what I would do) and I think you were on the right track with the kick drum, maybe see if you can find a concert bass, or a marching band drum, that will give you a different sound. &#xD;&#xA;&#xD;&#xA;some other crazy sounds, if you have a access to a bow and arrows, set your mic near where you release and reverse the sound. &#xD;&#xA;&#xD;&#xA;Also if you can fire a gun off, something with a low resonance, set the mic at a distance. You'll want to in post edit out the initial firing, but then use the percussion shock off of it, try reversing that too, or even slowing it down by about 25% that's a pretty wicked effect.&#xD;&#xA;&#xD;&#xA;Pete   " ContentLicense="CC BY-SA 3.0" />
  <row Id="13598" PostHistoryTypeId="2" PostId="8091" RevisionGUID="b3ed1773-d1b4-4dfd-a03b-8e90ab593484" CreationDate="2011-05-20T00:39:36.287" UserId="693" Text="While I'm a huge supporter and love Reaper, it's timecode support does still lack a little bit. It also doesn't have OMF import capabilities. With v4 there are going to be some huge improvements in that area. So I'd have to say for professional scale work (and in regards to this I'm only speaking of conforming and surround mixing), then you're going to need Pro Tools or Nuendo. Reaper's video support is just fine, you just have to use the proper video format for the operating system you are on (if not you get a lot of issues that seem to throw most people off initially).&#xD;&#xA;&#xD;&#xA;I should also add that I do a lot of sound design in Reaper and prefer working in it as much as possible (since it's an amazing sound design environment) and then import my material into Pro Tools when I need to conform and mix. In the past 6 months I've also begun doing smaller projects completely in Reaper and find that it works just fine if you don't need surround or if timecode or OMF import is not really necessary or is negligible. &#xD;&#xA;&#xD;&#xA;So I'd have to say that if you can't get Pro Tools or Nuendo now, then it's a great place to start practicing, even do smaller/shorter projects on and will become an invaluable tool later on as well. In fact... if not for the few things it's lacking in necessary audio post functions I would have ditched Pro Tools long ago.&#xD;&#xA;&#xD;&#xA;Besides, with Reaper they work on the honor system (expect you to do the right thing and pay after the 30 days has passed) and they offer a fully functional un-expiring &quot;demo&quot; of their software and their personal use license is cheap. Which will give you enough time to decide whether you want to use it. I've been using it for close to 3 years and I only grow to love it more and more. Also, you will be able to continue to use Audacity as your audio editor in conjunction with Reaper, so your learning curve won't be as hard at first while you wrap your head around using a DAW for audio post and sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="13599" PostHistoryTypeId="5" PostId="8091" RevisionGUID="3e48e0c2-fd5d-435a-895a-96bf44490332" CreationDate="2011-05-20T00:46:10.700" UserId="693" Comment="added info" Text="While I'm a huge supporter and love Reaper, it's timecode support does still lack a little bit. It also doesn't have OMF import capabilities. With v4 there are going to be some huge improvements in that area. So I'd have to say for professional scale work (and in regards to this I'm only speaking of conforming and surround mixing), then you're going to need Pro Tools or Nuendo. Reaper's video support is just fine, you just have to use the proper video format for the operating system you are on (if not you get a lot of issues that seem to throw most people off initially).&#xD;&#xA;&#xD;&#xA;I should also add that I do a lot of sound design in Reaper and prefer working in it as much as possible (since it's an amazing sound design environment) and then import my material into Pro Tools when I need to conform and mix. In the past 6 months I've also begun doing smaller projects completely in Reaper and find that it works just fine if you don't need surround or if timecode or OMF import is not really necessary or is negligible. &#xD;&#xA;&#xD;&#xA;So I'd have to say that if you can't get Pro Tools or Nuendo now, then it's a great place to start practicing, even do smaller/shorter projects on and will become an invaluable tool later on as well. In fact... if not for the few things it's lacking in necessary audio post functions I would have ditched Pro Tools long ago.&#xD;&#xA;&#xD;&#xA;Besides, with Reaper they work on the honor system (expect you to do the right thing and pay after the 30 days has passed) and they offer a fully functional un-expiring &quot;demo&quot; of their software and their personal use license is cheap. Which will give you enough time to decide whether you want to use it. I've been using it for close to 3 years (using Pro Tools for 14yrs) and I only grow to love Reaper more and more. Also, you will be able to continue to use Audacity as your audio editor in conjunction with Reaper, so your learning curve won't be as hard at first while you wrap your head around using a DAW for audio post and sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="13600" PostHistoryTypeId="2" PostId="8092" RevisionGUID="39cf48e5-b979-4dbf-aecf-b1a1ca1b6292" CreationDate="2011-05-20T01:30:08.087" UserId="194" Text="When I build mine I tend to think in frequency layers.  &#xD;&#xA;&#xD;&#xA;loud things don't necessarily have a lot of low end, but instead have lots of midrange and distortion, so err in that direction for loudness.&#xD;&#xA;&#xD;&#xA;For things that stick out in a mix go for dryness and pitch movement, and make them faster. &#xD;&#xA;&#xD;&#xA;For things that stand alone well go for more low end and reverb, and make them slower.&#xD;&#xA;&#xD;&#xA;Dont be afraid to experiment with massive pitch shift and unusual sound layers.  I once made a bunch of impacts with ![Tim Prebble's seals][1] as a primary element.  &#xD;&#xA;&#xD;&#xA;I'll tend to make heavy use of dopplers and delays when I'm building mine.  I set a doppler up as a send (like a verb) and then squash the hell out of the return, and sometimes add a pingpong delay to that as well.  Then mix in to taste.&#xD;&#xA;&#xD;&#xA;always be routed to print.&#xD;&#xA;&#xD;&#xA;I like fluttery whooshes as preludes to the stings.  ![Tonsturm's bullroarer][2]s will get some special attention from me in the near future.&#xD;&#xA;&#xD;&#xA;Listen to what other people do and break down the individual elements.  ![Robert Etoll][3] is kind of the king of this stuff and has tons of it available on his website to audition and learn from.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hissandaroar.com/sd003-seal-vocals/&#xD;&#xA;  [2]: http://www.tonsturm.com/Soundpacks/files/22722b8af3a3a40308b5d28b33dd9edc-5.html&#xD;&#xA;  [3]: http://robertetoll.com/q-factory_catalog" ContentLicense="CC BY-SA 3.0" />
  <row Id="13601" PostHistoryTypeId="2" PostId="8093" RevisionGUID="2561e4f0-2394-475e-85bd-e09b22109281" CreationDate="2011-05-20T01:31:57.633" UserId="396" Text="You go to an Indian restaurant and the thing that impresses you the most is how the tapestries and ceiling hangings are minimizing reverberation in the space." ContentLicense="CC BY-SA 3.0" />
  <row Id="13602" PostHistoryTypeId="2" PostId="8094" RevisionGUID="bdee3e2c-59d3-439f-b024-7c0ada91d183" CreationDate="2011-05-20T02:30:53.953" UserId="693" Text="I'm working on a pro-bono project for a friend and I need some Taser sounds tonight. Anywhere I could buy one right now is closed. I'm foreseeing it might be a little difficult to synthesize them and normally I'd be up for that challenge but there's not much time to experiment. &#xD;&#xA;&#xD;&#xA;Anyone have any recordings I can use or anyone able to record some quick taser zaps for me? I'd be willing to trade or return the favor. Mono, 48/24 wav is workable.&#xD;&#xA;&#xD;&#xA;Or if you have any suggestions on how to create the sound I'm all ears.&#xD;&#xA;&#xD;&#xA;Thanks in advance!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13603" PostHistoryTypeId="1" PostId="8094" RevisionGUID="bdee3e2c-59d3-439f-b024-7c0ada91d183" CreationDate="2011-05-20T02:30:53.953" UserId="693" Text="Anyone have a Taser recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13604" PostHistoryTypeId="3" PostId="8094" RevisionGUID="bdee3e2c-59d3-439f-b024-7c0ada91d183" CreationDate="2011-05-20T02:30:53.953" UserId="693" Text="&lt;request&gt;&lt;sound-effects&gt;&lt;trade&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13605" PostHistoryTypeId="2" PostId="8095" RevisionGUID="b220256f-5b64-4c36-8d8f-6b8dbd4bc517" CreationDate="2011-05-20T02:41:23.540" UserId="1011" Text="I was working with Soundsnap a while back and saw a few go by:&#xD;&#xA;&#xD;&#xA;http://www.soundsnap.com/search/audio/taser/score&#xD;&#xA;&#xD;&#xA;That is if you're interested in buying the sound outright instead of building it yourself.&#xD;&#xA;&#xD;&#xA;They're from the Blastwave library, so they may be designed... i.e. not really a taser but built from elements, but they sound about right.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13606" PostHistoryTypeId="2" PostId="8096" RevisionGUID="2761c3c9-0b16-44b6-9420-26017eebfac6" CreationDate="2011-05-20T02:45:06.680" UserId="220" Text="This isn't really a question, just a little bit of a story.  You can read on if you like, but it's just a little gush from me...&#xD;&#xA;&#xD;&#xA;Three years ago my then not even girlfriend returned to Atlanta from traveling around the South.  I was the sound recordist/boom-op for a week long production that was all over the city.  She would come by set, hang out, and watch us work.  After each day, we would stay up late, talk, and fall asleep awkwardly draped across couches or on the floor.  After that week, we started dating.  A year later, we got engaged and were married soon after.  &#xD;&#xA;&#xD;&#xA;Immediately after we started dating, she started with no film experience PAing on some of the shoots I was on.  She then moved up to boom-oping on a few short films and eventually was the sound recordist on shorts I was producing or ADing.  &#xD;&#xA;&#xD;&#xA;This morning I packed all the sound gear up in addition to every mic I had, every spare cable, every adapter and little gadget, even my Zoom Q3HD (just in case!) and sent my wife out the door with a kiss.  She is now on her first ever feature film shoot as the sound recordist and boom-op - not one of those ultra-low budget deals either!  It's a unique feature with women writers, DP, director, and even post sound designer.  I'm sure her being a woman helped a little, but really she is probably one of the most skilled recordists in the area.  &#xD;&#xA;&#xD;&#xA;I am so proud to have a wife that has tuned her ear to become a great sound woman and is making a name for herself on her own.  She is still learning, but has a strong presence (she's over six feet tall) on set and a desire to better her craft.  She's smart, attentive, confident, and a beauty.  To add to that, she's already a fiber designer and accomplished in the knitting world.  &#xD;&#xA;&#xD;&#xA;I'm a lucky guy and in love.&#xD;&#xA;&#xD;&#xA;Thanks for indulging, SSD." ContentLicense="CC BY-SA 3.0" />
  <row Id="13607" PostHistoryTypeId="1" PostId="8096" RevisionGUID="2761c3c9-0b16-44b6-9420-26017eebfac6" CreationDate="2011-05-20T02:45:06.680" UserId="220" Text="A Proud Husband" ContentLicense="CC BY-SA 3.0" />
  <row Id="13608" PostHistoryTypeId="3" PostId="8096" RevisionGUID="2761c3c9-0b16-44b6-9420-26017eebfac6" CreationDate="2011-05-20T02:45:06.680" UserId="220" Text="&lt;field-recording&gt;&lt;not-a-question&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13609" PostHistoryTypeId="2" PostId="8097" RevisionGUID="a9f5375a-0eb2-4f8d-8ac5-ceea0cb8c5ad" CreationDate="2011-05-20T02:48:42.797" UserId="220" Text="Found only one on [freesound.org][1].  It's not bad.  You could probably build one by chopping up some electrical SFX you might already have.  &#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org/samplesViewSingle.php?id=87321" ContentLicense="CC BY-SA 3.0" />
  <row Id="13610" PostHistoryTypeId="5" PostId="8093" RevisionGUID="3c398888-bf09-4acd-8219-c703f2f7c273" CreationDate="2011-05-20T02:58:12.117" UserId="396" Comment="added 12 characters in body" Text="You go to an Indian restaurant and the thing that impresses you the most is how effectively the tapestries and ceiling hangings are minimizing reverberation in the space." ContentLicense="CC BY-SA 3.0" />
  <row Id="13611" PostHistoryTypeId="2" PostId="8098" RevisionGUID="6e7ab6b2-a366-4e47-9904-9dd44c9d7208" CreationDate="2011-05-20T04:15:48.347" UserId="194" Text="I've got a stun gun type taser recording made in the booth, so it sounds pretty dry but can be verbed out to whatever space you need.  ping me and I&quot;ll hook you up." ContentLicense="CC BY-SA 3.0" />
  <row Id="13612" PostHistoryTypeId="5" PostId="8094" RevisionGUID="b32a2259-1515-4c63-b6c6-22e30a1d9602" CreationDate="2011-05-20T05:29:06.370" UserId="693" Comment="typo" Text="I'm working on a pro-bono project for a friend and I need some Taser sounds tonight. Anywhere I could buy one right now is closed. I'm foreseeing it might be a little difficult to synthesize them and normally I'd be up for that challenge but there's not much time to experiment. &#xD;&#xA;&#xD;&#xA;Anyone have any recordings I can use or anyone able to record some quick taser zaps for me? I'd be willing to trade or return the favor. Mono, 48/24 wav is workable.&#xD;&#xA;&#xD;&#xA;Or if you have any suggestions on how to create the sound I'm all ears.&#xD;&#xA;&#xD;&#xA;Thanks in advance!!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Update:**&#xD;&#xA;&#xD;&#xA;In the wait for replies I think I sort of answered my own question and came up with a quick solution. I took a recording I have of a Roland TR-808's trigger output (used for sync with other old school analog synths), Sequenced 3 seconds worth of it at 1/16 in a 200BPM session, EQ'd it, and bussed it to two Aux tracks. One with a filter and distortion,and another with a different filter and different distortion with a bit of bit-reduction/decimation and severely limited and smashed the master output. [Here is the result as a 3 second loop][1]&#xD;&#xA;&#xD;&#xA;If my memory is serving me correctly (it's been about 11 years since I last heard a Taser in person), it's pretty close approximation.&#xD;&#xA;&#xD;&#xA;You guys can feel free to use it however you like. This sound is attributed a [WTFPL - Do What The Fv(|&lt; You Want To Public License][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://files.me.com/synsynth/hcprq7.wav&#xD;&#xA;  [2]:  http://sam.zoy.org/wtfpl/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13614" PostHistoryTypeId="2" PostId="8100" RevisionGUID="8f716645-37ab-4145-92bd-ce2d7e2ff207" CreationDate="2011-05-20T11:20:38.613" UserId="198" Text="I'm not much into chemicals, especially because I'm paranoid about the risk of damaging valuable equipment.&#xD;&#xA;&#xD;&#xA;In my case (and I often go into extreme mosquito areas this time of year), the solution is thick protective clothing, wool jacket, work pants, leather gloves and a good hat with netting. The hardest part is psychologically overcome the feeling of helplessness as masses of them will swarm and land on you. But as long as no skin is exposed and you're well protected things should be fine.&#xD;&#xA;&#xD;&#xA;Somewhere on here I asked about how to keep mosquitoes away from windscreens which is another common issue. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13615" PostHistoryTypeId="2" PostId="8101" RevisionGUID="5cac4290-61b9-4074-833b-36648a703b17" CreationDate="2011-05-20T14:31:58.080" UserId="6487" Text="Never underestimate the power of reverb, reverse, speed, and doppler. Some of my coolest ones come not from doing anything super special to a sound but from manipulating unique samples.  Crowd swells, metal scrapes, horse clops, wind buffets....I like to make the whooshes and swooshes theme to elements that would otherwise be in a piece or reiterate a central story element." ContentLicense="CC BY-SA 3.0" />
  <row Id="13616" PostHistoryTypeId="2" PostId="8102" RevisionGUID="d52b8508-8390-421d-8ffa-402e9462fb1b" CreationDate="2011-05-20T15:02:06.223" UserId="1088" Text="The sound is created by the magnetron as it heats up the proton flux. &#xD;&#xA;It is not an unpleasant sound but quieter models are now available that can generate signifcntly more GeV with virtually no noise at all. This is due to the discovery of plasma based magnetic fields." ContentLicense="CC BY-SA 3.0" />
  <row Id="13617" PostHistoryTypeId="2" PostId="8103" RevisionGUID="3c689361-2084-4db5-bbbf-f3d57ba79ee2" CreationDate="2011-05-20T15:22:45.773" UserId="423" Text="I tend to use a lot of layers for the sweeps/swooshes...just 1 example:&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F13929032&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F13929032&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/joeedwards/sound-design-sample-8-jet&quot;&gt;Sound Design-Sample-8 Jet Thunder Deceminator&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/joeedwards&quot;&gt;BEC Sound Design&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;For this I used some white noise, pink noise and some thunder I recorded.  I took the white and pink noise and added a good amount of reverb with a little echo too...then I took them and ran them through Doppler at varying speeds.  I took all the different speeds and layered the long ones first with some varying pans and then added some of the faster ones at the peak to give it a nice punch.  After I got the mix I wanted, I copied it and cut everything under 200hz out and used that layer to sweeten it at points that I wanted it to cut through.  Then I took that layer again, reversed it, ran it thru Vari-Fi's slow down and then Trash to get a nasty crackle in the tail end.  The thunder is pretty much raw except for a little reverb.  Now that I write it...it seems like a lot...but it comes together pretty quick.  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13619" PostHistoryTypeId="2" PostId="8104" RevisionGUID="f3ce8780-888d-4588-941b-69c861b3ee09" CreationDate="2011-05-20T16:51:57.867" UserId="18160" Text="Instead of buying your 2 year-old the usual Triangle, Square, Circle puzzle to play with,&#xD;&#xA;&#xD;&#xA;you give him the same toy but with XLR, BNC and TRS connectors." ContentLicense="CC BY-SA 3.0" />
  <row Id="13620" PostHistoryTypeId="2" PostId="8105" RevisionGUID="47094821-89c5-4f5b-b75b-968c4a366b03" CreationDate="2011-05-20T17:52:00.397" UserId="238" Text="Check out this useful tutorial. There's more than enough here to get you inspired...&#xD;&#xA;&#xD;&#xA;[youtube]IMgovfQjxUA[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="13621" PostHistoryTypeId="2" PostId="8106" RevisionGUID="898b5598-4001-4261-8ad0-799643792fb7" CreationDate="2011-05-20T22:04:20.900" UserId="6499" Text="http://designingsound.org/2010/02/charles-deenen-special-100-whooshes-in-2-minutes/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13622" PostHistoryTypeId="2" PostId="8107" RevisionGUID="79ffb4a3-e281-47c0-90be-1b0433fadc10" CreationDate="2011-05-21T04:08:56.950" UserId="338" Text="buy a library, geez, most of the payed indivuiduals in this business don't create things from scratch&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13623" PostHistoryTypeId="2" PostId="8108" RevisionGUID="4ae191ba-8063-44fa-ad9e-4e413fc59961" CreationDate="2011-05-21T04:11:42.203" UserId="670" Text="Tomorrow I'll be micing the interior of this beat-up car where the windshield is going to be smashed in with a golf club by the main character. I was thinking about micing the interior with an sm57 and maybe a pencil condenser. From the outside I would capture the impact with a Rode NTG-3. &#xD;&#xA;&#xD;&#xA;Do these sound like good options? Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13624" PostHistoryTypeId="1" PostId="8108" RevisionGUID="4ae191ba-8063-44fa-ad9e-4e413fc59961" CreationDate="2011-05-21T04:11:42.203" UserId="670" Text="Smashing a car windshield" ContentLicense="CC BY-SA 3.0" />
  <row Id="13625" PostHistoryTypeId="3" PostId="8108" RevisionGUID="4ae191ba-8063-44fa-ad9e-4e413fc59961" CreationDate="2011-05-21T04:11:42.203" UserId="670" Text="&lt;car&gt;&lt;windshield&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13626" PostHistoryTypeId="2" PostId="8109" RevisionGUID="502bd3ca-2b9f-4921-ac2a-a25b71966e0a" CreationDate="2011-05-21T04:29:10.427" UserId="338" Text="Gawd, how bout a contact mic, or pointed up from the engine" ContentLicense="CC BY-SA 3.0" />
  <row Id="13627" PostHistoryTypeId="2" PostId="8110" RevisionGUID="89b5f67e-c3f0-4482-990d-999d9220b463" CreationDate="2011-05-21T04:58:34.403" UserId="18160" Text="Cool idea.&#xD;&#xA;&#xD;&#xA;Try to get a PZM mic for the windshield.&#xD;&#xA;&#xD;&#xA;Also, make sure you place it in a spot it won't get damaged (chips or glass, etc.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13628" PostHistoryTypeId="5" PostId="8110" RevisionGUID="679d1601-03d4-4361-bb04-73fa7c992a7b" CreationDate="2011-05-21T05:04:02.850" UserId="18160" Comment="added 197 characters in body; added 134 characters in body; added 183 characters in body; added 104 characters in body; added 9 characters in body; added 55 characters in body" Text="Cool idea.&#xD;&#xA;&#xD;&#xA;Try to get a PZM mic for the windshield.&#xD;&#xA;&#xD;&#xA;Also, make sure you place it in a spot it won't get damaged (chips or glass, etc.)&#xD;&#xA;&#xD;&#xA;And, with a foam screen on the SM, I'd try to get as close as possible to the glass to see if you get a good thump sound there. Too far off and it will sound thin. Think of it like a kick drum.&#xD;&#xA;&#xD;&#xA;I'd place the pencil condenser in between the two front seats to get as much baffling as possible. Also, maybe bring some blankets to place inside the car to deaden it a bit more.&#xD;&#xA;&#xD;&#xA;But, there's the issue of being in the camera's frame...&#xD;&#xA;&#xD;&#xA;Maybe you can smash the other half of the windshield later for the FX!&#xD;&#xA;&#xD;&#xA;And don't forget to clap loudly near the mics to test and make sure you don't distort when the shot is taken because I'm guessing this will be a one-take situation." ContentLicense="CC BY-SA 3.0" />
  <row Id="13629" PostHistoryTypeId="5" PostId="8110" RevisionGUID="9a9ee246-68df-4a7f-bf12-6ab2b739c974" CreationDate="2011-05-21T05:40:46.410" UserId="18160" Comment="added 52 characters in body" Text="Cool idea.&#xD;&#xA;&#xD;&#xA;Try to get a PZM mic for the windshield.&#xD;&#xA;&#xD;&#xA;Also, make sure you place it in a spot it won't get damaged (chips or glass, etc.)&#xD;&#xA;&#xD;&#xA;And, with a foam screen on the SM, I'd try to get as close as possible to the glass to see if you get a good thump sound there. Too far off and it will sound thin. Think of it like a kick drum.&#xD;&#xA;&#xD;&#xA;I'd place the pencil condenser in between the two front seats to get as much baffling as possible. Also, maybe bring some blankets to place inside the car to deaden it a bit more.&#xD;&#xA;&#xD;&#xA;But, there's the issue of being in the camera's frame...&#xD;&#xA;&#xD;&#xA;Maybe you can smash the other half of the windshield later for the FX!&#xD;&#xA;&#xD;&#xA;And don't forget to clap loudly near the mics to test and make sure you don't distort when the shot is taken because I'm guessing this will be a one-take situation.&#xD;&#xA;&#xD;&#xA;P.S. Good luck and don't forget to post samples." ContentLicense="CC BY-SA 3.0" />
  <row Id="13630" PostHistoryTypeId="2" PostId="8111" RevisionGUID="b50b4069-0677-4759-8278-dbfb3a483ddc" CreationDate="2011-05-21T07:45:56.117" UserId="6499" Text="Personally I don't think glass hitting a 57 will damage it at all, 57s are built like tanks.  Pretty sure you could hit it with the golf club and then plug it in and it work, maybe even sound better :P  Only thing is if something hits the mic, it will be very noticeable in the recording, same thing will happen with a windscreen or saran wrap.  It is going to take a few whacks with a golf club to completely bust out a windshield.  If the 57 is inside the car, that should take care of any wind situation.  You also always have the option of the rear glass to use for recording for later.  Hell if they are getting rid of the car after, go to town on it.  &#xD;&#xA;&#xD;&#xA;A couple of times I've done impact things on set, I've actually thrown Y cables in line because I had less mics than I had channels, I was able to set gain on each mic for impact/and aftermath.  &#xD;&#xA;&#xD;&#xA;If your trying to also get some low stuff, you could always close mic it before the action and kind of thump the windshield with the bottom of your hand and just label as wild tracks.  Then move stuff outta the way and let camera get set up.  That would give you some thump with the acoustics of the car and then the actual smash could be blended in post. &#xD;&#xA;&#xD;&#xA;Pull out a speaker in the dash and stash the mic inside pointing through speaker cover up at the impact point Would let you get pretty close, keep it out of frame, and the grill will protect from glass shards.  Also very easy to stash a decent radio mic in the speaker area or in the visor.  Impact location and camera is going to change your options.&#xD;&#xA;&#xD;&#xA;Sounds like it's gonna be fun,  wear some safety glasses if your close :P&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13631" PostHistoryTypeId="2" PostId="8112" RevisionGUID="d6ad8c4b-592a-4114-bc53-588a75042bd5" CreationDate="2011-05-21T08:01:55.240" UserId="6499" Text="While not quite gear, its a lifesaver.  gold bond medicated powder." ContentLicense="CC BY-SA 3.0" />
  <row Id="13632" PostHistoryTypeId="2" PostId="8113" RevisionGUID="3dfa23df-7d27-4152-9bd1-68102d36feaa" CreationDate="2011-05-21T08:59:45.850" UserId="1035" Text="Currently editing dialogue for a short documentary, and I'm wondering, do you guys out there split off PFX in the same way as you do with narrative film work? I'm mainly wondering if you do this because, in addition to the M+E, it's my understanding that we split off PFX because they can pump the expanders/compressors set for the dialogue.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13633" PostHistoryTypeId="1" PostId="8113" RevisionGUID="3dfa23df-7d27-4152-9bd1-68102d36feaa" CreationDate="2011-05-21T08:59:45.850" UserId="1035" Text="Dialogue Editing for Documentary Film" ContentLicense="CC BY-SA 3.0" />
  <row Id="13634" PostHistoryTypeId="3" PostId="8113" RevisionGUID="3dfa23df-7d27-4152-9bd1-68102d36feaa" CreationDate="2011-05-21T08:59:45.850" UserId="1035" Text="&lt;dialogue&gt;&lt;documentary&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13635" PostHistoryTypeId="2" PostId="8114" RevisionGUID="dd389c98-5f04-4b96-9c7a-2c8695d6ca86" CreationDate="2011-05-21T12:05:49.183" UserDisplayName="user80" Text="I now take my Kindle.&#xD;&#xA;&#xD;&#xA;I use it most for testing mic feeds.  I have MP3 voice recordings for getting rough levels, the built in speakers are surprisingly efficient.  The headphone socket gives me approximate line level feeds as well.  I also have all my manuals on pdf, and can surf using 3G if I need check something on the web." ContentLicense="CC BY-SA 3.0" />
  <row Id="13636" PostHistoryTypeId="2" PostId="8115" RevisionGUID="bb06a3fd-c999-4b32-857e-1d142ea641ca" CreationDate="2011-05-21T12:24:13.153" UserDisplayName="user80" Text="I came across this video and wondered how often the boom mic is in shot.  I was thinking we could start a thread for examples.&#xD;&#xA;&#xD;&#xA;[youtube]ATIj8z4Nsl0[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="13637" PostHistoryTypeId="1" PostId="8115" RevisionGUID="bb06a3fd-c999-4b32-857e-1d142ea641ca" CreationDate="2011-05-21T12:24:13.153" UserDisplayName="user80" Text="Boom mic in Shot" ContentLicense="CC BY-SA 3.0" />
  <row Id="13638" PostHistoryTypeId="3" PostId="8115" RevisionGUID="bb06a3fd-c999-4b32-857e-1d142ea641ca" CreationDate="2011-05-21T12:24:13.153" UserDisplayName="user80" Text="&lt;boom&gt;&lt;microphone&gt;&lt;mistakes-blunders-mishaps&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13639" PostHistoryTypeId="2" PostId="8116" RevisionGUID="08abc12b-81d9-49d3-a4cd-de7453ffd4ff" CreationDate="2011-05-21T12:34:08.343" UserId="37" Text="Hmm... as long as you deliver within the network's level/range requirements, how you mix the programme is entirely up to you, no? On most documentaries, I don't quite imagine there being enough time to do a proper split/organise on every stem. Also, are you delivering an M+E or a dipped/undipped pair? Very likely that extra material would go to another mixer person first anyway. Does the station in question really have an additional dynamics processor other than a master limiter in the sound chain? That could make things sound like crap by default.." ContentLicense="CC BY-SA 3.0" />
  <row Id="13641" PostHistoryTypeId="2" PostId="8118" RevisionGUID="07b8c76c-0bfc-4822-98f5-ff986b94cf8b" CreationDate="2011-05-21T14:32:49.637" UserId="863" Text="haha greaet video :) I think they're in shot a lot. They can just get taken out in post quite easily though." ContentLicense="CC BY-SA 3.0" />
  <row Id="13642" PostHistoryTypeId="2" PostId="8119" RevisionGUID="dfc77476-cdbb-4e0b-99b6-ece8af29c6b6" CreationDate="2011-05-21T14:48:17.633" UserId="863" Text="Sound showreels are different to the usual showreels you find for motion graphics etc. But I think it's still important to stick to the same rules. Keep it to max 4-5 minutes, give yourself a short intro/outro with contact details and supply a separate list or a lower third and say what you did on it. &#xD;&#xA;&#xD;&#xA;If this is to find yourself a job, most people will listen to the first minute then start flicking through it, make sure the visuals are good too, don't put in work that looks crap.&#xD;&#xA;&#xD;&#xA;Also your showreel should be molded to where you are applying. I applied for a job recently and it was not only doing sound design for adverts but they also had an interest in the sound person composing music, I therefore created a showreel with examples of music I have made for ads/promos, even if this is not something I ultimately want to do.&#xD;&#xA;&#xD;&#xA;I would also have links to full length work that you're allowed to show." ContentLicense="CC BY-SA 3.0" />
  <row Id="13644" PostHistoryTypeId="2" PostId="8121" RevisionGUID="425a5d1d-d209-4361-8e0c-34606aed9b58" CreationDate="2011-05-21T18:02:51.720" UserId="845" Text="Not quite the same, but I remember an episode of 24 (somewhere early in the first season) where the A camera pans a little too quick and too far to one side and you can quite clearly see the B camera operator dodge out of the way.&#xD;&#xA;&#xD;&#xA;I guess they didn't realize until they were editing." ContentLicense="CC BY-SA 3.0" />
  <row Id="13645" PostHistoryTypeId="2" PostId="8122" RevisionGUID="7a2a9a92-a2c5-4ef9-a354-c0aef36aa7bf" CreationDate="2011-05-21T19:14:39.390" UserId="18160" Text="I remember as a kid seeing the boom in the shot in Indiana Jones and the Temple of Doom (the card game between Indie and Short Round in the woods the boom drops in for a second) and pointing it out to my dad and asking what it was.&#xD;&#xA;&#xD;&#xA;He had no idea. He thought it was an animal or something." ContentLicense="CC BY-SA 3.0" />
  <row Id="13646" PostHistoryTypeId="2" PostId="8123" RevisionGUID="675e740d-d7b1-4a10-bdfe-27f6fd71fc8d" CreationDate="2011-05-22T02:33:46.643" UserId="220" Text="Moscow Heat (2004) there was a boom that doesn't just graze the top of the frame, it dips in like the sound guy slipped.  The movie was hilariously bad up to that point, so that just made us roll with laughter even more.  &#xD;&#xA;&#xD;&#xA;On a related note, during the &quot;I'm porn dialog without any sex&quot; movie Wild Man (1989), there is an awesome scene where someone takes a dive off of a balcony and you see someone toss a mattress across the frame for them to land on.  I believe there were some booms in that movie too.&#xD;&#xA;&#xD;&#xA;I'm surprised when I see booms or crew in the shot in movies made even in the past few years.. it's just not that hard, even for an amateur, to mask it out.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13647" PostHistoryTypeId="2" PostId="8124" RevisionGUID="19b371e2-9e08-40b4-a3e1-926ffbe07913" CreationDate="2011-05-22T03:11:19.363" UserId="220" Text="My first boom pole was a very pretty Gitzo carbon fiber pole.  Loved that thing!  I think it extended to 12' or so.  &#xD;&#xA;&#xD;&#xA;I rented out my sound gear (I have learned to not do that any more) and they somehow &quot;lost&quot; the top segment of the pole.  Before I could get money for the lost part, the director robbed his roommates and fled to who knows where.  &#xD;&#xA;&#xD;&#xA;I got a new pole, and the old one has been in storage.  &#xD;&#xA;&#xD;&#xA;Has anybody ever damaged a segment of a boom pole and needed replacement?  Is it going to cost me more than a new pole just to get it?  &#xD;&#xA;&#xD;&#xA;I will email the company on Monday and see where that gets me.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13648" PostHistoryTypeId="1" PostId="8124" RevisionGUID="19b371e2-9e08-40b4-a3e1-926ffbe07913" CreationDate="2011-05-22T03:11:19.363" UserId="220" Text="Replacing Boom Mic Segment" ContentLicense="CC BY-SA 3.0" />
  <row Id="13649" PostHistoryTypeId="3" PostId="8124" RevisionGUID="19b371e2-9e08-40b4-a3e1-926ffbe07913" CreationDate="2011-05-22T03:11:19.363" UserId="220" Text="&lt;boom-pole&gt;&lt;repair&gt;&lt;replacement&gt;&lt;damage&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13650" PostHistoryTypeId="2" PostId="8125" RevisionGUID="fb088b50-a1a9-4412-94b5-a08d444fd9eb" CreationDate="2011-05-22T11:44:25.020" UserDisplayName="user80" Text="Try taking it to a local camera repair shop that can repair Gitzo tripods as some of the parts are shared.  Most repairs are cheaper than a replacement, even if only slightly." ContentLicense="CC BY-SA 3.0" />
  <row Id="13651" PostHistoryTypeId="2" PostId="8126" RevisionGUID="d556b95b-bb44-4527-8034-f44210110cc8" CreationDate="2011-05-22T12:12:49.113" UserId="219" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am currently in the process of imagining and testing sound designs for a robot that is up to bad things, going after people (think Terminator type of hunting, not necessarily fast but obviously unstoppable). The robot does not speak, but I'd like it to have this sound that I'm looking for and that I'd like you guys to help me find.&#xD;&#xA;&#xD;&#xA;Think about the time when you rewound audio tapes with your hi-fi tape deck. Once you reached the top of the tape, the mechanism used to go &quot;clac clac clac clac clac&quot; until you released the &quot;&lt;&lt; RWD&quot; button. I imagine it's a safety mechanism that disengages the spinning things to prevent tearing the tape.&#xD;&#xA;&#xD;&#xA;Now I'm pretty sure I've already heard a similar sound on bigger machines, that sounded bigger, more like a &quot;tak tak tak tak tak&quot;. This is the sound I am looking for, unfortunately I can't seem to think of a device that'd make the noise.&#xD;&#xA;&#xD;&#xA;Do you have any clue as to where one can hear a similar sound?&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;J." ContentLicense="CC BY-SA 3.0" />
  <row Id="13652" PostHistoryTypeId="1" PostId="8126" RevisionGUID="d556b95b-bb44-4527-8034-f44210110cc8" CreationDate="2011-05-22T12:12:49.113" UserId="219" Text="Help defining/sourcing a mechanical &quot;tak tak tak&quot; sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="13653" PostHistoryTypeId="3" PostId="8126" RevisionGUID="d556b95b-bb44-4527-8034-f44210110cc8" CreationDate="2011-05-22T12:12:49.113" UserId="219" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13654" PostHistoryTypeId="2" PostId="8127" RevisionGUID="e47f4f24-a38a-4706-bdcf-06aac672fb6f" CreationDate="2011-05-22T14:54:32.580" UserId="845" Text="Sounds to me like what you're looking for is actually the tape chassis flapping around inside the door of the player. Grab an old, unwanted cassette and try throwing it around. You'll probably even find a surface in your studio that is plasticky sounding enough. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13655" PostHistoryTypeId="2" PostId="8128" RevisionGUID="5672552c-ca02-4546-981a-c904b49e6b4c" CreationDate="2011-05-22T16:00:02.890" UserId="194" Text="you can abuse a cheap printer by holding the ink carriage while its starting up and it'll do that.  rec at 96k and pitch down to taste.&#xD;&#xA;&#xD;&#xA;old metal projectors also have those kinds of noises in them." ContentLicense="CC BY-SA 3.0" />
  <row Id="13656" PostHistoryTypeId="2" PostId="8129" RevisionGUID="2ffe4163-dbb1-4105-bbc8-dec858228f10" CreationDate="2011-05-22T16:39:02.400" UserId="1090" Text="Epic boom dip is in Rocky Horror Picture Show just in the beginning at the church.. EPIC" ContentLicense="CC BY-SA 3.0" />
  <row Id="13657" PostHistoryTypeId="2" PostId="8130" RevisionGUID="9efeb9aa-cf5a-4fcb-88b1-6d347a353f49" CreationDate="2011-05-22T18:23:18.053" UserId="693" Text="some High Impact Torque Wrenches have that same sort or fail-safe mechanism and it's much meaner sounding. I'd start searching there. You can likely go to a local auto garage and they'll make a whole bunch of noise for you to record for the cost of a cheap 12 pack of beer." ContentLicense="CC BY-SA 3.0" />
  <row Id="13658" PostHistoryTypeId="2" PostId="8131" RevisionGUID="743a06d8-61a1-4a31-b4b0-c207d8632b3f" CreationDate="2011-05-22T18:26:42.903" UserId="100" Text="You can get a more abrasive, motorized version of the &quot;clac clac clac&quot; with a toy remote-controlled car. Hold the wheel to prevent it from turning and it often makes a buzzing (potentially warranty voiding) &quot;rrac rrac rrac&quot; sound. It may not be quite what you're looking for, but it's another variation. Good luck!&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://remotecontrolvehiclesonline.com/wp-content/uploads/2009/09/RC-Truck.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="13659" PostHistoryTypeId="2" PostId="8132" RevisionGUID="ae6536f9-aa4c-4402-8e8e-53c7a58f4517" CreationDate="2011-05-22T18:44:47.520" UserId="1091" Text="We recorded &quot;a lot&quot; of source material just for this purposes. Here you can have listen http://www.boomlibrary.com/index.php?option=com_content&amp;view=article&amp;id=53&amp;Itemid=2&#xD;&#xA;&#xD;&#xA;And this is a short making of video &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Might be inspiring...&#xD;&#xA;&#xD;&#xA;&lt;iframe src=&quot;http://player.vimeo.com/video/23965688?title=0&amp;amp;byline=0&amp;amp;portrait=0&quot; width=&quot;400&quot; height=&quot;225&quot; frameborder=&quot;0&quot;&gt;&lt;/iframe&gt;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/23965688&quot;&gt;Cinematic Trailers - Construction Kit&lt;/a&gt; from &lt;a href=&quot;http://vimeo.com/user4016832&quot;&gt;BOOM Library&lt;/a&gt; on &lt;a href=&quot;http://vimeo.com&quot;&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13660" PostHistoryTypeId="2" PostId="8133" RevisionGUID="d9624633-ddea-4bd0-8d73-4a0904a3b9bc" CreationDate="2011-05-22T19:13:26.463" UserId="845" Text="Hey Team Rocket,&#xD;&#xA;&#xD;&#xA;I, like the rest of us, spend a lot of time sitting.  8 hours at work, an hour to work on the bus, and an hour back.  Plus at least 2 or 3 when I get home, working on various and sundry personal projects.  Basically the entire day.&#xD;&#xA;&#xD;&#xA;It never used to bother me all that much, but I seem to have reached the point where I'm starting to feel really stiff and achy.  Plus, to be frank, by the end of the day my ass hurts something terrible.&#xD;&#xA;&#xD;&#xA;I've done a fair bit of reading about sitting apparati, especially the [Herman Miller Aeron][1].  Now, I'm sure it really is a snazzy bugger of a chair, but I just don't have umpteen bazillion dollars to spend on a new place to put my bum.  I know it's worth it, since I spend so much time in it, but it's hard to wrap the head around paying that much for a *chair*.&#xD;&#xA;&#xD;&#xA;There must be a better way!&#xD;&#xA;&#xD;&#xA;Enter the question:&#xD;&#xA;&#xD;&#xA;What about a [Standing Desk][2]?&#xD;&#xA;&#xD;&#xA;Every 20 minute (it seems) [LifeHacker][3] or [BoingBoing][4] or the [New York Times][5] is ePublishing an article on how wonderful it is to stand while you work.  I have to say that while these sources' reputations all hinge on being *very* early adopters of new tech fads that may or may not have as much merit as they seem, I must say that I'm a hairs-breadth from convinced.&#xD;&#xA;&#xD;&#xA;At the same time, I'm dubious.  I all too vividly remember the abject misery of being 16 and working 8 consecutive hours behind a retail desk and movie theatre concession stand.  Ignoring the fact that I was also allowed neither to eat nor drink while in view of the public (sometimes 4+ hours at a stretch), I remember it being extremely tiring for my knees and lower-back.&#xD;&#xA;&#xD;&#xA;I know there are [at least a few of you][6] who are already doing it standing, so, I thought it might be fun/interesting/illuminating to compile a compendium of Pros and Cons for anyone who might be thinking of making the switch to a standing desk.&#xD;&#xA;&#xD;&#xA;Input is encouraged!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hermanmiller.com/Products/Aeron-Chairs&#xD;&#xA;  [2]: http://smarterware.org/7102/how-and-why-i-switched-to-a-standing-desk&#xD;&#xA;  [3]: http://lifehacker.com/5798791/calculate-how-many-calories-you-can-burn-if-you-switch-to-a-standing-desk&#xD;&#xA;  [4]: http://www.boingboing.net/2011/05/17/standing-desk-jockey.html&#xD;&#xA;  [5]: http://www.nytimes.com/2010/04/22/technology/personaltech/22basics.html&#xD;&#xA;  [6]: http://socialsounddesign.com/questions/5628/audio-furniture-desk" ContentLicense="CC BY-SA 3.0" />
  <row Id="13661" PostHistoryTypeId="1" PostId="8133" RevisionGUID="d9624633-ddea-4bd0-8d73-4a0904a3b9bc" CreationDate="2011-05-22T19:13:26.463" UserId="845" Text="Working Standing Up" ContentLicense="CC BY-SA 3.0" />
  <row Id="13662" PostHistoryTypeId="3" PostId="8133" RevisionGUID="d9624633-ddea-4bd0-8d73-4a0904a3b9bc" CreationDate="2011-05-22T19:13:26.463" UserId="845" Text="&lt;workspace&gt;&lt;studio-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13663" PostHistoryTypeId="2" PostId="8134" RevisionGUID="53048ba4-9f17-46b1-ba84-dce1564871ab" CreationDate="2011-05-22T19:43:13.607" UserId="400" Text="I actually just adjusted my desk last week to standing and so far have been really enjoying it! I was having the same problem as you, aching from sitting 8-12 hours a day and read some Lifehacker etc posts and decided to give it a shot.&#xD;&#xA;&#xD;&#xA;I honestly think it's effectively solved all my problems. My feet are a little sore each day but that's lessening and I've read that other people have had the same thing and it's gone as time passes. &#xD;&#xA;&#xD;&#xA;I do however still need to get something to mount my speakers and monitors on, they're currently not quite as high as they should be and I'm concerned that over time that'll start to affect my neck and cause more aching.&#xD;&#xA;&#xD;&#xA;My advice would be if you can somehow prop your desk up on something and give it a shot, then do it and see how it works. If you like it you can always buy a new desk or keep it as it is, whatever works!&#xD;&#xA;&#xD;&#xA;Hope this has helped, feel free to ask any questions." ContentLicense="CC BY-SA 3.0" />
  <row Id="13664" PostHistoryTypeId="2" PostId="8135" RevisionGUID="d88d7d59-4260-4a1f-ad3a-c3b3c52b9baa" CreationDate="2011-05-22T20:11:52.833" UserId="18160" Text="Why not find a huge wench or ratchet and get the tak tak tak from that? I'd look around at an old shipyard or dock to see what they've got there. Loading docks.&#xD;&#xA;&#xD;&#xA;Or ask Tak (member of SSD) hehe." ContentLicense="CC BY-SA 3.0" />
  <row Id="13665" PostHistoryTypeId="2" PostId="8136" RevisionGUID="c7edce31-d7e1-4376-8998-15e1e783ff99" CreationDate="2011-05-22T20:19:14.243" UserId="1090" Text="Once I was working as a &quot;mail sorting man&quot; in a warehouse, and my desk was adjustable but not by a motor, but by a foot pedal. Those can't be too expensive and they don't steal any electricity. Just attach your speakers to the table somehow and it'll be fine, I think :S&#xD;&#xA;&#xD;&#xA;Another way of solving this issue is to have a cordless mouse or keyboard.. My workspace is controller-free (eg no consoles or musical keyboards etc, only mouse &amp; keyboard) and when I'm feeling restless I simply stand up or walk a bit away from the computer with my cordless mouse and keyboard :) a nanorest, but it's still a rest." ContentLicense="CC BY-SA 3.0" />
  <row Id="13666" PostHistoryTypeId="2" PostId="8137" RevisionGUID="15a09c44-ba91-450d-9528-f6f0a5a7487f" CreationDate="2011-05-22T21:21:58.800" UserId="1044" Text="I did try the 'standing desk' setup for a couple months...I found it brings stiffness and soreness to new areas. I then began switching back and forth every few hours. I found this was advantageous. &#xD;&#xA;&#xD;&#xA;I still believe the best solution is stretching before and after work, as well as having one of those hot beads that you throw in the microwave and then wrap around your neck. And lots of water will also have its benefits. &#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13667" PostHistoryTypeId="2" PostId="8138" RevisionGUID="e2a26775-5f98-433b-9c6d-79d7f6f735b6" CreationDate="2011-05-22T21:37:26.760" UserId="1045" Text="I have recently inherited an Astatic DN-HZ mic, it's on a stand with a grip trigger. It was used for a PA system back in the 50's. The frequency response on is pretty narrow, not a lot of low end, doesn't seem like much under 110. Is this thing worth anything? It kinda gives a cool stylized sound, I'll probably hang on to it, just wondering more about it.&#xD;&#xA;&#xD;&#xA;Thanks.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="13668" PostHistoryTypeId="1" PostId="8138" RevisionGUID="e2a26775-5f98-433b-9c6d-79d7f6f735b6" CreationDate="2011-05-22T21:37:26.760" UserId="1045" Text="Astatic DN-HZ microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="13669" PostHistoryTypeId="3" PostId="8138" RevisionGUID="e2a26775-5f98-433b-9c6d-79d7f6f735b6" CreationDate="2011-05-22T21:37:26.760" UserId="1045" Text="&lt;old&gt;&lt;microphone&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13670" PostHistoryTypeId="2" PostId="8139" RevisionGUID="1d835fb4-51e2-4dc4-b0fd-1ecdc504126e" CreationDate="2011-05-22T22:18:01.943" UserId="18160" Text="I'd keep it.&#xD;&#xA;&#xD;&#xA;Microphones are like colors on a painter's palette or lenses to a photographer,&#xD;&#xA;&#xD;&#xA;No two mics are the same and if this one gives a particular sound, learn it well and make a mental note of what it sounds like and what it can do and it can come in very handy one day when you're recording something that might fit perfectly with it.&#xD;&#xA;&#xD;&#xA;I'd be interested in using it as a radio futzer or a TV speaker worldizing mic.&#xD;&#xA;&#xD;&#xA;Might sound great on guitar cabinets." ContentLicense="CC BY-SA 3.0" />
  <row Id="13671" PostHistoryTypeId="5" PostId="8137" RevisionGUID="1cd43fea-e9bb-4cb4-a579-3886c7e63bf2" CreationDate="2011-05-22T22:38:05.173" UserId="1044" Comment="added 73 characters in body" Text="I did try the 'standing desk' setup for a couple months...I found it brings stiffness and soreness to new areas. I then began switching back and forth every few hours. I found this was advantageous. &#xD;&#xA;&#xD;&#xA;I still believe the best solution is stretching before and after work, as well as having one of those hot beads that you throw in the microwave and then wrap around your neck. And lots of water will also have its benefits. And certainly ergonomic equipment (mouse, mouse pad, keyboard pad, chair)&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13672" PostHistoryTypeId="2" PostId="8140" RevisionGUID="30bda0a4-b574-43eb-903f-bce444e472ca" CreationDate="2011-05-22T22:50:22.257" UserId="234" Text="Walter Murch is a big believer in standing while he works -even in his KEM days he had it raised so he could stand... he goes on a fair bit about his reasons in both &quot;In the Blink of an Eye&quot; and &quot;The Converstations&quot; - although in those cases he's talking more about video than audio editing. I haven't tried it yet myself, but I'm seriously considering it for the rebuild of my personal room." ContentLicense="CC BY-SA 3.0" />
  <row Id="13673" PostHistoryTypeId="2" PostId="8141" RevisionGUID="b8bc3a54-1b29-4229-9e5d-4fdcef7fc4b3" CreationDate="2011-05-22T22:56:53.570" UserId="432" Text="We've had this kind of discussion before in a post about ergonomics. I work standing up, with a high &quot;drafting&quot; chair to sit on if I get tired. To date though, I haven't seen a better &quot;standing&quot; design than the one Jory Prum has got in [his studio][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://studio.jory.org/views.php?next" ContentLicense="CC BY-SA 3.0" />
  <row Id="13674" PostHistoryTypeId="2" PostId="8142" RevisionGUID="854bfd72-e5f6-4780-951c-e3e60a4dd0a5" CreationDate="2011-05-23T01:59:06.197" UserDisplayName="user6513" Text="Watched some reruns of Just Shoot me and have more than once seem the boom dipped in from the top of the frame. I took down the ep no, but deleted it when I saw it happen a couple more times. Seems like no one really notices when the script is good. It's a pretty funny show." ContentLicense="CC BY-SA 3.0" />
  <row Id="13675" PostHistoryTypeId="2" PostId="8143" RevisionGUID="ba773f24-9166-42d8-9aec-1fa90c39edd0" CreationDate="2011-05-23T02:12:59.193" UserId="1092" Text="I had recently moved to Berkeley and didn't own a desk, yet, so I invested in an Ergotron Workfit-S. It's great. I spend most of the day standing, but I can quickly lower it to sitting. Also, with a standing desk I move around a lot while I'm listening or waiting for the computer. &#xD;&#xA;&#xD;&#xA;One key is to stand correctly. If you're holding your body improperly or with a lot of tension then it's just as bad as sitting with bad posture. I take pilates for that. I also wear supportive shoes. I saw a guy who built a tiny sandbox to stand in that looked great. My dad never sits at the computer. He just raised up his monitor and put a pedestal-like table in front of his desk for his keyboard and tablet. &#xD;&#xA;&#xD;&#xA;Here's a photo. I look a little awkward just cause I'm posing for the photo. :)&#xD;&#xA;http://www.nathanlively.com/wp-content/uploads/2011/05/IMG_1662.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="13676" PostHistoryTypeId="2" PostId="8144" RevisionGUID="60d5e22f-7a98-453e-914d-a473fb2f3ad7" CreationDate="2011-05-23T03:27:18.050" UserId="194" Text="don't plug that thing into a D50.  I got one and it killed mine.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13677" PostHistoryTypeId="5" PostId="8133" RevisionGUID="03a95735-13c9-4d55-ab98-d61d6c5a899a" CreationDate="2011-05-23T03:46:14.310" UserId="845" Comment="added 138 characters in body" Text="Hey Team Rocket,&#xD;&#xA;&#xD;&#xA;I, like the rest of us, spend a lot of time sitting.  8 hours at work, an hour to work on the bus, and an hour back.  Plus at least 2 or 3 when I get home, working on various and sundry personal projects.  Basically the entire day.&#xD;&#xA;&#xD;&#xA;It never used to bother me all that much, but I seem to have reached the point where I'm starting to feel really stiff and achy.  Plus, to be frank, by the end of the day my ass hurts something terrible.&#xD;&#xA;&#xD;&#xA;I've done a fair bit of reading about sitting apparati, especially the [Herman Miller Aeron][1].  Now, I'm sure it really is a snazzy bugger of a chair, but I just don't have umpteen bazillion dollars to spend on a new place to put my bum.  I know it's worth it, since I spend so much time in it, but it's hard to wrap the head around paying that much for a *chair*.&#xD;&#xA;&#xD;&#xA;There must be a better way!&#xD;&#xA;&#xD;&#xA;Enter the question:&#xD;&#xA;&#xD;&#xA;What about a [Standing Desk][2]?&#xD;&#xA;&#xD;&#xA;Every 20 minute (it seems) [LifeHacker][3] or [BoingBoing][4] or the [New York Times][5] is ePublishing an article on how wonderful it is to stand while you work.  I have to say that while these sources' reputations all hinge on being *very* early adopters of new tech fads that may or may not have as much merit as they seem, I must say that I'm a hairs-breadth from convinced.&#xD;&#xA;&#xD;&#xA;At the same time, I'm dubious.  I all too vividly remember the abject misery of being 16 and working 8 consecutive hours behind a retail desk and movie theatre concession stand.  Ignoring the fact that I was also allowed neither to eat nor drink while in view of the public (sometimes 4+ hours at a stretch), I remember it being extremely tiring for my knees and lower-back.&#xD;&#xA;&#xD;&#xA;I know there are [at least a few of you][6] who are already doing it standing, so, I thought it might be fun/interesting/illuminating to compile a compendium of Pros and Cons for anyone who might be thinking of making the switch to a standing desk.&#xD;&#xA;&#xD;&#xA;Input is encouraged!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;The list so far:&#xD;&#xA;&#xD;&#xA;Pro:&#xD;&#xA;&#xD;&#xA; - Reduced pressure on lower back.&#xD;&#xA; - Increased mobility&#xD;&#xA;&#xD;&#xA;Con: &#xD;&#xA;&#xD;&#xA; - Tired feet and knees.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hermanmiller.com/Products/Aeron-Chairs&#xD;&#xA;  [2]: http://smarterware.org/7102/how-and-why-i-switched-to-a-standing-desk&#xD;&#xA;  [3]: http://lifehacker.com/5798791/calculate-how-many-calories-you-can-burn-if-you-switch-to-a-standing-desk&#xD;&#xA;  [4]: http://www.boingboing.net/2011/05/17/standing-desk-jockey.html&#xD;&#xA;  [5]: http://www.nytimes.com/2010/04/22/technology/personaltech/22basics.html&#xD;&#xA;  [6]: http://socialsounddesign.com/questions/5628/audio-furniture-desk" ContentLicense="CC BY-SA 3.0" />
  <row Id="13678" PostHistoryTypeId="5" PostId="8133" RevisionGUID="e814f0ab-ebfb-4deb-aa7b-6ba1e38e07da" CreationDate="2011-05-23T04:20:13.250" UserId="845" Comment="added pro/con list; added 56 characters in body" Text="Hey Team Rocket,&#xD;&#xA;&#xD;&#xA;I, like the rest of us, spend a lot of time sitting.  8 hours at work, an hour to work on the bus, and an hour back.  Plus at least 2 or 3 when I get home, working on various and sundry personal projects.  Basically the entire day.&#xD;&#xA;&#xD;&#xA;It never used to bother me all that much, but I seem to have reached the point where I'm starting to feel really stiff and achy.  Plus, to be frank, by the end of the day my ass hurts something terrible.&#xD;&#xA;&#xD;&#xA;I've done a fair bit of reading about sitting apparati, especially the [Herman Miller Aeron][1].  Now, I'm sure it really is a snazzy bugger of a chair, but I just don't have umpteen bazillion dollars to spend on a new place to put my bum.  I know it's worth it, since I spend so much time in it, but it's hard to wrap the head around paying that much for a *chair*.&#xD;&#xA;&#xD;&#xA;There must be a better way!&#xD;&#xA;&#xD;&#xA;Enter the question:&#xD;&#xA;&#xD;&#xA;What about a [Standing Desk][2]?&#xD;&#xA;&#xD;&#xA;Every 20 minute (it seems) [LifeHacker][3] or [BoingBoing][4] or the [New York Times][5] is ePublishing an article on how wonderful it is to stand while you work.  I have to say that while these sources' reputations all hinge on being *very* early adopters of new tech fads that may or may not have as much merit as they seem, I must say that I'm a hairs-breadth from convinced.&#xD;&#xA;&#xD;&#xA;At the same time, I'm dubious.  I all too vividly remember the abject misery of being 16 and working 8 consecutive hours behind a retail desk and movie theatre concession stand.  Ignoring the fact that I was also allowed neither to eat nor drink while in view of the public (sometimes 4+ hours at a stretch), I remember it being extremely tiring for my knees and lower-back.&#xD;&#xA;&#xD;&#xA;I know there are [at least a few of you][6] who are already doing it standing, so, I thought it might be fun/interesting/illuminating to compile a compendium of Pros and Cons for anyone who might be thinking of making the switch to a standing desk.&#xD;&#xA;&#xD;&#xA;Input is encouraged!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;**The List So Far**:&#xD;&#xA;&#xD;&#xA;Pro:&#xD;&#xA;&#xD;&#xA; - Reduced pressure on lower back.&#xD;&#xA; - Increased mobility.&#xD;&#xA; - Calorie Burn.&#xD;&#xA; - No need to get up to pace around importantly while talking on the phone.&#xD;&#xA;&#xD;&#xA;Con: &#xD;&#xA;&#xD;&#xA; - Tired feet and knees.&#xD;&#xA; - Awkward for client visits (particularly if they're shorter/taller than you)&#xD;&#xA; - Your co-workers may, or may not, look at you funny.&#xD;&#xA;&#xD;&#xA;Meh:&#xD;&#xA;&#xD;&#xA; - Posture, posture, posture.  Can't get around the problem of posture.  Just as important as when sitting.&#xD;&#xA;&#xD;&#xA;Reference photos:&#xD;&#xA;&#xD;&#xA; - http://www.nathanlively.com/wp-content/uploads/2011/05/IMG_1662.jpg&#xD;&#xA; - http://studio.jory.org/pics/studio_control_room_5668_lg.png&#xD;&#xA;&#xD;&#xA;Standing Desk Manufacturers:&#xD;&#xA;&#xD;&#xA; - [Ergotron][7]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;P.S. The list could do with some more photos of studio setups if anyone has any.  Also, more manufacturers of standing desks would be great too.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hermanmiller.com/Products/Aeron-Chairs&#xD;&#xA;  [2]: http://smarterware.org/7102/how-and-why-i-switched-to-a-standing-desk&#xD;&#xA;  [3]: http://lifehacker.com/5798791/calculate-how-many-calories-you-can-burn-if-you-switch-to-a-standing-desk&#xD;&#xA;  [4]: http://www.boingboing.net/2011/05/17/standing-desk-jockey.html&#xD;&#xA;  [5]: http://www.nytimes.com/2010/04/22/technology/personaltech/22basics.html&#xD;&#xA;  [6]: http://socialsounddesign.com/questions/357/best-use-of-ergonomics-in-an-pro-tools-editing-environment&#xD;&#xA;  [7]: http://www.ergotron.com/Products/Workstations/tabid/562/Default.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="13679" PostHistoryTypeId="5" PostId="8133" RevisionGUID="b1f6adc5-973e-40af-aa05-42bdb767f031" CreationDate="2011-05-23T04:56:45.553" UserId="845" Comment="added 1523 characters in body; added 42 characters in body; edited body" Text="Hey Team Rocket,&#xD;&#xA;&#xD;&#xA;I, like the rest of us, spend a lot of time sitting.  8 hours at work, an hour to work on the bus, and an hour back.  Plus at least 2 or 3 when I get home, working on personal projects various and sundry.  Basically the entire day.&#xD;&#xA;&#xD;&#xA;It never used to bother me all that much, but I seem to have reached the point where I'm starting to feel really stiff and achy.  Plus, to be frank, by the end of the day my ass hurts something terrible.&#xD;&#xA;&#xD;&#xA;I've done a fair bit of reading about sitting apparati, especially the [Herman Miller Aeron][1].  Now, I'm sure it really is a snazzy bugger of a chair, but I just don't have umpteen bazillion dollars to spend on a new place to put my bum.  I know it's worth it, since I spend so much time in it, but it's hard to wrap the head around paying that much for a *chair*.&#xD;&#xA;&#xD;&#xA;There must be a better way!&#xD;&#xA;&#xD;&#xA;Enter the question:&#xD;&#xA;&#xD;&#xA;What about a [Standing Desk][2]?&#xD;&#xA;&#xD;&#xA;Every 20 minute (it seems) [LifeHacker][3] or [BoingBoing][4] or the [New York Times][5] is ePublishing an article on how wonderful it is to stand while you work.  I have to say that while these sources' reputations all hinge on being *very* early adopters of new tech fads that may or may not have as much merit as they seem, I must say that I'm a hairs-breadth from convinced.&#xD;&#xA;&#xD;&#xA;At the same time, I'm dubious.  I all too vividly remember the abject misery of being 16 and working 8 consecutive hours behind a retail desk and movie theatre concession stand.  Ignoring the fact that I was also allowed neither to eat nor drink while in view of the public (sometimes 4+ hours at a stretch), I remember it being extremely tiring for my knees and lower-back.&#xD;&#xA;&#xD;&#xA;I know there are [at least a few of you][6] who are already doing it standing, so, I thought it might be fun/interesting/illuminating to compile a compendium of Pros and Cons for anyone who might be thinking of making the switch to a standing desk.&#xD;&#xA;&#xD;&#xA;Input is encouraged!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;**The List So Far**:&#xD;&#xA;&#xD;&#xA;**Pro:**&#xD;&#xA;&#xD;&#xA; - Reduced pressure on lower back.&#xD;&#xA; - Increased mobility.&#xD;&#xA; - Calorie Burn.&#xD;&#xA; - No need to get up to pace around importantly while talking on the phone.&#xD;&#xA;&#xD;&#xA;**Con:** &#xD;&#xA;&#xD;&#xA; - Tired feet and knees.&#xD;&#xA; - Awkward for client visits (particularly if they're shorter/taller than you)&#xD;&#xA; - Your co-workers may, or may not, look at you funny.&#xD;&#xA;&#xD;&#xA;**Meh:**&#xD;&#xA;&#xD;&#xA; - Posture, posture, posture.  Can't get around the problem of posture.  Just as important as when sitting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Standing Desk Manufacturers:**&#xD;&#xA;&#xD;&#xA; - [Ergotron][7]&#xD;&#xA; - [Anthro][8]&#xD;&#xA; - [Geek Desk][9]&#xD;&#xA; - [Standupdesks.com][10] (fancy pants)&#xD;&#xA;&#xD;&#xA;**Build Your Own:**&#xD;&#xA;&#xD;&#xA; - [Ikea Hackers Expedit Standing Desk][11]&#xD;&#xA; - [notebooks.com DIY Standing Desk][12]&#xD;&#xA; - [Mandogmachine.com DIY Standing Desk][13]&#xD;&#xA; - [IKEA Hackers Gallant Standing Desk][14]&#xD;&#xA;&#xD;&#xA;**Reference photos:**&#xD;&#xA;&#xD;&#xA;![standing desk measurements][15]&#xD;&#xA;![alt text][16]&#xD;&#xA;![alt text][17]&#xD;&#xA;![alt text][18]&#xD;&#xA;![alt text][19]&#xD;&#xA;![alt text][20]&#xD;&#xA;![alt text][21]&#xD;&#xA;![alt text][22]&#xD;&#xA;![alt text][23]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;P.S. Feel free to suggest any other photos/manufacturers you come across.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hermanmiller.com/Products/Aeron-Chairs&#xD;&#xA;  [2]: http://smarterware.org/7102/how-and-why-i-switched-to-a-standing-desk&#xD;&#xA;  [3]: http://lifehacker.com/5798791/calculate-how-many-calories-you-can-burn-if-you-switch-to-a-standing-desk&#xD;&#xA;  [4]: http://www.boingboing.net/2011/05/17/standing-desk-jockey.html&#xD;&#xA;  [5]: http://www.nytimes.com/2010/04/22/technology/personaltech/22basics.html&#xD;&#xA;  [6]: http://socialsounddesign.com/questions/357/best-use-of-ergonomics-in-an-pro-tools-editing-environment&#xD;&#xA;  [7]: http://www.ergotron.com/Products/Workstations/tabid/562/Default.aspx&#xD;&#xA;  [8]: http://www.anthro.com/furniture.aspx?computer-cart=elevate&amp;gclid=CIHP_uqDzKgCFUOo4AodOWuZpQ&#xD;&#xA;  [9]: http://www.geekdesk.com/default.asp?contentID=613&#xD;&#xA;  [10]: http://www.standupdesks.com//executive_desk.shtml&#xD;&#xA;  [11]: http://www.ikeahackers.net/2011/04/expedit-standing-desk.html&#xD;&#xA;  [12]: http://notebooks.com/2010/08/26/diy-stand-up-desk/&#xD;&#xA;  [13]: http://mandogmachine.com/2011/05/diy-standing-desk/&#xD;&#xA;  [14]: http://www.ikeahackers.net/2011/02/gallant-standing-desk.html&#xD;&#xA;  [15]: http://notebooks.com/wp-content/uploads/2011/05/Standing-Desk-Measurments.png&#xD;&#xA;  [16]: http://www.nathanlively.com/wp-content/uploads/2011/05/IMG_1662.jpg&#xD;&#xA;  [17]: http://studio.jory.org/pics/studio_control_room_5668_lg.png&#xD;&#xA;  [18]: http://notebooks.com/wp-content/uploads/2011/05/Ikea-Stand-Up-Desk.jpeg&#xD;&#xA;  [19]: http://notebooks.com/wp-content/uploads/2011/05/3956074180_f79f70075c_z.jpg&#xD;&#xA;  [20]: http://notebooks.com/wp-content/uploads/2011/05/DIY-Standing-desk-2.jpg&#xD;&#xA;  [21]: http://notebooks.com/wp-content/uploads/2011/05/stand-up-desk-shelf-wall-mount.jpg&#xD;&#xA;  [22]: http://1.bp.blogspot.com/-6pWbeXdd9WQ/TcOtAhDh8_I/AAAAAAAAOwo/LCAYJ28-glQ/s1600/effektiv-standing-desk-741876.jpg&#xD;&#xA;  [23]: http://1.bp.blogspot.com/_XGRz6uWGK3I/TVG1_8ZqyfI/AAAAAAAAMwQ/HrcJypCi6Ww/s1600/IMG_0244-738987.JPG" ContentLicense="CC BY-SA 3.0" />
  <row Id="13680" PostHistoryTypeId="2" PostId="8145" RevisionGUID="001cad32-70a2-4470-b90d-a5a0c9bfbc26" CreationDate="2011-05-23T05:04:09.207" UserId="1035" Text="You guys know what I'm talking about. Any idea where this one originated? First place I heard it was in the loading screen for the game SWAT 3, so it kinda got drilled into my head after that." ContentLicense="CC BY-SA 3.0" />
  <row Id="13681" PostHistoryTypeId="1" PostId="8145" RevisionGUID="001cad32-70a2-4470-b90d-a5a0c9bfbc26" CreationDate="2011-05-23T05:04:09.207" UserId="1035" Text="Seven-eight-six-five code six, one-oh-five north avenue" ContentLicense="CC BY-SA 3.0" />
  <row Id="13682" PostHistoryTypeId="3" PostId="8145" RevisionGUID="001cad32-70a2-4470-b90d-a5a0c9bfbc26" CreationDate="2011-05-23T05:04:09.207" UserId="1035" Text="&lt;sound-effects&gt;&lt;cliche&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13683" PostHistoryTypeId="2" PostId="8146" RevisionGUID="129b4d1f-f6cc-4312-a629-b8ea64036d1a" CreationDate="2011-05-23T05:22:43.110" UserId="845" Text="[youtube]VebkRKfZoLI[/youtube]&#xD;&#xA;&#xD;&#xA;http://tvtropes.org/pmwiki/pmwiki.php/Main/StockSoundEffects?from=Main.StockSoundEffect" ContentLicense="CC BY-SA 3.0" />
  <row Id="13684" PostHistoryTypeId="5" PostId="8133" RevisionGUID="66765235-1950-412f-9c51-0731077527eb" CreationDate="2011-05-23T05:41:40.420" UserId="845" Comment="added 322 characters in body; added 4 characters in body" Text="Hey Team Rocket,&#xD;&#xA;&#xD;&#xA;I, like the rest of us, spend a lot of time sitting.  8 hours at work, an hour to work on the bus, and an hour back.  Plus at least 2 or 3 when I get home, working on personal projects various and sundry.  Basically the entire day.&#xD;&#xA;&#xD;&#xA;It never used to bother me all that much, but I seem to have reached the point where I'm starting to feel really stiff and achy.  Plus, to be frank, by the end of the day my ass hurts something terrible.&#xD;&#xA;&#xD;&#xA;I've done a fair bit of reading about sitting apparati, especially the [Herman Miller Aeron][1].  Now, I'm sure it really is a snazzy bugger of a chair, but I just don't have umpteen bazillion dollars to spend on a new place to put my bum.  I know it's worth it, since I spend so much time in it, but it's hard to wrap the head around paying that much for a *chair*.&#xD;&#xA;&#xD;&#xA;There must be a better way!&#xD;&#xA;&#xD;&#xA;Enter the question:&#xD;&#xA;&#xD;&#xA;What about a [Standing Desk][2]?&#xD;&#xA;&#xD;&#xA;Every 20 minute (it seems) [LifeHacker][3] or [BoingBoing][4] or the [New York Times][5] is ePublishing an article on how wonderful it is to stand while you work.  I have to say that while these sources' reputations all hinge on being *very* early adopters of new tech fads that may or may not have as much merit as they seem, I must say that I'm a hairs-breadth from convinced.&#xD;&#xA;&#xD;&#xA;At the same time, I'm dubious.  I all too vividly remember the abject misery of being 16 and working 8 consecutive hours behind a retail desk and movie theatre concession stand.  Ignoring the fact that I was also allowed neither to eat nor drink while in view of the public (sometimes 4+ hours at a stretch), I remember it being extremely tiring for my knees and lower-back.&#xD;&#xA;&#xD;&#xA;I know there are [at least a few of you][6] who are already doing it standing, so, I thought it might be fun/interesting/illuminating to compile a compendium of Pros and Cons for anyone who might be thinking of making the switch to a standing desk.&#xD;&#xA;&#xD;&#xA;Input is encouraged!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;**The List So Far**:&#xD;&#xA;&#xD;&#xA;**Pro:**&#xD;&#xA;&#xD;&#xA; - Reduced pressure on lower back.&#xD;&#xA; - Increased mobility.&#xD;&#xA; - Calorie Burn.&#xD;&#xA; - Increased concentration.&#xD;&#xA; - No need to get up to pace around importantly while talking on the phone.&#xD;&#xA;&#xD;&#xA;**Con:** &#xD;&#xA;&#xD;&#xA; - Tired feet and knees.&#xD;&#xA; - Varicose Veins&#xD;&#xA; - Awkward for client visits (particularly if they're shorter/taller than you)&#xD;&#xA; - Your co-workers may, or may not, look at you funny.&#xD;&#xA;&#xD;&#xA;**Meh:**&#xD;&#xA;&#xD;&#xA; - Posture, posture, posture.  Can't get around the problem of posture.  Just as important as when sitting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Standing Desk Manufacturers:**&#xD;&#xA;&#xD;&#xA; - [Ergotron][7]&#xD;&#xA; - [Anthro][8]&#xD;&#xA; - [Geek Desk][9]&#xD;&#xA; - [Standupdesks.com][10] (fancy pants)&#xD;&#xA; - [CUZZI][11]&#xD;&#xA;&#xD;&#xA;**Build Your Own:**&#xD;&#xA;&#xD;&#xA; - [Ikea Hackers Expedit Standing Desk][12]&#xD;&#xA; - [notebooks.com DIY Standing Desk][13]&#xD;&#xA; - [Mandogmachine.com DIY Standing Desk][14]&#xD;&#xA; - [IKEA Hackers Gallant Standing Desk][15]&#xD;&#xA; - [Gigaom.com How To Build a Standing Desk][16]&#xD;&#xA;&#xD;&#xA;**Reference photos:**&#xD;&#xA;&#xD;&#xA;![standing desk measurements][17]&#xD;&#xA;![alt text][18]&#xD;&#xA;![alt text][19]&#xD;&#xA;![alt text][20]&#xD;&#xA;![alt text][21]&#xD;&#xA;![alt text][22]&#xD;&#xA;![alt text][23]&#xD;&#xA;![alt text][24]&#xD;&#xA;![alt text][25]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;P.S. Feel free to suggest any other photos/manufacturers you come across.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hermanmiller.com/Products/Aeron-Chairs&#xD;&#xA;  [2]: http://smarterware.org/7102/how-and-why-i-switched-to-a-standing-desk&#xD;&#xA;  [3]: http://lifehacker.com/5798791/calculate-how-many-calories-you-can-burn-if-you-switch-to-a-standing-desk&#xD;&#xA;  [4]: http://www.boingboing.net/2011/05/17/standing-desk-jockey.html&#xD;&#xA;  [5]: http://www.nytimes.com/2010/04/22/technology/personaltech/22basics.html&#xD;&#xA;  [6]: http://socialsounddesign.com/questions/357/best-use-of-ergonomics-in-an-pro-tools-editing-environment&#xD;&#xA;  [7]: http://www.ergotron.com/Products/Workstations/tabid/562/Default.aspx&#xD;&#xA;  [8]: http://www.anthro.com/furniture.aspx?computer-cart=elevate&amp;gclid=CIHP_uqDzKgCFUOo4AodOWuZpQ&#xD;&#xA;  [9]: http://www.geekdesk.com/default.asp?contentID=613&#xD;&#xA;  [10]: http://www.standupdesks.com//executive_desk.shtml&#xD;&#xA;  [11]: http://www.amazon.com/CUZZI-S-2445-Stand-up-Computer-Desktop/dp/B003FJQFJ8/ref=sr_1_2?s=home-garden&amp;ie=UTF8&amp;qid=1306129076&amp;sr=1-2&#xD;&#xA;  [12]: http://www.ikeahackers.net/2011/04/expedit-standing-desk.html&#xD;&#xA;  [13]: http://notebooks.com/2010/08/26/diy-stand-up-desk/&#xD;&#xA;  [14]: http://mandogmachine.com/2011/05/diy-standing-desk/&#xD;&#xA;  [15]: http://www.ikeahackers.net/2011/02/gallant-standing-desk.html&#xD;&#xA;  [16]: http://gigaom.com/collaboration/how-to-build-a-standing-desk/&#xD;&#xA;  [17]: http://notebooks.com/wp-content/uploads/2011/05/Standing-Desk-Measurments.png&#xD;&#xA;  [18]: http://www.nathanlively.com/wp-content/uploads/2011/05/IMG_1662.jpg&#xD;&#xA;  [19]: http://studio.jory.org/pics/studio_control_room_5668_lg.png&#xD;&#xA;  [20]: http://notebooks.com/wp-content/uploads/2011/05/Ikea-Stand-Up-Desk.jpeg&#xD;&#xA;  [21]: http://notebooks.com/wp-content/uploads/2011/05/3956074180_f79f70075c_z.jpg&#xD;&#xA;  [22]: http://notebooks.com/wp-content/uploads/2011/05/DIY-Standing-desk-2.jpg&#xD;&#xA;  [23]: http://notebooks.com/wp-content/uploads/2011/05/stand-up-desk-shelf-wall-mount.jpg&#xD;&#xA;  [24]: http://1.bp.blogspot.com/-6pWbeXdd9WQ/TcOtAhDh8_I/AAAAAAAAOwo/LCAYJ28-glQ/s1600/effektiv-standing-desk-741876.jpg&#xD;&#xA;  [25]: http://1.bp.blogspot.com/_XGRz6uWGK3I/TVG1_8ZqyfI/AAAAAAAAMwQ/HrcJypCi6Ww/s1600/IMG_0244-738987.JPG" ContentLicense="CC BY-SA 3.0" />
  <row Id="13685" PostHistoryTypeId="2" PostId="8147" RevisionGUID="a0c26066-d3d3-4064-8020-8b775fec9737" CreationDate="2011-05-23T05:52:58.157" UserId="693" Text="I really like that natural oak modular Ikea looking setup in the 4th pic from the top.&#xD;&#xA;&#xD;&#xA;Yeah, I'd personally advise that you should have an alternating scenario. Likely best to have a tall stool for some sitting on occasion like @Shaun Farley has suggested.&#xD;&#xA;&#xD;&#xA;One idea is that you can put your Office/Internet workstation in a standing setup and keep your DAW as a sitting setup. That way you are going back and forth, but also since you're standing to do emails, browsing and etc it's more likely that you'll spend less time doing it. That way you won't have to modify your audio rig in any extreme way (especially in case it ends up that you're not happy working standing up). It'll be much easier to create a standing office setup. You won't have to worry about re-treating your room acoustics either. Oh, and you'll still have a sitting scenario in case you're hung-over or not feeling well and prefer to sit for the day.&#xD;&#xA;&#xD;&#xA;Good luck and post some pics when/if you decide to try this out!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13686" PostHistoryTypeId="2" PostId="8148" RevisionGUID="eecfa11e-9ab6-4954-ac27-3d361399b144" CreationDate="2011-05-23T06:13:05.137" UserId="348" Text="Maybe try to put out a message on some of the well known audio rental sites that also sell stuff on commission. ie www.locationsound.com Also, maybe try to communicate like you are doing now with other industry pro's on blogs like this and you might get lucky. I truly understand what it means to have a favorite piece of gear get broken or go missing because of other peoples irresponsibility. I used to know of a guy who hoarded pieces of gear in Montreal (cables, camera accessories, studio bits and bobs etc.) Unfortunately I have lost touch with him but a number of years ago, he was the go to guy if you needed something. I am sure there are others out there like him. &#xD;&#xA;&#xD;&#xA;Good luck.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="13687" PostHistoryTypeId="5" PostId="8133" RevisionGUID="41d4b86b-98c7-4354-9d9d-5b604146a4a7" CreationDate="2011-05-23T06:30:44.387" UserId="845" Comment="added 51 characters in body" Text="Hey Team Rocket,&#xD;&#xA;&#xD;&#xA;I, like the rest of us, spend a lot of time sitting.  8 hours at work, an hour to work on the bus, and an hour back.  Plus at least 2 or 3 when I get home, working on personal projects various and sundry.  Basically the entire day.&#xD;&#xA;&#xD;&#xA;It never used to bother me all that much, but I seem to have reached the point where I'm starting to feel really stiff and achy.  Plus, to be frank, by the end of the day my ass hurts something terrible.&#xD;&#xA;&#xD;&#xA;I've done a fair bit of reading about sitting apparati, especially the [Herman Miller Aeron][1].  Now, I'm sure it really is a snazzy bugger of a chair, but I just don't have umpteen bazillion dollars to spend on a new place to put my bum.  I know it's worth it, since I spend so much time in it, but it's hard to wrap the head around paying that much for a *chair*.&#xD;&#xA;&#xD;&#xA;There must be a better way!&#xD;&#xA;&#xD;&#xA;Enter the question:&#xD;&#xA;&#xD;&#xA;What about a [Standing Desk][2]?&#xD;&#xA;&#xD;&#xA;Every 20 minute (it seems) [LifeHacker][3] or [BoingBoing][4] or the [New York Times][5] is ePublishing an article on how wonderful it is to stand while you work.  I have to say that while these sources' reputations all hinge on being *very* early adopters of new tech fads that may or may not have as much merit as they seem, I must say that I'm a hairs-breadth from convinced.&#xD;&#xA;&#xD;&#xA;At the same time, I'm dubious.  I all too vividly remember the abject misery of being 16 and working 8 consecutive hours behind a retail desk and movie theatre concession stand.  Ignoring the fact that I was also allowed neither to eat nor drink while in view of the public (sometimes 4+ hours at a stretch), I remember it being extremely tiring for my knees and lower-back.&#xD;&#xA;&#xD;&#xA;I know there are [at least a few of you][6] who are already doing it standing, so, I thought it might be fun/interesting/illuminating to compile a compendium of Pros and Cons for anyone who might be thinking of making the switch to a standing desk.&#xD;&#xA;&#xD;&#xA;Input is encouraged!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;**The List So Far**:&#xD;&#xA;&#xD;&#xA;**Pro:**&#xD;&#xA;&#xD;&#xA; - Reduced pressure on lower back.&#xD;&#xA; - Increased mobility.&#xD;&#xA; - Calorie Burn.&#xD;&#xA; - Increased concentration.&#xD;&#xA; - No need to get up to pace around importantly while talking on the phone.&#xD;&#xA;&#xD;&#xA;**Con:** &#xD;&#xA;&#xD;&#xA; - Tired feet and knees.&#xD;&#xA; - Varicose Veins&#xD;&#xA; - Awkward for client visits (particularly if they're shorter/taller than you)&#xD;&#xA; - Your co-workers may, or may not, look at you funny.&#xD;&#xA; - Re-calibration of room acoustics (possibly).&#xD;&#xA;&#xD;&#xA;**Meh:**&#xD;&#xA;&#xD;&#xA; - Posture, posture, posture.  Can't get around the problem of posture.  Just as important as when sitting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Standing Desk Manufacturers:**&#xD;&#xA;&#xD;&#xA; - [Ergotron][7]&#xD;&#xA; - [Anthro][8]&#xD;&#xA; - [Geek Desk][9]&#xD;&#xA; - [Standupdesks.com][10] (fancy pants)&#xD;&#xA; - [CUZZI][11]&#xD;&#xA;&#xD;&#xA;**Build Your Own:**&#xD;&#xA;&#xD;&#xA; - [Ikea Hackers Expedit Standing Desk][12]&#xD;&#xA; - [notebooks.com DIY Standing Desk][13]&#xD;&#xA; - [Mandogmachine.com DIY Standing Desk][14]&#xD;&#xA; - [IKEA Hackers Gallant Standing Desk][15]&#xD;&#xA; - [Gigaom.com How To Build a Standing Desk][16]&#xD;&#xA;&#xD;&#xA;**Reference photos:**&#xD;&#xA;&#xD;&#xA;![standing desk measurements][17]&#xD;&#xA;![alt text][18]&#xD;&#xA;![alt text][19]&#xD;&#xA;![alt text][20]&#xD;&#xA;![alt text][21]&#xD;&#xA;![alt text][22]&#xD;&#xA;![alt text][23]&#xD;&#xA;![alt text][24]&#xD;&#xA;![alt text][25]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;P.S. Feel free to suggest any other photos/manufacturers you come across.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hermanmiller.com/Products/Aeron-Chairs&#xD;&#xA;  [2]: http://smarterware.org/7102/how-and-why-i-switched-to-a-standing-desk&#xD;&#xA;  [3]: http://lifehacker.com/5798791/calculate-how-many-calories-you-can-burn-if-you-switch-to-a-standing-desk&#xD;&#xA;  [4]: http://www.boingboing.net/2011/05/17/standing-desk-jockey.html&#xD;&#xA;  [5]: http://www.nytimes.com/2010/04/22/technology/personaltech/22basics.html&#xD;&#xA;  [6]: http://socialsounddesign.com/questions/357/best-use-of-ergonomics-in-an-pro-tools-editing-environment&#xD;&#xA;  [7]: http://www.ergotron.com/Products/Workstations/tabid/562/Default.aspx&#xD;&#xA;  [8]: http://www.anthro.com/furniture.aspx?computer-cart=elevate&amp;gclid=CIHP_uqDzKgCFUOo4AodOWuZpQ&#xD;&#xA;  [9]: http://www.geekdesk.com/default.asp?contentID=613&#xD;&#xA;  [10]: http://www.standupdesks.com//executive_desk.shtml&#xD;&#xA;  [11]: http://www.amazon.com/CUZZI-S-2445-Stand-up-Computer-Desktop/dp/B003FJQFJ8/ref=sr_1_2?s=home-garden&amp;ie=UTF8&amp;qid=1306129076&amp;sr=1-2&#xD;&#xA;  [12]: http://www.ikeahackers.net/2011/04/expedit-standing-desk.html&#xD;&#xA;  [13]: http://notebooks.com/2010/08/26/diy-stand-up-desk/&#xD;&#xA;  [14]: http://mandogmachine.com/2011/05/diy-standing-desk/&#xD;&#xA;  [15]: http://www.ikeahackers.net/2011/02/gallant-standing-desk.html&#xD;&#xA;  [16]: http://gigaom.com/collaboration/how-to-build-a-standing-desk/&#xD;&#xA;  [17]: http://notebooks.com/wp-content/uploads/2011/05/Standing-Desk-Measurments.png&#xD;&#xA;  [18]: http://www.nathanlively.com/wp-content/uploads/2011/05/IMG_1662.jpg&#xD;&#xA;  [19]: http://studio.jory.org/pics/studio_control_room_5668_lg.png&#xD;&#xA;  [20]: http://notebooks.com/wp-content/uploads/2011/05/Ikea-Stand-Up-Desk.jpeg&#xD;&#xA;  [21]: http://notebooks.com/wp-content/uploads/2011/05/3956074180_f79f70075c_z.jpg&#xD;&#xA;  [22]: http://notebooks.com/wp-content/uploads/2011/05/DIY-Standing-desk-2.jpg&#xD;&#xA;  [23]: http://notebooks.com/wp-content/uploads/2011/05/stand-up-desk-shelf-wall-mount.jpg&#xD;&#xA;  [24]: http://1.bp.blogspot.com/-6pWbeXdd9WQ/TcOtAhDh8_I/AAAAAAAAOwo/LCAYJ28-glQ/s1600/effektiv-standing-desk-741876.jpg&#xD;&#xA;  [25]: http://1.bp.blogspot.com/_XGRz6uWGK3I/TVG1_8ZqyfI/AAAAAAAAMwQ/HrcJypCi6Ww/s1600/IMG_0244-738987.JPG" ContentLicense="CC BY-SA 3.0" />
  <row Id="13688" PostHistoryTypeId="2" PostId="8149" RevisionGUID="40de2db7-c3a3-4eb0-adb8-7d182ea33271" CreationDate="2011-05-23T06:41:46.503" UserId="1090" Text="Alley cat! The cat that's always in New York backstreets or other scary urban areas.&#xD;&#xA;&#xD;&#xA;Shop door bell is also one of those sounds...&#xD;&#xA;I live in Sweden and some studios here are just plain lazy and choose whichever sample is the closest. So it turns out that every door and every shop has the same sound. &#xD;&#xA;And there is also abuse of an owl sound here in Sweden whenever we show images of dark forests there the certain &quot;hoot hoOOot&quot; and it just... well. Much like the loon. &#xD;&#xA;&#xD;&#xA;There's a great movie called &quot;in a better world&quot; or &quot;hämnden&quot; (the swedish title). The movie is danish so of course it's hyper realistic in acting and events. Everything &quot;feels real&quot; and it's a breathtaking movie, really stunned me. And it had its grip on me, I had been crying and had a real physical emotional experience of this movie and this freakin' owl just starts hooting! Why? Cause there's an image of a forest with a lake nearby. GAH&#xD;&#xA;&#xD;&#xA;So even danish sound designers are lazy, it seems. Actually the sound of that movie in general was quite mediocre. :/ OT: But nonetheless a fantastic movie that I greatly recommend :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13692" PostHistoryTypeId="2" PostId="8151" RevisionGUID="235bd8a5-7cce-4373-b64d-01ad97534984" CreationDate="2011-05-23T08:07:59.620" UserId="1093" Text="I know this is a little late, but you'd be CRAZY not to go with REAKTOR! Just absolutely unlimited possibilities, and with Reaktor's own &quot;recorderbox&quot;(which you can instantly record your synth improvs to AIFF files) it makes it a breeze to just experiment with different synths - even all going to the same AIFF file, just by pressing pause and changing synths!&#xD;&#xA;&#xD;&#xA;Also there are some people out there (including me) that have noise synths to share...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13694" PostHistoryTypeId="2" PostId="8153" RevisionGUID="156b60ff-4392-4408-b0c5-b4d9f8ca23c6" CreationDate="2011-05-23T08:44:52.857" UserId="693" Text="+1 from me on Reaktor and/or starting a modular system like @Tim Prebble suggested.&#xD;&#xA;&#xD;&#xA;Starting on a modular, since it's a hands on and very visual and instantaneous experience will help you wrap your head around signal flow, signal processing and synth design much better and it would be a solid intro for something like Reaktor. If you go with Reaktor right now, then you can get ensembles made by other people until you learn how to make them yourself." ContentLicense="CC BY-SA 3.0" />
  <row Id="13697" PostHistoryTypeId="2" PostId="8154" RevisionGUID="e7c1a353-4ca0-4af1-86ba-b1e4803153fb" CreationDate="2011-05-23T11:04:25.433" UserId="1077" Text="It is a part of the Hollywood Edge Premiere Edition sound effects library." ContentLicense="CC BY-SA 3.0" />
  <row Id="13699" PostHistoryTypeId="2" PostId="8155" RevisionGUID="cc4a2b75-21ad-4b58-b6d2-61998b51dec3" CreationDate="2011-05-23T12:06:28.850" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;I just played around with the Intrasone HFI 450 headphones and found them to be quite amazing for the price. Very comfortable, good frequency response on voice and field sounds. Their durability seems to be good and overall I am quite impressed. Has anyone had any experiences with them? I want my students, who are all quite money strapped (this being South Africa), to acquire their own headphones and the Intrasone's are excellent for the price. Would love to hear back from those who have used them. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13700" PostHistoryTypeId="1" PostId="8155" RevisionGUID="cc4a2b75-21ad-4b58-b6d2-61998b51dec3" CreationDate="2011-05-23T12:06:28.850" UserId="348" Text="The Ultrasone HFI 450 Headphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="13701" PostHistoryTypeId="3" PostId="8155" RevisionGUID="cc4a2b75-21ad-4b58-b6d2-61998b51dec3" CreationDate="2011-05-23T12:06:28.850" UserId="348" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13702" PostHistoryTypeId="2" PostId="8156" RevisionGUID="c1d47da9-ac08-4358-9a40-79ee4732c4ba" CreationDate="2011-05-23T13:32:57.507" UserId="693" Text="I've mentioned it here before in a headphone thread, but I'll say it again just because of how much I love mine. &#xD;&#xA;&#xD;&#xA;I've had my Ultrasone's for close to 7yrs and they're hands down one of the best gear investments I've ever made. They're a bit of a pricey investment initially, but worth every penny and if you have them for as long as I have then at $350us that comes down to .13cents a day for 7 years. Not bad in my opinion.&#xD;&#xA;&#xD;&#xA;I'd suggest going for the Pro-Line models if for any reason, simply for the added feature of the detatchable cable considering that's usually the #1 way headphones break (well, at least for me it usually is)." ContentLicense="CC BY-SA 3.0" />
  <row Id="13703" PostHistoryTypeId="2" PostId="8157" RevisionGUID="e9a9cf15-7e90-4212-8cc6-fb377b1a0902" CreationDate="2011-05-23T14:19:57.310" UserId="220" Text="Give yourself the option of doing BOTH!&#xD;&#xA;&#xD;&#xA;At work we use these:  [Height Adjustable Desks][1].  They are excellent.. as long as you have the cable length, you can quickly go from sitting to standing in a few seconds.  &#xD;&#xA;&#xD;&#xA;A lot of folks use the tall type desk chairs and just sit and stand alternately while keeping their desk higher.  I get up and walk once an hour, so I never have sore-ass syndrome, but I can see if you're locked down how it can be a pain.  &#xD;&#xA;&#xD;&#xA;I also really like [kneeling chairs][2].  It changes your posture nicely and is good if you have any back problems.  Another option is an exercise ball.  Great for the butt, forces an upright posture, and you can do some crunches if you take a little break.  I think you can still keep a lower desk and explore some better chair options like beanbags or pillow chairs.  If you don't have to have a formal professional looking setup, you can do something alternative.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.anthro.com/furniture.aspx?computer-cart=elevate&#xD;&#xA;  [2]: http://www.amazon.com/Kneeling-Office-Chair-Frame-Fabric/dp/B000TMFSQK" ContentLicense="CC BY-SA 3.0" />
  <row Id="13704" PostHistoryTypeId="2" PostId="8158" RevisionGUID="d6844bff-6dca-4608-91d5-36e0f56a3c7f" CreationDate="2011-05-23T15:50:32.777" UserId="1056" Text="Hi there!&#xD;&#xA;&#xD;&#xA;I have used Ultrasone headphones quite extensively and have no hesitation in recommending them.  I also agree with Syndicate Synthetique that the PRO line is the way to go, if at all possible.&#xD;&#xA;&#xD;&#xA;All Ultrasone headphones offer the benefit of decentralised drivers, which effectively means they are directed at the pinna and not directly down the ear canal, resulting in a more natural sound and also reducing SPL on the ear drum by up to 40%.  All the models I have used in the H-Fi and PRO ranges exert less pressure and offer higher comfort levels than most other closed-back headphones on the market.  This makes a huge difference when you are spending more than 8 hours a day wearing them.  I remember my old Beyerdynamic DT100s in comparison - I used to call them the vice grips - I had to take regular breaks or I would be assured of a migraine before the end of the day. &#xD;&#xA;&#xD;&#xA;The PRO models, in particular, are ideal for studio monitoring purposes, as they are very neutral.  The H-Fi range tends to be slightly hyped in the bottoms and tops.  The PROs are also more robust and have detachable cables, as already mentioned. In fact, they have been designed to be easy to service so, in the long term, they are fantastic value.&#xD;&#xA;&#xD;&#xA;What sort of pricing have you found the H-Fi 450s? I am also in South Africa and may be able to get you a good price on some PRO 550s.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13705" PostHistoryTypeId="2" PostId="8159" RevisionGUID="01a0f7cb-ba1f-4cdc-b280-fb49264e7e6e" CreationDate="2011-05-23T16:20:57.967" UserId="608" Text="What are your favourite long form pieces of sound design in film?&#xD;&#xA;&#xD;&#xA;I'm doing a little research into a project where I'd need to make up 50 minutes of film with exciting/interesting sound for a performance piece.&#xD;&#xA;&#xD;&#xA;I guess they could even be silent movies that have the potential for great sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="13706" PostHistoryTypeId="1" PostId="8159" RevisionGUID="01a0f7cb-ba1f-4cdc-b280-fb49264e7e6e" CreationDate="2011-05-23T16:20:57.967" UserId="608" Text="Films with extended moments of great sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="13707" PostHistoryTypeId="3" PostId="8159" RevisionGUID="01a0f7cb-ba1f-4cdc-b280-fb49264e7e6e" CreationDate="2011-05-23T16:20:57.967" UserId="608" Text="&lt;film&gt;&lt;foley&gt;&lt;design&gt;&lt;cinema&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13708" PostHistoryTypeId="2" PostId="8160" RevisionGUID="8aa36a93-1253-4f5a-8d77-8ad872b71159" CreationDate="2011-05-23T17:03:59.353" UserId="338" Text="I really don't know what I would do without Reaktor.  Probably Metasynth if I could find someone to buy my Komplete Package.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13709" PostHistoryTypeId="2" PostId="8161" RevisionGUID="9e219928-74e6-4a46-b668-fb8d4ec02bfd" CreationDate="2011-05-23T17:37:06.307" UserId="400" Text="I don't know if this really counts but it was the first thing that sprang to mind...&#xD;&#xA;&#xD;&#xA;I love the scene in Layer Cake leading up to Jimmy's death. The music is perfectly chosen to mirror the tension going on in the lead character's mind, a big part of which is down to an offbeat, repeating beep. I think there's a distinct lack of actual sound effects too, hard to remember though, it's been ages since I've seen it." ContentLicense="CC BY-SA 3.0" />
  <row Id="13710" PostHistoryTypeId="2" PostId="8162" RevisionGUID="7661c02d-3b1c-484e-9961-ba4adb1fd173" CreationDate="2011-05-23T17:54:43.953" UserId="18" Text="Here are a few&#xD;&#xA;&#xD;&#xA;The beginning of Once Upon a Time in the West:&#xD;&#xA;&#xD;&#xA;http://youtu.be/VDUbBMe1Nbg&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The D-Day scene in Saving Private Ryan:&#xD;&#xA;&#xD;&#xA;http://youtu.be/gZgKo46X8CI&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The opening scene in Quantum of Solace:&#xD;&#xA;&#xD;&#xA;http://youtu.be/yfYC_CBNtiM" ContentLicense="CC BY-SA 3.0" />
  <row Id="13711" PostHistoryTypeId="2" PostId="8163" RevisionGUID="d46b41b9-ec38-4c8f-a044-dbc77b3fd9fa" CreationDate="2011-05-23T18:19:59.197" UserId="238" Text="If I remember correctly, something like the last 18 minutes of *Alien* has no dialogue, just ambiances, sfx and a bit of music. It's just Sigourney Weaver running around the spaceship trying to avoid the alien. The film in general is a fantastic example of how careful sound design can evoke strong emotional feelings (in this case, feelings such as fear and isolation). But the last 18 mins or so particularly relies on the soundtrack to dictate the feelings of the audience. &#xD;&#xA;&#xD;&#xA;You may also want to look at animations. *Wall-E* is one that immediately jumps to mind. Again, no dialogue.&#xD;&#xA;&#xD;&#xA;I'm also a huge fan of Aviv Aldema's work on *Waltz With Bashir*." ContentLicense="CC BY-SA 3.0" />
  <row Id="13712" PostHistoryTypeId="2" PostId="8164" RevisionGUID="d5abf92d-5140-4a12-8c72-754949aecab1" CreationDate="2011-05-23T18:44:19.053" UserId="1044" Text="**Contact**...When Jodie Fosters character goes through the wormhole near the end of the movie. &#xD;&#xA;&#xD;&#xA;Here's a great, in-depth article/interview from Randy Thom on doing the sound design for contact:&#xD;&#xA;&#xD;&#xA;http://filmsound.org/randythom/contact.htm&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13713" PostHistoryTypeId="5" PostId="3431" RevisionGUID="48f9bc05-c3da-41d8-afff-b85767c6f552" CreationDate="2011-05-23T19:55:30.747" UserId="61" Comment="Reword" Text="As expressed above, getting some of these folks on the phone is going to prove difficult - and possibly even detrimental to your future career. (If somebody cold-called me in the middle of a tight schedule I'd be less inclined to take time out to chat, plus I'd want to know how they got my number.) That being said, I've had a number of people contact me through reliable channels that have led to productive conversations, visits and even job offers.&#xD;&#xA;&#xD;&#xA;Regarding notable sound designers: I think you'll find SSD to be a wealth of knowledge, not only in how people approach sound design but also as a who's-who in the business. Many of the contributors are well-established sound designers for film, television, games, etc. And of course there are the more well-known who have published interviews and Q&amp;As all over the place: Ben Burtt, Gary Rydstrom, Harry Cohen, Christopher Boyes, Glenn Freemantle, Richard King, etc. Look up any of those names on [imdb.com][1] if you're unsure of who they are.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13714" PostHistoryTypeId="2" PostId="8165" RevisionGUID="d6541fab-5a05-42a9-8a07-23f0c0a64796" CreationDate="2011-05-23T20:13:23.073" UserId="845" Text="The smashing is probably already done... but whatever.&#xD;&#xA;&#xD;&#xA;On top of the contact, 57, and pencil, I'd include something with a large diaphragm mounted near the overhead light.  Close micing stuff is great for details, but for thumps and whumps I like to leave a bit of space to let the sound breathe, give the lower stuff the chance to propagate and interact with surroundings.  There're all kinds of super long wavelength sub-sonic frequencies going on when you're doing that kind of smashing, especially in a quasi-airtight space like that.  You wanna let them have their effect on the audible things." ContentLicense="CC BY-SA 3.0" />
  <row Id="13715" PostHistoryTypeId="2" PostId="8166" RevisionGUID="5ccad2ad-3014-472f-a18e-eb33473bdbe4" CreationDate="2011-05-23T20:41:41.703" UserId="845" Text="In the last 24 hours I've had a couple of really affecting soundless sound experiences.  I'm talking sounds you *feel* in your guts.  Like when you stand on the top floor of a really tall building on a windy day and you can feel it swaying, but everything *looks* fine out the window.&#xD;&#xA;&#xD;&#xA;1:  I was in the Indigo (= the Canadian Walmart of books) at the Eaton Center a couple of hours ago.  The store is up at the top of the mall and has floor to ceiling glass windows that face out over thousands of people making noise.  &#xD;&#xA;&#xD;&#xA;I was sitting on the floor at the end of one of the rows and I suddenly noticed that I was starting to get a headache.  But it wasn't a normal kind of temple-pounding too much coffee/booze headache, it was more at the base of my skull.  Almost as if my neck was tired of holding up my head.  It's the kind I get when I listen to most house music, i.e. too much low end.  Anyway, after a couple minutes of &quot;listening&quot; I realized that it was probably a combination of escalator rumble and the noise on the other side of the window exciting the natural resonance of the gigantic windows I was sitting next to.  A couple minutes more and I started to feel sick and had to leave.  &#xD;&#xA;&#xD;&#xA;It was bizzarre.  I couldn't hear anything unusual, but I could feel the insides of my body vibrating extremely slowly.  Big waves of back and forth.&#xD;&#xA;&#xD;&#xA;2:  Earlier in the day I bought a coffee from a shop near my house.  It had one of those 2-year-old kid sippy cup lids on it.  I was walking around for a while, sipping away, when I dropped my cup-hand down to my side; holding the cup around the rim with the tips of my fingers.  As I swung my arm forward and backward I found that if I held it just the right way I could get the air flowing past it to play the cup and make it resonate.  &#xD;&#xA;&#xD;&#xA;But!  I couldn't hear it.  I could *feel* it on the palm of my hand in the little airpocket created by my inverted and cupped  hand.  The weirdest part is that that feeling felt like I was hearing it, if you take my meaning.  It was almost as if my skin had ears.&#xD;&#xA;&#xD;&#xA;This is probably really weird, I know. It's an idea I heard about a while ago (and kind of dismissed), but having such visceral experience with it I must say that I'm intruiged.&#xD;&#xA;&#xD;&#xA;It got me thinking...&#xD;&#xA;&#xD;&#xA;Do any of you guys make use of these sub-sub frequencies in your work?  How would these translate to a theatre or home system with likely sub-par playback devices?&#xD;&#xA;&#xD;&#xA;I know of the deaf Xylophonist (whose name I can't remember) who &quot;hears&quot; with her entire body, but I haven't seen any work that makes specific use of it.  &#xD;&#xA;&#xD;&#xA;Have you seen any art/music that makes use of the &quot;hearing skin&quot; phenomenon?  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13716" PostHistoryTypeId="1" PostId="8166" RevisionGUID="5ccad2ad-3014-472f-a18e-eb33473bdbe4" CreationDate="2011-05-23T20:41:41.703" UserId="845" Text="Sound Minus Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="13717" PostHistoryTypeId="3" PostId="8166" RevisionGUID="5ccad2ad-3014-472f-a18e-eb33473bdbe4" CreationDate="2011-05-23T20:41:41.703" UserId="845" Text="&lt;hearing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13718" PostHistoryTypeId="2" PostId="8167" RevisionGUID="b9216f7e-474f-42e4-bea9-f188e985e984" CreationDate="2011-05-23T20:49:49.323" UserId="558" Text="I absolutely LOVE the sequence in &quot;Children Of Men&quot; when the hero is forced to approach and then enter a building at which there is a fire-fight going on.  He has no weapon, and his sense of vulnerability is palpable.  The 'music' is more sound design than score.  There is almost no dialog.  Its gorgeous.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13719" PostHistoryTypeId="2" PostId="8168" RevisionGUID="8638fb29-131f-478b-9b15-b9b5743c5520" CreationDate="2011-05-23T20:55:13.130" UserId="1094" Text="Big +1 on &quot;Children of Men&quot; The sequence is towards the end of the film and it is also worth noting that the whole sequence is an extended tracking shot, no edits whatsoever. Superdramatic!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13720" PostHistoryTypeId="2" PostId="8169" RevisionGUID="62503b08-44b6-44d5-b869-2081af614122" CreationDate="2011-05-23T20:56:40.760" UserId="558" Text="A few years ago I went thru some heavy back issues that required phys therapy.  I dont do the exercises that cured me anymore (shame on my lazy self), but i still do 1 thing that is easy and even enjoyable.  I replace my chair for about an hour a day with one of those giant exercise balls (65-75 cm).  &#xD;&#xA;&#xD;&#xA;It helps build core strength (which is critical for back health), and it doesnt take any time out of the day.  They cost about 20$, and its kinda fun if you can deal with people making fun of you at work.  There are a bunch of at-work excercises you can do with it as well.&#xD;&#xA;&#xD;&#xA;dr" ContentLicense="CC BY-SA 3.0" />
  <row Id="13721" PostHistoryTypeId="2" PostId="8170" RevisionGUID="b3b840b3-2592-4ecf-9610-c7a9e7b5bea0" CreationDate="2011-05-23T22:22:12.147" UserId="194" Text="house of flying daggers beauty dance scene&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=EQbZ7GVzN60&#xD;&#xA;&#xD;&#xA;I'd also say almost all of No Country for Old Men&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13722" PostHistoryTypeId="5" PostId="8170" RevisionGUID="aeefa3da-a8c6-4bac-815b-f4f2fd747d2a" CreationDate="2011-05-23T22:30:29.830" UserId="194" Comment="deleted 2 characters in body" Text="house of flying daggers drum dance scene&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=2NVpK8Vh_h8&#xD;&#xA;&#xD;&#xA;I'd also say almost all of No Country for Old Men&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13723" PostHistoryTypeId="2" PostId="8171" RevisionGUID="a6f07ac9-f2f2-4b8e-8aa8-cce54fef81f5" CreationDate="2011-05-23T22:50:22.083" UserId="234" Text="Apparently, the guys who did the sound design for Alien 3, brought in big subs to some of the preview screening to reproduce some super lows, which resulted in folks getting uncomfortable and leaving.&#xD;&#xA;&#xD;&#xA;More recently, I saw &quot;Tron Legacy&quot; in IMAX 3D and the sound of the first Reco as it goes overhead actually made me &quot;stunned&quot; for a second - the combo of low frequency's and the cool distortion it makes. I thought at first it might have just been the volume in the IMAX, but it has the same effect on Blu-Ray.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13724" PostHistoryTypeId="2" PostId="8172" RevisionGUID="f7b85b72-142f-4f99-9980-75cc3939f893" CreationDate="2011-05-23T23:20:22.003" UserId="1044" Text="What would you ask Walter Murch if you had a chance? But just one question! Look forward to seeing some answers :)&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13725" PostHistoryTypeId="1" PostId="8172" RevisionGUID="f7b85b72-142f-4f99-9980-75cc3939f893" CreationDate="2011-05-23T23:20:22.003" UserId="1044" Text="If you could ask Walter Murch one question (or piece of advice), what would it be?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13726" PostHistoryTypeId="3" PostId="8172" RevisionGUID="f7b85b72-142f-4f99-9980-75cc3939f893" CreationDate="2011-05-23T23:20:22.003" UserId="1044" Text="&lt;sound-design&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13727" PostHistoryTypeId="2" PostId="8173" RevisionGUID="1a3e028f-dad9-430a-9d1d-453dd6e118f0" CreationDate="2011-05-24T01:24:04.040" UserId="845" Text="What is the best mistake you ever made?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13728" PostHistoryTypeId="2" PostId="8174" RevisionGUID="49b3c19e-d2d7-46e1-b0a1-54f8abad66ba" CreationDate="2011-05-24T01:33:16.203" UserId="18160" Text="Can you apprentice me for 2 years on video editing and sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13732" PostHistoryTypeId="2" PostId="8176" RevisionGUID="4dabbd03-3b82-435b-a16e-a4c5499cbffe" CreationDate="2011-05-24T02:53:37.567" UserId="1045" Text="One question? That's all I get?&#xD;&#xA;&#xD;&#xA;Would you edit my next film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13733" PostHistoryTypeId="2" PostId="8177" RevisionGUID="399c1ddf-7db6-4502-a778-fc62c57c64a9" CreationDate="2011-05-24T03:06:09.780" UserId="1095" Text="Huge portions of 2001 contain no dialogue.  Lots of the eva sequences built and held tension with nothing but breath noise and some subtle atonal music.  &#xD;&#xA;&#xD;&#xA;The entire end sequence of the movie after he enters the monolith is all sound design as well. That sequence can teach the importance of silence as a design element as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="13734" PostHistoryTypeId="2" PostId="8178" RevisionGUID="1c6ee146-8e5a-42d8-b423-e48840eed63b" CreationDate="2011-05-24T03:15:58.080" UserId="1095" Text="I work a bunch with the Hollywood Edge libraries, so I catch a lot of these.&#xD;&#xA;&quot;cute child giggle&quot; gets to me, as does the &quot;red tailed hawk screech&quot;&#xD;&#xA;&#xD;&#xA;One that really bothered me, however, was throughout the BBC show &quot;Robin Hood&quot; they used the SAME horse whinny sample EVERY TIME A HORSE WAS IN FRAME!&#xD;&#xA;&#xD;&#xA;It was as if every horse in England sounded exactly the same." ContentLicense="CC BY-SA 3.0" />
  <row Id="13735" PostHistoryTypeId="5" PostId="8133" RevisionGUID="a381c67d-5f6b-4ef9-94ec-78d92ffa7d98" CreationDate="2011-05-24T04:46:31.707" UserId="845" Comment="Added photo of my own setup." Text="Hey Team Rocket,&#xD;&#xA;&#xD;&#xA;I, like the rest of us, spend a lot of time sitting.  8 hours at work, an hour to work on the bus, and an hour back.  Plus at least 2 or 3 when I get home, working on personal projects various and sundry.  Basically the entire day.&#xD;&#xA;&#xD;&#xA;It never used to bother me all that much, but I seem to have reached the point where I'm starting to feel really stiff and achy.  Plus, to be frank, by the end of the day my ass hurts something terrible.&#xD;&#xA;&#xD;&#xA;I've done a fair bit of reading about sitting apparati, especially the [Herman Miller Aeron][1].  Now, I'm sure it really is a snazzy bugger of a chair, but I just don't have umpteen bazillion dollars to spend on a new place to put my bum.  I know it's worth it, since I spend so much time in it, but it's hard to wrap the head around paying that much for a *chair*.&#xD;&#xA;&#xD;&#xA;There must be a better way!&#xD;&#xA;&#xD;&#xA;Enter the question:&#xD;&#xA;&#xD;&#xA;What about a [Standing Desk][2]?&#xD;&#xA;&#xD;&#xA;Every 20 minute (it seems) [LifeHacker][3] or [BoingBoing][4] or the [New York Times][5] is ePublishing an article on how wonderful it is to stand while you work.  I have to say that while these sources' reputations all hinge on being *very* early adopters of new tech fads that may or may not have as much merit as they seem, I must say that I'm a hairs-breadth from convinced.&#xD;&#xA;&#xD;&#xA;At the same time, I'm dubious.  I all too vividly remember the abject misery of being 16 and working 8 consecutive hours behind a retail desk and movie theatre concession stand.  Ignoring the fact that I was also allowed neither to eat nor drink while in view of the public (sometimes 4+ hours at a stretch), I remember it being extremely tiring for my knees and lower-back.&#xD;&#xA;&#xD;&#xA;I know there are [at least a few of you][6] who are already doing it standing, so, I thought it might be fun/interesting/illuminating to compile a compendium of Pros and Cons for anyone who might be thinking of making the switch to a standing desk.&#xD;&#xA;&#xD;&#xA;Input is encouraged!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;Here's my hack'n'slash version so far.  You will notice that my KRKs are actually serving as the supports for the further shelf.  Obviously I still have some work to do, But it's a start.&#xD;&#xA;&#xD;&#xA;![alt text][7]&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;**The List So Far**:&#xD;&#xA;&#xD;&#xA;**Pro:**&#xD;&#xA;&#xD;&#xA; - Reduced pressure on lower back.&#xD;&#xA; - Increased mobility.&#xD;&#xA; - Calorie Burn.&#xD;&#xA; - Increased concentration.&#xD;&#xA; - No need to get up to pace around importantly while talking on the phone.&#xD;&#xA;&#xD;&#xA;**Con:** &#xD;&#xA;&#xD;&#xA; - Tired feet and knees.&#xD;&#xA; - Varicose Veins&#xD;&#xA; - Awkward for client visits (particularly if they're shorter/taller than you)&#xD;&#xA; - Your co-workers may, or may not, look at you funny.&#xD;&#xA; - Re-calibration of room acoustics (possibly).&#xD;&#xA;&#xD;&#xA;**Meh:**&#xD;&#xA;&#xD;&#xA; - Posture, posture, posture.  Can't get around the problem of posture.  Just as important as when sitting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Standing Desk Manufacturers:**&#xD;&#xA;&#xD;&#xA; - [Ergotron][8]&#xD;&#xA; - [Anthro][9]&#xD;&#xA; - [Geek Desk][10]&#xD;&#xA; - [Standupdesks.com][11] (fancy pants)&#xD;&#xA; - [CUZZI][12]&#xD;&#xA;&#xD;&#xA;**Build Your Own:**&#xD;&#xA;&#xD;&#xA; - [Ikea Hackers Expedit Standing Desk][13]&#xD;&#xA; - [notebooks.com DIY Standing Desk][14]&#xD;&#xA; - [Mandogmachine.com DIY Standing Desk][15]&#xD;&#xA; - [IKEA Hackers Gallant Standing Desk][16]&#xD;&#xA; - [Gigaom.com How To Build a Standing Desk][17]&#xD;&#xA;&#xD;&#xA;**Reference photos:**&#xD;&#xA;&#xD;&#xA;![standing desk measurements][18]&#xD;&#xA;![alt text][19]&#xD;&#xA;![alt text][20]&#xD;&#xA;![alt text][21]&#xD;&#xA;![alt text][22]&#xD;&#xA;![alt text][23]&#xD;&#xA;![alt text][24]&#xD;&#xA;![alt text][25]&#xD;&#xA;![alt text][26]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;P.S. Feel free to suggest any other photos/manufacturers you come across.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hermanmiller.com/Products/Aeron-Chairs&#xD;&#xA;  [2]: http://smarterware.org/7102/how-and-why-i-switched-to-a-standing-desk&#xD;&#xA;  [3]: http://lifehacker.com/5798791/calculate-how-many-calories-you-can-burn-if-you-switch-to-a-standing-desk&#xD;&#xA;  [4]: http://www.boingboing.net/2011/05/17/standing-desk-jockey.html&#xD;&#xA;  [5]: http://www.nytimes.com/2010/04/22/technology/personaltech/22basics.html&#xD;&#xA;  [6]: http://socialsounddesign.com/questions/357/best-use-of-ergonomics-in-an-pro-tools-editing-environment&#xD;&#xA;  [7]: http://1.bp.blogspot.com/-a2KUuO5_if4/Tds2J3NfBXI/AAAAAAAAACo/UDzf0UvQcE8/s1600/IMG_0464.jpg&#xD;&#xA;  [8]: http://www.ergotron.com/Products/Workstations/tabid/562/Default.aspx&#xD;&#xA;  [9]: http://www.anthro.com/furniture.aspx?computer-cart=elevate&amp;gclid=CIHP_uqDzKgCFUOo4AodOWuZpQ&#xD;&#xA;  [10]: http://www.geekdesk.com/default.asp?contentID=613&#xD;&#xA;  [11]: http://www.standupdesks.com//executive_desk.shtml&#xD;&#xA;  [12]: http://www.amazon.com/CUZZI-S-2445-Stand-up-Computer-Desktop/dp/B003FJQFJ8/ref=sr_1_2?s=home-garden&amp;ie=UTF8&amp;qid=1306129076&amp;sr=1-2&#xD;&#xA;  [13]: http://www.ikeahackers.net/2011/04/expedit-standing-desk.html&#xD;&#xA;  [14]: http://notebooks.com/2010/08/26/diy-stand-up-desk/&#xD;&#xA;  [15]: http://mandogmachine.com/2011/05/diy-standing-desk/&#xD;&#xA;  [16]: http://www.ikeahackers.net/2011/02/gallant-standing-desk.html&#xD;&#xA;  [17]: http://gigaom.com/collaboration/how-to-build-a-standing-desk/&#xD;&#xA;  [18]: http://notebooks.com/wp-content/uploads/2011/05/Standing-Desk-Measurments.png&#xD;&#xA;  [19]: http://www.nathanlively.com/wp-content/uploads/2011/05/IMG_1662.jpg&#xD;&#xA;  [20]: http://studio.jory.org/pics/studio_control_room_5668_lg.png&#xD;&#xA;  [21]: http://notebooks.com/wp-content/uploads/2011/05/Ikea-Stand-Up-Desk.jpeg&#xD;&#xA;  [22]: http://notebooks.com/wp-content/uploads/2011/05/3956074180_f79f70075c_z.jpg&#xD;&#xA;  [23]: http://notebooks.com/wp-content/uploads/2011/05/DIY-Standing-desk-2.jpg&#xD;&#xA;  [24]: http://notebooks.com/wp-content/uploads/2011/05/stand-up-desk-shelf-wall-mount.jpg&#xD;&#xA;  [25]: http://1.bp.blogspot.com/-6pWbeXdd9WQ/TcOtAhDh8_I/AAAAAAAAOwo/LCAYJ28-glQ/s1600/effektiv-standing-desk-741876.jpg&#xD;&#xA;  [26]: http://1.bp.blogspot.com/_XGRz6uWGK3I/TVG1_8ZqyfI/AAAAAAAAMwQ/HrcJypCi6Ww/s1600/IMG_0244-738987.JPG" ContentLicense="CC BY-SA 3.0" />
  <row Id="13736" PostHistoryTypeId="2" PostId="8179" RevisionGUID="c7ded81e-a9d5-4274-b70f-729cb2ea4c57" CreationDate="2011-05-24T06:12:27.130" UserId="348" Text="I love the fight segments in &quot;Shoot em Up&quot;. Dramatic, energetic, full without being a wall of sound. Tarkovsky's &quot;Stalker&quot;, Foreman's &quot;Amadeus&quot;, Wing's of Desire. These are just add-on's to what other people have listed which are also incredible examples of sound design. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13737" PostHistoryTypeId="2" PostId="8180" RevisionGUID="5bf48965-bd8f-49cd-b937-652365b79e4d" CreationDate="2011-05-24T06:14:07.003" UserId="348" Text="Can I have coffee with you and just talk and talk and talk and talk........?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13738" PostHistoryTypeId="2" PostId="8181" RevisionGUID="40a03e7f-cfdb-4d45-b9dd-5758d5f224fc" CreationDate="2011-05-24T06:23:09.127" UserId="348" Text="Years ago, when I was at university, I did an experiment/exercise whereby I recorded the same street corner for 5 minutes every hour on the hour for 24 hours. The initial idea was to string a minute of each recording together into a 24 minute sound scape of a city over a 24 period. Around 3am, I started to notice a dramatic change in the sonic landscape of the city. I eventually discovered, at 4am that the quietest moment in my area of the city was around 4am. The silence only broken subtlely by the hum of the city under the roads, the buzz of electrical wires etc. It was soon broken about 10 minutes later by the chirping of birds. But it was amazing to experience, what I believe, to be the quietest moment in my town. &#xD;&#xA;&#xD;&#xA;What about your areas? Have any of you fellow SSD's ever experienced such a phenomenon? Please share.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13739" PostHistoryTypeId="1" PostId="8181" RevisionGUID="40a03e7f-cfdb-4d45-b9dd-5758d5f224fc" CreationDate="2011-05-24T06:23:09.127" UserId="348" Text="The quietest moment in your city?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13740" PostHistoryTypeId="3" PostId="8181" RevisionGUID="40a03e7f-cfdb-4d45-b9dd-5758d5f224fc" CreationDate="2011-05-24T06:23:09.127" UserId="348" Text="&lt;quietest&gt;&lt;moment&gt;&lt;in&gt;&lt;a&gt;&lt;city&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13741" PostHistoryTypeId="2" PostId="8182" RevisionGUID="b5afba02-7704-4a36-832a-a90ff62c4ae7" CreationDate="2011-05-24T06:41:48.687" UserId="88" Text="Very cool idea.&#xD;&#xA;&#xD;&#xA;In my west LA/Santa Monica neighborhood, I think it's around 3 a.m, as earlybirds seem to begin getting up and driving to work between 4 and 5.  It's serene before then, though -- little but the *very* distant rush of freeway traffic and perhaps a bird every twenty minutes or so.&#xD;&#xA;&#xD;&#xA;(Btw, the first thing I thought of upon reading your post was returning to my apartment -- back then, about 10 minutes from LAX -- on the morning of 9/11.  The lack of the usually-constant air traffic made for an eerie relative silence.)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13742" PostHistoryTypeId="2" PostId="8183" RevisionGUID="173915d5-a883-444e-805a-926d9d54b72d" CreationDate="2011-05-24T06:46:35.723" UserId="88" Text="&quot;Seeing as you apparently have more brilliant thoughts, ideas, and analogies before lunchtime than the average person has in a year, would you please join Twitter?&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13743" PostHistoryTypeId="2" PostId="8184" RevisionGUID="20d83ccc-c6c1-4949-a8ac-c86816bed4b9" CreationDate="2011-05-24T07:17:36.093" UserId="1090" Text="THX1138 is a long sweet segment of pure sound design. Hard to describe what's so good about it.. but it's totally immersive. The funny thing is that I hardly remember any images or footage, just barely, but the sound just sticks. &#xD;&#xA;&#xD;&#xA;It's George Lucas's first movie and Walter Murch did the sound design :) (or sound montages as it's stated in the title sequence, which by the way is moving in the wrong direction to get you to feel as if you're going underground... oooh)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13744" PostHistoryTypeId="2" PostId="8185" RevisionGUID="242c8bb3-216b-4607-ac91-f8e0a3310b8e" CreationDate="2011-05-24T07:38:26.413" UserId="863" Text="Nice. I love this idea, It's around the same time where I am, but even though I live about 2 and half miles from the Houses of Parliament, every hour (and half hour?) I can still hear Big Ben.&#xD;&#xA;&#xD;&#xA;What town are you in?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13745" PostHistoryTypeId="2" PostId="8186" RevisionGUID="da2ef402-b75e-4e4d-8a68-b32cc0733b5c" CreationDate="2011-05-24T07:50:23.680" UserId="261" Text="My quietest moments are around 4 - 5 AM, although because I live next to a church that chimes EVERY 15 minutes, it really isn't.&#xD;&#xA;Audio examples of the church to folllow ASAP" ContentLicense="CC BY-SA 3.0" />
  <row Id="13746" PostHistoryTypeId="2" PostId="8187" RevisionGUID="42e1ed15-fde7-4afb-a8d5-fc70680b4f7c" CreationDate="2011-05-24T08:04:58.477" UserId="348" Text="Fantastic!!! To have someone so special in your life that also shares your passions and interests on a professional as well as an emotional level is quite rare. You also must be a special kind of person to attract someone like this. Happy growing!!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13747" PostHistoryTypeId="2" PostId="8188" RevisionGUID="7c353e4b-ac5b-4d0c-bc5c-f37609c3277e" CreationDate="2011-05-24T09:23:21.343" UserId="863" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;We save our work onto a Raid drive and create the session on them too, although it seems that protools is also creating audio + fade file folders onto the main Hard Drive.&#xD;&#xA;&#xD;&#xA;Any ideas on how we can stop this? had a look and can't find anything, it's almost creating a capture/scratch like FCP, it makes stuff confusing as sometimes files which are not in the session folder on the Raid appear on the HD drive.&#xD;&#xA;&#xD;&#xA;This is on MAC.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13748" PostHistoryTypeId="1" PostId="8188" RevisionGUID="7c353e4b-ac5b-4d0c-bc5c-f37609c3277e" CreationDate="2011-05-24T09:23:21.343" UserId="863" Text="pro tools file structure" ContentLicense="CC BY-SA 3.0" />
  <row Id="13749" PostHistoryTypeId="3" PostId="8188" RevisionGUID="7c353e4b-ac5b-4d0c-bc5c-f37609c3277e" CreationDate="2011-05-24T09:23:21.343" UserId="863" Text="&lt;pro-tools&gt;&lt;filing&gt;&lt;osx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13750" PostHistoryTypeId="2" PostId="8189" RevisionGUID="7b1f9d6c-1172-4f0d-a420-a0053d5d87bf" CreationDate="2011-05-24T09:42:40.953" UserId="863" Text="My friend liases with him through email quite a bit as he is tech support for hardware he has used on a film, I've been tempted." ContentLicense="CC BY-SA 3.0" />
  <row Id="13751" PostHistoryTypeId="2" PostId="8190" RevisionGUID="81307ee8-cb99-41bd-90be-c7363fb4ff73" CreationDate="2011-05-24T09:56:21.190" UserId="63" Text="dude! can we trade places? -then wake up~!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13752" PostHistoryTypeId="2" PostId="8191" RevisionGUID="39ba11bb-0463-42eb-969b-f367b66ed565" CreationDate="2011-05-24T10:02:36.567" UserId="6420" Text="I've had a similar problem before. &#xD;&#xA;&#xD;&#xA;Have you checked your disk allocation settings? Maybe you've different tracks assigned to different hard drives causing you probs" ContentLicense="CC BY-SA 3.0" />
  <row Id="13753" PostHistoryTypeId="2" PostId="8192" RevisionGUID="5a6c93bf-55e5-428c-8cff-5fce73450b19" CreationDate="2011-05-24T10:32:20.187" UserId="608" Text="I bought the pro 650's on recommendation from Head-fi.org a few years back.&#xD;&#xA;&#xD;&#xA;I think they're great, like Bluesman69 says, very neutral, a little on the bass heavy side but comfortable to listen to for extended periods of time and detailed enough to mix, monitor, sound design, location record etc The isolation isn't too bad either and although they are still quite a big pair of cans, they don't make you look quite as dorky as a pair of Beyer DT's.&#xD;&#xA;&#xD;&#xA;There's something to be said for the way the diaphragm is directed over your ears in these cans too, theres a plate over a large diahpragm thats projects the sound over your whole ear rather than soley down your ear canal. This makes them sound a bit more open with out being open backed, I personally like that. &#xD;&#xA;&#xD;&#xA;They're made of plastic and rubber, but they have been everywhere with me for some time and stood up to a fair amount of abuse and they look like they would happily put up with alot more.&#xD;&#xA;&#xD;&#xA;See if you can find someone or somewhere to have a listen to a pair, see if YOU like them :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13754" PostHistoryTypeId="2" PostId="8193" RevisionGUID="148685ce-df35-424c-8bfe-273108f7ad3c" CreationDate="2011-05-24T11:46:34.000" UserId="786" Text="I live in Copenhagen, Denmark, and here it's around 3-4 AM, a couple of hours later in the weekends, as most clubs close at 5 AM, so the partygoers won't be quiet until around 6 AM.&#xD;&#xA;&#xD;&#xA;In the summertime there are a lot of outdoor concerts in the evenings, which are quite loud, and they carry on until midnight, so right after midnight the city gets a lot quieter." ContentLicense="CC BY-SA 3.0" />
  <row Id="13755" PostHistoryTypeId="2" PostId="8194" RevisionGUID="809f802b-0c47-472d-846b-326d86e405bc" CreationDate="2011-05-24T11:51:24.743" UserId="548" Text="I live in Helsinki. Although I'm not sure about the quietest moment of any given day, I am pretty sure that the quietest day of the year is summer solstice. Practically **everyone** goes out to their summer cabin or a friend's summer cabin and the entire city turns into a very, very quiet and deserted post-apocalyptic ghost town." ContentLicense="CC BY-SA 3.0" />
  <row Id="13756" PostHistoryTypeId="2" PostId="8195" RevisionGUID="f5452ba9-8ca7-4437-9e23-835e51708926" CreationDate="2011-05-24T11:55:36.223" UserId="863" Text="Brilliant, this was the problem looking at it. It seems importing session data from an older pro tools has mangled up defaults. (least what we think)&#xD;&#xA;&#xD;&#xA;Thank you" ContentLicense="CC BY-SA 3.0" />
  <row Id="13757" PostHistoryTypeId="2" PostId="8196" RevisionGUID="a2d4b7cd-32ad-4d1e-a73e-f9f486408842" CreationDate="2011-05-24T12:26:33.790" UserId="1090" Text="That's why I use Nuendo :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13758" PostHistoryTypeId="5" PostId="6892" RevisionGUID="b1d99407-5cc6-49ac-bd77-c4f2fb291c24" CreationDate="2011-05-24T13:13:44.680" UserId="238" Comment="added 1 characters in body" Text="Grrrrrrrrrreat!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[youtube]3b-utGn-UUI[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="13759" PostHistoryTypeId="2" PostId="8197" RevisionGUID="167bde58-5499-4244-8284-4f1fffb3fca0" CreationDate="2011-05-24T13:23:14.430" UserId="400" Text="I'd be seconding &quot;oinkaudio&quot;, can we just go for a coffee and talk for hours? I'll need to make notes... :)&#xD;&#xA;&#xD;&#xA;Seriously though, the guy is a true inspiration. Just amazing, we all owe a lot to Walter Murch!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13760" PostHistoryTypeId="2" PostId="8198" RevisionGUID="3e17a91c-6755-4156-a813-a1b24444400e" CreationDate="2011-05-24T14:33:32.147" UserId="845" Text="What was it that made your most challenging project so difficult?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13761" PostHistoryTypeId="2" PostId="8199" RevisionGUID="438e69a1-d9ad-470b-b165-0a1c6c671f91" CreationDate="2011-05-24T14:34:34.860" UserId="845" Text="If you had one film/project to do over again, which one would it be?  Why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13762" PostHistoryTypeId="2" PostId="8200" RevisionGUID="b64cad19-4bf7-453f-b4b6-691a192d0a54" CreationDate="2011-05-24T14:36:53.343" UserId="845" Text="How much of your career/work/innovation/success is the result of happenstance/luck and how much the result of hard work and dedication?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13763" PostHistoryTypeId="2" PostId="8201" RevisionGUID="3bf055d3-718d-4eb1-96ff-a16b8d7dc494" CreationDate="2011-05-24T14:50:16.253" UserId="845" Text="Throughout the rest of the production process, great care is taken to ensure that the characters portrayed on screen are meaningful, believable, and compelling; how do you think about and approach the art of sound composition with regard to those ends?  By which I mean:&#xD;&#xA;&#xD;&#xA;1) To what degree do you treat sound as an aid to the actors' portrayal of character (i.e. supporting the suspension of disbelief).&lt;br/&gt;&#xD;&#xA;2) To what degree do you consider the sound as a character unto itself.&#xD;&#xA;&#xD;&#xA;Do you ever find these two elements to be in conflict with each other?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13764" PostHistoryTypeId="2" PostId="8202" RevisionGUID="82d3c3ae-e176-4cb2-aa1e-1ce9907a744d" CreationDate="2011-05-24T14:54:42.550" UserId="845" Text="Do you find that current collaborators tend to acquiesce too easily and assume that you must be right because of the weight of your CV?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13765" PostHistoryTypeId="6" PostId="8181" RevisionGUID="6d152d47-4f4c-4476-af1d-db81989b13eb" CreationDate="2011-05-24T15:19:04.280" UserId="182" Comment="edited tags" Text="&lt;quiet&gt;&lt;city&gt;&lt;silence&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13766" PostHistoryTypeId="6" PostId="8181" RevisionGUID="06553755-b4ac-42cf-80e5-f69a85af0dd8" CreationDate="2011-05-24T15:20:37.563" UserId="182" Comment="edited tags" Text="&lt;quiet&gt;&lt;city&gt;&lt;silence&gt;&lt;time&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13767" PostHistoryTypeId="2" PostId="8203" RevisionGUID="99115d1c-35ca-4dbb-a7aa-0259983da364" CreationDate="2011-05-24T16:05:54.213" UserDisplayName="user6513" Text="This is a long stretch but I'm wondering if there are any dvds of TV shows with sound design/editing/mixing extras. Interviews or making of docus would be awesome, but even a commentary would be great too. I know film dvds have quite a number, but I'm trying to do some research on broadcast and am coming up pretty empty handed." ContentLicense="CC BY-SA 3.0" />
  <row Id="13768" PostHistoryTypeId="1" PostId="8203" RevisionGUID="99115d1c-35ca-4dbb-a7aa-0259983da364" CreationDate="2011-05-24T16:05:54.213" UserDisplayName="user6513" Text="TV Shows DVDs with Extras" ContentLicense="CC BY-SA 3.0" />
  <row Id="13769" PostHistoryTypeId="3" PostId="8203" RevisionGUID="99115d1c-35ca-4dbb-a7aa-0259983da364" CreationDate="2011-05-24T16:05:54.213" UserDisplayName="user6513" Text="&lt;dvd-release&gt;&lt;television&gt;&lt;interviews&gt;&lt;documentary&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13770" PostHistoryTypeId="2" PostId="8204" RevisionGUID="8e53b454-586f-40b7-98e0-5bff6c25317f" CreationDate="2011-05-24T16:33:43.773" UserId="558" Text="About 15 years ago in NYC it snowed about 20 inches.  Manhattan literally shut down.  No one was driving.  Very few people were outside.  As I recall the subway was closed.  On top of that the snow acted like a giant sound blanket, restricting all the normal sound reflections.  It was like an audio dream sequence.  Very beautiful.&#xD;&#xA;&#xD;&#xA;1 day later all the snow was brown and the city was back to normal mostly.&#xD;&#xA;&#xD;&#xA;dr" ContentLicense="CC BY-SA 3.0" />
  <row Id="13771" PostHistoryTypeId="2" PostId="8205" RevisionGUID="dff87aad-5efc-4565-a485-e558bae704bd" CreationDate="2011-05-24T19:02:40.857" UserId="1096" Text="How can I get my music used in T.V. and or film?&#xD;&#xA;Who do I need to contact?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13772" PostHistoryTypeId="1" PostId="8205" RevisionGUID="dff87aad-5efc-4565-a485-e558bae704bd" CreationDate="2011-05-24T19:02:40.857" UserId="1096" Text="Music for T.V. and/or Film" ContentLicense="CC BY-SA 3.0" />
  <row Id="13773" PostHistoryTypeId="3" PostId="8205" RevisionGUID="dff87aad-5efc-4565-a485-e558bae704bd" CreationDate="2011-05-24T19:02:40.857" UserId="1096" Text="&lt;music&gt;&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13774" PostHistoryTypeId="2" PostId="8206" RevisionGUID="6ab2057f-fc45-44a8-9d05-9ba41a61a31f" CreationDate="2011-05-24T19:12:29.103" UserId="469" Text="I was always taught to check the disk allocations when opening a session because you never know what has changed since you last had the session up (could have moved the session around since then).  Even though my home sessions are allocated to the same place always, the habit is so ingrained in my muscle memory that I still do it by accident." ContentLicense="CC BY-SA 3.0" />
  <row Id="13775" PostHistoryTypeId="2" PostId="8207" RevisionGUID="9da1b11d-dd7a-4135-9154-31b5f9457eee" CreationDate="2011-05-24T19:21:46.450" UserId="469" Text="audiosparx.com, sounddogs.com, etc. are ways to sell sound effects and music online.  Music Supervisors are tasked with providing choices of music to go into advertisements, television shows, or films.  I say choices because ultimately the higher ups usually have final say although a good Music Supervisor's opinion is highly respected.  &#xD;&#xA;&#xD;&#xA;Various performing arts organisations (PROs) like ASCAP and BMI are faced with the task of collecting your royalties.  Audiosparx has some really good information about the various types of licensing deals that are possible in their &quot;terms and conditions&quot; when you sign up for the site.  It is free.  Audiosparx can also help guide you through joining a PRO.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13776" PostHistoryTypeId="2" PostId="8208" RevisionGUID="797496bf-d423-49b6-a1f1-2ac9df641f7c" CreationDate="2011-05-24T19:26:20.233" UserId="469" Text="In Children of Men, did anyone notice that in that last scene that is all one shot a speck of blood gets on the lense and remains on it for the scene.  Apparantly that scene took months to set up and they didn't have a budget to reshoot it or remove it in post.  Check that scene out." ContentLicense="CC BY-SA 3.0" />
  <row Id="13777" PostHistoryTypeId="2" PostId="8209" RevisionGUID="6c0da1f6-4a0a-4c78-8e3f-4a1771a7560a" CreationDate="2011-05-24T19:50:47.887" UserId="1097" Text="What a coincidence that I bumped into this thread. I am planning to write a small program which will monitor the traffic noise in front of my house for a week. I'm not sure how many samples I will take every hour, but the reaction on your own experiment makes me enthusiastic.&#xD;&#xA;&#xD;&#xA;I think it can be an interesting experience to hear the city waking up and go to sleep again for 7 days in a row compressed into a relatively short soundscape  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13778" PostHistoryTypeId="2" PostId="8210" RevisionGUID="56ac8aaa-e275-41ba-92fe-2f9dccf02b40" CreationDate="2011-05-24T19:59:20.227" UserId="654" Text="Another way to prevent this is to set your system drive to &quot;Transfer&quot; status in the workspace browser - so it treats it like a CD/DVD drive and wont save anything onto it, ever." ContentLicense="CC BY-SA 3.0" />
  <row Id="13779" PostHistoryTypeId="2" PostId="8211" RevisionGUID="e90db71a-d75b-4794-9fbe-98e04f7bb76a" CreationDate="2011-05-24T20:55:55.170" UserId="1056" Text="There are quite a few DVD box sets that include interviews, &quot;making of&quot;s and commentaries, but most tend to focus on the sets, costumes, background, character development, etc - in fact, just about everything except the sound!&#xD;&#xA;&#xD;&#xA;There are a few that come to mind as standing out (to me, at least) from the rest:&#xD;&#xA;&#xD;&#xA; 1. Firefly - includes an interesting &quot;making of&quot;&#xD;&#xA; 2. Fringe (Season 1) - contains some nice background and clever extras&#xD;&#xA; 3. Lie To Me (Season 1) - includes an informative documentary&#xD;&#xA; 4. Whitechapel  (UK mini-series) - also includes an informative documentary&#xD;&#xA; 5. ... OK, my mind just went blank (will check through my collection &amp; add more if I get a chance)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13780" PostHistoryTypeId="2" PostId="8212" RevisionGUID="9fc0beee-4295-4bbb-9047-ea752ade0c3b" CreationDate="2011-05-24T21:10:53.927" UserId="1090" Text="One of the Lost DVDs (can't remember which season... probably 1 or 2) has some extra material about sound... But it's extremely brief if I remember correctly" ContentLicense="CC BY-SA 3.0" />
  <row Id="13781" PostHistoryTypeId="2" PostId="8213" RevisionGUID="57967599-686a-4238-8c96-16865edbd871" CreationDate="2011-05-24T21:36:00.533" UserId="1090" Text="...you get mad if someone in a public space is making noises, cause you want to be able to hear the background. Like someone talking on the phone on a train... GAH&#xD;&#xA;&#xD;&#xA;...you're standing in a fully packed, insanely hot train with an H4n pointed to the speaker just to get the call of the next station, and you're still standing there with your arm in the air after 30 minutes of speaker silence&#xD;&#xA;&#xD;&#xA;...you're riding, and recording, a bike thinking your headphones will dampen the fall if you crash, but you won't crash cause that would ruin the recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="13782" PostHistoryTypeId="2" PostId="8214" RevisionGUID="6e4b8c59-6638-45d6-86e5-9342cad50e23" CreationDate="2011-05-25T01:33:53.753" UserId="1044" Text="PS3: bondjonbond&#xD;&#xA;&#xD;&#xA;Mortal Kombat baby!!!!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13783" PostHistoryTypeId="16" PostId="8214" RevisionGUID="6e4b8c59-6638-45d6-86e5-9342cad50e23" CreationDate="2011-05-25T01:33:53.753" UserId="-1" />
  <row Id="13784" PostHistoryTypeId="2" PostId="8215" RevisionGUID="d6fc7020-fa18-4765-9236-49cd7695d6d5" CreationDate="2011-05-25T01:49:46.137" UserId="423" Text="You're in a basement just outside Joplin, MO as the tornado hits and you're cursing yourself because it's THE ONE TIME you didn't bring your field recorder!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13786" PostHistoryTypeId="2" PostId="8217" RevisionGUID="30921a74-aee3-4093-a8d0-7b9f2aa5f71b" CreationDate="2011-05-25T12:15:11.880" UserId="37" Text="put a little twist on the nighttime idea: London can be surprisingly quiet at 6pm on a Friday, the further away you are from a pub. (now why you'd want to do that is a whole other topic in itself)." ContentLicense="CC BY-SA 3.0" />
  <row Id="13787" PostHistoryTypeId="2" PostId="8218" RevisionGUID="a6b68f4d-bd9e-46b8-9367-43f427539057" CreationDate="2011-05-25T12:33:51.423" UserId="6420" Text="Hi all,&#xD;&#xA;&#xD;&#xA;Hope this ok to post here, but I'm kind of desperate lol&#xD;&#xA;&#xD;&#xA;Need someone to come up with some short looping music BG (6 x 30 secs) based upon variations of a main theme tune. Its a flash based game and I've been given the main theme tune so far and they'd like some variations to play in the background of the levels. Hoping they can give me the Logic file I've been asking for asap too! But may have to work with just the mixed theme track. &#xD;&#xA;&#xD;&#xA;Some of the variations will be based on a 'wizardy' feel. So any experience of styles of that ilk would be great. I need 2 examples by Friday, and the rest can follow a week later.&#xD;&#xA;Nothing too crazy. Not after massive orchestration here.&#xD;&#xA;&#xD;&#xA;Shout me up asap if you're interested and can deliver, so we can discuss terms etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;PS I can email the theme and in game footage if you need it!&#xD;&#xA;Andy&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13788" PostHistoryTypeId="1" PostId="8218" RevisionGUID="a6b68f4d-bd9e-46b8-9367-43f427539057" CreationDate="2011-05-25T12:33:51.423" UserId="6420" Text="Help! Need someone to do some composition for a game ASAP. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13789" PostHistoryTypeId="3" PostId="8218" RevisionGUID="a6b68f4d-bd9e-46b8-9367-43f427539057" CreationDate="2011-05-25T12:33:51.423" UserId="6420" Text="&lt;work&gt;&lt;composition&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13790" PostHistoryTypeId="2" PostId="8219" RevisionGUID="504d0eda-8824-4c55-a78a-e0dd1d759bed" CreationDate="2011-05-25T12:55:23.383" UserId="1099" Text="I think Avatar has a lot of scenes without music and only with natural alien ambients." ContentLicense="CC BY-SA 3.0" />
  <row Id="13791" PostHistoryTypeId="2" PostId="8220" RevisionGUID="c6d8a3bb-3106-4d1e-be19-e4061d69e1c9" CreationDate="2011-05-25T13:36:33.743" UserId="1100" Text="Hi Andy, &#xD;&#xA;&#xD;&#xA;If you send me over the theme and game footage i will take a look at if you if you want! You can see some of my previous work on my website www.juliancole.co.uk.&#xD;&#xA;&#xD;&#xA;My email is julian@juliancole.co.uk&#xD;&#xA;&#xD;&#xA;Thanks in advance.&#xD;&#xA;&#xD;&#xA;Julian&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13795" PostHistoryTypeId="2" PostId="8222" RevisionGUID="231c4c0b-e2e9-4ffe-9feb-b7f84399acfc" CreationDate="2011-05-25T15:16:38.273" UserId="868" Text="Many cordless drills have clutch mechanisms that might give you that repeated sound you are looking for.  At lower torque settings you can grab the chuck with your hand and stop it from turning giving you that repeated impact sound.  Might be fun to experiment with a low battery as it may give you some frequency variations.  As mentioned earlier definitely record at high sf so you can pitch it to your liking. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13796" PostHistoryTypeId="2" PostId="8223" RevisionGUID="4dcb6944-42b3-4e2f-b250-182a432ed037" CreationDate="2011-05-25T15:24:47.200" UserId="893" Text="I never studied beyond high school - but I've been playing with sound on computers since computers had soundcards. And I've never worked a day in any other industry than sound - I've been at it for a decade now, and it's taken me halfway around the world.&#xD;&#xA;&#xD;&#xA;If you're passionate, committed, enthusiastic, motivated and have half a brain on you, in a field like ours, anything is possible.&#xD;&#xA;&#xD;&#xA;Approach everything with an open mind, always be prepared to learn new things (no matter how long you've been at it for, and even from those who've been doing it for less time than yourself), never be satisfied with &quot;near enough is good enough&quot;, and the world of sonically-employed-satisfaction is your oyster" ContentLicense="CC BY-SA 3.0" />
  <row Id="13797" PostHistoryTypeId="2" PostId="8224" RevisionGUID="15f21352-fa83-41e5-99d7-dab33f7c04e6" CreationDate="2011-05-25T16:24:41.193" UserId="930" Text="Good idea for a thread! I look forward to following everyone!&#xD;&#xA;&#xD;&#xA;@arrowheadaudio&#xD;&#xA;@F_Pearson&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13799" PostHistoryTypeId="2" PostId="8225" RevisionGUID="3e42c7a3-b479-4c55-9e0a-a2d1a1d09d5d" CreationDate="2011-05-25T17:16:40.063" UserId="338" Text="where did you lose your wallet last time?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13800" PostHistoryTypeId="2" PostId="8226" RevisionGUID="5cf51ff6-19b2-4601-b0e4-3b38f0cd29e8" CreationDate="2011-05-25T17:18:15.983" UserId="18160" Text="I have my opinion on when the sound of a film should fade in and the film editor has a different idea on it.&#xD;&#xA;&#xD;&#xA;The director is unavailable at the moment and I wanted to know your guys' opinion on how much I can hold my ground on it. The editor wants to have it as finished as possible before the director sees it and wants to cut off a bit of my sound, but I want my sound left as is.&#xD;&#xA;&#xD;&#xA;I've never really seen a list in order of artistic authority who's opinion should submit to who's, but as the sound designer of this piece I feel like I have the right to stand up for when I want my sounds to fade in (it's in black before the picture starts which is what the script says to do).&#xD;&#xA;&#xD;&#xA;What is your opinion?&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="13801" PostHistoryTypeId="1" PostId="8226" RevisionGUID="5cf51ff6-19b2-4601-b0e4-3b38f0cd29e8" CreationDate="2011-05-25T17:18:15.983" UserId="18160" Text="Where are editors on the chain of command?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13802" PostHistoryTypeId="3" PostId="8226" RevisionGUID="5cf51ff6-19b2-4601-b0e4-3b38f0cd29e8" CreationDate="2011-05-25T17:18:15.983" UserId="18160" Text="&lt;sound-designer&gt;&lt;opinion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13803" PostHistoryTypeId="2" PostId="8227" RevisionGUID="339cc13b-baf1-4710-a40d-bfd896c302f0" CreationDate="2011-05-25T17:18:52.247" UserId="338" Text="I wish I had a girlfriend that liked sound recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="13804" PostHistoryTypeId="2" PostId="8228" RevisionGUID="f860fae9-c400-4632-91c8-7c66d93aead1" CreationDate="2011-05-25T17:23:13.410" UserId="338" Text="the sound of silence, it always gets me good" ContentLicense="CC BY-SA 3.0" />
  <row Id="13805" PostHistoryTypeId="2" PostId="8229" RevisionGUID="db0c643e-4e9a-4a02-9730-66111e24e59f" CreationDate="2011-05-25T17:26:56.943" UserId="338" Text="IMHO it seems like editors get the say over sound pros.  &#xD;&#xA;Though diplomacy and being firm may get the win." ContentLicense="CC BY-SA 3.0" />
  <row Id="13806" PostHistoryTypeId="2" PostId="8230" RevisionGUID="cb94143f-b3a0-409c-91fb-78a8e8aa215d" CreationDate="2011-05-25T17:45:32.593" UserId="194" Text="sounds like you have a negotiation on your hands.  &#xD;&#xA;&#xD;&#xA;I'll bet that even if you **could** show the picture editor a list that shows you above him you'd still have a negotiation on your hands.&#xD;&#xA;&#xD;&#xA;I'd suggest trying to find out more about what the specific objection is that your picture editor has, and begin looking for a solution that fits what the two of you both want.  &#xD;&#xA;&#xD;&#xA;For example, if he's worried about sync and doesn't want to move the first frame of picture off of 01:00:00:00 or whatever, then maybe you two could negotiate an alt timecode location to set the slate and 2-pop at that will accommodate your earlier sound design, and also agree to have a tailpop on the end of the program to double verify sync.&#xD;&#xA;&#xD;&#xA;You may have to bend a little somewhere in order to get what you need there, and the trick is figuring out where you need to bend in order to get the deal done.&#xD;&#xA;&#xD;&#xA;Negotiate openly and in good faith and you'll be more likely to get what you want.  OTOH, if you come off as self-important or egotistical to the editor he'll go out of his way to screw you.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13807" PostHistoryTypeId="2" PostId="8231" RevisionGUID="407d3ec7-2188-4451-a543-89bf7e3d836a" CreationDate="2011-05-25T18:27:50.293" UserId="100" Text="Since creative control ultimately lies with the director, my vote would be to keep both options available for when the director shows up. I don't like to pit myself against other collaborators, especially by constructing a pecking order. While we each may think that our craft determines the genius of the project, we're all helping to tell someone else's story. Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="13808" PostHistoryTypeId="2" PostId="8232" RevisionGUID="67d4a055-37b7-42b7-a847-c0723108efcd" CreationDate="2011-05-25T18:50:27.070" UserId="285" Text="The picture editor has the advantage of sitting in a dark room with the director for weeks or months while cutting the movie and as a result normally gets as intimate and familiar with the direction and goals of the project as the director. Also because of this time spent together the directors often form a strong bond with the editors and trust them.  Having the picture editor as your friend can be a major asset down the road as recuts and changes start rolling in.  I have also landed projects based on picture editors recommendations after successfully working with them in the past.  Long story short the picture editor is normally pretty high up on the chain of command, so you don't want to start an adversarial relationship with him/her.  Your best bet is to have both options available as @Matt Cavanaugh suggests.  Or concede the change the editor wants and then during the screening bring up the reason the fade is the way it is and not as listed in the script. Then you can talk it out with all parties present.  You don't want to be going behind peoples back and starting he said/she said situations, these lead to problems long term when everyone is not pulling in the same direction.  &#xD;&#xA;&#xD;&#xA;In the end you have to pick your battles and decide if this fade is worth ruffling some feathers or not.  Sometimes it is and you have to stand your ground but you can not win every battle so pick where you take your stand wisely.  Good Luck.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13809" PostHistoryTypeId="2" PostId="8233" RevisionGUID="df91ddd5-099c-4b33-8be7-1c5a71bb09e0" CreationDate="2011-05-25T19:02:51.267" UserId="285" Text="I have been using the Rode Blimp for a while but I just picked up a new Mic (Sanken Css5) and a Rycote windscreen.  The Rycote comes with something called a &quot;Hex Head Key&quot;, anyone know what this little guy is used for?&#xD;&#xA;&#xD;&#xA;It looks like a 2 inch plastic figure eight, with one half having a hexagon shape and the other half an incomplete circle.  The Hex appears to fit the bottom of the mic stand attachment that can be used instead of the pistol grip.  But I can not figure out what the purpose is.  I am sure it is something so obvious that it is right in front of my face.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13810" PostHistoryTypeId="1" PostId="8233" RevisionGUID="df91ddd5-099c-4b33-8be7-1c5a71bb09e0" CreationDate="2011-05-25T19:02:51.267" UserId="285" Text="Rycote Hex Head Key?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13811" PostHistoryTypeId="3" PostId="8233" RevisionGUID="df91ddd5-099c-4b33-8be7-1c5a71bb09e0" CreationDate="2011-05-25T19:02:51.267" UserId="285" Text="&lt;windshield&gt;&lt;wind&gt;&lt;windscreens&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13812" PostHistoryTypeId="2" PostId="8234" RevisionGUID="0a15c7d9-4fc9-4ccf-a2a2-2ca01a52c3f6" CreationDate="2011-05-25T19:04:01.703" UserId="285" Text="Check out this thread&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/2941/hey-guys-girls-so-who-tweets-here" ContentLicense="CC BY-SA 3.0" />
  <row Id="13813" PostHistoryTypeId="2" PostId="8235" RevisionGUID="d0d3a0ad-65e2-4a32-b404-40de884977cf" CreationDate="2011-05-25T19:28:27.540" UserId="400" Text="I could be wrong, but I think it's for moving the 2 mic clip mounts closer together or further away from each other?&#xD;&#xA;&#xD;&#xA;The hex-screw is at the bottom of the circle above the silver bar the Blimp fits on to." ContentLicense="CC BY-SA 3.0" />
  <row Id="13814" PostHistoryTypeId="2" PostId="8236" RevisionGUID="4fbde1ae-1cde-4e62-a752-387530c1a616" CreationDate="2011-05-25T19:58:20.723" UserId="315" Text="The picture Editor is higher on the food chain than the Sound Supervisor or Re-Recording Mixer. That's just the reality of the film world.&#xD;&#xA;&#xD;&#xA;Offer your professional opinion, but respect his or her opinion as well. If you work well with a picture editor (which doesn't simply mean being a &quot;yes-man&quot;), they will often throw your name in the hat for the next gig. You'd be surprised what influence well-established editors have in determining the audio team. Remember they almost always get their gig before you do." ContentLicense="CC BY-SA 3.0" />
  <row Id="13815" PostHistoryTypeId="2" PostId="8237" RevisionGUID="62b8a85f-1ada-4473-a203-5c16b23fc9ba" CreationDate="2011-05-25T20:21:07.467" UserDisplayName="user80" Text="Do as the editor asks, but keep all of the original files just in case. The director never wants to act as a referee. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13816" PostHistoryTypeId="2" PostId="8238" RevisionGUID="18d2b9f7-2c0c-4dfa-84bc-c070e0ecc429" CreationDate="2011-05-25T20:22:28.967" UserDisplayName="user80" Text="Would you like an assistant?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13817" PostHistoryTypeId="2" PostId="8239" RevisionGUID="c533b6f2-3666-48b7-b427-b9b9275f4ee3" CreationDate="2011-05-25T20:35:04.487" UserDisplayName="user80" Text="Wind up walking toys are great, especially when you layer them.  You get lovely high harmonics so they cope with being pitch shifted down really well, just don't record the winding up otherwise you'll give the game away. &#xD;&#xA;&#xD;&#xA;[youtube]ZijZN1obiFk[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="13818" PostHistoryTypeId="2" PostId="8240" RevisionGUID="4efc8890-5842-44de-965e-cf17c25ed99a" CreationDate="2011-05-25T20:40:09.780" UserId="6462" Text="Twitter rocks!!&#xD;&#xA;[@sisound][1] is me.&#xD;&#xA;&#xD;&#xA;Mostly about sound but other random things do find their way into the feed. Enjoy!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://twitter.com/#/sisound" ContentLicense="CC BY-SA 3.0" />
  <row Id="13819" PostHistoryTypeId="16" PostId="8240" RevisionGUID="4efc8890-5842-44de-965e-cf17c25ed99a" CreationDate="2011-05-25T20:40:09.780" UserId="-1" />
  <row Id="13820" PostHistoryTypeId="5" PostId="8239" RevisionGUID="6af72bc6-5703-44cb-ab62-a923b10a47a8" CreationDate="2011-05-25T20:40:25.330" UserDisplayName="user80" Comment="added 64 characters in body; deleted 70 characters in body" Text="Wind up walking toys are great, especially when you layer them.  You get lovely high harmonics so they cope with being pitch shifted down really well. You can also overwind it in order to generate some extra clicks.&#xD;&#xA;&#xD;&#xA;[youtube]ZijZN1obiFk[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="13821" PostHistoryTypeId="2" PostId="8241" RevisionGUID="e350e016-eb77-453c-8151-74c778f8d822" CreationDate="2011-05-25T20:49:37.487" UserId="6462" Text="You go to a party, everyone has cameras and you bring a portable audio recorder. Everyone needs party sounds! Don't they?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13824" PostHistoryTypeId="2" PostId="8243" RevisionGUID="f17d82d2-97f2-43d7-aed6-1b473e9d3d51" CreationDate="2011-05-25T21:25:01.877" UserId="930" Text="@arrowheadaudio and @F_Pearson.&#xD;&#xA;&#xD;&#xA;Don't tweet too much at the moment (I'm pretty new to the whole thing) but am planning on getting on it soon!&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="13825" PostHistoryTypeId="16" PostId="8243" RevisionGUID="f17d82d2-97f2-43d7-aed6-1b473e9d3d51" CreationDate="2011-05-25T21:25:01.877" UserId="-1" />
  <row Id="13826" PostHistoryTypeId="2" PostId="8244" RevisionGUID="ee54f236-7a89-4afd-9624-fdad8b8d79bb" CreationDate="2011-05-25T21:36:54.420" UserId="18160" Text="I've noticed a peculiarity of the H2 in that the levels it displays on the recorder itself does not match up exactly with the levels of Pro Tools - i.e. I'll think I'm clipping on the H2 by looking at the levels alone but when I dump it into Pro Tools the audio has at least 2 or 3 more dB of headroom.&#xD;&#xA;&#xD;&#xA;Has anyone else noticed this? Is there an update or option I haven't found out about yet from the manual to switch metering methods?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13827" PostHistoryTypeId="1" PostId="8244" RevisionGUID="ee54f236-7a89-4afd-9624-fdad8b8d79bb" CreationDate="2011-05-25T21:36:54.420" UserId="18160" Text="Zoom H2 Levels Peculiarity" ContentLicense="CC BY-SA 3.0" />
  <row Id="13828" PostHistoryTypeId="3" PostId="8244" RevisionGUID="ee54f236-7a89-4afd-9624-fdad8b8d79bb" CreationDate="2011-05-25T21:36:54.420" UserId="18160" Text="&lt;zoom&gt;&lt;h2&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13829" PostHistoryTypeId="2" PostId="8245" RevisionGUID="65b7dfd3-4c5e-4767-b398-1733ba1e766e" CreationDate="2011-05-25T21:49:29.387" UserId="1101" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I just read these posts and was wondering if an AUDIO TECHNICA ATH-M50 (€166) would be a good choice for Sound Designing purposes. Our professor has been recommending the Sony MDR-7506, which has been the standard in movie-editting for quite a while, but I'm not too keen on buying something because someone else tells me to.&#xD;&#xA;&#xD;&#xA;While researching on the net, however, I found a headset called AUDIO TECHNICA ATH-M50. It has recently been acclaimed by many audiophiles in many websites, but my fear lies in the fact that these reviews might be unprofessional or even unbiased. These headphones are supposed to be monitor headphones, meaning that they shouldn't add anything to the sound reproduced (no &quot;ultra-bass&quot; so to speak), but I'm wondering if they are superior to the &quot;recommended&quot; Sony MDR-7506 ones.&#xD;&#xA;&#xD;&#xA;Please help me out you guys. I'd be very grateful." ContentLicense="CC BY-SA 3.0" />
  <row Id="13830" PostHistoryTypeId="2" PostId="8246" RevisionGUID="24bd845f-4bb9-4206-9af0-3f78fb22babf" CreationDate="2011-05-25T22:36:48.283" UserId="6435" Text="I've noticed this as well. Not sure why it is. One of these days I'll actually put tone into the thing and see what the jam is." ContentLicense="CC BY-SA 3.0" />
  <row Id="13831" PostHistoryTypeId="2" PostId="8247" RevisionGUID="46372487-2b49-4f18-bdef-e1418b024d2e" CreationDate="2011-05-25T22:47:50.560" UserId="542" Text="I think the purpose is that you can fix the end of the short XLR cable coming out of the blimp. That way it doesn't dangle around.&#xD;&#xA;&#xD;&#xA;Nevertheless I have never used that mic stand attachment, since I use the pistol grip instead. Of course it's easier to damage the thread of the pistol grip than the mic stand attachment when you mount it on a boom pole in a hurry, but I am always very cautious not to do any damage to the it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13832" PostHistoryTypeId="2" PostId="8248" RevisionGUID="82f15056-6c3f-40dc-b12e-eba948fb9944" CreationDate="2011-05-26T03:46:36.893" UserId="830" Text="Hi All,&#xD;&#xA;&#xD;&#xA;I have been looking at moving me stereo short doco films with background music to a surround experience. At the moment the design is fairly simple, interview vocals center and music as it comes from the artist (stereo). What can you guys suggest to move the music towards using a full surround experience. I am looking at subtle exposure, not over the top use of the surround stems without compromising the original quality of the music. The sound effects are more natural to mix, so I am not too fussed about them.&#xD;&#xA;&#xD;&#xA;I hope that makes sense." ContentLicense="CC BY-SA 3.0" />
  <row Id="13833" PostHistoryTypeId="1" PostId="8248" RevisionGUID="82f15056-6c3f-40dc-b12e-eba948fb9944" CreationDate="2011-05-26T03:46:36.893" UserId="830" Text="Mixing Stereo Music to Surround" ContentLicense="CC BY-SA 3.0" />
  <row Id="13834" PostHistoryTypeId="3" PostId="8248" RevisionGUID="82f15056-6c3f-40dc-b12e-eba948fb9944" CreationDate="2011-05-26T03:46:36.893" UserId="830" Text="&lt;surround-sound&gt;&lt;mixing&gt;&lt;music&gt;&lt;background&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13835" PostHistoryTypeId="2" PostId="8249" RevisionGUID="6e71de31-0911-47ec-b277-30fd7be8ade3" CreationDate="2011-05-26T03:55:00.747" UserDisplayName="user49" Text="Next to the director &amp; producer, the picture editor has likely been on the project the longest of anyone, from the start of the shoot (or previz) to the end of deliveries.... so their position &amp; creative involvement deserves respect and you would be foolhardy to try &amp; position yourself between them. Ideally you want to make them both happy. Keep the options available but do what the editor asks. If the director doesn't like it they can discuss it &amp; then try the other options. We've all suffered the 'in love with the temp track' syndrome and sometimes you just have to grin &amp; bear it...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13836" PostHistoryTypeId="2" PostId="8250" RevisionGUID="717587d9-0d4e-4a6d-a45e-a5ec1385d84e" CreationDate="2011-05-26T05:03:44.583" UserId="565" Text="In my experience the chain of command for the &quot;creative aspects of sound&quot; of the project usually follows: (this is very generalized)&#xD;&#xA;&#xD;&#xA;For larger studio films - Director, Main Executive Producer, Picture Editor, Music Composer, Sound Supervisor, Re-Recording Mixers, Sound Designer.&#xD;&#xA;&#xD;&#xA;The Director is god.&#xD;&#xA;&#xD;&#xA;For Television projects - Main Executive Producers (usually more then one, and are the creators/writers of the show), Network Execs, Show Runner/Associate Producer, Sound Supervisor, Re-recording Mixers.&#xD;&#xA;&#xD;&#xA;The Main Execs are god." ContentLicense="CC BY-SA 3.0" />
  <row Id="13837" PostHistoryTypeId="2" PostId="8251" RevisionGUID="4a9bd551-3665-4122-81fd-b23f889b2015" CreationDate="2011-05-26T05:45:22.643" UserId="100" Text="I'm needing snow foley in spring too, and ended up filling a couple of balloons with corn starch. I've been able to get a variety of different snow qualities by varying the performance. It still doesn't have a true snow sound to me, but it's clean (so far), portable, and cheap." ContentLicense="CC BY-SA 3.0" />
  <row Id="13838" PostHistoryTypeId="2" PostId="8252" RevisionGUID="ad7c03cb-6150-4a6a-af87-4f3688eb49de" CreationDate="2011-05-26T06:53:46.153" UserId="338" Text="you're on the subway and you'd wish people would be quiet so you could hear the train approaching without voices in the background" ContentLicense="CC BY-SA 3.0" />
  <row Id="13839" PostHistoryTypeId="2" PostId="8253" RevisionGUID="ff072b53-de7c-4f85-9926-636107c37196" CreationDate="2011-05-26T07:48:58.180" UserDisplayName="user80" Text="The simplest solution is to worldize sections using subtle reverb and send that to the surrounds.  You have to be careful what you send to the surrounds and how often as sounds arriving from behind the audience can often make listeners feel uncomfortable.&#xD;&#xA;&#xD;&#xA;I would leave the music as left and right and move some of the sound effects into the surrounds especially ambient sounds as this can help the audience have more of a feel for the locations." ContentLicense="CC BY-SA 3.0" />
  <row Id="13840" PostHistoryTypeId="2" PostId="8254" RevisionGUID="f2f17718-8883-446c-9de2-3f679169a6e2" CreationDate="2011-05-26T08:00:17.313" UserId="1102" Text="It depends what you're mixing in. &#xD;&#xA;&#xD;&#xA;Logic is easiest for surround panning as you just change the output to surround and you can use the planner to position your centre point and alter the stereo spread across the 5.1 field. This also works for auxiliary busses for your reverbs.  &#xD;&#xA;&#xD;&#xA;Protools is a bit more faffy - you cant adjust the centre spread of the audio - only the centre positioning so the easiest way is to create 2 reverb busses for each reverb,  Position 1 of them in the front 2 speakers and the other one in the back two.  Copy the reverb parameters between both but slightly alter the back reverbs to compensate for HRTF and that kind of thing.  Then send each track to both to create an imersive experiance,  &#xD;&#xA;&#xD;&#xA;This is best for atmos and ambience tracks and music can be altered in the same way. &#xD;&#xA;&#xD;&#xA;Hope this helps! " ContentLicense="CC BY-SA 3.0" />
  <row Id="13841" PostHistoryTypeId="2" PostId="8255" RevisionGUID="4e258916-0a24-48e8-9bcd-9c10441e1136" CreationDate="2011-05-26T08:02:30.880" UserId="1102" Text="@gglencross &#xD;&#xA;&#xD;&#xA;See you soon! &#xD;&#xA;&#xD;&#xA;Gillian " ContentLicense="CC BY-SA 3.0" />
  <row Id="13842" PostHistoryTypeId="16" PostId="8255" RevisionGUID="4e258916-0a24-48e8-9bcd-9c10441e1136" CreationDate="2011-05-26T08:02:30.880" UserId="-1" />
  <row Id="13843" PostHistoryTypeId="2" PostId="8256" RevisionGUID="df46b4e4-5af4-43f7-a1d1-6d6e7afebb34" CreationDate="2011-05-26T08:03:35.667" UserId="1102" Text="@gglencross&#xD;&#xA;&#xD;&#xA;See you there! &#xD;&#xA;&#xD;&#xA;Gillian " ContentLicense="CC BY-SA 3.0" />
  <row Id="13844" PostHistoryTypeId="2" PostId="8257" RevisionGUID="d7bbfd1b-710c-4bdc-b9aa-45ef7ea9ded0" CreationDate="2011-05-26T08:19:34.263" UserId="1102" Text="http://en.wikipedia.org/wiki/Sensurround&#xD;&#xA;&#xD;&#xA;This has been used in a few productions but the cost and speaker development in order to reproduce these frequences are very high and it was only reproduced in certain theatres.  &#xD;&#xA;&#xD;&#xA;Dont get me wrong is it possible to recreate frequencies below our hearing range - http://www.danleysoundlabs.com/tapped_horn.asp?MODEL=DTS+20&#xD;&#xA;&#xD;&#xA;And of course there will be purists that say although the accepted hearing range is 20Hz - 20kHz we can sense higher or lower harmonics which some people claim to be able to detect.  &#xD;&#xA;&#xD;&#xA;Its unlikely that you would manage to recreate these frequencies on a home hifi system and even if audio was produced like this, the amount of people that would be able to recreate/interprate or hear them would be too much hassell to make common practice. Its an intersting concept and possibly more of a psycolanalysis question than a technical posibilitis question.  &#xD;&#xA;&#xD;&#xA;hope that helps! &#xD;&#xA;&#xD;&#xA;Gillian " ContentLicense="CC BY-SA 3.0" />
  <row Id="13845" PostHistoryTypeId="2" PostId="8258" RevisionGUID="4ab97bb2-2f59-47a8-9185-248cbeace0cd" CreationDate="2011-05-26T08:27:29.077" UserId="1102" Text="I'm nearly finished my Masters Degree in Sound for the Moving Image at the Glasgow School of Art in Scotland.  I Studied Music technology for my undergrad course.  &#xD;&#xA;The Biggest piece of advice i could offer you is that altough courses give you the knowledge and to some extent practical know how - it wont guarentee you a job.  &#xD;&#xA;College will give you the understanding to know what you're talking about on set or in the studio but dont proclaim you're any sort of expert once you leave.  there is a HUUUUUGE difference between real like and college life and i think thats something that people have to recognise.  most of the people i did my undergrad with dont have jobs in the industry because they werent given a job on a plate when they left - in a sad way it is about who you know, but thats only to get your foot in the door, once you are recognised your work will speak for itself.  :) &#xD;&#xA;&#xD;&#xA;Hope that helps! " ContentLicense="CC BY-SA 3.0" />
  <row Id="13846" PostHistoryTypeId="2" PostId="8259" RevisionGUID="8df50638-9c14-47b4-9ecd-a7f586884dd3" CreationDate="2011-05-26T09:22:56.770" UserId="863" Text="mine is @edwinmatthews" ContentLicense="CC BY-SA 3.0" />
  <row Id="13847" PostHistoryTypeId="2" PostId="8260" RevisionGUID="82ed206f-55cd-4e61-a785-dd87474e0a95" CreationDate="2011-05-26T09:47:19.010" UserId="786" Text="The chain of command I am used to when I am working as Sound Supervisor in Danish films is like this:&#xD;&#xA;&#xD;&#xA;Director, Sound Supervisor, Picture Editor, Music Composer.&#xD;&#xA;&#xD;&#xA;But sometimes it is like this:&#xD;&#xA;&#xD;&#xA;Director, Picture Editor, Music Composer, Sound Supervisor.&#xD;&#xA;&#xD;&#xA;So whichever way it goes, the director ultimately has to choose the right decision if the Sound Supervisor and the Picture Editor disagree.&#xD;&#xA;&#xD;&#xA;Because of a large degree of state funding, the producers don't use a lot of their power in creative decisions, alt least not in the sound process, but it does happen from time to time.&#xD;&#xA;&#xD;&#xA;The only way we can make good films is if everybody says their honest opinion. It is normal to disagree from time to time, but mostly that just makes the final product better. Just make sure you discuss politely and try to listen to their views.&#xD;&#xA;&#xD;&#xA;If you try to involve the director in the sound design process, you will be able to do more than if you keep it secret until the last moment. You will also get to know the directors intentions better." ContentLicense="CC BY-SA 3.0" />
  <row Id="13848" PostHistoryTypeId="2" PostId="8261" RevisionGUID="21e2ecdd-c6c0-483d-90a8-fd7bd20f1c2a" CreationDate="2011-05-26T10:40:14.663" UserId="261" Text="great.&#xD;&#xA;I'm @pushformono " ContentLicense="CC BY-SA 3.0" />
  <row Id="13849" PostHistoryTypeId="16" PostId="8261" RevisionGUID="21e2ecdd-c6c0-483d-90a8-fd7bd20f1c2a" CreationDate="2011-05-26T10:40:14.663" UserId="-1" />
  <row Id="13850" PostHistoryTypeId="2" PostId="8262" RevisionGUID="1b4a247e-49e9-4bcb-aab1-75a4f02395e8" CreationDate="2011-05-26T10:58:29.857" UserId="1103" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;My professor has been recommending the Sony MDR-7506, which has been the standard in movie-editting for quite a while, but I'm not too keen on buying something because someone else tells me to.&#xD;&#xA;&#xD;&#xA;While researching on the net, however, I found a headset called AUDIO TECHNICA ATH-M50. It has recently been acclaimed by many audiophiles in many websites, but my fear lies in the fact that these reviews might be unprofessional or even unbiased. These headphones are supposed to be monitor headphones, meaning that they shouldn't add anything to the sound reproduced (no &quot;ultra-bass&quot; so to speak), but I'm wondering if they are superior to the &quot;recommended&quot; Sony MDR-7506 ones.&#xD;&#xA;&#xD;&#xA;Please help me out you guys. I'd be very grateful.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13851" PostHistoryTypeId="1" PostId="8262" RevisionGUID="1b4a247e-49e9-4bcb-aab1-75a4f02395e8" CreationDate="2011-05-26T10:58:29.857" UserId="1103" Text="Is AUDIO TECHNICA ATH-M50 (€166) a good choice for Sound Designing purposes?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13852" PostHistoryTypeId="3" PostId="8262" RevisionGUID="1b4a247e-49e9-4bcb-aab1-75a4f02395e8" CreationDate="2011-05-26T10:58:29.857" UserId="1103" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13853" PostHistoryTypeId="2" PostId="8263" RevisionGUID="886dc847-6b67-4e5c-9c48-f6f93a6ee07d" CreationDate="2011-05-26T11:08:50.323" UserId="985" Text="Hi Andy, check me out at : www.markus-schmidt-music.com, I can help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13854" PostHistoryTypeId="2" PostId="8264" RevisionGUID="67aaa2d1-935e-4866-bfe2-454eac9fdff5" CreationDate="2011-05-26T11:48:11.847" UserId="310" Text="I have Audio-Technica Headphones. For the money? Absolutely recommended - very flat and natural response. Little heavy and for me large. Next one I will buy Sennheiser HD 25 (smaller and excellent sounding).&#xD;&#xA;&#xD;&#xA;But if you need headphones go to shop and test it!! You newer know if you have head or ears like others. Take your equipment and test it. Headphones are for long time (2-5 years with some care) that don't be &quot;girl&quot; with magazine about headphones and go to test it :)  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13855" PostHistoryTypeId="2" PostId="8265" RevisionGUID="07b20fdc-11d0-469c-b717-c55e6f722586" CreationDate="2011-05-26T11:58:23.523" UserId="390" Text="I have a Bachelors in Biology. Then began a career change and graduated from a 2 year trade school for sound design. If you're going to go to a school, I would argue that you'd get a more robust education from a Bachelor's degree program.  But if resources are tight, then take a close look at the curriculum offered from the many 2 year programs and see what works best for you. But if you do have the resources and time, then you should dive into a 4 year program." ContentLicense="CC BY-SA 3.0" />
  <row Id="13856" PostHistoryTypeId="2" PostId="8266" RevisionGUID="8193834c-773b-447d-9ea9-5f3750c01ccf" CreationDate="2011-05-26T12:02:54.383" UserId="549" Text="I bought ATH-M50 a few years ago. The headphone itself is tight, good at isolation. But this causes fatigue when wearing for long period. It sounds good in detail, I usually use it for voice-over editing. The frequency response is nice but not that good because of a bit of bass-boosting.&#xD;&#xA;&#xD;&#xA;I would say it's good for field recording and voice-over editing, but not for mixing, especially with a long period working.&#xD;&#xA;&#xD;&#xA;anyway, better try it yourself :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="13857" PostHistoryTypeId="2" PostId="8267" RevisionGUID="b886836a-a611-480e-9829-3fff357cc7ba" CreationDate="2011-05-26T12:45:34.443" UserId="6462" Text="My experience with headphones is that it's all about your own hearing and what sounds good to you, you can never judge headphones by word of mouth or reviews, you have to hear them for your self. I have been recommended many different headphones which others say are the best, but they don't sound good to me, and they say the same thing about my personal favorite, the Sony MDR-7506. I use my 7506's mainly for field recording and for sound design if I don't have access to decent monitors, they are built to last (although mine are looking a bit worn after 5 years, but still sound as good as the day I got them).&#xD;&#xA;Have a listen to as many as you can and then make a choice." ContentLicense="CC BY-SA 3.0" />
  <row Id="13858" PostHistoryTypeId="2" PostId="8268" RevisionGUID="748ac67d-357e-422a-a46e-a8b30a0cd20d" CreationDate="2011-05-26T13:24:10.777" UserId="1056" Text="The MDR-7506 is pretty much entry level as far as monitor headphones go.  Also, it is not particularly neutral, so I doubt you would find it in many audio post facilities.  I personally found the frequencies around 100-200Hz and 1-3KHz a bit hyped. This does not always translate well to your final mix, as you may be inclined to overcompensate by decreasing these frequencies in your mix.&#xD;&#xA;&#xD;&#xA;The big question is how much time you will be spending on a regular basis with headphones on your head. Any longer than an hour a day means it plays an important part in your life and, if this is the case, I would recommend listening to at least 4 or 5 different sets within your range of affordability.&#xD;&#xA;&#xD;&#xA;Always take along a selection of tracks with which you are very familiar and which represent good examples of the type of material that you expect to be working with. Whatever you do, don't listen to anything provided by the salesperson.  The set that reproduces your tracks the closest to your expectation, subjectively of course, will most likely be the best set for you. There are other factors that must be considered, such as comfort and construction, but only you can determine how to weight these in relation to your specific requirements.&#xD;&#xA;&#xD;&#xA;I think you should include the Sonys in your audition as a reference point and, at the end of the day you may even end up choosing them depending on your subjective experience. Personally, I have been converted to Ultrasone (you must include a set from their PRO range in your audition), but AT, AKG, Sennheiser, Shure and one or two other companies all make quality monitor headphones in a similar price range.&#xD;&#xA;&#xD;&#xA;I used the ATH-M50s for a while and quite liked them tracking, as they have quite a natural sound and allow for extended use with minimal fatigue, although I would not use them for mixing, editing or mastering, as I feel they are a bit lacking in detail.  Then again, I do a lot of restoration work, so detail and comfort are the two most important factors for me, as I use my headphones 90% of the time in relation to my near-fields.&#xD;&#xA;&#xD;&#xA;In effect, what I am trying to say is that headphones are personal and, if you intend to spend a lot of time with them and use them in a professional capacity, you should not underestimate their importance." ContentLicense="CC BY-SA 3.0" />
  <row Id="13859" PostHistoryTypeId="2" PostId="8269" RevisionGUID="d8429ff4-db46-4330-97f8-327e72d1e8c7" CreationDate="2011-05-26T14:43:16.067" UserId="6407" Text="Aye, im on twitter.&#xD;&#xA;&#xD;&#xA;@_earTrumpet&#xD;&#xA;&#xD;&#xA;thanks guys," ContentLicense="CC BY-SA 3.0" />
  <row Id="13860" PostHistoryTypeId="16" PostId="8269" RevisionGUID="d8429ff4-db46-4330-97f8-327e72d1e8c7" CreationDate="2011-05-26T14:43:16.067" UserId="-1" />
  <row Id="13861" PostHistoryTypeId="2" PostId="8270" RevisionGUID="a5ef6758-3cd2-49ce-84db-5991de49e77b" CreationDate="2011-05-26T14:57:03.267" UserId="1044" Text="thesoundmonster&#xD;&#xA;&#xD;&#xA;Hope to see some you...&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13862" PostHistoryTypeId="16" PostId="8270" RevisionGUID="a5ef6758-3cd2-49ce-84db-5991de49e77b" CreationDate="2011-05-26T14:57:03.267" UserId="-1" />
  <row Id="13863" PostHistoryTypeId="2" PostId="8271" RevisionGUID="b125488c-95d3-4592-858c-fe6ab310a94c" CreationDate="2011-05-26T15:26:46.990" UserId="432" Text="I started out doing live sound and eventually shifted to the recorded medium. As far as schooling, I double majored in Anthropology and History in undergrad (almost picked up a third in Theatre...technical side...sound, of course). When I got tired of the theatre and concert gigs, I enrolled in a Master's program. That's where I made the shift to recording, editing and non-real-time mixing. Finished that off back in '04.&#xD;&#xA;&#xD;&#xA;I learned less about the technical craft in school than I have on my own (both before and after schooling). However, the schools did expand my perspective and force me to look at things from stylistic, aesthetic and theoretical angles. I needed that more than anything else, and school awakened an ongoing hunger to explore those ideas." ContentLicense="CC BY-SA 3.0" />
  <row Id="13864" PostHistoryTypeId="2" PostId="8272" RevisionGUID="2abde6b1-5579-40d9-9da7-0173cf96ea3c" CreationDate="2011-05-26T16:39:06.770" UserId="1104" Text="Guys, I'm a poet who is going to do an experimental poetry project. I want to record sounds of the landscape for my show. I guess it's something like doing filed recording. What portable recorder do you recommend for someone new in the filed but who wants the best audio? I don't want to spend more than $150" ContentLicense="CC BY-SA 3.0" />
  <row Id="13865" PostHistoryTypeId="1" PostId="8272" RevisionGUID="2abde6b1-5579-40d9-9da7-0173cf96ea3c" CreationDate="2011-05-26T16:39:06.770" UserId="1104" Text="Best Portable Recorder For Art Installations " ContentLicense="CC BY-SA 3.0" />
  <row Id="13866" PostHistoryTypeId="3" PostId="8272" RevisionGUID="2abde6b1-5579-40d9-9da7-0173cf96ea3c" CreationDate="2011-05-26T16:39:06.770" UserId="1104" Text="&lt;field-recording&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13867" PostHistoryTypeId="2" PostId="8273" RevisionGUID="22c36db9-1b6a-429f-8217-3ff71d0808dd" CreationDate="2011-05-26T16:43:39.123" UserDisplayName="user80" Text="Zoom H2 is a safe bet." ContentLicense="CC BY-SA 3.0" />
  <row Id="13868" PostHistoryTypeId="5" PostId="8272" RevisionGUID="1b5cdd29-33b8-41f9-ae20-e1e68d8b6d04" CreationDate="2011-05-26T16:44:11.960" UserDisplayName="user80" Comment="added 1 characters in body" Text="Guys, I'm a poet who is going to do an experimental poetry project. I want to record sounds of the landscape for my show. I guess it's something like doing filed recording. What portable recorder do you recommend for someone new in the field but who wants the best audio? I don't want to spend more than $150." ContentLicense="CC BY-SA 3.0" />
  <row Id="13869" PostHistoryTypeId="2" PostId="8274" RevisionGUID="b478ff3a-7a67-4f3c-beab-c7731c13f8bf" CreationDate="2011-05-26T17:01:20.537" UserId="558" Text="You might consider renting some gear if this is a 1 time deal.  Many cities have audio rental houses.  You can probably get a Zoom H2 for $20-30/day or less.  &#xD;&#xA;&#xD;&#xA;DO you have more specific info on what you want to capture?  The more we know about what you are recording, the more the SSD community can help.  Is it possible that a sound library of ambiances might work?  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13870" PostHistoryTypeId="2" PostId="8275" RevisionGUID="1d08daf8-0e4d-4de4-ae43-125a6ccd9bad" CreationDate="2011-05-26T17:17:44.453" UserId="338" Text="I was at a Chakra Workshop and we did a series of exercises where we listened from our throats.  After that we did a series where we listened from the tops of our heads.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13871" PostHistoryTypeId="2" PostId="8276" RevisionGUID="b479af1b-3e80-4030-b041-17844bb6b1f0" CreationDate="2011-05-26T17:28:14.937" UserId="1102" Text="I can personally recommend the Zoom products. I personally have the H4n Series which is a bit more pricey - http://www.zoom.co.jp/english/products/h4n/ However they have a great reputation for portable recorders and the mics are very high quality.  If the other guys are saying the H2 is a good shout, id go for it!&#xD;&#xA;&#xD;&#xA;Hope this helps! &#xD;&#xA;&#xD;&#xA;Gillian " ContentLicense="CC BY-SA 3.0" />
  <row Id="13872" PostHistoryTypeId="2" PostId="8277" RevisionGUID="e088da5a-5528-4d17-acf9-b254fa855cd2" CreationDate="2011-05-26T17:35:00.537" UserId="6499" Text="Ive been using my Shure SRH840s for a couple years now, for production sound, studio, and live audio work.  I love them.  They are very comfortable to me and are a pretty accurate representation, to my ears.  They were highly recommended by some really great live sound engineers so I took the risk on them and have not looked back, my sony's stay in the backup bin now.&#xD;&#xA;&#xD;&#xA;I also really like the removable coiled cable design.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13873" PostHistoryTypeId="2" PostId="8278" RevisionGUID="8af616e7-2919-449d-b848-b04a5ad61e53" CreationDate="2011-05-26T17:36:50.097" UserDisplayName="user6513" Text="Soundonsound magazine ran a pretty good article on studio headphones in the Jan'10 issue.&#xD;&#xA;&#xD;&#xA;http://www.soundonsound.com/sos/jan10/articles/studioheadphones.htm&#xD;&#xA;&#xD;&#xA;I'm using the Sony 7509s and I quite like them. They are one of the less fatiguing headphones that I've used. Reviews are one thing, what does matter the most is how well you know your headphones. How well I understand and trust my headphones, for example to translate a mix to speakers, is perhaps more crucial than specs to me. Comfort rates highly for me too.&#xD;&#xA;&#xD;&#xA;So as long as you like the pair of headphones and they are comfortable, go for it. Then start getting use to it and learn it's characteristics." ContentLicense="CC BY-SA 3.0" />
  <row Id="13874" PostHistoryTypeId="2" PostId="8279" RevisionGUID="fc7a8bcb-002d-4ffe-b664-8e59e564b786" CreationDate="2011-05-26T18:52:45.917" UserId="6462" Text="Hi&#xD;&#xA;I know exactly what this is, and the above answer and absolutely correct. I use this method sometimes as it makes the 'blimp' ever so slightly lighter and takes 15 or so cm off the length of the boom, which is often very useful. But the clip is to hold the XLR, it's HEX as that is the shape of the bracket. Here is a (not very good) picture:&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;  [1]: https://dl-web.dropbox.com/get/Photos/IMAG0120.jpg?w=93aed680&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="13875" PostHistoryTypeId="2" PostId="8280" RevisionGUID="e9246b8f-05bd-481b-afde-d89d9b5f9590" CreationDate="2011-05-26T20:10:00.743" UserId="786" Text="The way I normally start when mixing music for 5.1 (mostly in feature films, but sometimes also in documentaries), is to pull the music slightly towards the center, so that it isn't strictly L-R but more L-R with a little bit of center, so you don't get too much of the &quot;hole in the middle&quot; syndrome. Sometimes I pull it back a little too.&#xD;&#xA;&#xD;&#xA;Normally I then apply a hall reverb to the surround speakers, leaving it pretty dry in the front and almost totally wet in the surrounds. This way the music surrounds you without having too much of the direct sound coming from behind you.&#xD;&#xA;&#xD;&#xA;I will also send some of the music to the LFE channel.&#xD;&#xA;&#xD;&#xA;If I have stereo stems of the music available, I will pan the softer elements more to the back than the percussive elements, and be more selective about which tracks I feed to the LFE channel. If there's no particular bass information in the channel, there is no need to send it to the sub.&#xD;&#xA;&#xD;&#xA;The more tracks I have available for mixing, the more specifically I will pan them across the LCR front, for instance narrowing the bass down to the center channel (and LFE of course), or pinpointing the close mics of the orchestra across the screen. I may also use an extra reverb in the front, to give the narrower sounds a bit of spread. I will also narrow the reverb a bit so it isn't strictly LR.&#xD;&#xA;&#xD;&#xA;The real advantage when mixing in 5.1 compared to stereo is in my opinion more the enriched clarity and higher fidelity that comes from using more speakers, than it is the fact that you can have sound coming from behind." ContentLicense="CC BY-SA 3.0" />
  <row Id="13876" PostHistoryTypeId="2" PostId="8281" RevisionGUID="03399f21-55e8-4e9a-aa4d-446c2f581b43" CreationDate="2011-05-26T20:27:14.803" UserId="6499" Text="By the end of the summer, I should be moving most of my &quot;studio&quot; out of my house and into a place not in my house that I can actually call a studio.  Yay! progress.  I plan on making one of the offices where I am going into an edit/mix room.  I can not afford the &quot;nicer&quot; studio furniture and I know I can build something just as good or better.  The desk is not the problem.  &#xD;&#xA;&#xD;&#xA;What I am wondering if anyone had any ideas on an iso box for my computer and all the random hard drives and nonsense that will be hooked to it causing tons of noise.  I know I can build a box and line it with sound proofing things, but I am wondering about ventilation and stuff of that sort.  The idea of having the computer in a separate room has crossed my mind, but I just am not sure if technically all the cabling for all the peripherals that I will need on the desk can run that length.  It must be possible because the dub stages I have been to have their monitors/keyboards/mouse with them in the room and computer in another room.  &#xD;&#xA;&#xD;&#xA;Anyone have any tips, leads, ideas on this?  I am going to continue research on maximum cable length and things for usb, firewire, video etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="13877" PostHistoryTypeId="1" PostId="8281" RevisionGUID="03399f21-55e8-4e9a-aa4d-446c2f581b43" CreationDate="2011-05-26T20:27:14.803" UserId="6499" Text="DIY Studio Furniture Computer Iso box" ContentLicense="CC BY-SA 3.0" />
  <row Id="13878" PostHistoryTypeId="3" PostId="8281" RevisionGUID="03399f21-55e8-4e9a-aa4d-446c2f581b43" CreationDate="2011-05-26T20:27:14.803" UserId="6499" Text="&lt;furniture&gt;&lt;diy&gt;&lt;isolation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13880" PostHistoryTypeId="2" PostId="8283" RevisionGUID="77e88a05-88c1-4939-bf13-a50af417b5d3" CreationDate="2011-05-26T21:20:46.717" UserId="432" Text="I'd stick with the other room idea if you can pull it off. There are all manner of &quot;repeater&quot; technology that can be cheaper than an isobox (though maybe not if you're building one yourself), and you'll need to worry less about noise vs. sustaining a proper temperature range for your gear.&#xD;&#xA;&#xD;&#xA;Start someplace like the Gefen website, they've got a [nice tool][1] to help you figure out the kind of gear you'll need to run cables over a distance.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gefen.com/kvm/ewizard.jsp" ContentLicense="CC BY-SA 3.0" />
  <row Id="13881" PostHistoryTypeId="2" PostId="8284" RevisionGUID="f7a84318-e6dd-4c09-afd7-2fc370d9949c" CreationDate="2011-05-27T00:29:52.730" UserId="7811" Text="I've never heard a Tiger growl." ContentLicense="CC BY-SA 3.0" />
  <row Id="13882" PostHistoryTypeId="2" PostId="8285" RevisionGUID="d1792f9e-0dfc-4c43-85d6-f6e728f497a9" CreationDate="2011-05-27T01:46:05.260" UserId="693" Text="From everything I've heard, mixing music into the surrounds is supposedly a big no-no. Same goes for mixing dialogue in the surrounds. Personally, I like mixing music in surround, and depending on the context of the dialogue, I'll mix that in surround as well I'm not one for playing inside the rules or playing it safe unless it's a QC or broadcast spec I have to adhere to. With music you gotta show the people in the back a bit of love too imo. It's not like it's a specific sound effect that will really draw the listeners attention away, so it can be done... but simply done carefully and tastefully, same goes for certain types of dialogue as well. Personally I think surround mixing still plays it a bit too safe. We have this awesome technology and a lot of mixers are still afraid to take chances and push the envelope. Some I might add, are quite amazing at this. If you listen to the surround mix for Inception Gary Rizzo mixed A LOT of music into the surrounds... for that matter it was sometimes only in the surrounds.&#xD;&#xA;&#xD;&#xA;When mixing music in surround (which I would typically do in Pro Tools), I'll usually have it in the Quads pulled back around 10-20% from the front and I'll set my divergence to 80% all the way around, that way I'm not hitting the LS and RS too hard, it's not too wide and I'm just giving it a bit of surround space to make it a little more immersive. Sometimes I'll send it to the LFE depending on the scene and what the mix needs. I'm extra careful with that though. I don't ever use verb on the music though. If it's incidental music all bets are off and it depends on the source location of the music in the surround field. In that case I would use verb on the music. On top of that, it also helps clean up a bit of headroom in the L+R and leaves a bit more space for SFX and DX." ContentLicense="CC BY-SA 3.0" />
  <row Id="13883" PostHistoryTypeId="2" PostId="8286" RevisionGUID="1d3e4fca-4a77-4e63-bb17-9572a18693cc" CreationDate="2011-05-27T05:53:37.053" UserId="348" Text="I had the chance to record some great big cat sounds here in SA. The owner of the animals had this amazing way of getting the Lions attention. He would shout out &quot;BIG BOOOYYY!!!&quot; and then the lion would roar. This would happen over and over as it walked towards us. Fantastic. I also recorded an overly friendly leopard who was more interested in purring and licking my hand than growling. But still got some good stuff. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13884" PostHistoryTypeId="18" PostId="2941" RevisionGUID="0b11b896-4e61-451c-af72-049db28dc829" CreationDate="2011-05-27T07:24:46.573" UserId="2" Comment="Merged question 'How many of you have twitter accounts?' by TheSoundMonster" Text="[{&quot;Id&quot;:2,&quot;DisplayName&quot;:&quot;Andrew Spitz&quot;}]" />
  <row Id="13886" PostHistoryTypeId="2" PostId="8287" RevisionGUID="de9d756d-4036-4dcb-81f0-53a5ab1ff6ba" CreationDate="2011-05-27T11:14:07.713" UserId="693" Text="This is a complex question, mostly because it's not specific enough.&#xD;&#xA;&#xD;&#xA;Binaural simply means Stereo. Personally, I think the term is bandied around by hardware and software manufacturers because it's sort of a trending topic in audio circles for the past few years. It's similar to the word(s) &quot;Lite/Light&quot; in advertising. It's really undefinable. Does it mean that metrically, this beer weighs less than the other, is it lighter in color... or that it has a lesser nutritional or caloric content than the other (which is typically what we're led to believe). It's a vague term used to make you think what they want you to think and have absolutely no accountability for the scientific validy of their supposed advertised claim. Such nasty tricks are just as plentiful in the Audio Industry as well. What's worse is that we believe ourselves enlightened for supposedly knowing/hearing the difference.&#xD;&#xA;&#xD;&#xA;Now that I have that out of the way.. I'll delve into a few other things where I think this may have been going.&#xD;&#xA;&#xD;&#xA;Are you looking for Simulated Surround, or Binaural Beats?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Binaural Beats:**&#xD;&#xA;To be honest, creating a &quot;Binaural Beat&quot; isn't all that hard. It's mostly simple mathematics via synthesis and mixing techniques. The basic concept is based on Stereophonic Frequency Modulation by using de-tuned waveforms where, as the two slightly varying frequencies of the same waveform enter your ears they sum together and thus modulate in your brain where they create a whole new summed waveform that is perceived by your brain as a &quot;ghost&quot; or 3rd wavecycle that is a base division of the main waveforms' frequency. This supposedly has an affect that creates a form of hypnosis or focus.&#xD;&#xA;&#xD;&#xA;Any mix you create using any DAW is a &quot;Binaural Mix&quot; unless you mix to anything but stereo. For a &quot;Binaural Beat&quot; effect to be noticeable, all frequencies in the mix would have to be sub 1,000Hz.&#xD;&#xA;&#xD;&#xA;So to directly answer the potential question of &quot;how do you mix sounds together using Cubase to create a Binaural mix&quot;: You could bus the left half of your sub 1kHz mix to the left half of a stereo track and the Right half of that mix to the right of another stereo track, insert a pitch shifter on one of the two tracks, adjust it no more then 30Hz either + or - and then bus those to a stereo track to send them to their appropriate channels. Supposedly listening to this will &quot;in sum&quot; create a &quot;Binaural beat&quot;. Otherwise at higher frequencies this creates a less noticeable, but somewhat similar effect as flanging or phasing and becomes more annoying than hypnotic.&#xD;&#xA; &#xD;&#xA;I typically don't think that this is going to achieve the response or implied affect that most people think it might though. I can't imagine it sounding all that good on an entire mix, especially one that contains nothing over 1kHz. It's more implied for simple synthesis.&#xD;&#xA;&#xD;&#xA;Now to the other side of this, which I think is where you were actually going.&#xD;&#xA;&#xD;&#xA;**Simulated Surround:**&#xD;&#xA;Sure, this is somewhat possible, it just takes an understanding of the sounds and their supposed acoustic environments as well as how human hearing works. You don't even need a specialized plug-in to do this. It's a perceived 3 dimensional Doppler effect that can be achieved by combining Panning and Volume with Reverb/Delay and EQ (Think of the helicopter / ceiling fan scenes in Apocalypse Now, that's how that was done... and it sounds brilliant). It involves a bit of careful automation and mixing and then you have your desired result.&#xD;&#xA;&#xD;&#xA;Personally, I never think any of it sounds as good as a true surround setup though. Sure, plug-in and hardware manufacturers boast that they have a magical formula to this (even laptops have a &quot;3D or Surround&quot; enhancer. Really? You've got to be kidding me, with laptop speakers none the less?) and there are also surround headphone decoders and so on... but it never sounds all that great or believable to me. And I say this having done a fair amount of surround mixing. I've even done a surround mix through an active stereo fold-down summed into mono via headphones using Pro Tools LE with the Complete Production Toolkit, an MBox2 and a set of headphones. I feel I understand surround and signal flow well enough to have even tried it and the surround mix turned out pretty decent. A little wide at times, but pretty decent considering my conditions and it sounds better than the mixes I did using a virtual surround headphone unit and simulated surround plug-ins where I could at least hear in stereo. The whole process isn't simply mathematical, it's psycho-acoustic and very subjective to millions of different variables. Sure, they can get a simulated desired affect, but it usually pales in comparison in my experience.&#xD;&#xA;&#xD;&#xA;Hopefully someone here more knowledgeable can prove me wrong so I can learn otherwise or they can suggest a better simulated surround plug-in. Hope that helps and sorry if any of it sounded condescending. Sometimes I ask rhetorical questions or answer questions people weren't even asking in order to get the idea or point across." ContentLicense="CC BY-SA 3.0" />
  <row Id="13887" PostHistoryTypeId="2" PostId="8288" RevisionGUID="efcec5e7-0fc9-4755-9985-3bb079ed4ce2" CreationDate="2011-05-27T12:17:21.577" UserDisplayName="user80" Text="As long as you like them go for it.  The main thing is to learn how they compare to other headphones and loudspeakers, have some test audio files that you can use for comparisons.  Also be aware of how different headphone amps colour the sound, and how much your own hearing changes due to noise exposure throughout the working day." ContentLicense="CC BY-SA 3.0" />
  <row Id="13888" PostHistoryTypeId="2" PostId="8289" RevisionGUID="748f2421-b178-4009-886b-34dc806861fd" CreationDate="2011-05-27T12:53:39.850" UserId="6462" Text="One mic on the end of a pole is certainly more desirable for long extensions and and extended takes.&#xD;&#xA;&#xD;&#xA;Not really to do with mic pattern, more about levels, but a tip I have found useful is to get yourself (or make one) a Y-splitter cable and split the audio into 2 separate channels then put the level of the 2nd channel 20dB (or perhaps more depending on the situation) lower. This has saved me on multiple occasions from sudden loud sounds. I don't always use this, but in cases where there might be shouting, banging etc, it's definitly something to consider." ContentLicense="CC BY-SA 3.0" />
  <row Id="13889" PostHistoryTypeId="2" PostId="8290" RevisionGUID="b283ef81-180e-4182-b650-37fcdfa5d91d" CreationDate="2011-05-27T13:07:46.657" UserId="373" Text="I need to do some 'piston' style, air release foley moves next week. They have to be clean (ie no erroneous rattles from the props!) so was just wandering if any of you guys had any good ideas! The best I've come up with so far is a can of compressed air and a metal pipe (I'd quite like to get some metal to it you see!), which is kind of ok but not quite right. I'd really like some options to work with so could do with some brain on this one! Thanks in advance...." ContentLicense="CC BY-SA 3.0" />
  <row Id="13890" PostHistoryTypeId="1" PostId="8290" RevisionGUID="b283ef81-180e-4182-b650-37fcdfa5d91d" CreationDate="2011-05-27T13:07:46.657" UserId="373" Text="air release Foley Moves" ContentLicense="CC BY-SA 3.0" />
  <row Id="13891" PostHistoryTypeId="3" PostId="8290" RevisionGUID="b283ef81-180e-4182-b650-37fcdfa5d91d" CreationDate="2011-05-27T13:07:46.657" UserId="373" Text="&lt;foley&gt;&lt;air&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13892" PostHistoryTypeId="2" PostId="8291" RevisionGUID="f5dcf217-d5e8-48e1-9ed5-b29df5c8ce06" CreationDate="2011-05-27T13:30:55.863" UserId="845" Text="Headphones are an extremely personal item. As such, I won't drop any names.  I have *my* favourite pair of ever ever phones, but yours will likely be completely different.  Probably ones that I would hate : ).&#xD;&#xA;&#xD;&#xA;The best way around the problem would be to head to a store that sells a wide range of headphones and spend three or four hours.  Try *every* pair of &quot;studio&quot; headphones they have.  Find yourself a chair (or a comfortable spot on the floor), close your eyes, and just listen.  Take the time to figure out what each pair is doing to the sound and whether or not you like the results.  You're going to be spending an assload of time with these things, so you have to make sure they're going to do what you want them to.&#xD;&#xA;&#xD;&#xA;The other thing I would do is if you're going to bring an iPod or something like it, take your favourite record of all time and convert it to .WAV files, not mp3.  Most mp3 players actually play .wavs as well.  The algorithms used to make mp3s have a tendency to mess with things like stereo width, extreme low end, and extreme high end, all of which are of the utmost importance in a pair of headphones you're planning to actually *work* with.  Plus, your working materials are not going to be mp3s.&#xD;&#xA;&#xD;&#xA;The other thing is that after a few months of working with whatever pair you buy, you'll probably end up finding a bunch of things you don't like about them.  That's ok, it just means that you're refining your tastes and learning what works for you.  You could buy the most fantastically perfect headphones in the world, but if you hate them or find them uncomfortable your work will suffer anyway.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13893" PostHistoryTypeId="2" PostId="8292" RevisionGUID="d42f4fc4-d086-4188-b761-b9b03cd09c42" CreationDate="2011-05-27T14:02:31.570" UserId="238" Text="I would try a variety of bicycle pumps. I used to have an old metal one that would make an awesome suction sound every time I used it. A balloon pump, such as the one below, can work well too. They usually have larger nozzles so offer a different type of air flow sound to a bicycle pump. &#xD;&#xA;&#xD;&#xA;Try to record at 192KHz 24 Bit, allowing better results when playing with pitch. &#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://s7v1.scene7.com/is/image/JohnLewis/230981596?wid=600&amp;hei=600&amp;op_sharpen=1" ContentLicense="CC BY-SA 3.0" />
  <row Id="13894" PostHistoryTypeId="2" PostId="8293" RevisionGUID="91ab6b1a-3cbb-483c-872c-9c04db03fdbb" CreationDate="2011-05-27T14:04:24.767" UserDisplayName="user80" Text="Plastic syringes are great, especially veterinary ones as they come in a wide range of sizes.  You can place different objects and fluids inside them to change the tone." ContentLicense="CC BY-SA 3.0" />
  <row Id="13895" PostHistoryTypeId="2" PostId="8294" RevisionGUID="382ee302-4b61-41d7-9fca-e04e30a1b3bc" CreationDate="2011-05-27T14:22:20.227" UserId="1025" Text="Pressure cooker !" ContentLicense="CC BY-SA 3.0" />
  <row Id="13896" PostHistoryTypeId="2" PostId="8295" RevisionGUID="d038d697-5f7d-4dc4-9f18-044f990a2503" CreationDate="2011-05-27T16:30:15.073" UserId="29" Text="To build on Iain's suggestion, also look into manual pump sprayers, available at most hardware/home improvement stores, the kind used to spray chemicals on plants. Their plungers are thick and sound pretty neat. Likewise, manual bilge pumps (of the kind sold to kayakers) are small, inexpensive, and also have a cool sound; Bilgemaster brand is probably the most interesting sounding." ContentLicense="CC BY-SA 3.0" />
  <row Id="13897" PostHistoryTypeId="2" PostId="8296" RevisionGUID="35ac2eda-ae56-4695-92bb-7c82108fad4b" CreationDate="2011-05-27T18:52:41.907" UserId="286" Text="I was wondering if there were any quick approaches from taking a soundtrack that has a wide dynamic range (film) and compressing it for something like the internet, where most things seem to be squashed?&#xD;&#xA;&#xD;&#xA;Using a limiter or any excessive amount of compression obviously kills the large peaks and kills some of the more intense moments. Maybe it's best to just leave the mix as is?&#xD;&#xA;&#xD;&#xA;If I come off ignorant, I completely am.  I don't have much experience with film and I was hoping to find a quick solution without having to do a complete remix.&#xD;&#xA;&#xD;&#xA;Thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13898" PostHistoryTypeId="1" PostId="8296" RevisionGUID="35ac2eda-ae56-4695-92bb-7c82108fad4b" CreationDate="2011-05-27T18:52:41.907" UserId="286" Text="Remixing For The Internet?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13899" PostHistoryTypeId="3" PostId="8296" RevisionGUID="35ac2eda-ae56-4695-92bb-7c82108fad4b" CreationDate="2011-05-27T18:52:41.907" UserId="286" Text="&lt;mix&gt;&lt;mixing&gt;&lt;internet&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13900" PostHistoryTypeId="2" PostId="8297" RevisionGUID="904e1a97-5ad4-4468-a1a0-3f61b4eb4ab0" CreationDate="2011-05-27T19:23:58.297" UserId="253" Text="I'd say what you want to do is adjust your mix slightly with some compression. You don't want your quiet moments to be lost on sub-par computer speakers, or due to the fact that everything on computers tends to be very loud; but you don't want to ruin your mix by squashing it either.&#xD;&#xA;&#xD;&#xA;Sometimes, i'll make a separate stem for the DVD mix, which basically applies some soft compression and a few dB of makeup gain, to gently boost the average level, while maintaining some dynamic range.&#xD;&#xA;&#xD;&#xA;So if you have the time, definitely look into gentle compression, but monitor it as you go.&#xD;&#xA;&#xD;&#xA;Actually, it'd be interesting to check out average levels of various internet content. Maybe one day, when i have free time..." ContentLicense="CC BY-SA 3.0" />
  <row Id="13901" PostHistoryTypeId="2" PostId="8298" RevisionGUID="a6f976e6-6051-44eb-8a0d-80fe4e4f62d1" CreationDate="2011-05-27T19:31:06.267" UserId="1107" Text="Just for comparison's sake, here's a link to KK Audio's Quiet Rack page with prices.  I've never used their gear myself but have heard good things about these.  http://www.kkaudio.com/quietrack.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="13902" PostHistoryTypeId="2" PostId="8299" RevisionGUID="d013b307-6df6-4d97-bb75-141e0217dee2" CreationDate="2011-05-27T21:44:17.997" UserDisplayName="user80" Text="Try using limiting and then compression.  I sometimes like to limit with a very high threshold (say -2dB) and a fast attack to deal with aggressive peaks.  Then I might choose a slow attack, a low threshold (say -40dB) and a low ratio (say 1.5:1) to compress almost everything.  Finally I'll get the average level from a comparison track and try and make the average level similar using gain without peaking above -2dB ." ContentLicense="CC BY-SA 3.0" />
  <row Id="13903" PostHistoryTypeId="12" PostId="8299" RevisionGUID="6233cfd9-2cf2-4106-851c-37a7fe1f20b3" CreationDate="2011-05-28T08:25:58.857" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="13904" PostHistoryTypeId="2" PostId="8300" RevisionGUID="ccbf8208-fd7a-4c1c-a062-f8369c2231a2" CreationDate="2011-05-28T10:35:40.043" UserDisplayName="user80" Text="I would suggest playing it safe and purchasing the Sound Devices, the only bad thing anyone ever has to say about them is the price.  But as they are so reliable they are worth it.  Purchase a two track version and rent a multi-track when you need it.  If you find you need a multi-track all the time just sell the two track, you'll have no problem finding someone who wants one." ContentLicense="CC BY-SA 3.0" />
  <row Id="13905" PostHistoryTypeId="2" PostId="8301" RevisionGUID="1dab2c2a-9e68-40ba-bf55-57218dfca608" CreationDate="2011-05-28T11:20:19.307" UserId="876" Text="Hello I am in early pre prod for a fantasy type film where a girl jumps from reality to dream world, the dream world is a &quot;golden desert&quot; type, I was just wondering what films I could look at that have dream sequences with interesting uses of sound? " ContentLicense="CC BY-SA 3.0" />
  <row Id="13906" PostHistoryTypeId="1" PostId="8301" RevisionGUID="1dab2c2a-9e68-40ba-bf55-57218dfca608" CreationDate="2011-05-28T11:20:19.307" UserId="876" Text="Looking for dream sequence references" ContentLicense="CC BY-SA 3.0" />
  <row Id="13907" PostHistoryTypeId="3" PostId="8301" RevisionGUID="1dab2c2a-9e68-40ba-bf55-57218dfca608" CreationDate="2011-05-28T11:20:19.307" UserId="876" Text="&lt;references&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13908" PostHistoryTypeId="2" PostId="8302" RevisionGUID="800a4b7e-d664-4c17-9187-9ee9b766ce47" CreationDate="2011-05-28T12:38:38.400" UserId="56" Text="I can suggest &quot;Mixing with your mind&quot; by Michael Paul Stavrou.&#xD;&#xA;It made me rethink on loads of recording and mixing issues.&#xD;&#xA;Very interesting, clear and entertaining reading." ContentLicense="CC BY-SA 3.0" />
  <row Id="13909" PostHistoryTypeId="2" PostId="8303" RevisionGUID="eb801ff1-760f-425c-bbd1-c741c9171b36" CreationDate="2011-05-28T15:20:07.653" UserId="1044" Text="I'd strongly recommend looking into Twin Peaks (both the show and movie...whatever you can get your hands on). The film heavily revolves around a series of dream sequences which have outstanding sound design (no surprise since it is a lynch film!). &#xD;&#xA;&#xD;&#xA;Trainspotting has a much darker dream sequence, when the protagonist (Ewen Mcgregor) is going through withdrawal at his parents home. Different, but still great sound design.&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13910" PostHistoryTypeId="2" PostId="8304" RevisionGUID="f4ff5e54-2251-4538-9b3e-f1cbeb3e7670" CreationDate="2011-05-28T15:27:47.700" UserId="194" Text="If it were me, here's how I'd approach it:&#xD;&#xA;&#xD;&#xA;run the mix through a set of **very** small speakers.&#xD;&#xA;&#xD;&#xA;while listening to those small speakers run a couple of layers of light compression on the master bus, listening to what the combination of the small speakers and the comps are doing to your bigger transients and louder moments.  The objective is just to tighten the dynamic range in steps. &#xD;&#xA;&#xD;&#xA;then put a compressor on the master bus that has a &quot;mix&quot; value - something like [Waves H Comp][1], this allows you to effectively run a dual compression chain - on with no compression and on that is compressed. On this one squash the hell out of the compressed side and mix it in to taste.  While mixing in the crushed stuff, you should be listening to the quieter parts of the mix, essentially bringing the floor of the mix up into a place that works well on the smaller speakers.&#xD;&#xA;&#xD;&#xA;Now print the mix, put it on your phone and listen to it both through the speaker and on earbuds. &#xD;&#xA;&#xD;&#xA;adjust and re-output.&#xD;&#xA;&#xD;&#xA;Its easy to go nuts with compression in this situation, but if you tailor the compression in layers and monitor the right way you'll get a good feel for how much compression to add without destroying the mix.&#xD;&#xA;  [1]: http://www.waves.com/Content.aspx?id=9111" ContentLicense="CC BY-SA 3.0" />
  <row Id="13911" PostHistoryTypeId="2" PostId="8305" RevisionGUID="e48708ad-8239-4055-9f77-b28bae9a4c5d" CreationDate="2011-05-28T16:52:13.747" UserId="194" Text="The Cell&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=-eCD5Nuoyi4" ContentLicense="CC BY-SA 3.0" />
  <row Id="13912" PostHistoryTypeId="13" PostId="8299" RevisionGUID="2b01171c-ef1b-4163-a362-d76fc244282e" CreationDate="2011-05-28T18:30:43.580" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="13913" PostHistoryTypeId="2" PostId="8306" RevisionGUID="3c1b3715-8389-4e5c-a67b-530aa4f8a1da" CreationDate="2011-05-28T19:52:25.883" UserDisplayName="user80" Text="*Mixing audio* by Roey Izhaki is worth a read. It's all about mixing music but the principles are applicable for Film and TV." ContentLicense="CC BY-SA 3.0" />
  <row Id="13914" PostHistoryTypeId="2" PostId="8307" RevisionGUID="766de818-fb95-4a6e-a94a-286232b59378" CreationDate="2011-05-29T00:01:19.213" UserId="103" Text="[Ink][1] is a cool one to! Its about a group that protects you in your dreams.&#xD;&#xA;And of course  the guy that tries to kill you in your dreams.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt1071804/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13915" PostHistoryTypeId="2" PostId="8308" RevisionGUID="f52628ba-51d1-49dc-b2de-d49ebdbc8870" CreationDate="2011-05-29T02:36:46.747" UserId="999" Text="I can think of a few films where there are differences in reality between scenes:&#xD;&#xA;&#xD;&#xA;Scott Pilgrim has some interesting dream bits, &#xD;&#xA;Vanilla Sky would be a really good one as thats all about dreams." ContentLicense="CC BY-SA 3.0" />
  <row Id="13916" PostHistoryTypeId="5" PostId="8304" RevisionGUID="4dc661ef-acde-49a0-8134-5c6a7fe79c38" CreationDate="2011-05-29T05:16:45.450" UserId="194" Comment="added 2 characters in body" Text="If it were me, here's how I'd approach it:&#xD;&#xA;&#xD;&#xA;run the mix through a set of **very** small speakers.&#xD;&#xA;&#xD;&#xA;while listening to those small speakers run a couple of layers of light compression on the master bus, listening to what the combination of the small speakers and the comps are doing to your bigger transients and louder moments.  The objective is just to tighten the dynamic range in steps. &#xD;&#xA;&#xD;&#xA;then put a compressor on the master bus that has a &quot;mix&quot; value - something like [Waves H Comp][1], this allows you to effectively run a dual compression chain - one with no compression and one that is compressed. On this one squash the hell out of the compressed side and mix it in to taste.  While mixing in the crushed stuff, you should be listening to the quieter parts of the mix, essentially bringing the floor of the mix up into a place that works well on the smaller speakers.&#xD;&#xA;&#xD;&#xA;Now print the mix, put it on your phone and listen to it both through the speaker and on earbuds. &#xD;&#xA;&#xD;&#xA;adjust and re-output.&#xD;&#xA;&#xD;&#xA;Its easy to go nuts with compression in this situation, but if you tailor the compression in layers and monitor the right way you'll get a good feel for how much compression to add without destroying the mix.&#xD;&#xA;  [1]: http://www.waves.com/Content.aspx?id=9111" ContentLicense="CC BY-SA 3.0" />
  <row Id="13917" PostHistoryTypeId="2" PostId="8309" RevisionGUID="2592edae-23a9-4996-8d5f-3c17b0370d35" CreationDate="2011-05-29T09:04:01.733" UserId="1108" Text=" I have read most of all the comments that suggest Nuendo as your solution and I also agree!&#xD;&#xA; As far as compatability, I am compatable with the world and I strickly use nuendo.&#xD;&#xA;You dont need to buy anything new to enjoy the ability to go back and forth with Pro tools Guys!&#xD;&#xA;&#xD;&#xA;Dont use OMF sometimes that dont work. The 100 % way for things to work is to simply if they are in protools sending you back files tell them to consolodate and provide tempo info.&#xD;&#xA;if you are sending files to them  you just bounce audio ( this is not the same as bounce to disk in pro tools ) this is the same as pro tools consolodate command.&#xD;&#xA;you bounce all your files ending up with no gaps in audio and just provide the tempo info&#xD;&#xA;and just send them the stems and your set. what they would get is 24 Bit 48 k ( or higher )broadcast wav files or aiff it dont matter.This way they are just importing the files and setting the tempo. thats it takes only seconds.&#xD;&#xA;&#xD;&#xA;The biggest issue with pro tools for me is that the bounce to disk in in real time..so as the the other person said that its easy when doing a 1 hour project to open it up for changes, yea he forgot to tell you that once he makes this change he must also do a bounce to disk.&#xD;&#xA;This means a real time 1 hour long wait  for the session to bounce down.If there is any glitch what so ever the bounce to disk can be stoped  then you must start all over.&#xD;&#xA;In nuendo you have a choice to do this real time style mix down or you can sum the mix.&#xD;&#xA;Its way faster.&#xD;&#xA; The biggest advantage that pro tools has is in the area of Large format Controlers.&#xD;&#xA; Euphonix was nuendos  Gateway into that world but Avid bought them so now the beloved protools has access to this console as well but The new Team at avid is not the same thinkers as the old DSP heads as now Pro tools can enjoy native abilities and any hardware of your choice including of course there own. So Thanks Avid for being Open and allowing for options.&#xD;&#xA;&#xD;&#xA; you should check out a guy name  Jon Ross he has a very large Nuendo/Euphonix rig&#xD;&#xA; like 88 faders. He uses nuendo.&#xD;&#xA; if you notice pro tools is trying to catch up with everyone else. &#xD;&#xA; pro tools users used to talk down the fact that nuendo had automation lanes but now they have them.&#xD;&#xA;The one thing thats awsome of pro tools is the automation that thinks logicly. Nuendo has the same functions now but still is not as easily accessable via a controler&#xD;&#xA; The basic Read/Write are there but finding Trim and xover from a desk is missing&#xD;&#xA;in addition to not having these modes from the surface avaible per ch.&#xD;&#xA; &#xD;&#xA;thats the thing I wish nuendo would change even in its software was the accessability of the automation modes on the mixer and the arrange view&#xD;&#xA; not a big change just add the other automation buttons  on the mixer and ch strip view and arrange window view.&#xD;&#xA;&#xD;&#xA; so you end up with R W TR L tch xov  if this it to many buttons then leave it as is and just use a window pop over when you click on the R or W while holding a function key.&#xD;&#xA; but from a surface you should be able to just have buttons for each function. anyway&#xD;&#xA;sorry for the rant.. &#xD;&#xA;Nuendo Still is the best Choice.&#xD;&#xA;I would challange any ProTools user to a Dual heheh " ContentLicense="CC BY-SA 3.0" />
  <row Id="13918" PostHistoryTypeId="2" PostId="8310" RevisionGUID="4253cabc-6cd8-4d02-b3f7-c71ad47d2301" CreationDate="2011-05-29T09:42:10.130" UserId="1108" Text=" The reaons pro tools became a standard is not that its soooo great sounding.&#xD;&#xA;its funny because all the mastering engineers say it sounds like crap thats why they just use it as a tape deck and use a SSL or Neve  to get it to sound good.&#xD;&#xA;&#xD;&#xA;In the old days of Audio there was the big dogs Waveframe,Fairlight and I think one other.&#xD;&#xA;&#xD;&#xA;these where the go to systems that sounded great but was very costly. you had to choose these systems or settle for 2 inch Tape and a Large Console that was once again very costly.&#xD;&#xA;&#xD;&#xA;Digidesign (now Avid) had there SoundDesigner Program. A 2 track editor program.&#xD;&#xA;Then they came with sessions 8 on the PC ( windows ) platform.&#xD;&#xA;&#xD;&#xA;When the other big Dog systems decided to get deeper into the film world. The Audio ( music world ) Was kinda left with no aforable choices.&#xD;&#xA;This created an Opt for Digidesign they created ProToolsTDM&#xD;&#xA;&#xD;&#xA;This provided all that wanted to play the Daw game to do this at a fraction of the cost compared to the Bigdog systems or Tape and a Desk.&#xD;&#xA;&#xD;&#xA;Pro tools also for a while was also Mac Only. This also  positioned Apple products in the Audio World as a standard.They was domimate already in Schools but now recording studios had macs and Pro tools and got rid of these Tape decks but did keep there desks due to feeling the sound of pro tools was kinda brittle. &#xD;&#xA;So for years most engineer with major credits used pro tools as the replacement of the studder but the mix and sound of the music was really from the Console.&#xD;&#xA;&#xD;&#xA;because no one else stepped to the challange or when did so they failed so badly&#xD;&#xA;Pro Tools became the industry standard. These Studios did not want to abandon their cheaper 50 k investment so they just stayed loyal and just updated their systems ( bought DSP over and over and even bought new systems allout via hardware Tradeins )&#xD;&#xA;&#xD;&#xA;The production world was full of choices and no real standard was there for Music production but then Logic Audio Came on the scene. Because Pro Tools had Limited if any Midi functions folks used Logic and Logic became the Production standard as far as a computer based Sequencer.&#xD;&#xA;&#xD;&#xA;In todays Times  Logic is still a choice but no longer &quot;THE&quot; Choice.&#xD;&#xA;The same reality is with Pro tools.&#xD;&#xA;&#xD;&#xA;Steinberg came on and became the subject of many Logic vs Cubase wars.&#xD;&#xA;Steinberg was known for great midi and I found it to be very easy and Much better than Logic. It also ran on the mac. Strangly the folks that was pro tools users stricly used logic as their sequencer.I think thats due to a time when logic matured and supported TDM hardware. Cubase had a version that also supported TDM hard ware Cubase XT but was later scraped.&#xD;&#xA;&#xD;&#xA;Cubased Matured greatly with Cubase Vst that opened the door for Audio but steinberg being such a small company, did not really understand how audio recording works and what engineers expected to see and how they expected to feel when mixing a record.&#xD;&#xA;&#xD;&#xA; So Pro Tools dominated the Audio Mixing World and Logic Dominated The Sequencing Daw world.&#xD;&#xA; &#xD;&#xA; Keep in mind pro tools domination was not in the area of sonic quality but in its editing ability. The SSL or Neve took care of the sonics.&#xD;&#xA;&#xD;&#xA;Then along came Nuendo Orginally created for Silicon Graphics Machines, found its way to the PC platform ( Windows NT )&#xD;&#xA;From Version 1 it was a Godsend! and Possed a real threat to Pro tools in the fact that it offerd a 500 track limitation Midi options and not being tied to expensive hardware.&#xD;&#xA;&#xD;&#xA;Today Nuendo has matured greatly beyond anyones expectations.&#xD;&#xA; &#xD;&#xA;What I will say to Yamaha and Steinberg is they need to learn and understand their strengths. Yamaha has been making consoles for years both Analog and Digital&#xD;&#xA;&#xD;&#xA;They should take notes from The way Avid and Digesign worked with their product.&#xD;&#xA;&#xD;&#xA;To Avids credit, they seem to really understand how the audio production world and mixing world works.They offer the engineer solutions that make him feel right at home.&#xD;&#xA;If a engineer thats been sitting in front of a desk for years, he will be reluctant to sit down in front of a Mackie Control and take that seriously.&#xD;&#xA;The only serious small format controller that I loved was the Original Mackie Hui.&#xD;&#xA;to this date there is no small format controler that offerd what this one did in the way that it did. Steinbergs level of support for controlers are so very lacking.&#xD;&#xA;they only support a few functions but dont go deep into the surface unless your willing to buy a System 5 Mc or Wk Audio you must use the small format controlers.&#xD;&#xA;They are getting better. Smart AV has some nice desks. &#xD;&#xA;The gripe I have with alot of them is that when your looking at faders you want to look right above it for the name of that ch. not look at a choke of buttons, then some knobs, then the display. They dont get it  that the user is constanly looking up and down over and over. even if they are looking at the desk. I have a Mackie Hui and I can look down at my faders and know where I am at all times due to the scrible strip being just above the fader!&#xD;&#xA;&#xD;&#xA;Taken from the Logic of Euphonix industry standards are a thing of the past.&#xD;&#xA;standards are not standards of whats best its just standard meaning a base set.&#xD;&#xA;Some sware by logic, some Nuendo ( LIKE ME LOL ) and some ProTools.&#xD;&#xA;&#xD;&#xA; I would say this Use everything you can get your hands on. I have Nuendo,ProTools&#xD;&#xA;Sonar,Samplitude everything. However  the flag on my ship... &quot;NUENDO&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13919" PostHistoryTypeId="16" PostId="8310" RevisionGUID="4253cabc-6cd8-4d02-b3f7-c71ad47d2301" CreationDate="2011-05-29T09:42:10.130" UserId="1108" />
  <row Id="13920" PostHistoryTypeId="2" PostId="8311" RevisionGUID="69a5c509-0da2-4ae5-b68f-b8327e7c09f5" CreationDate="2011-05-29T10:13:10.503" UserId="693" Text="Some of these are Dream Sequences, some are Drug Sequences and some are Flashback/Forward scenes. They're all pretty interchangeable when it comes to techniques to portray a alternate sort of reality in my opinion.&#xD;&#xA;&#xD;&#xA;Inception (probably painfully obvious)&#xD;&#xA;The Imaginarium of Dr. Parnassus&#xD;&#xA;The Matrix&#xD;&#xA;Memento&#xD;&#xA;Dark City&#xD;&#xA;Jacobs Ladder&#xD;&#xA;Enter The Void&#xD;&#xA;&#xD;&#xA;That's all off the top of my head that no one else has mentioned yet. If any more come to mind I'll modify my post." ContentLicense="CC BY-SA 3.0" />
  <row Id="13921" PostHistoryTypeId="2" PostId="8312" RevisionGUID="bb5ef18a-5b64-4666-979b-b1201a7a7e89" CreationDate="2011-05-29T10:47:50.420" UserId="1109" Text="The Grace 101 and SSL Alpha Channel are both good for clean, relatively transparent sound, and a lot cheaper than Millenia. The SSL is a lot more versatile and less &quot;sterile&quot; sounding than the Grace." ContentLicense="CC BY-SA 3.0" />
  <row Id="13922" PostHistoryTypeId="2" PostId="8313" RevisionGUID="d695ff1f-2377-4f7f-90d4-7a8aaa472a8c" CreationDate="2011-05-29T10:49:14.877" UserId="1103" Text="Mr. Murch, what words of advice would you give to all those students who are taking their first steps into the fascinating and overwhelming world of Sound Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13924" PostHistoryTypeId="2" PostId="8315" RevisionGUID="e9bf3262-4ea1-4c2a-b455-2d3c351979b7" CreationDate="2011-05-29T15:14:15.263" UserId="780" Text="I'm pretty sure that in this context &quot;mixing in binaural&quot; means &quot;mixing using HRTF (Head Related Transfer Function)&quot;.&#xD;&#xA;&#xD;&#xA;So, yes, there are plug-ins out there that will do HRTFs. The problem remains this: a set of HRTFs that does the job right for me will not necessarily do the job right for you. I know that when I was demoed the Longcat software, I thought it was pretty impressive: the HRTFs set that was used was probably closer to my head and pinna shape and size than the set of HRTFs that was used when you tried it.&#xD;&#xA;&#xD;&#xA;In an ideal world, a surround mix should be in a neutral format (say, Ambisonic B-Format) that would be decoded/adapted to the playback environment or listener, whether it's on loudspeakers or headphones." ContentLicense="CC BY-SA 3.0" />
  <row Id="13925" PostHistoryTypeId="2" PostId="8316" RevisionGUID="bc27b5f9-5c4e-47e2-be57-f04b3808c45e" CreationDate="2011-05-29T18:03:09.723" UserId="397" Text="What's your source of inspiration that makes you create something different in every project?&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13928" PostHistoryTypeId="2" PostId="8318" RevisionGUID="5deb0d62-5b8e-4921-b3a8-0ce51dbae56d" CreationDate="2011-05-30T04:46:59.270" UserId="1111" Text="How do you put a mic cable inside a rode boompole? I'm having a heck of a time. Do I have to cut the cable and resolder it after I put the cable in? If anybody has a diagram or something that'd be great. Maybe I'm just stupid." ContentLicense="CC BY-SA 3.0" />
  <row Id="13929" PostHistoryTypeId="1" PostId="8318" RevisionGUID="5deb0d62-5b8e-4921-b3a8-0ce51dbae56d" CreationDate="2011-05-30T04:46:59.270" UserId="1111" Text="How do you put a mic cable inside a rode boompole" ContentLicense="CC BY-SA 3.0" />
  <row Id="13930" PostHistoryTypeId="3" PostId="8318" RevisionGUID="5deb0d62-5b8e-4921-b3a8-0ce51dbae56d" CreationDate="2011-05-30T04:46:59.270" UserId="1111" Text="&lt;boom-pole&gt;&lt;cable&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13931" PostHistoryTypeId="2" PostId="8319" RevisionGUID="e5be2417-8132-4db6-bcf5-8982df44640f" CreationDate="2011-05-30T05:29:15.207" UserId="830" Text="Generally I don't. It's faster to boom with it on the outside pulled tight. Gives you the option of different cable lengths and easier to maintain and pack up.&#xD;&#xA;&#xD;&#xA;If you do want to, the way I found it to work was to take the top part off the Boom pole by unscrewing it. Tread the XLR cable through the black screw (top part of the pole you just took off). Then push your XLR cable down the pole to the bottom. Remove the rubber stopper in bottom and bring all your excess though the pole. Once you have the amount at the top you want to leave, align and push the copper mic thread adapter into the black screw that you removed and should have the cable thread though it from before. Then put the screw back onto the end of the pole carefully as it will tighten and also twist the cable on the inside of the pole. Finish it off by putting the rubber stopper on the bottom.&#xD;&#xA;&#xD;&#xA;The biggest draw back of this, is that you need to tread your pole with cable when you adjust the length while in production. Really slows things down and if not properly done, can cause noise in your audio from the cable hitting the inside of the pole.&#xD;&#xA;&#xD;&#xA;Seriously, unless you get a custom spring style cable for the inside of the pole, it really isn't worth the effort. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13932" PostHistoryTypeId="2" PostId="8320" RevisionGUID="39d351d8-f91d-4e6e-9eae-3faf7a9c5886" CreationDate="2011-05-30T07:54:30.650" UserId="786" Text="The Conversation has a fantastic dream sequence. It is also a great film for sound!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13933" PostHistoryTypeId="2" PostId="8321" RevisionGUID="96946882-d2f8-4992-adf6-426060f453da" CreationDate="2011-05-30T12:05:50.003" UserId="63" Text="I guess this might interest many of you guys so i put the link bellow!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.tsimpountiii.gr/en/technology-tech/sound-sculptures-installations/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13934" PostHistoryTypeId="1" PostId="8321" RevisionGUID="96946882-d2f8-4992-adf6-426060f453da" CreationDate="2011-05-30T12:05:50.003" UserId="63" Text="Sound Sculptures &amp; Installations" ContentLicense="CC BY-SA 3.0" />
  <row Id="13935" PostHistoryTypeId="3" PostId="8321" RevisionGUID="96946882-d2f8-4992-adf6-426060f453da" CreationDate="2011-05-30T12:05:50.003" UserId="63" Text="&lt;sound-installations&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13936" PostHistoryTypeId="2" PostId="8322" RevisionGUID="99238a05-6773-4855-9bf7-bb26d5ce0247" CreationDate="2011-05-30T12:59:55.127" UserId="6462" Text="After reading a few articles and reviews about the Rode boompole it seems that the internal diameter is not quite large enough for a coiled cable. Also, as it's not designed to have a cable internally you will get a lot of noise from the cable banging about inside the pole.&#xD;&#xA;If you really want to put the cable internally then get some cloth tape and wrap the cable in this, this will help to reduce banging, but it won't stop it completely." ContentLicense="CC BY-SA 3.0" />
  <row Id="13937" PostHistoryTypeId="2" PostId="8323" RevisionGUID="c02d112b-bf41-4cbf-8070-15397c766e8e" CreationDate="2011-05-30T13:13:59.817" UserDisplayName="user80" Text="I would suggest not wasting your time.  It really is better to have the cable wrapped around the outside of the pole.   You will need to alter the length a lot, and any coiling of cables is more prone to pick up interference as well as cause vibrations that can be be picked up by the mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="13938" PostHistoryTypeId="2" PostId="8324" RevisionGUID="90878ec3-3005-4416-a47e-2edc8322a05f" CreationDate="2011-05-30T13:16:15.487" UserId="348" Text="I was wondering how many of you use those earphones (like the Sennheiser IE 4's) when recording, editing or even DJing? Compared to normal headphones like the MDR 7506, HD202 etc, what are the pro's and con's? Can the design of the earphones increase the dangers of audio fatigue and the potential for ear damage? &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13939" PostHistoryTypeId="1" PostId="8324" RevisionGUID="90878ec3-3005-4416-a47e-2edc8322a05f" CreationDate="2011-05-30T13:16:15.487" UserId="348" Text="Who uses earphones in the professional arena of music and film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="13940" PostHistoryTypeId="3" PostId="8324" RevisionGUID="90878ec3-3005-4416-a47e-2edc8322a05f" CreationDate="2011-05-30T13:16:15.487" UserId="348" Text="&lt;earphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13941" PostHistoryTypeId="2" PostId="8325" RevisionGUID="5b70f3b1-9e4f-4da8-82cd-53bc156f2dc5" CreationDate="2011-05-30T13:18:30.687" UserDisplayName="user80" Text="I don't use them at all as I find that audio fatigue kicks in faster." ContentLicense="CC BY-SA 3.0" />
  <row Id="13942" PostHistoryTypeId="2" PostId="8326" RevisionGUID="01fee779-a7a0-42b1-8e8b-20e79a788dcd" CreationDate="2011-05-30T13:27:25.417" UserId="6462" Text="Never. In fact I hardly ever use ear-bud / earphone style headphones any more. As Iain said above, audio fatigue sets in faster and also, after a while, physical fatigue will set in. I also find it very disconcerting to block out almost all sound, especially on location where you actually need to hear some of what is happening close to you, not just what is happening in front of the mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="13943" PostHistoryTypeId="2" PostId="8327" RevisionGUID="1a2d53a4-7e34-496c-a472-fb4e6e8fe33f" CreationDate="2011-05-30T13:41:16.003" UserId="6462" Text="One other thing I want to add is that you also need to consider the extra heat that might increase in your ears, this might sound stupid but if you have any wax buildup (which actually increases with regular use of earbuds and earphones) then the extra heat may cause this wax to melt slightly and could block the ear canal. Since I stopped using earbuds and earphones I have had less problems with wax buildup." ContentLicense="CC BY-SA 3.0" />
  <row Id="13944" PostHistoryTypeId="2" PostId="8328" RevisionGUID="3664e909-4b49-41d6-bb15-1e744b8ca419" CreationDate="2011-05-30T14:11:22.243" UserId="863" Text="I used to be a bit of a avid gamer, everyday, headphones for about 8 hours a day, and I used to get a lot of ear infections. &#xD;&#xA;&#xD;&#xA;Now that I don't play so much or wear headphones/earphones more than an hour a day, I am ear problem free.&#xD;&#xA;&#xD;&#xA;Earphones are awful for infections, don't use them for long periods." ContentLicense="CC BY-SA 3.0" />
  <row Id="13945" PostHistoryTypeId="2" PostId="8329" RevisionGUID="869025f3-a720-4bad-b887-7d65be7fc336" CreationDate="2011-05-30T14:25:42.390" UserId="1102" Text="Unfortunately, as I am at the begining of my career and havent bought my dream studio yet, i do use headphones when i am at home.  I use the Senheiser HD600's. They are open back monitoring headphones which i find an absolutle deslight to use. Open backs are the best choice for this type of work as they let the sound deiffuse around your ears rather than direct them into them - it also helps for frequency response as there are less presence peaks and you achieve a flatter responce.  &#xD;&#xA;&#xD;&#xA;Im very happy to work with them on the whole and tonality does translate well accross system.  My biggest concern really is reverb. When i mix in the studio then listen on headphones reverb always appears to promnant and when i mix in headphones and playback on speakers reverb is lost.  &#xD;&#xA;&#xD;&#xA;I reakon headphones are great for comparing accross systems and brilliant for tracklaying.  You could probably get away with it for radio work, animation, games etc but of course for anything commercial, try and get into a studio for final mixes and reverb design!&#xD;&#xA;&#xD;&#xA;hope this helps! " ContentLicense="CC BY-SA 3.0" />
  <row Id="13946" PostHistoryTypeId="2" PostId="8330" RevisionGUID="1cb47d42-72ff-4376-b335-bafdf703f2b7" CreationDate="2011-05-30T15:07:31.410" UserId="202" Text="I received my coonbox: that little thing really change the game! Less handling noise with the mkh30, and with every other microphone I tried. I used to have a short cable from the blimp to the handle of the Rycote (and then another one, long connected to the recorder), but the Connbox is really much better.&#xD;&#xA;&#xD;&#xA;I still have a bit of low rumble noise with the 30, hope to rent another one this week and do some tests.&#xD;&#xA;&#xD;&#xA;Thanks all you guys" ContentLicense="CC BY-SA 3.0" />
  <row Id="13947" PostHistoryTypeId="2" PostId="8331" RevisionGUID="e4dcc3ec-177f-4187-9115-73e5d81125a4" CreationDate="2011-05-30T16:59:27.307" UserId="1090" Text="If you want the &quot;versatility&quot; of an inside cable but the lightness of outside cable, you could tape the end of the cable to the top of the boompole and then put a short strap, like this&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;(loosly) on the end of the boom. This way the cable always sits and you can still adjust the length without it coiling and stuff. It's not optimal but it works for documentary and ENG and stuff...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.getout.se/bilder/artiklar/liten/BF33200AR_S.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="13948" PostHistoryTypeId="2" PostId="8332" RevisionGUID="126c01a6-abca-4552-99c5-e567367dac6f" CreationDate="2011-05-30T17:02:58.220" UserId="1113" Text="The only reason I ever would use earbuds is to verify a signal is present.  They are worthless in a professional environment, except possibly in a mastering situation where you wanted to hear the work through an iPod or something.  I use Sennheiser HD-280s for the artists' monitoring.  I like them because they close and seal around the entire ear and prevent bleeding into the mic.  Also if you're on a noisy set and want to try to hear what you're recording they help cancel out ambient noise.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13949" PostHistoryTypeId="2" PostId="8333" RevisionGUID="d686f298-b0e9-4b41-973f-ce7273eb803d" CreationDate="2011-05-30T17:27:18.537" UserId="1114" Text="I feel the best entry level portable recorder on the market today is the &lt;a href=&quot;http://portabledigitalrecordersreviews.com/sony-pcmm10-portable-digital-recorder/&quot;&gt;Sony PCMM10&lt;/a&gt; You really cant go wrong with this unit. It is very user friendly and has just about everything you will need in a portable digital recorder." ContentLicense="CC BY-SA 3.0" />
  <row Id="13950" PostHistoryTypeId="2" PostId="8334" RevisionGUID="8f94fff2-891a-4c96-b4fb-577483c77173" CreationDate="2011-05-30T18:02:22.177" UserId="1056" Text="I prefer to use headphones whenever possible, but it is not always practical. In-ears generally result in more fatigue, wax build-up, infections and hearing damage - all mentioned in previous responses. Even worse, they are generally not very accurate and can play hell with a mix.&#xD;&#xA;&#xD;&#xA;The only possible exception might be the Etymotic ER-4 range and even these should only be used in situations when it is not practical to use proper studio monitor headphones, such as when stuck at the airport or in a hotel room. They also include a nifty little adapter they supply that allows you to use them when watching an in-flight movie instead of suffering the torture ensured by the crappy ones the airlines supply.&#xD;&#xA;&#xD;&#xA;The benefits of the ER-4s over other in-ears:&#xD;&#xA;They offer about +/-40dB isolation, effectively blocking out background noise, which allows you to use them effectively at lower levels.&#xD;&#xA;They are probably the most accurate in-ear on the market, so it is actually possible to use them and not screw up your mix.&#xD;&#xA;They can also double up as monitors for drummers and other musicians that benefit from a bit of isolation, just remember to change the pads between users!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13951" PostHistoryTypeId="2" PostId="8335" RevisionGUID="68d16f0c-e4cb-470b-959d-a0e5343ba838" CreationDate="2011-05-30T18:53:20.880" UserId="1115" Text="I use them for live audio engineering. I use IE-40's and JH audio custom fit. I need the isolation. I wouldn't say they're useless at all, they have their place. For live work the 26-30+dB SPL isolation comes in very useful. I've never had any problems.&#xD;&#xA;&#xD;&#xA;For studio work I'd hesitate to use them because of fatigue. If I need to use headphones I use my HD650's but the environment has to be quiet as they offer little in the way of isolation.&#xD;&#xA;&#xD;&#xA;There is no real substitute for monitors in a studio environment, in my opinion. But if you have a poor room to listen in, this isn't going to do you much good either." ContentLicense="CC BY-SA 3.0" />
  <row Id="13952" PostHistoryTypeId="2" PostId="8336" RevisionGUID="db1dd14d-b11d-42f7-ba8c-e1d70a42d8e1" CreationDate="2011-05-30T19:16:19.647" UserId="1064" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I'm pretty new to sound design and currently working on a soundscape project for school. I want to add that &quot;shell shock&quot; silence effect, like when a grenade goes off to close to a character, but I'm not having any luck. Anybody have any suggestions? I'm working in ProTools 9.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;Kris" ContentLicense="CC BY-SA 3.0" />
  <row Id="13953" PostHistoryTypeId="1" PostId="8336" RevisionGUID="db1dd14d-b11d-42f7-ba8c-e1d70a42d8e1" CreationDate="2011-05-30T19:16:19.647" UserId="1064" Text="&quot;Shell shock&quot; effect from movies." ContentLicense="CC BY-SA 3.0" />
  <row Id="13954" PostHistoryTypeId="3" PostId="8336" RevisionGUID="db1dd14d-b11d-42f7-ba8c-e1d70a42d8e1" CreationDate="2011-05-30T19:16:19.647" UserId="1064" Text="&lt;movies&gt;&lt;war&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13955" PostHistoryTypeId="2" PostId="8337" RevisionGUID="65aadaa3-a919-4266-ae59-6983046c8c14" CreationDate="2011-05-30T19:50:46.260" UserId="400" Text="I'd use a filter and a synth. Use the filter to create a low-pass and remove almost all of the sound, then sweep the frequency back up as the &quot;shell-shock&quot; effect wears off. While the sound is filtered out, use the synth to create a high pitched &quot;whine&quot;. A sin wave will probably work for this.&#xD;&#xA;&#xD;&#xA;This is just off the top of my head, it might not work, but it could be a good place to start. Let us know how you get on!&#xD;&#xA;&#xD;&#xA;EDIT: Just saw you're using PT9, you'll be able to get the whine from the Vacuum instrument and you would be able to automate the EQ3 plugin for the filtering." ContentLicense="CC BY-SA 3.0" />
  <row Id="13956" PostHistoryTypeId="2" PostId="8338" RevisionGUID="c2a831ae-5afe-4a3e-8842-c54d185be1d0" CreationDate="2011-05-30T19:59:01.850" UserId="845" Text="You could go a little more figurative with it and pull everything, all of the sound, and replace it with something really uncomfortable, two slightly mismatched tones (100hz or something), maybe some low-passed thunder.&#xD;&#xA;&#xD;&#xA;The filter thing is a little cliche for my liking, but then again, it's probably accurate..." ContentLicense="CC BY-SA 3.0" />
  <row Id="13957" PostHistoryTypeId="5" PostId="8311" RevisionGUID="7d39d78e-39ac-4b3e-b661-ae0723aae549" CreationDate="2011-05-31T00:09:38.897" UserId="693" Comment="fixed formatting" Text="Some of these are Dream Sequences, some are Drug Sequences and some are Flashback/Forward scenes. They're all pretty interchangeable when it comes to techniques to portray a alternate sort of reality in my opinion.&#xD;&#xA;&#xD;&#xA;Inception (probably painfully obvious), The Imaginarium of Dr. Parnassus, The Matrix, Memento, Dark City, Jacobs Ladder, Enter The Void.&#xD;&#xA;&#xD;&#xA;That's all off the top of my head that no one else has mentioned yet. If any more come to mind I'll modify my post." ContentLicense="CC BY-SA 3.0" />
  <row Id="13958" PostHistoryTypeId="2" PostId="8339" RevisionGUID="9feceac1-88fc-479a-973e-b6a57049408a" CreationDate="2011-05-31T02:11:35.487" UserId="18160" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;This weekend I went to Florida for a gig and getting off the flight I think I experienced a bit of ear fatigue and tinnitus (I really hope it wasn't tinnitus) where I went and relaxed in a hotel room which was pretty quiet and I heard some sort of ringing in my ears (not really a tone or discernible pitch or frequency, just a general pressure)&#xD;&#xA;&#xD;&#xA;Does anyone else experience this? And if so, is there a trick or tip you can give me for how I can alleviate this because I usually walk off a plane and have to get to mixing within a few hours afterwards. I'm trying to work out how I can have a day or two to get settled in and used to the time change, but this is not always the case.&#xD;&#xA;&#xD;&#xA;Also, I'd be interested in seeing what the actual dB SPL of a plane is because 12 hours or more of that might not be too good for your ears...&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13959" PostHistoryTypeId="1" PostId="8339" RevisionGUID="9feceac1-88fc-479a-973e-b6a57049408a" CreationDate="2011-05-31T02:11:35.487" UserId="18160" Text="Tinnitus after plane flights" ContentLicense="CC BY-SA 3.0" />
  <row Id="13960" PostHistoryTypeId="3" PostId="8339" RevisionGUID="9feceac1-88fc-479a-973e-b6a57049408a" CreationDate="2011-05-31T02:11:35.487" UserId="18160" Text="&lt;plane&gt;&lt;ear-protection&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13961" PostHistoryTypeId="5" PostId="8339" RevisionGUID="8c72e0fa-8f2e-41e3-9de7-447f14072179" CreationDate="2011-05-31T02:21:13.987" UserId="18160" Comment="added 17 characters in body" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;This weekend I went to Florida for a gig and getting off the flight I think I experienced a bit of ear fatigue and tinnitus (I really hope it wasn't tinnitus) where I went and relaxed in a hotel room after the flight which was pretty quiet and I heard some sort of ringing in my ears (not really a tone or discernible pitch or frequency, just a general pressure)&#xD;&#xA;&#xD;&#xA;Does anyone else experience this? And if so, is there a trick or tip you can give me for how I can alleviate this because I usually walk off a plane and have to get to mixing within a few hours afterwards. I'm trying to work out how I can have a day or two to get settled in and used to the time change, but this is not always the case.&#xD;&#xA;&#xD;&#xA;Also, I'd be interested in seeing what the actual dB SPL of a plane is because 12 hours or more of that might not be too good for your ears...&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13962" PostHistoryTypeId="2" PostId="8340" RevisionGUID="585e9835-bd4c-4636-85d6-fda8af95826d" CreationDate="2011-05-31T02:52:22.157" UserId="396" Text="I read a blog post a while back which touched on SPL in aircraft... come to think of it, it was a post by Andrew! http://www.soundplusdesign.com/?p=3155. Andrew found around 89db I think, and I've seen similar and even higher figures quoted elsewhere.&#xD;&#xA;&#xD;&#xA;Ever since then I've made sure I wear earplugs on flights, and it really does make a difference. It's crazy to think that we take care to avoid damaging sound levels at gigs and during mixing, and then sit in such a loud environment for hours on end without thinking about it!&#xD;&#xA;&#xD;&#xA;I hate to think what SPL movies must be played back at over cheap airline headphones, to be heard over the engine noise!" ContentLicense="CC BY-SA 3.0" />
  <row Id="13963" PostHistoryTypeId="2" PostId="8341" RevisionGUID="bc6ba2fc-1464-4893-b00d-83b817e8cc18" CreationDate="2011-05-31T03:47:22.050" UserId="338" Text="Use a filter from fruity loops.  There  are a few Shell Shock presets that I know a lot of people in hollywood use quite regularly.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="13964" PostHistoryTypeId="2" PostId="8342" RevisionGUID="2eae2aa9-602a-4f2b-9731-085d6acca258" CreationDate="2011-05-31T04:44:45.993" UserId="1116" Text="A common method is to use the Signal Generator AudioSuite and generate a sine tone @ 7-12Khz. You can then use the 1-band EQ set to a low-pass with a steep rolloff (24dB/oct) with a slight resonance and automate it down to a cutoff of around 120-200Hz. To augment the effect you could increase the Q on the filter when it reaches the lower frequency, even use a delay/phase effect. Tip: Using a short delay time with a mix of ~30% @ &lt;20ms you can also achieve comb filtering effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="13965" PostHistoryTypeId="2" PostId="8343" RevisionGUID="8ea966f6-71c4-4e9a-90db-9522dc8ec581" CreationDate="2011-05-31T04:46:39.847" UserId="670" Text="There's a lot of background noise with a high pitched whine in this interview I'm trying to work on but I cannot seem to get rid of it with Waves C4 or EQ. They recorded the interview with the Zoom H4n on-board mics..Do you guys or gals have any advice?&#xD;&#xA;&#xD;&#xA;Here's a sample: http://soundcloud.com/mitchell-scott/interview" ContentLicense="CC BY-SA 3.0" />
  <row Id="13966" PostHistoryTypeId="1" PostId="8343" RevisionGUID="8ea966f6-71c4-4e9a-90db-9522dc8ec581" CreationDate="2011-05-31T04:46:39.847" UserId="670" Text="Getting rid of background noise" ContentLicense="CC BY-SA 3.0" />
  <row Id="13967" PostHistoryTypeId="3" PostId="8343" RevisionGUID="8ea966f6-71c4-4e9a-90db-9522dc8ec581" CreationDate="2011-05-31T04:46:39.847" UserId="670" Text="&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13968" PostHistoryTypeId="2" PostId="8344" RevisionGUID="f0d31c9f-beb2-4c3a-91c1-a6059a511abf" CreationDate="2011-05-31T04:55:40.720" UserId="830" Text="You are going to have a hard time with that audio.&#xD;&#xA;&#xD;&#xA;As the interviewee's are quite off mic and lots of room noise, a lot of what you do will impact on their vocals. You can use a notch eq filter to try minimise the fan noise in the background.&#xD;&#xA;&#xD;&#xA;The other option is to use a noise reduction plugin where you set the noise sample and then apply it to the clip. If used correctly, you will get a bit of noise reduction (you cannot push it with that audio you have) and hopefully bring out the vocals more.&#xD;&#xA;&#xD;&#xA;Other guys on here might have some more effective ways at cleaning this up, but the old saying is &quot;You cannot polish a turd&quot;, but you can sure try.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="13969" PostHistoryTypeId="2" PostId="8345" RevisionGUID="63c3037c-a633-44c5-9629-118d897644c8" CreationDate="2011-05-31T05:03:30.593" UserId="29" Text="I agree with Bruce's post. Izotope is the plug-in I'd reach for first...but yeah, the signal:noise ratio is pretty low, so there'll be a fine line between improvement and turning the audio into aquatic swimmyness. The fan noise is also pretty high-pitched, so I'd worry about EQing into the women's voices. If the audio was otherwise pristine I'd also suggest  trying DeVerb to get that room 'verb outta there, but I think the background noise is the right battle to choose.&#xD;&#xA;&#xD;&#xA;If you don't have Izotope, it's a bit spendy. Is this audio that will sync to video? If not, it might be worth a reshoot, cost/time-wise. You might also want to do an EQ pass to bulk up the voices as well, which feel a little thin in the low-mids. But I can also nearly guarantee that anyone who's purchased Izotope has never regretted it. :-) " ContentLicense="CC BY-SA 3.0" />
  <row Id="13970" PostHistoryTypeId="2" PostId="8346" RevisionGUID="b9f529c2-74b5-4d8c-911b-c098e2e07341" CreationDate="2011-05-31T05:13:16.053" UserId="29" Text="I'd recommend seeing your doctor or a specialist! Of course, that won't keep me from offering some over-the-counter ideas... ;-)&#xD;&#xA;&#xD;&#xA;If it's just an exposure-to-high-SPL issue, though, a pair of Etymotics or similar high-quality earplugs, as James has suggested, is probably a wise investment. Try it first with el cheapo foamies, though, just to see what happens.&#xD;&#xA;&#xD;&#xA;Consider, too, if it's physiologically connected to your sinuses or other pressure building in Ye Olde Skull due to the pressure differentials involved in flying. I've had a number of horrifically painful, week-long ear infections from plane travel in the winter, when I am fighting off colds, and using it the day I travel has been great. Be aware that over-the-counter nasal sprays are not supposed to be used for more than three days in a row, so be careful. If you think this might be the issue, though, please do see your doctor or an eye/ear/nose/throat specialist...I'm no doctor, nor do I play one on TV.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13971" PostHistoryTypeId="2" PostId="8347" RevisionGUID="898f0415-5321-43fe-a612-afd0a7b75ff1" CreationDate="2011-05-31T05:41:37.733" UserId="1117" Text="Hey Guys!&#xD;&#xA;&#xD;&#xA;First time posting.&#xD;&#xA;&#xD;&#xA;i was wondering if anyone has any ideas on creating a whistling bomb sound, like a falling bomb. without sounding too cartoony.&#xD;&#xA;&#xD;&#xA;my first thought was to record a Nerf Vortex throwing missile toy thing, which i have recorded, by me blowing in the whistles, they sound ok, but i think i need more to it.&#xD;&#xA;&#xD;&#xA;has anyone done it before?&#xD;&#xA;&#xD;&#xA;i looked on youtube and found a bunch of fireworks, but i dont think ill be able to get any in australia haha.&#xD;&#xA;&#xD;&#xA;cheers&#xD;&#xA;JF" ContentLicense="CC BY-SA 3.0" />
  <row Id="13972" PostHistoryTypeId="1" PostId="8347" RevisionGUID="898f0415-5321-43fe-a612-afd0a7b75ff1" CreationDate="2011-05-31T05:41:37.733" UserId="1117" Text="Whistling bomb sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="13973" PostHistoryTypeId="3" PostId="8347" RevisionGUID="898f0415-5321-43fe-a612-afd0a7b75ff1" CreationDate="2011-05-31T05:41:37.733" UserId="1117" Text="&lt;whistling&gt;&lt;sound-design&gt;&lt;sound-effects&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13974" PostHistoryTypeId="5" PostId="8347" RevisionGUID="2861ad0f-7498-4d28-9bbb-b65cd75d40f6" CreationDate="2011-05-31T05:47:10.657" UserId="1117" Comment="added 84 characters in body" Text="Hey Guys!&#xD;&#xA;&#xD;&#xA;First time posting.&#xD;&#xA;&#xD;&#xA;i was wondering if anyone has any ideas on creating a whistling bomb sound, like a falling bomb. without sounding too cartoony.&#xD;&#xA;&#xD;&#xA;my first thought was to record a Nerf Vortex throwing missile toy thing, which i have recorded, by me blowing in the whistles, they sound ok, but i think i need more to it. may be good for a layer, but sounds a little bit like old style boiling kettle haha&#xD;&#xA;&#xD;&#xA;has anyone done it before?&#xD;&#xA;&#xD;&#xA;i looked on youtube and found a bunch of fireworks, but i dont think ill be able to get any in australia haha.&#xD;&#xA;&#xD;&#xA;cheers&#xD;&#xA;JF" ContentLicense="CC BY-SA 3.0" />
  <row Id="13975" PostHistoryTypeId="2" PostId="8348" RevisionGUID="7cdcbd35-9b9e-49db-9685-7c132e695ed9" CreationDate="2011-05-31T06:00:27.540" UserId="1066" Text="Maybe this programm wil do the trick: http://www.algorithmix.com/en/renovator.htm&#xD;&#xA;You can also find a movie about it on soundworkscollection. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13976" PostHistoryTypeId="2" PostId="8349" RevisionGUID="dcefb2d6-53ba-42d6-a1af-da8135c5d73f" CreationDate="2011-05-31T06:04:17.023" UserId="693" Text="You can achieve this effect by automating the pitch of an oscillator downwards over time (the duration of the sound), adding a bit of distortion to add screeching harmonics and then automating reverb to have a longer tail over the duration of the sound.&#xD;&#xA;&#xD;&#xA;The reverb on that will vary depending on the perspective. Say if the perspective is of the bomb just leaving the bay of the airplane and getting further away then the tail would get longer over time." ContentLicense="CC BY-SA 3.0" />
  <row Id="13977" PostHistoryTypeId="2" PostId="8350" RevisionGUID="824722b0-0c8b-4acb-80fa-17f256ece807" CreationDate="2011-05-31T06:10:52.303" UserId="348" Text="Hello,&#xD;&#xA;&#xD;&#xA;A friend of mine just had a situation whereby she saved her Protools project last night and when she came to opening the project this morning she was unable to due to a Protools DAE9126 error. Can anyone explain this and maybe offer some advice as to how we can solve it. &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13978" PostHistoryTypeId="1" PostId="8350" RevisionGUID="824722b0-0c8b-4acb-80fa-17f256ece807" CreationDate="2011-05-31T06:10:52.303" UserId="348" Text="Protools DAE9126 error. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13979" PostHistoryTypeId="3" PostId="8350" RevisionGUID="824722b0-0c8b-4acb-80fa-17f256ece807" CreationDate="2011-05-31T06:10:52.303" UserId="348" Text="&lt;pro-tools&gt;&lt;error&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13980" PostHistoryTypeId="5" PostId="8350" RevisionGUID="2f9f4621-ac9e-42ea-8816-8fefe7bc3c52" CreationDate="2011-05-31T06:48:20.010" UserId="348" Comment="added 39 characters in body" Text="Hello,&#xD;&#xA;&#xD;&#xA;A friend of mine just had a situation whereby she saved her Protools project last night and when she came to opening the project this morning she was unable to due to a Protools DAE9126 error. Can anyone explain this and maybe offer some advice as to how we can solve it. pt 8.04 LE with the snow leopard 10.3. &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13981" PostHistoryTypeId="2" PostId="8351" RevisionGUID="be723452-31d6-4044-a737-ca88e55b8e5e" CreationDate="2011-05-31T07:10:31.383" UserId="2" Text="As James &amp; NoiseJockey say, the mix of air-pressure changes and expose to loud SPL aren't a superb combination, although I'd think it's more to do with the change of altitude than the loudness. &#xD;&#xA;&#xD;&#xA;I've spent a big part of my life with sinus issues, and I've felt my ear drums and sinuses on the verge of imploding many times! A friend of mine actually burst his ear drum while flying with a cold. Scary!  &#xD;&#xA;&#xD;&#xA;**potential solution?** &#xD;&#xA;&#xD;&#xA;I fly a lot for work and pleasure. Just skydiving alone, I used drop 12000ft in under a minute, and repeat that 10 times/day. So I feel like I have come up with a solution that works for me...&#xD;&#xA;&#xD;&#xA;- I use air pressure regulating ear plugs [such as these][1]! They actually changed my life! I usually don't get pain or that blocked feeling for hours/days after. They don't attenuate sound, they just prevent fast shifts in air pressure to push against your drum quicker than you're naturally able to decompress. You need to use them mainly on the descent and maybe on the ascent if you're in pain. During the rest of the flight you can use normal earplugs for your protection/comfort. &#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;- As an emergency, I also got an ENT to prescribe me some mega-hardcore decongestion nose sprays that I keep in my travel bag. So I can take it if I'm congested - and BOOM! I'm all clear in no time. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/EarPlane-Pressure-Regulating-Plugs-Adult/dp/B00023DIFO&#xD;&#xA;  [2]: http://ecx.images-amazon.com/images/I/21D40CG24ML._SL500_AA300_.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="13982" PostHistoryTypeId="2" PostId="8352" RevisionGUID="21e897ff-4c83-438b-a1fd-e2d8162df410" CreationDate="2011-05-31T07:26:03.440" UserId="2" Text="Once you find/design the actual sound you like, having a slow doppler effect (without direction) will give it that falling effect. " ContentLicense="CC BY-SA 3.0" />
  <row Id="13983" PostHistoryTypeId="2" PostId="8353" RevisionGUID="5153bff1-8f0a-4345-88ff-f5c1592bd85c" CreationDate="2011-05-31T07:33:41.260" UserId="693" Text="Like I said, I think this is a drive permissions issue. Make sure the session isn't on the main Mac HD.&#xD;&#xA;&#xD;&#xA;The first thing I'd do is copy the session to another drive and try and open it that way.&#xD;&#xA;&#xD;&#xA;Then if I can get the session open, check my disk allocations and permissions for the session and make sure none of them are set to the main HD.&#xD;&#xA;&#xD;&#xA;If that doesn't work, check both your Audio Files and Fade Files folders for files with potentially illegal characters like !@#$%^&amp;*(){}|&lt;&gt;?:&quot; etc.&#xD;&#xA;&#xD;&#xA;I'd also trash your pro tools preferences files and if it still doesn't open, trash the preference files again and repeat the steps above.&#xD;&#xA;&#xD;&#xA;**Here's a list of Troubleshooting tips from Avid:** &#xD;&#xA;&#xD;&#xA;**Delete Pro Tools preferences.**&#xD;&#xA;-Go to Users &gt; “your user name” &gt; Library &gt; Preferences&#xD;&#xA;-Delete 'com.digidesign.protoolsLE.plist', 'DAE Prefs' (folder), 'DigiSetup.OSX' and 'Pro Tools preferences'.&#xD;&#xA;-Empty trash, then restart the computer.&#xD;&#xA;&#xD;&#xA;You can also use the [Pro Tools Preference and Database Helper][1] to trash preferences and databases automatically, as well as providing a few other useful tools. (This application is provided by a 3rd party and is not tested or supported by Digidesign)&#xD;&#xA;&#xD;&#xA;**Repair Permissions**&#xD;&#xA;-Quit Pro Tools and launch Apple's &quot;Disk Utility&quot; application, located in:&#xD;&#xA;&#xD;&#xA;MacHD&gt;Applications &amp; Utilities.&#xD;&#xA;&#xD;&#xA;-Select your boot drive (the whole drive, not the volume underneath the drive)&#xD;&#xA;-Go to the 'First Aid' tab and select &quot;Repair Disk Permissions&quot;&#xD;&#xA;&#xD;&#xA;Apple recommends doing this any time you install new software, update your OS or install any software.&#xD;&#xA;&#xD;&#xA;**Delete Databases and Volumes**&#xD;&#xA;&#xD;&#xA;This step can be useful when receiving random 'assertion' or 'neoaccess' errors, especially when recording or saving.&#xD;&#xA;&#xD;&#xA;-Delete the &quot;Digidesign Databases&quot; folders on the first level of all mounted hard drives.&#xD;&#xA;-Delete the &quot;Volumes&quot; folder:&#xD;&#xA;Pro Tools versions 7.3 and earlier it's located in MacHD &gt; Library &gt; Application Support &gt; Digidesign &gt; Databases.&#xD;&#xA;Pro Tools 7.4 and higher will find it in MacHD &gt; Library &gt; Application Support &gt; Digidesign &gt; Databases &gt; Unicode.&#xD;&#xA;&#xD;&#xA;-Empty trash, then restart the computer.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://web.mac.com/jcdeshaies/DeleteProToolsPrefs/Bienvenue.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="13984" PostHistoryTypeId="2" PostId="8354" RevisionGUID="78fdb058-c18a-4e27-ada7-8fcfb1f47691" CreationDate="2011-05-31T07:41:07.480" UserId="1056" Text="I can't recommend the Etymotic ER-4s enough. They are in-ears, but provide substantial noise protection, even when you are not listening to something. The big benefit is that they come with an adapter that allows you to plug them into the headphone jacks on the plane and use them instead of the junk the airlines provide.&#xD;&#xA;&#xD;&#xA;Etymotic EB-15 earplugs are even better, as they protect your ears from constant high SPL while still allowing you to hear normally. They also include an option to boost quieter sounds, which is great for reducing the constant drone of the plane while allowing you to have a normal conversation with the person next to you.&#xD;&#xA;&#xD;&#xA;The only problem with Etymotic products is that they are extremely expensive. Personally though, I think it is a justified expense, comparable to a singer insuring their voice. However, the air pressure regulating earplugs recommended by Andrew look like a really good cost-effective compromise." ContentLicense="CC BY-SA 3.0" />
  <row Id="13985" PostHistoryTypeId="2" PostId="8355" RevisionGUID="32fac2ca-f41c-484c-b448-7509dee145fd" CreationDate="2011-05-31T09:18:26.273" UserId="786" Text="I would go for the Izotope denoiser, it should be able to bring down the background noise by about 12 dB with just a few artifacts, if you use C or D mode.&#xD;&#xA;&#xD;&#xA;Render the audio with audiosuite and then put it on a track with a C4 to see if you can expand it a little bit afterwards.&#xD;&#xA;&#xD;&#xA;Use a bit of EQ, you can perhaps tone down the noise with a broad dip with a low Q.&#xD;&#xA;&#xD;&#xA;Just be careful not to do too much harm to the the dialogue while removing the noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="13986" PostHistoryTypeId="2" PostId="8356" RevisionGUID="962d130d-d7c2-4cc3-b479-ef29ed6550f4" CreationDate="2011-05-31T10:01:25.313" UserId="1056" Text="Hi Mitchell&#xD;&#xA;Does it need to be pristine or just for the dialogue to be clearly audible? The noise signature is well defined and easy to separate, so you should be able to remove most of it using any decent NR plug-in. The dialogue will definitely be more audible, but the process may introduce a pumping effect and some artifacting. You can always add a bit of white noise or a soundbed afterwards to mask this.&#xD;&#xA;&#xD;&#xA;I hope you don't mind, but I ran your sample through a basic iZotope Rx Nr algorithm and posted the result here: http://snd.sc/llUiI2&#xD;&#xA;&#xD;&#xA;This was pretty quick and dirty, but you should be able to achieve better results doing multiple passes in small increments." ContentLicense="CC BY-SA 3.0" />
  <row Id="13987" PostHistoryTypeId="2" PostId="8357" RevisionGUID="85dd303c-53e8-4373-92ae-6803e6ad0cf5" CreationDate="2011-05-31T10:19:28.160" UserId="6524" Text="Hey guys, I'm Indian and I'm pretty cheap so I've never paid for plugins or VST instruments (yet) and I'm always on the look out for something free, so I thought I'd list some of the stuff that I've found and if you guy's have something that I haven't listed we can share links. &#xD;&#xA;&#xD;&#xA;**Plugins:**&#xD;&#xA;&#xD;&#xA;[Variety of Sound][1]: I found these plugins today and I'm not sure if anyone's used them before but I was so impressed by how good they look and sound, their **epicVerb** and **FerricTDS** are the best plugins I've heard out of my computer (I don't know how it compares to stuff like Waves and others though).&#xD;&#xA;&#xD;&#xA;[Kjaerhus Audio Classic Series][2]: I found these from DJ Laidback Luke he mentioned them in some weird studio tour in his home, These are pretty alright I like the **Auto-Filter**.&#xD;&#xA;&#xD;&#xA;[ReaPlugs][3]: I found these today as well but I haven't tried them yet, these are the plugins that are found in Cockos REAPER, I'm excited to try their **Multi-band Compressor** cause I've never really used one before.&#xD;&#xA;&#xD;&#xA;[Molot][4]: This is a Russian **Compressor** which I haven't used yet to be honest but its looks great.&#xD;&#xA;&#xD;&#xA;**Instruments:**&#xD;&#xA;&#xD;&#xA;[Elektrostudio][5]: These were first free synths that I had found, I really like the **Model Pro** its like a replica of the Moog Prodigy its pretty fun to play with.&#xD;&#xA;&#xD;&#xA;[MinimogueVA][6]: This is one more thing I found today, its a replica of the **Mini Moog** and its so much fun and sounds great too.&#xD;&#xA;&#xD;&#xA;[Formant Classic][7]: I found this synth last night and its pretty good, the guy who made it says that its good for learning how to use synths and stuff.&#xD;&#xA;&#xD;&#xA;[DiscoDSP HighLife][8]: I found this through the Game Audio Tutorial book and its so much fun, its a **Sampler**, I like to put in recordings of my brother farting and make melodies out of it lol.&#xD;&#xA;&#xD;&#xA;[Vocov2][9]: This is a fun **Vocoder** which is another alternative I use to make music with my brother's farts.  &#xD;&#xA;&#xD;&#xA;[TS-808][10]: Ohh snap this is another thing I found today, this is obviously a replica of the **Roland 808 Drum Machine**, I've only played around a little bit with this but from what I've heard so far its really good.&#xD;&#xA;&#xD;&#xA;So anyway I hope this doesn't make me look like a super duper fantastical cheapo and also since I'm still a beginner in sound and can't really help many people on here, I hope at least these can help you guys. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://varietyofsound.wordpress.com/vst-effects/&#xD;&#xA;  [2]: http://www.acoustica.com/plugins/vst-directx.htm&#xD;&#xA;  [3]: http://www.reaper.fm/reaplugs/&#xD;&#xA;  [4]: http://vladgsound.wordpress.com/plugins/molot/&#xD;&#xA;  [5]: http://www.elektrostudio.ovh.org/index2.php&#xD;&#xA;  [6]: http://home.no/gunnare/index.htm&#xD;&#xA;  [7]: http://www.ftec-audio.com/formant-classic/&#xD;&#xA;  [8]: http://www.discodsp.com/highlife/&#xD;&#xA;  [9]: http://www.g200kg.com/en/software/vocov.html&#xD;&#xA;  [10]: http://tactilesounds.blogspot.com/p/tactile-synthesizers.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="13988" PostHistoryTypeId="1" PostId="8357" RevisionGUID="85dd303c-53e8-4373-92ae-6803e6ad0cf5" CreationDate="2011-05-31T10:19:28.160" UserId="6524" Text="Free Plugins and VSTs" ContentLicense="CC BY-SA 3.0" />
  <row Id="13989" PostHistoryTypeId="3" PostId="8357" RevisionGUID="85dd303c-53e8-4373-92ae-6803e6ad0cf5" CreationDate="2011-05-31T10:19:28.160" UserId="6524" Text="&lt;free&gt;&lt;plugin&gt;&lt;effects&gt;&lt;instruments&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13990" PostHistoryTypeId="4" PostId="8357" RevisionGUID="79371d10-63ca-46f6-9290-91151d196037" CreationDate="2011-05-31T10:27:38.703" UserId="6524" Comment="Weird Title." Text="Free VST Effects and Instruments" ContentLicense="CC BY-SA 3.0" />
  <row Id="13991" PostHistoryTypeId="2" PostId="8358" RevisionGUID="544c3a14-deef-49f2-817c-07d23dbab01a" CreationDate="2011-05-31T13:28:44.687" UserId="238" Text="[Soundhack][1] is a great place to find freeware plug ins.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundhack.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13992" PostHistoryTypeId="16" PostId="8358" RevisionGUID="544c3a14-deef-49f2-817c-07d23dbab01a" CreationDate="2011-05-31T13:28:44.687" UserId="238" />
  <row Id="13993" PostHistoryTypeId="2" PostId="8359" RevisionGUID="315b2936-3c05-46ec-9ffc-fe5ba4b4f3c9" CreationDate="2011-05-31T16:29:31.980" UserId="234" Text="AU not VST, but Micheal Norris' excellent Sound Magic Spectral Plug-Ins have done well for me.&#xD;&#xA;http://www.michaelnorris.info/soundmagicspectral/index.html&#xD;&#xA;&#xD;&#xA;I'm also fond of the Togu Audio Line stuff...&#xD;&#xA;http://kunz.corrupt.ch/" ContentLicense="CC BY-SA 3.0" />
  <row Id="13994" PostHistoryTypeId="2" PostId="8360" RevisionGUID="bb194074-c9a0-48d5-8721-e342b196ebf7" CreationDate="2011-05-31T17:24:59.217" UserId="18160" Text="If this is what you have to work with, I personally think it's better to not try to drastically reduce the noise and leave it somewhat untouched and smooth out the transitions and edits to make it sound natural in and out of words and sentences. Even with top CEDAR gear, I don't think you'll end up much better off. The key to something like this is SLIGHT and GENTLE noise reduction - otherwise like NoiseJockey mentioned, you'll be swimming with the sea monkeys in no time.&#xD;&#xA;&#xD;&#xA;I see this a lot in work my peers do - they take a very noisy recording and try to suck all of the noise out of it and they invariably cut right into the voice and make it sound worse than without the noise reduction. &quot;But the hiss is gone!!&quot; Yeah, so is the audience's understanding.&#xD;&#xA;&#xD;&#xA;Just my .02." ContentLicense="CC BY-SA 3.0" />
  <row Id="13995" PostHistoryTypeId="5" PostId="8360" RevisionGUID="381a9ba2-5dfd-41bf-8fa4-d8d52b6aa840" CreationDate="2011-05-31T17:35:26.343" UserId="18160" Comment="added 343 characters in body" Text="If this is what you have to work with, I personally think it's better to not try to drastically reduce the noise and leave it somewhat untouched and smooth out the transitions and edits to make it sound natural in and out of words and sentences. Even with top CEDAR gear, I don't think you'll end up much better off. The key to something like this is SLIGHT and GENTLE noise reduction - otherwise like NoiseJockey mentioned, you'll be swimming with the sea monkeys in no time.&#xD;&#xA;&#xD;&#xA;I see this a lot in work my peers do - they take a very noisy recording and try to suck all of the noise out of it and they invariably cut right into the voice and make it sound worse than without the noise reduction. &quot;But the hiss is gone!!&quot; Yeah, so is the audience's understanding.&#xD;&#xA;&#xD;&#xA;Just my .02.&#xD;&#xA;&#xD;&#xA;P.S. Don't forget to give the recordist who did this a hard time and help him do a better job next time. And if it was you, learn from it and make sure you get a better recording next time. If I were to receive this quality of recording for mixing I'd instantly reject it as unmixable and I'm sure a lot of other studios would do the same." ContentLicense="CC BY-SA 3.0" />
  <row Id="13996" PostHistoryTypeId="2" PostId="8361" RevisionGUID="fe46b39a-b380-4c51-aac6-24966fb1ed96" CreationDate="2011-05-31T17:47:02.667" UserId="1039" Text="Does anyone know any CD recordings or royalty-free sites that contain quality animal sounds of various types? (ie: North American, African, Asian, Australian animal sounds).  &#xD;&#xA;&#xD;&#xA;The key to this question is quality sounds.  I have found several sites but the recording quality is rather poor.  One site I found has well-recorded animal sounds but is for personal use only and not commercial.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Carmine" ContentLicense="CC BY-SA 3.0" />
  <row Id="13997" PostHistoryTypeId="1" PostId="8361" RevisionGUID="fe46b39a-b380-4c51-aac6-24966fb1ed96" CreationDate="2011-05-31T17:47:02.667" UserId="1039" Text="Animal Sounds Libraries" ContentLicense="CC BY-SA 3.0" />
  <row Id="13998" PostHistoryTypeId="3" PostId="8361" RevisionGUID="fe46b39a-b380-4c51-aac6-24966fb1ed96" CreationDate="2011-05-31T17:47:02.667" UserId="1039" Text="&lt;sound-libraries&gt;&lt;animals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="13999" PostHistoryTypeId="16" PostId="8361" RevisionGUID="fe46b39a-b380-4c51-aac6-24966fb1ed96" CreationDate="2011-05-31T17:47:02.667" UserId="1039" />
  <row Id="14000" PostHistoryTypeId="2" PostId="8362" RevisionGUID="06ad8e43-220d-4194-93f7-f5fc8251117a" CreationDate="2011-05-31T17:51:32.600" UserId="18160" Text="The most recent Nightmare on Elmstreet film." ContentLicense="CC BY-SA 3.0" />
  <row Id="14001" PostHistoryTypeId="2" PostId="8363" RevisionGUID="4e2c82fb-11a7-441f-b29d-5731fd585f14" CreationDate="2011-05-31T18:31:14.320" UserDisplayName="user80" Text="The problem is normally due to pressure differences between the inner and outer ear.  Simple chewing can help, but some people can experience severe pain.  Decongestants help, the best is actually sea water which you can use regularly without causing damage.   &#xD;&#xA;&#xD;&#xA;http://www.boots.com/en/Sterimar-Isotonic-100ml-100ml_9333/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14002" PostHistoryTypeId="2" PostId="8364" RevisionGUID="7a31249c-644d-4dfb-935f-e367678d2b0f" CreationDate="2011-05-31T18:40:01.053" UserId="194" Text="The smaller libraries tend to be very good.&#xD;&#xA;&#xD;&#xA; - Tim Prebble's seals - http://hissandaroar.com/sd003-seal-vocals/&#xD;&#xA; - Chuck Russom's dogs - http://chuckrussomfx.com/store/index.php?main_page=product_info&amp;cPath=1&amp;products_id=4&#xD;&#xA; - Frank Bry's pigs and insects - http://www.therecordist.com/soundbox-sfx/soundbox-hd/animals-hd&#xD;&#xA; - Boom Library's wildcats - http://www.boomlibrary.com/index.php?option=com_content&amp;view=article&amp;id=48&#xD;&#xA;&#xD;&#xA;I also hear that Rob Nokes has tons of excellent horse recordings.&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;FWIW animals are tricky in the way that vehicles are tricky.&#xD;&#xA;&#xD;&#xA; - access can be difficult/expensive&#xD;&#xA; - recording environments can be challenging because they often must be done outdoors&#xD;&#xA; - they tend to be very expressive, so its difficult to get full and complete coverage for library purposes&#xD;&#xA; - there are thousands of unique species and breeds and makes and models&#xD;&#xA; - there are subcultures of people out there that specialize in one specific animal/vehicle type and they will call you out if things don't sound right.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For these and other reasons it's difficult for libraries to really get excellent sounding coverage over a variety of species in a cost-effective and marketable manner.  The end result is that (with the exception of the few libraries listed above) if you're looking for good sounding generic stuff that doesn't go deep into coverage you're probably going to be ok, but the moment you need something even a little specialized you're probably going to need to source and record those elements yourself." ContentLicense="CC BY-SA 3.0" />
  <row Id="14003" PostHistoryTypeId="16" PostId="8364" RevisionGUID="7a31249c-644d-4dfb-935f-e367678d2b0f" CreationDate="2011-05-31T18:40:01.053" UserId="-1" />
  <row Id="14004" PostHistoryTypeId="2" PostId="8365" RevisionGUID="35064f88-3f64-43e2-a20f-53affb86743e" CreationDate="2011-05-31T18:43:22.240" UserId="845" Text="I hate to be that guy, but... You could just record yourself whistling. Save a lot of time on automation. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14005" PostHistoryTypeId="2" PostId="8366" RevisionGUID="af1f6613-d1ba-4c43-ba81-08e7d0c19328" CreationDate="2011-05-31T21:57:23.073" UserId="999" Text="Ballons i imagine would be pretty good for this, as you could vary the size of them, how fast you let air out etc, and process them as much as you like after!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14006" PostHistoryTypeId="2" PostId="8367" RevisionGUID="deb91951-cf44-43c9-b681-60f82463f664" CreationDate="2011-05-31T22:04:42.063" UserId="1118" Text="Hi Andy, &#xD;&#xA;&#xD;&#xA;Not sure if you still need someone for this but you can check out my site at www.simonashdown.co.uk - I have worked on projects for the BBC, Channel 4, HBO and Sky.&#xD;&#xA;&#xD;&#xA;email direct at syashdown@hotmail.com&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="14007" PostHistoryTypeId="2" PostId="8368" RevisionGUID="3cdbaa27-0e8c-41a9-a495-59b27bcd47da" CreationDate="2011-05-31T22:26:38.740" UserId="338" Text="I downloaded a free game called WARZONE and the music actually contained the Willhelm SCREAM it was hilarious" ContentLicense="CC BY-SA 3.0" />
  <row Id="14008" PostHistoryTypeId="2" PostId="8369" RevisionGUID="b898b79f-d0d9-4185-92dd-d790ac62fdf8" CreationDate="2011-05-31T22:42:54.570" UserId="558" Text="I love DFX skidder.  Its free, intuitive and easy to use.  Great for pass-bys.&#xD;&#xA;&#xD;&#xA;http://destroyfx.smartelectronix.com/&#xD;&#xA;&#xD;&#xA;they have other plugs as well&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14009" PostHistoryTypeId="2" PostId="8370" RevisionGUID="d9499b61-e38c-4fb1-88ba-fe5ddb007602" CreationDate="2011-06-01T00:29:31.907" UserId="6669" Text="dblue/Illformed has a bunch, mostly for glitchy/lo-fi type effects.&#xD;&#xA;&#xD;&#xA;http://illformed.org/plugins/&#xD;&#xA;&#xD;&#xA;They're not Stutter Edit or anything, but definitely usable if you're going in the non-organic sound design direction and want a few more options." ContentLicense="CC BY-SA 3.0" />
  <row Id="14010" PostHistoryTypeId="2" PostId="8371" RevisionGUID="8e53afe2-9c8c-4d96-bd42-0f23a482a75c" CreationDate="2011-06-01T01:15:17.763" UserDisplayName="user6513" Text="Adding on, but not all are available as VST&#xD;&#xA;&#xD;&#xA;[Blue Cat Plugins][1] Bunch of pretty useful plugins &#xD;&#xA;&#xD;&#xA;[Massey Plugins][2] only for ProTools though&#xD;&#xA;&#xD;&#xA;[BX Cleansweep][3]&#xD;&#xA;&#xD;&#xA;[BX Solo][4]&#xD;&#xA;&#xD;&#xA;[iZoptope Vinyl][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bluecataudio.com/Download/Home/&#xD;&#xA;  [2]: http://www.masseyplugins.com/&#xD;&#xA;  [3]: http://www.brainworx-music.de/en/plugins/bx_cleansweep_v2&#xD;&#xA;  [4]: http://www.brainworx-music.de/en/plugins/bx_solo&#xD;&#xA;  [5]: http://www.izotope.com/products/audio/vinyl/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14011" PostHistoryTypeId="2" PostId="8372" RevisionGUID="3da7a5a3-7dbe-4ddc-96e6-667006e48331" CreationDate="2011-06-01T08:46:55.080" UserDisplayName="user80" Text="I am certain that I heard it in the Lord of the Rings, where it was pretty obvious." ContentLicense="CC BY-SA 3.0" />
  <row Id="14012" PostHistoryTypeId="2" PostId="8373" RevisionGUID="56a7ee25-66ce-4ced-a212-d42e3d44e355" CreationDate="2011-06-01T09:20:16.513" UserId="243" Text="I like you already man :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="14013" PostHistoryTypeId="2" PostId="8374" RevisionGUID="7c0cbd37-cd52-4953-aa09-6f1ae4c4404e" CreationDate="2011-06-01T09:43:30.723" UserId="1118" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;Firstly, what an amazing site! I've only just discovered this place and have spent a good few hours looking on it, an amazing resource for information. &#xD;&#xA;&#xD;&#xA;Now, I'm not sure if this ok to do this on here but I couldn't find anywhere that said that it wasn't...&#xD;&#xA;&#xD;&#xA;I'm a composer for film and tv and has worked on a number of projects for the bbc, channel 4 and a host of other independent productions, short films, ads etc. I really want to expand my work into sound design, I have crossed into that field as part of my scores before but I haven't taken responsibility for the full sound design of a project before. I have agreed to do some sound design for a small creative company that deals with mostly corporate films and am also arranging some projects through sites like shooting people. I've also invested in a few books such as 'The Practical Art of Motion Picture Sound' by David Lewis Yewdal, 'The Sound FX bible' by Ric Viers and David Sonnenschein's 'Sound Design'. I have a pretty up to date studio with Pro Tools 9, Logic Pro, Abelton Live and a massive array of AU's (Waves Suite, Izotope RX 2, Spectrasonics etc) running on an 8 core Mac Pro. &#xD;&#xA;&#xD;&#xA;What I'm hoping to find here is a seasoned professional based in London that would be willing to meet up for a chat. I have always found that talking with people that know the job inside outside is the best way to gain insight, which I need as I take my next steps in my career.&#xD;&#xA;&#xD;&#xA;If anyone is interested in meeting up please get in touch with me at syashdown@hotmail.com and we'll arrange something.&#xD;&#xA;&#xD;&#xA;If you would like to hear some of my compositional work visit www.simonashdown.co.uk&#xD;&#xA;&#xD;&#xA;Many thanks,&#xD;&#xA;Simon" ContentLicense="CC BY-SA 3.0" />
  <row Id="14014" PostHistoryTypeId="1" PostId="8374" RevisionGUID="7c0cbd37-cd52-4953-aa09-6f1ae4c4404e" CreationDate="2011-06-01T09:43:30.723" UserId="1118" Text="Looking to learn..." ContentLicense="CC BY-SA 3.0" />
  <row Id="14015" PostHistoryTypeId="3" PostId="8374" RevisionGUID="7c0cbd37-cd52-4953-aa09-6f1ae4c4404e" CreationDate="2011-06-01T09:43:30.723" UserId="1118" Text="&lt;career-advice&gt;&lt;work&gt;&lt;composer&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14016" PostHistoryTypeId="2" PostId="8375" RevisionGUID="0ce0ac11-a1bd-4058-bbdd-a6dd03fdf184" CreationDate="2011-06-01T10:17:02.570" UserId="202" Text="Have a look at this youtube video:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Zf8aBFTVNEU&#xD;&#xA;&#xD;&#xA;and at the list of all the movies in the montage:&#xD;&#xA;&#xD;&#xA;http://www.cinexcellence.com/2011/05/complete-list-of-wilhelm-screams/&#xD;&#xA;&#xD;&#xA;there's a LOT of movies with the Wilhelm!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14017" PostHistoryTypeId="2" PostId="8376" RevisionGUID="22cac7e7-2a37-4f58-b9cf-97c69e8a09c3" CreationDate="2011-06-01T11:41:12.670" UserId="693" Text="While it's perfectly understandable to want to network in person and since you asked a legitimate question it's perfectly fine to ask here. At the same time it also sort of defeats the purpose of this place. I'm not saying this to get on your back about it, but more to enlighten you as to what makes this place so great and why. I can't speak for anyone else, but I suppose here's how I see this place.&#xD;&#xA;&#xD;&#xA;Part of us contribute because it becomes part of a database of information that any member can access and a lot of us like to share and learn. We're all students here no matter if sometimes we're teachers as well. We can get around to answering questions when (and if) we have a spare minute and sort of contribute to the giant karmic info bank in the sound design matrix. It allows us to sort of have a free, ongoing documented convention or seminar that we can all attend on our own schedules since we all live such crazy lives (granted we have to put in our own time and informational contribution). &#xD;&#xA;&#xD;&#xA;Since it's global, you'll find that you can ask a question at 3am wherever you are in the world and likely a couple members are lurking and will help you out (I can only think of a small handful of people I know personally where I can contact them at 3am for audio help). We can all sign up for Linked-In and search for sound designers in our area to network in person. Here it's about building a community of not only just information, but of friends and colleagues.&#xD;&#xA;&#xD;&#xA;At the same time, there's a lot of rumor and speculation in our industry (because as I'm sure you know by now, it's not exactly science and not exactly art... but a blend of the two). So having multiple people being able to express multiple opinions/facts in a public forum becomes sort of a failcheck for bad info.&#xD;&#xA;&#xD;&#xA;What I'd suggest is sticking around for a while, ask some questions, provide some answers and get to know us all. As you get to know the awesome people here, you're bound to make some new friends in your area and end up meeting up with them. A lot of us are musicians as well, so there's a lot of crossover. And sure, if I lived in London I'd come meet up with you. Maybe one day we'll be traveling to each others areas. Who knows, it may be that one day we'll start having regional meetups every so often (actually, that's a good idea. We should get on that).&#xD;&#xA;&#xD;&#xA;Anyways, hope that helps.&#xD;&#xA;&#xD;&#xA;Cheers and Welcome!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14018" PostHistoryTypeId="2" PostId="8377" RevisionGUID="d71ebd25-0491-410f-a6e3-804512a71394" CreationDate="2011-06-01T11:47:40.073" UserId="1056" Text="Hi Mitchell&#xD;&#xA;&#xD;&#xA;Here is the quick walk-through I promised:&#xD;&#xA;&#xD;&#xA; 1. Select a few seconds of noise&#xD;&#xA; 2. Open DeNoise and click Learn&#xD;&#xA; 3. Click the menu arrow next to Presets, select Add Preset, type in a name and close DeNoise&#xD;&#xA; 4. Select a few seconds of wanted dialogue, re-open DeNoise and select your preset&#xD;&#xA; 5. Select the Simple tab - this should be fine for your source material&#xD;&#xA; 6. Select Algorithm D - provides best results 99% of the time&#xD;&#xA; 7. Set NR to 10, Smoothing to 7, click Preview and listen&#xD;&#xA; 8. If you hear artifacts, set the smoothing up a bit and Preview again&#xD;&#xA; 9. Select Output Noise Only and Preview to ensure you are not losing dialogue&#xD;&#xA; 10. DEselect Output Noise Only and close DeNoise (*NB* Don't forget this step!)&#xD;&#xA; 11. Select the whole file, open DeNoise and click Process&#xD;&#xA;&#xD;&#xA;Repeat the above process until you are happy with the results.&#xD;&#xA;&#xD;&#xA;This is pretty much the standard NR process for broadband noise, although I have biased it a bit to suit your source material. The Advanced tab gives you a lot more control over your noise profile in terms of the type of noise you are targeting and the manner in which artifacts are handled. You can usually obtain better results, but it takes substantially longer.&#xD;&#xA;&#xD;&#xA;The noise in your recording is mainly broadband, but there appears to be a tonal element to it as well, so you would probably link them in the Advanced tab anyway. The real secret to successful NR is multiple incremental passes using smaller (8-10dB) values. Yes, higher values will mean more noise reduction, but will also introduce noticeable artifacts. Also, just in case it is not clear, you must either overwrite your existing preset or add a new one for EVERY subsequent pass.&#xD;&#xA;&#xD;&#xA;Your source material will also benefit from higher Global and Fine Smoothing in order to minimise any possible pumping effect from the noise reduction, so once again the benefits of dealing with them separately will be negligible.&#xD;&#xA;&#xD;&#xA;Finally, there is often a tendency to want to remove too much noise. Only remove what you have to and no more, otherwise your recording will start to sound artificial. Sometimes I even add in a bit of white noise afterwards to make it sound more natural.&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14019" PostHistoryTypeId="2" PostId="8378" RevisionGUID="b152c40b-ed9a-4499-907e-ad2eff430ea3" CreationDate="2011-06-01T13:56:24.870" UserId="6407" Text="I reckon it's become a bit cliche to hate the Wilhelm Scream. The fact is you only know about it cause your a sound nerd. And I for one like being a sound nerd. Perhaps your right that it's overused a bit, and it can (and does) take you out of the film - context obviously crucial - but it's nice for us SDs to have a little inside sound effect joke. &#xD;&#xA;&#xD;&#xA;Your also right that it's way cooler to use it with subtlety and style. On a film project I'm working on now I've used it almost at the very beginning, but I bet not even SDs will hear/notice it, I guess it's just nice to have a wee joke like that. Main point being, it's a bit of fun.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="14020" PostHistoryTypeId="2" PostId="8379" RevisionGUID="134c70ae-74f9-4418-982e-04a6211cfe57" CreationDate="2011-06-01T14:03:24.730" UserId="6407" Text="Oh yeah, and they use it in Venture Brothers a few times. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14021" PostHistoryTypeId="2" PostId="8380" RevisionGUID="c77e89fa-9cce-4849-9234-822e94235dec" CreationDate="2011-06-01T14:11:36.197" UserId="194" Text="In addition to SS's answer, I'd say to check out the twitter thread here.&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/2941/hey-guys-girls-so-who-tweets-here&#xD;&#xA;&#xD;&#xA;follow (selectively) the people that look interesting, and reach out to some of those people for IM or phonecalls.&#xD;&#xA;&#xD;&#xA;also, if you haven't discovered http://designingsound.org yet, then get on that too." ContentLicense="CC BY-SA 3.0" />
  <row Id="14022" PostHistoryTypeId="2" PostId="8381" RevisionGUID="fff0da06-910d-420e-9134-37d606d8828c" CreationDate="2011-06-01T14:38:27.173" UserId="234" Text="Hello all,&#xD;&#xA;&#xD;&#xA;So I'm just finishing up the last of a children's series, and getting ready to move on to a cool little indie feature. My question is this:&#xD;&#xA;&#xD;&#xA;What tricks/techniques do you use to clear your mind of one project and get it ready for the next?&#xD;&#xA;&#xD;&#xA;I like taking a little time off (esp. to catch up on missed sleep!) and watching/listening to media that's as far away from the previous project as I can, but I'd be curious in tapping the &quot;Team Rocket&quot; (thanks G.A!) braintrust to find other things that might apply.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14023" PostHistoryTypeId="1" PostId="8381" RevisionGUID="fff0da06-910d-420e-9134-37d606d8828c" CreationDate="2011-06-01T14:38:27.173" UserId="234" Text="How do you 'cleanse the pallet'?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14024" PostHistoryTypeId="3" PostId="8381" RevisionGUID="fff0da06-910d-420e-9134-37d606d8828c" CreationDate="2011-06-01T14:38:27.173" UserId="234" Text="&lt;moving&gt;&lt;on&gt;&lt;tricks&gt;&lt;techniques&gt;&lt;mental-health&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14025" PostHistoryTypeId="2" PostId="8382" RevisionGUID="5bd319aa-c7c0-467a-b7c0-12370497cccf" CreationDate="2011-06-01T17:00:06.477" UserId="845" Text="(Doffs hat + blush)&#xD;&#xA;&#xD;&#xA;Lately I've been finding it harder and harder to clean out my head. So much film and music assumes a really low common denominator and consequently leaves almost nothing to the imagination. Every moment of every scene is stuffed to the gills with some kind of ADD satisfying sting or lense flare. The camera shakes, the low-end quakes, and my head begins to ache. &#xD;&#xA;&#xD;&#xA;So I've been gravitating more towards music and film designed to provide a basis, and foundational texture that let's my imagination do a bit more work. Check out some Gavin Bryars, especially Jesus' Blood Never Failed Me Yet. It's really slow and quiet; great for an hour of chillout. Autechre is pretty magical for that too. &#xD;&#xA;&#xD;&#xA;Then of course there's the old standby of Music for Aiports by Brian Eno. That'll clean you up good and proper. Especially coming off a kids show, which tend to be totally frenetic and overstimulating. &#xD;&#xA;&#xD;&#xA;For movies try Solaris, or Snow Angels. I watch a lot of documentaries too, they tend to give you a little more brain space. &#xD;&#xA;&#xD;&#xA;But maybe you just need a good ol' walk in the park. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14026" PostHistoryTypeId="5" PostId="8234" RevisionGUID="8b2e5c58-aa2c-49bc-9438-33f58152a3df" CreationDate="2011-06-01T17:04:13.007" UserId="285" Comment="added 3 characters in body" Text="@goaliedrummer&#xD;&#xA;&#xD;&#xA;Alerts to updates on my blog, and lots of other audio stuff that comes across my plate." ContentLicense="CC BY-SA 3.0" />
  <row Id="14027" PostHistoryTypeId="2" PostId="8383" RevisionGUID="7cea8de6-4a7b-4d05-aadc-16ea63cec1a5" CreationDate="2011-06-01T17:14:54.167" UserId="285" Text="Hey Sonesy&#xD;&#xA;&#xD;&#xA;If you are working in Ottawa I think your answer is across the river in Gatineau Park.  Hit the trails, rent a canoe, chill out in the quiet nature.  I worked in Ottawa for a while and loved to go snow shoeing in Gatineau to get rid of the stress of the job.  Wrong time of year for that but you get the idea.&#xD;&#xA;&#xD;&#xA;I find the best way to cleanse the pallet is to not look at a screen of any kind for a couple days.  No TV, no internet, just let the brain unwind, either relaxing with a cold beverage in your hand or hiking/physical activity to whip up a sweat. The change really works wonders for me and I come back to the studio with a new perspective and reinvigorated with creativity.  There are only so many weeks a human can sit in a chair for 10 hours a day in the dark..... " ContentLicense="CC BY-SA 3.0" />
  <row Id="14028" PostHistoryTypeId="2" PostId="8384" RevisionGUID="3cb782b1-06fb-4788-adc8-85a33c949930" CreationDate="2011-06-01T17:21:41.873" UserId="285" Text="Not sure if it is the type of animal you are looking for but I just put up a new post on my blog, about recording aggressive Arctic Terns in northern Iceland, with a link to download a collection of 30 files of the birds Caws and screams.  The files have metadata embedded in them already and you can go to town with them on whatever project you like.  Check it out: http://www.azimuthaudio.ca/azimuth-blog/2011/6/1/arctic-terns-attack.html&#xD;&#xA;&#xD;&#xA;There are also some cool cat sounds you can pulldown from soundcloud on this page of my site:&#xD;&#xA;http://www.azimuthaudio.ca/azimuth-blog/2011/5/11/cringer-the-cat-attack.html&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14029" PostHistoryTypeId="16" PostId="8384" RevisionGUID="3cb782b1-06fb-4788-adc8-85a33c949930" CreationDate="2011-06-01T17:21:41.873" UserId="-1" />
  <row Id="14030" PostHistoryTypeId="2" PostId="8385" RevisionGUID="6809d55d-cdcf-4555-ae7a-87bb331cfc42" CreationDate="2011-06-01T17:24:42.403" UserId="18160" Text="Get out and spend time outdoors like the other rocket team members so aptly described.&#xD;&#xA;&#xD;&#xA;After the cast/crew wrap-up party I like to:&#xD;&#xA;&#xD;&#xA;Snowboard.&#xD;&#xA;Surf.&#xD;&#xA;Play basketball (that's me slam dunking in my profile photo).&#xD;&#xA;Run/Hike/Explore.&#xD;&#xA;&#xD;&#xA;I personally enjoy visiting my parent's house in Sacramento or going to Napa Valley or San Francisco (we have to meet up sometime, NoiseJockey!!!)&#xD;&#xA;&#xD;&#xA;Depending on how much time you allow yourself, unfortunately sometimes it's just an evening before you're back in the thick of it, it can vary from taking a walk around the block to going on a full-on vacation. I thoroughly enjoy the latter.&#xD;&#xA;&#xD;&#xA;;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14031" PostHistoryTypeId="2" PostId="8386" RevisionGUID="00c42ef8-7c12-408f-9d56-511a64e0905f" CreationDate="2011-06-01T17:42:07.610" UserId="338" Text="My dad willhelm screamed when I was born and they got it on tape." ContentLicense="CC BY-SA 3.0" />
  <row Id="14032" PostHistoryTypeId="2" PostId="8387" RevisionGUID="f2ab83da-08c6-4f84-bd80-f1eaff0cf3aa" CreationDate="2011-06-01T18:55:17.090" UserId="238" Text="&#xD;&#xA;There are many different ways to clear your mind of one project and get ready for the next. One thing that seems to connect all of what most people are suggesting is that you are away from a computer screen! Here are some of the things I do in-between projects:&#xD;&#xA; &#xD;&#xA;&#xD;&#xA; - Definitely get out and about if you can. Doesn't have to be far, just away from your usual surroundings.&#xD;&#xA; - Doing sport can be a great way to re-energise the creativity.&#xD;&#xA; -   So too can being around nature.&#xD;&#xA; -  I also love to read a good book. &#xD;&#xA; - Go and see a play or an exhibition.&#xD;&#xA;&#xD;&#xA;Whatever floats your boat really. We can draw influence from many different creative fields.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14033" PostHistoryTypeId="2" PostId="8388" RevisionGUID="584e56ac-f66b-49e3-9a2a-bf41948c1006" CreationDate="2011-06-01T18:56:09.673" UserId="219" Text="Last week I twitted about the Wilhelm Scream being used in Chuck (S01E08 @ 33'40&quot;) in a way that recalls of *Indiana Jones and the Raiders of the Lost Ark*. A guy shows off his martial arts skills, stops and taunts the girl who after a slight pause shoots him in the leg.&#xD;&#xA;&#xD;&#xA;It just works really well with the picture, the pitch goes down as the villain falls face down." ContentLicense="CC BY-SA 3.0" />
  <row Id="14034" PostHistoryTypeId="2" PostId="8389" RevisionGUID="2473bdf7-15df-411e-989f-1dd98f095036" CreationDate="2011-06-01T19:13:32.943" UserId="1102" Text="Whats the best way to display a showreel of sound related to the moving image - whats the best and how much information should you display for each separate piece of work and what is the optimum length??&#xD;&#xA;I made this one recently but i dont think it has a great impact.... http://vimeo.com/24519080&#xD;&#xA;Would you have any suggestions to make it more elaborate while still including the skill bases demonstrated?&#xD;&#xA;&#xD;&#xA;Any help on this would be great, &#xD;&#xA;&#xD;&#xA;Thanks, Gillian " ContentLicense="CC BY-SA 3.0" />
  <row Id="14035" PostHistoryTypeId="1" PostId="8389" RevisionGUID="2473bdf7-15df-411e-989f-1dd98f095036" CreationDate="2011-06-01T19:13:32.943" UserId="1102" Text="Sound Showreel?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14036" PostHistoryTypeId="3" PostId="8389" RevisionGUID="2473bdf7-15df-411e-989f-1dd98f095036" CreationDate="2011-06-01T19:13:32.943" UserId="1102" Text="&lt;sound-design&gt;&lt;portfolio&gt;&lt;showreel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14037" PostHistoryTypeId="2" PostId="8390" RevisionGUID="e4235ea5-7f43-4ca0-9bc0-b753702470f1" CreationDate="2011-06-01T20:09:29.733" UserId="238" Text="Have a look at the following posts that discuss the subject of show reels. You'll probably find some interesting responses from the SSD community.&#xD;&#xA;&#xD;&#xA;[Question discussing length of a show reel][1]&#xD;&#xA;&#xD;&#xA;[Best way of presenting a show reel][2]&#xD;&#xA;&#xD;&#xA;[What to put in a show reel][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/3372/showreel-focusing-on-dialogue-editing-and-location-recording&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/224/whats-the-best-way-of-presenting-a-sound-design-showreel&#xD;&#xA;  [3]: http://socialsounddesign.com/questions/4823/what-to-put-in-show-reel" ContentLicense="CC BY-SA 3.0" />
  <row Id="14038" PostHistoryTypeId="5" PostId="8390" RevisionGUID="0ea239d6-df64-4b6f-89ea-5b91a285919e" CreationDate="2011-06-01T20:36:05.717" UserId="238" Comment="added 42 characters in body" Text="Have a look at the following posts that discuss the subject of show reels. You'll probably find some interesting responses from the SSD community.&#xD;&#xA;&#xD;&#xA;[Question discussing length of a show reel][1] including a fantastic response from Rene!&#xD;&#xA;&#xD;&#xA;[Best way of presenting a show reel][2]&#xD;&#xA;&#xD;&#xA;[What to put in a show reel][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/3372/showreel-focusing-on-dialogue-editing-and-location-recording&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/224/whats-the-best-way-of-presenting-a-sound-design-showreel&#xD;&#xA;  [3]: http://socialsounddesign.com/questions/4823/what-to-put-in-show-reel" ContentLicense="CC BY-SA 3.0" />
  <row Id="14039" PostHistoryTypeId="2" PostId="8391" RevisionGUID="20b6cd80-f6d6-4e3f-a237-4915584abd39" CreationDate="2011-06-01T20:38:59.807" UserId="995" Text="Hi Gillian, maybe not trying to put everything there wolud be a nice start, curate your work and find key pieces and make a syntheis (2 min long could be a good reel). Findning a video editor or a motion graphic designer could help to improve your reel and make it look more attractive.&#xD;&#xA;Regards!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14040" PostHistoryTypeId="2" PostId="8392" RevisionGUID="e29c2b41-3f8f-491c-940c-db0edfda0fd9" CreationDate="2011-06-01T21:19:19.967" UserId="6407" Text="Hi Gillian. First of all, I really like your work! My tuppence worth is similar to Isra, be brutal on the editing to get it shorter (2/3 mins). Maybe just leave the more immediately 'wowing' stuff. Plenty in there. Cheers, N. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14041" PostHistoryTypeId="6" PostId="2941" RevisionGUID="dc830327-97c8-4cd3-b657-3ec8da9616ad" CreationDate="2011-06-01T22:13:36.553" UserId="510" Comment="edited tags" Text="&lt;social-network&gt;&lt;social&gt;&lt;websites&gt;&lt;contact&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14042" PostHistoryTypeId="2" PostId="8393" RevisionGUID="be92f08d-f1f4-418b-bdde-58da5527d465" CreationDate="2011-06-01T23:50:58.320" UserId="1004" Text="Hello,&#xD;&#xA;&#xD;&#xA;I've seen this question asked regarding the Sony PCM-D50 but have yet to find an answer as to how this sort of thing works for the M10.&#xD;&#xA;&#xD;&#xA;So is there a way to use a shotgun mic with the M10? I've read about problems using this setup in other forums due to the M10's lack of a mono mode and was wondering if any of you have used this setup successfully. &#xD;&#xA;&#xD;&#xA;I'm new to sound collecting and I've been using the built-in mics for various things, but I know a shotgun mic is the next step, and I'm on a budget.&#xD;&#xA;&#xD;&#xA;Any info would be much appreciated!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14043" PostHistoryTypeId="1" PostId="8393" RevisionGUID="be92f08d-f1f4-418b-bdde-58da5527d465" CreationDate="2011-06-01T23:50:58.320" UserId="1004" Text="Sony PCM-M10 with a shotgun mic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14044" PostHistoryTypeId="3" PostId="8393" RevisionGUID="be92f08d-f1f4-418b-bdde-58da5527d465" CreationDate="2011-06-01T23:50:58.320" UserId="1004" Text="&lt;sony&gt;&lt;pcm-m10&gt;&lt;shotgun&gt;&lt;microphone&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14045" PostHistoryTypeId="2" PostId="8394" RevisionGUID="3f6b4a1a-b1e8-4404-895e-73a1a174c122" CreationDate="2011-06-02T00:48:59.267" UserId="194" Text="I'd suggest a [Denecke PS1A][1].&#xD;&#xA;&#xD;&#xA;I'll effectively run your mic in dual mono, and it'll supply you with nice sounding phantom power and with an adaptor it'll convert your xlr to 35mm.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Here's a test of that exact box on a D50 that I ran][2].&#xD;&#xA;&#xD;&#xA;the concept is fundamentally the same between the D50 and the M10.  Neither will just record a straight mono track, neither provides proper phantom power, neither has xlr inputs.  The Denecke addresses all of that while not adding one ounce of redundancy, since you'll still be using the Sony preamps and A/D.&#xD;&#xA;&#xD;&#xA;The Denecke gear is really good sounding stuff.  Rugged, compact, and reliable so I'd highly recommend it.&#xD;&#xA;&#xD;&#xA;Back at the studio you can use [waveagent][3] to split the tracks out into .L and .R files and then delete the odd ones.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/403002-REG/Denecke_PS_1A_PS_1A_Portable_Single.html&#xD;&#xA;  [2]: http://thesoundmyheadmakes.blogspot.com/2011/03/quickie-shootout-744t-vs-pcm-d50-with.html&#xD;&#xA;  [3]: http://www.sounddevices.com/products/waveagent.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="14046" PostHistoryTypeId="2" PostId="8395" RevisionGUID="032928f7-bdeb-4a65-9c54-362e52ebb69d" CreationDate="2011-06-02T03:07:15.037" UserId="18160" Text="I leave the sound design for 6 days to another designer and I get back and I am shocked at how everything I had put my heart and soul into has been destroyed and disarranged and I get 10 minutes to see it before it's finally laid back and sent out into the world and I am disgusted by it. Every little detail I put into it seems like it has been knocked down from it's pedestal. For instance, footsteps were not where they were supposed to be - seconds out of sync with when they happen on the screen... Simple things like that which are no-brainers, but now my name is on this.&#xD;&#xA;&#xD;&#xA;There are also things that were changed in the sound that I don't agree with and again, this has my name on it.&#xD;&#xA;&#xD;&#xA;Am I overreacting on this? It's just one music video but it's an important one and most likely will be seen by millions of people.&#xD;&#xA;&#xD;&#xA;Anyway... I feel like I just watched my puppy walk out into freeway traffic and there is nothing I can do about saving him.&#xD;&#xA;&#xD;&#xA;What would you do in a situation like this? I feel like punching a wall." ContentLicense="CC BY-SA 3.0" />
  <row Id="14047" PostHistoryTypeId="1" PostId="8395" RevisionGUID="032928f7-bdeb-4a65-9c54-362e52ebb69d" CreationDate="2011-06-02T03:07:15.037" UserId="18160" Text="Am I overreacting?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14048" PostHistoryTypeId="3" PostId="8395" RevisionGUID="032928f7-bdeb-4a65-9c54-362e52ebb69d" CreationDate="2011-06-02T03:07:15.037" UserId="18160" Text="&lt;art&gt;&lt;sound-design&gt;&lt;choices&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14049" PostHistoryTypeId="2" PostId="8396" RevisionGUID="972e54d2-f89c-408c-b647-adfc4823391f" CreationDate="2011-06-02T03:15:27.887" UserId="693" Text="I might amend and add to this post later... &#xD;&#xA;&#xD;&#xA;Some people say that you might want to have several videos displaying your capabilities on various different types of aspects or types of work, however... I'd suggest doing a reel that demonstrates the type of work you're happiest doing. &#xD;&#xA;&#xD;&#xA;That all depends if you're aiming for a specific thing, or want to try doing whatever work you can get your hands on. In the beginning, you might want to stick with the types of work you do best. As you do this, it will bring in more work that you are happy and comfortable doing so there's less chance you find a project that might be too challenging for you at the moment. &#xD;&#xA;&#xD;&#xA;Challenging and different types of projects will come your way regardless of how specific your reel is. So you'll get a chance to curate those skills anyways. Then when you're more comfortable and have produced a body of work that does justice to your currently lesser developed skills you can add those to your reels as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="14050" PostHistoryTypeId="2" PostId="8397" RevisionGUID="32250cfa-e4aa-42a6-bf85-669f3c0b3fa8" CreationDate="2011-06-02T03:21:14.570" UserId="845" Text="I wouldn't say you're overreacting or being over sensitive. It's natural to feel betrayed that *anything* has been changed, even if it ends up being better (though that's a slightly different thing). I get like that all the time. &#xD;&#xA;&#xD;&#xA;More important is what you do about it. In this case it sounds like there's literally nothing you can do. So I'd say just take it in stride, and if anyone asks you about it just shrug and say, &quot;I know, it annoys me too.&quot;  You could ask to have your name taken off it, and I know that's been done more than a few times by a lot of people, but it's not exactly a great note on which to end a project. It just makes everyone feel shitty. &#xD;&#xA;&#xD;&#xA;However, I can pretty much guarantee that unless you mention it, no one will even notice that it was you (only 2 or 3 people ever get on-screen credits for music videos and you probably won't be one).  Plus, you have an entire body of high quality work behind you to confirm the fact that this is not a regular thing and that there were mitigating circumstances. &#xD;&#xA;&#xD;&#xA;Fret not. To quote the immortal Mr. Vonnegut, &quot;So it goes.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14051" PostHistoryTypeId="5" PostId="8397" RevisionGUID="ee9e7672-a85a-4141-8257-54244a83fcf3" CreationDate="2011-06-02T03:27:11.580" UserId="845" Comment="added 90 characters in body" Text="I wouldn't say you're overreacting or being over sensitive. It's natural to feel betrayed that *anything* has been changed, even if it ends up being better (though that's a slightly different thing). I get like that all the time. &#xD;&#xA;&#xD;&#xA;More important is what you do about it. In this case it sounds like there's literally nothing you can do. So I'd say just take it in stride, and if anyone asks you about it just shrug and say, &quot;I know, it annoys me too.&quot;  You could ask to have your name taken off it, and I know that's been done more than a few times by a lot of people, but it's not exactly a great note on which to end a project. It just makes everyone feel shitty. &#xD;&#xA;&#xD;&#xA;However, I can pretty much guarantee that unless you mention it, no one will even notice that it was you; only 2 or 3 people ever get on-screen credits for music videos and you probably won't be one.  And that's not to diminish you contribution in any way, it's just the nature of our game.  Plus, you have an entire body of high quality work behind you to confirm the fact that this is not a regular thing and that there were mitigating circumstances. &#xD;&#xA;&#xD;&#xA;Fret not. To quote the immortal Mr. Vonnegut, &quot;So it goes.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14052" PostHistoryTypeId="2" PostId="8398" RevisionGUID="8650b90d-7e39-4bbf-ba36-1c333a9a240f" CreationDate="2011-06-02T03:28:59.253" UserId="194" Text="the nature of collaborative work means that (often) your work will go through other people's hands before venturing out into the world.&#xD;&#xA;&#xD;&#xA;IMO the key is to surround yourself with people that you trust.  People that will make you sound better, not worse.&#xD;&#xA;&#xD;&#xA;Clearly easier said than done, but that's the goal anyway.&#xD;&#xA;&#xD;&#xA;In the interim don't stress about the things that you can't control, and then work tirelessly on the things that you can control." ContentLicense="CC BY-SA 3.0" />
  <row Id="14053" PostHistoryTypeId="2" PostId="8399" RevisionGUID="0fb796e9-6e43-4a7e-9475-d7b7446be063" CreationDate="2011-06-02T03:34:24.707" UserId="845" Text="I'm not in your area, nor have I quite attained your criteria, but in spite of that I'd like to say hello and welcome. &#xD;&#xA;&#xD;&#xA;Hello + Welcome + Handshake + Smile&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14054" PostHistoryTypeId="5" PostId="8398" RevisionGUID="75f64663-ed44-48f4-b2f7-e87804be6349" CreationDate="2011-06-02T03:38:42.687" UserId="194" Comment="added poker refs; added 50 characters in body" Text="the nature of collaborative work means that (often) your work will go through other people's hands before venturing out into the world.&#xD;&#xA;&#xD;&#xA;IMO the key is to surround yourself with people that you trust.  People that will make you sound better, not worse.&#xD;&#xA;&#xD;&#xA;Clearly easier said than done, but that's the goal anyway.&#xD;&#xA;&#xD;&#xA;In the interim don't stress about the things that you can't control, and then work tirelessly on the things that you can control.&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;As a side note - back in my poker playing days I'd call what you're probably doing now &quot;tilt&quot;&#xD;&#xA;&#xD;&#xA;All good poker players know that tilt is bad for your game.  When you're tilting you're allowing your emotions to obscure your judgement.  It makes you play badly, and bad play means lost money in poker.  Tilting is passing on objectively good decisions for feel good emotional short term losing ones.&#xD;&#xA;&#xD;&#xA;Same is true in anything.  &#xD;&#xA;&#xD;&#xA;If you're ever worried your emotions are negatively affecting your work, try studying buddhism.  Alternatively, look up [Tommy Angelo][1] - the poker tiltless guy.  Great mindset stuff that I actually use constantly.&#xD;&#xA;&#xD;&#xA;Here's a link to a good [Tommy Angelo story][2] that illustrates what tilt can do to you.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tommyangelo.com/articles/&#xD;&#xA;  [2]: http://www.tommyangelo.com/articles/a-rubber-band-story/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14055" PostHistoryTypeId="5" PostId="8394" RevisionGUID="2e6f0561-cdaa-4260-a8b5-634d2b7745f7" CreationDate="2011-06-02T03:41:46.440" UserId="194" Comment="added 1 characters in body" Text="I'd suggest a [Denecke PS1A][1].&#xD;&#xA;&#xD;&#xA;It'll effectively run your mic in dual mono, and it'll supply you with nice sounding phantom power and with an adaptor it'll convert your xlr to 35mm.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Here's a test of that exact box on a D50 that I ran][2].&#xD;&#xA;&#xD;&#xA;the concept is fundamentally the same between the D50 and the M10.  Neither will just record a straight mono track, neither provides proper phantom power, neither has xlr inputs.  The Denecke addresses all of that while not adding one ounce of redundancy, since you'll still be using the Sony preamps and A/D.&#xD;&#xA;&#xD;&#xA;The Denecke gear is really good sounding stuff.  Rugged, compact, and reliable so I'd highly recommend it.&#xD;&#xA;&#xD;&#xA;Back at the studio you can use [waveagent][3] to split the tracks out into .L and .R files and then delete the odd ones.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/403002-REG/Denecke_PS_1A_PS_1A_Portable_Single.html&#xD;&#xA;  [2]: http://thesoundmyheadmakes.blogspot.com/2011/03/quickie-shootout-744t-vs-pcm-d50-with.html&#xD;&#xA;  [3]: http://www.sounddevices.com/products/waveagent.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="14056" PostHistoryTypeId="2" PostId="8400" RevisionGUID="086eba5f-d295-4b6c-ac62-4e9d4af5fbba" CreationDate="2011-06-02T07:31:03.403" UserId="6462" Text="There are two ways to go really. First choice is what Rene states in his answer, get a separate phantom power supply and then an adaptor from XLR to 3.5mm, but this would also require you purchasing a good shotgun mic as well (if you haven't got one already).&#xD;&#xA;The second choice, assuming you have no mic, would be get a shotgun mic that is battery powered, something like the Rode NTG2. This option is probably the most suitable as you are on a budget. This mic is pretty good and will be a great buy to start out with, you might also consider getting a Rode PG2 pistol grip and a 'dead cat' windjammer to keep out the wind and handling noise. You could probably pick all this up for around £200 / $300 or look on auction sites where you might find good deals on second hand gear.&#xD;&#xA;&#xD;&#xA;As for the mono issue, well it's really not an issue. I actually have the D50 (love it by the way) and use a shotgun through a Sound Devices Preamp. It's simple enough to just remove one of the channels in post. As a simple method to split the channels I use AudioGate from Korg (I started using it when I got a Korg MR-1) it's a really simple program and can convert any format to pretty much any other format as well as exporting dual mono. I normally do this and remove the Right / number 2 channel. ([http://www.korguser.net/audiogate/en/download.html][1])&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.korguser.net/audiogate/en/download.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="14057" PostHistoryTypeId="2" PostId="8401" RevisionGUID="a66ec42b-17b9-499b-acc1-d26e2286720b" CreationDate="2011-06-02T07:42:17.317" UserId="6462" Text="I have a similar issue with location sound.&#xD;&#xA;Quite often i'm doing the sound for a television series and I always get the best sound possible on set, make sure that there is good close sound in the closeups and make sure the director knows to use this sound and not the sound from the VERY wide shot.&#xD;&#xA;Once my day on set is done I have nothing to do with the sound until the show is broadcast and i'm always shocked. They only ever take the sound from what ever shot they use so it's going from close to distant, reverbarant to clean all the time, it's horrible. They also try to add reverb to audio that doesn't need it so it ends up even worse.&#xD;&#xA;Oh, I forgot the also mention that there is another sound guy that does this show as well and he is awful, but they have got the credits wrong on a couple of occasions and my name has ended up on his episode. I was livid and basically said that I don't want my name on the credits. It's also not going on my CV!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14058" PostHistoryTypeId="2" PostId="8402" RevisionGUID="322b45d6-a8df-4c67-85c1-e75a0827aeee" CreationDate="2011-06-02T11:36:46.083" UserId="220" Text="I came from a live mixing background, so I looooved my in-ears.  It is the ONLY way to isolate sound from the console without blowing your ears out trying to fight the noise level in the room.  It also gave me a chance to listen to exactly what my musicians were hearing in their monitor mixes.  &#xD;&#xA;&#xD;&#xA;That said.. I agree with the rest that using them for long periods of time build up a lot of moisture.  I would prefer to use them - I love the isolation and the range you get from a good pair, but just can't do them for that long.  I always keep a pair for on-set recording - good to listen closely from time to time, but for the most part I use my Sony MDR 7506s on-set.  For post production, I have good monitors and a quiet room, so I rarely even put on a pair of headphones.  &#xD;&#xA;&#xD;&#xA;On that note, if you want a great pair, get the [Altec Lansing UHP336][1]s.  They are a killer driver from Ultimate Ears with an Altec Lansing brand slapped on them and a massive price reduction.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Altec-Lansing-UHP336-Snugfit-Earphone/dp/B000Q7IA5E" ContentLicense="CC BY-SA 3.0" />
  <row Id="14059" PostHistoryTypeId="2" PostId="8403" RevisionGUID="6e43305e-a006-4627-a82f-1179d0d9f62f" CreationDate="2011-06-02T12:36:38.367" UserId="845" Text="[youtube]pHNyCAJXUXE[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="14060" PostHistoryTypeId="1" PostId="8403" RevisionGUID="6e43305e-a006-4627-a82f-1179d0d9f62f" CreationDate="2011-06-02T12:36:38.367" UserId="845" Text="Something to Think About" ContentLicense="CC BY-SA 3.0" />
  <row Id="14061" PostHistoryTypeId="3" PostId="8403" RevisionGUID="6e43305e-a006-4627-a82f-1179d0d9f62f" CreationDate="2011-06-02T12:36:38.367" UserId="845" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14062" PostHistoryTypeId="2" PostId="8404" RevisionGUID="d1adecc9-b8f5-4d78-a4df-9e2b2e6b3e0f" CreationDate="2011-06-02T13:04:39.910" UserId="845" Text="Ahoy Matees,&#xD;&#xA;&#xD;&#xA;After a long and arduously soppy spring up here in Canada, summer has at long last descended on us with it's iron fist of sweaty retribution.&#xD;&#xA;&#xD;&#xA;That means it's bicycle season!  &#xD;&#xA;&#xD;&#xA;Yesterday, in my enthusiasm, I hopped on the duo-ped and rode to work, all the way down-town after work, then home again to hop into bed happily pooped out and completely exhausted.  Counting it up I spent at least 3 hours on the bike.  &#xD;&#xA;&#xD;&#xA;Great! Right?&#xD;&#xA;&#xD;&#xA;I'm not so sure...  &#xD;&#xA;&#xD;&#xA;I like to ride quickly, partly to get the heart rate up, but also to keep up with traffic and thereby reduce my chances of getting run down by someone trying to pass me in their giganticar.  This means that I have a whole lot of WIND flubble-dubbing it's way past my ears, up to three hours worth.&#xD;&#xA;&#xD;&#xA;Now, I haven't done any measurements yet, but I'm going to hazard a guess that the SPL of that WIND has to be up around 85-90 dB.  That means that yesterday I exposed my ears for three hours to a sound level that is nominally damaging after 15-30 minutes.&#xD;&#xA;&#xD;&#xA;I tried using my musician's earplugs, but if anything they made it worse.  And I'm pretty sure that using the big orange foamy ones would be an even dumber idea than riding with headphones on, like soooo many people seem to do.  Being able to hear what's coming up behind me has saved my ass more than a handful of times, and those things are like rolling off the entire world with an LPF at 300 Hz.&#xD;&#xA;&#xD;&#xA;I was thinking of building some kind of tichy baffle system to deflect the air around my ears, but I'm pretty sure I'd look a real moron with cardboard taped to the side of my head.&#xD;&#xA;&#xD;&#xA;Do you guys have any tricks for lowering the wind rumble and keeping the hearing while on the cycle?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14063" PostHistoryTypeId="1" PostId="8404" RevisionGUID="d1adecc9-b8f5-4d78-a4df-9e2b2e6b3e0f" CreationDate="2011-06-02T13:04:39.910" UserId="845" Text="Ear Protection While Cycling" ContentLicense="CC BY-SA 3.0" />
  <row Id="14064" PostHistoryTypeId="3" PostId="8404" RevisionGUID="d1adecc9-b8f5-4d78-a4df-9e2b2e6b3e0f" CreationDate="2011-06-02T13:04:39.910" UserId="845" Text="&lt;ear-protection&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14065" PostHistoryTypeId="2" PostId="8405" RevisionGUID="b0a6f56c-908b-494d-a6e7-c8e58836957b" CreationDate="2011-06-02T13:11:58.487" UserId="1121" Text="My suggestion is do some research into what libraries offer and don't offer.... any library will tell you what people are searching for and not finding as they want to bridge those gaps in their stock. You CAN make a living just from selling sound effects on sound effect libraries but you need to focus your time on what will sell and what won't. 80% of what a library stocks sits unsold while 20% makes money so if you can hone in on that and produce the popular sounds that aren't already saturating the libraries you could do well.&#xD;&#xA;&#xD;&#xA;I can estimate that with a few thousand GOOD targeted sounds you should be able to make around a £1000 a month and with maybe 10,000 good sounds, maybe double that.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14066" PostHistoryTypeId="2" PostId="8406" RevisionGUID="5847ea87-3872-4cf3-8dd3-03f5eb448e59" CreationDate="2011-06-02T14:18:46.147" UserId="845" Text="This is a question that I have spent a lot of time thinking about lately.  I work as a dialogue editor, and while it is great to have a Pro-Tools/audio job that's secure and 9-5 (ish), I spend my days editing clicks and pops out of VoiceOvers.  Let's just say that it's not exactly thrilling.  But it pays the bills...&#xD;&#xA;&#xD;&#xA;But here's the thing, if you spend more than you make, you will always find yourself in financial trouble, even if you get to Hollywood level.  I've been reading a lot of stuff by guys like [The Minimalists][1] and [In Over Your Head][2] about how to set up your life to better facilitate doing what you love.  It's been very inspiring.  The idea of paring down your life (and Stuff) so that the money you make becomes more than you actually need, whether you bring in $30,000 or $500,000.  I won't say any more than that (for fear of becoming preachy), but it's entirely possible to be happy and fulfilled making $1500-$2000 a month.&#xD;&#xA;&#xD;&#xA;It's a question of what you want.  If you want the house and the family it's going to cost you a lot more money than living out of a studio or bedsit.  If you want to be able to keep up with all of the new techie toys that get released every every six months you're going to have to find a way to make enough money to get all the stuff without drowning in debt, not an easy task.&#xD;&#xA;&#xD;&#xA;But the first thing is to figure out what you want, then budget accordingly.&#xD;&#xA;&#xD;&#xA;My dream is to become an itinerant troubadour sound guy.  I want to travel the world with my MacBook Pro and PCM-D-50 and work with as many people on as many things as I possibly can.  I'm about six months away from being able to set off.  I'm in the process of selling all of my extraneous gear, computers, clothes, books, shoes, frying pans and kitchen gadgets, and trying to save up as much safety money as I can.  I know for a fact that I sure as hell won't be making a ton of money, but I don't need money.  I need people and work and happiness and fulfillment, which my current well-paying, *VERY SAFE* job simply isn't giving me.&#xD;&#xA;&#xD;&#xA;Maybe it'll work, maybe it won't, but as I'm sure someone much smarter than me has already said:&#xD;&#xA;&#xD;&#xA;Failure is success, after a fashion.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.theminimalists.com/&#xD;&#xA;  [2]: http://www.theminimalists.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14067" PostHistoryTypeId="2" PostId="8407" RevisionGUID="27443c22-0e0a-4c31-96ae-3b5021705d96" CreationDate="2011-06-02T14:58:54.497" UserId="949" Text="I have sure se530s I use while I ride.  They came with a little microphone that clips on your belt that amplifys the sound from around you then mixes it with your music.  Not a cheap solution, but combined with my mirrors on my bike it is a workig solution.  I ride for fitness instead of transportation so listening to music is importance for focus and motivation to me." ContentLicense="CC BY-SA 3.0" />
  <row Id="14068" PostHistoryTypeId="2" PostId="8408" RevisionGUID="a18a6593-ce39-47be-9be1-5f95be9c244f" CreationDate="2011-06-02T15:08:56.373" UserId="596" Text="the only solution i could think of (excluding a custom-made design) is to use this heavy-duty type of ear protectors, the type one would use in a shooting range, not sure what's the proper English name (?). the real expansive ones could give you quite extreme sonic isolation - which is risky in you case - but then you could 'hack' them a bit i.e. find a creative vandalistic way to degrade the product quality, and create a certain sound leakage which will be useful for filtering in the type of sounds you -are- interested in being aware of while cycling. &#xD;&#xA;&#xD;&#xA;an alternative option which could make you look ridiculous yet fashionable and unique would be to use a super high quality full-head motorcycle helmet!&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14069" PostHistoryTypeId="2" PostId="8409" RevisionGUID="fc636636-6143-4a99-b945-4929713b37db" CreationDate="2011-06-02T15:45:20.753" UserId="285" Text="Just wondering if any of the dialog editors out there use any compression while editing dialog?&#xD;&#xA;&#xD;&#xA;I normally edit with the dialog flat, but was thinking that slapping a compressor might make make any subtle clicks or mouth noise &quot;pop&quot; a bit more. &#xD;&#xA;&#xD;&#xA;Just wondering what others are doing, anyone using any plugins during a dialog edit or do you like it raw?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14070" PostHistoryTypeId="1" PostId="8409" RevisionGUID="fc636636-6143-4a99-b945-4929713b37db" CreationDate="2011-06-02T15:45:20.753" UserId="285" Text="Dialog Editing Compression?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14071" PostHistoryTypeId="3" PostId="8409" RevisionGUID="fc636636-6143-4a99-b945-4929713b37db" CreationDate="2011-06-02T15:45:20.753" UserId="285" Text="&lt;dialog&gt;&lt;process&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14072" PostHistoryTypeId="2" PostId="8410" RevisionGUID="518eba3f-4b55-45b7-8eb8-70f9c176237e" CreationDate="2011-06-02T16:22:05.343" UserId="6669" Text="I've been running with my master fader cranked all the way up just to make sure I know exactly what I'm listening to for creating fill, etc.&#xD;&#xA;&#xD;&#xA;Hadn't thought about using a compressor as anything but an extra gain stage, but why not? You can easily just take the plug-in off before you submit up to the mixer." ContentLicense="CC BY-SA 3.0" />
  <row Id="14073" PostHistoryTypeId="2" PostId="8411" RevisionGUID="297f9b5d-5394-48a1-a4b9-6d26173cd6a8" CreationDate="2011-06-02T16:38:12.683" UserId="1115" Text="@AzimuthAudio Adding to what Luca said, it's up to your mixer. Talk to the mixer and ask if they want the compression leaving on. If not, you can leave a note on the settings you thought worked best. After all, as an editor, you'll be more familiar with the dialog. You can also use volume automation premix as a kind of 'manual' compression. Ask your mixer and see what he/she prefers." ContentLicense="CC BY-SA 3.0" />
  <row Id="14074" PostHistoryTypeId="2" PostId="8412" RevisionGUID="b0576f2e-2117-4fd9-87ec-4ee4dcf896ff" CreationDate="2011-06-02T16:41:53.063" UserId="1056" Text="You could try the Etymotic ETY plugs. My only concern might be that you might not be able to hear well enough to cycle safely, as they reduce noise by around 20dB. They are pretty cheap so they won't break the bank and, even if they are not suitable for cycling, you can always keep them and wear them at live gigs, etc, where they will definitely help." ContentLicense="CC BY-SA 3.0" />
  <row Id="14075" PostHistoryTypeId="2" PostId="8413" RevisionGUID="6f04b20a-918e-420a-bc8d-4fb1177dd300" CreationDate="2011-06-02T17:07:36.863" UserId="1090" Text="I used the L2 Ultramaximizer plugs from Waves when I was a Pro Tools-guy. Cus you don't have the clip gain function and the dialog was recorded a bit too quiet, then I could just beef it up a bit with the L2 and get some space for the volume automation. I used it very lightly. &#xD;&#xA;Now with Nuendo I tend to have it in the master bus also very lightly just to be sure the quiet parts get somewhat hightened; I have very small speakers on my station... " ContentLicense="CC BY-SA 3.0" />
  <row Id="14076" PostHistoryTypeId="2" PostId="8414" RevisionGUID="aa7b3df8-137b-4200-a813-d824b2428e28" CreationDate="2011-06-02T17:48:30.587" UserId="845" Text="Are you just editing?  Or are you mixing it as well?  Do you know how your dialog is going to be treated in the mix? Is it a Doc, a CSI style show, a dramatic feature?&#xD;&#xA;&#xD;&#xA;If you're mixing it as well you can just go through and edit out the big stuff, then keep an ear out for noticeable things when you're mixing and edit them out then.  By that point there probably won't be too much left anyway, so you'll be good.&#xD;&#xA;&#xD;&#xA;If you're not mixing it, I'd try and mimic whatever the final product is going to be:&#xD;&#xA;&#xD;&#xA;If you're doing a modern investigation type drama that's going to be covered in music and crazy sound design, I'd say make a guess that they're going to be compressing the crap out of the lavs and using the boom for a bit of spice.  In that case I'd compress as you do it, and probably go a little harder than they would, just to be on the safe side.&#xD;&#xA;&#xD;&#xA;Docs too, depending on the style.&#xD;&#xA;&#xD;&#xA;Dramas probably won't be crushed too much, so I wouldn't worry about it to the same extent.&#xD;&#xA;&#xD;&#xA;The only thing I'd say is be careful with your settings.  If you compress too much with a really slow attack you may end up having stuff jump through that sounds like a click or pop, but really isn't.  So you'll edit out a bunch of stuff and end up with a really choppy comp track." ContentLicense="CC BY-SA 3.0" />
  <row Id="14077" PostHistoryTypeId="2" PostId="8415" RevisionGUID="0a580aaf-699d-4cd0-b968-23db995ed6c8" CreationDate="2011-06-02T18:23:10.747" UserId="338" Text="I don't reccomend the 20 dB reduction from my own personal experience, the 20 dB reduction plugs make me motion sick.  They disrupted the balance in my ears so I even feel sick when they aren't in.  I use the 15 dB reduction plugs and they work great." ContentLicense="CC BY-SA 3.0" />
  <row Id="14078" PostHistoryTypeId="2" PostId="8416" RevisionGUID="e25056ae-3fe4-45fc-8269-e425e15e6e9c" CreationDate="2011-06-02T18:25:11.973" UserId="270" Text="I cycle a lot and have worried about this before, I have tried wearing earphones to block my ear canal but I decided it was more dangerous because it makes traffic harder to hear.&#xD;&#xA;&#xD;&#xA;This looks like it could be a decent solution - http://www.slipstreamz.com/content.asp?subID=8&#xD;&#xA;&#xD;&#xA;I think the company is based in South Africa&#xD;&#xA;&#xD;&#xA;I dont think they are designed with ear health in mind, but they claim it reduces wind noise to make you more aware of your surroundings.&#xD;&#xA;Have you ever put your hand in front of your ear to block the airflow while riding? it does make it a lot easier to hear things." ContentLicense="CC BY-SA 3.0" />
  <row Id="14079" PostHistoryTypeId="2" PostId="8417" RevisionGUID="7e0c37b5-f294-473b-8bfe-1232d25ff117" CreationDate="2011-06-02T18:28:48.577" UserId="338" Text="Thats gotta be tough, live and learn.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;DONT punch any walls though.  I broke my hand once by doing that and if you do it at your parent's house they might ground you." ContentLicense="CC BY-SA 3.0" />
  <row Id="14080" PostHistoryTypeId="2" PostId="8418" RevisionGUID="883b3ef2-06c1-4b9c-a9a9-543ad511c03d" CreationDate="2011-06-02T19:48:57.477" UserDisplayName="user49" Text="Are you clear on which issues are **technical faults** and which are **creative decisions?**&#xD;&#xA;Other than in rare circumstances footsteps out of sync are a technical fault and in the film QC world would be rejected by distributors, so you are doing the producer a favour to identify those &amp; fix them.... creative decisions that you disagree with are a different kettle of fish..." ContentLicense="CC BY-SA 3.0" />
  <row Id="14081" PostHistoryTypeId="2" PostId="8419" RevisionGUID="7be18d96-6096-4fe6-85fa-921acc5bea81" CreationDate="2011-06-02T20:50:00.040" UserId="1106" Text="Eep. I don't know what's causing it, but this guy's voice is making the hair on the back of my neck stand up...  This has happened before and generally seems to be older people talking quietly and thoughtfully.  Pretty weird." ContentLicense="CC BY-SA 3.0" />
  <row Id="14082" PostHistoryTypeId="2" PostId="8420" RevisionGUID="20986e79-304c-4104-af76-33cb75d9d9cf" CreationDate="2011-06-02T20:57:57.500" UserId="6499" Text="So I am in a situation in which I agreed to do &quot;sound design&quot; for a short film a year ago.  It came to my desk and they had me rush a pre dub out in one week to send off to sun dance 2010.  Well now they have made many many edit changes and it is back to me as of 2 weeks ago.  The production audio is fubared in many scenes, I have tried everything I know but no luck.  They only recorded audio into the RED and I do not have access to the audio of any additional takes.  I am now in this predicament in which I am going to recommend ADR.  Personally I do not really have the facilities at the current time to even do ADR, and I know their budget does not have any room in it.  I'm getting paid 600 maybe 1000 do to the whole 30 min movie.  &#xD;&#xA;&#xD;&#xA;If they don't have ADR done, I really do not want my name attached to the movie in an audio manner because its really really terrible production audio.  Other than horrid signal to noise ratios many scenes have people talking in them( director/dp) and BGs and other noise can only cover that up so much.  I know with design I can add a lot to the movie, but the average person looking to hire me for their next project will just hear horrid dialogue.&#xD;&#xA;&#xD;&#xA;How do you deal with your hands being tied from the start and because of that, your name would suffer if you actually did the project and was credited for it?&#xD;&#xA;&#xD;&#xA;I have been working awhile at building up my name and am now moving from the free work on student projects to some free projects with exceptional design potential and the occasional paying gig.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I don't know, I am just in a situation where I almost feel morally obligated to do the project, but the director is just clueless and movie itself is pretty terrible.  I'm leaning towards the side of doing what I can with what I have and then adding a bit to each scene.  It is not worth my time to design and mix the film to my standard, but I would like the money haha, so I may request to not be credited.&#xD;&#xA;&#xD;&#xA;Can only polish a turd so much, so at what point can I demand to stop playing with poop?&#xD;&#xA;&#xD;&#xA;Any thoughts/Guidance/Similar experiences&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;sorry &#xD;&#xA;/rant off&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14083" PostHistoryTypeId="1" PostId="8420" RevisionGUID="20986e79-304c-4104-af76-33cb75d9d9cf" CreationDate="2011-06-02T20:57:57.500" UserId="6499" Text="How to deal with a bad film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14084" PostHistoryTypeId="3" PostId="8420" RevisionGUID="20986e79-304c-4104-af76-33cb75d9d9cf" CreationDate="2011-06-02T20:57:57.500" UserId="6499" Text="&lt;bad&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14085" PostHistoryTypeId="2" PostId="8421" RevisionGUID="d36f4f9d-21b4-45c0-aee6-274646091718" CreationDate="2011-06-02T21:42:42.093" UserId="253" Text="This is a tough situation, and i don't think there's any totally safe way to navigate the minefield. A few things though:&#xD;&#xA;&#xD;&#xA;- If there's not a huge amount of dialogue, and if they can get the actors back in for ADR, then you could probably pull it off in a relatively quiet house/apartment. I don't know how equip rental is in NOLA, but in NYC i can get a shotgun and mic stand for something like $40 for a weekend. The downside to this is, if the director is inexperienced, it's likely you'll get crappy ADR performances. &#xD;&#xA;&#xD;&#xA;- One thing that's still jangling around in my head from film school is the idea that a film's soundtrack should match its production values. A beautifully shot drama will be let down by noise pumping up and down with the dialogue but, conversely, a gritty, off-the-shoulder docudrama doesn't need clear sound. The audience will accept a reasonable amount of noise. It may not be ideal from a sound designer's point of view, but if the other production values aren't that great, you'll have more leeway with regards to what you can and can't use from the production. You could even get creative with some &quot;technical mistakes&quot;. I love throwing in some wind on the mic (when it works).&#xD;&#xA;&#xD;&#xA;- If it's as sub standard as you say, then you may not have to worry too much about your name being dragged down with it. It's probably against most sound designers' philosophies, and a dirty thing to say, but with this one, maybe you can aim to just satisfy the director and let go of some of your own standards. This would be the alternative to turning it down or handballing it to someone else. &#xD;&#xA;&#xD;&#xA;I worked on a short once, in which the location recordist had managed to horribly distort the signal, yet still record so low that it was buried in the noise floor. I ended up ADR'ing the whole thing in my apartment. The performances were pretty wooden, but i managed to satisfy the director and go on to work with her on a few other, better, projects. &#xD;&#xA;&#xD;&#xA;Also, with shorts, not that many people see them. I'd guess that your future clients will only see what you show them. And you never know, if you handle this well, the director might know people, who know people, who know people.&#xD;&#xA;&#xD;&#xA;I hope that helps. Best of luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14086" PostHistoryTypeId="2" PostId="8422" RevisionGUID="737c0444-9dfd-4211-a748-329c3a962fa7" CreationDate="2011-06-02T21:48:33.587" UserId="999" Text="I think I would certainly recommend ADR, I think since you're getting paid for the job it's probably part of your job to let them know the audio isn't good enough. It can be so difficult with films like this, depending on the director and your relationship with them perhaps try to be honest, voice your opinions and tell them the sound is awful! It's easy for me to say this as im not the one in the situation but I think they will know the audio is awful and may be looking for you to say it.&#xD;&#xA;&#xD;&#xA;Perhaps it would be possible to do ADR, to dig some money from somewhere-it seems pointless to me to spend any money on a film if you're not going to have it perfect.&#xD;&#xA;&#xD;&#xA;Hope this helps and good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14087" PostHistoryTypeId="2" PostId="8423" RevisionGUID="67d3989d-f012-4b83-a7e8-a21c9fe25d75" CreationDate="2011-06-02T21:56:17.513" UserId="393" Text="Did you hire the other designer to take your place, or was it a decision of the director?  If it was the director's decision, talk to him, and let him know how you feel about his choice, and perhaps ask for your name to be removed from the credits as you feel nothing that you did made it into the final cut.&#xD;&#xA;&#xD;&#xA;If it was your decision, bite the bullet and accept that you made a bad decision, then never work with the other designer again.&#xD;&#xA;&#xD;&#xA;Finally, if it was the directors direction that changed all your edits, keep your mouth shut and politely decline to work with that director again.  Feign diarrhea or something... no one ever questions that.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14088" PostHistoryTypeId="2" PostId="8424" RevisionGUID="6ceb5493-63c3-4d33-b94d-324fd9b45603" CreationDate="2011-06-02T22:04:30.830" UserId="118" Text="No I personally would never mess about with any kind of compression etc. when editing.  I work on Sennheiser HD25s which are great for hearing every detail so I never feel the need to boost anything in order to hear it better.  If production sound is low level I just put trims on the inserts and automate gain increases." ContentLicense="CC BY-SA 3.0" />
  <row Id="14089" PostHistoryTypeId="2" PostId="8425" RevisionGUID="5d555afe-b65f-432b-af0c-b8a81a9374a0" CreationDate="2011-06-02T22:06:39.660" UserId="995" Text="Totally agree with Kyle: ADR and a few knocks in the head for the director is a must. He must learn sound is the other half of the work. Regards and good luck!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14090" PostHistoryTypeId="2" PostId="8426" RevisionGUID="a10d19b0-94c9-41c8-9449-c9f6ec77b220" CreationDate="2011-06-02T22:11:57.043" UserId="857" Text="&quot;We will fix it in the post&quot;...if this is done, hopefully, don`t forget to send them this link:&#xD;&#xA;http://www.youtube.com/watch?v=c38CekaAtfI&amp;feature=player_embedded&#xD;&#xA;&#xD;&#xA;good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14091" PostHistoryTypeId="2" PostId="8427" RevisionGUID="21d6a351-d2dd-45e1-b3e8-27591ba75557" CreationDate="2011-06-02T22:36:03.653" UserId="863" Text="Just be honest. Explain the situation, what is needed and tell them it wont be free. If they say no, then just get out. &#xD;&#xA;&#xD;&#xA;Do not waste your time, these people will never make it." ContentLicense="CC BY-SA 3.0" />
  <row Id="14092" PostHistoryTypeId="2" PostId="8428" RevisionGUID="3d60fdc5-bd04-4808-bbf2-456de2fce34a" CreationDate="2011-06-02T22:38:16.030" UserId="845" Text="Thoughts, as they do, have been whirling around inside my head lately.  The one that a few minutes ago bubbled it's way up to the top is the question of Mini-HardDrives.&#xD;&#xA;&#xD;&#xA;As I'm sure some of you have noticed from my recent posts, I'm planning on doing some traveling in the next few months.  Further, I fully intend to work while I'm at it.  Part of my plan is to do *extensive* recording absolutely everywhere I go.  This means that I'm going to need some external storage, since the HD in my laptop is only 250 gigs.  I'm not going to have space for a big bulky enclosure, and every pound is going to count, so it'll have to be a 2.5&quot; drive (maybe two).&#xD;&#xA;&#xD;&#xA;I've seen those rugged little orange rubber encased Lacie drives being used by a lot of people.  But I'm wondering what else is out there.  As far as data storage goes I don't care about the price.  Mics, cables, interfaces, shoes, and deoderant, I am more than happy to scrimp on, but if a drive goes down, so does my entire catalogue of sounds and projects, essentially my entire working life.  Not going to happen.&#xD;&#xA;&#xD;&#xA;For those of you who do a lot of travelling, backpacking, &amp;tc., what makes/brands of mini harddrives are up to the task?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14093" PostHistoryTypeId="1" PostId="8428" RevisionGUID="3d60fdc5-bd04-4808-bbf2-456de2fce34a" CreationDate="2011-06-02T22:38:16.030" UserId="845" Text="Mini External HardDrives" ContentLicense="CC BY-SA 3.0" />
  <row Id="14094" PostHistoryTypeId="3" PostId="8428" RevisionGUID="3d60fdc5-bd04-4808-bbf2-456de2fce34a" CreationDate="2011-06-02T22:38:16.030" UserId="845" Text="&lt;external-harddrives&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14095" PostHistoryTypeId="2" PostId="8429" RevisionGUID="82c3d256-a990-48ec-9379-310f2a3db048" CreationDate="2011-06-02T22:40:39.453" UserId="863" Text="Sorry to hear this. I would discuss it with the producer though and ask for an explanation. &#xD;&#xA;&#xD;&#xA;If its really that bad ask to be de-credited." ContentLicense="CC BY-SA 3.0" />
  <row Id="14096" PostHistoryTypeId="2" PostId="8430" RevisionGUID="3e7a472b-e571-47f3-a08b-bf48301577f2" CreationDate="2011-06-02T22:57:46.460" UserId="1102" Text="Ive recently been in talks with a director of a low budget feature film who is currently at previsualisation stage.  He has asked me to come on board as not only sound designer, but location sound mixer as well which i'm over the moon about. However, he's asked me to provide a full audio dub for the previsualisation which - i quote - &quot;Can then easily be transfered onto the finished film&quot; as it wont be too far off the previs?!?!?! &#xD;&#xA;&#xD;&#xA;Now, i have worked on another low budget feature film which didnt have previs but we did create some sizzle reels of the film at full audio quality to show to sponsers and try and raise money - which i get, but is it common practice to produce a FULL audio dub for a previs (which is esentially an animation) of the FULL film?!?! I feel like i'd be doing the same work 3x over...&#xD;&#xA;&#xD;&#xA;He seems to know what hes talking about in terms of my requierments and is happy to assist but has no idea how audio post production works.  This just seems a bit much to ask - especially low budget. &#xD;&#xA;&#xD;&#xA;Anyone had to do this before?? Any help would be grand thanks, &#xD;&#xA;&#xD;&#xA;Gillian " ContentLicense="CC BY-SA 3.0" />
  <row Id="14097" PostHistoryTypeId="1" PostId="8430" RevisionGUID="3e7a472b-e571-47f3-a08b-bf48301577f2" CreationDate="2011-06-02T22:57:46.460" UserId="1102" Text="Previsualisation Audio Dub " ContentLicense="CC BY-SA 3.0" />
  <row Id="14098" PostHistoryTypeId="3" PostId="8430" RevisionGUID="3e7a472b-e571-47f3-a08b-bf48301577f2" CreationDate="2011-06-02T22:57:46.460" UserId="1102" Text="&lt;preparation&gt;&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14099" PostHistoryTypeId="2" PostId="8431" RevisionGUID="d6513cb8-50fe-445f-a074-94140a796fb5" CreationDate="2011-06-02T23:18:03.367" UserId="253" Text="My experience isn't hugely extensive, but i've never heard of that (at least not for a live action - it is live action, yes?). Maybe you could put together some sketches of things that you can see as being sound motifs for the film eg. time lapses, atmos for a particular location, transitions and other key FX.&#xD;&#xA;&#xD;&#xA;This seems to be the other end of the collaboration spectrum - too much! It's awesome that he's taking sound this seriously, but it seems a little over the top. Particularly because films (especially low budget) can change drastically during the shoot or picture edit. &#xD;&#xA;&#xD;&#xA;I'd talk to him about narrowing down specific sound elements for you to create sketches of. This will be great for giving you some influence on the film in pre-prod, and maybe even help out the picture editor, but you should be free to adapt your final sound design to whatever the film ends up becoming. What he's suggested is way too much work, and for minimal payoff. It's also creatively dangerous, as you run the risk of the people involved becoming too used to your pre-vis sounds and choosing them over what you end up doing in post (which will probably be a lot better). It's that whole temp music attachment thing.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14100" PostHistoryTypeId="2" PostId="8432" RevisionGUID="ccf75c20-5823-490d-b839-5736ab318911" CreationDate="2011-06-02T23:53:35.543" UserId="134" Text="I would put in a vote for a G-RAID mini, essentially 2 x 2.5&quot; drives in raid array so your stuff is double backed-up.  It runs off the firewire power of your computer so the cords you would need are just that, no power supply needed (for most computers).  &#xD;&#xA;http://g-technology.com/products/g-raid-mini.cfm&#xD;&#xA;&#xD;&#xA;plus it is fairly heavy duty with aluminum enclosure." ContentLicense="CC BY-SA 3.0" />
  <row Id="14101" PostHistoryTypeId="2" PostId="8433" RevisionGUID="27eb6e45-d742-4b3f-b53e-aa107986cb36" CreationDate="2011-06-03T01:11:38.693" UserId="432" Text="The Iomega E-Go (Mac Edition) run fairly well. We use those as our backups drives out in the field, because they have USB 2.0, Firewire 400, Firewire 800 and are bus powered. Great for dumping to off of the 744T or Deva, and then still accessible on the laptops we bring with us as well.&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;Forgot to mention, I've dropped one onto pavement before. Other than some minor chips to the paint/enamel of the case, it was completely unphased. Still runs like a champ." ContentLicense="CC BY-SA 3.0" />
  <row Id="14102" PostHistoryTypeId="2" PostId="8434" RevisionGUID="6fa5856e-3f77-48a7-99fd-4443cc0a24f8" CreationDate="2011-06-03T01:17:35.727" UserDisplayName="user6513" Text="Whenever I finish a project I'm not too happy with, what I do is get the director/producer to credit me for &quot;Audio Post-Production&quot;. I really just wanna say please credit me for &quot;Audio Clean-Up&quot; but my common sense preludes me. Never burn bridges. If you're happy with an aspect of the process for example, he mix, why not get them to credit you as a mixer? Choose a title that showcases your contributions to the film and use a generic one if it's just bad. At any rate, don't ask for your credits to be removed unless you have to. Like g.a.harry pointed out in another thread, doing so just ends the project on a bitter note and you won't be hearing from them or their friends in the future.&#xD;&#xA;&#xD;&#xA;I reckon that your good reputation will prevail. People who know you will probably be able to guess your circumstance, and people who don't well won't judge you too badly. There are so many worse films being made and we all have the memory of goldfishes these days. And do make sure the filmmakers know how bad their audio is and how much you've done. It's a good calling card for yourself. You might find a lot more work pop up from their recommendations." ContentLicense="CC BY-SA 3.0" />
  <row Id="14103" PostHistoryTypeId="5" PostId="8433" RevisionGUID="c8052c84-3669-48c1-b59e-57e96a02dc08" CreationDate="2011-06-03T01:52:19.343" UserId="432" Comment="added link" Text="The [Iomega eGo (Mac Edition)][1] run fairly well. We use those as our backups drives out in the field, because they have USB 2.0, Firewire 400, Firewire 800 and are bus powered. Great for dumping to off of the 744T or Deva, and then still accessible on the laptops we bring with us as well.&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;Forgot to mention, I've dropped one onto pavement before. Other than some minor chips to the paint/enamel of the case, it was completely unphased. Still runs like a champ.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.microcenter.com/single_product_results.phtml?product_id=0313968" ContentLicense="CC BY-SA 3.0" />
  <row Id="14104" PostHistoryTypeId="2" PostId="8435" RevisionGUID="66329007-2b4c-4c11-92ee-a5769fababd1" CreationDate="2011-06-03T02:58:45.493" UserId="253" Text="Aside from portable drives, you might want to look into some cloud based storage, assuming you'll be able to find internet coverage here and there. Maybe something like dropbox or, to save cash, you could use a free large file transfer service like largefilesasap.com and have a friend back home take it down for you.&#xD;&#xA;&#xD;&#xA;Even if you can't get a hold of acceptably fast internet connections, this could be a good extra measure of protection for anything amazing you might happen to record. Because drives do occasionally go down, and it's always infuriating if you're not backed up." ContentLicense="CC BY-SA 3.0" />
  <row Id="14105" PostHistoryTypeId="2" PostId="8436" RevisionGUID="ebf0cebe-5da4-4dd9-a53d-218af57c4868" CreationDate="2011-06-03T07:04:10.283" UserId="6462" Text="My opinion on HD's is to buy the drive you want and then find a housing for it, you then know exactly what the manufacturer of the drive is (Seagate, Western Digital etc) and which model. Personally I like the Seagate Momentus drives with the GeForce protection, I have a number of these and about to get another one. I also use enclosures from Akasa, they are well made and have never let me down.&#xD;&#xA;&#xD;&#xA;If I were doing a trip like yours I would keep the drives separated, have one in one bag and one in another. Or give one to another person in your party (if there is another person), make sure they are synced, but if you drop a bag, or it gets stolen you still have another copy in another 'location'. You might also want to look at getting a couple of small Pelican cases for the drives.&#xD;&#xA;&#xD;&#xA;Also burn DVD's every so often and post them back to yourself, they are available everywhere so you don't need to carry a supply and light enough that it won't cost you a fortune in postal costs." ContentLicense="CC BY-SA 3.0" />
  <row Id="14106" PostHistoryTypeId="2" PostId="8437" RevisionGUID="f147c6b0-e586-4f1b-855b-62f7d5daf232" CreationDate="2011-06-03T08:18:48.593" UserId="596" Text="hi, i've been wondering about this issue (sound optimization for web/online) for some time now... i completed sound design for two short films. the design work was mainly about creating space and overall atmospheric tone. both soundtracks consist mostly of soft ambience sounds, room tones, delicate drones, mild nature sounds, etc. the mix sounds very well when played through standard monitors / loudspeakers, however the entire soundtrack disappears almost utterly when played via average laptop speakers. i'd like to add selected parts of the movies to my online portfolio. therefore, i want to find a strategy to track those elements (or frequency bands) that are currently not audible and try boost them a bit or improve their resolution, with the aim of bringing the soundtrack to sound reasonable on laptop speakers as well. how would you recommend going about doing that? ... so far i've played around with the Waves MaxxBass plugin an used it to enhance some of the low end that looses much of its presence when played via laptop speakers... yet i reckon there's a lot more work to be done.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="14107" PostHistoryTypeId="1" PostId="8437" RevisionGUID="f147c6b0-e586-4f1b-855b-62f7d5daf232" CreationDate="2011-06-03T08:18:48.593" UserId="596" Text="sound optimization for web/online" ContentLicense="CC BY-SA 3.0" />
  <row Id="14108" PostHistoryTypeId="3" PostId="8437" RevisionGUID="f147c6b0-e586-4f1b-855b-62f7d5daf232" CreationDate="2011-06-03T08:18:48.593" UserId="596" Text="&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14109" PostHistoryTypeId="2" PostId="8438" RevisionGUID="f5379559-4edc-42af-b14b-498b990a30f2" CreationDate="2011-06-03T09:03:20.790" UserId="238" Text="Finding a drive that is reliable will obviously be important for travelling. I'm pretty happy with my LaCie Rugged 500GB. It's small, compact and so far seems to have been very reliable on all my travels (touch wood). &#xD;&#xA;&#xD;&#xA;Personally, I would take Si's advice in keeping a backup drive in a separate place. The safety of your kit will vary greatly depending on where you travel, but precautions should be taken all the time. I spent 6 months travelling around Asia and was ultra careful with my stuff 24/7. As it turned out, I never had any problems, nor did I here from other travellers of things being stolen. Perhaps a reflection on the region, but it's still no excuse not to be careful. You never know. &#xD;&#xA;&#xD;&#xA;I would also look into using an online storage solution such as those offered by Amazon, Google and Microsoft. Another option would be to use one of the paid-for Soundcloud accounts. Using this option will guarantee against theft, loss or damage of your drives. Again, where you intend to travel will also influence your access to Internet, as well as the connection speeds you'll likely have access to and this will need to be taken into account.&#xD;&#xA;&#xD;&#xA;To conclude, my advice would be take all the precautions you'd normally take with your studio storage and them some. You will most likely find at the end of your trip that these precautions have all been unnecessary, but you'll be forever grateful if you do encounter some issues and have your work backed up elsewhere." ContentLicense="CC BY-SA 3.0" />
  <row Id="14110" PostHistoryTypeId="2" PostId="8439" RevisionGUID="cde6e229-4424-4aa4-b4e5-a1d04659010a" CreationDate="2011-06-03T10:09:03.433" UserDisplayName="user80" Text="If you can afford it I suggest purchasing an uncased solid state drive and then putting it in the smallest case that you can find.  It might also be worth swapping out your internal drive as SSDs are more reliable than moving platters.  If you were willing to lose your CD/DVD drive then both can be mounted internally.&#xD;&#xA;&#xD;&#xA;I would also highly recommend cloud storage so that if the worse happens you still have access to all of your files." ContentLicense="CC BY-SA 3.0" />
  <row Id="14111" PostHistoryTypeId="2" PostId="8440" RevisionGUID="e4c0b8fa-abf3-48b5-ae63-233442e98ce3" CreationDate="2011-06-03T10:39:04.087" UserId="238" Text="Have a look at [this question][1]. There are some very useful tips for Internet mastering. It might help you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/8296/remixing-for-the-internet" ContentLicense="CC BY-SA 3.0" />
  <row Id="14112" PostHistoryTypeId="2" PostId="8441" RevisionGUID="49e0f82f-bc8c-4d55-84a1-b4e616c1eb97" CreationDate="2011-06-03T10:39:25.790" UserId="1123" Text="Im working on a short trailer that involves a big dragon.&#xD;&#xA;&#xD;&#xA;I've been thinking alot about how to capture this big massive beast and i'm completely out of ideas... For the footsteps i've put together some sub elements, rocks shaking, something cracking and many more... But there's something missing... I want to capture the movement of this beast... What should i do? I've tried pitching down and time stretched some whip/whoop sounds but doesn't seem to work... &#xD;&#xA;&#xD;&#xA;Any Ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14113" PostHistoryTypeId="1" PostId="8441" RevisionGUID="49e0f82f-bc8c-4d55-84a1-b4e616c1eb97" CreationDate="2011-06-03T10:39:25.790" UserId="1123" Text="Create a powerful Creature" ContentLicense="CC BY-SA 3.0" />
  <row Id="14114" PostHistoryTypeId="3" PostId="8441" RevisionGUID="49e0f82f-bc8c-4d55-84a1-b4e616c1eb97" CreationDate="2011-06-03T10:39:25.790" UserId="1123" Text="&lt;creature&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14115" PostHistoryTypeId="2" PostId="8442" RevisionGUID="cfdb3d72-9245-44c5-aa45-0a8a9282593f" CreationDate="2011-06-03T10:39:35.397" UserId="693" Text="Personally, I'd leave dynamics processors out of it (even if you can disable them before your final print). Mostly because they will alter the way you hear things and have an effect on the way you create, crossfade and mix your backfill. In all reality, you may end up creating more work for yourself than is necessary.&#xD;&#xA;&#xD;&#xA;If you need to hear the pops and clicks, turn up your monitors or headphones.&#xD;&#xA;&#xD;&#xA;IE: leave the dynamics (compression and limiting) to the mixers. Not to push work off on them, but I'm sure they prefer a more natural &quot;performance&quot; and a few overseen clicks and pops are sort of part of the territory." ContentLicense="CC BY-SA 3.0" />
  <row Id="14116" PostHistoryTypeId="5" PostId="8442" RevisionGUID="c63e4a3c-0c28-4470-a60c-2d3535a68ed1" CreationDate="2011-06-03T10:46:36.943" UserId="693" Comment="oops" Text="Personally, I'd leave dynamics processors out of it (even if you can disable them before your final print). Mostly because they will alter the way you hear things and have an effect on the way you create, crossfade and mix your backfill. In all reality, you may end up creating more work for yourself than is necessary.&#xD;&#xA;&#xD;&#xA;If you need to hear the pops and clicks, turn up your monitors or headphones.&#xD;&#xA;&#xD;&#xA;Also, something else to consider is that you might want to leave the dynamics (compression and limiting) to the mixers. Not to push work off on them, but I'm sure they prefer a more natural &quot;performance&quot; and a few overseen clicks and pops which are sort of part of the territory. Also, just because of the compression/limiting you might be creating more work for them. It's easier to get rid of a few natural clicks and pops then a ton of volume rides due to compressors and limiters that are pushing things in unnatural directions which might have clouded your judgement (even if they're left off the final print you give them, they will still potentially taint your decisions no matter what)." ContentLicense="CC BY-SA 3.0" />
  <row Id="14117" PostHistoryTypeId="2" PostId="8443" RevisionGUID="b841e60d-cee9-49f9-b5b8-7f6c27e3dca3" CreationDate="2011-06-03T10:55:51.573" UserId="693" Text="Off the top of my head; since Dragons are supposed to have a sort of &quot;Scale&quot; to their skin... you might want to take some leather swatches of various states of soft/hardness and twist them in time with the dragons movements to create a sort of creaking skin/scale sound.&#xD;&#xA;&#xD;&#xA;A piece of leather that's wet and left out to dry will have a bit more squeaky resonance than a softer piece of leather. You can usually buy a whole side of leather from a local shop and then treat it to different forms of soaking, different soaking materials (Oil vs Water or Oil and Water ratios vs various drying times or drying conditions).&#xD;&#xA;&#xD;&#xA;Record those sounds at 192/24 and that way you can pitch them down and get some depth to it, especially when layering.&#xD;&#xA;&#xD;&#xA;You might also want to record some &quot;sliding&quot; sounds across different types of surfaces to layer on the &quot;creaks&quot;. ie: slide a book across a table and maybe apply a filter/EQ sweep to it to give it some motion, then when it's in your mix, pan appropriately.&#xD;&#xA;&#xD;&#xA;Ok, good luck... let us know what you ended up doing and how you did it!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14118" PostHistoryTypeId="2" PostId="8444" RevisionGUID="fed0e9ed-a903-4b5d-96de-f69a9fc5ee23" CreationDate="2011-06-03T11:00:25.097" UserDisplayName="user80" Text="Try focusing on the movement of the tail rather than the footsteps.  Dragons (if they existed) would be very light on their feet just like elephants and other large creatures.  You can convey the weight and power by having a large low swishing sound as it moves, try attaching a large bucket or something similar to a stick and moving it fast past the mic, remember to tape down the handle so it doesn't rattle." ContentLicense="CC BY-SA 3.0" />
  <row Id="14119" PostHistoryTypeId="5" PostId="8444" RevisionGUID="c8a31fe7-da3e-4ccb-aaa1-2385f2af6630" CreationDate="2011-06-03T11:09:47.003" UserDisplayName="user80" Comment="added 146 characters in body" Text="Try focusing on the movement of the tail rather than the footsteps.  Dragons (if they existed) would be very light on their feet just like elephants and other large creatures.  You can convey the weight and power by having a large low swishing sound as it moves, try attaching a large bucket or something similar to a stick and moving it fast past the mic, remember to tape down the handle so it doesn't rattle.  You could then layer it with a moving leather jacket, you can create lots of sounds by scrumpling it, passing it through air, and stretching it." ContentLicense="CC BY-SA 3.0" />
  <row Id="14120" PostHistoryTypeId="2" PostId="8445" RevisionGUID="c488159c-b0a1-4a7d-a923-dc4bd462e427" CreationDate="2011-06-03T11:41:03.990" UserId="432" Text="I love the combination on this one: a low budget picture, shot on a freakin' RED camera. Chalk this one up to poor planning on the side of the producers/directors and just get it done.&#xD;&#xA;&#xD;&#xA;Remember, your reel only has on it what YOU WANT TO PUT ON IT! If the dialogue is horrid, and it's condition is not something you were responsible for (which it's not, you didn't record it), just don't highlight it on your reel. Mute the dialogue, and bounce out a version that's your sound design and effects editing and put that on your reel.&#xD;&#xA;&#xD;&#xA;Also, as Roger mentioned, you may not have to worry about it tarnishing your name. If the piece is as crappy as you say, and the director as clueless, no one's going to see it anyways. And if the director ever does get his/her act together, and get any good, they won't want people to see this one either." ContentLicense="CC BY-SA 3.0" />
  <row Id="14121" PostHistoryTypeId="2" PostId="8446" RevisionGUID="8ee0bc2e-9eba-43ac-9a34-713f0651c57e" CreationDate="2011-06-03T13:16:18.523" UserId="1102" Text="Just starting my reserach paper for my masters degree and i'm interested to hear from anyone who has ever mixed sound in ambisonics - whether it was using B-format recordings or placing tracks into the ambisonic surround field. &#xD;&#xA;&#xD;&#xA;How easily did you find the practicalities of working with an extended surround field?&#xD;&#xA;&#xD;&#xA;How easily was mixing upgraded from 5.1?&#xD;&#xA;&#xD;&#xA;Were there any new factors you had to contend with compared to 5.1?&#xD;&#xA;&#xD;&#xA;Have you ever used it with reference to a visual medium, if so, how well did you think it worked?&#xD;&#xA;&#xD;&#xA;I'd also like to hear peoples thoughts about the advancement of film audio being reproduced in ambisonics - how successful would you think this would be?&#xD;&#xA;Is this something you may like to hear more about?&#xD;&#xA;&#xD;&#xA;Also, if you are aware of any practicionars in ambisoncs (like sound artists for installations) i'd love to get some contact details for them.  &#xD;&#xA;&#xD;&#xA;Any input is very welcome!&#xD;&#xA;&#xD;&#xA;Thanks, Gillian " ContentLicense="CC BY-SA 3.0" />
  <row Id="14122" PostHistoryTypeId="1" PostId="8446" RevisionGUID="8ee0bc2e-9eba-43ac-9a34-713f0651c57e" CreationDate="2011-06-03T13:16:18.523" UserId="1102" Text="Ambisonic Sound for Film " ContentLicense="CC BY-SA 3.0" />
  <row Id="14123" PostHistoryTypeId="3" PostId="8446" RevisionGUID="8ee0bc2e-9eba-43ac-9a34-713f0651c57e" CreationDate="2011-06-03T13:16:18.523" UserId="1102" Text="&lt;ambisonics&gt;&lt;art&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14124" PostHistoryTypeId="2" PostId="8447" RevisionGUID="16a5a84a-65ae-4e07-a949-ddcb83cc419d" CreationDate="2011-06-03T13:29:44.447" UserId="63" Text="You could make some whooshes for the wings and tail (panned according to the picture) with some leather, plus you could try stretching some hard leather piece to add in those movements cause they could add some realism to the dragon skin movement (except your dragon has metal parts and stuff so tha means you can add lots of different things), then do some time stretch on those elements and EQ to make the &quot;big&quot;, you could also try some lion roar time stretched down to add to the actual dragon characterization (exscuse my bad english here...), and if your dragon breaths some fire then thats a whole different story and there are many things you can do... &#xD;&#xA;&#xD;&#xA;You can watch the interview from the sound maker of the upcoming Elder Scrolls Skyrim. I found those videos on GameInformer.com site some time ago and the guy explained how he did the sound from the dragons in that game, i found it very helpfull so i suggest you watch these videos too SS.&#xD;&#xA;&#xD;&#xA;please post some of your work when you get it done cause it is really interesting :) cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14125" PostHistoryTypeId="2" PostId="8448" RevisionGUID="e900af51-d766-4584-af84-018809b561d9" CreationDate="2011-06-03T13:43:11.433" UserId="400" Text="I know the question has been answered, but for what it's worth, I've been using the M10 + NTG2 with batteries with great success." ContentLicense="CC BY-SA 3.0" />
  <row Id="14126" PostHistoryTypeId="2" PostId="8449" RevisionGUID="2bf90203-0022-4641-ae98-3783c0d9319f" CreationDate="2011-06-03T15:33:23.780" UserId="220" Text="![alt text][1]&#xD;&#xA;&#xD;&#xA;I was watching [Terminus][2] by Phillip Bloom on Vimeo.  He recorded it as a showpiece for the Arri Alexa and the [Mitra 3D Mic Pro][3], and I was really impressed by both. The sound was really great on headphones - it had a cool &quot;3D&quot; feel to it.&#xD;&#xA;&#xD;&#xA;My first impression was that it looked a little odd.  Not that it would keep me from buying one, but that trunk that it's on looks really uncomfortable to hold for recording.&#xD;&#xA;&#xD;&#xA;Has anybody played with one?  It seems like it's just a binaural mic, but without the creepy ears.&#xD;&#xA;&#xD;&#xA;Speaking of creepy... &#xD;&#xA;![AAAA!!!!!!!][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ecx.images-amazon.com/images/I/41Kz9rFoaoL._SX270_.jpg&#xD;&#xA;  [2]: http://vimeo.com/24543381&#xD;&#xA;  [3]: http://www.3dmicpro.com/&#xD;&#xA;  [4]: http://www.blogcdn.com/www.engadget.com/media/2008/06/binaural-mic.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="14127" PostHistoryTypeId="1" PostId="8449" RevisionGUID="2bf90203-0022-4641-ae98-3783c0d9319f" CreationDate="2011-06-03T15:33:23.780" UserId="220" Text="Thoughts on 3D Mic Pro by Mitra?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14128" PostHistoryTypeId="3" PostId="8449" RevisionGUID="2bf90203-0022-4641-ae98-3783c0d9319f" CreationDate="2011-06-03T15:33:23.780" UserId="220" Text="&lt;3d&gt;&lt;microphone&gt;&lt;product&gt;&lt;opinion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14129" PostHistoryTypeId="2" PostId="8450" RevisionGUID="b964077d-e954-44c9-86aa-2d4149f3af80" CreationDate="2011-06-03T18:10:47.640" UserId="63" Text="Interesting mic there, though its pretty expensive and hard to find for a test, I saw the video you linked but it was kind of weird on my monitors, and i would not go for such an expensive mic just for headphones, they need to do better sample videos and tests for this mic if they want good promotion. &#xD;&#xA;&#xD;&#xA;I also noticed something weird with the sound on the second video they have on their website, its kinda like hollow frequency spots in the stereo field, but i cant quite explain it! ...weird" ContentLicense="CC BY-SA 3.0" />
  <row Id="14130" PostHistoryTypeId="2" PostId="8451" RevisionGUID="596ab2ef-0a37-4c65-a53e-b5db0e3d9e36" CreationDate="2011-06-03T20:59:47.440" UserId="6524" Text="You can check out how David Farmer did the sound for the Fellbeast's in LoTR they used a bunch of cheese grader swooshes for the tail. (skip to 1min 20sec):&#xD;&#xA;&#xD;&#xA;[youtube]RMNwotOm27g[/youtube]&#xD;&#xA;&#xD;&#xA;[youtube]KwFs5Pr2IZc[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="14131" PostHistoryTypeId="2" PostId="8452" RevisionGUID="930e7799-ff54-43ec-ac5e-cddfbad05b35" CreationDate="2011-06-03T21:08:51.750" UserId="338" Text="Interesting mic.  It does have a hollow sound sometimes, almost dullened.  Sure is a great image though.  What other 3D mics are out there?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14132" PostHistoryTypeId="2" PostId="8453" RevisionGUID="a7fbc4c5-2981-46d8-b218-ba93c1bc5ed0" CreationDate="2011-06-03T21:12:20.793" UserId="542" Text="I had a look at their website and I have to say that after all I don't get the feeling that they are selling a product that is worth 1,500$. Of course a website doesn't tell much about the actual product, but the fact, that the videos do have a horrible audio quality doesn't gives me the feeling that they do have much of a clue about audio. (yes I know, hard words).&#xD;&#xA;&#xD;&#xA;Btw: their boompole (which they are selling for 199$) reminds me of the Røde boompole (sold for 99$)." ContentLicense="CC BY-SA 3.0" />
  <row Id="14133" PostHistoryTypeId="2" PostId="8454" RevisionGUID="bdeec390-3b77-408c-ab45-4537ea37d6d4" CreationDate="2011-06-03T21:58:52.947" UserId="28" Text="No advice, but I wanted to chip in anyway. I, too, spent my first day biking around downtown Toronto on Wednesday. And it was SO windy. I'm excited to quit the TTC for the summer. Cheers." ContentLicense="CC BY-SA 3.0" />
  <row Id="14134" PostHistoryTypeId="2" PostId="8455" RevisionGUID="2d6c05bf-36c4-4052-9182-e57811815e66" CreationDate="2011-06-03T22:21:04.033" UserId="575" Text="I went on the website and check out the Mitra 3D Mic Pro videos. It's a stereo mic, that's all. There's nothing 3D about it, as fas as I can tell.&#xD;&#xA;The guy with the goatee making the demonstration actually made me angry.&#xD;&#xA;It's a stereo mic, maybe a good one, but that's it - welcome to the 60's." ContentLicense="CC BY-SA 3.0" />
  <row Id="14135" PostHistoryTypeId="2" PostId="8456" RevisionGUID="c04e5025-1b18-4131-87a6-85045f435307" CreationDate="2011-06-03T22:28:28.033" UserId="235" Text="  In my experience, reputation has more to do with whether people like working with you than with the quality of your work.  Not that quality is important, but most directors don't care about the same things you as an engineer care about.  Set up expectations first.  Give them all the bad news upfront, then come to the rescue.  I have never got a gig from someone seeing my work and looking me up.  It's always a referral based on a working relationship.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14136" PostHistoryTypeId="5" PostId="8357" RevisionGUID="58355543-f259-4d5c-8a84-2b03967d1ae3" CreationDate="2011-06-03T22:40:33.130" UserId="6524" Comment="added 165 characters in body" Text="Hey guys, I'm Indian and I'm pretty cheap so I've never paid for plugins or VST instruments (yet) and I'm always on the look out for something free, so I thought I'd list some of the stuff that I've found and if you guy's have something that I haven't listed we can share links. &#xD;&#xA;&#xD;&#xA;**Plugins:**&#xD;&#xA;&#xD;&#xA;[Variety of Sound][1]: I found these plugins today and I'm not sure if anyone's used them before but I was so impressed by how good they look and sound, their **epicVerb** and **FerricTDS** are the best plugins I've heard out of my computer (I don't know how it compares to stuff like Waves and others though).&#xD;&#xA;&#xD;&#xA;[Kjaerhus Audio Classic Series][2]: I found these from DJ Laidback Luke he mentioned them in some weird studio tour in his home, These are pretty alright I like the **Auto-Filter**.&#xD;&#xA;&#xD;&#xA;[ReaPlugs][3]: I found these today as well but I haven't tried them yet, these are the plugins that are found in Cockos REAPER, I'm excited to try their **Multi-band Compressor** cause I've never really used one before.&#xD;&#xA;&#xD;&#xA;[Molot][4]: This is a Russian **Compressor** which I haven't used yet to be honest but its looks great.&#xD;&#xA;&#xD;&#xA;[Glitch][5]: OMG get this now, I've seen a plug in like this before but I can't remember what that one was called.&#xD;&#xA;&#xD;&#xA;**Instruments:**&#xD;&#xA;&#xD;&#xA;[Elektrostudio][6]: These were first free synths that I had found, I really like the **Model Pro** its like a replica of the Moog Prodigy its pretty fun to play with.&#xD;&#xA;&#xD;&#xA;[MinimogueVA][7]: This is one more thing I found today, its a replica of the **Mini Moog** and its so much fun and sounds great too.&#xD;&#xA;&#xD;&#xA;[Formant Classic][8]: I found this synth last night and its pretty good, the guy who made it says that its good for learning how to use synths and stuff.&#xD;&#xA;&#xD;&#xA;[DiscoDSP HighLife][9]: I found this through the Game Audio Tutorial book and its so much fun, its a **Sampler**, I like to put in recordings of my brother farting and make melodies out of it lol.&#xD;&#xA;&#xD;&#xA;[Vocov2][10]: This is a fun **Vocoder** which is another alternative I use to make music with my brother's farts.  &#xD;&#xA;&#xD;&#xA;[TS-808][11]: Ohh snap this is another thing I found today, this is obviously a replica of the **Roland 808 Drum Machine**, I've only played around a little bit with this but from what I've heard so far its really good.&#xD;&#xA;&#xD;&#xA;So anyway I hope this doesn't make me look like a super duper fantastical cheapo and also since I'm still a beginner in sound and can't really help many people on here, I hope at least these can help you guys. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://varietyofsound.wordpress.com/vst-effects/&#xD;&#xA;  [2]: http://www.acoustica.com/plugins/vst-directx.htm&#xD;&#xA;  [3]: http://www.reaper.fm/reaplugs/&#xD;&#xA;  [4]: http://vladgsound.wordpress.com/plugins/molot/&#xD;&#xA;  [5]: http://illformed.org/plugins/glitch/&#xD;&#xA;  [6]: http://www.elektrostudio.ovh.org/index2.php&#xD;&#xA;  [7]: http://home.no/gunnare/index.htm&#xD;&#xA;  [8]: http://www.ftec-audio.com/formant-classic/&#xD;&#xA;  [9]: http://www.discodsp.com/highlife/&#xD;&#xA;  [10]: http://www.g200kg.com/en/software/vocov.html&#xD;&#xA;  [11]: http://tactilesounds.blogspot.com/p/tactile-synthesizers.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="14137" PostHistoryTypeId="5" PostId="8357" RevisionGUID="c4900a06-6a60-4855-a7c3-f7e5440623d7" CreationDate="2011-06-03T23:10:22.033" UserId="6524" Comment="added 97 characters in body" Text="Hey guys, I'm Indian and I'm pretty cheap so I've never paid for plugins or VST instruments (yet) and I'm always on the look out for something free, so I thought I'd list some of the stuff that I've found and if you guy's have something that I haven't listed we can share links. &#xD;&#xA;&#xD;&#xA;**Plugins:**&#xD;&#xA;&#xD;&#xA;[Variety of Sound][1]: I found these plugins today and I'm not sure if anyone's used them before but I was so impressed by how good they look and sound, their **epicVerb** and **FerricTDS** are the best plugins I've heard out of my computer (I don't know how it compares to stuff like Waves and others though).&#xD;&#xA;&#xD;&#xA;[Kjaerhus Audio Classic Series][2]: I found these from DJ Laidback Luke he mentioned them in some weird studio tour in his home, These are pretty alright I like the **Auto-Filter**.&#xD;&#xA;&#xD;&#xA;[ReaPlugs][3]: I found these today as well but I haven't tried them yet, these are the plugins that are found in Cockos REAPER, I'm excited to try their **Multi-band Compressor** cause I've never really used one before.&#xD;&#xA;&#xD;&#xA;[Molot][4]: This is a Russian **Compressor** which I haven't used yet to be honest but its looks great.&#xD;&#xA;&#xD;&#xA;[Glitch][5]: OMG get this now, I've seen a plug in like this before but I can't remember what that one was called. Listen to this sample of what it can do:&#xD;&#xA;&#xD;&#xA;[soundcloud]stephensaldanha/idm-lullaby[/soundcloud]&#xD;&#xA;&#xD;&#xA;**Instruments:**&#xD;&#xA;&#xD;&#xA;[Elektrostudio][6]: These were first free synths that I had found, I really like the **Model Pro** its like a replica of the Moog Prodigy its pretty fun to play with.&#xD;&#xA;&#xD;&#xA;[MinimogueVA][7]: This is one more thing I found today, its a replica of the **Mini Moog** and its so much fun and sounds great too.&#xD;&#xA;&#xD;&#xA;[Formant Classic][8]: I found this synth last night and its pretty good, the guy who made it says that its good for learning how to use synths and stuff.&#xD;&#xA;&#xD;&#xA;[DiscoDSP HighLife][9]: I found this through the Game Audio Tutorial book and its so much fun, its a **Sampler**, I like to put in recordings of my brother farting and make melodies out of it lol.&#xD;&#xA;&#xD;&#xA;[Vocov2][10]: This is a fun **Vocoder** which is another alternative I use to make music with my brother's farts.  &#xD;&#xA;&#xD;&#xA;[TS-808][11]: Ohh snap this is another thing I found today, this is obviously a replica of the **Roland 808 Drum Machine**, I've only played around a little bit with this but from what I've heard so far its really good.&#xD;&#xA;&#xD;&#xA;So anyway I hope this doesn't make me look like a super duper fantastical cheapo and also since I'm still a beginner in sound and can't really help many people on here, I hope at least these can help you guys. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://varietyofsound.wordpress.com/vst-effects/&#xD;&#xA;  [2]: http://www.acoustica.com/plugins/vst-directx.htm&#xD;&#xA;  [3]: http://www.reaper.fm/reaplugs/&#xD;&#xA;  [4]: http://vladgsound.wordpress.com/plugins/molot/&#xD;&#xA;  [5]: http://illformed.org/plugins/glitch/&#xD;&#xA;  [6]: http://www.elektrostudio.ovh.org/index2.php&#xD;&#xA;  [7]: http://home.no/gunnare/index.htm&#xD;&#xA;  [8]: http://www.ftec-audio.com/formant-classic/&#xD;&#xA;  [9]: http://www.discodsp.com/highlife/&#xD;&#xA;  [10]: http://www.g200kg.com/en/software/vocov.html&#xD;&#xA;  [11]: http://tactilesounds.blogspot.com/p/tactile-synthesizers.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="14138" PostHistoryTypeId="2" PostId="8457" RevisionGUID="4714fe4d-8290-4d46-af7d-a67bfb9350b7" CreationDate="2011-06-03T23:13:58.690" UserId="542" Text="I once took out my name out of the credits because I was so unhappy with the audio and regretted it some weeks later (when I realized that many people actually liked that shortmovie).&#xD;&#xA;So my advice: even if you are confident that the audio is horrible take it as a chance to work with horrible audio (and make the best out of it). Maybe it won't sound good, but learning how to fail is as important as learning how to win....ok, that might sound precocious I know =)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14139" PostHistoryTypeId="2" PostId="8458" RevisionGUID="4961f511-d893-4242-98c1-89da8996fc2a" CreationDate="2011-06-04T00:35:46.040" UserId="1011" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I've been using [iZotope RX][1] (Version 1) for some time.  I'm a big fan of the declipper especially, and the denoiser is fantastic in certain situations.&#xD;&#xA;&#xD;&#xA;I'm considering upgrading to Version 2 but after comparing the versions I don't really see how the upgrade is that compelling for sound effects restoration:&#xD;&#xA;&#xD;&#xA;http://www.izotope.com/products/audio/RX/index.asp?t=whatsnew&#xD;&#xA;&#xD;&#xA;Has anybody used both 1 and 2?  Is the upgrade a big improvement?  How does that adaptive denoising hold up?  Thoughts, opinions?  I'd also be interested to hear what people think of the additional features in the Advanced version.&#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;&#xD;&#xA;Paul Virostek&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.izotope.com/products/audio/RX/index.asp?t=whatsnew" ContentLicense="CC BY-SA 3.0" />
  <row Id="14140" PostHistoryTypeId="1" PostId="8458" RevisionGUID="4961f511-d893-4242-98c1-89da8996fc2a" CreationDate="2011-06-04T00:35:46.040" UserId="1011" Text="iZotope RX vs RX 2 vs RX 2 Advanced?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14141" PostHistoryTypeId="3" PostId="8458" RevisionGUID="4961f511-d893-4242-98c1-89da8996fc2a" CreationDate="2011-06-04T00:35:46.040" UserId="1011" Text="&lt;izotope&gt;&lt;noise-reduction&gt;&lt;denoiser&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14142" PostHistoryTypeId="2" PostId="8459" RevisionGUID="f0fb0408-8212-4478-879f-49c4cd2cbd8c" CreationDate="2011-06-04T03:20:56.607" UserId="18160" Text="Hey Guys,&#xD;&#xA;&#xD;&#xA;So I am starting to do more live sound gigs, traveling the world-over.&#xD;&#xA;&#xD;&#xA;I am going to be leaving my MacBook Pro at home from now on because I have seen a lot of them get bashed up on the road and I want something both easier to fit in a backpack and more road-worthy like an iPad or tablet perhaps.&#xD;&#xA;&#xD;&#xA;But, I want to think this through thoroughly.&#xD;&#xA;&#xD;&#xA;Of those of you who go to audio gigs (on the set or live gigs in venues), what type of electronic device do you bring along? A laptop? A tablet? And which one?&#xD;&#xA;&#xD;&#xA;From your experience, which tablet has the most usefulness to an audio engineer on the set or in a venue for live sound? (for example, the most variety and usefulness of audio apps such as a SMART tool or some other type of frequency analyzer, etc.)&#xD;&#xA;&#xD;&#xA;I'm seriously thinking of the iPad - thought I haven't seen many apps that might be useful enough to be tied down to Apple.&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14143" PostHistoryTypeId="1" PostId="8459" RevisionGUID="f0fb0408-8212-4478-879f-49c4cd2cbd8c" CreationDate="2011-06-04T03:20:56.607" UserId="18160" Text="Tablet for Location or Live Audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="14144" PostHistoryTypeId="3" PostId="8459" RevisionGUID="f0fb0408-8212-4478-879f-49c4cd2cbd8c" CreationDate="2011-06-04T03:20:56.607" UserId="18160" Text="&lt;location-sound&gt;&lt;ipad&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14145" PostHistoryTypeId="5" PostId="8459" RevisionGUID="e6a54bc6-8f11-4cd8-a16e-184836a5386c" CreationDate="2011-06-04T03:27:04.647" UserId="18160" Comment="deleted 127 characters in body" Text="Hey Guys,&#xD;&#xA;&#xD;&#xA;So I am starting to do more live sound gigs, traveling the world-over.&#xD;&#xA;&#xD;&#xA;I am going to be leaving my MacBook Pro at home from now on because I have seen a lot of them get bashed up on the road and I want something both easier to fit in a backpack and more road-worthy like an iPad or tablet perhaps.&#xD;&#xA;&#xD;&#xA;But, I want to think this through thoroughly.&#xD;&#xA;&#xD;&#xA;Of those of you who go to audio gigs (on the set or live gigs in venues), what type of electronic device do you bring along? A laptop? A tablet? And which one?&#xD;&#xA;&#xD;&#xA;From your experience, which tablet has the most usefulness to an audio engineer on the set or in a venue for live sound? (for example, the most variety and usefulness of audio apps such as a SMART tool or some other type of frequency analyzer, etc.)&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14146" PostHistoryTypeId="2" PostId="8460" RevisionGUID="7eed4099-4fa1-4806-b54a-1626175b9697" CreationDate="2011-06-04T03:46:11.143" UserId="993" Text="I'm glad that this topic exists. I had similar issue recently and it's good to know we're not alone. I think the mature answer is that it's natural to have strong emotional reactions, but although sucky in the short term, these events can help you and the team avoid issues in the future.&#xD;&#xA;&#xD;&#xA;Recently I was delivering sound effects to the mixer for a radio play. The script was delayed and the post schedule was a matter of days. Plus there was a server outage, so when I uploaded all my sound effects and notified the mixer and producer via email that I had submitted my work, this wasn't recieved until days later. By then they ended up going with the temp effects, using none of the sounds that I'd stayed up late for on those nights.&#xD;&#xA;&#xD;&#xA;So that really sucked. A lot. BUT luckily these people are good friends and it worked out for the best because it brought to the surface issues in our scheduling. A new schedule was made up that gave evryone maximum time to deliver their content and communication ha really opened up since. It was a new show so we were still figuring things out. I still am a little sad I didn't get to share my work on that episode, but I have been able too re-use that work on later episodes. Recent episodes have been great, so in a way we were probably lucky this happened early in the season." ContentLicense="CC BY-SA 3.0" />
  <row Id="14147" PostHistoryTypeId="2" PostId="8461" RevisionGUID="6098a5fb-c369-4c59-9c42-18afa34549ff" CreationDate="2011-06-04T04:31:24.773" UserId="6499" Text="I use an older Toshiba Portege' Tablet PC running win xp tablet.  On it I run EAW SMAARt with a small m audio usb pre and audix tr40 as my test mic.  I mainly stick with the tablet because one of the main consoles I use is the Avid Venue series which when hooked up to a router will allow control of the console via laptop and free software offered by avid.  That combined with wireless control of my amps and processing, I have full control of the entire rig wirelessly. The tablet I use is larger than some out there, but for a couple hundred on ebay, it lets me control the entire rig and consoles, check email, browse the web etc. And if someone walks with it, its no large financial loss.&#xD;&#xA;&#xD;&#xA;I very rarely do live recordings, but that tablet has been able to track 15 channels to nuendo with a pro fire 2626 on set without a problem, my ghetto cart setup haha.  Generally if the band wants to record, we get a separate record rig and a 3 way splitter.&#xD;&#xA;&#xD;&#xA;A friend of mine uses his macbook for Edwin Mccain.  Running Max/MSP I believe where he has many different verbs and effects configured and then uses an IPAD via bluetooth to control it/tap tempos/mutes etc... That way he can put the IPAD on the console and keep the macbook out of sight and away from the dangers of drunk people.  He keeps his ipad with him when he leaves the console.  It seems to work pretty well for him. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;As far as different apps,  I use programs offered by manufactures of the gear I use, Then I use smaart for time alignment of the rig and then once the show is going the I put the display to rta and coherence graphs.  I also have an fft program on my iphone called FFT by studio Six, also on the phone is an inclinometer and spl meter.&#xD;&#xA;&#xD;&#xA;I know waves makes a live rack to put in waves plugins, but I have never used it.&#xD;&#xA;&#xD;&#xA;Ill get you a specific model of the tablet once I get back to where it is.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14148" PostHistoryTypeId="2" PostId="8462" RevisionGUID="c044b694-75a3-465a-8888-5199aaeb1845" CreationDate="2011-06-04T06:37:46.800" UserId="845" Text="What kind of productions are you taking on?  If you're doing multi-media heavy stuff and looking to control it as the show goes on you're definitely going to need something more processing capable than an iPad.  The Max/MSP stuff is probably the best and most versatile bet.  The major drawback is just the learning curve, which can be quite steep if you've got a limited amount of time to design a system *and* learn what the heck you're doing.  I've never done anything that big, but I know from even trying to build little modules that it takes a while to get the finesse stuff down pat.&#xD;&#xA;&#xD;&#xA;For analysis stuff I use AudioTools on my iPhone.  I've only got the light version, but some of the add-ons are really sweet.  All things considered they're not too expensive either. The fancy stuff is way more than I need at the moment since I don't do live sound any more, but if you're getting heavy into it I'd say it'd definitely be worth it.&#xD;&#xA;&#xD;&#xA;However, I wouldn't stake my life on its accuracy (particularly &gt;100Hz, which iPhones and iPads don't do well at all), but if you're planning to use it to just get a better idea of what's going on in the room re: RT60, FFT, and dBSPL, you're dancin'.&#xD;&#xA;&#xD;&#xA;p.s. Carrying a tablet/iPad around a bar seems a little sketch to me.  But, I could see it being fantastic if you're doing stadiums or even larger/safer rooms.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14149" PostHistoryTypeId="2" PostId="8463" RevisionGUID="09fc9499-582b-42a3-949d-b239c685e934" CreationDate="2011-06-04T07:53:09.323" UserId="786" Text="I got the early upgrade at a low price, so I took the step from Izotope RX 1 to RX 2 Advanced, at the about the same price as it would cost to buy Izotope RX 2 from the start. &#xD;&#xA;&#xD;&#xA;I really like the adaptive noise reduction, it does really help when the background noise changes, and gets the job done a little quicker. It sounds better, though, when unchecking the adaptive noise, but then you have to spend more time learning the noise, especially if the background noise changes. It is all a matter of quality versus time. Generally the denoiser just sounds better, and the new D mode for offline noise reduction sounds even better than the old C mode (which is still there too)&#xD;&#xA;&#xD;&#xA;The decrackler is a new plugin in the RX 2 package, and it can remove some of the distortion the declipper can't remove. It also removes a little bit of cloth rustle.&#xD;&#xA;&#xD;&#xA;In the advanced version there is also the multi-resolution option in some plugins, it also sounds clearer and more transparent with less artifacts.&#xD;&#xA;&#xD;&#xA;If you can get a cheap update at a campaign price, I would say upgrading is a very good idea, it all sounds just a little bit better, there are more features and the overall user experience is better." ContentLicense="CC BY-SA 3.0" />
  <row Id="14150" PostHistoryTypeId="2" PostId="8464" RevisionGUID="d16e4ab8-4412-4745-8663-f477abb8a2d1" CreationDate="2011-06-04T08:57:46.777" UserId="2" Text="I'm often away on location, and the best thing I have ever bought (appart from my cherished sound gear) is an iPad. I used to have to lug around my computer and charger, which was a lot of added weight and worry. &#xD;&#xA;&#xD;&#xA;Work is only a part of your life on the road, **entertainment is important as well**. Between airports, people, hotel rooms, weather, etc. there's a lot of waiting. The iPad really has everything you could want from that perspective. You can catch up on emails, invoice/quote, read, watch movies, play games, compose something in Garage Band, doodle with synths, listen to audiobooks, answer some questions on SSD ;-)&#xD;&#xA;&#xD;&#xA;If you are needing some analysis tools, then there are definitely great stuff on iOS, such as the [Faber Acoustical iOS apps][1]. They are more than accurate for most needs.  &#xD;&#xA;&#xD;&#xA;If you need to plug into a bigger system, there's always apps like [TouchOSC][2], which let you control software via OSC from your iPad.  &#xD;&#xA;&#xD;&#xA;*P.S: I don't work for Apple, but if you know they are looking for someone point them my way :-)* &#xD;&#xA;&#xD;&#xA;  [1]: http://www.faberacoustical.com/&#xD;&#xA;  [2]: http://hexler.net/software/touchosc" ContentLicense="CC BY-SA 3.0" />
  <row Id="14151" PostHistoryTypeId="2" PostId="8465" RevisionGUID="f955b17f-7700-4891-9fdc-437c4f14e3d1" CreationDate="2011-06-04T11:06:11.197" UserId="1124" Text="Hi,&#xD;&#xA;&#xD;&#xA;well bought a usbpre2 to use in the field with my 1st gen. Micro Trac recorder.&#xD;&#xA;&#xD;&#xA;My setup is basically the following: &#xD;&#xA;1. use USBPre2 in stand-alone mode, e.g. w/o computer &#xD;&#xA;2. configure USBPre2 for Phantom Power for my two condenser mics&#xD;&#xA;3. configure USBPre2 for 96 KHz sampling rate, e.g. see: attached DipSettings pic &#xD;&#xA;4. connected both mic's to the XLR inputs &#xD;&#xA;5. connected the SPDIF or digital output to my MicroTrack's SPDIF input. &#xD;&#xA;6. plugged in some headphones to the MicroTrack to hear the &quot;end&quot; results. &#xD;&#xA;7. connected USBPre2 to USB pwr source  &#xD;&#xA;&#xD;&#xA;Unfortunately it only worked once!? Since then i have not been able&#xD;&#xA;to get an digital i/o out of it. I have tried various sampling rate settings,&#xD;&#xA;devices, etc. to no avail.&#xD;&#xA;&#xD;&#xA;So i have been dealing with sound devices support which&#xD;&#xA;has def. been great. Via email correspondences/trouble shooting we were not able to&#xD;&#xA;get the thing working again... So i sent it back to sound devices and they updated the&#xD;&#xA;firmware and ran some tests on it. Apparently the device had difficulties recognizing/producing SPDIF i/o. Yesterday the device came back but unfortunately it still exhibits the same behavior, e.g. problems with the digital i/o.... :-( The preamps/analog parts work fine and sound great but the digital functionality seems to have problems with certain devices still. So now I'm not sure what i will do, e.g. maybe try to return it to sweetwater, since this setup was the reason i bought it. &#xD;&#xA;&#xD;&#xA;Oh yea btw. i had it connected to a sony USB battery and the device worked fine.&#xD;&#xA;&#xD;&#xA;Regards,&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="14152" PostHistoryTypeId="2" PostId="8466" RevisionGUID="14437418-3e81-449c-9517-16379b59debb" CreationDate="2011-06-04T15:00:04.190" UserId="194" Text="I'd never go back to RX 1 because of the new features in 2 that have been integrated into my sfx prep workflow.&#xD;&#xA;&#xD;&#xA;specifically:&#xD;&#xA;&#xD;&#xA;RX2 can now host plugins, so its very simple for me to do a little multiband expansion in addition to whatever eq and denoising needs to get done.  &#xD;&#xA;&#xD;&#xA;Rx2 can now do fade ins and outs&#xD;&#xA;&#xD;&#xA;RX has a new (slower) more powerful and transparent denoising algorithm that is pretty superior to RX1 IMO&#xD;&#xA;&#xD;&#xA;RX2 is a bit more ergonomic, with the various modules available as one-click buttons on the side.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14153" PostHistoryTypeId="5" PostId="8456" RevisionGUID="5d0df62e-08b7-464c-bbaa-6b8b2bd731b1" CreationDate="2011-06-04T16:07:16.623" UserId="235" Comment="added 3 characters in body" Text="  In my experience, reputation has more to do with whether people like working with you than with the quality of your work.  Not that quality isn't important, but most directors don't care about the same things you as an engineer care about.  Set up expectations first.  Give them all the bad news upfront, then come to the rescue.  I have never got a gig from someone seeing my work and looking me up.  It's always a referral based on a working relationship.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14154" PostHistoryTypeId="2" PostId="8467" RevisionGUID="66e8eff6-f9aa-4d5f-8be2-6fb927014bca" CreationDate="2011-06-04T18:58:04.870" UserId="63" Text="Hey guys I am thinking moving to Pro Tools 9 soon, though i cant get clear if i can register Pro tools 9 on both my PC and MAC, cause sometimes i need to work on both systems and its going to get messy... anyway! you get my point! &#xD;&#xA;&#xD;&#xA;Any leads on that subject? " ContentLicense="CC BY-SA 3.0" />
  <row Id="14155" PostHistoryTypeId="1" PostId="8467" RevisionGUID="66e8eff6-f9aa-4d5f-8be2-6fb927014bca" CreationDate="2011-06-04T18:58:04.870" UserId="63" Text="Question about Pro-Tools 9" ContentLicense="CC BY-SA 3.0" />
  <row Id="14156" PostHistoryTypeId="3" PostId="8467" RevisionGUID="66e8eff6-f9aa-4d5f-8be2-6fb927014bca" CreationDate="2011-06-04T18:58:04.870" UserId="63" Text="&lt;pro-tools&gt;&lt;post-production&gt;&lt;software&gt;&lt;mac&gt;&lt;pc&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14157" PostHistoryTypeId="2" PostId="8468" RevisionGUID="772b3a1b-4801-4c54-be0f-f5d192f2e90f" CreationDate="2011-06-04T19:12:08.540" UserId="338" Text="Can you use audio interfaces as mixers if you connect them to a USB portable power device?  And say recording into a portable recorder ie. zoom H4n?&#xD;&#xA;&#xD;&#xA;Has anyone had any success with this or tried jimmy rigging and creating their own system?&#xD;&#xA;&#xD;&#xA;Another idea I had was buying a cheap laptop, gluing an audio interface to the top, put the laptop in turtle mode so you can close it and have it still run, and successfully record production audio from like this?&#xD;&#xA;&#xD;&#xA;Has anyone ever made their own portable recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14158" PostHistoryTypeId="1" PostId="8468" RevisionGUID="772b3a1b-4801-4c54-be0f-f5d192f2e90f" CreationDate="2011-06-04T19:12:08.540" UserId="338" Text="Can you use an MBOX or other Audio Interface without a computer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14159" PostHistoryTypeId="3" PostId="8468" RevisionGUID="772b3a1b-4801-4c54-be0f-f5d192f2e90f" CreationDate="2011-06-04T19:12:08.540" UserId="338" Text="&lt;portable&gt;&lt;recorder&gt;&lt;mixers&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14160" PostHistoryTypeId="4" PostId="8468" RevisionGUID="8e48c2f1-6782-4505-b136-cc01e885f780" CreationDate="2011-06-04T19:21:17.760" UserId="338" Comment="Title improvement" Text="Can you use an MBOX or other Audio Interface without a computer? Also, make your own portable recorder or mixer or both?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14161" PostHistoryTypeId="2" PostId="8469" RevisionGUID="262eaacb-0ba5-4d86-9463-ebc458a8318f" CreationDate="2011-06-04T19:29:10.403" UserId="1125" Text="With iLok you can use it on both Systems. But just on at a time." ContentLicense="CC BY-SA 3.0" />
  <row Id="14162" PostHistoryTypeId="2" PostId="8470" RevisionGUID="bacdf11c-b2db-4abe-b1a7-99964b3dfb5d" CreationDate="2011-06-04T19:58:48.150" UserId="338" Text="Do you want a mic that captures only what it is looking at/pointing at?  Or some other mic that captures  a bit of side noise?  Obviously a shotgun is essential for this.&#xD;&#xA;&#xD;&#xA;Is it best to aim the boom straight down between the two actor/actresses?  I don't feel ready to swivel constantly between people.&#xD;&#xA;&#xD;&#xA;Is it ok to aim the boom with the pistol grip instead at the group or is it technically best to have the boom overhead, capturing a median point between the talent?  What about booming from underneath?  Is that ever acceptable in serious productions?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14163" PostHistoryTypeId="1" PostId="8470" RevisionGUID="bacdf11c-b2db-4abe-b1a7-99964b3dfb5d" CreationDate="2011-06-04T19:58:48.150" UserId="338" Text="When using a boom to capture production audio what kind of mic do you want?  Boom Technique" ContentLicense="CC BY-SA 3.0" />
  <row Id="14164" PostHistoryTypeId="3" PostId="8470" RevisionGUID="bacdf11c-b2db-4abe-b1a7-99964b3dfb5d" CreationDate="2011-06-04T19:58:48.150" UserId="338" Text="&lt;boom&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14165" PostHistoryTypeId="2" PostId="8471" RevisionGUID="7b584c8c-35c5-4161-a215-5fd6ef3d29e2" CreationDate="2011-06-04T20:18:15.447" UserId="845" Text="Q1: I can't say it's something I've ever though about, but I'm gonna go with no.  Most of the ones I've seen are software dependent.  The mixer is on your laptop, controlling the interface.  Just buy a cheap mixer, a 4 channel euro-rack or something.&#xD;&#xA;&#xD;&#xA;Q2: These days the extent to which we need to Jimmy Rig stuff is really nothing more than buying a couple of converters, turnarounds, or impedance matchers.  Maybe some cables or a home-made boom pole.  You're still going to need a recording medium, be that an H4, an SD702, or a laptop with ProTools or Nuendo.  I'm willing to bet that the kind of location audio we spend most of our time bitching about is recorded with hack'n'slash setups.&#xD;&#xA;&#xD;&#xA;Q3: This, while a cool-ish idea, is totally impractical if you're going to be on set.  Think about how long the average shot lasts.  It's somewhere between 20 seconds and 3 minutes.  That means that every time they yell cut, you're going to have to whip out your laptop, find somewhere to set it so you can type in take numbers and descriptions, then restart the recording and get yourself ready for the next take.  And do it over again, 45 times.  Nightmare.&#xD;&#xA;&#xD;&#xA;Q4:  Ummm... I watched a TED talk by a guy who tried to build his own toaster.  It didn't turn out so good.&#xD;&#xA;&#xD;&#xA;I don't know how long your production schedule is, but save yourself the monumental balls pain of putting something like that together and go rent a Sound Devices [302 Mixer][1], a [702T Recorder][2], some cables, a boom, and a mic.  Renting can be expensive, but buying even the most basic system is going to cost you at least a grand.&#xD;&#xA;&#xD;&#xA;The more random pieces you put into your system, the more random problems your going to have when individual and probably incompatible parts go tits up.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sounddevices.com/products/302master.htm&#xD;&#xA;  [2]: http://sounddevices.com/products/702t.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="14166" PostHistoryTypeId="2" PostId="8472" RevisionGUID="212f8462-f542-4b3d-94ba-dcf3cea5a29e" CreationDate="2011-06-04T20:25:37.543" UserId="253" Text="In my humble experience, and from my POV as a sound post guy, i want as little background noise as possible. Under no circumstances should you try to pick up anything along with the dialogue, as you want things as separate as possible for maximum control in post.&#xD;&#xA;&#xD;&#xA;Mic type depends on the situation, to an extent. I've heard good things about using supercardioids indoors, and a shotgun is ideal outdoors. If you have an extra wide shot and a long shotgun (like an 816) around, then i'd go for that.&#xD;&#xA;&#xD;&#xA;You really should try to swing between the actors, that's why having a good boomie is so important. From a post POV, wouldn't you want your dialogue to be as on-mic as possible? What you can do is try to learn the lines and practice your swinging in the rehearsals.&#xD;&#xA;&#xD;&#xA;The reason for why booming from overhead is such a common practice is, IMHO, that the mouth is often closest to the top of the frame. This means overhead is the closest point to the mouth, and gives you the best signal to noise ration. As far as mic position, what you want to do is push in until you're in shot, then back out until the camera op gives you the thumbs up. For this reason, it's a great idea to develop a good working relationship with whoever's looking through the viewfinder.&#xD;&#xA;&#xD;&#xA;DOPs and gaffers will sometimes, in setups with complicated lighting (or outdoors), not want to bother helping you find a good position that avoids boom shadow. They do this by telling you to &quot;just boom from underneath&quot; (i used to get this all the time in TV). Booming from underneath is just not desirable. It'll eliminate any risk of boom shadow, but it probably won't get you in as close as you can be, and you'll pick up more chest resonance, which is not so good." ContentLicense="CC BY-SA 3.0" />
  <row Id="14167" PostHistoryTypeId="2" PostId="8473" RevisionGUID="e97f09fc-e377-4855-88da-dea72609162a" CreationDate="2011-06-04T20:44:43.393" UserId="338" Text="Would be great to find some decent used gear" ContentLicense="CC BY-SA 3.0" />
  <row Id="14168" PostHistoryTypeId="2" PostId="8474" RevisionGUID="b7a9431f-ba05-4b73-b701-08ff1b622f50" CreationDate="2011-06-04T20:47:45.650" UserId="6524" Text="I don't much about this myself but I found this interview with the production sound mixer on King's Speech to be very informative (I don't think talks about booming much though):&#xD;&#xA;&#xD;&#xA;[vimeo]19920118[/vimeo]" ContentLicense="CC BY-SA 3.0" />
  <row Id="14169" PostHistoryTypeId="2" PostId="8475" RevisionGUID="0fc2c47d-89cd-4fd4-8a40-c913b1c2c24c" CreationDate="2011-06-04T21:21:48.323" UserId="338" Text="I had my zoom perched on the desk unknowingly right against my porta hard drive and monitor was enabled and i was able to pick up a really nice hard drive hum coming from it so I then decided to record that and went on to establish a recording for my Macbook Pro." ContentLicense="CC BY-SA 3.0" />
  <row Id="14170" PostHistoryTypeId="2" PostId="8476" RevisionGUID="1f030fee-67a9-41a5-81cf-58a4fab59a6f" CreationDate="2011-06-04T21:44:11.940" UserId="1066" Text="Thanks for your answer, I will use your tips on my next project! Very helpfull. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14171" PostHistoryTypeId="2" PostId="8477" RevisionGUID="e9204cb8-569d-4d4f-a76b-0890f924e3c5" CreationDate="2011-06-04T22:02:39.817" UserId="693" Text="Some audio interfaces will act as a standalone mixer. Some of the MOTU and RME units come to mind. I believe the MOTU Ultralight and the RME Fireface UFX will act as standalone mixers. With the Fireface you have to sort of set up a few preset operation configurations (routing and such) using your computer and it's software interface, then you can just select a mode of operation with the standalone. The Mbox2 will not operate standalone, none of the Digi/Avid interfaces will.&#xD;&#xA;&#xD;&#xA;For the cost of the Fireface UFX interface, you can just buy a Sound Devices 702 and have a bit of change left over for extra CF cards and a battery. Besides that, I wouldn't want to take a Fireface UFX out of the studio if I had one. I think the MOTU might be an affordable option though. Another would be the PreSonus FireStudio Mobile.&#xD;&#xA;&#xD;&#xA;However, this whole interface option could be a potential hassle like @g.a.harry said. It depends what else you have in your arsenal and whether you work with a boom op or solo.&#xD;&#xA;&#xD;&#xA;Personally, just recently did location recordings with a laptop. The one thing that becomes necessary at that point is a boom op and several wireless setups as well as a shotgun or two that are battery powered. &#xD;&#xA;&#xD;&#xA;When I did it I had my Mbox2 (2 inputs only) and a Marantz PMD660a (2 more inputs), a few wireless trans/rec pairs, 2 lavs and a battery powered Audio Technica AT897 shotgun condenser. What I was able to do was buy a small XLR - 1/8trs converter cable at the local audio shop so I could get my boom-op to be mobile. I then used two lavs, one on each of the main speaking characters. I was able to keep everything discreet without having to do any mixing besides watching the levels. I also had the output of the Marantz feeding in to Pro Tools so that way I had a backup recording of the Field recorder which acted as an additional sync reference. I was able to find a place that wasn't going to be filmed for the entire day and I set up about 10-15ft away with line of sight to the production so I could stay out of the way, but stay involved. I have to say it worked out really well. It was probably the most relaxed and smoothest time I've ever had doing location audio. With a decent rig I could very well set up everything wireless and sit back at a small foldout table and chair all day watching levels and cataloging takes. The recordings turned out quite decent as well. The Marantz is a bit noisy, but it's not anything iZotope RX can't fix if need be.&#xD;&#xA;&#xD;&#xA;Good luck, let us know what you decide on.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14172" PostHistoryTypeId="5" PostId="8477" RevisionGUID="2ba91cb0-1eb7-410a-b0a2-c337122dcd6d" CreationDate="2011-06-04T22:35:58.687" UserId="693" Comment="Added some additional info" Text="Some audio interfaces will act as a standalone mixer. Some of the MOTU and RME units come to mind. I believe the MOTU Ultralight and the RME Fireface UFX will act as standalone mixers. With the Fireface you have to sort of set up a few preset operation configurations (routing and such) using your computer and it's software interface, then you can just select a mode of operation with the standalone. The Mbox2 will not operate standalone, none of the Digi/Avid interfaces will.&#xD;&#xA;&#xD;&#xA;For the cost of the Fireface UFX interface, you can just buy a Sound Devices 702 and have a bit of change left over for extra CF cards and a battery. Besides that, I wouldn't want to take a Fireface UFX out of the studio if I had one. I think the MOTU might be an affordable option though. Another would be the PreSonus FireStudio Mobile.&#xD;&#xA;&#xD;&#xA;However, this whole interface option could be a potential hassle like @g.a.harry said. It depends what else you have in your arsenal and whether you work with a boom op or solo.&#xD;&#xA;&#xD;&#xA;Personally, just recently did location recordings with a laptop. The one thing that becomes necessary at that point is a boom op and several wireless setups as well as a shotgun or two that are battery powered. &#xD;&#xA;&#xD;&#xA;When I did it I had my Mbox2 (2 inputs only) and a Marantz PMD660a (2 more inputs), a few wireless trans/rec pairs, 2 lavs and a battery powered Audio Technica AT897 shotgun condenser. What I was able to do was buy a small XLR - 1/8trs converter cable at the local audio shop so I could get my boom-op to be mobile. I then used two lavs, one on each of the main speaking characters. I was able to keep everything discreet without having to do any mixing besides watching the levels. I also had the output of the Marantz feeding in to Pro Tools so that way I had a backup recording of the Field recorder which acted as an additional sync reference. I was able to find a place that wasn't going to be filmed for the entire day and I set up about 10-15ft away with line of sight to the production so I could stay out of the way, but stay involved. I have to say it worked out really well. It was probably the most relaxed and smoothest time I've ever had doing location audio. With a decent rig I could very well set up everything wireless and sit back at a small foldout table and chair all day watching levels and cataloging takes. The recordings turned out quite decent as well. The Marantz is a bit noisy, but it's not anything iZotope RX can't fix if need be.&#xD;&#xA;&#xD;&#xA;Good luck, let us know what you decide on.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Oh, one added benefit of using Pro Tools and a laptop to do location audio is that I can change my track names before recording each take and Pro Tools will name the audio file after what the track is named and then it adds a number, which if you plan out your naming conventions properly, you can even use that as the take #. So if you have the time or the speed to do this between takes, this saves you a lot of file renaming and sorting work later on.&#xD;&#xA;&#xD;&#xA;An example of how I&quot;ll name a few tracks in PT for location recording. I'll drop markers as I'm recording to notify clips/overs, background interferences or anything else that can be fixed. (I do this as well as writing it all down.&#xD;&#xA;&#xD;&#xA;I might also have a &quot;Notes&quot; track, where I will create a blank/empty consolidated region and then rename it after anything I want to wildtrack or whetever. ie: Notes_01_WT_Knife_Flicks. All I have to do is make a selection, hit Shift+Opt/Alt+3 to consolidate and then hit Shift+CMD/Ctrl+R to rename and just amend the end of the Notes_##_Info Goes Here. I'll use stuff like WT for wildtrack.&#xD;&#xA;&#xD;&#xA;Say the production is Dark Knight:&#xD;&#xA;&#xD;&#xA;1. DK_LAV1_S8A_T&#xD;&#xA;2. DK_LAV2_S8A_T&#xD;&#xA;3. DK_MKH70_S8A_T&#xD;&#xA;3. DK_MKH416_S8A_T&#xD;&#xA;4. WT_DX&#xD;&#xA;5. WT_SFX&#xD;&#xA;6. WT_Roomtone&#xD;&#xA;&#xD;&#xA;Once I hit record it names the regions after what the tracks are named and will add a number at the end starting with 01, I use this as the take number and when we switch to a new take, while camera and lights are setting up I switch the track name to the (S)Scene# and Shot Letter. Once you start recording, since you are using a new unique track name Pro Tool swill start over at 01. I have them do the roomtone at the end of the takes so I don't mess up my numbering system.&#xD;&#xA;&#xD;&#xA;When you go on break or you're done for the day you can select everything in your regions bin and hit Shift + CMD/Ctrl + K to export regions as files to back them up. It also makes it dead easy to use a thumb or external bus powered drive to give the production manager or director your production audio dailies, that way someone else has a backup as well.&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14173" PostHistoryTypeId="5" PostId="8462" RevisionGUID="b714a6e4-7ea1-4ffc-ba6f-4530327b1145" CreationDate="2011-06-04T23:15:31.073" UserId="845" Comment="added 8 characters in body" Text="What kind of productions are you taking on?  If you're doing multi-media heavy stuff and looking to control it as the show goes on you're definitely going to need something more processing capable than an iPad.  The Max/MSP stuff is probably the best and most versatile bet.  The major drawback is just the learning curve, which can be quite steep if you've got a limited amount of time to design a system *and* learn what the heck you're doing.  I've never done anything that big, but I know from even trying to build little modules that it takes a while to get the finesse stuff down pat.&#xD;&#xA;&#xD;&#xA;For analysis stuff I use AudioTools on my iPhone.  I've only got the light version, but some of the add-ons are really sweet.  All things considered they're not too expensive either. The fancy stuff is way more than I need at the moment since I don't do live sound any more, but if you're getting heavy into it I'd say it'd definitely be worth it.&#xD;&#xA;&#xD;&#xA;However, I wouldn't stake my life on its accuracy (particularly 100Hz and down, which iPhones and iPads don't do well at all), but if you're planning to use it to just get a better idea of what's going on in the room re: RT60, FFT, and dBSPL, you're dancin'.&#xD;&#xA;&#xD;&#xA;p.s. Carrying a tablet/iPad around a bar seems a little sketch to me.  But, I could see it being fantastic if you're doing stadiums or even larger/safer rooms.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14174" PostHistoryTypeId="5" PostId="8477" RevisionGUID="d5658e88-f6fb-4b8d-800a-8e3d862ed6b8" CreationDate="2011-06-04T23:56:32.727" UserId="693" Comment="Fixed broken formatting from last edit." Text="Some audio interfaces will act as a standalone mixer. Some of the MOTU and RME units come to mind. I believe the MOTU Ultralight and the RME Fireface UFX will act as standalone mixers. With the Fireface you have to sort of set up a few preset operation configurations (routing and such) using your computer and it's software interface, then you can just select a mode of operation with the standalone. The Mbox2 will not operate standalone, none of the Digi/Avid interfaces will.&#xD;&#xA;&#xD;&#xA;For the cost of the Fireface UFX interface, you can just buy a Sound Devices 702 and have a bit of change left over for extra CF cards and a battery. Besides that, I wouldn't want to take a Fireface UFX out of the studio if I had one. I think the MOTU might be an affordable option though. Another would be the PreSonus FireStudio Mobile.&#xD;&#xA;&#xD;&#xA;However, this whole interface option could be a potential hassle like @g.a.harry said. It depends what else you have in your arsenal and whether you work with a boom op or solo.&#xD;&#xA;&#xD;&#xA;Personally, just recently did location recordings with a laptop. The one thing that becomes necessary at that point is a boom op and several wireless setups as well as a shotgun or two that are battery powered. &#xD;&#xA;&#xD;&#xA;When I did it I had my Mbox2 (2 inputs only) and a Marantz PMD660a (2 more inputs), a few wireless trans/rec pairs, 2 lavs and a battery powered Audio Technica AT897 shotgun condenser. What I was able to do was buy a small XLR - 1/8trs converter cable at the local audio shop so I could get my boom-op to be mobile. I then used two lavs, one on each of the main speaking characters. I was able to keep everything discreet without having to do any mixing besides watching the levels. I also had the output of the Marantz feeding in to Pro Tools so that way I had a backup recording of the Field recorder which acted as an additional sync reference. I was able to find a place that wasn't going to be filmed for the entire day and I set up about 10-15ft away with line of sight to the production so I could stay out of the way, but stay involved. I have to say it worked out really well. It was probably the most relaxed and smoothest time I've ever had doing location audio. With a decent rig I could very well set up everything wireless and sit back at a small foldout table and chair all day watching levels and cataloging takes. The recordings turned out quite decent as well. The Marantz is a bit noisy, but it's not anything iZotope RX can't fix if need be.&#xD;&#xA;&#xD;&#xA;Good luck, let us know what you decide on.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Oh, one added benefit of using Pro Tools and a laptop to do location audio is that I can change my track names before recording each take and Pro Tools will name the audio file after what the track is named and then it adds a number, which if you plan out your naming conventions properly, you can even use that as the take #. So if you have the time or the speed to do this between takes, this saves you a lot of file renaming and sorting work later on.&#xD;&#xA;&#xD;&#xA;An example of how I&quot;ll name a few tracks in PT for location recording. I'll drop markers as I'm recording to notify clips/overs, background interferences or anything else that can be fixed. (I do this as well as writing it all down.&#xD;&#xA;&#xD;&#xA;I might also have a &quot;Notes&quot; track, where I will create a blank/empty consolidated region and then rename it after anything I want to wildtrack or whetever. ie: Notes_01_WT_Knife_Flicks. All I have to do is make a selection, hit Shift+Opt/Alt+3 to consolidate and then hit Shift+CMD/Ctrl+R to rename and just amend the end of the Notes_##_Info Goes Here. I'll use stuff like WT for wildtrack.&#xD;&#xA;&#xD;&#xA;Say the production is Dark Knight:&#xD;&#xA;&#xD;&#xA;Translation (Pertinent info in parenthesis): (D)ark (K)night_(Lav)alier(1)_(S)cene(8)/Shot(A)_(T)ake_and pro tools will add the number.&#xD;&#xA;&#xD;&#xA;Here's how I will name the tracks:&#xD;&#xA;&#xD;&#xA;1. DK_LAV1_S8A_T&#xD;&#xA;2. DK_LAV2_S8A_T&#xD;&#xA;3. DK_MKH70_S8A_T&#xD;&#xA;4. DK_MKH416_S8A_T&#xD;&#xA;5. WT_DX_*&#xD;&#xA;6. WT_SFX_*&#xD;&#xA;7. WT_Roomtone_*&#xD;&#xA;&#xD;&#xA;*Need to be renamed on the fly.&#xD;&#xA;&#xD;&#xA;Once I hit record it names the regions after what the tracks are named and will sequentially add a number at the end starting with 01, I use this as the take number and when we switch to a new take, while camera and lights are setting up I switch the track name to the new (S)Scene# and Shot Letter. Once you start recording, since you are using a new unique track name Pro Tools will start over at 01. I have them do the roomtone at the end of the takes so I don't mess up my numbering system.&#xD;&#xA;&#xD;&#xA;When you go on break or you're done for the day you can select everything in your regions bin and hit Shift + CMD/Ctrl + K to export regions as files to back them up. It also makes it dead easy to use a thumb or external bus powered drive to give the production manager or director your production audio dailies, that way someone else has a backup as well and they're already renamed and ready to go right there on location.&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14175" PostHistoryTypeId="2" PostId="8478" RevisionGUID="4b7b7e2c-4f66-44f6-a724-440524f2e125" CreationDate="2011-06-05T00:57:57.697" UserId="18160" Text="Say you're on a shoot in the Caribbean.&#xD;&#xA;&#xD;&#xA;You've got your mics stored safely in a hotel room with wonderful A/C and you're going out for your first shot of the day which will be pretty humid and hot compared to the room.&#xD;&#xA;&#xD;&#xA;Do you treat microphones the same as a camera with acclimation via a freezer-ziplock bag?&#xD;&#xA;&#xD;&#xA;Or do you just go with it and let the mics go from cool and dry to hot and humid quickly like that?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14176" PostHistoryTypeId="1" PostId="8478" RevisionGUID="4b7b7e2c-4f66-44f6-a724-440524f2e125" CreationDate="2011-06-05T00:57:57.697" UserId="18160" Text="Acclimation for mics?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14177" PostHistoryTypeId="3" PostId="8478" RevisionGUID="4b7b7e2c-4f66-44f6-a724-440524f2e125" CreationDate="2011-06-05T00:57:57.697" UserId="18160" Text="&lt;humidity&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14178" PostHistoryTypeId="2" PostId="8479" RevisionGUID="fce42299-2a34-421f-9b69-f1335be4de3e" CreationDate="2011-06-05T02:17:21.767" UserId="275" Text="As a wise man (or woman) once said:  It All Depends.&#xD;&#xA;&#xD;&#xA;Generally, yes, you would boom from overhead for a variety of reasons. It puts the mic closer to the mouth, the ground reflects less sound, it avoids the talents' hands knocking the mic, and there are usually less physical obstacles. &#xD;&#xA;&#xD;&#xA;However....sometimes the lighting or the camera angle make it such that booming from below is the best/only option. &#xD;&#xA;&#xD;&#xA;Dialogue is the reason you're there. Capturing sound on location is all about the words. You want as little if everything else as possible, especially on a film.  Reality TV shows have a bit more flexibility but in those situations lavs are usually picking up your primary dialogue and the boom is there to get random people that enter the shot and interact with your main people.  The shoot I'm on right now is all about the lavs. I rarely swing the boom up.&#xD;&#xA;&#xD;&#xA;And don't be afraid to move the mic into the right spot depending on who is talking. Keep one eye on who is currently speaking and one eye on who is speaking next so you know where to throw the boom for the next line of dialogue. &#xD;&#xA;&#xD;&#xA;What is best in serious productions is whatever gets the best sound possible given the current set of circumstances." ContentLicense="CC BY-SA 3.0" />
  <row Id="14179" PostHistoryTypeId="2" PostId="8480" RevisionGUID="5e568bbb-51be-4dda-a75f-183fcba19ef4" CreationDate="2011-06-05T03:09:15.483" UserId="338" Text="I put mine in my pocket and record when theres stuff to record.  I wear hoodies too and it pokes out a little bit so i always keep my hand on it incase I hit a bump or something." ContentLicense="CC BY-SA 3.0" />
  <row Id="14180" PostHistoryTypeId="2" PostId="8481" RevisionGUID="4e8e7719-0fd8-4c33-8ed2-1edb87876c69" CreationDate="2011-06-05T05:10:15.113" UserId="780" Text="Hum... I'm afraid you'll get very few answers, if any. Why? Tools. Or the lack of them.&#xD;&#xA;&#xD;&#xA;Let's begin. Pro Tools: apart from Soundfield's Surround Zone and the new Harpex decoder, nothing else. So, for using Ambisonics in PT, you need audio from a soundfield-type mic (either in A or B Format) or a mix already done in B-Format. So far, there's no B-Format encoder for Pro Tools (but that might change in the near future).&#xD;&#xA;&#xD;&#xA;If your using a VST-based DAW (Nuendo, Cubase, Reaper) there's more choice, but the offering is uneven, depending on the OS. I'd venture to say that the Mac OS has an advantage here. But then, who is using Nuendo professionally on Mac OS for mixing for film/TV? And from those few, who has the time and energy to design a new workflow to accommodate Ambisonics?&#xD;&#xA;&#xD;&#xA;Don't get me wrong, if there's an Ambisonics advocate here, it's me. But it's far easier to use Ambisonics in electroacoustic music, sound art and installations, than in an &quot;industrial&quot; process like mixing for film/TV.&#xD;&#xA;&#xD;&#xA;You should try to get your hands on Scott Hirsch's 2010 NYU master thesis entitled *Integrating Ambisonics into the Post-Production Mixing Workflow*.&#xD;&#xA;&#xD;&#xA;You should also get in touch with Jean-Marc L'Hotel and Dorian Darcourt in France who recently worked on a film entirely done in Ambisonics. If you read French: http://www.afsi.eu/news/projection-avec-son-en-relief-du-film-je-vous-ecris-du-havre" ContentLicense="CC BY-SA 3.0" />
  <row Id="14181" PostHistoryTypeId="2" PostId="8482" RevisionGUID="9b6770c7-120f-48c1-aa4a-53a914189ab1" CreationDate="2011-06-05T05:52:40.693" UserId="1126" Text="I've been looking at this since I've just completing my first recording rig. Consisting of Sennheiser me66(Sennheisers, I've heard, do better with humidity than other shotgun mics), sound devices mm-1, and an h4n just for the recording (if i want ambience, my h2 has 4 mics). &#xD;&#xA;&#xD;&#xA;I'm currently living in Japan, and the humidity is just starting to set in right now. In a few months, I'll also be traveling south east asia for sounds. This will be even greater amounts of humidity and heat. &#xD;&#xA;&#xD;&#xA;That being said, I've been preparing for humidity. You definitely do not want to be letting the mics go from cool and dry to hot and humid or vice versa very quickly. Condensation may build in the mic from doing that, which would obviously be not good at all. &#xD;&#xA;&#xD;&#xA;The ziplock type bag is a good idea, but I'd also wrap it in a towel or some sort of insulation in that bag to help it acclimate more gradually. &#xD;&#xA;&#xD;&#xA;However, the most important things to have in that ziplock bag with your mic are some silica gel packs. You know the ones in food packages that absorb moisture to keep food from spoiling? Buy some at a camera store and keep your mic from spoiling!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14182" PostHistoryTypeId="2" PostId="8483" RevisionGUID="178c45bf-bd53-4f34-b8c6-1bc56ae4afa7" CreationDate="2011-06-05T08:51:41.660" UserId="2" Text="ummm, I've also wondered about it. So many times I open a nice air conditioned room and the whole floor gets socking wet in a split moment. Probably not great for electricity/electronics. &#xD;&#xA;&#xD;&#xA;The D.O.Ps ideally try wait at least 30 min for acclimatization, but that's mostly for lenses and not the body.   &#xD;&#xA;&#xD;&#xA;My shotgun mic (MKH 418s) is rated for 98% humidity, and I haven't heard any issues. I'm not sure the rating for my lavaliers (DPA 4060s &amp; ME 2s), but they also seemed to perform fine. &#xD;&#xA;&#xD;&#xA;When I can, I keep them in my Pelican case till the last moment. They are designed for that. That said, often I'm shooting indoors and then running outside, but the short answer is all my recorders and mics have been fine and I've been pushing them in really hot and humid African countries.   &#xD;&#xA;&#xD;&#xA;Not really a convincing answer, but rather a bit of reassurance that it will be fine ;-) " ContentLicense="CC BY-SA 3.0" />
  <row Id="14183" PostHistoryTypeId="2" PostId="8484" RevisionGUID="6e177f7f-aca9-41f1-80bb-9645a96858c8" CreationDate="2011-06-05T10:38:17.737" UserId="1127" Text="I have a frankenstein like portable recorder, limited to 96khz.&#xD;&#xA;&#xD;&#xA;A Sound Devices USBPre 2 (which is also an awseome interface with Pro Tools or good additional preamps for your upcoming 744) via toslink into a Sony PCM D-50 both powered by a Tekkeon battery pack. Not really comfortable but its ok." ContentLicense="CC BY-SA 3.0" />
  <row Id="14184" PostHistoryTypeId="2" PostId="8485" RevisionGUID="9709320c-390d-4d5d-acef-8a640160b253" CreationDate="2011-06-05T11:04:07.537" UserId="961" Text="Hi&#xD;&#xA;I'm using pt 9.0.2 LE on a win 7 system. works just great! &#xD;&#xA;just recently when ever i open the workspace for searching sounds on my drives, it freez and make me restart the whole system.&#xD;&#xA;&#xD;&#xA;any ideas?..  i'v searched the net with no results.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;N" ContentLicense="CC BY-SA 3.0" />
  <row Id="14185" PostHistoryTypeId="1" PostId="8485" RevisionGUID="9709320c-390d-4d5d-acef-8a640160b253" CreationDate="2011-06-05T11:04:07.537" UserId="961" Text="protools workspace window freez and crashes ." ContentLicense="CC BY-SA 3.0" />
  <row Id="14186" PostHistoryTypeId="3" PostId="8485" RevisionGUID="9709320c-390d-4d5d-acef-8a640160b253" CreationDate="2011-06-05T11:04:07.537" UserId="961" Text="&lt;pro-tools&gt;&lt;workspace&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14187" PostHistoryTypeId="2" PostId="8486" RevisionGUID="7bf0a87c-c083-4f04-9594-5da70387f496" CreationDate="2011-06-05T11:45:49.133" UserId="37" Text="sony m10 here, in a little pouch. whatever bag i carry, there's always a pocket for it. no headphones at all, or i use the headphones from my ipod - sennheiser earbuds, and have a pair of binaural mics go straight in my ears, in case it's a tricky situation. when i feel more inspired i carry it in my pocket. great little thing, i've been raving about it for ages." ContentLicense="CC BY-SA 3.0" />
  <row Id="14188" PostHistoryTypeId="2" PostId="8487" RevisionGUID="6cfcc3ba-6426-4bbb-9dd6-65f7da1378a6" CreationDate="2011-06-05T20:40:45.827" UserId="18160" Text="Rebuild your databases for each drive?&#xD;&#xA;&#xD;&#xA;Unmount all drives and only add the ones you need (system hard drive) and see if it still gives you the problem. If it works, then isolate what drive is giving you trouble, copy off the files you need and reformat it and see if that works.&#xD;&#xA;&#xD;&#xA;That's all I got. Hope it helps! Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14189" PostHistoryTypeId="2" PostId="8488" RevisionGUID="979d619c-dbf0-4d40-aa07-4184ecd7fb32" CreationDate="2011-06-05T20:48:46.007" UserId="426" Text="In school, We were taught a hierarchy of importance for location sound:&#xD;&#xA;Booming from the top is definitely preferable. &#xD;&#xA;If it is impossible for the shot, boom from the bottom. &#xD;&#xA;If for some reason you can't use a boom mic, a wired lav is preferred. &#xD;&#xA;If a wired lav is impossible to use, use a wireless lav. &#xD;&#xA;If all of these are impossible, there are a couple things I would say. &#xD;&#xA;First off, sucks for you. &#xD;&#xA;Secondly, you could plant a mic close by. This is far less preferred than any other method, but if you must, you must.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14191" PostHistoryTypeId="2" PostId="8490" RevisionGUID="b42f1de6-3a69-4bd7-9088-d1e70e512f3b" CreationDate="2011-06-06T00:17:54.440" UserId="693" Text="Since I posted this for someone else recently that was dealing with a bit of a corrupt session file and 99% of the time this will resolve your issues I'll re-post it again here (this time Win7 specific. What you should do first thing is delete your databases and preferences.&#xD;&#xA;&#xD;&#xA;Not an issue with you, but I'm going to see if I can make a community wiki with all this info since this and similar problems pop up all the time and since this is typically the best way to fix them and since Avid has their own user forum and tech database that has all this info; it seems silly to clog this place up with a bunch of Pro Tools problem threads.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;Here's a list of Troubleshooting tips and Optimizations for Windows 7 from Avid:&#xD;&#xA;&#xD;&#xA;http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=349411&#xD;&#xA;&#xD;&#xA;**Go to the section for &quot;Delete Digidesign Databases and Preferences&quot;*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;**Taken from the link above*&#xD;&#xA;&#xD;&#xA;Delete Digidesign Databases and Preferences&#xD;&#xA;&#xD;&#xA;To delete Digidesign Database folders for all hard drives in Windows 7:&#xD;&#xA;&#xD;&#xA;    Go to your Start menu and click on Computer.&#xD;&#xA;    Double-click on the C: drive.&#xD;&#xA;    Double-click on Program Files.&#xD;&#xA;    Go to the Digidesign folder.&#xD;&#xA;    Go to the Pro Tools folder.&#xD;&#xA;    Right-click on the Databases folder and delete it.&#xD;&#xA;    NOTE: If you are using Pro Tools HD, DV Toolkit 2 or Complete Production Toolkit, you will want to backup your Catalogs folder before deleting the Databases folder.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;To delete Pro Tools preference files in Windows 7:&#xD;&#xA;&#xD;&#xA;    Go to your Start menu and click on Computer.&#xD;&#xA;    Double-click on the C: drive.&#xD;&#xA;    Double-click on Program Files.&#xD;&#xA;    Go to the Common Files folder.&#xD;&#xA;    Go to the Digidesign folder.&#xD;&#xA;    Go to the DAE folder.&#xD;&#xA;    Right-click on the DAE Prefs folder and delete it.&#xD;&#xA;    Go back to your C: drive.&#xD;&#xA;    Double-click on Users.&#xD;&#xA;    Double-click on your user name.&#xD;&#xA;    Go to the AppData folder.&#xD;&#xA;    NOTE: If the Appdata is not showing, click on Organize and choose 'Folder and Search Options'.&#xD;&#xA;    Click on the View tab.&#xD;&#xA;    Select 'Show Hidden Files and Folders'.&#xD;&#xA;    Click Apply and OK. AppData should now be viewable.&#xD;&#xA;    Go to the Roaming folder.&#xD;&#xA;    Right-click on the Digidesign folder and delete it." ContentLicense="CC BY-SA 3.0" />
  <row Id="14192" PostHistoryTypeId="2" PostId="8491" RevisionGUID="4a9fadac-3149-4ee0-b26c-68256849c5c0" CreationDate="2011-06-06T00:50:38.663" UserId="693" Text="Greetings everyone, &#xD;&#xA;&#xD;&#xA;I'm making a Pro Tools &quot;Community Wiki&quot; on here since we seem to get a lot of Pro Tools related tech questions. It seems a bit unnecessary to clog this place up with tech issues where the info can be found on Avid's own forum. Unless it's technique, workflow or creative, then to me it seems that sort of falls into the realm things that should be asked on the DUC and 99% of the time, deleting your Digidesign Databases and Preferences can resolve your issue. &#xD;&#xA;&#xD;&#xA;So, I'll post the info on how to do that here to make it easy to find since admittedly, Avid's support is a bit tricky to navigate and unless you've been through all this before it's hard to figure out the first time.&#xD;&#xA;&#xD;&#xA;And just for posterity, I'll post this here as well:&#xD;&#xA;&#xD;&#xA;IMPORTANT! You MUST use a secondary hard drive (not your main OS drive) for recording and playback of audio in Pro Tools. Recording or playback from the OS drive is known to be problematic and the cause of many different error types. If you are using your system drive and encountering errors, the first thing you should do is get a compatible drive. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Ok, I will split this into sections based on Operating System and at the top of the info I will include a link to where the info was pulled from. These links also include operating system specific &quot;optimization tips&quot; as well as other &quot;best practices&quot; and &quot;troubleshooting tips&quot;. I'm only including the info for how to delete your databases and preferences here since that's the most common fix and like I said before, Avid/Digi already has this info posted. I'm just trying to lead you to water in this situation and make navigating their support a little easier.&#xD;&#xA;&#xD;&#xA;Since this is a community Wiki and can be updated by others, please update the date of when the information was updated in the section specific to the operating system.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;**Mac OSX**&#xD;&#xA;Last Updated on: June 5, 2011&#xD;&#xA;&#xD;&#xA;Taken from: http://duc.avid.com/showthread.php?t=54888&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Delete Pro Tools preferences**&#xD;&#xA;-Go to Users &gt; “your user name” &gt; Library &gt; Preferences&#xD;&#xA;-Delete 'com.digidesign.protoolsLE.plist', 'DAE Prefs' (folder), 'DigiSetup.OSX' and 'Pro Tools preferences'.&#xD;&#xA;-Empty trash, then restart the computer.&#xD;&#xA;&#xD;&#xA;You can also use the [Pro Tools Preference and Database Helper][1] to trash preferences and databases automatically, as well as providing a few other useful tools. (This application is provided by a 3rd party and is not tested or supported by Digidesign) *I have used this and it works great.&#xD;&#xA;&#xD;&#xA;**Repair Permissions**&#xD;&#xA;-Quit Pro Tools and launch Apple's &quot;Disk Utility&quot; application, located in:&#xD;&#xA;&#xD;&#xA;MacHD&gt;Applications &amp; Utilities.&#xD;&#xA;&#xD;&#xA;-Select your boot drive (the whole drive, not the volume underneath the drive)&#xD;&#xA;-Go to the 'First Aid' tab and select &quot;Repair Disk Permissions&quot;&#xD;&#xA;&#xD;&#xA;Apple recommends doing this any time you install new software, update your OS or install any software.&#xD;&#xA;&#xD;&#xA;**Delete Databases and Volumes**&#xD;&#xA;&#xD;&#xA;This step can be useful when receiving random 'assertion' or 'neoaccess' errors, especially when recording or saving.&#xD;&#xA;&#xD;&#xA;-Delete the &quot;Digidesign Databases&quot; folders on the first level of all mounted hard drives.&#xD;&#xA;-Delete the &quot;Volumes&quot; folder:&#xD;&#xA;Pro Tools versions 7.3 and earlier it's located in MacHD &gt; Library &gt; Application Support &gt; Digidesign &gt; Databases.&#xD;&#xA;Pro Tools 7.4 and higher will find it in MacHD &gt; Library &gt; Application Support &gt; Digidesign &gt; Databases &gt; Unicode.&#xD;&#xA;&#xD;&#xA;-Empty trash, then restart the computer.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;**Windows 7**&#xD;&#xA;Last Updated on: June 5, 2011&#xD;&#xA;&#xD;&#xA;Taken from: http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=349411&#xD;&#xA;&#xD;&#xA;**Delete Digidesign Databases and Preferences**&#xD;&#xA;&#xD;&#xA;**To delete Digidesign Database folders for all hard drives in Windows 7:**&#xD;&#xA;&#xD;&#xA;    Go to your Start menu and click on Computer.&#xD;&#xA;    Double-click on the C: drive.&#xD;&#xA;    Double-click on Program Files.&#xD;&#xA;    Go to the Digidesign folder.&#xD;&#xA;    Go to the Pro Tools folder.&#xD;&#xA;    Right-click on the Databases folder and delete it.&#xD;&#xA;    NOTE: If you are using Pro Tools HD, DV Toolkit 2 or Complete Production Toolkit, you will want to backup your Catalogs folder before deleting the Databases folder.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**To delete Pro Tools preference files in Windows 7:**&#xD;&#xA;&#xD;&#xA;    Go to your Start menu and click on Computer.&#xD;&#xA;    Double-click on the C: drive.&#xD;&#xA;    Double-click on Program Files.&#xD;&#xA;    Go to the Common Files folder.&#xD;&#xA;    Go to the Digidesign folder.&#xD;&#xA;    Go to the DAE folder.&#xD;&#xA;    Right-click on the DAE Prefs folder and delete it.&#xD;&#xA;    Go back to your C: drive.&#xD;&#xA;    Double-click on Users.&#xD;&#xA;    Double-click on your user name.&#xD;&#xA;    Go to the AppData folder.&#xD;&#xA;    NOTE: If the Appdata is not showing, click on Organize and choose 'Folder and Search Options'.&#xD;&#xA;    Click on the View tab.&#xD;&#xA;    Select 'Show Hidden Files and Folders'.&#xD;&#xA;    Click Apply and OK. AppData should now be viewable.&#xD;&#xA;    Go to the Roaming folder.&#xD;&#xA;    Right-click on the Digidesign folder and delete it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;**Windows Vista**&#xD;&#xA;Last Updated on: June 5, 2011&#xD;&#xA;&#xD;&#xA;Taken from: http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=211077&#xD;&#xA;&#xD;&#xA;**Delete Digidesign Databases and Preferences**&#xD;&#xA;&#xD;&#xA;**To delete Digidesign Database folders for all hard drives in Windows Vista:**&#xD;&#xA;&#xD;&#xA;    Go to your Start menu and click on Computer.&#xD;&#xA;    Double-click on the C: drive.&#xD;&#xA;    Right-click on the Digidesign Databases folder and delete it. Do the same for any additional hard drives or volumes. (As of Pro Tools 8.0.3, this step is no longer required.  This step is still required for all versions of Pro Tools prior to version 8.0.3)&#xD;&#xA;    Go back to your C: drive.&#xD;&#xA;    Double-click on Program Files.&#xD;&#xA;    Go to the Digidesign folder.&#xD;&#xA;    Go to the Pro Tools folder.&#xD;&#xA;    Right-click on the Databases folder and delete it.&#xD;&#xA;    NOTE: If you are using Pro Tools HD, DV Toolkit 2 or Complete Production Toolkit, you will want to backup your Catalogs folder before deleting the Databases folder.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**To delete Pro Tools preference files in Windows Vista:**&#xD;&#xA;&#xD;&#xA;    Go to your Start menu and click on Computer.&#xD;&#xA;    Double-click on the C: drive or whichever drive you installed Pro Tools to.&#xD;&#xA;    Double-click on Program Files.&#xD;&#xA;    Go to the Common Files folder.&#xD;&#xA;    Go to the Digidesign folder.&#xD;&#xA;    Go to the DAE folder.&#xD;&#xA;    Right-click on the DAE Prefs folder and delete it.&#xD;&#xA;    Go back to your C: drive.&#xD;&#xA;    Double-click on Users.&#xD;&#xA;    Double-click on your user name.&#xD;&#xA;    Go to the AppData folder.&#xD;&#xA;    If the Appdata is not showing, click on Organize and choose 'Folder and Search Options'.&#xD;&#xA;    Click on the View tab.&#xD;&#xA;    Select 'Show Hidden Files and Folders'.&#xD;&#xA;    Click Apply and OK. AppData should now be viewable.&#xD;&#xA;    Go to the Roaming folder.&#xD;&#xA;    Right-click on the Digidesign folder and delete it.&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;**Windows XP**&#xD;&#xA;Last Updated on: June 5, 2011&#xD;&#xA;&#xD;&#xA;Taken from: http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=349591&#xD;&#xA;&#xD;&#xA;**Delete Digidesign Databases and Preferences**&#xD;&#xA;&#xD;&#xA;**To delete Digidesign Database folders for all hard drives in Windows XP:**&#xD;&#xA;&#xD;&#xA;    Go to your Start menu and click on Computer.&#xD;&#xA;    Double-click on the C: drive.&#xD;&#xA;    Right-click on the Digidesign Databases folder and delete it. Do the same for any additional hard drives or volumes. (As of Pro Tools 8.0.3, this step is no longer required.  This step is still required for all versions of Pro Tools prior to version 8.0.3)&#xD;&#xA;    Go back to your C: drive.&#xD;&#xA;    Double-click on Program Files.&#xD;&#xA;    Go to the Digidesign folder.&#xD;&#xA;    Go to the Pro Tools folder.&#xD;&#xA;    Right-click on the Databases folder and delete it.&#xD;&#xA;    NOTE: If you are using Pro Tools HD, DV Toolkit 2 or Complete Production Toolkit, you will want to backup your Catalogs folder before deleting the Databases folder.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**To delete Pro Tools preference files in Windows XP:**&#xD;&#xA;&#xD;&#xA;    Go to your Start menu and click on Computer.&#xD;&#xA;    Double-click on the C: drive or whichever drive you installed Pro Tools to.&#xD;&#xA;    Double-click on Program Files.&#xD;&#xA;    Go to the Common Files folder.&#xD;&#xA;    Go to the Digidesign folder.&#xD;&#xA;    Go to the DAE folder.&#xD;&#xA;    Right-click on the DAE Prefs folder and delete it.&#xD;&#xA;    Go back to your C: drive.&#xD;&#xA;    Double-click on 'Documents and Settings'.&#xD;&#xA;    Double-click on your user name.&#xD;&#xA;    Go to the 'Application Data' folder.&#xD;&#xA;    If the 'Application Data' is not showing, click on the Tools menu and choose 'Folder Options'.&#xD;&#xA;    Click on the View tab.&#xD;&#xA;    Select 'Show Hidden Files and Folders'.&#xD;&#xA;    Click Apply and OK. 'Application Data' should now be viewable.&#xD;&#xA;    Right-click on the Digidesign folder and delete it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jcdeshaies.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14193" PostHistoryTypeId="1" PostId="8491" RevisionGUID="4a9fadac-3149-4ee0-b26c-68256849c5c0" CreationDate="2011-06-06T00:50:38.663" UserId="693" Text="Pro Tools Problems?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14194" PostHistoryTypeId="3" PostId="8491" RevisionGUID="4a9fadac-3149-4ee0-b26c-68256849c5c0" CreationDate="2011-06-06T00:50:38.663" UserId="693" Text="&lt;pro-tools&gt;&lt;troubleshooting&gt;&lt;problems&gt;&lt;optimizations&gt;&lt;fixes&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14195" PostHistoryTypeId="16" PostId="8491" RevisionGUID="4a9fadac-3149-4ee0-b26c-68256849c5c0" CreationDate="2011-06-06T00:50:38.663" UserId="693" />
  <row Id="14197" PostHistoryTypeId="2" PostId="8492" RevisionGUID="89a3fbfc-4141-4001-9bba-b3cf64e4c89f" CreationDate="2011-06-06T04:07:47.767" UserId="845" Text="In terms of your stereo image, do you prefer the fixed perspective of something like an NT-4, H4N, or D-50, or do you prefer the variable perspective of a pair of shotguns?&#xD;&#xA;&#xD;&#xA;I personally prefer the weaker center of a spaced-pair, which has to added coolness of being able to control the focus of your two sides individually, but what do you guys think?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14198" PostHistoryTypeId="1" PostId="8492" RevisionGUID="89a3fbfc-4141-4001-9bba-b3cf64e4c89f" CreationDate="2011-06-06T04:07:47.767" UserId="845" Text="Doin' It Stereo in the Field" ContentLicense="CC BY-SA 3.0" />
  <row Id="14199" PostHistoryTypeId="3" PostId="8492" RevisionGUID="89a3fbfc-4141-4001-9bba-b3cf64e4c89f" CreationDate="2011-06-06T04:07:47.767" UserId="845" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14200" PostHistoryTypeId="2" PostId="8493" RevisionGUID="d664a5d5-08ac-4086-a2b4-2933dea4178a" CreationDate="2011-06-06T04:24:06.943" UserId="18160" Text="There is something about a perfectly placed ORTF pair for me that just has this depth to it that I cannot make out of a wide spaced pair of shotguns. It's wide and realistic to me on speakers and on headphones (something I need to watch out for because some of my work ends up on iPods so headphones must be thought with - more so than a film usually is).&#xD;&#xA;&#xD;&#xA;I also really really really like using Blumlein in certain applications.&#xD;&#xA;&#xD;&#xA;But, the spaced pair is great, too. It's got sometimes wildly different information that is great to place in the surrounds, for instance.&#xD;&#xA;&#xD;&#xA;That's just my 2 cents. I'm sure there will be great answers to come along shortly." ContentLicense="CC BY-SA 3.0" />
  <row Id="14201" PostHistoryTypeId="2" PostId="8494" RevisionGUID="0f5bf75e-722d-46c8-99f8-069167bd35eb" CreationDate="2011-06-06T06:47:30.610" UserId="6462" Text="I've got a Sony PCM-D50 and just found the perfect case for it. It's a [Lowepro Apex PV AW][1]&#xD;&#xA;It's got a belt loop, a shoulder strap and also comes with a very handy built in rain cover. It's designed for Portable Photo Viewers, but seeing they are about the same size as the D50 I though I would try one out, i'm very glad I did.&#xD;&#xA;&#xD;&#xA;The D50 fits in without any problems with a windjammer on, it is a snug fit, but thats what you want. It's relatively light and compact and as it looks like a camera case it goes completely un-noticed. Inside the case is also a small pouch for memory cards etc, and also has just enough space for a spare set of batteries and some earbuds.&#xD;&#xA;&#xD;&#xA;I'm awaiting a new Rycote windjammer for the D50 and once I have it I will post some pictures.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/487302-REG/Lowepro_LP34990_0EU_Apex_PV_AW_Photo_Viewer.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="14202" PostHistoryTypeId="2" PostId="8495" RevisionGUID="66b217c4-0fd6-4f67-88d8-7c70846e1fb8" CreationDate="2011-06-06T08:10:17.447" UserId="1056" Text="RX2 is definitely worth the upgrade and in my opinion, if you can afford it, Advanced is worth the extra expense. Many of the features Rene mentions are only available in Advanced.&#xD;&#xA;&#xD;&#xA;The following are the new features that I find the most useful:&#xD;&#xA;&#xD;&#xA; 1. Algorithm D - provides superior results 99% of the time for all modules&#xD;&#xA; 2. New selection tools for Spectral Repair - the improved accuracy really helps to isolate unwanted impulse noise (tip: the bigger the monitor, the easier it is to achieve good results)&#xD;&#xA; 3. Multi-resolution processing for spectral repair **(Advanced only)** - processing takes longer, but the end result is worth it if you have the time&#xD;&#xA; 4. Azimuth Alignment **(Advanced only)** - I specialise in conversion and restoration of archival material, so I use this a lot. It has application in sound FX and sound design, although for the opposite of its intended purpose.&#xD;&#xA; 5. Export history as XML **(Advanced only)** - useful as a future reference, e.g. when dealing with similar material&#xD;&#xA;&#xD;&#xA;The new Decrackler is handy if you have no other noise reduction application. However, personally, I prefer Sound Forge NR2 or Waves Restoration for this.&#xD;&#xA;&#xD;&#xA;I find many of the other new features (Parametric EQ, Batch Processing, 3rd party plug-in support, SRC, dithering, time &amp; pitch control, etc) less important, as they are duplicated in most mastering applications and, of course, their own Ozone plug-in. The benefit here is in terms of time-saving when working on individual samples that can be processed entirely in RX, but this becomes less relevant when working with longer, more complex material." ContentLicense="CC BY-SA 3.0" />
  <row Id="14203" PostHistoryTypeId="2" PostId="8496" RevisionGUID="6d5c83c8-726e-459c-98cc-5ea9ef8cc4fb" CreationDate="2011-06-06T08:46:36.900" UserId="596" Text="Hi,&#xD;&#xA; &#xD;&#xA;when working on sound design for video in Logic 9, i use a project template with a sampling rate set at 48000khz. the source material i use vary in sample rate, hence i need to convert it all to 48000khz to match the project sample rate. up until now, what i always did, was to use an external batch audio processing tool (such as the great Sample Manager by Audiofile Engineering) to quickly convert all my material to the desired sample rate. recently switched back to Logic as my main DAW, i wanted to let Logic take care of sample rate conversions when necessary. so, i set my project preferences to include audio assests, copy all used audio files to project folder, etc. and automatically convert sample rates when there's no match. this seems to work properly, however, Logic's conversion also seem to pitch shift (more than slightly) my original material - which never happens when i use an external conversion utility (i usually need to convert from 44100khz to 48000khz). why is that?&#xD;&#xA;&#xD;&#xA;say i turn off the auto conversion thingie and import material in different sample rates into the project while working, then export it all at 48000khz. will i have the same pitch-shifted artefact? &#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="14204" PostHistoryTypeId="1" PostId="8496" RevisionGUID="6d5c83c8-726e-459c-98cc-5ea9ef8cc4fb" CreationDate="2011-06-06T08:46:36.900" UserId="596" Text="understanding sample rate conversions in Logic" ContentLicense="CC BY-SA 3.0" />
  <row Id="14205" PostHistoryTypeId="3" PostId="8496" RevisionGUID="6d5c83c8-726e-459c-98cc-5ea9ef8cc4fb" CreationDate="2011-06-06T08:46:36.900" UserId="596" Text="&lt;logic&gt;&lt;sample-rate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14206" PostHistoryTypeId="2" PostId="8497" RevisionGUID="e2a742e5-76d3-47c2-aafe-74908d492132" CreationDate="2011-06-06T09:31:47.267" UserId="168" Text="This is odd. In all these years of using Logic I've never faced this problem. The only time it plays files at the wrong pitch and speed is when it doesn't convert on import (tends to do that with MP3s even if include/convert all assets is enabled). Could you post clips of the actual and converted file so we can get an idea of what the problem is? " ContentLicense="CC BY-SA 3.0" />
  <row Id="14207" PostHistoryTypeId="2" PostId="8498" RevisionGUID="bd770436-03a8-47a9-8b71-5e4bc5b5bcab" CreationDate="2011-06-06T09:38:25.580" UserId="168" Text="It depends, like most other things.&#xD;&#xA;&#xD;&#xA;If it's ambiance and vehicle bys I prefer XY or ORTF. If I'm capturing the sound of a space (like a reverb) I prefer AB - seems a bit wider to me because of the hole-in-the-center" ContentLicense="CC BY-SA 3.0" />
  <row Id="14208" PostHistoryTypeId="2" PostId="8499" RevisionGUID="6e8a60af-d43a-4b68-ba58-0d84660b3f16" CreationDate="2011-06-06T09:39:26.893" UserId="1128" Text="It is because logic tries to fit as many 'bits' of sound as possible into the space which the lower sample rate has. The lower rate moved up to higher sample rate will mean that logic will pretty much speed up the original file to fill in the space of the 44100 rate. &#xD;&#xA;Kinda hard to explain.&#xD;&#xA;&#xD;&#xA;Keep the sample rates to the original size/rate then when bouncing the file down select dither (dosnt matter which type of dither... does all the same thing pretty much) and that should enable you to have a mix of all rates without pitch shifting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Twitter @nialldalton" ContentLicense="CC BY-SA 3.0" />
  <row Id="14209" PostHistoryTypeId="2" PostId="8500" RevisionGUID="49e5a643-550c-4a68-85d8-3345f096f9da" CreationDate="2011-06-06T09:58:39.790" UserId="6499" Text="jwsound.net has a buy sell section and is also a pretty good resource when it comes to on location stuff.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14210" PostHistoryTypeId="2" PostId="8501" RevisionGUID="8e088e52-c245-4b2a-8526-be2bb2b66883" CreationDate="2011-06-06T10:35:31.363" UserId="542" Text="When you import a sample with a different samplerate via drag-and-drop Logic usually converts the file to the corresponding samplerate. &#xD;&#xA;However if you import for example a 44.1kHz file into a 44.1kHz session and set the samplerate AFTER this to 48kHz, your 44.1kHz sample won't be converted to 48kHz. This is when it will play back at a wrong speed/tone.&#xD;&#xA;&#xD;&#xA;If you press 'b' you'll see on the right side what samplerate each sample has, if everything is set to the right samplerate it should sound correct.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14211" PostHistoryTypeId="5" PostId="8247" RevisionGUID="134d58c6-bfcc-4034-878f-2ce366d3b2e2" CreationDate="2011-06-06T10:38:29.303" UserId="542" Comment="deleted 4 characters in body" Text="I think the purpose is that you can fix the end of the short XLR cable coming out of the blimp. That way it doesn't dangle around.&#xD;&#xA;&#xD;&#xA;Nevertheless I have never used that mic stand attachment, since I use the pistol grip instead. Of course it's easier to damage the thread of the pistol grip than the mic stand attachment when you mount it on a boom pole in a hurry, but I am always very cautious not to do any damage to it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14212" PostHistoryTypeId="2" PostId="8502" RevisionGUID="3407d9a4-54ab-4910-91fa-bb9803e193ba" CreationDate="2011-06-06T11:07:53.863" UserId="1056" Text="Hi Michael&#xD;&#xA;&#xD;&#xA;Obviously, if you can get the ADR approved that is first prize. Otherwise, think of it as a challenge and use the opportunity to gain experience in dealing with sub-standard production audio. In other words, try to make the most out of a bad situation. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14213" PostHistoryTypeId="2" PostId="8503" RevisionGUID="f4236d64-94ec-4d2d-b0c1-212df71e9987" CreationDate="2011-06-06T11:21:52.250" UserId="863" Text="The recordist should prioritise capturing dialogue at the best quality possible. &#xD;&#xA;&#xD;&#xA;This is generally always from above; &#xD;&#xA;&#xD;&#xA; - you will pick up less low end resonance from the chest&#xD;&#xA; - you get a clearer dialogue recording &#xD;&#xA; - it will block more background sound out&#xD;&#xA; - aim the boom at the solar plexus, never at the mouth&#xD;&#xA; - have a lose grip on the boom and practice swiveling with the dialogue&#xD;&#xA; - lapel mic as a back up if the budget is there for it&#xD;&#xA; - get as close in as possible with the mic&#xD;&#xA;&#xD;&#xA;BE on set for the blocking to see where you can boom from without casting shadows, if you do, ask lighting for a flag to block your angle out." ContentLicense="CC BY-SA 3.0" />
  <row Id="14214" PostHistoryTypeId="2" PostId="8504" RevisionGUID="46a3550c-17b2-4e37-a34d-bf42fc8a376b" CreationDate="2011-06-06T11:43:57.033" UserId="999" Text="Spotted it twice this weekend! Once in Inglorious basterds and once in CSI. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14215" PostHistoryTypeId="2" PostId="8505" RevisionGUID="e59414c9-f3f2-44bd-b462-da8d33f80a30" CreationDate="2011-06-06T11:46:28.063" UserId="1102" Text="I have an H4n and i found an old CD player carrier does the trick perfectly - the zip bit at the front is perfect for carrying around the accessories such as the mains adapter, windshield, handle etc and the main compartment is padded and fits the H4n very well.  It also has a hole at the bottom (which i presume was for the headphones) but its great to run cables from if you're using external mics into the xlr inputs.  It also has a handy strap for hands free operation! It all folds up into a small bag so you can chuck it in with the rest of your gear.  &#xD;&#xA;&#xD;&#xA;Not sure how likely you are to get a portable cd player holder in this day and age, but you might find something similar. &#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;&#xD;&#xA;Gillian " ContentLicense="CC BY-SA 3.0" />
  <row Id="14216" PostHistoryTypeId="5" PostId="8481" RevisionGUID="c50ae931-44e1-47b1-8479-c652eacb45e1" CreationDate="2011-06-06T12:12:48.873" UserId="780" Comment="added 2 characters in body" Text="Hum... I'm afraid you'll get very few answers, if any. Why? Tools. Or the lack of them.&#xD;&#xA;&#xD;&#xA;Let's begin. Pro Tools: apart from Soundfield's Surround Zone and the new Harpex decoder, nothing else. So, for using Ambisonics in PT, you need audio from a soundfield-type mic (either in A or B Format) or a mix already done in B-Format. So far, there's no B-Format encoder for Pro Tools (but that might change in the near future).&#xD;&#xA;&#xD;&#xA;If you're using a VST-based DAW (Nuendo, Cubase, Reaper) there's more choice, but the offering is uneven, depending on the OS. I'd venture to say that the Mac OS has an advantage here. But then, who is using Nuendo professionally on Mac OS for mixing for film/TV? And from those few, who has the time and energy to design a new workflow to accommodate Ambisonics?&#xD;&#xA;&#xD;&#xA;Don't get me wrong, if there's an Ambisonics advocate here, it's me. But it's far easier to use Ambisonics in electroacoustic music, sound art and installations, than in an &quot;industrial&quot; process like mixing for film/TV.&#xD;&#xA;&#xD;&#xA;You should try to get your hands on Scott Hirsch's 2010 NYU master thesis entitled *Integrating Ambisonics into the Post-Production Mixing Workflow*.&#xD;&#xA;&#xD;&#xA;You should also get in touch with Jean-Marc L'Hotel and Dorian Darcourt in France who recently worked on a film entirely done in Ambisonics. If you read French: http://www.afsi.eu/news/projection-avec-son-en-relief-du-film-je-vous-ecris-du-havre" ContentLicense="CC BY-SA 3.0" />
  <row Id="14217" PostHistoryTypeId="2" PostId="8506" RevisionGUID="0006b061-c639-45ea-ae16-62622a109d8a" CreationDate="2011-06-06T13:53:57.540" UserId="1056" Text="Depends on what you have available, time, budget and microphone-wise:&#xD;&#xA;&#xD;&#xA;Blumlein is the quickest, cheapest and easiest way (apart from a stereo mic, of course) to achieve a reasonable stereo image.&#xD;&#xA;&#xD;&#xA;ORTF will give you better separation, but takes more setup time and experience to obtain optimal results. Jecklin, my personal favourite, requires even more effort, but is well worth it. However, I will admit I am biased toward music recordings.&#xD;&#xA;&#xD;&#xA;I prefer to only use a spaced pair for ambient fill and surround application and will never rely on that as my primary source in the field. Firstly, as the stereo image is created almost entirely from time difference, the stereo image is not focused. Secondly, setup is tricky - the further apart the mics are, the more ambient and less detailed the recording becomes. The closer together they are, the less effective the stereo spread. Thirdly, there are just so many variables that must be taken into account, phasing being the most common. This configuration is a lot easier to control and pull off successfully in a studio environment.&#xD;&#xA;&#xD;&#xA;I always find it helpful to set up a centred omni as well, if this is at all possible. This can be blended in as required and is usually also beneficial to the dialogue." ContentLicense="CC BY-SA 3.0" />
  <row Id="14218" PostHistoryTypeId="2" PostId="8507" RevisionGUID="644704d8-696a-4544-b165-f139a7db45f8" CreationDate="2011-06-06T15:41:44.680" UserId="762" Text="Where do you all think that midside fits into the equation.  It's easy to set up and easily variable in post, but at what cost?  I've read some people are down on it, but does that just stem from the necessity of post?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14219" PostHistoryTypeId="2" PostId="8508" RevisionGUID="90ed585f-a506-4915-b6a6-85e4a716ba5e" CreationDate="2011-06-06T15:45:51.130" UserDisplayName="user80" Text="I've switched to a soundfield mic which captures 4 channels and allows me to vary the stereo width in post as well as create a 5.1 version." ContentLicense="CC BY-SA 3.0" />
  <row Id="14220" PostHistoryTypeId="5" PostId="8492" RevisionGUID="64a5bb28-a390-4cc4-90fc-0bb6e26e2193" CreationDate="2011-06-06T15:50:07.257" UserId="845" Comment="added 204 characters in body" Text="In terms of your stereo image, do you prefer the fixed perspective of something like an NT-4, H4N, or D-50, or do you prefer the variable perspective of a pair of shotguns?&#xD;&#xA;&#xD;&#xA;I personally prefer the weaker center of a spaced-pair, which has to added coolness of being able to control the focus of your two sides individually, but what do you guys think?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;Edit: I totally forgot about M/S. So I'll update the question. &#xD;&#xA;&#xD;&#xA;For stereo field recording, do you prefer X/Y, spaced pair, or M/S?  Or something else; ORTF, blumlein, AB, &amp;tc? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14221" PostHistoryTypeId="2" PostId="8509" RevisionGUID="032c851d-2a54-4478-9157-48686408d074" CreationDate="2011-06-06T16:16:22.080" UserId="220" Text="Here's my addition to the fray:&#xD;&#xA;Recommend ADR.  When they say they have no money, then just clean up what you can.  As far as it reflecting poorly on you, I wouldn't worry.  Don't put it in your reel and if you do, show some before and afters where you've worked miracles on crappy sound!  Honestly if they do agree to ADR, it will probably be the cheapest they can find and more trouble than it is worth.&#xD;&#xA;&#xD;&#xA;And if you really don't want to do this, tell them you're not going to, sit through the &quot;I'll ruin you in this business&quot; speech, and get on with your career.  &#xD;&#xA;&#xD;&#xA;As Roger said, nobody is going to see this.  It's nice to get another line on your resume, but don't sweat it.  Put in $600 worth of work, and turn the project over." ContentLicense="CC BY-SA 3.0" />
  <row Id="14222" PostHistoryTypeId="2" PostId="8510" RevisionGUID="49b7db98-478d-419a-9a6a-05e1487df138" CreationDate="2011-06-06T17:34:08.150" UserId="18160" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I have a real quick question regarding PZM mics:&#xD;&#xA;&#xD;&#xA;I borrowed 2 Crown PZM mics (they are kind of older) to try out on a venue which has really really low ceilings (8 feet or so) and the crowd applause has never been liked in the mixes from this particular show.&#xD;&#xA;&#xD;&#xA;I had the idea of getting PZM mics because I know how this type of acoustic space can rip a condenser stereo pair to shreds.&#xD;&#xA;&#xD;&#xA;So, I got the mics and they have the type of fuzzy sticker stuff that is usually found on the bottom of heavy book stops or the insides of nice desk drawers so they shut nicely. I can tell this fuzzy stuff has been added by a user and did not come with the mic originally.&#xD;&#xA;&#xD;&#xA;I thought PZM mics worked by placing them flat up against a surface? Wouldn't this fuzzy stuff interfere with it's pickup?&#xD;&#xA;&#xD;&#xA;How would you mount PZM mics to a wall? Gaffer tape? Double-sided sticky tape?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14223" PostHistoryTypeId="1" PostId="8510" RevisionGUID="49b7db98-478d-419a-9a6a-05e1487df138" CreationDate="2011-06-06T17:34:08.150" UserId="18160" Text="PZM Mic Mounting" ContentLicense="CC BY-SA 3.0" />
  <row Id="14224" PostHistoryTypeId="3" PostId="8510" RevisionGUID="49b7db98-478d-419a-9a6a-05e1487df138" CreationDate="2011-06-06T17:34:08.150" UserId="18160" Text="&lt;pzm&gt;&lt;microphone&gt;&lt;mounting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14225" PostHistoryTypeId="2" PostId="8511" RevisionGUID="f541dcb7-1aba-4788-b9ea-cf2b98c060ab" CreationDate="2011-06-06T18:54:31.723" UserId="542" Text="I actually only used PZMs once so I may be wrong =)&#xD;&#xA;&#xD;&#xA;I don't think that the 3-5mm caused by the stickers actually do affect the way PZMs work, since the frequencies that have a wavelenght of 3mm would be around 114kHz (is this correct?!). &#xD;&#xA;&#xD;&#xA;My docent back at the SAE used to mount the PZMs on a micstand close to the walls. Don't know if there is a better way, but since he used to construct his own PZMs I kinda trust him." ContentLicense="CC BY-SA 3.0" />
  <row Id="14226" PostHistoryTypeId="2" PostId="8512" RevisionGUID="725dc872-744b-4e49-a2a4-093503d8e2db" CreationDate="2011-06-06T19:26:58.477" UserId="220" Text="Boy are you in luck!  Check out [this][1] (warning, smallish pdf) document from Crown about boundary mic applications and placement.  Also has a nice &quot;how it works&quot; explanation.  &#xD;&#xA;&#xD;&#xA;I'm not really sure of your application.  For stage shows, I generally place them on the stage, at the edge where I'm sure nobody will step.  For out in the room, I would take a board, mount the PZM to the board, and put it in a C-stand.  Then you can move it around.  If that's too ugly, you could probably tape it to the wall with lots of gaffer tape.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;  [1]: http://www.crownaudio.com/pdf/mics/127089.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="14227" PostHistoryTypeId="2" PostId="8513" RevisionGUID="7d00f415-efc6-4dc2-8d1c-e672502e9212" CreationDate="2011-06-06T19:38:39.163" UserId="1129" Text="It depends.  The PZM is generally mounted on a flat plate, or large, flat plane with the &quot;nose&quot; of the mic a minuscule distance away from the plate.  That creates the &quot;pressure zone&quot; from which the PZM gets is name, and is necessary for the mic to function properly.&#xD;&#xA;&#xD;&#xA;So, if your mic is using the metal plate that Crown supplies with its PZMs, and the fuzzies are on the other side of the plate, then you are in business.  &#xD;&#xA;&#xD;&#xA;However, Crown also sells just the &quot;business&quot; end of the PZM, the mic itself without a plate, for mounting onto the wall, floor, tabletop, etc.  If this is the mic you have, the distance between the &quot;nose&quot; of the mic and the mount surface is crucial, and will have an effect on your HF response.  See the pdf that VCProd linked to, if you want to see the relationship between the boundary-to-mic distance and the HF response.&#xD;&#xA;&#xD;&#xA;As for mount techniques, I use PZMs with the Crown supplied plate, and mount them with gaff tape." ContentLicense="CC BY-SA 3.0" />
  <row Id="14228" PostHistoryTypeId="2" PostId="8514" RevisionGUID="ec8ef332-f8c5-4aa5-90aa-6b154d905010" CreationDate="2011-06-06T19:46:20.910" UserId="220" Text="I'm still not completely clear - you're mixing live shows, or recording them?&#xD;&#xA;&#xD;&#xA;For mixing, I'd recommend a good quality laptop, not a tablet.  Mac Books are down to $1000 I think. I don't think you'll ever lament having too much processing power.  I believe you can protect it on the road just fine.  Get a Pelican case if you are concerned, but I think you'll be fine.  Make sure you have a security cable so you can latch it down if you're in a venue.  &#xD;&#xA;&#xD;&#xA;I would also get a good measurement mic, if you don't already have one, for your acoustic analysis program.  I love the Behringer ECM8000 - low cost, great quality.  Only thing they make that's worth anything.  You should also grab a Lectrosonics TM400 wireless system.  It's non-companding wireless mic and will keep you from having to run cables all over the place while you're tuning/measuring the room.  &#xD;&#xA;&#xD;&#xA;Sounds like a cool gig...good luck!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14229" PostHistoryTypeId="2" PostId="8515" RevisionGUID="a22beb59-a771-4f71-8e7c-57dea9028e77" CreationDate="2011-06-06T19:47:37.523" UserId="6499" Text="I second what everyone else has said.&#xD;&#xA;&#xD;&#xA;Ideally I want to boom from above and be inches above the talents head(rarely do I get this).  Sound travels up.  When you come from above you put the atmosphere/room and all the nonsense sound that comes with it, into the dead side of the shotgun.  I aim for the solar plexis for a couple reasons,  one is it gives me a bit more full sound in my opinion and two, it is much easier to aim for a larger target than the mouth, especially when your are using your peripheral vision many times.   I generally am above the talents head and a bit in front of them to where the angle of attack is about 45 degrees,  this allows for better flexibility for moving around and compensating for the unexpected.  &#xD;&#xA;&#xD;&#xA;Always try and swing the boom.  If you just plop it between the 2 talent, then both are off axis.  If you try and swing, they still may end up off axis, but you have a much greater chance of being on axis when you try and put them there :)&#xD;&#xA;&#xD;&#xA;I think booming from below is a technique invented by camera or the ad, and I avoid it at all possibility.&#xD;&#xA;&#xD;&#xA;As far as mic selection, that is highly situational, and depends on your budget.  If you are just learning how to swing the boom, a mic with a wider pattern might help out because it increases your chances of putting them in the pattern.  If you have a very tight pattern, being a couple inches off will make a huge difference.  &#xD;&#xA;&#xD;&#xA;Also be very aware of your surroundings.  That goes for what is happening dialogue wise, where lights are, where you can be, and what is happening at the location.  Make sure you LISTEN,  turn off the AC units, Fridges, make sure G&amp;E parked the grip truck an acceptable distance away, gels flapping in the wind.  These problems are all easily adjusted when you do them while people are setting up and not once your rolling, nobody wants to work twice, many are willing to correct problems when you stop them before they get all set up.  Many times I will take a portable pre like the little battery powered sound devices pre and just walk around with the headphones on and the mic, to pick out problems. It is also my experience that G&amp;E crew are 1000x more willing to help you out than anyone in camera department.  Making a movie is a team thing, so make sure you foster good relationships with someone in every department.&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;Booming is like a dance, ballet if you will.  You have to move with the talent in the same time/space that they are and dodge every light and camera at the same time.  &#xD;&#xA;&#xD;&#xA;If you are also the recordist, aka one man band,  learn to speak up when a situation happens.  This is something that took me awhile to get over, but most of the time,  you are the only one hearing what is happening, so you must have communication if something unacceptable happens in your opinion.  If you are the boom op, most of the time you are also sound's communicator of problems, because your right there on set.  Choose your battles wisely though.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14230" PostHistoryTypeId="2" PostId="8516" RevisionGUID="60e0a7c7-a8f6-460b-bdc5-053ab0babc7f" CreationDate="2011-06-06T22:18:26.047" UserId="396" Text="I've had some limited experience working with ambisonics, though not directly with reference to a visual medium. I was working with ambisonic recordings, and used MaxMSP to decode to conventional 5.1 before importing into Pro Tools. I believe that it's possible to use ReWire to stream audio from MaxMSP to ProTools for realtime spatialisation, but it's not an ideal production workflow!&#xD;&#xA;&#xD;&#xA;You could try getting in touch with the authors of these two papers (the papers themselves aren't directly relevant..)&#xD;&#xA;&#xD;&#xA;http://www.ceiarteuntref.edu.ar/rylands&#xD;&#xA;&#xD;&#xA;http://www.ems-network.org/spip.php?article288&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;They were my tutors at uni, and have done some research into the practicalities of working with ambisonics.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14231" PostHistoryTypeId="2" PostId="8517" RevisionGUID="203ea63f-fb35-48e9-bd4b-c4e062177481" CreationDate="2011-06-07T04:24:40.530" UserId="670" Text="I just moved to LA about 7 months ago. I've have worked on a fair amount of projects just freelancing, which has been fun, but I'm not sure if this is really where I want to live for the next 5-10+ yrs of my life. In addition, I don't really know many people out here since my family and friends are on the east coast.  &#xD;&#xA;&#xD;&#xA;So, I'm wondering are there a good amount of sound design jobs in NYC like in LA? Would it be a wise decision to move out of LA to NYC if I want to work on films?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14232" PostHistoryTypeId="1" PostId="8517" RevisionGUID="203ea63f-fb35-48e9-bd4b-c4e062177481" CreationDate="2011-06-07T04:24:40.530" UserId="670" Text="NYC for Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="14233" PostHistoryTypeId="3" PostId="8517" RevisionGUID="203ea63f-fb35-48e9-bd4b-c4e062177481" CreationDate="2011-06-07T04:24:40.530" UserId="670" Text="&lt;career-choices&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14234" PostHistoryTypeId="2" PostId="8518" RevisionGUID="c6d84dbe-1b98-419f-8fe6-694dee9295a1" CreationDate="2011-06-07T05:00:39.307" UserId="455" Text="I was in a similar situation where all I had was absolutely horrible stems (that weren't even in sync...)  I was asked to &quot;touch up&quot; the mix.  This thing needed 100% foley and ADR and even then it wasn't very good.&#xD;&#xA;&#xD;&#xA;Recently a director/ editor layered in sound effects from Alien into my sound design.  I told him I didn't want people to mistake me for being the person that tried to call someone else's work my own.&#xD;&#xA;&#xD;&#xA;In both situations I took a &quot;special thanks&quot; credit.  Not what I wanted but I did not want my name associated with either scenario." ContentLicense="CC BY-SA 3.0" />
  <row Id="14235" PostHistoryTypeId="2" PostId="8519" RevisionGUID="305d179f-2a0f-428c-9106-8aa692a704d6" CreationDate="2011-06-07T05:10:25.313" UserId="693" Text="The simple answer to this is no.&#xD;&#xA;&#xD;&#xA;Last May (2010) I moved to NY from Orlando, FL. to try to find work because I had a friend I could stay with. With 17 years of experience in the industry and awards for my work I wasn't able to find anything more than internships that were paying in Turkey sandwiches. Oh, and there isn't much feature film work in NY besides Indy films. Granted there is some, but it's likely that the long term players there are going to be the one's getting what little work there is. &#xD;&#xA;&#xD;&#xA;After that I moved to Denver, CO. and I found more paying work here in 3 weeks than in NY in 3 months. Oh, and NY is ridiculously expensive right now. Granted, it's rough here as well, but it's much more affordable. No one is ready to hire someone full time into a Post Studio (which is what I'm used to) and I've had to slowly build a freelance business, which is coming along ok, but is going to take a bit more time until I can rely on my audio career again to get by completely and likely much longer before it's profitable.&#xD;&#xA;&#xD;&#xA;In general, its; a really rough time to be looking for work. Even for people with as much experience as I have it's hard. If you've already made contacts in the area you're in then it might be best to stay there. It might be worth a shot if you have friends and family you can live with for free on the east coast, bu tit won't be easy and I'd expect it to be at least a year before finding something permanent." ContentLicense="CC BY-SA 3.0" />
  <row Id="14236" PostHistoryTypeId="2" PostId="8520" RevisionGUID="3accf00b-6d96-4a7a-a359-6a3daa0431a0" CreationDate="2011-06-07T07:35:10.410" UserId="1130" Text="Hi &#xD;&#xA;&#xD;&#xA;I need a small microphone.I have designed an amplifier circuit that will amplify the audio signal from the microphone and then goes to the computer for recording and analysis.The microphone will be installed on the 26m diameter radio telescope for sound maintenance.After amplification the signal will travel approx. 80m from the dish to the computer.Is it possible that I can get a microphone module to perform this...I need a small microphone not the big conference one...Can I get a small microphone that performs exactly like a big microphone only the difference being the size?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14237" PostHistoryTypeId="1" PostId="8520" RevisionGUID="3accf00b-6d96-4a7a-a359-6a3daa0431a0" CreationDate="2011-06-07T07:35:10.410" UserId="1130" Text="Microphone Amplifier" ContentLicense="CC BY-SA 3.0" />
  <row Id="14238" PostHistoryTypeId="3" PostId="8520" RevisionGUID="3accf00b-6d96-4a7a-a359-6a3daa0431a0" CreationDate="2011-06-07T07:35:10.410" UserId="1130" Text="&lt;microphone-technique&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14239" PostHistoryTypeId="2" PostId="8521" RevisionGUID="203d5bd8-b926-4ff9-a6ca-06e1942c6b7d" CreationDate="2011-06-07T08:05:11.050" UserDisplayName="user80" Text="Try an Audio Technica AT803b they can be battery powered and do perform like a big microphone.  &#xD;&#xA;&#xD;&#xA;http://www.audio-technica.com/cms/wired_mics/ae531e7972b44137/index.html&#xD;&#xA;&#xD;&#xA;If this is too big then a DPA 4060 should be suitable, but you will need to rig up a 48 V power supply.&#xD;&#xA;&#xD;&#xA;http://www.dpamicrophones.com/en/products.aspx?c=Item&amp;category=128&amp;item=24035" ContentLicense="CC BY-SA 3.0" />
  <row Id="14240" PostHistoryTypeId="2" PostId="8522" RevisionGUID="0319f2ea-81fd-4ef5-b43a-d1a0f45b5c80" CreationDate="2011-06-07T08:25:45.963" UserDisplayName="user80" Text="I am fan of spectrafoo by metric halo it does just about everything you need.  I run my copy on a beat up 5 year old macbook that no one takes a second look at.&#xD;&#xA;&#xD;&#xA;http://www.metric-halo.com/beta/SpectraFoo4_Manual.pdf&#xD;&#xA;&#xD;&#xA;Opting for an old macbook means that I can use a Kensington lock to stop people 'borrowing' it.&#xD;&#xA;&#xD;&#xA;Personally, I'd keep the Macbook Pro, buy a better protective case and a Kensington lock." ContentLicense="CC BY-SA 3.0" />
  <row Id="14241" PostHistoryTypeId="5" PostId="8519" RevisionGUID="129234cd-b00c-49ca-9495-c04514c3c36a" CreationDate="2011-06-07T08:42:28.863" UserId="61" Comment="edited body" Text="The simple answer to this is no.&#xD;&#xA;&#xD;&#xA;Last May (2010) I moved to NY from Orlando, FL. to try to find work because I had a friend I could stay with. With 17 years of experience in the industry and awards for my work I wasn't able to find anything more than internships that were paying in Turkey sandwiches. Oh, and there isn't much feature film work in NY besides Indy films. Granted there is some, but it's likely that the long term players there are going to be the one's getting what little work there is. &#xD;&#xA;&#xD;&#xA;After that I moved to Denver, CO. and I found more paying work here in 3 weeks than in NY in 3 months. Oh, and NY is ridiculously expensive right now. Granted, it's rough here as well, but it's much more affordable. No one is ready to hire someone full time into a Post Studio (which is what I'm used to) and I've had to slowly build a freelance business, which is coming along ok, but is going to take a bit more time until I can rely on my audio career again to get by completely and likely much longer before it's profitable.&#xD;&#xA;&#xD;&#xA;In general, its; a really rough time to be looking for work. Even for people with as much experience as I have it's hard. If you've already made contacts in the area you're in then it might be best to stay there. It might be worth a shot if you have friends and family you can live with for free on the east coast, but it won't be easy and I'd expect it to be at least a year before finding something permanent." ContentLicense="CC BY-SA 3.0" />
  <row Id="14242" PostHistoryTypeId="2" PostId="8523" RevisionGUID="1c534f05-2aa3-4eca-bebd-70c6c72d6028" CreationDate="2011-06-07T09:01:17.363" UserId="238" Text="I'm on a shoot where we need to use a wireless hop between mixer and camera. I'm using a sound devices 788t and have connected an audio limited tx2020 to one of the analogue outputs. The camera is a Sony DV cam with Audio Limited DX2020 connected to xlr input (line). The problem is the level on the camera is extremely low. When hardwired from 788 to camera, the level is good. I've tested the Audio Limiteds by plugging a lapel into the tx and pluging the dx into the camera xlr (mic). Levels are fine. Using the 788 to camera hop with mic selected on the cameras input gives a better level but theres tons of hiss and distortion.&#xD;&#xA;&#xD;&#xA;Has anyone an idea to this problem? The outputs of the 788 are line level so the input on the camera should be line too even using the wireless hop right? So why the low level? &#xD;&#xA;&#xD;&#xA;Any help would be appreciated..." ContentLicense="CC BY-SA 3.0" />
  <row Id="14243" PostHistoryTypeId="1" PostId="8523" RevisionGUID="1c534f05-2aa3-4eca-bebd-70c6c72d6028" CreationDate="2011-06-07T09:01:17.363" UserId="238" Text="Audio level problems using a wireless hop" ContentLicense="CC BY-SA 3.0" />
  <row Id="14244" PostHistoryTypeId="3" PostId="8523" RevisionGUID="1c534f05-2aa3-4eca-bebd-70c6c72d6028" CreationDate="2011-06-07T09:01:17.363" UserId="238" Text="&lt;wireless&gt;&lt;problems&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14245" PostHistoryTypeId="2" PostId="8524" RevisionGUID="c5abd797-c04c-4858-a680-70883dd552f5" CreationDate="2011-06-07T09:19:16.700" UserId="6462" Text="some cameras including Sony, Panasonic and RED have a 10dB pad option in the menu somewhere that might be causing the problem. I couldn't tell you where to find it though, you might have to fiddle in the menu's, that if the camera op will let you anywhere near the menus!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14246" PostHistoryTypeId="2" PostId="8525" RevisionGUID="8ca50f30-d521-46b3-b00b-92f12933ed25" CreationDate="2011-06-07T10:03:13.507" UserDisplayName="user80" Text="The wireless hop is dropping the level well below line level.  There is nothing wrong with any of the kit. I suggest switching to a dedicated wireless monitoring system, they are very reliable.&#xD;&#xA;&#xD;&#xA;http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wireless-microphone-systems_monitoring_2000-series_021742" ContentLicense="CC BY-SA 3.0" />
  <row Id="14247" PostHistoryTypeId="2" PostId="8526" RevisionGUID="15486d49-98cb-4187-9455-e9f770cd9de3" CreationDate="2011-06-07T10:14:40.103" UserId="182" Text="It sounds like the wireless receiver outputs a mic signal, not a line level signal. So if you take it in as a line level signal it's going to be very quiet.&#xD;&#xA;&#xD;&#xA;You either need a line level transmitter/receiver pair or a good mic preamp between the receiver and the camera.&#xD;&#xA;&#xD;&#xA;EDIT: Iain beat me to it :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14248" PostHistoryTypeId="2" PostId="8527" RevisionGUID="d1cce524-4080-43bb-bef8-131b8f17e339" CreationDate="2011-06-07T11:35:27.767" UserId="238" Text="Thanks for your quick responses. Ok, on the tx2020s the gain knob is apparently split for mic and line levels. 1-4 is for mic, 5-8 for line. On the dx2020 cam feed i put the input to mic (dxs output mic level) and i put the gain on the tx to 8. The level is now good. The problem was apparently that the tx gain was set to mic level yet the 788s output is line level. &#xD;&#xA;&#xD;&#xA;Thanks again to those who helped out. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14249" PostHistoryTypeId="2" PostId="8528" RevisionGUID="edb2c03c-f130-4f9d-a8ca-e51950261314" CreationDate="2011-06-07T12:36:10.287" UserId="935" Text="Hi guys!&#xD;&#xA;I'm looking to buy a wireless mic kit to use for on location recording for a upcoming documentary. &#xD;&#xA;&#xD;&#xA;The problem is that this docu is going to be shot in different locations all over the world. I will be going to India, Indonesia, Europe and America.&#xD;&#xA;&#xD;&#xA;I have been looking at the Sennheiser EW100 G3 series but am also considering a lectrosonics kit. But I am totally confused by which frequency block to get.&#xD;&#xA;&#xD;&#xA;Any advice?&#xD;&#xA;&#xD;&#xA;Are there multi frequencies devices out there?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14250" PostHistoryTypeId="1" PostId="8528" RevisionGUID="edb2c03c-f130-4f9d-a8ca-e51950261314" CreationDate="2011-06-07T12:36:10.287" UserId="935" Text="International Travel with a wireless kit?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14251" PostHistoryTypeId="3" PostId="8528" RevisionGUID="edb2c03c-f130-4f9d-a8ca-e51950261314" CreationDate="2011-06-07T12:36:10.287" UserId="935" Text="&lt;wireless&gt;&lt;kit&gt;&lt;frequency&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14252" PostHistoryTypeId="2" PostId="8529" RevisionGUID="afbe480c-d753-4099-81c8-3a3c8709f4e0" CreationDate="2011-06-07T13:30:21.247" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;Just was wondering what was the best way to get the vocal perspective of someones inner thoughts. It is a normal situation where the actor is conveying their inner thoughts to the audience. Nothing fancy. Can someone shed some light one how to do this? &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14253" PostHistoryTypeId="1" PostId="8529" RevisionGUID="afbe480c-d753-4099-81c8-3a3c8709f4e0" CreationDate="2011-06-07T13:30:21.247" UserId="348" Text="Getting the inner thoughts right" ContentLicense="CC BY-SA 3.0" />
  <row Id="14254" PostHistoryTypeId="3" PostId="8529" RevisionGUID="afbe480c-d753-4099-81c8-3a3c8709f4e0" CreationDate="2011-06-07T13:30:21.247" UserId="348" Text="&lt;voice&gt;&lt;thoughts&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14255" PostHistoryTypeId="2" PostId="8530" RevisionGUID="4bfa1392-60e1-41e4-92b1-a748a01fc956" CreationDate="2011-06-07T13:34:18.107" UserId="2" Text="I went through the same problem. I do a lot of documentary, and therefore I'm in various countries requiring different blocks. &#xD;&#xA;&#xD;&#xA;Forgetting about the legal aspect of things, all blocks should work in most places. You might  get a bit more RF interference in some countries, but within the range of one of the blocks from the EW100 G3 series, you should be able to find a clean frequency. &#xD;&#xA;&#xD;&#xA;If you're buying a few, I recommend splitting them up, so getting for example one A, one B and one G. If you can't, you should be safe with either. The stricter countries (I think) are the US and the UK so if you stick to the ones okay there, you should be fine. Just don't get block 28. &#xD;&#xA;&#xD;&#xA;Just make sure you get one that works in your country of origine, or where you work the most so you don't have to sell it after the gig. &#xD;&#xA;&#xD;&#xA;Hope this helps. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14256" PostHistoryTypeId="2" PostId="8531" RevisionGUID="9f96bcce-bac7-4c55-9e66-1a33dddf968b" CreationDate="2011-06-07T13:45:36.260" UserId="693" Text="If you're looking for a sort of subconscious psychic effect where you're hearing someone's thoughts...&#xD;&#xA;&#xD;&#xA;Maybe try reversing the dialog and then adding a reverb and then reversing it again to get a sort of backwards/reversed ghosting effect. This also works well with delay. Then you can also add a regular reverb and/or delay and blend between all the layers for balance and clarity." ContentLicense="CC BY-SA 3.0" />
  <row Id="14257" PostHistoryTypeId="2" PostId="8532" RevisionGUID="5fc34387-3dff-4672-ab1c-4ef7bd6d8ba7" CreationDate="2011-06-07T14:23:09.880" UserId="845" Text="I really like my inner monologues to he super dry and up front. Nice and soft and round. Not quite the Voice Of God thing, but think Morgan Freeman in March of the Penguins and pull it back a little. &#xD;&#xA;&#xD;&#xA;Using a lot of effects runs the risk of obscuring the lines for first-time listeners, particularly for an audience that doesn't spend much time listening to stuff through flangers, reverse-delays, et al. Especially if it's a one-time thing. The most annonying thing in the world is having to rewind because you missed something that might be important. The brain/ear needs time to adjust to whats happening sonically. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14258" PostHistoryTypeId="5" PostId="8532" RevisionGUID="ef480588-c008-4392-8c55-f35e240443bd" CreationDate="2011-06-07T15:08:07.653" UserId="845" Comment="edited body" Text="I really like my inner monologues to be super dry and up front. Nice and soft and round. Not quite the Voice Of God thing, but think Morgan Freeman in March of the Penguins and pull it back a little. &#xD;&#xA;&#xD;&#xA;Using a lot of effects runs the risk of obscuring the lines for first-time listeners, particularly for an audience that doesn't spend much time listening to stuff through flangers, reverse-delays, et al. Especially if it's a one-time thing. The most annonying thing in the world is having to rewind because you missed something that might be important. The brain/ear needs time to adjust to whats happening sonically. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14259" PostHistoryTypeId="2" PostId="8533" RevisionGUID="7cea1580-3858-454f-8f81-3cc955452d7a" CreationDate="2011-06-07T15:36:09.547" UserId="1129" Text="I find that the proximity effect LF boost provided by getting a cardioid right up in the actor's face adds a bit of weight to an inner monologue.  It seems to make it feel a bit larger.  Add just a smidge of verb (just a little bit!) and you've got a nice, subtly ethereal bit of dialogue with good presence." ContentLicense="CC BY-SA 3.0" />
  <row Id="14260" PostHistoryTypeId="2" PostId="8534" RevisionGUID="58d02f91-215c-4a05-b564-e067a7241251" CreationDate="2011-06-07T15:59:44.880" UserId="338" Text="The effect of rvrb, reverse, etc... may be more what you're after rather than mic position which should be dry unless you are &quot;seasoning to taste.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14261" PostHistoryTypeId="2" PostId="8535" RevisionGUID="f44c3c76-144f-44d8-920d-f5421601b003" CreationDate="2011-06-07T16:24:47.190" UserId="234" Text="No necessarily a DESIGN trick, but a mix trick is to put the voice across LCR, creating a voice that's &quot;disembodied&quot; from the action on screen - Murch used this to good effect in &quot;Apocalypse Now&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="14262" PostHistoryTypeId="2" PostId="8536" RevisionGUID="647be533-f8a4-4cf4-a701-82d80b1add20" CreationDate="2011-06-07T17:22:13.660" UserId="18160" Text="The thing that popped into my mind is an intimate VO recorded on a large diaphragm condenser. Tell the talent to get close to the mic (about 2 or 3 inches) and speak to it as if he's talking into someone's ear (like as if the mic is the person's ear).&#xD;&#xA;&#xD;&#xA;Leave it relatively dry and add slightly more reverb to the foley and things happening in the environment while he is narrating to separate the &quot;head voice&quot; from the rest of the environment (it's all about contrast).&#xD;&#xA;&#xD;&#xA;I've done this with great success in the films I've worked on that needed this treatment.&#xD;&#xA;&#xD;&#xA;There are also countless examples of this dry treatment in great films:&#xD;&#xA;&#xD;&#xA;Fight Club&#xD;&#xA;&#xD;&#xA;Benjamin Button&#xD;&#xA;&#xD;&#xA;The Thin Red Line &quot;I shot a man&quot; sequence&#xD;&#xA;&#xD;&#xA;etc. etc. etc.&#xD;&#xA;&#xD;&#xA;WARNING: Closer mics mean louder mouth noise and clicks. Be ready to spend a while editing those out." ContentLicense="CC BY-SA 3.0" />
  <row Id="14263" PostHistoryTypeId="5" PostId="8536" RevisionGUID="fbb8c8db-4575-4d69-a6ce-1e255214ab5f" CreationDate="2011-06-07T17:28:08.860" UserId="18160" Comment="added 97 characters in body" Text="The thing that popped into my mind is an intimate VO recorded on a large diaphragm condenser. If the talent has never done voice-over work and has problems with being too loud or projecting, tell the talent to get close to the mic (about 2 or 3 inches) and speak to it as if he's talking into someone's ear (like as if the mic is the person's ear).&#xD;&#xA;&#xD;&#xA;Leave it relatively dry and add slightly more reverb to the foley and things happening in the environment while he is narrating to separate the &quot;head voice&quot; from the rest of the environment (it's all about contrast).&#xD;&#xA;&#xD;&#xA;I've done this with great success in the films I've worked on that needed this treatment.&#xD;&#xA;&#xD;&#xA;There are also countless examples of this dry treatment in great films:&#xD;&#xA;&#xD;&#xA;Fight Club&#xD;&#xA;&#xD;&#xA;Benjamin Button&#xD;&#xA;&#xD;&#xA;The Thin Red Line &quot;I shot a man&quot; sequence&#xD;&#xA;&#xD;&#xA;etc. etc. etc.&#xD;&#xA;&#xD;&#xA;WARNING: Closer mics mean louder mouth noise and clicks. Be ready to spend a while editing those out." ContentLicense="CC BY-SA 3.0" />
  <row Id="14264" PostHistoryTypeId="2" PostId="8537" RevisionGUID="f91996fa-45a6-4254-bf5e-c2c19c0c257a" CreationDate="2011-06-07T17:51:29.113" UserId="315" Text="I agree with the suggestions of leaving the dialog dry. The more intimate you can make this feel the better. Especially if you goal is to bring the audience closer to the character.&#xD;&#xA;&#xD;&#xA;If you are mixing in 5.1 try placing the VO in the LCR. Adding voiceover to the stereo field can give the audience the feeling that someone is talking directly in their ear. This was done very effectively in Apocalypse Now. Listening to that mix in a theater gives you the feeling that Martin Sheen is practically whispering in your ear...almost like you're a priest in a confessional booth with him." ContentLicense="CC BY-SA 3.0" />
  <row Id="14265" PostHistoryTypeId="2" PostId="8538" RevisionGUID="818145bd-65a8-4c2b-9b06-97c5bf542b7b" CreationDate="2011-06-07T18:04:20.127" UserId="18160" Text="Here are some cool photos in a gallery I just stumbled over.&#xD;&#xA;&#xD;&#xA;Check 'em out! Thought you all would enjoy seeing some different rigs.&#xD;&#xA;&#xD;&#xA;http://gallery.me.com/jwsound#100220&amp;bgcolor=black&amp;view=grid" ContentLicense="CC BY-SA 3.0" />
  <row Id="14266" PostHistoryTypeId="1" PostId="8538" RevisionGUID="818145bd-65a8-4c2b-9b06-97c5bf542b7b" CreationDate="2011-06-07T18:04:20.127" UserId="18160" Text="Some Gear Prawn" ContentLicense="CC BY-SA 3.0" />
  <row Id="14267" PostHistoryTypeId="3" PostId="8538" RevisionGUID="818145bd-65a8-4c2b-9b06-97c5bf542b7b" CreationDate="2011-06-07T18:04:20.127" UserId="18160" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14268" PostHistoryTypeId="2" PostId="8539" RevisionGUID="2eb4b603-2bf0-4f1d-b650-054369429b45" CreationDate="2011-06-07T19:53:11.930" UserId="46" Text="Hey Mitchell,&#xD;&#xA;&#xD;&#xA;If you want to work in film, NYC is not really the place to be. There are a few places (C5, Sound One, Sound Lounge does some) but most work here is in television (spots and shows). If you're looking for a full-time gig, be prepared for the first question in your interview to be &quot;So how much did you bill last year?&quot; A lot of places will only want to talk seriously if you've got some major dollars headed their way.&#xD;&#xA;&#xD;&#xA;That said, it can be done. There is a lot of audio work going on here. When I moved, I had zero experience. I got a few no-pay internships and ended up turning one of them into a full-time job, which is where I'm still at today. &#xD;&#xA;&#xD;&#xA;If you move, be prepared to start at the bottom (or near bottom) or work on developing your own client base. I'm moving to San Fran in a month and am mentally preparing for a similar process there... Hoping my idealism will treat me well." ContentLicense="CC BY-SA 3.0" />
  <row Id="14269" PostHistoryTypeId="2" PostId="8540" RevisionGUID="e33bdfc5-bf03-42d6-806a-fae6f080b6e7" CreationDate="2011-06-07T20:26:40.753" UserId="1131" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I'm working on a sci-fi actiony flick right now, very low budget so mixing in surround is not an option. I have a scene where a robot with a jetpack is landing behind someone, off screen in the distance. I've been playing around with EQ and verb and cant get a realistic sound. Basically what I'm asking is; what is the best way to make things sound like they're coming from behind you using stereo? " ContentLicense="CC BY-SA 3.0" />
  <row Id="14270" PostHistoryTypeId="1" PostId="8540" RevisionGUID="e33bdfc5-bf03-42d6-806a-fae6f080b6e7" CreationDate="2011-06-07T20:26:40.753" UserId="1131" Text="Sound coming from behind using stereo field" ContentLicense="CC BY-SA 3.0" />
  <row Id="14271" PostHistoryTypeId="3" PostId="8540" RevisionGUID="e33bdfc5-bf03-42d6-806a-fae6f080b6e7" CreationDate="2011-06-07T20:26:40.753" UserId="1131" Text="&lt;sound-design&gt;&lt;stereo&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14272" PostHistoryTypeId="2" PostId="8541" RevisionGUID="7b8fbaf2-d364-4db2-92e0-bb5833d55f57" CreationDate="2011-06-07T20:33:57.327" UserId="18160" Text="The only way I've been able to do this sort of thing is by fooling around with phase reversal and cancellation.&#xD;&#xA;&#xD;&#xA;You know when something is out of phase in headphones and it sounds like it's coming from behind your head?&#xD;&#xA;&#xD;&#xA;I tried to do the same thing you're doing on speakers and I spent a little time on it with no real success. But you might have brighter ideas than me when you try it out.&#xD;&#xA;&#xD;&#xA;I would suggest rolling off all the highs and release it once it's on screen.&#xD;&#xA;&#xD;&#xA;Or make a REALLY wide stereo spread of the jetpack and then instantly pan them both to center once the jetpack whips onto screen.&#xD;&#xA;&#xD;&#xA;You can also research how some audiobooks use this &quot;2.0 Surround&quot; technique - I know nothing about it but I've seen audiobooks with stickers on them saying &quot;Stereo Surround Sound!&quot;. Dunno if it's legit or what.&#xD;&#xA;&#xD;&#xA;Sorry I couldn't be of more help =/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14273" PostHistoryTypeId="2" PostId="8542" RevisionGUID="b336c6b0-b9db-4389-942a-88a166ad3ad6" CreationDate="2011-06-07T21:21:03.883" UserId="194" Text="Maybe (really just maybe)&#xD;&#xA;&#xD;&#xA;get a binaural mic&#xD;&#xA;&#xD;&#xA;Place your designed robot with jepack in mono in a speaker behind the mic, in a room similar to what you're seeing.  Give yourself a sync pop before the sound so that you can have it in sync later on.&#xD;&#xA;&#xD;&#xA;Record and import.&#xD;&#xA;&#xD;&#xA;profit?&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;the effect would only really be in full force when wearing headphones, but even through stereo speakers the perspective should be as close as you would hope to achieve with other means.   Maybe also try doing a couple of takes where you move the speaker around a bit in space as the sfx is playing back.&#xD;&#xA;&#xD;&#xA;never tried it really, but this would be my first attempt." ContentLicense="CC BY-SA 3.0" />
  <row Id="14274" PostHistoryTypeId="2" PostId="8543" RevisionGUID="9c027c09-18b8-44df-81a0-13a77eb46f31" CreationDate="2011-06-07T21:40:25.863" UserId="194" Text="For me it depends entirely on the subject matter.&#xD;&#xA;&#xD;&#xA;For ambiances I never really run M/S because I don't want to run into any dolby decoding weirdness down the road when those files get panned out to the surrounds.  I also don't worry about having a solid center channel, so I tend to go either spaced pair or ORTF.&#xD;&#xA;&#xD;&#xA;For spot sources that are static but making noise in space (like doors, machines, etc) I'll go M/S.  This gives me an on-axis mic as well as the verb from the S side, and I'm not as concerned about dolby messing me up later on.  I tend to decode M/S recordings before they go into the library fwiw.&#xD;&#xA;&#xD;&#xA;For sources that are moving in space (car bys, etc) I'll tend to just run mono and track them as they move, then do the proper panning in post.&#xD;&#xA;&#xD;&#xA;I use XY much less these days.  Sometimes in a studio context, but very rarely out in the field.  ORTF and MS have pretty much replaced that in my technique." ContentLicense="CC BY-SA 3.0" />
  <row Id="14275" PostHistoryTypeId="2" PostId="8544" RevisionGUID="6c762d42-a2ee-4ef3-8eab-5cd8620c33e3" CreationDate="2011-06-07T22:19:04.847" UserId="845" Text="I've made reference to this before, but I'm surprised to find that I haven't asked directly, anybody here into radio drama? or, I suppose, more accurately these days, *audio* drama?&#xD;&#xA;&#xD;&#xA;I'm ramping up to start recording my first ever full-scale production (3 x 1 hour episodes). So, I'm gonna need some advice.  I'm self-producing it too, so I get to experience the joy of writing it, scheduling actors, directing, sound designing, trying to get it sold, and probably acting in it too.&#xD;&#xA;&#xD;&#xA;I'm sure I'll be safe in assuming that it's really very similar to putting together an indie film production, minus the bother with locations, cameras, and camera people.&#xD;&#xA;&#xD;&#xA;So, does anybody have any experience with putting this kind of thing together?  Any quicksand pitfalls that I might find myself slipping into?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14276" PostHistoryTypeId="1" PostId="8544" RevisionGUID="6c762d42-a2ee-4ef3-8eab-5cd8620c33e3" CreationDate="2011-06-07T22:19:04.847" UserId="845" Text="Radio Drama Anyone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14277" PostHistoryTypeId="3" PostId="8544" RevisionGUID="6c762d42-a2ee-4ef3-8eab-5cd8620c33e3" CreationDate="2011-06-07T22:19:04.847" UserId="845" Text="&lt;audio-drama&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14278" PostHistoryTypeId="2" PostId="8545" RevisionGUID="bb9f4b92-0f16-4b39-a03d-bb339974f03d" CreationDate="2011-06-07T22:44:00.290" UserId="221" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I do radio drama for a living here in the UK. I have a series going out on BBC Radio 4 on Wednesday's at 11pm UK time called Shedtown.&#xD;&#xA;&#xD;&#xA;My advice is that to do it all can be creatively problematic. You only have your own ideas. Also when recording I really wouldn't recommend being the writer, actor, sound recordist and director. I would suggest you be either the actor, or sound recordist or the director but not all three and probably not even two of them. Similarly although you will be the best person to do the dialog edit again I would suggest that when it comes to the design and mix, ether be the sound designer or the director. Bringing fresh ideas and a differnt perspectie will ultimately benefit the production.&#xD;&#xA;&#xD;&#xA;Hope that helps,&#xD;&#xA;&#xD;&#xA;Mike" ContentLicense="CC BY-SA 3.0" />
  <row Id="14280" PostHistoryTypeId="2" PostId="8547" RevisionGUID="ccabefe2-faaa-4e8a-b2b2-e79da8f4ff5c" CreationDate="2011-06-08T00:18:55.943" UserId="830" Text="While I have only done small amount of audio drama, I love the form. Radio Drama is one of the reasons I have my love of sound.&#xD;&#xA;&#xD;&#xA;So while I may not be able to help as much as other guys, I would love to see/hear about your progress. What worked, what didn't, lessons learnt, etc.&#xD;&#xA;&#xD;&#xA;Most of all, good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14282" PostHistoryTypeId="2" PostId="8548" RevisionGUID="d883e0d7-f24d-4d82-847d-3e0428db2f85" CreationDate="2011-06-08T03:22:13.133" UserId="338" Text="There are three plugins that I have which can simulate a 2d sound coming behind you stereo field.  &#xD;&#xA;&#xD;&#xA;One is called Wave arts Panorama, another is the sampler, Kontakt, there is a effect for surrounds in that program, and Waves MondoMod I think has a back stereo field.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14283" PostHistoryTypeId="2" PostId="8549" RevisionGUID="fe2e8521-8bd2-4b73-8c26-833b3b04ada2" CreationDate="2011-06-08T04:35:13.923" UserId="338" Text="What you could do is process the sound multiple times with AudioSuite reverb and EQ it to make it sound somewhat dull.  Maybe add some reverse sounds in there and a light flapping or fluttering and at the end of the sides of the stereo field use a particular sound perhaps a ringing or someone screaming but have it processed so that it doesn't sound like a scream at all maybe by pitching it up, time compressing it, and duplicating it a bunch with EQ." ContentLicense="CC BY-SA 3.0" />
  <row Id="14284" PostHistoryTypeId="2" PostId="8550" RevisionGUID="dfeb37a1-5c61-4f99-9aaa-3d186e8cc785" CreationDate="2011-06-08T04:37:43.127" UserId="338" Text="Just wait 'till I get back on the PS3..COD Black Ops and I get along very well&#xD;&#xA;&#xD;&#xA;I'll add my name later" ContentLicense="CC BY-SA 3.0" />
  <row Id="14285" PostHistoryTypeId="16" PostId="8550" RevisionGUID="dfeb37a1-5c61-4f99-9aaa-3d186e8cc785" CreationDate="2011-06-08T04:37:43.127" UserId="-1" />
  <row Id="14286" PostHistoryTypeId="2" PostId="8551" RevisionGUID="632fb6cd-95ad-4233-bc6e-eb71adadc610" CreationDate="2011-06-08T04:43:35.403" UserId="338" Text="When you are mixing dialogue and you have it all mixed, what is your strategy for compressing the rest of it?  I understand that multiband compression is commonly used but do you try to set a very high ratio and bring up the human vocal frequency up a few decibels, or keep a low ratio and allow the end chain limiter to take care of peaks.  I'm mixing my Dialogue for a project at -24dbfs.  I have some peaks in these tracks that get rather high and at some times throughout the mix there are ratios of 10 and make up gains that are sometimes 13 or more.  I've used multiband compression on many of the tracks for noise reduction and downwardly expanded most tracks to cut off some noise floor but still retain the full sentences of dialogue.  It seems like maybe if you are combining these compression ratios, it would reach the point of limiting but I also don't know if it works like that.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14287" PostHistoryTypeId="1" PostId="8551" RevisionGUID="632fb6cd-95ad-4233-bc6e-eb71adadc610" CreationDate="2011-06-08T04:43:35.403" UserId="338" Text="When you are mixing dialogue, compression settings for stem" ContentLicense="CC BY-SA 3.0" />
  <row Id="14288" PostHistoryTypeId="3" PostId="8551" RevisionGUID="632fb6cd-95ad-4233-bc6e-eb71adadc610" CreationDate="2011-06-08T04:43:35.403" UserId="338" Text="&lt;dialogue&gt;&lt;multiband&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14289" PostHistoryTypeId="2" PostId="8552" RevisionGUID="51fd9dd2-ff92-4699-81c8-a203ed82846a" CreationDate="2011-06-08T06:01:26.170" UserId="348" Text="I started out years ago doing radio dramas on a campus community radio station making our own effects, editing on 1/4 inch and having a really great time. I found that having a good team with you always helps, especially when you are recording and trying to direct the actors at the same time etc. I would surround yourself with people who understand radio drama's and the project and who have a keen interest in sound creation. I love the old Goon Show's. Tony Hancock etc. &#xD;&#xA;&#xD;&#xA;Best of Luck. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14290" PostHistoryTypeId="5" PostId="6227" RevisionGUID="e77ccd63-9fd8-4811-8ab7-4038d5a273dd" CreationDate="2011-06-08T07:07:31.057" UserId="61" Comment="deleted 15 characters in body" Text="I am believing more and more that mixing dialog for film/TV may be the most difficult and under appreciated of all the crafts in the post-production process. There are no rules, no silver bullets or do-all plugins that can do the job for you; it all boils down to having well trained ears, lots of patience and tons of experience.&#xD;&#xA;&#xD;&#xA;That said, there are a few procedures that most dialog mixers I know will run through:&#xD;&#xA;&#xD;&#xA; - Listen to the reel in a full&#xD;&#xA;   playback, making notes of problem&#xD;&#xA;   areas (phasing, hums, buzzes, etc)&#xD;&#xA;   and getting to know the material.&#xD;&#xA;   This not only benefits the mixer but&#xD;&#xA;   also gives the dialog editors another&#xD;&#xA;   opportunity to fix edits, create more&#xD;&#xA;   fills, take another pass at cleaning&#xD;&#xA;   with Izotope Rx (or similar&#xD;&#xA;   software), and the ADR editors&#xD;&#xA;   another chance to cue for lines that&#xD;&#xA;   need to be looped. Collaboration&#xD;&#xA;   between editors and mixers is key.&#xD;&#xA; - Begin leveling out the material and&#xD;&#xA;   fixing the tracks with basic remedial&#xD;&#xA;   filters and compression, ie.&#xD;&#xA;   low-passing AC hums and traffic&#xD;&#xA;   washes, high-passing hiss, and&#xD;&#xA;   keeping transients in check.&#xD;&#xA; - Start working on the really&#xD;&#xA;   problematic stuff. This can include&#xD;&#xA;   more aggressive filtering and&#xD;&#xA;   limiting, as well as advanced&#xD;&#xA;   hardware or software noise reduction, specifically a&#xD;&#xA;   CEDAR box, Waves WNS or similar. Patient,&#xD;&#xA;   multi-pass use of these tools can turn&#xD;&#xA;   a horrible sounding line into&#xD;&#xA;   something useful, which could save a&#xD;&#xA;   director from having to bring an&#xD;&#xA;   actor in for ADR.&#xD;&#xA; - Apply reverb, delays, etc where&#xD;&#xA;   appropriate. There are no rules here.&#xD;&#xA;   You can have simple situations like&#xD;&#xA;   an alley delay slap or big warehouse&#xD;&#xA;   echo, or a long tunnel verb or some&#xD;&#xA;   crazy robotic treatment, or futzing&#xD;&#xA;   for telephone angles or radio&#xD;&#xA;   transmission. I mostly see this as a&#xD;&#xA;   last step and not done until the&#xD;&#xA;   final mix when the director is&#xD;&#xA;   present to approve all the&#xD;&#xA;   treatments.&#xD;&#xA;&#xD;&#xA;Hope that begins to address your question!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14291" PostHistoryTypeId="2" PostId="8553" RevisionGUID="2eb3dbee-611f-480f-b908-bdc9c05e686e" CreationDate="2011-06-08T07:16:57.073" UserId="418" Text="Oooh yes, yes indeed! I have been chipping away at some projects myself. What got me hooked was the Jack Flanders series from ZBS. No words I could hack together could do ZBS justice. I'll just say that it inspired me tremendously and lit a major fire for me. &#xD;&#xA;&#xD;&#xA;There's a podcast I just started checking out called Radio Drama Revival, some neat stuff on there. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14292" PostHistoryTypeId="2" PostId="8554" RevisionGUID="d72aa6a8-8cf9-47e2-a318-33306aa7f894" CreationDate="2011-06-08T07:19:50.253" UserId="418" Text="I haven't come across a legit paying sound design gig advertised in the wild here in years. Everything these days seems to come from the inside and stays there. If you're into unpaid internships, this is the place to be though! :P" ContentLicense="CC BY-SA 3.0" />
  <row Id="14293" PostHistoryTypeId="2" PostId="8555" RevisionGUID="734e9dd9-0045-4458-9d2d-46002838d279" CreationDate="2011-06-08T09:05:14.197" UserId="168" Text="Most of these effects are achieved through phase trickery or modulation. They tend to work well only if the sound source is moving within the stereo field (like one of the presets in Waves MondoMod). Also, they only work in the sweet spot or with headphones.&#xD;&#xA;&#xD;&#xA;Although, it's going to sound quite odd though to have a single sound behind the listener (if you manage to get it work). More than achieving realism you are going to pull the listener/viewer out of the narrative. You might be better off rolling some HF to simulate how we hear sounds behind us.&#xD;&#xA;&#xD;&#xA;Also, from a psychoacoustic perspective, we do find it difficult to localize sounds directly behind us - which is why we move our head around to place the sound source in front of us where it is easier to locate it using inter aural time/delay differences and also reflections off our shoulders/pinna." ContentLicense="CC BY-SA 3.0" />
  <row Id="14294" PostHistoryTypeId="2" PostId="8556" RevisionGUID="218d4c7c-f1d0-4d2d-b9ad-096667faaac7" CreationDate="2011-06-08T10:13:52.120" UserId="1056" Text="Hi Kyoti&#xD;&#xA;&#xD;&#xA;I hope I am understanding correctly in that you already have a recording of the robot with the jetpack landing, but that it does not sound realistic perceptually. If this is the case, the quickest and easiest solution would be to use a convolution reverb with the appropriate HRTF impulse. There are several factors that affect sound perception, such as time, intensity, pitch, etc that you can use to your advantage to tweak the results until you are happy although, considering your budgetary constraints, you need to decide how much time you are willing to spend. You could also try some of the following techniques, but bear in mind that the time vs results ratio is not proportional:&#xD;&#xA;&#xD;&#xA;1) The robot is obviously moving down and most likely, I am guessing, toward you? This will affect the characteristics of the sound in relation to time. A gradual increase in pitch will provide the effect of motion toward you (Doppler). Also, higher frequencies will gradually become more evident as it gets closer to you.&#xD;&#xA;&#xD;&#xA;2) Amplitude will also gradually increase as the robot is approaching you.&#xD;&#xA;&#xD;&#xA;3) The recording should correctly represent the space in terms of reflections from surrounding buildings and objects. Your words &quot;in the distance&quot; give the impression that it is a large open space. Careful application of reverb can assist you to recreate a fair representation of this space. This can be very time consuming and it is doubtful you will improve on the convolution reverb.&#xD;&#xA;&#xD;&#xA;4) Ideally you do not want the same sound coming from the left and right channels, as this is the information that your brain uses to create a stereo spectrum and automatically place the origin of that sound in front of you. Obviously, it will not work to use only one channel, as your brain will place the origin of the sound to that side and it will still not be behind you. It will not help to use a stereo file, as there will almost always be elements that are present in both channels. This then gives your brain sufficient information to create a stereo spectrum, which it will automatically place in front of you. &#xD;&#xA;&#xD;&#xA;One way to fool your brain is to increase the pitch of one channel by 1-2 semitones and decrease the other by exactly the same, although I find this technique is more effective with a musical source.&#xD;&#xA;&#xD;&#xA;Another simple trick is to use a twin mono recording, but invert the phase of one channel. The phase cancellation should prevent your brain from creating a stereo spectrum and fool it into perceiving that the sound is coming from behind you.&#xD;&#xA;&#xD;&#xA;Personally, all things considered, I would probably take the approach of using the convolution reverb and then tweaking it to taste with 1 and 2 above using straightforward pitch, amplitude and EQ envelopes. Hope my &quot;convoluted&quot; reply helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="14295" PostHistoryTypeId="2" PostId="8557" RevisionGUID="324b0b38-c709-4a6e-97bb-76b002b13aa3" CreationDate="2011-06-08T11:04:31.627" UserId="769" Text="Not really a 'radio drama', but I take care of 90% of the audio work (voice tracking, composition/sound design, mixing, mastering etc) for a podcast called Paper Radio (&lt;a href=&quot;http://www.paperradio.net/&quot;&gt;paperradio.net&lt;/a&gt;), which features literary fiction (probably closest to 'drama') and some creative non-fiction (more coming).  &#xD;&#xA;&#xD;&#xA;I'd hazard a guess that we will be running largely different processes — I do almost everything myself (save for the 2-3 actors per episode) and I'm learning a lot as I go on, but I don't have the resources nor the time to involve a wider team.  That said, I don't write the material, which I think helps with what @Mike Thornton said about it being a bad idea to do it all yourself.&#xD;&#xA;&#xD;&#xA;Anyway, I'm interested in hearing where your work takes you.  Good luck with it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14296" PostHistoryTypeId="5" PostId="7359" RevisionGUID="1c056f7d-12ca-4b45-8e24-ad5ded4e4c70" CreationDate="2011-06-08T11:06:07.073" UserId="845" Comment="added 234 characters in body" Text="I've seen a bunch of questions about sound design/engineering education around the board and have looked into most of the recommended schools and programs.  Sadly, most of them seem only to offer courses and curriculum that mirror the school that I went to a few years ago.&#xD;&#xA;&#xD;&#xA;Since then I've been out working on various things in various places and I have learned a ton of stuff and developed chops I never thought I'd have.  But I feel like there is more out there, more to what we do, than I am able to learn working on my own.  I've been studying films and TV, building a library, practicing, but it seems like really slow going.&#xD;&#xA;&#xD;&#xA;I'm looking for a more immersive kind of program focused solely on sound creation, manipulation, and design.  I hate to use the word, but I want something a little more academic.  I've got the basics down, now all I want to do is dig deeper and really figure this thing out.&#xD;&#xA;&#xD;&#xA;The [MSc programme at the University of Edinburgh][1] looks fantastic and I'm waiting on a reply from the director, but thought I'd ask to see if you guys know of anything else that might be similar (or even better).&#xD;&#xA;&#xD;&#xA;Many thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;UPDATE:&#xD;&#xA;&#xD;&#xA;I've been accepted into the MSc programme and the University of Edinburgh. &#xD;&#xA;&#xD;&#xA;Hugs and High Fives to everyone. If it wasn't for this little board I'd never even have had the idea to apply. &#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sd.caad.ed.ac.uk/mscsounddesign/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14297" PostHistoryTypeId="2" PostId="8558" RevisionGUID="5be3732d-42d0-44ea-8fc4-fb588c20276d" CreationDate="2011-06-08T13:17:07.077" UserId="1056" Text="I've done some part time work as a radio DJ, but have never been involved in a radio drama production. While I have fond memories of sitting at the radio late at night listening to Sherlock Holmes, Inspector Morse and the like instead of doing homework, I thought they had all but disappeared. It would be really nice to see them make a comeback as, unlike most movies, they actually require you to use your imagination.&#xD;&#xA;&#xD;&#xA;I would wager to say that it is probably quite different from working with film, as sound design, special effects and dialogue now take centre stage, rather than being treated as a necessary evil. I would be inclined to record the dialogue as dry and isolated as possible, as this will give you more freedom to create interesting and believable soundscapes.&#xD;&#xA;&#xD;&#xA;I also think that clear and descriptive scene directions for the talent will be important, as they also need to imagine the environment to convincingly sell it to the listeners." ContentLicense="CC BY-SA 3.0" />
  <row Id="14298" PostHistoryTypeId="2" PostId="8559" RevisionGUID="91a8d407-c832-4f4f-81d8-88bc9fea29a6" CreationDate="2011-06-08T13:58:00.910" UserId="1066" Text="You should look at the work of Kaye Mortley. She's an independent radio docu maker. I saw her at the school of sound in London. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14299" PostHistoryTypeId="2" PostId="8560" RevisionGUID="e58c91ad-c75f-47c1-9617-c14d51552874" CreationDate="2011-06-08T14:34:34.493" UserId="234" Text="-24dbfs seems very low for peaks. Average maybe, or LKFS, but low for peaks. What spec are you trying to hit?&#xD;&#xA;&#xD;&#xA;How much I compress the dialog depends on the deliverable. For films/DVD then I try to get away with as little as possible - none if the style/production audio allows it. In those cases I'll go more for &quot;character&quot; (i.e changing the sound of the dialog) then level control. For TV Broadcast, well, you're just not going to stay in QC range without using it - at least under the time constraints that TV usually has. &#xD;&#xA;&#xD;&#xA;As you mentioned, I'll try and use several stages of compression - each doing no more than 2 or 3db of reduction - for example I might use an automated level control (i.e WaveRider, Vocal Rider) on the track - &quot;character&quot; compression ( wt slow attack and mid release) to help &quot;even out&quot; the levels on the bus, maybe a little multiband to help smooth out ragged frequency response (esp. with prod. dialog that's all over the map) and then a limiter to insure I'm not going over the QC levels. That would be a worst case scenario - but, when you've got 4 hours to mix a half-hour show, you do what needs to be done." ContentLicense="CC BY-SA 3.0" />
  <row Id="14300" PostHistoryTypeId="2" PostId="8561" RevisionGUID="7446d97c-77ee-49c0-a3fb-8a38cc870426" CreationDate="2011-06-08T16:52:05.203" UserId="1129" Text="You should also check out the &quot;Teknical Difficulties&quot; comedy show, and &quot;The Account&quot; a sci-fi audio drama, produced by Cayenne Chris Conroy over at tekdiff.com&#xD;&#xA;&#xD;&#xA;His website is a little basic, but if you scroll a bit you will come to &quot;The Account&quot; which has a very high production value for being a single person writing, producing, and composing the music." ContentLicense="CC BY-SA 3.0" />
  <row Id="14301" PostHistoryTypeId="2" PostId="8562" RevisionGUID="2fd29847-9c50-4878-9b2b-53d770974753" CreationDate="2011-06-08T19:45:16.183" UserId="1132" Text="Hi everyone~I'm very glad to be here and to be one of YOU!&#xD;&#xA;Would you please amswer me,Are there any Sound/Music Design Conferences? And how can I participate them? &#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="14302" PostHistoryTypeId="1" PostId="8562" RevisionGUID="2fd29847-9c50-4878-9b2b-53d770974753" CreationDate="2011-06-08T19:45:16.183" UserId="1132" Text="Conferences,Meetings" ContentLicense="CC BY-SA 3.0" />
  <row Id="14303" PostHistoryTypeId="3" PostId="8562" RevisionGUID="2fd29847-9c50-4878-9b2b-53d770974753" CreationDate="2011-06-08T19:45:16.183" UserId="1132" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14304" PostHistoryTypeId="2" PostId="8563" RevisionGUID="00c4b2c9-5145-467e-9970-a4bb1b237cd1" CreationDate="2011-06-08T21:18:26.423" UserId="315" Text="I've heard good things about [this][1] one.&#xD;&#xA;&#xD;&#xA;[AES][2] is also great.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.schoolofsound.co.uk/&#xD;&#xA;  [2]: http://ttp://www.aes.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14305" PostHistoryTypeId="2" PostId="8564" RevisionGUID="1e61c249-706d-494f-a84b-cbf431684bf7" CreationDate="2011-06-08T21:30:39.443" UserId="2" Text="Justin names good ones. I've been to both the School of Sound and AES, and both were great in their own right. &#xD;&#xA;&#xD;&#xA;The School of Sound was super inspirational, while AES was fantastic in a more practical/grounded kind of way. AES was great for networking and checking out exhibitors and gear too. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14306" PostHistoryTypeId="2" PostId="8565" RevisionGUID="3642a885-9973-4fb3-9fa5-f49110869be9" CreationDate="2011-06-08T21:57:55.810" UserId="81" Text="School of Sound and AES are good ones. Select the ones that you want to attend to, depending on what you aim to get from it. &#xD;&#xA;&#xD;&#xA;Are you looking after networking, meeting new people from industry? Or do you actually want to learn stuff?&#xD;&#xA;&#xD;&#xA;Both will meet your expectations to some content, but I also suggest to attend **conferences of other fields**, such as video production or motion graphics. It creates a whole another level of networking opportunities, plus you get to know the expectations of a different profile of artists. This will help you understand your clients better. It did in my case." ContentLicense="CC BY-SA 3.0" />
  <row Id="14307" PostHistoryTypeId="2" PostId="8566" RevisionGUID="1e6b9542-df0b-4704-bda5-b55bcb0513cf" CreationDate="2011-06-08T22:28:51.127" UserId="845" Text="Hi boys and girls,&#xD;&#xA;&#xD;&#xA;I've got a meeting with the owner of an indie SFX label next week. The idea is that I'll do some recording for him while I'm travelling around. In the email he mentioned a &quot;contract/flat rate/buyout&quot; agreement. &#xD;&#xA;&#xD;&#xA;I understand how that works for say, lawyers and graphic designers, but I was wondering how it would apply to SFX recording specifically. &#xD;&#xA;&#xD;&#xA; - Is he going to offer a rate for a set number of sounds? &#xD;&#xA; - Will he give me a list of things he wants and only pay when I've delivered in full? &#xD;&#xA; - Will he leave me to my own devices and approve/disapprove when I deliver?&#xD;&#xA; - Will I be able to retain the rights to at least *use* the samples when I've handed them over? or will i have to wait a specified period before I can?&#xD;&#xA; - What kind of rate should I expect/ask for?&#xD;&#xA; - How up front should I be about my n00b status as far as this part of the industry goes?&#xD;&#xA; - What kind of margin is he likely to get if he manages to sell them? i.e. Am I likely to end up with a major label record deal where I make pennies and he walks away with the dollars?&#xD;&#xA; - Have I told you guys that you're *awesome*?&#xD;&#xA;&#xD;&#xA;Sorry for all the questions, but I like to know as much as possible before I go into situations like this. Nothing worse than coming up wrongfooted when there's money involved. I remember watching a Dan Ariely talk (probably at TED) where he talked about how bad people are at critical thinking when put on the spot. I'd like to get the best deal I can out of this. &#xD;&#xA;&#xD;&#xA;XoxoX&lt;br&gt;&#xD;&#xA;  GaH&lt;br&gt;&#xD;&#xA;XoxoX&lt;br&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14308" PostHistoryTypeId="1" PostId="8566" RevisionGUID="1e6b9542-df0b-4704-bda5-b55bcb0513cf" CreationDate="2011-06-08T22:28:51.127" UserId="845" Text="contract/flat rate/buyout" ContentLicense="CC BY-SA 3.0" />
  <row Id="14309" PostHistoryTypeId="3" PostId="8566" RevisionGUID="1e6b9542-df0b-4704-bda5-b55bcb0513cf" CreationDate="2011-06-08T22:28:51.127" UserId="845" Text="&lt;contracts&gt;&lt;money&gt;&lt;getting-paid&gt;&lt;expected-income&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14310" PostHistoryTypeId="2" PostId="8567" RevisionGUID="2f83f33f-fc17-4d88-a8dd-836a2009646b" CreationDate="2011-06-08T23:56:21.573" UserId="1134" Text="Check the video by Philip Bloom, shooting 3D Mic Pro with Arri Alexa, a production grade setup.&#xD;&#xA;&#xD;&#xA;[Terminus by Philip Bloom using 3D Mic Pro][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/24543381&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Vincent Laforet also shoot a short film using 3D Mic Pro, another product grade setup. Videos are coming soon.&#xD;&#xA;&#xD;&#xA;Professional opinion from word renowned DPs and film makers after hands on experience with 3D Mic Pro coupled with state of the art production cameras are unanimous: &quot;very impressed!&quot;.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14311" PostHistoryTypeId="16" PostId="8567" RevisionGUID="2f83f33f-fc17-4d88-a8dd-836a2009646b" CreationDate="2011-06-08T23:56:21.573" UserId="1134" />
  <row Id="14312" PostHistoryTypeId="2" PostId="8568" RevisionGUID="9f85f2e4-0ad5-4801-957d-1d836aae064d" CreationDate="2011-06-09T00:27:03.883" UserId="1135" Text="Flat rate is the standard, usually by the minute. I'm not sure who you are talking with but in my experience the buyout rate is probably going to be very low. Unless you can get access to free sounds for life, or make a deal like that for a set amount of free sounds from their library in trade as a bonus, it might not be worth it. -Frank" ContentLicense="CC BY-SA 3.0" />
  <row Id="14313" PostHistoryTypeId="16" PostId="7359" RevisionGUID="97193713-3474-470f-8277-517c7428b477" CreationDate="2011-06-09T00:33:40.533" UserId="845" />
  <row Id="14314" PostHistoryTypeId="2" PostId="8569" RevisionGUID="c3d4c31e-3ce0-4b62-af4b-cdcc6b1a246a" CreationDate="2011-06-09T00:57:32.763" UserId="1136" Text="echo the above comments, but add that for forest ambient noise its got a little high floor noise for my taste ... some can be fixed in post, but not easily." ContentLicense="CC BY-SA 3.0" />
  <row Id="14315" PostHistoryTypeId="16" PostId="7466" RevisionGUID="63ffd807-7833-460e-ab51-976ee88608cc" CreationDate="2011-06-09T02:49:19.083" UserId="845" />
  <row Id="14316" PostHistoryTypeId="4" PostId="8566" RevisionGUID="d4d595e0-bc4f-46b5-ae3c-cf645137acbd" CreationDate="2011-06-09T02:50:06.680" UserId="845" Comment="edited title" Text="Deals Deals Deals" ContentLicense="CC BY-SA 3.0" />
  <row Id="14317" PostHistoryTypeId="6" PostId="8562" RevisionGUID="4145366d-ff38-472e-bc56-c65f00e3dacd" CreationDate="2011-06-09T12:05:43.050" UserId="81" Comment="edited tags" Text="&lt;networking&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14318" PostHistoryTypeId="2" PostId="8570" RevisionGUID="4684dca1-92da-4bc7-94b3-a2661a5d2783" CreationDate="2011-06-09T13:30:56.983" UserId="1137" Text="Greetings venerable masters, able journeyman, and avid apprentices like myself.&#xD;&#xA;&#xD;&#xA;I'm cutting and mixing the sound I recorded for a very small television interview program in PT8. I ran hardwired Sanken COS-11 lavaliers into a SD302 mixer and Fostex FR2LE. Host was recorded to one track, guest to the other.&#xD;&#xA;&#xD;&#xA;When each dedicated DX track overlaps one another during moments of mutual interjection, laughter, or banter, the mic bleed sounds jarring against the close perspective gotten while each participant is speaking solo.&#xD;&#xA;&#xD;&#xA;Is there any way to keep both lavalier mic's close perspective at the same time? Or would the recommendation be to prioritize the information by cutting (keep the DX track with speaking, while editing out the other participants simultaneous non-critical laughter, etc. on the other track).&#xD;&#xA;&#xD;&#xA;Distance between the speakers is about 2-3 feet.&#xD;&#xA;&#xD;&#xA;Much obliged, and thanks for such a wealth of information!&#xD;&#xA;atheisticmystic" ContentLicense="CC BY-SA 3.0" />
  <row Id="14319" PostHistoryTypeId="1" PostId="8570" RevisionGUID="4684dca1-92da-4bc7-94b3-a2661a5d2783" CreationDate="2011-06-09T13:30:56.983" UserId="1137" Text="Dealing with lavalier mic bleed in post" ContentLicense="CC BY-SA 3.0" />
  <row Id="14320" PostHistoryTypeId="3" PostId="8570" RevisionGUID="4684dca1-92da-4bc7-94b3-a2661a5d2783" CreationDate="2011-06-09T13:30:56.983" UserId="1137" Text="&lt;lavalier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14322" PostHistoryTypeId="2" PostId="8572" RevisionGUID="624491f2-5571-488f-b9c7-f25273a1100b" CreationDate="2011-06-09T14:58:02.133" UserId="693" Text="Is this the Jeff McIlwain &quot;L'usine&quot;? If it is you, you do some nice work man.&#xD;&#xA;&#xD;&#xA;Everyone else posted the obvious stuff related to your question. Other than that, this is the closest thing we have to a convention, and it's a lot better in most ways actually.&#xD;&#xA;&#xD;&#xA;So I guess that just leaves me with: Nice to meet you and welcome aboard." ContentLicense="CC BY-SA 3.0" />
  <row Id="14323" PostHistoryTypeId="2" PostId="8573" RevisionGUID="b7363640-8d29-4554-8654-9501b5c4a74e" CreationDate="2011-06-09T16:11:30.577" UserId="1138" Text="Hello friends and artists. I'm currently working in a medium size animation film about the troubled life of Eva Perón (Evita). During the opening shot we see a large steam train moving through the pampa (a native word for emptyness) which is a large plain, with no slopes, trees or anything at sight. I need this train to sound distant, and when the camera jump-cuts closer, go along. Combining 2 tracks (roads and railroads with the more random sounds of metal squeaks and breaks) seems to work. All that's missing is the distance. You guys had a situation like this before? Any ideas?&#xD;&#xA;Thanx a bunch.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14324" PostHistoryTypeId="1" PostId="8573" RevisionGUID="b7363640-8d29-4554-8654-9501b5c4a74e" CreationDate="2011-06-09T16:11:30.577" UserId="1138" Text="Distant train in Argentine pampa" ContentLicense="CC BY-SA 3.0" />
  <row Id="14325" PostHistoryTypeId="3" PostId="8573" RevisionGUID="b7363640-8d29-4554-8654-9501b5c4a74e" CreationDate="2011-06-09T16:11:30.577" UserId="1138" Text="&lt;argentina&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14326" PostHistoryTypeId="2" PostId="8574" RevisionGUID="50604fe4-0a8c-4fbd-a4d7-06a3fcb07a81" CreationDate="2011-06-09T16:50:26.473" UserId="315" Text="I would save the more articulate sounds, like metal squeaks and brakes for the close up stuff, as the ear often picks up on more detail as a sound is closer to it. Perhaps more steam chug and rumble for the far away shot and introduce the rail sounds as the train approaches.&#xD;&#xA;&#xD;&#xA;As far as mixing, I would experiment with cutting a bit of the high frequency of your effects in the distance to sell perspective. Also, sounds tend to be more mono and in the distance and gradually open up in the 5.1/stereo field as they approach. Use width and panning to sell this. And don't be afraid of reverb or delay. They are your friend.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="14327" PostHistoryTypeId="2" PostId="8575" RevisionGUID="d63f4f9e-99ed-409c-903a-f8a0f454f454" CreationDate="2011-06-09T17:25:56.937" UserId="1133" Text="I'm working on a short and the opening scene is of 3 teenagers playing Nintendo.  The dialogue track is relatively clean (already removed clicks/pops w/Izotope RX) save for the constant clicking of the game controllers. The track was recorded with a Boom in a medium sized room.  I'm not really sure how to bring the voices up and out front while not losing too much of the production sound of the game controllers.  Also, there is some broadband noise on the track.  Any recommendations on which to tackle first?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14328" PostHistoryTypeId="1" PostId="8575" RevisionGUID="d63f4f9e-99ed-409c-903a-f8a0f454f454" CreationDate="2011-06-09T17:25:56.937" UserId="1133" Text="How to make Dialogue present and full with joystick noise?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14329" PostHistoryTypeId="3" PostId="8575" RevisionGUID="d63f4f9e-99ed-409c-903a-f8a0f454f454" CreationDate="2011-06-09T17:25:56.937" UserId="1133" Text="&lt;dialogue&gt;&lt;editing&gt;&lt;production&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14330" PostHistoryTypeId="2" PostId="8576" RevisionGUID="0ba70e3a-7615-4f85-abbb-ddd9e87c43fa" CreationDate="2011-06-09T17:27:57.520" UserId="995" Text="In short terms: Mixing is the key. &#xD;&#xA;I've made a lot of shortfilms that include steam trains and stuff. So going to the field and living the experience could be helpful. Also the details may vary depending on the image and the feeling of it. Different shots different aproaches to them. Regards!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14331" PostHistoryTypeId="2" PostId="8577" RevisionGUID="17db1268-66da-430f-a670-46304f9c1c77" CreationDate="2011-06-09T18:28:34.557" UserId="995" Text="You tried dialogue in Mono? The mix is the key. Regards!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14332" PostHistoryTypeId="2" PostId="8578" RevisionGUID="c01adf38-ffc6-4835-8406-27ff4fc480d4" CreationDate="2011-06-09T18:32:50.270" UserId="29" Text="I'd try a surgical notch EQ first to reduce the clicks, then iZotope RX Declicker to see if that might help, but the clicks may be too long, loud, and pronounced for that to work. Broadband noise is best dealt with using a noise-print-based denoiser, like iZotope RX Denoiser.&#xD;&#xA;&#xD;&#xA;Sounds like one of those very rare times when cardioid lavs would've been handy!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14333" PostHistoryTypeId="2" PostId="8579" RevisionGUID="d53aa48d-b41d-4fb6-85d5-cc7054d67f59" CreationDate="2011-06-09T19:45:53.350" UserId="220" Text="definitely want to look at it in a spectral view.  those clicks and noises might be very easy to remove, and then you can go back and replace with cleaner sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="14334" PostHistoryTypeId="2" PostId="8580" RevisionGUID="ad0950a1-55eb-468f-85a9-aab68dfcf1a2" CreationDate="2011-06-09T20:50:28.337" UserId="578" Text="The audio day at the Develop Conference in Brighton (UK) is a good one, if you're based in Europe, and (aspire to) work in videogames." ContentLicense="CC BY-SA 3.0" />
  <row Id="14335" PostHistoryTypeId="2" PostId="8581" RevisionGUID="54937520-b88b-4f97-a15c-7ea2c4b1208c" CreationDate="2011-06-09T21:49:32.067" UserId="6499" Text="Duplicate the tracks and have 1 eq and cleaned and boosted for dialogue, then just take the duplicates specifically for the production sound effects and try and pull all the dialogue out.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14336" PostHistoryTypeId="2" PostId="8582" RevisionGUID="3f9d1ce5-71c1-4ca4-8538-e56d33d1b558" CreationDate="2011-06-09T22:17:23.077" UserId="194" Text="I read the question as you wanting to KEEP the controller sounds and lose the broadband stuff. &#xD;&#xA;&#xD;&#xA;Usually my first tool there will be a multiband expander like the Waves C4.  Expand 5-8db with a superfast attack and a moderately fast release.  This will push your noise floor down while retaining all of the good stuff that sits out above it.  It will have the side effect of reducing the room verb a bit as well.&#xD;&#xA;&#xD;&#xA;If you're still having issues then some gentle denoising will help there as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="14337" PostHistoryTypeId="2" PostId="8583" RevisionGUID="b6cb4413-9d54-4b2f-a729-408f7f169986" CreationDate="2011-06-09T23:18:04.677" UserId="338" Text="What is a telephone pick-coil used for?  I am expanding my mic collection zoom (ZoomH4n only so far) and I want to get some mics.&#xD;&#xA;&#xD;&#xA;Contact mic for interesting SFX&#xD;&#xA;&#xD;&#xA;Boom for universally recording indoor or outdoor dx and sfx&#xD;&#xA;&#xD;&#xA;A Lav&#xD;&#xA;&#xD;&#xA;Fostex 2LE&#xD;&#xA;&#xD;&#xA;Any advice?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14338" PostHistoryTypeId="1" PostId="8583" RevisionGUID="b6cb4413-9d54-4b2f-a729-408f7f169986" CreationDate="2011-06-09T23:18:04.677" UserId="338" Text="What is a telephone pick-up coil used for?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14339" PostHistoryTypeId="3" PostId="8583" RevisionGUID="b6cb4413-9d54-4b2f-a729-408f7f169986" CreationDate="2011-06-09T23:18:04.677" UserId="338" Text="&lt;recording&gt;&lt;field&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14340" PostHistoryTypeId="2" PostId="8584" RevisionGUID="dd289162-9cc3-49b6-ad68-83370dee922e" CreationDate="2011-06-10T02:06:49.740" UserId="845" Text="Guitar pickups are boss for buzzes and humms." ContentLicense="CC BY-SA 3.0" />
  <row Id="14341" PostHistoryTypeId="2" PostId="8585" RevisionGUID="6b9dcc92-769f-402b-8408-9cce491df74c" CreationDate="2011-06-10T03:20:28.603" UserId="1131" Text="Thanks to everyone for the help. I played with the phase a little, widened the stereo image and played with the verb and got a lot closer to what I was looking for. Everyones responses really helped.&#xD;&#xA;&#xD;&#xA;I'd post the clip for you but the producer is being a little finicky on sharing anything about the movie. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14342" PostHistoryTypeId="2" PostId="8586" RevisionGUID="3ffa764c-764e-46a1-b3c4-2281c551ec4b" CreationDate="2011-06-10T04:54:15.117" UserId="893" Text="I've never used RX1 before, but I spent a week with RX 2 Advanced in demo mode before I purchased. Personally, I couldn't see value for money in the advanced version - sure, the adaptive mode is handy (and saves you a bit of time), but worth the extra cash (it's a whole lot more expensive!)? I don't think so. And I don't really have a use for any of the other functions that advanced offers.&#xD;&#xA;&#xD;&#xA;I've just spent the last 3 weeks cleaning dialogue tracks for a feature, and have to say that I don't regret at all not buying the advanced version. RX2 is unbelievable (it really is amazing just how noisy your tracks can be, and get away with it!) and I'd recommend it to anyone who needs good quality noise reduction tools. Coupled with Waves WNS, there's almost nothing that can't be cleaned!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14343" PostHistoryTypeId="2" PostId="8587" RevisionGUID="97e07bbf-31ad-4a48-8940-0de9a46aff22" CreationDate="2011-06-10T08:37:06.290" UserId="2" Text="Usually, I'm never on shoots that record into camera, but I have a job this weekend where I have to. I'm still using my Sound Devices recorder as a pre-amp/mixer. &#xD;&#xA;&#xD;&#xA;The camera I'm plugging into is the Panasonic AJ-HPX3700G P2.&#xD;&#xA;&#xD;&#xA;I want to double check some things with you guys, as I don't want to be fiddling too much on the day. &#xD;&#xA;&#xD;&#xA; - It would be nice not to have cables going from my recorder to the camera, so I'm thinking of using two of my Senneheiser G3 wireless systems to go from line-out to the camera. Is this safe? I won't be able to monitor the final output, and I'm worried I'm having interference or something and don't notice it. &#xD;&#xA;&#xD;&#xA; - If it is okay to use the wireless systems, what levels should I have them set at? My usual settings for dialogue are around -21db or -24db for the transmitter and -6db for the receiver. Would I leave it as that? Then feed it a test tone from my SD and match on the camera? &#xD;&#xA;&#xD;&#xA; - If I veto the wireless route and go with cables, I go line-out from my Sound Devices, and set the test tone to -20db, on the camera I match the levels to -20 (little less for safety) as well, and should be fine? &#xD;&#xA;&#xD;&#xA;Thanks for any help/warnings. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14344" PostHistoryTypeId="1" PostId="8587" RevisionGUID="97e07bbf-31ad-4a48-8940-0de9a46aff22" CreationDate="2011-06-10T08:37:06.290" UserId="2" Text="Using a wireless system from line-out to camera" ContentLicense="CC BY-SA 3.0" />
  <row Id="14345" PostHistoryTypeId="3" PostId="8587" RevisionGUID="97e07bbf-31ad-4a48-8940-0de9a46aff22" CreationDate="2011-06-10T08:37:06.290" UserId="2" Text="&lt;location-recording&gt;&lt;wireless&gt;&lt;camera&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14346" PostHistoryTypeId="2" PostId="8588" RevisionGUID="1b64e25b-c49d-4c1f-a30e-ad14ecb03c56" CreationDate="2011-06-10T09:01:16.013" UserId="1090" Text="Don't go for Wireless!!! Get a cable so you can have a return signal.. that way you can at least listen to what's going into the camera...The camera crew will probably also hate having two transmitters/recievers on their camera...&#xD;&#xA; Always shaky business recording into camera. If I were you, and I could rent stuff, I'd get the Sound Devices 552. That way you can line out to the camera AND record on your own.  &#xD;&#xA;Hope I didn't scare you too much." ContentLicense="CC BY-SA 3.0" />
  <row Id="14347" PostHistoryTypeId="2" PostId="8589" RevisionGUID="f34f20c8-df14-4f23-94d5-205b499be918" CreationDate="2011-06-10T09:10:46.407" UserId="1090" Text="I'm also always on the lookout for mics. I've been looking at a Sontronics STC-10. It's bizarrely cheap, almost ridiculous not to get it... Like 150 dollars or so. It can't be that bad since they're selling it :S&#xD;&#xA;www.sontronics.com&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also I like the Oktava mk012 and I'm thinking of buying a pair.. Not too expensive either. &#xD;&#xA;www.oktavaonline.com&#xD;&#xA;&#xD;&#xA;I'd also like to know what contact mic to get, I don't wanna build one... I've seen the Barcus Berry on the web being used but I can't get it in Sweden as it seems...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14348" PostHistoryTypeId="2" PostId="8590" RevisionGUID="b3f0f891-4c3f-4e99-8b83-661af6100d4e" CreationDate="2011-06-10T09:34:28.687" UserId="2" Text="It's to record telephones ;-) I'm joking (well it's true). It's used to record electric signals in general. It's handy to have, and really cheap! &#xD;&#xA;&#xD;&#xA;I wrote a blog post a looong time ago with a recording done from a pickup coil. If you wanna listen it's here: http://www.soundplusdesign.com/?p=858 Wow, looking at the date, I wrote it 2 years and 1 day ago... Should have answered yesterday and it would have been 2 years on the dot. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14349" PostHistoryTypeId="5" PostId="8590" RevisionGUID="491704fb-191d-4106-8d14-a6a72aa12694" CreationDate="2011-06-10T09:39:57.160" UserId="2" Comment="added 74 characters in body" Text="It's to record telephones ;-) I'm joking (well it's true). It's used to record electric signals in general. You can find some amazing hidden sounds in all your electronic devices.   It's handy to have, and really cheap! &#xD;&#xA;&#xD;&#xA;I wrote a blog post a looong time ago with a recording done from a pickup coil. If you wanna listen it's here: http://www.soundplusdesign.com/?p=858 Wow, looking at the date, I wrote it 2 years and 1 day ago... Should have answered yesterday and it would have been 2 years on the dot. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14350" PostHistoryTypeId="2" PostId="8591" RevisionGUID="c53e3e02-3126-4086-bbd8-f91baa1c5328" CreationDate="2011-06-10T10:13:42.033" UserId="830" Text="I have worked with those cameras before. Wireless is generally not a good idea. If you do go that way, make sure that you are also recording on your recorder as back up. What you can do is run a wireless link from the camera to your SD for timecode. If you do have to run cables, then make sure you have a great cable guy with you and good quality long XLRs. The camera has two audio pots on the side, so just run tone to the camera and set your levels on the camera. Once set don't move your master on the SD or the levels on the camera and you should be good. I recommend always recording on a second system if you have the ability. It might just save your ass.&#xD;&#xA;&#xD;&#xA;![Visual of camera with audio points marked][1]&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://img.skitch.com/20110610-k6qgqtr55renigu1crwnnxeymi.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="14351" PostHistoryTypeId="5" PostId="8591" RevisionGUID="75a96e6c-2e52-45a3-a071-6ea7f3fee78d" CreationDate="2011-06-10T10:19:04.133" UserId="830" Comment="Added camera timecode pic" Text="I have worked with those cameras before. Wireless is generally not a good idea. If you do go that way, make sure that you are also recording on your recorder as back up. What you can do is run a wireless link from the camera to your SD for timecode. If you do have to run cables, then make sure you have a great cable guy with you and good quality long XLRs. The camera has two audio pots on the side, so just run tone to the camera and set your levels on the camera. Once set don't move your master on the SD or the levels on the camera and you should be good. I recommend always recording on a second system if you have the ability. It might just save your ass.&#xD;&#xA;&#xD;&#xA;![Visual of camera with audio points marked][1]&#xD;&#xA;![Timecode for the camera (BNC connector)][2]&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://img.skitch.com/20110610-k6qgqtr55renigu1crwnnxeymi.jpg&#xD;&#xA;  [2]: https://img.skitch.com/20110610-pexw4dw3qhm82mn1cainxuegk9.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="14352" PostHistoryTypeId="2" PostId="8592" RevisionGUID="61f10ef3-b5c6-4d42-a78c-e4b2d10b4921" CreationDate="2011-06-10T12:01:17.260" UserId="916" Text="Hello.&#xD;&#xA;&#xD;&#xA;I'm working on a little web project (I'm a web developer by trade) where it's basically a mouse controlled synth inside a browser. Nothing fancy, but it's letting me get to grips with some of the cutting edge Audio API stuff going on in browsers these days.&#xD;&#xA;&#xD;&#xA;I'm keeping this experiment very simple... You move the mouse up the browser window, the pitch of the oscillator goes higher. You move the mouse down the browser window, the pitch of the oscillator goes lower. There is more to it, but that's my starting ground.&#xD;&#xA;&#xD;&#xA;Thing is, I was curious to know if there is any sort of scientific studies on frequencies associated with colours or moods? For example, Hz before 100 (for example) signify mostly with the colour 'brown'. For example, Hz above 15,000 signify mostly with the colour 'blue'.&#xD;&#xA;&#xD;&#xA;Sorry if this doesn't make sense. But I'm just looking into having some visual to go with the simple sounds I'm generating with my mouse. Was curious to know if there was anything I could look into...&#xD;&#xA;&#xD;&#xA;Many thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14353" PostHistoryTypeId="1" PostId="8592" RevisionGUID="61f10ef3-b5c6-4d42-a78c-e4b2d10b4921" CreationDate="2011-06-10T12:01:17.260" UserId="916" Text="Is there scientific studies into certain frequencies relating to colours/light/mood?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14354" PostHistoryTypeId="3" PostId="8592" RevisionGUID="61f10ef3-b5c6-4d42-a78c-e4b2d10b4921" CreationDate="2011-06-10T12:01:17.260" UserId="916" Text="&lt;frequency&gt;&lt;visuals&gt;&lt;mood&gt;&lt;color&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14356" PostHistoryTypeId="2" PostId="8594" RevisionGUID="37e52f2b-6840-4861-87ed-316c27535a61" CreationDate="2011-06-10T12:41:23.077" UserId="596" Text="i own the complete waves plugins bundle, including some other top-shelf plugins. as much as i love Waves and cannot imagine a workflow without them, i find myself quite a lot using the straight-forward, basic native Logic plugins... especially the compressor, limiter and EQ. am i insane?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14357" PostHistoryTypeId="1" PostId="8594" RevisionGUID="37e52f2b-6840-4861-87ed-316c27535a61" CreationDate="2011-06-10T12:41:23.077" UserId="596" Text="logic native plugins" ContentLicense="CC BY-SA 3.0" />
  <row Id="14358" PostHistoryTypeId="3" PostId="8594" RevisionGUID="37e52f2b-6840-4861-87ed-316c27535a61" CreationDate="2011-06-10T12:41:23.077" UserId="596" Text="&lt;logic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14359" PostHistoryTypeId="2" PostId="8595" RevisionGUID="bba702a4-ef67-4a84-9374-487b4c140cf4" CreationDate="2011-06-10T12:42:46.600" UserId="826" Text="using Sennheiser G3 for line input to the camera is fine, altough can be a little noisy. Just make sure to use line cables, they are wired differently both for the transmitter and receiver, it's all in the sennheiser manual. Hope this helps, Bartosz" ContentLicense="CC BY-SA 3.0" />
  <row Id="14360" PostHistoryTypeId="2" PostId="8596" RevisionGUID="85f7b5f7-9ac4-4247-9c44-7b06621caf43" CreationDate="2011-06-10T13:17:47.397" UserId="542" Text="This may be a a provoking question, but did you buy all those plugins? (Just curious, because you were asking about pirate samples a while ago)&#xD;&#xA;If I am wrong, I'm sorry about asking." ContentLicense="CC BY-SA 3.0" />
  <row Id="14361" PostHistoryTypeId="2" PostId="8597" RevisionGUID="06ea21f1-0f0f-4087-9a0c-da9d02f801b7" CreationDate="2011-06-10T13:34:32.287" UserId="826" Text="I'd love to get some high quality pitch shifting plug that can be automated and sounds really good...any tips? I'd love to put my 192k recordings to a good use :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14362" PostHistoryTypeId="1" PostId="8597" RevisionGUID="06ea21f1-0f0f-4087-9a0c-da9d02f801b7" CreationDate="2011-06-10T13:34:32.287" UserId="826" Text="Looking for a quality pitch shift plugin for Logic 9" ContentLicense="CC BY-SA 3.0" />
  <row Id="14363" PostHistoryTypeId="3" PostId="8597" RevisionGUID="06ea21f1-0f0f-4087-9a0c-da9d02f801b7" CreationDate="2011-06-10T13:34:32.287" UserId="826" Text="&lt;pitch-shifting&gt;&lt;plugin&gt;&lt;logic&gt;&lt;192k&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14364" PostHistoryTypeId="2" PostId="8598" RevisionGUID="2834cd51-2293-435f-abfd-6b6b360aa96c" CreationDate="2011-06-10T13:41:14.143" UserId="194" Text="Depending on how far away the shoot is, you should get yourself a [breakaway cable][1].  &#xD;&#xA;&#xD;&#xA;Breakaway cables tend to have female xlrs and a 35mm jack on one side, and male xlrs, a 35mm jack, and a 35mm female jack on the other - all neatly contained in one cable.&#xD;&#xA;&#xD;&#xA;Breakaway cables allow you to monitor the headphone out of the camera so you can be sure of what's going to disk.  They also do what the name says they do, which is to break into two parts with one twist of a multipin connection point so that the camera guy can disconnect from you to reposition without any help.&#xD;&#xA;&#xD;&#xA;with this setup you can get clean audio both to the camera and to the recorder, and you can monitor both sources on a sound devices mixer.  If you don't have an SD mixer and are just using a 702 or whatever then you'll just need a 35mm female barrel to monitor the camera audio - but be aware that you'll have no control over headphone levels with that setup so test it out before you get too deep.  Alternatively you can just find a small portable battery powered headphone amp and plug the return into that.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/search?Ntt=breakaway+cable&amp;N=0&amp;InitialSearch=yes" ContentLicense="CC BY-SA 3.0" />
  <row Id="14365" PostHistoryTypeId="2" PostId="8599" RevisionGUID="edfa05a9-cad2-4504-be04-c154c06dbe37" CreationDate="2011-06-10T13:53:30.880" UserId="6420" Text="Serato Pitch n Time Pro is considered a very good choice" ContentLicense="CC BY-SA 3.0" />
  <row Id="14366" PostHistoryTypeId="2" PostId="8600" RevisionGUID="44a5521a-235b-4248-9334-7b14de4499d6" CreationDate="2011-06-10T14:08:01.753" UserId="103" Text="Hi folks&#xD;&#xA;&#xD;&#xA;These last few days i've been editing sounds i've recorded during sailing trips.&#xD;&#xA;I've sailed all of my life (including my life as a fetus haha) and not once i got sea sick,&#xD;&#xA;but when i got to a file recorded during a particularly turbulent day, a stereo recording&#xD;&#xA;of an interior perspective from the cabin, i got REALLY sea sick! as in my stomach wanting &#xD;&#xA;to get out....&#xD;&#xA;&#xD;&#xA;Do you have similar experiences, of something that doesn't affect you at all while they're &#xD;&#xA;happening, but affect you deeply, when you're exposed to sounds or images?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14367" PostHistoryTypeId="1" PostId="8600" RevisionGUID="44a5521a-235b-4248-9334-7b14de4499d6" CreationDate="2011-06-10T14:08:01.753" UserId="103" Text="Physical reactions to sounds you know really well" ContentLicense="CC BY-SA 3.0" />
  <row Id="14368" PostHistoryTypeId="3" PostId="8600" RevisionGUID="44a5521a-235b-4248-9334-7b14de4499d6" CreationDate="2011-06-10T14:08:01.753" UserId="103" Text="&lt;physical-reaction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14369" PostHistoryTypeId="2" PostId="8601" RevisionGUID="3b4c7bde-5e18-4672-8efb-621c58e034c2" CreationDate="2011-06-10T14:25:02.920" UserId="142" Text="No, you are not insane, I think Logic comes with a large amount of excellent plugins and instruments that stand up well to software far above its price range. Since the price drop a few years ago I think that Logic Studio has to be the best DAW in terms of value for money. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14371" PostHistoryTypeId="2" PostId="8602" RevisionGUID="aa50f284-cdf5-4bda-99d1-a2f5d2bea547" CreationDate="2011-06-10T14:53:56.757" UserId="548" Text="You could rent a fully digital Zaxcom wireless system and use it as a camera hop. They can be rented with a backup recorder on the transmitter, so you will have an intact recording even if the radio link has dropouts. If renting a Zaxcom is not financially feasible for you, you would have to use a dual sound system recording anyway, because Sennheiser G3 radio link may well have dropouts or clicks. At the end of the day, if the recording has flaws or is not intact, you are to blame. I wouldn't take that risk." ContentLicense="CC BY-SA 3.0" />
  <row Id="14372" PostHistoryTypeId="2" PostId="8603" RevisionGUID="f1fb3618-8fcc-42df-9593-fb857a654f98" CreationDate="2011-06-10T14:57:23.203" UserId="182" Text="Not sound related, but it reminded me of this:&#xD;&#xA;After a week of sailing around the Greece islands and sleeping on the boat, back on the mainland I slept badly for a few days because it felt like my bed was moving even though it wasn't.&#xD;&#xA;&#xD;&#xA;And sound related: I did a binaural recording walking through the forest, with those microphones that you put in your ears. When listening back later that day while sitting outside, the sudden sound of a tree branch snapping behind me made me turn my head around to look for the source, but the sound was in the recording. During the recording it prompted no such reaction." ContentLicense="CC BY-SA 3.0" />
  <row Id="14373" PostHistoryTypeId="2" PostId="8604" RevisionGUID="b13d7c4a-888c-41c4-8eca-9ba87288ae29" CreationDate="2011-06-10T15:15:02.947" UserId="168" Text="Izotope Radius, specifically made for Logic. One of the best sounding algorithms in my experience.&#xD;&#xA;&#xD;&#xA;EDIT: If you are looking at varispeed, Logic's tool does the job - using classic mode" ContentLicense="CC BY-SA 3.0" />
  <row Id="14374" PostHistoryTypeId="2" PostId="8605" RevisionGUID="27bbf594-0675-4f01-800f-d586d4be5e2b" CreationDate="2011-06-10T15:17:44.663" UserId="168" Text="Whatever works and sounds good is good!&#xD;&#xA;&#xD;&#xA;I've often found myself using Logic's compressor over many of the Waves/other plugins. There's nothing wrong. It's all about the sound you are looking for." ContentLicense="CC BY-SA 3.0" />
  <row Id="14375" PostHistoryTypeId="2" PostId="8606" RevisionGUID="550c7e8c-fce0-4663-9951-318c5e98f7dc" CreationDate="2011-06-10T15:31:33.960" UserId="168" Text="There are two things that come to my mind that might interest you:&#xD;&#xA;&#xD;&#xA;Sound - Colour Synesthesia: Colours triggered by sounds. It doesn't happen with everyone - just a few people (I remember first reading about it in Bruce Swedien's 'Make Mine Music'). Here a wiki page to get you started: http://en.wikipedia.org/wiki/Synesthesia#Sound_.E2.86.92_color_synesthesia&#xD;&#xA;&#xD;&#xA;Binaural beats/tones: A controversial subject. It's a method in which binaural beats are used to entrain the brain into certain states. An example of a binaural beat would be a 410Hz sine wave played in one ear and a 400Hz sine wave played in the other year. Because of the mechanics of our hearing system we end up hearing a beating frequency of 10Hz. There are said to be four brain states: Delta (0.5Hz-4Hz: Deep Sleep), Theta (4Hz-8Hz: Drowsiness), Alpha (8Hz-14Hz: Relaxed but alert), Beta (14Hz-30Hz: Highly alert and focused)&#xD;&#xA;&#xD;&#xA;Please research as much as you can before trying out experiments. Such things **should** be treated with caution." ContentLicense="CC BY-SA 3.0" />
  <row Id="14376" PostHistoryTypeId="2" PostId="8607" RevisionGUID="4779dcc7-9a58-4f21-86a3-e09b03b17656" CreationDate="2011-06-10T15:55:34.050" UserId="949" Text="I really like the ssl compressor and channels, but what was said before is the truth.  It depends on personal preference and the situation.  A ssl comp would probably not fit a metal mix as well as the logic one, but would be better for jazz rock.  Best to experiment and find what works the best.  Non destructive editing is why digital is great." ContentLicense="CC BY-SA 3.0" />
  <row Id="14377" PostHistoryTypeId="2" PostId="8608" RevisionGUID="4939a355-ba71-4124-b602-8086b9b322f6" CreationDate="2011-06-10T15:57:31.460" UserId="234" Text="I have a Room Ambience that I recorded in our Lobby that I tend to use on a lot of shows. In it is the sound of the studio phone ringing in the distance. Everytime I use that ambi and that phone is audible, I look over to see if the phone is ringing! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14378" PostHistoryTypeId="2" PostId="8609" RevisionGUID="64ed9e4d-d1c7-45a2-b61f-26cedf87705e" CreationDate="2011-06-10T17:31:32.853" UserId="542" Text="I`ve made some recordings with a condom-sealed microphone dipping into the foam caused by fizzy tablets...everytime I listen to them my stomach starts to feel sick really fast.&#xD;&#xA;When I was a kid we used to put several of those tablets in our mouth and try to hold it inside until the foam just swell out of our mouths. I guess this is why a start to feel sick =)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14379" PostHistoryTypeId="2" PostId="8610" RevisionGUID="acd46133-db9d-4db0-a78c-5fb780eefed1" CreationDate="2011-06-10T17:43:11.310" UserId="1139" Text="Anyone know of someone with a good London/British voice I could use for a late 19th century &#xD;&#xA;audio drama recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14380" PostHistoryTypeId="2" PostId="8611" RevisionGUID="f3024416-106a-4da6-b773-398a5b4c4101" CreationDate="2011-06-10T19:39:32.113" UserId="338" Text="That is probably one of the most common statements about Logic 9 is that the plugins are great.  Other than that people complain about the sound quality in my experience.  I always loved Space Designer but Logic and I got divorced awhile ago, when I found a new woman--Pro Tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="14381" PostHistoryTypeId="2" PostId="8612" RevisionGUID="38aac114-3001-43e8-8c33-58c06b3a2660" CreationDate="2011-06-11T04:51:59.927" UserId="1117" Text="Pistachios, is there anything they cant do?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14382" PostHistoryTypeId="2" PostId="8613" RevisionGUID="39ba7d6a-d2fa-41eb-8f42-6222f9311be9" CreationDate="2011-06-11T09:28:20.767" UserId="63" Text="I prefer Logic plugins for Sound Design cause I think they give a more &quot;flat&quot; processing. Waves I always thought give more musicality in their processing! &#xD;&#xA;&#xD;&#xA;Also Pro Tools plugins are awesome if you are good with the details!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14383" PostHistoryTypeId="5" PostId="8239" RevisionGUID="1aebfc97-e606-40aa-bdf7-42751908b54b" CreationDate="2011-06-11T09:42:12.827" UserDisplayName="user80" Comment="added 2 characters in body" Text="Wind up walking toys are great, especially when you layer them.  You get lovely high harmonics so they cope with being pitch shifted down really well. You can also overwind them in order to generate some extra clicks.&#xD;&#xA;&#xD;&#xA;[youtube]ZijZN1obiFk[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="14384" PostHistoryTypeId="2" PostId="8614" RevisionGUID="ac1e966e-ed53-482e-ab6e-4b8e79a38e0d" CreationDate="2011-06-11T12:06:20.103" UserId="1142" Text="I'm having trouble creating realistic punching sounds. Everything I try to create sounds really fake or nothing like a punch. Are there any suggestions as to how I can resolve my issue?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14385" PostHistoryTypeId="1" PostId="8614" RevisionGUID="ac1e966e-ed53-482e-ab6e-4b8e79a38e0d" CreationDate="2011-06-11T12:06:20.103" UserId="1142" Text="Trouble creating Punching SFX" ContentLicense="CC BY-SA 3.0" />
  <row Id="14386" PostHistoryTypeId="3" PostId="8614" RevisionGUID="ac1e966e-ed53-482e-ab6e-4b8e79a38e0d" CreationDate="2011-06-11T12:06:20.103" UserId="1142" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14387" PostHistoryTypeId="2" PostId="8615" RevisionGUID="e0771ecd-cb2d-494b-b348-9406add77adb" CreationDate="2011-06-11T13:26:22.663" UserId="103" Text="[youtube] 98MzNFKW_wk&amp;feature=player_embedded#at=28 [/youtube] &#xD;&#xA;from 1.30 on They go a little bit about how they made the punching sounds for fight club,&#xD;&#xA;they also used steaks but i couldn0t find the interview where that is mentioned&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14388" PostHistoryTypeId="12" PostId="8615" RevisionGUID="8fc9ae74-eb1b-4966-b74b-41e86504573f" CreationDate="2011-06-11T13:28:05.550" UserId="103" Text="[{&quot;Id&quot;:103,&quot;DisplayName&quot;:&quot;Filipe Chagas&quot;}]" />
  <row Id="14389" PostHistoryTypeId="2" PostId="8616" RevisionGUID="1b5e0968-f1ce-4c27-86dc-6d119e504ed5" CreationDate="2011-06-11T14:03:11.703" UserId="6420" Text="Are you using library sounds or recording them yourself? What do you mean by 'realistic' anyway? In real life a punch doesn't really sound like it does in the movies generally. If you're going for that hyper-real effect then you might want to try layering several sounds together. If you're recording them yourself try imagining the sound you're trying to get before you start. Perhaps recording slaps/punches on a leather coat, hitting some mattresses hard with a baseball bat  then layering some whip sounds and some impacts with bones/nuts/veg abuse etc. Some eq and compression will help bring out the forcefulness of it. That's if you're going for that kind of sound to begin with lol&#xD;&#xA;&#xD;&#xA;For a more 'realistic' sound just try recording yourself punching your palm or thighs! Again layer to taste. Mic choice/placement will be important too, as well as the room you record in!&#xD;&#xA;&#xD;&#xA;Hope that helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14390" PostHistoryTypeId="2" PostId="8617" RevisionGUID="4539fbe0-e486-4e10-8d28-ea0436cf5346" CreationDate="2011-06-11T15:12:59.347" UserDisplayName="user914" Text="Perhaps you are looking for the fabulous tools of Nicolas Fournel (http://www.nicolasfournel.com/) &#xD;&#xA; &#xD;&#xA;&#xD;&#xA;AudioPaint  (http://www.nicolasfournel.com/audiopaint.htm) Free download. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;WMidi       (http://www.nicolasfournel.com/wmidi.htm) Import a picture an personally redraw it with sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My personal approach would be to relate the frequency of the light to the sonic frequency.&#xD;&#xA;Therefor to start with the first audible and visible frequency. &#xD;&#xA;&#xD;&#xA;20 Hz -&gt; 379THz Red&#xD;&#xA;20.000 Hz-&gt;769 THz Violet&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14391" PostHistoryTypeId="12" PostId="8617" RevisionGUID="e2820421-7716-4fc1-b6d9-33eb3a9d1c5a" CreationDate="2011-06-11T15:13:11.227" UserDisplayName="user914" Text="[{&quot;Id&quot;:914,&quot;DisplayName&quot;:&quot;Jascha Viehl&quot;}]" />
  <row Id="14392" PostHistoryTypeId="5" PostId="8617" RevisionGUID="447738a7-c5e6-48a6-bec4-9b32bb652963" CreationDate="2011-06-11T15:24:32.510" UserDisplayName="user914" Comment="added 90 characters in body" Text="Perhaps you are looking for the free tools of Nicolas Fournel (http://www.nicolasfournel.com/)&#xD;&#xA;&#xD;&#xA;AudioPaint (http://www.nicolasfournel.com/audiopaint.htm) &#xD;&#xA;&#xD;&#xA;WMidi (http://www.nicolasfournel.com/wmidi.htm) Import a picture an personally redraw it with sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My personal approach would be to relate the frequency of the light to the sonic frequency. Therefore, start with the first audible and visible frequency.&#xD;&#xA;&#xD;&#xA;20 Hz -&gt; 379 THz Red &#xD;&#xA;&#xD;&#xA;And subdivide until the last audible and visible frequency.&#xD;&#xA;&#xD;&#xA;20.000 Hz-&gt; 769 THz Violet&#xD;&#xA;&#xD;&#xA;You just have to have the right tools for the analysis.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14393" PostHistoryTypeId="13" PostId="8617" RevisionGUID="48819023-0016-432c-b9e8-57f2744e1f3a" CreationDate="2011-06-11T15:25:10.090" UserDisplayName="user914" Text="[{&quot;Id&quot;:914,&quot;DisplayName&quot;:&quot;Jascha Viehl&quot;}]" />
  <row Id="14394" PostHistoryTypeId="5" PostId="8615" RevisionGUID="58746cf5-1ae7-4c20-a794-9e377adc19e8" CreationDate="2011-06-11T16:17:16.993" UserId="103" Comment="added 73 characters in body; added 54 characters in body" Text="[http://www.youtube.com/watch?v=98MzNFKW_wk&amp;feature=related][1]&#xD;&#xA;from 1.30 on They go a little bit about how they made the punching sounds for fight club,&#xD;&#xA;i heard somewhere&#xD;&#xA;&#xD;&#xA;and:&#xD;&#xA;[http://filmsound.org/studiosound/pp_fightclub.html][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=98MzNFKW_wk&amp;feature=related&#xD;&#xA;  [2]: http://filmsound.org/studiosound/pp_fightclub.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="14395" PostHistoryTypeId="13" PostId="8615" RevisionGUID="1d75097f-46c3-4303-821f-d40f631cc845" CreationDate="2011-06-11T16:18:30.140" UserId="103" Text="[{&quot;Id&quot;:103,&quot;DisplayName&quot;:&quot;Filipe Chagas&quot;}]" />
  <row Id="14396" PostHistoryTypeId="2" PostId="8618" RevisionGUID="e423abe1-ce7e-4773-8919-e5f7e470867f" CreationDate="2011-06-11T21:24:47.610" UserId="670" Text="Sometimes I layer in a snare drum, punching a garbage bag full of leaves, or slam a book onto the ground for some nice low end. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14397" PostHistoryTypeId="2" PostId="8619" RevisionGUID="5b1bf8e6-da9d-4fe1-acc2-251af25bc1fb" CreationDate="2011-06-11T21:42:58.203" UserId="6524" Text="I don't know if this is too late but is this sort of sound your looking for? (I'll make it downloadable if you want it) &#xD;&#xA;&#xD;&#xA;[soundcloud]stephensaldanha/machinery-metal-clings[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="14398" PostHistoryTypeId="2" PostId="8620" RevisionGUID="c1e7db7c-0532-4786-865e-15d28247eedc" CreationDate="2011-06-11T21:50:00.923" UserId="6524" Text="People might have noticed I keep linking SoundWorks videos, I'm sorry but this is pretty interesting I'm still a newbie myself so I can't really help out much but I hope it helps:&#xD;&#xA;&#xD;&#xA;[vimeo]18467267[/vimeo]" ContentLicense="CC BY-SA 3.0" />
  <row Id="14399" PostHistoryTypeId="2" PostId="8621" RevisionGUID="8924e172-f9e6-4d9c-ab7c-4d9ba5870f73" CreationDate="2011-06-11T22:16:00.807" UserId="1144" Text="I just got mine a month or so ago and am NOT impressed with it at all. It does not sound like anything special compared to any of my old video camera's audio, my hd cam's audio or even that much better than my kodak playsport's audio. The only decent way you can get audio out of it that is decent is if you are within 6 inches of your mouth, have a wind protector on it and have it on a boom pole just above the tip of your head maybe, otherwise holding it just below your chin. I am very dissapointed with this, very dissapointed. Plus the build quality is sickly cheapo plastic. You have been warned. Be prepared to buy some decent external mics if you want to get this because you will be wanting to use external mics after you hear the sound directly off this if you have to go further than 6 inches away from subject audio.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14400" PostHistoryTypeId="2" PostId="8622" RevisionGUID="7f115889-7828-4a17-820f-764029a2f25a" CreationDate="2011-06-11T22:48:52.323" UserDisplayName="user914" Text="I think there's no advice but some great examples of exaggerated, modern punching sfx&#xD;&#xA;&#xD;&#xA;At about 3:30 min&#xD;&#xA;&#xD;&#xA;&lt;iframe src=&quot;http://player.vimeo.com/video/9708450?byline=0&amp;amp;portrait=0&quot; width=&quot;400&quot; height=&quot;225&quot; frameborder=&quot;0&quot;&gt;&lt;/iframe&gt;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/9708450&quot;&gt;&quot;Watchmen&quot; Sound Panel&lt;/a&gt; from &lt;a href=&quot;http://vimeo.com/colemanfilm&quot;&gt;Michael Coleman&lt;/a&gt; on &lt;a href=&quot;http://vimeo.com&quot;&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14401" PostHistoryTypeId="5" PostId="8617" RevisionGUID="14c22a42-b22c-4377-a881-9a0abd1366c2" CreationDate="2011-06-11T22:51:04.613" UserDisplayName="user914" Comment="added 7 characters in body" Text="Perhaps you are looking for the free tools of Nicolas Fournel ( http://www.nicolasfournel.com/ )&#xD;&#xA;&#xD;&#xA;AudioPaint  ( http://www.nicolasfournel.com/audiopaint.htm ) &#xD;&#xA;&#xD;&#xA;WMidi ( http://www.nicolasfournel.com/wmidi.htm ) Import a picture an personally redraw it with sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My personal approach would be to relate the frequency of the light to the sonic frequency. Therefore, start with the first audible and visible frequency.&#xD;&#xA;&#xD;&#xA;20 Hz -&gt; 379 THz Red &#xD;&#xA;&#xD;&#xA;And subdivide until the last audible and visible frequency.&#xD;&#xA;&#xD;&#xA;20.000 Hz-&gt; 769 THz Violet&#xD;&#xA;&#xD;&#xA;You just have to have the right tools for the analysis.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14402" PostHistoryTypeId="2" PostId="8623" RevisionGUID="17be0393-19ae-4a10-bcdb-fa96de7dc003" CreationDate="2011-06-11T23:44:27.103" UserId="418" Text="I suppose it could really be anything. I've gotten everything from being paid per-sound, to per-megabyte, to per-minute, to a % cut of the final product. &#xD;&#xA;&#xD;&#xA;I run a shop distributing indie libraries of a specific format and I pay them 70/30 split of the gross, App Store style, which is the highest I've heard of so far. Makes the designers happy. These are full libraries though, not per-sound situations. &#xD;&#xA;&#xD;&#xA;Personally, I would request at least getting a credit for your work somehow in the final product. Depending on what the pay is and what the final product turns out like, that credit could be the most valuable part of the deal. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14403" PostHistoryTypeId="2" PostId="8624" RevisionGUID="62d993b2-b5fd-49c8-9f95-4ad26c6941c6" CreationDate="2011-06-12T00:03:09.393" UserId="418" Text="More obvious/concrete correlations between emotion and sounds can be drawn from specific notes, chords, etc. Minor chords, diminished chords, majors, etc. Just about any human with a &quot;normally&quot; functioning brain will glean similar emotions from those. &#xD;&#xA;&#xD;&#xA;As for the frequencies stuff, there are some studies out there but I think it's still a widely debated topic. Personally, I have played around with using some &quot;binaural beats&quot; during meditation (Yoga Nidra specifically) and found it seems to enhance things for me. Could be placebo of course. &#xD;&#xA;&#xD;&#xA;I've heard about some studies of the acoustic properties of ancient sacred places which I find quite fascinating. Stone Henge, the great pyramids, ancient temples, etc. There are theories that these spaces are designed with/for their specific resonant properties, and the effect of those properties on people. Neat stuff. &#xD;&#xA;&#xD;&#xA;Keep us posted on your project, sounds cool!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14404" PostHistoryTypeId="2" PostId="8625" RevisionGUID="a169b310-c472-44d5-85d3-87f06e298fd0" CreationDate="2011-06-12T00:10:26.977" UserId="418" Text="Vacuum cleaner, hands down. &#xD;&#xA;&#xD;&#xA;When I was a baby my mom discovered that whenever she vacuumed the house I would konk right out asleep. So obviously she used that as a sleeping pill for me all the time. If I was uppity or couldn't go down, she'd crank up the Hoover and I'd be out like a light. &#xD;&#xA;&#xD;&#xA;To this day, if I hear my wife vacuuming in the next room it will usually end up with her waking me up a short time later, in a pool of my own adult baby drool. :P" ContentLicense="CC BY-SA 3.0" />
  <row Id="14405" PostHistoryTypeId="2" PostId="8626" RevisionGUID="27229908-f0f6-4161-9c21-aeaebe074c2b" CreationDate="2011-06-12T00:21:37.847" UserId="418" Text="The night I came to view the apartment I live in now for the first time. It was dead quiet, found a parking spot right in front of the building, the previous tenant showing it to me had all of the windows open. My wife and I were commenting on how quiet it was for being so close to Queens boulevard. We handed over the first months rent on the spot! Well, that must have been a freak accident or something because since moving in I haven't slept a single night without earplugs in. Haven't found decent parking space since either. :P&#xD;&#xA;&#xD;&#xA;The blackout of 2003 was another good one. I can remember riding bikes around Brooklyn in the pitch dark, with celebratory frozen margaritas of course. We were the loudest things for 10 miles. &#xD;&#xA;&#xD;&#xA;This year we had a pretty powerful tornado rip right through my neighborhood in Queens, which is just weird on its own. Things were eerily quiet before and after that. &#xD;&#xA;&#xD;&#xA;And to echo David Rovin's comment about winter. This past one was pretty brutal and my whole neighborhood was pretty much encased in ice for two months straight. It was SUPER quiet, not even the sound of a single snowplow. &lt; If you lived here you'd appreciate that dig at Bloomberg and the city government. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14406" PostHistoryTypeId="2" PostId="8627" RevisionGUID="34f6009c-09a5-4d0b-9cfe-36f9ccb0654a" CreationDate="2011-06-12T00:51:00.543" UserId="418" Text="This may sound like a goofy question but I've ruined a fair number of quiet field recordings with my own nose.  Surely I can't be the only phonographer out there with a deviated septum. &#xD;&#xA;&#xD;&#xA;Does anyone here have any tips for dealing with the tin whistle permanently affixed to the front of my face? I just spent an entire afternoon breathing with my mouth open catching flies. How do you deal with this? Do I just shove some cotton balls up there and call it good?&#xD;&#xA;&#xD;&#xA;On a perhaps more globally useful tip; How do you deal with them when they are the product of someone else's nose as well?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14407" PostHistoryTypeId="1" PostId="8627" RevisionGUID="34f6009c-09a5-4d0b-9cfe-36f9ccb0654a" CreationDate="2011-06-12T00:51:00.543" UserId="418" Text="Dealing with Nose Whistles" ContentLicense="CC BY-SA 3.0" />
  <row Id="14408" PostHistoryTypeId="3" PostId="8627" RevisionGUID="34f6009c-09a5-4d0b-9cfe-36f9ccb0654a" CreationDate="2011-06-12T00:51:00.543" UserId="418" Text="&lt;breathing&gt;&lt;field-recording&gt;&lt;quiet&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14409" PostHistoryTypeId="5" PostId="8627" RevisionGUID="c1165bc9-5f32-4a94-a5f1-3dcfae590356" CreationDate="2011-06-12T00:58:50.217" UserId="418" Comment="added 54 characters in body" Text="This may sound like a goofy question but I've ruined a fair number of quiet field recordings with my own nose.  Surely I can't be the only phonographer out there with a deviated septum. &#xD;&#xA;&#xD;&#xA;Does anyone here have any tips for dealing with the tin whistle permanently affixed to the front of my face? I just spent an entire afternoon breathing with my mouth open catching flies and now my throat is killing me. How do you deal with this? Do I just shove some cotton balls up there, drink a lot of water and call it good?&#xD;&#xA;&#xD;&#xA;On a perhaps more globally useful tip; How do you deal with them when they are the product of someone else's nose as well?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14410" PostHistoryTypeId="2" PostId="8628" RevisionGUID="d749d84a-0360-4ab7-8449-c1ebdc652d4a" CreationDate="2011-06-12T01:49:05.843" UserDisplayName="user49" Text="&quot;creating realistic punching sounds&quot;&#xD;&#xA;&#xD;&#xA;Your question is too vague to answer, punching what exactly? A punch to the chest will sound different to a punch to the arm, which will sound different to a punch to the head. And a punch to the head will sound different depending where on the head it lands eg a cheek hit will sound different again if that punch also connects through to cartiledge in the nose, or to the jaw, and whether teeth are broken etc. You need to analyse exactly what is happening, and then work on the layers with microscopic attention to sync &amp; timing of different elements...&#xD;&#xA;&#xD;&#xA;If you want it to be truly realistic, go to a karate club and ask someone to perform punches on various body parts and listen. You'll possibly be surprised how it sounds 'realistically'" ContentLicense="CC BY-SA 3.0" />
  <row Id="14411" PostHistoryTypeId="2" PostId="8629" RevisionGUID="3c001c20-eb3f-4a2f-bfa8-ece0ce67737a" CreationDate="2011-06-12T01:53:18.223" UserDisplayName="user49" Text="I personally would never sell sounds under a buy out scenario, and have turned down deals where that was the only option offered. Unless you have an urgent need for cash there is little to be gained from a buy-out. Demand a percentage forever more, simply because good useable well recorded high resolution sounds will retain their value indefinitely. The person offering the buy out knows this &amp; is hoping you do not." ContentLicense="CC BY-SA 3.0" />
  <row Id="14412" PostHistoryTypeId="2" PostId="8630" RevisionGUID="00890ed2-f43c-409a-be5c-89b01de91199" CreationDate="2011-06-12T13:46:19.430" UserId="234" Text="Breathe Right strips have helped me... along with Yoga... proper breathing techniques can help you breathe much quieter. Oh and for really quiet foley/fx I've learned to hold my breath for a minute or so. Almost all my recordings end with a large gasp after the sound is done! :) (obviously edited out).&#xD;&#xA;&#xD;&#xA;For atmosphere's etc (really long sounds) - get as far away from the mics as you can. As far as dealing with them when there already there - Editing (just remove them), EQ and Izotope RX Spectal in that order...&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="14413" PostHistoryTypeId="2" PostId="8631" RevisionGUID="f96741f8-6d6f-4b40-b057-30151220ddad" CreationDate="2011-06-12T14:48:52.937" UserId="1056" Text="Hi there!&#xD;&#xA;&#xD;&#xA;I what exactly is the problem? As a pornographer, I'm sure you know that once they add that wah-wah and all the other heavy breathing... er, I mean ADR, it probably won't be noticeable anyway. Sorry, I couldn't resist ;-)&#xD;&#xA;&#xD;&#xA;Actually, your question caught my attention because of your use of the word &quot;phonographer&quot;. Due to the nature of the work that I do (audio-visual archiving), it actually has quite a different connotation although, to be fair, it is not a word I have heard in a very long time. Anyway, I did a bit of research and my understanding is that, in your case, it refers to someone that specialises in recording the sounds of nature.&#xD;&#xA;&#xD;&#xA;I hope I am not stating the obvious, but perhaps you need to re-evaluate your mic selection and try to find mics that are suitable for your application, but also have good rejection properties." ContentLicense="CC BY-SA 3.0" />
  <row Id="14414" PostHistoryTypeId="2" PostId="8632" RevisionGUID="6a3c90f0-5530-4463-bf5d-238a1ca8ab85" CreationDate="2011-06-12T15:36:44.183" UserId="1145" Text="Hi all, I'm the new kid on the block :)&#xD;&#xA;I kept coming to this site whenever i was googling something i was wondering about and &#xD;&#xA;i'm so glad to have found this place. What a great resource!&#xD;&#xA;I'm sure i'll be asking a lot of stupid questions in the future, but i'll start with a tip:&#xD;&#xA;&#xD;&#xA;When i don't want to bring anything else but my H4n i put in the[Duet Carrying Case][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://store.apogeedigital.com/accessories.php&#xD;&#xA;Bought it for my traveling sound card when i'm playing live, but found it to be perfect&#xD;&#xA;for the recorder too. There is also enough space for extra memory, batteries and the Rycote's portable Recorder Audio Kit etc. To small for headphones though...&#xD;&#xA;&#xD;&#xA;Check it out,&#xD;&#xA;Tommy" ContentLicense="CC BY-SA 3.0" />
  <row Id="14415" PostHistoryTypeId="2" PostId="8633" RevisionGUID="f2221de9-f6f8-4ebc-a7a4-b4f00fcf2480" CreationDate="2011-06-12T19:02:46.537" UserId="1090" Text="I have a bit of light Tinnitus. Tinnitus has many variations, the most ordinary one being an audible beep, and another is that the ear recreates sounds that you hear or heard often. I have that variation. Whenever I hear a long kinda loud tone, like the tone of an organ or a sine wave, I always hear the wall clock of my parents house ticking... kinda spooky. And the weirdest part is that it's the clock sound I remember! I recall once I was trying to create a drone of some kind for a movie. And I couldn't focus on the sound I was creating cause I kept hearing the clock.&#xD;&#xA;&#xD;&#xA;And that sound always brings me back to drinking chocolate milk and having sandwiches in my parent's house. &#xD;&#xA;&#xD;&#xA;And I never put drones in my films :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14416" PostHistoryTypeId="2" PostId="8634" RevisionGUID="92233aed-3d4f-4ffa-bae2-132a51420da3" CreationDate="2011-06-12T19:04:57.167" UserId="1090" Text="Aaton website also has a lot of images of sound recordist using their Cantar-X recorder. &#xD;&#xA;&#xD;&#xA;http://www.aaton.com/gallery/on-location&#xD;&#xA;&#xD;&#xA;Some pretty nice rigs in there as well :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14417" PostHistoryTypeId="5" PostId="5171" RevisionGUID="583ae115-2255-4e58-8c6f-5baf32c61e85" CreationDate="2011-06-12T22:50:17.697" UserId="219" Comment="updated link" Text="A steam train pass-by!&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/justin-huss/steam-train-pass-by-1 :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14418" PostHistoryTypeId="2" PostId="8635" RevisionGUID="27d6752c-2800-41da-a43d-7c3309783211" CreationDate="2011-06-13T11:22:01.183" UserId="1147" Text="I soon have a filmproject and a have a problem with the equipment i have rented. Now, when i'm to close to electrical devices like a laptop, tv or even the ceiling lights, i get an electrical hum.&#xD;&#xA;&#xD;&#xA;I never noticed this problem with other gear. I'm now using an edirol r44 field recorder and an sennheiser me66 shotgun mic.&#xD;&#xA;&#xD;&#xA;Does anyone recognize this problem and knows what it can be?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14419" PostHistoryTypeId="1" PostId="8635" RevisionGUID="27d6752c-2800-41da-a43d-7c3309783211" CreationDate="2011-06-13T11:22:01.183" UserId="1147" Text="Hum/noise near electrical devices on the set" ContentLicense="CC BY-SA 3.0" />
  <row Id="14420" PostHistoryTypeId="3" PostId="8635" RevisionGUID="27d6752c-2800-41da-a43d-7c3309783211" CreationDate="2011-06-13T11:22:01.183" UserId="1147" Text="&lt;field-recording&gt;&lt;noise&gt;&lt;hum&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14421" PostHistoryTypeId="2" PostId="8636" RevisionGUID="dcf0afbb-0908-4ba3-a277-482e8fdb5604" CreationDate="2011-06-13T13:06:57.097" UserDisplayName="user80" Text="Have you swapped the mic cable yet?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14422" PostHistoryTypeId="2" PostId="8637" RevisionGUID="d4d5a2b1-a261-4346-8131-f426d357319c" CreationDate="2011-06-13T13:34:26.813" UserId="220" Text="Is it a 60Hz kind of hum?&#xD;&#xA;&#xD;&#xA;Go through these steps to determine the problem (listen after each adjustment):&#xD;&#xA;&#xD;&#xA;-Change or remove batteries from the ME66 mic.  I've had problems with my mics that have a AA battery in them acting strangely when it is low on power.&#xD;&#xA;&#xD;&#xA;-Remove the microphone completely from the mix and just listen with a cable and the recorder only.&#xD;&#xA;&#xD;&#xA;-If you have the Edirol plugged in to the wall, make sure you go off of batteries only.&#xD;&#xA;Double check your phantom-power settings.&#xD;&#xA;&#xD;&#xA;-Replace the cable with something like Star-Quad for extra shielding.  Replace the cable any way - crack open the connectors to make sure there everything is soldered down right. &#xD;&#xA;&#xD;&#xA;If all else fails, take some copper braid, affix it to an anti-static wrist-band, and see if you can drain out the ground into your body.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14423" PostHistoryTypeId="2" PostId="8638" RevisionGUID="bdcf99b3-7c7f-4bf6-8e34-37ca5ff7f6b8" CreationDate="2011-06-13T14:08:17.503" UserId="6487" Text="I agree with Tim.  I would go to a martial arts studio and get body impact sounds.  Nothing beats the sounds of hits to a real body. That being said, I would probably still enhance those sounds with some of the following. &#xD;&#xA;&#xD;&#xA;I have faked it with a mixture melon hits for head impacts (a soft overripe honeydew) and chest hits(large watermelon), low LFE bursts, clothing rustle and body movement recordings, and some grunts and forceful exhales from my co-workers.  Hitting a thick steak or leg of lamb can do the trick too.  (If you use rubber gloves, you can have a celebratory BBQ later. Woo hoo!)&#xD;&#xA;&#xD;&#xA;Have fun.  The trick is timing and layering. Now back to today's knife slash sounds...." ContentLicense="CC BY-SA 3.0" />
  <row Id="14424" PostHistoryTypeId="2" PostId="8639" RevisionGUID="4bc7bb53-4f5d-4fd0-b445-50f0efa7bd36" CreationDate="2011-06-13T15:47:46.200" UserId="6462" Text="+ 1 on the use of StarQuad cable, I use it for all of my cables. I also make up all of my cables, I find that the reliability of my own cables is higher than that of ones I have bought. I have found in the past that bought cables have not been wired correctly and some have not got the ground connected, ridiculous I know but trust me, it happens. Get handy with a soldering iron!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14425" PostHistoryTypeId="2" PostId="8640" RevisionGUID="b08f0fd6-cc56-40b9-911b-14c5592a6d62" CreationDate="2011-06-13T19:43:02.890" UserId="1066" Text="Thnx! I'm going to try does steps. I'll let you know what my foundings are!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14426" PostHistoryTypeId="2" PostId="8641" RevisionGUID="2cdc9a26-a628-4097-ade9-50a2f2771cfb" CreationDate="2011-06-13T20:30:45.750" UserId="338" Text="I was just wondering this because I got an OMF that is 18 tracks long and am organizing it.  &#xD;&#xA;DX&#xD;&#xA;PFX&#xD;&#xA;Foley&#xD;&#xA;ADR&#xD;&#xA;&#xD;&#xA;SFX?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14427" PostHistoryTypeId="1" PostId="8641" RevisionGUID="2cdc9a26-a628-4097-ade9-50a2f2771cfb" CreationDate="2011-06-13T20:30:45.750" UserId="338" Text="How do you organize sessions after importing the OMF?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14428" PostHistoryTypeId="3" PostId="8641" RevisionGUID="2cdc9a26-a628-4097-ade9-50a2f2771cfb" CreationDate="2011-06-13T20:30:45.750" UserId="338" Text="&lt;organize&gt;&lt;omf&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14429" PostHistoryTypeId="2" PostId="8642" RevisionGUID="2ebf8aef-228b-4ba7-b8de-bfc18f4b7e5b" CreationDate="2011-06-13T21:42:53.683" UserId="338" Text="If you could choose noise reduction or ADR.  What would you choose? (Poll)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14430" PostHistoryTypeId="1" PostId="8642" RevisionGUID="2ebf8aef-228b-4ba7-b8de-bfc18f4b7e5b" CreationDate="2011-06-13T21:42:53.683" UserId="338" Text="If you could choose noise reduction or ADR.  What would you choose? (Poll)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14431" PostHistoryTypeId="3" PostId="8642" RevisionGUID="2ebf8aef-228b-4ba7-b8de-bfc18f4b7e5b" CreationDate="2011-06-13T21:42:53.683" UserId="338" Text="&lt;adr&gt;&lt;noise&gt;&lt;reduction&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14432" PostHistoryTypeId="2" PostId="8643" RevisionGUID="05191ca3-42d1-46f0-9ffc-7061f9e80a41" CreationDate="2011-06-13T21:55:53.290" UserId="315" Text="That all depends on the actor and their performance.&#xD;&#xA;&#xD;&#xA;Noise reduction if the actor's performance on set is excellent. &#xD;&#xA;&#xD;&#xA;ADR if the actor's performance is fair but needs some help. Perhaps they can nail it in the studio.&#xD;&#xA;&#xD;&#xA;It's a Catch-22 if the actor is bad. They probably can't perform any better in the studio than they did on the set (probably worse considering they're paying attention to sync and not in the moment anymore); but why go to great lengths to clean up traffic noise out of a bad performance.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14433" PostHistoryTypeId="2" PostId="8644" RevisionGUID="35cf2dcc-07d7-4ef1-ba48-0344964e3a99" CreationDate="2011-06-13T22:00:50.093" UserId="1035" Text="Is this an OMF from Avid/other film editing program or from Pro Tools? Basically, I'm wondering if stuff like Foley and other proper FX editing has been done already, or if you just have temp SFX put in by the film editor. &#xD;&#xA;&#xD;&#xA;Normally I'll create a max of 8 DX tracks to start (DIALA-DIALH), a PFX track (multiple if there's a lot of them), ADR tracks (depends how much ADR there is), and an XDIAL track (for lines that are going to be ADR'd but need to stay in the session for reference). &#xD;&#xA;&#xD;&#xA;If it's not done already, make sure you split up your dialogue by angle (unless the mixer specifically requests otherwise) and try to stagger by scene. Scene 1 might use DIALA-D. Start scene 2 on DIALE. This also makes it easier in the mix. Something similar should be done with FX if you've received those. I normally keep my BGs and hard FX separate in differently color coded sections. BGs will frequently have both stereo and mono tracks, generally hard FX should only be mono. &#xD;&#xA;&#xD;&#xA;I'll always try to group in 4, 8 or 16. This is mostly because I and many others I work with, only have a limited number of faders available to us. We generally have to bank around while mixing. Grouping in these numbers can make things faster. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14434" PostHistoryTypeId="5" PostId="8643" RevisionGUID="49fadd03-f63f-4fc6-b2d3-f5facefafb04" CreationDate="2011-06-13T22:06:30.513" UserId="315" Comment="added 49 characters in body" Text="That all depends on the actor and their performance.&#xD;&#xA;&#xD;&#xA;Noise reduction if the actor's performance on set is excellent and the dialog isn't too far gone. &#xD;&#xA;&#xD;&#xA;ADR if the actor's performance is fair but needs some help. Perhaps they can nail it in the studio.&#xD;&#xA;&#xD;&#xA;It's a Catch-22 if the actor is bad. They probably can't perform any better in the studio than they did on the set (probably worse considering they're paying attention to sync and not in the moment anymore); on the other hand, why go to great lengths to clean up traffic noise out of a bad performance.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14435" PostHistoryTypeId="2" PostId="8645" RevisionGUID="cc4e23dd-acb5-4739-9a03-7c177131dcb8" CreationDate="2011-06-13T22:31:10.893" UserId="1035" Text="Generally speaking, noise reduction. There's a limit, of course, but I do a lot of student and indie film work, and on this level it's one thing to have a good actor, it's another to have a good actor that can also pull off good ADR. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14436" PostHistoryTypeId="2" PostId="8646" RevisionGUID="6db1c166-d59e-453e-b87f-8e9f3ae9fe5c" CreationDate="2011-06-13T22:37:44.093" UserId="338" Text="I think maybe there are several possibilities.  &#xD;&#xA;1)Foley plus lots of processing&#xD;&#xA;2)Realistic sounds from a martial arts studio&#xD;&#xA;3)Solid foley&#xD;&#xA;4)Contact the picture editor and ask him to put batman style POW'S and CRACKS IN.  &#xD;&#xA;5)Orchestral stingers" ContentLicense="CC BY-SA 3.0" />
  <row Id="14437" PostHistoryTypeId="2" PostId="8647" RevisionGUID="12a55cec-5dcf-408e-97b1-4cd2e973044f" CreationDate="2011-06-14T01:39:08.503" UserId="1150" Text="i am working on a series that is 100% adr. The series is in the style of a 1960s dubbed film and have been asked to process the dialogue so that it reflects those times. My reference film in terms of the tone of the dialogue is 'where eagles dare'. Any suggestions thoughts or links i would welcome. Have tried the kings microphones but i am more interested in sculpting the tone rather than set and forget." ContentLicense="CC BY-SA 3.0" />
  <row Id="14438" PostHistoryTypeId="1" PostId="8647" RevisionGUID="12a55cec-5dcf-408e-97b1-4cd2e973044f" CreationDate="2011-06-14T01:39:08.503" UserId="1150" Text="recreating the dialogue sounds of the 60s" ContentLicense="CC BY-SA 3.0" />
  <row Id="14439" PostHistoryTypeId="3" PostId="8647" RevisionGUID="12a55cec-5dcf-408e-97b1-4cd2e973044f" CreationDate="2011-06-14T01:39:08.503" UserId="1150" Text="&lt;a&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14440" PostHistoryTypeId="2" PostId="8648" RevisionGUID="e8b0c2a4-5153-41dd-a007-87728984f710" CreationDate="2011-06-14T02:13:50.573" UserId="845" Text="Perry Mason is a great reference point.  It's actually a fantastic case study in the progress of audio recording technology.  You're probably going to want to check out anything from seasons 7-10.  For the time it's probably some of the period's best quality recording, at least that I've seen.&#xD;&#xA;&#xD;&#xA;For tone shaping, try the AIR Vintage Filter in PT 8 or 9.  If you can get past the slow load time and the ugly interface, it's really quite fantastic.  Import a section of your reference film and then tone-match from there." ContentLicense="CC BY-SA 3.0" />
  <row Id="14441" PostHistoryTypeId="6" PostId="8647" RevisionGUID="784b9404-4dd3-436d-97ce-c87945d549eb" CreationDate="2011-06-14T07:31:18.327" UserId="2" Comment="edited tags" Text="&lt;adr&gt;&lt;dialogue&gt;&lt;vintage&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14442" PostHistoryTypeId="2" PostId="8649" RevisionGUID="cabae913-774f-4296-875c-ba31b9e745d6" CreationDate="2011-06-14T10:19:07.767" UserId="103" Text="Do you have access to a nagra? you could run the dialog trough tape&#xD;&#xA;to give it that kind of feel" ContentLicense="CC BY-SA 3.0" />
  <row Id="14443" PostHistoryTypeId="2" PostId="8650" RevisionGUID="3d7190fe-a4f2-450d-a03c-cf32b1aed19e" CreationDate="2011-06-14T12:10:55.090" UserId="202" Text="Ciao&#xD;&#xA;&#xD;&#xA;I usually create a new session, import the omf, lock the regions (to prevent any unwanted edits) and deactivate the tracks.&#xD;&#xA;Than import from my template for dialogue editing the tracks I need. &#xD;&#xA;&#xD;&#xA;I have 4 work tracks on top (to open regions, copy and pasting, etc.; nothing in his tracks is going to the mix, only temporary works). &#xD;&#xA;&#xD;&#xA;Then, 1 or 2 tracks with elastic audio switched on ( where I can stretch and try things; again, these are only work tracks, when I'm ok with the time stretch/edits I consolidate to an edit track)&#xD;&#xA;&#xD;&#xA;12 to 16 edit tracks for production dialogue, where I do all the editing. I usually grab a scene from the inactive tracks with the omf and then start to work on it. Other times I transfer all the OMF to these tracks, it really depends on the project and on the time I have.&#xD;&#xA;The last few tracks are usually reserved for processing (radio fx, tv fx, special)&#xD;&#xA;&#xD;&#xA;Then 4 PFX track for Fx coming from the Production sound that I usually share and export, after the first editing pass, to the sfx team. (so they can work on the same fx and know what I'm doing before going to the mixing stage) &#xD;&#xA;&#xD;&#xA;4 (or more) trash tracks (inactive), where I can store things that I don't want in the timeline but I still want to have at hand when mixing.&#xD;&#xA;&#xD;&#xA;In the end, tracks for ADR (8 or more) reserved for, evidently, ADR: usually one for character.&#xD;&#xA;&#xD;&#xA;All the tracks are color coded. All the tracks have the trim plugin active and usually I have a send to a denoise chain, for complex denoises. That bus is recorded on a new track. I usually have other plugins deactivated but ready to use. I try things in realtime and than print with the audiosuite.&#xD;&#xA;&#xD;&#xA;I drop all the sfx and music that I found in the OMF (or split to separate hidden inactive tracks).&#xD;&#xA;&#xD;&#xA;I start with this setup; if I need to have sfx or foley in the same session (like in a small budget doc), I import other tracks, for sound fx editing (mono and stereo), grouped in stems.&#xD;&#xA;&#xD;&#xA;Look at this book [Dialogue Editing for Motion Pictures: A Guide to the Invisible Art][1]: I took most of my workflow from there and it's a great and informative reading.&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Davide&#xD;&#xA;  [1]: http://www.amazon.com/Dialogue-Editing-Motion-Pictures-Invisible/dp/0240809181/ref=sr_1_1?ie=UTF8&amp;qid=1308052687&amp;sr=8-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14444" PostHistoryTypeId="5" PostId="8650" RevisionGUID="5b10e6b1-afc7-42af-8b17-9562789ab9a2" CreationDate="2011-06-14T13:13:27.347" UserId="202" Comment="added 2 characters in body" Text="Ciao&#xD;&#xA;&#xD;&#xA;I usually create a new session, import the omf, lock the regions (to prevent any unwanted edits) and deactivate those tracks.&#xD;&#xA;Than import from my template for dialogue editing the tracks I need. &#xD;&#xA;&#xD;&#xA;I have 4 work tracks on top (to open regions, copy and pasting, etc.; nothing in his tracks is going to the mix, only temporary works). &#xD;&#xA;&#xD;&#xA;Then, 1 or 2 tracks with elastic audio switched on ( where I can stretch and try things; again, these are only work tracks, when I'm ok with the time stretch/edits I consolidate to an edit track)&#xD;&#xA;&#xD;&#xA;12 to 16 edit tracks for production dialogue, where I do all the editing. I usually grab a scene from the inactive tracks with the omf and then start to work on it. Other times I transfer all the OMF to these tracks, it really depends on the project and on the time I have.&#xD;&#xA;The last few tracks are usually reserved for processing (radio fx, tv fx, special)&#xD;&#xA;&#xD;&#xA;Then 4 PFX track for Fx coming from the Production sound that I usually share and export, after the first editing pass, to the sfx team. (so they can work on the same fx and know what I'm doing before going to the mixing stage) &#xD;&#xA;&#xD;&#xA;4 (or more) trash tracks (inactive), where I can store things that I don't want in the timeline but I still want to have at hand when mixing.&#xD;&#xA;&#xD;&#xA;In the end, tracks for ADR (8 or more) reserved for, evidently, ADR: usually one for character.&#xD;&#xA;&#xD;&#xA;All the tracks are color coded. All the tracks have the trim plugin active and usually I have a send to a denoise chain, for complex denoises. That bus is recorded on a new track. I usually have other plugins deactivated but ready to use. I try things in realtime and than print with the audiosuite.&#xD;&#xA;&#xD;&#xA;I drop all the sfx and music that I found in the OMF (or split to separate hidden inactive tracks).&#xD;&#xA;&#xD;&#xA;I start with this setup; if I need to have sfx or foley in the same session (like in a small budget doc), I import other tracks, for sound fx editing (mono and stereo), grouped in stems.&#xD;&#xA;&#xD;&#xA;Look at this book [Dialogue Editing for Motion Pictures: A Guide to the Invisible Art][1]: I took most of my workflow from there and it's a great and informative reading.&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Davide&#xD;&#xA;  [1]: http://www.amazon.com/Dialogue-Editing-Motion-Pictures-Invisible/dp/0240809181/ref=sr_1_1?ie=UTF8&amp;qid=1308052687&amp;sr=8-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="14445" PostHistoryTypeId="2" PostId="8651" RevisionGUID="c11c0e39-e41c-492c-b624-877c0e8bd8a7" CreationDate="2011-06-14T14:20:49.820" UserId="194" Text="Interesting to compare workflows on this. &#xD;&#xA;&#xD;&#xA;I typically open the omf directly (not into a template) and retaining volume rides as well as converting clip based gain to automation.  I then do a session save as &quot;project-version-sorted-date&quot;. This preserves my original omf in an easily accessible session in someone needs to get back to it later. &#xD;&#xA;&#xD;&#xA;From within the &quot;sorted&quot; session I break into &#xD;&#xA;Vo 1&#xD;&#xA;Dx1-8&#xD;&#xA;Pfx1-4&#xD;&#xA;Ref mono fx 1-4&#xD;&#xA;Ref st fx 1-4&#xD;&#xA;Music 1-4&#xD;&#xA;&#xD;&#xA;I also import the QuickTime of the film into the session, set it at the appropriate spot, and then make sure the framerate and session start time are set appropriately. &#xD;&#xA;&#xD;&#xA;Sometimes I'll route the vo, dx and pfx tracks down to a print track through a compressor and print a sync ref track right away as well (project dependent).&#xD;&#xA;&#xD;&#xA;Sometimes I'll go through and with region groups I'll mark the scene boundaries in a track. This makes bgfx editing go much faster later on, and is useful in dx editing as well. &#xD;&#xA;&#xD;&#xA;From the sorted session I can then import the sync ref and ref sfx tracks into my sound design template and get to work. &#xD;&#xA;&#xD;&#xA;Whoever is editing bgfx will import what he needs into a bgfx track and work that separately. &#xD;&#xA;&#xD;&#xA;Our dialog editor improrts the vo, dx, and Pfx tracks into his dialogue template and works on that separately. &#xD;&#xA;&#xD;&#xA;Whoever is spotting ADR (often that's me) will also import just the sync ref track into an ADR spotting session and work that separately as well. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14446" PostHistoryTypeId="2" PostId="8652" RevisionGUID="4e4f3c71-61b5-477c-b4b8-dac3d1bcf1c1" CreationDate="2011-06-14T15:34:11.477" UserId="132" Text="And just to add to what @timeprebble said.  I would never do anything for a buy out unless it would buy me a house which is never going to happen. Get a percentage of the sales and make sure you are licensing the sounds to them. It is very important that you retain ownership of your work. You are licensing to them to sell, not buy. You should also try and make it non-exlusive so if you so choose you can sell it elsewhere. That might be a sticking point for the licensor, but you can negotiate. If the licensor wants exclusive rights for a set amount of time (say 3 years) then ask for a higher percentage. You'll be in the best position to negotiate if you are willing to walk away." ContentLicense="CC BY-SA 3.0" />
  <row Id="14447" PostHistoryTypeId="2" PostId="8653" RevisionGUID="94ec8e92-1120-444d-b8cf-b68c8abff81d" CreationDate="2011-06-14T15:40:44.567" UserId="1131" Text="There have been some great ideas already but I thought I'd throw in my 2 cents. Something I thought about but haven't tried myself is to use the old baseball card in bicycle spokes technique. Replace the baseball card with any other object in order to get the tone that you want and you can &quot;pitch shift&quot; with the placement of object on the spokes. Maybe something like hard plastic will work well." ContentLicense="CC BY-SA 3.0" />
  <row Id="14448" PostHistoryTypeId="2" PostId="8654" RevisionGUID="bd267692-72e0-4c36-a67b-2eeb42c850a8" CreationDate="2011-06-14T16:09:56.173" UserId="338" Text="Is it worth working for free?&#xD;&#xA;I have worked on a few shorts and done some sound design, learning my chops and the things I have done are well received by people.  A director asked me awhile ago to work on his first feature film.  He is an award winning director and I have been working with him for his last two shorts, plus he has a masters in screenwriting.  Last time I checked, there was no budget for post-production sound/design.  I am pretty sure that I don't want to take on the responsibility of a feature film for free.  On the other hand, judging from his track record, it may be worth it to make a name for myself and get myself out there.  Some people say, &quot;yeah, work for free,&quot; and other people especially game sound designers determinedly say &quot;never work for free.&quot;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14449" PostHistoryTypeId="1" PostId="8654" RevisionGUID="bd267692-72e0-4c36-a67b-2eeb42c850a8" CreationDate="2011-06-14T16:09:56.173" UserId="338" Text="Is it worth working for free?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14450" PostHistoryTypeId="3" PostId="8654" RevisionGUID="bd267692-72e0-4c36-a67b-2eeb42c850a8" CreationDate="2011-06-14T16:09:56.173" UserId="338" Text="&lt;networking&gt;&lt;feature&gt;&lt;post-production&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14451" PostHistoryTypeId="2" PostId="8655" RevisionGUID="a30a1922-932d-4ce3-a8cd-f9629f50e869" CreationDate="2011-06-14T16:11:46.000" UserId="315" Text="Some things to experiment with:&#xD;&#xA;&#xD;&#xA;Using a ribbon mic to record the dialog. &#xD;&#xA;&#xD;&#xA;Re-recording the dialog to optical film (will yield the best results). &#xD;&#xA;&#xD;&#xA;Re-recording the dialog to 1/2 inch, 1/4 inch, cassete or VHS tape. &#xD;&#xA;&#xD;&#xA;Tape saturation plug-ins. &#xD;&#xA;&#xD;&#xA;Speakerphone.&#xD;&#xA;&#xD;&#xA;Izotope Vinyl. &#xD;&#xA;&#xD;&#xA;Notch EQ. &#xD;&#xA;&#xD;&#xA;Adding various optical noise under the dialog.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14452" PostHistoryTypeId="2" PostId="8656" RevisionGUID="6240be84-45c3-439d-8bbd-70cbd9116193" CreationDate="2011-06-14T16:30:39.713" UserId="315" Text="When starting out I worked for free. But only on shorts, and only one gratis per director. I would never do a feature for free, even if there's a so-called back-end. It's just too much time to give someone.&#xD;&#xA;&#xD;&#xA;The goal of working for free is to make connections and get your chops up to a point where you feel confident charging for your services. Besides, if you work for free for someone multiple times, you'll be known to them as &quot;the free guy.&quot; It ultimately cheapens their opinion of your skills." ContentLicense="CC BY-SA 3.0" />
  <row Id="14453" PostHistoryTypeId="2" PostId="8657" RevisionGUID="ef4a7081-7a25-4b5a-983e-0bd4694275a9" CreationDate="2011-06-14T17:28:59.880" UserId="285" Text="I rarely have ever worked for free, but on the occasions I have it has been for atleast one of the following reasons:&#xD;&#xA;&#xD;&#xA;For a friend trying to get a start.  Helping friends is always a good thing, they will normally come back around to help you out later, be it with work or simply helping you move.&#xD;&#xA;&#xD;&#xA;A project I really believe in.  Sometimes something comes along that is a genuine and great project, something that is simply not out there and needs to be.  I have helped a few documentaries get finished because I thought they had a really special point of view and people needed to see it, so I helped it along and get finished.&#xD;&#xA;&#xD;&#xA;Finally if it is something very different then you normally do and you want to sharpen your skill set before you jump in charging full rates.  This is a very rare set of circumstances.&#xD;&#xA;&#xD;&#xA;The thing about free work is it is normally the most difficult.  Deadlines are never met, because people are squeezing it in between paying gigs.  Steps get overlooked because people are not putting the proper focus on it or do not have the experience needed.  By the time the project gets to audio post, normally one of the last stages, things can be a total disaster.  Don't fall for the selling point when they say that it will be a simple job, free ones are almost always much more time consuming then paying jobs. You will spend as much time problem solving as actually doing audio work.  Also since your time is not related to a monetary value you can often get taken advantage of with wasted time waiting for things/people to arrive.&#xD;&#xA;&#xD;&#xA;In the end you have to decide if you are getting enough out of it to make it worth your while.  In my experience it is very rare that it is a good trade off.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="14454" PostHistoryTypeId="2" PostId="8658" RevisionGUID="6a9a6aaa-261d-4751-877c-8eab737cd140" CreationDate="2011-06-14T18:26:48.483" UserId="142" Text="I think its becoming quite a joke now how many producers and directors expect sound done for free. There are a few valid exceptions mentioned here by others, if I were a student I may consider it or for a friend or charity. I sometimes work on student films and will always give a reduced rate but working for free is in 95% of cases taking the piss. The amount of directors who are willing to fork out for a DOP or hire amazing cameras but offer us only food and drink on set whilst expecting you to bring thousands of pounds worth of equipment along and work for zilch astounds me. I wonder how many plumbers or electricians work for free even when they are learning the trade. The more people do it, the more it becomes acceptable." ContentLicense="CC BY-SA 3.0" />
  <row Id="14455" PostHistoryTypeId="2" PostId="8659" RevisionGUID="baf78a31-3c41-426a-85f8-02c91d1c5c47" CreationDate="2011-06-14T18:29:53.660" UserId="1131" Text="I'm in a similar boat right now. I recently moved to a different state and am trying to make new connections so I agreed to take on the role of re-recording mixer for a sci-fi, feature length, action flick gratis. I'm slowly discovering as others have said that the free projects are more difficult to work on than the regular ones. &#xD;&#xA;&#xD;&#xA;It is a great project which is why I joined on but looking back now at the work load I would probably have turned it down.&#xD;&#xA;&#xD;&#xA;I think working for free is great for making connections but don't over extend yourself like I have with taking on larger projects. Be clear with the director before signing on to do the work how much time you are willing to dedicate per week, day or whatever.&#xD;&#xA;&#xD;&#xA;Also, keep track of your time. At the end of the project give the director an invoice with the time you spent and your normal hourly rate with a zero balance. This way they know what you gave them and what to expect when they use you next time." ContentLicense="CC BY-SA 3.0" />
  <row Id="14456" PostHistoryTypeId="2" PostId="8660" RevisionGUID="13242979-9fad-4acd-a79a-a83cf16ff323" CreationDate="2011-06-14T18:35:31.103" UserId="6499" Text="There are a couple local directors who I will work for free on their projects.  That is, something that they personally finance.  These directors are good friends of mine and I know they put the time into the projects.  I also require them to bring me on in pre production so I can avoid problems before they happen.  That is the key for free work I have found.  Is to give them the guidance they need through the process before it hits you.  Saves you time in the end.  The funny thing is that the directors I will work for free with are the same directors that will always find some way to pay whether I want it or not, they don't let me work for free anymore because they understand.  Those are the kinds of folks who I have no problem doing free work for.&#xD;&#xA;&#xD;&#xA;The moment a backer is involved and its not the director financing the movie,  then my actual rate hits the table haha." ContentLicense="CC BY-SA 3.0" />
  <row Id="14457" PostHistoryTypeId="2" PostId="8661" RevisionGUID="d667c573-772b-46d3-b465-8740241c92da" CreationDate="2011-06-14T19:10:35.523" UserId="863" Text="I worked for free/low pay to begin with, but I rarely do it now unless it is for a close friend.&#xD;&#xA;&#xD;&#xA;Only do it if the project is worth it, and ask for some expenses at least, food, travel and equipment and/or some sort of per diems.&#xD;&#xA;&#xD;&#xA;I've made some contacts by working for free who have now passed on my name to others etc. and when they get paid gigs then they always come to me first for sound. It helps, just don't let yourself fall into a trap of a massive workload and being pushed around.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14458" PostHistoryTypeId="2" PostId="8662" RevisionGUID="5caa0201-aa4e-45ab-a8e7-1efa0023402f" CreationDate="2011-06-14T19:24:43.553" UserId="338" Text="What kind of problems can be avoided if the post sound people are consulted during pre-prodution?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14459" PostHistoryTypeId="1" PostId="8662" RevisionGUID="5caa0201-aa4e-45ab-a8e7-1efa0023402f" CreationDate="2011-06-14T19:24:43.553" UserId="338" Text="What kind of problems can be avoided if the post sound people are consulted during pre-prodution?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14460" PostHistoryTypeId="3" PostId="8662" RevisionGUID="5caa0201-aa4e-45ab-a8e7-1efa0023402f" CreationDate="2011-06-14T19:24:43.553" UserId="338" Text="&lt;pre&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14461" PostHistoryTypeId="2" PostId="8663" RevisionGUID="85192752-9e1c-4419-bddd-3be0ac9eeb13" CreationDate="2011-06-14T19:31:13.290" UserId="578" Text="In my humble opinion, I think this website answers your question quite nicely:&#xD;&#xA;&#xD;&#xA;[Should I work for free?][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://shouldiworkforfree.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14462" PostHistoryTypeId="2" PostId="8664" RevisionGUID="94cc75a7-c3c9-422b-b022-ce6e0bb5e481" CreationDate="2011-06-14T19:52:40.760" UserId="709" Text="Budget, creative, and strategic problems most often in my experience.&#xD;&#xA;&#xD;&#xA;I work with folks (both clients AND staff!) that often overlook sound as a part of the prepro/creative phase of a project.  We are in a constant state of involving ourselves when no one else does.  Projects turn out much better results when we are involved and have a head in the creative." ContentLicense="CC BY-SA 3.0" />
  <row Id="14463" PostHistoryTypeId="2" PostId="8665" RevisionGUID="e347c459-26da-4e8e-8274-9435c047e387" CreationDate="2011-06-14T20:37:14.593" UserId="29" Text="There's this older thread on this topic, as well: http://socialsounddesign.com/questions/597/how-do-you-respond-to-requests-to-work-for-free" ContentLicense="CC BY-SA 3.0" />
  <row Id="14464" PostHistoryTypeId="2" PostId="8666" RevisionGUID="44d94c04-72a6-4851-a37c-d517831977d5" CreationDate="2011-06-14T22:08:50.997" UserId="654" Text="Depends on the film-maker and where their blind-spots are. &#xD;&#xA;&#xD;&#xA;If they are a first time film maker they often have no idea what sound they are recording in the field, resulting in massive ADR time, or costly noise reduction hours. ie no one had headphones on while shooting...sighs...&#xD;&#xA;&#xD;&#xA;Sometimes they edit the film with the camera sound in place when they recorded on a split system thinking it can be &quot;button pressed&quot; to make it &quot;just work?&quot; not realising that they should have used timecode equipment in the field or compiled their rushes before commencing the cut (!).&#xD;&#xA;Ive seen both of those from inexperienced &quot;film-makers&quot; (using the term loosely).&#xD;&#xA;There are ways around all those hurdles, like pluraleyes etc, but they take time and the results are never as good as a well crafted cut by a professional editor.&#xD;&#xA;&#xD;&#xA;More creative issues come from cutting without thinking about the final audio - like cutting mid sentence to different POV's, cutting a car passing in one direction then to a different perspective where it's going in a different direction or just showing it receding into the distance expecting a big swoosh when their is no change in direction for it to move within the field of the mix.&#xD;&#xA;&#xD;&#xA;The list of &quot;if only we'd spoken about this before getting here&quot; goes on and on for me...but that's because I'm largely cutting my teeth mixing low budget features. Hope that helps give some idea of the issues." ContentLicense="CC BY-SA 3.0" />
  <row Id="14465" PostHistoryTypeId="2" PostId="8667" RevisionGUID="1bd25dc8-64ac-4602-88d4-4fc1c7f7801a" CreationDate="2011-06-14T22:49:27.623" UserId="338" Text="What kind of mic would you use to record production sound in an enclosed trailer?&#xD;&#xA;&#xD;&#xA;It's a relatively small metal trailer the size of a UHaul.&#xD;&#xA;It might be echo'ey so would a shotgun be less effective than a lav?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14466" PostHistoryTypeId="1" PostId="8667" RevisionGUID="1bd25dc8-64ac-4602-88d4-4fc1c7f7801a" CreationDate="2011-06-14T22:49:27.623" UserId="338" Text="What kind of mic to record prod. sound in an enclosed trailer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14467" PostHistoryTypeId="3" PostId="8667" RevisionGUID="1bd25dc8-64ac-4602-88d4-4fc1c7f7801a" CreationDate="2011-06-14T22:49:27.623" UserId="338" Text="&lt;trailer&gt;&lt;echo&gt;&lt;microphone&gt;&lt;choice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14468" PostHistoryTypeId="2" PostId="8668" RevisionGUID="56d3ebfb-2a9e-400f-895d-5f06f8cb742c" CreationDate="2011-06-14T22:58:37.590" UserId="29" Text="Wow...that sounds *awful*. &#xD;&#xA;&#xD;&#xA;My first thought is how bad this'll be, and your approach, would be mostly driven by how the shots will be blocked and shot. If the mic could be positioned with its axis along the longer length of the trailer, I'd go hypercardioid, but if not, I'd go cardioid, and I'd bring enough sound blankets to cover the entire interior (even though, of course, you'd not want to cover what's in-frame). You'd need very specific reasons to go with a lav, IMO, such as if there is no room to boom from below given the shot width (the ceiling of the trailer will probably mean no overhead booms unless the subjects are seated).&#xD;&#xA;&#xD;&#xA;Otherwise, what's your ADR budget? :-(" ContentLicense="CC BY-SA 3.0" />
  <row Id="14469" PostHistoryTypeId="2" PostId="8669" RevisionGUID="7f35aec6-01cb-441c-9f46-fd33a0a36ada" CreationDate="2011-06-14T23:41:15.967" UserId="142" Text="As Noise jockey says, blanket the place up as much as you can. I would say MKH50 for your mic but as you say there is no budget so try and deaden the sound as much as you can and use what mics you have. Maybe get some extra bodies in the trailer as long as they know what being quiet means." ContentLicense="CC BY-SA 3.0" />
  <row Id="14470" PostHistoryTypeId="2" PostId="8670" RevisionGUID="af7a1fcc-5e90-4ea1-a6e1-3e3415f04784" CreationDate="2011-06-15T01:19:34.670" UserId="432" Text="I'd choose noise reduction every time, provided you have the appropriate tools available. You can do a lot with just EQ and compression/expansion as well. Admittedly, there are times where you may not be able to avoid ADR. Most of the projects I work on aren't large enough to have ADR as an option to begin with.&#xD;&#xA;&#xD;&#xA;Also, never underestimate the power of creative &quot;masking&quot; when dealing with production noises. I had one project where I got rid of nearly everything except for this one narrow band of steady noise. I couldn't take it down any farther without adversely affecting the dialogue in the scene. It wasn't that present, but it was noticeable. I pointed it out to my coworker (who does all of our music composition) and asked him to throw in some sort of drone in that frequency range when he was working on that scene. Once his music was in, there was no perceiving the offending sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="14471" PostHistoryTypeId="2" PostId="8671" RevisionGUID="f8a3e2df-8f00-4f3c-94ce-4b84818f4184" CreationDate="2011-06-15T07:44:47.310" UserId="1090" Text="...or you could tell the directors and producers:&#xD;&#xA;&quot;This is not going to sound good at all, just so you know, we might have to ADR or you could make it easier for me with the framing&quot;. Don't tear your heart out for an enviroment/film you know is going to sound like crap, even if it's a good script and it's good people. Good equipment can't save a bad sounding location... &#xD;&#xA;&#xD;&#xA;But I think you should go for both lav and mic. So you can choose. &#xD;&#xA;&#xD;&#xA;And blankets!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14472" PostHistoryTypeId="2" PostId="8672" RevisionGUID="379f946e-4cce-4164-aa3e-a75d32b11664" CreationDate="2011-06-15T09:32:16.403" UserId="348" Text="Noise reduction 90% of the time. As it was said in the above comments, if the performance is bad then yes, ADR but if the performance is good, then it is applicable to try and salvage the dialogue. I find so much ADR sounds boxy and poorly mixed to match the scene creating an obvious problem with all the rest of the sounds inside the scene. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14473" PostHistoryTypeId="2" PostId="8673" RevisionGUID="f7585914-a144-4139-9946-9c8e23e6b773" CreationDate="2011-06-15T09:42:07.910" UserId="348" Text="Yah, tough one when you are starting out. I found that it is always good to secure a job at a post house or as a trainee boom op with a veteran. Then, when short films do come along with no budget, you can take them on in your spare time so that the extra experience will give that edge on the paying gigs and and you can also try out what you have learned with the seasoned pros within the capacity of a short film. A feature is a different story. I wouldn't do it because of the time involved and how it could eat into your paid work time. If you do do it, the producer should schedule around you so that you don't compromise your relationship with an employer. &#xD;&#xA;&#xD;&#xA;When I started out, I did do alot of short freebees but I always made sure that they understood that I have to eat and pay rent so when a paid gig did come through, that it came first. I found that the freebees I did do were invaluable to me when it came to maturing my problem solving skills since it was just me making the calls. I think it is important to do some shorts because you never know how well the short will do and what other work will come your way in the future via that producer and director. &#xD;&#xA;&#xD;&#xA;Happy playing" ContentLicense="CC BY-SA 3.0" />
  <row Id="14474" PostHistoryTypeId="2" PostId="8674" RevisionGUID="2bb33857-a897-4f17-a5c6-01fcbe8ba346" CreationDate="2011-06-15T12:08:08.993" UserId="432" Text="In certain, very limited circumstances, it can be worth it...but know what you're getting into, and be realistic about the time you're willing to commit. If you're going to do something for free, you have to be able to have fun doing it. It has to be a &quot;hobby&quot; endeavor, not &quot;work&quot;...much like you might consider a video game, or reading a book. As other's have mentioned, free projects tend to fit in around more important task schedules. So you need some back end flexibility and to be working with people who understand how valuable your time is.&#xD;&#xA;&#xD;&#xA;If I can have some fun with a short project, working with a friend who understands the reasonable limits of investment I can put into it...I'll consider it. I'm working on an animated short right now in just that sort of situation: fixing and fleshing out existing sound design, designing for segments that are basically at zero, and mixing. I have no stress from the project whatsoever, and I'm having fun. It just means I spend a few less hours playing video games and reading each week." ContentLicense="CC BY-SA 3.0" />
  <row Id="14475" PostHistoryTypeId="2" PostId="8675" RevisionGUID="f40ecf1b-54db-49fc-972f-43e1fb114afa" CreationDate="2011-06-15T12:27:51.030" UserId="220" Text="Blankets... and rent a nice hypercardoid.  I looove the Schoeps CMC6 for very echoey situations.  It's generally pretty cheap and totally worth it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14476" PostHistoryTypeId="2" PostId="8676" RevisionGUID="3ebb311f-98e4-4f27-b34f-a44f8508c922" CreationDate="2011-06-15T13:35:58.230" UserId="194" Text="I think the general rule (given the performance isn't to be changed) is that you roll with noise reduction until you hear artifacting, and at that point you cue for ADR." ContentLicense="CC BY-SA 3.0" />
  <row Id="14477" PostHistoryTypeId="2" PostId="8677" RevisionGUID="3b65b8eb-cb22-471e-8f00-1c8c7dbe45cc" CreationDate="2011-06-15T13:49:57.660" UserId="1126" Text="First question on here...&#xD;&#xA;&#xD;&#xA;So I will be doing lots of field recording in Asia for the next few months. I've got a sennheiser me66 for mono spot fx, which is linked into a zoom h4n via the sound devices mm-1 pre-amp (did not want to be using the h4n's pre's). So I think I'm all good there.&#xD;&#xA;&#xD;&#xA;My issue is with ambience. I'm just starting out in this field (this is my first rig) and I've got a big name in major motion picture sound to impress. I know I won't be doing much impressing with a zoom device, but I don't have the money/don't want to take anything too expensive around less-safe parts of Asia. &#xD;&#xA;&#xD;&#xA;So...do I record ambience 2-channel stereo on my h4n or 4-channel on my h2? I'm thinking 4-channel would be better, but I just got the h4n and don't know how much better or not the onboard mics are than the h2. I would be going for local walla and various nature ambience. &#xD;&#xA;&#xD;&#xA;Any other advice is more than welcome too, this is my first time doing all of this so it's a bit daunting knowing I'm going to go back home to Los Angeles after this and try to impress people who have been doing this for twice my lifetime.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14478" PostHistoryTypeId="1" PostId="8677" RevisionGUID="3b65b8eb-cb22-471e-8f00-1c8c7dbe45cc" CreationDate="2011-06-15T13:49:57.660" UserId="1126" Text="First time field-recording! 4-channel vs. 2-channel stereo ambience" ContentLicense="CC BY-SA 3.0" />
  <row Id="14479" PostHistoryTypeId="3" PostId="8677" RevisionGUID="3b65b8eb-cb22-471e-8f00-1c8c7dbe45cc" CreationDate="2011-06-15T13:49:57.660" UserId="1126" Text="&lt;field-recording&gt;&lt;stereo&gt;&lt;multichannel&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14480" PostHistoryTypeId="2" PostId="8678" RevisionGUID="c131033e-5394-4883-87ab-d64f487ff24b" CreationDate="2011-06-15T14:26:20.767" UserId="432" Text="I'm not that personally familiar with the recording quality of the H4N vs. the H2, but I would say this: while four channel ambience recordings can be useful, I know far more people who prefer to build their own surround (or the occassional quad for television) ambiences. You have more flexibility and control that way. Chances are good that if you record a quad ambience, and find material that is distracting or you don't like in one of the channels, you're going to break up that group and, in the very least, shift that channel...breaking up the strict quad interaction to anyways. You may replace that channel entirely.&#xD;&#xA;&#xD;&#xA;I'd suggest you focus on recording clean, interesting, stereo ambiences...especially considering your rig. You'll be able to respond to the recording environment more easily that way, and you'll probably get a larger quantity of useable material. Remember, if you really want a quad type sound, you can always spin 180 degrees and do a second recording facing the other direction. It won't be true quad, but you'll at least have that second perspective from the location." ContentLicense="CC BY-SA 3.0" />
  <row Id="14481" PostHistoryTypeId="2" PostId="8679" RevisionGUID="51b43f5c-c52a-4fce-b8a1-0ba46704dcae" CreationDate="2011-06-15T14:46:02.840" UserId="217" Text="I've worked on a few shorts and a couple of interviews for free. I took on the jobs to get experience and make contacts whilst starting out. Some of the contacts have proven to be quite fruitful. &#xD;&#xA;&#xD;&#xA;But experience wise only 1 of the short films has ever turned any heads and that is because it had a celebrity cast (funny story that one. I saw a half ass'd call on mandy.com for Boom operator and had nothing to do that weekend, so I applied thinking I can turn it down if it turned out to be a graduate film. Turned out to be quite a big production). The interviews always seem to gain interest. &#xD;&#xA;&#xD;&#xA;Now, every week I get a phone call asking me if I'm available for to do an unpaid short film.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If you do decide to take on unpaid work make sure that your expenses are being covered (and I mean DOUBLE CHECK).  I did a TV doc pilot recently, where I wrote in my acceptance of the role that I would need to have all of my expenses paid. The producer &quot;didn't see this&quot; and £100 worth of train tickets later they told me there was no expense budget. I was not best pleased!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14482" PostHistoryTypeId="2" PostId="8680" RevisionGUID="fa5dc28d-268d-479a-a3aa-87c0743f972f" CreationDate="2011-06-15T14:54:45.837" UserDisplayName="user914" Text="And don't forget to record wildtracks at a closer distance or somewhere else." ContentLicense="CC BY-SA 3.0" />
  <row Id="14483" PostHistoryTypeId="2" PostId="8681" RevisionGUID="d69e5a7c-71c4-49bf-8645-f14f08753479" CreationDate="2011-06-15T14:58:34.457" UserId="103" Text="So &quot;cute sounds are hard to make&quot; others usually say, and i'm now finding that out first hand.&#xD;&#xA;&#xD;&#xA;How do you guys go about this?&#xD;&#xA;I'm working on a small video game, with fluffy psycho bunnies, and i'm having a hard time&#xD;&#xA;making things like electricity bolts and fireballs sound cute, can you guys think of examples for inspiration?&#xD;&#xA;I was only able to think of Zelda, wind waker, but even there, they're a bit to realistic.&#xD;&#xA;&#xD;&#xA;Thanks!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14484" PostHistoryTypeId="1" PostId="8681" RevisionGUID="d69e5a7c-71c4-49bf-8645-f14f08753479" CreationDate="2011-06-15T14:58:34.457" UserId="103" Text="How to make supposedly dangerous elements sound cute?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14485" PostHistoryTypeId="3" PostId="8681" RevisionGUID="d69e5a7c-71c4-49bf-8645-f14f08753479" CreationDate="2011-06-15T14:58:34.457" UserId="103" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14486" PostHistoryTypeId="2" PostId="8682" RevisionGUID="e491f838-e528-4265-8165-60c28cecb911" CreationDate="2011-06-15T15:05:45.460" UserId="432" Text="My suggestion would be to try and make them sound &quot;smaller.&quot; For example, maybe the lighting bolts sound more like short zaps that are high in pitch, and have a rising pitch on the tail. Maybe the fireballs sound more &quot;poofy&quot; than &quot;whooshy.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14487" PostHistoryTypeId="2" PostId="8683" RevisionGUID="9f588e9b-3897-4faf-a399-4b848e69e073" CreationDate="2011-06-15T15:08:49.277" UserId="1129" Text="I keep thinking of pitched-up ricochets or synthy &quot;pew pew&quot; sounds.  Layer that on top of a zap or something if you want to keep an element of realism there.  Maybe a slide whistle or a mouth siren?&#xD;&#xA;&#xD;&#xA;Look to the sound your bunnies make for inspiration.  Are they firing the bolts and fireballs?  Can you connect their sounds to the sounds of the weapons fire?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14488" PostHistoryTypeId="2" PostId="8684" RevisionGUID="7bd97711-5fae-4e34-825e-2bee4d54386a" CreationDate="2011-06-15T16:51:00.483" UserId="194" Text="maybe roll to musical instrument type sources.  bells, chimes, woodblocks, etc.  also tubes tend to work well for &quot;thunk&quot; sounds that can replace impacts or launches." ContentLicense="CC BY-SA 3.0" />
  <row Id="14489" PostHistoryTypeId="2" PostId="8685" RevisionGUID="718b0b7a-a006-4fc6-88d6-e6abf9ea7522" CreationDate="2011-06-15T16:59:46.573" UserId="1090" Text="I'd go for fake! I'm thinking dangerous stuff looks cute when they're made out of paper or cotton.&#xD;&#xA;&#xD;&#xA;Like the fireballs, I'd use some plastic or paper wrapping, cellofane, or something that makes a  crackly sound. And a low-end woosh, like &quot;air-in-membrane&quot; for the woosh of the fireball.&#xD;&#xA;&#xD;&#xA;And the lightning, I'd use some metal sheets like the &quot;thunder-plate&quot;. Just something really sort of fake-y to make it sound cute and unreal.&#xD;&#xA;&#xD;&#xA;I think you'd like the soundtrack of Dungeon Keeper, if you know that game. &#xD;&#xA;http://www.youtube.com/watch?v=LOdy51-QVgE&amp;feature=related that's a clip of it. &#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14490" PostHistoryTypeId="2" PostId="8686" RevisionGUID="0b94be00-4197-4846-877e-14b4f4bc473d" CreationDate="2011-06-15T17:05:54.747" UserId="1090" Text="DSLRs are notoriously bad at keeping sync. Even the internal audio is like 1-2 frames off. I've also had that experience... Especially the Canon 5D Mark IIs with the old firmware. I work in sweden so our video is always 25 fps.. with the old 5D MKII you could only shoot in 30fps so you had to convert the video after shooting and there'd always be sync issues.&#xD;&#xA;&#xD;&#xA;Have never used Plural eyes, don't really know what it is, but am I right if it's a software for autosyncing? I wouldn't trust it a bit if it is.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14491" PostHistoryTypeId="2" PostId="8687" RevisionGUID="e89aff79-1a5c-4b2f-a3af-30b0cdf52230" CreationDate="2011-06-15T17:12:48.070" UserId="1090" Text="I often and frequently use my own voice for sound design (and music) in many different aspects, not just human or animal interactions, but for example I was working on one short film that was on the virge of art-film/short film. No real story just an emotion. &#xD;&#xA;And I got down to business, started foley recording and in one scene the main character opens a cabinet. I just couldn't get that cabinet door to sound right. I wanted it to have a creak and something &quot;outer-worldly&quot;, so what I ended up doing was recording me just imitating the door and combining it with the real creak, and it just worked totally right. &#xD;&#xA;&#xD;&#xA;Soooo... What about making a film with sound design entirely created with voices? Has anyone seen anything like that? Is it possible? Would it be fun?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14492" PostHistoryTypeId="1" PostId="8687" RevisionGUID="e89aff79-1a5c-4b2f-a3af-30b0cdf52230" CreationDate="2011-06-15T17:12:48.070" UserId="1090" Text="Mouth only Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="14493" PostHistoryTypeId="3" PostId="8687" RevisionGUID="e89aff79-1a5c-4b2f-a3af-30b0cdf52230" CreationDate="2011-06-15T17:12:48.070" UserId="1090" Text="&lt;sound-design&gt;&lt;voice&gt;&lt;art&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14494" PostHistoryTypeId="2" PostId="8688" RevisionGUID="f712bfd9-4c35-45e8-aae3-fdca8cef0121" CreationDate="2011-06-15T17:14:34.033" UserId="432" Text="It's not a film, but two words...Michael Winslow" ContentLicense="CC BY-SA 3.0" />
  <row Id="14495" PostHistoryTypeId="2" PostId="8689" RevisionGUID="813948a8-42a5-4472-a3f3-ff51dc5570cf" CreationDate="2011-06-15T17:38:27.723" UserId="234" Text="Not sure about a WHOLE movie, but the alien probe sound in Star Trek IV was actually director Leonard Nimoy on a stage doing the effect with his voice -http://en.wikipedia.org/wiki/Star_Trek_IV:_The_Voyage_Home" ContentLicense="CC BY-SA 3.0" />
  <row Id="14496" PostHistoryTypeId="5" PostId="8659" RevisionGUID="87f5d01d-5460-4a08-a703-ce63dbecc09d" CreationDate="2011-06-15T17:57:00.080" UserId="1131" Comment="added video link" Text="I'm in a similar boat right now. I recently moved to a different state and am trying to make new connections so I agreed to take on the role of re-recording mixer for a sci-fi, feature length, action flick gratis. I'm slowly discovering as others have said that the free projects are more difficult to work on than the regular ones. &#xD;&#xA;&#xD;&#xA;It is a great project which is why I joined on but looking back now at the work load I would probably have turned it down.&#xD;&#xA;&#xD;&#xA;I think working for free is great for making connections but don't over extend yourself like I have with taking on larger projects. Be clear with the director before signing on to do the work how much time you are willing to dedicate per week, day or whatever.&#xD;&#xA;&#xD;&#xA;Also, keep track of your time. At the end of the project give the director an invoice with the time you spent and your normal hourly rate with a zero balance. This way they know what you gave them and what to expect when they use you next time.&#xD;&#xA;&#xD;&#xA;______________________________________________________________&#xD;&#xA;&#xD;&#xA;I forgot to add this youtube video that goes along great with this thread, pretty funny&#xD;&#xA;&#xD;&#xA;[youtube]c38CekaAtfI[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="14497" PostHistoryTypeId="2" PostId="8690" RevisionGUID="713f9730-03a5-4157-a973-08229621844d" CreationDate="2011-06-15T18:04:51.090" UserId="348" Text="Can anyone clarify a discussion I had today regarding distortion within an audio system and what actually distorts. I initially had set up a sound system for a preview of some short films. Now the system is quite old- made up of 4 Crown amp and a home amp for the master output. I had set the levels on the Crown amps at max and then found an output level on the master that would both work with the large space as well as compliment the output of the sound design. It worked very well and I was happy. No noise floor, good distribution throughout the space, no distortion. I was then approached by one of my colleagues who was concerned about the systems set up and mentioned that he had changed the settings on the Crown amps. He reiterated that the main output level on the amps must never go above 11 o'clock or else it will distort. I was quite perplexed at this because I had always set my amp levels between 3 o'clock and max and never had a problem with distortion. He was quite adamant about his settings and refused to budge on the matter. &#xD;&#xA;&#xD;&#xA;My question comes in 2 parts, is it correct in assuming that when setting your output levels on an amp that going to max is not a problem because your are simply attenuating the sounds and not affecting the gain at all which would prevent the issue of distortion? Also, can distortion occur in a pre-amp a regular master amp as well as in the speakers themselves or is distortion exclusively the product of a master amp over-loading? &#xD;&#xA;&#xD;&#xA;I hope that I am clear regarding my queries. &#xD;&#xA;&#xD;&#xA;Thanks. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14498" PostHistoryTypeId="1" PostId="8690" RevisionGUID="713f9730-03a5-4157-a973-08229621844d" CreationDate="2011-06-15T18:04:51.090" UserId="348" Text="Sources of Distortion" ContentLicense="CC BY-SA 3.0" />
  <row Id="14499" PostHistoryTypeId="3" PostId="8690" RevisionGUID="713f9730-03a5-4157-a973-08229621844d" CreationDate="2011-06-15T18:04:51.090" UserId="348" Text="&lt;distortion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14500" PostHistoryTypeId="2" PostId="8691" RevisionGUID="a7c7ff7c-7717-4e01-a214-698bd678424a" CreationDate="2011-06-15T18:22:34.267" UserId="432" Text="As far as setting the gain of the master/speaker amps, it really depends on the unit. Technically, yes, you're correct about the behavior of the gain control on them. That doesn't mean there isn't a component somewhere else within the amp's circuit that couldn't be affected by the master gain setting (pretty rare, but it can happen). From my experience in live audio situations, the main reason to keep the master amps away from max was only to help protect the speakers in case of power spikes, signal pops and the like. You have a higher chance of damaging the the speakers when their amp is turned all the way up. This is more of a concern in live venues than it is in studios.&#xD;&#xA;&#xD;&#xA;As far as distortion, it can occur nearly anywhere in the chain: mic (that's why they have dBSPL ratinggs), preamp, mixer, outboard gear, amp or speakers." ContentLicense="CC BY-SA 3.0" />
  <row Id="14501" PostHistoryTypeId="2" PostId="8692" RevisionGUID="d5e9939d-96d5-40f1-b4f0-36528d708ab9" CreationDate="2011-06-15T19:53:20.340" UserId="578" Text="You can probably fit both Zooms in your bag?&#xD;&#xA;&#xD;&#xA;I agree with Shaun's comment that stereo recordings are more useful for constructing quad ambiences, in most cases. However, in my opinion the joy of recording is more than just being able to use your recordings for work. I personally love doing quad recordings, just for archival purposes and listening back at a later stage. I might never directly use my quad recordings in a project (more likely I fold them down to stereo or ditch 2 of the channels altogether), but listening back to a nice surround recording of a place that I've visited often gives me more satisfaction than listening to music.&#xD;&#xA;&#xD;&#xA;So my suggestion would be: take both, use em both! Document your trip not only for work but also for personal purposes :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14502" PostHistoryTypeId="2" PostId="8693" RevisionGUID="53a0090d-7f4f-4f1d-aa01-1bc9042b3119" CreationDate="2011-06-15T19:59:12.640" UserId="868" Text="I think for an example you could look at the Raving Rabids games.  They are very close to what you describe.  &#xD;&#xA;&#xD;&#xA;Independent of that, you might try having realistic sounds for the effects of the fire balls and lightning bolts, but have the cute characters make cute sounds layered with them as they either shoot or are shot with these various things.  I think the contrast could make for an interesting result." ContentLicense="CC BY-SA 3.0" />
  <row Id="14503" PostHistoryTypeId="2" PostId="8694" RevisionGUID="3a8d2c59-f3c8-4b70-b012-cb1d3931f762" CreationDate="2011-06-15T20:00:24.200" UserId="578" Text="Working with contrast can make the overall result sound cute as well, and even better if you're allowed to make it humorous/funny. As for cuteness I'd probably focus mainly on your psycho bunny and any other character sounds, and contrast that with over-the-top sound effects. It's hard to say - it depends on the style of the art direction, but to me, contrast is often a more useful tool than a specific kind of technical approach.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="14504" PostHistoryTypeId="2" PostId="8695" RevisionGUID="a3d7ada2-f70b-45c9-adab-f1ecacf13d2f" CreationDate="2011-06-15T20:24:48.370" UserId="1129" Text="It is very possible to distort or even permanently damage your speakers by overdriving them.  That is, it is possible for your amps to provide more power than the speaker is rated to handle, depending on how well matched your amps and speakers are.&#xD;&#xA;&#xD;&#xA;That said, your speakers will distort and make all kinds of nasty noises before burning out that should clue you in to the fact that something is wrong.&#xD;&#xA;&#xD;&#xA;You are correct in your understanding that the &quot;gain control&quot; on the amp is actually an input attenuator, that reduces the incoming signal level, but that doesn't mean you can't overdrive either one.&#xD;&#xA;&#xD;&#xA;As Shaun mentioned, distortion can happen at any point in the signal chain, if you are pushing too high a signal level to any individual component.  The speakers can distort when they are overdriven, the amps will clip and distort if they are pushed too hard, you could clip at your system eq, xover, or speaker management processor (if you have one), or you can overdrive your output stage of your console, or at the mic pres.&#xD;&#xA;&#xD;&#xA;This is why good gain structure is very important.  I like to build my gain structure from the inputs outward, and set my amp's attenuation where it needs to be to provide the proper level of signal to the room.  Specific attenuation knob positions are pretty much meaningless unless the rest of your gain structure is already worked out.  It could very well be appropriate to run your amps full-out, if the speakers can handle it, the size of the room calls for it, and the rest of your gain structure requires it.&#xD;&#xA;&#xD;&#xA;So, look at the power rating of your speakers, look at the output power for your amps, see how strong your input signal is to the amps.  Where is your master fader set on your console?  How are your inputs trimmed?  Those are all elements of your gain structure and they all play a factor in good clean sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="14505" PostHistoryTypeId="2" PostId="8696" RevisionGUID="17134edf-f8fe-4026-95c3-6895e81c1bdf" CreationDate="2011-06-15T20:28:20.437" UserId="1129" Text="Not a movie, but you should really give a listen to &quot;A Prairie Home Companion&quot; on National Public Radio (US).  They do a couple of radio drama segments and their sound FX guy does the majority of his FX with his mouth...and it is fantastic." ContentLicense="CC BY-SA 3.0" />
  <row Id="14506" PostHistoryTypeId="2" PostId="8697" RevisionGUID="63f0c941-126c-4ccf-ae3b-39c099258aff" CreationDate="2011-06-15T20:45:09.977" UserId="396" Text="I've seen a short animation done entirely with voice/mouth sound effects - it was great (no link, sorry). It was somewhat abstract, but there was a good variety of sound - you wouldn't have guessed it was all done with the mouth without knowing.&#xD;&#xA;&#xD;&#xA;As a side note, mouth effects are great for making cartoony pops!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14507" PostHistoryTypeId="2" PostId="8698" RevisionGUID="1edb1c54-6ba8-4382-af39-9b8ef063bb8b" CreationDate="2011-06-15T21:31:32.620" UserId="220" Text="I know this might not be news to some, but it was new to me and I though it was pretty sweet:&#xD;&#xA;&#xD;&#xA;Lectrosonics Super-Miniature Transmitters ([SMV][1]/[SMQV][2]) are typical awesome products - 50mW, 100mW, and 250mW selectable power output, digital hybrid wireless, and are completely waterproof when you put the silicon boot over the mic jack input.  &#xD;&#xA;&#xD;&#xA;The rep explained to me that when these are in sleep mode, all the wireless is off, but the preamp is still on, so you can turn them on by playing a series of tones in to the mic on your talent.  That way you can hand over a mic in sleep mode to wardrobe, it can be hidden away where you can't reach it, and you activate it right before you start shooting without having to grope anybody.  You can buy a little [remote control][3] that fires a tone for on/off, lock/unlock, and volume setting.  But you don't need to buy it, you can just grab the wave files from the website and play them from an mp3 player.  Or, there is an iPhone app coming soon.  &#xD;&#xA;&#xD;&#xA;Is anybody using these?  Price is going down...I'm going to start saving up for a set.&#xD;&#xA;&#xD;&#xA;Other cool product they were showing was the [Quadra Wireless Monitor][4].  It lets you transmit up to 4 discrete channels at 48k/24bit that can be mixed by the end user, so you could drop the boom and a lav or two, and a talkback mic and everybody with a receiver can listen to what they'd like.  Also great for mixing monitors for musicians - just get an even mix of vocals, guitars, drums, and keyboards and each musician can dial in what they'd like.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.lectrosonics.com/Transmitters/smv.html&#xD;&#xA;  [2]: http://www.lectrosonics.com/Transmitters/smqv.html&#xD;&#xA;  [3]: http://www.lectrosonics.com/Transmitters/rm2.html&#xD;&#xA;  [4]: http://www.lectrosonics.com/Wireless-Monitors/quadra.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="14508" PostHistoryTypeId="1" PostId="8698" RevisionGUID="1edb1c54-6ba8-4382-af39-9b8ef063bb8b" CreationDate="2011-06-15T21:31:32.620" UserId="220" Text="Lectrosonics SMV/SMQV Remote Control and Quadra Monitors" ContentLicense="CC BY-SA 3.0" />
  <row Id="14509" PostHistoryTypeId="3" PostId="8698" RevisionGUID="1edb1c54-6ba8-4382-af39-9b8ef063bb8b" CreationDate="2011-06-15T21:31:32.620" UserId="220" Text="&lt;lectrosonics&gt;&lt;transmitter&gt;&lt;not-a-question&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14510" PostHistoryTypeId="2" PostId="8699" RevisionGUID="b51146f3-7176-4afc-9f47-c13e2ed70ed9" CreationDate="2011-06-15T22:14:05.610" UserId="338" Text="Native Instruments makes a mouth controlled synthesizer.  I havn't seen it or used it even read a review.  It frequently pops up as an advertisement when I am surfing the web.&#xD;&#xA;&#xD;&#xA;Ben Burtt used his mouth to make the noise of R2D2 so theres proof that it can work." ContentLicense="CC BY-SA 3.0" />
  <row Id="14512" PostHistoryTypeId="2" PostId="8701" RevisionGUID="6f8e06b1-fa07-49b7-8449-24ba71f3d6eb" CreationDate="2011-06-15T22:38:27.253" UserId="1106" Text="AzimuthAudio has hit the nail on the head with this:&#xD;&#xA;&#xD;&#xA;&quot;Since your time is not related to a monetary value you can often get taken advantage of with wasted time waiting for things/people to arrive&quot;&#xD;&#xA;&#xD;&#xA;I found this to be the case on a short film I was mixng / sound designing on.  I was sent the &quot;final cut&quot; of the film maybe 10-12 times and music probably more than that, meaning that I had to keep shifting and fixing it each time.  Considering it was about 30 minutes long and they never bothered to mention what they changed in new edits it took ages!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14513" PostHistoryTypeId="2" PostId="8702" RevisionGUID="5cbbba92-6541-4ea7-8cb2-71dbbd9f26ec" CreationDate="2011-06-15T22:44:59.460" UserId="1106" Text="One thing I'm usually quite conscious of is the size and look - I find that the H2 is way more discrete than the h4n, so it's a lot easier to gather stuff without attracting too much attention.  Sounds silly, but if you're travelling round &quot;less safe&quot; parts of SE Asia, this might be something to bear in mind! " ContentLicense="CC BY-SA 3.0" />
  <row Id="14514" PostHistoryTypeId="2" PostId="8703" RevisionGUID="c6c7f149-0ece-46ce-8a97-ede43dc95aaa" CreationDate="2011-06-16T03:57:35.770" UserId="1155" Text="RX version 1 is a helluva program. Doing documentary work there was a water heater that would come on near a room we taped in and there wasn't time to stop rolling.&#xD;&#xA;&#xD;&#xA;Noise reduction with Algorithm C sounded fantastic, like it wasn't even there.&#xD;&#xA;&#xD;&#xA;I had some old recordings that were digitally clipped. RX cleaned these right up.&#xD;&#xA;&#xD;&#xA;I plan on upgrading to version 2 shortly. Izotope gives you a lot in the non-advanced version. If you're on a budget don't worry about what you're losing out on. If you have money to spare then Advanced does have some nice time-saving and advanced (non pun) features. Their sample rate converter and MBit + are top of the line if you ask around." ContentLicense="CC BY-SA 3.0" />
  <row Id="14515" PostHistoryTypeId="2" PostId="8704" RevisionGUID="ee917a0e-d522-4bd4-ac0c-fc75f8938b19" CreationDate="2011-06-16T10:49:33.207" UserId="845" Text="Anybody in Vancouver get the hockey riots on tape?&#xD;&#xA;I'd love to hear my country's self respect fkushing itself down the toilet. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14516" PostHistoryTypeId="1" PostId="8704" RevisionGUID="ee917a0e-d522-4bd4-ac0c-fc75f8938b19" CreationDate="2011-06-16T10:49:33.207" UserId="845" Text="Parkade Fire - Vancouver hockey riot. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14517" PostHistoryTypeId="3" PostId="8704" RevisionGUID="ee917a0e-d522-4bd4-ac0c-fc75f8938b19" CreationDate="2011-06-16T10:49:33.207" UserId="845" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14518" PostHistoryTypeId="2" PostId="8705" RevisionGUID="7e7efa32-a841-450b-9c03-5c83cef7ece6" CreationDate="2011-06-16T10:50:33.790" UserId="1156" Text="Great post! I enjoyed reading..however as per my point of view Mac is much faster than windows because it uses less system resources and delivers more output. Even windows has a plus point i.e. its can be installed and evecuted on any system like celeron, AMD, Pentium and I series(i3, i5, i7).&#xD;&#xA;Cheers,&#xD;&#xA;Susan Smith." ContentLicense="CC BY-SA 3.0" />
  <row Id="14519" PostHistoryTypeId="2" PostId="8706" RevisionGUID="cdd58c48-aac6-498c-a33e-a8f0daee1dd2" CreationDate="2011-06-16T11:38:16.267" UserId="432" Text="I'm platform agnostic, and I think the whole debate is pretty pointless. You could easily get a PC that runs as well as a Mac, but you'd be paying about the same price. Most who go out and buy a PC don't shell out the kind of money you do on a Mac. Of course Pro Tools is going to run poorly on a lower quality machine. I'll admit that OS maintenance on a PC is a little more difficult, as it doesn't have as many user-friendly tools as a Mac does; but as Alexander mentioned as well, the more you dedicate a machine to one task, the better it will run.&#xD;&#xA;&#xD;&#xA;Whatever choice you make, be ready to dish out the money for a good system." ContentLicense="CC BY-SA 3.0" />
  <row Id="14520" PostHistoryTypeId="2" PostId="8707" RevisionGUID="dfdb9700-f9d4-429b-bb9b-7b765e501952" CreationDate="2011-06-16T15:14:41.487" UserId="558" Text="My image of Canada is shaken.  I thought you guys were supposed to be the polite ones and Bostonites were the thugs?  Say it aint so. Next you're gonna tell me your health care's not that good either?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14521" PostHistoryTypeId="5" PostId="8704" RevisionGUID="22be38de-d6ec-45cd-9879-674970d30a59" CreationDate="2011-06-16T16:26:15.990" UserId="845" Comment="edited body" Text="Anybody in Vancouver get the hockey riots on tape?&#xD;&#xA;I'd love to hear my country's self respect flushing itself down the toilet. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14522" PostHistoryTypeId="2" PostId="8708" RevisionGUID="2ece5128-3286-4663-82b2-f81be07d65b9" CreationDate="2011-06-16T16:29:04.313" UserId="1062" Text="Hi everyone, im looking at doing some recording of smashing up fruit/vegetables and i want to make sure i dont mess up my gear by getting any juice/water etc all over my Softie. Is there a decent way i can put something over it that will give a little protection that wont get in the way of my recordings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14523" PostHistoryTypeId="1" PostId="8708" RevisionGUID="2ece5128-3286-4663-82b2-f81be07d65b9" CreationDate="2011-06-16T16:29:04.313" UserId="1062" Text="What can I use as a waterproof shield for my Rycote?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14524" PostHistoryTypeId="3" PostId="8708" RevisionGUID="2ece5128-3286-4663-82b2-f81be07d65b9" CreationDate="2011-06-16T16:29:04.313" UserId="1062" Text="&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14525" PostHistoryTypeId="2" PostId="8709" RevisionGUID="928c6b23-b7ae-4a68-a289-e1af6306608f" CreationDate="2011-06-16T16:46:56.473" UserId="29" Text="I'd recommend a pop screen/shield as used for vocal recording, or a wire clothes hanger with pantyhose/nylon hosiery stretched over it. Not waterproof, but the tension and small gaps will probably catch most of the watery goop. Using anything less porous would probably color the sound. If you need something larger, stretch similar material over a DIY frame of PVC piping, held in place by appropriate grip equipment.&#xD;&#xA;&#xD;&#xA;You're using a softie, but a rigid zepp or blimp will largely do the same thing as described above, and you can wash or rinse them off. A good reason to own a (relatively cheap) Røde blimp as a &quot;stunt zeppelin!&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14526" PostHistoryTypeId="2" PostId="8710" RevisionGUID="1b66992e-4f0c-4d31-81a8-97d1579b7c3c" CreationDate="2011-06-16T17:26:39.963" UserId="1135" Text="I use a old window screen with a towel laid over it on top of a 12 foot pole. keeps the rain from hitting. The towel will get too wet but then I swap it out for a dry one. Stay away from the Rycote duck, I have it and it is worthless" ContentLicense="CC BY-SA 3.0" />
  <row Id="14527" PostHistoryTypeId="2" PostId="8711" RevisionGUID="7352c5c5-56d9-4d5d-84c6-9edbb24179a9" CreationDate="2011-06-16T19:53:46.400" UserId="542" Text="If you don't want to mess up your softie/pop screen something like this might work : ![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.edelstahl-in-bestform.de/bilder_gross_con/b3103_pfannen_spritzschutz.jpg&#xD;&#xA;&#xD;&#xA;Don't know how it's called in english, but it's one of those things you put on top of your pan. &#xD;&#xA;&#xD;&#xA;But as NoiseJockey alreadys said: you can wash everything off." ContentLicense="CC BY-SA 3.0" />
  <row Id="14528" PostHistoryTypeId="2" PostId="8712" RevisionGUID="50c925b1-00ba-47a8-ad0e-732a2c16cbd1" CreationDate="2011-06-16T20:42:23.927" UserId="887" Text="I am just about to consider a free feature project a friend of mine financed out of his own pocket, and this is a great thread of arguments to take into consideration. I too have done freebies that turned out to be more work than the paid jobs I do, and those have been shorts and documentaries - feature for free is pretty daunting, and not a decision to be made lightly. However, because this is a director that is just starting out, and I also want to show him that you should ALWAYS BUDGET IN SOUND, I am trying a new approach: giving him a number of hours. I am thinking 100 pluss ADR and foley that will be considered when I have seen the 2nd edit in a couple of weeks. So let's say approx. 150 hrs over the next 6 months.  That way we can set up a schedule very early and his view of a regular production is formed in the process. Hopefully. I might still be the fool at the end of this (feel free to critique the idea). If it works I'll report back to you all.&#xD;&#xA;&#xD;&#xA;Oh, and I always make sure there's a contract saying I get paid a percentage per screening if the movie turns out to sell tickets or gets tv distribution. Just wanted that to be out there, too." ContentLicense="CC BY-SA 3.0" />
  <row Id="14529" PostHistoryTypeId="2" PostId="8713" RevisionGUID="e0396f7f-749d-421d-a562-0b296a2edfc5" CreationDate="2011-06-16T21:37:33.237" UserId="418" Text="I actually had to do this not too long ago. It was a fairly violent little game, but the characters were all cute cartoon animations. First thing I did was look to the old Warner Bros. stuff for inspiration. In the end I wound up mixing &quot;goofy&quot; elements with nasty explosions etc. Can't go wrong with a &quot;boingy&quot; spring sound, thin broken glass type stuff and some good old fashioned &quot;SPLATS&quot;. +1 on the concept of making them sound smaller as well. Puts perspective on the non-lethal factor." ContentLicense="CC BY-SA 3.0" />
  <row Id="14530" PostHistoryTypeId="2" PostId="8714" RevisionGUID="dbd381b3-0513-4126-b465-3806c08af680" CreationDate="2011-06-16T21:39:08.227" UserId="418" Text="I had an all around life mentor give me her thoughts on working for free once. She answered me with a question; &quot;How valuable is your free time?&quot; " ContentLicense="CC BY-SA 3.0" />
  <row Id="14531" PostHistoryTypeId="2" PostId="8715" RevisionGUID="cb835b04-8246-4392-8036-45a8c6a0f1c6" CreationDate="2011-06-16T22:05:30.093" UserId="845" Text="Friends, Romans, Countrymen, lend me your great intelligence and combined force of experience...&#xD;&#xA;&#xD;&#xA;So, to expand on Mr. Huss' question of a couple of days ago, is there any particular reason to think that PT9 would run any less well on a superhotshitawesome W7 laptop than on a McBook Pro?  This question is borne out by two facts 1) I am a, *ahem*, thrifty young gentleman, and 2) I'm starting to get a little sick of what seem to me to be perfectly satisfactory computers getting bashed because they don't come in brushed aluminium cases.&#xD;&#xA;&#xD;&#xA;Comparing specs between the  Toshiba Satellite M645 and the middle-of-the-road McBook Pro here's what we get:&#xD;&#xA;&#xD;&#xA;**Toshiba Satellite M645:**&#xD;&#xA;&#xD;&#xA; - 2.3GHz Intel Core i5-2410M&#xD;&#xA; - 6GB, 1,333MHz DDR3 RAM &#xD;&#xA; - 640GB, 5,400rpm &#xD;&#xA; - Intel HD Graphics 3000&#xD;&#xA; - Nvidia GeForce GT 525M&#xD;&#xA; - Operating system	Windows 7 Home Premium (64-bit)&#xD;&#xA; - Chipset	Intel HM65 &#xD;&#xA; - Price as reviewed	$1,099&#xD;&#xA;&#xD;&#xA;**McBook Pro 15-inch:** &#xD;&#xA;&#xD;&#xA; - 2.0GHz quad-core Intel Core i7 (no idea which one)&#xD;&#xA; - 4GB 1333MHz  DDR3 RAM &#xD;&#xA; - 500GB 5400rpm&#xD;&#xA; - Intel HD Graphics 3000&#xD;&#xA; - AMD Radeon HD 6490M with 256MB GDDR5&#xD;&#xA; - Built-in battery (7 hours)2&#xD;&#xA; - Price: $1849 CAD&#xD;&#xA;&#xD;&#xA;Now, according to this article, [Core i3 vs i5 vs i7: A Summary of Intel's Processors][1], the functional difference between an i5 and i7 core is really only about 100MHz and is only noticeable in super-duper processing situations i.e. 3D rendering, HD video editing, Supermath, and Physics Kinda Stuff.&#xD;&#xA;&#xD;&#xA;So, it would seem to me that the only real difference between these machines is the price. If I include the Canadian taxes to get the real cost of each machine here's what we have:&#xD;&#xA;&#xD;&#xA;Toshiba with i5&lt;br&gt;&#xD;&#xA;~$1,250    &lt;br&gt;           &#xD;&#xA;&#xD;&#xA;McBook Pro&lt;br&gt;&#xD;&#xA; ~$2,100&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Even if you wanted to move up to the i7 in the Toshiba, it'd only cost you ~$300 more. &#xD;&#xA;&#xD;&#xA;Toshiba with i7&lt;br&gt;&#xD;&#xA;~$1,600   &lt;br&gt;              &#xD;&#xA;&#xD;&#xA;McBook Pro&lt;br&gt;&#xD;&#xA;~$2,100&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Plus with the Toshiba you've got a bigger drive, more RAM, and equivalent video cards.  This, to me, seems like such a slap in the face from Apple that I assume I *must* be missing something.&#xD;&#xA;&#xD;&#xA;Thoughts?&#xD;&#xA;&#xD;&#xA;p.s. I will accept only *one* Canadian real-money joke in this thread.  So make it a good one.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.brighthub.com/computing/hardware/articles/65861.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="14532" PostHistoryTypeId="1" PostId="8715" RevisionGUID="cb835b04-8246-4392-8036-45a8c6a0f1c6" CreationDate="2011-06-16T22:05:30.093" UserId="845" Text="Apple vs. Mac Laptops" ContentLicense="CC BY-SA 3.0" />
  <row Id="14533" PostHistoryTypeId="3" PostId="8715" RevisionGUID="cb835b04-8246-4392-8036-45a8c6a0f1c6" CreationDate="2011-06-16T22:05:30.093" UserId="845" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14534" PostHistoryTypeId="2" PostId="8716" RevisionGUID="77d8261a-a70b-460c-87c6-8c5c1020ffa8" CreationDate="2011-06-16T22:19:26.523" UserId="432" Text="There is a difference with off the shelf Macbooks and moderatley to lower price off the shelf pc laptops. All the hardware in a Mac (desktop or laptop) is selected based on how well it interacts with other components, and the OS is designed with those components in mind. This is one of the reasons Macs are commonly more stable than PCs. I would argue that the Toshiba is not as carefully designed, and Windows has the problem of having to work with a very, VERY, wide range of components. This goes back to what I was alluding to in the other Mac vs. PC post.&#xD;&#xA;&#xD;&#xA;You get what you pay for. Yes, the specs are higher on the Toshiba, but it could still be less stable, and has the potential to perform poorer, than the Macbook. Yes, there are PC (Windows, Linux, etc) based machines out there that easily outperform Macs, but they're carefully designed and appropriately priced.&#xD;&#xA;&#xD;&#xA;And now that I've said all that, I have to admit, that the only way to be sure is to test both machines. The Toshiba could very well perform marvelously. Computers are a mine filled maze through the Amazon jungle." ContentLicense="CC BY-SA 3.0" />
  <row Id="14535" PostHistoryTypeId="5" PostId="8715" RevisionGUID="ea980b46-0d0e-444b-8f83-6518fdbe7878" CreationDate="2011-06-16T22:25:53.653" UserId="845" Comment="added 955 characters in body" Text="Friends, Romans, Countrymen, lend me your great intelligence and combined force of experience...&#xD;&#xA;&#xD;&#xA;So, it's been a year since Mr. Huss' recently resurfaced question, and it seems like it's high-time to unearth the perennial question.  A year is a real, real long time in the computer-iverse.&#xD;&#xA;&#xD;&#xA;In this particular case I'm interested only in laptops.  Portable is more-table.  These little guys are starting to get mighty powerful (I was at a PT9HD Native demo a couple of months ago and the guy was running a 128-track session with full-rez HD video off a McBook Pro).  Is there any particular reason to think that PT9 would run any less well on a superhotshitawesome Windows7 laptop than on a McBook Pro?  &#xD;&#xA;&#xD;&#xA;This question is borne out by two facts 1) I am a, *ahem*, thrifty young gentleman, and 2) I'm starting to get a little sick of what seem to me to be perfectly satisfactory computers getting bashed because they don't come in brushed aluminium cases.&#xD;&#xA;&#xD;&#xA;Comparing specs between the  Toshiba Satellite M645 and the middle-of-the-road McBook Pro here's what we get:&#xD;&#xA;&#xD;&#xA;**Toshiba Satellite M645:**&#xD;&#xA;&#xD;&#xA; - 2.3GHz Intel Core i5-2410M&#xD;&#xA; - 6GB, 1,333MHz DDR3 RAM &#xD;&#xA; - 640GB, 5,400rpm &#xD;&#xA; - Intel HD Graphics 3000&#xD;&#xA; - Nvidia GeForce GT 525M&#xD;&#xA; - Operating system	Windows 7 Home Premium (64-bit)&#xD;&#xA; - Chipset	Intel HM65 &#xD;&#xA; - Price as reviewed	$1,099&#xD;&#xA;&#xD;&#xA;**McBook Pro 15-inch:** &#xD;&#xA;&#xD;&#xA; - 2.0GHz quad-core Intel Core i7 (no idea which one)&#xD;&#xA; - 4GB 1333MHz  DDR3 RAM &#xD;&#xA; - 500GB 5400rpm&#xD;&#xA; - Intel HD Graphics 3000&#xD;&#xA; - AMD Radeon HD 6490M with 256MB GDDR5&#xD;&#xA; - Built-in battery (7 hours)2&#xD;&#xA; - Price: $1849 CAD&#xD;&#xA;&#xD;&#xA;Now, according to this article, [Core i3 vs i5 vs i7: A Summary of Intel's Processors][1], the functional difference between an i5 and i7 core is really only about 100MHz and is only noticeable in super-duper processing situations i.e. 3D rendering, HD video editing, Supermath, and Physics Kinda Stuff.&#xD;&#xA;&#xD;&#xA;So, it would seem to me that the only real difference between these machines is the price. If I include the Canadian taxes to get the real cost of each machine here's what we have:&#xD;&#xA;&#xD;&#xA;Toshiba with i5&lt;br&gt;&#xD;&#xA;~$1,250    &lt;br&gt;           &#xD;&#xA;&#xD;&#xA;McBook Pro&lt;br&gt;&#xD;&#xA; ~$2,100&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Even if you wanted to move up to the i7 in the Toshiba, it'd only cost you ~$300 more. &#xD;&#xA;&#xD;&#xA;Toshiba with i7&lt;br&gt;&#xD;&#xA;~$1,600   &lt;br&gt;              &#xD;&#xA;&#xD;&#xA;McBook Pro&lt;br&gt;&#xD;&#xA;~$2,100&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Plus with the Toshiba you've got a bigger drive, more RAM, and equivalent video cards.  This, to me, seems like such a slap in the face from Apple that I assume I *must* be missing something.&#xD;&#xA;&#xD;&#xA;There is the other question of OS stability.  In my experience thus far running PT9 on both OSX.5 and Windows7 I have had absolutely no problems with either.  However, I will grant that my sessions are not quite as industrial strength as some of you guys out there.  So, also taking into the consideration the recent PT9 upgrade, which I assume is meant to deal with some kind of stability kinda stuff, and all of my waffle ^^up there^^,  what do you think?  Is the whole &quot;Apple is more reliable&quot; thing just hot air and hype?&#xD;&#xA;&#xD;&#xA;Thanks Team.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;p.s. I will accept only *one* Canadian real-money joke in this thread.  So make it a good one.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.brighthub.com/computing/hardware/articles/65861.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="14536" PostHistoryTypeId="2" PostId="8717" RevisionGUID="ee243a0b-b3f3-44cb-9b1f-1f8d1e1556d2" CreationDate="2011-06-16T23:08:38.660" UserId="990" Text="I personally hate the Mac vs. PC debate, especially when it comes to comparing individual components and price.  People like to nit-pick specs, but that's been a long-standing crapshoot for years.  &#xD;&#xA;&#xD;&#xA;Is the premium price solely about individual hardware components?  Or is it about the user experience?  Get what works for you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14537" PostHistoryTypeId="2" PostId="8718" RevisionGUID="4d3669fd-8e2a-40e0-8f1d-e99656b96799" CreationDate="2011-06-16T23:12:54.610" UserId="1035" Text="Yeah, I try to stay organized but...things happen, I fall behind on it. In addition to FX recordings I've got loads of samples for music production. Different drum hits, stabs, synthy woo-woos...&#xD;&#xA;&#xD;&#xA;As far as FX go, I tend to organize them in folders and then sub-categorize. I have a folder for &quot;Abstracts&quot; and within there I've got things like &quot;Whooshes&quot; &quot;Hits&quot; &quot;Atmos&quot; and the like. &quot;BG&quot; for ambiance type recordings. I keep most Foley I do, and that gets broken up into &quot;Footsteps&quot; &quot;Cloth&quot; &quot;Props&quot;, etc. &quot;Violence&quot; has categories like &quot;Explos&quot; &quot;Guns&quot; &quot;Blades&quot;.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14538" PostHistoryTypeId="2" PostId="8719" RevisionGUID="34665ed7-b3a2-4f4e-aeaa-65180dd19e71" CreationDate="2011-06-16T23:14:37.180" UserId="1013" Text="I just know from personal experience that Macs seem to perform better with audio, and any interface you throw at them. After having to tinker with PCs endlessly to get them to work, I have have found I can sit down at a relatively low spec mac, and it will just work. Also, I love Logic, and that is just personal taste - but Macs do come with a lot of great software out of the box (PCs may too now, I don't even know).&#xD;&#xA;&#xD;&#xA;Do Mac lappys have a longer shelf life? I get the feeling they might, except that the hard drives always seem to need replacing after 2 years.&#xD;&#xA;&#xD;&#xA;Just some opinions, Shaun speaks the truth &quot;Computers are a mine filled maze through the Amazon jungle.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14539" PostHistoryTypeId="2" PostId="8720" RevisionGUID="15cd149b-c146-4c3b-a1cd-b18f7595dfa5" CreationDate="2011-06-16T23:20:12.690" UserId="28" Text="Wait a minute, are we comparing Apples to apples? (Re: your title. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14540" PostHistoryTypeId="2" PostId="8721" RevisionGUID="da96026d-3c4a-47ac-92c6-f90a8cea0b02" CreationDate="2011-06-16T23:55:55.373" UserId="396" Text="The stability debate aside, remember with a Mac you'll be getting Firewire - and now Thunderbolt - as standard, whereas you're much less likely to find these ports on a non-specialist PC laptop. Firewire is pretty much essential for audio work, and who knows how quickly Thunderbolt will catch on.&#xD;&#xA;&#xD;&#xA;Also, bear in mind that if you ever wish to work with Logic (which may not be an issue, but is excellent value if it meets your needs) you'll need be running OS X.&#xD;&#xA;&#xD;&#xA;The aluminium case might be pretty, but it's also probably considerably sturdier than the plastic alternative. If you end up working a lot at the laptop without an external keyboard/mouse, I find that the scrolling and gestures on a MBP trackpad make for very transparent UI interaction.&#xD;&#xA;&#xD;&#xA;This suggestion may be a point of contention, but from my experience one thing you may wish to factor into your cost, if you're buying an Apple laptop, is Applecare. When something inevitably does go wrong you're completely covered for three years, anywhere in the world that you can find an Apple service centre." ContentLicense="CC BY-SA 3.0" />
  <row Id="14541" PostHistoryTypeId="2" PostId="8722" RevisionGUID="d5e642f9-e640-4697-b472-61dfa018cf80" CreationDate="2011-06-17T00:17:34.890" UserId="418" Text="I have made a major effort to just do it in a &quot;GTD&quot; way, where I organize as I work. I'd rather lose 2 minutes now, than 2 days after letting it pile up for a month. Translated into real numbers, it's probably about 1% - maybe 5% tops." ContentLicense="CC BY-SA 3.0" />
  <row Id="14542" PostHistoryTypeId="2" PostId="8723" RevisionGUID="0fa424a2-bf85-4bf3-8e93-421f64cb9090" CreationDate="2011-06-17T00:21:17.210" UserId="1056" Text="I agree with Flipstar in respect of getting what works for you. I personally have worked on PCs for over 25 years and am familiar with them. Even in the event of something going wrong, I can usually identify it and sort it out quickly. Also, some of the software I prefer to use is PC only, so would have to go through the inconvenience of finding a suitable alternative if I was to consider switching to Mac. My experience has been that it is exactly the same for long-time Mac users.&#xD;&#xA;&#xD;&#xA;There are some obvious reasons for considering a change, such as:&#xD;&#xA;&#xD;&#xA;1) Financially challenged - PCs are and always have been cheaper for the same spec&#xD;&#xA;&#xD;&#xA;2) It no longer works for you - Over the years your requirements and/or working methods can change. I remember a few years back when a lot of smaller companies were bought out, some applications became either Mac only or PC only or were discontinued entirely.&#xD;&#xA;&#xD;&#xA;3) Company requirements - It is not uncommon to move from a PC-only employer to a Mac-only employer and vice versa.&#xD;&#xA;&#xD;&#xA;At the end of the day though, it's the results that count and whatever enables you to get the best results in the quickest time is what you should use. Joe Public will certainly not be able to tell the difference." ContentLicense="CC BY-SA 3.0" />
  <row Id="14543" PostHistoryTypeId="2" PostId="8724" RevisionGUID="dad2b9fe-2342-48af-b382-d6c5a7122af3" CreationDate="2011-06-17T00:23:08.740" UserId="709" Text="Do you define &quot;sound&quot; and &quot;audio&quot; differently?  Do you use them interchangeably?&#xD;&#xA;&#xD;&#xA;I noticed that often we (meaning peers in the sound/audio fields) term parts of our processes as &quot;audio&quot;, as in &quot;audio post-production&quot;, whereas specific roles within a team, for instance, are prefixed with &quot;sound&quot; - &quot;sound designer&quot;, &quot;sound editor&quot;.&#xD;&#xA;&#xD;&#xA;Is it a technical vs. creative difference?&#xD;&#xA;&#xD;&#xA;I find myself always wanting to be referenced as being in a &quot;sound&quot; industry.  I'm not sure why.&#xD;&#xA;&#xD;&#xA;Just curious if and how you all see the difference.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="14544" PostHistoryTypeId="1" PostId="8724" RevisionGUID="dad2b9fe-2342-48af-b382-d6c5a7122af3" CreationDate="2011-06-17T00:23:08.740" UserId="709" Text="Sound or Audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14545" PostHistoryTypeId="3" PostId="8724" RevisionGUID="dad2b9fe-2342-48af-b382-d6c5a7122af3" CreationDate="2011-06-17T00:23:08.740" UserId="709" Text="&lt;definitions&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14546" PostHistoryTypeId="2" PostId="8725" RevisionGUID="95e98e8c-cdb8-43b0-9d48-b31dd7593090" CreationDate="2011-06-17T00:27:12.210" UserId="432" Text="I tend to use them interchangeably, except for when I'm stating some sort of job title.&#xD;&#xA;&#xD;&#xA;Then I try to use &quot;sound&quot; when I talk about what I do, because I'm not an &quot;audio engineer.&quot; I see that particular title as belonging to the math and science geniuses that build the awesome toys we get to play with." ContentLicense="CC BY-SA 3.0" />
  <row Id="14547" PostHistoryTypeId="2" PostId="8726" RevisionGUID="0225722e-26fe-4b06-b0fc-8d9e19a2116d" CreationDate="2011-06-17T01:06:10.740" UserId="418" Text="In my own mind I guess I tend to think of &quot;audio&quot; as the raw materials I work with, data. And &quot;sound&quot; as the final product I produce with those materials. Then again, some of the people who sell my work call it &quot;Stock Audio&quot;, so who knows. I know one thing; The rest of the sane world couldn't care less what it's called. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14548" PostHistoryTypeId="2" PostId="8727" RevisionGUID="36bbf59e-b1b1-41a1-b168-be04f1346546" CreationDate="2011-06-17T02:05:00.987" UserId="1056" Text="Audio refers to sound within the 20-20000Hz range or, simply defined, sound that is audible to humans." ContentLicense="CC BY-SA 3.0" />
  <row Id="14549" PostHistoryTypeId="4" PostId="8715" RevisionGUID="bab7f3d0-cc8f-4dbb-bbe8-819266942799" CreationDate="2011-06-17T02:09:06.490" UserId="845" Comment="edited title" Text="Apple vs. Windows 7 Laptops" ContentLicense="CC BY-SA 3.0" />
  <row Id="14550" PostHistoryTypeId="2" PostId="8728" RevisionGUID="e736d979-ccee-4e57-b79f-6270f554b1ff" CreationDate="2011-06-17T02:28:01.997" UserId="253" Text="The way i use it, sound is the physical, acoustic phenomenon, and audio is what it becomes when it's converted to electric impulses. So a mic turns sound into audio and a speaker turns audio into sound.&#xD;&#xA;&#xD;&#xA;A sound designer or sound editor is more concerned about what the audience will hear; while an audio engineer or audio director is more concerned with getting the signal flow right. This isn't perfect, seeing as we have sound recordists (whose goal is to turn sound into audio), and picture editors talk about audio editing (which we would call sound editing).&#xD;&#xA;&#xD;&#xA;Our industry is still pretty young, so our terminology is kind of all over the place, but this is how i like to differentiate it." ContentLicense="CC BY-SA 3.0" />
  <row Id="14551" PostHistoryTypeId="2" PostId="8729" RevisionGUID="42f9650f-3636-4831-82df-d8af5a56eced" CreationDate="2011-06-17T02:29:37.203" UserId="845" Text="As the venerable Messrs @Shaun Farley, @theodorejordan, and @Roger Middenway have said; Sound is the stuff that travels through the air.  Audio is the stuff that travels through the wires." ContentLicense="CC BY-SA 3.0" />
  <row Id="14552" PostHistoryTypeId="2" PostId="8730" RevisionGUID="23f4b31c-ac81-491a-a57b-fb9c1095b3bf" CreationDate="2011-06-17T06:14:08.587" UserId="348" Text="I must admit that if I was back in Canada, I would have been downtown recording the insanity. It also saddens me being a fellow Canadian that we could people stoop to such a level of violence for the rest of the world to see. But it must have sounded amazing." ContentLicense="CC BY-SA 3.0" />
  <row Id="14553" PostHistoryTypeId="2" PostId="8731" RevisionGUID="b9cbccfa-02cb-4827-bba5-a0494dc8ba4c" CreationDate="2011-06-17T06:23:43.347" UserId="407" Text="When it comes to titles of jobs though (especially in the games industry) the terms are a little messed up. I am for instance the Audio Lead and I work with 2 Sound Designers. Ironically part of my job is to make sure the 'Sound' is consitent throughout the whole game. As the Sound Designers concern themselves much more with 'Audio' related matters like the raw materials and processes. It is the same for an Audio Director (which we don't have here) who is ultimately resonposible for the 'Sound' of the game.&#xD;&#xA;Could it be then that in this case the term 'Audio' means the whole of the audio for the product i.e. Music Dialogue and SFX, and 'Sound' refers more to just the SFX? " ContentLicense="CC BY-SA 3.0" />
  <row Id="14554" PostHistoryTypeId="2" PostId="8732" RevisionGUID="5178a708-b1b1-4430-8da6-b361d23f672a" CreationDate="2011-06-17T08:40:57.680" UserId="2" Text="You do realize that you can do 4 channels on the h4n? So you can have a stereo mic going into the two XLRs plus either stereo via mini jack or the onboard mics. So that's four separate tracks. &#xD;&#xA;&#xD;&#xA;As Shaun mentions, I would focus on two tracks for ambiences. I think it's **way more important** to have interesting ambiences that are unique or hard to get or truly bespoke to a location than great sounding ambiences, obviously try anyway to get awesome sounds but don't not record something cause you think it's not perfect. Let the sound designers/editors build up the soundscape. Your sound will pro ably be one layer out of many. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14555" PostHistoryTypeId="2" PostId="8733" RevisionGUID="0a661eed-45b1-4433-acff-164da928c484" CreationDate="2011-06-17T10:19:36.823" UserId="2" Text="This is a full on rain cover: [Remote Audio REM-RMAN Rainman Boom Mic Rain Cover][1]&#xD;&#xA;&#xD;&#xA;Could work for your needs, but might be a little over kill. I always travel with it for shoots, but I haven't actually needed to use it, so I'm not sure how well it works. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/556123-REG/Remote_Audio_RMAN_REM_RMAN_Rainman_Boom_Mic.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="14556" PostHistoryTypeId="5" PostId="8691" RevisionGUID="2c8159be-ddb4-4f9e-9fc8-2208d0fb0fc4" CreationDate="2011-06-17T11:38:59.843" UserId="432" Comment="spelling...i suck at it" Text="As far as setting the gain of the master/speaker amps, it really depends on the unit. Technically, yes, you're correct about the behavior of the gain control on them. That doesn't mean there isn't a component somewhere else within the amp's circuit that couldn't be affected by the master gain setting (pretty rare, but it can happen). From my experience in live audio situations, the main reason to keep the master amps away from max was only to help protect the speakers in case of power spikes, signal pops and the like. You have a higher chance of damaging the the speakers when their amp is turned all the way up. This is more of a concern in live venues than it is in studios.&#xD;&#xA;&#xD;&#xA;As far as distortion, it can occur nearly anywhere in the chain: mic (that's why they have dBSPL ratings), preamp, mixer, outboard gear, amp or speakers." ContentLicense="CC BY-SA 3.0" />
  <row Id="14557" PostHistoryTypeId="2" PostId="8734" RevisionGUID="f4bbbdf3-ee94-4d41-a66e-57c1e4397aff" CreationDate="2011-06-17T15:34:58.600" UserId="1039" Text="Hi:&#xD;&#xA;&#xD;&#xA;I need an inexpensive software to sync audio to video.  I know ProTools in the standard but the cost is not in the budget yet.&#xD;&#xA;&#xD;&#xA;Any suggestions?&#xD;&#xA;&#xD;&#xA;Carmine" ContentLicense="CC BY-SA 3.0" />
  <row Id="14558" PostHistoryTypeId="1" PostId="8734" RevisionGUID="f4bbbdf3-ee94-4d41-a66e-57c1e4397aff" CreationDate="2011-06-17T15:34:58.600" UserId="1039" Text="Audio to Video Sync Software" ContentLicense="CC BY-SA 3.0" />
  <row Id="14559" PostHistoryTypeId="3" PostId="8734" RevisionGUID="f4bbbdf3-ee94-4d41-a66e-57c1e4397aff" CreationDate="2011-06-17T15:34:58.600" UserId="1039" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14560" PostHistoryTypeId="2" PostId="8735" RevisionGUID="1f125ca3-4406-4ea8-8bee-867f67dc7904" CreationDate="2011-06-17T16:09:21.493" UserId="2" Text="Plural Eyes? http://www.singularsoftware.com/pluraleyes.html&#xD;&#xA;&#xD;&#xA;I hear that the new version of Final Cut Pro has got the equivalent pre-installed. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14561" PostHistoryTypeId="2" PostId="8736" RevisionGUID="e8dbdeff-d5ae-4d89-9434-503ed9c6f75c" CreationDate="2011-06-17T18:43:47.243" UserId="1159" Text="I'm glad I wasn't downtown recording the mess that went on. Yes I had that urge to be capturing those sounds. But if I was I would have been one more person being part of the problem. People had gone down there with the express intent to riot and cause damage. Lots of them where encouraged by everyone documenting their idiocy. Being someone who lives in the city it's hard to separate the stupidity of what just went on with the possible sounds that may have happened during it." ContentLicense="CC BY-SA 3.0" />
  <row Id="14562" PostHistoryTypeId="2" PostId="8737" RevisionGUID="d3c06f44-42b3-4493-b06b-8e3fc6a23546" CreationDate="2011-06-17T21:32:42.007" UserId="1160" Text="Sans Amp works really well" ContentLicense="CC BY-SA 3.0" />
  <row Id="14563" PostHistoryTypeId="2" PostId="8738" RevisionGUID="5121108e-15dc-4a98-a2e8-b5922f785fa7" CreationDate="2011-06-17T23:24:20.740" UserDisplayName="user80" Text="Limit the upper and lower frequencies, slightly over compress and add some underlying white noise.  The noise interacts with the original signals and generates harmonics.   Then boost the upper mid range to add emphasis, lastly allow the actors to move slightly off mic during the ADR sessions.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="14564" PostHistoryTypeId="2" PostId="8739" RevisionGUID="b2676ecb-1700-466d-a50c-1384f244cfab" CreationDate="2011-06-18T07:08:24.130" UserId="1152" Text="Weight and construction are also a factor. Almost every PC laptop I've seen has a soft screen and plastic case, they usually weigh more and are bulkier than the Mac alternative.&#xD;&#xA;No laptop has a multi-touch trackpad like a Macbook, that thing is perfect. I've also seen a lot of wacky keyboard layouts on PCs. A lot of them have crappy firewire chips too, if there's a port at all. Macs have a FW800 port and now Thunderbolt port which is not available at all for pcs.&#xD;&#xA;&#xD;&#xA;Since you're 'thrifty' you should check out the refurb shop. http://store.apple.com/ca/browse/home/specialdeals/mac?mco=OTY2ODY3Nw&#xD;&#xA;&#xD;&#xA;I own the 13&quot; MacBook Pro 5.5 (2yr old now) It's not my main computer but its a great mix of power and portability and reliability and design and price.&#xD;&#xA;My main system is custom running Win7.&#xD;&#xA;&#xD;&#xA;~Jon~&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14565" PostHistoryTypeId="2" PostId="8740" RevisionGUID="c9bead73-637c-4f86-91cd-993bf86c31d8" CreationDate="2011-06-18T07:21:54.923" UserId="1152" Text="Honestly, with all this sound, who has time for watching Hockey? Or participating in riots. Or a good night's sleep...&#xD;&#xA;&#xD;&#xA;I have absolutely no interest in Hockey or any sport. I've only lived in Vancouver a year but seeing the images of the fights and burning cars and smashed windows was sickening, I actually felt ill, and very sad. The riot may have happened no matter what the outcome of the game was.&#xD;&#xA;&#xD;&#xA;I'm sure someone had their audio gear ready, I wouldn't have risked it personally. Some of the media was attacked and cameras were destroyed. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14566" PostHistoryTypeId="2" PostId="8741" RevisionGUID="c3a6dab2-85a3-4761-9b6e-bc20c4d9da2e" CreationDate="2011-06-18T11:40:26.870" UserId="397" Text="Experiment with the procedure that Mr. Gary Rizo and his team(rerecorder mixer in skywalker) used in &quot;We owned the night&quot;. They wanted the 70's sound. So, he first asked the rerecording mixers of that period how they used to process the dialogue back in the days and what part of the process affected the sound. After his research, he inserted in his mixing board the next chain: the outputs of an analogue Nagra( it was used for the dailies) feeding the inputs of a single stripe recorder( it was used for edtining), the outputs of the single stripe recorder feeding the inputs of a fullcoat mag( used for the final mix) and back to the cadenza mixing board( cadenza? I might be wrong about the model of the board). Try also mixing mono. &#xD;&#xA;&#xD;&#xA;+1 for the ribbon mic!&#xD;&#xA;&#xD;&#xA;When you finish I would love to hear your conclusions. &#xD;&#xA;&#xD;&#xA;Best regards    &#xD;&#xA;   " ContentLicense="CC BY-SA 3.0" />
  <row Id="14567" PostHistoryTypeId="2" PostId="8742" RevisionGUID="b5922b45-3b6c-4e8c-9d95-ed9db4fef44f" CreationDate="2011-06-18T14:00:16.360" UserDisplayName="user80" Text="How about a 13&quot; Macbook Pro?&#xD;&#xA;&#xD;&#xA;I am just migrating from my 13&quot; 5 year old white Macbook, which still runs PT through a 003 rack at 96 khz, 24 bit.&#xD;&#xA;&#xD;&#xA;I use Mac Pros with PTHD at work but have always been able to take 96 kHz sessions home so that I don't have to work late every night.&#xD;&#xA;&#xD;&#xA;My recommendation is purchase a standard 13&quot; Pro at $1200 and later max out the RAM (8 GB, $82) and add an SSD drive (256 GB, $500).&#xD;&#xA;&#xD;&#xA;At work we have 50+ Macs and they really are reliable." ContentLicense="CC BY-SA 3.0" />
  <row Id="14568" PostHistoryTypeId="2" PostId="8743" RevisionGUID="fc6caeca-a26d-4907-acc7-3a2ffd0073d9" CreationDate="2011-06-19T10:25:03.023" UserId="244" Text="Im just wondering, as there are lots of kinds noise that creep into our recordings. what are the typical frequencies where noise is mostly present as so I can apply filters etc.. And also, what type of filter would one suggest applying when recording to minimize and attain the best SNR? &#xD;&#xA;&#xD;&#xA;(noise such as wind/electrical etc..)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14569" PostHistoryTypeId="1" PostId="8743" RevisionGUID="fc6caeca-a26d-4907-acc7-3a2ffd0073d9" CreationDate="2011-06-19T10:25:03.023" UserId="244" Text="Noise Frequency" ContentLicense="CC BY-SA 3.0" />
  <row Id="14570" PostHistoryTypeId="3" PostId="8743" RevisionGUID="fc6caeca-a26d-4907-acc7-3a2ffd0073d9" CreationDate="2011-06-19T10:25:03.023" UserId="244" Text="&lt;noise&gt;&lt;frequency&gt;&lt;filtering&gt;&lt;reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14571" PostHistoryTypeId="2" PostId="8744" RevisionGUID="86d8ec37-69a1-4059-8f82-26f2eb6d1f90" CreationDate="2011-06-19T11:50:33.420" UserId="1077" Text="60 Hz is a common electrical hum in the US.  A HPF can sometimes cut down on LF wind rumbles: play around with the roll off frequency.&#xD;&#xA;&#xD;&#xA;The major issue with trying to filter out undesirable noise is that it is very often broad-spectrum (wind, etc).  If you try using filters to get rid of the noise, you end up losing a lot of desirable information as well, and color the sound.&#xD;&#xA;&#xD;&#xA;The best approach is to avoid undesirable noise as much as possible:  use the highest-quality preamps you can afford, use proper wind protection, make sure your cables have good shielding and your power is as clean as you can make it." ContentLicense="CC BY-SA 3.0" />
  <row Id="14572" PostHistoryTypeId="2" PostId="8745" RevisionGUID="069a55a5-183a-404e-9f38-a119b6acb29e" CreationDate="2011-06-19T12:56:09.417" UserId="220" Text="Speaking as a post-sound person, I'd rather have a noisy recording than one with filters applied in the field.  As Joe said, do all you can to avoid wind noise, noisy mics, and other hums/buzzes you may pick up, but if it ends up in the recording, note it and see what can be done in an editing program." ContentLicense="CC BY-SA 3.0" />
  <row Id="14573" PostHistoryTypeId="5" PostId="8698" RevisionGUID="7c63093c-2cb5-4515-8cbf-529c6a182561" CreationDate="2011-06-19T12:58:13.393" UserId="220" Comment="edit awkward question" Text="I know this might not be news to some, but it was new to me and I though it was pretty sweet:&#xD;&#xA;&#xD;&#xA;Lectrosonics Super-Miniature Transmitters ([SMV][1]/[SMQV][2]) are typical awesome products - 50mW, 100mW, and 250mW selectable power output, digital hybrid wireless, and are completely waterproof when you put the silicon boot over the mic jack input.  &#xD;&#xA;&#xD;&#xA;The rep explained to me that when these are in sleep mode, all the wireless is off, but the preamp is still on, so you can turn them on by playing a series of tones in to the mic on your talent.  That way you can hand over a mic in sleep mode to wardrobe, it can be hidden away where you can't reach it, and you activate it right before you start shooting without having to grope anybody.  You can buy a little [remote control][3] that fires a tone for on/off, lock/unlock, and volume setting.  But you don't need to buy it, you can just grab the wave files from the website and play them from an mp3 player.  Or, there is an iPhone app coming soon.  &#xD;&#xA;&#xD;&#xA;Price is going down...I'm going to start saving up for a set.&#xD;&#xA;&#xD;&#xA;Other cool product they were showing was the [Quadra Wireless Monitor][4].  It lets you transmit up to 4 discrete channels at 48k/24bit that can be mixed by the end user, so you could drop the boom and a lav or two, and a talkback mic and everybody with a receiver can listen to what they'd like.  Also great for mixing monitors for musicians - just get an even mix of vocals, guitars, drums, and keyboards and each musician can dial in what they'd like.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.lectrosonics.com/Transmitters/smv.html&#xD;&#xA;  [2]: http://www.lectrosonics.com/Transmitters/smqv.html&#xD;&#xA;  [3]: http://www.lectrosonics.com/Transmitters/rm2.html&#xD;&#xA;  [4]: http://www.lectrosonics.com/Wireless-Monitors/quadra.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="14574" PostHistoryTypeId="2" PostId="8746" RevisionGUID="42545a2a-a30d-47bd-8303-84284a34bc56" CreationDate="2011-06-19T14:16:15.433" UserId="219" Text="At last, I thought about it AND actually have an internet connection at hand. What about those winter headbands that cover your forehead and your ears? They come in various styles and colors so you can adjust the level of moron-looking-ness :)&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.oneinhundred.com/upfiles/upimg3/Women-s-winter-headband-with-t-5723393.jpg&#xD;&#xA;  [2]: http://www.winterstyle.com/images_wm/medium/Silver_Indigo_Fox_Fur_Winter_Headband_726.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="14575" PostHistoryTypeId="2" PostId="8747" RevisionGUID="80060683-dbe6-4d10-96ac-d9ef0712b33b" CreationDate="2011-06-19T19:09:57.877" UserId="219" Text="So, it has been a recurring sound design question/challenge I've quite often come back to. Today I can say I'm the closest I've ever been from creating this sound using noise and plugins.&#xD;&#xA;&#xD;&#xA;I run pink noise through the AIR Frequency Shifter plugin that comes with PT8. In Up &amp; Down mode (the third position of the selector), with a feedback between 70 and 100% and mixing the output between 50 and 100% I managed to get the base with a frequency between 5 and 10Hz. Then, using flanger I added some &quot;turbulence&quot; to it (haven't managed to get an actual flutter yet) and finally some AIR Enhancer to generate some whistling highs and accentuate the cyclical thump.&#xD;&#xA;&#xD;&#xA;Have you guys ever tried this? Would you like to share your experiences here? Any techniques/plugins that might give me a better result? The AIR Filter Gate plugin has Attack, Hold and Release controls that gave me superb control over the character of the propeller, but then it only has a stepped rate so you can't vary the modulation speed (I haven't tried automating the tempo of the session that is).&#xD;&#xA;&#xD;&#xA;[soundcloud]justin-huss/helicopter-propeller-sound[/soundcloud]&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/justin-huss/helicopter-propeller-sound&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14576" PostHistoryTypeId="1" PostId="8747" RevisionGUID="80060683-dbe6-4d10-96ac-d9ef0712b33b" CreationDate="2011-06-19T19:09:57.877" UserId="219" Text="Phaser/Flanger/Frequency Shifter - helicopter propeller" ContentLicense="CC BY-SA 3.0" />
  <row Id="14577" PostHistoryTypeId="3" PostId="8747" RevisionGUID="80060683-dbe6-4d10-96ac-d9ef0712b33b" CreationDate="2011-06-19T19:09:57.877" UserId="219" Text="&lt;helicopter&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14578" PostHistoryTypeId="2" PostId="8748" RevisionGUID="e6767211-64b8-413f-8f48-48872e430fc2" CreationDate="2011-06-19T20:56:45.093" UserId="1056" Text="I agree with Joe and VCProd, but would like to add two points that I believe require some emphasis:&#xD;&#xA;&#xD;&#xA;1) Certain mics are often used in specific situations not only because of practical reasons, but also because of the unique signature they impart on the sound. Application of wholesale filters in the recording process will not be appreciated and could get you fired, or worse...&#xD;&#xA;&#xD;&#xA;2) It can often be a pain in the butt to spend hours removing unwanted noise that could easily have been avoided or at least minimised with careful planning. However, that is waaaaaaaaaaay more preferable than having to try and put back wanted noise that has been removed erroneously in the recording process." ContentLicense="CC BY-SA 3.0" />
  <row Id="14579" PostHistoryTypeId="2" PostId="8749" RevisionGUID="86be83c5-a12b-446b-9c46-cf1a425dfd55" CreationDate="2011-06-19T21:01:12.067" UserId="220" Text="I highly recommend HP laptops - you can get some really premo setups from them, and they generally use higher quality parts than any other manufacturers.  I've been through Toshiba, Dell, IBM, Compaq, and ASUS - they've all been a bit flimsy and not quite up to par.  HP laptops have been very sturdy and run rock-solid.  Check out the [DV7T Quad Edition][1].  You can also work out of a Pelican case for your lappy if you think it's going to get damaged.&#xD;&#xA;&#xD;&#xA;As far as firewire goes - YES, Apple has the best firewire in laptops and they're a good way to go if that is your aim.  PC-built laptops have iffy firewire.  You either need to get a firewire card that will run you a hundred dollers (that's like 700 canadian dollars or 18 fine moose pelts,  I think), or go with a USB interface (Presonus has a one, but it only records up to 48k, 24bit due to USB speeds... that might improve with USB 3, etc).  If you're building a desktop, PCs are way cheaper and you can get a good firewire card without any issues.&#xD;&#xA;&#xD;&#xA;I prefer PC over Apple for a variety of reasons, cost being a large part of that.  I like being able to upgrade and improve over time in the same box.  I've had my franken-desktop for almost 8 years now and it's still cruising along just fine with upgrades made along the way.  &#xD;&#xA;&#xD;&#xA;The Video Guys have a [nice writeup][2] about video editing workstations.. a lot of that info is applicable to audio editing, although it doesn't need quite the power.  They update frequently, so it's a good reference.&#xD;&#xA;&#xD;&#xA;Good luck!  Not an easy decision....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.shopping.hp.com/webapp/shopping/computer_series.do?storeName=computer_store&amp;category=notebooks&amp;series_name=dv7tqe_series&amp;a1=Category&amp;v1=High%20performance&#xD;&#xA;  [2]: http://www.videoguys.com/Guide/E/Videoguys+System+recommendations+for+Video+Editing/0x4aebb06ba071d2b6a2cd784ce243a6c6.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="14580" PostHistoryTypeId="2" PostId="8750" RevisionGUID="83c5f9d1-09fc-4f70-9c77-583bef21b65b" CreationDate="2011-06-20T03:25:36.630" UserId="993" Text="So you've already tried breathing through your mouth right, but that just gave you a sore throat? Did that work to avoid the nose whistling though? If you have a free hand try touching your nose in such a way that your nostrils are no longer a perfectly shaped a wind instrument. It might be slight pressure on the side or underneath of the nose is all that is needed. Play around with it and see if see what position works." ContentLicense="CC BY-SA 3.0" />
  <row Id="14581" PostHistoryTypeId="2" PostId="8751" RevisionGUID="44315d78-61ef-46ba-a1d5-cb887e86e09c" CreationDate="2011-06-20T14:30:16.967" UserId="194" Text="I've started reaching out to a few of the people that posted videos on vimeo.  watching that stuff is both incredibly sad and a little overwhelming.  &#xD;&#xA;&#xD;&#xA;I imagine that if I was in Vancouver at the time I'd probably be crazy enough to try to run out there and catch some sounds (don't tell my wife), but it seems like there were more than a couple of people out there with dslr rigs and probably at least an H4 to record with.&#xD;&#xA;&#xD;&#xA;there are certain things that you really just can't fake.  the crowds yelling and chanting, the &quot;ooohhh&quot; reaction that goes up when something explodes, the laughing and crying and fighting and cursing.&#xD;&#xA;&#xD;&#xA;Crazy times friends.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14582" PostHistoryTypeId="12" PostId="8742" RevisionGUID="2ecf1ee6-d754-451c-9b03-0b5c63aed5fd" CreationDate="2011-06-20T15:17:52.430" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="14583" PostHistoryTypeId="13" PostId="8742" RevisionGUID="f9aa9da1-e2b7-4943-83dc-8e75b8694693" CreationDate="2011-06-20T16:20:38.470" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="14584" PostHistoryTypeId="5" PostId="8742" RevisionGUID="685a0362-772a-47a8-861d-6d35863c2e7e" CreationDate="2011-06-20T16:30:20.483" UserDisplayName="user80" Comment="added 331 characters in body; edited body" Text="If you maintain the OS regularly a PC can be as reliable as a Mac and certainly cheaper.&#xD;&#xA;&#xD;&#xA;But Windows is a little bit more processor hungry, so when you are comparing specs you are not comparing like with like.  You will need a little extra speed and a little more RAM, this is partially due to Windows being backward compatible, and having to cope with many more hardware and software combinations.&#xD;&#xA;&#xD;&#xA;It really doesn't matter what you buy as long as you learn how to maintain it, I know people with expensive PCs that have real problems, and those with cheaper models that work reliably for years, it all seems to be down to how they treat them.&#xD;&#xA;&#xD;&#xA;I prefer Macs and make them last longer in order to justify the extra expense, it is more of a familiarity thing for me and what I consider to be a safe bet." ContentLicense="CC BY-SA 3.0" />
  <row Id="14585" PostHistoryTypeId="2" PostId="8752" RevisionGUID="91b19386-2c41-42ac-89e1-e4059871757b" CreationDate="2011-06-20T19:15:59.170" UserId="2" Text="Nice one! Pretty darn close :-) I agree with Stephen that it needs a high pitch whine. &#xD;&#xA;&#xD;&#xA;Have you heard of the book [Designing Sound][1] by Andy Farnell? There is a **really really REALLY great** (can I stress that enough?) tutorial on how to recreate procedurally the sound of a helicopter. Definitely worth checking it out. It uses [Pure Data][2] for implementation, but the physics analysis is awesome, and I'm sure it will help even if you're using plugins.  &#xD;&#xA;&#xD;&#xA;Keep experimeting - love it!  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&amp;tid=12282&#xD;&#xA;  [2]: http://puredata.info/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14586" PostHistoryTypeId="2" PostId="8753" RevisionGUID="bae39990-5bb9-4f91-9758-e7f24933d032" CreationDate="2011-06-20T22:59:37.500" UserId="37" Text="broadband noise such as wind, air traffic, and the generic city background occupies more than one frequency, and can be found in whole parts of the spectrum. you can get successful results by multiband dynamics processing, or a broadband noise reduction system.&#xD;&#xA;&#xD;&#xA;lights whine at high frequencies, power hum is at 50 or 60hz depending on your location. city rumble can go down to infrasound. w/ airplanes passing overhead v.high in the sky i've so far had a descending low frequency going from 200+hz down, but no idea how to automate cleaning that. for everything that stays at a single frequency you can do a spectrogram and attenuate with a surgical EQ.." ContentLicense="CC BY-SA 3.0" />
  <row Id="14587" PostHistoryTypeId="2" PostId="8754" RevisionGUID="cc1f0bb2-b70d-4973-8cd8-4e55bdfe625b" CreationDate="2011-06-21T00:54:15.877" UserId="1164" Text="I need to make a sound effect for a building slowly collapsing on screen. The initial explosions are easy enough to do, however I'm having some trouble thinking of something I can record that would mimic the sound of a building collapsing? The whole building takes 10-20 seconds to fully collapse from one side to the other, any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14588" PostHistoryTypeId="1" PostId="8754" RevisionGUID="cc1f0bb2-b70d-4973-8cd8-4e55bdfe625b" CreationDate="2011-06-21T00:54:15.877" UserId="1164" Text="demolition sound effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="14589" PostHistoryTypeId="3" PostId="8754" RevisionGUID="cc1f0bb2-b70d-4973-8cd8-4e55bdfe625b" CreationDate="2011-06-21T00:54:15.877" UserId="1164" Text="&lt;sound-effects&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14590" PostHistoryTypeId="2" PostId="8755" RevisionGUID="c5334d1f-0d0b-47a4-83a2-ff6e095453f4" CreationDate="2011-06-21T01:18:47.120" UserId="432" Text="What kind of building are you looking to simulate. Is it a skyscraper of metal and glass, a wooden house, a multi-story brick school? It's going to take a number of layers, and you're going to need to think of the different materials involved and how they'll fail to build character into the design. How does the collaps affect the environment around it, is that even something you should consider? There are a lot of angles you can approach from.&#xD;&#xA;&#xD;&#xA;The first Sound Design Challenge I ran was a video of a controlled explosive building demolition. Check out some of the entries to see how people approached it, and maybe it will give you some ideas. All of the entries can be found [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/groups/58828/album/1211" ContentLicense="CC BY-SA 3.0" />
  <row Id="14591" PostHistoryTypeId="2" PostId="8756" RevisionGUID="a340b8ac-92b2-463d-9cd7-2e1be1e2675d" CreationDate="2011-06-21T15:12:59.077" UserId="6487" Text="I agree with Flipstar. Get what works for you. &#xD;&#xA;&#xD;&#xA;For me, it has been and will most likely continue to be a mac.  I have no desire to crack open my computer and tear out components/install new ones or research compatibility issues.  But, some folks like to get &quot;hands on.&quot;  I like gear as much as the next guy. But, in the end, computers are tools that I want to work for me as efficiently and transparently as possible, so I can get busy making noise.  My Macs have always plugged in and worked quickly, consistently, and easily.&#xD;&#xA;&#xD;&#xA;I used to set up non-linear editing systems and audio recording suites for TV stations and independent studios/editors. Many of my clients would want a PC due to familiarity and price. That's cool.  I could always make it happen.   But, it consistently took longer, required a lot more driver downloading, 3rd party software installs, and compatibility research. Generally, it took an extra day to get running and required more tech calls throughout its life span.  But, when up and running, the system would perform as well as a Mac equivalent. &#xD;&#xA;&#xD;&#xA;Also, this is a little off the subject, but it is a cool mac extra....Has anyone here played with this fancy ipad app that turns your ipad into a control surface via wifi for Pro Tools? It makes your ipad an excellent companion to your mobile laptop audio system. http://itunes.apple.com/us/app/v-control-pro/id400423823?mt=8 &#xD;&#xA;Its pretty sweet." ContentLicense="CC BY-SA 3.0" />
  <row Id="14592" PostHistoryTypeId="2" PostId="8757" RevisionGUID="b39d84e2-40c1-4335-b9a8-485953f19304" CreationDate="2011-06-21T16:44:51.123" UserId="1165" Text="I've been hearing this for many years and the same frequency follows everywhere I go so it's not something in another room.  If there is a lot of other noise, I don't hear it unless I concentrate on it.  Recently, I started using a BodyMedia like the Body Bug from 24 hour fitness and I could hear that the first few days as I came out of deep sleep.  It was definitely a lower pitch RF monitoring my brain waves inside my head.  Their spec is 2400Hz. I'm guessing that my brain drew it into it's own frequency and now is vibrating at the same rate - much higher (5000Hz?) My brain is not being microwaved because it would have exploded by now!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14593" PostHistoryTypeId="2" PostId="8758" RevisionGUID="0b51a9ee-1bb9-495f-8481-6872af80848d" CreationDate="2011-06-21T19:30:10.013" UserId="1152" Text="Woah, great discussion and very interesting links in this post. &#xD;&#xA;&#xD;&#xA;I don't think I have any supernatural hearing. I can hear CRTs like a knife in my brain and I can hear noise from my lcd monitors but not much else.&#xD;&#xA;I've found HF whine in mastered music and in a lot of behind the scenes studio footage. Real nasty." ContentLicense="CC BY-SA 3.0" />
  <row Id="14594" PostHistoryTypeId="2" PostId="8759" RevisionGUID="f9bb2295-e197-44b2-95a8-5b1f99b37e7e" CreationDate="2011-06-22T12:08:10.920" UserId="1133" Text="Hello.  I have a scene w/a fan whose blades slowly pick up speed and then slow back down again.  I have a great sound effect of a giant fan cutting air, but I can't match the speed of the effect from my library to that of the picture. I've tried pitching it down and varispeed with Elastic audio in PT with little success. I was hoping to find a tutorial on a more calculated technique.  Or, any tips from the pros on here?  Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="14595" PostHistoryTypeId="1" PostId="8759" RevisionGUID="f9bb2295-e197-44b2-95a8-5b1f99b37e7e" CreationDate="2011-06-22T12:08:10.920" UserId="1133" Text="Industrial Fan Speed" ContentLicense="CC BY-SA 3.0" />
  <row Id="14596" PostHistoryTypeId="3" PostId="8759" RevisionGUID="f9bb2295-e197-44b2-95a8-5b1f99b37e7e" CreationDate="2011-06-22T12:08:10.920" UserId="1133" Text="&lt;speed&gt;&lt;techniques&gt;&lt;sound-effects&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14597" PostHistoryTypeId="2" PostId="8760" RevisionGUID="a8e7dc47-59a4-4b43-a8d2-01b35873f8ff" CreationDate="2011-06-22T12:26:15.117" UserId="985" Text="Have you tried slicing it? Slice it to a midi key board and follow the fan by playing (and readjusting afterwards). You get no pitching time stretching or other potential sound degradation, but still flexibility in time. For faster or slower turning you may want to adjust the start points of the slice." ContentLicense="CC BY-SA 3.0" />
  <row Id="14598" PostHistoryTypeId="2" PostId="8761" RevisionGUID="d69d74c6-a0dc-47c9-9aa2-bdc3fcc2c402" CreationDate="2011-06-22T12:27:13.620" UserId="1137" Text="I did my USC grad thesis doc on the Microwave&#xD;&#xA;Auditory Effect, and interviewed two prominent&#xD;&#xA;scientists involved in the research, including&#xD;&#xA;the as of yet, only person to have been cited&#xD;&#xA;in &quot;open&quot; literature to have heard speech &#xD;&#xA;encoded and sent via microwaves.&#xD;&#xA;&#xD;&#xA;My website has a link to the doc, which has a nice&#xD;&#xA;little description, animated graphics, and trippy&#xD;&#xA;side story.&#xD;&#xA;&#xD;&#xA;http://deichen.us&#xD;&#xA;&#xD;&#xA;The phenom happens in the 3gig range, occurs&#xD;&#xA;as clicks, whirs, and pops. For speech, microwave&#xD;&#xA;pulses have to be strung into tones, then tones&#xD;&#xA;strung into words. For sustained speech, youd &#xD;&#xA;be facing the aforementioned &quot;cooking&quot;.&#xD;&#xA;&#xD;&#xA;&quot;Watson, come here...OH S#*T...His head just &#xD;&#xA;popped!!!&quot;&#xD;&#xA;&#xD;&#xA;AM" ContentLicense="CC BY-SA 3.0" />
  <row Id="14599" PostHistoryTypeId="5" PostId="8761" RevisionGUID="81354343-27b8-4489-8603-3b3095470d0b" CreationDate="2011-06-22T12:32:38.150" UserId="1137" Comment="deleted 4 characters in body" Text="I did my USC grad thesis doc on the Microwave&#xD;&#xA;Auditory Effect (V2K:Voice To Skull), and interviewed two prominent&#xD;&#xA;scientists involved in the research, including&#xD;&#xA;the as of yet, only person to have been cited&#xD;&#xA;in &quot;open&quot; literature to have heard speech &#xD;&#xA;encoded and sent via microwaves.&#xD;&#xA;&#xD;&#xA;The doc has a nice little description, animated graphics, and trippy&#xD;&#xA;side story.&#xD;&#xA;&#xD;&#xA;http://vimeo.com/12294845&#xD;&#xA;&#xD;&#xA;The phenom happens in the 3gig range, occurs&#xD;&#xA;as clicks, whirs, and pops. For speech, microwave&#xD;&#xA;pulses have to be strung into tones, then tones&#xD;&#xA;strung into words. For sustained speech, youd &#xD;&#xA;be facing the aforementioned &quot;cooking&quot;.&#xD;&#xA;&#xD;&#xA;&quot;Watson, come here...OH S#*T...His head just &#xD;&#xA;popped!!!&quot;&#xD;&#xA;&#xD;&#xA;AM" ContentLicense="CC BY-SA 3.0" />
  <row Id="14600" PostHistoryTypeId="2" PostId="8762" RevisionGUID="09709f4b-4f71-47e7-920f-93ac6feea71b" CreationDate="2011-06-22T13:14:44.667" UserId="1166" Text="You could also try putting a loop of your fan sound in a sampler and using pitch bend (experiment with the range) to manually adjust speed up and down." ContentLicense="CC BY-SA 3.0" />
  <row Id="14601" PostHistoryTypeId="2" PostId="8763" RevisionGUID="32e28f88-eef6-4501-adec-2990d2c24b12" CreationDate="2011-06-22T14:35:17.137" UserDisplayName="user80" Text="This is going to be a process of layering.  Glass breaking, stone smashing, wood cracking, metal being deformed.  All of these sounds can be found in a good library.  Layer everything together and then pitch and time stretch different elements so that they match the mass of the building that you are representing.  After that worldise the layers as a single group so that the destruction sounds like it is bouncing off the surrounding buildings." ContentLicense="CC BY-SA 3.0" />
  <row Id="14602" PostHistoryTypeId="5" PostId="8755" RevisionGUID="7546db6c-7153-4e49-b48b-e08331684f89" CreationDate="2011-06-22T15:06:18.237" UserId="432" Comment="spelling, as usual" Text="What kind of building are you looking to simulate. Is it a skyscraper of metal and glass, a wooden house, a multi-story brick school? It's going to take a number of layers, and you're going to need to think of the different materials involved and how they'll fail to build character into the design. How does the collapse affect the environment around it, is that even something you should consider? There are a lot of angles you can approach from.&#xD;&#xA;&#xD;&#xA;The first Sound Design Challenge I ran was a video of a controlled explosive building demolition. Check out some of the entries to see how people approached it, and maybe it will give you some ideas. All of the entries can be found [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/groups/58828/album/1211" ContentLicense="CC BY-SA 3.0" />
  <row Id="14603" PostHistoryTypeId="2" PostId="8764" RevisionGUID="1e85d13e-5eff-49b4-b0e0-30d078ce813b" CreationDate="2011-06-22T16:27:25.690" UserId="6499" Text="I've been recording some sounds while up here in New York on vacation.  I recorded them at 196k with the intention of dropping them into a 48k project.  I just tried to do it with a recording I did with the Aquarian H2 Hydrophone.  Im recording with a Tascam HDP2.&#xD;&#xA;&#xD;&#xA;I think I may have some settings or something wrong in PT9 because it does not seem to work correctly.&#xD;&#xA;&#xD;&#xA;Below is a small snippet of the recording where PT downconverted the clip to 48k upon import.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F17639222&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F17639222&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/the-verlotta-project/hydraphone-48k-pt-conform&quot;&gt;Hydraphone 48k pt conform&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/the-verlotta-project&quot;&gt;The Verlotta Project&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;I then went into pro tools preferences and told it to conform to session sample rate.  The resulting region was the appropriate length of brining a 196k recording into a 48k session,  but it just doesnt sound right&#xD;&#xA;&#xD;&#xA;This is what came from that.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F17639031&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F17639031&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/the-verlotta-project/hydraphone-196k-pt-to-48k&quot;&gt;Hydraphone 196k PT to 48k&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/the-verlotta-project&quot;&gt;The Verlotta Project&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;I believe I am making some kind of mistake and pro tools is processing the audio instead  of just looking at it like a 48k sample rate file.  &#xD;&#xA;&#xD;&#xA;I then duplicated the orginal file and went into the workspace browser in PT9 and changed the sample rate on the clip from 196000 to 48000 then I dragged that file into the session.  The resulting region was 4x longer than the original, which is expected, and it took zero processing.  Although the result is not quite what I expected, this is my first foray into high sample rate recording for purpose of lower sample rate playback.&#xD;&#xA;&#xD;&#xA;This is what I got from forcing the 48k samplerate by changing it in the workspace of PT.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F17639110&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F17639110&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/the-verlotta-project/hydraphone-196k-force&quot;&gt;Hydraphone 196K force&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/the-verlotta-project&quot;&gt;The Verlotta Project&lt;/a&gt;&lt;/span&gt; &#xD;&#xA; &#xD;&#xA;&#xD;&#xA;Do I have to trick PT every time I want to just listen to a 196k recording at 48k?  I was hoping for more Low End material with that, but maybe because I went from 196k to 48k, there was not enough high frequency material that would translate to Low material.  There is definitely some sounds there that I did not hear originally, but those did not exist in the PT playback, they only played once I exported the region as file.   &#xD;&#xA;&#xD;&#xA;My laptop cannot do higher than 48k with on board sound card, so I cant playback in a higher sample rate session until I get back to my studio.  &#xD;&#xA;&#xD;&#xA;So those of you that are recording high sample rates for intention of low sample rate playback, what are your settings for dropping those files into a 48k session?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14604" PostHistoryTypeId="1" PostId="8764" RevisionGUID="1e85d13e-5eff-49b4-b0e0-30d078ce813b" CreationDate="2011-06-22T16:27:25.690" UserId="6499" Text="Bringing High Sample Rate recordings into 48k Project" ContentLicense="CC BY-SA 3.0" />
  <row Id="14605" PostHistoryTypeId="3" PostId="8764" RevisionGUID="1e85d13e-5eff-49b4-b0e0-30d078ce813b" CreationDate="2011-06-22T16:27:25.690" UserId="6499" Text="&lt;sample&gt;&lt;rate&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14606" PostHistoryTypeId="5" PostId="8764" RevisionGUID="576a592e-f965-4781-af58-baf1d9bfd6a4" CreationDate="2011-06-22T16:53:12.013" UserId="6499" Comment="edited body; edited body" Text="I've been recording some sounds while up here in New York on vacation.  I recorded them at 192k with the intention of dropping them into a 48k project.  I just tried to do it with a recording I did with the Aquarian H2 Hydrophone.  Im recording with a Tascam HDP2.&#xD;&#xA;&#xD;&#xA;I think I may have some settings or something wrong in PT9 because it does not seem to work correctly.&#xD;&#xA;&#xD;&#xA;Below is a small snippet of the recording where PT downconverted the clip to 48k upon import.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F17639222&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F17639222&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/the-verlotta-project/hydraphone-48k-pt-conform&quot;&gt;Hydraphone 48k pt conform&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/the-verlotta-project&quot;&gt;The Verlotta Project&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;I then went into pro tools preferences and told it to conform to session sample rate.  The resulting region was the appropriate length of brining a 192k recording into a 48k session,  but it just doesnt sound right&#xD;&#xA;&#xD;&#xA;This is what came from that.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F17639031&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F17639031&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/the-verlotta-project/hydraphone-196k-pt-to-48k&quot;&gt;Hydraphone 192k PT to 48k&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/the-verlotta-project&quot;&gt;The Verlotta Project&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;I believe I am making some kind of mistake and pro tools is processing the audio instead  of just looking at it like a 48k sample rate file.  &#xD;&#xA;&#xD;&#xA;I then duplicated the orginal file and went into the workspace browser in PT9 and changed the sample rate on the clip from 192000 to 48000 then I dragged that file into the session.  The resulting region was 4x longer than the original, which is expected, and it took zero processing.  Although the result is not quite what I expected, this is my first foray into high sample rate recording for purpose of lower sample rate playback.&#xD;&#xA;&#xD;&#xA;This is what I got from forcing the 48k samplerate by changing it in the workspace of PT.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F17639110&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F17639110&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/the-verlotta-project/hydraphone-196k-force&quot;&gt;Hydraphone 192K force&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/the-verlotta-project&quot;&gt;The Verlotta Project&lt;/a&gt;&lt;/span&gt; &#xD;&#xA; &#xD;&#xA;&#xD;&#xA;Do I have to trick PT every time I want to just listen to a 192k recording at 48k?  I was hoping for more Low End material with that, but maybe because I went from 192k to 48k, there was not enough high frequency material that would translate to Low material.  There is definitely some sounds there that I did not hear originally, but those did not exist in the PT playback, they only played once I exported the region as file.   &#xD;&#xA;&#xD;&#xA;My laptop cannot do higher than 48k with on board sound card, so I cant playback in a higher sample rate session until I get back to my studio.  &#xD;&#xA;&#xD;&#xA;So those of you that are recording high sample rates for intention of low sample rate playback, what are your settings for dropping those files into a 48k session?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14607" PostHistoryTypeId="2" PostId="8765" RevisionGUID="7642c7f1-a813-480e-967d-9aebb77668d9" CreationDate="2011-06-22T17:00:43.000" UserId="432" Text="So, if I'm understanding this correctly, you're trying to get the 192kHz to play back at the session's sample rate of 48kHz (lower pitch and slower playback)? How did you import the audio? Did you use the &quot;Import Audio&quot; function and remember to uncheck the &quot;Apply SRC&quot; box in the sample rate conversion section?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14608" PostHistoryTypeId="2" PostId="8766" RevisionGUID="e396e50f-2a6d-470e-a248-ee78ade70bcb" CreationDate="2011-06-23T01:34:49.480" UserId="1117" Text="sorry.&#xD;&#xA;&#xD;&#xA;i have this clip that a friend sent me to ask if i could reduce the noise on it.&#xD;&#xA;im still new to all this stuff, but to me it seems the noise is more background sound than noise if that makes sense, is it even possible to reduce it?&#xD;&#xA;&#xD;&#xA;anyway heres the sample, if anyone could give some advice it would be much appreciated.&#xD;&#xA;&#xD;&#xA;[AUDIO SAMPLE][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/grimskull/nano-audio-sample&#xD;&#xA;&#xD;&#xA;i have access to soundtrack pro's noise removal, logic and some waves noise removal plugs at school.&#xD;&#xA;&#xD;&#xA;cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="14609" PostHistoryTypeId="1" PostId="8766" RevisionGUID="e396e50f-2a6d-470e-a248-ee78ade70bcb" CreationDate="2011-06-23T01:34:49.480" UserId="1117" Text="Another noise related question" ContentLicense="CC BY-SA 3.0" />
  <row Id="14610" PostHistoryTypeId="3" PostId="8766" RevisionGUID="e396e50f-2a6d-470e-a248-ee78ade70bcb" CreationDate="2011-06-23T01:34:49.480" UserId="1117" Text="&lt;noise-reduction&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14611" PostHistoryTypeId="2" PostId="8767" RevisionGUID="2f7925f2-7c9e-4117-a3b8-1e654d6902da" CreationDate="2011-06-23T02:15:01.617" UserId="253" Text="Sorry dude, that's a lot of noise! Mostly broadband, but there are some fast/repeating transients in there, which will make things difficult.&#xD;&#xA;&#xD;&#xA;You can try to use a little bit of broadband noise reduction (izotope RX, Waves X-Noise or whatever), but you'll only be able to drop a few dB before you start getting artifacts. If you have access to Waves C4, you can put that after what i just mentioned, using the noise reduction preset, and tuning the thresholds to optimise it.&#xD;&#xA;&#xD;&#xA;Then you could do some basic eq stuff: hi-pass at around 80Hz; low pass around 16-17kHz; and i've found that you can cut 800Hz-1kHz by a couple of dB without affecting the voice noticeably. &#xD;&#xA;&#xD;&#xA;Unfortunately, all this will most likely just bring it up from horrible to not-so-horrible. Still, it'll be a good exercise. Just play around and see how far you can push things before you start damaging the voice.&#xD;&#xA;&#xD;&#xA;Side note: If this is against picture, the noise will be more acceptable if you can see what's causing it." ContentLicense="CC BY-SA 3.0" />
  <row Id="14612" PostHistoryTypeId="2" PostId="8768" RevisionGUID="35717f5f-a47e-440b-b1fa-e05e000648c0" CreationDate="2011-06-23T02:35:36.693" UserId="268" Text="Your going to have to process that audio A LOT to remove the noise resulting in degradation of the voice quality. To the point where it wouldn't be usable in any professional manner. I would either record it again or apply a high pass filter somewhere around 80-100 hz. Additionally you might be able to apply a notch filter somewhere between 100-400 hz.&#xD;&#xA;&#xD;&#xA;When I have to try and save something with noise reduction techniques I usually give myself a few versions then work on something else for a little while. It's important to come back to it and see if any of it sounds better than the original. Sometimes it's easy to fall into the &quot;i worked on it for 40 minutes so it must sound good.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14613" PostHistoryTypeId="2" PostId="8769" RevisionGUID="057e1f23-47f9-4609-bb7b-386005ff4fdc" CreationDate="2011-06-23T09:38:51.783" UserId="1056" Text="Hi Jamie&#xD;&#xA;I listened to your sample clip and believe I understand what you are trying to say - that the noise is most likely inherent to the environment. However, in its current state it is too much in the foreground and is actually obscuring the dialogue. The bad news is that there is one specific whining noise that is right in the frequency range of the dialogue and any noise reduction you do is going to bring that forward along with the dialogue. The good news is that you should be able to push most of the broadband noise back enough to make the dialogue intelligible.&#xD;&#xA;&#xD;&#xA;I ran your sample through iZotope RX and was able to run 2 passes reducing the noise by 8dB each pass without creating noticeable artifacting. You should be able to achieve much better results using Waves Z-Noise, as you will be working directly from the WAV file.&#xD;&#xA;&#xD;&#xA;Start by capturing a noise profile from a portion of the recording where there is no dialogue using the &quot;Learn&quot; function. Then, once you have pushed the environmental noise back sufficiently, capture another noise profile, this time of the dialogue, using the &quot;Extract&quot; function. You should, with a bit of experimentation, be able to reduce that whine sufficiently that it is not intrusive.&#xD;&#xA;&#xD;&#xA;A few important things to remember:&#xD;&#xA;1) You will achieve more natural results using 2 passes reducing the noise by around 8dB each pass, rather than 1 pass reducing the noise by 16dB.&#xD;&#xA;2) When running multiple passes, either use the &quot;Adaptive&quot; function in Z-Noise or obtain a new noise profile before each pass.&#xD;&#xA;2) Listen to the difference before running each pass to ensure that you are not removing dialogue and, if you are, try reducing the threshold slightly until it goes away.&#xD;&#xA;2) There is always the temptation to reduce the noise by too much. Listen carefully to your results after each process and when it starts to sound artificial you've gone too far and need to undo your last process.&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14614" PostHistoryTypeId="2" PostId="8770" RevisionGUID="7d43232b-b216-410b-96a3-7c00b6fe4d94" CreationDate="2011-06-23T10:06:58.413" UserId="1150" Text="Thanks heaps for the replies guys.&#xD;&#xA;The mix i did ended up getting me the job as effects editor so cheers! &#xD;&#xA;I ended up using some eq curves (matched with repli-q) from &quot;where eagles dare&quot; and then applied similar 'academy curves' to some of the dialogue. And then used LA2A plugin Compression, waves mpx tape plugin and L1 for extra processing., We both felt tho that it did get a little fatiguing and so we are going to find a middle range not rolling off the highs too much&#xD;&#xA; &#xD;&#xA;The dialogue was recorded with some 1960s italian mics by the director which definitely helped the tone of the dialogue - yet i found myself fixing booming frequencies before i begun to effect the dialogue. I start officially on the 1st. The director is recording all the dialogue but I have opted to experiment with him - especially with the distance of the mic- the dialogue i played with was recorded too close.&#xD;&#xA;&#xD;&#xA;I will be editing some online episodes very soon and will post links if anyone is interested.&#xD;&#xA;Again, thanks for the replies." ContentLicense="CC BY-SA 3.0" />
  <row Id="14618" PostHistoryTypeId="2" PostId="8772" RevisionGUID="da265793-aebb-4809-a818-0c13213bd664" CreationDate="2011-06-23T14:31:33.557" UserId="1168" Text="Hello you lot! &#xD;&#xA;&#xD;&#xA;Ok, this maybe dead easy for some of you guys, i guess thats what i'm hoping for.&#xD;&#xA;&#xD;&#xA;Basically, I have a macbook running Logic Express 8 and the simple USB M-Audio interface with one XLR input. I have a SM58 mic and have hung this from the old school sprinkler bar in our rehersal space. All i have wanted to do is record some live big drums, i have done this and the result is probably as you imagine. Not terrible but lacking somewhat. &#xD;&#xA;&#xD;&#xA;Anyway, I am thinking of buying a H2 because I want a small, portable and easy way of recording all manner of things but being able to record drums that I can later edit in Logic would be brilliant. &#xD;&#xA;&#xD;&#xA;The question is this - &#xD;&#xA;&#xD;&#xA;Would the H2 give a better [if not good] recording sound than my madhap mic and laptop 'set-up'? &#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;Rob. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14619" PostHistoryTypeId="1" PostId="8772" RevisionGUID="da265793-aebb-4809-a818-0c13213bd664" CreationDate="2011-06-23T14:31:33.557" UserId="1168" Text="Zoom H2 vs. Macbook, Logic and SM58" ContentLicense="CC BY-SA 3.0" />
  <row Id="14620" PostHistoryTypeId="3" PostId="8772" RevisionGUID="da265793-aebb-4809-a818-0c13213bd664" CreationDate="2011-06-23T14:31:33.557" UserId="1168" Text="&lt;h2&gt;&lt;logic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14621" PostHistoryTypeId="2" PostId="8773" RevisionGUID="2bd553d6-e4b8-4f34-8fd8-521147b12763" CreationDate="2011-06-23T15:23:54.987" UserId="876" Text="Hey every one! I am currently working on a scene which is set in reality in a girls room with her and two other characters and an imaginary character of hers which is in there with them who is taking all of her attention while the other characters are trying to get her attention. This imaginary character is moving around and he is creating bubbles out of a golden orb which float to the ceiling, so I was just wondering how to handle any sound that the imaginary character would make seeing that he is not really in that room. I am thinking i have to &quot;blur&quot; out all ambiance and the other characters dialogue while I play the imaginary sounds clearly, but I am not completely sure how to do that. Will really appreciate any tips or interesting ideas. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thank you so much (in advance :) )" ContentLicense="CC BY-SA 3.0" />
  <row Id="14622" PostHistoryTypeId="1" PostId="8773" RevisionGUID="2bd553d6-e4b8-4f34-8fd8-521147b12763" CreationDate="2011-06-23T15:23:54.987" UserId="876" Text="Imaginary character " ContentLicense="CC BY-SA 3.0" />
  <row Id="14623" PostHistoryTypeId="3" PostId="8773" RevisionGUID="2bd553d6-e4b8-4f34-8fd8-521147b12763" CreationDate="2011-06-23T15:23:54.987" UserId="876" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14624" PostHistoryTypeId="2" PostId="8774" RevisionGUID="326089da-69bb-4667-b072-9689ba600567" CreationDate="2011-06-23T16:00:46.537" UserId="29" Text="IMO, the H2 would win in terms of portability, stereo or quad recording, ease of use, mounting options, the sound of a cardioid condenser mics, and battery power. The SM58+laptop would win in terms of possible multi-take recording, access to multiple discrete tracks (albeit recording only one at a time), realtime effects while recording, and the ruggedness of an industry-standard dynamic mic. (FWIW, I'd opt for an SM57 for instruments over a 58 if my mic budget was &lt;$150, but that's just me.)&#xD;&#xA;&#xD;&#xA;If you want to record drums, at least you'd get the drums in stereo. Of course, the anal sound engineer part of my brain (admittedly, it's quite small) would want a stereo pair of overheads, a snare mic, and a kick mic, at a bare minimum, but that requires four XLR inputs and pre-amps for some or all of the mics, depending on what mic one chooses. But that's clearly another big step beyond just going from mono to stereo, which you'll probably want to wait on for the future.&#xD;&#xA;&#xD;&#xA;The H2 is pretty bad for quiet sound sources due to the high self-noise of its microphones, but for drums, as long as you don't clip the signal (there are no compressors or limiters on the H2), I think having one at least gives you some options for recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="14625" PostHistoryTypeId="2" PostId="8775" RevisionGUID="6f48c291-c7cf-4115-858b-adf8f86b9af6" CreationDate="2011-06-23T16:10:40.013" UserId="29" Text="Honestly, this sounds like impressionistic/expressionistic sound design, so it should be something *you* bring the magic to, as opposed to there being a standard technique. But if you're just creatively stuck, here are some ideas. Hopefully others will chime in, too.&#xD;&#xA;&#xD;&#xA;A standard trope I've noticed for this kind of thing is 100% wet reverb to &quot;blur&quot; the sound, although now with spectral audio processing you might use that to blur the sound as well. But something as simple as riding the dialog gain smartly could be understated and elegant if done right...never ignore the simplest solution. &#xD;&#xA;&#xD;&#xA;Maybe watch some boxing films, some surrealist films (Diving Bell &amp; the Butterfly, Eternal Sunshine of the Spotless Mind, and other Films With Ridiculously Long Titles), and films featuring shifted states of consciousness for examples and inspiration. As long as the audience is following how the attention of the main character is shifting, it sounds like you'd meet your goal. &#xD;&#xA;&#xD;&#xA;What you're describing sounds fun, challenging, and an opportunity to put *your* creative stamp on it. Experiment, fail, repeat, and iterate towards the right solution!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14626" PostHistoryTypeId="2" PostId="8776" RevisionGUID="274689a5-e4ba-4297-9c7b-e01b9b968351" CreationDate="2011-06-23T16:31:43.820" UserId="220" Text="H2 will probably have about the same sound quality as the SM58, but it will provide you with a stereo mix.  Why not spring for an H4N and get a few more inputs?   &#xD;&#xA;&#xD;&#xA;What kind of drums are you trying to record?  A set, or an actual big drum?  There are different answers for each of these.  &#xD;&#xA;&#xD;&#xA;If you're trying to record a set, I would record directly overhead with a stereo setup like the H2 or a pair of AKG Perception series mics.  They're not expensive and it sounds like you're on a budget.  Your drummer will need to be more tempered on his cymbal hits because of the mic placement, but you can (with a little work) get a nice, usable mix from just a stereo pair overhead.  Ideally, you'd go with something a bit bigger - mic the snare (top and bottom if you can), stereo pair overhead for cymbals, mic the tom bottoms, and one in the kick's hole.  I think CAD has a good little set for micing.  &#xD;&#xA;&#xD;&#xA;You also want to decrease the distance between your mic(s) and your source.  In a room, you'll get 2nd, 3rd, 4th, etc reflections that are nearer to your original source level that will muddle the recording.  As high a source level you can get with quieter reflections will result in something more usable.&#xD;&#xA;&#xD;&#xA;If you're recording a true big drum (which I think you are not), you'd want something with a great low-end response like a Beta 52.  &#xD;&#xA;&#xD;&#xA;A note on the SM-series mics - they are designed for live shows in rough environments and were designed what seems like 100 years ago with no changes since.  Think punk rockers who like to swing the mic and end up dropping it a few times.  It's built like a tank, but has the dynamics and response to match - not very nice, but sturdy and a good workhorse if you're not doing anything too high end in the **LIVE** environment.  Recording/studio mics are an entirely different matter.  They're more delicate, but you get a 1000 times better recording.  &#xD;&#xA;&#xD;&#xA;BOTTOM LINE:  Really anything is better than your current setup (mic far away and of low quality).  H2 good, H4N better, and any sort of nice small capsule condenser mic pair will be even better.  &#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14627" PostHistoryTypeId="2" PostId="8777" RevisionGUID="268ad045-0af3-4a81-ae48-9c23f3c1ec3b" CreationDate="2011-06-23T17:15:42.350" UserId="558" Text="I would start by going from shot to shot and asking the question, &quot;whose point of view is this shot from?&quot;  If its from the main girl, then you probably have free reign to add all the stuff that noiseJockey was talking about.  Then go back to dry on shots from other characters pt of view.  The transitions will make for nice sound moments and also add clarity for the audience.  If the shots are not clearly from 1 pt of view or other, then your director didn't do their job.&#xD;&#xA;&#xD;&#xA;dr" ContentLicense="CC BY-SA 3.0" />
  <row Id="14629" PostHistoryTypeId="2" PostId="8779" RevisionGUID="5530a486-5594-425a-aec2-5773c47aa90b" CreationDate="2011-06-23T19:50:24.803" UserId="587" Text="Hello everyone! Its been awhile since I have posted. However, I have moved across country, worked on quite a few productions, and moved again into a new apartment. Busy times. Glad to be back conversing with you all.&#xD;&#xA;&#xD;&#xA;So I have some V.O. questions. I have recorded/edited ADR, VO, production audio and wild lines. Worked with a slew of microphones and experimented with mic placements. But there is nothing like getting other professional opinions and experiences to put in your back pocket. Feel free to answer any one, or all, of these questions as you feel inclined to do so. These are actually questions in an email I have sent to a few people already.&#xD;&#xA;&#xD;&#xA;------&#xD;&#xA;&#xD;&#xA;Do you often spend time trying out different mics with the talent during the session? Or do you just throw up more than two or so for safety? Is it a strategic pick before session start based on talent and/or target voice characteristics?&#xD;&#xA;&#xD;&#xA;Is your normal setup a large diaphragm front and shotgun above? How often do you reposition these in different areas according to where the character would be on screen, or do wait for after to world-ize/reverb to match their proximity in post-processing?&#xD;&#xA;&#xD;&#xA;Beyond editing out non-performance based emissions from the VO actor, top and tailing, removing gaps between lengthy pauses, and such - what editing redundancies have you experienced? Whats your normal (not including special cases based on theme or genre) processing chain for mastering? Compression, EQ, Harmonic Excitation, and the like.&#xD;&#xA;&#xD;&#xA;Do you have usual conveniences for the actors when they show up? Throat Coat, magazines, lemon water, green apples/apple juice?&#xD;&#xA;&#xD;&#xA;Is the session as simple as just hitting record and stopping after each line's takes are finished and edit afterward? Or do you edit some just by the nature of the recording session?&#xD;&#xA;&#xD;&#xA;How do you name your tracks? Simply by character name, then rename by character name and line number/name after the recording session as finished? Or by the name written on the script/take sheet given to you, director, and talent to be burnt into the region upon recording?&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;Have at it you all!&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;C3" ContentLicense="CC BY-SA 3.0" />
  <row Id="14630" PostHistoryTypeId="1" PostId="8779" RevisionGUID="5530a486-5594-425a-aec2-5773c47aa90b" CreationDate="2011-06-23T19:50:24.803" UserId="587" Text="Voice Over Session Questions" ContentLicense="CC BY-SA 3.0" />
  <row Id="14631" PostHistoryTypeId="3" PostId="8779" RevisionGUID="5530a486-5594-425a-aec2-5773c47aa90b" CreationDate="2011-06-23T19:50:24.803" UserId="587" Text="&lt;voice-over&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14632" PostHistoryTypeId="2" PostId="8780" RevisionGUID="fb627959-2b86-49b9-9a13-bd9c6ab44db0" CreationDate="2011-06-23T21:23:04.233" UserId="1131" Text="I just ordered an Iphone 4 and was getting excited about the opportunity of having the ability to lug around a field recorder everywhere I went without too much extra baggage. I was planning on ordering Blue's Mikey as I've heard some pretty decent reviews of it. Come to find out that Mikey is not supported on Iphone 4 nor any other external mic that uses the Iphone's 30pin connector unless it has its own A/D converter.&#xD;&#xA;&#xD;&#xA;Does anyone have any other suggestions keeping in mind that the idea here is I want something I can carry in my pocket every day without it being too bulky (so not the iRig).&#xD;&#xA;&#xD;&#xA;Along the same vein, what app would you suggest for recording? I know that Blue offered the Blue Fire and Fire apps but wasn't sure if they were any good. &#xD;&#xA;&#xD;&#xA;Thanks for the help." ContentLicense="CC BY-SA 3.0" />
  <row Id="14633" PostHistoryTypeId="1" PostId="8780" RevisionGUID="fb627959-2b86-49b9-9a13-bd9c6ab44db0" CreationDate="2011-06-23T21:23:04.233" UserId="1131" Text="Iphone 4 field recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="14634" PostHistoryTypeId="3" PostId="8780" RevisionGUID="fb627959-2b86-49b9-9a13-bd9c6ab44db0" CreationDate="2011-06-23T21:23:04.233" UserId="1131" Text="&lt;app&gt;&lt;field-recording&gt;&lt;iphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14635" PostHistoryTypeId="2" PostId="8781" RevisionGUID="e2fae3b3-aa9c-41cb-be26-a99e8df5ceb1" CreationDate="2011-06-23T21:33:49.880" UserId="1062" Text="Id also love a good solution for the iPhone. Im going to Portugal next week and i wanted to be able to recording some stuff without having to take my recorder with me.. Would be perfect if Apple incorporated the headphone jack with line in and plug in power!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14636" PostHistoryTypeId="2" PostId="8782" RevisionGUID="d04da2e5-1cd5-4ac6-b5d2-2013828bdb71" CreationDate="2011-06-23T21:56:44.480" UserId="423" Text="Hey Everyone, &#xD;&#xA;&#xD;&#xA;I'm getting ready to record all the 4th of July madness...my neighborhood goes CRAZY.  I'm within 3 miles of 3 giant displays and my neighborhood nearly outdoes them...and it went on for 4 hours last year.  Anyway, I'm hoping to get some good suggestions on recording.  I did it last year with my Rode NT-4 going into my Tascam DR-680 and my ZOOM H2.  Here's a short sample of one little piece and what I did with it.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F14512752&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F14512752&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/joeedwards/sound-design-sample-firework&quot;&gt;Sound Design Sample-Firework Reports&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/joeedwards&quot;&gt;BEC Sound Design&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;This year I've got my Rode NT-4, a Rode NT-2, a tasty new Sony PCM-D50 and my ZOOM H2.  Rodes will go into the Tascam and the Sony and the ZOOM will be placed to get different perspectives.  &#xD;&#xA;&#xD;&#xA;Any tips on placement or anything else?  Rodes will be pointed straight up to all the action and I'm thinking about placing the ZOOM on the roof in the back of my house to catch echoes and reverb and the Sony I just haven't decided.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14637" PostHistoryTypeId="1" PostId="8782" RevisionGUID="d04da2e5-1cd5-4ac6-b5d2-2013828bdb71" CreationDate="2011-06-23T21:56:44.480" UserId="423" Text="Recording Fireworks...Tips/Suggestions..." ContentLicense="CC BY-SA 3.0" />
  <row Id="14638" PostHistoryTypeId="3" PostId="8782" RevisionGUID="d04da2e5-1cd5-4ac6-b5d2-2013828bdb71" CreationDate="2011-06-23T21:56:44.480" UserId="423" Text="&lt;fireworks&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14639" PostHistoryTypeId="2" PostId="8783" RevisionGUID="9cb76d55-5dd5-4139-80b4-fdf7a687b598" CreationDate="2011-06-23T22:11:47.707" UserId="587" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;Check this out - its a clip from a Noise Reduction job I am doing for a client. It was recorded teleconference style.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/c3sound/al-noisetest1&#xD;&#xA;&#xD;&#xA;How in gods green earth do you get that hideous sound out. I have done quite a bit to it from the original, removing the high end pitchiness that resided around 7.3k, and just basic noise floor reduction and a bit of voice enhancement with a little bit of EQ.&#xD;&#xA;&#xD;&#xA;From my training and experience, I almost want to say its impossible since its embedded distortion. There is no way of repairing the vocals through some kind of interpolation method.&#xD;&#xA;&#xD;&#xA;Any thoughts? De-Essing just lowers the volume of a small band of frequencies and ruins the dialog. Multi-band compression doesnt work because the noise is broadband. There is no way of fixing it using the spectrograph in RX2 because it creates muffled audio and doesnt recreate any kind of voice semblance.&#xD;&#xA;&#xD;&#xA;Ugh." ContentLicense="CC BY-SA 3.0" />
  <row Id="14640" PostHistoryTypeId="1" PostId="8783" RevisionGUID="9cb76d55-5dd5-4139-80b4-fdf7a687b598" CreationDate="2011-06-23T22:11:47.707" UserId="587" Text="Dialog Noise Reduction Help" ContentLicense="CC BY-SA 3.0" />
  <row Id="14641" PostHistoryTypeId="3" PostId="8783" RevisionGUID="9cb76d55-5dd5-4139-80b4-fdf7a687b598" CreationDate="2011-06-23T22:11:47.707" UserId="587" Text="&lt;dialog&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14642" PostHistoryTypeId="2" PostId="8784" RevisionGUID="d17c1ff2-5e2d-4fa4-b997-f2d2bb4e57c6" CreationDate="2011-06-23T22:17:20.747" UserId="253" Text="For the fast turnaround, low budget dubbing/audio tour records:&#xD;&#xA;&#xD;&#xA;- Our talent are pretty experienced with us, so they basically walk in and start belting out the cues. We have water and coffee for them, but it's pretty casual. &#xD;&#xA;- In the studio where most of this happens, we just have an Audio Technica large diaphragm (not sure which model). I'll quickly adjust the mic to get a good balance between avoiding pops and clicks, while still picking up good presence from their mouth.&#xD;&#xA;- For dubbing, i'll quickly cut the line into place if i want to check sync, although after a while you can intuitively tell whether or not it's usable. Some of these sessions we record 60+ cues per hour, so there's not much time to mess around.&#xD;&#xA;- During the record, we have a different track for each character. Because it's so fast, there's no time to rename for different cues (if we even had different cues to go off), so all we need is for the files to carry the character's name. The rest i can find out with time stamps and file creation time/dates.&#xD;&#xA;- For the dialogue chain when mixing, i use an EQ (mainly for hi/lo pass), followed by C4 on noise reduction (a/c... embarrassing, but it's either that or let the actor cook), then some compression, then an L1 so i can squeeze it into broadcast spec.&#xD;&#xA;&#xD;&#xA;For ADR with talent and director:&#xD;&#xA;&#xD;&#xA;- We brew up some coffee, have tea available (this is in a different studio to the first), magazines, honey, lemon, sweet n low, etc etc etc.&#xD;&#xA;- I rent mics specifically for these sessions, but i'll usually go for a Neumann KMR81 because of its similarity to on set shotguns, and its wider pattern with less off axis coloration. This is so i don't have to cut/repo the mic whenever the talent moves, and so i'm not telling them to hold still while they're doing their creative thing. I'll also use a lapel clipped on around mid-chest. I used a TRAM last time; no complaints. These go to discrete L and R in a stereo track to give the ADR crew options (although, for playback, i pan them both to C).&#xD;&#xA;- Because a director is involved, i cut the lines roughly to sync for approval before we move on to the next cue. I keep some fill or FX library ambience around to help sell the take.&#xD;&#xA;- I name the record track for each cue, as per the ADR cue sheet. So if the cue is &quot;PAO087&quot;, that's what i'll name the track. Pro Tools will automatically append take numbers eg. &quot;PAO087_01&quot;, &quot;PAO087_02&quot;, etc. And, seeing as i just deliver these to an ADR editor, there's no signal chain at my end.&#xD;&#xA;&#xD;&#xA;So that's just my system, cobbled together from my old teachers, my current job, and things that generally make sense to me. Hope there's something interesting there!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14643" PostHistoryTypeId="2" PostId="8785" RevisionGUID="776efdef-d877-4c56-b0b9-d5db3ceff9f5" CreationDate="2011-06-23T22:54:05.413" UserId="1076" Text="I don't think you can repair that. If that's what you have to work with and the client will allow it, I would try splicing together syllables from other parts of the audio that aren't as distorted. I know it's not the same issue that you have, but I removed a girls lisp from a recording by splicing in other syllables that weren't as offensive." ContentLicense="CC BY-SA 3.0" />
  <row Id="14644" PostHistoryTypeId="2" PostId="8786" RevisionGUID="907bff0c-336a-4417-8b66-91fb9ad624a6" CreationDate="2011-06-24T02:24:26.930" UserId="1137" Text="Good evening to the Audio Alchemists...&#xD;&#xA;&#xD;&#xA;Recorded three subjects, all hard-wired to Sanken COS-11 lavs, into a Fostex FR2LE with a SD 302 in front of it.&#xD;&#xA;&#xD;&#xA;Was taken by surprise when one of the subjects presented with a voice like what one might imagine belonged to a 65 year old, chain-smoking, scat-singer---beautiful and wonderfully textured, but requiring a significant boost in gain just to get a healthy signal due to how soft and croaky it was.&#xD;&#xA;&#xD;&#xA;Cutting the interview together, the backgrounds are (obviously) dramatically different and jarring when cutting from one subject to the other.&#xD;&#xA;&#xD;&#xA;Without access to noise reduction software, is it better to jack up a clip of room tone with gain, and make long, slowly faded heads and tails to Scatman's clips, or use the same boosted room tone to lay underneath the other subjects clips to keep the background noise consistent?&#xD;&#xA;&#xD;&#xA;Any production techniques that could have helped me out on location?&#xD;&#xA;&#xD;&#xA;Thanks for taking the time to read my query!&#xD;&#xA;atheisticmystic" ContentLicense="CC BY-SA 3.0" />
  <row Id="14645" PostHistoryTypeId="1" PostId="8786" RevisionGUID="907bff0c-336a-4417-8b66-91fb9ad624a6" CreationDate="2011-06-24T02:24:26.930" UserId="1137" Text="Matching backgrounds from two lavaliers" ContentLicense="CC BY-SA 3.0" />
  <row Id="14646" PostHistoryTypeId="3" PostId="8786" RevisionGUID="907bff0c-336a-4417-8b66-91fb9ad624a6" CreationDate="2011-06-24T02:24:26.930" UserId="1137" Text="&lt;lavalier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14647" PostHistoryTypeId="2" PostId="8787" RevisionGUID="95f08fd9-f6ed-49c7-bf8d-da7f18d0fc2a" CreationDate="2011-06-24T03:43:49.000" UserId="396" Text="If it's bearable, I would probably bring up the level of room tone underneath the other subjects to make it consistent. It's not the ideal solution, but it will be far less distracting than the noise floor changing on each shot." ContentLicense="CC BY-SA 3.0" />
  <row Id="14648" PostHistoryTypeId="2" PostId="8788" RevisionGUID="7ad685f2-40b9-4bea-8a09-e42bd7c65aef" CreationDate="2011-06-24T04:57:40.643" UserId="949" Text="Sometimes when a speaker is really soft a little bit o' compression can help.  If you don't have the gear, then eq, no eq then ride the fader, no fader then sometimes you can eq the room out in post.  On location nothing is more important than mic placement and gain settings. (cutting 450 hz never hurts either)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14649" PostHistoryTypeId="2" PostId="8789" RevisionGUID="cf71aed8-b6f1-449c-8a50-4758829415a8" CreationDate="2011-06-24T05:12:33.433" UserId="1126" Text="So I've seen things about making your windscreens and such. Usually they pertain to constructing a zeppelin or something. I have a shotgun mic with a foam windscreen on it, but it just isn't cutting it. They have cheap furry covers for foam screens on ebay and such, but international shipping to Japan plus the fact I spent so damn much on mics, pre-amps, etc. I just am looking for the cheapest possible fix. &#xD;&#xA;&#xD;&#xA;So question is, obviously I need to find some furry fabric, but what do I need to look for in terms of the material the furry part is attached to so it doesn't color my sound?&#xD;&#xA;&#xD;&#xA;And then I need to learn how to sew.... &gt;_&lt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14650" PostHistoryTypeId="1" PostId="8789" RevisionGUID="cf71aed8-b6f1-449c-8a50-4758829415a8" CreationDate="2011-06-24T05:12:33.433" UserId="1126" Text="Making my own furry windscreen" ContentLicense="CC BY-SA 3.0" />
  <row Id="14651" PostHistoryTypeId="3" PostId="8789" RevisionGUID="cf71aed8-b6f1-449c-8a50-4758829415a8" CreationDate="2011-06-24T05:12:33.433" UserId="1126" Text="&lt;wind-protection&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14652" PostHistoryTypeId="2" PostId="8790" RevisionGUID="f77c9a31-b3a7-4401-82f1-0d791bf54945" CreationDate="2011-06-24T08:09:26.900" UserId="479" Text="I've just this very moment finished a very short essay for my Masters of Audio and Acoustics. It was a seminar class so we didn't really go very indepth into Ambisonics, but we did build a 16 speaker array and used max/msp to localise sounds within a sphere. 4 speakers above, four below and 8 horizontal to listener.&#xD;&#xA;&#xD;&#xA;The class was more about the design aspects of a room and getting the acoustic response of the room and loudspeakers so we could adjust the room properly.&#xD;&#xA;&#xD;&#xA;I was tasked with creating the sounds to be replayed through the system.&#xD;&#xA;&#xD;&#xA;I made a bunch of sound scapes and musical pieces and placed these within co-ordinates of the sphere in max replicating the sphere of the loudspeaker array.&#xD;&#xA;&#xD;&#xA;The main things I noticed (this was only with one or two days fiddling around in the room) was&#xD;&#xA;* that panning showed up the gaps between speakers( slower pans = better movement), &#xD;&#xA;* co-axial loudspeakers would be better to localise the sound, &#xD;&#xA;* the directivity of the speakers at different frequencies causes localisation issues.&#xD;&#xA;&#xD;&#xA;Some plugins are available, I have not tested these out as I've just downloaded them myself&#xD;&#xA;http://www.brucewiggins.co.uk/?page_id=78&#xD;&#xA;&#xD;&#xA;Here's an article on mixing http://www.ambisonic.net/ambimix.html THis is more about mixing down to a physical encoder/decoder setup, I'm sure it would be much simpler in a DAW.&#xD;&#xA;&#xD;&#xA;For mixing it was difficult as we were limited to the max patch that the lecturer was working with. It didn't allow for any automation, so all sounds were statically placed in the sphere, this made it simpler because the computer wasn't in the localisation spot and i could jump in and out to adjust. If i was mixing something that required panning or mixing to film then you would need to be in the centre of the array to achieve the best result.&#xD;&#xA;&#xD;&#xA;One cheat we needed was that there was very little low frequencies coming from the small loudspeakers we were using. So we added a filter below 250Hz to send the sound to all loudspeakers, a similar cheat would be to use a separate subwoofer.&#xD;&#xA;&#xD;&#xA;I think ambisonics would be a great archival medium for surround work as it stores angular information for location and not just the speaker you wish the sound to come from as in stereo/5.1/7.1/22.2, this way future speaker arrays or listening situations could use an ambisonically recorded work without the production needing remixing.&#xD;&#xA;&#xD;&#xA;goodluck" ContentLicense="CC BY-SA 3.0" />
  <row Id="14654" PostHistoryTypeId="2" PostId="8791" RevisionGUID="463055c0-f8c2-49d0-a9e4-5c8ba24a441c" CreationDate="2011-06-24T08:26:51.667" UserId="479" Text="I've just been reading up on HVAC equipment from ASHRAE chapters 8 of fundamentals and 47 of applications.&#xD;&#xA;&#xD;&#xA;It gives a formula for finding the frequency emitted from fan blades depending on their size and speed. &#xD;&#xA;&#xD;&#xA;If you can deal with the maths it may give you something to go on with EQing the sound effect.&#xD;&#xA;&#xD;&#xA;This is something i just quickly found&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&gt; Blade-Pass Frequency. The blade-pass&#xD;&#xA;&gt; frequency is represented by the number&#xD;&#xA;&gt; of times per second a fans impeller&#xD;&#xA;&gt; passes a stationary item: fbp = (rpm X number of impeller blades)/60. All&#xD;&#xA;&gt; fans generate a tone at this frequency&#xD;&#xA;&gt; and its multiples (harmonics). Whether&#xD;&#xA;&gt; this tone is objectionable or barely&#xD;&#xA;&gt; noticeable depends on the type and&#xD;&#xA;&gt; design of the fan and the point of&#xD;&#xA;&gt; operation&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14655" PostHistoryTypeId="2" PostId="8792" RevisionGUID="a0779eda-2857-4ac2-97e0-f76feb4b2fce" CreationDate="2011-06-24T08:41:14.803" UserId="6462" Text="Hi. Firstly, there are methods shown on YouTube of how to make your own windshields so you might be able to follow one of those videos. But to be honest, if you've spent a lot of money on mics you should buy the proper wind protection! What is the point in having an expensive microphone with a windshield that may not be up to the job. I will always go for the items that are designed for the job, my personal preference is Rycote!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14656" PostHistoryTypeId="2" PostId="8793" RevisionGUID="7e223a7e-8516-414b-a7a6-01b69cf4253c" CreationDate="2011-06-24T12:09:45.640" UserId="1056" Text="Cut and paste would probably be your best option in this case, as suggested by nb. However, I think you need to look at your workflow. Ideally, you want to try and fix any distortion and clipping first, then apply broadband NR and finally EQ and levelling.&#xD;&#xA;&#xD;&#xA;At this point, you have removed so much broadband noise that most repair tools, especially spectral tools, are not able to function correctly. These tools rely heavily on programme material immediately surrounding the problem area, most of which has been removed. There is also some noticeable artifacting, presumably from the broadband NR you have already applied.&#xD;&#xA;&#xD;&#xA;I don't know the total length of your recording but, if it is only a few minutes, I would recommend starting again and working on this first. Should this not be possible, use the cut and paste approach to replace the distorted sections. I don't know what the rest of the recording sounds like but, if it is only on the &quot;esses&quot;, it is often possible to cannibalise a suitable replacement from another dialogue recording you have lying around, match it up with some EQ etc and then blend it in. I would also recommend adding some low level filtered noise to make it sound more natural. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14657" PostHistoryTypeId="2" PostId="8794" RevisionGUID="9266c877-586d-430b-a394-7ae26b92d94e" CreationDate="2011-06-24T12:34:46.240" UserId="1011" Text="Hi,&#xD;&#xA;&#xD;&#xA;Incidentally, Colin Hart wrote a great post about his experiences recording fireworks last week.&#xD;&#xA;&#xD;&#xA;The focus is more on specifics (less so ambient sounds), but there's some good ideas about the nature of fireworks sounds in the post, as well as his list of gear, etc:&#xD;&#xA;http://hartfx.net/road-trip-special-explosives-and-fireworks/&#xD;&#xA;&#xD;&#xA;I've found the biggest problem recording ambient fireworks was music.  Organized fireworks displays seem to want to blast classical music with the display, at least up here for Canada day (really now, why?).&#xD;&#xA;&#xD;&#xA;So I'd say positioning is important.  Prepare to have your set-up mobile so you can reposition to avoid screaming crowds or music to suit your needs.  Of course this is not just a matter of moving a few feet - to escape music or crowds you'll likely have to move many blocks.&#xD;&#xA;&#xD;&#xA;Especially since it is summer and you're in an urban environment, keep an ear out for HVAC, air conditioning, etc - vent/AC noise can be easily overlooked but will be especially intrusive over the all-important tail of the fireworks blasts.&#xD;&#xA;&#xD;&#xA;- Paul" ContentLicense="CC BY-SA 3.0" />
  <row Id="14658" PostHistoryTypeId="2" PostId="8795" RevisionGUID="5d3b9b29-fbb8-4ff1-bfc1-583fcc36916f" CreationDate="2011-06-24T13:05:19.450" UserId="1011" Text="I haven't tried the Blue Fire but I just downloaded it now.  Looks like the free version is mono-only.  Interface seems slick though.&#xD;&#xA;&#xD;&#xA;The pay version $5.99 accommodates stereo, 48/16.&#xD;&#xA;&#xD;&#xA;Here's the link for it, BTW, for those interested&#xD;&#xA;&#xD;&#xA;http://itunes.apple.com/ca/app/blue-fire/id336713577?mt=8&#xD;&#xA;&#xD;&#xA;Will report back with results.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14659" PostHistoryTypeId="2" PostId="8796" RevisionGUID="ae8d13ee-76af-4706-a07d-17f083665935" CreationDate="2011-06-24T15:49:24.687" UserId="1171" Text="Hello! Seeing as there is unfortunately no official solution for this, I'd like to ask what people have found to be best for easily/quickly charging, powering for a decent amount of time, and somewhat more importantly, safest for the recorder? Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14660" PostHistoryTypeId="1" PostId="8796" RevisionGUID="ae8d13ee-76af-4706-a07d-17f083665935" CreationDate="2011-06-24T15:49:24.687" UserId="1171" Text="Fostex FR-2 external rechargeable battery pack?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14661" PostHistoryTypeId="3" PostId="8796" RevisionGUID="ae8d13ee-76af-4706-a07d-17f083665935" CreationDate="2011-06-24T15:49:24.687" UserId="1171" Text="&lt;fostex&gt;&lt;battery&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14662" PostHistoryTypeId="2" PostId="8797" RevisionGUID="0382ee32-d85c-4410-9848-a38e627c7746" CreationDate="2011-06-24T15:57:02.780" UserId="1056" Text="@atheisticmystic&#xD;&#xA;Both Soundtrack Pro and Audacity have noise reduction plug-ins, so you should be sorted for the type of noise reduction you require (I'm not sure about PT8LE). Anyway, either one will allow you to reduce the background noise on the channel that you need to boost. This will most likely be a more effective solution than pushing up your noise floor.&#xD;&#xA;&#xD;&#xA;The module in Soundtrack Pro is very simple to use, but is quite limited in the amount of reduction you can apply before introducing artifacts, so you will probably be better off using Audacity. Even if you have never used Audacity before, it is a fairly straightforward application. Also, general broadband noise reduction is not really a difficult process. You just need to find a few seconds containing only noise from which you can make a noise print. That noise print is then used to create an algorithm that is applied to the entire file.&#xD;&#xA;&#xD;&#xA;Don't try to remove too much - just enough to bring it back to the original level. It might be a good idea to mix in a little room tone anyway, just above the original level, as this will help everything to blend. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14663" PostHistoryTypeId="2" PostId="8798" RevisionGUID="3157511e-4181-4f9e-95a8-24202a103aba" CreationDate="2011-06-24T16:45:25.723" UserId="965" Text="You could try the deconstruct module in Izotope RX 2 Advanced. Also try the declipper." ContentLicense="CC BY-SA 3.0" />
  <row Id="14664" PostHistoryTypeId="2" PostId="8799" RevisionGUID="5b025a1d-4c56-4f76-af3f-ae3847531030" CreationDate="2011-06-24T17:32:59.307" UserId="432" Text="You might want to look into either an Anton Bauer or IDX battery system. Not cheap, but certainly would satisfy your needs." ContentLicense="CC BY-SA 3.0" />
  <row Id="14665" PostHistoryTypeId="2" PostId="8800" RevisionGUID="68b538e2-1f89-45e9-aa3a-7d2447ea6baf" CreationDate="2011-06-24T17:36:40.587" UserId="1152" Text="It will take less than 30 days to do the work so the iZotope RX demo will be perfect for this job.&#xD;&#xA;&#xD;&#xA;Very easy to use, great sound quality, RX is awesome!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14666" PostHistoryTypeId="2" PostId="8801" RevisionGUID="9b07a0d4-ba3e-4e1d-af42-921e132897f2" CreationDate="2011-06-24T17:37:11.820" UserId="112" Text="You mentioned EQ, I'm assuming you did a hardcore notch EQ yes?  There are probably other areas you could notch as well aside from 7.3k.  Multiple notches can help.&#xD;&#xA;&#xD;&#xA;Also, adding a light amount of reverb can warm it up and smooth offer the hideousness&#xD;&#xA;&#xD;&#xA;And, a nice parametric slope cutting out everything above 10k can help as well" ContentLicense="CC BY-SA 3.0" />
  <row Id="14667" PostHistoryTypeId="2" PostId="8802" RevisionGUID="37ba0425-f358-4d93-b016-dba31a781cc5" CreationDate="2011-06-24T17:40:08.867" UserId="112" Text="Blue Fire rocks!  Records actual .wavs.&#xD;&#xA;&#xD;&#xA;And, they have a sick function where you can upload the files to an FTP, and even access the files on your phone from your laptop browser!&#xD;&#xA;&#xD;&#xA;love that app&#xD;&#xA;&#xD;&#xA;otherwise, the H2 Zoom is a great product, (though a little high in the midrange) and the MAudio Microtrack is even better&#xD;&#xA;&#xD;&#xA;both small, both phantom powered, and you can plug in any sort of mic into both" ContentLicense="CC BY-SA 3.0" />
  <row Id="14668" PostHistoryTypeId="2" PostId="8803" RevisionGUID="ce3e8c64-dee9-48ba-8ae8-1bd44971dd13" CreationDate="2011-06-24T18:07:55.707" UserId="6462" Text="I read somewhere, perhaps on here but I can't find the question or comment, about a project that involved recording a minute of audio for every hour over 24 hours. I'm looking at doing a similar project in various locations, just a bit of fun really but could be really interesting. Once the recordings have been made the final audio will be edited into a 24 minute soundscape, or even a 24 second soundscape.&#xD;&#xA;&#xD;&#xA;My question is how to undertake this? I have two options, a laptop with external soundcard and a stereo mic, or a PCM-D50 with either the internal microphones or the stereo mic (depending on location). Both will be connected with a Sound Devices Mix-Pre. Obviously if I choose the D50 route I'll have to press record every hour (which could get rather annoying!). But if I choose the laptop route is there any software that could start the recording for me every hour for a set duration. I have found video timelapse software but none for audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="14669" PostHistoryTypeId="1" PostId="8803" RevisionGUID="ce3e8c64-dee9-48ba-8ae8-1bd44971dd13" CreationDate="2011-06-24T18:07:55.707" UserId="6462" Text="Timelapse Audio Recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="14670" PostHistoryTypeId="3" PostId="8803" RevisionGUID="ce3e8c64-dee9-48ba-8ae8-1bd44971dd13" CreationDate="2011-06-24T18:07:55.707" UserId="6462" Text="&lt;field-recording&gt;&lt;soundscapes&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14671" PostHistoryTypeId="2" PostId="8804" RevisionGUID="b47fb329-e38e-41a5-9110-836ae431dbcb" CreationDate="2011-06-24T18:42:21.853" UserId="194" Text="Andrew Spitz does his with MaxMSP  his article is here:&#xD;&#xA;&#xD;&#xA;http://www.soundplusdesign.com/?p=3895&#xD;&#xA;&#xD;&#xA;I do mine with the D50 and then just chop/process/compress in post.  My stuff in this thread:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/2143/how-do-you-tackle-time-lapsed-footage" ContentLicense="CC BY-SA 3.0" />
  <row Id="14672" PostHistoryTypeId="2" PostId="8805" RevisionGUID="69440fb3-d1a8-4a28-aea6-9618d49689d2" CreationDate="2011-06-24T18:50:32.133" UserId="1056" Text="That can be done in Sound Forge, although the standard timed event recording facility is for recording an event starting at the same time and running for the same duration on a daily or monthly basis. It is possible to do it hourly over a 24 hour period - you would just have to set up 24 individual events." ContentLicense="CC BY-SA 3.0" />
  <row Id="14673" PostHistoryTypeId="2" PostId="8806" RevisionGUID="b8c1aaf5-1166-4047-b02b-ad9c81c8062c" CreationDate="2011-06-24T19:18:59.750" UserId="6524" Text="Just curious what it means to you, cause sometimes I feel like I forget and think the sound that I should make must be the biggest, coolest and most unnatural thing ever, and its not just all about that.. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14674" PostHistoryTypeId="1" PostId="8806" RevisionGUID="b8c1aaf5-1166-4047-b02b-ad9c81c8062c" CreationDate="2011-06-24T19:18:59.750" UserId="6524" Text="How do you define the art of sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14675" PostHistoryTypeId="3" PostId="8806" RevisionGUID="b8c1aaf5-1166-4047-b02b-ad9c81c8062c" CreationDate="2011-06-24T19:18:59.750" UserId="6524" Text="&lt;design&gt;&lt;meaning&gt;&lt;art&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14676" PostHistoryTypeId="2" PostId="8807" RevisionGUID="eadf2455-779d-4e12-9475-037298afbad4" CreationDate="2011-06-24T20:47:41.853" UserId="290" Text="Something I've been thinking about lately:&#xD;&#xA;&#xD;&#xA;We have a vocabulary to describe what a certain composer's music sounds like. They're really into X Y Z and the do this or that dynamically etc. etc. I can talk to a client about what s/he's after in music, and hire a composer accordingly. And generally, I avoid musicians who say &quot;I do everything&quot; because it means they probably haven't found their voice.&#xD;&#xA;&#xD;&#xA;I think it's harder as sound designers. Because maybe we don't have the vocabulary for it yet. Or maybe, since sound design has less rules than music composition, it's more difficult to pin down your thang as described by adherence or defiance of various rules.&#xD;&#xA;&#xD;&#xA;For me, it's taken me a long time to pin down what my voice is as a sound designer. Not because I didn't have a &quot;voice&quot; before, but because the idiosyncrasies that make up the-stuff-I-like-to-do just weren't things that are easy to put into words. I've started to work it out now, but it's still kinda hard to describe. I guess my &quot;voice' is to use silence and abstract/musical sound in a way that just barely tows the line between diegetic and non-diegetic. I use human vocals in a loosely musical way, but I try to minimize dialog. I use tonal/musical effects in a not-exclusively musical way.&#xD;&#xA;&#xD;&#xA;So what's your voice?&#xD;&#xA;&#xD;&#xA;Or am I thinking about &quot;voice' too narrowly?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14677" PostHistoryTypeId="1" PostId="8807" RevisionGUID="eadf2455-779d-4e12-9475-037298afbad4" CreationDate="2011-06-24T20:47:41.853" UserId="290" Text="What is your voice, as a sound designer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14678" PostHistoryTypeId="3" PostId="8807" RevisionGUID="eadf2455-779d-4e12-9475-037298afbad4" CreationDate="2011-06-24T20:47:41.853" UserId="290" Text="&lt;art&gt;&lt;artist&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14679" PostHistoryTypeId="2" PostId="8808" RevisionGUID="e96c4cbf-e17f-4c47-b399-1a8813329b4e" CreationDate="2011-06-24T21:09:07.903" UserId="253" Text="I think this comes back to the whole thing that the futurist musicians were getting into [(Futurist Manifesto).][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.unknown.nu/futurism/noises.html&#xD;&#xA;&#xD;&#xA;What we do is still not seen as &quot;art&quot;, while music and painting, and whatnot, are. Also, films tend to be very symbiotic things, so the creative needs of the project overshadow any creative needs of our own. Having said that, i do think each of us has a different set of creative tools, or preferences for how we do things.&#xD;&#xA;&#xD;&#xA;I'm probably not the best person to describe myself, but: my approach is very non-musical, as i'm one of &quot;those&quot; sound designers who didn't come from a musical background (apart from playing Rage Against the Machine from guitar tabs in my bedroom when i was 16). I like to employ silence, or go against the image whenever i can, as long as there's a creative reason. I like to have a specific reason for every effect i put in, and i'll resist inserting a sound just because &quot;that's what you'd hear in real life&quot; or &quot;it was there on set&quot;. When i reappropriate FX to make something weird, i try to employ reduced listening, to the extent that i don't even take note of the origins of the sounds. The director will say &quot;how did you make that sound?&quot; and i'll reply &quot;umm, i don't know, let me see, oh look, a tractor&quot;.&#xD;&#xA;&#xD;&#xA;Also, my sound friends think i'm weird because of the attention i put into atmospheres, and because i usually try to sneak something strange into them. &#xD;&#xA;&#xD;&#xA;Ok, hope this wasn't too self indulgent. I'm still developing my methods and ideas, and i'd be keen to hear others' responses to this question!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14680" PostHistoryTypeId="2" PostId="8809" RevisionGUID="5f0a5610-9c6d-4876-92ed-01cb835dfd51" CreationDate="2011-06-24T21:20:07.417" UserId="194" Text="I'm simliar to Roger in that I don't come from a theoretical music background, and my guitar playing was mostly rage and metallica from tab as well.  :)&#xD;&#xA;&#xD;&#xA;with that said, I try to be very broad and diverse with my toolset.  &#xD;&#xA;&#xD;&#xA;This means that I spend a lot of time &#xD;&#xA;&#xD;&#xA; - recording stuff&#xD;&#xA; - manipulating stuff I recorded&#xD;&#xA; - mixing stuff I recorded&#xD;&#xA; - building stuff in synths&#xD;&#xA; - buildings spaces around stuff&#xD;&#xA;&#xD;&#xA;There are certainly some things I feel more comfortable in my ability to design than others.  (UI, impacts, swooshy things - easy.   creatures, vehicles, weapons - harder)&#xD;&#xA;&#xD;&#xA;With that said, I think that the nature of tying sounds to visuals does dictate a lot of what I end up doing.  &#xD;&#xA;&#xD;&#xA;I think a lot in terms of textures, time space, and frequency space.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14681" PostHistoryTypeId="2" PostId="8810" RevisionGUID="b25293f0-ed11-494c-ac7d-0e0573e5b640" CreationDate="2011-06-24T21:21:09.177" UserId="194" Text="http://thesoundmyheadmakes.blogspot.com/2011/04/on-art.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="14682" PostHistoryTypeId="2" PostId="8811" RevisionGUID="5f8433c7-90fd-4cf5-979d-0034ef65a052" CreationDate="2011-06-25T00:39:09.263" UserId="118" Text="My preference is Fire because, like Adam says it creates WAVs, has the best presentation, and if you do need to mess about with noise reduction etc then there are Izotope presets onboard.&#xD;&#xA;&#xD;&#xA;It is odd how Blue were so late to market with the newer version of the Blue Mikey - seems a bit of a cockup really.  I'd have thought they'd need to deal with adapting to the iPhone 4 pretty quickly as, personally, when I upgrade from 3GS I'm not going to carry my old phone around just so I can use the Mikey - I might as well carry a proper portable recorder if I'm going to do that.&#xD;&#xA;&#xD;&#xA;I've attached a link to a recording I made on the way home with it today if you want to listen to the sound quality:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/michael-maroussas/rayners-lane-tube-station&#xD;&#xA;&#xD;&#xA;I tend to use the Blue Mikey for recording street shouts: noisy builders, scaffolders, etc.  If there's plenty of level the recordings can be usable for TV if there's a richer track to bed them into.  However, atmoses, etc - forget it; you can hear the artifacts in the quieter bits of the recording I've linked to.&#xD;&#xA;&#xD;&#xA;As for alternative mics - what about the new Apogee one?  Not released yet but Apogee are usually a safe bet." ContentLicense="CC BY-SA 3.0" />
  <row Id="14683" PostHistoryTypeId="2" PostId="8812" RevisionGUID="2687ab8e-9c9a-4551-a70a-8bdc5d038e8e" CreationDate="2011-06-25T01:14:25.103" UserId="315" Text="Simple. Sonic storytelling. &#xD;&#xA;&#xD;&#xA;The art of recording/selecting/manipulating/mixing audio for a narrative." ContentLicense="CC BY-SA 3.0" />
  <row Id="14684" PostHistoryTypeId="5" PostId="8793" RevisionGUID="b1d52745-0c42-4b62-b597-f142057f71fc" CreationDate="2011-06-25T01:25:51.453" UserId="1056" Comment="added 1 characters in body" Text="Copy and paste would probably be your best option in this case, as suggested by nb. However, I think you need to look at your workflow. Ideally, you want to try and fix any distortion and clipping first, then apply broadband NR and finally EQ and levelling.&#xD;&#xA;&#xD;&#xA;At this point, you have removed so much broadband noise that most repair tools, especially spectral tools, are not able to function correctly. These tools rely heavily on programme material immediately surrounding the problem area, most of which has been removed. There is also some noticeable artifacting, presumably from the broadband NR you have already applied.&#xD;&#xA;&#xD;&#xA;I don't know the total length of your recording but, if it is only a few minutes, I would recommend starting again and working on this first. Should this not be possible, use the cut and paste approach to replace the distorted sections. I don't know what the rest of the recording sounds like but, if it is only on the &quot;esses&quot;, it is often possible to cannibalise a suitable replacement from another dialogue recording you have lying around, match it up with some EQ etc and then blend it in. I would also recommend adding some low level filtered noise to make it sound more natural. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14685" PostHistoryTypeId="2" PostId="8813" RevisionGUID="ff29ad56-db73-48a9-87fe-49d4133fb830" CreationDate="2011-06-25T06:57:59.910" UserId="18" Text="I've used batteries made to power portable DVD players with my FR2.  They work quite well and usually come with cable and adapter tips that fit the DC jack on the FR2.  If not, you can find cables/tips at Radio Shack (or a comparable place) that will fit.  It's been a while since I've used it, but I think I was getting 6+ hours off of a battery.  Though, it might be better/easier just to get rechargeable AA batteries.  &#xD;&#xA;&#xD;&#xA;Here is an example of the type of battery I'm talking about (I've never used this specific model):&#xD;&#xA;&#xD;&#xA;[http://www.officemax.com/technology/batteries/portable-dvd-video-player-batteries/product-prod2720141?cm_mmc=GBase-_-Technology-_-Batteries-_-Portable%20DVD%20%20%20Video%20Player%20Batteries&amp;ci_src=14110944&amp;ci_sku=21701721][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.officemax.com/technology/batteries/portable-dvd-video-player-batteries/product-prod2720141?cm_mmc=GBase-_-Technology-_-Batteries-_-Portable%20DVD%20%20%20Video%20Player%20Batteries&amp;ci_src=14110944&amp;ci_sku=21701721" ContentLicense="CC BY-SA 3.0" />
  <row Id="14686" PostHistoryTypeId="2" PostId="8814" RevisionGUID="8d65a806-22b1-4df3-8ebe-e708db4c09be" CreationDate="2011-06-25T08:47:05.250" UserId="400" Text="These guys do a battery pack http://solidstatesound.co.uk/fostex_fr2.htm&#xD;&#xA;&#xD;&#xA;Not sure if you're in the UK or not but they might ship out?&#xD;&#xA;&#xD;&#xA;Joe" ContentLicense="CC BY-SA 3.0" />
  <row Id="14687" PostHistoryTypeId="2" PostId="8815" RevisionGUID="f4f12cab-3a60-4231-a9f7-20013db7b24f" CreationDate="2011-06-25T10:01:24.573" UserId="397" Text="It's another character in the story. Every sound must have a reason of being there. I agree with Justin that sound design should help the story and support it." ContentLicense="CC BY-SA 3.0" />
  <row Id="14688" PostHistoryTypeId="2" PostId="8816" RevisionGUID="15997d7f-1cf1-4b3c-96de-ff9703023490" CreationDate="2011-06-25T10:15:37.563" UserId="900" Text="I went to a remote control shop, bought two Tamiya 4300MAH batteries, and then got the shop owner to wire a parallel series cable togheter (like a Y splitter for batteries).&#xD;&#xA;&#xD;&#xA;I don't charge in parallel, but when they are both fully charged separately, the will last for hours and hours. Works a treat.&#xD;&#xA;&#xD;&#xA;Tom" ContentLicense="CC BY-SA 3.0" />
  <row Id="14689" PostHistoryTypeId="2" PostId="8817" RevisionGUID="59e7ef2c-2a7e-471a-9e9c-14c36abe245d" CreationDate="2011-06-25T12:16:37.977" UserId="578" Text="Hello hello!&#xD;&#xA;&#xD;&#xA;I am intending to book a 2 to 3 weeks holiday, of which a main purpose would be to do lots of field recording. I'm currently undecided where to go, but my eyes have fallen on Tanzania, as it seems to have a huge amount of national parks and wildlife.&#xD;&#xA;&#xD;&#xA;My intention is to visit in December, or perhaps November.&#xD;&#xA;&#xD;&#xA;Has anybody here been to Tanzania, and if so, what was your experience like in terms of field recording? Is it relatively easy (and cheap) to organise a personal safari (as opposed to a group), in order to avoid being with noisy crowds?&#xD;&#xA;&#xD;&#xA;Related to this; as I'm still undecided where to go exactly, perhaps there are better places to visit in southern Africa for the purpose of a field recording holiday?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;Daan" ContentLicense="CC BY-SA 3.0" />
  <row Id="14690" PostHistoryTypeId="1" PostId="8817" RevisionGUID="59e7ef2c-2a7e-471a-9e9c-14c36abe245d" CreationDate="2011-06-25T12:16:37.977" UserId="578" Text="Field recording in Tanzania, or South(ern) Africa" ContentLicense="CC BY-SA 3.0" />
  <row Id="14691" PostHistoryTypeId="3" PostId="8817" RevisionGUID="59e7ef2c-2a7e-471a-9e9c-14c36abe245d" CreationDate="2011-06-25T12:16:37.977" UserId="578" Text="&lt;field-recording&gt;&lt;africa&gt;&lt;south-africa&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14693" PostHistoryTypeId="2" PostId="8819" RevisionGUID="bc30e2b6-af89-4e06-87aa-cd4812c95d81" CreationDate="2011-06-25T14:18:40.680" UserDisplayName="user80" Text="Try the Powergorilla as a battery pack, I use one of the smaller models and they are very reliable.&#xD;&#xA;&#xD;&#xA;https://powertraveller.com/iwantsome/primatepower/powergorilla/#&#xD;&#xA;&#xD;&#xA;You can also trickle charge the battery through solar panels to extend the life.&#xD;&#xA;&#xD;&#xA;https://powertraveller.com/iwantsome/primatepower/solargorilla/#" ContentLicense="CC BY-SA 3.0" />
  <row Id="14694" PostHistoryTypeId="2" PostId="8820" RevisionGUID="975f75e6-7d11-4090-998d-46614565f502" CreationDate="2011-06-25T17:54:55.527" UserDisplayName="user80" Text="The creation or manipulation of sound in order to convey information or emotions." ContentLicense="CC BY-SA 3.0" />
  <row Id="14695" PostHistoryTypeId="2" PostId="8821" RevisionGUID="a265e953-7b74-4f40-b827-466220097f1b" CreationDate="2011-06-25T21:11:49.970" UserId="493" Text="I was planning on spending my weekend with The Game Audio Tutorial book, but I'm experiencing issues right off the bat.  In order to start, I'm supposed to download the tutorial level from the book's website, &lt;http://www.thegameaudiotutorial.com&gt;, but the site seems to be down!  I've tried Chrome, Internet Explorer, and my Android Browser, but I can never seem to load the page.&#xD;&#xA;&#xD;&#xA;Assuming that many people here have looked into, or completed the book, do you know when the site went down, or if I'm doing something wrong?  I was really looking forward to reading this, so any help would be much appreciated!  Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14696" PostHistoryTypeId="1" PostId="8821" RevisionGUID="a265e953-7b74-4f40-b827-466220097f1b" CreationDate="2011-06-25T21:11:49.970" UserId="493" Text="The Game Audio Tutorial Website" ContentLicense="CC BY-SA 3.0" />
  <row Id="14697" PostHistoryTypeId="3" PostId="8821" RevisionGUID="a265e953-7b74-4f40-b827-466220097f1b" CreationDate="2011-06-25T21:11:49.970" UserId="493" Text="&lt;gameaudio&gt;&lt;books&gt;&lt;websites&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14698" PostHistoryTypeId="2" PostId="8822" RevisionGUID="3a294cb4-5bd9-46c5-908d-c20ede637939" CreationDate="2011-06-25T21:38:51.130" UserDisplayName="user49" Text="I can only describe sound design as it pertains to film (I don't personally believe game sound design &amp; film have much in common, nor have any motivation to generalise the term beyond its original meaning) so film sound design to me involves consideration of every element of the soundtrack relative to the story it is helping to convey.&#xD;&#xA;I do not personally subscribe to the description of sound designer being the person who makes weird/unreal/designy sounds - at most thats just one element of a scene, and it may well be a subtle piece of foley or just the right ambience at a certain point that contributes as much to story telling as the designy elements. The aim is to work at multiple perceptual levels: zooming out so you have an overall view of the evolution &amp; role of the entire soundtrack (and eg can see how establishing a certain sound in R1 means it can be applied to emotional effect in R4 or whatever) as well as at a macro level where attention to detail is critical eg the gentlest of skin touches may be the most important sound at a given moment, and have more profound meaning than the loudest flashiest transforminator sound effects. Collaborating with production sound, composers, dialogue, ADR, sound effects editors, foley and of course the director, picture editor &amp; producer are all a fundamental part of film sound design, and the more you know about &amp; understand their roles, the better you will be at your own - film is all based on collaboration.&#xD;&#xA;&#xD;&#xA;thats just my NZ$0.05 anyway" ContentLicense="CC BY-SA 3.0" />
  <row Id="14699" PostHistoryTypeId="2" PostId="8823" RevisionGUID="955b2bf5-3424-4a6d-9b54-c126c71073fc" CreationDate="2011-06-25T22:19:36.947" UserId="400" Text="I downloaded stuff from it a few days ago so it must've just gone down. Hopefully this'll be fixed soon!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14700" PostHistoryTypeId="5" PostId="8715" RevisionGUID="f8ac501a-fb84-45a1-8bf3-d059e10da739" CreationDate="2011-06-26T01:14:24.283" UserId="845" Comment="added 417 characters in body" Text="Friends, Romans, Countrymen, lend me your great intelligence and combined force of experience...&#xD;&#xA;&#xD;&#xA;So, it's been a year since Mr. Huss' recently resurfaced question, and it seems like it's high-time to unearth the perennial question.  A year is a real, real long time in the computer-iverse.&#xD;&#xA;&#xD;&#xA;In this particular case I'm interested only in laptops.  Portable is more-table.  These little guys are starting to get mighty powerful (I was at a PT9HD Native demo a couple of months ago and the guy was running a 128-track session with full-rez HD video off a McBook Pro).  Is there any particular reason to think that PT9 would run any less well on a superhotshitawesome Windows7 laptop than on a McBook Pro?  &#xD;&#xA;&#xD;&#xA;This question is borne out by two facts 1) I am a, *ahem*, thrifty young gentleman, and 2) I'm starting to get a little sick of what seem to me to be perfectly satisfactory computers getting bashed because they don't come in brushed aluminium cases.&#xD;&#xA;&#xD;&#xA;Comparing specs between the  Toshiba Satellite M645 and the middle-of-the-road McBook Pro here's what we get:&#xD;&#xA;&#xD;&#xA;**Toshiba Satellite M645:**&#xD;&#xA;&#xD;&#xA; - 2.3GHz Intel Core i5-2410M&#xD;&#xA; - 6GB, 1,333MHz DDR3 RAM &#xD;&#xA; - 640GB, 5,400rpm &#xD;&#xA; - Intel HD Graphics 3000&#xD;&#xA; - Nvidia GeForce GT 525M&#xD;&#xA; - Operating system	Windows 7 Home Premium (64-bit)&#xD;&#xA; - Chipset	Intel HM65 &#xD;&#xA; - Price as reviewed	$1,099&#xD;&#xA;&#xD;&#xA;**McBook Pro 15-inch:** &#xD;&#xA;&#xD;&#xA; - 2.0GHz quad-core Intel Core i7 (no idea which one)&#xD;&#xA; - 4GB 1333MHz  DDR3 RAM &#xD;&#xA; - 500GB 5400rpm&#xD;&#xA; - Intel HD Graphics 3000&#xD;&#xA; - AMD Radeon HD 6490M with 256MB GDDR5&#xD;&#xA; - Built-in battery (7 hours)2&#xD;&#xA; - Price: $1849 CAD&#xD;&#xA;&#xD;&#xA;Now, according to this article, [Core i3 vs i5 vs i7: A Summary of Intel's Processors][1], the functional difference between an i5 and i7 core is really only about 100MHz and is only noticeable in super-duper processing situations i.e. 3D rendering, HD video editing, Supermath, and Physics Kinda Stuff.&#xD;&#xA;&#xD;&#xA;So, it would seem to me that the only real difference between these machines is the price. If I include the Canadian taxes to get the real cost of each machine here's what we have:&#xD;&#xA;&#xD;&#xA;Toshiba with i5&lt;br&gt;&#xD;&#xA;~$1,250    &lt;br&gt;           &#xD;&#xA;&#xD;&#xA;McBook Pro&lt;br&gt;&#xD;&#xA; ~$2,100&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Even if you wanted to move up to the i7 in the Toshiba, it'd only cost you ~$300 more. &#xD;&#xA;&#xD;&#xA;Toshiba with i7&lt;br&gt;&#xD;&#xA;~$1,600   &lt;br&gt;              &#xD;&#xA;&#xD;&#xA;McBook Pro&lt;br&gt;&#xD;&#xA;~$2,100&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Plus with the Toshiba you've got a bigger drive, more RAM, and equivalent video cards.  This, to me, seems like such a slap in the face from Apple that I assume I *must* be missing something.&#xD;&#xA;&#xD;&#xA;There is the other question of OS stability.  In my experience thus far running PT9 on both OSX.5 and Windows7 I have had absolutely no problems with either.  However, I will grant that my sessions are not quite as industrial strength as some of you guys out there.  So, also taking into the consideration the recent PT9 upgrade, which I assume is meant to deal with some kind of stability kinda stuff, and all of my waffle ^^up there^^,  what do you think?  Is the whole &quot;Apple is more reliable&quot; thing just hot air and hype?&#xD;&#xA;&#xD;&#xA;Thanks Team.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;p.s. I will accept only *one* Canadian real-money joke in this thread.  So make it a good one.&#xD;&#xA;&#xD;&#xA;EDIT&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;We have a winner for the **Canadian Money Joke of the Thread**!!!! Here's VCProd talking about FireWire cards:&#xD;&#xA;&#xD;&#xA;&quot;That will run you a hundred dollers (that's like 700 canadian dollars or 18 fine moose pelts, I think).&quot;&#xD;&#xA;&#xD;&#xA;He even managed to get a jab in for the way Merkins always pronounce things wrong!  Double prizes!&#xD;&#xA;&#xD;&#xA;---*No offense intended to anyone anywhere for any reason.*---&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.brighthub.com/computing/hardware/articles/65861.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="14701" PostHistoryTypeId="5" PostId="8821" RevisionGUID="7a58dddc-ec8b-4d19-ba58-2ca500f77157" CreationDate="2011-06-26T01:17:20.493" UserId="493" Comment="added 87 characters in body" Text="I was planning on spending my weekend with The Game Audio Tutorial book, but I'm experiencing issues right off the bat.  In order to start, I'm supposed to download the tutorial level from the book's website, &lt;http://www.thegameaudiotutorial.com&gt;, but the site seems to be down!  I've tried Chrome, Internet Explorer, and my Android Browser, but I can never seem to load the page.&#xD;&#xA;&#xD;&#xA;Assuming that many people here have looked into, or completed the book, do you know when the site went down, or if I'm doing something wrong?  I was really looking forward to reading this, so any help would be much appreciated!  Thank you!&#xD;&#xA;&#xD;&#xA;UPDATE:  As of 6:15pm PST the site's back up!  Thanks for the shared concerns guys!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14702" PostHistoryTypeId="2" PostId="8824" RevisionGUID="8d90aa49-d690-49c4-b284-e59ba98dde44" CreationDate="2011-06-26T01:28:30.353" UserId="268" Text="We finally replaced the last of our Sennheiser's with SMQV's paired with the SRa's. We have also been using the LMa's with the UCR411a's. They are used in a run and gun style all day event.&#xD;&#xA;&#xD;&#xA;We don't have the same setup as you but I have to say Lectrosonics are magical." ContentLicense="CC BY-SA 3.0" />
  <row Id="14704" PostHistoryTypeId="2" PostId="8826" RevisionGUID="813b183f-49de-4c02-a97e-c0cba67ba1fe" CreationDate="2011-06-26T04:11:39.347" UserId="1174" Text="There is a tendency to think of sound designers as the creators of individual sounds, and therefore &quot;voice&quot; is defined by the nature of those individual tracks.  For me, I see the ultimate role of the sound designer on a more macro level, like a composer of orchestral scores, providing a context for the &quot;soloists&quot; to create within, but weaving a whole spectrum of natural and contrived sounds into a coherent whole that has a grander voice.  Pavorotti was a marvelous voice, but his voice was wasted without composers like Verdi to give him a context to contribute to.&#xD;&#xA;&#xD;&#xA;My point is that sound design is much more than just creating unique &quot;cool&quot; sounds.  In it's highest forms, it is the composition and orchestration of the entire non-musical sound score.  In this context, the voice is defined on a macro scale, rather than by the individual sounds that contribute to the whole." ContentLicense="CC BY-SA 3.0" />
  <row Id="14705" PostHistoryTypeId="2" PostId="8827" RevisionGUID="a97f0b67-67ab-499a-a46c-37dc086a2f04" CreationDate="2011-06-26T10:13:54.237" UserDisplayName="user49" Text="http://www.youtube.com/watch?v=kVGE-NcJxu8" ContentLicense="CC BY-SA 3.0" />
  <row Id="14706" PostHistoryTypeId="5" PostId="8647" RevisionGUID="26f61357-bd16-4c79-a430-d90e2a0aa72b" CreationDate="2011-06-26T14:38:46.113" UserId="1150" Comment="deleted 77 characters in body" Text="i am working on a series that is 100% adr. The series is in the style of a 1960s dubbed film and have been asked to process the dialogue so that it reflects those times. . Any suggestions thoughts or links i would welcome. Have tried the kings microphones but i am more interested in sculpting the tone rather than set and forget." ContentLicense="CC BY-SA 3.0" />
  <row Id="14707" PostHistoryTypeId="5" PostId="8770" RevisionGUID="5b4e406e-b115-4d73-b122-c15d1e1d30cf" CreationDate="2011-06-26T14:39:20.153" UserId="1150" Comment="deleted 895 characters in body" Text="&#xD;&#xA;&#xD;&#xA;I will be editing some online episodes very soon and will post links if anyone is interested.&#xD;&#xA;Again, thanks for the replies." ContentLicense="CC BY-SA 3.0" />
  <row Id="14708" PostHistoryTypeId="2" PostId="8828" RevisionGUID="21a977e5-4e50-4101-bdd3-9fbb87bc47df" CreationDate="2011-06-26T16:48:47.670" UserId="194" Text="After listening to the guys at the [audionowcast][1] discuss the people most influential to them, I figured I wanted to start a thread here and discuss this with the rest of you guys.  here's a list of the people and things that were and are **the most** influential on me and my audio career.&#xD;&#xA;&#xD;&#xA;The process of making this list has filled me with gratitude both for my lot in life and for the people I have around me.  [This gig sure beats washing dishes.][2]&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;real people&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA; - **my parents** - who supported my decision to pass on what could have been a scholarship to anywhere out of high school and head to a little community college in West Texas to pursue audio, supported my decision to move to Dallas to pursue audio, supported my decision to intern at DAPG (&quot;you're going to work for free?&quot;) and continue to support me to this day.  &#xD;&#xA;&#xD;&#xA; - **my wife** - who tolerates my constant need to &quot;pull over for a few minutes and record the wind over there&quot; while we're on road trips, my need to spend our hard earned $ on mics and recorders, the hours I spend at the office, and the fact that I love my company enough to not really ever want to move away from Dallas.&#xD;&#xA;&#xD;&#xA; - **my boss** - Roy, who gave me a shot when I was 21 and trained me from the ground up.  who continues to put faith and trust in my abilities, and who listens openly to any suggestions I may have about any facet of audio or the business of audio.  &#xD;&#xA;&#xD;&#xA; - **my coworkers** - especially [Brad][3] who is both cooler than me and more naturally talented than me.  He's constantly challenging my perceptions and pushing me to be better at what I do.&#xD;&#xA;&#xD;&#xA; - **my professors at school** - especially [Jerry Stoddard and Stuart Moody][4] who were consummate professionals and would not rest until we bunch of long haired wannabees understood mic theory, signal flow, electronics, troubleshooting, eq, compression, et all.  they also let us record our music in the awesome studios there.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;internet people (in no specific order)&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA; - **Miguel Isaza** - tireless curator of all things audio at [desigingsound.org][5] and [sonic-terrain.com][6]&#xD;&#xA;&#xD;&#xA; - **Tim Prebble** - author of one of the strongest [sound design blogs][7] out there.  Tim is eternally giving with his knowledge and techniques both on his blog and in this forum and others.  I've learned immensely just by standing back and watching.&#xD;&#xA;&#xD;&#xA; - **Michael Raphael** - Michael and I tweet and IM back and forth a fair amount, and he's become a very trusted extra set of ears to help evaluate my stuff as I help listen to his.  He also runs [rabbitearsaudio.com][8]&#xD;&#xA;&#xD;&#xA; - **Michael Maroussas**  - Created and maintains [The Sound Collector's Club][9], which both stocks my library and forces me to get out into the world one extra time a month to record something entirely unrelated to any projects I have running, and do it at a high enough level to be proud of.&#xD;&#xA;&#xD;&#xA; - **the people at gearslutz**&#xD;&#xA;&#xD;&#xA; - **the people here**&#xD;&#xA;&#xD;&#xA; - **the people on twitter**&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;films (in no specific order)&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA; - **no country for old men** - tour de force in the art of using negative space to pull forward tiny details.  As a West Texas guy who's spent plenty of time in El Paso, the authenticity and execution of this film is stunning.&#xD;&#xA;&#xD;&#xA; - **transformers** - yeah I said it.  The first transformers film is paced excellently and is filled with so much top shelf modern sound design it boggles the mind.  I find it impossible to watch that film and not learn something.&#xD;&#xA;&#xD;&#xA; - **house of flying daggers** - I use this film to show interns what good foley sounds like, as well as how to captivate emotions with open space and tiny moves followed by big ones.  The cloth, swords, breaths, mix, and footsteps are the peak of the art.&#xD;&#xA;&#xD;&#xA; - **the matrix** - revolutionary sound design throughout.  the punches, digital manipulations, white rooms, slow downs, and everything else are without peer.&#xD;&#xA;&#xD;&#xA; - **district 9** - the best creature and scifi weapon sounds IMO, and a masterful documentary style mix.  I could watch this 10 times in a row and never be bored with it.&#xD;&#xA;&#xD;&#xA; - **symbol** - [i saw this film][10] at the asian film festival here in Dallas last year.  It takes place half in a white room in Chinese and half in old mexico in spanish.  It kind of blew my mind, and I wish I could see it again.&#xD;&#xA;&#xD;&#xA; - **kill bill volume 1** - the battle between lucy liu and the bride at the end has a water fountain in it that inspires me to do specific grounding details in quiet scenes to this day.  also the gory sounds and the animation sound designs are awesome.  that music soundtrack is also some pretty damn inspired work.  &#xD;&#xA;&#xD;&#xA;------&#xD;&#xA;&#xD;&#xA;of course there are countless others that can be added to each list, but these are the top people/films in each in my world.  what about you?&#xD;&#xA;&#xD;&#xA;  [1]: http://nowcastnetwork.com/&#xD;&#xA;  [2]: http://www.gearslutz.com/board/post-production-forum/612830-bad-day-post-better-than.html&#xD;&#xA;  [3]: http://soundcloud.com/moleculemusic&#xD;&#xA;  [4]: http://www.southplainscollege.edu/pos/technical-education/poscreativearts/possoundtech.php&#xD;&#xA;  [5]: http://designingsound.org/&#xD;&#xA;  [6]: http://www.sonic-terrain.com/&#xD;&#xA;  [7]: http://www.musicofsound.co.nz/blog/&#xD;&#xA;  [8]: http://rabbitearsaudio.com/&#xD;&#xA;  [9]: http://thesoundcollectorsclub.wordpress.com/&#xD;&#xA;  [10]: http://2010.affd.org/films/symbol/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14709" PostHistoryTypeId="1" PostId="8828" RevisionGUID="21a977e5-4e50-4101-bdd3-9fbb87bc47df" CreationDate="2011-06-26T16:48:47.670" UserId="194" Text="Most influential people in your career" ContentLicense="CC BY-SA 3.0" />
  <row Id="14710" PostHistoryTypeId="3" PostId="8828" RevisionGUID="21a977e5-4e50-4101-bdd3-9fbb87bc47df" CreationDate="2011-06-26T16:48:47.670" UserId="194" Text="&lt;career&gt;&lt;influences&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14711" PostHistoryTypeId="2" PostId="8829" RevisionGUID="dc28837a-2d88-4ca6-8163-5221a69cd221" CreationDate="2011-06-26T16:56:27.007" UserId="6524" Text="I've heard a lot of people say &quot;If you want to work in post-sound you should pick what role you want to do like sound editing, designing or mixing and focus on that.&quot; as much as I'd like to do all of them I want to have more experience with all the different aspects of mixing since to be enjoying doing it a lot more than the others (I'm guessing cause I'm lazy, impatient and love playing with gadgets, this also makes me a little discouraged cause these are qualities you should have to become successful in the business). Since I'm still waiting for next year to come by so I can start film school, I'd like to know where or how I can learn some common tricks and techniques and some good ways to practice using them, and that's the main problem I don't have any projects to work on. I do occasionally make music or (try to) edit sounds to picture and mix them to get them to sound as good as I can make it (which isn't much) but I guess that's what I'm gonna have to do for now.. I've read Sonsey's great answer to a [question][1] Utopia asked on mixing before, which is pretty helpful but I feel like I need a little more info on the technical side, I'm also going to check out gearslutz more often like he mentioned but other than that any other good resources you could recommend? Thanks in advance. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/3506/good-references-for-learning-mixing" ContentLicense="CC BY-SA 3.0" />
  <row Id="14712" PostHistoryTypeId="1" PostId="8829" RevisionGUID="dc28837a-2d88-4ca6-8163-5221a69cd221" CreationDate="2011-06-26T16:56:27.007" UserId="6524" Text="Ways to Learn More/Practice Mixing for a Newbie" ContentLicense="CC BY-SA 3.0" />
  <row Id="14713" PostHistoryTypeId="3" PostId="8829" RevisionGUID="dc28837a-2d88-4ca6-8163-5221a69cd221" CreationDate="2011-06-26T16:56:27.007" UserId="6524" Text="&lt;mixing&gt;&lt;techniques&gt;&lt;tricks&gt;&lt;newbie&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14714" PostHistoryTypeId="2" PostId="8830" RevisionGUID="5ea7d934-16c8-45cf-a6f1-9fdee9a9846f" CreationDate="2011-06-26T18:04:05.920" UserId="29" Text="In the spirit of Tim's video link, between the visual work I do and the audio work I do, I try to be a mimic, a ventriloquist, do impressions, make up new languages...anything *other* than establishing a clear voice that you can see or hear from project to project. My style is either having no style, or reinventing a style for each project, or stubbornly ensuring that every project is equally as difficult, depending on who you talk to. The project vision should establish the voice. I'm just an amplifier and/or a filter.&#xD;&#xA;&#xD;&#xA;This comes from my training as an illustrator and visual designer: No one approach or process to solving a problem will always work. For sound, sometimes it's directly and literally musical, sometimes very impressionistic, sometimes hyper-literal. Depends on what ideas and themes need to be communicated, who the audience is, and what the vision of the client is (and if they're not really sculpting that vision, I need to help establish it, otherwise That Way Lies Madness).&#xD;&#xA;&#xD;&#xA;This isn't to take a anything away from anyone who's got a solid artistic vision and voice. I respect that because I can't do it. It's just an equally valid but different approach." ContentLicense="CC BY-SA 3.0" />
  <row Id="14715" PostHistoryTypeId="2" PostId="8831" RevisionGUID="112a8ee1-8c80-4b49-a5bc-51e7eed02768" CreationDate="2011-06-26T19:00:08.453" UserId="285" Text="I think there are two things you can do, and they are both fairly simple and relatively cheap or even free depending on what you already have at your disposal.  First thing you should do is read - read everything you can get your hands on.  Be it sound focused websites like this one, designingsound.org or many others that you can find, and books are also amazing sources for information too, go to the library and grab as many of the books in this thread as you can (http://socialsounddesign.com/questions/1945/audio-postproduction-sound-design-resources-youd-recommend).  Just because it is not about mixing specifically does not mean it will not be useful, mixers have to know how everyone else works so they can use the material they are provided with by the various editors and foley crews who have been working on the project already.  Simply devour as much information as you can, while still actually absorbing it.  This is not something that will stop once you are established, even the most experienced professionals spend many hours a week just reading up on new technology, techniques and ideas.  So start the practice now because you have decades of knowledge and theory to catch up on.&#xD;&#xA;&#xD;&#xA;Second is doing.  You mentioned you have been trying to edit sound to picture, keep doing this.  Your results will be horrible to start with, if it wasn't then the profession would not be so hard to be successful in, it is both creative and technical and requires both sides of your brain firing off synapses to get to the end.  But the more you do it the better your work will start to be.  Pick short clips, but pick vastly different clips.  Do a scifi scene, they are fun and wildly creative as the possibilities are endless, then do a scene from a simple drama, where not much is happening but the sound can build tension, then do a car chase scene- these are extremely difficult.  You will learn what works as you go and build your own internal database of what works best.&#xD;&#xA;&#xD;&#xA;Sadly there is no quick answer, you gotta dig in and get to work.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14716" PostHistoryTypeId="5" PostId="8828" RevisionGUID="49175bea-3c24-4842-9801-4e3a188cc7e2" CreationDate="2011-06-26T19:03:02.157" UserId="194" Comment="added 8 characters in body" Text="After listening to the guys at the [audionowcast][1] discuss the people most influential to them, I figured I wanted to start a thread here and discuss this with the rest of you guys.  here's a list of the people and things that were and are **the most** influential on me and my audio career.&#xD;&#xA;&#xD;&#xA;The process of making this list has filled me with gratitude both for my lot in life and for the people I have around me.  [This gig sure beats washing dishes.][2]&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;real people&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA; - **my parents** - who supported my decision to pass on what could have been a scholarship to anywhere out of high school and head to a little community college in West Texas to pursue audio, supported my decision to move to Dallas to pursue audio, supported my decision to intern at DAPG (&quot;you're going to work for free?&quot;) and continue to support me to this day.  &#xD;&#xA;&#xD;&#xA; - **my wife** - who tolerates my constant need to &quot;pull over for a few minutes and record the wind over there&quot; while we're on road trips, my need to spend our hard earned $ on mics and recorders, the hours I spend at the office, and the fact that I love my company enough to not really ever want to move away from Dallas.&#xD;&#xA;&#xD;&#xA; - **my boss** - Roy, who gave me a shot when I was 21 and trained me from the ground up.  who continues to put faith and trust in my abilities, and who listens openly to any suggestions I may have about any facet of audio or the business of audio.  &#xD;&#xA;&#xD;&#xA; - **my coworkers** - especially [Brad][3] who is both cooler than me and more naturally talented than me.  He's constantly challenging my perceptions and pushing me to be better at what I do.&#xD;&#xA;&#xD;&#xA; - **my professors at school** - especially [Jerry Stoddard and Stuart Moody][4] who were consummate professionals and would not rest until we bunch of long haired wannabees understood mic theory, signal flow, electronics, troubleshooting, eq, compression, et all.  they also let us record our music in the awesome studios there.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;internet people (in no specific order)&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA; - **Miguel Isaza** - tireless curator of all things audio at [desigingsound.org][5] and [sonic-terrain.com][6]&#xD;&#xA;&#xD;&#xA; - **Tim Prebble** - author of one of the strongest [sound design blogs][7] out there.  Tim is eternally giving with his knowledge and techniques both on his blog and in this forum and others.  I've learned immensely just by standing back and watching.&#xD;&#xA;&#xD;&#xA; - **Michael Raphael** - Michael and I tweet and IM back and forth a fair amount, and he's become a very trusted extra set of ears to help evaluate my stuff as I help listen to his.  He also runs [rabbitearsaudio.com][8]&#xD;&#xA;&#xD;&#xA; - **Michael Maroussas**  - Created and maintains [The Sound Collector's Club][9], which both stocks my library and forces me to get out into the world one extra time a month to record something entirely unrelated to any projects I have running, and do it at a high enough level to be proud of.&#xD;&#xA;&#xD;&#xA; - **the people at gearslutz**&#xD;&#xA;&#xD;&#xA; - **the people here**&#xD;&#xA;&#xD;&#xA; - **the people on twitter**&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;films (in no specific order)&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA; - **no country for old men** - tour de force in the art of using negative space to pull forward tiny details.  As a West Texas guy who's spent plenty of time in El Paso, the authenticity and execution of this film is stunning.&#xD;&#xA;&#xD;&#xA; - **transformers** - yeah I said it.  The first transformers film is paced excellently and is filled with so much top shelf modern sound design it boggles the mind.  I find it impossible to watch that film and not learn something.&#xD;&#xA;&#xD;&#xA; - **house of flying daggers** - I use this film to show interns what good foley sounds like, as well as how to captivate emotions with open space and tiny moves followed by big ones.  The cloth, swords, breaths, mix, and footsteps are the peak of the art.&#xD;&#xA;&#xD;&#xA; - **the matrix** - revolutionary sound design throughout.  the punches, digital manipulations, white rooms, slow downs, and everything else are without peer.&#xD;&#xA;&#xD;&#xA; - **district 9** - the best creature and scifi weapon sounds IMO, and a masterful documentary style mix.  I could watch this 10 times in a row and never be bored with it.&#xD;&#xA;&#xD;&#xA; - **symbol** - [i saw this film][10] at the asian film festival here in Dallas last year.  It takes place half in a white room in Chinese and half in old mexico in spanish.  It kind of blew my mind, and I wish I could see it again.&#xD;&#xA;&#xD;&#xA; - **kill bill volume 1** - the battle between lucy liu and the bride at the end has a water fountain in it that inspires me to do specific grounding details in quiet scenes to this day.  also the gory sounds and the animation sound designs are awesome.  that music soundtrack is also some pretty damn inspired work.  &#xD;&#xA;&#xD;&#xA;------&#xD;&#xA;&#xD;&#xA;of course there are countless others that can be added to each list, but these are the top people/films in each in my world.  what about you?&#xD;&#xA;&#xD;&#xA;  [1]: http://nowcastnetwork.com/&#xD;&#xA;  [2]: http://www.gearslutz.com/board/post-production-forum/612830-bad-day-post-better-than.html&#xD;&#xA;  [3]: http://soundcloud.com/moleculemusic&#xD;&#xA;  [4]: http://www.southplainscollege.edu/pos/technical-education/poscreativearts/possoundtech.php&#xD;&#xA;  [5]: http://designingsound.org/&#xD;&#xA;  [6]: http://www.sonic-terrain.com/&#xD;&#xA;  [7]: http://www.musicofsound.co.nz/blog/&#xD;&#xA;  [8]: http://rabbitearsaudio.com/&#xD;&#xA;  [9]: http://thesoundcollectorsclub.wordpress.com/&#xD;&#xA;  [10]: http://www.youtube.com/watch?v=adrFTTr_DOw" ContentLicense="CC BY-SA 3.0" />
  <row Id="14717" PostHistoryTypeId="2" PostId="8832" RevisionGUID="e298616a-544c-4010-9c3a-c4ec9348c618" CreationDate="2011-06-26T21:36:42.873" UserId="845" Text="I agree with @Azimuth and will add that I seem to remember the honourable Tim P. writing a post somewhere about how us soundies are more and more expected to be Everything Wizards.  In my experience this has definitely been the case.  In the indie scene there just isn't the money for a 12 woman/man sound team.  So take every opportunity to do everything you possibly can.&#xD;&#xA;&#xD;&#xA;For reading materials I would highly recommend these two:&#xD;&#xA;&#xD;&#xA;[Silent Listening][1]&lt;br&gt;&#xD;&#xA;[The Music of Sound][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://silentlistening.wordpress.com/&#xD;&#xA;  [2]: http://www.musicofsound.co.nz/blog/&#xD;&#xA;&#xD;&#xA;They're both pretty heavy-duty so don't kill yourself trying to read them all in one go.  I tried that with The Music of Sound.  Totally OD'd on Awesome!  &#xD;&#xA;&#xD;&#xA;Luckily, sort of, Silent Listening only posts once or twice a month so you'll have plenty of time to absorb before the next load of Sound Goodness." ContentLicense="CC BY-SA 3.0" />
  <row Id="14719" PostHistoryTypeId="2" PostId="8833" RevisionGUID="ef868ed1-1988-49a3-a91b-00ec57b605bd" CreationDate="2011-06-26T21:50:23.093" UserId="1177" Text="It won't work. I connected a MixPre-D via XLR AES out to a Hosa ODL-312 then from the 312 to a Sony D-50 via Toslink and the D-50 reports &quot;Unknown Data.&quot; I contacted Sound Devices and they replied that MixPre-D AES does not have the SPDIF header data required by the D-50. SD suggested using the XLR out or tape out to the D-50 line in. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14720" PostHistoryTypeId="2" PostId="8834" RevisionGUID="12f0f5ec-738c-4366-91bc-bf00b4eeaffa" CreationDate="2011-06-27T00:13:39.810" UserDisplayName="user49" Text="**people:**&#xD;&#xA;&#xD;&#xA;- film: Kim Ki Duk, Joon-ho Bong, Bella Tarr, Jim Jarmusch, Jean Pierre Jeunet, David Lynch and many others I have forgotten... or haven't found yet... &#xD;&#xA;&#xD;&#xA;- sound: Alan Splet, Randy Thom, Skip Leivsay&#xD;&#xA;&#xD;&#xA;- music: Arvo Part, Ryuichi Sakamoto, African Head Charge, Scientist&#xD;&#xA;&#xD;&#xA;- writing: Aldous Huxley, Haruki Murikami, William Gibson&#xD;&#xA;&#xD;&#xA;- locals: Len Lye, Philip Clairmont, Colin McCahon, Kit Rollings, Phil Dadson&#xD;&#xA;&#xD;&#xA;**online:**&#xD;&#xA;&#xD;&#xA;- 482 feeds coming into my RSS reader&#xD;&#xA;from sound/music/art/architecture/literature/photography/design/etc etc&#xD;&#xA;&#xD;&#xA;- every person who contributes positively online, FWIW theres a statistic known as the 1/9/90 rule:&#xD;&#xA;90% are passive lurkers, 9% contribute little, 1% contribute 99%&#xD;&#xA;If you are actively in the 1% then thank you!&#xD;&#xA;Action is always rewarded, sometimes not immediately but eventually... &#xD;&#xA;its like karma, it accumulates... &#xD;&#xA;So thanks to every person who writes, post sounds, field recordings, videos, photos etc...&#xD;&#xA;&#xD;&#xA;**other:**&#xD;&#xA;&#xD;&#xA;friends, family, travel &amp; the natural environment&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&quot;My father considered a walk among the mountains as the equivalent of church going.&quot;&#xD;&#xA;Aldous Huxley&#xD;&#xA;&#xD;&#xA;Amen, brother!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14721" PostHistoryTypeId="2" PostId="8835" RevisionGUID="378d2684-9efa-4c76-a568-eb2d1d54d893" CreationDate="2011-06-27T12:39:02.253" UserDisplayName="user80" Text="Ben Burtt as a practitioner.&#xD;&#xA;&#xD;&#xA;F. Alton Everest as a theorist." ContentLicense="CC BY-SA 3.0" />
  <row Id="14722" PostHistoryTypeId="2" PostId="8836" RevisionGUID="43829562-9007-4b06-9657-ade1d44ab2ba" CreationDate="2011-06-27T14:39:43.907" UserId="6411" Text="Rather than re-list a whole bunch of names that will undoubtedly come up and a few that won't, I'll simply condense my answer down to:&#xD;&#xA;&#xD;&#xA; - Those whose work we are all familiar with. Without their creativity, their compulsion, or their determination I would not know how powerful sound can be. &#xD;&#xA;&#xD;&#xA; - All of you who share your insights, knowledge, and experience freely. Every day that I read a blog, watch a BTS video, or answer a post I become better at my craft.&#xD;&#xA;&#xD;&#xA; - My past, current and potential co-workers who constantly challenge my thinking, critique my work and inspire me to grow on a day-by-day basis.&#xD;&#xA;&#xD;&#xA;But, by far, my single greatest personal influence in my career has been&#xD;&#xA;&#xD;&#xA; - My wife, @MixingManiac. She is my editing/mixing partner, my sounding board, my tech support, my business guru, my advocate and my competition. Her passion for sound is infectious. Her drive is relentless. She motivates me to become greater than I ever thought I could be. I certainly wouldn't have gotten this far without her.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14723" PostHistoryTypeId="2" PostId="8837" RevisionGUID="e2bf1a91-2440-4557-b2fd-d3c368ac36f8" CreationDate="2011-06-27T14:45:37.760" UserId="234" Text="Good question!&#xD;&#xA;&#xD;&#xA;In no particular order...&#xD;&#xA;&#xD;&#xA;Frank Serafine - An interview with Frank about his sounds for Tron was the spark that made me realize that PEOPLE actually made the sounds for these cool worlds we saw in the movies.&#xD;&#xA;&#xD;&#xA;Ben Burt - 'nuff said&#xD;&#xA;&#xD;&#xA;Walter Murch - This actually came much later in life, I was well into my career before I read &quot;In the Blink of an Eye&quot;, but I relate highly to his philosophies and theories.&#xD;&#xA;&#xD;&#xA;Larry Blake - Stephen Soderberg's sound guy, but more importantly to me, the Film Sound Editor for Mix Magazine in the 90's. I picked up a TON reading his articles.&#xD;&#xA;&#xD;&#xA;David Yewdall - One of my bosses offered me a chance to go to NAB many moons ago, and while I was there I bought a copy of &quot;The Practical Art of Motion Picture Sound&quot;. Yewdall's thoughts on passion and work changed much about the way I did things.&#xD;&#xA;&#xD;&#xA;Phillipe Espanoza and Pierre Paquette - The two mixers on my first Theatrical feature. They were kind enough to help a &quot;babe in the woods&quot; without making me feel like an idiot. The lessons they taught me on the dubstage remain to this day.&#xD;&#xA;&#xD;&#xA;Serge Cote - My Boss, Friend and Mentor. He gave me a shot, and taught me more about things then I can ever realize.&#xD;&#xA;&#xD;&#xA;DaVinci - a personal hero - scientist, artist, etc.etc. etc...&#xD;&#xA;&#xD;&#xA;My Kids - They were good enough to teach me that what we experience OUTSIDE the studio, can have a huge impact INSIDE it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14724" PostHistoryTypeId="2" PostId="8838" RevisionGUID="3938b3fe-e0ac-428b-9c1c-a2d96480f2cd" CreationDate="2011-06-27T15:11:23.607" UserId="6411" Text="One simple beginner mixing tip that I heard about a while back is designed to get you familiar with throwing faders. You'll need two faders, two signal generators and a meter (the finer the resolution around 0 the better, I use PhaseScope set to VU and my dorroughs, but whatever you have will work).&#xD;&#xA;&#xD;&#xA; 1. Setup two tracks, each with a Signal Generator set so that when the fader is at 0 your meter reads 0.&#xD;&#xA; 2. Set the first fader at 0, the second at -INF. &#xD;&#xA; 3. Pull down the first fader while bringing up the second.&#xD;&#xA; 4. Keep your output to -+1 on the meter.&#xD;&#xA;&#xD;&#xA;Sounds easy, right? ;)&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="14725" PostHistoryTypeId="2" PostId="8839" RevisionGUID="c7a9c1dc-a643-4fee-8d78-fc27b83b36ea" CreationDate="2011-06-27T16:21:51.260" UserDisplayName="user6513" Text="I'm thinking of getting the new Naiant Littlebox when it comes out and am considering picking up a mic or two of theirs. Has anyone here used any of the Naiant gear and what do you think about it?&#xD;&#xA;&#xD;&#xA;http://www.naiant.com/naiant.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="14726" PostHistoryTypeId="1" PostId="8839" RevisionGUID="c7a9c1dc-a643-4fee-8d78-fc27b83b36ea" CreationDate="2011-06-27T16:21:51.260" UserDisplayName="user6513" Text="Anyone using Naiant Gear?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14727" PostHistoryTypeId="3" PostId="8839" RevisionGUID="c7a9c1dc-a643-4fee-8d78-fc27b83b36ea" CreationDate="2011-06-27T16:21:51.260" UserDisplayName="user6513" Text="&lt;microphone&gt;&lt;pre-amp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14728" PostHistoryTypeId="2" PostId="8840" RevisionGUID="63e97655-bc7f-435f-a6a3-7c22c687727b" CreationDate="2011-06-27T17:14:51.807" UserId="338" Text="I'm not too familiar with the program but I have read that…&quot;“You can’t assign audio tracks.” (What he means is audio on the timeline is freeform, and can’t be set to be on a track designated “A1″ or “A2″.)  The new Automatic Duck can output these tracks in a particular order, I am informed, but it’s not clear exactly how the editor controls this.&quot;&#xD;&#xA;&#xD;&#xA;Maybe this means that the more uneducated directors will not be able to just give the &quot;post-production&quot; to &quot;an editor?&quot;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14729" PostHistoryTypeId="1" PostId="8840" RevisionGUID="63e97655-bc7f-435f-a6a3-7c22c687727b" CreationDate="2011-06-27T17:14:51.807" UserId="338" Text="Does FCP X make room for sound editors?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14730" PostHistoryTypeId="3" PostId="8840" RevisionGUID="63e97655-bc7f-435f-a6a3-7c22c687727b" CreationDate="2011-06-27T17:14:51.807" UserId="338" Text="&lt;fcp&gt;&lt;x&gt;&lt;picture&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14731" PostHistoryTypeId="6" PostId="8840" RevisionGUID="7becedf2-d9e5-4bc3-9efc-8b41bc5e63eb" CreationDate="2011-06-27T19:29:19.887" UserId="6411" Comment="changed tag from &quot;fcp&quot; &amp; &quot;x&quot; to FCPX" Text="&lt;picture&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14732" PostHistoryTypeId="2" PostId="8841" RevisionGUID="71547084-6d81-4495-abf4-2ec91cac292d" CreationDate="2011-06-27T19:59:44.657" UserId="37" Text="How do you guys deal with mix definition in the high lows/lower mids? I find that everything fights for the 200Hz range, and with track-heavy mixes, it's so easy to overload the region and turn things into mud. &#xD;&#xA;&#xD;&#xA;&quot;It depends&quot; is the easy answer so I'm looking for something else. Let's go beyond the technicalities of room treatment, monitor setups, and compression, and discuss stylistic suggestions? Taking out and leaving in what works well, or sounds interesting? Am especially interested in replies in the context of post-production mixing, i.e. where music, sound effects, and voices all have to meet and play nice. Surely you've had this trouble you at some stage?&#xD;&#xA;&#xD;&#xA;My quick fix for now, and it's a dirty hack, is just to drop the 100-110 Hz and 200-220 Hz harshly down. For some reason they seem to be common modes in every room I've worked. Lately I've been thinking, it'd be nice to have something live and breathe in there. But what to choose?&#xD;&#xA;&#xD;&#xA;Examples are welcome.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14733" PostHistoryTypeId="1" PostId="8841" RevisionGUID="71547084-6d81-4495-abf4-2ec91cac292d" CreationDate="2011-06-27T19:59:44.657" UserId="37" Text="Tackling the 100-200Hz mix region?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14734" PostHistoryTypeId="3" PostId="8841" RevisionGUID="71547084-6d81-4495-abf4-2ec91cac292d" CreationDate="2011-06-27T19:59:44.657" UserId="37" Text="&lt;mixing&gt;&lt;choices&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14735" PostHistoryTypeId="5" PostId="8841" RevisionGUID="ad9e4919-2da5-4ce0-8668-cc4a04c35533" CreationDate="2011-06-27T20:11:36.540" UserId="37" Comment="added 19 characters in body" Text="How do you guys deal with mix definition in the high lows/lower mids? I find that everything fights for the 200Hz range, and with track-heavy mixes, it's so easy to overload the region and turn things into mud. &#xD;&#xA;&#xD;&#xA;&quot;It depends&quot; is the easy answer so I'm looking for something else. Let's go beyond the technicalities of room treatment, monitor setups, and compression, and discuss stylistic suggestions? Taking out and leaving in what works well, or sounds interesting? Am especially interested in replies in the context of post-production mixing, i.e. where music, sound effects, and voices all have to meet and play nice. Surely you've had this trouble you at some stage?&#xD;&#xA;&#xD;&#xA;My quick fix for now, and it's a dirty hack, is just to drop the 100-110 Hz and 200-220 Hz harshly down. For some reason they seem to be common modes in every room I've worked. Lately I've been thinking, it'd be nice to have something live and breathe in there. But what to choose?&#xD;&#xA;&#xD;&#xA;Examples are welcome. Thanks in advance.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14736" PostHistoryTypeId="2" PostId="8842" RevisionGUID="7084bbd2-2ce6-4345-b8c6-02356caaded7" CreationDate="2011-06-27T20:17:40.510" UserId="1066" Text="Hi guys!&#xD;&#xA;&#xD;&#xA;I'm doing research on the differences in sound between animation and real shot film movies. What are the differences and what are the similarities? Is animation becoming more and more 'realistic'? Do they both have the same approach on covering the soundtrack?&#xD;&#xA;&#xD;&#xA;I would love to know what your thoughts are on this subject!&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;Gr. Peter-Paul" ContentLicense="CC BY-SA 3.0" />
  <row Id="14737" PostHistoryTypeId="1" PostId="8842" RevisionGUID="7084bbd2-2ce6-4345-b8c6-02356caaded7" CreationDate="2011-06-27T20:17:40.510" UserId="1066" Text="Difference in sound between animation and real shot film. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14738" PostHistoryTypeId="3" PostId="8842" RevisionGUID="7084bbd2-2ce6-4345-b8c6-02356caaded7" CreationDate="2011-06-27T20:17:40.510" UserId="1066" Text="&lt;animation&gt;&lt;sound-design&gt;&lt;building-a-soundtrack&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14739" PostHistoryTypeId="2" PostId="8843" RevisionGUID="1ba7126b-ace8-4dc9-8982-ff78c5b261df" CreationDate="2011-06-27T20:21:57.413" UserId="793" Text="I'm hearing a whole load of issues with the newest version of Final Cut Pro from various colleagues, mostly that it's lost so much functionality that it is more of a pro version of iMovie than an update to Final Cut Pro. I would stay away from it for now if you possibly can." ContentLicense="CC BY-SA 3.0" />
  <row Id="14740" PostHistoryTypeId="2" PostId="8844" RevisionGUID="9fa75655-f4ce-4563-8a01-205bb8716d13" CreationDate="2011-06-27T20:43:24.150" UserId="793" Text="I'd guess that, as with mixing on volume levels, your focus changes depending on what you are mixing. If you have an explosion or a close-up gunshot - something completely driving the drama - then you would want to lose most of your other low frequency content to let that hit properly. You'd have to hope that the composer left a space there or whoever is sound-mixing will have to make a decision to lose the bass from the sound or the music to keep the impact. &#xD;&#xA;&#xD;&#xA;For instance if you are mixing a scene set in a spaceship with lots of LF rumble then it would be fine for that to be quite audible whilst you have characters having a discussion, but you'd want that rumble mostly out of the way in a busy scene with gun foley, footsteps, laser shots, characters shouting, all underscored by dramatic music.&#xD;&#xA;&#xD;&#xA;If I'm at the point were sound effects are obscuring dialogue I'd EQ the bass out of the sound effects as much as possible, although I might do it with automation so that it just dips out for the duration of the dialogue." ContentLicense="CC BY-SA 3.0" />
  <row Id="14741" PostHistoryTypeId="5" PostId="8841" RevisionGUID="f1d72d82-eced-4b8a-9ff4-ec8ee227ac4e" CreationDate="2011-06-27T20:59:02.940" UserId="37" Comment="added 31 characters in body" Text="How do you guys deal with mix definition in the high lows/lower mids? I find that everything fights for the 200Hz range, and with track-heavy mixes, it's so easy to overload the region and turn things into mud. &#xD;&#xA;&#xD;&#xA;&quot;It depends&quot; is the easy answer so I'm looking for something else. Let's go beyond the technicalities of room treatment, monitor setups, and compression, and discuss stylistic suggestions? Taking out and leaving in what works well, or sounds interesting? Am especially interested in replies in the context of post-production mixing, i.e. where music, sound effects, and voices all have to meet and play nice even in a dynamic and busy mix. Surely you've had this trouble you at some stage?&#xD;&#xA;&#xD;&#xA;My quick fix for now, and it's a dirty hack, is just to drop the 100-110 Hz and 200-220 Hz harshly down. For some reason they seem to be common modes in every room I've worked. Lately I've been thinking, it'd be nice to have something live and breathe in there. But what to choose?&#xD;&#xA;&#xD;&#xA;Examples are welcome. Thanks in advance.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14742" PostHistoryTypeId="4" PostId="8841" RevisionGUID="7579641e-e798-4a07-a928-fc14632ba0ce" CreationDate="2011-06-27T21:41:55.700" UserId="37" Comment="edited title" Text="Tackling the 100-200Hz mix overload" ContentLicense="CC BY-SA 3.0" />
  <row Id="14743" PostHistoryTypeId="2" PostId="8845" RevisionGUID="0306bf99-7dd2-44b9-881b-ac4202d5114e" CreationDate="2011-06-27T21:47:10.400" UserId="1181" Text="Hey Peter-Paul,&#xD;&#xA;&#xD;&#xA;This is purely my subjective opinion, but of all the sound work I've done, animation has spanned a much wider spectrum than live action in terms of varying styles. I've found that sometimes animation gets away with things live action just can't... It can be as minimal and sombre as it gets or as over-the-top and exaggerated as possible. Its obvious that animation can do things live actors can not, and therefore you sometimes have fun with things like &quot;Mickey Mouse-ing&quot; (think of when a character sneaks along in an old cartoon and the music follows each step, usually ascending in pitch). &#xD;&#xA;&#xD;&#xA;I guess what it boils down to is that, again speaking very generally, audiences tend to go into an animation a little more willing to suspend their disbelief and a little less sensitive to the realism of the sound design. You are right, this may be changing with some of the uber-realistic animation technology we're seeing; but in my past experience I've generally loved working on animations as I get to throw some of my conventions/restraints out the window and just play with building an atmosphere from scratch!&#xD;&#xA;&#xD;&#xA;Hope that helps somewhat!&#xD;&#xA;&#xD;&#xA;Christopher&#xD;&#xA;&#xD;&#xA;www.chrispostill.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="14744" PostHistoryTypeId="2" PostId="8846" RevisionGUID="53fc043e-e5ed-4541-a8db-a8d5b5dbad77" CreationDate="2011-06-27T22:42:47.840" UserId="178" Text="Final Cut Pro X is an abomination. The biggest problem is that it doesn't do OMF or AAF exports.&#xD;&#xA;&#xD;&#xA;It's an absolute nightmare, and serious professional editors (and indie filmmakers) are going to be leaving the FCP ship in droves. It's sad, because Apple took a capable market leading product and just killed it and left it to die in the street.&#xD;&#xA;&#xD;&#xA;Read up on the workflows for Avid Media Composer and Adobe Premiere Pro, that's where the market is headed now." ContentLicense="CC BY-SA 3.0" />
  <row Id="14745" PostHistoryTypeId="2" PostId="8847" RevisionGUID="1babd661-e3a9-46d8-8992-ba792c208301" CreationDate="2011-06-27T23:26:18.183" UserId="29" Text="By no means am I an expert, but here's how I approach this.&#xD;&#xA;&#xD;&#xA;I was taught to roll off as much as possible below 40-100Hz, depending on the track and material, in order to increase headroom when those frequencies aren't absolutely essential. Heck, sometimes a very soft-knee, broad-Q reduction of 20-40Hz ranges can &quot;un-mud&quot; a mix in surprising ways.&#xD;&#xA;&#xD;&#xA;Of course, you'd not roll off anything that is creating heft, weight, meat, or LFE punch...but even those kinds of effects are usually multi-track affairs, so choosing what track to carry that frequency range is the trick. This is equally applicable to mixing rhythm sections (especially the ever-critical balance of kick drum and bassline) and effects-heavy sequences (I was surprised upon re-listening how many laser shots in the Star Wars prequel really didn't have much low end, to the benefits of less-frequent artillery fire and explosions). &#xD;&#xA;&#xD;&#xA;Between rolling off LF's where they're not essential and EQ'ing subtractively (rather than additively) per track, and DEFINITELY going back and REMOVING tracks and effects as part of my polishing process (also subtractive), I try to aim for where the final overall mix just needs a kiss of EQ or compression. Drawback of this is that it takes more time, but I find my work always improves when I take this approach.&#xD;&#xA;&#xD;&#xA;For example, I often struggle between balancing punches/hits and bodyfalls, for example, which can easily sum into LF mud...sometimes a punch has to be lighter and snappier in order to make room for other hits that simply involve more weight. &#xD;&#xA;&#xD;&#xA;If you've got as many tracks as you listed in your example, dialogue tracks are good places to trim, but of course it's always a balancing act between warmth and the offending frequencies. &#xD;&#xA;&#xD;&#xA;It does maybe go back to the narrative needs of the moment, and assessing what sound can dominate not just at what time, but in what frequency band at what time. It's not totally unlike music composition in that way, in my opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="14746" PostHistoryTypeId="2" PostId="8848" RevisionGUID="1c403c39-37d6-45fd-aded-f3c4dd7233b9" CreationDate="2011-06-27T23:50:42.203" UserId="845" Text="I think, as usual, Mr. NJ's got it covered.&#xD;&#xA;&#xD;&#xA;However, and for what it's worth, you can do wonders for the sound of your room with some pink noise, an omni mic, a frequency analyser plug, and an EQ at the end of your playback chain.  This is probably the downest and dirtiest method of room fixing, but it's a hoik of a lot easier than rebuilding your facility.  &#xD;&#xA;&#xD;&#xA;It'll depend on your routing setup, but I bounce everything internally, so my master bus is playback only and has no effect on what goes to &quot;tape.&quot;  Drop your analyzer into and arm the track the omni is attached to, play the pink noise out your system, and simply start scooping out your EQ until the picture on your frequency analyzer matches what pink noise is supposed to look like.  &#xD;&#xA;&#xD;&#xA;A lot of people us music for this, but I find that the frequency content to be too variable to be reliable.  In terms of EQing, Pink noise is one of the few things that I know I can't trust my ears with, there's too much going on.  But I know for certain that it's constant. Also its pictorial representation is really simple to wrap the noggin around, so I always just aim for a gentle down slope in the direction of the high end.&#xD;&#xA;&#xD;&#xA;It won't be perfect, but it'll give you a slightly more accurate space to work in.  At the very least you'll be able to tell if the muddy wobble is coming from the room or the mix. The difference is insane." ContentLicense="CC BY-SA 3.0" />
  <row Id="14747" PostHistoryTypeId="2" PostId="8849" RevisionGUID="6cde436f-1553-4065-92e1-251129f855d2" CreationDate="2011-06-28T02:11:08.333" UserId="469" Text="Final Cut Pro has never been able to export OMFs or AAFs.  You can do it with third-party plugins.  I don't know if the market is headed somewhere else.  While major editing for episodics and television is still generally handled in AVID, many smaller editing houses are solely Final Cut, so I think there has been some misstatements.  Many advertising companies are solely on Final Cut as well.  Point is, I think Final Cut is still a capable program." ContentLicense="CC BY-SA 3.0" />
  <row Id="14748" PostHistoryTypeId="2" PostId="8850" RevisionGUID="6111bef0-9147-424b-b2d9-6236010891e2" CreationDate="2011-06-28T02:22:58.377" UserId="338" Text="I still wonder though will this make the industry not hand the &quot;editing&quot; over to the picture editor and instead hand the &quot;editing&quot; to the picture editor and a *gasp* sound editor.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14749" PostHistoryTypeId="2" PostId="8851" RevisionGUID="5f3b4252-65a3-4b0d-bc1b-a48bd0a5fcc9" CreationDate="2011-06-28T05:21:13.733" UserId="769" Text="FCPX doesn't sound like it's good. But I'm always hesitant about upgrading too soon after new software is released; there are always bugs to iron out, right? I've heard lots of negative opinions of FCPX (including one from Hitler - search YouTube to see it) and nothing particularly positive. It doesn't concern me for the time being - I'll keep using FCP7.&#xD;&#xA;&#xD;&#xA;I understand the main lure for editors is background rendering. I can see how that would be an attractive improvement.&#xD;&#xA;&#xD;&#xA;Does anybody use Soundtrack Pro? I've always found it annoying. I'd much rather work in Logic and have better linkage with FCP. Maybe that's something waiting around the corner." ContentLicense="CC BY-SA 3.0" />
  <row Id="14750" PostHistoryTypeId="2" PostId="8852" RevisionGUID="de331915-16ff-4ea4-a8ca-4fa50109a0f6" CreationDate="2011-06-28T05:26:16.953" UserId="769" Text="Apologies if this has been asked before. I'm designing around voice tracks, some of them recorded in studio and some with a portable recorder on location (talent's house). I find it hard to strike a pleasing balance between the location recordings and my designed sound. &#xD;&#xA;&#xD;&#xA;For starters, the drop-ins/outs are so obvious. But besides that, my main concern is that there's already so much background and room noise in the recordings that adding sound design just muddies the mix — and then, if I add music or sound beneath the voices, I need to compress them. That of course brings up the background noise even more.&#xD;&#xA;&#xD;&#xA;I've used X-Noise to kill a bit of the ambient noise, but as you'll well know, it doesn't sound very natural and too much of it just makes everything sound like a 28.8kbps Skype chat.&#xD;&#xA;&#xD;&#xA;Do you have any tips?  If I could turn back time, I'd ensure everything got recorded in studio save for small segments of location.  This, by the way, is for a radio/podcast documentary." ContentLicense="CC BY-SA 3.0" />
  <row Id="14751" PostHistoryTypeId="1" PostId="8852" RevisionGUID="de331915-16ff-4ea4-a8ca-4fa50109a0f6" CreationDate="2011-06-28T05:26:16.953" UserId="769" Text="Mixing sound design with poorly recorded room audio/interviews" ContentLicense="CC BY-SA 3.0" />
  <row Id="14752" PostHistoryTypeId="3" PostId="8852" RevisionGUID="de331915-16ff-4ea4-a8ca-4fa50109a0f6" CreationDate="2011-06-28T05:26:16.953" UserId="769" Text="&lt;documentary&gt;&lt;location-audio&gt;&lt;radio&gt;&lt;mixing&gt;&lt;voice-over&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14754" PostHistoryTypeId="2" PostId="8854" RevisionGUID="1175ad2b-f104-4b0b-99e9-c6e4498e6ffd" CreationDate="2011-06-28T06:49:05.183" UserId="1178" Text="Basically you have two options here. Either remove the background noise with top notch restoration plugin such as Izotope RX or add noise from the poor quality recordings to mask the fades. I think in this case the best results would come from proper audio restoration and (noise reduction, declick, spectral repair) and noise gate combo, but sometimes you have to make ends meet and do what ever you have to with what ever plugins you might got.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14755" PostHistoryTypeId="5" PostId="8841" RevisionGUID="65c448a9-f5d4-45c4-b5e4-8b9bb5a691db" CreationDate="2011-06-28T07:05:38.110" UserId="37" Comment="added 59 characters in body" Text="How do you guys deal with mix definition in the high lows/lower mids? I find that everything fights for the 200Hz range, and with track-heavy mixes, it's so easy to overload the region and turn things into mud. &#xD;&#xA;&#xD;&#xA;&quot;It depends&quot; is the easy answer so I'm looking for something else. Let's go beyond the technicalities of room treatment, monitor setups, and compression, and discuss stylistic suggestions? Taking out and leaving in what works well, or sounds interesting? &#xD;&#xA;&#xD;&#xA;Am especially interested in replies in the context of post-production mixing, i.e. where music, sound effects, and voices all have to meet and play nice even in a dynamic and busy mix. Surely you've had this trouble you at some stage?&#xD;&#xA;&#xD;&#xA;My quick fix for now, and it's a dirty hack, is just to drop the 100-110 Hz and 200-220 Hz harshly down. For some reason they seem to be common modes in every room I've worked. Lately I've been thinking, it'd be nice to have something live and breathe in there. But what to choose? &#xD;&#xA;&#xD;&#xA;With stereo (not 5.1) mixes it's so tough to decide.&#xD;&#xA;&#xD;&#xA;Examples are welcome. Thanks in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="14757" PostHistoryTypeId="2" PostId="8856" RevisionGUID="b9d35461-d378-435d-90fd-70fbbf473269" CreationDate="2011-06-28T07:14:56.910" UserId="348" Text="I am a Canadian living in South Africa and for the past 2 years I have been compiling a South African sound effects archive. There is an immense amount stuff to record based on the diversity of wildlife and the multicultural customs and languages of the people. From the urban areas of Joburg through to Durban and the Garden route, the ambiances change, the spoken languages of the villages are different, the wildlife is different. And for a country of this size, that is really quite amazing. &#xD;&#xA;&#xD;&#xA;Some small tips if you are coming through to SA: there are quite a few animal sanctuaries where, if arranged in advance, will accommodate you. Since November/December is summer here and tourism is high, you will have to contend with the throngs of people visiting these places and it does get busy. If you plan to visit the local villages, which I highly recommend, you must first visit the local chief, tell him who you are, why you are in the village and what it is you are planning on doing. You must always appease the local chief by presenting him with a gift to show your respect. The various game parks have accommodation included within the park so you will also have to contend with the noise from these people as well as those on game drives. Check out the parks that have vegetarian animals only so that if you and a game ranger go off on foot to record in the bush, you won't have to worry about leopards, cheetah's and lions. If you have a chance, check out Lesotho and Swaziland- amazing culture, language and a lot quieter than SA. As far as Botswana, Namibia and Zim are concerned, I would avoid Zim due to the political climate but Botswana and Namibia are great. Lots of quiet places but there, the animals roam free and you have to be very careful when going out into the bush to record. Hook up with a local game ranger and spend a couple of days in the bush. &#xD;&#xA;&#xD;&#xA;Be prepared to pay for what you get- especially with the local people in the villages. They are poor and see that what you are doing requires payment. It shows respect and also helps them as many of these villages are very badly off and employment is virtually non-existent except for piece work on farms and small industry. &#xD;&#xA;&#xD;&#xA;Be aware that crime is very high in SA and that a person walking around with expensive gear such as the stuff you are bringing will attract the wrong people. Always hook up with an experienced person in the area who knows the language, culture and landscape. &#xD;&#xA;&#xD;&#xA;Send me an email if you are in SA and we can hook up. I am interested in what you are doing. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14759" PostHistoryTypeId="2" PostId="8857" RevisionGUID="c0c426f7-2854-4b50-a64e-f36844ba6684" CreationDate="2011-06-28T07:42:21.750" UserId="1184" Text="I'm looking to get a new general sound library and am interested in the new General HD library from Sound Ideas. Does this replace the old General 6000 plus extensions? It would be great to get a new library to cover as much ground as the old General, but with new recordings at a higher fidelity." ContentLicense="CC BY-SA 3.0" />
  <row Id="14760" PostHistoryTypeId="1" PostId="8857" RevisionGUID="c0c426f7-2854-4b50-a64e-f36844ba6684" CreationDate="2011-06-28T07:42:21.750" UserId="1184" Text="How does the new General HD library from Sound Ideas compare to the old school General 6000 + extensions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14761" PostHistoryTypeId="3" PostId="8857" RevisionGUID="c0c426f7-2854-4b50-a64e-f36844ba6684" CreationDate="2011-06-28T07:42:21.750" UserId="1184" Text="&lt;library&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14762" PostHistoryTypeId="2" PostId="8858" RevisionGUID="abf3a088-96ea-4d3c-87c2-c20a55d0a71a" CreationDate="2011-06-28T08:53:52.480" UserDisplayName="user80" Text="Calibrate your room first. &#xD;&#xA;&#xD;&#xA;If you hire the right kit calibration can take less than a day.&#xD;&#xA;&#xD;&#xA;Usually the problem areas for 100 - 200 Hz are corners and corner bass traps will help a lot.&#xD;&#xA;&#xD;&#xA;Once you have this sorted then start automating your EQ.&#xD;&#xA;&#xD;&#xA;When a sound has plenty of room to breathe use full bandwidth.  When a sound is fighting against another sound or sounds, narrow the frequency range down to the fundamental and its key harmonics.  That way the sound can cut through everything else.  You can then open it up again when there is more space." ContentLicense="CC BY-SA 3.0" />
  <row Id="14763" PostHistoryTypeId="2" PostId="8859" RevisionGUID="bc17d7e1-97aa-421b-8d46-2d03b310b87b" CreationDate="2011-06-28T09:29:42.357" UserId="863" Text="no omf export? thats embarassing." ContentLicense="CC BY-SA 3.0" />
  <row Id="14764" PostHistoryTypeId="2" PostId="8860" RevisionGUID="971b2f5f-c506-45f1-87b8-0b1393e51cd9" CreationDate="2011-06-28T09:47:05.947" UserId="2" Text="Im also based in SA, and I echo what oinkaudio says. Email me if you end up here, we could go on some recording missions together! &#xD;&#xA;&#xD;&#xA;I haven't been to Tanzania, but I have heard only amazing things by my friends. Not sure what the wildlife is like, but for a holiday you'll have a treat of a time. My girlfriend and I might actually go there on holiday around September. &#xD;&#xA;&#xD;&#xA;Next to Tanzania is Kenya, there I know you'll find some amazing wildlife! In kenya you get the bush, and amazing beaches - like South Africa. Was in Nairobi a few weeks back, not so nice... So if you go just move on quick to the nice spots :-) &#xD;&#xA;&#xD;&#xA;So if you have three weeks, might be worth doing a bit of Kenya and a bit of Tanzania? &#xD;&#xA;&#xD;&#xA;You'd be surprised how game rangers will help you out if they can. They appreciate the fact that people are into what they love, and if you wanna doccument through sound their passion, they might just make special provate trips. You can always go to a private reserve and ask them for a favor. If not, there's always money ;-) " ContentLicense="CC BY-SA 3.0" />
  <row Id="14765" PostHistoryTypeId="2" PostId="8861" RevisionGUID="088ef254-b7e6-43dd-8d5c-3add687de949" CreationDate="2011-06-28T09:50:11.793" UserId="863" Text="I think its important to learn everything to some degree. When it comes to film sound I think its vital for anyone who plans to go into post production sound that they work on production sound. Sound Recording is a hard task and you learn after time what extras you need to supply to the post production team to get the best result and thus you realise what you will want from your future production team in future.&#xD;&#xA;&#xD;&#xA;There's a lot of composers out there or sound designers who claim they can do sound design for film, and I feel this is a massive flaw. It's completely different (even if they will work hand in hand in the future) and you should pick one or the other, although I'm sure there are some of you on here who can but generally the results I've heard on some peoples showreels are poor.&#xD;&#xA;&#xD;&#xA;So do everything you can now, but ultimately do what you enjoy most and work at it. If you are serious about film, I'd look into getting some picture editing in as well and reading/learning about that, as you'll be telling the story together." ContentLicense="CC BY-SA 3.0" />
  <row Id="14766" PostHistoryTypeId="2" PostId="8862" RevisionGUID="e398f425-4569-4408-8980-89eba38c0fd9" CreationDate="2011-06-28T10:31:57.020" UserId="1185" Text="I've used a zoom h4 (not the newer H4n) lots in the past.  The thing I like is that it can live in the bottom of bag and I can just get it out when I hear an interesting sound that I want to record.  Better quality devices may be available,but for the money and convenience it is an excellent. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14767" PostHistoryTypeId="2" PostId="8863" RevisionGUID="5263422b-1a9a-4c73-a898-29502289da07" CreationDate="2011-06-28T11:58:05.450" UserId="432" Text="the order for noise reduction is: filters (i.e EQ), interpolation (de-clicking, etc.), and broad-band noise reduction. you want to do as much as you can with the first two before applying noise-reduction processes like X-Noise, that way that particular algorithm doesn't have to work quite as hard. that means it won't color your audio as much. granted, you'll have coloration from the filters and interpolation (if you even need that second one), but it will be less offensive than that introduced by &quot;noise reduction&quot; processes.&#xD;&#xA;&#xD;&#xA;also remember that you can usually achieve slightly cleaner sounding results by using multiple passes/instantiations at mild to moderate settings than you can when using heavier settings.&#xD;&#xA;&#xD;&#xA;you can probably get some additional help by using multi-band expansion. if you've got Waves C4, set the range on the band your working on to a negative number. that band will become an expander, instead of a compressor. if you don't have Waves C4, you can &quot;build it yourself&quot; by setting up multiple auxes...each with a band pass EQ (frequency ranges as you desire) followed by an expander. either method will let you tailor the behavior of specific frequency ranges, and can help you mitigate noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="14768" PostHistoryTypeId="2" PostId="8864" RevisionGUID="bfe6a97f-2df2-4deb-a119-ac9c51a18973" CreationDate="2011-06-28T12:25:58.957" UserId="1056" Text="Hi there!&#xD;&#xA;While I prefer RX, I have used X-Noise on several occasions and, when applied correctly, it is one of the more natural sounding NR applications out there. Also, if you have Z-noise in your Waves bundle, this works in a similar way to the RX spectral repair and will be a great help with impulse noises.&#xD;&#xA;&#xD;&#xA;The keys to successful NR are:&#xD;&#xA;1) Work in small steps and do not try to remove all the noise in one pass.&#xD;&#xA;2) Don't try to remove too much! Always AB with the original and the moment it starts sounding artificial you've gone too far." ContentLicense="CC BY-SA 3.0" />
  <row Id="14769" PostHistoryTypeId="2" PostId="8865" RevisionGUID="8238c37e-87de-48aa-9466-c3eac516ff12" CreationDate="2011-06-28T13:04:46.410" UserId="253" Text="I think you'll need a balance of effective noise reduction (as everyone else mentions), as well as fx/music that's been selected to cut through the noise floor (because of its frequency characteristics and transient content). Your fades between music and voice will be important, as you'll have to avoid your noise floor noticeably &quot;pumping&quot;. &#xD;&#xA;&#xD;&#xA;One trick you might try is to use eq to cut 1.5-3kHz, and 200-400Hz (adjust for taste) in any music that goes over the voice. This lets you pump the music more, while still having the voice audible. &#xD;&#xA;&#xD;&#xA;I just woke up, but more ideas as i think of them..." ContentLicense="CC BY-SA 3.0" />
  <row Id="14770" PostHistoryTypeId="2" PostId="8866" RevisionGUID="5f4f9420-4071-4e9b-9724-15f66526285f" CreationDate="2011-06-28T15:06:43.797" UserId="338" Text="Hi, I'm wondering what a entry level field mixer would be/cost?&#xD;&#xA;&#xD;&#xA;I'd like to have an indoor recording package and have a Zoom for recorder but the pre-amps are too noisy for what I can tolerate.  I'm looking for something with as few as 2 great preamps.  I'm hoping not to spend more than 400 for it.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14771" PostHistoryTypeId="1" PostId="8866" RevisionGUID="5f4f9420-4071-4e9b-9724-15f66526285f" CreationDate="2011-06-28T15:06:43.797" UserId="338" Text="Entry Level Field Mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="14772" PostHistoryTypeId="3" PostId="8866" RevisionGUID="5f4f9420-4071-4e9b-9724-15f66526285f" CreationDate="2011-06-28T15:06:43.797" UserId="338" Text="&lt;field&gt;&lt;mixer&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14773" PostHistoryTypeId="2" PostId="8867" RevisionGUID="25f40efa-d81f-466f-a075-97615362cea7" CreationDate="2011-06-28T15:28:08.140" UserId="18" Text="The quality of the sounds are very nice.  It's refreshing to have new material that hasn't been used in a billion projects already.  And I am happy to have it as part of my collection.  &#xD;&#xA;&#xD;&#xA;I don't feel that it covers nearly as much ground as the 6000 series stuff.  Variety and variations seem pretty limited, though, I've only worked with it a short time now.  When I find a sound that I like, say a rock impact, there are usually only a couple of takes of that sound to work with.  It also doesn't seem to cover a wide spectrum of sounds.  For example, I think there are only a couple of different cars in the whole library.  I don't usually need cars, but it is something I noticed and was surprised about.&#xD;&#xA;&#xD;&#xA;A couple of issues with the organization of the files; The sounds are fully embedded with descriptive metadata but the filenames are not too descriptive.  So if you are not using a app like Soundminer or Basehead, then the library may be difficult to use.  Also, the entire library is in ONE folder on the drive.  So if you try to view/preview the sounds directly in the folder, it can cause issues/slowdowns with Finder (on Mac).  Again, if you are using Soundminer/Basehead/etc to preview, then this isn't an issue.&#xD;&#xA;&#xD;&#xA;I believe the library is still in BETA (at least I haven't received the &quot;FINAL&quot; version yet) so I don't know how much will be changed once they release the &quot;FINAL&quot; version.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14774" PostHistoryTypeId="2" PostId="8868" RevisionGUID="e577665f-94e9-4cc1-be44-8f11dafe8e70" CreationDate="2011-06-28T16:25:41.267" UserId="168" Text="For me it's usually down to what needs to be focussed at that point in time. If it's a fast paced action sequence (dialogues, heavy music, lots of sound sound effects), you need to take a call as to what needs to be highlighted to convey the story/feeling at that point in the timeline. If the dialogue is critical, then everything plays second fiddle. If it's more for 'effect' and there's lots of on screen action then it would be important to highlight the sound effects. &#xD;&#xA;&#xD;&#xA;Usually a simple HPF and LPF on the sub masters (music/sfx/voice) along with level control can help bring things in and out of focus - thereby making room for other elements.&#xD;&#xA;&#xD;&#xA;It is also important to look at individual elements: if you have heavy explosions in the scene along with HUGE taiko drums in the score, it will result in a low-mid/lowend mess. If the explosions are important then maybe dropping the level of the taikos might help. This is when the mind can also be tricked into hearing things. If you start the sequence with the Taikos loud and ride them down while the explosions take over, our mind/ears would still continue to be subconsciously aware of the Taikos. On that note, it usually helps if explosions have more bass/sub bass elements as it leaves room for the other elements in a mix (a tip from Randy Thom..watch the 'How To Train Your Dragon' Sound Show on SWC).&#xD;&#xA;&#xD;&#xA;If nothing works you might have to re-edit/re-design some of the sounds to get them to fit better - if time is a luxury.&#xD;&#xA;&#xD;&#xA;Is there anything specific you are having a problem with?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14775" PostHistoryTypeId="2" PostId="8869" RevisionGUID="661c7944-ead9-48e5-b853-177c81a5abbd" CreationDate="2011-06-28T18:00:27.797" UserId="285" Text="I can second most of what @chuckRussom said already.  I still have the beta as well, I think the final is supposed to come out in a few weeks.&#xD;&#xA;&#xD;&#xA;This collection CAN NOT replace the general 6000.  It is a pretty nice addition though.  Other things it is missing are animal vocalizations.  I am working on an animated series that has a bear and a monkey and there are zero sounds for either animal in the General HD.  Thats just an example of the various holes in the collection but it does have lots of great stuff as well, but by no means can you get this collection and then just ignore the 6000 series.  You will have to think of it as an addition not a replacement.&#xD;&#xA;&#xD;&#xA;One thing that is a little different I have found is the ambience tracks are mastered extremely loudly.  Even the quiet sounds are really hot as you audition them.  They are not clipping or anything but I have found I have to turn the output of Soundminer way down when searching for ambiences in order to get a proper feel for how they would play in a project.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14776" PostHistoryTypeId="2" PostId="8870" RevisionGUID="434b4e72-d2a2-45c0-a3de-90eafb97f9f5" CreationDate="2011-06-28T18:05:25.230" UserId="285" Text="Look into the Sound Devices MixPre.  It is more money then you are suggesting but it is a dynamite piece of gear.  The company recently launch the next evolution of the product line with the MixPre-D, so if you search around second hand sites you might be able to find a used Mixpre cheap as people upgrade.  They are the kind of thing that last forever though so you won't find one too cheap.  It is worth the price though as it is a well made and reliable device.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14777" PostHistoryTypeId="2" PostId="8871" RevisionGUID="16ab0c1b-d3f6-4687-a5c7-4ba8c2950697" CreationDate="2011-06-28T18:45:54.857" UserId="845" Text="What about the Sonopedia 2.0?&#xD;&#xA;&#xD;&#xA;I have no idea what the price points are between the SoundIdeas and Sonopedia, but it might be worth looking into.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14778" PostHistoryTypeId="2" PostId="8872" RevisionGUID="78f5a35a-9f4f-4a04-897b-9393a615dbd5" CreationDate="2011-06-28T19:45:11.667" UserId="730" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;I am the sound designer at Hi-Rez Studios and I have been doing all the sound design on the new Tribes: Ascend video game.  I would love to get some feedback from people on my sounds.  Right now we just released the first gameplay trailer so that is all that is available at the moment, but I would really appreciate feedback on the sounds in the trailer, and the game when it is released.  This is my first major video game title, so I am extremely excited and nervous at the same time.  I know that I am going up against some serious industry vets, so I am curious to what everyone thinks of my work.  &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=oevWde_F-yU&#xD;&#xA;&#xD;&#xA;Thanks for reading,&#xD;&#xA;&#xD;&#xA;Benjie Freund" ContentLicense="CC BY-SA 3.0" />
  <row Id="14779" PostHistoryTypeId="1" PostId="8872" RevisionGUID="78f5a35a-9f4f-4a04-897b-9393a615dbd5" CreationDate="2011-06-28T19:45:11.667" UserId="730" Text="Sound Design on Tribes: Ascend" ContentLicense="CC BY-SA 3.0" />
  <row Id="14780" PostHistoryTypeId="3" PostId="8872" RevisionGUID="78f5a35a-9f4f-4a04-897b-9393a615dbd5" CreationDate="2011-06-28T19:45:11.667" UserId="730" Text="&lt;sound-design&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14781" PostHistoryTypeId="5" PostId="8865" RevisionGUID="5c4495b4-f955-4fd7-bd18-00e15908bb96" CreationDate="2011-06-28T20:08:03.910" UserId="253" Comment="added 315 characters in body" Text="I think you'll need a balance of effective noise reduction (as everyone else mentions), as well as fx/music that's been selected to cut through the noise floor (because of its frequency characteristics and transient content). Your fades between music and voice will be important, as you'll have to avoid your noise floor noticeably &quot;pumping&quot;. &#xD;&#xA;&#xD;&#xA;One trick you might try is to use eq to cut 1.5-3kHz, and 200-400Hz (adjust for taste) in any music that goes over the voice. This lets you pump the music more, while still having the voice audible. &#xD;&#xA;&#xD;&#xA;Most b/g noise is pretty broadband. You can afford to cut frequencies below 80-100Hz, and above 17kHz. You can also put a 3(ish)dB dip around 800Hz-1kHz without it affecting the voice noticeably. I'm making an assumption here, but i'm guessing you'll have trouble making the more subtle FX poke through, and stuff like synth pads could get buried.&#xD;&#xA;&#xD;&#xA;Hope that helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14782" PostHistoryTypeId="2" PostId="8873" RevisionGUID="2de698ff-1ef9-439c-8f58-b93e361a0811" CreationDate="2011-06-28T20:10:34.040" UserId="863" Text="First of, I'm ecstatic that there's a new Tribes game, one of the finest and underrated Online FPS games of all time. &#xD;&#xA;&#xD;&#xA;Trailer is great, great panning and mixing, the stereo image was amazing especially when the crafts flew over head at the end. &#xD;&#xA;&#xD;&#xA;Can you answer some questions?&#xD;&#xA;&#xD;&#xA; - in terms of sound design, are you just mixing? recording foley (if needed)? and are you also implementing the audio into the programming?&#xD;&#xA;&#xD;&#xA;It's my goal to be involved in game sound design, I'm more than competent when it comes to mixing and recording for TV and Film but I don't know about programming audio into games, is this vital?&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="14783" PostHistoryTypeId="2" PostId="8874" RevisionGUID="3c742bfd-60b6-4d2a-9342-1dc21fda28f2" CreationDate="2011-06-28T21:08:26.590" UserId="578" Text="Just adding my voice to confirm what others have pointed out already. I've been using the General HD for about a month now (the beta version), and yes - it's generally nicely recorded, and it covers a lot, but it lacks strangely at some places. There's also lots of sounds that I can't really imagine I will ever need so many of (like plenty of Curling sfx, lots of different music boxes, typewriters/adding machines... I mean it's cool, but very specific, so I'd rather have a had a little less variation in those and more variation in the bog standard fx).&#xD;&#xA;&#xD;&#xA;Still, I'm very happy to have this as a library, there really is a lot of good stuff on it. And what it definitely has over 6000 is consistency in recording quality. There's still the trademark SI produced/designed sound to some of the fx though, but in 9 out of 10 cases it's not over-done and the sounds remain useful and easy to manipulate.&#xD;&#xA;&#xD;&#xA;I also think that some sounds have been recorded with mics extending above 20kHz, because pitching down sounds sublime on those.&#xD;&#xA;&#xD;&#xA;Ah, and kudos to SI for not reproducing the dreaded electricity sound fx from 6000 that I hear in every videogame, tv series and film! Maybe finally we can all move on and create our own electricity fx now? It really only takes some boring crackling and zapping noise and funky filters with LFO's/envelope followers... ;)&#xD;&#xA;&#xD;&#xA;All in all I would say: if you want a large 96kHz library, this is currently the best you can get. I demoed Sonopedia (they have a nice system for that online if you show interest in the library), and I didn't like it as much, as it contains a lot of synthesized fx, and not a lot of variations on recorded sounds either (at least that was my impression).&#xD;&#xA;&#xD;&#xA;Just fill up the blanks with specialist libraries from the well known boutique SFX companies (Tim Prebble, The Recordist, Chuck Russom, Rabbit Ears, Boom, Tonsturm, etc etc) and your own material of course, and forget about Series 6000! :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14784" PostHistoryTypeId="2" PostId="8875" RevisionGUID="21909911-6370-41cd-aa96-40fd73d82a00" CreationDate="2011-06-28T21:40:55.167" UserId="900" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;Excited to say I'll be heading up to silverstone - with no special permission...just a crowd member with lots of time to spare over the weekend.&#xD;&#xA;&#xD;&#xA;I have the impression the cars will be excruciatingly loud, my setup is rode nt5 pair --&gt; Fostex FR2LE. Probably won't monitor, just will have earplugs in.&#xD;&#xA;&#xD;&#xA;Any tips on technique and/or things that would be useful to know in this sort of situation?&#xD;&#xA;&#xD;&#xA;Will I need in-line pads or anything special for the mics? In addition to the software -20dB pad?&#xD;&#xA;&#xD;&#xA;Unlikely I'll be let in any media areas...but having fluffy mics have worked out well for this in the past, with a little bit of blag/charm.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;T" ContentLicense="CC BY-SA 3.0" />
  <row Id="14785" PostHistoryTypeId="1" PostId="8875" RevisionGUID="21909911-6370-41cd-aa96-40fd73d82a00" CreationDate="2011-06-28T21:40:55.167" UserId="900" Text="Recording F1 flybys @ silverstone next week...any tips??" ContentLicense="CC BY-SA 3.0" />
  <row Id="14786" PostHistoryTypeId="3" PostId="8875" RevisionGUID="21909911-6370-41cd-aa96-40fd73d82a00" CreationDate="2011-06-28T21:40:55.167" UserId="900" Text="&lt;field-recording&gt;&lt;fun&gt;&lt;cars&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14787" PostHistoryTypeId="2" PostId="8876" RevisionGUID="3374e552-52f3-4414-acf1-0507855c0323" CreationDate="2011-06-28T22:03:52.023" UserId="315" Text="Inline pads for the mics are a must, as these cars put out a lot of spl.&#xD;&#xA;&#xD;&#xA;I'd recommend trying to go to a time trials instead of a race if possible. That way you can get isolated passbys, which are much more useful on a mixstage than the din of a bunch of cars racing. Also try to vary the part of the course you record from as the cars sound different at various speeds and cornering versus straightaways. I like the sound of cars downshifting, so the entrance to a hairpin turn might be a cool place to position yourself.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="14788" PostHistoryTypeId="6" PostId="8872" RevisionGUID="20bf27cc-cafc-497b-ab5a-85875592288f" CreationDate="2011-06-28T22:16:26.957" UserId="730" Comment="edited tags" Text="&lt;sound-design&gt;&lt;video-games&gt;&lt;field-recording&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14789" PostHistoryTypeId="2" PostId="8877" RevisionGUID="25dc0f59-cd40-4aaf-b6d3-3a3026edd579" CreationDate="2011-06-28T22:29:30.607" UserId="1011" Text="I found two challenges when recording the F1 before.&#xD;&#xA;&#xD;&#xA; 1. security - in Montreal at least they&#xD;&#xA;    were really touchy about anyone&#xD;&#xA;    bringing any gear into the event. &#xD;&#xA;    I'd suggest being discreet.  At the&#xD;&#xA;    Honda Indy here in Toronto they&#xD;&#xA;    required anyone with even DSLR&#xD;&#xA;    cameras to have a press pass.  They&#xD;&#xA;    search all bags.  Most gate security&#xD;&#xA;    may not know how to spot a recorder.&#xD;&#xA;    Something to keep in mind though&#xD;&#xA; 2. the days of sporting events without&#xD;&#xA;    PA blasting into every corner are&#xD;&#xA;    sadly long gone.  You'll have to&#xD;&#xA;    explore the track to find a nook&#xD;&#xA;    without people, compressors, music&#xD;&#xA;    or PA.  There's always one or two so&#xD;&#xA;    get there early, stake your spot and&#xD;&#xA;    be patient&#xD;&#xA;&#xD;&#xA;Love the F1 - good luck and have a great time.&#xD;&#xA;&#xD;&#xA;PS - I wrote a post about recording the Honda Indy with some samples on my blog, you're welcome [to check it out at this link][1]&#xD;&#xA;&#xD;&#xA;Paul&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jetstreaming.org/2011/02/25/favorite-field-recordings-of-2010-indy-race-car-sound-effects/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14790" PostHistoryTypeId="2" PostId="8878" RevisionGUID="03b092fe-06e8-42aa-9a5f-764f9526396e" CreationDate="2011-06-28T23:55:34.820" UserId="37" Text="Silverstone is windy. Been there a while ago, that wide open space gets a fair amount of wind so think about wind protection in advance.&#xD;&#xA;&#xD;&#xA;The cars are loud. They will be at their loudest. The nt5s have no pad switches, so do get some pads. &#xD;&#xA;&#xD;&#xA;The gear downshifts peak quite a bit, if i remember correctly, so allow for headroom. You only get them good at certain places but they sound massively cool. Explore the areas you're allowed in.&#xD;&#xA;&#xD;&#xA;By all means do monitor. Get sealed headphones, you can use them as ear protectors.&#xD;&#xA;&#xD;&#xA;Good luck! It's a cool experience.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14791" PostHistoryTypeId="2" PostId="8879" RevisionGUID="f749c865-0db5-4fba-9d8a-b2f1b5781c45" CreationDate="2011-06-29T06:01:07.093" UserId="348" Text="Hi there,&#xD;&#xA;&#xD;&#xA;Has anyone used the Yamaha LS9-16 in harmony with Protools LE 9? Have been asked to shop around to compare prices with the DigiDesign 003 and see which works better with Protools LE 9. My initial thought is that the 003 is a perfect match considering the fact that it is made to work with Protools but I need to find out about the Yamaha. How do the 2 compare when recording and mixing down? Price wise, I did research and found the LS9 to be considerable more expensive. What are your thoughts? " ContentLicense="CC BY-SA 3.0" />
  <row Id="14792" PostHistoryTypeId="1" PostId="8879" RevisionGUID="f749c865-0db5-4fba-9d8a-b2f1b5781c45" CreationDate="2011-06-29T06:01:07.093" UserId="348" Text="The Yamaha LS9-16" ContentLicense="CC BY-SA 3.0" />
  <row Id="14793" PostHistoryTypeId="3" PostId="8879" RevisionGUID="f749c865-0db5-4fba-9d8a-b2f1b5781c45" CreationDate="2011-06-29T06:01:07.093" UserId="348" Text="&lt;digidesign&gt;&lt;003&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14794" PostHistoryTypeId="2" PostId="8880" RevisionGUID="0c9b46b6-243b-45df-ae1e-9e2434088c64" CreationDate="2011-06-29T06:43:00.460" UserId="1178" Text="Sounds awesome! Really like the sounds you have created! I would personally add the &quot;KA-pow&quot; into the more mechanical weapons hence making the feel more powerful. Only sound I didn´t quite like was the round grenade thrower, would have liked it to be more animated sound wise (mechanical sounds and some rattling perhaps?). One question though, is the pistol the most powerful weapon in the game as it sounded most loudest and bad ass from all the ones that were in the vid?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14795" PostHistoryTypeId="5" PostId="8880" RevisionGUID="c032cc95-a140-4cb3-bb12-5bc1e37413df" CreationDate="2011-06-29T07:27:29.833" UserId="1178" Comment="added 25 characters in body" Text="Sounds awesome! Really like the sounds you have created! I would personally add the &quot;KA-pow&quot; into the more mechanical weapons hence making the feel more powerful. Only sound I didn´t quite like was the round grenade thrower, would have liked it to be more animated sound wise (more mass to the weapon, mechanical sounds and some rattling perhaps?). One question though, is the pistol the most powerful weapon in the game as it sounded most loudest and bad ass from all the ones that were in the vid?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14796" PostHistoryTypeId="2" PostId="8881" RevisionGUID="22e9ced0-da11-4af2-901f-9952a665c727" CreationDate="2011-06-29T09:47:42.080" UserId="1153" Text="First question so apologies if it's not up to scratch. Feel free to let me know :)&#xD;&#xA;&#xD;&#xA;I'm wondering what sample rate you like to record at and what the sample rate generally is of any sound effects that you buy?&#xD;&#xA;&#xD;&#xA;I've noticed a few recordists offering wavs at 24bit 192kHz, is there a good reason to record at this high a sample rate? I suppose as it oversamples so highly it avoids aliasing and has very good overall resolution? But is this a drastic improvement from 24bit 96kHz?&#xD;&#xA;&#xD;&#xA;Currently I have a Zoom H4n which will only record 24bit 96kHz (and only in a certain mode :/) and use this bit depth and sample rate when recording sound effects. One thing I want to ensure in my work is high quality and clarity so would it be advisable to invest in equipment that can record at a higher sample rate? (And of course has better preamps than the zoom). I want to take myself fulltime so this isn't a case of spending money for the sake of it :) &#xD;&#xA;&#xD;&#xA;Be nice to hear your thoughts, cheers!&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="14797" PostHistoryTypeId="1" PostId="8881" RevisionGUID="22e9ced0-da11-4af2-901f-9952a665c727" CreationDate="2011-06-29T09:47:42.080" UserId="1153" Text="What sample rate do you use/prefer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14798" PostHistoryTypeId="3" PostId="8881" RevisionGUID="22e9ced0-da11-4af2-901f-9952a665c727" CreationDate="2011-06-29T09:47:42.080" UserId="1153" Text="&lt;sample-rate&gt;&lt;bit-depth&gt;&lt;zoom-h4n&gt;&lt;192khz&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14799" PostHistoryTypeId="2" PostId="8882" RevisionGUID="926ceaf2-d325-4761-8578-a34ce458356a" CreationDate="2011-06-29T11:32:34.783" UserId="845" Text="The real difference isn't really in playback.  Where you really hear it is when you do a lot ot manipulation with plug-ins.  The more informatuon the have (i.e. Samples) they have to work with, the better the job they can do. Uses up more processor as well, but lemons into lemonade, eh?&#xD;&#xA;&#xD;&#xA;The big one for myself (and a bunch of other people I'm sure) is with time stretching/compression. You can push a 192k sample *much* further than you can a 48k or even 96k. &#xD;&#xA;&#xD;&#xA;But! I wouln't immediately rush out and buy a Sound Devices 702 or something *because* it can do 192. In terms of audible difference of the samples/sounds themselves, I think you'll be hard pressed to hear a difference between even 48 and 192. &#xD;&#xA;&#xD;&#xA;However! That is just my opinion!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14800" PostHistoryTypeId="5" PostId="8882" RevisionGUID="9bce97e0-a73b-4b30-8b35-074f6e8b108f" CreationDate="2011-06-29T11:38:17.310" UserId="845" Comment="added 239 characters in body" Text="The real difference isn't really in playback.  Where you really hear it is when you do a lot ot manipulation with plug-ins.  The more informatuon the have (i.e. Samples) they have to work with, the better the job they can do. Uses up more processor as well, but lemons into lemonade, eh?&#xD;&#xA;&#xD;&#xA;The big one for myself (and a bunch of other people I'm sure) is with time stretching/compression. You can push a 192k sample *much* further than you can a 48k or even 96k. &#xD;&#xA;&#xD;&#xA;But! I wouln't immediately rush out and buy a Sound Devices 702 or something *because* it can do 192. In terms of audible difference of the samples/sounds themselves, I think you'll be hard pressed to hear a difference between even 48 and 192. At this point, I woukd spend money on mics, not a recorder. The H4n's issue is not a matter of preamps, it's that the on-board mics are electret condensers and are naturally noisy. The actual pre-amps for the xlr ins are perfectly decent. &#xD;&#xA;&#xD;&#xA;However! That is just my opinion!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14801" PostHistoryTypeId="5" PostId="8882" RevisionGUID="6703a89a-c2c9-4615-88c9-6e4bf98d864d" CreationDate="2011-06-29T12:38:36.133" UserId="845" Comment="added 1 characters in body; added 25 characters in body" Text="The real difference isn't really in playback.  Where you really hear it is when you do a lot ot manipulation with plug-ins.  The more informatuon they have (i.e. Samples) they have to work with, the better the job they can do. Uses up more processor as well, but lemons into lemonade, eh?&#xD;&#xA;&#xD;&#xA;The big one for myself (and a bunch of other people I'm sure) is with time stretching/compression. You can push a 192k sample *much* further than you can a 48k or even 96k. &#xD;&#xA;&#xD;&#xA;But! I wouln't immediately rush out and buy a Sound Devices 702 or something *because* it can do 192. In terms of audible difference of the samples/sounds themselves, I think you'll be hard pressed to hear a difference between even 48 and 192, let alone 96 and 192. At this point, I would spend my money on mics, not a recorder. The H4n's issue is not a matter of preamps, it's that the on-board mics are electret condensers and are naturally noisy. The actual pre-amps for the xlr ins are perfectly decent. &#xD;&#xA;&#xD;&#xA;However! That is just my opinion!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14802" PostHistoryTypeId="2" PostId="8883" RevisionGUID="62ed7a1a-210e-4d83-a9e2-536165a835d3" CreationDate="2011-06-29T12:45:03.077" UserId="1185" Text="Hanger straight on the way down to Stowe is a good place to get a full-speed flyby.  It is very loud, but I have never tired recording.  Do let us know how you get on.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14803" PostHistoryTypeId="2" PostId="8884" RevisionGUID="b814bba4-ecdf-45c9-b675-7f1e02bbd88a" CreationDate="2011-06-29T12:46:40.937" UserId="993" Text=" I had a similar project and found a great place for source material was to go to a demolition site of a house. Now not every demo company will let you on site, but call around until you find one of the more liberal ones. Take your own safety precautions: steel toed boots, visibility vest, hard hat and goggles may be required. Use long cables to keep yourself out of harms way and only put a mic in a dangerous position if you're willing to risk losing it.&#xD;&#xA;&#xD;&#xA;The sounds of machines tear down walls is beautiful, but those machines are also pretty loud and spoiled most attempts at getting a clean recording of the destruction. The best stuff I got was when the workers went on lunch or finished for the day, leaving me with a Lego toybox of wreckage to play with. Take the opportunity to get a variety of materials, shifting piles of wreckage and large amounts of rubble. Bring a shovel to help with this. Consider what materials your building in shot is made of and what we're seeing and get plenty of variations of those materials. &#xD;&#xA;&#xD;&#xA;You can also bring a sledge hammer with cloth wrapped around the top to get a cleaner sound minus that metal impact sound. Ask if you can break the windows before they tear down the walls. There are concerns of road and ambient noise to account for as always, so you may need to do some finer debris work in studio. Take buckets of stuff home with you if you need to.&#xD;&#xA;&#xD;&#xA;In the mix I have found the sound of trees falling down can work well and gunshots that are pitched and/or slowed down are perfect for adding a big whump to a structure collapsing. A good bang and convincing trail of debris will help make it sound dangerous. If you're needing to add more a descending rumble as things collapse, I've tried recording under a big metal bridge as a train went over which was OK. An avalanche might be a good base if you can find a suitable recording - otherwise you might have to build your own from the above and other sources.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14804" PostHistoryTypeId="2" PostId="8885" RevisionGUID="a103f94d-453e-4fda-aae6-2ab0f262d902" CreationDate="2011-06-29T15:02:18.513" UserId="220" Text="AFAIK, it does not work well with PT.  It is a LIVE console, not a studio console, so it's really not designed to be a control surface.  It's also VERY expensive and there are a lot of other options out there.&#xD;&#xA;&#xD;&#xA;Have you look at the Presonus StudioLive products?  They are relatively cheap and a nice surface.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14805" PostHistoryTypeId="2" PostId="8886" RevisionGUID="f5c9b170-fd60-4862-978c-0e3c18e45375" CreationDate="2011-06-29T15:36:28.933" UserId="234" Text="Can't speak for the Yamaha, but I did notice that between my 002 versus my 828mkIII, the 828 under core audio was much more stable... used a percent or two more CPU, but the meter was consistent - under the 002 I was getting all sorts of weird spikes... That was back at v9.0... haven't tried the 002 with the 9.0.3 update." ContentLicense="CC BY-SA 3.0" />
  <row Id="14806" PostHistoryTypeId="2" PostId="8887" RevisionGUID="da239335-4a03-4487-9724-3b3594d6cbe5" CreationDate="2011-06-29T18:11:33.550" UserId="1184" Text="It sounds like my hope of having the General HD be my new general purpose library may have been a bit optimistic, but it does sound like it's a good library. I'd love to really dig into to get a better feel for the breadth and the quality.&#xD;&#xA;&#xD;&#xA;The reason for my question is that I'm building a library from scratch at my new job at a new studio. It's been an interesting experience. What I've learned in researching this is:&#xD;&#xA;&#xD;&#xA;1) It just isn't reasonable to assume that there is a one-size-fits all general purpose library out there. I've spent a long time building my personal library and the sounds that I use are from several different libraries, not just one, so that's not too surprising.&#xD;&#xA;&#xD;&#xA;2) It's expensive to hit the ground running. Again; &quot;duh.&quot;&#xD;&#xA;&#xD;&#xA;3) I'd rather have &quot;construction kit&quot; libraries that are recorded at decent levels, consistently mastered, not overly designed, include a BARE MINIMUM of synth effects, and with LOTS AND LOTS of variations. &#xD;&#xA;&#xD;&#xA;__&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What we've decided to do, after all of the great feedback here, is to wait on dropping the money on one general purpose library, purchase a number of libraries we want from the boutique shops since they are reasonably priced and sound great (including Chuck Russom's GUN HANDLING SOUND LIBRARY), some of the specific libraries from Sound Ideas and Hollywood Edge that we know well (impacts, foley, etc.), and fill in the rest with individual sound effects purchased from Sound Dogs (and our own recordings, of course) until we decide on a general purpose library.&#xD;&#xA;&#xD;&#xA;Thanks for the feedback everyone!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14807" PostHistoryTypeId="2" PostId="8888" RevisionGUID="cd4539b2-cc8c-4b00-90a7-7b1d31449a7d" CreationDate="2011-06-29T19:18:28.773" UserId="641" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I am prepping for the sound design in a low budget independent horror gore movie I am involved with and one of the sound elements I'd like to emphasize in scenes is futility and hopelessness.&#xD;&#xA;&#xD;&#xA;Any ideas ho to make a sound futile or hopeless, effects to use, EQ?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14808" PostHistoryTypeId="1" PostId="8888" RevisionGUID="cd4539b2-cc8c-4b00-90a7-7b1d31449a7d" CreationDate="2011-06-29T19:18:28.773" UserId="641" Text="Futility and hopelessness" ContentLicense="CC BY-SA 3.0" />
  <row Id="14809" PostHistoryTypeId="3" PostId="8888" RevisionGUID="cd4539b2-cc8c-4b00-90a7-7b1d31449a7d" CreationDate="2011-06-29T19:18:28.773" UserId="641" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14810" PostHistoryTypeId="2" PostId="8889" RevisionGUID="dd00362f-104b-481a-a60e-6eb58ea4196a" CreationDate="2011-06-29T19:34:36.137" UserId="845" Text="I think you'll find that there aren't really any plugs or settings that sound hopeless or bleak.  You need the raw material first and modify it to suit the tone of your programme.&#xD;&#xA;&#xD;&#xA;Old rusty gates squeaking. &#xD;&#xA;&#xD;&#xA;Heavy footsteps on a wooden floor.&#xD;&#xA;&#xD;&#xA;Pitch shifted windchimes.&#xD;&#xA;&#xD;&#xA;Take a recording of a child crying, slow it and pitch it down, then put it into a granular synth of some kind." ContentLicense="CC BY-SA 3.0" />
  <row Id="14811" PostHistoryTypeId="2" PostId="8890" RevisionGUID="f2c5ddcb-2dbd-46f5-87c6-5d6a7fd48cc3" CreationDate="2011-06-29T19:36:53.843" UserId="338" Text="Check the rainmaker video on designing sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="14812" PostHistoryTypeId="2" PostId="8891" RevisionGUID="e25f509e-3a4a-4141-b126-590ef20d64ee" CreationDate="2011-06-29T19:56:21.283" UserId="432" Text="There really aren't any tried and true tricks for creating this affect, since its entirely dependent on the context. You going to have analyze the scenes carefully and discuss the psychological states of the characters with the director. It's going to come down to choosing which elements to emphasize in a scene, and they're going to have to tie into the story closely to achieve the feel you're talking about.&#xD;&#xA;&#xD;&#xA;Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="14813" PostHistoryTypeId="2" PostId="8892" RevisionGUID="9a3fbe44-3de3-45c4-b893-a400d167072c" CreationDate="2011-06-29T20:16:58.130" UserId="558" Text="totally agree with GA.  Also, pitch shifting is also greatly enhanced with higher sample rates. You can pitch farther w/o dullness, artifacts, and whining. Pitching is one of my most used fx." ContentLicense="CC BY-SA 3.0" />
  <row Id="14814" PostHistoryTypeId="2" PostId="8893" RevisionGUID="503c4a7b-e2f4-4849-b6af-b8a267788436" CreationDate="2011-06-29T20:35:20.653" UserId="338" Text="The pistol clip at the end remove/reload sounds were my favorite.  I thought a lot of the other sounds/fx were a pretty stock.  Maybe this is because it looked so much like HALO at first.  Continuing on though, there were some sounds in there that were unique but I did not feel were fully realized.  Plus the music was so loud and abnoxiously normal that it took away from the story that would have felt more realistic for me if it were lower and the sound fx had more room to breath.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14815" PostHistoryTypeId="2" PostId="8894" RevisionGUID="2bf05dfe-1dfe-470f-9829-12349c961888" CreationDate="2011-06-29T20:38:07.123" UserId="786" Text="I would say it is hard to rely on sound alone to bring across feelings like futility and hopelessness. Sometimes it can work if you try to imagine what the character you're depicting is hearing. You can emphasize the sounds which will make the main character feel vulnerable, the sounds which make him/her afraid or makes him/her think of unobtainable things.&#xD;&#xA;&#xD;&#xA;You can also depict reality and make it really dull and grey.&#xD;&#xA;&#xD;&#xA;Last year I made a prison film which had a strong sense of futility and hopelessness. It started bad and just got worse.... &#xD;&#xA;&#xD;&#xA;We created a strong sense of reality by recording a lot of extra voices for off screen sounds when the main character was in his cell. We tried hard to make everything sound as real as possible - but at certain moments we played pretty violent drones or sucked out all of the energy of the sound track by burying everything in a low pass filter and low levels.&#xD;&#xA;&#xD;&#xA;As you are going to record the sounds on set, you may be getting a good feel of what the director is trying to get in terms of feelings. You can try to remember that feeling for when you are doing the sound design.&#xD;&#xA;&#xD;&#xA;You can also try to record the sounds on set or just around you, which give you a bit of the feeling you are looking for. And when the time comes, you can try to use them as a basis for some of your sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="14816" PostHistoryTypeId="5" PostId="8404" RevisionGUID="f7cdf53c-9c60-4e4a-8e28-b8e45af18867" CreationDate="2011-06-29T21:07:40.823" UserId="845" Comment="added 689 characters in body" Text="Ahoy Matees,&#xD;&#xA;&#xD;&#xA;After a long and arduously soppy spring up here in Canada, summer has at long last descended on us with it's iron fist of sweaty retribution.&#xD;&#xA;&#xD;&#xA;That means it's bicycle season!  &#xD;&#xA;&#xD;&#xA;Yesterday, in my enthusiasm, I hopped on the duo-ped and rode to work, all the way down-town after work, then home again to hop into bed happily pooped out and completely exhausted.  Counting it up I spent at least 3 hours on the bike.  &#xD;&#xA;&#xD;&#xA;Great! Right?&#xD;&#xA;&#xD;&#xA;I'm not so sure...  &#xD;&#xA;&#xD;&#xA;I like to ride quickly, partly to get the heart rate up, but also to keep up with traffic and thereby reduce my chances of getting run down by someone trying to pass me in their giganticar.  This means that I have a whole lot of WIND flubble-dubbing it's way past my ears, up to three hours worth.&#xD;&#xA;&#xD;&#xA;Now, I haven't done any measurements yet, but I'm going to hazard a guess that the SPL of that WIND has to be up around 85-90 dB.  That means that yesterday I exposed my ears for three hours to a sound level that is nominally damaging after 15-30 minutes.&#xD;&#xA;&#xD;&#xA;I tried using my musician's earplugs, but if anything they made it worse.  And I'm pretty sure that using the big orange foamy ones would be an even dumber idea than riding with headphones on, like soooo many people seem to do.  Being able to hear what's coming up behind me has saved my ass more than a handful of times, and those things are like rolling off the entire world with an LPF at 300 Hz.&#xD;&#xA;&#xD;&#xA;I was thinking of building some kind of tichy baffle system to deflect the air around my ears, but I'm pretty sure I'd look a real moron with cardboard taped to the side of my head.&#xD;&#xA;&#xD;&#xA;Do you guys have any tricks for lowering the wind rumble and keeping the hearing while on the cycle?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;UPDATE:&lt;br&gt;&#xD;&#xA;![Panasonic RP-HT21 Headphones][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I bought a pair of these [Panasonic RP-HT21 headphones][2] and cut the cables off.  They don't get rid of the wind, but the get the flubbley low end off your eardrums.  Works well enough for the time being.&#xD;&#xA;&#xD;&#xA;Added bonus: nobody ever seems to notice that the cables have been cut off, so if you don't want anyone to bother you you can just throw them on and have a great excuse for you not noticing that they're alive.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://images.panasonic.com/static/models/rp-ht21.jpg&#xD;&#xA;  [2]: http://www2.panasonic.com/consumer-electronics/shop/Audio/Headphones/Lightweight/model.RP-HT21_11002_7000000000000005702" ContentLicense="CC BY-SA 3.0" />
  <row Id="14817" PostHistoryTypeId="2" PostId="8895" RevisionGUID="f8833d9d-4785-43e0-80af-9e73170f8da1" CreationDate="2011-06-29T23:39:32.727" UserId="1188" Text="Asked Sound Devices to consider this as an enhancemnt and they agreed to consider. Made it clear that the request is for the MixPre-D AES output to report the specific header data for the sample rate and bit depth. The hardware is connected correctly and signal is converted by the Hosa ODL-312, but a firmware updgrade is requested to add the specific header data to the AES signal so the Sony D50 will recognize the data stream. They said to watch their web site for a firmware upgrade.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14818" PostHistoryTypeId="2" PostId="8896" RevisionGUID="09390c59-0532-4102-b882-d458fbd914ec" CreationDate="2011-06-29T23:51:43.743" UserId="18160" Text="Hello again everyone!&#xD;&#xA;&#xD;&#xA;I'm back from a month on a boat doing audio for a corporate seminar.&#xD;&#xA;&#xD;&#xA;There was one thing that happened while I was out there that scared the living bijeezus out of me and that was:&#xD;&#xA;&#xD;&#xA;Specs:&#xD;&#xA;Pro Tools HD recording,&#xD;&#xA;Locked to Word Clock set at 96K, and Video Reference (black burst) from the video truck realm.&#xD;&#xA;&#xD;&#xA;During the recording, the sync must have been lost because when I went to post produce the show, one word of the speaker was extremely high-pitched - chipmunk-style, and I was able to fix it with either an alternate take from the rehearsal or by pitching it down the exact amount it was pitched up.&#xD;&#xA;&#xD;&#xA;I didn't have much time to look for the cause, but I suspect it was some sort of sync issue. It scares me because I cannot hear this while the event is being recorded (listening back on Pro Tools I don't hear sync issues until I can play back the audio file). I don't know if this was due to the Word Clock or the Video Ref being lost for that brief bit. (Note: this was also the only bit of audio this happened on out of about 15 hours of recordings.) I also record with the session window open so I can monitor the &quot;Locked&quot; and &quot;Speed Cal&quot; indicators and from what I could tell they were both lit the whole way through.&#xD;&#xA;&#xD;&#xA;Have any of you had a similar problem? What was the handling / fix? How can I prevent this from happening in the future?&#xD;&#xA;&#xD;&#xA;Thanks very much in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="14819" PostHistoryTypeId="1" PostId="8896" RevisionGUID="09390c59-0532-4102-b882-d458fbd914ec" CreationDate="2011-06-29T23:51:43.743" UserId="18160" Text="Scary Sync Issue" ContentLicense="CC BY-SA 3.0" />
  <row Id="14820" PostHistoryTypeId="3" PostId="8896" RevisionGUID="09390c59-0532-4102-b882-d458fbd914ec" CreationDate="2011-06-29T23:51:43.743" UserId="18160" Text="&lt;video-reference&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14821" PostHistoryTypeId="5" PostId="8896" RevisionGUID="1481ebc2-8bfe-4666-acb0-80b74d5b8714" CreationDate="2011-06-29T23:59:54.350" UserId="18160" Comment="deleted 62 characters in body; added 1 characters in body" Text="Hello again everyone!&#xD;&#xA;&#xD;&#xA;I'm back from my last gig and I had something happen that was scary that I hope some of you can help me with and that was:&#xD;&#xA;&#xD;&#xA;Specs:&#xD;&#xA;Pro Tools HD recording,&#xD;&#xA;Locked to Word Clock set at 96K, and Video Reference (black burst) from the video truck realm.&#xD;&#xA;&#xD;&#xA;During the recording, the sync must have been lost because when I went to post produce the show, one word of the speaker was extremely high-pitched - chipmunk-style, and I was able to fix it with either an alternate take from the rehearsal or by pitching it down the exact amount it was pitched up.&#xD;&#xA;&#xD;&#xA;I didn't have much time to look for the cause, but I suspect it was some sort of sync issue. It scares me because I cannot hear this while the event is being recorded (listening back on Pro Tools I don't hear sync issues until I can play back the audio file). I don't know if this was due to the Word Clock or the Video Ref being lost for that brief bit. (Note: this was also the only bit of audio this happened on out of about 15 hours of recordings.) I also record with the session window open so I can monitor the &quot;Locked&quot; and &quot;Speed Cal&quot; indicators and from what I could tell they were both lit the whole way through.&#xD;&#xA;&#xD;&#xA;Have any of you had a similar problem? What was the handling / fix? How can I prevent this from happening in the future?&#xD;&#xA;&#xD;&#xA;Thanks very much in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="14822" PostHistoryTypeId="2" PostId="8897" RevisionGUID="818fc463-ff5a-4d02-bad3-2bffb7f17569" CreationDate="2011-06-30T03:36:21.427" UserId="769" Text="I thought you were talking about the futility and hopelessness of trying to produce sound (and having 'writer's block') — much like I'm experiencing now.  Ha!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14823" PostHistoryTypeId="2" PostId="8898" RevisionGUID="fc7d6d5c-c22c-4eef-9ab9-2be49c4a5578" CreationDate="2011-06-30T03:40:39.170" UserId="769" Text="You can get these band-style 'earmuff' things from outdoor wear outlets like [Kathmandu][1] (don't know if you have that where you are) —  &#xD;&#xA;&#xD;&#xA;![Advection Earmuff][2]&#xD;&#xA;![Earmuff 2][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.kathmandu.com.au/Mens/Accessories/Hats_&amp;_Scarves/12524/Advection_Earmuff.html&#xD;&#xA;  [2]: http://www.kathmandu.com.au/productimages/LARGE/1/5848_49589_6114.jpg&#xD;&#xA;  [3]: http://www.kathmandu.com.au/productimages/LARGE/1/1245_31000_5559.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="14824" PostHistoryTypeId="2" PostId="8899" RevisionGUID="6a30fd75-0caa-4726-b5d2-eed13e5db6c5" CreationDate="2011-06-30T09:24:41.270" UserId="1178" Text="Depends really what I do... If I work with music related projects my usual is the 44kHz 24bit linear wave files. When it comes to sound design I prefer the highest possible sample and bit rates just as david said, pitching SFX especially to very low sound lot better when you have more ones and zeros in the upper freq range.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14825" PostHistoryTypeId="2" PostId="8900" RevisionGUID="4ea740e0-5156-4457-848f-576db88f5a7d" CreationDate="2011-06-30T12:12:41.810" UserId="985" Text="I'd go for dull sound. Use maybe familiar sounds (from scene, from the life of the characters) and turn it dull and empty, with filters (mid low frequencies) or reverb (boxy?). Use few elements, nothing too complex or active. Maybe time stretch things, make them &quot;moan&quot; slowly. I wouldn't use too much impact or too nervous or bright sounds here. At least it's my idea, hard to say without seeing the stuff. Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="14831" PostHistoryTypeId="2" PostId="8902" RevisionGUID="a94df23c-592a-4a2e-973b-20d2c78e9008" CreationDate="2011-06-30T16:21:53.093" UserDisplayName="user80" Text="The sample rate varies according to what I plan to do.&#xD;&#xA;&#xD;&#xA;If I know that I will want to pull out more detail I will record at 192 kHz.  &#xD;&#xA;&#xD;&#xA;If I plan to just do basic EQ and trimming, then I'll work at 96 kHz.&#xD;&#xA;&#xD;&#xA;I will only use 48 kHz now if time is short, or if the client specifically requests it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14832" PostHistoryTypeId="2" PostId="8903" RevisionGUID="c3a2766d-0ac1-49af-8854-d0c8c0f75c3b" CreationDate="2011-06-30T16:26:34.060" UserDisplayName="user80" Text="Try suggesting deep breaths through other sound sources.  Slow pulsing traffic noise, wind, rain, air conditioning etc.&#xD;&#xA;&#xD;&#xA;Also generally making everything sound is as if it about to break or is past its best, subconsciously suggesting decay." ContentLicense="CC BY-SA 3.0" />
  <row Id="14833" PostHistoryTypeId="2" PostId="8904" RevisionGUID="fd20aab7-f404-470b-b9e1-e9a1975be0b0" CreationDate="2011-06-30T16:47:30.493" UserId="1129" Text="360: TheFaderJockey &#xD;&#xA;&#xD;&#xA;I'm a casual gamer: Portal 2, TF2, Borderlands, lots of single player games." ContentLicense="CC BY-SA 3.0" />
  <row Id="14834" PostHistoryTypeId="16" PostId="8904" RevisionGUID="fd20aab7-f404-470b-b9e1-e9a1975be0b0" CreationDate="2011-06-30T16:47:30.493" UserId="-1" />
  <row Id="14835" PostHistoryTypeId="2" PostId="8905" RevisionGUID="a50120f6-d9a8-4264-84f2-f26ff8eb9199" CreationDate="2011-06-30T23:12:45.917" UserId="418" Text="Like Ville Sorsa says, depends on what the use case is a lot of the time. My libraries for the musician market are 24/44, and some distributors even sell my stuff at 16/44. For motion projects I usually work in 24/48. My field recordings are almost always captured at 24/96, just because. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14836" PostHistoryTypeId="2" PostId="8906" RevisionGUID="86364109-7c10-4d89-89cb-f946db3af304" CreationDate="2011-06-30T23:13:51.533" UserId="418" Text="Another vote for &quot;manipulation of audio&quot; here. It's kind of all I do at the end of the day." ContentLicense="CC BY-SA 3.0" />
  <row Id="14837" PostHistoryTypeId="2" PostId="8907" RevisionGUID="e276f4e5-bed3-448e-9a31-4c7199ba608e" CreationDate="2011-06-30T23:16:19.547" UserId="418" Text="Tom Lopez aka &quot;Meatball Fulton&quot; in the audio drama world, Angelo Badalamenti in the film sound design world, Geir Jenssen aka &quot;Biosphere&quot; in the music world. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14844" PostHistoryTypeId="2" PostId="8910" RevisionGUID="59a3b491-e714-44f5-9ecc-6dd9fea6b946" CreationDate="2011-07-01T03:04:57.020" UserId="338" Text="Real People:&#xD;&#xA;My mom and dad&#xD;&#xA;Eric Reimers&#xD;&#xA;Ivo Ivanov - twisted tools designer/teacher&#xD;&#xA;David Sonnenscheine &#xD;&#xA;&#xD;&#xA;Internet People:&#xD;&#xA;Everyone else from the social sound design forum&#xD;&#xA;Ryan&#xD;&#xA;Tim Prebble&#xD;&#xA;Noise Jockey&#xD;&#xA;VCProd&#xD;&#xA;Morten Green&#xD;&#xA;Andrew Spitz&#xD;&#xA;Shaun Farley&#xD;&#xA;C3 Sound&#xD;&#xA;G.A. Harry&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;other:&#xD;&#xA;Designing sound.org&#xD;&#xA;tim prebble's site&#xD;&#xA;this forum (!!!:)&#xD;&#xA;vimeo for having such interesting videos of higher quality!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14845" PostHistoryTypeId="5" PostId="8910" RevisionGUID="04a0e492-261b-432a-a024-83e894ff2809" CreationDate="2011-07-01T04:13:01.947" UserId="338" Comment="added 115 characters in body" Text="Real People:&#xD;&#xA;My mom and dad&#xD;&#xA;Eric Reimers&#xD;&#xA;Ivo Ivanov - twisted tools designer/teacher&#xD;&#xA;David Sonnenscheine &#xD;&#xA;&#xD;&#xA;Internet People:&#xD;&#xA;Everyone else from the social sound design forum&#xD;&#xA;Ryan&#xD;&#xA;Tim Prebble&#xD;&#xA;Noise Jockey&#xD;&#xA;VCProd&#xD;&#xA;Morten Green&#xD;&#xA;Andrew Spitz&#xD;&#xA;Shaun Farley&#xD;&#xA;C3 Sound&#xD;&#xA;G.A. Harry&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;other:&#xD;&#xA;Designing sound.org&#xD;&#xA;tim prebble's site&#xD;&#xA;this forum (!!!:)&#xD;&#xA;vimeo for having such interesting videos of higher quality!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Even further, I want to give a whole hearted Thank You to everybody on this forum, it has been incredible.  Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="14846" PostHistoryTypeId="2" PostId="8911" RevisionGUID="10f94c4c-d04c-456f-a013-6575259c8636" CreationDate="2011-07-01T06:00:41.187" UserId="338" Text="When you are capturing dialogue in a marina or most busy city places, is it good technique to boom from above and capture or is it ok to point the shotgun at the talent?  I think I have seen it both ways and I am working on a student film right now.  The dialogue has a lot of off axis noise and probably due to improper booming technique but I wanted to ask here. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14847" PostHistoryTypeId="1" PostId="8911" RevisionGUID="10f94c4c-d04c-456f-a013-6575259c8636" CreationDate="2011-07-01T06:00:41.187" UserId="338" Text="When capturing dialogue in a marina" ContentLicense="CC BY-SA 3.0" />
  <row Id="14848" PostHistoryTypeId="3" PostId="8911" RevisionGUID="10f94c4c-d04c-456f-a013-6575259c8636" CreationDate="2011-07-01T06:00:41.187" UserId="338" Text="&lt;field&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14849" PostHistoryTypeId="2" PostId="8912" RevisionGUID="e214af29-ea1f-4d35-adf9-9a7b2ed34139" CreationDate="2011-07-01T07:04:33.383" UserId="830" Text="General rule is boom from above and point directly at the talents mouth and get as close as possible without being in frame. The reason is that the body of the talent will block a lot of noise. If you point a mic directly from front or to the side of the talent then you run the rise of booming the background if the mic goes off the talent. This isn't such a problem from above as you will be technically booming the ground. A good shotgun mic should minimise the background to an extent, but alway do an atmos track for the editor to work with, especially in a nosier environment." ContentLicense="CC BY-SA 3.0" />
  <row Id="14850" PostHistoryTypeId="2" PostId="8913" RevisionGUID="4315a516-31dc-4148-be5f-0fd454484358" CreationDate="2011-07-01T07:18:31.097" UserDisplayName="user80" Text="Always try and boom from above with the mic pointed at the actor who is currently speaking.  Students sometimes try to place the mic where it can pick up two actors at once, rather than memorise the dialogue so that they smoothly move the mic from character to character." ContentLicense="CC BY-SA 3.0" />
  <row Id="14851" PostHistoryTypeId="2" PostId="8914" RevisionGUID="15e2926c-313c-42f9-bd96-ecf1a7b411c4" CreationDate="2011-07-01T08:43:40.890" UserId="596" Text="hello,&#xD;&#xA;&#xD;&#xA;i'm working on material with rather rich frequency range. now i've reached a point in the process where i need to design a gradual transparent effect which would make this wide-ranging sonic material sound like its narrowing down, unifying, and perceptibly coming together into a single thick (high) tone/texture. i'm trying to think how to go about creating such effect and wanted to ask for some advice/suggestions from people in this vibrant community :)&#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;K.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14852" PostHistoryTypeId="1" PostId="8914" RevisionGUID="15e2926c-313c-42f9-bd96-ecf1a7b411c4" CreationDate="2011-07-01T08:43:40.890" UserId="596" Text="creating a gradual 'frequency unification' effect (or illusion)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14853" PostHistoryTypeId="3" PostId="8914" RevisionGUID="15e2926c-313c-42f9-bd96-ecf1a7b411c4" CreationDate="2011-07-01T08:43:40.890" UserId="596" Text="&lt;sound-effects&gt;&lt;signal-processing&gt;&lt;texture&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14854" PostHistoryTypeId="2" PostId="8915" RevisionGUID="ffcca389-d489-420e-911b-cf6c0210bde9" CreationDate="2011-07-01T09:18:30.820" UserId="6420" Text="Just off the top of my head something like GRM Tools Bandpass comes to mind. Anything where you have the ability to automate frequency bands to tighten in those areas you require might work? I'm sure you could get decent results with stock Eqs and DAW automation though..." ContentLicense="CC BY-SA 3.0" />
  <row Id="14855" PostHistoryTypeId="5" PostId="8902" RevisionGUID="09f80421-f6db-43ee-8a67-4a75636c0d5f" CreationDate="2011-07-01T10:54:35.627" UserDisplayName="user80" Comment="added 17 characters in body" Text="The sample rate varies according to what I plan to do.&#xD;&#xA;&#xD;&#xA;If I know that I will want to pitch shift down or lengthen a region I will record at 192 kHz.  &#xD;&#xA;&#xD;&#xA;If I plan to just do basic EQ and trimming, then I'll work at 96 kHz.&#xD;&#xA;&#xD;&#xA;I will only use 48 kHz now if time is short, or if the client specifically requests it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14856" PostHistoryTypeId="2" PostId="8916" RevisionGUID="0f00862b-da73-4ce8-b766-881001c968aa" CreationDate="2011-07-01T13:16:22.880" UserId="6420" Text="Hi guys, quick query here,&#xD;&#xA;Need to make some sounds for a client loop seamlessly in his game. Edited them fine as wav files in Pro Tools so they loop ok, but when saved as mp3 at clients request a tiny silence gap is added. Most annoying! Anyone know a way of removing this gap or is it inherent to mp3? Shall I tell the client to use ogg or wav instead?&#xD;&#xA;Cheers!&#xD;&#xA;Andy " ContentLicense="CC BY-SA 3.0" />
  <row Id="14857" PostHistoryTypeId="1" PostId="8916" RevisionGUID="0f00862b-da73-4ce8-b766-881001c968aa" CreationDate="2011-07-01T13:16:22.880" UserId="6420" Text="MP3 gapless looping help?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14858" PostHistoryTypeId="3" PostId="8916" RevisionGUID="0f00862b-da73-4ce8-b766-881001c968aa" CreationDate="2011-07-01T13:16:22.880" UserId="6420" Text="&lt;mp3&gt;&lt;looping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14859" PostHistoryTypeId="2" PostId="8917" RevisionGUID="b045520d-3330-48a0-a07d-80f83fbea727" CreationDate="2011-07-01T14:39:53.307" UserId="255" Text="The gap in mp3 files in inherent of the way they are encoded. I have seen that its possible using some 'hacks' and other software to remove this gap, but tb honest it seems like more hassle than its worth!&#xD;&#xA;&#xD;&#xA;If the game is for iOS, your best bet is to probably use AAC, as its a well supported by apple and capable of looping seamlessly. I've found the easiest way to deliver AAC files is to use itunes to convert WAV to AAC, its also possible to check looping in itunes easily and have some reassurance that they will loop well on an iOS device.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14860" PostHistoryTypeId="2" PostId="8918" RevisionGUID="9c768b5a-b53d-4f15-a4ee-f7623bb85170" CreationDate="2011-07-01T15:14:25.907" UserId="1076" Text="Whenever you do any conversion that might resample audio it can change where your zero crossings occur which could affect how well the audio loops. If you are able to work with the mp3 in an editor as opposed to working with a wav and exporting it as an mp3 I think you should be able to make it loop properly. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14861" PostHistoryTypeId="2" PostId="8919" RevisionGUID="add2eab0-76dd-4c98-9f6a-122b15887052" CreationDate="2011-07-01T15:29:37.480" UserId="1025" Text="If it's for a flash game (which would explain the mp3 format), there are ways to make it loop seamlessly using AS3 code... IMO it's your client's problem, not yours. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14862" PostHistoryTypeId="2" PostId="8920" RevisionGUID="0d97234e-b943-41c5-ab04-b177d2531c73" CreationDate="2011-07-01T15:34:51.147" UserId="338" Text="Spatial automation, wet/dry reverb automation, reversed layers" ContentLicense="CC BY-SA 3.0" />
  <row Id="14863" PostHistoryTypeId="12" PostId="8913" RevisionGUID="2aa388c0-2b78-4ae5-a68b-312270390c92" CreationDate="2011-07-01T15:40:56.710" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="14864" PostHistoryTypeId="13" PostId="8913" RevisionGUID="ea51bb71-6647-40ec-bbcc-59f558b962c0" CreationDate="2011-07-01T15:41:00.387" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="14865" PostHistoryTypeId="5" PostId="8913" RevisionGUID="3638f2d4-6024-44f0-be09-a3cd6856de88" CreationDate="2011-07-01T15:41:16.873" UserDisplayName="user80" Comment="added 13 characters in body; added 12 characters in body; added 2 characters in body" Text="Always try and boom from above with the mic pointed at the mouth of the actor who is currently speaking.  Students, sometimes, incorrectly try to place the mic where it can pick up two actors at once, rather than memorise the dialogue so that they smoothly move the mic from character to character." ContentLicense="CC BY-SA 3.0" />
  <row Id="14866" PostHistoryTypeId="2" PostId="8921" RevisionGUID="1e55eed1-cd93-4ca5-8f9c-0fb962ee5305" CreationDate="2011-07-01T15:43:07.037" UserId="29" Text="By your description, an approach I'd probably try would be one of pitch and harmony as opposed to other effects. Pitch-bending sounds all together to start dissonant but lock together in harmonies and dense overtones (perhaps pitched to major or minor key, depending on the emotional effect you need to achieve). You can also combine that with filtering to eliminate the odd inharmonic tone, if needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="14867" PostHistoryTypeId="2" PostId="8922" RevisionGUID="ee1123b4-fd08-48d1-aef3-a4b0faad4372" CreationDate="2011-07-01T15:46:29.593" UserId="6487" Text="My husband and partner in audio crime, Steve, is also my greatest personal influence and has brought me closer to my dreams than I would have come alone. He challenges me everyday to listen a little a differently and consider a different approach.  Besides, he is the only person in the world to whom, I would ever dare utter my dumbest questions... Our audio journeys together remain some of my life's best adventures.&#xD;&#xA;&#xD;&#xA;I also have to site my grandfather, Jerome Nickerson.  He always told me to find what it is that is my purpose and function as a person and to simply do it. His example of a life of passion gives me hope for everyone of my dreams.&#xD;&#xA;&#xD;&#xA;Professionally, I have to site Lora Hirschberg and Gwen Whittle, who make me not feel liek a unicorn for being a gal who geeks hard on audio.  Their talent literally leaves me starstruck and unable to speak clearly when I see them at award events.  (It's embarrassing.)&#xD;&#xA;&#xD;&#xA;Also, I must give props to my boys Richard Humphries, who is a rare combination of physics egghead and creative genious, and Mark Edmondson, who displays unrelenting motivation and creativity.  &#xD;&#xA;&#xD;&#xA;Also, I too need to thank every one of those amazing talents (Charles Deenen, Tim Prebble, Scott Gershin, Randy Thom, many of the SSD users here, etc.) who have humbly spoken to a silly awkward gal like me at an award show reception/industry event and/or returned an email to me allowing me to learn a bit more about our world.  Your work inspires me, your success impresses me, but your openness to share your time and knowledge with me leaves truly stunned by your personal character and genius. What a blessing to have the opportunity to communicate with you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14868" PostHistoryTypeId="5" PostId="8922" RevisionGUID="9292ad5e-decb-41f6-a313-e40d992ca7b7" CreationDate="2011-07-01T15:52:51.663" UserId="6487" Comment="added 187 characters in body; added 1 characters in body" Text="My husband and partner in audio crime, Steve, is also my greatest personal influence and has brought me closer to my dreams than I would have come alone. He challenges me everyday to listen a little a differently and consider a different approach.  Besides, he is the only person in the world to whom I would ever dare utter my dumbest questions... Our audio journeys together remain some of my life's greatest adventures.&#xD;&#xA;&#xD;&#xA;My grandfather, Jerome Nickerson is key.  He always told me to find what it is that is my purpose and function as a person and to simply do it. His example of a life of passion leaves me excited and encouraged to go for my dreams.&#xD;&#xA;&#xD;&#xA;Professionally, I have to site Lora Hirschberg and Gwen Whittle, who make me not feel like a unicorn for being a gal who geeks hard on audio.  Their talent and the gratitude I feel for the path they have forged for women in this industry literally leaves me starstruck and unable to speak clearly when I see them at award events.  (It's embarrassing...)&#xD;&#xA;&#xD;&#xA;Also, my boys, Richard Humphries, who is a rare combination of physics egghead and creative genius, and Mark Edmondson, who displays unrelenting motivation and dedication to realizing his dreams.  &#xD;&#xA;&#xD;&#xA;Every client and co-worker who told me to change something or do it again in order to get it right. &#xD;&#xA;&#xD;&#xA;And finally, every one of those amazing talents (Charles Deenen, Tim Prebble, Scott Gershin, Randy Thom, many of the SSD users here, etc.) who have humbly spoken to a silly awkward gal like me at an award show reception/industry event and/or returned an email to me allowing me to learn a bit more about our world.  Your work inspires me, your success impresses me, but your openness to share your time and knowledge with me leaves truly stunned by your personal character and genius. What a blessing to have the opportunity to communicate with all of you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14869" PostHistoryTypeId="5" PostId="8922" RevisionGUID="ae289218-c554-45e4-aad9-21f2b42e9d2d" CreationDate="2011-07-01T16:01:57.947" UserId="6487" Comment="deleted 1 characters in body; deleted 1 characters in body; added 31 characters in body" Text="My husband and partner in audio crime, Steve, is also my greatest personal influence and has brought me closer to my dreams than I would have come alone. He challenges me everyday to listen a little a differently and consider a different approach.  Besides, he is the only person in the world to whom I would ever dare utter my dumbest questions... Our audio journeys together remain some of my life's best adventures.&#xD;&#xA;&#xD;&#xA;My grandfather, Jerome Nickerson.  He always told me to find what it is that is my purpose and function as a person and to simply do it. His example of a life of passion gives me hope for everyone of my dreams.&#xD;&#xA;&#xD;&#xA;Professionally, Lora Hirschberg and Gwen Whittle, who make me not feel like a unicorn for being a gal who geeks hard on audio.  Their talent and the path they forge for women in this industry literally leaves me starstruck and unable to speak clearly when I see them at award events.  (It's embarrassing...)&#xD;&#xA;&#xD;&#xA;Also, I must give props to my boys Richard Humphries, who is a rare combination of physics egghead and creative genius, and Mark Edmondson, who displays unrelenting motivation and dedication to his goals.  &#xD;&#xA;&#xD;&#xA;Also, I too need to thank every one of those amazing talents (Charles Deenen, Tim Prebble, Scott Gershin, Randy Thom, many of the SSD users here, etc.) who have humbly spoken to a silly awkward gal like me at an award show reception/industry event and/or returned an email to me allowing me to learn a bit more about our world.  Your work inspires me, your success impresses me, but your openness to share your time and knowledge with me leaves truly stunned by your personal character and genius. What a blessing to have the opportunity to communicate with you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14870" PostHistoryTypeId="2" PostId="8923" RevisionGUID="7692ea09-f48f-4eed-bc0f-7e265f784b2a" CreationDate="2011-07-01T16:09:06.910" UserId="338" Text="I'm researching about what microphone I should pick up as my first mic.  I've boomed on several short films and am at the point where picking up a portable mixer and mic collection come in handy.  Theres a lady who wants me to record approximately 8 hours of audio for her.  She is going to read 100 pages of text to me and make an audio book.  If I am recording in say a living room, what mic will reveal the better results?  Cardiod won't pick up any rear reflections and that might not the the best approach.  Super/Hypercardiod will pick up some of those rear reflections which might give a more full sound.  Personally, I'm leaning toward a super/hypercardiod, maybe a short shotgun.  Due to budget restrictions, I'm also planning on using this mic for other interviews/indoor shoots.  Does the rear pickup of a super/hypercardiod less of a disconcerting sound than a cardiod for something like an audio book recorded inside?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14871" PostHistoryTypeId="1" PostId="8923" RevisionGUID="7692ea09-f48f-4eed-bc0f-7e265f784b2a" CreationDate="2011-07-01T16:09:06.910" UserId="338" Text="Cardiod vs. Hyper/Super Cardoid for inside speach" ContentLicense="CC BY-SA 3.0" />
  <row Id="14872" PostHistoryTypeId="3" PostId="8923" RevisionGUID="7692ea09-f48f-4eed-bc0f-7e265f784b2a" CreationDate="2011-07-01T16:09:06.910" UserId="338" Text="&lt;mic&gt;&lt;selection&gt;&lt;indoor&gt;&lt;books&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14873" PostHistoryTypeId="2" PostId="8924" RevisionGUID="ef0950b6-c5c1-4061-95fe-6321524fbeff" CreationDate="2011-07-01T16:39:23.537" UserId="29" Text="I learned the hard way that just starting out, I'd have benefited most from having a hyper as my first mic. Directional but more forgiving than a shotgun. A shotgun mic's interference tube design makes it sound odd indoors, generally speaking, unless you drop $2k on a Schoeps CMIT5u or similar. Or unless you have a really dead room. IMO, I think that what rear lobe a hyper might have can usually be addressed by room treatment (hanging sound blankets, opening closets to expose clothing, or similar) and mic placement.&#xD;&#xA;&#xD;&#xA;That said, if you can get a cardioid close enough and the sound outside the room is minimal, that'd get the job done, too. I saw Randy Thom once write, &quot;any mic close enough to its source becomes directional.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14874" PostHistoryTypeId="2" PostId="8925" RevisionGUID="21473561-51f0-45f1-ad11-3910ed6a8b39" CreationDate="2011-07-01T16:49:56.890" UserId="270" Text="I think it is because mp3 files contains data blocks of predetermined sizes, so if the length of your loop isnt an exact multiple of the block size then the mp3 encoding will add silence.&#xD;&#xA;&#xD;&#xA;The only tool i have successfully used for looping mp3 files is part of the Miles SDK, which is a game audio engine made by RAD Game Tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="14875" PostHistoryTypeId="2" PostId="8926" RevisionGUID="5f7701d3-bb70-4647-b3b8-e06c8603eb0e" CreationDate="2011-07-01T17:18:12.380" UserId="1189" Text="Hi guys, I've got a project on at the moment where the main focus is on a group of soldier holed up in Afghan bunker. During many of the scenes, the sound of mortar coming down on them remains constant. The detonation start distant and begin to zero in over the course of the play. Thanks to a great little library from EFX Audio as well as The Whoosh from Tonsturm, I've got the actual mortar shots and detonations sorted.&#xD;&#xA;&#xD;&#xA;What I'm trying to achieve now are the the little nuances created by distant tremors in the ground. Things like unsettled dust, creaking fixtures and crumbling plaster. I've managed to replicate some of this by slowly pouring rice onto a plastic lid but I'm looking for a little more variety now that the mortars are persistent throughout the storyline.&#xD;&#xA;&#xD;&#xA;Any tricks or techniques to achieve these subtle sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14876" PostHistoryTypeId="1" PostId="8926" RevisionGUID="5f7701d3-bb70-4647-b3b8-e06c8603eb0e" CreationDate="2011-07-01T17:18:12.380" UserId="1189" Text="Creating explosion-based tremor artifacts" ContentLicense="CC BY-SA 3.0" />
  <row Id="14877" PostHistoryTypeId="3" PostId="8926" RevisionGUID="5f7701d3-bb70-4647-b3b8-e06c8603eb0e" CreationDate="2011-07-01T17:18:12.380" UserId="1189" Text="&lt;live-performance&gt;&lt;sound-effects-recording&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14879" PostHistoryTypeId="2" PostId="8927" RevisionGUID="7bf478ad-9400-4c06-a6cc-e583db8938c7" CreationDate="2011-07-01T17:44:13.463" UserId="315" Text="I don't think there are any tricks to getting this sort of stuff. Just record it.&#xD;&#xA;&#xD;&#xA;Why not just buy a large sheet or two of drywall from the hardware store and bash and tear away for the plaster and dust? Go outside to a patch of dry dirt and record close mic-ed sledgehammer hits on the ground. Find your favorite piece of old wood furniture and twist away for the creaks. Get a large subwoofer and send low rumbles through it and record the results interacting with different spaces.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="14880" PostHistoryTypeId="2" PostId="8928" RevisionGUID="d47a76ff-d61f-49ff-94c5-a7a8ec0df537" CreationDate="2011-07-01T18:11:06.997" UserId="1105" Text="Hi to all sounddesigners, a small poll for you.&#xD;&#xA; What genre of music for production elements loops do you prefer in your radio/tv sound libraries? What are more useful for you?&#xD;&#xA;Let me know.&#xD;&#xA;Have a nice WE&#xD;&#xA;Giorgio" ContentLicense="CC BY-SA 3.0" />
  <row Id="14881" PostHistoryTypeId="1" PostId="8928" RevisionGUID="d47a76ff-d61f-49ff-94c5-a7a8ec0df537" CreationDate="2011-07-01T18:11:06.997" UserId="1105" Text="broadcast tv/radio genre of music" ContentLicense="CC BY-SA 3.0" />
  <row Id="14882" PostHistoryTypeId="3" PostId="8928" RevisionGUID="d47a76ff-d61f-49ff-94c5-a7a8ec0df537" CreationDate="2011-07-01T18:11:06.997" UserId="1105" Text="&lt;loop&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14883" PostHistoryTypeId="2" PostId="8929" RevisionGUID="bceeb3a4-72d6-4759-a250-fabf1cc92811" CreationDate="2011-07-01T18:17:42.480" UserId="1105" Text="Hello Andy, it depends by the format (mp3). All seamless loops I did for games were ogg-vorbis encoded" ContentLicense="CC BY-SA 3.0" />
  <row Id="14884" PostHistoryTypeId="2" PostId="8930" RevisionGUID="9119eca8-5bd0-4da1-97bf-e3c087fb9355" CreationDate="2011-07-01T18:27:31.090" UserId="1189" Text="360: Link2803&#xD;&#xA;&#xD;&#xA;Pretty much glued to Battlefield: BC2 at the moment." ContentLicense="CC BY-SA 3.0" />
  <row Id="14885" PostHistoryTypeId="16" PostId="8930" RevisionGUID="9119eca8-5bd0-4da1-97bf-e3c087fb9355" CreationDate="2011-07-01T18:27:31.090" UserId="-1" />
  <row Id="14886" PostHistoryTypeId="2" PostId="8931" RevisionGUID="ac3d9a6e-08ed-4721-9a11-7efaf3178244" CreationDate="2011-07-01T19:37:11.633" UserId="100" Text="The way I understand it to be is that the mp3 format is frame based, rather than sample based like wavs. Much like how video editing can't make cuts smaller than a frame, an mp3 outside of the DAW is, as Haydn pointed out, organized in blocks. For seamless loops, I would definitely go with another format." ContentLicense="CC BY-SA 3.0" />
  <row Id="14891" PostHistoryTypeId="5" PostId="8550" RevisionGUID="788ad9d8-5c91-431e-a8ff-ec2f45fa5ae4" CreationDate="2011-07-01T21:38:31.240" UserId="338" Comment="deleted 72 characters in body" Text="SonikSplash&#xD;&#xA;&#xD;&#xA;  PS:3  Black Ops" ContentLicense="CC BY-SA 3.0" />
  <row Id="14892" PostHistoryTypeId="2" PostId="8933" RevisionGUID="e9af414a-904f-42dc-8a16-55f544a2c419" CreationDate="2011-07-01T21:58:05.313" UserId="1152" Text="I am @theaudiogeek" ContentLicense="CC BY-SA 3.0" />
  <row Id="14893" PostHistoryTypeId="16" PostId="8933" RevisionGUID="e9af414a-904f-42dc-8a16-55f544a2c419" CreationDate="2011-07-01T21:58:05.313" UserId="-1" />
  <row Id="14894" PostHistoryTypeId="18" PostId="2145" RevisionGUID="9193ef31-96c6-43e7-9525-fec43bb905ff" CreationDate="2011-07-01T22:26:28.587" UserId="2" Comment="Merged question 'Who are you? Introduce yourself' by AGZFX" Text="[{&quot;Id&quot;:2,&quot;DisplayName&quot;:&quot;Andrew Spitz&quot;}]" />
  <row Id="14895" PostHistoryTypeId="2" PostId="8934" RevisionGUID="d25494d4-7a90-465b-bb01-bb40ca681e48" CreationDate="2011-07-01T22:26:44.340" UserId="1062" Text="[@blynkmusic][1] &amp; [@makenoiseuk][2] are both me!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://twitter.com/blynkmusic&#xD;&#xA;  [2]: http://twitter.com/makenoiseuk" ContentLicense="CC BY-SA 3.0" />
  <row Id="14896" PostHistoryTypeId="16" PostId="8934" RevisionGUID="d25494d4-7a90-465b-bb01-bb40ca681e48" CreationDate="2011-07-01T22:26:44.340" UserId="-1" />
  <row Id="14897" PostHistoryTypeId="2" PostId="8935" RevisionGUID="7e79eda8-286b-4de4-874c-ad9cc7a4f517" CreationDate="2011-07-02T01:02:37.213" UserId="1191" Text="Kyma has probably been one of the simultaneously frustrating and rewarding devices I've ever used.  At times it feels like it was purposely designed to make learning it far more difficult than it should be.  But at the same time, it will make the most insane sounds ever with barely any effort (except for the 100-200 hours of figuring things out).  I look at it this way.  I remember reading somewhere that modern digital synths compared to analog, are more difficult to get to make a usable sound because there are so many options.  But with this comes a more extended range.  Analog on the otherhand is limited, but almost every sound that comes out is nice.  Kyma is the extreme far end of the digital synth paredigm.  The user has pretty much control over every single aspect of every parameter as well as access to all synthesis models that exist.  The user needs to have under control every single last thing, much of which has been taken care of automatically with most commercial synthesizers.  This includes gain staging at pretty much every transformation point in the signal path.  Trivial once learned, but an absolute nightmare in the beginning because along with getting into this new mentality, you also need to figure out where everything is on the interface.  And the interface is not a good one.  The interface probably makes perfect sense if you have never used any piece of software ever.&#xD;&#xA;&#xD;&#xA;Overall, this requires a lot of time to learn and I think knowing some software programming skills could be necessary as well to get it to do really cool things.  I knew max/msp for several years before this and I don't think that has helped much other than the conceptualizing part.  Technically, it has been annoying knowing how to easily do something in Max which then takes 3 days to figure out in Kyma, but ends up being just as easy, just conmpletely uninituitive.  But maybe Max was the same way while learning too, it was just a while ago and now is second nature.  Can't wait for kyma to be the same way.&#xD;&#xA;&#xD;&#xA;A few things that I don't think are great are the overall process of learning this, the quality control, and the hardware.  For 3K the hardware seems very cheap.  The metal is thin, the fans are many and loud, and overall, it just seems made as cheap as possible.  It gets the job done though so the processors are good, just the overall feel is cheap and flimsy.  It gets super hot too which I don't think is good either.  The manual is deep, but repeats often and isn't too organized nearly as good.  But most importantly, the examples are way too complex for someone new.  I went through something that looked like a tutorial and it took a few days to get through.  And what I learned was so specific that I don't think I would directly use much of what I learned other than in a real general way.  On the other hand though, there are sections and paragraphs here and there that will teach a whole world of synthesis in an hour.  Amazing... but really only after spending so long to be able to understand simple things.  I believe that if the manual was re-organized and some simple tutorials were setup for very basic familiar concepts, the learning curve could be reduced by 90%.  Seriously, the chaos is that bad.  Most material is written by someone who knows a ton about the machine and is really far off from someone brand new.  It gets really musical, but it is the most engineering/computer science paradigm synthesizer out there.  You will feel this while using the machine, but that's why it's so powerful.&#xD;&#xA;&#xD;&#xA;I forgot what the original question was, but I would both recommend and not recommend Kyma.  Even if you think you know your stuff, you probably don't and this will make you realize that you don't.  And if you don't think you know your stuff, this could be so far over your head that it might be difficult to get it to make any sound.  But then again, maybe not.  At the least, I would say to be comfortable with the basics of subtractive, fm, sampling and have some clue about additive, granular and analysis.  Again, knowing the basics of programming will also help more in deiphering what the manual is trying to say and the mindset of the UI, more so than actually programming the parameters of the sounds which is actually not too complex for some nice results.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14898" PostHistoryTypeId="2" PostId="8936" RevisionGUID="6a406386-7f34-4374-a889-a495fd16c0fe" CreationDate="2011-07-02T01:06:25.940" UserId="1191" Text="Kyma has probably been one of the simultaneously frustrating and rewarding devices I've ever used.  At times it feels like it was purposely designed to make learning it far more difficult than it should be.  But at the same time, it will make the most insane sounds ever with barely any effort (except for the 100-200 hours of figuring things out).  I look at it this way.  I remember reading somewhere that modern digital synths compared to analog, are more difficult to get to make a usable sound because there are so many options.  But with this comes a more extended range.  Analog on the otherhand is limited, but almost every sound that comes out is nice.  Kyma is the extreme far end of the digital synth paredigm.  The user has pretty much control over every single aspect of every parameter as well as access to all synthesis models that exist.  The user needs to have under control every single last thing, much of which has been taken care of automatically with most commercial synthesizers.  This includes gain staging at pretty much every transformation point in the signal path.  Trivial once learned, but an absolute nightmare in the beginning because along with getting into this new mentality, you also need to figure out where everything is on the interface.  And the interface is not a good one.  The interface probably makes perfect sense if you have never used any piece of software ever.&#xD;&#xA;&#xD;&#xA;Overall, this requires a lot of time to learn and I think knowing some software programming skills could be necessary as well to get it to do really cool things.  I knew max/msp for several years before this and I don't think that has helped much other than the conceptualizing part.  Technically, it has been annoying knowing how to easily do something in Max which then takes 3 days to figure out in Kyma, but ends up being just as easy, just conmpletely uninituitive.  But maybe Max was the same way while learning too, it was just a while ago and now is second nature.  Can't wait for kyma to be the same way.&#xD;&#xA;&#xD;&#xA;A few things that I don't think are great are the overall process of learning this, the quality control, and the hardware.  For 3K the hardware seems very cheap.  The metal is thin, the fans are many and loud, and overall, it just seems made as cheap as possible.  It gets the job done though so the processors are good, just the overall feel is cheap and flimsy.  It gets super hot too which I don't think is good either.  The manual is deep, but repeats often and isn't too organized nearly as good.  But most importantly, the examples are way too complex for someone new.  I went through something that looked like a tutorial and it took a few days to get through.  And what I learned was so specific that I don't think I would directly use much of what I learned other than in a real general way.  On the other hand though, there are sections and paragraphs here and there that will teach a whole world of synthesis in an hour.  Amazing... but really only after spending so long to be able to understand simple things.  I believe that if the manual was re-organized and some simple tutorials were setup for very basic familiar concepts, the learning curve could be reduced by 90%.  Seriously, the chaos is that bad.  Most material is written by someone who knows a ton about the machine and is really far off from someone brand new.  It gets really musical, but it is the most engineering/computer science paradigm synthesizer out there.  You will feel this while using the machine, but that's why it's so powerful.&#xD;&#xA;&#xD;&#xA;I forgot what the original question was, but I would both recommend and not recommend Kyma.  Even if you think you know your stuff, you probably don't and this will make you realize that you don't.  And if you don't think you know your stuff, this could be so far over your head that it might be difficult to get it to make any sound.  But then again, maybe not.  At the least, I would say to be comfortable with the basics of subtractive, fm, sampling and have some clue about additive, granular and analysis.  Again, knowing the basics of programming will also help more in deiphering what the manual is trying to say and the mindset of the UI, more so than actually programming the parameters of the sounds which is actually not too complex for some nice results.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14899" PostHistoryTypeId="2" PostId="8937" RevisionGUID="0046dcf4-6774-4ce2-ae23-9461c489d753" CreationDate="2011-07-02T12:44:20.753" UserId="1178" Text="My twitter account is @DJ_Rx" ContentLicense="CC BY-SA 3.0" />
  <row Id="14900" PostHistoryTypeId="16" PostId="8937" RevisionGUID="0046dcf4-6774-4ce2-ae23-9461c489d753" CreationDate="2011-07-02T12:44:20.753" UserId="-1" />
  <row Id="14901" PostHistoryTypeId="2" PostId="8938" RevisionGUID="5bde47e0-117c-47b5-a35b-cfbb0c88749c" CreationDate="2011-07-02T16:09:11.427" UserDisplayName="user80" Text="You normally only split off the PFX if there is time, typically the budgets are too tight." ContentLicense="CC BY-SA 3.0" />
  <row Id="14902" PostHistoryTypeId="2" PostId="8939" RevisionGUID="f784f33b-e4ca-4d5d-8434-53515ec44930" CreationDate="2011-07-02T16:54:54.510" UserId="1152" Text="Hello SSD. Jon Tidey from Vancouver, BC.&#xD;&#xA;Freelance Engineer, Editor, Producer, Blogger, Podcaster and now sample library creator. I work from my home studio primarily with music but I'm fascinated by sound design and I love the way it changes your perspective on the world around you. I'm in awe of what you guys can do, I know it's not easy.&#xD;&#xA;I have learned a ton in my short time lurking on SSD and I'd like to thank you all for sharing your knowledge.&#xD;&#xA;&#xD;&#xA;Recording Blog &amp; sample libraries = http://audiogeekzine.com&#xD;&#xA;&#xD;&#xA;Hire Me = http://epicsounds.ca&#xD;&#xA;&#xD;&#xA;Podcast = http://homerecordingshow.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="14903" PostHistoryTypeId="16" PostId="8939" RevisionGUID="f784f33b-e4ca-4d5d-8434-53515ec44930" CreationDate="2011-07-02T16:54:54.510" UserId="-1" />
  <row Id="14906" PostHistoryTypeId="2" PostId="8941" RevisionGUID="a9ed8e3d-0ff7-4b90-bb37-0e684f0915a5" CreationDate="2011-07-02T17:56:07.123" UserId="244" Text="Hey, im living Perth Western Australia, mostly boom operator location sound recordist and mixer for tv. The job is somewhat quite varied which always keep you on your toes.. In the meantime volunteering for film makers for sound and ever expanding my own library. lol&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14907" PostHistoryTypeId="16" PostId="8941" RevisionGUID="a9ed8e3d-0ff7-4b90-bb37-0e684f0915a5" CreationDate="2011-07-02T17:56:07.123" UserId="-1" />
  <row Id="14908" PostHistoryTypeId="2" PostId="8942" RevisionGUID="5beb637a-b12c-4834-8ae6-88b61ba307c1" CreationDate="2011-07-02T22:47:10.170" UserId="37" Text="Looping MP3s is possible, just very hard. This is the info you're looking for:&#xD;&#xA;&#xD;&#xA;http://www.compuphase.com/mp3/mp3loops.htm&#xD;&#xA;&#xD;&#xA;Basically you have to pad (stretch) your audio to a specific length where the number of encoded samples will give you N whole frames. It's achievable, just plenty of hacking.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Looping WAVs is very easy. On some platforms, you can save 4:1 compressed WAVs with little sacrifice in quality. Those files loop just as easy.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Not all players/platforms support gapless playback so may testing be on your side.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14909" PostHistoryTypeId="2" PostId="8943" RevisionGUID="76bd9c16-c0f8-4eed-820f-efb622108062" CreationDate="2011-07-03T02:21:30.513" UserId="845" Text="I think all of us will admit that we sound-ish people inhabit a very small world.  If it isn't small, then it's certainly insular.  We make our lives and livings on an island of microphones and sample-rates and plugins.  When I sit down to it, I can't think of more than a handful of people outside of my audio friends who even know what sound design is, let alone the processes, technologies, and skills involved.  There are few who understand and even fewer who actually *do it*.&#xD;&#xA;&#xD;&#xA;In spite of this there is an entire industry kept afloat by the monetary expression of enthusiasm by people like us.  All of those cables and interfaces and field recorders and batteries and windscreens and midi-controllers and god-knows-what-else are made, if not exactly at our behest, then in the expectation that we will happily stand in line to buy them.  And we do.  Some things we buy because we really want them.  Others we buy because they're the cheaper version of the one we really do want but can't afford.  Nevertheless we buy the stuff.&#xD;&#xA;&#xD;&#xA;Now, I'm not about to go all anti-capitalism on you.  But lately I've been thinking a lot about a number of ideas that have implications almost beyond reckoning.  Not least of these is the question of sustainability.  &#xD;&#xA;&#xD;&#xA;I've just finished what seems to be becoming an annual re-watch of The Corporation.  As I said, I'm purposely avoiding the Capitalism debate, but one of the points that hit me strongest this time around was the need for consumers (us) to think about the products they buy in terms of their ecological impact.&#xD;&#xA;&#xD;&#xA;A question rises to mind when I consider that everything, and I mean *everything*, we use to detect, aquire, preserve, reproduce, and to a large extent, *produce* the sounds from which we derive our means of economic, creative, and emotional survival are the result of some kind of industrial scale mass production process.  Then I think about the materials that are used in those processes; copper for our cables, oil for their rubber coatings, lithium for our super-duper long-life batteries, silicon and gold and aluminium and plastics for our computers and harddrives and recorders.  Teflon for our speaker cones.  Petrocarbons and polymers for our room treatments.  All of these things have been forcefully taken from the ground beneath somebody else's feet and will never, *ever* go back again.&#xD;&#xA;&#xD;&#xA;The question I ask with a quiveringly guilty heart is what impact does this have on the world around me?  How much damage is my self-indulgent obsession really doing?&#xD;&#xA;&#xD;&#xA;Like the Capitalism thing, I don't want to get into an argument about how much impact our little group could possibly have, and how much would be going on anyway.  Pointless is the only word I can think of when it comes to that.&#xD;&#xA;&#xD;&#xA;What I *do* want to get into is a discussion about the possibilities and choices that I, and more importantly ***all of us***, can make with regard to this.  Are there companies that make sustainable audio products?  Is there an alternative to Litium-ion batteries, for which so many ecosystems have been destroyed?  Is there a non-synthetic choice of windscreen that will not require me to skin an actual cat?&#xD;&#xA;&#xD;&#xA;Is it even possible?  This is the one that scares me the most.  Are the tools that we require to do what we do inherently destructive and damaging to the environment which we with so much hubris take for granted?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14910" PostHistoryTypeId="1" PostId="8943" RevisionGUID="76bd9c16-c0f8-4eed-820f-efb622108062" CreationDate="2011-07-03T02:21:30.513" UserId="845" Text="Sustainability in Audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="14911" PostHistoryTypeId="3" PostId="8943" RevisionGUID="76bd9c16-c0f8-4eed-820f-efb622108062" CreationDate="2011-07-03T02:21:30.513" UserId="845" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14912" PostHistoryTypeId="2" PostId="8944" RevisionGUID="278023c2-e23b-4a11-afb9-28e9d7a41459" CreationDate="2011-07-03T05:38:52.470" UserId="338" Text="Recyclable Sound Waves!  Turn that noise pollution into noise producin!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14913" PostHistoryTypeId="2" PostId="8945" RevisionGUID="569bc7c9-a3b9-4e56-a2dc-5d55603f9edc" CreationDate="2011-07-03T05:40:19.300" UserId="1178" Text="Hey guys, I was wondering if any of you might know good websites that offer free sound effects similar to http://www.freesound.org/? I stumbled upon this few years back when I was studying in polytechnic school and have used it a lot ever since. If you haven´t used freesound.org, check it out it´s awesome!&#xD;&#xA;&#xD;&#xA;Ville " ContentLicense="CC BY-SA 3.0" />
  <row Id="14914" PostHistoryTypeId="1" PostId="8945" RevisionGUID="569bc7c9-a3b9-4e56-a2dc-5d55603f9edc" CreationDate="2011-07-03T05:40:19.300" UserId="1178" Text="Free foley / sound effect sites? " ContentLicense="CC BY-SA 3.0" />
  <row Id="14915" PostHistoryTypeId="3" PostId="8945" RevisionGUID="569bc7c9-a3b9-4e56-a2dc-5d55603f9edc" CreationDate="2011-07-03T05:40:19.300" UserId="1178" Text="&lt;foley&gt;&lt;sound-effects&gt;&lt;websites&gt;&lt;free&gt;&lt;creative-commons&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14916" PostHistoryTypeId="2" PostId="8946" RevisionGUID="7693b2b4-d7ad-464a-a490-53fcf7d2af58" CreationDate="2011-07-03T06:43:08.157" UserId="6524" Text="You can get some free stuff at [AudioMicro][1] they don't sound very high quality but its better than nothing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiomicro.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14917" PostHistoryTypeId="2" PostId="8947" RevisionGUID="d27e4397-d64f-4ee1-a604-be5fb83eee6e" CreationDate="2011-07-03T07:03:57.837" UserDisplayName="user49" Text="Check the terms of use for freesound.org, its mostly not useable for anything commercial...&#xD;&#xA;&#xD;&#xA;FWIW Foley is performed to picture, its not something you 'download for free'" ContentLicense="CC BY-SA 3.0" />
  <row Id="14918" PostHistoryTypeId="2" PostId="8948" RevisionGUID="da5fbc15-faae-4555-9925-09118d8b62a3" CreationDate="2011-07-03T11:28:01.627" UserId="202" Text="Hi all&#xD;&#xA;&#xD;&#xA;For my current project (an italian feature film), I'm thinking of using the computer generated text to speech voice of Mac Os X for a short robotic phrase instead of the adr. The voice will be heavy EQed and processed. &#xD;&#xA;&#xD;&#xA;Do you think any legal issue could arise?&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA; &#xD;&#xA;Davide" ContentLicense="CC BY-SA 3.0" />
  <row Id="14919" PostHistoryTypeId="1" PostId="8948" RevisionGUID="da5fbc15-faae-4555-9925-09118d8b62a3" CreationDate="2011-07-03T11:28:01.627" UserId="202" Text="Apple TextToSpeech voice use: any legal issue?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14920" PostHistoryTypeId="3" PostId="8948" RevisionGUID="da5fbc15-faae-4555-9925-09118d8b62a3" CreationDate="2011-07-03T11:28:01.627" UserId="202" Text="&lt;legal&gt;&lt;macosx&gt;&lt;copyright&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14921" PostHistoryTypeId="2" PostId="8949" RevisionGUID="a1d11949-74d4-4fa5-a660-d851396a2a91" CreationDate="2011-07-03T11:44:10.843" UserId="1153" Text="Sometimes the pro libraries give out free samples of their audio packs e.g.&#xD;&#xA;&#xD;&#xA;http://hissandaroar.com/free-sounds/ in 16bit 44.1kHz&#xD;&#xA;&#xD;&#xA;All it requires is an email address then you get a download link to be used within an hour.&#xD;&#xA;&#xD;&#xA;But don't forget to get out there and record some yourself!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14922" PostHistoryTypeId="2" PostId="8950" RevisionGUID="4791d12b-67c7-4d03-a2bf-6796a39938c7" CreationDate="2011-07-03T11:52:38.230" UserDisplayName="user80" Text="As long as you are using original dialogue you should be fine.  As it would be a bit like copyrighting the pre-sets in samplers.  The issue would be more if you sampled the voices and then sold them on again as part of a voice synthesizer.&#xD;&#xA;&#xD;&#xA;I would suggest running it past the production company's lawyers for clarification, especially if it is a major release." ContentLicense="CC BY-SA 3.0" />
  <row Id="14923" PostHistoryTypeId="2" PostId="8951" RevisionGUID="1eb7afbb-84d1-47dd-860d-6a338009aa28" CreationDate="2011-07-03T13:29:32.170" UserId="194" Text="Fwiw, lithium is 100% recyclable, and the miners who extract it are treated generally pretty well.  Also, because it's incredibly light (2nd on the periodic table) it's going to give you the best energy/ weight ratio outside of oil.  &#xD;&#xA;&#xD;&#xA;This means that lithium is key to the next generation of sustainable energy because there's not going to be a more efficient way to store solar/ wind/ geo etc. &#xD;&#xA;&#xD;&#xA;http://www.npr.org/tablet/#story/?url=/2011/05/09/136029474/lithium-battery-industry-keeps-going-and-going&#xD;&#xA;&#xD;&#xA;Also, the corporation is a good flick. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="14924" PostHistoryTypeId="2" PostId="8952" RevisionGUID="2c0c3bc6-32d3-4cab-b7fa-6ca96830bce2" CreationDate="2011-07-03T16:09:31.317" UserId="37" Text="I don't think sound is that self-indulgent really. Being a sound person is a relatively niche role, and it takes just a second of thinking about fashion, advertising, or the military, to feel better, if only a little bit. &#xD;&#xA;&#xD;&#xA;Unusually this is where I'd go back to mentioning not buying cheap stuff on the basis of it being easily replaceable, because that's borderline consumerism. At the same time, quite understandable high end gear is not in everyone's reach, so I think the key is calculated buys. Get a discussion going, speak to the best people in the field, and know what to buy so you don't end up buying the same thing twice. Also pass down your used kit instead of keeping it to yourself. Secondary market may be bad for the makers but it's far better for the environment I think? &#xD;&#xA;&#xD;&#xA;However, what many of us do by recording sound is capture and recycle time. How many people do that? It's got to be cool, no?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14925" PostHistoryTypeId="2" PostId="8953" RevisionGUID="6f4c96b7-921e-4897-be8f-314ad18adb29" CreationDate="2011-07-03T17:20:18.570" UserId="426" Text="I'd be interested to hear what you are planning to use the LS9 for. Or more precisely why you were asked to compare the two. As others have said, the digi003 by itself is far less expensive. &#xD;&#xA;&#xD;&#xA;If you are going to spend the 10k on a controller, why not just get the digidesign C24? The 003 is made to go with PT. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14926" PostHistoryTypeId="2" PostId="8954" RevisionGUID="108dc59d-c341-4a4c-8636-b08e25b240f6" CreationDate="2011-07-03T17:56:41.753" UserId="1152" Text="I've got a few good samples from Freesound in the past but if you're looking for something like Footsteps the quality is pretty terrible.&#xD;&#xA;I'm not sure of free alternatives besides recording things yourself." ContentLicense="CC BY-SA 3.0" />
  <row Id="14927" PostHistoryTypeId="2" PostId="8955" RevisionGUID="647ca46c-bb7c-4722-bba7-a6d0db04f567" CreationDate="2011-07-03T19:18:10.793" UserId="338" Text="Not to state the obvious, but has anyone ever tried to use sound to create electricity/energy on a large scale with microphones?  If you could harness the vent noises and all the sounds that a city creates, you could generate a form of natural, clean, efficient energy.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14928" PostHistoryTypeId="2" PostId="8956" RevisionGUID="4d20126c-38fc-4df5-8bf2-56faedb31d87" CreationDate="2011-07-03T20:45:25.627" UserId="338" Text="Between these two phases of work, how does your workflow or the &quot;normal&quot; workflow commence?&#xD;&#xA;&#xD;&#xA;Say you are editing backgrounds…you create backgrounds.  As an editor, do you volume graph/automate them to the scene cuts/events and then hand that product to the mixer?  The other way is to create the backgrounds, put them on the project and hand that to the mixer for him to discern.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14929" PostHistoryTypeId="1" PostId="8956" RevisionGUID="4d20126c-38fc-4df5-8bf2-56faedb31d87" CreationDate="2011-07-03T20:45:25.627" UserId="338" Text="The process of editing and mixing " ContentLicense="CC BY-SA 3.0" />
  <row Id="14930" PostHistoryTypeId="3" PostId="8956" RevisionGUID="4d20126c-38fc-4df5-8bf2-56faedb31d87" CreationDate="2011-07-03T20:45:25.627" UserId="338" Text="&lt;volume&gt;&lt;automation&gt;&lt;editor&gt;&lt;mixer&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14931" PostHistoryTypeId="5" PostId="8943" RevisionGUID="19858740-5407-4df9-9f33-f0889e2f548f" CreationDate="2011-07-03T21:13:54.490" UserId="845" Comment="deleted 6 characters in body" Text="I think all of us will admit that we sound-ish people inhabit a very small world.  If it isn't small, then it's certainly insular.  We make our lives and livings on an island of microphones and sample-rates and plugins.  When I sit down to it, I can't think of more than a handful of people outside of my audio friends who even know what sound design is, let alone the processes, technologies, and skills involved.  There are few who understand and even fewer who actually *do it*.&#xD;&#xA;&#xD;&#xA;In spite of this there is an entire industry kept afloat by the monetary expression of enthusiasm by people like us.  All of those cables and interfaces and field recorders and batteries and windscreens and midi-controllers and god-knows-what-else are made, if not exactly at our behest, then in the expectation that we will happily stand in line to buy them.  And we do.  Some things we buy because we really want them.  Others we buy because they're the cheaper version of the one we really do want but can't afford.  Nevertheless we buy the stuff.&#xD;&#xA;&#xD;&#xA;Now, I'm not about to go all anti-capitalism on you.  But lately I've been thinking a lot about a number of ideas that have implications almost beyond reckoning.  Not least of these is the question of sustainability.  &#xD;&#xA;&#xD;&#xA;I've just finished what seems to be becoming an annual re-watch of The Corporation.  As I said, I'm purposely avoiding the Capitalism debate, but one of the points that hit me strongest this time around was the need for consumers (us) to think about the products they buy in terms of their ecological impact.&#xD;&#xA;&#xD;&#xA;A question rises to mind when I consider that everything, and I mean *everything*, we use to detect, aquire, preserve, reproduce, and to a large extent, *produce* the sounds from which we derive our means of economic, creative, and emotional survival are the result of some kind of industrial scale mass production process.  Then I think about the materials that are used in those processes; copper for our cables, oil for their rubber coatings, lithium for our super-duper long-life batteries, silicon and gold and aluminium and plastics for our computers and harddrives and recorders.  Teflon for our speaker cones.  Petrocarbons and polymers for our room treatments.  All of these things have been forcefully taken from the ground beneath somebody else's feet and will never, *ever* go back again.&#xD;&#xA;&#xD;&#xA;The question I ask with a quiveringly guilty heart is what impact does this have on the world around me?  How much damage is my self-indulgent obsession really doing?&#xD;&#xA;&#xD;&#xA;Like the Capitalism thing, I don't want to get into an argument about how much impact our little group could possibly have, and how much would be going on anyway.  Pointless is the only word I can think of when it comes to that.&#xD;&#xA;&#xD;&#xA;What I *do* want to get into is a discussion about the possibilities and choices that I, and more importantly ***all of us***, can make with regard to this.  Are there companies that make sustainable audio products?  Is there an alternative to copper cabling, for which so many ecosystems have been destroyed?  Is there a non-synthetic choice of windscreen that will not require me to skin an actual cat?&#xD;&#xA;&#xD;&#xA;Is it even possible?  This is the one that scares me the most.  Are the tools that we require to do what we do inherently destructive and damaging to the environment which we with so much hubris take for granted?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14932" PostHistoryTypeId="2" PostId="8957" RevisionGUID="de3f3d84-1478-4507-aa15-834a6e9921a4" CreationDate="2011-07-03T22:16:07.110" UserId="18160" Text="I am right now as we type mixing the first podcast in a series which will be distributed on iTunes.&#xD;&#xA;&#xD;&#xA;It's along the lines of Radiolab in content.&#xD;&#xA;&#xD;&#xA;I need your help in filling out a short survey for me so I have the data:&#xD;&#xA;&#xD;&#xA;**1. What are your top 2 podcasts you regularly enjoy listening to?**&#xD;&#xA;&#xD;&#xA;**2. What are the top 2 best *sounding* podcasts you know of? (You don't have to enjoy listening to them, I would like to know what you think are the best sounding ones out there).**&#xD;&#xA;&#xD;&#xA;Thank you very much." ContentLicense="CC BY-SA 3.0" />
  <row Id="14933" PostHistoryTypeId="1" PostId="8957" RevisionGUID="de3f3d84-1478-4507-aa15-834a6e9921a4" CreationDate="2011-07-03T22:16:07.110" UserId="18160" Text="Best sounding podcast" ContentLicense="CC BY-SA 3.0" />
  <row Id="14934" PostHistoryTypeId="3" PostId="8957" RevisionGUID="de3f3d84-1478-4507-aa15-834a6e9921a4" CreationDate="2011-07-03T22:16:07.110" UserId="18160" Text="&lt;podcasts&gt;&lt;quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14935" PostHistoryTypeId="2" PostId="8958" RevisionGUID="860ad500-f777-4de2-98ab-b598c40531ce" CreationDate="2011-07-04T04:12:02.913" UserId="444" Text="I don't listen to many, but the ones I enjoy are WTF with Marc Maron and Doug Loves Movies.  Both can be really funny, and Marc Maron does really good inspiring interviews (check the interviews with Conan O'brien, and Ray Ramano).&#xD;&#xA;&#xD;&#xA;Both I think are recorded well enough, but not alot seems to be put into the post cleaning things up. DLM tends to have alot of low end mic handling noise that bothers me when I listen to it on some of my systems.&#xD;&#xA;&#xD;&#xA;I record The Panel (with Stephen Edwards).  It's been interesting to record, and I've evolved how I record it each episode. Getting better results each time. I also spend time compressing and automating a few parts when people talk over each other. I'm most pleased with the latest, Episode 4.  Just finished it up and should be posted in a few days. &#xD;&#xA;&#xD;&#xA;Soundworks Collections (non video) sound good too." ContentLicense="CC BY-SA 3.0" />
  <row Id="14936" PostHistoryTypeId="2" PostId="8959" RevisionGUID="c4ee681a-3eb8-4395-b8e9-72440dbeb022" CreationDate="2011-07-04T05:05:36.733" UserId="6462" Text="One podcast that I used to listen to regularly, I haven't for a while as I just don't have the time, is [Mysterious Universe][1] by a couple of guys in Sydney. Technically it's very good and they have spent a lot of money on getting a proper room setup and have decent mics and equipment. The content can be really interesting as well.&#xD;&#xA;&#xD;&#xA;The way the podcast is mixed and put together is incredibly good, with great research etc.&#xD;&#xA;&#xD;&#xA;Apart from that one I really don't listen to any others. I should get back into podcasts again!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mysteriousuniverse.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14937" PostHistoryTypeId="2" PostId="8960" RevisionGUID="6113e9cc-37c8-4cf2-9acd-4a9d7e038a41" CreationDate="2011-07-04T06:10:59.100" UserId="1178" Text="Quite buggy atm, but loving the interface and design! Using this one a lot at work!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14938" PostHistoryTypeId="2" PostId="8961" RevisionGUID="a04bd3c1-ea02-4661-9757-106c20a53c5a" CreationDate="2011-07-04T07:21:00.510" UserId="6524" Text="I'm not a regular podcast listener but I like to follow The Game Audio Podcast and Soundworks Collection's stuff more than others, and the best sounding ones I think I'd say Dolbycast and Shure cast. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14940" PostHistoryTypeId="2" PostId="8963" RevisionGUID="bdf67d60-b7ca-484d-b645-dfe9c24900f0" CreationDate="2011-07-04T10:34:49.020" UserId="63" Text="Just added most of you guys at my sound_design list on twitter! @nikolasx . twitter is an awesome tool too use! and i believe it has not shown its full potential yet, people will find new ways to use this tool soon..." ContentLicense="CC BY-SA 3.0" />
  <row Id="14941" PostHistoryTypeId="16" PostId="8963" RevisionGUID="bdf67d60-b7ca-484d-b645-dfe9c24900f0" CreationDate="2011-07-04T10:34:49.020" UserId="-1" />
  <row Id="14942" PostHistoryTypeId="2" PostId="8964" RevisionGUID="eeefcb93-4962-4c15-83f0-a2aa9eb245c4" CreationDate="2011-07-04T18:15:08.250" UserId="6487" Text="This is a great question.  I am very curious as to what everyone does here.  &#xD;&#xA;&#xD;&#xA;I once did have a misunderstanding when freelancing where I was asked to do a dialog edit....So, I cleaned the dialog with the necessary noise floor, made clean edits, set the dialog to general broadcast tech specs, and processed the voices to match space and perspective in the mix (Some of the processing truly just made some of the edits possible that otherwise would not fly.).  I was greeted later by the mixer who said in a confused voice &quot;Wow, you went ahead and mixed it.&quot; I apologized and asked what I could do to make up for the misunderstanding. I don't think she minded but she was surprised.  She wanted me to put in noise floor and use simply a fade and cut technique to smooth edits. Dope....&#xD;&#xA;&#xD;&#xA;In all other cases, I have always been asked to create a stem within a session that contains all elements individually available to the re-recording mixer. So, I mix all of the sound effects, music or dialog relative to each other without other elements present in a manner that I think best describes the program with the understanding that this will make the final re-recording process easier but allow the re-recording mixer to change any of my preliminary processing and/or levels.  Sometimes the mixer will all together remove elements and other times I will find my SFX very forefront in the final mix with music barely whispering in the background.  &#xD;&#xA;&#xD;&#xA;What do you the rest of you guys do?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14943" PostHistoryTypeId="2" PostId="8965" RevisionGUID="649fccf5-cfa6-4854-a30b-75ee18a2594a" CreationDate="2011-07-04T20:24:16.003" UserId="6487" Text="I very rarely provide audio for podcasts.  &#xD;&#xA;&#xD;&#xA;I have worked on widgets, games, bonus scenes and BTS clips...but, not long amounts of continuos streaming dialog.  When I make clips into files for email and iphone approval, I like .m4v with H.264 video, and AAC-LC audio at 160 Kbps, 48kHz, stereo.  I boost a little low end and 2-4K and normalize to -6dB digital. (BTW Let me now if you do something differently for this situation too.)  &#xD;&#xA;&#xD;&#xA;There must be streaming secrets for Podcasts specifically. What are your preferred compression, level, and EQ practices for podcasts to retain quality while optimizing them for streaming online playback?  Some just sound atrocious, while others are quite nice.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="14944" PostHistoryTypeId="1" PostId="8965" RevisionGUID="649fccf5-cfa6-4854-a30b-75ee18a2594a" CreationDate="2011-07-04T20:24:16.003" UserId="6487" Text="Best Podcast Compression/Settings...." ContentLicense="CC BY-SA 3.0" />
  <row Id="14945" PostHistoryTypeId="3" PostId="8965" RevisionGUID="649fccf5-cfa6-4854-a30b-75ee18a2594a" CreationDate="2011-07-04T20:24:16.003" UserId="6487" Text="&lt;podcasts&gt;&lt;compression-algorithm&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14946" PostHistoryTypeId="2" PostId="8966" RevisionGUID="ab05e8c9-4eae-4cbd-856d-711a86a3af69" CreationDate="2011-07-04T21:26:47.217" UserId="253" Text="Where a rerecording mixer is involved, i'll try to balance things as well as i can before i hand it over.&#xD;&#xA;&#xD;&#xA;I'll cut dialogue, using fill to smooth the edits. If it's very noisy, i'll hard process with some NR, but i'll leave the original region muted on a worktrack below.&#xD;&#xA;&#xD;&#xA;I'll balance level on the FX and whatnot. Maybe i'll do some complex volume or pan automation moves if i need them to sell the FX to the director; then i'll ask the mixer if they prefer me to leave them in or drop them. &#xD;&#xA;&#xD;&#xA;Another thing that i think is very important for the handover is to make sure that the soundtrack will play well with all faders at 0. To do this, i make a session copy before the handover, and use the Gain Audiosuite plug-in to adjust the level of all the regions so that, if the mixer decides to delete all automation, it still sounds like a film. &#xD;&#xA;&#xD;&#xA;Finally, i like to clean up the session so it doesn't have anything unnecessary in it. I make a new session, then &quot;import session data&quot; from my edit session, and consolidate with 2000ms handles. Always make a backup copy before doing any of this, though. The last thing you want in this industry is to have to answer &quot;i need X&quot; with &quot;i don't have it anymore&quot;.&#xD;&#xA;&#xD;&#xA;I think this is a good process with which to approach any film, even if you're both editing and mixing. It's very hard to do fader moves on an atmos track that's sitting at -60dB, and it makes for a nice neat session that lets you approach the film with a fresh perspective." ContentLicense="CC BY-SA 3.0" />
  <row Id="14947" PostHistoryTypeId="5" PostId="8958" RevisionGUID="149aff99-1527-4ebc-963e-359cde66f27d" CreationDate="2011-07-04T21:37:38.300" UserId="444" Comment="Link" Text="I don't listen to many, but the ones I enjoy are WTF with Marc Maron and Doug Loves Movies.  Both can be really funny, and Marc Maron does really good inspiring interviews (check the interviews with Conan O'brien, and Ray Ramano).&#xD;&#xA;&#xD;&#xA;Both I think are recorded well enough, but not alot seems to be put into the post cleaning things up. DLM tends to have alot of low end mic handling noise that bothers me when I listen to it on some of my systems.&#xD;&#xA;&#xD;&#xA;I record [The Panel][1] (with Stephen Edwards).  It's been interesting to record, and I've evolved how I record it each episode. Getting better results each time. I also spend time compressing and automating a few parts when people talk over each other. I'm most pleased with the latest, Episode 4.  Just finished it up and should be posted in a few days. &#xD;&#xA;&#xD;&#xA;Soundworks Collections (non video) sound good too.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://thepanel.podomatic.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14948" PostHistoryTypeId="2" PostId="8967" RevisionGUID="15807fd0-1ecc-4ef7-a77a-79dcf53efb83" CreationDate="2011-07-04T22:04:37.893" UserId="396" Text="It's all about what the specific project or client needs. We use online production music libraries which give easy access to a huge collection of different styles and genres, plus they are continually expanding, as the providers add more content.&#xD;&#xA;&#xD;&#xA;Authentic sounding music with good production values in a variety of styles is what is useful from my experience. Last year I needed to use a lot of 'quirky', folky music (this is in an advertising context), but I haven't worked on any projects like that this year, so I guess it just goes to show that trends change quickly.." ContentLicense="CC BY-SA 3.0" />
  <row Id="14949" PostHistoryTypeId="2" PostId="8968" RevisionGUID="4d9b6670-1714-4727-a616-3b5e1018255a" CreationDate="2011-07-04T22:34:49.827" UserId="444" Text="I don't know any secrets, but I can share what I do for a comedy show.  &#xD;&#xA;&#xD;&#xA;The file I give to upload is an MP3 at 320kbits, 48kHz, stereo.  It doesn't lag during playback on [Podomatic][1], and a show thats just over an hour takes just over a minute to download from itunes.&#xD;&#xA;&#xD;&#xA;As for processing.  I don't do to much EQ, maybe a roll off around 100k with a gradual slope.  When I used wireless handhelds to record I would get alot of mic handleing noise, so editing and EQ was necessary.  I've since switched to using SM58's and now record off the theatre's mixing board.  That has minimized handling noise immensely.  Also the board supplies any EQing I need for each individual.&#xD;&#xA;&#xD;&#xA;Unfortunatly the theatre has no compressors, so I do add compression on each individual in post and the settings vary of course.  But on average, I'm compressing around -30db with a ratio just over 2:1.  &#xD;&#xA;&#xD;&#xA;Lastly I use Ozone4's loudness maximizer.  I've tweeked it to where my final mix when played back in itunes is around the same level of most of my music when it plays back.  The goal being the podcast isnt way quiter then other things I listen too.  However I've noticed it's slightly louder then some of the other podcasts I have, so I'll probably start backing off a bit.&#xD;&#xA;&#xD;&#xA;  [1]: http://thepanel.podomatic.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14950" PostHistoryTypeId="2" PostId="8969" RevisionGUID="f32c286f-f4b0-4c1b-8237-0f016ec3cf2a" CreationDate="2011-07-04T23:14:40.913" UserId="830" Text="As someone who has produced thousands of hours of podcasts and listened to just as many, I find that there is a lot of ways to skin the cat. First and foremost is the recording needs to be good. The biggest issue with podcast is that 98% of them are recorded using internal microphones on computers or headsets used for gaming and skype, etc.&#xD;&#xA;&#xD;&#xA;Now on to your question. Some people like the highly compressed sound of NPR and other American radio stations, this requires a fair bit of outboard hardware. Leo Laport of TWIT fame has a good write up somewhere of his hardware. Personally I find it crushes the life out of the audio. Australian radio is more liberal in allowing dynamic range and yet having a smooth compression across the board. This is really something you want to experiment with to find what you like. My personal preference is to use a soft-knee 3:1 compression around -20db and add a hard limiter at -3 db for spikes, generally very loud laughter. I match my levels around -6 db when recording giving head room but keeping it fairly consistant. &#xD;&#xA;&#xD;&#xA;Please note I am generally live mixing this with up to 6 people on mic at once including myself. Check out the results (but NSFW warning here for swearing and stupidity at times) at http://www.coolshite.net&#xD;&#xA;&#xD;&#xA;So in summary.&#xD;&#xA;&#xD;&#xA;1. Best recording possible&#xD;&#xA;2. Play with you compression till you find the right dynamic for you and your audience.&#xD;&#xA;3. Remember it isn't a hard rock record, so it doesn't need to be a wall of sound.&#xD;&#xA;4. Listen to shows that do it well and see how they are doing it (including broadcast radio).&#xD;&#xA;&#xD;&#xA;Hope the helps.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14951" PostHistoryTypeId="5" PostId="8964" RevisionGUID="2af0e956-c8cc-4dee-9128-84740819d3ee" CreationDate="2011-07-04T23:51:37.827" UserId="6487" Comment="added 43 characters in body; edited body" Text="This is a great question.  I am very curious as to what everyone does here.  &#xD;&#xA;&#xD;&#xA;I once did have a misunderstanding when freelancing where I was asked to do a dialog edit....So, I cleaned the dialog with the necessary noise floor, made clean edits, set the dialog to general broadcast tech specs, and processed the voices to match space and perspective in the mix (Some of the processing truly just made some of the edits possible that otherwise would not fly.).  I was greeted later by the mixer who said in a confused voice &quot;Wow, you went ahead and mixed it.&quot; I apologized and asked what I could do to make up for the misunderstanding. I don't think she minded but she was surprised.  She wanted me to put in noise floor and use simply a fade and cut technique to smooth edits. Dope....&#xD;&#xA;&#xD;&#xA;In all other cases, I have always been asked to create a stem within a session that contains all elements individually available to the re-recording mixer. So, I mix all of the sound effects, music or dialog relative to its own elements in a manner that I think best describes the program with the understanding that this will make the final re-recording process easier and allow the re-recording mixer to change any of my preliminary processing and/or levels.  This means the mix will play decently well with all stems at unity. Sometimes the mixer will all together remove elements and other times I will find my SFX very forefront in the final mix with music barely whispering in the background.  &#xD;&#xA;&#xD;&#xA;What do you the rest of you guys do?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14952" PostHistoryTypeId="2" PostId="8970" RevisionGUID="776a03a0-7236-437a-b186-18c2cff79411" CreationDate="2011-07-05T00:43:09.163" UserId="830" Text="I purchased it and then asked for a refund (which I got). At the moment due to the OMF and other export options missing, FCPX is a close environment for everything apart from initial import and final export. So for the moment you won't be seeing any serious editor using it even though it has a great engine behind it." ContentLicense="CC BY-SA 3.0" />
  <row Id="14953" PostHistoryTypeId="2" PostId="8971" RevisionGUID="f4d2be89-0c57-4bae-9328-877f399494fa" CreationDate="2011-07-05T00:54:37.650" UserId="338" Text="I guess this question doesn't apply to established industry pro's or people in LA.  It partially stemmed from my experience in the Bay Area where people make films and then have picture editors crap on the audio track and call it done.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14954" PostHistoryTypeId="5" PostId="8966" RevisionGUID="27b0e77b-9392-43ca-8c63-e22f78fc2b03" CreationDate="2011-07-05T01:40:55.427" UserId="253" Comment="added 76 characters in body" Text="Where a rerecording mixer is involved, i'll try to balance things as well as i can before i hand it over.&#xD;&#xA;&#xD;&#xA;I'll cut dialogue, using fill to smooth the edits. If it's very noisy, i'll hard process with some NR, but i'll leave the original region muted on a worktrack below.&#xD;&#xA;&#xD;&#xA;I'll balance level on the FX and whatnot. Maybe i'll do some complex volume or pan automation moves if i need them to sell the FX to the director; then i'll ask the mixer if they prefer me to leave them in or drop them. &#xD;&#xA;&#xD;&#xA;Another thing that i think is very important for the handover is to make sure that the soundtrack will play well with all faders at 0. To do this, i make a session copy before the handover, and use the Gain Audiosuite plug-in to adjust the level of all the regions so that, if the mixer decides to delete all automation, it still sounds like a film. &#xD;&#xA;&#xD;&#xA;Finally, i like to clean up the session so it doesn't have anything unnecessary in it. I make a new session, then &quot;import session data&quot; from my edit session, and consolidate with 2000ms handles. Always make a backup copy before doing any of this, though. The last thing you want in this industry is to have to answer &quot;i need X&quot; with &quot;i don't have it anymore&quot;.&#xD;&#xA;&#xD;&#xA;I think this is a good process with which to approach any film, even if you're both editing and mixing. It's very hard to do fader moves on an atmos track that's sitting at -60dB, and it makes for a nice neat session that lets you approach the film with a fresh perspective.&#xD;&#xA;&#xD;&#xA;EDIT: All of this is subject to the preferences of the mixer, of course." ContentLicense="CC BY-SA 3.0" />
  <row Id="14955" PostHistoryTypeId="2" PostId="8972" RevisionGUID="652bb88d-ac36-4f35-a402-e67563a3b844" CreationDate="2011-07-05T02:58:00.193" UserId="6435" Text="I agree with Mr. Bryant--I kinda need some of everything. I don't specifically use loops, so this doesn't directly answer the question...but it does depend on the particular project." ContentLicense="CC BY-SA 3.0" />
  <row Id="14956" PostHistoryTypeId="2" PostId="8973" RevisionGUID="ca864206-8894-4cdc-8fa2-0cb2439cf23a" CreationDate="2011-07-05T04:51:12.897" UserId="1178" Text="Daisy chain compress the whole lot for 50/150ms and 150/50ms, group everything to a sub master bus and add some miniscule reverb and pull the dry signal down a bit. You might also want to try a minimal amount of chorus to that channel as well, It adds more silk to the mix but you have to be really REALLY careful with the plugin mix level... " ContentLicense="CC BY-SA 3.0" />
  <row Id="14957" PostHistoryTypeId="6" PostId="8945" RevisionGUID="d8db5d88-2f01-4cc6-8a8e-2452cad7af55" CreationDate="2011-07-05T04:59:32.290" UserId="1178" Comment="Changed tags" Text="&lt;foley&gt;&lt;sound-effects&gt;&lt;websites&gt;&lt;royalty-free&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14958" PostHistoryTypeId="2" PostId="8974" RevisionGUID="5b4317aa-ea65-4247-8bc3-0ba84829991b" CreationDate="2011-07-05T06:34:44.650" UserId="202" Text="Dear all&#xD;&#xA;&#xD;&#xA;After reading [this thread][1] at the DUC (and chatting with editors in this business longer than me), I'm really curious to see AudioVision and how it worked.&#xD;&#xA;&#xD;&#xA;My first encounter with Digidesign/Avid software was at a sound engineering course I took, and back then we had ProTools 5.1 (and that is the same software I used for 4 years, when I started working). I missed and still miss in ProTools 9, all those great feature that AudioVision seems to already have 15 years ago (Bin, clip based volume and EQ, integrated EDL autoconform, etc).&#xD;&#xA;&#xD;&#xA;Is there any video online (or other resource) that show AudioVision and his workflow (it was more like Media Composer than Protools, right?): can't find any.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Davide&#xD;&#xA;&#xD;&#xA;  [1]: http://duc.avid.com/showthread.php?t=11782" ContentLicense="CC BY-SA 3.0" />
  <row Id="14959" PostHistoryTypeId="1" PostId="8974" RevisionGUID="5b4317aa-ea65-4247-8bc3-0ba84829991b" CreationDate="2011-07-05T06:34:44.650" UserId="202" Text="Is there any AudioVision video online?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14960" PostHistoryTypeId="3" PostId="8974" RevisionGUID="5b4317aa-ea65-4247-8bc3-0ba84829991b" CreationDate="2011-07-05T06:34:44.650" UserId="202" Text="&lt;pro-tools&gt;&lt;daw&gt;&lt;video&gt;&lt;resources&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14961" PostHistoryTypeId="2" PostId="8975" RevisionGUID="5088eb68-55ae-4e5d-b4c9-28c0910130c0" CreationDate="2011-07-05T07:19:02.310" UserId="1178" Text="Hello! I´m a audio producer and sound designer, in Helsinki, Finland. Been in the audio biz for ten years and I´ve recently branched out to gaming audio. I´ve got a BA in digital audio and commercial music and currently work at Remedy Entertaiment as an Audio trainee. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14962" PostHistoryTypeId="16" PostId="8975" RevisionGUID="5088eb68-55ae-4e5d-b4c9-28c0910130c0" CreationDate="2011-07-05T07:19:02.310" UserId="-1" />
  <row Id="14963" PostHistoryTypeId="5" PostId="8974" RevisionGUID="d7504a7f-cd8d-4209-ae8e-759895da8c61" CreationDate="2011-07-05T07:48:23.163" UserId="202" Comment="added 11 characters in body" Text="Dear all&#xD;&#xA;&#xD;&#xA;After reading [this thread][1] at the DUC (and chatting with editors in this business longer than me), I'm really curious to see AudioVision and how it worked.&#xD;&#xA;&#xD;&#xA;My first encounter with a Digidesign/Avid software was at a sound engineering course I took, and back then we had ProTools 5.1 (and that was the same version I used for the next 4 years, when I started working). I missed and still miss in ProTools 9, all those great feature that AudioVision seems to already have 15 years ago (Bin, clip based volume and EQ, integrated EDL autoconform, etc).&#xD;&#xA;&#xD;&#xA;Is there any video online (or other resource) that show AudioVision and his workflow (it was more like Media Composer than Protools, right?): can't find any.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Davide&#xD;&#xA;&#xD;&#xA;  [1]: http://duc.avid.com/showthread.php?t=11782" ContentLicense="CC BY-SA 3.0" />
  <row Id="14964" PostHistoryTypeId="2" PostId="8976" RevisionGUID="c8c7829d-48d5-49f7-af9b-c44ffad7dcf2" CreationDate="2011-07-05T14:46:00.227" UserId="769" Text="I work on a podcast (only 7-odd episodes in, though I have a background in online/radio for an int'l broadcaster) which marries non/fiction with predominantly electronic musical composition and what with my lack of expertise passes for sound design.  It's called Paper Radio [paperradio.net].  The sound is an important part of the storytelling, so my mixing priorities are fairly balanced between voice and 'sound'.&#xD;&#xA;&#xD;&#xA;I use a combination of Waves Renaissance Vox and Compressor on voice and instrument submix busses respectively.  I also sub-group certain source groups (at the moment I've separated SFX, raw interviews, studio voiceover, synth tracks, rhythm tracks, guitar and cassette tapes) and compress or limit them depending on the material.  And I use L1 or L2 on the master channel.&#xD;&#xA;&#xD;&#xA;But there aren't any particular ratios or thresholds I apply regularly.  I change my settings every time according to what's there.  The biggest challenge for podcasts, to my ears, is headphones or speakers.&#xD;&#xA;&#xD;&#xA;It's fine if you're mixing voice program only, or voice with backing music — you can afford to lose the music a little.  But if you want a clear and even balance of voice and music/sound, at roughly equal volume, I've found that's something difficult to achieve for listeners on both headphones (especially crappy iPod earbuds) and speakers.&#xD;&#xA;&#xD;&#xA;Speakers tend to lose the music while headphones can make it so loud that it gets in the way of the voice.&#xD;&#xA;&#xD;&#xA;I agree with @Bruce in that excess compression really can destroy the dynamics and texture of a piece; it can also make it extremely annoying to listen to.  Unfortunately I have found that if I don't compress/limit material enough, people complain that our podcasts aren't properly audible on the peak hour train. &#xD;&#xA;&#xD;&#xA;It's a bit of a conundrum and not one I can readily answer, although most of you would probably suggest the right level of dynamic compression will balance things out.  My heart really favours a less compressed sound, but it doesn't seem to be easy to maintain peoples' attention with a big dynamic range, especially with similar podcasts being more of that overcompressed broadcast style.&#xD;&#xA;&#xD;&#xA;Anyway, sorry for this rambling answer (I haven't slept much lately).  In terms of file compression, I publish either 160kbps or 192kbps 44.1k/16-bit/stereo mp3s.  As someone above pointed out, Flash can only stream certain sample rates (I think it's 11/22/44 - no 32/48k). The file sizes are a bit bigger but it's rich content that I think justifies the detail. If I were using voice only I'd definitely consider 128kbps and possibly even mono.&#xD;&#xA;&#xD;&#xA;Again, apologies for my rant. I hope it helps in some way." ContentLicense="CC BY-SA 3.0" />
  <row Id="14965" PostHistoryTypeId="5" PostId="8976" RevisionGUID="0ce3a3f6-c380-44cb-9f35-4e40a72f8f02" CreationDate="2011-07-05T14:51:59.133" UserId="769" Comment="added paragraph about region specificity!" Text="I work on a podcast (only 7-odd episodes in, though I have a background in online/radio for an int'l broadcaster) which marries non/fiction with predominantly electronic musical composition and what with my lack of expertise passes for sound design.  It's called Paper Radio [paperradio.net].  The sound is an important part of the storytelling, so my mixing priorities are fairly balanced between voice and 'sound'.&#xD;&#xA;&#xD;&#xA;I use a combination of Waves Renaissance Vox and Compressor on voice and instrument submix busses respectively.  I also sub-group certain source groups (at the moment I've separated SFX, raw interviews, studio voiceover, synth tracks, rhythm tracks, guitar and cassette tapes) and compress or limit them depending on the material.  And I use L1 or L2 on the master channel.&#xD;&#xA;&#xD;&#xA;But there aren't any particular ratios or thresholds I apply regularly.  I change my settings every time according to what's there.  The biggest challenge for podcasts, to my ears, is headphones or speakers.&#xD;&#xA;&#xD;&#xA;It's fine if you're mixing voice program only, or voice with backing music — you can afford to lose the music a little.  But if you want a clear and even balance of voice and music/sound, at roughly equal volume, I've found that's something difficult to achieve for listeners on both headphones (especially crappy iPod earbuds) and speakers.&#xD;&#xA;&#xD;&#xA;Speakers tend to lose the music while headphones can make it so loud that it gets in the way of the voice.&#xD;&#xA;&#xD;&#xA;I agree with @Bruce in that excess compression really can destroy the dynamics and texture of a piece; it can also make it extremely annoying to listen to.  Unfortunately I have found that if I don't compress/limit material enough, people complain that our podcasts aren't properly audible on the peak hour train. &#xD;&#xA;&#xD;&#xA;It's a bit of a conundrum and not one I can readily answer, although most of you would probably suggest the right level of dynamic compression will balance things out.  My heart really favours a less compressed sound, but it doesn't seem to be easy to maintain peoples' attention with a big dynamic range, especially with similar podcasts being more of that overcompressed broadcast style.&#xD;&#xA;&#xD;&#xA;Anyway, sorry for this rambling answer (I haven't slept much lately).  In terms of file compression, I publish either 160kbps or 192kbps 44.1k/16-bit/stereo mp3s.  As someone above pointed out, Flash can only stream certain sample rates (I think it's 11/22/44 - no 32/48k). The file sizes are a bit bigger but it's rich content that I think justifies the detail. If I were using voice only I'd definitely consider 128kbps and possibly even mono.&#xD;&#xA;&#xD;&#xA;The only other thing I'd suggest is to consider who/what/where your audience are and what suits them. There isn't any real reason aside from slight added convenience why you wouldn't publish a great voice recording in 192kbps mp3 for a Scandinavian middle-class audience, but if you were podcasting primarily to an audience in the South Pacific, file size would be super important and you'd want to consider even mono 56kbps for some material, even with music. I believe in user-centred approaches for all situations where information must be communicated. A lot of work I've produced (both sound and otherwise) has been for a Pacific Islands audience, and the bandwidth and tech they can access has been instructive to say the least.&#xD;&#xA;&#xD;&#xA;Again, apologies for my rant. I hope it helps in some way." ContentLicense="CC BY-SA 3.0" />
  <row Id="14966" PostHistoryTypeId="2" PostId="8977" RevisionGUID="c76a21b1-3a0b-419c-8172-5c4df7996209" CreationDate="2011-07-05T16:31:16.343" UserId="565" Text="I've taken a few days to think of the best answer for this question, and the best I've come up with is there really is no &quot;right or wrong&quot; here, only &quot;quicker or longer&quot;.&#xD;&#xA;&#xD;&#xA;But first, lets take a walk into the past.&#xD;&#xA;&#xD;&#xA;Back in the &quot;old&quot; days, the division between editor and re-recording mixer was very defined.  With the sound for film originally being edited on magnetic film, there wasn't much the sound editor could do to manipulate the sound other then a partial fade by actually dissolving the magnetic oxide off of the film with acetone.  Even adjusting the levels during the transfer process weren't a great option because if you were too low, there would be too much hiss, or on the other side if you were too loud it would create distortion.  With the sound editor only being able to actually hear a few tracks played back at once, their primary job was to find the sound and place them in sync (not an easy task). &#xD;&#xA;&#xD;&#xA;The re-recording mixer had the luxury to listen to all the tracks together and was their job to balance them all together.  If there was a problem with a track, or something needed to be added, the mixers hands were tied.  The tracks would be taken off the machines and sent back to editing.&#xD;&#xA;&#xD;&#xA;As we walk a bit forward in time, multitrack tape machines made the sound creation job easier, and more creative.  The overall track counts started to increase.  Unfortunately on the dub stages, the re-recording mixers had to start pre-dubbing tracks in order to be able to play them all back at once during the mix due to the available real-estate on the consoles.  This led to bigger consoles and the invention of mix automation.&#xD;&#xA;&#xD;&#xA;Fast forward to today - (what in the heck is tape?)&#xD;&#xA;&#xD;&#xA;With both editorial and the mixer using the exact same gear the lines between the two positions are becoming very blurred.  DAW's have given sound editors the ability  to literally create hundreds of tracks of audio. They have also given the re-recording mixer the ability (along with new digital consoles and control surfaces) to play them all back and manipulate them without extensive pre-dubs. &#xD;&#xA;&#xD;&#xA;This is where quicker and longer comes in.&#xD;&#xA;&#xD;&#xA;For the sound editor it obviously makes their job longer to automate volume, pans, and sometimes even reverbs to their tracks.  Most editors I know prefer this because they have been working closely with the Director and the sound supervisor anywhere from 4 to 12 weeks.  When the session leaves them, they know the tracks will be at least listened to once the way they have intended them to play.  While the re-recording mixer has the ability to change anything, they can focus on the balancing of the elements to work on the emotions of the film and make sure it flows properly.&#xD;&#xA;&#xD;&#xA;If the tracks have no automation and is left up to the re-recording mixers to weave through them, the final mix will take longer.  Longer on a mix stage equals money.... a lot of money.  You can generally get one week in an edit suite for the cost of one day on a mix stage.&#xD;&#xA;&#xD;&#xA;Like I said at the beginning, there is no right or wrong.  As a re-recording mixer I can see it both ways.  If the tracks come to me with volume and pans, its great.  (My wife likes this as well because I'll be home for dinner earlier)  If the tracks come to me with nothing though, I also enjoy it because I get to really mix a lot! (Mixing is fun...and that's why we all do this right?)&#xD;&#xA;&#xD;&#xA;Some people don't want me messing with their stuff, others gladly welcome it.  Like I said there is no right or wrong.  All I ask is that it's in sync!  :) " ContentLicense="CC BY-SA 3.0" />
  <row Id="14967" PostHistoryTypeId="2" PostId="8978" RevisionGUID="f2d223a7-29b4-459b-bae9-8f85bd29c6cf" CreationDate="2011-07-05T19:09:02.713" UserId="1152" Text="my processing chain for The Home Recording Show is typically (as of last 5 episodes or so):&#xD;&#xA;RX Denoiser, ReaGate, Waves CLA-3A&#xD;&#xA;&#xD;&#xA;the 3 dialog tracks go into a bus with Wavearts Final plug with a ceiling of 6dB.&#xD;&#xA;&#xD;&#xA;The master has T-RackS3 Clipper" ContentLicense="CC BY-SA 3.0" />
  <row Id="14969" PostHistoryTypeId="2" PostId="8980" RevisionGUID="bbb1c8de-b363-4cb1-84f2-5e20cca3772a" CreationDate="2011-07-05T19:26:12.153" UserId="290" Text="You need to be really careful with the licensing of &quot;free&quot; sounds - they usually demand formatted credit in specific ways." ContentLicense="CC BY-SA 3.0" />
  <row Id="14970" PostHistoryTypeId="2" PostId="8981" RevisionGUID="fcd9c0f7-93b7-42ba-bc98-3b24327317c6" CreationDate="2011-07-05T19:27:44.553" UserId="290" Text="@ragamesound&#xD;&#xA;&#xD;&#xA;I also tweet about experimental game stuff a lot." ContentLicense="CC BY-SA 3.0" />
  <row Id="14971" PostHistoryTypeId="16" PostId="8981" RevisionGUID="fcd9c0f7-93b7-42ba-bc98-3b24327317c6" CreationDate="2011-07-05T19:27:44.553" UserId="-1" />
  <row Id="14973" PostHistoryTypeId="2" PostId="8983" RevisionGUID="a2a7d77a-dec1-424e-b58f-7eacba3dc600" CreationDate="2011-07-05T22:10:50.323" UserId="1185" Text="I've never really got the point of twitter, but so many of you have been so vocal about it's virtues that I've just setup an account.  You can follow me @SoundSculpting" ContentLicense="CC BY-SA 3.0" />
  <row Id="14974" PostHistoryTypeId="16" PostId="8983" RevisionGUID="a2a7d77a-dec1-424e-b58f-7eacba3dc600" CreationDate="2011-07-05T22:10:50.323" UserId="-1" />
  <row Id="14975" PostHistoryTypeId="2" PostId="8984" RevisionGUID="629df14c-cc85-4ce6-81bd-a09ed7833a96" CreationDate="2011-07-05T22:25:26.747" UserId="1153" Text="I bought the recorder and only have one major grievance with it: each different mode is limited with a different bit/sample rate as opposed to them all being able to record up to 24bit 96kHz broadcast wav. It goes like this:&#xD;&#xA;&#xD;&#xA;Stereo: max 24bit 96kHz wav&#xD;&#xA;4 Channel: max 24bit 48Khz wav&#xD;&#xA;multitrack: 16bit 44.1kHz wav&#xD;&#xA;&#xD;&#xA;As I bought it to get into field recording I was slightly disappointed with the multitrack option being on 16/44.1 as I had hoped this would have allowed me to record in mono using my NTG-2 at 24/96. HOWEVER I improvised a work around: If you want to record 1 or 2 mono tracks using the XLR inputs, record in 'Stereo' mode with inputs 1/2 selected to get your 24/96 and then separate the stereo file into left and right tracks later (I use Snapper to quickly do this) which will produce your two mono tracks e.g. input 1 = left track, 2 = right. Not ideal but good for those of us with lower budgets or whom are just getting started.&#xD;&#xA;&#xD;&#xA;Also the software updates now allow for individual adjustment of the record levels of the mics (e.g. can set mic 1 at rec. lvl 70 and mic 2 at rec. lvl 50) as opposed to this being fixed as the same for both XLR inputs which it previously was making my previous work around even more viable. When using the inputs press the rec. lvl button on the side and then input 1 or 2 to select which input level you wish to change before going back to the rec. lvl button on the side to then adjust.&#xD;&#xA;&#xD;&#xA;Here's the link for the updates:&#xD;&#xA;&#xD;&#xA;http://www.zoom.co.jp/downloads/h4n/software/&#xD;&#xA;&#xD;&#xA;From the other reviews it would also appear that I ran into the 1/4 -10dB problem when trying to use a hydrophone with it. I found the levels very quiet and in some cases it was necessary to turn the rec. level up to 100 (when recording stiller water generally).&#xD;&#xA;&#xD;&#xA;Despite all that I do find it to be a generally good recorder and all I'd say was just compare it to what you will be using it for before diving in. All in all though, for what it is, thumbs up!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14976" PostHistoryTypeId="2" PostId="8985" RevisionGUID="62f0576c-dfdb-4b59-9437-590b5b954528" CreationDate="2011-07-06T06:34:47.357" UserDisplayName="user6513" Text="I wish I was a sound designer, but at best I reckon I'm just an audio post guy. I also still freelance as a boom op and sound recordist. Currently shuttling between Melbourne, Australia and Singapore. Anyone else from these parts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="14977" PostHistoryTypeId="16" PostId="8985" RevisionGUID="62f0576c-dfdb-4b59-9437-590b5b954528" CreationDate="2011-07-06T06:34:47.357" UserId="-1" />
  <row Id="14978" PostHistoryTypeId="2" PostId="8986" RevisionGUID="4143cb2f-d30e-4df4-a028-c77c51e87a12" CreationDate="2011-07-06T07:05:21.210" UserId="1178" Text="Hello Andy!&#xD;&#xA;&#xD;&#xA;If your clients insists on using MP3s and the game engine can handle it, you can always hack two mp3s (with fade ins and outs) and switch them back a fourth so no gap is heard in the game." ContentLicense="CC BY-SA 3.0" />
  <row Id="14979" PostHistoryTypeId="5" PostId="8986" RevisionGUID="17e5b1a5-a1bf-46d6-b4ba-829fc6d95511" CreationDate="2011-07-06T07:46:56.430" UserId="1178" Comment="fixed grammar" Text="Hello Andy!&#xD;&#xA;&#xD;&#xA;If your clients insists on using MP3s and the game engine can handle it, you can always do a hack with two mp3s (with fade ins and outs) and switch them back a fourth so no gap is heard in the game." ContentLicense="CC BY-SA 3.0" />
  <row Id="14980" PostHistoryTypeId="2" PostId="8987" RevisionGUID="b9f4ed55-fad8-4905-8539-d18af39960d8" CreationDate="2011-07-06T10:51:54.263" UserId="1196" Text="Hi - I'm an in house sound designer/composer for a company in London.  Nice to see a great mix of people on here, I'm new but I definitely should to stick around!&#xD;&#xA;&#xD;&#xA;Also, any other sound designers here from London? Drop me a message.." ContentLicense="CC BY-SA 3.0" />
  <row Id="14981" PostHistoryTypeId="16" PostId="8987" RevisionGUID="b9f4ed55-fad8-4905-8539-d18af39960d8" CreationDate="2011-07-06T10:51:54.263" UserId="-1" />
  <row Id="14982" PostHistoryTypeId="2" PostId="8988" RevisionGUID="07efe016-ef80-42ac-9247-e0e0629ae0eb" CreationDate="2011-07-06T10:55:34.287" UserId="1196" Text="Record everything at 192Khz, can definitely notice a difference especially as the other guys have mentioned, when doing detailed editing of the waveform.  Record at the highest sample rate possible, you won't ever regret it (unless you're recording on something like a battery powered H4N ;))" ContentLicense="CC BY-SA 3.0" />
  <row Id="14983" PostHistoryTypeId="2" PostId="8989" RevisionGUID="a6a46ee1-ce8d-44cb-b052-79e53fd2205a" CreationDate="2011-07-06T10:59:04.110" UserId="1196" Text="To me, (very loosely) music conveys emotion, sound design conveys narrative....not necessarily mutually exclusive though, that's what I love it." ContentLicense="CC BY-SA 3.0" />
  <row Id="14984" PostHistoryTypeId="2" PostId="8990" RevisionGUID="bab0cf4b-56f6-4681-9072-e9e1c8c54882" CreationDate="2011-07-06T11:05:27.063" UserId="1196" Text="I spent a year with it, recording corporates...short films etc and I have to say that it got me through them, albeit clumsily.  For field recording, I'm sure you can get some really nice results, but for stuff like shorts, I had no-where near enough control...but that's why you pay for something like the SD744 i guess.  &#xD;&#xA;&#xD;&#xA;For recorders in it's class I'm pretty confident in saying it beats them all, but it depends how much you need to push it." ContentLicense="CC BY-SA 3.0" />
  <row Id="14985" PostHistoryTypeId="2" PostId="8991" RevisionGUID="a924cc70-61c5-4918-94ab-b0b45ff499d3" CreationDate="2011-07-06T11:09:32.830" UserId="1196" Text="If I hadn't worked for free (a hell of a lot, too), I wouldn't have a got a job working for one of the best sound design companies in the world.   It's a sad fact, and I wish the industry was different but trust me, if you work hard, prove to others that you're determined...that it's a lifestyle rather than just another career to make a quick buck...you'll do well.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="14986" PostHistoryTypeId="2" PostId="8992" RevisionGUID="f3980b85-5cac-4015-827a-f92304585fe0" CreationDate="2011-07-06T11:52:04.813" UserId="769" Text="Re @AzimuthAudio's post, in particular this part —&#xD;&#xA;&#xD;&#xA;&gt;A project I really believe in. Sometimes something comes along that is a genuine and great project, something that is simply not out there and needs to be. I have helped a few documentaries get finished because I thought they had a really special point of view and people needed to see it, so I helped it along and get finished.  &#xD;&#xA;&#xD;&#xA;This is what gets me working for free, too, and actually quite often. I've just come off two weeks of sleeping between 0-5 hours a night (I currently haven't slept for 38 hours) in order to finish something for free because I really believe it should exist, and there's not enough challenging or unique art and media being made.&#xD;&#xA;&#xD;&#xA;Money is great and obviously it makes our lives easier and gives our skills some tangible, measurable value.  But money is quickly forgotten.  Enduring work isn't." ContentLicense="CC BY-SA 3.0" />
  <row Id="14987" PostHistoryTypeId="2" PostId="8993" RevisionGUID="d24a5a4a-660e-4a6d-9915-51409f819076" CreationDate="2011-07-06T15:17:22.660" UserId="1197" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am a MSc Sound Design Student at Leeds Met Uni in the UK and for my final major project (starting now and handed in at the end of September) I am proposing to make a Kontakt-based sampler instrument for Foley. The rationale behind this is to create a sampler instrument that saves time, and more importantly money for creating basic foley for low budget film &amp; TV etc.&#xD;&#xA;&#xD;&#xA;As Foley is quite a vast area, I need to narrow down the possible areas covered by the instrument so I can complete the project in the time frame I have. I was thinking of starting off with footsteps as one of the sampler sounds.&#xD;&#xA;&#xD;&#xA;I would love your thoughts and ideas on what sounds I should concentrate on and suggestions of the operation of the instrument (for example random sample triggering for footsteps or an arpeggiator control to speed up/slow down steps)&#xD;&#xA;&#xD;&#xA;I will also need testers as soon as I have a working model of the instrument.&#xD;&#xA;&#xD;&#xA;Looking forward to reading your replies.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Simon Morgan" ContentLicense="CC BY-SA 3.0" />
  <row Id="14988" PostHistoryTypeId="1" PostId="8993" RevisionGUID="d24a5a4a-660e-4a6d-9915-51409f819076" CreationDate="2011-07-06T15:17:22.660" UserId="1197" Text="Foley sampler instrument - Some questions to sound designers" ContentLicense="CC BY-SA 3.0" />
  <row Id="14989" PostHistoryTypeId="3" PostId="8993" RevisionGUID="d24a5a4a-660e-4a6d-9915-51409f819076" CreationDate="2011-07-06T15:17:22.660" UserId="1197" Text="&lt;foley&gt;&lt;sound-design&gt;&lt;instruments&gt;&lt;samples&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14990" PostHistoryTypeId="2" PostId="8994" RevisionGUID="a288ee4f-8de2-4b26-a4ab-b08e96e640a4" CreationDate="2011-07-06T15:32:30.703" UserId="999" Text="I've created a kind of style like this with N.I. Battery, you can trigger off the different samples and link things like volume &amp; pitch randomization with midi velocity etc. Really useful. You can just use it like you would program drums then perform it on a keyboard-and also assign effects to things like x-y pads.&#xD;&#xA;&#xD;&#xA;I saw a video for this kind of technique that the guy used with Wall-E ( he triggered the mechanical sounds of it moving) but cant track it down now. " ContentLicense="CC BY-SA 3.0" />
  <row Id="14991" PostHistoryTypeId="2" PostId="8995" RevisionGUID="ae485ebc-85b9-4c5e-9e0d-7a5f7c4c6b3b" CreationDate="2011-07-06T15:45:23.157" UserId="999" Text="I play guitar and piano, and did my degree originally in music! it's definitely affected my sound design techniques and I always strive to make my sound design musical in some kind of way- although these days i feel like i tend to think of music in a sound design way-rather than the other way around!" ContentLicense="CC BY-SA 3.0" />
  <row Id="14992" PostHistoryTypeId="2" PostId="8996" RevisionGUID="8a207978-6ce9-4874-8534-61f8f105176d" CreationDate="2011-07-06T16:03:13.930" UserId="397" Text="&#xD;&#xA;It surely sounds interesting and I understand why you want to go there. But the thing is, and you can call me old school, recording Foley it's more about defining the personality of the character. Is he/she a bad guy, is he/she shy? Nervous? Relaxed? You can emphasize the psychology of the character through the recording of Foley. Every time I watch a cheap production, it takes me off when I hear a sample of, let's say footsteps. Bad quality, that they don't match at all the character and also in your face. So allow me to ask this: Isn't it time consuming to sync in picture the right kind of footsteps, using this sampler and later adding(if necessary) some reverb? IMHO i think it's faster to record and edit Foley...     " ContentLicense="CC BY-SA 3.0" />
  <row Id="14993" PostHistoryTypeId="2" PostId="8997" RevisionGUID="629ec2b0-5822-43f7-af83-7b1c4be27420" CreationDate="2011-07-06T16:10:17.627" UserId="1198" Text="Foley seems like something that is done per-individual basis.  Coin flipped.  Low budget productions re-use foley to save time and money.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="14995" PostHistoryTypeId="2" PostId="8999" RevisionGUID="6e9bfead-a5bf-4f1e-8897-18038a4dafd9" CreationDate="2011-07-06T16:21:35.533" UserId="1196" Text="Guitar and piano player here, I think we've pretty much solved the fact that musicianship and understanding sound go hand in hand...although some of the best sound designers I know aren't musicians.." ContentLicense="CC BY-SA 3.0" />
  <row Id="14996" PostHistoryTypeId="2" PostId="9000" RevisionGUID="ce585af4-d6b4-42c5-87a0-f7cc34f69e79" CreationDate="2011-07-06T16:59:23.607" UserId="701" Text="We also use Battery in our three rooms for this very thing when projects don't have the time or budget for foley.  The video Kyle Martyn-Clark refers to is on the Designing Sound page but you'll have to dig for it, it was up a few months ago.  FYI, we tried this with Kontakt but felt the learning curve was much steeper than Battery in this regard.  John." ContentLicense="CC BY-SA 3.0" />
  <row Id="14997" PostHistoryTypeId="2" PostId="9001" RevisionGUID="9094a5bc-9e27-4a18-b2a1-31d5e8f6c373" CreationDate="2011-07-06T17:11:42.723" UserDisplayName="user6513" Text="At that price range, assuming you're using USD, the Oktava 012 comes to mind, though I'm not a fan of it's over-sensitivity. A good shock mount is essential. I do like it's sound though.&#xD;&#xA;&#xD;&#xA;A bit more and you can get the AudioTechnica 4035B.&#xD;&#xA;&#xD;&#xA;Personally I started with an Rode NTG-3, but that was largely because it was on sale with a $1 Blimp. :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="14998" PostHistoryTypeId="2" PostId="9002" RevisionGUID="a2a8d478-43bc-4028-b66b-7cbd45d75eaf" CreationDate="2011-07-06T20:43:06.033" UserId="1152" Text="I wrote about this on my site: [Why I'm Not Upgrading To Pro Tools 9...Yet][1]&#xD;&#xA;&#xD;&#xA;That was back in November and I still haven't updated. I use REAPER for nearly everything now and keep M-Powered 8 installed for compatibility.&#xD;&#xA;OTOH I'm not a pro sound designer.&#xD;&#xA;&#xD;&#xA;  [1]: http://audiogeekzine.com/2010/11/why-im-not-upgrading-to-pro-tools-9-yet/" ContentLicense="CC BY-SA 3.0" />
  <row Id="14999" PostHistoryTypeId="2" PostId="9003" RevisionGUID="9d843f4f-5d74-4c15-9468-cfd512e76df2" CreationDate="2011-07-06T21:54:35.497" UserId="1068" Text="You can find me at @[insomaniac][1], and I'm starting up a project @[analogjitter][2] that should come into use soon.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://twitter.com/insomaniac&#xD;&#xA;  [2]: http://twitter.com/analogjitter" ContentLicense="CC BY-SA 3.0" />
  <row Id="15000" PostHistoryTypeId="16" PostId="9003" RevisionGUID="9d843f4f-5d74-4c15-9468-cfd512e76df2" CreationDate="2011-07-06T21:54:35.497" UserId="-1" />
  <row Id="15001" PostHistoryTypeId="2" PostId="9004" RevisionGUID="fae71ec6-98fe-4a7b-91bb-d2508e06eca7" CreationDate="2011-07-06T22:00:50.847" UserId="1068" Text="Back in high school, I did FOH for a jam band that was powered completely with three 1kW hydrogen fuel cells. They powered the guitar amps, keyboards, and PA, and with a few tanks of hydrogen, we could play a full set for hours. The system would output massive amounts of audio and water, running us off the grid. It was really fun.&#xD;&#xA;&#xD;&#xA;I know that Auralex has some green studio foam products, but beyond that, I haven't come across a lot of info on sustainable gear. Interesting idea." ContentLicense="CC BY-SA 3.0" />
  <row Id="15002" PostHistoryTypeId="2" PostId="9005" RevisionGUID="ddf5c656-3abe-49a0-b37a-e31176ba9c43" CreationDate="2011-07-07T00:02:42.430" UserId="1189" Text="In regards to creating energy from sound alone, I stumbled on this recently that sparked my interest:&#xD;&#xA;&#xD;&#xA;[Charge Your Phone With Your Shirt][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://news.discovery.com/tech/charge-your-phone-with-your-shirt.html#mkcpgn=rssnws1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15003" PostHistoryTypeId="2" PostId="9006" RevisionGUID="946a597e-4e81-4456-b1ee-e19a05e5afda" CreationDate="2011-07-07T00:15:30.747" UserId="1189" Text="I would have to agree that, when compared side-by-side, Battery might be the easier alternative in this case. The interface is simpler and caters more towards the &quot;one-shot&quot; nature of footsteps (generally-speaking).&#xD;&#xA;&#xD;&#xA;Is your brief specifically for Kontakt or could you perhaps extend the idea? Maybe even produce one for each system and document the differences in approach?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15004" PostHistoryTypeId="2" PostId="9007" RevisionGUID="4497eaae-3578-4733-ae66-f68c70ff1514" CreationDate="2011-07-07T01:06:59.753" UserId="1200" Text="Coming from an electronic music perspective with some experience in film sound, the two are completely seperate... unless you really know your composition skills in electronic music.  At that point, it is possible for sound design to be incorporated into composition... but this is way beyond the capabilities of most musicians and most sound designers.  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15005" PostHistoryTypeId="2" PostId="9008" RevisionGUID="ebcf2aee-6a94-4cf2-bfbb-ba9a0143d8d7" CreationDate="2011-07-07T09:41:12.807" UserId="1196" Text="All depends what you define as music.  I've heard plenty of &quot;compositions&quot; that fall under the category of sound design...listen to Amon Tobin's work...is this still music? I'd say yes.  It's all very subjective from a philosophical point of view, but there is obviously a clear distinction needed and I think the other guys have done a great job with this." ContentLicense="CC BY-SA 3.0" />
  <row Id="15007" PostHistoryTypeId="2" PostId="9010" RevisionGUID="d0c62044-b1b0-4cf5-97de-368825a7099e" CreationDate="2011-07-07T13:41:45.087" UserId="253" Text="I did this with Reason once. In the better sampler that it carries, you can assign a different footstep to each note. Then - you'll have to figure this out - i think there was a way to randomise the notes on the midi track in Pro Tools, making the foots sound a little less unnatural. And it'll be a little more natural sounding than just altering the pitch/eq.&#xD;&#xA;&#xD;&#xA;Also, see if you can find anything on Happy Feet. They loaded a sampler with different layers of stuff for at least some of the foot foley. There were the feet (leather i believe), as well as the surface (ice, dirt, etc.). I'm sure there was MUCH more to it than that though.&#xD;&#xA;&#xD;&#xA;As for other stuff like moves or door handling, you could load some into a sampler, but they're pretty specific, so i can't see it working that well. &#xD;&#xA;&#xD;&#xA;As Tim said, it is a false economy, but i see you understand that so i'll abort the lecture!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15008" PostHistoryTypeId="2" PostId="9011" RevisionGUID="40278895-e636-4c4e-b510-1973dd4b04cd" CreationDate="2011-07-07T15:16:03.507" UserId="1196" Text="How about creating something with a little more usability in perhaps a max/msp environment? You could have a facility to load in a sample bank and then create a series of parameters to control them such as velocity/speed etc.  Could go one step further and experiment with the wii sensor...? Just a suggestion.." ContentLicense="CC BY-SA 3.0" />
  <row Id="15009" PostHistoryTypeId="2" PostId="9012" RevisionGUID="66c7d84f-d8de-4a8d-a240-536b1b01d0dd" CreationDate="2011-07-07T16:11:00.710" UserId="189" Text="This is the video you was talking about:&#xD;&#xA;http://designingsound.org/2010/10/video-tutorial-using-battery-for-sound-design/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15010" PostHistoryTypeId="2" PostId="9013" RevisionGUID="6da5b2e2-3f03-404a-b4ae-d11c6ce48afc" CreationDate="2011-07-07T16:13:09.560" UserId="622" Text="I'm building a foley/sound effects library for Kontakt right now. K4 may scare some guys cause it's not easy to dig inside but it's a fantastic tool. Patch well done can be a time and money-saver for low budget situation but for shure it cannot replace the foley artist even if it can do a lot of things. Working with samples layers, group layers, mod wheel crossfade, release triggering, multi-instruments and tweaking auto parameters can help to build realistic patch to help designer but starting from scratch is a lot learning, editing and brain overheating! You can look sfx categories from Sound Ideas, Hollywood Hedge to be inspired and figure what can be done with a sampler. Ex: footsteps on a patch and noise pants samples trigged by release on another can be useful. Add noise from a backbag or/and keys to the multi and so on. Now you can eq/filter/fx each patch, record it and keep it in midi until you're happy with the sequence." ContentLicense="CC BY-SA 3.0" />
  <row Id="15011" PostHistoryTypeId="2" PostId="9014" RevisionGUID="4e874bf4-8f32-4927-8bee-c06c2f6e711f" CreationDate="2011-07-07T18:00:33.590" UserId="793" Text="I'm not sure how this would be better than loading footsteps from a sound effects library into Recycle, cutting them up then playing them from a sampler.&#xD;&#xA;&#xD;&#xA;More interesting would be having a randomisation of the sounds, ability to use a real-time controller to vary the surface, speed and distance (keeping in mind that any of these may need to change instantly to accomodate a change of POV in the camera).&#xD;&#xA;&#xD;&#xA;For non-footstep stuff the needs are often so specific that it would either have to be a vast library or in some way be highly editable whilst being quicker and cheaper than recording your own foley.&#xD;&#xA;&#xD;&#xA;(Also I used to study at LMU, but that is before they started doing post-grad degrees in sound design)." ContentLicense="CC BY-SA 3.0" />
  <row Id="15012" PostHistoryTypeId="2" PostId="9015" RevisionGUID="6506733c-1968-42e5-8b63-9f20f0e5f1ef" CreationDate="2011-07-07T19:52:44.090" UserId="1131" Text="Hey All,&#xD;&#xA;&#xD;&#xA;I agreed to do the post audio for a [48 hour film project][1] and wanted to know if anyone else has ever had experience working on one of these films before. Basically I want to know if I should even attempt this considering I will have about 5-8hrs from picture lock to do everything from dialogue editing to sound design, plus I won't know what I have to work with until I get it. I think someone else is going to do music composition so thats good.&#xD;&#xA;&#xD;&#xA;With that timeframe in mind how should I organize my time? Considering that I may not have time to do everything that I would want, what do you see as the most important elements to start with in order to still have a quality soundtrack?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.48hourfilm.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15013" PostHistoryTypeId="1" PostId="9015" RevisionGUID="6506733c-1968-42e5-8b63-9f20f0e5f1ef" CreationDate="2011-07-07T19:52:44.090" UserId="1131" Text="48 Hour Film Project" ContentLicense="CC BY-SA 3.0" />
  <row Id="15014" PostHistoryTypeId="3" PostId="9015" RevisionGUID="6506733c-1968-42e5-8b63-9f20f0e5f1ef" CreationDate="2011-07-07T19:52:44.090" UserId="1131" Text="&lt;shortfilm&gt;&lt;post-production&gt;&lt;time-management&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15015" PostHistoryTypeId="2" PostId="9016" RevisionGUID="530ae1c7-8244-4df6-a3dc-ba42ae5efcd6" CreationDate="2011-07-07T20:29:26.297" UserId="6499" Text="I have done the 48 hr fest multiple times and have competed at the national level, not once did we ever actually get to &quot;post sound&quot;  All was done within the video editor.  As with just about any film, picture editing takes more time and post sound is the one with the hard deadline.  The best you will be able to do is sit behind the video editor and start cutting and exporting sfx for the scenes he is on and then have them drop into avid or fcp and do rough level mixing.  The key is to stress superb on set audio, because then simple crossfades will suffice for the purpose of the project.  Last time I did it I had about 45 minutes to mix in avid, not the half day I was promised.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15016" PostHistoryTypeId="2" PostId="9017" RevisionGUID="a0729e66-eebc-4694-b263-ef392eaf0fdd" CreationDate="2011-07-07T22:34:56.950" UserId="219" Text="I've been a &quot;spectator from the inside&quot; twice, in 2009 and 2010. The first time I joined halfway through it and edited, the second time I was booming and doing some other sound stuff...&#xD;&#xA;&#xD;&#xA;This is typically the kind of project where you thank yourself for having this colorful palette that is your sound library. We had guys composing original songs both times, and I believe it really helps breathing the right life into your movie when you obviously can't afford to Foley anything.&#xD;&#xA;&#xD;&#xA;I reckon it is preferable to have two sound guys at least so the production can go on while you do the post work, as the production can be happening miles away from the where the post stuff is being done. You can't really afford to waste your oh so precious time on the road going back and forth between the shoot and the HQ. &#xD;&#xA;&#xD;&#xA;On such a tight schedule, I imagine it's preferable to work with a simple workflow:&#xD;&#xA;&#xD;&#xA; 1. Shoot&#xD;&#xA;THEN&#xD;&#xA; 2. Sync your audio with every video shot&#xD;&#xA;THEN ONLY&#xD;&#xA; 3. Edit picture with the sound synced&#xD;&#xA;THEN&#xD;&#xA; 4. Add the touches&#xD;&#xA;&#xD;&#xA;You want to have the techie stuff worked out prior to starting: what video format you are shooting at, have spare memory cards so you can keep shooting while other cards are being downloaded. Say you work in FCP, have a sequence ready with the right settings, know how you will export (Compressor is blazing fast and efficient at encoding H264, just throwing that out there...). Actually try your workflow with the equipment you'll be using if possible, make sure it just works.&#xD;&#xA;&#xD;&#xA;Again, you want to sync your sound to every single &quot;rush&quot; before any editing begins or it'll be hell to sync it manually afterwards. By doing this, you ensure your clean sound will be edited along with the picture and the picture editor is doing the big work for you. While this is being done, you have time to work on some more advanced sound stuff, like sound design or just finding the right sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="15017" PostHistoryTypeId="2" PostId="9018" RevisionGUID="bb6038ea-65f7-461b-8196-ede8dafbbb1f" CreationDate="2011-07-08T00:25:19.297" UserId="28" Text="Hi folks. This question may seem a bit off topic, (but it's sound designy, I promise!) I value the opinions here, and I wonder if anyone with a background in sound reinforcement has any advice.&#xD;&#xA;&#xD;&#xA;I want to start performing music with laptop: live processing, acoustic guitar and vocals. Think folk-tronica. (Shudder. I love genre labels.)&#xD;&#xA;&#xD;&#xA;I've played a couple of times recently, accompanying a friend, where I took a split from her keyboard, ran it through my effects, and then gave a line straight to FOH. But it's really really tricky to play with live feedback loops when I'm sharing the monitor with the singer.&#xD;&#xA;&#xD;&#xA;So I've decided that I should invest in an amp. I want something that I can use as a monitor, and send a stereo signal to the board, OR use it alone in places without a PA such as a café or living room party/concert. It will be for a spectrum of sound, from raw acoustic guitar and vocals, to atmospheric/noise, and electronic percussion and bass.&#xD;&#xA;&#xD;&#xA;Do you have any suggestions? I considered a small PA (which would give me the advantage of a wide stereo field.) But I think I'm leaning more towards a keyboard amp, such as the Traynor K4.&#xD;&#xA;&#xD;&#xA;My price range is $500 - $1000. &#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="15018" PostHistoryTypeId="1" PostId="9018" RevisionGUID="bb6038ea-65f7-461b-8196-ede8dafbbb1f" CreationDate="2011-07-08T00:25:19.297" UserId="28" Text="Amp for live music/sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15019" PostHistoryTypeId="3" PostId="9018" RevisionGUID="bb6038ea-65f7-461b-8196-ede8dafbbb1f" CreationDate="2011-07-08T00:25:19.297" UserId="28" Text="&lt;live-sound&gt;&lt;amplifier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15020" PostHistoryTypeId="2" PostId="9019" RevisionGUID="2b55bbdc-b37e-459d-ba44-2f3dc66f99c9" CreationDate="2011-07-08T01:00:26.533" UserId="1189" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I've just recently come across an offsite / cloud backup solution called Gobbler. Basically, anyone can create a free account that comes with 25gb of storage space. The bundles application scans your local and removable drives for project files (Logic, Pro Tools, Studio One, etc.), lists them all and then asks which ones you want to backup. The assets are stored offsite (which the website assures is &quot;military-grade&quot; in terms of security) and you can send the assets over to another Gobbler user to keep the projects synced.&#xD;&#xA;&#xD;&#xA;There's all these other features like SoundCloud integration and geographical drive tagging as well. The premise of the service seems perfect for what we all do.&#xD;&#xA;&#xD;&#xA;[Here's the official homepage for Gobbler][1]&#xD;&#xA;&#xD;&#xA;But I'm curious; I've hardly ever heard of this service before. No audio professionals I've spoken to have acknowledged it's existence and a quick search of this site doesn't seem to point to any references of it even though it's been in a public BETA phase for over 8 months now.&#xD;&#xA;&#xD;&#xA;I just wanted to check whether anyone here had come into contact with the service (I was invited by a colleague myself) or if anyone had any thoughts or comments at all.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gobbler.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="15021" PostHistoryTypeId="1" PostId="9019" RevisionGUID="2b55bbdc-b37e-459d-ba44-2f3dc66f99c9" CreationDate="2011-07-08T01:00:26.533" UserId="1189" Text="Gobbler as a cloud backup service" ContentLicense="CC BY-SA 3.0" />
  <row Id="15022" PostHistoryTypeId="3" PostId="9019" RevisionGUID="2b55bbdc-b37e-459d-ba44-2f3dc66f99c9" CreationDate="2011-07-08T01:00:26.533" UserId="1189" Text="&lt;cloud&gt;&lt;storage&gt;&lt;backups&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15023" PostHistoryTypeId="2" PostId="9020" RevisionGUID="f7bd0cbf-6cc1-4da4-b8f0-fe4da834f0f1" CreationDate="2011-07-08T01:24:55.797" UserId="234" Text="Hey there... I tried it out a while ago... found a little bug (that's since been fixed) and haven't really had a chance to try it out since. I know that Marti Humphries of the Dub Stage in LA (Sam Raimi's current mixer) is a big believer in it..." ContentLicense="CC BY-SA 3.0" />
  <row Id="15024" PostHistoryTypeId="2" PostId="9021" RevisionGUID="3a3d2685-0983-4674-afd3-167f8e9e7a8e" CreationDate="2011-07-08T03:53:20.220" UserId="396" Text="I haven't tried it out myself (my internet connection doesn't really make it viable..), but I know of several people who have tried it or are using it - both in music and post. I believe some of them are on here, so hopefully they will chime in." ContentLicense="CC BY-SA 3.0" />
  <row Id="15025" PostHistoryTypeId="2" PostId="9022" RevisionGUID="6d2f7658-af29-4e7c-b522-6d24d88dec11" CreationDate="2011-07-08T04:32:59.890" UserId="845" Text="A friend of mine had a Roland Jazz Chorus which was awesome for that kinda stuff.  A keyboard amp is probably the way to go though. &#xD;&#xA;&#xD;&#xA;Not to go all salesman on you, but I've got a Fender Blues Deluxe (tweed) that I need to get rid of before I move to Scotland. I'd like to see it go to a good home. You're welcome to come over and try it to see if it'll do the job. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15026" PostHistoryTypeId="2" PostId="9023" RevisionGUID="5055763d-4b54-4029-8743-60a092b10ea8" CreationDate="2011-07-08T05:12:11.170" UserId="397" Text="Recently, a friend of mine send me a link to download it. Unfortunetely, I haven't been able to use it yet. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15027" PostHistoryTypeId="2" PostId="9024" RevisionGUID="bdea8b53-3e27-4ef8-8996-f27b745445ef" CreationDate="2011-07-08T08:03:52.513" UserId="704" Text="Before you start, you should have a look at the Terms of Service. For example:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;9. Your Content Ownership and License to Gobbler&#xD;&#xA;&#xD;&#xA;a. You retain copyright and any other rights you already hold in Content which you submit, upload, post or display on or through, the Services. By submitting, uploading, posting or displaying the content you give Gobbler a perpetual, irrevocable, worldwide, royalty-free, and non-exclusive license to reproduce, adapt, translate, publish, store, and distribute any Content which you submit, upload, post or display on or through, the Services. This license is for the sole purpose of enabling Gobbler to store, send, and promote the Services.&#xD;&#xA;&#xD;&#xA;b. You confirm and warrant to Gobbler that you have all the rights, power and authority necessary to grant the above license. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;... in my eyes this makes it unusable, at least for professionals...&#xD;&#xA;&#xD;&#xA;Ben" ContentLicense="CC BY-SA 3.0" />
  <row Id="15028" PostHistoryTypeId="2" PostId="9025" RevisionGUID="638465b1-ea8f-4373-94c2-100f7ca88768" CreationDate="2011-07-08T10:53:31.357" UserDisplayName="user80" Text="A Mackie SRM150s would be a safe bet you can get a pair for $500.  &#xD;&#xA;&#xD;&#xA;http://www.mackie.com/products/srm150/&#xD;&#xA;&#xD;&#xA;If you want more power you can get a pair SRM 350v2s for $1000.&#xD;&#xA;&#xD;&#xA;http://www.mackie.com/products/srm350v2/&#xD;&#xA;&#xD;&#xA;These are not studio monitors, but they are robust, reliable and easy to sell on again if you change your mind." ContentLicense="CC BY-SA 3.0" />
  <row Id="15029" PostHistoryTypeId="2" PostId="9026" RevisionGUID="a0b1818f-8623-4c91-9f8b-59e346c38c24" CreationDate="2011-07-08T11:22:18.757" UserId="137" Text="Did attempt something like this in Kontact to help with foley snow footsteps in deep snow. The time it took to set it all up and map it out was a killer and in the end I found that best way was if i layered the different snow FX and snow footsteps samples in Kontact and just played them out varying pitch, speed, length etc. I got a great run of variations for my footsteps to add to the existing foley. Still had to cut them all in though so probably not what you need. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15030" PostHistoryTypeId="2" PostId="9027" RevisionGUID="85120d1c-eea1-4703-9fbb-f32a98c8f735" CreationDate="2011-07-08T11:33:12.040" UserId="891" Text="I guess Davide is referring to the AVID AUDIOVISION, which was Avid's DAW before they bought Digidesign and Pro Tools ruined it.&#xD;&#xA;&#xD;&#xA;To answer your question first: I'm sorry, but I don't know any video online and just had a look and couldn't find any manual or stuff like that anymore. :-(&#xD;&#xA;But I still know one or two studios who still have a working system. (But only for backup compatibility)&#xD;&#xA;&#xD;&#xA;For me AudioVision was the first DAW I worked on. I learned everything film related on it and am happy to have done so, as I still think it was a lot more focused on EDITING sound and not just track laying and mixing.&#xD;&#xA;E.g. you could select all the scene edits of a reel and then say you want a 2 frames crossfade centered on the cut. Not speaking of bins with subsequences (great for editing changes, or pasting the basic ambiences of a scene) or the clip editor for selecting the material and channels you need prior to putting it in the time line.&#xD;&#xA;Also as you mentioned clipbased gain and a bunch of other features never made it into ProTolls though some were announced to make the transition.&#xD;&#xA;&#xD;&#xA;But I can also say that with todays mixing, multichannel and Plug-In capabilities, I would not want to trade in a recent ProTools for an Audiovision. (Though for foley editing it should still be faster to get the job done - IMHO)&#xD;&#xA;&#xD;&#xA;Let's see where the future development will lead us. As long as some people have not forgotten about the benefits of such a system the ideas are still vital. (hopefully)&#xD;&#xA;&#xD;&#xA;best&#xD;&#xA;&#xD;&#xA;Lars" ContentLicense="CC BY-SA 3.0" />
  <row Id="15031" PostHistoryTypeId="2" PostId="9028" RevisionGUID="341b7558-45a8-4d57-a574-1ddb49255f85" CreationDate="2011-07-08T11:54:24.110" UserId="891" Text="For the described purpose I would go for a cardioid, because it will sound more natural and you should not have any problems getting close enough. &#xD;&#xA;For film use as your first mic a super cardioid might give you a broader palette also for outdoors.&#xD;&#xA;&#xD;&#xA;Be careful even with the CMIT-5U! It's a great sounding mic and does tolerate a lot, but if you have a lot of movement in a scene it'll take a lot of work in the mix to eq the different presence of the voices.&#xD;&#xA;So coming from the post side of things I would like to advise for try to get close first. Then try to get the room quiet and dampened. And if none of this is sufficient, try a more directional mic.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15033" PostHistoryTypeId="5" PostId="9018" RevisionGUID="76c5c868-a164-449d-9f37-961883916959" CreationDate="2011-07-08T14:25:05.923" UserId="28" Comment="added 113 characters in body; edited tags" Text="Hi folks. This question may seem a bit off topic, (but it's sound designy, I promise!) I value the opinions here, and I wonder if anyone with a background in sound reinforcement has any advice.&#xD;&#xA;&#xD;&#xA;I want to start performing music with laptop: live processing, acoustic guitar and vocals. Think folk-tronica. (Shudder. I love genre labels.)&#xD;&#xA;&#xD;&#xA;I've played a couple of times recently, accompanying a friend, where I took a split from her keyboard, ran it through my effects, and then gave a line straight to FOH. But it's really really tricky to play with live feedback loops when I'm sharing the monitor with the singer.&#xD;&#xA;&#xD;&#xA;So I've decided that I should invest in an amp. I want something that I can use as a monitor, and send a stereo signal to the board, OR use it alone in places without a PA such as a café or living room party/concert. It will be for a spectrum of sound, from raw acoustic guitar and vocals, to atmospheric/noise, and electronic percussion and bass.&#xD;&#xA;&#xD;&#xA;Do you have any suggestions? I considered a small PA (which would give me the advantage of a wide stereo field.) But I think I'm leaning more towards a keyboard amp, such as the Traynor K4.&#xD;&#xA;&#xD;&#xA;http://www.traynoramps.com/products.asp?type=1&amp;cat=57&amp;id=340&#xD;&#xA;&#xD;&#xA;My price range is $500 - $1000. And I do have a little Mackie 1202, if I need it.&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="15034" PostHistoryTypeId="6" PostId="9018" RevisionGUID="76c5c868-a164-449d-9f37-961883916959" CreationDate="2011-07-08T14:25:05.923" UserId="28" Comment="added 113 characters in body; edited tags" Text="&lt;live-sound&gt;&lt;amplifier&gt;&lt;live-performance&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15035" PostHistoryTypeId="5" PostId="9019" RevisionGUID="3262844f-554a-4c62-adb0-70d24b20312f" CreationDate="2011-07-08T16:16:15.373" UserId="1189" Comment="corrected spelling" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I've just recently come across an offsite / cloud backup solution called Gobbler. Basically, anyone can create a free account that comes with 25gb of storage space. The bundled application scans your local and removable drives for project files (Logic, Pro Tools, Studio One, etc.), lists them all and then asks which ones you want to backup. The assets are stored offsite (which the website assures is &quot;military-grade&quot; in terms of security) and you can send the assets over to another Gobbler user to keep the projects synced.&#xD;&#xA;&#xD;&#xA;There's all these other features like SoundCloud integration and geographical drive tagging as well. The premise of the service seems perfect for what we all do.&#xD;&#xA;&#xD;&#xA;[Here's the official homepage for Gobbler][1]&#xD;&#xA;&#xD;&#xA;But I'm curious; I've hardly ever heard of this service before. No audio professionals I've spoken to have acknowledged it's existence and a quick search of this site doesn't seem to point to any references of it even though it's been in a public BETA phase for over 8 months now.&#xD;&#xA;&#xD;&#xA;I just wanted to check whether anyone here had come into contact with the service (I was invited by a colleague myself) or if anyone had any thoughts or comments at all.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gobbler.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="15036" PostHistoryTypeId="2" PostId="9030" RevisionGUID="8a6dffd9-d43a-4147-b498-c7500cba97d6" CreationDate="2011-07-08T17:10:56.330" UserId="1152" Text="I referred over 120 people to Gobbler and won their contest. The program works well and their support is great. Its a small company and they seem to really believe in and are excited by what they're doing.&#xD;&#xA;&#xD;&#xA;On the subject of their TOS they've addressed this on their forum, http://community.gobbler.com/gobbler/topics/question_about_your_terms_of_service&#xD;&#xA;&#xD;&#xA;Basically, their TOS came from a boilerplate they got online before they could afford a lawyer." ContentLicense="CC BY-SA 3.0" />
  <row Id="15037" PostHistoryTypeId="2" PostId="9031" RevisionGUID="8b684241-11cd-45e0-a66d-38e3d57ca252" CreationDate="2011-07-08T17:44:37.770" UserId="444" Text="Sorry this post is after the 4th.  But I figured I could share what I did this year.&#xD;&#xA;&#xD;&#xA;First, I was lucky enough to go to a private fireworks show.  So I was able minimize the amount of people around me. Then I was able to get closer then the rest of the crowd (about 80 ft away from where they where setting em off), further minimizing crowd reactions.&#xD;&#xA;&#xD;&#xA;I set up my rode ntg-2 about 10-15ft away from the motars and low to the ground.  Then from my spot by the recorder, a Marantz pmd661, I used a sennheiser me66 to point up at the sky.&#xD;&#xA;&#xD;&#xA;Also because of my location in a valley on a lake there was some awesome reverberations.  So a few times I would point my Mic away off toward the hills to capture some of the great echoes.&#xD;&#xA;&#xD;&#xA;The biggest problem I run into doing a fireworks show is how the fireworks overlap each other, so its hard to get any isolation.  But at least I got a pretty full sound of the show between the two mics.&#xD;&#xA;&#xD;&#xA;Unfortunately I've been to busy to take time to go in and edit and mix what I got, but if your interested in hearing it contact me and I'll get a soundcloud file up.&#xD;&#xA;&#xD;&#xA;Hope you got some cool stuff this year too, and stayed safe." ContentLicense="CC BY-SA 3.0" />
  <row Id="15038" PostHistoryTypeId="5" PostId="8974" RevisionGUID="dce8ea62-6e2a-4205-a2c7-f09fce8401e4" CreationDate="2011-07-08T18:29:18.517" UserId="202" Comment="added 65 characters in body; edited title" Text="Dear all&#xD;&#xA;&#xD;&#xA;After reading [this thread][1] at the DUC (and chatting with editors in this business longer than me), I'm really curious to see Avid AudioVision and how it worked.&#xD;&#xA;&#xD;&#xA;My first encounter with a Digidesign/Avid software was at a sound engineering course I took, and back then we had ProTools 5.1 (and that was the same version I used for the next 4 years, when I started working). I missed and still miss in ProTools 9, all those great feature that AudioVision seems to already have 15 years ago (Bin, clip based volume and EQ, integrated EDL autoconform, etc).&#xD;&#xA;&#xD;&#xA;Is there any video online (or other resource) that show AudioVision and its workflow (it was more like Media Composer than Protools, right?): can't find any.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Davide&#xD;&#xA;&#xD;&#xA;[edited to make it clear I refer to the AudioVision DAW]&#xD;&#xA;&#xD;&#xA;  [1]: http://duc.avid.com/showthread.php?t=11782" ContentLicense="CC BY-SA 3.0" />
  <row Id="15039" PostHistoryTypeId="4" PostId="8974" RevisionGUID="dce8ea62-6e2a-4205-a2c7-f09fce8401e4" CreationDate="2011-07-08T18:29:18.517" UserId="202" Comment="added 65 characters in body; edited title" Text="Is there any Avid AudioVision (DAW) video online?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15040" PostHistoryTypeId="2" PostId="9032" RevisionGUID="846c678c-3b41-4a5d-a501-d58c0fd5e9c1" CreationDate="2011-07-08T19:22:58.850" UserId="444" Text="My very first production sound gig was a 48hr film project a few years ago.  And I learned quite a bit making an embarrassing mistake.&#xD;&#xA;&#xD;&#xA;First thing I did was talk to a director and get a rough idea of what he wanted to do.  What story elements or props, etc. For example I knew a gun might be in it.  So in my down time I recorded gun handling sounds, before I even had a script.  My goal was to constantly be using my time in a productive manner.  A lot of what I recorded I didn't use, but there was a few things I was able too. &#xD;&#xA;&#xD;&#xA;During production, the very first location I actually made two mistakes. We started doing sync sound and I tried to record into my computer while at the at the same time sending a signal to the camera.  I thought I should at least record to the camera as a backup.  So the first mistake I realized was that with all the camera moves it would take to much time to move my comp around too.  So the next location I dropped recording to the computer, and we decided to record strait to the camera.  Our mobility was quicker and easier that way.&#xD;&#xA;&#xD;&#xA;The second, and biggest mistake at that location I found in post.  First the editor started cutting things together before he got the dialogue from me.  So the scene was cut with the audio recorded to the camera, which thanks to all my signal routing managed to pick up a radio station that was broadcasting a few blocks away.  Whoops.  So instead of the editor re-cutting and syncing my audio I had to spend a few hours in the middle of the night cutting and syncing my clean dialogue with how the editor cut the scene, all by ear.&#xD;&#xA;&#xD;&#xA;After that the rest of the shoot was great, thanks to location and weather I had no problems recording clean dialogue.  Also I made a point to record during every scene, dialogue or no.  With no time for foley in post I wanted to make sure I had as much sounds and I could.&#xD;&#xA;&#xD;&#xA;During editing I sat with the editor and helped him place sound effects where they needed to be and when we needed a sound I would quickly recorded it and bring it back to him to put in.  &#xD;&#xA;&#xD;&#xA;Most important thing I learned was to be flexible and creative, you may need to adapt in the middle of the shoot. Be  observant and take advantage of any little opportunity to grab a sound.  Also, remain positive and focused, not easy in the 30th hour, but you don't want to be the crew member that stresses out an already tired and stretched crew.&#xD;&#xA;&#xD;&#xA;  Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="15041" PostHistoryTypeId="2" PostId="9033" RevisionGUID="0986e415-b486-4d15-b8a6-4f45a6b1acc5" CreationDate="2011-07-08T19:45:13.160" UserId="1004" Text="Since I'm brand new to the audio post game and PT is the industry standard, I've decided to purchase MacBook Pro + PT9 in the near future. I have about $1800 to work with, so a loaded 13&quot; MBP seems the way to go, budget-wise, but I haven't heard much about editing with this particular model around here.&#xD;&#xA;&#xD;&#xA;I'm curious to hear some of your experiences with this setup if any of you have any. Are there any hiccups? Does it get hot or sluggish when working with video? Anything you can share would be helpful. This will be my first Mac so I'm just trying to be cautious and still have more research to do. I'm hoping this will be enough to get started on my mixing and editing to picture skills. &#xD;&#xA;&#xD;&#xA;Specs via Apple.com: &#xD;&#xA;&#xD;&#xA; - 2011 MBP&#xD;&#xA; - 2.7GHz dual-core Intel Core i7&#xD;&#xA; - 8GB 1333MHz DDR3 SDRAM - 2x4GB &#xD;&#xA; - 500GB Serial ATA Drive @ 5400 rpm&#xD;&#xA;&#xD;&#xA;PT9 Compatibility via AVID:&#xD;&#xA;&quot;17-inch, 15-inch, and 13-inch aluminum &quot;Unibody&quot; models with Core 2 Duo &quot;Penryn&quot; processors.&quot; (Doesn't list any other 13&quot; models.)&#xD;&#xA;&#xD;&#xA;Will this setup work? I'm itching to get my hands dirty!&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15042" PostHistoryTypeId="1" PostId="9033" RevisionGUID="0986e415-b486-4d15-b8a6-4f45a6b1acc5" CreationDate="2011-07-08T19:45:13.160" UserId="1004" Text="Pro Tools 9 on a 13&quot; Macbook Pro? " ContentLicense="CC BY-SA 3.0" />
  <row Id="15043" PostHistoryTypeId="3" PostId="9033" RevisionGUID="0986e415-b486-4d15-b8a6-4f45a6b1acc5" CreationDate="2011-07-08T19:45:13.160" UserId="1004" Text="&lt;macbook-pro&gt;&lt;pro-tools&gt;&lt;post-production&gt;&lt;mixing&gt;&lt;compatibility&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15044" PostHistoryTypeId="2" PostId="9034" RevisionGUID="c4f8fab1-4b5e-46b7-868b-7b6a1b09d59e" CreationDate="2011-07-08T20:42:12.780" UserId="253" Text="IMHO, any macbook from the past 4 years or so would be fine for sound editing purposes. As long as the hardware you buy will be compatible with the software you intend to get (check out the compatibility section on the digidesign website), then i think you can save some dollars that could be well spent elsewhere.&#xD;&#xA;&#xD;&#xA;A few things to think about:&#xD;&#xA;&#xD;&#xA;- Do you really need a macbook? imacs tend to have more screen real estate (i felt like the hunchback of Notre Dame, mixing on my 13 inch macbook) and lower price tags.&#xD;&#xA;&#xD;&#xA;- While a new mac will come with a warranty and be nice and shiny and new; a secondhand mac will have a much lower price tag, but may not carry a warranty. I'd recommend scoping out refurbished macs from reputable sellers. The apple store, powermax and mac of all trades are good places to start. These often come with shorter warranties, but there are options to extend them.&#xD;&#xA;&#xD;&#xA;I used to cut and mix without a care in the world on my old macbook (not even pro!) that i bought refurbished in 2009. Although the lack of firewire did annoy me towards the end. My point is that, unless you're running a ridiculous amount of RTAS plugs, or have 50+ tracks running in PT9, the new fancy processors won't benefit you all that much. And the money you save could go toward a better set of monitor speakers, a mic, or an all-important backup drive.&#xD;&#xA;&#xD;&#xA;Happy shopping!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15045" PostHistoryTypeId="2" PostId="9035" RevisionGUID="ea9c7333-bf9e-4c0b-9d78-7cd3178ccb9b" CreationDate="2011-07-08T20:49:23.523" UserId="268" Text="Plenty of power!&#xD;&#xA;&#xD;&#xA;You will want an external hard drive and monitor.&#xD;&#xA;&#xD;&#xA;The thunderbolt port is a good investment for future interfaces.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15046" PostHistoryTypeId="5" PostId="8782" RevisionGUID="13979e75-d54b-4763-b9f6-7493abfe01a0" CreationDate="2011-07-08T20:56:34.177" UserId="423" Comment="added 119 characters in body" Text="Hey Everyone, &#xD;&#xA;&#xD;&#xA;I'm getting ready to record all the 4th of July madness...my neighborhood goes CRAZY.  I'm within 3 miles of 3 giant displays and my neighborhood nearly outdoes them...and it went on for 4 hours last year.  Anyway, I'm hoping to get some good suggestions on recording.  I did it last year with my Rode NT-4 going into my Tascam DR-680 and my ZOOM H2.  Here's a short sample of one little piece and what I did with it.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F14512752&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F14512752&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/joeedwards/sound-design-sample-firework&quot;&gt;Sound Design Sample-Firework Reports&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/joeedwards&quot;&gt;BEC Sound Design&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;This year I've got my Rode NT-4, a Rode NT-2, a tasty new Sony PCM-D50 and my ZOOM H2.  Rodes will go into the Tascam and the Sony and the ZOOM will be placed to get different perspectives.  &#xD;&#xA;&#xD;&#xA;Any tips on placement or anything else?  Rodes will be pointed straight up to all the action and I'm thinking about placing the ZOOM on the roof in the back of my house to catch echoes and reverb and the Sony I just haven't decided.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;Started going through the 8 hours of recordings...here's a sample of some of the raw stuff:&#xD;&#xA;&#xD;&#xA;http://snd.sc/mPleiF" ContentLicense="CC BY-SA 3.0" />
  <row Id="15047" PostHistoryTypeId="5" PostId="9032" RevisionGUID="34d3e29f-aa17-4152-90d2-012ae20eef37" CreationDate="2011-07-08T21:07:22.840" UserId="444" Comment="added 31 characters in body" Text="My very first production sound gig was a 48hr film project a few years ago.  And I learned quite a bit making an embarrassing mistake.&#xD;&#xA;&#xD;&#xA;First thing I did was talk to a director and get a rough idea of what he wanted to do.  What story elements or props, etc. For example I knew a gun might be in it.  So in my down time I recorded gun handling sounds, before I even had a script.  My goal was to constantly be using my time in a productive manner.  A lot of what I recorded I didn't use, but there was a few things I was able too. &#xD;&#xA;&#xD;&#xA;During production, the very first location I actually made two mistakes. We started doing sync sound and I tried to record into my computer while at the at the same time sending a signal to the camera.  I thought I should at least record to the camera as a backup.  So the first mistake I realized was that with all the camera moves it would take to much time to move my comp around too.  So the next location I dropped recording to the computer, and we decided to record strait to the camera.  Our mobility was quicker and easier that way.&#xD;&#xA;&#xD;&#xA;The second, and biggest mistake at that location I found in post.  First the editor started cutting things together before he got the dialogue from me.  So the scene was cut with the audio recorded to the camera, which thanks to all my signal routing managed to pick up a radio station that was broadcasting a few blocks away.  Whoops.  So instead of the editor re-cutting and syncing my audio I had to spend a few hours in the middle of the night cutting and syncing my clean dialogue with how the editor cut the scene, all by ear.&#xD;&#xA;&#xD;&#xA;After that the rest of the shoot was great, thanks to location and weather I had no problems recording clean dialogue.  Also I made a point to record during every scene, dialogue or no.  With no time for foley in post I wanted to make sure I had as much sounds and I could.&#xD;&#xA;&#xD;&#xA;During editing I sat with the editor and helped him place sound effects where they needed to be and when we needed a sound I would quickly recorded it and bring it back to him to put in.  &#xD;&#xA;&#xD;&#xA;Most important thing I learned was to be flexible and creative, you may need to adapt in the middle of the shoot. Be  observant and take advantage of any little opportunity to grab a sound.  Also, remain positive and focused, not easy in the 30th hour, but you don't want to be the crew member that stresses out an already tired and stretched crew.&#xD;&#xA;&#xD;&#xA;  Good luck.  http://vimeo.com/m/#/11916256" ContentLicense="CC BY-SA 3.0" />
  <row Id="15049" PostHistoryTypeId="2" PostId="9037" RevisionGUID="27c39572-c672-46a5-ae35-a38b9c6316ad" CreationDate="2011-07-08T23:31:21.107" UserId="285" Text="Hey There&#xD;&#xA;&#xD;&#xA;This is a little too late for your purposes but....&#xD;&#xA;&#xD;&#xA;I have a post on my blog about recording fireworks launched off a frozen lake in the winter, and a free download of the edited down file I recorded (5 minutes of fireworks).  It is all from a bit of a distant microphone perspective but you might have a use for it.  Check it out if you have a moment. &#xD;&#xA;http://www.azimuthaudio.ca/azimuth-blog/2011/6/29/frozen-fireworks.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15050" PostHistoryTypeId="2" PostId="9038" RevisionGUID="feaab27f-35d5-411b-92b4-3e9c618cb2df" CreationDate="2011-07-08T23:41:20.187" UserId="654" Text="I had some contact from them recently to get more coverage of their system on my blog, but on looking a bit closer into how they determine what files are being referenced by the PT session I found out they simply grab the audio files folder, rather than reading the PTF document (which they cant until they become a 3rd party developer with Avid, paying a fee etc).&#xD;&#xA;I regularly use over the limit of 64 tracks per drive and have to span across disks, with media in SFX drives, and audio drives so using Gobbler for a backup just isnt viable until they can read the PTF document and truly backup a PTF, rather than just the folder it resides in.&#xD;&#xA;Be aware!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15051" PostHistoryTypeId="2" PostId="9039" RevisionGUID="107d428d-186e-42ac-b97a-623205ba9588" CreationDate="2011-07-09T05:16:05.770" UserId="6435" Text="Great stuff in this thread, I'm certainly going to check out some of these apps. I have the Reactable and Tenori-On apps, as well as SoundyThingy. I have TouchOSC that I intend to use with a QLab system, though I haven't implemented it yet. &#xD;&#xA;&#xD;&#xA;I'm still learning Reactable and Tenori-On, but I'm pretty certain they'll both get used on the next show I design." ContentLicense="CC BY-SA 3.0" />
  <row Id="15052" PostHistoryTypeId="2" PostId="9040" RevisionGUID="8d102b00-a8c4-4810-9775-5e6085a1cf6b" CreationDate="2011-07-09T05:31:11.627" UserId="6435" Text="I live in Chicago, and lately I've been doing a fair amount of ambience recording in the various neighborhoods and downtown. So many city ambiences on SFX CDs sound like Manhattan at rush hour to me, so I'm trying to capture some variety, and some subtle variations if I can. I already have a long list of locations I plan to record. And like many folks here, I have thoughts of selling the resulting sounds as a package.&#xD;&#xA;&#xD;&#xA;To that end: when you pull up a city sound from a library, what are you hoping to find? What are you not finding? What do you wish was available? If you don't live in or near a big city yourself, do you get everything you need from what's already available? Does this sound like a good idea?&#xD;&#xA;&#xD;&#xA;Thanks all.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15053" PostHistoryTypeId="1" PostId="9040" RevisionGUID="8d102b00-a8c4-4810-9775-5e6085a1cf6b" CreationDate="2011-07-09T05:31:11.627" UserId="6435" Text="City ambiences: what do you need?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15054" PostHistoryTypeId="3" PostId="9040" RevisionGUID="8d102b00-a8c4-4810-9775-5e6085a1cf6b" CreationDate="2011-07-09T05:31:11.627" UserId="6435" Text="&lt;field-recording&gt;&lt;sound-effects&gt;&lt;library&gt;&lt;survey&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15055" PostHistoryTypeId="2" PostId="9041" RevisionGUID="7a005ec4-bf4d-48f5-ae90-8765af01f673" CreationDate="2011-07-09T06:29:03.357" UserId="18160" Text="Subway. Subways without people and with people would be very valuable. I'm thinking about eerie deserted subway ambience with the screechy train noise coming from miles down the tunnel - know what I mean?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15056" PostHistoryTypeId="2" PostId="9042" RevisionGUID="11d0f631-7890-409e-bebb-7b1f99190114" CreationDate="2011-07-09T06:46:25.773" UserId="18160" Text="This is kind of a personal question so excuse me if I get emotional or too intimate while writing this but that just shows my love of this forum and community and I hope many of you I have conversed with over the past year and a half will respond with some words of wisdom.&#xD;&#xA;&#xD;&#xA;It happens a lot in the sound designing situation I'm in where someone is chosen as the superior or supervisor and I personally feel like I can bring so much more to the table if I were in that position but I don't know how to communicate this without coming across as a jerk.&#xD;&#xA;&#xD;&#xA;I've tried promoting and putting together a really nice show-reel and I constantly get good comments of how well I am to work with etc. etc. but it just doesn't seem to push me into higher and higher positions on the todem-pole. I'm constantly the second-in-command or the &quot;deputy&quot; or what have you, and it is starting to irk me that I am not chosen for the head or supervising role and I honestly think I can do a better job than my peers who are chosen for it. Most of them don't even know what the wilhelm scream is, let alone how to communicate emotions through sound or how to create an atmosphere with sonic landscapes for a movie or even how important it is to capture home-grown sound effects to add that extra flavor to your soundtrack that you just can't get sometimes anywhere else. I feel like I've grown in my knowledge of what is correct and what is incorrect sound to add in to a professional soundtrack.&#xD;&#xA;&#xD;&#xA;Should I be worried about this? I'm 26 and I feel like if I don't start moving up into those higher echelons of responsibility on projects I'll never make it out of &quot;just being another editor on the project&quot;.&#xD;&#xA;&#xD;&#xA;I mean, I have learned a lot on this site as well as on the job and I think I could sound design the hell out of a movie or similar project and I don't know how to communicate or show this to the powers-that-be which puts me into the go-to guy for sound needs.&#xD;&#xA;&#xD;&#xA;What has worked for you in the past? I've spent about 2 years now working 80+ hours a week sacrificing many personal endeavors to get ahead in this game but it seems like I've not gotten anywhere.&#xD;&#xA;&#xD;&#xA;Thanks for your thoughts on the matter." ContentLicense="CC BY-SA 3.0" />
  <row Id="15057" PostHistoryTypeId="1" PostId="9042" RevisionGUID="11d0f631-7890-409e-bebb-7b1f99190114" CreationDate="2011-07-09T06:46:25.773" UserId="18160" Text="Ever feel like you were better for the job?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15058" PostHistoryTypeId="3" PostId="9042" RevisionGUID="11d0f631-7890-409e-bebb-7b1f99190114" CreationDate="2011-07-09T06:46:25.773" UserId="18160" Text="&lt;life&gt;&lt;job&gt;&lt;career&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15059" PostHistoryTypeId="5" PostId="9042" RevisionGUID="aaccfc77-a76e-4e30-9f0e-9502a7bbf88e" CreationDate="2011-07-09T06:51:54.930" UserId="18160" Comment="added 42 characters in body" Text="This is kind of a personal question so excuse me if I get emotional or too intimate while writing this but that just shows my love of this forum and community and I hope many of you I have conversed with over the past year and a half will respond with some words of wisdom.&#xD;&#xA;&#xD;&#xA;It happens a lot in the sound designing situation I'm in where someone is chosen as the superior or supervisor and I personally feel like I can bring so much more to the table if I were in that position but I don't know how to communicate this without coming across as a jerk.&#xD;&#xA;&#xD;&#xA;I've tried promoting and putting together a really nice show-reel and I constantly get good comments of how well I am to work with etc. etc. but it just doesn't seem to push me into higher and higher positions on the todem-pole. I'm constantly the second-in-command or the &quot;deputy&quot; or what have you, and it is starting to irk me that I am not chosen for the head or supervising role and I honestly think I can do a better job than my peers who are chosen for it. Most of them don't even know what the wilhelm scream is, let alone how to communicate emotions through sound or how to create an atmosphere with sonic landscapes for a movie or even how important it is to capture home-grown sound effects to add that extra flavor to your soundtrack that you just can't get sometimes anywhere else. I feel like I've grown in my knowledge of what is correct and what is incorrect sound to add in to a professional soundtrack.&#xD;&#xA;&#xD;&#xA;Should I be worried about this? I'm 26 and I feel like if I don't start moving up into those higher echelons of responsibility on projects I'll never make it out of &quot;just being another editor on the project&quot;.&#xD;&#xA;&#xD;&#xA;I mean, I have learned a lot on this site as well as on the job and I think I could sound design the hell out of a movie or similar project and I don't know how to communicate or show this to the powers-that-be which puts me into the go-to guy for sound needs.&#xD;&#xA;&#xD;&#xA;What has worked for you in the past? I've spent about 2 years now working 80+ hours a week sacrificing many personal endeavors to get ahead in this game but it seems like I've not gotten anywhere and I'm sort of doubting if I can make it.&#xD;&#xA;&#xD;&#xA;Thanks for your thoughts on the matter." ContentLicense="CC BY-SA 3.0" />
  <row Id="15060" PostHistoryTypeId="2" PostId="9043" RevisionGUID="127a1697-0ff0-45f5-99aa-c2d6f22abed0" CreationDate="2011-07-09T07:20:13.930" UserId="444" Text="It's worth it when your working on something like [this][1]&#xD;&#xA;&#xD;&#xA;I cant begin to explain the gratification I get out of it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.projectshowcase.org" ContentLicense="CC BY-SA 3.0" />
  <row Id="15061" PostHistoryTypeId="2" PostId="9044" RevisionGUID="42d35b64-9d7f-4f8b-a571-b299877f0223" CreationDate="2011-07-09T07:25:26.800" UserId="149" Text="You asked alot of questions there ;)&#xD;&#xA;&#xD;&#xA;Along the lines of Subways (good suggestion btw @Utopia), get Bridges.&#xD;&#xA;&#xD;&#xA; One sound i just recently wished i had more off (and higher quality) were recordings of traffic from underneath bridges. big bridges. small bridges. bridges above any water source. bridges with different kinds of materials: corrugated concrete, metal grates, etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15062" PostHistoryTypeId="5" PostId="8993" RevisionGUID="aa01e6b4-4438-4eb9-a1ec-05fc0d92ceb9" CreationDate="2011-07-09T08:24:44.487" UserId="1197" Comment="added 283 characters in body" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am a MSc Sound Design Student at Leeds Met Uni in the UK and for my final major project (starting now and handed in at the end of September) I am proposing to make a Kontakt-based sampler instrument for Foley. The rationale behind this is to create a sampler instrument that saves time, and more importantly money for creating basic foley for low budget film &amp; TV etc.&#xD;&#xA;&#xD;&#xA;As Foley is quite a vast area, I need to narrow down the possible areas covered by the instrument so I can complete the project in the time frame I have. I was thinking of starting off with footsteps as one of the sampler sounds.&#xD;&#xA;&#xD;&#xA;I would love your thoughts and ideas on what sounds I should concentrate on and suggestions of the operation of the instrument (for example random sample triggering for footsteps or an arpeggiator control to speed up/slow down steps)&#xD;&#xA;&#xD;&#xA;Also - I must mention that this pack may not be restricted to just human foley sounds. I shall be looking at all the options and may include such things as household sounds, vehicles or any other sounds. As it is so vast this is why I need you help and input on what I may include!&#xD;&#xA;I will also need testers as soon as I have a working model of the instrument.&#xD;&#xA;&#xD;&#xA;Looking forward to reading your replies.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Simon Morgan" ContentLicense="CC BY-SA 3.0" />
  <row Id="15063" PostHistoryTypeId="5" PostId="9017" RevisionGUID="4a7dca48-fe10-4657-9713-220acfa422c1" CreationDate="2011-07-09T11:21:59.337" UserId="219" Comment="wrong meaning" Text="I've been a &quot;spectator from the inside&quot; twice, in 2009 and 2010. The first time I joined halfway through it and edited, the second time I was booming and doing some other sound stuff...&#xD;&#xA;&#xD;&#xA;This is typically the kind of project where you thank yourself for having this colorful palette that is your sound library. We had guys composing original songs both times, and I believe it really helps breathing the right life into your movie when you obviously can't afford to Foley anything.&#xD;&#xA;&#xD;&#xA;I reckon it is preferable to have two sound guys at least so the production can go on while you do the post work, as the production can be happening miles away from the where the post stuff is being done. You can't really afford to waste your oh so precious time on the road going back and forth between the shoot and the HQ. &#xD;&#xA;&#xD;&#xA;One lesson I got out of it is:&#xD;&#xA;&#xD;&#xA;**Sync your clean audio to every shot before the picture gets edited!**&#xD;&#xA;&#xD;&#xA;You also want to have the techie stuff worked out prior to starting: what video format you are shooting at, have spare memory cards so you can keep shooting while other cards are being downloaded. Say you work in FCP, have a sequence ready with the right settings, know how you will export it, have ready made settings in Compressor... Actually try and prove your workflow, ideally with the equipment you'll be using, make sure it just works, it gives you a chance to iron out the kinks.&#xD;&#xA;&#xD;&#xA;Again, you want to sync your sound to every single &quot;rush&quot; before any editing begins or it'll be hell to sync it manually afterwards. By doing this, you ensure your clean sound will be edited along with the picture and the picture editor is doing the big work for you. While this is being done, you have time to work on some more advanced sound stuff, like sound design or just finding the right sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="15064" PostHistoryTypeId="2" PostId="9045" RevisionGUID="d5f9babb-009a-4065-a9f1-a9beb2ac459b" CreationDate="2011-07-09T14:29:52.787" UserId="285" Text="First off don't get down on yourself. Good work speaks for itself over time. I don't want sound condescending but two years is not a long time to be working your ass off and not be offered the top jobs. This is a business where track record speaks volumes and showing your stuff over an extended period of time with consistent results is important. It is also a business with a fairly high turn over. Every year a ton of schools unleash thousands of grads who are ready to take over the business but in 5 or 10 years only a very small fraction of those grads are still in the game. So beforeyou are given the big responsibility of lead roles you have to prove you are one of the minority that will be around for the long haul. &#xD;&#xA;Another thing needed to be a audio lead is social skills a lot of sound people lack. We are by nature people who have gravitated to working long hours alone in dark rooms, so sometimes some social skills are not as pointed as needed.  Audio leads need to be salesmen (both selling them selves and the audio decisions made) and very often producers want to be fluffed up as much as they want great audio. Dealing with production staff is a skill unto it's self. If someone is better at selling them self then at the actual work they sometimes get further quicker.  &#xD;&#xA;&#xD;&#xA;My advice would be to work on your smoozing skills. Try to develope relation ships with the people making the calls outside of strictly audio discussions so they know you as a fully rounded person. Most importantly keep improving your chops so when you get your shot you don't blow it because you will only get one shot if you don't take advantage of it. Keep your head up, good luck. &#xD;&#xA;I wrote this on my phone and have a glitch where it won't let me see what I am writing so sorry if this is all over the place. Yikes" ContentLicense="CC BY-SA 3.0" />
  <row Id="15065" PostHistoryTypeId="2" PostId="9046" RevisionGUID="8a06b161-8654-431e-9aa2-0d7ba3ccf241" CreationDate="2011-07-09T15:14:53.837" UserId="194" Text="2 years is a good start, but the reality of the situation is that it will take many more years before you develop enough seniority and track record to really start taking the lead on things.  Be better than everyone else for longer than everyone else and the details will eventually take care of themselves. &#xD;&#xA;&#xD;&#xA;I also think your perspective may be a little off.  A wise man said &quot;the things we spend our days doing are the things we spend our lives doing&quot;&#xD;&#xA;&#xD;&#xA;If you spend your days trying to get ahead, then you'll spend your whole life doing that.  There will **always** be someone better than you, some project bigger than the one you're working on, some position above yours (even if you're the owner).&#xD;&#xA;&#xD;&#xA;My advice is to spend your days working at the things you love and doing the things you love, and when you look back on it you'll see that you've spent your life doing the things you love.  If you feel that doing the art of audio is causing you to sacrifice happiness in other areas, then it may not be your boss's fault that you're unhappy.&#xD;&#xA;&#xD;&#xA;Also, Azimuth is very correct in that the social skills aspect of the job is at least as important as the audio skills aspect.  If you're an amazing sound designer but can't communicate with a team then you're not very useful.  If you're a serviceable sound designer who everyone loves to work with then you're far ahead of most." ContentLicense="CC BY-SA 3.0" />
  <row Id="15066" PostHistoryTypeId="2" PostId="9047" RevisionGUID="402cd0cf-6af4-4a11-8e9b-10463d6db1bc" CreationDate="2011-07-09T15:17:23.990" UserId="194" Text="off the top of my head:&#xD;&#xA;&#xD;&#xA;small exterior crowds with no ambient music&#xD;&#xA;sports crowds&#xD;&#xA;tall buildings are very urban and may have some unique sounds to the city&#xD;&#xA;rallies&#xD;&#xA;protests&#xD;&#xA;motorcycle gangs&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15067" PostHistoryTypeId="2" PostId="9048" RevisionGUID="bd2500ab-be92-42d0-88c9-e8fefc2d1a0f" CreationDate="2011-07-09T17:16:21.673" UserId="845" Text="I've been in the same situation as you for the last year. I've had to watch really big audio decisions made by people who literally know nothing about audio. Been lectured at about the technology and standards that I work with every day, and have dedicated my life to understanding. It's frustrating as all hell. &#xD;&#xA;&#xD;&#xA;It seems to me that there are two ways to look at it. 1) It's worth it, or 2) It's not. &#xD;&#xA;&#xD;&#xA;1)  If the direction your heading in right now is what you really, really want then @AzimuthAudio and @Rene have it dead on; stick to your guns and keep on working both the sound and the people around you. We live in a culture that is highly biased towards the outgoing, borderline manic, extrovert.  If you don't speak up for yourself everyone will just assume that you don't think you're ready for the job. Your work doesn't speak for itself, you do. So schmooze, buddy up, and brown nose and you'll get to where you wanna be. &#xD;&#xA;&#xD;&#xA;2) If you have a hard time with having to do that then you might want to investigate other options. Believe it or not, there are people out there who do what we do without having to do much in the way of the schmooze. The trick is to find people and projects that really get you going; where getting to the top isn't important, where the only ladder to climb is the project itself. The means justify the end, not the other way around. Having big name, important people working on a film never guarantees that the film will be great. The best movies, music, books, TV, and games I've enjoyed over the last few years have been done by people I'd never before heard of. Not because I'm *that* pretentious, but because the people involved adore the work they're doing and don't give two sheets about the paycheck or the accolades. &#xD;&#xA;&#xD;&#xA;The biggest thing is simply to be honest with everyone around you, including yourself. If you're into where you are and where you're going, Great! Work hard, be patient and you'll get there.  If you discover that you're into something else and want to go try it, Great!  Work hard, be patient and you'll get there.&#xD;&#xA;&#xD;&#xA;Remember that there're a few dozen infinities of ways to get from here to the finish line (I've re-written this post twice already), so always keep your eyes open for the right turn-off. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15068" PostHistoryTypeId="2" PostId="9049" RevisionGUID="5b21e3e8-9841-4949-b9a5-f121bf86f8b0" CreationDate="2011-07-09T18:13:11.173" UserId="253" Text="While i understand the bile that comes with seeing a job go to someone you think of as less worthy, i think that letting it affect you is something you should work against. I'm far from perfect, so i'm talking from an idealistic point of view that i don't necessarily live up to myself, but it's something i work towards.&#xD;&#xA;&#xD;&#xA;Also, as someone mentioned, 2 years is nothing in this industry. I think you're doing pretty damn good to be where you are right now! It's a slow moving industry that is, perhaps a little, biased against younger folk (i'm talking under 30). You need to take that in your stride and, when it comes to pride related matters, take it on the chin without flinching (if that makes sense).&#xD;&#xA;&#xD;&#xA;Another dangerous thing that i have been guilty of before is underestimating the skills of my peers/competitors. I don't do it so much now because i realised that it came from my own insecurity. You definitely don't want to let this sour your working relationship with the people who get the job over you.&#xD;&#xA;&#xD;&#xA;Finally, 80+ hours a week of work just isn't sustainable. This career is a marathon, not a sprint, and you can burn yourself out working like that. An important part of the creative process is rumination time; letting your mind be idle in order to process all the information it's been dealing with (the old cliche of coming up with your best ideas in the shower/toilet). Having activities and life outside of the job will make you happier, reduce stress, and give you new perspectives on things. And getting more sleep is just great for everyone involved." ContentLicense="CC BY-SA 3.0" />
  <row Id="15069" PostHistoryTypeId="5" PostId="9042" RevisionGUID="66300d2a-3853-46c4-a706-0ff0d96951cd" CreationDate="2011-07-09T19:29:34.473" UserId="18160" Comment="added 56 characters in body" Text="This is kind of a personal question so excuse me if I get emotional or too intimate while writing this but that just shows my love of this forum and community and I hope many of you I have conversed with over the past year and a half will respond with some words of wisdom.&#xD;&#xA;&#xD;&#xA;It happens a lot in the sound designing situation I'm in where someone is chosen as the superior or supervisor and I personally feel like I can bring so much more to the table if I were in that position but I don't know how to communicate this without coming across as a jerk.&#xD;&#xA;&#xD;&#xA;I've tried promoting and putting together a really nice show-reel and I constantly get good comments of how well I am to work with etc. etc. but it just doesn't seem to push me into higher and higher positions on the todem-pole. I'm constantly the second-in-command or the &quot;deputy&quot; or what have you, and it is starting to irk me that I am not chosen for the head or supervising role and I honestly think I can do a better job than my peers who are chosen for it. Most of them don't even know what the wilhelm scream is, let alone how to communicate emotions through sound or how to create an atmosphere with sonic landscapes for a movie or even how important it is to capture home-grown sound effects to add that extra flavor to your soundtrack that you just can't get sometimes anywhere else. I feel like I've grown in my knowledge of what is correct and what is incorrect sound to add in to a professional soundtrack.&#xD;&#xA;&#xD;&#xA;Should I be worried about this? I'm 26 and I feel like if I don't start moving up into those higher echelons of responsibility on projects I'll never make it out of &quot;just being another editor on the project&quot;.&#xD;&#xA;&#xD;&#xA;I mean, I have learned a lot on this site as well as on the job and I think I could sound design the hell out of a movie or similar project and I don't know how to communicate or show this to the powers-that-be which puts me into the go-to guy for sound needs.&#xD;&#xA;&#xD;&#xA;What has worked for you in the past? I've been in this game for a little over 8 years and I've spent the last 2 years now working 80+ hours a week sacrificing many personal endeavors to get ahead in this game but it seems like I've not gotten anywhere and I'm sort of doubting if I can make it.&#xD;&#xA;&#xD;&#xA;Thanks for your thoughts on the matter." ContentLicense="CC BY-SA 3.0" />
  <row Id="15070" PostHistoryTypeId="2" PostId="9050" RevisionGUID="5a6573f3-a954-4eba-b0f4-4cea9f197eb6" CreationDate="2011-07-09T22:42:55.050" UserDisplayName="user49" Text="I had someone of a similar age/experience come to me with a similar complaint a year or so ago and heres an abbreviated version of what I said to them (and NOTE: I do not know you o your situation, so disregard what does not apply to you) &#xD;&#xA;&#xD;&#xA;You don't know what you don't know. That statement might seem self evident but trust me, there is quite a lot you are unaware of in terms of supervising. Thinking you should be supervising projects after just 2 years of work speaks of impatience &amp; ego, both traits I personally would not want in someone on the team making a film. I think you need to go away for a few years, work hard and rethink your attitude. &#xD;&#xA;I didn't go to Film School until I was 25, was 26 when I started as a trainee sound effects editor, and supervised my first feature film when I was 31. If you can do it faster than that good luck, but I'd be surprised if 5-6 years of hard work (ie 10,000 hours) aren't a prerequisite, so I'd like to suggest you are less than half way there. Being responsible for the soundtrack on a film is serious, takes experience, maturity &amp; is a great responsibility - there are millions of dollars and people careers at stake...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Suggestions to help you get there:&#xD;&#xA;&#xD;&#xA;- Find short films to do as personal projects where you CAN supervise/do everything. You might begin to appreciate how difficult it actually is, but regardless you will learn lots...&#xD;&#xA;&#xD;&#xA;- Do some study about ego, patience, compassion, collaboration (I don't mean oprah/self help books, i mean psych/personality/philosophy etc)&#xD;&#xA;&#xD;&#xA;- Be very careful about being judgemental (&quot;Ever felt **you were better** for the job?&quot;) as it reeks of ego &amp; I've seen that same attitude present itself later in some peoples lives/careers as they cynically believe they are smarter/know better than the director. Talk is cheap. Work hard &amp; let your work speak for you. Your work AND your attitude will be noticed.&#xD;&#xA;&#xD;&#xA;- Have you worked in all fields of sound post? Have you recorded foley? performed? dialogue edit? record ADR? edit ADR? record/edit FX, ambience? Early in your career is a good time to get some experience in all fields, especially if you want to be a supervisor. You do not learn someones role by watching, and later on to actively supervise/collaborate with them you need to understand how and why they do what they do, so you can try &amp; help them do their best work. Which is why doing short films are great experience - treat it like half a reel of a feature film &amp; work to a feature film quality/standard...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15071" PostHistoryTypeId="2" PostId="9051" RevisionGUID="6803163d-2b71-4936-aa6f-8268e7ae8c8d" CreationDate="2011-07-09T23:00:45.207" UserId="848" Text="This is a really great idea! &#xD;&#xA;&#xD;&#xA;I shot this recently:&#xD;&#xA;&#xD;&#xA;[vimeo]24720968[/vimeo]&#xD;&#xA;&#xD;&#xA;I might try something similar next time I have a gathering, perhaps this time with sound too, could work well to capture the party atmosphere!&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15072" PostHistoryTypeId="2" PostId="9052" RevisionGUID="ddaab7e6-ed3d-4b9b-a22e-6ee4c002e99f" CreationDate="2011-07-09T23:10:19.617" UserDisplayName="user49" Text="It really depends on what the intent &amp; meaning of the timelapse is. Being literal (ie sped up/fast paced) may or may not be the best approach, same for using metaphors, being pointillistic, contrasting motion with slowly evolving sounds etc... Identifying &amp; supporting the core reason for the use of time lapse has to be a starting point" ContentLicense="CC BY-SA 3.0" />
  <row Id="15073" PostHistoryTypeId="2" PostId="9053" RevisionGUID="368dec6f-aedb-4178-810f-0ff865f4d7da" CreationDate="2011-07-09T23:17:47.447" UserDisplayName="user49" Text="Every city sounds different, so if these are city sounds you plan to sell then you should identify which Chicago sounds are generic (ie universal) and which are particular to Chicago.&#xD;&#xA;&#xD;&#xA;Subways are a good example eg compare how different the subway sounds in London vs Tokyo vs New York... No one should ever use a NY (or Chicago) subway sound for Tokyo or London etc.... They just do not sound the same... Same for traffic: compare New York vs London vs Barcelona&#xD;&#xA;&#xD;&#xA;And of course the same is true for any city sounds with people/dialogue in them&#xD;&#xA;&#xD;&#xA;Different scales of interior and exterior pedestrian foots would be useful, but difficult to isolate without chat, which limits their use in your case to American productions" ContentLicense="CC BY-SA 3.0" />
  <row Id="15074" PostHistoryTypeId="2" PostId="9054" RevisionGUID="8fcdb957-7914-4e21-8c74-4c4727cdf96b" CreationDate="2011-07-10T02:46:40.470" UserId="1204" Text="I run an M-Audio Profire 26/26 interface with Presonus Digimax D8 as optical in, with capability of running extra adat preamp, into pro tools 9, for use as a portable studio if you will to record simple live rehearsals and demo ep's/albums, with possibility of doing live show recordings in the future. ran through Mac OSX 10.6.7, 3.06 GHz interl core 2 duo, 4gb ram" ContentLicense="CC BY-SA 3.0" />
  <row Id="15075" PostHistoryTypeId="2" PostId="9055" RevisionGUID="d7a28ba3-04c6-4f4a-86e5-22040022623d" CreationDate="2011-07-10T03:26:46.737" UserId="1205" Text="Professionals for the most part use Canare with Neutrik ends. The cable should not make any difference in the sound, but the build quality is important especially for film sound folks like me. Your brain might trick you into thinking that cables sound different, but through years of treating cables like the commodity they are I've never paid them much mind. The thing has to work, and if it doesn't you should have a backup ready to fly in. Also as an older mixer than myself once said &quot;if something is wrong you will know it.&quot; If you're running such long lengths of cable you might want to look into remote preamps, or placing the preamps closer to the source and running a line level the rest of the way. That would make much more of a difference. Frankly if shielding wasn't an issue I'm sure lamp cord would do the trick just fine." ContentLicense="CC BY-SA 3.0" />
  <row Id="15076" PostHistoryTypeId="2" PostId="9056" RevisionGUID="c732d67c-1db3-4f7c-84b9-811058050208" CreationDate="2011-07-10T05:44:37.103" UserId="244" Text="Hi Simon, I guess there's not much more I can tell you about this that has not already been said. But Kontakt is a great sampler if you have the time to fully workout how to use it. It can be immensely great for workflow especially for your scenario.&#xD;&#xA;&#xD;&#xA;I too used Kontakt quite heavily for my final sound to film project at Leeds Met. Obviously it would be great if you could utilize the Foley room there with some Foley artists, because of the organic expression of the act, and the speed of workflow. But needless to say, if the studios at JG are too busy as they always where, using a sampled based library and a sampler is definitely the best option. Creating instruments like footsteps, spot effect, sword fighting etc.. it can save alot of time, depending on the complexity of your film.&#xD;&#xA;&#xD;&#xA;Good Luck and always ask Richard Stevens &amp; Nikos Stavropolous for a 2nd opinion on your work, they can be critical &amp; harsh but great tutors who know their stuff and can offer great advice!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15077" PostHistoryTypeId="2" PostId="9057" RevisionGUID="df262000-ee98-4fe1-a2d7-b1b2e51ad15f" CreationDate="2011-07-10T09:26:58.007" UserId="848" Text="I find Cecilia great for accidentally creating amazing sounds...&#xD;&#xA;&#xD;&#xA;•   e a r   b e n d i n g   s o n i c s   •&#xD;&#xA;&#xD;&#xA;The legendary front-end and sound production platform for the Csound language is back in an fresh new set of duds. Cecilia was first launched in 1996 to take advantage of the then emerging real-time audio capabilities of Csound. It has seen a number of iterations since then, because, well, nothing quite does what it does as well as it does. Cecilia is a complete sound production environment for the adventurous audio designer. It proposes dozens of complex and troubling sound-processing modules that invite the composer to revisit the notion of what constitutes spirited sonic matter.&#xD;&#xA;&#xD;&#xA;Beyond these highly desirable qualities, Cecilia is also known to cause mild skin rashes and turn small dogs into pickles.&#xD;&#xA;&#xD;&#xA;Cecilia is free. Thus you cant complain if it hurts your feelings. But, with due diligence, Cecilia will bring smiles and good cheer to the most jaded musical mind.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Download here:&#xD;&#xA;http://code.google.com/p/cecilia4/downloads/list&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15078" PostHistoryTypeId="16" PostId="9057" RevisionGUID="df262000-ee98-4fe1-a2d7-b1b2e51ad15f" CreationDate="2011-07-10T09:26:58.007" UserId="-1" />
  <row Id="15079" PostHistoryTypeId="2" PostId="9058" RevisionGUID="50877408-455f-44f6-97db-5df9f55a3550" CreationDate="2011-07-10T11:24:38.017" UserId="1059" Text="Dear all,&#xD;&#xA;&#xD;&#xA;I am at a crossroads in my life here in the UK where I don't know which career path to choose...&#xD;&#xA;&#xD;&#xA;On the one hand, there is Game Audio Development.&#xD;&#xA;&#xD;&#xA;On the other, there is Wildlife Sound Recording.&#xD;&#xA;&#xD;&#xA;My plan for the not too distant future is to go to University to study either Game Audio Development or Wildlife Film Production.&#xD;&#xA;&#xD;&#xA;At the moment, I am registered on two college courses: the first one is a Digital Music Course. The Second is a Wildlife Conservation Course. These will get me into the aforementioned uni courses respectively.&#xD;&#xA;&#xD;&#xA;I am having trouble weighing up the pros and cons of each career path as they both seem awesome in their own rights.&#xD;&#xA;&#xD;&#xA;Can anyone help me out with some advice on which path I should follow? At the end of the day, they are both the careers of my heart, and they both capture my imagination.&#xD;&#xA;&#xD;&#xA;HELP!&#xD;&#xA;&#xD;&#xA;Thanks in advance for any advice...&#xD;&#xA;&#xD;&#xA;-Zimon." ContentLicense="CC BY-SA 3.0" />
  <row Id="15080" PostHistoryTypeId="1" PostId="9058" RevisionGUID="50877408-455f-44f6-97db-5df9f55a3550" CreationDate="2011-07-10T11:24:38.017" UserId="1059" Text="My Career Options: GAME AUDIO SOUND DESIGNER or Wildlife Sound Recordist" ContentLicense="CC BY-SA 3.0" />
  <row Id="15081" PostHistoryTypeId="3" PostId="9058" RevisionGUID="50877408-455f-44f6-97db-5df9f55a3550" CreationDate="2011-07-10T11:24:38.017" UserId="1059" Text="&lt;gameaudio&gt;&lt;wild-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15082" PostHistoryTypeId="2" PostId="9059" RevisionGUID="30428219-ecba-4351-86ac-4d816245c20e" CreationDate="2011-07-10T12:13:38.940" UserId="1019" Text="What about doing both? I'd say the game audio will keep you locked to the screen most of the time, so balancing that with some wildlife stuff is a great thing. I am not sure you really have to pick one or the other, since they can also overlap depending what area of game audio you are aiming for. I feel like gameaudio is the one where university could help a lot, whereas wildlife recording may be something you can pretty much teach yourself... no?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15083" PostHistoryTypeId="2" PostId="9060" RevisionGUID="8341f4df-e27a-447b-8ea1-f7006ea87846" CreationDate="2011-07-10T13:09:58.373" UserId="1206" Text="Hi all, I'm fairly new to sound design so at the moment I'm looking to supplement my own recordings with various sample libaries. I've had a look at the ones from Rabbit Ears, The Recordist, et al and all include something like the following stipulation in the license: &#xD;&#xA;&#xD;&#xA;*&quot;You are NOT permitted to:&#xD;&#xA;Make copies of any of the unsynchronized recordings contained within our royalty free products, except as may be designated to a single stand alone workstation for the sole purpose of specific audio and / or visual synchronization at your own facility.&quot;*&#xD;&#xA;&#xD;&#xA;Now I'm working on a videogame which I was hoping to include some library sounds on, and this seems to be problematic given that the end user has to receive copies of the individual samples as the mix and synchronization are done at runtime.&#xD;&#xA;&#xD;&#xA;If anyone could clear up whether using them in this way for games would be acceptable or not it'd be very much appreciated!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15084" PostHistoryTypeId="1" PostId="9060" RevisionGUID="8341f4df-e27a-447b-8ea1-f7006ea87846" CreationDate="2011-07-10T13:09:58.373" UserId="1206" Text="Sample library licensing issue re. computer games" ContentLicense="CC BY-SA 3.0" />
  <row Id="15085" PostHistoryTypeId="3" PostId="9060" RevisionGUID="8341f4df-e27a-447b-8ea1-f7006ea87846" CreationDate="2011-07-10T13:09:58.373" UserId="1206" Text="&lt;license&gt;&lt;games&gt;&lt;video&gt;&lt;computer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15086" PostHistoryTypeId="2" PostId="9061" RevisionGUID="e7f8f0c7-779b-466e-bfc8-962785699941" CreationDate="2011-07-10T13:33:35.457" UserId="194" Text="Theres probably more $ in game audio. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15087" PostHistoryTypeId="12" PostId="3236" RevisionGUID="c046895f-501e-49e2-baa8-2d02c9fc9fb9" CreationDate="2011-07-10T17:06:30.183" UserId="219" Text="[{&quot;Id&quot;:219,&quot;DisplayName&quot;:&quot;Justin Huss&quot;}]" />
  <row Id="15088" PostHistoryTypeId="2" PostId="9062" RevisionGUID="2ad2baa9-d076-4918-805d-911de72c50a5" CreationDate="2011-07-10T20:00:49.043" UserId="18" Text="If you have questions about a license, you should contact each vendor individually, they will all be more than happy to help you out.  &#xD;&#xA;&#xD;&#xA;The line you quote above basically means:&#xD;&#xA;&#xD;&#xA;You make not make duplications of the library (ie: you can't copy it for your friends).  It is for use by a single user only in your audio visual projects (meaning, if your facility has more than one sound person, you need a multi-user license).  Synchronization was a term that was originally used before media like games existed, and still remains in many licenses.  All of the sound library producers that I know of allow usage in games as part of their license.&#xD;&#xA;&#xD;&#xA;I've seen questions like this pop up from time to time, which is why I added specific terms in my my Chuck Russom FX license:&#xD;&#xA;&#xD;&#xA;You may:&#xD;&#xA;&#xD;&#xA;*Synchronize the Sounds with audio and/or visual productions such as film, television, radio, computer/video games, Internet, and other media &#xD;&#xA;&#xD;&#xA;*Use as individual sound assets in games or multimedia projects, across any platform(s)&#xD;&#xA;&#xD;&#xA;Even still, it isn't always easy to predict every type of media project someone may want to use licensed sounds in, so, as I said above: &#xD;&#xA;&#xD;&#xA;If you ever have a question about licensing terms on any product, you should always contact a vendor and clear up questions before you make a purchase.  Only the vendor can explain 100% what their terms are.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15089" PostHistoryTypeId="2" PostId="9063" RevisionGUID="1809297c-531e-45eb-ba4a-7f43df11d6a0" CreationDate="2011-07-11T00:00:03.070" UserId="1207" Text="Nikos&#xD;&#xA;If you want it for any serious video recording forget it. I bought one last week to find out once I read the manual that the largest file size for video is 4GB irrespective of the settings you use. Very disappointed. If, however, a maximum sie of 4GB suits you, then it is a great recorder." ContentLicense="CC BY-SA 3.0" />
  <row Id="15092" PostHistoryTypeId="2" PostId="9065" RevisionGUID="685ca1b7-b746-4a2d-a6b6-3fa4e4d07b0e" CreationDate="2011-07-11T04:23:28.580" UserId="1208" Text="Hello! I'm just discovering this website and this forum about Sound timelapse... &#xD;&#xA;I'm Sound engineer working mostly in documentary films, and I had the idea of recording 24h in a place, to choose a few seconds each hour, in order to have a 3min sound at the end, a kind of 24hour sound postcard of different places.&#xD;&#xA;I can see I'm not the only one thinking about this idea of sound time-lapse... I saw and listen the work of Andrew Spitz and R. Luke Dubois, which are a bit different of my idea... But do you know other experience done? Or some links?&#xD;&#xA;&#xD;&#xA;On the technical side, i'm recording the all 24hours with a MS CCM Schoeps microphones, and a 744 sound devices. I want then choose the sound for each hours ( and not do it in a random way).&#xD;&#xA;&#xD;&#xA;Thanks for your ideas and links...&#xD;&#xA;Sorry for my English!&#xD;&#xA;&#xD;&#xA;Felix&#xD;&#xA;www.felixblume.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="15093" PostHistoryTypeId="2" PostId="9066" RevisionGUID="518deae7-ac86-4a42-a93d-75e2d31c8883" CreationDate="2011-07-11T08:02:50.407" UserDisplayName="user80" Text="I would personally go for wildlife sound recording.  You will have a lot of freedom and get to visit places that you never thought existed. &#xD;&#xA;&#xD;&#xA;When you are working you will need a lot of patience and often will be pushing the equipment to the limits of its abilities.  But you will be capturing unique experiences.&#xD;&#xA;&#xD;&#xA;You would be surprised how often foley is used for nature documentaries, and another person out there capturing the sounds for real is bonus for us all.  &#xD;&#xA;&#xD;&#xA;Also creature sound design relies heavily on wildlife recordings, and the wider range of sounds that we have to work with the better.  So even if you do specialise in wildlife sound recording you might still be working in game audio development." ContentLicense="CC BY-SA 3.0" />
  <row Id="15094" PostHistoryTypeId="5" PostId="9066" RevisionGUID="b6ae8c09-22cc-4fcb-9bc3-cc356e8aa386" CreationDate="2011-07-11T08:08:40.773" UserDisplayName="user80" Comment="added 282 characters in body" Text="I would personally go for wildlife sound recording.  You will have a lot of freedom and get to visit places that you never thought existed.  All wildlife work requires a lot of research. I remember hearing a photographer state that a particular eagle defecates just before it starts to fly, making it easy to predict when to be ready for the shot.  If you know these things you can capture the sounds more effectively.  &#xD;&#xA;&#xD;&#xA;When you are working you will need a lot of patience and often will be pushing the equipment to the limits of its abilities.  But you will be capturing unique experiences.&#xD;&#xA;&#xD;&#xA;You would be surprised how often foley is used for nature documentaries, and another person out there capturing the sounds for real is bonus for us all.  &#xD;&#xA;&#xD;&#xA;Also creature sound design relies heavily on wildlife recordings, and the wider range of sounds that we have to work with the better.  So even if you do specialise in wildlife sound recording you might still be working in game audio development.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15095" PostHistoryTypeId="2" PostId="9067" RevisionGUID="98953329-0ad9-445e-9ca4-1f7c475f35e8" CreationDate="2011-07-11T09:46:54.517" UserId="1185" Text="If you were to study for a Sound Design degree at University you would have the flexibility to explore both.  There are a couple of sound design degrees available in the UK." ContentLicense="CC BY-SA 3.0" />
  <row Id="15096" PostHistoryTypeId="2" PostId="9068" RevisionGUID="2d52b8c7-9018-47c0-9920-b4485dab9c81" CreationDate="2011-07-11T13:07:45.760" UserId="1011" Text="For all the sound effects libraries I've worked with, the main concern was distribution. They don't want their sounds redistributed (i.e. given away for free, or resold).&#xD;&#xA;&#xD;&#xA;**Synchronization** is the key word. If (and it still applies to video games, by the way) the sound is timed to make noise with other media (visuals, graphics, menu selections, other audio), this is considered synchronization and is fine. So if you are using a library sound in time with a gun firing in a game, that's allowed.&#xD;&#xA;&#xD;&#xA;If, on the other hand, you were using the sounds and they are not synchronized or 'combined' with anything else that is *not* allowed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Additionally, in regard to video games, another main concern was how the sounds would be stored.  The sounds needed to be stored in a format that would not allow them to be extracted and redistributed.&#xD;&#xA;&#xD;&#xA; - sounds stored in a game's software folder that the user&#xD;&#xA;   could just open and copy *was not&#xD;&#xA;   allowed*&#xD;&#xA; - integrating the sounds somehow into&#xD;&#xA;   the code, or disguising them, *was&#xD;&#xA;   allowed*&#xD;&#xA;&#xD;&#xA;This was the common practice when I worked with Sound Ideas, Hollywood Edge, Soundsnap, Sounddogs, etc. I also use this at my own site at [Airborne Sound][1].&#xD;&#xA;&#xD;&#xA;As Chuck mentioned, the best thing is to contact the library in question and ask.&#xD;&#xA;&#xD;&#xA;-Paul&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.airbornesound.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="15097" PostHistoryTypeId="2" PostId="9069" RevisionGUID="b5247cd3-188c-4870-8297-7958a259447e" CreationDate="2011-07-11T13:08:16.200" UserId="1118" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;I need a few different train sounds ASAP for an advertising animation I'm working on. &#xD;&#xA;&#xD;&#xA;I'm looking for some onboard (but outside of the train) sound (so we can hear the train moving along as if we are on it but outside) and also some pass-bys. They need to be as 'clean' and 'upfront' as possible' very little distance and background ambience.&#xD;&#xA;&#xD;&#xA;Anyone know where I can get some good samples like this? Particularly if anyone knows of some good libraries that contain a wide variety of real world sounds.&#xD;&#xA;&#xD;&#xA;thanks in advance for any help,&#xD;&#xA;&#xD;&#xA;Simon" ContentLicense="CC BY-SA 3.0" />
  <row Id="15098" PostHistoryTypeId="1" PostId="9069" RevisionGUID="b5247cd3-188c-4870-8297-7958a259447e" CreationDate="2011-07-11T13:08:16.200" UserId="1118" Text="Need some train sounds ASAP" ContentLicense="CC BY-SA 3.0" />
  <row Id="15099" PostHistoryTypeId="3" PostId="9069" RevisionGUID="b5247cd3-188c-4870-8297-7958a259447e" CreationDate="2011-07-11T13:08:16.200" UserId="1118" Text="&lt;design&gt;&lt;recording&gt;&lt;samples&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15100" PostHistoryTypeId="2" PostId="9070" RevisionGUID="50cc0b41-003f-4ae8-86df-2d1d3ef3f5d4" CreationDate="2011-07-11T14:06:25.390" UserId="769" Text="Have you tried [freesound.org][1]?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://freesound.org" ContentLicense="CC BY-SA 3.0" />
  <row Id="15101" PostHistoryTypeId="2" PostId="9071" RevisionGUID="9741ddfe-ef5d-45d9-ad77-38b4fadb8869" CreationDate="2011-07-11T14:09:31.557" UserId="285" Text="www.soundsnap.com or www.sounddogs.com for grabbing single effects&#xD;&#xA;&#xD;&#xA;The Sound Collectors club (http://thesoundcollectorsclub.wordpress.com/) just did a trains theme last month but you can not get access unless you contribute a original recording yourself.  Some good stuff available though if you want to contribute to the collection.&#xD;&#xA;&#xD;&#xA;SoundIdeas series 6000 disc 6033 is full of train sounds.  &#xD;&#xA;&#xD;&#xA;Rabbit Ears Audio has a library called Metal Machines that would be a great sweetener library full of old giant metal clacks and bangs.  http://rabbitearsaudio.com/rea004-metal-machines/&#xD;&#xA;&#xD;&#xA;If it is an old steam train then JordenFehrFX has a library called power from the past.  http://jordanfehrfx.posterous.com/35425043&#xD;&#xA;&#xD;&#xA;Your best bet might be The recordist train SFX.  I don't have these libraries but Mr Bry's work has a history of being top notch.  http://www.therecordist.com/soundbox-sfx/soundbox-sd/trains" ContentLicense="CC BY-SA 3.0" />
  <row Id="15102" PostHistoryTypeId="2" PostId="9072" RevisionGUID="b144ce9a-a9b0-46c9-b8bc-e9a50d0e8419" CreationDate="2011-07-11T14:11:15.663" UserId="1011" Text="Hi Simon,&#xD;&#xA;&#xD;&#xA;That sounds like a cool project.&#xD;&#xA;&#xD;&#xA;I have some at [Airborne Sound][1]. A mix of diesel, passenger, steam, freight, etc. They're all clean and upfront.&#xD;&#xA;&#xD;&#xA;Direct links:&#xD;&#xA;&#xD;&#xA; - [general trains passing][2], a variety of rail clatter passes and rail scrapes&#xD;&#xA; - [Some loopable train passing&#xD;&#xA;   elements][3]&#xD;&#xA; - I have [steam train exterior&#xD;&#xA;   onboards][4], but no diesel onboards&#xD;&#xA;&#xD;&#xA;I also have a &quot;Jet Set&quot; collection pack of a few various [train sounds here][5] at a discounted price.&#xD;&#xA;&#xD;&#xA;I was particularly happy with the exterior passes. I felt they have lots of power and energy and character. All recorded with the Neumann 191 mic.&#xD;&#xA;&#xD;&#xA;All sounds have Soundminer metadata, by the way.&#xD;&#xA;&#xD;&#xA;Good luck with the project.&#xD;&#xA;&#xD;&#xA;-Paul&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.airbornesound.com/vehicle/train.html&#xD;&#xA;  [2]: http://www.airbornesound.com/catalogsearch/result/?q=train+passing&#xD;&#xA;  [3]: http://www.airbornesound.com/catalogsearch/result/?q=train+loop&#xD;&#xA;  [4]: http://www.airbornesound.com/catalogsearch/result/?q=train+onboard&#xD;&#xA;  [5]: http://www.airbornesound.com/vehicle/train/jet-set-sound-pack-06-trains-sound-effects.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15103" PostHistoryTypeId="2" PostId="9073" RevisionGUID="372d8561-91e1-460e-95f0-4840658b5d69" CreationDate="2011-07-11T14:32:02.617" UserId="37" Text="have you seen this?&#xD;&#xA;&#xD;&#xA;http://thesoundcollectorsclub.wordpress.com/browse-the-collection/trains-design/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15104" PostHistoryTypeId="2" PostId="9074" RevisionGUID="f940f1a1-2a75-477b-bee6-7865c020c206" CreationDate="2011-07-11T14:54:49.523" UserId="857" Text="Hi Simon,&#xD;&#xA;If you search for &gt; train close &lt; at    www.your-sounds.com    you`ll find 300 hits.&#xD;&#xA;Professionally recorded, soundminer ready. Please check our Prepaid Accounts to find interesting offers.&#xD;&#xA;&#xD;&#xA;Eckhard Kuchenbecker&#xD;&#xA;&#xD;&#xA;www.your-sounds.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="15105" PostHistoryTypeId="5" PostId="9074" RevisionGUID="6bc96a91-8cd4-47fa-8885-9cdec5bb71fd" CreationDate="2011-07-11T15:03:30.350" UserId="857" Comment="added 3 characters in body" Text="Hi Simon,&#xD;&#xA;If you search for &gt; train close &lt; at    www.your-sounds.com    you`ll find 300 hits.&#xD;&#xA;Professionally recorded, soundminer ready. Please check our Prepaid Accounts to find interesting offers.&#xD;&#xA;&#xD;&#xA;Eckhard Kuchenbecker&#xD;&#xA;&#xD;&#xA;http://your-sounds.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="15106" PostHistoryTypeId="2" PostId="9075" RevisionGUID="f0390e3e-432b-4d17-9cad-38818550535a" CreationDate="2011-07-11T15:05:12.170" UserId="194" Text="Hi Simon,&#xD;&#xA;&#xD;&#xA;In addition to all of the other excellent resources mentioned here, I'm going to be recording those exact type of sounds on the 26th of this month.  That may be outside of your timeframe, but if this is an ongoing project I'd suggest you back my [kickstarter project][1] to gain access to the recordings, since I won't be selling them later.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://kck.st/m0A9rT" ContentLicense="CC BY-SA 3.0" />
  <row Id="15108" PostHistoryTypeId="5" PostId="9048" RevisionGUID="7f514eef-748c-467a-813c-10465f851de5" CreationDate="2011-07-11T15:37:44.777" UserId="845" Comment="added 522 characters in body" Text="I've been in the same situation as you for the last year. I've had to watch really big audio decisions made by people who literally know nothing about audio. Been lectured at about the technology and standards that I work with every day, and have dedicated my life to understanding. It's frustrating as all hell. &#xD;&#xA;&#xD;&#xA;It seems to me that there are two ways to look at it. 1) It's worth it, or 2) It's not. &#xD;&#xA;&#xD;&#xA;1)  If the direction your heading in right now is what you really, really want then @AzimuthAudio and @Rene have it dead on; stick to your guns and keep on working both the sound and the people around you. We live in a culture that is highly biased towards the extrovert.  If you don't speak up for yourself everyone will just assume that you don't think you're ready for the job. Part of the gig when you get more responsibility is being able guide the progress of a project towards a particular set of goals, so you have to be able to assert yourself while keeping everyone on side and on point.  And in my experience if you want more responsibility and control you have to let people know.  Not everyone, of course, but at the very least the people who are in charge of job delegation.  This in itself requires diplomacy and the ability to get your superiors on your side without seeming to do so, which is where the schmooze comes in.  &#xD;&#xA;&#xD;&#xA;2) If you have a hard time with having to do that then you might want to investigate other options. Believe it or not, there are people out there who do what we do without having to do much in the way of the schmooze. The trick is to find people and projects that really get you going; where getting to the top isn't important, where the only ladder to climb is the project itself. The means justify the end, not the other way around. Having big name, important people working on a film never guarantees that the film will be great. The best movies, music, books, TV, and games I've enjoyed over the last few years have been done by people I'd never before heard of. Not because I'm *that* pretentious, but because the people involved adore the work they're doing and don't give two sheets about the paycheck or the accolades. &#xD;&#xA;&#xD;&#xA;I am by no means an authority on the subject and am myself fairly far down the ladder, but from what I can see the biggest thing is simply to be honest with everyone around you, including yourself. If you're into where you are and where you're going, Great! Work hard, be patient and you'll get there.  If you discover that you're into something else and want to go try it, Great!  Work hard, be patient and you'll get there.&#xD;&#xA;&#xD;&#xA;Remember that there're a few dozen infinities of ways to get from here to the finish line (I've re-written this post twice already), so always keep your eyes open for the right turn-off. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15109" PostHistoryTypeId="2" PostId="9077" RevisionGUID="170bfa61-25bb-45d9-a781-ada234a8e7b6" CreationDate="2011-07-11T16:49:12.370" UserId="863" Text="I may sound condescending and I do apologise but...loading sounds into a sampler is your final project for your masters? Also have you recorded foley before? I studied sound design and many of the people on my course didn't even touch film and tv.&#xD;&#xA;&#xD;&#xA;I personally feel foley needs to be recorded to picture. A sword swipe will differ in every movement as will footsteps. Cheap foley recorded onto an H4N or even cheaper equivalent in a bedroom would stil sound better than library sounds being triggered off a sampler. The instrument in foley is the performer himself NOT what it's triggered off.&#xD;&#xA;&#xD;&#xA;If you are adamant to do this though, then I think take into account what Matt said above about randomisation which you can do in samplers but even then it won't sound brilliant. Also layering as Bernard Signo is talking about sounds interesting, such as cloth chain muddy water footsteps for a soldier in a jungle... and maybe see if you can add reverb into the chain, record some IR's and throw that in. After all this is all about cutting corners, cost and the necessity for a sound designer." ContentLicense="CC BY-SA 3.0" />
  <row Id="15110" PostHistoryTypeId="5" PostId="9045" RevisionGUID="764c58ab-056e-4204-8364-f5593120abd3" CreationDate="2011-07-11T18:37:28.257" UserId="285" Comment="corrected spelling and grammer" Text="First off, don't get down on yourself. Good work speaks for itself over time. &#xD;&#xA;&#xD;&#xA;I don't want sound condescending but two years is not a long time to be working your ass off and not be offered the top jobs. This is a business where track record speaks volumes and showing your stuff over an extended period of time with consistent results is important. It is also a business with a fairly high turn over. Every year a ton of schools unleash thousands of new grads, who are ready to take over the business. Sadly in 5 or 10 years only a very small fraction of those grads are still in the game. So before you are given the big responsibility of lead roles you have to prove you are one of the minority that will be around for the long haul. &#xD;&#xA;&#xD;&#xA;Another thing needed to be an audio lead is social skills that a lot of sound people lack. We are by nature people who have gravitated to working long hours alone in dark rooms, so sometimes our social skills are not as pointed as needed.  Audio leads need to be salesmen (both selling themselves and the audio decisions they have made) and very often producers want to be fluffed up as much as they want great audio. Dealing with production staff is a skill unto it's self. If someone is better at selling themselves then at the actual sound work they can sometimes get further quicker just because they are playing the &quot;game&quot;.  &#xD;&#xA;&#xD;&#xA;My advice would be to work on your schmoozing skills. Try to develope relationships with the people making the calls, outside of strictly audio discussions so they know you as a fully rounded person. Most importantly keep improving your chops so when you get your shot, you don't blow it. Because you will never get another shot if you don't take advantage of it. &#xD;&#xA;&#xD;&#xA;Keep your head up, good luck. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15111" PostHistoryTypeId="2" PostId="9078" RevisionGUID="5dbe2ab0-3c6a-4ad7-b1d4-261f2db7e82c" CreationDate="2011-07-11T18:44:44.717" UserId="1135" Text="Hi Simon,&#xD;&#xA;&#xD;&#xA;As mentioned I do have trains. Exterior but no onboard. They were recorded some time ago. 16-Bit 44.1K.&#xD;&#xA;&#xD;&#xA;http://www.therecordist.com/soundbox-sfx/soundbox-sd/trains&#xD;&#xA;&#xD;&#xA;Pauls train sounds are really good and he travels the world way more than I do :)&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Frank" ContentLicense="CC BY-SA 3.0" />
  <row Id="15112" PostHistoryTypeId="5" PostId="8863" RevisionGUID="6dceb490-7af7-4990-bdaa-2341494880b1" CreationDate="2011-07-11T19:28:51.993" UserId="432" Comment="screwed up my parity check. ;)" Text="the order for noise reduction is: filters (i.e EQ), interpolation (de-clicking, etc.), and broad-band noise reduction. you want to do as much as you can with the first two before applying noise-reduction processes like X-Noise, that way that particular algorithm doesn't have to work quite as hard. that means it won't color your audio as much. granted, you'll have coloration from the filters and interpolation (if you even need that second one), but it will be less offensive than that introduced by &quot;noise reduction&quot; processes.&#xD;&#xA;&#xD;&#xA;also remember that you can usually achieve slightly cleaner sounding results by using multiple passes/instantiations at mild to moderate settings than you can when using heavier settings.&#xD;&#xA;&#xD;&#xA;you can probably get some additional help by using multi-band expansion. if you've got Waves C4, set the range on the band your working on to a positive number. that band will become an expander, instead of a compressor. if you don't have Waves C4, you can &quot;build it yourself&quot; by setting up multiple auxes...each with a band pass EQ (frequency ranges as you desire) followed by an expander. either method will let you tailor the behavior of specific frequency ranges, and can help you mitigate noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="15113" PostHistoryTypeId="2" PostId="9079" RevisionGUID="4e95aeef-abf3-4a05-bb52-ca57bf9fa5de" CreationDate="2011-07-11T20:03:00.290" UserId="339" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm currently doing a documentary film, and I'm stuck in a sequence featuring a wind farm / wind turbines.&#xD;&#xA;Do you guys know how do these things sound like? Anyone have any recordings?&#xD;&#xA;&#xD;&#xA;Any help will be very appreciated,&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Gon.-" ContentLicense="CC BY-SA 3.0" />
  <row Id="15114" PostHistoryTypeId="1" PostId="9079" RevisionGUID="4e95aeef-abf3-4a05-bb52-ca57bf9fa5de" CreationDate="2011-07-11T20:03:00.290" UserId="339" Text="Wind Farm / Wind Turbine" ContentLicense="CC BY-SA 3.0" />
  <row Id="15115" PostHistoryTypeId="3" PostId="9079" RevisionGUID="4e95aeef-abf3-4a05-bb52-ca57bf9fa5de" CreationDate="2011-07-11T20:03:00.290" UserId="339" Text="&lt;wind&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15116" PostHistoryTypeId="2" PostId="9080" RevisionGUID="19d34101-ef6b-494a-abcc-e339cbe30543" CreationDate="2011-07-11T20:47:42.433" UserId="6411" Text="## The Disclaimer##&#xD;&#xA;&#xD;&#xA;Please keep in mind that I'm directing this ***towards you***, Utopia, (after all, you brought it up) but I am  ***not speaking about you.*** I'm not looking to be an asshole. I don't want to insult you. I'm not trying make calls against your professionalism, your skills, or talent. I don't know the full details of your situation, so you can disregard my entire answer if it doesn't apply. But I've had this chat before, and would try to explain this to just about any person, in any industry, who is experiencing this feeling. Hopefully it helps...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;##The Praise##&#xD;&#xA;I must give you credit for having the personal insight to recognize that you don't know how to properly express yourself because you might come across &quot;as a jerk.&quot;   Further, I encourage your motivation to achieve higher and higher positions. But take a step back and recognize what you have achieved. You're 8 years into your career and &quot;second-in-command&quot; on your projects! How many people on this forum would love to be in your chair? How many have put in far more work to be in a similar position? Buck up man, from here it sounds like you're doing great!&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;## The Answer##&#xD;&#xA;Full disclosure... I've only been doing this a few more years than you, in a far less competitive market. But I've seen my fair share of the younger crop attempt to move into the industry only to fail miserably. Broken, frustrated, dejected, and angry they're called in and fired, or worse yet, simply never get a call back. The final straws are varied, but the one common denominator amongst them all? A strong sense of the sentiment that plagues rising successes in any field, **entitlement**.&#xD;&#xA;&#xD;&#xA;Lose it. Kill it. Eradicate it without remorse.&#xD;&#xA;&#xD;&#xA;There are far too many professionals, vying for far too few jobs for anyone to deal with some &quot;20-something kid&quot; who thinks they deserve anything. They are quietly and continuously shuffled further down to the bottom of the pile until nobody wants to work with them or somebody shakes them up with a wake up call.&#xD;&#xA;&#xD;&#xA;To answer your basic question, no, I have never felt like I would be better for a job after another peer was chosen over me. I have felt disappointed because the project sounded interesting. I have felt that I could have contributed something of great value to the project. I've felt that I was in tune with what a director was looking for, or that we would make a great piece together. But feeling that I know &quot;better&quot; is far too subjective. &#xD;&#xA;&#xD;&#xA;Perhaps it is my own naivety, my notion of giving people the benefit of the doubt, but I always consider the option that I got passed over for some particular reason that's completely out of my control. I try as hard as I can to not take it personally, understand that this is a business, and get back to work on the task I have at hand.&#xD;&#xA;&#xD;&#xA;Tim's statement of &quot;you don't know what you don't know&quot; hits it just right. But it's not just about your professional experience vs theirs. It's also about everything else surrounding the project: the budget, the time frame, the relationships, the personal taste/style preferences, even the expectations of those footing the bill.&#xD;&#xA;&#xD;&#xA;But, not *every* EP is a cheap, time-crunched, type-A, ageist, who thinks that the sun rises and sets on their personal taste in film. Right? ;) So what else could it be?&#xD;&#xA;&#xD;&#xA;Clearly you are passionate about sound design, and like many enthusiastic up-and-coming editors you're ready to tackle more. But broad, sweeping statements like &quot;I honestly think I can do a better job than my peers&quot; smack of arrogance and immaturity, but even more damaging, ***it shows that you don't have the respect for those who do the work, nor the grace to handle it even if you were given the opportunity.***&#xD;&#xA;&#xD;&#xA;Should you be worried about this? Absolutely." ContentLicense="CC BY-SA 3.0" />
  <row Id="15117" PostHistoryTypeId="5" PostId="9042" RevisionGUID="9555991f-d074-4e45-a342-3f7751c865a1" CreationDate="2011-07-11T21:13:02.973" UserId="18160" Comment="added 2919 characters in body; added 4 characters in body; added 1 characters in body; added 185 characters in body" Text="This is kind of a personal question so excuse me if I get emotional or too intimate while writing this but that just shows my love of this forum and community and I hope many of you I have conversed with over the past year and a half will respond with some words of wisdom.&#xD;&#xA;&#xD;&#xA;It happens a lot in the sound designing situation I'm in where someone is chosen as the superior or supervisor and I personally feel like I can bring so much more to the table if I were in that position but I don't know how to communicate this without coming across as a jerk.&#xD;&#xA;&#xD;&#xA;I've tried promoting and putting together a really nice show-reel and I constantly get good comments of how well I am to work with etc. etc. but it just doesn't seem to push me into higher and higher positions on the todem-pole. I'm constantly the second-in-command or the &quot;deputy&quot; or what have you, and it is starting to irk me that I am not chosen for the head or supervising role and I honestly think I can do a better job than my peers who are chosen for it. Most of them don't even know what the wilhelm scream is, let alone how to communicate emotions through sound or how to create an atmosphere with sonic landscapes for a movie or even how important it is to capture home-grown sound effects to add that extra flavor to your soundtrack that you just can't get sometimes anywhere else. I feel like I've grown in my knowledge of what is correct and what is incorrect sound to add in to a professional soundtrack.&#xD;&#xA;&#xD;&#xA;Should I be worried about this? I'm 26 and I feel like if I don't start moving up into those higher echelons of responsibility on projects I'll never make it out of &quot;just being another editor on the project&quot;.&#xD;&#xA;&#xD;&#xA;I mean, I have learned a lot on this site as well as on the job and I think I could sound design the hell out of a movie or similar project and I don't know how to communicate or show this to the powers-that-be which puts me into the go-to guy for sound needs.&#xD;&#xA;&#xD;&#xA;What has worked for you in the past? I've been in this game for a little over 8 years and I've spent the last 2 years now working 80+ hours a week sacrificing many personal endeavors to get ahead in this game but it seems like I've not gotten anywhere and I'm sort of doubting if I can make it.&#xD;&#xA;&#xD;&#xA;Thanks for your thoughts on the matter.&#xD;&#xA;&#xD;&#xA;**EDIT:** Here is an example of something that happened recently that made me begin to feel this way.&#xD;&#xA;&#xD;&#xA;A director came in to my studio to do a listendown to a final mix I recorded the voice over for. The sound design was complete, mixed and being submitted to him. It was a very artsy piece, similar to The Tree of Life. The narration could not be heard in certain places, the music was thin and lacked dimension, etc. Real basic things. Then, in terms of the artistic viewpoint of what sounds were chosen for certain things, there was a line of people who were lined up in a semi-serious scene, not slapstick or anything, and the sound chosen and put into the final mix was crashing bowling-pins when they were falling down. The designer eventually was fired and the film had to be fixed but that's one example where I thought - &quot;Wow, with what I know, I could have helped that director with that soundtrack&quot;.&#xD;&#xA;&#xD;&#xA;Another project I worked on, the director really really *really* wanted to make the audience feel cold and sad. He wanted it done solely with sound design because he didn't want any music in the film at this point. The sounds were 90% chosen from the on-set mics, a stereo pair set up by the camera. It was filmed on a sunny day so you hear birds, you hear traffic on dry streets and an otherwise normal day in a rural area. Many foley elements were missing, footsteps, movements on the screen, jerky camera angle switches, etc. The director shook his head while I played it back for him and he turned and asked me what I would do to design the soundscape to elicit the proper response from the audience, in this case being cold and sad. I told him I would do these things for starters: Nix the ambience with any signs of happy life - happy birds, anything which sounds warm or happy. I would then put in colder winds, colder climate sounds. Most specifically I thought of replacing all of the car bys with cars that were driving through puddles and wet streets, even though it had been filmed during a sunny day, so that the audience would subliminally think that it had just rained or that it was cold outside, etc. He heard this and told me to get with the editors and fix it right away. I spent that night all night re-working that section and getting it perfect (which was the use of the cold wind I recorded with the coleman air mattress I posted earlier) and he came back in after it was mixed and approved it first time.&#xD;&#xA;&#xD;&#xA;I can go on and on and list my skills and how much production I've done and what different types of things I've done but I don't think that's necessary - I think my question has already been answered below, so thank you. But, I just wanted to clarify that I'm not sitting under the command of someone like Chris Boyes or Gary Rydstrom thinking I can do better than them. It's mostly people who are neglecting very basic artistic principles that I feel like I have a firm grounding in and can use to contribute more to a soundtrack much like the one we fixed up that I mentioned above, and these same people have sometimes less time and experience than I do." ContentLicense="CC BY-SA 3.0" />
  <row Id="15118" PostHistoryTypeId="2" PostId="9081" RevisionGUID="3577889c-9408-4b20-a486-bf1e94e13cb0" CreationDate="2011-07-11T21:16:30.513" UserId="1086" Text="Hi Simon! &#xD;&#xA;I think it's great you're trying this on. It's clear that sound for film is going to change its way of working and I think this is &quot;the future&quot;, however not necessarily in foley. I think that a good foley sampler needs to be in some way incorporated with the imagery, much like in games. I mean, in a specific scene of a game you can set the &quot;mood&quot; of a space and get the footsteps to sound differently depending on the mood of that &quot;level&quot;. Eventually, I think that way of working will  come to movies as well. That would be handy for TV shows, etc. &#xD;&#xA;&#xD;&#xA;But I read this and I instantly thought &quot;This would be great for ambiances&quot; It might be off topic, but the concept is the same. This would be great for ambiances in the sense that you can load different elements into an ambiance and change it just like that without having to load different samples all the time. I bumped into this issue as I was building a project that I had mixed in stereo and I wanted to make a 5.1 mix out of it. &#xD;&#xA;My first reaction was &quot;sigh, now I have to rebuild the ALL the ambiances&quot;. &#xD;&#xA;But this project got me thinking that with a MIDI sequencer and a good sample patch I could be &quot;painting&quot; the ambiances real quick and easy. But then again I'm not really sure about that either, I mean let's say I wanted to listen to a scene and check out a specific piece of the ambiance, I'd have to retrigger the MIDI event, i.e from the start of the MIDI trigger. Could get frustrating, but hey! That could actually be a time saver. &#xD;&#xA;&#xD;&#xA;I honestly think this is a good project, since it's a school project. I don't think it would make it to the market, but it's a way of asking: &quot;Shouldn't we rethink the way we make soundtracks?&quot; And there's always the budgetary reasons and what have you.&#xD;&#xA;&#xD;&#xA;And sorry for the bad english, I hope you can understand some of it. :)&#xD;&#xA;&#xD;&#xA;Looking forward to reading your progression on this! Take care&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15119" PostHistoryTypeId="2" PostId="9082" RevisionGUID="10ac3e70-2540-4262-8a81-615dc7c2cb34" CreationDate="2011-07-11T21:17:37.533" UserId="62" Text="Where do you live? In the UK it's possible to visit them. Dammit, I clearly need to go to one now and record it.&#xD;&#xA;&#xD;&#xA;Here's a paper on the noise they create if that gives you any help at all.&#xD;&#xA;http://www.bwea.com/pdf/noise.pdf&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 3.0" />
  <row Id="15121" PostHistoryTypeId="5" PostId="9042" RevisionGUID="08408999-1dca-43db-9ecd-03478ec591ca" CreationDate="2011-07-11T21:24:35.383" UserId="18160" Comment="added 189 characters in body; added 7 characters in body" Text="This is kind of a personal question so excuse me if I get emotional or too intimate while writing this but that just shows my love of this forum and community and I hope many of you I have conversed with over the past year and a half will respond with some words of wisdom.&#xD;&#xA;&#xD;&#xA;It happens a lot in the sound designing situation I'm in where someone is chosen as the superior or supervisor and I personally feel like I can bring so much more to the table if I were in that position but I don't know how to communicate this without coming across as a jerk.&#xD;&#xA;&#xD;&#xA;I've tried promoting and putting together a really nice show-reel and I constantly get good comments of how well I am to work with etc. etc. but it just doesn't seem to push me into higher and higher positions on the todem-pole. I'm constantly the second-in-command or the &quot;deputy&quot; or what have you, and it is starting to irk me that I am not chosen for the head or supervising role and I honestly think I can do a better job than my peers who are chosen for it. Most of them don't even know what the wilhelm scream is, let alone how to communicate emotions through sound or how to create an atmosphere with sonic landscapes for a movie or even how important it is to capture home-grown sound effects to add that extra flavor to your soundtrack that you just can't get sometimes anywhere else. I feel like I've grown in my knowledge of what is correct and what is incorrect sound to add in to a professional soundtrack.&#xD;&#xA;&#xD;&#xA;Should I be worried about this? I'm 26 and I feel like if I don't start moving up into those higher echelons of responsibility on projects I'll never make it out of &quot;just being another editor on the project&quot;.&#xD;&#xA;&#xD;&#xA;I mean, I have learned a lot on this site as well as on the job and I think I could sound design the hell out of a movie or similar project and I don't know how to communicate or show this to the powers-that-be which puts me into the go-to guy for sound needs.&#xD;&#xA;&#xD;&#xA;What has worked for you in the past? I've been in this game for a little over 8 years and I've spent the last 2 years now working 80+ hours a week sacrificing many personal endeavors to get ahead in this game but it seems like I've not gotten anywhere and I'm sort of doubting if I can make it.&#xD;&#xA;&#xD;&#xA;Thanks for your thoughts on the matter.&#xD;&#xA;&#xD;&#xA;**EDIT:** Here is an example of something that happened recently that made me begin to feel this way.&#xD;&#xA;&#xD;&#xA;A director came in to my studio to do a listendown to a final mix I recorded the voice over for. The sound design was complete, mixed and being submitted to him. It was a very artsy piece, similar to The Tree of Life. The narration could not be heard in certain places, the music was thin and lacked dimension, etc. Real basic things. Then, in terms of the artistic viewpoint of what sounds were chosen for certain things, there was a line of people who were lined up in a semi-serious scene, not slapstick or anything, and the sound chosen and put into the final mix was crashing bowling-pins when they were falling down. The designer eventually was fired and the film had to be fixed but that's one example where I thought - &quot;Wow, with what I know, I could have helped that director with that soundtrack&quot;.&#xD;&#xA;&#xD;&#xA;Another project I worked on, the director really really *really* wanted to make the audience feel cold and sad. He wanted it done solely with sound design because he didn't want any music in the film at this point. The sounds were 90% chosen from the on-set mics, a stereo pair set up by the camera. It was filmed on a sunny day so you hear birds, you hear traffic on dry streets and an otherwise normal day in a rural area. Many foley elements were missing, footsteps, movements on the screen, jerky camera angle switches, etc. The director shook his head while I played it back for him and he turned and asked me what I would do to design the soundscape to elicit the proper response from the audience, in this case being cold and sad. I told him I would do these things for starters: Nix the ambience with any signs of happy life - happy birds, anything which sounds warm or happy. I would then put in colder winds, colder climate sounds. Most specifically I thought of replacing all of the car bys with cars that were driving through puddles and wet streets, even though it had been filmed during a sunny day, so that the audience would subliminally think that it had just rained or that it was cold outside, etc. He heard this and told me to get with the editors and fix it right away. I spent that night all night re-working that section and getting it perfect (which was the use of the cold wind I recorded with the coleman air mattress I posted earlier) and he came back in after it was mixed and approved it first time.&#xD;&#xA;&#xD;&#xA;I can go on and on and list my skills and how much production I've done and what different types of things I've done but I don't think that's necessary - I think my question has already been answered below, so thank you. But, I just wanted to clarify that I'm not sitting under the command of someone like Chris Boyes or Gary Rydstrom thinking I can do better than them, rather, it's situations like the above which I hope you agree are pretty blatant. But, I have been thinking of how to either promote myself or make it more known about what I CAN do so that I might be given more opportunities to have full responsibility of the track which yes, it does come from the idea that &quot;I can do better than someone else&quot; but from the viewpoint of better contributing to the effectiveness of the final mix and not from the viewpoint of &quot;I'm better than him!&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15122" PostHistoryTypeId="2" PostId="9084" RevisionGUID="7e131796-a89d-4510-b8b1-e05b8f8769da" CreationDate="2011-07-11T21:45:13.070" UserId="1011" Text="Hi,&#xD;&#xA;&#xD;&#xA;Actually just a few days ago I passed by the solo [wind turbine they have here in Toronto][1].&#xD;&#xA;&#xD;&#xA;I was a bit surprised. There wasn't any apparent noise from about 50 meters away. I expected to hear blade whooshes, thumps or something similar for blades of that size.&#xD;&#xA;&#xD;&#xA;The only sound that I did hear, just beginning to be apparent when I was about 10 meters away, was a fan coming from the _base_ behind a vented door - I assumed for cooling the interior machinery.  But nothing from the huge blades themselves.&#xD;&#xA;&#xD;&#xA;If you need a reference tone to recreate something similar, send me an email and I'll grab a recording this week. Can't promise it will be clean as there is traffic close but if it is helpful let me know.&#xD;&#xA;&#xD;&#xA;-Paul&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.windshare.ca/explace/the_wind_turbine.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15123" PostHistoryTypeId="5" PostId="9042" RevisionGUID="8d1061fa-36b5-402d-919d-f723bcc59ab8" CreationDate="2011-07-11T21:52:37.843" UserId="18160" Comment="added 342 characters in body" Text="This is kind of a personal question so excuse me if I get emotional or too intimate while writing this but that just shows my love of this forum and community and I hope many of you I have conversed with over the past year and a half will respond with some words of wisdom.&#xD;&#xA;&#xD;&#xA;It happens a lot in the sound designing situation I'm in where someone is chosen as the superior or supervisor and I personally feel like I can bring so much more to the table if I were in that position but I don't know how to communicate this without coming across as a jerk.&#xD;&#xA;&#xD;&#xA;I've tried promoting and putting together a really nice show-reel and I constantly get good comments of how well I am to work with etc. etc. but it just doesn't seem to push me into higher and higher positions on the todem-pole. I'm constantly the second-in-command or the &quot;deputy&quot; or what have you, and it is starting to irk me that I am not chosen for the head or supervising role and I honestly think I can do a better job than my peers who are chosen for it. Most of them don't even know what the wilhelm scream is, let alone how to communicate emotions through sound or how to create an atmosphere with sonic landscapes for a movie or even how important it is to capture home-grown sound effects to add that extra flavor to your soundtrack that you just can't get sometimes anywhere else. I feel like I've grown in my knowledge of what is correct and what is incorrect sound to add in to a professional soundtrack.&#xD;&#xA;&#xD;&#xA;Should I be worried about this? I'm 26 and I feel like if I don't start moving up into those higher echelons of responsibility on projects I'll never make it out of &quot;just being another editor on the project&quot;.&#xD;&#xA;&#xD;&#xA;I mean, I have learned a lot on this site as well as on the job and I think I could sound design the hell out of a movie or similar project and I don't know how to communicate or show this to the powers-that-be which puts me into the go-to guy for sound needs.&#xD;&#xA;&#xD;&#xA;What has worked for you in the past? I've been in this game for a little over 8 years and I've spent the last 2 years now working 80+ hours a week sacrificing many personal endeavors to get ahead in this game but it seems like I've not gotten anywhere and I'm sort of doubting if I can make it.&#xD;&#xA;&#xD;&#xA;Thanks for your thoughts on the matter.&#xD;&#xA;&#xD;&#xA;**EDIT:** Here is an example of something that happened recently that made me begin to feel this way.&#xD;&#xA;&#xD;&#xA;A director came in to my studio to do a listendown to a final mix I recorded the voice over for. The sound design was complete, mixed and being submitted to him. It was a very artsy piece, similar to The Tree of Life. The narration could not be heard in certain places, the music was thin and lacked dimension, etc. Real basic things. Then, in terms of the artistic viewpoint of what sounds were chosen for certain things, there was a line of people who were lined up in a semi-serious scene, not slapstick or anything, and the sound chosen and put into the final mix was crashing bowling-pins when they were falling down. The designer eventually was fired and the film had to be fixed but that's one example where I thought - &quot;Wow, with what I know, I could have helped that director with that soundtrack&quot;.&#xD;&#xA;&#xD;&#xA;Another project I worked on, the director really really *really* wanted to make the audience feel cold and sad. He wanted it done solely with sound design because he didn't want any music in the film at this point. The sounds were 90% chosen from the on-set mics, a stereo pair set up by the camera. It was filmed on a sunny day so you hear birds, you hear traffic on dry streets and an otherwise normal day in a rural area. Many foley elements were missing, footsteps, movements on the screen, jerky camera angle switches, etc. The director shook his head while I played it back for him and he turned and asked me what I would do to design the soundscape to elicit the proper response from the audience, in this case being cold and sad. I told him I would do these things for starters: Nix the ambience with any signs of happy life - happy birds, anything which sounds warm or happy. I would then put in colder winds, colder climate sounds. Most specifically I thought of replacing all of the car bys with cars that were driving through puddles and wet streets, even though it had been filmed during a sunny day, so that the audience would subliminally think that it had just rained or that it was cold outside, etc. He heard this and told me to get with the editors and fix it right away. I spent that night all night re-working that section and getting it perfect (which was the use of the cold wind I recorded with the coleman air mattress I posted earlier) and he came back in after it was mixed and approved it first time.&#xD;&#xA;&#xD;&#xA;I can go on and on and list my skills and how much production I've done and what different types of things I've done but I don't think that's necessary - I think my question has already been answered below, so thank you. But, I just wanted to clarify that I'm not sitting under the command of someone like Chris Boyes or Gary Rydstrom thinking I can do better than them, rather, it's situations like the above which I hope you agree are pretty blatant. But, I have been thinking of how to either promote myself or make it more known about what I CAN do so that I might be given more opportunities to have full responsibility of the track which yes, it does come from the idea that &quot;I can do better than someone else&quot; but from the viewpoint of better contributing to the effectiveness of the final mix and not from the viewpoint of &quot;I'm better than him!&quot; I haven't brought the director aside and told him that and I don't undermine my peers or say this sort of thing to them or the producers or any of that - this is the first place I've written this and I thought maybe some of you have had similar situations and care to share what you've done in the past to get yourself out of that situation." ContentLicense="CC BY-SA 3.0" />
  <row Id="15124" PostHistoryTypeId="2" PostId="9085" RevisionGUID="87fc54b6-b4aa-4674-9fb9-dc873b7d4946" CreationDate="2011-07-11T22:16:09.120" UserId="285" Text="Good timing with this question as I was recording 80 meter tall Windmills at a windfarm of 133 towers a couple hours north of Toronto.  This farm supplies 52,000 homes with electricity.  I think the city must have been drowning out the sound of the mill @AirbourneSound was referring to as it is near a couple major highways.  The ones I was recording are in the middle of farmers fields with no other sounds at all.... other then of coarse lots of wind.  As a result they are hard to record because by necessity they are built in high wind areas.  I strapped on my Rycote and furry and was still getting a lot of wind in my recordings.  They make a whoosh sound quite similar to what I expected they would.  Due to complaints of locals near these mills, the little room at their base have been sound proofed so they make basically no noise (this is where the wind energy is processed and added to the main power grid)  Here is a sample on my soundcloud page: http://soundcloud.com/azimuthaudio/windmill-with-low-cut&#xD;&#xA;Due to the wind I had to put a high-pass filter on these recordings. Both samples are the same Mill.  Depending on the speed and angle of the wind there was quite a variety of pitches and tones.&#xD;&#xA;&#xD;&#xA;A few years ago I mixed an episode of W-Five (Canada's 20/20 kind of) with a story about people complaining of Windmills near their houses making them ill.  There are a couple of audio clips in it to also give you an idea.  You can watch it here.&#xD;&#xA;&#xD;&#xA;http://www.ctv.ca/CTVNews/WFive/20081223/wfive_windmills_081227/&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="15125" PostHistoryTypeId="5" PostId="9085" RevisionGUID="fb9c6935-45cc-4299-ad3b-6a18c2b74a11" CreationDate="2011-07-11T23:45:40.117" UserId="285" Comment="added 19 characters in body" Text="Good timing with this question as I was recording 80 meter tall Windmills at a windfarm of 133 turbines, a couple hours north of Toronto, just yesterday.  This farm supplies 52,000 homes with electricity.  I think the city must have been drowning out the sound of the mill @AirbourneSound was referring to as it is near a couple major highways.  The ones I was recording are in the middle of farmers fields with no other sounds at all.... other then of coarse lots of wind.  As a result they are hard to record because by necessity they are built in high wind areas.  I strapped on my Rycote and furry and was still getting a lot of wind in my recordings.  They make a whoosh sound quite similar to what I expected they would.  Due to complaints of locals near these mills, the little room at their base have been sound proofed so they make basically no noise (this is where the wind energy is processed and added to the main power grid)  Here is a sample on my soundcloud page: http://soundcloud.com/azimuthaudio/windmill-with-low-cut&#xD;&#xA;Due to the wind I had to put a high-pass filter on these recordings. Both samples are the same Mill.  Depending on the speed and angle of the wind there was quite a variety of pitches and tones.&#xD;&#xA;&#xD;&#xA;A few years ago I mixed an episode of W-Five (Canada's 20/20 kind of) with a story about people complaining of Windmills near their houses making them ill.  There are a couple of audio clips in it to also give you an idea.  You can watch it here.&#xD;&#xA;&#xD;&#xA;http://www.ctv.ca/CTVNews/WFive/20081223/wfive_windmills_081227/&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="15126" PostHistoryTypeId="2" PostId="9086" RevisionGUID="d6a9b3b6-bddf-437e-a42e-4e61b67002b5" CreationDate="2011-07-12T03:00:09.907" UserId="558" Text="Most professional game audio engines package the individual WAV files into banks for various reasons.  If the audio tool you are using is 3rd party software, you are probably safe.  If it is proprietary, it is a very easy thing to bundle data up and avoid individual sound files on disk.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15127" PostHistoryTypeId="2" PostId="9087" RevisionGUID="88006181-69b9-40b9-9a37-867b1b88809b" CreationDate="2011-07-12T03:00:47.253" UserId="194" Text="you and your team have finished a film.  The producer emails you looking for a list of credits.&#xD;&#xA;&#xD;&#xA;You had a small crew and a few people performed multiple jobs.&#xD;&#xA;&#xD;&#xA;How do you want your credits to look on screen?&#xD;&#xA;how do you want them to look in imdb?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15128" PostHistoryTypeId="1" PostId="9087" RevisionGUID="88006181-69b9-40b9-9a37-867b1b88809b" CreationDate="2011-07-12T03:00:47.253" UserId="194" Text="opinions on film credits" ContentLicense="CC BY-SA 3.0" />
  <row Id="15129" PostHistoryTypeId="3" PostId="9087" RevisionGUID="88006181-69b9-40b9-9a37-867b1b88809b" CreationDate="2011-07-12T03:00:47.253" UserId="194" Text="&lt;credits&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15130" PostHistoryTypeId="2" PostId="9088" RevisionGUID="5c4324f7-5958-4037-804c-aaefb0085383" CreationDate="2011-07-12T03:15:28.267" UserId="558" Text="All of the experienced game sound people i know (and I know quite a few) have at least some field and studio recording experience.  If you wind up in game sound for any period of time, you will wind up spending at least some of your time doing the following:&#xD;&#xA;&#xD;&#xA;sound fx cutting&#xD;&#xA;sound fx implementation (most of your time is spent here)&#xD;&#xA;scouring your sound fx library for a sound that doesnt exist&#xD;&#xA;creating a sound that doesnt exist&#xD;&#xA;field recording&#xD;&#xA;dialog recording&#xD;&#xA;dialog editing&#xD;&#xA;maybe some dialog directing&#xD;&#xA;recording/editing foley&#xD;&#xA;learning new tech/ software tools&#xD;&#xA;realizing that the new tech/software tools dont do exactly what you want them to&#xD;&#xA;cursing your computer/software&#xD;&#xA;praying for an audio programmer&#xD;&#xA;wondering why that sound you just spent a day cutting isnt sounding right, or playing at all&#xD;&#xA;wondering why that sound that was working perfectly last week is not longer making a sound&#xD;&#xA;wondering why on one told you about that new beast/gun/vehicle that just got added to the game.&#xD;&#xA;&#xD;&#xA;It's a pretty sweet gig all in all.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15132" PostHistoryTypeId="2" PostId="9089" RevisionGUID="81440126-7931-4245-8a2a-21ece2e66c6e" CreationDate="2011-07-12T04:56:57.103" UserId="1090" Text="I have a small film company here in Sweden and we often do these kinds of films with less than 10 people in the team. The directors always write their own scripts and produce the movies themselves, so we write in the credits: &#xD;&#xA;&#xD;&#xA; - Written, directed and produced by: Person&#xD;&#xA;&#xD;&#xA;And I for example do both sound and music, and instead of writing every single aspect of sound work we simply write: &#xD;&#xA;&#xD;&#xA; - Sound and music: Olle Sjöström&#xD;&#xA;&#xD;&#xA;And the directors always edit the films themselves but we give that a separate credit. &#xD;&#xA;So I guess that's how we do, don't know if it answers your question, but I hope so :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15133" PostHistoryTypeId="5" PostId="9042" RevisionGUID="2d7938ce-efdb-4465-a4a7-822d8959e2f1" CreationDate="2011-07-12T05:16:17.630" UserId="18160" Comment="deleted 541 characters in body" Text="How do you promote yourself and your skills? How do you make them known?&#xD;&#xA;&#xD;&#xA;I've tried promoting and putting together a really nice show-reel and I constantly get good comments of how well I am to work with etc. etc. but it just doesn't seem to push me into higher and higher positions on the todem-pole. I'm constantly the second-in-command or the &quot;deputy&quot; or what have you, and it is starting to irk me that I am not chosen for the head or supervising role and I honestly think I can do a better job than what I currently get hired as. ]I know how to communicate emotions through sound or how to create an atmosphere with sonic landscapes for a movie or even how important it is to capture home-grown sound effects to add that extra flavor to your soundtrack that you just can't get sometimes anywhere else. I feel like I've grown in my knowledge of what is correct and what is incorrect sound to add in to a professional soundtrack.&#xD;&#xA;&#xD;&#xA;Should I be worried about this? I'm 26 and I feel like if I don't start moving up into those higher echelons of responsibility on projects I'll never make it out of &quot;just being another editor on the project&quot;.&#xD;&#xA;&#xD;&#xA;I mean, I have learned a lot on this site as well as on the job and I think I could sound design the hell out of a movie or similar project and I don't know how to communicate or show this to the powers-that-be which puts me into the go-to guy for sound needs.&#xD;&#xA;&#xD;&#xA;What has worked for you in the past? I've been in this game for a little over 8 years and I've spent the last 2 years now working 80+ hours a week sacrificing many personal endeavors to get ahead in this game but it seems like I've not gotten anywhere and I'm sort of doubting if I can make it.&#xD;&#xA;&#xD;&#xA;Thanks for your thoughts on the matter.&#xD;&#xA;&#xD;&#xA;**EDIT:** Here is an example of something that happened recently that made me begin to feel this way.&#xD;&#xA;&#xD;&#xA;A director came in to my studio to do a listendown to a final mix I recorded the voice over for. The sound design was complete, mixed and being submitted to him. It was a very artsy piece, similar to The Tree of Life. The narration could not be heard in certain places, the music was thin and lacked dimension, etc. Real basic things. Then, in terms of the artistic viewpoint of what sounds were chosen for certain things, there was a line of people who were lined up in a semi-serious scene, not slapstick or anything, and the sound chosen and put into the final mix was crashing bowling-pins when they were falling down. The designer eventually was fired and the film had to be fixed but that's one example where I thought - &quot;Wow, with what I know, I could have helped that director with that soundtrack&quot;.&#xD;&#xA;&#xD;&#xA;Another project I worked on, the director really really *really* wanted to make the audience feel cold and sad. He wanted it done solely with sound design because he didn't want any music in the film at this point. The sounds were 90% chosen from the on-set mics, a stereo pair set up by the camera. It was filmed on a sunny day so you hear birds, you hear traffic on dry streets and an otherwise normal day in a rural area. Many foley elements were missing, footsteps, movements on the screen, jerky camera angle switches, etc. The director shook his head while I played it back for him and he turned and asked me what I would do to design the soundscape to elicit the proper response from the audience, in this case being cold and sad. I told him I would do these things for starters: Nix the ambience with any signs of happy life - happy birds, anything which sounds warm or happy. I would then put in colder winds, colder climate sounds. Most specifically I thought of replacing all of the car bys with cars that were driving through puddles and wet streets, even though it had been filmed during a sunny day, so that the audience would subliminally think that it had just rained or that it was cold outside, etc. He heard this and told me to get with the editors and fix it right away. I spent that night all night re-working that section and getting it perfect (which was the use of the cold wind I recorded with the coleman air mattress I posted earlier) and he came back in after it was mixed and approved it first time.&#xD;&#xA;&#xD;&#xA;I can go on and on and list my skills and how much production I've done and what different types of things I've done but I don't think that's necessary - I think my question has already been answered below, so thank you. But, I just wanted to clarify that I'm not sitting under the command of someone like Chris Boyes or Gary Rydstrom thinking I can do better than them, rather, it's situations like the above which I hope you agree are pretty blatant. But, I have been thinking of how to either promote myself or make it more known about what I CAN do so that I might be given more opportunities to have full responsibility of the track which yes, it does come from the idea that &quot;I can do better than someone else&quot; but from the viewpoint of better contributing to the effectiveness of the final mix and not from the viewpoint of &quot;I'm better than him!&quot; I haven't brought the director aside and told him that and I don't undermine my peers or say this sort of thing to them or the producers or any of that - this is the first place I've written this and I thought maybe some of you have had similar situations and care to share what you've done in the past to get yourself out of that situation." ContentLicense="CC BY-SA 3.0" />
  <row Id="15134" PostHistoryTypeId="2" PostId="9090" RevisionGUID="8e682216-b69e-4459-a1c3-1c0b8cafc9c7" CreationDate="2011-07-12T06:32:08.957" UserId="348" Text="Doing both is an option as both are a growth industry and there is money in both if you work as a contractor rather than on salary. From there you definitely learn the wonders of post sound design as well as interesting on set recording in some great spaces. Also, throughout the years, you can build up an interesting library of wildlife and will have immortalized the sounds of those creatures which have become extinct. &#xD;&#xA;&#xD;&#xA;I did some field recording here in South Africa for a film that required authentic animal sounds such as leopard, maraboo stork, worthog, hundreds of vultures feeding etc. I really got a good idea of what some of these animals sounded like in different situations. Explore and have fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15135" PostHistoryTypeId="2" PostId="9091" RevisionGUID="20e47b86-b0e8-4a3c-932d-aa0b5a2ebcd1" CreationDate="2011-07-12T06:36:27.930" UserId="1178" Text="Izotope plugs (RX for the win), Logic Scuplture physical modelling synth, Ohmicide multiband distortion unit, NI Reaktor, Camel Alchemy and Soundtorch&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15136" PostHistoryTypeId="16" PostId="9091" RevisionGUID="20e47b86-b0e8-4a3c-932d-aa0b5a2ebcd1" CreationDate="2011-07-12T06:36:27.930" UserId="-1" />
  <row Id="15137" PostHistoryTypeId="2" PostId="9092" RevisionGUID="26a6ac81-c260-48ca-bcc8-63c0850cc99f" CreationDate="2011-07-12T06:37:59.217" UserId="1055" Text="Olle, there is!&#xD;&#xA;http://itunes.apple.com/us/app/multitrack-daw/id329322101?mt=8" ContentLicense="CC BY-SA 3.0" />
  <row Id="15138" PostHistoryTypeId="2" PostId="9093" RevisionGUID="f32092da-7c1b-4e08-a55a-acc5663c8351" CreationDate="2011-07-12T09:39:32.580" UserId="1196" Text="Game audio is incredibly difficult to get into, but with a couple of grands worth of kit, you can pretty much set yourself up and create sound libraries that could be potentially be sought after by large companies." ContentLicense="CC BY-SA 3.0" />
  <row Id="15139" PostHistoryTypeId="2" PostId="9094" RevisionGUID="82a94285-0789-409c-9a7e-cf544ccd227d" CreationDate="2011-07-12T10:14:33.897" UserId="1196" Text="Doesn't really bother me as long as I'm credited for what I do.  A few jobs I haven't been credited at all (was an expenses only gig too..)." ContentLicense="CC BY-SA 3.0" />
  <row Id="15140" PostHistoryTypeId="2" PostId="9095" RevisionGUID="10af7e44-3e0d-40cb-bc4e-e5878bb31c76" CreationDate="2011-07-12T13:07:11.213" UserId="1209" Text="Hi Simon,&#xD;&#xA;&#xD;&#xA;In order to add to the really good suggestions above, I have just released my first two sound effects collections.  Have a look at the train sound collection [here][1]. You can find a few onbard exterior rides and a lot more!  &#xD;&#xA;&#xD;&#xA;Cheers to all SSD members and sound designers on the web!&#xD;&#xA;&#xD;&#xA;Martin&#xD;&#xA;&#xD;&#xA;[www.martinpinsonnault.com][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.martinpinsonnault.com/sound-effects-collections/mpsfx_trains01/&#xD;&#xA;  [2]: http://www.martinpinsonnault.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15141" PostHistoryTypeId="2" PostId="9096" RevisionGUID="58ce8dbd-27fe-4acf-a2ea-1f94d14b9fb6" CreationDate="2011-07-12T13:20:24.490" UserId="285" Text="I am never to worried about the credits in the actual film anymore.  It is great to see your name up on the big (or small) screen but sadly I find no one sees them.  Theaters are often empty by the time sound crew credits scroll by and broadcast television credits are routinely sped up to unreadable speeds or squished to the edge of the screen while a preview of another program plays at the same time.  &#xD;&#xA;&#xD;&#xA;IMDB is the important credit listing to me. I can Qc it myself and link to it on my website and in emails with clients. It is not perfect but at least people can actually read it when they are looking for the information. &#xD;&#xA;&#xD;&#xA;If I complete multiple jobs on a project I normally allow a generic term for the on screen credit and them make the IMDB listing more specific to the individual tasks I worked on. So something like &quot;Sound Editor&quot; on the screen and then maybe three entries in IMDB with &quot;Dialog Editor&quot; &quot;SFX Editor&quot; and &quot;ADR Recording Engineer&quot; as a random example. &#xD;&#xA;&#xD;&#xA;Low budget productions can complicate credits as all the jobs melt into one and there is no way to really credit every hat a person wears. I am not a fan of having several credits whip by in a row and the same name beside all of them. better to list all the tasks in one batch and then the name the one time. &#xD;&#xA;&#xD;&#xA;Not sure if that is what you are asking but that's my two cents. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15142" PostHistoryTypeId="2" PostId="9097" RevisionGUID="86a67838-4a99-429f-b561-80a19efbb18b" CreationDate="2011-07-12T13:49:35.353" UserId="220" Text="I always gun for any opening title credits I can get...and a few times they've obliged! &#xD;&#xA;&#xD;&#xA;In the end credits, go for whatever you'd like and feel your team deserves.  They don't cost the production anything to put up there - credits any more for the crew.  Nobody in the theater cares who the 2nd unit assistant accountant was except for that person and their friends/family.  &#xD;&#xA;&#xD;&#xA;For IMDB, I'd go with 1 or 2 reasonable credits.  If you ran a camera for a day, or AD'd because it was a slim crew, I wouldn't take a credit for something like that.  Pick credits that will reinforce your current experience and career path.  As other folks pointed out, you can edit IMDB.  I routinely go through and purge out any oddball items to tighten up my credits.&#xD;&#xA;&#xD;&#xA;Bottom line, don't sweat.  As for something reasonable, and sort it out on IMDB later." ContentLicense="CC BY-SA 3.0" />
  <row Id="15143" PostHistoryTypeId="2" PostId="9098" RevisionGUID="657a5858-b0d4-40ed-aa87-3a81c2265520" CreationDate="2011-07-12T14:35:42.153" UserId="769" Text="This is a great question, g.a.harry, and one that only a handful of my friends and colleagues ask themselves — let alone those working in a field related to sound.&#xD;&#xA;&#xD;&#xA;The entire musical (and associated sound recording/reinforcement) industry is based around the 'must have'.  If I may take your cue and avoid talking about capitalism explicitly, it's certainly enough to say that equipment marketers are relentlessly pushing the latest must-have gear.  It's the mood of trade shows like NAMM, where reputations for innovation are born and maintained.  Companies that fail to introduce new products are forgotten.&#xD;&#xA;&#xD;&#xA;Of course, almost all products as you point out are made with materials which are some combination of harmful to produce, difficult to repair or troublesome to safely dispose of.  And let's not forget that on top of all that manufacturing, often achieved in places like China with very poor environmental and workplace safety records, there's the issue of transporting these items all over the world.  Few people have the option to 'buy local' when it comes to gear.&#xD;&#xA;&#xD;&#xA;Every item that is manufactured — be it toothpaste tubes, glass jars, beer bottles, office chairs, silicon PCBs or cat litter boxes — must be disposed of at some stage. And more often than not, that involves burying it in landfill. Few of us would bury an office chair in a national park. But the idea is not entirely removed.  Even recycling doesn't get us off the hook, because it in itself is very energy intensive and generates carbon and further waste through the need to transport material back and forth for processing.&#xD;&#xA;&#xD;&#xA;There's definitely something to be said for buying well-made, longer-lasting tools — although in many ways that runs counter to the ethic of having 'as broad a palette as possible' to work with as a sound designer, disqualifying flimsy, throwaway gimmicks like the Korg Monotron or Gakken plastic synths for example. And not just stuff that's made well physically; also things that will remain appropriate to your needs for a longer time. The higher model, if you like.&#xD;&#xA;&#xD;&#xA;A lot of us could also achieve very similar effects to most hardware if only we had the skills and knowledge to using software instead, either off the shelf or custom written.  This isn't always practical or possible.&#xD;&#xA;&#xD;&#xA;While the latter suggestion could significantly reduce the amount of stuff being brought into the world, it doesn't seem likely.  Instead, I think a good approach involves two important things:&#xD;&#xA;&#xD;&#xA;**Someone, do something**&#xD;&#xA;&#xD;&#xA;Companies here and there are making small attempts to improve the sustainability of their products - although are they? I can't think of an actual example - but nobody is making a very concerted effort to position their products as environmentally responsible. Surely there's a decent market for somebody to step into. The question is, can it even be done? Are the more responsible alternative materials and manufacturing processes available at a price that won't exclude every well-meaning sound designer, musician or tech?&#xD;&#xA;&#xD;&#xA;When disposing of old equipment (that can't be repaired or reused), take it to a computer recycler.  The parts must be at least partly similar, and some can be salvaged for other uses.  Pool resources, repair broken gear, keep your spaces organised so you don't lose important components/parts/adapters, accidentally destroy things or become frustrated and set fire to them.  Encourage your electronics retailers to pass feedback about build quality back to manufacturers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Don't buy new shit**  &#xD;&#xA;&#xD;&#xA;You mostly don't need it, but you think you do... right?  People were still making amazing work five years ago before today's must-haves existed.  Perhaps they made the work in a slightly different way.  Likely it was a little bit harder.  But they got there.&#xD;&#xA;&#xD;&#xA;I'm not saying we should all be running frantically with our feet when we drive, like the Flintstones or something.  But you can probably do without that brand new Sennheiser condenser, those very cool looking Audio Technica headphones or that pair of iPads.  You don't need those newly designed pickups that badly, and your old synth is actually as powerful as that new Korg Radias anyway, even if it doesn't look as good.&#xD;&#xA;&#xD;&#xA;Maybe you can't do without it — so a reasonable compromise is: 'don't buy it new'.  You can find almost anything you may need, in at least roughly equivalent form.  Be patient, even.  Encourage your peers to find new ways to use old tools, rather than letting the tools lazily suggest new ideas.  Read all you like about new gear, even, but use that research to fuel your creativity with existing stuff.  Borrow, lend and share more.  Don't fetishise the new and exciting so much.&#xD;&#xA;&#xD;&#xA;Anyway, this was probably a dumb rant but it seemed like the right thing to do at the time.  People are always finding justifications for why they can't afford to change the way they do things.  That's why nothing ever progresses. Because we're often too selfish.&#xD;&#xA;&#xD;&#xA;Over the past month or two, I've been trying to exercise a sort of policy within my own life  wherein I won't buy anything that has excessive packaging, I'll repair rather than replace anything I possibly can, I'll try to avoid using significant objects that are made of materials I wouldn't bury in my own backyard (so timber over MDF, paper over plastic), and refrain from buying something new (apart from food etc obviously) unless I absolutely 'need' it and can't source it some other way.&#xD;&#xA;&#xD;&#xA;It has sometimes been hard not to bow to temptation and/or convenience and sometimes I haven't succeeded, but it's a step in the right direction and an important thing to try.  I'll see how long I can make it last." ContentLicense="CC BY-SA 3.0" />
  <row Id="15144" PostHistoryTypeId="5" PostId="9098" RevisionGUID="9af6cf99-e914-4a9a-9b33-160c07f7ef16" CreationDate="2011-07-12T14:41:40.070" UserId="769" Comment="deleted 9 characters in body; added 39 characters in body" Text="This is a great question, g.a.harry, and one that only a handful of my friends and colleagues ask themselves — let alone those working in a field related to sound.&#xD;&#xA;&#xD;&#xA;The entire musical (and associated sound recording/reinforcement) industry is based around the 'must have'.  If I may take your cue and avoid talking about capitalism explicitly, it's certainly enough to say that equipment marketers are relentlessly pushing the latest must-have gear.  It's the mood of trade shows like NAMM, where reputations for innovation are born and maintained.  Companies that fail to introduce new products are forgotten.&#xD;&#xA;&#xD;&#xA;Of course, almost all products as you point out are made with materials which are some combination of harmful to produce, difficult to repair or troublesome to safely dispose of.  And let's not forget that on top of all that manufacturing, often achieved in places like China with very poor environmental and workplace safety records, there's the issue of transporting these items all over the world.  Few people have the option to 'buy local' when it comes to gear.&#xD;&#xA;&#xD;&#xA;Every item that is manufactured — be it toothpaste tubes, glass jars, beer bottles, office chairs, silicon PCBs or cat litter boxes — must be disposed of at some stage. And more often than not, that involves burying it in landfill. Few of us would bury an office chair in a national park. But the idea is not entirely removed.  Even recycling doesn't get us off the hook, because it in itself is very energy intensive and generates carbon and further waste through the need to transport material back and forth for processing.&#xD;&#xA;&#xD;&#xA;There's definitely something to be said for buying well-made, longer-lasting tools — although in many ways that runs counter to the ethic of having 'as broad a palette as possible' to work with as a sound designer, disqualifying flimsy, throwaway gimmicks like the Korg Monotron or Gakken plastic synths for example. And not just stuff that's made well physically; also things that will remain appropriate to your needs for a longer time. The higher model, if you like.&#xD;&#xA;&#xD;&#xA;A lot of us could also achieve very similar effects to most hardware if only we had the skills and knowledge to using software instead, either off the shelf or custom written.  This isn't always practical or possible.&#xD;&#xA;&#xD;&#xA;While the latter suggestion could significantly reduce the amount of stuff being brought into the world, it doesn't seem likely.  Instead, I think a good approach involves two important things:&#xD;&#xA;&#xD;&#xA;**Someone, do something**&#xD;&#xA;&#xD;&#xA;Companies here and there are making small attempts to improve the sustainability of their products - although are they? I can't think of an actual example - but nobody is making a very concerted effort to position their products as environmentally responsible. Surely there's a decent market for somebody to step into. The question is, can it even be done? Are the more responsible alternative materials and manufacturing processes available at a price that won't exclude every well-meaning sound designer, musician or tech?&#xD;&#xA;&#xD;&#xA;When disposing of old equipment (that can't be repaired or reused), take it to a computer recycler.  The parts must be at least partly similar, and some can be salvaged for other uses.  Pool resources, repair broken gear, keep your spaces organised so you don't lose important components/parts/adapters, accidentally destroy things or become frustrated and set fire to them.  Encourage your electronics retailers to pass feedback about build quality back to manufacturers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Don't buy new shit**  &#xD;&#xA;&#xD;&#xA;You mostly don't need it, but you think you do... right?  People were still making amazing work five years ago before today's must-haves existed.  Perhaps they made the work in a slightly different way.  Likely it was a little bit harder.  But they got there.&#xD;&#xA;&#xD;&#xA;I'm not saying we should all be running frantically with our feet when we drive, like the Flintstones or something.  But you can probably do without that brand new Sennheiser condenser, those very cool looking Audio Technica headphones or that pair of iPads.  You don't need those newly designed pickups that badly, and your old synth is actually as powerful as that new Korg Radias anyway, even if it doesn't look as good.&#xD;&#xA;&#xD;&#xA;Maybe you can't do without it — so a reasonable compromise is: 'don't buy it new'.  You can find almost anything you may need, in at least roughly equivalent form.  Be patient, even.  Encourage your peers to find new ways to use old tools, rather than letting the tools lazily suggest new ideas.  Read all you like about new gear, but use that research to fuel your creativity with existing stuff.  Borrow, lend and share more.  Don't fetishise the new and exciting so much.&#xD;&#xA;&#xD;&#xA;Anyway, this was probably a dumb rant but it seemed like the right thing to do at the time.  People are always finding justifications for why they can't afford to change the way they do things.  That's why nothing ever progresses. Because we're often too selfish.&#xD;&#xA;&#xD;&#xA;Over the past month or two, I've been trying to exercise a sort of policy within my own life  wherein I won't buy anything that has excessive packaging, I'll repair rather than replace anything I possibly can, I'll try to avoid using significant objects that are made of materials I wouldn't bury in my own backyard (so timber over MDF, paper over plastic), and refrain from buying something new (apart from food etc obviously) unless I absolutely 'need' it and can't source it some other way.&#xD;&#xA;&#xD;&#xA;It has sometimes been hard not to bow to temptation and/or convenience and I haven't always succeeded, but it's a step in the right direction and an important thing to try.  I'll see how long I can make it last.&#xD;&#xA;&#xD;&#xA;ps. Haven't seen *The Corporation*." ContentLicense="CC BY-SA 3.0" />
  <row Id="15145" PostHistoryTypeId="5" PostId="9072" RevisionGUID="8bfc02e3-b5dd-4871-872d-8025b101929d" CreationDate="2011-07-12T15:43:06.880" UserId="1011" Comment="added 6 characters in body" Text="Hi Simon,&#xD;&#xA;&#xD;&#xA;That sounds like a cool project.&#xD;&#xA;&#xD;&#xA;I have some at [Airborne Sound][1]. A mix of diesel, passenger, steam, freight, etc. They're all clean and upfront.&#xD;&#xA;&#xD;&#xA;Direct links:&#xD;&#xA;&#xD;&#xA; - [general trains passing][2], a variety of rail clatter passes and rail scrapes&#xD;&#xA; - [Some loopable train passing&#xD;&#xA;   elements][3]&#xD;&#xA; - I have [steam train exterior&#xD;&#xA;   onboards][4], but no diesel onboards&#xD;&#xA;&#xD;&#xA;I also have a &quot;Jet Set&quot; collection pack of a few various [train sounds here][5] at a discounted price.&#xD;&#xA;&#xD;&#xA;I was particularly happy with the exterior passes. I felt they have lots of power and energy and character. All recorded with the Neumann 191 mic.&#xD;&#xA;&#xD;&#xA;All sounds have Soundminer metadata, by the way.&#xD;&#xA;&#xD;&#xA;Good luck with the project.&#xD;&#xA;&#xD;&#xA;-Paul&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.airbornesound.com/vehicle/train.html&#xD;&#xA;  [2]: http://www.airbornesound.com/catalogsearch/result/?q=train%20passing&#xD;&#xA;  [3]: http://www.airbornesound.com/catalogsearch/result/?q=train%20loop&#xD;&#xA;  [4]: http://www.airbornesound.com/catalogsearch/result/?q=train%20onboard&#xD;&#xA;  [5]: http://www.airbornesound.com/vehicle/train/jet-set-sound-pack-06-trains-sound-effects.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15146" PostHistoryTypeId="2" PostId="9099" RevisionGUID="d9e95b7d-c4c0-4bb6-88f9-e0cc3796e02f" CreationDate="2011-07-12T17:58:21.653" UserId="1210" Text="Game audio is pretty impossible to get into.  Nowdays you HAVE to be a composer if you want to be a sound designer and thats only to work on lower titles.  If you ever get enough experience and credit from that, the only way to move into bigger titles and an actual job is to know audio implementation programs inside and out while creating sound design and if you can do that, and prove it to someone, then you have to know somebody in the industry who will give you a job.  Be prepared for the longhaul and don't assume that you can just get a job.&#xD;&#xA;&#xD;&#xA;I suggest you stay in school for a few more years and don't focus on finding employment but rather let employment find you." ContentLicense="CC BY-SA 3.0" />
  <row Id="15147" PostHistoryTypeId="2" PostId="9100" RevisionGUID="05a1a131-1f63-4132-a670-3580c95f0383" CreationDate="2011-07-12T18:14:41.500" UserId="1210" Text="You could be grateful that you are actually making any money at all in this post-digital-apocalyptic state of audio business.&#xD;&#xA;It is a marathon, not a sprint, rome was not built in a day.&#xD;&#xA;Sometimes the best thing to do is admit that you made a mistake (working80+hours and expecting to come up as fast as you'd like to) and move on.  &#xD;&#xA;Your work will always be the way to show who you are in relation to what you can do.  Developing communication skills and becoming aquaintences with everyone in the world will be the half of the battle." ContentLicense="CC BY-SA 3.0" />
  <row Id="15148" PostHistoryTypeId="2" PostId="9101" RevisionGUID="c2d4caca-9e1b-4c82-b254-bb1f6f2ab08a" CreationDate="2011-07-12T19:28:12.743" UserId="1153" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I'll be recording a motorbike at the weekend for the first time and was looking for some tips!&#xD;&#xA;&#xD;&#xA;I have a Rode NTG-2 (w/ blimp) and NT1-A, a pair of sontronics STC-1s's and the zoom h4n's onboard stereo mics at my disposal BUT can only record a stereo pair or 2 monos at a time as I currently only have the zoom and need to record in 24/96 so am limited to 2 channels... :(&#xD;&#xA;&#xD;&#xA;The key sounds I need are starting/stoping, idle, braking and preferably a 'ridealong' or some sound that could simulate the sound of the bike whilst being rode. Anything else is a bonus :D&#xD;&#xA;&#xD;&#xA;Does anyone have any experience with this? Are there any specific techniques I could try? And also, are there things I should watch out for? (apart from the bike :D) like placing the mic too close and it being destroyed by the heat? Whilst researching I saw this happen in one video where they were recording the bike for a game and then poof! &#xD;&#xA;&#xD;&#xA;All help is much appreciated, cheers :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15149" PostHistoryTypeId="1" PostId="9101" RevisionGUID="c2d4caca-9e1b-4c82-b254-bb1f6f2ab08a" CreationDate="2011-07-12T19:28:12.743" UserId="1153" Text="Tips for Motorbike recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15150" PostHistoryTypeId="3" PostId="9101" RevisionGUID="c2d4caca-9e1b-4c82-b254-bb1f6f2ab08a" CreationDate="2011-07-12T19:28:12.743" UserId="1153" Text="&lt;motorcycle&gt;&lt;ntg2&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15151" PostHistoryTypeId="2" PostId="9102" RevisionGUID="6c1622a0-887a-48e4-93c6-62e64e1ce051" CreationDate="2011-07-12T19:55:34.543" UserId="194" Text="doesn't get much better than this:&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/worlds-fastest-indian&#xD;&#xA;&#xD;&#xA;this is also generally applicable:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/08/rob-nokes-special-guide-to-recording-cars/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15152" PostHistoryTypeId="2" PostId="9103" RevisionGUID="81f42db7-8d38-46ee-afcd-9b3db937c9b9" CreationDate="2011-07-12T20:22:18.947" UserId="234" Text="Hey @Utopia... remember when you asked about learning mixing and I mentioned the &quot;Zen&quot; of removing yourself from the equation? This would be another good area to practice that! :)&#xD;&#xA;&#xD;&#xA;Steve and Tim have stated it far better than I could, so I won't rehash - their advice is good, and the fact that you've taken it to heart, means you will get through all this.&#xD;&#xA;&#xD;&#xA;Oh and finally, when you DO get to the big chair (and I for one have no doubt you will), remember how you felt and what you learned, and pass it on! &#xD;&#xA;&#xD;&#xA;P.S. For the record... I'm still workin' on that Zen thing 10 years on." ContentLicense="CC BY-SA 3.0" />
  <row Id="15153" PostHistoryTypeId="2" PostId="9104" RevisionGUID="52bd388f-835b-4de9-98ff-984950e76fd0" CreationDate="2011-07-12T20:25:53.107" UserId="238" Text="Colin Hart published an article on his blog a while back about a Yamaha R1 motorbike recording session. That should be of some help too.&#xD;&#xA;&#xD;&#xA;http://hartfx.net/road-trip-special-recording-the-yamaha-r1/ " ContentLicense="CC BY-SA 3.0" />
  <row Id="15154" PostHistoryTypeId="2" PostId="9105" RevisionGUID="af4de356-5163-475c-bac0-607ab24284f3" CreationDate="2011-07-12T20:51:29.353" UserId="285" Text="A few weeks ago I was researching everything I could find on vehical recording for a recording session of my own, below are some of the ones I found interesting/helpful.&#xD;&#xA;&#xD;&#xA;Other then the Colin Hart &amp; Tim Prebble links these are all car recording sites but they are all along the lines of what you will be doing.&#xD;&#xA;&#xD;&#xA;My only advice specific to a motor cycle would be be prepared for wind and lots of it. There are not many places to hide a mic from the air flow.&#xD;&#xA;&#xD;&#xA;Plus just because you don't own more gear does not mean you can not rent it.  Renting is a great way to try out new gear and learn its pros and cons and get used to different techniques.  I rented a few extra mics for my session and would have been pooched without them, and it only cost me $50 for the weekend.&#xD;&#xA;&#xD;&#xA;OK here are some sites to check out, some mentioned already some not:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/08/rob-nokes-special-guide-to-recording-cars/&#xD;&#xA;&#xD;&#xA;http://blog.tonewaves.com/?p=100&#xD;&#xA;&#xD;&#xA;http://hartfx.net/road-trip-special-recording-the-yamaha-r1/&#xD;&#xA;&#xD;&#xA;http://thesoundmyheadmakes.blogspot.com/2011/02/truck-record-part-1-prep.html&#xD;&#xA;&#xD;&#xA;http://thesoundmyheadmakes.blogspot.com/2011/02/truck-record-part-2recording.html&#xD;&#xA;&#xD;&#xA;http://thesoundmyheadmakes.blogspot.com/2011/02/truck-record-part-3editing.html&#xD;&#xA;&#xD;&#xA;http://www.tracktimeaudio.com/?p=179&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/worlds-fastest-indian&#xD;&#xA;&#xD;&#xA;This one is super professional take on how to do it, not really helpful for your purpose, but crazy to read how the pros with big budgets do it!!&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/02/charles-deenen-special-car-recording-guide/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15155" PostHistoryTypeId="2" PostId="9106" RevisionGUID="6bdcbee5-8c0b-47b9-8526-803bab96b44b" CreationDate="2011-07-12T22:35:43.503" UserId="1212" Text="I took part in a 48Hr competition for Sci-Fi London last year and it was my first 'real' production experience. I managed to borrow some recording equipment - a sound devices Mixpre recording into my own M-Audio Microtrack II. I also had a windjammer and some cables but seeing as we were meeting up at 7am I decided to get an early night without checking that I had all the cables. The next day to my horror I realized that I didn't have the XLR cable to record from the Mixpre to the Microtrack so I burned it down to Maplins and managed to buy one. &#xD;&#xA;&#xD;&#xA;I was the sound recorder and sound editor on the project which meant I was there for the whole shoot recording every sound that I could but then had to travel over half of London to get home and tidy/label all the sounds. The next day we were recording in an underground car park which had huge ventilation fans which were really hard to get rid of afterwards. I could only work when we had picture lock because I was working remotely from the editor. This meant that I had to painstakingly guess the sound to use on every shot/cut which gave me hardly any time for mixing and music.&#xD;&#xA;&#xD;&#xA;I learnt a lot of important lessons though such as:&#xD;&#xA;&#xD;&#xA; 1. Turn off all mobile phones - you might get that mobile phone noise during a take&#xD;&#xA; 2. Scout out any areas before hand to determine noisy environments such as planes, aircon, etc&#xD;&#xA; 3. Do not be late - It doesn't look good to keep actors and crew waiting and it is also good practice to record room ambience for the edit.&#xD;&#xA; 4. Have fun - try not to take it too seriously.&#xD;&#xA;&#xD;&#xA;Here is our entry on Vimeo: http://vimeo.com/22276748&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15156" PostHistoryTypeId="2" PostId="9107" RevisionGUID="b7d162fa-e5e5-49e1-935e-d5c66ea96e25" CreationDate="2011-07-12T22:44:57.733" UserDisplayName="user49" Text="IMDB has a standard set of sound credit roles/titles, and you can enter multiple credits for the same project so thats fairly easy...&#xD;&#xA;&#xD;&#xA;FWIW I dont personally agree with asking for a front credit, such things are given rather than taken/asked for... And if you are to be given a front credit or a card credit, it is usually stated in your contract... " ContentLicense="CC BY-SA 3.0" />
  <row Id="15157" PostHistoryTypeId="2" PostId="9108" RevisionGUID="29e77c01-a9e8-492b-8c84-76211f27f7cc" CreationDate="2011-07-12T23:15:31.397" UserId="596" Text="which mic (or what type of mic) would you recommend for properly capturing microsound? e.g. recording really small tiny acoustic elements? i'm interested in capturing high resolution inner detail of some physical materials." ContentLicense="CC BY-SA 3.0" />
  <row Id="15158" PostHistoryTypeId="1" PostId="9108" RevisionGUID="29e77c01-a9e8-492b-8c84-76211f27f7cc" CreationDate="2011-07-12T23:15:31.397" UserId="596" Text="mic recommendation for microscopic recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="15159" PostHistoryTypeId="3" PostId="9108" RevisionGUID="29e77c01-a9e8-492b-8c84-76211f27f7cc" CreationDate="2011-07-12T23:15:31.397" UserId="596" Text="&lt;microphone&gt;&lt;microsound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15160" PostHistoryTypeId="2" PostId="9109" RevisionGUID="e5630670-4b45-48ee-ad8e-462785413b35" CreationDate="2011-07-13T00:08:26.190" UserId="1213" Text="Hey SSD,&#xD;&#xA;&#xD;&#xA;I'm Andrew, the community manager at Gobbler.  I've appreciated the great convo going on here about our software &amp; online backup.  &#xD;&#xA;&#xD;&#xA;In response to the TOS concerns: We borrowed the TOS from another generic backup service when we were in alpha (we couldn't afford lawyers to draft this up) &amp; we are finally making changes to this.  Check the conversation out here http://community.gobbler.com/gobbler/topics/question_about_your_terms_of_service&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I am more then happy to answer any questions or concerns you have about Gobbler.&#xD;&#xA;&#xD;&#xA;Thanks for giving us a try!&#xD;&#xA;&#xD;&#xA;all the best&#xD;&#xA;&#xD;&#xA;Andrew&#xD;&#xA;Andrew@gobbler.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="15161" PostHistoryTypeId="2" PostId="9110" RevisionGUID="23fb7a48-7f31-46e7-ba6a-23feea5d24bc" CreationDate="2011-07-13T00:15:23.607" UserId="469" Text="So if anyone hasn't already heard, they are doing massive roadwork on the 405 freeway between the 10 and 101 freeways.  Has anyone figured out a way to record the destruction of one or all of the 3 bridges they are planning to dismantle?  Seems like it might be possible to hike to one of the various parks in the corridor by the skirball bridge.  Thoughts?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15162" PostHistoryTypeId="1" PostId="9110" RevisionGUID="23fb7a48-7f31-46e7-ba6a-23feea5d24bc" CreationDate="2011-07-13T00:15:23.607" UserId="469" Text="CARMAGEDDON RECORDING PLANS?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15163" PostHistoryTypeId="3" PostId="9110" RevisionGUID="23fb7a48-7f31-46e7-ba6a-23feea5d24bc" CreationDate="2011-07-13T00:15:23.607" UserId="469" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15164" PostHistoryTypeId="2" PostId="9111" RevisionGUID="d5759b27-8e92-4c94-8765-66bb188de479" CreationDate="2011-07-13T00:23:52.640" UserId="469" Text="I think the mic has been mentioned before but if you want something super sensitive the now discontinued [Sanken MO-64][1] can record ant's footsteps and a snail's hearbeat.&#xD;&#xA;&#xD;&#xA;What exactly are you planning on recording?  What do you mean my by inner detail of some physical materials?  I'm trying to think if you want a contact mic or a sensitive large diaphragm condenser...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.atscomms.com/Sales/Products/Mics/Sanken/Contact_Mic/contact_mic.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15165" PostHistoryTypeId="2" PostId="9112" RevisionGUID="5d15194f-d287-43ff-b52a-de4e7791d3bf" CreationDate="2011-07-13T01:13:53.850" UserId="1004" Text="Still deciding on a school. I've wanted to attend Vancouver Film School's SD program for a while now, but I don't think as an American student I'll be able to secure any loans, which is such a shame... Still looking into it.&#xD;&#xA;&#xD;&#xA;Does anybody on here have any unbiased opinions/experiences with Video Symphony in LA? I've heard good and bad. Seems mostly geared toward to the technical side of things with very little sound design/film-post training. I feel like I've looked at every audio school in the country this week!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15167" PostHistoryTypeId="2" PostId="9114" RevisionGUID="a40f921d-7ae0-4d09-8b60-48db58643a10" CreationDate="2011-07-13T03:22:02.707" UserId="285" Text="Might want to see if anything in this thread helps you.&#xD;&#xA;http://socialsounddesign.com/questions/220/how-to-capture-very-low-volume-sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="15168" PostHistoryTypeId="2" PostId="9115" RevisionGUID="5601222d-4b1f-4ed3-8319-fac79ab04bdc" CreationDate="2011-07-13T04:05:56.360" UserId="338" Text="I felt the same way as you, working 80+ hours a week to come up quickly and make at least a little bit of money.  I'd have to say that it has payed off a little bit but, theres a time for taking it easy too.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="15169" PostHistoryTypeId="2" PostId="9116" RevisionGUID="f8861461-4460-475e-b364-7d0e745b4579" CreationDate="2011-07-13T06:36:02.353" UserId="1178" Text="I did a BA degree (digital audio and commercial music in 2010 and global creative economy degree in 2008. Also got 2nd degree papers in audiovisual media.... Currently schooling myself at a top notch game studio to be an sound designer." ContentLicense="CC BY-SA 3.0" />
  <row Id="15170" PostHistoryTypeId="2" PostId="9117" RevisionGUID="fc47d4b7-e480-4a3d-89fd-25d7da499c53" CreationDate="2011-07-13T06:46:20.040" UserId="1214" Text="Hi all, &#xD;&#xA;&#xD;&#xA;I recently graduated from a two year program with an Associates in Applied Sciences in the field of Recording Arts, (focusing in game audio). So far, I'm having trouble finding work and feel like I should specialize myself into a certain facet of game production, rather than being &quot;the sound guy&quot;. &#xD;&#xA;&#xD;&#xA;I am considering taking my audio knowledge to a &quot;normal&quot; university that offers a computer science (or similar) program to pick up knowledge in the PC code realm. My intention is to combine my knowledge of audio and computer programming to bridge the gap between programming and game audio. That being said, I was wondering if any of you had any advice on that career move, or know of a more efficient, or practical route of making myself much more hire-able than my peers. &#xD;&#xA;&#xD;&#xA;Thanks to anyone who responds!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15171" PostHistoryTypeId="1" PostId="9117" RevisionGUID="fc47d4b7-e480-4a3d-89fd-25d7da499c53" CreationDate="2011-07-13T06:46:20.040" UserId="1214" Text="Pursuing a career in Game Audio Programming" ContentLicense="CC BY-SA 3.0" />
  <row Id="15172" PostHistoryTypeId="3" PostId="9117" RevisionGUID="fc47d4b7-e480-4a3d-89fd-25d7da499c53" CreationDate="2011-07-13T06:46:20.040" UserId="1214" Text="&lt;sound-design&gt;&lt;programming&gt;&lt;career-choices&gt;&lt;career-advice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15173" PostHistoryTypeId="2" PostId="9118" RevisionGUID="b6d7e1fe-6fac-461d-8836-dd0dc93dc16f" CreationDate="2011-07-13T06:49:57.483" UserId="1215" Text="Jasuto Pro is incredible for designing sounds and CP1919 is a pretty cool granular synth app&#xD;&#xA;SunVox is also great fun for creating sounds and patterns.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15174" PostHistoryTypeId="2" PostId="9119" RevisionGUID="0a7d32ef-09cc-42ba-ac65-6fe7c01742c1" CreationDate="2011-07-13T09:20:02.153" UserId="1185" Text="It will be much easier to get a job in game audio if you have some programming experience.  Even it you end-up working as a sound designer at least you will understand the programming process and the terminology.  If you look for a course that specializes in &quot;audio programming&quot; you'll stand an even better chance ([http://www.herts.ac.uk/courses/Music-and-Sound-Technology.cfm][1]).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.herts.ac.uk/courses/Music-and-Sound-Technology.cfm" ContentLicense="CC BY-SA 3.0" />
  <row Id="15175" PostHistoryTypeId="2" PostId="9120" RevisionGUID="b1de6687-054e-4e32-aa33-3af800fea131" CreationDate="2011-07-13T10:54:56.517" UserId="6524" Text="I don't have an iPad but this App &quot;Sample Wiz&quot; I think its called looks pretty interesting:&#xD;&#xA;&#xD;&#xA;[youtube]http://www.youtube.com/watch?v=-09a0bCw_50[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="15176" PostHistoryTypeId="5" PostId="9120" RevisionGUID="e11835d8-4d82-44ba-ae4d-cbb6c94d0242" CreationDate="2011-07-13T11:00:26.897" UserId="6524" Comment="Add URL" Text="I don't have an iPad but this App &quot;[Sample Wiz][1]&quot; I think its called looks pretty interesting:&#xD;&#xA;&#xD;&#xA;[youtube]http://www.youtube.com/watch?v=-09a0bCw_50[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.samplewiz.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15177" PostHistoryTypeId="2" PostId="9121" RevisionGUID="dcc176ed-a1cc-4b08-919d-ad77f9fa21a6" CreationDate="2011-07-13T14:04:44.500" UserId="662" Text="Skills in digital signal processing, scripting and programming will definitely help you to get an in-house job in the game industry. I experienced a similar path and one thing I can tell you is unless you work in a big company with dedicated positions, you will be &quot;the sound guy&quot; more than ever! Your ability to take care of various tasks will lead you to do all the audio related work such as sound effects production, middleware integration, audio behaviors scripting, sound editing and mixing, etc... &#xD;&#xA;&#xD;&#xA;You can still decide to specialize afterwards in the field you prefer or you are the best at." ContentLicense="CC BY-SA 3.0" />
  <row Id="15178" PostHistoryTypeId="2" PostId="9122" RevisionGUID="98a5c370-3430-4395-8156-4038e1338a95" CreationDate="2011-07-13T14:17:05.743" UserId="1196" Text="We have a Sanken MO-64 in the studio, all I can say is...wow." ContentLicense="CC BY-SA 3.0" />
  <row Id="15179" PostHistoryTypeId="2" PostId="9123" RevisionGUID="cb75d4c9-d2a0-480f-a16e-56080d7c6666" CreationDate="2011-07-13T18:28:24.570" UserId="900" Text="Thanks everyone for all the tips. Audio below:&#xD;&#xA;&#xD;&#xA;I was up by Abbey and managed to get lots of useable material. I sampled at 24/96 but there's not much going on above 20-25k, only the really raspy exhaust stuff.&#xD;&#xA;&#xD;&#xA;I hired out some low sensitivity DPAs and ran them into a fostex FR2LE at almost 0dB gain, coming up to -10dBFS.&#xD;&#xA;&#xD;&#xA;The cars were LOUD. I must have been 50 metres away. The recordings do sound small and tinny. I remembered distinctly they had weight and size to them, although if you played them back at normal levels, you'd probably get near to the feeling - it's the extreme volume. The gear changes gave a real kick in the chest.&#xD;&#xA;&#xD;&#xA;I got F1, GP2 and GP3, as well as Challenge Porsche, and the safety cars - from lots of perspectives.&#xD;&#xA;The Lotus F1 engines had a new front firing exhaust and this made some entirely wierd noises, great for SFX.&#xD;&#xA;&#xD;&#xA;[F1 @ silverstone][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/lostrack/field-recording-f1-silverstone#" ContentLicense="CC BY-SA 3.0" />
  <row Id="15180" PostHistoryTypeId="2" PostId="9124" RevisionGUID="f9bcce7c-a25f-481b-a8a9-e1960f41d70b" CreationDate="2011-07-13T21:11:19.300" UserId="558" Text="I wave worked in game sound for a dozen years and let me tell you knowledgeable audio programmers are RARE.  Most of the time, the programmers assigned to audio are juniors or mid-levels who would rather be doing something else.  After they do their time, they go on to other tasks leaving the audio folks to train up someone else.  Speaking selfishly, I want to see more folks going into audio programming who plan to stay there.  Speaking for you, there are always slots for audio programmers on game teams(if you're willing to relocate). &#xD;&#xA;&#xD;&#xA;Learn the APIs for WWise and FMOD and I bet you will have no problem finding a job." ContentLicense="CC BY-SA 3.0" />
  <row Id="15181" PostHistoryTypeId="5" PostId="9124" RevisionGUID="8f98bc3a-0fb8-4674-9ca5-ee2deb3d06e0" CreationDate="2011-07-14T07:32:08.653" UserDisplayName="user80" Comment="edited body" Text="I have worked in game sound for a dozen years and let me tell you knowledgeable audio programmers are RARE.  Most of the time, the programmers assigned to audio are juniors or mid-levels who would rather be doing something else.  After they do their time, they go on to other tasks leaving the audio folks to train up someone else.  Speaking selfishly, I want to see more folks going into audio programming who plan to stay there.  Speaking for you, there are always slots for audio programmers on game teams(if you're willing to relocate). &#xD;&#xA;&#xD;&#xA;Learn the APIs for WWise and FMOD and I bet you will have no problem finding a job." ContentLicense="CC BY-SA 3.0" />
  <row Id="15182" PostHistoryTypeId="2" PostId="9125" RevisionGUID="71d1a917-5bb6-4155-8576-95fa6b0418ce" CreationDate="2011-07-14T07:59:01.937" UserId="407" Text="Audio Programmers are a highly sought after, but good ones are rare. Also the perception of what an audio programmer does or should do changes a lot based on the requirements of the company. There is a good article about it [here][1] - Along with what @David Rovin has already&#xD;&#xA;mentioned about learning the API's I'd also recommend getting to know as much about game engines as possible and looking at e.g. Unity3D or Unreal, because any middleware is only as good as it's integration into the engine ;)&#xD;&#xA;&#xD;&#xA;  [1]: http://altdevblogaday.com/2011/06/13/putting-the-audio-back-in-audio-programmer/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15186" PostHistoryTypeId="2" PostId="9128" RevisionGUID="2cb1cf98-0ba3-4514-a858-58245866ab30" CreationDate="2011-07-14T10:14:28.503" UserId="1185" Text="If you install the CoreAudio SDK (assuming your on a Mac) you get a host called &quot;AU Lab&quot;.  Find it at /Developer/Applications/Audio.  This is the most lightweight host you'll find that we AU developers use for testing the AUs without the hassle of starting Logic." ContentLicense="CC BY-SA 3.0" />
  <row Id="15187" PostHistoryTypeId="2" PostId="9129" RevisionGUID="acb638d9-67e5-4af9-9fc9-21f67bf43375" CreationDate="2011-07-14T10:39:09.493" UserId="1185" Text="Sounds good.  I've not heard the current engine spec &quot;live&quot;, but going to Hungary in a couple of weeks so will have a better idea after that.  (Not been to a GP for a few years and the engines do sound very different.)  Interestingly I'm sure I can hear the blown diffuser at a couple of points.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15188" PostHistoryTypeId="2" PostId="9130" RevisionGUID="d1d1602e-76fd-4fd5-b899-3915a11e907c" CreationDate="2011-07-14T11:34:41.610" UserId="432" Text="you may want to look into contact microphones. they can get you a lot of detail that might otherwise be lost, but it's not always easy finding the best place to attach them on small devices.&#xD;&#xA;&#xD;&#xA;about microphones in general (and this isn't always true, but it's a starting point): large diaphragms are generally more sensitive to lower acoustic levels than small diaphragms, but small diaphragms general have better high frequency response. that can help inform your choice of microphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="15189" PostHistoryTypeId="2" PostId="9131" RevisionGUID="650446c6-cab2-46c7-86a3-a0219e093817" CreationDate="2011-07-14T12:37:37.240" UserId="845" Text="Ok, this is probably going to sound insane.&#xD;&#xA;&#xD;&#xA;Inspired by @Tim Prebble's H&amp;aRoar contest, I'm trying to build the sound of a Wooden Monster Machine that stomps around and smashes stuff.  Think SteamPunk Godzilla.  God knows where the idea came from.&#xD;&#xA;&#xD;&#xA;Anyway.  I'm trying to figure out how the darned thing is powered.  Being SP, steam kind of has to be involved, duh to me, but I want to make all of the gears and stuff out of wood.&#xD;&#xA;&#xD;&#xA;Anybody have any experience building motor sounds from scratch?&#xD;&#xA;&#xD;&#xA;I'm planning to try and do a Watery Monster Machine in the future too, so it'll be super handy.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15190" PostHistoryTypeId="1" PostId="9131" RevisionGUID="650446c6-cab2-46c7-86a3-a0219e093817" CreationDate="2011-07-14T12:37:37.240" UserId="845" Text="A Motor/Engine Made of Wood" ContentLicense="CC BY-SA 3.0" />
  <row Id="15191" PostHistoryTypeId="3" PostId="9131" RevisionGUID="650446c6-cab2-46c7-86a3-a0219e093817" CreationDate="2011-07-14T12:37:37.240" UserId="845" Text="&lt;motor-sounds&gt;&lt;steam-punk-sd&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15192" PostHistoryTypeId="2" PostId="9132" RevisionGUID="c07d1f5a-20a0-41f3-bd83-00ca2f88c417" CreationDate="2011-07-14T13:39:32.117" UserId="1218" Text="This sounds fun!  I would start by recording a few different &quot;articulations&quot; of banging wood pieces together, then perhaps arrange a few small sequences of them playing in quick succession.  Resample those sequences and stick them into your favorite sampler and experiment with modulating both the speed and pitch up and down with a non-linear envelope.&#xD;&#xA;&#xD;&#xA;I think this would result in a nice rhythmically modulating layer that sounds like an engine element but with some of the acoustics of wood.  &#xD;&#xA;&#xD;&#xA;While you're recording your base elements, you might also want to record some wood squeaks and other stressing sounds to crossfade with one another and mix in as a second layer.  Add some stream and you'd probably be well on your way." ContentLicense="CC BY-SA 3.0" />
  <row Id="15193" PostHistoryTypeId="5" PostId="9130" RevisionGUID="a318009c-0485-4191-af77-e1a8cd9d2aa2" CreationDate="2011-07-14T13:50:03.233" UserId="432" Comment="typo" Text="you may want to look into contact microphones. they can get you a lot of detail that might otherwise be lost, but it's not always easy finding the best place to attach them on small devices.&#xD;&#xA;&#xD;&#xA;about microphones in general (and this isn't always true, but it's a starting point): large diaphragms are generally more sensitive to lower acoustic levels than small diaphragms, but small diaphragms generally have better high frequency response. that can help inform your choice of microphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="15194" PostHistoryTypeId="5" PostId="9132" RevisionGUID="9a7e7275-93af-4131-8557-7b6f89c3ac67" CreationDate="2011-07-14T13:54:27.333" UserId="1218" Comment="added 83 characters in body" Text="This sounds fun!  I would start by recording a few different &quot;articulations&quot; of banging wood pieces together, then perhaps arrange a few small sequences of them playing in quick succession.  Resample those sequences and stick them into your favorite sampler and experiment with modulating both the speed and pitch up and down with a non-linear envelope, but using different modulation amounts so the two parameters are subtly decoupled.&#xD;&#xA;&#xD;&#xA;I think this would result in a nice rhythmically modulating layer that sounds like an engine element but with some of the acoustics of wood.  &#xD;&#xA;&#xD;&#xA;While you're recording your base elements, you might also want to record some wood squeaks and other stressing sounds to crossfade with one another and mix in as a second layer.  Add some stream and you'd probably be well on your way." ContentLicense="CC BY-SA 3.0" />
  <row Id="15195" PostHistoryTypeId="2" PostId="9133" RevisionGUID="b359e810-7d39-4a27-9fce-b063ba8a818a" CreationDate="2011-07-14T18:14:45.660" UserId="1064" Text="Does anybody know of any ambiophonic plugins for PT9? I'm thinking about toying around with some stuff while I'm in school and have the resources. Advice?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;Kris" ContentLicense="CC BY-SA 3.0" />
  <row Id="15196" PostHistoryTypeId="1" PostId="9133" RevisionGUID="b359e810-7d39-4a27-9fce-b063ba8a818a" CreationDate="2011-07-14T18:14:45.660" UserId="1064" Text="Ambiophonic plugins" ContentLicense="CC BY-SA 3.0" />
  <row Id="15197" PostHistoryTypeId="3" PostId="9133" RevisionGUID="b359e810-7d39-4a27-9fce-b063ba8a818a" CreationDate="2011-07-14T18:14:45.660" UserId="1064" Text="&lt;plug-ins&gt;&lt;pro-tools&gt;&lt;binaural&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15198" PostHistoryTypeId="2" PostId="9134" RevisionGUID="9333a8ed-8ee4-47d6-8aab-baeb224f6437" CreationDate="2011-07-15T01:11:23.720" UserId="435" Text="Two or 3 editors is key! i have done a couple 48hour film comps now. The first one it was just me doing editing, mixing and music. The second one there was two of us. I dont know exactly how your competition works but the one here in NZ they give you the genre at 7pm friday night. so that night and the next you can get your genre specific sounds together. Sound libraries are also the biggest time saver too. That goes for music too if you dont have a dedicated composer use production music. while the picture was being edited we started scouring sounds that we knew would be needed. once locked, it was me editing dialogue and Will was doing effects and atmos. foley pretty much went out the window for our film due to in experience and slow chops. in the end we had fun and the team was impressed with our work so thats all that mattered really. you will always feel like you could have done more buts life. have fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15199" PostHistoryTypeId="2" PostId="9135" RevisionGUID="d8a43f7b-3fce-4a29-a79d-4438a15ac7fc" CreationDate="2011-07-15T06:36:47.350" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am interested in knowing whether or not music composed on Logic will have any issues being dumped onto a Protools LE 9 system. In the past, we found out that omf's from Nuendo 4 could not be read by Protools LE8. I did post this query on SSD and found out that I was not alone when having encountered this problem. Different people offered different solutions but the general consensus was that a converter of sorts such as a Pro Converter was required. &#xD;&#xA;&#xD;&#xA;Now, not all music files from Logic will be in an omf format, most likely wave as tghat is what I am recommending. But if anyone has encountered any compatibility issues between the 2, I would appreciate knowing about them. &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15200" PostHistoryTypeId="1" PostId="9135" RevisionGUID="d8a43f7b-3fce-4a29-a79d-4438a15ac7fc" CreationDate="2011-07-15T06:36:47.350" UserId="348" Text="Protools/Logic compatability" ContentLicense="CC BY-SA 3.0" />
  <row Id="15201" PostHistoryTypeId="3" PostId="9135" RevisionGUID="d8a43f7b-3fce-4a29-a79d-4438a15ac7fc" CreationDate="2011-07-15T06:36:47.350" UserId="348" Text="&lt;file&gt;&lt;compatibility&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15202" PostHistoryTypeId="2" PostId="9136" RevisionGUID="1d212b0c-a00d-4c3d-825b-13ccad43811f" CreationDate="2011-07-15T10:38:27.717" UserId="37" Text="Do yourself a favour and expect all sorts of problems. I think the two DAWs being severely incompatible with each other is part of both companies' marketing strategy. Print stems from session start with as much automation applied as you can afford, then import.. I don't mean to sound negative, just think this is the shortest path to getting the work done..&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15203" PostHistoryTypeId="2" PostId="9137" RevisionGUID="c37d9dfa-be6a-4f14-8c93-dd1a9bd7ec0c" CreationDate="2011-07-15T11:31:21.107" UserId="845" Text="I had something similar happen the other day. A region in PT displays like a normal old sound wave, but the second half plays back as an almighty blast of static. Weirdest thing I've seen in a whike. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15204" PostHistoryTypeId="2" PostId="9138" RevisionGUID="c32f23b6-52f1-4c19-a6d8-a6de941b9fba" CreationDate="2011-07-15T11:36:09.973" UserId="993" Text="Pointy Stumps covered the mindset side of this wonderfully. These are the guidelines by which I adhere to.&#xD;&#xA;&#xD;&#xA;- Use recharable batteries in all devices. These cost more initially, but save you so much money in the long run. It also means you always have extra batteries provided you have spares and a charger. Most importantly, you're buying say 10 batteries in five years as opposed to possibly hundreds of disposable batteries in the same time period.&#xD;&#xA;&#xD;&#xA;- Recycle unwanted objects into Foley props. I've found some of my favourite props on hard rubbish day.&#xD;&#xA;&#xD;&#xA;- Avoid gear acquisition syndrome. Only buy gear if it's essential - not just because you want it&#xD;&#xA;&#xD;&#xA;- If you do need it, see if you can buy it second hand. There's really no reason to buy a new mic stand.&#xD;&#xA;&#xD;&#xA;- If you do need to buy new, do some research into the company and be aware of over-packaged products. And if ordering online try shipping from within your state as opposed to overseas. Avoid buying a cheap product if the company production methods are questionable.&#xD;&#xA;&#xD;&#xA;- Make use of already occurring events. Air shows, car races, rocket launches - these are all things that would be expensive and resource intensive to stage a session for.&#xD;&#xA;&#xD;&#xA;This approach can extend to the rest of your life - and for those interested, I find the Kinokofry comics are great source of inspiration: http://kinokofry.com/bec/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15205" PostHistoryTypeId="5" PostId="9138" RevisionGUID="e5e4dd07-d509-4673-9618-b6eed80e79ff" CreationDate="2011-07-15T13:40:32.507" UserId="993" Comment="added 122 characters in body" Text="Pointy Stumps covered the mindset side of this wonderfully. These are the guidelines by which I adhere to.&#xD;&#xA;&#xD;&#xA;- Use recharable batteries in all devices. These cost more initially, but save you so much money in the long run. It also means you always have extra batteries provided you have spares and a charger. Most importantly, you're buying say 10 batteries in five years as opposed to possibly hundreds of disposable batteries in the same time period.&#xD;&#xA;&#xD;&#xA;- Recycle unwanted objects into Foley props. I've found some of my favourite props on hard rubbish day.&#xD;&#xA;&#xD;&#xA;- Avoid gear acquisition syndrome. Only buy gear if it's essential - not just because you want it&#xD;&#xA;&#xD;&#xA;- If you do need it, see if you can buy it second hand. There's really no reason to buy a new mic stand.&#xD;&#xA;&#xD;&#xA;- If you do need to buy new, do some research into the company and be aware of over-packaged products. And if ordering online try shipping from within your state as opposed to overseas. Avoid buying a cheap product if the company production methods are questionable.&#xD;&#xA;&#xD;&#xA;- Make use of already occurring events. Air shows, car races, rocket launches - these are all things that would be expensive and resource intensive to stage a session for.&#xD;&#xA;&#xD;&#xA;- Consider making things you need. Use recycled materials and build your own speaker stands, sound absorbing pads ect.&#xD;&#xA;&#xD;&#xA;This approach can extend to the rest of your life - and for those interested, I find the Kinokofry comics are great source of inspiration: http://kinokofry.com/bec/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15206" PostHistoryTypeId="2" PostId="9139" RevisionGUID="a01cd66d-9dbe-4438-a8d5-a0fb00b17447" CreationDate="2011-07-15T14:11:10.583" UserId="37" Text="it's called &quot;bugs&quot;, i.e. software errors... all due respect but i'd never trust pro tools to record 15 hours of audio in sync to video ref, whatever the source.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15207" PostHistoryTypeId="2" PostId="9140" RevisionGUID="360d5500-4e9e-4eef-aab1-f5b1df56b3fc" CreationDate="2011-07-15T17:32:50.717" UserId="558" Text="One of the big issues with Nuendo-&gt;PT is the interleaved vs. non-interleaved stereo files.  My guess is that issue will exist for Logic-&gt;PT transfers.   As i understand, PT is the only  DAW using separate L and R files.  As Georgi.m said, expect more problems, but OMF will not handle the stereo file issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="15208" PostHistoryTypeId="2" PostId="9141" RevisionGUID="1be34a7e-1410-4361-91e0-228f67000c2d" CreationDate="2011-07-15T19:05:42.923" UserDisplayName="user80" Text="Gobbler is working really well for me.  I am using it for version control between work and home, as well as for collaborating.&#xD;&#xA;&#xD;&#xA;It's also great for finding Pro Tools sessions that I forgot to finish.&#xD;&#xA;&#xD;&#xA;I like that it just grabs the audio folder rather than read the ptf, as that means that my notes as well as script are uploaded as well.&#xD;&#xA;&#xD;&#xA;As a free service it is excellent, there are things that could be improved, such as being able to delete sent files from the list, or grouping sessions into folders within the Gobbler window, but these are minor.&#xD;&#xA;&#xD;&#xA;A lot of free services have the strict terms of service.  If I am working on something more sensitive then I always have access to a bespoke system.    &#xD;&#xA;&#xD;&#xA;I thoroughly recommend the service, and intend to keep on using it." ContentLicense="CC BY-SA 3.0" />
  <row Id="15209" PostHistoryTypeId="4" PostId="8875" RevisionGUID="aeaa9f9d-8966-4752-aa1a-bb168a521f0f" CreationDate="2011-07-15T21:01:19.673" UserId="900" Comment="edited title" Text="Recording F1 flybys @ silverstone next week...any tips?? [update - recordings enclosed]" ContentLicense="CC BY-SA 3.0" />
  <row Id="15210" PostHistoryTypeId="2" PostId="9142" RevisionGUID="0524fa10-68e3-4ebe-92ce-13286f553aa6" CreationDate="2011-07-15T22:09:48.203" UserId="338" Text="You could rent some binaural mics.  Act like your recorder is a cellphone or an Customized IPad?  Maybe try and bring a smaller recorder.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15211" PostHistoryTypeId="5" PostId="8875" RevisionGUID="caa380fe-3f95-4bfd-ad57-dbb97329b806" CreationDate="2011-07-15T22:40:01.093" UserId="900" Comment="added 45 characters in body" Text="*edit* [recordings are at the bottom!!!!]&#xD;&#xA;&#xD;&#xA;Hey guys,&#xD;&#xA;&#xD;&#xA;Excited to say I'll be heading up to silverstone - with no special permission...just a crowd member with lots of time to spare over the weekend.&#xD;&#xA;&#xD;&#xA;I have the impression the cars will be excruciatingly loud, my setup is rode nt5 pair --&gt; Fostex FR2LE. Probably won't monitor, just will have earplugs in.&#xD;&#xA;&#xD;&#xA;Any tips on technique and/or things that would be useful to know in this sort of situation?&#xD;&#xA;&#xD;&#xA;Will I need in-line pads or anything special for the mics? In addition to the software -20dB pad?&#xD;&#xA;&#xD;&#xA;Unlikely I'll be let in any media areas...but having fluffy mics have worked out well for this in the past, with a little bit of blag/charm.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;T" ContentLicense="CC BY-SA 3.0" />
  <row Id="15212" PostHistoryTypeId="2" PostId="9143" RevisionGUID="eb6ab0ef-28eb-44a6-bf43-0f0d3618660a" CreationDate="2011-07-16T12:51:58.330" UserId="1223" Text="HI hello friends, i bought a 12v 7.5ah battery and a connector to run my fr2, n now my fr2 runs more than 6 hrs continuously &#xD;&#xA; &#xD;&#xA;Prince Anselm&#xD;&#xA;Kerala&#xD;&#xA;India" ContentLicense="CC BY-SA 3.0" />
  <row Id="15213" PostHistoryTypeId="2" PostId="9144" RevisionGUID="1686e09a-ac28-490d-828b-0e5a17cca52e" CreationDate="2011-07-16T14:03:55.443" UserId="1117" Text="xbox : THIRD EARTH 187&#xD;&#xA;black ops" ContentLicense="CC BY-SA 3.0" />
  <row Id="15214" PostHistoryTypeId="16" PostId="9144" RevisionGUID="1686e09a-ac28-490d-828b-0e5a17cca52e" CreationDate="2011-07-16T14:03:55.443" UserId="-1" />
  <row Id="15215" PostHistoryTypeId="5" PostId="8882" RevisionGUID="cb5cc331-d5e7-4f6a-806e-82a032bbe2b7" CreationDate="2011-07-17T05:40:23.823" UserId="845" Comment="corrected spelling; added 1 characters in body" Text="The real difference isn't really in playback.  Where you really hear it is when you do a lot of manipulation with plug-ins.  The more information they have (i.e. Samples) they have to work with, the better the job they can do. Uses up more processor as well, but lemons into lemonade, eh?&#xD;&#xA;&#xD;&#xA;The big one for myself (and a bunch of other people I'm sure) is with time stretching/compression. You can push a 192k sample *much* further than you can a 48k or even 96k. &#xD;&#xA;&#xD;&#xA;But! I wouldn't immediately rush out and buy a Sound Devices 702 or something *because* it can do 192. In terms of audible difference of the samples/sounds themselves, I think you'll be hard pressed to hear a difference between even 48 and 192, let alone 96 and 192. At this point, I would spend my money on mics, not a recorder. The H4n's issue is not a matter of preamps, it's that the on-board mics are electret condensers and are naturally noisy. The actual pre-amps for the xlr ins are perfectly decent. &#xD;&#xA;&#xD;&#xA;However! That is just my opinion!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15216" PostHistoryTypeId="2" PostId="9145" RevisionGUID="4de74374-45e3-4267-84cf-b8a9b61081f5" CreationDate="2011-07-17T08:20:51.137" UserId="1225" Text="I made some street recordings with music playing in background. In one case, it was a musician, who was improvising on a saxophone in a metro station. In another, i recorded a city park ambience with some soft music playing through speakers.&#xD;&#xA;&#xD;&#xA;It's a silly question, but can i use these ambiences in my production or sell them? Do i have to obtain something like a talent release for that or license the music? " ContentLicense="CC BY-SA 3.0" />
  <row Id="15217" PostHistoryTypeId="1" PostId="9145" RevisionGUID="4de74374-45e3-4267-84cf-b8a9b61081f5" CreationDate="2011-07-17T08:20:51.137" UserId="1225" Text="general ambiences with street music performance" ContentLicense="CC BY-SA 3.0" />
  <row Id="15218" PostHistoryTypeId="3" PostId="9145" RevisionGUID="4de74374-45e3-4267-84cf-b8a9b61081f5" CreationDate="2011-07-17T08:20:51.137" UserId="1225" Text="&lt;ambience&gt;&lt;city&gt;&lt;music&gt;&lt;legality&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15219" PostHistoryTypeId="2" PostId="9146" RevisionGUID="afbf2b09-f903-484a-a75c-00cd95e35550" CreationDate="2011-07-17T09:46:15.733" UserId="1226" Text="Hi, Serge&#xD;&#xA;&#xD;&#xA;Don't use or sell ambiences that contain music. It's just asking for trouble later. Find a new location without music to record in. Sometimes (usually) I have to try a couple of different locations to get away from the music that is everywhere nowadays, but it beats getting sued.&#xD;&#xA;&#xD;&#xA;Check out Paul Virostek's blog post here [http://www.jetstreaming.org/2011/06/28/selling-sound-effects-6-mistakes-you-want-to-avoid-part-2/#more-1267][1] and read &quot;mistake #5: Using performances in your field recordings&quot;. His blog has lots of good advice.&#xD;&#xA;&#xD;&#xA;-Thomas&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jetstreaming.org/2011/06/28/selling-sound-effects-6-mistakes-you-want-to-avoid-part-2/#more-1267" ContentLicense="CC BY-SA 3.0" />
  <row Id="15220" PostHistoryTypeId="2" PostId="9147" RevisionGUID="a3707b96-26b3-4e2c-9ce9-f5f1b3dafbe3" CreationDate="2011-07-17T10:11:04.017" UserId="543" Text="hey, i'm just working on a polyphonic stereo grainsynth in max4live / maxMSP... &#xD;&#xA; &#xD;&#xA;this is what it sounds like at the moment: [soundcloud][1].&#xD;&#xA;it's still beta (it already works the way i want it to, but i still have to clean up the code a little bit^^), and therefor not yet downloadable, but if you want to check it out, just send me a pm and i'll send you the patch... &#xD;&#xA;&#xD;&#xA;feedback / ideas are appreciated too btw ;)&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;  [1]: http://soundcloud.com/emsound/grainsynth-tests" ContentLicense="CC BY-SA 3.0" />
  <row Id="15221" PostHistoryTypeId="2" PostId="9148" RevisionGUID="c9d0b7b8-f92b-4527-85a2-44f2938a6337" CreationDate="2011-07-17T10:38:59.323" UserId="1225" Text="I had such a moment once when i was in hurry for an early train, about 6 a.m. I walked almost 10 minutes in total silence: there were no cars or people, just traffic lights met me on my way." ContentLicense="CC BY-SA 3.0" />
  <row Id="15222" PostHistoryTypeId="2" PostId="9149" RevisionGUID="093a123d-e22c-4182-84e7-de2ae18a1ab7" CreationDate="2011-07-17T16:19:03.773" UserId="1110" Text="When talking about monitors you'll get reviews/opinions for every possible taste... I think you should really see what suits you better.&#xD;&#xA;&#xD;&#xA;From the official manuals you can see that Yamaha HS80M have a frequency response from 42Hz to 20 KHz within 10 dB range, and KRK RP8 have a frequency response from 45 Hz to 20 KHz within 1.5 dB range. The 10 dB range stated by Yamaha is not a very useful metric and can mislead the consumer (maybe it was the real intention of Yamaha to do that?), but by analyzing [this graph][1] (don't know the testbench used) you can see that HS80M only have a +/-3 db precision for the ~55Hz-20KHz range.&#xD;&#xA;&#xD;&#xA;I have listened to both of them in different conditions so I can't fairly compare them, but based on the facts I stated above I think I will buy the KRK.&#xD;&#xA;&#xD;&#xA;Mackie MR8 MK2 have more power (100 W + 50 W) but have a worse linearity within their frequency response when compared with the KRK (just 40 Hz - 20 KHz  with +/- 3 db).&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/attachments/low-end-theory/137382d1253773286-if-you-had-choose-yamaha-hs80m-msp7-hs80m-matlab-frequency-response.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="15223" PostHistoryTypeId="2" PostId="9150" RevisionGUID="6557d101-8eee-41be-a706-fe6ec40feb43" CreationDate="2011-07-17T22:21:58.717" UserId="1228" Text="I agree with Jay, finding areas of zero noise are to be cherished and milked for all they're worth.  In my experience, even being 50+ miles away from Los Angeles in the Carrizo Plain, my recording rig still picked up LAX air traffic to a high enough level that we had to wait for planes to clear.  It's very unfortunate the degree of oblivious noise pollution in our world.&#xD;&#xA;&#xD;&#xA;That said though, I suggest digging deep into the recordings and maybe even make some wind!&#xD;&#xA;&#xD;&#xA;I've done some recording out in the Mojave desert wherein there were large areas of dead silence (thankfully), and seemingly dead air in a canyon with no movement.  Yet, in the studio I cranked the dead air and played with some EQ, which resulted in discovering some interesting gentle wind tones which do have some subtle movement to them, yet have the weight and presence of a pleasantly round wind.  Admittedly, they're some of my favorite go-to winds when I'm in the edit.&#xD;&#xA;&#xD;&#xA;You may be quite surprised at what you'll find buried in quiet recordings.&#xD;&#xA;&#xD;&#xA;I highly agree with the other comments of sunrise/sunset recordings.  Some of the best opportunities I have found have been when I jet out to nature at about 6:00 AM when the birds are waking at first light.  Usually by about 9:00 AM the birdsong has all but tapered off.  Speak with rangers or guides about what you're seeking, they tend to be very enthusiastic and helpful, and not only provide you a list of local birds and info about them, but they may even be able to pinpoint great spots on a map where particular birds nets or hang out.&#xD;&#xA;&#xD;&#xA;In very remote areas, especially deserts, my experience has been that there's a lot of sitting and waiting involved - in the sense that you may be recording a whole of nothing until something really cool crosses your path in the blink of an eye." ContentLicense="CC BY-SA 3.0" />
  <row Id="15224" PostHistoryTypeId="2" PostId="9151" RevisionGUID="c6e70902-2114-42e5-8134-c9b40c8796de" CreationDate="2011-07-17T22:33:53.523" UserId="418" Text="I am lucky enough to live in NYC so I get to capture a ton of this stuff, some amazingly talented people running around out there. My general rules are:&#xD;&#xA;&#xD;&#xA;1. I never use them commercially at all without expressed permission from the performer, which I've gotten plenty of times. I am a good tipper. =)&#xD;&#xA;&#xD;&#xA;2. I only use them at all if they are original compositions. If it contains anything even remotely resembling a &quot;cover song&quot; then it's just strictly for my own enjoyment. I can deal with a street musician knocking on my door in a few years looking for a little cash, but I can't afford to have record publishers doing the same." ContentLicense="CC BY-SA 3.0" />
  <row Id="15225" PostHistoryTypeId="2" PostId="9152" RevisionGUID="9b60be5a-4a72-4ae5-a48b-8298bf8c36aa" CreationDate="2011-07-17T22:43:05.907" UserId="418" Text="Fun!&#xD;&#xA;&#xD;&#xA;I would add some kind of turning mechanism as well, perhaps an old hand cranked steam valve or something. Not blatantly metallic, but something with a little rhythmic &quot;squeak&quot; to it. &#xD;&#xA;&#xD;&#xA;Another good underlayer might be one of those big wooden game wheels from the carnival. Heck, maybe even a sample from the Wheel of Fortune! &#xD;&#xA;&#xD;&#xA;I bet the MYST games have some great inspiration for this kind of thing. All sorts of weird wooden mechanical devices in those. &#xD;&#xA;&#xD;&#xA;The first part of the Steam Dreamers of Inverness series from ZBS Foundation has some awesome imaginary mechanical device steam punk sounds in it, great story too. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15226" PostHistoryTypeId="2" PostId="9153" RevisionGUID="a25f672d-13a3-47dd-8e30-8934bdcff614" CreationDate="2011-07-17T23:15:13.503" UserId="1228" Text="I've had good results with the H4n, although I highly recommend to not use the internal mics if possible.  Use an external condenser mic if possible, as it will offer a lower noisefloor through the H4n preamps.  This is there the Rode NT4 is a good bet because it offers 9v battery powering instead of relying upon the H4n for P48 (which burns through batteries like nobody's business when it's enabled).  At a street price of about $400, it's a steal for it's quality and durability.&#xD;&#xA;&#xD;&#xA;The issue I have found with the H4n mics is that the electret condensors create a scraping sound with high frequency content such as blade shings, knife sharpening, chains, and other high-frequency content.  Running a good external mic into the H4n though solves this problem (meaning it's a mic issue not a preamp issue).&#xD;&#xA;&#xD;&#xA;Should you choose to work directly with the H4n by itself, I highly agree with all other responses - you need to be kissing the mic, and do use the windscreen (although a Rycote windjmmer can be bought for about $25 and does a really effective job given that the device isn't using a blimp).&#xD;&#xA;&#xD;&#xA;Best of luck!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="15227" PostHistoryTypeId="2" PostId="9154" RevisionGUID="063cf0c1-e178-4e86-a350-9b17dfe534aa" CreationDate="2011-07-18T02:13:10.500" UserId="1229" Text="I have a base idea but wanted to get your feedback.&#xD;&#xA;&#xD;&#xA;It's the skipping, chopped sound in movies like Starwars, Batman and Transformers.&#xD;&#xA;&#xD;&#xA;Listen here at 2:08 for example.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=jZicrp_p4BE&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What is your take on it?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="15228" PostHistoryTypeId="1" PostId="9154" RevisionGUID="063cf0c1-e178-4e86-a350-9b17dfe534aa" CreationDate="2011-07-18T02:13:10.500" UserId="1229" Text="How is this sound made?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15229" PostHistoryTypeId="3" PostId="9154" RevisionGUID="063cf0c1-e178-4e86-a350-9b17dfe534aa" CreationDate="2011-07-18T02:13:10.500" UserId="1229" Text="&lt;effect&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15230" PostHistoryTypeId="2" PostId="9155" RevisionGUID="5f947c45-717e-4a11-9e9d-c52ea6e5a2f6" CreationDate="2011-07-18T02:15:55.950" UserId="285" Text="http://socialsounddesign.com/questions/5249/how-do-you-create-a-stutter-edit" ContentLicense="CC BY-SA 3.0" />
  <row Id="15231" PostHistoryTypeId="2" PostId="9156" RevisionGUID="4a57872a-ac84-40d6-ad7a-30348aa03d66" CreationDate="2011-07-18T07:12:40.763" UserId="1225" Text="Stavrosound described the weakest parts of the ZOOM H4n right. You can get decent movements and overall ambiences with this recorder, but crispy, rustling sounds require external mics." ContentLicense="CC BY-SA 3.0" />
  <row Id="15232" PostHistoryTypeId="2" PostId="9157" RevisionGUID="b61bbfcd-cdf0-4a88-a6df-ae4f6275e07a" CreationDate="2011-07-18T12:00:10.063" UserId="432" Text="Since we're all about information sharing on this site, I thought it might be interesting to have a thread to collect debunked audio myths. Who knows what wacky claims you've heard in the past, or what genuinely relevant information you may have stumbled across that others haven't.&#xD;&#xA;&#xD;&#xA;Two examples for you:&#xD;&#xA;&#xD;&#xA; 1. *Transformer-less microphones are better* - They're not necessarily better. transistors are just cheaper to produce than an equivalent transformer. The right transformer can sound amazing, though you're going to pay for it [sometimes dearly....lol]&#xD;&#xA; 2. *M/S is mono-compatible* - This one stems from a conversation I had with a buddy at AES last year. He argued, and I now agree with him, that &quot;compatible&quot; is the wrong terminology. You still have phase cancellation, potentially eliminating sounds. **&quot;Mono-predictable&quot;** is a more accurate description. [Splitting hairs to be sure, but still accurate none-the-less.]&#xD;&#xA;&#xD;&#xA;So, in the interest of public discourse and the redistribution of knowledge....what else you got?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15233" PostHistoryTypeId="1" PostId="9157" RevisionGUID="b61bbfcd-cdf0-4a88-a6df-ae4f6275e07a" CreationDate="2011-07-18T12:00:10.063" UserId="432" Text="Audio Mythbusting" ContentLicense="CC BY-SA 3.0" />
  <row Id="15234" PostHistoryTypeId="3" PostId="9157" RevisionGUID="b61bbfcd-cdf0-4a88-a6df-ae4f6275e07a" CreationDate="2011-07-18T12:00:10.063" UserId="432" Text="&lt;knowledge&gt;&lt;obscure&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15235" PostHistoryTypeId="2" PostId="9158" RevisionGUID="5a7fab41-5c4b-4fb8-8b07-38c031a49c60" CreationDate="2011-07-18T12:24:13.397" UserId="194" Text="Here's one:&#xD;&#xA;&#xD;&#xA;**Foley miking must be pretty tight on the prop and must by hyper clean.**&#xD;&#xA;&#xD;&#xA;In fact, lots of really great sounding foley ends up being miked from 3' to 6' away.  Adding a little distance to the mic position makes mixing that much easier because the perspective is much closer to what you need the sound to be, and because it naturally loses any proximity effect and off-axis effects that could mess with you.  &#xD;&#xA;&#xD;&#xA;Also, re: cleanliness - it really is amazing how much noise you can get away with when cutting foley.  Its important to always cut in context, because doing so will give a clear indication as to how much cover one has in the foley room.  This is not to say that one should be sloppy with regards to noise, but more to say that one should be obsessing over performance far ahead of obsessing over noise floor. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15236" PostHistoryTypeId="2" PostId="9159" RevisionGUID="9f047c14-0971-4832-8c82-6331a96b7d55" CreationDate="2011-07-18T13:06:10.680" UserId="985" Text="I can tell from my experience that the combination of programming (understanding sound engines and integration of sound and music) and professional sound production is a very good niche." ContentLicense="CC BY-SA 3.0" />
  <row Id="15237" PostHistoryTypeId="2" PostId="9160" RevisionGUID="dcc2e928-579f-4e0d-b2af-457dc3071de0" CreationDate="2011-07-18T13:15:00.290" UserId="985" Text="What a beautiful choice to have! :)&#xD;&#xA;&#xD;&#xA;It comes down to who you are : those are very different jobs. Do you like to travel around the world (maybe alone)? Are you good at organizing things, maybe a sport amateur (mountain climber, kayaking expert) and a survival freak (not afraid to sleep outside a tent)? If so, the wild life stuff would be for you.&#xD;&#xA;&#xD;&#xA;Do you prefer to be at the office at 9.30 drink hot coffee in front of your PC, play around with plug ins all day, speak to real people once in a while? Then the game audio is for you.&#xD;&#xA;&#xD;&#xA;No one can answer this for you, I think both projects are great.&#xD;&#xA;&#xD;&#xA;About getting into the game industry : At some level, no one will ask you to do sound and music together, those really are two different jobs. However it is of great advantage to know programming and sound integration. I THINK you may have better chances to get an in-house job, not much free lance sound design work at the moment (from what I can tell)." ContentLicense="CC BY-SA 3.0" />
  <row Id="15238" PostHistoryTypeId="2" PostId="9161" RevisionGUID="22478643-0b88-49fc-994f-d55b558c4341" CreationDate="2011-07-18T13:55:32.843" UserDisplayName="user80" Text="You will have no problems at all.  I run 96 kHz, 24 bit sessions, and up till last month ran them on a standard 2.1 GHz MacBook.  &#xD;&#xA;&#xD;&#xA;I now have a 13&quot; MacBook Pro which also takes everything in its stride.  Every HD session that I have wanted to work at home on has worked reliably." ContentLicense="CC BY-SA 3.0" />
  <row Id="15239" PostHistoryTypeId="2" PostId="9162" RevisionGUID="4e1eb228-cbe5-480d-ad14-e5061eaa2061" CreationDate="2011-07-18T15:02:03.200" UserId="317" Text="Mark, this is just an animal vocal processed with a LFO applied to the amplitude. In Batman, it sounds like a young bear, probably a panda." ContentLicense="CC BY-SA 3.0" />
  <row Id="15240" PostHistoryTypeId="2" PostId="9163" RevisionGUID="e9985c94-52a9-4754-94b2-f6381e693b17" CreationDate="2011-07-18T15:21:31.903" UserId="238" Text="Greetings,&#xD;&#xA;&#xD;&#xA;I've been wondering about this for a while and after a fireworks recording session last week I thought about it some more. So where better place to get some wise answers than SSD! &#xD;&#xA;&#xD;&#xA;When recording in the field, whether it be collecting ambiances, effects or location recording for a shoot, how and when do you use limiters on your inputs? It may seem like a stupid question, but shouldn't you ALWAYS use a limiter to avoid distortion? If so, why do we have the choice to turn a limiter on and off - why aren't they just active as standard? Are there times when distortion is desired? Even if there are times when a distorted recording is required, why do all recorders have the limiter defaulted to off? Surely it would make sense to have it on and give the user the option to switch it off. &#xD;&#xA;&#xD;&#xA;Maybe I've just not got it but as an old wise teacher used to tell me, no question is a stupid question! I'd love to hear you're views and opinions. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15241" PostHistoryTypeId="1" PostId="9163" RevisionGUID="e9985c94-52a9-4754-94b2-f6381e693b17" CreationDate="2011-07-18T15:21:31.903" UserId="238" Text="Know Your Limits" ContentLicense="CC BY-SA 3.0" />
  <row Id="15242" PostHistoryTypeId="3" PostId="9163" RevisionGUID="e9985c94-52a9-4754-94b2-f6381e693b17" CreationDate="2011-07-18T15:21:31.903" UserId="238" Text="&lt;limiters&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15243" PostHistoryTypeId="2" PostId="9164" RevisionGUID="eda33912-013a-42a1-aef5-84ffd34dbdd7" CreationDate="2011-07-18T15:57:06.450" UserId="845" Text="Hmmmm...  My thinking would be that though manufacturers try really hard (bless their hearts) to build true brick-wall limiters into all of their products, there's maybe still a bit of a knee to the threshold.  So it may end up limiting/compressing things that come really close, but never pass the threshold.&#xD;&#xA;&#xD;&#xA;Presumeably, if you're good enough (theoretically of course) you could ride -0.5 without passing GO.  Thus you'd get into the limiter's knee without getting above the threshold and the damned thing would positively ruin your otherwise perfect recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="15244" PostHistoryTypeId="2" PostId="9165" RevisionGUID="88489d1a-e972-4a56-a442-722fa65fbead" CreationDate="2011-07-18T16:00:50.120" UserId="1218" Text="Yep, you can accomplish this with LFO(s), probably with square wave shapes, modulating volume and any number of other parameters.  For extra fun, assign one modulator to another modulator's rate in order to speed up and slow down the effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="15245" PostHistoryTypeId="5" PostId="9132" RevisionGUID="803779df-7b7e-496b-88a3-cde1d2ea369d" CreationDate="2011-07-18T16:02:47.750" UserId="1218" Comment="deleted 1 characters in body" Text="This sounds fun!  I would start by recording a few different &quot;articulations&quot; of banging wood pieces together, then perhaps arrange a few small sequences of them playing in quick succession.  Resample those sequences and stick them into your favorite sampler and experiment with modulating both the speed and pitch up and down with a non-linear envelope, but using different modulation amounts so the two parameters are subtly decoupled.&#xD;&#xA;&#xD;&#xA;I think this would result in a nice rhythmically modulating layer that sounds like an engine element but with some of the acoustics of wood.  &#xD;&#xA;&#xD;&#xA;While you're recording your base elements, you might also want to record some wood squeaks and other stressing sounds to crossfade with one another and mix in as a second layer.  Add some steam and you'd probably be well on your way." ContentLicense="CC BY-SA 3.0" />
  <row Id="15246" PostHistoryTypeId="2" PostId="9166" RevisionGUID="ab6ad1a0-89a4-4543-8fd3-30c330a248f5" CreationDate="2011-07-18T16:07:38.683" UserId="432" Text="I'd say it's a question of knowing what you're recording in this case...because, no, I don't always record with the limiters on. I've heard some do some funny &quot;pumping&quot; in the past that were spawned by restrictions in mic placement (yes, even on higher end gear like a Sound Devices 302...that was a shocker).&#xD;&#xA;&#xD;&#xA;You shouldn't always fear distortion either. Think of it as another tool in the arsenal, rather than the worst scenario. You wouldn't use a hammer to drive a screw, but it works perfectly when you're driving a nail. I did some recording at drag races a year ago, and there was no stopping distortion. Those things were so loud that it was occurring at the mic in some instances. It fit the character of the sounds I was recording though, and added some extra color and gave a greater sense of the power in those vehicles than I would have captured otherwise." ContentLicense="CC BY-SA 3.0" />
  <row Id="15247" PostHistoryTypeId="2" PostId="9167" RevisionGUID="cf015978-8142-4fc4-9e86-5c137584b1e6" CreationDate="2011-07-18T16:44:05.503" UserId="285" Text="I always assumed it had to do with battery life.  If you are recording something relatively quiet with a reasonable level of control you can turn off the limiters and save on battery consumption and go a lot further into the session before changing batteries or recharging.  On the occasions when control in more difficult or the sound source is loud, go ahead and pop the limiter into the chain and let it do its thing, while knowing you will be draining the batteries at a faster rate.&#xD;&#xA;&#xD;&#xA;Could be wrong on this but that was what I have been going with when deciding if I should engage the limiters or not. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15248" PostHistoryTypeId="2" PostId="9168" RevisionGUID="fc675a14-0ae3-40fe-a719-11a2f03c9173" CreationDate="2011-07-18T17:25:27.017" UserId="194" Text="One thing to keep in mind is that limiters tend to affect the low end differently than the high end, so there are certainly situations where you'd want to &quot;creatively clip&quot; a big loud transient, especially if you have coverage with other mics.&#xD;&#xA;&#xD;&#xA;I run with limiters on about 80% of the time (esp if I'm using the D50 limiter), and the other times I'm running limiter free as a pure creative choice.&#xD;&#xA;&#xD;&#xA;24 bits is your friend, and cutting soft works." ContentLicense="CC BY-SA 3.0" />
  <row Id="15250" PostHistoryTypeId="2" PostId="9170" RevisionGUID="66a35d8b-e5ae-4bda-8679-05ceb58c0869" CreationDate="2011-07-18T18:45:02.760" UserId="338" Text="Running samples of water through a granular sampler gave me some really good sounds, that might work for wood too.  Specifically Metaphysical Function for Reaktor and Devine's Grain Cube." ContentLicense="CC BY-SA 3.0" />
  <row Id="15251" PostHistoryTypeId="2" PostId="9171" RevisionGUID="e62fe7da-ab97-4063-9f01-338434e37a83" CreationDate="2011-07-18T18:48:11.470" UserId="338" Text="&#xD;&#xA;&#xD;&#xA;It's the skipping, chopped sound in movies like Starwars, Batman and Transformers.&#xD;&#xA;&#xD;&#xA;Listen here at 2:08 for example.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=jZicrp_p4BE&#xD;&#xA;&#xD;&#xA;What is your take on it?&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15252" PostHistoryTypeId="1" PostId="9171" RevisionGUID="e62fe7da-ab97-4063-9f01-338434e37a83" CreationDate="2011-07-18T18:48:11.470" UserId="338" Text="Why is this sound made?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15253" PostHistoryTypeId="3" PostId="9171" RevisionGUID="e62fe7da-ab97-4063-9f01-338434e37a83" CreationDate="2011-07-18T18:48:11.470" UserId="338" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15254" PostHistoryTypeId="2" PostId="9172" RevisionGUID="d5cd9a08-9390-4417-8cef-a6282a5a4a22" CreationDate="2011-07-18T19:16:54.487" UserId="63" Text="ok one basic... &#xD;&#xA;&#xD;&#xA;**in foley and sound design equipment does NOT play a huge part**&#xD;&#xA;&#xD;&#xA;o'rly?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15255" PostHistoryTypeId="2" PostId="9173" RevisionGUID="1b7189df-2aa9-4c2f-b954-2c139b03f21b" CreationDate="2011-07-18T19:20:35.493" UserId="63" Text="I guess cause in big sound systems like cinemas it gives a really booming effect that sounds impressing!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15256" PostHistoryTypeId="2" PostId="9174" RevisionGUID="6f48b786-3bba-4502-ab0e-2de1f4f29668" CreationDate="2011-07-18T19:34:01.073" UserId="1228" Text="Soundstorm has some great walla recordings too, they can be purchased on a per-track basis on Sounddogs.  They have some good restaurant/bar wallas.  And if you want some epic teen party type walla tracks, search &quot;rock party&quot; or &quot;frat party&quot; in that library.  I discovered some $$$ murmur/movement wallas in that library by searching &quot;golf&quot;, wherein there's a set of tracks where somebody hits a golf ball and then you hear crowd murmurs after that.&#xD;&#xA;&#xD;&#xA;DigiFX has some great material too, especially as a dense background bed, although they are labeled slightly odd as &quot;hum of voices&quot; instead of &quot;crowd&quot; or &quot;walla&quot;.&#xD;&#xA;&#xD;&#xA;Oddly enough, I have found &quot;crowd&quot; to be the more effective search instead of &quot;walla&quot;, even in the major libraries.&#xD;&#xA;&#xD;&#xA;Hopefully that helps!  And I do agree with Justin, many times doing your own recordings does the trick." ContentLicense="CC BY-SA 3.0" />
  <row Id="15257" PostHistoryTypeId="2" PostId="9175" RevisionGUID="ed28d38f-d268-4f3c-8ac6-123d9334a4a6" CreationDate="2011-07-18T19:37:15.623" UserId="238" Text="Great answers so far. Really interesting to see everyone's take on it. It's clearly somewhat of a grey area and I guess they need to be used and applied where and when necessary. Seems that there isn't really a black or white answer. But I'd love to hear more if anyone else wants to chip in." ContentLicense="CC BY-SA 3.0" />
  <row Id="15258" PostHistoryTypeId="2" PostId="9176" RevisionGUID="9c4822dc-3aa8-450d-b50f-028b6b480c1d" CreationDate="2011-07-18T19:43:47.717" UserId="1228" Text="Soundminer HD, a new version that's available for as little as $199.  I've been running with the Pro version ($299) and it works wonderfully, very fast SRC.  Its like a hybrid of Soundminer v4 Standard and Miniminer. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15259" PostHistoryTypeId="2" PostId="9177" RevisionGUID="660b84ab-589d-42be-ba96-d94b92527210" CreationDate="2011-07-18T19:54:03.347" UserId="238" Text="Why are Ferrari sports cars red? It's not to say that it's the best colour but it's an artistic choice that evokes the desired emotions in the consumer. The stutter edit sound effect in the clip was clearly designed to captivate the audience. To draw them into the scene and play with their emotions. I'm guessing a feeling of power and speed was what the sound designer was aiming at. &#xD;&#xA;&#xD;&#xA;As with most product-based industries, we see many trends that become replicated and thus, evolve as they do so. Over recent cinematic time, this type of sound has become something we are familiar with and we easily associate it with racing/fast-moving vehicles. One of the earliest examples I can think of is the pod race in Star Wars: The Phantom Menace (1999). &#xD;&#xA;&#xD;&#xA;I'm sure this won't be the last time we'll see it used. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15260" PostHistoryTypeId="5" PostId="9168" RevisionGUID="6a37d0c0-e5bb-4344-b848-4bfd63337420" CreationDate="2011-07-18T20:01:14.930" UserId="194" Comment="added 434 characters in body" Text="One thing to keep in mind is that limiters tend to affect the low end differently than the high end, so there are certainly situations where you'd want to &quot;creatively clip&quot; a big loud transient, especially if you have coverage with other mics.&#xD;&#xA;&#xD;&#xA;I run with limiters on about 80% of the time (esp if I'm using the D50 limiter), and the other times I'm running limiter free as a pure creative choice.&#xD;&#xA;&#xD;&#xA;24 bits is your friend, and cutting soft works.&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;&#xD;&#xA;edit:&#xD;&#xA;&#xD;&#xA;I'll also add that knowing where your limiter is and how it works can be highly influential in the decision to turn it on or not.  analog opto limiters on the front end of a nice mixer sound dramatically different than the digital limiters that show up post a/d on an H4 for example.  Also, the PCM D50 doesn't &quot;limit&quot; as much as run a parallel insert, which I tend to like depending on the source of clipping.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="15261" PostHistoryTypeId="2" PostId="9178" RevisionGUID="a44f006b-2b4e-4e6e-910f-93077f4f0b1c" CreationDate="2011-07-18T20:16:26.167" UserId="1225" Text="I think stutter effect here does not only captivate the audience: it also masks the source sound in some way, so the listener couldn't identify it right off the bat, because he have to pay attention to the whole action scene. I definitely hear voice of some animal - something like a lion's roar. It colors the sound of Batmobile, adds feeling of dangerous power. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15264" PostHistoryTypeId="2" PostId="9180" RevisionGUID="8e93ff1c-ac58-44d8-9e65-ca48373b9e3b" CreationDate="2011-07-18T20:18:34.253" UserId="1185" Text="To be honest I don't normally reply to &quot;how do I make this sound&quot; posts (there are countless tutorial online and I have limited time), but as you sent me PM I thought you might need some additional pointers.  (I figured you must be keen to have PM me.)  As others have pointed out to you the stutter can be easily created by using an LFO to modulate the output amplifier.  (Look at tutorials for creating Transformers sounds and you'll get the idea.)  This effect can then be applied to any base sound.  In the case of the Batman wheel screech I suggest mixing a couple of sawtooths together and then cut the low-end with HP filter.  You want lots of high-end as you are trying to replicate the squeal of a tyre skipping across the road.  You may also want to add some modulation to the filters cut-off.&#xD;&#xA;&#xD;&#xA;By the way, in my opinion I think this sound could be improved by layering it with a real tyre squeal. &#xD;&#xA;&#xD;&#xA;Hope this helps," ContentLicense="CC BY-SA 3.0" />
  <row Id="15265" PostHistoryTypeId="2" PostId="9181" RevisionGUID="155e8f4d-bdbf-459b-961f-b702b02edecc" CreationDate="2011-07-18T21:16:45.123" UserId="1229" Text="Thanks for all the replies. An LFO was the first thing I thought. Its as simple as that I guess. I think the initial sound secret lies in the source. The bear and panda roar is brilliant, never would of thought of that. I'm going to make a tutorial soon on this. Thanks again, Mark " ContentLicense="CC BY-SA 3.0" />
  <row Id="15266" PostHistoryTypeId="5" PostId="9158" RevisionGUID="574f7bf1-2519-4e6d-9925-0c2dadee3d0a" CreationDate="2011-07-18T21:19:06.293" UserId="194" Comment="edited body" Text="Here's one:&#xD;&#xA;&#xD;&#xA;**Foley miking must be pretty tight on the prop and must be hyper clean.**&#xD;&#xA;&#xD;&#xA;In fact, lots of really great sounding foley ends up being miked from 3' to 6' away.  Adding a little distance to the mic position makes mixing that much easier because the perspective is much closer to what you need the sound to be, and because it naturally loses any proximity effect and off-axis effects that could mess with you.  &#xD;&#xA;&#xD;&#xA;Also, re: cleanliness - it really is amazing how much noise you can get away with when cutting foley.  Its important to always cut in context, because doing so will give a clear indication as to how much cover one has in the foley room.  This is not to say that one should be sloppy with regards to noise, but more to say that one should be obsessing over performance far ahead of obsessing over noise floor. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15267" PostHistoryTypeId="2" PostId="9182" RevisionGUID="de3d9542-35e7-4cdf-a830-29fd69a08734" CreationDate="2011-07-18T21:40:11.147" UserDisplayName="user49" Text="This is just my guess but those films you mention have one thing in common: they are loud films with dense soundtracks &amp; overt sound design. One problem that combination creates is making sounds rate - if score &amp; loud action based sound effects are already driving a scene with a lot of energy then subtle gestures in sound design will struggle to rate (unless a scene or moment has been created solely for that purpose) and one thing with stutter edits is that they draw attention to themselves - your ear &amp; attention is pulled to the discontinuity, because when do such sounds occur naturally? Also the fact that they are not linear stutters (ie tightly following a 16th pattern etc) means they also perceptually seperate themselves from music rhythms..." ContentLicense="CC BY-SA 3.0" />
  <row Id="15268" PostHistoryTypeId="2" PostId="9183" RevisionGUID="038234ba-4301-446a-937a-0581ac4bcab5" CreationDate="2011-07-18T21:47:26.870" UserId="1228" Text="I completely agree with the above.  What can also be done from a very literal stand point is to rename specific files in your edit to basic names like Audio 01, etc. and even go so far as to compact your edits with super short handles (NOTE: Compacting should only be done to a saved out copy of your session).&#xD;&#xA;&#xD;&#xA;If you're using multiple elements, even comp them down to a singe track to marry them together both for ease on the mixer and protecting your work.  This is a practice I do all the time because the mix stages prefer leaner and organized FX sessions - There was mention in a Soundworks video that even Transformers utilizes this paradigm of comp'd edits.  For instance, a 30-track flamethrower design I did on a show was comped down to 6 tracks before delivery to the stage (flame shoots, flame rips, etc).  This could be one way to make your prized source elements virtually unusable outside of the edit.  However, I suggest caution be taken with this process so as to not over-comp the edits or comp elements together which should stay separate... hence my 6-track comp down versus a comp to 1 track.  It protects your elements, gives the stage your intention, yet provides them the flexibility to do their job.&#xD;&#xA;&#xD;&#xA;Alas, it does come down to exactly what VCProd stated - the honor system.&#xD;&#xA;&#xD;&#xA;My belief is that yes, protecting of your own work is important and there are appropriate steps to take, yet life is way too short to be overly stressed about it in the edit." ContentLicense="CC BY-SA 3.0" />
  <row Id="15269" PostHistoryTypeId="2" PostId="9184" RevisionGUID="aaf14ae8-b20e-4ee7-beee-6256f93de4d1" CreationDate="2011-07-18T21:55:10.157" UserId="654" Text="Oh I read this one the other day: &quot;I use a convolution sample of an **anechoic chamber** in my convo reverb to remove room reverb from location sound, when I mix the dry and wet signals it cleans it up&quot;...&#xD;&#xA;&#xD;&#xA;If you run a sign sweep in an anechoic chamber you will only get the &quot;colour&quot; of the speaker playing back the sweep as there are no reflections in the room to deconvolve...so if you are replaying on the same speaker then you may hear a difference but...bad theory dude" ContentLicense="CC BY-SA 3.0" />
  <row Id="15274" PostHistoryTypeId="2" PostId="9186" RevisionGUID="d6a8b4b1-3dce-4f13-95d3-428ae6890843" CreationDate="2011-07-19T00:14:57.663" UserId="1228" Text="I agree with NoiseJockey, both are valid.  With masking and layering in the edit, many times it's hard to tell if the recording was pro or guerrilla (assuming that one is using said recording device to their greatest advantage in terms of proximity, mic direction, etc).  In some cases it's the only way that some of the most money sounds are captured.&#xD;&#xA;&#xD;&#xA;A personal story: I was at my local grocery store near the long line at the checkout where there was a gnarly-sounding, broken freezer unit where cold drinks and beer and stored.  I didn't hesitate to bust out (of all things) my iPhone to record it.  I recorded a medium closeup and then an extreme closeup to capture all of the ratty metal scrapes.  No music was playing and the store was relatively quiet which made for perfect conditions.  I'm glad I recorded it because when I went back to the store a few hours later, humoring the idea of bringing a higher quality recorder, I found that the mechanic was there to fix the freezer unit - and it has never made that sound since.  Same situation happened at a friends apartment complex with one of the ventilation shaft fans (although I was slightly more prepared that time and was able to rush home to grab my good gear).&#xD;&#xA;&#xD;&#xA;Jay, you are absolutely correct about obtaining very usable results.  My experience is that there tends to be a bias toward a recording if somebody is made known of what gear was used to record it, whether that be a bad or good bias... so that's why I prefer to keep my entire gear usage as my own business.  Because in the end, as long as it SOUNDS good, it IS good!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15277" PostHistoryTypeId="2" PostId="9188" RevisionGUID="ee7b37b7-30d3-4028-8a7a-41f04e187694" CreationDate="2011-07-19T00:55:33.880" UserId="1152" Text="The classic - &quot;You need to use all the bits when recording digitally.&quot;&#xD;&#xA;O RLY?&#xD;&#xA;&#xD;&#xA;Another related myth - &quot;Analog gear has more headroom.&quot;&#xD;&#xA;&#xD;&#xA;A favorite of mine - &quot;It's better to record at 88.2kHz instead of 96kHz because the math is simpler.&quot;&#xD;&#xA;Seriously, when was the last time you needed to put ANY effort into calculations BY YOUR COMPUTER. :D&#xD;&#xA;&#xD;&#xA;Last one - &quot;What's the point of recording at higher sample rates if it's just going to be played back as an mp3 through a 1&quot; ceramic speaker?&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15278" PostHistoryTypeId="2" PostId="9189" RevisionGUID="6b92dc4b-ef36-4726-ac1a-3e0f622d405c" CreationDate="2011-07-19T02:01:53.133" UserId="194" Text="I'm **constantly** making guerilla recordings and using them in films.&#xD;&#xA;&#xD;&#xA;Common ones include crowds, traffic, neighborhood dogs, sirens, birds, etc.  I once did a massive metal door that I found while out on vacation with the wifey that still sounds incredible.  &#xD;&#xA;&#xD;&#xA;My D50 probably gets as much screen time as any other larger scale recording device I have." ContentLicense="CC BY-SA 3.0" />
  <row Id="15279" PostHistoryTypeId="2" PostId="9190" RevisionGUID="43ec04c0-0bf0-428f-9688-4240055bb526" CreationDate="2011-07-19T02:07:10.070" UserId="1229" Text="Here's my try at it. Using a free panda roar sample (8bit). Layered 2 Samplers with a Left to right panorama and LFO Triangle wav modulating volume. Then a third duplicate of Sampler but this time used a synth pad. Bounced it all down to one audio clip, then sliced up and changed pitches.&#xD;&#xA;&#xD;&#xA;Result:&#xD;&#xA;&#xD;&#xA;http://www.abletondaily.com/sounds/panda_studder.wav" ContentLicense="CC BY-SA 3.0" />
  <row Id="15280" PostHistoryTypeId="2" PostId="9191" RevisionGUID="87dbaea7-7856-4ae4-8b27-e9392e88a22d" CreationDate="2011-07-19T02:09:06.873" UserId="6435" Text="I was making a game effects CD a few years back, assembling lots of different sounds for gamers to use in period RPGs. I had a windy outdoor ambience recording where the windscreens had not really done their job and there was lots of bad buffeting. I cut together all the really bad wind noise, put a motor sound behind it and called it &quot;Dirigible.&quot; It wound up being one of the more popular tracks on the disc." ContentLicense="CC BY-SA 3.0" />
  <row Id="15282" PostHistoryTypeId="2" PostId="9192" RevisionGUID="5b2e92fd-6fc6-461f-9054-59d545b89278" CreationDate="2011-07-19T15:07:09.243" UserId="234" Text="The BIGGEST Audio Myth EVER &quot;We can fix it in Post.&quot;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15283" PostHistoryTypeId="2" PostId="9193" RevisionGUID="0cbbc14e-cace-494e-a7b0-f36ea9f6c419" CreationDate="2011-07-19T18:02:42.560" UserId="1228" Text="Although according to Frank Zappa, apparently just as big of a myth is that &quot;we can fix it in the shrinkwrap&quot;&#xD;&#xA;&#xD;&#xA;One of my favorites though - &quot;Picture is locked&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15288" PostHistoryTypeId="2" PostId="9195" RevisionGUID="4422ed73-c544-4436-a6ce-db2a5a7a92fd" CreationDate="2011-07-19T19:01:39.517" UserId="1214" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;I asked a question a week or so ago about audio programming and my interest in becoming a dedicated audio implementer; recently I was on FMODs site and read about the sweet new features in Studio 2011 such as live mixing, use of professional DSP, mixer snapshots, etc...&#xD;&#xA;&#xD;&#xA;My question is...&#xD;&#xA;&#xD;&#xA;How pivotal do you think these new sets of live mixing, modulating, mastering, and overall workflow enhancing features are to the game dev team, and, should this be one of the very first things I seek to conquer as a prospective audio implementer? Or should I focus on knowing the version that is current exceptionally well?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15289" PostHistoryTypeId="1" PostId="9195" RevisionGUID="4422ed73-c544-4436-a6ce-db2a5a7a92fd" CreationDate="2011-07-19T19:01:39.517" UserId="1214" Text="FMOD Studio 2011" ContentLicense="CC BY-SA 3.0" />
  <row Id="15290" PostHistoryTypeId="3" PostId="9195" RevisionGUID="4422ed73-c544-4436-a6ce-db2a5a7a92fd" CreationDate="2011-07-19T19:01:39.517" UserId="1214" Text="&lt;fmod&gt;&lt;implementation&gt;&lt;gameaudio&gt;&lt;gdc&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15291" PostHistoryTypeId="2" PostId="9196" RevisionGUID="f1f9e47b-0a12-4723-96e8-2c82e9820dd3" CreationDate="2011-07-19T20:03:41.150" UserId="19" Text="Yes, the new tools will be very pivotal when they become available. They are closing the gap between sound designer &amp; implementor. As I understand though, FMOD Studio 2011 is only available by license, while the current FMOD Designer is free to the public for testing.  If you want to start learning FMOD implementation the Crysis 1&amp;2 games have wonderful access to the FMOD system." ContentLicense="CC BY-SA 3.0" />
  <row Id="15292" PostHistoryTypeId="2" PostId="9197" RevisionGUID="2f07df1f-76e3-41e6-a21c-9fac0fedbec9" CreationDate="2011-07-19T20:38:21.077" UserId="1225" Text="I can recommend a useful vsti for making stutter effects. Check [dfx Skidder][1], it's really good.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://destroyfx.smartelectronix.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15293" PostHistoryTypeId="2" PostId="9198" RevisionGUID="dd8b4f2f-1a15-46b6-ad00-acacb4d3c7bb" CreationDate="2011-07-19T21:30:12.973" UserId="418" Text="In my opinion, they all come up a bit less than ideal for me. I am using AudioFinder at the moment, simply because it exists. The interface is rather convoluted, which is a side effect of the sheer amount of features in the software. It does do a whole lot, and much of it is very useful. There is another called LibraryMonkey that I'm keeping my eye on. &#xD;&#xA;&#xD;&#xA;At the end of the day, the only way to get what you really need would be to build your own, but that's a whole other mess. I guess I'd recommend AudioFinder for a turnkey solution that is very affordable." ContentLicense="CC BY-SA 3.0" />
  <row Id="15294" PostHistoryTypeId="2" PostId="9199" RevisionGUID="b12f380b-dc3a-4cd7-b0bb-e25be1e58fdd" CreationDate="2011-07-19T21:35:33.363" UserId="418" Text="I kind of do both, in a roundabout sort of way. My &quot;game&quot; sound design so far has been limited to small iOS projects mostly. I've got no desire to try and work my way into big budget title game sound, that's just me. I like small, unusual projects that give me some artistic license. I couldn't stomach working on a single project for years at a time.&#xD;&#xA;&#xD;&#xA;On the field recording side, I sell stock libraries and also use the footage for all sorts of other stuff; games, instrument design, listening enjoyment, yoga and meditation CDs, etc. &#xD;&#xA;&#xD;&#xA;&quot;Do what you enjoy. If it's good, someone will pay you for it.&quot; I think Steven Spielberg said that, or something similar." ContentLicense="CC BY-SA 3.0" />
  <row Id="15295" PostHistoryTypeId="2" PostId="9200" RevisionGUID="8f68f84f-02b1-4beb-aabb-61be501ade9f" CreationDate="2011-07-19T22:13:15.127" UserId="63" Text="I had the same questions Dakota a few years back. I understood some things the hard way. So if i did them now I would go for: &#xD;&#xA;&#xD;&#xA;1. playing a lot of games in many different sound systems and try to understand &quot;why and how they did it&quot;, mostly in the &quot;directors way of thinking&quot;. &#xD;&#xA;&#xD;&#xA;2. learn some basic programming (C, Java, and Max/MSP). Cause you WILL need programming in game audio even to understand better the implementation process and &quot;talk&quot; with the programmers. If you know a little programming then you will not have a problem working as an implementor.&#xD;&#xA;&#xD;&#xA;3. Sound design / music / acoustics... if you want to make also the sounds you will implement. &#xD;&#xA;&#xD;&#xA;tip: start with game MODs..." ContentLicense="CC BY-SA 3.0" />
  <row Id="15296" PostHistoryTypeId="2" PostId="9201" RevisionGUID="5306f379-615c-4a02-85f0-057cce2e24ff" CreationDate="2011-07-20T02:43:35.270" UserId="1228" Text="Agreed with GMatijas.  I like to do this (filter out the resontant tones), followed by the C4 in the premix chain with sharp Qs and release times - helps round the edge off of the room.  Also, dipping at about 450-500Hz, Q3.5-4.0 with an EQ - that's where the roominess in dialogue tends to sit, traffic drone sits more around 400Hz.  It's different all the time, so it way require some sweeping to find it.&#xD;&#xA;&#xD;&#xA;I've just started playing with this De-Verb in my chain after the C4, and I must say I am quite impressed with it when used sparingly.  So that said, my chain of preference for bringing out dialogue clarity and receding the roomy muddiness is:&#xD;&#xA;&#xD;&#xA;- EQ (notch resonant tones and roominess)&#xD;&#xA;- wave C4&#xD;&#xA;- SPL De-Verb" ContentLicense="CC BY-SA 3.0" />
  <row Id="15297" PostHistoryTypeId="2" PostId="9202" RevisionGUID="ca26681c-5392-49f7-b2fb-4504746c59e6" CreationDate="2011-07-20T02:53:51.680" UserId="435" Text="Hello sound people. How are we all?&#xD;&#xA;&#xD;&#xA;I am going to be working on a short film soon where the director wants to exhibit the film across multiple screens. The film will be approx 6minutes. One idea he had was to have 6 screens each playing a 1minute section of the film on loop. The audience would then have to figure out which part goes where in the film etc. My role is to design sound for his film. Has anyone ever done something like this or anyone with some ideas on the ? &#xD;&#xA;&#xD;&#xA;Im thinking of designing the sound for the entire film as it plays (naturally) before chopped into 6parts. Each section or audio would then be cut with the appropriate footage. The audience would then be drawn to 1 screen for 1minute each(i guess helping them know which part of the story is playing). From there it would be up to the director to either play the sections in order or randomly.&#xD;&#xA;&#xD;&#xA;What do you think?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15298" PostHistoryTypeId="1" PostId="9202" RevisionGUID="ca26681c-5392-49f7-b2fb-4504746c59e6" CreationDate="2011-07-20T02:53:51.680" UserId="435" Text="Mixing a film to be viewed on mulitple screens" ContentLicense="CC BY-SA 3.0" />
  <row Id="15299" PostHistoryTypeId="3" PostId="9202" RevisionGUID="ca26681c-5392-49f7-b2fb-4504746c59e6" CreationDate="2011-07-20T02:53:51.680" UserId="435" Text="&lt;mixing&gt;&lt;exhibition&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15300" PostHistoryTypeId="2" PostId="9203" RevisionGUID="92d6cdfb-fe2b-4b6f-8044-713a767df386" CreationDate="2011-07-20T03:09:10.610" UserId="1045" Text="Wow that sounds interesting, I've never done that. are the screens in different rooms? You might want to feel the room out a bit to know if you need to watch your midrange, also wouldn't hurt to know what kind of system it will be played through. Are the rooms echoey? Things like that.&#xD;&#xA; &#xD;&#xA;In general. Yeah, stick with your plan. If I were in your shoes I would mix the film as a full project and then break it up for each screen. &#xD;&#xA;&#xD;&#xA;Where is this going to be displayed?&#xD;&#xA;&#xD;&#xA;Pete" ContentLicense="CC BY-SA 3.0" />
  <row Id="15301" PostHistoryTypeId="2" PostId="9204" RevisionGUID="a2f4ecf9-8262-4d97-af2c-27a062d214a3" CreationDate="2011-07-20T03:25:33.037" UserId="845" Text="What about doing a Zaireeka?&#xD;&#xA;&#xD;&#xA;Zaireeka was an album done by The Flaming Lips. It was 1 record split across 4 CDs.  You had to have 4 stereos and start each CD at exactly the same time to be able to listen to if properly.&#xD;&#xA;&#xD;&#xA;Maybe you could try that here.  Build the full soundtrack, then split it off into 6 different stems to play with each 1 minute loop.&#xD;&#xA;&#xD;&#xA;If you do chop the soundtrack into 1 minute segments, you could try designing them to be perfect loops with no beginning and no end.  That's always a fun challenge and would probably work well against the jumpy cuts that are sure to happen in the video loops.&#xD;&#xA;&#xD;&#xA;It'd definitely give you an excuse to go crazy and make as much sound as you can possibly imagine.&#xD;&#xA;&#xD;&#xA;Sounds wicked fun for sure." ContentLicense="CC BY-SA 3.0" />
  <row Id="15302" PostHistoryTypeId="5" PostId="9204" RevisionGUID="00f6ae5d-dc07-41a7-bb68-d65e9e28b923" CreationDate="2011-07-20T03:33:49.850" UserId="845" Comment="added 170 characters in body; edited body" Text="What about doing a Zaireeka?&#xD;&#xA;&#xD;&#xA;Zaireeka was an album done by The Flaming Lips. It was 1 record split across 4 CDs.  You had to have 4 stereos and start each CD at exactly the same time to be able to listen to it properly.&#xD;&#xA;&#xD;&#xA;Maybe you could try that here.  Build a densely layered 1 minute loop, then split out 6 stems to be played alongside each video loop.  In stead of one piece split into six segments, you'd have six disparate seeming compositions that actually slide together to make a cohesive whole.  Very DaVinci Code.&#xD;&#xA;&#xD;&#xA;If you do chop the soundtrack into 1 minute segments, you could try designing them to be perfect loops with no beginning and no end.  That's always a fun challenge and would probably work well against the jumpy cuts that are sure to happen in the video loops.&#xD;&#xA;&#xD;&#xA;It'd definitely give you an excuse to go crazy and make as much sound as you can possibly imagine.&#xD;&#xA;&#xD;&#xA;Sounds wicked fun for sure." ContentLicense="CC BY-SA 3.0" />
  <row Id="15303" PostHistoryTypeId="2" PostId="9205" RevisionGUID="56fea2b0-5811-456a-a73c-fdfefdb5c96d" CreationDate="2011-07-20T03:59:44.187" UserId="1137" Text="Without a doubt...compulsively hit Splat S when I inhale, compulsively hit Splat S when I exhale...and a few compulsive times in between...religiously!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15304" PostHistoryTypeId="16" PostId="9205" RevisionGUID="56fea2b0-5811-456a-a73c-fdfefdb5c96d" CreationDate="2011-07-20T03:59:44.187" UserId="-1" />
  <row Id="15305" PostHistoryTypeId="5" PostId="9202" RevisionGUID="7b2ed44a-0801-4254-bd5b-6fb07c843fea" CreationDate="2011-07-20T04:58:36.623" UserId="435" Comment="added 44 characters in body" Text="Hello sound people. How are we all?&#xD;&#xA;&#xD;&#xA;I am going to be working on a short film soon where the director wants to exhibit the film across multiple screens. The film will be approx 6minutes. One idea he had was to have 6 screens each playing a 1minute section of the film on loop. The audience would then have to figure out which part goes where in the film etc. My role is to design sound for his film. Has anyone ever done something like this or anyone with some ideas on the ? &#xD;&#xA;&#xD;&#xA;Im thinking of designing the sound for the entire film as it plays (naturally) before chopped into 6parts. Each section or audio would then be cut with the appropriate footage. The audience would then be drawn to 1 screen for 1minute each(i guess helping them know which part of the story is playing). From there it would be up to the director to either play the sections in order or randomly.&#xD;&#xA;&#xD;&#xA;What do you think?&#xD;&#xA;&#xD;&#xA;Forgot to mention he wants No Dialogue!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15306" PostHistoryTypeId="2" PostId="9206" RevisionGUID="abc700bd-6f69-4805-97c1-006710e44399" CreationDate="2011-07-20T05:20:13.030" UserId="1228" Text="I agree with all which has been stated.  This sums up the boundaries point pretty well:&#xD;&#xA;&#xD;&#xA;[Sound Mixer Hell][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=c38CekaAtfI" ContentLicense="CC BY-SA 3.0" />
  <row Id="15307" PostHistoryTypeId="2" PostId="9207" RevisionGUID="e1eebf01-e833-49bf-a26a-92517b58471a" CreationDate="2011-07-20T05:32:59.877" UserId="1228" Text="While I have not used contact mics, I have used this recorder before with an external mic capturing many a Union Pacific freight train at distances of about 5-8 feet (further away too).  And Tim is correct, you'll face signal distortion via the mic if it's set too hot, but the recorder should be fine.  The ONLY thing which may come to mind is ultra low frequency which could possible disrupt the recorder on occasion, especially if the unit itself is very close to a train engine.  I cannot confirm this or deny this, although it's the only remote possibility which comes to mind, especially since it's below our hearing range yet can have an effect on the electronics - much in the same way a 3G cell phone data connection makes no sound whatsoever to our ears, although hold it close enough to a mic when it is transmitting or receiving data, and you will in fact pick up a very strange burst of static and beeps.&#xD;&#xA;&#xD;&#xA;If it's of any help, I have found that a setting of about 24-26 on the H4n recorder is a good sweet spot when doing a close train bys, including the horn blasts (this was when I routed in a Rode NT4).  Give you a robust enough signal without quite going into dangerous territory - plenty of headroom to work with in post." ContentLicense="CC BY-SA 3.0" />
  <row Id="15308" PostHistoryTypeId="2" PostId="9208" RevisionGUID="cb04e8cd-6052-4614-b718-098019aca091" CreationDate="2011-07-20T07:41:04.127" UserId="1178" Text="I would go with either Izotope Rx, SPL Trancient Designer or SPL De-Verb" ContentLicense="CC BY-SA 3.0" />
  <row Id="15309" PostHistoryTypeId="2" PostId="9209" RevisionGUID="1a869d44-31f3-46c4-8fc5-2848a7ac7451" CreationDate="2011-07-20T08:26:38.837" UserId="1232" Text="Hi,&#xD;&#xA;Always asked myself how to achieve that deep sound using reverb like in Kerovnian, Megaptera or Amon productions... I tried with no success cuting freqencies below 40 and above 2K with large hall a 60%.&#xD;&#xA;Any idea someone please?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15310" PostHistoryTypeId="1" PostId="9209" RevisionGUID="1a869d44-31f3-46c4-8fc5-2848a7ac7451" CreationDate="2011-07-20T08:26:38.837" UserId="1232" Text="That deep Drone / Ambient texture" ContentLicense="CC BY-SA 3.0" />
  <row Id="15311" PostHistoryTypeId="3" PostId="9209" RevisionGUID="1a869d44-31f3-46c4-8fc5-2848a7ac7451" CreationDate="2011-07-20T08:26:38.837" UserId="1232" Text="&lt;drone&gt;&lt;ambience&gt;&lt;reverb&gt;&lt;sound-design&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15312" PostHistoryTypeId="5" PostId="9209" RevisionGUID="847d1801-d875-4c8c-bb7e-c62299e7b400" CreationDate="2011-07-20T08:31:54.833" UserId="1232" Comment="added 1 characters in body" Text="Hi,&#xD;&#xA;Always asked myself how to achieve that deep sound using reverb like in Kerovnian, Megaptera or Amon productions... I tried with no success cuting freqencies below 40 and above 2K with large hall at 60%.&#xD;&#xA;Any idea someone please?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15313" PostHistoryTypeId="2" PostId="9210" RevisionGUID="e1b245b5-48ce-4aa5-97bc-737f3c1ad851" CreationDate="2011-07-20T09:21:32.647" UserId="1225" Text="I believe you can achieve better results constructing textures from various sources than trying to create it with huge reverb. Some low freq pads, middle freq strings + low freq filter + some very high pitched sounds at very low volume etc. Everything should be equalized right. Take a texture as a composition and add elements which you need." ContentLicense="CC BY-SA 3.0" />
  <row Id="15314" PostHistoryTypeId="2" PostId="9211" RevisionGUID="827a0d12-e3ef-4c07-9042-f3a07e6aee26" CreationDate="2011-07-20T09:21:44.563" UserId="848" Text="I saw this yesterday! It's relevant and made me chuckle!&#xD;&#xA;&#xD;&#xA;[youtube]mj5IV23g-fE[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="15315" PostHistoryTypeId="2" PostId="9212" RevisionGUID="d3e1ca5b-2a14-409d-a022-6ddd05a799d7" CreationDate="2011-07-20T09:28:08.317" UserId="1094" Text="You could check out the timefreezer plugin, &#xD;&#xA;http://www.timefreezer.net/&#xD;&#xA;&#xD;&#xA;I'd avoid the left link, lots of vocalising going on in that, but one on right gives some impression of it's potential usefulness for making soundscapes.&#xD;&#xA;&#xD;&#xA;Bitof compression goes a long way in the bass, and a tiny boost around 40-50 herz. Reverb can give a sense of space and dimension, but too much is just sonic mud.&#xD;&#xA;&#xD;&#xA;:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15316" PostHistoryTypeId="2" PostId="9213" RevisionGUID="3e63c1c5-5990-4481-8f27-788def88ee3f" CreationDate="2011-07-20T11:45:35.627" UserId="9" Text="I'm busy designing a directors pitch for a &quot;neo-noir&quot; feature film. One of the elements is obviously sound and music. My soundtrack is going to use a lot of natural sound-scapes (the film is set in a national park in South Africa) and I want the music to reflect the natural surroundings. Amon Tobin (foley room album) is part of my referencing due to his dark undertones and exceptional use of sound bits to create an overall tone.&#xD;&#xA; &#xD;&#xA;What I am looking for is music that uses clapping, drums and voices as the primary driving force. I feel that these elements can be used to create phenomenal tension and suspense. I have listened to some African Gospel music and recorded a Nigerian Church busy with praise and worship. Often they have no instruments and revert to just clapping and singing. This is true for a lot of rural African music.&#xD;&#xA;&#xD;&#xA;Any leads or ideas of music that come to mind will be very useful!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15317" PostHistoryTypeId="1" PostId="9213" RevisionGUID="3e63c1c5-5990-4481-8f27-788def88ee3f" CreationDate="2011-07-20T11:45:35.627" UserId="9" Text="References of music using drums, voices and clapping hands " ContentLicense="CC BY-SA 3.0" />
  <row Id="15318" PostHistoryTypeId="3" PostId="9213" RevisionGUID="3e63c1c5-5990-4481-8f27-788def88ee3f" CreationDate="2011-07-20T11:45:35.627" UserId="9" Text="&lt;music&gt;&lt;drum&gt;&lt;south-africa&gt;&lt;voices&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15319" PostHistoryTypeId="2" PostId="9214" RevisionGUID="01b3db53-2f90-470f-a7e4-6edb40402954" CreationDate="2011-07-20T13:20:41.413" UserId="1178" Text="http://hypermammut.sourceforge.net/paulstretch/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15320" PostHistoryTypeId="2" PostId="9215" RevisionGUID="8e3ed32a-8944-498a-88f5-a8fdeb694a0f" CreationDate="2011-07-20T16:32:14.677" UserId="1233" Text="Hi there,&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm producing and directing a documentary (for the first time!) and I'm currently filling out a profile of our film that will be seen by a number of industry executives (including possible buyers of our film). As well as asking for the technical basics of the film (run time, shooting format etc.), the application form has a field for &quot;Soundtrack&quot; with a drop down menu that gives me an option of Mono or Stereo or Dolby or Ultra-Stereo. This is the first time I've been asked this, and given that I'm only just starting to figure out post stuff, I'm not quite sure yet which we're going to do!&#xD;&#xA;&#xD;&#xA;I know the definitions of Dolby and Ultra-Stereo, i.e. 4-channel optical surround format, both of which I understand require a license fee (although that is about the full extent of my knowledge!). But what I'm curious about is what the norm would be for a low-budget independent documentary, that may (if we're super lucky) end up in theaters. It's the kind of question that is apparently so basic that it isn't easy to find an answer online, so I've come to y'all for some help. So to make things clearer, here are my questions:&#xD;&#xA;&#xD;&#xA;1) Am I right in understanding that Dolby and Ultra-Stereo are basically surround sound, and Mono and Stereo are not? (obvious question, I know)&#xD;&#xA;&#xD;&#xA;2) What is the most common soundtrack option for a low-budget independent film?&#xD;&#xA;&#xD;&#xA;3) And the answer might be the same here, but if we can wangle the budget/find a post house willing to help us out with low costs, what might be the IDEAL soundtrack option for a low-budget independent film? (Bearing in mind that the answer to this question is something that will be seen by industry reps that we want to impress (without being unrealistic) as they may be considering buying the film for broadcast and/or theatrical release if we're really, really lucky!)&#xD;&#xA;&#xD;&#xA;4) About how much is the license fee for Dolby and Ultra-Stereo?&#xD;&#xA;&#xD;&#xA;Any help you folks could offer (as soon as possible as I need to submit this tomorrow!) would be much appreciated.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;mzw&#xD;&#xA;&#xD;&#xA;p.s. If it helps to know, the film was shot in HD, sound was recorded on an H4N Zoom, with a wireless mic and a shotgun, as well as the Zoom's internal mics.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15321" PostHistoryTypeId="1" PostId="9215" RevisionGUID="8e3ed32a-8944-498a-88f5-a8fdeb694a0f" CreationDate="2011-07-20T16:32:14.677" UserId="1233" Text="A basic question: What is the difference between Mono, Stereo, Dolby and Ultra-Stereo? (Don't worry, not looking for a detailed answer...)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15322" PostHistoryTypeId="3" PostId="9215" RevisionGUID="8e3ed32a-8944-498a-88f5-a8fdeb694a0f" CreationDate="2011-07-20T16:32:14.677" UserId="1233" Text="&lt;dolby&gt;&lt;stereo&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15323" PostHistoryTypeId="2" PostId="9216" RevisionGUID="2b0268ea-e429-4f5c-bfae-6b2eab97de9e" CreationDate="2011-07-20T17:44:56.507" UserId="1235" Text="I decided to go with either a &quot;break the bank&quot; Sanken CS-1 or a AKG Blue-line HC.  Was going for an audix sx-hc due to the reccomendations from interwebz.  After reviewing a frequency response chart from the Audix website, I changed my mind.  The wild midrange rise and drastic mid-high/high drop confused me as to why this mic is reccomended for indoor boom operations. &#xD;&#xA;AKG Blueline is much more attractive to me for price and noise floor (28 db, isn't that a little high?)&#xD;&#xA;Sanken CS-1 &quot;break the bank&quot; microphone attracts me for the versatility of indoor/outdoor recording ability as well as the low noise floor.&#xD;&#xA;&#xD;&#xA;With the amount of money I spend on a Blueline compared to a Sanken, you can invest in a lav" ContentLicense="CC BY-SA 3.0" />
  <row Id="15324" PostHistoryTypeId="2" PostId="9217" RevisionGUID="1124288a-322a-4001-a925-f945aba22fcd" CreationDate="2011-07-20T17:47:11.463" UserId="63" Text="You said that you wanted monitors for a small room right? Then why go for 8&quot; monitors? &#xD;&#xA;&#xD;&#xA;You need a big room to support big monitors else you will have many static waves around in your room with 8&quot; monitors, you can avoid it though with some (a lot) of bass traps around. Or go with it and use monitors only for the high end and mix low ends with headphones... &#xD;&#xA;&#xD;&#xA;KRKs are very fine monitors, I own Rokit8 and I use them all day/everyday for around 3 years now. They deliver a more &quot;normal&quot; hifi sound and I like them cause its much closer to the sound you will hear from normal systems. &#xD;&#xA;&#xD;&#xA;The HS80s are very sharp but have exceptional clarity with high frequencies (that makes them a little hard for your ears after long exposure though)&#xD;&#xA;&#xD;&#xA;Mackies are not so good really they are like better PC speakers, the HR624 and HR824 are way way better but more expensive an any case. &#xD;&#xA;&#xD;&#xA;My suggestions is you keep as much money as you can and buy the best monitors you can afford. The best advice on monitors though is to test them and decide wich one sounds better to your ears, monitors are a totally personal thing!&#xD;&#xA;&#xD;&#xA;Another great thing to do is to buy some cheap monitors like KRK 6&quot; for example or Yamahas and a good pair of headphones for cross referencing (especially the low end). &#xD;&#xA;&#xD;&#xA;Cheers and good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="15325" PostHistoryTypeId="2" PostId="9218" RevisionGUID="ed75a05b-77e5-4ca1-a2d6-42b69a426909" CreationDate="2011-07-20T17:50:25.147" UserId="845" Text="Source--&gt;Reverb--&gt;Compression--&gt;EQ--&gt;Reverb--&gt;EQ.&#xD;&#xA;&#xD;&#xA;If that ends up being too wide you could also consider: &#xD;&#xA;&#xD;&#xA;Source--&gt;Stereo Reverb--&gt;Mono Reverb--&gt;EQ--&gt;Compression--&gt;Mono Reverb. &#xD;&#xA;&#xD;&#xA;If the tail ends up too long, you can just put a gate with a very gentle release (500-750ms).&#xD;&#xA;&#xD;&#xA;If you do it right you should totally scare the crap out of yourself." ContentLicense="CC BY-SA 3.0" />
  <row Id="15326" PostHistoryTypeId="2" PostId="9219" RevisionGUID="625ccf13-215b-4024-9c0e-082582387726" CreationDate="2011-07-20T17:56:08.327" UserId="1056" Text="Hi Jozua!&#xD;&#xA;&#xD;&#xA;You should try the International Library of African Music (http://ilam.ru.ac.za/). It is a fantastic resource for this. I notice you are in Cape Town, so you can even call them on 046-603 8547. Ask for Elijah - I'm sure he'll hook you up.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15327" PostHistoryTypeId="2" PostId="9220" RevisionGUID="ae1231b8-b1b5-4a9d-8f11-198056c60595" CreationDate="2011-07-20T20:11:50.423" UserId="37" Text="Which Dolby? :) &#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Dolby#Technologies" ContentLicense="CC BY-SA 3.0" />
  <row Id="15328" PostHistoryTypeId="5" PostId="9101" RevisionGUID="408ce3f0-8160-472c-a9c1-f5f675b218eb" CreationDate="2011-07-20T20:38:32.890" UserId="1153" Comment="Notes of Results" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I'll be recording a motorbike at the weekend for the first time and was looking for some tips!&#xD;&#xA;&#xD;&#xA;I have a Rode NTG-2 (w/ blimp) and NT1-A, a pair of sontronics STC-1s's and the zoom h4n's onboard stereo mics at my disposal BUT can only record a stereo pair or 2 monos at a time as I currently only have the zoom and need to record in 24/96 so am limited to 2 channels... :(&#xD;&#xA;&#xD;&#xA;The key sounds I need are starting/stoping, idle, braking and preferably a 'ridealong' or some sound that could simulate the sound of the bike whilst being rode. Anything else is a bonus :D&#xD;&#xA;&#xD;&#xA;Does anyone have any experience with this? Are there any specific techniques I could try? And also, are there things I should watch out for? (apart from the bike :D) like placing the mic too close and it being destroyed by the heat? Whilst researching I saw this happen in one video where they were recording the bike for a game and then poof! &#xD;&#xA;&#xD;&#xA;All help is much appreciated, cheers :)&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;edit:&#xD;&#xA;&#xD;&#xA;Thank you for the replies guys! I've documented my experience on my blog http://tastybeatz.tumblr.com/ and will consolidate the related links in a future post to help others find info on motorbike recording.&#xD;&#xA;&#xD;&#xA;I got some OK results and will definitely be doing it again when I have less restrictions and limitations. Heres a SC clip if you'd like to listen to some unedited results:&#xD;&#xA;http://soundcloud.com/disconnectuser/sdb003-motorbikes-unedited&#xD;&#xA;&#xD;&#xA;Thanks for all your help, very glad I joined this community!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15329" PostHistoryTypeId="6" PostId="9101" RevisionGUID="408ce3f0-8160-472c-a9c1-f5f675b218eb" CreationDate="2011-07-20T20:38:32.890" UserId="1153" Comment="Notes of Results" Text="&lt;motorcycle&gt;&lt;ntg2&gt;&lt;field-recording&gt;&lt;zoom-h4n&gt;&lt;zoom&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15330" PostHistoryTypeId="2" PostId="9221" RevisionGUID="5ca8d191-f887-49b8-b536-d8f83492697e" CreationDate="2011-07-20T21:29:14.043" UserId="253" Text="Is it for a film festival?&#xD;&#xA;&#xD;&#xA;I've noticed that the sound spec checkboxes in film festival entry forms are pretty old fashioned. One festival had nothing even remotely related to what our mix was, so the producer had to write in &quot;Digital Stereo&quot; and tick it. &#xD;&#xA;&#xD;&#xA;1. Dolby is a company. Some delivery formats include Dolby Stereo, Dolby Surround, Dolby Digital and Dolby E. Most Dolby formats involve some kind of surround, but it's not that helpful if they don't specify. I googled &quot;Ultrastereo&quot;, and it seems that it's a long-dead Dolby competitor, so i wouldn't select that option.&#xD;&#xA;&#xD;&#xA;2. For a low budget indie, it's probably best to go with stereo. If you can get a surround mix + LtRt (Dolby Stereo) or LoRo (regular stereo) with your budget, then great! Just make sure that they know what they're doing. Another option is to mix it in stereo, then try to get some post production funding to create a surround mix and M&amp;E (for overseas sales).&#xD;&#xA;&#xD;&#xA;3. See above. The value of a 5.1 mix depends on your film. It may add a LOT to an action film, but perhaps not so much to a romantic comedy. However, there are many factors specific to your film that can change this. A well produced stereo mix beats a 5.1 mix that's been compromised by a low budget, IMHO. And remember, if anyone wants to buy your film, you can factor the upmix to 5.1 into your sales deals.&#xD;&#xA;&#xD;&#xA;4. Sorry, i'm not totally sure about Dolby licence costs. What i can tell you is that it depends on where you are. It will involve you taking your film to a Dolby approved mix theatre (or dubbing stage, as 'mericans say), and having a Dolby rep check it out, maybe make some tweaks, and (hopefully) sign off on it. I believe that's the process in Australia, at least. I can't say with 100% certainty that it's that way everywhere, but there are some big dogs in this forum who probably can.&#xD;&#xA;&#xD;&#xA;Best of luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15331" PostHistoryTypeId="2" PostId="9222" RevisionGUID="1be35478-ff7b-41d8-b560-cc6ff3b05284" CreationDate="2011-07-20T22:02:44.480" UserDisplayName="user80" Text="Stereo is a safe bet for a low budget documentary.  It is easy to work with, and will playback without complications almost everywhere." ContentLicense="CC BY-SA 3.0" />
  <row Id="15332" PostHistoryTypeId="2" PostId="9223" RevisionGUID="d5f5e45d-d829-41c7-b07a-bc7edc841231" CreationDate="2011-07-21T01:16:06.043" UserId="338" Text="How to make a sound or ambience fit the lighting technique that comes from below and shines up casting shadows on the face?&#xD;&#xA;I was thinking maybe you could take a spooky scream/drone/ringing or what not and pan it there.  &#xD;&#xA;&#xD;&#xA;What kind of sound represents this emotional situation (think little girl possessed by the devil, revealing herself to the man who sold his soul)?&#xD;&#xA;&#xD;&#xA;David Sonnenchiene's book helped me learn a lot about emotions of sound and he posted some techniques.  Does anybody have any other ways to connect emotions of sound and image?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15333" PostHistoryTypeId="1" PostId="9223" RevisionGUID="d5f5e45d-d829-41c7-b07a-bc7edc841231" CreationDate="2011-07-21T01:16:06.043" UserId="338" Text="How to make a sound fit the lighting technique that comes from below and shines up casting shadows on the face?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15334" PostHistoryTypeId="3" PostId="9223" RevisionGUID="d5f5e45d-d829-41c7-b07a-bc7edc841231" CreationDate="2011-07-21T01:16:06.043" UserId="338" Text="&lt;design&gt;&lt;ideas&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15335" PostHistoryTypeId="2" PostId="9224" RevisionGUID="55443b75-e088-421e-ab80-1dc5c82f0d03" CreationDate="2011-07-21T01:48:29.073" UserId="587" Text="You can never go wrong with evil and the tri-tone chord. Its what bothered the Catholics in past musical history :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15336" PostHistoryTypeId="2" PostId="9225" RevisionGUID="2b7e5acf-9ca8-41f4-9a85-5320579e15c8" CreationDate="2011-07-21T04:34:49.857" UserId="845" Text="I was having a conversation about this with a friend of mine earlier today.  Would you rather design creature sounds for:&#xD;&#xA;&#xD;&#xA;a) Optimus Prime, or b) Tinkerbell&#xD;&#xA;&#xD;&#xA;I think it's a much tougher choice than it seems on its face.&#xD;&#xA;&#xD;&#xA;Which would you choose and why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15337" PostHistoryTypeId="1" PostId="9225" RevisionGUID="2b7e5acf-9ca8-41f4-9a85-5320579e15c8" CreationDate="2011-07-21T04:34:49.857" UserId="845" Text="Robot Vs. Fairy" ContentLicense="CC BY-SA 3.0" />
  <row Id="15338" PostHistoryTypeId="3" PostId="9225" RevisionGUID="2b7e5acf-9ca8-41f4-9a85-5320579e15c8" CreationDate="2011-07-21T04:34:49.857" UserId="845" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15339" PostHistoryTypeId="2" PostId="9226" RevisionGUID="79e983eb-1bd7-4167-bc74-5d9f1b182a67" CreationDate="2011-07-21T08:26:06.230" UserDisplayName="user80" Text="Optimus prime&#xD;&#xA;&#xD;&#xA;It is more a size thing, as there are so many potential moving parts that could all make different noises." ContentLicense="CC BY-SA 3.0" />
  <row Id="15340" PostHistoryTypeId="2" PostId="9227" RevisionGUID="1632e92e-4870-435f-8715-1a21945248e0" CreationDate="2011-07-21T11:52:42.477" UserId="1237" Text="I think both.&#xD;&#xA;&#xD;&#xA;My opinion here that the main value it is to find “that very sound”. &#xD;&#xA;&#xD;&#xA;I've recently watched Sam Mendes's “Road to Perdition” and if somebody remembers there was the simple sound effect in the beginning and in the final scene, when Tom Hanks was killed. It was the slightly modified sound of the sea wave, nothing particularly in terms of sound editing I think. But for me it was one of the most impressive and the greatest sound moments that I've ever heard.&#xD;&#xA;&#xD;&#xA;Sorry my language." ContentLicense="CC BY-SA 3.0" />
  <row Id="15341" PostHistoryTypeId="2" PostId="9228" RevisionGUID="bcafa02b-2071-4ead-acef-7c3f370ecfb4" CreationDate="2011-07-21T12:42:08.107" UserId="6420" Text="Hi all,&#xD;&#xA;&#xD;&#xA;Soon they'll be a big airshow here on the coast featuring some beastly aircrafts such as the Vulcan and Eurofighter amongst others! I was thinking of hiring some gear and getting a day or two down there to get some recordings. &#xD;&#xA;&#xD;&#xA;Anyone had experience of recording airshows (or aircraft) in general and can offer some tips as to how to get the most out of it? I'll probably end up going to hire an SD 702 but not sure what mics to use yet? I'm guessing stereo micing would be best? Toying with the idea of recording in M/S too. Will probably use my H2 for backup anyway. &#xD;&#xA;&#xD;&#xA;Any thoughts greatly appreciated :)&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Andy" ContentLicense="CC BY-SA 3.0" />
  <row Id="15342" PostHistoryTypeId="1" PostId="9228" RevisionGUID="bcafa02b-2071-4ead-acef-7c3f370ecfb4" CreationDate="2011-07-21T12:42:08.107" UserId="6420" Text="Recording an Airshow. Any tips, does and donts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15343" PostHistoryTypeId="3" PostId="9228" RevisionGUID="bcafa02b-2071-4ead-acef-7c3f370ecfb4" CreationDate="2011-07-21T12:42:08.107" UserId="6420" Text="&lt;airshow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15344" PostHistoryTypeId="2" PostId="9229" RevisionGUID="f9ba1291-1574-4616-b841-bc8863550042" CreationDate="2011-07-21T12:56:18.600" UserId="845" Text="Hey Team,&#xD;&#xA;&#xD;&#xA;Just thinking about how to minimize the data footprint of all of my raw field/SFX recording.  To be honest, I simply don't trust .rar archives.  I've had too many get corrupted and mulch valuable work.&#xD;&#xA;&#xD;&#xA;What are your opinions on Flac?  The converter I have can do sample-rates up to 96k, which is what I'm mostly recording at, so I won't be losing quality that way.&#xD;&#xA;&#xD;&#xA;Or am I being naive in thinking that I will be able to just convert everything back to .wav files and skip off into the sunset, over peaceful green meadows, munching on strawberries and sipping dandelion wine?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15345" PostHistoryTypeId="1" PostId="9229" RevisionGUID="f9ba1291-1574-4616-b841-bc8863550042" CreationDate="2011-07-21T12:56:18.600" UserId="845" Text="Flac &amp; Archiving" ContentLicense="CC BY-SA 3.0" />
  <row Id="15346" PostHistoryTypeId="3" PostId="9229" RevisionGUID="f9ba1291-1574-4616-b841-bc8863550042" CreationDate="2011-07-21T12:56:18.600" UserId="845" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15347" PostHistoryTypeId="2" PostId="9230" RevisionGUID="d56b4de5-aecf-4437-90bf-3011a4420fa3" CreationDate="2011-07-21T13:39:26.530" UserId="1056" Text="FLAC is a lossless format so, yes, you can convert files back to WAV as and when required - as long as you saved your FLAC file using the same sample rate and bit depth as the original WAV.&#xD;&#xA;&#xD;&#xA;It actually uses a similar process to RAR or ZIP, with the biggest advantage of FLAC being that you can play back the files without having to extract them first. Secondly, should your file somehow become corrupted, you can usually recover a good portion of it.&#xD;&#xA;&#xD;&#xA;RAR, on the other hand, provides you with an option to build redundancy into your files by including a recovery record.  Obviously this will mean a bigger file, but a bit more peace of mind with it. Personally, the only time I have ever had problems with RAR files is when downloading them or receiving them via e-mail and, even then, have usually managed to recover most of the contents by selecting the &quot;Keep broken files&quot; option.&#xD;&#xA;&#xD;&#xA;The cost of hard drive space has come down so much that, unless you are seriously financially challenged, you should have at least one backup copy of all your important files on an external that can be stored off-site (i.e. in a different location).  Also, more and more companies are offering indefinite free cloud storage (e.g. ADrive - 50GB), so you should definitely consider this as an additional fail-safe.&#xD;&#xA;&#xD;&#xA;In the archiving fraternity we refer to LOCKSS - Lots of copies keeps stuff safe!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15348" PostHistoryTypeId="2" PostId="9231" RevisionGUID="f64cf3c8-eb3a-499c-91c6-08199ca810de" CreationDate="2011-07-21T13:40:52.910" UserId="285" Text="I have been the sound editor on an animated series about fairies as well as a series involving giant robots so I have a history with both these options.  The giant robots are much more engrossing and involve lots of elements while the fairies are all about soft sounds so you don't use as many layers but the ones you do use have to be bang on perfect, because there is no where to hide a sound that is not quite right.  So They are both difficult and engrossing in their own ways.  Over the long haul the fairies started driving me crazy though.  Due to their small stature the sounds end up mostly residing in the higher end of the sound spectrum and fairy voices are annoying as hell (at least on this series).  The robots become very fatiguing on the ears after weeks of the metal clangs and hits, so I guess they both have their downsides as well.&#xD;&#xA;&#xD;&#xA;One interesting side observation.  With the fairies each fairy had to have its own full library of sounds.  Each fairy had a completely different sound design for their wings flapping, no sound was used for multiple characters.  While the robots had many signature sound elements per character, but there were also many sounds that were involved in almost all the robots, ie metal rings, crushes, and hits.  Now this has as much to do with the character design on these two shows but I think illustrates that the fairies were all about the details and the robots were all about conveying their hugeness with big loud sounds.   &#xD;&#xA;&#xD;&#xA;I played with robot toys growing up but never had any fairies kicking around, so in the end I guess I would lean towards the robots because they are more towards my natural interests.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="15349" PostHistoryTypeId="5" PostId="9227" RevisionGUID="0c03731b-4150-42b4-b7a1-663d457a315c" CreationDate="2011-07-21T14:35:31.900" UserId="1237" Comment="deleted 27 characters in body" Text="I think both.&#xD;&#xA;&#xD;&#xA;My opinion here that the main value it is to find “that very sound”. &#xD;&#xA;&#xD;&#xA;I've recently watched Sam Mendes's “Road to Perdition” and if somebody remembers there was the simple sound effect in the beginning and in the final scene. It was the slightly modified sound of the sea wave, nothing particularly in terms of sound editing I think. But for me it was one of the most impressive and the greatest sound moments that I've ever heard.&#xD;&#xA;&#xD;&#xA;Sorry my language." ContentLicense="CC BY-SA 3.0" />
  <row Id="15350" PostHistoryTypeId="2" PostId="9232" RevisionGUID="d44fd09c-43c9-4f50-965f-cc64deb3efdc" CreationDate="2011-07-21T15:12:24.017" UserId="142" Text="I go to Southend Airshow to record and my main problem has always been the apparent need for annoying tannoys giving a running commentary of everything the jet is doing. Unfortunately the sound travels quite far so is hard to get away from. Saying that, the sonic dominance of the four Rolls Royce engines in that vulcan will shut it out on the fly by. This is a jet well worth recording as many say it has another year, maybe two left flying at airshows before being retired forever. I record with shotgun mics following the jets so far into a 702 which gets some nice enough results. Unfortunately, this year I ran down from my house to record the Vulcan and was using my back up recorder (FR2LE). I quickly went to turn it on and realised batteries were dead AAAAHHHHHHH, when your panicking those 4 AA batteries in the FR2Le can be real fun. As always be prepared" ContentLicense="CC BY-SA 3.0" />
  <row Id="15351" PostHistoryTypeId="2" PostId="9233" RevisionGUID="119aec88-088d-416b-9340-88c4516833f6" CreationDate="2011-07-21T17:07:04.397" UserId="6600" Text="Gauging the emotional response to certain sounds is one of those immeasurable things, a bit like trying to measure how the colour blue makes you feel, but I think there are some approaches in sound design that generally achieve the same effect across the board (particularly when it comes to horror).&#xD;&#xA;&#xD;&#xA;For example high pitched, jarring sounds like squealing, scraping metal would usually denote tension or a sense of unease.  With a fast attack and in conjunction with a sudden visual event this kind of sound is also very good for the classic scare.  Film seems to have created it's own sound language in that where you have drawn out period of tension or building quiet, you know that the scare is coming and so creating the anticipation is just as important as the hit itself in my opinion.&#xD;&#xA;&#xD;&#xA;If you're into further reading, someone did an actual medical paper titled &quot;The Psychoacoustics of a Chilling Sound&quot; where they investigated why the sound of fingernails being dragged across a chalkboard was generally deemed as being so horrible.  They drew similarities between the frequencies of that sound and the alarm calls of a certain monkey, so maybe our responses to certain sounds are an inbuilt, primal thing.  Can't remember the author's name :-/&#xD;&#xA;&#xD;&#xA;Similarly, the University of Salford in the UK did a survey called &quot;Bad Vibes&quot; where people voted on the worst sounds online and via a booth in one Manchesters museums.  If I remember rightly number one ended up being the sound of someone being sick but for some reason I find that hilarious haha.&#xD;&#xA;&#xD;&#xA;Anyways, I'm going off topic.  Subby hits, rumbles and drones are also often used to create a feeling of dread and fear.  My little theory is that this stems back to a natural response to earthquakes, tornado's etc and as such can also be used to depict the magnitude of a situation (think Inception brass).&#xD;&#xA;&#xD;&#xA;For your particular situation, I'm thinking a reversed high-pitched thing with a bit of a pitch bend just to reflect that somethings not right.  The peaks of the reverse could possibly sync with the movement of the shadows?  Maybe also whispers that have been reversed, reverbed and then reversed back again.  But that's just me :)&#xD;&#xA;&#xD;&#xA;+1 to the devil's chord!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15352" PostHistoryTypeId="2" PostId="9234" RevisionGUID="a0c48f9a-2adf-47d6-9005-eccc5c8c6e9a" CreationDate="2011-07-21T17:25:26.297" UserId="1238" Text="I didn't have an answer for this until today, (yes, I actually searched for this thread afterwards!). I was recording a bunch of kids racing go karts and noticed that the sound of the engines plus the doppler effect actually creates that sound through a one mic setup. So my guess is that is why they do it although they do beef it up too. In case your wondering, the go karts were 2 strokes, about 200cc. I don't know if that makes a difference but that's what I had today." ContentLicense="CC BY-SA 3.0" />
  <row Id="15353" PostHistoryTypeId="2" PostId="9235" RevisionGUID="d0b59ab1-b09c-4f7c-b460-921411648006" CreationDate="2011-07-21T17:36:43.540" UserDisplayName="user80" Text="Sometimes you are better no going into the official part of the show at all.  &#xD;&#xA;&#xD;&#xA;If you are lucky there is a field that you can gain access to on the far side of the airstrip away from the crowds there you can record everything from where hopefully the tannoy and the people will be masked by the aircraft.&#xD;&#xA;&#xD;&#xA;For Bournemouth how about renting a boat and anchoring off the coast a bit.  A rowing boat would be big enough. Take lots of towels, as you can soak them and tie them round anything that is moving on the boat.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15354" PostHistoryTypeId="2" PostId="9236" RevisionGUID="a134db7e-fced-4214-af86-cca0aa09fc3b" CreationDate="2011-07-21T19:14:35.890" UserId="194" Text="I'd personally go either shotgun or MS and track the jets as they go by.  &#xD;&#xA;&#xD;&#xA;Also, a very light and mobile rig that you can carry easily will probably be best since you may need to move around quite a bit to find the best spot.&#xD;&#xA;&#xD;&#xA;Inline pads can be useful, especially if you're cutting to a device with a post A/D limiter.&#xD;&#xA;&#xD;&#xA;Crowds and announcers will hound you constantly if you're at the airshow proper.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15355" PostHistoryTypeId="2" PostId="9237" RevisionGUID="81b4f107-09da-4f2b-8dde-adad881fd916" CreationDate="2011-07-21T19:45:47.460" UserDisplayName="user49" Text="Drives are so cheap is it really worth the cost of the time involved?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15356" PostHistoryTypeId="2" PostId="9238" RevisionGUID="f26f6ab5-a019-40be-9c50-760e26023650" CreationDate="2011-07-21T22:08:44.370" UserId="1179" Text="This may not be exactly what you have in mind but check out Steve Reich's Clapping Music. Rather than being strictly intellectual through its polyrhythms, it is mysteriously emotional, considering that it consists solely of handclaps. &#xD;&#xA;&#xD;&#xA;You can find it on a disc called African Rhythms, along with some Ligeti poly work and pygmy chants that you might also find interesting. &#xD;&#xA;&#xD;&#xA;Check it out here at Amazon: http://www.amazon.com/African-Rhythms-Gyorgy-Ligeti/dp/B00008UVCD/ref=sr_1_1?s=music&amp;ie=UTF8&amp;qid=1311284504&amp;sr=1-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="15357" PostHistoryTypeId="2" PostId="9239" RevisionGUID="116dd331-c5b9-405f-b00a-dae1e1356d3c" CreationDate="2011-07-21T22:21:27.697" UserId="6435" Text="Has anyone else seen a situation wherein data entered into the &quot;Notes&quot; section of Wave Agent fails to show up in the Pro Tools browser? " ContentLicense="CC BY-SA 3.0" />
  <row Id="15358" PostHistoryTypeId="2" PostId="9240" RevisionGUID="bb45a249-cd56-4a38-b5a8-c1072465a5de" CreationDate="2011-07-21T23:32:50.343" UserId="194" Text="Hi Jay&#xD;&#xA;&#xD;&#xA;My default preference is 96k 24bit BWAV filess, unless there is actually interesting audio recorded up above 48kHz in which case I'll go with 192k.  This is usually restricted to specialty mics (contact, eletrostatic), synth generated sounds, or stuff that can really go screechy (metal and explosions for ex)&#xD;&#xA;&#xD;&#xA;Shaun is correct about wave agent offering the highest intercompatibility, though if you plan on doing more than just a short run of sfx I'd strongly encourage the purchase of Soundminer because you can really wrangle metadata much more efficiently in that program - inclusive of embedding descriptions in the bwav header file that is read by wave agent, PT and all of the others.  SM will allow batch editing of the description data across multiple files, find/replace, append, prepend, copy field etc.  &#xD;&#xA;&#xD;&#xA;I'd also be sure to take and provide photos of the sounds as you record them.  I find that photos are particularly helpful with ambiances.  Soundminer will embed those photos into the bwav wrapper, but you'd still want to provide the pix separately as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="15359" PostHistoryTypeId="2" PostId="9241" RevisionGUID="36962c11-4426-4e31-add9-e8114d983654" CreationDate="2011-07-22T03:29:45.073" UserId="338" Text="I was always impressed at what the Waves Time/pitch shifter could do to sounds.  Happy it came down in price now that my demo expire`d" ContentLicense="CC BY-SA 3.0" />
  <row Id="15360" PostHistoryTypeId="2" PostId="9242" RevisionGUID="d0e8cad8-632d-4ed6-a0ef-bfe58332b400" CreationDate="2011-07-22T04:05:04.887" UserId="1241" Text="Ah, @ChrisEngineAudio is mistaken about Studio's licencing. It's gonna be available for non-commercial purposes without paying a licence fee, just like Designer is currently." ContentLicense="CC BY-SA 3.0" />
  <row Id="15361" PostHistoryTypeId="2" PostId="9243" RevisionGUID="a099f10d-6b88-4238-9a43-8cef707dc6f8" CreationDate="2011-07-22T05:04:48.763" UserId="845" Text="Having really nice speakers makes everything sound good. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15362" PostHistoryTypeId="2" PostId="9244" RevisionGUID="4a01280c-49d2-49f5-8a48-c3decd28c0fa" CreationDate="2011-07-22T13:05:57.337" UserId="432" Text="Alright, no one has mentioned this one yet so I'll throw it out there:&#xD;&#xA;&#xD;&#xA;***If you're going to be doing a lot of processing to a sound, you should convert 16 bit files to 24 bit before doing so.***&#xD;&#xA;&#xD;&#xA;I'm not referring to recording in higher bit rates (that you should do), but working with existing 16-bit files. Most of the programs we use (Pro Tools, Nuendo, etc.) work natively as 64 bit processors or higher. *[There may still be some that are only 32 bit, but I don't know for sure.]* When you bring a file into a session, the DAW automatically pads the audio file anytime it does processing...including something as simple as volume automation. That means that a 16 bit file in a 64 bit DAW gets an additional 48 bits (added on as zeros after the existing word) to allow for more accurate math. If you were to convert the file to 24 bits first...yes, it would get 8 extra bits, but they would be all zeros. Bring that newly converted file into your 64 bit DAW, and it gets another 40 extra bits (all zeros again) anytime the DAW does any processing. You're still totaling 48 bits of padding zeros prior to processing. There's absolutely no difference.&#xD;&#xA;&#xD;&#xA;The only time it matters is when you're actually exporting or bouncing your audio from your session. *[I suppose that I should admit that if you're rendering within a session, i.e. audiosuite, it may matter. This one I'm a bit fuzzy on.]* If you're doing any kind of processing to an audio file other than simple cuts (volume, pan, fade, plug-in, etc.), you'll actually get better quality final files by outputting at 24 bits than at 16 bit...even if the original files are 16 bit.&#xD;&#xA;&#xD;&#xA;That's the biggest reason you're supposed to dither anytime you're outputting to 16 bit, even from a &quot;16 bit&quot; session...because the DAW actually does all it's calculations at much higher bit rates." ContentLicense="CC BY-SA 3.0" />
  <row Id="15363" PostHistoryTypeId="2" PostId="9245" RevisionGUID="fb737014-346b-43d1-91fb-d782ae486b1f" CreationDate="2011-07-22T13:49:18.633" UserId="63" Text="Hi everyone again!&#xD;&#xA;&#xD;&#xA;Today I got my Zoom H4N! You cannot imagine how much I already loved this little miraculous device!!! I had a Sony PCM-D50 which I also loved... But this one, oh really I adore it. I have never seen a device with so many options available like this one! &#xD;&#xA;&#xD;&#xA;And so cheap (well not exactly cheap, but cheap for this kind of things!) that you do not worry so much about it!&#xD;&#xA;&#xD;&#xA;I can carry it around everywhere! I can plug everything on it (yeah ok eats battery fast! So? I get 10 packs from IKEA for under 2euros...)&#xD;&#xA;&#xD;&#xA;Does anyone uses MTR mode though? I just wanted to ask cause my thing is either Stereo or 4CH.&#xD;&#xA;&#xD;&#xA;Well I just wanted to share my happiness with you guys that you can understand me! My girlfriend is happy just because I am happy so I wanted someone more to share the joy! " ContentLicense="CC BY-SA 3.0" />
  <row Id="15364" PostHistoryTypeId="1" PostId="9245" RevisionGUID="fb737014-346b-43d1-91fb-d782ae486b1f" CreationDate="2011-07-22T13:49:18.633" UserId="63" Text="Zoom H4N Adoration Post" ContentLicense="CC BY-SA 3.0" />
  <row Id="15365" PostHistoryTypeId="3" PostId="9245" RevisionGUID="fb737014-346b-43d1-91fb-d782ae486b1f" CreationDate="2011-07-22T13:49:18.633" UserId="63" Text="&lt;zoom-h4n&gt;&lt;portable-recorder&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15366" PostHistoryTypeId="2" PostId="9246" RevisionGUID="87191a24-0a42-46e6-a8ac-6478a5d2b6fc" CreationDate="2011-07-22T14:17:24.637" UserId="1242" Text="I unplugged my mic from the Mbox 2 temporarily and when I plugged it back in I was unable to hear my vocals.  I know they are recording because I can see the track but it is silent when i play it back.  I'm using pro tools 8.05 LE using macbook with snow leopard.  I know the fader levels are ok + the track isn't on mute.  Someone please help me!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15367" PostHistoryTypeId="1" PostId="9246" RevisionGUID="87191a24-0a42-46e6-a8ac-6478a5d2b6fc" CreationDate="2011-07-22T14:17:24.637" UserId="1242" Text="Can't hear my vocals" ContentLicense="CC BY-SA 3.0" />
  <row Id="15368" PostHistoryTypeId="3" PostId="9246" RevisionGUID="87191a24-0a42-46e6-a8ac-6478a5d2b6fc" CreationDate="2011-07-22T14:17:24.637" UserId="1242" Text="&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15371" PostHistoryTypeId="5" PostId="9244" RevisionGUID="7562d29c-5523-445f-83a6-eb2f0180591c" CreationDate="2011-07-22T14:40:11.127" UserId="432" Comment="clarification" Text="Alright, no one has mentioned this one yet so I'll throw it out there:&#xD;&#xA;&#xD;&#xA;***If you're going to be doing a lot of processing to a sound, you should convert 16 bit files to 24 bit before doing so.***&#xD;&#xA;&#xD;&#xA;I'm not referring to recording in higher bit rates (that you should do), but working with existing 16-bit files. Most of the programs we use (Pro Tools, Nuendo, etc.) work natively with 64 bit mix engines. *[There may still be some that are only 32 bit, but I don't know for sure.]* When you bring a file into a session, the DAW automatically pads the audio file anytime it does processing...including something as simple as volume automation. That means that a 16 bit file in a 64 bit DAW gets an additional 48 bits (added on as zeros after the existing word) to allow for more accurate math. If you were to convert the file to 24 bits first...yes, it would get 8 extra bits, but they would be all zeros. Bring that newly converted file into your 64 bit DAW, and it gets another 40 extra bits (all zeros again) anytime the DAW does any processing. You're still totaling 48 bits of padding zeros prior to processing. There's absolutely no difference.&#xD;&#xA;&#xD;&#xA;The only time it matters is when you're actually exporting or bouncing your audio from your session. *[I suppose that I should admit that if you're rendering within a session, i.e. audiosuite, it may matter. This one I'm a bit fuzzy on.]* If you're doing any kind of processing to an audio file other than simple cuts (volume, pan, fade, plug-in, etc.), you'll actually get better quality final files by outputting at 24 bits than at 16 bit...even if the original files are 16 bit.&#xD;&#xA;&#xD;&#xA;That's the biggest reason you're supposed to dither anytime you're outputting to 16 bit, even from a &quot;16 bit&quot; session...because the DAW actually does all it's calculations at much higher bit rates." ContentLicense="CC BY-SA 3.0" />
  <row Id="15372" PostHistoryTypeId="2" PostId="9248" RevisionGUID="6bfa7b70-2c65-4c68-9ffc-50510202dc19" CreationDate="2011-07-22T14:47:59.810" UserId="1232" Text="Thank you for your answers!&#xD;&#xA;In fact I'm not trying to create texture by itself but rather this (reverbered) ambience: confined, scary, giving the impression of being isolated .. or wide, airy and deep.&#xD;&#xA;I cheked few tracks for references: the audio spectrum looks very small,from 40/60Hz to 2000kHz in general. But there is still a presence, it's clear... Is it just work on equalization? When you listen to Amon - El Kehl - Rise of Thermouthis, it is only white noise filtered and modulated yet something I find emerges through the atmosphere, the reverberation .." ContentLicense="CC BY-SA 3.0" />
  <row Id="15373" PostHistoryTypeId="2" PostId="9249" RevisionGUID="8f3be756-817d-4c53-abbc-255a656847c5" CreationDate="2011-07-22T14:52:35.527" UserId="848" Text="Yea it's a nifty little device. I carry mine all the time - it's so useful being so small and light without the quality compromise. I get frustrated at how long it takes to boot up though, it's not like a camera that you can just whip out for that 'in the moment' shot. &#xD;&#xA;&#xD;&#xA;What are people's thought on the onboard mics? What external mics to you use with it in the field?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15374" PostHistoryTypeId="2" PostId="9250" RevisionGUID="69aa3e61-c9f9-4581-b197-195d71544902" CreationDate="2011-07-22T15:07:05.690" UserId="1102" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;I'm currently studying my Masters in Sound for the Moving Image at the Glasgow School of Art in Scotland.  I'm doing a research paper into the commercialization of ambisonics in existing cinemas and would love if you could take 10 mins to compete this survey for my paper. &#xD;&#xA;&#xD;&#xA;Just follow the link below to start. &#xD;&#xA;&#xD;&#xA;http://www.surveymonkey.com/s/6XYC2LW&#xD;&#xA;&#xD;&#xA;Note: Please have headphones handy before you begin.  &#xD;&#xA;&#xD;&#xA;Any other thoughts you wish to add after taking the survey would be great! &#xD;&#xA;Thanks, Gillian " ContentLicense="CC BY-SA 3.0" />
  <row Id="15375" PostHistoryTypeId="1" PostId="9250" RevisionGUID="69aa3e61-c9f9-4581-b197-195d71544902" CreationDate="2011-07-22T15:07:05.690" UserId="1102" Text="Masters Research Paper Survey " ContentLicense="CC BY-SA 3.0" />
  <row Id="15376" PostHistoryTypeId="3" PostId="9250" RevisionGUID="69aa3e61-c9f9-4581-b197-195d71544902" CreationDate="2011-07-22T15:07:05.690" UserId="1102" Text="&lt;survey&gt;&lt;binaural&gt;&lt;stereo&gt;&lt;masters-degree&gt;&lt;research&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15377" PostHistoryTypeId="2" PostId="9251" RevisionGUID="83461955-539c-45f1-893e-6905092cabcd" CreationDate="2011-07-22T15:15:50.340" UserDisplayName="user6513" Text="Possibly either your outputs are wrong or your I/O has been changed.&#xD;&#xA;&#xD;&#xA;Are you sending it to the correct outputs? Generally Outputs 1 &amp; 2 should be your default.&#xD;&#xA;&#xD;&#xA;Have you recently changed your I/O settings?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15378" PostHistoryTypeId="2" PostId="9252" RevisionGUID="7950f072-c9f7-47d6-9f1d-948c918016c7" CreationDate="2011-07-22T17:00:55.763" UserId="253" Text="There's a knob on the mBox 2 labelled &quot;Mix&quot;. If you turn it in one direction, you'll only hear whatever's plugged into your inputs (mics, etc.). If you turn it in the other direction, you'll hear your Pro Tools outputs. I can never remember which direction is which, but it's easy enough to check." ContentLicense="CC BY-SA 3.0" />
  <row Id="15379" PostHistoryTypeId="6" PostId="9246" RevisionGUID="f080e5b1-e23f-4958-8f84-23499445c150" CreationDate="2011-07-22T17:54:07.187" UserDisplayName="user80" Comment="edited tags" Text="&lt;vocals&gt;&lt;problems&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15380" PostHistoryTypeId="2" PostId="9253" RevisionGUID="02790260-bfe9-4933-bb74-e40ecd1f9826" CreationDate="2011-07-22T18:04:56.290" UserDisplayName="user80" Text="I am a Genelec fan, if you are lucky you can pick up a second hand pair of 1029a's for €500.&#xD;&#xA;&#xD;&#xA;But it really doesn't matter what you buy as long as learn how the loudspeakers sound in your room and compensate accordingly. &#xD;&#xA;&#xD;&#xA;Even if you spend double the money, the speakers still might not sound good due to where you place them in your room." ContentLicense="CC BY-SA 3.0" />
  <row Id="15381" PostHistoryTypeId="5" PostId="9137" RevisionGUID="e59d59d9-06ec-42ba-a426-02bf4397310f" CreationDate="2011-07-22T18:06:03.813" UserDisplayName="user80" Comment="spelling" Text="I had something similar happen the other day. A region in PT displays like a normal old sound wave, but the second half plays back as an almighty blast of static. Weirdest thing I've seen in a while. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15382" PostHistoryTypeId="2" PostId="9254" RevisionGUID="87e3e2a5-efa7-4c1b-9940-7005ff34b0e3" CreationDate="2011-07-22T19:40:18.123" UserId="6487" Text="I would greatly enjoy both but might enjoy the detailed softness of the fairies more. Perhaps because I have done a lot of heavy mechanical type sounds for the Science Channel recently.  Variety is the spice of life." ContentLicense="CC BY-SA 3.0" />
  <row Id="15383" PostHistoryTypeId="2" PostId="9255" RevisionGUID="4771fd2d-313b-469d-8e03-5833d7d26ea3" CreationDate="2011-07-22T20:33:54.527" UserId="1090" Text="I just did some recordings of city ambiences, like subway platforms and bus rides and such with an H4n, and it's doing a great job with those kinds of sounds. It's not as good for quiter sounds like general field ambiance or crickets and such...&#xD;&#xA;&#xD;&#xA;I often use my Sound Devices 302 as an external mixer and plug my microphones into there. That way I know the signal to noise ratio is the best and that I have great limiting and monitoring capabilities.&#xD;&#xA;&#xD;&#xA;MTR mode is good for music only, it's basically an ability to record several takes and mix them together. It's stereo only, I think.. haven't used it that much. &#xD;&#xA;&#xD;&#xA;4CH mode is great for FX recording! That way you can get multiple angles at once. Like trains for example :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15384" PostHistoryTypeId="2" PostId="9256" RevisionGUID="12a77d10-6d29-4921-a635-047ec2013213" CreationDate="2011-07-22T22:26:50.470" UserId="63" Text="...well as i told you in my earlier post today (http://socialsounddesign.com/questions/9245/zoom-h4n-adoration-post) I can call myself a happy user of my new H4N that arrived today!&#xD;&#xA;&#xD;&#xA;and when I got to the official site to download the firmware update I found this one! http://zoom.co.jp/products/h2n . I guess many of you guys might be interested. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15385" PostHistoryTypeId="1" PostId="9256" RevisionGUID="12a77d10-6d29-4921-a635-047ec2013213" CreationDate="2011-07-22T22:26:50.470" UserId="63" Text="Zoom H2n announced!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15386" PostHistoryTypeId="3" PostId="9256" RevisionGUID="12a77d10-6d29-4921-a635-047ec2013213" CreationDate="2011-07-22T22:26:50.470" UserId="63" Text="&lt;h2n&gt;&lt;zoom&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15387" PostHistoryTypeId="2" PostId="9257" RevisionGUID="e877ab23-fd88-496e-8d62-12ff20170b1d" CreationDate="2011-07-22T23:43:16.547" UserId="285" Text="This might be a little left field but I was in Iceland last year and while touring to northern coast of the country I recorded this performance of a traditional Icelandic folk song at the cultural centre of a town named Ísafjörður.  The children made the rhythm with a series of foot stomps, thigh slaps and hand claps, that doubled as a kind of dance, while they sang the melody.&#xD;&#xA;&#xD;&#xA;The cultural centre also featured a really great accordion museum on the second floor.  Iceland tends to surprise you a lot.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/azimuthaudio/icelandic-hostoric-song " ContentLicense="CC BY-SA 3.0" />
  <row Id="15388" PostHistoryTypeId="2" PostId="9258" RevisionGUID="5183b260-c060-4eac-8c24-6740b7b4a690" CreationDate="2011-07-23T00:08:54.190" UserId="769" Text="Just on the '10 batteries for 2 Euro' thing — consider getting rechargeable batteries.  They'll cost you less in the long run and are much better for the environment." ContentLicense="CC BY-SA 3.0" />
  <row Id="15389" PostHistoryTypeId="2" PostId="9259" RevisionGUID="173d53d5-8437-4174-b6f9-7389ee014b6f" CreationDate="2011-07-23T00:10:03.683" UserId="29" Text="While you didn't mention in your original post that the sounds needed to be African, one album comes to mind: Despite the fact that I *hate* the Grateful Dead, Mickey Hart did a project called The Rhythm Devils that released an album called [&quot;The Apocalypse Now Sessions.&quot;][1] Guess what film it was used for? :-)&#xD;&#xA;&#xD;&#xA;It's entirely drums and voices. Dark, mysterious, heavy at times. Very evocative and highly recommended. Might provide some ideas! Recorded close to where I live! :-)&#xD;&#xA;&#xD;&#xA;The Garinagu of Belize are a New World example of direct African influence in terms of their folk music, also all drums and voices: [An example can be heard here on my blog.][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Apocalypse-Now-Sessions-Rhythm-Devils/dp/B0000009N8&#xD;&#xA;  [2]: http://www.noisejockey.net/blog/2009/07/20/music-of-the-garinagu/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15390" PostHistoryTypeId="2" PostId="9260" RevisionGUID="c2b79b7b-4dea-48df-89c3-33c13683ec83" CreationDate="2011-07-23T00:11:36.587" UserId="315" Text="Great tips so far. &#xD;&#xA;&#xD;&#xA;I'd add, instead of going to the official show, some airshows have a more informal &quot;fly in&quot; or &quot;fly out.&quot; Usually the day before or after the main event, when the planes arrive/depart the site the show. You might find that a more useful time to record as you won't have to contend with crowds, music, or announcers...the enemy of sound effects recordists. Plus one for getting away from the site of the main event." ContentLicense="CC BY-SA 3.0" />
  <row Id="15391" PostHistoryTypeId="5" PostId="9259" RevisionGUID="c3649fcd-c5e8-4d7c-ba54-69cf7ad9d77f" CreationDate="2011-07-23T00:15:48.903" UserId="29" Comment="deleted 85 characters in body" Text="One album comes to mind: Despite the fact that I *hate* the Grateful Dead, Mickey Hart did a project called The Rhythm Devils that released an album called [&quot;The Apocalypse Now Sessions.&quot;][1] Guess what film it was used for? :-)&#xD;&#xA;&#xD;&#xA;It's entirely drums and voices. Dark, mysterious, heavy at times. Very evocative and highly recommended. Might provide some ideas! Recorded close to where I live! :-)&#xD;&#xA;&#xD;&#xA;The Garinagu of Belize are a New World example of direct African influence in terms of their folk music, also all drums and voices: [An example can be heard here on my blog.][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Apocalypse-Now-Sessions-Rhythm-Devils/dp/B0000009N8&#xD;&#xA;  [2]: http://www.noisejockey.net/blog/2009/07/20/music-of-the-garinagu/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15392" PostHistoryTypeId="2" PostId="9261" RevisionGUID="753bfa52-8e0e-4184-b020-8ec0bcabe58e" CreationDate="2011-07-23T01:42:22.320" UserId="993" Text="I've only done one field recording at an airshow so far, but here's what I know from that.&#xD;&#xA;&#xD;&#xA;First, check the event website and read the media policy. Are there copyright restrictions? Do you need to register for a media pass?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;With military aircraft present security will be tight. However, they should also be used to seeing people with SLR gear so sound recorders shouldn't stand out too much. Expect metal dectors and fenced off areas as you search for a crowd free spot to record.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Get a copy of the schedule, but don't expect things to run on time. Allow for a whole day to record if you can.&#xD;&#xA;&#xD;&#xA;Finding a place to record can be tricky. You have three main forces against you. First is the crowds of people making noise. Second is the speakers playing music nearly everywhere. Third is that aircraft are sharing airspace so it can be tricky to find a helicopter flying without a jet being audible in the background.&#xD;&#xA;&#xD;&#xA;But good thing is the airshow space is huge, so you just need to find an outer area away from the intersections of aircraft. I found car parks and places and along the long driveway in were both people free and had isolated aircraft flying overhead. Expect to have to walk around a lot to find the best spot.&#xD;&#xA;&#xD;&#xA;Onto the actual mics, I just used a shotgun on a boom pole in an attempt to get a directional mic above the noise level of any people. This seemed to work well, but time permitting I would have added a pair of stereo mics to this. The soundwaves bouncing off the ground is what really adds to the power of a jet - but you may need an assistant if you  are going to move all this gear around&#xD;&#xA;&#xD;&#xA;Obvious thing also if you're following the aircraft with a directional mic you'll aim a bit behind the aircraft, especially for jets. Lastly pre-rec is your friend for when that massive bomber flies low overhead. (Oh well, it sounded amazing so at least I got to hear it if not capture it.) Again obvious, but watch your levels, wear ear protection and record at the highest rate you can do.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15393" PostHistoryTypeId="2" PostId="9262" RevisionGUID="91e93131-c6f5-4410-8313-12f424368314" CreationDate="2011-07-23T07:34:34.843" UserId="1158" Text="ReaFIR which comes with Reaper. This &quot;infinite-band&quot; EQ is so flexible that it also works an analysis tool noise profile-based noise filter. I once recorded vocals on a AKG D112 kick drum mic and EQ'd it to sound about %95 similar to the same vocals recorded simultaneously on a shure SM81. Didn't need an anechoic chamber or super flat frequency response speakers, just my yamaha monitors playing a sine sweep + reaFIR + MSpaint (to invert a screenshot of reaFIR and manually trace it back into semi-transparent window of reaFIR), but this method only works within the same acoustic setup, such as the same voiceover booth. This means you can rent your dream mic for a day, capture a profile of its frequency response in your studio, and make your cheap mics sound like it for as long as the studio doesn't change." ContentLicense="CC BY-SA 3.0" />
  <row Id="15394" PostHistoryTypeId="16" PostId="9262" RevisionGUID="91e93131-c6f5-4410-8313-12f424368314" CreationDate="2011-07-23T07:34:34.843" UserId="-1" />
  <row Id="15395" PostHistoryTypeId="2" PostId="9263" RevisionGUID="c54ae03d-3b6c-4e13-9c2c-3409c2406eb8" CreationDate="2011-07-23T08:45:54.320" UserId="1153" Text="I bought the recorder and only have one major grievance with it: each different mode is limited with a different bit/sample rate as opposed to them all being able to record up to 24bit 96kHz broadcast wav. It goes like this:&#xD;&#xA;&#xD;&#xA;Stereo: max 24bit 96kHz wav&#xD;&#xA;&lt;br&gt;4 Channel: max 24bit 48Khz&#xD;&#xA;&lt;br&gt;wav multitrack: 16bit 44.1kHz wav&#xD;&#xA;&#xD;&#xA;As I bought it to get into field recording I was slightly disappointed with the multitrack option being only 16/44.1 as I had hoped this would have allowed me to record a solo mono track using my NTG-2 at 24/96. HOWEVER I improvised a work around: If you want to record 1 or 2 mono tracks using the XLR inputs, record in 'Stereo' mode (24/96) with inputs 1/2 selected and then separate the stereo file into left and right tracks later (I use Snapper to quickly do this) which will produce your two mono tracks e.g. input 1 = left track, input 2 = right track. Not ideal but good for those of us with lower budgets or whom are just getting started.&#xD;&#xA;&#xD;&#xA;Also the firmware updates now allow for individual adjustment of the record levels of the mics (e.g. can set mic 1 at rec. lvl 70 and mic 2 at rec. lvl 50) as opposed to this being fixed as the same for both XLR inputs, which it previously was. This makes my little work around above even more viable. When using inputs 1/2 press the button of the input you wish to change then press the rec. lvl button on the side and adjust the level to your liking e.g. press button '1' then press 'up' on the record level on the side - this will only adjust level one and not level 1 and 2 as was the case before the firmware update.&#xD;&#xA;&#xD;&#xA;Here's the link for the updates:&#xD;&#xA;&#xD;&#xA;http://www.zoom.co.jp/downloads/h4n/software/&#xD;&#xA;&#xD;&#xA;When using it with jacked mics I ran into the 1/4 -10dB problem when trying to use a hydrophone with it. I found the levels very quiet and in some cases it was necessary to turn the rec. level up to 100 (when recording stiller water generally) which produces a bad signal to noise ratio. Early days with the hydrophone though so I'll update more on that in the future.&#xD;&#xA;&#xD;&#xA;After all that though, I do find it to be a good recorder! I'm just starting out so it's great not to have to spend a load of money to get such flexibility. For around £600 (inc. recorder, mics and accessories) you can get yourself a nice little recording setup capable of stereo ambiences but also of recording  sound effects for which I normally use the XLR inputs with my Rode NTG-2 and NT1A&#xD;&#xA;&#xD;&#xA;All in all though, for what it is, two thumbs up from me!&#xD;&#xA;&#xD;&#xA;note: I've posted this in another h4n post but thought it important to share my knowledge and experience with it, so everyone can get the best use out of it. The other post is here: http://socialsounddesign.com/questions/3547/zoom-h4n-opinions/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15396" PostHistoryTypeId="2" PostId="9264" RevisionGUID="b8792160-777e-4d17-80d4-fd814929bb7e" CreationDate="2011-07-23T09:15:43.287" UserId="1090" Text="Yeah that will definitely be a buy for me. I love that it's black, cause it makes you even more inconspicuous in places where it could be fishy to be recording, like public spaces where people could get upset or stuff like that,  and the recording capabilities of course. And price! Yummy :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15397" PostHistoryTypeId="2" PostId="9265" RevisionGUID="cd8813c2-393f-4d29-9aa4-aa8c3aa39b9c" CreationDate="2011-07-23T09:29:21.133" UserId="1056" Text="This looks like a nifty little device for use by reporters, podcasters, researchers and the like.  The size and battery life are certainly a big draw-card. I believe Zoom have done their homework, as the H2N and H4N are clearly targeting two different market niches. Most of the people on SSD will still opt for the H4N for two reasons:&#xD;&#xA;&#xD;&#xA;1) Combo XLR inputs allow for much more versatility in terms of mic selection and placement.&#xD;&#xA;&#xD;&#xA;2) The accessory pack that is included with the H4N is an extra for the H2N, so the $100 saving is pretty much negated anyway." ContentLicense="CC BY-SA 3.0" />
  <row Id="15398" PostHistoryTypeId="2" PostId="9266" RevisionGUID="469ef76c-dc4f-4e3e-92b7-27f20edf1ce5" CreationDate="2011-07-23T21:52:13.597" UserId="6462" Text="Personally, I find it very difficult to like the H4n!&#xD;&#xA;The mics are not that good, the preamps are noisy, the quality of materials and the build are questionable. Yes it has a hell of a lot of functions but it's really a &quot;Jack of all trades, master of none&quot; type machine.&#xD;&#xA;&#xD;&#xA;I wanted a handheld recorder and looked at all of the models on the market in my price range, and chose the Sony PCM-D50 in the end as it does exactly what I wanted, the mics are great and the preamps are pretty quiet. No, it doesn't have XLR inputs, or multitrack recording function. But it does have excellent build quality and the battery life is phenomenal. If I need multitrack recording I will use a recorder that is designed for that purpose. Sometimes I do need to use other mics but I can just plug in a SD MixPre to the line in and if necessary put in the 20dB pad (another thing that the H4n doesn't have on the 'line' inputs, inline pads are required if plugging in line level signals to the jack sockets.)&#xD;&#xA;&#xD;&#xA;A handheld recorder should be a 'master' at being a handheld recorder!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15399" PostHistoryTypeId="2" PostId="9267" RevisionGUID="c4ee9e92-cdda-4df0-a76c-023b5ab407e6" CreationDate="2011-07-24T08:33:10.323" UserId="1228" Text="The Sonic Science 'Blow Tools' library has four fantastic windfarm recordings, albeit buried with an obscure naming scheme - just search 'wind generator' and you should find them.  And you can purchase them on Sounddogs I believe.  On a side note, they serve as a great ambient tone for designing an airport tarmac background.&#xD;&#xA;&#xD;&#xA;BLOW02_19_01 - Loop: power generator propeller...&#xD;&#xA;BLOW02_20_01 - Loop: power generator propeller...&#xD;&#xA;BLOW02_21_01 - Loop: power generator propeller...&#xD;&#xA;BLOW02_22_01 - Loop: power generator propeller...&#xD;&#xA;&#xD;&#xA;From visiting some wind farms in Southern California for some recording, I'd say these Blow Tools recordings are highly accurate as to what they sound like (on a calm day when you can cleanly record the turbine drone).  The day I visited a windfarm there were some amazing, constant 50+ mph wind currents with freak gusts somewhere in the 65 mph range - nice sound in its own right, but not as clean of a situation to capture anything like these Blow Tools files have.&#xD;&#xA;&#xD;&#xA;I highly suggest looking into those 4 files as a starting point.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If you're doing closeups of the blades and need an exaggerated 'cinematic' sound, most likely you'll need to design a constant 'rotating' whoosh sound, layering whooshes and carefully spreading the L/R side of your source files to design an appropriate stereo spread which feels wide enough that it has a perceived circular motion.  Blow Tools has great source material for designing such large whooshes (by pitching down), as does Tim Prebble's swishes set - especially his hose swishes because of the metallic resonance.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15400" PostHistoryTypeId="2" PostId="9268" RevisionGUID="31bfe350-fc77-43cf-a344-de39a0d35aa4" CreationDate="2011-07-24T08:54:49.913" UserId="1228" Text="Yes, this is a common practice, and I am familiar with it - I even highly support the idea for TV.  As Jay said, it's a time constraint issue primarily.  TV shows, even primetime shows, have a 5-6 day editorial turn around for the entire 45 min show.  Templates can save your life and keep a show under control, especially on some SFX-driven shows where it's easy to run 96 tracks or more of cut material.  And in shows where there's always new and recurring on-screen cues which must be kept track of.&#xD;&#xA;&#xD;&#xA;Tim is very valid too in his quote which supports Jay's notion as well about creativity - yes, there is room to be creative and you want to inject creative ideas into every new show.  However, one must learn real fast that there is a point of diminishing return in the TV workflow, and it will creep up on you fast if you're not careful.  It's a &quot;creativity in moderation' or 'restrained creativity' I guess - you pick your moments to shine.&#xD;&#xA;&#xD;&#xA;Additionally, many shows have recurring devices, computers, weapons, backgrounds, you name it - and having it at your fingertips in a template (or means to conform it as Tim mentioned) is the only guarantee for continuity.&#xD;&#xA;&#xD;&#xA;TV and film are very different mindsets for sound editorial, yet there are advantages of being familiar working in both modes and learning how certain aspects of each can effectively cross over from one another.  There is a different type of creatively involved in working within this template-driven TV method, yet it still is a highly creative in nature." ContentLicense="CC BY-SA 3.0" />
  <row Id="15401" PostHistoryTypeId="5" PostId="9268" RevisionGUID="f6c85a77-6a06-461f-b895-ce44bf70a2ab" CreationDate="2011-07-24T09:00:11.193" UserId="1228" Comment="added 105 characters in body" Text="Yes, this is a common practice, and I am familiar with it - I even highly support the idea for TV.  As Jay said, it's a time constraint issue primarily.  TV shows, even primetime shows, have a 5-6 day editorial turn around for the entire 45 min show.  Templates can save your life and keep a show under control, especially on some SFX-driven shows where it's easy to run 96 tracks or more of cut material.  And in shows where there's always new and recurring on-screen cues which must be kept track of.&#xD;&#xA;&#xD;&#xA;Tim is very valid too in his quote which supports Jay's notion as well about creativity - yes, there is room to be creative and you want to inject creative ideas into every new show.  However, one must learn real fast that there is a point of diminishing return in the TV workflow, and it will creep up on you fast if you're not careful.  It's a &quot;creativity in moderation' or 'restrained creativity' I guess - you pick your moments to shine.  TV sound editorial I believe is a true shining example of Walter Murch's 'Clear Density, Dense Clarity'&#xD;&#xA;&#xD;&#xA;Additionally, many shows have recurring devices, computers, weapons, backgrounds, you name it - and having it at your fingertips in a template (or means to conform it as Tim mentioned) is the only guarantee for continuity.&#xD;&#xA;&#xD;&#xA;TV and film are very different mindsets for sound editorial, yet there are advantages of being familiar working in both modes and learning how certain aspects of each can effectively cross over from one another.  There is a different type of creatively involved in working within this template-driven TV method, yet it still is a highly creative in nature." ContentLicense="CC BY-SA 3.0" />
  <row Id="15402" PostHistoryTypeId="2" PostId="9269" RevisionGUID="478cd716-0388-4b69-8e89-8e788c47f47e" CreationDate="2011-07-24T09:09:40.253" UserId="37" Text="Was lucky to attend a short lecture by Chris Watson and he played a number of windmill recordings he had done from various distances, including at the base of the generator. They sounded radically different. One to keep in mind." ContentLicense="CC BY-SA 3.0" />
  <row Id="15403" PostHistoryTypeId="2" PostId="9270" RevisionGUID="7c16e020-a9a1-44ca-9373-91d02891965b" CreationDate="2011-07-24T09:26:11.107" UserId="1228" Text="I agree with Tim, adding the show name to the metadata - usually I just use the show's 3-to-4 letter abbreviation.  The rest is memory recall for me too.&#xD;&#xA;&#xD;&#xA;The Soundminer meta tag that the big libraries use is the **SHOW** tag, where they load it with 6000, 9000, etc.  For the library I administer, I inject SIMCON into the **SHOW** tag and that's an easy way to keep track of the library.&#xD;&#xA;&#xD;&#xA;Also, I usually run complex boolean searches in Soundminer like: **backg* simcon -traf* -resi***&#xD;&#xA;&#xD;&#xA;That would translate as: **I want backgrounds (ambiences) only from the Simultaneous Contrast library, but within those backgrounds results, don't show me anything labelled with traffic or residential identifiers.**&#xD;&#xA;&#xD;&#xA;It may seem long-winded, yet you get the hang of it pretty fast when learning to both search, and label files, with shorthand like:&#xD;&#xA;&#xD;&#xA;resi = residential,&#xD;&#xA;traf = traffic,&#xD;&#xA;amb = ambience,&#xD;&#xA;etc&#xD;&#xA;&#xD;&#xA;There really is no exact science to it, and all responses are equally valid.  It comes down to what works most effectively for you through trial and error, and studying how the 'big boys' develop their organization schemes - and building off of those.  The only 'rule' I can think of is.... the less diversified your global naming/tagging schemes are, the greater the consistency in your searches and isolation abilities" ContentLicense="CC BY-SA 3.0" />
  <row Id="15404" PostHistoryTypeId="5" PostId="9270" RevisionGUID="e87c2459-624f-4c10-981b-f8d5e56eb843" CreationDate="2011-07-24T09:31:34.123" UserId="1228" Comment="added 433 characters in body" Text="I agree with Tim, adding the show name to the metadata - usually I just use the show's 3-to-4 letter abbreviation.  The rest is memory recall for me too.&#xD;&#xA;&#xD;&#xA;The Soundminer meta tag that the big libraries use is the **SHOW** tag, where they load it with 6000, 9000, etc.  For the library I administer, I inject SIMCON into the **SHOW** tag and that's an easy way to keep track of the library.&#xD;&#xA;&#xD;&#xA;Also, I usually run complex boolean searches in Soundminer like: **backg* simcon -traf* -resi***&#xD;&#xA;&#xD;&#xA;That would translate as: **I want backgrounds (ambiences) only from the Simultaneous Contrast library, but within those backgrounds results, don't show me anything labelled with traffic or residential identifiers.**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It may seem long-winded, yet you get the hang of it pretty fast when learning to both search, and label files, with shorthand like:&#xD;&#xA;&#xD;&#xA;resi = residential,&#xD;&#xA;traf = traffic,&#xD;&#xA;amb = ambience,&#xD;&#xA;etc&#xD;&#xA;&#xD;&#xA;There really is no exact science to it, and all responses are equally valid.  It comes down to what works most effectively for you through trial and error, and studying how the 'big boys' develop their organization schemes - and building off of those.  The only 'rule' I can think of is.... the less diversified your global naming/tagging schemes are, the greater the consistency in your searches and isolation abilities.&#xD;&#xA;&#xD;&#xA;This also goes to say the following suggestion regarding complex searching ability: don't be overly descriptive in your tagging, because if your meta description says **no birds**, and then you run a Soundminer search as **-birds**... the one's labeled as **no birds** will NOT show up because the word **birds** is in there, regarless of the **no**!  So you'll be hurting yourself in the end.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;P.S.  The bird is the word." ContentLicense="CC BY-SA 3.0" />
  <row Id="15405" PostHistoryTypeId="2" PostId="9271" RevisionGUID="787f562f-a866-4825-802d-b5debafff0af" CreationDate="2011-07-24T13:56:02.937" UserId="845" Text="I just bought mine 2 days ago. Adore it. I've used many before, but this one is MINE!&#xD;&#xA;&#xD;&#xA;Ok, there's my little gush; now down to business. &#xD;&#xA;&#xD;&#xA;I would like to say, for the record, THE H4n's PREAMPS ARE NOT NOISY. They are absolutely, wonderfully, perfectly fine. Nothing at all wrong with them. In fact, all things considered, I'd say they're pretty diggity dang good.  &#xD;&#xA;&#xD;&#xA;It is the *microphones* that produce that low level hiss we all wish wasn't there. They're what are called 'electret' condensers, and are designed to have similar characteristics to powered condenser mics without the need for phantom power. &#xD;&#xA;&#xD;&#xA;This kind of microphone is inherently noisy because though they are sonically similar to a normal phantom powered condenser mic, they just don't have the juice to bump up the S/N ratio. &#xD;&#xA;&#xD;&#xA;Furthermore, the mics on the PCM-D50 are noisy as all hell too, and same goes for the H1, H2, Olympus, Edirols, and any other model of handheld recorder you can think of. The *difference* you hear between the D50 and the H4n has to do with tbe built in EQ that the Zoom has put in to compensate for the generally lacklustre (literally) performance of electret mics. You can see it if you look at the frequency response chart, there is a very clear, and very unnatural boost at ~12k that really accentuates the noise in the microphones. &#xD;&#xA;&#xD;&#xA;However, this boost also accentuates what most consumers want from their $300 &quot;Pro&quot; recorders, clarity and spatial definition. That is what people want. Hell, that's what *I* want. I have no problem whatever with having to AudioSuite an EQ or run something through x-noise or RX2 if I can get a clear recording of a cricket chirping or that crazy lady screaming about demons, Donald Trump, and drugs in your mayonnaise. &#xD;&#xA;&#xD;&#xA;So please for the love of Murch and Thom, please *please* **PLEASE** stop talking about the H4n's 'bad preamps,' you're making babies cry and giving angels indigestion. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15406" PostHistoryTypeId="2" PostId="9272" RevisionGUID="8f27bbb6-9c50-4db3-80ee-8f3315930c9b" CreationDate="2011-07-24T19:01:13.757" UserDisplayName="user80" Text="I use a method of classifying with meta tags based on material and interaction.  Obviously most sounds are a combination, but it does help me find things more quickly&#xD;&#xA;&#xD;&#xA;Material = gas, liquid or solid.&#xD;&#xA;&#xD;&#xA;Interaction = impulsive, intermittent or continuous.&#xD;&#xA;&#xD;&#xA;Everything is named according to normal conventions i.e. object and action, but the meta tags help me narrow my choices down.&#xD;&#xA;&#xD;&#xA;I also take note of pitch, aesthetics and emotions amongst other things.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15407" PostHistoryTypeId="2" PostId="9273" RevisionGUID="285be0a3-3199-486c-ab0a-0f9df36e9089" CreationDate="2011-07-24T20:22:42.327" UserId="1147" Text="Watch **Tetro** for beautiful foley and sound design. And **Sound of Noise** for really nice musical approach on sound! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15408" PostHistoryTypeId="5" PostId="9271" RevisionGUID="c4dc5b75-037f-49ae-b0b3-f0efb394c090" CreationDate="2011-07-24T22:50:47.267" UserId="845" Comment="added 17 characters in body" Text="I just bought mine 2 days ago. Adore it. I've used many before, but this one is MINE!&#xD;&#xA;&#xD;&#xA;Ok, there's my little gush; now down to business. &#xD;&#xA;&#xD;&#xA;I would like to say, for the record, THE H4n's PREAMPS ARE NOT NOISY. They are absolutely, wonderfully, perfectly fine. Nothing at all wrong with them. In fact, all things considered, I'd say they're pretty diggity dang good.  &#xD;&#xA;&#xD;&#xA;It is the *microphones* that produce that low level hiss we all wish wasn't there. They're what are called 'electret' condensers, and are designed to have similar characteristics to powered condenser mics without the need for phantom power. &#xD;&#xA;&#xD;&#xA;This kind of microphone is inherently noisy because though they are sonically similar to a normal phantom powered condenser mic, they just don't have the juice to bump up the S/N ratio. &#xD;&#xA;&#xD;&#xA;Furthermore, the mics on the PCM-D50 are noisy as all hell too, and same goes for the H1, H2, Olympus, Edirols, and any other model of handheld recorder you can think of. The *difference* you hear between the D50 and the H4n has to do with tbe built in EQ that the Zoom has put in to compensate for the generally lacklustre (literally) performance of electret mics. You can see it if you look at the frequency response chart, there is a very clear, and very unnatural boost at ~12k that really accentuates the noise in the microphones. &#xD;&#xA;&#xD;&#xA;However, this boost also accentuates what most consumers want from their $300 &quot;Pro&quot; recorders, clarity and spatial definition. That is what people want. Hell, that's what *I* want. I have no problem whatever with having to AudioSuite an EQ or run something through x-noise or RX2 if I can get a clear recording of a cricket chirping or that crazy lady screaming about demons, Donald Trump, and drugs in your mayonnaise. &#xD;&#xA;&#xD;&#xA;So please for the love of Murch and Thom, please *please* **PLEASE** stop talking about the H4n's 'bad preamps,' you're making babies cry and giving angels indigestion. &#xD;&#xA;&#xD;&#xA;Thanks + Hugz" ContentLicense="CC BY-SA 3.0" />
  <row Id="15409" PostHistoryTypeId="5" PostId="9242" RevisionGUID="5daedfd1-47d0-4e6a-b531-3426cf3077a4" CreationDate="2011-07-25T00:13:34.977" UserId="1241" Comment="Added section labelled 'EDIT:.'" Text="Ah, @ChrisEngineAudio is mistaken about Studio's licencing. It's gonna be available for non-commercial purposes without paying a licence fee, just like Designer is currently.&#xD;&#xA;&#xD;&#xA;EDIT: To clarify, when I last spoke to Brett, it sounded like his plan was for Studio to be available under the FMOD non-commercial licence, i.e.: free provided you're not making money off it. For money-making purposes, however, Studio would be sold under the FMOD Commercial Licence. Studio and the FMOD API would be sold seperately, instead of them being in a package deal, as is the case with the FMOD API and Designer 2010 currently.&#xD;&#xA;Ah, but from Dakota's e-mail it sounds like Firelight might not have all the details hammered out just yet, so I guess this is subject to change." ContentLicense="CC BY-SA 3.0" />
  <row Id="15410" PostHistoryTypeId="5" PostId="9242" RevisionGUID="47a09dc3-7db3-4544-aabd-d0798c93f5e7" CreationDate="2011-07-25T00:19:34.190" UserId="1241" Comment="Clarified response by adding 'low-level.'" Text="Ah, @ChrisEngineAudio is mistaken about Studio's licencing. It's gonna be available for non-commercial purposes without paying a licence fee, just like Designer is currently.&#xD;&#xA;&#xD;&#xA;EDIT: To clarify, when I last spoke to Brett, it sounded like his plan was for Studio to be available under the FMOD non-commercial licence, i.e.: free provided you're not making money off it. For money-making purposes, however, Studio would be sold under the FMOD Commercial Licence. Studio and the low-level FMOD API would be sold seperately, instead of them being in a package deal, as is the case with the FMOD API and Designer 2010 currently.&#xD;&#xA;Ah, but from Dakota's e-mail it sounds like Firelight might not have all the details hammered out just yet, so I guess this is subject to change." ContentLicense="CC BY-SA 3.0" />
  <row Id="15411" PostHistoryTypeId="2" PostId="9274" RevisionGUID="42b0df7e-8e95-4b81-910e-8164177c394d" CreationDate="2011-07-25T05:31:59.690" UserId="338" Text="+1 for the sound of Noise, I just watched that recently.  Production sound must have been a blast there.  &#xD;&#xA;+1 for Children of Men.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="15412" PostHistoryTypeId="16" PostId="9274" RevisionGUID="42b0df7e-8e95-4b81-910e-8164177c394d" CreationDate="2011-07-25T05:31:59.690" UserId="-1" />
  <row Id="15413" PostHistoryTypeId="2" PostId="9275" RevisionGUID="3e962cdc-6d3a-48d0-a43d-d3b8e04b50c2" CreationDate="2011-07-25T15:35:19.520" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;once upon a time in the west (first half hour is amazing!)&#xD;&#xA;fargo (the cardoor beeps in the snowy landscape at the first crimescene, incredibly funny)&#xD;&#xA;ofrret/sacrifice (just beautiful and appropriate sound design)&#xD;&#xA;we own the night (epic carchase!)&#xD;&#xA;magnolia (music and sound in perfect harmony)&#xD;&#xA;solaris (both tarkovsky and soderbergh's are great, atmospheres are wonderful)&#xD;&#xA;trois couleurs Rouge/Red (openingscene telephone soundscape)&#xD;&#xA;&#xD;&#xA;i'd like to go on forever, but this is enough for now&#xD;&#xA;&#xD;&#xA;(first post on SSD, by the way)&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;Amsterdam" ContentLicense="CC BY-SA 3.0" />
  <row Id="15414" PostHistoryTypeId="16" PostId="9275" RevisionGUID="3e962cdc-6d3a-48d0-a43d-d3b8e04b50c2" CreationDate="2011-07-25T15:35:19.520" UserId="-1" />
  <row Id="15415" PostHistoryTypeId="2" PostId="9276" RevisionGUID="f5949385-501e-4842-b17b-63303d1bf371" CreationDate="2011-07-25T20:18:52.967" UserId="1110" Text="Hi&#xD;&#xA;&#xD;&#xA;I've recently bought this TS to XLR cable:&#xD;&#xA;&#xD;&#xA;[http://www.adamhall.com/en/ah_Cables_Liveline_Series_-_Microphone_Cable_XLR_male_to_6.3_mm_Jack_mono_6_m.html][1]&#xD;&#xA;&#xD;&#xA;I know that TS is a typically unbalanced connector and XLR a balanced one, but how can I know if the cable is balanced or unbalanced?&#xD;&#xA;&#xD;&#xA;Thanks in advance&#xD;&#xA;&#xD;&#xA;  [1]: http://www.adamhall.com/en/ah_Cables_Liveline_Series_-_Microphone_Cable_XLR_male_to_6.3_mm_Jack_mono_6_m.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15416" PostHistoryTypeId="1" PostId="9276" RevisionGUID="f5949385-501e-4842-b17b-63303d1bf371" CreationDate="2011-07-25T20:18:52.967" UserId="1110" Text="TS (1/4'') to XLR cable. Balanced or unbalanced?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15417" PostHistoryTypeId="3" PostId="9276" RevisionGUID="f5949385-501e-4842-b17b-63303d1bf371" CreationDate="2011-07-25T20:18:52.967" UserId="1110" Text="&lt;cable&gt;&lt;xlr&gt;&lt;noise&gt;&lt;noise-cancelling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15418" PostHistoryTypeId="2" PostId="9277" RevisionGUID="c1fbfedc-f5e3-4ea6-8092-f3d71226b491" CreationDate="2011-07-25T20:52:07.163" UserId="432" Text="If it's TS, it's unbalanced." ContentLicense="CC BY-SA 3.0" />
  <row Id="15419" PostHistoryTypeId="2" PostId="9278" RevisionGUID="224b23bc-fa0d-4efd-99d4-6b2a44b60015" CreationDate="2011-07-25T21:15:57.490" UserId="1090" Text="Hi y'all. &#xD;&#xA;&#xD;&#xA;As many of you I'm trying to gather information on what mics to buy. I've spotted the Sontronics line of small condenser mics and they're insanely cheap. Too insane? Has anyone ever seen/read/heard any reviews on the STC-10 for recording dialogue or other things than acoustic guitar? Thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="15420" PostHistoryTypeId="1" PostId="9278" RevisionGUID="224b23bc-fa0d-4efd-99d4-6b2a44b60015" CreationDate="2011-07-25T21:15:57.490" UserId="1090" Text="Sontronics users?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15421" PostHistoryTypeId="3" PostId="9278" RevisionGUID="224b23bc-fa0d-4efd-99d4-6b2a44b60015" CreationDate="2011-07-25T21:15:57.490" UserId="1090" Text="&lt;equipment&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15422" PostHistoryTypeId="2" PostId="9279" RevisionGUID="76cc4cb8-edda-4864-88a3-ffbf3ab7a265" CreationDate="2011-07-25T21:23:42.620" UserId="827" Text="After seeing this post, I got curious and found this. It explains why. http://www.mediacollege.com/audio/connection/xlr-jack-mono.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15423" PostHistoryTypeId="2" PostId="9280" RevisionGUID="d89a7900-c0d6-4fb3-b27d-0d57f669f5ab" CreationDate="2011-07-25T22:25:50.180" UserId="863" Text="What mics are these fine sound recordists using and why?&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.imgur.com/hcd22.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="15424" PostHistoryTypeId="1" PostId="9280" RevisionGUID="d89a7900-c0d6-4fb3-b27d-0d57f669f5ab" CreationDate="2011-07-25T22:25:50.180" UserId="863" Text="so what mics are these?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15425" PostHistoryTypeId="3" PostId="9280" RevisionGUID="d89a7900-c0d6-4fb3-b27d-0d57f669f5ab" CreationDate="2011-07-25T22:25:50.180" UserId="863" Text="&lt;microphone&gt;&lt;dark&gt;&lt;knight&gt;&lt;recordist&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15426" PostHistoryTypeId="2" PostId="9281" RevisionGUID="2c787fc6-4300-434f-b1b8-e8ad97b4ac19" CreationDate="2011-07-25T22:29:03.913" UserId="103" Text="&#xD;&#xA;&#xD;&#xA;Sennheiser MKH50 i'd say" ContentLicense="CC BY-SA 3.0" />
  <row Id="15427" PostHistoryTypeId="5" PostId="9281" RevisionGUID="85b36b86-4355-4b96-9e65-0242e33d27c9" CreationDate="2011-07-25T22:35:12.247" UserId="103" Comment="added 58 characters in body" Text="&#xD;&#xA;Sennheiser MKH50 i'd say&#xD;&#xA;Because they sound great in interiors and at that distance" ContentLicense="CC BY-SA 3.0" />
  <row Id="15429" PostHistoryTypeId="2" PostId="9283" RevisionGUID="f3eb509e-f65f-4cf1-8b4b-f204c751873c" CreationDate="2011-07-25T23:47:34.483" UserId="479" Text="I found the following article about Engineering Sounds on the BBC.co.uk website. &#xD;&#xA;&#xD;&#xA;http://news.bbc.co.uk/2/hi/programmes/click_online/9533769.stm&#xD;&#xA;&#xD;&#xA;It talks about how engineering influences the sounds we hear.&#xD;&#xA;&#xD;&#xA;Which to me begs the question &quot;as audio people, what sounds do we create that have influenced engineering?&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15430" PostHistoryTypeId="1" PostId="9283" RevisionGUID="f3eb509e-f65f-4cf1-8b4b-f204c751873c" CreationDate="2011-07-25T23:47:34.483" UserId="479" Text="Engineering Sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="15431" PostHistoryTypeId="3" PostId="9283" RevisionGUID="f3eb509e-f65f-4cf1-8b4b-f204c751873c" CreationDate="2011-07-25T23:47:34.483" UserId="479" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15433" PostHistoryTypeId="5" PostId="9281" RevisionGUID="d63527e2-7f64-4087-9246-5a7e18586161" CreationDate="2011-07-26T01:18:42.800" UserId="103" Comment="added 99 characters in body" Text="Sennheiser MKH50 i'd say, from the looks of the suspension and size, the mic body also seems to widen close to the capsule.&#xD;&#xA;&#xD;&#xA;Because they sound great in interiors and at that distance" ContentLicense="CC BY-SA 3.0" />
  <row Id="15436" PostHistoryTypeId="2" PostId="9286" RevisionGUID="3339e9db-8813-49b6-b786-a7ed4b215481" CreationDate="2011-07-26T01:38:00.683" UserId="234" Text="I'm going to have to go with Utopia on this one... if you zoom in on the hi-res link Ed sent, you can definitely see the familiar body shape of the MKH50... at least on the far mic. On a completely unrelated note - that boom op in the shot could be my twin! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15438" PostHistoryTypeId="2" PostId="9288" RevisionGUID="e0a02abc-dec2-49cc-999c-509d005431d1" CreationDate="2011-07-26T04:19:36.793" UserId="29" Text="I'd argue that sound design for appliances and devices has, in some cases, obviated the need for equivalent interface or user feedback elements. The Roomba robotic vacuum cleaner happens to be a good example. Its audible tones, major ascending melodies or minor descending melodies, indicate all manner of machine state: Malfunction while cleaning, startup malfunction, job completed, low battery, and more. Just by having those audible tones, the top of the Roomba has gotten simpler and simpler since its introduction, and it's never had the kinds of status bars that clutter our mobile devices or the notification patterns that pop up on our computer desktops. In real-world terms, this saves on manufacturing costs by simply having an audio output device and doing all the notifications and messaging in firmware with audio files (or their MIDI-esque equivalents)." ContentLicense="CC BY-SA 3.0" />
  <row Id="15440" PostHistoryTypeId="2" PostId="9289" RevisionGUID="16357742-b20b-4fee-a540-f78896ebc6de" CreationDate="2011-07-26T07:28:54.730" UserId="1248" Text="Hi Olle&#xD;&#xA;STC-10 was designed specifically by Trevor for musicians on a tight budget, and is based on exactly the same technology and cardioid capsule found in our STC-1 - http://www.sontronics.com/stc1.htm&#xD;&#xA;&#xD;&#xA;The savings mainly come in the fact that it doesn't have a flightcase or wooden box like our other (slightly) more expensive mics. But STC-10 still gives you a two-stage pad switch (0dB/-10dB) and two-stage pad (0Hz/75Hz), and comes with a mic clip and windshield.&#xD;&#xA;&#xD;&#xA;All our recommendations for usage of our microphones is based on real user experiences, and we know that it does a fantastic job on acoustic guitar or any other plucked strings (sitar, banjo, bouzouki, etc) and direct miking of drums and percussion. It also works well on most stringed instruments - violin and cello especially - and woodwind, and we also have people using it for film and video production work, on a boom.&#xD;&#xA;&#xD;&#xA;I don't know how your German is, but here's a review of the STC-10 and the STC-20 (our budget large-diaphragm condenser mic). http://www.sontronics.com/files/2010_05_recordingmagazin_test_sontronics_stc10_stc20.pdf&#xD;&#xA;&#xD;&#xA;The next step up is the STC-1 (also available in a stereo pair - STC-1S) and for the extra cost you get a three-stage pad, three-stage filter and a wooden carry case.&#xD;&#xA;&#xD;&#xA;Let us know if you need any more info, and I'll see if I can dig up some more reviews for you. Good luck!&#xD;&#xA;&#xD;&#xA;Lisa (lisa@sontronics.com)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15441" PostHistoryTypeId="2" PostId="9290" RevisionGUID="523a370c-cba8-44ad-80dc-2df5d7eb831b" CreationDate="2011-07-26T10:06:47.827" UserId="6420" Text="Hi all&#xD;&#xA;&#xD;&#xA;Trying to hire a rig for the airshow and will probably only get to hire the SD552. Anyone had much experience recording with both 552 and 7 series gear? Are the mic pres the same? Is it much more fiddly to use?&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;Andy" ContentLicense="CC BY-SA 3.0" />
  <row Id="15442" PostHistoryTypeId="1" PostId="9290" RevisionGUID="523a370c-cba8-44ad-80dc-2df5d7eb831b" CreationDate="2011-07-26T10:06:47.827" UserId="6420" Text="Thoughts on SD552 pres compared to 7 series" ContentLicense="CC BY-SA 3.0" />
  <row Id="15443" PostHistoryTypeId="3" PostId="9290" RevisionGUID="523a370c-cba8-44ad-80dc-2df5d7eb831b" CreationDate="2011-07-26T10:06:47.827" UserId="6420" Text="&lt;airshow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15444" PostHistoryTypeId="2" PostId="9291" RevisionGUID="74f5b0ba-784a-408b-b4aa-24e8ce9932bc" CreationDate="2011-07-26T10:32:22.927" UserId="1237" Text="Nobody pointed about Academy Awards Database.&#xD;&#xA;http://awardsdatabase.oscars.org/ampas_awards/BasicSearchInput.jsp&#xD;&#xA;&#xD;&#xA;I think here you definitely can find some good movie with good sound.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15445" PostHistoryTypeId="16" PostId="9291" RevisionGUID="74f5b0ba-784a-408b-b4aa-24e8ce9932bc" CreationDate="2011-07-26T10:32:22.927" UserId="-1" />
  <row Id="15446" PostHistoryTypeId="2" PostId="9292" RevisionGUID="34f38087-d263-4f93-aa80-f2b1c9fa45da" CreationDate="2011-07-26T11:25:19.087" UserId="348" Text="Hi &#xD;&#xA;&#xD;&#xA;I am wondering if any of you SSD's have ever used the FBPXL Elite Series X-Large Boom Pole from PSC. I am a vDB man myself as well as a Panamic so maybe you might be able to give me a comparative analysis based on experience. There are some very good boompoles out there and some questionable ones. &#xD;&#xA;&#xD;&#xA;Looking forward to your resposes. &#xD;&#xA;&#xD;&#xA;Thanks. &#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="15447" PostHistoryTypeId="1" PostId="9292" RevisionGUID="34f38087-d263-4f93-aa80-f2b1c9fa45da" CreationDate="2011-07-26T11:25:19.087" UserId="348" Text="FBPXL Elite Series X-Large Boom Pole" ContentLicense="CC BY-SA 3.0" />
  <row Id="15448" PostHistoryTypeId="3" PostId="9292" RevisionGUID="34f38087-d263-4f93-aa80-f2b1c9fa45da" CreationDate="2011-07-26T11:25:19.087" UserId="348" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15449" PostHistoryTypeId="2" PostId="9293" RevisionGUID="1e508d91-6236-4bf4-a4cf-603fa7a0188b" CreationDate="2011-07-26T12:48:21.133" UserId="1216" Text="hi,&#xD;&#xA;&#xD;&#xA;I've boomed with all brands mentoined, but not with a large PSC boom. I've used a very small one, very light and fits in a medium sized pelican (which is handy on airplanes). That pole was kind of sensitive to handling noise, unless you're a veteran (which I am certainly not), because there's no foam/soft grip on the pole. Panamic does have that and works great as a large boom pole in my opinion.&#xD;&#xA;&#xD;&#xA;Couldn't you rent the PSC to check it out?&#xD;&#xA;&#xD;&#xA;Greetings,&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="15450" PostHistoryTypeId="4" PostId="9290" RevisionGUID="10954803-82d4-46ae-b1ea-4da76dd889a4" CreationDate="2011-07-26T14:09:41.877" UserId="6420" Comment="edited title" Text="Thoughts on SD552 pres compared to 7 series?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15451" PostHistoryTypeId="2" PostId="9294" RevisionGUID="5ba30a7b-5d30-401c-8c2e-3ba8bf4d939d" CreationDate="2011-07-26T14:15:35.970" UserId="6487" Text="Has anyone here gotten AVID certified at some level for Pro Tools?  Have you found it helpful in finding work? Was it worth the time and money?  I have been using Pro tools for well over 13 years and keep being told I will need to start at Pro Tools 101 to be certified (It is very expensive and time consuming).  Have any of you tested out of required classes and still been AVID certified?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15452" PostHistoryTypeId="1" PostId="9294" RevisionGUID="5ba30a7b-5d30-401c-8c2e-3ba8bf4d939d" CreationDate="2011-07-26T14:15:35.970" UserId="6487" Text="AVID Certification" ContentLicense="CC BY-SA 3.0" />
  <row Id="15453" PostHistoryTypeId="3" PostId="9294" RevisionGUID="5ba30a7b-5d30-401c-8c2e-3ba8bf4d939d" CreationDate="2011-07-26T14:15:35.970" UserId="6487" Text="&lt;pro-tools&gt;&lt;avid&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15454" PostHistoryTypeId="2" PostId="9295" RevisionGUID="b28c2a59-3f11-47a8-962d-60b764d0720e" CreationDate="2011-07-26T14:42:28.710" UserId="709" Text="I went through a bit of the training a while back and found that it gave me no advantage.  In a intensive ProTools environment or facility, I can certainly see some of the training coming in handy - more of a technical understanding of PT in larger scale/professional environments.&#xD;&#xA;&#xD;&#xA;I certainly didn't need the training to get where I'm at.  By no means whatsoever am I bragging, but spend time and learn the environment.  They're expensive classes that give you no real world experience.  And good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15455" PostHistoryTypeId="2" PostId="9296" RevisionGUID="e9773015-56f9-4373-aa73-ad7c899e47fa" CreationDate="2011-07-26T14:43:17.193" UserId="238" Text="There is [an article][1] published on the Sound Devices website that answers your exact question.&#xD;&#xA;The 7-series outperforms the 552 in terms of the dynamic range (114 dB compared to 103dB respectively), which is more important when dealing with low-level recordings. 7-series recorders are also more flexible in terms of input routing. But the 552 is an excellent production mixer. As with any Sound Devices unit that I have used, the 552 is very intuitive so usability shouldn't pose you any problems.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sounddevices.com/notes/general/552-or-7-series/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15456" PostHistoryTypeId="2" PostId="9297" RevisionGUID="519d17e8-49db-47c9-b933-c8387b2a4e1b" CreationDate="2011-07-26T14:56:07.037" UserId="1249" Text="**Thirst** by *Chan-Wook Park* has amazing sound design sequences!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15457" PostHistoryTypeId="16" PostId="9297" RevisionGUID="519d17e8-49db-47c9-b933-c8387b2a4e1b" CreationDate="2011-07-26T14:56:07.037" UserId="-1" />
  <row Id="15458" PostHistoryTypeId="2" PostId="9298" RevisionGUID="00ec25e7-7edb-4e14-a9bc-a18766eecf7f" CreationDate="2011-07-26T15:31:06.550" UserId="338" Text="Speak softly and carry a big stick" ContentLicense="CC BY-SA 3.0" />
  <row Id="15459" PostHistoryTypeId="2" PostId="9299" RevisionGUID="abfe8f8d-6c31-46fa-849c-4b384564f1b3" CreationDate="2011-07-26T15:34:24.947" UserId="432" Text="I don't know if they've fixed them, but their tests were all screwed up a few years ago. Some questions had multiple correct answers, some had none, and the test itself is randomly generated from a pool of questions. The big problem with that last one was that the same question would pop up multiple times (including those with multiple/no correct answers)." ContentLicense="CC BY-SA 3.0" />
  <row Id="15460" PostHistoryTypeId="2" PostId="9300" RevisionGUID="8b926fda-2e66-45bc-93a1-c995fd3966f9" CreationDate="2011-07-26T16:34:45.050" UserDisplayName="user80" Text="If you are new to Pro Tools then the 101 book is worth buying, you can purchase it from Amazon.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15461" PostHistoryTypeId="2" PostId="9301" RevisionGUID="242b4180-a03e-4650-8629-bc991b7aa518" CreationDate="2011-07-26T16:54:15.063" UserId="18160" Text="Some great answers!&#xD;&#xA;&#xD;&#xA;A myth I used to personally believe myself before I started doing more and more recordings with these little critters is:&#xD;&#xA;&#xD;&#xA;**Lavaliers sound horrible. Don't use them at all.**&#xD;&#xA;&#xD;&#xA;But, they really do work if you know what you're doing and you spend a bit of time learning how they work and what they sound like and where they sound best on the person. Like all microphones, there are poor quality ones and good quality ones. The COS-11 I've been using sounds great when used correctly.&#xD;&#xA;&#xD;&#xA;I used to never think of using them and only using the boom (which I still do use most of the time)  but when it's not feasible to record with one like in a cramped room or outside in a wide shot, they actually do work when you use them correctly. I was shocked to discover that most of the dialogue in The King's Speech was recorded with lav's. I had no attention on the voices in that movie - they sounded great!&#xD;&#xA;&#xD;&#xA;and:&#xD;&#xA;&#xD;&#xA;**Just about anyone can do the boom oping. Use the PA - he's just standing around doing nothing.**&#xD;&#xA;&#xD;&#xA;So not true. It takes incredible skill and timing and attention to do a superb job of boom-oping. I've seen a poor boom-oping job done by an inexperienced person who meant well but just didn't have any training and the director thought &quot;anyone could do it&quot; and it ended up costing about $10,000 extra dollars for ADR recording and editing fees. From what I've experienced in the indie film scene is that more often than not they give the job of positioning the microphones for their movie to someone with very little if any experience and it bites them later.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15462" PostHistoryTypeId="5" PostId="9301" RevisionGUID="83faabf6-145b-4407-8021-0f45d0ddd441" CreationDate="2011-07-26T17:06:29.150" UserId="18160" Comment="added 97 characters in body" Text="Some great answers!&#xD;&#xA;&#xD;&#xA;A myth I used to personally believe myself before I started doing more and more recordings with these little critters is:&#xD;&#xA;&#xD;&#xA;**Lavaliers sound horrible. Don't use them at all.** (I do agree with choosing a boom over a lav but when it's all you've got, it can be sufficient!)&#xD;&#xA;&#xD;&#xA;But, they really do work if you know what you're doing and you spend a bit of time learning how they work and what they sound like and where they sound best on the person. Like all microphones, there are poor quality ones and good quality ones. The COS-11 I've been using sounds great when used correctly.&#xD;&#xA;&#xD;&#xA;I used to never think of using them and only using the boom (which I still do use most of the time)  but when it's not feasible to record with one like in a cramped room or outside in a wide shot, they actually do work when you use them correctly. I was shocked to discover that most of the dialogue in The King's Speech was recorded with lav's. I had no attention on the voices in that movie - they sounded great!&#xD;&#xA;&#xD;&#xA;and:&#xD;&#xA;&#xD;&#xA;**Just about anyone can do the boom oping. Use the PA - he's just standing around doing nothing.**&#xD;&#xA;&#xD;&#xA;So not true. It takes incredible skill and timing and attention to do a superb job of boom-oping. I've seen a poor boom-oping job done by an inexperienced person who meant well but just didn't have any training and the director thought &quot;anyone could do it&quot; and it ended up costing about $10,000 extra dollars for ADR recording and editing fees. From what I've experienced in the indie film scene is that more often than not they give the job of positioning the microphones for their movie to someone with very little if any experience and it bites them later.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15463" PostHistoryTypeId="5" PostId="9301" RevisionGUID="34147c35-8731-4656-a48c-a7959248b539" CreationDate="2011-07-26T17:27:28.027" UserId="18160" Comment="added 418 characters in body; added 44 characters in body; added 25 characters in body; edited body" Text="Some great answers!&#xD;&#xA;&#xD;&#xA;A myth I used to personally believe myself before I started doing more and more recordings with these little critters is:&#xD;&#xA;&#xD;&#xA;**Lavaliers sound horrible. Don't use them at all.** (I do agree with choosing a boom over a lav but when it's all you've got, it can be sufficient!)&#xD;&#xA;&#xD;&#xA;But, they really do work if you know what you're doing and you spend a bit of time learning how they work and what they sound like and where they sound best on the person. Like all microphones, there are poor quality ones and good quality ones. The COS-11 I've been using sounds great when used correctly.&#xD;&#xA;&#xD;&#xA;I used to never think of using them and only using the boom (which I still do use most of the time)  but when it's not feasible to record with one like in a cramped room or outside in a wide shot, they actually do work when you use them correctly. I was shocked to discover that most of the dialogue in The King's Speech was recorded with lav's. I had no attention on the voices in that movie - they sounded great!&#xD;&#xA;&#xD;&#xA;and:&#xD;&#xA;&#xD;&#xA;**Just about anyone can do the boom oping. Use the PA - he's just standing around doing nothing.**&#xD;&#xA;&#xD;&#xA;So not true. It takes incredible skill and timing and attention to do a superb job of boom-oping. I've seen a poor boom-oping job done by an inexperienced person who meant well but just didn't have any training and the director thought &quot;anyone could do it&quot; and it ended up costing about $10,000 extra dollars for ADR recording and editing fees. From what I've experienced in the indie film scene is that more often than not they give the job of positioning the microphones for their movie to someone with very little if any experience and it bites them later.&#xD;&#xA;&#xD;&#xA;**A beefy gun sound comes from ONLY the closer microphones. You don't need to record from farther away.**&#xD;&#xA;&#xD;&#xA;Almost true, closer mics sound great, but you should always get a long perspective because from my experience some of the beef of a gun comes from the echo rather than the direct sound. For example, try recording a whip crack in a dead room. It sounds like you're snapping a pencil on your finger. You need some acoustical support to make something sound huge and natural, IMHO." ContentLicense="CC BY-SA 3.0" />
  <row Id="15464" PostHistoryTypeId="5" PostId="9301" RevisionGUID="22393f74-0e69-492e-8012-c6f718db4532" CreationDate="2011-07-26T17:32:35.483" UserId="18160" Comment="added 372 characters in body; added 504 characters in body; added 22 characters in body" Text="Some great answers!&#xD;&#xA;&#xD;&#xA;A myth I used to personally believe myself before I started doing more and more recordings with these little critters is:&#xD;&#xA;&#xD;&#xA;**Lavaliers sound horrible. Don't use them at all.** (I do agree with choosing a boom over a lav but when it's all you've got, it can be sufficient!)&#xD;&#xA;&#xD;&#xA;But, they really do work if you know what you're doing and you spend a bit of time learning how they work and what they sound like and where they sound best on the person. Like all microphones, there are poor quality ones and good quality ones. The COS-11 I've been using sounds great when used correctly.&#xD;&#xA;&#xD;&#xA;I used to never think of using them and only using the boom (which I still do use most of the time)  but when it's not feasible to record with one like in a cramped room or outside in a wide shot, they actually do work when you use them correctly. I was shocked to discover that most of the dialogue in The King's Speech was recorded with lav's. I had no attention on the voices in that movie - they sounded great!&#xD;&#xA;&#xD;&#xA;and:&#xD;&#xA;&#xD;&#xA;**Just about anyone can do the boom oping. Use the PA - he's just standing around doing nothing.**&#xD;&#xA;&#xD;&#xA;So not true. It takes incredible skill and timing and attention to do a superb job of boom-oping. I've seen a poor boom-oping job done by an inexperienced person who meant well but just didn't have any training and the director thought &quot;anyone could do it&quot; and it ended up costing about $10,000 extra dollars for ADR recording and editing fees. From what I've experienced in the indie film scene is that more often than not they give the job of positioning the microphones for their movie to someone with very little if any experience and it bites them later.&#xD;&#xA;&#xD;&#xA;**A beefy gun sound comes from ONLY the closer microphones. You don't need to record from farther away.**&#xD;&#xA;&#xD;&#xA;Almost true, closer mics sound great, but you should always get a long perspective because from my experience some of the beef of a gun comes from the echo rather than the direct sound. For example, try recording a whip crack in a dead room. It sounds like you're snapping a pencil on your finger. You need some acoustical support to make something sound huge and natural, IMHO.&#xD;&#xA;&#xD;&#xA;**All actors perform perfect ADR. They're actors, right? So if we book them for an hour to do 80 measly loops, they should finish before the hour is up and we can all go get a drink.**&#xD;&#xA;&#xD;&#xA;In my humble experience, I've found that the actors who are the best at ADR have a strong sense of musical timing and ability to duplicate pitch and tone. Not everyone can do this.&#xD;&#xA;&#xD;&#xA;**Good ADR is close-miked and noiseless. When you close-mike a voice (2 inches from mouth), you can just roll off the low-end and add reverb and it will make it sound farther away!**&#xD;&#xA;&#xD;&#xA;As always, depends on what your source material is, but in my experience when someone has told me this and we've done it that way the closer, deader mic is always the toughest one to match in with production dialogue. Put the mic back a foot or even 2 feet - the proximity effect is the arch nemesis of matching ADR to production sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="15465" PostHistoryTypeId="5" PostId="9301" RevisionGUID="3a440ea7-e2dc-44d1-acb7-7b345c00fe49" CreationDate="2011-07-26T17:39:35.620" UserId="18160" Comment="added 4 characters in body; added 166 characters in body" Text="Some great answers!&#xD;&#xA;&#xD;&#xA;A myth I used to personally believe myself before I started doing more and more recordings with these little critters is:&#xD;&#xA;&#xD;&#xA;**Lavaliers sound horrible. Don't use them at all.** (I do agree with choosing a boom over a lav but when it's all you've got, it can be sufficient!)&#xD;&#xA;&#xD;&#xA;But, they really do work if you know what you're doing and you spend a bit of time learning how they work and what they sound like and where they sound best on the person. Like all microphones, there are poor quality ones and good quality ones. The COS-11 I've been using sounds great when used correctly.&#xD;&#xA;&#xD;&#xA;I used to never think of using them and only using the boom (which I still do use most of the time)  but when it's not feasible to record with one like in a cramped room or outside in a wide shot, they actually do work when you use them correctly. I was shocked to discover that most of the dialogue in The King's Speech was recorded with lav's. I had no attention on the voices in that movie - they sounded great!&#xD;&#xA;&#xD;&#xA;and:&#xD;&#xA;&#xD;&#xA;**Just about anyone can do the boom oping. Use the PA - he's just standing around doing nothing.**&#xD;&#xA;&#xD;&#xA;So not true. It takes incredible skill and timing and attention to do a superb job of boom-oping. I've seen a poor boom-oping job done by an inexperienced person who meant well but just didn't have any training and the director thought &quot;anyone could do it&quot; and it ended up costing about $10,000 extra dollars for ADR recording and editing fees. From what I've experienced in the indie film scene is that more often than not they give the job of positioning the microphones for their movie to someone with very little if any experience and it bites them later.&#xD;&#xA;&#xD;&#xA;**A beefy gun sound comes from ONLY the closer microphones. You don't need to record from farther away.**&#xD;&#xA;&#xD;&#xA;Almost true, closer mics sound great, but you should always get a long perspective because from my experience some of the beef of a gun comes from the echo rather than the direct sound. For example, try recording a whip crack in a dead room. It sounds like you're snapping a pencil on your finger. You need some acoustical support to make something sound huge and natural, IMHO.&#xD;&#xA;&#xD;&#xA;**All actors perform perfect ADR. They're actors, right? So if we book them for an hour to do 80 measly loops, they should finish before the hour is up and we can all go get a drink.**&#xD;&#xA;&#xD;&#xA;In my humble experience, I've found that the actors who are the best at ADR have a strong sense of musical timing and ability to duplicate pitch and tone. Not everyone can do this.&#xD;&#xA;&#xD;&#xA;**Good ADR is close-miked and noiseless. When you close-mike a voice (2 inches from mouth), you can just roll off the low-end and add reverb and it will make it sound farther away!**&#xD;&#xA;&#xD;&#xA;As always, depends on what your source material is, but in my experience when someone has told me this and we've done it that way the closer, deader mic is always the toughest one to match in with production dialogue. Put the mic back a foot or even 2 feet - the proximity effect is the arch nemesis of matching ADR to production sound.&#xD;&#xA;&#xD;&#xA;**You audio guys can fix this interview audio where the hiss is louder than his voice, or the interview done next to the waterfall, or the auto-gained track, right?**" ContentLicense="CC BY-SA 3.0" />
  <row Id="15466" PostHistoryTypeId="5" PostId="9301" RevisionGUID="e6e58166-9fe3-4d76-9881-876a39febe54" CreationDate="2011-07-26T17:46:26.853" UserId="18160" Comment="added 329 characters in body; added 112 characters in body; added 13 characters in body" Text="Some great answers!&#xD;&#xA;&#xD;&#xA;My own personal favorite:&#xD;&#xA;&#xD;&#xA;**Good Sound Design of a movie begins after we are finished shooting and the film has been edited.**&#xD;&#xA;&#xD;&#xA;I personally believe that having good sound design begins with the script and a scriptwriter/director thinking with sound design throughout the whole pre-production and shooting process.&#xD;&#xA;&#xD;&#xA;--&#xD;&#xA;&#xD;&#xA;A myth I used to personally believe myself before I started doing more and more recordings with these little critters is:&#xD;&#xA;&#xD;&#xA;**Lavaliers sound horrible. Don't use them at all.** (I do agree with choosing a boom over a lav but when it's all you've got, it can be sufficient!)&#xD;&#xA;&#xD;&#xA;But, they really do work if you know what you're doing and you spend a bit of time learning how they work and what they sound like and where they sound best on the person. Like all microphones, there are poor quality ones and good quality ones. The COS-11 I've been using sounds great when used correctly.&#xD;&#xA;&#xD;&#xA;I used to never think of using them and only using the boom (which I still do use most of the time)  but when it's not feasible to record with one like in a cramped room or outside in a wide shot, they actually do work when you use them correctly. I was shocked to discover that most of the dialogue in The King's Speech was recorded with lav's. I had no attention on the voices in that movie - they sounded great!&#xD;&#xA;&#xD;&#xA;and:&#xD;&#xA;&#xD;&#xA;**Just about anyone can do the boom oping. Use the PA - he's just standing around doing nothing.**&#xD;&#xA;&#xD;&#xA;So not true. It takes incredible skill and timing and attention to do a superb job of boom-oping. I've seen a poor boom-oping job done by an inexperienced person who meant well but just didn't have any training and the director thought &quot;anyone could do it&quot; and it ended up costing about $10,000 extra dollars for ADR recording and editing fees. From what I've experienced in the indie film scene is that more often than not they give the job of positioning the microphones for their movie to someone with very little if any experience and it bites them later.&#xD;&#xA;&#xD;&#xA;**A beefy gun sound comes from ONLY the closer microphones. You don't need to record from farther away.**&#xD;&#xA;&#xD;&#xA;Almost true, closer mics sound great, but you should always get a long perspective because from my experience some of the beef of a gun comes from the echo rather than the direct sound. For example, try recording a whip crack in a dead room. It sounds like you're snapping a pencil on your finger. You need some acoustical support to make something sound huge and natural, IMHO.&#xD;&#xA;&#xD;&#xA;**All actors perform perfect ADR. They're actors, right? So if we book them for an hour to do 80 measly loops, they should finish before the hour is up and we can all go get a drink.**&#xD;&#xA;&#xD;&#xA;In my humble experience, I've found that the actors who are the best at ADR have a strong sense of musical timing and ability to duplicate pitch and tone. Not everyone can do this.&#xD;&#xA;&#xD;&#xA;**Good ADR is close-miked and noiseless. When you close-mike a voice (2 inches from mouth), you can just roll off the low-end and add reverb and it will make it sound farther away!**&#xD;&#xA;&#xD;&#xA;As always, depends on what your source material is, but in my experience when someone has told me this and we've done it that way the closer, deader mic is always the toughest one to match in with production dialogue. Put the mic back a foot or even 2 feet - the proximity effect is the arch nemesis of matching ADR to production sound.&#xD;&#xA;&#xD;&#xA;**I was so sure you audio guys could fix this interview audio where the hiss is louder than his voice, the interview was done next to the waterfall, and the auto-gained track, so I didn't bother to consult you about the audio quality before we went ahead and edited the video. Here you go.**" ContentLicense="CC BY-SA 3.0" />
  <row Id="15467" PostHistoryTypeId="5" PostId="9301" RevisionGUID="eefe1041-89cc-4f10-bcd8-21b9e6b95146" CreationDate="2011-07-26T17:51:40.347" UserId="18160" Comment="added 64 characters in body" Text="Some great answers!&#xD;&#xA;&#xD;&#xA;My own personal favorite:&#xD;&#xA;&#xD;&#xA;**Good Sound Design of a movie begins after we are finished shooting and the film has been edited.**&#xD;&#xA;&#xD;&#xA;I personally believe that having good sound design begins with the script and a scriptwriter/director thinking with sound design throughout the whole pre-production and shooting process.&#xD;&#xA;&#xD;&#xA;--&#xD;&#xA;&#xD;&#xA;A myth I used to personally believe myself before I started doing more and more recordings with these little critters is:&#xD;&#xA;&#xD;&#xA;**Lavaliers sound horrible. Don't use them at all.** (I do agree with choosing a boom over a lav but when it's all you've got, it can be sufficient!)&#xD;&#xA;&#xD;&#xA;But, they really do work if you know what you're doing and you spend a bit of time learning how they work and what they sound like and where they sound best on the person. Like all microphones, there are poor quality ones and good quality ones. The COS-11 I've been using sounds great when used correctly.&#xD;&#xA;&#xD;&#xA;I used to never think of using them and only using the boom (which I still do use most of the time)  but when it's not feasible to record with one like in a cramped room or outside in a wide shot, they actually do work when you use them correctly. I was shocked to discover that most of the dialogue in The King's Speech was recorded with lav's. I had no attention on the voices in that movie - they sounded great!&#xD;&#xA;&#xD;&#xA;and:&#xD;&#xA;&#xD;&#xA;**Just about anyone can do the boom oping. Use the PA - he's just standing around doing nothing.**&#xD;&#xA;&#xD;&#xA;So not true. It takes incredible skill and timing and attention to do a superb job of boom-oping. I've seen a poor boom-oping job done by an inexperienced person who meant well but just didn't have any training and the director thought &quot;anyone could do it&quot; and it ended up costing about $10,000 extra dollars for ADR recording and editing fees. From what I've experienced in the indie film scene is that more often than not they give the job of positioning the microphones for their movie to someone with very little if any experience and it bites them later.&#xD;&#xA;&#xD;&#xA;**A beefy gun sound comes from ONLY the closer microphones. You don't need to record from farther away.**&#xD;&#xA;&#xD;&#xA;Almost true, closer mics sound great, but you should always get a long perspective because from my experience some of the beef of a gun comes from the echo rather than the direct sound. For example, try recording a whip crack in a dead room. It sounds like you're snapping a pencil on your finger. You need some acoustical support to make something sound huge and natural, IMHO.&#xD;&#xA;&#xD;&#xA;**All actors perform perfect ADR. They're actors, right? So if we book them for an hour to do 80 measly loops, they should finish before the hour is up and we can all go get a drink.**&#xD;&#xA;&#xD;&#xA;In my humble experience, I've found that the actors who are the best at ADR have a strong sense of musical timing and ability to duplicate pitch and tone. Not everyone can do this.&#xD;&#xA;&#xD;&#xA;**Good ADR is close-miked and noiseless. When you close-mike a voice (2 inches from mouth), you can just roll off the low-end and add reverb and it will make it sound farther away!**&#xD;&#xA;&#xD;&#xA;As always, depends on what your source material is, but in my experience when someone has told me this and we've done it that way the closer, deader mic is always the toughest one to match in with production dialogue. Put the mic back a foot or even 2 feet - the proximity effect is the arch nemesis of matching ADR to production sound.&#xD;&#xA;&#xD;&#xA;**I was so sure you audio guys could fix this interview audio where the hiss is louder than his voice, the interview was done next to the waterfall, and the auto-gained track, so I didn't bother to consult you about the audio quality before we went ahead and edited the video. Here you go. Needs to ship tomorrow - I told the producer you guys are FAST!**" ContentLicense="CC BY-SA 3.0" />
  <row Id="15468" PostHistoryTypeId="5" PostId="9301" RevisionGUID="448ceeb3-64dd-4bb9-a0ac-77cd2d9d0d54" CreationDate="2011-07-26T18:07:37.740" UserId="18160" Comment="added 55 characters in body" Text="Some great answers!&#xD;&#xA;&#xD;&#xA;My own personal favorite:&#xD;&#xA;&#xD;&#xA;**Good Sound Design of a movie begins after we are finished shooting and the film has been edited.**&#xD;&#xA;&#xD;&#xA;I personally believe that having good sound design begins with the script and a scriptwriter/director thinking with sound design throughout the whole pre-production and shooting process.&#xD;&#xA;&#xD;&#xA;--&#xD;&#xA;&#xD;&#xA;A myth I used to personally believe myself before I started doing more and more recordings with these little critters is:&#xD;&#xA;&#xD;&#xA;**Lavaliers sound horrible. Don't use them at all.** (I do agree with choosing a boom over a lav but when it's all you've got, it can be sufficient!)&#xD;&#xA;&#xD;&#xA;But, they really do work if you know what you're doing and you spend a bit of time learning how they work and what they sound like and where they sound best on the person. Like all microphones, there are poor quality ones and good quality ones. The COS-11 I've been using sounds great when used correctly.&#xD;&#xA;&#xD;&#xA;I used to never think of using them and only using the boom (which I still do use most of the time)  but when it's not feasible to record with one like in a cramped room or outside in a wide shot, they actually do work when you use them correctly. I was shocked to discover that most of the dialogue in The King's Speech was recorded with lav's. I had no attention on the voices in that movie - they sounded great!&#xD;&#xA;&#xD;&#xA;and:&#xD;&#xA;&#xD;&#xA;**Just about anyone can do the boom oping. Use the PA - he's just standing around doing nothing.**&#xD;&#xA;&#xD;&#xA;So not true. It takes incredible skill and timing and attention to do a superb job of boom-oping. I've seen a poor boom-oping job done by an inexperienced person who meant well but just didn't have any training and the director thought &quot;anyone could do it&quot; and it ended up costing about $10,000 extra dollars for ADR recording and editing fees. From what I've experienced in the indie film scene is that more often than not they give the job of positioning the microphones for their movie to someone with very little if any experience and it bites them later.&#xD;&#xA;&#xD;&#xA;**A beefy gun sound comes from ONLY the closer microphones. You don't need to record from farther away.**&#xD;&#xA;&#xD;&#xA;Almost true, closer mics sound great, but you should always get a long perspective because from my experience some of the beef of a gun comes from the echo rather than the direct sound. For example, try recording a whip crack in a dead room. It sounds like you're snapping a pencil on your finger. You need some acoustical support to make something sound huge and natural, IMHO. This is definitely true in music recording and mixing.&#xD;&#xA;&#xD;&#xA;**All actors perform perfect ADR. They're actors, right? So if we book them for an hour to do 80 measly loops, they should finish before the hour is up and we can all go get a drink.**&#xD;&#xA;&#xD;&#xA;In my humble experience, I've found that the actors who are the best at ADR have a strong sense of musical timing and ability to duplicate pitch and tone. Not everyone can do this.&#xD;&#xA;&#xD;&#xA;**Good ADR is close-miked and noiseless. When you close-mike a voice (2 inches from mouth), you can just roll off the low-end and add reverb and it will make it sound farther away!**&#xD;&#xA;&#xD;&#xA;As always, depends on what your source material is, but in my experience when someone has told me this and we've done it that way the closer, deader mic is always the toughest one to match in with production dialogue. Put the mic back a foot or even 2 feet - the proximity effect is the arch nemesis of matching ADR to production sound.&#xD;&#xA;&#xD;&#xA;**I was so sure you audio guys could fix this interview audio where the hiss is louder than his voice, the interview was done next to the waterfall, and the auto-gained track, so I didn't bother to consult you about the audio quality before we went ahead and edited the video. Here you go. Needs to ship tomorrow - I told the producer you guys are FAST!**" ContentLicense="CC BY-SA 3.0" />
  <row Id="15469" PostHistoryTypeId="2" PostId="9302" RevisionGUID="0f110b3e-e201-4ec2-b96c-1182228abcaa" CreationDate="2011-07-26T18:11:57.607" UserId="527" Text="I am Pro Tools certified at the 210 level.  It has done nothing to truely advance my career.  The books are a great resource for a beginner, and you should strive to know PT inside and out, but paying for &quot;classes&quot; was a waste in my opinion. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15470" PostHistoryTypeId="2" PostId="9303" RevisionGUID="d422f2a8-acfe-4de9-9982-46174ac9665e" CreationDate="2011-07-26T18:14:42.280" UserId="18160" Text="The reason it costs so much money is that you're mostly paying for the instructor's patience. It can go agonizingly slow with the newer users in those classes when you're operating at a level like you are.&#xD;&#xA;&#xD;&#xA;Does anyone know if you can shortcut it and just take the test without doing the classes? That would be ideal...&#xD;&#xA;&#xD;&#xA;I've studied the Pro Tools manual 4 times through:&#xD;&#xA;version 5, 6, and 7 twice, so going to a class and starting from scratch to get an asterisk next to my name on a resume is a waste of money.&#xD;&#xA;&#xD;&#xA;But, in the end, I think that high quality products and samples are a much better thing to show on your resume than an AVID cert IMHO." ContentLicense="CC BY-SA 3.0" />
  <row Id="15471" PostHistoryTypeId="2" PostId="9304" RevisionGUID="f2804b08-69ee-4f2c-b4a5-09bcf8f95489" CreationDate="2011-07-26T20:05:19.460" UserId="762" Text="One that I can't recommend enough is [In The City of Sylvia][1]. &#xD;&#xA;&#xD;&#xA;I've talked it up on here before, but I can't say enough good things about it.  It's very hard to describe the approach... I can only say that it's a film that takes a unique approach to sound that shouldn't at all be unique... all films should give this much weight to sound.  Very little dialogue... layers of other sounds throughout.  Brilliantly mixed, as well.  Inspiring.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=dv2VKhY5w9M" ContentLicense="CC BY-SA 3.0" />
  <row Id="15472" PostHistoryTypeId="16" PostId="9304" RevisionGUID="f2804b08-69ee-4f2c-b4a5-09bcf8f95489" CreationDate="2011-07-26T20:05:19.460" UserId="-1" />
  <row Id="15473" PostHistoryTypeId="2" PostId="9305" RevisionGUID="f937361a-2a20-4588-87bf-2e50aee0a5f8" CreationDate="2011-07-26T20:34:16.337" UserDisplayName="user80" Text="Just count the number of plastic rings on the jack.&#xD;&#xA;&#xD;&#xA;If there is one ring then it is unbalanced (as in this case). TS = Tip and sleeve.&#xD;&#xA;&#xD;&#xA;If there are two rings then it should be balanced.  TRS = Tip Ring and Sleeve" ContentLicense="CC BY-SA 3.0" />
  <row Id="15474" PostHistoryTypeId="2" PostId="9306" RevisionGUID="5453b89a-3515-431a-bcf2-07bd70326be8" CreationDate="2011-07-26T21:04:07.333" UserDisplayName="user49" Text="Probably only of any worth if your main aim it to become a tutor on those courses" ContentLicense="CC BY-SA 3.0" />
  <row Id="15476" PostHistoryTypeId="2" PostId="9307" RevisionGUID="09e0087a-2338-42e3-bfca-51fc665c8142" CreationDate="2011-07-27T03:40:42.757" UserId="100" Text="I got certified as part of my educational initiation to sound work. In my experience, being PT certified is like telling people you were an Eagle Scout; folks might be impressed that you put time, effort, and money into achieving such a title, but that doesn't mean you can do the job better than the other guy. If my work were being weighed against another sound editor of equal talent, I imagine it could serve as a tiebreaker, but not much more." ContentLicense="CC BY-SA 3.0" />
  <row Id="15477" PostHistoryTypeId="2" PostId="9308" RevisionGUID="2e8282ba-7111-4816-94a6-14c9922b6aaf" CreationDate="2011-07-27T08:59:06.300" UserId="654" Text="Heyo - most people here probably know that after working for Avid happily for over 7 years, if you cut me my blood looks a litttttle bit purple, but bias in context and have just taught the entire curriculum at UTS:Proschool in Sydney over the last 6 weeks I can pass on some observations on the current curriculum.&#xD;&#xA;Theyre up to rev 5 or 6 of the curriculum atm, the second PT9 revision. So its been changing quite a bit over the last 2 years. Yes you still get two questions the same popping up in exams every now and again, but the questions with false answers have been mostly weeded out.&#xD;&#xA;Exam, pffexam, whatever, if you want a piece of paper, you can sit it, but the course should be more than just reading the book/having the book read to you and sitting a multiple choice exam. The job of the teacher is to impart the concepts and workflows and context of the features you are trying to master. &#xD;&#xA;&#xD;&#xA;PT101- easy course&#xD;&#xA;Pt110 - massive course if you try to do it in 3 days, elastic audio in depth, starting into automation, all the midi features&#xD;&#xA;PT201 - intro of trim and write to all and HD architecture and the 48 bit mixer, signal flow discussions, editing automation&#xD;&#xA;210M - beat detective, trims, VCAs, drum editing workflows, sync concepts&#xD;&#xA;210P - machine control, VCAs, preview, write tos, trim, satellite tech, &#xD;&#xA;310M and 310P more detail on automation modes, more shortcuts you are expected to know, more assumed knowledge and pracs dont walk you through everything like they do in earlier courses. only a multi choice exam now but the old gauntlet pracs are part of the course&#xD;&#xA;&#xD;&#xA;Basically - if youre in here, on this forum, you probably care about your craft, are self-motivated and read the manual, watch videos etc to further your skills. You could do a course with a good teacher who you respect and get something more out of it, fleshing out holes in your knowledge you may not realise you have, or you could get a teacher who reads from the book, hasnt much real world experience and doesnt add much to the experience.&#xD;&#xA;&#xD;&#xA;Pick your school and teacher wisely and it could well be worth your while.&#xD;&#xA;&#xD;&#xA;Lastly - if you care about exams, you have to do them all in sequence, if you just want the knowledge, some schools are prepared to accept experienced operators into advanced classes on the understanding they arent interested in certification exams, just the book and learning experience, so you may not have to start at 101 everywhere. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15478" PostHistoryTypeId="5" PostId="9308" RevisionGUID="4388482e-e2ca-4612-802b-bdc3e654d823" CreationDate="2011-07-27T09:06:11.433" UserId="654" Comment="added 44 characters in body" Text="Heyo - most people here probably know that after working for Avid happily for over 7 years (left easly last year), if you cut me my blood looks a litttttle bit purple, but bias in context and having just taught the entire curriculum at UTS:Proschool in Sydney over the last 6 weeks I can pass on some observations on the current curriculum if you want them.&#xD;&#xA;&#xD;&#xA;Theyre up to rev 5 or 6 of the curriculum atm, the second PT9 revision. So its been changing quite a bit over the last 2 years. Yes you still get two questions the same popping up in exams every now and again, but the questions with false answers have been mostly weeded out.&#xD;&#xA;Exam, pffexam, whatever, if you want a piece of paper, you can sit it, but the course should be more than just reading the book/having the book read to you and sitting a multiple choice exam. The job of the teacher is to impart the concepts and workflows and context of the features you are trying to master. &#xD;&#xA;&#xD;&#xA;PT101- easy course&#xD;&#xA;Pt110 - massive course if you try to do it in 3 days, elastic audio in depth, starting into automation, all the midi features&#xD;&#xA;PT201 - intro of trim and write to all and HD architecture and the 48 bit mixer, signal flow discussions, editing automation&#xD;&#xA;210M - beat detective, trims, VCAs, drum editing workflows, sync concepts&#xD;&#xA;210P - machine control, VCAs, preview, write tos, trim, satellite tech, &#xD;&#xA;310M and 310P more detail on automation modes, more shortcuts you are expected to know, more assumed knowledge and pracs dont walk you through everything like they do in earlier courses. only a multi choice exam now but the old gauntlet pracs are part of the course&#xD;&#xA;&#xD;&#xA;Basically - if youre in here, on this forum, you probably care about your craft, are self-motivated and read the manual, watch videos etc to further your skills. You could do a course with a good teacher who you respect and get something more out of it, fleshing out holes in your knowledge you may not realise you have, or you could get a teacher who reads from the book, hasnt much real world experience and doesnt add much to the experience.&#xD;&#xA;&#xD;&#xA;Pick your school and teacher wisely and it could well be worth your while.&#xD;&#xA;&#xD;&#xA;Lastly - if you care about exams, you have to do them all in sequence, if you just want the knowledge, some schools are prepared to accept experienced operators into advanced classes on the understanding they arent interested in certification exams, just the book and learning experience, so you may not have to start at 101 everywhere. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15479" PostHistoryTypeId="2" PostId="9309" RevisionGUID="f5b0695e-2679-4224-9145-9af90adbd71e" CreationDate="2011-07-27T10:57:22.617" UserId="1145" Text="I have the 210 post certification. Have had none questions about this when getting jobs.&#xD;&#xA;Infact a lot of my most recent jobs had to be done in Nuendo...&#xD;&#xA;I think the books that comes with the courses is a great resource to have, but i wont be getting any other certificates.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15480" PostHistoryTypeId="2" PostId="9310" RevisionGUID="fdf4b551-8811-4032-9c8d-cd40f40bdb9b" CreationDate="2011-07-27T14:00:40.997" UserId="1011" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;What are your favorite in-ear binaural microphones?&#xD;&#xA;&#xD;&#xA;There's been some discussion about this earlier [here][1] and [here][2], but not exactly in an in-ear or stealth context so I wanted to refresh the discussion.&#xD;&#xA;&#xD;&#xA;I have a [Sonic Studios 6S/EH microphone][3]. It's pretty good in crowds, and with loud sounds, but has too much self noise to be useful with quiet ambiences. The design is also a bit too clunky and conspicuous for the stealth ambience recording I want to do.&#xD;&#xA;&#xD;&#xA;Here are some other options I was considering. They are more discreet.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[OKM Soundman][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Sound Professionals MS-TFB-2][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Roland CS-10EM][6]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Does anyone have any experience with the sound quality of these microphones? What about powering requirements and recorders like the H4n? In-ear comfort? Any comments on using these kind of microphones in a stealth environment?&#xD;&#xA;&#xD;&#xA;Thanks in advance.&#xD;&#xA;&#xD;&#xA;Paul&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;PS - The London Sound Survey has [a great list of budget binaural microphones][7] if you are interested.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2147/binaural-recording-and-asset-creation&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/5757/binaural-recordings&#xD;&#xA;  [3]: http://www.sonicstudios.com/dsm.htm#chart&#xD;&#xA;  [4]: https://www.kmraudio.com/soundman-okm-ii-classic-inc-a3.php&#xD;&#xA;  [5]: http://www.soundprofessionals.com/cgi-bin/gold/item/MS-TFB-2&#xD;&#xA;  [6]: http://www.rolandus.com/products/productdetails.php?ProductId=1081&#xD;&#xA;  [7]: http://www.soundsurvey.org.uk/index.php/survey/budget_mics/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15481" PostHistoryTypeId="1" PostId="9310" RevisionGUID="fdf4b551-8811-4032-9c8d-cd40f40bdb9b" CreationDate="2011-07-27T14:00:40.997" UserId="1011" Text="What are your favorite in-ear binaural microphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15482" PostHistoryTypeId="3" PostId="9310" RevisionGUID="fdf4b551-8811-4032-9c8d-cd40f40bdb9b" CreationDate="2011-07-27T14:00:40.997" UserId="1011" Text="&lt;field-recording&gt;&lt;binaural&gt;&lt;stealth&gt;&lt;setup&gt;&lt;set-up&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15483" PostHistoryTypeId="2" PostId="9311" RevisionGUID="e921b392-65ca-4cb1-b7a9-dfd6a8bb3259" CreationDate="2011-07-27T16:48:04.683" UserId="82" Text="I've used the less expensive Sound Professionals SP-TFB-2 mics with a battery box and had great success with them. However, I was recording loud sounds... not sure if they would meet your criteria for low self-noise. I don't think the MS-TFB-2s were available back when I bought mine (around 2005).&#xD;&#xA;&#xD;&#xA;I found that I needed to have the foam windscreens installed to keep the mics in my ears, but I'm sure that depends on the shape of each individual's ear. Having the windscreens in makes them much more noticeable (if not dorky looking) but in my environment it was no big deal." ContentLicense="CC BY-SA 3.0" />
  <row Id="15484" PostHistoryTypeId="5" PostId="9303" RevisionGUID="c07c98b4-beba-4ac4-93e7-14bea1c8bd19" CreationDate="2011-07-27T16:54:30.757" UserId="18160" Comment="deleted 40 characters in body" Text="Try to see if you can enter at a more advanced level. It can go agonizingly slow with the newer users in those classes when you're operating at a level like you are.&#xD;&#xA;&#xD;&#xA;Does anyone know if you can shortcut it and just take the test without doing the classes? That would be ideal...&#xD;&#xA;&#xD;&#xA;I've studied the Pro Tools manual 4 times through:&#xD;&#xA;version 5, 6, and 7 twice, so going to a class and starting from scratch to get an asterisk next to my name on a resume is a waste of money.&#xD;&#xA;&#xD;&#xA;But, in the end, I think that high quality products and samples are a much better thing to show on your resume than an AVID cert IMHO." ContentLicense="CC BY-SA 3.0" />
  <row Id="15485" PostHistoryTypeId="2" PostId="9312" RevisionGUID="ac87adfc-1a1c-47ec-abf9-dbb77be1cb5e" CreationDate="2011-07-27T17:13:35.360" UserId="6411" Text="Don't know about favorite, I've only had these that I'm using now. But I can tell you they're great.&#xD;&#xA;&#xD;&#xA;I got myself a [DPA 4060SMK][1] and a set of [these][2]. The BudFits have integrated cable management and the flexible plastic holds the 4060 snugly. With a little effort the windscreens go right over both the 4060 and the flexible plastic of the BudFits.&#xD;&#xA;&#xD;&#xA;I've got shoulder bag (at the recommendation of @NoiseJockey's [Sonic Terrain post][3]) that holds my MixPre and M10 perfectly. I've wandered through my neighborhood, the Metro, museums, castles, busy city streets, nobody pays any attention.&#xD;&#xA;&#xD;&#xA;Here's a recording from my neighborhood using this setup. I did narrow the sound field a bit and rolled off a bit more low-end, but I've made it available for download if you want to further inspect it.&#xD;&#xA;[soundcloud] steve-urban/uap-ravine [/soundcloud] &#xD;&#xA;&#xD;&#xA;I shot a little video about my rig, but then left for Spain and haven't gotten around to posting it. I'll put it up and edit this post later.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/473506-REG/DPA_Microphones_SMK4060_SMK4060_Stereo_Microphone_Kit.html&#xD;&#xA;  [2]: http://www.budfits.com/&#xD;&#xA;  [3]: http://www.sonic-terrain.com/2010/09/portage-i-the-mil-spec-way/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15486" PostHistoryTypeId="2" PostId="9313" RevisionGUID="c3b32798-2e13-4096-827a-6fc2b8942ea1" CreationDate="2011-07-27T17:29:50.127" UserId="261" Text="Hey,&#xD;&#xA;&#xD;&#xA;I'm working on a 3 X 15s ad campaign at the moment, for which I'm doing the sound design.&#xD;&#xA;The producer has asked me to find out about licensing some uplifting, dreamy orchestral music for a the dream sequence in the ad(s). The ads are all the same, in that they start outh in the same way and then a magical transformation takes place whereby the character's environment becomes one of threee places. However, the music required for the transformation is the same.&#xD;&#xA;They will run on TV and online for a maximum of 2 (not necessarily continuous) years.&#xD;&#xA;&#xD;&#xA;I've looked at Audiojungle, but they don't seem to mention anything about TV licensing..&#xD;&#xA;I've also looked at Killer Tracks but it seems really comlicated ;(&#xD;&#xA;&#xD;&#xA;To be honest, i'm jumping the gun a bit be asking you guys, but any help/info/links would be a big help...&#xD;&#xA;&#xD;&#xA;Cheers, and thanks for now&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 3.0" />
  <row Id="15487" PostHistoryTypeId="1" PostId="9313" RevisionGUID="c3b32798-2e13-4096-827a-6fc2b8942ea1" CreationDate="2011-07-27T17:29:50.127" UserId="261" Text="Who knows the ins &amp; outs of licensing music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15488" PostHistoryTypeId="3" PostId="9313" RevisionGUID="c3b32798-2e13-4096-827a-6fc2b8942ea1" CreationDate="2011-07-27T17:29:50.127" UserId="261" Text="&lt;music&gt;&lt;licensing&gt;&lt;advertising&gt;&lt;money&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15489" PostHistoryTypeId="2" PostId="9314" RevisionGUID="bdb289f8-30fa-49eb-b562-4079d825f5fa" CreationDate="2011-07-27T17:57:13.963" UserId="194" Text="killer tracks, groove addicts, five alarm music, first com, extreme music&#xD;&#xA;&#xD;&#xA;those are all of your big guys.  all have music searchable websites where you can find the cut you think will work.  five alarm has the most searchable site, extreme some of the best music but also pretty expensive compared to the others.&#xD;&#xA;&#xD;&#xA;I'd suggest finding a cut from one of the libraries and then calling a rep to get a quote and licensing terms.  The reps are very nice and friendly throughout the industry in my experience.&#xD;&#xA;&#xD;&#xA;Once you have a quote you should mark it up and add it to your invoice.  this is all very common practice.&#xD;&#xA;&#xD;&#xA;don't let the complexity beat you up.  Find out the scope of the project to the greatest detail you can (it seems as though you already have) and then utilize the reps to make sure everything is kosher and ready to be billed." ContentLicense="CC BY-SA 3.0" />
  <row Id="15490" PostHistoryTypeId="2" PostId="9315" RevisionGUID="35f23a3c-75c2-4277-8d08-2a805ac4f66d" CreationDate="2011-07-27T18:23:02.407" UserId="1228" Text="Well, there are two rights you need to seek - master and synchronization.&#xD;&#xA;&#xD;&#xA;Synchronization rights are the rights to sync both the melody and lyrics to your film/tv show.  The master rights are the rights to a specific recording of that melody/lyrics.  This is why you encounter TV commercials which sometimes play a cover of a popular song.  They obtained the sync rights to use the melody and lyrics, yet were not allowed to use an original recording - so they either found another version they could get master rights to, or they did their own recording with a band/musician which they contracted the master rights from.&#xD;&#xA;&#xD;&#xA;For using a real song, this involves scouring BMI and ASCAP to find out how to contact the songwriter, and then investigate how to contact the personal, company, agency which owns the master recording rights.  It can be an arduous process, so that's where production music companies come in great (the kind of music you are mentioning I believe).&#xD;&#xA;&#xD;&#xA;Usually these licenses come in two forms from production music companies (which own the rights to both) - royalty-free(buyout) and needle-drop.&#xD;&#xA;&#xD;&#xA;Royalty-free (buyout) means that when you buy, for instance, a set of production music cds or hard drive, your purchase cost includes unlimited snyc and master rights to those recordings for use in **any** film/tv.  They do not have to be reported on cue sheets, and royalties are not paid to the artist.  The money is made up front in the product sales.&#xD;&#xA;&#xD;&#xA;Needle-drop (see: DeWolfe, et al) means that you must report, and pay for, the song you use and only the duration which you use on **that specific film**.  This is how the company and artists make royalties.  Instead of charging and upfront fee for a global non-exclusive buyout license, you are charged for your exclusive usage of a musical piece on a specific film edit.  Meaing: when you buy the rights to this needle-drop production track, it can only be used in that one instance.  Want to use it again in another film?  It must be reported and paid for.  This is the one place where buyout it great because it does not apply.&#xD;&#xA;&#xD;&#xA;My suggestion is to seek non-exclusive rights (all media) to use the production music in question.  Because if you tell them exclusive, what that means is you want to buy up the rights to this song so that nobody can ever use this song again.  You will pay a hefty fee for this if not aware of what you are asking for.&#xD;&#xA;&#xD;&#xA;As mentioned by Rene, best to contact the rep at the production music library/company and they can help you navigate the logistics and licensing costs.&#xD;&#xA;&#xD;&#xA;Good luck!  Music can be a minefield sometimes ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15491" PostHistoryTypeId="2" PostId="9316" RevisionGUID="b32b4db0-6fab-457c-8138-18ef702bef7c" CreationDate="2011-07-27T19:08:26.410" UserId="1137" Text="To my frequent saviors, esteemed mentors, and fellow adepts,&#xD;&#xA;&#xD;&#xA;Recorded a &quot;free-driving&quot; scene on a freeway with eight actors in a van improvising DX. Setting the myriad factors aside which would have allowed me to get what I wanted during recording (bigger budget for adequate kit list, knowledge of the shoot/story/layout beforehand, etc. ), what actually went down was recording with a Senn ME67, (2) Senn ME2 lavs, and the onboard mic of a Sony XDCAM (oh the horror...oh the shame).&#xD;&#xA;&#xD;&#xA;Now that I'm cutting the varying SNR results from the three different types of mics into a PT session, with 2 tracks of DX for each mic, I'm wondering what the best strategy would be to provide the final mix with the least crowding of &quot;noise&quot;.&#xD;&#xA;&#xD;&#xA;My thoughts:&#xD;&#xA;&#xD;&#xA;1- Re-record &quot;fill&quot; with all three mics during my own van session, and then use each separate fill for the corresponding mic type's DX track.&#xD;&#xA;&#xD;&#xA;2- Re-record with the mic that has the poorest SNR from production (ME67), fill that mic type's DX track only, and hope that the better SNR from the lav and cam DX tracks punch through unobtrusively.&#xD;&#xA;&#xD;&#xA;3- Grab a wakazashi, find a second, and commit ritual suicide for dishonoring the noble class of Noob.&#xD;&#xA;&#xD;&#xA;Any thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15492" PostHistoryTypeId="1" PostId="9316" RevisionGUID="b32b4db0-6fab-457c-8138-18ef702bef7c" CreationDate="2011-07-27T19:08:26.410" UserId="1137" Text="Strategizing &quot;fill&quot; with three different mics in a high-noise environment" ContentLicense="CC BY-SA 3.0" />
  <row Id="15493" PostHistoryTypeId="3" PostId="9316" RevisionGUID="b32b4db0-6fab-457c-8138-18ef702bef7c" CreationDate="2011-07-27T19:08:26.410" UserId="1137" Text="&lt;dialogue&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15494" PostHistoryTypeId="2" PostId="9317" RevisionGUID="7bc04d9a-1eef-4744-a6ad-57a28ff14266" CreationDate="2011-07-27T19:30:59.813" UserId="418" Text="I'm about to embark on a new venture of producing short (for now) audio dramas, in the line of ZBS stuff. I use that comparison loosely and with nothing but utmost respect and adoration. I could begin to aspire to that level of work, but it's my main inspiration and the vibe I'm going for. &#xD;&#xA;&#xD;&#xA;So anyway, I am looking for voice talent. I've found some sites online, some decent, others more like promotional meat markets. Anyone here have any experience with scouting voice actors and have recommendations on good places to look? " ContentLicense="CC BY-SA 3.0" />
  <row Id="15495" PostHistoryTypeId="1" PostId="9317" RevisionGUID="7bc04d9a-1eef-4744-a6ad-57a28ff14266" CreationDate="2011-07-27T19:30:59.813" UserId="418" Text="Good Resources for Voice Actors?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15496" PostHistoryTypeId="3" PostId="9317" RevisionGUID="7bc04d9a-1eef-4744-a6ad-57a28ff14266" CreationDate="2011-07-27T19:30:59.813" UserId="418" Text="&lt;audio-drama&gt;&lt;voice&gt;&lt;actors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15497" PostHistoryTypeId="2" PostId="9318" RevisionGUID="e46eb96a-ecf3-4e22-88aa-527cf7b25597" CreationDate="2011-07-27T19:36:48.930" UserId="863" Text="I'm not sure what country you're in and how much of a budget you have but a good voice actor is hard to find yet can make your production a 100 times better. I recommend not cutting corners and using friends and family.&#xD;&#xA;&#xD;&#xA;I'm in London and our company use SVMK http://www.svmk.co.uk/ and RED24 http://www.red24management.com/ &#xD;&#xA;&#xD;&#xA;Majority voice for radio and tv.&#xD;&#xA;&#xD;&#xA;Goodluck" ContentLicense="CC BY-SA 3.0" />
  <row Id="15498" PostHistoryTypeId="2" PostId="9319" RevisionGUID="5bc92800-8f34-4a74-87fd-56ed596594b2" CreationDate="2011-07-27T19:53:24.917" UserId="1228" Text="I don't suggest trying to re-record fill.  It won't sound the same for a variety of reasons.  It's best to dig through your edits and find any and all small tidbits of fill for each &quot;noise profile&quot; and create long fill tracks (the Reverse tool helps a lot with this).  Once you have a good 5+ seconds of steady fill that's free-and-clear of sound oddities and pitch fluctuations, here's what I suggest that may be a shocker:&#xD;&#xA;&#xD;&#xA;Play both fill (angle edits) at the same time continuously.&#xD;&#xA;&#xD;&#xA;It's a &quot;least common denominator&quot; situation.&#xD;&#xA;&#xD;&#xA;Why do this?  You mask the perceived noise bumps between the two types of noises - just run the edited track and their backfill all at the same time.  By adding noise you will psycho acoustically &quot;remove&quot; perceived noise.  I have had great success with this in even the most facepalm of dialogue scenes.  In some cases when you stay with one mic/angle for a very long time (15+ sec) you can gradually get out of one of the noises... but if it's rapid-fire dialogue there's no such opportunity without drawing attention to it.&#xD;&#xA;&#xD;&#xA;Then when you're in the premix stage, the common noise that is tied together can be processed with a real-time noise suppressor and the levels can be sculpted around the lines on the premix master fader (technically an aux track) - rather than wasting time trying to cajole three different noise profiles to work together in a back-and-forth crossfade dance.&#xD;&#xA;&#xD;&#xA;Plus, this is a driving scene. By creating a steady, albeit slightly louder, noisefloor by running both noises, at least it will be steady in pitch and level - steady enough that your cut sound effects of an engine interior drive will mask most of it's nastiness (plus any wind buffet/whistle you have in the car too).  If you had noise bump in pitch and level by not running them at the same time and just going back and forth, such masking would not work.  Also, if the best noise you can find for backfill has a little bith of seat cloth or rattle movement, your suspension and seat creak sound effects edits should mask that or blend with it.  It's not ideal to have this in the backfill to begin with yet I'm considering a worst-case dialogue scenario here: being in the mind of the sound effects editor and how they can help you.&#xD;&#xA;&#xD;&#xA;This is only my personal dialogue editorial opinion and experience, based upon dealing with both crystal clear and atrociously gnarly sound situations that share this multi-mic or multi-angle complexity.  It is by no means a be-all-end-all.  Mt may just be a good place to start with and see where it goes.&#xD;&#xA;&#xD;&#xA;Good luck! " ContentLicense="CC BY-SA 3.0" />
  <row Id="15499" PostHistoryTypeId="5" PostId="9319" RevisionGUID="e7366bde-ccc2-4a46-a103-78659f5e556d" CreationDate="2011-07-27T19:59:06.437" UserId="1228" Comment="added 314 characters in body; edited body" Text="I don't suggest trying to re-record fill.  It won't sound the same for a variety of reasons.  It's best to dig through your edits and find any and all small tidbits of fill for each &quot;noise profile&quot; and create long fill tracks (the Reverse tool helps a lot with this).  Once you have a good 5+ seconds of steady fill that's free-and-clear of sound oddities and pitch fluctuations, here's what I suggest that may be a shocker:&#xD;&#xA;&#xD;&#xA;Play both fill (angle edits) at the same time continuously.&#xD;&#xA;&#xD;&#xA;It's a &quot;least common denominator&quot; situation.&#xD;&#xA;&#xD;&#xA;Why do this?  You mask the perceived noise bumps between the two types of noises - just run the edited track and their backfill all at the same time.  By adding noise you will psycho acoustically &quot;remove&quot; perceived noise.  I have had great success with this in even the most facepalm of dialogue scenes.  In some cases when you stay with one mic/angle for a very long time (15+ sec) you can gradually get out of one of the noises... but if it's rapid-fire dialogue there's no such opportunity without drawing attention to it.&#xD;&#xA;&#xD;&#xA;Then when you're in the premix stage, the common noise that is tied together can be processed with a real-time noise suppressor and the levels can be sculpted around the lines on the premix master fader (technically an aux track) - rather than wasting time trying to cajole three different noise profiles to work together in a back-and-forth crossfade dance.  Sculpting the levels is helpful in very noisy circumstances, yet must be done careful so as not the pump the dialogue noise suppressor or create an artificially unattractive compression pumping quality where noise hisses in-and-out.  This sculpting of levels is a careful balance which takes time and experience.&#xD;&#xA;&#xD;&#xA;Plus, this is a driving scene. By creating a steady, albeit slightly louder, noisefloor by running both noises, at least it will be steady in pitch and level - steady enough that your cut sound effects of an engine interior drive will mask most of it's nastiness (plus any wind buffet/whistle you have in the car too).  If you had noise bump in pitch and level by not running them at the same time and just going back and forth, such masking would not work.  Also, if the best noise you can find for backfill has a little bith of seat cloth or rattle movement, your suspension and seat creak sound effects edits should mask that or blend with it.  It's not ideal to have this in the backfill to begin with yet I'm considering a worst-case dialogue scenario here: being in the mind of the sound effects editor and how they can help you.&#xD;&#xA;&#xD;&#xA;This is only my personal dialogue editorial opinion and experience, based upon dealing with both crystal clear and atrociously gnarly sound situations that share this multi-mic or multi-angle complexity.  It is by no means a be-all-end-all.  It may just be a good place to start with and see where it goes.&#xD;&#xA;&#xD;&#xA;Good luck! " ContentLicense="CC BY-SA 3.0" />
  <row Id="15500" PostHistoryTypeId="5" PostId="9319" RevisionGUID="84294c3a-3ae9-45c7-b628-da934e43b965" CreationDate="2011-07-27T20:05:17.493" UserId="1228" Comment="added 317 characters in body" Text="I don't suggest trying to re-record fill.  It won't sound the same for a variety of reasons.  It's best to dig through your edits and find any and all small tidbits of fill for each &quot;noise profile&quot; and create long fill tracks (the Reverse tool helps a lot with this).  Once you have a good 5+ seconds of steady fill that's free-and-clear of sound oddities and pitch fluctuations, here's what I suggest that may be a shocker:&#xD;&#xA;&#xD;&#xA;Play both fill (angle edits) at the same time continuously.&#xD;&#xA;&#xD;&#xA;It's a &quot;least common denominator&quot; situation.&#xD;&#xA;&#xD;&#xA;Why do this?  You mask the perceived noise bumps between the two types of noises - just run the edited track and their backfill all at the same time.  By adding noise you will psycho acoustically &quot;remove&quot; perceived noise.  I have had great success with this in even the most facepalm of dialogue scenes.  In some cases when you stay with one mic/angle for a very long time (15+ sec) you can gradually get out of one of the noises... but if it's rapid-fire dialogue there's no such opportunity without drawing attention to it.&#xD;&#xA;&#xD;&#xA;Then when you're in the premix stage, the common noise that is tied together can be processed with a real-time noise suppressor and the levels can be sculpted around the lines on the premix master fader (technically an aux track) - rather than wasting time trying to cajole three different noise profiles to work together in a back-and-forth crossfade dance.  Sculpting the levels is helpful in very noisy circumstances, yet must be done careful so as not the pump the dialogue noise suppressor or create an artificially unattractive compression pumping quality where noise hisses in-and-out.  This sculpting of levels is a careful balance which takes time and experience.  There's a particular scene in the new *Robin Hood* film when Russell Crowe is down a by river in daytime and taking with somebody else - it is an great example of this 'hiss pumping' and what can happen when done wrong.  Maybe it was fixed for the DVD/BluRay mix yet in the theater it was very unnerving to my ears.&#xD;&#xA;&#xD;&#xA;Plus, this is a driving scene. By creating a steady, albeit slightly louder, noisefloor by running both noises, at least it will be steady in pitch and level - steady enough that your cut sound effects of an engine interior drive will mask most of it's nastiness (plus any wind buffet/whistle you have in the car too).  If you had noise bump in pitch and level by not running them at the same time and just going back and forth, such masking would not work.  Also, if the best noise you can find for backfill has a little bith of seat cloth or rattle movement, your suspension and seat creak sound effects edits should mask that or blend with it.  It's not ideal to have this in the backfill to begin with yet I'm considering a worst-case dialogue scenario here: being in the mind of the sound effects editor and how they can help you.&#xD;&#xA;&#xD;&#xA;This is only my personal dialogue editorial opinion and experience, based upon dealing with both crystal clear and atrociously gnarly sound situations that share this multi-mic or multi-angle complexity.  It is by no means a be-all-end-all.  It may just be a good place to start with and see where it goes.&#xD;&#xA;&#xD;&#xA;Good luck! " ContentLicense="CC BY-SA 3.0" />
  <row Id="15501" PostHistoryTypeId="2" PostId="9320" RevisionGUID="9e7a23db-1a1c-40ca-8773-b4cee7397e18" CreationDate="2011-07-27T20:09:57.350" UserId="1252" Text="Soundman OKM with minidisc recorder served me well for many years.&#xD;&#xA;They are realy discreet and I could not fault the sound quality from capsules of that size, just need to be careful with cable / self noise.&#xD;&#xA;The foam capsule covers (earbuds) are not the best quality, but mics came with one spare set.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15502" PostHistoryTypeId="2" PostId="9321" RevisionGUID="b417d201-8713-421e-a031-cdabbfaa9c50" CreationDate="2011-07-27T20:25:19.170" UserId="1216" Text="Hello All,&#xD;&#xA;&#xD;&#xA;I have a perhaps strange question. First let me introduce it with an observation i made today during field recording. I just got back to my studio and I am listening to the recordings and I am quite happy with the overall sound, but i am bothered by something.  &#xD;&#xA;Today I was recording bypassing cars on a relatively busy street with cars driving at 50 km/h speed. I was monitoring through my headphones and using an m/s setup (mkh30/20). I noticed that all the cars approaching had a distinct shorter arrival time in comparison to their passing time. Or better said: the envelope was about 1:2 being 5 seconds fade in and 10 seconds fade out. (I hope anyone understands this :)  &#xD;&#xA;My microphones where pointing at the road in a 90 degree (horizontal) angle. So the sounds theoretically should be approaching 1:1. In the studio I am still hearing this effect. Oh and yes I am using an MS matrix to fold to stereo :)&#xD;&#xA;&#xD;&#xA;OK so now finally my questions:&#xD;&#xA;&#xD;&#xA;1. Am I going crazy or is this just Doppler playing with my senses?&#xD;&#xA;2. Is this why SFX recordists' normally point there mic's at the vehicle?&#xD;&#xA;&#xD;&#xA;I will upload a short snippet via Soundcloud asap. Just need the find an isolated by-pass.&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;Greetings,&#xD;&#xA;&#xD;&#xA;Arnoud Traa&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15503" PostHistoryTypeId="1" PostId="9321" RevisionGUID="b417d201-8713-421e-a031-cdabbfaa9c50" CreationDate="2011-07-27T20:25:19.170" UserId="1216" Text="The Speed of Sound: Why does the sound of a car approaching lasts shorter than passing on?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15504" PostHistoryTypeId="3" PostId="9321" RevisionGUID="b417d201-8713-421e-a031-cdabbfaa9c50" CreationDate="2011-07-27T20:25:19.170" UserId="1216" Text="&lt;field-recording&gt;&lt;cars&gt;&lt;speed-of-sound&gt;&lt;doppler&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15505" PostHistoryTypeId="2" PostId="9322" RevisionGUID="ca9c92a3-c23d-4149-a60c-12442ad1eb6f" CreationDate="2011-07-27T20:40:10.510" UserDisplayName="user49" Text="Be careful double (or triple) filling as the cumulative noise may not serve you so well - it may be better to cut the dialogue rather tightly (almost manually gated, but with a ramp in/out that helps smooth) and have the fill on seperate fill-only tracks, so that once each line of dialogue is playing at a good level, just enough fill can be ramped in and out to hide the edits... So maybe track 1 is one mic, track 2 is fill for that mic, track 3 is another mic, track 4 is a fill track for that mic etc.... Then the mixer has the option to use the minimum fill as required...&#xD;&#xA;Apart from that what will also help save your bacon will be to make very careful notes about what speed/moves the vehicle is doing and then go record FX only of the vehicle so you have good clean interesting sounds to help support &amp; mask the noise. As a minimum I would have an engine mic, exhaust mic and interior mics.... Do a lot of recording this way and then cut the clean FX tracks to match the motor/road noise behind your dialogue....&#xD;&#xA;Depending on whats onscreen another possibility is to also use a car pass to hide moments where its impossible to smoothly cross between takes..." ContentLicense="CC BY-SA 3.0" />
  <row Id="15506" PostHistoryTypeId="2" PostId="9323" RevisionGUID="ae327e2f-8286-4244-8faa-d06be6c152f3" CreationDate="2011-07-27T21:25:36.947" UserId="18160" Text="If it were me I would seriously consider ADRing it if it needs to sound good but you mentioned in a comment it was a &quot;found footage&quot; situation in which case the other 2 answers are the best advice I have ever seen with this sort of situation." ContentLicense="CC BY-SA 3.0" />
  <row Id="15507" PostHistoryTypeId="5" PostId="9323" RevisionGUID="6a9bc0d1-66ec-44a0-a17d-435b44102bff" CreationDate="2011-07-27T21:32:18.340" UserId="18160" Comment="added 352 characters in body" Text="If it were me I would seriously consider ADRing it if it needs to sound good but you mentioned in a comment it was a &quot;found footage&quot; situation in which case the other 2 answers are the best advice I have ever seen with this sort of situation.&#xD;&#xA;&#xD;&#xA;But my own experience with trying to loop ambient noise either from a car interior or exterior is extremely hard because of the infinite variations in the sound (this isn't just tape hiss or hum). I think you would need at least 10 seconds of uninterrupted ambience cut together to be able to loop it - otherwise it will sound like a broken record." ContentLicense="CC BY-SA 3.0" />
  <row Id="15508" PostHistoryTypeId="2" PostId="9324" RevisionGUID="7d4bafbe-1a39-4046-8bb3-b70f22441ef2" CreationDate="2011-07-27T22:01:39.067" UserId="28" Text="That makes sense to me. The sound approaches you, as the vehicle approaches you. (Call that a double approach.)&#xD;&#xA;&#xD;&#xA;Then, the source passes you, and the sound just reaches back to you, at a slightly impaired speed, due to the velocity of the source AWAY from you. Hence doppler pitch shifting. Pitch (or frequency) is measured in speed, cycles per second. And if the vehicle is moving towards you, (and you are stationary) the frequency is slightly higher. As the source moves away, it will be slower as it reaches you.&#xD;&#xA;&#xD;&#xA;I am CERTAIN, someone else can explain this better. With equations and stuff.&#xD;&#xA;&#xD;&#xA;Can't answer your second question. Sorry." ContentLicense="CC BY-SA 3.0" />
  <row Id="15509" PostHistoryTypeId="2" PostId="9325" RevisionGUID="699eae68-93d1-465a-87c2-7eb6d51763c1" CreationDate="2011-07-27T22:04:41.237" UserId="845" Text="Damn. @Joel beat me to the Doppler explanation.&#xD;&#xA;&#xD;&#xA;Yeah, I guess the 1:2 makes sense given that the sound on approach ends up all smooshed, and therefore higher pitched, and the ones on departure are elongated, thus lower pitched.&#xD;&#xA;&#xD;&#xA;The other thought is that it could be psycho-acoustic.  If you're listening for the beginning of a fade in from 0dB when your noise floor is 50-60dB, unless it was really distinct, the sound would have to get up to say 40dB before it would be able to distinguish itself in any way.  I'm pulling numbers out of nowhere here, but it seems to make sense.&#xD;&#xA;&#xD;&#xA;Take a look at the waveform again.  Your ambient sound will be a fairly thick bar of pink-ish noise.  Where does each passby begin to be visible out of the noise?  Where would it become visible on a less busy street, or even on a really quiet one?&#xD;&#xA;&#xD;&#xA;Essentially, your brain is unable to distinguish one sound from another until something specific gets loud enough for your brain to catch on.  Even if you know exactly what you're listening for, if it's similar enough to everything else that's going on, it'll still take a while.&#xD;&#xA;&#xD;&#xA;The really psycho-acoustic bit comes in when you are listening to the car depart.  Because your brain has latched onto that particular sound, it can remain focused on it much further down into the ambient noise.  In fact, I'd wager that it's likely the case that your brain will continue to think it's hearing that unique car long after the sound is actually indistinguishable.&#xD;&#xA;&#xD;&#xA;I may be completely wrong on this one, but it feels pretty accurate.  I've done a lot of that kind of stuff while mixing.  Focusing on one sound to the exclusion of everything else and forgetting that the rest of the mix is even there." ContentLicense="CC BY-SA 3.0" />
  <row Id="15510" PostHistoryTypeId="5" PostId="9325" RevisionGUID="1179430b-6d22-4d6c-a01d-7beb5b38b4a7" CreationDate="2011-07-27T22:10:25.577" UserId="845" Comment="added 283 characters in body" Text="Damn. @Joel beat me to the Doppler explanation.&#xD;&#xA;&#xD;&#xA;Yeah, I guess the 1:2 makes sense given that the sound on approach ends up all smooshed, and therefore higher pitched, and the ones on departure are elongated, thus lower pitched.&#xD;&#xA;&#xD;&#xA;The other thought is that it could be psycho-acoustic.  If you're listening for the beginning of a fade in from 0dB when your noise floor is 50-60dB, unless it was really distinct, the sound would have to get up to say 40dB before it would be able to distinguish itself in any way.  I'm pulling numbers out of nowhere here, but it seems to make sense.&#xD;&#xA;&#xD;&#xA;Take a look at the waveform again.  Your ambient sound will be a fairly thick bar of pink-ish noise.  Where does each passby begin to be visible out of the noise?  Where would it become visible on a less busy street, or even on a really quiet one?&#xD;&#xA;&#xD;&#xA;Essentially, your brain is unable to distinguish one sound from another until something specific gets loud enough for your brain to catch on.  Even if you know exactly what you're listening for, if it's similar enough to everything else that's going on, it'll still take a while.&#xD;&#xA;&#xD;&#xA;The really psycho-acoustic bit comes in when you are listening to the car depart.  Because your brain has latched onto that particular sound, it can remain focused on it much further down into the ambient noise.  In fact, I'd wager that it's likely the case that your brain will continue to think it's hearing that unique car long after the sound is actually indistinguishable.&#xD;&#xA;&#xD;&#xA;In turn, because your brain is so focused on the sound that just passed by, it doesn't notice the next one sneaking up behind.  So it's not until the next is almost here that your brain looks up from the pudding to see the clown with the great big enginey knife standing over it.&#xD;&#xA;&#xD;&#xA;I may be completely wrong on this one, but it feels pretty accurate.  I've done a lot of that kind of stuff while mixing.  Focusing on one sound to the exclusion of everything else and forgetting that the rest of the mix is even there." ContentLicense="CC BY-SA 3.0" />
  <row Id="15512" PostHistoryTypeId="2" PostId="9327" RevisionGUID="e3defc2c-d6eb-4918-bc0f-bb728b6abcc5" CreationDate="2011-07-27T23:40:43.887" UserId="29" Text="Pro talent agencies or full-on interviewin/auditioning people in person are, IMO, the best ways to get solid talent with positive outlooks and solid work ethics. I've worked with STARS Agency here in SF, and had great success: All supremely professional, and a good talent base (i.e., voice styles to choose from). Not sure how far they extend in terms of geographical reach.&#xD;&#xA;&#xD;&#xA;Knowing, networking, and hanging with actors, as Utopia said, also can land you with your own killer network of vocal talents that you can push a bit farther and rely upon more readily." ContentLicense="CC BY-SA 3.0" />
  <row Id="15513" PostHistoryTypeId="2" PostId="9328" RevisionGUID="4f9d281b-7ed7-42b8-9549-fb0044384bab" CreationDate="2011-07-28T01:02:07.130" UserId="1153" Text="With regards to myself, I started making music first before discovering sound design and now find that this is in turn working its way back and influencing my compositions: my choice of timbres, how I compose the piece and particularly the sources I use - in my sound design work I tend to record everything myself (for the moment anyways) and have started incorporating this into my music using it overtly as samples and/or covertly such as in a piece I'm working on at the moment where I cut up a crowd stereo ambience I recorded to get some interesting glitch sound.&#xD;&#xA;&#xD;&#xA;Most of my music is Electronica / IDM / Glitch kind of stuff so I think in my case it lends itself easier to the composition process perhaps more than dance styled music and definitely in regards to pop and rock. &#xD;&#xA;&#xD;&#xA;***So how do you find your Sound Design skills influence your compositions (and production techniques)?***&lt;br&gt;&lt;br&gt;&#xD;&#xA;The Arrangement?&lt;br&gt;&#xD;&#xA;Source Choice?&lt;br&gt;&#xD;&#xA;Mixing / Editing?&lt;br&gt;&#xD;&#xA;Frequency range?&lt;br&gt;&#xD;&#xA;Instrument / Timbre selection?&lt;br&gt;&#xD;&#xA;Choice of Effects?&lt;br&gt;&#xD;&#xA;&#xD;&#xA;***OR* do you have different approaches for the two?**&#xD;&#xA;&#xD;&#xA;Be interesting to hear your thoughts and opinions :)&lt;br&gt;&lt;br&gt;&#xD;&#xA;*Please mention what style(s) of music you mainly create in or are referencing in your response as it'll help give an indication of how well it applies to different genres.* &#xD;&#xA;&#xD;&#xA;-------&#xD;&#xA;There is also a SC group created by 'Lenny' where some SSD members have posted tracks if people would like to join and share their music:&#xD;&#xA;http://soundcloud.com/groups/social-sound-design/tracks&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15514" PostHistoryTypeId="1" PostId="9328" RevisionGUID="4f9d281b-7ed7-42b8-9549-fb0044384bab" CreationDate="2011-07-28T01:02:07.130" UserId="1153" Text="Music Makers: Do you find your Sound Design skills influence your compositions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15515" PostHistoryTypeId="3" PostId="9328" RevisionGUID="4f9d281b-7ed7-42b8-9549-fb0044384bab" CreationDate="2011-07-28T01:02:07.130" UserId="1153" Text="&lt;music&gt;&lt;composition&gt;&lt;sound-design&gt;&lt;soundcloud&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15516" PostHistoryTypeId="2" PostId="9329" RevisionGUID="bdb61065-ad81-4adc-8e13-71e726aa0996" CreationDate="2011-07-28T01:04:50.000" UserId="1228" Text="+1 to Rene.  I actually did a discussion about the C4 for dialogue noise suppression on my blog with before/after samples that you may find useful: [http://www.stavrosound.com/blog/wordpress/2011/07/dialogue-clean-out-the-noise/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.stavrosound.com/blog/wordpress/2011/07/dialogue-clean-out-the-noise/&#xD;&#xA;&#xD;&#xA;The C4 is my day-to-day go-to when I don't have the luxury of working with a CEDAR.  But it's not suitable all that well for sound effects because it gently softens/rounds the sharp transients (of say, debris sounds)." ContentLicense="CC BY-SA 3.0" />
  <row Id="15518" PostHistoryTypeId="2" PostId="9331" RevisionGUID="a242b55b-61bd-48a6-916b-e29aaa56f001" CreationDate="2011-07-28T01:19:59.973" UserId="1228" Text="If you can run fanless heatsinks, that helps suppress the noise level the machine makes if it must stay local - I run a fat Thermaltake on my Q6600 and it runs like a champ.  I also snagged an Asus fanless nVidia 5800GT card.  So the system has fans, just less of them, especially the smaller and nosier ones of the CPU and GPU.  I actually had to do a little research into MacPros architecture to learn about the fanless implementations.&#xD;&#xA;&#xD;&#xA;Of course, I agree with others that the box should be moved elsewhere and Geffen boxes are great.  Although, if it has to stay local, this is a small-cost solution.  Although it does require some computer tinkering if you've already got a built machine you're working with ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15519" PostHistoryTypeId="2" PostId="9332" RevisionGUID="347cbf68-83d1-4f3d-8ee1-077335fc2f47" CreationDate="2011-07-28T01:20:49.377" UserId="1152" Text="I have a spare guitar pickup for grabbing sounds like this." ContentLicense="CC BY-SA 3.0" />
  <row Id="15520" PostHistoryTypeId="2" PostId="9333" RevisionGUID="fe47887f-f2c9-4f4d-a438-73a4fbed3e1e" CreationDate="2011-07-28T01:32:59.307" UserId="1218" Text="Sound design is completely inseparable from my compositions these days.  When I sit down to write, my natural output takes the form of abstract sound-scapes.  Setting up a complex modulation and processing the results is just too alluring NOT to do!&#xD;&#xA;&#xD;&#xA;If I were writing traditional, tonal music then my answer might be different." ContentLicense="CC BY-SA 3.0" />
  <row Id="15521" PostHistoryTypeId="2" PostId="9334" RevisionGUID="452d225b-dd89-4f5b-8a42-c23800633712" CreationDate="2011-07-28T01:38:50.387" UserId="693" Text="I find that my music and my sound design are very symbiotic and constantly influence each other heavily. Since I started out making Industrial, Electro, Experimental, Noise and Ambient music it's been like this since the start. Likely because those genres have a strong focus on found sound and experimentation.&#xD;&#xA;&#xD;&#xA;I also do sound design in the music realm as a preset designer for companies.&#xD;&#xA;&#xD;&#xA;I do have to say that a decent chunk of my music output is quite danceable and features a ton of sound design. You can find my work here: http://soundcloud.com/syndicate-synthetique&#xD;&#xA;&#xD;&#xA;I design mostly everything from scratch, whether it's my synth patches, dsp presets, samples, etc. I never use loops and presets are only jump off points at best. That is unless it's a sample playback synth/sampler for an acoustic instrument or something along those lines. I'm obviously not going to be mucking about with a good solid Cello patch in Kontakt if I still want a solid Cello patch. I also might use a one-shot from a sample library for percussion at times if I can't make it myself." ContentLicense="CC BY-SA 3.0" />
  <row Id="15522" PostHistoryTypeId="2" PostId="9335" RevisionGUID="cf2b058b-6767-449f-be45-46dc0f90a193" CreationDate="2011-07-28T02:08:55.033" UserId="693" Text="I have an audio post gig for an indy film that I just picked up and the editor is using Vegas. &#xD;&#xA;&#xD;&#xA;I've been looking around and I can't seem to find detailed or clear information about Vegas' export/exchange options.&#xD;&#xA;&#xD;&#xA;What format(s) does it support... OMF, AAF, MXF, BXF, XML?&#xD;&#xA;&#xD;&#xA;Does anyone have a workflow or advice for exchanging between the two? &#xD;&#xA;&#xD;&#xA;Any positive experiences or horror stories?&#xD;&#xA;&#xD;&#xA;Oh, and for posterity in case anyone has any suggestions, I'm on an Intel Mac with Pro Tools 9. I also have Reaper, Logic, Premiere and Final Cut." ContentLicense="CC BY-SA 3.0" />
  <row Id="15523" PostHistoryTypeId="1" PostId="9335" RevisionGUID="cf2b058b-6767-449f-be45-46dc0f90a193" CreationDate="2011-07-28T02:08:55.033" UserId="693" Text="Vegas file exchange with Pro Tools" ContentLicense="CC BY-SA 3.0" />
  <row Id="15524" PostHistoryTypeId="3" PostId="9335" RevisionGUID="cf2b058b-6767-449f-be45-46dc0f90a193" CreationDate="2011-07-28T02:08:55.033" UserId="693" Text="&lt;vegas&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15525" PostHistoryTypeId="5" PostId="9324" RevisionGUID="325a42a9-8ec9-4de0-a446-7ba66c62eb2f" CreationDate="2011-07-28T03:00:58.057" UserId="28" Comment="added 8 characters in body" Text="That makes sense to me. The sound approaches you, as the vehicle approaches you. (Call that a double approach.)&#xD;&#xA;&#xD;&#xA;Then, the source passes you, and the sound just reaches back to you, at a slightly impaired speed, due to the velocity of the source AWAY from you. Hence doppler pitch shifting. Pitch (or frequency) is measured in speed, cycles per second. And if the vehicle is moving towards you, (and you are stationary) the frequency is faster (higher). As the source moves away, it will be slower (lower) as it reaches you.&#xD;&#xA;&#xD;&#xA;I am CERTAIN, someone else can explain this better. With equations and stuff.&#xD;&#xA;&#xD;&#xA;Can't answer your second question. Sorry." ContentLicense="CC BY-SA 3.0" />
  <row Id="15526" PostHistoryTypeId="2" PostId="9336" RevisionGUID="55cc1b52-57db-49d0-989f-24806d73ff51" CreationDate="2011-07-28T03:13:54.990" UserId="845" Text="I will apoligise in advance for going all heavy on you, but I find the question thoroughly fascinating.&#xD;&#xA;&#xD;&#xA;This is something I've been thinking about a lot lately.  The basic question was, am I a sound designer or a musician?  The answer that I've come to is that they're actually the same thing.  It's just a question of the metric you're working under.  Music is the organization of sound with its nexus at harmony, dissonance, and tonality.  Sound design is the organization of sound under the rubric of texture and harmonic structure.&#xD;&#xA;&#xD;&#xA;I guess my argument is that there are so many points at which the two overlap - adding EQ and reverb to music, tuning sound design elements to fit with the key the score is written in - that you kind of can't differentiate between the two.&#xD;&#xA;&#xD;&#xA;But it also to a degree depends on what kind of music/composition your talking about.  I make mainly IDM-ish, aleatoric-ish, heavily sample-based music.  So all of the sounds that I use I have made myself, and made to fit a particular part of a particular piece.  I like doing this, I'm good at it.&#xD;&#xA;&#xD;&#xA;On the other side, more &quot;traditional composers&quot; - I shudder to use the term - take already well established sounds and weave them into hitherto unheard configurations, something that I hate doing (probably because I'm bad at it).&#xD;&#xA;&#xD;&#xA;For my own ears, I find myself more and more uninterested in music made with traditional physical instruments.  To a great degree they have in my eyes become clich&amp;eacute; (or perhaps I'm just a disenfranchised, jaded, sound snob.  Who knows?).  However, to many people the what-the-hell-is-that-godawful-racket music that I make is, well... a godawful racket.  So who knows?  It really depends on the scale by which you measure your sounds.&#xD;&#xA;&#xD;&#xA;I have come to the conclusion that simple musical composition - i.e. composing music for established sounds: oboe, flute, guitar, drums, piano, &amp;tc. - is really macro sound design.  It's kind of like the relationship of chemistry and biology to quantum physics.  Chemistry and biology are in effect macro-quantum physics, the study and manipulation of the effects of quantum interactions.  By the same token music is the manipulation of quantum-aural interactions.  Sound designers manipulate the wobbling strings that give shape to the atoms which composers combine into complex musical molecules.&#xD;&#xA;&#xD;&#xA;However, I don't think that that necessarily implies any kind of value judgement (which I really don't want to be construed as making here).  Sound Design is not any more deep, complex, subtle, moving, and intense than Macro-aural music composition, they're just different angles of looking at the same thing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15527" PostHistoryTypeId="5" PostId="9336" RevisionGUID="30fa29c2-b6c6-44cc-baf9-055e258951e8" CreationDate="2011-07-28T05:13:42.893" UserId="845" Comment="added 168 characters in body" Text="I will apoligise in advance for going all heavy on you, but I find the question thoroughly fascinating.&#xD;&#xA;&#xD;&#xA;This is something I've been thinking about a lot lately.  The basic question was, am I a sound designer or a musician?  The answer that I've come to is that they're actually the same thing.  It's just a question of the metric you're working under.  Music is the organization of sound with its nexus at harmony, dissonance, and tonality.  Sound design is the organization of sound under the rubric of texture and harmonic structure.&#xD;&#xA;&#xD;&#xA;I guess my argument is that there are so many points at which the two overlap - adding EQ and reverb to music, tuning sound design elements to fit with the key the score is written in - that you kind of can't differentiate between the two.&#xD;&#xA;&#xD;&#xA;But it also to a degree depends on what kind of music/composition your talking about.  I make mainly IDM-ish, aleatoric-ish, heavily sample-based music.  So all of the sounds that I use I have made myself, and made to fit a particular part of a particular piece.  So, in short, yes.  My sound design skillz do influence how I make music.&#xD;&#xA;&#xD;&#xA;What I find so interesting about the question is how the two topics are related. If you look at the other side, the more &quot;traditional composers&quot; - I shudder to use the term - take already well established sounds and weave them into hitherto unheard configurations, something that I hate doing (probably because I'm bad at it).&#xD;&#xA;&#xD;&#xA;For my own ears, I find myself more and more uninterested in music made with traditional physical instruments.  To a great degree they have in my eyes become clich&amp;eacute; (or perhaps I'm just a disenfranchised, jaded, sound snob.  Who knows?).  However, to many people the what-the-hell-is-that-godawful-racket music that I make is, well... a godawful racket.  So who knows?  It really depends on the scale by which you measure your sounds.&#xD;&#xA;&#xD;&#xA;I have come to the conclusion that simple musical composition - i.e. composing music for established sounds: oboe, flute, guitar, drums, piano, &amp;tc. - is really macro sound design.  It's kind of like the relationship of chemistry and biology to quantum physics.  Chemistry and biology are in effect macro-quantum physics, the study and manipulation of the effects of quantum interactions.  By the same token music is the manipulation of quantum-aural interactions.  Sound designers manipulate the wobbling strings on the micro level that give shape to the atoms which composers combine into complex musical molecules on the macro level.&#xD;&#xA;&#xD;&#xA;However, I don't think that that necessarily implies any kind of value judgement (which I really don't want to be construed as making here).  Sound Design is not any more deep, complex, subtle, moving, and intense than Macro-aural music composition, they're just different angles of looking at the same thing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15528" PostHistoryTypeId="2" PostId="9337" RevisionGUID="e04cd8ef-5abe-4002-aff3-df2fa1cce28c" CreationDate="2011-07-28T06:24:31.683" UserId="407" Text="I have the Soundman OKM, and I find the noise floor a bit too loud for my taste (however the noise floor isn't helped by the zoom H4 that I usually plug it into). Beside the noise floor the quality of the recordings are pretty good. One thing to be aware of is that they are pretty sensitive to wind noise, so out door recordings or moving whilst wearing them can get quite noisy. You can get a pair of [these][1] but then they are not so discreet.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.thomann.de/gb/soundman_windschutz_fuer_okm_mikrofone.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="15529" PostHistoryTypeId="2" PostId="9338" RevisionGUID="c6360902-9644-41f8-9ab4-161150e2f490" CreationDate="2011-07-28T06:54:54.320" UserId="693" Text="After an absurd amount of research for such a simple thing I basically found out that Vegas will export AAF and Pro Tools 9 should be able to import it.&#xD;&#xA;&#xD;&#xA;I'd still love to hear if there are any known issues, settings preferences or workflows.&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15530" PostHistoryTypeId="2" PostId="9339" RevisionGUID="01a40974-c11e-4102-8bb1-507e12c9e70d" CreationDate="2011-07-28T07:17:13.307" UserId="261" Text="Hey,&#xD;&#xA;&#xD;&#xA;Would anybody here happen to have recordings of children babbling/laughing/chatting away?&#xD;&#xA;More specifically aged between 4 and 12?&#xD;&#xA;&#xD;&#xA;Will swap sounds you send me for recordings of a football game here in Zürich (lots of cool chanting, jeering, booing)&#xD;&#xA;&#xD;&#xA;Anybody interested?&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 3.0" />
  <row Id="15531" PostHistoryTypeId="1" PostId="9339" RevisionGUID="01a40974-c11e-4102-8bb1-507e12c9e70d" CreationDate="2011-07-28T07:17:13.307" UserId="261" Text="REQUEST: Children laughing/singing/babbling" ContentLicense="CC BY-SA 3.0" />
  <row Id="15532" PostHistoryTypeId="3" PostId="9339" RevisionGUID="01a40974-c11e-4102-8bb1-507e12c9e70d" CreationDate="2011-07-28T07:17:13.307" UserId="261" Text="&lt;sound-effects&gt;&lt;request&gt;&lt;recording&gt;&lt;exchange&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15533" PostHistoryTypeId="2" PostId="9340" RevisionGUID="f8c4cdd5-e790-4e37-a110-b4242f9bda64" CreationDate="2011-07-28T07:17:41.950" UserId="1228" Text="My 2 cents:  &quot;Sir, please away from the SD2.  Sir, I repeat, please turn around gently and slowly step away from the SD2 right now&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15534" PostHistoryTypeId="2" PostId="9341" RevisionGUID="57e2610a-5b59-4049-aa1e-ab6d7de07fdd" CreationDate="2011-07-28T07:52:40.830" UserId="1225" Text="I often caught that noise while recording with Zoom H4n and not turning off my cellfone." ContentLicense="CC BY-SA 3.0" />
  <row Id="15535" PostHistoryTypeId="2" PostId="9342" RevisionGUID="e1e9194f-33fb-475c-ac46-16e78ba9e826" CreationDate="2011-07-28T09:37:00.680" UserId="1067" Text="Thanks Paul for linking to my site's list of budget in-ear and headworn mics.&#xD;&#xA;&#xD;&#xA;Sound Professionals' new (or newish) MS-TFB-2s do have a very good spec for the money, with what looks like a pretty flat frequency response, 19dB self-noise and sensitivity of 25mV/Pa.&#xD;&#xA;&#xD;&#xA;The sample recordings made with them on the Sound Professionals' website are of a jazz band playing in a cafe. It'd be interesting to hear them used in a quieter environment.&#xD;&#xA;&#xD;&#xA;I got a lot of pleasure using a pair of Lenny Lombardo's Sonic Studios mics with the handy headband/windshield he makes for them. But they've now given up the ghost, or else their little preamp has, and a pair of Shure WL-183s are now housed in the windshield instead. The WL-183s are good mics for the price.&#xD;&#xA;&#xD;&#xA;Nowadays I'm using two DPA 2006C mics fixed to a Beyerdynamic headband with jubilee clips along with a MixPre-D and a Sony PCM-M10. Very happy with the sound, but it's not a totally discreet setup!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15536" PostHistoryTypeId="5" PostId="9342" RevisionGUID="a9b00132-74bd-432b-86ea-7c68374daaea" CreationDate="2011-07-28T09:50:59.050" UserId="1067" Comment="deleted 140 characters in body" Text="Thanks Paul for linking to my site's list of budget in-ear and headworn mics.&#xD;&#xA;&#xD;&#xA;Sound Professionals' new (or newish) MS-TFB-2s do have a very good spec for the money, with what looks like a pretty flat frequency response, 19dB self-noise and sensitivity of 25mV/Pa.&#xD;&#xA;&#xD;&#xA;The sample recordings made with them on the Sound Professionals' website are of a jazz band playing in a cafe. It'd be interesting to hear them used in a quieter environment.&#xD;&#xA;&#xD;&#xA;I got a lot of pleasure using a pair of Lenny Lombardo's Sonic Studios mics with the handy headband/windshield he makes for them. But they've now given up the ghost, or else their little preamp has, and a pair of Shure WL-183s are now housed in the windshield instead.&#xD;&#xA;&#xD;&#xA;The WL-183s are good mics for the price and have been used by some accomplished nature recordists." ContentLicense="CC BY-SA 3.0" />
  <row Id="15537" PostHistoryTypeId="5" PostId="9334" RevisionGUID="68d87c18-3819-40a5-9c96-21ba340198e7" CreationDate="2011-07-28T10:01:48.953" UserId="693" Comment="Consolidating my additional comments to my main post." Text="I find that my music and my sound design are very symbiotic and constantly influence each other heavily. Since I started out making Industrial, Electro, Experimental, Noise and Ambient music it's been like this since the start. Likely because those genres have a strong focus on found sound and experimentation.&#xD;&#xA;&#xD;&#xA;I also do sound design in the music realm as a preset designer for companies.&#xD;&#xA;&#xD;&#xA;I do have to say that a decent chunk of my music output is quite danceable and features a ton of sound design. You can find my work here: http://soundcloud.com/syndicate-synthetique&#xD;&#xA;&#xD;&#xA;I design mostly everything from scratch, whether it's my synth patches, dsp presets, samples, etc. I never use loops and presets are only jump off points at best. That is unless it's a sample playback synth/sampler for an acoustic instrument or something along those lines. I'm obviously not going to be mucking about with a good solid Cello patch in Kontakt if I still want a solid Cello patch. I also might use a one-shot from a sample library for percussion at times if I can't make it myself. For my music as well as much as I possibly can with my post work I prefer/strive for completely personally created/captured original content unless there's some sort of personal or artistic value or maybe financial, technical or unavoidable reason or limitation requiring the use of a source not created by myself or gifted and approved by a friend and/or colleague.&#xD;&#xA;&#xD;&#xA;Sure, we all have to hit the library at times. Sometimes more than desired but I try. It makes me happy and feels amazing when it can be done.&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Edited by moving my following additional comments to my initial comment/this main post. Sorry if this gets a bit long... It's a good topic that ripped the gag off of me concerning a lot of current issues I've been navigating. I'm sure there are a lot of others out there (and here) that are dealing with similar scenarios as well.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I also intended to comment that I find it strange that Music, Theater and Post all have sound designer positions, yet they think of, regard or classify them in very different ways. In my opinion I find them all, at their very base core to be essentially the same since they all involve creating something out of nothing and you're effectively &quot;designing&quot; sound(s) in the end. So while each sector has it's own quirks, slight differences and add-on's... It's all seemingly a different format or market to me with mostly negligible and some major technical differences. I'm equally at home designing a sample library or preset collection for music as I am making a sound effects library or doing sound design for picture (and even any other audio post task) as well as selecting and triggering sounds and mixing for theater or mixing live sound. Audio Post and Music have my focus, the most experience and strengths, but I'm capable of doing an standard/acceptable and potentially great job with the other fields.&#xD;&#xA;&#xD;&#xA;There are post sound designers than can't make music and musicians that can't &quot;design&quot; their own sounds... or even making their own presets. Just like there's musicians and recording engineers that can't record / make their own music. I find that in todays market, I'm extremely lucky I can do both competently considering what little work there is and budgets typically being at 1/4th-1/10th what they used to be pre-9/11 (Yes, there are exceptions). I'm now pushed to market myself and my services in ways I never needed or considered doing and providing services I never wanted to (I hate doing ADR, yet I can do it well and accept the gig if it pays decently). To me, music is very personal and I don't like it being &quot;for sale&quot;. With audio post I'm absurdly creative, yet I'm ok with suggestions and changes since I understand that it's not about &quot;my vision&quot;. It's about the story and the directors vision. The line is easy for me to draw and navigate in that respect. Thus I've been tapping into music with preset &amp; sample libraries with the odd score/music spot &amp; I'm ok with that.&#xD;&#xA;&#xD;&#xA;Since I've opened myself up to music for other projects/people it's given me a new challenge. Sometimes I surprise myself and I totally nail it to a point where it seems that it's almost too easy and I was born to do this. Then there are other times I think I nail it and they now say they want(ed) something totally different (or they changed their minds once they actually heard what they originally described and asked for, which is entirely possible and highly likely imo). I mostly think they changed their mind as opposed to me understanding them incorrectly (but then again we're all biased towards our own work and own decisions). So in the end it seems that either way it ends up being a challenge. I'm now left wondering if long term score composers have to deal with the same thing or if I'm just still too wet behind the ears with this particular type of gig. Music is very subjective to one's self as well as to clients and others, whereas sound design is largely pretty cut and dry with the odd bit of subjectivity when dealing with extremes. &#xD;&#xA;&#xD;&#xA;I'll stop running my mouth now though. I'm going on a bit much and need to get back to work now.&#xD;&#xA;&#xD;&#xA;Ok, Good Topic! " ContentLicense="CC BY-SA 3.0" />
  <row Id="15538" PostHistoryTypeId="2" PostId="9343" RevisionGUID="24f31623-4e7c-4624-81af-e7c51d7e1a75" CreationDate="2011-07-28T11:18:20.960" UserId="654" Text="Im not completely sure on AIFF but what Ive heard over the years:&#xD;&#xA;AIFF, the original apple audio file (?)&#xD;&#xA;&#xD;&#xA;SD2, an AIFF with timestamping, developed for interop between PT and media composer. mac only.&#xD;&#xA;&#xD;&#xA;Wav, the microsoft file&#xD;&#xA;&#xD;&#xA;BWF, a wav with a monstrous, agreed, standardised metadata chunk, which is malleable, developed for archiving and longevity, as already mentioned - recommended as a standard, works on mac and pc.&#xD;&#xA;&#xD;&#xA;MXF is the Media Exchange Format wrapper, and is in a &quot;non-divergence&quot; metadata agreement with the Advanced Authoring format, the AAF (more open version of OMF). Its Avids native video media wrapper, and sometimes audio comes across with an MXF wrapper as well.&#xD;&#xA;&#xD;&#xA;Many broadcasters are going to full MXF output, wrapping it around production assets with video as mpeg longop and audio as dolby E streams being fed into playout servers.&#xD;&#xA;&#xD;&#xA;Key thing - if you are in film, you want BWF, untampered, all the way from production through to you. If video change it to AIFF you may lose critical metadata from the BEXT chunk and iXML chunk." ContentLicense="CC BY-SA 3.0" />
  <row Id="15539" PostHistoryTypeId="2" PostId="9344" RevisionGUID="9a96c20c-72ac-4416-9516-8cfe63c7e6f6" CreationDate="2011-07-28T14:22:50.840" UserId="234" Text="Justin has all the right answers. As a note WAV/AIFF and SDII are ALL Linear PCM schemes... which means there are technically no sonic differences between them -given the same source material, bit depth and samplerate - the 1's and 0's are the same. The difference is in the way they &quot;package&quot; this data with the metadata and what metadata. Quicktime and MXF can wrap encoded files (i.e MP3, MP4, AAC, etc, etc...) as well as straight Linear PCM - although BWF is the recommended format for MXF, so it's possible to have different sonic qualities. IF you want the technical nitty gritty on MXF you can find it [here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.digitalpreservation.gov/formats/fdd/fdd000013.shtml" ContentLicense="CC BY-SA 3.0" />
  <row Id="15540" PostHistoryTypeId="2" PostId="9345" RevisionGUID="6bacecb0-2e4e-4a76-bd44-4d47aef17294" CreationDate="2011-07-28T14:28:16.820" UserId="29" Text="As I've become more comfortable with mid-side stereo recording and matrixing it as LR in post, rather than at capture time, I'm wondering about the ability in various plug-ins to encode LR into MS. Has anyone found this to have practical use?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15541" PostHistoryTypeId="1" PostId="9345" RevisionGUID="6bacecb0-2e4e-4a76-bd44-4d47aef17294" CreationDate="2011-07-28T14:28:16.820" UserId="29" Text="Matrixing LR as MS?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15542" PostHistoryTypeId="3" PostId="9345" RevisionGUID="6bacecb0-2e4e-4a76-bd44-4d47aef17294" CreationDate="2011-07-28T14:28:16.820" UserId="29" Text="&lt;ms&gt;&lt;mid-side&gt;&lt;field-recording&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15544" PostHistoryTypeId="2" PostId="9347" RevisionGUID="d119ecbd-5517-4122-b404-be1692fbd505" CreationDate="2011-07-28T16:34:50.980" UserId="315" Text="I've done this before to narrow the width of a stereo recording to give it more center focus and mono punch. If you pay close attention to phase, it can be useful sometimes to EQ the M and the S of a signal differently (IE, rolling off some of the lows in the stereo field while keeping the center bass heavy). You could also use it to extract a phantom center from a stereo image.  &#xD;&#xA;&#xD;&#xA;But now I'm using various imaging tools like Waves Center, S1 Imager to accomplish this. I'm guessing that they might be encoding LR-MS-LR under the hood of these plug-ins anyway." ContentLicense="CC BY-SA 3.0" />
  <row Id="15545" PostHistoryTypeId="5" PostId="9342" RevisionGUID="2089a38a-49ca-46bb-a29f-71fe4e1daa3b" CreationDate="2011-07-28T17:01:53.843" UserId="1067" Comment="added 34 characters in body" Text="Airborne: Thanks for mentioning my site's list of budget in-ear and headworn mics, glad it's of use to someone.&#xD;&#xA;&#xD;&#xA;Sound Professionals' new (or newish) MS-TFB-2s do have a very good spec for the money, with what looks like a pretty flat frequency response, 19dB self-noise and sensitivity of 25mV/Pa.&#xD;&#xA;&#xD;&#xA;The sample recordings made with them on the Sound Professionals' website are of a jazz band playing in a cafe. It'd be interesting to hear them used in a quieter environment.&#xD;&#xA;&#xD;&#xA;I got a lot of pleasure using a pair of Lenny Lombardo's Sonic Studios mics with the handy headband/windshield he makes for them. But they've now given up the ghost, or else their little preamp has, and a pair of Shure WL-183s are now housed in the windshield instead.&#xD;&#xA;&#xD;&#xA;The WL-183s are good mics for the price and have been used by some accomplished nature recordists." ContentLicense="CC BY-SA 3.0" />
  <row Id="15547" PostHistoryTypeId="2" PostId="9348" RevisionGUID="68974a6a-2bcf-4b1c-804e-92b0381d9d46" CreationDate="2011-07-28T17:30:09.353" UserId="845" Text="Lately, I've seen a lot of people posting about binaural mics and techniques and stuff, which got me wondering.  How are people actually using their binaural recordings?&#xD;&#xA;&#xD;&#xA;I mean, a lot of people play Video Games with headphones on, so that makes sense.  But unless they start giving out headsets at movie theaters and designing TVs that transmit audio via bluetooth or something, I'm somehow not seeing how it can be of any great use.  I'm kind of getting that &quot;early days of 3D&quot; feeling, where because it's now affordibly possible everybody's doing it, without knowing what they're doing it for.&#xD;&#xA;&#xD;&#xA;I just want to say that I'm not at all poo-pooing the wonderfullitude of binaurality, more wondering if it's something I should invest some money into buying gear for." ContentLicense="CC BY-SA 3.0" />
  <row Id="15548" PostHistoryTypeId="1" PostId="9348" RevisionGUID="68974a6a-2bcf-4b1c-804e-92b0381d9d46" CreationDate="2011-07-28T17:30:09.353" UserId="845" Text="Practical Application of Binaural Sound Recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="15549" PostHistoryTypeId="3" PostId="9348" RevisionGUID="68974a6a-2bcf-4b1c-804e-92b0381d9d46" CreationDate="2011-07-28T17:30:09.353" UserId="845" Text="&lt;binaural&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15550" PostHistoryTypeId="2" PostId="9349" RevisionGUID="1f4095f2-47a6-40d7-8d53-bb2e34487fd1" CreationDate="2011-07-28T17:52:16.883" UserId="527" Text="After using SoundMiner v4pro for years, I have put miniminer on my machine at home.  I had been in the habit of keeping a hand on the fader for the SM Engine aux track in Pro Tools. This way I can keep my monitoring levels constant without blasting myself when auditioning things like crashes and explosions. &#xD;&#xA;&#xD;&#xA;Miniminer does not go &quot;through&quot; Pro Tools the way v4pro does. Therefore, the only level adjustment I have is mousing over to Miniminers Volume fader or adjusting my interface (which I don't want to do).&#xD;&#xA;&#xD;&#xA;I haven't found anyway to assign a controller to Miniminer itself. Am I just out of luck here? Any suggestions?&#xD;&#xA;&#xD;&#xA;Thanks, &#xD;&#xA;Chris " ContentLicense="CC BY-SA 3.0" />
  <row Id="15551" PostHistoryTypeId="1" PostId="9349" RevisionGUID="1f4095f2-47a6-40d7-8d53-bb2e34487fd1" CreationDate="2011-07-28T17:52:16.883" UserId="527" Text="Miniminer workflow?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15552" PostHistoryTypeId="3" PostId="9349" RevisionGUID="1f4095f2-47a6-40d7-8d53-bb2e34487fd1" CreationDate="2011-07-28T17:52:16.883" UserId="527" Text="&lt;workflow&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15553" PostHistoryTypeId="2" PostId="9350" RevisionGUID="1e130c9f-6b8e-4686-9d5e-f8b25b8b0af3" CreationDate="2011-07-28T19:24:03.107" UserId="1253" Text="Dont use AUX for your stems, try an Audio Channel with the &quot;I&quot; Autoinput pressed, When it is time to record, then use &quot;rec&quot; and print those stems..." ContentLicense="CC BY-SA 3.0" />
  <row Id="15554" PostHistoryTypeId="2" PostId="9351" RevisionGUID="9756944f-122c-4720-a18e-48fe57979d36" CreationDate="2011-07-28T21:26:53.010" UserId="1228" Text="Are you referring to ReWire?&#xD;&#xA;&#xD;&#xA;What I do, and many other sound editors I work with do, is patch your computers 3/8&quot; TRS out into our Digi box's Analog in 7-8.  Then we create an Aux input with Analog 7-8 as the In.  Then you should be able to control it just as if you had the SM ReWrie patched into an Aux.&#xD;&#xA;&#xD;&#xA;I believe that's what you're asking?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15555" PostHistoryTypeId="2" PostId="9352" RevisionGUID="259f4bb9-8b69-4371-8426-06631c2dbdf1" CreationDate="2011-07-28T21:39:51.313" UserDisplayName="user80" Text="SFX recordists point the mic at the vehicle so that they get a even frequency response.  Off-axis response, even on omni-directional mics, can be uneven.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="15556" PostHistoryTypeId="2" PostId="9353" RevisionGUID="c222945d-79bb-4be6-b01b-46ce69a7fc8b" CreationDate="2011-07-28T22:10:48.783" UserId="238" Text="Currently, the majority of people who record in binaural do so for the shear enjoyment of doing so. In terms of commercial success, there is a very small market at the moment (there are some games for the iPhone which use binaural audio such as Zen Bound and Aves). Personally, I think it's an area of game audio that will most likely develop more in the future, particularly as the smart phone/tablet game industry flourishes, but it will remain a niche market. As for the film industry, it's very unlikely that binaural will play any significant role. But one thing is sure. Die-hard nature recordists will continue recording binaurally for many, many years to come." ContentLicense="CC BY-SA 3.0" />
  <row Id="15557" PostHistoryTypeId="2" PostId="9354" RevisionGUID="50b4a303-f5b9-46bf-b346-517c9272cb7f" CreationDate="2011-07-29T00:56:44.177" UserId="338" Text="there is a sound monster that eats sound and spits it out when something is going past another thing" ContentLicense="CC BY-SA 3.0" />
  <row Id="15558" PostHistoryTypeId="2" PostId="9355" RevisionGUID="d824daaa-a2f1-48cf-9d5f-7b1da7eb5b51" CreationDate="2011-07-29T01:53:23.113" UserId="432" Text="I've used it on rare occasions, and I do mean RARE, to process the center part of a stereo image. The few times I've done it was when there was something in a track that obfuscates a piece's dialog in some way. If you do it carefully, you can &quot;attenuate&quot; a few frequencies here and there without destroying the left/right image...or replace a tiny segment with surrounding audio (kind of like clumsy manual interpolation) which can help prevent a short loopy sound, because the other &quot;side&quot; information gets left alone. I suppose you could edit the &quot;side&quot; audio instead of the &quot;mid,&quot; but I've never done that.&#xD;&#xA;&#xD;&#xA;Like I said, it's pretty rare that I do it. But when it works, it's a useful noise reduction trick to have in the bag." ContentLicense="CC BY-SA 3.0" />
  <row Id="15559" PostHistoryTypeId="2" PostId="9356" RevisionGUID="95bcde9f-a4b0-4ad7-80a4-4e67a8999a31" CreationDate="2011-07-29T02:53:16.827" UserId="1254" Text="Maybe you could try using induction coil mics. You can get these cheaply, I got mine at Radioshack for 8 bucks. Not sure how easily they are made.&#xD;&#xA;&#xD;&#xA;http://www.radioshack.com/product/index.jsp?productId=2103876&#xD;&#xA;&#xD;&#xA;As an example of what can be done with that I made short recordings using the signals emitted from an external hard drive, digital camera, and an iPhone.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=FBBW6Ol7AfY&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/sigimueller/i_duc-improv&#xD;&#xA;&#xD;&#xA;Maybe this will get you closer to what you are looking for?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15560" PostHistoryTypeId="2" PostId="9357" RevisionGUID="f9403a1c-2bf4-4f0b-8500-c04d9625e98c" CreationDate="2011-07-29T06:27:26.370" UserId="6499" Text="I use a combination of Aux and Master Faders.  I learned it from a rerecording mixer in town the first time I used pro tools( about 4 months ago).  This is how my routing in PT9 goes.&#xD;&#xA;These routings apply to all the stems, dx, pfx, fx, mx, bg. &#xD;&#xA;&#xD;&#xA;FX 1, FX 2, FX 3, FX 4, FX ST1, FX ST 2, FX ST3, FX ST 4  and so forth --&gt; routed to smFX bus(submaster fx bus)&#xD;&#xA;&#xD;&#xA;I then have a smFX Stereo aux track with input bus set to smFX and output bus set to mbFX(masterbus fx)&#xD;&#xA;&#xD;&#xA;following that in the chain I throw a mf FX(master fader FX) with bus set to mbFX&#xD;&#xA;&#xD;&#xA;Then I put a Stereo audio track with input set to mbFX.  This is my print stem of FX.  The output side of that track goes to the printmaster bus.&#xD;&#xA;&#xD;&#xA;I then have a final Stereo Track Printmaster with input set to the printmaster bus and output set to my audio monitoring output.&#xD;&#xA;&#xD;&#xA;Fx Tracks-&gt;smFx(aux)-&gt;(Master fader at this pick off point)mbFX(audiotrack)-&gt;printmaster -&gt; Audio output &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;A little confusing, yes.  But basically you route all your like tracks to an aux.  That aux is where you do any forms of group compression, eq, fx, etc.  That aux is then sent to another bus in which you use a stereo track as your stem print.  Master fader is in between the aux and the stem.  The stem goes to the printmaster, which is your final mix where all the other stems are being summed.  &#xD;&#xA;&#xD;&#xA;You input monitor all the stems and printmaster to listen to it and then when your ready, you record while playing and you print all the stems and the master mix at the same time.&#xD;&#xA;&#xD;&#xA;It took me quite some time to get used to this flow, but I really like it now.  Pro tools allows you to have many internal bus options even when you only have a stereo audio output.  This really helps with managing all the parts and pieces. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15561" PostHistoryTypeId="2" PostId="9358" RevisionGUID="d1b2510e-2055-4794-b7bb-6f27da61e782" CreationDate="2011-07-29T09:16:22.717" UserId="1255" Text="Hi everyone, in 1 year, i'm going to finish my undergraduate Music Technology program in Turkey. So after that, i want to go to school about sound design -especially on video game- for master's degree. Also, i haven't chosen which country and school would i go for this. Because i want to live in there after the master's degree, rest of my life. So what're the ideal schools in video game sound design with good curriculum, equipments and staff? &#xD;&#xA;&#xD;&#xA;By the way, I've heard good things about VFS (Vancouver Film School) So what're your thoughts about there?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15562" PostHistoryTypeId="1" PostId="9358" RevisionGUID="d1b2510e-2055-4794-b7bb-6f27da61e782" CreationDate="2011-07-29T09:16:22.717" UserId="1255" Text="Master's Degree in Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="15563" PostHistoryTypeId="3" PostId="9358" RevisionGUID="d1b2510e-2055-4794-b7bb-6f27da61e782" CreationDate="2011-07-29T09:16:22.717" UserId="1255" Text="&lt;education&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15564" PostHistoryTypeId="2" PostId="9359" RevisionGUID="f70b0caa-7b59-4f2a-a1a6-2259756ea3d4" CreationDate="2011-07-29T09:35:05.513" UserId="2" Text="It's quite commonly used in (music) mastering. You can obviously widen/tighten the stereo image, clean up specific &quot;areas&quot; of the mix, and push for more volume (like that's needed!). I've only tried it a few times for interest sake. &#xD;&#xA;&#xD;&#xA;Just on a (mid)side note, I'm a HUGE fan of [Voxengo's MSED][1] plugin, which allows you to pass your already decoded sound inline through the plugin and work on the matrix again in post. And Michael Maroussas introduced me to the [Brainworx bx_solo][2], which is cool cause you can solo each element of the matrix.  &#xD;&#xA;&#xD;&#xA;  [1]: http://www.voxengo.com/product/msed/&#xD;&#xA;  [2]: http://www.brainworx-music.de/en/plugins/bx_solo" ContentLicense="CC BY-SA 3.0" />
  <row Id="15567" PostHistoryTypeId="2" PostId="9361" RevisionGUID="45a53334-3a77-4092-bbd1-8a9c71b252ed" CreationDate="2011-07-29T11:00:40.733" UserId="182" Text="The answer of g.a.harry could explain a large part of what you're hearing, but it can't be just the doppler effect:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;The doppler formula describes just frequency (f) dependent on speed (v), not sound intensity or energy.&#xD;&#xA;&#xD;&#xA;There is at least another aspect that plays a role: from the front, most cars are much quieter than from the back. The exhaust radiates most of its sound away from the car in a relatively narrow beam whereas the engine radiates in all directions. So the energy from the exhaust is concentrated in a smaller area which means you will hear it longer when you are in that area.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;2: Recordists point their mics at the vehicle when they have something other than an omni and want to capture the sound on-axis all the time.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://t0.gstatic.com/images?q=tbn:ANd9GcSa7kIJbTD_hJ7JQ88WsnxyaKAd6lzO7-AxEhwetUQT909yrESEQb7OGg" ContentLicense="CC BY-SA 3.0" />
  <row Id="15568" PostHistoryTypeId="5" PostId="9361" RevisionGUID="d203d6b6-7139-4a1e-8cbb-44a3e90d601c" CreationDate="2011-07-29T11:34:04.473" UserId="182" Comment="added 1 characters in body" Text="The answer of g.a.harry could explain a large part of what you're hearing, but it can't be just the doppler effect:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;The doppler formula describes just frequency (f) dependent on speed (v), not sound intensity or energy.&#xD;&#xA;&#xD;&#xA;There is at least another aspect that plays a role: from the front, most cars are much quieter than from the back. The exhaust radiates most of its sound away from the car in a relatively narrow beam whereas the engine radiates in all directions. So the energy from the exhaust is concentrated in a smaller area which means you will hear it longer when you are in that area.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;2: Recordists point their mics at the vehicle when they want to capture the sound on-axis all the time, rather than an extreme spatial effect.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://t0.gstatic.com/images?q=tbn:ANd9GcSa7kIJbTD_hJ7JQ88WsnxyaKAd6lzO7-AxEhwetUQT909yrESEQb7OGg" ContentLicense="CC BY-SA 3.0" />
  <row Id="15570" PostHistoryTypeId="2" PostId="9363" RevisionGUID="283c1692-d606-43df-a9fc-daa6e4a17122" CreationDate="2011-07-29T14:05:14.930" UserId="1011" Text="Hi Kurt&#xD;&#xA;&#xD;&#xA;It seems like you have this covered now.&#xD;&#xA;&#xD;&#xA;However if you need more recordings, I have some German primary school kids from Hamburg on my site, Airborne Sound ([www.airbornesound.com][1]).&#xD;&#xA;&#xD;&#xA;[http://www.airbornesound.com/catalogsearch/result/?q=germany%20primary%20school][2]&#xD;&#xA;&#xD;&#xA;They are a small handful of ambiences, recorded with an H4n at various distances.  Some are interiors, some are exteriors.&#xD;&#xA;&#xD;&#xA;Paul&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.airbornesound.com&#xD;&#xA;  [2]: http://www.airbornesound.com/catalogsearch/result/?q=germany%20primary%20school" ContentLicense="CC BY-SA 3.0" />
  <row Id="15571" PostHistoryTypeId="2" PostId="9364" RevisionGUID="ec43bbf1-7f6e-4f29-9ec4-2d07fa81cd69" CreationDate="2011-07-29T14:21:04.707" UserDisplayName="user80" Text="The Rycotes generally sound a little bit more natural." ContentLicense="CC BY-SA 3.0" />
  <row Id="15572" PostHistoryTypeId="2" PostId="9365" RevisionGUID="f1713216-2d8b-4697-985c-4ad50d3df0da" CreationDate="2011-07-29T14:23:33.377" UserDisplayName="user80" Text="Entourage running a shared calendar here on an Outlook server.  Everything else is done in Excel and Word" ContentLicense="CC BY-SA 3.0" />
  <row Id="15573" PostHistoryTypeId="2" PostId="9366" RevisionGUID="a8790ca4-42e5-4640-830b-a86f2fd553ee" CreationDate="2011-07-29T19:36:14.753" UserId="418" Text="In a former life I was a certified Daylite consultant and I've implemented it for a number of music, post and sound companies in NYC and the rest of the world. They all love it. Does scheduling, CRM, invoicing, the works. iPhone companion etc. Good system. I could help you get it set up specifically for a sound/music workflow. http://marketcircle.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15574" PostHistoryTypeId="2" PostId="9367" RevisionGUID="d0b0de06-56b3-4a30-87b1-70548ccb2eeb" CreationDate="2011-07-29T20:17:20.760" UserId="693" Text="For Mac only:&#xD;&#xA;&#xD;&#xA;Since being turned on to [the Omni Group][1]'s &quot;Omni line&quot; of productivity applications I've been hooked and won't look back. I do sound design, preset libraries and beta testing for a plug-in company that is essentially a one man operation. My colleague asked one day if I had any ideas for a plug-in concept and boy did I. This turned into a situation where I'm doing the design and he's doing the programming. For the design and getting the ideas out of my head he suggested OmniGraffle.  &#xD;&#xA;&#xD;&#xA;He initially showed it do me because It's really good for dumping data and ideas out of your hear and into the computer, then it's ridiculously simple to manage, modify, arrange, associate, link and everything else you might want to do with a random documented thought ad-infinitum. I started using it to make lists of features, ideas and random and then I set into doing block diagrams in it. An example would be lock diagrams of the signal flow and dsp stages of the plug-in. &#xD;&#xA;&#xD;&#xA;After that experience I checked out their other products and they're all equally as great and compliment each other amazingly well. The other one's I use are OmniFocus, OmniOutliner and OmniPlan, as they all do something different, equally as important and simply compliment each other. Similar workflows in all of them. They also have ipad and iphone versions so you can work on the go and they all stay synchronized (with backups is set in preferences. Overall I'd say I'm really happy with them. &#xD;&#xA;&#xD;&#xA;It's basically a software suite consisting of standalone programs that have been painstakingly considered and perfectly executed (considering their intent and how hard that is to usually achieve). They're done so well that if you using their software the way it's intended will make you more organized, efficient and minimize (and prevent doubling of) efforts on tasks or other things and so on. Effectively helping you to help yourself and streamline and effortlessly manage your life. Check out some of the videos they have on their site. Once they start showing you stuff the software practically sells itself.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.omnigroup.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="15575" PostHistoryTypeId="2" PostId="9368" RevisionGUID="3af54171-4bbe-44a4-9318-a5fec4f1495b" CreationDate="2011-07-29T22:46:25.810" UserId="654" Text="Its interesting that no one has mentioned the main differences between master faders and aux in either thread. For future readers, master fader plugin inserts are post fader, whereas all other channel types have insert before the fader. So its not a good idea to ride master fader gain feeding into a compressor (limiters are different obviously).&#xD;&#xA;&#xD;&#xA;One other key difference on HD systems is that the master faders are still inside the 48 bit fixed mixer, so they have greater dyn range and a lower noise floor than an aux track. Auxes are in the 24 bit realm for plugin processing.&#xD;&#xA;&#xD;&#xA;Consequently the main purpose of them (which most folk in here are taking as a given) is for pulling down a relative mix of a stem or something thats just getting a bit hot in context with other stuff.&#xD;&#xA;&#xD;&#xA;So you've got three options in that situation, pull all the slaves feeding the stem down, throw in a mater fader and pull down the stem at high res, or, most commonly, use a VCA attached to the group and pull down all the slaves that way before they feed into the submaster.&#xD;&#xA;&#xD;&#xA;Hope the resolution info is useful." ContentLicense="CC BY-SA 3.0" />
  <row Id="15576" PostHistoryTypeId="2" PostId="9369" RevisionGUID="3e1c182d-8415-448d-a01c-9eccffc8dd99" CreationDate="2011-07-30T02:35:17.367" UserId="1228" Text="Blind can be fun, especially those cases where the unexpected happens.  Recently I was in Santa Monica walking on the bridge to the peir and an ambulance comes blaring south on the PCH and ends up going under the side-street tunnel right under the bridge crossing.  All I had was my iPhone, but I busted it out and got a nice approach, close by, and away from above so there was minimal engine noise.  Best case recording scenerio?  Heck no!&#xD;&#xA;&#xD;&#xA;But, the recording turning out alright and is at least clean enough that any background noise would be masked in a backgrounds edit of city streets anyway (also since the siren would play pretty low). &#xD;&#xA;&#xD;&#xA;Steve Urban said it right: &quot;It may be crap, but it's my crap, and I'll determine the likelihood of it's potential when I get back to the studio. Even crap can be useful some days.&quot;&#xD;&#xA;&#xD;&#xA;Sometimes the in-the-moment crap recordings can turn out the be the real $$$ gems." ContentLicense="CC BY-SA 3.0" />
  <row Id="15577" PostHistoryTypeId="2" PostId="9370" RevisionGUID="1cc93877-dd5d-497d-bed7-806be41eb365" CreationDate="2011-07-30T08:11:58.587" UserId="654" Text="Does anyone else read threads like this to their wives? Or is it just me? :)) (we're pretty much a robots vs fairies household)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15578" PostHistoryTypeId="2" PostId="9371" RevisionGUID="e459de0b-f998-4a42-8fad-c67ec02f65ca" CreationDate="2011-07-30T09:05:23.410" UserId="675" Text="Another thing to consider is that most 'stealth' microphones are binaural. I mean microphones like Soundman OKM that look like innocent ear buds, especially to non-audio people. So when recording in a situation where it's key to be discrete and not being seen recording it I often take binaurals without making a specific choice to record in that format.&#xD;&#xA;&#xD;&#xA;Also (art) installations in exhibitions / musea etc. sometimes use headphones as a sound medium.&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="15580" PostHistoryTypeId="2" PostId="9373" RevisionGUID="320e0808-2182-4329-8d49-feeec07248b6" CreationDate="2011-07-30T09:52:49.653" UserId="37" Text="going back to the original question:&#xD;&#xA;&#xD;&#xA;&gt; The idea is to have an art project where the sound is actually everyone's phone checking in and receiving texts and such in real time.&#xD;&#xA;&#xD;&#xA;You could explore using a very long wire as a dynamic/coil pickup then hook that up to a sufficiently quiet preamp (no phantom power!), then find a way to place that above people's heads or just in very close proximity (wall, floor, etc). This may or may not work, and consider trying it with the cheapest equipment possible first. In theory any long unbalanced wire (even line in) should pick up cellphone interference easily.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15581" PostHistoryTypeId="5" PostId="9352" RevisionGUID="64fa78f6-9f15-48fe-9662-803080681574" CreationDate="2011-07-30T10:22:45.293" UserDisplayName="user80" Comment="added 1 characters in body" Text="SFX recordists point the mic at the vehicle so that they get an even frequency response.  Off-axis response, even on omni-directional mics, can be uneven.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="15582" PostHistoryTypeId="2" PostId="9374" RevisionGUID="c22cc2d8-bf29-435a-b6d3-3de87c9049ad" CreationDate="2011-07-30T10:38:02.627" UserId="845" Text="I always thought that noise was induced into the speaker itself. I used to get it like crazy until I sold my speakers - long story - even though I always run balanced cable. &#xD;&#xA;&#xD;&#xA;I would investigate where exactly the noise comes from and ends up. Try a powered monitor with the power on, but the xlr unplugged. Then try a regular car stereo speaker. Then just bare xlr and unbalanced cable. &#xD;&#xA;&#xD;&#xA;I suspect that the noise is actually both induced and amplified in the mini power amps in your monitors, so that may be a way to set up your installation without having to use any cable at all. Having an array of like 45 speakers would also be really cool to walk into. &#xD;&#xA;&#xD;&#xA;One thing I noticed is that it's pretty bad when transferring data, but SMS makes it go cuhrazeee. You should ask people to write down their contact info so you can text 'em while they're in the room to make sure you get the bdst effect. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15583" PostHistoryTypeId="2" PostId="9375" RevisionGUID="84c94914-0bc4-455b-9b63-d0cf3380b660" CreationDate="2011-07-30T13:14:41.430" UserId="722" Text="Thats exactly it!&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="15584" PostHistoryTypeId="2" PostId="9376" RevisionGUID="e48a220e-eded-4d7f-92eb-52d0cfd64ea7" CreationDate="2011-07-30T13:16:27.877" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;I've had this same dilemma for a while back and ended up buying the Rode for the following reasons:&#xD;&#xA;&#xD;&#xA;- usage: i mainly do sfx recording with m/s setup and not a lot of booming (and yes, it's really heavy)&#xD;&#xA;- i also own sennheiser blimps, but the fur is too old and more expensive than a rode blimp.&#xD;&#xA;- returnable: if it's not good i can always return it.&#xD;&#xA;&#xD;&#xA;i've had my blimp for two weeks and recorded for 6 hours in windy conditions, it works&#xD;&#xA;ok. although i am thinking about buying a stereo kit from rycote, if weight is less than&#xD;&#xA;the rode blimp. this way i can use it for sfx and booming.&#xD;&#xA;&#xD;&#xA;here are my experiences:&#xD;&#xA;&#xD;&#xA;pro's:&#xD;&#xA;-wind protection is very good&#xD;&#xA;-it's sturdy&#xD;&#xA;-fit's a piggy back MKH30/50 or 60 setup (with some fiddling)&#xD;&#xA;-cheap enough to replace if broken in extreme situations&#xD;&#xA;&#xD;&#xA;con's:&#xD;&#xA;-a bit fiddly setting up (as a boom up you'd probably hate it, takes way too much time)&#xD;&#xA;-fur is cheap and loses hairs during set up&#xD;&#xA;-i personally don't like the metal clip and cable in the handle (too fiddly again).&#xD;&#xA;-heavy (but not an issue for me yet)&#xD;&#xA;&#xD;&#xA;the rode blimp is cheap and if you're not a boom op, i'd go for it.&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15585" PostHistoryTypeId="5" PostId="6220" RevisionGUID="d34933f7-b7ad-4ef0-8b7f-e1543ebe461d" CreationDate="2011-07-30T17:43:45.447" UserId="432" Comment="update" Text="So, this question is for anyone out there who has used both Rode and Rycote wind protection systems. Twice now I've heard people say they prefer the Rode system over the Rycote (Haydn Payne here on SSD being one of them). I'm curious if there's anyone else here who has used both and has a preference for one over the other.&#xD;&#xA;&#xD;&#xA;I'm trying to make a decision on future purchases. The Rode price point is very appealing, and I could probably mod it to take a Rycote Connbox if I really wanted to get silly. Any thoughts on durability and functional performance of the two brands? I'm just looking at this comparison for single mic systems (not stereo/m-s).&#xD;&#xA;&#xD;&#xA;[I'm aware that Sennheiser makes zeppelin kits as well. We have two at work, and I'm not impressed with the way the back cap fits. They're out of the running as far as I'm concerned.]&#xD;&#xA;&#xD;&#xA;Thanks in advance.&#xD;&#xA;&#xD;&#xA;**UPDATE:** So I found a deal on a used Rycote kit. I upgraded the suspension to the new lyre mounts and added a Connbox. Very happy with it, and definitely prefer it over the Sennheiser models." ContentLicense="CC BY-SA 3.0" />
  <row Id="15586" PostHistoryTypeId="2" PostId="9377" RevisionGUID="6c76ad16-bc1e-45c1-b2b3-d5c2d8adc4d8" CreationDate="2011-07-30T22:48:56.087" UserId="338" Text="http://www.neutrik.com/us/en/audio/210_1950958334/NP2RX-TIMBRE_detail.aspx&#xD;&#xA;&#xD;&#xA;It says that it changes the timbre of the guitar so that seems cool but I can't seem to find any descriptions.&#xD;&#xA;&#xD;&#xA;Has anybody ever heard the difference this plug makes?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15587" PostHistoryTypeId="1" PostId="9377" RevisionGUID="6c76ad16-bc1e-45c1-b2b3-d5c2d8adc4d8" CreationDate="2011-07-30T22:48:56.087" UserId="338" Text="Has anyone ever heard the difference with this type of connector--neutrik timberPLUG" ContentLicense="CC BY-SA 3.0" />
  <row Id="15588" PostHistoryTypeId="3" PostId="9377" RevisionGUID="6c76ad16-bc1e-45c1-b2b3-d5c2d8adc4d8" CreationDate="2011-07-30T22:48:56.087" UserId="338" Text="&lt;connector&gt;&lt;timbre&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15590" PostHistoryTypeId="2" PostId="9378" RevisionGUID="f6a54266-5485-4af8-b783-d6b6a0075269" CreationDate="2011-07-31T01:36:49.353" UserId="63" Text="Well I guess that if you have a Gibson, a Marshall/Vox/Fender and a good guitar player, this plug won't be much of a change!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15591" PostHistoryTypeId="2" PostId="9379" RevisionGUID="49bcfb1e-1196-4330-ba6a-02289c6cf66a" CreationDate="2011-07-31T07:51:54.873" UserId="1090" Text="So, I went to my Sontronics dealer here in Sweden to get an STC-10, they didn't have it in stock but they did have one STC-1 that they were kind enough to lend me. &#xD;&#xA;My expectations were high, the salesman told me all about their enormous amount of happy customers. So I went out with a happy face, come home, plug the mic in and still smiling. &#xD;&#xA;&#xD;&#xA;It's really, really nice. A bargain. More than a bargain, it's almost legal robbery.My experience is that it's got a nice open airy sound, not noisy as I would have imagined it to be. The specs are really good, but really I don't care. It sounds good and that's good enough. &#xD;&#xA;If someone had told me it 5 times the price I would probably have believed in them and probably gone and bought it if it weren't for one thing; size and weight.&#xD;&#xA;Not a big issue, but for me it was at this time. I will definitely go out and get me a pair of STC-1s around christmas, but right now my need is for smaller mics, and there are several to choose from with similar features and characteristics. &#xD;&#xA;&#xD;&#xA;It isn't humongous for a microphone, but for my needs (I want to be able to put two mics in one blimp/zeppelin) it is. And also the weight is a bit of an issue if I were to boom with it. It would work, but it'd be heavy. And it would also require me to buy extra shockmounts and an extra blimp/zeppelin so economically it's not worth it right now, but in the future OMG.&#xD;&#xA;&#xD;&#xA;This is easily the best mic in this price range that I've laid hands on, and I have to admit that's not many. I haven't actually seen a mic with these specs and features in this price range. &#xD;&#xA;&#xD;&#xA;I also got a chance to try the hyper-cardioid capsule. Not as clear and airy as the cardioid one naturally... But it did the job pretty good for this price!&#xD;&#xA;&#xD;&#xA;In conclusion, the STC-1 if a definite buy for me, just not right now. I will buy a pair of STC-1s however and not the STC-10, for the size and weight. STC-1 will be of great use for ADR, &quot;Colored Foley&quot; (like for outdoors or distant foley with some coloration) and effects recording. Works great for outdoor ambiances! &#xD;&#xA;&#xD;&#xA;If there's anyone wondering anything more, contact me on olle@tjockishjartafilm.se. I have some audio clips as well. And some video of me babbling on. &#xD;&#xA;&#xD;&#xA;Great stuff, and thanks for the reply again Lisa. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15592" PostHistoryTypeId="2" PostId="9380" RevisionGUID="24b74b1d-d2c9-4c41-a884-11289a0063c9" CreationDate="2011-07-31T12:26:16.843" UserId="769" Text="I don't know for sure, but from my relatively cynical perspective, it seems like yet another gimmick to wring a couple more bucks out of gear obsessed guitarists.&#xD;&#xA;&#xD;&#xA;I mean, surely if you're in a context where this precise kind of thing matters, you're either recording with access to EQ/amp/mixer channels/processors/DAW that can 'sweeten' your 'tone' to your liking — not just to some preset, arbitrarily predetermined setting — or you're performing with sound reinforcement of similar capability.  &#xD;&#xA;&#xD;&#xA;I don't know.  Really seems like crap to me." ContentLicense="CC BY-SA 3.0" />
  <row Id="15593" PostHistoryTypeId="2" PostId="9381" RevisionGUID="b1242552-c1ad-42ae-b1a2-aa48193bb782" CreationDate="2011-07-31T13:33:22.407" UserId="432" Text="Looks to me like that rotary switch just cycles through different capacitors. It's tantamount to changing/adding capacitors to the circuits inside your instrument. I doubt it's a terribly complicated circuit, so you could probably build a more flexible one with a wider range of values pretty cheaply yourself." ContentLicense="CC BY-SA 3.0" />
  <row Id="15594" PostHistoryTypeId="2" PostId="9382" RevisionGUID="55f83088-9e75-4c1f-a60c-68776ad40ce6" CreationDate="2011-07-31T14:24:54.737" UserId="1258" Text="I am about to do a gig  as a sound utility technician.  I was told by the production manager that I didn't need any equipment for the shoot.  Is the sound mixer going to expect me to bring any equipment? e.g. soldering kit, maglite. You know, small essentials if need be." ContentLicense="CC BY-SA 3.0" />
  <row Id="15595" PostHistoryTypeId="1" PostId="9382" RevisionGUID="55f83088-9e75-4c1f-a60c-68776ad40ce6" CreationDate="2011-07-31T14:24:54.737" UserId="1258" Text="Sound Utility Technician" ContentLicense="CC BY-SA 3.0" />
  <row Id="15596" PostHistoryTypeId="3" PostId="9382" RevisionGUID="55f83088-9e75-4c1f-a60c-68776ad40ce6" CreationDate="2011-07-31T14:24:54.737" UserId="1258" Text="&lt;film&gt;&lt;technician&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15597" PostHistoryTypeId="2" PostId="9383" RevisionGUID="096fdafc-612c-4a8c-90b0-31f1228eb60d" CreationDate="2011-07-31T14:33:29.343" UserId="845" Text="I would bring your basic kit. Film sets are crazy places. Someone somewhere always forgets something. Something unexpected always breaks at exactly the wrong time. There's no shame in being over-prepared. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15598" PostHistoryTypeId="2" PostId="9384" RevisionGUID="e9fac406-2f31-4516-b038-b1a4a2a0b7e6" CreationDate="2011-07-31T16:55:31.437" UserId="6462" Text="Hi. No matter what I'm working on I'll always have a kit with me. I have a hard flight case on wheels that has the following inside:&#xD;&#xA;&#xD;&#xA; - Shotgun and rycote&#xD;&#xA; - Sound Devices MM1 Preamp&#xD;&#xA; - Multiple cables (various lengths and connectors)&#xD;&#xA; - Inline cable adapters (mainly audio but a few video bnc's etc) - these have come in very useful and gets you in the good books with the camera dept!!, &#xD;&#xA; - Spare batteries (someone will always need some)&#xD;&#xA; - Pair of two-way radios&#xD;&#xA; - Spare headphones&#xD;&#xA; - Spare torch&#xD;&#xA; - Spare leatherman&#xD;&#xA; - Cable ties, tape, strong string, velcro ties and strips.&#xD;&#xA;&#xD;&#xA;That's what I'll always have with me. There are times when i've not had to open it and that made me think wether it's worth having with me all the time. But every time i've not had it with me someone asks for something that I would have had.&#xD;&#xA;&#xD;&#xA;It's always better to be over prepared than under.&#xD;&#xA;&#xD;&#xA;Good luck with the production." ContentLicense="CC BY-SA 3.0" />
  <row Id="15599" PostHistoryTypeId="2" PostId="9385" RevisionGUID="09561106-71f7-46e7-918f-a77a0d0654cf" CreationDate="2011-07-31T20:12:29.253" UserId="1004" Text="Newbie here. I recently picked the brain of an audio director at a very well known video game company who advised me to get PT post certified if I wanted a leg up in the audio post job market. Now I'm reconsidering things after reading this thread! Being that my only experience is working on small projects at home for fun, my plan was to hopefully become expert certified in post production at an Avid training school &gt;&gt; intern at a post house &gt;&gt; work on small indie projects for little to no money &gt;&gt; work my way up from there.&#xD;&#xA;&#xD;&#xA;Should I reconsider my strategy if certification has no real pull when it comes to landing a job in this business?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15600" PostHistoryTypeId="2" PostId="9386" RevisionGUID="e6a0efc8-38eb-4f4a-898e-f62250568516" CreationDate="2011-08-01T01:00:01.657" UserId="429" Text="I return the Mac's built in optical output to my Digi interface and move the fader in protools." ContentLicense="CC BY-SA 3.0" />
  <row Id="15601" PostHistoryTypeId="2" PostId="9387" RevisionGUID="bfd588cc-6b0e-4e80-b308-0ae61fb99cff" CreationDate="2011-08-01T01:26:46.300" UserId="220" Text="I'd bring the basics - gloves, spare velcro, zip ties, flashlight, multitool, headphones.  I also always have a little pack with lav mounting supplies - mole skin, athletic tape, little rubber bands, twist ties, etc.  Bring set basics as well - pen and notepad, cash, granola bars (or similar pick me ups), hand sanitizer, EAR PLUGS, sun screen, bug spray, and a hat.&#xD;&#xA;&#xD;&#xA;If your sound mixer is anything like any of us, they are also coming stupidly over-prepared and will have plenty of anything. If you really don't feel like bringing anything, at least bring &quot;personal&quot; items like gloves, headphones, ear plugs - things you have to wear and maybe don't want piles of other people's sweat on them. &#xD;&#xA;&#xD;&#xA;Finish it off with a stylish fanny pack or [this bad boy][1], a [titanium spork][2] (I never leave home without one.. my wife and I have a bunch), and you are so ready!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Lowepro-Audio-Utility-Bag-100/dp/B0043D2L3O&#xD;&#xA;  [2]: http://www.thinkgeek.com/homeoffice/kitchen/8ace/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15602" PostHistoryTypeId="2" PostId="9388" RevisionGUID="9503a19a-dbab-45f9-ae7b-5b7974ccd051" CreationDate="2011-08-01T01:34:56.217" UserId="220" Text="Neutrik generally doesn't come out with gimmicky crap, so this is a little surprising.  I suppose it's smart - get a little cash out of the tone-obsessed guitar players, but even their graph does not show a huge different.  It's not a scam (like Monster, Mogami....), but probably not really worth it.  &#xD;&#xA;&#xD;&#xA;You do KNOW that the super-premium cable makers have to be gunning to have exclusive rights to put these on their oxygen free cables!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15603" PostHistoryTypeId="2" PostId="9389" RevisionGUID="1fca5f88-9ee3-40e4-b162-77fbe6152602" CreationDate="2011-08-01T06:00:00.267" UserId="1178" Text="This one´s pretty good, located in Helsinki Finland. Nice curriculum, well educated staff, awesome facilities and top notch gear. &#xD;&#xA;&#xD;&#xA;http://mlab.taik.fi/studies/master_of_arts/sound_in_new_media/&#xD;&#xA;&#xD;&#xA;Downside is that it´s very sought after program and very hard to get in..." ContentLicense="CC BY-SA 3.0" />
  <row Id="15604" PostHistoryTypeId="2" PostId="9390" RevisionGUID="de11e203-135e-4044-8ce9-d83dd6766c6b" CreationDate="2011-08-01T06:01:00.473" UserId="1152" Text="Never used the plug but impedance CAN make a big difference in how a guitar sounds. Dynamic mics and to a lesser extent condenser mics also.&#xD;&#xA;&#xD;&#xA;It would be resistors in parallel to get the impedance change rather than capacitors.&#xD;&#xA;&#xD;&#xA;Do some cables sound better than others? I dunno for sure but some cables do sound like ass compared to others in my experience.&#xD;&#xA;&#xD;&#xA;The Radial Dragster is another device to alter guitar impedance for tone and profit http://www.tonebone.com/tb-dragster.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="15605" PostHistoryTypeId="2" PostId="9391" RevisionGUID="68137165-d9a1-415f-b798-cc622f8ef8aa" CreationDate="2011-08-01T08:11:21.527" UserId="2" Text="Work is only part of life, I love sound also outside of work :-) I'm looking for a nice pair of headphones designed for high-quality listening and not necessarily monitoring. Basically I want a portable companion to my non-work life. I want to be able to listen to perfect and crisp music/videos/media without too much enhanced base and a good sound stage. It would also be a plus to be able to do some basic work on the go. &#xD;&#xA;&#xD;&#xA;To give you a feel of what I'll be using the headphones with, I mostly listen to (old) jazz, so the headphones that add/invent too much bass really destroys these recordings. I listen to a ton of audiobooks and podcasts. I also listen to a lot of electronic music such as Amon Tobin, Fourtet, Bonobo, Cinematic Orchestra, etc. &#xD;&#xA;&#xD;&#xA;Most the time I will just be using my iPhone as a player.  &#xD;&#xA;&#xD;&#xA;**Key concerns** (ideally, I'm not that picky)&#xD;&#xA;&#xD;&#xA; - High quality sound: not exaggerated bass, or harsh trebles. Just well balanced, crisp sound and good sound stage. &#xD;&#xA;&#xD;&#xA; - Noise isolating: I mostly listen in public spaces or on airplanes, so being able to listen softly without hearing too much of the background is important.  &#xD;&#xA;&#xD;&#xA; - Comfortable: I listen to a lot of audiobooks and podcasts, so I wanna be able to wear them for hours without getting hot, claustrophobic, or get a headache. I also don't want to hear the mechanics of the headphones when I'm walking (crackle/thump/cable rustling too much).  &#xD;&#xA;&#xD;&#xA; - Portable: I want to be able to fold them up and keep them in my bag. Doesn't need to be in-ear kind of small.  &#xD;&#xA;&#xD;&#xA; - I don't want to look like a rapper ;-)  Would rather not have massively loud (visually) beat phones.  &#xD;&#xA;&#xD;&#xA;**What I have in mind**&#xD;&#xA;&#xD;&#xA; - [Sennheiser HD 25-1 II][1]&#xD;&#xA;&#xD;&#xA; - [B&amp;W P5][2]&#xD;&#xA;&#xD;&#xA; - [Bose OE][3], I actually HATE the sound of them. They exaggerate the bass so much and muffle everything. But they are so comfortable! And a great size...&#xD;&#xA;&#xD;&#xA; - [SoundMAGIC P30][4]&#xD;&#xA;&#xD;&#xA; - [Audio-Technica ATH-ES55][5]&#xD;&#xA;&#xD;&#xA; - [AIAIAI Tracks][6], I love the design of these and that they have a mic and control for the iDevices&#xD;&#xA;&#xD;&#xA;I've only put closed-back headphones, but I'm open to in-ear as well. I'm looking to spend around $200 but I don't mind more or less if they are great!    &#xD;&#xA;&#xD;&#xA;If you have listened to any of these, I would appreciate some thoughts on them. &#xD;&#xA;&#xD;&#xA;Thanks so much!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/507447-REG/Sennheiser_HD_25_1_II_HD_25_1_II.html&#xD;&#xA;  [2]: http://www.trustedreviews.com/Bowers---Wilkins-P5-Headphones_Headphones_review&#xD;&#xA;  [3]: http://www.bhphotovideo.com/c/search?Ntt=bose+oe&amp;N=0&amp;InitialSearch=yes&#xD;&#xA;  [4]: http://www.hifiheadphones.co.uk/soundmagic-p30-foldable-closed-back-headphones-in-black-prodid-3825.html&#xD;&#xA;  [5]: http://www.whathifi.com/review/audio-technica-ath-es55&#xD;&#xA;  [6]: http://www.aiaiai.dk/headphones-w-mic/tracks-headset-w-mic-black.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15606" PostHistoryTypeId="1" PostId="9391" RevisionGUID="68137165-d9a1-415f-b798-cc622f8ef8aa" CreationDate="2011-08-01T08:11:21.527" UserId="2" Text="High Quality Consumer Headphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="15607" PostHistoryTypeId="3" PostId="9391" RevisionGUID="68137165-d9a1-415f-b798-cc622f8ef8aa" CreationDate="2011-08-01T08:11:21.527" UserId="2" Text="&lt;headphones&gt;&lt;consumer&gt;&lt;review&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15608" PostHistoryTypeId="5" PostId="9391" RevisionGUID="ff1980a8-eae5-42cf-97d2-5ec1bf7c0a1f" CreationDate="2011-08-01T08:23:06.110" UserId="2" Comment="added 28 characters in body" Text="Work is only part of life, I love sound also outside of work :-) I'm looking for a nice pair of headphones designed for high-quality listening and not necessarily monitoring. Basically I want a portable companion to my non-work life. I want to be able to listen to perfect and crisp music/videos/media without too much enhanced base and a good sound stage. It would also be a plus to be able to do some basic work on the go. &#xD;&#xA;&#xD;&#xA;To give you a feel of what I'll be using the headphones with, I mostly listen to (old) jazz, so the headphones that add/invent too much bass really destroys these recordings. I listen to a ton of audiobooks and podcasts. I also listen to a lot of electronic music such as Amon Tobin, Fourtet, Bonobo, Cinematic Orchestra, etc. &#xD;&#xA;&#xD;&#xA;Most the time I will just be using my iPhone as a player.  &#xD;&#xA;&#xD;&#xA;**Key concerns** (ideally, I'm not that picky)&#xD;&#xA;&#xD;&#xA; - High quality sound: not exaggerated bass, or harsh trebles. Just well balanced, crisp sound and good sound stage. &#xD;&#xA;&#xD;&#xA; - Noise isolating: I mostly listen in public spaces or on airplanes, so being able to listen softly without hearing too much of the background is important.  &#xD;&#xA;&#xD;&#xA; - Comfortable: I listen to a lot of audiobooks and podcasts, so I wanna be able to wear them for hours without getting hot, claustrophobic, or get a headache. I also don't want to hear the mechanics of the headphones when I'm walking (crackle/thump/cable rustling too much).  &#xD;&#xA;&#xD;&#xA; - Portable: I want to be able to fold them up and keep them in my bag. Doesn't need to be in-ear kind of small.  &#xD;&#xA;&#xD;&#xA; - I don't want to look like a rapper ;-)  Would rather not have massively loud (visually) beat phones.  &#xD;&#xA;&#xD;&#xA;**What I have in mind**&#xD;&#xA;&#xD;&#xA; - [Sennheiser HD 25-1 II][1]&#xD;&#xA;&#xD;&#xA; - [B&amp;W P5][2]&#xD;&#xA;&#xD;&#xA; - [Bose OE][3], I actually HATE the sound of them. They exaggerate the bass so much and muffle everything. But they are so comfortable! And a great size...&#xD;&#xA;&#xD;&#xA; - [SoundMAGIC P30][4]&#xD;&#xA;&#xD;&#xA; - [Audio-Technica ATH-ES55][5]&#xD;&#xA;&#xD;&#xA; - [AIAIAI Tracks][6], I love the design of these and that they have a mic and control for the iDevices&#xD;&#xA;&#xD;&#xA;I've only put closed-back headphones, but I'm open to in-ear as well. I'm looking to spend around $200 but I don't mind more or less if they are great!    &#xD;&#xA;&#xD;&#xA;If you can recommend others or you have listened to any of these, I would appreciate some thoughts on them. &#xD;&#xA;&#xD;&#xA;Thanks so much!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/507447-REG/Sennheiser_HD_25_1_II_HD_25_1_II.html&#xD;&#xA;  [2]: http://www.trustedreviews.com/Bowers---Wilkins-P5-Headphones_Headphones_review&#xD;&#xA;  [3]: http://www.bhphotovideo.com/c/search?Ntt=bose+oe&amp;N=0&amp;InitialSearch=yes&#xD;&#xA;  [4]: http://www.hifiheadphones.co.uk/soundmagic-p30-foldable-closed-back-headphones-in-black-prodid-3825.html&#xD;&#xA;  [5]: http://www.whathifi.com/review/audio-technica-ath-es55&#xD;&#xA;  [6]: http://www.aiaiai.dk/headphones-w-mic/tracks-headset-w-mic-black.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15609" PostHistoryTypeId="2" PostId="9392" RevisionGUID="477a9e39-3aea-41a2-b48a-397526a2e608" CreationDate="2011-08-01T08:25:54.010" UserId="1261" Text="To be more precise, whos department does it land in... and then of course...WHY?   " ContentLicense="CC BY-SA 3.0" />
  <row Id="15610" PostHistoryTypeId="1" PostId="9392" RevisionGUID="477a9e39-3aea-41a2-b48a-397526a2e608" CreationDate="2011-08-01T08:25:54.010" UserId="1261" Text="Who is responsible for bring the TC slate to set..." ContentLicense="CC BY-SA 3.0" />
  <row Id="15611" PostHistoryTypeId="3" PostId="9392" RevisionGUID="477a9e39-3aea-41a2-b48a-397526a2e608" CreationDate="2011-08-01T08:25:54.010" UserId="1261" Text="&lt;slate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15612" PostHistoryTypeId="2" PostId="9393" RevisionGUID="4d7bd9c2-f2a0-42e0-9660-2803cf0f015d" CreationDate="2011-08-01T11:36:35.317" UserId="348" Text="I would also look at the Ultrason HFI 450's. I found them to be a well rounded sound for music and film- but bent more towards the film side. The ear speakers are angled down instead of directly in to he ear which reduces audio fatigue. Also, they have a coiled cable which is&#xD;&#xA;&#xD;&#xA;Check out the website:&#xD;&#xA;&#xD;&#xA;http://www.ultrasone.com/index.php/en/products/hfi-450.html&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15613" PostHistoryTypeId="2" PostId="9394" RevisionGUID="8faa4b1f-43a0-4540-8096-4d77fc13ed44" CreationDate="2011-08-01T11:47:08.490" UserId="693" Text="You should check out the Ultrasone HFI series. They seem to be right in line with everything you're looking for with a footprint no larger than any other mentioned in your list, yet not as small as your favorite but still an attractive design with great build quality. I couldn't recommend any companies products more than I do theirs. The only thing I would say in that regard is avoid the Zeno and HFI-15G. Not because they're necessarily bad, but that lack certain features that make the others so amazing. &#xD;&#xA;&#xD;&#xA;I absolutely love my Ultrasones and every engineer I know that has owned a pair always say the same. I've gushed about them on here before and I can go on about them forever, so I'll spare you and my self all the reading and typing. You can probably just search the word &quot;Ultrasone&quot; on here to find my post.&#xD;&#xA;&#xD;&#xA;Regardless of my opinion/preference, I hope whatever you find is perfect and serves you well!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15614" PostHistoryTypeId="2" PostId="9395" RevisionGUID="e7974f1e-471b-428c-aba6-4c93896b2824" CreationDate="2011-08-01T12:01:26.700" UserId="479" Text="Having studied the last year with a lecturer who is in love with researching HRTFs (Head Related Transfer Functions) I have a few personal thoughts on binaural recording and mixing.&#xD;&#xA;&#xD;&#xA;In the lab we had our HRTFs measured. The way we did it was stick a microphone facing out of our ears and record the sound of several speakers at varying heights playing a short sine sweep. After processing and analysis you end up with a frequency response that shows how your head responds to sounds.&#xD;&#xA;&#xD;&#xA;This showed me that certain notches and peaks appear when sound is heard from different angles of elevation.&#xD;&#xA;&#xD;&#xA;It gave me some good ideas to experiment with filtering those freqs when designing sounds to evoke the feeling that a sound was localised at a certain elevation.&#xD;&#xA;&#xD;&#xA;We also ran through quite a few tests where the teacher played back sounds to us over headphones that he had convolved with a range of different peoples HRTFs.&#xD;&#xA;&#xD;&#xA;The idea being to use a GUI to say whether one sound was higher or lower in elevation to the previous sound.&#xD;&#xA;&#xD;&#xA;This and other tests pointed out to me the two main problems I have with HRTFs or binaural recordings. 1) Everyones head and ears are of different sizes so produce frequency notches and peaks at different points, which therefore affect our localisation skills of sound sources. 2) There are lots of aural blind spots with the sounds of binaural recordings, the main one for me being that sound localisation for front and back sources is difficult, some people in tests said a sound was infront while others heard the same sound at the rear.&#xD;&#xA;&#xD;&#xA;However I made a radio play utilising a dummy head. It was a creepy scary story and from what we recorded the best sounds came from being up close to the head, I guess where there is a distinct time and level delay produced by the interference of the head.&#xD;&#xA;&#xD;&#xA;I know the above doesn't really answer your question, but I would consider doing some research on HRTFs and using that information to what makes binaural recordings work. Maybe I've been overloaded with learning all this shit the last year that I think buying equipment might be the wrong way to go, considering we went to the extent of removing any colouration of the sound that could come from the microphones, speakers and headphones just so we could get the truest binaural response we could achieve and then I still wasn't impressed with the outcomes.&#xD;&#xA;&#xD;&#xA;It was great fun recording with a dummy head though!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15615" PostHistoryTypeId="2" PostId="9396" RevisionGUID="c1c423c3-f49f-4e64-a501-c052c30e4d2a" CreationDate="2011-08-01T14:41:40.330" UserId="1237" Text="My opinion here (honestly) – binaural recording it is cool, but it is a stillborn (and even more - egoistical) technology. It is like a flight on the Moon, the outstanding achievement but what about results and profit? &#xD;&#xA;&#xD;&#xA;The eventual consumer should use headphones. Right? Are the headphones good for health? (point one)&#xD;&#xA;&#xD;&#xA;Point two: You are on the walk at the park. Suddenly, the unique animal! Hurry! Rec! No! The dummy head is a too big for the walk! I've left it at home!&#xD;&#xA;&#xD;&#xA;Seriously, where is the sense? Technology or creation?&#xD;&#xA;Our lifetime is too short...&#xD;&#xA;&#xD;&#xA;PS &#xD;&#xA;Sorry my English. I learn it by the use of Hollywood movies and Sydney Sheldon's books." ContentLicense="CC BY-SA 3.0" />
  <row Id="15616" PostHistoryTypeId="2" PostId="9397" RevisionGUID="f70de256-c101-4443-ac35-438c29898d74" CreationDate="2011-08-01T15:23:14.233" UserId="999" Text="I used binaural techniques in my MSC thesis to recreate the history of Crichton Castle in Scotland, we re-created the actual feel of a party that happened inside the room by recording a party piece by piece binaurally in a studio and applying an impulse response from a church built from the same bricks at the bottom of the road.&#xD;&#xA;&#xD;&#xA;We also had a six speaker set-up in the castle and used binaural recording to document how it sounded actually within the castle.&#xD;&#xA;&#xD;&#xA;Check out the video below!&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=9ih6tJ-LVJQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="15617" PostHistoryTypeId="2" PostId="9398" RevisionGUID="bb85d22a-a9bd-4a8d-b9b0-1e38cb25072f" CreationDate="2011-08-01T15:40:48.990" UserId="863" Text="NFTS just outside London is regarded as one of the best. Being one of the best you cannot just get in straight after University though.&#xD;&#xA;&#xD;&#xA;You will be required to show you have worked a bit in your field, be it directing, sound or DOP and create a suitable portfolio.&#xD;&#xA;&#xD;&#xA;It's extremely hard to get into but definitely worth trying. I've considered it myself, it's just very expensive." ContentLicense="CC BY-SA 3.0" />
  <row Id="15618" PostHistoryTypeId="2" PostId="9399" RevisionGUID="0cd89def-2332-4b03-ad59-110b970351a0" CreationDate="2011-08-01T16:15:21.410" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;I don't know if there are (global) &quot;rules&quot; to the TC slate game..&#xD;&#xA;But my experience here in the Netherlands learns that the Photography dept &#xD;&#xA;normally brings the TC Slate. Audio deptbrings a clapperboard, just in case. &#xD;&#xA;Oh and Ambient Lockits' and takes care of syncing.&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="15619" PostHistoryTypeId="2" PostId="9400" RevisionGUID="2ca057ff-1b90-4936-ab50-c28f51b52cbe" CreationDate="2011-08-01T17:26:02.890" UserId="178" Text="On a large Hollywood style production, the 2nd AC (assistant camera operator) is responsible for bringing the slate. Their other primary duties are loading film (if the production is shooting on actual film), shuttling camera data cards back and forth between the camera and DIT (digital image technician, who downloads the cards onto redundant hard drives), and operating the slate. The slate is generally stored in the camera's front box, which is a little wooden box that goes under the camera lens and is connected to the tripod.&#xD;&#xA;&#xD;&#xA;The 2nd AC is part of the camera department. In the camera department hierarchy, they fall below the 1st AC (who pulls focus), the camera operator, and the director of photography (who also oversees the grip and electrical departments).&#xD;&#xA;&#xD;&#xA;On a smaller scale set though, sometimes anything goes. On a no or low budget film, it could be anyone.&#xD;&#xA;&#xD;&#xA;As for why, I guess I'm not sure. My guess would be that the slate will be used in every single visual shot, whether or not it contains synced sound or is shot MOS (without sound). Therefore, the slate is more important to the camera department than it is to the sound department. Really though, it's the editor who will benefit the most from proper slating later on in post production." ContentLicense="CC BY-SA 3.0" />
  <row Id="15620" PostHistoryTypeId="2" PostId="9401" RevisionGUID="c696cb83-681d-4105-b841-e73a8225e61d" CreationDate="2011-08-01T18:25:16.353" UserId="1056" Text="Another vote for the Ultrasone HFI series, although specifically the 450, 580, 680 or 780 (the others are open-backed). The 450s are particularly good value and readily available in SA.&#xD;&#xA;&#xD;&#xA;Alternatively, you might consider the Etymotic ER-4S in-ear monitors with their custom-fit earmold option. They are particularly well suited for in-flight use as they provide more than 35dB isolation. An added bonus is that they are so accurate that you can even use them for monitoring in a pinch. They can be found for around $250 with the standard earmolds. The custom-fits will set you back a bit more, but are well worth it if comfort is a priority." ContentLicense="CC BY-SA 3.0" />
  <row Id="15621" PostHistoryTypeId="5" PostId="9391" RevisionGUID="acb7e811-3ab2-403c-9d18-d725b703f54f" CreationDate="2011-08-01T20:01:53.910" UserId="2" Comment="edited body" Text="Work is only part of life, I love sound also outside of work :-) I'm looking for a nice pair of headphones designed for high-quality listening and not necessarily monitoring. Basically I want a portable companion to my non-work life. I want to be able to listen to perfect and crisp music/videos/media without too much enhanced bass and a good sound stage. It would also be a plus to be able to do some basic work on the go. &#xD;&#xA;&#xD;&#xA;To give you a feel of what I'll be using the headphones with, I mostly listen to (old) jazz, so the headphones that add/invent too much bass really destroys these recordings. I listen to a ton of audiobooks and podcasts. I also listen to a lot of electronic music such as Amon Tobin, Fourtet, Bonobo, Cinematic Orchestra, etc. &#xD;&#xA;&#xD;&#xA;Most the time I will just be using my iPhone as a player.  &#xD;&#xA;&#xD;&#xA;**Key concerns** (ideally, I'm not that picky)&#xD;&#xA;&#xD;&#xA; - High quality sound: not exaggerated bass, or harsh trebles. Just well balanced, crisp sound and good sound stage. &#xD;&#xA;&#xD;&#xA; - Noise isolating: I mostly listen in public spaces or on airplanes, so being able to listen softly without hearing too much of the background is important.  &#xD;&#xA;&#xD;&#xA; - Comfortable: I listen to a lot of audiobooks and podcasts, so I wanna be able to wear them for hours without getting hot, claustrophobic, or get a headache. I also don't want to hear the mechanics of the headphones when I'm walking (crackle/thump/cable rustling too much).  &#xD;&#xA;&#xD;&#xA; - Portable: I want to be able to fold them up and keep them in my bag. Doesn't need to be in-ear kind of small.  &#xD;&#xA;&#xD;&#xA; - I don't want to look like a rapper ;-)  Would rather not have massively loud (visually) beat phones.  &#xD;&#xA;&#xD;&#xA;**What I have in mind**&#xD;&#xA;&#xD;&#xA; - [Sennheiser HD 25-1 II][1]&#xD;&#xA;&#xD;&#xA; - [B&amp;W P5][2]&#xD;&#xA;&#xD;&#xA; - [Bose OE][3], I actually HATE the sound of them. They exaggerate the bass so much and muffle everything. But they are so comfortable! And a great size...&#xD;&#xA;&#xD;&#xA; - [SoundMAGIC P30][4]&#xD;&#xA;&#xD;&#xA; - [Audio-Technica ATH-ES55][5]&#xD;&#xA;&#xD;&#xA; - [AIAIAI Tracks][6], I love the design of these and that they have a mic and control for the iDevices&#xD;&#xA;&#xD;&#xA;I've only put closed-back headphones, but I'm open to in-ear as well. I'm looking to spend around $200 but I don't mind more or less if they are great!    &#xD;&#xA;&#xD;&#xA;If you can recommend others or you have listened to any of these, I would appreciate some thoughts on them. &#xD;&#xA;&#xD;&#xA;Thanks so much!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/507447-REG/Sennheiser_HD_25_1_II_HD_25_1_II.html&#xD;&#xA;  [2]: http://www.trustedreviews.com/Bowers---Wilkins-P5-Headphones_Headphones_review&#xD;&#xA;  [3]: http://www.bhphotovideo.com/c/search?Ntt=bose+oe&amp;N=0&amp;InitialSearch=yes&#xD;&#xA;  [4]: http://www.hifiheadphones.co.uk/soundmagic-p30-foldable-closed-back-headphones-in-black-prodid-3825.html&#xD;&#xA;  [5]: http://www.whathifi.com/review/audio-technica-ath-es55&#xD;&#xA;  [6]: http://www.aiaiai.dk/headphones-w-mic/tracks-headset-w-mic-black.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15622" PostHistoryTypeId="2" PostId="9402" RevisionGUID="39ce8bc6-eeab-4ac3-92b8-9a8fa177376f" CreationDate="2011-08-01T20:15:30.163" UserId="990" Text="In North America the sound department usually carries the slate as well as any other timecode equipment such as lock-it boxes.&#xD;&#xA;&#xD;&#xA;We usually carry the TC equipment because we are the ones that usually jam them from our audio equipment.  Of course, most of us soundies believe that the slate should rest upon the camera department since they're the ones carrying the damn thing around. :)&#xD;&#xA;&#xD;&#xA;I guess we do it different from the Netherlands.  Out here the soundies carry the TC slate, and the Acs carry the traditional slates.&#xD;&#xA;&#xD;&#xA;The 2nd AC is also known as the clapper/loader meaning they will handle the slating and camera mags.  In Canada, I've never seen a single 2nd AC bring their own timecode slate, and most sound people (even the Holllywood mixers) bring their own slate and sometimes two or more.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15623" PostHistoryTypeId="2" PostId="9403" RevisionGUID="fdc4603a-1bbb-4829-9b9e-b6e69b1c8f9e" CreationDate="2011-08-01T23:45:29.793" UserId="396" Text="Hi,&#xD;&#xA;Does anyone have any experience working in an audio facility which is required to comply with SOX (the Sarbanes-Oxley Act)?&#xD;&#xA;&#xD;&#xA;For those who aren't familiar with SOX (that included me until very recently!), it places quite strict controls on a company's IT infrastructure e.g. open-source software and other freeware is generally not permitted to be installed on any computer." ContentLicense="CC BY-SA 3.0" />
  <row Id="15624" PostHistoryTypeId="1" PostId="9403" RevisionGUID="fdc4603a-1bbb-4829-9b9e-b6e69b1c8f9e" CreationDate="2011-08-01T23:45:29.793" UserId="396" Text="SOX compliance in an audio facility" ContentLicense="CC BY-SA 3.0" />
  <row Id="15625" PostHistoryTypeId="3" PostId="9403" RevisionGUID="fdc4603a-1bbb-4829-9b9e-b6e69b1c8f9e" CreationDate="2011-08-01T23:45:29.793" UserId="396" Text="&lt;computer&gt;&lt;legal&gt;&lt;work&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15626" PostHistoryTypeId="2" PostId="9404" RevisionGUID="db3c53c8-273b-4a6b-b49a-ba093c3ce24f" CreationDate="2011-08-02T02:06:28.473" UserId="432" Text="I know what the Sarbanes-Oxley Act is, only because my last job was doing audio for a company that built web based compliance and ethics courses for corporations. The little bit I remember of it has to do with e-mail correspondence, record keeping, etc. I really don't remember anything about open-source and freeware software.&#xD;&#xA;&#xD;&#xA;Do you have any specific questions? I'm not sure how much help I, or anyone else on this site, can be on this subject. This one is out there. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15627" PostHistoryTypeId="5" PostId="9403" RevisionGUID="02844bcf-2e10-4d26-a19f-c42b27bda1b3" CreationDate="2011-08-02T02:57:09.717" UserId="396" Comment="expanded context" Text="Hi,&#xD;&#xA;does anyone have any experience working in an audio facility which is required to comply with SOX (the Sarbanes-Oxley Act)?&#xD;&#xA;&#xD;&#xA;For those who aren't familiar with SOX (that included me until very recently!), it places quite strict controls on a company's IT infrastructure e.g. open-source software and other freeware is generally not permitted to be installed on any computer.&#xD;&#xA;&#xD;&#xA;**edit:**&#xD;&#xA;&#xD;&#xA;To open up the question in a more general context - As someone working in a professional facility, would you rely on any open-source or free software (including utilities, RTAS plugins etc) for your work or would you stick to commercial software?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15628" PostHistoryTypeId="2" PostId="9405" RevisionGUID="69f3edac-220e-4f79-be65-8b33a1bb8d63" CreationDate="2011-08-02T03:27:29.120" UserId="1262" Text="I'm a wedding videographer and we use the Zoom H1 on our rig to record audio from our Sony UWP-V1 during ceremonies. The main reason we decided on the Zoom H1 was for its light weight, price, 48khz 24-bit audio, and ability to be mounted to a standard quarter-20 mount (albeit, the socket is plastic, which sucks actually). Since our Nikons can only record for about 20 minutes at a time, we can't rely on using the in-camera audio since wedding ceremonies can sometimes go on for quite some time. Whatever camera the lav receiver would be plugged into would cut out&amp;mdash;on long ceremonies that'd be really bad. Imagine &quot;I take... &amp;lt;silence&amp;gt; ... I now pronounce you man and wife.&quot; o_0&#xD;&#xA;&#xD;&#xA;During receptions I'll use it for speeches for the same reason (but instead we'll have the Rhode VideoMic attached). I'll also use it for ambient noise collection while shooting b-roll footage . &#xD;&#xA;&#xD;&#xA;It's mic's ability to pick up even the slightest sound is awesomely useful (in most circumstances). Other contributors are correct in saying that it picks up every move of your hand while holding it. I generally just set it somewhere and let it do its thing. I would certainly not suggest using the mics while mounted to a camera unless it was in a shock mount... even then I don't think it would be a wise choice. It will pick up every little thing you do (maybe even more so than a built-in mic)." ContentLicense="CC BY-SA 3.0" />
  <row Id="15629" PostHistoryTypeId="5" PostId="3072" RevisionGUID="fa5115db-5634-44b9-b018-f32962fdf7c2" CreationDate="2011-08-02T04:31:43.587" UserId="61" Comment="deleted 31 characters in body" Text="For composers, it may have been John Williams' unforgettable two-note motif from Jaws that got them into the business. What are the cinematic moments in sound design that drove you to pursue it as a career or lifelong passion, and how do they continue to affect the way you work today?&#xD;&#xA;&#xD;&#xA;A few easy ones from me to get the conversation rolling:&#xD;&#xA;&#xD;&#xA;**THE SOUND:** Darth Vader's breathing from Star Wars.  &#xD;&#xA;**THE EFFECT**: OK, this is the Jaws theme of sound design for me. I cannot think about Star Wars without hearing that sound in my memory; it made the character come to life. Much later I learned how that sound was made, by [recording a person breathing through a SCUBA regulator][1]. What I take from that today, and how it affects my work, is that sometimes the design element is just as simple and uncomplicated as what the visual medium is conveying, ie. it's a guy breathing in a helmet. So, try recording a guy in a helmet! (or SCUBA regulator, or some other practical prop). In short, I don't always have to be hunching over a synth or sampler to create effective sound design. Reach for a microphone instead.&#xD;&#xA;&#xD;&#xA;**THE SOUND:** The Tyrannosaurus Rex roar from Jurassic Park.  &#xD;&#xA;**THE EFFECT:** I'll never forget that moment in the theatre. I was absolutely riveted, jaw dropped and frozen in my seat; I couldn't believe what I was seeing. But it was the *sound* that made it real for me. What I take from it today, and how it influences my work, is to not be afraid to shock people with sound design (this lesson comes from The Exorcist, as well). Embrace the reality of the moment and go for it, make it real. Be bold, because there will be times when music will not be there to cover up your track.&#xD;&#xA;&#xD;&#xA;Looking forward to all of your contributions to this conversation.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Ben_Burtt" ContentLicense="CC BY-SA 3.0" />
  <row Id="15630" PostHistoryTypeId="5" PostId="4909" RevisionGUID="6616a478-1194-45a5-a653-109e71eba698" CreationDate="2011-08-02T04:35:40.117" UserId="61" Comment="added 28 characters in body" Text="These are sounds that never left my brain and completely influence my sound design palette.&#xD;&#xA;&#xD;&#xA;**Sound**:&#xD;&#xA;I like the quintessential computing sounds from the 70s.  In fact, I must say the whole Bionic Woman, Wonder Woman, Battlestar Gallatica synthesized springy super hero jumps and leaps along with the almost arpeggiated electronic bleeps for computers forever stick in my mind. I loved it.  &#xD;&#xA;&#xD;&#xA;**Effect:** It was so wacky and primitively electronic while being extremely effective and innocently technologically optimistic unlike much of the ominous all powerful sounding electronic hums and drones we tend to associate with computers now. Perhaps this is symbolic of our use of computers as clunky helpers and timesavers in the 70s verses our almost absolute continual dependence on data storage and computation today. I felt like this is well represented cinematically with the vocal sound design for Wally and C3PO. Loved it soooo much. God love you, Walter Murch and Ben Burtt.&#xD;&#xA;&#xD;&#xA;**Sound**: The flow of people in the hallway during the hallway scene for THX 1138.  &#xD;&#xA;&#xD;&#xA;**Effect**: I could just listen to that sound for hours on loop.  There is a jem of a interview on the anniversary DVD where frequency variation is discussed. It can often be more effective at translating a feeling of largeness verses just doubling sounds over and over. Check it out on youtube: http://www.youtube.com/watch?v=BnXad1aAXQs&#xD;&#xA;So amazing!! I love that sound.&#xD;&#xA;&#xD;&#xA;**Sound**: The SFX silent music only (amazing music) blood elevator scene in Kubrick's The Shining.&#xD;&#xA;  &#xD;&#xA;**Effect**: That scene was so horrifying with the flashes of the panicked child, the twin girls, and blood raining down....but no object specific SFX.  After the amazing design that was used in previous scenes (The Gold room, the snow maze) it was unsettling to feel the unnatural discontinuous lack of design on such an enormous scene.  It really felt like all hell had broken loose. It reminds me that sometimes the best thing I can do for the effectiveness of a story is to let something stay mute.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Great discussion, Jay!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="15631" PostHistoryTypeId="2" PostId="9406" RevisionGUID="6f3f9312-41fa-45dc-8867-6f51362d4a36" CreationDate="2011-08-02T08:05:51.280" UserId="55" Text="I have the Aiaiai Tracks, and I can highly recommend them, they are amazing! Lightweight, super sturdy, very stylish, and they sound great. And the mic/clicker thing is super handy.&#xD;&#xA;&#xD;&#xA;Also, fantastic costumer service. I got a pair in December and a few months ago one ear developed a bit of a buzz. I contacted them and they sent me a brand new pair of the new model within a week. &#xD;&#xA;&#xD;&#xA;I think I really like them also because they are quite different from studio headphones. Some consumer models (Sennheiser comes to mind) try to pretend to be like studio cans, and inevitably don't compare all that well. These aren't pretending to be anything other than really nice walking-around headphones.&#xD;&#xA;&#xD;&#xA;They also come with cool packaging and extra little connector things in different colors if you want to customize. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15632" PostHistoryTypeId="2" PostId="9407" RevisionGUID="e129ae6e-dc45-44f3-9cb7-96a8ced5319a" CreationDate="2011-08-02T08:22:46.903" UserId="1056" Text="My understanding of SOX is that it was implemented subsequent to the ENRON et al debacle and that it specifically regulates financial auditing compliance in public companies.&#xD;&#xA;It does not prevent the use of open source or freeware software. However, it is quite probable that specific companies may have implemented software installation protocol that only allows for installation of specific authorised software and then only by authorised personnel." ContentLicense="CC BY-SA 3.0" />
  <row Id="15637" PostHistoryTypeId="2" PostId="9410" RevisionGUID="14ea82f2-57e7-4aed-a508-96056769f0bb" CreationDate="2011-08-02T10:08:45.837" UserId="1263" Text="Thanks guys!&#xD;&#xA;&#xD;&#xA;I appreciate the feedback. I ended up not needing anything. I did bring my headphones and a soldering kit. The mixer has a whole truck worth of gear so it all worked out. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15642" PostHistoryTypeId="2" PostId="9415" RevisionGUID="abcd4bca-7b52-4d46-957c-1563f65a1fcb" CreationDate="2011-08-02T15:21:29.560" UserId="6669" Text="I realize that these really only satisfy your first bullet point (high quality sound), but I wanted to speak up here for the Grado series of phones since they haven't been mentioned yet.&#xD;&#xA;&#xD;&#xA;The SR-80s/SR-125s both sit right in your price range. I'm no engineer, but they are some of the clearest sounding headphones I've ever listened to and consistently bring out new details I hadn't heard in the music I already know.&#xD;&#xA;&#xD;&#xA;They basically fail on all your other points (although I haven't found them that uncomfortable after long periods since they breathe so much). They are very definitely open-ear, which means you won't make many friends in elevators or close cubicles with these. For listening out in the world, I don't recommend them for long subway rides or noisy transit, but they're pretty brilliant for walks. It's quite nice to walk around a city with them on and let just a little bit of the ambience through. Plus, you won't have to worry about missing those incoming traffic honks as you zone out." ContentLicense="CC BY-SA 3.0" />
  <row Id="15644" PostHistoryTypeId="2" PostId="9417" RevisionGUID="eae90b59-48e8-4d91-b280-9956ef878b9b" CreationDate="2011-08-02T16:01:47.307" UserId="1218" Text="By &quot;aleatoric&quot; I mean recordings which are based largely on some kind of randomness.&#xD;&#xA;&#xD;&#xA;I'd love to get a conversation going about approaching sound design from the perspective of curating (is that a good word for it?) little bits of audio from longer recordings which were created without some specific end goal in mind.  Although I spend plenty of time gathering chunks of sound to assemble into some specific final result, I also really enjoy just playing around with plugins and other noise-makers and recording the results regardless of what happens.&#xD;&#xA;&#xD;&#xA;My favorite technique for this is loading up a tool like Aalto or Numerology and going to town on a complex patch, routing things around in a series of tiny experiments.  If I feel like actually banging on stuff, I'll just set my little Edirol to record while I throw things around the environment.  The whole point is to turn off the part of my brain that deals with intent and simply have fun in a &quot;naive&quot; way for a while.&#xD;&#xA;&#xD;&#xA;Once I have the audio recorded, I archive it so that I can come back to it on a rainy day.  I've found tons of inspiration while rapidly sorting through hundreds of these recordings at a time.  I just load up all the files in Ableton Live and quickly scan through each one by dropping the play marker at different points.  If something strikes my fancy, I isolate that part of the waveform, put some basic fades on it, and load it into the sampler for more processing, pitch layering, etc.&#xD;&#xA;&#xD;&#xA;For anyone else that enjoys this approach, what are your favorite techniques for efficiently sorting through the recordings and turning them into something useful in your music compositions/sound designs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15645" PostHistoryTypeId="1" PostId="9417" RevisionGUID="eae90b59-48e8-4d91-b280-9956ef878b9b" CreationDate="2011-08-02T16:01:47.307" UserId="1218" Text="Your thoughts on sorting through aleatoric recordings for sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15646" PostHistoryTypeId="3" PostId="9417" RevisionGUID="eae90b59-48e8-4d91-b280-9956ef878b9b" CreationDate="2011-08-02T16:01:47.307" UserId="1218" Text="&lt;sound-design&gt;&lt;random&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15649" PostHistoryTypeId="2" PostId="9420" RevisionGUID="384d9a9f-1836-4b1c-90f1-acafc4d4262e" CreationDate="2011-08-02T17:35:18.050" UserId="6600" Text="Hey Nick,&#xD;&#xA;&#xD;&#xA;It seems we share a similar approach in creating new sound source - I generally create my aleatoric (nice word, I'm nicking that!) stuff between projects because it's never truly random and experimental if I have a specific purpose in mind.  As you say it's nice just to mess about without worrying about whether you are accurately portraying the emotional state of that distant seagull ;)&#xD;&#xA;&#xD;&#xA;I verge on OCD when it comes to organising audio clips.  Normally I would give a certain audio batch a name that probably only makes sense to me, in some sort of attempt to label it (e.g. &quot;Bath Robot&quot; or &quot;Water Box&quot;) and remind me what it sounds like.  I will also chop up these recording sessions into what I deem to be useful parts, so &quot;Bath Robot 1&quot;, &quot;Bath Robot 2&quot; etc etc because I hate having to run through a 3 minute audio clip to find what I want, and also saves on precious memory when you're only using a couple of seconds of that audio in a project (although I see what you're saying about just dropping it on the timeline and seeing what happens, some of my &quot;greatest hits&quot; have been pure luck or mistakes).  As short clips I find it easy to run through a batch of audio using the preview function in Finder (Mac), and get a general gist of what's there.&#xD;&#xA;&#xD;&#xA;I try to be pretty ruthless when it comes to keeping or chucking my recording sessions, as I don't want to end up with loads of crap.  I'd rather have a smaller library of just awesome sounds, although I must admit I get a bit of cleaning out the attic syndrome and want to keep most things 'just in case'.  Anyways, having it all organised like that seems to stick it in some dark recess of my memory and will pop up again when I'm trying to think of an appropriate sound for something." ContentLicense="CC BY-SA 3.0" />
  <row Id="15650" PostHistoryTypeId="2" PostId="9421" RevisionGUID="27ed24ad-df2b-4819-b1cd-a7af74ab5992" CreationDate="2011-08-02T17:48:30.360" UserId="1152" Text="Hi Nick!&#xD;&#xA;&#xD;&#xA;I don't have any suggestions for organizing, and cataloging other than to get an intern to do it.&#xD;&#xA;&#xD;&#xA;Your post did remind me of the session recorder function in Reaper which records a continuous file of whatever is coming out the master bus, I should really use this more. That's the easy part covered, sorting through and organizing is the hard part." ContentLicense="CC BY-SA 3.0" />
  <row Id="15651" PostHistoryTypeId="2" PostId="9422" RevisionGUID="eaaeb2a8-04f8-4b69-8548-bcd3e384ea90" CreationDate="2011-08-02T19:11:29.237" UserId="247" Text="Hey guys, I really need to come up with a mean epic dragon vox sfx. I tried using a bunch of animal sounds slowed down, but nothing seems to fit! any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15652" PostHistoryTypeId="1" PostId="9422" RevisionGUID="eaaeb2a8-04f8-4b69-8548-bcd3e384ea90" CreationDate="2011-08-02T19:11:29.237" UserId="247" Text="LOUD MEAN DRAGON" ContentLicense="CC BY-SA 3.0" />
  <row Id="15653" PostHistoryTypeId="3" PostId="9422" RevisionGUID="eaaeb2a8-04f8-4b69-8548-bcd3e384ea90" CreationDate="2011-08-02T19:11:29.237" UserId="247" Text="&lt;creature-vocalizations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15654" PostHistoryTypeId="2" PostId="9423" RevisionGUID="e8c80ff8-5a4e-4247-a8ec-06eb1948d3be" CreationDate="2011-08-02T19:48:29.160" UserId="6499" Text="I have always seen ACs bring regular slates, and sound department bring the smart slates.  Any time a TC lock is required, that is generally generated from sound dpt so all that gear comes from sound.&#xD;&#xA;&#xD;&#xA;I bring a slate to any dual system shoot I am on as a sound guy.  Both  my roommates are camera assistants and they all bring multiples slates each.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="15655" PostHistoryTypeId="2" PostId="9424" RevisionGUID="c298143d-5101-44d0-a5a9-5353691fdeed" CreationDate="2011-08-02T19:59:08.930" UserId="1218" Text="Cool question.  Try using some crazy pitch modulation on one or two of your layers.  With the pitch modulation (especially toward the end of each vocalization) you can add a threatening, throaty &quot;warble&quot; to an otherwise static sample.  I'll come back this post and add more as I think of things!&#xD;&#xA;&#xD;&#xA;EDITS:&#xD;&#xA;&#xD;&#xA;1) I've had a lot of luck with ring modulation when it comes to monster sounds (probably my favorite effect to work on).  Recently I experimented with modulating the dry/wet value of a ring mod over a midrange frequency layer on a monster sound and it gave me some really cool results.  This works best if the layer is lower in volume than the others because obviously ring mod can sound really artificial if you're not careful." ContentLicense="CC BY-SA 3.0" />
  <row Id="15656" PostHistoryTypeId="5" PostId="9424" RevisionGUID="fb00ae92-d169-4606-a246-951cf9208617" CreationDate="2011-08-02T20:05:31.480" UserId="1218" Comment="more ideas!" Text="Cool question.  Try using some crazy pitch modulation on one or two of your layers.  With the pitch modulation (especially toward the end of each vocalization) you can add a threatening, throaty &quot;warble&quot; to an otherwise static sample.  I'll come back this post and add more as I think of things!&#xD;&#xA;&#xD;&#xA;EDITS:&#xD;&#xA;&#xD;&#xA;1) I've had a lot of luck with ring modulation when it comes to monster sounds (probably my favorite kind of sound effect to work on).  Recently I experimented with modulating the dry/wet value of a ring mod over a midrange frequency layer on a monster sound and it gave me some really cool results.  This works best if the layer is lower in volume than the others because obviously ring mod can sound really artificial if you're not careful.&#xD;&#xA;&#xD;&#xA;2) Also try gradually fading in any of the lows and low mids in the vocalization rather than slamming the listener with the full frequency spectrum all at once.  When the effect starts to play back you will create tension in the listener as they wait for the full force of the scream to kick in.  I recommend fading these frequencies in with something other than a linear envelope (logarithmic maybe?) so that the rate of fade-in accelerates over the envelope time." ContentLicense="CC BY-SA 3.0" />
  <row Id="15658" PostHistoryTypeId="2" PostId="9426" RevisionGUID="72c0b9f1-fe31-4922-98ac-34e48f0bba33" CreationDate="2011-08-02T21:16:20.503" UserId="278" Text="Hi guys, this is my first post although I joined this society last year, I was very busy finishing my studies. This is my first show-reel. I would appreciate any suggestions. Cheers!!&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=Rx-WhgHBi0g][1]&#xD;&#xA;&#xD;&#xA; [1]: http://www.youtube.com/watch?v=Rx-WhgHBi0g&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15659" PostHistoryTypeId="1" PostId="9426" RevisionGUID="72c0b9f1-fe31-4922-98ac-34e48f0bba33" CreationDate="2011-08-02T21:16:20.503" UserId="278" Text="Eric Fernandez-Baca Audio show-reel" ContentLicense="CC BY-SA 3.0" />
  <row Id="15660" PostHistoryTypeId="3" PostId="9426" RevisionGUID="72c0b9f1-fe31-4922-98ac-34e48f0bba33" CreationDate="2011-08-02T21:16:20.503" UserId="278" Text="&lt;showreel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15664" PostHistoryTypeId="2" PostId="9429" RevisionGUID="b5a80d53-79a6-45ea-9555-4830de290636" CreationDate="2011-08-03T00:14:48.673" UserId="1013" Text="I don't think you should use copyright material in your showreel - assuming that you don't have permission to use Ratatoullie. Congratulations on finishing your studies." ContentLicense="CC BY-SA 3.0" />
  <row Id="15665" PostHistoryTypeId="2" PostId="9430" RevisionGUID="a5a44bef-e3fa-450b-89ba-73932534296e" CreationDate="2011-08-03T01:13:44.753" UserId="1266" Text="Try processing a Fart sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="15666" PostHistoryTypeId="2" PostId="9431" RevisionGUID="14fa1124-f703-4bdd-a8b8-1ebf2ec86735" CreationDate="2011-08-03T04:37:44.707" UserId="1228" Text="These are all great ideas!  Another one to add to the pot is the record your own vocalizations and manipulate those.  My understanding is that a lot of the 'iconic' monsters and creatures in film incorporate a human vox element - whether its just a manipulated recording, or using a vox input to trigger other sound samples based upon time or frequency range within software (Ben Burtt does this I believe).&#xD;&#xA;&#xD;&#xA;Cats work well too when you slow them down for a higher-pitched dragon element, especially if you can find one that has a close up angry hiss.  The meows don't work quite as well, but the hiss is other-wordly when slowed down." ContentLicense="CC BY-SA 3.0" />
  <row Id="15667" PostHistoryTypeId="2" PostId="9432" RevisionGUID="246e0160-dbc8-4c1f-9a2f-91e133ed7efb" CreationDate="2011-08-03T09:55:57.073" UserId="1117" Text="im sure someone more suitable to give proper feedback will answer soon..&#xD;&#xA;&#xD;&#xA;but i think you could get a bit more animated with it, especially with Ratatoullie. what i mean is hes a little rat in a (for him) massive kitchen, so you have license to go nuts with the sound, like when he pours that liquid, into the soup, to him that could be a massive splash, this could make it a bit more exciting.&#xD;&#xA;&#xD;&#xA;im not very experienced and i don't even have a showreel myself, maybe someone else will chime in some better advice." ContentLicense="CC BY-SA 3.0" />
  <row Id="15668" PostHistoryTypeId="2" PostId="9433" RevisionGUID="41a2856e-7a02-417f-8185-989a63e344a3" CreationDate="2011-08-03T10:49:35.327" UserId="1196" Text="Good effort, my advice would be to try not to think of the sounds too literally.  There's a magical element in this kind of stuff just as much in the sound design as the animation and I think that's what's lacking at the moment." ContentLicense="CC BY-SA 3.0" />
  <row Id="15670" PostHistoryTypeId="2" PostId="9435" RevisionGUID="f63bc503-cd1c-4e24-8f7b-4309d26c7e71" CreationDate="2011-08-03T13:44:47.617" UserId="6487" Text="It all depends on your demographic, the visuals, and intended result as to what you would use. Think of how different the sounds for Dralcor, The Luck Dragon, from Never Ending Story and Toothless from How to Train Your Dragon are from the Dragon from Dragonheart or even Dragon Wars: D-War.  There are lots of ways to go on this....&#xD;&#xA; &#xD;&#xA;For a classic fantasy dragon I would probably start at with an elephant seal call verbed out and sidechained to Lo-fi mixed with a reversed Blow Torch blast or flame thrower hiss to make a fireball sound.  Maybe I would add a processed slowed down bird caw/shriek as well to help it cut through any gratuitous bass centered background elements. Elastic audio is good for this.  Also, if you want to go more cartoon-esque (younger demographic) and humanoid....try performing some vocalizations using a surface mic and mixing that in or adding kitten sounds or bear cub vocalizations.  But, I second Nick's notion above....process your layers and blend, blend, blend. Ask yourself what emotions you want to portray and what sounds make you feel that way. For instance, by using steel and metal moans you can add a strong scary impersonal feel...You can make almost anything from anything these days.&#xD;&#xA;&#xD;&#xA;Have fun! (I'm jealous.) &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15673" PostHistoryTypeId="2" PostId="9438" RevisionGUID="cefec0ef-f23e-4ec5-b53a-caf179a4a748" CreationDate="2011-08-03T16:45:30.117" UserId="1269" Text="Firstly, nice topic! I had to read a bit about the term to make sure I didn't come here talking out of my *ss first ;) I recall a partner and I used to do this a lot with Propellerheads Rebirth a while back, using various crazy mods people shared in the community. That was BIG for a while. We used to fill up MANY floppy disks with on-the-fly parameter switchings of 909, 808, 303 patterns being affected by the wonderful &quot;pattern controlled filter&quot; module. All of the switching was realtime w a mouse pointer (go figure) recorded into SoundForge and then sampled with an Akai S2000 sampler (and then sometimes RE-sampled while performing those back into the sampler while making wild movements with Akai's filter (mmm nice). I fondly recall how fun it was to collect all of that material, but in reality we maybe used 50 things out of over 800 samples or more...sigh..sad really. &#xD;&#xA;&#xD;&#xA;Secondly, I never really take the TIME to resample and store as often as I should in Ableton. It's a magnificent &quot;Rebirth&quot; to muck around with samples and sounds in a random fashion on it's own (and much easier than messing with an actual hw sampler, esp those older ones! ;P) I guess I have that creeping fear inside that tells me I may never REALLY come back to all that nice stuff and make use of it so it is not wasted. BUT i've been thinking hard lately while banging my head in trying to crank out some new decent material.. I need more random elements in what I do as well. I do music for the love of the mechanics of sound and decomposition thereof, so it only makes sense to get more into this 'aleatoric' frame of mind to devise the right components. I think I may combat my pessimistic side in this sampling/archive issue and take a nite session to just map a shitload of controls on the novation and padkontrol to a selection of vsts with crazy modulation features and record that shit. If anything, like you mentioned Nick, I can get some new inspirations from certain chunks. It's just taking the time to sit and noodle around...vs sound design (vst/ableton synth programming) or sweating over arranging tracks etc. One thing I've learned is that you have to sit down in this chair with PURPOSE and INTENT otherwise you wander off real easy in one direction or another. That's another topic... &#xD;&#xA;&#xD;&#xA;And yes ABSOLUTELY Aalto will be one of those twisted devices I will employ for the dirty task as well (and U-he's modular monster, Bazille). Excellent creative modular synth, Aalto. It's excellent because of both its limitations AND it's no-boundaries approach to authentic signal switching capabilities. I fell fast for it just as you did.. I wish I wasn't PC-based here so I could try this Numerology out. One day :) &#xD;&#xA;&#xD;&#xA;Yeah, I think I will employ Ableton's Sampler instrument as my new Akai S2000 and sling in a bit of the randomness from the first sitdown resample session. It is QUITE capable of artistic playback   " ContentLicense="CC BY-SA 3.0" />
  <row Id="15674" PostHistoryTypeId="2" PostId="9439" RevisionGUID="7eb581b8-835d-4101-8e47-8fe3fe46cde5" CreationDate="2011-08-04T00:45:54.617" UserId="1266" Text="I was perusing website a few days ago and ran across the routing/bussing schematics for a &quot;feedback compressor.&quot;  Now I can't find the page and I'm wondering what exactly a &quot;feedback compressor&quot; is?  What are the merits of a feedback compressor?   How do you route it?  I remember vaguely that there was a sidechain, a delay and duplicated bussing.  Can anyone explain?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15675" PostHistoryTypeId="1" PostId="9439" RevisionGUID="7eb581b8-835d-4101-8e47-8fe3fe46cde5" CreationDate="2011-08-04T00:45:54.617" UserId="1266" Text="A Feedback Compressor" ContentLicense="CC BY-SA 3.0" />
  <row Id="15676" PostHistoryTypeId="3" PostId="9439" RevisionGUID="7eb581b8-835d-4101-8e47-8fe3fe46cde5" CreationDate="2011-08-04T00:45:54.617" UserId="1266" Text="&lt;design&gt;&lt;signal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15680" PostHistoryTypeId="2" PostId="9441" RevisionGUID="08264c54-9f32-4a8f-8f89-15ca82e70edc" CreationDate="2011-08-04T05:08:40.530" UserId="845" Text="I'm much more of a protools guy than it sounds like the rest of the respondents are, though this is something that I'm definitely working on correcting. &#xD;&#xA;&#xD;&#xA;The way I always set up my sessions is that every new track I create is automatically routed through a bus called &quot;Thru Me To You&quot; which is then picked up by an aux track with a limiter insert - just in case. That aux routes to a stereo track that only outputs sound when it's recording, meaning that if I want to hear it I have to record it. So everything I do is documented and accessible. &#xD;&#xA;&#xD;&#xA;From there I can either export that file as a whole, or do a strip silence and give the whole thing a once over, dumping sounds into tracks named by category.  After that I do batch fades, then an auto-rename for each track/set of regions. Then a batch export for each set into appropriate folders. &#xD;&#xA;&#xD;&#xA;It's really not as much work as it sounds. It's actually efficient enough that I rarely end up having to keep any source files. This means that I can empty out the audio files folder and just use the same session over and over again in stead of having a bazillion randomly named sessions floating around. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15682" PostHistoryTypeId="2" PostId="9442" RevisionGUID="9de0d52b-801f-4ada-abf6-8ebd32090751" CreationDate="2011-08-04T08:20:30.387" UserId="6420" Text="Was it the Sonnox Dynamics manual you were looking at? There's a little bit in there describing the differences if I recall. You can download it from their site. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15683" PostHistoryTypeId="2" PostId="9443" RevisionGUID="a83e8c12-3fbd-40a0-8566-a2d217436253" CreationDate="2011-08-04T09:01:32.567" UserId="1117" Text="zoom H1 is great, its actually a pocket sized pocket recorder, no excuse not to have it with you all the time." ContentLicense="CC BY-SA 3.0" />
  <row Id="15684" PostHistoryTypeId="2" PostId="9444" RevisionGUID="53a42f71-519b-4c7d-ae70-ee3b96f77290" CreationDate="2011-08-04T09:23:13.433" UserId="993" Text="Kicking myself for not asking this here sooner, but I'm starting on a film which will involve a number of scenes where both cameras and the actors are on roller blades.&#xD;&#xA;&#xD;&#xA;This poses some challenges for recording dialogue. At the moment I am thinking of doing a combination of using a super long pole and making long arcing moves. Where that doesn't work I will be putting felt bottoms on my softest shoes, using a short boom pole and following on foot.&#xD;&#xA;&#xD;&#xA;Depending on the blocking these aren't the ultimate solutions and will likely be rather tiring. If anyone else has suggestions on how to approach this I would love to hear them. I don't have wireless mics in my kit, but just in case someone else does, mic placement tips  would be appreciated. Given all the body movement involved in skating I am thinking that mounting to the helmet might be best - though very few characters are wearing helmets.&#xD;&#xA;&#xD;&#xA;Given the noise roller skates make, it may just be recording for ADR reference, but I want to try to get the best possible recording on set. Time permitting I will also endeavor to get wild recording of dialogue that is masked by skating noises. Have I missed anything?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15685" PostHistoryTypeId="1" PostId="9444" RevisionGUID="53a42f71-519b-4c7d-ae70-ee3b96f77290" CreationDate="2011-08-04T09:23:13.433" UserId="993" Text="Recording actors on roller blades" ContentLicense="CC BY-SA 3.0" />
  <row Id="15686" PostHistoryTypeId="3" PostId="9444" RevisionGUID="53a42f71-519b-4c7d-ae70-ee3b96f77290" CreationDate="2011-08-04T09:23:13.433" UserId="993" Text="&lt;boom&gt;&lt;speed&gt;&lt;actors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15687" PostHistoryTypeId="2" PostId="9445" RevisionGUID="c6d9b0ea-4586-4af9-b47a-9625c6c01295" CreationDate="2011-08-04T09:42:29.387" UserId="863" Text="definitely wildtrack everything. Get some radio mics, use stickies from rycote and place them around the solar pleuxs, capture boom too. Search mic placement on the forum, there was a great discussion recently about good lav mic placement." ContentLicense="CC BY-SA 3.0" />
  <row Id="15688" PostHistoryTypeId="2" PostId="9446" RevisionGUID="edbb0a12-efc2-420a-b3db-66f009f73cf6" CreationDate="2011-08-04T11:26:17.793" UserId="985" Text="I have heard a sound, only last week, no pitch stretching, no time shifting, a 100% natural sound, sounded like a REAL dragon. I was so blown away, I couldn't believe it - when closing my eyes, I thought I was near a real life dragon.&#xD;&#xA;&#xD;&#xA;I stumbled upon it while sea kayaking near caves, there seemed to be an underwater hole in one of the caves, pushed air through it, when the waves stroke, it made a deep grumbling or growling sound with a heavy respiration. It sounded totally &quot;alive&quot; - Wished I could have recorded it, but maybe there is a collection of sounds from water holes by the sea side out there, wouldn't need much tweaking for sure. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15689" PostHistoryTypeId="2" PostId="9447" RevisionGUID="8133f23c-87fa-4e9a-88f8-4b2e4a3e7f14" CreationDate="2011-08-04T12:32:32.163" UserId="845" Text="One thing you might want to consider re: the noisiness of the 'blades, would be to bring along some bearing lubricant.  Generally speaking, it'll be the bearing that makes the largest amount of noise.  Most blade wheels are quite soft and quiet on a smooth surface.&#xD;&#xA;&#xD;&#xA;If you check it out beforehand, you could make yourself the hero of the production by suggesting that they at least change up the bearings, which shouldn't be very expensive.  You'd be amazed the difference it'll make for the camera to have a super-smooth ride, not to mention actors who may, or may not be, too great on 8 wheels." ContentLicense="CC BY-SA 3.0" />
  <row Id="15690" PostHistoryTypeId="2" PostId="9448" RevisionGUID="79e405b5-6ff0-41d5-8895-b1f872fd9122" CreationDate="2011-08-04T14:44:09.293" UserDisplayName="user6513" Text="Off my head, the only film I remember with skates and dialogue is Boogie Nights, where Roller Girl skates everywhere...&#xD;&#xA;&#xD;&#xA;Lords of Dogtown and Elephant had lots of skateboards but the bulk of their dialogue was delivered when they were off their boards, which leads me to think that it may be the same for your film? Realistically, if I was blading, I don't usually speak, much less hold a conversation. But if I do have a friend with me, we do yell out to one another. Definitely not complex and long sentences, so you may get away with a boom mic.&#xD;&#xA;&#xD;&#xA;I reckon even if you are using the location sound as a guide track, the wireless mics may go a long way in the long run. If the camera is constantly moving, I doubt you can get in too close to the talents without knowing the shot composition and size. Moreover, if they end up doing long takes where the characters talk, move off to the next place, stop and talk again, you'll be pretty screwed moving with that boom. I doubt you'll be on wheels, and if you run with them, that's gonna be another can of worms." ContentLicense="CC BY-SA 3.0" />
  <row Id="15691" PostHistoryTypeId="2" PostId="9449" RevisionGUID="10aaf80f-c7b1-41ac-b2b0-071219964184" CreationDate="2011-08-04T16:52:40.793" UserId="693" Text="If it's routing schematics then I'm thinking it was most likely describing how to set up controllable feedback loops on an analog mixer. Essentially it's a routing setup where it creates a feedback loop and then buss' it out to another fader acting as it's master. It could have potentially had a compressor or gate on it's master and when side-chained you could have rhythmically triggered feedback with it's own adjustable adsr due to the compressor or gate's variable parameters.&#xD;&#xA;&#xD;&#xA;An extreme version of this would be called a &quot;No-Input Mixer&quot; as employed by the likes of Japanese extreme noise artist Masami Akita (Merzbow) and now a whole slew of other noise artists. The general technique is that an analog mixer output is connected to it's inputs to create a feedback loop. The sound is then shaped by eq's and insert fx. When it's been shaped as much as desired the sound is then sent out an aux to an external source for additional mixing and monitoring. And like I said before, if you set up side-chain fed gate's and compressors you can achieve rhythmic results that you can shape depending on how flexible your dynamics processors are.&#xD;&#xA;&#xD;&#xA;Here's a few examples of these more extreme variations of what I seem to think you're talking about:&#xD;&#xA;&#xD;&#xA;The Basics:&#xD;&#xA;[youtube]qk6NQvXSizg[/youtube]&#xD;&#xA;&#xD;&#xA;this guy is really awesome...&#xD;&#xA;[youtube]DKqDOw3pv6o[/youtube]&#xD;&#xA;&#xD;&#xA;a longer video of him:&#xD;&#xA;[youtube]OMiCFYtxEsc[/youtube]&#xD;&#xA;&#xD;&#xA;and here's someone else going pretty berserk with their setup:&#xD;&#xA;[youtube]CTefqILj_WQ[/youtube]&#xD;&#xA;&#xD;&#xA;Some other examples and related stuff (Scroll down to &quot;Simple Feedback Loop&quot; if you want to ignore the other stuff).&#xD;&#xA;http://www.regurgitron.com/diynoise.htm&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Hope that answered your question. It's still pretty neat and fun stuff regardless. Makes me want to find a cheap analog mixer for this short film I'm doing sound design on over the next few days.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15693" PostHistoryTypeId="2" PostId="9451" RevisionGUID="0b5fb05e-fb9a-4a72-b780-a5aafaceebb4" CreationDate="2011-08-04T23:57:58.603" UserId="1185" Text="Chris,&#xD;&#xA;&#xD;&#xA;On my blog I describe a &quot;dynamic delay&quot; effect where compressor is placed in the feedback path of a delay effect ([http://sound-sculpting.blogspot.com/p/synthesis_28.html][1]).  Maybe this is what you are thinking of?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sound-sculpting.blogspot.com/p/synthesis_28.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15694" PostHistoryTypeId="2" PostId="9452" RevisionGUID="889a2450-adf6-4b73-9137-9ea9990403e5" CreationDate="2011-08-05T06:30:21.730" UserId="1245" Text="I have the 101 and 210 cert (got them during school), and it has never come up in an interview. I think that it definitely doesn't hurt to have on the resume, but all in all it probably wouldn't have been worth the effort if it wasn't already part of the course material I was working on.&#xD;&#xA;&#xD;&#xA;Another thing to consider is that it probably varies in importance based on the field you're working in. I work in Game Audio and I would guess that it means just about the least here, and probably means a little more in post houses.&#xD;&#xA;&#xD;&#xA;That being said, if you have 13+ years of ProTools use, you hopefully have a pretty nice demo reel going, and in my experience your demo reel should matter 100x more than any cert ever will.&#xD;&#xA;&#xD;&#xA;hopefully that helps, best of luck!&#xD;&#xA;&#xD;&#xA;-T&#xD;&#xA;&#xD;&#xA;tldr; Have 210, hasn't made a noticeable difference...time could be better spent making a cool website or polishing your reel imo." ContentLicense="CC BY-SA 3.0" />
  <row Id="15695" PostHistoryTypeId="2" PostId="9453" RevisionGUID="e511b67f-3ae5-4ac4-b1ab-6d13e54cd762" CreationDate="2011-08-05T10:42:32.440" UserDisplayName="user80" Text="This one of the few cases that you actually want a mic on the camera.&#xD;&#xA;&#xD;&#xA;A simple video mic like the Rode Video Mic Pro would be great.&#xD;&#xA;&#xD;&#xA;With the camera on roller blades you won't be able to boom close enough, as there is no way of knowing what the camera is covering, as blocking will not be accurate.&#xD;&#xA;&#xD;&#xA;I would also use radio mics and make sure that you are out of the way so that there is no chance of you ruining a shot. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15696" PostHistoryTypeId="5" PostId="9453" RevisionGUID="4a894dfc-0061-4a28-b649-45883ec37ccb" CreationDate="2011-08-05T10:54:04.480" UserDisplayName="user80" Comment="added 102 characters in body" Text="This one of the few cases that you actually want a mic on the camera. It will never be good enough for a final production track, but it will work as a guide track for ADR.&#xD;&#xA;&#xD;&#xA;A simple video mic like the Rode Video Mic Pro would be ideal.&#xD;&#xA;&#xD;&#xA;With the camera on roller blades you won't be able to boom close enough, as there is no way of knowing what the camera is covering, as blocking will not be accurate.&#xD;&#xA;&#xD;&#xA;I would also use radio mics and make sure that you are out of the way so that there is no chance of you ruining a shot. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15697" PostHistoryTypeId="5" PostId="4561" RevisionGUID="be5df841-fff8-42b8-9e30-1fd307332777" CreationDate="2011-08-05T17:28:01.000" UserId="61" Comment="add'l info" Text="One of these magical gizmos has found its way into my life and now I'm wondering what else it can do besides check email and play Angry Birds. Have found a few interesting apps out there for creating semi-random soundscapes and textures ([Curtis][1], [Thicket][2]) as well as some apps that provide a real function (Korg [iElectribe][3], [AC-7][4]). But as always, I'm curious to know what my fellow sound folks are doing with this amazing piece of tech.&#xD;&#xA;&#xD;&#xA;Tim Prebble has a [similar post][5] on his blog, which brought even more interesting ideas to light.&#xD;&#xA;&#xD;&#xA;**UPDATE**: Recently read a post about [Touchable][6], an iPad controller for Abelton Live. I've not used Live for sound design before…anyone out there endorse it?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://itunes.apple.com/us/app/curtis-lite-granular-synthesizer/id327856303?mt=8&#xD;&#xA;  [2]: http://apps.intervalstudios.com/thicket/&#xD;&#xA;  [3]: http://www.korg.com/iElectribe&#xD;&#xA;  [4]: http://www.saitarasoftware.com/Site/Home.html&#xD;&#xA;  [5]: http://www.musicofsound.co.nz/blog/apps-for-your-ipad&#xD;&#xA;  [6]: http://touch-able.com/Site/touchable.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15698" PostHistoryTypeId="2" PostId="9454" RevisionGUID="f90698f4-228b-4384-bd58-a05c569858d4" CreationDate="2011-08-05T19:18:43.737" UserId="868" Text="Hello Everyone,&#xD;&#xA;I am going to be working on 2 one hour documentaries on naval aviation. There is a need for many airplane SFX ranging from WWI to the modern day.  Because of the nature of the docs and the expected audience, there is a desire for as much accuracy in the sounds of the planes as possible.  Does anyone know of a well cataloged source, commercial or self recorded that I could purchase.  I have some budget but not a tremendous amount.   I already have many of the general commercial libraries, so what I am looking for is something more specific and well cataloged.  Any help greatly appreciated.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15699" PostHistoryTypeId="1" PostId="9454" RevisionGUID="f90698f4-228b-4384-bd58-a05c569858d4" CreationDate="2011-08-05T19:18:43.737" UserId="868" Text="Well Cataloged Airplane Sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="15700" PostHistoryTypeId="3" PostId="9454" RevisionGUID="f90698f4-228b-4384-bd58-a05c569858d4" CreationDate="2011-08-05T19:18:43.737" UserId="868" Text="&lt;planes&gt;&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15701" PostHistoryTypeId="2" PostId="9455" RevisionGUID="7976a3f6-3ba0-4aaa-be5d-92f75b1e5a10" CreationDate="2011-08-05T20:36:34.263" UserId="315" Text="This [place][1] may be able to help you. They have an official recording deal with the Reno Air Races.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.aircraftrecords.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="15702" PostHistoryTypeId="2" PostId="9456" RevisionGUID="c30c87e8-71ef-48b4-bb25-19845cac0e31" CreationDate="2011-08-05T21:22:39.040" UserId="842" Text="Me, I've stuck to the Wave-format mainly because it's a good format and I've never really had any reason to change, as well as I'm very fond of the Broadcast Wave File-extension :-)&#xD;&#xA;When it comes to compressed formats I shun em' as the plague...with the style of design-work and over all sound editing I usually work by my computer already hates me as it is, I don't really wanna strain the processor even more no matter how small...&#xD;&#xA;/CvanC" ContentLicense="CC BY-SA 3.0" />
  <row Id="15703" PostHistoryTypeId="2" PostId="9457" RevisionGUID="e661cc63-9b38-45af-820e-a5b8a75adfc8" CreationDate="2011-08-05T21:39:20.367" UserId="842" Text="Here in Sweden, at least in most films I've been sound-guy on, I'm usually the one responsible for the clapper when not on take.&#xD;&#xA;I've worked with countless camera-guys who don't even remotely understands the meaning of the clapper other than just syncing up sound, so I do se the logic in it :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15704" PostHistoryTypeId="5" PostId="9447" RevisionGUID="bc01cbf9-fb5e-452f-ad8d-d55bc07c4a80" CreationDate="2011-08-05T21:44:38.300" UserId="845" Comment="added 82 characters in body" Text="One thing you might want to consider re: the noisiness of the 'blades, would be to bring along some bearing lubricant.  Generally speaking, it'll be the bearing that makes the largest amount of noise.  The wheels themselves are usually quite soft and quiet on a smooth surface.&#xD;&#xA;&#xD;&#xA;If you can sneak a look at the rollerblades before shooting starts and find that they are a bit noisy, you could make yourself the hero of the production by suggesting that they at least change up the bearings, which shouldn't be very expensive.  You'd be amazed the difference it'll make for the camera to have a super-smooth ride, not to mention actors who may, or may not be too great on 8 wheels." ContentLicense="CC BY-SA 3.0" />
  <row Id="15705" PostHistoryTypeId="2" PostId="9458" RevisionGUID="034190fe-52ec-4922-9c6c-7b35ce632406" CreationDate="2011-08-06T03:21:00.060" UserId="1237" Text="Wow! It has built MS mic!&#xD;&#xA;&#xD;&#xA;An excellent opportunity for beginner to try new mic technique!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15706" PostHistoryTypeId="2" PostId="9459" RevisionGUID="f8b98d3e-6102-45a4-b26a-dc7efd603558" CreationDate="2011-08-06T04:59:12.377" UserId="1036" Text="Here are some of my personal favourites : &#xD;&#xA;&#xD;&#xA;[gliss][1] Load up your own samples and use the tilt mechanism to get interesting sounds&#xD;&#xA;&#xD;&#xA;[abcdefghijklmnopqrstuvwxyz][2] Makes use of single vowel vocalisations which can bounce around or behave differently&#xD;&#xA;&#xD;&#xA;[Bloom HD][3] Great for ambient stuff or musical soundscapes&#xD;&#xA;&#xD;&#xA;Have fun! :D&#xD;&#xA;&#xD;&#xA;  [1]: http://itunes.apple.com/us/app/gliss/id347383589?mt=8&#xD;&#xA;  [2]: http://itunes.apple.com/ca/app/abcdefghijklmnopqrstuvwxyz/id358824534?mt=8&#xD;&#xA;  [3]: http://itunes.apple.com/ca/app/bloom-hd/id373957864?mt=8" ContentLicense="CC BY-SA 3.0" />
  <row Id="15707" PostHistoryTypeId="5" PostId="9120" RevisionGUID="bb51ea44-56c4-424c-958b-20d0b5f473bb" CreationDate="2011-08-06T08:20:22.927" UserId="61" Comment="fixed" Text="I don't have an iPad but this app &quot;[Sample Wiz][1]&quot; looks pretty interesting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.samplewiz.com/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15708" PostHistoryTypeId="2" PostId="9460" RevisionGUID="5cf29e14-f356-4fe1-8e95-c9a61a1de8e9" CreationDate="2011-08-06T10:21:25.827" UserId="1228" Text="Interesting topic Glenn.  Templating is how my world goes around and stays organized.  Most of my templates are for internal usage when doing in-house work, however I have been also keeping on hand templates supplied by specific studios I work with so that when I do a show for them, I use their preferred template.  So I guess in that regard, I do use templates yet its a very fluid case-by-case scenario.  Color coding and track naming tend to be the chief usage of templates for me and staying organized.  Over time, it helps me work quickly when I always know my printmaster track is baby blue, stems are yellow, submasters are lime green, FX LFE/Boom is hotrod red, etc.  And I like to color tracks based on the visual association I have to the track name (e.g. air/wind = pale blue, insects = green, traffic = brown, crowd/walla = orange, etc).  In all my templates I prefer to set the Region colors to match the Track colors so that its extremely easy to follow the layout, especially in intricate edit sessions.  All naming of tracks intended for the final mix are spelled in caps (e.g. DESIGN 1), whereas I use all lowercase for work/temp tracks not intended to go to the final mix (e.g. work 1, junk 1, etc).  And for complex edits consisting of more than 3-5 sound elements, I like to make my edits on a series of work tracks, comp the edits appropriately to 'splits' as needed, and then drag them up to the main FX tracks.  the worktracks will always live in my master edit session.  However, when the session is prepped for the stage, the stage version has all the work tracks blown out.  It keeps the session tidy, clean, and sexy to look at - and it's less of an edit-density-eyesore for the mixer.&#xD;&#xA;&#xD;&#xA;That way, if I dig back into a show that has come back after, say 4 years, the session isn't alien to me.&#xD;&#xA;&#xD;&#xA;I have separate editorial templates for BGz, FX, MX, and DX/ADR - usually prepared with what I feel is the max amount of tracks needed for a dense show (e.g. 96 Hard FX tracks for an action show) - from there I can trim down on a show-by-show basis, especially on walk-n-talks where 32-48 Hard FX tracks are usually sufficient.  My opinion is that's always easier to remove what's not needed from the template standard on a case by case basis rather than trying to add to and distort the organization and layout of the session.  Additionally I have mix templates with pre-bussed submasters and stem/printmaster print tracks ready to go.  And then beyond that are specific editorial templates provided by particular studios as to what they want for a layout.&#xD;&#xA;&#xD;&#xA;Templates are funny in this way.  They're so rigidly vital, in my opinion, yet so malleable because of each shows differing needs." ContentLicense="CC BY-SA 3.0" />
  <row Id="15709" PostHistoryTypeId="5" PostId="9460" RevisionGUID="2c84eda5-1a89-442d-9a2d-9f3b752802fa" CreationDate="2011-08-06T10:29:49.133" UserId="1228" Comment="added 812 characters in body" Text="Interesting topic Glenn.  Templating is how my world goes around and stays organized.  Most of my templates are for internal usage when doing in-house work, however I have been also keeping on hand templates supplied by specific studios I work with so that when I do a show for them, I use their preferred template.  So I guess in that regard, I do use templates yet its a very fluid case-by-case scenario.  Color coding and track naming tend to be the chief usage of templates for me and staying organized.  Over time, it helps me work quickly when I always know my printmaster track is baby blue, stems are yellow, submasters are lime green, FX LFE/Boom is hotrod red, etc.  And I like to color tracks based on the visual association I have to the track name (e.g. air/wind = pale blue, insects = green, traffic = brown, crowd/walla = orange, etc).  In all my templates I prefer to set the Region colors to match the Track colors so that its extremely easy to follow the layout, especially in intricate edit sessions.  All naming of tracks intended for the final mix are spelled in caps (e.g. DESIGN 1), whereas I use all lowercase for work/temp tracks not intended to go to the final mix (e.g. work 1, junk 1, etc).  That way, if I dig back into a show that has come back after, say 4 years, the session isn't alien to me.&#xD;&#xA;&#xD;&#xA;And for complex edits consisting of more than 3-5 sound elements, I like to make my edits on a series of work tracks, comp the edits appropriately to 'splits' as needed, and then drag them up to the main FX tracks.  the worktracks will always live in my master edit session.  However, when the session is prepped for the stage, the stage version has all the work tracks blown out.  It keeps the session tidy, clean, and sexy to look at - and it's less of an edit-density-eyesore for the mixer.  A mixer is not going to want to look forward to a flamethrower that's 30 tracks wide.  So, I'll comp it down to 6 tracks so that they have my intention, yet still have control over the mix and don't have to dread an obscene amount of edits (most of which would not need to be individually tweaked anyway, so giving all 30 tracks would be a moot point).  Another example is comp'ing a car engine/driving sequence separate from the skids separate from the tire grit separate from the suspension hits/sweeteners.  Give the stage options but don't flood them with spam.  In the end it doesn't matter how many sound edits were needed or how it had to be comp'd... just as long as the correct sound is achieved.  I only recently was turned on to this method of sound editorial, however I am quickly warming up to it.&#xD;&#xA;&#xD;&#xA;I have separate editorial templates for BGz, FX, MX, and DX/ADR - usually prepared with what I feel is the max amount of tracks needed for a dense show (e.g. 96 Hard FX tracks for an action show) - from there I can trim down on a show-by-show basis, especially on walk-n-talks where 32-48 Hard FX tracks are usually sufficient.  My opinion is that's always easier to remove what's not needed from the template standard on a case by case basis rather than trying to add to and distort the organization and layout of the session.  Additionally I have mix templates with pre-bussed submasters and stem/printmaster print tracks ready to go.  And then beyond that are specific editorial templates provided by particular studios as to what they want for a layout.&#xD;&#xA;&#xD;&#xA;Templates are funny in this way.  They're so rigidly vital, in my opinion, yet so malleable because of each shows differing needs." ContentLicense="CC BY-SA 3.0" />
  <row Id="15710" PostHistoryTypeId="2" PostId="9461" RevisionGUID="82c9e2fe-1c55-4242-a73f-1a69c44df7af" CreationDate="2011-08-06T18:30:52.960" UserId="842" Text="My favorites, both for recording, field works and when listening to my iPhone, is the Beyer Dynamics DT-250!&#xD;&#xA;You can't fold em', they are after all frankly studio headphones, but they fit perfectly over most ears, give the best noise isolation I've heard in a headphone not actually feeling like it would crush your head, and they sound great with a very honest sound though with a slight bump in the lower mid. Not even close to annoying or misleading in any way though, I have a notion that the bump's there for a reason as it's in the very frequencies that often can sound very muddy on bigger HiFi-systems :-)&#xD;&#xA;/CvanC" ContentLicense="CC BY-SA 3.0" />
  <row Id="15711" PostHistoryTypeId="2" PostId="9462" RevisionGUID="dd8c508a-a2f1-4004-b452-8cb93ff7448e" CreationDate="2011-08-06T20:44:10.390" UserId="1228" Text="I like to play around with TL Space's &quot;Effects&quot; IRs, although they can be hit and miss - sometimes it ends up only sounding like the IR sample itself, while other times it can create interesting results.&#xD;&#xA;&#xD;&#xA;For &quot;Design Reverb&quot; two of my favorite go-to's are TL Space's Infinite 1 and Infinite 2 in the Digital reverb section (the image of the IR Sample shows images of the Mars Rover).&#xD;&#xA;&#xD;&#xA;As for selecting your own source, it's not something that I have had much of an opportunity to try aso much under my normal time constraints.  Wave's IR1 has the ability to import WAV files for IRs, but I've not had much success (for some reason the L/R volumes are mismatched once they're inported into the IR1)." ContentLicense="CC BY-SA 3.0" />
  <row Id="15712" PostHistoryTypeId="2" PostId="9463" RevisionGUID="272e61ea-189c-433f-b6be-29e2c5d8d248" CreationDate="2011-08-06T22:11:33.003" UserId="675" Text="For this purpose I would not recommend the HD-25 which is on your list.&#xD;&#xA;&#xD;&#xA;I have a pair and I really like them for what they do best: isolation.&#xD;&#xA;&#xD;&#xA;Whenever I have to do live sound (I work in theatre sound design so among other things I also mix a lot of wireless mic's live) or something else in a loud enviroment they are great. However I find them really uncomfortable when wearing them for any longer period of time.&#xD;&#xA;&#xD;&#xA;Also they are not the most portable/compact around.&#xD;&#xA;&#xD;&#xA;They do fit your requirement of not making you look like a rapper. However, over here (the Netherlands) they are the absolute standard / stock / go-to / sine qua non headphones for (live) sound engineers. So whenever I see someone wear a pair of these in public it screams 'sound engineer' to me and that's almost always the case ;-)&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15713" PostHistoryTypeId="2" PostId="9464" RevisionGUID="f7734377-354c-4ff7-a2bc-7672147917f6" CreationDate="2011-08-06T23:54:23.927" UserId="1214" Text="Hi there, I'm going to respond as someone who is in the same boat as you are, recently graduating with an Associates in Recording Arts, focusing in Game Audio. &#xD;&#xA;&#xD;&#xA;First off, The Aaron Marks book mentioned above is pretty much the bible in the Game Audio community, he (and many other famous sound designers) contributes not only practical information, but theory, and down to earth descriptions of how to handle certain situations. It's an easy read, very eat to digest, and very well written. Oh, also, anything by The Fat Man usually is taken as to be the highest of truths. (just google The Fat Man, you'll find what I'm talking about).&#xD;&#xA;&#xD;&#xA;Moving forward, when I gradated (with honors) I thought I was gods gift to the gaming industry, and boy was I mistaken. Since many companies as of late have forced by budgetary constraints to lay off their audio team. Then, they (the game studio) usually end up contracting the same people anyways, just for a lesser cost, as outside contracted work. This makes it difficult for newcomers to find employment in the game industry. Whats more, 2-4 years in college, in fact, does not really give you enough time behind the tools you really need to master in order to flourish making games. For example, my Recording Arts course put me in front of ProTools a lot in the music recording, mixing, and post-production setting, which was fantastic, I learned how to navigate ProTools pretty effectively, learned a whole bunch about frequencies and the Hass effect and doppler and envelopes and gain structure and pitch and phase and timbre and resonance, etc etc etc. I also received some training with programs such as Peak Pro, and Sound Miner, however, I only received about two weeks of FMOD (audio middleware) training. While I did pick up FMOD Designer and Sandbox quickly, the lack of actually being able to make a working build and pass it off to the programming team (how do you do that anyway!?!) didn't help, and neither did not having a finished product to point prospective employers to. What I've found is that simply completing sound asset list assignments doesn't compare to the grueling grind of active game development and the twists and turns and heartbreaks and sweat and tears that it entails. &#xD;&#xA;&#xD;&#xA;What I've learned from GDC and AES and from talking on forums such as this one, is that you must start at the bottom and prove yourself as you struggle your way up the ladder. (Again, I am only commenting as someone who is in the same situation as you). Currently, I am contributing (for free) to four separate game mod projects. The place I found these gigs is moddb.com, and indiedb.com, under the &quot;jobs&quot; tab over on the right. These are great websites that host and showcase mods done by teams who build games simply because they love to, and aren't financed by any larger corporation who would publish and release the game. For example, the project I just got hired on, called Renegade-x, is a remake of Command and Conquer Renegade from the early 2000's. Right now it is a mod for UT3, but they are acquiring new talent in order to re build it in UDK and provide a highly polished, stand-alone product. http://www.renegade-x.com/site/ (shameless, I know, but excited to be on this team) :)&#xD;&#xA;&#xD;&#xA;Anyway, I digress&#xD;&#xA;&#xD;&#xA;I would highly suggest doing some mod work, you'll be pleasantly surprised to find out how many of your favorite games are the host platform for some pretty impressive mods, with teams that are usually groups of people spread throughout the world, with other &quot;real-life&quot; jobs that keep them busy, and usually families, all coming together for the sake of making something great that the gaming community will appreciate and cherish for extending the life of that franchise ever so slightly. All for free. &#xD;&#xA;&#xD;&#xA;Also, as a final note, as I work on these projects, I'm asking the team members to teach me certain programs (such as UDK's audio interface) that I never learned in school order for me to be a more valuable asset to the team, and make myself more hirable in the future. Also, I'm considering focusing mysely into audio programming, rather than straight sound designing, or composing. I asked a question on here not to long ago about just that, and from what I read, the industry needs good, quality audio implementers who want to do just that. I'm trying to relearn FMOD, and other programs such as Wwise, XNA, UDK etc...(I think the Crytek engine is public now too, I believe?) That's an incredible engine that will be churning out some fantastic games in the future. &#xD;&#xA;&#xD;&#xA;Oh, and also check out the 'Global Game Jam', and see if you can get in one next year. It's a two day game design crunch mode held usually in a school or studio where participants stay up for 48 hours designing a small game, all designed around the predetermined common theme or topic. Teams from all over the globe participate, and at the end of the 48 hours, you submit to a central source and are judged and awarded and hosted on the Global Game Jam webpage. Sound designers are a rarity in these competitions, and although you'll be getting your butt kicked for 48 straight hours, you'll build some potentially great relationships with fellow game designers. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Sorry about the long post, but I hope this helps, and good luck with your career.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15714" PostHistoryTypeId="2" PostId="9465" RevisionGUID="de8847c1-55af-471a-9033-1680c11784fd" CreationDate="2011-08-07T07:36:56.103" UserId="493" Text="On top of *Game Sound* by Karen Collins and *The Complete Guide to Game Audio* by Aaron Marks mentioned above, I'd throw in *The Game Audio Tutorial* by Richard Stevens and Dave Raybould.&#xD;&#xA;&#xD;&#xA;I'm still making my way through it, but it's definitely the most practical game audio book I've found so far.  Some may say that it's a bad thing that it's a whole book dedicated to using UDK, but I think that makes it more efficient.  You're actually learning practical skills that can be applied to any 3D game projects later on.  Plus, the overall philosophies of audio in a 3D engine won't change, it's just their implementation techniques that will.&#xD;&#xA;&#xD;&#xA;Also, finding mod communities is a great way to go.  Or if you're in school, like myself, look for classmates that need projects done.  By just saying &quot;I do sound&quot; or &quot;I can be the sound guy&quot;, I've garnered a lot of attention since there don't seem to be many of us.  Or that could just be where I am...but it's certainly working so far!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15715" PostHistoryTypeId="2" PostId="9466" RevisionGUID="13a462b8-4baa-4d0e-8549-46a4d4bea200" CreationDate="2011-08-07T09:42:56.423" UserId="37" Text="I think everyone seems to have their favourite headphones, but I didn't see people talk about learning the sound of your headphones. If you look at a frequency response graph of any set out there, you'll see it's not &quot;honest&quot; at all, so it's all perceptual.&#xD;&#xA;&#xD;&#xA;Heresy follows, but I find myself in the company of in-ear Sennheiser CX-300 and, since I know they exaggerate bass, my portable player has the EQ set on bass attenuation. I can tell you when on the move I don't care about phase alignment, or getting the ultimate in pristine quality sound, as that's just diminishing returns all the way. When it comes to work, I'm wary of changing my current headphones (280s) which my ears are so accustomed to.&#xD;&#xA;&#xD;&#xA;The audiophile community has a thing about modding headphones, and I hated to see what they do for instance to a perfectly OK pair of Grado-s. *And* you end up looking weird.&#xD;&#xA;&#xD;&#xA;I used to hate the idea of in-ears, but once you get past the awkward placement phase, they satisfy the conditions for comfort, noise isolation, carry-everywhere, and protect your ears by having you listen more quietly. I'm all for less noise in the world.&#xD;&#xA;&#xD;&#xA;There's no quick answer in here as you've requested no &quot;industry standard&quot; or &quot;common for the task&quot; model, so everyone's perception and taste are all over the place. I'd say put more emphasis on comfort and good fit, and then your brain (and minimal EQ) will do the rest, provided you didn't start with a model that cuts out a range of frequencies entirely.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15716" PostHistoryTypeId="2" PostId="9467" RevisionGUID="ad6a5889-2f5c-4004-b3db-f256ca18621c" CreationDate="2011-08-07T11:23:17.520" UserId="958" Text="I need to record footsteps in sand, but I can't take sand into the studio. Is there any not-so-messy materials that would make a convincing substitute? " ContentLicense="CC BY-SA 3.0" />
  <row Id="15717" PostHistoryTypeId="1" PostId="9467" RevisionGUID="ad6a5889-2f5c-4004-b3db-f256ca18621c" CreationDate="2011-08-07T11:23:17.520" UserId="958" Text="How can I record footsteps in sand without sand?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15718" PostHistoryTypeId="3" PostId="9467" RevisionGUID="ad6a5889-2f5c-4004-b3db-f256ca18621c" CreationDate="2011-08-07T11:23:17.520" UserId="958" Text="&lt;footsteps&gt;&lt;sand&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15719" PostHistoryTypeId="2" PostId="9468" RevisionGUID="5b8ed47c-addc-4bfd-97ab-15d2f5042bb0" CreationDate="2011-08-07T11:52:27.877" UserId="863" Text="salt? sugar? bath salts? just take the sand in! and hoover it up after." ContentLicense="CC BY-SA 3.0" />
  <row Id="15720" PostHistoryTypeId="2" PostId="9469" RevisionGUID="c918dedf-cec2-459e-b92a-f7bde3b883de" CreationDate="2011-08-07T12:52:27.887" UserId="842" Text="If you're gonna go with the foley way my best recommendation would be to build a big though not necessarily higher than a few decimeters sandbox in wood (you don't want reflections from the sides), and rob the nearest beach of lots of buckets of sand. I can't really see any other ways in i studio.&#xD;&#xA;An easier way in preparations, and in my highly personal opinion better sounding (I like more worldized and acoustically living sounds!) though more time-consuming when editing, is to bring your recorder, a nice mic, and a good friend, and take a trip to the nearest sand-beach you could find with the least people possible to have at least as much as you think you'll need and then some just in case :-)&#xD;&#xA;/CvanC" ContentLicense="CC BY-SA 3.0" />
  <row Id="15721" PostHistoryTypeId="2" PostId="9470" RevisionGUID="54ed12f1-e37b-4f04-bc3f-de5ee8743dc8" CreationDate="2011-08-07T12:56:25.863" UserId="103" Text="Crush Maria crackers til its almost in doest, then squish them in between your hands ! " ContentLicense="CC BY-SA 3.0" />
  <row Id="15722" PostHistoryTypeId="2" PostId="9471" RevisionGUID="eb77422c-4ee1-44de-9128-f6d70944135f" CreationDate="2011-08-07T15:30:24.223" UserId="426" Text="It looks like some covert recording may be in your future. You could pretend to record a vaccuum cleaner." ContentLicense="CC BY-SA 3.0" />
  <row Id="15723" PostHistoryTypeId="2" PostId="9472" RevisionGUID="31b8c3f4-5792-463e-aef9-4e963a2d3960" CreationDate="2011-08-07T16:06:30.700" UserId="1214" Text="I have always been a gamer/musician hybrid, and therefor would split my free time between the two. Playing games as a video game sound designer could be called &quot;case studies&quot; or &quot;research&quot; because you're playing something that a group of audio engineers poured their heart into, and got paid a very nice paycheck for it. That being said, games such as Mass Effect 2 and Battlefield Bad Company 2 have outstanding audio work done, and have received numerous awards at GDC and other similar conventions. &#xD;&#xA;&#xD;&#xA;As far as which ones games I go out and purchase goes, that's where youtube, and forums come in. I'm not a big fan of 60 dollar console games, and with the sad fact that businesses like blockbuster no longer are around to provide the public with a rental service to try things out before they commit to dropping serious dollars on a product they might end up disliking. &#xD;&#xA;&#xD;&#xA;What I like to do, is learn who the sound team on the game is, and research those folks, and read anything that they might have posted on a forum, interview, etc... Because after all, those people are your &quot;competition&quot; and should be a driving force to push you to perfection. You'll usually find some repeated names, which gives me more of an incentive to find out what those guys did when they were my age, looking for work. &#xD;&#xA;&#xD;&#xA;Finally, most of the time, new releases have something new to show to industry, including audio. I remember when I played Mass Effect 2 for the first time, and starting using my biotic powers, and started noticing little tricks the team used in order to keep that bassy, multi-band biotic sound sharp and clean while everything else is going on. (I won't divulge that, but it involves a side-chained low-pass filer built into the audio engine) &#xD;&#xA;&#xD;&#xA;Anywho, I'm not going to tell you to buy every game you see, instead, try watching youtube videos of it, or on the games homepage for some in game footage, and read read read read everything you can. I know I can't afford a 60 dollar game every time I see something I want to play.&#xD;&#xA;&#xD;&#xA;Cheers fellow sound buddy." ContentLicense="CC BY-SA 3.0" />
  <row Id="15724" PostHistoryTypeId="2" PostId="9473" RevisionGUID="6247f0a0-2f17-4f5d-ab5e-9910cc616862" CreationDate="2011-08-07T18:26:46.403" UserId="1214" Text="Hi all, &#xD;&#xA;&#xD;&#xA;I just got picked up on a project that is using UDK, I'm sound designing, but the project leaders are doing the audio implementation. I want to help out in anyway I can in order to streamline the process by utilizing UDK's audio tool kit to the fullest, unfortunately, I have never working in UDK, only in XNA and FMOD. Are there any good links that can get me up to speed with UDK's audio tool kit?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15725" PostHistoryTypeId="1" PostId="9473" RevisionGUID="6247f0a0-2f17-4f5d-ab5e-9910cc616862" CreationDate="2011-08-07T18:26:46.403" UserId="1214" Text="Help Learning UDK Audio Functionality" ContentLicense="CC BY-SA 3.0" />
  <row Id="15726" PostHistoryTypeId="3" PostId="9473" RevisionGUID="6247f0a0-2f17-4f5d-ab5e-9910cc616862" CreationDate="2011-08-07T18:26:46.403" UserId="1214" Text="&lt;udk&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15727" PostHistoryTypeId="2" PostId="9474" RevisionGUID="0a01b024-2728-45e8-9328-469535115422" CreationDate="2011-08-07T19:14:02.827" UserId="402" Text="Check this out: [The Game Audio Tutorial][1] Its a whole book on game audio within the UDK. You can download the supplied game level for free which will teach you some of the basics.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.thegameaudiotutorial.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15728" PostHistoryTypeId="2" PostId="9475" RevisionGUID="d23bba60-e620-4ff6-b65a-5ed22fc9d2ef" CreationDate="2011-08-07T20:37:08.010" UserId="1199" Text="I once had to add 'sandy foot-steps' to a silent piece (*no location sound at all*) at 3am the other night - so understand that you can't always just run out to stock a foley pit!&#xD;&#xA;&#xD;&#xA;Besides, ***walking in sand makes very little sound in reality.*** - but we are rarely dealing with &quot;reality&quot; in audio post...&#xD;&#xA;&#xD;&#xA;I ended up recording pouring rice into a wooden bowl - varying the velocities, amounts, steady vs. scattered, ect.&#xD;&#xA;&#xD;&#xA;I then: &#xD;&#xA;&#xD;&#xA; - applied a global pitch up (a couple steps) and a sharper eq.&#xD;&#xA;   &#xD;&#xA; - cut up the resulting files into small varied chunks. &#xD;&#xA;   They can be taken from the middle of the 'pouring' and don't require and an 'attack.'&#xD;&#xA;   &#xD;&#xA; - applied varying envelopes (fades:in/out)&#xD;&#xA;     *there really isn't much, if any 'impact' sound on pure sand*&#xD;&#xA;   &#xD;&#xA; - applied slightly varying micro pitches &amp; EQ to each&#xD;&#xA;     *I did this in realtime with slow random modulations of various plug-ins*&#xD;&#xA;   &#xD;&#xA; - randomly choose files to spot to picture. &#xD;&#xA;     *Though I soon learned where/how to pick appropriate sections for changing scenarios.*&#xD;&#xA;&#xD;&#xA;I then tweaked and honed the results if needed. &#xD;&#xA;&#xD;&#xA;Some of the steps required more impact (running) with more attack on the fades.&#xD;&#xA;Stumbling/sliding required a bit longer tail fades in areas. etc...&#xD;&#xA;&#xD;&#xA;Obviously: *results will vary and need to be customized to your particular situation(s).*&#xD;&#xA;&#xD;&#xA;This worked out for me in this situation and the client was happy (which is what really matters!) Just hoping this might inspire a creative approach for yours.&#xD;&#xA;&#xD;&#xA;Good Luck!&#xD;&#xA;&#xD;&#xA;r&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15729" PostHistoryTypeId="2" PostId="9476" RevisionGUID="c371974b-32b7-4ed7-a42d-39413a90409e" CreationDate="2011-08-07T20:39:26.390" UserId="1214" Text="Anyone using Ableton for their sound designing and other audio editing needs? I also use PT8, but as of late, I've found Ableton to be a much more intuitive and streamlined DAW that allows to to do more with less time spent. Thoughts? &#xD;&#xA;&#xD;&#xA;(By the way, I'm running Suite 8)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15730" PostHistoryTypeId="1" PostId="9476" RevisionGUID="c371974b-32b7-4ed7-a42d-39413a90409e" CreationDate="2011-08-07T20:39:26.390" UserId="1214" Text="Thoughts on Ableton Live?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15731" PostHistoryTypeId="3" PostId="9476" RevisionGUID="c371974b-32b7-4ed7-a42d-39413a90409e" CreationDate="2011-08-07T20:39:26.390" UserId="1214" Text="&lt;ableton-live&gt;&lt;ableton&gt;&lt;opinion&gt;&lt;daw&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15732" PostHistoryTypeId="2" PostId="9477" RevisionGUID="f3c8a037-c4e8-4908-b654-e39eb7fdf5b3" CreationDate="2011-08-07T22:02:19.327" UserDisplayName="user49" Text="I use it to make/process sounds occasionally (esp when its a VST that won't run properly in ProTools) but in terms of sound design to picture ableton LIVE is pretty much useless, it just isn't designed for it - there are literally hundreds of post specific features in ProTools that ableton lacks... just my $0.05" ContentLicense="CC BY-SA 3.0" />
  <row Id="15733" PostHistoryTypeId="2" PostId="9478" RevisionGUID="ddcb1f5a-8e82-4e16-8039-7632d5ac5e17" CreationDate="2011-08-07T22:31:39.810" UserId="6669" Text="I just started using Suite 8 a week ago to compose some music for a final project, so grain of salt etc. But I've been wondering the exact same thing.&#xD;&#xA;&#xD;&#xA;Have been using Pro Tools for absolutely everything until now, so here are my early pros and cons:&#xD;&#xA;&#xD;&#xA;Pros&#xD;&#xA;&#xD;&#xA; - It is fast. Fast to get going, fast while it's running. I feel like I can load on all sorts of plug-ins, VSTs, effects, bundle them up, tie them all together in macro controls and just *play* much more quickly than I would in PT. Not having to enter the I/O menu and create all those buses helps with this. &#xD;&#xA; - It feels stable. I haven't experienced a single DAE error or seen things start stuttering due to CPU usage just yet. I'm thinking it may just be built a little more efficiently than PT by virtue of not having a codebase with its roots more than 10 years back.&#xD;&#xA;&#xD;&#xA;Cons:&#xD;&#xA;&#xD;&#xA; - No timecode-based grid to snap to.&#xD;&#xA; - Printing automation still feels awkward. I'm super accustomed to the three-finger salute to print envelopes and haven't found the Ableton equivalent, if it exists. There is a lot of digging to get everything you want to automate showing up somewhere in a lane so that you can copy/paste presets around as you make variations on a sound.&#xD;&#xA;&#xD;&#xA;It's freaking awesome for just messing around and generating source, but I don't know that I would want to cut in it any time soon. But I'm keeping my mind open.&#xD;&#xA;&#xD;&#xA;Maybe some others around here can share some tips on how they fit it into their workflow?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15734" PostHistoryTypeId="2" PostId="9479" RevisionGUID="6877ed00-5ee6-40a5-9429-993e34509843" CreationDate="2011-08-07T23:08:37.700" UserId="6407" Text="Ableton is a really handy tool! I use it regularly especially for midi (don't like PT midi editor) stuff. Also you can use ableton as a plug-in in PT which is nice (although you can't use VSTs WITHIN Ableton in this mode). But it's great for messing around with ideas, I use it for soundscape type stuff, the 'instrument rack' makes it easy to layer synths, the grouping mode makes putting plugins across several tracks a doddle. AND, you can import video so that's really nice too (although Luca is right no timecode, oh and it's probably a good idea to take the 'automatic warping' mode off in the preferences). You probably wouldn't do a whole film project in it, but for bits and pieces it's superior to PT in lots of ways (just my opinion!). &#xD;&#xA;&#xD;&#xA;All in all, Ableton is a great tool that's really intuitive, interacting with controllers is much easier than in PT (ie setting midi controls) and generally, especially for 'musical' (loosely defined) tasks, it's fantastic. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15735" PostHistoryTypeId="2" PostId="9480" RevisionGUID="b7ca224a-1c21-4cb0-920b-5594343fb55c" CreationDate="2011-08-08T00:05:29.377" UserId="1241" Text="There's an FMOD UE3 integration. ([Information about it.][1])&#xD;&#xA;I don't know if you'll have the licence to make use of it, but if you do, you might be able to use the FMOD experience you already have to expand what you can do with the UDK.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fmod.org/index.php/products/ue3integration" ContentLicense="CC BY-SA 3.0" />
  <row Id="15736" PostHistoryTypeId="2" PostId="9481" RevisionGUID="fe7f91b4-dfe7-4477-8c9d-9f3ca9e06238" CreationDate="2011-08-08T00:17:28.077" UserId="558" Text="imho, too much separation between sound creation and implementation limits how audio can be used in a game.  for some games, this doesnt matter - like a game with simple audio requirements (tetris, pacman,...).  BUt most games will benefit from good communication between design and implementation.&#xD;&#xA;&#xD;&#xA;dr " ContentLicense="CC BY-SA 3.0" />
  <row Id="15737" PostHistoryTypeId="2" PostId="9482" RevisionGUID="05170a41-7b9b-436e-8408-9abc79c5165b" CreationDate="2011-08-08T01:24:26.477" UserId="435" Text="Robots for sure!! After going to see the latest Transformers film I remember thinking &quot;holly crap, how do I get a job in Hollywood!? I want to work on the next Transformers, those sounds were amazing! @AzimuthAudio good to hear from someone who has done both though and I can image that fairy voices would get annoying!ha. funny" ContentLicense="CC BY-SA 3.0" />
  <row Id="15738" PostHistoryTypeId="2" PostId="9483" RevisionGUID="3910fbeb-673d-49cb-a4df-fd5cf7ac2938" CreationDate="2011-08-08T02:00:14.113" UserId="845" Text="I've always had a really hard time using Ableton for anything but music.  Don't get me wrong, the stuff it can do straight out of the box is munkey farking incredible.  Pro-Tools is a large pile of bull refuse in comparison.  &#xD;&#xA;&#xD;&#xA;My beef with Abletown is the same I have with Logic, Cubase, and Reaper, the audio editing just isn't there for me.  The way I work, the multi-tool and shotcut keys are absolutely essential.  Like, not having option-scroll wheel for zoom? holy crap I want to die.  &#xD;&#xA;&#xD;&#xA;That said, I try really hard not to be a stick in the mud.  I've actually spent the time to learn how to use all of them quite well, but PT is just my heart's heart when it comes to SD." ContentLicense="CC BY-SA 3.0" />
  <row Id="15739" PostHistoryTypeId="5" PostId="9470" RevisionGUID="5baaade4-126f-49a6-a829-a650ee47e747" CreationDate="2011-08-08T02:05:57.100" UserId="845" Comment="edited body" Text="Crush Maria crackers til they're almost dust, then squish them in between your hands ! " ContentLicense="CC BY-SA 3.0" />
  <row Id="15740" PostHistoryTypeId="2" PostId="9484" RevisionGUID="c7446a93-cc1a-4fdf-8994-328fdbf82398" CreationDate="2011-08-08T05:34:14.260" UserId="407" Text="Unfortunately most of the games I play now are for research rather than fun ( but the research can be fun too :)). I basically have 2 different types of titles I play. &#xD;&#xA;&#xD;&#xA; 1. those that I am curious about and bash away at for a couple of hours, these usually span all genres, platforms and delivery methods.&#xD;&#xA;&#xD;&#xA; 2. those titles that I start playing with the intention of playing right the way through. These are chosen with great care, and usually are directly related to any given project I'm working on. Also due to time restraints I limit myself to only one game at a time. But will spend a few hours a night playing.&#xD;&#xA;&#xD;&#xA;I work in house and often end up in meetings with other team members talking about all aspects of games, from e.g. how the cameras work in God of War 3 to the Menu layout of Dirt 2, so as broad a knowledge of games is essential, and this means playing a lot.&#xD;&#xA;Ironically though I feel that game developers nowadays are drawing more inspiration from movies than ever before, as the line between movies and games becomes increasingly blurred. This goes not only for Audio but for other disciplines too. Thus opening up new avenues of research. for instance 6 years ago I was buying books on C++ programming and generative synthesis, now I am reading books on film sound design and film aesthetics." ContentLicense="CC BY-SA 3.0" />
  <row Id="15741" PostHistoryTypeId="2" PostId="9485" RevisionGUID="4fc5c86d-6b34-4d98-adbd-69794868f2f4" CreationDate="2011-08-08T05:46:32.230" UserId="400" Text="Ableton is my go-to tool for creating one-off FX. I couldn't live without Sampler. The ease and speed of throwing sounds into there for incredibly quick mutability makes life easy for me.&#xD;&#xA;&#xD;&#xA;I usually operate with it Rewired into Pro Tools. I agree that it is definitely not made for doing sound to film but that's what I've got Pro Tools for right?&#xD;&#xA;&#xD;&#xA;Joe" ContentLicense="CC BY-SA 3.0" />
  <row Id="15744" PostHistoryTypeId="2" PostId="9487" RevisionGUID="b9056598-4a84-4c65-a53f-353167a2b0b8" CreationDate="2011-08-08T06:48:39.430" UserId="1266" Text="Its gimmicky but good for performance musicians which i love&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15745" PostHistoryTypeId="2" PostId="9488" RevisionGUID="762a99a3-9ec6-4802-ac23-041b9593ed3a" CreationDate="2011-08-08T07:38:41.550" UserId="61" Text="In case you haven't already, you should read [this post][1] - very similar topic, and some of the answers may actually work well for simulating sand (or at least dry sand).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I agree with @Christian van Caine on this one; a recording of someone actually walking/running in real sand in a real location will most likely yield the most convincing - and thus most useful - performance. Think of it as foley, just not recorded on a foley stage. &#xD;&#xA;&#xD;&#xA;I once had great results with a similar situation, the difference being that it was snow and not sand: Just me, walking around after a record-breaking snowfall in the middle of the night, with my Zoom H2 on the end of a tripod facing down at my shoes. IMO, they are some of the best &quot;footsteps in snow&quot; that I have in my library, simply because that is EXACTLY what it is! No corn starch or other product of simulation, just the real deal and a decent, versatile performance.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/834/how-do-i-record-snow-based-foley-without-real-snow" ContentLicense="CC BY-SA 3.0" />
  <row Id="15746" PostHistoryTypeId="2" PostId="9489" RevisionGUID="38299417-fe3b-41bb-a208-9c5fe8416df9" CreationDate="2011-08-08T08:49:50.350" UserId="587" Text="Hello!&#xD;&#xA;&#xD;&#xA;Has anyone out there seen more material on using middleware for mobile games? Wwise or UDK cue editing interface?&#xD;&#xA;&#xD;&#xA;Are these subject to royalty fees on each app using the tech? They apparently do for console games.&#xD;&#xA;&#xD;&#xA;How do you go about implementing as a contractor with these 'sole proprietorship' (most of the time) app developers and pay a license fee? - does the main developer pay the fee or can you get a blanket license as a freelance audio designer to use the middleware on any project you are attached to as long as royalties are paid? (Basically just asking if you have to pay the license fee for **each** title that uses the middleware)&#xD;&#xA;&#xD;&#xA;You all are rock at knowing good reading material - got any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15747" PostHistoryTypeId="1" PostId="9489" RevisionGUID="38299417-fe3b-41bb-a208-9c5fe8416df9" CreationDate="2011-08-08T08:49:50.350" UserId="587" Text="Mobile App Audio Middleware" ContentLicense="CC BY-SA 3.0" />
  <row Id="15748" PostHistoryTypeId="3" PostId="9489" RevisionGUID="38299417-fe3b-41bb-a208-9c5fe8416df9" CreationDate="2011-08-08T08:49:50.350" UserId="587" Text="&lt;mobile&gt;&lt;app&gt;&lt;middleware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15749" PostHistoryTypeId="2" PostId="9490" RevisionGUID="6fcafbfd-f8c9-4a38-8bd0-af2b46460dc0" CreationDate="2011-08-08T09:40:01.587" UserId="578" Text="Ableton is my main sound design DAW. Whenever I need to sync things to picture I open up Pro Tools. Also, certain sounds (especially ones that will be demanding of dynamics and headroom) I design in Pro Tools because the internal audio bus to my ears sounds much better in Pro Tools. Yet, 75% of the time I work in Ableton, just because it's so freaking fast and convenient to use. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15750" PostHistoryTypeId="2" PostId="9491" RevisionGUID="67c9de44-b06f-4793-9959-ca1a352236d5" CreationDate="2011-08-08T10:52:08.927" UserId="1067" Text="Another vote here for Beyerdynamics headphones.&#xD;&#xA;&#xD;&#xA;I use the lightweight DT-131 and heavier DT-770s at work. Lovely detailed sound, much prefer them to my own Sennheiser HD25s." ContentLicense="CC BY-SA 3.0" />
  <row Id="15751" PostHistoryTypeId="2" PostId="9492" RevisionGUID="c7eb15cf-c867-4259-b664-14ef6f3c9458" CreationDate="2011-08-08T11:08:38.777" UserId="6524" Text="I don't know if I could help you too much but these [Quincy Jones signature AKG][1]'s look pretty good and very pricey lol.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.headphone.com/headphones/akg-q701-quincy-jones.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="15752" PostHistoryTypeId="2" PostId="9493" RevisionGUID="8e3acf57-a96f-4ae8-93f8-cf4d254b1bd6" CreationDate="2011-08-08T12:43:28.540" UserId="432" Text="As I understand it, these middle-ware apps are licensed for use on a per project basis. The owner of the IP pays the licensing fees. There are more knowledgeable people on here concerning game audio though, and I'm sure one of them will chime in and give confirmation if I'm correct in this or not." ContentLicense="CC BY-SA 3.0" />
  <row Id="15753" PostHistoryTypeId="2" PostId="9494" RevisionGUID="a0e9e0a9-e29a-4ca1-bfec-045833decb00" CreationDate="2011-08-08T13:24:49.740" UserId="1145" Text="Originally i bought Ableton to be able to perform music live and for that reason alone it's worth every penny. However, the last couple years i find myself more and more often starting most sessions in Ableton to create source material, effects, loops etc and record/import it to Pro Tools, where i make all the arrangements and mixing. The intuitive design and implementation of MAX (4L) makes it really inspiring to work with and with a midi controller and/or iPad, i can do anything i want to. I usually use this when i'm making music and related things, but more and more often i also use this when designing sound for picture, but i always end up in PT of course...&#xD;&#xA;&#xD;&#xA;On the surface it doesn't look like anything you'll need, but after digging a bit deeper, it turns out to be an essential tool!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15754" PostHistoryTypeId="2" PostId="9495" RevisionGUID="3ccbbd66-42d0-4670-a4d4-6aec8b38c9dc" CreationDate="2011-08-08T13:42:54.087" UserId="1218" Text="Yep, Ableton Live is where I spend nearly all of my time for designing effects and writing music.  Nothing comes close in terms of how streamlined and inspiring it is.  I use the native plugins almost exclusively and I don't feel like I'm missing out.  The program inspired (and continues to inspire) me so much that I actually spend a great deal of time producing tutorials on using it in a musical sound design context which often crosses the line into sound effect creation.&#xD;&#xA;&#xD;&#xA;However, Like @tim prebble says, Live is basically garbage for sync'ing to picture so don't expect to use it for that.  PT definitely still has its place in that respect.  As much as I wish Ableton would add some better Post features to the program, I suspect that would bloat it far beyond its original intent as a Live performance tool.  Sometimes it's better to leave well enough alone and just use the right tool for the right job!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15755" PostHistoryTypeId="2" PostId="9496" RevisionGUID="8a8067dd-6615-46d8-9915-eb1b83ea3bd6" CreationDate="2011-08-08T14:21:06.643" UserId="6407" Text="The MSc at the University of Edinburgh is really good. Great facilities and the director Martin Parker really cares about the craft and his pupils. (pretty sure Andrew Spitz was a couple years ahead of me there too :-) " ContentLicense="CC BY-SA 3.0" />
  <row Id="15756" PostHistoryTypeId="2" PostId="9497" RevisionGUID="515bee65-067e-47d4-bd87-39fb3c6cbf80" CreationDate="2011-08-08T20:03:30.207" UserId="1266" Text="Crushed cereal or a chewing sound of crunchy items could prove useful" ContentLicense="CC BY-SA 3.0" />
  <row Id="15757" PostHistoryTypeId="2" PostId="9498" RevisionGUID="275c9177-43b5-45a4-b04f-0937fbf9146b" CreationDate="2011-08-08T21:07:07.120" UserId="18160" Text="I would turn on the Randy Thom commentary he did for the Castaway DVD when Tom Hanks lands on the beach. He goes into detail about how he made the waves crashing from scratch but I forget if he talks about the sand movements and what he did. I think it would be worth referencing if not just to hear how it sounds in the mix and try to duplicate it." ContentLicense="CC BY-SA 3.0" />
  <row Id="15758" PostHistoryTypeId="5" PostId="9488" RevisionGUID="a54a2e2a-83d2-4150-a0a0-bfe102ac0887" CreationDate="2011-08-08T21:28:54.467" UserId="61" Comment="grammar" Text="In case you haven't already, you should read [this post][1] - very similar topic, and some of the answers may actually work well for simulating sand (or at least dry sand).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I agree with @Christian van Caine on this one; a recording of someone actually walking/running in real sand in a real location will most likely yield the most convincing - and thus most useful - performance. Think of it as foley, just not recorded on a foley stage. &#xD;&#xA;&#xD;&#xA;I once had great results with a similar situation, the difference being that it was snow and not sand: Just me, walking around after a record-breaking snowfall in the middle of the night, with my Zoom H2 on the end of a tripod facing down at my shoes. IMO, they are some of the best &quot;footsteps in snow&quot; that I have in my library, simply because that is EXACTLY what they are! No corn starch or other product of simulation, just the real deal and a decent, versatile performance.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/834/how-do-i-record-snow-based-foley-without-real-snow" ContentLicense="CC BY-SA 3.0" />
  <row Id="15759" PostHistoryTypeId="2" PostId="9499" RevisionGUID="c187de2c-ef62-4657-b164-62751dadd955" CreationDate="2011-08-09T00:16:17.950" UserId="18160" Text="Who carries a rycote comb with them and combs their windjammer when no-one's looking?&#xD;&#xA;&#xD;&#xA;I've seen some pretty matted-down windjammers and tribbles and I can't help but think that it affects the audio quality.&#xD;&#xA;&#xD;&#xA;How do you keep your windjammers in excellent condition and still soft and fuzzy?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15760" PostHistoryTypeId="1" PostId="9499" RevisionGUID="c187de2c-ef62-4657-b164-62751dadd955" CreationDate="2011-08-09T00:16:17.950" UserId="18160" Text="Are you a windjammer hair stylist?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15761" PostHistoryTypeId="3" PostId="9499" RevisionGUID="c187de2c-ef62-4657-b164-62751dadd955" CreationDate="2011-08-09T00:16:17.950" UserId="18160" Text="&lt;windjammer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15762" PostHistoryTypeId="2" PostId="9500" RevisionGUID="f22ac772-3fca-4f31-929d-19b33ec6811c" CreationDate="2011-08-09T00:31:10.410" UserId="1228" Text="I use the comb before every session if I can help it, and make sure to air it out when it gets wet by hanging it on the mic stand.  If it got really wet, I'll blow dry it lightly then hang it to dry (much in the same vain of drying a dress shirt)." ContentLicense="CC BY-SA 3.0" />
  <row Id="15763" PostHistoryTypeId="2" PostId="9501" RevisionGUID="945dfac0-0e64-4186-a487-e14e2f56039c" CreationDate="2011-08-09T01:57:05.363" UserId="432" Text="When no one's looking? I have no shame. If it's windy and dusty out, I'll do it whenever the camera isn't rolling...just to break down potential trouble spots as they develop. It's all those light individual fibers that cuts the wind noise, and the jammer is more effective when they're not all matted down. I'll give it a good once over at the end of the day after I've taken it off of the windscreen too.&#xD;&#xA;&#xD;&#xA;Like Stavrosound mentioned, dealing with moisture quickly will extend the life of the jammer. [Never used the blowdryer trick though. That's a great idea.] Once I know it's good and dry, mine goes into a ziplock bag with a dessicant to keep it that way." ContentLicense="CC BY-SA 3.0" />
  <row Id="15764" PostHistoryTypeId="2" PostId="9502" RevisionGUID="b125ba77-ef75-40e7-8c32-4fcb81825b55" CreationDate="2011-08-09T06:16:13.423" UserId="61" Text="What does tension sound like? Tension, in the case, meaning the feeling that if you don't complete your task in time, you will fail or be attacked. You have :05 to sell it.&#xD;&#xA;&#xD;&#xA;(This is one of those questions that has no context. But that's ok, because the assignment doesn't really have a specific context, either.)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15765" PostHistoryTypeId="1" PostId="9502" RevisionGUID="b125ba77-ef75-40e7-8c32-4fcb81825b55" CreationDate="2011-08-09T06:16:13.423" UserId="61" Text="Tension sounds like…" ContentLicense="CC BY-SA 3.0" />
  <row Id="15766" PostHistoryTypeId="3" PostId="9502" RevisionGUID="b125ba77-ef75-40e7-8c32-4fcb81825b55" CreationDate="2011-08-09T06:16:13.423" UserId="61" Text="&lt;tension&gt;&lt;drama&gt;&lt;sound-design&gt;&lt;emotions&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15767" PostHistoryTypeId="2" PostId="9503" RevisionGUID="8e7f6422-4114-4e09-8ad4-e23e272adaa2" CreationDate="2011-08-09T06:48:45.233" UserId="1117" Text="something that cuts through everything else? &#xD;&#xA;maybe a ticking clock or something else in a higher frequency realm that if you heard constantly for a lil will just stresses you out? if its rhythmic it could possibly simulate a clock and that time is running out.&#xD;&#xA;&#xD;&#xA;i thought of the strings in psycho straight away, but they are more music&#xD;&#xA;&#xD;&#xA;not a very creative answer though ahah" ContentLicense="CC BY-SA 3.0" />
  <row Id="15768" PostHistoryTypeId="5" PostId="9502" RevisionGUID="6bea0850-aea3-41d6-a828-48979d3aa75d" CreationDate="2011-08-09T06:55:42.690" UserId="61" Comment="added 100 characters in body" Text="What does tension sound like? Tension, in the case, meaning the feeling that if you don't complete your task in time, you will fail or be attacked. You have :05 to sell it.&#xD;&#xA;&#xD;&#xA;(This is one of those questions that has no context. But that's ok, because the assignment doesn't really have a specific context, either.)&#xD;&#xA;&#xD;&#xA;UPDATE: No ticking clocks! But you may incorporate other sounds that could evoke elements of time…" ContentLicense="CC BY-SA 3.0" />
  <row Id="15769" PostHistoryTypeId="2" PostId="9504" RevisionGUID="28a56725-7562-41b9-81dd-80b0bd3b9142" CreationDate="2011-08-09T07:00:57.077" UserId="100" Text="I could be way off, but the way I understand it is when adrenaline is released, hearing sensitivity decreases a bit to protect itself. Our ears also compensate for the loss by focusing more attention on &quot;peak&quot; sounds, resulting in a sort of hyper-sensitive effect.&#xD;&#xA;&#xD;&#xA;http://www.sciencedaily.com/releases/2010/05/100503111525.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="15770" PostHistoryTypeId="2" PostId="9505" RevisionGUID="9abdd5d7-161c-4a8d-b602-2d41a74ed667" CreationDate="2011-08-09T07:03:11.290" UserId="1228" Text="To me, tension would be over-stimulated awareness of one's own presence and being.  Maybe crescendo the cacophony of the BGz and effects and then suck it all out rapidly, resulting on only hearing breathing and maybe only 1 hyper-real sound of whatever action is being done (the bigger-than-life sound of tapping a pencil or tapping a foot on the ground, etc).  Just choose one on-screen action and feature that in silence with an over-dramatic, hyper-real interpretation  It can put the audience in a place of remembering our own feeling of tension where we have exited the ego of our mind and are left with observing our 'being' self almost as a 3rd person - aware of our breath and our every move as though we're being watched.  Maybe leave it with a deep rumble under the near-silence because it's a non-direction frequency range and non-direction can be interpreted as tension (aka Interrogation room BGz)." ContentLicense="CC BY-SA 3.0" />
  <row Id="15771" PostHistoryTypeId="5" PostId="9502" RevisionGUID="5d2f8b83-913c-4a3d-af99-cb36219f8b98" CreationDate="2011-08-09T07:30:28.780" UserId="61" Comment="added 107 characters in body" Text="What does tension sound like? Tension, in the case, meaning the feeling that if you don't complete your task in time, you will fail or be attacked. You have :05 to sell it.&#xD;&#xA;&#xD;&#xA;(This is one of those questions that has no context. But that's ok, because the assignment doesn't really have a specific context, either.)&#xD;&#xA;&#xD;&#xA;UPDATE: No ticking clocks! But you may incorporate other sounds that could evoke elements of time…&#xD;&#xA;UPDATE: No heartbeats! But you may incorporate other sounds that could evoke awareness of one's own self…" ContentLicense="CC BY-SA 3.0" />
  <row Id="15772" PostHistoryTypeId="5" PostId="3663" RevisionGUID="394a66a0-b5c3-45ec-b72c-0620c56ab497" CreationDate="2011-08-09T07:36:14.637" UserId="61" Comment="deleted 4 characters in body" Text="No (at least in my experiences). Every movie I've worked on has had its trailer done somewhere else. It's true that there are facilities that specialize in trailers, and that's all they do. Often times they will not consult with the sound team actually working on the film. They do, however, request things like dialog takes from dailies or certain &quot;set piece&quot; sound design that is critical to the story, ie. a creature vocalization, a signature sound, etc. But mostly, the sound design is up to them." ContentLicense="CC BY-SA 3.0" />
  <row Id="15773" PostHistoryTypeId="2" PostId="9506" RevisionGUID="ce95cfb9-32ea-4b18-a777-924e44760b07" CreationDate="2011-08-09T07:37:23.153" UserId="2" Text="I comb before most sessions. If I'm by the sea, in a humid or dusty country, I'll comb it at the end of the day. I cringe when I see people shoot with them matted, I've never tested but must be pretty bad for the sound. &#xD;&#xA;&#xD;&#xA;Also, I put it inside out while traveling and storing it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15774" PostHistoryTypeId="5" PostId="9502" RevisionGUID="0c6ff7d5-aa73-432e-a61c-8fc4e36ed501" CreationDate="2011-08-09T07:37:40.373" UserId="61" Comment="added 8 characters in body; added 4 characters in body" Text="What does tension sound like? Tension, in the case, meaning the feeling that if you don't complete your task in time, you will fail or be attacked. You have :05 to sell it.&#xD;&#xA;&#xD;&#xA;(This is one of those questions that has no context. But that's ok, because the assignment doesn't really have a specific context, either.)&#xD;&#xA;&#xD;&#xA;UPDATE: **No ticking clocks**! But you may incorporate other sounds that could evoke elements of time…&#xD;&#xA;&#xD;&#xA;UPDATE: **No heartbeats**! But you may incorporate other sounds that could evoke awareness of &#xD;&#xA;one's own self…" ContentLicense="CC BY-SA 3.0" />
  <row Id="15775" PostHistoryTypeId="2" PostId="9507" RevisionGUID="47e7d790-3e07-4505-9e4c-6529f90cf26e" CreationDate="2011-08-09T07:40:04.883" UserId="2" Text="Relative silence can do wonders." ContentLicense="CC BY-SA 3.0" />
  <row Id="15776" PostHistoryTypeId="2" PostId="9508" RevisionGUID="67bbcb40-2c14-45ff-a2b1-c9f5b0c590fa" CreationDate="2011-08-09T08:05:06.353" UserId="1228" Text="I know that because my suggestion is a part of DVTK, it's somewhat of a moot point, but I thought I'd mention it as an answer to the broader question of a &quot;free&quot; metering plugin.&#xD;&#xA;&#xD;&#xA;TLMasterMeter is a great little gem I discovered recently and it's one of my go-to's.  It is highly accurate (displays the exact same levels on repeat transient playback unlike PhaseScope which has been dodgy in my experience), and it also shows the meter level readout at 8x oversampling.  Another great featrue on it is that it has an event log for meter clipping (which I believe is in the same vain as the paid version RND Inspector).  If there's one thing lacking from this though, is that the event time values are displayed as min/sec from the start of playback, instead of reading the SMPTE from the session and showing that.  Maybe there's a way to do it and I just can't find it.  If Avid fixes that, the plugin in gold.&#xD;&#xA;&#xD;&#xA;I only use PhaseScope when I need to monitor a master output bus for Leq(A) loudness metering.  For mission-critical accuracy and QC, refer to TLMasterMeter " ContentLicense="CC BY-SA 3.0" />
  <row Id="15777" PostHistoryTypeId="2" PostId="9509" RevisionGUID="b25fbc8c-bdcb-4922-a0c0-f000bdf5d894" CreationDate="2011-08-09T08:07:18.097" UserId="958" Text="I think it would have to be a violin playing tremolo, maybe also rising in pitch." ContentLicense="CC BY-SA 3.0" />
  <row Id="15778" PostHistoryTypeId="2" PostId="9510" RevisionGUID="a8f5a780-4f8e-429e-aa2d-725fe7a780f9" CreationDate="2011-08-09T08:53:50.530" UserId="6524" Text="I'm thinking may be something like a telephone ringing, its sounds stupid but I find it hard to resist while I'm doing something I can't just stay calm and just pick it up in my own time, I just feel the need to hurry and pick the damn thing, unless I'm in a bad mood and don't want to talk to who it is obviously. I don't know if its just me, I could be completely wrong though haha." ContentLicense="CC BY-SA 3.0" />
  <row Id="15779" PostHistoryTypeId="2" PostId="9511" RevisionGUID="dc3fc9cd-d66f-4b2e-84b6-6cf3490deaa9" CreationDate="2011-08-09T09:06:53.600" UserId="6420" Text="Hi Jay&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;As previously mentioned I think manipulating BGs could be a great way to accent tension.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;Just as an example right now over here in the UK we’re experiencing quite a lot of trouble in the streets of certain places! I can imagine those places being very tense atmospheres right now.&#xD;&#xA;&#xD;&#xA; Picturing myself in the middle of it all I can imagine hearing things like distant sirens, people (groups shouting), alarms going off, fire’s burning, water, dogs barking, crying, police helicopters, megaphones, metal groaning, car bys, wind.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;One scene that immediately springs to mind is in The Godfather. The restaurant scene with the train in the background. Helps develop the tension fantastically.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;From a more physiological standpoint maybe accenting things like breaths and mouth noises/swallows could work? I know when I feel tense or nervous I dry up and it makes it harder to swallow lol Also sometimes when I’m feeling really under pressure people who are talking to me I might not really hear, as if they were being filtered out. Perhaps adding a similar effect to a bit of dialogue by filtering and pushing back with reverb/delay might achieve something similar.&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;Hope that’s helpful&#xD;&#xA; &#xD;&#xA;Andy" ContentLicense="CC BY-SA 3.0" />
  <row Id="15780" PostHistoryTypeId="2" PostId="9512" RevisionGUID="41e5f2c5-babf-49fd-954b-1c2111daf977" CreationDate="2011-08-09T10:28:20.830" UserId="493" Text="My first thought was the literal tension of a taut rope on the edge of snapping.  That slow, sporadic twitching of the rope being stretched by a weight, and maybe the occasional strands breaking.&#xD;&#xA;&#xD;&#xA;For example, a rock climber, stuck on the side of a mountain, starts to hear the rope breaking.  All other sounds drop out, even the ambiance, and we're left with silence, as others mentioned above.  Layer that with the occasional, sudden stretches and snaps of the rope, and you've got a pretty tense moment!&#xD;&#xA;&#xD;&#xA;Might be a little literal, but it's what I first thought of to &quot;What does tension sound like&quot;!  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15781" PostHistoryTypeId="2" PostId="9513" RevisionGUID="e4d3883a-8422-47fa-92fe-e9a5e608cad3" CreationDate="2011-08-09T11:26:35.130" UserId="845" Text="I like Mr. Spitz's idea. Frenetic motion into a hard cut hang. If you're about to be chased you could cut everything but the sound of a single piece of gravel under the chaser's shoe as he stares menacingly. &#xD;&#xA;&#xD;&#xA;Basically pick one sound out of the everything that's going on and let it hang out over the otherwise silent void. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15782" PostHistoryTypeId="2" PostId="9514" RevisionGUID="b7591bef-f6d8-4de9-83aa-9096337e2721" CreationDate="2011-08-09T11:51:41.850" UserId="432" Text="Another idea is an insistent and unrelenting sound. This doesn't necessarily mean that that sound has to be a foreground element. A sound that will not go away, and has some slight/slow movement to it (pitch change, volume change [crescendo's work more frequently than decrescendos], pan position, or even movement from background to foreground) can create tension in the viewer/listener.&#xD;&#xA;&#xD;&#xA;It's a Gestalt thing, we want either good continuation or resolution. Good continuation would equate to a &quot;natural&quot; movement, while resolution obviously implies some sort of end or transition. Good continuation often leads into resolution, but &quot;breaking&quot; the Gestalt of either one in a sound causes unease in the listener. The two ends of the intensity spectrum for broken Gestalt results in tension (increasing/focusing attention) for slow and subtle (preparing for &quot;fight or flight&quot; response), and immediate attention (triggered &quot;fight or flight&quot; response) for fast and instantaneous." ContentLicense="CC BY-SA 3.0" />
  <row Id="15783" PostHistoryTypeId="5" PostId="2193" RevisionGUID="c560e6d6-8752-4dc1-9376-b3c930cb4e81" CreationDate="2011-08-09T11:59:02.050" UserId="432" Comment="ugh! where was my grammar?! ...and added something i forgot." Text="Definitely volume automation, but be careful you don't over do it in between close lines. If the gap is too short it will just sound like the track is &quot;pumping,&quot; and you don't want that.&#xD;&#xA;&#xD;&#xA;Mike's correct about accomadating the listener. Dialogue is for people like a raw steak is for dogs; they're going to be drawn right to it. They'll get distracted and frustrated if they can't make it out. EQ automation is a great way to handle an overly energetic music track, but don't EQ the dialogue unless it needs it as a tonal improvement. You're not going to beat the music using EQ on the vocals.&#xD;&#xA;&#xD;&#xA;I almost always use a little compression on trailers, commercials and television programming. So, yes, you can definitely use that to help you along. I also will EQ the music subtly to make space for the dialogue if necessary.&#xD;&#xA;&#xD;&#xA;The holy grail of this issue is having access to the composer, and being able to get stems for the music instead of a mixed track. Unfortunately, that's not always possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="15784" PostHistoryTypeId="2" PostId="9515" RevisionGUID="b8d188ed-cc95-4be0-ab94-d090b4610bbe" CreationDate="2011-08-09T12:18:20.883" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;I was wondering lately about differences in samplerates of wellknown sound libraries.&#xD;&#xA;Why does Sound Ideas, or other sound sellers, still deliver their libraries at 44.1 kHz instead of 48 kHz, even when delivering on a HardDrive? When importing a Sea Wash Calm.wav from the BBC series into Protools it needs to do samplerate conversion (besides splitting it into .L  and .R).&#xD;&#xA;&#xD;&#xA;I've worked in several studios as a freelancer and noticed that nobody really seems to care about this.&#xD;&#xA;All the audio in the libraries is converted on the fly which:  &#xD;&#xA;a. Costs more time compared to batch converting on a separate system (which might take a long time, admittedly).  &#xD;&#xA;b. Normally is done with 'low' settings due to waiting times (instead of tweakhead settings) and sounds less good.&#xD;&#xA;&#xD;&#xA;Or is it just not necessary 'because nobody will hear it anyway..' ?&#xD;&#xA;&#xD;&#xA;Dear SSD sound editors/designers: What is your opinion on this matter?&#xD;&#xA;&#xD;&#xA;Greetings,&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15785" PostHistoryTypeId="1" PostId="9515" RevisionGUID="b8d188ed-cc95-4be0-ab94-d090b4610bbe" CreationDate="2011-08-09T12:18:20.883" UserId="1216" Text="Why do some companies still sell SFX with 44.1 kHz sample-rates ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15786" PostHistoryTypeId="3" PostId="9515" RevisionGUID="b8d188ed-cc95-4be0-ab94-d090b4610bbe" CreationDate="2011-08-09T12:18:20.883" UserId="1216" Text="&lt;sample-rate&gt;&lt;conversion&gt;&lt;quality&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15787" PostHistoryTypeId="2" PostId="9516" RevisionGUID="2e154236-dd9a-4f32-ad75-7e904f457d49" CreationDate="2011-08-09T12:32:31.817" UserId="194" Text="businesses respond to market demands.  &#xD;&#xA;&#xD;&#xA;some customers still request 44.1 because that's &quot;cd quality&quot; and takes up the least hard drive space while still being full rez.  If an sfx company were to **only** offer 192k sfx they'd almost certainly be costing themselves some sales on the lower ends of the market, and they'd be doing it for no reason." ContentLicense="CC BY-SA 3.0" />
  <row Id="15788" PostHistoryTypeId="2" PostId="9517" RevisionGUID="6eef76b3-a3e9-4bf7-947f-adf4581e4a21" CreationDate="2011-08-09T12:50:38.713" UserId="432" Text="Short answer:&#xD;&#xA;&#xD;&#xA;Because people still buy them, and it's not worth the cost to convert.&#xD;&#xA;&#xD;&#xA;Longer Answer:&#xD;&#xA;&#xD;&#xA;Those are the native settings of their existing files. It would cost them time (man hours) and storage space to convert all of those files to 48k for &quot;convenience&quot; on hard disk based delivery for the end user. Both mean more money spent. Note that these new files wouldn't naturally be 48k, they're still 44.1k files that have been resampled (just like you're doing on your system). I'm sure there are some &quot;false advertising&quot; legal concerns associated with that idea. Not to mention one other simple idea, &quot;Is that the format that the end user wants it in?&quot;&#xD;&#xA;&#xD;&#xA;Not everyone using sound effects are looking for high res. audio. Internet, radio, mobile applications, and a whole lot of games can't even use those 44.1 files in their native sample rate. They're going to be converted down to 22k, 8bit, or whatever else may be needed.&#xD;&#xA;&#xD;&#xA;The costs weighed against the various ways these libraries could be used just doesn't balance out for these companies. Many have been working on building their high res. libraries over the last few years, and we're starting to see those released. It's just not in their financial interest to update an older product that people are still happily buying." ContentLicense="CC BY-SA 3.0" />
  <row Id="15789" PostHistoryTypeId="2" PostId="9518" RevisionGUID="9fb4297e-a6c5-47a1-95aa-eb23dfdf4dbb" CreationDate="2011-08-09T13:42:13.540" UserId="194" Text="haven't read the other responses yet, but my thought is that when we become tense we tend to **focus**.&#xD;&#xA;&#xD;&#xA;soncially, this would equate to total silence broken only by either one's own breath or some combination of ones own breath and the completely dry foley of the one thing that the person is manipulating." ContentLicense="CC BY-SA 3.0" />
  <row Id="15790" PostHistoryTypeId="2" PostId="9519" RevisionGUID="0f4a5ddc-46e1-4f3d-97d4-2d04a037a709" CreationDate="2011-08-09T15:22:08.757" UserId="220" Text="For me, complete silence with an ever ramping up &quot;white noise&quot; or subtle ambiance.  If you've ever been in a place where it's so quiet, the white noise is deafening, that's the feeling I'd force artificially - not really that even &quot;roar&quot;, but a few key frequencies accentuated.&#xD;&#xA;&#xD;&#xA;Add to that some stilted breathing recorded in a VO booth, and you've got a nice claustrophobic, tense-sounding moment." ContentLicense="CC BY-SA 3.0" />
  <row Id="15791" PostHistoryTypeId="2" PostId="9520" RevisionGUID="134f6769-2a04-4d61-aaff-ca8d374a1daf" CreationDate="2011-08-09T15:47:19.013" UserId="238" Text="The classic dripping tap [though I'm not quite sure that'd find it's way into a studio/client context?]&#xD;&#xA;&#xD;&#xA;But really, the most tense moments would be that suspense hung in the air moment of *silence!*" ContentLicense="CC BY-SA 3.0" />
  <row Id="15792" PostHistoryTypeId="2" PostId="9521" RevisionGUID="54bbe5e9-6c8e-498e-9088-079c9e9ea298" CreationDate="2011-08-09T15:56:04.650" UserId="429" Text="Hey SSD crew .. &#xD;&#xA;&#xD;&#xA;Over the past 2 years I've been making wild sfx / foley recordings. The source is my Sony D50 (D-50). Around a GAIN setting of 5 the self noise becomes annoying. I've been trying to clean these recordings up with the Sony Noise Reduction plugin. I'm recording clean, isolated without any distracting background sounds bleeding in from the locations. Its specifically the the D50's self noise I'm trying to remove.&#xD;&#xA;&#xD;&#xA;I'm not thrilled with the results I'm getting with the Sony Noise Reduction plugin. I feel like the NR plug could be better. Has anyone compared the Sony NR to other NR plugs ? I have used the Isotope and Waves plugs but that was a few years back. Kinda forgetting how they sound and certainly can't A/B them right now  ..." ContentLicense="CC BY-SA 3.0" />
  <row Id="15793" PostHistoryTypeId="1" PostId="9521" RevisionGUID="54bbe5e9-6c8e-498e-9088-079c9e9ea298" CreationDate="2011-08-09T15:56:04.650" UserId="429" Text="Need opinions .. Does the Soundforge Noise Plugin sound good compared to XX ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15794" PostHistoryTypeId="3" PostId="9521" RevisionGUID="54bbe5e9-6c8e-498e-9088-079c9e9ea298" CreationDate="2011-08-09T15:56:04.650" UserId="429" Text="&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15795" PostHistoryTypeId="5" PostId="3663" RevisionGUID="2989f530-9b81-4de4-9f95-b09058c8102f" CreationDate="2011-08-09T16:51:52.087" UserId="61" Comment="added 10 characters in body" Text="No (at least in my experiences). Every movie I've worked on has had its trailer done somewhere else. It's true that there are facilities that specialize in trailers, and that's all they do. Often times they will not consult with the sound team actually working on the film. They will, however, request specific clips like dialog takes from dailies or certain &quot;set piece&quot; sound design that is critical to the story, ie. a creature vocalization, a signature sound, etc. But mostly, the sound design is up to them." ContentLicense="CC BY-SA 3.0" />
  <row Id="15796" PostHistoryTypeId="2" PostId="9522" RevisionGUID="532c8cf9-3bb9-4aaa-800c-1f8bfa42a48b" CreationDate="2011-08-09T16:55:52.053" UserId="61" Text="(borrowing some content from [my previous post][1]…)&#xD;&#xA;&#xD;&#xA;Political unrest and riots are somewhat rare - that's what makes them so interesting to record and preserve. Although they can be unnerving and violent, finding a way to safely record an event like this is important, so long as it can be done without putting yourself in harm's way (at least not too much).&#xD;&#xA;&#xD;&#xA;Do we have any SSDers in the UK that are willing to take a risk and capture some amazing events?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/5822/recording-the-upheaval-in-the-middle-east" ContentLicense="CC BY-SA 3.0" />
  <row Id="15797" PostHistoryTypeId="1" PostId="9522" RevisionGUID="532c8cf9-3bb9-4aaa-800c-1f8bfa42a48b" CreationDate="2011-08-09T16:55:52.053" UserId="61" Text="Recording the riots in London" ContentLicense="CC BY-SA 3.0" />
  <row Id="15798" PostHistoryTypeId="3" PostId="9522" RevisionGUID="532c8cf9-3bb9-4aaa-800c-1f8bfa42a48b" CreationDate="2011-08-09T16:55:52.053" UserId="61" Text="&lt;field-recording&gt;&lt;crowd&gt;&lt;stealth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15799" PostHistoryTypeId="2" PostId="9523" RevisionGUID="c3dc4da2-87c9-48e3-ae93-359cc80190ff" CreationDate="2011-08-09T17:10:40.397" UserId="1066" Text="I usually use izotope and waves with pretty good results. Mostly a combination of both. Also Oxford has some reduction plugins. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15800" PostHistoryTypeId="2" PostId="9524" RevisionGUID="db5a5800-e3ed-45c1-985e-c074c6b39566" CreationDate="2011-08-09T17:19:55.683" UserDisplayName="user80" Text="Dropping everything to a dull background and then adding a tinnitus whine, which can be experienced naturally under stress.&#xD;&#xA;&#xD;&#xA;http://www.tinnitustreatmentssite.com/tinnitusstress/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15801" PostHistoryTypeId="2" PostId="9525" RevisionGUID="fe33bdf1-5576-42c9-89b3-9ad7ff15b6e4" CreationDate="2011-08-09T18:00:52.063" UserId="62" Text="I know someone who had thought about it. Sadly even some TV crews (BBC and Sky on Saturday) were attacked so I doubt it'd be easy to get close to any &quot;action&quot;. I did hear [this][1] earlier today though.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundsurvey.org.uk/index.php/survey/blog_comments/1447/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15802" PostHistoryTypeId="2" PostId="9526" RevisionGUID="84f5b08f-62d6-40d7-b8b3-cbcf79372e78" CreationDate="2011-08-09T18:07:19.947" UserId="1009" Text="Hi Jay,&#xD;&#xA;Ian Rawes captured some looting in Peckham for his inimitable London Sound Survey: http://www.soundsurvey.org.uk/index.php/survey/blog_comments/1447/&#xD;&#xA;I've attended many political demonstrations in the past but this current wave of insurrection is on a different level. I've heard a few accounts of journalists and others that crowds have taken a dislike to being attacked and threatened. Having said that, I'm sure a few more recordings will surface soon.&#xD;&#xA;Regards,&#xD;&#xA;Nick&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15803" PostHistoryTypeId="2" PostId="9527" RevisionGUID="13f5d760-4a55-40d7-963b-d469f463f8bd" CreationDate="2011-08-09T19:41:47.293" UserDisplayName="user49" Text="I'd suspect the 44.1kHz sounds are 'historical' sounds ie sounds recorded 3-5 years ago, so to uprez them would require either accessing &amp; re-editing/mastering original recordings or re-recording them... While it might be handy to deliver sounds in the format you want, uprezzing them would mean the buyer thinks they have bought 48k or 96k sounds, which would be highly dubious....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15804" PostHistoryTypeId="2" PostId="9528" RevisionGUID="9481904a-71fe-48c0-8a35-d2c71cd40cb2" CreationDate="2011-08-09T20:04:39.783" UserId="880" Text="@Jay Jennigs &quot; CAPTURE  AMAZING EVENTS &quot;&#xD;&#xA;&#xD;&#xA;That is a totally inappropriate mate !!!  Shame on you !!&#xD;&#xA;&#xD;&#xA;Have you been reading papers etc???" ContentLicense="CC BY-SA 3.0" />
  <row Id="15805" PostHistoryTypeId="5" PostId="9522" RevisionGUID="1d5394b8-6ab4-4995-b944-aebab983bc3d" CreationDate="2011-08-09T20:24:07.277" UserId="61" Comment="deleted 7 characters in body" Text="(borrowing some content from [my previous post][1]…)&#xD;&#xA;&#xD;&#xA;Political unrest and riots are somewhat rare - that's why it's important to record and preserve them. Although they can be unnerving and violent, finding a way to safely record an event like this is important, so long as it can be done without putting yourself in harm's way (at least not too much).&#xD;&#xA;&#xD;&#xA;Do we have any SSDers in the UK that are willing to take a risk and capture some amazing events?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/5822/recording-the-upheaval-in-the-middle-east" ContentLicense="CC BY-SA 3.0" />
  <row Id="15806" PostHistoryTypeId="2" PostId="9529" RevisionGUID="647cfea0-8cff-416f-a580-41b8bed52ddd" CreationDate="2011-08-09T23:21:35.470" UserId="558" Text="Which of the following impacts your quality bar the most (either positively or negatively):&#xD;&#xA;&#xD;&#xA;1) Console resources - RAM and CPU usage&#xD;&#xA;&#xD;&#xA;2) Time constraints - deadlines&#xD;&#xA;&#xD;&#xA;3) Manpower &#xD;&#xA;&#xD;&#xA;4) Tools/engineering support - WWise, FMOD, dedicated engineer, good world-building tools...&#xD;&#xA;&#xD;&#xA;5) Equipment/libraries/field recording (PC/Mac, DAWs, Plugins, SFX libs - asset creation stuff)&#xD;&#xA;&#xD;&#xA;6) Other - examples of &quot;other&quot; are team communication (finding out about new features and game changes in a timely manner) and Clearly Stated/Stable Design Direction.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I know that there is a lot of overlap, and that it really depends on the kind of game being made, but I am curious what other folks wrestle with most...&#xD;&#xA;&#xD;&#xA;imho the order is often 1 and 4 at the top followed by 2,3, and 6, with 5 at the bottom assuming you have access to some minimum set of libraries and plug-ins (most American gaming companies that I know cover #5 tolerably well)." ContentLicense="CC BY-SA 3.0" />
  <row Id="15807" PostHistoryTypeId="1" PostId="9529" RevisionGUID="647cfea0-8cff-416f-a580-41b8bed52ddd" CreationDate="2011-08-09T23:21:35.470" UserId="558" Text="Quick Question for Console Game Audio Folks" ContentLicense="CC BY-SA 3.0" />
  <row Id="15808" PostHistoryTypeId="3" PostId="9529" RevisionGUID="647cfea0-8cff-416f-a580-41b8bed52ddd" CreationDate="2011-08-09T23:21:35.470" UserId="558" Text="&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15809" PostHistoryTypeId="2" PostId="9530" RevisionGUID="a192aa81-df0d-48d1-b0fa-608cc82eedf5" CreationDate="2011-08-09T23:44:24.653" UserId="6411" Text="There's been so many good answers, I don't know if I've come up with an original thought here. But I took a walk to the grocery store and came up with this short list.&#xD;&#xA;&#xD;&#xA; - Incessant Repetition - &quot;dad, dad, dad, dad, dad, Dad, DAd, DAD&quot; I'd say this falls under the ticking clock, passing-time category&#xD;&#xA;&#xD;&#xA; - Hyper Focus of the Mundane - With no context this seems awkward, but my thought was towards something like the squeak in the hinge of the wire cutters as our character picks the right wire to snip.&#xD;&#xA; - Plywood Stress / Creak / Groan / Tear - Tension, under great stress, ready to snap&#xD;&#xA;&#xD;&#xA; - Too Many Voices - Again with no context this one could just seem like a crowd, but thinking supporting character's voices sensibly overlapped to underscore the character's personal stake in failure.&#xD;&#xA;&#xD;&#xA; - Squeaky Hinge / Break Drum - Pitched to that same brain-piercing octave of early tinnitus&#xD;&#xA;&#xD;&#xA; - Balloon - Release the air through a pinched neck, reverse it. This goes under the rising pitch answer.&#xD;&#xA;&#xD;&#xA; - Tea Kettle - Same rising pitch idea, but with that undertone of pressure&#xD;&#xA;&#xD;&#xA; - Baby's / Child's Scream - Because we're wired for it&#xD;&#xA;&#xD;&#xA; - Screw Gun - I'm thinking of that ratcheting sound a drill motor makes when you tighten a screw too far.&#xD;&#xA;&#xD;&#xA; - Power Saw - Again rising pitch as it cuts through a long board, but with an edge of danger &#xD;&#xA;&#xD;&#xA; - Bag Full of Groceries - The combination of cans, cardboard and plastic in my grocery bag made this great sound with all the contents under strain as I walked along. Made me think of being crunched under pressure, although that could've just been my mindset.&#xD;&#xA;&#xD;&#xA;That was a good walk. Thanks Jay!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15810" PostHistoryTypeId="2" PostId="9531" RevisionGUID="51098e43-93c6-4ce2-994a-995518e1518b" CreationDate="2011-08-10T00:06:25.830" UserId="18160" Text="I'm late and many good answers have said what I couldn't so:&#xD;&#xA;&#xD;&#xA;I would experiment with an electric guitar and a piece of metal or something to create some good scratching sounds which to me communicate tension and something about to be pushed past the breaking point.&#xD;&#xA;&#xD;&#xA;Maybe some extremely loud screaming vocals or screams turned down to be barely audible under the foley or real-world sounds can create a nice subliminal bed for what you want to communicate.&#xD;&#xA;&#xD;&#xA;Pulsating low-end. Sort of like when the dreams start collapsing in Inception.&#xD;&#xA;&#xD;&#xA;High pitched frequencies 12.5K and above ramped up to an exaggerated volume after dropping out all other sound (sort of like silence, but with a tone - think opening scene of Children of Men).&#xD;&#xA;&#xD;&#xA;What about something totally out there, like a rattle-snake rattle or cicada?&#xD;&#xA;&#xD;&#xA;Don't forget this advice:&#xD;&#xA;&#xD;&#xA;**“Sometimes in the creativity area like sound, my instincts tell me to do one thing, but I do exactly the opposite and see what happens. For example, if you’re designing a scary weird creature, try putting in a high-pitched, low-level sound. Who knows, maybe that will be scarier.” Gary Rydstrom**&#xD;&#xA;&#xD;&#xA;Hope I could help.. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15811" PostHistoryTypeId="2" PostId="9532" RevisionGUID="0174d588-23a5-4e2f-a311-464c04970c94" CreationDate="2011-08-10T01:26:21.260" UserId="670" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I'm about to start working on the dialog, and sound edit for my first feature length film. If the film is around 90 minutes I should ask for three different quicktime files (consisting of the beginning, middle, and end), and the corresponding OMF to go with them, correct? Anything else I should know? &#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15812" PostHistoryTypeId="1" PostId="9532" RevisionGUID="0174d588-23a5-4e2f-a311-464c04970c94" CreationDate="2011-08-10T01:26:21.260" UserId="670" Text="Feature Lengths" ContentLicense="CC BY-SA 3.0" />
  <row Id="15813" PostHistoryTypeId="3" PostId="9532" RevisionGUID="0174d588-23a5-4e2f-a311-464c04970c94" CreationDate="2011-08-10T01:26:21.260" UserId="670" Text="&lt;features&gt;&lt;reel&gt;&lt;omf&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15814" PostHistoryTypeId="2" PostId="9533" RevisionGUID="71200e29-daa9-4d0d-a50b-187d5d955392" CreationDate="2011-08-10T02:07:07.653" UserId="7811" Text="Not all sound design is for picture. Plenty of audio-only projects are 44.1 - music, art, theatre etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="15815" PostHistoryTypeId="2" PostId="9534" RevisionGUID="e851a1ea-97d9-4057-b952-dd9d66aae216" CreationDate="2011-08-10T02:18:08.143" UserId="6411" Text="As I understand it, if this film is ever destined to be projected, you should ask for it to be broken into reels (1000 ft or as close to it as possible) by your picture editor. If you have the opportunity to recommend where the reel break happens, choose a location where if a projection hiccup occurs it is the least disruptive to your soundtrack." ContentLicense="CC BY-SA 3.0" />
  <row Id="15816" PostHistoryTypeId="2" PostId="9535" RevisionGUID="29de02d7-7cf8-4846-8f78-06b8f6b751ad" CreationDate="2011-08-10T03:21:50.690" UserId="845" Text="One thing I think it's probably important to remember as well is that not everyone who needs sound effect libraries is a sound mangling maniac like the rest of us.  While freakazoids like us spend our time Paul's Stretching goose farts out to infinity and back just to see what kind of artifacts it'll pick up on re-compression, most people only need a collection of reasonably accurate sounds to drop into a scene at a moments' notice.&#xD;&#xA;&#xD;&#xA;Sound Designer: &quot;But at 44.1 I can only stretch it to twice its lenght cuz it'll get all gross and artifacty, and then reversing it will only make it worse.  And then pitching it down will make it unlistenable.&quot;&#xD;&#xA;&#xD;&#xA;Normal Person: &quot;So?&quot; " ContentLicense="CC BY-SA 3.0" />
  <row Id="15817" PostHistoryTypeId="2" PostId="9536" RevisionGUID="de729836-ebac-401d-816e-9e5bbd3b28cc" CreationDate="2011-08-10T05:12:37.170" UserId="61" Text="Hi Mitchell,&#xD;&#xA;&#xD;&#xA;This is an interesting question and one that is rooted in the history of cinema. Before the days of readily-available digital workstations and non-linear editing, film was cut on just that: Film. This magnetic medium had its limitations, one of which being how much film could actually fit on a reel. There were &quot;A&quot; reels (around 1000') and &quot;AB&quot; reels (around 2000'), and the picture editor would cut accordingly. For example, if the action scene in Reel 3 was going to go beyond 2400', the film editor would have to find a place to cut before the end of said scene since it physically wouldn't fit on the reel. Other factors figured in as well, such as music cues that couldn't transition smoothly from one reel to the next.&#xD;&#xA;&#xD;&#xA;Well, now we're firmly planted in the world of digital non-linear editing, not just in sound but also in picture - and, very soon, also in the realm of theatre delivery, ie. &quot;digital prints&quot;, where the theatres no longer receive reels of film but rather computer files downloaded from secure FTP sites containing the entire movie, with high-definition picture and surround soundtracks.&#xD;&#xA;&#xD;&#xA;Where does this leave the lowly A and AB reels? That is the subject of some debate. Since file sizes and download speeds are not much of an issue anymore, there may not be much need of reel breaks in film anymore. I've worked on entire projects that were delivered as one file, rather than &quot;R1&quot;, &quot;R2&quot;, etc. etc. The whole notion of reels in film seems to me a holdback to an earlier time, and not particularly necessary with today's technology.&#xD;&#xA;&#xD;&#xA;In conclusion, I would encourage you to consider alternatives to the tried-and-true traditions. Maybe work with the entire film in one file, with no reel breaks? You may enjoy the continuity and flow. Ask the picture editor his/her opinion on the matter, and see where it goes.&#xD;&#xA;&#xD;&#xA;*PS. All of you film veterans out there, please chime in and correct me where I may be wrong. I entered the world of feature film editorial in 1997, an pivotal time when non-linear workstations were coming of age and mag film was on its way out. As a result, I have pretty limited experience working with mag and film, and some of my terminology may be kinda off.*" ContentLicense="CC BY-SA 3.0" />
  <row Id="15818" PostHistoryTypeId="5" PostId="9522" RevisionGUID="0facfb7f-8656-4555-b66a-254dfd0c1fee" CreationDate="2011-08-10T05:16:52.173" UserId="61" Comment="edited body" Text="(borrowing some content from [my previous post][1]…)&#xD;&#xA;&#xD;&#xA;Political unrest and riots are somewhat rare - that's why it's important to record and preserve them. Although they can be violent and unnerving, finding a way to safely record an event like this is important, so long as it can be done without putting yourself in harm's way (at least not too much).&#xD;&#xA;&#xD;&#xA;Do we have any SSDers in the UK that are willing to take a risk and capture some amazing events?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/5822/recording-the-upheaval-in-the-middle-east" ContentLicense="CC BY-SA 3.0" />
  <row Id="15819" PostHistoryTypeId="5" PostId="9536" RevisionGUID="1de8afe1-9d37-4750-b207-0a0ab8c1aac4" CreationDate="2011-08-10T05:28:50.903" UserId="61" Comment="edited body" Text="Hi Mitchell,&#xD;&#xA;&#xD;&#xA;This is an interesting question and one that is rooted in the history of cinema. Before the days of readily-available digital workstations and non-linear editing, film was cut on just that: Film. This magnetic medium had its limitations, one of which being how much film could actually fit on a reel. There were &quot;A&quot; reels (around 1000') and &quot;AB&quot; reels (around 2000'), and the picture editor would cut accordingly. For example, if the action scene in Reel 3 was going to go beyond 2400', the film editor would have to find a place to cut before the end of said scene since it physically wouldn't fit on the reel. Other factors figured in as well, such as music cues that couldn't transition smoothly from one reel to the next.&#xD;&#xA;&#xD;&#xA;Well, now we're firmly planted in the world of digital non-linear editing, not just in sound but also in picture - and, very soon, also in the realm of theatre delivery, ie. &quot;digital cinema&quot;, where the theatres no longer receive reels of film but rather computer files downloaded from secure FTP sites containing the entire movie, with high-definition picture and surround soundtracks.&#xD;&#xA;&#xD;&#xA;Where does this leave the lowly A and AB reels? That is the subject of some debate. Since file sizes and download speeds are not much of an issue anymore, there may not be much need of reel breaks in film anymore. I've worked on entire projects that were delivered as one file, rather than &quot;R1&quot;, &quot;R2&quot;, etc. etc. The whole notion of reels in film seems to me a holdback to an earlier time, and not particularly necessary with today's technology.&#xD;&#xA;&#xD;&#xA;In conclusion, I would encourage you to consider alternatives to the tried-and-true traditions. Maybe work with the entire film in one file, with no reel breaks? You may enjoy the continuity and flow. Ask the picture editor his/her opinion on the matter, and see where it goes.&#xD;&#xA;&#xD;&#xA;*PS. All of you film veterans out there, please chime in and correct me where I may be wrong. I entered the world of feature film editorial in 1997, an pivotal time when non-linear workstations were coming of age and mag film was on its way out. As a result, I have pretty limited experience working with mag and film, and some of my terminology may be kinda off.*" ContentLicense="CC BY-SA 3.0" />
  <row Id="15820" PostHistoryTypeId="2" PostId="9537" RevisionGUID="3b339ecc-00b9-4c31-a12b-eaa476950d4f" CreationDate="2011-08-10T05:42:19.850" UserId="517" Text="I would make sure that the Quicktimes have a timecode window burn-in. It's also important to make sure that the TC rate that you'll be cutting sound at matches the Quicktime burn-in. Time code for reel 1 should be start at 01:00:00:00, reel 2 at 02:00:00:00, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="15821" PostHistoryTypeId="2" PostId="9538" RevisionGUID="cca42f26-ef99-4773-a645-805c026b969b" CreationDate="2011-08-10T06:21:35.077" UserId="587" Text="If you were to enroll on a non-degree path in a regular state college, what program would benefit learning more about game audio scripting and implementation? This wouldnt be a tech school or vocation, but a university with no actual game audio courses.&#xD;&#xA;&#xD;&#xA;My first thought would be Computer Science. But you probably could narrow it down a bit more couldnt you? Are there C+ (or other related language) courses that would support the basics of game audio scripting?&#xD;&#xA;&#xD;&#xA;Your thoughts please!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15822" PostHistoryTypeId="1" PostId="9538" RevisionGUID="cca42f26-ef99-4773-a645-805c026b969b" CreationDate="2011-08-10T06:21:35.077" UserId="587" Text="Game Audio Course Work" ContentLicense="CC BY-SA 3.0" />
  <row Id="15823" PostHistoryTypeId="3" PostId="9538" RevisionGUID="cca42f26-ef99-4773-a645-805c026b969b" CreationDate="2011-08-10T06:21:35.077" UserId="587" Text="&lt;university&gt;&lt;game&gt;&lt;course&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15825" PostHistoryTypeId="2" PostId="9540" RevisionGUID="fce2677c-3a3c-4484-9e14-b14106463bba" CreationDate="2011-08-10T09:40:31.373" UserId="1196" Text="Start small, look for indie developers forums on stuff like gamedev.net as there's plenty of (unpaid) opportunities there.  It's all about getting the cogs turning, finding the right people/companies will become more of a natural process as long as you're 100% dedicated and you have a clear vision. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15826" PostHistoryTypeId="2" PostId="9541" RevisionGUID="31d040bd-7a2f-4786-8d38-48e58be4fc28" CreationDate="2011-08-10T10:13:31.670" UserId="407" Text="This does change from project to project but here is my short list:&#xD;&#xA;&#xD;&#xA;2. Time Constraints&#xD;&#xA;4. Tools (programmer time = ironically a time constraints too)&#xD;&#xA;&#xD;&#xA;Everything else is a mixed bag. Ironically in my humble opinion the console resources are not that important IF you have tools and engineering support to handle the console limitations intelligently. As a 6 year veteran of AAA development, the most important factor on quality is always time ... with more time we could develop better tools, record better assets, experiment more with sounds and implementation etc. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15827" PostHistoryTypeId="5" PostId="9541" RevisionGUID="36b1438d-6f7c-44bd-8b40-8d3d77f73657" CreationDate="2011-08-10T10:18:38.440" UserId="407" Comment="added 17 characters in body; added 259 characters in body" Text="This does change from project to project but here is my short list of negatives:&#xD;&#xA;&#xD;&#xA;2. Time Constraints&#xD;&#xA;4. Tools (programmer time = ironically a time constraints too)&#xD;&#xA;&#xD;&#xA;Everything else is a mixed bag. Ironically in my humble opinion the console resources are not that important IF you have tools and engineering support to handle the console limitations intelligently. As a 6 year veteran of AAA development, the most important factor on quality is always time ... with more time we could develop better tools, record better assets, experiment more with sounds and implementation etc. &#xD;&#xA;&#xD;&#xA;The thing that has the biggest positive impact on the quality of the game is the team work and input from other areas of game design, be that either from working together on implementation ideas or suggestions about what something should or could sound like. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15829" PostHistoryTypeId="2" PostId="9543" RevisionGUID="b5d16acf-5cdc-4ae3-9591-2cb8385bb229" CreationDate="2011-08-10T12:38:37.243" UserId="1067" Text="Hello, thanks to Nick and Ian for linking to my recording of the looting of the Iceland store in Peckham.&#xD;&#xA;&#xD;&#xA;Don't record riots etc in areas that you don't know well beforehand and don't flash gear around. Binaural mics and a pocket-sized recorder are all that's needed for noisy urban settings." ContentLicense="CC BY-SA 3.0" />
  <row Id="15830" PostHistoryTypeId="2" PostId="9544" RevisionGUID="245d2314-cdfd-4fac-9952-dc056fe17abc" CreationDate="2011-08-10T12:46:37.507" UserId="432" Text="It's been mentioned in the comments under responses, but I'm going to beat the dead horse...make sure you get 2 pops. I've been working with more and more editors who tend to leave them out; either because they figure they aren't needed in the digital mediums we're working in, or they just don't even know what they are.&#xD;&#xA;&#xD;&#xA;They're important (more for the editors than us) for preliminary &quot;gross&quot; sync check at the layback stage." ContentLicense="CC BY-SA 3.0" />
  <row Id="15833" PostHistoryTypeId="2" PostId="9545" RevisionGUID="7093f6c7-7bcb-423e-af9e-89ab2ecf0b7b" CreationDate="2011-08-10T15:54:01.450" UserId="125" Text="my old earphone destroyed, and had rushed to the store before i buy a new one, I thought about that, would not be damaging to my hearing?&#xD;&#xA;so the Q is, the earphones damage your hearing, its harmful? there is medical evidence to do so?&#xD;&#xA;opinions? experience?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15834" PostHistoryTypeId="1" PostId="9545" RevisionGUID="7093f6c7-7bcb-423e-af9e-89ab2ecf0b7b" CreationDate="2011-08-10T15:54:01.450" UserId="125" Text="earphones are harmful?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15835" PostHistoryTypeId="3" PostId="9545" RevisionGUID="7093f6c7-7bcb-423e-af9e-89ab2ecf0b7b" CreationDate="2011-08-10T15:54:01.450" UserId="125" Text="&lt;earphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15836" PostHistoryTypeId="2" PostId="9546" RevisionGUID="c5b333d8-b509-49ad-a3fb-e4e10df685a7" CreationDate="2011-08-10T16:04:06.267" UserId="1152" Text="Loud noises or moderately loud sounds for extended periods of time are known to cause hearing damage. Whether from a rock concert, headphones, lawnmower, gunshots etc. The louder the sound the less time it takes before Noise-Induced Hearing Loss ([NIHL][1]) occurs&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.nidcd.nih.gov/health/hearing/noise.asp&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Buy headphones with good isolation so you don't need to use them at at high levels to overcome background noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="15837" PostHistoryTypeId="2" PostId="9547" RevisionGUID="9b8eb518-b14d-4f41-9240-c78a3c36deb8" CreationDate="2011-08-10T16:34:40.473" UserId="18160" Text="Earphones, like any other speaker system, can be damaging if you use them incorrectly.&#xD;&#xA;&#xD;&#xA;For example, the people who crank their computer or iPad outputs on the airplane to get it loud enough to hear over the engine's roar without noise canceling headphones are effectively pushing their earbuds output to above 85 dB.&#xD;&#xA;&#xD;&#xA;I think earbuds are more dangerous than over-the-ear headphones, because they are so close to the ear drum.&#xD;&#xA;&#xD;&#xA;I sometimes mix monitors for bands and I know that if you turn off the Shure receiver/transmitters it makes an extremely loud pop in their custom in-ear monitors and I think that can be damaging to someone's hearing.&#xD;&#xA;&#xD;&#xA;Just make sure you aren't blasting away your ears and you should be fine. Be responsible and it should be OK to use any type out there. And please don't be fooled about loudness on the airplane - it can be easy to turn up your headphones full blast." ContentLicense="CC BY-SA 3.0" />
  <row Id="15838" PostHistoryTypeId="2" PostId="9548" RevisionGUID="39765711-d052-4e49-b9ae-6b2a1e9775db" CreationDate="2011-08-10T17:00:12.823" UserId="985" Text="Are we talking &quot;experimental sound design&quot; or &quot;realistic&quot; sound design?&#xD;&#xA;&#xD;&#xA;If experimental as I understand it, check out ANY thriller, horror action trailer, it's full of this stuff. Very effective is anything that SLIDES up, or anything that accelerates.&#xD;&#xA;&#xD;&#xA;Also add some high frequency stuff, jiggling around 10-12 Khz, almost inaudible, but it adds that extra stress. :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15839" PostHistoryTypeId="5" PostId="9522" RevisionGUID="6000ec64-c1b5-49cf-953d-18f257de793d" CreationDate="2011-08-10T17:50:26.940" UserId="61" Comment="added 155 characters in body" Text="(borrowing some content from [my previous post][1]…)&#xD;&#xA;&#xD;&#xA;Political unrest and riots are somewhat rare - that's why it's important to record and preserve them. Although they can be violent and unnerving, finding a way to safely record an event like this is important, so long as it can be done without putting yourself in harm's way (at least not too much).&#xD;&#xA;&#xD;&#xA;Do we have any SSDers in the UK that are willing to take a risk and capture some amazing events?&#xD;&#xA;&#xD;&#xA;*PS. I have to say that I've really enjoyed seeing this conversation evolve into such an intelligent collection of thoughts on a very sensitive topic.*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/5822/recording-the-upheaval-in-the-middle-east" ContentLicense="CC BY-SA 3.0" />
  <row Id="15840" PostHistoryTypeId="2" PostId="9549" RevisionGUID="5c2c1c9f-4546-4aa4-b67a-af9740461bbc" CreationDate="2011-08-10T18:51:52.247" UserId="558" Text="Most of the bigger games are coded in C++, with a healthy dose of scripting thrown in (python, lua, etc).  Iphone uses Objective C and android likes Java.&#xD;&#xA;&#xD;&#xA;I am a game sound guy with a CS background and I think it has helped me immensely.  I'd say go for C++.  BTW good audio programmers are RARE and can find jobs relatively easily." ContentLicense="CC BY-SA 3.0" />
  <row Id="15841" PostHistoryTypeId="2" PostId="9550" RevisionGUID="70276434-3301-4156-8497-fef358596215" CreationDate="2011-08-10T20:20:34.087" UserId="842" Text="As for me, I keep to 96/24 as long as I record with my fieldrecorder, a Fostex FR2, and that includes all other recorders I've worked with except the Aaton Cantar (the preamps seems to go that far and then some, but not the settings...), as none of 'em seems to go that far anyway in any other way than pure noise. Though such noise does indeed bring some extra top, static undynamic treble annoys me. Especially when pitched down.&#xD;&#xA;In my studio though I have second generation Lynx-converters and decent pre-amps (and some really really crappy ones too for when I want that!), so there 192KHz really makes a difference :-)&#xD;&#xA;&#xD;&#xA;...and then we have the storage issue...&#xD;&#xA;I always have my kit with me more or less no matter where I'm going and records virtually everything I can get my paws on. Right now my collection of sounds and ambs are big but manageable, with room to grow a few months until I must buy a new harddrive again. At least for now, I simply can't have all the harddrives it would take in my computer to record everything in 192/24 due to noise reasons.&#xD;&#xA;Planning on building an audio-server in the next room though where noise doesn't matter anyway :-)&#xD;&#xA;/CvanC" ContentLicense="CC BY-SA 3.0" />
  <row Id="15842" PostHistoryTypeId="2" PostId="9551" RevisionGUID="5844be14-4f22-414f-afbe-72f655a6c9f2" CreationDate="2011-08-10T20:27:33.243" UserId="18160" Text="I walked into a building a friend of mine owns and it's huge - large concrete building which used to house a custom wood mill and shop. The large center room is at least 4 stories high and about a basketball court's width. The concrete interior creates an amazing decay which preserves all of the low end of a sound set off inside it.&#xD;&#xA;&#xD;&#xA;I'm thinking of worldizing with my pair of Genelec speakers and making some great effects but I don't know where to start - it's like getting to a music or movie store and suddenly forgetting all of those movies you told yourself you would buy.&#xD;&#xA;&#xD;&#xA;I'm going to bring along some transient material but does anyone have any suggestions or even want to send me a sound of theirs for me to play back and re-record inside the space?&#xD;&#xA;&#xD;&#xA;Let me know!&#xD;&#xA;&#xD;&#xA;Thanks -" ContentLicense="CC BY-SA 3.0" />
  <row Id="15843" PostHistoryTypeId="1" PostId="9551" RevisionGUID="5844be14-4f22-414f-afbe-72f655a6c9f2" CreationDate="2011-08-10T20:27:33.243" UserId="18160" Text="Unlimited access to a large echoey warehouse." ContentLicense="CC BY-SA 3.0" />
  <row Id="15844" PostHistoryTypeId="3" PostId="9551" RevisionGUID="5844be14-4f22-414f-afbe-72f655a6c9f2" CreationDate="2011-08-10T20:27:33.243" UserId="18160" Text="&lt;worldizing&gt;&lt;concrete&gt;&lt;building&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15845" PostHistoryTypeId="2" PostId="9552" RevisionGUID="a6f2061b-8997-4a8f-ba00-05a7a3a7c57e" CreationDate="2011-08-10T20:34:10.753" UserId="61" Text="First thing I would do is create an impulse response. That way you'll always have access to that location through Altiverb, TLSpace, etc. (Or at least a pretty close facsimile to that space).&#xD;&#xA;&#xD;&#xA;After that, it's anything goes. Drop some metal, squeak some hinges, pop some balloons, scream your lungs out." ContentLicense="CC BY-SA 3.0" />
  <row Id="15846" PostHistoryTypeId="2" PostId="9553" RevisionGUID="0040f052-2707-4ac1-b813-4f140c98a9c3" CreationDate="2011-08-10T20:49:03.150" UserId="1228" Text="Play with what Richard King did - play with an outboard LFO hooked up to a PA system (e.g. your Genelecs) and record it interacting with the space (in Richard King's case it was a sound stage on the Warners lot).  That's how they created some of that money LFE goodness for Inception." ContentLicense="CC BY-SA 3.0" />
  <row Id="15847" PostHistoryTypeId="2" PostId="9554" RevisionGUID="a46959aa-db5d-44fb-ae92-10d83c82724b" CreationDate="2011-08-10T20:51:23.163" UserId="842" Text="The best interfaces I've ever used is Lynx Studio's second generation DAC/ADC! In the interfaces they have absolutely nothing other than GenLock, SMPTE (LynxTWO and Aurora), and as close to noise-less, jitter-less and faithful to the signal as it's possible to get as far as I know (LynxTWO, Aurora and L22).&#xD;&#xA;&#xD;&#xA;On the other hand, if you want stuff like mic-amps, MIDI, effects and processing for example, there are none.&#xD;&#xA;&#xD;&#xA;I only use LynxTWO-cards (and will add an Aurora soon) for regular recording in the studio myself. I do have some Yamaha DSP Factory cards, an Focusrite Saffire, and some different Sound Blaster cards too, but I only have them for effects and degrading :-)&#xD;&#xA;/CvanC" ContentLicense="CC BY-SA 3.0" />
  <row Id="15848" PostHistoryTypeId="2" PostId="9555" RevisionGUID="d957a9d2-fec6-445c-9869-c7d66278360b" CreationDate="2011-08-10T22:18:14.450" UserId="936" Text="Game design, team vision, scheduling work, the level of integration of the audio design within the game design all affect quality more than technical restrictions. I'm fortunate to be on a project where audio is equal amongst animation, art, narrative, etc. but that's rare. &#xD;&#xA;&#xD;&#xA;If I had to specify a technical constraint, memory tends to be more limiting than CPU but it obviously depends on the game and audio engine." ContentLicense="CC BY-SA 3.0" />
  <row Id="15849" PostHistoryTypeId="2" PostId="9556" RevisionGUID="2754971d-10f0-4ee6-b78f-35c8adc282a3" CreationDate="2011-08-10T23:32:15.150" UserId="1266" Text="You could play with a feedback loop.  Maybe a reversed feedback loop, play with downward expansion." ContentLicense="CC BY-SA 3.0" />
  <row Id="15850" PostHistoryTypeId="5" PostId="5356" RevisionGUID="7dd14019-9520-4204-bddb-31955cef2300" CreationDate="2011-08-11T03:37:08.503" UserId="780" Comment="added 9 characters in body" Text="![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/images/mics/ntg-3/ntg-3_cardioid.jpg&#xD;&#xA;&#xD;&#xA;Looking at the NTG-3 polar response, we can see that at 4K the mic null point is around +/- 90 degrees. So depending on frequency, a MS rig with that mic will result in almost no signal in the M channel and max signal in the S channel for a sound source at + or - 90 degrees. Once decoded, this will result in equal amplitude in L/R but with opposite polarity. The safe pickup angle with the NTG-3 in MS would be around +/- 45 degrees as your tests confirm.&#xD;&#xA;&#xD;&#xA;If you want to do MS with a large pickup angle, you should use a less directional mic for the M (omni to cardio)." ContentLicense="CC BY-SA 3.0" />
  <row Id="15851" PostHistoryTypeId="2" PostId="9557" RevisionGUID="322e7506-3dd2-4154-ad68-30ec9e04a809" CreationDate="2011-08-11T04:00:31.553" UserId="6411" Text="Check out the last question / soundcloud file [here][1]. That should give you some inspiration.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sonic-terrain.com/2011/08/field-experiments-exclusive-interview-with-richard-devine/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15852" PostHistoryTypeId="5" PostId="9557" RevisionGUID="4ac34219-0fc3-4820-8475-dfb52784243a" CreationDate="2011-08-11T05:24:34.853" UserId="6411" Comment="added 536 characters in body" Text="Check out the last question / soundcloud file [here][1]. That should give you some inspiration.&#xD;&#xA;&#xD;&#xA;**EDIT**&#xD;&#xA;&#xD;&#xA;Just had a thought as I was drifting off to sleep. How can you take advantage of the height of the space? Not sure if you can get up to the top, or how good a result you'd even get, but what about unfurling a really long piece of fabric, shaking waves into it, dropping it into a pile, etc.? Dry, wet, different fabrics (try the discount bin at the local fabric store.)&#xD;&#xA;&#xD;&#xA;Could be really cool, or it could sound like really bad foley, not sure.&#xD;&#xA;&#xD;&#xA;This also makes me think: giant slinky.&#xD;&#xA;&#xD;&#xA;Ok, brain expunged, sleep now.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sonic-terrain.com/2011/08/field-experiments-exclusive-interview-with-richard-devine/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15853" PostHistoryTypeId="2" PostId="9558" RevisionGUID="c38060d4-ec85-44b4-9580-f159dcd55b20" CreationDate="2011-08-11T05:48:15.633" UserId="407" Text="Sound forge is very good at doing quick edits on single files, but to my ears the plugins are a bit ropey. Since purchasing izotope RX 2 about 6 months ago I've found more and more reasons to switch my effects editing workflow from Sound Forge to RX, and alot of this has to do with spectral editing and noise reduction. Also Waves WNS is very good." ContentLicense="CC BY-SA 3.0" />
  <row Id="15854" PostHistoryTypeId="2" PostId="9559" RevisionGUID="b05e1437-6ba9-4036-8a63-4f3ec6bd204d" CreationDate="2011-08-11T06:24:24.520" UserId="479" Text="When transferring between DAWs with OMFs or different facilities without your usual plugins, what procedures do you take?&#xD;&#xA;&#xD;&#xA;Just trying to gather ideas on how to work on design and mixing of some short films that I will need to transfer between systems and what things people do.&#xD;&#xA;&#xD;&#xA;Do you wait until the final mix to add effects or do you burn them in, in the hope you won't be asked to change the reverb or such?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15855" PostHistoryTypeId="1" PostId="9559" RevisionGUID="b05e1437-6ba9-4036-8a63-4f3ec6bd204d" CreationDate="2011-08-11T06:24:24.520" UserId="479" Text="Transferring work between DAWs" ContentLicense="CC BY-SA 3.0" />
  <row Id="15856" PostHistoryTypeId="3" PostId="9559" RevisionGUID="b05e1437-6ba9-4036-8a63-4f3ec6bd204d" CreationDate="2011-08-11T06:24:24.520" UserId="479" Text="&lt;omf&gt;&lt;transfer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15857" PostHistoryTypeId="2" PostId="9560" RevisionGUID="f54c8cd6-661c-4795-a6a9-7850a6721642" CreationDate="2011-08-11T06:43:56.500" UserId="348" Text="I posted a similar question a while ago and got some pretty interesting answers:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/8324/who-uses-earphones-in-the-professional-arena-of-music-and-film&#xD;&#xA;&#xD;&#xA;I would not recommend earplugs in the pro arena as the sound does not &quot;breath&quot; unlike the open headphones. Sound needs to breath, thus lessening audio fatigue and ear damage. I also find plugs to be uncomfortable after a while. Not great if you are on set for 12 hours. &#xD;&#xA;&#xD;&#xA;Check out the responses I got, very perceptive. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15858" PostHistoryTypeId="2" PostId="9561" RevisionGUID="5635985c-d1d1-4d79-afa3-53c4ff6e0f91" CreationDate="2011-08-11T06:51:45.313" UserId="348" Text="This is a question that has come up a few times on SSD. I had a terrible experience/reality check when I was working on Nuendo 4 and then tried to transfer the OMF's from the Nuendo on to Protools 8. Protools would not read the OMF. We didn't have the Proconverter plug-in so we had to start from scratch. &#xD;&#xA;&#xD;&#xA;Check out the answers I got from this link:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/9135/protools-logic-compatability&#xD;&#xA;&#xD;&#xA;It seems that transferring work between DAW's can be problematic unless you have a conversion program available to you. &#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="15859" PostHistoryTypeId="2" PostId="9562" RevisionGUID="dd917806-734a-4d3b-9e96-88eafdc23228" CreationDate="2011-08-11T07:02:34.917" UserId="1284" Text="I run between three different systems just about every day, each has different plugins and versions of Pro Tools.  Here are a few ideas from my own experiences.&#xD;&#xA;&#xD;&#xA;1) Buy extra plugins for another system. Too expensive, I wouldn't bother.&#xD;&#xA;&#xD;&#xA;2) If you want to keep your effects you can export them(individually) from your Primary DAW and they will retain the effects from the plugins. Then move them to the new system. This also helps to build your own library.&#xD;&#xA;&#xD;&#xA;3) Internal Laybacks for each track and export. You'll have your dialog, music, and effects on separate tracks, but editing them in great detail will be rather difficult.&#xD;&#xA;&#xD;&#xA;4) This will sound insane, but it works. Use only the basic plugins that each system has. Just about every sound designer I know would probably shoot me if they read that.&#xD;&#xA;&#xD;&#xA;5) Do as much as you can from one system. If you have multiple individuals working on separate computers I would delegate a specific job to each one. Dialog for John Doe, Sound Effects for George, music for Yoda and final mix for the man with all the plugins.  This keeps you from having to worry about which Mac/PC has the right plugins as they would bounce out their own track.&#xD;&#xA;&#xD;&#xA;Hope that was some help, bedtime.&#xD;&#xA;&#xD;&#xA;CA" ContentLicense="CC BY-SA 3.0" />
  <row Id="15860" PostHistoryTypeId="2" PostId="9563" RevisionGUID="559f1ff4-3e8b-4f68-82e7-f570dbb05b6e" CreationDate="2011-08-11T08:31:10.380" UserId="587" Text="On a professional set, in a studio or on location, the main job of the production audio - solo or team - is to capture the highest quality dialog that they possibly can in every situation they possibly can.&#xD;&#xA;&#xD;&#xA;So besides dialog, what are the other things you make sure to record for each scene, location, angle and any other scenario that the job brings?&#xD;&#xA;&#xD;&#xA;I know of a few: wild lines, backgrounds and/or room tone, and possible sound effects native to the location.&#xD;&#xA;&#xD;&#xA;What is your protocol on extra material to give the post production team? Do you record it the same way, with the shotgun you use for dialog? Or do you have a separate kit for non-dialog location recording that you bring with you?&#xD;&#xA;&#xD;&#xA;How often do you take audio notes? Beyond writing down apparent problems like planes, traffic, etc... do you have anything that you always make sure to write down that helps the post team? (Excluding the occasional file naming convention)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="15861" PostHistoryTypeId="1" PostId="9563" RevisionGUID="559f1ff4-3e8b-4f68-82e7-f570dbb05b6e" CreationDate="2011-08-11T08:31:10.380" UserId="587" Text="Production Audio Check List" ContentLicense="CC BY-SA 3.0" />
  <row Id="15862" PostHistoryTypeId="3" PostId="9563" RevisionGUID="559f1ff4-3e8b-4f68-82e7-f570dbb05b6e" CreationDate="2011-08-11T08:31:10.380" UserId="587" Text="&lt;production-audio&gt;&lt;techniques&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15863" PostHistoryTypeId="2" PostId="9564" RevisionGUID="617d32dd-6071-4854-9b08-a27975ef858c" CreationDate="2011-08-11T09:52:03.177" UserDisplayName="user80" Text="Capture the impulse response from different locations within the space, vary the mic and the loudspeaker position.  There is no single IR for any room.&#xD;&#xA;&#xD;&#xA;I like placing the mic and speaker in different corners as well as in the middle of the room away from all the surfaces.&#xD;&#xA;&#xD;&#xA;Try and borrow 2 really tall lighting stands so that you can vary the positions as much as possible, such as loudspeaker reflecting off floor and mic in air and vice versa.&#xD;&#xA;&#xD;&#xA;You can have a lot of fun, and you will have plenty of options to play around with once you import the files into the convolution reverb." ContentLicense="CC BY-SA 3.0" />
  <row Id="15864" PostHistoryTypeId="2" PostId="9565" RevisionGUID="3b1df8b2-782c-4bd2-aae0-20352cd09f10" CreationDate="2011-08-11T10:04:24.370" UserId="261" Text="Hey!&#xD;&#xA;If you do happen to do some IRs in that building, would you mind selling the IRs ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15865" PostHistoryTypeId="2" PostId="9566" RevisionGUID="34512549-783a-43ad-9f0f-360fedd173d2" CreationDate="2011-08-11T10:07:09.193" UserId="1245" Text="One of the things that makes game audio so exciting (and challenging) is that it changes every single day and what cut it yesterday probably won’t tomorrow. Staying current on technology and techniques is absolutely imperative when it comes to keeping your game’s quality bar high.&#xD;&#xA;&#xD;&#xA;That being said, I think it is incredibly important for game audio professionals to play games. Just as musicians listen to other peoples music, and film sound designers watch other peoples movies, we too should be playing and building on each other’s work.&#xD;&#xA; &#xD;&#xA;Watching videos of games on Youtube can help, but you will lose so much in the translation. Our ultimate job as game sound designers is to not only create high quality audio content, but to implement it in a way that provides the player with meaningful feedback to their actions in game. Masterfully executed game audio cannot be fully experienced without the controller in your hands, and every year more and more studios are putting out awesome audio work that deserves to be played.&#xD;&#xA;&#xD;&#xA;**TLDR: Yes.**&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15866" PostHistoryTypeId="2" PostId="9567" RevisionGUID="546aa5aa-9cdf-4b4e-b520-610215cc6c3a" CreationDate="2011-08-11T12:02:26.910" UserDisplayName="user80" Text="We have a couple of the Digidesign 192s which are rock solid.  To date (5 years) we have never had a single problem with them.  We have a Digidesign Mic Pre on the front end." ContentLicense="CC BY-SA 3.0" />
  <row Id="15867" PostHistoryTypeId="2" PostId="9568" RevisionGUID="8c1bd431-ba6f-40c9-b3c3-c21ce4419850" CreationDate="2011-08-11T12:50:59.250" UserId="1056" Text="Sony NR is good and I have used it on a regular basis since 2001.  It is actually particularly effective for the type of broadband noise your are wanting to remove but, as with any plug-ins of a similar nature, it works best when used in multiple passes of smaller increments (8-10dB) rather than trying  to remove all the noise at once. Also, ensure that you are using Mode 2 or 3, as these are the most transparent. Personally, I use Mode 2 the most, as it provides a reasonable degree of noise reduction while still providing a natural result.&#xD;&#xA;&#xD;&#xA;Having said that, personally I believe RX provides better results, particularly when dealing with more complex material. Once again, best results are to be had using multiple passes and smaller increments. Algorithm D in Advanced mode can give you fantastic results, but is very processor intensive and can take some time to run (Very relevant if you are on a tight deadline!).&#xD;&#xA;&#xD;&#xA;I have used Waves X-Noise on occasion and, while it does sound quite natural, it has a tendency to &quot;suck the air out of a recording&quot; often leaving it sounding dull and lifeless. I believe this has something to do with the way their algorithm works with harmonics.&#xD;&#xA;&#xD;&#xA;Another important factor to bear in mind is that all of the above are sold as bundles, so you don't only get a broadband noise reduction plug-in, but also clip, click, crackle, impulse, spectral, band, harmonic, etc, depending on the bundle you choose. Now, just because one plug-in in a bundle is great, it doesn't automatically mean that the rest will be too. So, if you are planning to get just one, try to get the one that will suit your requirements best.&#xD;&#xA;&#xD;&#xA;I am a huge iZotope supporter and usually turn to their products first, both for NR (RX) and mastering (Ozone).  However, for click and crackle removal I usually find Sony NR to be more effective and, for hum removal, Waves X-Hum. Obviously finances don't always allow but, if possible, it is very helpful to have to or three options at your disposal - much in the same way that a studio wouldn't only have one mic to record everything. Every once in a while I find that my plug-in of choice is just not providing the desired results and, under those specific circumstances, I am often able to obtain better results a competitor's plug-in. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15868" PostHistoryTypeId="2" PostId="9569" RevisionGUID="06334640-6041-4db0-ae92-a253f3b8b794" CreationDate="2011-08-11T15:19:26.063" UserId="418" Text="A brand new chunk of astroturf works well for getting real footsteps with bare feet, flip flops etc. That would be my first choice. There will probably be more high-end than necessary, but it's easy to EQ/muffle later. If you put it on top of something dense, like a thick piece of rubber it will be closer out of the gate.&#xD;&#xA;&#xD;&#xA;A closely mic'd tub of brown sugar might work in a pinch too." ContentLicense="CC BY-SA 3.0" />
  <row Id="15869" PostHistoryTypeId="2" PostId="9570" RevisionGUID="d43007e7-ee1a-4dbf-b9b1-76a56147c1fc" CreationDate="2011-08-11T15:23:14.680" UserId="418" Text="Angelo Badalamenti's use of pure, stark silence during a tightening shot, or even during a seemingly mundane shot, is extremely powerful. It's a silence that you can hear, as if it creates a tangible vacuum of sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15870" PostHistoryTypeId="2" PostId="9571" RevisionGUID="e4fa163e-ae5d-4401-aef6-94d3a4e48575" CreationDate="2011-08-11T16:09:22.797" UserId="999" Text="The other few that you mention there would be my first port of call for extras - wild tracks, backgrounds etc all really useful.&#xD;&#xA;&#xD;&#xA;I'd try and get all my room tones backgrounds with a different mic to my shotgun-its my preference to have atmosphere tracks stereo- so i'd record ambience/room tone with a matched pair of mics or a stereo mic, sometimes on a stand and i'll leave it there recording for a while when the rest of the cast/crew have gone.&#xD;&#xA;&#xD;&#xA;But i try to get just good sound from the offset- i think its enough to have good dialogue, atmos and spots and wouldn't want to give the post team ridiculous amounts of files to wade through.&#xD;&#xA;&#xD;&#xA;Audio notes i'd take (obviously all files are slated) first- I always write down problems, as well as mics/recording equipment used for my own records.&#xD;&#xA;&#xD;&#xA;Hope thats some help :)&#xD;&#xA;&#xD;&#xA;Kyle" ContentLicense="CC BY-SA 3.0" />
  <row Id="15871" PostHistoryTypeId="5" PostId="9522" RevisionGUID="c9458d73-e07f-4b4d-a9e9-64a53cd08c4b" CreationDate="2011-08-11T17:50:58.090" UserId="61" Comment="added 1 characters in body" Text="(borrowing some content from [my previous post][1]……)&#xD;&#xA;&#xD;&#xA;Political unrest and riots are somewhat rare - that's why it's important to record and preserve them. Although they can be violent and unnerving, finding a way to safely record an event like this is important, so long as it can be done without putting yourself in harm's way (at least not too much).&#xD;&#xA;&#xD;&#xA;Do we have any SSDers in the UK that are willing to take a risk and capture some amazing events?&#xD;&#xA;&#xD;&#xA;*PS. I have to say that I've really enjoyed seeing this conversation evolve into such an intelligent collection of thoughts on a very sensitive topic.*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/5822/recording-the-upheaval-in-the-middle-east" ContentLicense="CC BY-SA 3.0" />
  <row Id="15872" PostHistoryTypeId="2" PostId="9572" RevisionGUID="95ac539b-847e-4edf-a727-6d24880e5786" CreationDate="2011-08-11T19:27:47.120" UserId="253" Text="The number 1 thing i want from a location recordist (apart from good, clean dialogue coverage, of course) is room tone. It's very important that you record this with exactly the same mic set up that you've been using to record the dialogue, and the same mic positions too. A slight change of angle can alter the character of the sound, so try to keep things as close to the original angles as possible. Also, nothing wrecks a fill track like crew who think that &quot;quiet on set&quot; means &quot;slowly set up for the next shot&quot;.&#xD;&#xA;&#xD;&#xA;Also, wild takes of anything that seems unique to the shoot come in useful. If it's a low budget production, try to get wilds of any vehicles that may be involved. Talk to your sound designer beforehand, and see if he/she has a wish list, or any requests for you.&#xD;&#xA;&#xD;&#xA;And finally, one of my bigger pet peeves: if you're recording wild lines, make sure it's done right. In the past, i've received utterly useless wild lines, where the actor is just reading off the script, and the mic is right in their face. If you're recording wild lines, make sure the actor is still performing, and keep the mic at a reasonable distance. Otherwise, you may as well not record them at all." ContentLicense="CC BY-SA 3.0" />
  <row Id="15873" PostHistoryTypeId="2" PostId="9573" RevisionGUID="d279cbc8-ed0b-4fde-94de-db8b15a22cdd" CreationDate="2011-08-11T19:47:37.820" UserId="220" Text="Having been on both sides (sometimes on the same project) of production and post, here's what I like to see:&#xD;&#xA;&#xD;&#xA; - Of course good clean dialog.  If good clean dialog cannot be had, then good clean wild lines taken immediately after the setup is finished.  Take this with the same mic you have been using - shotgun, hypercardoid, lavs, etc - so the tone can be matched a little easier, and with the same placement.  &#xD;&#xA;&#xD;&#xA; - Room tone. Taken with the same mics used during shooting, for the same reasons as above.&#xD;&#xA;&#xD;&#xA; - Good notes.  Usually the sheets with scene, take, use?, file name, channel 1 - X (list what is on it like Paul's lav, boom, etc), and a small notes section.  If you have more to say, say it at the end of the take with the slate mic.&#xD;&#xA;&#xD;&#xA; - I DO like to have SFX, foley, and anything else extra recorded on set or during the production at some time.  Again, these would be with the appropriate mics for the location.  Ideally, I could cut those in with the production audio and have minimal matching to do.  I WOULD NOT do this unless your post person requests it and gives you a detailed list, otherwise you may be wasting your time.  If I have a chance, I give my production mixer a wish list of SFX, ambiances, etc that I'd like gathered and indicate whether it's important or not (if you can, great, if not, don't go out of your way). &#xD;&#xA;&#xD;&#xA;That's really about it.  You're going to have a tough enough time getting good, clean dialog without burdening yourself with things like convolution reverbs and fancy setups for ambiance - use the mic you've already got on hand and do as much during your working day as you can without having to do anything afterwards.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="15874" PostHistoryTypeId="2" PostId="9574" RevisionGUID="f9dd66d7-0d69-4f29-b066-9956ea2103b1" CreationDate="2011-08-11T20:17:34.107" UserId="194" Text="Best sound rolls I ever got came from Teddy Haleron at [FJH Studios][1] in Houston for the film [All She Can][2] (formerly Benavides Born)&#xD;&#xA;&#xD;&#xA;I've never met him, but the stuff they turned in was so good I had to look him up and let him know how much I appreciated it.&#xD;&#xA;&#xD;&#xA; - everything was slated and file named appropriately.  Some things were tail slated but nothing went undocumented verbally.&#xD;&#xA;&#xD;&#xA; - Room tones and ambiances in almost all locations (in mono)&#xD;&#xA;&#xD;&#xA; - excellent mic placement and gain staging throughout&#xD;&#xA;&#xD;&#xA;Those three points are king of the world.  get some great walla sound but mess up the gain staging or placement and you're hurting, not helping.  Those three points get messed up constantly.  Some guys really know how to find new and interesting ways to ruin mic placment, gain staging and documentation.  The ability to deliver on those three points is not a given, though it should be and those three points are difficult enough to do well consistently, so focus there above all else and at the expense of all else.&#xD;&#xA;&#xD;&#xA;Once those three are completely nailed down to the floor then go for the extra credit.  Here's what the Houston guys delivered in addition to getting the fundamentals just right:&#xD;&#xA;&#xD;&#xA; - some wild lines were picked up where appropriate&#xD;&#xA;&#xD;&#xA; - a few specialty recorded sounds (weightlifting flick, and he covered the weights pretty well on set)&#xD;&#xA;&#xD;&#xA; - they had the prescience to catch a wild track of a classroom of kids standing up and walking out of the room a few times after the shot depicting this movement wrapped.  gold!&#xD;&#xA;&#xD;&#xA;I'll reiterate though that the fundamentals are king in my opinion.  Get those right and we can deal with the rest in post.  :)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fjhstudios.com/&#xD;&#xA;  [2]: http://www.imdb.com/title/tt1629762/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15875" PostHistoryTypeId="2" PostId="9575" RevisionGUID="f0b41c5d-cb6d-4e0c-9652-0925b82c3f01" CreationDate="2011-08-11T21:28:26.193" UserId="1250" Text="Looking at designing some effective reverb in SuperCollider, wondering is anyone can point me in the direction of some good resources for algorithms?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15876" PostHistoryTypeId="1" PostId="9575" RevisionGUID="f0b41c5d-cb6d-4e0c-9652-0925b82c3f01" CreationDate="2011-08-11T21:28:26.193" UserId="1250" Text="Reverb Algoritms" ContentLicense="CC BY-SA 3.0" />
  <row Id="15877" PostHistoryTypeId="3" PostId="9575" RevisionGUID="f0b41c5d-cb6d-4e0c-9652-0925b82c3f01" CreationDate="2011-08-11T21:28:26.193" UserId="1250" Text="&lt;reverb&gt;&lt;algorithmic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15878" PostHistoryTypeId="2" PostId="9576" RevisionGUID="67f72dc4-ae9c-4cd0-b058-d9a307e20e99" CreationDate="2011-08-11T22:02:15.747" UserId="6604" Text="Hi, Can you please layout the tools/software taught in the VFS sound design program, the people, the learning experience and what kind of projects do you work on? Do they provide a recorder or a laptop? and job prospect issues? Does the college help in getting job? How easy/difficult is it to get a job right out of college? With a heft education loan, getting a job is a big priority.." ContentLicense="CC BY-SA 3.0" />
  <row Id="15879" PostHistoryTypeId="5" PostId="2395" RevisionGUID="1c03de4c-0e4d-482c-921d-27fe1583423a" CreationDate="2011-08-11T22:15:08.843" UserId="61" Comment="deleted 25 characters in body" Text="I graduated from [Berklee College of Music][1] with a degree in Music Production &amp; Engineering. It's only gotten better since I was there, and I highly recommend it.&#xD;&#xA;&#xD;&#xA;Berklee also has a comprehensive curriculum available online.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.berklee.edu/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15880" PostHistoryTypeId="2" PostId="9577" RevisionGUID="d04877a5-9132-46db-829b-6b6e4c87fecf" CreationDate="2011-08-11T23:37:34.260" UserId="1228" Text="Savannah College of Art &amp; Design is another place to check out.  It's sound department has been developing as a strong contender.  The Sound Department is led by David Stone, and Peter Damski is a professor of production sound, amongst other excellent sound professionals.&#xD;&#xA;&#xD;&#xA;[http://www.scad.edu/sound-design/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.scad.edu/sound-design/&#xD;&#xA;&#xD;&#xA;May be a place to consider along with other options.  I had a great experience, although I learned two things from being the education environment: 'you get out of it what you put into it', and 'use everything they have' - many schools are endowed with some great gear and software that real-life work environments may not have all the time.&#xD;&#xA;&#xD;&#xA;All of the above listed schools are equally fair choices too, I run into and collaborated with a lot of wonderful sound professionals around town who are alumni from these places, especially Full Sail and Berklee." ContentLicense="CC BY-SA 3.0" />
  <row Id="15881" PostHistoryTypeId="2" PostId="9578" RevisionGUID="29025520-55c0-4c84-b985-e8f2bd0787cf" CreationDate="2011-08-12T00:05:11.977" UserId="1241" Text="[Stephan Shutze's][1] sound library probably has some of what you want, I think. He's recorded sounds from a variety of planes, each in a sizable number of different states. The [Artificial Sounds][2] section of his sound library lists them, just look filenames beginning with 'AIRCRAFT,' 'AIRPLANE' and 'AIROPLANE' (Spelling is not his strongest point).&#xD;&#xA;&#xD;&#xA;He does charge money, so if you're adverse to paying you might need to look elsewhere.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.stephanschutze.com/&#xD;&#xA;  [2]: http://www.stephanschutze.com/artificial.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15882" PostHistoryTypeId="2" PostId="9579" RevisionGUID="6e612ea4-3742-47ab-9ff8-a26a498b0466" CreationDate="2011-08-12T00:45:45.510" UserId="61" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I'm seeking recordings of Olympic-style downhill skiing. Everything from start &amp; aways, passbys (slow/med/fast) and in &amp; stops. Also, jump impacts.&#xD;&#xA;&#xD;&#xA;Anyone have material like this? Willing to barter/trade/beg &amp; steal." ContentLicense="CC BY-SA 3.0" />
  <row Id="15883" PostHistoryTypeId="1" PostId="9579" RevisionGUID="6e612ea4-3742-47ab-9ff8-a26a498b0466" CreationDate="2011-08-12T00:45:45.510" UserId="61" Text="REQUEST: Downhill ski recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="15884" PostHistoryTypeId="3" PostId="9579" RevisionGUID="6e612ea4-3742-47ab-9ff8-a26a498b0466" CreationDate="2011-08-12T00:45:45.510" UserId="61" Text="&lt;request&gt;&lt;snow&gt;&lt;recording&gt;&lt;sport&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15885" PostHistoryTypeId="2" PostId="9580" RevisionGUID="826fbdf0-54e5-4ea2-8248-4e18ff02c256" CreationDate="2011-08-12T01:03:11.173" UserId="6604" Text="What is audio programming?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15886" PostHistoryTypeId="2" PostId="9581" RevisionGUID="f3e9db62-3d5c-49cc-bcd8-3d5e0ce6ccbb" CreationDate="2011-08-12T01:12:18.470" UserId="6604" Text="i used a gorilla roar with some equing...in my Ice age 3 trailer project.. cause it was just a few secs long&#xD;&#xA;http://www.youtube.com/watch?v=SMlASS4NyGk" ContentLicense="CC BY-SA 3.0" />
  <row Id="15887" PostHistoryTypeId="2" PostId="9582" RevisionGUID="56223c23-148f-4b5f-a272-7425026c8cbb" CreationDate="2011-08-12T01:18:09.243" UserId="1266" Text="Tension has no sound and is not a sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="15888" PostHistoryTypeId="2" PostId="9583" RevisionGUID="a74fab61-457f-4187-b82b-63625e301a7f" CreationDate="2011-08-12T01:20:24.610" UserId="1266" Text="Recordings of maggots in a box of crap might be a good start for the swallowing&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15889" PostHistoryTypeId="2" PostId="9584" RevisionGUID="0b7b3c05-c967-492c-826e-647a9cb3dda8" CreationDate="2011-08-12T01:24:58.910" UserId="6604" Text="Hi &#xD;&#xA;I chanced upon this awesome forum while looking for answers whether to burden myself with a debt and attend VFS or not....i got some pretty good answers to it and many other topics.. so thanks to you all...&#xD;&#xA;&#xD;&#xA;Here in india, sound designers and film audio people are mostly from the prestigious FTII film school and a monopoly of them. Game audio is just catching up.&#xD;&#xA;&#xD;&#xA;I wanna improve my work and build a new demo reel. This one below is right out of SAE and been 1.5yrs since. Now im working in the industry in Mumbai, India, but as a dubbing and mixing engg and not as a sound designer. So im putting up my old work for review and also starting new work at home to sharpen my skills. Im fluent with Protools 8 HD and Nuendo4 (though using only protools at work)&#xD;&#xA;&#xD;&#xA;Please listen to my work and comment. Also where can i find free videos to sound design for? Im starting to learn Fmod &amp; Ableton live on my own and expeerimenting with Reason.&#xD;&#xA;&#xD;&#xA;1. Demo reel from college&#xD;&#xA;[youtube]SMlASS4NyGk[/youtube]&#xD;&#xA;&#xD;&#xA;2. 1st Attempt at sound sythesis. Done last month.&#xD;&#xA;&#xD;&#xA;[soundcloud]riggy-de/sets/1st-sound-synthesis-attempt[/soundcloud]&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="15890" PostHistoryTypeId="1" PostId="9584" RevisionGUID="0b7b3c05-c967-492c-826e-647a9cb3dda8" CreationDate="2011-08-12T01:24:58.910" UserId="6604" Text="Can you please review my work?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15891" PostHistoryTypeId="3" PostId="9584" RevisionGUID="0b7b3c05-c967-492c-826e-647a9cb3dda8" CreationDate="2011-08-12T01:24:58.910" UserId="6604" Text="&lt;sound-design&gt;&lt;demo-reel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15892" PostHistoryTypeId="2" PostId="9585" RevisionGUID="e6b79b65-5458-43fb-87a3-13bbbf8484c9" CreationDate="2011-08-12T02:05:55.677" UserId="1004" Text="@Rig I didn't go to VFS, but I've wanted to for a long time. I've researched the school quite a bit and spoken to a handful of people who have graduated from the program. You'll mainly be working with Pro Tools and then some FMOD stuff when you start learning about game sound. You don't get a laptop, but you do receive an H2 recorder, and access to Icon consoles and Sound Devices recorders which is pretty awesome. As far as I can tell it's a pretty decent program but far too expensive and less than half of the people I've spoken to who went there have jobs in the industry. It's different for everyone though. As much as I've wanted to go, I just can't justify spending $50,000 for a year of school. Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="15893" PostHistoryTypeId="2" PostId="9586" RevisionGUID="739da6ce-6ffc-4048-a986-30ff54ed7033" CreationDate="2011-08-12T02:16:47.180" UserId="61" Text="Perhaps you could lean on some of the evolutionary theories regarding dinosaurs being predecessors to modern-day birds? Work with hawk screeches, falcons, crows, ravens, vultures, all manner of raptors, etc? There are also alligators and crocodiles to examine, seeing as how they seem to have remained pretty much the same since prehistory. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15894" PostHistoryTypeId="5" PostId="9579" RevisionGUID="c31256b1-c8ff-486b-91e5-4a7c83b3f443" CreationDate="2011-08-12T02:21:53.437" UserId="61" Comment="added 2 characters in body" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I'm seeking recordings of Olympic-style downhill skiing. Everything from start &amp; aways, passbys (slow/med/fast) and in &amp; stops. Also, jump impacts.&#xD;&#xA;&#xD;&#xA;Anyone have material like this? Willing to barter/trade/beg and steal." ContentLicense="CC BY-SA 3.0" />
  <row Id="15895" PostHistoryTypeId="2" PostId="9587" RevisionGUID="2b8be8fa-4f14-4179-a8c9-30a686bff3ba" CreationDate="2011-08-12T07:32:28.057" UserId="1228" Text="This may sound odd, but &quot;Crazy, Stupid, Love&quot; offers a unique perspective on sound, primarily a less-is-more, deceptively complex minimalism.  All about the use of negative space and how the soundscape evolves with the story.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It's also a good indicator as to what to be careful of as well because some sound effects were out of sync (out enough that I'm curious how it passed QC).&#xD;&#xA;&#xD;&#xA;Here's a link to a writeup I did on it: http://www.stavrosound.com/blog/wordpress/2011/08/in-review-the-sound-of-crazy-stupid-love/[link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.stavrosound.com/blog/wordpress/2011/08/in-review-the-sound-of-crazy-stupid-love/&#xD;&#xA;&#xD;&#xA;A Good Warning Though: The story can become so gravitating that it may take a second-viewing - the film unglued my analytical mind on the first viewing so I had to go back and see it again.&#xD;&#xA;&#xD;&#xA;Good film to check out though for totally different reasons than some its bigger blockbuster brothers and sisters." ContentLicense="CC BY-SA 3.0" />
  <row Id="15896" PostHistoryTypeId="16" PostId="9587" RevisionGUID="2b8be8fa-4f14-4179-a8c9-30a686bff3ba" CreationDate="2011-08-12T07:32:28.057" UserId="-1" />
  <row Id="15899" PostHistoryTypeId="2" PostId="9589" RevisionGUID="1387cecd-e240-4538-a3ab-16a037c2f4b2" CreationDate="2011-08-12T09:08:12.243" UserId="1228" Text="I spend too much time hah, but I'm a sucker for proper formatting, metadata and ensuring that each asset in Soundminer matches each file on my drive so there's no missing or double-catalogued files (e.g. if theres 120,150 files in the Soundminer database, the FX drive itself had better match exactly 120,150 files).&#xD;&#xA;&#xD;&#xA;My thought is that each file that is not accounted for or not easily accessible, I am only hurting myself when there is a show to work on.&#xD;&#xA;&#xD;&#xA;The amount of time fluctuates though.  When there's a show, 0% is spent on management, but when no show is in, it's more like 75% - that can change though depending on how much time I spend recording too. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15900" PostHistoryTypeId="2" PostId="9590" RevisionGUID="8be29dfd-4ad7-47f8-9152-955836bfd68f" CreationDate="2011-08-12T11:37:09.880" UserId="432" Text="I have a bunch of skiing and snowboarding pass-bys (slightly varying speeds, over an ice patch) recorded with a Sony PCM-D50, but I haven't had time to edit them down from the raws yet. There might also be some jump landings in there, I can't remember at the moment.&#xD;&#xA;&#xD;&#xA;I'll investigate when I get home tonight." ContentLicense="CC BY-SA 3.0" />
  <row Id="15901" PostHistoryTypeId="2" PostId="9591" RevisionGUID="b8f9723f-b004-40b9-a24e-95fe4813f085" CreationDate="2011-08-12T12:08:38.637" UserId="407" Text="I'm no expert on this so hopefully someone here can add to this - but when you get into the realm of games for mobile, middleware is available to use depends what is the target platform, e.g. if the game is for iOS only then the options are much great, than creating games for Symbian, Android or Windows. Creating multi-platform phone games is a pain as there are just so many different specs. Open AL is a quite common solution for phone audio, as it can be modified easily for each platform - but this is an SDK rather than a sound designer tool, so any tools will need to be programmed on top of it.&#xD;&#xA;&#xD;&#xA;There is a general lack of information on developing audio for handheld devices, however things like Wwise or FMOD will work pretty much the same on iOS as they do for consoles, but what is actually available to use will be based on what the developer makes available to use e.g. DSP's, parameters etc. and this will be more limited than for console titles.&#xD;&#xA;&#xD;&#xA;As @Shaun Farley says the developer or publisher should pick up the bill for the middleware, and for consoles at least you buy the license per title, then there are addition costs per platform. There are blanket licences for some middleware but the only time I've come across then is when working for big publishers, however it may be possible to do for individuals too." ContentLicense="CC BY-SA 3.0" />
  <row Id="15902" PostHistoryTypeId="5" PostId="9591" RevisionGUID="0763e9d8-7d0a-4a3a-bbbb-3f3bc6c467ac" CreationDate="2011-08-12T12:31:40.283" UserId="407" Comment="deleted 7 characters in body" Text="I'm no expert, so hopefully someone here can add to this - but when you get into the realm of games for mobile, middleware is available to use depends what is the target platform, e.g. if the game is for iOS only then the options are much great, than creating games for Symbian, Android or Windows. Creating multi-platform phone games is a pain as there are just so many different specs. Open AL is a quite common solution for phone audio, as it can be modified easily for each platform - but this is an SDK rather than a sound designer tool, so any tools will need to be programmed on top of it.&#xD;&#xA;&#xD;&#xA;There is a general lack of information on developing audio for handheld devices, however things like Wwise or FMOD will work pretty much the same on iOS as they do for consoles, but what is actually available to use will be based on what the developer makes available to use e.g. DSP's, parameters etc. and this will be more limited than for console titles.&#xD;&#xA;&#xD;&#xA;As @Shaun Farley says the developer or publisher should pick up the bill for the middleware, and for consoles at least you buy the license per title, then there are addition costs per platform. There are blanket licences for some middleware but the only time I've come across then is when working for big publishers, however it may be possible to do for individuals too." ContentLicense="CC BY-SA 3.0" />
  <row Id="15903" PostHistoryTypeId="5" PostId="9572" RevisionGUID="23f44651-73ff-4a24-9129-23623f5b83c1" CreationDate="2011-08-12T12:49:41.997" UserId="253" Comment="deleted 1 characters in body" Text="The number 1 thing i want from a location recordist (apart from good, clean dialogue coverage, of course) is room tone. It's very important that you record this with exactly the same mic set up that you've been using to record the dialogue, and the same mic positions too. A slight change of angle can alter the character of the sound, so try to keep things as close to the original angles as possible. Also, nothing wrecks a fill track like crew who think that &quot;quiet on set&quot; means &quot;slowly set up for the next shot&quot;.&#xD;&#xA;&#xD;&#xA;Also, wild takes of anything that seems unique to the shoot come in handy. If it's a low budget production, try to get wilds of any vehicles that may be involved. Talk to your sound designer beforehand, and see if he/she has a wish list, or any requests for you.&#xD;&#xA;&#xD;&#xA;And finally, one of my bigger pet peeves: if you're recording wild lines, make sure it's done right. In the past, i've received utterly useless wild lines, where the actor is just reading off the script, and the mic is right in their face. If you're recording wild lines, make sure the actor is still performing, and keep the mic at a reasonable distance. Otherwise, you may as well not record them at all." ContentLicense="CC BY-SA 3.0" />
  <row Id="15904" PostHistoryTypeId="2" PostId="9592" RevisionGUID="5e2fc7d7-5e72-46af-9980-11bc9de60718" CreationDate="2011-08-12T14:05:54.747" UserId="29" Text="For pure filtering mayhem, what are people grooving on these days? Is there anything approaching, or surpassing, devices like the Sherman Filterbank for extreme filter-based processing? There are a lot of choices but few seem really good at signal routing. &#xD;&#xA;&#xD;&#xA;*[It's OK to suggest apps or plug-ins that have great filtering functions, such as Absynth]*&#xD;&#xA;&#xD;&#xA;*Sigh*, I'm even starting to miss the filters in my ancient E-Mu E5000 hardware sampler, even those were more expressive than many software filters today... :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15905" PostHistoryTypeId="1" PostId="9592" RevisionGUID="5e2fc7d7-5e72-46af-9980-11bc9de60718" CreationDate="2011-08-12T14:05:54.747" UserId="29" Text="What's the wackiest software filter out there?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15906" PostHistoryTypeId="3" PostId="9592" RevisionGUID="5e2fc7d7-5e72-46af-9980-11bc9de60718" CreationDate="2011-08-12T14:05:54.747" UserId="29" Text="&lt;plug-ins&gt;&lt;filter&gt;&lt;effects&gt;&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15907" PostHistoryTypeId="2" PostId="9593" RevisionGUID="eb5198ee-ab47-4a0e-99d3-8784b20a5a43" CreationDate="2011-08-12T14:26:37.300" UserId="6524" Text="Hey guys, I'm going to be leaving for film school later this year and before I leave I was thinking of what would be the most essential things I would NEED to work on my school projects and other stuff in the future, I want to save some money and stuff and not just go with greed and have to regret after. I was thinking either:&#xD;&#xA;&#xD;&#xA;1:) A brand new **Macbook Pro** to use as a &quot;work&quot; computer and get PT a little later (Cause my current laptop is getting a little old and with windows, its hard to stay away from installing games and stuff).&#xD;&#xA;&#xD;&#xA;2.) **Pro Tools 9** My brother already has a MBox 2 Pro with PT 7.4 LE which I don't really mind only thing is that he still wants the MBox (tbh I don't want it either). I guess its good cause I'll be able to work without needing to have hardware to run it and I will be able to practice and learn using the latest industry standard software and able to work on some school projects at home.&#xD;&#xA;&#xD;&#xA;3.) Forget everything above and use what I've got and may be spend a little on inexpensive **Plugins** imo this is a stupid point because I know they aren't that important and there are plenty of good freeware but they would come in handy one day..&#xD;&#xA;&#xD;&#xA;(Keep in mind if I can, I'm going to buy this stuff with student discount.)&#xD;&#xA;&#xD;&#xA;I don't know if this is a pointless question, but I thought before I spend a LOT of money, I rather see what you wiser and more experienced guy's would say. My parents have invested a lot for me and the last thing I would want to do is break the bank and spend too much of their money, thanks in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="15908" PostHistoryTypeId="1" PostId="9593" RevisionGUID="eb5198ee-ab47-4a0e-99d3-8784b20a5a43" CreationDate="2011-08-12T14:26:37.300" UserId="6524" Text="Pre-Film School Preparation" ContentLicense="CC BY-SA 3.0" />
  <row Id="15909" PostHistoryTypeId="3" PostId="9593" RevisionGUID="eb5198ee-ab47-4a0e-99d3-8784b20a5a43" CreationDate="2011-08-12T14:26:37.300" UserId="6524" Text="&lt;film&gt;&lt;school&gt;&lt;macbook&gt;&lt;pro-tools&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15910" PostHistoryTypeId="2" PostId="9594" RevisionGUID="6c5a5c26-0c28-413e-aa54-551ecec0bf54" CreationDate="2011-08-12T15:32:06.973" UserId="845" Text="It's definitely not a pointless question.&#xD;&#xA;&#xD;&#xA;Here's what I'm taking with me to Edinburgh for my Masters program.&#xD;&#xA;&#xD;&#xA; 1. 2008 MacBook Pro, upgraded to 4-gigs of RAM &#xD;&#xA; 2. H4n handheld recorder &#xD;&#xA; 3. ProTools 9 &#xD;&#xA; 4. M-Box 2 mini&#xD;&#xA; 5. Akai MPK MIDI controller &#xD;&#xA; 6. Lacie Rikki 1TB&#xD;&#xA;    external hard drive&#xD;&#xA;&#xD;&#xA;That's pretty much it.  I've refrained from buying application specific tools like shotgun mics and field mixers because I don't necessarily know what direction I'm going to be heading in when I finish the program, and I don't want to hamstring myself with a bunch of gear that I'll just have to re-sell.  Plus, the school has a bunch of stuff that I'll be able to borrow while I'm there, until I decide quite where I'm at.&#xD;&#xA;&#xD;&#xA;For you, if you're going to film school specifically to do sound, I'd say that PT9 is a must.  There are lots of people who use Nuendo and othersuch, and while they are great tools to know how to use, they just aren't that high up the food chain.&#xD;&#xA;&#xD;&#xA;Now, the MacBook.  Get one, definitely.  They are glorious computing machines.  BUT! Don't be goaded by the pristine Blue shirts and snaggle-toothed Genius grins.  &lt;p&gt;DON'T BUY A NEW MACBOOK.&lt;/p&gt;  Get a re-furbished one from last season or even the year before.  Here's why:&#xD;&#xA;&#xD;&#xA; 1. There is ABSOLUTELY nothing wrong with them.&#xD;&#xA; 2. They're cheaper.  Like a lot.&#xD;&#xA; 3. If it's only a year old, it'll still kick the crap out of what I'm using, and what I'm using is perfectly fine.&#xD;&#xA; 4. You can still buy the Apple-Care protection plan which will cover anything that might might go wrong with it.&#xD;&#xA; 5. Every Macbook that's come out for the last 2 years looks identical, so nobody will know the difference.&#xD;&#xA;&#xD;&#xA;Take the money you save on the refurbished computer and put it in the bank and do not spend it.  You're going to need it for gear, or rent/food, when you finish school.  I've been to both university and audio engineering school, and I can tell you that the first 3-4 months after you finish are really tough.  $300-$400 will go a long way to making it easier.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="15911" PostHistoryTypeId="2" PostId="9595" RevisionGUID="aed827f2-9edb-4a64-b229-4f671aa8f2b8" CreationDate="2011-08-12T16:09:28.320" UserId="1287" Text="I'm very fond of the filter's in Camel Audio's Alchemy, they sound very good, and the modulation in Alchemy is great.&#xD;&#xA;&#xD;&#xA;Sound Toy's Filterfreak is my favourite sounding filter, but I do wish the routing was more configurable.&#xD;&#xA;&#xD;&#xA;Fabfilter volcano is pretty cool, nice modulation, etc..&#xD;&#xA;&#xD;&#xA;Kontakt is great for this as well of course, and the new version coming out next month has 30+ new filters I think?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15912" PostHistoryTypeId="2" PostId="9596" RevisionGUID="9b4727b6-a0be-4043-ba55-8400a9cb1d89" CreationDate="2011-08-12T16:14:13.030" UserId="1287" Text="Once in a while I'll open up Ableton to mess around with the granular engine, which you can get nice a dirty sounding very quickly when abused, but that's about it for.  I find sequencing in Ableton to be really clumsy and awkward.  Most of the time if I use it, it's just to generate a bunch of raw material to throw back into Pro Tools.&#xD;&#xA;&#xD;&#xA;Fantastic tool for live performance, however." ContentLicense="CC BY-SA 3.0" />
  <row Id="15913" PostHistoryTypeId="2" PostId="9597" RevisionGUID="5e0e52f3-19ed-4508-b79f-2e868f7816e6" CreationDate="2011-08-12T16:32:31.697" UserId="315" Text="Sound Toys Filter Freak or GRM Tools Bandpass work great for me. The new Air plugins for ProTools are actually pretty good too, like the Kill EQ etc.." ContentLicense="CC BY-SA 3.0" />
  <row Id="15916" PostHistoryTypeId="2" PostId="9600" RevisionGUID="12c5bafb-e9a7-49f5-9c66-4fae27ef667c" CreationDate="2011-08-12T16:55:05.473" UserId="842" Text="Funny thing...I've done a lot of really unhealthy things to get great and unusual sounds and ambiances over the years, and always came through more or less as unharmed as I was before.&#xD;&#xA;One day though, while out on a fishing trip by boat with a good friend, I found a not very big pasture with cows grazing around, looking mighty intellectual the way only a good cow can.&#xD;&#xA;It's against my very nature to let an opportunity like this pass without a good reason, so I entered through the rocky shoreline, turned on the fieldrecorder, and headed to the critters.&#xD;&#xA;I've done this lots of times before, and knew full well what to expect; At first they gonna look at me with the look of two braincells trying to connect, and then they all gonna surround me in a &quot;circle of cow&quot; with the head cow right in front of me, staring at me preeminently, trying to figure out whether to stomp me to kingdom come, or if I'm a pathetic lifeform not worthy of their stomping time and at no threat of trying to eat them or their offspring.&#xD;&#xA;It always end up after about half a minute with the leading cow (here an Norwegian Telemark-cow, having very long and extremely point horns) sceptically take a few steps towards me, who's just standing there minding my own business, take a sniff at my reached out hand, and figuring I'm not exactly capable of doing anything at all against them. Then lose interest in me completely. So they did this time too.&#xD;&#xA;&#xD;&#xA;Anyway, for some reason, the leading cow (the one with the tremendous pointy horns) stopped at her way back towards the meadow, and turned her head towards me. With a speed I'd NEVER expect from a humongous lummox like this, the goddamn thing turned 180, lowered her horns, and gave out the most wicked bellow I've ever heard. With me running like a gazelle scared xxxxless back to the shore it went forward in full attack-mode.&#xD;&#xA;One's not too cocky when a 500Kg pissed-off hamburger wanna turn you into a barbecue skewer while you're standing on a not very big stone in a lake, trying to neighter fall in the fieldrecorder-killing water nor become the new horn-decoration for a (possibly) man-eating cattle...&#xD;&#xA;To make things even more interesting, it was a BIG lake, and the boat was a slow one with an electric motor barely able to outrun an infant even with full battery. This one wasn't full. And my friend was on the other side of an equally large island in the middle of the lake as not to disturb my recordings...&#xD;&#xA;I whipped out my cellphone and called my friend, yelling (quote) &quot;Get the *beep* over here this *beep*ing instant!!!&quot; (end quote) at the top of my lungs.&#xD;&#xA;After about (read: exactly) 11 minutes 24 seconds from when i pressed the disconnect button, I finally put my first leg back in the boat, ending this nice little (very one-handed) chat between me standing on the not too big boulder two meters from the shore, and the smug looking and noisy bastard, who's been reminding my very convincingly the last nearly 12 minutes who's da boss.&#xD;&#xA;&#xD;&#xA;Somewhere around 20 minutes later I remembered to turn off the Fostex :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15917" PostHistoryTypeId="2" PostId="9601" RevisionGUID="7bb611e1-bd26-4541-95bb-2ee4f44d8bb4" CreationDate="2011-08-12T17:15:38.280" UserId="418" Text="To echo some of the above; depends on the use case. I make the bulk of my living creeating libraries and virtual instruments, some are for video artists, some are for musicians, some are for iOS app developers. All of my source material starts at 24/96. Not for any particular reason, just what I've settled on for consistency. &#xD;&#xA;&#xD;&#xA;Anything I make which is marketed toward musicians is released at 24/44. Not sure why, but that's where that market has settled over the past for years. I remember in the early 2000's when 24/96 hardware was becoming widely available for bedroom musicians, and for a few years people were all over it, then over the past several years the musicians have been sticking to 24/44. Anything I do for video artists goes out at 24/48, or 24/96 if they want it.&#xD;&#xA;&#xD;&#xA;The thing that makes the least sense to me is that the musician market is the one that has settled on the lowest sample rate, yet they are some of the biggest users of time stretching and general sound mangling. All anyone in that market seems to care about is the &quot;24 bit&quot; part. Heck, maybe I'll start selling musician material at 24/96. Give them some more room for destruction." ContentLicense="CC BY-SA 3.0" />
  <row Id="15918" PostHistoryTypeId="5" PostId="9600" RevisionGUID="c4ce316e-58b0-4c7d-a7fe-ac93a288bdce" CreationDate="2011-08-12T18:32:23.430" UserId="842" Comment="deleted 4 characters in body" Text="Funny thing...I've done a lot of really unhealthy things to get great and unusual sounds and ambiances over the years, and always came through more or less as unharmed as I was before.&#xD;&#xA;One day though, while out on a fishing trip by boat with a good friend, I found a not very big pasture with cows grazing around, looking mighty intellectual the way only a good cow can.&#xD;&#xA;It's against my very nature to let an opportunity like this pass without a good reason, so I entered through the rocky shoreline, turned on the fieldrecorder, and headed to the critters.&#xD;&#xA;I've done this lots of times before, and knew full well what to expect; At first they gonna look at me with the look of two braincells trying to connect, and then they all gonna surround me in a &quot;circle of cow&quot; with the head cow right in front of me, staring at me preeminently, trying to figure out whether to stomp me to kingdom come, or if I'm a pathetic lifeform not worthy of their stomping time and no threat of trying to eat them or their offspring.&#xD;&#xA;It always end up after about half a minute with the leading cow (here an Norwegian Telemark-cow, having very long and extremely point horns) sceptically take a few steps towards me, who's just standing there minding my own business, take a sniff at my reached out hand, and figuring I'm not exactly capable of doing anything at all against them. Then lose interest in me completely. So they did this time too.&#xD;&#xA;&#xD;&#xA;Anyway, for some reason, the leading cow (the one with the tremendous pointy horns) stopped at her way back towards the meadow, and turned her head towards me. With a speed I'd NEVER expect from a humongous lummox like this, the goddamn thing turned 180, lowered her horns, and gave out the most wicked bellow I've ever heard. With me running like a gazelle scared xxxxless back to the shore it went forward in full attack-mode.&#xD;&#xA;One's not too cocky when a 500Kg pissed-off hamburger wanna turn you into a barbecue skewer while you're standing on a not very big stone in a lake, trying to neighter fall in the fieldrecorder-killing water nor become the new horn-decoration for a (possibly) man-eating cattle...&#xD;&#xA;To make things even more interesting, it was a BIG lake, and the boat was a slow one with an electric motor barely able to outrun an infant even with full battery. This one wasn't full. And my friend was on the other side of an equally large island in the middle of the lake as not to disturb my recordings...&#xD;&#xA;I whipped out my cellphone and called my friend, yelling (quote) &quot;Get the *beep* over here this *beep*ing instant!!!&quot; (end quote) at the top of my lungs.&#xD;&#xA;After about (read: exactly) 11 minutes 24 seconds from when i pressed the disconnect button, I finally put my first leg back in the boat, ending this nice little (very one-sided) chat between me standing on the not too big boulder two meters from the shore, and the smug looking and noisy bastard, who's been reminding my very convincingly the last nearly 12 minutes who's da boss.&#xD;&#xA;&#xD;&#xA;Somewhere around 20 minutes later I remembered to turn off the Fostex :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15919" PostHistoryTypeId="2" PostId="9602" RevisionGUID="e341bd58-3585-447a-8dce-e93dbffbbb46" CreationDate="2011-08-12T19:00:34.373" UserId="1287" Text="yeah, if only the Air plugs were AudioSuite..." ContentLicense="CC BY-SA 3.0" />
  <row Id="15920" PostHistoryTypeId="2" PostId="9603" RevisionGUID="a58ea5ce-12ba-4f2d-9727-931f7f75592b" CreationDate="2011-08-12T19:23:18.030" UserId="194" Text="when I'm getting nutty I'll use the stuff in guitar rig.&#xD;&#xA;&#xD;&#xA;i use RX for some out of the box stuff as well, but that's because I live in RX.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="15921" PostHistoryTypeId="2" PostId="9604" RevisionGUID="757063cd-9dda-4b79-bafc-5195d7e73b5e" CreationDate="2011-08-12T19:38:29.733" UserId="61" Text="OhmForce has some genuinely crazy sounding plugs, but the UI is highly stylized and not always intuitive. [link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ohmforce.com/HomePage.do" ContentLicense="CC BY-SA 3.0" />
  <row Id="15922" PostHistoryTypeId="5" PostId="9604" RevisionGUID="d6e27dda-1b0a-45f2-a457-d614b47c92b2" CreationDate="2011-08-12T20:01:52.383" UserId="61" Comment="retag" Text="[OhmForce][1] has some genuinely crazy sounding plugs, but the UI is highly stylized and not always intuitive.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ohmforce.com/HomePage.do" ContentLicense="CC BY-SA 3.0" />
  <row Id="15923" PostHistoryTypeId="2" PostId="9605" RevisionGUID="8c398ceb-3e7a-45c6-92f6-bd35c8727a1a" CreationDate="2011-08-12T20:17:45.400" UserDisplayName="user49" Text="This is only a little thing, but one I've never forgotten &amp; in that sense was an incredibly valuable lesson to learn.... Very early on in my career i.e. only a year or so out of film school, we needed a powerful onboard engine sound for an episode of a TV series, so I tracked down someone with a hot rod with a V8 and went off to record it. Using a Nagra 4.2 and a 416, I sat in the back and recorded the very throaty, loud exhaust as we drove around, being careful not to overload the recorder. Thanked the guy, got back to the studio only to discover all the recordings were hopelessly distorted. I learned that day that you can cleanly record a distorted signal and the moral of the story is about using the right microphone for the situation (SPL of the exhaust was way too much for the 416). I'm happy to say I've never repeated that experience in the 20 years following - mistakes are only bad if you don't learn from them! But its also better to learn from others mistakes, then you don't have to make them yourself ;)&#xD;&#xA;&#xD;&#xA;One other annoying record accident - I had to record a tug boat so we did a whole stack of onboard recordings, then I got them to drop me off on an isolated wharf so I could record passbys, up/stop, away etc... We finished doing that recording, and just as they came over to pick me up I wiped the side of my head &amp; knocked my glasses off into the sea... plunk.... glasses gone... Had to drive home very slowly &amp; then go get another pair made... Whenever I'm near water now I have one of those little rubber band things that mean my glasses cannot fall off, and I take a spare pair of glasses when travelling. If you're myopic, nothing stops you in your tracks like losing your glasses!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15924" PostHistoryTypeId="2" PostId="9606" RevisionGUID="d0f8b6e8-1bd9-4a26-9e32-93d1c87f09f1" CreationDate="2011-08-12T20:20:57.250" UserId="178" Text="[Destroy FX][1] has some weird digital glitchy stuff. They're free too!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://destroyfx.smartelectronix.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15925" PostHistoryTypeId="5" PostId="8872" RevisionGUID="18fac11a-66e5-4d3b-8ab6-a5cc527fc515" CreationDate="2011-08-12T20:42:33.253" UserId="730" Comment="added 526 characters in body" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;I am the sound designer at Hi-Rez Studios and I have been doing all the sound design on the new Tribes: Ascend video game.  I would love to get some feedback from people on my sounds.  Right now we just released the first gameplay trailer so that is all that is available at the moment, but I would really appreciate feedback on the sounds in the trailer, and the game when it is released.  This is my first major video game title, so I am extremely excited and nervous at the same time.  I know that I am going up against some serious industry vets, so I am curious to what everyone thinks of my work.  &#xD;&#xA;&#xD;&#xA;(UPDATED)  Here are some good gameplay videos released from QuakeCon 2011.  This is where gamers got hands on with Tribes: Ascend.&#xD;&#xA;&#xD;&#xA;http://asia.gamespot.com/event​s/quakecon2011/video.html?sid=​6327762&#xD;&#xA;&#xD;&#xA;http://asia.gamespot.com/event​s/quakecon2011/video.html?sid=​6327763&#xD;&#xA;&#xD;&#xA;http://asia.gamespot.com/event​s/quakecon2011/video.html?sid=​6327764&#xD;&#xA;&#xD;&#xA;http://asia.gamespot.com/event​s/quakecon2011/video.html?sid=​6327765&#xD;&#xA;&#xD;&#xA;http://asia.gamespot.com/event​s/quakecon2011/video.html?sid=​6327766&#xD;&#xA;&#xD;&#xA;http://asia.gamespot.com/event​s/quakecon2011/video.html?sid=​6327767&#xD;&#xA;&#xD;&#xA;Thanks for reading,&#xD;&#xA;&#xD;&#xA;Benjie Freund" ContentLicense="CC BY-SA 3.0" />
  <row Id="15926" PostHistoryTypeId="8" PostId="8872" RevisionGUID="35179769-fce0-46e4-b960-5227604a2b80" CreationDate="2011-08-12T20:53:50.903" UserId="730" Comment="Rollback to [78f5a35a-9f4f-4a04-897b-9393a615dbd5]" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;I am the sound designer at Hi-Rez Studios and I have been doing all the sound design on the new Tribes: Ascend video game.  I would love to get some feedback from people on my sounds.  Right now we just released the first gameplay trailer so that is all that is available at the moment, but I would really appreciate feedback on the sounds in the trailer, and the game when it is released.  This is my first major video game title, so I am extremely excited and nervous at the same time.  I know that I am going up against some serious industry vets, so I am curious to what everyone thinks of my work.  &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=oevWde_F-yU&#xD;&#xA;&#xD;&#xA;Thanks for reading,&#xD;&#xA;&#xD;&#xA;Benjie Freund" ContentLicense="CC BY-SA 3.0" />
  <row Id="15927" PostHistoryTypeId="9" PostId="8872" RevisionGUID="35179769-fce0-46e4-b960-5227604a2b80" CreationDate="2011-08-12T20:53:50.903" UserId="730" Comment="Rollback to [78f5a35a-9f4f-4a04-897b-9393a615dbd5]" Text="&lt;sound-design&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15928" PostHistoryTypeId="5" PostId="8872" RevisionGUID="66eeb3b3-5345-4cce-a2d0-1257597947c0" CreationDate="2011-08-12T20:57:13.203" UserId="730" Comment="added 167 characters in body" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;I am the sound designer at Hi-Rez Studios and I have been doing all the sound design on the new Tribes: Ascend video game.  I would love to get some feedback from people on my sounds.  Right now we just released the first gameplay trailer so that is all that is available at the moment, but I would really appreciate feedback on the sounds in the trailer, and the game when it is released.  This is my first major video game title, so I am extremely excited and nervous at the same time.  I know that I am going up against some serious industry vets, so I am curious to what everyone thinks of my work.  &#xD;&#xA;&#xD;&#xA;(UPDATED WITH NEW VIDEOS)&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=OlEJESgTEZE&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=A8w9XggeRD4&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=1Nj1J3YOfnw&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=DnXAJN_jY0k&#xD;&#xA;&#xD;&#xA;Thanks for reading,&#xD;&#xA;&#xD;&#xA;Benjie Freund" ContentLicense="CC BY-SA 3.0" />
  <row Id="15929" PostHistoryTypeId="2" PostId="9607" RevisionGUID="33c4aa69-0692-494d-a298-a1c51560d38e" CreationDate="2011-08-12T21:01:21.663" UserId="1266" Text="My buddy uses FAB filter Volcano and stuff pretty regularly for musical sound design and it's pretty modular" ContentLicense="CC BY-SA 3.0" />
  <row Id="15930" PostHistoryTypeId="2" PostId="9608" RevisionGUID="ecfade87-aa03-4a1c-837a-ab1c38520fe5" CreationDate="2011-08-12T21:02:51.083" UserId="730" Text="Hey Everyone,&#xD;&#xA;&#xD;&#xA;Here are some updated gameplay videos from QuakeCon2011.  I would love any and all feedback that you guys have on my sound design for this game.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=OlEJESgTEZE&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=A8w9XggeRD4&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=1Nj1J3YOfnw&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=DnXAJN_jY0k&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Benjie Freund" ContentLicense="CC BY-SA 3.0" />
  <row Id="15931" PostHistoryTypeId="1" PostId="9608" RevisionGUID="ecfade87-aa03-4a1c-837a-ab1c38520fe5" CreationDate="2011-08-12T21:02:51.083" UserId="730" Text="Sound Design on Tribes: Ascend - Part 2" ContentLicense="CC BY-SA 3.0" />
  <row Id="15932" PostHistoryTypeId="3" PostId="9608" RevisionGUID="ecfade87-aa03-4a1c-837a-ab1c38520fe5" CreationDate="2011-08-12T21:02:51.083" UserId="730" Text="&lt;sound-design&gt;&lt;foley&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15933" PostHistoryTypeId="2" PostId="9609" RevisionGUID="457ee05e-8937-4905-857b-b0c41382513f" CreationDate="2011-08-12T22:16:08.393" UserId="418" Text="Been on it since version 1 and its definitely my favorite composition environment. Love it to pieces, in spite of its quirks(bugs). For one-off effects, I can spend all day in AudioMulch, though it's not as practical for anything time based or super structured. " ContentLicense="CC BY-SA 3.0" />
  <row Id="15934" PostHistoryTypeId="2" PostId="9610" RevisionGUID="02f685a4-cfcc-4d63-b57d-976c18deee38" CreationDate="2011-08-13T00:36:21.323" UserId="6604" Text="@Hearmeout; thanks for the reply man. Im already working on Protools HD and ICON in my current job. also started learning FMOD from youtube videos, but how can one break into the game audio industry from another country or without going to any college like VFS? &#xD;&#xA;&#xD;&#xA;How to develop those game audio skills and projects?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15935" PostHistoryTypeId="5" PostId="9581" RevisionGUID="a7b7e55d-aeea-4c08-a442-355b5f63be79" CreationDate="2011-08-13T00:37:21.120" UserId="6604" Comment="added 29 characters in body" Text="i used a gorilla roar with some equing...in my Ice age 3 trailer project.. cause it was just a few secs long&#xD;&#xA;http://www.4shared.com/get/ghBpP9Au/Audio_Post_Production-Sound_De.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15936" PostHistoryTypeId="2" PostId="9611" RevisionGUID="0a6d1458-f929-46c6-a5c3-6092055b9f29" CreationDate="2011-08-13T01:41:47.827" UserId="387" Text="Hi Guys, I am now editing the sound for a documentry with some footage shooted in Tokyo, I've been looking for some ambients in my library, but still unhappy with the result.&#xD;&#xA;If someone have some good material to share, would be a GREAT HELP.&#xD;&#xA;As charge, i can provide some realy nice and rare sounds from Portugal (The place where i live).&#xD;&#xA;If you are interessed, please contact me to gois.pedro@hotmail.com&#xD;&#xA;&#xD;&#xA;Cheers.&#xD;&#xA;&#xD;&#xA;Pedro." ContentLicense="CC BY-SA 3.0" />
  <row Id="15937" PostHistoryTypeId="1" PostId="9611" RevisionGUID="0a6d1458-f929-46c6-a5c3-6092055b9f29" CreationDate="2011-08-13T01:41:47.827" UserId="387" Text="Ambients from Tokyo" ContentLicense="CC BY-SA 3.0" />
  <row Id="15938" PostHistoryTypeId="3" PostId="9611" RevisionGUID="0a6d1458-f929-46c6-a5c3-6092055b9f29" CreationDate="2011-08-13T01:41:47.827" UserId="387" Text="&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15939" PostHistoryTypeId="2" PostId="9612" RevisionGUID="6a3a1048-daaa-4a55-a9d4-d73cf8a152f8" CreationDate="2011-08-13T01:58:14.840" UserId="958" Text="Do people on this forum commonly trade these kinds of atmos sounds? Because I would love to be able to use a recording of a european outdoor market for an upcoming uni project! Anyone want some australian atmos?" ContentLicense="CC BY-SA 3.0" />
  <row Id="15940" PostHistoryTypeId="8" PostId="8872" RevisionGUID="be6397a5-ca20-4a40-9780-1e167098042f" CreationDate="2011-08-13T02:38:38.400" UserId="730" Comment="Rollback to [35179769-fce0-46e4-b960-5227604a2b80]" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;I am the sound designer at Hi-Rez Studios and I have been doing all the sound design on the new Tribes: Ascend video game.  I would love to get some feedback from people on my sounds.  Right now we just released the first gameplay trailer so that is all that is available at the moment, but I would really appreciate feedback on the sounds in the trailer, and the game when it is released.  This is my first major video game title, so I am extremely excited and nervous at the same time.  I know that I am going up against some serious industry vets, so I am curious to what everyone thinks of my work.  &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=oevWde_F-yU&#xD;&#xA;&#xD;&#xA;Thanks for reading,&#xD;&#xA;&#xD;&#xA;Benjie Freund" ContentLicense="CC BY-SA 3.0" />
  <row Id="15941" PostHistoryTypeId="2" PostId="9613" RevisionGUID="9931e1ed-29d5-4471-9df2-647301c10d09" CreationDate="2011-08-13T15:11:36.593" UserDisplayName="user80" Text="Try pitching down a Komodo dragon.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.hark.com/clips/pjxshzhnnh-komodo-dragon" ContentLicense="CC BY-SA 3.0" />
  <row Id="15942" PostHistoryTypeId="5" PostId="9613" RevisionGUID="7c5130a1-6563-4dcf-9e61-5bb9ce037c17" CreationDate="2011-08-13T15:19:18.500" UserDisplayName="user80" Comment="added 110 characters in body; added 81 characters in body" Text="Try pitching down a Komodo dragon.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.hark.com/clips/pjxshzhnnh-komodo-dragon&#xD;&#xA;&#xD;&#xA;http://www.audiomicro.com/reptiles-reptile-komodo-dragon-sound-effects-171352&#xD;&#xA;&#xD;&#xA;I think that your nearest ones are in LA Zoo.&#xD;&#xA;&#xD;&#xA;http://lazoo.org/animals/reptiles/komododragon/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15943" PostHistoryTypeId="5" PostId="9613" RevisionGUID="30457b82-1c62-4611-8437-7930177b6329" CreationDate="2011-08-13T15:37:27.287" UserDisplayName="user80" Comment="deleted 81 characters in body" Text="Try pitching down a Komodo dragon.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.hark.com/clips/pjxshzhnnh-komodo-dragon&#xD;&#xA;&#xD;&#xA;I think that your nearest ones are in LA Zoo.&#xD;&#xA;&#xD;&#xA;http://lazoo.org/animals/reptiles/komododragon/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="15944" PostHistoryTypeId="2" PostId="9614" RevisionGUID="9ae908ac-f8e0-4774-86ae-4824c632f3d3" CreationDate="2011-08-13T16:18:52.363" UserId="418" Text="Volcano is definitely crazy, I love the sound of FabFilter stuff.&#xD;&#xA;&#xD;&#xA;Also very highly recommend taking a look at the Quad Frohmage from Ohmforce. Pretty bonkers.&#xD;&#xA;&#xD;&#xA;Last but not least; The Delay Designer in Logic, while not a dedicated filter, has a filter on it and is capable from some unbelievably cool weirdness." ContentLicense="CC BY-SA 3.0" />
  <row Id="15945" PostHistoryTypeId="2" PostId="9615" RevisionGUID="daafcb0f-b46a-4de5-8389-5b05de2e136b" CreationDate="2011-08-13T20:52:11.510" UserId="1289" Text="Hi Pedro&lt;br&gt;&#xD;&#xA;Surround2011 have some Tokyo ambience.&#xD;&#xA;&#xD;&#xA;Sound or Noise Vol.1 to 4&lt;br&gt;&#xD;&#xA;http://surround2011.bandcamp.com/album/sound-or-noise&#xD;&#xA;&#xD;&#xA;Blog:&lt;br&gt;&#xD;&#xA;http://surround2011.blogspot.com/search/label/LocationScouting&#xD;&#xA;[http://surround2011.blogspot.com/search/label/crowds][2]&#xD;&#xA;&#xD;&#xA;Search by picture:&lt;br&gt;&#xD;&#xA;https://picasaweb.google.com/surround2011org/ClockTower24Hours&#xD;&#xA;[https://picasaweb.google.com/surround2011org/LocationScouting][3]&#xD;&#xA;&#xD;&#xA;Thank you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://surround2011.blogspot.com/2009/11/sound-effects-library.html&#xD;&#xA;  [2]: http://surround2011.blogspot.com/search/label/crowds&#xD;&#xA;  [3]: https://picasaweb.google.com/surround2011org/LocationScouting" ContentLicense="CC BY-SA 3.0" />
  <row Id="15946" PostHistoryTypeId="2" PostId="9616" RevisionGUID="b5e30a6d-d246-445c-b236-929edb4a9843" CreationDate="2011-08-13T21:09:26.820" UserId="1287" Text="While technically not *standard* key commands, using the OSX preferences I've set up my own custom commands for various AudioSuite plug ins.&#xD;&#xA;&#xD;&#xA;ie:&#xD;&#xA;&#xD;&#xA;Shift + Control + G = Gain,&#xD;&#xA;Shift + Control + N = Normalize,&#xD;&#xA;Shift + Control + I = Invert,&#xD;&#xA;Shift + Control + P = Pitch Shift,&#xD;&#xA;Shift + Control + R = Reverb (Revolver),&#xD;&#xA;Shift + Control + D = Delay (Echoboy),&#xD;&#xA;Shift + Control + A = Autotune,&#xD;&#xA;Shift + Control + V = Vocalign,&#xD;&#xA;Shift + Control + E = EQ (DMG Equality),&#xD;&#xA;&#xD;&#xA;and more...&#xD;&#xA;&#xD;&#xA;Saves a TON of time not having to dive through the various menus to get to a commonly used plug in.&#xD;&#xA;&#xD;&#xA;Thinking of even setting up a command for &quot;Process&quot; as having to click it bums me out sometimes haha!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15947" PostHistoryTypeId="16" PostId="9616" RevisionGUID="b5e30a6d-d246-445c-b236-929edb4a9843" CreationDate="2011-08-13T21:09:26.820" UserId="-1" />
  <row Id="15948" PostHistoryTypeId="2" PostId="9617" RevisionGUID="2c4df0d9-b484-45e3-838d-03696a04f3cf" CreationDate="2011-08-13T21:31:07.710" UserDisplayName="user49" Text="its not a plugin but I am lusting after a Schippman Ebb und Flutt&#xD;&#xA;&#xD;&#xA;http://www.schippmann-music.com/&#xD;&#xA;&#xD;&#xA;They are releasing a eurorack filter soon so that might be me....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15949" PostHistoryTypeId="2" PostId="9618" RevisionGUID="7082aaa2-0998-4b9f-adf6-4d9d6204f825" CreationDate="2011-08-14T00:13:44.393" UserId="1290" Text="I bought a USB Pre 2 to use on a gig this week,  it was an excellent tool.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;As for getting USB 5v power to the unit...&#xD;&#xA;&#xD;&#xA;I purchased a hefty USB power source, the iSound Portable Power Max (16,000 mAh)&#xD;&#xA;The outputs are rated up to 2.4amps, well above the USBpre's needs.  This power supply is almost as big as the USB pre 2 and attached nicely on top with velcro.  I ran the unit for  a good 5 hours and barley drained the iSOund battery,  I expect you could do several days of recording on a single charge. iSound sells a half sized 8000 mAh unit as well which I expect would also be great and be about half the weight.&#xD;&#xA;&#xD;&#xA;You could also likely power your recorder off this unit for extended periods if its takes 5v power in.  I think the Zoom H4n runs on 5v, but I dont think the Zoom has SPDIF in.  Because, ideally to really take advantage of the USB pre2 it may be best to record the units digital output.&#xD;&#xA; &#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="15950" PostHistoryTypeId="2" PostId="9619" RevisionGUID="e68a3bcd-5165-45e5-a641-8753c10675fa" CreationDate="2011-08-14T01:48:25.057" UserId="444" Text="Hi Everyone,&#xD;&#xA;&#xD;&#xA;I know the name SSL from my music studio days, and it's synonomous with sonic quality and high end gear.  I've recently been looking at it's products for Post-production.&#xD;&#xA;&#xD;&#xA;I'm wondering if anyone here has worked with any of the XL-Logic I/Os, Pro-Converts, and/or Mixing Consoles (Matrix, C200, C300).&#xD;&#xA;&#xD;&#xA;If you have, what do you think of it? how's the workflow, how well does it work with your DAW, etc (especialy if your using Nuendo)?  How does it feel at your finger tips?&#xD;&#xA;&#xD;&#xA;Any feed back would be great.  &#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="15951" PostHistoryTypeId="1" PostId="9619" RevisionGUID="e68a3bcd-5165-45e5-a641-8753c10675fa" CreationDate="2011-08-14T01:48:25.057" UserId="444" Text="SSL Boards and I/Os" ContentLicense="CC BY-SA 3.0" />
  <row Id="15952" PostHistoryTypeId="3" PostId="9619" RevisionGUID="e68a3bcd-5165-45e5-a641-8753c10675fa" CreationDate="2011-08-14T01:48:25.057" UserId="444" Text="&lt;console&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15953" PostHistoryTypeId="2" PostId="9620" RevisionGUID="b51ac4d2-e836-4ffd-af90-9807b020ba46" CreationDate="2011-08-14T06:29:19.220" UserId="1228" Text="The one golden rule I've learned in post sound: picture is truly never 'locked', it's only 'latched'.&#xD;&#xA;&#xD;&#xA;That being said, I'm an advocate for getting started with cutting elements, at least roughly, against picture. I'm more than happy to begin working on a non-locked cut, but the client will be billed for each conform and informed of this upfront.  So that may be one way to approach it if you feel work needs to be done beyond gathering/creating elements&#xD;&#xA;&#xD;&#xA;As Morten mentioned, always ask for an OMF to accompany each picture version - the OMF is the lifeline to pretty much everything in the post sound process, especially version changes/conforms." ContentLicense="CC BY-SA 3.0" />
  <row Id="15954" PostHistoryTypeId="2" PostId="9621" RevisionGUID="cb26208b-a8a5-4574-8133-dd34ccb1942c" CreationDate="2011-08-14T07:54:24.670" UserId="1228" Text="My personal method is that for 'garden variety' sounds (doors, etc), I try to make it happen in about 3-5 elements max.  Of course there are many exceptions to this on complex sound moments, but that helps me keep the edits under control and gives me a clearly-defined boundary of knowing whether or not a sound build is working or not.&#xD;&#xA;&#xD;&#xA;Also, I agree and follow the same ideas as Jordan and Chuck, which are great answers.&#xD;&#xA;&#xD;&#xA;What I have found effective too is to create a set of work tracks where I build everything that I know is going to be more than 3-5 library-pulled elements.  This is my sandbox where I roll up the sleeves and get into edit densities that can be 30-40 tracks wide sometimes on a design.  However, when I've reached that believability and completeness tipping point that Tim mentioned, I proceed to print down the content categorically and then pull those tracks up my FX tracks.  This has to be done with care though and the strategy can change with each sound situation (*high mid low*, versus *boom hit shimmer*, etc - It's all about giving the mixers the intention, while still providing them with split out prints so they can control it in the mix.&#xD;&#xA;&#xD;&#xA;In all cases though, I religiously use region grouping on EVERYTHING - and then name the region groups in all-caps.  that way, when each grouping of sound elements is easily determined on the stage.  Will the stage ungroup and dig into these sometimes?  Of course!  But, by giving it to them this way I have found that they appreciate the forethought into organization and session cleanliness.  And, it helps them easily see what's what like an interactive cue sheet (for example, by stating in the region group name whose gun shots are whose, and which tracks are ricos versus whiz bys).  Sometimes times I'll use the region name to drop in notes in the naming suffix for the mixer such as:&#xD;&#xA;&#xD;&#xA;- ** SOURCE MUTED ** = these are source elements for the printed track, keep muted unless you need to dig into it&#xD;&#xA;&#xD;&#xA;- **SWTNR FOR ____ ** = the sound element was only cut in FX to sweeten or enhance something like prod FX or Foley (selling a weak O/S Foley sound), or may be only a 'partial-sound' meant to blend with Foley or Prod FX&#xD;&#xA;&#xD;&#xA;- ** PANNED - SKIP PAST ** = already panned, save your time (only used sometimes)&#xD;&#xA;- ** 3RD GRAB CHEATED ** = the third cloth grab sound has sync cheated for visual, etc&#xD;&#xA;- ** MATCH GUIDE ** = this sound was created/selected to match or closely match what was heard in the guide&#xD;&#xA;- ** ALT ** = alternate version of an edit or sound choices used in that edit&#xD;&#xA;- ** OPTIONAL ** = optional, additional element which is non-critical but was edited; if the stage chooses to lose it, it won't affect the integrity of the primary sound&#xD;&#xA;&#xD;&#xA;There's a ton of different ones, and these are only some specific examples I can think of.  But, these can be a great roadmap for a mixer as part of that interactive cue sheet method." ContentLicense="CC BY-SA 3.0" />
  <row Id="15955" PostHistoryTypeId="5" PostId="9621" RevisionGUID="d30d8fb0-dc98-4b2b-b0cf-faff7c259381" CreationDate="2011-08-14T08:00:34.593" UserId="1228" Comment="deleted 6 characters in body" Text="My personal method is that for 'garden variety' sounds (doors, etc), I try to make it happen in about 3-5 elements max.  Of course there are many exceptions to this on complex sound moments, but that helps me keep the edits under control and gives me a clearly-defined boundary of knowing whether or not a sound build is working or not.&#xD;&#xA;&#xD;&#xA;Also, I agree and follow the same ideas as Jordan and Chuck, which are great answers.&#xD;&#xA;&#xD;&#xA;What I have found effective too is to create a set of work tracks where I build everything that I know is going to be more than 3-5 library-pulled elements.  This is my sandbox where I roll up the sleeves and get into edit densities that can be 30-40 tracks wide sometimes on a design.  However, when I've reached that believability and completeness tipping point that Tim mentioned, I proceed to print down the content categorically and then pull those tracks up my FX tracks.  This has to be done with care though and the strategy can change with each sound situation (*high mid low*, versus *boom hit shimmer*, etc - It's all about giving the mixers the intention, while still providing them with split out prints so they can control it in the mix.&#xD;&#xA;&#xD;&#xA;In all cases though, I religiously use region grouping on EVERYTHING - and then name the region groups in all-caps.  that way, when each grouping of sound elements is easily determined on the stage.  Will the stage ungroup and dig into these sometimes?  Of course!  But, by giving it to them this way I have found that they appreciate the forethought into organization and session cleanliness.  And, it helps them easily see what's what like an interactive cue sheet (for example, by stating in the region group name whose gun shots are whose, and which tracks are ricos versus whiz bys).  Sometimes I'll use the region name to drop in notes in the naming suffix for the mixer such as:&#xD;&#xA;&#xD;&#xA;- ** SOURCE MUTED ** = these are source elements for the printed track, keep muted unless you need to dig into it&#xD;&#xA;&#xD;&#xA;- **SWTNR FOR ____ ** = the sound element was only cut in FX to sweeten or enhance something like prod FX or Foley (selling a weak O/S Foley sound), or may be only a 'partial-sound' meant to blend with Foley or Prod FX&#xD;&#xA;&#xD;&#xA;- ** PANNED - SKIP PAST ** = already panned, save your time (only used sometimes)&#xD;&#xA;- ** 3RD GRAB CHEATED ** = the third cloth grab sound has sync cheated for visual, etc&#xD;&#xA;- ** MATCH GUIDE ** = this sound was created/selected to match or closely match what was heard in the guide&#xD;&#xA;- ** ALT ** = alternate version of an edit or sound choices used in that edit&#xD;&#xA;- ** OPTIONAL ** = optional, additional element which is non-critical but was edited; if the stage chooses to lose it, it won't affect the integrity of the primary sound&#xD;&#xA;&#xD;&#xA;There's a ton of different ones, and these are only some specific examples I can think of.  But, these can be a great roadmap for a mixer as part of that interactive cue sheet method." ContentLicense="CC BY-SA 3.0" />
  <row Id="15957" PostHistoryTypeId="2" PostId="9623" RevisionGUID="554aecd3-223e-4d5b-9503-32efeb944f7a" CreationDate="2011-08-14T14:11:06.177" UserId="1225" Text="I record ambiences from Saint-Petersburg and Moscow in Russia. If it may be useful, i'll upload them when i get enough interesting material (crowd, malls, subway etc)." ContentLicense="CC BY-SA 3.0" />
  <row Id="15958" PostHistoryTypeId="2" PostId="9624" RevisionGUID="98770d70-2809-4b8d-9f91-a7e187f2ca70" CreationDate="2011-08-14T16:09:22.640" UserId="1291" Text="I live in Tokyo and have some city sounds recorded. (Was too lazy to edit them, though xD)&#xD;&#xA;&#xD;&#xA;If you need sounds from specific locations, I can go there and try recording somethinf interesting :D&#xD;&#xA;&#xD;&#xA;PS&#xD;&#xA;Sounds from Portugal would be nice to get :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="15959" PostHistoryTypeId="2" PostId="9625" RevisionGUID="e04502ce-6d27-4347-b5e5-b6e59233ca95" CreationDate="2011-08-14T22:25:19.197" UserId="1152" Text="My fav is CMD+Q" ContentLicense="CC BY-SA 3.0" />
  <row Id="15960" PostHistoryTypeId="16" PostId="9625" RevisionGUID="e04502ce-6d27-4347-b5e5-b6e59233ca95" CreationDate="2011-08-14T22:25:19.197" UserId="-1" />
  <row Id="15961" PostHistoryTypeId="2" PostId="9626" RevisionGUID="7ca99659-c636-4e3a-94d3-170a4dbd091d" CreationDate="2011-08-14T23:35:00.763" UserId="693" Text="Since Filtering actually includes more than just excessive EQ, off the top of my head there's a few really crazy one's that I'm a big fan of. Obviously Soundtoys and GRM Tools are a bit of a given in our field, so here are some that give me that same &quot;giddy child discovering new ways to make weird sounds&quot; feeling when I get to work with them and will likely annoy the living hell out of anyone within 50ft of me working and looping for hours on end.&#xD;&#xA;&#xD;&#xA;They're all mostly esoteric plug-in's that have filters and/or morophing functions and not so common filter types like Spectral based processing, LFO routing options, Crazy editing, shaping and more.&#xD;&#xA;&#xD;&#xA;- [Soundhack][1] has several bundles well suited for filtering. The new PVOC kit bundle is insane. I've been using it since I was testing out the first beta's and the possibilities are endless.&#xD;&#xA;&#xD;&#xA;- Little Endian Ltd's &quot;[SpectrumWorx][2]&quot; (who I just finished a signature preset library for). Really wicked Modular Insert based Spectral FX environment. In SW you can create chains of modules, assign LFO's to the parameters, side-chain additional audio into it for some convolution type effects and loads more. I had a blast making my preset bundle. It's a really fun program. &#xD;&#xA;&#xD;&#xA;- &quot;[Paulstretch][3]&quot; has some interesting filters and you don't even have to time stretch your audio to use them. Even though using it for it's timestretch is decidely (by me) a sound designers must have program.&#xD;&#xA;&#xD;&#xA;- Also, interestingly enough... I really have fun editing in Adobe's SoundBooth and [link text][4]Audition (Audition is now native on Mac), for experimental and unique file manipulation. They both have an interesting approach to editing. Namely the Spectral Editing Mode which is a Graphical Audio Editor that gives you some tools similar to photoshop to visually and thus audibly mangle your audio. You can chop very precise holes and chunks out of your audio and get some really interesting results. My understanding is that Audition is the more fully featured (Zaftig or Rubenesque, perhaps? lol) editor that allows external plug-ins and has more options, tracks and features. They kind of remind me of using [MetaSynth][5] a bit but the Adobe stuff much easier to use imo since they're more traditional editors with a couple weird approaches instead of the other way around. MetaSynth is another option as well.&#xD;&#xA;&#xD;&#xA;- I was big on the [D16 Group][6] stuff for a little bit. It was mostly Redoptor and Decimort, but I could never really get the results I wanted without splitting my bands to different busses with an instance on each and summing back to a single track. They need to give those plug-ins a more expansive multiband mode. The Decimort shuold be of interesting note to you with it's capacity for E-Mu filter and AD/DA sample rate emulations.&#xD;&#xA;&#xD;&#xA;- There's a cool vector based envelope filter called [FilterShaper][7] by Cableguys that you can do some really insane stuff with.&#xD;&#xA;&#xD;&#xA;- I really love the filtered delay lines in [U-He's MFM2][8]. Some of the units in his Uhbik bundle are pretty cool too.&#xD;&#xA;&#xD;&#xA;- [Sinevibes][9] makes some wicked sick plug-ins that are pretty cheap. My faveorites are &quot;Filther&quot;, Drift, Sequential, Turbo and Turbulence.&#xD;&#xA;&#xD;&#xA;- I find I use Fab Filter's &quot;[Volcano 2][10]&quot; a lot as well as AudioDamage's &quot;[Kombinat][11]&quot;&#xD;&#xA;&#xD;&#xA;- [Twisted Tools][12] also make some Reaktor Ensemble based esoteric/extreme concept/technique based effects that do sick filtering and morphing at times.&#xD;&#xA;&#xD;&#xA;Happy Tweaking!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundhack.com/&#xD;&#xA;  [2]: http://www.littleendian.com/&#xD;&#xA;  [3]: http://hypermammut.sourceforge.net/paulstretch/&#xD;&#xA;  [4]: http://www.adobe.com/products/audition.html&#xD;&#xA;  [5]: http://www.uisoftware.com/MetaSynth/index.php&#xD;&#xA;  [6]: http://d16.pl/&#xD;&#xA;  [7]: http://www.cableguys.de/filter-shaper.html&#xD;&#xA;  [8]: http://www.u-he.com/cms/MFM2&#xD;&#xA;  [9]: http://www.sinevibes.com/&#xD;&#xA;  [10]: http://www.fabfilter.com/products/volcano.php&#xD;&#xA;  [11]: http://www.audiodamage.com/effects/product.php?pid=AD019&#xD;&#xA;  [12]: http://twistedtools.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15962" PostHistoryTypeId="2" PostId="9627" RevisionGUID="036f4620-fc7a-417b-87fd-620fd1c0eee9" CreationDate="2011-08-15T03:14:43.147" UserId="1295" Text="I have an H4n and like it a lot. Very versatile. &#xD;&#xA;&#xD;&#xA;The one disappointment is (as has already been mentioned) how the different modes have different record formats. &#xD;&#xA;&#xD;&#xA;I'm hoping that Zoom's successor to the H4n will address this, and wondering when that might happen. The H2n looks nice, and is new, so maybe a new 4-channel will soon come out. Anyone have any ideas? (It was that exact question that somehow led me this forum, btw.) &#xD;&#xA;&#xD;&#xA;I'm a studio-only songwriter/producer (which I've always thought of as sound design), and bought it just to have a good quality recorder for ideas, etc. But the 4CH and MTR modes intrigued me and have turned out to be surprisingly useful... if only it weren't for the format limitations. &#xD;&#xA;&#xD;&#xA;It's a sturdy device, and the software is well designed, easy to get around, and work within each of the modes. Even MTR mode, which could easily have been a nightmare, is straightforward to operate. Very useful as a portable recorder &amp; mini studio. &#xD;&#xA;&#xD;&#xA;Finally, FYI, if you're thinking of getting one: In the US, Amazon sells an H4n package for a bit over $300 USD that includes the remote (whihc is VERY useful). I was able to get zZounds music store to beat the Amazon price on *their* Zoom bundle, which normally sells for over $350 dollars and includes a remote AND a decent pair of headphones, a small gig bag, an extra SSD card, and a few other useful accessories. Very happy w purchase. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15963" PostHistoryTypeId="2" PostId="9628" RevisionGUID="f4737a71-d15f-4b2e-92a2-7b824ee41f71" CreationDate="2011-08-15T11:38:00.130" UserId="863" Text="you develop them by working on them, University is all fine and dandy but you will learn most things on a job, shadowing someone above you and asking questions. You are not guaranteed a job if you go to University and they will not do the work for you to find a job, only offer advice.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15964" PostHistoryTypeId="2" PostId="9629" RevisionGUID="66d53a3f-c0c2-4513-b09f-a348f61fbdf7" CreationDate="2011-08-15T12:27:53.393" UserId="407" Text="[Propellerheads Reason][1] has some really nice filters - their resonance filters on their mastering units and samplers are really nice for mashing stuff. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.propellerheads.se/products/reason/" ContentLicense="CC BY-SA 3.0" />
  <row Id="15965" PostHistoryTypeId="2" PostId="9630" RevisionGUID="905a0dd2-efaf-41f9-9348-6328948f681a" CreationDate="2011-08-15T12:59:48.277" UserId="1287" Text="Definitely going to second the Soundhack plugins.  As Syndicate Synthetique mentioned, the new PVOC Bundle is absolutely amazing.&#xD;&#xA;&#xD;&#xA;Their older Spectral Shaper bundle has a bunch of great filtering tools, http://soundhack.henfast.com/spectral-shapers/.&#xD;&#xA;&#xD;&#xA;Super handy for getting some wacky stuff.  Particularly fond of &quot;Morph Filter&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15966" PostHistoryTypeId="2" PostId="9631" RevisionGUID="81bceb40-b9ad-4381-8101-d7cc74b6d111" CreationDate="2011-08-15T13:39:00.023" UserId="220" Text="My advice - don't buy anything until you get to class.  First week or so, they'll tell you what you need for your course work.  In most cases, it's cheaper/easier to use lab computers - they're beefed up with everything you could possibly want (plugins, hardware, software), and it's part of your tuition anyway.  Why spend money on top of the expense of school?  Plus, you're right there on campus anyway - it's not like you have to commute to get to those workstations.  Get a few 1TB drives to take with you to the labs and you're set.  Add to that you have a lot of gear at your disposal for &quot;free&quot; as well.&#xD;&#xA;&#xD;&#xA;If you want to get anything, get a laptop that's good all-around.  As Roger said, unless you're video editing (and even then, see &quot;lab computers&quot; above), go with a cheaper Windows machine.  If you want something beefy, HP sells a killer Intel quad-core i7 with 8 gigs of ram for about $1000.  You're a windows guy, from the sound of it - why force yourself in to Apple when it doesn't matter for sound?  College has a LOT of down time.  You need to have something to entertain yourself.  Hopefully social time will fill a lot of that, but games are a fun diversion as well.  All work and no play....&#xD;&#xA;&#xD;&#xA;I'm going to give you some unsolicited advice because I wish someone had driven this home in me:&#xD;&#xA;&#xD;&#xA;Debt is a prison. &#xD;&#xA;&#xD;&#xA;If you can make it through school debt free and continue that living, you will give yourself many more opportunities than if you rack up personal debt.  School debt isn't too bad - it's an investment in yourself, just as a car is an investment in getting to better jobs - but any other debt, especially on gear that could be rented or technology that will quickly be obsolete (laptop), is bad.  If you have the freedom to pick up, leave, and work for next to nothing, that is the greatest feeling in the world.  If you have the money to buy a nice laptop, PT, gear, etc, sock it away until you really need it.  You'll kick yourself if you have to pass up an internship because you cannot afford to miss any monthly payments. &#xD;&#xA;&#xD;&#xA;Good luck with school - it's a great time!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15967" PostHistoryTypeId="2" PostId="9632" RevisionGUID="ff6f7e18-eb2b-42bf-99db-e1ee428c1cbb" CreationDate="2011-08-15T14:10:51.953" UserId="1297" Text="Hi im a recent graduate with a certificate in Audio Engineering. The school i attended was mainly studio music recording. However it touched on sound design and opened a whole new world to me. Does anyone know where to get free clips without sound just for sound design practice? Doesnt matter if its film, animation, logos, whatever. Any info would be great, thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="15968" PostHistoryTypeId="1" PostId="9632" RevisionGUID="ff6f7e18-eb2b-42bf-99db-e1ee428c1cbb" CreationDate="2011-08-15T14:10:51.953" UserId="1297" Text="free soundless clips" ContentLicense="CC BY-SA 3.0" />
  <row Id="15969" PostHistoryTypeId="3" PostId="9632" RevisionGUID="ff6f7e18-eb2b-42bf-99db-e1ee428c1cbb" CreationDate="2011-08-15T14:10:51.953" UserId="1297" Text="&lt;sound-design&gt;&lt;practice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15970" PostHistoryTypeId="2" PostId="9633" RevisionGUID="041e9026-1429-4d73-adf0-8ac6bb91abf1" CreationDate="2011-08-15T14:34:58.437" UserId="220" Text="[Archive.org][1]'s video archives are a goldmine!  There are lots of fun videos there - old war clips, home movies, tv shows... sky's the limit!  If you want something exceptionally fun, I have 16mm of the moon landing - a little silent reel that could use some sound.  &#xD;&#xA;&#xD;&#xA;Video game and movie trailers are also a great source for practice.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.archive.org" ContentLicense="CC BY-SA 3.0" />
  <row Id="15971" PostHistoryTypeId="2" PostId="9634" RevisionGUID="48e0c0f8-e611-4297-883d-c48c2136b1b9" CreationDate="2011-08-15T16:28:17.860" UserId="1237" Text="For the practice you can use any material. But don't use trailers or similar production. I think that modern trailer sound re-design enthusiasm is a very bad idea. &#xD;&#xA;&#xD;&#xA;My point, it would be better if you select some movie with specified scene (uncut) which contain certain sense or idea. Like jungle sequence in Avatar, fight episode in Matrix or the scene with the feeding of the small dragons in How to Train Your Dragon (it's a really great moment I think!). &#xD;&#xA;&#xD;&#xA;And here you can create not only your own sound, but also you can show how you feel the scene, your vision of design, editing and so forth. &#xD;&#xA;&#xD;&#xA;When creating sound for trailer you can go wrong way. Since there is another destination in term of sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="15972" PostHistoryTypeId="2" PostId="9635" RevisionGUID="224edfd4-458d-40da-8084-ce7861ea81e5" CreationDate="2011-08-15T17:44:53.017" UserId="194" Text="[search vimeo for creative commons.][1]&#xD;&#xA;&#xD;&#xA;Vimeo hosts files at pretty high quality, and the clips that are posted and tagged as creative commons licensed are explicitly available for use in the context you're seeking. Many film makers also make the original files available for download directly from Vimeo. &#xD;&#xA;&#xD;&#xA;Its also likely to be new and interesting stuff that will inspire and challenge you, and when you show it to others they'll be seeing high quality stuff they haven't ever seen before.  In some cases you can even make a connection with the original animator or film maker and start a network in that direction right away.&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/search/videos/search:creative%20commons/st/2de55c72" ContentLicense="CC BY-SA 3.0" />
  <row Id="15973" PostHistoryTypeId="2" PostId="9636" RevisionGUID="86b255c8-28a4-464c-8e29-fab67dfc0b81" CreationDate="2011-08-15T17:54:04.220" UserId="845" Text="I expect to get very few responses for this one because it's such a personal and difficult topic, but I think the experiences of the people here could be very informative.&#xD;&#xA;&#xD;&#xA;While there seem to be many well established SDers on this board, I have a sneaking suspicion that there are just as many who are kicking on doors just trying to get a foot in.  Even the established guys/gals were once out trawling for XP, so although we're at different paragraphs, at least we're all on the same page.&#xD;&#xA;&#xD;&#xA;And as many times as we've all heard people say, &quot;It's the ears, not the gear,&quot; or, &quot;Use what you've got to get what you need,&quot; we all know that in certain areas there's just no way around it.  If you wanna be a recordist, you have to have something to record with.  You want to design sound for animation, you need a computer - and a DAW - to do it with.  You wanna make a sandwich, you're gonna need some bread.&#xD;&#xA;&#xD;&#xA;Gear, gear, gear, gear, gear.  Love it and hate it and covet it, we all do.  I like it, I want it, I *need* it.  So many wonderful toys, and people use words like '*essential*', '*must have*', '*makes those noisy recordings sound like an angel's tear falling from heaven to land on the silk ribbon tied through a unicorn's hair*' ; Izotope RX2, Sound Toys, MKH-416s, SD788s, Scheopps this, and Waves Platinum that.&#xD;&#xA;&#xD;&#xA;While part of my brain is able to read conversations and reviews of these sexy sound objects from an abstracted, *wouldn't that be glorious?* kind of standpoint, there is a still larger part that feels that I'm somehow less able to do good work than the dudettes who have all that stuff.&#xD;&#xA;&#xD;&#xA;Some times some people have the money for it.  Sometimes they don't.  *I* definitely don't.  What will forever remain true is that it's expensive.  It may not be anywhere as bad as it used to be.  But +$1 when your bank account is $0 might as well be a million times more.&#xD;&#xA;&#xD;&#xA;So, as a young person who is just beginning to plant his feet, my question is: Have you ever gone into debt - heavily or otherwise - for the sake of buying gear or renting space?  and was it worth it?  Did you make it out ok? or did it all go terribly wrong?&#xD;&#xA;&#xD;&#xA;Horror stories and hero stories are welcome in kind." ContentLicense="CC BY-SA 3.0" />
  <row Id="15974" PostHistoryTypeId="1" PostId="9636" RevisionGUID="86b255c8-28a4-464c-8e29-fab67dfc0b81" CreationDate="2011-08-15T17:54:04.220" UserId="845" Text="Going Into Debt for Gear" ContentLicense="CC BY-SA 3.0" />
  <row Id="15975" PostHistoryTypeId="3" PostId="9636" RevisionGUID="86b255c8-28a4-464c-8e29-fab67dfc0b81" CreationDate="2011-08-15T17:54:04.220" UserId="845" Text="&lt;gear&gt;&lt;buying-stuff&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15976" PostHistoryTypeId="2" PostId="9637" RevisionGUID="c72795fe-ac2c-41c8-9a08-e2ddcc2d5cbd" CreationDate="2011-08-15T17:54:43.843" UserId="194" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I'm currently working on a film that has a few prison scenes and my prison contact may not be able to get me in to a proper facility to record my own stuff in time, so I'm sending up a flare here.&#xD;&#xA;&#xD;&#xA;I don't have a bunch of heavy intense needs.  Really just a modern prison buzzer or two and a few automated door opens and closes.  Also, any authentic prison yard weightlifting or mess hall ambiances would be useful, though we have loop group coming in to cover much of that.&#xD;&#xA;&#xD;&#xA;I have a large personal library of sounds available to trade, so hit me up: rene [at] dallasaudipost.com and we'll see if we can get something worked out.&#xD;&#xA;&#xD;&#xA;thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="15977" PostHistoryTypeId="1" PostId="9637" RevisionGUID="c72795fe-ac2c-41c8-9a08-e2ddcc2d5cbd" CreationDate="2011-08-15T17:54:43.843" UserId="194" Text="sound request:modern prison doors and buzzers" ContentLicense="CC BY-SA 3.0" />
  <row Id="15978" PostHistoryTypeId="3" PostId="9637" RevisionGUID="c72795fe-ac2c-41c8-9a08-e2ddcc2d5cbd" CreationDate="2011-08-15T17:54:43.843" UserId="194" Text="&lt;trade&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15979" PostHistoryTypeId="16" PostId="9637" RevisionGUID="c72795fe-ac2c-41c8-9a08-e2ddcc2d5cbd" CreationDate="2011-08-15T17:54:43.843" UserId="194" />
  <row Id="15980" PostHistoryTypeId="5" PostId="9636" RevisionGUID="1e04fe3a-c4c6-4421-9dca-36df7cc55083" CreationDate="2011-08-15T18:06:59.210" UserId="845" Comment="deleted 310 characters in body; deleted 56 characters in body; added 12 characters in body" Text="I expect to get very few responses for this one because it's such a personal and difficult topic, but I think the experiences of the people here could be very informative.&#xD;&#xA;&#xD;&#xA;While there seem to be many well established SDers on this board, I have a sneaking suspicion that there are just as many who are kicking on doors just trying to get a foot in.  Even the established guys/gals were once out trawling for XP, so although we're at different paragraphs, at least we're all on the same page.&#xD;&#xA;&#xD;&#xA;Gear, gear, gear, gear, gear.  Love it and hate it and covet it, we all do.  I like it, I want it, I *need* it.  So many wonderful toys, and people use words like '*essential*', '*must have*', '*makes those noisy recordings sound like an angel's tear falling from heaven to land on the silk ribbon tied through a unicorn's hair*' ; Izotope RX2, Sound Toys, MKH-416s, SD788s, Scheopps this, and Waves Platinum that.&#xD;&#xA;&#xD;&#xA;While part of my brain is able to read conversations and reviews of these sexy sound objects from an abstracted, *wouldn't that be glorious?* kind of standpoint, there is a still larger part that feels that I'm somehow less able to do good work than the dudettes who have all that stuff.&#xD;&#xA;&#xD;&#xA;The real problem is that you need *something* to get started with.  You wanna make a sandwich, you're gonna need some bread.  But a $1 item when your bank account is $0 might as well be worth a million times more.  &#xD;&#xA;&#xD;&#xA;Enter the Credit Card or the Line of Credit, and voila, the toy chest opens and the world is your free-money oyster.&#xD;&#xA;&#xD;&#xA;So, as a young person who is just beginning to plant his feet, my question is: Have you ever gone into debt - heavily or otherwise - for the sake of buying gear or renting space?  and was it worth it?  Did you make it out ok? or did it all go terribly wrong?&#xD;&#xA;&#xD;&#xA;Horror stories and hero stories are welcome in kind." ContentLicense="CC BY-SA 3.0" />
  <row Id="15981" PostHistoryTypeId="2" PostId="9638" RevisionGUID="34f61639-7e23-4804-98ca-1a9246fee208" CreationDate="2011-08-15T18:25:29.277" UserId="423" Text="It was a giant leap of faith...but when I first started out and was living paycheck to paycheck I decided one day that I had to have my own Pro Tools system.  I applied for 3 credit cards that day, got approved for all of them, got the cards and maxed 'em all out to build my first Pro Tools system.  I learned so much from having my own system available any time I wanted in my apartment.  And that was when you got very few plug-ins included...and by very few I mean, like 3!  I think my first external drive was a 9GB that cost me $900!  &#xD;&#xA;&#xD;&#xA;The debt was well worth it.  For me that 24% APR was the best investment I ever made.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="15982" PostHistoryTypeId="2" PostId="9639" RevisionGUID="9be3ff31-1d6f-4bbc-90cb-0ae8b1857b4a" CreationDate="2011-08-15T18:36:03.860" UserId="1216" Text="Hi G.A. (what's your real name, btw?),&#xD;&#xA;&#xD;&#xA;Personally, i've never want to get into debt with someone or something.&#xD;&#xA;But I have done it a couple of times and i certainly don't regret it.&#xD;&#xA;One of the rules i've learned to follow is this: &quot;Will spending this amount of money on that thing allow me to work better/faster/for other people? If the answer is yes, do it. If in doubt, seek advice and reconsider. &#xD;&#xA;  &#xD;&#xA;Here's some background as illustration of my rule:&#xD;&#xA;&#xD;&#xA;During college at art school i loaned a 1000 euro's to buy a decent sound card (a RME Multiface) and saved up money for the matching preamps myself. If I wouldn't have done that I never could have done a lot of things, most importantly sync sound to picture and foley. Back then it was impossible to do this with cheaper hardware and I learned a lot about routing and using outboard gear, which i could finally hook up and actually use whilst composing songs. I still own the Multiface and it rocks!&#xD;&#xA;  &#xD;&#xA;My other big loan was when I started my studio and needed to build a booth/room and I had to pay the rent upfront including a guarantor for the studio. I was very nervous about this, it was a lot of money back then. And I remember thinking/doubting about a week or so, going all the way from 'I need to do this!' to 'I'll never get enough work to pay this back!'. In the end, everything worked out fine. I payed my parents back 3 years later and the studio gave me new opportunities and a decent place to work. &#xD;&#xA;&#xD;&#xA;Good luck with your decision!&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15983" PostHistoryTypeId="2" PostId="9640" RevisionGUID="b2b99315-be21-43e7-8899-c479fc90ca98" CreationDate="2011-08-15T18:37:25.743" UserId="220" Text="Since I sort of instigated this question, I'll go ahead and answer - YES. I made purchasing decisions that have put me in debt, maybe not heavily, but definitely in a way that stretched me beyond my means. &#xD;&#xA;&#xD;&#xA;When I first got in to film, I just went headlong in - did a purchase through a local vendor for a nice pro-sumer camera (Panasonic DVX-100), shotgun mic, tripod, lights, bounce, etc. with grand dreams of renting it out, doing weddings that would cover the monthly payment, and making my own slew of films.  &#xD;&#xA;&#xD;&#xA;Eesh.  Not only was the payment augmented with a number of fees and insurance costs (ended up getting a little back because of a class action suit against the credit provider for those reasons) so it was higher than expected, but I was not making the money I thought.  I did lots of those &quot;free, but more work will result&quot; gigs that were fun and all, but didn't bring in any cash.  After I realized that camera was really not my strong point (I'm no slouch, but I'm not a DP either) and there was a huge void for sound, I put all of my focus (and money) in to that.&#xD;&#xA;&#xD;&#xA;My sound purchases have been a little more sane - bought my recorder with cash, a nice pole, and went from there.  Every time I had a paying gig, I bought a little more.  Now that my wife is also part of the sound team, we get more work and are able to build our little sound pile further.  Those purchases have been paid for over and over again with rentals and gigs, without a doubt.  &#xD;&#xA;&#xD;&#xA;Moving forward, we are tempted to dive in to bigger purchases - 8 channel Sound Devices recorder, Lectrosonics mics, IFB system, timecode, etc - but are trying to find the middle ground.  We'd make more if we had wireless over renting - that purchase makes sense.  IFB - while it's nice, most indie shoots don't use it and I can rent if I need to.  Sure it takes away from my pay, but losing a few hundred on a shoot is better than losing thousands on a system I never use.  &#xD;&#xA;&#xD;&#xA;I am just a few months away from being 100% debt free, including my school loans.  If I could do it again, I'd have purchased my sound gear, and that's it.  I'd have been debt free years sooner if I had, and would have had the peace of mind that goes with it.  If you're thinking of making the plunge in to debt, ask yourself &quot;Will it cost me more to buy this than to rent it in the long term?&quot;  and also &quot;Do I want to have this kind of pressure to make money, to pay the bills, to make money...&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15984" PostHistoryTypeId="2" PostId="9641" RevisionGUID="806247c4-0a6d-4996-b722-7d730ce25e9f" CreationDate="2011-08-15T19:46:53.543" UserId="1266" Text="I'm working on a short scary flick and am working on a transition or stinger for one scene and it it brought to my mind this question.  &#xD;&#xA;What are common horror genre stingers?  What comes to my mind are violins, reversed bells, out of tune instruments, deep whooshes.  Right now, I'm looking for an alternate to using a reversed bell (cliche) to signifiy a supernatural transition with a white flash.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15985" PostHistoryTypeId="1" PostId="9641" RevisionGUID="806247c4-0a6d-4996-b722-7d730ce25e9f" CreationDate="2011-08-15T19:46:53.543" UserId="1266" Text="Common Horror Genre type &quot;stingers&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15986" PostHistoryTypeId="3" PostId="9641" RevisionGUID="806247c4-0a6d-4996-b722-7d730ce25e9f" CreationDate="2011-08-15T19:46:53.543" UserId="1266" Text="&lt;genre&gt;&lt;stingers&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15987" PostHistoryTypeId="5" PostId="9639" RevisionGUID="b153df39-7cc6-4461-aea9-631af32ccc44" CreationDate="2011-08-15T19:47:14.927" UserId="1216" Comment="added ps." Text="Hi G.A. (what's your real name, btw?),&#xD;&#xA;&#xD;&#xA;Personally, i've never want to get into debt with someone or something.&#xD;&#xA;But I have done it a couple of times and i certainly don't regret it.&#xD;&#xA;One of the rules i've learned to follow is this: &quot;Will spending this amount of money on that thing allow me to work better/faster/for other people? If the answer is yes, do it. If in doubt, seek advice and reconsider. &#xD;&#xA;  &#xD;&#xA;Here's some background as illustration of my rule:&#xD;&#xA;&#xD;&#xA;During college at art school i loaned a 1000 euro's to buy a decent sound card (a RME Multiface) and saved up money for the matching preamps myself. If I wouldn't have done that I never could have done a lot of things, most importantly sync sound to picture and foley. Back then it was impossible to do this with cheaper hardware and I learned a lot about routing and using outboard gear, which i could finally hook up and actually use whilst composing songs. I still own the Multiface and it rocks!&#xD;&#xA;  &#xD;&#xA;My other big loan was when I started my studio and needed to build a booth/room and I had to pay the rent upfront including a guarantor for the studio. I was very nervous about this, it was a lot of money back then. And I remember thinking/doubting about a week or so, going all the way from 'I need to do this!' to 'I'll never get enough work to pay this back!'. In the end, everything worked out fine. I payed my parents back 3 years later and the studio gave me new opportunities and a decent place to work. &#xD;&#xA;&#xD;&#xA;Good luck with your decision!&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;ps. i forgot to mention my school loan, which i'm still paying for... no hard feelings though&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15988" PostHistoryTypeId="2" PostId="9642" RevisionGUID="06e523d2-9fbf-466f-8c85-a4174361b8b7" CreationDate="2011-08-15T20:00:18.450" UserId="2" Text="Let me try explain the sound, it's sounds to me like distortion and/or saturation. I have noticed this esthetic developing, it's come up in a few movies lately. I just watched *Rise of the Planet of the Apes*, and it had a good example of this. The apes were smashing stuff but then they highlighted a few key ones by adding this distortion/saturation - super effective.   &#xD;&#xA; &#xD;&#xA;Am I dreaming or is it really becoming a signature sound of our times? Thoughts? Examples? Maybe the cinema's speakers are crackling?  &#xD;&#xA;&#xD;&#xA;Or have you noticed other techniques for evoking a loud sound. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15989" PostHistoryTypeId="1" PostId="9642" RevisionGUID="06e523d2-9fbf-466f-8c85-a4174361b8b7" CreationDate="2011-08-15T20:00:18.450" UserId="2" Text="An esthetic for evoking a loud(er) sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="15990" PostHistoryTypeId="3" PostId="9642" RevisionGUID="06e523d2-9fbf-466f-8c85-a4174361b8b7" CreationDate="2011-08-15T20:00:18.450" UserId="2" Text="&lt;sound-design&gt;&lt;techniques&gt;&lt;loudness&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15991" PostHistoryTypeId="2" PostId="9643" RevisionGUID="c0882bb0-c253-407b-9a02-fdbf555a8865" CreationDate="2011-08-15T20:37:13.987" UserId="6669" Text="We have an instructor up here at VFS that dropped this tip on us earlier in the year, I think distortion is one of those psychoacoustic tricks that 'hints' at a larger sound as you mentioned. I feel like it's been around for a while, but maybe it's on track to become the Stutter Edit of 2012!&#xD;&#xA;&#xD;&#xA;Seen it anywhere else? Only thing that comes to mind immediately is the bathroom scene in Punch Drunk Love, where it's used to aweeeeesome effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="15992" PostHistoryTypeId="2" PostId="9644" RevisionGUID="43921c73-60be-4cba-82ad-5def42b7c214" CreationDate="2011-08-15T20:45:47.977" UserDisplayName="user49" Text="I remember reading an interview with Ben Burt about working on a film/doco about Space Shuttle Launch and how no matter what he did the launch wasn't convincing until he added a distorted element. Will see if I can find where I read it...." ContentLicense="CC BY-SA 3.0" />
  <row Id="15993" PostHistoryTypeId="2" PostId="9645" RevisionGUID="51a7d004-f4bd-4fc1-81ef-5798782070aa" CreationDate="2011-08-15T20:53:08.850" UserDisplayName="user49" Text="The only times I've got into debt for gear, it has been short term eg when I made the leap to a ProTools HD2 rig I had a decent budget film with 6 months work confirmed, and I borrowed the money to buy it, but I did it knowing I would pay it off within the duration of that job. As a freelancer that is the only scenario I would ever do something like that...&#xD;&#xA;&#xD;&#xA;I cringe when I see ads on TV for interest free loans for 24 months for technology - a lot of that technology will be worthless within 24 months, who wants to be paying off something worthless in the last months? So that would be my criteria - will the item have any resale value at the end of the loan period?&#xD;&#xA;&#xD;&#xA;Another thought - a bank loan means you can shop secondhand, which eg for mics is a valuable approach, whereas HP ties you to buying new... And just like cars, when you drive that car off the lot you just lost X% of its value instantly. (unrelated but re cars, whats that saying: 'buy the cheapest car your ego can afford')" ContentLicense="CC BY-SA 3.0" />
  <row Id="15994" PostHistoryTypeId="2" PostId="9646" RevisionGUID="e163098e-2daf-4bb6-8507-e56df389a109" CreationDate="2011-08-15T21:16:21.627" UserId="393" Text="I'm avoiding debt at all costs, and I feel it's hurting my short game.  I don't have the gear to compete even on a local level, so I'm stuck giving away handouts, so to speak. Take in mind my financial situation is a lot different than a lot of people starting out, too; I don't have a degree, and I'm the sole-provider in a single-income family of 3.&#xD;&#xA;&#xD;&#xA;Staying out of debt is all I can do to keep my head above water, some days." ContentLicense="CC BY-SA 3.0" />
  <row Id="15995" PostHistoryTypeId="2" PostId="9647" RevisionGUID="926f4887-f4b3-4990-9484-c5b94bee4bec" CreationDate="2011-08-15T21:28:35.383" UserId="1066" Text="MTV uses it on al their programs to create more drama and impact. Or they just have bad sound guys :p" ContentLicense="CC BY-SA 3.0" />
  <row Id="15996" PostHistoryTypeId="2" PostId="9648" RevisionGUID="f4cabf54-a71a-468d-9405-454516ab252e" CreationDate="2011-08-15T21:36:43.623" UserId="247" Text="The first thing that comes to mind is a church organ sound playing dissonant chords, or try glissandos up and down" ContentLicense="CC BY-SA 3.0" />
  <row Id="15997" PostHistoryTypeId="2" PostId="9649" RevisionGUID="78933373-f443-44a2-88b4-cc2bccb3cee6" CreationDate="2011-08-15T22:08:54.070" UserId="432" Text="I think it's important to assess your needs and priorities re: gear. Personally, I've never takend a loan to purchase equipment/software. I've saved up and forked over the cash in lump sums whenever I've made a purchase. It hurts, but it costs less in the long run. That waiting/saving period forces me to constantly evaluate that planned purchase and how it is going to affect my work-flow. I still maintain a prioritized list of gear and software that is kind of like a roadmap for future purchases, but it remains a mere guideline.&#xD;&#xA;&#xD;&#xA;As Tim mentioned, I think that it's important to look at the used/pre-owned market as well, and this is partly where knowing your priorities comes into play. There have been multiple occassions where a deal that was &quot;too good to pass up&quot; pings my radar. Referring back to those priorities helps me to decide if it really is too good to pass up, or if I can wait a little longer and stick with the next planned purchase. Case in point, a Waves Diamond bundle for $700. It wasn't next on my list because of it's price &quot;new,&quot; but knowing what projects I had in the queue and how that would help me convinced me to pull the trigger and ammend the list slightly. For more than $1000 under list, it was worth it.&#xD;&#xA;&#xD;&#xA;Would I consider going into debt, perhaps. Will it affect my next project in a positive manner? Does the project require it, and will it be paid for in the course of that work (ala Tim's point)? Those would lean me towards yes. Regardless, at this moment in my life, I would not consider going into debt for something that I could not pay off within a year and a half, at most. Maybe if I had people knocking down the door to work with me, and I could be certain that the cash-flow could sustain living expenses plus the debt...even then, it's still just a maybe.&#xD;&#xA;&#xD;&#xA;My 2 cents." ContentLicense="CC BY-SA 3.0" />
  <row Id="15998" PostHistoryTypeId="2" PostId="9650" RevisionGUID="151e55a5-b8df-4ee4-9eda-9f24f5da82b6" CreationDate="2011-08-15T22:26:41.340" UserId="18160" Text="I have been extremely successful with bowed glass.&#xD;&#xA;&#xD;&#xA;The last horror flick I designed there was a scary flashback that occurs. I took a couple beefy shotguns, reversed them and cut the reverse ramping up to the original tail to create a woosh and placed that in sync with the white flash that came before a gruesome picture and put the bowed glass in for the duration of the picture and then wooshed back out with similar shotguns.&#xD;&#xA;&#xD;&#xA;It was somewhat similar to the flashback that happens within the first 5 minutes of The Ring when Naomi Watts is speaking to the mother of samara's first victim in her kitchen. It flashes back to the corpse in the closet. I searched for this clip on YouTube but only came up with this, which is a funny reaction to a horror film stinger (and the exact one I mentioned from The Ring) if you fast forward to 5:12 on this video: http://www.youtube.com/watch?v=g9HXQX7F5PI  If you listen hard you can sort of hear the bowed-glass effect I'm referring to.&#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="15999" PostHistoryTypeId="5" PostId="9650" RevisionGUID="b04c1313-00af-4e9d-b869-788d85cfcde6" CreationDate="2011-08-15T22:32:33.023" UserId="18160" Comment="added 241 characters in body; added 38 characters in body; added 90 characters in body" Text="I have been extremely successful with bowed glass.&#xD;&#xA;&#xD;&#xA;The last horror flick I designed there was a scary flashback that occurs. I took a couple beefy shotguns, reversed them and cut the reverse ramping up to the original tail to create a woosh and placed that in sync with the white flash that came before a gruesome picture and put the bowed glass in for the duration of the picture and then wooshed back out with similar shotguns.&#xD;&#xA;&#xD;&#xA;It was somewhat similar to the flashback that happens within the first 5 minutes of The Ring when Naomi Watts is speaking to the mother of samara's first victim in her kitchen. It flashes back to the corpse in the closet. I searched for this clip on YouTube but only came up with this, which is an excellent reaction to a horror film stinger (and the exact one I mentioned from The Ring) if you fast forward to 5:12 on this video: http://www.youtube.com/watch?v=g9HXQX7F5PI  If you listen hard you can sort of hear the bowed-glass effect I'm referring to. I suggest you check out the movie The Ring - it has brilliant and tasteful stingers. As a side note, if you listen further at about 5:20, I really wish I could rip the recording of that you-tube video for the mother's reaction - it's so authentic! &quot;If you do that one more time I'm going to f%&amp;$^ing kill you!&quot;. Can't get that kind of realism with a loop group...&#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16000" PostHistoryTypeId="5" PostId="9650" RevisionGUID="e1c1a84d-49bd-4e23-a6ed-fbacb99e9512" CreationDate="2011-08-15T22:38:35.457" UserId="18160" Comment="added 90 characters in body" Text="I have been extremely successful with bowed glass.&#xD;&#xA;&#xD;&#xA;The last horror flick I designed there was a scary flashback that occurs. I took a couple beefy shotguns, reversed them and cut the reverse ramping up to the original tail to create a woosh and placed that in sync with the white flash that came before a gruesome picture and put the bowed glass in for the duration of the picture and then wooshed back out with similar shotguns.&#xD;&#xA;&#xD;&#xA;It was somewhat similar to the flashback that happens within the first 5 minutes of The Ring when Naomi Watts is speaking to the mother of samara's first victim in her kitchen. It flashes back to the corpse in the closet. I searched for this clip on YouTube but only came up with this, which is an excellent reaction to a horror film stinger (and the exact one I mentioned from The Ring) if you fast forward to 5:12 on this video: http://www.youtube.com/watch?v=g9HXQX7F5PI  If you listen hard you can sort of hear the bowed-glass effect I'm referring to. I suggest you check out the movie The Ring - it has brilliant and tasteful stingers. As a side note, if you listen further at about 5:20, I really wish I could rip the recording of that you-tube video for the mother's reaction - it's so authentic! &quot;If you do that one more time I'm going to f%&amp;$^ing kill you!&quot;. Can't get that kind of realism with a loop group...&#xD;&#xA;&#xD;&#xA;I use the bowed glass samples from the Vienna Symphony Library - they sound wonderful.&#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16001" PostHistoryTypeId="5" PostId="9650" RevisionGUID="7b8caa8e-c477-4607-9e5b-8cda032b1a39" CreationDate="2011-08-15T22:48:33.380" UserId="18160" Comment="added 710 characters in body; added 15 characters in body" Text="I have been extremely successful with bowed glass.&#xD;&#xA;&#xD;&#xA;The last horror flick I designed there was a scary flashback that occurs. I took a couple beefy shotguns, reversed them and cut the reverse ramping up to the original tail to create a woosh and placed that in sync with the white flash that came before a gruesome picture and put the bowed glass in for the duration of the picture and then wooshed back out with similar shotguns.&#xD;&#xA;&#xD;&#xA;It was somewhat similar to the flashback that happens within the first 5 minutes of The Ring when Naomi Watts is speaking to the mother of samara's first victim in her kitchen. It flashes back to the corpse in the closet. I searched for this clip on YouTube but only came up with this, which is an excellent reaction to a horror film stinger (and the exact one I mentioned from The Ring) if you fast forward to 5:12 on this video: http://www.youtube.com/watch?v=g9HXQX7F5PI  If you listen hard you can sort of hear the bowed-glass effect I'm referring to. I suggest you check out the movie The Ring - it has brilliant and tasteful stingers. As a side note, if you listen further at about 5:20, I really wish I could rip the recording of that you-tube video for the mother's reaction - it's so authentic! &quot;If you do that one more time I'm going to f%&amp;$^ing kill you!&quot;. Can't get that kind of realism with a loop group...&#xD;&#xA;&#xD;&#xA;I use the bowed glass samples from the Vienna Symphony Library - they sound wonderful.&#xD;&#xA;&#xD;&#xA;Other great (and sometimes cliche) stingers for horror:&#xD;&#xA;&#xD;&#xA;- Guitar amp feedback,&#xD;&#xA;- Loud chord stabs on an 80s synth - sharp high-mid frequencies&#xD;&#xA;- Boomers (Liquid Cinema to the rescue)&#xD;&#xA;- Reversed snake hiss&#xD;&#xA;- High-pitch bell or triangle with steep volume automation to make it sound like quick feedback&#xD;&#xA;&#xD;&#xA;But my all time favorite is the score for Hitchcock's Psycho. It can possibly be argued if it's technically a &quot;stinger&quot; or not, but I like to think of it as one. It's also very well known and cliche by this time; walk up to anyone on the street, make a motion like you have a knife in your hand stabbing down at something in time to &quot;Reee! Reee! Reee! Reee!!&quot; and they'll most likely know exactly what that is.&#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16002" PostHistoryTypeId="5" PostId="9650" RevisionGUID="906f6a26-e1fa-437a-9a6d-485dbc9f1c24" CreationDate="2011-08-15T22:57:36.017" UserId="18160" Comment="added 139 characters in body" Text="I have been extremely successful with bowed glass.&#xD;&#xA;&#xD;&#xA;The last horror flick I designed there was a scary flashback that occurs. I took a couple beefy shotguns, reversed them and cut the reverse ramping up to the original tail to create a woosh and placed that in sync with the white flash that came before a gruesome picture and put the bowed glass in for the duration of the picture and then wooshed back out with similar shotguns.&#xD;&#xA;&#xD;&#xA;It was somewhat similar to the flashback that happens within the first 5 minutes of The Ring when Naomi Watts is speaking to the mother of samara's first victim in her kitchen. It flashes back to the corpse in the closet. I searched for this clip on YouTube but only came up with this, which is an excellent reaction to a horror film stinger (and the exact one I mentioned from The Ring) if you fast forward to 5:12 on this video: http://www.youtube.com/watch?v=g9HXQX7F5PI  If you listen hard you can sort of hear the bowed-glass effect I'm referring to. I suggest you check out the movie The Ring - it has brilliant and tasteful stingers. As a side note, if you listen further at about 5:20, I really wish I could rip the recording of that you-tube video for the mother's reaction - it's so authentic! &quot;If you do that one more time I'm going to f%&amp;$^ing kill you!&quot;. Can't get that kind of realism with a loop group...&#xD;&#xA;&#xD;&#xA;I use the bowed glass samples from the Vienna Symphony Library - they sound wonderful.&#xD;&#xA;&#xD;&#xA;Other great (and sometimes cliche) stingers for horror:&#xD;&#xA;&#xD;&#xA;- Guitar amp feedback,&#xD;&#xA;- Loud chord stabs on an 80s synth - sharp high-mid frequencies&#xD;&#xA;- Boomers (Liquid Cinema to the rescue)&#xD;&#xA;- Reversed snake hiss&#xD;&#xA;- High-pitch bell or triangle with steep volume automation to make it sound like quick feedback&#xD;&#xA;- Cleverly used distortion - like a saw-tooth or square-wave with a huge volume automation spike in combination with some verb or delays.&#xD;&#xA;&#xD;&#xA;But my all time favorite is the score for Hitchcock's Psycho. It can possibly be argued if it's technically a &quot;stinger&quot; or not, but I like to think of it as one. It's also very well known and cliche by this time; walk up to anyone on the street, make a motion like you have a knife in your hand stabbing down at something in time to &quot;Reee! Reee! Reee! Reee!!&quot; and they'll most likely know exactly what that is.&#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16003" PostHistoryTypeId="5" PostId="9650" RevisionGUID="a7f21b05-f78c-43d5-bc2a-4f7c212f9750" CreationDate="2011-08-15T23:03:39.057" UserId="18160" Comment="added 22 characters in body" Text="I have been extremely successful with bowed glass.&#xD;&#xA;&#xD;&#xA;The last horror flick I designed there was a scary flashback that occurs. I took a couple beefy shotguns, reversed them and cut the reverse ramping up to the original tail to create a woosh and placed that in sync with the white flash that came before a gruesome picture and put the bowed glass in for the duration of the picture and then wooshed back out with similar shotguns.&#xD;&#xA;&#xD;&#xA;It was somewhat similar to the flashback that happens within the first 5 minutes of The Ring when Naomi Watts is speaking to the mother of samara's first victim in her kitchen. It flashes back to the corpse in the closet. I searched for this clip on YouTube but only came up with this, which is an excellent reaction to a horror film stinger (and the exact one I mentioned from The Ring) if you fast forward to 5:12 on this video: http://www.youtube.com/watch?v=g9HXQX7F5PI  If you listen hard you can sort of hear the bowed-glass effect I'm referring to. I suggest you check out the movie The Ring - it has brilliant and tasteful stingers. As a side note, if you listen further at about 5:20, I really wish I could rip the recording of that you-tube video for the mother's reaction - it's so authentic! &quot;If you do that one more time I'm going to f%&amp;$^ing kill you!&quot;. Can't get that kind of realism with a loop group...&#xD;&#xA;&#xD;&#xA;I use the bowed glass samples from the Vienna Symphony Library - they sound wonderful.&#xD;&#xA;&#xD;&#xA;Other great (and sometimes cliche) stingers for horror:&#xD;&#xA;&#xD;&#xA;- Guitar amp feedback,&#xD;&#xA;- Loud chord stabs on an 80s synth - sharp high-mid frequencies&#xD;&#xA;- Boomers (Liquid Cinema to the rescue)&#xD;&#xA;- Reversed snake hiss&#xD;&#xA;- High-pitch bell or triangle with steep volume automation to make it sound like quick feedback&#xD;&#xA;- Cleverly used distortion - like a saw-tooth or square-wave with a huge volume automation spike in combination with some verb or delays.&#xD;&#xA;- Electricity sounds&#xD;&#xA;&#xD;&#xA;But my all time favorite is the score for Hitchcock's Psycho. It can possibly be argued if it's technically a &quot;stinger&quot; or not, but I like to think of it as one. It's also very well known and cliche by this time; walk up to anyone on the street, make a motion like you have a knife in your hand stabbing down at something in time to &quot;Reee! Reee! Reee! Reee!!&quot; and they'll most likely know exactly what that is.&#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16004" PostHistoryTypeId="2" PostId="9651" RevisionGUID="dbf32015-e344-436a-a20b-8c8c4f7ee5ec" CreationDate="2011-08-15T23:24:02.673" UserId="845" Text="I have a theory about this. It goes back to the caveman days when the most everything thing (important, scary, useful, revered, &amp;tc.) was fire. &#xD;&#xA;&#xD;&#xA;When you distort something, what you're really doing, aside from destroying the waveform, is messing with its harmonic content. Depending on what kind of distortion you're using the harmonics that get added in can sound a lot like fire. In particular, if you use enough of it, it'll start to sound like a forest fire or a brush fire chasing you down a mountain. Now put yourself back in Neolithic times and imagine being in that situation. That's what our ape brains associate with that sound, uncontrolled and unrelentingly wild destructive POWER.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16005" PostHistoryTypeId="2" PostId="9652" RevisionGUID="14dc36fb-aa03-4dfe-9cbc-f8150f3d05ed" CreationDate="2011-08-16T00:50:34.937" UserDisplayName="user6513" Text="In The Dark Knight, there's a scene where the Joker bursts in on a party looking for Harvey Dent and then squares off against Rachel. As the camera spins around the both of them, we hear this string pull that doesn't seem to stop. It get modulated and sounds like a sine tone sometimes and siren at others. The tension is at its highest when this little gruff distortion is introduced. It's like the sound itself (if it were a reflection of Rachel's mental state) is barely holding it together and on the verge of cracking. Pretty damn awesome effect that acts as a precursor to Batman's entry." ContentLicense="CC BY-SA 3.0" />
  <row Id="16006" PostHistoryTypeId="2" PostId="9653" RevisionGUID="84791891-61ca-4227-a077-563d1d4410c1" CreationDate="2011-08-16T01:58:20.007" UserId="1266" Text="I ended up going with a combination of things starting from a detuned angel voice.  Couldn't wrap my head around glissandos and don't have access to a library with bowed glass.&#xD;&#xA;&#xD;&#xA;The tortured Piano library I thought would have been very important when I started this project but it turned out not as much as I thought though a very lovely library and I did use some of the freebie sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="16007" PostHistoryTypeId="2" PostId="9654" RevisionGUID="4498567f-d236-491c-982a-08840f3b601e" CreationDate="2011-08-16T03:36:26.980" UserId="1299" Text="Prophet 5 synthesizer; it's what John Carpenter used on all of his films. There is a soft-synth emulation called Pro-53, and so many of its sounds are great for horror films." ContentLicense="CC BY-SA 3.0" />
  <row Id="16008" PostHistoryTypeId="2" PostId="9655" RevisionGUID="340306e8-3954-44a8-b535-02f981ae3855" CreationDate="2011-08-16T04:06:32.267" UserId="194" Text="I'll echo much of what Tim said in that you really need to eval the specific gear you're looking at for it ability to hold value before you borrow money to purchase it.  The reason being that if you need to suddenly make a life-change you can sell gear that holds its value and get out of that debt quickly, but you can't do that with gear who's value plummets quickly.&#xD;&#xA;&#xD;&#xA;IMO good debt would be things like &#xD;&#xA;&#xD;&#xA; - used mics&#xD;&#xA; - used preamps&#xD;&#xA;&#xD;&#xA;IMO bad debt would be &#xD;&#xA;&#xD;&#xA; - computers&#xD;&#xA; - software&#xD;&#xA; - plug ins&#xD;&#xA; - disk based recording devices&#xD;&#xA; - headphones&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;Also, &#xD;&#xA;&#xD;&#xA;IMO a person who is starting out should acquire a basic minimal recording rig and upgrade the components of said rig over time.&#xD;&#xA;&#xD;&#xA;This means that someone just stepping in could do very well with a rig that consisted of:&#xD;&#xA;&#xD;&#xA; - an h4n&#xD;&#xA; - a pair of NT5s&#xD;&#xA; - an NTG2&#xD;&#xA; - a comp running osx and audacity&#xD;&#xA;&#xD;&#xA;As that person progresses the components of that rig could get replaced and augmented in pieces, and the future rig could look like&#xD;&#xA;&#xD;&#xA; - a 744t&#xD;&#xA; - a pair of schoeps CMC6 mics&#xD;&#xA; - a few blimps for wind protection&#xD;&#xA; - a sanken CSS-5&#xD;&#xA; - a decked out comp with PT, plugs, soundminer, etc.&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;&#xD;&#xA;The point being that you can gain a lot of basic functionality relatively cheaply these days, and can up the quality in part and pieces as time wears on without incurring any new debt." ContentLicense="CC BY-SA 3.0" />
  <row Id="16009" PostHistoryTypeId="2" PostId="9656" RevisionGUID="ba565f25-f32f-40cf-9b5b-d25cf5cf5140" CreationDate="2011-08-16T04:19:24.030" UserId="1300" Text="How do I record a binaural recording for my psychoacustic assignment. I have to do 3 for a recording.**strong text**&#xD;&#xA;You can send mme an email to jean.wilkie@student.sit.ac.nz.&#xD;&#xA;I have to do the assignment in next 4 weeks.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16010" PostHistoryTypeId="1" PostId="9656" RevisionGUID="ba565f25-f32f-40cf-9b5b-d25cf5cf5140" CreationDate="2011-08-16T04:19:24.030" UserId="1300" Text="Binaural recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="16011" PostHistoryTypeId="3" PostId="9656" RevisionGUID="ba565f25-f32f-40cf-9b5b-d25cf5cf5140" CreationDate="2011-08-16T04:19:24.030" UserId="1300" Text="&lt;binaural&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16012" PostHistoryTypeId="2" PostId="9657" RevisionGUID="de7b915c-d602-4f83-a5be-a0d3bc1f56d0" CreationDate="2011-08-16T04:38:35.353" UserId="18160" Text="Please do a search before asking a question which has been answered already. I found these in less than 3 seconds.&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/5757/binaural-recordings&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/7369/binaural-dummy-head-diy&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/377/how-do-binaural-recordings-sound-in-a-typical-stereo-situation&#xD;&#xA;&#xD;&#xA;And, to be brutally honest, an assignment from some sort of curriculum I assume would require you to do research and practical application, not a quickie &quot;tell me how to do my homework&quot; solution." ContentLicense="CC BY-SA 3.0" />
  <row Id="16013" PostHistoryTypeId="5" PostId="9657" RevisionGUID="d703a333-1b2b-465a-adb6-963f3d2f44e4" CreationDate="2011-08-16T04:56:33.807" UserId="18160" Comment="deleted 199 characters in body" Text="Please do a search before asking a question which has been answered already. I found these in less than 3 seconds.&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/5757/binaural-recordings&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/7369/binaural-dummy-head-diy&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/377/how-do-binaural-recordings-sound-in-a-typical-stereo-situation" ContentLicense="CC BY-SA 3.0" />
  <row Id="16014" PostHistoryTypeId="2" PostId="9658" RevisionGUID="75627f3e-5d4d-473c-a917-92ebd4fb6fe9" CreationDate="2011-08-16T07:08:45.713" UserId="348" Text="I use a program called cinematize which allows you to remove all the sound from a clip that you load in. I find it really useful when I am teaching and need to assign the students a sound design project. Also, there are loads of interesting short films available on the net that I found that test various levels of creativity and theory. &#xD;&#xA;&#xD;&#xA;Here is one site that explains cinematize:&#xD;&#xA;&#xD;&#xA;http://www.miraizon.com/products/products.html&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16015" PostHistoryTypeId="2" PostId="9659" RevisionGUID="180c74a6-98b2-4546-bd36-c800a07f0f79" CreationDate="2011-08-16T07:09:54.263" UserDisplayName="user80" Text="Distortion is a good way of suggesting danger. The extra complex harmonics created when you distort a sound create a displeasing sound which sounds threatening.  The more complex the sound the more dangerous it sounds.&#xD;&#xA;&#xD;&#xA;The most common technique for evoking a loud sound is to drop the general level just before the 'loud' sound so that it sounds louder by comparison.&#xD;&#xA;&#xD;&#xA;Another technique is to artificially boost the sub bass, as well as 'flash' the surrounds.  Think hearing fireworks echoing off buildings." ContentLicense="CC BY-SA 3.0" />
  <row Id="16016" PostHistoryTypeId="2" PostId="9660" RevisionGUID="f718a575-216f-4d68-887b-52d871d6a950" CreationDate="2011-08-16T07:13:55.463" UserDisplayName="user49" Text="I also remember reading about Walter Murch describing layering sounds (in a factory or something) and after a certain point it wasn't getting perceptually louder, and then he added an interior reverbant recording of someone shouting from a distance and suddenly it all felt TOO LOUD. Which speaks of making scale apparent - you can tell if someone is shouting, and if you struggle to understand them then that says a lot about the relative perceived level of the other sounds...." ContentLicense="CC BY-SA 3.0" />
  <row Id="16017" PostHistoryTypeId="2" PostId="9661" RevisionGUID="cb21e93f-7ebe-462f-8cad-ac95e454a360" CreationDate="2011-08-16T07:38:33.747" UserDisplayName="user80" Text="Omega 3 (Fish)&#xD;&#xA;&#xD;&#xA;http://www.healthyhearing.com/content/articles/Hearing-loss/Treatments/47511-Hearing-loss-treatment-fish" ContentLicense="CC BY-SA 3.0" />
  <row Id="16018" PostHistoryTypeId="2" PostId="9662" RevisionGUID="e46eb5de-8f89-4dec-b3b6-a71aeb1a3852" CreationDate="2011-08-16T07:45:04.140" UserDisplayName="user80" Text="Reversed speech is very effective, especially if you use latin." ContentLicense="CC BY-SA 3.0" />
  <row Id="16019" PostHistoryTypeId="2" PostId="9663" RevisionGUID="5dbec52d-0034-4f7d-af9f-5ea27666d5ea" CreationDate="2011-08-16T07:57:34.790" UserId="396" Text="Perhaps it's also a crossover from the world of music production. Distortion/saturation is pretty widely used to get that sense of loudness, regardless of playback volume, in music these days." ContentLicense="CC BY-SA 3.0" />
  <row Id="16020" PostHistoryTypeId="2" PostId="9664" RevisionGUID="080e948d-6a33-4476-8407-5679970124b2" CreationDate="2011-08-16T08:26:16.737" UserId="62" Text="Thankfully I've never had to get into debt for equipment. I've bought two systems in my career so far and each time has been bought so I can do a particular job I've got. I agree with Tim that you need to be careful as a freelancer but there are times you have to have the tools for the job.&#xD;&#xA;&#xD;&#xA;Do you need something vs do you want something?&#xD;&#xA;&#xD;&#xA;That said I have bought a few toys recently that I didn't need but were in various sales and at a price I could afford, their normal RRP being way too high.&#xD;&#xA;&#xD;&#xA;Others here also mention (and I agree) that you get an awful lot for little money these days. I'd love some of the recording gear others use but as I don't need to do a lot of recording for work I am happy with my extremely cheap H1 for now. I also find that limitations force you to approach problems with a healthy attitude. Throwing money at a problem isn't always the best option." ContentLicense="CC BY-SA 3.0" />
  <row Id="16021" PostHistoryTypeId="5" PostId="9636" RevisionGUID="fc67976b-8e2d-430c-ac7d-9a41faa86ad6" CreationDate="2011-08-16T10:21:21.667" UserId="845" Comment="added 143 characters in body" Text="I expect to get very few responses for this one because it's such a personal and difficult topic, but I think the experiences of the people here could be very informative.&#xD;&#xA;&#xD;&#xA;While there seem to be many well established SDers on this board, I have a sneaking suspicion that there are just as many who are kicking on doors just trying to get a foot in.  Even the established guys/gals were once out trawling for XP, so although we're at different paragraphs, at least we're all on the same page.&#xD;&#xA;&#xD;&#xA;Gear, gear, gear, gear, gear.  Love it and hate it and covet it, we all do.  I like it, I want it, I *need* it.  So many wonderful toys, and people use words like '*essential*', '*must have*', '*makes those noisy recordings sound like an angel's tear falling from heaven to land on the silk ribbon tied through a unicorn's hair*' ; Izotope RX2, Sound Toys, MKH-416s, SD788s, Scheopps this, and Waves Platinum that.&#xD;&#xA;&#xD;&#xA;While part of my brain is able to read conversations and reviews of these sexy sound objects from an abstracted, *wouldn't that be glorious?* kind of standpoint, there is a still larger part that feels that I'm somehow less able to do good work than the dudettes who have all that stuff.&#xD;&#xA;&#xD;&#xA;The real problem is that you need *something* to get started with.  You wanna make a sandwich, you're gonna need some bread.  But a $1 item when your bank account is $0 might as well be worth a million times more.  &#xD;&#xA;&#xD;&#xA;Enter the Credit Card or the Line of Credit, and voila, the toy chest opens and the world is your free-money oyster.&#xD;&#xA;&#xD;&#xA;So, as a young person who is just beginning to plant his feet, my question is: Have you ever gone into debt - heavily or otherwise - for the sake of buying gear or renting space?  and was it worth it?  Did you make it out ok? or did it all go terribly wrong?&#xD;&#xA;&#xD;&#xA;Horror stories and hero stories are welcome in kind.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;EDIT: You guys are awesome!  I really didn't expect any answers at all. This is all extremely helpful. Keep em coming. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16022" PostHistoryTypeId="2" PostId="9665" RevisionGUID="5faefc86-288d-407e-a305-26e2cb64a991" CreationDate="2011-08-16T11:39:43.280" UserId="999" Text="This is really difficult, and I know I stuggle being a gear head and always feel like getting a new piece of gear will complete my set-then something else comes along.&#xD;&#xA;&#xD;&#xA;I think I learnt an important lesson though when I started buying lots of music gear that it's so much better to buy good/expensive gear from the off-set. Then if you really need to you can pretty much always sell it again (if you have looked after it well) for a good price.&#xD;&#xA;&#xD;&#xA;I bought a V-Synth XT a while ago for £900 and sold it recently for £800, i'd had it for 2 years so it effectively become a £50per year loan-which is more than manageable+ plus i got to have it/learn it properly etc.&#xD;&#xA;&#xD;&#xA;I also buy all my gear used if they are in good condition and never really had a problem with that.&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16023" PostHistoryTypeId="2" PostId="9666" RevisionGUID="ca2ff190-ce88-4c51-b0c4-5d7955c69e88" CreationDate="2011-08-16T11:42:12.237" UserId="999" Text="I took a big guitar capo through customs in Belgium once and spent an hour convincing them it wasn't a knuckle duster - they didn't care at all about my Rode/Fostex/Laptop/Blimp/XLR's/Headphones." ContentLicense="CC BY-SA 3.0" />
  <row Id="16024" PostHistoryTypeId="2" PostId="9667" RevisionGUID="9df1306a-e398-4024-822b-c1c738add8f0" CreationDate="2011-08-16T12:47:59.557" UserId="726" Text="Hi all&#xD;&#xA;&#xD;&#xA;I appreciate that every audio project is different, but I was wondering how audio is captured and what is the general audio workflow signal on bigger budget drama/tv productions? I have only ever been involved in low budget shorts, where I've boom-opped and recorded the audio straight into my audio recorder. I then wait for the edit lock, receive the video file with the on-board camera sound, strip out the audio, then go about building the sound from there.&#xD;&#xA;&#xD;&#xA;I've never used timecode, or lav mics, or a mixer on set. Just a Rode NTG2 into a Zoom H4n, then editing using Logic Pro. I'm just wondering if anyone with experience of bigger budget drama/tv productions could perhaps shed some light for me?&#xD;&#xA;&#xD;&#xA;Thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="16025" PostHistoryTypeId="1" PostId="9667" RevisionGUID="9df1306a-e398-4024-822b-c1c738add8f0" CreationDate="2011-08-16T12:47:59.557" UserId="726" Text="Audio Workflow for Drama Production" ContentLicense="CC BY-SA 3.0" />
  <row Id="16026" PostHistoryTypeId="3" PostId="9667" RevisionGUID="9df1306a-e398-4024-822b-c1c738add8f0" CreationDate="2011-08-16T12:47:59.557" UserId="726" Text="&lt;television&gt;&lt;audio-drama&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16027" PostHistoryTypeId="2" PostId="9668" RevisionGUID="185cf613-6a54-4c58-ae34-a3bcfafbd09e" CreationDate="2011-08-16T13:04:52.993" UserId="432" Text="Having done this a couple of times now for work, I can provide an answer...but you're probably not going to like it. As Nathan mentioned, it depends on the country. It also depends on the work you'll be doing while in country. That's the short version.&#xD;&#xA;&#xD;&#xA;If you're traveling with a small amount of your own gear (by that, I mean fits in the suitcase with your clothes)...and plan to carry it back out with you...then you're probably not going to have any customs issues. Once film licenses start getting involved when traveling as part of a crew, things begin to get a bit more complicated. In those instances, it's rare that I haven't had to declare gear on the way in and out, with some form of itemized list, and have it randomly inspected. We've never had to pay import duties in those cases, but there are frequently customs fees that need to be paid (on the way in, way out, or both).&#xD;&#xA;&#xD;&#xA;We've always travelled with our gear, but from what I've seen...the shipping option that many people use now ends up very similar. They just don't have to deal with flight-checking gear and customs immediately after long flights. There's always paperwork involved in those cases, and the required paperwork varies based on the nations involved (note the plural!!). Most countries have some sort of customs information available online for film/media crews. They're not always easy to find, and it may be in your interest to contact an embassy/consulate if you're having trouble.&#xD;&#xA;&#xD;&#xA;As to your other question, import duties are expected for any purchases made outside of the country they're coming into (provided they're not going back out with the person who brought them in). The U.S. provides a personal allowance (can't remember if it's $500 or $1000) on purchases brought back during travel before they start charging import duties. I don't know if other countries do this or not. If your girlfriend has declared it at some point during the travel, there is a possibility that she'll be checked for it (definitely if she gets pulled for a random screening). If she doesn't have it, she'll need a solid excuse (i.e. physical copy of a police report) or she could get in trouble. I have no idea what those kinds of fines are like.&#xD;&#xA;&#xD;&#xA;It's a quagmire to be sure. Hope this helps a little." ContentLicense="CC BY-SA 3.0" />
  <row Id="16028" PostHistoryTypeId="2" PostId="9669" RevisionGUID="c2d5976b-04bd-4017-829b-7e62ff6c4130" CreationDate="2011-08-16T13:24:25.007" UserId="6420" Text="I'd recommend some books such as John Purcell's on Dialogue Editing for Motion Picture or David Yewdalls Motion Picture Sound book for reference. &#xD;&#xA;&#xD;&#xA;Think there may be similar threads on here if you do a quick search too. &#xD;&#xA;&#xD;&#xA;In general the bigger budget shows will capture sound separately to video/film. This dual system allows more flexibility and general increase in quality. The sound mixer will record a mix for the editor on set that can be used as a guide in addiion to recording isolated tracks (such as boom or lav combos etc ). When picture is edited the sound editor/dialogue editor crafts the dialogue audio tracks from perhaps an OMF and alt/wildtrack recordings in the DAW (often Pro Tools). Removing noises, smoothing shot transitions, using fill etc all come in to play. The dialogue (Dx) is premixed for mixing later along with the other elements such as Foley, BG's, ADR, music in the final mix. &#xD;&#xA;&#xD;&#xA;Could go on a lot more but typing on an iPhone is quite tedious! lol&#xD;&#xA;&#xD;&#xA;Needless to say it's a big subject and those more experienced than me will no doubt chip in with more detail :)&#xD;&#xA;&#xD;&#xA;Hope that helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16029" PostHistoryTypeId="2" PostId="9670" RevisionGUID="27aae219-a39b-405f-b447-3326530aa7e0" CreationDate="2011-08-16T13:45:07.890" UserId="407" Text="One of the most interesting articles I have read recently is the [link text][1]interview with Martin Andersen about the sounds for Limbo, I guess a lot of you guys have also seen it. From what I understand - he creates all his games sounds at their relative volume, then runs all his them through the same analogue gear with the same settings. This means the louder the designed sound is the more it distorts which means it is also perceived as louder still, and vice versa for quiet sounds. Great way of creating 'dynamic range'.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2011/08/limbo-exclusive-interview-with-martin-stig-andersen/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16030" PostHistoryTypeId="2" PostId="9671" RevisionGUID="2af8000c-6184-474e-bc3b-5f3cfdf48a42" CreationDate="2011-08-16T15:12:56.270" UserDisplayName="user80" Text="Drama productions vary from only using what was picked up live by the mics on set in front of the audience with sound effects played in as live cues, to an exact replication of the film production workflow, it is more a case of budget." ContentLicense="CC BY-SA 3.0" />
  <row Id="16031" PostHistoryTypeId="5" PostId="9671" RevisionGUID="5ffd4d6a-0813-4ffb-9c08-d63143859146" CreationDate="2011-08-16T15:20:13.753" UserDisplayName="user80" Comment="added 551 characters in body; added 10 characters in body" Text="Drama productions vary from only using what was picked up live by the mics on set in front of the audience with sound effects played in as live cues, to an exact replication of the film production workflow, it is more a case of budget.&#xD;&#xA;&#xD;&#xA;On a bigger budget it is generally closer to a film that wants to use as much production sound as possible.  ADR will only be used for mistakes, and foley and other sound effects will be 'light touch' so that everything sounds 'natural'.  This is obviously not the case with Sci-fi or fantasy.&#xD;&#xA;&#xD;&#xA;With television you have to be very careful with sounds that could cause television speakers to distort, and dialogue clarity is much more important as you have a wider range of viewers.&#xD;&#xA;&#xD;&#xA;So basically for a big budget tv production it is generally film lite." ContentLicense="CC BY-SA 3.0" />
  <row Id="16032" PostHistoryTypeId="2" PostId="9672" RevisionGUID="adb15632-b0c7-4630-a8f2-3557e797683c" CreationDate="2011-08-16T15:29:35.920" UserDisplayName="user80" Text="Optn+Shft+3 (Consolidate selection) &amp; Cmnd+F (Create Fades)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16033" PostHistoryTypeId="16" PostId="9672" RevisionGUID="adb15632-b0c7-4630-a8f2-3557e797683c" CreationDate="2011-08-16T15:29:35.920" UserId="-1" />
  <row Id="16034" PostHistoryTypeId="2" PostId="9673" RevisionGUID="7d5a4c65-8182-4591-9657-19122444155d" CreationDate="2011-08-16T17:30:13.490" UserId="1302" Text="Fostex just came out with a really handy piece of hardware. Stereo set of condenser mics and all. FOSTEX AR-4i Audio Interface for iPhone 4 Have a look http://ipadloops.com/field-recording-for-iphone/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ipadloops.com/wp-content/uploads/2011/08/Fostex-iPhone-Mic2.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="16035" PostHistoryTypeId="2" PostId="9674" RevisionGUID="04572206-aa11-4576-ae44-8454c395c2d3" CreationDate="2011-08-16T17:47:54.493" UserId="18160" Text="Hi Andrew!&#xD;&#xA;&#xD;&#xA;I think it's a great way to make something appear louder.&#xD;&#xA;&#xD;&#xA;I was assistant engineer on a rock album and I turned to tell the mixer that the level went into the red in Pro Tools while we were running off and he laughed and said &quot;That's great! Extra harmonics!&quot;&#xD;&#xA;&#xD;&#xA;I think tastefully done distortion can add extra harmonics and appear louder to the listener when it wasn't before." ContentLicense="CC BY-SA 3.0" />
  <row Id="16036" PostHistoryTypeId="5" PostId="9674" RevisionGUID="d4839b73-d1bd-4fa9-85fb-36e041f779dc" CreationDate="2011-08-16T17:54:01.387" UserId="18160" Comment="added 403 characters in body" Text="Hi Andrew!&#xD;&#xA;&#xD;&#xA;I think it's a great way to make something appear louder.&#xD;&#xA;&#xD;&#xA;I was assistant engineer on a rock album and I turned to tell the mixer that the level went into the red in Pro Tools while we were running off and he laughed and said &quot;That's great! Extra harmonics!&quot;&#xD;&#xA;&#xD;&#xA;I think tastefully done distortion can add extra harmonics and appear louder to the listener when it wasn't before.&#xD;&#xA;&#xD;&#xA;I also loved the interview with Greg P. Russell where he talked about Salt and that to have a movie volume at 10 just makes it sound like a wall of sound with no dynamics. But if you drop it down to about 6 or 7 for the majority and the really loud parts go to 10 or 11 even, that will create a much bigger impact and sound much louder than trying to have everything as loud as it could possibly be." ContentLicense="CC BY-SA 3.0" />
  <row Id="16037" PostHistoryTypeId="2" PostId="9675" RevisionGUID="f9430bec-b104-4b62-952e-e3558db8cef9" CreationDate="2011-08-16T18:01:48.867" UserId="264" Text="The trend may be a reflection of what we have come to expect from common audio and video recordings. Take most any video on YouTube related to explosions and other loud sounds, and there is going to be distortion. Even though this is not be how it sounds in the real world, it may be what we have come to expect. Same as what Tim brought up about Burt's rocket engines. Every official recording of a rocket launch that we have seen has that huge, chunky distortion sound. Trying to make it sound clean and &quot;real&quot; would be like replacing a cow's moo with a &quot;quack&quot;; it just wouldn't sound natural to our trained minds." ContentLicense="CC BY-SA 3.0" />
  <row Id="16038" PostHistoryTypeId="5" PostId="9675" RevisionGUID="e00d5931-637b-4ff2-897b-9ba22dd599c3" CreationDate="2011-08-16T20:06:27.627" UserId="264" Comment="grammar correction." Text="The trend may be a reflection of what we have come to expect from common audio and video recordings. Take most any video on YouTube related to explosions and other loud sounds, and there is going to be distortion. Even though this is not how it sounds in the real world, it may be what we have come to expect. Same as what Tim brought up about Burt's rocket engines. Every official recording of a rocket launch that we have seen has that huge, chunky distortion sound. Trying to make it sound clean and &quot;real&quot; would be like replacing a cow's moo with a &quot;quack&quot;; it just wouldn't sound natural to our trained minds." ContentLicense="CC BY-SA 3.0" />
  <row Id="16039" PostHistoryTypeId="5" PostId="9657" RevisionGUID="c7653abc-17de-43b1-9977-0f57b0beb95b" CreationDate="2011-08-16T20:20:42.000" UserId="18160" Comment="added 19 characters in body; added 40 characters in body" Text="Welcome to SSD.&#xD;&#xA;&#xD;&#xA;Please do a search before asking a question which has been answered already. I found these in less than 3 seconds that will most likely be helpful to you.&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/5757/binaural-recordings&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/7369/binaural-dummy-head-diy&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/377/how-do-binaural-recordings-sound-in-a-typical-stereo-situation" ContentLicense="CC BY-SA 3.0" />
  <row Id="16040" PostHistoryTypeId="2" PostId="9676" RevisionGUID="6c27246d-1e7c-4d16-98b7-fd3e09e49f07" CreationDate="2011-08-16T21:54:17.943" UserId="61" Text="This just in:&#xD;&#xA;&#xD;&#xA;http://www.lvrj.com/business/mgm-resorts-seeks-clark-county-approval-to-implode-harmon-tower-127762883.html&#xD;&#xA;&#xD;&#xA;There's no date listed for when this may happen, but could be a cool opportunity for a bunch of West coast (but not limited to) SSD folks to meet up and trade recordings after the fact?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16041" PostHistoryTypeId="1" PostId="9676" RevisionGUID="6c27246d-1e7c-4d16-98b7-fd3e09e49f07" CreationDate="2011-08-16T21:54:17.943" UserId="61" Text="Opportunity to record a building implosion" ContentLicense="CC BY-SA 3.0" />
  <row Id="16042" PostHistoryTypeId="3" PostId="9676" RevisionGUID="6c27246d-1e7c-4d16-98b7-fd3e09e49f07" CreationDate="2011-08-16T21:54:17.943" UserId="61" Text="&lt;field-recording&gt;&lt;community&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16043" PostHistoryTypeId="2" PostId="9677" RevisionGUID="19cb5233-4b1d-4776-aa45-edcdc26ae511" CreationDate="2011-08-16T23:59:09.617" UserId="1291" Text="Rode Dead Kitten fits fine.&#xD;&#xA;&#xD;&#xA;http://www.sweetwater.com/store/detail/DeadKitten" ContentLicense="CC BY-SA 3.0" />
  <row Id="16044" PostHistoryTypeId="2" PostId="9678" RevisionGUID="7413cfa7-a580-4de3-9f0f-5ef61032195c" CreationDate="2011-08-17T00:42:31.347" UserId="1303" Text="Hi there,&#xD;&#xA;&#xD;&#xA;Wonder if anyone has experimented with wire/rope vibration or tension that is non metal? Basically anything that doesn't sound like guitar strings but convey's tension or vibration?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16045" PostHistoryTypeId="1" PostId="9678" RevisionGUID="7413cfa7-a580-4de3-9f0f-5ef61032195c" CreationDate="2011-08-17T00:42:31.347" UserId="1303" Text="Non metal wire/rope/string tension" ContentLicense="CC BY-SA 3.0" />
  <row Id="16046" PostHistoryTypeId="3" PostId="9678" RevisionGUID="7413cfa7-a580-4de3-9f0f-5ef61032195c" CreationDate="2011-08-17T00:42:31.347" UserId="1303" Text="&lt;sound-effects&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16047" PostHistoryTypeId="2" PostId="9679" RevisionGUID="0fdb91df-d160-4e47-9afe-ade90e4ce134" CreationDate="2011-08-17T01:02:09.283" UserId="103" Text="Try twisting a hemp rope or squeezing a leather jacket" ContentLicense="CC BY-SA 3.0" />
  <row Id="16048" PostHistoryTypeId="2" PostId="9680" RevisionGUID="4bd1bb57-e686-436a-9bda-a0650172b557" CreationDate="2011-08-17T01:18:23.537" UserId="393" Text="The ruler-off-the-edge-of-your-desk technique (which has a lot more hyphens in it than I'd expected), or just general wood tension, can be used to accent the tightest points of the tension.  Any sort of humming can represent a constant vibration, too.&#xD;&#xA;&#xD;&#xA;And don't forget springs -- screen and garage doors and old car hoods generally have nice creaky ones." ContentLicense="CC BY-SA 3.0" />
  <row Id="16049" PostHistoryTypeId="2" PostId="9681" RevisionGUID="9c3c245c-8702-442e-a9a8-79a9c6432782" CreationDate="2011-08-17T01:38:39.203" UserId="432" Text="stretching layered rubber can provide some interesting textures. i.e. latex gloves or balloons...just watch out if you stretch them too far. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16052" PostHistoryTypeId="2" PostId="9683" RevisionGUID="cc769c9c-99cc-48b1-a335-1d2d9c2f2eed" CreationDate="2011-08-17T03:50:29.523" UserId="61" Text="I had some great success scraping a variety of sharp objects over a large sheet of plexiglass, and micing from underneath." ContentLicense="CC BY-SA 3.0" />
  <row Id="16053" PostHistoryTypeId="2" PostId="9684" RevisionGUID="af5bf2ed-b881-4c0e-81ba-ddf0c0a75568" CreationDate="2011-08-17T04:57:47.037" UserId="194" Text="leather gloves and a medium width tree branch with loose bark.  maybe wrap some rope around it for leverage and twist away." ContentLicense="CC BY-SA 3.0" />
  <row Id="16054" PostHistoryTypeId="2" PostId="9685" RevisionGUID="ed0a89c5-1813-42e4-8df7-ce82be816395" CreationDate="2011-08-17T05:16:08.877" UserId="531" Text="Hello my fellow Sound Friends!&#xD;&#xA;I come to you with a curious situation. &#xD;&#xA;&#xD;&#xA;So two nights ago while shooting a short film at some ungodly hour, my NTG3 craps out. &#xD;&#xA;Prior to fully not working, it started sputtering static here and there. I was recording into a 744t, and thought the cabling might be loose, so i jiggled it around here and there, but it didn't fix it. &#xD;&#xA;Then the signal just cuts out completely. Luckily there was a back up mic and I was able to finish the night. &#xD;&#xA;&#xD;&#xA;So today I test the mic at home, and what do you know. It works!&#xD;&#xA;However I think the mic sounds differently now, like the mic is required to be closer to your mouth to get the same amount of presence. &#xD;&#xA;Who knows, maybe i'm just psyching my self out. &#xD;&#xA;&#xD;&#xA;Has anyone else had this problem with their mics in the past? &#xD;&#xA;Could my mic some how be damaged? &#xD;&#xA;Thanks for your time!&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;-Kevin " ContentLicense="CC BY-SA 3.0" />
  <row Id="16055" PostHistoryTypeId="1" PostId="9685" RevisionGUID="ed0a89c5-1813-42e4-8df7-ce82be816395" CreationDate="2011-08-17T05:16:08.877" UserId="531" Text="Rode NTG3 dies on set, and now its working again. Should I be worried? " ContentLicense="CC BY-SA 3.0" />
  <row Id="16056" PostHistoryTypeId="3" PostId="9685" RevisionGUID="ed0a89c5-1813-42e4-8df7-ce82be816395" CreationDate="2011-08-17T05:16:08.877" UserId="531" Text="&lt;ntg3&gt;&lt;mic&gt;&lt;failure&gt;&lt;damage&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16057" PostHistoryTypeId="2" PostId="9686" RevisionGUID="a01a81fe-51ad-4ea0-a8fa-34d09a5142e6" CreationDate="2011-08-17T05:19:22.870" UserId="194" Text="I'm not in the neighborhood, but I can offer some advice [from experience][1]&#xD;&#xA;&#xD;&#xA; - demolition TNT is incredibly loud.  I mean INCREDIBLY LOUD!!!  Even if you've personally fired a really large gun, rest easy in the knowledge that you have no idea how much explosive force you're dealing with.  If you have mic pads, use them.  If you have front end pads, use them.  Do anything you can to avoid post A/D limiting or clipping, because it'll suck.  The TX stadium implosion was spl unlike any I've ever experienced before or since, and it ended up waking my wife out of bed from our home 7 miles away.  No manner of rifle will do that, so be advised.&#xD;&#xA;&#xD;&#xA; - actually, don't engage your limiter.  just let that sucker clip.&#xD;&#xA;&#xD;&#xA; - have one &quot;detail&quot; mic that will run completely distorted through the initial blasts but will be properly gainstaged for verb and building crumble as the blasts finish up.&#xD;&#xA;&#xD;&#xA; - bring omni mics to get the low end right.&#xD;&#xA;&#xD;&#xA; - prescout for crowd-minimal environs.  Most demo companies don't tend to advertise when they'll be imploding buildings because they don't want to have to deal with crowd control.  When they do advertise they tend to draw crowds and news coverage (sometimes helicopters as well)  In the case of this specific building, I'd wager that the best bet is to be in a nearby hotel, since its on the strip anyway.  Just be absoulutely sure well in advance that they won't clear you out of wherever you end up recording during the actual implosion.    (I ran into that when I did TX stadium) &#xD;&#xA;&#xD;&#xA; - don't bother filming if you're going to need to be mobile.  There'll be tons of footage from others.&#xD;&#xA;&#xD;&#xA; - run every mic you have at the thing, even if they're all basically from the same perspective.  Also, try pointing some mics away from the building if channels allow.  The reason being that spls of that magnitude affect both air and your mics very differently. Reverberations will be incredibly loud, and several reverb channels   Having as many channels as you can swing will give you the best options to play with after the fact.&#xD;&#xA;&#xD;&#xA; - if you can, coordinate with another recordist for a perspective from at least 1 mile away (and maybe out of eyeline around a building corner).  The sound **will** travel that far and still be incredibly loud, and reverb of that nature will probably end up being the coolest thing to come from the shoot.&#xD;&#xA;&#xD;&#xA; - be prepared for the implosion date to move at a moments notice.&#xD;&#xA;&#xD;&#xA; - enjoy yourself.  this is cool stuff!&#xD;&#xA;  [1]: http://www.gearslutz.com/board/post-production-forum/483127-tx-stadium-implosion.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="16058" PostHistoryTypeId="2" PostId="9687" RevisionGUID="970ee0ae-c68c-4156-ab10-cd867f4a2b9d" CreationDate="2011-08-17T06:05:02.210" UserId="18160" Text="I've had this happen to mics in humid areas. Was it wet and damp that night when you were shooting? I was also in Russia not too long ago on a gig and my podium mics stopped working due to the cold (1 degree F).&#xD;&#xA;&#xD;&#xA;It's possible it's a cable issue.&#xD;&#xA;&#xD;&#xA;If you've got time, I'd take it into the nearest equipment store to AB with another brand new one if you really want to put your mind at ease, but the NTG3 is supposed to be designed to be very rugged and resilient to climate.&#xD;&#xA;&#xD;&#xA;Were you using the same cable when you tested it at home? And the same recorder?&#xD;&#xA;&#xD;&#xA;I'd try a different mic on the same channel (if you haven't already) and swap cables too to narrow down your reasons, but each time you swap something, swap only one thing so you have a running record in case the problem comes back and you know exactly what just changed.&#xD;&#xA;&#xD;&#xA;But, if it were me, I'd see if it's under warranty and get it replaced - mics are not something you want to have fail on you for sure." ContentLicense="CC BY-SA 3.0" />
  <row Id="16059" PostHistoryTypeId="2" PostId="9688" RevisionGUID="bc018400-ae16-490b-be6a-edfea538e90b" CreationDate="2011-08-17T06:25:07.093" UserId="670" Text="Crazy! The same thing happened to me while I was shooting up in Big Sur. Like Utopia said, I would get it checked out, especially if it's under warranty. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16060" PostHistoryTypeId="2" PostId="9689" RevisionGUID="485a583e-e1e8-4836-b7e0-f6b847c73674" CreationDate="2011-08-17T06:46:59.537" UserId="6499" Text="I am on a shoot using a 416 as my boom running into an SD 302 mixer and then down to a tascam HD P2  for record.  Beginning of the day I had great signal coming from the shotgun,  as the day progressed it seems that I had to increase my preamp more and more to get the same signal.  By the end of the day the 302 gain was almost at max with the channel output also near max just to the get same signal level outputting as the beginning of the day, but now with tons of system noise.  My 416 is relatively new, less than a year, and I have mainly used it for SFX recording with the occasional eng or short film gig.  Most of the day, the mic was in a rycote lyre mount with zeppelin and dead cat.&#xD;&#xA;&#xD;&#xA;Does this sound like a humidity problem?  I am in New Orleans so high humidity is present, but I thought the 416 was designed to go through hell and high water.  &#xD;&#xA;&#xD;&#xA;As far as tone and timbre of the mic, it seemed the sibilance became much greater as the day progressed.&#xD;&#xA;&#xD;&#xA;I thought it may be a low battery situation on the 302, but fresh AAs did not do anything.  Changed cables and even put the questionable cables through cable tester and that was not the issue.  I did not check the channel on the mixer though.&#xD;&#xA;&#xD;&#xA;I ask because I have yet to hear with my own ears the effects of humidity on a mic.  Is there something I can do to help this situation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16061" PostHistoryTypeId="1" PostId="9689" RevisionGUID="485a583e-e1e8-4836-b7e0-f6b847c73674" CreationDate="2011-08-17T06:46:59.537" UserId="6499" Text="Problems with MKH 416 - Humidity maybe?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16062" PostHistoryTypeId="3" PostId="9689" RevisionGUID="485a583e-e1e8-4836-b7e0-f6b847c73674" CreationDate="2011-08-17T06:46:59.537" UserId="6499" Text="&lt;mkh&gt;&lt;416&gt;&lt;humidity&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16063" PostHistoryTypeId="2" PostId="9690" RevisionGUID="6dac29c1-d185-47e4-86f1-36288cd5071e" CreationDate="2011-08-17T07:14:24.340" UserId="2" Text="I'm not really sure whether it's a humidity issue, but I doubt it. I have the stereo brother of your 416 and I've used it for years and in seriously humid spots. Maybe someone with more expertise can answer that part. &#xD;&#xA;&#xD;&#xA;If I were you, I'd go to a gear house or a friend with a mic that requires phantom power and bring that mixer too and another 302 if you can. Then test all the combinations, see if it's the mic the issue, if not then it might be the phantom power on the 302, try both channels, etc. At least you'll know for certainty if it's an issue with your mic or the mixer. My gut says it's a mixer problem. &#xD;&#xA;&#xD;&#xA;Chances are, everything will work when you do the tests!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16064" PostHistoryTypeId="2" PostId="9691" RevisionGUID="6f74dd37-4a85-40c6-90fa-13aea333d41f" CreationDate="2011-08-17T07:15:22.877" UserDisplayName="user80" Text="Moisture is a big problem for mics, it sounds like the mic diaphragm has become saturated.  This is a problem that you normally find in studios with artists who spray all over the mic.  Air drying the diaphragm will bring the mic back to almost normal spec, there will be some small particles still stuck to the diaphragm, which will need to be cleaned off.  The particles are making the diaphragm heavier and stiffer making it vibrate less, and therefore less sensitive.&#xD;&#xA;&#xD;&#xA;Read the link below before you try and clean the diaphragm.&#xD;&#xA;&#xD;&#xA;http://www.josephson.com/clean.txt" ContentLicense="CC BY-SA 3.0" />
  <row Id="16065" PostHistoryTypeId="2" PostId="9692" RevisionGUID="5eb6d374-9f06-4332-b704-329283a1ae90" CreationDate="2011-08-17T07:34:50.050" UserId="1228" Text="I've had some success with rope tension using a green cabbage.  Just slice a cabbage in half and dig your fingers in to play around with it.  This technique should be handled with care though because it's very easy to &quot;overwork' it.  Then in ProTools roll off the highs so it's not so bright." ContentLicense="CC BY-SA 3.0" />
  <row Id="16066" PostHistoryTypeId="2" PostId="9693" RevisionGUID="8b53392f-b14f-4bc0-8050-0412f03c3182" CreationDate="2011-08-17T10:16:53.230" UserId="7811" Text="sounds like a phantom power issue. as @Andrew suggests, check the rig with other mics and see if you get similar issues." ContentLicense="CC BY-SA 3.0" />
  <row Id="16067" PostHistoryTypeId="2" PostId="9694" RevisionGUID="7ab30bfa-c9c2-487f-8c05-608bcd598458" CreationDate="2011-08-17T11:19:10.890" UserId="863" Text="I have had this problem with my RODE NTG-3, it seems an early batch of NTG-3s were faulty.&#xD;&#xA;&#xD;&#xA;Rode have a 10 year warranty so just send it back and ask them to give you a new one. I asked for a brand new one with a much later serial to my original and I tested it in the fridge and outdoors in Winter and it worked.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;You probably just have a faulty one.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16068" PostHistoryTypeId="2" PostId="9695" RevisionGUID="019190fb-9e86-4ea1-9df9-7f244c32c888" CreationDate="2011-08-17T14:52:47.870" UserId="393" Text="Overall, it feels like a random smattering of sound effects floating over music with nothing to tie it all together.&#xD;&#xA;&#xD;&#xA;In the Ratatoullie section, there needs to be more kitchen sounds -- it's not an empty kitchen, but by the sound of it there's no one in there cooking at all and the restaurant is completely empty.  Kitchens have LOTS of fan noise, too, for all the vents to take the smoke and steam out of the room.  Fridges hum, that pot should be audibly boiling, the hiss from the gas should be present the entire time (just mixed down).&#xD;&#xA;&#xD;&#xA;In the Homenaje, I would do something to accent the callousness of the scissors snipping the fingernails, and when he bites off the rest of it the click sounds like what HE would hear, not what WE would hear.  Again, it needs more atmos.  The gunshot should be louder, because gun shots are CRAAAAZY loud in real life (also, a dryfire mixed in does wonders for realism).&#xD;&#xA;&#xD;&#xA;As for the demo, and the woosh sounds for the text leaving the scene gets in the way of the design of the scene itself.  I would do separate reels for music and sound -- this reel feels more like a music demo than anything.  &#xD;&#xA;&#xD;&#xA;Finally, the &quot;view the whole scene&quot; text in the Ratatoullie section bugs the crap out of me; if I was watching your reel to select you as my sound designer, I wouldn't want to stop in the middle to go watch another video, and I wouldn't want to scroll back to the beginning to find the link. I'd just take that out completely.&#xD;&#xA;&#xD;&#xA;All in all, though, good job.  You're farther ahead than I am -- I still haven't finished my damn reel -- but I feel like you should have been posting the individual clips over the last year to ask for critiquing.  I'd probably feel like less of a jerk, that way. :p&#xD;&#xA;&#xD;&#xA;Oh, and welcome to SSD!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16069" PostHistoryTypeId="5" PostId="9695" RevisionGUID="955c82c2-a19e-4c18-afc6-f167d63ba683" CreationDate="2011-08-17T14:59:50.570" UserId="393" Comment="deleted 4 characters in body; added 81 characters in body" Text="Overall, it feels like a random smattering of sound effects floating over music with nothing to tie it all together.&#xD;&#xA;&#xD;&#xA;In the Ratatoullie section, there needs to be more kitchen sounds -- it's not an empty kitchen, but by the sound of it there's no one in there cooking at all and the restaurant is completely empty.  Kitchens have LOTS of fan noise, too, for all the vents to take the smoke and steam out of the room.  Fridges hum, that pot should be audibly boiling, the hiss from the gas should be present the entire time (just mixed down).&#xD;&#xA;&#xD;&#xA;In the Homenaje, I would do something to accent the callousness of the scissors snipping the fingernails, and when he bites off the rest of it the click sounds like what HE would hear, not what WE would hear.  Again, it needs more atmos.  The gunshot should be louder, because gun shots are CRAAAAZY loud in real life (also, a dryfire mixed in does wonders for realism).  Also, the Foley seems TOO loud, especially the cloth movement.&#xD;&#xA;&#xD;&#xA;As for the demo, the woosh sounds for the text leaving the scene gets in the way of the design of the scene itself.  I would do separate reels for music and sound -- this reel feels more like a music demo than anything.  &#xD;&#xA;&#xD;&#xA;Finally, the &quot;view the whole scene&quot; text in the Ratatoullie and music video sections bugs the crap out of me; if I was watching your reel to select you as my sound designer, I wouldn't want to stop in the middle to go watch another video, and I wouldn't want to scroll back to the beginning to find the link. I'd just take that out completely.&#xD;&#xA;&#xD;&#xA;All in all, though, good job.  You're farther ahead than I am -- I still haven't finished my damn reel -- but I feel like you should have been posting the individual clips over the last year to ask for critiquing.  I'd probably feel like less of a jerk, that way. :p&#xD;&#xA;&#xD;&#xA;Oh, and welcome to SSD!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16070" PostHistoryTypeId="2" PostId="9696" RevisionGUID="2f5c3cac-3cae-4a14-9faf-60906fef41b8" CreationDate="2011-08-17T16:13:02.247" UserId="1090" Text="I've had some issues with 302 and mics not sounding as they should all of a sudden. Never heard of this gradual downfall though.. But I've had quite the same experience with MKH50, and also EW-100 (wireless lavalier systems). I think the 302 is a bit sensitive in the inputs. Sometimes just switching the channels and playing with the knobs gives a quick fix." ContentLicense="CC BY-SA 3.0" />
  <row Id="16071" PostHistoryTypeId="2" PostId="9697" RevisionGUID="f650ab2f-cd8a-4979-b69d-dde03a370e76" CreationDate="2011-08-17T16:20:35.523" UserId="1266" Text="I was listening to my alarm this morning from a lofi telephone.  It's actually a step up from lo-fi so the sound quality is considerably improved, can't tell you the actual specs.  The alarm itself is this chill, padlike song for like 10 seconds and then it repeats, like any alarm clock.  So I was listening this morning and noticed that the piano part kind of blended in at certain parts with a pad in a very gentle way that made the piano's attack go away some and I was wondering if it was masking that I heard or just good mixing.&#xD;&#xA;So it got me wondering how useful masking really is, rather than something to just be avoided.  Maybe I don't understand it well enough and maybe we can uncover some of the confusion and learn something new." ContentLicense="CC BY-SA 3.0" />
  <row Id="16072" PostHistoryTypeId="1" PostId="9697" RevisionGUID="f650ab2f-cd8a-4979-b69d-dde03a370e76" CreationDate="2011-08-17T16:20:35.523" UserId="1266" Text="The merits and uses of Masking" ContentLicense="CC BY-SA 3.0" />
  <row Id="16073" PostHistoryTypeId="3" PostId="9697" RevisionGUID="f650ab2f-cd8a-4979-b69d-dde03a370e76" CreationDate="2011-08-17T16:20:35.523" UserId="1266" Text="&lt;mixing&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16074" PostHistoryTypeId="2" PostId="9698" RevisionGUID="1b8cbda2-b650-40ef-ae35-9c98d43cf7f2" CreationDate="2011-08-17T16:30:53.487" UserId="1303" Text="Thanks for the responses everybody! I guess I'm not looking for creaking so much as vibration. Like the strum of a guitar string but not musical? " ContentLicense="CC BY-SA 3.0" />
  <row Id="16075" PostHistoryTypeId="5" PostId="9680" RevisionGUID="2a326443-2329-4aa8-a5f9-5e0cd9f596c5" CreationDate="2011-08-17T17:38:38.027" UserId="393" Comment="More ideas." Text="The ruler-off-the-edge-of-your-desk technique (which has a lot more hyphens in it than I'd expected), or just general wood tension, can be used to accent the tightest points of the tension.  Any sort of humming can represent a constant vibration, too.&#xD;&#xA;&#xD;&#xA;And don't forget springs -- screen and garage doors and old car hoods generally have nice creaky ones.&#xD;&#xA;&#xD;&#xA;**EDIT**&#xD;&#xA;&#xD;&#xA; - Guitar-string sound without using a guitar string -- or, better yet, without using a guitar:  various types of guitar strings (steel, nylon, gut, bass (if you can afford it), weed whacker wire, bare cable of various thicknesses, nylon rope, or anything else along this path. Anchor your new &quot;string&quot; to a resonant surface on one side (a C-clamp to a counter top) and clamped in a pair of vice grips on the other end, and adjust the tension manually as you record the vibration with contact mics.  You can get sweet bends, both up and down, this way.  Another option in the same vein is to build a tub-bass just for this purpose and change your string material for different sounds.&#xD;&#xA;&#xD;&#xA; - Plucked piano string&#xD;&#xA;&#xD;&#xA; - Plucked springs, like mentioned above, or hit with a reflex hammer / piano hammer.&#xD;&#xA;&#xD;&#xA; - At my local movie theater, there is a broken handrail -- the top part broke where it was fixed to the wall -- and I could hit it for a great vibration as well.  So, various lengths of metal pipe clamped to something solid." ContentLicense="CC BY-SA 3.0" />
  <row Id="16076" PostHistoryTypeId="2" PostId="9699" RevisionGUID="ab0354dd-ab4b-4e0c-ae2d-9ef625d3bdd3" CreationDate="2011-08-17T17:46:36.343" UserId="1305" Text="trashing the log files and suspending spotlight fixed it for me! Thanks everyone!&#xD;&#xA;&#xD;&#xA;R." ContentLicense="CC BY-SA 3.0" />
  <row Id="16077" PostHistoryTypeId="2" PostId="9700" RevisionGUID="9a704798-d218-4112-b609-5799d23a68f9" CreationDate="2011-08-17T18:22:26.400" UserId="432" Text="Masking can be a useful tool, especially when it comes to dealing with noise issues in a given audio track (i.e. production audio). There's frequently noise components that you can't get rid of with noise reduction tools...well, maybe you can, but it usually hurts the rest of the audio in those extreme cases. If removal detrimentally affects the sound, attenuate the noise as best you can without adversely affecting what you need. After that it's time to look for your masking solution.&#xD;&#xA;&#xD;&#xA;If you can incorporate it into your sound design (if it works aesthetically), a sound that has components that will mask the, now attenuated, offending element will finish what you started with the noise removal. You can do this with musical elements, sound effects or dialogue depending on the original sound.&#xD;&#xA;&#xD;&#xA;A lot of people also forget that, in addition to frequency masking, there is also temporal masking. A hard transient sound can effectively mask a softer sound that occurs slightly before it. Yes, it will mask a sound that occurs BEFORE it. We're not talking about huge gaps here; more like on the order of 10s of milliseconds. It can, however, be just the thing you need to &quot;hide&quot; that element you can't get rid of." ContentLicense="CC BY-SA 3.0" />
  <row Id="16079" PostHistoryTypeId="2" PostId="9702" RevisionGUID="15878506-7941-45f1-855f-2f0fd9e3d11b" CreationDate="2011-08-17T20:09:00.293" UserDisplayName="user49" Text="Masking in a film mix is something to be aware of when preparing &amp; layering sounds... I remember one case in particular where I just thought WTF?! It was in the film Black Sheep and this girl is being hassled by a 7 foot tall mutant sheep in the kitchen (!?) and to distract it her boyfriend grabs a haggis and throws it across the room, the thump of the haggis landing was what motivated the uber-sheep to stop attacking the girl &amp; scurry across to sniff the haggis etc... I edited together a realistic 'haggis hits floor/wall' sound using 4 or 5 layers, put it up in the mix and it just didn't rate. Of course the score is playing the action/jeopardy loudly at this point, as are the uber-sheep vocals &amp; the girl shrieking etc... So over the next half hour I kept adding layers until we had something that made the haggis landing rate in context. If you solo'd that haggis landing you would have heard a ridiculous over the top composite sound - a VERY hard hit combined with a subby short explosion etc etc.... But in context it just sounded quite normal, all due to masking!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16081" PostHistoryTypeId="2" PostId="9704" RevisionGUID="616561fc-0bb1-4e78-95ef-b478cb0629fe" CreationDate="2011-08-17T21:42:33.087" UserId="1307" Text="Here is an abstract you'll want to look at.&#xD;&#xA;&#xD;&#xA;http://jn.physiology.org/content/83/6/3548.abstract&#xD;&#xA;&#xD;&#xA;Talks about the impact of frequncies we can't heard in perception of sound. So yeah, it matters :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16082" PostHistoryTypeId="2" PostId="9705" RevisionGUID="3c97facf-e474-4cfb-ba9d-477322cfd4bf" CreationDate="2011-08-17T21:51:24.973" UserId="558" Text="I work mostly in Games where no 2 playback systems are exactly alike.  My concern about masking is that it is very dependent on playback environment and equipment - very unpredictable.  Its a fine line(s) between masked, mushed, and overloaded.  Mixing is tricky at best in games, but where possible I err on the side of getting rid of freq range buildups and parts of sounds that are not relevant." ContentLicense="CC BY-SA 3.0" />
  <row Id="16083" PostHistoryTypeId="2" PostId="9706" RevisionGUID="fe2a58ef-ec76-45f2-8f7a-07f0a560c6ad" CreationDate="2011-08-17T22:00:50.603" UserId="418" Text="I do a lot of stuff with transforming still images into sound with Quartz Composer, Max/MSP, Metasynth, Photosounder etc. - but am only now starting to explore doing it with moving picture. The new pre-built add-ons for Max/MSP make this a lot more accessible. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16084" PostHistoryTypeId="2" PostId="9707" RevisionGUID="93121119-cfe7-4e30-889d-029c2145d819" CreationDate="2011-08-17T22:35:24.457" UserId="300" Text="Along the lines of something that Shaun has already mentioned -- something I learned quickly when first cutting (fast turn-around..) TV shows that have noisy exterior environments, is that nice tidy fade-ups on regions aren't always the best idea. If you don't have time to fill, or if the idea of adding more noise is just ridiculous, then cutting hard on the incoming dialogue can sometimes turn what would be a patchy edit in to a seamless one. I think it's a combination of not giving your ear any clues as to the change about to happen, and also that the incoming dialogue will mask the change in noise considerably, aided by the compressor tapping down the transients and lengthening the period that your ear has to get used to this new noise. It can make for a far more palatable edit.&#xD;&#xA;&#xD;&#xA;It seems to me that the ear is far more accepting of an environment shift following dialogue than if it's preceded by it. To a degree of course..&#xD;&#xA;&#xD;&#xA;And of course spending the time filling, expanding and/or noise reducing is better, but when the clock is ticking...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16085" PostHistoryTypeId="13" PostId="1961" RevisionGUID="878461c2-8232-49fe-9393-e28a35156ff2" CreationDate="2011-08-17T22:38:04.377" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="16086" PostHistoryTypeId="5" PostId="9686" RevisionGUID="7bd854d2-fbf7-4670-b70a-3bdb7984a2f6" CreationDate="2011-08-17T22:48:59.463" UserId="194" Comment="deleted 26 characters in body" Text="I'm not in the neighborhood, but I can offer some advice [from experience][1]&#xD;&#xA;&#xD;&#xA; - demolition TNT is incredibly loud.  I mean INCREDIBLY LOUD!!!  Even if you've personally fired a really large gun, rest easy in the knowledge that you have no idea how much explosive force you're dealing with.  If you have mic pads, use them.  If you have front end pads, use them.  Do anything you can to avoid post A/D limiting or clipping, because it'll suck.  The TX stadium implosion was spl unlike any I've ever experienced before or since, and it ended up waking my wife out of bed from our home 7 miles away.  No manner of rifle will do that, so be advised.&#xD;&#xA;&#xD;&#xA; - actually, don't engage your limiter.  just let that sucker clip.&#xD;&#xA;&#xD;&#xA; - have one &quot;detail&quot; mic that will run completely distorted through the initial blasts but will be properly gainstaged for verb and building crumble as the blasts finish up.&#xD;&#xA;&#xD;&#xA; - bring omni mics to get the low end right.&#xD;&#xA;&#xD;&#xA; - prescout for crowd-minimal environs.  Most demo companies don't tend to advertise when they'll be imploding buildings because they don't want to have to deal with crowd control.  When they do advertise they tend to draw crowds and news coverage (sometimes helicopters as well)  In the case of this specific building, I'd wager that the best bet is to be in a nearby hotel, since its on the strip anyway.  Just be absoulutely sure well in advance that they won't clear you out of wherever you end up recording during the actual implosion.    (I ran into that when I did TX stadium) &#xD;&#xA;&#xD;&#xA; - don't bother filming if you're going to need to be mobile.  There'll be tons of footage from others.&#xD;&#xA;&#xD;&#xA; - run every mic you have at the thing, even if they're all basically from the same perspective.  Also, try pointing some mics away from the building if channels allow.  The reason being that spls of that magnitude affect both air and your mics very differently. Reverberations will be incredibly loud, and having as many channels as you can swing will give you the best options to play with after the fact.&#xD;&#xA;&#xD;&#xA; - if you can, coordinate with another recordist for a perspective from at least 1 mile away (and maybe out of eyeline around a building corner).  The sound **will** travel that far and still be incredibly loud, and reverb of that nature will probably end up being the coolest thing to come from the shoot.&#xD;&#xA;&#xD;&#xA; - be prepared for the implosion date to move at a moments notice.&#xD;&#xA;&#xD;&#xA; - enjoy yourself.  this is cool stuff!&#xD;&#xA;  [1]: http://www.gearslutz.com/board/post-production-forum/483127-tx-stadium-implosion.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="16087" PostHistoryTypeId="2" PostId="9708" RevisionGUID="db5721ec-ab3d-4a55-880c-eab0c90cb044" CreationDate="2011-08-18T01:18:42.037" UserId="1308" Text="I've always tended to layer sounds on a DAW timeline, but am wanting to jump into the sampler world for some of my work.  This way I can come up a palette of basic sounds I create by category, and they 'style' those sounds and build on top of them based on the library I'm working on at the time (I make sounds for several radio imaging libraries and networks).&#xD;&#xA;&#xD;&#xA;Also, I spend a lot of time just 'messing around' with synths and audio processors in real time, recording the results to a new file.  Taking the time to go back and chop through those long files to find useful material gets very old, and the concept of chopping up longer files in a sampler, or setting start and stop play markers for only the bits of audio I respect seems like a no-brainer.&#xD;&#xA;&#xD;&#xA;For most projects I use Cubase (version 6 is amazing!).  HALion is, of course, very compatible, and lets you drag in Cubase regions directly, uses all the Steinberg plugins I'm familiar with, comes with a decent factory library, etc...  Very appealing.&#xD;&#xA;&#xD;&#xA;But, I wanted to see if anyone out there on SSD is using HALion specifically for sound design, and could offer any pros / cons.&#xD;&#xA;&#xD;&#xA;By the way, I've been reading questions / answers on this site for a few months, but this is my first post.  I've learned so much!  SSD is now one of my daily addictions (now if I could just cut out smoking and caffeine!)." ContentLicense="CC BY-SA 3.0" />
  <row Id="16088" PostHistoryTypeId="1" PostId="9708" RevisionGUID="db5721ec-ab3d-4a55-880c-eab0c90cb044" CreationDate="2011-08-18T01:18:42.037" UserId="1308" Text="Is anyone using Steinberg's HALion for Soun Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16089" PostHistoryTypeId="3" PostId="9708" RevisionGUID="db5721ec-ab3d-4a55-880c-eab0c90cb044" CreationDate="2011-08-18T01:18:42.037" UserId="1308" Text="&lt;sampler&gt;&lt;cubase&gt;&lt;daw&gt;&lt;steinberg&gt;&lt;radio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16090" PostHistoryTypeId="4" PostId="9708" RevisionGUID="d6b62684-0e46-4874-bf6a-15fbaf9cb51c" CreationDate="2011-08-18T06:11:06.097" UserDisplayName="user80" Comment="edited title" Text="Is anyone using Steinberg's HALion for Sound Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16091" PostHistoryTypeId="2" PostId="9709" RevisionGUID="921828b2-dd03-4e98-894b-aab17cbd30c7" CreationDate="2011-08-18T06:26:09.373" UserId="29" Text="To build on Shaun's excellent advice, rubber bands are a common and not that unusual alternative to steel strings or metal wires. Rubber Therabands, used in physical therapy, are also strummable, pluckable...not sure about playability with a bow. Anything rubber can have its pitch changed by varying its tension, i.e., the distance between what's holding each end in place. &#xD;&#xA;&#xD;&#xA;Classical guitar strings are nylon, not steel, so stringing one/some between some wooden posts or other objects might yield interesting results, or across resonant bodies.&#xD;&#xA;&#xD;&#xA;I've had little to no positive results using fibrous strings and twines. Very little signal from very low tension prior to breaking." ContentLicense="CC BY-SA 3.0" />
  <row Id="16092" PostHistoryTypeId="5" PostId="9683" RevisionGUID="f4eac5f9-b0c5-48b4-b918-d51499b3b200" CreationDate="2011-08-18T07:00:36.363" UserId="61" Comment="added 302 characters in body" Text="I had some great success scraping a variety of sharp objects over a large sheet of plexiglass, and micing from underneath.&#xD;&#xA;&#xD;&#xA;*UPDATE:*&#xD;&#xA;&#xD;&#xA;Regarding vibration (rather than tension), I highly recommend you pick up a contact mic of some kind and start experimenting with metals, especially hollow canisters, tanks, pipes, struts, etc. You will find amazing vibrations and resonances which you simply cannot hear any other way." ContentLicense="CC BY-SA 3.0" />
  <row Id="16093" PostHistoryTypeId="2" PostId="9710" RevisionGUID="97feac97-2a57-48b5-83d3-3bd9d45d82db" CreationDate="2011-08-18T07:46:49.520" UserId="848" Text="If you happen to have a Rubik's cube lying around - try twisting a layer around slowly. The springs inside give a nice tension sound. Slow it down and it can sound quite like rope under a lot of strain. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16094" PostHistoryTypeId="2" PostId="9711" RevisionGUID="1af5599b-3c25-4654-ac5e-425665667582" CreationDate="2011-08-18T08:55:55.733" UserId="1309" Text="Does anyone know where to get or order libraries with small, medium and large crowds screaming in different believable variations? scared, ambient, anxoius, etc. The recordings must be recorded in a neutral room, without indicating size, indoor or outdoor feel. Any recording studios up for that task? It´s to be used in a game." ContentLicense="CC BY-SA 3.0" />
  <row Id="16095" PostHistoryTypeId="1" PostId="9711" RevisionGUID="1af5599b-3c25-4654-ac5e-425665667582" CreationDate="2011-08-18T08:55:55.733" UserId="1309" Text="Screaming small, medium and large crowds. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16096" PostHistoryTypeId="3" PostId="9711" RevisionGUID="1af5599b-3c25-4654-ac5e-425665667582" CreationDate="2011-08-18T08:55:55.733" UserId="1309" Text="&lt;libraries&gt;&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16097" PostHistoryTypeId="2" PostId="9712" RevisionGUID="c798fca1-101a-493d-a561-05501d8e3e26" CreationDate="2011-08-18T10:49:51.810" UserId="202" Text="Hi all&#xD;&#xA;&#xD;&#xA;Do you know any alternative plugin to the Waves S360 (I work with Pro Tools)? I'm looking for something like the Rotate function in the Euphonix console: the Waves S360 imager is the only thing I know that is similar.&#xD;&#xA;&#xD;&#xA;Any other plugin or trick to do that in Protools?&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Davide" ContentLicense="CC BY-SA 3.0" />
  <row Id="16098" PostHistoryTypeId="1" PostId="9712" RevisionGUID="c798fca1-101a-493d-a561-05501d8e3e26" CreationDate="2011-08-18T10:49:51.810" UserId="202" Text="Alternatives to Waves S360° Imager plugin?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16099" PostHistoryTypeId="3" PostId="9712" RevisionGUID="c798fca1-101a-493d-a561-05501d8e3e26" CreationDate="2011-08-18T10:49:51.810" UserId="202" Text="&lt;panning&gt;&lt;plugin&gt;&lt;rotate&gt;&lt;euphonix&gt;&lt;waves&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16100" PostHistoryTypeId="2" PostId="9713" RevisionGUID="13737591-d432-40a7-9e23-3c3f8dc08a48" CreationDate="2011-08-18T11:15:22.877" UserId="6499" Text="Yup phantom issue.  Resolved. I believe the gradual thing was due to scene and content and then at some point it became a +48v issue. &#xD;&#xA;&#xD;&#xA;Anyone happen to have some recordings of shotgun clean and shotgun with bad humidity issue?  Just curious to hear for future reference.&#xD;&#xA;&#xD;&#xA;Thanks all!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16101" PostHistoryTypeId="2" PostId="9714" RevisionGUID="fb602260-0120-444f-856b-e499767a9df0" CreationDate="2011-08-18T11:24:15.387" UserId="6499" Text="So I use a barcus berry currently, mainly because  a lot of my design gear and mics come from being a concert engineer.  The more I use the barcus I find it to be quite a pain to apply to surfaces that are not a piano soundboard/ or flat.  Instead of the little double side sticky that is normal for them, I have resorted to Just electric tape or some form of tape around whatever object I am applying it to, which sometimes changes the sound drastically.  What other contact mics do you all use that maybe easier to apply to non flat surfaces, and two, do not need the large preamp box that a barcus requires, but still has the quality.&#xD;&#xA;&#xD;&#xA;I do like the way the pickup sounds, but if it is not perfectly flush and against a surface securely, it is almost worthless, and by design that limits it to mainly flat surfaces." ContentLicense="CC BY-SA 3.0" />
  <row Id="16102" PostHistoryTypeId="1" PostId="9714" RevisionGUID="fb602260-0120-444f-856b-e499767a9df0" CreationDate="2011-08-18T11:24:15.387" UserId="6499" Text="Contac Mic alternative to Barcus Berry" ContentLicense="CC BY-SA 3.0" />
  <row Id="16103" PostHistoryTypeId="3" PostId="9714" RevisionGUID="fb602260-0120-444f-856b-e499767a9df0" CreationDate="2011-08-18T11:24:15.387" UserId="6499" Text="&lt;pickup&gt;&lt;contact&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16104" PostHistoryTypeId="2" PostId="9715" RevisionGUID="b9288546-4b94-4501-aa3b-da19b655dbf8" CreationDate="2011-08-18T11:51:40.183" UserId="891" Text="I don't own any contact mic myself and never yet had the chance to try one.&#xD;&#xA;There is a great article by Tim Nielsen on designingsound.com about his mic collection though. He seems to have at least two alternatives for you.&#xD;&#xA;Here's the link:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2011/08/tim-nielsen-special-on-microphone-addiction/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16105" PostHistoryTypeId="5" PostId="9712" RevisionGUID="9c89a38f-df01-4877-a24b-87feac96c093" CreationDate="2011-08-18T13:51:41.793" UserId="202" Comment="added 1 characters in body" Text="Hi all&#xD;&#xA;&#xD;&#xA;Do you know any alternative plugin to the Waves S360 (I work with Pro Tools)? I'm looking for something like the Rotate function in the Euphonix console: the Waves S360 imager is the only thing I know that is similar.&#xD;&#xA;&#xD;&#xA;Any other plugin or trick to do that in Pro Tools?&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Davide" ContentLicense="CC BY-SA 3.0" />
  <row Id="16106" PostHistoryTypeId="2" PostId="9716" RevisionGUID="7aab9340-245c-4ba3-b8eb-46dc5d4c568b" CreationDate="2011-08-18T13:58:01.647" UserId="1067" Text="Both Microphone Madness and Sound Professionals in the USA supply miniature omnis mounted inside croakies, which are spectacle retainers made from a stretchy fabric.&#xD;&#xA;&#xD;&#xA;This webpage from Microphone Madness has some product photos to inspect:&#xD;&#xA;&#xD;&#xA;[Microphone Madness croakie mounts and mics][1]&#xD;&#xA;&#xD;&#xA;Their MM-HLSO model consists of Sennheiser MKE-series mics and I've used these with some success in situations where even in-ear binaurals might look out of place. The drawback to them is that they are extremely sensitive to wind noise. Even ceiling fans can be a problem if you're recording right underneath one.&#xD;&#xA;&#xD;&#xA;I've also concealed Shure WL-183s inside an acrylic beanie hat and that's worked quite well in colder times of year, and the fabric provides some minimal wind noise reduction at least.&#xD;&#xA;&#xD;&#xA;The newish MS-TFB-2 in-ear binaurals from Sound Professionals look very tempting. They're reasonably priced and have a good spec on paper at least. With the beige cabling option, sharp-eyed and inquisitive bystanders might think you're wearing hearing aids of some sort.&#xD;&#xA;&#xD;&#xA;[MS-TFB-2 mics][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://microphonemadness.com/categories/croakie_mounted_mics.html&#xD;&#xA;  [2]: http://www.soundprofessionals.com/cgi-bin/gold/item/MS-TFB-2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16107" PostHistoryTypeId="2" PostId="9717" RevisionGUID="c3182579-b863-4a7e-b163-31b4e24cd7e8" CreationDate="2011-08-18T14:06:43.390" UserId="1067" Text="Nice list of tips and ideas there, thanks!&#xD;&#xA;&#xD;&#xA;Re. footsteps on the roof: crows can make that noise. They settle a lot on the roof of my local railway station and when they're swaggering about it sounds like there's a person pacing about up there in a quite slow and deliberate way.&#xD;&#xA;&#xD;&#xA;Probably more of relevance to people using binaural or other headworn mics, but you can cancel the sound of your breath by holding a thin cloth to your mouth, eg a handkerchief, and breathing through that." ContentLicense="CC BY-SA 3.0" />
  <row Id="16108" PostHistoryTypeId="2" PostId="9718" RevisionGUID="76be464e-bcb9-4d60-9f0d-e2f55f5e4201" CreationDate="2011-08-18T14:14:33.963" UserId="1287" Text="I picked up one of the little guitar piezo's they make to go along with the Planar Wave system.  It's a bit smaller than the mic that comes natively with the system.  great for harder to maneuver spaces, as it's much flatter.&#xD;&#xA;&#xD;&#xA;http://barcusberry.com/product.cfm?ProductID=30" ContentLicense="CC BY-SA 3.0" />
  <row Id="16109" PostHistoryTypeId="2" PostId="9719" RevisionGUID="a2eaf126-3894-4003-9e64-87ace3c5f4d9" CreationDate="2011-08-18T15:13:11.933" UserId="1310" Text="*I've searched plenty and read hundreds of threads here in the last few days. This place is a great resource (definitely going to hang out here!) so forgive me if I'm going to repeat a bit!*&#xD;&#xA;&#xD;&#xA;Hi Guys,&#xD;&#xA;I'm trying to get into doing sound &amp; music for video games. I was recently broken into and had a lot of my stuff stolen. Some was not being used, so if I get money from the insurance from it I see it as a blessing. I am also getting my student loan soon, which I have taken to upgrade my gear. I realise many&#xD;&#xA;&#xD;&#xA;First up is the portable recorder - I had a Tascam DR-100 and was happy with it. It failed on my and Tascam provided without a doubt the worst customer service I've ever encountered. They flat out refused to repair it because I bought it second hand, after lecturing me on the 'pitfalls' of shopping online. Anyway, The mic pres were a little noisy, so I'm stuck inbetween the Tascam DR-680 and the Marantz PMD661. I realise the difference between the two, but am contemplating spending more to get the 4 inputs. This entirely depends on the insurance payout (I'm also buying 3 SSD's to upgrade my composition station so that's taking a huge chunk). I guess I'm asking if the DR-680's pres are quieter than the DR-100? From what I've read the DR-680 is a better choice than the R-44 and I can't find any 4 input field recorder close to the price.&#xD;&#xA;&#xD;&#xA;Next is the microphone selection. All for sound effects. &#xD;&#xA;&#xD;&#xA;**1. I was thinking the Røde NT4 for ambiances.** I have an NTG-3 and love it, and have had great results with all Røde mics I've used. I'm a little worried how 'closed' the X/Y pattern will sound for ambiance. I've not found a similar mic in the price range (I know AT do their XY but that is out of my budget). Any feedback on ambiance recording with the NT4? I know I can also get a cheap stereo bar.&#xD;&#xA;&#xD;&#xA;**2. Next up I'm looking at a large diaphragm** for cloth movements and quiet sounds. I was thinking the Røde NT2000.&#xD;&#xA;&#xD;&#xA;**3. Small diaphragm condensers** - I'm a little confused here. I was going to get a pair of Røde NT55's but not sure if it is worth the price increase over the NT5's; I could get the capsules separately later. I'm now  also looking at the M3 and NT3 and not really understanding the differences; is it just the swappable capsules? (Can the NT5/5's handle loud noises as well as the M/NT 3?)&#xD;&#xA;&#xD;&#xA;**4. Wind protection** - I'm thinking of just getting the Røde Blimp for both the NTG3 and NT4. I'd then consider 2x dead kittens for the nt4 when I don't want to carry the whole Blimp, and to cover the 2 small dia's when doing spaced pairs in the field. Does this sound good?&#xD;&#xA;&#xD;&#xA;I realise I'm going very rode heavy - I think they are fantastic mics at great prices, and the dealings with the company have made me very happy with them so far. Definitely above and beyond. I guess I'm just asking the questions I've asked and for the rest of the essay I'm seeking validation. I have read and done my research to the best of my ability, but just want to make sure I'm going down the right paths.&#xD;&#xA;&#xD;&#xA;This is a bit of a wall of text, and I apologise - I've tried to format it as neatly as I could. I'd love to be able to spend more on mics but as I said I have 3xSSD's to buy, some more software instruments and would love some of the loan left to live off!&#xD;&#xA;&#xD;&#xA;Many, many thanks in advance.&#xD;&#xA;&#xD;&#xA;**Julian**&#xD;&#xA;&#xD;&#xA;*www.crusadermusic.com*" ContentLicense="CC BY-SA 3.0" />
  <row Id="16110" PostHistoryTypeId="1" PostId="9719" RevisionGUID="a2eaf126-3894-4003-9e64-87ace3c5f4d9" CreationDate="2011-08-18T15:13:11.933" UserId="1310" Text="Upgrading my gear - would love some input! Mics, field recorders and wind protection." ContentLicense="CC BY-SA 3.0" />
  <row Id="16111" PostHistoryTypeId="3" PostId="9719" RevisionGUID="a2eaf126-3894-4003-9e64-87ace3c5f4d9" CreationDate="2011-08-18T15:13:11.933" UserId="1310" Text="&lt;rode&gt;&lt;foley&gt;&lt;sound-effects&gt;&lt;tascam&gt;&lt;marantz&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16112" PostHistoryTypeId="2" PostId="9720" RevisionGUID="35fb99aa-94b7-47e4-a246-3e64c0615853" CreationDate="2011-08-18T17:11:27.920" UserId="6411" Text="There's a really good thread of contact mic recommendations [here][1]. As an owner of a BB myself I understand your point. If I hadn't found such a screaming deal on the 4000xl my alternative would have been a [Cold Gold][2] based on the multiple reviews I've read / heard.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]:  http://socialsounddesign.com/questions/120/can-you-suggest-a-good-contact-mic-for-sound-design-average-cost-of-proposal-wo&#xD;&#xA;  [2]: http://contactmicrophones.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16113" PostHistoryTypeId="4" PostId="9714" RevisionGUID="312acf0d-3ac5-4d02-9313-1df4f8f74f7a" CreationDate="2011-08-18T17:11:52.490" UserId="6411" Comment="Title edit for spelling" Text="Contact Mic alternative to Barcus Berry" ContentLicense="CC BY-SA 3.0" />
  <row Id="16114" PostHistoryTypeId="2" PostId="9721" RevisionGUID="58784c28-75a8-4c1f-bcb9-07be4d5d705c" CreationDate="2011-08-18T17:21:06.047" UserId="432" Text="While SSD's are great, I don't see the benefit of you buying 3 of them. [You are talking about full on hard drives, yes?] They don't have a huge capacity, they're expensive, and you'll just be able to get larger drives for less money in the future. It's just not an efficient use of your funds. If you really want it, buy one and use it for your OS drive.&#xD;&#xA;&#xD;&#xA;As far as LDC's...I've never used a Rode NT2000, but I'd suggest you look carefully at the Audio-Technica AT4050 before you make a final decision. It's a great mic, and only about $100 more than the NT2000." ContentLicense="CC BY-SA 3.0" />
  <row Id="16115" PostHistoryTypeId="2" PostId="9722" RevisionGUID="4c13e2eb-f0e0-41e3-afe5-a1304f57c69a" CreationDate="2011-08-18T17:27:03.837" UserId="315" Text="[This one][1] from Flux is free although it doesn't exactly do the rotate like Waves.&#xD;&#xA;&#xD;&#xA;I haven't used this one but [Wave Arts Panarama][2] looks intriguing.&#xD;&#xA;&#xD;&#xA;It is also, of course, easy to change the stereo imaging of a sound by adjusting the L and the R levels individually or applying delay or reverb asymmetrically. If you are mixing in 5.1 it is easy to rotate using the ProTools 5.1 panner.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fluxhome.com/products/freewares/stereotool&#xD;&#xA;  [2]: http://wavearts.com/products/plugins/panorama/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16116" PostHistoryTypeId="2" PostId="9723" RevisionGUID="ef16f156-721e-4905-97c2-cf9fc8d6a9d3" CreationDate="2011-08-18T17:45:01.837" UserId="387" Text="Hi Rene, i also edited the sound for a film with a lot of prison scenes too, but this was three years ago, so i have check my archives to see what i can get.&#xD;&#xA;I'll try to send you news soon.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Pedro." ContentLicense="CC BY-SA 3.0" />
  <row Id="16117" PostHistoryTypeId="16" PostId="9723" RevisionGUID="ef16f156-721e-4905-97c2-cf9fc8d6a9d3" CreationDate="2011-08-18T17:45:01.837" UserId="-1" />
  <row Id="16118" PostHistoryTypeId="2" PostId="9724" RevisionGUID="ecd02d62-8011-4334-af03-6eed541d8d52" CreationDate="2011-08-18T18:07:34.910" UserDisplayName="user49" Text="Trance Audio Inducer is the best I've used, for sound &amp; for attaching to objects... it comes with a matched preamp too (very important!) but the contact mic element is one small solid block... I don't think they are available any more though...&#xD;&#xA;&#xD;&#xA;I sometimes use blu-tak for attaching my Barcus Berry to things, not sure if thats a universal product but its made for sticking posters to the wall firmly while still being able to remove them without leaving a mark... works well sometimes..." ContentLicense="CC BY-SA 3.0" />
  <row Id="16119" PostHistoryTypeId="2" PostId="9725" RevisionGUID="46e38cbc-fd8e-43be-9e5c-d34bc93de1e1" CreationDate="2011-08-18T18:12:35.183" UserId="1067" Text="Hi Julian,&#xD;&#xA;&#xD;&#xA;It's well worth considering Audio Technica's BP4025 stereo mic as an alternative to the Rode NT4.&#xD;&#xA;&#xD;&#xA;Here's a Social Sound Design thread about it. Check out Analoghell's comment comparing the two mics.&#xD;&#xA;&#xD;&#xA;[BP4025 thread][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/7354/audio-technica-bp4025-for-atmos" ContentLicense="CC BY-SA 3.0" />
  <row Id="16120" PostHistoryTypeId="2" PostId="9726" RevisionGUID="6484960b-cb21-49f2-afd1-0406bca795cd" CreationDate="2011-08-18T19:26:34.247" UserId="393" Text="At my day job, we have some loudly-popping card access doors that I can get you, if you think that'll help.  It won't be as awesome as real prison sounds, though." ContentLicense="CC BY-SA 3.0" />
  <row Id="16121" PostHistoryTypeId="16" PostId="9726" RevisionGUID="6484960b-cb21-49f2-afd1-0406bca795cd" CreationDate="2011-08-18T19:26:34.247" UserId="-1" />
  <row Id="16122" PostHistoryTypeId="2" PostId="9727" RevisionGUID="75748a1a-a4c3-42bb-b334-b9df1d4fdde0" CreationDate="2011-08-18T19:28:40.847" UserId="714" Text="Tim is right on the Trance Audio.  I recently purchased a custom setup from them.  They no longer make the Inducer single channel version, instead they have a stereo version called the Amulet.  It actually has two small external boxes, a preamp and a controller box that can be easily velcroed to each other.  This is because it is made to be installed inside an acoustic guitar. The guys at Trance Audio were really helpful in getting me custom specs/cables on my system to make it usable for sound design purposes.  The sound quality is amazing, definitely the best contacts I have ever used." ContentLicense="CC BY-SA 3.0" />
  <row Id="16123" PostHistoryTypeId="2" PostId="9728" RevisionGUID="99d3d452-2db7-4705-997f-e60704c37461" CreationDate="2011-08-18T20:00:49.520" UserDisplayName="user80" Text="The Audio Technicas really are worth considering.  We have both Rodes and ATs and I usually end up using the ATs.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16124" PostHistoryTypeId="2" PostId="9729" RevisionGUID="2a005144-2f80-4c93-8a37-3b15f4a7cedb" CreationDate="2011-08-18T20:06:37.953" UserId="578" Text="Hi Julian,&#xD;&#xA;&#xD;&#xA;Yes, the preamps of the DR680 are quieter than those of the DR100. The recorder is really good value for money, the only potential problem you could encounter is with its build quality, as it's plastic. So be sure to buy it new from a reputable retailer, as to avoid a repetition of the issues you had with Tascam customer support. Don't know where you're based, but if it's the UK, you can find them new for as low as £670. Also, you mention 4 preamps, but don't forget the DR680 actually has 6 (only 4 XLR inputs, the other two are jacks but provide phantom power nonetheless)&#xD;&#xA;&#xD;&#xA;As for your mic choices... Why an NT4/AT plus a pair of small condensers? Wouldn't you use the pencil mic pair also for ambiences mainly? Perhaps worth considering going only for one of the two options, or maybe even a quality handheld recorder like a D50 for outdoor ambience recording. &#xD;&#xA;&#xD;&#xA;Or maybe even drop the whole idea of an XY rig for now and use the money you save towards a second hand MKH30. Then paired with your NTG3 you'll have a great MS rig which you can keep in your blimp (no swapping around) and will be far more flexible. The downside will then be of course that with a shotgun as the mid, your stereo field is a bit more limited than what would be the case with 2 cardioids in XY. But I think it's wiser to invest in more top range equipment where you can, and slowly build a quality arsenal in that way.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16125" PostHistoryTypeId="5" PostId="9729" RevisionGUID="281ba8b6-9109-4b98-877e-eeff28a0a436" CreationDate="2011-08-18T20:12:33.063" UserId="578" Comment="added 105 characters in body; deleted 5 characters in body" Text="Hi Julian,&#xD;&#xA;&#xD;&#xA;Yes, the preamps of the DR680 are quieter than those of the DR100. The recorder is really good value for money, the only potential problem you could encounter is with its build quality, as it's plastic. So be sure to buy it new from a reputable retailer, as to avoid a repetition of the issues you had with Tascam customer support. Don't know where you're based, but if it's the UK, you can find them new for as low as £670. Also, you mention 4 preamps, but don't forget the DR680 actually has 6 (only 4 XLR inputs, the other two are jacks but provide phantom power nonetheless). Also, make sure you get really good batteries, with a really good charger! It makes all the difference.&#xD;&#xA;&#xD;&#xA;As for your mic choices... Why an NT4/AT plus a pair of small condensers? Wouldn't you use the pencil mic pair also for ambiences mainly? Perhaps worth considering going only for one of the two options, or maybe even a quality handheld recorder like a D50 for outdoor ambience recording. &#xD;&#xA;&#xD;&#xA;Or maybe drop the whole idea of an XY rig for now and use the money you save towards a second hand MKH30. Then paired with your NTG3 you'll have a great MS rig which you can keep in your blimp (no swapping around) and will be far more flexible. The downside will then be of course that with a shotgun as the mid, your stereo field is a bit more limited than what would be the case with 2 cardioids in XY. But I think it's wiser to invest in more top range equipment where you can, and slowly build a quality arsenal in that way.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16126" PostHistoryTypeId="2" PostId="9730" RevisionGUID="bc517942-3a70-475a-a0c0-f8e65bf6f104" CreationDate="2011-08-18T20:16:35.833" UserId="194" Text="that's the kind of stuff we tend to bring loop group in for, as do a lot of places.  As such there's probably a little less demand for library stuff than there would otherwise be.&#xD;&#xA;&#xD;&#xA;Do you have access to a suitable recording space?  You'll be waaay better off rolling your own with this type of thing." ContentLicense="CC BY-SA 3.0" />
  <row Id="16127" PostHistoryTypeId="2" PostId="9731" RevisionGUID="86b86ef9-55c6-4bb3-8adf-2c6f223d5481" CreationDate="2011-08-18T21:00:55.673" UserId="1090" Text="I personally can recommend the Rode NT1000 for foley and stuff. I could understand if you' want to record more than just cloth movement, but really if your main purpose of the Nt2000 would be foley-ish recording, i'd go for nt1000 no doubt. It's less noisy (yeah, 1dB man :P) and cheaper. And it's good :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16128" PostHistoryTypeId="2" PostId="9732" RevisionGUID="ba4ded96-d46a-4a9c-8f02-3b1ac202a720" CreationDate="2011-08-18T21:52:52.210" UserId="247" Text="So I'm working on a game where i need to make some magic Attack sounds. Im messing around with whooshes with grain delay. Formant plugs, but man I'm really missing something here. Any suggestions for awesome sfx?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16129" PostHistoryTypeId="1" PostId="9732" RevisionGUID="ba4ded96-d46a-4a9c-8f02-3b1ac202a720" CreationDate="2011-08-18T21:52:52.210" UserId="247" Text="Magic Attacks Sounds " ContentLicense="CC BY-SA 3.0" />
  <row Id="16130" PostHistoryTypeId="3" PostId="9732" RevisionGUID="ba4ded96-d46a-4a9c-8f02-3b1ac202a720" CreationDate="2011-08-18T21:52:52.210" UserId="247" Text="&lt;surrealism&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16131" PostHistoryTypeId="2" PostId="9733" RevisionGUID="1c1f004c-5b35-4da8-9c7f-eb2c9cc6461e" CreationDate="2011-08-18T22:31:08.273" UserId="29" Text="The NT4 is a great point-and-shoot, fire-and-forget kind of mic. Its width is good, which is what you get with XY coincident, but it's not that quiet if you want to get quiet natural ambiences. For urban, SFX, and really active/loud ambiences, it's great. Extremely low price and fiddle factor are its strengths. Try not to power it with a 9V if you can help it, the noise level improves if you can use phantom power.&#xD;&#xA;&#xD;&#xA;Quick devil's advocate question, though: Why not get a single pair of small condenser mics with remote capsules (like the NT6's) and just have one ORTF system? You can set 'em up inside one Rode blimp, pull 'em out to use 'em just like NT5's...you'd have a more flexible system with variable stereo width and fewer overall components for a lower cost. &#xD;&#xA;&#xD;&#xA;Oh,and BTW, *really* sorry to hear about the theft. Heartbreaking." ContentLicense="CC BY-SA 3.0" />
  <row Id="16132" PostHistoryTypeId="2" PostId="9734" RevisionGUID="ef7ad1a1-77d3-404f-b81d-7866784b36b6" CreationDate="2011-08-18T22:48:17.613" UserId="194" Text="&#xD;&#xA;here's a rebuttal wall of text and random ramblings - &#xD;&#xA;&#xD;&#xA;**My philosophy with regards to mics is to lean fewer in number and higher in quality.**&#xD;&#xA;&#xD;&#xA;Noise Jockey and I seem to have similar thoughts.&#xD;&#xA;&#xD;&#xA;I don't think you need a separate XY amb mic.  You can get tons of really great really low noise ambiances with a spaced set of omnis.  I'd consider a pair of the NT5s with both a cardiod and omni cap, and dual purpose those mics for both spot recording and ambiances.  Alternatively you can forgo all of the other mics and just roll with a higher end stereo SDC set that will cover the VAST majority of your needs.   Something like the AKG blueline series.&#xD;&#xA;&#xD;&#xA;One thing I've learned is that mics are about waaaay more than noise floor specs.  IMO the single most important characteristic is how a mic translates the midrange.  The diff between a schoeps CMC6 and an NT5 is **not** about the self-noise my friend.  In fact, the NT5s *beat* the schoeps in that category (and then lose everywhere else)&#xD;&#xA;&#xD;&#xA;FWIW I've had good luck just hanging a fuzzy (sans blimp) on a spaced amb pair in the field, so that plan should work well in low to moderate wind situations.&#xD;&#xA;&#xD;&#xA;Also, if you end up with the rode blimp you can run the mics in a pseudo ORTF setup that really sounds good.  I spotted [this blog post][1] a while back, and often have mine setup like this.  I love it.&#xD;&#xA;&#xD;&#xA;The upside later is that you can eventually upgrade from your initial mic setup to something even higher-end and still run the same config.&#xD;&#xA;&#xD;&#xA;I do think you'll want a side address LDC, though less for foley and more for voiceovers.  I personally really like the audio technica stuff given the budget.  We've built a pretty nice business by cutting a metric ton of voiceovers on the AT4050s, but even the 4040 and 4030 are very very nice mics.  These are also some of the quietest mics in the studio.&#xD;&#xA;&#xD;&#xA;I recently owned a DR-100 and sold it because I was unhappy with it.  I'd recommend either the marantz or [one of the Sony HH recorders with a Deneke interface.][2]  The Sonys have ridiculously long battery life, but no built in XLR or phantom (hence the Deneke), so take that fwiw.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audiofieldrecordings.wordpress.com/2010/09/09/rode-nt5-microphones-modified-ortfnos-recording-technique/&#xD;&#xA;  [2]: http://thesoundmyheadmakes.blogspot.com/2011/03/quickie-shootout-744t-vs-pcm-d50-with.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="16133" PostHistoryTypeId="2" PostId="9735" RevisionGUID="5d814e4e-00e6-4850-a38b-22f28e46a896" CreationDate="2011-08-18T22:48:24.230" UserId="845" Text="Try and avoid anything metal or mechanical.  A big part of magic lore/stories is the fact that the magic comes from the earth and is channeled through the witch/wizard.  So use wood and dirt and stone. Wind, fire, water, thunder.&#xD;&#xA;&#xD;&#xA;That said, fireworks seem to be really popular in magical Sound Design.  &#xD;&#xA;Electrical static probably wouldn't go wrong for a bit of texture either.  &#xD;&#xA;Gusts of wind underneath to give the spells a bit of natural heft.&lt;br&gt;&#xD;&#xA;The sound of a tree's trunk splitting as it falls in a forest.&#xD;&#xA;&#xD;&#xA;That kind of thing.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16134" PostHistoryTypeId="5" PostId="9734" RevisionGUID="70251e8a-d332-49fb-90fc-90b25db619a0" CreationDate="2011-08-18T22:56:38.097" UserId="194" Comment="added 230 characters in body" Text="here's a rebuttal wall of text and random ramblings - &#xD;&#xA;&#xD;&#xA;**My philosophy with regards to mics is to lean fewer in number and higher in quality.**&#xD;&#xA;&#xD;&#xA;Noise Jockey and I seem to have similar thoughts.&#xD;&#xA;&#xD;&#xA;I don't think you need a separate XY amb mic.  You can get tons of really great really low noise ambiances with a spaced set of omnis.  I'd consider a pair of the NT5s with both a cardiod and omni cap, and dual purpose those mics for both spot recording and ambiances.  Alternatively you can forgo all of the other mics and just roll with a higher end stereo SDC set that will cover the VAST majority of your needs.   Something like the AKG blueline series.&#xD;&#xA;&#xD;&#xA;One thing I've learned is that mics are about waaaay more than noise floor specs.  IMO the single most important characteristic is how a mic translates the midrange.  The diff between a schoeps CMC6 and an NT5 is **not** about the self-noise my friend.  In fact, the NT5s *beat* the schoeps in that category (and then lose everywhere else)&#xD;&#xA;&#xD;&#xA;FWIW I've had good luck just hanging a fuzzy (sans blimp) on a spaced amb pair in the field, so that plan should work well in low to moderate wind situations.&#xD;&#xA;&#xD;&#xA;Also, if you end up with the rode blimp you can run the mics in a pseudo ORTF setup that really sounds good.  I spotted [this blog post][1] a while back, and often have mine setup like this.  I love it.&#xD;&#xA;&#xD;&#xA;The upside later is that you can eventually upgrade from your initial mic setup to something even higher-end and still run the same config.&#xD;&#xA;&#xD;&#xA;I do think you'll want a side address LDC, though less for foley and more for voiceovers.  I personally really like the audio technica stuff given the budget.  We've built a pretty nice business by cutting a metric ton of voiceovers on the AT4050s, but even the 4040 and 4030 are very very nice mics.  These are also some of the quietest mics in the studio.&#xD;&#xA;&#xD;&#xA;I recently owned a DR-100 and sold it because I was unhappy with it.  I'd recommend either the marantz or [one of the Sony HH recorders with a Deneke interface.][2]  The Sonys have ridiculously long battery life, but no built in XLR or phantom (hence the Deneke), so take that fwiw.&#xD;&#xA;&#xD;&#xA;-------&#xD;&#xA;&#xD;&#xA;summary of recommendations:&#xD;&#xA;&#xD;&#xA; - AT large diaphragm condenser&#xD;&#xA; - Rode Blimp + 2 dead kittens&#xD;&#xA; - Marantz or Sony hh recorder&#xD;&#xA; - the best stereo modular small diaphragm condenser set you can afford with what's left.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audiofieldrecordings.wordpress.com/2010/09/09/rode-nt5-microphones-modified-ortfnos-recording-technique/&#xD;&#xA;  [2]: http://thesoundmyheadmakes.blogspot.com/2011/03/quickie-shootout-744t-vs-pcm-d50-with.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="16135" PostHistoryTypeId="5" PostId="9732" RevisionGUID="061bbf54-838a-4110-95c4-30c64c3a0957" CreationDate="2011-08-18T22:57:00.353" UserId="247" Comment="added 239 characters in body" Text="So I'm working on a game where i need to make some magic Attack sounds. Im messing around with whooshes with grain delay. Formant plugs, but man I'm really missing something here. Any suggestions for awesome sfx?&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;@noisejockey Good Idea&#xD;&#xA;&#xD;&#xA;So the spells are mostly green orbs that grow out of the mages hands,heads,staff. Then they whiz into the enemy, or they appear on the enemy. If anything its almost typical RPG 2D type of animations.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="16136" PostHistoryTypeId="2" PostId="9736" RevisionGUID="a0574e14-1837-4c1b-bbab-f470b88a5483" CreationDate="2011-08-19T00:30:27.603" UserId="393" Text="Chimes are a great addition to magic if it's kind of a silly game, or the character is a fairy of sorts." ContentLicense="CC BY-SA 3.0" />
  <row Id="16137" PostHistoryTypeId="5" PostId="9719" RevisionGUID="2912f705-99c6-4c9f-8bc1-06f09d9e1b9f" CreationDate="2011-08-19T00:45:50.263" UserId="1310" Comment="added 580 characters in body" Text="*I've searched plenty and read hundreds of threads here in the last few days. This place is a great resource (definitely going to hang out here!) so forgive me if I'm going to repeat a bit!*&#xD;&#xA;&#xD;&#xA;Hi Guys,&#xD;&#xA;I'm trying to get into doing sound &amp; music for video games. I was recently broken into and had a lot of my stuff stolen. Some was not being used, so if I get money from the insurance from it I see it as a blessing. I am also getting my student loan soon, which I have taken to upgrade my gear. I realise many&#xD;&#xA;&#xD;&#xA;First up is the portable recorder - I had a Tascam DR-100 and was happy with it. It failed on my and Tascam provided without a doubt the worst customer service I've ever encountered. They flat out refused to repair it because I bought it second hand, after lecturing me on the 'pitfalls' of shopping online. Anyway, The mic pres were a little noisy, so I'm stuck inbetween the Tascam DR-680 and the Marantz PMD661. I realise the difference between the two, but am contemplating spending more to get the 4 inputs. This entirely depends on the insurance payout (I'm also buying 3 SSD's to upgrade my composition station so that's taking a huge chunk). I guess I'm asking if the DR-680's pres are quieter than the DR-100? From what I've read the DR-680 is a better choice than the R-44 and I can't find any 4 input field recorder close to the price.&#xD;&#xA;&#xD;&#xA;Next is the microphone selection. All for sound effects. &#xD;&#xA;&#xD;&#xA;**1. I was thinking the Røde NT4 for ambiances.** I have an NTG-3 and love it, and have had great results with all Røde mics I've used. I'm a little worried how 'closed' the X/Y pattern will sound for ambiance. I've not found a similar mic in the price range (I know AT do their XY but that is out of my budget). Any feedback on ambiance recording with the NT4? I know I can also get a cheap stereo bar.&#xD;&#xA;&#xD;&#xA;**2. Next up I'm looking at a large diaphragm** for cloth movements and quiet sounds. I was thinking the Røde NT2000.&#xD;&#xA;&#xD;&#xA;**3. Small diaphragm condensers** - I'm a little confused here. I was going to get a pair of Røde NT55's but not sure if it is worth the price increase over the NT5's; I could get the capsules separately later. I'm now  also looking at the M3 and NT3 and not really understanding the differences; is it just the swappable capsules? (Can the NT5/5's handle loud noises as well as the M/NT 3?)&#xD;&#xA;&#xD;&#xA;**4. Wind protection** - I'm thinking of just getting the Røde Blimp for both the NTG3 and NT4. I'd then consider 2x dead kittens for the nt4 when I don't want to carry the whole Blimp, and to cover the 2 small dia's when doing spaced pairs in the field. Does this sound good?&#xD;&#xA;&#xD;&#xA;I realise I'm going very rode heavy - I think they are fantastic mics at great prices, and the dealings with the company have made me very happy with them so far. Definitely above and beyond. I guess I'm just asking the questions I've asked and for the rest of the essay I'm seeking validation. I have read and done my research to the best of my ability, but just want to make sure I'm going down the right paths.&#xD;&#xA;&#xD;&#xA;This is a bit of a wall of text, and I apologise - I've tried to format it as neatly as I could. I'd love to be able to spend more on mics but as I said I have 3xSSD's to buy, some more software instruments and would love some of the loan left to live off!&#xD;&#xA;&#xD;&#xA;Many, many thanks in advance.&#xD;&#xA;&#xD;&#xA;**Julian**&#xD;&#xA;&#xD;&#xA;*www.crusadermusic.com*&#xD;&#xA;&#xD;&#xA;**EDIT: Thanks so much for the responses. I'm now even more confused and wondering what to do! I'm between the two set ups now (prices are rough, at the cheapest I've found). I realise there are a few cables and that I'd need to get as well.**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;AT 4050 - £482 &#xD;&#xA;&#xD;&#xA;AT BP4025 - £420 &#xD;&#xA;&#xD;&#xA;Rode    Blimp - £189 &#xD;&#xA;&#xD;&#xA;Rode Nt5 pair - £269    &#xD;&#xA;&#xD;&#xA;Rode Omni caps - 2x£69 &#xD;&#xA;&#xD;&#xA;Marantz PMD661 - £419    &#xD;&#xA;&#xD;&#xA;=£1919 &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Marantz PMD 661 - £419 &#xD;&#xA;&#xD;&#xA;AT 4050 - £482 &#xD;&#xA;&#xD;&#xA;2x AKG SE 300B - £301 &#xD;&#xA;&#xD;&#xA;2x AKG CK 92  - £300 &#xD;&#xA;&#xD;&#xA;2x AKG CK 91 - £300    &#xD;&#xA;&#xD;&#xA;Rode Blimp - £189    &#xD;&#xA;&#xD;&#xA;=£1991&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16138" PostHistoryTypeId="5" PostId="9719" RevisionGUID="b17ebfcc-fe90-4eab-bc47-d66d47a415a6" CreationDate="2011-08-19T01:09:16.267" UserId="1310" Comment="added 52 characters in body" Text="*I've searched plenty and read hundreds of threads here in the last few days. This place is a great resource (definitely going to hang out here!) so forgive me if I'm going to repeat a bit!*&#xD;&#xA;&#xD;&#xA;Hi Guys,&#xD;&#xA;I'm trying to get into doing sound &amp; music for video games. I was recently broken into and had a lot of my stuff stolen. Some was not being used, so if I get money from the insurance from it I see it as a blessing. I am also getting my student loan soon, which I have taken to upgrade my gear. I realise many&#xD;&#xA;&#xD;&#xA;First up is the portable recorder - I had a Tascam DR-100 and was happy with it. It failed on my and Tascam provided without a doubt the worst customer service I've ever encountered. They flat out refused to repair it because I bought it second hand, after lecturing me on the 'pitfalls' of shopping online. Anyway, The mic pres were a little noisy, so I'm stuck inbetween the Tascam DR-680 and the Marantz PMD661. I realise the difference between the two, but am contemplating spending more to get the 4 inputs. This entirely depends on the insurance payout (I'm also buying 3 SSD's to upgrade my composition station so that's taking a huge chunk). I guess I'm asking if the DR-680's pres are quieter than the DR-100? From what I've read the DR-680 is a better choice than the R-44 and I can't find any 4 input field recorder close to the price.&#xD;&#xA;&#xD;&#xA;Next is the microphone selection. All for sound effects. &#xD;&#xA;&#xD;&#xA;**1. I was thinking the Røde NT4 for ambiances.** I have an NTG-3 and love it, and have had great results with all Røde mics I've used. I'm a little worried how 'closed' the X/Y pattern will sound for ambiance. I've not found a similar mic in the price range (I know AT do their XY but that is out of my budget). Any feedback on ambiance recording with the NT4? I know I can also get a cheap stereo bar.&#xD;&#xA;&#xD;&#xA;**2. Next up I'm looking at a large diaphragm** for cloth movements and quiet sounds. I was thinking the Røde NT2000.&#xD;&#xA;&#xD;&#xA;**3. Small diaphragm condensers** - I'm a little confused here. I was going to get a pair of Røde NT55's but not sure if it is worth the price increase over the NT5's; I could get the capsules separately later. I'm now  also looking at the M3 and NT3 and not really understanding the differences; is it just the swappable capsules? (Can the NT5/5's handle loud noises as well as the M/NT 3?)&#xD;&#xA;&#xD;&#xA;**4. Wind protection** - I'm thinking of just getting the Røde Blimp for both the NTG3 and NT4. I'd then consider 2x dead kittens for the nt4 when I don't want to carry the whole Blimp, and to cover the 2 small dia's when doing spaced pairs in the field. Does this sound good?&#xD;&#xA;&#xD;&#xA;I realise I'm going very rode heavy - I think they are fantastic mics at great prices, and the dealings with the company have made me very happy with them so far. Definitely above and beyond. I guess I'm just asking the questions I've asked and for the rest of the essay I'm seeking validation. I have read and done my research to the best of my ability, but just want to make sure I'm going down the right paths.&#xD;&#xA;&#xD;&#xA;This is a bit of a wall of text, and I apologise - I've tried to format it as neatly as I could. I'd love to be able to spend more on mics but as I said I have 3xSSD's to buy, some more software instruments and would love some of the loan left to live off!&#xD;&#xA;&#xD;&#xA;Many, many thanks in advance.&#xD;&#xA;&#xD;&#xA;**Julian**&#xD;&#xA;&#xD;&#xA;*www.crusadermusic.com*&#xD;&#xA;&#xD;&#xA;**EDIT: Thanks so much for the responses. I'm now even more confused and wondering what to do! I'm between the two set ups now (prices are rough, at the cheapest I've found). I realise there are a few cables and that I'd need to get as well. Unfortunately I don't think I can afford the DR-680**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;AT 4050 - £482 &#xD;&#xA;&#xD;&#xA;AT BP4025 - £420 &#xD;&#xA;&#xD;&#xA;Rode    Blimp - £189 &#xD;&#xA;&#xD;&#xA;Rode Nt5 pair - £269    &#xD;&#xA;&#xD;&#xA;Rode Omni caps - 2x£69 &#xD;&#xA;&#xD;&#xA;Marantz PMD661 - £419    &#xD;&#xA;&#xD;&#xA;=£1919 &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Marantz PMD 661 - £419 &#xD;&#xA;&#xD;&#xA;AT 4050 - £482 &#xD;&#xA;&#xD;&#xA;2x AKG SE 300B - £301 &#xD;&#xA;&#xD;&#xA;2x AKG CK 92  - £300 &#xD;&#xA;&#xD;&#xA;2x AKG CK 91 - £300    &#xD;&#xA;&#xD;&#xA;Rode Blimp - £189    &#xD;&#xA;&#xD;&#xA;=£1991&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16139" PostHistoryTypeId="2" PostId="9737" RevisionGUID="c4554742-637f-4ba2-a8b7-dd50e7b1092a" CreationDate="2011-08-19T01:10:17.563" UserId="1310" Text="Try mixing in some synth sounds, or building one from scratch in Omnisphere if you have it. Even just using tails or attacks can get a great fantasy sound. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16140" PostHistoryTypeId="2" PostId="9738" RevisionGUID="7969b76c-bb28-4fd0-81e7-dab208b6b3dc" CreationDate="2011-08-19T11:17:08.730" UserDisplayName="user80" Text="Try layering human voices (words and ahs),use dissonance for evil spells and major chords for good spells.  Reverse some of the voices so that they blend more smoothly, and pass it through a doppler effect so that you have a sense of evolution or movement." ContentLicense="CC BY-SA 3.0" />
  <row Id="16141" PostHistoryTypeId="2" PostId="9739" RevisionGUID="36736a64-5938-4286-9041-ab65350678c2" CreationDate="2011-08-19T13:33:28.383" UserId="1313" Text="Out of your description of the spell, I'd recommend to record the sound of what blowing into a bottle makes, vocode that with a wineglass chime and then reverb it. Make 3-4 different versions with different pitches for the chime - so there is some freshness to it, and if you can, make them randomly play. For the impact, fill a cardboard box with screws and nails or just find a package of that, shake them and record that. You might wanna experiment with a chorus and flanger for the recording of the shake.&#xD;&#xA;&#xD;&#xA;If it is stuck to the enemy, record a subtle wineglass chime that can loop while it is stuck.&#xD;&#xA;Be careful with high frequencies though, players get very tired of those sounds quickly.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16142" PostHistoryTypeId="2" PostId="9740" RevisionGUID="a7a9bb7b-2e69-4e53-9649-f1551d9801e2" CreationDate="2011-08-19T14:49:03.483" UserId="845" Text="Ok, here's a weird one.  Say you only had two mics and didn't have any money at the moment to buy any more.  One is a hypercard, the other is a cardioid.  You want to record in stereo, but your image will be all weird if you use the two mics in a more conventional stereo pattern.&#xD;&#xA;&#xD;&#xA;So, you think to yourself, what if I set up with one mic on top of the other, both pointing in the same direction?  Then when I get to my Compy, take the Card's signal, duplicate it, and flop the phase on one of them.  Then bring the hypercard signal up the middle to fill in the phased information?&#xD;&#xA;&#xD;&#xA;M/S-ish, right? " ContentLicense="CC BY-SA 3.0" />
  <row Id="16143" PostHistoryTypeId="1" PostId="9740" RevisionGUID="a7a9bb7b-2e69-4e53-9649-f1551d9801e2" CreationDate="2011-08-19T14:49:03.483" UserId="845" Text="Mid-Side using Two Cardioids" ContentLicense="CC BY-SA 3.0" />
  <row Id="16144" PostHistoryTypeId="3" PostId="9740" RevisionGUID="a7a9bb7b-2e69-4e53-9649-f1551d9801e2" CreationDate="2011-08-19T14:49:03.483" UserId="845" Text="&lt;mid-side&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16145" PostHistoryTypeId="2" PostId="9741" RevisionGUID="50d509c6-745d-4e04-8cd6-ef6ad95637dd" CreationDate="2011-08-19T15:18:32.433" UserId="103" Text="IS that to record ambiences or spot effects?&#xD;&#xA;If its for ambiences i'd put them back to back (180º) like 3&quot; appart&#xD;&#xA;I've tried it after Charles Maynes suggested it in a forum thread and liked it&#xD;&#xA;to.&#xD;&#xA;&#xD;&#xA;I like your idea though, should try it soon.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16146" PostHistoryTypeId="2" PostId="9742" RevisionGUID="5da542fb-8612-4e01-bc78-86655440a13a" CreationDate="2011-08-19T15:19:35.960" UserId="432" Text="not really. m/s technique relies on the fact the pick-up patterns between the two microphones overlap minimally. with what you're suggesting...not only will your resultant stereo-field be extremely narrow, but your going to have a lot of weird phase issue up the center of that stereo field...meaning that you're probably going to lose some of the signal that would have been there otherwise." ContentLicense="CC BY-SA 3.0" />
  <row Id="16147" PostHistoryTypeId="2" PostId="9743" RevisionGUID="9557d90a-25f0-49c9-96c7-303f9aca7f82" CreationDate="2011-08-19T15:45:00.390" UserId="1314" Text="Try [http://www.freesound.org/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16148" PostHistoryTypeId="2" PostId="9744" RevisionGUID="ebbfbafd-ab96-4771-83e3-0088de13cce7" CreationDate="2011-08-19T15:45:22.557" UserId="264" Text="From my meager understanding of M/S, I believe that your set up is missing a key ingredient which is a bi-directional microphone. The reason M/S matrix-ing works is related to the way the &quot;positive&quot; and &quot;negative&quot; sides of the bi-directional side mic interact with the mid's signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="16149" PostHistoryTypeId="5" PostId="9744" RevisionGUID="63e13887-af2a-4ba8-9bec-c5ba18d64e2f" CreationDate="2011-08-19T15:52:43.960" UserId="264" Comment="Wanted to add more information." Text="From my meager understanding of M/S, I believe that your set up is missing a key ingredient which is a bi-directional microphone. The reason M/S matrix-ing works is related to the way the &quot;positive&quot; and &quot;negative&quot; sides of the bi-directional side mic interact with the mid's signal. Because both sides of the bi-directional mic's transducer are open, it is able to record a sort of &quot;encoded&quot; image of both the left and right fields. That is why the process of duplicating the side channel and inverting its phase is called &quot;de-matrixing&quot; or decoding." ContentLicense="CC BY-SA 3.0" />
  <row Id="16150" PostHistoryTypeId="5" PostId="9744" RevisionGUID="3fe453a1-cd7e-4d3a-aad5-b71a7b7ddaea" CreationDate="2011-08-19T16:16:43.863" UserId="264" Comment="Mooooooore changes. M'sry" Text="It won't work. I believe that your set up is missing a key ingredient which is a bi-directional microphone. The reason M/S matrix-ing works is related to the way the &quot;positive&quot; and &quot;negative&quot; sides of the bi-directional side mic interact with the mid's signal. Because both sides of the bi-directional mic's transducer are open, it is able to record a sort of &quot;encoded&quot; image of both the left and right fields. That is why the process of duplicating the side channel and inverting its phase is called &quot;de-matrixing&quot; or decoding." ContentLicense="CC BY-SA 3.0" />
  <row Id="16151" PostHistoryTypeId="2" PostId="9745" RevisionGUID="1f659aa2-8eb3-4b18-90e7-40dea6937a70" CreationDate="2011-08-19T19:16:26.507" UserId="393" Text="The Roland keys amps are definitely the way to go... they don't distort easily, accept stereo input (though it's only going to come out mono), and are made for road use.&#xD;&#xA;&#xD;&#xA;Another option is to use a portable, self-powered, PA as an amp.&#xD;&#xA;&#xD;&#xA;Finally, if you go for guitar amps, go for high wattage and solid state because they don't distort as easily as low wattage amps or tube amps." ContentLicense="CC BY-SA 3.0" />
  <row Id="16152" PostHistoryTypeId="2" PostId="9746" RevisionGUID="29dc6162-cfd9-4ae0-aa6b-a53fa0e83ddc" CreationDate="2011-08-19T21:29:25.257" UserId="1291" Text="Guys, hi there!&#xD;&#xA;How do you think, what is the probability of successful getting into industry if I'm a bit late? .)))&#xD;&#xA;&#xD;&#xA;The fact is that I'm a PhD in robotics, which means that I've got a decent background in math, both analog and digital signal processing, physics (acoustics included) — and if I don't know something, I can always read — but I don't have that magical &quot;Graduated from *** in Sound Engineering/Sound Design&quot; in my CV.&#xD;&#xA;&#xD;&#xA;Moreover. I think sounds. I feel sounds, I smell sounds and I see sounds. (Well, I'm hyperbolizing a bit :D) What I want to say is that I'm crazy about them. (That's not limited to sound design, of course, but that's not the subject to dicuss on this board.)&#xD;&#xA;&#xD;&#xA;After I realised that, from educational standpoint, I don't miss much, I started practical self-training: programming synth sounds from scratch, studying DAW workflow, and all those basic things of operating with sounds &quot;in the box&quot;, recording and mixing techniques. &#xD;&#xA;&#xD;&#xA;I can't say that I'm supercool, not at all, and there's always room for improvement, but I feel confident about my practical skills now. So, I've started to think, is it even possible for me to move to more serious things, like contributing to _real_ projects, but without college education in this field?&#xD;&#xA;&#xD;&#xA;Especially given the fact that the best thing you get in college is a professional network, and I've got none.&#xD;&#xA;&#xD;&#xA;So, any thoughts? (Discouraging comments are Ok too .))))&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16153" PostHistoryTypeId="1" PostId="9746" RevisionGUID="29dc6162-cfd9-4ae0-aa6b-a53fa0e83ddc" CreationDate="2011-08-19T21:29:25.257" UserId="1291" Text="Getting into business after 25? .)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16154" PostHistoryTypeId="3" PostId="9746" RevisionGUID="29dc6162-cfd9-4ae0-aa6b-a53fa0e83ddc" CreationDate="2011-08-19T21:29:25.257" UserId="1291" Text="&lt;newbie&gt;&lt;education&gt;&lt;sound-design&gt;&lt;business&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16155" PostHistoryTypeId="2" PostId="9747" RevisionGUID="d5fd3f0a-0dc4-4668-a117-f7b50ba2b20b" CreationDate="2011-08-19T21:56:28.443" UserId="194" Text="In this biz college means very very little in comparison to your actual proven abilities.  this is not science, architecture, medicine or law.  No one cares who taught you. Everyone cares what you can actually do.&#xD;&#xA;&#xD;&#xA;This is not to say that college can't be a productive, positive thing.  Its just to say that a degree is not a requirement for success.&#xD;&#xA;&#xD;&#xA;skills are a requirement for success.  skills are THE requirement for success.&#xD;&#xA;&#xD;&#xA;If you show up with a knockout showreel and no diploma then you'll get hired for a gig every time over someone with a degree from UCLA who's reel sucks.&#xD;&#xA;&#xD;&#xA;You seem to be doing the right thing if you want in.  Now that your practical skills are servicable start finding short films and other projects to work on.  You'll learn tons doing that as well, and in the process you'll be building a network and a showreel.&#xD;&#xA;&#xD;&#xA;Once your network and showreel are sufficiently robust, the paying work will begin working itself out for you.  You'll have to become a strong businessperson at that point, but really not until then (even if you end up hired on in a staff position, being sensible at business will end up being very important)&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;alternatively I hear there's pretty good money in robotics.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16156" PostHistoryTypeId="2" PostId="9748" RevisionGUID="c9ef86c4-b48c-4493-934c-16195fbf80c0" CreationDate="2011-08-19T22:12:51.217" UserId="845" Text="A part of the point of going to school is to prove that you have the ability to put all your effort into one thing and see that something through to the end.  You've got/are doing a PhD. Pretty sure you've got that one covered. &#xD;&#xA;&#xD;&#xA;Put half the amount of effort into your business as you did/are doing for your doctorate, and you'll be fine. &#xD;&#xA;&#xD;&#xA;Plus, you'll get to be that guy who says, &quot;Yeah I can build robots, but whatever. Robots are stupid. Sound is SO much cooler.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16157" PostHistoryTypeId="2" PostId="9749" RevisionGUID="14c7a635-89f0-4e31-a00d-f47c56186b7f" CreationDate="2011-08-20T02:44:18.633" UserId="1266" Text="I would say go for it, buy all the gear and plugins you can, dive right in and it's sink or swim from there&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16158" PostHistoryTypeId="2" PostId="9750" RevisionGUID="d049653a-bc57-4c8b-9b4d-93ed3b13014f" CreationDate="2011-08-20T04:55:15.463" UserId="1035" Text="I'll try to throw in a few things...&#xD;&#xA;&#xD;&#xA;In my world, I've yet to work with a recording device that creates a polywave, I always record to a stereo track of some sort. I treat it like two separate tracks and normally pan boom hard R and lavs hard L. Sometimes it's boom hard R and plant hard L, sometimes it's two lavs R and L, it all varies. I always make notes about track assignments in the sound report. &#xD;&#xA;&#xD;&#xA;If I'm using a more complicated mic setup (like 2-3 lavs, boom and plant/2nd boom), I'll mix between these mics a bit. What I'm looking for is the best signal-noise ratio (keeping in mind that if I keep all the mics open at the same time, I'll have the highest signal-noise ratio), no phasing, and no movement noise (if I'm not able to get around a talent's movement noise as they cross while another talent is speaking, the moving talent's mic is pulled out at that time).&#xD;&#xA;&#xD;&#xA;Of course, in your situation, this is all kind of hypothetical stuff. Because I've never worked with more than a stereo file, when I deliver the audio to the picture editor, they receive that stereo file &amp; my sound reports. When they edit, they've always edited just using that stereo track and when they deliver the OMF/AAF to the dialogue editor, they'll get the same thing. So, the editor is never working with the camera audio. It'll be either the editor or the assistant editor who syncs up the location sound files with the picture. This is because cameras don't always have microphones/sound capabilities (in the case of film cameras) and so it's kind of become standard practice.&#xD;&#xA;&#xD;&#xA;Assuming I'm in your place and kind of doing everything (this is more my indie/student film mode, not my larger crew feature length mode), I'll edit dialogue first. Read the Purcell book, but the main bullet points are building fill, fading fill in/out under &quot;mods&quot; (modulations, places where dialogue is happening) and filling over revealing noise issues (director talking, people dropping stuff on set, etc.) &#xD;&#xA;&#xD;&#xA;Next comes sound effects. I try to start with my BGs, creating the &quot;world&quot; for this movie to happen in. I'll add in traffic, birds, walla, wind, it all depends on what it's calling for. Then I'll do hard FX, things like doors, guns (if you should be so lucky :p), stuff tied directly to the picture. At this time I'll also either cut or record the Foley (walking, prop movement, cloth movement mostly). Music will happen after that, and then we mix.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16159" PostHistoryTypeId="5" PostId="9747" RevisionGUID="5b064e2d-ce5a-418b-948a-ace592e3910f" CreationDate="2011-08-20T05:51:18.413" UserId="194" Comment="added 311 characters in body" Text="In this biz college means very very little in comparison to your actual proven abilities.  this is not science, architecture, medicine or law.  No one cares who taught you. Everyone cares what you can actually do.&#xD;&#xA;&#xD;&#xA;This is not to say that college can't be a productive, positive thing.  Its just to say that a degree is not a requirement for success.&#xD;&#xA;&#xD;&#xA;skills are a requirement for success.  skills are THE requirement for success.&#xD;&#xA;&#xD;&#xA;If you show up with a knockout showreel and no diploma then you'll get hired for a gig every time over someone with a degree from UCLA who's reel sucks.&#xD;&#xA;&#xD;&#xA;You seem to be doing the right thing if you want in.  Now that your practical skills are servicable start finding short films and other projects to work on.  You'll learn tons doing that as well, and in the process you'll be building a network and a showreel.&#xD;&#xA;&#xD;&#xA;Once your network and showreel are sufficiently robust, the paying work will begin working itself out for you.  You'll have to become a strong businessperson at that point, but really not until then (even if you end up hired on in a staff position, being sensible at business will end up being very important)&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;alternatively I hear there's pretty good money in robotics.  :)&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;&#xD;&#xA;**edit:**&#xD;&#xA;&#xD;&#xA;I was thinking about this thread again, and a book i read a while back popped into my head.&#xD;&#xA;&#xD;&#xA;check out this book, and check out the comments in the amazon section for a good summary of really great advice.&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/Ignore-Everybody-Other-Keys-Creativity/dp/159184259X" ContentLicense="CC BY-SA 3.0" />
  <row Id="16160" PostHistoryTypeId="2" PostId="9751" RevisionGUID="09e24b6a-8633-4863-aa04-581ec6c2e869" CreationDate="2011-08-20T08:41:15.867" UserId="1237" Text="Hi solipse!&#xD;&#xA;&#xD;&#xA;I've just read Tim Nielsen's fantastic articles at DesigningSound.&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2011/08/augusts-featured-sound-designer-tim-nielsen/#more-10799&#xD;&#xA;&#xD;&#xA;He told about his career pass and if I understood everything right (my English is not yet so good) then he began his career when he was 28 year old. What about such example? :)&#xD;&#xA;&#xD;&#xA;I think everything in this world are relatively. Some people can spend several years so that to understand the things which others can feel instinctively. And if you feel that this is yours then nothing can stop you." ContentLicense="CC BY-SA 3.0" />
  <row Id="16161" PostHistoryTypeId="2" PostId="9752" RevisionGUID="3ba62fe5-3a65-4a68-8225-c0a35715d8a1" CreationDate="2011-08-20T08:53:58.857" UserId="6519" Text="Hi Rene, I uploaded &quot;Electronic Door Lock&quot; sounds (96/24) at Pond5 library 1 month ago.Listen :)&#xD;&#xA;Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="16162" PostHistoryTypeId="16" PostId="9752" RevisionGUID="3ba62fe5-3a65-4a68-8225-c0a35715d8a1" CreationDate="2011-08-20T08:53:58.857" UserId="-1" />
  <row Id="16163" PostHistoryTypeId="2" PostId="9753" RevisionGUID="f46a30af-fffc-4dc0-9236-dd533fc220dc" CreationDate="2011-08-20T13:25:38.933" UserId="1291" Text="In my University we've got monsterous automatic doors in the main building. They sound huge!&#xD;&#xA;&#xD;&#xA;I'll try to make more or less fine recording, and post it here or mail you if I succeed .)))) (Main problem is that noisy students go here and there, hehe)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16164" PostHistoryTypeId="16" PostId="9753" RevisionGUID="f46a30af-fffc-4dc0-9236-dd533fc220dc" CreationDate="2011-08-20T13:25:38.933" UserId="-1" />
  <row Id="16165" PostHistoryTypeId="2" PostId="9754" RevisionGUID="8c0a0391-e54d-4707-a7fe-dbc5fc94343e" CreationDate="2011-08-20T14:14:47.260" UserId="103" Text="Hi folks&#xD;&#xA;&#xD;&#xA;I've had the same problem with PT9 as some of you had, when sending the mix back&#xD;&#xA;to the editor, everything was grossly out of sync, so i had to go back to PT8.&#xD;&#xA;&#xD;&#xA;Does anybody know if there was an update already to fix this? Its been a while....&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16166" PostHistoryTypeId="1" PostId="9754" RevisionGUID="8c0a0391-e54d-4707-a7fe-dbc5fc94343e" CreationDate="2011-08-20T14:14:47.260" UserId="103" Text="Protools 9 sync bug?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16167" PostHistoryTypeId="3" PostId="9754" RevisionGUID="8c0a0391-e54d-4707-a7fe-dbc5fc94343e" CreationDate="2011-08-20T14:14:47.260" UserId="103" Text="&lt;pro-tools&gt;&lt;bugs&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16168" PostHistoryTypeId="2" PostId="9755" RevisionGUID="323d2dbb-65a5-4e51-8c66-70e05bb9859b" CreationDate="2011-08-20T15:44:44.350" UserDisplayName="user80" Text="I store them inside out, and brush them regularly (before, during and after) as this removes dirt as well increases surface area.  You can also gently hand wash them (gentle detergent) and use conditioner during the rinse if they get dirty.  If you need to blow dry them, try using the hair dryer on cool or cold setting, as it is quite easy to melt the fur.&#xD;&#xA;&#xD;&#xA;Brushing makes a huge difference, as the  whole principle is increasing the surface area, which is obviously not the case when it's matted." ContentLicense="CC BY-SA 3.0" />
  <row Id="16169" PostHistoryTypeId="2" PostId="9756" RevisionGUID="a44a034b-5412-4b63-a4ef-2281eca8f6a2" CreationDate="2011-08-20T18:08:12.220" UserId="1060" Text="You're not too late at all; I started out as a composer/sound designer at 24, and started in my current career in video game audio when I was 26.  I think your experience with academia and working on large/complex problems will serve you well.  The only other suggestion I have would be to get some work experience in the private sector- especially with clients.  There's nothing like having an art director critique you over your shoulder as you work to help develop people and sound design chops :)." ContentLicense="CC BY-SA 3.0" />
  <row Id="16170" PostHistoryTypeId="2" PostId="9757" RevisionGUID="02468914-0ad6-4d67-8567-962876afe1aa" CreationDate="2011-08-20T18:49:29.737" UserId="6420" Text=" &#xD;&#xA;&#xD;&#xA;Just spent the whole day at an Air Show. Had a Nagra LB and a Sennhesier 418 (hired). Got loads of great sounds. Spitfires, various jets etc. Sounded cool when I checked the files over my headphones while I was there.&#xD;&#xA;&#xD;&#xA;So got home all excited. Attached the USB cable to my Mac and connected the Nagra. Thought I'd see a whole host of Wav files come up, but instead saw jibberish. Turned back on the Nagra to check again and now it wont access the files!! Says Database Sync Error. It seems to quickly flick through the list of files I recorded but doesnt let me play them, as it previously let me. Really, really annoyed. &#xD;&#xA;&#xD;&#xA;Anyone have a clue how to recover or save data from a Compact Flash card? Was a Sandisk Extreme if thats of any use :(&#xD;&#xA;&#xD;&#xA;Andy" ContentLicense="CC BY-SA 3.0" />
  <row Id="16171" PostHistoryTypeId="1" PostId="9757" RevisionGUID="02468914-0ad6-4d67-8567-962876afe1aa" CreationDate="2011-08-20T18:49:29.737" UserId="6420" Text="So f****d off right now! Anyone with data recovery wizard skills?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16172" PostHistoryTypeId="3" PostId="9757" RevisionGUID="02468914-0ad6-4d67-8567-962876afe1aa" CreationDate="2011-08-20T18:49:29.737" UserId="6420" Text="&lt;data&gt;&lt;recovery&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16173" PostHistoryTypeId="2" PostId="9758" RevisionGUID="cea3ea60-27cc-4d10-b84a-c83234d60e69" CreationDate="2011-08-20T19:28:00.507" UserId="18160" Text="Because of the recommendations here, I just bought myself a pair of the Ultrason HFI-450s.&#xD;&#xA;&#xD;&#xA;I saw they were on sale at Amazon.com for only $70! Compared to all the other places I checked ($100 and above), I couldn't pass it up with the recommendations.&#xD;&#xA;&#xD;&#xA;What did you end up going with, Andrew?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16174" PostHistoryTypeId="2" PostId="9759" RevisionGUID="813968da-bef4-4bd8-a69f-32bff45ae959" CreationDate="2011-08-20T19:31:07.590" UserDisplayName="user49" Text="&quot;grossly out of sync&quot;&#xD;&#xA;&#xD;&#xA;what does that mean exactly? The first two things to check are: &#xD;&#xA;1. was the 2pop at the head in sync?&#xD;&#xA;2. was the 2pop at the tail in sync?&#xD;&#xA;&#xD;&#xA;If you don't have a SMPTE leader with 2 pop on the head and tail of the QT the editor provided then you must, for this very reason. We use PT9 and there are no sync issues with layback or negs for film mixes being out of sync. But the process has to be rock solid, because there are many, many ways that mistakes can be made that put things out of sync, and I don't mean solely by the sound post dept. - there can be picture conform errors, undocumented picture edits, late VFX sync changes etc.... Are you sure the QT you worked to matches the final picture?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16175" PostHistoryTypeId="2" PostId="9760" RevisionGUID="c770e0f6-7fe0-4407-b01c-91a2c02b2a13" CreationDate="2011-08-20T19:49:23.143" UserId="1319" Text="The MS in it, is a hit. COOL" ContentLicense="CC BY-SA 3.0" />
  <row Id="16176" PostHistoryTypeId="2" PostId="9761" RevisionGUID="140a7591-c323-4b33-a0ae-38c53f683da9" CreationDate="2011-08-20T20:01:13.297" UserId="219" Text="I'd switch to command line rather than relying on the Finder (I take it you're using a Mac because you're into sound, it's only a guess from personal statistics, I'm not categorizing or anything).&#xD;&#xA;&#xD;&#xA;Use your terminal, navigate to /Volumes/&lt;disk name&gt; using&#xD;&#xA;&#xD;&#xA;    cd /Volumes/&lt;disk name&gt;&#xD;&#xA;&#xD;&#xA;Type `ls` and press enter (it's short for list, it'll list the files it finds in the directory you're currently in, normally `&lt;disk name&gt;`) and hopefully you'll see something, maybe not a file list, but at least you'll manage to read bytes. I'd then try several manipulations:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; - In the case you see files, type:&#xD;&#xA;&#xD;&#xA;`mkdir ~/Desktop/save/` (this will create a folder named `save` on your desktop)&#xD;&#xA;&#xD;&#xA;`mv * ~/Desktop/save/` (this will move all the files it finds in the current directory to the `save` directory you just created on your desktop)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;- In the case you don't see any file, I'm not quite sure what it'd look like, so I'd suggest you create an image of your flash card using Disk Utility (select your drive in the column on the left hand side and hit New Image in the tool bar at the top I believe) and send it someone's/my way if you're comfortable with this. Someone/I can have a look and hopefully find the problem/solution.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;Maybe I haven't got my head round the issue just yet, so please don't hesitate to pick my brain if you think you might make progress with a little push.&#xD;&#xA;&#xD;&#xA;Hope it helps and you get everything back!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16177" PostHistoryTypeId="5" PostId="9761" RevisionGUID="2caae857-0426-4aa6-8a0b-af6583281b09" CreationDate="2011-08-20T20:11:12.640" UserId="219" Comment="added 6 characters in body; added 8 characters in body" Text="I'd switch to command line rather than relying on the Finder (I take it you're using a Mac because you're into sound, it's only a guess from personal statistics, I'm not categorizing or anything).&#xD;&#xA;&#xD;&#xA;Use your terminal, navigate to /Volumes/&lt;disk name&gt; using&#xD;&#xA;&#xD;&#xA;    cd /Volumes/&lt;disk name&gt;&#xD;&#xA;&#xD;&#xA;Type `ls` and press enter (it's short for list, it'll list the files it finds in the directory you're currently in, normally `&lt;disk name&gt;`) and hopefully you'll see something, maybe not a file list, but at least you'll manage to read bytes. I'd then try several manipulations:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; - In the case you see files, type:&#xD;&#xA;&#xD;&#xA;    mkdir ~/Desktop/save/&#xD;&#xA;&#xD;&#xA;(this will create a folder named `save` on your desktop)&#xD;&#xA;&#xD;&#xA;    mv * ~/Desktop/save/&#xD;&#xA;&#xD;&#xA;(this will move all the files it finds in the current directory to the `save` directory you just created on your desktop)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;- In the case you don't see any file, I'm not quite sure what it'd look like, so I'd suggest you create an image of your flash card using Disk Utility (select your drive in the column on the left hand side and hit New Image in the tool bar at the top I believe) and send it someone's/my way if you're comfortable with this. Someone/I can have a look and hopefully find the problem/solution.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;Maybe I haven't got my head round the issue just yet, so please don't hesitate to pick my brain if you think you might make progress with a little push.&#xD;&#xA;&#xD;&#xA;Hope it helps and you get everything back!----" ContentLicense="CC BY-SA 3.0" />
  <row Id="16178" PostHistoryTypeId="5" PostId="9761" RevisionGUID="763bc386-3bec-4257-a361-6bd95f5829bb" CreationDate="2011-08-20T20:19:47.820" UserId="219" Comment="added 12 characters in body; deleted 1 characters in body" Text="I'd switch to command line rather than relying on the Finder (I take it you're using a Mac because you're into sound, it's only a guess from personal statistics, I'm not categorizing or anything).&#xD;&#xA;&#xD;&#xA;Use your terminal, navigate to /Volumes/&lt;disk name&gt; using&#xD;&#xA;&#xD;&#xA;    cd /Volumes/&lt;disk name&gt;&#xD;&#xA;&#xD;&#xA;Type `ls` and press enter (it's short for list, it'll list the files it finds in the directory you're currently in, normally `&lt;disk name&gt;`) and hopefully you'll see something, maybe not a file list, but at least you'll manage to read bytes. I'd then try several manipulations:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; - In the case you see files, type:&#xD;&#xA;&#xD;&#xA;Do the following:&#xD;&#xA;&#xD;&#xA;    mkdir ~/Desktop/save/ #this will create a folder named `save` on your desktop    &#xD;&#xA;    mv * ~/Desktop/save/ #this will move all the files it finds in the current directory to the `save` directory you just created on your desktop&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;- In the case you don't see any file, I'm not quite sure what it'd look like, so I'd suggest you create an image of your flash card using Disk Utility (select your drive in the column on the left hand side and hit New Image in the tool bar at the top I believe) and send it someone's/my way if you're comfortable with this. Someone/I can have a look and hopefully find the problem/solution.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;Maybe I haven't got my head round the issue just yet, so please don't hesitate to pick my brain if you think you might make progress with a little push.&#xD;&#xA;&#xD;&#xA;Hope it helps and you get everything back!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16179" PostHistoryTypeId="5" PostId="9761" RevisionGUID="99312095-104e-4b41-bc74-3a743df4b84a" CreationDate="2011-08-20T20:46:48.863" UserId="219" Comment="added 418 characters in body" Text="I'd switch to command line rather than relying on the Finder (I take it you're using a Mac because you're into sound, it's only a guess from personal statistics, I'm not categorizing or anything).&#xD;&#xA;&#xD;&#xA;Use your terminal, navigate to /Volumes/&lt;disk name&gt; using&#xD;&#xA;&#xD;&#xA;    cd /Volumes/&lt;disk name&gt;&#xD;&#xA;&#xD;&#xA;Type `ls` and press enter (it's short for list, it'll list the files it finds in the directory you're currently in, normally `&lt;disk name&gt;`) and hopefully you'll see something, maybe not a file list, but at least you'll manage to read bytes. I'd then try several manipulations:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; - In the case you see files, type:&#xD;&#xA;&#xD;&#xA;Do the following:&#xD;&#xA;&#xD;&#xA;    mkdir ~/Desktop/save/ #this will create a folder named `save` on your desktop    &#xD;&#xA;    mv * ~/Desktop/save/ #this will move all the files it finds in the current directory to the `save` directory you just created on your desktop&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;- In the case you don't see any file, I'm not quite sure what it'd look like, so I'd suggest you create an image of your flash card using Disk Utility (select your drive in the column on the left hand side and hit New Image in the tool bar at the top I believe) and send it someone's/my way if you're comfortable with this. Someone/I can have a look and hopefully find the problem/solution.&#xD;&#xA;&#xD;&#xA;Alternatively, use Disk Utility to find the ID of your device: in the left hand side column click the disk (not the partition inside it, but the disk itself) and click Info in the toolbar at the top. The Disk Identifier looks something like `disk1`.&#xD;&#xA;&#xD;&#xA;Then, in your terminal, type:&#xD;&#xA;&#xD;&#xA;    dd if=/dev/&lt;disk ID&gt; of=~/Desktop/save.img #this copies the byte sequence of the drive, it effectively makes a backup of it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;Maybe I haven't got my head round the issue just yet, so please don't hesitate to pick my brain if you think you might make progress with a little push.&#xD;&#xA;&#xD;&#xA;Hope it helps and you get everything back!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16180" PostHistoryTypeId="2" PostId="9762" RevisionGUID="20a3a7ff-a4dc-4b8b-bae8-089435298c77" CreationDate="2011-08-20T21:39:17.230" UserId="1321" Text="I've had luck running TechTools on drives, although I've never tried it on an SD card. Principle should be the same though. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16181" PostHistoryTypeId="2" PostId="9763" RevisionGUID="179ca11b-13f0-4e7e-84f6-5e3882cab04f" CreationDate="2011-08-20T22:07:19.623" UserId="37" Text="This worked for me. It can get from easy and quick to advanced and slow very quickly. &#xD;&#xA;&#xD;&#xA;http://freshcrop.com/digital_image_recovery_apple_mac.html&#xD;&#xA;&#xD;&#xA;http://freshcrop.com/digital_image_recovery_windows.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="16182" PostHistoryTypeId="2" PostId="9764" RevisionGUID="e728dda3-aca3-4a64-b998-13c3db8d8216" CreationDate="2011-08-20T22:22:04.880" UserDisplayName="user80" Text="Don't do anything else to the card, something has been overwritten in the table of contents TOC, the data is probably still there.&#xD;&#xA;&#xD;&#xA;The free version of Sandisk's RescuePro will tell you if the files can be recovered.&#xD;&#xA;&#xD;&#xA;http://www.lc-tech.co.uk/demo/rescueprodemo.html&#xD;&#xA;&#xD;&#xA;If it works the license is £30 for one year.&#xD;&#xA;&#xD;&#xA;If it doesn't work there is a form to contact San Disk for further solutions.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16183" PostHistoryTypeId="5" PostId="9764" RevisionGUID="cc73a429-3c65-4f1c-a907-2feed7a0b922" CreationDate="2011-08-20T22:28:00.803" UserDisplayName="user80" Comment="added 129 characters in body" Text="Don't do anything else to the card, something has been overwritten in the table of contents TOC, the data is probably still there.&#xD;&#xA;&#xD;&#xA;The free version of Sandisk's RescuePro will tell you if the files can be recovered.&#xD;&#xA;&#xD;&#xA;http://www.lc-tech.co.uk/demo/rescueprodemo.html&#xD;&#xA;&#xD;&#xA;If it works the license is £30 for one year.&#xD;&#xA;&#xD;&#xA;If it doesn't work there is a form to contact San Disk for further solutions.&#xD;&#xA;&#xD;&#xA;If you can try, using a compact flash card reader connected directly to your computer to remove the variable of the recorder.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16184" PostHistoryTypeId="2" PostId="9765" RevisionGUID="2bcef063-25ff-4e85-948d-a912b8a5589d" CreationDate="2011-08-20T22:59:19.227" UserId="7811" Text="no - the point of the fig-8 in an MS pair is that one side is completely out of phase with the other." ContentLicense="CC BY-SA 3.0" />
  <row Id="16185" PostHistoryTypeId="2" PostId="9766" RevisionGUID="7521005c-6d32-4fdd-a5be-2b759d1292c1" CreationDate="2011-08-20T23:51:49.193" UserId="18160" Text="I personally think discrete stereo sounds pretty good - try it out! Kind of like how Tim Prebble sometimes records ambiences - see his photos of how he records on his blog. If you space out the mics pretty far from each other I think it would work fine.&#xD;&#xA;&#xD;&#xA;[http://www.musicofsound.co.nz/blog/samoa-field-recording-03-night-and-day Correct me if I'm wrong, but he was recording a stereo ambience in the second to last photo, right? That's a pretty wide stereo and this technique should work fine with your 2 mics]&#xD;&#xA;&#xD;&#xA;I don't think you'll necessarily notice a difference in the stereo field by having a hyper-cardioid and a regular cardioid unless you're recording things with very loud and distinct transient information like someone hammering at a construction site or something like that.&#xD;&#xA;&#xD;&#xA;Also try out the M/S and let us know what you find - I'm curious if it would work!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16186" PostHistoryTypeId="5" PostId="9766" RevisionGUID="6117c39a-58b5-45d3-96d2-97cc6ef26753" CreationDate="2011-08-20T23:57:05.870" UserId="18160" Comment="added 86 characters in body; added 4 characters in body; added 80 characters in body" Text="I personally think discrete stereo sounds pretty good - try it out! Kind of like how Tim Prebble sometimes records ambiences - see his photos of how he records on his blog. If you space out the mics pretty far from each other I think it would work fine.&#xD;&#xA;&#xD;&#xA;[http://www.musicofsound.co.nz/blog/samoa-field-recording-03-night-and-day][1] Correct me if I'm wrong, but he was recording a stereo ambience in the second to last photo, right? That's a pretty wide stereo and this technique should work fine with your 2 mics]&#xD;&#xA;&#xD;&#xA;You're right that they may not do well set up in ORTF or X/Y, but I don't think you'll necessarily notice a difference in the wide discrete stereo field by having a hyper-cardioid and a regular cardioid unless you're recording things with very loud and distinct transient information like someone hammering at a construction site or something like that.&#xD;&#xA;&#xD;&#xA;Also try out the M/S and let us know what you find - I'm curious if it would work!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicofsound.co.nz/blog/samoa-field-recording-03-night-and-day" ContentLicense="CC BY-SA 3.0" />
  <row Id="16187" PostHistoryTypeId="2" PostId="9767" RevisionGUID="0507dfb3-fabe-43c8-b9f2-01df4c4e51c3" CreationDate="2011-08-21T05:38:28.010" UserId="407" Text="like has already been mention, in the audio buisiness education has little to do with your chances of success in the industry. I work in the computer game industry and this applies all the discaplines bar maybe programming at an entry level - basically experience and talent are the keys to success. My favourite example of this are the lead vehicle modeller who is a trained chef (actually- come to think about it I used to have a chef on my team too a few years ago;)) - and I have known a creative director and a couple of designer with the same background as you.&#xD;&#xA;As for age 25 that's not really very old, I retrained and started in the games industry when I was 27, and never looked back ;) &#xD;&#xA;Follow your instincts and be true to yourself and everything will work out fine." ContentLicense="CC BY-SA 3.0" />
  <row Id="16188" PostHistoryTypeId="2" PostId="9768" RevisionGUID="a81b1bf6-736b-411c-aeb1-f5157179cb4a" CreationDate="2011-08-21T06:50:57.920" UserId="1228" Text="It sounds from your comment that you may have fallen victim to a pulldown enabled within the PT engine on one of the machines.  I've seen this often-overlooked setting wreck havock on a session, and your sync drift mention leads me directly to this conclusion.  Disable the pulldown (or pullup, whichever it is), and that should solve the problem hopefully.&#xD;&#xA;&#xD;&#xA;If not, I'm very certain that the problem is at least focused on a pulldown/pullup issue, or a famerate mismatch is some sort.  These are the two 'staples' which generate sync drifting issues.  Hope that helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16189" PostHistoryTypeId="2" PostId="9769" RevisionGUID="be7242ff-b652-4542-8399-c91b4cb14fe4" CreationDate="2011-08-21T14:04:22.927" UserId="1310" Text="Interested to see the quality of five mics in there. Would be a great pocket recorder for a cool ambiance or similar." ContentLicense="CC BY-SA 3.0" />
  <row Id="16190" PostHistoryTypeId="5" PostId="9757" RevisionGUID="092b240c-7c2a-4d41-9302-7f7907e8b763" CreationDate="2011-08-21T18:04:20.243" UserId="6420" Comment="added 144 characters in body; edited title" Text=" &#xD;&#xA;&#xD;&#xA;Just spent the whole day at an Air Show. Had a Nagra LB and a Sennhesier 418 (hired). Got loads of great sounds. Spitfires, various jets etc. Sounded cool when I checked the files over my headphones while I was there.&#xD;&#xA;&#xD;&#xA;So got home all excited. Attached the USB cable to my Mac and connected the Nagra. Thought I'd see a whole host of Wav files come up, but instead saw jibberish. Turned back on the Nagra to check again and now it wont access the files!! Says Database Sync Error. It seems to quickly flick through the list of files I recorded but doesnt let me play them, as it previously let me. Really, really annoyed. &#xD;&#xA;&#xD;&#xA;Anyone have a clue how to recover or save data from a Compact Flash card? Was a Sandisk Extreme if thats of any use :(&#xD;&#xA;&#xD;&#xA;Andy&#xD;&#xA;&#xD;&#xA;Edit&#xD;&#xA;&#xD;&#xA;Thanks for all the suggestions guys! Managed to save almost all of it with the help of Sandisk RescuePro. Very useful little proggy!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16191" PostHistoryTypeId="4" PostId="9757" RevisionGUID="092b240c-7c2a-4d41-9302-7f7907e8b763" CreationDate="2011-08-21T18:04:20.243" UserId="6420" Comment="added 144 characters in body; edited title" Text="Anyone with data recovery wizard skills?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16192" PostHistoryTypeId="2" PostId="9770" RevisionGUID="947ca021-8b07-4a1b-bd6a-3de4f0ea835e" CreationDate="2011-08-21T21:33:48.310" UserId="1310" Text="Planning to do some ambiant recordings soon, and with the 2 NT5's I have coming in I'll grab a stereo bar for the obvious and easy spaced pair. Suppose I wanted to do an x/y - the bar's blurb claim it can but the mics obviously won't be on top of eachother, as they are fixed to the rail. How will this affect the final results? Will I run into phase issues?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16193" PostHistoryTypeId="1" PostId="9770" RevisionGUID="947ca021-8b07-4a1b-bd6a-3de4f0ea835e" CreationDate="2011-08-21T21:33:48.310" UserId="1310" Text="Using a stereo bar for x/y?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16194" PostHistoryTypeId="3" PostId="9770" RevisionGUID="947ca021-8b07-4a1b-bd6a-3de4f0ea835e" CreationDate="2011-08-21T21:33:48.310" UserId="1310" Text="&lt;stereo&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16195" PostHistoryTypeId="2" PostId="9771" RevisionGUID="54004a57-cd58-4bea-ac8f-e02abf12cca8" CreationDate="2011-08-21T22:04:05.577" UserId="542" Text="I'm 28, so I hope that age won't count much =). &#xD;&#xA;I asked myself that question a dozen times the last few years but I soon realized that it would be stupid to stop trying. &#xD;&#xA;&#xD;&#xA;Of course I would love to do high quality stuff and earn a lot of money....but money is not my goal. I accepted the fact that I probably won't earn much money in the near future, but sound stuff has been my hobby since the age of 16 and I can't think of anything else being my future job.&#xD;&#xA;Maybe I am a bit too optimistic...but you have to take risks sometimes.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16196" PostHistoryTypeId="2" PostId="9772" RevisionGUID="1c356616-4f68-459f-a982-15307798dffa" CreationDate="2011-08-21T22:07:29.957" UserId="253" Text="I've used a stereo bar for X/Y before. Clearly the mics can't both be at the exact same angle of elevation and have coincident capsules; but you can adjust the angles slightly and make the capsules coincide. I do have a slight anti-audiophile bias, but i sincerely doubt that the difference in angle of elevation between the mics will be an audible one." ContentLicense="CC BY-SA 3.0" />
  <row Id="16197" PostHistoryTypeId="2" PostId="9773" RevisionGUID="4fcf99b9-2a7d-4afd-a826-532d38dfd36c" CreationDate="2011-08-21T23:33:43.927" UserId="103" Text="There are accessories just as [this][1] little screw, to do exactly that, raise one&#xD;&#xA;of the mics slighly so that you keep the same angle.&#xD;&#xA;But yeah, like Roger said, i wouldn't sweat it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.pt/imgres?q=microphone+raiser+xy+screw&amp;um=1&amp;hl=pt-PT&amp;biw=997&amp;bih=711&amp;tbm=isch&amp;tbnid=kJQCzZ8Yh-SLpM:&amp;imgrefurl=http://www.gearslutz.com/board/remote-possibilities-acoustic-music-location-recording/521623-space-stereo-bar.html&amp;docid=txj3rwOWXqcchM&amp;w=498&amp;h=364&amp;ei=FZZRTtyqHMar8AO29dnLBw&amp;zoom=1&amp;iact=hc&amp;vpx=139&amp;vpy=223&amp;dur=364&amp;hovh=192&amp;hovw=263&amp;tx=165&amp;ty=105&amp;page=4&amp;tbnh=128&amp;tbnw=173&amp;start=48&amp;ndsp=15&amp;ved=1t:429,r:0,s:48" ContentLicense="CC BY-SA 3.0" />
  <row Id="16198" PostHistoryTypeId="2" PostId="9774" RevisionGUID="e5e6511c-2b83-4c1d-beb2-130ea072c76d" CreationDate="2011-08-22T00:33:40.130" UserId="6604" Text="i can imagine a Djembe, and some other percussions with a delay and some tribal chants and with ethnic instruments&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16199" PostHistoryTypeId="5" PostId="9584" RevisionGUID="d91be950-2458-4662-8fd0-243e16de4057" CreationDate="2011-08-22T00:54:25.840" UserId="6604" Comment="changed link to demo reel" Text="Hi &#xD;&#xA;I chanced upon this awesome forum while looking for answers whether to burden myself with a debt and attend VFS or not....i got some pretty good answers to it and many other topics.. so thanks to you all...&#xD;&#xA;&#xD;&#xA;Here in india, sound designers and film audio people are mostly from the prestigious FTII film school and a monopoly of them. Game audio is just catching up.&#xD;&#xA;&#xD;&#xA;I wanna improve my work and build a new demo reel. This one below is right out of SAE and been 1.5yrs since. Now im working in the industry in Mumbai, India, but as a dubbing and mixing engg and not as a sound designer. So im putting up my old work for review and also starting new work at home to sharpen my skills. Im fluent with Protools 8 HD and Nuendo4 (though using only protools at work)&#xD;&#xA;&#xD;&#xA;Please listen to my work and comment. Also where can i find free videos to sound design for? Im starting to learn Fmod &amp; Ableton live on my own and expeerimenting with Reason.&#xD;&#xA;&#xD;&#xA;[EDIT] Changed link&#xD;&#xA;&#xD;&#xA;1. Demo reel from college&#xD;&#xA;&#xD;&#xA;http://www.4shared.com/video/ghBpP9Au/Audio_Post_Production-Sound_De.html&#xD;&#xA;&#xD;&#xA;2. 1st Attempt at sound sythesis. Done last month.&#xD;&#xA;&#xD;&#xA;[soundcloud]riggy-de/sets/1st-sound-synthesis-attempt[/soundcloud]&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="16200" PostHistoryTypeId="5" PostId="9584" RevisionGUID="2a1c8ea5-61c1-4b56-b489-5c1f0d5c56ad" CreationDate="2011-08-22T01:02:28.210" UserId="6604" Comment="updated link" Text="Hi &#xD;&#xA;I chanced upon this awesome forum while looking for answers whether to burden myself with a debt and attend VFS or not....i got some pretty good answers to it and many other topics.. so thanks to you all...&#xD;&#xA;&#xD;&#xA;Here in india, sound designers and film audio people are mostly from the prestigious FTII film school and a monopoly of them. Game audio is just catching up.&#xD;&#xA;&#xD;&#xA;I wanna improve my work and build a new demo reel. This one below is right out of SAE and been 1.5yrs since. Now im working in the industry in Mumbai, India, but as a dubbing and mixing engg and not as a sound designer. So im putting up my old work for review and also starting new work at home to sharpen my skills. Im fluent with Protools 8 HD and Nuendo4 (though using only protools at work)&#xD;&#xA;&#xD;&#xA;Please listen to my work and comment. Also where can i find free videos to sound design for? Im starting to learn Fmod &amp; Ableton live on my own and expeerimenting with Reason.&#xD;&#xA;&#xD;&#xA;[EDIT] Changed link&#xD;&#xA;&#xD;&#xA;1. Demo reel from college&#xD;&#xA;&#xD;&#xA;http://www.4shared.com/video/ghBpP9Au/Audio_Post_Production-Sound_De.html&#xD;&#xA;&#xD;&#xA;2. 1st Attempt at sound sythesis. Done last month.&#xD;&#xA;&#xD;&#xA;[soundcloud]auralchef/sets/1st-sound-synthesis-attempt/[/soundcloud]&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="16201" PostHistoryTypeId="2" PostId="9775" RevisionGUID="86f138b8-6a4a-450e-9a52-f5a7d661f172" CreationDate="2011-08-22T01:40:03.750" UserId="300" Text="I hear hakuna matata" ContentLicense="CC BY-SA 3.0" />
  <row Id="16202" PostHistoryTypeId="2" PostId="9776" RevisionGUID="37d10cbf-4bec-45e4-aed0-b1f5176a0014" CreationDate="2011-08-22T02:04:24.487" UserId="6604" Text="Be kind and share for free too&#xD;&#xA;http://www.freesound.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16203" PostHistoryTypeId="2" PostId="9777" RevisionGUID="3d8a7714-2d2a-4922-a525-2b7ecd19f280" CreationDate="2011-08-22T02:12:23.467" UserId="6604" Text="Hi&#xD;&#xA;&#xD;&#xA;I have designed a low cost blimp (not yet constructed one) and it uses PVC pipes and a mesh...but i need some info. regarding the extendable pole...a friend suggested an outdoor umbrella's extendable pole... any other ideas?&#xD;&#xA;&#xD;&#xA;Can someone please tell me what components are part of a blimp and what kind of mic is present inside one and what does the handle/grip do?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16204" PostHistoryTypeId="1" PostId="9777" RevisionGUID="3d8a7714-2d2a-4922-a525-2b7ecd19f280" CreationDate="2011-08-22T02:12:23.467" UserId="6604" Text="DIY Zeppelin/Blimp" ContentLicense="CC BY-SA 3.0" />
  <row Id="16205" PostHistoryTypeId="3" PostId="9777" RevisionGUID="3d8a7714-2d2a-4922-a525-2b7ecd19f280" CreationDate="2011-08-22T02:12:23.467" UserId="6604" Text="&lt;diy&gt;&lt;blimp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16206" PostHistoryTypeId="2" PostId="9778" RevisionGUID="0fca844a-7c9a-44aa-99cf-b5c690932374" CreationDate="2011-08-22T02:12:27.837" UserId="432" Text="There's a debate that occurs every once in a while about the merits of X/Y vs. ORTF when working with cardioid pattern mics. The thrust of the argument is that ORTF is a better choice when using cardioid, but **hyper**-cardioid works great with X/Y. Really, it's nothing more than a matter of personal preference. Those two setups can provide a wider stereo-image (especially for ambiences).&#xD;&#xA;&#xD;&#xA;If you've got the stereo bar, why not give ORTF a shot and see how you like it? It could be just the thing, as you want the capsules at the same height in that configuration anyways." ContentLicense="CC BY-SA 3.0" />
  <row Id="16207" PostHistoryTypeId="5" PostId="9777" RevisionGUID="0b2e9d41-ef8c-482f-8fa2-7bbeaf085b5f" CreationDate="2011-08-22T02:17:24.647" UserId="6604" Comment="added 79 characters in body" Text="Hi&#xD;&#xA;&#xD;&#xA;I have designed a low cost blimp (not yet constructed one) and it uses PVC pipes and a mesh...but i need some info. regarding the extendable pole...a friend suggested an outdoor umbrella's extendable pole... any other ideas?&#xD;&#xA;&#xD;&#xA;[EDIT]&#xD;&#xA;&#xD;&#xA;also what material windshield and can any toy making fur be used?&#xD;&#xA;&#xD;&#xA;Can someone please tell me what components are part of a blimp and what kind of mic is present inside one and what does the handle/grip do?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16208" PostHistoryTypeId="2" PostId="9779" RevisionGUID="6ef85eb2-005c-498d-9106-a45b1236aec5" CreationDate="2011-08-22T02:41:23.777" UserId="6604" Text="check out DubFx&#xD;&#xA;[youtube]WhBoR_tgXCI[/youtube]&#xD;&#xA;&#xD;&#xA;and Beardyman&#xD;&#xA;&#xD;&#xA;[youtube]VQqTsMKa7ow[/youtube]&#xD;&#xA;&#xD;&#xA;Even Gabriel Iglesias-the standup comedian creates police car siren effects using his mouth!! cools stuff!!&#xD;&#xA;&#xD;&#xA;[youtube]GqJatXhQkfk[/youtube]&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16209" PostHistoryTypeId="2" PostId="9780" RevisionGUID="c61d7c61-f06d-4cb8-abd2-70c93619fe4e" CreationDate="2011-08-22T03:04:11.953" UserId="6604" Text="if im understanding it correctly, then both the characters are in 1 room and the camera changes according to their POVs and depending upon who is talking. Hence the window on the left or right positions.&#xD;&#xA;&#xD;&#xA;In such cases i try to follow realism. Imagine u and i talking in room. We both are hearing the same ambience, which is surrounding us, so it shouldnt jump or pan constantly as the camera angle changes.&#xD;&#xA;&#xD;&#xA;For a surround mix, i prefer to duplicate the stereo ambience track and assign to front stereo and rear stereo pair.&#xD;&#xA;&#xD;&#xA;for a stereo mix, i'd prefer to keep the ambience stereo, dialogues centred, more emphasis on the dialogues...no matter how the camera moves... as long as the scene is the same, the ambience sound should be the same, is my understand&#xD;&#xA;&#xD;&#xA;any comments?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16210" PostHistoryTypeId="5" PostId="671" RevisionGUID="5dc71fbd-381c-4153-8440-9dd60f64c681" CreationDate="2011-08-22T03:09:07.450" UserId="61" Comment="added 2 characters in body" Text="Very gray area here. In the strictest sense of the job description, a sound effects editor is expected to take sounds that have been selected for him/her by the supervising sound edtior and edit them against the picture. *That's it*. Anything else and you're not really talking about a sound effects editor anymore - at least, not in the most traditional way.&#xD;&#xA;&#xD;&#xA;What sound effects editors are expected to do nowadays is quite different from what it used to be; it's really an amalgamation of all the disciplines, from recording sounds to designing new sounds to basic mixing and advanced mixing. This requires knowledge of and experience with microphones, recording techniques, librarian skills, sound editorial, sound synthesis and sampling, reverbs and EQ techniques, mixing and mastering.&#xD;&#xA;&#xD;&#xA;This is the case with both big budget and independent films, in my experience." ContentLicense="CC BY-SA 3.0" />
  <row Id="16211" PostHistoryTypeId="2" PostId="9781" RevisionGUID="b093103f-6bbc-4ff3-83ed-34edae8b73dd" CreationDate="2011-08-22T03:11:47.250" UserId="6604" Text="@ Justin: looks good...awesome!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16212" PostHistoryTypeId="2" PostId="9782" RevisionGUID="31ee5c42-3032-4775-ab72-411a97b53553" CreationDate="2011-08-22T04:28:43.597" UserId="393" Text="Use a painter's pole for your boom.&#xD;&#xA;&#xD;&#xA;For the wind jammer / dead cat, I've read that long fur fabrics (like you'd make a stuffed animal's hair out of) works, and I believe that's all [Redheads][1] are.&#xD;&#xA;&#xD;&#xA;Inside the blimp, you'll need something to act as a shock mount or every tiny movement will be transferred into the microphone.  The purpose of the blimp is to create a bubble of still air, or as close to it as possible, without reducing the incoming sound, as well as protecting your mic from bumps and small amounts of rain.  The handle is there to allow you to hold the blimp in your hand and aim it like a pistol (thus, pistol grip), giving you more control of your mic.&#xD;&#xA;&#xD;&#xA;There's usually a shotgun mic inside of them (to be frank, if you didn't know that, I think you're putting the cart miles ahead of your horse), but I'm sure people have used other mics as well (small diaphragm condensers come to mind).&#xD;&#xA;&#xD;&#xA;  [1]: http://www.redheadwindscreens.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16213" PostHistoryTypeId="2" PostId="9783" RevisionGUID="72a9788d-dca8-4059-bbd4-c1c53068a684" CreationDate="2011-08-22T04:32:08.697" UserId="393" Text="I'll give you a more detailed review, later, but my first recommendation is to remove all the music from your reel, and all the narrator stuff -- they're both getting in the way of the sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="16214" PostHistoryTypeId="2" PostId="9784" RevisionGUID="8eacbbdd-e200-49af-ab59-4ac067a25a2a" CreationDate="2011-08-22T04:34:13.503" UserId="393" Text="I would keep it low and center, as well -- there may be other windows off screen that could be bringing in the sound of the rain.&#xD;&#xA;&#xD;&#xA;For quick perspective jumps, I hate panning atmos with each cut because it'll become jarring to the viewer." ContentLicense="CC BY-SA 3.0" />
  <row Id="16215" PostHistoryTypeId="2" PostId="9785" RevisionGUID="43072d16-4860-4f1d-bce0-637de936d0ab" CreationDate="2011-08-22T06:14:39.717" UserDisplayName="user80" Text="I would accurately pan the rain at the start of the scene and have it identifiable, then gently make it quieter and move it to the centre, so that it does not distract from the dialogue.  Once the audience has identified that it's raining you only need the subtlest of cues to remind them that it is still raining." ContentLicense="CC BY-SA 3.0" />
  <row Id="16216" PostHistoryTypeId="2" PostId="9786" RevisionGUID="98c6687c-736f-4596-b306-6fc0e637ef50" CreationDate="2011-08-22T07:24:05.963" UserId="1228" Text="I understand that Soundminer may have some caveats with Unicode characters, so I equally vouch for the English.  ProTools, Soundminer, and any intermediate software is natively written with English characters in mind so that may yield the best results for future cross-compatibility. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16217" PostHistoryTypeId="2" PostId="9787" RevisionGUID="c72b6d99-cc31-4c24-aec7-aa54894e0421" CreationDate="2011-08-22T08:52:29.343" UserId="1322" Text="Hey, I thought you said that you've already designed one....you may now have to redesign it once you know the requirements - so here's a [windshield][1] I built which works well, followed by an adaption to an existing [blimp][2] with photos showing the suspension system and some of the mics inside.&#xD;&#xA;&#xD;&#xA;For the boom pole I make use of a telescopic camera monopole which is visible in the blimp post above.&#xD;&#xA;&#xD;&#xA;Just a few of many different arrangements, depends on your individual requirements. It's fun experimenting, that's the way we learn, so just go ahead, build, adapt, rebuild, modify......&#xD;&#xA;Best of luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audiofieldrecordings.wordpress.com/2010/05/21/large-microphone-windshield-an-alternative-approach/&#xD;&#xA;  [2]: http://audiofieldrecordings.wordpress.com/2010/09/09/rode-nt5-microphones-modified-ortfnos-recording-technique/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16218" PostHistoryTypeId="2" PostId="9788" RevisionGUID="160c8d16-f06b-4a91-a6b7-fc062a11f630" CreationDate="2011-08-22T09:17:28.127" UserId="1322" Text="I agree with @Shaun, you need a bi-directional or to be more precise a microphone with a figure 8 pattern. If you invert or flip 1-channel of the cardioid or omni and summate with the original you will end up with +1-1=0, so all you would hear in your arrangement would be the signal from the hypercard." ContentLicense="CC BY-SA 3.0" />
  <row Id="16219" PostHistoryTypeId="5" PostId="9788" RevisionGUID="8c067d98-53ea-4d6c-9c01-16689eb2640f" CreationDate="2011-08-22T09:38:44.690" UserId="1322" Comment="added 9 characters in body" Text="I agree with @Miles &amp; @Shaun, you need a bi-directional or to be more precise a microphone with a figure 8 pattern. If you invert or flip 1-channel of the cardioid or omni and summate with the original you will end up with +1-1=0, so all you would hear in your arrangement would be the signal from the hypercard." ContentLicense="CC BY-SA 3.0" />
  <row Id="16220" PostHistoryTypeId="2" PostId="9789" RevisionGUID="d8e11fd3-62d5-4380-bba2-9232e5e1c72e" CreationDate="2011-08-22T09:40:45.347" UserId="1323" Text="I build and tested the design in PVC tube years ago, when the original article came out. It works OK, but the sound is strange, like you are in a tunnel. Building it in aluminium would be worth a try. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16221" PostHistoryTypeId="2" PostId="9790" RevisionGUID="3d4c4167-bd2e-417a-b4f7-447267847c6c" CreationDate="2011-08-22T10:24:01.703" UserId="373" Text="Ok so this drives me mad.... everytime I finish a project, I clear all the unused regions from my session and then select save copy in to transfer for mixing. But heres the issue, Pro Tools STILL copies across regions I have cleared and are not in my session! This drives me insane. It never happens on a Mac, but ALWAYS happens on PC! I think it might have something to do with the undo queue? The only way around it i've found is to import the tracks into a new session. This is obviously a pain though. Anyone else have this problem?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16222" PostHistoryTypeId="1" PostId="9790" RevisionGUID="3d4c4167-bd2e-417a-b4f7-447267847c6c" CreationDate="2011-08-22T10:24:01.703" UserId="373" Text="Pro Tools save copy still copies cleared regions" ContentLicense="CC BY-SA 3.0" />
  <row Id="16223" PostHistoryTypeId="3" PostId="9790" RevisionGUID="3d4c4167-bd2e-417a-b4f7-447267847c6c" CreationDate="2011-08-22T10:24:01.703" UserId="373" Text="&lt;pro&gt;&lt;tools&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16224" PostHistoryTypeId="2" PostId="9791" RevisionGUID="a9a9da78-1361-4c3b-a648-392d650c9335" CreationDate="2011-08-22T11:33:02.840" UserId="863" Text="By not having a professional do the voiceover for your work you're downgrading the quality. I realise it was a school project and you've lost the files, maybe re-do it without voiceover? Or do some extra scenes.&#xD;&#xA;&#xD;&#xA;You can also tell you've re-used the same section of a tank sample over and over and its rather tiresome. Need more variation." ContentLicense="CC BY-SA 3.0" />
  <row Id="16225" PostHistoryTypeId="2" PostId="9792" RevisionGUID="242f73a1-76e6-4c3f-9637-f91cfa1c4d2a" CreationDate="2011-08-22T14:56:35.167" UserDisplayName="user80" Text="Also try recording at different heights, sometimes placing the mic/mics really close to the ground or in corners gives a more complex sound due to comb filtering." ContentLicense="CC BY-SA 3.0" />
  <row Id="16227" PostHistoryTypeId="2" PostId="9794" RevisionGUID="40fccdf8-181c-4b80-94ae-d8d250cfc56c" CreationDate="2011-08-22T17:17:08.960" UserId="6420" Text="Great advice there! I always  try and record quiet ambiences in a way that will roughly correspond to where you think such sounds might play out in the mix. I don't see much point in cranking the gain up too much. Maybe 6-12db max more but nothing too crazy. I might record with an average of about -40dbFs when recording digitally. &#xD;&#xA;&#xD;&#xA;What levels are the rest of you setting at?&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16228" PostHistoryTypeId="2" PostId="9795" RevisionGUID="a71e0b56-fb1e-44ee-8b83-658f18436a3c" CreationDate="2011-08-22T17:31:23.873" UserId="1228" Text="I've experienced this for a long time as well as my colleagues (both Mac and PC).  What we do to circumvent it is do a session save, create a new session, import session data from that saved session.  It appears to be the only thing which solves the issue.&#xD;&#xA;&#xD;&#xA;My guess is it's a 'clipboard' type issue where it's not getting flushed out - because when you re-open a session and clear unused AGAIN, even more material is deletable. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16229" PostHistoryTypeId="2" PostId="9796" RevisionGUID="8fcc0d1d-5d9b-4b47-9ca4-3f8ac56fd915" CreationDate="2011-08-22T18:46:40.860" UserId="61" Text="Make sure you are showing Auto-Created Regions in the Regions bin (option-command-K). If these are being hidden, they will not clear and will be considered part of your session. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16230" PostHistoryTypeId="2" PostId="9797" RevisionGUID="c23a110f-7ee1-460d-9a31-211dac7462fb" CreationDate="2011-08-22T19:37:01.677" UserId="930" Text="I'm sure you do this but just thought I'd offer it up as a suggestion just in case, but, when you clear the regions do you also delete them from the drive or just clear them from the session? If you don't delete them from the drive then it just copies the 'audio files' folder over which still contains the files you cleared from the session.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="16231" PostHistoryTypeId="2" PostId="9798" RevisionGUID="5b34be82-ac6f-4ac7-a821-33555a376a34" CreationDate="2011-08-22T19:44:10.890" UserId="6499" Text="So I know this thread is on many other sites, specifically jwsound, but I would like to get the take from post audio minded people, not just production sound guys.  I am looking at the Nomad 6 pretty seriously instead of a 744/442 combo.  &#xD;&#xA;&#xD;&#xA;My main concern was max sample rate, but it has been said that 96k is possible and 192 is possible with track limitations.  &#xD;&#xA;&#xD;&#xA;I take production sound/eng gigs on the side to supplement my post endeavors until they increase to the point of sustaining me financially, so having a mixer is great.&#xD;&#xA;&#xD;&#xA;Anyone have any thoughts/ideas on the nomad and how it may not be what I am looking for.  I considered the 552 until I found out of the sample rate cap and not being able to name files.  The naming convention has not really crept into any thread so I am assuming you can name all your files and tracks accordingly since so many Film mixers are considering them and purchasing them.&#xD;&#xA;&#xD;&#xA;I am looking at doing the upgrade to something with at least four recording tracks.  With the 744 I still have to purchase additional preamps to utilize 3/4, so the price range of a 744/442 combo is right in the area of the nomad 6.  I would love to get something bigger and more tracks like the 788 or deva of some form, but I cannot quite justify that purchase.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What are your thoughts on the Nomad and what may be some things I am overlooking? It seems like the perfect solution for me,  high inputs for eng mixing, and ability to multitrack record when I am doing sfx recordings.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16232" PostHistoryTypeId="1" PostId="9798" RevisionGUID="5b34be82-ac6f-4ac7-a821-33555a376a34" CreationDate="2011-08-22T19:44:10.890" UserId="6499" Text="Anyone beta testing the nomad?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16233" PostHistoryTypeId="3" PostId="9798" RevisionGUID="5b34be82-ac6f-4ac7-a821-33555a376a34" CreationDate="2011-08-22T19:44:10.890" UserId="6499" Text="&lt;gear&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16234" PostHistoryTypeId="5" PostId="9757" RevisionGUID="608df46d-2af3-4ff7-97c1-494f77120533" CreationDate="2011-08-22T19:45:36.443" UserId="6420" Comment="added 154 characters in body" Text="Edit:&#xD;&#xA;Well here's a sneaky preview of one of the many jet/prop plane recordings I managed to save! ;)&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/andrewjohnlewis/jet-preview&#xD;&#xA;&#xD;&#xA;Just spent the whole day at an Air Show. Had a Nagra LB and a Sennhesier 418 (hired). Got loads of great sounds. Spitfires, various jets etc. Sounded cool when I checked the files over my headphones while I was there.&#xD;&#xA;&#xD;&#xA;So got home all excited. Attached the USB cable to my Mac and connected the Nagra. Thought I'd see a whole host of Wav files come up, but instead saw jibberish. Turned back on the Nagra to check again and now it wont access the files!! Says Database Sync Error. It seems to quickly flick through the list of files I recorded but doesnt let me play them, as it previously let me. Really, really annoyed. &#xD;&#xA;&#xD;&#xA;Anyone have a clue how to recover or save data from a Compact Flash card? Was a Sandisk Extreme if thats of any use :(&#xD;&#xA;&#xD;&#xA;Andy&#xD;&#xA;&#xD;&#xA;Edit&#xD;&#xA;&#xD;&#xA;Thanks for all the suggestions guys! Managed to save almost all of it with the help of Sandisk RescuePro. Very useful little proggy!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16235" PostHistoryTypeId="2" PostId="9799" RevisionGUID="b44b3e2a-d7a8-4826-b94c-276d48793229" CreationDate="2011-08-22T20:35:31.167" UserDisplayName="user49" Text="It does seem to have something to do with the undo history. The way round it I've found works is you Select Unused and Clear them from the session. Save the session and close it. Then open it, Select Unused, Clear them, save the session and close it. Repeating that twice usually clears everything unused. The way to check if it has is to select across all tracks, then select All - check if everything in the Region List is now highlighted. Anything not highlighted means its not used on the tracks, so you need to repeat the process.&#xD;&#xA;Note: I never use playlists" ContentLicense="CC BY-SA 3.0" />
  <row Id="16236" PostHistoryTypeId="2" PostId="9800" RevisionGUID="8c722264-83b0-40a3-98b0-fb121bced25d" CreationDate="2011-08-22T22:07:51.240" UserId="596" Text="hello,&#xD;&#xA;&#xD;&#xA;partly for economic reasons, i'm considering leaving both my apartment and studio, and move into a single 65m2 ex-factory loft which i'd like to use as multi-functional space for living and working. the question arises is how if at all could i utilize a specified area of that space for my day-to-day sound design work? &#xD;&#xA;... the loft is rather spacious and have a rectangle shape. i'm thinking of bounding one corner of it with two removable walls or partitions of some material (recommendations?) and have my 'studio' set up there (basically a laptop with two Adam A7X monitors). it's important to note that i'm not planning to use this space to perform recordings of any type... it's mostly about sound editing and basic post-pro work. i'm worried whether i'll be able to hear things accurately in such non-ideal acoustic conditions... any experiences with similar situations? any suggestions for things i could do to improve the acoustics of such work environment?  &#xD;&#xA;&#xD;&#xA;many thanks,&#xD;&#xA;K&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16237" PostHistoryTypeId="1" PostId="9800" RevisionGUID="8c722264-83b0-40a3-98b0-fb121bced25d" CreationDate="2011-08-22T22:07:51.240" UserId="596" Text="work environment / sound designing in a multi-functional studio space" ContentLicense="CC BY-SA 3.0" />
  <row Id="16238" PostHistoryTypeId="3" PostId="9800" RevisionGUID="8c722264-83b0-40a3-98b0-fb121bced25d" CreationDate="2011-08-22T22:07:51.240" UserId="596" Text="&lt;home-studio&gt;&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16239" PostHistoryTypeId="2" PostId="9801" RevisionGUID="3d85e8cc-768d-420e-a03e-8e116fbd863e" CreationDate="2011-08-22T22:23:13.820" UserId="6499" Text="Hey all,&#xD;&#xA;&#xD;&#xA;Just wondering if anyone had a couple cat hissing sounds laying around that I could experiment with.  Trying to sweeten some vampire attacks,  have not really played much with animal vocalizations so Im not sure if I am even in the right direction.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16240" PostHistoryTypeId="1" PostId="9801" RevisionGUID="3d85e8cc-768d-420e-a03e-8e116fbd863e" CreationDate="2011-08-22T22:23:13.820" UserId="6499" Text="Looking for cat sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="16241" PostHistoryTypeId="3" PostId="9801" RevisionGUID="3d85e8cc-768d-420e-a03e-8e116fbd863e" CreationDate="2011-08-22T22:23:13.820" UserId="6499" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16242" PostHistoryTypeId="2" PostId="9802" RevisionGUID="9ce67626-8c43-4233-b41b-f38779344633" CreationDate="2011-08-22T22:27:43.323" UserId="219" Text="I remember [@AzimuthAudio's blog][1] offered 30 free downloads of a cat library he created with quite awesome cat sounds (Mr Cringer it was named). Maybe you could try and contact him...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.azimuthaudio.ca/azimuth-blog/2011/5/11/cringer-the-cat-attack.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="16243" PostHistoryTypeId="2" PostId="9803" RevisionGUID="4437aaaf-11f1-43e9-b506-313c8f622851" CreationDate="2011-08-22T22:29:38.307" UserId="6669" Text="Hey Michael,&#xD;&#xA;&#xD;&#xA;I don't know much about your project, but for something like this I might even try just using your mouth. At least that way you'll have a better feel for if you need cat hisses or not. As vampires are kinda demi-human anyways, I don't think any layer that sounds more like you than a cat would be a big problem.&#xD;&#xA;&#xD;&#xA;Food for thought!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16244" PostHistoryTypeId="16" PostId="9802" RevisionGUID="558fc74f-8225-4481-adf1-949a48b10e87" CreationDate="2011-08-22T22:33:54.290" UserId="219" />
  <row Id="16245" PostHistoryTypeId="2" PostId="9804" RevisionGUID="6ae906cb-d677-4f3c-822f-fb563a22d7ee" CreationDate="2011-08-22T22:50:21.207" UserId="29" Text="[This classic site][1] (and [this][2], and [this][3], and [this][4]) will give you DIY ideas galore.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://pantherfile.uwm.edu/type/www/audio-reports/DIY_ShockZep_4_NT1A_ORTF/DIY_ShockZep_4_NT1A_ORTF.html&#xD;&#xA;  [2]: https://pantherfile.uwm.edu/type/www/audio-reports/DIY_NT4_3inchPVC_ShockZep/DIY_NT4_3inchPVC_ShockZep.html&#xD;&#xA;  [3]: https://pantherfile.uwm.edu/type/www/audio-reports/car-wash-mit-zeppelin/quickie-car-wash-zeppelin.htm&#xD;&#xA;  [4]: https://pantherfile.uwm.edu/type/www/audio-reports/QuadPacConstruction/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16246" PostHistoryTypeId="2" PostId="9805" RevisionGUID="9ca23a25-43d9-489e-8270-86537eb3897e" CreationDate="2011-08-22T23:22:46.657" UserId="1308" Text="I usually save a copy of the session file itself (save as) before clearing unused, just in case, in the same session folder, before doing a &quot;Save Copy In.&quot;&#xD;&#xA;&#xD;&#xA;So I'll remove unused media (from session, not delete), 'save as', then close the current session, then open the 'saved as' session, then do 'save copy in' and for some reason that seems to get everything cleared out.&#xD;&#xA;&#xD;&#xA;I think that essentially does the same as Tim is saying as far as closing and reopening the session a few times with 'remove unused regions' thrown in a couple of times as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="16247" PostHistoryTypeId="2" PostId="9806" RevisionGUID="fc5873fe-e433-4050-84ae-6283967e11fe" CreationDate="2011-08-22T23:37:58.293" UserId="1266" Text="Do you need an assistant?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16248" PostHistoryTypeId="2" PostId="9807" RevisionGUID="fdf785fe-1fd6-40be-af3b-188f130e6381" CreationDate="2011-08-22T23:51:03.237" UserId="285" Text="The 30 free downloads from my blog were all snatched up a while ago, but here is a link where another thirty people can grab the sounds.  &#xD;&#xA;&#xD;&#xA;You can read how how I recorded the sounds at the link in Justin Huss' answer.  Sadly Cringer the cat has past away in the last month.  So these recordings are my way of keeping the angry little guy around.  They are free to use anyway you please.&#xD;&#xA;&#xD;&#xA;1. File: Cringer Masters.zip&#xD;&#xA;Link: https://www2.ibackup.com/qmanager/servlet/share?key=ibome65054&#xD;&#xA;--------------------------------------------------------------------------------------------- " ContentLicense="CC BY-SA 3.0" />
  <row Id="16249" PostHistoryTypeId="5" PostId="9807" RevisionGUID="3c7585d1-2e90-4b1d-b608-75184ebb9449" CreationDate="2011-08-22T23:57:32.973" UserId="285" Comment="Added link" Text="The 30 free downloads from my blog were all snatched up a while ago, but here is a link where another thirty people can grab the sounds.  &#xD;&#xA;&#xD;&#xA;You can read how how I recorded the sounds at the link in Justin Huss' answer, or here: http://www.azimuthaudio.ca/azimuth-blog/2011/5/11/cringer-the-cat-attack.html&#xD;&#xA;&#xD;&#xA;  Sadly Cringer the cat has past away in the last month.  So these recordings are my way of keeping the angry little guy around.  They are free to use anyway you please.&#xD;&#xA;&#xD;&#xA;1. File: Cringer Masters.zip&#xD;&#xA;Link: https://www2.ibackup.com/qmanager/servlet/share?key=ibome65054&#xD;&#xA;--------------------------------------------------------------------------------------------- " ContentLicense="CC BY-SA 3.0" />
  <row Id="16250" PostHistoryTypeId="2" PostId="9808" RevisionGUID="d0bb3fa7-b21a-4e18-b9c1-186f25bde882" CreationDate="2011-08-23T00:09:27.937" UserId="264" Text="$509.&#xD;&#xA;&#xD;&#xA;That is the price for non-members who want to see more than the exhibits. I had the privilege of attending the 127th AES convention, but I was a student and a member at that time, so I qualified for their MASSIVE discount ($99 for full entry). However, being that I graduated this May I have not renewed my membership (expensive), and I no longer qualify as a student. So here's my question: Have any of you figured out a way to (legally) gain access to the convention's seminars on the cheap? Secret loopholes? Generous people who have too much money? craigslist? Any tips would be appreciated, though it won't surprise me if the simple answer is &quot;$509&quot;.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16251" PostHistoryTypeId="1" PostId="9808" RevisionGUID="d0bb3fa7-b21a-4e18-b9c1-186f25bde882" CreationDate="2011-08-23T00:09:27.937" UserId="264" Text="Getting into the 131st AES convention" ContentLicense="CC BY-SA 3.0" />
  <row Id="16252" PostHistoryTypeId="3" PostId="9808" RevisionGUID="d0bb3fa7-b21a-4e18-b9c1-186f25bde882" CreationDate="2011-08-23T00:09:27.937" UserId="264" Text="&lt;aes&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16253" PostHistoryTypeId="2" PostId="9809" RevisionGUID="345b2598-561b-4418-bf56-2870588c308b" CreationDate="2011-08-23T00:30:05.917" UserId="432" Text="Press passes for events like these do exist, but you'll have a hard time getting one if you're not with an established outlet. Vendors frequently have exhibit passes that they'll give away, but I've never heard of them giving away full conference passes. I believe you can get a free pass if you're a presenter as well (anyone like to confirm/discredit that one?).&#xD;&#xA;&#xD;&#xA;That about empties my knowledge bank on the subject of discounted passes. Once you've been a member though, it's easy to renew. Since you've been a student member before, you probably shouldn't have any issues getting in as an associate member. That will get you a bit of discount; which is a little more than the cost of the lowest priced type - &quot;online journal only.&quot; Beyond that, I believe that you're stuck with the full $509.&#xD;&#xA;&#xD;&#xA;If you are in the New York City area, becoming a member (even associate) could be very much worth it...regardless of whether you can afford to go to the conference or not. From what I've heard, it's one of the more active chapters. Getting information about and attending their local events would be well worth your time." ContentLicense="CC BY-SA 3.0" />
  <row Id="16254" PostHistoryTypeId="2" PostId="9810" RevisionGUID="1203cfed-ec2c-436e-8fa1-66e96c6612fe" CreationDate="2011-08-23T00:37:52.890" UserId="432" Text="Where have you heard that it is capable of 96/192? I'm curious, since the specs page on Zaxcom's website lists a max of 48.048.&#xD;&#xA;&#xD;&#xA;From what I can tell, it's targeted at production recordists/mixers who don't need the higher sample rate recording. 24/48 is still pretty much defacto for dialogue recording. So, if you're concerned about getting higher sample rates for effects recording, this may not be the best route for you.&#xD;&#xA;&#xD;&#xA;That being said, Zaxcom makes some great gear. We have a Deva 5.8 at work. Overkill for some things (why we have a 744T+302 combo), but great when you need a whole mess-o-channels." ContentLicense="CC BY-SA 3.0" />
  <row Id="16255" PostHistoryTypeId="2" PostId="9811" RevisionGUID="c987b5c5-df7c-4739-b939-2bf66e44dc44" CreationDate="2011-08-23T03:10:18.273" UserId="393" Text="I'm doing some studio guitar work, right now, which will end up paying me ~$500 (it's for a really good friend, or I'd be charging at least twice that), and I'm planning on putting all that money back into my sound design.&#xD;&#xA;&#xD;&#xA;I've already determined that I'm going to get a Rode NTG-2, but I'm torn on whether I should get a boom pole (as well as a pistol grip and windscreen), or a blimp.&#xD;&#xA;&#xD;&#xA;The way I see it is sixes... with a boom, I can get on local sets doing production sound (which people all seem to need, locally, unlike sound design), but with a blimp I would feel more comfortable going out and field recording.  I'm not sure I would feel so secure without the big basket, otherwise.&#xD;&#xA;&#xD;&#xA;So... advice?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16256" PostHistoryTypeId="1" PostId="9811" RevisionGUID="c987b5c5-df7c-4739-b939-2bf66e44dc44" CreationDate="2011-08-23T03:10:18.273" UserId="393" Text="Budget Shopping: A boom or a blimp?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16257" PostHistoryTypeId="3" PostId="9811" RevisionGUID="c987b5c5-df7c-4739-b939-2bf66e44dc44" CreationDate="2011-08-23T03:10:18.273" UserId="393" Text="&lt;budget&gt;&lt;low-budget&gt;&lt;shotgun&gt;&lt;boom&gt;&lt;blimp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16258" PostHistoryTypeId="2" PostId="9812" RevisionGUID="588c515a-94c1-4b18-9baf-6130113d5dd0" CreationDate="2011-08-23T03:49:11.640" UserId="1129" Text="It sounds like you already have the key piece of info for your answer.  Those two accessories will let you do two different things, although a boompole will be useful in the field, and a blimp can sometimes save your live on a windy set.&#xD;&#xA;&#xD;&#xA;I think it all comes down to:  would you rather be out in the field gathering noises, or would you rather be on-set getting production audio (and being paid).&#xD;&#xA;&#xD;&#xA;For me, I'd rather be out in the field.  But I already have a full-time gig, so I'm not too worried about going out and getting paid.&#xD;&#xA;&#xD;&#xA;It might be best to go with the boompole, and then use some of that sweet gig money to get yourself a nice blimp later on.  Then you'll have both!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16259" PostHistoryTypeId="2" PostId="9813" RevisionGUID="35eb7d77-370f-472f-9904-8b4c06ee546d" CreationDate="2011-08-23T04:12:05.973" UserId="18160" Text="I've been a member here for a little over a year and I've made some great friends so far.&#xD;&#xA;&#xD;&#xA;I live and work in Los Angeles..&#xD;&#xA;&#xD;&#xA;I'm sure a lot of other people who frequent this site do, too...&#xD;&#xA;&#xD;&#xA;We can also meet halfway in Las Vegas...&#xD;&#xA;&#xD;&#xA;And I might be going to the East Coast soon.. Florida for sure, at least.&#xD;&#xA;&#xD;&#xA;Or we could all buy plane tickets to New Zealand and surprise Tim. heh. And from there, ya'all can hop in my G6 and we can fly over to South Africa and see Andrew.&#xD;&#xA;&#xD;&#xA;But, I was also thinking, the studio I work at has about 25 Mac laptops. I could set them up all in a circle in my studio and skype everyone and we can see/talk to each other. Hah! (joke)&#xD;&#xA;&#xD;&#xA;Anyone thought of a meet up before?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16260" PostHistoryTypeId="1" PostId="9813" RevisionGUID="35eb7d77-370f-472f-9904-8b4c06ee546d" CreationDate="2011-08-23T04:12:05.973" UserId="18160" Text="Social Sound Design Meetup?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16261" PostHistoryTypeId="3" PostId="9813" RevisionGUID="35eb7d77-370f-472f-9904-8b4c06ee546d" CreationDate="2011-08-23T04:12:05.973" UserId="18160" Text="&lt;ssd&gt;&lt;social-sound-design&gt;&lt;meet-up&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16262" PostHistoryTypeId="5" PostId="9813" RevisionGUID="cccc27a2-6380-460d-9d28-5cb16820b773" CreationDate="2011-08-23T04:17:43.350" UserId="18160" Comment="added 35 characters in body" Text="I've been a member here for a little over a year and I've made some great friends so far.&#xD;&#xA;&#xD;&#xA;I live and work in Los Angeles..&#xD;&#xA;&#xD;&#xA;I'm sure a lot of other people who frequent this site do, too...&#xD;&#xA;&#xD;&#xA;We can also meet halfway in Las Vegas...&#xD;&#xA;&#xD;&#xA;And I might be going to the East Coast soon.. Florida for sure, at least.&#xD;&#xA;&#xD;&#xA;Or we could all buy plane tickets to New Zealand and surprise Tim. heh. And from there, ya'all can hop in my G6 and we can fly over to South Africa and see Andrew.&#xD;&#xA;&#xD;&#xA;But, I was also thinking, the studio I work at has about 25 Mac laptops. I could set them up all in a circle in my studio and skype everyone and we can see/talk to each other. Hah! (joke)&#xD;&#xA;&#xD;&#xA;Anyone thought of a meet up before? Would be nice to meet some of you." ContentLicense="CC BY-SA 3.0" />
  <row Id="16263" PostHistoryTypeId="2" PostId="9814" RevisionGUID="95bb8481-7d12-4e15-bd59-75b4819a9b26" CreationDate="2011-08-23T04:31:05.213" UserId="393" Text="I live in Salt Lake City, and my budget is pretty limited, but I could probably swing Las Vegas.&#xD;&#xA;&#xD;&#xA;If we plan it around a convention, it gives people traveling farther the incentive, but it also means hotels may be more expensive." ContentLicense="CC BY-SA 3.0" />
  <row Id="16264" PostHistoryTypeId="2" PostId="9815" RevisionGUID="851d1cd8-80ec-4679-99df-c31268bd06f2" CreationDate="2011-08-23T04:35:21.743" UserId="393" Text="Do you have to be a full-time student to get the discount? And is it limited to specific schools / majors?&#xD;&#xA;&#xD;&#xA;Maybe start plugging away at requirements for your next degree, one class at a time (if it'll get you the discount, or if it's something you actually want to do).&#xD;&#xA;&#xD;&#xA;(Also, while you're at it, get your year of free Amazon Prime and download a bunch of student software with your .edu email address.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16265" PostHistoryTypeId="2" PostId="9816" RevisionGUID="c0b053ef-b6c8-4a8d-af30-3c70acd2665d" CreationDate="2011-08-23T05:51:58.273" UserId="1341" Text="Im in mexico, difficult time over here, if i flew to la or nz it would be to live there illegally haha, nice idea by the way" ContentLicense="CC BY-SA 3.0" />
  <row Id="16266" PostHistoryTypeId="2" PostId="9817" RevisionGUID="434bce43-cfe3-44eb-94fc-53bfab2e018d" CreationDate="2011-08-23T06:28:17.970" UserId="61" Text="I vote for a meetup scheduled around a tower implosion in Vegas. Then afterwards, we all share the files." ContentLicense="CC BY-SA 3.0" />
  <row Id="16267" PostHistoryTypeId="4" PostId="9801" RevisionGUID="3e3857cf-c2e7-4f8d-8a72-9400f150823e" CreationDate="2011-08-23T07:07:37.093" UserId="2" Comment="edited tags; edited title" Text="Looking for cat sounds [request]" ContentLicense="CC BY-SA 3.0" />
  <row Id="16268" PostHistoryTypeId="6" PostId="9801" RevisionGUID="3e3857cf-c2e7-4f8d-8a72-9400f150823e" CreationDate="2011-08-23T07:07:37.093" UserId="2" Comment="edited tags; edited title" Text="&lt;request&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16269" PostHistoryTypeId="2" PostId="9818" RevisionGUID="134bb40c-a791-4e96-a898-dacbe781afab" CreationDate="2011-08-23T07:58:33.297" UserId="493" Text="Adding onto Jay's idea, what if we meet up around a big sound event like a tower implosion or stadium collapse, and then turn it into the source for a live Sound Design Challenge!  &#xD;&#xA;&#xD;&#xA;Or do another scavenger hunt one like this past month's.  It could be fun to have all of us running around some city with our gear!  Maybe break out into teams too?  Just some fun activity ideas for the meetup itself :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16270" PostHistoryTypeId="2" PostId="9819" RevisionGUID="875de602-9c4c-4f32-a9e2-56cd2bc7e334" CreationDate="2011-08-23T08:36:17.943" UserId="62" Text="I've not been able to go to the first two but we have this in the UK.&#xD;&#xA;http://sonicmeet.co.uk" ContentLicense="CC BY-SA 3.0" />
  <row Id="16271" PostHistoryTypeId="2" PostId="9820" RevisionGUID="1d0926e0-750a-4448-8477-7a96119a39fe" CreationDate="2011-08-23T09:02:37.487" UserId="373" Text="I've just developed a painful case of repetative strain in my mouse hand; a swollen joint on my wrist, causing pain down the side of my hand. My little finger is also hurting as this tends to 'float' as i click the mouse. So what I'm wandering is what mice people are using to prevent developing stress injuries like this? " ContentLicense="CC BY-SA 3.0" />
  <row Id="16272" PostHistoryTypeId="1" PostId="9820" RevisionGUID="1d0926e0-750a-4448-8477-7a96119a39fe" CreationDate="2011-08-23T09:02:37.487" UserId="373" Text="Suggested mouse to combat repetative strain?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16273" PostHistoryTypeId="3" PostId="9820" RevisionGUID="1d0926e0-750a-4448-8477-7a96119a39fe" CreationDate="2011-08-23T09:02:37.487" UserId="373" Text="&lt;mouse&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16274" PostHistoryTypeId="2" PostId="9821" RevisionGUID="0430f4a3-16b7-41ee-8e04-601efe14c93f" CreationDate="2011-08-23T09:34:08.127" UserId="1228" Text="I'm using the Kensington ExpertMouse trackball, and absolutely love it.  Easy to use and, at least in my experience, is conducive to long work periods with little/no hand fatigue.  Also, you can't beat the scrubbing ability with this trackball versus a regular mouse drag ;)&#xD;&#xA;&#xD;&#xA;It takes some getting used to at first, but I could never dream of going back to a regular mouse.&#xD;&#xA;&#xD;&#xA;The keys can be programmed for specific ProTools hotkeys, and that alone has sped me up in the edit. And, it comes with a wrist support attachment.  And since it's a trackball, you can use your mid-finger part of your fingers to move the trackball itself if you like, instead of having to &quot;finger-pluck'.  I find that I tend to do this, allowing the trackball to roll with my mid-fingers most of the time&#xD;&#xA;&#xD;&#xA;I know that a lot of post sound facilities in LA use this trackball, and I can only guess that it's the same reason every facility and stage pretty much has the Herman Miller Aeron chairs - it's a good piece of gear that does it job well and is comfortable for long period of work." ContentLicense="CC BY-SA 3.0" />
  <row Id="16275" PostHistoryTypeId="2" PostId="9822" RevisionGUID="18177d34-bb36-451e-ac62-6ba11def7228" CreationDate="2011-08-23T09:35:30.200" UserId="244" Text="I happy to meet up with anyone if there close to one of the most isolated metro cities on earth... 'Perth, WA, Australia'... It appears to be incredibly far from everything... :( But great for environmental sounds! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16276" PostHistoryTypeId="5" PostId="9821" RevisionGUID="2aee5dfc-47c8-4174-895d-9cbb6b5310f4" CreationDate="2011-08-23T09:40:18.180" UserId="1228" Comment="added 279 characters in body" Text="I'm using the Kensington ExpertMouse trackball, and absolutely love it.  Easy to use and, at least in my experience, is conducive to long work periods with little/no hand fatigue.  Also, you can't beat the scrubbing ability with this trackball versus a regular mouse drag ;)&#xD;&#xA;&#xD;&#xA;It takes some getting used to at first, but I could never dream of going back to a regular mouse.&#xD;&#xA;&#xD;&#xA;The keys can be programmed for specific ProTools hotkeys, and that alone has sped me up in the edit. And, it comes with a wrist support attachment.  And since it's a trackball, you can use your mid-finger part of your fingers to move the trackball itself if you like, instead of having to &quot;finger-pluck'.  I find that I tend to do this, allowing the trackball to roll with my mid-fingers most of the time&#xD;&#xA;&#xD;&#xA;I know that a lot of post sound facilities in LA use this trackball, and I can only guess that it's the same reason every facility and stage pretty much has the Herman Miller Aeron chairs - it's a good piece of gear that does it job well and is comfortable for long period of work.&#xD;&#xA;&#xD;&#xA;Sidenote:  Like a baking pan, the trackball gets better after it's been broken in - the oils in your hands over time make it glide as smooth as butter.  The first few times though it will feel stiff and sluggish to use probably.  Within a week's time it should be good to go." ContentLicense="CC BY-SA 3.0" />
  <row Id="16277" PostHistoryTypeId="2" PostId="9823" RevisionGUID="b6fa1d49-aa6a-453c-8d41-79675c4275cf" CreationDate="2011-08-23T10:10:18.630" UserId="1216" Text="Just a hunch but do you use playlists? It could have a copy of the region in it. That would explain the 'unused' regions in your list. Can't explain the difference between PC &amp; Mac.. &#xD;&#xA;&#xD;&#xA;(Moved my comment to the proper place &quot;Your Answer&quot;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16278" PostHistoryTypeId="2" PostId="9824" RevisionGUID="ba5d7f32-fec8-40e6-839f-cb159dffb3fd" CreationDate="2011-08-23T10:38:39.973" UserId="348" Text="Hello,&#xD;&#xA;&#xD;&#xA;I have an opportunity to get the Microtech Gelfell sms 2000 preamp with the M series of diaphragms for quite a good price. Haven't had much luck on the net regarding feedback or reviews and I was wondering if anyone has had any experience with them and how they worked for you? I seems that from what I have read that it is mainly used in the music industry. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16279" PostHistoryTypeId="1" PostId="9824" RevisionGUID="ba5d7f32-fec8-40e6-839f-cb159dffb3fd" CreationDate="2011-08-23T10:38:39.973" UserId="348" Text="Looking into the Microtech Gelfell microphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="16280" PostHistoryTypeId="3" PostId="9824" RevisionGUID="ba5d7f32-fec8-40e6-839f-cb159dffb3fd" CreationDate="2011-08-23T10:38:39.973" UserId="348" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16281" PostHistoryTypeId="2" PostId="9825" RevisionGUID="aa6b0005-7cd3-4ced-8a15-68774a908903" CreationDate="2011-08-23T11:10:45.970" UserId="238" Text="When you say boom pole, pistol grip and windscreen vs. blimp, do you mean boom pole with a pistol grip/softie combo vs blimp? I would say that even for field recording a blimp is still recommended. The microphone sits suspended inside the housing, thus reducing handling noise, plus it prevents wind noise (with the option of adding a fluffy). If you will be recording outdoors, this is an essential part of your kit. A boom pole can be very useful when field recording and if you get a cheap tripod ([Manfrotto 5001B Nano][1] is an excellent choice) the blimp/pistol grip will work nicely with it. &#xD;&#xA;&#xD;&#xA;Choosing how to invest in kit is never an easy decision to make. If you think that your investment will allow you to make more money in the future, thus allowing you to re-invest that money over time, then maybe that is the best route to take. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Manfrotto-5001B-Nano-Black-Stand/dp/B000LJHGQ6" ContentLicense="CC BY-SA 3.0" />
  <row Id="16282" PostHistoryTypeId="2" PostId="9826" RevisionGUID="acef48e5-cc28-43a0-a6d7-9153f6737199" CreationDate="2011-08-23T11:22:39.597" UserId="542" Text="Well....nice idea indeed.....but Germany seems to be too far away=)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16283" PostHistoryTypeId="2" PostId="9827" RevisionGUID="d45a1179-fce4-4ee8-869d-ee81b0e6ac76" CreationDate="2011-08-23T11:23:50.530" UserId="845" Text="You may be able to do both in one fell swoop.  Take a look at these guys. The product page won't load on my phone right now (it may be flash) but I remember their prices being great on both microphones and blimps. That said, I've never heard either so no promises, but take a look around for reviews. &#xD;&#xA;&#xD;&#xA;http://oomagamma.com/products.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="16284" PostHistoryTypeId="2" PostId="9828" RevisionGUID="328e89c5-7689-4adb-af53-7f4b6fc155ea" CreationDate="2011-08-23T11:32:06.207" UserId="1354" Text="An L.A. meetup would be great, I'm game...latte, hike, would be nice to get out of our caves-:)." ContentLicense="CC BY-SA 3.0" />
  <row Id="16285" PostHistoryTypeId="2" PostId="9829" RevisionGUID="7b825c06-fdcd-4a50-bf05-9f26b0a19e0b" CreationDate="2011-08-23T13:05:52.253" UserId="6411" Text="I believe there's a group trying to get started over on the sound_design [yahoo group][1] as well. I bet if you joined forces you could get a decent turn out.&#xD;&#xA;&#xD;&#xA;I'll be in LA starting Jan 2012 and would love a chance to put some faces to names. In the meantime, @MixingManiac will be out there starting in Sept and I am positive she'd be down for a meetup too.&#xD;&#xA;&#xD;&#xA;  [1]: http://groups.yahoo.com/group/sound_design/message/24891" ContentLicense="CC BY-SA 3.0" />
  <row Id="16286" PostHistoryTypeId="2" PostId="9830" RevisionGUID="10baeb43-017f-4293-a7df-785791f94088" CreationDate="2011-08-23T13:18:55.813" UserId="28" Text="A friend of mine spent a few hundred too many hours busking on his guitar - and has developed carpel tunnel syndrome.&#xD;&#xA;&#xD;&#xA;He combats mouse fatigue by switching mouse hand every so often. I can't imagine it. But that's what he does.&#xD;&#xA;&#xD;&#xA;(My left hand is way too busy with my Contour Shuttle.) There's an idea, if your right hand is in serious pain." ContentLicense="CC BY-SA 3.0" />
  <row Id="16287" PostHistoryTypeId="2" PostId="9831" RevisionGUID="e2db1fd2-efa6-4493-9419-15e26d3e26c2" CreationDate="2011-08-23T13:21:53.390" UserId="194" Text="the dallas area guys are meeting up tomorrow&#xD;&#xA;&#xD;&#xA;http://www.meetup.com/dallassounddesigners/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16288" PostHistoryTypeId="2" PostId="9832" RevisionGUID="f1c4dc2b-3ff3-4ca8-9cb1-55a8620695da" CreationDate="2011-08-23T13:28:38.153" UserId="393" Text="In addition to the trackball approach, I've had good luck using a Wacom tablet as a mouse.  It breaks up the repetitive movement -- not to mention it gives you an excuse to work on your visual artistic skills every so often." ContentLicense="CC BY-SA 3.0" />
  <row Id="16289" PostHistoryTypeId="2" PostId="9833" RevisionGUID="fcdc3ae9-1002-4489-a06d-e6cb25f0151b" CreationDate="2011-08-23T14:23:18.023" UserId="194" Text="My .02 - &#xD;&#xA;&#xD;&#xA;The rode blimp is an exceptional sfx recording rig because of its robustness, easy of use and price.  Its also an incredibly crappy location sound boom rig because of its weight.  That sucker is **heavy** and a 10 hour day swinging that thing over people's head will break your will - because it's the wrong tool for that.&#xD;&#xA;&#xD;&#xA;If you're going to be booming actors on a set then you'll need a rycote rig, which is fiddlier to work with but also much much lighter.  Its also **much** more expensive and doesn't come with a fuzzy or have an integrated cable the way the Rode one does.  &#xD;&#xA;&#xD;&#xA;Of course either can do the other's job in a pinch, but generally speaking your intentions will dictate your purchase decision there.&#xD;&#xA;&#xD;&#xA;Production sound is an entirely different discipline than sound designing.  It requires different skills and a different investment in tools.  It generates a different kind of revenue stream.  Both are undervalued by the markets generally and both get asked of for free.  &#xD;&#xA;&#xD;&#xA;Choose your path thoughtfully." ContentLicense="CC BY-SA 3.0" />
  <row Id="16290" PostHistoryTypeId="2" PostId="9834" RevisionGUID="eedff62e-f083-4223-b4e4-39c5b74a0afc" CreationDate="2011-08-23T14:30:04.357" UserId="578" Text="In my own experience, often the source of RSI has more to do with your overall sitting position, the way you've set up your desk/screen/workspace and your work attitude. I don't think you will fix it with a single 'magical mouse', it might go away for a while, but the problem might return in a different part of your hand/arm/shoulder. &#xD;&#xA;&#xD;&#xA;Best thing to do is ensure you are sitting in a good posture, so that means using a really good chair and have your screen set up high enough so that you can sit straight. Also ensure your chair is high enough so you can comfortably rest your wrists on your desk/chair arms. Add a footstool for further comfort (and it also helps with your back posture), add perhaps some wrist support at your keyboard and mousepad. &#xD;&#xA;&#xD;&#xA;And very important, take regular breaks, like 5 minutes per hour or something. Go for a walk, or do something else, but don't sit at that damn computer all the time. RSI also can become worse when you are stressing.&#xD;&#xA;&#xD;&#xA;I've had a lot RSI problems in the past but as soon as I started to take better care of myself they largely disappeared." ContentLicense="CC BY-SA 3.0" />
  <row Id="16291" PostHistoryTypeId="2" PostId="9835" RevisionGUID="3686ebb2-5e8b-46df-961e-26459c0f8d5c" CreationDate="2011-08-23T14:47:11.520" UserDisplayName="user80" Text="If you are using a mac how about the wireless trackpad as an alternative?&#xD;&#xA;&#xD;&#xA;http://www.apple.com/magictrackpad/&#xD;&#xA;&#xD;&#xA;At home I switch between a tiny teac mouse and my laptop's track pad, the combo works really well for me.&#xD;&#xA;&#xD;&#xA;At work I use old mac mice and just switch between using keyboard shortcuts and the mice.&#xD;&#xA;&#xD;&#xA;Everyone I know who has carpal tunnel syndrome now use a graphics tablet, and the change has worked for all of them." ContentLicense="CC BY-SA 3.0" />
  <row Id="16292" PostHistoryTypeId="2" PostId="9836" RevisionGUID="480e4982-e987-4544-ab0b-1c6be54c60cf" CreationDate="2011-08-23T17:55:53.357" UserId="558" Text="Count me in for an LA area gathering." ContentLicense="CC BY-SA 3.0" />
  <row Id="16293" PostHistoryTypeId="2" PostId="9837" RevisionGUID="bdf206e0-a55c-40fd-8cba-811efaa9b065" CreationDate="2011-08-23T18:11:21.627" UserId="6519" Text="Maybe this blimp cheap and enough for you:&#xD;&#xA;http://www.dvcity.com/dvshop/PROAIM-BMP60-S-Blimp-Windshield-BMP-60-S.html&#xD;&#xA;&amp; Boom pole:&#xD;&#xA;http://www.dvcity.com/dvshop/6FTBM-R-Boom-Pole-for-blimp-windshield-windscreens.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="16294" PostHistoryTypeId="5" PostId="9837" RevisionGUID="8321d36e-3258-4a24-b11d-5dd7517a12cb" CreationDate="2011-08-23T18:19:53.090" UserId="6519" Comment="deleted 89 characters in body; added 118 characters in body; added 5 characters in body" Text="**Maybe this kit cheap and enough for you:** http://www.dvcity.com/dvshop/PROAIM-CARBON-FIBER-BOOM-POLE-WITH-BLIMP-WHIND-SHIELD.html **or this** http://www.dvcity.com/dvshop/PROAIM-11FT-M-BOOM-POLE-WITH-60CM-BLIMP-WHIND-SHIELD-for-upto-20-long-mics.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="16295" PostHistoryTypeId="2" PostId="9838" RevisionGUID="b6da1a0a-dac3-4b95-af07-476085b898be" CreationDate="2011-08-23T18:25:30.483" UserId="285" Text="I also have been using the Kensington trackball for 12 years.  It is fantastic in terms of efficiency and comfort.&#xD;&#xA;&#xD;&#xA;Another thing I use that seems to help a lot is a keyboard tray that has multi-dimensional adjustments.  It can adjust up and down, forward and backwards and in the pitch or angle of the tray.  When I feel a little pain creeping in I find I can adjust the tray to a different, but still comfortable position and this change switches things up just enough to fight off the RSI.&#xD;&#xA;&#xD;&#xA;But the big thing is the trackball.  I find it speeds up my editing drastically.  I also freelance at a bunch of studios and they are all using the Kensington, so it is a pretty common piece of gear in post studios&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16296" PostHistoryTypeId="2" PostId="9839" RevisionGUID="6361e0f5-569c-4857-8214-6d68b292d98a" CreationDate="2011-08-23T18:27:18.297" UserId="6669" Text="Hi All,&#xD;&#xA;&#xD;&#xA;A semantics question. I'm a couple of months and a large post-production project away from graduating from my film/sound program and trying to clean up my site/C.V./demo reel a bit in advance.&#xD;&#xA;&#xD;&#xA;In terms of how I'm selling myself to the world of hopeful sound employment, I'm still very much a generalist at this point - with slightly more experience on the post-production and sound design side than the game implementation side. Working with sound in any form is thrilling to me and I'm willing to take whatever opportunities I can find in sound to get my chops/reel/contact network built up. It doesn't have to be in the realm of original SFX creation.&#xD;&#xA;&#xD;&#xA;It seems strange to label myself a &quot;sound designer&quot; if I'd be equally down to freelance or apprentice as an ADR Recordist, Foley Editor, Junior Sound Implementer, etc. But is that how you'd do it?&#xD;&#xA;&#xD;&#xA;As an alternative, does anyone use the term &quot;sound artist?&quot;&#xD;&#xA;&#xD;&#xA;Any other tips you have on pitching yourself from this starting position that aren't buried elsewhere on the site, feel free to drop them in here as well.&#xD;&#xA;&#xD;&#xA;Thanks SSD!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16297" PostHistoryTypeId="1" PostId="9839" RevisionGUID="6361e0f5-569c-4857-8214-6d68b292d98a" CreationDate="2011-08-23T18:27:18.297" UserId="6669" Text="Referring to Yourself as a &quot;Sound Designer&quot; When Starting Out" ContentLicense="CC BY-SA 3.0" />
  <row Id="16298" PostHistoryTypeId="3" PostId="9839" RevisionGUID="6361e0f5-569c-4857-8214-6d68b292d98a" CreationDate="2011-08-23T18:27:18.297" UserId="6669" Text="&lt;sound-designer&gt;&lt;demo-reel&gt;&lt;marketing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16299" PostHistoryTypeId="2" PostId="9840" RevisionGUID="6a704479-115f-49fe-8595-9ed7e96b3b90" CreationDate="2011-08-23T19:33:48.447" UserId="1266" Text="I think that sound artist is perhaps more valid in the sense that what you do is an art&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16300" PostHistoryTypeId="2" PostId="9841" RevisionGUID="a8ec47cb-cc2d-4d31-ab8f-234626a7337e" CreationDate="2011-08-23T19:55:16.497" UserId="393" Text="Who says you need to have a single title, or a title at all when you're trying to get work?&#xD;&#xA;&#xD;&#xA;I read once on a freelancing website that you should call yourself what you want to be -- none of this &quot;I'm a IT guy, but I really want to be a sound designer&quot; crap.  Your role on different projects will change, and you'll go where the work is, but I don't think you should call yourself something different just to appease a job posting.&#xD;&#xA;&#xD;&#xA;(Take this with a grain of salt... I'm far from a pro at this.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16301" PostHistoryTypeId="2" PostId="9842" RevisionGUID="338a07e6-631a-4cf3-bb26-ae13ba8a4c22" CreationDate="2011-08-23T19:57:37.603" UserId="1228" Text="Its a great question that does have sort of a grey area with the paradigm shift in how post production workflows are handled nowadays.&#xD;&#xA;&#xD;&#xA;Personally, it has taken me about 3-4 years of editing before I now am comfortable calling myself a sound designer, because my role has in team projects has been shifting from bottom-level sound work (BGz, spotted BGz, doors, etc), to more top-level work (vehicles, designs, etc).  And as I do more of these top-level categories, I haven been charged with greater responsibility and creative latitude to add my personal sound signature to it.  And many times these sounds, especially for computer sequences, have to be developed from scratch to build a library palette of sorts.  So in that sense, over the years I have shifted into a position where I am doing a lot of creating and designing on top of the cutting, so Sound Designer feels appropriate to me now.&#xD;&#xA;&#xD;&#xA;In regards to the other post sound disciplines outside of effects, I agree it can sound weird, and in some cases care must be taken to not using a role's name that you are not actually familiar with and market yourself incorrectly.  It can be all about context too.  I market myself to potential clients for my sole freelance work as being a supervising sound editor (sometimes I do have to crew-up with others) and/or sound designer as an all-encompassing term.  When I'm needed for a dialogue edit, I need to market myself to sound supervisors as a dialogue/adr editor, etc.  My though is to go with your gut on this, there really is not wrong answer as long as you market yourself accordingly." ContentLicense="CC BY-SA 3.0" />
  <row Id="16302" PostHistoryTypeId="5" PostId="9837" RevisionGUID="846024c2-a135-481a-8904-6ca9f9af9cdd" CreationDate="2011-08-23T20:05:25.963" UserId="6519" Comment="added 1 characters in body" Text="**Maybe this kit cheap and enough for you:** http://www.dvcity.com/dvshop/PROAIM-CARBON-FIBER-BOOM-POLE-WITH-BLIMP-WHIND-SHIELD.html **or this** http://www.dvcity.com/dvshop/PROAIM-11FT-M-BOOM-POLE-WITH-60CM-BLIMP-WHIND-SHIELD-for-upto-20-long-mics.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="16303" PostHistoryTypeId="2" PostId="9843" RevisionGUID="d0036319-fbb3-4798-90be-a256d933fa14" CreationDate="2011-08-23T20:21:10.910" UserId="6499" Text="I made that choice about a year ago.  I went with My MKH416 and Ryctore Lyre Windshield system.  Now my next purchase will probably be a boom pole or a recorder hehe, but I spent way more time in the field/quiet room recording sfx than I do on set doing production work.  When I do get production work, I rent/borrow a pole for the shoots.&#xD;&#xA;&#xD;&#xA;Personally It was a good choice for me because it is much easier to get a pole from someone locally to do production work than get a windshield system to do sfx or production work outdoors." ContentLicense="CC BY-SA 3.0" />
  <row Id="16304" PostHistoryTypeId="2" PostId="9844" RevisionGUID="de4d1afc-1331-4480-9c60-5444da7591dc" CreationDate="2011-08-23T21:10:33.883" UserId="1129" Text="Logitech trackball here.  You can get MUCH more precise with a trackball than with a mouse, and your wrist rests comfortably as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="16305" PostHistoryTypeId="2" PostId="9845" RevisionGUID="1f6873a3-2de3-45e8-8cf9-d21d58234552" CreationDate="2011-08-23T21:23:18.673" UserId="6604" Text="Even if Playlists are used in say loop recording or dubbing, you always select the best take/playlist. So clearing out a session of unused regions should clear out alternative playlists.&#xD;&#xA; &#xD;&#xA;I use protools 8.0.3 on mac at work and notice unused regions in the region list that are some how connected to used regions or their children and sometimes dont clear out completely but they arent very big in size and can remainclearing out a session of unused regions should clear out alternative playlists.&#xD;&#xA; &#xD;&#xA;I use protools 8.0.3 on mac at work and notice unused regions in the region list that are some how connected to used regions or their children and sometimes dont clear out completely but they arent very big in size and can remain&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16306" PostHistoryTypeId="12" PostId="9845" RevisionGUID="7b441b46-27c9-4c61-ac85-d2cfed92e364" CreationDate="2011-08-23T21:30:23.337" UserId="6604" Text="[{&quot;Id&quot;:1285,&quot;DisplayName&quot;:&quot;Rig a.k.a Rigveda Deshpandey &quot;}]" />
  <row Id="16307" PostHistoryTypeId="13" PostId="9845" RevisionGUID="64275f22-4d9c-4029-8305-ef77f4cb8cfc" CreationDate="2011-08-23T21:30:31.930" UserId="6604" Text="[{&quot;Id&quot;:1285,&quot;DisplayName&quot;:&quot;Rig a.k.a Rigveda Deshpandey &quot;}]" />
  <row Id="16308" PostHistoryTypeId="5" PostId="9845" RevisionGUID="293b1e2b-8077-4d2f-a551-0a274a102f86" CreationDate="2011-08-23T21:31:36.893" UserId="6604" Comment="deleted 236 characters in body" Text="Even if Playlists are used in say loop recording or dubbing, you always select the best take/playlist. So clearing out a session of unused regions should clear out alternative playlists.&#xD;&#xA; &#xD;&#xA;I use protools 8.0.3 on mac at work and notice unused regions in the region list that are some how connected to used regions or their children and sometimes dont clear out completely but since they arent very big in size, they can be allowed to remain. &#xD;&#xA; &#xD;&#xA;Try upgrading your version to the latest update.&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16310" PostHistoryTypeId="2" PostId="9847" RevisionGUID="8c19059e-1224-4194-a9c9-60765b0e00c6" CreationDate="2011-08-23T22:55:13.407" UserId="315" Text="It's all semantics/title BS really as the lines of responsibility are blurring. &#xD;&#xA;&#xD;&#xA;But if you're interested in starting out in the film world, I'd suggest using the term &quot;Assistant Sound Editor.&quot; Adding &quot;assistant&quot; implies that you can edit sound, but you're also willing to lend a hand and understand that you must earn your place on a post sound crew. It is also most likely the highest position you'd be offered in a film sound facility starting out (apprentice sound editor, PA, and runner are other terms thrown around for entry level positions).&#xD;&#xA;&#xD;&#xA;I know numerous seasoned sound editors that still don't refer to themselves as &quot;sound designers&quot; even though they've been at it for quite some time and craft great stuff every day.&#xD;&#xA;&#xD;&#xA;It's best to be humble when starting out (my humble 2 cents). &#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16311" PostHistoryTypeId="2" PostId="9848" RevisionGUID="e47fb36f-80cd-4304-81e7-09210140a6f2" CreationDate="2011-08-23T23:08:14.267" UserId="1310" Text="When people ask me what I do/study, I say &quot;I'm looking to get into composing&quot;, rather than straight up &quot;I'm a composer&quot;. On my site though, I am a composer - sell yourself, be confident. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16312" PostHistoryTypeId="2" PostId="9849" RevisionGUID="bc1b3f9e-ddf9-48db-8fca-a6315bb0c0c8" CreationDate="2011-08-24T00:58:09.780" UserId="670" Text="Great idea. I'd be down to meet up." ContentLicense="CC BY-SA 3.0" />
  <row Id="16314" PostHistoryTypeId="2" PostId="9851" RevisionGUID="97e3c1b7-1bdf-46ca-91fe-3729dbc1c587" CreationDate="2011-08-24T03:45:25.133" UserId="1137" Text="Another fan of the Kensington!&#xD;&#xA;I set-up a very rudimentary stand-up edit station,&#xD;&#xA;and in the three months or so since then, my&#xD;&#xA;physical discomfort has decreased exponentially.&#xD;&#xA;By hour eight or so, I still get a little sore &#xD;&#xA;in my track ball side shoulder, but even after&#xD;&#xA;a full twelve, Im no longer munchin Ibuprofen like&#xD;&#xA;I was when I was sitting." ContentLicense="CC BY-SA 3.0" />
  <row Id="16315" PostHistoryTypeId="2" PostId="9852" RevisionGUID="5d836782-4430-4a0b-a1c1-3570a1d0b1b7" CreationDate="2011-08-24T05:48:56.187" UserId="37" Text="tablet; trackball; or change of hands and attitude. have tried first and last (after surgery on my wrist), and they seem to work, especially in combination. Daan Hendriks is so right, a simple stretching of your arms and adjusting your posture can get you very far. Basically always remember that our bodies weren't built for this." ContentLicense="CC BY-SA 3.0" />
  <row Id="16316" PostHistoryTypeId="2" PostId="9853" RevisionGUID="18ca8777-b1e2-4f52-96bd-d333421e2536" CreationDate="2011-08-24T07:42:38.873" UserId="1055" Text="hello all,&#xD;&#xA;&#xD;&#xA;excuse my noob'iness, but i really don't know how to record wind...i know one technique with contact mics, but other than that how do you go about recording wind?&#xD;&#xA;&#xD;&#xA;p.s.: sorry for my bad english :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16317" PostHistoryTypeId="1" PostId="9853" RevisionGUID="18ca8777-b1e2-4f52-96bd-d333421e2536" CreationDate="2011-08-24T07:42:38.873" UserId="1055" Text="how to record wind?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16318" PostHistoryTypeId="3" PostId="9853" RevisionGUID="18ca8777-b1e2-4f52-96bd-d333421e2536" CreationDate="2011-08-24T07:42:38.873" UserId="1055" Text="&lt;recording&gt;&lt;wind&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16319" PostHistoryTypeId="2" PostId="9854" RevisionGUID="998f6d35-deee-433c-ae13-45887713273e" CreationDate="2011-08-24T08:09:40.353" UserId="2" Text="It's not the wind itself that makes sound, but what it goes through/against. You don't need to have your mic in the wind, just aiming it at interesting sounding objects that create friction (wires, trees, windows, etc.) is probably what you're after. &#xD;&#xA;&#xD;&#xA;A common practice to re-create wind is to have fabric pulled against a carpeted floor. Ben Burtt did that to create the sound of wind in Wall-E. &#xD;&#xA;&#xD;&#xA;Check out these videos where he talks about it: &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=8A6z8QkVHk4&#xD;&#xA;&#xD;&#xA;[youtube]8A6z8QkVHk4[/youtube]&#xD;&#xA;&#xD;&#xA;and: &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Jl7lFPZeIOE&amp;feature=related&#xD;&#xA;&#xD;&#xA;[youtube]Jl7lFPZeIOE[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="16320" PostHistoryTypeId="2" PostId="9855" RevisionGUID="21fb1b8e-04ea-4b6a-b6f8-49c67235fe62" CreationDate="2011-08-24T08:25:36.157" UserId="1449" Text="try big condencer stereo/mic/s with a large diaphragm + anti-wind foam cap (kind of Softie Windshield) + HQ low-noise preamp. The better way - is to sit at home close to fireplace and to emulate any wind on the planet by white noise generator in every synth or use some ready samples )      " ContentLicense="CC BY-SA 3.0" />
  <row Id="16321" PostHistoryTypeId="2" PostId="9856" RevisionGUID="04912d48-06eb-4046-86f5-19a302745ea7" CreationDate="2011-08-24T09:09:50.677" UserId="1228" Text="What can help on a searching side too is to shorthand searches, such as:&#xD;&#xA;&#xD;&#xA;resi = residential,&#xD;&#xA;amb = ambience,&#xD;&#xA;backg = backgrounds,&#xD;&#xA;met = metal,&#xD;&#xA;plast = plastic,&#xD;&#xA;etc.&#xD;&#xA;&#xD;&#xA;It may seem like it only shaves a fraction of a second off a search, but added up over time, it saves a lot of time.  As mentioned, Soundminer is a top choice.  With it you can do boolean searches which are quite amazing.  In many cases, I've used them to effectively get a handful of results on a search to find what I need instead of thousands of files that I don't need.&#xD;&#xA;&#xD;&#xA;An example would be:&#xD;&#xA;&#xD;&#xA;**amb cit traf day -bird -siren**&#xD;&#xA;&#xD;&#xA;This would mean that it searches for city traffic ambiences that are daytime, but without birds (if the file was tagged properly), and without any sirens (of tagged properly)&#xD;&#xA;&#xD;&#xA;This function proves to be very powerful&#xD;&#xA;&#xD;&#xA;One note: Soundminer and other search tools are not 'contextually intelligent'.  This means that if a file is tagged with the text **no birds**, and you run a search for files that are **-bird**, it will NOT show that file because the word **bird** was tagged it, regardless of having **no** in front of it.  Lesson?  Only tag what the file has, not what it does not have (except under specific circumstances)&#xD;&#xA;&#xD;&#xA;I know this answer is somewhat of a tangent from the actual question, but it does relate to it in the sense of effective search ability and time saving.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16322" PostHistoryTypeId="2" PostId="9857" RevisionGUID="7ea4f529-e413-475e-9725-e70bb4b271b2" CreationDate="2011-08-24T11:41:34.510" UserId="6519" Text="I use this model: ART USB Dual Pre Portable Preamp (2 channel, phantom power, internal 9V battery).&#xD;&#xA;Cheap, durable and a good voice.&#xD;&#xA;http://www.artproaudio.com/products.asp?type=86&amp;cat=9&amp;id=150&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16323" PostHistoryTypeId="2" PostId="9858" RevisionGUID="0a3cc33b-8664-41df-920b-5dc5f52e2a03" CreationDate="2011-08-24T11:43:55.120" UserId="432" Text="I'll touch on two different subjects than have been mentioned so far.&#xD;&#xA;&#xD;&#xA;Having clean wind sounds is important, but I think it's equally so to have &quot;dirty&quot; wind recordings. Sometimes you need that &quot;exposed to the elements capsule&quot; sound. If you have separate clean and dirty recordings, you have a lot more control over designing the intensity of the wind sound for a scene.&#xD;&#xA;&#xD;&#xA;Another note, omni-directional microphones are far less susceptible to blowing out a signal in wind. A spaced pair can do wonders for recording ambiences with wind." ContentLicense="CC BY-SA 3.0" />
  <row Id="16324" PostHistoryTypeId="5" PostId="9857" RevisionGUID="058af871-30f3-4763-9c90-cc8615e0eaad" CreationDate="2011-08-24T11:48:28.293" UserId="6519" Comment="added 85 characters in body; deleted 81 characters in body; added 83 characters in body" Text="I use this model: ART USB Dual Pre Portable Preamp (2 channel, phantom power, internal 9V battery).&#xD;&#xA;Cheap, durable and a good voice.&#xD;&#xA;http://www.artproaudio.com/products.asp?type=86&amp;cat=9&amp;id=150&#xD;&#xA;[link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.velvetsystems.com/images/products/large010825.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="16325" PostHistoryTypeId="5" PostId="9857" RevisionGUID="df957c0c-7bce-40b0-b7e1-8006bb6d1c18" CreationDate="2011-08-24T12:33:12.197" UserId="6519" Comment="deleted 23 characters in body" Text="I use this model: ART USB Dual Pre Portable Preamp (2 channel, phantom power, internal 9V battery).&#xD;&#xA;Cheap, durable and a good voice.&#xD;&#xA;http://www.artproaudio.com/products.asp?type=86&amp;cat=9&amp;id=150&#xD;&#xA;&#xD;&#xA;&lt;http://www.velvetsystems.com/images/products/large010825.jpg&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16326" PostHistoryTypeId="5" PostId="9857" RevisionGUID="f5d35b45-db6c-4abf-96a2-57c25ce5f4fa" CreationDate="2011-08-24T12:42:33.723" UserId="6519" Comment="added 14 characters in body; edited body; added 52 characters in body" Text="I use this model: ART USB Dual Pre Portable Preamp (2 channel, phantom power, internal 9V battery).&#xD;&#xA;Cheap, durable and a good voice.&#xD;&#xA;http://www.artproaudio.com/products.asp?type=86&amp;cat=9&amp;id=150&#xD;&#xA;&#xD;&#xA;![valid XHTML](http://bandwagonperth.co.uk/site/components/com_virtuemart/shop_image/product/ART_Project_Seri_4d2f1b1772927.jpg)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16327" PostHistoryTypeId="2" PostId="9859" RevisionGUID="2dd3ef8c-5fa5-4863-aa60-181c317208e0" CreationDate="2011-08-24T13:26:39.870" UserId="393" Text="If you're lucky enough to have an old house with leaky windows (wait... did I say lucky?), when there is a wind storm, they generally whine and whistle just like you'd expect." ContentLicense="CC BY-SA 3.0" />
  <row Id="16328" PostHistoryTypeId="2" PostId="9860" RevisionGUID="8af56ee8-0314-4f86-b0e0-506902fbc848" CreationDate="2011-08-24T13:29:04.083" UserId="393" Text="If you're on an extreme budget, iTunes is a good alternative... you just have to be good with your naming and tagging.   You can even drag a file directly out of iTunes and into your DAW." ContentLicense="CC BY-SA 3.0" />
  <row Id="16329" PostHistoryTypeId="2" PostId="9861" RevisionGUID="d153f2de-b16a-4cd8-ac05-25e1460d427f" CreationDate="2011-08-24T15:22:34.137" UserId="407" Text="At work I use [basehead][1] and it is pretty damn speedy (milliseconds) at searching our 300,000+ snds (2TB) Library, it's also cheaper but not as nice looking as Sound Miner. At home I use [audio finder][2] which is not nearly as fast but gets the job done pretty well, plus it only costs $70.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.baseheadinc.com/&#xD;&#xA;  [2]: http://www.icedaudio.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16330" PostHistoryTypeId="2" PostId="9862" RevisionGUID="a1ce0a11-5b72-47f8-b165-ae16b4c22b9f" CreationDate="2011-08-24T16:03:22.277" UserId="493" Text="When networking and marketing, one of the most common ways to introduce yourself or pass along your contact information is through business cards.  &#xD;&#xA;&#xD;&#xA;I'm wondering though, since the sound industry has so many titles in it, what do you currently have as the title on your card?  And what did you have it as when you were starting out?  &#xD;&#xA;&#xD;&#xA;Should a beginner be vague and put &quot;Sound Guy&quot;, or go a little more specific with something like &quot;Sound Effects Editor&quot;, while not jumping to the mighty &quot;Sound Designer&quot;?&#xD;&#xA;&#xD;&#xA;NOTE:  I apologize that this is in the same vein as [this question][1] regarding when to call yourself a Sound Designer, but I felt weird answering one question with another, slightly different, question.  If anything, I can see this being the fact answers (what you actually have on your business card), while the other question covers the opinions/reasonings of title semantics.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/9839/referring-to-yourself-as-a-sound-designer-when-starting-out" ContentLicense="CC BY-SA 3.0" />
  <row Id="16331" PostHistoryTypeId="1" PostId="9862" RevisionGUID="a1ce0a11-5b72-47f8-b165-ae16b4c22b9f" CreationDate="2011-08-24T16:03:22.277" UserId="493" Text="Business Cards / Titles" ContentLicense="CC BY-SA 3.0" />
  <row Id="16332" PostHistoryTypeId="3" PostId="9862" RevisionGUID="a1ce0a11-5b72-47f8-b165-ae16b4c22b9f" CreationDate="2011-08-24T16:03:22.277" UserId="493" Text="&lt;business&gt;&lt;marketing&gt;&lt;networking&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16333" PostHistoryTypeId="2" PostId="9863" RevisionGUID="41e9db3b-a0dc-48c1-9998-8dccc0332a63" CreationDate="2011-08-24T16:17:44.740" UserId="6669" Text="Hey Bryan, legit question even despite mine - it's a nice follow-up that I can learn from as well.&#xD;&#xA;&#xD;&#xA;For the business card, I would try something like &quot;Sound for _____&quot; where the blank is the media you want to work in. Shows some aspirations for a specific field but doesn't oversell yourself as a crazy 10th dan Sound Designer or anything. That's what I'm thinking, anyways.&#xD;&#xA;&#xD;&#xA;&quot;Sound Guy&quot; is honestly what I see some Craigslist posts looking for and what most people will be referring to you as when they pass your name around to interested parties (&quot;Hey, I have this sound guy who might be able to help...&quot;) but strikes me as a little loose for professional representation purposes." ContentLicense="CC BY-SA 3.0" />
  <row Id="16334" PostHistoryTypeId="2" PostId="9864" RevisionGUID="fde7bd27-0413-4c76-b04b-60ac2dfd2341" CreationDate="2011-08-24T16:27:10.243" UserId="393" Text="I don't have a title on mine, just &quot;Music and Sound Design&quot; because that's the legal name of my business, and I feel it says it all.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.davematney.com/wp-content/uploads/2011/08/card_front.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="16335" PostHistoryTypeId="2" PostId="9865" RevisionGUID="114e2622-4a76-4f5c-abb1-3640d02f340b" CreationDate="2011-08-24T17:06:47.113" UserId="1228" Text="Personally, on my card, I have &quot;Sound Editor&quot; because that term is specific to what I do yet general enough that I can be a chameleon of sorts - does it mean sound effects editor?  dialogue editor?  supervising sound editor?  It merely comes down to how I choose to market myself to that person, and sometimes it can be all three simultaneously for different shows - since the title is general enough, there's a lot of leverage and I haven't deadlocked myself." ContentLicense="CC BY-SA 3.0" />
  <row Id="16336" PostHistoryTypeId="2" PostId="9866" RevisionGUID="03ef29ea-44f5-4ef1-b196-4f1ef8357b0e" CreationDate="2011-08-24T17:23:35.913" UserId="103" Text="I have some cards that say Simply &quot;sound design&quot; on the back and my contact info in the front,  some that say &quot;passion for sound&quot;, and others that say &quot;Hire me.&quot;. These actually work when i've hit it off with someone in a more casual setting" ContentLicense="CC BY-SA 3.0" />
  <row Id="16338" PostHistoryTypeId="2" PostId="9868" RevisionGUID="6f2f0e9f-fbfa-4dea-8444-11dfb87e2b91" CreationDate="2011-08-24T19:02:46.123" UserId="1228" Text="Please correct me if I'm mistaken, but I've always understood that ProTools is not RAID-compatible (as far as running sessions).  Maybe it won't let you create files on that drive because of it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16339" PostHistoryTypeId="2" PostId="9869" RevisionGUID="37c240d4-71a5-44ad-93a0-a2f916931b6e" CreationDate="2011-08-24T19:21:50.287" UserId="670" Text="The mixer I'm working is using Digital Performer. Is it even possible to import Pro Tools session data into Digital Performer? Or will I have to bounce each track down as a .wav file one by one? &#xD;&#xA;&#xD;&#xA;Also, the production sound on one of the scenes went missing. Is it even possible salvage this audio? &lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F21809159&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F21809159&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/mitchell-scott/camera-audio&quot;&gt;camera audio&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/mitchell-scott&quot;&gt;Mitchell Scott&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16340" PostHistoryTypeId="1" PostId="9869" RevisionGUID="37c240d4-71a5-44ad-93a0-a2f916931b6e" CreationDate="2011-08-24T19:21:50.287" UserId="670" Text="importing pro tools session data into digital performer" ContentLicense="CC BY-SA 3.0" />
  <row Id="16341" PostHistoryTypeId="3" PostId="9869" RevisionGUID="37c240d4-71a5-44ad-93a0-a2f916931b6e" CreationDate="2011-08-24T19:21:50.287" UserId="670" Text="&lt;digital&gt;&lt;pro&gt;&lt;tools&gt;&lt;importing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16342" PostHistoryTypeId="2" PostId="9870" RevisionGUID="34a865f7-df43-4a25-973b-6748fa042997" CreationDate="2011-08-24T19:25:05.090" UserId="1266" Text="I often think that wacky movies blur reality to the point that they share similiar qualities with video games.&#xD;&#xA;I'm about to watch El Topo for the first time and I think it would be cool to get a discussion going regarding the sound to such a strange movie.  If anybody wants to contribute, that would be cool." ContentLicense="CC BY-SA 3.0" />
  <row Id="16343" PostHistoryTypeId="1" PostId="9870" RevisionGUID="34a865f7-df43-4a25-973b-6748fa042997" CreationDate="2011-08-24T19:25:05.090" UserId="1266" Text="Discussion for the sound of &quot;El Topo&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16344" PostHistoryTypeId="3" PostId="9870" RevisionGUID="34a865f7-df43-4a25-973b-6748fa042997" CreationDate="2011-08-24T19:25:05.090" UserId="1266" Text="&lt;film&gt;&lt;game&gt;&lt;design&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16345" PostHistoryTypeId="2" PostId="9871" RevisionGUID="4e9bca83-e01a-4a6a-85a0-1ec314d8b64a" CreationDate="2011-08-24T19:35:05.187" UserId="1159" Text="I've listed my self as Audio Ninja for years on my cards. It's a bit vague but it's memorable." ContentLicense="CC BY-SA 3.0" />
  <row Id="16346" PostHistoryTypeId="2" PostId="9872" RevisionGUID="825d9ad6-6081-40fa-8a26-3341c9964889" CreationDate="2011-08-24T20:16:33.313" UserId="1228" Text="I've always been under the understanding that Loop Group is SAG/AFTRA jurisdiction, and since these actors make royalties, that any recorded group ADR cannot be custom-library-mastered (no licensing, just in-house use) for future usage in effects editorial.  Is this actually the hard and fast rule, or is there more to this that I may not be familiar with?  Because I have heard pre-recorded group ADR in custom libraries before but I've always thought that you're not supposed to.&#xD;&#xA;&#xD;&#xA;Ultimately, how is the line drawn on this issue of &quot;mastering up&quot; group ADR for future personal usage?  I personally haven't chosen to do so because of what I currently understand about the politics and legalities.  I'd love to hear some thoughts on this though, especially from the veterans who have spent a lot of time working group ADR (since it probably won't apply to smaller films).  Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16347" PostHistoryTypeId="1" PostId="9872" RevisionGUID="825d9ad6-6081-40fa-8a26-3341c9964889" CreationDate="2011-08-24T20:16:33.313" UserId="1228" Text="Loop Group - Caveats?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16348" PostHistoryTypeId="3" PostId="9872" RevisionGUID="825d9ad6-6081-40fa-8a26-3341c9964889" CreationDate="2011-08-24T20:16:33.313" UserId="1228" Text="&lt;adr&gt;&lt;sound-effects&gt;&lt;library&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16349" PostHistoryTypeId="2" PostId="9873" RevisionGUID="1886545c-ac85-4b99-8fcb-c98595c9de9c" CreationDate="2011-08-24T20:28:09.623" UserId="6519" Text="My favourite site [www.pond5.com][1] (50% comission, paypal, easy upload, more than 75.000 sfx)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pond5.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="16350" PostHistoryTypeId="2" PostId="9874" RevisionGUID="cb9eea1e-e6bd-4308-a184-47a813790f82" CreationDate="2011-08-24T21:06:51.170" UserId="542" Text="Don't laugh, because I don't know if I actually mean this serious :) &#xD;&#xA;&#xD;&#xA;http://soundcloud.com/michaelmanzke/kaffeemaschine&#xD;&#xA;&#xD;&#xA;Maybe that first angry buzz made by this coffeemachine can help you...or it's just one stupid idea =)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16351" PostHistoryTypeId="16" PostId="9874" RevisionGUID="cb9eea1e-e6bd-4308-a184-47a813790f82" CreationDate="2011-08-24T21:06:51.170" UserId="-1" />
  <row Id="16352" PostHistoryTypeId="5" PostId="6445" RevisionGUID="4a7d0fa2-841c-4dc7-9418-b357b0f2d7da" CreationDate="2011-08-24T21:19:39.347" UserId="61" Comment="added 1 characters in body" Text="Definitely keep that material! Don't file it away, no matter how specific you think it may be. There will inevitably come a time when you need such-and-such sound, and you'll remember that you did something very similar for a show years ago but no longer have it in your library. And, there will always be a use for well-recorded, well-performed foley - not necessarily to use for an entire film or scene, but surely to get you through some rough cuts/temp dubs, etc. &#xD;&#xA;&#xD;&#xA;On a similar note, there will be occasions where you can use portions of FX or BG predubs, such as 5 channel winds, room tones or wallas, or 5.1 gunshots, design hits, whooshes, etc. Just because you created them for a specific show doesn't mean they can't be applied either partially or fully somewhere else.&#xD;&#xA;&#xD;&#xA;Regarding filing or entering in metadata, it's an excellent idea to do so if you have time but mostly I just pull all of the material for a show into a folder and then drag that into Soundminer. Then I'll search the name of the show and drill down thru the results from there." ContentLicense="CC BY-SA 3.0" />
  <row Id="16353" PostHistoryTypeId="2" PostId="9875" RevisionGUID="4f7c7605-e91d-4772-a08c-c3ee11be7e0b" CreationDate="2011-08-24T21:52:00.287" UserId="315" Text="I think your decision not to master these recordings is a good one.&#xD;&#xA;&#xD;&#xA;It's definitely a violation of Union rules to put group ADR in your personal library. Those actors rely on sessions to make a living (sometimes a very good living, but they gotta eat). Good group ADR actors can bring alot to making a project come alive, so it's best to keep them in business.&#xD;&#xA;&#xD;&#xA;I worked on a network TV show where we recorded new group ADR every week for each episode. And the actors got paid for each session, even though it would've been possible to recycle some of the recordings from prior shows.&#xD;&#xA;&#xD;&#xA;The only group/walla recordings that go in my personal library are field recordings in which I've edited out specific, individually recognizable voices. Usually recorded in an area with a wash of voices, very far away from any specific conversations. The place where I currently work won't even allow these type of field/stealth walla recordings to go into the central sfx library; just to make sure that every voice in the film is covered under a union contract." ContentLicense="CC BY-SA 3.0" />
  <row Id="16354" PostHistoryTypeId="2" PostId="9876" RevisionGUID="563d9287-88bd-41de-9faf-310c8ad9ed32" CreationDate="2011-08-24T23:07:05.383" UserId="587" Text="Can DP export OMF's? - try exporting from DP into PT this way.&#xD;&#xA;&#xD;&#xA;If I remember correctly PT wont take DP automation settings so you will need to bounce the tracks if you had any complex automation. (Unless DP has come out with a version that has in the past 3 years that will accept OMF's and the corresponding automation)&#xD;&#xA;&#xD;&#xA;Missing audio? That usually means the audio has moved from whatever directory the audio was originally imported from. Try moving it back. If its completely gone... thats the nightmarish scenario.&#xD;&#xA;&#xD;&#xA;Can anyone confirm my DP speculations?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16355" PostHistoryTypeId="5" PostId="9869" RevisionGUID="5dfffe32-6957-466f-857d-73ab50278680" CreationDate="2011-08-24T23:16:19.173" UserId="670" Comment="added 31 characters in body" Text="The mixer I'm working is using Digital Performer. Is it even possible to import Pro Tools session data into Digital Performer? Or will I have to bounce each track down as a .wav file one by one? &#xD;&#xA;&#xD;&#xA;Also, the production sound on one of the scenes went missing. The recordist somehow lost it. Is it even possible salvage this audio? &lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F21809159&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F21809159&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/mitchell-scott/camera-audio&quot;&gt;camera audio&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/mitchell-scott&quot;&gt;Mitchell Scott&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16356" PostHistoryTypeId="2" PostId="9877" RevisionGUID="c621d685-dc87-48ac-b81b-ae6a13060cf4" CreationDate="2011-08-25T00:36:17.837" UserDisplayName="user6513" Text="I use &quot;sound + designer | recordist&quot; on my name card. For the keen eyes, yes I stole the first part from the soundplusdesign website! I'm sorry!!! but it's just so cool.&#xD;&#xA;&#xD;&#xA;one thing that I wished I had done however, was to use the word 'sound' in my email address. Think it tells or reminds your clients what you actually do." ContentLicense="CC BY-SA 3.0" />
  <row Id="16357" PostHistoryTypeId="2" PostId="9878" RevisionGUID="f0ab646f-bf6d-4011-85d9-78ece37a5f7b" CreationDate="2011-08-25T00:48:32.007" UserDisplayName="user6513" Text="I reckon it really depends on the circumstance.&#xD;&#xA;&#xD;&#xA;If you're applying for a job at an audio post facility, then as Justin says, having the 'assistant' term in front makes it more appealing for them to want to talk to you.&#xD;&#xA;&#xD;&#xA;If you're out networking on your own, then you should be more confident and try to sell yourself as best as you can as Julian has advised.&#xD;&#xA;&#xD;&#xA;You don't want to step on the toes of the older guys, yet you don't want to sell yourself short on getting the smaller projects.&#xD;&#xA;&#xD;&#xA;Most importantly though, is to be honest and upfront about what you can do and can learn to do. We all can't do many things, but what's probably more impressive is the ability to learn it well, and fast." ContentLicense="CC BY-SA 3.0" />
  <row Id="16358" PostHistoryTypeId="2" PostId="9879" RevisionGUID="4ccfe677-45a4-4f56-8eb3-a0a291f03c61" CreationDate="2011-08-25T03:32:01.237" UserDisplayName="mdichirico" Text="In my late teens, I developed a love for radio studios and recording gear. Similar to others in this thread, I've spent a lot of time watching special features for sound on DVDs. The Lord of the Rings featurette and many others sparked my passion. I recall how these interests led me to filmsound.org for the first time. I lost sleep diving into every article I could find while building up a healthy obsession with Randy Thom.&#xD;&#xA;At the time I was finishing with my undergraduate degree, I started investing in books and software while having fun and learning each and every day. I realized that I wouldn't be satisfied with life unless I pursued the dream of creating sound for film and video games. The choice was made, but nothing in life is achieved without hard work.&#xD;&#xA;I continued on as a live sound engineer after graduation and saved up to attend school for further technical training in the art of sound for linear and interactive media. Currently, I'm finishing said schooling and striving toward my career goals.&#xD;&#xA;Very cool reading the replies in this thread!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16359" PostHistoryTypeId="2" PostId="9880" RevisionGUID="511ab9b6-0d95-43b6-b41d-f25f74e9e53c" CreationDate="2011-08-25T05:22:20.343" UserId="1620" Text="I had been having a lot of trouble recording wind and outdoor ambiences on windy days with my Zoom H4n and the foam windsock it came with, but once I got a new windscreen it made a huge difference. I got the Redhead windscreen designed for my H4n and it was totally worth the $40 or so it cost. Getting a good stereo image for something like wind isn't always needed but it's good to have and a portable recorder with a stero pair of mics that you can always have with you is the best way to capture wind when it happens. &#xD;&#xA;&#xD;&#xA;As far as using it for sound design goes I use the sample feature in Absynth and play the rain with a midi controller. Also automating an EQ with a narrow Q boosted or cut can also add some customized movement and expression to an uneventful wind recording. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16360" PostHistoryTypeId="5" PostId="9880" RevisionGUID="d8f8594e-7179-4370-831b-2f3ba7d62ee0" CreationDate="2011-08-25T05:34:59.857" UserId="1620" Comment="edited body" Text="I had been having a lot of trouble recording wind and outdoor ambiences on windy days with my Zoom H4n and the foam windsock it came with, but once I got a new windscreen it made a huge difference. I got the Redhead windscreen designed for my H4n and it was totally worth the $40 or so it cost. Getting a good stereo image for something like wind isn't always needed but it's good to have and a portable recorder with a stero pair of mics that you can always have with you is the best way to capture wind when it happens. &#xD;&#xA;&#xD;&#xA;As far as using it for sound design goes I use the sample feature in Absynth and play the wind with a midi controller. Also automating an EQ with a narrow Q boosted or cut can also add some customized movement and expression to an uneventful wind recording. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16361" PostHistoryTypeId="2" PostId="9881" RevisionGUID="f182c249-ecd6-44b8-95ae-9c6dab34f125" CreationDate="2011-08-25T05:53:06.133" UserId="587" Text="If an online business is set up with one founder in the USA and the other in Canada, anyone know what kind of business license and taxes you have to pay for such a endeavor? Its an Online only, no physical brick and mortar, store.&#xD;&#xA;&#xD;&#xA;I've heard to make 2 companies and join them as a joint venture. I have also heard to just pick which country is more economical to locate it in and choose that location.&#xD;&#xA;&#xD;&#xA;Anyone got experience in this realm?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16362" PostHistoryTypeId="1" PostId="9881" RevisionGUID="f182c249-ecd6-44b8-95ae-9c6dab34f125" CreationDate="2011-08-25T05:53:06.133" UserId="587" Text="International Partnerships" ContentLicense="CC BY-SA 3.0" />
  <row Id="16363" PostHistoryTypeId="3" PostId="9881" RevisionGUID="f182c249-ecd6-44b8-95ae-9c6dab34f125" CreationDate="2011-08-25T05:53:06.133" UserId="587" Text="&lt;business&gt;&lt;license&gt;&lt;international&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16364" PostHistoryTypeId="2" PostId="9882" RevisionGUID="2a45a43c-4ed8-436a-b313-d24a86475fd7" CreationDate="2011-08-25T09:43:36.667" UserId="373" Text="I keep everything backed up; if I get something tasty/useful when I'm editing it I try to remember to export it to a foley folder on my fx drive, but you'll also be surprised at how often you need a sound and you remember where it occured in a previous project and you can dive in and grab it. Really must syphon through it all at some point though. Things like hands and moves are really difficult to find quickly if what you've recorded isn't quite working, and thouasands of files with the same name are a nightmare to sift through!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16365" PostHistoryTypeId="2" PostId="9883" RevisionGUID="1835014f-487a-44d3-a079-785ad10322a2" CreationDate="2011-08-25T14:34:06.970" UserId="29" Text="Look at objects as woodwind instruments (or stringed instruments in the case of tensioned wires). Sometimes really small holes and gaps that are vertical can sound cool when the wind comes right through them (like the hatchback of my car), but just like a flute, sometimes rounder or larger gaps sound best when the wind is coming at more of a perpendicular 90-degree angle (like knot holes in the side of a rickety old barn).&#xD;&#xA;&#xD;&#xA;Another trick is to hold a sheet of foam over an air conditioning unit. You can &quot;play&quot; howling wind sounds by opening and closing gaps in the foam sheet. With a tool like iZotope RX you can even remove most of the machinery noise easily (what you can't remove can be easily masked by the whistling or other sound layers). Totally works!&#xD;&#xA;&#xD;&#xA;If you want to get the sound of wind in a natural environment without overloading your mic capsules, use your eyes. Wind flows around objects and creates eddies, like water. You can often spot small areas where the wind is lessened or even still, even on the most blustery of days, if you have the patience. This is easiest to spot in areas with good plant coverage like lawns or long grass. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16366" PostHistoryTypeId="2" PostId="9884" RevisionGUID="4bfd11c9-4c40-4148-8cfb-c79adde58c48" CreationDate="2011-08-25T14:40:41.753" UserId="29" Text="You'll ***need*** to retain a business lawyer to do this right.&#xD;&#xA;&#xD;&#xA;Even if there are two founders, most LLC's and corporations MUST be incorporated in one place...and it needn't be where either of you are located. This is why many companies are &quot;Delaware Corporations,&quot; regardless of where they're based...I forget if that's a liability or tax loophole that causes many to do so. Wherever you incorporate is usually where all legal disputes will be settled, so that will be a major factor...the considerations are as much legal as they are economical. Payment and taxation will vary based on if you're both equity shareholders, or if one is an employee and the other the owner (happens often if one supplies more initial funding than the other). Joint ventures can work but make no mistake: It's truly like making a brand new third firm/company.&#xD;&#xA;&#xD;&#xA;I'm positive you can make it work, but only a business attorney will help you navigate these waters and ensure success." ContentLicense="CC BY-SA 3.0" />
  <row Id="16367" PostHistoryTypeId="2" PostId="9885" RevisionGUID="92fa9b4b-bbe1-4249-b7f5-2a16e2174253" CreationDate="2011-08-25T14:46:38.893" UserId="6411" Text="This is actually a pretty timely question as I'm redesigning my card right now, and all of these answers have me hesitating on sending them to the printer.&#xD;&#xA;&#xD;&#xA;Currently I have &quot;Sound Edit | Sound Design | Re-recording Mix&quot;, which I changed from &quot;Sound Editor | Sound Designer | Re-recording Mixer&quot;. For some reason removing the &quot;-er&quot; from each makes it feel like less of a pompous declaration of ego. Also, I find it a little more specific than &quot;Sound for Picture&quot; as I am neither a Location Mixer nor a Boom Op.&#xD;&#xA;&#xD;&#xA;Problem is, I want to market myself to the widest number of possible clients, but don't want to appear as a &quot;jack-of-all-trades, master of none&quot;. Also, I'm moving to LA, where they have actual &quot;Sound Designers&quot; and wouldn't dare put myself on the same level despite going through similar processes.&#xD;&#xA;&#xD;&#xA;I had considered making up some ostentatious title like &quot;Audician&quot;, which I truly like, but don't want to have to explain every time I hand out my card.&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;*[potential client] - &quot;You misspelled &quot;Audition&quot; on your card.&quot;*&#xD;&#xA;&#xD;&#xA;*[me] - &quot;No see, it's like Acoustician, but with audio rather than acoustics&quot;*&#xD;&#xA;&#xD;&#xA;*[potential client] - &quot;Wouldn't that be the same thing?&quot;*&#xD;&#xA;&#xD;&#xA;*[me] - &quot;They're related, but no, not really. You see acoustician refers to someone who deals with the physics of sound in a space, they're typically more of a scientist. I work with audio, or recorded sound. I record sounds, then edit and mix the audio to create a soundtrack.&quot;*&#xD;&#xA;&#xD;&#xA;*[potential client] - (glazed over) &quot;So you're a Sound Designer? You should just put that on your card. It's far less confusing. I look at this and I'm like, 'What's he auditioning for? And why is it printed on his card?' &quot;*&#xD;&#xA;&#xD;&#xA;*[me] - (restraining the #facepalm) &quot;Yeah, I thought about that too.&quot;*&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16368" PostHistoryTypeId="2" PostId="9886" RevisionGUID="321dd5b4-b5d2-4350-8a52-aacc866cb24d" CreationDate="2011-08-25T15:05:46.483" UserId="6604" Text="Hi,&#xD;&#xA;&#xD;&#xA;Im working on my own project where im trying to tell a story/explain a scene with only sound and no voices or visuals. The sound, ambiences and cutscenes (using change in environment) should be able to tell the listener, where he is or what im trying to show him.&#xD;&#xA;&#xD;&#xA;The major difficulty im facing is the localisation of sound in 3d space and the effect of height. Our stereo or surround speakers are normally in a flat plain around us. How does one produce the effect of the sound source below or above u.&#xD;&#xA;&#xD;&#xA;the opening scene, according to my concept and drawings, shows a hill/cliff overlooking a sea. the virtual camera/listening postition is at the top of the hill with a highway winding around it below.&#xD;&#xA;&#xD;&#xA;I want to show a car climbing the hill, on my front, right, bottom. I CAN show the sound source/car on my front and right, **but unable to show the height in terms of up and down.**&#xD;&#xA;&#xD;&#xA;i tried Wavearts Panorama, but its isnt very convincing and i dont know how to use it for sound design and various tracks.&#xD;&#xA;&#xD;&#xA;has anybody ever faced this issues?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16369" PostHistoryTypeId="1" PostId="9886" RevisionGUID="321dd5b4-b5d2-4350-8a52-aacc866cb24d" CreationDate="2011-08-25T15:05:46.483" UserId="6604" Text="feeling of Height of sound source" ContentLicense="CC BY-SA 3.0" />
  <row Id="16370" PostHistoryTypeId="3" PostId="9886" RevisionGUID="321dd5b4-b5d2-4350-8a52-aacc866cb24d" CreationDate="2011-08-25T15:05:46.483" UserId="6604" Text="&lt;3d&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16371" PostHistoryTypeId="2" PostId="9887" RevisionGUID="8426b2ba-8402-42ce-97da-e7c98a59b3a1" CreationDate="2011-08-25T15:32:05.343" UserId="876" Text="Hey guys, just wanted to ask, is there any way to take an older males voice and make it sound like a younger version of that person? Is there some way to change the pitch or something? Or should I rather get that actor to try and sound younger when he speaks? &#xD;&#xA;Thank you" ContentLicense="CC BY-SA 3.0" />
  <row Id="16372" PostHistoryTypeId="1" PostId="9887" RevisionGUID="8426b2ba-8402-42ce-97da-e7c98a59b3a1" CreationDate="2011-08-25T15:32:05.343" UserId="876" Text="Make people sound younger?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16373" PostHistoryTypeId="3" PostId="9887" RevisionGUID="8426b2ba-8402-42ce-97da-e7c98a59b3a1" CreationDate="2011-08-25T15:32:05.343" UserId="876" Text="&lt;voice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16374" PostHistoryTypeId="2" PostId="9888" RevisionGUID="61d90dc8-d618-45a5-8a80-5a2c7cd136f7" CreationDate="2011-08-25T15:47:11.007" UserId="891" Text="This depends a lot on the amount of &quot;years&quot; you want to change.&#xD;&#xA;&#xD;&#xA;In most cases getting the right voice actor for the role will give you the most natural results.&#xD;&#xA;Nevertheless you might be in a situation where you don't have the option anymore to look for s.o. or whatever…&#xD;&#xA;&#xD;&#xA;If you want to make an adult into a child simple pitch shift (built in ProTools or other workstation or external PlugIn) might work. It did on a couple of occasions. But usually only short sentences or single words. &#xD;&#xA;Pitch it by a good bit and try what amount sounds most natural. But keep in mind that for more than just one word or so pronunciation, melody and rhythm of a child are also very different than those of kids. So there is also a performance factor for this.&#xD;&#xA;&#xD;&#xA;Another try might be IRCAM Trax from Flux. (http://www.fluxhome.com/products/plug_ins/ircam_trax) It does advertise as changing male into female and age and so on, but I'd be careful and not expect too much of it. Personally I only tried it once and had the feeling it either works for very subtle changes or very artificial results.&#xD;&#xA;But maybe it's worth a try in you case?&#xD;&#xA;&#xD;&#xA;Hope any of this helps.&#xD;&#xA;&#xD;&#xA;good luck!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16375" PostHistoryTypeId="2" PostId="9889" RevisionGUID="fb722c8c-bfe0-4770-8d4c-da58e526ac54" CreationDate="2011-08-25T15:52:48.833" UserId="6669" Text="A few options..&#xD;&#xA;&#xD;&#xA;1) Mess with Panorama some more.&#xD;&#xA;&#xD;&#xA;I've had pretty good results with that plug-in (http://bit.ly/pKdKJl), but the effect works mostly in headphones where you're getting a purely discrete signal in each ear. I found that even when it wasn't totally accurate, it did help to sell a bit of extra separation between elements in the mix.. maybe try cranking the Y parameter all the way up to hear a more dramatic difference?&#xD;&#xA;&#xD;&#xA;2) Worldize/re-record your car binaurally.&#xD;&#xA;&#xD;&#xA;If you have at least two pretty flat-sounding omni mics sitting around and can wrangle yourself into the right position, this is something you can try. Play the sounds you've already made through speakers on ground level while standing up or standing on a chair and holding the two omni mics against your ears, and re-record the car sounds through those sounds that way. It will bring some of then natural EQ/phase/delay information that happens as the car bys reflect off your chest/etc. and tell your body &quot;this sound is below me&quot; into the mix, and at least to you, it might add a little depth to it. Yes, it will likely bring some room reflections as well - it's not perfect - but it's another option!&#xD;&#xA;&#xD;&#xA;I did this for some sounds in the above soundscape (write-up at http://bit.ly/fzIM2w) and it helped quite a bit.&#xD;&#xA;&#xD;&#xA;Again though, that'll be mostly useful for your ears, and I don't know how well it'll reproduce psychologically on speakers instead of headphones.&#xD;&#xA;&#xD;&#xA;3) Forget the binaural stuff and sell it with the right sounds.&#xD;&#xA;&#xD;&#xA;If you don't want to try any fancy tricks, make sure your ambiences for standing up on the cliff are spot on. Seaside birds, the right winds, washy waves with occasional rock crashes. EQ a little high and low end off the traffic and elements you want to separate and add some early reflections-heavy verb to them to place them a little further out. Give your listeners some credit, they may be able to piece together what you want just from doing this.&#xD;&#xA;&#xD;&#xA;I think that most people don't *expect* binaural-sounding mix work, so even if you only come close, with the right sounds, you will probably still get the effect you're going for.&#xD;&#xA;&#xD;&#xA;WTB Ambisonics-compatible theaters all across the country, right?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16376" PostHistoryTypeId="2" PostId="9890" RevisionGUID="c2a02aa3-ced6-4bc4-9d9d-ee528b5deca4" CreationDate="2011-08-25T16:09:11.267" UserId="7642" Text="So you are filing your foley but not your loop group recordings?&#xD;&#xA;Why do loop group performers deserve to get payed but not foley artists?&#xD;&#xA;&#xD;&#xA;America is a weird country :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16377" PostHistoryTypeId="2" PostId="9891" RevisionGUID="dc406f18-0395-4947-a8e8-c571ba918bb6" CreationDate="2011-08-25T16:31:12.023" UserId="6604" Text="@Luca Fusi: thanks for the reply man! how do i give an effect of a truck falling from the road above, to the road below on the hill and coming from left top to bottom? and a car climbing the hill from the right bottom? &#xD;&#xA;&#xD;&#xA;so at the same time, my &quot;hill&quot; scene will have, a truck rolling down on the left as well as a car climbing on the bottom right. thats too many sounds, isnt it?&#xD;&#xA;&#xD;&#xA;Even if i use straight normal sounds and speakers, im just confused how am i going to portay all the 3D info.&#xD;&#xA;&#xD;&#xA;i will scan and put up my story board so that you can get an idea of the story. &#xD;&#xA;&#xD;&#xA;This project is inspired from your &quot;change in environment&quot; post on your blog. Thats how i got the idea of Wave arts Panorama. Do i have to use it individually for all tracks/sounds??" ContentLicense="CC BY-SA 3.0" />
  <row Id="16378" PostHistoryTypeId="2" PostId="9892" RevisionGUID="73d62dbd-2810-4e9d-b18a-138513f6e867" CreationDate="2011-08-25T16:41:03.520" UserId="432" Text="Your either going to have to look into creating a custom monitoring installation, with additional speakers to provide height information, or you're going to have to look into binaural processing and monitoring (you'll have to use headphones in this case). Wave Arts Panorama supposedly works for that, but I've never messed with it myself.&#xD;&#xA;&#xD;&#xA;Regardless of which method you use, panning is not going to be simple. You're not going to be able to produce any height information with a typical stereo pair or surround system." ContentLicense="CC BY-SA 3.0" />
  <row Id="16379" PostHistoryTypeId="2" PostId="9893" RevisionGUID="144663ae-07bf-4c47-aeeb-fc806b3cc30c" CreationDate="2011-08-25T16:47:28.927" UserId="432" Text="This is going to be hard to produce with processing...at least, it will be if you want it to sound natural. It will be far more effective to capture it as a performance. If you get an actor who can make themselves sound &quot;a little younger,&quot; then a small amount of pitch processing afterwards will help sell the difference and give you a final product with fewer artifacts.&#xD;&#xA;&#xD;&#xA;That's a pretty standard idea for any sound you're trying to create. Get as close to the ideal sound as possible in the recording, and then use processing to get the rest of the way....cleaner results and more effective sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="16380" PostHistoryTypeId="2" PostId="9894" RevisionGUID="d1917271-a1d6-4a0d-89ab-7a66f8c29f2d" CreationDate="2011-08-25T17:59:19.340" UserId="6499" Text="This does not really answer the question about filing my foley, but may help you with filing yours.  I do not have the proper space/ ability to do much foley and actually would love to be able to purchase just a foley library.  The large libraries just have a few different steps/cloth movements that are just lame/wrong place space etc.  Many times on the things I do, the time/budget does not allow for foley, yet the film desperately needs it.  Would be a thought for those that do have/ work on foley stages to take a little time and file/edit some of it because for myself that would be quite a valuable asset at the level that I am at. I have the gear to go out into the world and source lots of outside sounds, but do not have the space to keep the world out and record quiet cloth movements/footsteps/ etc.&#xD;&#xA;&#xD;&#xA;Just a thought if the sounds already exist.  Unless there is some kind of copyright with resale of sounds created for a project.&#xD;&#xA;&#xD;&#xA;~MG&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="16381" PostHistoryTypeId="2" PostId="9895" RevisionGUID="0b86b69b-08fe-48cd-93af-232851406380" CreationDate="2011-08-25T18:03:54.123" UserId="6411" Text="I've had small successes with pitch shifting, but typically do a small amount of formant shifting also ( &lt; +1.5 semi). But that was when I was stuck with what I had.&#xD;&#xA;&#xD;&#xA;Don't forget to EQ as well. If you're trying to make a grown adult sound like a smaller child, you're taking about a different sized resonant cavity. Adjust accordingly.&#xD;&#xA;&#xD;&#xA;True success will completely depend on the performance of your talent. If you're asking this before the record, see if the talent can produce the desired results. If not, lobby to find additional talent to speak the younger lines. In the end it'll be a much more natural sounding result." ContentLicense="CC BY-SA 3.0" />
  <row Id="16382" PostHistoryTypeId="2" PostId="9896" RevisionGUID="ee14a2e8-7300-47c8-bdd2-2c9d259de012" CreationDate="2011-08-25T18:25:25.187" UserId="410" Text="Take a look on this link, it's an awesome plug developped by IRCAM (french audio research institue) called Flux from a plugin serie named Trax : http://www.youtube.com/watch?v=S85W-9ePC54&#xD;&#xA;&#xD;&#xA;There's a total of 12 stuning episodes. I really would like to try this out. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16383" PostHistoryTypeId="2" PostId="9897" RevisionGUID="700d84eb-9162-4e29-b393-c6462607869c" CreationDate="2011-08-25T18:54:04.320" UserId="168" Text="+1 for Steve's suggestion of formant shifting. Melodyne can be useful. Antares Throat has worked well - sometimes.&#xD;&#xA;&#xD;&#xA;You will be better off getting the actor to record the lines 'younger' because it's usually not just the pitch but things like grain in the voice, pauses between words and enunciation that makes the difference." ContentLicense="CC BY-SA 3.0" />
  <row Id="16384" PostHistoryTypeId="2" PostId="9898" RevisionGUID="6884e117-e02b-4d03-ab13-ec26466150ae" CreationDate="2011-08-25T19:01:45.267" UserId="217" Text="I've always had &quot;Sound Guy&quot; on my business card. Whilst meeting someone at a networking event they said there &quot;isn't enough Sound Guys around&quot;. I liked the way he said it, so I stuck it on the card. &#xD;&#xA;&#xD;&#xA;Since then, giving out the card everybody see's it and has a giggle. It shows that you have a sense of humor (I've had industry people say this to me). It gives the gist of what I do. If I meet someone who needs to know my specific area's of expertise then I can write it on the card for them. &#xD;&#xA;&#xD;&#xA;Although having said that, mine are due a redesign and I have been contemplating a new title." ContentLicense="CC BY-SA 3.0" />
  <row Id="16385" PostHistoryTypeId="2" PostId="9899" RevisionGUID="02e9aac9-188b-406f-80a6-9448871e9f46" CreationDate="2011-08-25T19:21:41.507" UserId="1354" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I have been creating vocal sound design for sound designers and composers and would greatly appreciate some input, a how to. I'd like to know how to create a :15 &quot;rise&quot; out of my vocals and what other elements would go along with them in order to make the sonics huge and powerful.&#xD;&#xA;&#xD;&#xA;Thanks so much&#xD;&#xA;Kathie-:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16386" PostHistoryTypeId="1" PostId="9899" RevisionGUID="02e9aac9-188b-406f-80a6-9448871e9f46" CreationDate="2011-08-25T19:21:41.507" UserId="1354" Text="Rises for Trailers" ContentLicense="CC BY-SA 3.0" />
  <row Id="16387" PostHistoryTypeId="3" PostId="9899" RevisionGUID="02e9aac9-188b-406f-80a6-9448871e9f46" CreationDate="2011-08-25T19:21:41.507" UserId="1354" Text="&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16388" PostHistoryTypeId="2" PostId="9900" RevisionGUID="e12e895b-5c5d-45f2-b5b6-90d88ac6307e" CreationDate="2011-08-25T19:43:40.593" UserId="6604" Text="Anyone know where can it or any pro audio stuff be bought in Vancouver, canada? A friend is going there to see her parents next month. I thought of ordering." ContentLicense="CC BY-SA 3.0" />
  <row Id="16389" PostHistoryTypeId="2" PostId="9901" RevisionGUID="da3c11e9-b454-46f5-a097-93204ac818da" CreationDate="2011-08-25T20:16:23.053" UserId="6604" Text="that reminds of of an interesting idea i had last night to get a real radio tuning and sound quality feeling. &#xD;&#xA; &#xD;&#xA; A few years ago i bought a pair of wireless computer headphones. The transmitter for it has a EP jack to be plugged in to an mp3 player or pc to hear music wirelessly. But its mono transmitter (which is bad for stereo headphones as it plays in left far only) and transmits on a rare 84.5mhz FM freq which coincidently only my mom's old radio which is mono too,  catches (other than those headphones)&#xD;&#xA; &#xD;&#xA;So i connected the transmitter to the cd/cassette player in the living room so that my mom can listen to her music on her radio anywhere in the house discreetly without disturbing others. &#xD;&#xA; &#xD;&#xA;Now the idea is to play any music on a mp3/cd player using the transmitter, tune the radio and actually hear and record the 'music on radio' and tunning effect WITHOUT any eqing or processing.&#xD;&#xA; &#xD;&#xA;Plan to use it in a song i wrote and composed as a prelude to show radio tuning beforsong a real radio tuning and sound quality feeling. &#xD;&#xA; &#xD;&#xA; A few years ago i bought a pair of wireless computer headphones. The transmitter for it has a EP jack to be plugged in to an mp3 player or pc to hear music wirelessly. But its mono transmitter (which is bad for stereo headphones as it plays in left far only) and transmits on a rare 84.5mhz FM freq which coincidently only my mom's old radio which is mono too,  catches (other than those headphones)&#xD;&#xA; &#xD;&#xA;So i connected the transmitter to the cd/cassette player in the living room so that my mom can listen to her music on her radio anywhere in the house discreetly without disturbing others. &#xD;&#xA; Now the idea is to play any music on a mp3/cd player using the transmitter, tune the radio and actually hear and record the 'music on radio' and tunning effect WITHOUT any eqing or processing.&#xD;&#xA; &#xD;&#xA;Plan to use it in a song i wrote and composed as a prelude to show radio tuning and song play. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16390" PostHistoryTypeId="5" PostId="9901" RevisionGUID="08f59cb3-d637-426a-8694-f73f44b211a9" CreationDate="2011-08-25T20:22:04.123" UserId="6604" Comment="deleted 947 characters in body" Text="&#xD;&#xA;that reminds of of an interesting idea i had last night to get a real radio tuning and sound quality feeling. &#xD;&#xA;&#xD;&#xA; A few years ago i bought a pair of wireless computer headphones. The transmitter for it has a EP jack to be plugged in to an mp3 player or pc to hear music wirelessly. But its mono transmitter (which is bad for stereo headphones as it plays in left far only) and transmits on a rare 84.5mhz FM freq which coincidently only my mom's old radio which is mono too,  catches (other than those headphones)&#xD;&#xA; &#xD;&#xA;So i connected the transmitter to the cd/cassette player in the living room so that my mom can listen to her music on her radio anywhere in the house discreetly without disturbing others. &#xD;&#xA; Now the idea is to play any music on a mp3/cd player using the transmitter, tune the radio and actually hear and record the 'music on radio' and tunning effect WITHOUT any eqing or processing.&#xD;&#xA; &#xD;&#xA;Plan to use it in a song i wrote and composed as a prelude to show radio tuning and song play.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16391" PostHistoryTypeId="2" PostId="9902" RevisionGUID="f59c82ab-a758-4b18-a0f7-17490f4d28d4" CreationDate="2011-08-25T20:25:26.383" UserId="18160" Text="I have done a lot of vocal recording/mixing as well as sound design and I'd love to help but could you please give a bit more detail on the context?&#xD;&#xA;&#xD;&#xA;Choices of tonalities, timbres, sounds, etc. for me depends a lot on context and what you're trying to communicate with the story.&#xD;&#xA;&#xD;&#xA;So if you go into a bit more detail about what it will be used for or what the trailer is about or even a vague outline or genre like &quot;Horror&quot;, &quot;Suspense&quot;, &quot;Family Comedy&quot;, I think I could be of more assistance.&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 3.0" />
  <row Id="16392" PostHistoryTypeId="2" PostId="9903" RevisionGUID="08befbf3-f29f-44f7-8c63-768bebdd2b6b" CreationDate="2011-08-25T20:30:33.110" UserId="103" Text="Check out the third example in the [construction kit example][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://boomlibrary.com/index.php?option=com_content&amp;view=article&amp;id=53" ContentLicense="CC BY-SA 3.0" />
  <row Id="16393" PostHistoryTypeId="2" PostId="9904" RevisionGUID="c9529c05-9bd4-423e-a5ee-2949f536d5f7" CreationDate="2011-08-25T21:03:20.163" UserId="578" Text="Howdy!&#xD;&#xA;&#xD;&#xA;I just received my brand new Petrol Deca Eargonizer Small audio bag in the post, after reading many recommendations online about this bag. It certainly seems to be very useful and cleverly designed, but I do have one thing that puzzles me a bit.&#xD;&#xA;&#xD;&#xA;Basically the flap that covers the top doesn't fully seal the top of the bag. It leaves quite large-ish gaps at the edges and corners. It seems to me that this is not really ideal for when it's raining, or generally for usage in harsher environments. Dirt, dust, moisture/rain, insects - all could easily find its way inside the bag and onto your hard earned expensive gear through those holes/gaps.&#xD;&#xA;&#xD;&#xA;So it surprised me that a bag that overall seems so well thought out doesn't offer the flexibility of properly sealing it at the the top. Am I overlooking something here? Note that I haven't used the bag yet, it's literally arrived a few hours ago and have just been inspecting it. What do people with this or similar bags to fully protect their gear against the environment?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;- PS I am aware that Petrol also offers an optional rain cover but that thing seems a bit cumbersome and large. Not exactly a very straightforward solution for just closing your bag properly." ContentLicense="CC BY-SA 3.0" />
  <row Id="16394" PostHistoryTypeId="1" PostId="9904" RevisionGUID="c9529c05-9bd4-423e-a5ee-2949f536d5f7" CreationDate="2011-08-25T21:03:20.163" UserId="578" Text="Petrol Deca Eargonizer in bad weather/harsh environment" ContentLicense="CC BY-SA 3.0" />
  <row Id="16395" PostHistoryTypeId="3" PostId="9904" RevisionGUID="c9529c05-9bd4-423e-a5ee-2949f536d5f7" CreationDate="2011-08-25T21:03:20.163" UserId="578" Text="&lt;petrol&gt;&lt;bag&gt;&lt;protection&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16396" PostHistoryTypeId="2" PostId="9905" RevisionGUID="870902cb-bc6e-44ff-9ba6-80a45507c9e1" CreationDate="2011-08-25T23:11:13.470" UserId="264" Text="So, while the rest of the East Coast is freaking out, I plan on going out and recording as much chaos and destruction as my SD cards can hold. I was wondering if any others will be doing the same, and if any of you have tips for recording in bad weather. Really bad weather." ContentLicense="CC BY-SA 3.0" />
  <row Id="16397" PostHistoryTypeId="1" PostId="9905" RevisionGUID="870902cb-bc6e-44ff-9ba6-80a45507c9e1" CreationDate="2011-08-25T23:11:13.470" UserId="264" Text="Come on Irene! Hurricane recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="16398" PostHistoryTypeId="3" PostId="9905" RevisionGUID="870902cb-bc6e-44ff-9ba6-80a45507c9e1" CreationDate="2011-08-25T23:11:13.470" UserId="264" Text="&lt;hurricane&gt;&lt;rain&gt;&lt;wind&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16399" PostHistoryTypeId="2" PostId="9906" RevisionGUID="0cf3b32a-bbcb-4c64-8cc3-bbecb9dd7c06" CreationDate="2011-08-25T23:14:37.233" UserId="6411" Text="So, with Irene making a projected bee-line for DC (and the rest of the East Coast) I'm thinking I don't have enough Hurricane in my library. After the recent question about [recording wind][1] I have some good ideas, but still a couple questions remain.&#xD;&#xA;&#xD;&#xA; **1. What's the best way to get great recordings with the gear I have on hand and keep it all safe and dry-ish?**&#xD;&#xA;&#xD;&#xA;Here's the equipment I have at my disposal:&#xD;&#xA;&#xD;&#xA; - DPA 4060 matched pair&#xD;&#xA; - Barcus Berry 4000xl Contact Mic&#xD;&#xA; - Rode NT4&#xD;&#xA; - Rode NTG3&#xD;&#xA; - A couple of beat up SM58s&#xD;&#xA; - Rode Blimp&#xD;&#xA; - SD MixPre&#xD;&#xA; - Sony M10&#xD;&#xA; - 15lbs sandbag&#xD;&#xA; - Cheap mic stand&#xD;&#xA;&#xD;&#xA;I'm thinking that my best bet is mounting the 4060s in the Blimp in as close to an ORTF configuration as possible, feed those to the MixPre and subsequently the M10. Anyone see potential issues off the bat?&#xD;&#xA;&#xD;&#xA;The MixPre/M10 both fit in my shoulder bag which I can double bag in garbage bags once I set levels. But keeping the mics dry is something I've never considered. Can I get away with wrapping the Blimp in a towel lengthwise? I'm thinking this will leave the side-facing ORTF setup exposed but still offer some protection. Although I'd also imagine that I'd get some weird high-frequency rolloff as the towel gets wetter and wetter.&#xD;&#xA;&#xD;&#xA;If it's as bad as they say it'll be, I'll more than likely be sticking nearby the neighborhood. But there are some great massive trees that I can find shelter under and a few covered porches. I'm also thinking of keeping things dry by going to my car or just cracking a window in the house to get some great wind howls. Maybe the NTG3 would be better for the cracked windows?&#xD;&#xA;&#xD;&#xA; &#xD;&#xA; **2. What's on the record list?**&#xD;&#xA;&#xD;&#xA;I'm already thinking of how this storm's going to interact with my neighborhood. The various foliage, the slat fences, the garbage cans that will probably just be strapped down rather than removed. There's the drain at the end of the ramp to the common laundry room that should sound cool depending on the reflections of the brick walls on either side of the ramp. I thought of using the contact mic on the windows. They're the newer triple-paned kind so I'm not certain how good it'll sound with that dead air space, but I'll give it a try anyway.&#xD;&#xA;&#xD;&#xA; **3. Am I crazy?**&#xD;&#xA;&#xD;&#xA;If you believe the news hype, Irene is a potential Category 4 Hurricane. You know all those reporters that go down south to tell us &quot;Hey, look! It's really a Hurricane!&quot; as we watch them in our cozy dry homes? I always feel sorry for the cameraman. You hope he's at least getting hazard pay.&#xD;&#xA;&#xD;&#xA;There's a cautious, self-preserving side to me that says &quot;Screw that, stay inside. Crack a window. Stuff a towel in it. Roll tape. You get what you get.&quot; But then there's the huge audio side that wants to go jump around in 115mph wind and puddles the size of children's swimming pools with all my recording gear rolling (not literally, but you get the idea). Because, you don't gain experience by sitting on the internet talking about experience.&#xD;&#xA;&#xD;&#xA;Discuss.&#xD;&#xA; &#xD;&#xA;  [1]: http://socialsounddesign.com/questions/9853/how-to-record-wind" ContentLicense="CC BY-SA 3.0" />
  <row Id="16400" PostHistoryTypeId="1" PostId="9906" RevisionGUID="0cf3b32a-bbcb-4c64-8cc3-bbecb9dd7c06" CreationDate="2011-08-25T23:14:37.233" UserId="6411" Text="Hurricane Preparedness" ContentLicense="CC BY-SA 3.0" />
  <row Id="16401" PostHistoryTypeId="3" PostId="9906" RevisionGUID="0cf3b32a-bbcb-4c64-8cc3-bbecb9dd7c06" CreationDate="2011-08-25T23:14:37.233" UserId="6411" Text="&lt;field-recording&gt;&lt;wind&gt;&lt;rain&gt;&lt;hurricane&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16402" PostHistoryTypeId="2" PostId="9907" RevisionGUID="baac1f10-c4a7-4d0b-bdfe-46e013370237" CreationDate="2011-08-25T23:22:10.693" UserId="29" Text="All I have to say is http://en.wikipedia.org/wiki/Beaufort_scale. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16403" PostHistoryTypeId="2" PostId="9908" RevisionGUID="a5b30d9e-f8d2-4817-a530-373b679b7061" CreationDate="2011-08-25T23:34:40.663" UserId="61" Text="Great idea to include the contact mic on your list, especially with such high winds expected. I would try attaching it to assorted large items or structures, ie. lamp posts, highway signs, glass buildings, etc. I captured some [great stuff][1] using this technique last year.&#xD;&#xA;&#xD;&#xA;Regarding the SM58 pair, I would consider them near-disposable for this purpose (read: subject them to the nature's full force!). Perhaps duct tape them to tree trunks or hang them down storm drains? I'll edit my answer as more death-defying ideas pop to mind.&#xD;&#xA;&#xD;&#xA;I expect Chuck Russom to chime in on this post since he did quite a bit of rain recording last year.&#xD;&#xA;&#xD;&#xA;Have fun, be safe, and prepare to get wet!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/awfulnicesound/high-tension-tower-in-strong-wind-awfulnice" ContentLicense="CC BY-SA 3.0" />
  <row Id="16404" PostHistoryTypeId="2" PostId="9909" RevisionGUID="f8391e68-a882-4e79-9d9e-a025cc21fecc" CreationDate="2011-08-25T23:48:42.680" UserId="1308" Text="One of my jobs is a personality at night on a rock radio station.  While not shortwave, it's FM, and I'm also in charge of one of the AM stations in the building.&#xD;&#xA;&#xD;&#xA;I've run a bunch of raw material through both stations in the middle of the night (when listenership is down), while playing with a tuner and recording the results.  I've gotten some cool sounds!  Especially on pitched down sounds that I then pitched back up (after recording through the airchain) later.&#xD;&#xA;&#xD;&#xA;If anyone wants me to do this with some of your sounds, let me know.  It'd be fun.  :)&#xD;&#xA;&#xD;&#xA;fonte" ContentLicense="CC BY-SA 3.0" />
  <row Id="16405" PostHistoryTypeId="2" PostId="9910" RevisionGUID="3ca6f89c-3ea9-447d-9339-232650f1248e" CreationDate="2011-08-26T00:05:05.503" UserId="6669" Text="C3 and Filipe have already done a great job answering your question, but I thought I'd chime in with yet another VFS perspective as I'm still here and on the tail end of some of the changes in the curriculum they both mentioned.&#xD;&#xA;&#xD;&#xA;Things here are definitely still very very film focused. I think this is more to do with the availability of quality, experienced instruction in this field (guys who have been cutting and mixing for 30 years and just don't want the hours anymore) vs. game audio, in which most of the all-stars are still working full-time.&#xD;&#xA;&#xD;&#xA;You will be using Audiokinetic's Wwise pretty heavily throughout, and get to know it pretty well. Though I feel that if I had just spent a solid week going through all the Wwise tutorials out there, I might get to about the same level I'm at now. Maybe that's more of a testament to Wwise's learning curve than anything. You will basically open FMOD, UDK and Unity each for one or two classes, learn some simple implementation in each using pre-selected example files, and move on - Wwise is the only middleware you'll have actual graded projects in. It is stuff you could learn yourself, honestly.&#xD;&#xA;&#xD;&#xA;Best reason to come right now, if you're into games, would be to take advantage of VFS' fast growing game design campus and basically enslave yourself to them for the sake of networking and experience. There are around 6+ final game projects happening every couple of months, and if you were really impassioned you could probably wrangle your way onto 3 of them by year's end. That'd make you some contacts and give you a couple of nice line items for your C.V. and minutes for your demo reel.&#xD;&#xA;&#xD;&#xA;If you can compose music, you will be the most popular guy around. EVERYONE's midterms and finals need music - the film campus, the game campus, the 3D animation campus.. do a few small pieces early on, network well, and you will be drowning in potential music work for your reel. You won't be able to say &quot;yes&quot; to everything. If composing is something you want to chase...&#xD;&#xA;&#xD;&#xA;If you're concerned about being swayed towards linear sound by year's end (I nearly have been; a couple of the post sound teachers are super inspiring), you will still be in good hands. Like it said, it's still mostly a program for film sound, and I can't see that much that they're doing wrong there.&#xD;&#xA;&#xD;&#xA;(Filipe and C3 probably have more insight into this, but I'm pretty sure than neither an MFA from SCAD nor a certificate from here will guarantee you a job in this field! That comes with time, talent, and a good network of contacts.. not a piece of paper.. or so I'm told.)&#xD;&#xA;&#xD;&#xA;Sorry this was so verbose! There's even more for me on the topic over at http://socialsounddesign.com/questions/7338/advice-for-a-beginner-i-know-i-know/7490#7490 if you want to read it.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16406" PostHistoryTypeId="2" PostId="9911" RevisionGUID="e034d55f-9e9a-4e18-abdd-09197b63d97d" CreationDate="2011-08-26T00:30:38.373" UserId="432" Text="When you're wearing it with the supplied strap, the strap tends to pinch the sides of that flap down against the body of the bag.&#xD;&#xA;&#xD;&#xA;There really isn't any bag from any company that I've seen that one might consider &quot;weather proof.&quot; So I don't really consider this a failing of this particular brand. None of the seal all that well at the top, they're all open on the side for cable management, etc.&#xD;&#xA;&#xD;&#xA;You can always do the &quot;garbage bag poncho&quot; trick and modify it to cover the bag if you have particular concerns for certain areas/conditions. I've heard stories of recordists working in deserts who will attach all the cables they may need to their recorder (including power cable to run to external batteries like Anton Bauer or IDX), and then shrink wrapping the hell out of the sucker to keep weather and dust out of any and all crevices. Might be an option for seriously dodgy situations." ContentLicense="CC BY-SA 3.0" />
  <row Id="16407" PostHistoryTypeId="2" PostId="9912" RevisionGUID="e3ff98a2-33d4-4a64-a302-3e819afd3744" CreationDate="2011-08-26T01:17:12.940" UserId="1266" Text="So I watched the movie.  Great movie, very artsy, I loved the whole idea of it.  The sound was overdone in a way to add to the exaggeration that is El Topo.  Mostly, the fx were mixed more loudly than expected which perhaps was an intentional effect.  Some strange sync issues did occur with footsteps once.  The music was great. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16408" PostHistoryTypeId="2" PostId="9913" RevisionGUID="676646f9-9955-4bfa-a554-69e60648a606" CreationDate="2011-08-26T02:25:10.747" UserId="6499" Text="Just a safety thing - we have lots of hurricanes here in the south.  If you are in a wooded area, I would record blind,  your headphones removed the ability to accurately localize something and that could make the difference in having something hit you or not.  Its really scary to hear a tree break and go oooo that sounded awesome and then it falls 3 feet from you....true story.&#xD;&#xA;&#xD;&#xA;On a side note usually it is lots of rain and wind, not too much thunder.  So focus on the objects moving and rustling, back of mic into the wind or using a wall to block the wind on your mic but focus on an object in the wind.  If the eye of the storm passes over you, it will be intense, then dead calm, then right back to intense.  Really cool transitions/ storm swelling opportunities.  The last few hurricanes here, that time was spent repairing holes in the roof and tree removal from said roof, so I could not take the time to record it.  &#xD;&#xA;&#xD;&#xA;I have always wanted to bury/attach a contact mic onto a tree and record the wood stressing in the strong winds, but have not had the chance.&#xD;&#xA;&#xD;&#xA;Not sure how strong the storm will be when it hits, but cat 3's and 4's are pretty intense.  Alot of that feeling comes from so much happening all around you at once, multiple perspectives/ surround recordings would really bring that out.  &#xD;&#xA;&#xD;&#xA;Best of luck, hope to hear them, stay safe and be aware of whats happening around you.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16409" PostHistoryTypeId="2" PostId="9914" RevisionGUID="d22b1629-c5a9-4c73-9c20-e184394a8e60" CreationDate="2011-08-26T02:41:29.530" UserId="845" Text="Ok, I hate to be that guy, but as exciting as it definitely will be you'll also be greatly profiting by the gross misfortune of potentially thousands of people at a possible value well above the millions of dollars mark.&#xD;&#xA;&#xD;&#xA;Perhaps for karma's sake it might be best not to exclaim, &quot;Let's go watch some poor people's houses get knocked down and record the sound of their livelihoods being destroyed! Yay! They have no way of paying for the damage to their homes because the fast-food restaurant they worked at burned down... and it sounded *fantastic*!&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16410" PostHistoryTypeId="5" PostId="9914" RevisionGUID="0267f172-7239-49d7-addd-ddef4ebdb0e9" CreationDate="2011-08-26T02:55:47.507" UserId="845" Comment="deleted 104 characters in body; edited body; added 102 characters in body" Text="Ok, I hate to be that guy, but... &#xD;&#xA;&#xD;&#xA;As exciting as it definitely will be for all of you who'll be out recording the hurrcane, you'll also be greatly profiting by the gross misfortune of potentially thousands of people.  The value of the damage will probably come in at well-over a large number of millions of dollars.&#xD;&#xA;&#xD;&#xA;It is also more than likely that someone amidst the chaos will lose their life.&#xD;&#xA;&#xD;&#xA;Perhaps for karma's sake it might be best not to rapturously exclaim at, and rejoice in, the destruction of other people's lives and livelihoods?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16411" PostHistoryTypeId="5" PostId="9908" RevisionGUID="c86046f6-b464-4f94-b25f-9c50629bc25b" CreationDate="2011-08-26T05:02:09.903" UserId="61" Comment="add'l info; added 6 characters in body" Text="Great idea to include the contact mic on your list, especially with such high winds expected. I would try attaching it to assorted large items or structures, ie. lamp posts, highway signs, glass buildings, etc. I captured some [great stuff][1] using this technique last year.&#xD;&#xA;&#xD;&#xA;*ADDITIONAL*:&lt;br&gt;&#xD;&#xA;Riffing on what @Michael Gilbert wrote on [this post][2], it would be really cool to drill a hole in a large tree (when no one is scrutinizing you!) and place [one of these][3] in it. It would be perfectly suited for the job, since it can't be damaged by water, comes with a 30' cable, and is really, really rugged. If you don't own one, perhaps you can borrow one?&#xD;&#xA;&#xD;&#xA;Regarding the SM58 pair, I would consider them near-disposable for this purpose (read: subject them to the nature's full force!). Perhaps duct tape them to tree trunks or hang them down storm drains? I'll edit my answer as more death-defying ideas pop to mind.&#xD;&#xA;&#xD;&#xA;I expect Chuck Russom to chime in on this post since he did quite a bit of rain recording last year.&#xD;&#xA;&#xD;&#xA;Have fun, be safe, and prepare to get wet!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/awfulnicesound/high-tension-tower-in-strong-wind-awfulnice&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/9905/come-on-irene-hurricane-recording&#xD;&#xA;  [3]: http://www.aquarianaudio.com/product.php?productid=3" ContentLicense="CC BY-SA 3.0" />
  <row Id="16412" PostHistoryTypeId="2" PostId="9915" RevisionGUID="cba44e46-5d79-4ca4-abf4-0374d5f00936" CreationDate="2011-08-26T06:48:53.047" UserId="1226" Text="Hi, Daan&#xD;&#xA;&#xD;&#xA;I've done a quite a bit of rainy and snowy weather work with Petrol bags. Mostly with the older version of the Deca Mixer bag for the SD302. &#xD;&#xA;&#xD;&#xA;One of the shows I worked on a while ago had a shooting schedule of 28 days. It rained for 24 of those days.. We didn't have proper rain covers for the mixer bags, but the plastic flap did an ok job and kept most of the rain out the mixer. We used Sound Devices 302 mixers and they can take a bit of rain before they stop working. That helped too..  The wireless receivers were exposed so we shrink wrapped them, like Shaun mentioned in his post. &#xD;&#xA;&#xD;&#xA;The next year we were provided provided with Petrol PERC rain covers. It looks pretty cumbersome on the Petrol product page, but I think it works very well. What you don't see on any of the pictures are the Velcro straps that let you tighten the rain cover behind your back. Then it just covers the bag instead of hanging over your knees. You can still reach under the cover and do adjustments without too much hassle. It does get pretty damp inside the rain cover, but I guess some (lots of..) Silica gel bags might help.&#xD;&#xA;&#xD;&#xA;Another alternative is wearing a large poncho to cover yourself and the bag, but I personally don't like it. I prefer to wear a poncho to keep myself dry and a separate rain cover for the mixer.&#xD;&#xA;&#xD;&#xA;Keep dry&#xD;&#xA;-Thomas" ContentLicense="CC BY-SA 3.0" />
  <row Id="16413" PostHistoryTypeId="2" PostId="9916" RevisionGUID="0f77da62-f970-42ed-98a1-95030eb55eda" CreationDate="2011-08-26T08:15:23.543" UserId="6604" Text="thanks guys for the replies. Since im a dubbing engineer now, i have made contacts with voice over and dubbing artists. I can get someone to redo the VO. &#xD;&#xA;&#xD;&#xA;About the tank sound, its an old russian T-55 tank, for which i wasnt finding any sounds. so looking at some youtube videos of it, i created the sound by layering a bulldozer, generator, and some more sounds. So through out the movie its gonna be the same. There cant be a variation in it.&#xD;&#xA;&#xD;&#xA;Yeah the sounds i have repeated are that of demolition and wall falling. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16414" PostHistoryTypeId="5" PostId="9916" RevisionGUID="2b819331-b6e6-4cc7-a894-d8c0acbffd1d" CreationDate="2011-08-26T08:21:54.663" UserId="6604" Comment="added 110 characters in body" Text="@edmatthews82, &amp; @Dave Matney&#xD;&#xA;&#xD;&#xA;thanks guys for the replies. Since im a dubbing engineer now, i have made contacts with voice over and dubbing artists. I can get someone to redo the VO. &#xD;&#xA;&#xD;&#xA;About the tank sound, its an old russian T-55 tank, for which i wasnt finding any sounds. so looking at some youtube videos of it, i created the sound by layering a bulldozer, generator, and some more sounds. So through out the movie its gonna be the same. There cant be a variation in it.&#xD;&#xA;&#xD;&#xA;Yeah the sounds i have repeated are that of demolition and wall falling. &#xD;&#xA;&#xD;&#xA;What about the airplane engine sounds that i created? Any comments on it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16415" PostHistoryTypeId="2" PostId="9917" RevisionGUID="79e90beb-5b69-4763-8104-a12dd0675eb3" CreationDate="2011-08-26T09:18:08.313" UserId="7642" Text="I still haven't seen any reviews on the Fostex unit.&#xD;&#xA;I wonder if its reasonably ok or if a zoom H2n would sound a lot better.&#xD;&#xA;&#xD;&#xA;I really would prefer the Sony D50 (sound wise) but its a bit bulky and expensive, and service handling on them hasn't been to god here in Sweden.&#xD;&#xA;Already have the Sony M10 but it doesn't do to well in environments with vibrations and strong LF content (Car/truck interiors etc), and it has a very narrow stereo field.&#xD;&#xA;&#xD;&#xA;the Fire2 app is brilliant as long as I can use some decent mikes with it. And the Fostex seems to be the first unit that just MIGHT do a decent enough job.&#xD;&#xA;Obviously as long as the A/D conversion and mic/line inputs are good enough it can be used with pretty much anything.&#xD;&#xA;&#xD;&#xA;So has anyone tried it yet?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16416" PostHistoryTypeId="2" PostId="9918" RevisionGUID="93ae1032-93b6-4568-bd0e-cf1d59b1d836" CreationDate="2011-08-26T10:31:54.937" UserId="1762" Text="Hello everyone!&#xD;&#xA;&#xD;&#xA;I'm currently looking for studies that have to do with Sound Design and I was wondering if anyone here knows a good university/school where they teach sound design or studies related to that (Music design etc.).&#xD;&#xA;Thank you in Advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16417" PostHistoryTypeId="1" PostId="9918" RevisionGUID="93ae1032-93b6-4568-bd0e-cf1d59b1d836" CreationDate="2011-08-26T10:31:54.937" UserId="1762" Text="Sound Deisgn Studies?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16418" PostHistoryTypeId="3" PostId="9918" RevisionGUID="93ae1032-93b6-4568-bd0e-cf1d59b1d836" CreationDate="2011-08-26T10:31:54.937" UserId="1762" Text="&lt;design&gt;&lt;studies&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16419" PostHistoryTypeId="2" PostId="9919" RevisionGUID="729d3ee1-b486-4298-8eb4-1de6612a0852" CreationDate="2011-08-26T11:21:37.900" UserId="1197" Text="In which country Leo?&#xD;&#xA;&#xD;&#xA;I can vouch for Leeds Metropolitan University in Leeds, UK.&#xD;&#xA;&#xD;&#xA;I'm just completing a MSc Sound Design there and the course was really good - very experienced tutors and brilliant facilities.&#xD;&#xA;&#xD;&#xA;Good luck in your search!&#xD;&#xA;&#xD;&#xA;Simon" ContentLicense="CC BY-SA 3.0" />
  <row Id="16420" PostHistoryTypeId="2" PostId="9920" RevisionGUID="bc4e5f0e-e2b1-42cb-9eb5-d73eccf84b1b" CreationDate="2011-08-26T13:24:08.727" UserId="1762" Text="Hey Simon, thanks for the answer! I live in the Netherlands but I purposely did not put a  country in my post because I don't really care *where* it is, as long as its good. MSc sounds good, but that is only one year right? And 4000 pounds is certainly not cheap, but definitely looks good :) " ContentLicense="CC BY-SA 3.0" />
  <row Id="16421" PostHistoryTypeId="5" PostId="9917" RevisionGUID="7851009f-9fcc-4ec1-bd4f-99ad91ba1339" CreationDate="2011-08-26T15:55:10.577" UserId="61" Comment="added 1 characters in body" Text="I still haven't seen any reviews on the Fostex unit.&#xD;&#xA;I wonder if its reasonably ok or if a zoom H2n would sound a lot better.&#xD;&#xA;&#xD;&#xA;I really would prefer the Sony D50 (sound wise) but its a bit bulky and expensive, and service handling on them hasn't been to good here in Sweden.&#xD;&#xA;Already have the Sony M10 but it doesn't do too well in environments with vibrations and strong LF content (Car/truck interiors etc), and it has a very narrow stereo field.&#xD;&#xA;&#xD;&#xA;The Fire2 app is brilliant as long as I can use some decent mics with it. And the Fostex seems to be the first unit that just MIGHT do a decent enough job.&#xD;&#xA;Obviously as long as the A/D conversion and mic/line inputs are good enough it can be used with pretty much anything.&#xD;&#xA;&#xD;&#xA;So has anyone tried it yet?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16422" PostHistoryTypeId="2" PostId="9921" RevisionGUID="daaf8e33-463f-4170-9dec-4f199b3ff989" CreationDate="2011-08-26T18:13:25.230" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;I've worked with a pair of them only once, don't remember which exact type. They're really nice though and unfortunately really expensive also.   &#xD;&#xA;I don't know which types you are interested in, but I tend to buy mic's I know a lot about already (soundwise), especially if they're that expensive. Best question to ask yourselve is, why should i buy this microphone and not any other? Do i really need this exact model?&#xD;&#xA;I mean, I can imagine the secondhand price is alluring, but do you really need those exact models and do they fit your purpose? &#xD;&#xA;&#xD;&#xA;Good luck on your decision!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16423" PostHistoryTypeId="2" PostId="9922" RevisionGUID="b235a0f1-fd84-4faa-a7bd-d8f1fc0e24e6" CreationDate="2011-08-26T18:13:34.437" UserId="1066" Text="Just finished sound design at the HKU in Hilversum. If your focus is only on film, look at the Nederlandse filmacademie in Amsterdam. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16424" PostHistoryTypeId="2" PostId="9923" RevisionGUID="9c753020-722a-4377-8ea3-90544caacea8" CreationDate="2011-08-26T18:57:27.923" UserId="1308" Text="http://www.piengineering.com/xkeys.php&#xD;&#xA;&#xD;&#xA;Is anyone using this for executing shortcuts / key commands in your DAW? It seems like a good idea without spending $$$$ on something from Euphonix.&#xD;&#xA;&#xD;&#xA;Any advantages / pitfalls you can think of? Is anyone using something similar?&#xD;&#xA;&#xD;&#xA;I've also been looking for MIDI controllers with lots of buttons, but haven't had much luck finding anything (except musical keyboard controllers, which would be interesting...).&#xD;&#xA;&#xD;&#xA;In Cubase, I can set up MIDI to control every function, but I think the advantages of programmed key commands may be better (with this thing I could do funky ones I'd probably never remember like Command-Option-Shift-1-2-3-4-5-6 = Reverse Region).  In Cubase, all functions are &quot;key-commandable&quot; as well.&#xD;&#xA;&#xD;&#xA;So I'd generally use standard key commands for basic things (I programmed all the Pro Tools key commands into Cubase since I still remember all of them), and something like X-keys for things that generally don't already have a key command associated with them (though, again, I'd assign a long one I'd never use anyway like the example above).&#xD;&#xA;&#xD;&#xA;I'm sure something like this would be useful in Pro Tools as well, possibly using that Quick   Keys app to execute mouse movements and for stacking commands as macros.  Or Logic where I believe key commands are assignable.&#xD;&#xA;&#xD;&#xA;Thoughts?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;fonte" ContentLicense="CC BY-SA 3.0" />
  <row Id="16425" PostHistoryTypeId="1" PostId="9923" RevisionGUID="9c753020-722a-4377-8ea3-90544caacea8" CreationDate="2011-08-26T18:57:27.923" UserId="1308" Text="X-Keys for DAW Control" ContentLicense="CC BY-SA 3.0" />
  <row Id="16426" PostHistoryTypeId="3" PostId="9923" RevisionGUID="9c753020-722a-4377-8ea3-90544caacea8" CreationDate="2011-08-26T18:57:27.923" UserId="1308" Text="&lt;pt-quick-keys&gt;&lt;keycommand&gt;&lt;controller&gt;&lt;keyboard&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16427" PostHistoryTypeId="2" PostId="9924" RevisionGUID="16c59ca7-3636-4077-b8d8-1717be861ae8" CreationDate="2011-08-26T22:18:30.837" UserId="510" Text="actually yes i used to use it. The shuttle pro one. I used it for about 3 years and loved it. But let me tell you this about it. If you get good at it and you will it will keep you from being universal on other systems. You will find that if you don't have it you want it. Getting good with the keyboard shortcuts gets your universal on all systems you might come across. I found this out after we went to Mac's and it was not supported on it. Its since been updated for mac. and I just refuse to go back. I am just as fast and good with the keyboard. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16428" PostHistoryTypeId="2" PostId="9925" RevisionGUID="704a8b6d-8387-4e1a-886f-3a7c3e69355e" CreationDate="2011-08-27T00:40:36.390" UserId="18160" Text="So I just received my Ultrasone HFI-450s in the mail today (yay)!&#xD;&#xA;&#xD;&#xA;I tested them out and they sound a bit tinny on the high-end and bloated on the low-end.&#xD;&#xA;&#xD;&#xA;Do any of you &quot;burn in&quot; your brand new headphones for a couple of hours of loud (not max but loud) audio through them?&#xD;&#xA;&#xD;&#xA;I do this with speakers, but I dunno if other people do this with headphones.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16429" PostHistoryTypeId="1" PostId="9925" RevisionGUID="704a8b6d-8387-4e1a-886f-3a7c3e69355e" CreationDate="2011-08-27T00:40:36.390" UserId="18160" Text="Headphone Burn-in?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16430" PostHistoryTypeId="3" PostId="9925" RevisionGUID="704a8b6d-8387-4e1a-886f-3a7c3e69355e" CreationDate="2011-08-27T00:40:36.390" UserId="18160" Text="&lt;headphones&gt;&lt;ultrasone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16431" PostHistoryTypeId="2" PostId="9926" RevisionGUID="f2881f3c-b90d-4c04-a9fb-3fe75a47303c" CreationDate="2011-08-27T00:54:57.987" UserId="558" Text="I have the shuttlePro 2.  I like it a lot.  Nuendo doesnt do scroll wheel zooming, but the SP2 can be programmed for it.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16432" PostHistoryTypeId="5" PostId="9925" RevisionGUID="a2362b25-7290-485b-a86a-55655637fc1c" CreationDate="2011-08-27T01:04:19.360" UserId="18160" Comment="added 78 characters in body; added 35 characters in body" Text="So I just received my Ultrasone HFI-450s in the mail today (yay)!&#xD;&#xA;&#xD;&#xA;I tested them out and they sound a bit tinny on the high-end and bloated on the low-end compared to my reference Sony MDRs.&#xD;&#xA;&#xD;&#xA;Do any of you &quot;burn in&quot; your brand new headphones for a couple of hours of loud (not max but loud) audio through them?&#xD;&#xA;&#xD;&#xA;I do this with speakers, but I dunno if other people do this with headphones.&#xD;&#xA;&#xD;&#xA;I sort of think it's not really necessary - but what do you guys think/do?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16433" PostHistoryTypeId="2" PostId="9927" RevisionGUID="c43bdaf4-9b06-44f7-988c-638591f6046b" CreationDate="2011-08-27T01:11:41.823" UserId="1266" Text="How?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;You know, when it just tears through the air, ethereally, with that jagged saw like sound and not so much bass but more hf reverberation.  For example over an open plain.  Just the jagged split and specifically the reverberation.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16434" PostHistoryTypeId="1" PostId="9927" RevisionGUID="c43bdaf4-9b06-44f7-988c-638591f6046b" CreationDate="2011-08-27T01:11:41.823" UserId="1266" Text="If one were to recreate the sound of thunder ripping...." ContentLicense="CC BY-SA 3.0" />
  <row Id="16435" PostHistoryTypeId="3" PostId="9927" RevisionGUID="c43bdaf4-9b06-44f7-988c-638591f6046b" CreationDate="2011-08-27T01:11:41.823" UserId="1266" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16436" PostHistoryTypeId="2" PostId="9928" RevisionGUID="76ec4244-f60f-4680-9053-5965caba91b3" CreationDate="2011-08-27T01:21:38.360" UserId="587" Text="Apparently, there is such a thing for headphones. While I was in college for the Recording Industry, I bought a pair of Sennheiser HD650's (Amazing HP's btw) and the professor told us to take around 24 hours worth of playlist and just jam music through them. He explained why, but to save me from typing it out, I found a link for you explaining every probable question about headphone burn in.&#xD;&#xA;&#xD;&#xA;http://www.head-fi.org/t/56744/headphone-burn-in-faq&#xD;&#xA;&#xD;&#xA;There ya go!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16437" PostHistoryTypeId="2" PostId="9929" RevisionGUID="6a68bfa2-bbcf-4ac5-8fec-917b31a57210" CreationDate="2011-08-27T02:43:28.930" UserId="1764" Text="Contact mic a large sheet of architectural aluminum. Take one end in your hands and slowly pull back and forth." ContentLicense="CC BY-SA 3.0" />
  <row Id="16438" PostHistoryTypeId="2" PostId="9930" RevisionGUID="132945a9-8f82-4035-9961-1e1c30ee2657" CreationDate="2011-08-27T08:52:44.287" UserDisplayName="user49" Text="I'd analyse the real thing - play it at half speed, quarter speed, backwards etc and see what those sounds evoked or reminded you of, then you could try creating that sound &amp; applying the opposite effect... the very complex multiple delay/echo that occurs from gunshots in eg a canyon would be a possible element too, recreate that delay chain &amp; then try processing the half or quarter speed analysis recreation with it...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16439" PostHistoryTypeId="2" PostId="9931" RevisionGUID="3e916ade-5dd8-4da1-ab15-344290410e9d" CreationDate="2011-08-27T10:54:51.387" UserId="278" Text="I have been looking into NFTS &quot;National Film and Television School&quot; London. If it is Sound Design orientated for the moving image then I would check this school out. It is the best in the Galaxy!&#xD;&#xA;http://www.nfts.co.uk/courses/sound-design-for-film-and-television/Course&#xD;&#xA; Good Luck!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16440" PostHistoryTypeId="2" PostId="9932" RevisionGUID="4899ba5c-ebae-481c-ac22-8b58d3fe97f0" CreationDate="2011-08-27T11:54:13.740" UserId="1797" Text="Edge Hill University offer a BA (Hons) Music &amp; Sound undergraduate degree. Based between Manchester &amp; Liverpool. It esp focuses on sound design, sound art, music composition for live performance &amp; theatre.&#xD;&#xA;http://www.edgehill.ac.uk/study/courses/music-and-sound-with-drama#summary_2011&#xD;&#xA;Don't be put off by the title (which is due to change to Music &amp; Sound in Theatre Performance....and is therefore all about designing &amp; working with sound and music) " ContentLicense="CC BY-SA 3.0" />
  <row Id="16441" PostHistoryTypeId="2" PostId="9933" RevisionGUID="2f307bbd-4b2e-47bb-b700-7539cb94af49" CreationDate="2011-08-27T12:04:15.860" UserId="845" Text="Contact mic on a piece of thick paper and tear it. Distort that. Or just mic it normally, duplicate it, pitch one down, distort/time stretch to taste. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16442" PostHistoryTypeId="2" PostId="9934" RevisionGUID="e90dedb3-7c01-47d1-b009-a5b08b02031c" CreationDate="2011-08-27T15:25:48.400" UserId="6462" Text="Ok, this is a cool looking thing, but I agree that you would get a hell of a lot of funny looks, and possibly time in a cell, if you walked around with it.&#xD;&#xA;Check this link out [http://www.tunedcity.net/?page_id=1356][1] it's not quite a 'shotgun' mic but it certainly looks similar!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tunedcity.net/?page_id=1356" ContentLicense="CC BY-SA 3.0" />
  <row Id="16443" PostHistoryTypeId="2" PostId="9935" RevisionGUID="8dc35d4b-32e6-4630-baa0-40fe7311bf3b" CreationDate="2011-08-27T18:05:44.040" UserId="1036" Text="Hey peeps,&#xD;&#xA;&#xD;&#xA;So I just got an iPad2 and was thinking of hooking up it with PT9 on my Mac Book Pro. Faders and knobs would be really useful for mixing many other wonderful things, as well as automation mode capabilities. Question is: Which app has the best support/best value for money for PT?&#xD;&#xA;&#xD;&#xA;[ProRemote][1] - Cool but real pricey &#xD;&#xA;&#xD;&#xA;[V-Control Pro][2] - Also a bit too pricey, but cheaper than ProRemote&#xD;&#xA;&#xD;&#xA;[AC-7 Core][3] - Was thinking of this one but not too sure, anyone used this? It's really a lot cheaper than the previous 2 but maybe some stuff's missing that the previous 2 have. &#xD;&#xA;&#xD;&#xA;There are also nice apps for other DAWs like [TouchOSC][4] and [Mrmr][5], but PT if I'm not wrong, doesn't support OSC &gt;:( &#xD;&#xA;&#xD;&#xA;Any others? &#xD;&#xA;&#xD;&#xA;Thanks ! &#xD;&#xA;&#xD;&#xA;  [1]: http://itunes.apple.com/ca/app/proremote/id286627793?mt=8&#xD;&#xA;  [2]: http://itunes.apple.com/ca/app/v-control-pro/id400423823?mt=8&#xD;&#xA;  [3]: http://itunes.apple.com/ca/app/ac-7-core/id403915394?mt=8&#xD;&#xA;  [4]: http://itunes.apple.com/ca/app/touchosc/id288120394?mt=8&#xD;&#xA;  [5]: http://itunes.apple.com/ca/app/mrmr-osc-controller/id294296343?mt=8" ContentLicense="CC BY-SA 3.0" />
  <row Id="16444" PostHistoryTypeId="1" PostId="9935" RevisionGUID="8dc35d4b-32e6-4630-baa0-40fe7311bf3b" CreationDate="2011-08-27T18:05:44.040" UserId="1036" Text="iPad controller app for Pro Tools" ContentLicense="CC BY-SA 3.0" />
  <row Id="16445" PostHistoryTypeId="3" PostId="9935" RevisionGUID="8dc35d4b-32e6-4630-baa0-40fe7311bf3b" CreationDate="2011-08-27T18:05:44.040" UserId="1036" Text="&lt;ipad&gt;&lt;pro&gt;&lt;tools&gt;&lt;controller&gt;&lt;app&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16446" PostHistoryTypeId="2" PostId="9936" RevisionGUID="ca488286-868a-4f71-a6e5-a23b4d1108af" CreationDate="2011-08-27T18:48:25.147" UserId="393" Text="Bowling balls across the floor above you...  (I'm only half serious.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16447" PostHistoryTypeId="2" PostId="9937" RevisionGUID="9c5dd262-3a4d-42c6-887c-985cb5c1ac4b" CreationDate="2011-08-27T22:52:04.580" UserDisplayName="user80" Text="Contact mic on ripping tin foil." ContentLicense="CC BY-SA 3.0" />
  <row Id="16448" PostHistoryTypeId="2" PostId="9938" RevisionGUID="b95ec8ea-c494-487d-8a1d-76fc0668fe34" CreationDate="2011-08-28T02:11:39.673" UserId="1228" Text="Rene's question makes a great point toward my thoughts on this subject, generally-speaking.  If the fan is featured onscreen and then shifts to being offscreen (and onscreen in the distant background), I personally tend to maintain the rhythm of the action without doing a hard-and-fast sync match if it's going to distract attention and we're doing a lot of visual A/B cuts - in the same spirit that if I cut a fridge run in the background of scene where the fridge itself is not important to the scene and we don't go near it, I'll just park it in one spot as one continuous region with no POV cuts for onscreen/offscreen; help out the mixer at the and of the day.&#xD;&#xA;&#xD;&#xA;This rhythm-over-sync method takes a variety of conditional forms. A direct example is a computer screen with a blinking beep - and we cut back to it many times and the speed slightly changes (e.g. 8 frames apart instead of 5).  In these types of situations, I'll take a least common denominator approach to rhythm-over-sync.  Whichever onscreen shot has the longest and most steady duration of the beep, I'll cut to that first, and then mirror that speed offscreen.  And if we come back to other shots and the timing isn't dead on as-is, I may do gradual, 1-frame incrementally exponential shift the offscreen beeps in between so that by the time they leave the end of the first onscreen shot, the sync up to the returning onscreen shot with no audible giveaway.  When doing this though, one should take into account the rhythm of the sound so as not to &quot;stretch&quot; this sneaky effect too far to the point that the rhythm breaks.&#xD;&#xA;&#xD;&#xA;Maybe an approach like this will work for your fan depending on how's been framed (or not framed) in the scene.  Possibly roll up your sleeves and hand-build 2 full cycles of this speed change (designing fan blades can look similar in layout to doing heartbeats, if that helps visualize).  Then, just re-use that as a continuous loop, making small timing cheats to the offstage moments so that the onscreen moments are dead sync, or at least a tight but slightly loose sync (because sometimes there's a time you have to trade off dead sync for perfect rhythm).  Offstage can be your friend :)&#xD;&#xA;&#xD;&#xA;Again, these are only my personal ideas and experiences to try.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16449" PostHistoryTypeId="2" PostId="9939" RevisionGUID="97184a25-d954-4ebc-88fc-e9197b9cced8" CreationDate="2011-08-28T02:22:51.810" UserId="1228" Text="While I have not directly used any of these, I have been intrigued by them and throw my 2 cents on for considering checking out the V-Control Pro because Neyrinck is behind it and they have a long, successful track record in the post sound world with their software offerings.  I think ProRemote is one of the first that came out, I don't know much about it, but it looks equally as enticing." ContentLicense="CC BY-SA 3.0" />
  <row Id="16450" PostHistoryTypeId="2" PostId="9940" RevisionGUID="00a72985-887a-4e63-ac48-c1a0b732ce89" CreationDate="2011-08-28T06:40:57.293" UserId="891" Text="If you want to go in the direction of film, start by reading as much as you can from [filmsound.org][1]. It's a great source for material and inspiration on studying sound. Also with lots of book recommendations. Then while waiting for any place at any university, try to find an internship. In a company or just with a freelancer, if he/she is willing to take you on.&#xD;&#xA;&#xD;&#xA;I learned so much from those two sources that it is at least equal to my studies if not more important for my today. I did study at the [HFF][2] in Potsdam-Babelberg near Berlin. (which was still good, but less practical and basically just different)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.filmsound.org&#xD;&#xA;  [2]: http://www.hff-potsdam.de/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16451" PostHistoryTypeId="2" PostId="9941" RevisionGUID="3542e074-7512-45ca-82c2-516f80eaf620" CreationDate="2011-08-28T07:22:45.163" UserId="61" Text="Have you tried Serato Pitch n' Time yet? Sounds like this would be the perfect application for the time-graph mode." ContentLicense="CC BY-SA 3.0" />
  <row Id="16452" PostHistoryTypeId="2" PostId="9942" RevisionGUID="0fb713bf-258c-4839-a024-2dfac40ff240" CreationDate="2011-08-28T08:04:13.150" UserDisplayName="user49" Text="You don't provide enough info in your question to give a specific answer so I can only ask this: Whats the purpose of the fan?&#xD;&#xA;&#xD;&#xA;If its purely functional, whats the problem? does its speed vary? over time? by how much? between picture cuts? you can crawl through the frames &amp; work out how fast its spinning...&#xD;&#xA;&#xD;&#xA;If its being used as a dramatic/emotional device then you'll have to explain the context more, because lets face it: the fan hanging over a suspected serial murderer is not going to sound the same as that in a mundane office scene....&#xD;&#xA;&#xD;&#xA;As with most things, it will require layering: constant motor hum vs general air swishing vs blade thwok etc etc... each of these will need to be considered/recorded/recreated seperately... but without the context its hard to give advice...." ContentLicense="CC BY-SA 3.0" />
  <row Id="16453" PostHistoryTypeId="2" PostId="9943" RevisionGUID="c9835c5e-c1cf-4f1f-9b87-3c9ec34320e5" CreationDate="2011-08-28T12:41:39.540" UserId="208" Text="Hi all&#xD;&#xA;&#xD;&#xA;Yesterday a massive (for Denmark atleast) thunderstorm was passing a great deal of the country. 40000 lightning strikes was recorded from midnight to noon.&#xD;&#xA;It was wild to say the least.&#xD;&#xA;&#xD;&#xA;I was recording much of it. Having my 702 turned on the most of the day, with a 416, and AMbient Emesser in a Rycote zepp and fur.&#xD;&#xA;My pres was set to 45db on the 702. Apx. 12 min past 12 :) and the limiter was on.&#xD;&#xA;&#xD;&#xA;Some of the close hits made my headphones crackle a bit, I thought it was just the headphones, since the 702 meter wasnt clipping, and only just making the limiter work on the closest ones.&#xD;&#xA;&#xD;&#xA;Today I was very exited to go to the studio and have a listen....... Only to be very dissapointed.&#xD;&#xA;Most of the strucks were useless. The recordings were crakling alot.&#xD;&#xA;&#xD;&#xA;I now have multiple hundreds of thunder strucks that are absolutely useless:(&#xD;&#xA;&#xD;&#xA;I guess my question to you are, if you can see somewhere in the recording chain where I have gone wrong?&#xD;&#xA;&#xD;&#xA;Thanks alot&#xD;&#xA;&#xD;&#xA;Best wishes&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="16454" PostHistoryTypeId="1" PostId="9943" RevisionGUID="c9835c5e-c1cf-4f1f-9b87-3c9ec34320e5" CreationDate="2011-08-28T12:41:39.540" UserId="208" Text="Recording thunder." ContentLicense="CC BY-SA 3.0" />
  <row Id="16455" PostHistoryTypeId="3" PostId="9943" RevisionGUID="c9835c5e-c1cf-4f1f-9b87-3c9ec34320e5" CreationDate="2011-08-28T12:41:39.540" UserId="208" Text="&lt;recording&gt;&lt;thunder&gt;&lt;troubleshooting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16456" PostHistoryTypeId="2" PostId="9944" RevisionGUID="8e95e132-f02f-469a-b021-2a4194d05e32" CreationDate="2011-08-28T15:27:43.103" UserId="168" Text="Use a 'thunder' IR on any one of the suggested contact mic recording suggestions. Thunder is always a great source to use as an impulse response. Playing with the length of the thunder can hugely influence the sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="16457" PostHistoryTypeId="2" PostId="9945" RevisionGUID="a596732d-fc47-419d-9e88-a02cc9051667" CreationDate="2011-08-28T15:33:23.260" UserId="235" Text="I always think a storm is coming when I hear my neighbor rolling out their large plastic recycling bins.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16458" PostHistoryTypeId="2" PostId="9946" RevisionGUID="db577160-541c-454b-ba27-9c55f4b3d9ca" CreationDate="2011-08-28T15:33:27.253" UserId="168" Text="More than a burn-in time, it would help if you passively listen to a variety of music (lower levels works for me) so that your ear/brains get used to the sound. Or burn them in as you listen to them!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16459" PostHistoryTypeId="2" PostId="9947" RevisionGUID="5fb839c9-4dc1-43a7-b623-c5f42b28665e" CreationDate="2011-08-28T15:34:44.173" UserId="6462" Text="Hi Mikkel&#xD;&#xA;I was actually on a boat in Tunø when the storm hit. It was quite an incredible storm to say the least. If you know anything about winds then we registered 44 knots, 22 meters/sec or Force 9 (storm force).&#xD;&#xA;&#xD;&#xA;I had my recorder and mics with me but unfortunately as we were being rocked about dramatically, and the rain was horizontal I felt it was a bit to dangerous to go out and start recording. I regret not trying though as I'm sure I would have got some great stuff.&#xD;&#xA;&#xD;&#xA;I have been recording other things during my sailing trip so hopefully there will be some other good stuff to make up for not recording the storm.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16460" PostHistoryTypeId="2" PostId="9948" RevisionGUID="94d61ec3-de95-4e06-91cf-f18e4664e645" CreationDate="2011-08-28T16:03:56.820" UserId="1322" Text="Hi Mikkel, &#xD;&#xA;Not familiar with your particular microphone system, but I use the SD702 with different mics. However I tend to use a different rig for recording thunderstorms and know the problems caused by reasonably distant strikes let alone powerful close strikes. &#xD;&#xA;I would suggest you have two problems - Firstly your gain levels are set too high. EG: Today I have just recorded an 80 truck convoy passing by with their horns blasting away, but these are not as powerful as a close thunder strike. I just had the clip light show on one occasion with the following settings on the SD702 using a matched pair of Rode NT5s: 30dB gain (10 'O'clock), gain range 'normal', limiter 'on', but with a low-cut set at 40Hz, 12dB/Oct. This is possibly your second problem; I have noticed low frequency sound will swamp the input on the 702, by cutting these low frequencies you will reduce the tendency to overload and clip. Even though the limiter is set 'ON', it does not necessarily mean that it will prevent distortion!&#xD;&#xA;I love recording thunderstorms and can never seem to get enough of them, however recording them is one of the most difficult aspects of field recording, as you never know where, when, or how loud the next strike will be. Just think what it should be and take another 10dB gain off! - just a guess - Best of luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="16461" PostHistoryTypeId="2" PostId="9949" RevisionGUID="7dc06996-8f78-4ad1-908e-01c901db85b0" CreationDate="2011-08-28T16:18:01.507" UserId="1764" Text="Hi Mikkal,&#xD;&#xA;&#xD;&#xA;It's curious that your meter wasn't clipping and you were still picking up the crackling. Perhaps you picked up some static discharge? &#xD;&#xA;&#xD;&#xA;May be helpful to look into VLF phenomena: http://en.wikipedia.org/wiki/Radio_atmospheric &#xD;&#xA;&#xD;&#xA;There is software to remove various levels of static and hiss. Waves Restoration plugins are fantastic.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16462" PostHistoryTypeId="2" PostId="9950" RevisionGUID="ba8e1318-46ff-4208-b5e3-276a4fcc3c21" CreationDate="2011-08-28T18:49:49.187" UserId="6604" Text="Steamid- kuttekamine&#xD;&#xA; &#xD;&#xA;PC-&#xD;&#xA;RUSE, Battlefield bad company 2, Microsoft Flight sim x, NFs series.&#xD;&#xA; &#xD;&#xA; RUSE has awesome sound design, when you zoom out completely to war room view with you game map looking like a war  strategy map, you can hear the machine and office sounds, as you zoom in, you pass the skies, and hear ambience and as you zoom in closer, you can hear the war ambience and feel like in the battle. Best war RTS game.&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16463" PostHistoryTypeId="16" PostId="9950" RevisionGUID="ba8e1318-46ff-4208-b5e3-276a4fcc3c21" CreationDate="2011-08-28T18:49:49.187" UserId="-1" />
  <row Id="16464" PostHistoryTypeId="2" PostId="9951" RevisionGUID="86eb4478-a454-437a-b0ac-ce104f16d2e3" CreationDate="2011-08-28T18:55:41.947" UserId="6604" Text="WORK mostly, music, FB, WHISTLE professionally, game" ContentLicense="CC BY-SA 3.0" />
  <row Id="16465" PostHistoryTypeId="2" PostId="9952" RevisionGUID="8847447b-4649-43c1-aa4b-1022b90804af" CreationDate="2011-08-28T19:19:05.390" UserId="6604" Text="Im from Pune, India. Studied from SAE. I work in Mumbai/Bombay in a company called Words Infocom. since 1yr as a dubbing engineer and mixer, dubbing disney cartoons, other tv series in foreign and regional languages. I have also been a foley recordist on a regional language film. Im also a music recordist/editor and worked on a project involving recording a fusion band for 2 months. We have 5 studios with Protools 8 le and HD Setups with ICON in 1 of them and 8 engineers working in shifts.&#xD;&#xA; &#xD;&#xA;In my previous job as a trainee in another city, i editted sound effects for a film and tv series. &#xD;&#xA; &#xD;&#xA;Looking for a better paying job and opportunity to work on films and also plan to study sound design abroad but its very expensive&#xD;&#xA; &#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="16466" PostHistoryTypeId="16" PostId="9952" RevisionGUID="8847447b-4649-43c1-aa4b-1022b90804af" CreationDate="2011-08-28T19:19:05.390" UserId="-1" />
  <row Id="16470" PostHistoryTypeId="2" PostId="9954" RevisionGUID="f5f74044-849b-4c08-87c6-aed60f987a0f" CreationDate="2011-08-28T20:28:08.957" UserId="6604" Text="Hi,&#xD;&#xA;I was wondering what does a Dolby consultant do and how can one become one? &#xD;&#xA; &#xD;&#xA;What training and knowledge does it require? And where can i get it?&#xD;&#xA; &#xD;&#xA;Will it be an added advantage or skill for 2 sound designer to get a job? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16471" PostHistoryTypeId="1" PostId="9954" RevisionGUID="f5f74044-849b-4c08-87c6-aed60f987a0f" CreationDate="2011-08-28T20:28:08.957" UserId="6604" Text="Becoming a Dolby consultant" ContentLicense="CC BY-SA 3.0" />
  <row Id="16472" PostHistoryTypeId="3" PostId="9954" RevisionGUID="f5f74044-849b-4c08-87c6-aed60f987a0f" CreationDate="2011-08-28T20:28:08.957" UserId="6604" Text="&lt;dolby&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16473" PostHistoryTypeId="2" PostId="9955" RevisionGUID="b79e9f80-344c-41bc-a2c0-6a4a42be133f" CreationDate="2011-08-28T20:34:39.393" UserId="803" Text="I'm a freelancer from Uppel, The Netherlands and mainly work as a location sound- recordist and designer for documentary films. ( www.geluidsvormgeving.nl )&#xD;&#xA;&#xD;&#xA;I'm also a sound-artist and performing technician in a jazz band. (http://www.youtube.com/watch?v=UhwTsW2w0nE )&#xD;&#xA;&#xD;&#xA;Mark Thur" ContentLicense="CC BY-SA 3.0" />
  <row Id="16474" PostHistoryTypeId="16" PostId="9955" RevisionGUID="b79e9f80-344c-41bc-a2c0-6a4a42be133f" CreationDate="2011-08-28T20:34:39.393" UserId="-1" />
  <row Id="16475" PostHistoryTypeId="2" PostId="9956" RevisionGUID="524bf557-a476-4dc9-86ff-5484e1436190" CreationDate="2011-08-28T21:23:47.403" UserId="238" Text="A quick search on the Internet and I found this from [Dolby's UK website][1].&#xD;&#xA;&#xD;&#xA;&gt; Dolby's ultimate goal seemed simple&#xD;&#xA;&gt; enough: to produce and profit from a&#xD;&#xA;&gt; new range of theatre sound-processing&#xD;&#xA;&gt; equipment. However, for that to&#xD;&#xA;&gt; happen, film producers had to be&#xD;&#xA;&gt; educated about the benefits of the new&#xD;&#xA;&gt; format. Sound mixers had to be brought&#xD;&#xA;&gt; up-to-date with new techniques.&#xD;&#xA;&gt; Distributors had to be reassured that&#xD;&#xA;&gt; stereo release prints were compatible&#xD;&#xA;&gt; with mono theatres. Theatre equipment&#xD;&#xA;&gt; suppliers had to be educated in system&#xD;&#xA;&gt; requirements and installation&#xD;&#xA;&gt; procedures. And theatre owners had to&#xD;&#xA;&gt; be convinced that investing in the new&#xD;&#xA;&gt; equipment would pay off at the box&#xD;&#xA;&gt; office. As a result, it was necessary&#xD;&#xA;&gt; to implement and staff a film sound&#xD;&#xA;&gt; program that would reach out to all&#xD;&#xA;&gt; these disparate segments of the film&#xD;&#xA;&gt; industry.&#xD;&#xA;&gt; &#xD;&#xA;&gt; The resulting international program is&#xD;&#xA;&gt; multifaceted. **Dolby film sound&#xD;&#xA;&gt; consultants assist at the mix of films&#xD;&#xA;&gt; slated for release with soundtracks&#xD;&#xA;&gt; utilizing Dolby technology (available&#xD;&#xA;&gt; today in every film production center&#xD;&#xA;&gt; in the world).** Dolby has also&#xD;&#xA;&gt; established offices in New York and&#xD;&#xA;&gt; Los Angeles to further assist the US&#xD;&#xA;&gt; film industry, and it regularly&#xD;&#xA;&gt; conducts training courses for&#xD;&#xA;&gt; equipment installers and technicians&#xD;&#xA;&gt; on Dolby theatre sound equipment.&#xD;&#xA;&#xD;&#xA;Also from [a BBC news article][2]:&#xD;&#xA;&#xD;&#xA;&gt; Staff at Wootton Bassett (Dolby Laboratories European Headquarters) are responsible for far more than the manufacture of the equipment – they also help “shape” film soundtracks. **Dolby’s “sound consultants” are responsible for helping film studios get the best out of the technology.** Dolby's 'consultants' travel internationally from Bollywood to Hollywood, ensuring that the soundtrack that gets shipped with the film meets their high standards.  &#xD;&#xA;&#xD;&#xA;As for training, I would try to do some networking with people who have already worked, or are currently working in that job. Again, my google search which took all of 10 seconds already provided a couple of contacts. I'm sure if you spend an hour or so, you could easily contact a host of people. If you send a polite email, people are usually very willing to offer advice. If you cannot find email addresses, try networking sites like LinkedIn. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dolby.co.uk/about/who-we-are/our-history/history-4.html&#xD;&#xA;  [2]: http://www.bbc.co.uk/wiltshire/entertainment/films_and_tv/dolby.shtml" ContentLicense="CC BY-SA 3.0" />
  <row Id="16476" PostHistoryTypeId="2" PostId="9957" RevisionGUID="75ea6cbd-d4f2-4892-8c4c-fbe28f517f07" CreationDate="2011-08-28T21:48:30.113" UserId="7642" Text="Check with mark and Alex at dreambasestudios.com&#xD;&#xA;Both of them worked as Dolby consultants for a number of years until they decided to do their own stuff. You can actually read about them a designingsound.com (the logic article)&#xD;&#xA;&#xD;&#xA;Tell them I said hi.&#xD;&#xA;&#xD;&#xA;Erik @ Europa Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="16477" PostHistoryTypeId="2" PostId="9958" RevisionGUID="d320f1c7-c928-45d1-8610-f9790e9e03fc" CreationDate="2011-08-28T23:02:37.843" UserId="1159" Text="I'm a sound designer primarily for video games in Vancouver, BC. The day job is being the sound guy for Klei Entertainment." ContentLicense="CC BY-SA 3.0" />
  <row Id="16478" PostHistoryTypeId="16" PostId="9958" RevisionGUID="d320f1c7-c928-45d1-8610-f9790e9e03fc" CreationDate="2011-08-28T23:02:37.843" UserId="-1" />
  <row Id="16479" PostHistoryTypeId="2" PostId="9959" RevisionGUID="e9800e86-55c3-4dc7-b9df-47efd796bb5c" CreationDate="2011-08-28T23:04:44.787" UserId="1159" Text="xbox: mattesque&#xD;&#xA;&#xD;&#xA;Mostly just been playing single player stuff lately. And researching other games for work." ContentLicense="CC BY-SA 3.0" />
  <row Id="16480" PostHistoryTypeId="16" PostId="9959" RevisionGUID="e9800e86-55c3-4dc7-b9df-47efd796bb5c" CreationDate="2011-08-28T23:04:44.787" UserId="-1" />
  <row Id="16481" PostHistoryTypeId="2" PostId="9960" RevisionGUID="e10bf6b4-8567-47fa-b248-03414b0e5536" CreationDate="2011-08-29T04:25:20.493" UserId="88" Text="For particularly blustery wind, there's always the vehicular &quot;create your own&quot; option.  To capture howling, whistly wind with a raw and violent low end component, grab your rig plus a metal colander and bug a friend with a convertible to drive you around some relatively car-free roads at decent speed.  Miking the inside of the colander can yield great results.  A colleague and I did this a few years back for Medal of Honor: Airborne and used it in some of the freefall/airdrop wind, open door in the plane, and so on." ContentLicense="CC BY-SA 3.0" />
  <row Id="16482" PostHistoryTypeId="2" PostId="9961" RevisionGUID="f518112f-95de-452f-8d58-973d316ed3e9" CreationDate="2011-08-29T05:40:52.457" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;There is a really nice article/vimeo on www.designingsound.org He has some interesting ideas about recording weather etc. &#xD;&#xA;&#xD;&#xA;http://designingsound.org/2011/08/frank-bry-on-rain-recording-north-country-rain-hd-library-available/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16483" PostHistoryTypeId="2" PostId="9962" RevisionGUID="797f7b84-bf3c-4c2a-a696-f71833194e4e" CreationDate="2011-08-29T05:44:47.010" UserId="348" Text="I have a pair of the HFI 450's and when I got them, I too found that they were a tad tinny and heavy on the lows. In the past, I have always used new headphones in the environments I want to record in and break them in as an experiment. They do change and now my 450's sound a lot better. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16487" PostHistoryTypeId="2" PostId="9965" RevisionGUID="5875a226-54fe-43f6-9314-cae94e3d3feb" CreationDate="2011-08-29T07:46:45.300" UserId="1912" Text="Studio 1's Mic Boom Poles (also know as a fishpole) are built using strong, but lightweight aerospace aluminum making them affordable for videographers, news crews and filmmakers." ContentLicense="CC BY-SA 3.0" />
  <row Id="16488" PostHistoryTypeId="2" PostId="9966" RevisionGUID="cc3e2b26-22c3-4967-af14-b709be9cd089" CreationDate="2011-08-29T11:26:44.360" UserId="1914" Text="The one that immediately springs to mind is [Rax][1]. It's purely an AU/VST host with basic mixing and metering abilities - no audio playback/editing. Rax has a long history and at one point was free, but it's now a $79 commercial app. I can see it working nicely with Jack/Soundflower. I'm looking for something similar but just for allowing me to stick audio units in front of my Skype audio input.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiofile-engineering.com/rax/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16489" PostHistoryTypeId="5" PostId="9943" RevisionGUID="de1b71db-38b9-4242-bdd6-a7abce00b508" CreationDate="2011-08-29T12:41:01.937" UserId="208" Comment="Link inserted" Text="Hi all&#xD;&#xA;&#xD;&#xA;Yesterday a massive (for Denmark atleast) thunderstorm was passing a great deal of the country. 40000 lightning strikes was recorded from midnight to noon.&#xD;&#xA;It was wild to say the least.&#xD;&#xA;&#xD;&#xA;I was recording much of it. Having my 702 turned on the most of the day, with a 416, and AMbient Emesser in a Rycote zepp and fur.&#xD;&#xA;My pres was set to 45db on the 702. Apx. 12 min past 12 :) and the limiter was on.&#xD;&#xA;&#xD;&#xA;Some of the close hits made my headphones crackle a bit, I thought it was just the headphones, since the 702 meter wasnt clipping, and only just making the limiter work on the closest ones.&#xD;&#xA;&#xD;&#xA;Today I was very exited to go to the studio and have a listen....... Only to be very dissapointed.&#xD;&#xA;Most of the strucks were useless. The recordings were crakling alot.&#xD;&#xA;&#xD;&#xA;I now have multiple hundreds of thunder strucks that are absolutely useless:(&#xD;&#xA;&#xD;&#xA;I guess my question to you are, if you can see somewhere in the recording chain where I have gone wrong?&#xD;&#xA;&#xD;&#xA;Thanks alot&#xD;&#xA;&#xD;&#xA;Best wishes&#xD;&#xA;&#xD;&#xA;Mikkel&#xD;&#xA;&#xD;&#xA;PS: Here is a link to soundcloud with some samples of it all: http://soundcloud.com/gimaudio/thunder-recording-samples" ContentLicense="CC BY-SA 3.0" />
  <row Id="16490" PostHistoryTypeId="2" PostId="9967" RevisionGUID="418e271f-d591-485f-8ebb-01117e1cdedd" CreationDate="2011-08-29T13:31:46.830" UserId="431" Text="I've created a drone that I'd like to use as a spacecraft engine bg, but right now its in mono, and I thought I'd crowd source some favourite methods of &quot;stereoizing&quot;. Because the sound is sci-fi in nature, I'm not particularly concerned with realism or colouring the sound (though more realistic methods are welcome too). The two sounds that I'm working with are here, if you want to give them a listen:&#xD;&#xA;&#xD;&#xA;[soundcloud]adamaxbey/engine-2[/soundcloud]&#xD;&#xA;[soundcloud]adamaxbey/engine-3[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="16491" PostHistoryTypeId="1" PostId="9967" RevisionGUID="418e271f-d591-485f-8ebb-01117e1cdedd" CreationDate="2011-08-29T13:31:46.830" UserId="431" Text="What's your favourite way to &quot;stereoize&quot; a mono file?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16492" PostHistoryTypeId="3" PostId="9967" RevisionGUID="418e271f-d591-485f-8ebb-01117e1cdedd" CreationDate="2011-08-29T13:31:46.830" UserId="431" Text="&lt;drone&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16493" PostHistoryTypeId="2" PostId="9968" RevisionGUID="ccf021ce-4505-45a5-b5bd-9b1b4d3f32b0" CreationDate="2011-08-29T13:46:41.977" UserId="393" Text="I'm a big fan of [SHEPPi][1], especially for things that aren't going to be up close and personal.&#xD;&#xA;&#xD;&#xA;On top of that, stereo delays and choruses can be used to good effect.  For Sci-Fi-type sounds, I tend to go to Native Instrument's Kore pack Deep Transformations (I probably have an installer for the free player and the two free upgrades somewhere, now that it's no longer available), though they tend to be incredibly rhythmic by their musical nature.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://dallashodgson.info/articles/OpenAmbienceProject/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16494" PostHistoryTypeId="2" PostId="9969" RevisionGUID="55fd0de0-67ea-4808-91b4-a293bd89f5c8" CreationDate="2011-08-29T13:57:04.743" UserId="103" Text="For that kind of stuff, i usually just cut the file in half and put the second part on an , cut them both to be the same length and drag them to a stereo track. You have to be careful when the material has rhythmic patterns to it, other than that, its fast and it works." ContentLicense="CC BY-SA 3.0" />
  <row Id="16495" PostHistoryTypeId="5" PostId="9969" RevisionGUID="77e9d69f-2839-40ef-b0df-7287aca9d1fb" CreationDate="2011-08-29T14:17:54.417" UserId="103" Comment="added 19 characters in body" Text="For that kind of stuff, i usually just cut the file in half and put the second part on(in?) a adjacent track , cut them both to be the same length and drag them to a stereo track. You have to be careful when the material has rhythmic patterns to it, other than that, its fast and it works." ContentLicense="CC BY-SA 3.0" />
  <row Id="16496" PostHistoryTypeId="2" PostId="9970" RevisionGUID="2e512a61-e767-45a8-87d0-206373154c15" CreationDate="2011-08-29T14:37:46.637" UserId="432" Text="I'll +1 Filipe's comment and build on it. If you really want to cement it by having a tiny amount of the right in the left (and vice versa) do this:&#xD;&#xA;&#xD;&#xA; 1. route your intended &quot;right&quot; signal out of the right channel (obviously)&#xD;&#xA; 2. also route it to an aux to feed the left channel&#xD;&#xA; 3. delay the aux anywhere in the 10-30 ms range (to taste, don't go above or below this range)&#xD;&#xA; 4. drop the volume of the aux to suit your taste&#xD;&#xA; 5. repeat for the opposite channel&#xD;&#xA;&#xD;&#xA;The 10-30 ms delay and volume shift exploits the way hear. Anything less than 30 ms (sometimes up to 40, depending on the source and the space) that's heard in a different position than the source, we tend to associate as part of the source sound. In other words we still localize it as being in the right, even though we're actually hearing an echo in the left. If it gets higher than 30-40 ms we start to identify it as an echo or reverb hapenning in the left, and no longer localize it as part of the source sound.&#xD;&#xA;&#xD;&#xA;This is a great technique to use in combination with what Filipe mentioned, because you actually create a &quot;space&quot; that the left and right channels interact in. Use the delay to change the &quot;size&quot; of the space: longer delay equals larger space, shorter delay equals smaller space. Use the gain of the Aux to control the width of the stereo image: low gain equals wide stereo image, high gain equals narrow.&#xD;&#xA;&#xD;&#xA;This also works pretty well for creating a relatively natural reverb between the front and rear speakers for a stereo file in a surround session. Just apply the above between the front and rear speakers per channel, rather than between the left and the right. Within the delay window, we still localize everything as coming from the front, but we get the impression that we're actually in the space. It's a lot less resource intensive than a reverb plug-in if you're running out of DSP and you only need a small and simple &quot;space.&quot; It's not always the best solution, but it's a handy trick to have." ContentLicense="CC BY-SA 3.0" />
  <row Id="16497" PostHistoryTypeId="2" PostId="9971" RevisionGUID="ccd2321b-1e3c-41bf-874e-676d7baab734" CreationDate="2011-08-29T14:58:08.537" UserId="917" Text="For me, the easiest way to widen a mono-sounding file is to process it in the Mid/Side domain. Usually I would apply something like this:&#xD;&#xA;&#xD;&#xA;- delay the right channel for several milliseconds&#xD;&#xA;- add Mid/Side decoder&#xD;&#xA;&#xD;&#xA;That's it. Simple yet effective. &#xD;&#xA;&#xD;&#xA;You can achieve this by using a chain of plugins or just a single one. I like Fabfilter effects for this purpose. They allow to process Mid and Side channels separately. Also MSED, Sound Delay, Marvel GEQ and Overtone GEQ by Voxengo are very useful. And free. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16498" PostHistoryTypeId="2" PostId="9972" RevisionGUID="600fe272-2eac-407a-a0f3-d3f04454a6d3" CreationDate="2011-08-29T15:16:30.093" UserId="1287" Text="The delay trick is always a great one.  I sometimes use a sample delay or time adjuster as opposed to a regular delay.&#xD;&#xA;&#xD;&#xA;I'm very fond of duplicating the mono sounding track, panning the two tracks left and right, and then slightly pitch shifting the duplicate.  I personally generally prefer pitching down, but pitching up sounds good too.  &#xD;&#xA;&#xD;&#xA;Plugs like Waves Doubler work great too, really just delays and pitch shifting also.&#xD;&#xA;&#xD;&#xA;Sometimes instead of pitch shifting, I'll time stretch the duplicate slightly also.  Gives the image an interesting pulling kind of motion.&#xD;&#xA;&#xD;&#xA;also, Eq'ing the two sides separately can do the trick.&#xD;&#xA;&#xD;&#xA;as can putting a short modulating reverb on each side, preferably with different modulation times to spread out the image further.&#xD;&#xA;&#xD;&#xA;Also, at the expense of being a little more forceful with the sound, using a granular process with a fair amount of pan jitter and a fast grain rate can do wonderful things to a mono image.  slap a reverb on afterwards to smooth it out, sounds instantly ominous." ContentLicense="CC BY-SA 3.0" />
  <row Id="16499" PostHistoryTypeId="2" PostId="9973" RevisionGUID="321e55c3-98fb-474d-9238-2067a9f4b1db" CreationDate="2011-08-29T16:11:10.373" UserId="235" Text="I did a [blog post][1] on this a while back.  Basically anything that can be done to alter one channel without making it sound like a completely different sound.  In PT I usually duplicate my mono region onto two mono tracks, alter one or both in various ways - delay, pitch shift, EQ, flip front and back halfs, subtle distortion - then drag both onto a stereo track and consolidate.  I also like subtle flanger settings for turning mono to stereo or making stereo even wider.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.brendanjhogan.com/blog/?p=251" ContentLicense="CC BY-SA 3.0" />
  <row Id="16500" PostHistoryTypeId="2" PostId="9974" RevisionGUID="ad568936-ea79-42d3-a4be-46608472a9d3" CreationDate="2011-08-29T16:35:11.603" UserDisplayName="user80" Text="Bus the mono track to a stereo channel with a 15 ms delay on the left channel and a 35 ms on the right." ContentLicense="CC BY-SA 3.0" />
  <row Id="16501" PostHistoryTypeId="5" PostId="9970" RevisionGUID="6f31aa06-fe0a-4874-a4bd-ef2efd777245" CreationDate="2011-08-29T16:37:26.237" UserId="432" Comment="caveat" Text="I'll +1 Filipe's comment and build on it. If you really want to cement it by having a tiny amount of the right in the left (and vice versa) do this:&#xD;&#xA;&#xD;&#xA; 1. route your intended &quot;right&quot; signal out of the right channel (obviously)&#xD;&#xA; 2. also route it to an aux to feed the left channel&#xD;&#xA; 3. delay the aux anywhere in the 10-30 ms range (to taste, don't go above or below this range)&#xD;&#xA; 4. drop the volume of the aux to suit your taste&#xD;&#xA; 5. repeat for the opposite channel&#xD;&#xA;&#xD;&#xA;The 10-30 ms delay and volume shift exploits the way hear. Anything less than 30 ms (sometimes up to 40, depending on the source and the space) that's heard in a different position than the source, we tend to associate as part of the source sound. In other words we still localize it as being in the right, even though we're actually hearing an echo in the left. If it gets higher than 30-40 ms we start to identify it as an echo or reverb hapenning in the left, and no longer localize it as part of the source sound.&#xD;&#xA;&#xD;&#xA;This is a great technique to use in combination with what Filipe mentioned, because you actually create a &quot;space&quot; that the left and right channels interact in. Use the delay to change the &quot;size&quot; of the space: longer delay equals larger space, shorter delay equals smaller space. Use the gain of the Aux to control the width of the stereo image: low gain equals wide stereo image, high gain equals narrow.&#xD;&#xA;&#xD;&#xA;This also works pretty well for creating a relatively natural reverb between the front and rear speakers for a stereo file in a surround session. Just apply the above between the front and rear speakers per channel, rather than between the left and the right. Within the delay window, we still localize everything as coming from the front, but we get the impression that we're actually in the space. It's a lot less resource intensive than a reverb plug-in if you're running out of DSP and you only need a small and simple &quot;space.&quot; It's not always the best solution, but it's a handy trick to have.&#xD;&#xA;&#xD;&#xA;**Edit: I should have mentioned that it's important to watch for phase cancellation issues using this method. I've got a Dolby DP570 at work that makes it easy to check different fold-down configurations on the fly.**" ContentLicense="CC BY-SA 3.0" />
  <row Id="16502" PostHistoryTypeId="2" PostId="9975" RevisionGUID="5f550106-ecb4-450b-aab8-87878467b24c" CreationDate="2011-08-29T17:09:58.153" UserDisplayName="user80" Text="I would suggested using an inline pad on the mic to knock back the levels.  &#xD;&#xA;&#xD;&#xA;I would also y split the signal and run one channel 10 dB quieter than the other.  This is worth doing even if you are not worrying about distortion as you increase the recorded dynamic range.  If I am really nervous I will use a 20 dB difference. Just be careful not to send phantom power down both channels.  &#xD;&#xA;&#xD;&#xA;The distortion might be due to the mic as well as the limiters not being fast enough, the attack time for the 702 is 5ms. &#xD;&#xA;&#xD;&#xA;As a general rule if you hear distortion assume that it is being recorded, as meters can never be fast enough to catch everything.  Typically the ballistics of a PPM meter are around 5 ms, so if the peak is shorter than that it might not show up on the meter." ContentLicense="CC BY-SA 3.0" />
  <row Id="16503" PostHistoryTypeId="2" PostId="9976" RevisionGUID="a5fc5728-6bf6-4f25-a886-500a32485eee" CreationDate="2011-08-29T18:03:37.943" UserId="6519" Text="i use iZotope Ozone 4" ContentLicense="CC BY-SA 3.0" />
  <row Id="16504" PostHistoryTypeId="2" PostId="9977" RevisionGUID="96a7ead6-6adf-4dcc-b912-875420478379" CreationDate="2011-08-29T20:25:56.760" UserId="118" Text="I tend to find that quite a few 'stereoizer' plugins create rather unpleasantly phasey-sounding results but one plugin I've tried that I did like was Voxengo Stereo Touch." ContentLicense="CC BY-SA 3.0" />
  <row Id="16505" PostHistoryTypeId="2" PostId="9978" RevisionGUID="32082c86-5986-464b-bec2-511643906f34" CreationDate="2011-08-29T20:43:06.527" UserId="1319" Text="I did some comparisons (Zoom H1, H2, H4n, and Sony D-50) and really the Sony PCM D-50 is the best what You can get from a handheld recorder.&#xD;&#xA;&#xD;&#xA;Just take a look at these samples:&#xD;&#xA;&#xD;&#xA;http://www.wingfieldaudio.com/portable-recorder-sound-samples.html " ContentLicense="CC BY-SA 3.0" />
  <row Id="16506" PostHistoryTypeId="2" PostId="9979" RevisionGUID="060841f8-fd7c-4c05-bb9e-12afe62ad5b0" CreationDate="2011-08-29T21:28:55.087" UserId="578" Text="So I probably already know the answer to this question myself: NO!&#xD;&#xA;But I'm going to ask anyway, mostly because I'm curious if anybody else has experienced something similar.&#xD;&#xA;&#xD;&#xA;I had bought a Sound Devices 744t recently, it's second hand but through a shop, so it comes (luckily) with a warranty. I did some quick test recordings last Friday, and everything was happy and dandy. Then, last night, I decided to charge the battery with the supplied power supply plugged into the mains, the 744t switched on. After an hour or so I checked how it was going, happened to touch the device, to find out it was *extremely* hot. The 744t itself that is, not the adapter.&#xD;&#xA;&#xD;&#xA;The 744t was inside a Petrol bag, maybe that made it a bit hotter, but one side of the bag was unzipped and completely left open, plus there was ample of space for airflow both to the top and the bottom of the recorder. I couldn't find any info in the manual about the recorder getting that hot when charging, no info online either.&#xD;&#xA;&#xD;&#xA;Anyway everything still seemed kind of OK and when I checked this morning, the battery was fully charged and the recorder itself back to a normal temperature. However! When I then went out on a happy day trip full of sweet sweet recording opportunities, it turned out that the mic preamps didn't work anymore, the headphone amp wasn't playing back the test tone nor the recordings I'd done on Friday, and also the gain overload LED of the headphone amp was continuously in the red.&#xD;&#xA;&#xD;&#xA;So yeah, something has fried, and I'm sending back the 744t. I called Sound Devices customer support and they told me to do just that. So there you go, I just answered my own question, can I now also give myself an upvote? &#xD;&#xA;&#xD;&#xA;Anybody else experienced something like this?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;PS - The 'funny' thing is that I'd decided to splash out on a 744t since my previous recorder (Tascam DR680) was rendered useless after the tip of my headphone plug had broken off inside the headphone amp, and couldn't be removed, not even after completely dismantling the recorder. Seems that The Audio Gods are having a go at me. I do hope they're having fun! :P&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16507" PostHistoryTypeId="1" PostId="9979" RevisionGUID="060841f8-fd7c-4c05-bb9e-12afe62ad5b0" CreationDate="2011-08-29T21:28:55.087" UserId="578" Text="Is a 744t supposed to get very hot when charging the battery?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16508" PostHistoryTypeId="3" PostId="9979" RevisionGUID="060841f8-fd7c-4c05-bb9e-12afe62ad5b0" CreationDate="2011-08-29T21:28:55.087" UserId="578" Text="&lt;744t&gt;&lt;heat&gt;&lt;issue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16509" PostHistoryTypeId="2" PostId="9980" RevisionGUID="624d33cf-aeba-4053-95fa-5384ebd38d92" CreationDate="2011-08-29T21:52:51.037" UserDisplayName="user49" Text="I bought a seperate charger dock &amp; sets of batteries... For the very small cost it is much better as means the recorder isn't tied up charging batteries..." ContentLicense="CC BY-SA 3.0" />
  <row Id="16510" PostHistoryTypeId="2" PostId="9981" RevisionGUID="60f3e50e-7106-421c-9a52-22dcb3eb7a08" CreationDate="2011-08-29T22:12:10.720" UserDisplayName="user49" Text="If its for film I personally would likely do more than just stereo-ize it, depending on the context/location/point of view that you are hearing it from - I'd use Altiverb with real &amp; non-real IRs to spread the drone to L/R and into surrounds.... But it totally depends where you want the sound to appear to be coming from &amp; how present you want the pulse to be... I'd probably use LowEnder to reinforce the pulse of it with low frequencies &amp; LFE....&#xD;&#xA;&#xD;&#xA;Also a note: if you are using psychoacoustic techniques and its film, bear in mind you cannot predict where the audience is sitting... a technique based on subtle time offsets between L&amp;R may be completely lost on most of audience, which is why more discrete processing/placement (such as @Filipe Chagas suggests) will work better&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16511" PostHistoryTypeId="2" PostId="9982" RevisionGUID="86226191-fb66-4d5a-bfa2-0200dfb55612" CreationDate="2011-08-29T22:54:42.233" UserId="670" Text="Does anyone have any sfx of a suitcase being wheeled on cobblestone? I've been working on a feature the past two weeks, and have to finish it up by next week, and I don't have the time to go out to the actual location and record it. &#xD;&#xA;&#xD;&#xA;Also, I'm also looking for a walla of a small group of people (10-15 max) outside at a party. &#xD;&#xA;&#xD;&#xA;Thanks all!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16512" PostHistoryTypeId="1" PostId="9982" RevisionGUID="86226191-fb66-4d5a-bfa2-0200dfb55612" CreationDate="2011-08-29T22:54:42.233" UserId="670" Text="sound request - suitcase wheeled on cobblestone" ContentLicense="CC BY-SA 3.0" />
  <row Id="16513" PostHistoryTypeId="3" PostId="9982" RevisionGUID="86226191-fb66-4d5a-bfa2-0200dfb55612" CreationDate="2011-08-29T22:54:42.233" UserId="670" Text="&lt;wheeled&gt;&lt;sfx&gt;&lt;walla&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16514" PostHistoryTypeId="2" PostId="9983" RevisionGUID="9510505d-69e4-4e90-808e-acdb3e1be6a3" CreationDate="2011-08-29T23:04:04.757" UserId="1308" Text="If it's sci-fi-y and doesn't really matter if it's realistic, paste the mono file into a blank stereo file in a 2-track editor, and then just reverse one side.&#xD;&#xA;&#xD;&#xA;Not realistic by any means, but very wide.  Particularly if it's just a 'drone' sound and 'direction of movement' is not obvious.&#xD;&#xA;&#xD;&#xA;fonte" ContentLicense="CC BY-SA 3.0" />
  <row Id="16515" PostHistoryTypeId="2" PostId="9984" RevisionGUID="5874d78a-7763-4e6b-9173-d6b55a2c458d" CreationDate="2011-08-30T00:10:07.727" UserId="1913" Text="i'm really hoping to see a new product from zoom that addresses the &quot;hissing&quot;, the upcoming IBC 2011 show would really be a swell time to announce it.  h4n really could use an update.  that sony d-50 and their pcm m10 indeed have excellent, low-noise recording and good user interfaces (but sadly do not double as a computer i/o, which is why the h4n interests me particularly)." ContentLicense="CC BY-SA 3.0" />
  <row Id="16516" PostHistoryTypeId="2" PostId="9985" RevisionGUID="e3819f2e-d26c-4d93-a33b-c0e27f8209ad" CreationDate="2011-08-30T00:37:41.053" UserId="587" Text="If you havent found something for it yet here is an idea -&#xD;&#xA;&#xD;&#xA;Take a suitcase to a grocery store or Target. They have those bumpy plates in front of the store to keep shopping carts from rolling into the parking lot by accident. You can do a recording there that would sound enough like cobblestone with a little bit of editing.&#xD;&#xA;&#xD;&#xA;The convenience of these locations shouldnt take up a lot of time - just a quick 5 min trip to Target and throw an Zoom up, roll something over it." ContentLicense="CC BY-SA 3.0" />
  <row Id="16517" PostHistoryTypeId="2" PostId="9986" RevisionGUID="44ea2cc1-f3c5-4c87-887d-89c2785bc6db" CreationDate="2011-08-30T01:02:17.910" UserId="1308" Text="Definitely sounds like the preamps overloading (input gain too high...someone suggested a pad on the input, that would likely help) or too high SPL for the 416 (possibly a dynamic mic like an SM57 would be better, or 421, but then you'd loose some of the detail)." ContentLicense="CC BY-SA 3.0" />
  <row Id="16518" PostHistoryTypeId="2" PostId="9987" RevisionGUID="db55d75f-d3d0-4deb-b521-d2dcc9f633b0" CreationDate="2011-08-30T01:10:30.963" UserId="431" Text="I've tried some of the aforementioned processing and uploaded it, file names included the user who suggested the technique. I'll try to process a few more tomorrow. I've also made the original tracks downloadable (at least for a few weeks or so) in case some of you want to mess around with &quot;stereoizing&quot; 'em.&#xD;&#xA;[soundcloud]adamaxbey/engine-2-shaun-farley-aux-10db[/soundcloud]&#xD;&#xA;[soundcloud]adamaxbey/engine-2-chris-fonte[/soundcloud]&#xD;&#xA;[soundcloud]adamaxbey/engine-2-filipe[/soundcloud]&#xD;&#xA;[soundcloud]adamaxbey/engine-2-shaun-farley[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="16519" PostHistoryTypeId="2" PostId="9988" RevisionGUID="359dcd6e-9a1b-4eb5-98ab-4d74599bf5f6" CreationDate="2011-08-30T01:30:18.793" UserId="18160" Text="I would honestly just bring a suitcase into your booth, flop it upside down on some carpet and take a couple of &quot;cobblestone&quot; size rocks you picked out of the garden (washed first) and lightly bump them on the plastic wheels using two of them to get the rhythm that sounds realistic to the picture. Then &quot;sweeten&quot; (I hate that word) the sound with some generic rolling... Of course it will take a bit of trial and error, but I'm pretty sure it could be made to work and be convincing. I'd never do that for an audiobook but I think the picture could help sell it if you're in a bind. I think this will work because essentially when you're rolling a suitcase over cobblestones, you're not really rolling but rather hitting the wheels with each new protrusion of a stone. Just an idea..." ContentLicense="CC BY-SA 3.0" />
  <row Id="16520" PostHistoryTypeId="2" PostId="9989" RevisionGUID="f576555a-86d8-4954-99e0-64a87491e257" CreationDate="2011-08-30T01:55:27.350" UserId="61" Text="I agree with the previous posts; don't get stuck because you don't have access to real cobblestones. Almost any hardscape surface that has breaks or cracks in it will probably suffice. Think sidewalks, driveways, brick paths, etc. Also, some crosswalks in LA have yellow, bumpy, non-slip plates - something like that would work very well. &#xD;&#xA;&#xD;&#xA;Getting the correct suitcase for the job is just as important. Large or small? Fits in the overhead bin? New or vintage? Squeaky or smooth?&#xD;&#xA;&#xD;&#xA;Re. ext party crowd, look me up on LinkedIn, I may have something that will work." ContentLicense="CC BY-SA 3.0" />
  <row Id="16521" PostHistoryTypeId="2" PostId="9990" RevisionGUID="be4d20e4-c9a3-455b-985f-e483b0fff9ea" CreationDate="2011-08-30T02:26:24.163" UserId="1228" Text="I have a production mixer friend who inadvertently fried his SD 302 about 3x (and repaired by SD) before discovering that if both his mixer AND recorder's phantom power were enabled, it fried the gear.  So it could be a phantom power issue of some sort too.  But I hear SD is very good with customer service so you should be in good hands." ContentLicense="CC BY-SA 3.0" />
  <row Id="16522" PostHistoryTypeId="2" PostId="9991" RevisionGUID="b30a4944-a6b0-43fb-96aa-8fa1abc9219a" CreationDate="2011-08-30T06:02:01.663" UserId="587" Text="With the audio middleware systems like UDK, Wwise, Fmod and Unity opening their doors to the mobile market, I had a quick question about the differences between the packages you create working on mobile devices.&#xD;&#xA;&#xD;&#xA;If you are working within Unity or Wwise, do you create a package and then choose on export to a specific device: mobile - console - PC ?&#xD;&#xA;&#xD;&#xA;If you can't, does that mean you have to make a copy of the script in a mobile edition of the software? (I have seen that some charge a fee for just downloading the license)&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16523" PostHistoryTypeId="1" PostId="9991" RevisionGUID="b30a4944-a6b0-43fb-96aa-8fa1abc9219a" CreationDate="2011-08-30T06:02:01.663" UserId="587" Text="GameAudio Middleware Differences" ContentLicense="CC BY-SA 3.0" />
  <row Id="16524" PostHistoryTypeId="3" PostId="9991" RevisionGUID="b30a4944-a6b0-43fb-96aa-8fa1abc9219a" CreationDate="2011-08-30T06:02:01.663" UserId="587" Text="&lt;gameaudio&gt;&lt;mobile&gt;&lt;implementation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16525" PostHistoryTypeId="2" PostId="9992" RevisionGUID="da241fa9-4c7e-445c-8b73-a2f4796aba2b" CreationDate="2011-08-30T06:33:07.733" UserId="18160" Text="Money is not an issue.&#xD;&#xA;&#xD;&#xA;What is the ideal mixing console you would prefer to use in your own studio?&#xD;&#xA;&#xD;&#xA;Think with ease of use, sound quality, compatibility with other studios, compatibility with Pro Tools (or some other DAW), etc.&#xD;&#xA;&#xD;&#xA;I'm in the market. Please fill me in on what console is right for you and why.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16526" PostHistoryTypeId="1" PostId="9992" RevisionGUID="da241fa9-4c7e-445c-8b73-a2f4796aba2b" CreationDate="2011-08-30T06:33:07.733" UserId="18160" Text="Your Dream Console." ContentLicense="CC BY-SA 3.0" />
  <row Id="16527" PostHistoryTypeId="3" PostId="9992" RevisionGUID="da241fa9-4c7e-445c-8b73-a2f4796aba2b" CreationDate="2011-08-30T06:33:07.733" UserId="18160" Text="&lt;mixing&gt;&lt;console&gt;&lt;mix&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16528" PostHistoryTypeId="2" PostId="9993" RevisionGUID="45585b87-5c46-4871-9ff2-7ac8c4244e30" CreationDate="2011-08-30T06:41:18.867" UserId="1228" Text="I wouldn't mind checking out a Harrison MPC, they seem pretty sexy especially with the vertical waveform pre-rolls.  I don't know a huge amount about it personally or have spent any time around one that was actually running (although I briefly sat at one that was turned off on a Sony dub stage).  But with price not being a factor, it one I'd definitely love to check out, know also that if money is not an issue, I could swap out at any time if it wasn't the right fit ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16529" PostHistoryTypeId="2" PostId="9994" RevisionGUID="f3c61d1d-f50b-4755-831b-fc478262de3d" CreationDate="2011-08-30T06:48:22.717" UserId="18160" Text="I might be called upon to help out on a few live TV show recording/mixing gigs.&#xD;&#xA;&#xD;&#xA;Do you have any experience in this area or know the specifics on things like types of microphones, recorders, signal flow, levels information, etc.?&#xD;&#xA;&#xD;&#xA;And if so, would you mind if I contacted you and asked a few questions regarding this?&#xD;&#xA;&#xD;&#xA;Let me know!&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="16530" PostHistoryTypeId="1" PostId="9994" RevisionGUID="f3c61d1d-f50b-4755-831b-fc478262de3d" CreationDate="2011-08-30T06:48:22.717" UserId="18160" Text="Looking for someone experienced in sound for Live Television" ContentLicense="CC BY-SA 3.0" />
  <row Id="16531" PostHistoryTypeId="3" PostId="9994" RevisionGUID="f3c61d1d-f50b-4755-831b-fc478262de3d" CreationDate="2011-08-30T06:48:22.717" UserId="18160" Text="&lt;television&gt;&lt;recording&gt;&lt;mixing&gt;&lt;live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16532" PostHistoryTypeId="2" PostId="9995" RevisionGUID="ce519688-bb5b-4975-98dc-d197be76eed4" CreationDate="2011-08-30T08:09:56.737" UserId="1322" Text="You have my sympathies. When I first bought my SD702 from new, the firewire port got fried within the first week. Sound Devices recorders are great and appear to be built like tanks from the outside but they certainly have their weaknesses inside. It was an expensive job returning it back to the USA even under warranty!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16533" PostHistoryTypeId="5" PostId="9995" RevisionGUID="85cda413-14e3-4a35-b284-e236dbe56dc3" CreationDate="2011-08-30T08:15:16.770" UserId="1322" Comment="added 164 characters in body" Text="You have my sympathies. When I first bought my SD702 from new, the firewire port got fried within the first week. Sound Devices recorders are great and appear to be built like tanks from the outside but they certainly have their weaknesses inside. It was an expensive job returning it back to the USA even under warranty! I presume your 744 charging connector plug is a similar weird little device (forgot its name) - it takes me ages finding the correct way round it goes to mate up! " ContentLicense="CC BY-SA 3.0" />
  <row Id="16534" PostHistoryTypeId="2" PostId="9996" RevisionGUID="ea1d519b-289f-4d4a-99de-d82e20a2974d" CreationDate="2011-08-30T09:11:22.593" UserId="891" Text="While mixing I try to use Hardware like the Lake People ARTI ST-F10 or the Orban 245.&#xD;&#xA;Very convenient way to generate some sort of stereo. Though you need to take care for coloration of your audio. But sometimes it's almost a life saver.&#xD;&#xA;At least for the Lake People I can say that it is possible to make IRs from it and use them in Altiverb. Though I'm not sure this gives a full and precise reproduction of the process and I'm not sure about the Orban either. (forgot which principle it is working on)&#xD;&#xA;&#xD;&#xA;I always wondered why there are so few plug-ins around offering a similar service.&#xD;&#xA;&#xD;&#xA;When I'm editing I often prefer Filipe's approach (where possible) or go with Tim in trying to create a natural sounding result.&#xD;&#xA;But I've also had reasonable results with using M/S techniques for old ambiences that we needed in stereo. But other than Denis suggested, I'd use a short reverb or echo for the side channel. The program needs to be carefully chosen in order to not color the main signal in an unwanted way.&#xD;&#xA;By working from there I've even manually upmixed mono music into 5.1 before I had stuff like the Unwrap available. It just takes a lot more time - but can also be fun!&#xD;&#xA;&#xD;&#xA;But at all times (for film) keep an eye on your phase relation. depending on the sound and its use you might not want to get too experimental with this." ContentLicense="CC BY-SA 3.0" />
  <row Id="16535" PostHistoryTypeId="2" PostId="9997" RevisionGUID="e5fa91d3-a332-46ca-95ec-e15fa1d23346" CreationDate="2011-08-30T09:18:18.983" UserId="985" Text="I had this problem with my Fostex. NO, it's not normal, be careful, batteries can get inflamed, and it's very hard to stop the fire. Give the thing back, get a new one." ContentLicense="CC BY-SA 3.0" />
  <row Id="16536" PostHistoryTypeId="2" PostId="9998" RevisionGUID="922168d7-936e-4358-8916-095b7233150f" CreationDate="2011-08-30T09:31:35.370" UserId="863" Text="hey dude, you could probably email me and I may be able to help, I've worked on live TV, some insane shows to some 1 person presenter jobs.&#xD;&#xA;&#xD;&#xA;Just fire away with questions!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16545" PostHistoryTypeId="5" PostId="9991" RevisionGUID="044097cd-8688-4f49-b2fd-947805905fbb" CreationDate="2011-08-30T10:19:22.357" UserId="587" Comment="Adding Information; added 58 characters in body" Text="With the audio middleware systems like UDK, Wwise, Fmod and Unity opening their doors to the mobile market, I had a quick question about the differences between the packages you create working on mobile devices.&#xD;&#xA;&#xD;&#xA;If you are working within Unity or Wwise, do you create a package and then choose on export to a specific device: mobile - console - PC ?&#xD;&#xA;&#xD;&#xA;If you can't, does that mean you have to make a copy of the script in a mobile edition of the software? (I have seen that some charge a fee for just downloading the license)&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;************&#xD;&#xA;**UPDATE:**&#xD;&#xA;&#xD;&#xA;&lt;li&gt;Unity Mobile - .Ogg compression does NOT work. Everything else works exactly the same. &#xD;&#xA;&#xD;&#xA;&lt;i&gt;Still need to know if you need the iOS Unity version to export audio packages/scripts. (you get a 30 day free trial with the standard download)&lt;/i&gt;&#xD;&#xA;&#xD;&#xA;&lt;li&gt;UDK -&#xD;&#xA;&#xD;&#xA;&lt;li&gt;Wwise - &#xD;&#xA;&#xD;&#xA;&lt;li&gt;Fmod -&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16546" PostHistoryTypeId="2" PostId="10000" RevisionGUID="9d705e07-84da-4b6e-9379-6cb85443330f" CreationDate="2011-08-30T12:30:39.420" UserId="431" Text="I've been using AKG K701's as my main source for monitoring - I never bothered to burn them in and I never noticed any difference. Great HPs, the 701's, btw." ContentLicense="CC BY-SA 3.0" />
  <row Id="16547" PostHistoryTypeId="2" PostId="10001" RevisionGUID="d144f91b-1c53-493a-b4b2-b9e728c0105a" CreationDate="2011-08-30T13:26:53.407" UserId="510" Text="I too do daily live television and am available to help you out also.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16548" PostHistoryTypeId="2" PostId="10002" RevisionGUID="e47161c1-ba8d-4ab5-8db3-55026cea7c35" CreationDate="2011-08-30T15:05:05.687" UserId="432" Text="My knowledge of other middle-ware tools is limited, but I know that in Wwise you work on one project and then generate the content for whatever systems you need out of said project. Of course, this is is really only possible if you have a license for Wwise. Otherwise you're locked into PC only (maybe Mac as well...can't remember off the top of my head), but that shouldn't be a concern if you're working on a professional project (because you WILL need that license).&#xD;&#xA;&#xD;&#xA;I believe that FMOD is similar (but can't confirm)." ContentLicense="CC BY-SA 3.0" />
  <row Id="16549" PostHistoryTypeId="5" PostId="9987" RevisionGUID="5e6bb709-c45a-423e-9602-1c5873099820" CreationDate="2011-08-30T15:11:50.793" UserId="431" Comment="Added more clips and Plugin screen caps" Text="I've tried some of the aforementioned processing and uploaded it, file names included the user who suggested the technique. I'll try to process a few more tomorrow. I've also made the original tracks downloadable (at least for a few weeks or so) in case some of you want to mess around with &quot;stereoizing&quot; 'em.&#xD;&#xA;[soundcloud]adamaxbey/engine-2-shaun-farley-aux-10db[/soundcloud]&#xD;&#xA;[soundcloud]adamaxbey/engine-2-chris-fonte[/soundcloud]&#xD;&#xA;[soundcloud]adamaxbey/engine-2-filipe[/soundcloud]&#xD;&#xA;[soundcloud]adamaxbey/engine-2-shaun-farley[/soundcloud]&#xD;&#xA;[soundcloud]adamaxbey/engine-2-tim70-wet[/soundcloud]&#xD;&#xA;![Altiverb settings][1]&#xD;&#xA;&#xD;&#xA;[soundcloud]adamaxbey/engine-2-mattlange-grmshuffle[/soundcloud]&#xD;&#xA;![GRM Shuffle Settings][2]&#xD;&#xA;&#xD;&#xA;[soundcloud]adamaxbey/engine-2-mattlange-grmfreeze[/soundcloud]&#xD;&#xA;![GRM Freeze Settings][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.flickr.com/photos/47185211@N00/6096973614/&#xD;&#xA;  [2]: http://www.flickr.com/photos/47185211@N00/6096427429/&#xD;&#xA;  [3]: http://www.flickr.com/photos/47185211@N00/6096427511/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16550" PostHistoryTypeId="5" PostId="9987" RevisionGUID="75c2c248-01c1-499e-b1b4-bfcc103b6e8f" CreationDate="2011-08-30T15:19:33.740" UserId="431" Comment="Added more clips and Plugin screen caps" Text="I've tried some of the aforementioned processing and uploaded it, file names included the user who suggested the technique. I'll try to process a few more tomorrow. I've also made the original tracks downloadable (at least for a few weeks or so) in case some of you want to mess around with &quot;stereoizing&quot; 'em.&#xD;&#xA;[soundcloud]adamaxbey/engine-2-shaun-farley-aux-10db[/soundcloud]&#xD;&#xA;[soundcloud]adamaxbey/engine-2-chris-fonte[/soundcloud]&#xD;&#xA;[soundcloud]adamaxbey/engine-2-filipe[/soundcloud]&#xD;&#xA;[soundcloud]adamaxbey/engine-2-shaun-farley[/soundcloud]&#xD;&#xA;[soundcloud]adamaxbey/engine-2-tim70-wet[/soundcloud]&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;[soundcloud]adamaxbey/engine-2-mattlange-grmshuffle[/soundcloud]&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;[soundcloud]adamaxbey/engine-2-mattlange-grmfreeze[/soundcloud]&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://farm7.static.flickr.com/6184/6096973614_d3d176b93f.jpg &quot;Altiverb&quot;&#xD;&#xA;  [2]: http://farm7.static.flickr.com/6183/6096427511_644c764559.jpg &quot;GRM Shuffle&quot;&#xD;&#xA;  [3]: http://farm7.static.flickr.com/6085/6096427429_9fb4cde232.jpg &quot;GRM Freeze&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16551" PostHistoryTypeId="2" PostId="10003" RevisionGUID="fd679bbe-d99b-49db-a490-3dc8e0fe930e" CreationDate="2011-08-30T15:26:12.507" UserId="1932" Text="I've been using AC-7 Core with Cubase to good effect.&#xD;&#xA;&#xD;&#xA;It just pretends to be a Mackie Control Universal, so functions like that unit.  It's a little fiddly in places as the app is a 'one screen' approach.&#xD;&#xA;&#xD;&#xA;V-Control looks prettier and splits things into multiple panels which may be less fiddly for the smaller controls.&#xD;&#xA;&#xD;&#xA;In both cases you need as strong a wi-fi connection as you can get, this is the Achilles' heel of this kind of solution, if the signal is not strong you get greater lag and disconnections for periods of time.&#xD;&#xA;&#xD;&#xA;Having said that I am going to have a look at the free version of V-Control and see how it is, I may switch myself to the pro version if it feels a little more comfortable.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Mark" ContentLicense="CC BY-SA 3.0" />
  <row Id="16552" PostHistoryTypeId="2" PostId="10004" RevisionGUID="dece9ad1-6614-43c3-895a-d9576822dad0" CreationDate="2011-08-30T16:03:39.103" UserId="407" Text="You may all know this already, but just bare with me and I'll get round to trying to answer the question...&#xD;&#xA;&#xD;&#xA;FMOD and Wwise are Middleware Solutions - Unity and UDK are game engines. The reason why this is an important distinction is that both Unity and UDK (correct me if I am wrong) are running the FMOD API as the basis of their audio solution. Both UDK and Unity just use their own graphical interface instead of the FMOD designer. With UDK and Unity (both of which I have used but not extensively so my memory may be failing me) the sound bank building is done when you build the game. So you would have to choose the platform you want to export to and then the soundbanks/packages build automatically. The platform would be e.g. Xbox, PS3, iOS etc. or which ever platforms you have license for, then you would transfer the game to that platform and it should work.&#xD;&#xA;&#xD;&#xA;With FMOD and Wwise things can be slightly different cause you can manually build soundbanks straight from the designer tool. If you have a game that has integrated the designer versions of FMOD or Wwise, choose the target platform, and create the sound banks. You would usually point the soundbanks to be built to a specific directory inside the game assets directory. Different platforms would have different paths. You would then copy the game to the target platform and play.&#xD;&#xA;&#xD;&#xA;So to answer your question - you should just be able to choose the target platform and build the banks without getting your hands dirty with scripts and code. BUT if you are using FMOD or Wwise middleware then what you do after the sound bank building is very much at the discretion of how well these are coded into the game.&#xD;&#xA;&#xD;&#xA;Also to export audio for a platform e.g. iOS then you will need the iOS License otherwise it won't work.&#xD;&#xA;&#xD;&#xA;Out of curiosity though what are you trying to do? It 'sounds' interesting :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16553" PostHistoryTypeId="2" PostId="10005" RevisionGUID="df17fbc9-1f4e-4a1c-b0d5-d9862a47eb07" CreationDate="2011-08-30T17:03:00.877" UserId="1159" Text="Any one compared the H4N to the H4? I've got an H4 and been trying to figure out if it's a worthwhile upgrade. The bigger screen and pre-record sound nice but does it sound better/same/different?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16554" PostHistoryTypeId="2" PostId="10006" RevisionGUID="18b87ae5-831a-4e5a-b392-13e434d4523e" CreationDate="2011-08-30T17:31:25.427" UserId="985" Text="Are you asking what raw vocals to record, or are you asking, how to design your vocals, once recorded?&#xD;&#xA;&#xD;&#xA;Btw. lovely sound design on your page!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16555" PostHistoryTypeId="2" PostId="10007" RevisionGUID="7e27e76c-938a-40b2-84a1-380545ca8a50" CreationDate="2011-08-30T17:35:51.823" UserId="315" Text="Well I work in post, but the only console I'd actually dream about in the middle of the night would be the original [EMI Redd][1] from Abbey Road for music. &#xD;&#xA;&#xD;&#xA;But since you're probably asking about post, I've watched some talented folks work wonders behind a [Neve DFC][2]. Harrison MPC consoles are also really nice for post.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://blog.beatletracksband.com/2009/02/25/recording-the-beatles--the-emi-redd-desks.aspx&#xD;&#xA;  [2]: http://www.ams-neve.com/Products/PostProduction/DFCGemini/DFCGemini.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="16556" PostHistoryTypeId="2" PostId="10008" RevisionGUID="a10a50c3-ab3c-4737-83f2-4bdd7bc5b8ca" CreationDate="2011-08-30T17:38:25.613" UserId="6411" Text="Let me start with the caveat that I mix entirely in Pro Tools.&#xD;&#xA;&#xD;&#xA;Clearly my thinking is small potatoes in comparison to an MPC (as Stavrosound mentioned) or a [DFC][1], but I also have no experience to speak about regarding theatrical dub-stage mixing. &#xD;&#xA;&#xD;&#xA;Additionally, as I was writing, my answer kind of evolved into an answer about business purchases in general, with an answer to your specific question tacked on the end. Sorry if I ran off the rails a bit, but it's a topic that has been on my mind lately.&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I love my D-Command, it's the most advanced mouse I've ever used. The integration with PT is fantastic and I love its Custom Faders. The quality of the materials it's made with are decent, but not outstanding. I've been using this one in front of me here for five or six years and it's barely showing signs of aging. I think one fader has died, another is in need of attention. But a) they're easy to clean, b) they're easy to replace. I could see swapping out the stock faders for something a little nicer. But, in this facility, that's a decision that's currently outside of my pay-grade. Honestly, I don't even know if it's possible.&#xD;&#xA;&#xD;&#xA;No money restrictions is a tough mind-set to put myself in. Even in fantastically-hypothetical situations like the one you're proposing, in the end, I'm still a business owner. And there is a point of diminishing returns. I'm always going to consider the value I receive for each dollar I spend, and the difference in potential earnings that all of my options can provide.&#xD;&#xA;&#xD;&#xA;There is a point where you've gone beyond what you *need* and are approaching what would be *freakin sweet*. The question is, does the caché of freakin sweet have the potential to bring in more revenue than what you need? How much more? Enough to front the cash for it? Then go ahead and pull the trigger.&#xD;&#xA;&#xD;&#xA;Another thing, note that I said &quot;front the cash,&quot; not &quot;afford the payments&quot;. This is obviously an entirely personal business decision, but advice I received from a business associate whom I respect very much told me once: &quot;Always pay in cash. If you don't have twice the price in the bank, it's outside of your budget.&quot;&#xD;&#xA;&#xD;&#xA;Having said all that.... &#xD;&#xA;&#xD;&#xA;With a substantial budget, I'd probably investigate a D-Control. After all, it's one level better than a D-Command, right? But with that same business-owner hat on I'd be a hard sell. See, I'd also be considering spending about half of that same $60k on a D-Command + fader pack, surround panner, and an Argosy console to put it all in. In my opinion, that competes pretty well with a D-Control. Then with the remaining $30k, I could invest in additional HD Core &amp; Accel cards, additional I/Os, upgrading my speakers, hiring an assistant, etc. All of which can increase the overall quality or speed of turnaround on a project. Which in turn has the potential to increase my number of billable hours, expand my client base, and ultimately bring in more revenue so I can afford other pieces of gear/people that will do the same (or take me &amp; the Mrs. on vacation cause I already have everything necessary to compete in the marketplace).&#xD;&#xA;&#xD;&#xA;One thing that I know I'd take into consideration is ergonomics. For example, the reach to the top of the board. With the D-Command, it's a full arm extension from my seat with no lean-in. That's nice. You're going to spend a lot of time in front of this thing (hopefully), try to make it as pleasant an experience as possible.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ams-neve.com/Products/PostProduction/DFCGemini/DFCGemini.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="16557" PostHistoryTypeId="2" PostId="10009" RevisionGUID="c0b67fe2-0dc3-4267-945a-bc71e82c4665" CreationDate="2011-08-30T17:38:45.050" UserId="1935" Text="Sound Devices Recorders are a bit notorious for getting hot. A mixer once said to me you could &quot;fry an egg&quot; on his. While you do need to watch that it doesn't get too hot and turn it off when you can, it seems to be just a quirk you have to deal with as a sidenote to its other useful features." ContentLicense="CC BY-SA 3.0" />
  <row Id="16558" PostHistoryTypeId="2" PostId="10010" RevisionGUID="d41e11da-10bf-4981-a3cb-6f17accff7fd" CreationDate="2011-08-30T21:56:57.093" UserDisplayName="user49" Text="My dream desk would be a three way hybrid - I'd want ProTools remote control/integration (like an Avid Icon) but I'd also want seperate digital DSP based high rez mixing (like a Euphonix Series 5 - it does things that PT simply cannot do ITB) and then I would want an analogue desk with beautiful clean mic preamps &amp; characterful EQ, analogue outboard integration and automation, maybe SSL based. The best of all worlds!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16559" PostHistoryTypeId="2" PostId="10011" RevisionGUID="dcdd40f5-b606-4425-a56f-c84851b67801" CreationDate="2011-08-30T22:58:56.823" UserDisplayName="mdichirico" Text="Hi. I’m cutting SFX for a car chase scene.  Very stoked-my first time.&#xD;&#xA;I’ve been doing some reading about techniques and such…&#xD;&#xA;&#xD;&#xA;Chris Assells has some solid tips on the 5th page of this recent interview in Mix Magazine: http://mixonline.com/post/features/movie_sound_effects/index4.html&#xD;&#xA;What have you come across online (or in a part of a book perhaps) that you found helpful?&#xD;&#xA;&#xD;&#xA;I always like to record some audio assets for a project. Unfortunately, I don’t have the opportunity to this time and will be using library SFX.  In a perfect scenario, what sounds would like to record for use cutting a car chase scene? Do you have any particular libraries that you like to use for car chases?&#xD;&#xA;&#xD;&#xA;I’ve intently watched the Bourne trilogy’s car chase scenes and admire the job that the sound department did. There are many others for inspiration, what car chase scenes do you think sound awesome?&#xD;&#xA;&#xD;&#xA;[youtube]HPI5-TSdC9w[/youtube]&#xD;&#xA;&#xD;&#xA;This experience is going to be great for growing in knowledge. I appreciate your input.&#xD;&#xA;&#xD;&#xA;Thanks. Peace!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16560" PostHistoryTypeId="1" PostId="10011" RevisionGUID="dcdd40f5-b606-4425-a56f-c84851b67801" CreationDate="2011-08-30T22:58:56.823" UserDisplayName="mdichirico" Text="Advice for cutting car chase SFX" ContentLicense="CC BY-SA 3.0" />
  <row Id="16561" PostHistoryTypeId="3" PostId="10011" RevisionGUID="dcdd40f5-b606-4425-a56f-c84851b67801" CreationDate="2011-08-30T22:58:56.823" UserDisplayName="mdichirico" Text="&lt;sound-editing&gt;&lt;sfx&gt;&lt;cars&gt;&lt;chase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16562" PostHistoryTypeId="2" PostId="10012" RevisionGUID="3ffd7913-f6ca-4aed-94cf-b26e35b38db4" CreationDate="2011-08-31T00:12:14.080" UserId="61" Text="To borrow from John Cage (thanks, @tim prebble): &#xD;&#xA;&#xD;&#xA; - RULE FOUR: CONSIDER EVERYTHING AN EXPERIMENT&#xD;&#xA;&#xD;&#xA;There is no *right* way to cut a car chase. Every car chase is different and every editor has their own methods and tricks. Sometimes there needs to be more emphasis on the muscular sound of the engines vs. the squealing of the tires; other times you'll be focused on the dynamic parts of the chase, ie. the gear shifts, pedal stomps, object pass bys, etc. And don't forget about music and score - everything you create has to work with what the composer is bringing to the table (unless you have a sound effects-only car chase scene, which totally rocks!)&#xD;&#xA;&#xD;&#xA;With that said, let me explain how I usually begin. My standard approach, if I'm not given any other direction, is to start with the engines first. Unless you are fortunate enough to have an entire car set custom recorded for the show or in your library, you'll probably piece each vehicle together from a variety of sources. For example, if you're working on a strong-sounding Camaro, you may end up using Mustangs, Corvettes, Plymouths, etc. Some pitch shifting here and EQing there, and viola, you have your muscle car! This takes practice, imagination and lots of experimenting, so don't give up.&#xD;&#xA;&#xD;&#xA;Once I get the engines dialed in and feeling right, then I'll add in skids, suspension, tire roll, etc. These sounds function not only as emotional cues but also as the glue that holds all your engine parts together.&#xD;&#xA;&#xD;&#xA;Also, as a rule of thumb, I've found that complex jobs such as this require you to constantly revisit and revise. Rarely do I &quot;get it right&quot; the first time! As with most of sound design, you should play your scene back for everyone, soliciting opinions and collaborating with your peers. &#xD;&#xA;&#xD;&#xA;BTW, great chases to reference would include:&#xD;&#xA;&#xD;&#xA; - The French Connection&#xD;&#xA; - Bullitt&#xD;&#xA; - Mr. and Mrs. Smith&#xD;&#xA; - all the Bourne films (as you&#xD;&#xA;   mentioned)&#xD;&#xA; - Bad Boys&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16563" PostHistoryTypeId="2" PostId="10013" RevisionGUID="f59f9ee4-4070-48af-94c0-73a0225744d2" CreationDate="2011-08-31T00:14:34.907" UserId="432" Text="Tire scrapes on respective surfaces, suspension hits, and engine states are all given (if you can record the engine states and transitions in the wild...not on a dynomometer...all the better), air conditioning/heater to help with interior ambiences...&#xD;&#xA;&#xD;&#xA;I've found it's rare for an effects library to have truly useful car-bys, approaches or departures. They frequently only have one style of perspective or movement/engine state, and they're mostly useless whenever I need to edit for those kinds of shots.&#xD;&#xA;&#xD;&#xA;Are there any impacts to consider in this sequence?&#xD;&#xA;&#xD;&#xA;I'm very partial to the mix on the car chase that opens Quantum of Solace. It does a great job of grabbing, directing and holding your attention on the action beats." ContentLicense="CC BY-SA 3.0" />
  <row Id="16564" PostHistoryTypeId="2" PostId="10014" RevisionGUID="9b18bfd7-4a29-44f1-a1b8-7c154469d7d9" CreationDate="2011-08-31T00:15:37.010" UserId="315" Text="Well some of my favorite car chases were done before the era of high fidelity sound, but they're still worth studying imho:&#xD;&#xA;&#xD;&#xA;[Bullet][1]&#xD;&#xA;&#xD;&#xA;[The Italian Job][2] (the original)&#xD;&#xA;&#xD;&#xA;The Blues Brothers&#xD;&#xA;&#xD;&#xA;French Connection&#xD;&#xA;&#xD;&#xA;As for modern stuff, plus one for Ronin and the Bourne movies. Great cutting. The Skywalker crew did a great job cutting cars on both of the Cars movies as well, and the Dark Knight had a pretty bad ass chase sequence as well.&#xD;&#xA;&#xD;&#xA;While great car chases are usually the result of tons of field recording, this [library][3] could be helpful.&#xD;&#xA;&#xD;&#xA;I also agree with the comments in the mix article. Great tire sounds make a car chase to me, as they sell movement. Of course beefy engines and great perspective cutting also help.&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=Z-7IEPTAoTg&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=6tWmVhRYLL8&#xD;&#xA;  [3]: http://www.hollywoodedge.com/Product.aspx?ProductId=15" ContentLicense="CC BY-SA 3.0" />
  <row Id="16565" PostHistoryTypeId="2" PostId="10015" RevisionGUID="99ac9feb-a7cc-4b8c-919a-e7330e468cd7" CreationDate="2011-08-31T00:33:03.453" UserId="1948" Text="Was curious to hear this forum's ideas and opinions on the Sound for Terminator Salvation.  Also would love to hear of any overall reviews out there." ContentLicense="CC BY-SA 3.0" />
  <row Id="16566" PostHistoryTypeId="1" PostId="10015" RevisionGUID="99ac9feb-a7cc-4b8c-919a-e7330e468cd7" CreationDate="2011-08-31T00:33:03.453" UserId="1948" Text="Opinions on the sound of Terminator Salvation" ContentLicense="CC BY-SA 3.0" />
  <row Id="16567" PostHistoryTypeId="3" PostId="10015" RevisionGUID="99ac9feb-a7cc-4b8c-919a-e7330e468cd7" CreationDate="2011-08-31T00:33:03.453" UserId="1948" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16568" PostHistoryTypeId="2" PostId="10016" RevisionGUID="ca04ce50-b33f-404d-ba35-b296f80e41bd" CreationDate="2011-08-31T00:44:22.483" UserId="1159" Text="I mostly used FMOD so I'll speak up for it a little. It's the same as Wwise in that you use one project and then generate the content for each platform from that. It is possible to have multiple projects for one game if you decide to split things up that way. With out any licenses I believe you can generate for PC and Mac and possibly PS3. But the others won't show up till you've got the right SDK's installed." ContentLicense="CC BY-SA 3.0" />
  <row Id="16569" PostHistoryTypeId="2" PostId="10017" RevisionGUID="8e52920c-4eb5-4dd6-aaa0-3a74a951505c" CreationDate="2011-08-31T01:05:46.740" UserId="1932" Text="Actually since you pointed out that V-Control again (and it now supports cubase), I've been having a chat with Paul Neyrinck, and I must say I have found him very helpful and enthusiastic about making this app as good a control surface as possible.&#xD;&#xA;&#xD;&#xA;So as @Stavrosound pointed out, I think you are in safe hands.&#xD;&#xA;&#xD;&#xA;The other plus point is the app you run on mac/pc side to deal with wi-fi networking is very very simple, click and play.  PC setup for wifi on some other surface apps is a bit more fiddly (can't comment on the mac side though).&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Mark" ContentLicense="CC BY-SA 3.0" />
  <row Id="16570" PostHistoryTypeId="2" PostId="10018" RevisionGUID="525b463f-3e99-438a-90ae-228e434efc4c" CreationDate="2011-08-31T01:17:01.920" UserId="18160" Text="Overall I really liked the sound.&#xD;&#xA;&#xD;&#xA;They added quite a few details of the sand and gravel to really put you into the surroundings of an apocalyptic world.&#xD;&#xA;&#xD;&#xA;That coupled with the nice bike recordings and plane recordings (wish I could get my hands on some of those warthog recordings... ***cough** J!!! **cough***), and the guns I remember being quite nice, too.&#xD;&#xA;&#xD;&#xA;I must admit, I was lucky and I watched this movie inside the Grundman's Chinese theater on Hollywood Blv. (the large original one which usually premieres movies). This theater's sound was excellent. At first, during the previews, I was like &quot;Shouldn't it be at least 5 dB louder than it is right now?&quot; and then the screen said it was switching over to a different projector for the feature presentation and the sound bumped up about 5 dB and I smiled... Guess I'm a sound freak, eh?&#xD;&#xA;&#xD;&#xA;But anyway, I really liked the sound.&#xD;&#xA;&#xD;&#xA;Overall review of the story... Well, I'll save that for some other board. I don't think storyline and overall movie reviews need to make their way on this board." ContentLicense="CC BY-SA 3.0" />
  <row Id="16571" PostHistoryTypeId="5" PostId="10018" RevisionGUID="088df611-27cf-47de-8963-d486527ebdb6" CreationDate="2011-08-31T01:23:51.887" UserId="18160" Comment="added 261 characters in body" Text="Overall I really liked the sound.&#xD;&#xA;&#xD;&#xA;They added quite a few details of the sand and gravel to really put you into the surroundings of an apocalyptic world.&#xD;&#xA;&#xD;&#xA;That coupled with the nice bike recordings and plane recordings (wish I could get my hands on some of those warthog recordings... ***cough** J!!! **cough***), and the guns I remember being quite nice, too.&#xD;&#xA;&#xD;&#xA;I liked it because everything had a good weight to it. Everything was beefy and real. And I know for a fact that they did a lot of great field recording and creating original material which I think is really the only way to go when you're designing a movie.&#xD;&#xA;&#xD;&#xA;I must admit, I was lucky and I watched this movie inside the Grundman's Chinese theater on Hollywood Blv. (the large original one which usually premieres movies). This theater's sound was excellent. At first, during the previews, I was like &quot;Shouldn't it be at least 5 dB louder than it is right now?&quot; and then the screen said it was switching over to a different projector for the feature presentation and the sound bumped up about 5 dB and I smiled... Guess I'm a sound freak, eh?&#xD;&#xA;&#xD;&#xA;But anyway, I really liked the sound.&#xD;&#xA;&#xD;&#xA;Overall review of the story... Well, I'll save that for some other board. I don't think storyline and overall movie reviews need to make their way on this board." ContentLicense="CC BY-SA 3.0" />
  <row Id="16572" PostHistoryTypeId="2" PostId="10019" RevisionGUID="281e3968-bca3-408e-99fa-b8f2f16cb53f" CreationDate="2011-08-31T03:25:05.587" UserId="444" Text="This is more of a share and tell story then an actual question.  I felt at least here this would be more appreciated then say... at my local coffee shop.  I'm sure those girls are just being polite when I ramble on about my hobby.&#xD;&#xA;&#xD;&#xA;Like most people, my iPod has become a necessary part of life.  I need my music just about everywhere I go.  So when I was begrudgingly forcing myself to do laundry I happened to see my iPod sitting at the bottom of my washer.  I immediatley got a terrible heavy and sick feeling inside my stomache, like what happens when I watch Top Gun and Maverick is yelling &quot;Goose! Oh No! No!&quot; &#xD;&#xA;&#xD;&#xA;I stuck it infront of a fan to dry it out, hoping that it may still work, when after an hour or so I hear this weirdest sound.  I get a bit freaked out because I've never heard it before in my apartment, and at first I couldn't tell where it was comming from.  When I did finaly realize it was my iPod, I resigned myself to the fact that this was the end and my iPod was officialy dying.&#xD;&#xA;&#xD;&#xA;After sinking into a state of mourning for a few minutes, my natural instincts kicked in.  I grabed my ipod away from the fan, set it on the counter, grabed my trusty M10, and hit the shiny red button.&#xD;&#xA;&#xD;&#xA;[soundcloud]soundcloud.com/auddity/as-the-ipod-dries[/soundcloud]&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/auddity/as-the-ipod-dries &#xD;&#xA;&#xD;&#xA;I have a few ideas of how I'm going to implement this sound in a couple of my next projects.  It would also be fun to layer it in with some electircal sparks or maybe under a fire.  I also heard some nice static for tv channel changing in there.  What do you think of this sound? where would you want to use it?&#xD;&#xA;&#xD;&#xA;Also, seeing as I don't recommend sacrificing your iPod to capture this, I'm willing to send out the original 24bit 96k recording to anyone who might find a good use for it.&#xD;&#xA;&#xD;&#xA;Cheers.  &#xD;&#xA;&#xD;&#xA;P.S. Oh, the iPod still will play music, but the screen doesn't light up, and the control wheel might work if your rough with it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16573" PostHistoryTypeId="1" PostId="10019" RevisionGUID="281e3968-bca3-408e-99fa-b8f2f16cb53f" CreationDate="2011-08-31T03:25:05.587" UserId="444" Text="What do you get when an iPod goes through a washing machine?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16574" PostHistoryTypeId="3" PostId="10019" RevisionGUID="281e3968-bca3-408e-99fa-b8f2f16cb53f" CreationDate="2011-08-31T03:25:05.587" UserId="444" Text="&lt;field-recording&gt;&lt;m10&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16575" PostHistoryTypeId="5" PostId="10019" RevisionGUID="9b595d18-224c-416a-9a87-16b5efbef9e3" CreationDate="2011-08-31T03:55:20.597" UserId="444" Comment="spelling" Text="This is more of a share and tell story then an actual question.  I felt at least here this would be more appreciated then say... at my local coffee shop.  I'm sure those girls are just being polite when I ramble on about my hobby.&#xD;&#xA;&#xD;&#xA;Like most people, my iPod has become a necessary part of life.  I need my music just about everywhere I go.  So when I was begrudgingly forcing myself to do laundry I happened to see my iPod sitting at the bottom of my washer.  I immediatley got a terrible heavy and sick feeling inside my stomach, like what happens when I watch Top Gun and Maverick is yelling &quot;Goose! Oh No! No!&quot; &#xD;&#xA;&#xD;&#xA;I stuck it infront of a fan to dry it out, hoping that it may still work, when after an hour or so I hear this weirdest sound.  I get a bit freaked out because I've never heard it before in my apartment, and at first I couldn't tell where it was comming from.  When I did finaly realize it was my iPod, I resigned myself to the fact that this was the end and my iPod was officialy dying.&#xD;&#xA;&#xD;&#xA;After sinking into a state of mourning for a few minutes, my natural instincts kicked in.  I grabed my ipod away from the fan, set it on the counter, grabed my trusty M10, and hit the shiny red button.&#xD;&#xA;&#xD;&#xA;[soundcloud]soundcloud.com/auddity/as-the-ipod-dries[/soundcloud]&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/auddity/as-the-ipod-dries &#xD;&#xA;&#xD;&#xA;I have a few ideas of how I'm going to implement this sound in a couple of my next projects.  It would also be fun to layer it in with some electircal sparks or maybe under a fire.  I also heard some nice static for tv channel changing in there.  What do you think of this sound? where would you want to use it?&#xD;&#xA;&#xD;&#xA;Also, seeing as I don't recommend sacrificing your iPod to capture this, I'm willing to send out the original 24bit 96k recording to anyone who might find a good use for it.&#xD;&#xA;&#xD;&#xA;Cheers.  &#xD;&#xA;&#xD;&#xA;P.S. Oh, the iPod still will play music, but the screen doesn't light up, and the control wheel might work if your rough with it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16576" PostHistoryTypeId="2" PostId="10020" RevisionGUID="c2ee8c46-8c4f-43ad-9040-8a2f21b937e2" CreationDate="2011-08-31T04:33:38.857" UserId="1013" Text="Haha, nice positive twist on a sad story.&#xD;&#xA;&#xD;&#xA;Word on the street with regards to phones etc getting wet is to switch them off immediately, remove battery etc, and allow to dry off naturally, or in a bag of rice...&#xD;&#xA;&#xD;&#xA;I'm loving that sound!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16577" PostHistoryTypeId="5" PostId="10011" RevisionGUID="450f8197-c7d4-4541-a66c-3c31b509dc39" CreationDate="2011-08-31T06:10:39.543" UserDisplayName="mdichirico" Comment="Wanted to embed another video" Text="Hi. I’m cutting SFX for a car chase scene.  Very stoked-my first time.&#xD;&#xA;I’ve been doing some reading about techniques and such…&#xD;&#xA;&#xD;&#xA;Chris Assells has some solid tips on the 5th page of this recent interview in Mix Magazine: http://mixonline.com/post/features/movie_sound_effects/index4.html&#xD;&#xA;What have you come across online (or in a part of a book perhaps) that you found helpful?&#xD;&#xA;&#xD;&#xA;I always like to record some audio assets for a project. Unfortunately, I don’t have the opportunity to this time and will be using library SFX.  In a perfect scenario, what sounds would like to record for use cutting a car chase scene? Do you have any particular libraries that you like to use for car chases?&#xD;&#xA;&#xD;&#xA;I’ve intently watched the Bourne trilogy’s car chase scenes and admire the job that the sound department did. There are many others for inspiration, what car chase scenes do you think sound awesome?&#xD;&#xA;&#xD;&#xA;[youtube]HPI5-TSdC9w[/youtube]&#xD;&#xA;&#xD;&#xA;This experience is going to be great for growing in knowledge. I appreciate your input.&#xD;&#xA;&#xD;&#xA;Thanks. Peace!&#xD;&#xA;&#xD;&#xA;Edit Summary-&#xD;&#xA;Guess I can't embed video in comments(?). Anyway... As mentioned in the thread, I too really dig the opening chase in Quantum-&#xD;&#xA;[youtube]BsBd9tPK4uE[/youtube]&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16578" PostHistoryTypeId="2" PostId="10021" RevisionGUID="957bee4d-e181-40bf-ae6d-4b055affd225" CreationDate="2011-08-31T06:21:33.853" UserId="1266" Text="I thought it was sooooo cheesy and overdone that it set a benchmark for overdone, cheesy sound.  Some fine sound design though too much sounded way processed." ContentLicense="CC BY-SA 3.0" />
  <row Id="16579" PostHistoryTypeId="2" PostId="10022" RevisionGUID="cddac8ea-2bb5-40fa-bc5c-b8348c91dd32" CreationDate="2011-08-31T08:29:38.637" UserId="1228" Text="Hollywood Edge recently released [Animal Planet Sounds][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hollywoodedge.com/Animal-Planet-Sounds-P146068C23.aspx&#xD;&#xA;&#xD;&#xA;Recently released, as in, within the last 6 months or so... so it's bound to be pretty fresh versus the canned PE series (which is good too, but so overused)." ContentLicense="CC BY-SA 3.0" />
  <row Id="16580" PostHistoryTypeId="16" PostId="10022" RevisionGUID="cddac8ea-2bb5-40fa-bc5c-b8348c91dd32" CreationDate="2011-08-31T08:29:38.637" UserId="-1" />
  <row Id="16581" PostHistoryTypeId="2" PostId="10023" RevisionGUID="db1520e7-249b-4e4d-8896-a386402fe9b6" CreationDate="2011-08-31T08:48:26.120" UserId="985" Text="Hi and thank you, too! I love the horror genre and horror sound design in general, maybe I can help, here are some suggestions :&#xD;&#xA;&#xD;&#xA;You want to record vocal rises at different speed and layer them, these will create random clusters and harmonic dissonances.&#xD;&#xA;&#xD;&#xA;Also do vocal rises that end in nasty screams. &#xD;&#xA;&#xD;&#xA;As additional material I would suggest screams without rises just like girls scream in horror films, more like impacts. Of course any noise you can make, may serve as basis (hiss, grunt, growl etc.)&#xD;&#xA;&#xD;&#xA;When layering your voice you will run into harmonic problems, because the typical frequencies of your voice will be doubled over and over again and saturated. So vary the space (reverb setting), pitch them down and up, change speed artificially afterwards. I have done this with violin rises I have recorded myself with my violin, worked pretty good!&#xD;&#xA;&#xD;&#xA;If you want to get more into technical rises, you have to create very short loops of your voice (or not so short depending on how it sounds) and create a larger pitch envelope upwards. It sounds easily synthetic, so be careful, in horror sound design, we usually want it to sound &quot;organic&quot;. Again layering different rises may be interesting.&#xD;&#xA;&#xD;&#xA;To do this you can also try other material, in example a hiss. A hiss naturally can't go up, but with this technique it can. Try to keep the natural sound of the hiss.&#xD;&#xA;&#xD;&#xA;One last trick I use sometimes is to &quot;sweep&quot; through the spectrum with a filter. The frequencies &quot;high lighted&quot; get higher and higher. Of course you need a rich source sound for this (scream?). Here also it can sound quickly artificial so be careful, to not go too fast.&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="16582" PostHistoryTypeId="5" PostId="9991" RevisionGUID="045f276d-7c01-4bc9-95ed-6df8b93c32ae" CreationDate="2011-08-31T10:56:01.537" UserId="587" Comment="deleted 25 characters in body" Text="With the audio middleware systems like UDK, Wwise, Fmod and Unity opening their doors to the mobile market, I had a quick question about the differences between the packages you create working on mobile devices.&#xD;&#xA;&#xD;&#xA;If you are working within Unity or Wwise, do you create a package and then choose on export to a specific device: mobile - console - PC ?&#xD;&#xA;&#xD;&#xA;If you can't, does that mean you have to make a copy of the script in a mobile edition of the software? (I have seen that some charge a fee for just downloading the license)&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;************&#xD;&#xA;**UPDATE:** 8.31.11&#xD;&#xA;&#xD;&#xA;&lt;li&gt;Unity Mobile - .Ogg compression does NOT work. Everything else works exactly the same. &#xD;&#xA;&#xD;&#xA;&lt;i&gt;Audio Filters are not included in the Free download. Both Pro versions for Unity and Unity iOS cost $1500 each&lt;/i&gt;&#xD;&#xA;&#xD;&#xA;&lt;li&gt;UDK -&#xD;&#xA;&#xD;&#xA;&lt;li&gt;Wwise - &#xD;&#xA;&#xD;&#xA;&lt;li&gt;Fmod -&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16583" PostHistoryTypeId="2" PostId="10024" RevisionGUID="4a52435c-96df-41db-8c0f-b77aa2fb7cee" CreationDate="2011-08-31T13:21:50.240" UserId="999" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;I'm wondering what you guys would pick if you wanted a comprehensive recording kit for small films, documentaries and SFX recording with a £5000 budget?&#xD;&#xA;&#xD;&#xA;I already have a NTG-3 shotgun mic and a failing Fostex FR-2LE. I'm currently considering a sound devices 744t and 302 mixer but this almost brings me up to the price of a 788t! I find I almost always want 3-channel recording on set.&#xD;&#xA;&#xD;&#xA;Also im looking for preferably two wireless lavs with that.&#xD;&#xA;&#xD;&#xA;Any recommendations on what you guys would get with that budget? I am definitely on the right path with the sound devices? I have used a 702 before and really enjoyed the function and sound.&#xD;&#xA;&#xD;&#xA;Also websites you guys use to buy gear?&#xD;&#xA;&#xD;&#xA;Any advice appreciated,&#xD;&#xA;&#xD;&#xA;cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="16584" PostHistoryTypeId="1" PostId="10024" RevisionGUID="4a52435c-96df-41db-8c0f-b77aa2fb7cee" CreationDate="2011-08-31T13:21:50.240" UserId="999" Text="Best Comprehensive Location Equipment for £5000?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16585" PostHistoryTypeId="3" PostId="10024" RevisionGUID="4a52435c-96df-41db-8c0f-b77aa2fb7cee" CreationDate="2011-08-31T13:21:50.240" UserId="999" Text="&lt;budget&gt;&lt;workflow&gt;&lt;sound-devices&gt;&lt;lavalier&gt;&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16586" PostHistoryTypeId="2" PostId="10025" RevisionGUID="cc9d622e-8f81-435e-ab14-40c628940173" CreationDate="2011-08-31T14:04:28.207" UserId="578" Text="Get a Sonosax SX-R4? &#xD;&#xA;Pinknoise currently sell a used one with 6 months warranty for £3199 + VAT.&#xD;&#xA;It has timecode, 4 great mic pres (8 channels of recording when using digital ins), and is built like a rock. A friend of mine has one and it's definitely a lovely device.&#xD;&#xA;Unless you want a separate mixer, it will be the 'cheapest' way to go.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16587" PostHistoryTypeId="2" PostId="10026" RevisionGUID="3b02cbb5-4d4a-4e05-9fcd-d51fef689998" CreationDate="2011-08-31T14:04:52.860" UserId="393" Text="In Utah, there is a local short-film contest, called the Demon Chaser, that's associated with our larger Salty Horror Film Festival.  This contest is pretty similar to the 48HFF in that we're given a style, and a prop, that we have to use in the film. Luckily for me, it's also a lot longer, so post production can actually happen.&#xD;&#xA;&#xD;&#xA;My team was given the style of George Romero, and the props of a tattered curtain and a broken door handle.  The props aren't going to be a huge problem, but I'm very concerned about the style because Romero is so well known.&#xD;&#xA;&#xD;&#xA;**So, besides zombies, what do you think of when you think of sound design in Romero's flicks?**&#xD;&#xA;&#xD;&#xA;(And, yes, I'll be researching this thoroughly.) " ContentLicense="CC BY-SA 3.0" />
  <row Id="16588" PostHistoryTypeId="1" PostId="10026" RevisionGUID="3b02cbb5-4d4a-4e05-9fcd-d51fef689998" CreationDate="2011-08-31T14:04:52.860" UserId="393" Text="Romero-like sound design" ContentLicense="CC BY-SA 3.0" />
  <row Id="16589" PostHistoryTypeId="3" PostId="10026" RevisionGUID="3b02cbb5-4d4a-4e05-9fcd-d51fef689998" CreationDate="2011-08-31T14:04:52.860" UserId="393" Text="&lt;film&gt;&lt;filmfestival&gt;&lt;horror&gt;&lt;zombies&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16590" PostHistoryTypeId="2" PostId="10027" RevisionGUID="380a79be-9a03-4553-944f-fca58d4b5f5e" CreationDate="2011-08-31T15:53:33.797" UserId="61" Text="Depends which era of Romero films you're talking about. His earlier films shocked audiences with the extreme visuals, depending less on the sound effects. His recent movies have conformed more to the tried-and-true conventions of horror movie sounds (heavy gore, stingers, etc). I like both approaches, but think that the first would be more of a challenge to pull off successfully. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16591" PostHistoryTypeId="2" PostId="10028" RevisionGUID="5775a923-3c5a-4dd5-8bb2-e32c7f4b37a0" CreationDate="2011-08-31T17:16:24.853" UserId="234" Text="His earlier films lacked any real budget for sound design, and even in his later films, he tends not to &quot;wall of sound&quot; his soundtracks, but rather focus on the most important sound elements - sometimes to the exclusion of everything else. What comes to mind for me is always the radio'd dialog from &quot;The Crazies&quot; which did a great job of totally de-humanizing the soldiers.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16592" PostHistoryTypeId="5" PostId="10012" RevisionGUID="fab24373-fe33-4326-b0ea-f5e5be15ded3" CreationDate="2011-08-31T17:16:30.627" UserId="61" Comment="added 36 characters in body" Text="To borrow from John Cage (thanks, @tim prebble): &#xD;&#xA;&#xD;&#xA; - RULE FOUR: CONSIDER EVERYTHING AN EXPERIMENT&#xD;&#xA;&#xD;&#xA;There is no *right* way to cut a car chase. Every car chase is different and every editor has their own methods and tricks. Sometimes there needs to be more emphasis on the muscular sound of the engines vs. the squealing of the tires; other times you'll be focused on the dynamic parts of the chase, ie. the gear shifts, pedal stomps, object pass bys, etc. And don't forget about music and score - everything you create has to work with what the composer is bringing to the table (unless you have a sound effects-only car chase scene, which totally rocks!)&#xD;&#xA;&#xD;&#xA;With that said, let me explain how I usually begin. My standard approach, if I'm not given any other direction, is to start with the engines first. Unless you are fortunate enough to have an entire car set custom recorded for the show or in your library, you'll probably piece each vehicle together from a variety of sources. For example, if you're working on a strong-sounding Camaro, you may end up using Mustangs, Corvettes, Plymouths, etc. Some pitch shifting here and EQing there, and viola, you have your muscle car! This takes practice, imagination and lots of experimenting, so don't give up.&#xD;&#xA;&#xD;&#xA;Once I get the engines dialed in and feeling right, then I'll add in skids, suspension, tire roll, etc. These sounds function not only as emotional cues but also as the glue that holds all your engine parts together.&#xD;&#xA;&#xD;&#xA;Also, as a rule of thumb, I've found that complex jobs such as this require you to constantly revisit and revise. Rarely do I &quot;get it right&quot; the first time! As with most of sound design, you should play your scene back for everyone, soliciting opinions and collaborating with your peers. &#xD;&#xA;&#xD;&#xA;BTW, great chases to reference would include:&#xD;&#xA;&#xD;&#xA; - The French Connection&#xD;&#xA; - Bullitt&#xD;&#xA; - Mr. and Mrs. Smith&#xD;&#xA; - all the Bourne films (as you&#xD;&#xA;   mentioned)&#xD;&#xA; - Bad Boys&#xD;&#xA; - The Terminator (original, 1984)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16593" PostHistoryTypeId="2" PostId="10029" RevisionGUID="6675ed20-7bb7-44a5-b1a8-59d5a11833b5" CreationDate="2011-08-31T17:33:18.763" UserId="432" Text="If you want to get a little more insight on the style of sound that Romero leans toward, I'd suggest checking out one of his non-horror flicks....Knightriders comes to mind. Looking at flicks like that next to the horror ones could you give you a better perspective." ContentLicense="CC BY-SA 3.0" />
  <row Id="16598" PostHistoryTypeId="5" PostId="10014" RevisionGUID="04f637b6-edf1-4107-85a2-12fc4a64b7a1" CreationDate="2011-08-31T18:36:11.067" UserId="315" Comment="added 64 characters in body" Text="Well some of my favorite car chases were done before the era of high fidelity sound, but they're still worth studying imho:&#xD;&#xA;&#xD;&#xA;[Bullit][1]&#xD;&#xA;&#xD;&#xA;[The Italian Job][2] (the original)&#xD;&#xA;&#xD;&#xA;The Blues Brothers&#xD;&#xA;&#xD;&#xA;French Connection&#xD;&#xA;&#xD;&#xA;As for modern stuff, plus one for Ronin and the Bourne movies. Great cutting. The Skywalker crew did a great job cutting cars on both of the Cars movies as well, and the Dark Knight had a pretty bad ass chase sequence as well. And who can't like the convoy chase in Raiders of the Lost Ark.&#xD;&#xA;&#xD;&#xA;While great car chases are usually the result of tons of field recording, this [library][3] could be helpful.&#xD;&#xA;&#xD;&#xA;I also agree with the comments in the mix article. Great tire sounds make a car chase to me, as they sell movement. Of course beefy engines and great perspective cutting also help.&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=Z-7IEPTAoTg&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=6tWmVhRYLL8&#xD;&#xA;  [3]: http://www.hollywoodedge.com/Product.aspx?ProductId=15" ContentLicense="CC BY-SA 3.0" />
  <row Id="16599" PostHistoryTypeId="2" PostId="10031" RevisionGUID="beeda20e-bfb0-4092-986b-7d97823df7ad" CreationDate="2011-08-31T18:53:49.193" UserId="994" Text="Hi guys!&#xD;&#xA;I'm cutting sounds for II WW plane battle scene and I have faced few problems. This is a 3d animation and planes are doing many complicated moves. Few questions:&#xD;&#xA;&#xD;&#xA;1) Do you pitch down and up engine/prop sound if a plane is going up and down or you just simply put dopplered whooshing sounds/pass bys when plane is doing such moves? or maybe both?&#xD;&#xA;&#xD;&#xA;2) What do you do if you have close ups with two planes - I mean, do you try to put engine/prop sounds for both of them and make them a little bit different with Eq, maybe pitching a little bit? When I layer sounds for both of them I can hear phasing between them and it's deffinetly not that what I would except. Or, if they're in phase they're sounding uniform soo... or maybe just focus on one plane which is more important at the moment?&#xD;&#xA;&#xD;&#xA;3) Would you recomend any movies to analyze?&#xD;&#xA;&#xD;&#xA;4) Any sound design tips for airplane sounds (planes in animation are P51, so the engine is rolls royce merlin V12) or maybe you have some sounds you like to layer in such sequences? (i know stuff with fans and vacums)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16600" PostHistoryTypeId="1" PostId="10031" RevisionGUID="beeda20e-bfb0-4092-986b-7d97823df7ad" CreationDate="2011-08-31T18:53:49.193" UserId="994" Text="Any tips for cutting/designing airplanes battle scene" ContentLicense="CC BY-SA 3.0" />
  <row Id="16601" PostHistoryTypeId="3" PostId="10031" RevisionGUID="beeda20e-bfb0-4092-986b-7d97823df7ad" CreationDate="2011-08-31T18:53:49.193" UserId="994" Text="&lt;planes&gt;&lt;sound-design&gt;&lt;sound-editing&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16602" PostHistoryTypeId="2" PostId="10032" RevisionGUID="7001571e-34be-4b2d-9d19-f7a3fb99e9cf" CreationDate="2011-08-31T19:01:29.007" UserId="6411" Text="What is the modern definition of a Sound Librarian? Do studios / houses still hire Sound Librarians, or have the responsibilities simply fallen to the sound effects editing team as a whole?&#xD;&#xA;&#xD;&#xA;In my mind, the original Sound Librarian was the keeper of vast vaults full of endless rows of reels containing precious recordings that had to be cataloged and pulled at the demand of Sound Editors. Not much of an editor, per se. But very knowledgeable of the recordings in their collection and the tech necessary to duplicate them for use by the Sound Editors.  I'd imagine nowadays, both the libraries and the Librarian exist at only the largest of facilities (studios mostly). Further, I would hazard a guess that those rows of reels have been (or are still being) digitized for the fastest and easiest availability.&#xD;&#xA;&#xD;&#xA;This portion of [this article][1] was the spark that lit the question off in my mind:&#xD;&#xA;&#xD;&#xA;&gt; *“There’s often eight to 10 [recorders] going from different positions,” adds Cohen. “You’ve got one that’s kind of on the side of the gun so you try and record the mechanism. There are a couple that are further away to get the boom. And some that are downfield. And some that are close to the muzzle but in back of it so the pressure wave doesn’t hit the capsule. Then we’ll take all these recordings back, and the librarian will line them up so all the recordings are in sync to each other. And that gives you a wonderful tool kit to create an interesting shot.”*  &#xD;&#xA;- Excerpt from [mixonline.com article][2]&#xD;&#xA;&#xD;&#xA;From reading the blog postings by many of you, it sounds as though you act as your own librarian. Which makes perfect sense to me. You were there, you're familiar with the material. They're probably your notes. But on these large-scale productions, it seems the Sound Editors have more immediate responsibilities, so this &quot;grunt-work&quot; gets divvied up.&#xD;&#xA;&#xD;&#xA;Are these &quot;librarians&quot; present for these recording sessions in the field, taking notes, moving mics, monitoring levels? Or are they back with the vault and they get a pile of CF cards and a log handed to them and are told to make sense of it all?&#xD;&#xA;&#xD;&#xA;As Jay mentioned [over here][3], the modern Sound Effects Editor is expected to have these librarian skills as well. Clearly the responsibilities of the position are vital and still exist in today's workflow. But what are the basic (or advanced) Librarian skills that one needs? My assumption is cleaning the field recordings, entering metadata, having a mental catalog of what's on file, and maintaining multiple databases, drives and backups. Am I far off?&#xD;&#xA;&#xD;&#xA;  [1]: http://mixonline.com/post/features/movie_sound_effects/index.html&#xD;&#xA;  [2]: http://mixonline.com/post/features/movie_sound_effects/index.html&#xD;&#xA;  [3]: http://socialsounddesign.com/questions/659/what-is-expected-from-a-sound-effects-editor/671#671" ContentLicense="CC BY-SA 3.0" />
  <row Id="16603" PostHistoryTypeId="1" PostId="10032" RevisionGUID="7001571e-34be-4b2d-9d19-f7a3fb99e9cf" CreationDate="2011-08-31T19:01:29.007" UserId="6411" Text="Sound Librarian (The Job-Title, Not The Software)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16604" PostHistoryTypeId="3" PostId="10032" RevisionGUID="7001571e-34be-4b2d-9d19-f7a3fb99e9cf" CreationDate="2011-08-31T19:01:29.007" UserId="6411" Text="&lt;film-industry&gt;&lt;roles&gt;&lt;sound-effects&gt;&lt;library&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16605" PostHistoryTypeId="2" PostId="10033" RevisionGUID="7ed916f1-2f4c-444c-87b9-8decd9e835da" CreationDate="2011-08-31T19:02:04.013" UserId="407" Text="Car chases hum... love them ;)&#xD;&#xA;&#xD;&#xA;Death Proof has a really lovely V8 sounds ... or of course the classic - Mad Max ;)&#xD;&#xA;As for libraries have you looked at [pole.se][1] they have some pretty nice recordings available for downloads.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://pole.se/sounds.asp" ContentLicense="CC BY-SA 3.0" />
  <row Id="16606" PostHistoryTypeId="2" PostId="10034" RevisionGUID="7205f3fa-d2df-4b27-9667-52f2314b4b7e" CreationDate="2011-08-31T19:14:10.407" UserId="6519" Text="Sound Banker :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16607" PostHistoryTypeId="2" PostId="10035" RevisionGUID="5cd61356-4602-4d56-bce5-d0bc8660ff71" CreationDate="2011-08-31T21:20:24.193" UserId="1216" Text="Hi,&#xD;&#xA;Well first of all, i didn't think it was the best Terminator ever.. So there goes objectivity :)  &#xD;&#xA;  &#xD;&#xA;I did hear enough attention to detail in the sounds and like Utopia says, it sounds really beefy. I liked the low end (although i don't have a sub). Oh and i totally believed the sounds when the big terminator get's flooded with lava stuff hotness and the crackling when he comes back to motion. Nice sounds!&#xD;&#xA;&#xD;&#xA;Minor issues i had with the movie where:&#xD;&#xA;-ADR lines sounded like game characters, to clean and either badly directed or not the best talents. It might also have something to do with the content though, a lot of cliches flying around.&#xD;&#xA;-(Film)Editing was at some points weak in my opinion, especially in some transitions and jump cuts.&#xD;&#xA;&#xD;&#xA;Only thing i did think sound design wise. Maybe we could have gotten a  hint by 'distorting' in the hearing of the good terminator, we could have maybe heard some glitches subtly here and there to feel he is different from humans. Then again, this was already confirmed visually in the second scene when we see him on a operation table in the underground factory/lab. Perhaps this was discussed with the director(s)?&#xD;&#xA;&#xD;&#xA;Overall it wasn't a remarkable script soundwise and i think it sounded the best it could and most of all it sold the story, so i think the editors/designers did a very good job. &#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16608" PostHistoryTypeId="2" PostId="10036" RevisionGUID="e15d53f0-3578-496c-b49f-89b5843a8879" CreationDate="2011-08-31T21:32:01.993" UserId="1216" Text="Hi,  &#xD;&#xA;I've never cut a scene like that for animation, but i think the answer to most of your questions might be 'you're already on the right track, keep at it and something good will happen&quot;. &#xD;&#xA;In my experience you simply need to twist and turn as long as possible until *you* believe it. &#xD;&#xA;&#xD;&#xA;Movies to analyse would be:  &#xD;&#xA;-Pearl Harbor: [link youtube.com][1]&#xD;&#xA;-The trailer of Red Tails [link apple.com][2]  &#xD;&#xA;-King kong (peter jackson) End scene at the big tower&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=d-eK9XXB3ro&amp;feature=related&#xD;&#xA;  [2]: http://trailers.apple.com/trailers/fox/redtails/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16609" PostHistoryTypeId="2" PostId="10037" RevisionGUID="417c9903-8159-44d7-874e-bb5eb3cc1389" CreationDate="2011-08-31T21:53:38.127" UserId="194" Text="I carry the title of Sound Librarian at Dallas Audio Post (amongst others)&#xD;&#xA;&#xD;&#xA;Its my responsibility to edit, import and tag all of the sfx for our library as well as maintain the databases and the media backups for our (5 seat) facility.  This includes both custom recordings and library purchases.  &#xD;&#xA;&#xD;&#xA;I kind of love that though, because that means that all sounds go through me before they hit the library, and I can tag the cool stuff the way that I like so that I'm positive that I can find it later on.  As lead sound designer that's some invaluable intimacy with some sounds that I'm not always involved in capturing.&#xD;&#xA;&#xD;&#xA;I tend to record a fair amount more than the other guys, but I don't record anywhere near 100%.  Putting my hands on all of the sounds as they're coming in is just a huge part of what I do as a sound designer.&#xD;&#xA;&#xD;&#xA;For the stuff that I'm not present for, I'll get elements anywhere along the continuum of raw undocumented audio to edited, named and photographed stuff.  It all depends on the context in which it was captured and the amount of time the recording engineer spent with the material before handing it over to me.  I have a pretty high standard of the way I like stuff tagged, so I tend to spend a steady amount of hours each week tending to that.&#xD;&#xA;&#xD;&#xA;Sometimes I get busy with projects and a backlog will build up.  When I see that happening I'll just devote some after hours or weekend time to getting caught up.&#xD;&#xA;&#xD;&#xA;I tend to tag and embed the files separately from the primary library in a smaller soundminer database on an as-needed basis.  Once the files are edited, tagged, photo embedded and metadata embedded I'll move them to our primary SFX server and update the databases across the facility.  Then I'll shoot an email to the crew listing the new stuff and some keywords with which they can find it.  &#xD;&#xA;&#xD;&#xA;Occasionally I'll make judgement calls as to whether to catalog separate layers of certain sounds (like vehicles and weapons) or just put the mixed stuff in there.  I try not to junk up the library with a bunch of stuff we'll never use, while staying flexible enough to have all of the elements we'll need for any given project.  My perspective as a sound designer informs those judgement calls.&#xD;&#xA;&#xD;&#xA;we're a small facility, but we're not tiny.  I take this part of the gig pretty seriously." ContentLicense="CC BY-SA 3.0" />
  <row Id="16610" PostHistoryTypeId="2" PostId="10038" RevisionGUID="bda530fb-c7b8-4183-a7bc-26ebee20b600" CreationDate="2011-08-31T23:49:07.480" UserId="1228" Text="Sorry to hear about the iPod, I know the feeling of it being your life - it's been the same for me too, but that sounds really cool and great instincts!  To me, this type of guerrilla situation is one of those exemplary moments of what makes sound effects recording so fun and rewarding.&#xD;&#xA;&#xD;&#xA;I would love to procure a copy of the track for a sound effect trade, seeing that you are making the offer and I'd be willing to share something in return out of generosity for the offer.  My work finds me cutting computer sequences and radios/walkies a lot, and this static sounds vastly different than many recordings I've worked with, with that clean crisp hi-end and nice crackle.  If you're interest, shoot me an email at steve [at] stavrosound.com and we'll make something happen.&#xD;&#xA;&#xD;&#xA;Happy recording, and happy repairs for the iPod!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16611" PostHistoryTypeId="2" PostId="10039" RevisionGUID="6aa38549-2f3e-4a18-a8f4-6b8610179a13" CreationDate="2011-08-31T23:52:28.000" UserId="1308" Text="Let's say you've got a batch of raw sounds you're working on for your library, making versions of them that are more 'production ready.'&#xD;&#xA;&#xD;&#xA;Let's say that these sounds are 44.1 KHz / 16 bit.&#xD;&#xA;&#xD;&#xA;I find myself doing this quite a bit.  Running raw sounds through distortion plugins, outboard guitar amps, guitar pedals, playing the sounds through a speaker and putting up a mic in the room, running them through reverb plugins, processing them through outboard 'synths', etc...  I find that having different versions of sounds around, processed in interesting ways, can make things easier and more interesting when I'm putting together a full piece later.  So all these processed sounds serve as 'building blocks' for full sounds.&#xD;&#xA;&#xD;&#xA;Moving on, here's the question:&#xD;&#xA;&#xD;&#xA;Is it worth upsampling these sounds (necessary when importing them into a DAW session to match the session's sample rate whilst playing back at normal speed...or recording the results to a higher sample rate if playback and recording happen on two different devices) to, say, 96 or 192 KHz (and a higher bit depth like 24 as well)?&#xD;&#xA;&#xD;&#xA;Is it safe to assume that harmonic distortion will, for example, create harmonics of even a 44.1K file  that would require a higher sample rate to capture those harmonics?&#xD;&#xA;&#xD;&#xA;And what if they're sounds that will be, for example, pitched down, layered with something else, and eventually pitched back up through some other process down the road when making more building blocks? &#xD;&#xA;&#xD;&#xA;I don't necessarily want to expand the size, in MB or GB, of my library simply because I think it's cool to have a bunch of 192's in it for the sake of having higher sample rate files only.  Is there a benefit beyond that ridiculously pointless reason?&#xD;&#xA;&#xD;&#xA;I've experimented with pitching a 16 bit / 44.1K file up and back down and up and back down over and over again with, while interesting (and possibly usable for something interesting), absolutely dismal results (which, I would expect).&#xD;&#xA;&#xD;&#xA;Thoughts?&#xD;&#xA;&#xD;&#xA;fonte" ContentLicense="CC BY-SA 3.0" />
  <row Id="16612" PostHistoryTypeId="1" PostId="10039" RevisionGUID="6aa38549-2f3e-4a18-a8f4-6b8610179a13" CreationDate="2011-08-31T23:52:28.000" UserId="1308" Text="Upsampling Sounds Prior to Processing" ContentLicense="CC BY-SA 3.0" />
  <row Id="16613" PostHistoryTypeId="3" PostId="10039" RevisionGUID="6aa38549-2f3e-4a18-a8f4-6b8610179a13" CreationDate="2011-08-31T23:52:28.000" UserId="1308" Text="&lt;sample-rate&gt;&lt;pitch-shifting&gt;&lt;harmonics&gt;&lt;organization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16614" PostHistoryTypeId="2" PostId="10040" RevisionGUID="65941e00-345e-4dbf-ba50-6dde6961d2da" CreationDate="2011-09-01T00:09:59.940" UserId="1228" Text="Well, this question depends on a few things in my opinion.  First, if you run a assets manager like Soundminer, Basehead, or Netmix, it's going to convert the source audio to match your session when you spot a file in.  With Soundminer HD Pro's 64-bit iZotope SRC (now multi-threaded), its very quick that it's almost an invisible process on all but very long sounds.  This means that your library can be stored in a garden variety of 44.1-192k files, and the program convert them on-the-spot to match your project.&#xD;&#xA;&#xD;&#xA;By upsampling, you will increase resolution of the plotted voltage points so it will be more malleable, however (and this is a big HOWEVER), it will not create new audio content - it will just be redundant/interpolated points of what already exists.&#xD;&#xA;&#xD;&#xA;An example of this is with the Nyquest Limit, where a signal's max frequency is half of that of the sample rate.  For 48,000 Hz file, that means 24,000 Hz is your theatrical maximum frequency.  If you then play this sound at half speed, it cuts the signals frequency in half to the max being only 12,000 Hz - meaning now your super high frequency crispness is beginning to deteriorate.  As you go even slower, you loose the top even more and it starts sounding like a washy mp3.  Whereas if you have a 96k recording (assuming both the mic and A/D and D/A is capable of 96k throughput response), your max frequency content is 48,000 Hz.  So, when you cut that in half for a half-speed playback your max frequency is 24,000Hz - this is still high enough that it provides full sonic clarity, and might even have some cool sound content up there that used to be inaudible.  Frank Bry mentioned this frequency shifting in a recent post about recording bats and they were analyzed to make noise at 39,600 Hz, but it was only discernible once he shifted the sound down by 2 octaves.  In a true 44.1 or 48k recording, this sound wouldn't even be captured, and when you cut the sound speed in half, you wouldn't get close to finding anything up there but empty bits or white noise&#xD;&#xA;&#xD;&#xA;So I guess what I'm getting at here is that for upsampling: yes, you will have more math for number crunching (e.g. wasted hard drive space).  But, you will not get the extra fidelity that true 96k+ recording has when you are prepared to run it through the wringer.&#xD;&#xA;&#xD;&#xA;These are my 2 cents, and somebody please correct me if I'm wrong somewhere." ContentLicense="CC BY-SA 3.0" />
  <row Id="16615" PostHistoryTypeId="5" PostId="10040" RevisionGUID="492cce3c-a3f2-4c96-b7ac-b247cd92df4f" CreationDate="2011-09-01T01:25:15.217" UserId="1228" Comment="edited body" Text="Well, this question depends on a few things in my opinion.  First, if you run a assets manager like Soundminer, Basehead, or Netmix, it's going to convert the source audio to match your session when you spot a file in.  With Soundminer HD Pro's 64-bit iZotope SRC (now multi-threaded), its very quick that it's almost an invisible process on all but very long sounds.  This means that your library can be stored in a garden variety of 44.1-192k files, and the program convert them on-the-spot to match your project.&#xD;&#xA;&#xD;&#xA;By upsampling, you will increase resolution of the plotted voltage points so it will be more malleable, however (and this is a big HOWEVER), it will not create new audio content - it will just be redundant/interpolated points of what already exists.&#xD;&#xA;&#xD;&#xA;An example of this is with the Nyquist Limit, where a signal's max frequency is half of that of the sample rate.  For 48,000 Hz file, that means 24,000 Hz is your theatrical maximum frequency.  If you then play this sound at half speed, it cuts the signals frequency in half to the max being only 12,000 Hz - meaning now your super high frequency crispness is beginning to deteriorate.  As you go even slower, you loose the top even more and it starts sounding like a washy mp3.  Whereas if you have a 96k recording (assuming both the mic and A/D and D/A is capable of 96k throughput response), your max frequency content is 48,000 Hz.  So, when you cut that in half for a half-speed playback your max frequency is 24,000Hz - this is still high enough that it provides full sonic clarity, and might even have some cool sound content up there that used to be inaudible.  Frank Bry mentioned this frequency shifting in a recent post about recording bats and they were analyzed to make noise at 39,600 Hz, but it was only discernible once he shifted the sound down by 2 octaves.  In a true 44.1 or 48k recording, this sound wouldn't even be captured, and when you cut the sound speed in half, you wouldn't get close to finding anything up there but empty bits or white noise&#xD;&#xA;&#xD;&#xA;So I guess what I'm getting at here is that for upsampling: yes, you will have more math for number crunching (e.g. wasted hard drive space).  But, you will not get the extra fidelity that true 96k+ recording has when you are prepared to run it through the wringer.&#xD;&#xA;&#xD;&#xA;These are my 2 cents, and somebody please correct me if I'm wrong somewhere." ContentLicense="CC BY-SA 3.0" />
  <row Id="16616" PostHistoryTypeId="2" PostId="10041" RevisionGUID="0aece4df-641e-4fa3-90ae-dea604a24bcc" CreationDate="2011-09-01T02:36:19.723" UserId="393" Text="Stavrosound is absolutely correct if all you're doing is upsampling the sounds in your computer.  But, if you're running them through offboard gear first, then definitely record them at the higher sample rate.  Guitar amps, pedals, and other analog gear doesn't think in terms of sample rate, so the results coming from your offboard processing very well have nuances that the extra headroom and clarity will afford you." ContentLicense="CC BY-SA 3.0" />
  <row Id="16617" PostHistoryTypeId="5" PostId="10040" RevisionGUID="d4680f14-ef93-4a9c-abb0-7223a2048e47" CreationDate="2011-09-01T02:45:45.183" UserId="1228" Comment="added 1 characters in body" Text="Well, this question depends on a few things in my opinion.  First, if you run a assets manager like Soundminer, Basehead, or Netmix, it's going to convert the source audio to match your session when you spot a file in.  With Soundminer HD Pro's 64-bit iZotope SRC (now multi-threaded), its very quick that it's almost an invisible process on all but very long sounds.  This means that your library can be stored in a garden variety of 44.1-192k files, and the program convert them on-the-spot to match your project.&#xD;&#xA;&#xD;&#xA;By upsampling, you will increase resolution of the plotted voltage points so it will be more malleable, however (and this is a big HOWEVER), it will not create new audio content - it will just be redundant/interpolated points of what already exists.&#xD;&#xA;&#xD;&#xA;An example of this is with the Nyquist Limit, where a signal's max frequency is half of that of the sample rate.  For 48,000 Hz file, that means 24,000 Hz is your theoretical maximum frequency.  If you then play this sound at half speed, it cuts the signals frequency in half to the max being only 12,000 Hz - meaning now your super high frequency crispness is beginning to deteriorate.  As you go even slower, you loose the top even more and it starts sounding like a washy mp3.  Whereas if you have a 96k recording (assuming both the mic and A/D and D/A is capable of 96k throughput response), your max frequency content is 48,000 Hz.  So, when you cut that in half for a half-speed playback your max frequency is 24,000Hz - this is still high enough that it provides full sonic clarity, and might even have some cool sound content up there that used to be inaudible.  Frank Bry mentioned this frequency shifting in a recent post about recording bats and they were analyzed to make noise at 39,600 Hz, but it was only discernible once he shifted the sound down by 2 octaves.  In a true 44.1 or 48k recording, this sound wouldn't even be captured, and when you cut the sound speed in half, you wouldn't get close to finding anything up there but empty bits or white noise&#xD;&#xA;&#xD;&#xA;So I guess what I'm getting at here is that for upsampling: yes, you will have more math for number crunching (e.g. wasted hard drive space).  But, you will not get the extra fidelity that true 96k+ recording has when you are prepared to run it through the wringer.&#xD;&#xA;&#xD;&#xA;These are my 2 cents, and somebody please correct me if I'm wrong somewhere." ContentLicense="CC BY-SA 3.0" />
  <row Id="16618" PostHistoryTypeId="2" PostId="10042" RevisionGUID="5fb15755-262d-423e-9018-35137115f5b5" CreationDate="2011-09-01T07:58:11.057" UserId="1228" Text="Hey fellow SSDers!  I've been doing some library cataloging today, digging through some recent shows to finish some much-overdue mastering (who am I kidding though, I'm nowhere close to finished hah).  But something occurred to me when mastering up some really sweet, long Foley recordings I did of leather, rope, and barefoot footsteps (sorry boys n girls, this wasn't an S&amp;M scene so please get your heads outta the gutter ;)  ).  I'll bet all of us, especially those who have done a lot of shows and/or a lot of designing and recording, have come to create or record something that's become our prized possession, a $$$ sound that sits in our private stash.  Whether we use it often or not, for some reason it's just got the 'it' factor that makes it our favorite sound byte that nobody else has.&#xD;&#xA;&#xD;&#xA;My personal favorite &quot;stashed&quot; sound is this:&#xD;&#xA;&#xD;&#xA;[soundcloud]stavrosound/ssd-sample-crowd-comedy-club[/soundcloud]&#xD;&#xA;&#xD;&#xA;My production sound mixer buddy recorded it a while back when he mixed the *RuPaul Drag Race* and it was some sort of comedy show this time.  He set up his Sound Devices rig with a set of dedicated mics facing the live studio audience in an A/B array.  So he shared them with me and let me dig through them for anything cool, and after sifting through about 2 hours or so of recordings, I was able to wrangle tos of genuine crowd laughter as standup comedy routines were happening, so I carefully strung them together while removing the actual dialogue and was left with this track, a perfect bed of genuine crowd reactions that fits the bill for that hard to find energy level that isn't over the top but feels like the same kind of crowd energy heard in Seinfeld's stand up bits at the top of each of his shows.  There were a lot other goodies in there, but this one was just $$$ to me.&#xD;&#xA;&#xD;&#xA;So, the question I pose to you all is.... what's your favorite stashed custom recording/design/effect?  It can be an actual sound effect, or some ridiculous outtake during a recording session that you've always felt was pure gold even though it'd never get used.  No-holds-barred in that regard!  I'd love to hear what yours are and any story behind them you may have.&#xD;&#xA;&#xD;&#xA;Look forward to hearing what's on people's minds (pun intended, indeed)!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16619" PostHistoryTypeId="1" PostId="10042" RevisionGUID="5fb15755-262d-423e-9018-35137115f5b5" CreationDate="2011-09-01T07:58:11.057" UserId="1228" Text="What's your favorite, personally-stashed 'money' sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16620" PostHistoryTypeId="3" PostId="10042" RevisionGUID="5fb15755-262d-423e-9018-35137115f5b5" CreationDate="2011-09-01T07:58:11.057" UserId="1228" Text="&lt;sound-effects&gt;&lt;custom&gt;&lt;sound-design&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16621" PostHistoryTypeId="5" PostId="10042" RevisionGUID="8c0d3f48-9dd0-4a71-8def-16b45cea3a0f" CreationDate="2011-09-01T08:15:19.287" UserId="1228" Comment="added 589 characters in body; added 17 characters in body" Text="Hey fellow SSDers!  I've been doing some library cataloging today, digging through some recent shows to finish some much-overdue mastering (who am I kidding though, I'm nowhere close to finished hah).  But something occurred to me when mastering up some really sweet, long Foley recordings I did of leather, rope, and barefoot footsteps (sorry boys n girls, this wasn't an S&amp;M scene so please get your heads outta the gutter ;)  ).  I'll bet all of us, especially those who have done a lot of shows and/or a lot of designing and recording, have come to create or record something that's become our prized possession, a $$$ sound that sits in our private stash.  Whether we use it often or not, for some reason it's just got the 'it' factor that makes it our favorite sound byte that nobody else has.&#xD;&#xA;&#xD;&#xA;My personal favorite &quot;stashed&quot; sound is this:&#xD;&#xA;&#xD;&#xA;[soundcloud]stavrosound/ssd-sample-crowd-comedy-club[/soundcloud]&#xD;&#xA;&#xD;&#xA;My production sound mixer buddy recorded it a while back when he mixed the *RuPaul Drag Race* and it was some sort of comedy show this time.  He set up his Sound Devices rig with a set of dedicated mics facing the live studio audience in an A/B array.  So he shared them with me and let me dig through them for anything cool, and after sifting through about 2 hours or so of recordings, I was able to wrangle tos of genuine crowd laughter as standup comedy routines were happening, so I carefully strung them together while removing the actual dialogue and was left with this track, a perfect bed of genuine crowd reactions that fits the bill for that hard to find energy level that isn't over the top but feels like the same kind of crowd energy heard in Seinfeld's stand up bits at the top of each of his shows.  There were a lot other goodies in there, but this one was just $$$ to me.&#xD;&#xA;&#xD;&#xA;So, the question I pose to you all is.... what's your favorite stashed custom recording/design/effect?  It can be an actual sound effect, or some ridiculous outtake during a recording session that you've always felt was pure gold even though it'd never get used.  No-holds-barred in that regard!  I'd love to hear what yours are and any story behind them you may have.&#xD;&#xA;&#xD;&#xA;**The only parameters:**&#xD;&#xA;&lt;p&gt;- If you have multiple favorites, please select one that you feel comfortable sharing (I know some are protective of some of their prized material, and that's okay, I fully respect that)&lt;/p&gt;&#xD;&#xA;&lt;p&gt;- It must be something of your own creation in some way/shape/form (e.g. not your favorite commercial/purchased library effect)&#xD;&#xA;&lt;p&gt;- It must be something from your personal, private stash that has been only traded with or given to a handful of friends/colleagues at most, or not traded/given at all (this speaks more to those of us sound effect recordists/license-granters)&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;Look forward to hearing what's on people's minds (pun intended, indeed)!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16622" PostHistoryTypeId="2" PostId="10043" RevisionGUID="fb5b317f-6cf7-45cd-b27c-29c92655bcc3" CreationDate="2011-09-01T10:41:04.543" UserId="238" Text="Another very good reference film would be the awesome animation, Paths Of Hate. The sound design is top notch and there are some excellent dog fight scenes featuring many fly-bys.&#xD;&#xA;&#xD;&#xA;[youtube]b79zgKgRDBk[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="16623" PostHistoryTypeId="2" PostId="10044" RevisionGUID="23f4d619-c9a8-41ee-bfc5-5c576c1598fb" CreationDate="2011-09-01T10:44:35.683" UserId="1969" Text="You'll always have far more control if you create your own. Get yourself a synth with a noise generator, you can model the wind by controlling various parameters. It's especially easy if you have a midi keyboard with assignable controls, you'll be able to make any wind noise you want. If you want an example of what's possible, check out The Flying Duchess here: &#xD;&#xA;&#xD;&#xA;http://www.animation2011.com/&#xD;&#xA;&#xD;&#xA;It's a short animation I did the sound for, which features that synthesised wind. Also, apparently in the Terminator, a wind noise that they used was just some dude blowing over the top of a microphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="16624" PostHistoryTypeId="2" PostId="10045" RevisionGUID="54ffb273-42d7-4442-a7ec-0a29d50d8ed3" CreationDate="2011-09-01T12:31:08.433" UserId="432" Text="Stavrosound already did an excellent job covering conversion of sample rate (followed up by a nice addendum by Dave), so I'll cover the bit rate part of your question.&#xD;&#xA;&#xD;&#xA;None of the DAW's we use work natively in 16-bit. Before people starting crying foul, I'm not referring to the actual file's sample rate, but I mean within their computational engines. They all work in higher &quot;floating bit&quot; rates once the file is actually pulled into the session. Pro Tools HD, for instance, uses 64-bit floating point architecture within its engine. It's important to note that I'm also not referring to the host processing system's specs. As far as CPU's go, Pro Tools doesn't yet make use of the full power available in 64-bit processors (and the non-hd version uses only 32-bit floating point). That doesn't mean that it can't use a 32-bit processor to calculate products and sums of 64-bit words, because that's exactly what it does. So, all of your volume automations, fades and plug-in processing is occurring natively at bit rates much higher than 24-bit. **It's only on output that it gets truncated/converted back to 16 or 24 bit.**&#xD;&#xA;&#xD;&#xA;That means that increasing a file's bit rate prior to bringing it into a session is relatively pointless. If you're going to create derivative sounds using lower bit rates, you can output at 24-bit and still retain any benefits you gained in the audio engine. If you start with a 16-bit file and output a final 16-bit and 24-bit one, the 24-bit **will** have more dynamic range information than the 16-bit. For this reason, for any new sounds you create (regardless of the source files' bit-rate), I suggest always outputting at 24-bit.&#xD;&#xA;&#xD;&#xA;It also goes without saying that you should always record at 24-bit. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16625" PostHistoryTypeId="2" PostId="10046" RevisionGUID="ccf6322d-fb04-40cc-98d4-9c32a927c6cf" CreationDate="2011-09-01T12:45:39.383" UserId="432" Text="I've got one (actually a group of 3 that I'll pull from) that I've started hiding in everything I work on.&#xD;&#xA;&#xD;&#xA;A little over a year ago, a friend and coworker died in a motorcycle accident. He was the primary camera operator for our company, and I was able to find a few relatively clean recordings of him in the footage from one of our previous productions. I grab one or more of these three and work them into the backgrounds somewhere in each production I work on. If that doesn't work, sometimes I'll process an element out of one of them to use.&#xD;&#xA;&#xD;&#xA;There was a pair of lines in particular that he would say, that is kind of an inside joke for anyone who worked with him: &quot;Hey, tell me what you think of this shot,&quot; or, &quot;Hold on, I'm working on something important here.&quot; If he said this, it usually meant he had framed some attractive woman (usually in a swimsuit). I've only been able to find a recording of the latter.&#xD;&#xA;&#xD;&#xA;So, I take the time to find some way to sneak these into the programs that I work on (kind of like my own version of the Wilhelm scream), in honor of his memory." ContentLicense="CC BY-SA 3.0" />
  <row Id="16626" PostHistoryTypeId="2" PostId="10047" RevisionGUID="5ed304ce-d958-4ece-abe2-e1c2c4e9687f" CreationDate="2011-09-01T12:50:53.383" UserId="863" Text="The sound design and music are all very generic for the periods of the films. His later Zombie films are very over the top with the sound fx such as land of the dead and they are more subtle in the earlier ones. I really don't think his films have anything which you could say as defining or special when it comes to sound, the soundtrack for Land of the dead for example is just a product of its time... and the sound design just what you would expect.&#xD;&#xA;&#xD;&#xA;I would say though that there is a lot of heavy foley involved, but still being realistic in comparison to other zombie films of that time such as Argento films. There is music everywhere possible as well.&#xD;&#xA;&#xD;&#xA;The most noticeable thing about the sound for his zombie and horror flicks is probably the music, check out some of tracks by Goblin and even look at other films by other directors.&#xD;&#xA;&#xD;&#xA;These are a few I love:&#xD;&#xA;&#xD;&#xA;Suspiria theme by Goblin, The Beyond - Fabio Frizzi, Zombie Flesh Eaters - Fabio Frizzi, Dawn of the Dead - Goblin.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="16627" PostHistoryTypeId="2" PostId="10048" RevisionGUID="b802f6be-3580-41ac-823f-bbd9d744a2ed" CreationDate="2011-09-01T14:43:33.657" UserId="1216" Text="Hi Kyle,  &#xD;&#xA;If you want 4 channels XLR input then Daan's recommendation is very good. One thing i don't like about the SX-R4 is the ergonomics of the machine. It is something you really have to get used to and you already know the 702..  &#xD;&#xA;You're also thinking about 2 wireless lavs, right? A 744 is able to record that, just use the additional 2 Line inputs (mini xlr connectors required).&#xD;&#xA;&#xD;&#xA;Good luck&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16628" PostHistoryTypeId="2" PostId="10049" RevisionGUID="f4048b15-4ae1-4bcd-ae46-77b3b15ad025" CreationDate="2011-09-01T14:44:28.250" UserId="431" Text="Hey All,&#xD;&#xA;&#xD;&#xA;Great question (and site) @Andrew!  I live and work in Toronto, Canada as an sonic gun for hire. I get to wear a ton of hats from SFX supervisor to mixer to ADR director to sound designer. Every so often I get called upon to write some original music, but not so often that I bill myself as a composer. In addition the post audioness of my life I'm also writing and pitching some projects for TV with a partner. It occurs to me that I may have an issue with focus.&#xD;&#xA;&#xD;&#xA;Every once in a while I update my blog here:&#xD;&#xA;http://www.adbofdifference.com/blog/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16629" PostHistoryTypeId="16" PostId="10049" RevisionGUID="f4048b15-4ae1-4bcd-ae46-77b3b15ad025" CreationDate="2011-09-01T14:44:28.250" UserId="-1" />
  <row Id="16630" PostHistoryTypeId="2" PostId="10050" RevisionGUID="d8566a42-f22c-41b1-ac6c-4af135d5204c" CreationDate="2011-09-01T15:07:42.680" UserDisplayName="user6513" Text="This isn't much of a question and more of an observation. While watching the film Lemming (dir. Dominik Moll) earlier, during the scene where Alain (the male lead) goes back home to find lemmings invaded his kitchen, I notice my cat who was sleeping happily till she heard the squeaks of the lemmings and then perked up and woke up for a bit. She went back to sleep as soon as she realized the sounds were coming from the tv. What intrigued me was, before that point, the whole build up with sound was pretty disturbing but my cat was unperturbed by it. Got me thinking about how my cats, we've got two of them at home, are often nonchalant to the sounds of the films that we are watching. They don't react to loud sounds, nor to the non-diegetic ambience/sfx beds of horror films.&#xD;&#xA;&#xD;&#xA;So I'm wondering of the complex sound designs, what are the sounds in there that will trigger a response (e.g. fear) from animals? Would these sounds be more powerful to just be used on their own? Or are we humans too complex and have just been desensitized to the very sounds that were meant to target our primal instincts, that we have to layer in other sounds that attempt to trigger other connections in our minds? It makes me wonder if we could discern what sounds affect animals, we could possibly use the same sounds on our audience.&#xD;&#xA;&#xD;&#xA;Apologies if I seem to be rambling but was wondering if anyone else has noticed how their pets or any other animals react to film sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="16631" PostHistoryTypeId="1" PostId="10050" RevisionGUID="d8566a42-f22c-41b1-ac6c-4af135d5204c" CreationDate="2011-09-01T15:07:42.680" UserDisplayName="user6513" Text="Lemmings woke my cat" ContentLicense="CC BY-SA 3.0" />
  <row Id="16632" PostHistoryTypeId="3" PostId="10050" RevisionGUID="d8566a42-f22c-41b1-ac6c-4af135d5204c" CreationDate="2011-09-01T15:07:42.680" UserDisplayName="user6513" Text="&lt;subconscious&gt;&lt;sound-design&gt;&lt;observation&gt;&lt;animals&gt;&lt;horror&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16633" PostHistoryTypeId="2" PostId="10051" RevisionGUID="fc7d3f9a-1ef5-4625-9511-db0d05beb608" CreationDate="2011-09-01T15:11:55.537" UserId="1266" Text="Ive seen cats react to bird sounds on TV&#xD;&#xA;&#xD;&#xA;Good question though, someone in a multimedia class I'm taking said that they are teaching cats how to paint now." ContentLicense="CC BY-SA 3.0" />
  <row Id="16634" PostHistoryTypeId="2" PostId="10052" RevisionGUID="9d2039f4-ff95-48d3-b348-fc9de82d157f" CreationDate="2011-09-01T15:13:10.277" UserId="285" Text="I have a set of 4 body falls I recorded a few years ago that I end up using all the time.  They are a mixture of a few different elements but the final result is magic.  They work for falls on wood, cement or dirt.  They have this great thud that is all body and really translates pain to the listener.  Between the four falls I have used them maybe 50 times in different productions.  They always get a comment at the mix.  Not sure I could even re-create them if I tried to do everything the same.  They just work in every situation." ContentLicense="CC BY-SA 3.0" />
  <row Id="16635" PostHistoryTypeId="2" PostId="10053" RevisionGUID="4fbfaceb-4e37-457d-b98b-0a2ebc3979cf" CreationDate="2011-09-01T15:18:49.837" UserId="1970" Text="Mmmm .. excuse my most awful English. Is just for fun, I don't expect professional results. I'm trying to find the best way to use my Xperia Neo smartphone as portable recorder conecting , for example, a battery powered microphone, or something like that. In internet there are many ways to do it in Iphone, but it seems to me that for android not&#xD;&#xA;&#xD;&#xA;The smartphone's jack input is a TRRS conector, but i'm not sure of where the mic signal goes. I say that for make an adaptor, but i'm not sure. &#xD;&#xA;&#xD;&#xA;Anyone has tried?&#xD;&#xA;&#xD;&#xA;Thanks!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16636" PostHistoryTypeId="1" PostId="10053" RevisionGUID="4fbfaceb-4e37-457d-b98b-0a2ebc3979cf" CreationDate="2011-09-01T15:18:49.837" UserId="1970" Text="MicW i456 or similar, works on Android smartphone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16637" PostHistoryTypeId="3" PostId="10053" RevisionGUID="4fbfaceb-4e37-457d-b98b-0a2ebc3979cf" CreationDate="2011-09-01T15:18:49.837" UserId="1970" Text="&lt;field-recorder&gt;&lt;portable-recorder&gt;&lt;microphone&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16638" PostHistoryTypeId="2" PostId="10054" RevisionGUID="8ab20d2f-a6d7-4fb3-a91b-60320aebd87d" CreationDate="2011-09-01T15:31:18.450" UserId="285" Text="When I first started in the business I did a internship and my main jobs were organizing and maintaining the sound library and backing up each days work.&#xD;&#xA;&#xD;&#xA;This was back when 1 or 2 gig drive was extremely expensive so you could not fill up a drive with random sounds that would never be used.  I had to carefully top and tail each file, make sure mono sounds were stored as mono files to save space on the drive ect....&#xD;&#xA;&#xD;&#xA;I really got to know the library and it sparked my dreams of being a sound editor in the future.  Once Soundminer came along the library management sophistication skyrocketed.  The early versions of Soundminer had a function called CLI (Command Line Interface) that made it a bit like writing code to do batch processing on files. It took a while to learn to really get it cooking, but once you figured it out you could do a lot.  Now with Soundminer everything is pretty straight forward to append and batch name files.&#xD;&#xA;&#xD;&#xA;Currently I am still in charge of the SFX Library for my own suite.  I make sure I hear each sound before it goes in the library (huge purchased collections can be an exception, I am still working my way through the General HD and will be for years possibly).  I have code words that only I understand to help my searches but it is also universal at the same time.&#xD;&#xA;&#xD;&#xA;I really feel knowing the library is half the job.  What good is a sound if you don't know it is there.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16639" PostHistoryTypeId="2" PostId="10055" RevisionGUID="413062c5-a8b1-4259-8ea1-f7605ce3718d" CreationDate="2011-09-01T15:48:19.087" UserId="999" Text="Sorry to bump this thread, but im surprised you have got no answers on this yet!&#xD;&#xA;&#xD;&#xA;I bought these:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.naiant.com/images/240_X-S_480.JPG&#xD;&#xA;X-S Miniature Omnidirectional Condenser Microphone, with XLR adaptor cable &amp; windscreen, each, $39&#xD;&#xA;&#xD;&#xA;I was really impressed with the sound from these little fellas. &#xD;&#xA;&#xD;&#xA;I have used the X-S Miniatures on my acoustic guitar through a Profire2626 and got quite a nice sound.&#xD;&#xA;&#xD;&#xA;I think for sound design use its great to have some of these around as extra mics, It could be useful to use them in situations where you wouldn't want to use a really expensive mic (i.e. somewhere near explosions etc) as the loss of one wouldn't be the end of the world financially. or as extra angles on sources if you have the inputs?&#xD;&#xA;&#xD;&#xA;Saying that though, they are hand built with lots of obviously lots of care and attention and I'd feel awful using them as if they were disposable :(&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16640" PostHistoryTypeId="2" PostId="10056" RevisionGUID="0e363b66-e9cb-4f01-8320-c336d2772d95" CreationDate="2011-09-01T16:10:38.680" UserId="999" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;I have recently been shooting in the south of England for a period drama independent film.&#xD;&#xA;The on-location sound is quiet enough for the indoor scenes and dialogue is nice and clear without traffic and planes.&#xD;&#xA;&#xD;&#xA;But outside is a complete nightmare for this-even the hint of traffic spoils the illusion. &#xD;&#xA;&#xD;&#xA;My question is- what do location recordists usually do on period dramas? I imagine the roads are closed on big productions, or is everything simply ADR, atmos and foley?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16641" PostHistoryTypeId="1" PostId="10056" RevisionGUID="0e363b66-e9cb-4f01-8320-c336d2772d95" CreationDate="2011-09-01T16:10:38.680" UserId="999" Text="Location Recording for a period drama" ContentLicense="CC BY-SA 3.0" />
  <row Id="16642" PostHistoryTypeId="3" PostId="10056" RevisionGUID="0e363b66-e9cb-4f01-8320-c336d2772d95" CreationDate="2011-09-01T16:10:38.680" UserId="999" Text="&lt;noise&gt;&lt;dialogue-recording&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16643" PostHistoryTypeId="2" PostId="10057" RevisionGUID="a338fbf5-072f-49d4-a3ad-dad031db5575" CreationDate="2011-09-01T16:24:53.880" UserId="61" Text="My family has a black powder cannon that was custom built for my Dad many years ago. It's about 4 feet long and has a barrel nearly 6 inches across. Every Fourth of July (or anytime he feels like it, really) we load it up with packs of powder, newspaper, and a nice round hunk of granite from the beach and let it rip. It has a tremendous THUD and signature metallic FLWANG as the rock comes shooting out.&#xD;&#xA;&#xD;&#xA;My first recording trip home I recorded the shot at about 3' away with my AT825 running through an mBox into my iBook (!). It's a great sound and I use it every chance I get. It's been shared only with a select few." ContentLicense="CC BY-SA 3.0" />
  <row Id="16644" PostHistoryTypeId="2" PostId="10058" RevisionGUID="56bb542b-dd92-487c-9af1-d9864b04126c" CreationDate="2011-09-01T17:02:53.397" UserId="7642" Text="Interesting stuff, never seen them before. Dirt cheap and some models have a pretty decent noise level as well. Probably not the best mics one could ver own and not the straightest frequency curve I've seen. But hey most of them cost around 50$. At that price it really isn't worth the hassle of doing DIY disposable mics.&#xD;&#xA;&#xD;&#xA;So how do they sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16645" PostHistoryTypeId="2" PostId="10059" RevisionGUID="0250c3af-4e16-4974-866d-9e5d86a008a6" CreationDate="2011-09-01T17:26:58.757" UserId="6669" Text="I was cranking the resonance on a couple of synth patches a few weeks ago while working in headphones and had a fun time trolling my cat via the higher frequencies. She was not amused." ContentLicense="CC BY-SA 3.0" />
  <row Id="16646" PostHistoryTypeId="5" PostId="10051" RevisionGUID="26b0409b-8ad3-4b7b-b8b8-ab1616cfb2a5" CreationDate="2011-09-01T17:54:56.063" UserId="1266" Comment="New idea" Text="Ive seen cats react to bird sounds on TV&#xD;&#xA;&#xD;&#xA;Good question though, someone in a multimedia class I'm taking said that they are teaching cats how to paint now.&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;When I see a cat or dog sometimes I meow and that almost always gets their attention.  They must be tuned to that type of sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="16647" PostHistoryTypeId="2" PostId="10060" RevisionGUID="ccde6c0e-93bc-4232-b4f1-d79c4d962b0a" CreationDate="2011-09-01T18:00:31.717" UserId="285" Text="Last summer I was working on a show that had dogs chasing the main characters through a forrest.  I was cutting at home one day in the hot summer and had my windows open.  Over a period of about 15 minutes I had every dog on the block going nuts reacting to the angry growls and barks I was cutting.  At first they were reacting to the sounds I was cutting but then they seemed to be reacting to each other.  After some time they seemed to figure out that my &quot;dogs&quot; were repeating themselves a lot as I went through the scene over and over.  Sadly my recording gear was not with me or I would have got a great chorus of dogs.  Maybe I will try it again just to record the results." ContentLicense="CC BY-SA 3.0" />
  <row Id="16648" PostHistoryTypeId="2" PostId="10061" RevisionGUID="c8e30d19-d061-4e9b-92d8-6ab731cbfd34" CreationDate="2011-09-01T18:38:31.040" UserId="315" Text="Last year I bought a Sennheiser 8050 hypercardiod to complement my mic collection, which is mostly Schoeps and DPA stuff. I love the extended frequency response of this mic, it's super quiet, small, and the super tight pickup pattern has really come in handy. &#xD;&#xA;&#xD;&#xA;I'd like to turn this mic into an MS pair, and have considered matching it with an MKH-30. But I've heard unconfirmed rumors that Sennheiser is developing an 8030. Anybody else heard this? I asked a Sennheiser rep at AES and they were uncertain. I also contacted Sennheiser directly via email without a response. A Google search has provided me with folks confirming it's in development, and people saying this mic is not planned for release. If anyone can shed some light on this I'd be very grateful. In addition, has anybody matched this mic with another figure 8 in an MS pair?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16649" PostHistoryTypeId="1" PostId="10061" RevisionGUID="c8e30d19-d061-4e9b-92d8-6ab731cbfd34" CreationDate="2011-09-01T18:38:31.040" UserId="315" Text="Anybody else waiting anxiously for the Sennheiser 8030?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16650" PostHistoryTypeId="3" PostId="10061" RevisionGUID="c8e30d19-d061-4e9b-92d8-6ab731cbfd34" CreationDate="2011-09-01T18:38:31.040" UserId="315" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16651" PostHistoryTypeId="2" PostId="10062" RevisionGUID="9167b781-1e12-4c3a-9b5a-cb4a35357089" CreationDate="2011-09-01T19:12:18.297" UserId="1310" Text="My cat is not bothered by my guitar or sound from it at all. The other cat we have, the second she sees it, she freezes in fear and then bolts away." ContentLicense="CC BY-SA 3.0" />
  <row Id="16652" PostHistoryTypeId="2" PostId="10063" RevisionGUID="83f833ab-9693-4f80-81eb-3ce2f888d4cd" CreationDate="2011-09-01T19:16:58.070" UserId="1310" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;I have about £500 to spend on sound effect libraries. I'm not entirely sure what type of sounds I want just yet, but I am looking around on the internet and there are SO many DVD's/sets/downloads, I'm not really sure of the good names/brands. With my budget in mind, would somone mind pushing me towards a name that supplies decent sounds?&#xD;&#xA;&#xD;&#xA;Apologies if this sounds vague - it is!&#xD;&#xA;&#xD;&#xA;While I'm here, what is the opinion on Ric Viers' Sound Effects Bible amongst you pros? I've really enjoyed his videos by Rode but realise he is in a deal there.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Many thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="16653" PostHistoryTypeId="1" PostId="10063" RevisionGUID="83f833ab-9693-4f80-81eb-3ce2f888d4cd" CreationDate="2011-09-01T19:16:58.070" UserId="1310" Text="Wanting to invest in a sound effects library, but I'm not sure where to start." ContentLicense="CC BY-SA 3.0" />
  <row Id="16654" PostHistoryTypeId="3" PostId="10063" RevisionGUID="83f833ab-9693-4f80-81eb-3ce2f888d4cd" CreationDate="2011-09-01T19:16:58.070" UserId="1310" Text="&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16655" PostHistoryTypeId="2" PostId="10064" RevisionGUID="fa022272-da5c-4008-bc70-164ff31a1ef1" CreationDate="2011-09-01T19:17:59.803" UserId="315" Text="One of the best sounding period dramas in recent years IMHO was the King's Speech. [Here's][1] a great video interview with the production mixer. He specifically addresses the issues of recording period dramas outside.&#xD;&#xA;&#xD;&#xA;Usually period pieces have a pretty decent budget to pull off the production design, sets, costumes, car rentals etc.. Some shoot exteriors on a backlot, shoot in the countryside, or close off streets. Even then, I there's a ton of ADR to be done. &#xD;&#xA;&#xD;&#xA;The omnipresent sound of traffic rumble is the biggest issue. Other than ADR or shooting in the middle of nowhere, the best way to deal with this type of noise is a Cedar DNS system. We have one where I work and it does wonders if used judiciously.&#xD;&#xA;&#xD;&#xA;Best of luck, getting quiet, clean production sound is truly an underrated art.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/19920118" ContentLicense="CC BY-SA 3.0" />
  <row Id="16656" PostHistoryTypeId="2" PostId="10065" RevisionGUID="bbb5de95-1810-4079-93b2-0eea1fce961a" CreationDate="2011-09-01T19:41:35.903" UserId="1228" Text="That is the $64,000 question :)&#xD;&#xA;&#xD;&#xA;The flagship commercial library providers are Sound Ideas, Hollywood Edge, Soundstorm, and Blastwave FX.  Sound Idea's primary library is the 6000 Series, and for Hollywood Edge it's the Premiere Edition.  These are well-rounded, diverse libraries which can be a great place to start.  From there you have a variety of boutique libraries put out by individuals such as Tim prebble, Frank Bry, Chuck Russom, Colin Hart, and many more.  These are more geared toward specific topics and scenarios, so they won't have widely-diverse categories in each licensed set.&#xD;&#xA;&#xD;&#xA;As far as affordability goes, that's the tricky part.  The 6000 Series discs 1-40 costs about $1,200 and the Premiere Edition about $800 I believe from the first 20 discs.  Soundstorm is $6000.  What may be advisable then, given your budget, is to grab a decent recorder like the H4n and do your own recordings - this of course is considering that you wouldn't need to use the FX immediately and have time to build up the ranks so-to-speak with sounds that you want.  If carefully watch the Sound Ideas deals, you may get lucky and be able to grab the 6000 discs 1-40 for about half price and that alone would be a good jump-start to a workable library.  My feeling on this is many of these libraries are expensive, but a necessary 'evil' in the end.&#xD;&#xA;&#xD;&#xA;Regarding the book, I think it's good but I have a few reservations about it.  Overall he makes some good, valid points about the entire process of sound effects recording and preparation and he does know what he's doing.  I respect his take on the process, and I personally choose to take and adapt to only the parts I like about what he offers and leave the rest.&#xD;&#xA;&#xD;&#xA;This is all of course just my personal opinion" ContentLicense="CC BY-SA 3.0" />
  <row Id="16657" PostHistoryTypeId="2" PostId="10066" RevisionGUID="12d7ad2f-6091-46fa-8721-6ee92c5b291e" CreationDate="2011-09-01T19:52:20.753" UserDisplayName="user80" Text="I would start with the BBC sound effects library.  That's the one I bought first and I still like it.  60 discs for £395 + VAT.&#xD;&#xA;&#xD;&#xA;http://www.canford.co.uk/Products/81-076_BBC-SOUND-EFFECTS-LIBRARY-Set-of-discs-1-60" ContentLicense="CC BY-SA 3.0" />
  <row Id="16658" PostHistoryTypeId="2" PostId="10067" RevisionGUID="376176c5-63d0-423d-8c67-bdce0b0b7047" CreationDate="2011-09-01T20:02:54.563" UserId="1266" Text="I would go with a bunch of independent libraries like this one http://chuckrussomfx.com/store/index.php?main_page=product_info&amp;cPath=2&amp;products_id=8&#xD;&#xA;&#xD;&#xA;The major libraries ARE pretty great for a wide variety of sounds but if you really want quality recordings, many Independent libraries are the way to go  IMHO.  Plus grabbing your own mics and recorder can be an even better way to grab sounds and learn about the sonic world.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16659" PostHistoryTypeId="2" PostId="10068" RevisionGUID="c5bbc6d6-2c9a-4513-a5b0-d256ab1c55d6" CreationDate="2011-09-01T20:57:36.210" UserDisplayName="user49" Text="&quot;I'm not entirely sure what type of sounds I want just yet&quot; &lt;- this says it all. Wait until you need sounds for a project before you spend money on them. You'd be much better off spending the 500 quid on a recorder so you can start building your own library." ContentLicense="CC BY-SA 3.0" />
  <row Id="16660" PostHistoryTypeId="2" PostId="10069" RevisionGUID="d78bd46a-3caf-478c-8c2a-823c5efb9b89" CreationDate="2011-09-01T22:21:48.183" UserId="6499" Text="I am just curious as to what others are doing when it comes to backgrounds inside a house/apartment.  I always have trouble trying to design and layer a bg for an interior where no visual evidence of the outside world  really exist for the scene.  &#xD;&#xA;&#xD;&#xA;Just trying to get some ideas or a direction to head, the scene is a girl putting on makeup at an antique makeup table, at some point she moves and goes into a walk in closet to put on a dress.  &#xD;&#xA;For a percentage of the scene she is on her cell phone with it on speakerphone.  &#xD;&#xA;&#xD;&#xA;I have to have multiple directions/ bg paths because it is a &quot;choose your own adventure&quot; game where the wrong choices inevitably lead to her death by way of vampire.  The game is in live action cinematic segments.&#xD;&#xA;&#xD;&#xA;Ive got some general &quot;air&quot; right now and am playing around with broken/ beat up appliances adding in some tension at times or something along that line, but none of it is ever visually supported and just not really working.  &#xD;&#xA;Just wondering/ looking for inspiration as I go through my library of recordings.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16661" PostHistoryTypeId="1" PostId="10069" RevisionGUID="d78bd46a-3caf-478c-8c2a-823c5efb9b89" CreationDate="2011-09-01T22:21:48.183" UserId="6499" Text="Backgrounds for Interiors" ContentLicense="CC BY-SA 3.0" />
  <row Id="16662" PostHistoryTypeId="3" PostId="10069" RevisionGUID="d78bd46a-3caf-478c-8c2a-823c5efb9b89" CreationDate="2011-09-01T22:21:48.183" UserId="6499" Text="&lt;background&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16663" PostHistoryTypeId="2" PostId="10070" RevisionGUID="216d749f-ba1d-48a4-b8eb-4675030ffa97" CreationDate="2011-09-01T22:32:37.183" UserId="1228" Text="Here's a few' garden variety' ideas, depending upon the context:&#xD;&#xA;&#xD;&#xA;&lt;p&gt;**-Interior**: clock tick, fridge hum, offstage tv show in the other room, angry apartment neighbors fighting muffled, baby cries muffled, gentle deep wind movement/presence, buzzing of an old light&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;&lt;p&gt;**-Exterior**: birds chirp, spotted bird chirps (lark, dove, blackbird, etc), cicadas (depending upon scene/location context), traffic drone, traffic bys deep, specific car procedures (e.g starts and aways /w doors), motorcycle rev bys, slow truck bys, offstage kids play, offstage siren blips/by, train horn/by distant, bicycle by w/ bell, occasional footstep walk bys, heli by (like a Bell 206 for 407), distant 747 by, dog barks (yippy and happy, or deep and angry), offstage basketball game distant, ice cream truck slow by, garbage truck procedure (good for morning scenes), scooter rev by&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;There are endless possibilities&#xD;&#xA;&#xD;&#xA;I wouldn't necessarily use them all, nor all at the same time, but these are some BG elements that instinctually come to mind for such a scene as a jumping-off point - most it depends upon the location, time of day, and context of the scene." ContentLicense="CC BY-SA 3.0" />
  <row Id="16664" PostHistoryTypeId="5" PostId="10070" RevisionGUID="43882881-a570-4d78-82f9-218059ec3bbb" CreationDate="2011-09-01T22:39:39.377" UserId="1228" Comment="added 135 characters in body; added 69 characters in body" Text="Here's a few' garden variety' ideas, depending upon the context:&#xD;&#xA;&#xD;&#xA;&lt;p&gt;**-Interior**: clock tick, fridge hum, offstage tv show in the other room, angry apartment neighbors fighting muffled, baby cries muffled, gentle deep wind movement/presence, buzzing of an old light&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;&lt;p&gt;**-Exterior**: birds chirp, spotted bird chirps (lark, dove, blackbird, etc), cicadas (depending upon scene/location context), traffic drone, traffic bys deep, specific car procedures (e.g starts and aways /w doors), motorcycle rev bys, slow truck bys, offstage kids play, offstage siren blips/by, train horn/by distant, bicycle by w/ bell, occasional footstep walk bys, heli by (like a Bell 206 for 407), distant 747 by, dog barks (yippy and happy, or deep and angry), offstage basketball game distant, ice cream truck slow by, garbage truck procedure (good for morning scenes), scooter rev by, distant contruction (e.g. piledriver, bulldozers, jackhammers, etc), various low-level scattered horn honks, car alarm and chirps off, church bell tolls, lawnmower, weedwhacker, leaf blower, sprinklers &lt;/p&gt;&#xD;&#xA;&#xD;&#xA;There are endless possibilities&#xD;&#xA;&#xD;&#xA;I wouldn't necessarily use them all, nor all at the same time, but these are some BG elements that instinctually come to mind for such a scene as a jumping-off point - most it depends upon the location, time of day, and context of the scene." ContentLicense="CC BY-SA 3.0" />
  <row Id="16665" PostHistoryTypeId="5" PostId="10070" RevisionGUID="a92a7f1c-b389-418a-906f-68abf10c08bb" CreationDate="2011-09-01T22:48:48.453" UserId="1228" Comment="added 63 characters in body" Text="Here's a few' garden variety' ideas, depending upon the context:&#xD;&#xA;&#xD;&#xA;&lt;p&gt;**-Interior**: clock tick, fridge hum, offstage tv show in the other room, angry apartment neighbors fighting muffled, baby cries muffled, gentle deep wind movement/presence, buzzing of an old light&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;&lt;p&gt;**-Exterior**: birds chirp, spotted bird chirps (lark, dove, blackbird, etc), cicadas (depending upon scene/location context), traffic drone, traffic bys deep, specific car procedures (e.g starts and aways /w doors), motorcycle rev bys, slow truck bys, offstage kids play, offstage siren blips/by, train horn/by distant, bicycle by w/ bell, occasional footstep walk bys, heli by (like a Bell 206 for 407), distant 747 by, dog barks (yippy and happy, or deep and angry), offstage basketball game distant, ice cream truck slow by, garbage truck procedure (good for morning scenes), scooter rev by, distant contruction (e.g. piledriver, bulldozers, jackhammers, etc), various low-level scattered horn honks, car alarm and chirps off, church bell tolls, lawnmower, weedwhacker, leaf blower, sprinklers, occasional ship/fog horns (if location is near body of water) &lt;/p&gt;&#xD;&#xA;&#xD;&#xA;There are endless possibilities&#xD;&#xA;&#xD;&#xA;I wouldn't necessarily use them all, nor all at the same time, but these are some BG elements that instinctually come to mind for such a scene as a jumping-off point - most it depends upon the location, time of day, and context of the scene." ContentLicense="CC BY-SA 3.0" />
  <row Id="16666" PostHistoryTypeId="2" PostId="10071" RevisionGUID="5204106c-0e24-4696-bd8c-b6c689158bb7" CreationDate="2011-09-01T23:43:09.203" UserId="1308" Text="My cat seems to hate sweeping frequencies in the high-mid range.  Not a particular tone itself, but when it changes from low to high." ContentLicense="CC BY-SA 3.0" />
  <row Id="16667" PostHistoryTypeId="2" PostId="10072" RevisionGUID="ea0c1df5-56c9-4121-a98f-93f2acc78728" CreationDate="2011-09-02T00:23:12.473" UserId="103" Text="Cats are always (well the ones i tried with anyway) intrigued by Didgeridoo sounds, and so far, every dog i've &quot;played at&quot; runs away like there's no tomorrow!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16668" PostHistoryTypeId="2" PostId="10073" RevisionGUID="51a2fc0b-05ba-419a-9b57-b8f61107ece4" CreationDate="2011-09-02T00:26:32.527" UserId="432" Text="I started writing a post in the vein of Tim's and Steve's, but then I saw your comment saying that you've got some reasonable recording gear. In that case, I'll point you towards this list here: http://designingsound.org/sfx-independence/&#xD;&#xA;&#xD;&#xA;And this one here: http://ianpalmersound.com/2011/07/24/sound-effect-libraries/&#xD;&#xA;&#xD;&#xA;All of the purveyors listed on these two pages are very good and worth your money.&#xD;&#xA;&#xD;&#xA;Also, don't forget that you can also negotiate trades with people if you need something for a specific project...even on this site. If you find you need something, there's a good chance you'll be able to find someone who would be willing to trade some of their original recordings for yours. Keep in mind that what identifies a recording as unique or difficult is all in the eye of the beholder. You might have access to things that others have trouble collecting, no matter how mundane they may seem." ContentLicense="CC BY-SA 3.0" />
  <row Id="16669" PostHistoryTypeId="2" PostId="10074" RevisionGUID="fc04d0cf-9407-44b8-8644-c665940c9cdd" CreationDate="2011-09-02T01:35:22.333" UserId="1981" Text="Hi, my name is Guillermo Ursini. I am recordist and editor for film tv and radio in Argentina. I am very interested in learn more about sound for film and work in florida USA.  Please see my web page www.estudiou.com.ar&#xD;&#xA;&#xD;&#xA;Good year for all the pros! Bye bye!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16670" PostHistoryTypeId="16" PostId="10074" RevisionGUID="fc04d0cf-9407-44b8-8644-c665940c9cdd" CreationDate="2011-09-02T01:35:22.333" UserId="-1" />
  <row Id="16671" PostHistoryTypeId="2" PostId="10075" RevisionGUID="a26416da-6450-4551-a72d-99d89fbf1501" CreationDate="2011-09-02T01:45:41.223" UserId="1266" Text="Well, one time I used a recording of the roar of a airliner as roomtone for an office...during the boss's scenes mainly." ContentLicense="CC BY-SA 3.0" />
  <row Id="16672" PostHistoryTypeId="2" PostId="10076" RevisionGUID="24bdab90-bc98-469b-a16c-872e2f301178" CreationDate="2011-09-02T01:53:51.267" UserId="429" Text="I'd go with placing her in context of the neighbourhood and surround environment. Even with the window closed you can still hear traffic / people sounds in the background ... well at least in real life you can." ContentLicense="CC BY-SA 3.0" />
  <row Id="16673" PostHistoryTypeId="2" PostId="10077" RevisionGUID="a5163ec6-8194-4362-bace-d7bbb11dd7dc" CreationDate="2011-09-02T02:31:56.707" UserId="40" Text="I very much agree with @Stavrosound.&#xD;&#xA;&#xD;&#xA;To add a little to it:&#xD;&#xA;&#xD;&#xA;It all depends on what mood you're trying to set and what scene you're trying to sell. If the girl is in a bad neighborhood, you might want to use some sounds that you'd hear in a bad place - maybe a slow car by with a sub rattle, a Harley pulling away in the distance, the hum of sodium vapor lamps, a distant dog barking, if it's during the day, maybe a distant basketball. All mentioned in Stavro's post.&#xD;&#xA;&#xD;&#xA;If you are in a nice neighborhood, you might want to add distant lawn mower, sprinkler, happy dog barking, maybe a pool party (obviously depends on season - if it was winter with snow on the ground, all you'd hear is an occasional car by, maybe a snow plow, wind,etc...)&#xD;&#xA;&#xD;&#xA;As for the mix of it - obviously all of the sounds would have a quite attenuated high end in the final mix. Also, you can play with the levels and amount of high frequency cut-off. If you're in a really nice house, you will have thick, insulated walls, and you'll have a fairly extreme high end roll-off, as well as lower overall levels. A cheap apartment or very old house would have thin walls with little insulation, so you'd have to adjust accordingly.&#xD;&#xA;&#xD;&#xA;Last note about the mix. You're goal is to make the environment &quot;breathe&quot;. You want to bring sounds in and out, and maybe back in again - it gives the environment a realistic dynamic. So instead of a solid room tone, you have a room tone that has some traffic drone, et al that moves in and out of the scene, etc...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16674" PostHistoryTypeId="2" PostId="10078" RevisionGUID="bffaeab7-015f-423c-a406-b8825fd4a164" CreationDate="2011-09-02T04:27:39.587" UserId="431" Text="My favourites,&#xD;&#xA;&#xD;&#xA;&quot;Nothing changed during the online.&quot;&#xD;&#xA;&quot;We changed/moved picture but it won't affect sound.&quot;&#xD;&#xA;&quot;I just have a few notes&quot;&#xD;&#xA;&quot;I'm sure our (picture) editor knows how to export an OMF.&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16675" PostHistoryTypeId="2" PostId="10079" RevisionGUID="ba252fa5-9552-4b33-a20d-f42e009e293f" CreationDate="2011-09-02T05:08:34.747" UserId="7642" Text="I agree with all the above.&#xD;&#xA;But occasionally it does become harder.&#xD;&#xA;In a &quot;posh&quot; expensive house in the middle of nowhere (secluded) it gets harder to layer in a lot of those mentioned exterior sounds.&#xD;&#xA;Your pretty much left with possible offscree radio and general airs and hums.&#xD;&#xA;In scenes like this I tend to get stuck sometimes. Working hard to try to reinvent the wheel. Try not to. Just let it breathe, make sure extra time is spent on great foley, characters breathing and that appropriate verbs are used that will sell it way better than any subtle designed air, IMHO. And if that offscreen radio is used try serious radio talk or classical muzak." ContentLicense="CC BY-SA 3.0" />
  <row Id="16676" PostHistoryTypeId="2" PostId="10080" RevisionGUID="06bf5d3b-c750-47f3-bea6-f9e17aec68b6" CreationDate="2011-09-02T06:19:04.473" UserId="7642" Text="Hi all! I'm a sound editor and re-recording mixer in Sweden.&#xD;&#xA;&#xD;&#xA;I spend my time pretty evenly divided between film and Tv, editing and mixing.&#xD;&#xA;I also work with a great composer doing the score music mixes for the features he works with.&#xD;&#xA;When i'm not sound geeking or recording weird sounds I love the odd moment of silence and of course I'm also a long time sail bum.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16677" PostHistoryTypeId="16" PostId="10080" RevisionGUID="06bf5d3b-c750-47f3-bea6-f9e17aec68b6" CreationDate="2011-09-02T06:19:04.473" UserId="-1" />
  <row Id="16678" PostHistoryTypeId="2" PostId="10081" RevisionGUID="5ab9a57b-dd8c-48a1-a383-70973c10b6eb" CreationDate="2011-09-02T11:42:52.247" UserId="1049" Text="I've seen a show before on dog 'language'. What may sound like a generic bark to the untrained ear can actually be one of several main types of communication, distinguished by subtle changes in the sound. &#xD;&#xA;&#xD;&#xA;Typically, a bark or growl can be either a greeting/announcing location to 'the pack'; a territorial/aggressive noise to warn others;  a 'claiming' growl, to warn of possession of food etc.; or playful. &#xD;&#xA;&#xD;&#xA;Whilst this may sound like common sense, I was quite surprised by an experiment in the show. They put a dog on it's own in a room with food. The dog made a move for the food the instant he was left alone. A growl (posessive) was played into the room, and the dog instantly backed off and left the food alone. The test was repeated, but this time a different growl (playful) was played into the room. I could barely hear a difference in tonation etc but it clearly had a different meaning to the dog; he didn't seem to care and just went ahead and ate the food!&#xD;&#xA;&#xD;&#xA;To cut a long story short, with respect to animal noises/calls, I believe a lot of them are primarily species specific. Humans would be generally unaware and unaffected by the different calls of different species, as dogs and cats are to noises we respond to as mentioned (explosions etc). It's possible that certain different animals may respond to pitch variations etc though; whilst not necessarily sounding like an animal call, the tone changes probably still relate a certain message to them. And, of course, greater sensitivity than ours of hearing in different frequency bands must be taken into consideration!&#xD;&#xA;&#xD;&#xA;With regards to our primal instincts, I don't think we've been completely desensitised. For example, a twig-snap can still make us alert and on guard; no doubt instinctively from when we were stalked by predators =P&#xD;&#xA;&#xD;&#xA;(First post: sorry for rambling on a bit!)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16679" PostHistoryTypeId="2" PostId="10082" RevisionGUID="93ed5f24-6089-4574-875f-61e16132dee3" CreationDate="2011-09-02T12:48:05.573" UserId="985" Text="Music composer from Paris / France. I'm interested in the marriage of sound and music. The musical expressiveness of sound, or the noise of music. :) " ContentLicense="CC BY-SA 3.0" />
  <row Id="16680" PostHistoryTypeId="16" PostId="10082" RevisionGUID="93ed5f24-6089-4574-875f-61e16132dee3" CreationDate="2011-09-02T12:48:05.573" UserId="-1" />
  <row Id="16681" PostHistoryTypeId="2" PostId="10083" RevisionGUID="8042425c-5d44-445d-bc12-da248c07eb4d" CreationDate="2011-09-02T13:46:10.687" UserId="194" Text="one off sounds are the most interesting part of BGFX in my opinion.  &#xD;&#xA;&#xD;&#xA;Check out [this article][1] by peter albrechtsen for some cool examples.&#xD;&#xA;&#xD;&#xA;reference dead poet's society and good will hunting as well.&#xD;&#xA;&#xD;&#xA;don't worry if things aren't entirely visually supported, and don't be afraid to do things in a way that *will* be heard and interpreted.&#xD;&#xA;&#xD;&#xA;We've actually recorded a bunch of bgfx sweeteners in the booth that can be verbed out to taste for dealing with interior ambiances.  things like chair creaks, plastic creaks, duffle bag moves, coughing, fidgeting, etc.  All miked from 6 feet away and recorded dry.  Those things just add a certain amount of life to an environment and can be played up in a mix as opposed to down.&#xD;&#xA;&#xD;&#xA;general wood moving textures are fun.  even abstract stuff.  feels like building settling and can give a sense of age to an interior locale.&#xD;&#xA;&#xD;&#xA;steady constants can be used to ground one to reality and then taken away to signify a change in state.  things like clocks ticking, faucets dripping, etc.  &#xD;&#xA;&#xD;&#xA;animals are fun.  dogs, cats, birds, squirrels, whatever.  just verb it out and roll off some top end.&#xD;&#xA;&#xD;&#xA;IMO appliances tend to just sound like noise and don't do much different than the air track, so they're not as useful.&#xD;&#xA;&#xD;&#xA;TVs and radios are tricky because they tend to have human voices on them, which compete with dialogue even at low levels.  they're useful if nothing is being said though.&#xD;&#xA;&#xD;&#xA;traffic, sirens and car horns (even on interiors) can give the sound of being in a city.  see every episode of law and order.  also airplane bys.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2011/02/peter-albrechtsen-special-backgrounds-in-the-foreground/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16682" PostHistoryTypeId="2" PostId="10084" RevisionGUID="c2262ce7-7bca-46ca-8f02-da6415638d48" CreationDate="2011-09-02T16:32:45.443" UserId="1159" Text="I've recorded my cat as much as I can since he makes some great noises. The fun part comes when I'm editing he starts talking back to himself and getting agitated looking for the other cat that's heard but not smelled. I've ended up having to do any of that editing while he's hard asleep or on headphones. Occasionally he'll respond to birds as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="16683" PostHistoryTypeId="5" PostId="7660" RevisionGUID="3ac47cfe-025f-4c09-8701-519b254dfec6" CreationDate="2011-09-02T16:45:38.673" UserId="393" Comment="added 145 characters in body" Text="... you have a long-standing arrangement with all your beer drinking friends to save their bottles because you can never have too many shatter sounds.&#xD;&#xA;&#xD;&#xA;... you have about 100 empty beer bottles in your garage just waiting for the moment their lives will come to a gloriously sweetened end.&#xD;&#xA;&#xD;&#xA;... you have your friends trained to report all unique sounds they hear to you. eg. someone runs out of the public restroom to find you simply to say &quot;Oh my god, you have to hear the motor on that paper towel dispenser!&quot;&#xD;&#xA;&#xD;&#xA;... you read the phrase &quot;They dumped boiling water and oil on the French troops...&quot; and your internal soundtrack fills in the Wilhelm scream." ContentLicense="CC BY-SA 3.0" />
  <row Id="16684" PostHistoryTypeId="2" PostId="10085" RevisionGUID="66c8d09d-5f07-4aaf-9ca2-52416329a627" CreationDate="2011-09-02T17:22:46.220" UserId="6411" Text="Many excellent points so far from everyone. One thing that I thought of that hasn't been mentioned yet is using the background going on at the other end of the phone to set up contrast. Obviously it depends on the context of the storyline, but since you brought it up I'd imagine it's pertinent. Focusing on where that person is on the other end of the call can give you a nice dichotomy of spaces.&#xD;&#xA;&#xD;&#xA;For example, if your central character is in a dark, scary house all by herself while the caller is at a club surrounded by a throng of party-goers.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16685" PostHistoryTypeId="13" PostId="1257" RevisionGUID="60eac3ca-19d2-4ca3-957d-7218f66e0be8" CreationDate="2011-09-02T18:58:56.887" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="16686" PostHistoryTypeId="5" PostId="1257" RevisionGUID="b884dd90-d0f0-4617-8a17-380625c41821" CreationDate="2011-09-02T19:03:21.950" UserId="18160" Comment="deleted 495 characters in body; added 22 characters in body" Text="... You make your kids play out in the cold to get them sick so you can record their flegmy throats.&#xD;&#xA;&#xD;&#xA;... You wish there was an EQ knob on your mother in-law because when she's angry, that 2.5K zing in her voice is too harsh for you to listen to.&#xD;&#xA;&#xD;&#xA;... You have a road case for your wallet and another for your pencil.&#xD;&#xA;&#xD;&#xA;... You turn to your date in the movie theater while watching Titanic's most intimate scene and ask her &quot;how did they mic Leo with a lapel when he's neck-high in water?&quot;&#xD;&#xA;&#xD;&#xA;... You stop a wedding vow as the minister says &quot;you may now kiss the bride&quot; to adjust the SM57 to be pointed more directly at the minister while he's at the podium.&#xD;&#xA;&#xD;&#xA;... You move someone you are having a casual conversation with to a different corner of the room so that there are better acoustics.&#xD;&#xA;&#xD;&#xA;... You tell your wife to stop chewing so loudly because you can't stand mouth noise.&#xD;&#xA;&#xD;&#xA;... You get in fights with teenagers at the movies to secure the middle of the theater because it's the &quot;sweet spot&quot;&#xD;&#xA;&#xD;&#xA;... You ask for your money back because the theater's right speaker was down .5 dB in the high-end.&#xD;&#xA;&#xD;&#xA;... Your license plate says &quot;MS OR DIE&quot;&#xD;&#xA;&#xD;&#xA;... Your dogs' names are &quot;Pink Noise&quot; and &quot;1K&quot;.&#xD;&#xA;&#xD;&#xA;... Your bedroom and bathroom is lined with aurolex.&#xD;&#xA;&#xD;&#xA;... You try to hit the undo button after you made a mistake while you're filling out a doctor's information form.&#xD;&#xA;&#xD;&#xA;... You've measured your boss' yelling at you with an SPL meter.&#xD;&#xA;&#xD;&#xA;... Your doorbell ring is the Wilhelm Scream." ContentLicense="CC BY-SA 3.0" />
  <row Id="16687" PostHistoryTypeId="5" PostId="1257" RevisionGUID="f9650edd-26ae-4ff4-b0ba-69e60496d3b1" CreationDate="2011-09-02T19:09:18.310" UserId="18160" Comment="added 7 characters in body" Text="... You make your kids play out in the cold to get them sick so you can record their flegmy throats.&#xD;&#xA;&#xD;&#xA;... You wish there was an EQ knob on your mother in-law because when she's angry, that 2.5K zing in her voice is too harsh for you to listen to.&#xD;&#xA;&#xD;&#xA;... You have a road case for your wallet and another for your pencil.&#xD;&#xA;&#xD;&#xA;... You turn to your date in the movie theater while watching Titanic's most intimate scene and ask her &quot;how did they mic Leo with a lapel when he's neck-high in water?&quot;&#xD;&#xA;&#xD;&#xA;... You run up and stop a wedding as the minister says &quot;you may now kiss the bride&quot; to adjust the SM57 to be pointed more directly at the minister while he's at the podium.&#xD;&#xA;&#xD;&#xA;... You move someone you are having a casual conversation with to a different corner of the room so that there are better acoustics.&#xD;&#xA;&#xD;&#xA;... You tell your wife to stop chewing so loudly because you can't stand mouth noise.&#xD;&#xA;&#xD;&#xA;... You get in fights with teenagers at the movies to secure the middle of the theater because it's the &quot;sweet spot&quot;&#xD;&#xA;&#xD;&#xA;... You ask for your money back because the theater's right speaker was down .5 dB in the high-end.&#xD;&#xA;&#xD;&#xA;... Your license plate says &quot;MS OR DIE&quot;&#xD;&#xA;&#xD;&#xA;... Your dogs' names are &quot;Pink Noise&quot; and &quot;1K&quot;.&#xD;&#xA;&#xD;&#xA;... Your bedroom and bathroom is lined with aurolex.&#xD;&#xA;&#xD;&#xA;... You try to hit the undo button after you made a mistake while you're filling out a doctor's information form.&#xD;&#xA;&#xD;&#xA;... You've measured your boss' yelling at you with an SPL meter.&#xD;&#xA;&#xD;&#xA;... Your doorbell ring is the Wilhelm Scream." ContentLicense="CC BY-SA 3.0" />
  <row Id="16688" PostHistoryTypeId="2" PostId="10086" RevisionGUID="f4aa387e-54d5-4feb-b49a-70ecb16a2922" CreationDate="2011-09-02T19:27:39.193" UserId="194" Text="...you've ever frozen contact mics or hydrophones&#xD;&#xA;&#xD;&#xA;...you plan an extra couple of hours into your road trip's drive time for amb recording&#xD;&#xA;&#xD;&#xA;...your wife is ok with that.&#xD;&#xA;&#xD;&#xA;...you'd bring the dog, except that you know she'll make noise&#xD;&#xA;&#xD;&#xA;...you agonize for weeks over a mic purchase&#xD;&#xA;&#xD;&#xA;...you build stuff to hide mics and recorders in&#xD;&#xA;&#xD;&#xA;...you've spent weekends just driving out into the countryside looking for stuff to record&#xD;&#xA;&#xD;&#xA;...the sound of thunder triggers a fast twitch mic setup response&#xD;&#xA;&#xD;&#xA;...you imagine how that thing you're hearing right now would look in izotope&#xD;&#xA;&#xD;&#xA;...you've ever hidden mics in your ears&#xD;&#xA;&#xD;&#xA;...you've ever had a cop ask you to pick up your gear and leave&#xD;&#xA;&#xD;&#xA;...your non-audio significant other can spot a 57 on TV a mile away&#xD;&#xA;&#xD;&#xA;...you go antiquing to look for cool sounding props&#xD;&#xA;&#xD;&#xA;...you imagine the sound of the destruction of the furniture left outside that guy's house up the street&#xD;&#xA;&#xD;&#xA;...screw it, you go and get that furniture and break it.&#xD;&#xA;&#xD;&#xA;...you never oil the hinges in your doors" ContentLicense="CC BY-SA 3.0" />
  <row Id="16689" PostHistoryTypeId="2" PostId="10087" RevisionGUID="3fbd81c1-27b3-4ed8-8e29-afd793d8cdad" CreationDate="2011-09-02T19:38:52.230" UserId="393" Text="I just came across [this article by James Hogg][1], and it's incredibly intriguing despite being written for musicians.  I know, for me, I have way too many plugins, especially considering I tend to rely on the same ones over and over.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicthinktank.com/blog/kill-your-plug-ins-and-up-your-music-production-skills.html&#xD;&#xA;&#xD;&#xA;Thoughts?&#xD;&#xA;&#xD;&#xA;Also, it would be interesting to do a Sound Design Challenge using nothing but raw recordings and a small handful of the same plugins." ContentLicense="CC BY-SA 3.0" />
  <row Id="16690" PostHistoryTypeId="1" PostId="10087" RevisionGUID="3fbd81c1-27b3-4ed8-8e29-afd793d8cdad" CreationDate="2011-09-02T19:38:52.230" UserId="393" Text="Kill your plugins" ContentLicense="CC BY-SA 3.0" />
  <row Id="16691" PostHistoryTypeId="3" PostId="10087" RevisionGUID="3fbd81c1-27b3-4ed8-8e29-afd793d8cdad" CreationDate="2011-09-02T19:38:52.230" UserId="393" Text="&lt;plug-ins&gt;&lt;techniques&gt;&lt;challenge&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16692" PostHistoryTypeId="2" PostId="10088" RevisionGUID="45df5e2c-ccbd-4933-86e6-b5c69c57230a" CreationDate="2011-09-02T20:52:54.517" UserId="1012" Text="I had a Drummer friend a while back who paired back his kit from an 8 piece full kit to a small 3 piece Jazz kit... being in a metal band, he had to get pretty insanely creative to keep delivering the same dynamic of drumming... but he did it.&#xD;&#xA;&#xD;&#xA;Sometimes I try to do the same with Audio... force myself to do something new.  I feel like sometimes we get too used to the fancy plug ins and loose a bit of our innovative and creative abilities.  I'm not gonna get rid of my plug ins forever, but sometimes it's good to pull back and get back to the basics, to get the creative juices flowing and to maximize how we use the crazy plug ins we have now.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16693" PostHistoryTypeId="2" PostId="10089" RevisionGUID="e99d9dee-efb2-4516-a4f1-732ba6ec6794" CreationDate="2011-09-02T21:16:28.357" UserId="1322" Text="Although James Hogg's reason for binning plugins relates to the sound design aspect and preference for analogue input; [my reason][1] similarly relates to over-processing, but from the point-of-view of field recording and its implications with respect to the future use of library sound archive material - so it all adds up not to waste your $$$ on plugins, and bin the ones you've got!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://wp.me/pTkhp-v2" ContentLicense="CC BY-SA 3.0" />
  <row Id="16694" PostHistoryTypeId="2" PostId="10090" RevisionGUID="c07d8fe2-4eb1-4383-af36-53d9a4639942" CreationDate="2011-09-02T21:39:04.140" UserDisplayName="user49" Text="Kinda odd how the 80X0 were released 2 or 3 years ago now... &amp; still no 8030" ContentLicense="CC BY-SA 3.0" />
  <row Id="16695" PostHistoryTypeId="2" PostId="10091" RevisionGUID="9abf3097-3a58-4c0b-a6ef-b822dd128f54" CreationDate="2011-09-02T21:39:20.817" UserId="578" Text="Yes! Waiting anxiously for that one. I want to pair it with my 8040 pair for a super compact M-S-M rig, and for normal MS. I am also hoping that the 8030, if it does come out at some point, will have a similarly extended freq range as the 8040/8050. Kind of disappointed that the new-ish 8060/8070 don't have that range.&#xD;&#xA;&#xD;&#xA;I currently use an MKH30 with the 8040 and it works really well. But yeah, being able to fit an MS rig in a stereo ball gag would be awesome.&#xD;&#xA;&#xD;&#xA;Unfortunately, I only know about the rumours, and can't shed any light if and when a 8030 will be released. However, I would certainly expect that Sennheiser does it at some point. Maybe they're struggling with the design. But then again, Neumann already has a tiny fig-8 (the KK120), and Sennheiser owns Neumann, so you'd expect they manage to build the 8030 in the end, assuming it is down to design challenges. I can't see any other reason why it has been taking Sennheiser so long though, as this mic would surely be an instant hit for them.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16696" PostHistoryTypeId="2" PostId="10092" RevisionGUID="a39b3e37-7807-401f-8952-f65862fbbf0d" CreationDate="2011-09-02T21:49:30.580" UserDisplayName="user49" Text="Only a couple of times in my life do I remember hearing a sound &amp; not being able to immediately identify its source, but the psychological distance between when you first notice it and then when you identify it is fascinating: my brain starts taking great leaps as to what it might be, its like imagination fighting with logic! So the question is, what sounds have you heard in real life that you haven't been able to immediately identify?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16697" PostHistoryTypeId="1" PostId="10092" RevisionGUID="a39b3e37-7807-401f-8952-f65862fbbf0d" CreationDate="2011-09-02T21:49:30.580" UserDisplayName="user49" Text="Misinterpreting sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="16698" PostHistoryTypeId="3" PostId="10092" RevisionGUID="a39b3e37-7807-401f-8952-f65862fbbf0d" CreationDate="2011-09-02T21:49:30.580" UserDisplayName="user49" Text="&lt;listening&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16699" PostHistoryTypeId="2" PostId="10093" RevisionGUID="f930327d-17a4-4f44-9c41-d5d28edf6004" CreationDate="2011-09-02T21:49:45.410" UserId="1322" Text="I agree with Tim Prebble on this; don't waste money on buying SFX libraries. It's better spent on field recording gear; you can then record anything you want. It will also be 'original' and individually tailored to your own requirements. In addition, you then have the ability to record and sample anything which takes your fancy - there's no limit to what can be done and you'll also gain useful audio experience by taking the recording route.&#xD;&#xA;Best of luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="16700" PostHistoryTypeId="2" PostId="10094" RevisionGUID="ef7d6fe7-61d2-4aec-9e25-5795d568f768" CreationDate="2011-09-02T21:55:36.230" UserId="845" Text="I only ever use the stock Bomb-Factory/Air plugs that come with PT. It's largely because I don't have a lot of throwaway money right now.  When I do have $$$, the first thing I think of is always mics or cables or something. I've also taken it as a bit of a challenge, to do as much as I can with as little as possible. &#xD;&#xA;&#xD;&#xA;For the most part, and with the exception of the Maxim limiter, the BF and Air plugs are actually really useful. They're clean, low-CPU load, and every PT system in the world has them, so no matter where I am or whose system I'm working on, I can whip out a session and start working. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16701" PostHistoryTypeId="5" PostId="10091" RevisionGUID="5944b649-07cf-4d74-9105-22df55a7d78b" CreationDate="2011-09-02T21:57:43.077" UserId="578" Comment="added 242 characters in body" Text="Yes! Waiting anxiously for that one. I want to pair it with my 8040 pair for a super compact M-S-M rig, and for normal MS. I am also hoping that the 8030, if it does come out at some point, will have a similarly extended freq range as the 8040/8050. Kind of disappointed that the new-ish 8060/8070 don't have that range.&#xD;&#xA;&#xD;&#xA;I currently use an MKH30 with the 8040 and it works really well. But yeah, being able to fit an MS rig in a stereo ball gag would be awesome.&#xD;&#xA;&#xD;&#xA;Unfortunately, I only know about the rumours, and can't shed any light if and when a 8030 will be released. However, I would certainly expect that Sennheiser does it at some point. Maybe they're struggling with the design. But then again, Neumann already has a tiny fig-8 (the KK120), and Sennheiser owns Neumann, so you'd expect they manage to build the 8030 in the end, assuming it is down to design challenges. I can't see any other reason why it has been taking Sennheiser so long though, as this mic would surely be an instant hit for them.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;You've probably seen [this][1] - perhaps it's an idea if anybody here who's waiting for that mic start nagging Sennheiser to get their shit together :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://taperssection.com/index.php?topic=145188.msg1869066#msg1869066" ContentLicense="CC BY-SA 3.0" />
  <row Id="16702" PostHistoryTypeId="2" PostId="10095" RevisionGUID="e425f2d6-c818-49e6-90e1-0b5f17c3e4b5" CreationDate="2011-09-02T22:07:16.227" UserId="842" Text="Fun article! But frankly I don't really see myself in it :-)&#xD;&#xA;&#xD;&#xA;I've always been more of an..um..additive, so to say, designer. It didn't really matter weather it was music (I began as an music audio engineer and producer but got bored with it) or film, I've always preferred working with tangible sounds which I layer and filter 'till I'll get what I want.&#xD;&#xA;Most of the methods and principles I use today to get what I want originated from very early in my career, but frankly I didn't originally make up the routines because of any philosophy or plan (and certainly not 'cause any hostility against technology), though they did adapt into a real philosophy later on, I made what I did because there where really not much else I could do with the crappy equipment I had as well as due to the fact that the plugins that existed between the second half of the 90's and early 2000 where devastatingly bad.&#xD;&#xA;Now I've have all the professional equipment I need, and modern plugins are often of high quality, but I still use the very same principles as then, with the difference that my projects has gained a lot in quality from never having to compromise with sub-par mics and essential equipment, and my speed of work has increased tremendously. I firmly believe that if a sound isn't interesting enough to begin with, including lacking details that would complete a composite effect, it will in no way work better with a lotta effects on it. A good effect, though, may very well become truly kick-ass with a gentle and respectful addition of effects added for a calculated reason.&#xD;&#xA;Never do anything without a reason.&#xD;&#xA;Funny thing! I listened to a DAT I produced as an apprentice on a record-company here in Gothenburg, and in many of the songs (acoustical pop-stuff) I didn't use any effects at all, save for compressors, EQ and gate (which isn't effects at all, they're processors) :-)&#xD;&#xA;Ofcourse it got a little bland without any room added, but it impressed my mentor that I actually got it working quite well none the less :-)&#xD;&#xA;&#xD;&#xA;I am in no way opposed of plugins or effects, I wouldn't dream of a world without my Dolby meters, Altiverb or SSL-plugs for example, not to mention all the outboard gear I use (I frankly prefer outboards which I connect through a Lynx-interface, especially compressors, dists, tube-stuff and my trusty old disc-echo!), but when I need to do something concrete, using gear I do not really know or master enough tends to be both stressful and frustrating. I see no use in trying everything I find just for the sake of it, I use the same gear all the time as long as it works with the material. If it doesn't work well enough, then I look for something new, and sometimes it leads me in a new direction. One thing though I never get tired of is different kinds of granular effects, vocoders, degraders and such! Unlike for example reverbs, equalizers and compressors, when needing this stuff I would honestly be disappointed in myself if I knew exactly what I would get in advance as I consider this mainly to reach surrealistic results noone, me included, could ever have imagined before :-)&#xD;&#xA;&#xD;&#xA;To contradict myself completely, I firmly believe in the creative power of happy accidents, and it's not rare I find 'em in new effects and processors I don't really know and therefor just play with in ways they're seriously not meant to. But that's something that's better to experiment with between jobs, not when you're already stressed as it is and the deadlines rushes at you like a train..." ContentLicense="CC BY-SA 3.0" />
  <row Id="16703" PostHistoryTypeId="5" PostId="10095" RevisionGUID="cf887b0d-6318-4af4-b301-ecd7d9b1cff9" CreationDate="2011-09-02T22:13:19.690" UserId="842" Comment="correction" Text="Fun article! But frankly I don't really see myself in it :-)&#xD;&#xA;&#xD;&#xA;I've always been more of an..um..additive, so to say, designer. It didn't really matter weather it was music (I began as an music audio engineer and producer but got bored with it) or film, I've always preferred working with tangible sounds which I layer and filter 'till I'll get what I want.&#xD;&#xA;Most of the methods and principles I use today to get what I want originated from very early in my career, but frankly I didn't originally make up the routines because of any philosophy or plan (and certainly not 'cause any hostility against technology), though they did adapt into a real philosophy later on, I made what I did because there where really not much else I could do with the crappy equipment I had as well as due to the fact that the plugins that existed between the second half of the 90's and early 2000 where devastatingly bad.&#xD;&#xA;Now I've have all the professional equipment I need, and modern plugins are often of high quality, but I still use the very same principles as then, with the difference that my projects has gained a lot in quality from never having to compromise with sub-par mics and essential equipment, and my speed of work has increased tremendously. I firmly believe that if a sound isn't interesting enough to begin with, including lacking details that would complete a composite effect, it will in no way work better with a lotta effects on it. A good effect, though, may very well become truly kick-ass with a gentle and respectful addition of effects added for a calculated reason.&#xD;&#xA;Never do anything without a reason.&#xD;&#xA;Funny thing! I listened to a DAT I produced as an apprentice on a record-company here in Gothenburg, and in many of the songs (acoustical pop-stuff) I didn't use any effects at all, save for compressors, EQ and gate (which isn't effects at all, they're processors) :-)&#xD;&#xA;Ofcourse it got a little bland without any room added, but it impressed my mentor that I actually got it working quite well none the less :-)&#xD;&#xA;&#xD;&#xA;I am in no way opposed of plugins or effects, I wouldn't dream of a world without my Dolby meters, Altiverb or SSL-plugs for example, not to mention all the outboard gear I use (I frankly prefer outboards which I connect through a Lynx-interface, especially compressors, dists, tube-stuff and my trusty old disc-echo!), but when I need to do something concrete, using gear I do not really know or master enough tends to be both stressful and frustrating. I see no use in trying everything I find just for the sake of it, I use the same gear all the time as long as it works with the material. If it doesn't work well enough, then I look for something new, and sometimes it leads me in new directions I've never thought of before. One thing though I never get tired of is different kinds of granular effects, vocoders, degraders and such! Unlike for example reverbs, equalizers and compressors, when needing this stuff I would honestly be disappointed in myself if I knew exactly what I would get in advance as I consider this mainly to reach surrealistic results noone, me included, could ever have imagined before :-)&#xD;&#xA;&#xD;&#xA;To contradict myself completely, I firmly believe in the creative power of happy accidents, and it's not rare I find 'em in new effects and processors I don't really know and therefor just play with in ways they're seriously not meant to. But that's something that's better to experiment with between jobs, not when you're already stressed as it is and the deadlines rushes at you like a train..." ContentLicense="CC BY-SA 3.0" />
  <row Id="16704" PostHistoryTypeId="2" PostId="10096" RevisionGUID="cdae01d4-28ea-4411-be80-8b3c9d9a17be" CreationDate="2011-09-02T22:55:59.780" UserId="842" Text="Can't really remember anything I didn't have at least a clue of what it was, but to stay true to the title &quot;Misinterpreting Sounds&quot;, I was out in the field recording what I thought was some kind'a strange nocturnal birds chirping around like there where no tomorrow. After a while one of these little fellas started to circle me, and I realized it was nothing near a bird, it was a Daubenton's bat! Cute little critter :-)&#xD;&#xA;Frankly had no clue whatsoever there where actually bats that made noises in the audible spectrum before this (about three-four year ago now)!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16705" PostHistoryTypeId="2" PostId="10097" RevisionGUID="746f4421-a93c-4c48-be82-f01e67972d70" CreationDate="2011-09-02T22:58:23.227" UserId="1308" Text="Around 3 years ago, I left a studio where I worked for 4 years.  We had some outboard, but mostly a petty darn good supply of quality plugins and two PT HD systems.&#xD;&#xA;&#xD;&#xA;My career path changed quite a bit at that point (mostly from music production to sound design), and I mostly started working from home on PT LE with minimal plugins.&#xD;&#xA;&#xD;&#xA;While I had worked in similar conditions years before (Cool Edit, Vegas, Acid...stock plugins...), it was a real challenge for me to return to the world of minimal plugins after having so many at my fingertips, but it made me better.&#xD;&#xA;&#xD;&#xA;3 years later, I'm JUST NOW starting to build my plugin and DAW arsenal back up again.  There are so many things I've taught myself about audio over the past 3 years, forcing myself to become better at layering and editing.  And these lessons will always stay with me." ContentLicense="CC BY-SA 3.0" />
  <row Id="16706" PostHistoryTypeId="2" PostId="10098" RevisionGUID="e9afdf88-b850-4506-b7b0-7532fdf3d35e" CreationDate="2011-09-02T23:17:39.263" UserId="842" Text="I'm very fond of the DT 250! I may be mistaken as I havn't actually tried out the DT 100 myself, but I've got the impression 250, though still covering the ears perfectly and isolating from the outside world very well, is a lot smaller than 100?&#xD;&#xA;I can't imagine myself going to work without my DT 250 :-)&#xD;&#xA;No matter what I'd say that's as compact as it get as long as you want truly professional headphones. If it doesn't cover the ears completely you'll probably have a lot of muffled direct sound disturbing the monitoring." ContentLicense="CC BY-SA 3.0" />
  <row Id="16707" PostHistoryTypeId="2" PostId="10099" RevisionGUID="641e7b5e-9187-4ada-8953-a832cb63719e" CreationDate="2011-09-02T23:50:27.387" UserId="842" Text="- AudioEase Altiverb&#xD;&#xA;- SSL Compressor and Gate (can do good limiting as well)&#xD;&#xA;- Waves Q1-10 Equalizer (I would wanna say LinEQ, but it really drains the cpu relentlessly...)&#xD;&#xA;- Extrnalizer (plugin for Nuendo for patching up external effects as had they been internal)&#xD;&#xA;- Steinberg Timestretcher/Pitchshifter (I love abusing this one mercilessly! ;-))&#xD;&#xA;&#xD;&#xA;I don't really depend that much on effects at all, even in my most surreal works I tend to build many effects like granulation, phasing, and such manually and work more with miking techniques and pitch. It's not impossible to do an entire exploitation slasher-flick using only these plugs :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16708" PostHistoryTypeId="2" PostId="10100" RevisionGUID="4178dc93-ec73-433c-9d04-f300a75f21ff" CreationDate="2011-09-03T00:31:47.437" UserId="432" Text="Despite having grown up in the woods, and previously living in a city infested with the little buggers, there's a sound that squirrels make that I hadn't heard before moving to the area I currently live in. There's this very eerie whining bark they can make, that almost sounds like a raspy bird call. In fact, that's what I thought it was for about a year. I'd be out walking my dog in the morning, and I'd hear this sound that I could never identify.&#xD;&#xA;&#xD;&#xA;There are several birds in the area that make somewhat similar sounds, so I continued to assume that it was one of them. Eventually, on one of those walks, I heard this sound and was able to spot a squirrel on a telephone line in the direction of the sound. It's chest was heaving in perfect sync with the call. It completely shocked me." ContentLicense="CC BY-SA 3.0" />
  <row Id="16709" PostHistoryTypeId="2" PostId="10101" RevisionGUID="4d2fab9f-bf47-4f9c-af39-a71bda612e7a" CreationDate="2011-09-03T01:38:06.457" UserId="28" Text="One of the best (most educative, and most memorable) assignments of my undergrad:&#xD;&#xA;&#xD;&#xA;1. Record approx 30 seconds of your own voice.&#xD;&#xA;2. Compose a piece using only cut, copy and paste.&#xD;&#xA;3. Clips should be no longer than a single phoneme.&#xD;&#xA;&#xD;&#xA;No plugs. No reversies. No time-stretch. No sampler playback. No usual suspects.&#xD;&#xA;&#xD;&#xA;This micro-editing assignment taught me so much. Try it out, if you're curious. Make sure you understand what &quot;zero crossings&quot; are, your editor may automatically make selections at zero crossings. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16710" PostHistoryTypeId="2" PostId="10102" RevisionGUID="279f2b9c-0669-40ba-95f5-1310891b255e" CreationDate="2011-09-03T01:56:05.503" UserId="29" Text="The song of the Phainopepla, most common in the desert, sound EXACTLY like a human doing a single whistle, rising in pitch, as if calling for a dog. They're neat-looking, too, like all-black cardinals. Three days later, I was embarrassed to learn that I WASN'T being followed by an OCD-addled, dog-toting hobo." ContentLicense="CC BY-SA 3.0" />
  <row Id="16711" PostHistoryTypeId="2" PostId="10103" RevisionGUID="7d89c24a-d53d-4690-9d6a-f06635131a28" CreationDate="2011-09-03T02:05:01.883" UserId="2022" Text="Good day, I'm fairly new to the sound design world and to this website so much help will be greatly appreciated. I was recently given the opportunity to score the music and design the soundscape for a theatrical play. The play would be depicting highly emotional material and I wanted to know what kind of devices I can employ to fully accent these emotional moments by making the audience (at least some of them) cry or at least have to try hard not to for times of 'extreme sadness' and 'extreme happiness'. I have roughly 6 months to work with. Thanks in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="16712" PostHistoryTypeId="1" PostId="10103" RevisionGUID="7d89c24a-d53d-4690-9d6a-f06635131a28" CreationDate="2011-09-03T02:05:01.883" UserId="2022" Text="How to condition the audience for crying?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16713" PostHistoryTypeId="3" PostId="10103" RevisionGUID="7d89c24a-d53d-4690-9d6a-f06635131a28" CreationDate="2011-09-03T02:05:01.883" UserId="2022" Text="&lt;sound-design&gt;&lt;scoring&gt;&lt;crying&gt;&lt;emotions&gt;&lt;theatre-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16714" PostHistoryTypeId="2" PostId="10104" RevisionGUID="4a2b65d9-c55a-432b-a117-c2f7d5b35041" CreationDate="2011-09-03T02:11:42.013" UserId="1012" Text="The first thing that comes to mind is the sound of my mom's ring tone when she calls, always sounds like an alarm... or something much more menacing.... hehe&#xD;&#xA;&#xD;&#xA;Jokes aside, This happens to me a lot... I think as an Engineer and Sound Designer sometimes we stop hearing things for what they are, and for what they COULD be.  I hear frequency content and hear texture, then I start thinking what was that.  I miiight be alone on this one?&#xD;&#xA;&#xD;&#xA;I notice when I listen to music I don't really pick up on the lyrics, or when I am cutting dialogue I don't remember anything that was said, merely what it sounded like.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16715" PostHistoryTypeId="2" PostId="10105" RevisionGUID="b39ae394-3a25-4d2b-a9d7-56f44abc582e" CreationDate="2011-09-03T03:35:54.387" UserId="1308" Text="Reverse (built into Cubase)&#xD;&#xA;&#xD;&#xA;EQ (Cubase's Studio EQ...better options but this is good all around)&#xD;&#xA;&#xD;&#xA;Pitch Shifting (built into Cubase)&#xD;&#xA;&#xD;&#xA;Time Stretching (built into Cubase)&#xD;&#xA;&#xD;&#xA;Compression (Waves Linear Multiband...creative routing and automation could make a few instances of this resource-hog worth it and useful)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thinking about this topic is definitely making me think about different ways of doing things!  I might try the routing and automation of the LinMb more, and use Steinberg's studio more often!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16716" PostHistoryTypeId="5" PostId="10101" RevisionGUID="e186671d-c0ef-4990-a07a-83b2ed1777c8" CreationDate="2011-09-03T03:57:04.473" UserId="28" Comment="added 42 characters in body" Text="One of the best (most educative, and most memorable) assignments of my undergrad:&#xD;&#xA;&#xD;&#xA;1. Record approx 30 seconds of your own voice.&#xD;&#xA;2. Compose a piece using only cut, copy and paste.&#xD;&#xA;3. Clips should be no longer than a single phoneme.&#xD;&#xA;&#xD;&#xA;No plugs. No reversies. No time-stretch. No sampler playback. No usual suspects.&#xD;&#xA;&#xD;&#xA;This micro-editing assignment taught me so much. Try it out, if you're curious. Make sure you understand what &quot;zero crossings&quot; are, your editor may automatically make selections at zero crossings. &#xD;&#xA;&#xD;&#xA;Credit to my instructor, Kevin Austin." ContentLicense="CC BY-SA 3.0" />
  <row Id="16717" PostHistoryTypeId="2" PostId="10106" RevisionGUID="dba7f74c-4be9-4e39-b637-1ea54bef46bf" CreationDate="2011-09-03T04:06:08.097" UserId="18160" Text="Depends on context.&#xD;&#xA;&#xD;&#xA;But, the basics:&#xD;&#xA;&#xD;&#xA;Strings can add a lot of emotion to a piece or score.&#xD;&#xA;&#xD;&#xA;Recurring melodies for the protagonist which either degenerate or become less pronounced works well.&#xD;&#xA;&#xD;&#xA;But, it helps to see the play or at least read the play first and take notes on what emotions the characters are exhibiting throughout it and augment this with your music.&#xD;&#xA;&#xD;&#xA;I think it all comes down to story-telling. Figure out what you want to communicate and do that through the score.&#xD;&#xA;&#xD;&#xA;Please let me know if I understood your question correctly - otherwise I'll try to think of more things to help you out." ContentLicense="CC BY-SA 3.0" />
  <row Id="16718" PostHistoryTypeId="2" PostId="10107" RevisionGUID="e214545e-1239-4add-9da0-a3702df0b684" CreationDate="2011-09-03T07:28:05.493" UserId="40" Text="Generally, I am fairly good at identifying most sounds, but it does happen to me on occasion in the car - something is rattling, and I can't figure out what. I try to make educated decisions based on matching the frequency of the rattle to the size of what it might be, but that often gets me so far - I'll often spend 15 minutes trying to figure out what it is or it will drive me crazy!&#xD;&#xA;&#xD;&#xA;Also happens every once in a while at work as well -  when something happens from a different room or down the hall that sounds really cool, and I have to investigate to try to find it.&#xD;&#xA;&#xD;&#xA;Generally it turns out to be an object that was manipulated in a way that isn't common, or some strange acoustic or psychoacoustic effect...&#xD;&#xA;&#xD;&#xA;Fascinating question!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16719" PostHistoryTypeId="2" PostId="10108" RevisionGUID="44f959f5-b6c2-4b83-a859-605931719690" CreationDate="2011-09-03T07:44:40.707" UserId="253" Text="One day, after a 4am shift, i was having a siesta. Drifting in and out of sleep, i heard what sounded like someone playing a trumpet upstairs. When i woke up, it turned out to be someone talking. It was interesting because it wasn't a case of my dreams trying to incorporate the sound so i don't wake up, i actually felt like i was hearing a trumpet." ContentLicense="CC BY-SA 3.0" />
  <row Id="16720" PostHistoryTypeId="2" PostId="10109" RevisionGUID="e51107c1-51f7-4589-9812-111cf940b0a7" CreationDate="2011-09-03T09:15:47.063" UserId="1228" Text="... because you habitually fill out the tip and total on a restaurant or bar bill written as timecode values instead of decimals." ContentLicense="CC BY-SA 3.0" />
  <row Id="16721" PostHistoryTypeId="2" PostId="10110" RevisionGUID="1386cf8b-ff67-43a1-9f4a-f216772fdde1" CreationDate="2011-09-03T09:20:19.617" UserId="842" Text="Interesting thread!&#xD;&#xA;&#xD;&#xA;One really important aspect of sounddesigns frankly isn't to recreate what people hear, it's to recreate what they THINK they hear!&#xD;&#xA;Good example with the cup. For anyone around you it probably didn't sound more than possible a light plink, but for you it made an actual sound. In movies one mostly works to tell a personal perspective, and that means translating sounds too faint to hear but transferring well enough to the very sensitive fingertips into an actually not only audible sound, but in compare to how the character actually thinks he/she hears it!&#xD;&#xA;&#xD;&#xA;Another good example is in fights. I train a style of full contact Karate called KyokushinKai, and though the strikes and kicks are indeed powerful as such, they give more of a cracky, clothy sound for the spectators. I take this particular style as an example as we rarely use gloves, and the ones we do use frankly are more for protecting our knuckles than the opponent, and unlike boxing-gloves bare knuckles are sounding very mute as such. As I said, a third person just hear a sound based mostly between higher low mid and somewhere around 4-5KHz, whereas for us actually receiving the impact it sounds rich and full with a fair amount of lows, but with as much highs as the third person perceives. That's what one must respect while designing such sounds if it should has any impact on the audience, no matter what nitpicks never doing anything more physical than receiving occasional wedgies say..." ContentLicense="CC BY-SA 3.0" />
  <row Id="16722" PostHistoryTypeId="2" PostId="10111" RevisionGUID="b6488da0-f946-4cba-8d78-bc0cdbb0071d" CreationDate="2011-09-03T10:33:44.900" UserId="1062" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;Im in need of a decent bag to carry my Zoom H4N, PSC Mixer, Headphones, Spare cables etc. I know that portbrace do plenty but my budget wont stretch too much right now so i was wondering if anyone uses any alternatives such as camera bags or any cheaper options. Ideally id like a slot for my mixer and another similar slot incase i upgrade my recorder in the future.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Sam" ContentLicense="CC BY-SA 3.0" />
  <row Id="16723" PostHistoryTypeId="1" PostId="10111" RevisionGUID="b6488da0-f946-4cba-8d78-bc0cdbb0071d" CreationDate="2011-09-03T10:33:44.900" UserId="1062" Text="Recorder/Mixer Bag" ContentLicense="CC BY-SA 3.0" />
  <row Id="16724" PostHistoryTypeId="3" PostId="10111" RevisionGUID="b6488da0-f946-4cba-8d78-bc0cdbb0071d" CreationDate="2011-09-03T10:33:44.900" UserId="1062" Text="&lt;field-recording&gt;&lt;mixer&gt;&lt;kit-bag&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16725" PostHistoryTypeId="2" PostId="10112" RevisionGUID="6fd6f670-166b-4f13-b590-fb7ae3758276" CreationDate="2011-09-03T12:06:48.200" UserId="596" Text="hi,&#xD;&#xA;&#xD;&#xA;whenever i put my macbook pro to sleep and wake it up, Core Audio / my sound card seem to restart and i get this glitch/click sound on my monitors... sometimes i hear a single one and at other times it's like a sequence of a few. i'm wondering if this is healthy for the monitors?&#xD;&#xA;&#xD;&#xA;the only thing that links my monitors with the macbook pro is a firewire sound card (edirol fa-66) - no mixers or anything on the way.&#xD;&#xA;&#xD;&#xA;thanks,&#xD;&#xA;k&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16726" PostHistoryTypeId="1" PostId="10112" RevisionGUID="6fd6f670-166b-4f13-b590-fb7ae3758276" CreationDate="2011-09-03T12:06:48.200" UserId="596" Text="computer sleep/wakeup click sound - healthy for monitors?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16727" PostHistoryTypeId="3" PostId="10112" RevisionGUID="6fd6f670-166b-4f13-b590-fb7ae3758276" CreationDate="2011-09-03T12:06:48.200" UserId="596" Text="&lt;monitors&gt;&lt;safety&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16728" PostHistoryTypeId="2" PostId="10113" RevisionGUID="91cc013c-31d7-440b-887f-14f65cd8e7d8" CreationDate="2011-09-03T12:54:56.383" UserId="842" Text="About ten years ago I had borrowed an unimpressive but functional Mini DV-camera which I used to record sounds (this was before my first real field-recorder). At one time I brought it with me just to get some nice sounds from a special place I found quite a bit from where I stayed for the moment.&#xD;&#xA;The recording went well, and eventually I got home and began edit the material, including extreme filtering, noise-shaping and pitchshifting. To my surprise a pattern emerged, sounding very much like words, though intonation and articulation was totally off. Most of it was familiar but unintelligible, but many phrases, sounding mostly like insults or frustrated shouts, sounded uncomfortably distinct.&#xD;&#xA;The entire recording ended in a very coarse threat, and that part I'd never use in a movie.&#xD;&#xA;Mind you, I do not believe in the supernatural nor EVP whatsoever, but still this was a pretty surprising thing to develop no matter what your beliefs.&#xD;&#xA;&#xD;&#xA;This segment wasn't very long, just about a few minutes as I took a bit from the original recording and processed it, then I backed it up and lost the rest in a HD-crash and have no clue which tape it would be on even if I did get a new tape-player. From this sequence I used an earlier generation of the sound, the one I talked about had very severe artifacts which made it basically useless for normal films anyway, and did choose a short 20-second part with absolutely no intelligible words at all, just deep snarls, roars and noise, and made a sound effect I call Satanic Noise from. Omitting anything risking to be interpreted as vocals in the commercially intended effect is also a conscious choice I've made as it doesn't matter even in the slightest what I believe in as long as my employer might do so.&#xD;&#xA;&#xD;&#xA;I've been using this effect on most horror-movies I've made for years now, and it serves as a deep drone mostly supporting murderers, rapists and different kinds of higher specters, wraiths and undead to depict their calculated hostility, unlike zombies and werewolves who has no real agenda at all. They act on impulse and instinct :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16729" PostHistoryTypeId="2" PostId="10114" RevisionGUID="a7c96ff8-ef19-4d1b-97bc-885c8ece5776" CreationDate="2011-09-03T13:03:20.377" UserId="842" Text="Never tried it out! How is it compared to the MKH XX-series not counting the 416 or 816?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16730" PostHistoryTypeId="2" PostId="10115" RevisionGUID="4a9287f4-5e60-40bd-ac96-b33cd39f8344" CreationDate="2011-09-03T13:20:26.047" UserId="103" Text="Mine is not one i use very often, I've used it (not always the same take) around 5 or 6 times, but i like knowing its around. And come to think of it, i've recorded in my first ever field recording session!&#xD;&#xA;&#xD;&#xA;It was at a friends jewelry workshop, the sound of melting silver being cooled in warm sulfuric acid. It sounds pretty much like a volcanic spaceshuttle toilet flush. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16731" PostHistoryTypeId="2" PostId="10116" RevisionGUID="42716d95-0dbe-4cea-b274-b078919c1468" CreationDate="2011-09-03T15:37:52.980" UserId="1145" Text="Yup, i'm waiting for that one too. Not sure how long i can wait though, so i'll probably order the mkh 30.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16732" PostHistoryTypeId="5" PostId="10102" RevisionGUID="7cd4943e-88f0-4833-b6ad-8198b1133d8a" CreationDate="2011-09-03T16:16:21.100" UserId="29" Comment="added 1 characters in body" Text="The song of the Phainopepla, most common in the desert, sounds EXACTLY like a human doing a single whistle, rising in pitch, as if calling for a dog. They're neat-looking, too, like all-black cardinals. Three days later, I was embarrassed to learn that I WASN'T being followed by an OCD-addled, dog-toting hobo." ContentLicense="CC BY-SA 3.0" />
  <row Id="16733" PostHistoryTypeId="2" PostId="10117" RevisionGUID="fc842f59-da97-4d3b-a868-76ba4ce0b3f4" CreationDate="2011-09-03T16:31:59.813" UserId="40" Text="I would definitely go with Petrol over portabrace. Biggest problem with Portabrace bags is how loud they are! They also aren't the easiest to configure. They like to be stubborn.&#xD;&#xA;&#xD;&#xA;Petrol bags are awesome, and cheaper. Which PSC do you have?&#xD;&#xA;&#xD;&#xA;If you have the DV mix 3, you can probably get away with the smallest bag ([here][1]), which is only $140. The next steps up aren't that much more expensive either.&#xD;&#xA;&#xD;&#xA;Then again, if you aren't needed it to be wearable / accessible at the same time (ie just for   transportation), you can always go this route: [Part 1][2], [Part 2][3]&#xD;&#xA;&#xD;&#xA;Happy Recording!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/686799-REG/Petrol_PS607_PS607_Deca_Mixer_Bag.html&#xD;&#xA;  [2]: http://www.sonic-terrain.com/2010/09/portage-i-the-mil-spec-way/&#xD;&#xA;  [3]: http://www.sonic-terrain.com/2010/10/portage-ii-the-ultralight-way/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16734" PostHistoryTypeId="2" PostId="10118" RevisionGUID="dcf0de16-b37e-4f44-8784-2f3011996a8a" CreationDate="2011-09-03T16:54:04.697" UserId="40" Text="Are you looking to just record everything separately or actually record a mix as well?&#xD;&#xA;&#xD;&#xA;If you want to do both, you could go with the 744T (wonderful device!) and a mixer like the PSC Promix 6, which has not only 2 sets of XLR outputs (you can go to recorder and camera, or two camera, etc...), but also has Direct Outputs on each channel. It would allow you to do a mono mix and Isos for up to 3 channels (when paired with the 744T). More if you get a fancier recorder (ie - if you got an 8 channel [Deva][1], [SD][2], [Nagra][3], or [Tascam][4] ([another][5]) field recorder, you could do a stereo mix + 6 Iso channels).&#xD;&#xA;&#xD;&#xA;If you want to just plug everything in and not mix, I'd just go with the 744T. Keep in mind that there are only 2 preamps on it. You'll need to go line in to the other two inputs (using TA3-F adapters). This works fine with most wireless, but if you have a mic level, you'll have to get a pre in front of it (mixer, mixpre, etc...)&#xD;&#xA;&#xD;&#xA;If you want an all-in-one solution, you can go with the [788T][6] (awesome), or the [Zaxcom Nomad][7] (also awesome). Both can multitrack as well as mix within the unit.&#xD;&#xA;&#xD;&#xA;Nice thing about the 788T is that you can get two different control surfaces for it, as well as the CL-x accessories.&#xD;&#xA;&#xD;&#xA;Nice thing about the Nomad is that it already has a decent control surface on the front panel, and it's dirt cheap for what you're getting!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;As far as where to buy?&#xD;&#xA;&#xD;&#xA;I buy most of my stuff from [B&amp;H][8] or [Coffey Sound][9]. There is also [TAI][10], [Markertek][11] and [Trew][12]. These are all in the USA though. Not sure about overseas.&#xD;&#xA;&#xD;&#xA;Ebay works well too :-)&#xD;&#xA;&#xD;&#xA;Happy hunting! Let me know if I can clarify or expand on anything for you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.coffeysound.com/Zaxcom-Fusion-10-Recorder.html&#xD;&#xA;  [2]: http://www.coffeysound.com/Sound-Devices-788T-Portable-8-Track-Hard-Disk-Recorder.html&#xD;&#xA;  [3]: http://www.coffeysound.com/Nagra-VI-8-Channel-Digital-Audio-Recorder.html&#xD;&#xA;  [4]: http://www.coffeysound.com/Tascam-DR-680-Recorder.html&#xD;&#xA;  [5]: http://www.coffeysound.com/Tascam-HS-P82-8-Channel-Recorder.html&#xD;&#xA;  [6]: http://www.coffeysound.com/Sound-Devices-788T-Portable-8-Track-Hard-Disk-Recorder.html&#xD;&#xA;  [7]: http://www.coffeysound.com/Zaxcom-Nomad.html&#xD;&#xA;  [8]: http://www.bhphotovideo.com/&#xD;&#xA;  [9]: http://www.coffeysound.com/&#xD;&#xA;  [10]: http://taiaudio.com/catalog/&#xD;&#xA;  [11]: http://www.markertek.com/&#xD;&#xA;  [12]: http://www.trewaudio.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16735" PostHistoryTypeId="2" PostId="10119" RevisionGUID="d91fba28-16ee-420f-b95e-8f4926ffe573" CreationDate="2011-09-03T16:57:59.427" UserId="194" Text="There's a spot you can stand in the middle of the ball court at the chichen itza mayan ruins in Mexico where if you clap the reflections will come back sounding like a bird squawk.&#xD;&#xA;&#xD;&#xA;it was pretty crazy to experience, and an incredibly sonically rich place in general.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.chichen-itza.co.uk/images/ballcourt.PNG" ContentLicense="CC BY-SA 3.0" />
  <row Id="16736" PostHistoryTypeId="2" PostId="10120" RevisionGUID="418a582a-6738-4947-8c5d-aa106a37c978" CreationDate="2011-09-03T17:04:21.107" UserId="40" Text="I have 14 744Ts. They all get hot. Depending on how you use them, they can all get VERY hot. You know that cheat sheet that you can put on top of them (plastic sleeve)? They make those things start shriveling up from the heat.&#xD;&#xA;&#xD;&#xA;So yes, it is perfectly normal for this to happen. As @Sean said, they are notorious for doing this, especially when in a bag.&#xD;&#xA;&#xD;&#xA;I have been in the field in the middle of summer where the thing got so hot that it hurt to touch and I had to operate it with a pencil instead of my finger. Little champ pulled through it like it was nothing.&#xD;&#xA;&#xD;&#xA;If you're just charging the battery, I'd do what Tim said and get a separate charger for it anyways. If you can't do that, don't worry - there is nothing wrong with the unit.&#xD;&#xA;&#xD;&#xA;The things are really built like tanks. As long as you treat them right, they'll last for a VERY long time. As I said before, I have 14 of them - all under VERY heavy use (80+ hours each/month) - and they rarely have any problems. The most common problem is that the soft keys on the front panel get brittle and need to be replaced after 3 - 4 years of heavy use." ContentLicense="CC BY-SA 3.0" />
  <row Id="16737" PostHistoryTypeId="2" PostId="10121" RevisionGUID="d0b05e3d-e261-4003-bc46-5dd596cd68f8" CreationDate="2011-09-03T17:06:34.823" UserId="1266" Text="Mine does that too, I quickly learned to mute my mbox mini every time I leave the computer or shut the lid on my laptop or restart it.  Not sure if the phenomenon is malicious." ContentLicense="CC BY-SA 3.0" />
  <row Id="16738" PostHistoryTypeId="2" PostId="10122" RevisionGUID="d83cc40e-75fb-480d-931c-d2168319e692" CreationDate="2011-09-03T17:09:10.627" UserId="219" Text="To plainly answer your question, it can't be healthy. It will become unhealthy if it is loud and you never learn the lesson.&#xD;&#xA;&#xD;&#xA;I have a pair of Adam A7's fed by my MBox2 Mini. I used to forget switching off my monitors before the MBox and the distortion of one of my ribbon tweeters around 3kHz might be a result of this (or a result of my buying second hand). Now I'll turn the volume knob all the way down as well as switching on the mute switch before I start/stop/put to sleep my machine." ContentLicense="CC BY-SA 3.0" />
  <row Id="16739" PostHistoryTypeId="2" PostId="10123" RevisionGUID="cb821093-b25b-44ca-8de5-b03ac1d43388" CreationDate="2011-09-03T17:09:14.297" UserId="1266" Text="Well when I think about it, the saddest songs make me feel sad.  Context context context is important with sound design I think.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16740" PostHistoryTypeId="2" PostId="10124" RevisionGUID="952c0223-9366-4288-ab94-1fa114c2ec6f" CreationDate="2011-09-03T17:13:09.997" UserId="1266" Text="I was recording this week and was near a bike path.  A bike went by and it sounded like a jet roar.  That's not misinterpreting it but now that I am thinking about it, this is the second time when I bike, mainly the tires while moving, sounded to me like something other than a bike." ContentLicense="CC BY-SA 3.0" />
  <row Id="16741" PostHistoryTypeId="2" PostId="10125" RevisionGUID="eeece4a7-df2a-4d5b-8ea1-2136899a9b49" CreationDate="2011-09-03T20:12:57.893" UserId="931" Text="I am watching &quot;Hommes à louer &quot; ( http://www.imdb.com/title/tt1589448/ ), a documentary about male prostitution in Canada and it's made me wonder (on the sound/technical side) about this clip microphone. &#xD;&#xA;&#xD;&#xA;Since there is a male nipple in the image, just in case, I will not embed the image. &#xD;&#xA;http://imgur.com/QPQYr&#xD;&#xA;&#xD;&#xA;Does anyone know if this is a commercial product from any particular brand? Or maybe it is just some DIY cover for the clip mic? I have tried to google for it a bit but find myself unable to find what this type of covers can be named.&#xD;&#xA;&#xD;&#xA;Thank you,&#xD;&#xA;Marcos" ContentLicense="CC BY-SA 3.0" />
  <row Id="16742" PostHistoryTypeId="1" PostId="10125" RevisionGUID="eeece4a7-df2a-4d5b-8ea1-2136899a9b49" CreationDate="2011-09-03T20:12:57.893" UserId="931" Text="Anyone knows what kind of clip mic cover this is?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16743" PostHistoryTypeId="3" PostId="10125" RevisionGUID="eeece4a7-df2a-4d5b-8ea1-2136899a9b49" CreationDate="2011-09-03T20:12:57.893" UserId="931" Text="&lt;microphone&gt;&lt;radiomics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16744" PostHistoryTypeId="5" PostId="10125" RevisionGUID="365abe2b-9c9c-47dd-9f9f-0e5662da8a5f" CreationDate="2011-09-03T20:51:48.203" UserId="931" Comment="added 59 characters in body" Text="I am watching &quot;Hommes à louer &quot; ( http://www.imdb.com/title/tt1589448/ ), a documentary about male prostitution in Canada and it's made me wonder (on the sound/technical side) about this clip microphone. &#xD;&#xA;&#xD;&#xA;Since there is a male nipple in the image, just in case, I will not embed the image. &#xD;&#xA;http://imgur.com/QPQYr&#xD;&#xA;&#xD;&#xA;Does anyone know if this is a commercial product from any particular brand? Or maybe it is just some DIY cover for the clip mic? I have tried to google for it a bit but find myself unable to find what this type of covers can be named.&#xD;&#xA;&#xD;&#xA;Thank you,&#xD;&#xA;Marcos&#xD;&#xA;&#xD;&#xA;edit: forgot to mention they stick it onto the skin... " ContentLicense="CC BY-SA 3.0" />
  <row Id="16745" PostHistoryTypeId="2" PostId="10126" RevisionGUID="4247f123-4398-454d-a328-a75aa3374109" CreationDate="2011-09-03T22:08:26.943" UserDisplayName="user49" Text="Context is important but so is the directors style &amp; approach, and this will surely inform how you *support the narrative &amp; dramatic moments* because it is those (the writing, acting &amp; narrative) that will make people cry, not the music or sound necessarily... Compare it with film: some directors spoon feed their audiences by sign posting every emotional moment with score before it happens, others leave the actors &amp; writing to do their work &amp; gently support the audience as they react. I'd suggest some of the most important considerations would be the shape of cues (&amp; whether they should be there at all) - the entry point of a cue is crucial, its timing &amp; how obvious or subtle it is. Of course there are a multitude of techniques available to a composer to express emotions - that is one of the most important tasks of a composer surely?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16746" PostHistoryTypeId="2" PostId="10127" RevisionGUID="d16d364e-cb48-48c0-8567-1a0e91c32cd3" CreationDate="2011-09-03T22:11:54.110" UserDisplayName="user49" Text="Apart from dedicated sound bags (the Petrol range are very good)  its also worth checking out camera bags - a lot of those are very cleverly designed so as to be customised with internal divisions... Apart from a LowePro bag (with built in waterproof cover) I also just got a Denba satchel camera bag which was cheap (under $100) and best of all doesn't look like a camera bag... handy if you're not trying to draw attention to yourself!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16747" PostHistoryTypeId="5" PostId="10120" RevisionGUID="74d17e64-e32a-47b0-a266-8a8ac9615c95" CreationDate="2011-09-03T23:00:36.380" UserId="40" Comment="added 2 characters in body" Text="I have 14 744Ts. They all get hot. Depending on how you use them, they can all get VERY hot. You know that cheat sheet that you can put on top of them (plastic sleeve)? They make those things start shriveling up from the heat.&#xD;&#xA;&#xD;&#xA;So yes, it is perfectly normal for this to happen. As @Sean said, they are notorious for doing this, especially when in a bag.&#xD;&#xA;&#xD;&#xA;I have been in the field in the middle of summer where the thing got so hot that it hurt to touch and I had to operate it with a pencil instead of my finger. Little champ pulled through it like it was nothing.&#xD;&#xA;&#xD;&#xA;If you're just charging the battery, I'd do what Tim said and get a separate charger for it anyways. If you can't do that, don't worry - there is nothing wrong with the unit.&#xD;&#xA;&#xD;&#xA;The things are really built like tanks. As long as you treat them right, they'll last for a VERY long time. As I said before, I have many of them - all under VERY heavy use (80+ hours each/month) - and they rarely have any problems. The most common problem is that the soft keys on the front panel get brittle and need to be replaced after 3 - 4 years of heavy use." ContentLicense="CC BY-SA 3.0" />
  <row Id="16748" PostHistoryTypeId="2" PostId="10128" RevisionGUID="7a623cfa-6a2a-43c9-8699-85cb41c282ee" CreationDate="2011-09-03T23:04:46.397" UserId="40" Text="Its the [Sanken RM-11 rubber mount][1]. It is not adhesive itself, but we use [topstick][2] to make it adhesive.&#xD;&#xA;&#xD;&#xA;You can get them in a few different colors, also there is an RM-11C version that has a built in clip.&#xD;&#xA;&#xD;&#xA;I have a bunch of them and love them!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/745486-REG/Sanken_RM11SINGLE_BLACK_Rubber_Microphone_Mount_Black.html&#xD;&#xA;  [2]: http://www.vapon.com/topstick.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="16749" PostHistoryTypeId="2" PostId="10129" RevisionGUID="912551b9-7f62-40f7-ad4e-0c64e71bc4be" CreationDate="2011-09-03T23:32:37.220" UserId="930" Text="Everyone I know seems to rave about Sennheiser HD-25s, never tried them myself, but I've heard great things about them. They have on-the-ear cups rather than over/in ear, so they can become uncomfortable after long periods of use though.&#xD;&#xA;&#xD;&#xA;My personal preference are Beyerdynamic DT770s. They have over-the-ear cups, are super comfortable and sound really good (good low end reproduction). However, I often find that voices are really sibilant on them, but I still love them to bits.&#xD;&#xA;&#xD;&#xA;Hope this helps,&#xD;&#xA;&#xD;&#xA;Cheers." ContentLicense="CC BY-SA 3.0" />
  <row Id="16750" PostHistoryTypeId="2" PostId="10130" RevisionGUID="2e3a3e10-6b2a-4f8a-9b81-ef9ccc7a3ab5" CreationDate="2011-09-04T00:20:50.240" UserId="670" Text="Is it possible to keep my fades and possibly volume automation when exporting an embedded OMF from Pro Tools? I would hate for the mixer to have to do all my fades over again when he imports it into Digital Performer. &#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16751" PostHistoryTypeId="1" PostId="10130" RevisionGUID="2e3a3e10-6b2a-4f8a-9b81-ef9ccc7a3ab5" CreationDate="2011-09-04T00:20:50.240" UserId="670" Text="Exporting OMFs in PT" ContentLicense="CC BY-SA 3.0" />
  <row Id="16752" PostHistoryTypeId="3" PostId="10130" RevisionGUID="2e3a3e10-6b2a-4f8a-9b81-ef9ccc7a3ab5" CreationDate="2011-09-04T00:20:50.240" UserId="670" Text="&lt;omf&gt;&lt;export&gt;&lt;pro&gt;&lt;tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16753" PostHistoryTypeId="2" PostId="10131" RevisionGUID="6053dad3-55db-47f4-b99b-13b8ade9e293" CreationDate="2011-09-04T01:53:58.220" UserId="1228" Text="I have only tried it once, and as I recall, the fades didn't translate but automation did (or maybe it was region groups that didn't translate, but fades and automation did).  Have you given it a shot on your system?  All I know for certain is that a session is not 1:1 translatable via OMF (hence, the dropping of region groups)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16754" PostHistoryTypeId="2" PostId="10132" RevisionGUID="7b50c9d0-e569-4288-8277-950e5a595e53" CreationDate="2011-09-04T03:41:14.240" UserId="1308" Text="I don't think fades translate.&#xD;&#xA;&#xD;&#xA;But, I guess you could consolidate the little bits before the fades (or all your regions for that matter) before exporting the OMF...  :/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16755" PostHistoryTypeId="2" PostId="10133" RevisionGUID="26464409-3509-4400-ba23-2d171a89132c" CreationDate="2011-09-04T04:01:36.253" UserId="842" Text="OMF (Open Media Framework) isn't really a very good format, it contains next to nill functions other than pure cuts. As an edit decision list it has worked wonder over the years, but now it feels very aged.&#xD;&#xA;AAF (Advanced Authoring Format) is a better format it you have support for it." ContentLicense="CC BY-SA 3.0" />
  <row Id="16756" PostHistoryTypeId="2" PostId="10134" RevisionGUID="0fb456b0-20ed-4fa6-a575-769498482bf1" CreationDate="2011-09-04T08:12:32.190" UserId="2078" Text="This probably doesn't help you much, but the only thing that really works is actual plane sounds and bys; in your case, P51 bys.  P51s in particular have a very unique sound compared to other planes of the era.  (Zeros, Messerschmidts, etc).  I used to work on a show that was nothing but computer animations of air battles, and the only thing that worked were the actual sounds, so I ended up going to air shows and recording them.  I did use doppler plugins to create whooshes which I would layer with actual plane sounds to beef them up, but they were secondary.  By themselves, they sounded fake.  &#xD;&#xA;&#xD;&#xA;Another trick that might help is the volume automation of a by.  Most recorded plane bys aren't super fast.  Keep the volume automation down low and then spike it up very quickly for a fly by.  It really adds to the perceived speed of the plane.&#xD;&#xA;&#xD;&#xA;For two plane bys simultaneously, that surprises me that you're getting phasing, unless you're using the exact same file for both, which you shouldn't, if you can avoid it.  For my show, I would probably have two different files playing simultaneously, maybe with a doppler whoosh in the background if need be. Another trick is to layer two different types of sounds.  You could have a super close by and a more distantly recorded plane by playing together.  If you're limited by your sound files, try to create different sounding whooshes to layer in the background to give the impression of different sounding bys.  Also, as I mentioned earlier, playing with the volume automation.&#xD;&#xA;&#xD;&#xA;If you want to see what I did, go on youtube and check out a TV show called Dogfights.  The episode, &quot;Death of the Luftwaffe&quot; has some P51s in it.  (Though youtube compression is not kind to the overall sound.)&#xD;&#xA;&#xD;&#xA;Best of luck.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16757" PostHistoryTypeId="2" PostId="10135" RevisionGUID="c428da3c-2e1d-43ee-9457-f023a7924281" CreationDate="2011-09-04T10:57:49.807" UserId="985" Text="More from the music side : &quot;louder sounds better&quot;.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16758" PostHistoryTypeId="2" PostId="10136" RevisionGUID="53ccded3-0131-4e0d-84c6-7894a927fac6" CreationDate="2011-09-04T11:44:05.287" UserId="589" Text="This is a great video about more technical myths of audio. &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=BYTlN6wjcvQ&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16759" PostHistoryTypeId="2" PostId="10137" RevisionGUID="9b6ac359-5f4e-48f4-ae1b-1cd9495f9dc6" CreationDate="2011-09-04T14:33:17.867" UserDisplayName="user80" Text="Making it louder makes it more exciting." ContentLicense="CC BY-SA 3.0" />
  <row Id="16760" PostHistoryTypeId="2" PostId="10138" RevisionGUID="abe78e83-a121-4ea4-9467-45e74ff0aebb" CreationDate="2011-09-04T14:53:57.930" UserId="2094" Text="I'm running a MKH30/40 MS pair, and would buy a MKH8030/8050 right away if the 8030 existed. &#xD;&#xA;&#xD;&#xA;It would nice to have carry around blimp half the length needed for the 30/40.&#xD;&#xA;&#xD;&#xA;If Sennheiser do come out with a 8030 - they will see a large sales spike of other mics : that should be reason enough for them to put in the R&amp;D effort.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16761" PostHistoryTypeId="2" PostId="10139" RevisionGUID="39efddf8-9814-40c9-8791-760f6d398dfd" CreationDate="2011-09-04T18:06:00.933" UserId="1012" Text="I was always of the perception that when facing a stereo field you have two axis.&#xD;&#xA;&#xD;&#xA;Obviously left and right, but up and down as well.  Left right is easy to accomplish obviously because you have two speakers.  I always always practiced and been preached higher sounds sound &quot;higher&quot; and lower sounds sound &quot;lower&quot;.  &#xD;&#xA;&#xD;&#xA;When we watch cartoons and we hear a slide whistle the pitched up sound is for going up, and the pitch down for falling back down.&#xD;&#xA;&#xD;&#xA;So I guess what I am saying is, I don't know that it matters what it actually sounds like, what would make a person believe or perceive that movement?&#xD;&#xA;&#xD;&#xA;Maybe play with the sounds a bit, turn off your video and just listen.  Is the plane moving up or is it moving down?  I think your best bet is going to be playing around with automating eqs, and bys in addition to dopplers and some pitch automation.&#xD;&#xA;&#xD;&#xA;I think it's all about the story you are trying to tell friend. I love the video Colin posted because it really is about what you sound designer wants you to hear.  You don't hear all that much in some parts.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16762" PostHistoryTypeId="2" PostId="10140" RevisionGUID="46f37ab9-b493-4d2e-9195-1f40e1a455cb" CreationDate="2011-09-04T19:25:27.960" UserId="2078" Text="I honestly can't remember if volume automation goes through, but fades definitely don't.  If you export an omf and then crack it and create a new Pro Tools session, the fades now become separate audio files.  For example, let's say you have a session with a single 3 second audio files that has 1 second fades on each end.  Once exported to an omf and cracked into a new session, that audio will now be 3 separate 1 second files with no handles.  It will sound identical (except for volume automation possibly) but can no longer be manipulated.  And when I say &quot;no handles&quot;, I mean between the cuts where the fade meets the audio file.  The 1 second audio file at the beginning and the end of the file will have handles depending on the settings you used when exporting, but between the former fade files and the middle audio files, no handles.  &#xD;&#xA;&#xD;&#xA;Also, when exporting a pro Tools session to an omf, ONLY use mono tracks, not stereo or 5.1.  OMFs can't translate them, and won't make it in the omf, so if you export nothing but stereo tracks to an omf, it will appear empty.  Take all your multi channel tracks and split them to mono first.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16763" PostHistoryTypeId="2" PostId="10141" RevisionGUID="5498d871-f52b-41f6-a418-48ac8dd4ae3b" CreationDate="2011-09-04T19:27:37.700" UserId="253" Text="I think it's just a spike caused by the signal suddenly being cut off. I doubt it'll blow everything up (unless maybe you have your monitors cranked), but it's always a good idea to turn your monitors on last, and off first. Also, i'm not sure if you're using PT at all, but DigiDesign don't recommend letting your computer go to sleep while running their software." ContentLicense="CC BY-SA 3.0" />
  <row Id="16764" PostHistoryTypeId="2" PostId="10142" RevisionGUID="86f9238c-f489-470b-b467-335e23d7d582" CreationDate="2011-09-05T03:47:38.633" UserId="1225" Text="As an additional advice: take Paul Stretch, process some painful or frightened screams with it. You'll get a handful of nice, slowly rising non-realistic vocal beds. Use them wisely." ContentLicense="CC BY-SA 3.0" />
  <row Id="16765" PostHistoryTypeId="2" PostId="10143" RevisionGUID="5f2ffa0b-f286-4d5a-bb23-eeebcdfd421e" CreationDate="2011-09-05T04:31:40.063" UserId="2136" Text="I used these buzzer sounds at my summer job.  (http://www.evl.uic.edu/caylor/MASTERS/AUDIO/buzzer.wav, http://waes-elearn.waes.ac.uk/moodle-resources/Childcare/pre-school/sounds%20effects/other%20sound%20effects/NATURE/buzzer.mp3).  I found a bunch more on findsound.com, freesound.org, and a bunch of other creative commons sites.  I'm not sure exactly what you're looking for but I hope that helps.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16766" PostHistoryTypeId="16" PostId="10143" RevisionGUID="5f2ffa0b-f286-4d5a-bb23-eeebcdfd421e" CreationDate="2011-09-05T04:31:40.063" UserId="-1" />
  <row Id="16767" PostHistoryTypeId="2" PostId="10144" RevisionGUID="d3066d2e-b02d-430b-85a2-17d89c6b7c8b" CreationDate="2011-09-05T04:59:34.760" UserId="6669" Text="Hi All,&#xD;&#xA;&#xD;&#xA;First time cutting gunshots for linear sound design and I'm running into some issues.&#xD;&#xA;&#xD;&#xA;Designing the single gunshots has been fine so far, but I've just hit about 15sec in a row of quick cuts with many different types of rapid fire gunshots going off, and making each shot perfectly deadly, multi-layered and variant is cluttering up my edit session fast. I can't help but feel like I could be doing it more efficiently..&#xD;&#xA;&#xD;&#xA;I know that in the final mix there won't be enough time/aural bandwidth to hear all the subtleties (especially over the music), but repetition is death and I feel like I shouldn't cut corners here.&#xD;&#xA;&#xD;&#xA;&lt;b&gt;So, how do you cut shootouts?&lt;/b&gt;&#xD;&#xA;&#xD;&#xA;Say you've got three guys firing three different guns at different rates within the same cut (which I do).&#xD;&#xA;&#xD;&#xA;&lt;ul&gt;&lt;li&gt;Do you stack your attack/high/medium/low layers on four tracks x 3 for each shooter? Bounce each guy together down to one layer to save track space?&lt;/li&gt;&#xD;&#xA;&#xD;&#xA;&lt;li&gt;Build a bunch of layers in Kontakt and just mash according to the rhythm that &quot;feels&quot; right, or cut super-precise for every bullet fired? (And if you do this, what kinds of LFOs etc. might you apply to add some dynamics to the shots as they continue - esp. with automatic weapons?)&lt;/li&gt;&lt;/ul&gt;&#xD;&#xA;&#xD;&#xA;Interested to hear everyone's takes.." ContentLicense="CC BY-SA 3.0" />
  <row Id="16768" PostHistoryTypeId="1" PostId="10144" RevisionGUID="d3066d2e-b02d-430b-85a2-17d89c6b7c8b" CreationDate="2011-09-05T04:59:34.760" UserId="6669" Text="Edit Session Layout Tips for a Shootout" ContentLicense="CC BY-SA 3.0" />
  <row Id="16769" PostHistoryTypeId="3" PostId="10144" RevisionGUID="d3066d2e-b02d-430b-85a2-17d89c6b7c8b" CreationDate="2011-09-05T04:59:34.760" UserId="6669" Text="&lt;gunshot&gt;&lt;session-organization&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16770" PostHistoryTypeId="2" PostId="10145" RevisionGUID="959a2683-359d-4ad4-8725-c15288fbc7e0" CreationDate="2011-09-05T06:15:29.940" UserId="1228" Text="This has been my experience:&#xD;&#xA;&#xD;&#xA;Usually, I'll start by working with a set of dedicated Weapons tracks so the guns don't gum up the other fx edits.  This all depends on the film's context though.&#xD;&#xA;&#xD;&#xA;If its a walk n talk with one or two gunshots through the whole film, I'll cut them up in the regular FX tracks and run with no weapons tracks.  But if it's something crazy like Blackhawk Down style, I may want to go wider so that I have many more Weapons tracks dedicated in groupings to Close, Mid, and Distant fire.  The key with gun fights in my experience is that organization and compartmentalization are your friends.&#xD;&#xA;&#xD;&#xA;Hi Mid Lo could be a good way to think about the anatomy of a shot, or in terms of Boom, Crack, shell eject (depending on gun type), LFE.  And, I like to keep the amount layered edits for a gun to about effects 3-4 per shot - any more than that I usually print down to &quot;splits&quot; based upon their frequency content so as not to marry a sound that has a deep boom with a high crack.  Then these will get region group and named something like &quot;Jake Pistol Shot&quot;, and that entire region group will be duplicated as-needed for each shot.  What I learned from a colleague is that about 1 in 10 gun shots should sound slightly different, like a pitch change of one of the crack elements or shell eject elements by a few cents - that way there is some variation but its subtle.  Most of the overall gunfight variation we hear is the whiz bys and ricos so the gunshots serve as more a constant in the vain of percussives that keep it grounded.&#xD;&#xA;&#xD;&#xA;For your three seperate shooters, it would be advisable to keep them dedicated to the same tracks through the sequence so that its very easy to see who is who, and even region group a single shot - &quot;checkerboarded&quot; would be a good term for it&#xD;&#xA;&#xD;&#xA;Regarding the sync of the shots, I usually sync the transient to 1 frame before the visual bloom because of the perceived lag time between audio and visual (in the same vain that even the best Foley artists are about 1 frame off because of lag time).  And sometimes you want to cheat cheat the sounds of shot to follow a certain rhythm, or not the follow a certain rhythm.  It all depends on context.  If you see a closeup of a guy firing 3 single shots from an assault rifle, each three must be gut to sync.  But, if its a barrage of guns going off, and you have offscreen moments where you don't see the gun, that's where you can get away with playing more to the rhythm than the hard and fast visual.&#xD;&#xA;&#xD;&#xA;Good luck!  Gun fights are fun, but they can be overwhelming on the first run at it." ContentLicense="CC BY-SA 3.0" />
  <row Id="16771" PostHistoryTypeId="5" PostId="10145" RevisionGUID="04a0f6b7-8b98-41d9-8f3c-2b19cadf9b45" CreationDate="2011-09-05T06:22:49.403" UserId="1228" Comment="deleted 12 characters in body; deleted 6 characters in body; edited body" Text="This has been my experience:&#xD;&#xA;&#xD;&#xA;Usually, I'll start by working with a set of dedicated Weapons tracks so the guns don't gum up the other fx edits.  This all depends on the film's context though.&#xD;&#xA;&#xD;&#xA;If its a walk n talk with one or two gunshots through the whole film, I'll cut them up in the regular FX tracks and run with no weapons tracks.  But if it's something crazy like Blackhawk Down style, I may want to go wider so that I have many more Weapons tracks dedicated in groupings to Close, Mid, and Distant fire.  The key with gun fights in my experience is that organization and compartmentalization are your friends.&#xD;&#xA;&#xD;&#xA;Hi Mid Lo could be a good way to think about the anatomy of a shot, or in terms of Boom, Crack, shell eject (depending on gun type), LFE.  And, I like to keep the amount layered edits for a gun to about effects 3-4 per shot - any more than that I usually print down to &quot;splits&quot; based upon their frequency content so as not to marry a sound that has a deep boom with a high crack.  Then these will get region group and named something like &quot;Jake Pistol Shot&quot;, and that entire region group will be duplicated as-needed for each shot.  What I learned from a colleague is that about 1 in 10 gun shots should sound slightly different, like a pitch change of one of the crack elements or shell eject elements by a few cents - that way there is some variation but its subtle.  Most of the overall gunfight variation we hear is the whiz bys and ricos so the gunshots serve as more a constant in the vain of percussives that keep it grounded.&#xD;&#xA;&#xD;&#xA;For your three seperate shooters, it would be advisable to keep them dedicated to the same tracks through the sequence so that its very easy to see who is who, especially for the mixer- &quot;checkerboarded&quot; would be a good term for it&#xD;&#xA;&#xD;&#xA;Regarding the sync of the shots, I usually sync the transient to 1 frame before the visual bloom because of the perceived lag time between audio and visual (in the same vain that even the best Foley artists are about 1 frame off because of lag time).  And sometimes you want to cheat the sounds of shot to follow a certain rhythm, or not the follow a certain rhythm.  It all depends on context.  If you see a closeup of a guy firing 3 single shots from an assault rifle, each three must be cut to sync.  But, if its a barrage of guns going off, and you have offscreen moments where you don't see the gun, that's where you can get away with playing more to the rhythm than the hard and fast visual.&#xD;&#xA;&#xD;&#xA;Good luck!  Gun fights are fun, but they can be overwhelming on the first run at it." ContentLicense="CC BY-SA 3.0" />
  <row Id="16772" PostHistoryTypeId="2" PostId="10146" RevisionGUID="3c0556dd-fe91-4824-8e18-322d74cb37ce" CreationDate="2011-09-05T07:27:13.103" UserId="1090" Text="One sound that always will be uncomforting is a baby's cry... But I mean you can't put that in a play if it isn't motivated by the plot. But it's interesting when you think about it, that sound will always evoke an intense emotional reaction to any human, because everyone can relate to it... Everyone won't cry but everyone will have some kind of emotional respone..." ContentLicense="CC BY-SA 3.0" />
  <row Id="16773" PostHistoryTypeId="2" PostId="10147" RevisionGUID="e9047600-7c4d-4d5d-b79e-4498a46bf731" CreationDate="2011-09-05T08:23:45.550" UserId="693" Text="With OMF, If anything is muted... whether it's the track or a region then it will not export with the bundle. &#xD;&#xA;&#xD;&#xA;Supposedly, from what I just recently heard a week and a half ago from the dubstage that did the re-recording and surround mix and Dolby-fying of a project I just finished up for a client uses Nuendo. They claimed the fades transfer with the OMF. For some reason I don't believe them and I baked it all in anyways.&#xD;&#xA;&#xD;&#xA;Track names did not transfer and I believe the regions/files were not named properly either.&#xD;&#xA;&#xD;&#xA;I had to export an EDL txt file so they could get my track names and figure out what was what based on the regions timestamps.&#xD;&#xA;&#xD;&#xA;EDL= Export &gt; Session Info As Text, check your prefs and save.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16774" PostHistoryTypeId="2" PostId="10148" RevisionGUID="adbd6f9c-c336-48a1-acbd-002024a1de6c" CreationDate="2011-09-05T08:35:12.070" UserDisplayName="user6513" Text="Exporting OMF from PT into Soundtrack Pro, files are all present along with automation. The fades are still in effect, however they will appear as individual regions. Bit of a pain and I haven't found a workaround but to redo all the fades manually or just ignore and leave them be." ContentLicense="CC BY-SA 3.0" />
  <row Id="16775" PostHistoryTypeId="2" PostId="10149" RevisionGUID="a3811c8b-cb42-4cad-b977-656bad126016" CreationDate="2011-09-05T16:59:07.783" UserId="985" Text="I don't think there is like a rule to make an audience cry, or it would be sold at a very high price and kept secretly. :) Anyway, so this is very subjective, but I'd start with silence. A well affirmed long silence, then build up from there, very quietly, very slowly and subtle. Then go up, more and more, until maybe to a huge cresendo just before an explosion of the theme : but you don't bring this explosion, but just a few last notes, letting them hang there in the void. &#xD;&#xA;&#xD;&#xA;You don't want to overrun the audience with loud and expressive music from the start, while they are not yet in the mood, so my suggestion is to start from nothing a build up. Good luck with it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16776" PostHistoryTypeId="5" PostId="10031" RevisionGUID="dc292447-dfdc-4db6-94a2-506d2456d45c" CreationDate="2011-09-05T18:30:14.670" UserId="845" Comment="Spelling corrections, fixed grammar" Text="Hi guys!&#xD;&#xA;I'm cutting sounds for II WW plane battle scene and I have faced few problems. This is a 3d animation and planes are doing many complicated moves. Few questions:&#xD;&#xA;&#xD;&#xA;1) Do you pitch down and up engine/prop sound if a plane is going up and down, or you just simply put dopplered whooshing sounds/pass bys when plane is doing such moves? or maybe both?&#xD;&#xA;&#xD;&#xA;2) What do you do if you have close ups with two planes - I mean, do you try to put engine/prop sounds for both of them and make them a little bit different with Eq, maybe pitching a little bit? When I layer sounds for both of them I can hear phasing between them and it's definitely not that what I would expect. Or, if they're in phase they're sounding uniform soo... or maybe just focus on one plane which is more important at the moment?&#xD;&#xA;&#xD;&#xA;3) Would you recommend any movies to analyze?&#xD;&#xA;&#xD;&#xA;4) Any sound design tips for airplane sounds (planes in animation are P51, so the engine is rolls royce merlin V12) or maybe you have some sounds you like to layer in such sequences? (I know stuff with fans and vacuums)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16777" PostHistoryTypeId="2" PostId="10150" RevisionGUID="5a4e683e-5990-4fe5-9f2e-365107a9f945" CreationDate="2011-09-05T18:50:01.293" UserId="393" Text="For a novice, this is quite the undertaking -- making people laugh, or be afraid, is easy -- crying is something that is incredibly subjective and even the greatest composers, I would bet, would say they cannot make someone in an audience cry 100% of the time.&#xD;&#xA;&#xD;&#xA;Context is everything.  This will largely be in the hands of the actors, and how they play it; as a composer and / or sound designer, your job is simply to support it.  It's like Inception (the concept in the movie, not the movie themselves)... you can't make someone feel something, you have to convince them that the emotion you want them to feel is the emotion they should be feeling without pushing too hard so that they know you're actively manipulating them.&#xD;&#xA;&#xD;&#xA;Research the crap out of this, and not just in an internet forum; find movies and music that make you cry, that make your friends and family cry, and LISTEN to them. Analyze them.  Try to emulate them to the best of your ability.&#xD;&#xA;&#xD;&#xA;And, before anything else -- and like Markus said -- start with silence." ContentLicense="CC BY-SA 3.0" />
  <row Id="16778" PostHistoryTypeId="2" PostId="10151" RevisionGUID="f867bc0c-ca3b-439e-9fe7-c083b88e443d" CreationDate="2011-09-05T19:51:08.577" UserId="842" Text="What you get here will be perceived as stereo, but it will be fake and suffer from an extreme phasing-problem in the right channel (providing it's the right channel you reverse, it normally is in M/S).&#xD;&#xA;What you have here is actually, except the phase-reversal part, something I've used on several occasions to make broken, phased-out, FUBAR sound effects. In mono.&#xD;&#xA;&#xD;&#xA;The reason M/S actually works so well is that the Figure Of Eight-mikes are dually polarized, ie the membrane is positive on the front side and negative on the rear side. Then when you split up the Mid into two discrete channels with phase-reversal on the right one, left channel will enhance the positive signal in the mid-mic and attenuate the negative, and the right channel will do exactly the same thing, though opposite.&#xD;&#xA;&#xD;&#xA;When you do not have an Eight to record the Mid's with, there will be no difference in phase between left and right, and after matrixing you will get a signal with the left signal having a slightly higher directivity than the Cardio though lower than the Hyper and about 1.5dB louder (depending on how well you matched 'em), the right channel will sound thing, phased-out and without a core.&#xD;&#xA;You can never replace the Eight in an M/S-recording, but you can actually do pretty much what you want with the Mid! I don't have any Figure Of Eight's right now since one of my Oktava's went belly up, but when I did I experimented a lot with everything between Omni's to Lobar's, and even another Eight with very nice results! Unlike in for example X/Y (personal favorite) or A-B and such, it doesn't really matter if the mics are matched or not, I've tried out everything from Oktava, Sennheiser, DPA, AKG, Shure, and several other high quality mics (I like to work with micings so I put my paws on everything I can get!), and even some rather bad one's from both ADK, Röde and Pulse (don't ask...) to mention a few (as I said, EVERYTHING I can get :-)) with different sounding but often greatly working results depending on what I want right then :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16779" PostHistoryTypeId="2" PostId="10152" RevisionGUID="2cf3eb2c-4af3-4be0-b167-c9db585a6703" CreationDate="2011-09-05T20:55:43.620" UserId="2147" Text="i'd go the new macbook air i7, macbook pros are redundant after using these trust me, 11&quot; rather than 13&quot;. sound devices mix pre-D (the new one) or an apogee ONE maybe, Duet2 (I have it) is disappointing man. I should have kept my DUET, oh well." ContentLicense="CC BY-SA 3.0" />
  <row Id="16780" PostHistoryTypeId="16" PostId="10152" RevisionGUID="2cf3eb2c-4af3-4be0-b167-c9db585a6703" CreationDate="2011-09-05T20:55:43.620" UserId="-1" />
  <row Id="16783" PostHistoryTypeId="2" PostId="10154" RevisionGUID="2db95154-470e-47e0-990d-e613cfd31f40" CreationDate="2011-09-05T21:21:14.227" UserDisplayName="user49" Text="I cut a couple of fairly busy gun battles in The Warriors Way although they were usually from a 'hero vs the rest' point of view... so I split across stems:&#xD;&#xA;&#xD;&#xA;- Foreground guns&#xD;&#xA;- Distant guns&#xD;&#xA;- Moves (bullet whizzes)&#xD;&#xA;- Impacts (bullet impacts)&#xD;&#xA;&#xD;&#xA;Each predub stem was being fed by eg 16c + 16LR tracks and I would group &amp; colour code the elements/layers associated with each gunshot &amp; keep them on the same tracks for consistency...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The scenes also had sword fights in them (with associated sword sounds, body slashes &amp; falls) &#xD;&#xA;&amp; I knew the score was going big, so differentiating between the close up gunshots (which need to rate) and the background/offscreen ones made life a lot easier in the final mix..." ContentLicense="CC BY-SA 3.0" />
  <row Id="16784" PostHistoryTypeId="2" PostId="10155" RevisionGUID="181445ea-79a7-4c41-94dc-37a69bce4923" CreationDate="2011-09-06T00:30:02.710" UserId="1308" Text="What if, for the S, instead of using 1 figure 8 mic, you used two cardioids with opposite phase, summed together?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16785" PostHistoryTypeId="5" PostId="2269" RevisionGUID="895db562-58fd-41f2-bbc8-2deb568529ac" CreationDate="2011-09-06T03:56:14.330" UserId="61" Comment="deleted 6 characters in body" Text="The best dialog mixers in the world struggle with matching ADR to the production track. One of the reasons for this is that there are so many variables that occur during filming that are not easily remedied or recreated in post-production, ie. generator hums that fluctuate and resist EQ notching, broadband noise from a variety of light buzzes, traffic wash, etc. Even with the best tools at their disposal, it is a time consuming process whose results rarely escape the discerning ear.&#xD;&#xA;&#xD;&#xA;Interiors can be as difficult to match as exteriors. The interior recording comes with its own set of challenges, not least of which being strange reflections and/or resonances that cannot be recreated with current plug-in technology (or old-school technology, for that matter).&#xD;&#xA;&#xD;&#xA;The best thing you can teach your students is how to train their ears for this type of work. It really comes down to patient use of traditional filters and compressors - there are no short cuts or magic bullets. &#xD;&#xA;&#xD;&#xA;A few techniques you may find useful:&#xD;&#xA;&#xD;&#xA; - Capture an impulse response (IR) of&#xD;&#xA;   the various locations during filming&#xD;&#xA;   that can be used in post-production&#xD;&#xA;   to help the ADR match the track. May be of limited use but it's worth having just in case.&#xD;&#xA; - Use noise reduction technology, ie. CEDAR,&#xD;&#xA;   Izotope RX, WNS, and Z-Noise.&#xD;&#xA; - Record the ADR in the same way&#xD;&#xA;   it was originally captured, ie. if&#xD;&#xA;   you're trying to match lines filmed&#xD;&#xA;   on a rooftop, try recording the&#xD;&#xA;   talent outside - this way you immediately avoid having to make your interior ADR sound like exterior production. Of course this has to be executed with caution due to exterior noise, but sometimes it makes more sense to match the realism rather than fight it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16786" PostHistoryTypeId="2" PostId="10156" RevisionGUID="fdbb1054-208b-4678-b578-e572c42ed810" CreationDate="2011-09-06T04:29:31.893" UserId="1228" Text="I've had great success using compression to squash the ADR, since this tends to happen with production.  Load up something like a C1 with a pretty harsh compression, and adjust the threshold in A/B comparisons with the production until it feels balanced.  This goes without saying that all the other listed techniques work well too, and many are needed after the compression, such as EQ and such.&#xD;&#xA;&#xD;&#xA;Also, Charles Maynes has mentioned that mixers like to use something called Magic Spectrum - essentially maps the frequency response from one sound to another.  There are a variety of plugins which do this but he mentioned that this plugin seems to behave the best with dialogue-related sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="16787" PostHistoryTypeId="5" PostId="10156" RevisionGUID="1f1549f7-8d78-467d-97d8-02761daa4c04" CreationDate="2011-09-06T06:40:53.077" UserId="1228" Comment="added 133 characters in body" Text="I've had great success using compression to squash the ADR, since this tends to happen with production.  Load up something like a C1 with a pretty harsh compression, and adjust the threshold in A/B comparisons with the production until it feels balanced.  This goes without saying that all the other listed techniques work well too, and many are needed after the compression, such as EQ and such.&#xD;&#xA;&#xD;&#xA;Also, Charles Maynes has mentioned that mixers like to use something called Magic Spectrum - essentially maps the frequency response from one sound to another.  There are a variety of plugins which do this but he mentioned that this plugin seems to behave the best with dialogue-related sounds.&#xD;&#xA;&#xD;&#xA;Interior and exterior matches are hard, although I vouch for one which is even harder still: matching ADR to interior car scenes." ContentLicense="CC BY-SA 3.0" />
  <row Id="16788" PostHistoryTypeId="2" PostId="10157" RevisionGUID="82432721-841c-44a1-b595-f1785e3481e0" CreationDate="2011-09-06T12:20:21.953" UserId="2148" Text="Hi there. I need to do a reality show where there will be about 25 contestants and a presenter. Question is do I mic them all with lapels or boom? It will be alot of people moving around too.&#xD;&#xA;&#xD;&#xA;If I mic them all, what do I record to?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16789" PostHistoryTypeId="1" PostId="10157" RevisionGUID="82432721-841c-44a1-b595-f1785e3481e0" CreationDate="2011-09-06T12:20:21.953" UserId="2148" Text="Doing a Reality Show" ContentLicense="CC BY-SA 3.0" />
  <row Id="16790" PostHistoryTypeId="3" PostId="10157" RevisionGUID="82432721-841c-44a1-b595-f1785e3481e0" CreationDate="2011-09-06T12:20:21.953" UserId="2148" Text="&lt;reality-tv&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16791" PostHistoryTypeId="2" PostId="10158" RevisionGUID="7cf5213b-e1bb-4bd4-9272-28f5030d6ad0" CreationDate="2011-09-06T12:36:20.933" UserId="103" Text="I personally can't be of much help but you probably want to do a little search [here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://jwsoundgroup.net/&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="16792" PostHistoryTypeId="2" PostId="10159" RevisionGUID="1d06b67e-7600-4a91-8296-ad1d47afc10c" CreationDate="2011-09-06T13:42:20.103" UserId="261" Text="&#xD;&#xA;Digi TCE&#xD;&#xA;&#xD;&#xA;Waves WNS&#xD;&#xA;&#xD;&#xA;Altiverb&#xD;&#xA;&#xD;&#xA;Digi EQ 7&#xD;&#xA;&#xD;&#xA;Waves Lo-Air&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16793" PostHistoryTypeId="2" PostId="10160" RevisionGUID="3a975f07-fb18-483b-8da8-7fce01b5a317" CreationDate="2011-09-06T13:47:47.700" UserDisplayName="user80" Text=" 1. EQ &#xD;&#xA; 2. Compressor/Limiter &#xD;&#xA; 3. Noise Gate/Expander &#xD;&#xA; 4. Gain &#xD;&#xA; 5. Pitch shift" ContentLicense="CC BY-SA 3.0" />
  <row Id="16794" PostHistoryTypeId="2" PostId="10161" RevisionGUID="357e5278-14cc-4b8d-bdb8-69e236413b7d" CreationDate="2011-09-06T15:20:35.540" UserId="985" Text="..you can't sleep because you think all night.. man, I should be up and record that owl." ContentLicense="CC BY-SA 3.0" />
  <row Id="16795" PostHistoryTypeId="16" PostId="10161" RevisionGUID="357e5278-14cc-4b8d-bdb8-69e236413b7d" CreationDate="2011-09-06T15:20:35.540" UserId="-1" />
  <row Id="16796" PostHistoryTypeId="2" PostId="10162" RevisionGUID="11bc8dc7-b6b1-41e8-8164-3f9b8bd0a9ca" CreationDate="2011-09-06T16:44:31.520" UserId="517" Text="One of the strangest experiences I ever had was recording production sound for my friend's Civil War era thesis film. We were location scouting for the corn field we would be shooting in north of Los Angeles and suddenly I heard these strange high pitched shrieks coming from the distance. I thought they were hyenas. One of the producers postulated exotic birds. The other producer walked across the road to investigate and discovered that there was a gibbon breeder there. Needless to say that we had quite a few blown takes where during a dramatic moment an army of high strung primates began adding their eerie chorus to the soundtrack." ContentLicense="CC BY-SA 3.0" />
  <row Id="16797" PostHistoryTypeId="2" PostId="10163" RevisionGUID="aa7f9b10-0bee-498b-885d-0d7f57d1aaef" CreationDate="2011-09-07T02:38:40.203" UserId="431" Text="**What I need to get the job done:**&#xD;&#xA;&#xD;&#xA;Gain&#xD;&#xA;&#xD;&#xA;Reverse&#xD;&#xA;&#xD;&#xA;Pitch Shift&#xD;&#xA;&#xD;&#xA;Dorrough Meters &#xD;&#xA;&#xD;&#xA;EQ&#xD;&#xA;&#xD;&#xA;**What make the job fun/faster/easier:**&#xD;&#xA;&#xD;&#xA;SoundToys Bundle (if I had to pick one, Decapitator)&#xD;&#xA;&#xD;&#xA;RX 2 (IMHO the closest one plugin has ever come to fulfilling the promise of &quot;we can fix it in post&quot;)&#xD;&#xA;&#xD;&#xA;Speakerphone (I could EQ it to sound like its coming out of the phone, but this is better/faster)&#xD;&#xA;&#xD;&#xA;Signal Generator - this almost made the must have list, I think drives eat files called 2beep.wav Also, a sine wave at 80hz tucked under your principle sound is a quick way to add weight to transient sounds.&#xD;&#xA;&#xD;&#xA;X-form (instant variation for FX you don't have time to build twice)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16799" PostHistoryTypeId="2" PostId="10164" RevisionGUID="dd92f89b-dc3e-479a-8104-000111ef2b99" CreationDate="2011-09-07T12:00:51.363" UserId="432" Text="Alright, so this one is for my fellow TV-post fader jockeys out there. I've never really found a solid answer to this, not even from some of the networks we sell to (I wish we actually sold more to Discovery and NatGeo).&#xD;&#xA;&#xD;&#xA;We're mixing to 5.0/5.1 for Dolby-E encoding as a delivery medium. For that specific final mix, we're using an internal spec of -24db LKFS/LUFS (infinite) with a maximum true peak of -9dB. You probably know that an E-encode includes an LtRt version of the full mix in channels 7 &amp; 8 of the bitstream. The question is, should we be worrying about meeting the same spec for that LtRt like we do with the full surround mix? We've also taken to simply encoding a LoRo for a Mix-Minus when we're only providing stereo masters to a client network: complete main LtRt on 1&amp;2, Mix-Minus LoRo on 3&amp;4. So, I have concerns about the specs of these fold-downs beyond their inclusion in the Dolby-E bitstream.&#xD;&#xA;&#xD;&#xA;In our current process, the -9dBTP goes out the window after LtRt encoding. It doesn't hit anywhere near zero (usually only going up to -8 or -7dB true peak), but it's still over. I haven't had time lately to run a full analysis of the LtRt to determine its &quot;dialnorm,&quot; but I'm fairly confident that it's not sitting at -24. [We're going to need a new term for that in the future, I think.]&#xD;&#xA;&#xD;&#xA;So, anyone out there got a definitive answer...idle speculation...?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16800" PostHistoryTypeId="1" PostId="10164" RevisionGUID="dd92f89b-dc3e-479a-8104-000111ef2b99" CreationDate="2011-09-07T12:00:51.363" UserId="432" Text="Worry about broadcast specs on LtRt/LoRo fold-downs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16801" PostHistoryTypeId="3" PostId="10164" RevisionGUID="dd92f89b-dc3e-479a-8104-000111ef2b99" CreationDate="2011-09-07T12:00:51.363" UserId="432" Text="&lt;broadcast-standards&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16802" PostHistoryTypeId="2" PostId="10165" RevisionGUID="c681b51c-ee80-4624-8c6f-6a60e1f1975e" CreationDate="2011-09-07T12:47:55.487" UserId="2148" Text="I have a choice between the Sennheiser EK 2000 or the Sony URXP2/4244. Which of the two works better?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16803" PostHistoryTypeId="1" PostId="10165" RevisionGUID="c681b51c-ee80-4624-8c6f-6a60e1f1975e" CreationDate="2011-09-07T12:47:55.487" UserId="2148" Text="Which body packs to go for?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16804" PostHistoryTypeId="3" PostId="10165" RevisionGUID="c681b51c-ee80-4624-8c6f-6a60e1f1975e" CreationDate="2011-09-07T12:47:55.487" UserId="2148" Text="&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16805" PostHistoryTypeId="2" PostId="10166" RevisionGUID="9f2ca70b-1e7f-4689-93d9-f69a31a3a42c" CreationDate="2011-09-07T13:57:14.117" UserId="1049" Text="With regards to animals that have strange calls or might not sound like you expect them to: deer and fox calls at night can sound pretty creepy. Foxes can sound like animals in distress and I believe some deer can sound like babies crying (I could have the two mixed up though). Very disturbing to wake up to in the middle of the night!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16806" PostHistoryTypeId="2" PostId="10167" RevisionGUID="f65802a9-c9f4-4eeb-9edf-5954a4f97f9e" CreationDate="2011-09-07T13:58:40.520" UserId="2165" Text="@Dave Matney and @Shaun Farley - not really the price that bothers me. just want to know which is more reliable and over all works better. have you guys had any experience with them?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16807" PostHistoryTypeId="2" PostId="10168" RevisionGUID="df6cacd5-eff4-4483-afe5-f232d0269b89" CreationDate="2011-09-07T14:21:23.690" UserId="2166" Text="LectroSonics.&#xD;&#xA;Always" ContentLicense="CC BY-SA 3.0" />
  <row Id="16808" PostHistoryTypeId="2" PostId="10169" RevisionGUID="c595a9df-8337-4f93-8895-86fd5e451f78" CreationDate="2011-09-07T14:48:24.767" UserId="6411" Text="Speaking specifically of NatGeo, yes, they are concerned with all audio (LtRt, LoRo, Dolby E) meeting spec.&#xD;&#xA;&#xD;&#xA;&gt; Audio should be mixed such that average loudness (using LKFS) of the&#xD;&#xA;&gt; LtRt mix shall be equivalent to the&#xD;&#xA;&gt; measured average loudness (using LKFS)&#xD;&#xA;&gt; of the 5.1 mix, within, ±1dB&#xD;&#xA;&gt; &#xD;&#xA;&gt;~Universal Tech Specs for NatGeo&#xD;&#xA;&gt; Channels &amp; Nat Geo Wild&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But your spec is just a bit off.&#xD;&#xA;&#xD;&#xA; - Peak stereo mix audio are not to exceed -10dbfs for NTSC, -8dbfs for PAL using digital true-peak meter. Transient peaks up to -2dbfs are allowed on individual channels within a 5.1 mix.&#xD;&#xA; - Program should be -24 LKFS (±1) averaged over each segment.&#xD;&#xA;&#xD;&#xA;Additionally, we deliver on HDCAMSR (at least until the stock disappears completely) with a channel assignment as follows:&#xD;&#xA;&#xD;&#xA; 1. Stereo Left or Left Total (full mix)&#xD;&#xA; 2. Stereo Right or Right Total (full mix)&#xD;&#xA; 3. Stereo Left or Left Total (MDE - Undipped)&#xD;&#xA; 4. Stereo Right or Right Total (MDE - Undipped)&#xD;&#xA; 5. Dolby E 5.1+2 (full mix)&#xD;&#xA; 6. Dolby E 5.1+2 (full mix)&#xD;&#xA; 7. Dolby E 5.1+2 (MDE - Undipped)&#xD;&#xA; 8. Dolby E 5.1+2 (MDE - Undipped)&#xD;&#xA;&#xD;&#xA;Having said all of that... shows do get through occasionally that should fail QC.  But rather than levels, one of the worst offenders is failing to follow their 5.1 channel assignments:&#xD;&#xA;&#xD;&#xA;&gt;  - Left (Music, Ambience, Effects,    Incidental dialog)&#xD;&#xA;&gt;  - Right (Music, Ambience, Effects,    Incidental dialog)&#xD;&#xA;&gt;  - Center (Narration, Location dialog,    Translation)&#xD;&#xA;&gt;  - Low Frequency Effects    (Explosions/Music Effects)&#xD;&#xA;&gt;  - Left Surround (Music, Ambience,    Effects)&#xD;&#xA;&gt;  - Right Surround (Music, Ambience,    Effects)&#xD;&#xA;&gt; &#xD;&#xA;&gt; The center channel must be free of all music and effects.  It is reserved&#xD;&#xA;&gt; exclusively for Narration, Dialog and&#xD;&#xA;&gt; Translation.  **These center channel&#xD;&#xA;&gt; elements must not be diverged into the&#xD;&#xA;&gt; Left and Right channels.** &#xD;&#xA;&gt;&#xD;&#xA;&gt;~Universal&#xD;&#xA;&gt; Tech Specs for NatGeo Channels &amp; Nat&#xD;&#xA;&gt; Geo Wild&#xD;&#xA;&#xD;&#xA;It made me scratch my head until I recognized that the show isn't just going to air and get shelved. It's going to be translated into a number of different languages and re-broadcast all over the world. It's simply a money saving measure. Strip out the original Center channel, produce the new story in the language of your choice in Mono, add it to the 4.1 and, voilá you've reached a whole new market.†&#xD;&#xA;&#xD;&#xA;I've mixed reversions and had to kick back shows that had narration in the LFE or music/fx in the center channel, because otherwise I'm the one passing the buck and the problem just compounds as it cascades. One or two of these shows had been produced over a year ago. Needless to say, it's a headache that you or your facility don't want to be remembered for originating.&#xD;&#xA;&#xD;&#xA;†Although I'm still crusading for a 5.1 M&amp;E + LCR Dialog delivery requirement which would nullify this. But alas, no progress yet. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16809" PostHistoryTypeId="2" PostId="10170" RevisionGUID="1c5f8787-d0ec-4a0a-a7ed-bda66eb12e27" CreationDate="2011-09-07T16:26:46.053" UserId="1915" Text="&#xD;&#xA;Steve, your answer is completely correct. &#xD;&#xA;&#xD;&#xA;We are forever making minor tweaks to our spec, trying to get to something that allows for maintaining the integrity of the mix, whilst still working for all the many and various end uses of the material. &#xD;&#xA;&#xD;&#xA;We do try to make allowances in QC for special circumstances.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But... what are you putting narration in the LFE for anyway? I would kick that back for you being crazy, not necessarily beacuse it doesn't meet the spec.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16810" PostHistoryTypeId="2" PostId="10171" RevisionGUID="1f667bf9-8bf1-4914-a4c1-1a52ca33058e" CreationDate="2011-09-07T16:50:01.137" UserId="264" Text="Networking with sound designers is a necessary step. It gives you an opportunity to learn much more about the industry, it gives you some free experience, and you make good friends.&#xD;&#xA;&#xD;&#xA;BUT!&#xD;&#xA;&#xD;&#xA;Don't only speak with the sound people. Go out and meet the game designers themselves. My current work was the result of attending the &quot;Boston Unity Group&quot; meetings. I wasn't expecting to find other sound designers there. The hope was to meet developers who hadn't yet tackled the sound side of their projects. That way, I was going straight to the source, and it worked. Find meetings of developers and programmers in your area and start attending. Let the word spread through the group that you are a sound designer, and I am sure that soon enough someone will approach you about helping them with their sound.&#xD;&#xA;&#xD;&#xA;Another thing that helps on the Indie side is knowing how to program. The game designers that I have met say they appreciate it when a sound designer can do more than hand them a .wav file." ContentLicense="CC BY-SA 3.0" />
  <row Id="16811" PostHistoryTypeId="2" PostId="10172" RevisionGUID="ba3f80cd-1e48-4301-895f-40af4343e68a" CreationDate="2011-09-07T16:52:10.917" UserId="264" Text="Hello folks.&#xD;&#xA;&#xD;&#xA;I am looking to do some major upgrades on my kit, specifically my microphone. I have been looking for a used Sanken CS-3e. However, beyond eBay, my search hasn't been fruitful. I was wondering if you folks have tips on where to look for used equipment. I have heard plenty of stories about $2000 microphones being found for $1000. Granted, these are rare and specific events, but even a fraction of those savings would make the search worth it.&#xD;&#xA;&#xD;&#xA;~Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="16812" PostHistoryTypeId="1" PostId="10172" RevisionGUID="ba3f80cd-1e48-4301-895f-40af4343e68a" CreationDate="2011-09-07T16:52:10.917" UserId="264" Text="Finding Used Equipment" ContentLicense="CC BY-SA 3.0" />
  <row Id="16813" PostHistoryTypeId="3" PostId="10172" RevisionGUID="ba3f80cd-1e48-4301-895f-40af4343e68a" CreationDate="2011-09-07T16:52:10.917" UserId="264" Text="&lt;used-gear&gt;&lt;equipment&gt;&lt;upgrade&gt;&lt;cheap&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16814" PostHistoryTypeId="2" PostId="10173" RevisionGUID="553b8b0a-6b5c-4a51-b140-59f8d1d331df" CreationDate="2011-09-07T17:32:25.310" UserId="2177" Text="trew audio&#xD;&#xA;&#xD;&#xA;professional sound services&#xD;&#xA;&#xD;&#xA;gotham sound&#xD;&#xA;&#xD;&#xA;location sound corp&#xD;&#xA;&#xD;&#xA;coffey sound&#xD;&#xA;&#xD;&#xA;all these companies have consignment pages on their websites.&#xD;&#xA;&#xD;&#xA;granted, these are all located in the US, not sure where you are.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16815" PostHistoryTypeId="2" PostId="10174" RevisionGUID="eae9efc8-385c-4b6c-9eb8-2d1df591b5ef" CreationDate="2011-09-07T17:45:10.813" UserId="2166" Text="Try Trew Audio as well.&#xD;&#xA;Good luck finding a used Sanken CS-3e.  They can have mine when they pry it from my cold, dead fingers." ContentLicense="CC BY-SA 3.0" />
  <row Id="16816" PostHistoryTypeId="2" PostId="10175" RevisionGUID="9e7582a4-57a8-4ee1-98e9-af37f11ad854" CreationDate="2011-09-07T18:11:30.047" UserDisplayName="user80" Text="I am very happy with the Sennheisers that we use, and have had no problems with any of the packs we have hired also all Sennheisers." ContentLicense="CC BY-SA 3.0" />
  <row Id="16817" PostHistoryTypeId="2" PostId="10176" RevisionGUID="ded8bde9-a9ff-4ae3-b84f-0c687571751d" CreationDate="2011-09-07T18:12:42.323" UserDisplayName="user80" Text="Try posting on the forums that you are looking for one." ContentLicense="CC BY-SA 3.0" />
  <row Id="16818" PostHistoryTypeId="2" PostId="10177" RevisionGUID="e6663360-b9df-4f44-bd4e-d0874f723c50" CreationDate="2011-09-07T18:44:50.057" UserId="558" Text="This is a bit off topic, but it is about the role of the brain and eyes in sound recognition.  Pretty cool Aural illusion.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=G-lN8vWm3m0&amp;feature=youtu.be&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16819" PostHistoryTypeId="2" PostId="10178" RevisionGUID="15de6fe2-6052-4e06-8ad4-76e5d6d9c00f" CreationDate="2011-09-07T19:05:21.147" UserId="431" Text="Although craigslist encourages people to buy and sell locally, you *can* search all of craigslist at once. There's [this][1] Wired article on how to set it up, but if why do the heavy lifting, when [somebody else already has][2]? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://howto.wired.com/wiki/Search_Every_Craigslist_Site_at_Once&#xD;&#xA;  [2]: http://www.searchallcraigs.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16820" PostHistoryTypeId="2" PostId="10179" RevisionGUID="b838b621-6fcf-45ff-8a89-41e2c082e516" CreationDate="2011-09-07T20:29:50.517" UserId="6499" Text="jwsoundgroup.net&#xD;&#xA;&#xD;&#xA;the buy/sell forum &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16821" PostHistoryTypeId="2" PostId="10180" RevisionGUID="5c95d0e8-686b-4a8a-8316-0c4761e6de45" CreationDate="2011-09-07T20:34:03.117" UserId="2136" Text="1) You've returned home and had to remove condoms, gaff tape, a couple mic clips, and a few patch cables to get to your keys.&#xD;&#xA;&#xD;&#xA;2) You were puzzled by the shock of everyone around you as you pulled those items out of your pockets/bag.&#xD;&#xA;&#xD;&#xA;3) You grit your teeth every time you hear high frequency feedback.&#xD;&#xA;&#xD;&#xA;4) You've been questioned by campus authorities as to why you were hanging around a hallway dropping different pens for 2 hours.&#xD;&#xA;&#xD;&#xA;5) You build a soundscape in your head every morning on the bus because the engine sounds cool." ContentLicense="CC BY-SA 3.0" />
  <row Id="16822" PostHistoryTypeId="16" PostId="10180" RevisionGUID="5c95d0e8-686b-4a8a-8316-0c4761e6de45" CreationDate="2011-09-07T20:34:03.117" UserId="-1" />
  <row Id="16823" PostHistoryTypeId="2" PostId="10181" RevisionGUID="99c96049-2925-41b9-9fba-427521e2f8c2" CreationDate="2011-09-08T00:03:45.817" UserId="431" Text="Many years ago in university I decided to surprise my-then-girlfriend with a romantic night in. After dinner (which was probably pizza) I escorted her to my concrete walled dorm room, where upon I lit some candles and proceeded to give her a massage. Instead of one thing leading to another, she drifted off into a gentle slumber and somehow, despite being in a completely upright position, I did as well. That's when the candles set off the smoke alarm which was directly above my head. &#xD;&#xA;&#xD;&#xA;It was so loud, it didn't register as a sound to me. All my brain could manage was this hind brain all encompassing certainty that SOMETHING WAS VERY WRONG, but I had know idea what. Never mind being able to identify what the sound was, I couldn't identify that it was sound at all. It wasn't until I opened my mouth to say 'uhhh' (I'm just brilliant under pressure) that my brain untangled the sensory overload and I became aware of the incredibly loud alarm." ContentLicense="CC BY-SA 3.0" />
  <row Id="16824" PostHistoryTypeId="5" PostId="10178" RevisionGUID="2aaa146d-8e1b-4f11-8559-01e87112639d" CreationDate="2011-09-08T00:05:56.753" UserId="431" Comment="if why, so because (must remember to proofread)" Text="Although craigslist encourages people to buy and sell locally, you *can* search all of craigslist at once. There's [this][1] Wired article on how to set it up, but why do the heavy lifting, when [somebody else already has][2]? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://howto.wired.com/wiki/Search_Every_Craigslist_Site_at_Once&#xD;&#xA;  [2]: http://www.searchallcraigs.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16825" PostHistoryTypeId="2" PostId="10182" RevisionGUID="5bb2f027-4901-495a-9a57-496326780ded" CreationDate="2011-09-08T01:15:19.273" UserId="431" Text="I just recently got my feet wet mixing for post and I'm sad to say that with the exception of music I can't imagine using anything but a mouse or stylus (just looking at a trackball makes my hand cramp up). Perhaps that's because for each 45 min ep. and I have two days to mix. I take a day on dialogue and it's all +/ this and breakpoint that. I can't imagine getting my dialogue to hit the meters where they should, without sounding over or under compressed in the amount of time I have using the Control 24 that's sitting right in front of me. Mixing the music against the mix dialogue is the only time I touch a fader.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16826" PostHistoryTypeId="2" PostId="10183" RevisionGUID="10140876-0fb5-4c08-8749-3d6c8183f18a" CreationDate="2011-09-08T01:48:22.687" UserId="2195" Text="my condolences! and i agree with the above posters as that is quite an exquisite sound. Also, i second the method of immediately powering off your newly-soaked device, removing the battery, and then submerging it in a bowl of dry uncooked rice for a few hours. thank you for sharing this sound with us&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16827" PostHistoryTypeId="2" PostId="10184" RevisionGUID="bee64140-6cfa-454e-b00e-57b9dce8aeec" CreationDate="2011-09-08T03:50:16.463" UserId="264" Text="Silence.&#xD;&#xA;&#xD;&#xA;This isn't a one size fits all solution, but whenever a character is near breaking or has broken, I find silence to be very powerful and unnerving. For me, silence increases the feeling of helplessness, as if even the soundtrack is too disturbed and upset to know what to do. Like shocked onlookers, the sound can only stare silently, mouth gaping." ContentLicense="CC BY-SA 3.0" />
  <row Id="16828" PostHistoryTypeId="2" PostId="10185" RevisionGUID="d429a033-fac8-4d23-9d9b-3945c7071ae0" CreationDate="2011-09-08T06:35:44.777" UserId="37" Text="depending on model you might be able to open it up so it dries further, then change the battery (likely bust from all that water) and restore it back to good health. certainly happened to my 1st gen Nano, which still keeps going, 6 years after purchase, and 3 after incident." ContentLicense="CC BY-SA 3.0" />
  <row Id="16829" PostHistoryTypeId="5" PostId="10175" RevisionGUID="910ae5aa-cbd5-48c5-9c02-23d5210ea5bf" CreationDate="2011-09-08T06:42:53.827" UserDisplayName="user80" Comment="added 1 characters in body" Text="I am very happy with the Sennheisers that we use, and have had no problems with any of the packs we have hired, also all Sennheisers." ContentLicense="CC BY-SA 3.0" />
  <row Id="16830" PostHistoryTypeId="2" PostId="10186" RevisionGUID="685e9f14-f54e-430c-9ebd-2dad5861caf7" CreationDate="2011-09-08T11:51:05.733" UserId="1055" Text="Hello all,&#xD;&#xA;&#xD;&#xA;so my room is terrible for sound, and i am thinking about building a sound booth something similar to this http://youtu.be/6UzkFmfTzhk .&#xD;&#xA;&#xD;&#xA;Basically i need a sound booth to record sfx at home, also it should be quite portable if i want to record something that could not be recorded in my room. So anybody has a experience building/using these diy booths?&#xD;&#xA;&#xD;&#xA;Ahhh and btw, some sudgestions for materials would be also good. Also is it essential to buy acoustic foam, or any foam will be good?&#xD;&#xA;&#xD;&#xA;p.s.:sorry for my bad english :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16831" PostHistoryTypeId="1" PostId="10186" RevisionGUID="685e9f14-f54e-430c-9ebd-2dad5861caf7" CreationDate="2011-09-08T11:51:05.733" UserId="1055" Text="DIY sound booth...is it worth it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16832" PostHistoryTypeId="3" PostId="10186" RevisionGUID="685e9f14-f54e-430c-9ebd-2dad5861caf7" CreationDate="2011-09-08T11:51:05.733" UserId="1055" Text="&lt;diy&gt;&lt;booth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16833" PostHistoryTypeId="2" PostId="10187" RevisionGUID="2f6c60f3-6266-40f3-8ecd-7d2b3d3b5414" CreationDate="2011-09-08T11:57:04.073" UserId="1145" Text="It depends on what I'm doing. When designing sounds or making music i use my Magic Trackpad. Great for easy navigation both horizontally and vertically too.&#xD;&#xA;When mixing TV shows I ride the fader for dialogue and music. Faster and smoother.&#xD;&#xA;What I would really like is the Avid/Euphonix Transport with one fader. That's all i need really." ContentLicense="CC BY-SA 3.0" />
  <row Id="16834" PostHistoryTypeId="2" PostId="10188" RevisionGUID="e25047d6-6f33-4077-88af-65d442d5d8a9" CreationDate="2011-09-08T12:12:32.563" UserId="1145" Text="What about [this one?][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.vicoustic.com/VN/Musicbroadcast/produtoInfo.asp?Id=60&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16835" PostHistoryTypeId="2" PostId="10189" RevisionGUID="f36b6fee-1bd6-49de-a0d5-754f346e12f4" CreationDate="2011-09-08T13:10:57.830" UserId="37" Text="Control over high mids and high frequencies is easy but it will be the lows that will do your head in, and I do believe that's where the commercial solutions start to make a difference. get your foam pre-cut and pre-painted to spare yourself time and trouble, but also it won't look messy. &#xD;&#xA;&#xD;&#xA;If you plan to do any &quot;professional&quot; work for clients coming to record (or perform) into the space, DIY has to be top quality as they don't quite understand sound, so you will likely be judged on looks alone.&#xD;&#xA;&#xD;&#xA;Have a look around, sometimes acoustic foam comes reasonably priced, i.e. not expensive. &#xD;&#xA;&#xD;&#xA;You will likely spend long times in that space, so the effort to make it look perfect pays off.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16836" PostHistoryTypeId="5" PostId="10182" RevisionGUID="7fc08a46-cce3-4bae-99d8-e59b51d988fc" CreationDate="2011-09-08T13:29:04.677" UserId="431" Comment="deleted 4 characters in body" Text="I just recently got my feet wet mixing for post and I'm sad to say that with the exception of music I can't imagine using anything but a mouse or stylus (just looking at a trackball makes my hand cramp up). Perhaps that's because for each 45 min ep. and I have two days to mix. I take a day on dialogue and it's all +/ this and breakpoint that. I can't imagine getting my dialogue to hit the meters where they should, without sounding over or under compressed in the amount of time I have using the Control 24 that's sitting right in front of me. Mixing the music against the dialogue is the only time I touch a fader.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16837" PostHistoryTypeId="2" PostId="10190" RevisionGUID="9a8793c6-fc11-4044-85b2-d8382e4fab02" CreationDate="2011-09-08T13:40:40.060" UserId="608" Text="http://www.bblist.co.uk/&#xD;&#xA;&#xD;&#xA;Baz's Bazaar carries alot of 2nd hand broadcast and has a massive audio section, it is a UK based list, but you might be able to get what you need shipped for a reasonable fee..&#xD;&#xA;&#xD;&#xA;Nick" ContentLicense="CC BY-SA 3.0" />
  <row Id="16838" PostHistoryTypeId="2" PostId="10191" RevisionGUID="a7db5436-1316-40c7-ae95-a08d3c092ecc" CreationDate="2011-09-08T13:58:42.147" UserId="1216" Text="Hi Linas,&#xD;&#xA;&#xD;&#xA;If you want to record just vocals it could work.  &#xD;&#xA;But are you recording and tracking in the same room? You have to sit very still i guess?&#xD;&#xA;These kinds of products are ok, but it will never sound really good. Your mic will still pick up other sounds and those matter also.   &#xD;&#xA;If you're room really sounds terrible you have another option; treat your room (to make it acoustically better).    &#xD;&#xA;It's not easy and it costs money but you will have a lot of advantages compared to building a mic booth you refer to. One advantage is that your mixes will sound better (if placed correctly etc.) and another one is that you'll have less sound bouncing back into your mic.&#xD;&#xA;&#xD;&#xA;Maybe it's to much work (or you also have to sleep in the room, which i did when i was a student), but it really makes your work sound a lot better in the end.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="16839" PostHistoryTypeId="5" PostId="2968" RevisionGUID="d0f02381-f71e-4bec-b343-dcdecba6935f" CreationDate="2011-09-08T14:56:35.107" UserId="393" Comment="added 342 characters in body" Text="I'm a mouse user, but only because I don't have any other option.  I use an M-Audio Oxygen keyboard that does have faders and knobs, but it's always seemed like too much hassle to get it to work right, when I could do the same thing with a mouse or an envelope much faster.&#xD;&#xA;&#xD;&#xA;**UPDATE 9/8/2011:**  That said, I still prefer consoles.  I grew up in the music world, where mixers will always reign supreme.  I bought my first one (Behringer 32 track) when I was 18, and I use a smaller mixer as my monitor control and for most of my i/o.  The moment I can afford even a Faderport for my automation, it's a done deal." ContentLicense="CC BY-SA 3.0" />
  <row Id="16840" PostHistoryTypeId="2" PostId="10192" RevisionGUID="78f20dc2-f8d6-46cb-9544-7bc909340609" CreationDate="2011-09-08T14:58:05.137" UserId="234" Text="Whether or not it will work will depend largely on WHY your room is &quot;terrible&quot; for sound. If it's early reflections and reverb, then these sort of things will do wonders to help. On the other hand if the room is muddy or harsh sounding, there's a lot of noise, electrical noise, or horrible standing waves (amongst others) then this will do exactly NOTHING. I do use a variation of this. I bought one of those folding screens at IKEA and drape a down filled Duvet over it - does a great job of removing reverb and &quot;room&quot; for recordings. However doesn't do a thing if the vacuum starts upstairs or the dogs start barking! Also difficult to record anything at a distance for perspective, as the farther away you get from the mic, the more the room comes back. &#xD;&#xA;&#xD;&#xA;As an aside, I know Ric Viers of the Detroit Chop Shop (on Designing Sound TV) often brings old mattresses with him just to help with this sort of thing: http://www.youtube.com/watch?v=iwxWwQi7HGY&amp;feature=player_embedded&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16841" PostHistoryTypeId="2" PostId="10193" RevisionGUID="04f6a890-be9a-4344-9206-7837d996e2cf" CreationDate="2011-09-08T23:33:13.343" UserId="2253" Text="I find that if you have a large amounts of edits, fades, what-not, if you try to continue to edit these regions, some aspects of the edits may not be desirable.  For example, I had a track that required me to insert crossfades between pasted regions to eliminate that annoying and very audible 'blip' that you get.  I then had to copy and paste part of the region, with just a portion of the crossfade in the copy, and upon pasting it I found that the newly pasted region ended with a fade-out as opposed to a crossfade.  I immediately hit undo, consolidate the track, and tried my copy and paste again... and it worked as I had initially anticipated.  Although upon saying this, I will also add that you must be absolutly certain that the rest of the track is okay before consolidating.  If you're missing a crossfade, and you consolidate and save, you may be left with a permanent 'blip' in your track." ContentLicense="CC BY-SA 3.0" />
  <row Id="16842" PostHistoryTypeId="2" PostId="10194" RevisionGUID="8b66fb6f-d3ff-44d7-9c3a-d004183cd237" CreationDate="2011-09-09T00:16:56.863" UserId="1049" Text="I'm just starting out in sound design. I've been interested in the field for a long time but have only just got myself into the position where I can start to purchase some proper kit and get involved with proper projects etc and there is a lot I need to learn about the workings of the profession, common practices, and so on!&#xD;&#xA;&#xD;&#xA;I've spent a lot of time over the past few years messing around in various DAWs in my spare time, creating &quot;electronic music&quot; and just having a bit of fun but I wouldn't consider my composition production quality to be quite at the level where I'd feel comfortable using it in a film or game project yet, which leads me on to my question: &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;On average, do most sound designers compose their own music, or outsource to specialist musicians when working on pieces that involve bespoke music tracks? And is it common for a SD working on a, say, film piece to be given the music tracks that are to be incorporated to them from the project directors etc?! &#xD;&#xA;&#xD;&#xA;I'd like to think I'd soon get to the stage where I'd be confident enough to use my own pieces within projects I'm working on. I am particularly confident with my abilities in creating background ambient pieces but realistically I know I'm some way off from getting full blown music tracks to be at 'professional level'. Do you think this could be a hindrance if I'm looking to pursue a career in sound design?&#xD;&#xA;&#xD;&#xA;Any comments or discussion on the subject would be greatly appreciated! Thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="16843" PostHistoryTypeId="1" PostId="10194" RevisionGUID="8b66fb6f-d3ff-44d7-9c3a-d004183cd237" CreationDate="2011-09-09T00:16:56.863" UserId="1049" Text="How necessary are 'professional quality' music composition skills in the Sound Design field?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16844" PostHistoryTypeId="3" PostId="10194" RevisionGUID="8b66fb6f-d3ff-44d7-9c3a-d004183cd237" CreationDate="2011-09-09T00:16:56.863" UserId="1049" Text="&lt;music&gt;&lt;composition&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16845" PostHistoryTypeId="2" PostId="10195" RevisionGUID="b4f48e4a-0475-4023-8c07-7506fcdf6fa1" CreationDate="2011-09-09T01:12:35.857" UserId="2263" Text="For those of you who have been using this successfully in the field, could you please post full names and model numbers of the USB battery packs/power supplies you have been using with the USBpre? Thinking of getting this to double as a 2-channel field mixer with my Fostex FR-2, as well as a PT interface." ContentLicense="CC BY-SA 3.0" />
  <row Id="16846" PostHistoryTypeId="2" PostId="10196" RevisionGUID="0a17e29b-7c4a-4b73-b0a1-a51d89fa4553" CreationDate="2011-09-09T01:31:52.623" UserId="1308" Text="Another helpful tidbit...  I tend to duplicate (create new) playlist before consolidating.  This way I can always go back to a previous version.&#xD;&#xA;&#xD;&#xA;I do this before preforming specific Audiosuite tasks as well, like vocal tuning." ContentLicense="CC BY-SA 3.0" />
  <row Id="16847" PostHistoryTypeId="2" PostId="10197" RevisionGUID="faf42a7c-a680-424f-9400-abac945b418d" CreationDate="2011-09-09T01:44:46.887" UserId="2265" Text="I'm waiting for this too. Maybe we should all email Sennheiser!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16848" PostHistoryTypeId="2" PostId="10198" RevisionGUID="8d1b3c72-ecec-450b-a9f4-693514a3c7bc" CreationDate="2011-09-09T06:02:18.527" UserId="1117" Text="hey, &#xD;&#xA;ive been looking at some headphone suggestions here and a lot seem to recommend the Sony MDR-7506&#xD;&#xA;&#xD;&#xA;i found them new for $50 including postage, but are they fake?&#xD;&#xA;&#xD;&#xA;it says they are in australia but all the others in australia range from $100 - $200.&#xD;&#xA;&#xD;&#xA;cheers&#xD;&#xA;Jamie" ContentLicense="CC BY-SA 3.0" />
  <row Id="16849" PostHistoryTypeId="1" PostId="10198" RevisionGUID="8d1b3c72-ecec-450b-a9f4-693514a3c7bc" CreationDate="2011-09-09T06:02:18.527" UserId="1117" Text="To good to be true? headphone content" ContentLicense="CC BY-SA 3.0" />
  <row Id="16850" PostHistoryTypeId="3" PostId="10198" RevisionGUID="8d1b3c72-ecec-450b-a9f4-693514a3c7bc" CreationDate="2011-09-09T06:02:18.527" UserId="1117" Text="&lt;headphones&gt;&lt;sony&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16851" PostHistoryTypeId="2" PostId="10199" RevisionGUID="7c09af3b-9c45-4ebe-853c-023f5452bbc0" CreationDate="2011-09-09T06:13:52.357" UserId="1228" Text="Honestly, I wouldn't be surprised if somebody was selling it for that.  I bought mine new a long time ago for $80 (have since been destroyed), so it doesn't seem too far fetched." ContentLicense="CC BY-SA 3.0" />
  <row Id="16852" PostHistoryTypeId="2" PostId="10200" RevisionGUID="6b3e83ff-22cf-44ee-b228-689fe5c7ae2d" CreationDate="2011-09-09T06:15:46.820" UserId="6460" Text="The &quot;sound design field&quot; encompasses many different design duties for different venues, in different formats, with different workflows. In theater, for instance, the sound designer is often expected to compose as well, whereas on a large film project, the sound designer may not be allowed to touch the music until he/she receives it in 4-8 audio stems. As such, your experience with music will benefit you differently in the various areas of sound design.&#xD;&#xA;&#xD;&#xA;Musicians/composers are not just better sound designers, but better directors, recording engineers, video editors, writers, actors... you name it. Experience with music reenforces a sense of rhythm, flow and dramatic timing that is very beneficial to creating (and appreciating) great sonic or visual art. &#xD;&#xA;&#xD;&#xA;It's also important to note that the defining characteristics of a &quot;professional-quality&quot; composition develop not just from the composer's musical skillset, but from research, collaboration with the director/producer, careful attention to detail at every step of the way, and, of course, time and patience. A composer may be valued not just for his/her musical ability, but also the ability to take directions and to churn out work quickly and on time. &#xD;&#xA;&#xD;&#xA;If you are asking more about the production side of composition, the best thing you can do is tinker around with your DAW and try to imitate the characteristics of existing music that you like. The most powerful technical tool you can bring to the table is fluency with your DAW of choice. Don't think that you're far from creating &quot;at professional level&quot;, either. There are plenty of successful composers out there who suck at recording and mixing their music —— merely seeing your work through from concept to master will make you stick out from the crowd. &#xD;&#xA;&#xD;&#xA;A lot of text here, hope it helps :).&#xD;&#xA;&#xD;&#xA;~Matt " ContentLicense="CC BY-SA 3.0" />
  <row Id="16853" PostHistoryTypeId="2" PostId="10201" RevisionGUID="bc09d356-c6da-4d69-b814-ab60294aecef" CreationDate="2011-09-09T06:39:26.960" UserId="6460" Text="In addition to these suggestions, I would recommend checking out region groups in Pro Tools. The effect is the same as consolidating the edits, but the group is temporary can be undone whenever needed —— a paper clip instead of a stapler, if you will. Check out this video for details:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=ZcSJQwW68LM" ContentLicense="CC BY-SA 3.0" />
  <row Id="16854" PostHistoryTypeId="2" PostId="10202" RevisionGUID="de366350-faf7-4a7c-8c1a-9d78ae68084c" CreationDate="2011-09-09T07:59:28.980" UserId="37" Text="Fakes come in all shapes and sizes and I've bought fake Sony headphones in the past.. from a store. Fake microphones from established brands/models do [exist][1] too on Ebay. Maybe add salt in proportion to how good the deal is? Request high-res photos from the seller and look at the details?&#xD;&#xA;&#xD;&#xA;  [1]: http://homerecording.about.com/od/microphones101/a/Fake_Shure_Mics.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="16855" PostHistoryTypeId="2" PostId="10203" RevisionGUID="e4542422-900c-464a-8490-7476c497a509" CreationDate="2011-09-09T08:25:07.387" UserId="2286" Text="I am trying to find a plug-in that encodes LR-signals to MS. I have two AT3032 that I want to use as a stereo pair, and this is what I need to do (as per instructions):&#xD;&#xA;&#xD;&#xA;&quot;Match the mic response with normal EQ (left/right channels) then using an LR to MS plugin (or mid/side encoder and decoder) or EQ that operates on the Side channel (right) only you can boost the lows. Then use stereo width enhancement plugins to adjust the overall stereo image. The basic shuffling of the lows should get you quite far.&quot;&#xD;&#xA;&#xD;&#xA;Anyone have any ideas?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16856" PostHistoryTypeId="1" PostId="10203" RevisionGUID="e4542422-900c-464a-8490-7476c497a509" CreationDate="2011-09-09T08:25:07.387" UserId="2286" Text="Encoding LR to MS - which plug-in?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16857" PostHistoryTypeId="3" PostId="10203" RevisionGUID="e4542422-900c-464a-8490-7476c497a509" CreationDate="2011-09-09T08:25:07.387" UserId="2286" Text="&lt;ms&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16858" PostHistoryTypeId="2" PostId="10204" RevisionGUID="c1e1e212-8e43-4726-9bc3-296aea02229d" CreationDate="2011-09-09T08:28:20.923" UserId="1055" Text="dunno if thats what you are looking for but there is a free plug called voxengo msed, that does ms encoding/decoding, as far as i understand http://www.voxengo.com/group/free-vst-plugins/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16859" PostHistoryTypeId="2" PostId="10205" RevisionGUID="094edcdb-7023-4c2f-9465-2ee9f647a7ee" CreationDate="2011-09-09T08:58:04.933" UserId="6420" Text="Check out the Brainworx plug ins. They have extensive MS specific stuff. Their EQ plugs will do what you need :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16860" PostHistoryTypeId="2" PostId="10206" RevisionGUID="98cdc6d3-5af9-4cb1-b4bb-f0c96e4e3f9c" CreationDate="2011-09-09T14:03:52.360" UserId="194" Text="Anyone do this?  We're looking to tweak our chain somewhat, and one of the more obvious things is to go ahead and compress some of those quick transients out on the cut side of foley and footsteps.&#xD;&#xA;&#xD;&#xA;This could potentially keep some of the more interesting subtle stuff in a better spot relative to the harder peaks and make it easier/better on the mix side.&#xD;&#xA;&#xD;&#xA;We already cut through a bit of a highpass and sometimes a little expansion, and we tend to have the mic at a relatively far distance (sometimes 3-5 feet away) in order to get perspective and tone right.&#xD;&#xA;&#xD;&#xA;What's your foley chain?  What's your experience with using compression or limiting on the input chain?&#xD;&#xA;&#xD;&#xA;thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16861" PostHistoryTypeId="1" PostId="10206" RevisionGUID="98cdc6d3-5af9-4cb1-b4bb-f0c96e4e3f9c" CreationDate="2011-09-09T14:03:52.360" UserId="194" Text="cutting foley/footsteps through compression?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16862" PostHistoryTypeId="3" PostId="10206" RevisionGUID="98cdc6d3-5af9-4cb1-b4bb-f0c96e4e3f9c" CreationDate="2011-09-09T14:03:52.360" UserId="194" Text="&lt;foley&gt;&lt;workflow&gt;&lt;compression&gt;&lt;input&gt;&lt;chain&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16863" PostHistoryTypeId="2" PostId="10207" RevisionGUID="b3e1b66f-3ab7-44ec-a17e-982cb5a68b0d" CreationDate="2011-09-09T14:38:23.013" UserId="6524" Text="I use a [Razer Arctosa][1] which I was thinking of selling, but later changed my mind after thinking of using the macro capabilities for PT. I'm fairly new to PT and not very familiar with a lot of the keyboard shortcuts, so I was wondering if you have a gaming keyboard or know some essential/over used shortcuts that could be macro'd to one button to work quicker without having to try to remember the shortcut (eg: Ctrl+Shift+I to F1), what would you use and what empty keys would macro them to?&#xD;&#xA;&#xD;&#xA;  [1]: http://store.razerzone.com/store/razerusa/en_US/pd/productID.169415000/parentCategoryID.35156900/categoryId.54626500" ContentLicense="CC BY-SA 3.0" />
  <row Id="16864" PostHistoryTypeId="1" PostId="10207" RevisionGUID="b3e1b66f-3ab7-44ec-a17e-982cb5a68b0d" CreationDate="2011-09-09T14:38:23.013" UserId="6524" Text="Pro Tools Keyboard Shortcuts Macro'd to a Gaming Keyboard" ContentLicense="CC BY-SA 3.0" />
  <row Id="16865" PostHistoryTypeId="3" PostId="10207" RevisionGUID="b3e1b66f-3ab7-44ec-a17e-982cb5a68b0d" CreationDate="2011-09-09T14:38:23.013" UserId="6524" Text="&lt;pro-tools&gt;&lt;keyboard&gt;&lt;shortcut&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16866" PostHistoryTypeId="2" PostId="10208" RevisionGUID="b9cb3697-ed96-4166-9d66-b34192c75158" CreationDate="2011-09-09T15:29:47.113" UserId="2309" Text="I consolidate often to apply time compress/expand in order to meet lenght requirements on TV ads.&#xD;&#xA;Mostly on VO, some times on music beds. In any case I always create an empty track and copy a muted version of the unconsolidated regions just in case. About half the times I go back and retweak as video changes happens. I dont mix music tho.&#xD;&#xA;I also consolidate when exporting unprocessed stems ( VO-SFX-MUS syncd with a 2pop) &#xD;&#xA;ALWAYS keep a muted copy / alternate playlist, you'll be glad you did.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16867" PostHistoryTypeId="2" PostId="10209" RevisionGUID="57552fde-6c85-451c-af50-817c991f304a" CreationDate="2011-09-09T15:50:25.833" UserId="29" Text="There's also the free +Matrix plugin from Tom &quot;Soundhack&quot; Erbe." ContentLicense="CC BY-SA 3.0" />
  <row Id="16868" PostHistoryTypeId="2" PostId="10210" RevisionGUID="5358dc8e-5700-47be-a88e-5285b24f8196" CreationDate="2011-09-09T15:52:37.923" UserId="29" Text="&quot;Waiting anxiously for the Sennheiser 8030?&quot; Do bears produce stereophonic post-digestive activity in the woods? &#xD;&#xA;&#xD;&#xA;No idea why Sennheiser keeps being so catty with their plans, but they've never announced any plans to even make an 8030 AFAIK. When they do, they'd better make enough of 'em, as we'll all be knocking down their doors to get one!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16869" PostHistoryTypeId="2" PostId="10211" RevisionGUID="1be7b8b2-0299-4fb8-bd96-1fc0b07f396c" CreationDate="2011-09-09T17:14:07.633" UserId="6460" Text="For Dialog Editing:&#xD;&#xA;&#xD;&#xA; - EQ - Waves Q10&#xD;&#xA; - Comp - SSL Comp&#xD;&#xA; - Gate - Waves C1 Gate&#xD;&#xA; - Denoiser - Izotope RX&#xD;&#xA; - Verb for ADR - Altiverb&#xD;&#xA;&#xD;&#xA;For Foley:&#xD;&#xA;&#xD;&#xA; - EQ - Waves Q10&#xD;&#xA; - Comp - Waves L1 Limiter&#xD;&#xA; - Gate - Waves C1&#xD;&#xA; - Pitch Shift - Digi Pitch Shift&#xD;&#xA; - Verb - Altiverb&#xD;&#xA;&#xD;&#xA;For Ambiences:&#xD;&#xA;&#xD;&#xA; - EQ - Waves Q10&#xD;&#xA; - Imaging - Flux Stereo Tool&#xD;&#xA; - Imaging - Waves Doppler&#xD;&#xA; - Ducking - Waves C1&#xD;&#xA; - Digi Reverse&#xD;&#xA;&#xD;&#xA;For sound design and sfx editing:&#xD;&#xA;&#xD;&#xA; - EQ - Waves Q10&#xD;&#xA; - Comp - Waves L1&#xD;&#xA; - Comp Effect - PSP VintageWarmer&#xD;&#xA; - Verb - Altiverb&#xD;&#xA; - Reason's NNXT sampler (kinda cheating&#xD;&#xA;   a bit, but it's still a plugin)&#xD;&#xA;&#xD;&#xA;If I had only 5 for the WHOLE mix...&#xD;&#xA;&#xD;&#xA; - EQ - Waves Q10&#xD;&#xA; - Comp - WAves C1 Comp&#xD;&#xA; - Gate - Waves C1 Gate&#xD;&#xA; - Reverb - Altiverb&#xD;&#xA; - Delay - Waves Supertap&#xD;&#xA;&#xD;&#xA;-------------------" ContentLicense="CC BY-SA 3.0" />
  <row Id="16870" PostHistoryTypeId="2" PostId="10212" RevisionGUID="aca459ac-09d8-4ce0-a2f5-a7642ec782f2" CreationDate="2011-09-09T17:40:26.853" UserId="6460" Text="I will second Miles B. on this one. Trying to use sound/music to 'guide' the audience into emotion often undermines the true emotion and smothers the moment.&#xD;&#xA;&#xD;&#xA;In addition to silence though, very soft sounds or diagetic music (music that exists in the world on stage/screen) can have an equally powerful, suck-the-air-out-of-the-room effect  in an emotional scene. It has the subconscious effect of reminding the audience that the world outside the character in focus continues as normal, even while/after the character suffers an emotional blow. It's a deceptively powerful technique to alienate the character from the rest of the &quot;happy world&quot;. &#xD;&#xA;&#xD;&#xA;If you want good examples of this, try watching the films Lost in Translation (use of background music) or The Hurt Locker (use of background sound effects and music). Or both ;)." ContentLicense="CC BY-SA 3.0" />
  <row Id="16871" PostHistoryTypeId="2" PostId="10213" RevisionGUID="80450a04-2c13-441e-b8bc-31f61769588e" CreationDate="2011-09-09T18:15:03.883" UserId="891" Text="The waves [S1 Imager][1] offers settings for input (L/R) and output (M/S) configurations. In most cases people would use it the other way around.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://waves.com/Content.aspx?id=275" ContentLicense="CC BY-SA 3.0" />
  <row Id="16872" PostHistoryTypeId="2" PostId="10214" RevisionGUID="ca96ece0-6de3-49a6-9ab4-86d5da14f622" CreationDate="2011-09-09T18:18:03.340" UserId="6460" Text="What kinda of room are you cutting your foley in? Is it a very dead foley stage or does it have a live quality? &#xD;&#xA;&#xD;&#xA;I typically like to get out of the studio for recording foley, simply to find more interesting sounds (even if I sacrifice some control in them mix). The problem with compressing field-recorded footsteps, of course, is that the compression boosts up any background noise in the recording. This applies just as much to a studio recording of footsteps where the mic is a few feet back.&#xD;&#xA;&#xD;&#xA;One of the most helpful tools I found for giving footsteps a body is to record with 2 different mic positions. For instance: I was recording steps on carpeted wood stairs that lead to the second floor of my old house. Directly beneath these stairs was another set of stairs that led to the basement. To capture the size and context of the steps. I set up one mic on the top steps facing my feet and another on the bottom steps, facing the ceiling beneath the floor of the top steps. The top mic captured the definition of my foot movements, while the bottom one captured the resonance and natural decay of the steps on the wood floor. Together, they create a depth that one mic could not easily capture (not to mention flexibility in the mix for creating different perspectives).&#xD;&#xA;&#xD;&#xA;The chain I used for these recordings was just an EQ and a gate, by the way ... no compression needed, just a lot of volume automation ;).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16873" PostHistoryTypeId="2" PostId="10215" RevisionGUID="25671163-2080-4489-9279-fb6e1fa0a494" CreationDate="2011-09-09T19:41:40.423" UserId="432" Text="So I hit the wall today. Sooner or later, everyone comes to a point where they realize they are doing more harm than good. It's that point where you realize that everything you're doing is sub-par and will just have to be redone later. I'm in a good spot for it, because I'm ahead of schedule on my current project. I can afford to walk away from it. I've only an hour left in my actual work day, and it's Friday. Plenty of time to recharge over the weekend (despite the fact that I have different freelance work to do).&#xD;&#xA;&#xD;&#xA;It got me thinking though, &quot;What if I wasn't in a good spot?&quot; Say you're under a tight deadline, and you hit this point. What would you do to recover? I haven't encountered that situation before...a hard deadline and fear can be great motivators ;)...but can only assume that someday, sooner or later, if even only once, it could happen.&#xD;&#xA;&#xD;&#xA;Anyone have any strategies for working through the wall?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16874" PostHistoryTypeId="1" PostId="10215" RevisionGUID="25671163-2080-4489-9279-fb6e1fa0a494" CreationDate="2011-09-09T19:41:40.423" UserId="432" Text="Strategies for when you've crashed into the wall under deadline" ContentLicense="CC BY-SA 3.0" />
  <row Id="16875" PostHistoryTypeId="3" PostId="10215" RevisionGUID="25671163-2080-4489-9279-fb6e1fa0a494" CreationDate="2011-09-09T19:41:40.423" UserId="432" Text="&lt;workflow&gt;&lt;deadlines&gt;&lt;scheduling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16876" PostHistoryTypeId="2" PostId="10216" RevisionGUID="f8db293b-ec6a-4bd8-a8b5-f12276b0edfb" CreationDate="2011-09-09T19:47:20.227" UserId="253" Text="I would say that they're not important at all. On small jobs, the client is happy for the sound designer to compose (or vice versa), but larger jobs call for more specialisation. IMHO, a project benefits from having separate people handling the sound design and the composition. Sound and music, in film, can work very differently. While you can have someone handling both, i find that collaboration makes for a better product. You should also realise that scoring for film is very different to composing standalone music, as you have to take into account story, tension, drama, character, and so many other factors. In most cases, anyway.&#xD;&#xA;&#xD;&#xA;While a knowledge of music can help with your sound design, it's not necessary. My advice would be to focus on what you're passionate about (which seems like it's sound design). Definitely try to develop your composition skills, if that's what you want, but be aware that it's a whole other craft that will take a lot of practice to master." ContentLicense="CC BY-SA 3.0" />
  <row Id="16877" PostHistoryTypeId="2" PostId="10217" RevisionGUID="81b66764-4398-47c2-ac6f-aea3735c48ce" CreationDate="2011-09-09T20:07:41.943" UserId="315" Text="Well I don't record much foley other than an add track or prop here and there, but I've certainly cut a bunch of it.&#xD;&#xA;&#xD;&#xA;The decision to use compression IMHO should depend mostly on the tastes of the Sound/Foley Supervisor and for what medium (I.E. Film vs TV). I'd check with who is receiving/cutting/mixing the foley first.&#xD;&#xA;&#xD;&#xA;Some supervisors/mixers will appreciate the compression to level out transient material a tad; especially if they're working on TV (something with a tight mix schedule and a medium with less available dynamic range). Film on the other hand, allows for more dynamics in something like FS, so a bunch of compression would probably be less desirable and best left to the re-recording mixer.&#xD;&#xA;&#xD;&#xA;I say go for compression while tracking transient material, but only 2:1/3:1 with a gentle threshold to catch peaks etc.. That being said, props/bodyfalls/impacts etc can really benefit/beef up sometimes from heavy compression/limiting. I've heard some props that look ugly on the DAW (crushed like a Britney Spears track) but sound awesome, powerful, and cut through a dense track.&#xD;&#xA;&#xD;&#xA;If you have a quiet, nice sounding room, I wouldn't be afraid to use the space even more to match perspective, further than 5 feet. The air in front of the mic also tends to level out the dynamics a bit. I've seen foley stages that blend a room mic 12 feet away from the artist. [Andy Malcolm][1] is master at this.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/22123359" ContentLicense="CC BY-SA 3.0" />
  <row Id="16878" PostHistoryTypeId="5" PostId="10217" RevisionGUID="a3618469-eb9a-4160-80eb-11e3265e1a2e" CreationDate="2011-09-09T20:13:39.190" UserId="315" Comment="added 15 characters in body" Text="Well I don't record much foley other than an add track or prop here and there, but I've certainly cut a bunch of it.&#xD;&#xA;&#xD;&#xA;The decision to use compression IMHO should depend mostly on the tastes of the Sound/Foley Supervisor and for what medium (I.E. Film vs TV). I'd check with who is receiving/cutting/mixing the foley first.&#xD;&#xA;&#xD;&#xA;Some supervisors/mixers will appreciate the compression to level out transient material a tad; especially if they're working on TV (something with a tight mix schedule and a medium with less available dynamic range). Film on the other hand, allows for more dynamics in something like FS, so a bunch of compression would probably be less desirable and best left to the re-recording mixer.&#xD;&#xA;&#xD;&#xA;I say go for compression while tracking transient material, but only 2:1/3:1 with a gentle threshold to catch peaks etc.. That being said, props/bodyfalls/impacts etc can really benefit/beef up sometimes from heavy compression/limiting. I've heard some props that look ugly on the DAW (crushed like a Britney Spears track) but sound awesome, powerful, and cut through a dense track.&#xD;&#xA;&#xD;&#xA;If you have a quiet, nice sounding room, I wouldn't be afraid to use the space even more to match perspective, further than 5 feet. The air in front of the mic also tends to level out the dynamics a bit. I've seen foley stages that blend a room mic 12 feet away from the artist. [Andy Malcolm][1] and his team are masters at this.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/22123359" ContentLicense="CC BY-SA 3.0" />
  <row Id="16879" PostHistoryTypeId="2" PostId="10218" RevisionGUID="d71c5557-e75f-4662-8c16-6c81144530be" CreationDate="2011-09-09T20:14:44.247" UserId="6420" Text="I would agree with Roger and that it's not THAT important really...&#xD;&#xA;&#xD;&#xA;However, I don't know many sound designers who aren't in some way musical, whether it be a guitarist, composer or electronic musician etc. I think being a musician, or at least having an understanding of creating music, teaches you valuable tools in sound design like having a feel for rhythm/timing, timbre, pitch recognition, manipulation of sounds, and emotion which can all work towards effective sound design.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16880" PostHistoryTypeId="2" PostId="10219" RevisionGUID="e1ca44f3-12c1-487c-9283-aaf5857ae27c" CreationDate="2011-09-09T20:42:05.377" UserId="1310" Text="No sleep 'till it's done." ContentLicense="CC BY-SA 3.0" />
  <row Id="16881" PostHistoryTypeId="2" PostId="10220" RevisionGUID="510414c9-859f-4feb-9258-5610bb5642d6" CreationDate="2011-09-09T20:46:40.423" UserId="18160" Text="I believe in synergy and I either show it to a co-worker who has nothing to do with the project or bring the other editor or editors up and show them what I've done and we bat ideas back and forth at each other. Sometimes their idea isn't used but a combination of or a bright idea is created out of each of our opinions or ideas.&#xD;&#xA;&#xD;&#xA;Otherwise, I take a walk for 5 to 10 minutes or do something dis-related and come back to it refreshed. I also refresh my memory of the purpose and idea the director is trying to communicate because sometimes you can lose sight of that." ContentLicense="CC BY-SA 3.0" />
  <row Id="16882" PostHistoryTypeId="2" PostId="10221" RevisionGUID="f391ab10-c720-4303-a61c-bce71215ae78" CreationDate="2011-09-09T21:02:20.640" UserId="418" Text="Wow, everybody is loving their Senny's huh? I used a pair of 280 Pro's for a while, then upgraded to 25's. I liked them ok, much better and more comfortable than the 280's. Still found myself getting a lot of the old sweaty ear rather quickly, and I didn't care much for the way they fit - which could be down to my sorta small head. Not sure, but in general I just found myself wanting to take them off way too often.&#xD;&#xA;&#xD;&#xA;I just sold those and grabbed a pair of AIAIAI TMA-1's. Really loving these things. Super duper comfortable, two kinds of swappable ear pads, great sound, not to mention they look pretty darn cool. I can sense some coloration, and are probably best suited for DJ use, but it's not obtrusive and doesn't hide anything that I've noticed so far. Perhaps they present a bit on the bassy side. My main thing in the field is comfort and having something that kills a decent amount of ambient noise while not weighing down my head. I had them on for a good 6 hours straight last week and didn't get sweaty or uncomfortable once. Like these cans a lot.&#xD;&#xA;&#xD;&#xA;http://www.aiaiai.dk/all-products/tma-1.html " ContentLicense="CC BY-SA 3.0" />
  <row Id="16883" PostHistoryTypeId="2" PostId="10222" RevisionGUID="876ff134-e498-454f-9f7f-9936815194cf" CreationDate="2011-09-09T21:10:29.237" UserId="61" Text="Happened to me just yesterday: Last minute crunch, no time, and a sub-par library of effects available. I had about a 10 minute window to design a sound, so the only thing to do was summon all my strengths and power through it. I think you also have to put some of your 'perfectionist' tendencies aside in times like that because it's unlikely you will be able to satisfy yourself in that way under duress. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16884" PostHistoryTypeId="2" PostId="10223" RevisionGUID="4b032994-5b8a-40ae-8d23-a4ab6c25a90e" CreationDate="2011-09-09T21:14:43.713" UserId="762" Text="I emailed Sennheiser when I was building my M/S kit, and they sent me back a polite form letter essentially saying 'maybe or not'.  I went ahead and plunked down for Schoeps instead, going for the CCM8.  I really wanted to go with the Sennies, but I'm really happy with my rig even if it cost a bit more (theoretically)." ContentLicense="CC BY-SA 3.0" />
  <row Id="16885" PostHistoryTypeId="2" PostId="10224" RevisionGUID="8f2ea67f-b2d8-4764-bf68-685482a08a4f" CreationDate="2011-09-09T21:33:47.667" UserId="2327" Text="you can find some [algorithmic composition][1] tutorials here. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.algorithmiccomposer.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="16886" PostHistoryTypeId="5" PostId="10215" RevisionGUID="4864f120-0a6b-4321-a9ce-969c60eb6ff2" CreationDate="2011-09-09T21:53:46.267" UserId="432" Comment="added 186 characters in body" Text="So I hit the wall today. Sooner or later, everyone comes to a point where they realize they are doing more harm than good. It's that point where you realize that everything you're doing is sub-par and will just have to be redone later. I'm in a good spot for it, because I'm ahead of schedule on my current project. I can afford to walk away from it. I've only an hour left in my actual work day, and it's Friday. Plenty of time to recharge over the weekend (despite the fact that I have different freelance work to do).&#xD;&#xA;&#xD;&#xA;It got me thinking though, &quot;What if I wasn't in a good spot?&quot; Say you're under a tight deadline, and you hit this point. What would you do to recover? I haven't encountered that situation before...a hard deadline and fear can be great motivators ;)...but can only assume that someday, sooner or later, if even only once, it could happen.&#xD;&#xA;&#xD;&#xA;Anyone have any strategies for working through the wall?&#xD;&#xA;&#xD;&#xA;**Edit:** I'm referring more to a lack of energy and focus in this question than I am to aesthetic choices. It's less of an artistic viewpoint and more of a critical faculties issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="16887" PostHistoryTypeId="2" PostId="10225" RevisionGUID="6133059a-38f5-4b31-8589-347ce52f1db8" CreationDate="2011-09-09T21:56:02.773" UserId="2329" Text="There is way easier way to do all of this. Maybe the sound quality isn't as good, or it's causing some issue that I'm not aware of, but I've been doing it for years and it works just fine for me. Just buy an inline impedance transformer. You just plug it on to the end of of an xlr cable, and it converts it into hi-z 1/4&quot; output. They cost 20 bucks. Run your mic into that, plug it in to your pedal, then run a line from your pedal or pedal chain to a DI box connected to FOH. Just about every venue should have a DI box on stage. It's what the house mics typically feed into. I did buy my own passive DI box for house parties, emergencies, etc. but I haven't had to use it much. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16888" PostHistoryTypeId="2" PostId="10226" RevisionGUID="86e0b76f-1892-4f30-b4ef-2f3d1ce96fae" CreationDate="2011-09-09T23:06:46.210" UserId="721" Text="I had it just yesterday and today. 2 months ago or so, happened to have promised a friend to handle the sound for her graduation project, an approx 20 mins short. all dialog edits, sound design, mixing and what not. did the set sound recordings myself as well so I was convinced that it would go smooth, it was a very tiny project after all... then, she ended up taking new shots without proper sound equipment, and using those in the actual edit and I ended up with nothing but bad camera sounds mostly.. everything got delayed... the picture wasn't locked until a week ago, and I only had 3 full (12+ hours non stop) days to work on it from scratch.. whats crazy is that still today she talks about changing the final edit, and getting new music in. wanted to back off long ago when the delays got introduced but couldn't. so stupid. by the time I got the exports and raw materials, it was too late. it turned out the fcp project was all messed up. all kinds of sync problems. manual adjustments on my side before even being able to work on the sound.. finally finished a mix an hour ago (if you can call it one) and sent it in. but I can assure you the only time I felt this much fed up, tired and so terribly frustrated was 2 years ago, during a 1 year project where all the team members got burned out. anyhow, premiere is tomorrow. I should be relieved but I dunno what to expect. somehow survived but got damaged both physically and mentally... oh and did I say this was for free.....?! never ever again. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16889" PostHistoryTypeId="5" PostId="10226" RevisionGUID="1050d56e-5069-42d0-8eeb-26ee95d39efe" CreationDate="2011-09-09T23:12:42.507" UserId="721" Comment="added 9 characters in body" Text="I had it just yesterday and today. 2 months ago or so, happened to have promised a friend to handle the sound for her graduation project, an approx 20 mins short. all dialog edits, sound design, mixing and what not. did the set sound recordings myself as well so I was convinced that it would go smooth, it was a very tiny project after all... then, she ended up taking new shots without proper sound equipment, and using those in the actual edit and I ended up with nothing but bad camera sounds mostly.. everything got delayed... the picture wasn't locked until a week ago, and I only had 3 full (12+ hours non stop) days to work on it from scratch.. whats crazy is that still today she talks about changing the final edit, and getting new music in. wanted to back off long ago when the delays got introduced but couldn't. so stupid. by the time I got the exports and raw materials, it was too late. it turned out the fcp project was all messed up. all kinds of sync problems. manual adjustments on my side before even being able to work on the sound.. finally finished a mix an hour ago (if you can call it one) and sent it in. but I can assure you the only time I felt this much fed up, tired and so terribly frustrated was 2 years ago, during a 1 year project where all the team members got burned out. anyhow, premiere is tomorrow. I should be relieved but I dunno what to expect. somehow survived but got damaged both physically and mentally... oh and did I mention that this was for free.....?! never ever again. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16890" PostHistoryTypeId="2" PostId="10227" RevisionGUID="6ea026ea-fd82-4be9-ae11-f94a64395913" CreationDate="2011-09-09T23:47:00.687" UserId="2186" Text="Hi. I'm thinking about using the sound effects that comes with Logic 9, but I can't find the license anywhere, so I don't know what I am allowed to do with them. Does anyone know where it is?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16891" PostHistoryTypeId="1" PostId="10227" RevisionGUID="6ea026ea-fd82-4be9-ae11-f94a64395913" CreationDate="2011-09-09T23:47:00.687" UserId="2186" Text="Logic Pro sound effects library license" ContentLicense="CC BY-SA 3.0" />
  <row Id="16892" PostHistoryTypeId="3" PostId="10227" RevisionGUID="6ea026ea-fd82-4be9-ae11-f94a64395913" CreationDate="2011-09-09T23:47:00.687" UserId="2186" Text="&lt;logic&gt;&lt;licensing&gt;&lt;license&gt;&lt;sound-effects&gt;&lt;library&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16893" PostHistoryTypeId="2" PostId="10228" RevisionGUID="d0f86eb3-ae8a-4866-89cf-5d2ca3d81203" CreationDate="2011-09-10T01:22:43.490" UserId="40" Text="It's all royalty free.&#xD;&#xA;&#xD;&#xA;See the document [here][1]. Look under Section 2 (Permitted License Uses and Restrictions) part C&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://images.apple.com/legal/sla/docs/logicstudio8.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="16894" PostHistoryTypeId="2" PostId="10229" RevisionGUID="7f16f801-b5a8-4be7-aece-3191e4d66fac" CreationDate="2011-09-10T01:24:08.680" UserId="431" Text="I find the fear of missing a deadline is a great motivator. If you're in not danger of that,  take a break. I realize this isn't very helpful. When I full on hit the wall under deadline here's what I do.&#xD;&#xA;&#xD;&#xA;- Have a meltdown. This usually happens at about 3am with a 9am deadline usually after several late nights, and I'm no longer able to produce anything worthwhile and it still has to get done. So I pitch a little tantrum in my head, and think of all the awful things I want to do to everybody involved with the project. I then take a deep breath, lie to myself that this will never happen again and push on. It's not pretty, but it works (sort of).&#xD;&#xA;&#xD;&#xA;- Assuming you're working with picture, add a fart. Somewhere that it's visually supported. The idea here is to give yourself a much needed giggle and put the gig in context. Whether the fart ends up down the line for the client to see is up to you.&#xD;&#xA;&#xD;&#xA;It's better when you can see it coming (ie 14 hours to do in 8 hours - you're gonna hit the wall). Here's some tactics I use.&#xD;&#xA;&#xD;&#xA;- Internet off. Disable Airport, unplug the Ethernet cable, lock the damn modem away if you have to. Phone only and only for emergencies.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Play beat the clock. I like to divide the amount of minutes of program I have left by the amount of time I have left and then halve that. So if I have 8 minutes of program to do in 12 hours, my goal will be to do it in 6. I'd drop a marker for every hour (spaced at every 1min20sec here) and race the clock. This prevents me from dawdling in light sections. I find that this tactic keeps me on track, with little time left over. Any extra is spent on a another pass.&#xD;&#xA;&#xD;&#xA;When working late at night, resist the urge to fuel up on fast food if you can. I love me some grease, but it will make you crazy tired. Veggies are key.&#xD;&#xA;&#xD;&#xA;Alternate between coke, red bull and espresso. Pour espresso into coke only in dire emergencies. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16895" PostHistoryTypeId="2" PostId="10230" RevisionGUID="50254a54-8628-4ed5-9cab-ff6375cdbbdb" CreationDate="2011-09-10T01:58:57.963" UserId="6411" Text="I have the good fortune of working unsupervised 95% of the time. So I'm usually in a good position as well, I hardly ever have to stay past midnight. :)&#xD;&#xA;&#xD;&#xA;What I'll do is get away from the desk for 5 minutes. Walk around the building (if there isn't a monsoon), stretch, push-ups, some kind of physical activity to get your blood pumping, heart-rate up and a little life in your legs. In dire situations of dual-ended-candle-burning 5-hour energy is my drink of choice. In extreme situations, just set an alarm on your phone and take a power nap. Losing those 20-25 minutes of productivity will always win out over having to redo the past 3 hour's work. Although I don't recommend trying that during your actual shift." ContentLicense="CC BY-SA 3.0" />
  <row Id="16896" PostHistoryTypeId="2" PostId="10231" RevisionGUID="a01b842e-a785-424d-bb1e-9dd050de105c" CreationDate="2011-09-10T02:10:37.260" UserId="6411" Text="Try cross-referencing [this post][1], [this post][2], &amp; [this post][3].&#xD;&#xA;&#xD;&#xA;Additionally, it doesn't hurt to learn the keyboard shortcuts as not every system you sit in front of will have macros pre-programmed. There should be a .pdf in your Digidesign &gt; Documentation &gt; Pro Tools folder that has all the shortcuts.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/7223/favourite-pt-quick-key&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/1171/how-are-your-quickeys-workflows&#xD;&#xA;  [3]: http://socialsounddesign.com/questions/2830/what-are-your-mouse-buttons-programmed-to&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16897" PostHistoryTypeId="5" PostId="10206" RevisionGUID="93830925-81e0-4a99-8fa4-4b2eceddfda1" CreationDate="2011-09-10T02:13:40.973" UserId="194" Comment="added 105 characters in body" Text="Anyone do this?  We're looking to tweak our chain somewhat, and one of the more obvious things is to go ahead and compress some of those quick transients out on the cut side of foley and footsteps.&#xD;&#xA;&#xD;&#xA;This could potentially keep some of the more interesting subtle stuff in a better spot relative to the harder peaks and make it easier/better on the mix side.&#xD;&#xA;&#xD;&#xA;We already cut through a bit of a highpass and sometimes a little expansion, and we tend to have the mic at a relatively far distance (sometimes 3-5 feet away) in order to get perspective and tone right.&#xD;&#xA;&#xD;&#xA;What's your foley chain?  What's your experience with using compression or limiting on the input chain?&#xD;&#xA;&#xD;&#xA;thanks!&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;edit:  I'm cutting in a very quiet space.  my mixer is the one encouraging the compression.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16898" PostHistoryTypeId="2" PostId="10232" RevisionGUID="9549f870-2326-4865-bccf-cf0b19f4f56b" CreationDate="2011-09-10T02:25:54.073" UserId="194" Text="Initially its good practice just to have your body tuned and working well as often as you can. &#xD;&#xA;&#xD;&#xA;this means sleeping and eating well when you're **not** crunching at the end of a project.  Proactively taking care of one's self helps tremendously with endurance and focus.&#xD;&#xA;&#xD;&#xA;when you're there at the wall though, I think you've already gotten some very good advice.&#xD;&#xA;&#xD;&#xA; - internet off, phone in the other room&#xD;&#xA; - no fried food&#xD;&#xA; - 5 minute breaks, maybe push ups or stretches&#xD;&#xA; - playfulness is good.&#xD;&#xA; - cover basics as quickly as possible, then tweak and fill in details&#xD;&#xA; - if you have someone you can call in for an opinion, that can be the biggest lifesaver ever&#xD;&#xA; - maybe watch it down once with the sound off, then watch it again with the picture off&#xD;&#xA;&#xD;&#xA;after that, it's all about you.  (ignore the horrible music edit)&#xD;&#xA;&#xD;&#xA;[vimeo]27933991[/vimeo]&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16899" PostHistoryTypeId="2" PostId="10233" RevisionGUID="a4e30553-c298-4c65-a2fd-999c0b500c24" CreationDate="2011-09-10T04:24:30.093" UserId="178" Text="Broad strokes first, refine later if there's time left over. Work in multiple passes to get something at least barely passable first, so if you run out of time at least you have something that's completely mediocre, instead of partially excellent and partially horrible.&#xD;&#xA;&#xD;&#xA;Good, Fast, Cheap. Pick two. This is physics. If you're going really really fast to beat the clock, the quality is going to suffer. If you were being paid by the hour, it would be more expensive (for someone else) too.&#xD;&#xA;&#xD;&#xA;It reminds me of a saying from the film industry regarding production schedules: It's Gone With The Wind in the morning, and The Dukes of Hazard in the afternoon.&#xD;&#xA;&#xD;&#xA;Also, planning three moves ahead from the beginning can prevent you from ever being in this spot in the first place!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16900" PostHistoryTypeId="2" PostId="10234" RevisionGUID="1d737077-97b0-40db-b611-bd79973df1cd" CreationDate="2011-09-10T06:20:56.627" UserDisplayName="user80" Text="Establish what is the absolute minimum that needs done, and then complete it.&#xD;&#xA;&#xD;&#xA;After that, if there is any time left, choose the bits that annoy you the most and then improve them until you run out of time.&#xD;&#xA;&#xD;&#xA;Phone my wife for a quick chat, she always puts everything into perspective and cheers me up.&#xD;&#xA;&#xD;&#xA;Lastly fresh fruit in fresh air, natural sugars in the real world." ContentLicense="CC BY-SA 3.0" />
  <row Id="16905" PostHistoryTypeId="2" PostId="10236" RevisionGUID="4a7bb68d-85e2-48a2-8ce7-55d42455c272" CreationDate="2011-09-10T08:09:10.793" UserId="1970" Text="I partially answer myself. Useful page with information that may be valid for my answer. Maybe you will find it useful :&#xD;&#xA;&#xD;&#xA;[http://pinoutsguide.com/][1]&#xD;&#xA;&#xD;&#xA;For the SE smartphone headset pinout, maybe still working&#xD;&#xA;&#xD;&#xA;[http://pinouts.ru/HeadsetsHeadphones/sonyericssson_headset_pinout.shtml][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]:  http://pinoutsguide.com/&#xD;&#xA;  [2]: http://pinouts.ru/HeadsetsHeadphones/sonyericssson_headset_pinout.shtml" ContentLicense="CC BY-SA 3.0" />
  <row Id="16906" PostHistoryTypeId="2" PostId="10237" RevisionGUID="677ae539-ac6d-478e-8ef7-05483c0d67a1" CreationDate="2011-09-10T13:27:14.007" UserId="2368" Text="Hi, I'm currently working on a short film in which a character is often talking inside his own head. I just wondered if anyone had any tips on creating an effect on the dialogue in which it feels enclosed and gives the impression your listening to a persons thoughts. &#xD;&#xA;&#xD;&#xA;thanks " ContentLicense="CC BY-SA 3.0" />
  <row Id="16907" PostHistoryTypeId="1" PostId="10237" RevisionGUID="677ae539-ac6d-478e-8ef7-05483c0d67a1" CreationDate="2011-09-10T13:27:14.007" UserId="2368" Text="Audio effect of a person talking inside there head" ContentLicense="CC BY-SA 3.0" />
  <row Id="16908" PostHistoryTypeId="3" PostId="10237" RevisionGUID="677ae539-ac6d-478e-8ef7-05483c0d67a1" CreationDate="2011-09-10T13:27:14.007" UserId="2368" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16909" PostHistoryTypeId="2" PostId="10238" RevisionGUID="83c27abf-4a0a-471a-b6b2-e0ed98a108d4" CreationDate="2011-09-10T13:35:46.377" UserDisplayName="user80" Text="Completely dry with extra bass and a fair amount of compression, it should sound gentle and very close." ContentLicense="CC BY-SA 3.0" />
  <row Id="16910" PostHistoryTypeId="4" PostId="10237" RevisionGUID="cd7ca72e-d814-4736-b0a6-3892ec77257a" CreationDate="2011-09-10T15:09:28.070" UserId="40" Comment="sp" Text="Audio effect of a person talking inside their head" ContentLicense="CC BY-SA 3.0" />
  <row Id="16911" PostHistoryTypeId="2" PostId="10239" RevisionGUID="05214bf2-ba6a-416e-8256-7da4a12c242f" CreationDate="2011-09-10T15:34:55.267" UserId="1197" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I am looking for some feedback from people who work within sound for picture for my Final Major Project on my MSc Sound Design course.&#xD;&#xA;&#xD;&#xA;I have created a selection of surround sound ambiances within Kontakt 4 and have written a script to give the user full control over each sound included in the ambiance (position in 5.1, volume, pitch etc) and would love some comments on how successful (or not!) you think these work and how they could be improved.&#xD;&#xA;&#xD;&#xA;The thread of my original project idea of a foley sample set is here http://socialsounddesign.com/questions/8993/foley-sampler-instrument-some-questions-to-sound-designers&#xD;&#xA;&#xD;&#xA;I changed the focus of this towards creating a tool for the quick creation of realistic surround environments in different situations. These are meant to be a better alternative than buying sample CDs of pre-mixed sounds and ambiances and a quicker alternative to traditional track-laying of sounds.&#xD;&#xA;&#xD;&#xA;To test the surround sampler instruments you will need Kontakt 4 and, of course, a 5.1 monitor system.&#xD;&#xA;&#xD;&#xA;If you are interested in giving me some comments for the evaluation part of my project, please email simonmakessound@gmail.com and I will send you a link to download the instruments and the instructions on how to use them.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Simon" ContentLicense="CC BY-SA 3.0" />
  <row Id="16912" PostHistoryTypeId="1" PostId="10239" RevisionGUID="05214bf2-ba6a-416e-8256-7da4a12c242f" CreationDate="2011-09-10T15:34:55.267" UserId="1197" Text="Testers needed for my Surround Ambiances sampler instrument" ContentLicense="CC BY-SA 3.0" />
  <row Id="16913" PostHistoryTypeId="3" PostId="10239" RevisionGUID="05214bf2-ba6a-416e-8256-7da4a12c242f" CreationDate="2011-09-10T15:34:55.267" UserId="1197" Text="&lt;sound-design&gt;&lt;surround-sound&gt;&lt;sampler&gt;&lt;kontakt&gt;&lt;ambiance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16914" PostHistoryTypeId="2" PostId="10240" RevisionGUID="331d11df-5789-4f19-bae0-ff38fb24c4fe" CreationDate="2011-09-10T15:41:05.337" UserId="431" Text="I agree with @Ian that this works for a POV shot as it simulates the effects of bone conduction (otherwise known as &quot;do I really sound like that?)&quot;. &#xD;&#xA;&#xD;&#xA;But for any other shot, IMHO this treatment doesn't make sense without adding an obvious reverb that's very different from the normal dialogue 'verb.  This effectively lets the audience know that we're &quot;hearing&quot; the thoughts in a different non-physical space - the mind. See any movie with a telepath for reference." ContentLicense="CC BY-SA 3.0" />
  <row Id="16915" PostHistoryTypeId="2" PostId="10241" RevisionGUID="33e47a55-3409-4168-9002-63c485f4a6a5" CreationDate="2011-09-10T18:21:46.187" UserId="18160" Text="Don't forget that with the great suggestion from Iain about being soft and intimate and gentle/close, most of this is achieved with the performance of the actor. So, if it's recorded loud and shouting - good luck trying to get that proximity effect and silky-smooth high frequencies back with mixing. I'd re-record it to get that effect if it were me and if it was possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="16916" PostHistoryTypeId="2" PostId="10242" RevisionGUID="72dea066-751d-4fd8-8eb6-c16b121e3ca7" CreationDate="2011-09-10T18:22:44.017" UserId="842" Text="When I've done this before I normally, like Iain mentioned as well, used an extremely dry and in-your-face sound.&#xD;&#xA;I covered up the entire room in molton cloth, killing all high frequency reverberation. Then I used a big-membrane mic extremely close-up, about a centimeter from the mouth, with good pop-shielding, and had the actor speak in a very soft, though absolutely not whispering, voice. Any high-pass on the raw signal is a big no-no.&#xD;&#xA;&#xD;&#xA;When in editing, I used an aggressive gate with some attack-time but very short release to kill off hard transients (as well as all remaining room-tails), and an SSL-compressor set to a high ratio to obliterate any dynamics. &quot;Inside Voices&quot; has no dynamics and no direction, mind you.&#xD;&#xA;&#xD;&#xA;In order for an Inside Voice to really differentiate itself from an Outside Voice, other than being totally dry (which doesn't work all that well on every systems, depending on how good it is and environment) you must keep their respective spectrums apart. In most cases, Outside voices have their lows above 100-150Hz, with perhaps lower frequencies as support but very sparse, and clarity in the higher mid to keep a realistic tone. Inside voices works best with the lows between 80-100Hz I think, POSSIBLY supported by the LFE if you REALLY know what you're doing, and with the clarity more in the central to lower mid.&#xD;&#xA;&#xD;&#xA;In order to get it more out-of-this-world, I hollowed it out a little in the higher mids. This one I actually found out due to a critical error I once had in my monitoring system! I &amp;¤#¤%&amp; loathed that studio, but learning little tricks like these makes it priceless :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16917" PostHistoryTypeId="2" PostId="10243" RevisionGUID="f178d830-7691-45a9-8309-b8e1fda99ef9" CreationDate="2011-09-10T18:52:04.520" UserId="1322" Text="Have retweeted @Surround2011 - they have many experts there, who may be able to help.&#xD;&#xA;Best of luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="16918" PostHistoryTypeId="2" PostId="10244" RevisionGUID="2361443d-6553-4bf8-97b4-2d443fd5d8d8" CreationDate="2011-09-10T19:15:23.447" UserId="842" Text="I've hit the wall several times over the years, once in the beginning of my career near-well sending me to hospital, and has found several things to keep it at bay.&#xD;&#xA;First of all, the sentence &quot;I will not do this, it's unrealistic.&quot; was a good thing to learn, but of course that only applies when the project is truly unrealistically scheduled, not if you want more out of the project than does the director.&#xD;&#xA;&#xD;&#xA;When I feel too exhausted I have a couch (it can be folded into a bed, but I've never actually tried it) in my studio (not used for casting whatsover ;-)). When the head feels like an over-ripe melon I often takes a nap for about 90 minutes. It's normally 90 minutes as the body works in cycles of near well exactly an hour and a half, waking up in the very beginning of the first phase in the next cycle normally gets you the most well rested and gives energy to deal with the rest of the day.&#xD;&#xA;&#xD;&#xA;If sleep's not what I feel is what's needed for the moment, I often take either a break on the cargo-bay (I share house with both some bands and some kind of wholesale dealer) with a cigarillo and something playable on my iPhone, or a long nice walk around the area with only the world to listen to :-)&#xD;&#xA;&#xD;&#xA;Actually, the thing about one and a half, sometimes hours, sometimes minutes, actually applies to many things concerning the human being and spirit! It's no fluke most movies are about 90 minutes long ;-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16919" PostHistoryTypeId="2" PostId="10245" RevisionGUID="f89d499f-fe20-4341-9c75-46e2983f2463" CreationDate="2011-09-10T19:17:00.923" UserId="402" Text="Check out the soundworks collection's video on watchmen:&#xD;&#xA;&#xD;&#xA;&lt;iframe src=&quot;http://player.vimeo.com/video/7476736?byline=0&amp;amp;portrait=0&quot; width=&quot;400&quot; height=&quot;225&quot; frameborder=&quot;0&quot; webkitAllowFullScreen allowFullScreen&gt;&lt;/iframe&gt;&lt;p&gt;&lt;a href=&quot;http://vimeo.com/7476736&quot;&gt;The Sound of &quot;Watchmen&quot;&lt;/a&gt; from &lt;a href=&quot;http://vimeo.com/colemanfilm&quot;&gt;Michael Coleman&lt;/a&gt; on &lt;a href=&quot;http://vimeo.com&quot;&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;In the video they describe how they dealt with Rorschach's internal monologue and dialogue. It's a great example." ContentLicense="CC BY-SA 3.0" />
  <row Id="16920" PostHistoryTypeId="5" PostId="10237" RevisionGUID="d4af74b0-a186-420c-982c-eb2161d932df" CreationDate="2011-09-10T20:32:12.743" UserId="18160" Comment="added 2 characters in body" Text="Hi, I'm currently working on a short film in which a character is often talking inside his own head. I just wondered if anyone had any tips on creating an effect on the dialogue in which it feels enclosed and gives the impression you're listening to a persons thoughts. &#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="16921" PostHistoryTypeId="2" PostId="10246" RevisionGUID="38e23f3f-0df4-46d2-b431-50f01a07a38f" CreationDate="2011-09-10T20:36:53.397" UserId="431" Text="I just took a look at the badges and most of them seem pretty straight forward. But what the heck is a rollback and how does one do that?&#xD;&#xA;&#xD;&#xA;@Benjie @Cvrgoje @Modraw &amp; @Utopia - y'all are the only users that have this badge - any clues?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16922" PostHistoryTypeId="1" PostId="10246" RevisionGUID="38e23f3f-0df4-46d2-b431-50f01a07a38f" CreationDate="2011-09-10T20:36:53.397" UserId="431" Text="The Clean Up Badge" ContentLicense="CC BY-SA 3.0" />
  <row Id="16923" PostHistoryTypeId="3" PostId="10246" RevisionGUID="38e23f3f-0df4-46d2-b431-50f01a07a38f" CreationDate="2011-09-10T20:36:53.397" UserId="431" Text="&lt;social-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16924" PostHistoryTypeId="2" PostId="10247" RevisionGUID="c4d1a7c8-dd57-4f84-a1de-18593a221eab" CreationDate="2011-09-10T21:25:51.600" UserId="891" Text="Are you referring to a character's thoughts or his voice heard from his subjective POV? I assume the first.&#xD;&#xA;&#xD;&#xA;Like @Ian suggested we often tend to go for the &quot;voice over&quot; approach. I guess because voice over sometimes also has such qualities. (In cases when one of the characters is also the narrator)&#xD;&#xA;So if you don't have any other narration, this approach should work fairly well.&#xD;&#xA;&#xD;&#xA;Though I would say that the style of the voice has to fit the context. Which means the story, it's character, what is said, other kinds of vocal expressions,…) So if there is also narration or the character is anything but soft and gentle, this won't work.&#xD;&#xA;&#xD;&#xA;Basically you have a lot of influence in all three stages of the sound process: recording, editing and mixing.&#xD;&#xA;&#xD;&#xA;While recording, as always, performance rules! Like @Utopia said if it is not there, you won't get it done by mixing. But for such cases as internal voices I would always try recording different microphones in multiple positions. Thus you have more choices and you can also work with combinations or try to fake some sort of stereo in order to widen the voice and thus clarify the difference.&#xD;&#xA;&#xD;&#xA;While editing don't just clean it up. (You will though need to work a lotto remove all lip sounds and the likes) Try to be creative. E.g. have lines overlapping if the mood is more agitated or something like this.&#xD;&#xA;&#xD;&#xA;While mixing think also in terms of dimension. So (as mentioned above) you can use different mics to create a stereo image and thus get the voice off the center only.&#xD;&#xA;I would not go for too much reverb, if at all. I think this works for dream-like situations, but other than that, I'm not sure. But maybe that's taste.&#xD;&#xA;&#xD;&#xA;This is just to give you some hints for directions to play with. In the end sound is relative and you need to find the right relation to all the other voices and sound elements as well as the story.&#xD;&#xA;&#xD;&#xA;As it was mentioned by @Andy Lewis, on *Enter the Void* we had to find (at least) four different characteristics of dialogue. There's the normal on screen dialogue (which has it's own sound due to the director's wish). The subjective POV of the protagonist. His thoughts heard in between other lines. And some druggy inner voice. In the case of the thoughts our goal was to mix about three to four takes for one line. One is prominent and the other ones are a little less and edited in a special way that you's always hear at least two of the same lines at a time. In terms of mixing there is no reverb on it and they are mono on contrast to the wide POV voice. And they have less base and high end. Just to encourage some experiments…" ContentLicense="CC BY-SA 3.0" />
  <row Id="16925" PostHistoryTypeId="2" PostId="10248" RevisionGUID="e0be703a-eb0e-4f55-bffb-210d240fbcdf" CreationDate="2011-09-10T21:52:40.613" UserId="37" Text="a site like this allows anyone to edit anything (including other people's posts), whilst keeping versions of the content, so a rollback is just that - rolling back to a previous edit.&#xD;&#xA;&#xD;&#xA;p.s.: http://meta.stackoverflow.com/questions/56287/how-can-i-get-the-cleanup-badge" ContentLicense="CC BY-SA 3.0" />
  <row Id="16926" PostHistoryTypeId="2" PostId="10249" RevisionGUID="630f1d46-6347-4dd6-8871-05681c0091b7" CreationDate="2011-09-10T23:06:37.307" UserId="18160" Text="WTF.&#xD;&#xA;&#xD;&#xA;At my first SSD meet-up party Andrew, Miguel, Tim, Jay and Colin made me douse myself with mud and roll in a swine pit backwards in order to award me with the &quot;rollback&quot; badge.&#xD;&#xA;&#xD;&#xA;I guess it was some sick SSD hazing prank.&#xD;&#xA;&#xD;&#xA;Bah!&#xD;&#xA;&#xD;&#xA;:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16927" PostHistoryTypeId="12" PostId="10249" RevisionGUID="2b38d8b0-04e9-47b8-b140-2db24be362d6" CreationDate="2011-09-10T23:24:55.040" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="16928" PostHistoryTypeId="2" PostId="10250" RevisionGUID="bc6b9827-fc72-48e4-976f-3734375cff98" CreationDate="2011-09-10T23:28:00.723" UserId="18160" Text="I remember buying a custom gaming keypad for Pro Tools specifically to have more macro ability - and I don't even think I ever plugged it in and set it up at all. I think it's still in the factory box sitting in a drawer somewhere.&#xD;&#xA;&#xD;&#xA;I use a mouse with 5 buttons instead - works like a charm for me. And I have QuicKeys - so I either bring my QuicKeys to another gig outside my studio but 90% of the time I work out of my own studio. And if someone changes my mouse settings I get real mean!" ContentLicense="CC BY-SA 3.0" />
  <row Id="16930" PostHistoryTypeId="5" PostId="10246" RevisionGUID="e2cfc86f-48f3-49af-84be-392b19db54f2" CreationDate="2011-09-11T01:30:01.623" UserId="431" Comment="…and rollback!" Text="I just took a look at the badges and most of them seem pretty straight forward. But what the heck is a rollback and how does one do that?&#xD;&#xA;&#xD;&#xA;@Benjie @Cvrgoje @Modraw &amp; @Utopia - y'all are the only users that have this badge - any clues?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16931" PostHistoryTypeId="2" PostId="10252" RevisionGUID="cb9ee3ac-6b61-4372-adfa-83de5a06d68c" CreationDate="2011-09-11T04:22:29.957" UserId="2416" Text="I like in one of the Star Wars movies, where Jenga Fet and his son Boba Fet ain &quot;Slave 1&quot; are chasing Obi Wan and Anakin Skywalker through an asteroid field.   Obi Wan and Anakin are zipping and zooming through holes in the asteroid trying to get away, and at one point someone fires a torpedo into the asteroid to scatter them about and creating a moving nightmare to navigate through.   You see the shot, and everything goes dead silent, and you see the brilliant flash and the circular shockwave rip through the asteroids, and then  THANGGGGGG with lots of reverb you hear the detonation afterwards.   Its so awesome and the best use of silence in a film ever.   Though totally technically incorrect, sound doesn't travel in empty space at all as there's no air / medium to carry it, it doesn't matter." ContentLicense="CC BY-SA 3.0" />
  <row Id="16932" PostHistoryTypeId="2" PostId="10253" RevisionGUID="4700be5a-65bd-4996-b996-7fca08a56ab6" CreationDate="2011-09-11T06:09:52.280" UserId="6460" Text="I learned pretty much all of my film soudn design and mixing techniques by (at first) imitating what I heard on DVDs and in the theaters. I still find myself taking mental notes when I watch films in which the sound design digs into my emotions somehow. When it comes to my own film designs, sometimes I watch and say &quot;huh, I have no idea how I came up with that...but cool!&quot; —— but sometimes I say, &quot;wow, that's just like the sniper scene in Saving Private Ryan&quot; or &quot;why do I always mix quiet like the ones in The Bourne Ultimatum&quot;. Which are two of my favorite film mixes.&#xD;&#xA;&#xD;&#xA;I'd love to know what you all think about the conflict between absorbing and appreciating other designers' work, but still striving for your own originality. Do you ever feel that your observations of the work of others inhibits your creativity from reaching its true unique potential? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16933" PostHistoryTypeId="1" PostId="10253" RevisionGUID="4700be5a-65bd-4996-b996-7fca08a56ab6" CreationDate="2011-09-11T06:09:52.280" UserId="6460" Text="Accidentally Mimicking the &quot;Pros&quot;: Healthy?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16934" PostHistoryTypeId="3" PostId="10253" RevisionGUID="4700be5a-65bd-4996-b996-7fca08a56ab6" CreationDate="2011-09-11T06:09:52.280" UserId="6460" Text="&lt;inspiration&gt;&lt;observation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16935" PostHistoryTypeId="5" PostId="10253" RevisionGUID="df94700b-8b64-4b3d-9249-309a2e23e7c2" CreationDate="2011-09-11T06:34:19.857" UserDisplayName="user80" Comment="added 1 characters in body; deleted 1 characters in body; edited body" Text="I learned pretty much all of my film sound design and mixing techniques by (at first) imitating what I heard on DVDs and in the theaters. I still find myself taking mental notes when I watch films in which the sound design digs into my emotions somehow. When it comes to my own film designs, sometimes I watch and say &quot;huh, I have no idea how I came up with that...but cool!&quot; —— but sometimes I say, &quot;wow, that's just like the sniper scene in Saving Private Ryan&quot; or &quot;why do I always mix quiet like the ones in The Bourne Ultimatum&quot;. Which are two of my favorite film mixes.&#xD;&#xA;&#xD;&#xA;I'd love to know what you all think about the conflict between absorbing and appreciating other designers' work, but still striving for your own originality. Do you ever feel that your observations of the work of others inhibits your creativity from reaching its true unique potential? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16936" PostHistoryTypeId="2" PostId="10254" RevisionGUID="4ff5b9df-9d68-4a93-8d22-04263c0d8095" CreationDate="2011-09-11T06:41:40.057" UserId="1228" Text="It's an interesting question, yet one I try not to dwell on very often because it can be stagnating, almost like a writers block.&#xD;&#xA;&#xD;&#xA;I'm with you on studying other films and designers work for inspiration, or merely coming across something cool by chance when not even trying to pay attention.  But from there, designing is an intuitive process that comes from the gut for me.  Being a believer of the &quot;take what you like and leave the rest&quot; mindset about sound design concepts, I usually have chosen to take away from these films abstract concepts rather than micro-detail techniques of a specific type of sound.&#xD;&#xA;&#xD;&#xA;Two examples that come to mind for me are:&#xD;&#xA;&#xD;&#xA;&lt;p&gt;- Inception:  In the 1st dream level location when Eams opens the warehouse sliding door for the cars to drive in, I noticed in the mix all you can hear is this tasty, unique screech sound, and not really the door handle/latch itself.  What I took away from this and have since used is that squeak and creak elements can help sell a door that needs to cut through the mix no matter what, and to give doors a unique creak/squeak element that has some character rather than the over used 6000 Series-style squeaks. Of course I don't squeak every sing door, but I try to find some unique character element to give the door a signature sound beyond the generic &quot;ca-chunk&quot; a rattle, or a screech, or a stress groan, etc - it all sprouted from seeing a specific sound moment in this film.&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;&lt;p&gt;&#xD;&#xA;- Transformers:  If there's any film that's a Ph.D in flutters, this is it.  It opened me to a new world of playing with flutters in my sound palette.  Not because I wanted to create something exactly like the film had, but, I liked how flutters sound sexy, powerful, and even frightening when designed appropriately.  It opening me to something new to add in my pocket of design tricks.  And what I took away from this film was the concept of working with Mondo Mod, and making all sorts of flutters at different speeds, speed ramps, and with different source material beyond air whoosh.  sounds, reversing them to create suck-in flutters, etc.  While Transformers used flutters to help sell the massiveness of the robots, one of end results of embracing this concept was a scary-sounding (admittedly, I get goosebumps every time I play over it in the edit) vocal flutter design for a film I'm working on - a complete different direction from the source I studied, but still related in the abstract.&#xD;&#xA;&lt;/p&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16937" PostHistoryTypeId="5" PostId="211" RevisionGUID="9bd6aa80-8df5-40b6-b3d7-e9f5424de49c" CreationDate="2011-09-11T06:48:54.787" UserId="61" Comment="added 3 characters in body" Text="I would propose the final climatic scene from &quot;Treasure Planet&quot;, a vastly underrated animated film with brilliant sound design courtesy of Dane Davis. The planet is about to explode, the ship is nearly on top of the as-yet unopened portal to safety…and then…silence! Beautifully constructed...." ContentLicense="CC BY-SA 3.0" />
  <row Id="16938" PostHistoryTypeId="4" PostId="9918" RevisionGUID="f2d197cf-9323-478a-bd33-095ff400da95" CreationDate="2011-09-11T10:17:04.450" UserId="37" Comment="fix title" Text="Sound Design Studies?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16939" PostHistoryTypeId="2" PostId="10255" RevisionGUID="1010cd6e-fda7-4592-b8de-3bb7307d6e34" CreationDate="2011-09-11T10:22:19.430" UserDisplayName="user49" Text="A haiku poet from 1600s sums up my thoughts on this: &#xD;&#xA;&#xD;&#xA;'Do not seek to follow in the footsteps of the men of old; seek what they sought'&#xD;&#xA;&#xD;&#xA;Matsuo Basho&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;References are inevitable in temp score &amp; sound design, but surely the aim is to get past those and find an approach to a scene or moment that is uniquely suited to the film..... 'seek what they sought'" ContentLicense="CC BY-SA 3.0" />
  <row Id="16940" PostHistoryTypeId="5" PostId="10246" RevisionGUID="a22c5134-9a37-466c-9283-304597c1354c" CreationDate="2011-09-11T12:55:42.283" UserId="431" Comment="rollback?" Text="I just took a look at the badges and most of them seem pretty straight forward. But what the heck is a rollback and how does one do that?&#xD;&#xA;&#xD;&#xA;@Benjie @Cvrgoje @Modraw &amp; @Utopia - y'all are the only users that have this badge - any clues?&#xD;&#xA;&#xD;&#xA;I'll be honest, I'm editing this here question to see if it earns me the rollback badge. I'm petty like that." ContentLicense="CC BY-SA 3.0" />
  <row Id="16941" PostHistoryTypeId="8" PostId="10246" RevisionGUID="bf894267-37a5-4482-851b-93efe3125a3f" CreationDate="2011-09-11T12:56:50.880" UserId="431" Comment="Rollback to [e2cfc86f-48f3-49af-84be-392b19db54f2]" Text="I just took a look at the badges and most of them seem pretty straight forward. But what the heck is a rollback and how does one do that?&#xD;&#xA;&#xD;&#xA;@Benjie @Cvrgoje @Modraw &amp; @Utopia - y'all are the only users that have this badge - any clues?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16942" PostHistoryTypeId="2" PostId="10256" RevisionGUID="d8a1f3a1-57b9-433f-b21c-17a180bacb55" CreationDate="2011-09-11T14:20:23.543" UserId="6519" Text="My fav: www.pond5.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="16943" PostHistoryTypeId="2" PostId="10257" RevisionGUID="6c25fd72-3de5-4648-8e46-6e33ea78e1fa" CreationDate="2011-09-11T15:00:30.717" UserId="393" Text="Because you have the time to walk away, do it.  Get outside, hit up a library or something, or take a nap.&#xD;&#xA;&#xD;&#xA;I've hit that point more than a few times doing 48-hour game jams, and the absolute best thing I can do at that point is walk away for a bit.  &#xD;&#xA;&#xD;&#xA;At the 2010 Global Game Jam, it meant taking a 2 hour nap in my car, followed by a McDonalds breakfast run; in 2011, it meant trying my hand at the visual art for the game (which wasn't used, but it gave my ears a welcome rest).&#xD;&#xA;&#xD;&#xA;If you don't have the time to walk away, bring in a fresh pair of ears.  Even if it's not someone who is sound-oriented, just asking them for input helps a lot." ContentLicense="CC BY-SA 3.0" />
  <row Id="16944" PostHistoryTypeId="5" PostId="10257" RevisionGUID="83b61606-ecda-4132-9d9d-f73e2f9f1744" CreationDate="2011-09-11T15:08:16.547" UserId="393" Comment="added 88 characters in body" Text="Because you have the time to walk away, do it.  Get outside, hit up a library or something, or take a nap.&#xD;&#xA;&#xD;&#xA;I've hit that point more than a few times doing 48-hour game jams, and the absolute best thing I can do at that point is walk away for a bit.  &#xD;&#xA;&#xD;&#xA;At the 2010 Global Game Jam, it meant taking a 2 hour nap in my car, followed by a McDonalds breakfast run; in 2011, it meant trying my hand at the visual art for the game (which wasn't used, but it gave my ears a welcome rest).&#xD;&#xA;&#xD;&#xA;If you don't have the time to walk away, bring in a fresh pair of ears.  Even if it's not someone who is sound-oriented, just asking them for input helps a lot.&#xD;&#xA;&#xD;&#xA;Also, a trip to the restroom can rejuvenate your mind in ways that nothing else can." ContentLicense="CC BY-SA 3.0" />
  <row Id="16945" PostHistoryTypeId="2" PostId="10258" RevisionGUID="c9e98334-f2cd-4d0d-aca0-b4298131c690" CreationDate="2011-09-11T16:27:13.093" UserId="6435" Text="I think it's where a lot of people start, and if you look at the early work by people in lots of disciplines -authors, musicians etc.- you'll find that much of it sounds/looks/reads more like their influences than it resembles the individual voice they ultimately found. The goal is to move through that and find that unique voice." ContentLicense="CC BY-SA 3.0" />
  <row Id="16946" PostHistoryTypeId="2" PostId="10259" RevisionGUID="6eeb4a48-4dc2-42f3-aea0-dd7bcb1565bd" CreationDate="2011-09-11T19:18:56.067" UserId="1266" Text="I dunno if I'd trust it.  I bought some fake Neutrik connectors (didn't have a hologram) from Amazon." ContentLicense="CC BY-SA 3.0" />
  <row Id="16947" PostHistoryTypeId="13" PostId="10249" RevisionGUID="861a17fa-c8aa-4703-9aac-ae6845c2a86e" CreationDate="2011-09-11T20:11:46.517" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="16948" PostHistoryTypeId="5" PostId="10249" RevisionGUID="512c7599-7cdc-4774-b48a-cc3ce8e51dbe" CreationDate="2011-09-11T20:12:15.647" UserId="18160" Comment="added 42 characters in body; added 74 characters in body" Text="WTF.&#xD;&#xA;&#xD;&#xA;At my first SSD meet-up party Andrew, Miguel, Tim, Jay and Colin made me douse myself with mud and roll in a swine pit backwards in order to award me with the &quot;rollback&quot; badge.&#xD;&#xA;&#xD;&#xA;I guess it was some kind of SSD hazing prank. Yeah, pick on the new guy why dontcha.&#xD;&#xA;&#xD;&#xA;Bah!&#xD;&#xA;&#xD;&#xA;:)&#xD;&#xA;&#xD;&#xA;p.s. Rene recorded it and put it up on his blog as a free download. :(" ContentLicense="CC BY-SA 3.0" />
  <row Id="16949" PostHistoryTypeId="2" PostId="10260" RevisionGUID="bea80f2f-d07a-47ca-bf0d-83d981560792" CreationDate="2011-09-11T20:52:03.830" UserId="2136" Text="http://www.findsounds.com/&#xD;&#xA;&#xD;&#xA;I'm pretty sure everything on the site is free, but there's a ton of sounds and the search filters are very convenient." ContentLicense="CC BY-SA 3.0" />
  <row Id="16950" PostHistoryTypeId="2" PostId="10261" RevisionGUID="b9de57d7-e282-4bd3-88de-be0f4a0177e0" CreationDate="2011-09-11T21:56:22.703" UserId="1067" Text="First time I recorded bat sonar with a heterodyne bat detector was strange. It took a few moments for it to sink in that an animal was responsible for those sounds.&#xD;&#xA;&#xD;&#xA;    &lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F766264&amp;amp;show_comments=true&amp;amp;auto_play=false&amp;amp;color=ff7700&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F766264&amp;amp;show_comments=true&amp;amp;auto_play=false&amp;amp;color=ff7700&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;   &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/london-sound-survey/pipistrelle-bat-sonar&quot;&gt;Pipistrelle bat sonar, Lewisham&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/london-sound-survey&quot;&gt;London Sound Survey&lt;/a&gt;&lt;/span&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16951" PostHistoryTypeId="5" PostId="10261" RevisionGUID="e1f2b8f8-6b3a-4a0b-a261-671fc608bcb7" CreationDate="2011-09-11T22:01:34.713" UserId="1067" Comment="deleted 657 characters in body" Text="First time I recorded bat sonar with a heterodyne bat detector was strange. It took a few moments for it to sink in that an animal was responsible for those sounds.&#xD;&#xA;&#xD;&#xA;[Common Pipistrelle sonar](http://www.soundsurvey.org.uk/index.php/survey/wildlife/other_animals/121/621/)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16952" PostHistoryTypeId="5" PostId="10261" RevisionGUID="ecdebbf4-8d2e-4141-8871-b15a43b3993c" CreationDate="2011-09-11T22:10:00.810" UserId="1067" Comment="deleted 18 characters in body; deleted 15 characters in body; deleted 7 characters in body" Text="First time I recorded bat sonar with a heterodyne bat detector was strange. It took a few moments for it to sink in that an animal was responsible for those sounds.&#xD;&#xA;&#xD;&#xA;[soundcloud]london-sound-survey/pipistrelle-bat-sonar[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="16953" PostHistoryTypeId="2" PostId="10262" RevisionGUID="ef39a0a9-fa90-4cc1-81f1-d948e9101cd7" CreationDate="2011-09-12T02:55:47.320" UserId="418" Text="Tried to freeze a microphone into a puddle overnight so I could record people iceskating over it the next day. Mic didn't live through the night. :(&#xD;&#xA;&#xD;&#xA;Successfully stuck a contact mic onto our cat's belly and got a good 30 minutes of purring footage, which was later turned into the sound of a much larger beast type animal, with surprisingly little processing. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16954" PostHistoryTypeId="2" PostId="10263" RevisionGUID="31aa39a1-e3a5-4197-89ee-1984ddf256e6" CreationDate="2011-09-12T03:24:24.417" UserId="393" Text="I fisted a silicone vagina.  (I feel like that's going to get flagged, but it's the honest truth... I really need to post that sound.)&#xD;&#xA;&#xD;&#xA;Here's the question I posted about it (slightly NSFW)&#xD;&#xA;http://socialsounddesign.com/questions/7016/weirdest-thing-youve-ever-done-for-sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="16955" PostHistoryTypeId="5" PostId="10249" RevisionGUID="ab6f3aa8-8652-4a0d-b6d8-0f166a6ac78a" CreationDate="2011-09-12T03:45:10.760" UserId="18160" Comment="deleted 6 characters in body" Text="WTF.&#xD;&#xA;&#xD;&#xA;At my first SSD meet-up party Andrew, Shaun, Jay and Colin made me douse myself with mud and roll in a swine pit backwards in order to award me with the &quot;rollback&quot; badge.&#xD;&#xA;&#xD;&#xA;I guess it was some kind of SSD hazing prank. Yeah, pick on the new guy why dontcha.&#xD;&#xA;&#xD;&#xA;Bah!&#xD;&#xA;&#xD;&#xA;:)&#xD;&#xA;&#xD;&#xA;p.s. Rene recorded it and put it up on his blog as a free download. :(" ContentLicense="CC BY-SA 3.0" />
  <row Id="16956" PostHistoryTypeId="2" PostId="10264" RevisionGUID="f116ac6f-62dd-4301-bb2f-3367d603be22" CreationDate="2011-09-12T09:35:04.643" UserId="373" Text="After selling my Fostex FR2-LE due to requiring a more handheld recorder that I can carry around daily to capture those unexpected sounds, I was all set to buy a Zoom H4N. But upon some last minute research, I came across the Tascam dr-100. Now the units seem similar, but whats enticing me about the Tascam, is the included rechargable lithium battery that automatically switches to AAs as back up when this runs out of juice (unaffecting recording), as constantly purchasing and changing the batteries on the zoom is a potential pain. Also, the pre-amps on the tascam seem better from the reviews i've read as well. So, what are the opinions on here? " ContentLicense="CC BY-SA 3.0" />
  <row Id="16957" PostHistoryTypeId="1" PostId="10264" RevisionGUID="f116ac6f-62dd-4301-bb2f-3367d603be22" CreationDate="2011-09-12T09:35:04.643" UserId="373" Text="zoom h4n or tascam dr-100" ContentLicense="CC BY-SA 3.0" />
  <row Id="16958" PostHistoryTypeId="3" PostId="10264" RevisionGUID="f116ac6f-62dd-4301-bb2f-3367d603be22" CreationDate="2011-09-12T09:35:04.643" UserId="373" Text="&lt;zoom&gt;&lt;zoom-h4n&gt;&lt;tascam&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16959" PostHistoryTypeId="2" PostId="10265" RevisionGUID="ff666b6e-f24d-4193-b3d2-dd28f71d3b72" CreationDate="2011-09-12T10:46:55.697" UserId="622" Text="@Noiseboy I bought a zoom few months ago and I am generally satisfied. The only downside is the automatic sample rate to 48kHz @ when it goes into quad, the background noise of the preamps when recording sources at low volume and ... changing batteries is to be considered. I can tell you that I have quite a lot for my money! ; O) Bernard" ContentLicense="CC BY-SA 3.0" />
  <row Id="16960" PostHistoryTypeId="2" PostId="10266" RevisionGUID="92b3f52f-5050-40b5-80e6-a8afea0bd01b" CreationDate="2011-09-12T11:48:38.893" UserId="721" Text="If budget is not the main concern, do not go for zoom. I have one myself and I'm quite satisfied with it. It's serves good for the price. And saved my ass in many occasions.  But in addition to above mentioned points I would also add, &quot;slooooow startup&quot;. I find it a little annoying, especially when I hear something interesting out of the blue and wanna capture it asap. The smaller the sd card the faster it loads I realized tho. So maybe its just a minor irritation on my side :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16961" PostHistoryTypeId="2" PostId="10267" RevisionGUID="ebd82fbe-920c-4c6a-afbf-56fa7de9a30b" CreationDate="2011-09-12T11:49:59.987" UserId="219" Text="I own the Tascam one and the main downside I find to it is there is no facility to attach a strap, it is intended to be either handheld or it has a tripod screw at the back. It works fine if you're recording still, it's a pain if you're planning to move around, e.g. recording dialogue on a shoot.&#xD;&#xA;&#xD;&#xA;The wheel is a very nice feature to navigate through the menus or move forward/backward when listening to your recordings. However, it goes crazy (the navigation sort of stalls) when you spin it too fast.&#xD;&#xA;&#xD;&#xA;It's nice to have physical switches to the most used functions like phantom, limiter and mic gain (three positions, L/M/H, I recorded firecrackers from a 5m distance in L, smashed a TV from a 1m distance in M and all &quot;usual SPL&quot; recordings I do in H).&#xD;&#xA;&#xD;&#xA;The meters are OK, fairly responsive. Because there is no way that you can easily walk around with it, you'll usually set it and forget it.&#xD;&#xA;&#xD;&#xA;The gain wheels feel nice although it's a bit of a pain to set different gains for each input (you need to hold one wheel in place otherwise rotating one will rotate the other, and it's a lot of fingers in one place if you have big fingers).&#xD;&#xA;&#xD;&#xA;I read somewhere that using two mics in the XLR inputs would increase preamp noise. I haven't run into this problem, using an AT8015 and an NT1-A.&#xD;&#xA;&#xD;&#xA;So there you go, running in the field it's a pain although I'm sure if I took the time I could make a bag for it, otherwise it works fine. If you're recording still it just works." ContentLicense="CC BY-SA 3.0" />
  <row Id="16962" PostHistoryTypeId="2" PostId="10268" RevisionGUID="0a8a083a-70d8-4951-91ed-1f61d5d73f1e" CreationDate="2011-09-12T11:56:36.987" UserId="194" Text="I've owned both and I'd recommend the H4n.  &#xD;&#xA;&#xD;&#xA;Both have crappy battery lives&#xD;&#xA;Both are built out of plastic&#xD;&#xA;&#xD;&#xA;The DR100 has tons more switches, but only about half of them are useful&#xD;&#xA;&#xD;&#xA;I wasn't happy with the DR100s built in mic quality, especially in comparison to the H4n&#xD;&#xA;&#xD;&#xA;H4n will go into 4 track mode, DR100 will not&#xD;&#xA;&#xD;&#xA;I did a shootout a while back, located here:&#xD;&#xA;&#xD;&#xA;http://thesoundmyheadmakes.blogspot.com/2010/11/handheld-recorder-shootout-part-1-specs.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="16963" PostHistoryTypeId="2" PostId="10269" RevisionGUID="7380d43a-9b5c-47dd-ace7-2122f788e36d" CreationDate="2011-09-12T12:06:22.350" UserId="622" Text="http://www.signoaudiodesign.com Sound effects librairies for Native-Instruments Kontakt coming soon." ContentLicense="CC BY-SA 3.0" />
  <row Id="16964" PostHistoryTypeId="2" PostId="10270" RevisionGUID="3ca16d77-c6af-4758-8e22-3f5bfeb1c3f6" CreationDate="2011-09-12T12:06:30.027" UserId="1055" Text="agreed with Rene, if you plan on using internal mic's most of the time, then h4n is a better option." ContentLicense="CC BY-SA 3.0" />
  <row Id="16965" PostHistoryTypeId="2" PostId="10271" RevisionGUID="1249043b-4367-4b0d-857a-ca964e4cc36f" CreationDate="2011-09-12T13:13:32.853" UserId="2497" Text="I bought the Zoom and for the money i spent on it... it serves me right. Some of the things you all said bothered me as well, but there are some other things to consider before buying one. &#xD;&#xA;&#xD;&#xA;First, you can't control the channels separately. Secondly, the noise level is kinda high on the headphone. Also the gain is deceiving, and I it makes me want to go after a pre-amp, which is too much trouble.&#xD;&#xA;&#xD;&#xA;So if you're a musician that just wants to record rehearsals or if you are only interested in mobility and - mainly - if you have no money, the H4n will be ok for you. Otherwise I wouldn't recommend it.&#xD;&#xA;&#xD;&#xA;Oh, but the built-in mics are gorgeous. The sound is clean and powerfull and I love it.              " ContentLicense="CC BY-SA 3.0" />
  <row Id="16966" PostHistoryTypeId="5" PostId="10268" RevisionGUID="20702911-f086-4dce-bb6c-781692e77440" CreationDate="2011-09-12T13:42:56.023" UserId="194" Comment="added 435 characters in body; added 18 characters in body" Text="I've owned both and I'd recommend the H4n.  &#xD;&#xA;&#xD;&#xA;Both have crappy battery lives&#xD;&#xA;Both are built out of plastic&#xD;&#xA;&#xD;&#xA;The DR100 has tons more switches, but only about half of them are useful&#xD;&#xA;&#xD;&#xA;I wasn't happy with the DR100s built in mic quality, especially in comparison to the H4n&#xD;&#xA;&#xD;&#xA;H4n will go into 4 track mode, DR100 will not&#xD;&#xA;&#xD;&#xA;I did a shootout a while back, located here:&#xD;&#xA;&#xD;&#xA;http://thesoundmyheadmakes.blogspot.com/2010/11/handheld-recorder-shootout-part-1-specs.html&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;edit - if you're just planning on using the internal mics I'd seriously consider saving up the extra couple hundred bucks and getting the PCM d50.  **Insane** battery life, way better mics (that swivel), metal build, and 4 gigs buit in memory.  I use mine daily. &#xD;&#xA;&#xD;&#xA;Another option in that same price range is the sony PCM-M10.  even crazier long battery life, mics about as good as the others in that range, metal build and built in memory." ContentLicense="CC BY-SA 3.0" />
  <row Id="16967" PostHistoryTypeId="2" PostId="10272" RevisionGUID="c49a2256-badb-4714-8066-3b59d2f0cc64" CreationDate="2011-09-12T14:06:37.613" UserId="1322" Text="If you want something solid (metal-cased), pocketable, quick startup with single button record and runs for hours then skip those recorders and chose the [Olympus LS-11][1]. This operates on readily available AA cells with in-built 8Gb flash memory (will support additional 32Gb SD card), remote control, V-sync control (used to be called vox), Cubase LE4 software, carry case, cables etc. It's got good preamps and produces an excellent stereo image. In my opinion anything with XLR inputs places it out of the [pocketable league ][2]and often requires additional preamp equipment to take make it worthwhile - not ideal for your requirements described.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://bit.ly/pFyD9z&#xD;&#xA;  [2]: http://bit.ly/oMjWBx&#xD;&#xA;  [3]: http://bit.ly/pFyD9z" ContentLicense="CC BY-SA 3.0" />
  <row Id="16968" PostHistoryTypeId="2" PostId="10273" RevisionGUID="b5bba9f9-5037-4e7f-bfbe-c87ec9ec3dee" CreationDate="2011-09-12T14:27:38.017" UserId="771" Text="Does the number of rings in 1/4&quot; connectors has anything to do with mono/stereo.&#xD;&#xA;My understanding so far is&#xD;&#xA;1/4&quot; connectors with 2 rings are balanced stereo audio and one ring is unbalanced mono audio.&#xD;&#xA;&#xD;&#xA;Please correct if am wrong.&#xD;&#xA;Waiting for the comments&#xD;&#xA;&#xD;&#xA;thanx" ContentLicense="CC BY-SA 3.0" />
  <row Id="16969" PostHistoryTypeId="1" PostId="10273" RevisionGUID="b5bba9f9-5037-4e7f-bfbe-c87ec9ec3dee" CreationDate="2011-09-12T14:27:38.017" UserId="771" Text="Mono and Stereo cables / balanced and unbalanced audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="16970" PostHistoryTypeId="3" PostId="10273" RevisionGUID="b5bba9f9-5037-4e7f-bfbe-c87ec9ec3dee" CreationDate="2011-09-12T14:27:38.017" UserId="771" Text="&lt;emotions&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16971" PostHistoryTypeId="2" PostId="10274" RevisionGUID="41b5da4c-efb6-458e-afb1-e2c06edfc3e2" CreationDate="2011-09-12T14:29:54.083" UserId="2498" Text="As far as usage with internal mics goes, has anyone got opinions of the zoom h2n?&#xD;&#xA;&#xD;&#xA;I wonder if having 5 mic capsules doesn't suggest a compromise on quality. " ContentLicense="CC BY-SA 3.0" />
  <row Id="16972" PostHistoryTypeId="2" PostId="10275" RevisionGUID="1b8517f5-0316-4401-b446-6c87a72a57ac" CreationDate="2011-09-12T14:37:02.367" UserId="1055" Text="also there will be new recorder from roland in october http://www.prosoundweb.com/article/roland_systems_group_introduces_new_r_26_portable_field_recorder/" ContentLicense="CC BY-SA 3.0" />
  <row Id="16973" PostHistoryTypeId="2" PostId="10276" RevisionGUID="a65f98bc-97a7-476f-a36d-1c3a3df316f6" CreationDate="2011-09-12T14:39:12.257" UserId="1129" Text="It depends on the application.  A 1/4&quot; TRS (tip, ring, sleeve) connector can be used to carry either BALANCED mono signal, or UNBALANCED stereo signal.&#xD;&#xA;&#xD;&#xA;Recall that a balanced signal requires three conductors:  signal+, signal-, and common.&#xD;&#xA;Stereo on a single cable also requires three conductors:  left, right, and common.&#xD;&#xA;&#xD;&#xA;So, a TRS can be either carry a balanced signal, or a stereo signal, but not both.&#xD;&#xA;&#xD;&#xA;The type of signal is determined by what the input/output jacks you are plugging into expect, not the cable itself." ContentLicense="CC BY-SA 3.0" />
  <row Id="16974" PostHistoryTypeId="2" PostId="10277" RevisionGUID="515a7639-3db1-4cfa-bf2d-7cd1ad85d39d" CreationDate="2011-09-12T14:59:37.733" UserId="37" Text="they're rings ;) you can make them anything depending on your connector. 1/4&quot; TRS is normally mono (single channel) - balanced, like an XLR.&#xD;&#xA;&#xD;&#xA;Read up here: http://en.wikipedia.org/wiki/TRS_connector#Tip.2Fring.2Fsleeve_terminology&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16975" PostHistoryTypeId="2" PostId="10278" RevisionGUID="651aaf67-3c3c-494a-ad04-44a24f35bec5" CreationDate="2011-09-12T15:06:46.857" UserId="517" Text="I own the DR-100 and have used the Zoom H4N once as well. I've never done a side-by-side shootout, but there are a few features on the DR-100 that made me like it more than the Zoom:&#xD;&#xA;&#xD;&#xA;1. Dial volume control - the Zoom uses software buttons to control volume and its volume scale goes from 1 to 100. I found this fairly annoying, as I remember it takes at least a couple of seconds to go from one end of the scale to the other. The DR-100 has two dials that go from 1 to 10 and can be controlled independently, which is much more intuitive for me.&#xD;&#xA;&#xD;&#xA;2. Batteries - The Zoom H4N uses alkaline batteries. The DR-100 has both alkaline batteries and a rechargeable lithium ion battery. I use the lithium ion as the primary battery and the alkalines as backup, so I never really run out of power. You can recharge the lithium battery off of a USB 2.0 connection as well. &#xD;&#xA;&#xD;&#xA;3. More hard buttons, less software controls. On the H4N (from what I remember), many key functions were controlled through software menus. The DR-100 has dedicated buttons on the back for Phantom power for the XLR inputs, mic gain, limiter and internal speaker. The front has a toggle switch for input (line, unidirectional, omnidirectional, XLR). It would have been nice if the high pass filter was hard switch as well but that is menu. &#xD;&#xA;&#xD;&#xA;A couple of downsides:&#xD;&#xA;&#xD;&#xA;1. Stupid Menu Issues - you can't reset the take number, *ever*. This should be fundamental, but does not exist anywhere in the menus. The only way to reset your take number is to physically reset the unit from the system menu. Also, there is no delete character function when you're choosing the file name. So if your previous file name was GlassShatter_041 and now you just want DogBark_042, you won't be able to because you can't delete characters and the new filename is shorter than the old one. Again, this can be set back to default, by a full system reset. These may seem like really minor things, but they annoy me a lot, in part because when you do the full system reset you have to reassign your bitrate, sample rate, high pass filter, etc.&#xD;&#xA;&#xD;&#xA;2. Comes With A Case That Is Useless - The case has no belt loop and is too small to fit the recorder with the supplied windscreen. You'll more than likely need an additional storage case (I used an old headphone back which works fine).&#xD;&#xA;&#xD;&#xA;All that being said, I also have the Sony PCM-D50 and the noise floor for the internal mics is much lower than the DR-100. The mics on the D50 are great as well and the unit construction and battery life are much better overall. My partner and I really only bought the DR-100 to use as a second handheld recorder that had XLR inputs." ContentLicense="CC BY-SA 3.0" />
  <row Id="16976" PostHistoryTypeId="2" PostId="10279" RevisionGUID="3683a453-898a-4165-b06a-6a0ed95b9862" CreationDate="2011-09-12T16:44:19.617" UserId="432" Text="You've gotten the basic answer already, but the flip-side is that TRS/XLR aren't necessarily always balanced. You probably won't run into unbalanced TRS/XLR in any decent store bought cable, but it's always good to have a cable tester (or multi-meter) to confirm." ContentLicense="CC BY-SA 3.0" />
  <row Id="16977" PostHistoryTypeId="2" PostId="10280" RevisionGUID="b677ab3d-89f4-4d41-bc2f-eda181b14989" CreationDate="2011-09-12T18:48:22.193" UserId="1266" Text="For me the selling point is the A/D converter and balanced/unbalanced line in for my mix/pre.  H4N definitely loses some signal detail when going in the unbalanced line in." ContentLicense="CC BY-SA 3.0" />
  <row Id="16978" PostHistoryTypeId="2" PostId="10281" RevisionGUID="29339d30-7ea9-461d-b962-3d054810f8a0" CreationDate="2011-09-12T21:52:20.820" UserId="842" Text="Myself, I would frankly continue with the Fostex. And I actually do, though it is the regular bigger FR2 hanging from my shoulder wherever I go :-)&#xD;&#xA; I was working with the H4n about a week ago and got a little disappointed. It's definitely not a bad machine, and as I got a very vital part of my FR2 smashed the same day I was leaving (fixed it the same day I got back home! Love this easily mend-able machine :-)), I had no choice than to go with it, but it has a very compressed sound even though all compression was off, it had way too soft somewhat padded treble, and a rather high noise-floor.&#xD;&#xA;But the thing that annoyed me the most was that it seemed to refuse to record in true mono! For some reason, rather than choosing one signal for the mono-feed, it mixed the two channels together, adding any noise and phase-distortion to the one signal...&#xD;&#xA;At least it did with the internal mics, I suppose the same applies to the externals, though I didn't try to change input to try it out.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16980" PostHistoryTypeId="2" PostId="10283" RevisionGUID="789c6efe-302c-4456-8d7c-33150a7184c9" CreationDate="2011-09-13T01:49:28.423" UserId="531" Text="Hello Friends, &#xD;&#xA;&#xD;&#xA;I come seeking advice about a potentially awesome opportunity to record an amazing group musicians in the amazon jungle in a couple of months. The Doc will revolve around the journey into the jungle, and recording the musicians improvising off of natural sounds of the jungle. &#xD;&#xA;So this will require me to record the ambiances of the jungle in real time, wile also recording the musicians playing along to the sound of the jungle. &#xD;&#xA;&#xD;&#xA;The core question is, which mics are best suited to handle the extreme conditions of the amazon jungle. &#xD;&#xA;Which mics are least susceptible to humidity? &#xD;&#xA;Additionally what other gear (audio related or otherwise) do you think would be essential to recording this experience successfully ? &#xD;&#xA;Have any of you doing something similar to this? What was your set up like? &#xD;&#xA;&#xD;&#xA;The gear that I plan on bringing with me so far is as follows:&#xD;&#xA;&#xD;&#xA;Tascam DR-680 field recorder &#xD;&#xA;Rode NTG-3 Shotgun (I have to get it repaired first) &#xD;&#xA;Sony PCM-50 (Planning on using it to record stereo ambiences, but do the built in mics handle the humidity well?)&#xD;&#xA;Marantz 661&#xD;&#xA;AT 2022 stereo mic (again, will humidity be an issue?) &#xD;&#xA;Sennheiser G3 lav kit &#xD;&#xA;&#xD;&#xA;I also have about 6 dynamic mics of the usual sm57 to 58 range. How well do dynamic mics hold up in high humidity? &#xD;&#xA;  &#xD;&#xA;Oh and lastly instrumentation break down is&#xD;&#xA;a keyboard, guitar/singer and bass/singer, (which i'm hoping i can run DI from their amps/ portable pa system)&#xD;&#xA;and &#xD;&#xA;2 percussionists/singers playing hand drums&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I know i just asked a lot. I'm looking for any and all input, experience, thoughts, questions, concerns. &#xD;&#xA;&#xD;&#xA;Thank you very much for your time everyone! &#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;-Kevin " ContentLicense="CC BY-SA 3.0" />
  <row Id="16981" PostHistoryTypeId="1" PostId="10283" RevisionGUID="789c6efe-302c-4456-8d7c-33150a7184c9" CreationDate="2011-09-13T01:49:28.423" UserId="531" Text="Recording Music For A Doc, In The Amazon Jungle " ContentLicense="CC BY-SA 3.0" />
  <row Id="16982" PostHistoryTypeId="3" PostId="10283" RevisionGUID="789c6efe-302c-4456-8d7c-33150a7184c9" CreationDate="2011-09-13T01:49:28.423" UserId="531" Text="&lt;field-recording&gt;&lt;humidity&gt;&lt;amazon&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16983" PostHistoryTypeId="6" PostId="10273" RevisionGUID="5871e536-fca0-4b7d-8621-084340b9c6de" CreationDate="2011-09-13T09:07:11.867" UserDisplayName="user80" Comment="edited tags" Text="&lt;cable&gt;&lt;connector&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16984" PostHistoryTypeId="2" PostId="10284" RevisionGUID="a6a04050-cb13-47ca-9fc4-499f3e823d89" CreationDate="2011-09-13T09:45:39.133" UserId="1197" Text="Is anyone else interested in this?&#xD;&#xA;&#xD;&#xA;I have only a few days left to present my written work/critique and could do with a few more testers.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Simon" ContentLicense="CC BY-SA 3.0" />
  <row Id="16985" PostHistoryTypeId="2" PostId="10285" RevisionGUID="b03c1954-b665-45e3-ad85-827f74bb593c" CreationDate="2011-09-13T11:16:41.600" UserId="771" Text="I inquired with one of my teacher.1/4&quot; phono connector without a ring ie a TS connector carries a unbalanced mono signal and TRS connector carries a balanced mono signal and unbalanced stereo signal.THANX for the comments" ContentLicense="CC BY-SA 3.0" />
  <row Id="16986" PostHistoryTypeId="2" PostId="10286" RevisionGUID="c14f2431-1bb7-42ee-98b3-01d3cc1703b6" CreationDate="2011-09-13T11:35:22.100" UserId="578" Text="That sounds like a great gig.&#xD;&#xA;&#xD;&#xA;As for mics - well, the Sennheiser MKH series are your best bet in high humidity situations. Don't know what kind of budget you have available or if you can rent mics, but perhaps a pair of MKH 8040s would suit you well - they'd be great for both ambience and music recording.&#xD;&#xA;&#xD;&#xA;The NTG3 should perform very well in high humidity as well.&#xD;&#xA;&#xD;&#xA;I'd be a bit concerned about the DR680. The build quality is so-so and I really wonder how it would hold up in a demanding environment such as the Amazon. At the very least I would look into a good bag solution that would keep the recorder as unexposed to the environment as possible. Mind, the DR680 might have no problems whatsoever, but I think it's a risk.&#xD;&#xA;&#xD;&#xA;Maybe consider getting a Sound Devices preamp/mixer to go with your D50 as a backup solution that is built more solidly than the DR680 in case the Tascam does break down.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16987" PostHistoryTypeId="5" PostId="10286" RevisionGUID="059b4aad-df4f-4d4c-8589-0e5ceb877255" CreationDate="2011-09-13T11:41:26.047" UserId="578" Comment="added 425 characters in body; deleted 64 characters in body" Text="That sounds like a great gig.&#xD;&#xA;&#xD;&#xA;As for mics - well, the Sennheiser MKH series are your best bet in high humidity situations. Don't know what kind of budget you have available or if you can rent mics, but perhaps a pair of MKH 8040s would suit you well - they'd be great for both ambience and music recording.&#xD;&#xA;&#xD;&#xA;The NTG3 should perform very well in high humidity as well.&#xD;&#xA;&#xD;&#xA;I'd be a bit concerned about the DR680. The build quality is so-so and I really wonder how it would hold up in a demanding environment such as the Amazon. At the very least I would look into a good bag solution that would keep the recorder as unexposed to the environment as possible. Mind, the DR680 might have no problems whatsoever, but I think it's a risk.&#xD;&#xA;&#xD;&#xA;Maybe consider getting a Sound Devices preamp/mixer to go with your D50 as a backup solution that is built more solidly than the DR680 in case the Tascam does break down.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;//edit&#xD;&#xA;I just remembered I recently bought this album, which consists of a very long field recording in the amazon: http://fieldcraftrecords.com/album/a-deep-forest-creek&#xD;&#xA;You might want to contact that guy (David Michael) through the contact form with some questions? He used different gear than you would take with you but he might have some good tips.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16988" PostHistoryTypeId="2" PostId="10287" RevisionGUID="0e79adda-a607-46c4-900c-1556ae5cc7ae" CreationDate="2011-09-13T12:02:10.497" UserId="2136" Text="I'm sound designing a production of How to Succeed in Business Without Really Trying, which is set in the 1960's, and part of the director's vision is to create the ambiance of a beehive.  In my design I try to achieve this by blending every day sounds one would hear in an office to create a sort of 'buzz'; however, I don't have a great deal of experience with office sounds before the computer age.  I mean there's the obvious (typewriter keys) but I want to include a wide range of sounds from the time period that might resonate with the audience, which generally has quite a few older patrons.  Any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="16989" PostHistoryTypeId="1" PostId="10287" RevisionGUID="0e79adda-a607-46c4-900c-1556ae5cc7ae" CreationDate="2011-09-13T12:02:10.497" UserId="2136" Text="Dated office sounds (1960's)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16990" PostHistoryTypeId="3" PostId="10287" RevisionGUID="0e79adda-a607-46c4-900c-1556ae5cc7ae" CreationDate="2011-09-13T12:02:10.497" UserId="2136" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;theatre-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="16994" PostHistoryTypeId="2" PostId="10289" RevisionGUID="14744fa7-292b-428b-bb0d-de4e635744d9" CreationDate="2011-09-13T12:51:16.153" UserId="194" Text="this is fun:&#xD;&#xA;http://www.yesterdaysoffice.com/&#xD;&#xA;&#xD;&#xA;I recently went to an antique shop and managed to get one of the vendors to rent me some of the crazy machines he had in his booth.  I got the antique typewriter of course, but I also got a burroughs protectograph and a remington adding machine from right around the dawn of electricity.&#xD;&#xA;&#xD;&#xA;3 hours and $25 later I was waaaay covered with those machines.  Depending on your timeline that could be an option as well.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.webstore.com/cache/cache_500_1_1_img_2168897_4b5f1477c4a7663377b0e2e96b98a7bejpg.img&#xD;&#xA;  [2]: http://img3.etsystatic.com/il_fullxfull.228117095.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="16995" PostHistoryTypeId="2" PostId="10290" RevisionGUID="665c88f3-41b0-4e99-a7e9-19f987b28aed" CreationDate="2011-09-13T13:14:37.117" UserDisplayName="user80" Text="manual/electric typewriters, electric calculating machine, filing cabinets, telephones, intercoms, punch machines, tabulation machines, teletype machine, Xerox 914 Copier, pa system etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="16996" PostHistoryTypeId="2" PostId="10291" RevisionGUID="00bda3c4-629c-4fe1-b6da-025fbc47e836" CreationDate="2011-09-13T13:20:11.640" UserDisplayName="user80" Text="I'd recommend switching to a Sound Devices recorder with Sennheiser condenser mics and keep the Shure dynamic mics.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16997" PostHistoryTypeId="5" PostId="10291" RevisionGUID="417cf660-cfa0-4173-a2f2-80584b4479cd" CreationDate="2011-09-13T13:34:50.630" UserDisplayName="user80" Comment="added 419 characters in body" Text="I'd recommend switching to a Sound Devices recorder with Sennheiser condenser mics and keep the Shure dynamic mics.  &#xD;&#xA;&#xD;&#xA;Whatever you plan to take, test it all in your bathroom.  Leave the shower on for a good 30 minutes and then close the door and let the recorder and mics run for at least a couple of hours, also leave a radio on so you have something to record. &#xD;&#xA;&#xD;&#xA;Compare the recordings and if the latter part sounds dull compared to the start you are obviously going to have problems.  If they sound similar you should be fine.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="16998" PostHistoryTypeId="2" PostId="10292" RevisionGUID="db37f26a-6e8f-4322-a4c6-670ffb2df4c4" CreationDate="2011-09-13T13:37:44.553" UserId="393" Text="People writing on paper, and smoking indoors. (Also, incredibly sexist gender roles...)" ContentLicense="CC BY-SA 3.0" />
  <row Id="16999" PostHistoryTypeId="2" PostId="10293" RevisionGUID="213b2a25-5c2e-4ae3-9372-6d4b677bde44" CreationDate="2011-09-13T14:13:15.427" UserId="37" Text="Time to watch Mad Men and advance that 10 years in your imagination.&#xD;&#xA;&#xD;&#xA;Also for great reference to office sounds - The Wire. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17000" PostHistoryTypeId="2" PostId="10294" RevisionGUID="ba86f284-5a78-4486-ba55-ba56bb3fde45" CreationDate="2011-09-13T15:07:26.520" UserId="2502" Text="I am interested. email sent." ContentLicense="CC BY-SA 3.0" />
  <row Id="17001" PostHistoryTypeId="2" PostId="10295" RevisionGUID="5d9fefc1-b4d1-4c3f-b7de-0f877edc10b1" CreationDate="2011-09-13T15:09:13.343" UserId="18160" Text="I'm a contributive citizen of Los Angeles County and I support a government run for all it's people.&#xD;&#xA;&#xD;&#xA;That's why I left my house at 6:00 AM this morning because I had a 7:30 AM call at the downtown courthouse. I didn't want to be late.&#xD;&#xA;&#xD;&#xA;After grabbing a quick coffee, I make my way down Sunset Blv. anticipating the traffic I was inevitably going to hit. I made it to the Disney Concert Hall in about 10 minutes.&#xD;&#xA;&#xD;&#xA;Walking down the street to the courthouse it suddenly dawned on me. It was a ton of bricks from out of nowhere. How could I have been that stupid...&#xD;&#xA;&#xD;&#xA;There's a line already forming in front of the courthouse. They don't let the new jurors in until 7:30 AM. I glance at my watch; it's 6:45.&#xD;&#xA;&#xD;&#xA;The first thing that happened right in front of me was like grains of salt being poured into an open wound: the traffic ceased and there was seemingly no wash of a freeway I could hear and suddenly a humongous flock of pigeons decide to take off simultaneously not 5 feet in front of me on the street.&#xD;&#xA;&#xD;&#xA;The next occurrence was like cayenne pepper in a paper cut: a jeep with a faulty A/C belt which was squeaking like a gerbil in heat pulled up and waited 7 feet in front of me at the red light for at least a minute and a half.&#xD;&#xA;&#xD;&#xA;Then, the icing on the cake. This was like tabasco in a knife wound. A whole parade of LA construction equipment drove by - including a scooper with full-on tank treads on them.&#xD;&#xA;&#xD;&#xA;And all this...&#xD;&#xA;&#xD;&#xA;... and me without my H2n portable recorder...&#xD;&#xA;&#xD;&#xA;Please forgive me, my fellow SSD members.&#xD;&#xA;&#xD;&#xA;I have failed you...&#xD;&#xA;&#xD;&#xA;How can I ever make it up to you?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17002" PostHistoryTypeId="1" PostId="10295" RevisionGUID="5d9fefc1-b4d1-4c3f-b7de-0f877edc10b1" CreationDate="2011-09-13T15:09:13.343" UserId="18160" Text="What I learned at Jury Duty Service today..." ContentLicense="CC BY-SA 3.0" />
  <row Id="17003" PostHistoryTypeId="3" PostId="10295" RevisionGUID="5d9fefc1-b4d1-4c3f-b7de-0f877edc10b1" CreationDate="2011-09-13T15:09:13.343" UserId="18160" Text="&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17004" PostHistoryTypeId="16" PostId="10295" RevisionGUID="5d9fefc1-b4d1-4c3f-b7de-0f877edc10b1" CreationDate="2011-09-13T15:09:13.343" UserId="18160" />
  <row Id="17005" PostHistoryTypeId="5" PostId="10295" RevisionGUID="701dcfef-1617-498a-b56c-1aac8c8e8349" CreationDate="2011-09-13T15:27:17.710" UserId="18160" Comment="added 148 characters in body" Text="I'm a contributive citizen of Los Angeles County and I support a government run for all it's people.&#xD;&#xA;&#xD;&#xA;That's why I left my house at 6:00 AM this morning because I had a 7:30 AM call at the downtown courthouse. I didn't want to be late.&#xD;&#xA;&#xD;&#xA;After grabbing a quick coffee, I make my way down Sunset Blv. anticipating the traffic I was inevitably going to hit. I made it to the Disney Concert Hall in about 10 minutes.&#xD;&#xA;&#xD;&#xA;Walking down the street to the courthouse it suddenly dawned on me. It was a ton of bricks from out of nowhere. How could I have been that stupid...&#xD;&#xA;&#xD;&#xA;There's a line already forming in front of the courthouse. They don't let the new jurors in until 7:30 AM. I glance at my watch; it's 6:45.&#xD;&#xA;&#xD;&#xA;The first thing that happened right in front of me was like grains of salt being poured into an open wound: the traffic ceased and there was seemingly no wash of a freeway I could hear and suddenly a humongous flock of pigeons decide to take off simultaneously not 5 feet in front of me on the street.&#xD;&#xA;&#xD;&#xA;The next occurrence was like cayenne pepper in a paper cut: a jeep with a faulty A/C belt which was squeaking like a gerbil in heat pulled up and waited 7 feet in front of me at the red light for at least a minute and a half.&#xD;&#xA;&#xD;&#xA;Then, the icing on the cake. This was like tabasco in a knife wound. A whole parade of LA construction equipment drove by - including a scooper with full-on tank treads on them.&#xD;&#xA;&#xD;&#xA;And all this...&#xD;&#xA;&#xD;&#xA;... and me without my H2n portable recorder...&#xD;&#xA;&#xD;&#xA;Please forgive me, my fellow SSD members.&#xD;&#xA;&#xD;&#xA;I have failed you...&#xD;&#xA;&#xD;&#xA;How can I ever make it up to you?&#xD;&#xA;&#xD;&#xA;I'll be here for pretty much the whole day to wallow in my pity. If you're free we can treat this thread like a real-time chat. I'm available!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17006" PostHistoryTypeId="2" PostId="10296" RevisionGUID="439924d0-2d42-4021-b03f-a02f1ab6747d" CreationDate="2011-09-13T15:27:28.640" UserId="2503" Text="Soemthing like this? http://durkkooistra.com/2011/09/freebee-a-free-kontakt-instrument-3d-flying-insect-simulation/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17007" PostHistoryTypeId="5" PostId="10290" RevisionGUID="ed4192f7-4dd0-45a1-a5d3-5780eb89cea9" CreationDate="2011-09-13T15:33:10.850" UserDisplayName="user80" Comment="added 40 characters in body; added 62 characters in body" Text="manual/electric typewriters, electric calculating machine, filing cabinets, telephones, intercoms, punch machines, manual tabulation machines, teletype machine, Xerox 914 Copier, electric cooling fans, electric heaters, electric pencil sharpener, pa system, paper shuffling, writing, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="17008" PostHistoryTypeId="2" PostId="10297" RevisionGUID="4ae0cb66-0e59-4cbc-9326-4bf42fc10f28" CreationDate="2011-09-13T15:45:23.700" UserId="18160" Text="Vintage phone rings - and I'm not sure if they had any button-dial phones yet so also I would try some manual circular-dial phones.&#xD;&#xA;&#xD;&#xA;Also, typewriters were quite prevalent back then so place them in throughout and I think with the other great suggestions you'll have a winning combination.&#xD;&#xA;&#xD;&#xA;Also, and I think most importantly, is that people spoke differently back then. Watch out for the ADR call-outs or loop groups you decide to put in there because if they're too modern-sounding, it might throw you right out of the moment.&#xD;&#xA;&#xD;&#xA;I also remember doing research for a 50's show I did not too long ago and the men usually wore stiff-wood or wing-tip shoes to work and those definitely sound different than a soft leather shoe footstep." ContentLicense="CC BY-SA 3.0" />
  <row Id="17009" PostHistoryTypeId="5" PostId="10295" RevisionGUID="9ad62bd2-d0f0-4cd1-a811-3c8f5342d7bb" CreationDate="2011-09-13T15:50:38.067" UserId="18160" Comment="deleted 138 characters in body; edited title" Text="I'm a contributive citizen of Los Angeles County and I support a government run for all it's people.&#xD;&#xA;&#xD;&#xA;That's why I left my house at 6:00 AM this morning because I had a 7:30 AM jury duty call at the downtown courthouse. I didn't want to be late.&#xD;&#xA;&#xD;&#xA;After grabbing a quick coffee, I make my way down Sunset Blv. anticipating the traffic I was inevitably going to hit. I made it to the Disney Concert Hall in about 10 minutes.&#xD;&#xA;&#xD;&#xA;Walking down the street to the courthouse it suddenly dawned on me. It was a ton of bricks from out of nowhere. How could I have been that stupid...&#xD;&#xA;&#xD;&#xA;There's a line already forming in front of the courthouse. They don't let the new jurors in until 7:30 AM. I glance at my watch; it's 6:45.&#xD;&#xA;&#xD;&#xA;The first thing that happened right in front of me was like grains of salt being poured into an open wound: the traffic ceased and there was seemingly no wash of a freeway I could hear and suddenly a humongous flock of pigeons decide to take off simultaneously not 5 feet in front of me on the street.&#xD;&#xA;&#xD;&#xA;The next occurrence was like cayenne pepper in a paper cut: a jeep with a faulty A/C belt which was squeaking like a gerbil in heat pulled up and waited 7 feet in front of me at the red light for at least a minute and a half.&#xD;&#xA;&#xD;&#xA;Then, the icing on the cake. This was like tabasco in a knife wound. A whole parade of LA construction equipment drove by - including a scooper with full-on tank treads on them.&#xD;&#xA;&#xD;&#xA;And all this...&#xD;&#xA;&#xD;&#xA;... and me without my H2n portable recorder...&#xD;&#xA;&#xD;&#xA;Please forgive me, my fellow SSD members.&#xD;&#xA;&#xD;&#xA;I have failed you...&#xD;&#xA;&#xD;&#xA;How can I ever make it up to you?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17010" PostHistoryTypeId="4" PostId="10295" RevisionGUID="9ad62bd2-d0f0-4cd1-a811-3c8f5342d7bb" CreationDate="2011-09-13T15:50:38.067" UserId="18160" Comment="deleted 138 characters in body; edited title" Text="An important lesson learned today..." ContentLicense="CC BY-SA 3.0" />
  <row Id="17011" PostHistoryTypeId="2" PostId="10298" RevisionGUID="533f9cb5-4264-40cc-989f-75de0354a7ff" CreationDate="2011-09-13T16:00:16.817" UserId="985" Text="You might be a sound recordist.." ContentLicense="CC BY-SA 3.0" />
  <row Id="17012" PostHistoryTypeId="16" PostId="10298" RevisionGUID="533f9cb5-4264-40cc-989f-75de0354a7ff" CreationDate="2011-09-13T16:00:16.817" UserId="-1" />
  <row Id="17013" PostHistoryTypeId="2" PostId="10299" RevisionGUID="183c5450-c008-4614-8457-b91b53d01aab" CreationDate="2011-09-13T16:14:51.720" UserId="1266" Text="Thats tough man, the guilt you might feel.  So you're not a god afterall." ContentLicense="CC BY-SA 3.0" />
  <row Id="17014" PostHistoryTypeId="16" PostId="10299" RevisionGUID="183c5450-c008-4614-8457-b91b53d01aab" CreationDate="2011-09-13T16:14:51.720" UserId="-1" />
  <row Id="17015" PostHistoryTypeId="5" PostId="10295" RevisionGUID="8888325d-2aa2-4f0c-a9d0-1a3896447c67" CreationDate="2011-09-13T16:21:59.470" UserId="18160" Comment="added 86 characters in body" Text="I'm a contributive citizen of Los Angeles County and I support a government run for all it's people.&#xD;&#xA;&#xD;&#xA;That's why I left my house at 6:00 AM this morning because I had a 7:30 AM jury duty call at the downtown courthouse. I didn't want to be late.&#xD;&#xA;&#xD;&#xA;After grabbing a quick coffee, I make my way down Sunset Blv. anticipating the traffic I was inevitably going to hit. I made it to the Disney Concert Hall in about 10 minutes.&#xD;&#xA;&#xD;&#xA;Walking down the street to the courthouse it suddenly dawned on me. It was a ton of bricks from out of nowhere. How could I have been that stupid...&#xD;&#xA;&#xD;&#xA;There's a line already forming in front of the courthouse. They don't let the new jurors in until 7:30 AM. I glance at my watch; it's 6:45.&#xD;&#xA;&#xD;&#xA;The first thing that happened right in front of me was like grains of salt being poured into an open wound: the traffic ceased and there was seemingly no wash of a freeway I could hear and suddenly a humongous flock of pigeons decide to take off simultaneously not 5 feet in front of me on the street.&#xD;&#xA;&#xD;&#xA;The next occurrence was like cayenne pepper in a paper cut: a jeep with a faulty A/C belt which was squeaking like a gerbil in heat pulled up and waited 7 feet in front of me at the red light for at least a minute and a half.&#xD;&#xA;&#xD;&#xA;Then, the icing on the cake. This was like tabasco in a knife wound. A whole parade of LA construction equipment drove by - including a scooper with full-on tank treads on them.&#xD;&#xA;&#xD;&#xA;And all this...&#xD;&#xA;&#xD;&#xA;... and me without my H2n portable recorder... That's the important lesson I learned today. Bring your portable recorder EVERYWHERE.&#xD;&#xA;&#xD;&#xA;Please forgive me, my fellow SSD members.&#xD;&#xA;&#xD;&#xA;I have failed you...&#xD;&#xA;&#xD;&#xA;How can I ever make it up to you?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17016" PostHistoryTypeId="2" PostId="10300" RevisionGUID="2d57c076-770d-4764-82e5-a304b2cb7ed4" CreationDate="2011-09-13T16:38:27.697" UserId="2504" Text="Hey guys, have just started using pro tools and am adjusting, when I import my omf it has split all my tracks into left and right tracks, is there any way to make the left and right track one single track with both left and right? " ContentLicense="CC BY-SA 3.0" />
  <row Id="17017" PostHistoryTypeId="1" PostId="10300" RevisionGUID="2d57c076-770d-4764-82e5-a304b2cb7ed4" CreationDate="2011-09-13T16:38:27.697" UserId="2504" Text="pro tools split left and right tracks" ContentLicense="CC BY-SA 3.0" />
  <row Id="17018" PostHistoryTypeId="3" PostId="10300" RevisionGUID="2d57c076-770d-4764-82e5-a304b2cb7ed4" CreationDate="2011-09-13T16:38:27.697" UserId="2504" Text="&lt;track&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17019" PostHistoryTypeId="2" PostId="10301" RevisionGUID="6ac24add-be52-49a3-bdae-9bb78fca1764" CreationDate="2011-09-13T16:39:32.613" UserId="2505" Text="I've been working on a feature film and the producers want to offer it to the distributors (we want to release it on the DVD for now). One of their requirements is to have a Dolby License for the film. As I have never done that before I did a small research on ways to obtain one, but still not sure if I got everything right.&#xD;&#xA;&#xD;&#xA;My studio is NOT Dolby certified (and I can't really afford to license my studio). I found out that in that case I can either go to the studio that is certified and mix it there or send it over to Dolby HQs so they can go through it and sell me the license? Is that right?&#xD;&#xA;&#xD;&#xA;I am based in London so the location shouldn't be a problem. I've tried to contact Dolby Lab here but they are very slow with replying. Is there anyone here who knows a bit more about the whole thing and wouldn't mind sharing that with us? Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17020" PostHistoryTypeId="1" PostId="10301" RevisionGUID="6ac24add-be52-49a3-bdae-9bb78fca1764" CreationDate="2011-09-13T16:39:32.613" UserId="2505" Text="Dolby License for a feature film" ContentLicense="CC BY-SA 3.0" />
  <row Id="17021" PostHistoryTypeId="3" PostId="10301" RevisionGUID="6ac24add-be52-49a3-bdae-9bb78fca1764" CreationDate="2011-09-13T16:39:32.613" UserId="2505" Text="&lt;dolby&gt;&lt;license&gt;&lt;feature&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17022" PostHistoryTypeId="2" PostId="10302" RevisionGUID="c4c7cae7-b394-41ca-8ba3-d484c729f239" CreationDate="2011-09-13T16:42:11.370" UserId="18160" Text="Make a new stereo track, make sure the 2 mono signals are directly above one another (i.e. no track is in between them with other regions) and select both mono signals which should be on a stereo track with the selection tool and use your region grabber in slip mode to drop them down onto the new stereo track. Remember to hold the control key so when you move the regions they do not move forward or backward inadvertently.&#xD;&#xA;&#xD;&#xA;Then double check (it should be OK) but double check that the panning information is hard left and right like it should be (unless you want something else). Sometimes, not always, my panning information gets corrupted in the importation process so I have to reset the pan knobs for the regions/tracks I move." ContentLicense="CC BY-SA 3.0" />
  <row Id="17025" PostHistoryTypeId="2" PostId="10304" RevisionGUID="ff215b05-6ce3-4e57-963b-a5b73c3a9dba" CreationDate="2011-09-13T16:53:30.433" UserId="848" Text="You have mastered the art of not breathing for as long as the red light is on. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17026" PostHistoryTypeId="16" PostId="10304" RevisionGUID="ff215b05-6ce3-4e57-963b-a5b73c3a9dba" CreationDate="2011-09-13T16:53:30.433" UserId="-1" />
  <row Id="17027" PostHistoryTypeId="2" PostId="10305" RevisionGUID="87283671-9b13-45a3-b6a5-aec57dc72ce2" CreationDate="2011-09-13T16:54:51.947" UserId="18160" Text="Great suggestions so far.&#xD;&#xA;&#xD;&#xA;I would like to add this:&#xD;&#xA;&#xD;&#xA;Bring a few of those packets which are placed in microphone boxes and in shipping boxes and place them in your blimp and keep them with your mics when you store them at night. I would go so far as to bring a humidity meter so you know at all times what's going on in the environment.&#xD;&#xA;&#xD;&#xA;Also, acclimatize your mics before using them in the morning. I would store them in plastic bags (ziplock) in case there are rains or unexpected downpoors.&#xD;&#xA;&#xD;&#xA;And keep an ear out for any malfunctions while recording on your tracks. I'd do a spot check at night to your recordings to ensure you've got good recordings.&#xD;&#xA;&#xD;&#xA;Among the other mics mentioned, Schoeps CMIT-5U and the MK series I have found in my experience to have great rejection to humid and extreme conditions - Florida heat and humidity as well as Russia cold and freezing." ContentLicense="CC BY-SA 3.0" />
  <row Id="17028" PostHistoryTypeId="5" PostId="10305" RevisionGUID="dadbfb67-bc6d-4613-a71b-f35b9c01bb38" CreationDate="2011-09-13T17:08:12.680" UserId="18160" Comment="added 193 characters in body" Text="Great suggestions so far.&#xD;&#xA;&#xD;&#xA;I would like to add this:&#xD;&#xA;&#xD;&#xA;Bring a few of those packets which are placed in microphone boxes and in shipping boxes and place them in your blimp and keep them with your mics when you store them at night. I would go so far as to bring a humidity meter so you know at all times what's going on in the environment.&#xD;&#xA;&#xD;&#xA;Also, acclimatize your mics before using them in the morning. I would store them in plastic bags (ziplock) in case there are rains or unexpected downpoors.&#xD;&#xA;&#xD;&#xA;And keep an ear out for any malfunctions while recording on your tracks. I'd do a spot check at night to your recordings to ensure you've got good recordings.&#xD;&#xA;&#xD;&#xA;Among the other mics mentioned, Schoeps CMIT-5U and the MK series I have found in my experience to have great rejection to humid and extreme conditions - Florida heat and humidity as well as Russia cold and freezing.&#xD;&#xA;&#xD;&#xA;Depending on your sound and what you're going for, I would ask that they leave the PA off - unless they absolutely need it on. I personally like isolated tracks to work with. Easier to mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="17029" PostHistoryTypeId="5" PostId="10302" RevisionGUID="0b6967c0-ef11-4bac-bb8e-dc93d11d651b" CreationDate="2011-09-13T17:13:01.103" UserId="18160" Comment="deleted 2 characters in body" Text="Make a new stereo track, make sure the 2 mono signals are directly above one another (i.e. no track is in between them with other regions) and select both mono signals which should be on a stereo track with the selection tool and use your grabber tool in slip mode to drop them down onto the new stereo track. Remember to hold the control key so when you move the regions they do not move forward or backward inadvertently.&#xD;&#xA;&#xD;&#xA;Then double check (it should be OK) but double check that the panning information is hard left and right like it should be (unless you want something else). Sometimes, not always, my panning information gets corrupted in the importation process so I have to reset the pan knobs for the regions/tracks I move." ContentLicense="CC BY-SA 3.0" />
  <row Id="17030" PostHistoryTypeId="2" PostId="10306" RevisionGUID="c395e295-4241-4a31-90c3-656e167f2d66" CreationDate="2011-09-13T17:55:28.637" UserId="891" Text="If the film is not going 35mm and will only be played off a DVD you don't need a license. The fees are payed with the en- and decoders.&#xD;&#xA;&#xD;&#xA;If you want to go to 35mm you should get in contact with Dolby production services in [Wootton Bassett][1] (in your case). They might help you to find a certified studio, where you can make the necessary mastering with one of their consultants (shouldn't be a problem in London ;-)). This way you have control over the process and will get to know the consultant as well as learn something new about the whole process.&#xD;&#xA;The production company needs to male all the arrangement and payment prior to this. Sending the master in to them is only for trailers and adverts as far as I know. &#xD;&#xA;&#xD;&#xA;If I get your case right the distributer might have the Dolby License in their general specs of what they want from any production they acquire. But if the film is to be release on DVD or Bluray only this is irrelevant. So it might also be useful to talk to the distributor in order to check why they ask for it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dolby.com/about/who-we-are/contact-us/locations-wootton-bassett.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="17031" PostHistoryTypeId="2" PostId="10307" RevisionGUID="e80677c9-092b-452a-8cb6-c3f60da48442" CreationDate="2011-09-13T18:04:53.313" UserId="1012" Text="Comrades! &#xD;&#xA;&#xD;&#xA;I have recently decided to push myself to the next level of audioness.  Pushing my Sound Design skills, getting into Field Recording...  learning Interactive Audio.... wait.. &#xD;&#xA;&#xD;&#xA;So, learning fmod and wwise is all well and good but how am I suppose to know if my sound defs, my events, or my music actually work in a game?&#xD;&#xA;&#xD;&#xA;Perhaps I missed something in the tutorial files provided, but I was hoping there would be a game I could test my work in, make sure I am heading in the right direction.&#xD;&#xA;&#xD;&#xA;I found some good discussions on gamedev.net, and a few links, but I don't know C++ (yet?)  Is there a place I can download a game to test my audio in, or is there a good site/ resource to supplement my fmod/wwise tutorials?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17032" PostHistoryTypeId="1" PostId="10307" RevisionGUID="e80677c9-092b-452a-8cb6-c3f60da48442" CreationDate="2011-09-13T18:04:53.313" UserId="1012" Text="Demo Game for fmod experimentation" ContentLicense="CC BY-SA 3.0" />
  <row Id="17033" PostHistoryTypeId="3" PostId="10307" RevisionGUID="e80677c9-092b-452a-8cb6-c3f60da48442" CreationDate="2011-09-13T18:04:53.313" UserId="1012" Text="&lt;gameaudio&gt;&lt;fmod&gt;&lt;wwise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17034" PostHistoryTypeId="2" PostId="10308" RevisionGUID="cd6e7512-bf1d-400d-936a-efdaea00423d" CreationDate="2011-09-13T18:59:38.683" UserId="432" Text="Audiokinetic has a game called Cube that you can download (same page as the rest of the Wwise downloads) and drop your sounds into." ContentLicense="CC BY-SA 3.0" />
  <row Id="17035" PostHistoryTypeId="2" PostId="10309" RevisionGUID="b8e89617-d820-4aa2-8b62-aba5962176d0" CreationDate="2011-09-13T19:00:03.987" UserId="6524" Text="If you have Crysis you can download the SDK for free, it comes with a certain version of fmod that works with the CryEngine2 editor and you can implement your sound on either the maps that come with the game or something you create. I don't really know much about this tbh so hopefully some one else can help out a little more." ContentLicense="CC BY-SA 3.0" />
  <row Id="17036" PostHistoryTypeId="2" PostId="10310" RevisionGUID="e589f9ba-de88-491d-bf04-775d9e4666d2" CreationDate="2011-09-13T21:07:54.810" UserId="6411" Text="I've got a bitch of a cold right now, but my voice has this awesome bassy, gravelly quality to it. So I figured I should take advantage of this vocal state and get some potentially useful wild lines, groans, grunts, etc. to add to the library. But without a script or specific project in mind I'm drawing a complete blank.&#xD;&#xA;&#xD;&#xA;Suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17037" PostHistoryTypeId="1" PostId="10310" RevisionGUID="e589f9ba-de88-491d-bf04-775d9e4666d2" CreationDate="2011-09-13T21:07:54.810" UserId="6411" Text="Useful Human Vocalizations" ContentLicense="CC BY-SA 3.0" />
  <row Id="17038" PostHistoryTypeId="3" PostId="10310" RevisionGUID="e589f9ba-de88-491d-bf04-775d9e4666d2" CreationDate="2011-09-13T21:07:54.810" UserId="6411" Text="&lt;human&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17039" PostHistoryTypeId="2" PostId="10311" RevisionGUID="f9e37568-f42c-4fa6-bdae-28221c727beb" CreationDate="2011-09-13T21:12:04.883" UserId="891" Text="Sorry only found this now.&#xD;&#xA;&#xD;&#xA;From what I know the guys from Audio Ease are using a [Klein und Hummel PAS 100][1] speaker for their recent outdoor IRs. The results are pretty nice IMHO. For interiors they surly use studio monitors.&#xD;&#xA;&#xD;&#xA;A note on IRs vs. worldizing:&#xD;&#xA;Though I have very little worldizing experience myself, I find that the big difference is that while worldizing you can dynamically change the speaker - mic relation and thus create effects that can not be reproduced with IRs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sennheiser-kh-line.com/sennheiser-kh/home_en.nsf/root/installed-sound_mobile-powered-pa-speaker_PAS100" ContentLicense="CC BY-SA 3.0" />
  <row Id="17040" PostHistoryTypeId="2" PostId="10312" RevisionGUID="774d7e6a-b7c3-4dcf-bcd7-4185442acf85" CreationDate="2011-09-13T21:18:33.723" UserId="18160" Text="Some ideas:&#xD;&#xA;&#xD;&#xA;Just do some growls.&#xD;&#xA;&#xD;&#xA;Do some growls that create transients (kind of like when you say &quot;aaaaaahhhhh&quot; but in a really slow almost clicking sound).&#xD;&#xA;&#xD;&#xA;Then do the gamut of emotions so you have them in case you do some animated movie in the future that you need curious or whimpering or scared emotions for a monster...&#xD;&#xA;&#xD;&#xA;Do some laughing too just for the hell of it.&#xD;&#xA;&#xD;&#xA;Do some screams and roars like a charging soldier.&#xD;&#xA;&#xD;&#xA;&quot;Come here!!&quot;&#xD;&#xA;&#xD;&#xA;&quot;Get back here!!&quot;&#xD;&#xA;&#xD;&#xA;&quot;I'll kill you!!&quot;&#xD;&#xA;&#xD;&#xA;I don't know - think of wild lines for a video game you might do in the future.&#xD;&#xA;&#xD;&#xA;Remember to record them at 192K so you can pitch and process at the utmost.&#xD;&#xA;&#xD;&#xA;BUT MOST OF ALL!!!!&#xD;&#xA;&#xD;&#xA;If you have a phlegmy throat and it affects your breathing, record yourself breathing - some really really good dirty breathing might be a cool texture." ContentLicense="CC BY-SA 3.0" />
  <row Id="17041" PostHistoryTypeId="2" PostId="10313" RevisionGUID="2d7c9716-b631-42fe-a646-9e1aa397feae" CreationDate="2011-09-13T21:22:13.373" UserId="999" Text="Do any of you guys send a headphone feed to the director while working on a film set? Is there a way of doing this wirelessly &amp; cheaply?&#xD;&#xA;&#xD;&#xA;A splitter would have to be 3 way as when im recording on set I have headphones for the mixer and headphones for the boom op already.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17042" PostHistoryTypeId="1" PostId="10313" RevisionGUID="2d7c9716-b631-42fe-a646-9e1aa397feae" CreationDate="2011-09-13T21:22:13.373" UserId="999" Text="Sending a headphone feed to a director on set?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17043" PostHistoryTypeId="3" PostId="10313" RevisionGUID="2d7c9716-b631-42fe-a646-9e1aa397feae" CreationDate="2011-09-13T21:22:13.373" UserId="999" Text="&lt;headphones&gt;&lt;location-recording&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17044" PostHistoryTypeId="2" PostId="10314" RevisionGUID="58ef111b-790f-47d9-b4ce-6098dbef13ea" CreationDate="2011-09-13T21:30:13.997" UserId="168" Text="In addition to Utopia's awesome list: &#xD;&#xA;&#xD;&#xA;-Cough&#xD;&#xA;&#xD;&#xA;-Breathe in with a growl: more like a snarl &#xD;&#xA;&#xD;&#xA;-Read random lines from a newspaper/book (helpful when slowed down/speeded up/spliced)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17045" PostHistoryTypeId="2" PostId="10315" RevisionGUID="800fa6b0-852b-4cce-a251-7fb7fd834cf3" CreationDate="2011-09-13T21:46:34.137" UserDisplayName="user49" Text="Do some vocals performed to be reversed i.e. make a typical monster growl (whatever that is!) &amp; observe the shape of the sound &amp; how you're making it, then perform it in reverse order.... eg if it 'normally' has a [big attack, big build &amp; then slows to a gutteral growl] perform the reverse ie [start with a slow growl and build to a big roar and then stop suddenly after a loud short snappy outburst]&#xD;&#xA;&#xD;&#xA;Also if you want to get rich, do some random Crap FM Radio IDs... 'hi, you're listening to another piece of sh+t mindless FM station regurgitating the same old tunes you heard in your youth and have never grown out of.... CRAP FM, playing all the (S)HITS!&quot; - I'm sure you can sell it to hundreds of commercial FM stations (if only they were honest with themselves)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17046" PostHistoryTypeId="2" PostId="10316" RevisionGUID="4062684b-05c8-4993-b8de-500e8deecf8f" CreationDate="2011-09-13T21:49:21.863" UserId="61" Text="Sing the lowest note you can and hold it for as long as possible. Record at 192k and pitch down for interesting artifacts!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17047" PostHistoryTypeId="2" PostId="10317" RevisionGUID="05202a66-be2e-4d56-8ca2-eb4699897496" CreationDate="2011-09-13T22:40:27.973" UserId="990" Text="The standard is Comteks.. Not cheap, but you can also use Sennheiser wireless tx's and rx's." ContentLicense="CC BY-SA 3.0" />
  <row Id="17048" PostHistoryTypeId="2" PostId="10318" RevisionGUID="fa6d33ec-32a3-49de-beb3-6b179a877947" CreationDate="2011-09-13T23:16:20.663" UserId="393" Text="(I've already looked at the other [Abstract][1] question, and it doesn't really cover what I'm about to ask.)&#xD;&#xA;&#xD;&#xA;Now, I know how to design literal sounds, and I'm pretty confident I know how to design for fantasy and sci fi (because I've watched A LOT of those types of movies), but I had the realization the other day that I don't have any experience creating sounds for things I've never come across before.&#xD;&#xA;&#xD;&#xA;Like this:&#xD;&#xA;[youtube]BsekcY04xvQ[/youtube]&#xD;&#xA;&#xD;&#xA;Now, that's just an example, and I have some ideas for what I could do, but for most of it it's just a reinterpretation of literal sound.&#xD;&#xA;&#xD;&#xA;**So, I was wondering if any of you have tips and tricks for that, or even suggestions on where to start.**&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/6007/abstract-design" ContentLicense="CC BY-SA 3.0" />
  <row Id="17049" PostHistoryTypeId="1" PostId="10318" RevisionGUID="fa6d33ec-32a3-49de-beb3-6b179a877947" CreationDate="2011-09-13T23:16:20.663" UserId="393" Text="Abstract Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="17050" PostHistoryTypeId="3" PostId="10318" RevisionGUID="fa6d33ec-32a3-49de-beb3-6b179a877947" CreationDate="2011-09-13T23:16:20.663" UserId="393" Text="&lt;abstract&gt;&lt;theory&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17051" PostHistoryTypeId="2" PostId="10319" RevisionGUID="79e17757-7ac0-4b85-b599-bcdc653f8528" CreationDate="2011-09-14T01:12:01.120" UserDisplayName="user49" Text="Theres a million different directions you could go in, but it really depends on the directors intent, the narrative, the 'feel', what emotions the director wants to evoke etc...&#xD;&#xA;&#xD;&#xA;The use of metaphorical sound is one worth pursuing, and there is a great quote from Walter Murch on the subject: “The metaphoric use of sound is one of the most fruitful, flexible and inexpensive means: by choosing carefully what to eliminate, and then adding back sounds that seem at first hearing to be somewhat at odds with the accompanying image, the filmmaker can open up a perceptual vacuum into which the mind of the audience must inevitably rush.&#xD;&#xA;Every successful reassociation is a kind of metaphor, and every metaphor is seen momentarily as a mistake, but then suddenly as a deeper truth about the thing named and our relationship to it. The greater the stretch between the “thing” and the “name,” the deeper the potential truth.”&#xD;&#xA;&#xD;&#xA;My only other answer would be to experiment, experiment, experiment, and try to make happy accidents occur... " ContentLicense="CC BY-SA 3.0" />
  <row Id="17052" PostHistoryTypeId="2" PostId="10320" RevisionGUID="e6b0bb17-72f8-4f10-9ff1-82a394935a53" CreationDate="2011-09-14T03:43:15.247" UserId="61" Text="Pieces like this require you to think of yourself not as a sound editor or even a sound designer, but as a **composer**. Because that's what you're doing - you're composing a score. You need to think in musical concepts, such as melody, rhythm, and pacing. Ideas like pianissimo and forté. It's not so much about fitting in a car by here or a tonal element there, but rather building this entire structure up from nothing. &#xD;&#xA;&#xD;&#xA;It is a blank canvas and you are the painter.&#xD;&#xA;&#xD;&#xA;And like all great composer, painters, and artists in general, you need to get in touch with *what this piece means to you*, because you may have a director or producer who has no idea what this should sound like and is coming to you for a creative vision. Try not to over analyze it; go with your gut instincts. Does it make you feel peaceful or anxious? Excited or morose?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17053" PostHistoryTypeId="2" PostId="10321" RevisionGUID="c0d72c18-52e1-4f23-ad1a-228936d12a94" CreationDate="2011-09-14T06:32:58.667" UserId="2" Text="Will there be VT? If so, you want the feed to go to the VT first and then the director. This way during play back they can hear the sync sound. &#xD;&#xA;&#xD;&#xA;As Flipstar mentions, a cheap way to do this is by using some Sennheiser wireless systems (2G/3G). You can rent them for cheap. &#xD;&#xA;&#xD;&#xA;I've recently used a bunch of them on a commercial to not only feed the VT and director but also agency and clients. You can have one transmitter and several receivers (set to the same channel) with headphones .  &#xD;&#xA;&#xD;&#xA;**set up with VT:**&#xD;&#xA;&#xD;&#xA;From your mixer or recorder's line feed, either go XLR to the VT or if you're moving around, use a wireless system to feed the VT. Then have the VT do the broadcasting to the director and all those that need using the one transmitter with several receivers I was talking about.   &#xD;&#xA;&#xD;&#xA;**just for the director:**&#xD;&#xA;&#xD;&#xA;If you just want the director to hear what you're recording, with no sync for playback, then all you need is one wireless system. Just go line out from your recorder/mixer into the transmitter, then give the director the receiver with headphones, and voilà!  &#xD;&#xA;&#xD;&#xA;The level is pretty low for this kind of stuff, so you'll have to set the TX quite high (maybe 0db), and the RX to +12db. &#xD;&#xA;&#xD;&#xA;Just make sure to let everyone know that there might be some interference and will be noisy, but it's not gonna be in the recording. And check the batteries for everyone every now and then. &#xD;&#xA;&#xD;&#xA;Hope this helps. Shoot if you have more questions.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17054" PostHistoryTypeId="2" PostId="10322" RevisionGUID="e0024661-b3a2-498e-b217-af5dc63cb6a6" CreationDate="2011-09-14T07:44:33.687" UserDisplayName="user6513" Text="What equipment are you working with?&#xD;&#xA;&#xD;&#xA;For an approach on a budget, I've used a car FM transmitter (with an aux in), and bought a bunch of portable FM radios and used them for the client's feed. It's quite reliable if you're working in a fixed and relatively small space, but the fidelity isn't great. Didn't get too much complaints about that but it does drop out if you are shooting in a reflective space.&#xD;&#xA;&#xD;&#xA;If you have the budget, the Sennheisers are value for the money. You can send the tape out from the mixer to your boom op and director with receivers on the same freq block. From what you wrote seems like you're already sharing the headphone out with your boom op, and I don't think you should be doing that unless you have a proper-powered amplifier in place." ContentLicense="CC BY-SA 3.0" />
  <row Id="17055" PostHistoryTypeId="2" PostId="10323" RevisionGUID="ae473ed2-2833-4562-8689-c36488e9bd03" CreationDate="2011-09-14T07:45:49.903" UserId="1266" Text="Playing with granular effects processing and synths, puts me into a mode where I keep thinking, &quot;oh that is such a great sound, I'd like to put this one in.&quot;  Out of the many samples that I record from this process, not all of them make it into a project but they are there and will get my mind away from repetitious thinking.  &#xD;&#xA;One thing you could try is to take an existing, realistic project, make it abstract, and hear where you are from there." ContentLicense="CC BY-SA 3.0" />
  <row Id="17056" PostHistoryTypeId="2" PostId="10324" RevisionGUID="57ec1260-5b35-4001-8085-df4e436368bb" CreationDate="2011-09-14T08:14:41.417" UserId="1049" Text="I'm looking to do the same sort of thing soon too, and create some Showreel material to help my push into game audio!&#xD;&#xA;&#xD;&#xA;You can [download][1] the UDK (Unreal Development Kit) too for free (or it comes with copies of Unreal Tournament etc). There are plenty of tutorials to throw together a very simple level, and then plenty of tutorials on how to then use Wwise with it. .&#xD;&#xA;&#xD;&#xA;C++ isn't necessary (although no doubt handy) unless you want to get into the Audio Programming, which is a seperate role from Sound / Audio Design. From what I've seen, many companies like experience with the Unreal engine, as well as others like Source, as they're very widely used game engines. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.udk.com/download" ContentLicense="CC BY-SA 3.0" />
  <row Id="17057" PostHistoryTypeId="2" PostId="10325" RevisionGUID="1d148e3b-12c6-4862-9bde-3cdab96b200a" CreationDate="2011-09-14T09:07:30.950" UserId="168" Text="+5000 to Jay's answer.&#xD;&#xA;&#xD;&#xA;My thoughts:&#xD;&#xA;&#xD;&#xA;It's important to think like a composer - arrangement, textures, brightness/contrast, pace, space and emotion (the most important IMO). What do you/the director/audience want to feel after watching/listening to this?&#xD;&#xA;&#xD;&#xA;I usually start abstract pieces by creating a bed of sounds - maybe a pad or something rhythmic that goes with the pace of the visuals. I then start filling in sounds instinctively - I allow myself to overdo things and experiment without any judgement. Then (the most important part for me), I take a step back and start scrutinizing what I've done (must be careful here, it's easy to hate what you create because it's never good enough) and begin to remove sounds. If I mute a sound and don't find myself missing it, I leave it out.&#xD;&#xA;&#xD;&#xA;I then pay attention to the feeling/emotion that the piece invokes in me. At this point I also think about the rhythm and pace. Think about breaks and rhythmic contrasts. The trick sometimes is to make it happen when it's least expected.  &#xD;&#xA;&#xD;&#xA;Also, when creating abstract designs to picture, it's important to have *some* sounds sync/follow movement on the screen. It helps the sound be a part of the visuals - instead of two discrete streams (unless intended otherwise).&#xD;&#xA;&#xD;&#xA;If you find yourself short of ideas, pick a couple of random sounds from your library and spread them across the timelines (maybe even insert an fx plugin on some of the tracks). It might inspire you to think differently.&#xD;&#xA;&#xD;&#xA;It might also help to set up a metronome that goes with the pace of the film. Switch to grid mode and look at your time line visually and fill in sounds.&#xD;&#xA;&#xD;&#xA;There are many many many ways to approach this. As long as you are staying true to the intended 'audio-vision' you should be ok." ContentLicense="CC BY-SA 3.0" />
  <row Id="17058" PostHistoryTypeId="2" PostId="10326" RevisionGUID="cc17a1ca-9074-4b0a-aa52-53d6a8d9f064" CreationDate="2011-09-14T09:26:06.907" UserId="2508" Text="Morning folks!&#xD;&#xA;&#xD;&#xA;I've just began my final year of university, doing Digital Media with a specialisation in Sound Design and its time to do my honours project and dissertation.&#xD;&#xA;&#xD;&#xA;The general gist is that it's a sound replacement project for film. I rebuild the sound for a short film, then receive feedback from my supervisor, as well as from the creator/original sound designer for the film.&#xD;&#xA;&#xD;&#xA;My main problem is that of the films I've found so far, I haven't been able to make contact with the people responsible. The very few that I have been able to make contact with have either not responded to my emails, or they've replied that they do not have the time to commit to another project. There was one positive response, however the person no longer had a copy of the film with just production dialogue in, so obviously that was a no-go.&#xD;&#xA;&#xD;&#xA;Is there any advice anybody can give me? Ideally looking for a short film, around 10-15 minutes in length, which definitely is available with just dialogue, nothing else. Any recommended websites/people I should speak to?&#xD;&#xA;&#xD;&#xA;At this point I'm desperate after an entire Summer of trying to find someone. Its crunch-time now and I'm already behind." ContentLicense="CC BY-SA 3.0" />
  <row Id="17059" PostHistoryTypeId="1" PostId="10326" RevisionGUID="cc17a1ca-9074-4b0a-aa52-53d6a8d9f064" CreationDate="2011-09-14T09:26:06.907" UserId="2508" Text="Looking some help/advice for my Honours Project [Sound replacement with film]" ContentLicense="CC BY-SA 3.0" />
  <row Id="17060" PostHistoryTypeId="3" PostId="10326" RevisionGUID="cc17a1ca-9074-4b0a-aa52-53d6a8d9f064" CreationDate="2011-09-14T09:26:06.907" UserId="2508" Text="&lt;design&gt;&lt;honours&gt;&lt;project&gt;&lt;university&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17061" PostHistoryTypeId="2" PostId="10327" RevisionGUID="4f6d1f30-cbd9-467e-a997-da8fc42d10f7" CreationDate="2011-09-14T10:09:25.143" UserId="1228" Text="I may be able to help you out with this, I've got a long list of short films I may be able to toss one your way for your edu project (granted I receive permission from the dir/prod).&#xD;&#xA;&#xD;&#xA;Shoot me an email at steve (at) stavrosound.com&#xD;&#xA;&#xD;&#xA;All have printed DM&amp;E stems, so I could toss you the Dialogue stem to work against - that's with the understanding that by &quot;sound replacement&quot;, your project is solely on the basis of the effects/design/music, since the dialogue present in these stems has been fully edited and premixed, so that would be cheating if your project calls for working with raw OMF dialogue and cleaning that up." ContentLicense="CC BY-SA 3.0" />
  <row Id="17062" PostHistoryTypeId="2" PostId="10328" RevisionGUID="31830561-b480-4d02-8287-f35481e94f50" CreationDate="2011-09-14T10:47:13.450" UserId="2507" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I have just started my 4th year honours project and i am looking for someone who is designing or remaking/modding a game so that i can replace/create the audio for my honours project, also feedback would be required and contact so that you can tell me what kind of sounds, the feel etc for the sounds. this is purely for my university honours project. i have tried several places and modders/ designers but with no luck at all.&#xD;&#xA;&#xD;&#xA;even if you have done a redesign or a mod of a game that you would like the sound redone or created for it contact me and i would be happy to do it for my honours project.&#xD;&#xA;&#xD;&#xA;i have been trying all summer to find such a person but with no luck, now i have only a week to find someone, worried doesn't quite cover it.&#xD;&#xA;&#xD;&#xA;If you have any advice such as websites or links so on please post them. If you have such a game that you wouldn't mind me doing please get in touch!!&#xD;&#xA;&#xD;&#xA;Many Regards&#xD;&#xA;&#xD;&#xA;Duncan" ContentLicense="CC BY-SA 3.0" />
  <row Id="17063" PostHistoryTypeId="1" PostId="10328" RevisionGUID="31830561-b480-4d02-8287-f35481e94f50" CreationDate="2011-09-14T10:47:13.450" UserId="2507" Text="Honours Project / Sound Replacement For A Video Game" ContentLicense="CC BY-SA 3.0" />
  <row Id="17064" PostHistoryTypeId="3" PostId="10328" RevisionGUID="31830561-b480-4d02-8287-f35481e94f50" CreationDate="2011-09-14T10:47:13.450" UserId="2507" Text="&lt;honours&gt;&lt;game&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17065" PostHistoryTypeId="2" PostId="10329" RevisionGUID="ab826ea4-970e-4dfd-91e4-271bfb3df040" CreationDate="2011-09-14T11:03:03.163" UserId="2509" Text="Hi there,&#xD;&#xA;&#xD;&#xA;make sure you check out &lt;a href=&quot;http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&amp;tid=12282&quot;&gt;Designing Sound from Andy Farnell&lt;/a&gt;.&#xD;&#xA;&#xD;&#xA;&gt; The book takes a practical, systematic approach to the subject, teaching by example and providing background information that offers a firm theoretical context for its pragmatic stance. Many of the examples follow a pattern, beginning with a discussion of the nature and physics of a sound, proceeding through the development of models and the implementation of examples, to the final step of producing a Pure Data program for the desired sound.&#xD;&#xA;&#xD;&#xA;There is also an excerpt from the Book &lt;a href=&quot;http://aspress.co.uk/ds/pdf/pd_intro.pdf&quot;&gt;available as a PDF&lt;/a&gt;. BTW a really good Introduction to Pd.&#xD;&#xA;&#xD;&#xA;Kind Regards,&#xD;&#xA;&#xD;&#xA;Bjoern" ContentLicense="CC BY-SA 3.0" />
  <row Id="17066" PostHistoryTypeId="2" PostId="10330" RevisionGUID="b5861d5e-7ea5-4aee-a22e-eb8ccbcc01c8" CreationDate="2011-09-14T12:04:04.107" UserId="407" Text="Have you looked at the [Source SDK][1] (Valve softwares modding engine) - If I remember correctly there are a few maps that are freely available e.g. one of the first levels in Half Life 2. Basically you can replace all for this level, and add some of your own. I am pretty sure that UDK and unity have similar levels available to play with.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://developer.valvesoftware.com/wiki/SDK_Docs" ContentLicense="CC BY-SA 3.0" />
  <row Id="17067" PostHistoryTypeId="2" PostId="10331" RevisionGUID="b92d9557-18ff-498d-8aa6-6bd19f639380" CreationDate="2011-09-14T12:35:40.470" UserId="708" Text="Audiokinetic has CUBE, which is  integrated with WWise (there is a WWise session available on their website). Some of the scripting is a little crude but it allows you to replace sounds within the game and play around with WWise at the same time.&#xD;&#xA;&#xD;&#xA;http://www.audiokinetic.com/index.php?option=com_facileforms&amp;amp;Itemid=143&amp;amp;ff_contentid=49&amp;amp;ff_form=39&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17068" PostHistoryTypeId="2" PostId="10332" RevisionGUID="ac4e5ff2-25b5-46c9-a26a-4133a73e2dd2" CreationDate="2011-09-14T13:32:34.843" UserId="1216" Text="Hi All,&#xD;&#xA;&#xD;&#xA;Quick question, is there a short cut/key command for changing the Automation Mode in PT9?  &#xD;&#xA;I was hoping to find it in the reference guide etc. but i can't find it. Hopefully this hasn't been asked before, i searched the forum to no avail.  &#xD;&#xA;&#xD;&#xA;Anyone able to help me out? It's driving me nuts to have to go to this tiny little button on the left everytime...&#xD;&#xA;&#xD;&#xA;Btw i use a novation zero slmk2 and there's no possibility on it either to switch modes...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17069" PostHistoryTypeId="1" PostId="10332" RevisionGUID="ac4e5ff2-25b5-46c9-a26a-4133a73e2dd2" CreationDate="2011-09-14T13:32:34.843" UserId="1216" Text="PT  Question: Is there a key-command for switching Automation Modes?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17070" PostHistoryTypeId="3" PostId="10332" RevisionGUID="ac4e5ff2-25b5-46c9-a26a-4133a73e2dd2" CreationDate="2011-09-14T13:32:34.843" UserId="1216" Text="&lt;pro-tools&gt;&lt;automation&gt;&lt;shortcut&gt;&lt;pt-quick-keys&gt;&lt;keycommand&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17071" PostHistoryTypeId="2" PostId="10333" RevisionGUID="e49f8318-0f27-4721-9476-287a0a0050cd" CreationDate="2011-09-14T13:39:25.563" UserId="2507" Text="thanks for the reply's so far, the problem with doing it in an engine myself is that it must be for someone, e.g you want the sound done for x-lvl of a game, or redo the sound for say a game such as final fantasy, you get the idea i'm sure. So i need to have a designer who wants the sound redone.&#xD;&#xA;thanks for the links fuzzysounds i will check them out shortly.&#xD;&#xA;&#xD;&#xA;If anyone have such a project please contact me.even if it is not complete eg, as long as the sound could be replaced and i could get feedback.&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="17072" PostHistoryTypeId="2" PostId="10334" RevisionGUID="3a9f1ac3-6d1d-4a1c-8dff-8c230ba01be3" CreationDate="2011-09-14T13:43:23.267" UserId="1197" Text="Only another couple of days left until I need the feedback - so if you're interested please send an email to simonmakessound@gmail.com&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Simon " ContentLicense="CC BY-SA 3.0" />
  <row Id="17073" PostHistoryTypeId="2" PostId="10335" RevisionGUID="d88fff1d-b723-4cbb-a796-246760c2558d" CreationDate="2011-09-14T14:12:47.443" UserId="2524" Text="the minus sign (not the keypad one) will toggle waveform / volume automation. and 'alt' + '_' will do it for all tracks. and you can ctrl cmd click on any automation enabled parameter to bring up its automation display.. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;this might be of interest&#xD;&#xA;http://www.soundonsound.com/sos/sep05/articles/keypoints.htm&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17074" PostHistoryTypeId="5" PostId="10332" RevisionGUID="8443e242-8aba-4f0c-b8d3-de83e7a06706" CreationDate="2011-09-14T14:25:28.270" UserId="1216" Comment="added 112 characters in body" Text="Hi All,&#xD;&#xA;&#xD;&#xA;Quick question, is there a short cut/key command for changing the Automation Mode in PT9?  &#xD;&#xA;I was hoping to find it in the reference guide etc. but i can't find it. Hopefully this hasn't been asked before, i searched the forum to no avail.  &#xD;&#xA;&#xD;&#xA;Anyone able to help me out? It's driving me nuts to have to go to this tiny little button on the left everytime...&#xD;&#xA;&#xD;&#xA;Btw i use a novation zero slmk2 and there's no possibility on it either to switch modes...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;EDIT: just to make clear i want to change from &quot;read&quot; to &quot;touch&quot;. not changing the view of automation lanes." ContentLicense="CC BY-SA 3.0" />
  <row Id="17075" PostHistoryTypeId="2" PostId="10336" RevisionGUID="256e1624-e062-4a06-a0b9-4a8c0c823948" CreationDate="2011-09-14T15:04:45.850" UserId="202" Text="No, there's no way. &#xD;&#xA;&#xD;&#xA;You can COMMAND+CLICK on the LATCH button while recording automation in latch to revert to the (already) recorded automation and exit latch recording. &#xD;&#xA;&#xD;&#xA;You can change the automation mode with any supported control surface (ICON, command8, euphonix or any HUI enabled surface)." ContentLicense="CC BY-SA 3.0" />
  <row Id="17076" PostHistoryTypeId="2" PostId="10337" RevisionGUID="8b49188d-4737-4b1f-89db-c2163fe3a01a" CreationDate="2011-09-14T17:17:10.157" UserId="6460" Text="I have an alternative suggestion. If you go to windows and pull up the automation enable window, you can tell pro tools what parameters to automate. I know it is not as ideal as a key command, but that way you could have all tracks in touch or latch, and then when you want to write some auto -- volume for instance -- you can activate the volume parameter for a second.&#xD;&#xA;&#xD;&#xA;Alternatively, if you have an iPad you can check out the various apps that control pro tools. I use Neyrinck's V-Control, and while you go from hitting a tiny button with the mouse to tapping one with your finger, it's still a step. &#xD;&#xA;&#xD;&#xA;For what it's worth, it still takes me a moment's concentration to change auto modes when I'm working on a d-command. I might start mixing with everything in touch myself." ContentLicense="CC BY-SA 3.0" />
  <row Id="17077" PostHistoryTypeId="2" PostId="10338" RevisionGUID="683cc96a-b50b-4824-9c92-292e4ee53533" CreationDate="2011-09-14T17:51:35.507" UserId="1012" Text="I just recently posted about starting to learn fmod, wwise, udk... and I was thinking a bit into the future.&#xD;&#xA;&#xD;&#xA;&quot;What happens if I am hired freelance to work on Audio for an independent developer's game, or to design audio for an app, pc software...&quot;&#xD;&#xA;&#xD;&#xA;I looked a little into the licensing for fmod, and my brain started to hurt!  I know I'm not making and selling stuff yet, but it would be good to learn...&#xD;&#xA;&#xD;&#xA;When hired as a Audio Designer for a project, how do you go about choosing the right API, and how do you go about making sure the proper licenses are acquired?  How often are you hire on something you only need to provide mp3s for?  Do those projects require an mp3 license?&#xD;&#xA;&#xD;&#xA;Do I only need to be concerned about these APIs when designing audio for games?  If so, what do I need to know if I am interested in audio for interactive media?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17078" PostHistoryTypeId="1" PostId="10338" RevisionGUID="683cc96a-b50b-4824-9c92-292e4ee53533" CreationDate="2011-09-14T17:51:35.507" UserId="1012" Text="Game Audio Licensing = Head Spinning" ContentLicense="CC BY-SA 3.0" />
  <row Id="17079" PostHistoryTypeId="3" PostId="10338" RevisionGUID="683cc96a-b50b-4824-9c92-292e4ee53533" CreationDate="2011-09-14T17:51:35.507" UserId="1012" Text="&lt;fmod&gt;&lt;wwise&gt;&lt;licensing&gt;&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17080" PostHistoryTypeId="5" PostId="10320" RevisionGUID="217d3386-ce72-4133-9092-a3160d081133" CreationDate="2011-09-14T19:03:07.567" UserId="61" Comment="added 1 characters in body" Text="Pieces like this require you to think of yourself not as a sound editor or even a sound designer, but as a **composer**. Because that's what you're doing - you're composing a score. You need to think in musical concepts, such as melody, rhythm, and pacing. Ideas like pianissimo and forté. It's not so much about fitting in a car by here or a tonal element there, but rather building this entire structure up from nothing. &#xD;&#xA;&#xD;&#xA;It is a blank canvas and you are the painter.&#xD;&#xA;&#xD;&#xA;And like all great composers, painters, and artists in general, you need to get in touch with *what this piece means to you*, because you may have a director or producer who has no idea what this should sound like and is coming to you for a creative vision. Try not to over analyze it; go with your gut instincts. Does it make you feel peaceful or anxious? Excited or morose?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17081" PostHistoryTypeId="2" PostId="10339" RevisionGUID="e64f2e23-2c2d-496d-a9ab-580e0a0a7531" CreationDate="2011-09-14T19:16:47.963" UserId="2527" Text="Just a thought, but you don't have to work on a mod for a game to get your own sound design in there. It is probably WAY more work to do it that way. If it is befitting, you could just take all the sounds out of a current game (a friend of mine did his senior project with Braid) and replace them with your own. At least then, you aren't reliant on someone else who might not have the same amount of energy and motivation invested in the project. A ton of games have their engines and editors and stuff available to the public.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17082" PostHistoryTypeId="2" PostId="10340" RevisionGUID="93308f3a-9be1-48dc-ba96-35160ece1eaf" CreationDate="2011-09-14T20:01:16.370" UserId="578" Text="I wouldn't worry about it for now. But in my experience there's a few likely situations:&#xD;&#xA;&#xD;&#xA;- Especially when starting out as a freelancer, you may get to do a lot of smaller iphone/browser games, from small dev studios. It's unlikely they will work with middleware, and for better or worse, you'll be the guy they ask to throw some sounds over the wall at the very last minute, and you'll have to fight for any kind of code/implementation support from their coding team (often just one guy/gal). In my experience these projects are often too small in scale to make it feasible to propose a full blown middleware solution to the client.&#xD;&#xA;&#xD;&#xA;- You get to work on a big(ish) production and you're part of the team from the start. You're in luck! :) It will be down to you to investigate which middleware solution fits the project and the client's budget. Budget, time and code resource is key here. If they can offer all of it, then you have a simple luxury.&#xD;&#xA;&#xD;&#xA;- You get asked by a client if you can work on their project which is already under way, and they are using FMOD/Wwise/UDK/etc. They ask you if you own a license. If you don't, then you factor it into your quote. You might want to adjust your quote a bit southwards if you fear of losing the gig.&#xD;&#xA;&#xD;&#xA;All in all, I would say: don't worry about it yet, learn the tools, get work, and play it by ear!  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;- Edit: in terms of your MP3 question. Always, always suggest to your clients to NOT use MP3s, because of the dreaded MP3 gap loop problem. Go with Ogg Vorbis instead. However, if they are using Flash, then MP3 is fine, because Flash fixes the gap loop problem itself (well, often, but it's not fully consistent). In any case, when using MP3 with Flash, the MP3 license is covered through the Flash license." ContentLicense="CC BY-SA 3.0" />
  <row Id="17083" PostHistoryTypeId="2" PostId="10341" RevisionGUID="83158152-af98-4280-a4ef-e63aeb558557" CreationDate="2011-09-14T22:33:00.590" UserId="290" Text="Hey folks,&#xD;&#xA;  A while ago, I remember hearing about this awesome free software that takes a part of your library, randomly scatters visual dots across your screen, and as you shine a virtual flashlight over them, plays all sounds within the light's radius at the same time. It sounded awesome! But I can't find it, and google isn't helping. Have any of you played with this, and remember the name?&#xD;&#xA;&#xD;&#xA;  Sorry for the boring question." ContentLicense="CC BY-SA 3.0" />
  <row Id="17084" PostHistoryTypeId="1" PostId="10341" RevisionGUID="83158152-af98-4280-a4ef-e63aeb558557" CreationDate="2011-09-14T22:33:00.590" UserId="290" Text="Can anyone remember the name of the library scanning software that uses a virtual flashlight?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17085" PostHistoryTypeId="3" PostId="10341" RevisionGUID="83158152-af98-4280-a4ef-e63aeb558557" CreationDate="2011-09-14T22:33:00.590" UserId="290" Text="&lt;software&gt;&lt;library&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17086" PostHistoryTypeId="2" PostId="10342" RevisionGUID="070b4a48-5489-40a9-a97e-da12cd3981f8" CreationDate="2011-09-14T22:37:07.770" UserId="202" Text="Soundtorch!&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="17087" PostHistoryTypeId="2" PostId="10343" RevisionGUID="a54c3b50-ff2f-4669-b846-763c0acf9aeb" CreationDate="2011-09-15T00:27:19.087" UserId="1241" Text="I don't know much about most middleware, but I've worked with FMOD before, so here's the cut-down non-legalese version of how their licencing works:&#xD;&#xA;You can use FMOD for free so long as you're not planning to make any money out of it - which is to say, if you're using it purely for education or for not-for-sale projects.&#xD;&#xA;For commercial projects, only one licence is needed per project - no matter how many hundreds of people they hire, as long as they're all working on the same project they'll only need the one licence. Of course, this means that when one project ends and the next begins, the company needs to purchase a new licence.&#xD;&#xA;If you have a licence for the FMOD Ex Programmer's API, then you also have a licence to use FMOD Designer. They're two halves of the same whole for licence-purchasing purposes.&#xD;&#xA;Oh, and you need a seperate licence for each platform the project is going to be released on." ContentLicense="CC BY-SA 3.0" />
  <row Id="17088" PostHistoryTypeId="2" PostId="10344" RevisionGUID="46e7bc77-69c0-4ec9-be7d-918643b4fddd" CreationDate="2011-09-15T00:49:49.037" UserId="1241" Text="To test FMOD content you could download FMOD Sandbox from [the Firelight Technologies downloads page][1], but that's really more of an auditioning tool than anything truly game-like. Other than that, the FMOD UE3 integration could allow you to try putting events into game levels, but you need to be a registered Unreal 3 Engine Developer to get access to it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fmod.org/index.php/download#FMODSandbox" ContentLicense="CC BY-SA 3.0" />
  <row Id="17089" PostHistoryTypeId="2" PostId="10345" RevisionGUID="f34ef154-cee8-40a4-893b-dc0fbce6ba87" CreationDate="2011-09-15T03:05:34.860" UserId="1308" Text="I just came across this article (Atlanta Braves Radio in Surround):  &#xD;&#xA;&#xD;&#xA;[http://radiomagonline.com/digital_radio/hd_radio/atlanta_braves_surround_sound_0907/][1]&#xD;&#xA;&#xD;&#xA;And checked out this link:&#xD;&#xA;&#xD;&#xA;[http://www.dts.com/DTS_Audio_Formats/DTS_Neural_Surround/DTS_Neural_Surround_UpMix.aspx][2]&#xD;&#xA;&#xD;&#xA;How in the world can you encode a 5.1 (or even 7.1) mix into a Stereo mix?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://radiomagonline.com/digital_radio/hd_radio/atlanta_braves_surround_sound_0907/&#xD;&#xA;  [2]: http://www.dts.com/DTS_Audio_Formats/DTS_Neural_Surround/DTS_Neural_Surround_UpMix.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="17090" PostHistoryTypeId="1" PostId="10345" RevisionGUID="f34ef154-cee8-40a4-893b-dc0fbce6ba87" CreationDate="2011-09-15T03:05:34.860" UserId="1308" Text="DTS Neutral Surround" ContentLicense="CC BY-SA 3.0" />
  <row Id="17091" PostHistoryTypeId="3" PostId="10345" RevisionGUID="f34ef154-cee8-40a4-893b-dc0fbce6ba87" CreationDate="2011-09-15T03:05:34.860" UserId="1308" Text="&lt;surround-sound&gt;&lt;stereo-to-surround&gt;&lt;radio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17092" PostHistoryTypeId="2" PostId="10346" RevisionGUID="dcb20708-d214-49fe-9297-07917d4f32d2" CreationDate="2011-09-15T03:24:47.030" UserId="1237" Text="Hi Audioandy&#xD;&#xA;&#xD;&#xA;I would advise you not to waste your time for this.&#xD;&#xA;Knowledge of Fmod or Wwise - in the first place – it is the work in real game. I mean not just the game, I mean the process of game development. Specifically when you work with sound priorities and secondly when you implement your sound in game. I'm not talking about creating simple objects like minigun or auto engine with rpm which you can find in tutorial material. I'm talking about the process when you invent and decide which methods will be working  in this case best of all.&#xD;&#xA;&#xD;&#xA;Both these possibilities won't be available for you in Crysis SDK and Wwise Cube.&#xD;&#xA;&#xD;&#xA;Do not exaggerate the meaning of Fmod or Wwise. It is a great tools but you should start learn it when you will be working on real game. Employers often point this item in the requirements of new vacancy. But it's mean that you have real experience. Cryengine SDK and Akcube it's just the familiarity with the foundation.&#xD;&#xA;&#xD;&#xA;Sorry my English." ContentLicense="CC BY-SA 3.0" />
  <row Id="17093" PostHistoryTypeId="2" PostId="10347" RevisionGUID="4ffafd7c-be7b-4a21-81ad-b31295cf15d4" CreationDate="2011-09-15T04:53:53.243" UserId="547" Text="@Chris Hi Chris, combining multiple channels to stereo L+R or Mono is relatively easy. It's called &quot;[Downmixing][1]. This is very common; radio, tv, dvd, etc. They key issue with downmixing are phase cancellations or timbral shifts due to constructive/destructive phase. If the source is recorded in surround using a coincident-array mic, e.g. [Soundfield][2] then phase will rarely be an issue when downmixed.&#xD;&#xA;&#xD;&#xA;All multiple mic recordings have these problems when mixed to stereo/mono, and it could be argued that any multiple mic recording could be used to create a &quot;surround-mix&quot; {how well it achieves the recreation of a particular space is explored here, &quot;[Informal Comparison of Surround Techniques][3]&quot;&#xD;&#xA;&#xD;&#xA;I think the more crucial question is the other way round. How on earth can a &quot;near discrete&quot; surround format be created from a discrete stereo source? The answer lies in the complex algorithm in the [DTS upmix][4] plugin and can be pointed to by considering the 3D sound-field possibilities with [Binaural recording][5]&#xD;&#xA;&#xD;&#xA;Consider this, two slightly modified omni mics, i.e. baffled near-concident, can capture **all** the data from a recording space that would give all the time-domain, frequency-domain and amplitude cues required to create &quot;3-D&quot; surround, i.e. X-Y-Z planes. The weak link in the chain is the reproduction process, not the recording.&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;James.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Downmixing&#xD;&#xA;  [2]: http://www.soundfield.com/surround/surround.php&#xD;&#xA;  [3]: http://epubs.surrey.ac.uk/514/1/fulltext.pdf&#xD;&#xA;  [4]: http://www.dts.com/DTS_Audio_Formats/DTS_Neural_Surround/DTS_Neural_Surround_UpMix.aspx&#xD;&#xA;  [5]: http://www.soundonsound.com/sos/Oct04/articles/bilocation.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="17094" PostHistoryTypeId="16" PostId="10347" RevisionGUID="4ffafd7c-be7b-4a21-81ad-b31295cf15d4" CreationDate="2011-09-15T04:53:53.243" UserId="547" />
  <row Id="17095" PostHistoryTypeId="2" PostId="10348" RevisionGUID="e1eabd9e-1637-42aa-bfe8-654f5540883d" CreationDate="2011-09-15T06:12:00.910" UserId="18160" Text="... you laugh at the joke:&#xD;&#xA;&#xD;&#xA;&quot;There is so much comb filtering in here I can part my hair.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17096" PostHistoryTypeId="16" PostId="10348" RevisionGUID="e1eabd9e-1637-42aa-bfe8-654f5540883d" CreationDate="2011-09-15T06:12:00.910" UserId="-1" />
  <row Id="17099" PostHistoryTypeId="2" PostId="10349" RevisionGUID="441950d7-8e17-4af8-845d-346c1621814d" CreationDate="2011-09-15T08:15:15.473" UserId="596" Text="hi,&#xD;&#xA;&#xD;&#xA;i have the following setup:&#xD;&#xA;&#xD;&#xA;Macbook Pro -&gt; connected to WD Harddrive via Firewire -&gt; daisy-chained to a firewire sound card -&gt; connected to studio monitors / final output. &#xD;&#xA;&#xD;&#xA;it worked fine for a while, but recently i have experienced weird things while playing back audio such as sudden mutes and distortions. i think it has something to do with the WD going to sleep mode after a certain time. i'm generally wondering if this connection setup / routing is healthy for the equipment? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17100" PostHistoryTypeId="1" PostId="10349" RevisionGUID="441950d7-8e17-4af8-845d-346c1621814d" CreationDate="2011-09-15T08:15:15.473" UserId="596" Text="audio card hard setup" ContentLicense="CC BY-SA 3.0" />
  <row Id="17101" PostHistoryTypeId="3" PostId="10349" RevisionGUID="441950d7-8e17-4af8-845d-346c1621814d" CreationDate="2011-09-15T08:15:15.473" UserId="596" Text="&lt;hardware&gt;&lt;safety&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17102" PostHistoryTypeId="2" PostId="10350" RevisionGUID="fd7c5070-ead0-47d3-9098-07e5ace871f6" CreationDate="2011-09-15T09:02:57.747" UserId="547" Text="Some good advice above however if you approach the task with the following in mind you'll be happier with your efforts.&#xD;&#xA;&#xD;&#xA;Removing reverb from a &quot;continuous sound&quot; i.e. a train of impulses like speech or music where the previous envelope causes the reverb envelope to merge with the next direct sound envelope, is like trying to remove the egg from a cake :-)&#xD;&#xA;&#xD;&#xA;If there is sufficient gap between the direct sound and the reverberation curve, i.e. after the 1st or 2nd early reflections you stand a good chance.&#xD;&#xA;&#xD;&#xA;If the mic is at or beyond the &quot;[critical distance][1]&quot; you have very little chance.&#xD;&#xA;&#xD;&#xA;James&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Critical_distance" ContentLicense="CC BY-SA 3.0" />
  <row Id="17103" PostHistoryTypeId="2" PostId="10351" RevisionGUID="d63cc4f0-3ba3-4805-a2d8-db2e304e267f" CreationDate="2011-09-15T09:04:41.147" UserId="1062" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;Iv been asked to create a number of swooshes, the type employed in martial arts movies etc. The visual it is being used for is an animation, but there doesn't have to be much character within the sounds. Im just a bit stuck for props I can use the create the swishes? I have a tight deadline (start of next week) so out of the ordinary props will be hard to come across in the time I have. Any suggestions would be much appreciated!&#xD;&#xA;&#xD;&#xA;Sam" ContentLicense="CC BY-SA 3.0" />
  <row Id="17104" PostHistoryTypeId="1" PostId="10351" RevisionGUID="d63cc4f0-3ba3-4805-a2d8-db2e304e267f" CreationDate="2011-09-15T09:04:41.147" UserId="1062" Text="Kung-Fu Foley Swooshes" ContentLicense="CC BY-SA 3.0" />
  <row Id="17105" PostHistoryTypeId="3" PostId="10351" RevisionGUID="d63cc4f0-3ba3-4805-a2d8-db2e304e267f" CreationDate="2011-09-15T09:04:41.147" UserId="1062" Text="&lt;foley&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17106" PostHistoryTypeId="2" PostId="10352" RevisionGUID="62ccfdcf-6792-4281-9279-70f9be79b178" CreationDate="2011-09-15T09:07:33.817" UserId="1117" Text="try flip the HDD and interface?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17107" PostHistoryTypeId="2" PostId="10353" RevisionGUID="357a8fea-1acb-4d11-bca1-d680f9bdc083" CreationDate="2011-09-15T09:32:53.480" UserId="1090" Text="Take your mop! Pick the mop head off and use the stick :) Or you can use a hollow bamboo stick, I think that's the more traditional approach&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17108" PostHistoryTypeId="2" PostId="10354" RevisionGUID="fdb453d4-6436-4271-b2b0-49076483c5b9" CreationDate="2011-09-15T09:33:11.083" UserId="6460" Text="A few that come to mind:&#xD;&#xA;&#xD;&#xA;Dowel rod&#xD;&#xA;Coat hanger&#xD;&#xA;Shirt&#xD;&#xA;Rope&#xD;&#xA;Jump rope&#xD;&#xA;Tennis racket&#xD;&#xA;Fishing rod (Or other flexible metal/fiberglass)&#xD;&#xA;Chain&#xD;&#xA;Branch with leaves/smaller branches&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Things to tie to a string and swing:&#xD;&#xA;Whiffle ball&#xD;&#xA;Cheese grater&#xD;&#xA;Soda can/plastic bottle&#xD;&#xA;Empty bucket (metal or plastic)&#xD;&#xA;&#xD;&#xA;And one of the coolest things you can swing: the microphone! Sometimes it even sounds great to leave the wind protection off. Just be careful...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17109" PostHistoryTypeId="5" PostId="10354" RevisionGUID="e3c37d56-ad19-4848-b33d-d65b7c332b34" CreationDate="2011-09-15T09:39:57.543" UserId="6460" Comment="Made into list" Text="A few that come to mind:&#xD;&#xA;&#xD;&#xA; - Dowel rod&#xD;&#xA; - Cat hanger&#xD;&#xA; - Shirt/blanket/cloth &#xD;&#xA; - Rope/jump rope &#xD;&#xA; - Tennis racket&#xD;&#xA; - Fishing rod (Or other flexible metal/fiberglass)&#xD;&#xA; - Chain&#xD;&#xA; - Branch with leaves or smaller branches&#xD;&#xA;&#xD;&#xA;Things to tie to a string and swing:&#xD;&#xA;&#xD;&#xA; - whiffle ball&#xD;&#xA; - Cheese grater&#xD;&#xA; - Soda can&#xD;&#xA; - Plastic bottle&#xD;&#xA; - Empty metal or plastic bucket&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And one of the coolest things you can swing: the microphone! Sometimes it even sounds great to leave the wind protection off. Just be careful...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17110" PostHistoryTypeId="4" PostId="10345" RevisionGUID="1f786f07-82cd-4639-8833-2e13743bd615" CreationDate="2011-09-15T09:40:19.397" UserId="219" Comment="brand name" Text="DTS Neural Surround" ContentLicense="CC BY-SA 3.0" />
  <row Id="17111" PostHistoryTypeId="2" PostId="10355" RevisionGUID="41412ff9-3efd-4294-ab91-61b27e2e7bff" CreationDate="2011-09-15T09:55:15.433" UserId="6460" Text="The stereo encoding does not yield true surround playback. Like James said, the DTS decoder detects the presence and character of the sounds in the left vs. the right channels, and places them in the surround field accordingly (for instance, sound material that appears at equal level and in phase in both the left and right channels of the stereo file, when decoded, is sent to the center channel). It is by all means an approximation of the original placement of the sound in the surround field, but it gives a convincing illusion (especially when concerning a professional sports broadcast, when most of the surround material will just be crowd sounds anyway). They even say so on the DTS link you posted: It &quot;delivers a near-discrete 5.1 surround sound experience.&quot;&#xD;&#xA;&#xD;&#xA;5.1, 7.1, 13.1 ... It's all the same concept spread over more speakers. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17112" PostHistoryTypeId="2" PostId="10356" RevisionGUID="63391ef8-ebaf-4309-938e-1db4c44cac7a" CreationDate="2011-09-15T09:55:55.183" UserId="769" Text="I would do as @Jamie Famularo says and connect first to the interface, then to the HDD.  I'm not sure if anybody's had a lot of good or bad experiences with other hard drive brands, but WD drives always flip out on me.  Sometimes they don't even mount for days at a time, for no reason.  &#xD;&#xA;&#xD;&#xA;That said, I sometimes experience problems booting my audio interface (MOTU 828mkII via FW400) if the HDD is connected to it; unplug it and it initialises just fine.  The reason for this, I am led to believe, is the dynamic manner in which Firewire issues interrupts and the like; something which we used to do manually with serial ports.  If anybody has any hard and fast rules for resolving Firewire device conflicts, by all means share them!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17113" PostHistoryTypeId="2" PostId="10357" RevisionGUID="ac0b9d07-fc35-4260-962d-24dd961319ed" CreationDate="2011-09-15T09:57:17.447" UserId="769" Text="Just be careful not to accidentally smash the microphone with the broomstick or other prop.  &#xD;&#xA;&#xD;&#xA;I recall a terrible incident involving a baseball bat and a Neumann U87...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;...just kidding." ContentLicense="CC BY-SA 3.0" />
  <row Id="17114" PostHistoryTypeId="2" PostId="10358" RevisionGUID="f9514159-09d4-40c7-b3cd-773b3c1d2e5e" CreationDate="2011-09-15T10:12:51.603" UserId="219" Text="It is accomplished by &quot;matrixing&quot; and the product is called &quot;matrix stereo&quot;. From what I gathered, Neural is to DTS what LtRt is to Dolby (both downmix a surround mix to stereo, the differences in algorithms might make them more different than they appear but to my innocent eye they are merely competitors products).&#xD;&#xA;&#xD;&#xA;I reckon it might be equally interesting to know how a box we have at work can take 6 discrete channels in input and can emulate a 6-discrete-channel playback in your everyday pair of headphones (there was a large-scale headphones shootout to find the pair that would yield the best results, DT 770 Pro's came out glorious). There must be some crossing-over in the research for these technologies." ContentLicense="CC BY-SA 3.0" />
  <row Id="17115" PostHistoryTypeId="2" PostId="10359" RevisionGUID="06ce0f58-9132-45d6-a423-6e7ad7fc71c0" CreationDate="2011-09-15T10:45:48.533" UserId="37" Text="[vimeo]10485345[/vimeo]&#xD;&#xA;&#xD;&#xA;should give you many ideas.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17116" PostHistoryTypeId="2" PostId="10360" RevisionGUID="3c8a766b-a2b3-4976-a8fc-e98acebce31c" CreationDate="2011-09-15T10:49:06.053" UserId="37" Text="Move the HDD over to USB. Firewire is good on spec but in reality chaining devices just doesn't seem to work as flawlessly as it should. Any device throwing junk out there on the bus can cause disruption to the entire chain and WD hard drives seem to be of those (I own one, it had this same problem). The cost of this solution is that the HDD will become slightly slower and less responsive but it's a small price to pay for getting back your audio interface. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17117" PostHistoryTypeId="2" PostId="10361" RevisionGUID="4b8d289b-9a36-4620-9579-891e089264f6" CreationDate="2011-09-15T11:19:11.107" UserId="6420" Text="Don't forget to add plenty of cloth track too. Adding some quick flaps and whooshes of fabric can help sell the intensity of it too!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17118" PostHistoryTypeId="2" PostId="10362" RevisionGUID="9f381bf5-5cce-40e9-a65a-2c610bc56137" CreationDate="2011-09-15T11:40:44.347" UserId="2534" Text="in addition of what has been said, you can use a XLR cable. Swing it like you're about to throw a grapple. &#xD;&#xA;Try different speed, pitch it down and up, &quot;time stretch&quot; it, you will have interesting results :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17119" PostHistoryTypeId="2" PostId="10363" RevisionGUID="e95789b2-385d-428b-9a31-9d0e8e024503" CreationDate="2011-09-15T12:22:51.973" UserId="432" Text="I've gotten good results using multi-band expansion plug-ins like Waves C4. It's useful because you're not cutting the tail, but simply attenuating it so that the decay happens faster. You aren't going to be able to get rid of all of it, but you can definitely reduce the presence of the reverberation." ContentLicense="CC BY-SA 3.0" />
  <row Id="17120" PostHistoryTypeId="2" PostId="10364" RevisionGUID="50c44cd7-07aa-44ea-b279-00d8c25333e7" CreationDate="2011-09-15T12:29:07.527" UserId="1062" Text="Thanks for all the great tips!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17121" PostHistoryTypeId="2" PostId="10365" RevisionGUID="4b208ce5-25a8-4f1d-9f72-6dc62fedaac9" CreationDate="2011-09-15T14:06:24.927" UserId="565" Text="You can check out Hiss and Roar's swish library as well.  Lots of great stuff in there.&#xD;&#xA;&#xD;&#xA;http://hissandaroar.com/sd002-swishes/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17125" PostHistoryTypeId="2" PostId="10367" RevisionGUID="f69ba324-9dd1-4c6a-b6d1-7eb24c8597f7" CreationDate="2011-09-15T16:52:04.903" UserId="936" Text="Dyvision's plugin can be useful. I actually use it as a noise reduction effect, particularly for removing low level outdoors rumble and noise, indeed I get better results from it than plugins costing many times more. &#xD;&#xA;&#xD;&#xA;http://www.dyvision.co.uk/reverbremover.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="17127" PostHistoryTypeId="2" PostId="10369" RevisionGUID="3a1e1ca9-a882-4d8c-bce9-679bd8b0c1aa" CreationDate="2011-09-15T17:45:33.527" UserId="2538" Text="Great site, great posts and a good honest, sincerely helpful vibe.&#xD;&#xA;I wanted to switch careers and looked into a few programs, the SAE, IAR, Tuoro and The Recording Connection (being in nyc).&#xD;&#xA;&#xD;&#xA;Went to all the schools, sat in on classes, did my due diligence, talked to as many working folks in the field and felt that the Recording Connection was the most direct, affordable route. &#xD;&#xA;&#xD;&#xA;The institution behind the RC has problems, I'm well aware. But I think they're approach and methodology is sound. I could be totally wrong about this. &#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="17128" PostHistoryTypeId="16" PostId="10369" RevisionGUID="3a1e1ca9-a882-4d8c-bce9-679bd8b0c1aa" CreationDate="2011-09-15T17:45:33.527" UserId="-1" />
  <row Id="17129" PostHistoryTypeId="2" PostId="10370" RevisionGUID="2ae075f0-f56d-4ed8-8581-24f0d3a31d34" CreationDate="2011-09-15T17:52:08.927" UserId="18160" Text="Never went to school for audio.&#xD;&#xA;&#xD;&#xA;I had played the guitar from age 5 to present and came down to Los Angeles after graduating high-school a year early when I was 17 in hopes to &quot;make it&quot; in the entertainment industry. I gave myself a year before I went back home with my tail between my legs to go start college. I immediately got a job renovating a music studio and asked if I could work there and got declined because they wanted &quot;already trained professionals&quot;. I then continued nagging and showing up and persistently demonstrated I wanted to learn and they hired me. I started as a recordist and now I'm a re-recording mixer and ADR mixer here, as well as a fully trained music recordist and mixer with many albums under my belt. My musical ear has been a huge leg up on my learning and training and all of my training has been apprenticeships and learning on the job - no film school, no audio school, never went back home to start college. I've been here ever since and never looked back." ContentLicense="CC BY-SA 3.0" />
  <row Id="17130" PostHistoryTypeId="16" PostId="10370" RevisionGUID="2ae075f0-f56d-4ed8-8581-24f0d3a31d34" CreationDate="2011-09-15T17:52:08.927" UserId="-1" />
  <row Id="17131" PostHistoryTypeId="2" PostId="10371" RevisionGUID="63728a7b-27ef-4eb3-9079-de2f9ff24034" CreationDate="2011-09-15T18:10:24.710" UserId="6499" Text="I am editing a documentary where some of the interviews were done outside without any wind protection and of course its hitting the diaphragm pretty hard.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I am trying to just soften the effect of it, I know it cannot be removed.  I have read about using some possible multiband compression automated with the hits to help, can anyone elaborate on this technique? &#xD;&#xA;&#xD;&#xA;[SoundCloud Link to the audio clip][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/the-verlotta-project/mvi-0860-mov-12" ContentLicense="CC BY-SA 3.0" />
  <row Id="17132" PostHistoryTypeId="1" PostId="10371" RevisionGUID="63728a7b-27ef-4eb3-9079-de2f9ff24034" CreationDate="2011-09-15T18:10:24.710" UserId="6499" Text="Some tips to soften wind noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="17133" PostHistoryTypeId="3" PostId="10371" RevisionGUID="63728a7b-27ef-4eb3-9079-de2f9ff24034" CreationDate="2011-09-15T18:10:24.710" UserId="6499" Text="&lt;editing&gt;&lt;clean&gt;&lt;wind&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17134" PostHistoryTypeId="2" PostId="10372" RevisionGUID="a9989d6d-fb9e-4e34-8f31-24ade7c47ae4" CreationDate="2011-09-15T18:17:41.560" UserId="18160" Text="If you make it downloadable I'd be willing to run it through a chain in my studio but I don't think there is much you can do because it sounds pretty broadband.&#xD;&#xA;&#xD;&#xA;I think your best bet would be CEDAR Re-Touch or something like Izotope or Adobe Audition spectral view editing but that would take forever.&#xD;&#xA;&#xD;&#xA;You might also try the Oxford Suppressor. Works well with low wind but what you have here is the flag-flapping high-mid distortion which IMHO is extremely hard if not impossible to reduce.&#xD;&#xA;&#xD;&#xA;I sympathize with you utterly." ContentLicense="CC BY-SA 3.0" />
  <row Id="17137" PostHistoryTypeId="2" PostId="10375" RevisionGUID="631766dc-4c42-4fe1-bce3-e5b97bbe5a59" CreationDate="2011-09-15T19:35:38.240" UserId="1266" Text="It sounds pretty embedded in your clip, good luck with it." ContentLicense="CC BY-SA 3.0" />
  <row Id="17138" PostHistoryTypeId="2" PostId="10376" RevisionGUID="7ebe5a28-3391-48c1-b8b5-315362f12030" CreationDate="2011-09-15T20:48:01.950" UserId="253" Text="I think the main thing you'll come up against is the transient nature of the wind noise. Noise reduction doesn't deal so well with that, but def give Utopia's advice a go.&#xD;&#xA;&#xD;&#xA;Also, it may be too late for this, but the wind won't be as bad if you can see that it's windy. Get the editor to cut in some stock footage of a tree bent over in a hurricane. Well, not really, but there are subtle ways to do it. Failing that, you could fill it out with some library wind to smooth over your noise reduction." ContentLicense="CC BY-SA 3.0" />
  <row Id="17139" PostHistoryTypeId="2" PostId="10377" RevisionGUID="e696ccf7-42fa-415a-b8d5-54108c0887fe" CreationDate="2011-09-15T23:20:50.003" UserId="587" Text="If I backup/wipe my hard drive, re-install pro tools, then replace the empty PT folder with the old one - does that work? Or will I have to install all my plugins again?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17140" PostHistoryTypeId="1" PostId="10377" RevisionGUID="e696ccf7-42fa-415a-b8d5-54108c0887fe" CreationDate="2011-09-15T23:20:50.003" UserId="587" Text="HD Wipe - PT Plugins?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17141" PostHistoryTypeId="3" PostId="10377" RevisionGUID="e696ccf7-42fa-415a-b8d5-54108c0887fe" CreationDate="2011-09-15T23:20:50.003" UserId="587" Text="&lt;plug-ins&gt;&lt;hard-drive&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17142" PostHistoryTypeId="2" PostId="10378" RevisionGUID="e32779d9-3862-4b68-9ec9-a263d33d3d3a" CreationDate="2011-09-16T00:04:08.500" UserId="6460" Text="Simpler plugins that are self-contained and and dont use many external files (e.g., the digi plugins) can probably just be dragged into the plugins window. More complex plugins (e.g., convolution reverbs) and packages which rely a lot on external files, will likely need to be reinstalled. It varies based on manufacturer, as well. I would definitely recommend that you keep a backup of your current PT system and all of the plugins just in case you lose comparability with a newer version (which is not uncommon at all, unfortunately). " ContentLicense="CC BY-SA 3.0" />
  <row Id="17143" PostHistoryTypeId="5" PostId="10377" RevisionGUID="598f82d4-2e15-4677-abf2-23819003d329" CreationDate="2011-09-16T06:09:13.253" UserId="587" Comment="added 14 characters in body" Text="If I backup/wipe my hard drive, re-install pro tools, then replace the empty PT *edit*PLUGINS folder with the old one - does that work? Or will I have to install all my plugins again?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17144" PostHistoryTypeId="2" PostId="10379" RevisionGUID="f93b9243-a6c1-4050-a963-a79756125b0b" CreationDate="2011-09-16T06:27:54.250" UserId="221" Text="I have done this pretty successfully but remember that the folder to keep is not the plug-ins folder but the Digidesign folder that includes, not only the plug-ins folder, but also the plug-in settings folder etc. Otherwise you will loose all your presets that you have saved to the root directory, which tends to be the default setting. &#xD;&#xA;&#xD;&#xA;This will save a lot of time re-installing most plug-ins. Remember that when you re-install Pro Tools it will put clean new Digidesign plug-ins so you might want to keep the new clean versions and only copy across the other plug-ins. But you will need to completely replace the plu-in Settings folder. You might then find that odd plug-in doesn't work properly, because files are elsewhere but again check your system before you start. I tend to go through a system and bundle all these kinds of files together into folders which I label so I know where to put them back. Some plug-ins put folders in the Applications folder, others will have files in the Documents folder. If you have samples, loops or impulse responses in a special place then make sure you make of copy of these too if they are on your boot up drive.&#xD;&#xA;&#xD;&#xA;But overall you idea is sound and can help save a lot of re-install time. One final caveat though. Remember that if the reason for doing this whole clean and re-install is that you have a buggy system. The problem maybe due to a out of date plug-in so be sure that all your plug-ins are up to date before you start." ContentLicense="CC BY-SA 3.0" />
  <row Id="17145" PostHistoryTypeId="2" PostId="10380" RevisionGUID="36de3642-f097-4eb9-aacf-89dca4b4c254" CreationDate="2011-09-16T06:32:15.330" UserId="1266" Text="Get some Eastern instruments, and process them into a whoosh with plugins&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17146" PostHistoryTypeId="2" PostId="10381" RevisionGUID="9c9d55e3-7a5b-44f5-bf1d-3d1f230c4a48" CreationDate="2011-09-16T06:41:29.197" UserId="18160" Text="@ntkeep you're a genius.&#xD;&#xA;&#xD;&#xA;I just attended a seminar with Stephen Hunter Flick and he basically said to do this:&#xD;&#xA;&#xD;&#xA;Go ask the director for a map of how he wants the audience to feel or react throughout the movie.&#xD;&#xA;&#xD;&#xA;He said sometimes he needs a guidetrack from the director who knows the character's sound and voice and on certain movies he had the director actually physically voice the character in a scene or scenes - for instance, the Kane character in Robocop 2. He had the director actually voice the character and he recorded it and it ended up in the film.&#xD;&#xA;&#xD;&#xA;Your answer is right up that alley! Nice!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17148" PostHistoryTypeId="2" PostId="10382" RevisionGUID="c0d09b42-e48c-4ac5-934d-7197df9d5713" CreationDate="2011-09-16T09:40:17.587" UserId="168" Text="As the others said - it's possible but depends on the plugin. Make a backup of the plugin folder but I suggest spending a few extra hours (or days) installing every single one fresh. It's cleaner, safer and won't leave you with a buggy DAW. PT is fussy enough already.." ContentLicense="CC BY-SA 3.0" />
  <row Id="17149" PostHistoryTypeId="2" PostId="10383" RevisionGUID="7529dda1-d9c7-41a7-9044-e21bfc7e7cc0" CreationDate="2011-09-16T15:13:06.257" UserId="6524" Text="Can't really help, but I hope these videos do lol:&#xD;&#xA;&#xD;&#xA;[youtube]KM5xeTH5iZU[/youtube]&#xD;&#xA;&#xD;&#xA;[youtube]F1Yzq3ACtb8[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="17150" PostHistoryTypeId="2" PostId="10384" RevisionGUID="22669e4a-943b-40c3-ab9c-3854a87b7231" CreationDate="2011-09-16T15:21:44.830" UserId="1012" Text="I have been experiencing a massive amount of pain in my wrist and my shoulder and I feel like I really need to figure out a new solution for editing audio for days on end without going numb!&#xD;&#xA;&#xD;&#xA;I've tried a Logitech track ball mouse (on thumb) and it was great for my wrist, but really slowed down my editing.&#xD;&#xA;&#xD;&#xA;I am currently trying to use a pen tablet.  Which is ok.  I still strain and tense my shoulders and my hands.  It's handy because I have programmed the 4 buttons on the tablet to be play/pause, back, forward, and the pen clicks to be control and double click.  So far it makes working easy, but not as fast as a mouse.&#xD;&#xA;&#xD;&#xA;I am wondering if anyone knows of a good solution for either a mouse alternative, or a mouse that is ergonomic and has programable buttons.&#xD;&#xA;&#xD;&#xA;I have been looking at a few items.&#xD;&#xA;&#xD;&#xA;Vertical Mouse&#xD;&#xA;3D Connexion Space Pilot ( I don't know if I can use it as a mouse, but it might be good for navagation)&#xD;&#xA;touch pad - though after some reading I see it can be pretty bad for you Carpal Tunnel&#xD;&#xA;&#xD;&#xA;Obviously I could start editing with my keyboard in combination with a console, but isn't always an option." ContentLicense="CC BY-SA 3.0" />
  <row Id="17151" PostHistoryTypeId="1" PostId="10384" RevisionGUID="22669e4a-943b-40c3-ab9c-3854a87b7231" CreationDate="2011-09-16T15:21:44.830" UserId="1012" Text="Mouse Alternative Workflows" ContentLicense="CC BY-SA 3.0" />
  <row Id="17152" PostHistoryTypeId="3" PostId="10384" RevisionGUID="22669e4a-943b-40c3-ab9c-3854a87b7231" CreationDate="2011-09-16T15:21:44.830" UserId="1012" Text="&lt;workflow&gt;&lt;mouse&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17153" PostHistoryTypeId="2" PostId="10385" RevisionGUID="0426907c-ac01-4055-9999-21bb778d2823" CreationDate="2011-09-16T15:34:14.727" UserDisplayName="user80" Text="Variation is important, using any physical interface repeatedly is going to cause problems.  Try moving more between a mouse, trackpad, keyboard and control surface.  There is no perfect interface, eventually you strain something if you use a single interface too often.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17154" PostHistoryTypeId="2" PostId="10386" RevisionGUID="13831664-1ce1-45b3-a9f1-d797bf6b8b13" CreationDate="2011-09-16T16:21:26.407" UserId="2524" Text="I recently bought a kensington expert mouse which has definitely reduced the pain I had. Larger hand / finger movements involved in using the trackball help prevent repetitive strains apparently. However, the more I use it the more I can feel tension building up in other parts of my hand and arm, but not as bad as it was. I think Iain is correct in saying that variation is key. &#xD;&#xA;&#xD;&#xA;Also, a good chair will help back and shoulder pains a lot. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17155" PostHistoryTypeId="2" PostId="10387" RevisionGUID="9d46a4f9-68a3-4477-b31c-3d776353a4a4" CreationDate="2011-09-16T16:38:42.490" UserId="6499" Text="I'm looking for a list a films that contain &quot;POV&quot; Audio.  What I mean by that is not where the camera enters POV, but where we enter a characters head-space acoustically.  I stumbled across this idea I think maybe in a yahoo sound design group but am not sure.  I am trying to formulate a solid idea/topic for a term paper.  The direction I am going is how the design of the audio pov has changed throughout time, and then somehow link it to my film theory and criticism class.&#xD;&#xA;&#xD;&#xA;The immediate films that come to mind are Saving Private Ryan, Children of men, but I am looking for some things outside of my normal viewing habits and something preferably much older.  To find the &quot;first&quot; would be great, but that is a pretty subjective title I believe.&#xD;&#xA;&#xD;&#xA;Just throwing out the cast net to try and grab some thoughts to help the idea along.  My professor has multiple paper topics involving cinematography, directing, production design, etc but never has anything related to sound, so I have chosen the infamous come up with your own topic and discuss with the professor.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17156" PostHistoryTypeId="1" PostId="10387" RevisionGUID="9d46a4f9-68a3-4477-b31c-3d776353a4a4" CreationDate="2011-09-16T16:38:42.490" UserId="6499" Text="Films with &quot;POV&quot; Audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="17157" PostHistoryTypeId="3" PostId="10387" RevisionGUID="9d46a4f9-68a3-4477-b31c-3d776353a4a4" CreationDate="2011-09-16T16:38:42.490" UserId="6499" Text="&lt;pov&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17158" PostHistoryTypeId="2" PostId="10388" RevisionGUID="01d556f3-f30a-439d-ba00-afe6ca39d649" CreationDate="2011-09-16T17:03:56.620" UserId="1292" Text="I attended Columbia College Chicago graduated with a BA in Film and Video.  They have a concentration of Audio for Visual Media but I took sound classes of my own choosing.  They also have a BA in Audio Arts and Acoustics witha concentration in Audio for Visual Media." ContentLicense="CC BY-SA 3.0" />
  <row Id="17159" PostHistoryTypeId="16" PostId="10388" RevisionGUID="01d556f3-f30a-439d-ba00-afe6ca39d649" CreationDate="2011-09-16T17:03:56.620" UserId="-1" />
  <row Id="17160" PostHistoryTypeId="2" PostId="10389" RevisionGUID="acfcc86d-030d-4ad9-8f03-31696a0767ac" CreationDate="2011-09-16T17:56:49.377" UserId="930" Text="There's a series of mice made by Evoluent, I saw someone using one of them the other day and it looks pretty crazy. It's basically a mouse, but it's designed so you hold it 'vertically'.&#xD;&#xA;&#xD;&#xA;Rather than me try to explain it badly, here's a link to the site: [click here][1]&#xD;&#xA;&#xD;&#xA;The little blurb at the bottom seems to confirm better health benefits as well!&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.evoluent.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17161" PostHistoryTypeId="2" PostId="10390" RevisionGUID="22e20440-bfc2-4ffb-a4dc-dc8c4d9f65e9" CreationDate="2011-09-16T18:03:46.507" UserId="315" Text=" - Jaws (Speilberg does this very well in many of his films)&#xD;&#xA; - The Pianist (the audience actually goes temporarily deaf in one ear)&#xD;&#xA; - Memento (other Nolan films)&#xD;&#xA; - The Graduate (we hear Ben's POV from time to time)&#xD;&#xA; - Vertigo (Hitchcock clued in to using sound quite earlier in his career)&#xD;&#xA; - One Upon a Time in the West&#xD;&#xA; - Black Swan (really all of Aronofsky's films)&#xD;&#xA; - The Hurt Locker&#xD;&#xA; - Any David Lynch film&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17162" PostHistoryTypeId="2" PostId="10391" RevisionGUID="38330bbf-6ceb-45ab-aff1-6c2672c8da91" CreationDate="2011-09-16T18:26:10.343" UserId="548" Text="The dialogue in &quot;Bad Boy Bobby&quot; was recorded with microphones sewn in the wig worn by Nicholas Hope. Director Rolf de Heer has used the similar binaural methods in his other films such as &quot;Dance Me To My Song&quot;.. even using a foam head attached to the camera. A friend of mine has been experimenting a lot with binaural recording. He is building his own mics and artificial heads complete with artificial ears. Have a look at http://www.urlme.net/blog/?p=1709#more-1709 to see a sample of what he is up to." ContentLicense="CC BY-SA 3.0" />
  <row Id="17163" PostHistoryTypeId="2" PostId="10392" RevisionGUID="7405522b-2907-4544-8171-d4b068e9a547" CreationDate="2011-09-16T18:29:36.583" UserId="728" Text="Enter the Void (2009)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17164" PostHistoryTypeId="2" PostId="10393" RevisionGUID="ea0a9c58-004d-4bac-8b44-66d63cf227a2" CreationDate="2011-09-16T19:38:00.927" UserId="418" Text="Sorry you're suffering with this, I've been there in a major way. It's important to address dekstop ergonomics, and as you have found, it's largely a trial and error process to find a good fit for yourself.&#xD;&#xA;&#xD;&#xA;Of equal importance though, is to take the rest of your body into account as well. Your body is a single machine, with all of its parts acting as a team. My first recommendation is that you try to work standing up. It might sound weird, but it can really do wonders. Thing is, sitting in a chair for any extended period of time is one of the worst things you can do to your body, no matter how mundane it may seem. It pretty much goes against everything that your body is designed to do. &#xD;&#xA;&#xD;&#xA;I had every back, arm, hand and neck issue you could imagine. I tried every mouse, pen and pointer in the book. Tried numerous chairs, balls, benches etc. Only when I switched to working standing up did everything dramatically improve. And I mean dramatically. At first you'll get sore feet, some lower back aches etc, that's from the sheer weakness that has developed from years of sitting. Once you get over that short hump it becomes awesome, and I'd never go back. &#xD;&#xA;&#xD;&#xA;Not only is it better for your spine, legs, core/abs, neck, hands, etc - it's also a major productivity enhancer. You are just way more alert and &quot;with it&quot; when standing up. Your brain equates sitting with rest naturally. Extra bonus: You burn an extra 300-400 calories per day by simply not sitting on your butt. &#xD;&#xA;&#xD;&#xA;This isn't an input device recommendation, but I felt it worth mentioning as I dealt with the same issues for a long, long time. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17165" PostHistoryTypeId="2" PostId="10394" RevisionGUID="cc22e81e-abb6-4c4e-b08b-6ff38ce2fa31" CreationDate="2011-09-16T19:39:10.040" UserId="842" Text="My vote goes to trackballs. I only use trackballs in my studio, and hasn't got any problem with my elbows or shoulders in years. What causes such problems is the fact that neighter elbow-joints or shoulders are made for fine motorical movements like the hand and wrist is. It may take some time to get used to a trackball, frankly I mostly have to re-learn the alignment of the controller every time I get a new one, but all in all it actually speeds up my work something tremendously after the few days/about a week it takes to get used to the new controller :-)&#xD;&#xA;&#xD;&#xA;At home I have a regular mouse due to the fact that good trackballs are quite costly, but there I take support by the table with the lowest part of my hand, the  ball-bone at the lowest of the hand (the same bone-part used in Karate for breaking stuff with hand-tameshiwara, actually!), and only move the mouse with the fingers in movements no bigger than I can make them without actually moving the elbow at all.&#xD;&#xA;It's not easy to explain, in short I move the hand and fingers with the hand never leaving the table at all, but never the elbow or anything above the wrist. For it to work the mouse musn't be too big as you have to be able to cover it completely with your hand," ContentLicense="CC BY-SA 3.0" />
  <row Id="17166" PostHistoryTypeId="2" PostId="10395" RevisionGUID="35c0ab8b-76d8-4836-b01e-24931c76430a" CreationDate="2011-09-16T20:34:15.390" UserId="2557" Text="Hi, i'm quite new to all the sound recording/editing buisiness (i've just started recording my own sounds and playing around with certain effects and layering sounds). And i've encountered a problem:&#xD;&#xA;When recording certain sounds (for example: footsteps). How can you edit the sound in such a way that if you close your eyes you can hear where the person is walking?&#xD;&#xA;Simply panning works quite O.K. if the person is up close (but i'm not even a 100% satisfied with that result). But if the person is walking really far away it just doesn't sound right.&#xD;&#xA;&#xD;&#xA;What would be the best way to achieve this effect of &quot;moving around&quot;.&#xD;&#xA;&#xD;&#xA;(i hope i am making any sense :P)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17167" PostHistoryTypeId="1" PostId="10395" RevisionGUID="35c0ab8b-76d8-4836-b01e-24931c76430a" CreationDate="2011-09-16T20:34:15.390" UserId="2557" Text="How to give a feeling of distance/position" ContentLicense="CC BY-SA 3.0" />
  <row Id="17168" PostHistoryTypeId="3" PostId="10395" RevisionGUID="35c0ab8b-76d8-4836-b01e-24931c76430a" CreationDate="2011-09-16T20:34:15.390" UserId="2557" Text="&lt;panning&gt;&lt;moving&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17169" PostHistoryTypeId="2" PostId="10396" RevisionGUID="9877e5f3-11a0-4bb4-9215-e26d018c9e35" CreationDate="2011-09-16T20:46:21.877" UserId="393" Text="The quickest and easiest way is a little bit of reverb and volume, adding more reverb the farther the subject is away (but not TOO much, unless they're 100 meters away down a brick hallway).  After that, subtle use of a low-pass filter or simply rolling the highs off.  Finally, a slight doppler effect can work wonders.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17170" PostHistoryTypeId="2" PostId="10397" RevisionGUID="33e6eff2-a7f9-46e5-a630-6ccc76d65a34" CreationDate="2011-09-16T21:08:35.340" UserId="6420" Text="I did my Masters project on POV sound. Let me know if you fancy having a read if you think it'll be any use.  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17173" PostHistoryTypeId="2" PostId="10399" RevisionGUID="92fb1f2b-210a-4693-88c1-338aedcc9042" CreationDate="2011-09-16T23:04:12.293" UserId="168" Text="Distance (Front/Back) can usually be achieved by a high pass/high shelf filter (to simulate the loss of highs as a sound source moves further away in reality), low frequency diffusion, change in volume, increase/decrease in early reflections, increase/decrease in level of the reverb tail.&#xD;&#xA;&#xD;&#xA;The early reflections and reverb tail are obviously dependent on the space. Outdoor spaces could do with a few short delays to simulate reflections off nearby obstacles (depends on what't in the video).&#xD;&#xA;&#xD;&#xA;Panning (again depending on the movement on the screen) and a touch of a doppler effect (change in pitch) can help make it 'real' as Dave suggested.&#xD;&#xA;&#xD;&#xA;Most reverb plugins will give you control over early reflections and the reverb tail. If you are unsure of how to begin, recall a preset that seems like it would match the space visually and tweak from there. &#xD;&#xA;&#xD;&#xA;The low shelf filter can be set at about 900Hz and dropped a couple of dB (again depending on the distance that needs to be simulated). Play around with all these controls till it feels and sounds right.&#xD;&#xA;&#xD;&#xA;Additionally, in the world of Foley a lot more can be done to simulate distance. As the person gets closer to the camera you could add in a little more of the cloth track, hear more detail in the footsteps (crunch of gravel for example) and also highlight any props/jewellery/sound-making-costume-elements. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17174" PostHistoryTypeId="2" PostId="10400" RevisionGUID="a992a8a2-bbfc-4bdb-ad81-2d0cd6a9dba6" CreationDate="2011-09-17T03:27:23.290" UserId="1266" Text="There are spatializer plugins that you can use like Kontakt, Wave Arts, IRCAM tools.  These will position the sound in a 3d stereo field." ContentLicense="CC BY-SA 3.0" />
  <row Id="17175" PostHistoryTypeId="2" PostId="10401" RevisionGUID="9c716b27-d70b-4c51-9d91-bfbab8380704" CreationDate="2011-09-17T09:19:51.943" UserDisplayName="user80" Text="Think in terms of direct and indirect sound.  The closer someone is the more direct sound is present, the further away the more indirect sound.  &#xD;&#xA;&#xD;&#xA;Direct sound is the dry sound source without any effects.  Indirect is the sound reflected off surfaces, which is normally conveyed using reverb.  There is little indirect sound outdoors.&#xD;&#xA;&#xD;&#xA;The indirect sound will vary according to the environment, what all the surfaces are made up of and their relative angles and positions.  These variations will alter the timings (delays) of reflections as well as the balance of frequencies and their relative loudness.&#xD;&#xA;&#xD;&#xA;Generally &#xD;&#xA; &#xD;&#xA;- close (direct) = loud and clear&#xD;&#xA; &#xD;&#xA;- far (indirect) = quiet and indistinct&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17176" PostHistoryTypeId="2" PostId="10402" RevisionGUID="83b77ba7-53e4-44d5-acf4-966d5b622451" CreationDate="2011-09-17T16:54:38.317" UserId="6499" Text="So after trying many different things, I ended up duplicating the track,  on one track I used a HPF and rolled it way up and boosted some of the dialogue range 1k-3k ish.  On the other track I used a LPF and went way down and put some pretty heavy compression to control the pops from the wind and retain the bottom end of the voice.  When I blend them together it gives a bit more clarity to the tracks than anything else I was able to achieve.  It still sounds terrible IMO but its better.  Any other things I could try?  I believe what I did is basically what a multi band compressor does, but I have not quite figured out multi band compression yet.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17177" PostHistoryTypeId="5" PostId="6602" RevisionGUID="b299e225-bfee-4d2c-9786-2ece0b243766" CreationDate="2011-09-18T00:53:21.453" UserId="61" Comment="edited body" Text="A quick wiki search presented these opportunities, all of which I'd love to hear:&#xD;&#xA;&#xD;&#xA; - The Bournemouth Pleasure Gardens;&#xD;&#xA; - The graveyard at St. Peter's Church,&#xD;&#xA;   Bournemouth, where Mary Shelley is&#xD;&#xA;   buried;&#xD;&#xA; - Traffic or other atmos from The&#xD;&#xA;   Square;&#xD;&#xA; - Interior or exterior atmos at&#xD;&#xA;   Bournemouth University;&#xD;&#xA; - Make a call to Parvalux (the UK's&#xD;&#xA;   largest fractional horsepower motor)&#xD;&#xA;   and see if you can get a tour?&#xD;&#xA;&#xD;&#xA;If you're planning ahead, perhaps you can rent some better mics and a recorder for the air show coming up this August?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17178" PostHistoryTypeId="5" PostId="671" RevisionGUID="ac54d94b-26e5-40a6-91b0-1aaa8d36b4ab" CreationDate="2011-09-18T04:16:14.150" UserId="61" Comment="deleted 55 characters in body" Text="Very gray area here. In the most traditional sense of the job, a sound effects editor is expected to take sounds that have been selected for him/her by the supervising sound edtior and edit them against the picture. *That's it*. Anything else and you're not really talking about a sound effects editor anymore.&#xD;&#xA;&#xD;&#xA;What sound effects editors are expected to do these days is quite different from what it used to be; it's really an amalgamation of all the disciplines, from recording sounds to designing new sounds to basic and advanced mixing. This requires knowledge of and experience with microphones, recording techniques, librarian skills, sound editorial, sound synthesis and sampling, reverb and EQ techniques, mixing and mastering.&#xD;&#xA;&#xD;&#xA;This is the case with both big budget and independent films, in my experience." ContentLicense="CC BY-SA 3.0" />
  <row Id="17179" PostHistoryTypeId="2" PostId="10403" RevisionGUID="329c61b3-6f33-43b8-a124-0f545bb6d6e8" CreationDate="2011-09-18T08:51:33.530" UserId="930" Text="Just went to see Jane Eyre last night and it reminded me of this post. There's a small (30 second?) section at the beginning when Jane is fainting/has fainted and audio is used to help represent this (especially apparent on dialogue).&#xD;&#xA;&#xD;&#xA;You should definitely check this scene out!&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Fred" ContentLicense="CC BY-SA 3.0" />
  <row Id="17180" PostHistoryTypeId="2" PostId="10404" RevisionGUID="70392b38-6771-4dd3-987a-620155390297" CreationDate="2011-09-18T15:06:40.837" UserId="2605" Text="I have just purchased a Zoom h4n and I am very pleased with the performance. I am using it underground in Caves and Mines. I also use Sennheiser ew 100 G2 Radio Microphones. They work perfectly ok into the Ext Mic socket on the rear but I am not able to get any input via the Input 1 /2 in the 4CH Mode. As I would like to be able to record both sets of Radio Microphones. Is it possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="17181" PostHistoryTypeId="1" PostId="10404" RevisionGUID="70392b38-6771-4dd3-987a-620155390297" CreationDate="2011-09-18T15:06:40.837" UserId="2605" Text="Zoom h4n Inputs 1/ 2 " ContentLicense="CC BY-SA 3.0" />
  <row Id="17182" PostHistoryTypeId="3" PostId="10404" RevisionGUID="70392b38-6771-4dd3-987a-620155390297" CreationDate="2011-09-18T15:06:40.837" UserId="2605" Text="&lt;zoom-h4n&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17183" PostHistoryTypeId="2" PostId="10405" RevisionGUID="266e0040-cd21-4c63-8c49-0694834bb0e0" CreationDate="2011-09-18T15:45:46.250" UserId="2" Text="Potential solutions: &#xD;&#xA;&#xD;&#xA;- There's some weird bug with the phantom power on the H4n. I'm almost certain that's the issue you're having. Try switch off the phantom power.&#xD;&#xA;&#xD;&#xA;- Did you press the buttons 1 and 2 on the side (they should be red when illuminated) and bring the gain up after selecting those inputs? &#xD;&#xA;&#xD;&#xA;Bare in mind that when you plug into the quarter inch jack in the rear, you disable the onboard mics. &#xD;&#xA;&#xD;&#xA;Hope this helps. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17184" PostHistoryTypeId="2" PostId="10406" RevisionGUID="8c86c672-82a3-41e0-9e2e-0ce2c5b9c99d" CreationDate="2011-09-18T16:11:22.747" UserId="6600" Text="Just watched a bizarre film called Mr Nobody that has a lot POV and study of the self type stuff - the story is a bit of hard work but interesting sound design throughout :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17185" PostHistoryTypeId="2" PostId="10407" RevisionGUID="cd40b7a1-42b9-49fa-9b55-e73fc00c6948" CreationDate="2011-09-18T19:10:10.597" UserId="2612" Text="The audio middleware world is in constant flux - you can however, influence a teams descision if there is one you become particularly good at.  Here's an [audio jobs][1] board that will show the demand is quite high!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gameaudio101.com/jobs.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="17186" PostHistoryTypeId="12" PostId="9960" RevisionGUID="b456d931-e4c3-44bc-9727-be6ff26f4a39" CreationDate="2011-09-18T19:35:26.997" UserId="88" Text="[{&quot;Id&quot;:88,&quot;DisplayName&quot;:&quot;Tyler&quot;}]" />
  <row Id="17187" PostHistoryTypeId="13" PostId="9960" RevisionGUID="98ca4529-e450-42ef-a0d0-394bda8a4559" CreationDate="2011-09-18T19:35:31.927" UserId="88" Text="[{&quot;Id&quot;:88,&quot;DisplayName&quot;:&quot;Tyler&quot;}]" />
  <row Id="17188" PostHistoryTypeId="5" PostId="10406" RevisionGUID="2128079f-4c63-4447-96e7-448576f11002" CreationDate="2011-09-18T19:39:31.310" UserId="6600" Comment="added 3 characters in body" Text="Just watched a bizarre film called Mr Nobody that has a lot of POV and study of the self type stuff - the story is a bit of hard work but interesting sound design throughout :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17189" PostHistoryTypeId="2" PostId="10408" RevisionGUID="1e868d2c-3c53-43fc-91c7-385b6b4a4da5" CreationDate="2011-09-18T19:43:51.170" UserId="373" Text="Babel does this with the deaf girl" ContentLicense="CC BY-SA 3.0" />
  <row Id="17190" PostHistoryTypeId="2" PostId="10409" RevisionGUID="ecb3496f-46d9-42f7-8d14-266514b907cd" CreationDate="2011-09-18T21:04:16.980" UserId="670" Text="A great movie for POV audio is &quot;Being John Malkovich.&quot; " ContentLicense="CC BY-SA 3.0" />
  <row Id="17191" PostHistoryTypeId="2" PostId="10410" RevisionGUID="d784491c-5fab-407b-bc2c-f6a7bfa6b203" CreationDate="2011-09-18T21:17:50.750" UserId="300" Text="'The Diving Bell and the Butterfly' is POV for about the first half hour..! Quite incredible&#xD;&#xA;&#xD;&#xA;http://www.imdb.com/title/tt0401383/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17192" PostHistoryTypeId="2" PostId="10411" RevisionGUID="b913db59-861f-43cd-a727-c69094ac7251" CreationDate="2011-09-19T11:44:07.320" UserId="2507" Text="I've just began my final year of university, doing Digital Media with a specialisation in Sound Design and its time to do my honours project and dissertation.&#xD;&#xA;&#xD;&#xA;I am to rebuild the sound for a short film, then receive feedback from my supervisor, as well as from the creator/original sound designer for the film.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The main problem im having is that people are ether not replying or are replying no, sadly i have very little time left to find someone who has such a piece that I can work on.&#xD;&#xA;&#xD;&#xA;Is there any advice anybody can give me? Ideally looking for a short film, around 10-15 minutes in length, which definitely is available with just dialogue, nothing else. Any recommended websites/people I should speak to?&#xD;&#xA;&#xD;&#xA;Thanks In Advanced&#xD;&#xA;&#xD;&#xA;Duncan" ContentLicense="CC BY-SA 3.0" />
  <row Id="17193" PostHistoryTypeId="1" PostId="10411" RevisionGUID="b913db59-861f-43cd-a727-c69094ac7251" CreationDate="2011-09-19T11:44:07.320" UserId="2507" Text="Honours Project- sound replacement for a film/short Movie" ContentLicense="CC BY-SA 3.0" />
  <row Id="17194" PostHistoryTypeId="3" PostId="10411" RevisionGUID="b913db59-861f-43cd-a727-c69094ac7251" CreationDate="2011-09-19T11:44:07.320" UserId="2507" Text="&lt;movies&gt;&lt;replacement&gt;&lt;honours&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17196" PostHistoryTypeId="2" PostId="10413" RevisionGUID="d5ef7fd8-4c60-451b-a613-32c43ade7972" CreationDate="2011-09-19T13:24:39.663" UserId="1049" Text="Not a film, but look up the UK Channel4 Comedy 'Peep Show'. The whole show is in First Person / POV, with a lot of internal dialogue etc. &#xD;&#xA;&#xD;&#xA;There've been 7 Series' so far, so there's plenty of material. It's available for streaming online [here][1] on the Channel4 website, but I'm not sure if it's regionality locked, so you might not be able to watch it, depending on your location.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.channel4.com/programmes/peep-show/4od" ContentLicense="CC BY-SA 3.0" />
  <row Id="17201" PostHistoryTypeId="2" PostId="10416" RevisionGUID="4830f18e-9b10-4f71-9a04-c77aae4009e9" CreationDate="2011-09-19T15:37:54.303" UserId="1129" Text="Take a gander at the films available at archive.org  Lots of old stuff there, US social guidance films from the 50s and 60s could be fun to play with. (&quot;As Boys Grow,&quot; &quot;Are You Popular,&quot; &quot;Boys Beware,&quot; etc.) Lots of educational filmstrips from the same time period. &#xD;&#xA;&#xD;&#xA;Look at the prelinger archives within archive.org for that material." ContentLicense="CC BY-SA 3.0" />
  <row Id="17203" PostHistoryTypeId="2" PostId="10417" RevisionGUID="14bec31c-6c39-445a-b7ed-f77c7212bb95" CreationDate="2011-09-19T16:39:34.330" UserId="6499" Text="Awesome suggestions guys, I really appreciate it.  Trying to find some way to tie it into the class is the problem now,  I'm thinking to see if the &quot;pov style&quot;  could be twisted around with the auteur theory and if the style has more tendency to follow director, sound designer, or support of story.  In all honesty I know generally no matter what, it is to support the story, but I'm just stretching for connections to this theory class." ContentLicense="CC BY-SA 3.0" />
  <row Id="17204" PostHistoryTypeId="2" PostId="10418" RevisionGUID="c0f0acd6-a29e-42ac-aaef-f6e3ab7cffd5" CreationDate="2011-09-19T16:56:51.033" UserId="6499" Text="You know, with your budget, and the intent of solely recording SFX, I would almost recommend to not use a the tascam or the r44 and snag something like the zoom H4N.  You get stereo recording  at 96k + matched stereo condensors to grab ambiances.  &#xD;&#xA;&#xD;&#xA;Yes the mic pres on the zoom are not as good as the others, but, in my experience, if I am having to gain it up that much on my zoom and am getting noise, I also am getting pre noise on my HDP2 with the same sound.&#xD;&#xA;&#xD;&#xA;You lose the ability to name clips before recording,  audio slating them and then renaming while you catalogue will be the other option and it will also help you build a solid workflow/ system.  &#xD;&#xA;&#xD;&#xA;I would snag a used mic stand also.&#xD;&#xA;&#xD;&#xA;You can then take that extra money and put towards phase 2 or towards getting a better recorder/microphone. That money could also be combined with the Mbox money and get something like maudio profire instead, which would give you 8 channels of record into pro tools for a larger sfx session when needed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Spend a little money and invest in a soldering iron.  Learn how to use it.  It will save you oodles in cables and repairs, plus you can then make your own nifty little tricks and things.&#xD;&#xA;&#xD;&#xA;I own both the zoom and the HDP2 and find myself whipping out the zoom more often than the hdp2.  I got my tascam before the zoom came out and got it used for about the same price as a zoom. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;That's my $.02&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17205" PostHistoryTypeId="2" PostId="10419" RevisionGUID="d3a7c0e7-ad19-41b4-bd79-c0a07d5421e9" CreationDate="2011-09-19T17:10:42.393" UserId="2641" Text="i am working as an engineer for past 2 years &#xD;&#xA;i feel this is a gr8 place to clear my doubts" ContentLicense="CC BY-SA 3.0" />
  <row Id="17206" PostHistoryTypeId="1" PostId="10419" RevisionGUID="d3a7c0e7-ad19-41b4-bd79-c0a07d5421e9" CreationDate="2011-09-19T17:10:42.393" UserId="2641" Text="i'd wanna know if i can reduce or increase the depth of a voice with the help of Eq and reverb ...its not the basic depth that i want its the feeling of dimensions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17207" PostHistoryTypeId="3" PostId="10419" RevisionGUID="d3a7c0e7-ad19-41b4-bd79-c0a07d5421e9" CreationDate="2011-09-19T17:10:42.393" UserId="2641" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17208" PostHistoryTypeId="2" PostId="10420" RevisionGUID="63e5248f-1881-436b-817c-8a1858262011" CreationDate="2011-09-19T18:06:55.427" UserId="2557" Text="I asked the same question 2 days ago and i got some really great answers!&#xD;&#xA;[Link to my question][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/10395/how-to-give-a-feeling-of-distance-position" ContentLicense="CC BY-SA 3.0" />
  <row Id="17209" PostHistoryTypeId="2" PostId="10421" RevisionGUID="edcf04c4-bfd1-413a-a395-4d69d8af639a" CreationDate="2011-09-19T19:14:18.097" UserId="547" Text="@Warren, Hi, i'm going to guess that by depth you mean distance from front to back? If so then you're probably familiar with how sound behaves as it moves further away; less bass and less highs with more reflected/reverberant energy.&#xD;&#xA;&#xD;&#xA;Feelings of &quot;dimension&quot; in other words &quot;feeling of or sense of space&quot; are essentially linked to the ratio of Early Reflections/Direct Sound. An easy way to hear this is to talk with your hand in front of your face, walk towards a wall whilst talking etc.&#xD;&#xA;&#xD;&#xA;How to mimic this? Vocal Centre Panned&#xD;&#xA;Reverb doesn't work, it'll make it too distant sounding.&#xD;&#xA;&#xD;&#xA;You need to re-create early reflections appropriate to the size/dimensions of space you want to create.&#xD;&#xA;A wall 6 feet (2m) away will be a 12ft (4m) return journey, approx 1ms per foot {0.3ms/m} means that if you add a delayed version of the sound, 12ms, to the right speaker channel at an appropriate level (try less than -10dB with judicious EQ the sound will begin to &quot;widen&quot;&#xD;&#xA;&#xD;&#xA;Tip, do not use identical delay times EQ or volume settings for the left channel otherwise the effect sound will centralise behind the main vocal causing it to recede into the distance.&#xD;&#xA;&#xD;&#xA;Some reverbs allow you just to use only the Early Reflections, you may have better luck with this.&#xD;&#xA;&#xD;&#xA;**Recording Tip** I can highly recommend using MS (Mid-Side) for vocal recording. This allows you to add a &quot;flavour&quot; of the room you recorded in.&#xD;&#xA;&#xD;&#xA;**Re-Recording Tip** Send the vocal to a loudspeaker in an appropriate reflective space. Re-record the vocal using MS and a little EQ on the mix.&#xD;&#xA;&#xD;&#xA;Regards&#xD;&#xA;James&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17210" PostHistoryTypeId="5" PostId="10419" RevisionGUID="398b5ded-81bf-48ff-abc0-3c1312b6021e" CreationDate="2011-09-19T19:59:15.980" UserId="37" Comment="housekeeping.." Text="i'd wanna know if i can reduce or increase the depth of a voice with the help of Eq and reverb ...its not the basic depth that i want its the feeling of dimensions?&#xD;&#xA;&#xD;&#xA;i am working as an engineer for past 2 years &#xD;&#xA;i feel this is a gr8 place to clear my doubts" ContentLicense="CC BY-SA 3.0" />
  <row Id="17211" PostHistoryTypeId="4" PostId="10419" RevisionGUID="398b5ded-81bf-48ff-abc0-3c1312b6021e" CreationDate="2011-09-19T19:59:15.980" UserId="37" Comment="housekeeping.." Text="altering the depth/dimensions of a voice with the help of Eq and reverb... how? " ContentLicense="CC BY-SA 3.0" />
  <row Id="17212" PostHistoryTypeId="2" PostId="10422" RevisionGUID="6989b39f-f85c-43e4-a94e-490e9a4281ef" CreationDate="2011-09-19T20:22:43.590" UserId="1012" Text="I currently work in Post Production, which can sometimes be a 9-5 gig... and sometimes be a nights and weekends gig.&#xD;&#xA;&#xD;&#xA;With my new interest in Game Audio I wonder... is the Game Audio industry much the same?  Worse? Better?  I am ok with working long hours here and there, but not all the time.  I need to recharge so I can be creative and enthusiastic. Also I have a wife and a son of whom I would like to spend time with.&#xD;&#xA;&#xD;&#xA;I wanna know what I am getting into.  Looking specifically into the Austin area which is already slowed down and chill compared to the D.C area.&#xD;&#xA;&#xD;&#xA;Anyone know what I should expect?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17213" PostHistoryTypeId="1" PostId="10422" RevisionGUID="6989b39f-f85c-43e4-a94e-490e9a4281ef" CreationDate="2011-09-19T20:22:43.590" UserId="1012" Text="Game Audio Culture" ContentLicense="CC BY-SA 3.0" />
  <row Id="17214" PostHistoryTypeId="3" PostId="10422" RevisionGUID="6989b39f-f85c-43e4-a94e-490e9a4281ef" CreationDate="2011-09-19T20:22:43.590" UserId="1012" Text="&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17215" PostHistoryTypeId="2" PostId="10423" RevisionGUID="8272e942-3590-497a-afe0-c8b192f707d2" CreationDate="2011-09-19T20:38:54.740" UserId="596" Text="hi,&#xD;&#xA;&#xD;&#xA;i'm working on a project that demands loads of tracks... for the first time i've reached the max number of tracks Logic can apparently handle - 255 - it won't let me add more tracks, which i need. my question might be stupid but - is the only way for me to continue working is to bounce the current mix and import it into a new project?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17216" PostHistoryTypeId="1" PostId="10423" RevisionGUID="8272e942-3590-497a-afe0-c8b192f707d2" CreationDate="2011-09-19T20:38:54.740" UserId="596" Text="logic 9 - max number of tracks " ContentLicense="CC BY-SA 3.0" />
  <row Id="17217" PostHistoryTypeId="3" PostId="10423" RevisionGUID="8272e942-3590-497a-afe0-c8b192f707d2" CreationDate="2011-09-19T20:38:54.740" UserId="596" Text="&lt;logic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17218" PostHistoryTypeId="2" PostId="10424" RevisionGUID="6a64ebc3-d6c3-4e00-994b-57dcfc436aa2" CreationDate="2011-09-19T20:42:31.840" UserId="730" Text="I worked a 30 hour shift a few weeks ago.  But that was for a deadline.  It just depends on how fast you can get your work done and how crazy the deadlines are.  But on average I would say it is not the normal 9-5.  Lots of late nights." ContentLicense="CC BY-SA 3.0" />
  <row Id="17219" PostHistoryTypeId="2" PostId="10425" RevisionGUID="bb1291a2-68e5-4422-9406-791836a88485" CreationDate="2011-09-19T20:46:41.537" UserId="400" Text="I've only been working in the industry for a month, but so far, because we're wrapping up a project, I've been doing roughly 55-60 hour weeks. I've been told it's 40 hours the rest of the time though, with flexibility on how you do those 40.&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="17220" PostHistoryTypeId="2" PostId="10426" RevisionGUID="2a124232-a89b-4b87-acdc-bc84d5aa9426" CreationDate="2011-09-19T21:42:16.583" UserId="936" Text="It can vary hugely. It ought to be 9-5 but is usually more and sometimes a lot more. Some companies actively discourage extended working hours and avoid crunch but there have been some famous examples (Rockstar, EA, etc.) where people worked a punishing schedule that included weekends for months on end." ContentLicense="CC BY-SA 3.0" />
  <row Id="17221" PostHistoryTypeId="2" PostId="10427" RevisionGUID="cbdecdd8-c050-4af6-bb4e-76bebf094332" CreationDate="2011-09-19T22:33:53.940" UserId="393" Text="If you're lucky enough to be an in-house sound guy -- which is rare; I only know of two or three here in SLC, and they work for Disney and EA -- you'll get standard 40-60 hour work weeks, until it's time for shipping, and then you're pretty much excepted to help in the crunch, which are absolute nightmares (and huge problem with the video game industry as a whole).&#xD;&#xA;&#xD;&#xA;If you're freelancing, which is pretty common for anyone doing game audio -- because it's really hard to justify a full-time sound person on staff -- you'll be doing the same thing as any audio guy.  Lots of ebb and flow, and a few sleepless nights closer to the deadline.&#xD;&#xA;&#xD;&#xA;It's sixes... If you're a decent freelancer, and can keep yourself busy, I'd stick with that.  If you're like me and have a hard time budgeting around an unsteady paycheck, an in house job is the way to go... if you can find one." ContentLicense="CC BY-SA 3.0" />
  <row Id="17222" PostHistoryTypeId="2" PostId="10428" RevisionGUID="e5269ba5-d687-4fa3-aca9-b81400ca5273" CreationDate="2011-09-19T22:38:28.170" UserId="393" Text="No, it's not the only way, but it's a valid way to go.  Bounce down a few tracks based on scenes and start a new project, then import the video and the new tracks -- it will suck for mixing, but you won't lose the old project.&#xD;&#xA;&#xD;&#xA;Another solution is to break your current project apart by scene -- it won't require bouncing down, and it will free up any other tracks that are being used by another scene.&#xD;&#xA;&#xD;&#xA;If your computer can handle it (and after 255 tracks, I can understand why it might not), consider ReWire options -- I've used both Ableton Live and Cockos Reaper in slave mode with varying levels of success.  Some programs, like Sonar, will require at least a stereo track for the i/o from the ReWire slave, which might mean cleaning up a couple tracks from your 255, but then it opens up a lot more.&#xD;&#xA;&#xD;&#xA;As for Logic-specific solutions... I'm a PC guy, so, I don't have any. Sorry." ContentLicense="CC BY-SA 3.0" />
  <row Id="17223" PostHistoryTypeId="2" PostId="10429" RevisionGUID="97a23153-8195-4104-8b32-f15ea83189b4" CreationDate="2011-09-19T22:40:02.253" UserId="2648" Text="Hi,&#xD;&#xA;&#xD;&#xA;Part of my performance includes recording and sampling sounds the audience makes during a break down (e.g. the audience singing / saying things together). This will be in indoor theatres with approximately 1500 people.&#xD;&#xA;&#xD;&#xA;Could anyone suggest the mics and mic configuration to capture the audience? &#xD;&#xA;&#xD;&#xA;I'll be using Ableton Live to take these and loop / replay the audience through the PA.&#xD;&#xA;&#xD;&#xA;This other posting was relevant, but I wasn't sure which configuration may be the best for capturing audible / distinct words being said by the audience (as opposed to the sound being ambient / distant):&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/7004/what-mic-set-up-would-you-use-to-capture-a-crowd&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17224" PostHistoryTypeId="1" PostId="10429" RevisionGUID="97a23153-8195-4104-8b32-f15ea83189b4" CreationDate="2011-09-19T22:40:02.253" UserId="2648" Text="Microphones to capture and sample audience sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17225" PostHistoryTypeId="3" PostId="10429" RevisionGUID="97a23153-8195-4104-8b32-f15ea83189b4" CreationDate="2011-09-19T22:40:02.253" UserId="2648" Text="&lt;audience&gt;&lt;microphone&gt;&lt;microphone-positioning&gt;&lt;microphone-technique&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17226" PostHistoryTypeId="2" PostId="10430" RevisionGUID="e2e03809-a8b0-4fe6-9a4b-0845e84eae5f" CreationDate="2011-09-19T22:56:56.153" UserId="558" Text="There is a degree of variance from studio to studio, but generally speaking, the work load is related to the game dev cycle.  &#xD;&#xA;&#xD;&#xA;In my experience there are 3 phases of game dev.  Pre-production, production and last few months before ship.  &#xD;&#xA;&#xD;&#xA;Pre-pro is about exploring ideas, trial and error with music and story, and developing systems/tools that make production more fruitful and efficient.  Well managed studios will put an audio person on at this time.  MANY do not.  This us usually a normal work period as far as hours go. &#xD;&#xA;&#xD;&#xA;Production is where most of the assets are created and put in the game.  Usually this is split into a series of 4-6 week milestones.  The beginning of each milestone is relatively normal.  At the end of the milestone you can expect evenings and maybe weekends.&#xD;&#xA;&#xD;&#xA;The last 'few' months of a project are long hours.  I put 'few' in quotes because EVERY SINGLE title i have ever worked on (12 or so years in game audio) has slipped its deadline at least once, and that slippage usually happens at the end.  it is very dependent on the studio/management of the project as to how this goes, but its always hairy.&#xD;&#xA;&#xD;&#xA;Another thing about game audio dev is that there is no &quot;audio Post&quot; period unlike in film/tv, where audio is the only team working on the title.  Very big changes occur up to the last minute that affect audio hugely (new areas of the game, new weapons or vehicles, big changes to art, new dialog/story elements....).  This makes predicting your workload very difficult.&#xD;&#xA;&#xD;&#xA;Personally i really like game audio, but the gratification is delayed.  I know audio leads that have worked on the same project for almost 10 years before it ships (that is the extreme), but game dev cycles are rarely less than a year and are more often 18-36 months depending on the size of the title.&#xD;&#xA;&#xD;&#xA;The above relates to in-house work&#xD;&#xA;&#xD;&#xA;dr " ContentLicense="CC BY-SA 3.0" />
  <row Id="17227" PostHistoryTypeId="2" PostId="10431" RevisionGUID="d135aaa0-9b1b-4eab-be13-a1c592d3c865" CreationDate="2011-09-20T00:11:02.900" UserId="444" Text="Recently I was recording a PASS device (Personal Alert Safety System) that is used in a firefighters SCBA (self-contained breathing apparatus). Using motion it alerts when a firefighter may be in trouble.  It emits a very loud and high pitched series of sounds.&#xD;&#xA;&#xD;&#xA;Most of my recordings are clean except for in a couple parts of the devices alerts.  &#xD;&#xA;&#xD;&#xA;[soundcloud]auddity/pass-device-distortion[/soundcloud]&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/auddity/pass-device-distortion&#xD;&#xA;&#xD;&#xA;I'm curious if more experienced ears can recognize the cause of this distortion. Is it my microphone or maybe the pre-amp on my recorder? &#xD;&#xA;&#xD;&#xA;Signal flow is a Rode NTG-2 into a Marantz PMD661. I also recorded it with a Sony M10, and that came out clean.&#xD;&#xA;&#xD;&#xA;I'm guessing that the mics condenser couldn't handle the frequency at such a high SPL.&#xD;&#xA;&#xD;&#xA;Other notes:  I was positioned apx 10-12 feet away from the PASS device (M10 was about 8-10ft away). The Marantz input never peaked.  It's meter went no higher then -6db. Also the sample linked was recorded in a live burn building, with metal walls concrete floor and wood barriers hanging about.&#xD;&#xA;&#xD;&#xA;Would like to know your thoughts.  Thank You." ContentLicense="CC BY-SA 3.0" />
  <row Id="17228" PostHistoryTypeId="1" PostId="10431" RevisionGUID="d135aaa0-9b1b-4eab-be13-a1c592d3c865" CreationDate="2011-09-20T00:11:02.900" UserId="444" Text="Can you help to identify the probable cause of this distortion?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17229" PostHistoryTypeId="3" PostId="10431" RevisionGUID="d135aaa0-9b1b-4eab-be13-a1c592d3c865" CreationDate="2011-09-20T00:11:02.900" UserId="444" Text="&lt;distortion&gt;&lt;high-frequency&gt;&lt;spl&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17230" PostHistoryTypeId="2" PostId="10432" RevisionGUID="19672cb6-778b-4ede-b76f-34357db1b152" CreationDate="2011-09-20T01:20:12.367" UserId="194" Text="yeah, sounds like the mic not being able to handle it.  actually an interesting sounding distortion to my ears, though that's probably no consolation to you.  :)&#xD;&#xA;&#xD;&#xA;I've actually had similar results with high spl recordings and shotguns.  I feel like even the much more expensive MKH60 doesn't give me very good results when the dbs get up above 120 or so.  &#xD;&#xA;&#xD;&#xA;**here's a purely unscientific and speculative guess as to why this is:**&#xD;&#xA;&#xD;&#xA;Shotgun mics use interference tubes to enhance directionality.  These work by allowing direct sound through the front of the tube unimpeded, and simultaneously rerouting off-axis sounds through the slots in the side of the tube - causing partial phase cancellation and reducing the apparent level of the re-routed off axis sounds in relation to the directly recorded on axis sounds.&#xD;&#xA;&#xD;&#xA;when you use a shotgun in a high-spl situation, the rerouting of the air may turn into actual acoustic distortion that occurs *before* the sounds hits the capsule.  This is probably doubly true with sine-wavy sources played at super high levels in reverberant spaces like yours.  &#xD;&#xA;&#xD;&#xA;this would also explain why your non-shotgun mic caught a clean recording.&#xD;&#xA;&#xD;&#xA;again that's just a guess, but if I were you I'd bring an omni to your next high spl adventure.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17231" PostHistoryTypeId="2" PostId="10433" RevisionGUID="532f41fc-45e2-495f-9976-2b4b3f694dcf" CreationDate="2011-09-20T04:04:10.120" UserId="300" Text="Personally I think it's cool, and in this case a touch of distortion's going to help it sound loud, which is the intended effect right?&#xD;&#xA;&#xD;&#xA;In terms of what might be happening technically, the analog stage can clip before the signal even gets in to the digital realm so those meters aren't necessarily telling the truth.. could it be that?&#xD;&#xA;&#xD;&#xA;Maybe try recording with an inline attenuator and see if that helps" ContentLicense="CC BY-SA 3.0" />
  <row Id="17232" PostHistoryTypeId="2" PostId="10434" RevisionGUID="f6895afd-61c8-412f-ada1-69fe006fb6d4" CreationDate="2011-09-20T05:51:31.107" UserId="407" Text="In my experience, it all depends on the culture of the studio, your boss and the publisher you are working for. If the project is well run and the audio department is well informed, and the publisher is happy with the games progress then you shouldn't have any surprises, which means you can pretty much control your own work flow to your specific requirements. As @David Rovin  said the problems come if the panic sets in for milestone deadlines or shipping, which can get quite hairy. From what I have heard, mobile game companies, or companies that have a high turnover of games usually have better time management skills than those doing AAA, because they more used to the routine of shipping." ContentLicense="CC BY-SA 3.0" />
  <row Id="17233" PostHistoryTypeId="2" PostId="10435" RevisionGUID="b9f37860-d466-433c-bc83-091106ee4092" CreationDate="2011-09-20T07:33:08.797" UserId="1266" Text="PT's Lo-Fi Plugin is not adequate for me at the moment.  I'm looking to get some juicy bit crushed sounds and I come up a mile short.  The best bit-crush that I have heard of is on Traktor the DJing software.  &#xD;&#xA;&#xD;&#xA;What bit-crusher does bring the heat?  Any free RTAS?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17234" PostHistoryTypeId="1" PostId="10435" RevisionGUID="b9f37860-d466-433c-bc83-091106ee4092" CreationDate="2011-09-20T07:33:08.797" UserId="1266" Text="Bit Crusher Plug for PT" ContentLicense="CC BY-SA 3.0" />
  <row Id="17235" PostHistoryTypeId="3" PostId="10435" RevisionGUID="b9f37860-d466-433c-bc83-091106ee4092" CreationDate="2011-09-20T07:33:08.797" UserId="1266" Text="&lt;plugin&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17236" PostHistoryTypeId="2" PostId="10436" RevisionGUID="cc91c013-96e5-48e4-89c7-3a0ab21f81d8" CreationDate="2011-09-20T07:55:20.620" UserId="547" Text="It looks/sounds very likely that the Rode ran out of power-rail headroom. It is highly unlikely that there was distortion &quot;in the air&quot;. This could only occur if the air particles were accelerated beyond the local speed of sound effectively creating mini sonic booms.&#xD;&#xA;&#xD;&#xA;Interesting concept though, does a shotgun body design either a) increase the air pressure modulation beyond 200 Pascals? b) increase the local temperature to cause increase in speed of sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17237" PostHistoryTypeId="2" PostId="10437" RevisionGUID="9c0203be-f30f-46ce-b255-3d41b0c3fa11" CreationDate="2011-09-20T08:12:46.523" UserId="6462" Text="Hi Carmine&#xD;&#xA;&#xD;&#xA;Sounds like you've done your research, and for the money you should be able to get some great sounds.&#xD;&#xA;&#xD;&#xA;I would however avoid the Rode blimp as it is much heavier than the Rycote blimps, perhaps have a look at the Rycote S-Series, it doesn't have a removable 'fluffy' cover but it's very light and extremely good. I have one with my Rode NTG-3 and use it all the time on the end of a boom pole. Plus it's pretty much the same price as the RODE blimp.&#xD;&#xA;&#xD;&#xA;As for the recorder, I have used the HD-P2 and it's a great recorder, but you might prefer the Edirol as it's slightly smaller, has 4 channels and from what I have heard has better battery life than the HD-P2. Speaking of battery life, I'd invest in a few sets of rechargeable batteries and a decent charger, will be much cheaper in the long run.&#xD;&#xA;&#xD;&#xA;Definitely see if you can get a pair of Sony MDR7506 headphones as they are fantastic. I've had a pair for about 6 years now and they are still going strong.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="17238" PostHistoryTypeId="2" PostId="10438" RevisionGUID="77c5808a-68f8-402d-9513-b6902e402b57" CreationDate="2011-09-20T09:45:24.323" UserId="300" Text="I loved pluggo's Degrader (cycling 74).. so crunchy..&#xD;&#xA;&#xD;&#xA;Alas they've thrown it on the scrap-heap, and it only sort of works with PT now as it's not been supported from v.7 I think.&#xD;&#xA;&#xD;&#xA;Depending on which version of Tools you're running it might work, but you'll have to be creative finding a copy because I don't think it's for sale. Worth it if you can get it though." ContentLicense="CC BY-SA 3.0" />
  <row Id="17239" PostHistoryTypeId="2" PostId="10439" RevisionGUID="d1f00acd-fdfb-414e-86a3-a39ed4f28790" CreationDate="2011-09-20T09:55:57.437" UserId="2" Text="**+decimate** by Tom Erbe is pretty rad: http://soundhack.henfast.com/freeware/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17240" PostHistoryTypeId="2" PostId="10440" RevisionGUID="63175703-02b4-4af5-870b-15fc6beeaa56" CreationDate="2011-09-20T11:26:05.890" UserId="578" Text="All the above is true when it comes to 'traditional' games developers that create titles which are released 'as is', in a finalised state (for instance on a disc, in a shop). As those kind of products have a hard deadline, the dev process tends to bottleneck towards a crunch period in the final few months which usually involves lots of long and crazy hours.&#xD;&#xA;&#xD;&#xA;There's however also a new-ish or different breed of dev studios who create games that are solely in the online space, and are released initially in a stripped down, beta-like version. Content is then added in stages, indefinitely. In this kind of work cycle, there's deadlines, but no massive deadline as such where everything needs to be done and dusted. In other words, the game is never shipped as such, but rather continuously iterated on, whilst it is accessible to the public. Probably the most famous example of a dev that works like this is Mojang (who created Minecraft), but they're not the only one.&#xD;&#xA;&#xD;&#xA;I've been working at a studio for the last 5 months which releases games in this way, and even though we're very busy and we're working hard to meet a continuous stream small deadlines (2 to 4 week cycles for new content that's being released, generally), it seems that this mode of operation avoids a true period of crunch. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17241" PostHistoryTypeId="2" PostId="10441" RevisionGUID="5a4711ea-f9f8-4748-9d30-bb4b1ca4d099" CreationDate="2011-09-20T13:23:44.817" UserId="578" Text="I'm going to respectfully disagree with most comments here to choose the R44 over the DR680. The DR680 has way better (and more) preamps. The R44 preamps are quite hissy. &#xD;&#xA;&#xD;&#xA;Battery life between the two is about similar. The R44 has a more solid build quality, but if you're careful with the DR680 you will be fine. The metering and display on the R44 are a bit better, but if it was me, I would choose preamps over metering. The fact is that in this price range, you won't get a 'perfect' recorder. &#xD;&#xA;&#xD;&#xA;So, the DR680 isn't perfect, but out of the options you've given, I'd say it is easily the best bang for buck, due to its quiet and ample preamps (6 analog, 2 digital). Get a battery pack for it such as a Tekkeon MP3450, put it safely in a good bag, and you're all set.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17242" PostHistoryTypeId="5" PostId="10441" RevisionGUID="c9af1f32-59c7-4bfa-8111-58125c73c10b" CreationDate="2011-09-20T13:29:17.000" UserId="578" Comment="added 395 characters in body; deleted 1 characters in body" Text="I'm going to respectfully disagree with most comments here to choose the R44 over the DR680. The DR680 has way better (and more) preamps. The R44 preamps are quite hissy. &#xD;&#xA;&#xD;&#xA;Battery life between the two is about similar. The R44 has a more solid build quality, but if you're careful with the DR680 you will be fine. The metering and display on the R44 are a bit better, but if it was me, I would choose preamps over metering. The fact is that in this price range, you won't get a 'perfect' recorder. &#xD;&#xA;&#xD;&#xA;So, the DR680 isn't perfect, but out of the options you've given, I'd say it is easily the best bang for buck, due to its quiet and ample preamps (6 analog, 2 digital). Get a battery pack for it such as a Tekkeon MP3450, put it safely in a good bag, and you're all set.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Bear in mind, that even though a DR680 has quiet preamps, if you were to use it with a NTG-1 you will hear the mic self noise, which is rated at 18dBA - meaning it will definitely be audible on quiet source material. However, it's safe to assume that you will buy higher quality microphones down the line, therefore having a recorder with quiet preamps will suit you better in the long run.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17243" PostHistoryTypeId="2" PostId="10442" RevisionGUID="99b7aadc-35d8-441b-b8f4-ae3ef5cb6087" CreationDate="2011-09-20T17:20:52.517" UserId="1090" Text="If you're going to need spot mics for audible words and sentences, you're going to need a lot of mics :/ Do you know who in the audience will say what? &#xD;&#xA;&#xD;&#xA;If I were you, I'd get ahold of some used large diaphragm mics that are omni or one that can switch patterns. Like the RODE NT2A for example, and place them in certain spots in the audience, or hang them in the ceiling in some way.&#xD;&#xA;&#xD;&#xA;If all you want is a loud audience saying stuff, I'd put some stereo pairs in different configurations on the stage.. or get a couple of handheld recorders like Zoom H2n and use the different capture settings. &#xD;&#xA;&#xD;&#xA;Sounds like a cool project! Have fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17244" PostHistoryTypeId="2" PostId="10443" RevisionGUID="0d8e82c2-669e-4a03-9aaf-0e64fbd92a1f" CreationDate="2011-09-20T18:38:48.003" UserId="168" Text="In addition to what has already been said:&#xD;&#xA;&#xD;&#xA;How you record the voice is also important: position and placement of the microphone. It's tougher to get it to sound correct with post processing if the mic is too close or too far away. Not impossible, but tough.&#xD;&#xA;&#xD;&#xA;If you have control over the recording process, try and get it right at the source. Or record with multiple microphones if you aren't sure.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17245" PostHistoryTypeId="2" PostId="10444" RevisionGUID="cfcdbf7b-c086-4db2-9601-f20fd960884e" CreationDate="2011-09-20T19:44:05.330" UserId="868" Text="When I record concerts, I like to put a pair of shotguns on the lip of the stage, to get the front row singing along.  I usually use this in conjunction with other mics placed over the audience.&#xD;&#xA;&#xD;&#xA;I want to warn you of a potential problem I see.  If I understand what you are doing, there is a great risk of feedback if you feed the audience back into the room especially through delays with any amount of feedback on them.  This is due to a build up of the rooms resonant frequencies." ContentLicense="CC BY-SA 3.0" />
  <row Id="17246" PostHistoryTypeId="2" PostId="10445" RevisionGUID="71e122fa-805c-4e9a-a440-b34380e80a46" CreationDate="2011-09-20T22:29:24.400" UserId="435" Text="Hey guys.&#xD;&#xA;&#xD;&#xA;I'm trying to record/design some dog footsteps. any suggestions? I dont have a dog and havent seen a dogs feet for a while but from what I remember their quite hardened, kind of plasticy sounding..??" ContentLicense="CC BY-SA 3.0" />
  <row Id="17247" PostHistoryTypeId="1" PostId="10445" RevisionGUID="71e122fa-805c-4e9a-a440-b34380e80a46" CreationDate="2011-09-20T22:29:24.400" UserId="435" Text="Foley: Dog Feet" ContentLicense="CC BY-SA 3.0" />
  <row Id="17248" PostHistoryTypeId="3" PostId="10445" RevisionGUID="71e122fa-805c-4e9a-a440-b34380e80a46" CreationDate="2011-09-20T22:29:24.400" UserId="435" Text="&lt;foley&gt;&lt;footsteps&gt;&lt;animals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17249" PostHistoryTypeId="2" PostId="10446" RevisionGUID="56a5f73e-943d-4c5a-92f2-b181177f6abf" CreationDate="2011-09-20T22:42:11.017" UserId="999" Text="If you're looking for a quick way to do it, I think you can get an effective sound by taping a small piece of paper to the end of your fingers and also taping paper clips onto your nails for the claws!&#xD;&#xA;&#xD;&#xA;And mic nice and close!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17250" PostHistoryTypeId="2" PostId="10447" RevisionGUID="6e34b67e-950e-4eb8-b059-2556cf4ab27d" CreationDate="2011-09-20T22:57:16.950" UserId="315" Text="Leather work gloves with Lee Press On Nails glued to them.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="17251" PostHistoryTypeId="2" PostId="10448" RevisionGUID="c5540dec-ed27-47ca-a021-71e2f7f8a3e7" CreationDate="2011-09-20T23:09:44.967" UserId="6600" Text="Something you may have already tried but doesn't seem to have come up yet - reverse the vocal sample, bounce it with reverb on and then reverse the resulting audio back again to get that classic haunting vocal sound.  The longer the decay on the reverb you use in this process, the longer the rise into the actual spoken phrase will be.&#xD;&#xA;&#xD;&#xA;You could also try putting a fairly strong reverb on the vocal sample and then running it through a white noise vocoder setting to get a sort of breathy feel to it.  Guess that one could be a bit hit and miss though.&#xD;&#xA;&#xD;&#xA;Re the Dark Knight continually ascending sine wave thing, I don't know what technique they used but it sounds a lot like a Shepards Scale to me - see here:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Shepard_tone&#xD;&#xA;&#xD;&#xA;Also I second Paul Stretch :)&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17252" PostHistoryTypeId="2" PostId="10449" RevisionGUID="eead1928-03cb-4d6d-aeb2-48e7c81a6795" CreationDate="2011-09-20T23:27:23.750" UserId="2678" Text="You can alternate vocal screams between reversed and normal a the same time logarithmically change pitch and time duration." ContentLicense="CC BY-SA 3.0" />
  <row Id="17253" PostHistoryTypeId="2" PostId="10450" RevisionGUID="b76ae48d-9d14-40f8-9b67-5ecc4e58802b" CreationDate="2011-09-20T23:29:05.547" UserId="2678" Text="I heard a dog nailing along a concrete path yesterday.  Plastic on concrete, +1 to the gloves approach." ContentLicense="CC BY-SA 3.0" />
  <row Id="17254" PostHistoryTypeId="2" PostId="10451" RevisionGUID="0eaa0c6a-c9c2-4793-bf79-fb67ba88df55" CreationDate="2011-09-20T23:31:28.373" UserId="2678" Text="I would hang some shot guns or point them at various parts throughout the crowd.  Maybe use a PZM or contact mic somewhere in a resonant tube or catch the crowd from an omni ldc in the middle.  Combine it all." ContentLicense="CC BY-SA 3.0" />
  <row Id="17255" PostHistoryTypeId="2" PostId="10452" RevisionGUID="59b057bf-0bce-46d8-86fc-8b15b5633e38" CreationDate="2011-09-21T00:18:54.410" UserId="2681" Text="chicken feet or pigs trotters" ContentLicense="CC BY-SA 3.0" />
  <row Id="17256" PostHistoryTypeId="2" PostId="10453" RevisionGUID="0d7e3226-a659-4165-9530-5831eb389d23" CreationDate="2011-09-21T02:37:47.510" UserId="2682" Text="I that not to long ago. i used leather gloves with plastic spoons taped to my fingernails. Works fine. On another note  dogs are a bit difficult for perfect sync. 4 feet.  I found that the easiest approach is to sync the feet you see when the dog starts walking and stops walking, everything in between is more about rhythm than sync. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17257" PostHistoryTypeId="2" PostId="10454" RevisionGUID="86d33072-729b-4638-8622-ae5acb80b625" CreationDate="2011-09-21T04:26:42.460" UserId="1266" Text="I'm sitting here wondering about how all these drones and atmospheres are made.  Lots of sounds actually. &#xD;&#xA;&#xD;&#xA;It seems like sometimes the answer is always &quot;reverb.&quot;&#xD;&#xA;Reverb seems to pervade thousands of techniques in sound design from drones, beds, atmospherics, wind etcetera etcetera.  &#xD;&#xA;Is it all so simple?  Is reverb such a great solution that it still never is a faux pas?  It is not cliche?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17258" PostHistoryTypeId="1" PostId="10454" RevisionGUID="86d33072-729b-4638-8622-ae5acb80b625" CreationDate="2011-09-21T04:26:42.460" UserId="1266" Text="Could the secret ingredient or solution be as simple as reverb?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17259" PostHistoryTypeId="3" PostId="10454" RevisionGUID="86d33072-729b-4638-8622-ae5acb80b625" CreationDate="2011-09-21T04:26:42.460" UserId="1266" Text="&lt;reverb&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17260" PostHistoryTypeId="2" PostId="10455" RevisionGUID="d7c178ac-a8b0-4e78-a3a0-2b9ef030099e" CreationDate="2011-09-21T04:36:15.080" UserId="6669" Text="Well, it takes the sound you've been working on and starts to simulates how it'd behave in a real acoustic space.&#xD;&#xA;&#xD;&#xA;When you look at it that way, it's tough to think of any more powerful tricks to use to bring something to life!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17261" PostHistoryTypeId="2" PostId="10456" RevisionGUID="0836cc84-254a-4d53-bc21-27f0cb18776f" CreationDate="2011-09-21T04:37:26.967" UserId="18160" Text="The way I learned about reverb was by mixing music.&#xD;&#xA;&#xD;&#xA;It shouldn't be a crutch. You should get your sound the way you want it and then you put it on as icing on the cake. You make your cake out of the other ingredients and the final touch is the icing.&#xD;&#xA;&#xD;&#xA;That said, there are scenarios where you need to use reverb as 90 percent of the sound you've designed and that's totally fine, too.&#xD;&#xA;&#xD;&#xA;It just depends on what your source is and what you're trying to get to. A drone? Sure, reverb can do wonders to make sounds like that - especially if you use lightning or other obscure IRs for your reverb.&#xD;&#xA;&#xD;&#xA;And it can be as cliche as you make it - a long decayed bright plate can sound totally 80s,&#xD;&#xA;&#xD;&#xA;But on the other hand, an M6000 Small Room can add space and realness to FX like nothing else and I use it all the time without anyone noticing there was verb placed on it in the first place,&#xD;&#xA;&#xD;&#xA;A dying 480L can spit out some of the most awesome distortion you've ever heard.&#xD;&#xA;&#xD;&#xA;It depends on taste. I've seen the same reverb used by two different people and the first made it sound as tacky and tasteless as a 80s rock snare reverb, and the other person added just the right amount for the right situation and it was perfect. It's back to context at that point. You need to learn what scenarios call for it and don't call for it.&#xD;&#xA;&#xD;&#xA;I suggest listening to how Bruce Swedien uses reverbs. His work on the album Thriller has yet to be topped by modern engineers - and Bruce mixed it in the 80s. I would put Beat It or Thriller up against any of the modern Lil' Wayne or other such artists and I think you'll find Bruce's work still holds it's own as sounding &quot;modern&quot; and not cliche." ContentLicense="CC BY-SA 3.0" />
  <row Id="17262" PostHistoryTypeId="5" PostId="10456" RevisionGUID="6890f22b-144d-4d03-abe3-1610f4314e38" CreationDate="2011-09-21T04:44:11.257" UserId="18160" Comment="added 231 characters in body; added 10 characters in body; deleted 25 characters in body" Text="The way I learned about reverb was by mixing music.&#xD;&#xA;&#xD;&#xA;It shouldn't be a crutch. You should get your sound the way you want it and then you put it on as icing on the cake. You make your cake out of the other ingredients and the final touch is the icing.&#xD;&#xA;&#xD;&#xA;That said, there are scenarios where you need to use reverb as 90 percent of the sound you've designed and that's totally fine, too.&#xD;&#xA;&#xD;&#xA;It just depends on what your source is and what you're trying to get to. A drone? Sure, reverb can do wonders to make sounds like that - especially if you use lightning or other obscure IRs for your reverb.&#xD;&#xA;&#xD;&#xA;And it can be as cliche as you make it - a long decayed bright plate can sound totally 80s,&#xD;&#xA;&#xD;&#xA;But on the other hand, an M6000 Small Room can add space and realness to FX like nothing else and I use it all the time without anyone noticing there was verb placed on it in the first place,&#xD;&#xA;&#xD;&#xA;A dying 480L can spit out some of the most awesome distortion you've ever heard.&#xD;&#xA;&#xD;&#xA;It depends on taste. I've seen the same reverb used by two different people and the first made it sound as tacky and tasteless as a 80s rock snare reverb, and the other person added just the right amount for the right situation and it was perfect. It's back to context at that point. You need to learn what scenarios call for it and don't call for it. And, you need to learn how to use it. Pre fader? post fader? compressed into the verb unit? compressed out of the verb unit? notched or filtered or delayed after it hits it? Many different choices which make many different sounds.&#xD;&#xA;&#xD;&#xA;I suggest listening to how Bruce Swedien uses reverbs. His work on the album Thriller has yet to be topped by modern engineers - and Bruce mixed it in the 80s. I would put Beat It or Thriller up against any of the modern artists and I think you'll find Bruce's work still holds it's own as sounding &quot;modern&quot; and not cliche &quot;80s pop&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="17263" PostHistoryTypeId="5" PostId="10456" RevisionGUID="07d52d16-e2af-4140-8f70-d2fccd965b53" CreationDate="2011-09-21T04:49:49.213" UserId="18160" Comment="added 105 characters in body" Text="The way I learned about reverb was by mixing music.&#xD;&#xA;&#xD;&#xA;It shouldn't be a crutch. You should get your sound the way you want it and then you put it on as icing on the cake. You make your cake out of the other ingredients and the final touch is the icing.&#xD;&#xA;&#xD;&#xA;That said, there are scenarios where you need to use reverb as 90 percent of the sound you've designed and that's totally fine, too.&#xD;&#xA;&#xD;&#xA;It just depends on what your source is and what you're trying to get to. A drone? Sure, reverb can do wonders to make sounds like that - especially if you use lightning or other obscure IRs for your reverb.&#xD;&#xA;&#xD;&#xA;And it can be as cliche as you make it - a long decayed bright plate can sound totally 80s,&#xD;&#xA;&#xD;&#xA;But on the other hand, an M6000 Small Room can add space and realness to FX like nothing else and I use it all the time without anyone noticing there was verb placed on it in the first place,&#xD;&#xA;&#xD;&#xA;A dying 480L can spit out some of the most awesome distortion you've ever heard.&#xD;&#xA;&#xD;&#xA;It depends on taste. I've seen the same reverb used by two different people and the first made it sound as tacky and tasteless as a 80s rock snare reverb, and the other person added just the right amount for the right situation and it was perfect. It's back to context at that point. You need to learn what scenarios call for it and don't call for it. And, you need to learn how to use it. Pre fader? post fader? compressed into the verb unit? compressed out of the verb unit? notched or filtered or delayed after it hits it? is it gated? reversed? pitched? printed and placed with 3 seconds of pre-delay? early reflections added? Many different choices which make many different sounds.&#xD;&#xA;&#xD;&#xA;I suggest listening to how Bruce Swedien uses reverbs. His work on the album Thriller has yet to be topped by modern engineers - and Bruce mixed it in the 80s. I would put Beat It or Thriller up against any of the modern artists and I think you'll find Bruce's work still holds it's own as sounding &quot;modern&quot; and not cliche &quot;80s pop&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="17264" PostHistoryTypeId="12" PostId="10456" RevisionGUID="c751fb0f-e83b-4749-a986-688ed749177e" CreationDate="2011-09-21T05:10:55.313" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="17265" PostHistoryTypeId="2" PostId="10457" RevisionGUID="408f5063-b9cd-4934-98af-a3a7b8cf49a0" CreationDate="2011-09-21T05:46:47.143" UserId="2685" Text="Since my major (music production) is relatively new (only 1 year old), I was wondering what does it take to be a sound designer in the video game industry. I am only a year away from graduating and I want to try to be as competitive as possible, except that my university doesn't have the necessary courses that other universities that have recording majors so I am limited in that respect." ContentLicense="CC BY-SA 3.0" />
  <row Id="17266" PostHistoryTypeId="1" PostId="10457" RevisionGUID="408f5063-b9cd-4934-98af-a3a7b8cf49a0" CreationDate="2011-09-21T05:46:47.143" UserId="2685" Text="What does it take to be a sound designer in the video game industry?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17267" PostHistoryTypeId="3" PostId="10457" RevisionGUID="408f5063-b9cd-4934-98af-a3a7b8cf49a0" CreationDate="2011-09-21T05:46:47.143" UserId="2685" Text="&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17268" PostHistoryTypeId="2" PostId="10458" RevisionGUID="1862d561-8e77-4db7-a0ac-f02723a1cf3e" CreationDate="2011-09-21T06:06:36.897" UserId="407" Text="Experience and Passion. Not necessarily paid experience, but you must be able to show that you understand how games work and how to design sounds for them. Also be able to talk about them, so play alot! Passion because game studios run on passion, no one is in it for the money ;) you've got to love what you do, and drive yourself and other team members to make better games." ContentLicense="CC BY-SA 3.0" />
  <row Id="17269" PostHistoryTypeId="2" PostId="10459" RevisionGUID="e3e48106-69b4-45f8-bfb0-d1c68b89fafa" CreationDate="2011-09-21T07:26:44.737" UserId="238" Text="There is a lot of work that goes into making these types of sounds. If there was a simple, one answer fits all solution to how this is done, many people would find themselves out of a job! Reverb is certainly something that is incorporated into many sounds but that's because it is a natural sonic effect that occurs all around us, all of the time. A dry sound just doesn't sound natural to our ears and, thus, stands out. &#xD;&#xA;&#xD;&#xA;Although I agree that artificial reverb can be applied creatively to manipulate a sound, I think the most essential element in terms of quality still remains **the raw sound**. Try adding reverb to a poorly recorded sound and you'll still end up with a poorly recorded sound! " ContentLicense="CC BY-SA 3.0" />
  <row Id="17270" PostHistoryTypeId="2" PostId="10460" RevisionGUID="281f6108-1a98-4b0b-89f3-327e68635746" CreationDate="2011-09-21T08:10:12.640" UserId="842" Text="No, not by far. Like with everything else in design, you must use what you use for a reason, and that reason must be that that particular effect brings forth what you need that very moment.&#xD;&#xA;&#xD;&#xA;Don't get me wrong, reverb is in my opinion one of the absolutely most useful effects whatsoever, not counting EQ, compressor/limiter and Gate, as they're not effects at all (they're filter and dynamic processors). Reverb is often the one thing to connect different sound so they sound like they're in the same location, and by using more unnatural kinds of reverb, like plate, old digital ones and spring for example, you can make pretty nifty effects on many kinds of non-diegetic sounds.&#xD;&#xA;But it is EXTREMELY easy to mud up the entire mix by slabing on too much reverb, making the entire project totally impossible to mix.&#xD;&#xA;&#xD;&#xA;The kind of sounds I think of as best suited for reverb as nothing but effect right now is first and foremost stingers and swooshes. Both non-diegetic, and doesn't therefore need to be based in reality at all. Actually, it's not uncommon that stingers are heavily based in reverb in total, but you must be careful so it doesn't collide with anything important. I got an entire sound effect-disc with swooshes and such from a producer I know (yes, a retail disc bought for money) that I can't use at all as it's drowned in heavy and diffusing reverb :-(&#xD;&#xA;I also sometimes use light unnatural reverbs to highlight specific diegetic sounds, but then I must be very careful or it will sound ridiculous.&#xD;&#xA;&#xD;&#xA;I can't say how others do, its all a matter of opinion, but I never ever use reverb on exterior ambiances/BG's, though I have used very light reverb on a few interior ambiances to make them match up better with the dialogue, but that's only if I can't really make it worm any other way. Interior wind will need a reverb well matched to the surroundings, but exterior it att depends on what kind of sound you use to make the wind.&#xD;&#xA;&#xD;&#xA;On drones I am VERY careful with reverb, depending on if I use it at all. Most drones are low-pitched and ominous, on these the only reverb I use is mostly the natural one I got in the original files, it's hard to get a bassy reverb to work. It's tricky to get different bass-sounds to come together without sounding bad, in drones I prefer to have the low rumble totally independent so I can have good control over it. On higher drones, on the other hand, I often use different kinds of echo, but then, still, mostly to fatten things up in the more neutral mid's. I hate impulse-reverbs on drones...&#xD;&#xA;&#xD;&#xA;This is just my normal way of doing things, there are at least as many opinions on how to do things as there are designers, but it practically always comes down to this; thoughtless and unnecessary reverbs tends to destroy a lot. Use your ears and don't over-do it. It's an art to use reverb creatively, it can both kill a project, but also make it come alive and give dimensions to it. It is indeed an ingredient for giving the project the illusion of unity, but it is nothing but a spice, and like regular spices you must use them with good taste and judgment :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17271" PostHistoryTypeId="2" PostId="10461" RevisionGUID="fe889f53-2992-4aa0-ac50-cda74e07e2a6" CreationDate="2011-09-21T08:31:58.973" UserId="1117" Text="i tried to search, but not much luck.&#xD;&#xA;&#xD;&#xA;hey,&#xD;&#xA;i have noticed some people on the internet suggest buying a PTHD9 license on ebay rather than buying PT9 (as for the price you get the feature set of PT9 + the complete production toolkit) for roughly the same price as PT9 by itself.&#xD;&#xA;&#xD;&#xA;now, im still a student for a few more weeks and i could get PT9 for roughly $300AUD. but is it worth paying a bit more to get basically the CPTK, i understand you dont get the HD only features without the hardware.&#xD;&#xA;&#xD;&#xA;it just seems a little dodgey to me to buy a HD licence and then have them transfer the ilok code to you or whatever they do. and i kinda think it will be better to go full legit and just buy the PT9. &#xD;&#xA;&#xD;&#xA;BTW im on a MBP 2010 and its more for learning and stuff at home. so i guess the features you get with the CPTK wont be necessary straight away but would be nice maybe for the future.&#xD;&#xA;&#xD;&#xA;thanks heaps&#xD;&#xA;Jamie" ContentLicense="CC BY-SA 3.0" />
  <row Id="17272" PostHistoryTypeId="1" PostId="10461" RevisionGUID="fe889f53-2992-4aa0-ac50-cda74e07e2a6" CreationDate="2011-09-21T08:31:58.973" UserId="1117" Text="Pro tools 9 HD  or PT9 on MBP" ContentLicense="CC BY-SA 3.0" />
  <row Id="17273" PostHistoryTypeId="3" PostId="10461" RevisionGUID="fe889f53-2992-4aa0-ac50-cda74e07e2a6" CreationDate="2011-09-21T08:31:58.973" UserId="1117" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17274" PostHistoryTypeId="2" PostId="10462" RevisionGUID="b53d46f8-7cea-46a5-8f8a-14fc13b9f9bc" CreationDate="2011-09-21T11:36:47.480" UserId="842" Text="My favorite for this is very soft lamb-skin gloves (so there will be no creaks) with paper clips on all fingers :-)&#xD;&#xA;It's no problem simulating a quadrupedal animal as they do not set down more than one foot at a time while walking. Even for running in full speed, no animal puts down more than two feet at the same time, that includes jumping. When jumping, a take off starts with the fore legs taking off first, followed by both the hind-legs pushing off, lifting at the same time, with a slight scratch in the ground. When landing, as far as I remember right now, both forefeet enter at the same time, taking most of the impact thus being a little harder, followed by the hind-feet, but here it seems a little different from individual to individual how they land. My old Golden Retriever used to land first with both forefeet no matter what kind of jump, but when hopping down from the sofa she used to still have one paw left in it while taking support with the first hind-paw, then when stabilized, she put down the other as well. Seems like smaller dogs generally tends to move more symmetrically than bigger, though it might just be the dogs I know behaving that way. Though I seriously doubt that :-)&#xD;&#xA;&#xD;&#xA;Remember, it's less of what you use as props and more how good you are to mimic dog-walk that nails if it looks convincible or not :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17275" PostHistoryTypeId="2" PostId="10463" RevisionGUID="85006239-90a9-4d58-aba0-920c2675039b" CreationDate="2011-09-21T12:17:08.367" UserId="842" Text="I'm not 100% sure, I only have two inputs on the recorder I use right now and normally build my crowds with a combination of mostly mono-files, with both X/Y, ORTF and A-B added to the mix as I feel it fits for the scene, but I do have a pretty clear view of how I would probably do, considering the mikes I have:&#xD;&#xA;&#xD;&#xA;First, a pair of Sennheiser MKH 40 cardioid mics in ORTF 90 degree-formation perfectly centered from the crowd, hanging from the ceiling, pointing at the the middle of the front half of the crowd. I chose the ORTF over X/Y as I actually do not want a center here, this sounds like a bigger event than, for example, a club, and in that case a center tends to narrow the place down.&#xD;&#xA;&#xD;&#xA;Then a pair of Octava 012 in A-B formation, on each side of the scene, pointing pretty much like the Sennheisers, with an angle of 90 degrees between them (they should be way to far apart to risk phasing from this distance). The octavas are a lot more fuzzy than the sennheisers, but give a very good body to the sound :-)&#xD;&#xA;&#xD;&#xA;I assume there are at least 6 channels to play with here as you wanna have distinct voices in the mix, so the final two channels I use for two Sennheiser MKH 416. As I've kept the MKH 40's and MC 012 quite distant, phasing SHOULDN'T be an issue with the 416's now. Actually, that's why I've chosen lobar-mics here, normally I use the 416's from a distance high above (like the character an clarity of 'em)!&#xD;&#xA;The 416's I would position facing right ahead, about in the middle of the different stereo-pairs on each side.&#xD;&#xA;&#xD;&#xA;I'm not totally sure about phasing with the shotguns in this configuration, but should you use it and get phasing after all, just try different position till you get one that works :-)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17276" PostHistoryTypeId="2" PostId="10464" RevisionGUID="c274d3dd-c4f7-4166-86fc-b22b36710b7e" CreationDate="2011-09-21T12:52:44.893" UserId="936" Text="Spore famously used PD as their audio engine but it took a hell of a lot of work to get to play nice in a game context. The problem is that PD isn't made to be IO efficient, it works great standalone but in a game there's a whole load of processing and memory requests, making them operate in an orderly fashion is all part of a game programmer's job (particularly on a PS3 where performance can differ dramatically depending on how optimised the code is).&#xD;&#xA;&#xD;&#xA;So the bottom line is there are usually better ways to achieve what you want in a game context without using PD unless you're prepared to a lot of re-coding. However as a environment to test audio ideas, it's great.&#xD;&#xA;&#xD;&#xA;I've been working with Andy Farnell on a few projects and there are times where we've deliberately avoided PD and gone with other solutions for exactly the reasons above.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17277" PostHistoryTypeId="2" PostId="10465" RevisionGUID="3efbf6f8-f053-433f-91f4-ed9c3b00218f" CreationDate="2011-09-21T13:13:23.033" UserId="842" Text="You do get a working compressor from an impulse-set, but it's FAR from the real McCoy I'm afraid. To actually get a faithful reproduction of a compressor you need to see exactly what settings it has that will color the sound, and then sample it in all possible configurations. &#xD;&#xA;&#xD;&#xA;Ofcourse, I doubt most IR-compressors are actually very comprehensive, and the ones I've tried was rather boring, but if there are a specific sound you want &amp; don't really care for a more personal touch or effing wildly with the settings (which is something at least I finds extremely creative occasionally), then it´s an easy and cheap way to go.&#xD;&#xA;&#xD;&#xA;Many earlier compressors didn't have any other settings than input and output, in these cases it's much easier. But still needs a good set of different levels for the output-IR's.&#xD;&#xA;&#xD;&#xA;I love my convolution reverbs a lot, but when it comes to compressors and filters, I will continue using plugins and hardware. Much of my personal style as a designer comes from finding the personality and strengths of my (mostly) outboard equipment, both things normally considered good as well as flaws, I can use as tools in my creativity. To capture these things you must know full well what you want before you do the capture, and that pretty much kills the whole idea of exploiting the stuff as hard as possible to begin with...&#xD;&#xA;&#xD;&#xA;Haven't used any in a long time though, so chances are they might have grown better with calculating the middle settings, but I still prefer hardware, I use imperfection in my search for perfection." ContentLicense="CC BY-SA 3.0" />
  <row Id="17278" PostHistoryTypeId="2" PostId="10466" RevisionGUID="eaa2c047-2a9c-4e6e-a621-0b9bc62e4c80" CreationDate="2011-09-21T14:22:55.863" UserId="6524" Text="Sorry for asking a questions in your question, but how can you replicate something like this?&#xD;&#xA;&#xD;&#xA;[soundcloud]stephensaldanha/the-bichon-buzzer[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="17279" PostHistoryTypeId="2" PostId="10467" RevisionGUID="4e447737-14fe-43a7-9f0f-ead657e11714" CreationDate="2011-09-21T14:36:20.830" UserId="1060" Text="Have you heard of the Nebula vst plugin (http://www.acustica-audio.com/)?  It features something akin to dynamic IRs called &quot;Vectorial Volterra Kernels&quot;.  The net effect is that it can model non-linear effects and signal paths.  I've tried it out; some aspects are amazing, some are not quite what you hope.  But it's certainly worth a try... plus there's a free version.  &#xD;&#xA;&#xD;&#xA;Compressors do indeed work, but sound best at subtle settings.  Also, there are some amazing 3rd party models of different console signal paths that work quite well.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17280" PostHistoryTypeId="2" PostId="10468" RevisionGUID="966de0c5-4baa-49af-b89f-0ed608803204" CreationDate="2011-09-21T14:49:44.430" UserId="393" Text="From what I've read -- days ago, when I was creating my first impulse responses -- you can't technically get a compressor IR to work.  Sure, you can get it's coloring, but it will never actually compress -- that's just the science of convolution." ContentLicense="CC BY-SA 3.0" />
  <row Id="17281" PostHistoryTypeId="2" PostId="10469" RevisionGUID="844b8413-7a63-455f-808c-9ac2b990dd11" CreationDate="2011-09-21T15:03:26.207" UserId="393" Text="I absolutely love reverb for atmos, though it's either applied like salt or I pour it on like chocolate syrup: very little, or quite a bit more than I probably should.&#xD;&#xA;&#xD;&#xA;The best thing I've found for atmos and drones, though, is [Paul's Extreme Sound Stretch][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hypermammut.sourceforge.net/paulstretch/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17282" PostHistoryTypeId="2" PostId="10470" RevisionGUID="c994e84d-84af-4e19-b429-cbf622c3df1e" CreationDate="2011-09-21T16:08:52.943" UserId="6487" Text="I keep running into a block when searching sound design positions for gaming in that they continue to require knowledge of FMOD, Wwise, or even C++ experience.  They require this even if the position does not require sound implementation.  I assume they just want you to have experience in how it is done in order to communicate with the implementator." ContentLicense="CC BY-SA 3.0" />
  <row Id="17283" PostHistoryTypeId="2" PostId="10471" RevisionGUID="d7249102-b492-42fc-b477-1fbcaf54a7d2" CreationDate="2011-09-21T18:54:46.453" UserId="6411" Text="I recently purchased a DOA MBox 2 Mini and CPTK1 license specifically for the upgrade path to PT9 + CPTK2. It saved me about $800US. iLok licenses were transferred and re-registered to my account. It was a completely legit transaction, everything runs smoothly, it just required a little bargain hunting.&#xD;&#xA;&#xD;&#xA;For me, the features you get with the CPTK are worth the upgrade for the higher track count, VCAs, advanced automation / editing modes, and the proposed &quot;seamless&quot; integration with HD systems (I have yet to personally put this feature into action). The one disappointment was that I'll have to purchase the Neyrink and X-Form plug-ins as they weren't included with the CPTK1 license that I bought. So if you go the upgrade route, be certain of what you are and aren't purchasing.&#xD;&#xA;&#xD;&#xA;If you're simply trying to learn, I'd say save your money and just go with PT9. Learning the fundamentals &amp; core functionality of the system should be priority one. After you have mastered that (and possibly earned a little money off your knowledge)  continue down the path to expand your knowledge and toolset." ContentLicense="CC BY-SA 3.0" />
  <row Id="17284" PostHistoryTypeId="2" PostId="10472" RevisionGUID="432ab819-1aa6-40ab-bde0-8d2323cec33d" CreationDate="2011-09-21T21:36:10.543" UserId="432" Text="The biggest differences between 9(HD) and 9 with the CPTK are TDM processing, input monitoring, system latency, and reliable track count.&#xD;&#xA;&#xD;&#xA;TDM processing is great for mixing, but you will obviously pay more for it. You will also pay more for plug-ins that are designed to work with the TDM chips versus what you would for RTAS/Native plug-ins. Input monitoring is useful, but not game changing (bigger in the music community than in the post/design community). System latency is system latency. It goes (from lowest to highest): TDM HD, HD Native, Native. As for track count, this is going to be dictated by your system. Even TDM HD systems have track counts that are limited by the number of TDM cards you have.&#xD;&#xA;&#xD;&#xA;To put this in perspective, I have a session that I've run at both home (PT9+CPTK) and work (TDM HD3 system), and neither one can run the full track count. I've had plans to break it out for more detailed pre-mixes anyways, but it was an interesting test.&#xD;&#xA;&#xD;&#xA;As far as eBay purchases go, you have to be EXTREMELY careful. Most of the HD systems that you are seeing up for auction are being resold by someone (rarely are they the original owner). The problem is this...if they aren't the original owner, they may not have all the necessary data and authorization to complete the &quot;change of ownership&quot; process. If you can't get that done, you're going to have a very hard time getting your system registered with Avid. If you can't get it registered with Avid, you will not be able to upgrade the software unless you end up buying **yet another** used license down the road...repeating any time you want to upgrade.&#xD;&#xA;&#xD;&#xA;If you decide to purchase a used LE system for the upgrade path (as Steve did), make sure that the owner hasn't already used it themselves to upgrade to 9. There are a number of people who have upgraded using the serial number on their hardware, then sold the hardware because it was no longer required. Only 1 upgrade to 9 is allowed per hardware unit. Meaning you could be in a similar situation to what I described with the HD systems.&#xD;&#xA;&#xD;&#xA;Summation...9 with CPTK is pretty powerful, and you're going to have to be involved in some very serious work to notive a measurable difference between 9 and 9HD...and make sure you're educated and ask the right questions before buying ANY used Pro Tools systems/licenses (be they 9 or 9HD)." ContentLicense="CC BY-SA 3.0" />
  <row Id="17285" PostHistoryTypeId="13" PostId="10456" RevisionGUID="4b913ef8-f211-44e5-83a5-c7eb6507317c" CreationDate="2011-09-21T22:33:20.180" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="17286" PostHistoryTypeId="2" PostId="10473" RevisionGUID="d9a4fa73-f866-465c-90f9-80033e46e523" CreationDate="2011-09-21T22:48:08.087" UserId="1179" Text="Several years ago I had to fly to LA to do a last-minute VO session in a talent's hotel room. We grabbed the Marantz PMD-661 with a Rode NT-2 and thought we were good. The first session was rushed and the VO talent was so high-strung that we didn't do a thorough level-check. Thought we'd keep a close eye on the meters and all would be ok.&#xD;&#xA;&#xD;&#xA;Wrong.&#xD;&#xA;&#xD;&#xA;As with your experience, the meters never topped -6 but we ended up with some distortion. It works well for your file, but it nearly wrecked our VO. And only 'nearly' because the intended delivery was 48 kbps OGG for the web, rendering the entire thing a mess anyway. And the client was entirely pleased. :)&#xD;&#xA;&#xD;&#xA;Live and learn.&#xD;&#xA;&#xD;&#xA;I attributed it to the pre-amps in the Marantz, seeing as how I'd never had condenser distortion off the NT-2 prior to that, with strict VO usage. But it's funny that the meters never topped -6. I'd have to guess now that it was the Rode." ContentLicense="CC BY-SA 3.0" />
  <row Id="17287" PostHistoryTypeId="2" PostId="10474" RevisionGUID="8a163d4c-faca-4956-bd7a-d34f6fd6949f" CreationDate="2011-09-22T03:54:20.883" UserId="18160" Text="I don't think it's the mic...&#xD;&#xA;&#xD;&#xA;How loud was this alarm? A personal alert safety system?&#xD;&#xA;&#xD;&#xA;Rode &quot;specs&quot; it at 131 dB.&#xD;&#xA;&#xD;&#xA;Was the mic placed near a bald wall or other hard surfaces?&#xD;&#xA;&#xD;&#xA;I personally think it's the first input stage of your pre-amp not able to handle it.&#xD;&#xA;&#xD;&#xA;I have this problem on some pre-amps when recording drums - the level looks fine but it's distorting due to the first stage not being able to handle the sound level.&#xD;&#xA;&#xD;&#xA;I say if you really want to know, but a pad (shure makes some good ones) and go back and put it in line before the pre-amp and see what you get." ContentLicense="CC BY-SA 3.0" />
  <row Id="17288" PostHistoryTypeId="5" PostId="10474" RevisionGUID="082037f7-7df7-4641-874c-5b5b39e85fc5" CreationDate="2011-09-22T04:15:36.560" UserId="18160" Comment="added 109 characters in body" Text="I don't think it's the mic...&#xD;&#xA;&#xD;&#xA;How loud was this alarm? A personal alert safety system?&#xD;&#xA;&#xD;&#xA;Rode &quot;specs&quot; it at 131 dB. So I think it's safe to say the mic could handle it unless you placed the mic 2 millimeters from the source.&#xD;&#xA;&#xD;&#xA;Was the mic placed near a bald wall or other hard surfaces?&#xD;&#xA;&#xD;&#xA;I personally think it's the first input stage of your pre-amp not able to handle it.&#xD;&#xA;&#xD;&#xA;I have this problem on some pre-amps when recording drums - the level looks fine but it's distorting due to the first stage not being able to handle the sound level.&#xD;&#xA;&#xD;&#xA;I say if you really want to know, but a pad (shure makes some good ones) and go back and put it in line before the pre-amp and see what you get." ContentLicense="CC BY-SA 3.0" />
  <row Id="17289" PostHistoryTypeId="2" PostId="10475" RevisionGUID="21691929-d075-4bc0-91bc-9dfbf8b41ac6" CreationDate="2011-09-22T08:20:51.743" UserId="608" Text="Anyone used a pair? Any opinions on quality?&#xD;&#xA;&#xD;&#xA;I just ordered a pair, I'm thinking, even if they're not the best capsules I can inflict some serious punishment on them and get my money's worth for $9.99.. (hehehe)&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Nick" ContentLicense="CC BY-SA 3.0" />
  <row Id="17290" PostHistoryTypeId="1" PostId="10475" RevisionGUID="21691929-d075-4bc0-91bc-9dfbf8b41ac6" CreationDate="2011-09-22T08:20:51.743" UserId="608" Text="Sound Professionals SP-BMC-1 - currently $9.99 reduced from $79.99" ContentLicense="CC BY-SA 3.0" />
  <row Id="17291" PostHistoryTypeId="3" PostId="10475" RevisionGUID="21691929-d075-4bc0-91bc-9dfbf8b41ac6" CreationDate="2011-09-22T08:20:51.743" UserId="608" Text="&lt;binaural&gt;&lt;mic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17292" PostHistoryTypeId="2" PostId="10476" RevisionGUID="42183e73-d6d0-4080-816a-b793466cc332" CreationDate="2011-09-22T10:22:24.203" UserId="999" Text="http://www.archive.org/details/nma2011-03-08.sp-bmc-1.flac16&#xD;&#xA;&#xD;&#xA;Recording here with somebody using them to record this concert into an Edirol R-4. :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17293" PostHistoryTypeId="2" PostId="10477" RevisionGUID="8bf72871-62d3-434e-bc8e-a14bd2427bb7" CreationDate="2011-09-22T10:24:40.813" UserId="2690" Text="Is there any website that provides lots of music files with Creative Commons license?&#xD;&#xA;&#xD;&#xA;I have a personal blog and use photos with CC license from Flickr. I also want to produce small video presentations with background music. I want to use light listening music like Kitaro, Yiruma etc. Is there any website that provides this kind of music freely?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17294" PostHistoryTypeId="1" PostId="10477" RevisionGUID="8bf72871-62d3-434e-bc8e-a14bd2427bb7" CreationDate="2011-09-22T10:24:40.813" UserId="2690" Text="Where to Find Free Music with Creative Commons License" ContentLicense="CC BY-SA 3.0" />
  <row Id="17295" PostHistoryTypeId="3" PostId="10477" RevisionGUID="8bf72871-62d3-434e-bc8e-a14bd2427bb7" CreationDate="2011-09-22T10:24:40.813" UserId="2690" Text="&lt;free&gt;&lt;creative-commons&gt;&lt;database&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17296" PostHistoryTypeId="2" PostId="10478" RevisionGUID="d3b49a68-a3f4-4d77-a7e3-57694939dac7" CreationDate="2011-09-22T10:29:03.653" UserId="1228" Text="This reminds me of another joke:&#xD;&#xA;&#xD;&#xA;This one courtesy UK Production Sound Mixer, Malcolm Davies, A.m.p.s.&#xD;&#xA;http://www.winstonsound.com/norespect.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;A man in a hot air balloon realized he was lost. He reduced altitude and spotted a guy below.&#xD;&#xA;&#xD;&#xA;He descended a bit more and shouted, &quot;Excuse me, can you help me? I promised a friend I would meet him an hour ago, but I don't know where I am.&quot;&#xD;&#xA;&#xD;&#xA;The guy below replied, &quot;You are in a hot air balloon hovering approximately 30 feet above the ground. You are between 40 and 41 degrees North latitude and between 59 and 60 degrees West longitude.&quot;&#xD;&#xA;&#xD;&#xA;&quot;You must be a Production Sound Mixer.&quot; said the balloonist.&#xD;&#xA;&#xD;&#xA;&quot;I am.&quot; replied the guy, &quot;How did you know?&quot;&#xD;&#xA;&#xD;&#xA;&quot;Well,&quot; answered the balloonist, &quot;everything you told me is technically correct, but I have no idea what to make of your information, and the fact is, I am still lost. Frankly, you've not been much help so far.&quot;&#xD;&#xA;&#xD;&#xA;The guy below responded, &quot;Then you must be a Producer.&#xD;&#xA;&#xD;&#xA;&quot;I am,&quot; replied the balloonist, &quot;But how did you know?&quot;&#xD;&#xA;&#xD;&#xA;&quot;Well,&quot; said the chap, &quot;You don't know where you are or where you are going. You have risen to where you are due to a large quantity of hot air. You made a promise which you have no idea how to keep, and you expect me to solve your problem. The fact is you are in exactly the same position you were in before we met, but now, somehow, it's my fault!&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17298" PostHistoryTypeId="2" PostId="10480" RevisionGUID="dbdee6a0-e18b-4059-8828-f70a99c497c4" CreationDate="2011-09-22T12:15:34.233" UserId="28" Text="Try [Jamendo][1]. &#xD;&#xA;&#xD;&#xA;I have no experience with the site, but a brother of a friend is an indie film-maker and uses music from there all the time. (And he *never* returns my calls.) Ha.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jamendo.com/en/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17300" PostHistoryTypeId="5" PostId="10466" RevisionGUID="00e73008-9461-44bf-80c0-15b2aab65cae" CreationDate="2011-09-22T12:42:54.087" UserId="6524" Comment="added 3 characters in body" Text="Sorry for asking a question within your question, but how can you replicate something like this?&#xD;&#xA;&#xD;&#xA;[soundcloud]stephensaldanha/the-bichon-buzzer[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="17301" PostHistoryTypeId="2" PostId="10482" RevisionGUID="dd651fee-c718-4fbe-af6d-5a706015e662" CreationDate="2011-09-22T12:45:53.827" UserId="429" Text="Daan's got it right here. You don't ned to worry about API's at all. Middleware is a solution for established (budgeted) projects that have either written their own engine or are using an engine that doesn't have decent audio features. So by using middleware a smaller developer is able to dramatically improve their audio system. Its up to the programmers to get an API up and running this isn't something you need to know how to do. The API is the low level guts of the engine. The Wwise and FMOD designer interface is what you need to know how to operate as a sound designer not the API. &#xD;&#xA;&#xD;&#xA;In my experience working as a freelance sound designer, smaller projects build their own engine and don't have the budget to licence FMOD or WWise. 99% of the time beyond using middleware for audio is beyond the scope of small projects. They usually have their own simple audio playback system written and implementing middleware or writing decent audio features is way beyond their ability to manage. FMOD and WWise aren't really for small indie developers .. I mean really small .. like gig you will get when you first start working.&#xD;&#xA;&#xD;&#xA;It's good to learn something like UDK because its accessible to you on your own without any extra support from a programmer. FMOD and Wise also have test environments you can run but at least with UDK it has game graphics .. and you get hands on really fast. I put a lot of time into researching a good learning tool and I decided on learning UDK. I also bought the &quot;Game Audio Tutorial&quot; book and its working out great." ContentLicense="CC BY-SA 3.0" />
  <row Id="17302" PostHistoryTypeId="2" PostId="10483" RevisionGUID="957f88dc-200d-43f4-b9d2-38ae5e4d6842" CreationDate="2011-09-22T13:30:32.643" UserId="234" Text="Also check out the venerable [archive.org.][1] There's an amazing amount of Creative Commons media in every conceivable form including music. Downside is that it's kinda slow and not intuitive as far as searching goes.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.archive.org/index.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="17303" PostHistoryTypeId="2" PostId="10484" RevisionGUID="2cdb991d-464c-453b-8570-8780225a331a" CreationDate="2011-09-22T16:22:17.570" UserId="1266" Text="Dude awesome!! Thanks for posting!  I've been needing some mics! FTW!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17304" PostHistoryTypeId="2" PostId="10485" RevisionGUID="4d03395e-081c-45d2-8b6b-925dc09785df" CreationDate="2011-09-22T16:35:08.707" UserId="1157" Text="Looks like I got there too late - they seem to be sold out...&#xD;&#xA;&#xD;&#xA;Rats.  Thanks for the heads up, though!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17305" PostHistoryTypeId="5" PostId="10474" RevisionGUID="120b60f5-86a3-4996-9eb8-d5731ede90f3" CreationDate="2011-09-22T17:05:11.623" UserId="18160" Comment="edited body" Text="I don't think it's the mic...&#xD;&#xA;&#xD;&#xA;How loud was this alarm? A personal alert safety system?&#xD;&#xA;&#xD;&#xA;Rode &quot;specs&quot; it at 131 dB. So I think it's safe to say the mic could handle it unless you placed the mic 2 millimeters from the source.&#xD;&#xA;&#xD;&#xA;Was the mic placed near a bald wall or other hard surfaces?&#xD;&#xA;&#xD;&#xA;I personally think it's the first input stage of your pre-amp not able to handle it.&#xD;&#xA;&#xD;&#xA;I have this problem on some pre-amps when recording drums - the level looks fine but it's distorting due to the first stage not being able to handle the sound level.&#xD;&#xA;&#xD;&#xA;I say if you really want to know, put a pad (shure makes some good ones) and go back and put it in line before the pre-amp and see what you get." ContentLicense="CC BY-SA 3.0" />
  <row Id="17306" PostHistoryTypeId="2" PostId="10486" RevisionGUID="87c6f5ca-5747-48dc-ad48-75ab471bb1a5" CreationDate="2011-09-22T19:02:25.183" UserId="393" Text="I only glanced at the rest of the replies, so it may have already been said, but I think that's a problem with the digital mediums in general (not that I'll ever move away from them); it's made us lazy.  We can fix incredibly horrendous things in post that wouldn't have been feasible even ten years ago.&#xD;&#xA;&#xD;&#xA;The way I feel is that if you, as a production recordist, provide the cleanest possible recordings for the people doing post, you will gain a reputation for being a good recordist and as someone that they will want to work with again.  That means they'll recommend you, and that means more work.&#xD;&#xA;&#xD;&#xA;Also, if you provide the cleanest possible recordings, it means that the audio won't be awful when they do a last minute edit and the audio team has almost no time to make it work.&#xD;&#xA;&#xD;&#xA;In closing, do it right so you only have to do it once. Never fix something &quot;next time,&quot; because you can't always guarantee there will be a next time." ContentLicense="CC BY-SA 3.0" />
  <row Id="17307" PostHistoryTypeId="2" PostId="10487" RevisionGUID="8456e9aa-20a7-4601-9519-69446d0b22f3" CreationDate="2011-09-22T20:04:41.217" UserId="2698" Text="Always ask the mixer if it's the first time you are working with him or her, don't depend on reliable answers from the office in this type of situation. Be prepared to bring your basic kit as the others described, and above all: a notebook, a moleskin, voice recorder, whatever it takes to make notes. Mixers are particular people. You will be given notes on Comtek battery voltages, how to pack the cart, what Pelican that PZM mic is in that we will never use, but now need, what the heck did it even look like?, etc etc" ContentLicense="CC BY-SA 3.0" />
  <row Id="17308" PostHistoryTypeId="5" PostId="1782" RevisionGUID="36ba7183-a520-4be8-8c57-cb69094e4c7f" CreationDate="2011-09-22T20:29:14.823" UserId="255" Comment="added 441 characters in body" Text="As far as i understand it, an impulse response can be created of any piece of equipment. Modeling equipment and modeling a space are both based on the same principles. &#xD;&#xA;&#xD;&#xA;I think the best way of understanding/explaining this is probably to look at how we can model an EQ. &#xD;&#xA;&#xD;&#xA;An analog EQ can be modeled in the digital world through two main ways, first by either looking at a frequency domain response or a time domain response. Every frequency response has an equivalent time domain (impulse) response because the two are inextricably linked. Using the process of *Fourier Transformation* we can turn a time domain (impulse) response into an equivalent frequency domain response. &#xD;&#xA;&#xD;&#xA;If you change the way a filter responds in frequency you also change how it responds in time, and vice-versa.  &#xD;&#xA;&#xD;&#xA;Therefore theoretically it is possible to model the characteristics of a given EQ by simply measuring its impulse response and modeling it in the digital world (the same as we make an impulse response of a space). The way in which this impulse response is applied to a digital signal is through the process of *Convolution*. &#xD;&#xA;&#xD;&#xA;The way in which this is implemented is where it becomes a bit more tricky.&#xD;&#xA;&#xD;&#xA;A single sample from a stream of samples from the input signal 'triggers off' the impulse response which is then scaled by the amplitude and phase value of the input sample, a sample later the same then happens to the second sample. The second sample is then added to the first, the third sample undergoes the same treatment but again a sample later, this then goes on and on for each successive sample in the input signal.&#xD;&#xA;&#xD;&#xA;Essentially Output = Input*IR (here * means convolution)&#xD;&#xA;&#xD;&#xA;But convolution is not just a simple  process of multiplication, but the resulting sum of many many multiplications. &#xD;&#xA;&#xD;&#xA;For example if we have an input signal that is 3 samples long (just for simplicity) with amplitudes at 11, 4 and 2. And a IR of 5 samples with amplitudes at 0.3, 0.6, 0.9, -0.4 and -0.2, we end up with 7 samples (remember because the samples are processed successively by one sample). This then give us the following multiplications and summations:&#xD;&#xA;&#xD;&#xA;Sample 1 = (11x0.3) = 3.3&#xD;&#xA;&#xD;&#xA;Sample 2 = (11x0.6)+(4x0.3)+0 = 10.63&#xD;&#xA;&#xD;&#xA;Sample 3 = (11x0.9)+(4x0.6)+(2x0.3) = 12.9&#xD;&#xA;&#xD;&#xA;Sample 4 = (11x -0.4)+(4x0.9)+(2x0.6) = 0.4&#xD;&#xA;&#xD;&#xA;Sample 5 = (11x -0.2)+(4x -0.4)+(2x0.9) = -2&#xD;&#xA;&#xD;&#xA;Sample 6 = 0 + (4x -0.2) + (2x -0.4) = -1.6&#xD;&#xA;&#xD;&#xA;Sample 7 = 0+ 0+ (2x -0.2) = -0.4&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(Sorry if thats a bit confusing, its a bit easier to see/understand if you plug it into excel and make some graphs)&#xD;&#xA;&#xD;&#xA;Obviously these are just arbitrary numbers and really small sample numbers, even at 44.1kHz we end up with 100,000s of sample points for an impulse response. This, and the amount of variables in control positions for a device, means that creating a usable compressor based on IRs and convolution is very complex (hence the 'unique patented Dynamic Convolution process' of the Liquid mix im guessing). So yes, in a very long about way, convolution compression can work. Im not sure but i think the UAD plugs also work on a variation of these ideas, and there are probably many more. I think like any new digital technology it will probably a while for it to be perfected though.&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;yeah, endolith is right about Linear and Time-Invariant stuff. I'm thinking that the &quot;dynamic convolution&quot; they talk about in the things like the Liquid Mix is probably used in some way for capturing the &quot;tone&quot; of the compressor, and used in combination with other techniques to model a compressor. I'm far from an expert though, and probably wrong...&#xD;&#xA;&#xD;&#xA;I've also found a couple of links that are pretty interesting reading:&#xD;&#xA;http://www.sintefex.com/docs/appnotes/compsim.pdf&#xD;&#xA;http://www.uaudio.com/webzine/2004/july/index2.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17309" PostHistoryTypeId="5" PostId="1782" RevisionGUID="d72d5b35-98bb-45ae-8a4d-f34a53e5c910" CreationDate="2011-09-22T20:50:31.197" UserId="255" Comment="added 7 characters in body" Text="As far as i understand it, an impulse response can be created of any piece of equipment. Modeling equipment and modeling a space are both based on the same principles. &#xD;&#xA;&#xD;&#xA;I think the best way of understanding/explaining this is probably to look at how we can model an EQ. &#xD;&#xA;&#xD;&#xA;An analog EQ can be modeled in the digital world through two main ways, first by either looking at a frequency domain response or a time domain response. Every frequency response has an equivalent time domain (impulse) response because the two are inextricably linked. Using the process of *Fourier Transformation* we can turn a time domain (impulse) response into an equivalent frequency domain response. &#xD;&#xA;&#xD;&#xA;If you change the way a filter responds in frequency you also change how it responds in time, and vice-versa.  &#xD;&#xA;&#xD;&#xA;Therefore theoretically it is possible to model the characteristics of a given EQ by simply measuring its impulse response and modeling it in the digital world (the same as we make an impulse response of a space). The way in which this impulse response is applied to a digital signal is through the process of *Convolution*. &#xD;&#xA;&#xD;&#xA;The way in which this is implemented is where it becomes a bit more tricky.&#xD;&#xA;&#xD;&#xA;A single sample from a stream of samples from the input signal 'triggers off' the impulse response which is then scaled by the amplitude and phase value of the input sample, a sample later the same then happens to the second sample. The second sample is then added to the first, the third sample undergoes the same treatment but again a sample later, this then goes on and on for each successive sample in the input signal.&#xD;&#xA;&#xD;&#xA;Essentially Output = Input*IR (here * means convolution)&#xD;&#xA;&#xD;&#xA;But convolution is not just a simple  process of multiplication, but the resulting sum of many many multiplications. &#xD;&#xA;&#xD;&#xA;For example if we have an input signal that is 3 samples long (just for simplicity) with amplitudes at 11, 4 and 2. And a IR of 5 samples with amplitudes at 0.3, 0.6, 0.9, -0.4 and -0.2, we end up with 7 samples (remember because the samples are processed successively by one sample). This then give us the following multiplications and summations:&#xD;&#xA;&#xD;&#xA;Sample 1 = (11x0.3) = 3.3&#xD;&#xA;&#xD;&#xA;Sample 2 = (11x0.6)+(4x0.3)+0 = 10.63&#xD;&#xA;&#xD;&#xA;Sample 3 = (11x0.9)+(4x0.6)+(2x0.3) = 12.9&#xD;&#xA;&#xD;&#xA;Sample 4 = (11x -0.4)+(4x0.9)+(2x0.6) = 0.4&#xD;&#xA;&#xD;&#xA;Sample 5 = (11x -0.2)+(4x -0.4)+(2x0.9) = -2&#xD;&#xA;&#xD;&#xA;Sample 6 = 0 + (4x -0.2) + (2x -0.4) = -1.6&#xD;&#xA;&#xD;&#xA;Sample 7 = 0+ 0+ (2x -0.2) = -0.4&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(Sorry if thats a bit confusing, its a bit easier to see/understand if you plug it into excel and make some graphs)&#xD;&#xA;&#xD;&#xA;Obviously these are just arbitrary numbers and really small sample numbers, even at 44.1kHz we end up with 100,000s of sample points for an impulse response. This, and the amount of variables in control positions for a device, means that creating a usable compressor based on IRs and convolution is very complex (hence the 'unique patented Dynamic Convolution process' of the Liquid mix im guessing). So yes, in a very long about way, convolution compression can work. Im not sure but i think the UAD plugs also work on a variation of these ideas, and there are probably many more. I think like any new digital technology it will probably a while for it to be perfected though.&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;yeah ok, endolith is right about Linear and Time-Invariant stuff. I'm thinking that the &quot;dynamic convolution&quot; they talk about in the things like the Liquid Mix is probably used in some way for capturing the &quot;tone&quot; of the compressor, and used in combination with other techniques to model a compressor. I'm far from an expert though, and I might be way off...&#xD;&#xA;&#xD;&#xA;I've also found a couple of links that are pretty interesting reading:&#xD;&#xA;http://www.sintefex.com/docs/appnotes/compsim.pdf&#xD;&#xA;http://www.uaudio.com/webzine/2004/july/index2.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17310" PostHistoryTypeId="5" PostId="1782" RevisionGUID="475c2606-b02c-4da0-9955-762d3ae11bb2" CreationDate="2011-09-22T21:09:21.217" UserId="255" Comment="deleted 3 characters in body" Text="As far as i understand it, an impulse response can be created of any piece of equipment. Modeling equipment and modeling a space are both based on the same principles. &#xD;&#xA;&#xD;&#xA;I think the best way of understanding/explaining this is probably to look at how we can model an EQ. &#xD;&#xA;&#xD;&#xA;An analog EQ can be modeled in the digital world through two main ways, first by either looking at a frequency domain response or a time domain response. Every frequency response has an equivalent time domain (impulse) response because the two are inextricably linked. Using the process of *Fourier Transformation* we can turn a time domain (impulse) response into an equivalent frequency domain response. &#xD;&#xA;&#xD;&#xA;If you change the way a filter responds in frequency you also change how it responds in time, and vice-versa.  &#xD;&#xA;&#xD;&#xA;Therefore theoretically it is possible to model the characteristics of a given EQ by simply measuring its impulse response and modeling it in the digital world (the same as we make an impulse response of a space). The way in which this impulse response is applied to a digital signal is through the process of *Convolution*. &#xD;&#xA;&#xD;&#xA;The way in which this is implemented is where it becomes a bit more tricky.&#xD;&#xA;&#xD;&#xA;A single sample from a stream of samples from the input signal 'triggers off' the impulse response which is then scaled by the amplitude and phase value of the input sample, a sample later the same then happens to the second sample. The second sample is then added to the first, the third sample undergoes the same treatment but again a sample later, this then goes on and on for each successive sample in the input signal.&#xD;&#xA;&#xD;&#xA;Essentially Output = Input*IR (here * means convolution)&#xD;&#xA;&#xD;&#xA;But convolution is not just a simple  process of multiplication, but the resulting sum of many many multiplications. &#xD;&#xA;&#xD;&#xA;For example if we have an input signal that is 3 samples long (just for simplicity) with amplitudes at 11, 4 and 2. And a IR of 5 samples with amplitudes at 0.3, 0.6, 0.9, -0.4 and -0.2, we end up with 7 samples (remember because the samples are processed successively by one sample). This then give us the following multiplications and summations:&#xD;&#xA;&#xD;&#xA;Sample 1 = (11x0.3) = 3.3&#xD;&#xA;&#xD;&#xA;Sample 2 = (11x0.6)+(4x0.3)+0 = 10.63&#xD;&#xA;&#xD;&#xA;Sample 3 = (11x0.9)+(4x0.6)+(2x0.3) = 12.9&#xD;&#xA;&#xD;&#xA;Sample 4 = (11x -0.4)+(4x0.9)+(2x0.6) = 0.4&#xD;&#xA;&#xD;&#xA;Sample 5 = (11x -0.2)+(4x -0.4)+(2x0.9) = -2&#xD;&#xA;&#xD;&#xA;Sample 6 = 0 + (4x -0.2) + (2x -0.4) = -1.6&#xD;&#xA;&#xD;&#xA;Sample 7 = 0+ 0+ (2x -0.2) = -0.4&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(Sorry if thats a bit confusing, its a bit easier to see/understand if you plug it into excel and make some graphs)&#xD;&#xA;&#xD;&#xA;Obviously these are just arbitrary numbers and really small sample numbers, even at 44.1kHz we end up with 100,000s of sample points for an impulse response. This, and the amount of variables in control positions for a device, means that creating a usable compressor based on IRs and convolution is very complex (hence the 'unique patented Dynamic Convolution process' of the Liquid mix im guessing). So yes, in a very long about way, convolution compression can work. Im not sure but i think the UAD plugs also work on a variation of these ideas, and there are probably many more. I think like any new digital technology it will probably a while for it to be perfected though.&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;yeah, endolith is right about Linear and Time-Invariant stuff. I'm thinking that the &quot;dynamic convolution&quot; they talk about in the things like the Liquid Mix is probably used in some way for capturing the &quot;tone&quot; of the compressor, and used in combination with other techniques to model a compressor. I'm far from an expert though, and I might be way off...&#xD;&#xA;&#xD;&#xA;I've also found a couple of links that are pretty interesting reading:&#xD;&#xA;http://www.sintefex.com/docs/appnotes/compsim.pdf&#xD;&#xA;http://www.uaudio.com/webzine/2004/july/index2.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17311" PostHistoryTypeId="2" PostId="10488" RevisionGUID="d3e1a397-4fdc-40de-8d3c-8c164d182934" CreationDate="2011-09-22T21:45:53.327" UserId="418" Text="Soundcloud has tons as well: http://soundcloud.com/creativecommons " ContentLicense="CC BY-SA 3.0" />
  <row Id="17312" PostHistoryTypeId="2" PostId="10489" RevisionGUID="8ac62d68-ddcf-4055-8cd9-60c724c0f723" CreationDate="2011-09-22T22:18:16.773" UserId="2699" Text="This is interesting to me. Not literally inside characters heads, as some have suggested, but framing a character as the lead by placing the mic on their character and recording everyone from this source.&#xD;&#xA;&#xD;&#xA;Practically is it viable? I understand that sound quality drops exponentially as you get further from the mic, but would there be a way to work it, because cinematically it's a very interesting technique." ContentLicense="CC BY-SA 3.0" />
  <row Id="17313" PostHistoryTypeId="2" PostId="10490" RevisionGUID="440d4c01-a30b-455e-bf7f-3a782c517af9" CreationDate="2011-09-23T01:09:28.473" UserId="40" Text="Wanted to started a group to see who will be at AES in NYC this October.&#xD;&#xA;&#xD;&#xA;I'll be there from Oct 19 - Oct 24.&#xD;&#xA;&#xD;&#xA;I'm presenting &quot;Techniques in Field Recording&quot; in the Game Audio track on the morning of the 21st.&#xD;&#xA;&#xD;&#xA;I'd love to get together with some of you - both those I've met and those I haven't!&#xD;&#xA;&#xD;&#xA;Hope to see some of you there!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17314" PostHistoryTypeId="1" PostId="10490" RevisionGUID="440d4c01-a30b-455e-bf7f-3a782c517af9" CreationDate="2011-09-23T01:09:28.473" UserId="40" Text="Who's going to AES in October?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17315" PostHistoryTypeId="3" PostId="10490" RevisionGUID="440d4c01-a30b-455e-bf7f-3a782c517af9" CreationDate="2011-09-23T01:09:28.473" UserId="40" Text="&lt;aes&gt;&lt;conventions&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17316" PostHistoryTypeId="16" PostId="10490" RevisionGUID="440d4c01-a30b-455e-bf7f-3a782c517af9" CreationDate="2011-09-23T01:09:28.473" UserId="40" />
  <row Id="17317" PostHistoryTypeId="6" PostId="10490" RevisionGUID="451d522e-caf6-40a4-9141-da8c9bcff3fb" CreationDate="2011-09-23T01:17:36.600" UserId="40" Comment="edited tags" Text="&lt;aes&gt;&lt;conventions&gt;&lt;gear&gt;&lt;community&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17318" PostHistoryTypeId="2" PostId="10491" RevisionGUID="1075ef07-ab1b-419e-8514-2e8446cc81c0" CreationDate="2011-09-23T02:49:47.090" UserId="18160" Text="If all goes well and my gig in the UK finishes on schedule I should be able to swing by on the way back and attend your presentation. Would love to meet up! Great idea." ContentLicense="CC BY-SA 3.0" />
  <row Id="17319" PostHistoryTypeId="16" PostId="10491" RevisionGUID="1075ef07-ab1b-419e-8514-2e8446cc81c0" CreationDate="2011-09-23T02:49:47.090" UserId="-1" />
  <row Id="17320" PostHistoryTypeId="2" PostId="10492" RevisionGUID="06f9593c-9af3-4778-923e-5a8f69ffc0cb" CreationDate="2011-09-23T11:35:08.930" UserId="432" Text="I'll see you there, Colin. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17321" PostHistoryTypeId="16" PostId="10492" RevisionGUID="06f9593c-9af3-4778-923e-5a8f69ffc0cb" CreationDate="2011-09-23T11:35:08.930" UserId="-1" />
  <row Id="17322" PostHistoryTypeId="2" PostId="10493" RevisionGUID="b663aece-5fad-4cfd-8fb5-17fea88c6703" CreationDate="2011-09-23T12:05:48.917" UserDisplayName="user80" Text="There is one major advantage to all of this.  &#xD;&#xA;&#xD;&#xA;As production sound becomes worse our skills are needed more.  And while we might have to spend more time on cleaning up poor sound, it makes it more necessary for skilled practitioners to work in post production.  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17323" PostHistoryTypeId="2" PostId="10494" RevisionGUID="101ea60e-3876-43bf-91d1-479f3adaa93e" CreationDate="2011-09-23T12:15:49.167" UserDisplayName="user80" Text="A number of really funny jokes have cropped up in posts recently and I thought it would be nice to start a thread just for jokes.&#xD;&#xA;&#xD;&#xA;Here's one to start off.&#xD;&#xA;&#xD;&#xA;A indie film had just started filming when both the director and producer fell it.  No one wanted to take over, but the boom op's arms were already tired, and he thought that he'd like to sit down for a change.&#xD;&#xA;&#xD;&#xA;For the next 4 weeks the shoot went well and at the wrap party the sound mixer bumps in to the former boom op and asks him where he has been for the last 4 weeks.&#xD;&#xA;&#xD;&#xA;Please share your jokes below." ContentLicense="CC BY-SA 3.0" />
  <row Id="17324" PostHistoryTypeId="1" PostId="10494" RevisionGUID="101ea60e-3876-43bf-91d1-479f3adaa93e" CreationDate="2011-09-23T12:15:49.167" UserDisplayName="user80" Text="Share your audio jokes." ContentLicense="CC BY-SA 3.0" />
  <row Id="17325" PostHistoryTypeId="3" PostId="10494" RevisionGUID="101ea60e-3876-43bf-91d1-479f3adaa93e" CreationDate="2011-09-23T12:15:49.167" UserDisplayName="user80" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17326" PostHistoryTypeId="5" PostId="10494" RevisionGUID="4d0783e5-cc14-4b3b-8098-59df57cde0e8" CreationDate="2011-09-23T12:25:23.550" UserDisplayName="user80" Comment="deleted 6 characters in body; added 1 characters in body; added 1 characters in body; added 1 characters in body" Text="A number of really funny jokes have cropped up in posts recently and I thought it would be nice to start a thread just for jokes.&#xD;&#xA;&#xD;&#xA;Here's one to start off.&#xD;&#xA;&#xD;&#xA;An indie film had just started filming when both the director and producer fell ill.  No one wanted to take over, but the boom op's arms were already tired, and he thought that he'd like to sit down for a change.&#xD;&#xA;&#xD;&#xA;For the next 4 weeks the shoot went well, and at the wrap party the sound mixer bumps in to the former boom op and asks him where he has been for the last 4 weeks.&#xD;&#xA;&#xD;&#xA;Please share your jokes." ContentLicense="CC BY-SA 3.0" />
  <row Id="17327" PostHistoryTypeId="5" PostId="10494" RevisionGUID="559e92a5-1b68-4ecb-aaa5-d938b7d26b90" CreationDate="2011-09-23T12:47:22.293" UserDisplayName="user80" Comment="added 6 characters in body" Text="A number of really funny jokes have cropped up in posts recently and I thought it would be nice to start a thread just for jokes.&#xD;&#xA;&#xD;&#xA;Here's one to start off.&#xD;&#xA;&#xD;&#xA;An indie film had just started filming when both the director and producer fell ill.  No one wanted to take over, but the boom op's arms were already tired, and he thought that he'd like to sit down for a change.&#xD;&#xA;&#xD;&#xA;For the next 4 weeks the shoot went well, and at the wrap party the sound mixer bumps in to the former boom op and asks him where he has been for the last 4 weeks.&#xD;&#xA;&#xD;&#xA;Please share your audio jokes." ContentLicense="CC BY-SA 3.0" />
  <row Id="17328" PostHistoryTypeId="2" PostId="10495" RevisionGUID="3c07f367-ac68-4be1-8883-e97271b837e9" CreationDate="2011-09-23T15:16:40.957" UserId="2136" Text="What did the sound designer tell their child when they brought home a bad grade?&#xD;&#xA;&#xD;&#xA;No gain no pain!&#xD;&#xA;&#xD;&#xA;*sitcom laugh track*" ContentLicense="CC BY-SA 3.0" />
  <row Id="17329" PostHistoryTypeId="5" PostId="10494" RevisionGUID="0065877a-f0a4-4723-848f-e540ea867350" CreationDate="2011-09-23T15:22:16.533" UserDisplayName="user80" Comment="added 2 characters in body" Text="A number of really funny jokes have cropped up in posts recently and I thought it would be nice to start a thread just for jokes.&#xD;&#xA;&#xD;&#xA;Here's one to start off.&#xD;&#xA;&#xD;&#xA;An indie film had just started filming when both the director and producer fell ill.  No one wanted to take over, but the boom op's arms were already tired, and he thought that he'd like to sit down for a change.&#xD;&#xA;&#xD;&#xA;For the next 4 weeks the shoot went well, and at the wrap party the sound mixer bumped in to the former boom op and asked him where he had been for the last 4 weeks.&#xD;&#xA;&#xD;&#xA;Please share your audio jokes." ContentLicense="CC BY-SA 3.0" />
  <row Id="17330" PostHistoryTypeId="2" PostId="10496" RevisionGUID="2835d4b9-8746-4387-9f4a-a4d9e5c0af44" CreationDate="2011-09-23T16:51:39.550" UserId="418" Text="I think the most important part of reverb is the &quot;why&quot;. Since birth, or even in the womb, we are hearing sounds within all kinds of spaces, places and situations. All of those add up to reference points for us to interpret and instinctively or emotionally react to sound. Sound in a &quot;vacuum&quot; is something our brains determine as unnatural, because we have no frame of reference for it. Kind of like a UFO sighting. Seeing a giant, metal object hovering in the sky, in pure silence, would be very difficult for your brain to process. Or seeing anything which you have no frame of reference for, really. Reverb puts sound in a physical space, which helps the listener form a reaction to it, be it authenticity, invoking emotions, memories or just making it sound &quot;right&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="17331" PostHistoryTypeId="2" PostId="10497" RevisionGUID="7e6f3f3a-a8ce-4c69-b7ac-e1d9de3e7b5b" CreationDate="2011-09-24T00:27:57.853" UserId="1266" Text="Air Stereo Widener has a preset that expands a mono source" ContentLicense="CC BY-SA 3.0" />
  <row Id="17332" PostHistoryTypeId="2" PostId="10498" RevisionGUID="98ef4d76-ef53-41db-baf8-4a32fb5b3401" CreationDate="2011-09-24T04:38:50.310" UserId="18160" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I e-mailed them in hopes they had extras in stock and he found 15.&#xD;&#xA;&#xD;&#xA;You can buy them! GO!!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.soundprofessionals.com/cgi-bin/gold/item/SP-BMC-1&#xD;&#xA;&#xD;&#xA;http://www.soundprofessionals.com/cgi-bin/gold/category.cgi?category=110&amp;item=SP-BMC-2-SS-BEIGE" ContentLicense="CC BY-SA 3.0" />
  <row Id="17333" PostHistoryTypeId="2" PostId="10499" RevisionGUID="39c970e6-847b-415b-9d9e-88a60150c753" CreationDate="2011-09-24T07:25:25.903" UserId="1117" Text="hello all&#xD;&#xA;&#xD;&#xA;the film im working on at the moment is a real 'show don't tell' sorta deal.&#xD;&#xA;&#xD;&#xA;my question is: in a scene without dialogue, would you still go through the dialogue editing process? ie getting smooth transitions between clips or filling problems with room tone? even know your just essentially editing room tone. or would you wipe the sound and start from scratch.&#xD;&#xA;&#xD;&#xA;i know theres no real rule to this and i guess there will be less problems if i just wipe the audio. but what do you then do about the sound of the room? do i artificially create a blanket of room tone to fill the dead air? &#xD;&#xA;&#xD;&#xA;im just worried if i take out all the sound and replace all the sound effects it will just sound dead and there will be nothing to fill between SFX clips.&#xD;&#xA;&#xD;&#xA;oh yea there isn't really music either.&#xD;&#xA;&#xD;&#xA;if it helps the room is an old blue stone stable turned bunker. &#xD;&#xA;&#xD;&#xA;cheers &#xD;&#xA;Jamie" ContentLicense="CC BY-SA 3.0" />
  <row Id="17334" PostHistoryTypeId="1" PostId="10499" RevisionGUID="39c970e6-847b-415b-9d9e-88a60150c753" CreationDate="2011-09-24T07:25:25.903" UserId="1117" Text="Dialogue editing a scene without dialogue" ContentLicense="CC BY-SA 3.0" />
  <row Id="17335" PostHistoryTypeId="3" PostId="10499" RevisionGUID="39c970e6-847b-415b-9d9e-88a60150c753" CreationDate="2011-09-24T07:25:25.903" UserId="1117" Text="&lt;dialogue&gt;&lt;editing&gt;&lt;room&gt;&lt;tone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17336" PostHistoryTypeId="2" PostId="10500" RevisionGUID="af9cfe56-fb3b-43e3-b07f-601fab6b780b" CreationDate="2011-09-24T08:24:47.830" UserId="37" Text="There's beauty in room tone.. &#xD;&#xA;You'd still want to edit out the filmmaking process.&#xD;&#xA;&#xD;&#xA;What's outside of the frame?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17337" PostHistoryTypeId="2" PostId="10501" RevisionGUID="2c259522-5034-41df-a5d4-e772ca148854" CreationDate="2011-09-24T13:15:16.440" UserId="842" Text="As you didn't say there were no actors on-screen I assume there are, and in that case you most definitely want the location sound for movement and interaction. As georgi already said, roomtone is a vital element in it self, and if there are dialogue at all in the movie, the transition from talk-scenes to mute ones tend to sound freaky without something in the middle.&#xD;&#xA;Suppose there are no talking in the entire move, as this scene is in a bunker it's very unlikely, but for the sake of argument, you can of course always do a full foley on the movement on-screen no matter human or animal...but it's a shitload-a work and really pointless if you do have decent location sound to begin with. Though it's often (read: mostly!) nice to sweeten up existing interactions with some nice additional foleywork, just not absolutely everything :-)&#xD;&#xA;&#xD;&#xA;When editing sound without too much to sync to though you don't really need to make too many difficult transitions. Just find the parts you do need in sync,and stretch them as far as possible/needed with a nice overlapping transition, and annoying differences in roomtone you normally hide in dialogue should be pretty much history :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17338" PostHistoryTypeId="2" PostId="10502" RevisionGUID="65afb636-2d9f-493a-a88c-8e90b2925a55" CreationDate="2011-09-24T15:57:39.920" UserId="270" Text="This is funny;&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/post-production-forum/497768-my-craigslist-ad-composer-looking-film-crew.html&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17339" PostHistoryTypeId="2" PostId="10503" RevisionGUID="9215b6f0-a13f-4a36-bc0d-6a69d16739d8" CreationDate="2011-09-24T16:21:14.633" UserId="6487" Text="Certainly, quality of record and any hum, hiss, hollowness, or severe background noise will vary this but...I am noticing at my new gig, a tendency to push up the 8-9khtz area in order to augment vocal presence, whereas on my previous team, the boys always favored pushing 2-4k.  My new group even mentioned to me that they would prefer I push the frequency at higher point sighting that it felt a bit muddy to them.  I guess I am used to the 2-4 k bump.  I find the 8-9k can be a bit bright and chirpy. But, the ear changes with what it is accustomed to...So, I have been experimenting with some success with a higher slight bump at 8-9k while bumping a bit at 100htz to give some bottom end. &#xD;&#xA;&#xD;&#xA;Do you guys/gals favor a general frequency range for bumping up presence and making the voice seem more forefront? " ContentLicense="CC BY-SA 3.0" />
  <row Id="17340" PostHistoryTypeId="1" PostId="10503" RevisionGUID="9215b6f0-a13f-4a36-bc0d-6a69d16739d8" CreationDate="2011-09-24T16:21:14.633" UserId="6487" Text="What is your EQ tendency for augmenting vocal presence?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17341" PostHistoryTypeId="3" PostId="10503" RevisionGUID="9215b6f0-a13f-4a36-bc0d-6a69d16739d8" CreationDate="2011-09-24T16:21:14.633" UserId="6487" Text="&lt;dialog&gt;&lt;dialogue&gt;&lt;equalization&gt;&lt;eq&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17342" PostHistoryTypeId="2" PostId="10504" RevisionGUID="09100eb9-140a-4338-916a-c287dab56455" CreationDate="2011-09-24T17:08:15.780" UserId="253" Text="It depends what's in your location tracks, and how noisy they are. The imperfections from what was picked up on the day can give your scene life, but not if there was an air conditioner they wouldn't shut off, or the wrong kind of bird outside, etc.&#xD;&#xA;&#xD;&#xA;It's up to you, but if there's nothing too ugly in there, it would be handy to have a sync fx track to pull from. I'd still recommend ADR for breaths and foley for movements, so you have more freedom in the mix, but having a cleaned up location track may help sell the scene more.&#xD;&#xA;&#xD;&#xA;Just reread your question, and you should definitely cut in atmos tracks as well. Room tone, external wind, stuff like that. Build up every little sound of the world of the movie." ContentLicense="CC BY-SA 3.0" />
  <row Id="17343" PostHistoryTypeId="2" PostId="10505" RevisionGUID="b077fa87-c214-44a0-8c70-ff84dde3c786" CreationDate="2011-09-24T17:21:51.740" UserId="891" Text="My main tendency is NOT to boost frequencies. Digital boost often (depending on the tools) doesn't sound very good in my ear. And even with the right tool I still feel better dropping another range that might cover what I'd boost otherwise.&#xD;&#xA;&#xD;&#xA;So for me boosting the highs AND the lows (100Hz) sounds more like dropping something in between instead.  Especially if it is a general thing.&#xD;&#xA;&#xD;&#xA;Nevertheless I do help dialogue to get through with a little push here and there. (and I've had projects with production sound that called for general boost before I could even start to tweak anything else) But for me the freq-range depends a lot on the character of the voice. &#xD;&#xA;&#xD;&#xA;If you boost 2-4k, that usually sounds too harsh and aggressive to me. But there are situations, where this is your only chance to get through. 8-9k seems almost too high on a general basis for me. So my personal starting point is often around 5-6k.&#xD;&#xA;&#xD;&#xA;But as usual: if it sounds good, it is good. ;) And there is a lot about habits and taste.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17344" PostHistoryTypeId="2" PostId="10506" RevisionGUID="329b80c2-0b49-4ac6-8c63-9941f83d7f06" CreationDate="2011-09-24T18:27:11.570" UserId="6604" Text="Recently Joined a large famous studio called Futureworks in mumbai, as a Dubbing, Foley, SFX editor on major feature films with better pay and working in close proximity with major directors and sound designers.  &#xD;&#xA;&#xD;&#xA;Earlier worked as a Dubbing, Mixing, Foley, Asst. Music Recording Engg in a mid-size company in Mumbai working mostly on tv projects. Graduate d from SAE, Chennai. Avid gamer and films enthusiast and sound designer in  free time.&#xD;&#xA;&#xD;&#xA;Fluent in Protools 8 HD with ICON &amp; Nuendo 4. &#xD;&#xA;Working since a year." ContentLicense="CC BY-SA 3.0" />
  <row Id="17345" PostHistoryTypeId="16" PostId="10506" RevisionGUID="329b80c2-0b49-4ac6-8c63-9941f83d7f06" CreationDate="2011-09-24T18:27:11.570" UserId="-1" />
  <row Id="17346" PostHistoryTypeId="2" PostId="10507" RevisionGUID="4aad63a1-e9e2-4fb6-940b-d40c140a57a7" CreationDate="2011-09-24T19:49:39.787" UserId="1152" Text="...and then I said &quot;Dither? I just met her!&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17347" PostHistoryTypeId="2" PostId="10508" RevisionGUID="8459a3c9-e682-4a78-b124-30e7405b751a" CreationDate="2011-09-24T21:22:48.987" UserId="432" Text="Two boom ops and a production sound mixer get into a car. Who's driving?&#xD;&#xA;&#xD;&#xA;.....&#xD;&#xA;&#xD;&#xA;The cop. [rimshot]" ContentLicense="CC BY-SA 3.0" />
  <row Id="17348" PostHistoryTypeId="2" PostId="10509" RevisionGUID="54f0ffe6-aa53-4a42-9152-4741c448f65f" CreationDate="2011-09-24T21:36:00.720" UserId="118" Text="I agree with bits from all the other answers: it's basically a balance between removing evidence of the filmmaking process whilst retaining natural elements which are very hard to 100% convincingly replace artificially.  In this sense, I think it is healthy to be as precious about the sync sounds of movement or breaths as you would be about sync dialogue.  Also, bear in mind that everyone (ie the director &amp; editor) may well be used to hearing the production sound, whatever it's imperfections, and so, right or wrong, may well be enotionally attached to it, so don't be too trigger happy in ditching it.&#xD;&#xA;My advice is, unless the sync is blatantly unusable due to set noise, etc, make it work as smooth as possible just like a dialogue scene, then split it off on to sync fx tracks then it's there as an option if needed.  However!  This is what spotting sessions are for!  Suss out the general feeling about these scenes when you talk through the film with the director and editor.  I'm sure you'll get a sense then of whether the sync from these scenes is considered something to be preserved or heightened. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17349" PostHistoryTypeId="2" PostId="10510" RevisionGUID="2b4a9ee1-f530-47e2-a679-7c12df7acc68" CreationDate="2011-09-25T00:27:35.833" UserId="2741" Text="Hi &#xD;&#xA;I'm a novice recorder and was using my Zoom H1 for the first time yesterday.  I can't find the first meeting I recorded with it (omg) but I can find another longer meeting.  I had pushed the record button and saw the red light, but even after plugging the thing into my computer, that first file is nowhere.  I didn't delete it - where might it be?  THANKS to all who write back!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17350" PostHistoryTypeId="1" PostId="10510" RevisionGUID="2b4a9ee1-f530-47e2-a679-7c12df7acc68" CreationDate="2011-09-25T00:27:35.833" UserId="2741" Text="Where's my recording on a Zoom H1" ContentLicense="CC BY-SA 3.0" />
  <row Id="17351" PostHistoryTypeId="3" PostId="10510" RevisionGUID="2b4a9ee1-f530-47e2-a679-7c12df7acc68" CreationDate="2011-09-25T00:27:35.833" UserId="2741" Text="&lt;zoom&gt;&lt;h1&gt;&lt;file&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17352" PostHistoryTypeId="2" PostId="10511" RevisionGUID="cb4afba5-648a-4895-857d-f8b0f181e99a" CreationDate="2011-09-25T00:32:23.300" UserId="18160" Text="Zooms work this way:&#xD;&#xA;&#xD;&#xA;You have to press the record button twice.&#xD;&#xA;&#xD;&#xA;When you press it once, it goes into record ready mode and flashes red.&#xD;&#xA;&#xD;&#xA;Press it twice, and it actually records...&#xD;&#xA;&#xD;&#xA;That might be what happened and would explain the missing file." ContentLicense="CC BY-SA 3.0" />
  <row Id="17353" PostHistoryTypeId="2" PostId="10512" RevisionGUID="453a0888-8e6a-452c-828c-09a978924e8a" CreationDate="2011-09-25T00:43:24.687" UserId="930" Text="Where do Sound Engineers go on holiday??&#xD;&#xA;&#xD;&#xA;Patch Bay. &#xD;&#xA;&#xD;&#xA;(Full props go to Tarek Musa for this joke)&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="17356" PostHistoryTypeId="2" PostId="10515" RevisionGUID="e58d7e46-7583-4b4e-a714-ca7e05fc4e57" CreationDate="2011-09-25T02:35:25.710" UserId="1228" Text="... roomtone is the absolute highlight of your vacation hotel stay." ContentLicense="CC BY-SA 3.0" />
  <row Id="17357" PostHistoryTypeId="16" PostId="10515" RevisionGUID="e58d7e46-7583-4b4e-a714-ca7e05fc4e57" CreationDate="2011-09-25T02:35:25.710" UserId="-1" />
  <row Id="17358" PostHistoryTypeId="2" PostId="10516" RevisionGUID="aa03bb93-6cc5-4355-a43a-147864b458fe" CreationDate="2011-09-25T05:01:46.863" UserId="407" Text="I agree with @lg pushing up 8-9khz seems like you are compensating for something that is too loud in the lower frequencies. Something that I learnt at school many years ago that I feel still rings true in the real world is when EQ'ing to 'fix' a sound subtractive EQ'ing is the way to go. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17359" PostHistoryTypeId="2" PostId="10517" RevisionGUID="36d5c950-08f1-4577-b307-57271b668e24" CreationDate="2011-09-25T05:31:01.780" UserId="418" Text="...you bring your D50 and a 1/8&quot; minijack adapter to your unborn baby's ultrasound checkups to record the heartbeat in 24/96... more than once. &#xD;&#xA;&#xD;&#xA;Guilty as charged. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17360" PostHistoryTypeId="16" PostId="10517" RevisionGUID="36d5c950-08f1-4577-b307-57271b668e24" CreationDate="2011-09-25T05:31:01.780" UserId="-1" />
  <row Id="17361" PostHistoryTypeId="2" PostId="10518" RevisionGUID="dd321719-23f1-47d7-ad31-5442c71cb330" CreationDate="2011-09-25T18:00:17.113" UserId="547" Text="Hi @MixingManiac, I agree with @lg and @RedSonic01, cutting is much more likely to lead to success. I'm surprised you're boosting 100Hz for Vocals. 100Hz contains next to no useful communication information and makes most loudspeakers seem muddy/boxy {try a steep low pass to hear the effect} Try cutting @125Hz instead for apparent increase in the low end.&#xD;&#xA;Regards&#xD;&#xA;James" ContentLicense="CC BY-SA 3.0" />
  <row Id="17365" PostHistoryTypeId="2" PostId="10520" RevisionGUID="f871482c-044b-4d8b-94a1-f430f22d5205" CreationDate="2011-09-26T03:27:30.667" UserId="393" Text="I've been thinking about this for a couple days, now.&#xD;&#xA;&#xD;&#xA;On Thursday, David Sonnenschein and Ric Viers had a free webinar -- it was largely a promo for their upcoming online seminars, but it was still good -- and at the end they reviewed a couple people's videos.  The first video they viewed was really pretty good, and then Ric asked the designer how much of the sounds were his own work.&#xD;&#xA;&#xD;&#xA;After the designer admitted that only 20% of the sounds were sounds he recorded, Ric said something that got my head spinning.  &quot;If you show me a reel where you didn't make most of the sounds yourself, all you're showing me is that you're good at pulling sounds from a library.&quot;&#xD;&#xA;&#xD;&#xA;Now, I realize that Ric is a huge advocate for recording your own sounds -- even though he runs one of the largest SFX library companies active, right nwo --, and we all should be recording our own sounds, but is that an opinion that is pretty prevalent in the industry?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17366" PostHistoryTypeId="1" PostId="10520" RevisionGUID="f871482c-044b-4d8b-94a1-f430f22d5205" CreationDate="2011-09-26T03:27:30.667" UserId="393" Text="Canned sounds vs. ones you record yourself" ContentLicense="CC BY-SA 3.0" />
  <row Id="17367" PostHistoryTypeId="3" PostId="10520" RevisionGUID="f871482c-044b-4d8b-94a1-f430f22d5205" CreationDate="2011-09-26T03:27:30.667" UserId="393" Text="&lt;thoughts&gt;&lt;sound-libraries&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17368" PostHistoryTypeId="2" PostId="10521" RevisionGUID="5491358f-826e-4b6e-8656-42747661cd6b" CreationDate="2011-09-26T03:48:25.360" UserId="61" Text="I don't agree with that comment at all. Just because you're using sounds that you didn't record yourself doesn't mean that you're not making creative choices. Very seldom will library sounds work perfectly for the project you're working on, and it's up to you to mold and shape those sounds, and make them your own.&#xD;&#xA;&#xD;&#xA;Should everyone be recording, mastering and using their own custom recorded fx? Sure, in a perfect world with generous budgets of time and money. Now, show me that perfect world --" ContentLicense="CC BY-SA 3.0" />
  <row Id="17369" PostHistoryTypeId="2" PostId="10522" RevisionGUID="22213331-f7b2-474e-a464-637f067fc937" CreationDate="2011-09-26T05:26:22.750" UserId="18160" Text="I'm with Jay on this one. Nice answer, Jay.&#xD;&#xA;&#xD;&#xA;I personally do not think that was right for him to tell that designer.. Kind of ironic that he'd be out of business if everyone recorded their own effects, but that's beside the point. I think that one sentence from Ric might be being taken out of context a little here and I do see his point. He said &quot;if you show me a REEL...&quot;. Reels are supposed to show your abilities to record, edit, design, make your own sounds and I personally think it's better to make a reel that is 100% your own recordings - but that's just my opinion.&#xD;&#xA;&#xD;&#xA;But then I'd look at it this way: if everyone was digging the sound design and it was &quot;really pretty good&quot; as you say, I'd applaud his ability to take canned, blase and mundane &quot;STORE-BOUGHT EFFECTS&quot; and mesh it together with a few of his own effects he personally recorded and wind up with a believable, full sounding track. I would point out that it has an advantage to do it that way (80 to 20 ratio of effects) because it's economic, saves time, cost effective, etc. etc. etc.&#xD;&#xA;&#xD;&#xA;And recording all of your own effects newly is not a hallmark nor a &quot;requirement&quot; for being considered a &quot;pro sound designer&quot; by any means -- I think it was Randy Thom who said he uses mostly library sound effects - correct me if I'm wrong, but I seem to remember that from the Castaway special edition commentary with him.&#xD;&#xA;&#xD;&#xA;It ultimately comes down to what is right for the story and what sells and tells the story in the best way possible.&#xD;&#xA;&#xD;&#xA;For example, in Alice and Wonderland, Michael Semanick speaks of placing in &quot;B-rated Horror Film Thunder&quot; sound effects in specific scenes--but wait, that cannot be! Not on a big-budget feature like Alice and Wonderland!! Yeah.. Sometimes it's needed to play the right chord in the audience's emotional memory bank.&#xD;&#xA;&#xD;&#xA;But, my favorite analogy was said by one of my favorite Sound Designers of all time. His name is Erik Aadahl. He said in an interview once that a soundtrack is like a salad. The more ingredients you put into it that are fresh and home-grown from your own garden specifically for that salad, then it's going to taste better. The more store-bought, freeze-dried and GMOed ingredients you put into it, it's going to be that much worse. That's a philosophy I apply and strive toward on this proviso: If I have the time and budget to do so. When the time and budget call for using canned or store-bought sound effects, then sure - I'll do it with the mindset of making it still have the best possible quality I can get with minimal compromise on the integrity of the soundtrack which forwards the director's ultimate vision and goal for what he wants to induce in the audience." ContentLicense="CC BY-SA 3.0" />
  <row Id="17370" PostHistoryTypeId="5" PostId="10522" RevisionGUID="aa8fb320-3e1e-48d0-8a95-603d8b71a640" CreationDate="2011-09-26T05:32:48.023" UserId="18160" Comment="added 18 characters in body" Text="I'm with Jay on this one. Nice answer, Jay.&#xD;&#xA;&#xD;&#xA;I personally do not think that was right for him to tell that designer.. Kind of ironic that he'd be out of business if everyone recorded their own effects, but that's beside the point. I think that one sentence from Ric might be being taken out of context a little here and I do see where he is coming from. He said &quot;if you show me a **REEL**...&quot;. Reels are supposed to show your abilities to record, edit, design, make your own sounds and I personally think it's better to make a reel that is 100% your own recordings - but that's just my opinion.&#xD;&#xA;&#xD;&#xA;But then I'd look at it this way: if everyone was digging the sound design and it was &quot;really pretty good&quot; as you say, I'd applaud his ability to take canned, blase and mundane &quot;STORE-BOUGHT EFFECTS&quot; and mesh it together with a few of his own effects he personally recorded and wind up with a believable, full sounding track. I would point out that it has an advantage to do it that way (80 to 20 ratio of effects) because it's economic, saves time, cost effective, etc. etc. etc.&#xD;&#xA;&#xD;&#xA;And recording all of your own effects newly is not a hallmark nor a &quot;requirement&quot; for being considered a &quot;pro sound designer&quot; by any means -- I think it was Randy Thom who said he uses mostly library sound effects - correct me if I'm wrong, but I seem to remember that from the Castaway special edition commentary with him.&#xD;&#xA;&#xD;&#xA;It ultimately comes down to what is right for the story and what sells and tells the story in the best way possible.&#xD;&#xA;&#xD;&#xA;For example, in Alice and Wonderland, Michael Semanick speaks of placing in &quot;B-rated Horror Film Thunder&quot; sound effects in specific scenes--but wait, that cannot be! Not on a big-budget feature like Alice and Wonderland!! Yeah.. Sometimes it's needed to play the right chord in the audience's emotional memory bank.&#xD;&#xA;&#xD;&#xA;But, my favorite analogy was said by one of my favorite Sound Designers of all time. His name is Erik Aadahl. He said in an interview once that a soundtrack is like a salad. The more ingredients you put into it that are fresh and home-grown from your own garden specifically for that salad, then it's going to taste better. The more store-bought, freeze-dried and GMOed ingredients you put into it, it's going to be that much worse. That's a philosophy I apply and strive toward on this proviso: If I have the time and budget to do so. When the time and budget call for using canned or store-bought sound effects, then sure - I'll do it with the mindset of making it still have the best possible quality I can get with minimal compromise on the integrity of the soundtrack which forwards the director's ultimate vision and goal for what he wants to induce in the audience." ContentLicense="CC BY-SA 3.0" />
  <row Id="17371" PostHistoryTypeId="5" PostId="10522" RevisionGUID="8adbb783-b0c4-4ee4-b2b0-7dd2e7558c08" CreationDate="2011-09-26T05:48:41.610" UserId="18160" Comment="added 68 characters in body" Text="I'm with Jay on this one. Nice answer, Jay.&#xD;&#xA;&#xD;&#xA;I personally do not think that was right for him to tell that designer.. Kind of ironic that he'd be out of business if everyone recorded their own effects, but that's beside the point.  I also think that one sentence from Ric might be being taken out of context a little here and I do see where he is coming from. He said &quot;if you show me a **REEL**...&quot;. Reels are supposed to show your abilities to record, edit, design, make your own sounds and I personally think it's better to make a reel that is 100% your own recordings because that's what you're trying to show potential employers - but that's just my opinion.&#xD;&#xA;&#xD;&#xA;But then I'd look at it this way: if everyone was digging the sound design and it was &quot;really pretty good&quot; as you say, I'd applaud his ability to take canned, blase and mundane &quot;STORE-BOUGHT EFFECTS&quot; and mesh it together with a few of his own effects he personally recorded and wind up with a believable, full sounding track. I would point out that it has an advantage to do it that way (80 to 20 ratio of effects) because it's economic, saves time, cost effective, etc. etc. etc.&#xD;&#xA;&#xD;&#xA;And recording all of your own effects newly is not a hallmark nor a &quot;requirement&quot; for being considered a &quot;pro sound designer&quot; by any means -- I think it was Randy Thom who said he uses mostly library sound effects - correct me if I'm wrong, but I seem to remember that from the Castaway special edition commentary with him.&#xD;&#xA;&#xD;&#xA;It ultimately comes down to what is right for the story and what sells and tells the story in the best way possible.&#xD;&#xA;&#xD;&#xA;For example, in Alice and Wonderland, Michael Semanick speaks of placing in &quot;B-rated Horror Film Thunder&quot; sound effects in specific scenes--but wait, that cannot be! Not on a big-budget feature like Alice and Wonderland!! Yeah.. Sometimes it's needed to play the right chord in the audience's emotional memory bank.&#xD;&#xA;&#xD;&#xA;But, my favorite analogy was said by one of my favorite Sound Designers of all time. His name is Erik Aadahl. He said in an interview once that a soundtrack is like a salad. The more ingredients you put into it that are fresh and home-grown from your own garden specifically for that salad, then it's going to taste better. The more store-bought, freeze-dried and GMOed ingredients you put into it, it's going to be that much worse. That's a philosophy I apply and strive toward on this proviso: If I have the time and budget to do so. When the time and budget call for using canned or store-bought sound effects, then sure - I'll do it with the mindset of making it still have the best possible quality I can get with minimal compromise on the integrity of the soundtrack which forwards the director's ultimate vision and goal for what he wants to induce in the audience." ContentLicense="CC BY-SA 3.0" />
  <row Id="17372" PostHistoryTypeId="5" PostId="10522" RevisionGUID="96188ade-8a75-4238-b904-2c70d8ab641a" CreationDate="2011-09-26T05:56:36.213" UserId="18160" Comment="added 708 characters in body; deleted 1 characters in body" Text="I'm with Jay on this one. Nice answer, Jay.&#xD;&#xA;&#xD;&#xA;I personally do not think that was right for him to tell that designer.. Kind of ironic that he'd be out of business if everyone recorded their own effects, but that's beside the point.  I also think that one sentence from Ric might be being taken out of context a little here and I do see where he is coming from. He said &quot;if you show me a **REEL**...&quot;. Reels are supposed to show your abilities to record, edit, design, make your own sounds and I personally think it's better to make a reel that is 100% your own recordings because that's what you're trying to show potential employers - but that's just my opinion.&#xD;&#xA;&#xD;&#xA;But then I'd look at it this way: if everyone was digging the sound design and it was &quot;really pretty good&quot; as you say, I'd applaud his ability to take canned, blase and mundane &quot;STORE-BOUGHT EFFECTS&quot; and mesh it together with a few of his own effects he personally recorded and wind up with a believable, full sounding track. I would point out that it has an advantage to do it that way (80 to 20 ratio of effects) because it's economic, saves time, cost effective, etc. etc. etc.&#xD;&#xA;&#xD;&#xA;One pertinent point I'd like to bring up is that Waves had a &quot;Sound Design Challenge&quot; this year wherein they provided you with hand-selected LIBRARY sound effects and gave them to you and told you that you could only use those sounds and NOT use your own recorded sounds and you had to sound design a full 45 seconds or so of a surreal racing crash. This competition had some very nice designs and I saw that it took extreme creativity and novel ideas of how to manipulate and use ONLY random &quot;canned&quot; library sound effects - and to say that all this competition shows someone is their ability to pull sounds from a library, I invite you to check out the top 10 designs of that competition. Genius stuff.&#xD;&#xA;&#xD;&#xA;And recording all of your own effects newly is not a hallmark nor a &quot;requirement&quot; for being considered a &quot;pro sound designer&quot; by any means -- I think it was Randy Thom who said he uses mostly library sound effects - correct me if I'm wrong, but I seem to remember that from the Castaway special edition commentary with him.&#xD;&#xA;&#xD;&#xA;It ultimately comes down to what is right for the story and what sells and tells the story in the best way possible.&#xD;&#xA;&#xD;&#xA;For example, in Alice in Wonderland, Michael Semanick speaks of placing in &quot;B-rated Horror Film Thunder&quot; sound effects in specific scenes--but wait, that cannot be! Not on a big-budget feature like Alice and Wonderland!! Yeah.. Sometimes it's needed to play the right chord in the audience's emotional memory bank.&#xD;&#xA;&#xD;&#xA;But, my favorite analogy was said by one of my favorite Sound Designers of all time. His name is Erik Aadahl. He said in an interview once that a soundtrack is like a salad. The more ingredients you put into it that are fresh and home-grown from your own garden specifically for that salad, then it's going to taste better. The more store-bought, freeze-dried and GMOed ingredients you put into it, it's going to be that much worse. That's a philosophy I apply and strive toward on this proviso: If I have the time and budget to do so. When the time and budget call for using canned or store-bought sound effects, then sure - I'll do it with the mindset of making it still have the best possible quality I can get with minimal compromise on the integrity of the soundtrack which forwards the director's ultimate vision and goal for what he wants to induce in the audience." ContentLicense="CC BY-SA 3.0" />
  <row Id="17373" PostHistoryTypeId="2" PostId="10523" RevisionGUID="bfb58f0e-5bf4-4d03-b440-4f298157592e" CreationDate="2011-09-26T06:01:09.937" UserId="2771" Text="PS3 - gorillachest&#xD;&#xA;&#xD;&#xA;I'm another one who only plays Bad Company 2!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17374" PostHistoryTypeId="16" PostId="10523" RevisionGUID="bfb58f0e-5bf4-4d03-b440-4f298157592e" CreationDate="2011-09-26T06:01:09.937" UserId="-1" />
  <row Id="17375" PostHistoryTypeId="5" PostId="10522" RevisionGUID="0a2b3778-daa4-4a51-b92d-9859c1d3540f" CreationDate="2011-09-26T06:07:23.997" UserId="18160" Comment="added 515 characters in body; added 187 characters in body" Text="I'm with Jay on this one. Nice answer, Jay.&#xD;&#xA;&#xD;&#xA;I personally do not think that was right for him to tell that designer.. Kind of ironic that he'd be out of business if everyone recorded their own effects, but that's beside the point.  I also think that one sentence from Ric might be being taken out of context a little here and I do see where he is coming from. He said &quot;if you show me a **REEL**...&quot;. Reels are supposed to show your abilities to record, edit, design, make your own sounds and I personally think it's better to make a reel that is 100% your own recordings because that's what you're trying to show potential employers - but that's just my opinion.&#xD;&#xA;&#xD;&#xA;But then I'd look at it this way: if everyone was digging the sound design and it was &quot;really pretty good&quot; as you say, I'd applaud his ability to take canned, blase and mundane &quot;STORE-BOUGHT EFFECTS&quot; and mesh it together with a few of his own effects he personally recorded and wind up with a believable, full sounding track. I would point out that it has an advantage to do it that way (80 to 20 ratio of effects) because it's economic, saves time, cost effective, etc. etc. etc.&#xD;&#xA;&#xD;&#xA;One pertinent point I'd like to bring up is that Waves had a &quot;Sound Design Challenge&quot; this year wherein they provided you with hand-selected LIBRARY sound effects and gave them to you and told you that you could only use those sounds and NOT use your own recorded sounds and you had to sound design a full 45 seconds or so of a surreal racing crash. This competition had some very nice designs and I saw that it took extreme creativity and novel ideas of how to manipulate and use ONLY random &quot;canned&quot; library sound effects - and to say that all this competition shows someone is their ability to pull sounds from a library, I invite you to check out the top 10 designs of that competition. Genius stuff.&#xD;&#xA;&#xD;&#xA;And recording all of your own effects newly is not a hallmark nor a &quot;requirement&quot; for being considered a &quot;pro sound designer&quot; by any means -- I think it was Randy Thom who said he uses mostly library sound effects - correct me if I'm wrong, but I seem to remember that from the Castaway special edition commentary with him.&#xD;&#xA;&#xD;&#xA;It ultimately comes down to what is right for the story and what sells and tells the story in the best way possible.&#xD;&#xA;&#xD;&#xA;For example, in Alice in Wonderland, Michael Semanick speaks of placing in &quot;B-rated Horror Film Thunder&quot; sound effects in specific scenes--but wait, that cannot be! Not on a big-budget feature like Alice and Wonderland!! Yeah.. Sometimes it's needed to play the right chord in the audience's emotional memory bank.&#xD;&#xA;&#xD;&#xA;But, my favorite analogy was said by one of my favorite Sound Designers of all time. His name is Erik Aadahl. He said in an interview once that a soundtrack is like a salad. The more ingredients you put into it that are fresh and home-grown from your own garden specifically for that salad, then it's going to taste better. The more store-bought, freeze-dried and GMOed ingredients you put into it, it's going to be that much worse. That's a philosophy I apply and strive toward on this proviso: If I have the time and budget to do so. When the time and budget call for using canned or store-bought sound effects, then sure - I'll do it with the mindset of making it still have the best possible quality I can get with minimal compromise on the integrity of the soundtrack which forwards the director's ultimate vision and goal for what he wants to induce in the audience.&#xD;&#xA;&#xD;&#xA;One last rant: &quot;If it sounds good, it's good. I don't care if you twist the knob backwards - if it sounds good, it's good&quot;. Who cares where the effects come from if they sound good and forward the story? I think we're in the top 2 percent of the audience who can recognize a &quot;6030 Big Woosh&quot; or an &quot;Old Traffic&quot; placed in a movie (can't say the same for the Wilhelm) - if you have to use sounds pulled from a commercial library and it fits and is tasteful, no-one should have the right to shoot you down for it.&#xD;&#xA;&#xD;&#xA;p.s. the other day I pulled Mr. Wilhelm from my library and he actually did 3 or 4 other takes of screams before and after the famous one - I used one of the other takes yesterday. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17376" PostHistoryTypeId="5" PostId="10522" RevisionGUID="c60096a8-dc5a-4b69-af05-97a1cea8eda3" CreationDate="2011-09-26T06:12:36.803" UserId="18160" Comment="added 16 characters in body" Text="I'm with Jay on this one. Nice answer, Jay.&#xD;&#xA;&#xD;&#xA;I personally do not think that was right for him to tell that designer.. Kind of ironic that he'd be out of business if everyone recorded their own effects, but that's beside the point.  I also think that one sentence from Ric might be being taken out of context a little here and I do see where he is coming from. He said &quot;if you show me a **REEL**...&quot;. Reels are supposed to show your abilities to record, edit, design, make your own sounds and I personally think it's better in the long run to make a reel that is 100% your own recordings because that's what you're trying to show potential employers - but that's just my opinion.&#xD;&#xA;&#xD;&#xA;But then I'd look at it this way: if everyone was digging the sound design and it was &quot;really pretty good&quot; as you say, I'd applaud his ability to take canned, blase and mundane &quot;STORE-BOUGHT EFFECTS&quot; and mesh it together with a few of his own effects he personally recorded and wind up with a believable, full sounding track. I would point out that it has an advantage to do it that way (80 to 20 ratio of effects) because it's economic, saves time, cost effective, etc. etc. etc.&#xD;&#xA;&#xD;&#xA;One pertinent point I'd like to bring up is that Waves had a &quot;Sound Design Challenge&quot; this year wherein they provided you with hand-selected LIBRARY sound effects and gave them to you and told you that you could only use those sounds and NOT use your own recorded sounds and you had to sound design a full 45 seconds or so of a surreal racing crash. This competition had some very nice designs and I saw that it took extreme creativity and novel ideas of how to manipulate and use ONLY random &quot;canned&quot; library sound effects - and to say that all this competition shows someone is their ability to pull sounds from a library, I invite you to check out the top 10 designs of that competition. Genius stuff.&#xD;&#xA;&#xD;&#xA;And recording all of your own effects newly is not a hallmark nor a &quot;requirement&quot; for being considered a &quot;pro sound designer&quot; by any means -- I think it was Randy Thom who said he uses mostly library sound effects - correct me if I'm wrong, but I seem to remember that from the Castaway special edition commentary with him.&#xD;&#xA;&#xD;&#xA;It ultimately comes down to what is right for the story and what sells and tells the story in the best way possible.&#xD;&#xA;&#xD;&#xA;For example, in Alice in Wonderland, Michael Semanick speaks of placing in &quot;B-rated Horror Film Thunder&quot; sound effects in specific scenes--but wait, that cannot be! Not on a big-budget feature like Alice and Wonderland!! Yeah.. Sometimes it's needed to play the right chord in the audience's emotional memory bank.&#xD;&#xA;&#xD;&#xA;But, my favorite analogy was said by one of my favorite Sound Designers of all time. His name is Erik Aadahl. He said in an interview once that a soundtrack is like a salad. The more ingredients you put into it that are fresh and home-grown from your own garden specifically for that salad, then it's going to taste better. The more store-bought, freeze-dried and GMOed ingredients you put into it, it's going to be that much worse. That's a philosophy I apply and strive toward on this proviso: If I have the time and budget to do so. When the time and budget call for using canned or store-bought sound effects, then sure - I'll do it with the mindset of making it still have the best possible quality I can get with minimal compromise on the integrity of the soundtrack which forwards the director's ultimate vision and goal for what he wants to induce in the audience.&#xD;&#xA;&#xD;&#xA;One last rant: &quot;If it sounds good, it's good. I don't care if you twist the knob backwards - if it sounds good, it's good&quot;. Who cares where the effects come from if they sound good and forward the story? I think we're in the top 2 percent of the audience who can recognize a &quot;6030 Big Woosh&quot; or an &quot;Old Traffic&quot; placed in a movie (can't say the same for the Wilhelm) - if you have to use sounds pulled from a commercial library and it fits and is tasteful, no-one should have the right to shoot you down for it.&#xD;&#xA;&#xD;&#xA;p.s. the other day I pulled Mr. Wilhelm from my library and he actually did 3 or 4 other takes of screams before and after the famous one - I used one of the other takes yesterday. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17377" PostHistoryTypeId="5" PostId="10522" RevisionGUID="33b9cb34-3434-4c8f-82bf-4c1b73cc83d3" CreationDate="2011-09-26T06:23:25.710" UserId="18160" Comment="deleted 1 characters in body" Text="I'm with Jay on this one. Nice answer, Jay.&#xD;&#xA;&#xD;&#xA;I personally do not think that was right for him to tell that designer.. Kind of ironic that he'd be out of business if everyone recorded their own effects, but that's beside the point.  I also think that one sentence from Ric might be being taken out of context a little here and I do see where he is coming from. He said &quot;if you show me a **REEL**...&quot;. Reels are supposed to show your abilities to record, edit, design, make your own sounds and I personally think it's better in the long run to make a reel that is 100% your own recordings because that's what you're trying to show potential employers - but that's just my opinion.&#xD;&#xA;&#xD;&#xA;But then I'd look at it this way: if everyone was digging the sound design and it was &quot;really pretty good&quot; as you say, I'd applaud his ability to take canned, blase and mundane &quot;STORE-BOUGHT EFFECTS&quot; and mesh it together with a few of his own effects he personally recorded and wind up with a believable, full sounding track. I would point out that it has an advantage to do it that way (80 to 20 ratio of effects) because it's economic, saves time, cost effective, etc. etc. etc.&#xD;&#xA;&#xD;&#xA;One pertinent point I'd like to bring up is that Waves had a &quot;Sound Design Challenge&quot; this year wherein they provided you with hand-selected LIBRARY sound effects and gave them to you and told you that you could only use those sounds and NOT use your own recorded sounds and you had to sound design a full 45 seconds or so of a surreal racing crash. This competition had some very nice designs and I saw that it took extreme creativity and novel ideas of how to manipulate and use ONLY random &quot;canned&quot; library sound effects - and to say that all this competition shows someone is their ability to pull sounds from a library, I invite you to check out the top 10 designs of that competition. Genius stuff.&#xD;&#xA;&#xD;&#xA;And recording all of your own effects newly is not a hallmark nor a &quot;requirement&quot; for being considered a &quot;pro sound designer&quot; by any means -- I think it was Randy Thom who said he uses mostly library sound effects - correct me if I'm wrong, but I seem to remember that from the Castaway special edition commentary with him.&#xD;&#xA;&#xD;&#xA;It ultimately comes down to what is right for the story and what sells and tells the story in the best way possible.&#xD;&#xA;&#xD;&#xA;For example, in Alice in Wonderland, Michael Semanick speaks of placing in &quot;B-rated Horror Film Thunder&quot; sound effects in specific scenes--but wait, that cannot be! Not on a big-budget feature like Alice in Wonderland!! Yeah.. Sometimes it's needed to play the right chord in the audience's emotional memory bank.&#xD;&#xA;&#xD;&#xA;But, my favorite analogy was said by one of my favorite Sound Designers of all time. His name is Erik Aadahl. He said in an interview once that a soundtrack is like a salad. The more ingredients you put into it that are fresh and home-grown from your own garden specifically for that salad, then it's going to taste better. The more store-bought, freeze-dried and GMOed ingredients you put into it, it's going to be that much worse. That's a philosophy I apply and strive toward on this proviso: If I have the time and budget to do so. When the time and budget call for using canned or store-bought sound effects, then sure - I'll do it with the mindset of making it still have the best possible quality I can get with minimal compromise on the integrity of the soundtrack which forwards the director's ultimate vision and goal for what he wants to induce in the audience.&#xD;&#xA;&#xD;&#xA;One last rant: &quot;If it sounds good, it's good. I don't care if you twist the knob backwards - if it sounds good, it's good&quot;. Who cares where the effects come from if they sound good and forward the story? I think we're in the top 2 percent of the audience who can recognize a &quot;6030 Big Woosh&quot; or an &quot;Old Traffic&quot; placed in a movie (can't say the same for the Wilhelm) - if you have to use sounds pulled from a commercial library and it fits and is tasteful, no-one should have the right to shoot you down for it.&#xD;&#xA;&#xD;&#xA;p.s. the other day I pulled Mr. Wilhelm from my library and he actually did 3 or 4 other takes of screams before and after the famous one - I used one of the other takes yesterday. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17381" PostHistoryTypeId="2" PostId="10525" RevisionGUID="f4bdf061-9014-46bc-81ce-651aa6a9dc97" CreationDate="2011-09-26T06:39:02.877" UserId="407" Text="I also don't agree with this sentiment - Sound design is about telling the story and creating the emotion, especially for a show reel. I love hearing fresh and exciting newly recorded sounds but that is only one aspect of the whole sound design process, ultimately the only thing that is important is what comes out at the end, how you get there is totally up to you.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17384" PostHistoryTypeId="2" PostId="10526" RevisionGUID="d41d1333-1833-4910-9820-be2c5362e822" CreationDate="2011-09-26T07:18:06.677" UserId="18" Text="When I am designing sounds, I would be incredibly happy to admit that I recorded 20% of the source I'm using.  But, more often than not, I'm pulling from libraries.  We just don't have the time/budget to record everything we need for a project.  You can try recording stuff between gigs and building your library, but even those become &quot;canned&quot; effects that won't always fit your project perfectly.&#xD;&#xA;&#xD;&#xA;If you are working on a project, you have to find the sound that works within the schedule and budget you have.  If that means recording fresh, then so be it.  If it means pulling from a library, then that is what you do.&#xD;&#xA;&#xD;&#xA;I feel that designing for a show reel is a different beast.  With a reel you want to present your absolute best.  Even if you are pulling stuff from a library, you need to use the sounds creatively enough so that they are not easily identified.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17386" PostHistoryTypeId="2" PostId="10527" RevisionGUID="479ba873-d97e-4672-8b87-f6a904b48a02" CreationDate="2011-09-26T12:14:54.070" UserId="1322" Text="I agree with you all, but with one proviso ..............please don't use canned, SFX or processed library sounds for documentary production." ContentLicense="CC BY-SA 3.0" />
  <row Id="17387" PostHistoryTypeId="2" PostId="10528" RevisionGUID="f5ebadf8-f7f4-40ef-adad-9ad0a6a24f36" CreationDate="2011-09-26T12:23:42.103" UserId="2136" Text="I'm a theatrical sound designer/engineer living/attending school in Philadelphia PA.  I'm currently sound designing a production of How to Succeed in Business without Really Trying for school, and on the look out for more opportunities - Philadelphia sure isn't NYC in terms of theater jobs.  Great thread!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17388" PostHistoryTypeId="16" PostId="10528" RevisionGUID="f5ebadf8-f7f4-40ef-adad-9ad0a6a24f36" CreationDate="2011-09-26T12:23:42.103" UserId="-1" />
  <row Id="17389" PostHistoryTypeId="2" PostId="10529" RevisionGUID="d603a306-53c6-4506-9e26-1959e41bb5e8" CreationDate="2011-09-26T13:03:47.763" UserId="253" Text="I wonder what would have happened, had the sound designer lied and said 75%... &#xD;&#xA;&#xD;&#xA;I think perception is all the matters in the end. Recording your own fx can let you follow your sound-vision more accurately; but library FX search/selection/placement is an art that's often looked down on. You'd think that people in an often under-appreciated industry like ours would understand the arrogance of looking down on any creative process, but i guess everything is relative.&#xD;&#xA;&#xD;&#xA;I guess the point of my rant is that where you got your FX is of 0 relevance; only the perception of the end product matters. &#xD;&#xA;&#xD;&#xA;IMHO" ContentLicense="CC BY-SA 3.0" />
  <row Id="17390" PostHistoryTypeId="2" PostId="10530" RevisionGUID="4c4fbe31-cc5b-418d-a2d4-b36ff16f4f74" CreationDate="2011-09-26T14:17:19.237" UserId="863" Text="I live in London England, I'm sound mixer and engineer (which means I do everything sound orientated in this place) mainly mixing adverts, promos and tv shows for a terrestrial TV station.&#xD;&#xA;&#xD;&#xA;I'm also recording, designing and mixing short films when and where I can, in the hope to better myself and move into the film industry.&#xD;&#xA;&#xD;&#xA;I also co-run a sound studio in central London which is part of a new production company." ContentLicense="CC BY-SA 3.0" />
  <row Id="17391" PostHistoryTypeId="16" PostId="10530" RevisionGUID="4c4fbe31-cc5b-418d-a2d4-b36ff16f4f74" CreationDate="2011-09-26T14:17:19.237" UserId="-1" />
  <row Id="17392" PostHistoryTypeId="2" PostId="10531" RevisionGUID="3c40f9a4-049a-46d6-b82e-c10baf8b37c1" CreationDate="2011-09-26T14:19:16.463" UserId="2772" Text="Hi. I need to create the sound of squeaking pipes with a rumbling noise. Basically a character turns a water tap and the pipes squeak then there is a rumble and finally some dirty water splashes out into the sink. Any ideas where to begin? I am new to this and have no access to such water pipes! " ContentLicense="CC BY-SA 3.0" />
  <row Id="17393" PostHistoryTypeId="1" PostId="10531" RevisionGUID="3c40f9a4-049a-46d6-b82e-c10baf8b37c1" CreationDate="2011-09-26T14:19:16.463" UserId="2772" Text="squeaking and rumbling pipes" ContentLicense="CC BY-SA 3.0" />
  <row Id="17394" PostHistoryTypeId="3" PostId="10531" RevisionGUID="3c40f9a4-049a-46d6-b82e-c10baf8b37c1" CreationDate="2011-09-26T14:19:16.463" UserId="2772" Text="&lt;water&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17395" PostHistoryTypeId="2" PostId="10532" RevisionGUID="d12e047d-80fd-4ae5-89f4-697a851a60ab" CreationDate="2011-09-26T15:20:48.173" UserId="558" Text="I agree with everyone.  The question that was asked was, &quot;how much of the sounds were his own work?&quot;.  I am guessing that very few of us just pull a sound from a lib and slap it in place.  Only part of the &quot;work&quot; is recording.  There is also a lot of editing, fx-ing, mixing, futzing, and most importantly selecting.&#xD;&#xA;&#xD;&#xA;I also recognize that for certain types of recording, there are people who know more than i do how to do it well (guns and vehicles for example).  So if i hire those folks, is it &quot;my&quot; work?  And most of those folks have already produced libraries.  GOOD LIBRARIES." ContentLicense="CC BY-SA 3.0" />
  <row Id="17396" PostHistoryTypeId="2" PostId="10533" RevisionGUID="f084d87d-84e7-439c-ad0a-f28c64358170" CreationDate="2011-09-26T15:27:33.117" UserId="6524" Text="I'm a student currently living in Dubai, UAE hoping to get into film and game sound, I'm going to be starting film school in Jan 2012 in Auckland, NZ. I guess I could say my mindset about working in sound is pretty immature like I think it would be cool and funny if someone shoved a hydrophone up their butt and farted, I even got Mr. Nick Maxwell The Ableton Tutor to create something with [my brothers fart][1] for fun haha (I know it sounds like it but I don't have a fascination with flatulence). I'm just trying to experiment and have fun with sound until I actually end up working on something of importance, I've just been doing this for a year now just reading and doing research and building my knowledge and experience. &#xD;&#xA;&#xD;&#xA;Recently I've been helping a [friend][2] at his studio he's been nice enough to sort of mentor me and give me real experience on producing music, its really been great in helping me be more serious and in showing me how hard you need to work to get projects done and things. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/nickmaxwell/swirling-death-vortex&#xD;&#xA;  [2]: http://www.dylan-ellis.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="17397" PostHistoryTypeId="16" PostId="10533" RevisionGUID="f084d87d-84e7-439c-ad0a-f28c64358170" CreationDate="2011-09-26T15:27:33.117" UserId="-1" />
  <row Id="17399" PostHistoryTypeId="2" PostId="10534" RevisionGUID="99a2c380-be08-4096-b4cb-29277f5eb583" CreationDate="2011-09-26T16:17:13.310" UserId="714" Text="xbox: SolarUnion33&#xD;&#xA;&#xD;&#xA;Been playing Halo Reach and GoW3." ContentLicense="CC BY-SA 3.0" />
  <row Id="17400" PostHistoryTypeId="16" PostId="10534" RevisionGUID="99a2c380-be08-4096-b4cb-29277f5eb583" CreationDate="2011-09-26T16:17:13.310" UserId="-1" />
  <row Id="17401" PostHistoryTypeId="2" PostId="10535" RevisionGUID="84f28e0d-37eb-4fcf-a3be-8522c349dfac" CreationDate="2011-09-26T16:49:31.330" UserId="194" Text="no idea how to record this, but an early scene of the book of eli has a great rendition of it to study.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17402" PostHistoryTypeId="2" PostId="10536" RevisionGUID="ad46a500-2d7b-4cf1-be7a-de4e8fd1007f" CreationDate="2011-09-26T17:33:45.683" UserId="842" Text="I was on the same webinar, and what Ric reacted to wasn't against use of canned effects, it was against calling it a design when it really mostly was a sound edit.&#xD;&#xA;I too thought it was well made and all, and especially good mixed, but I see his point and agree. Sound design is about building new sounds and soundscapes that preferably hasn't been heard that very way before, the very definition of Designer is someone who's making something new. It's no problem integrating canned effects in that work, but for it to be an original work one can't really base the stuff on it.&#xD;&#xA;&#xD;&#xA;There's absolutely nothing wrong with regular sound editing, it still takes talent and feeling to get it right,and true sound design takes a lotta time, and time is money. Frankly, if everything really was individually designed, there would not be much to see on TV or cinema. But Ric's point was, as a possible employer of sound designers, that if you send in something to him or others seeking designers as a showreel in specifically design, then all the work must truly be yours, otherwise he has no clue how you do as a designer. And that includes recording your own sounds, which by far is the absolutely most important aspect of the trade if you're to make a lively and vivid soundwork on a movie that convinces the audience that everything is real.&#xD;&#xA;&#xD;&#xA;With good recording technique half the work is already done, mind you sound design is **MUCH** more then mere swooshes and gunshots, and clean effects like rain and cutlery to mention just a fraction of all possibilities, can't really take much processing before sounding really bad.&#xD;&#xA;&#xD;&#xA;Of course there are many kinds of designers, there's a reason they don't give any Oscars in that as the criteria for being one is fluid at best, but there are mainly two kinds generally accepted in Hollywood what I know of; making specific sound effects for specific applications, often things like lightsabres, swooshes and monster sounds for example, and there are shaping the entire soundtrack minus the music into a living breathing entity with a complex interaction between elements. Both kinds crave quite a lot of original recordings as such, nothing kills the moment like looking at a C.H.U.D. and thinking of Godzilla...&#xD;&#xA;&#xD;&#xA;Which leads me to another take on it! A design can BECOME a canned sound! Just look at Godzilla, Dirty Harry's revolver, Tie-Fighter pass-by's, and Tarzan's yell to name but a few! They all began as complexly designed effects, and went through movie after movie unaltered! Of course they can't really be re-used in any other franchise than what they came from, save the revolver, but still! Sounds like punches and gunshots, on the other hand, transfer easily :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17403" PostHistoryTypeId="2" PostId="10537" RevisionGUID="8ee34596-eab4-4833-8fb8-769f22fc73e5" CreationDate="2011-09-26T17:37:03.157" UserId="1237" Text="Well&#xD;&#xA;It seems that the army of the sound designers is already gathered and counted. Now we should go to CA and capture Skywalker Ranch." ContentLicense="CC BY-SA 3.0" />
  <row Id="17404" PostHistoryTypeId="16" PostId="10537" RevisionGUID="8ee34596-eab4-4833-8fb8-769f22fc73e5" CreationDate="2011-09-26T17:37:03.157" UserId="-1" />
  <row Id="17405" PostHistoryTypeId="2" PostId="10538" RevisionGUID="2a4f41d6-04b8-4910-b3a3-160cacd6ef21" CreationDate="2011-09-26T17:37:42.940" UserId="238" Text="Rarely are the sounds we hear in a film, the sounds we think we are hearing. In other words, you don't need to have access to old squeaky water pipes. You will have to create the desired sounds by layering numerous different textures until you achieve the required effect. Try recording all the metal tools you can find (i.e. wrenches, chisels etc.). [Ikea sell very cheap table legs][1] that can be tapped, knocked etc. They resonate pretty well. For the squeakiness, try getting hold of some old rusty hinges (again, raiding your own or someone else's garage may work out). If you know of any squeaky doors, this can also be useful. &#xD;&#xA;&#xD;&#xA;At the end of the day, you'll have to just get pretty experimental. Record as much source material as possible. Also don't forget to record from different perspectives as this'll give you very different results. And then start layering your sounds together to try to build something that will be perceived by the unsuspecting audience that they are in fact hearing squeaky pipes. For your rumble, there are many sources that can be recorded in the home that with a bit of editing can produce some great results. Somewhere I saw a video tutorial on this with a garage door being recorded and turned into a low rumble. Can't remember exactly where I saw it but I'll edit the post and add a link if I remember.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ikea.com/us/en/catalog/products/10105290" ContentLicense="CC BY-SA 3.0" />
  <row Id="17406" PostHistoryTypeId="5" PostId="10536" RevisionGUID="a637c31b-7b62-4c66-8470-77307c4f8da6" CreationDate="2011-09-26T18:15:27.380" UserId="842" Comment="edited body" Text="I was at the same webinar, and what Ric reacted to wasn't against use of canned effects, it was against calling it a design when it really mostly was a sound edit.&#xD;&#xA;I too thought it was well made and all, and especially good mixed, but I see his point and agree. Sound design is about building new sounds and soundscapes that preferably hasn't been heard that very way before, the very definition of Designer is someone who's making something new. It's no problem integrating canned effects in that work, but for it to be an original work one can't really base the stuff on it.&#xD;&#xA;&#xD;&#xA;There's absolutely nothing wrong with regular sound editing, it still takes talent and feeling to get it right,and true sound design takes a lotta time, and time is money. Frankly, if everything really was individually designed, there would not be much to see on TV or cinema. But Ric's point was, as a possible employer of sound designers, that if you send in something to him or others seeking designers as a showreel in specifically design, then all the work must truly be yours, otherwise he has no clue how you do as a designer. And that includes recording your own sounds, which by far is the absolutely most important aspect of the trade if you're to make a lively and vivid soundwork on a movie that convinces the audience that everything is real.&#xD;&#xA;&#xD;&#xA;With good recording technique half the work is already done, mind you sound design is **MUCH** more then mere swooshes and gunshots, and clean effects like rain and cutlery to mention just a fraction of all possibilities, can't really take much processing before sounding really bad.&#xD;&#xA;&#xD;&#xA;Of course there are many kinds of designers, there's a reason they don't give any Oscars in that as the criteria for being one is fluid at best, but there are mainly two kinds generally accepted in Hollywood what I know of; making specific sound effects for specific applications, often things like lightsabres, swooshes and monster sounds for example, and there are shaping the entire soundtrack minus the music into a living breathing entity with a complex interaction between elements. Both kinds crave quite a lot of original recordings as such, nothing kills the moment like looking at a C.H.U.D. and thinking of Godzilla...&#xD;&#xA;&#xD;&#xA;Which leads me to another take on it! A design can BECOME a canned sound! Just look at Godzilla, Dirty Harry's revolver, Tie-Fighter pass-by's, and Tarzan's yell to name but a few! They all began as complexly designed effects, and went through movie after movie unaltered! Of course they can't really be re-used in any other franchise than what they came from, save the revolver, but still! Sounds like punches and gunshots, on the other hand, transfer easily :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17407" PostHistoryTypeId="2" PostId="10539" RevisionGUID="f2286753-e4b8-4900-ae1b-53126b45f256" CreationDate="2011-09-26T20:06:53.517" UserId="2773" Text="What if you are going for a canned sound...." ContentLicense="CC BY-SA 3.0" />
  <row Id="17408" PostHistoryTypeId="2" PostId="10540" RevisionGUID="43d8b363-59c6-4031-b5ec-4131d4c8c20f" CreationDate="2011-09-26T20:25:36.257" UserId="6604" Text="Hi,&#xD;&#xA;&#xD;&#xA;I just came across this site with accessories for cameras which are quite useful for sound designers with handy recorders&#xD;&#xA;&#xD;&#xA;http://asia.cnet.com/smart-camera-guide-for-social-networking-addicts-62210075.htm&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17409" PostHistoryTypeId="1" PostId="10540" RevisionGUID="43d8b363-59c6-4031-b5ec-4131d4c8c20f" CreationDate="2011-09-26T20:25:36.257" UserId="6604" Text="Funky tripod for Handy recorders" ContentLicense="CC BY-SA 3.0" />
  <row Id="17410" PostHistoryTypeId="3" PostId="10540" RevisionGUID="43d8b363-59c6-4031-b5ec-4131d4c8c20f" CreationDate="2011-09-26T20:25:36.257" UserId="6604" Text="&lt;tripod&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17411" PostHistoryTypeId="2" PostId="10541" RevisionGUID="5b02a734-b092-45ce-ba81-cf7385e8e562" CreationDate="2011-09-26T21:34:57.190" UserId="2773" Text="The opening of Delicatessen starts with a twisted ambient pipe sequence." ContentLicense="CC BY-SA 3.0" />
  <row Id="17412" PostHistoryTypeId="2" PostId="10542" RevisionGUID="4b6e916e-f2c8-4ce1-bd55-67c142cc3700" CreationDate="2011-09-27T01:19:21.907" UserId="40" Text="Here's a few I remember:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What do you get when you drop a piano down a mineshaft?&#xD;&#xA;&#xD;&#xA;A Flat Miner!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;-------------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Why do sound guys say &quot;Check, One Two, One Two&quot;&#xD;&#xA;&#xD;&#xA;Because on three, you have to lift!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;-------------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;How many freelance sound recordists does it take to change a light bulb?&#xD;&#xA; &#xD;&#xA;Six. One to change it, and five to stand around saying &quot;I was offered that job.&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;------------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;How many sound mixers does it take to change a light bulb?&#xD;&#xA;&#xD;&#xA;One, but only after the airplane is gone.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;-----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;How tall is a sound mixer?&#xD;&#xA;&#xD;&#xA;I don't know, I've never seen one stand up!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;-----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Difference between a toilet and a sound mixer?&#xD;&#xA;&#xD;&#xA;A toilet only has to take crap from one a$$hole at a time!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;-----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What is the difference between a producer and a chimpanzee? &#xD;&#xA;&#xD;&#xA;It's scientifically proven that chimpanzees are able to communicate with humans!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Why is a concert grand better than a studio upright? &#xD;&#xA;&#xD;&#xA;It makes a bigger *kaboom!* when dropped off a cliff!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17413" PostHistoryTypeId="2" PostId="10543" RevisionGUID="4d6d3c11-dd5a-460a-b661-e1b210bbaf2a" CreationDate="2011-09-27T01:28:01.740" UserId="1292" Text="Does anyone use stock audio websites to either buy or sell sound effects?  I was checking out Audio Micro and they at least give you 50% of net profits for being 'non exclusive' (60% for 'exclusive')&#xD;&#xA;&#xD;&#xA;When I was searching sfx under most popular the most downloaded sound I could find was 18 downloads. On the other hand, some of the effects have THOUSANDS OF PLAYS with only 5 downloads What is wrong with that picture?! &#xD;&#xA;&#xD;&#xA;Yet, on Audio Micro, blastwavefx, hollywoodedge, sounddogs, and other reputable libraries are represented.&#xD;&#xA;&#xD;&#xA;Is anyone out there making money from this?&#xD;&#xA;&#xD;&#xA;Does anyone buy stock sfx?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17414" PostHistoryTypeId="1" PostId="10543" RevisionGUID="4d6d3c11-dd5a-460a-b661-e1b210bbaf2a" CreationDate="2011-09-27T01:28:01.740" UserId="1292" Text="Stock Audio, Audio Micro" ContentLicense="CC BY-SA 3.0" />
  <row Id="17415" PostHistoryTypeId="3" PostId="10543" RevisionGUID="4d6d3c11-dd5a-460a-b661-e1b210bbaf2a" CreationDate="2011-09-27T01:28:01.740" UserId="1292" Text="&lt;stock-effects&gt;&lt;library&gt;&lt;download&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17417" PostHistoryTypeId="2" PostId="10545" RevisionGUID="1f08060f-9c3f-427c-aded-c94121aaf25d" CreationDate="2011-09-27T04:20:21.720" UserId="2776" Text="PD (its free) and Max/Msp (its not free (500$) but you can just use PD) Csound/C++ (this is free also) why do you need money when you can learn how to make every thing your self (your so lazy) : )&#xD;&#xA;&#xD;&#xA;-------&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17418" PostHistoryTypeId="16" PostId="10545" RevisionGUID="1f08060f-9c3f-427c-aded-c94121aaf25d" CreationDate="2011-09-27T04:20:21.720" UserId="-1" />
  <row Id="17419" PostHistoryTypeId="2" PostId="10546" RevisionGUID="3d158d49-ea80-4cff-9f6e-239a61cdfbb1" CreationDate="2011-09-27T04:23:21.343" UserId="6435" Text="I sell some sounds on Audiosparx. Not too many, I have maybe 200 sounds up there. I make a few hundred bucks per year. Not huge money, but it offsets some expenses. I know there are sounds of mine that have been downloaded more than 18 times." ContentLicense="CC BY-SA 3.0" />
  <row Id="17420" PostHistoryTypeId="2" PostId="10547" RevisionGUID="f5b471ed-d189-4143-b167-70697f10d5af" CreationDate="2011-09-27T05:45:13.377" UserId="407" Text="We have a company account with SoundDogs and to be honest we don't use it that often, usually if there is a particular sound from a particular library we'd want I'd look for it there, but it tends to be our last port." ContentLicense="CC BY-SA 3.0" />
  <row Id="17424" PostHistoryTypeId="2" PostId="10549" RevisionGUID="197f7b65-61d5-492b-9e69-9d864144a4eb" CreationDate="2011-09-27T08:09:44.973" UserId="842" Text="Like with all both filtering and EQ:ing, you must be very careful and never do a single decibel more than what's needed. With that said, I like the range between 8-10KHz! Many modern mics, like the Sennheiser MKH 40, DPA 2011, or Shoeps Colette-capsules are very straight and rich in range. That makes them sound great on big systems on a neutral sound-level, but most people will not listen to big systems with neutral level, so you'll have to make it work on lower levels as well without sounding sharp and muddy on high volume.&#xD;&#xA;&#xD;&#xA;8KHz is a good such frequency to add a little boost of treble in a sound like that, it is produced in virtually any system there are, and is within range for all people not severely hearing impaired! You don't really get presence in that range, the presence lies between 2-4KHz approx, but it gives the voice a beautiful luster if not overdone.&#xD;&#xA;To raise between 2-4KHz on the other hand tends to be quite annoying in the long run to listen to. It brings clarity, but it's the range we are the most susceptible to, so you risk giving the listeners ear-fatigue if used too much. And too much 3KHz also tends to mask important sibilants in human speech.&#xD;&#xA;&#xD;&#xA;Bass below 150Hz approx and above 8KHz doesn't contain anything the voice needs for intelligibility at all, but it contains a lot of air and firmness. Removing too much of these tends to give a pretty dull and lack-luster sound. mixing sounds is pretty much like painting a picture, everything must have a purpose, but that purpose might very well be just to give wight and shine to the object, a painting with no highlights and shadows are pretty boring...&#xD;&#xA;Also, while comparing to pictures, if a photo has too much purple in it you don't really lower the red and blue to level with the green as it would be too dark, you raise the greens. Vice verca, if it's tinted red, then red is what you lower. It's all a matter of opinion, but this is mine." ContentLicense="CC BY-SA 3.0" />
  <row Id="17426" PostHistoryTypeId="5" PostId="10538" RevisionGUID="2deddab8-b430-4a87-9b60-225f14d5f496" CreationDate="2011-09-27T12:52:57.250" UserId="238" Comment="added 86 characters in body" Text="Rarely are the sounds we hear in a film, the sounds we think we are hearing. In other words, you don't need to have access to old squeaky water pipes. You will have to create the desired sounds by layering numerous different textures until you achieve the required effect. Try recording all the metal tools you can find (i.e. wrenches, chisels etc.). [Ikea sell very cheap table legs][1] that can be tapped, knocked etc. They resonate pretty well. For the squeakiness, try getting hold of some old rusty hinges (again, raiding your own or someone else's garage may work out). If you know of any squeaky doors, this can also be useful. &#xD;&#xA;&#xD;&#xA;At the end of the day, you'll have to just get pretty experimental. Record as much source material as possible. Also don't forget to record from different perspectives as this'll give you very different results. And then start layering your sounds together to try to build something that will be perceived by the unsuspecting audience that they are in fact hearing squeaky pipes. For your rumble, there are many sources that can be recorded in the home that with a bit of editing can produce some great results. Somewhere I saw a video tutorial on this with a garage door being recorded and turned into a low rumble. Can't remember exactly where I saw it but I'll edit the post and add a link if I remember.&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;Here's the video on making impact sounds:&#xD;&#xA;&#xD;&#xA;[youtube]IMgovfQjxUA[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ikea.com/us/en/catalog/products/10105290" ContentLicense="CC BY-SA 3.0" />
  <row Id="17427" PostHistoryTypeId="2" PostId="10550" RevisionGUID="452fe8e2-e868-4dd8-8901-fce311640a34" CreationDate="2011-09-27T13:47:07.373" UserId="863" Text="I'm working on 3 separate projects in pt9, not identical but similar in content. 2 of them work fine but 1 of them crashes after a second of playing back. This seems to happen anywhere in the edit (if I click on playback elsewhere for example).&#xD;&#xA;&#xD;&#xA;Anyone encountered this? quite hard to find the fault through google.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Oh forgot to add that I open up an autosave backup and it works... until I save the project again and it fails. :(" ContentLicense="CC BY-SA 3.0" />
  <row Id="17428" PostHistoryTypeId="1" PostId="10550" RevisionGUID="452fe8e2-e868-4dd8-8901-fce311640a34" CreationDate="2011-09-27T13:47:07.373" UserId="863" Text="pro tools 9 odd freeze and crash" ContentLicense="CC BY-SA 3.0" />
  <row Id="17429" PostHistoryTypeId="3" PostId="10550" RevisionGUID="452fe8e2-e868-4dd8-8901-fce311640a34" CreationDate="2011-09-27T13:47:07.373" UserId="863" Text="&lt;pro&gt;&lt;tools&gt;&lt;crashing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17430" PostHistoryTypeId="2" PostId="10551" RevisionGUID="44a3027d-6337-4757-863d-8264e7a40fc1" CreationDate="2011-09-27T13:57:27.403" UserId="432" Text="when in doubt: trash all preferences, repair disk permissions and restart.&#xD;&#xA;&#xD;&#xA;another trick you can try is to make all tracks &quot;inactive&quot; (note that this is not a &quot;voice&quot; selection idea, you do this by right-clicking a track or through the track menu), play back for 10-15 seconds, then reactivate the tracks. 9 can encounter a memory caching problem, and this will sometimes clear it up." ContentLicense="CC BY-SA 3.0" />
  <row Id="17432" PostHistoryTypeId="5" PostId="10531" RevisionGUID="24158c8a-685c-4fef-b465-8d908326fb0d" CreationDate="2011-09-27T15:36:17.387" UserId="2772" Comment="edited question for understanding" Text="Hi. I need to create the sound of squeaking pipes with a rumbling noise. Basically a character turns a water tap and the pipes squeak then there is a rumble and finally some dirty water splashes out into the sink. Any ideas where to begin? " ContentLicense="CC BY-SA 3.0" />
  <row Id="17433" PostHistoryTypeId="2" PostId="10553" RevisionGUID="66da65bf-5d8a-4140-b324-b80eb0c9e348" CreationDate="2011-09-27T15:37:36.323" UserId="234" Text="Aside from Shaun's good advice, you may also have a corrupted fade or file (I've seen all sorts). If clearing Prefs etc. doesn't work try these:&#xD;&#xA;&#xD;&#xA;First, try deleting the Fade Files for the session... PT will rebuild them. Corrupted Fade Files can cause all sorts of weirdness.&#xD;&#xA;&#xD;&#xA;Second, try a &quot;Save Session Copy In&quot; with all audio files. If there's a weird filename (which can happen and wreak all sorts of havoc) it will tell you and rename the file properly.&#xD;&#xA;&#xD;&#xA;Lastly, create a new session. Import tracks from the old session one at a time. Play your timeline. If it crashes right after importing a specific track, then something in that track is off, and it will be easier to find -either media or a specific plug-in could be the issue.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17434" PostHistoryTypeId="2" PostId="10554" RevisionGUID="d2034256-6851-45d7-99db-fad1d8793253" CreationDate="2011-09-27T15:43:12.377" UserId="1145" Text="What version are you on? I started to have a lot of crashes too when i updated to 9.05&#xD;&#xA;Previous versions worked much better." ContentLicense="CC BY-SA 3.0" />
  <row Id="17435" PostHistoryTypeId="2" PostId="10555" RevisionGUID="ed786068-8cff-49b4-a2d2-17f60bff93ed" CreationDate="2011-09-27T16:38:43.660" UserId="61" Text="Liberal use of Altiverb may help you…there are some impulse responses of metal pipes, tanks and containers that could transform a dry pipe rattle recording into something much fuller and deeper, with some convincing depth and size.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17436" PostHistoryTypeId="2" PostId="10556" RevisionGUID="a4a8af30-27bd-4a2e-9f75-ca14c0267143" CreationDate="2011-09-27T17:50:05.003" UserId="1287" Text="Cecilia and Metasynth are easily two of my favorites.  I connect really well with GUI's that have user drawable envelopes for parameters." ContentLicense="CC BY-SA 3.0" />
  <row Id="17437" PostHistoryTypeId="16" PostId="10556" RevisionGUID="a4a8af30-27bd-4a2e-9f75-ca14c0267143" CreationDate="2011-09-27T17:50:05.003" UserId="-1" />
  <row Id="17438" PostHistoryTypeId="2" PostId="10557" RevisionGUID="5242bd99-7977-41fa-900d-9d4e8e0dea1c" CreationDate="2011-09-27T18:12:18.520" UserId="1251" Text="I own a Gorillapod and use it with my H4N, it's really convenient but it's noticeable that the H4N is a tiny bit heavy for what the gorillapod was intended to hold. I'm sure an H2 or H1 will be perfect with it. I think there's a bigger one intended for SLR's that would work better with heavy recorders." ContentLicense="CC BY-SA 3.0" />
  <row Id="17439" PostHistoryTypeId="2" PostId="10558" RevisionGUID="5eda34a9-7ce4-4fba-95b9-d38a21ada4bf" CreationDate="2011-09-27T19:01:44.713" UserId="2780" Text="also tries to delete the folders &quot;digidesign database&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17440" PostHistoryTypeId="2" PostId="10559" RevisionGUID="8f1e5251-d80d-4610-9f0e-1baa96876740" CreationDate="2011-09-27T19:02:56.977" UserId="393" Text="I've had the same problem as WillH... my h4n is too heavy for my WalMart brand &quot;Gorillapod,&quot; unless I'm spreading the legs insanely wide.&#xD;&#xA;&#xD;&#xA;Also, the EyeFi cards don't work with the h4n, or most other handheld recorders.&#xD;&#xA;&#xD;&#xA;That's a great article for point-and-shoot camera enthusiasts, but only one product really works for handheld recorders.&#xD;&#xA;&#xD;&#xA;The wireless SD card reader looks interesting, though." ContentLicense="CC BY-SA 3.0" />
  <row Id="17441" PostHistoryTypeId="2" PostId="10560" RevisionGUID="cea79ac3-ad20-4ee4-8389-428f85319567" CreationDate="2011-09-27T19:23:45.443" UserId="547" Text="When setting up complex mic arrays it's important to get everything at the same height.&#xD;&#xA;I use a drummer, when the stage is level the drool comes out both corners of his mouth." ContentLicense="CC BY-SA 3.0" />
  <row Id="17443" PostHistoryTypeId="2" PostId="10561" RevisionGUID="b78778b9-22f7-4fce-9c7a-1cf7b6c1348c" CreationDate="2011-09-27T20:08:59.000" UserId="61" Text="Does anyone know the history of the VM sound effects library? Seems to be a general all-purpose set of recordings put together in recent decades, guessing 80s-90s?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17444" PostHistoryTypeId="1" PostId="10561" RevisionGUID="b78778b9-22f7-4fce-9c7a-1cf7b6c1348c" CreationDate="2011-09-27T20:08:59.000" UserId="61" Text="VM sound library" ContentLicense="CC BY-SA 3.0" />
  <row Id="17445" PostHistoryTypeId="3" PostId="10561" RevisionGUID="b78778b9-22f7-4fce-9c7a-1cf7b6c1348c" CreationDate="2011-09-27T20:08:59.000" UserId="61" Text="&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17446" PostHistoryTypeId="2" PostId="10562" RevisionGUID="eaf2b1b3-1ca3-4ce3-99d1-21b050ba0e2e" CreationDate="2011-09-27T20:33:22.157" UserId="2" Text="I'm designing and mixing some radio commercials tomorrow, and I'm not sure what the specs are. I heard from one source that it's 0db, and another that it's -12db. &#xD;&#xA;&#xD;&#xA;I'm sure it's different between countries and radio stations. But I heard it's pretty strict, and if it bleeds by even 1/2 a db then they don't air it. &#xD;&#xA;&#xD;&#xA;Any input? &#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17447" PostHistoryTypeId="1" PostId="10562" RevisionGUID="eaf2b1b3-1ca3-4ce3-99d1-21b050ba0e2e" CreationDate="2011-09-27T20:33:22.157" UserId="2" Text="Radio Spot Specs" ContentLicense="CC BY-SA 3.0" />
  <row Id="17448" PostHistoryTypeId="3" PostId="10562" RevisionGUID="eaf2b1b3-1ca3-4ce3-99d1-21b050ba0e2e" CreationDate="2011-09-27T20:33:22.157" UserId="2" Text="&lt;radio&gt;&lt;broadcast-standards&gt;&lt;tech-specs&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17449" PostHistoryTypeId="2" PostId="10563" RevisionGUID="8b4efc99-a4e0-47c1-84fe-083baab2aab5" CreationDate="2011-09-27T21:36:14.837" UserId="194" Text="answers here:&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/post-production-forum/646800-radio-broadcast-levels.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;and from within that thread:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/attachments/post-production-forum/252852d1315576515-radio-broadcast-levels-what-happens-my-recording-when-its-played-radio-frank-foti-robert-orban-june-2001.pdf&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The gist is that if you were to drive by and yell the spot at most stations they'd figure out a way to get it on the air.  The downside is that your mix is not going to be aired in the manner it was &quot;finished&quot;&#xD;&#xA;&#xD;&#xA;Generally: juts make it sound good, don't overcompress, keep dynamic range tight but don't bother with the loudness wars.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17450" PostHistoryTypeId="2" PostId="10564" RevisionGUID="b1e745a5-19b9-43c5-996f-61bc15387e2f" CreationDate="2011-09-27T21:40:18.477" UserId="390" Text="I am currently enjoying a fantastic theater production as the assistant sound designer for a musical. The sound designer that hired me has moved on to another Tech rehearsal and has left me with the task of running the show. We normally discuss issues regarding the show. But one issue that we recently resolved still bugs me.&#xD;&#xA;&#xD;&#xA;We had a monitor placed by the band so that band leader can follow the vocal performances on stage. But this monitor would frequently give out a loud buzzing sound. After changing several lines, I noticed that the buzzing would stop after jiggling the monitor's power cord plugged into a power strip. I noticed that the buzzing decreased but remained when plugged into a power strip with fewer plugs sharing the strip. Eventually, the buzzing disappeared entirely when plugged directly into its own outlet. &#xD;&#xA;&#xD;&#xA;My question is this. Is this a common occurrence for powered monitors? Granted, it may be an old model. But since it's my first gig in theater production, I was wondering if power strips are notorious for causing problems like this." ContentLicense="CC BY-SA 3.0" />
  <row Id="17451" PostHistoryTypeId="1" PostId="10564" RevisionGUID="b1e745a5-19b9-43c5-996f-61bc15387e2f" CreationDate="2011-09-27T21:40:18.477" UserId="390" Text="Live Production Audio Question Re: Buzzing Monitor" ContentLicense="CC BY-SA 3.0" />
  <row Id="17452" PostHistoryTypeId="3" PostId="10564" RevisionGUID="b1e745a5-19b9-43c5-996f-61bc15387e2f" CreationDate="2011-09-27T21:40:18.477" UserId="390" Text="&lt;live-sound&gt;&lt;monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17453" PostHistoryTypeId="2" PostId="10565" RevisionGUID="ee150a2e-fe42-4be2-ba22-791d0553d353" CreationDate="2011-09-27T21:48:43.120" UserId="315" Text="I'm guessing that it's the [Valentino Music][1] sfx library. I think it's more popular in the radio world. Definitely discontinued although someone out there owns the copyright.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tvmusic.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17454" PostHistoryTypeId="2" PostId="10566" RevisionGUID="d8e53b30-f2de-43a5-a27e-715639eff371" CreationDate="2011-09-27T22:36:17.090" UserId="238" Text="[This is a very good article][1] discussing mixing norms. Radio norms are discussed about halfway through the article, a few paragraphs after the section headed Peaks vs. Average levels. Norms seem to vary from country to country so it'd be well worth checking what they are in S.A. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://transom.org/?p=16413" ContentLicense="CC BY-SA 3.0" />
  <row Id="17455" PostHistoryTypeId="5" PostId="10561" RevisionGUID="4eb9aa2b-9393-4afd-a7fd-d2f99269294e" CreationDate="2011-09-27T23:05:52.500" UserId="61" Comment="added 25 characters in body" Text="Does anyone know the history of the VM sound effects library? May also have named VMX. Seems to be a general all-purpose set of recordings put together in recent decades, guessing 80s-90s?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17456" PostHistoryTypeId="2" PostId="10567" RevisionGUID="b8e1113e-4f6f-4d90-af88-a7abb6da56f1" CreationDate="2011-09-28T01:07:37.713" UserId="1013" Text="Was it that 50Hz earth type buzz?  It seems possible that there was a faulty earth wire or connection for the monitor's power supply or in the power strip.&#xD;&#xA;&#xD;&#xA;One thing I can say for sure, you will get good at trouble shooting doing live sound, as there are so often noises that come from unexpected places.  Even if you know the venue well, there are always new(old) instruments and gear brought in by performers.&#xD;&#xA;&#xD;&#xA;Hey, it's character building!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17457" PostHistoryTypeId="13" PostId="3236" RevisionGUID="d1ee2374-cae9-4b47-bb2d-33d153837bdf" CreationDate="2011-09-28T04:59:53.543" UserId="61" Text="[{&quot;Id&quot;:61,&quot;DisplayName&quot;:&quot;Jay Jennings&quot;}]" />
  <row Id="17458" PostHistoryTypeId="2" PostId="10568" RevisionGUID="3e3dab35-d5c5-4707-868d-afc82fb631da" CreationDate="2011-09-28T07:03:12.883" UserId="6499" Text="Yeah sounds like a grounding issue to me.  When you jiggled the power cord, did you jiggle it on the speaker side or power strip side.  If doing a home run to the power of the speaker solved your problem, then you have found the problem.  I would avoid plugging a monitor into a power strip anyways,  for many reasons, but mainly because artists can be clumsy and hit the off switch on the strip and make you look like an idiot when it was their fault.  I try to always eliminate the possibility of things that can make me look stupid other than myself.  &#xD;&#xA;&#xD;&#xA;Get one of these in your kit,  http://www.google.com/products/catalog?hl=en&amp;client=firefox-a&amp;hs=TNU&amp;rls=org.mozilla:en-US:official&amp;q=ground+tester&amp;gs_upl=5980l5980l0l6115l1l1l0l0l0l0l73l73l1l1l0&amp;bav=on.2,or.r_gc.r_pw.&amp;biw=1678&amp;bih=877&amp;um=1&amp;ie=UTF-8&amp;tbm=shop&amp;cid=6930323965348544694&amp;sa=X&amp;ei=z8SCTtnFE4aNsQLqg73_Dg&amp;ved=0CEQQ8wIwAQ&#xD;&#xA;&#xD;&#xA;sorry for long link but was from a quick google search.  &#xD;&#xA;&#xD;&#xA;If it is a powered speaker, are you feeding signal via balanced or unbalance input.  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17459" PostHistoryTypeId="2" PostId="10569" RevisionGUID="60b39034-2f18-4a93-addc-20bd02ab0670" CreationDate="2011-09-28T07:36:33.447" UserId="842" Text="I have had different specs depending on what channel my work has been shown at, but generally the specs used by Swedish National TV (SVT) have been functioning practically everywhere else too.&#xD;&#xA;That specs was, as I recall, an upper hard limit on -6dB and a nominal level of about -12 to -16dB SPL A-Weighted. There are many more than that, but the rest of 'em are more or less about keeping an even quality of the material.&#xD;&#xA;Frankly the SPL didn't seem all that important as long as it's within reasonable limits, I only brought my SPL-meter (a Dolby Meter 2-plugin) just about a year ago and worked all by ear before that (actually mostly do now too, but it's good to have a clear reference of where you are!), just being careful not to let it be too low." ContentLicense="CC BY-SA 3.0" />
  <row Id="17460" PostHistoryTypeId="5" PostId="10555" RevisionGUID="1f92f81e-056a-4b13-b62f-e2a3f795fa6d" CreationDate="2011-09-28T08:32:15.760" UserId="61" Comment="deleted 5 characters in body" Text="Liberal use of Altiverb may help you…there are impulse responses of metal pipes, tanks and containers that could transform a dry pipe rattle recording into something much fuller and deeper, with some convincing depth and size.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17461" PostHistoryTypeId="2" PostId="10570" RevisionGUID="9ffff300-89a0-45ef-a8e7-cbf37e18418a" CreationDate="2011-09-28T08:46:39.743" UserId="37" Text="it's not uncommon for other equipment to produce electromagnetic interference, or even introduce electrical noise *back* into the grid. in close proximity these things get picked up. classic example is fast switching power load without a snubber. http://en.wikipedia.org/wiki/Snubber ... from here it gets specialised and someone else could probably explain.." ContentLicense="CC BY-SA 3.0" />
  <row Id="17462" PostHistoryTypeId="5" PostId="10521" RevisionGUID="f9c937cb-11f6-4eac-b624-7d5b401243e0" CreationDate="2011-09-28T09:13:23.570" UserId="61" Comment="deleted 1 characters in body" Text="I don't agree with that comment at all. Just because you're using sounds that you didn't record yourself doesn't mean that you're not making creative choices. Very seldom will library sounds work perfectly for the project you're working on, and it's up to you to mold and shape those sounds and make them your own.&#xD;&#xA;&#xD;&#xA;Should everyone be recording, mastering and using their own custom recorded fx? Sure, in a perfect world with generous budgets of time and money. Now, show me that perfect world --" ContentLicense="CC BY-SA 3.0" />
  <row Id="17463" PostHistoryTypeId="2" PostId="10571" RevisionGUID="337a6dcb-6314-4c5b-bb1c-36ce523c48d3" CreationDate="2011-09-28T09:59:58.460" UserId="1117" Text="i think what Ric meant was it was labeled as a sound designer show reel. when one 20% of the sounds were recorded or designed by him.&#xD;&#xA;&#xD;&#xA;maybe if it was labelled as a sound effects editor show reel it would have had a different reaction?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17464" PostHistoryTypeId="2" PostId="10572" RevisionGUID="f8586da6-9efe-4389-b486-fb4115fe44ec" CreationDate="2011-09-28T10:33:05.620" UserId="2498" Text="maybe some of the lighting was plugged into the same power source? I'm not lighting expert, I'm just judging it from lighting dudes who've angrily told me that a bit of a buzz from lighting is impossible to get rid of." ContentLicense="CC BY-SA 3.0" />
  <row Id="17465" PostHistoryTypeId="2" PostId="10573" RevisionGUID="e7226517-efa7-42f2-86f2-aa230c5162e6" CreationDate="2011-09-28T11:01:22.853" UserId="1237" Text="I guess there is no right answer here. &#xD;&#xA;&#xD;&#xA;But I think that Ric says the same that always say Gary Rydstrom or Randy Thom. They don't use library not because of their recognizability or because they will record it better, of course not because of some copyright rules. They record sound because they love it. Because the process of recording it is a part of their sound design. And production companies allow them to do that just because it is Gary Rydstrom or Randy Thom :) And this is what I personally want to do. If someone loves to sit in a studio and work with libraries, well, good luck sir. &#xD;&#xA;&#xD;&#xA;I agree with Chuck Russom. Mostly you have to use library. But you should use it creatively at least. Like aforementioned people in Waves Competition." ContentLicense="CC BY-SA 3.0" />
  <row Id="17466" PostHistoryTypeId="2" PostId="10574" RevisionGUID="98f76a7c-8fe9-41c7-aa5f-a03fcf6584ce" CreationDate="2011-09-28T12:35:06.550" UserId="429" Text="So I work mainly in games but also at times broadcast. I've been considering my options when it comes to creating a demo that will play back in 5.1. My biggest problem is figuring out what the most common playback system is and what media to create for that system.&#xD;&#xA;&#xD;&#xA;Video for Windows OS and Windows media player, Audio compressed as AC3&#xD;&#xA;&#xD;&#xA;Video for PS3 / X360 , Audio compressed as AAC&#xD;&#xA;&#xD;&#xA;Video for DAW, Audio discrete PCM.&#xD;&#xA;&#xD;&#xA;Help !" ContentLicense="CC BY-SA 3.0" />
  <row Id="17467" PostHistoryTypeId="1" PostId="10574" RevisionGUID="98f76a7c-8fe9-41c7-aa5f-a03fcf6584ce" CreationDate="2011-09-28T12:35:06.550" UserId="429" Text="If I made a surround demo, who can actually play it back ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17468" PostHistoryTypeId="3" PostId="10574" RevisionGUID="98f76a7c-8fe9-41c7-aa5f-a03fcf6584ce" CreationDate="2011-09-28T12:35:06.550" UserId="429" Text="&lt;surround-sound&gt;&lt;demo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17469" PostHistoryTypeId="2" PostId="10575" RevisionGUID="265a6943-beda-46ee-8f9f-aec4707e919c" CreationDate="2011-09-28T13:55:33.500" UserId="2498" Text="EDIT: G'day, work in DAWs, AM broadcast and digital broadcast. I have no experience in preparing audio for surround systems, but seeing as no one else has replied, I'll get the figurative ball rolling.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So... the question is what format the audio is mastered to? Well, I don't know why you'd be using a lossy format unless it's the only format the playback system can read. (which is pretty surprising) In which case, if it's the only format it can read, then shit, I guess that's your answer. &#xD;&#xA;&#xD;&#xA;If you target systems can only read one codec (really? in 2011?) Why not make different demos for different systems? &#xD;&#xA;&#xD;&#xA;(Am i missing something and being really stupid here?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17470" PostHistoryTypeId="2" PostId="10576" RevisionGUID="68c32a52-986a-4f5f-860a-d4874d0c1829" CreationDate="2011-09-28T14:10:00.257" UserId="863" Text="Thanks for feedback, no luck with databse deleting sadly, I'm on an early version of PT9.&#xD;&#xA;&#xD;&#xA;I get a DAE ERROR too... I suspect it could be fades and will try that, at present I'm just working of the most previous back up.&#xD;&#xA;&#xD;&#xA;Thanks again" ContentLicense="CC BY-SA 3.0" />
  <row Id="17471" PostHistoryTypeId="2" PostId="10577" RevisionGUID="07251012-d110-465f-914d-cfc97b8e686a" CreationDate="2011-09-28T14:11:16.557" UserId="393" Text="Assume that your demo will be viewed / listened to on a stereo device, unless they've actually ASKED for your demo.  Vimeo does support 5.1, though, so people that want it can hear it there.&#xD;&#xA;&#xD;&#xA;Also assume that no one is going to ASK for your demo (someone will, don't worry, but assume that no one will).  They're going to go to your website and maybe watch the first 30 seconds of it, and make their decision from there.  They're not going to download something to burn it to a DVD and play it in their home theater -- if it's not streaming, they're not going to give you even 30 seconds.&#xD;&#xA;&#xD;&#xA;So, in my opinion, if you plan on developing a 5.1 demo, make it your only online demo, and make it available somewhere where surround streaming is supported.  Make it also compatible with stereo systems.  Don't give someone the option of &quot;Surround Sound Demo available on request,&quot; just make that the only option." ContentLicense="CC BY-SA 3.0" />
  <row Id="17472" PostHistoryTypeId="2" PostId="10578" RevisionGUID="f2645841-9059-460b-9da6-e0e8f0e5279c" CreationDate="2011-09-28T14:25:11.623" UserId="916" Text="So I have been spending a long time trying to gather a decent beginner kit for my sound recording. I'm wanting to squeeze the very best I can out the money I have. My main focus is on very high quality mono sound effect recording, with some stereo ambience recording too (streets, forests, etc).&#xD;&#xA;&#xD;&#xA;[Marantz PMD661][1] with [OADE Brothers FET Mod][2]&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;[Rode NTG3][4] shotgun microphone&#xD;&#xA;&#xD;&#xA;![alt text][5]&#xD;&#xA;&#xD;&#xA;[Rycote Softie Kit][6]&#xD;&#xA;&#xD;&#xA;![alt text][7]&#xD;&#xA;&#xD;&#xA;[PortaBrace AR-PMD661][8] case&#xD;&#xA;&#xD;&#xA;![alt text][9]&#xD;&#xA;&#xD;&#xA;I'm wondering if this is a good enough starter kit? Anything else I should consider? My main goal is to record sound effects (possibly for sale), but it's also got to be portable too. I'm hoping that using the built in mics on the Marantz will cover me for a bit until I buy a stereo microphone solution. It seems mono is more important than stereo.&#xD;&#xA;&#xD;&#xA;Any advice on this?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.d-mpro.com/users/folder.asp?FolderID=4405&#xD;&#xA;  [2]: http://www.oade.com/mm5/merchant.mvc?Screen=PROD&amp;Store_Code=OBA&amp;Product_Code=PMD661FET-GND&amp;Category_Code=PMD661FET&#xD;&#xA;  [3]: http://en.audiofanzine.com/utilities/a.provider,m.71906,mod.media,th.thumbs3,s.pictures.jpg&#xD;&#xA;  [4]: http://www.rodemic.com/mics/ntg-3&#xD;&#xA;  [5]: http://www.production-room.com/gfx/products/large/rode-ntg3---1.jpg&#xD;&#xA;  [6]: http://www.rycote.com/products/softie_kit/&#xD;&#xA;  [7]: http://www.jigsaw24.com/DesImage/G005ALA-1.jpg&#xD;&#xA;  [8]: http://www.portabrace.com/productA-AR-PMD661&#xD;&#xA;  [9]: http://www.taiaudio.com/catalog/images/pbarpmd660.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="17473" PostHistoryTypeId="1" PostId="10578" RevisionGUID="f2645841-9059-460b-9da6-e0e8f0e5279c" CreationDate="2011-09-28T14:25:11.623" UserId="916" Text="Advice on my newly researched sound recording kit?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17474" PostHistoryTypeId="3" PostId="10578" RevisionGUID="f2645841-9059-460b-9da6-e0e8f0e5279c" CreationDate="2011-09-28T14:25:11.623" UserId="916" Text="&lt;beginner&gt;&lt;field-recording&gt;&lt;location-recording&gt;&lt;recording&gt;&lt;kit&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17475" PostHistoryTypeId="2" PostId="10579" RevisionGUID="bd8dcca1-62a0-4b56-a3d9-a64db07cdf61" CreationDate="2011-09-28T14:49:26.073" UserId="407" Text="I Second what @Dave Matney has said - I get quite a few showreels sent to me and I can tell you now that and the ones that get the most attention are those that are easily accessible i.e. streaming via the net. DVD's or CD's of music through the post are a pain because our whole recruitment system is online so you can't add links to their work, bookmark things I like for future reference or send the examples off to other team members to evaluate without added complication.&#xD;&#xA;As for the playback format - here is an example from where I work - a potential employee's/freelancers showreel would start off with me who can play back 5.1, but then go to our Art Director and Creative Director who both have 2.1 systems with far too much bass, but they may well listen back through headphones anyway (and one has a PC and the other a mac so WMV isn't the best choice). Then go the the Art Manager who will be listening on headphones and can't play back 24 bit files, and won't have any codecs installed. I'd guess this would be similar in most games companies.&#xD;&#xA;So basically my advice is 5.1 is great! but make sure it translates well into stereo and more importantly than anything is a well balanced mix. If Vimeo does 5.1 :) that sounds like a winner." ContentLicense="CC BY-SA 3.0" />
  <row Id="17476" PostHistoryTypeId="2" PostId="10580" RevisionGUID="23ec0d0f-9d6c-4176-8590-e975c41b5685" CreationDate="2011-09-28T16:27:21.253" UserId="407" Text="You'll probably need a good set of headphones if you haven't got these covered already - and maybe a mic stand / camera stand if you don't want to hold the mic all the time. Otherwise looks like a nice rig." ContentLicense="CC BY-SA 3.0" />
  <row Id="17477" PostHistoryTypeId="2" PostId="10581" RevisionGUID="879fcb4a-5577-4753-b451-9713616ad291" CreationDate="2011-09-28T16:34:59.817" UserId="783" Text="When I send DVD copies of my reel out on the label I put a 5.1 surround logo on there so that if a perspective client has the ability to listen in surround they know to. The down mix is always supplied so the stereo will play if 5.1 decoders are not recognized. &#xD;&#xA;&#xD;&#xA;Spencer" ContentLicense="CC BY-SA 3.0" />
  <row Id="17478" PostHistoryTypeId="2" PostId="10582" RevisionGUID="5ef2f4be-fe9c-4f6a-adee-122ae4c5e475" CreationDate="2011-09-28T17:25:58.693" UserId="6499" Text="I believe that you should use what you need to use to achieve the emotion on the deadline given.  I love to have all of my own recorded sfx in my projects, but that's just not possible.&#xD;&#xA;&#xD;&#xA;In reference to Ric Vier's comment about the design.  He made that remark in reference to a sound design show reel.  In addition that comment was made specifically from a sound professional watching a reel from the mindset of would I hire this guy.  I think his comment was completely justified because as he continued with the rest of the comment, he explained that if told that the work is 100% the sound designers it demonstrates other KEY skillsets that he looks for in a person when deciding whether to hire him or not.  &#xD;&#xA;&#xD;&#xA;He then gave a link to a youtube video where a guy recreated all of the sound minus the score from intro to Toy Story 1 and it was all recorded and done in the guys apartment.  &#xD;&#xA;&#xD;&#xA;He said that once he found out that it was 100% original, the impact that the reel had on him was more significant as a sound professional than the material alone, because it demonstrated to him those abilities.  &#xD;&#xA;&#xD;&#xA;I think it kind of shows the duality of the industry.  If you are making a reel to show a director/producer/non sound person your design/edit abilities, then I think anything goes.  &#xD;&#xA;&#xD;&#xA;If you are showing a sound company to get a job, then I think they are also looking at other skills in addition to just the design and edit abilities and when you have a reel that is 100% original, you are able to demonstrate that more effectively in a single reel.&#xD;&#xA;&#xD;&#xA;Ultimately I think when designing or editing a project, do whatever it takes to lock into the emotion and make it work.  If the canned sound does that better than other sounds you have recorded, then use the canned sound.  Use whatever sound supports the story.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17479" PostHistoryTypeId="2" PostId="10583" RevisionGUID="6612439e-86f3-4276-848e-617f1d793d73" CreationDate="2011-09-28T17:38:53.903" UserId="29" Text="Value-wise, this seems like a smart series of buys. It's also modular, as you get better mics and preamps in the future. Besides headphones, though, you'll also want cabling and a stand or boom; for lightweight portability and cost, I use Manfrotto 001B Nano light stands with 1/4&quot; to 3/8&quot; adapters for pistol grips. You can always use a painter's pole or make a DIY boom until you can afford to buy one. You can also look for surplus army first aid pouches as alternatives to PortaBrace or Petrol bags if money's tight.&#xD;&#xA;&#xD;&#xA;The NTG-3 is an amazing shottie for the money, but don't overlook tight-patterned hypercardioids. They can be way more forgiving indoors than shotguns, and I've found I use my hypers far more frequently than probably any other pattern. But that also depends on what-all you intend to record, so your mileage may vary! Just something to think over, if you've not so far.&#xD;&#xA;&#xD;&#xA;Smart choices so far!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17480" PostHistoryTypeId="2" PostId="10584" RevisionGUID="061811c4-d8c3-434d-9fcc-ea9da46fb8e3" CreationDate="2011-09-28T18:45:52.383" UserId="1310" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;I've read through all the threads on the portable recorders on here, and some have seen revisions or are simply outdated. I'm looking for the best sounding hand-held recorder for easy stereo ambiances - don't need mic inputs. I know the Sony PCM-50 is prob the best sounding, but that is out of my budget. I'm wondering if anyone has any experience with the Tascam DR-07 MKII or the Zoom H2n? I'm sort of in-between these two but not sure of the quality (bear in mind I am an amateur).&#xD;&#xA; Both of these are relatively new and I can't find many (if any) samples on them. I'm off to Morocco soon and would like something small to hold and grab some noises.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17481" PostHistoryTypeId="1" PostId="10584" RevisionGUID="061811c4-d8c3-434d-9fcc-ea9da46fb8e3" CreationDate="2011-09-28T18:45:52.383" UserId="1310" Text="Let's have an updated chat about portable recorders" ContentLicense="CC BY-SA 3.0" />
  <row Id="17482" PostHistoryTypeId="3" PostId="10584" RevisionGUID="061811c4-d8c3-434d-9fcc-ea9da46fb8e3" CreationDate="2011-09-28T18:45:52.383" UserId="1310" Text="&lt;tascam&gt;&lt;portable-recorder&gt;&lt;zoom&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17483" PostHistoryTypeId="2" PostId="10585" RevisionGUID="aa67e159-698e-4697-acef-ae942039d11e" CreationDate="2011-09-28T19:12:30.650" UserId="578" Text="Get a D50 second hand, they often appear on ebay and it is a well built unit, so you should be fine with a 2nd hand one." ContentLicense="CC BY-SA 3.0" />
  <row Id="17484" PostHistoryTypeId="2" PostId="10586" RevisionGUID="14cbf494-e3e4-45f6-be7e-625fe186eb08" CreationDate="2011-09-28T19:37:28.090" UserId="105" Text="Yeah, the D50 is great! I haven't used the Tascam, but I have had pleasant results with the Zoom H2n" ContentLicense="CC BY-SA 3.0" />
  <row Id="17485" PostHistoryTypeId="2" PostId="10587" RevisionGUID="53bc8c77-059d-48e6-acb3-7e359683795f" CreationDate="2011-09-28T19:37:59.900" UserId="1322" Text="Good starter kit - now just get out there and do some field recording, you'll soon adapt, modify or change the gear to suit your own particular needs as you progress.&#xD;&#xA;Just a couple of shortcomings with your gear - (1) you will definitely need wind protection for the inbuilt mics on the Marantz; which you could make yourself out of faux fur, if strapped for cash.&#xD;&#xA;(2) I think the Marantz has got a tripod thread mount - if it has then buy yourself a monopod or a tripod -any size - tabletop or full-size; to reduce handling noise so common with handheld portable recorders. It also gives your arm a rest and enables you to concentrate on other things whilst you're recording.&#xD;&#xA;Have fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17486" PostHistoryTypeId="2" PostId="10588" RevisionGUID="83cfcfa2-bf35-4732-ab50-79ffe64bd057" CreationDate="2011-09-28T20:34:15.997" UserId="1266" Text="Anybody know where to find some SFX of ghetto kids?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17487" PostHistoryTypeId="1" PostId="10588" RevisionGUID="83cfcfa2-bf35-4732-ab50-79ffe64bd057" CreationDate="2011-09-28T20:34:15.997" UserId="1266" Text="SFX Ghetto Kids" ContentLicense="CC BY-SA 3.0" />
  <row Id="17488" PostHistoryTypeId="3" PostId="10588" RevisionGUID="83cfcfa2-bf35-4732-ab50-79ffe64bd057" CreationDate="2011-09-28T20:34:15.997" UserId="1266" Text="&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17490" PostHistoryTypeId="2" PostId="10589" RevisionGUID="ee08b132-f35c-4399-b10a-7b29cf8bb060" CreationDate="2011-09-28T21:07:21.637" UserId="1251" Text="I don't want to be THAT guy, but if you're looking for a project to do sound on, I would go somewhere else than a hang out for sound designers. Check out Moddb.com or reddit.com/r/gamedev, you're going to get a lot more bites going to places where game developers spend their time." ContentLicense="CC BY-SA 3.0" />
  <row Id="17491" PostHistoryTypeId="5" PostId="10327" RevisionGUID="e1f3cb2a-6d51-4065-a6ba-a68ae9116099" CreationDate="2011-09-28T22:16:12.740" UserId="1228" Comment="added 154 characters in body" Text="I may be able to help you out with this, I've got a long list of short films I may be able to toss one your way for your edu project (granted I receive permission from the dir/prod).&#xD;&#xA;&#xD;&#xA;Shoot me an email at steve (at) stavrosound.com&#xD;&#xA;&#xD;&#xA;All have printed DM&amp;E stems, so I could toss you the Dialogue stem to work against - that's with the understanding that by &quot;sound replacement&quot;, your project is solely on the basis of the effects/design/music, since the dialogue present in these stems has been fully edited and premixed, so that would be cheating if your project calls for working with raw OMF dialogue and cleaning that up.&#xD;&#xA;&#xD;&#xA;**EDIT:**  Please, nobody else ask me. I have had too many email requests, all of which are being turned away as they cannot be accommodated.  Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17492" PostHistoryTypeId="2" PostId="10590" RevisionGUID="4c74e7f4-9fe5-4641-9789-04f94564bd87" CreationDate="2011-09-28T22:22:50.147" UserId="1315" Text="Have you considered dabbling in ADR for this project?  While it isn't explicitly part of the assignment, it can only help your portfolio!  If you have enough time and the facilities to do so, I'd say give it a shot." ContentLicense="CC BY-SA 3.0" />
  <row Id="17493" PostHistoryTypeId="2" PostId="10591" RevisionGUID="81d315f6-d14c-44ae-9ba7-b08698076865" CreationDate="2011-09-28T22:46:39.337" UserId="1153" Text="I'm off to bed in a moment so just a quick one...&#xD;&#xA;&#xD;&#xA;Has anyone ever come across any old pre-1950/60s mics using the 5 Pin DIN (5/180°) connections? (Or MIDI cable connections if that jogs the memory better). I've seen a few going pretty cheap and would love to get something out of them but am unsure how to connect them to a female XLR input. I'm hoping someone is aware of a male 5 pin din to male XLR adapter/connecter (preferably on a UK site but that's just wishful thinking ;]) or any method by which I could connect it to an XLR or 1/4&quot; Jack input. I've had a quick look tonight but with rather fruitless results so far.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So if anyone has any knowledge on the subject they'd like to share please do :]&lt;br&gt;&#xD;&#xA;If I get desperate I guess I could always take the wire apart and go from there...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Cheers and Goodnight!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17494" PostHistoryTypeId="1" PostId="10591" RevisionGUID="81d315f6-d14c-44ae-9ba7-b08698076865" CreationDate="2011-09-28T22:46:39.337" UserId="1153" Text="5 Pin DIN to XLR/Jack for Old Old Old Microphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17495" PostHistoryTypeId="3" PostId="10591" RevisionGUID="81d315f6-d14c-44ae-9ba7-b08698076865" CreationDate="2011-09-28T22:46:39.337" UserId="1153" Text="&lt;xlr&gt;&lt;vintage&gt;&lt;microphone&gt;&lt;connector&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17496" PostHistoryTypeId="2" PostId="10592" RevisionGUID="abf123c5-0787-41d6-9ec6-46b2dbccc893" CreationDate="2011-09-29T00:36:24.600" UserId="444" Text="I have the Marantz PMD661.  I really like its portability, and it's extremely easy to use. It's pre-amps are low noise and transparent.  The only thing I don't like about it are the built-in mics.  They're very noisy and I've never liked what I've captured with them.  I definetly wouldn't use them in an quiet ambient situation like a forest however. I borrow a matched pair of condensers for recording ambiences (AKG 451s).  &#xD;&#xA;&#xD;&#xA;I also ended up investing in a Sony M10 later down the road, and I'm happy with ambiences I've captured with that.  &#xD;&#xA;&#xD;&#xA;Sonic Fields is right about the tripod mount, and I second Noise Jockey's comments too.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17497" PostHistoryTypeId="2" PostId="10593" RevisionGUID="7c5cc286-9a28-4acb-be91-9cd7f62dc8b6" CreationDate="2011-09-29T00:48:43.813" UserId="432" Text="Jamie may be correct about it needing a power supply. Most microphones that utilize more than three inputs do require a matching power supply. Another possibility is to do some research on the specific models you're looking at. If you can find information concerning the pinout, then you'll be one step closer to figuring out how to interface it with modern gear.&#xD;&#xA;&#xD;&#xA;Another key element to consider is output impedance of the microphone. You may need some sort of buffer circuit between it and your gear (another function that those matching power supplies often provide)." ContentLicense="CC BY-SA 3.0" />
  <row Id="17498" PostHistoryTypeId="2" PostId="10594" RevisionGUID="c77f82e6-3a05-4a79-9ef0-81d0597dea9c" CreationDate="2011-09-29T02:51:55.690" UserId="1292" Text="I like my zoom h4n. I think it works great when you have the levels set right no surprise there. But the screen is a little small so getting the meters right takes a little bit more effort.  You have the option of 90 degree stereo imaging and 120 degrees so thats a plus.  I'm satisfied with everything that comes from it, but I have wanted to kick myself during playback for low leveling. Who hasnt'?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17499" PostHistoryTypeId="2" PostId="10595" RevisionGUID="ded26678-d50e-4049-90b5-230d63710b17" CreationDate="2011-09-29T06:21:53.403" UserId="7642" Text="Using the correct ringtone to the correct type of phone (esp. Cellphones) gives credibility. But is it allowed truly?&#xD;&#xA;What about copyright and clearance?&#xD;&#xA;&#xD;&#xA;Next question, I struggle to use the modern style musical ringtones as they often sound just plain wrong in context. What is your experience?&#xD;&#xA;&#xD;&#xA;Do you make your own &quot;film ringtones&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17500" PostHistoryTypeId="1" PostId="10595" RevisionGUID="ded26678-d50e-4049-90b5-230d63710b17" CreationDate="2011-09-29T06:21:53.403" UserId="7642" Text="Questions about Ringtones in film and television" ContentLicense="CC BY-SA 3.0" />
  <row Id="17501" PostHistoryTypeId="3" PostId="10595" RevisionGUID="ded26678-d50e-4049-90b5-230d63710b17" CreationDate="2011-09-29T06:21:53.403" UserId="7642" Text="&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17502" PostHistoryTypeId="5" PostId="10588" RevisionGUID="4b23d5d1-d875-4d76-86a9-2b95a1bd89c0" CreationDate="2011-09-29T07:45:07.003" UserId="1266" Comment="added 125 characters in body" Text="Anybody know where to find some SFX of ghetto kids?&#xD;&#xA;&#xD;&#xA;I mean like children from ages 6-15 that are from the more urban or &quot;street&quot; areas of the city.  The &quot;harder&quot; side of life.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17503" PostHistoryTypeId="2" PostId="10596" RevisionGUID="359a9249-82fc-44e1-bdcc-18eeb87b593a" CreationDate="2011-09-29T07:59:02.437" UserId="1228" Text="To answer the first part of your question, my understanding from supervisors I've worked with is that you can use the actual sound of something only if it's actually featured.  Meaning, if you see an iPhone you can hear and iPhone, etc.  'House' did this a season or two ago during a flirty text message sequence.&#xD;&#xA;&#xD;&#xA;Otherwise I design my own tones, usually just different types of interesting trill beeps instead of musical since it can be distracting usually. Sorry for the brief response, just cleared a show and I'm quite dead exhausted.  I'm sure there are other fine fellows on here though who can give you a more complete answer to your second and third questions and share their own experience in regards to the first question." ContentLicense="CC BY-SA 3.0" />
  <row Id="17504" PostHistoryTypeId="2" PostId="10597" RevisionGUID="4428a8f9-3bca-4635-9c84-967cf293251d" CreationDate="2011-09-29T12:34:09.777" UserId="6462" Text="How about looking at the Sony M10. It's built like the D50 (which I have and love), the battery life is awesome and the sound quality is fantastic (much better than the H2n!). It's only slightly larger than a pack of cards so will easily slip in your pocket. I would definitely get yourself a 'fluffy' wind cover (Rycote, Redhead etc, personally I stick with Rycote)." ContentLicense="CC BY-SA 3.0" />
  <row Id="17505" PostHistoryTypeId="2" PostId="10598" RevisionGUID="9aaff5ca-ca4f-46b7-a7fc-cc6379c49ebd" CreationDate="2011-09-29T13:08:19.350" UserId="842" Text="Practically every cellphone I've ever seen, period,  has been able to change it's signals one way or another, and most cells after at least, say '96, has been able to get new ones to that, so I would say it doesn't really matter so much as long as you stay true to what kind of sound-emitter it has.&#xD;&#xA;Take for example an old Nokia 6110 from '97. It has a very simple piezoelectric element and a sound circuit unable to do anything but simple beeps. Still, the traditional Nokia-tune aside they didn't even compose themselves, it's practically impossible to tell it apart from for example contemporary Ericsons, Philips, Motorolas, DanCalls or any other cell from that generation. You might, if your really anal about cellphones on a near autistic level (not counting us actually working with sound, but we have to be) hear different brands and models in real life, but as different miking techniques and microphones make the same unit sound their very own way, it's practically impossible to tell one phone from the other on-screen.&#xD;&#xA;&#xD;&#xA;The next generation cellphone signals, the polyphonic ones, had yet another quite unique sound as most of them, as far as I know, are based in FM-synthesis, and has pretty primitive elements. The sound was a very lofi and round sound, often mimicking marimbas, bells, glockenspiels, xylophones and other equally annoying things when left all alone in bad quality.. Like the old Commodore 64 they could be made to performe samples, but they wasn't made for it be far. Here's the first time the phones actually began changing appearance more clearly, like being able to fold in the middle and slide up the entire front panel. Still, noone seems to actually remember that era as it wasn't that long at all, and the step over to the third generation of ringtones wasn't, in the eyes of the common man, that big.&#xD;&#xA;Now (early 2000's), the signals became harder to snatch directly from the phone. Before, the beeps was totally generic and had absolutely no artistic value; you could record it any way you wanted, but you couldn't use the tunes, so you had to do something own of it to avoid a potential shit-storm.&#xD;&#xA;With polyphonic signals you can't just record anything freely anymore as it's not generic but heavily designed. You can, however, probably use songs you program yourselves in these cellphones, but personally I don't think it's worth the risk as it's even easier just playing the little tune on a synth.&#xD;&#xA;&#xD;&#xA;The latest generation, the PCM-based, makes a return to designer heaven again as it can take absolutely any sound you make and just output it, colored and all, through the surprisingly well performing small piezo elements for you to record any way you see fit.&#xD;&#xA;&#xD;&#xA;All these three different generations of cellphones has been totally different from each other, but one thing has always been consistent; they all has had a simple bleep. ALL of them.&#xD;&#xA;With that said, you shouldn't need to worry too much about credibility. As long as you use bleeps it will always work no matter which cellphone you use, but it can ofcourse be a little dull not giving different characters very different signals.&#xD;&#xA;In that respect, you still have much artistic freedom as long as there's no extreme close-ups on the phones or such. A single row monochromatic display gives away it might have been found in the hands of a dinosaur skeleton somewhere, as does an antenna. But for antenna-less cells without a visible screen that actually fits in a pocket you can do pretty much whatever you want.&#xD;&#xA;&#xD;&#xA;Regular phones, on the other hand, are more critical. One look and you know instantly what to expect. You needn't worry about keeping true to the brand, but you *MUST* stay true to the technology. A round dial phone will always have bells, mostly of brass or steel, a phone with the  same shape as a dial-phone but with buttons will have a very muffled sound, often quite shrieky, and combined phones with faxes will sound like an old modem.&#xD;&#xA;&#xD;&#xA;In short; it doesn't matter that much how close to reality you are, this is film, here we strive for credibility, not much else. You must be respectful to the sounds, for example a Nokia-Tune on an old Bakelite dial-phone sound eighter very funny or plain retarded depending on the occasion, no matter what it will pull all attention to it immediately, but a non-generic sound played through an iPhone and used on an Android LG might very well sound more convincing that would the real one. I do that all the time, though I have a collection of about 15 cellphones in my studio ranging from approx 1990 (a Motorola MSN) to 2010 (my present black iPhone 4_3G) :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17506" PostHistoryTypeId="5" PostId="10598" RevisionGUID="9514fc02-e3e4-460b-9fb9-052b0181a35a" CreationDate="2011-09-29T13:19:26.803" UserId="842" Comment="added 359 characters in body; added 66 characters in body" Text="Practically every cellphone I've ever seen, period,  has been able to change it's signals one way or another, and most cells after at least, say '96, has been able to get new ones to that, so I would say it doesn't really matter so much as long as you stay true to what kind of sound-emitter it has.&#xD;&#xA;Take for example an old Nokia 6110 from '97. It has a very simple piezoelectric element and a sound circuit unable to do anything but simple beeps. Still, the traditional Nokia-tune aside they didn't even compose themselves, it's practically impossible to tell it apart from for example contemporary Ericsons, Philips, Motorolas, DanCalls or any other cell from that generation. You might, if your really anal about cellphones on a near autistic level (not counting us actually working with sound, but we have to be) hear different brands and models in real life, but as different miking techniques and microphones make the same unit sound their very own way, it's practically impossible to tell one phone from the other on-screen.&#xD;&#xA;&#xD;&#xA;The next generation cellphone signals, the polyphonic ones, had yet another quite unique sound as most of them, as far as I know, are based in FM-synthesis, and has pretty primitive elements. The sound was a very lofi and round sound, often mimicking marimbas, bells, glockenspiels, xylophones and other equally annoying things when left all alone in bad quality.. Like the old Commodore 64 they could be made to performe samples, but they wasn't made for it be far. Here's the first time the phones actually began changing appearance more clearly, like being able to fold in the middle and slide up the entire front panel. Still, noone seems to actually remember that era as it wasn't that long at all, and the step over to the third generation of ringtones wasn't, in the eyes of the common man, that big.&#xD;&#xA;Now (early 2000's), the signals became harder to snatch directly from the phone. Before, the beeps was totally generic and had absolutely no artistic value; you could record it any way you wanted, but you couldn't use the tunes, so you had to do something own of it to avoid a potential shit-storm.&#xD;&#xA;With polyphonic signals you can't just record anything freely anymore as it's not generic but heavily designed. You can, however, probably use songs you program yourselves in these cellphones, but personally I don't think it's worth the risk as it's even easier just playing the little tune on a synth. I normally use my rebuilt Commodore 64 or Ensoniq SQ-80 for this!&#xD;&#xA;&#xD;&#xA;The latest generation, the PCM-based, makes a return to designer heaven again as it can take absolutely any sound you make and just output it, colored and all, through the surprisingly well performing small piezo elements for you to record any way you see fit.&#xD;&#xA;&#xD;&#xA;All these three different generations of cellphones has been totally different from each other, but one thing has always been consistent; they all has had a simple bleep. ALL of them.&#xD;&#xA;With that said, you shouldn't need to worry too much about credibility. As long as you use bleeps it will always work no matter which cellphone you use, but it can ofcourse be a little dull not giving different characters very different signals.&#xD;&#xA;In that respect, you still have much artistic freedom as long as there's no extreme close-ups on the phones or such. A single row monochromatic display gives away it might have been found in the hands of a dinosaur skeleton somewhere, as does an antenna. But for antenna-less cells without a visible screen that actually fits in a pocket you can do pretty much whatever you want.&#xD;&#xA;&#xD;&#xA;Regular phones, on the other hand, are more critical. One look and you know instantly what to expect. You needn't worry about keeping true to the brand, but you *MUST* stay true to the technology. A round dial phone will always have bells, mostly of brass or steel, a phone with the  same shape as a dial-phone but with buttons will have a very muffled sound, often quite shrieky, and combined phones with faxes will sound like an old modem.&#xD;&#xA;&#xD;&#xA;In short; it doesn't matter that much how close to reality you are, this is film, here we strive for credibility, not much else. You must be respectful to the sounds, for example a Nokia-Tune on an old Bakelite dial-phone sound eighter very funny or plain retarded depending on the occasion, no matter what it will pull all attention to it immediately, but a non-generic sound played through an iPhone and used on an Android LG might very well sound more convincing that would the real one. I do that all the time, though I have a collection of about 15 cellphones in my studio ranging from approx 1990 (a Motorola MSN) to 2010 (my present black iPhone 4_3G) :-)&#xD;&#xA;&#xD;&#xA;And yes, I always do all my ringtones myself. I'm not willing to risk getting in trouble over a frigging cell-tone... But I often use my real cellphones, com-radios, transmitters and broken TV-sets as both sources and heavy processing tools for my sounds, even faked radio communications, public address and SciFi information-systems to name but a few :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17507" PostHistoryTypeId="2" PostId="10599" RevisionGUID="64f1574d-1d6f-468f-a2d2-7cfac62c64c5" CreationDate="2011-09-29T13:27:22.060" UserId="2136" Text="Over the summer, while working a rehearsal, I decided to tweet a bunch of one liners relating to sound design with a somewhat dirty connotation.  Mine are below.  Please share any others you can think of!&#xD;&#xA;&#xD;&#xA; - Are you XLRge?&#xD;&#xA; - I'll send your outputs to my inputs.&#xD;&#xA; - Ready for a 16 input mixer?&#xD;&#xA; - Time to open up the patch bay.&#xD;&#xA; - Gain down, slider up, that's the way we like to...&#xD;&#xA; - Give those peaks some compression!&#xD;&#xA; - Five prongs but only three holes.&#xD;&#xA; - If you keep belting I might just have to ride you all night long. &#xD;&#xA; - Don't mess with your face tape and I'll turn you on and push your buttons" ContentLicense="CC BY-SA 3.0" />
  <row Id="17508" PostHistoryTypeId="1" PostId="10599" RevisionGUID="64f1574d-1d6f-468f-a2d2-7cfac62c64c5" CreationDate="2011-09-29T13:27:22.060" UserId="2136" Text="Share your sound design innuendos" ContentLicense="CC BY-SA 3.0" />
  <row Id="17509" PostHistoryTypeId="3" PostId="10599" RevisionGUID="64f1574d-1d6f-468f-a2d2-7cfac62c64c5" CreationDate="2011-09-29T13:27:22.060" UserId="2136" Text="&lt;humor&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17510" PostHistoryTypeId="5" PostId="10588" RevisionGUID="6106a217-90fc-4a93-8a49-3dd0ee082d91" CreationDate="2011-09-29T17:12:10.840" UserId="1266" Comment="added 66 characters in body" Text="Anybody know where to find some SFX of ghetto kids?&#xD;&#xA;&#xD;&#xA;I mean like children from ages 6-15 that are from the more urban or &quot;street&quot; areas of the city.  The &quot;harder&quot; side of life.  &#xD;&#xA;&#xD;&#xA;Kids on a school bus that are throwing things at the teachers." ContentLicense="CC BY-SA 3.0" />
  <row Id="17511" PostHistoryTypeId="2" PostId="10600" RevisionGUID="94c4390d-9c7f-4620-81e9-f379beea0018" CreationDate="2011-09-29T17:23:04.567" UserId="2793" Text="You may also want to take a look at Big Buck Bunny ([http://www.bigbuckbunny.org/index.php/about/][1]).  It's about 10 minutes long, and licensed under a Creative Commons license, in this case allowing you to do pretty much anything with it.  There is no dialogue, so that wouldn't be a concern.  You could also check out Elephant's Dream, made by the same people ([http://orange.blender.org/download][2]).  You can download the production elements individually - I'm not sure how split up the audio provided is, you may be able to get a stem of just dialogue.  Both of the originals are also available on Vimeo if you want to see how they were done. Have fun!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bigbuckbunny.org/index.php/about/&#xD;&#xA;  [2]: http://orange.blender.org/download" ContentLicense="CC BY-SA 3.0" />
  <row Id="17512" PostHistoryTypeId="2" PostId="10601" RevisionGUID="b71e464f-f2f1-4d21-9f45-9e565bbc921a" CreationDate="2011-09-29T17:46:14.080" UserId="339" Text="Hi everybody,&#xD;&#xA;I was wondering if any of you had any chance to test the Korg MR-2 or the new Roland R-26 hand held recorders. If so, what's your opinion on both?&#xD;&#xA;I tried searching for reviews but they're too new in the market, so there's nothing to read about the performance on both except for the technical aspects.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17513" PostHistoryTypeId="1" PostId="10601" RevisionGUID="b71e464f-f2f1-4d21-9f45-9e565bbc921a" CreationDate="2011-09-29T17:46:14.080" UserId="339" Text="New portable hand held recorders" ContentLicense="CC BY-SA 3.0" />
  <row Id="17514" PostHistoryTypeId="3" PostId="10601" RevisionGUID="b71e464f-f2f1-4d21-9f45-9e565bbc921a" CreationDate="2011-09-29T17:46:14.080" UserId="339" Text="&lt;handheld&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17515" PostHistoryTypeId="2" PostId="10602" RevisionGUID="7728e94d-34ed-4deb-b61d-6e6aba0a60a2" CreationDate="2011-09-29T18:10:47.013" UserId="2796" Text="Hey everyone.&#xD;&#xA;&#xD;&#xA;For my dissertation, Im researching if the use of ADR could result in a loss of emotion and characterisation between the character and the film audience.&#xD;&#xA;&#xD;&#xA;My main reason for choosing this subject is, that I have been studying&#xD;&#xA;the affects the human voice has on cinema audience. How the actor’s&#xD;&#xA;emotions and actions are captured and delivered for the audience to&#xD;&#xA;connect with the on-screen characters.&#xD;&#xA;&#xD;&#xA;So my question to you guys is, has anyone done any research on this or is interested in the subject?&#xD;&#xA;&#xD;&#xA;Ive been looking at likes of Ken Loach, Mike Lee, Robert Altan, whereas they do not support the use of ADR in their realism film making..&#xD;&#xA;&#xD;&#xA;If anyone has any opinions or useful information on this, it would be much appreciated!&#xD;&#xA;&#xD;&#xA;regards,&#xD;&#xA;Gulli" ContentLicense="CC BY-SA 3.0" />
  <row Id="17516" PostHistoryTypeId="1" PostId="10602" RevisionGUID="7728e94d-34ed-4deb-b61d-6e6aba0a60a2" CreationDate="2011-09-29T18:10:47.013" UserId="2796" Text="Does the use of ADR result in loss of characterisation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17517" PostHistoryTypeId="3" PostId="10602" RevisionGUID="7728e94d-34ed-4deb-b61d-6e6aba0a60a2" CreationDate="2011-09-29T18:10:47.013" UserId="2796" Text="&lt;adr&gt;&lt;sound-design&gt;&lt;post-production&gt;&lt;realism&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17518" PostHistoryTypeId="5" PostId="10577" RevisionGUID="ba03f14e-d2ec-49a9-83e2-28ea3dcd4faa" CreationDate="2011-09-29T18:32:13.410" UserId="393" Comment="added 25 characters in body" Text="Assume that your demo will be viewed / listened to on a stereo device, unless they've actually ASKED for your demo.  *Vimeo does support 5.1, though, so people that want it can hear it there.* (citation needed. ;) )&#xD;&#xA;&#xD;&#xA;Also assume that no one is going to ASK for your demo (someone will, don't worry, but assume that no one will).  They're going to go to your website and maybe watch the first 30 seconds of it, and make their decision from there.  They're not going to download something to burn it to a DVD and play it in their home theater -- if it's not streaming, they're not going to give you even 30 seconds.&#xD;&#xA;&#xD;&#xA;So, in my opinion, if you plan on developing a 5.1 demo, make it your only online demo, and make it available somewhere where surround streaming is supported.  Make it also compatible with stereo systems.  Don't give someone the option of &quot;Surround Sound Demo available on request,&quot; just make that the only option." ContentLicense="CC BY-SA 3.0" />
  <row Id="17519" PostHistoryTypeId="2" PostId="10603" RevisionGUID="f79c2c45-1556-4b5d-aa1e-e57bef94106a" CreationDate="2011-09-29T19:12:28.377" UserId="1266" Text="Please post a random sound, everybody visiting this site.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Creepy wooden door creak" ContentLicense="CC BY-SA 3.0" />
  <row Id="17520" PostHistoryTypeId="1" PostId="10603" RevisionGUID="f79c2c45-1556-4b5d-aa1e-e57bef94106a" CreationDate="2011-09-29T19:12:28.377" UserId="1266" Text="Random Sound Thread--Please post a random sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="17521" PostHistoryTypeId="3" PostId="10603" RevisionGUID="f79c2c45-1556-4b5d-aa1e-e57bef94106a" CreationDate="2011-09-29T19:12:28.377" UserId="1266" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17522" PostHistoryTypeId="2" PostId="10604" RevisionGUID="eaed2fda-f785-4ff3-a39a-90df07b8b208" CreationDate="2011-09-29T19:24:02.093" UserId="253" Text="Interesting idea, nice one!&#xD;&#xA;&#xD;&#xA;In my personal (but by no means extensive) experience, ADR by actors and directors that aren't extremely familiar with the process tends to produce performances that lack some character and emotion. The little imperfections that happen in the on-set delivery of lines also, i think, add realism. In ADR things can be over-produced to the point of being sterile.&#xD;&#xA;&#xD;&#xA;On the other hand, some actors insist on ADR. I'm not sure how much material is out there on this topic, but i have heard the Marlon Brando and Russel Crowe deliberately deliver lines that will be unusable, so they can fine tune their performances in ADR. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17523" PostHistoryTypeId="2" PostId="10605" RevisionGUID="a76a3d44-55a8-4308-9cfa-9926fbbd5828" CreationDate="2011-09-29T20:26:16.910" UserId="1292" Text="If you can be more specific, maybe I can get what you want? I live in Chicago." ContentLicense="CC BY-SA 3.0" />
  <row Id="17524" PostHistoryTypeId="2" PostId="10606" RevisionGUID="d3e4415e-c737-444c-aa21-a21dce01810d" CreationDate="2011-09-30T01:59:41.463" UserId="61" Text="Am in need of a platoon (or 2) of marching soldiers, with full gear, weapons, etc. Mostly need the sound of heavy combat boots on pavement/cobblestone/cement/what have you.&#xD;&#xA;&#xD;&#xA;Any army or group of people from the 20th century would do (this is for WW2).&#xD;&#xA;&#xD;&#xA;Thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="17525" PostHistoryTypeId="1" PostId="10606" RevisionGUID="d3e4415e-c737-444c-aa21-a21dce01810d" CreationDate="2011-09-30T01:59:41.463" UserId="61" Text="REQUEST: Marching Soldiers" ContentLicense="CC BY-SA 3.0" />
  <row Id="17526" PostHistoryTypeId="3" PostId="10606" RevisionGUID="d3e4415e-c737-444c-aa21-a21dce01810d" CreationDate="2011-09-30T01:59:41.463" UserId="61" Text="&lt;request&gt;&lt;military&gt;&lt;footsteps&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17527" PostHistoryTypeId="2" PostId="10607" RevisionGUID="c2cada2e-06f9-4625-a4d2-6939942a31bb" CreationDate="2011-09-30T06:57:28.650" UserId="654" Text="Hi all,&#xD;&#xA;I know quite a few of you check out my blog from time to time, but for those of you who dont, I just wanted to spruik the last 4 videos Ive done this week. All based around getting PT editors less reliant on their mouse and more into &quot;two hand&quot; editing. Hope they are useful!&#xD;&#xA;&#xD;&#xA;Zooming and navigation:&#xD;&#xA;[Editing Bootcamp 1 - Zooms and Navigation on Vimeo][1]&#xD;&#xA;&#xD;&#xA;Tabbing and selecting&#xD;&#xA;[Editing Bootcamp 2 - tabbing and selecting on Vimeo][2]&#xD;&#xA;&#xD;&#xA;Keyboard based trims and auditioning&#xD;&#xA;[Editing Bootcamp 3 - editing and auditioning on Vimeo][3]&#xD;&#xA;&#xD;&#xA;Last video on nudging and its various modifiers and the importance of fluidly toggling &quot;insertion follows playback&quot; and your preroll/postroll&#xD;&#xA;[Editing Bootcamp 4 - Advanced nudging on Vimeo][4]&#xD;&#xA;&#xD;&#xA;The information is provided free of charge (unlike some other &quot;blogs&quot;...), all I ask if that you pass it on to fellow engineers so we can all work at our best.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/brentheber/editbootcamp1&#xD;&#xA;  [2]: http://vimeo.com/brentheber/editbootcamp2&#xD;&#xA;  [3]: http://vimeo.com/brentheber/editbootcamp3&#xD;&#xA;  [4]: http://vimeo.com/brentheber/editbootcamp4" ContentLicense="CC BY-SA 3.0" />
  <row Id="17528" PostHistoryTypeId="16" PostId="10607" RevisionGUID="c2cada2e-06f9-4625-a4d2-6939942a31bb" CreationDate="2011-09-30T06:57:28.650" UserId="-1" />
  <row Id="17529" PostHistoryTypeId="5" PostId="10597" RevisionGUID="4557ee90-4041-4341-92c9-9ab35fac26a2" CreationDate="2011-09-30T07:27:41.517" UserId="6462" Comment="added 146 characters in body" Text="How about looking at the Sony M10. It's built like the D50 (which I have and love), the battery life is awesome and the sound quality is fantastic (much better than the H2n!). It's only slightly larger than a pack of cards so will easily slip in your pocket. I would definitely get yourself a 'fluffy' wind cover (Rycote, Redhead etc, personally I stick with Rycote).&#xD;&#xA;&#xD;&#xA;EDIT: I have found this good article comparing the M10 and the H4n http://bgilbertsound.wordpress.com/2011/08/08/the-sony-pcm-m10-vs-zoom-h4n/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17530" PostHistoryTypeId="2" PostId="10608" RevisionGUID="10810507-1983-4ac8-aca2-378f141616db" CreationDate="2011-09-30T07:43:44.363" UserId="596" Text="hi,&#xD;&#xA;&#xD;&#xA;i am sounddesigning for an animation film in which there are several scenes involving various interactions between two soft-looking balls. they collide, bounce, etc. i'm looking to achieve  a stretchy, springy effect that will convey the ball's elasticity, mass and tension, before and during collision. as a starting point i've collected raw material such as plucked strings, rubber squeaks and duck-tape recordings. i've also experimented a bit with LFO modulation and recorded some nice-sounding bouncy effects. before i start processing the material, i wanted to ask for some advise or suggestions... how would you go about designing such effect? what type of processing would you employ?&#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;K&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17531" PostHistoryTypeId="1" PostId="10608" RevisionGUID="10810507-1983-4ac8-aca2-378f141616db" CreationDate="2011-09-30T07:43:44.363" UserId="596" Text="creating a bouncing/springy effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="17532" PostHistoryTypeId="3" PostId="10608" RevisionGUID="10810507-1983-4ac8-aca2-378f141616db" CreationDate="2011-09-30T07:43:44.363" UserId="596" Text="&lt;processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17533" PostHistoryTypeId="2" PostId="10609" RevisionGUID="cac8d946-8690-4c26-96c9-e2ab22f0bcce" CreationDate="2011-09-30T08:50:48.453" UserId="37" Text="how about using a delay which has a short delay time and generous feedback but is also pitch shifted (and filtered)? Logic's Delay Designer does that pretty well and there are presets to start you up.. ?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17534" PostHistoryTypeId="2" PostId="10610" RevisionGUID="1e35c084-76a5-4265-9e52-edd1531af41d" CreationDate="2011-09-30T08:52:17.567" UserId="985" Text="Hi all,&#xD;&#xA;&#xD;&#xA;It's a great forum, resource and community here! So here is my first question :&#xD;&#xA;&#xD;&#xA;I'm interested in distortion, I like the effect, it makes sounds easily huge and extreme. But I know it's also easily overdone, it can well &quot;distort&quot; so much a sound drops out of the mix, are overloads, or sounds like &quot;corrupted&quot; audio. &#xD;&#xA;&#xD;&#xA;How do you go about adding distortion in a natural and organic way? What are things to avoid and be careful with? What ways of distortions worked best for you (bit reduction, amp simulation or other ways) or are you trying to avoid it anyway if possible?&#xD;&#xA;&#xD;&#xA;Thank you,&#xD;&#xA;&#xD;&#xA;Markus." ContentLicense="CC BY-SA 3.0" />
  <row Id="17535" PostHistoryTypeId="1" PostId="10610" RevisionGUID="1e35c084-76a5-4265-9e52-edd1531af41d" CreationDate="2011-09-30T08:52:17.567" UserId="985" Text="Distortion - how?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17536" PostHistoryTypeId="3" PostId="10610" RevisionGUID="1e35c084-76a5-4265-9e52-edd1531af41d" CreationDate="2011-09-30T08:52:17.567" UserId="985" Text="&lt;distortion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17537" PostHistoryTypeId="2" PostId="10611" RevisionGUID="d311138e-27e7-4b67-a4d8-1788b1443821" CreationDate="2011-09-30T11:08:16.907" UserId="6420" Text="I would agree with the use of short delay long feedback type effects that might get what youre after. I seem to recall a Spring Reverb plug in that had a funky tension parameter which made some cool twangy sounds when applied. Might have been Softube? Also Waves Enigma has some interesting bounty type presets to play with ;)&#xD;&#xA;&#xD;&#xA;Maybe also experimenting with some boingy twangy IRs could come up with some cool sounds. Have fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17538" PostHistoryTypeId="2" PostId="10612" RevisionGUID="4527a2e7-4749-4e93-9300-a9c333881f52" CreationDate="2011-09-30T12:33:26.067" UserId="407" Text="Great question! and something that I'm personally very interested in too, and I have some random observations that you might find interesting. I can't really talk about ADR in Movies per-say but Games have struggled greatly with the recording and delivery of convincing dialogue since the creation of the video game, and a lot of the reasons behind this might translate into your question.&#xD;&#xA;The 'traditional' way of recording game dialogue is one actor in the studio at a time reading lines from the script - this is usually not very inspiring, creates a disjointed narrative and doesn't lead to a good performance. However games like the Uncharted series have recorded their dialogue straight from the Mo-cap stage. The actors get to interact and move when delivering the lines ergo a better characterised performance. There are also many varying degrees of recording practices between the 2 for-mentioned examples. So the conclusion is the closer the actor's voice is to the original performance the better that performance will be ...&#xD;&#xA;Even though neither of these examples are ADR I hope you can see some similarity with the problem of characterisation in relation to the context of the dialogue, I feel that for an actor being in the moment of the scene is key and the more intimately you can capture that the better it will convey to the audience.&#xD;&#xA;&#xD;&#xA;BUT to be honest I think the final delivery is more down to the actor and how experienced/comfortable they are with the situation, ADR can improve a performance but it won't improve every performance. Interesting question though ..." ContentLicense="CC BY-SA 3.0" />
  <row Id="17539" PostHistoryTypeId="2" PostId="10613" RevisionGUID="45adf8f5-d7ca-45f9-9bdf-dab3b0539b40" CreationDate="2011-09-30T12:47:23.927" UserId="432" Text="One way that I've used it in the past is to create a side-chain gate on an Aux.&#xD;&#xA;&#xD;&#xA;Feed your original signal through a bus to that channel, and place your distortion of choice after the gate in your plug-in chain. This way you can control when the distortion kicks in against the original's amplitude, and you have additional wet/dry mix control through volume automation on your Aux. You can create a really ugly sounding distortion, but keep it from overpowering the original signal.&#xD;&#xA;&#xD;&#xA;If you really want to sell it, you can create a second Aux to process the original signal with a limiter. Set your original audio track to play out only through the bus that feeds these two Auxes (it will not go directly to your master output on its own anymore). This way, both your distortion aux and your limiting aux will be fed by the clip's unprocessed dynamic range. Set the limiter's output ceiling somehwere near the distortion gate's open threshold. I tend to set it just a little bit above. This will cut off your clean audio's peaks in the same area that the distortion kicks in. So, you get behavior similar to actual distortion.&#xD;&#xA;&#xD;&#xA;Naturally, you can fine tune and tweak the behavior anywhere necessary with autmoation of any of the parametes." ContentLicense="CC BY-SA 3.0" />
  <row Id="17540" PostHistoryTypeId="2" PostId="10614" RevisionGUID="5bfe67a1-d11d-4917-b90d-0eeb654a1318" CreationDate="2011-09-30T13:08:50.040" UserId="432" Text="This is a great subject to study, but it's definitely not going to be an easy one. The quality of ADR ultimately comes down to the individual actors. There is definitely an effect introduced by the recording engineer in terms of matching when it comes to tonal characteristics, and direction during ADR can be important too, but these both pale in comparison to what the actor brings (or doesn't) to the session itself.&#xD;&#xA;&#xD;&#xA;Simply put, truly well done ADR (and editing of said material) becomes transparent to the audience. It's the instances where it is not optimal that it can be identified and affect the viewing experience. It's simply another **potential** problem point in a production; one that I can't fault directors like Altman for avoiding." ContentLicense="CC BY-SA 3.0" />
  <row Id="17541" PostHistoryTypeId="2" PostId="10615" RevisionGUID="bb252e60-da7c-4c9f-9ad2-f026e94e38fe" CreationDate="2011-09-30T13:53:12.563" UserId="339" Text="Sorry for marching in with another question, but did any of you have had any experience with either the Roland R-26 or the Korg MR-2? They look very promissing." ContentLicense="CC BY-SA 3.0" />
  <row Id="17542" PostHistoryTypeId="5" PostId="10610" RevisionGUID="82c6cb46-b293-4527-9329-96774f357792" CreationDate="2011-09-30T14:34:50.110" UserId="985" Comment="added 1 characters in body" Text="Hi all,&#xD;&#xA;&#xD;&#xA;It's a great forum, resource and community here! So here is my first question :&#xD;&#xA;&#xD;&#xA;I'm interested in distortion, I like the effect, it makes sounds easily huge and extreme. But I know it's also easily overdone, it can, well, &quot;distort&quot; so much a sound drops out of the mix, or overloads, or sounds like &quot;corrupted&quot; audio. &#xD;&#xA;&#xD;&#xA;How do you go about adding distortion in a natural and organic way? What are things to avoid and be careful with? What ways of distortions worked best for you (bit reduction, amp simulation or other ways) or are you trying to avoid it anyway if possible?&#xD;&#xA;&#xD;&#xA;Thank you,&#xD;&#xA;&#xD;&#xA;Markus." ContentLicense="CC BY-SA 3.0" />
  <row Id="17543" PostHistoryTypeId="2" PostId="10616" RevisionGUID="2e9411df-8500-4901-a80f-18940a173f72" CreationDate="2011-09-30T14:39:33.730" UserId="6524" Text="Here's my cousin's baby crying:&#xD;&#xA;&#xD;&#xA;[soundcloud]stephensaldanha/human-baby-cry[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="17544" PostHistoryTypeId="5" PostId="10613" RevisionGUID="03b24dbf-2b7d-4811-bc69-0b41f4cca89d" CreationDate="2011-09-30T16:41:58.997" UserId="18160" Comment="added 1 characters in body" Text="One way that I've used it in the past is to create a side-chain gate on an Aux.&#xD;&#xA;&#xD;&#xA;Feed your original signal through a bus to that channel, and place your distortion of choice after the gate in your plug-in chain. This way you can control when the distortion kicks in against the original's amplitude, and you have additional wet/dry mix control through volume automation on your Aux. You can create a really ugly sounding distortion, but keep it from overpowering the original signal.&#xD;&#xA;&#xD;&#xA;If you really want to sell it, you can create a second Aux to process the original signal with a limiter. Set your original audio track to play out only through the bus that feeds these two Auxes (it will not go directly to your master output on its own anymore). This way, both your distortion aux and your limiting aux will be fed by the clip's unprocessed dynamic range. Set the limiter's output ceiling somehwere near the distortion gate's open threshold. I tend to set it just a little bit above. This will cut off your clean audio's peaks in the same area that the distortion kicks in. So, you get behavior similar to actual distortion.&#xD;&#xA;&#xD;&#xA;Naturally, you can fine tune and tweak the behavior anywhere necessary with autmoation of any of the parameters." ContentLicense="CC BY-SA 3.0" />
  <row Id="17545" PostHistoryTypeId="2" PostId="10617" RevisionGUID="b7231d3b-60e6-4b98-a82d-ad011f4c27f6" CreationDate="2011-09-30T17:05:16.130" UserId="2368" Text="I'm aiming this question at anyone who has made it in the audio post production area. How did you get to where you are now? how did you start off and what steps did you take? It would also be good to hear from people just starting out and what you're doing towards gaining a career within audio post production. Look forward to hearing your answers. Thanks Adam. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17546" PostHistoryTypeId="1" PostId="10617" RevisionGUID="b7231d3b-60e6-4b98-a82d-ad011f4c27f6" CreationDate="2011-09-30T17:05:16.130" UserId="2368" Text="How did you get to where you are now?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17547" PostHistoryTypeId="3" PostId="10617" RevisionGUID="b7231d3b-60e6-4b98-a82d-ad011f4c27f6" CreationDate="2011-09-30T17:05:16.130" UserId="2368" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17548" PostHistoryTypeId="2" PostId="10618" RevisionGUID="62fcfcb1-de10-4923-a633-acf6ac0ad2b9" CreationDate="2011-09-30T20:01:45.823" UserId="393" Text="I'm doing all the sound design and music for a short film challenge, right now -- the film has to be uploaded by midnight this coming Monday (the 2nd... technically it's the 3rd, but that's just splitting hairs).  Like all film challenges, we're behind where we want to be, and there's a huge press to get things done.&#xD;&#xA;&#xD;&#xA;Yesterday, the editor and director spent 7 hours shrinking the film to fit inside the 7:06 time limit.  As of this writing, they haven't gotten the final edit to me.&#xD;&#xA;&#xD;&#xA;What she has gotten to me is that now she insists that the editor help me with the audio, because he knows what she wants.  That, to me, is just not going to work.&#xD;&#xA;&#xD;&#xA;The points being: 1) I don't know what audio editor he has, but it's not what I'm used to 2) My rig isn't easily portable 3) Having him at my place isn't an option at all (so says the wife), and I don't work out of a studio 4) the editor and I live 40 miles apart&#xD;&#xA;&#xD;&#xA;How do I tell the director that I feel the editor and I can just communicate via Skype?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17549" PostHistoryTypeId="1" PostId="10618" RevisionGUID="62fcfcb1-de10-4923-a633-acf6ac0ad2b9" CreationDate="2011-09-30T20:01:45.823" UserId="393" Text="How to handle a situation" ContentLicense="CC BY-SA 3.0" />
  <row Id="17550" PostHistoryTypeId="3" PostId="10618" RevisionGUID="62fcfcb1-de10-4923-a633-acf6ac0ad2b9" CreationDate="2011-09-30T20:01:45.823" UserId="393" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17551" PostHistoryTypeId="2" PostId="10619" RevisionGUID="cd35b2d5-df93-43a4-9dd1-2f09c8a46214" CreationDate="2011-09-30T20:15:32.090" UserId="238" Text="Diplomacy is what you will need to employ!!! And lots of it. Be polite, remain professional but explain exactly what you have explained in your post - i.e. it will be less productive to work with him alongside and that you would prefer to send edits and discuss them over skype. &#xD;&#xA;&#xD;&#xA;As with any differences of opinion, it's vital to remain professional and to negotiate a solution...&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17552" PostHistoryTypeId="2" PostId="10620" RevisionGUID="87596c99-a793-4a0f-9ab4-1ffe8a471472" CreationDate="2011-09-30T21:14:31.070" UserId="61" Text="Try suggesting that the picture editor handles all of the &quot;key&quot; moments or &quot;signature&quot; sounds that the director is most concerned with, while you handle the duties of general hard fx, backgrounds, etc. Once the director has signed off on those items in the edit room, have the picture editor FTP the finalized fx to you to incorporate into your mix session and then complete the final mix. Send it back to them for review and notes, etc. This way, you can accommodate the director's wishes, communicate via Skype, etc., and even lighten your load a little since the deadline is close and you don't have as much time as you had budgeted for." ContentLicense="CC BY-SA 3.0" />
  <row Id="17553" PostHistoryTypeId="2" PostId="10621" RevisionGUID="355d1eed-2aa9-44af-accf-0687bcdba193" CreationDate="2011-09-30T22:14:20.627" UserId="1216" Text="I think that what both Colin and Jay have said is very good advice and i have nothing to add to their points. I can only say that i have been in similar situations and there's always a way to get things done, just keep communicating reasonably.   &#xD;&#xA;Good luck, keep faith and stay cool.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17554" PostHistoryTypeId="2" PostId="10622" RevisionGUID="a37bb494-28e9-4788-9434-64ca16762b55" CreationDate="2011-09-30T23:29:49.737" UserId="393" Text="Where I am is &quot;Lead Sound Editor&quot; on my first short (that wasn't something my friends were already working on, or that I just decided to do because I felt the sound wasn't up to snuff with the music I had written).   I got here by not going away, essentially, and being the first to jump when someone said they needed a sound designer.&#xD;&#xA;&#xD;&#xA;I've put together a few videos, and one of the shorts I bullied my way onto won [We Like Short Shorts][1] in 2010, which gave me just enough leverage to get onto this team without a real demo.&#xD;&#xA;&#xD;&#xA;So... if you're going to learn anything from me, learn persistence, and die-hard marketing. ;)  The head of EA Salt Lake once told me &quot;You do a really good job of letting everyone know your name, and that you do sound... so when they think of sound, they should be thinking of you.&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.welikeshortshorts.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17555" PostHistoryTypeId="2" PostId="10623" RevisionGUID="8f946535-1ce0-4d12-8743-468aa8eff24d" CreationDate="2011-09-30T23:56:52.570" UserId="455" Text="I'm still in the early stages of where I eventually want to be. which is working on studio feature films as a sound editor.  I consider myself to have &quot;made it&quot; because I only work in the audio industry, and I'm fully supporting myself and saving money.  That counts, right?&#xD;&#xA;&#xD;&#xA;**STEP ONE:**  I moved to Los Angeles (16 months ago.)&#xD;&#xA;&#xD;&#xA;**Where I am Now:**  &#xD;&#xA;Sound editor for TV shows and voice over recording engineer for television shows and commercials in Los Angeles.&#xD;&#xA;&#xD;&#xA;**How???:** &#xD;&#xA;I went to Columbia College in Chicago and studied Audio for Visual Media.  I worked on a lot of student films, and interned at 3 commercial post houses.&#xD;&#xA;&#xD;&#xA;My main gig is cutting dialog and effects for reality television shows such as Best Thing I Ever Ate, Auction Kings, Sugar High, Sweet Home Alabama and more.  A friend I went to school with worked with someone who uses post houses in LA a lot.  He put out some feelers and after a few meetings and test edits I'm now working anywhere from 2-4 days a week.&#xD;&#xA;&#xD;&#xA;I also work 1-2 days a week at a commercial patch house.  I set up voiceover talent and patch through to other studios around the country.  When I'm not patching, I'm running voiceover sessions for radio spots, tv spots (yesterday was Polaris), and narration for History Channel's Swamp People.  This company works a lot with a company I interned with in Chicago.  They were perfect for references.  I found the job posting on www.media-match.com, applied, interviewed and that was that!  I love it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Shoot me a message if you want details or have any questions- dan@dankenyonaudio.com&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17556" PostHistoryTypeId="2" PostId="10624" RevisionGUID="1fe9749f-4b4e-45d6-b7d5-4d2bbf3d6733" CreationDate="2011-10-01T02:29:47.563" UserId="1292" Text="CMD + Click   = Snap to cursor for getting everything exactly where you want it" ContentLicense="CC BY-SA 3.0" />
  <row Id="17557" PostHistoryTypeId="16" PostId="10624" RevisionGUID="1fe9749f-4b4e-45d6-b7d5-4d2bbf3d6733" CreationDate="2011-10-01T02:29:47.563" UserId="-1" />
  <row Id="17561" PostHistoryTypeId="2" PostId="10626" RevisionGUID="fe1dc045-c2a6-4245-946f-2c63805e8bfd" CreationDate="2011-10-01T05:26:02.313" UserId="1266" Text="Got into a discussion with a teacher today about the proper level for recording audio, specifically dialogue.&#xD;&#xA;She was telling us that keeping it between -6 and -12 is what she does but who the hell speaks with that kind of dynamic range? I was under the impression that it was -12 to -24.&#xD;&#xA;Recording at the Dialnorm seems like it could decrease some noisefloor. Anybody have some recording level norms? I've googled it and come across a few answers but I want to see what this forum has to say!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17562" PostHistoryTypeId="1" PostId="10626" RevisionGUID="fe1dc045-c2a6-4245-946f-2c63805e8bfd" CreationDate="2011-10-01T05:26:02.313" UserId="1266" Text="Dialogue Recording Levels" ContentLicense="CC BY-SA 3.0" />
  <row Id="17563" PostHistoryTypeId="3" PostId="10626" RevisionGUID="fe1dc045-c2a6-4245-946f-2c63805e8bfd" CreationDate="2011-10-01T05:26:02.313" UserId="1266" Text="&lt;recording&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17565" PostHistoryTypeId="2" PostId="10627" RevisionGUID="0b3b08fc-092f-456a-824e-21c679ae40e6" CreationDate="2011-10-01T07:26:58.880" UserId="2" Text="The numbers you give seem to me to be when (post-prod) mixing. That's where I aim voice levels to be in a soundtrack. Talking purely about recording: I record dialogue as high as possible, obviously with safety. I aim to get the best wanted signal (voice) to noise (background) ratio. So the loudest moments will be just below 0. Depending on performance, voice can have a big dynamic range. &#xD;&#xA;&#xD;&#xA;If recording too low, you won't be getting rid of noise, as you'll have to bring it up later in post. Not only will you be bringing up the background, but also any noise from the system. Rather record hotter, and bring it down later than the other way. It's kinda of a fine line though, cause you really don't want to be gaining up your recorder/mixer to the max either, as that will add way to much noise. &#xD;&#xA;&#xD;&#xA;I'm just talking from my personal experience here, there are veterans hanging around here with tons of experience. Im curious as to what they say. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17566" PostHistoryTypeId="2" PostId="10628" RevisionGUID="287c8da2-3c73-4557-9d35-825e2593cb46" CreationDate="2011-10-01T08:27:21.467" UserId="1066" Text="When we are dubbing for cartoons, we usually record around 0 dB on the meter, which is -10dB in Pro tools. Offcourse whispering will be softer and you dont gain that up to the max." ContentLicense="CC BY-SA 3.0" />
  <row Id="17567" PostHistoryTypeId="2" PostId="10629" RevisionGUID="346e94e1-c2bf-4ad8-81a5-1c1680e45e8e" CreationDate="2011-10-01T09:03:19.387" UserId="1322" Text="There are several factors involved; as with any type of recording there is 'no size fits all'. It depends on the subject being discussed, type of person and their animation whilst being interviewed, background noise etc. It's a matter of balancing maximum gain (digital amps are less noisier at max gain) without clipping, and whether you've opted to include the safety net of a limiter. If it's a one shot, with no chance of a pre-test then I suggest recording in the -12dB region and switch on the limiter, as once clipped the recording is ruined and opportunity lost.&#xD;&#xA;I cannot stress the importance of using max gain where possible for digital amps; they perform best at that point. It is often better using a pad and hi-pass filter to reduce the signal input in order that max gain can be used on the recorder." ContentLicense="CC BY-SA 3.0" />
  <row Id="17568" PostHistoryTypeId="2" PostId="10630" RevisionGUID="2e682425-d50e-4a39-a9fc-7a4ac020f9f6" CreationDate="2011-10-01T09:14:27.483" UserId="6462" Text="I added this to another thread but i'll add what I wrote here as well.&#xD;&#xA;&#xD;&#xA;I had the MR-1 and loved it until the battery died. But with the price of the MR-2 around the $699 mark, I would go with the Sony D50, which is approx the same price. In my opinion the 1Bit audio recording on the MR recorders is pointless and uses way to much space, you have to convert down to use it in any DAW anyway so I never saw the point in recording with the 1bit formats. Perhaps in the future IF DAW's support that format it will be useful, but I don't think they will ever support it. The fact that no other manufacturer is making 1bit recorders should tell you something!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17569" PostHistoryTypeId="2" PostId="10631" RevisionGUID="7512adff-e7cb-4608-99b1-f270fe1589f6" CreationDate="2011-10-01T10:31:56.883" UserId="916" Text="I'm making some serious decisions about my [beginner package for sound recording][1] and looking to get a shotgun microphone.&#xD;&#xA;&#xD;&#xA;I'm trying to stretch my budget as far as possible. It seems a decent shotgun microphone is possibly the best choice for me when my budget is for only one microphone, but it hit me that would a shotgun microphone still be ok for indoor use?&#xD;&#xA;&#xD;&#xA;I know that getting something like a hyper cardioid condensor might be best for indoor use, but would a shotgun be so bad?&#xD;&#xA;&#xD;&#xA;It's more about technique? Would a shotgun be expectable until I can afford more?&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/10578/advice-on-my-newly-researched-sound-recording-kit" ContentLicense="CC BY-SA 3.0" />
  <row Id="17570" PostHistoryTypeId="1" PostId="10631" RevisionGUID="7512adff-e7cb-4608-99b1-f270fe1589f6" CreationDate="2011-10-01T10:31:56.883" UserId="916" Text="Can a shotgun microphone be used for indoor use too?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17571" PostHistoryTypeId="3" PostId="10631" RevisionGUID="7512adff-e7cb-4608-99b1-f270fe1589f6" CreationDate="2011-10-01T10:31:56.883" UserId="916" Text="&lt;shotgun&gt;&lt;microphone&gt;&lt;recording&gt;&lt;indoor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17572" PostHistoryTypeId="2" PostId="10632" RevisionGUID="72883098-08bb-4897-bc04-0ba81b6a84f1" CreationDate="2011-10-01T10:36:10.313" UserId="238" Text="+1 on Andrew's answer. When recording, the objective should be to get as clean, clear and present a recording as possible. A good boom op will be able to position the mic as close as possible to the talent (without being in the shot) in order to achieve this. It's in post where the dialogue levels will be adjusted to fit the desired norms. By aiming to record at a certain level you risk recording too low and, as Andrew says, the noise floor will be more present when mixing. &#xD;&#xA;&#xD;&#xA;Inversely, you should always avoid recording clipped dialogue so don't record too hot!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17573" PostHistoryTypeId="2" PostId="10633" RevisionGUID="3cf2d145-4fb3-4a41-9f5c-395787e4e059" CreationDate="2011-10-01T12:25:32.230" UserId="2" Text="Short answer: of course! &#xD;&#xA;&#xD;&#xA;If you're worried about reflections indoors, well it's part of the space and perspective/realism. So don't worry about that. People see a big room, they except it to sound like a big room. Obviously there are limits, but until you're dealing with higher budget stuff, I wouldn't worry!  &#xD;&#xA;&#xD;&#xA;The times where you simply can't use a shotgun, is when there are really loud sounds. For example doing vox pops at a concert or if the background is just too much. Then you need a dynamic mic for REALLY loud and a lapel for medium loud (but you still can use a shotgun with good placement). &#xD;&#xA;&#xD;&#xA;**If you're only gonna get one mic, I'd go for a shotgun.** When I started out, I only had a shotgun, and if I needed a lapel I'd rent or borrow. Remember that if you need to rent, you're getting paid so it's not a big deal. Slowly you can start buying more gear. If you've got, for example, 5 days in a row that needs a new piece of gear, then just buy rather than rent as it will pay itself back right away. That's how I went about building my kit up. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17574" PostHistoryTypeId="2" PostId="10634" RevisionGUID="e3918fb2-8356-4a9d-8c34-08b0fbf46630" CreationDate="2011-10-01T16:47:51.700" UserId="40" Text="ADR is a tricky thing to get right. While on set, an actor focuses purely on their performance, but once they get into the ADR booth, a lot of their focus has to go into the timing, because they have to match an already finished performance. It locks out a lot of the potential emotion. On set, an actor has emotional freedom (well, depends on the director, but for the most part he does). An actor can add a pause between words, switch up some timing etc... and is fully able to express emotion that way. But in the ADR booth, it's sort of like saying, &quot;I want to you act as though you have complete emotional freedom, like you did the first time, except that I need you to do it exactly like this, and match your original emotion perfectly, even if you aren't feeling that emotion any more.&quot; It makes it very difficult to express real emotion when you have such a large constraint. Some actors are very good at it though (like Brando and Crowe), and can make you believe in it easily.&#xD;&#xA;&#xD;&#xA;Then on the technical side of things, there can be a few factors. It is important to try to match the type of mic used for the line on set, match (roughly) the distance from the mic to the talent, etc... especially if you are only replacing a single line or a word. Reason being that it is very difficult to eq a sound to match another one perfectly. There will always be a slight difference, and you can minimize the difference by trying to match the original setup as much as possible. Maybe only 1% of your audience can identify the difference, but more than that might feel it. If you are replacing a whole scene, the technical side (matching the mic) doesn't matter as much.&#xD;&#xA;&#xD;&#xA;Last thing I'll mention is the room tone. When you record on set, you are picking up a slight (hopefully) amount of room tone in the mic. When you record ADR, you are in a &quot;dead&quot; booth, with no (again, hopefully) room tone. In order for the ADR to fit, you have to lay room tone (often called a &quot;glue track&quot;) under the ADR to make it sound like the rest of the dialogue. This is assuming the sound mixer was even afforded the opportunity to record room tone (which often doesn't happen anymore, especially in faster moving productions). Even with the &quot;glue track,&quot; it doesn't ever quite sound 100% right. It's something that you have to hide, or &quot;burry&quot; in the mix. This is something that almost nobody can pick up on unless  you are trained to hear it, but subconsciously, your brain will tell you something isn't quite right.&#xD;&#xA;&#xD;&#xA;Hope this helps a bit?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17575" PostHistoryTypeId="2" PostId="10635" RevisionGUID="ed8f7cce-7183-4736-9937-1811c2340d27" CreationDate="2011-10-01T17:26:09.013" UserId="1266" Text="Thanks for the input, fellas, I'll be sure to keep all this in mind.  I've been recording from -24 to -12 and I've had great results so far.  I think think this has been a wakeup call!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17576" PostHistoryTypeId="2" PostId="10636" RevisionGUID="439c74a6-4f85-4906-8719-f9b4a01bf808" CreationDate="2011-10-01T17:46:26.727" UserId="37" Text="Shotgun mic sound tends to get coloured indoors due to the interference pattern failing to reject early reflections. So yes, you can totally use one, but trust your ears, and keep in mind the general recommendation is &quot;no&quot;. Have seen a number of people suggesting that a hypercardioid would have been a better idea when they started (also implying they got shotguns :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17577" PostHistoryTypeId="2" PostId="10637" RevisionGUID="7cade762-41b2-4022-902e-844466623f05" CreationDate="2011-10-01T18:00:28.917" UserId="1266" Text="@LittleJim84 I had the same dillema what I bought my package not long ago.  Lots of people say &quot;use a hyper cardiod&quot; but there don't seem to be many &quot;hypers&quot; in the under 1200 category that are said to be ok to use inside.  I was hinging on a blueline and audix for a month until I decided that I would get a Sanken Cs1e.  Sanken pickup pattern is very tight and the frequency  response is very good.  It ran me over $800 dollars but it is a pattern that does not have an interference tube yet it has a tight coverage.  A lot of people still say that the Senn 416 is ok to use inside.  At this point I have yet to use the mic on a set or for recording any dialogue and the cost set me back from buying a lav and a boom pole but I know that it is a  mic that I will not be replacing anytime soon.  If I had to do it again, I'd pick a less expensive mic and get a nice wireless lav (countryman) (one of the reasons I picked the Sanken is for a audio book recording gig that would have made half my money back but it fell through)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17578" PostHistoryTypeId="2" PostId="10638" RevisionGUID="e0c6e3e2-74bf-47a3-bef6-f5b314c2113c" CreationDate="2011-10-01T18:42:30.630" UserId="7642" Text="Peronally I dont think you should see it as a wake up call!&#xD;&#xA;On location its WAY more important to capture the dialog without clipping than anything that has anything to do with technical noise floor.&#xD;&#xA;&#xD;&#xA;Getting as close as possible is a given and minimizing real world noise is as well. but dont record hot as it WILL get you (and us in post) into trouble.&#xD;&#xA;If you aim to peak normal dialog at -6dbfs you WILL clip a bunch of material. Digital clipping sounds awful and is hard to remove cleanly even with izotope.&#xD;&#xA;&#xD;&#xA;Using all the bits and worrying about system noise in location dialog recording is NOT time well spent, good gear today have enough headroom. Spend the time on removing actual issues in the room (such as reverb, sole noises, fans etc) instead of trying to maximise recorded levels. The dialog editors will love you. They will hate you for clipping the dialog..." ContentLicense="CC BY-SA 3.0" />
  <row Id="17579" PostHistoryTypeId="2" PostId="10639" RevisionGUID="9c09a89e-45b0-4d98-b1c8-8ca6b1fafb0d" CreationDate="2011-10-01T18:49:15.760" UserId="7642" Text="Yes it can, but in real rooms with low ceilings and not enough space for proper absorption the sound from the rear lobe can get real nasty so just make sure you have at least one other option as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="17580" PostHistoryTypeId="2" PostId="10640" RevisionGUID="4472769b-8b59-4d73-a3dd-27aa232d70d8" CreationDate="2011-10-01T22:07:59.117" UserId="845" Text="I'm a big fan of layers of distortion.  Triple and quadruple-decker with various bits of effects in the middle.  Just a little at a time, mind.  Different emulators with different tones, all stacked up on top of one another.  Mixing and matching types lets you add different kinds of character to your distorsound.&#xD;&#xA;&#xD;&#xA;The one flaw of this method is that the high-end gets really, *really* nasty if you're not careful.  The trick for keeping it from feeling like sandpaper on your face is to low-pass or high-shelf each successive layer.  The most noticeable element in distortion (digital especially) is in the high end (4kHz and up).  If you can learn to control it everything will come out all butter_smooth.&#xD;&#xA;&#xD;&#xA;This'll also work for even a single layer.  If you're finding it really harsh try pulling out a bit of 6kHz, and kill anything over about 12kHz.  For one thing, most people can't listen up that far and just find it annoying.  &#xD;&#xA;&#xD;&#xA;There's really no wrong way of doing it.  The whole point of adding distortion is to make things beautiful in an ugly kind of way, so crank it up and see if you can make the world a little more beautifugly." ContentLicense="CC BY-SA 3.0" />
  <row Id="17582" PostHistoryTypeId="2" PostId="10642" RevisionGUID="c4fc0652-e39e-4f38-b6f0-0fe43350d13b" CreationDate="2011-10-01T23:18:33.850" UserId="6420" Text="I'd recommend checking out the Soundworks bid on The Social Network. They go into detail on how the club scene was designed with lots of layers of different distortions used. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17583" PostHistoryTypeId="2" PostId="10643" RevisionGUID="6addfc3b-c656-4795-80e3-906430d80d53" CreationDate="2011-10-02T00:59:43.213" UserId="2835" Text="I have an FCP file whose audio I exported to STP in order to apply filters, change levels, etc. Once finished in STP, I wanted to re-export my edited audio clips back into FCP, to update my FCP sequence to reflect my edits from STP. However, I can't figure out how to conform FCP to an updated STP sequence. I understand how to conform STP with an updated FCP file, but can it work in reverse, updating Final Cut with edited clips from Soundtrack Pro?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17584" PostHistoryTypeId="1" PostId="10643" RevisionGUID="6addfc3b-c656-4795-80e3-906430d80d53" CreationDate="2011-10-02T00:59:43.213" UserId="2835" Text="Tranferring from STP to FCP" ContentLicense="CC BY-SA 3.0" />
  <row Id="17585" PostHistoryTypeId="3" PostId="10643" RevisionGUID="6addfc3b-c656-4795-80e3-906430d80d53" CreationDate="2011-10-02T00:59:43.213" UserId="2835" Text="&lt;post-production&gt;&lt;conform&gt;&lt;final-cut-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17586" PostHistoryTypeId="2" PostId="10644" RevisionGUID="d45e4f00-c8d6-4728-ac26-0b862f248ccf" CreationDate="2011-10-02T07:46:47.657" UserId="1228" Text="These are all wonderful answers, but first and foremost, what I use for conforms is the opportunity to obtain more money from the producer ;)&#xD;&#xA;&#xD;&#xA;Sorry, I couldn't help myself... needed to address the giant elephant in the conforming room so-to-speak" ContentLicense="CC BY-SA 3.0" />
  <row Id="17587" PostHistoryTypeId="2" PostId="10645" RevisionGUID="246c35bc-4e77-4d3e-a075-086e7975a02b" CreationDate="2011-10-02T08:09:57.273" UserId="842" Text="Once, keeping general level between -12 and -6 was a necessity. We had only 16 bits (65535 individual steps with a possible range of 98dB), which meant the noise-floor was just around the corner. It was doable though mostly because limiting on the inserts, and as the gains where greater this way than the losses, we went with it. Actually, dialogue at that times where anything but sweet anyway, so noone noticed.&#xD;&#xA;&#xD;&#xA;Now, we have 24 bit and beyond, 16777215 individual steps with a possible dynamic range of 144dB, with a dynamic range raised 6dB with each new bit. That means, to reach the same results as as a DAT on a modern fieldrecorder you can theoretically lower the gain approx 46dB. It's really not a good idea to do so as it would assume the recording quality (not to be confused with final quality) to be good. And it's not. We use the extra headroom and fidelity to make the movies sound better than they ever has and progress as an artform. I know many try to compare resolutions based on numbers, and that works more or less well for analogue formats (for example, cinema sound hasn't gotten louder with improved magnetic capabilities, they adopted a higher headroom instead), but in digital media the higher resolution makes a big difference, giving a more transparent, living and vivid result.&#xD;&#xA;&#xD;&#xA;With that said, we now have the option to record even very dynamic sources with both full, undistorted, and relatively noise-free material by just adjusting to the new specs of modern day apparatus. Which sadly is something I've realized many old teachers find pretty difficult...&#xD;&#xA;Absolutely everything that affects the material degrades it. In a studio that's okay as you have control over it and can make more thought-through choices to reach transparent results if you can't undo them altogether, but on location, absolutely everything, be it an ugly brick-wall limiting, raising background noise/ugly mouth-sounds, or perhaps killing important transients altogether, will stay and can never be fixed to what it was supposed to be, alternatively take a tremendous amount of time could it be fixed at all. Besides that, on location there are no time to think things over too much, you must find a quick way to work and keep it on the safe side to avoid unexpected problems as far as possible. As very few people understands what we're doing, more responsibility to reach acceptable results lands on us, and that includes using our equipment as effectively as possible.&#xD;&#xA;&#xD;&#xA;I follow pretty simple rules when I record dialogue nowadays; Keep centered level around -20dB, try to keep peaks below -3dB, preferably below -6 if possible, and keep any on-location processing, like filter and limiting, to an absolute minimum, if any. If I'm unsure how things will progress, I rather keep levels lower than higher to be on the safe side. I do of course always keep the limiter on anyway, as a slightly flattened peak still sounds pretty good even in editing if any peaks would cross 0, and they will at some time or another most definitely do, whereas a pure clipping sounds crap and might very well seriously F up a very important take, and make mixing less good. Something few directors are very forgiving about if there aren't a very good environmental or logistic reason..." ContentLicense="CC BY-SA 3.0" />
  <row Id="17588" PostHistoryTypeId="2" PostId="10646" RevisionGUID="7e2f2170-fb29-42eb-b8c1-aadb4489ae0b" CreationDate="2011-10-02T08:49:03.383" UserId="842" Text="I second many comments here, but to add something myself, I started out with leaps. In the very beginning all I had was a cardioid big-membrane ADK A51. Far from professional (the horror! THE HORROR!!!), but I had to start somewhere. Over the years I upgraded to mics like Röde NT-3, Line Audio CM-3 and Oktava MK-012 for example, but when I went pro I invested in a Sennheiser MKH 416.&#xD;&#xA;&#xD;&#xA;Now I have a wide set with mics for different applications, but at the time I couldn't afford more microphones comparing in sound quality, so i went on and used it everywhere with good results.&#xD;&#xA;Outdoors it's absolutely fantastic, most shotguns are really made for outdoor use, but indoors it still works pretty well as long as you adapt to it and don't expect it to behave as it does outside. All lobar mics (shotguns) I've worked with has lots of coloration on the sides which you have to take in account when aiming it, which also means positioning is more critical inside than outside, but, like many types of shortages of what was originally intended in equipment, it can be used as an artistic grip as long as you're very careful!&#xD;&#xA;Frankly, had everything always been flawless we wouldn't have nice things like Rhodes-pianos, synthesizers, tube-distortion, anamorphic flares and Teflon to name but a few things ;-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17589" PostHistoryTypeId="2" PostId="10647" RevisionGUID="4a3bdde9-5936-4ffb-af04-c37f3a4c214d" CreationDate="2011-10-02T09:37:27.107" UserId="842" Text="I love distortion and use it an a lot of things, but it is, as you said yourself, easy to over-do it.&#xD;&#xA;&#xD;&#xA;It's not easy to put in words how I work with it as it would need a common reference of some sort to make sense, but if we compare it with spices, all sorts of creativity are based in the same way but with different casings, you must keep a balance in the stew, so to say. Add a little black pepper, salt, and chili to a nice juicy steak makes it irresistible. Too much salt makes it nauseating. The same goes with effects in sound.&#xD;&#xA;&#xD;&#xA;Take for example a gunshot. A gunshot in full dynamics sounds like a hasty &quot;bupp&quot;, but that's not the way we hear it. We hear it through our ears and mind heavily limited with a great deal of reverbation on it. So I prefer to use a very heavy but warm tube-distortion on it to keep it alive if I can, otherwise just extremely brick-wall limited.&#xD;&#xA;&#xD;&#xA;Cracking stuff and glass-shattering is other sound often gaining a lot on distortion, especially as full dynamic range in a cinema would make your ears go bye-bye in the blink of an eye, but most of all as it makes it sound much more threatening and aggressive! What works best here is a matter of taste and material, but an analogue dist or fuzz mixed with the original compressed sound tends to be nice! Here I see it as spicy wasabi with good sushi, you want some bite off of it, but you don't want it to kill off the real flavour completely!&#xD;&#xA;&#xD;&#xA;Distortion is one of those things I put the most time in getting right when I work. Reverb and compression, not to mention flanger, filters and vocoder, are pretty predictable, so I mostly know exactly what I'll get way in advance, but a real distortion meant to reach a specific result other than just being overdriven is not as easy to attain as one might wish, and is heavily depending on the material...&#xD;&#xA;To reach desired results, I have a wide collection of different dists, overdrives and fuzzes, ranging from rebuilt analog gears like pre-amps with new tubes, transistor-based amplifiers and TV-sets with deliberately replaced parts with broken or badly fitted ones, to regular guitar-effects, to different plugins, all depending on what I need right there right then. They *all* sounds different and reacts different to the same material.&#xD;&#xA;&#xD;&#xA;One thing though one better mind, is that distortion is very hard on the ears should you hear it on too loud level or for too long, so it's **very** easy to get ear fatigue from it. Always be careful, and never do anything you can't undo if you do not really have to, the way you perceive a sound today when working on it may probably be something completely different from what you'll hear tomorrow after a good nights sleep..." ContentLicense="CC BY-SA 3.0" />
  <row Id="17590" PostHistoryTypeId="5" PostId="10642" RevisionGUID="428f5529-cdad-4022-a41c-86bea7cbff9b" CreationDate="2011-10-02T09:55:42.860" UserId="219" Comment="added link" Text="I'd recommend checking out the [Soundworks bid on The Social Network][1]. They go into detail on how the club scene was designed with lots of layers of different distortions used. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/socialnetwork" ContentLicense="CC BY-SA 3.0" />
  <row Id="17591" PostHistoryTypeId="2" PostId="10648" RevisionGUID="519bd985-5d2c-4229-9d7c-63e652fdfc6e" CreationDate="2011-10-02T11:00:10.187" UserId="842" Text="Hard to say without actually seeing the balls! Innuendos aside, one sound I'm quite fond of is the sound of basketballs against different surfaces and locations, possible with the addition of a big piece of flapping plastic or something similar :-) To add some sweet sweet mass to it, a short-gated but full reverb on the bounce-sound (not the jiggle) might do the trick. I'd say you should look for the best possible sound to base it on before looking for effects! Don't use delay, sync each sound to each bounce instead. In nature, when bouncing without further influence, the repeats are based on the golden ratio, give or take on the first bounce depending on how hard you pressure the material, so a regular linear delay sounds unnatural, whereas a delay based on the golden ratio (think I have one in my Boss SE-50) would be depending on the animation being accurate. As I reckon it's probably a fabled story, that doesn't apply to the bouncing anyway, and will most definitely need to be individually synced :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17592" PostHistoryTypeId="2" PostId="10649" RevisionGUID="e86e105b-cf34-4ebd-8f9d-3224fdbf8af0" CreationDate="2011-10-02T11:42:45.160" UserId="2838" Text="how to import wav files into the tracks" ContentLicense="CC BY-SA 3.0" />
  <row Id="17593" PostHistoryTypeId="1" PostId="10649" RevisionGUID="e86e105b-cf34-4ebd-8f9d-3224fdbf8af0" CreationDate="2011-10-02T11:42:45.160" UserId="2838" Text="sound track pro" ContentLicense="CC BY-SA 3.0" />
  <row Id="17594" PostHistoryTypeId="3" PostId="10649" RevisionGUID="e86e105b-cf34-4ebd-8f9d-3224fdbf8af0" CreationDate="2011-10-02T11:42:45.160" UserId="2838" Text="&lt;track&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17595" PostHistoryTypeId="2" PostId="10650" RevisionGUID="ef3189db-ec70-4fd1-877f-d075ead647a7" CreationDate="2011-10-02T14:25:00.747" UserId="2839" Text="What program are you using? Do you mean, import a track into a program or ..import several tracks with a specific time code into a program? " ContentLicense="CC BY-SA 3.0" />
  <row Id="17596" PostHistoryTypeId="2" PostId="10651" RevisionGUID="4f789ae6-74f6-4f1f-a20f-e04a94829a7c" CreationDate="2011-10-02T14:27:46.470" UserId="28" Text="How do you justify new purchases? &#xD;&#xA;&#xD;&#xA;Do you set guidelines for yourself?&#xD;&#xA;&#xD;&#xA;&quot;After this project, you get a new toy/tool&quot;? &#xD;&#xA;&#xD;&#xA;Or, &quot;Because of this new project, you get a new toy/tool&quot;?&#xD;&#xA;&#xD;&#xA;Or do you have strict boundaries about what new tools you allow into your arsenal?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17597" PostHistoryTypeId="1" PostId="10651" RevisionGUID="4f789ae6-74f6-4f1f-a20f-e04a94829a7c" CreationDate="2011-10-02T14:27:46.470" UserId="28" Text="Gear Acquisition Syndrome" ContentLicense="CC BY-SA 3.0" />
  <row Id="17598" PostHistoryTypeId="3" PostId="10651" RevisionGUID="4f789ae6-74f6-4f1f-a20f-e04a94829a7c" CreationDate="2011-10-02T14:27:46.470" UserId="28" Text="&lt;software&gt;&lt;tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17599" PostHistoryTypeId="2" PostId="10652" RevisionGUID="a8edf058-5a5e-40f6-903e-857033149a5e" CreationDate="2011-10-02T15:06:45.173" UserId="432" Text="Budget yourself, man, because it can get out of hand if you're not careful.&#xD;&#xA;&#xD;&#xA;I keep a prioritized list of gear/software that I want to acquire and put aside a block of money each month towards that list. When that stashed money is equal to or greater than the next item, ith gets bought. If I come across some ridiculous deal that is too good to pass up, I'll grab it regardless of position on the list. Of course, I still stay within my budgeting parameters, so it pushes back purchase dates of items at the top of the list.&#xD;&#xA;&#xD;&#xA;It's prioritized based on how useful it will be for my work; taking into consideration both the work I'm doing now, and what work I expect to be (or want to be) doing in the future." ContentLicense="CC BY-SA 3.0" />
  <row Id="17600" PostHistoryTypeId="2" PostId="10653" RevisionGUID="bd0dab6f-90ab-44b4-94e3-9e849165270b" CreationDate="2011-10-02T15:46:58.647" UserId="2368" Text="Hi I currently need the sound of some old camera flashes like the ones that used bulbs and have a very unique sound. Struggling to recreate or find anything relevant in FX libraries so any help or tips would be greatly appreciated. &#xD;&#xA;&#xD;&#xA;Thanks &#xD;&#xA;&#xD;&#xA;Adam " ContentLicense="CC BY-SA 3.0" />
  <row Id="17601" PostHistoryTypeId="1" PostId="10653" RevisionGUID="bd0dab6f-90ab-44b4-94e3-9e849165270b" CreationDate="2011-10-02T15:46:58.647" UserId="2368" Text="Old camera flashes " ContentLicense="CC BY-SA 3.0" />
  <row Id="17602" PostHistoryTypeId="3" PostId="10653" RevisionGUID="bd0dab6f-90ab-44b4-94e3-9e849165270b" CreationDate="2011-10-02T15:46:58.647" UserId="2368" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17603" PostHistoryTypeId="2" PostId="10654" RevisionGUID="8fbd9d79-d1ff-4025-a25a-383f90778428" CreationDate="2011-10-02T18:30:44.817" UserId="842" Text="For me, new stuff finds its way to my studio in one of three ways:&#xD;&#xA;&#xD;&#xA;- Someone offers it to me for a good prize I can't resist.&#xD;&#xA;- I find something by chance I can't resist and I can afford it.&#xD;&#xA;- I really need it for some reason or another. Now.&#xD;&#xA;&#xD;&#xA;My style as a designer is not based on influence from other medias as such, though I do find inspiration (influence=borrowing from, inspiration=fanning your creative flame. Often used together) in, for example, the music of Skinny Puppy and Art Of Noise, the movies of Lynch and Pasolini, or paintings of Dalí or Gieger, I base my works mostly in psychology, technology and nature. In pretty much that order. For me that means I often finds maybe a new overdrive at a fleamarket or perhaps someone gives me a nice new crappy microphone with a special character I haven't seen before. To be hypothetical; This microphone might have a rough character that may sound horrible on voices, but enhances the transients of me cracking a regular stick of celery to the point it sounds like someone ripping open a human skull with it's bare hands. I've never thought about that sound that way before, but now I have a new method I might adopt into more applications, ergo influencing my daily work tremendously. And it was free.&#xD;&#xA;&#xD;&#xA;I have *lots* of stuff I've gotten this way. I am in many ways very impulsive when it comes to my work, and enjoy letting randomness and hap show me new and better ways to do things, as long as it doesn't sink me in any way.&#xD;&#xA;&#xD;&#xA;But most things I buy I really need for specific applications. Take for example my first Sennheiser MKH 40. I felt restricted with my 416, so I figured out what I needed and brought it. Same with my Dolby Media Meter plugin, I needed to accurately tell what level to normalize a project in for the Dolby DD-decoder settings, so I got this. Or my K-Tek boom, I sometimes work in pretty hazardous areas, so I had to find a boom that's easy to work with and extremely durable for many reasons... The list can go on forever, but the point is, I always buy stuff for a good reason. Be it a great deal or something lacking, I never reward myself with gear. That's very important to me as I have very high demands on myself, and the stuff I consider acceptable as tools often cost an arm and a leg, and buying expensive stuff without really needing it might very well mean not being able to buy vital equipment to raise the level for the next gig.&#xD;&#xA;&#xD;&#xA;My philosophy is to buy the few best pieces of gear I can find, no matter the cost, and make the most of it rather than more and cheaper stuff that sounds &quot;fairly okay&quot;, and as much cheap crap with limited but useful uses I possible can put my paws on, only accepting the middle segment if I get it practically for free." ContentLicense="CC BY-SA 3.0" />
  <row Id="17604" PostHistoryTypeId="2" PostId="10655" RevisionGUID="c611673e-4f02-44e9-b025-ba979d19479d" CreationDate="2011-10-02T18:41:31.413" UserId="2843" Text="I've been thinking about this lately too.  What I've come up with is mostly conceptual, haven't really tried to cobble this together yet.  But what I've been thinking is that the sound could be divided into distinct parts, such as a high pitched rising whine or tone, a click, then a burst/pop sound and perhaps another tonal sound that kind of drops after the burst/pop/click.  Generate the sounds and then add them together in a DAW and you might have something close to the sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="17605" PostHistoryTypeId="2" PostId="10656" RevisionGUID="59e45c0f-312a-45ea-8940-5429bdc1eb62" CreationDate="2011-10-02T19:40:39.700" UserDisplayName="user49" Text="My gear purchases are usually motivated by a project, so I am reinvesting equipment rental funds from that project... And I have slowly become far more clear about differentiating between needs and wants, and also what equipment retains its value and what doesn't...&#xD;&#xA;&#xD;&#xA;But I also usually reward myself at the end of an important project with a musical instrument of some kind, as I like the idea of that instrument being associated with the project e.g. my double bass = Perfect Strangers, my Korg SV1 = The Orator etc etc..." ContentLicense="CC BY-SA 3.0" />
  <row Id="17606" PostHistoryTypeId="2" PostId="10657" RevisionGUID="283fa549-90a5-4e5b-a6ab-32831439733d" CreationDate="2011-10-02T20:19:21.957" UserId="2844" Text="select your file through the browser window in the bottom right of your screen.&#xD;&#xA;double click to open into a single file project or click and drag into the timeline to import the WAV into your mix.&#xD;&#xA;hope that's what you were after" ContentLicense="CC BY-SA 3.0" />
  <row Id="17607" PostHistoryTypeId="2" PostId="10658" RevisionGUID="54979d08-6672-4fc4-8b5c-aeed4a5bb5f3" CreationDate="2011-10-02T20:37:30.207" UserId="219" Text="You could try [making your own flash powder][1] and cover it with a wine glass (or other close-to-spheric piece of thin glass) to mimic the bulb's attenuation of the ignition...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=DpPMX_avrJI" ContentLicense="CC BY-SA 3.0" />
  <row Id="17608" PostHistoryTypeId="2" PostId="10659" RevisionGUID="84657801-6020-4359-a9e1-919639e39d62" CreationDate="2011-10-02T21:00:03.997" UserId="6604" Text="In my experience after dubbing a lot of cartoons and stuff for tv that since tv in india is at -10 dB (sd cable or satellite), while dubbing in studio I set my preamp to get levels of max -10dB in protools for normal dialogues and upto -3 for any angry/shouting dialogue, cause everything is gonna be compressed/gain lowered later to fit with in -10 on tape&#xD;&#xA;&#xD;&#xA;But for some major theatre release films, that I have started dubbing (with 2 mics) on with a reputed sound designer, all levels are hot, in the sense that I or the sound designer set the gain on the preamp to get levels as high as possible with out clipping.&#xD;&#xA;&#xD;&#xA;In both cases-tv/films, for a loud shouting kind of dialogue, the artist is asked to step back a little, to get more voice projection without clipping. If he movies back too much he starts sounding hollow or I hear room tone." ContentLicense="CC BY-SA 3.0" />
  <row Id="17609" PostHistoryTypeId="16" PostId="10659" RevisionGUID="84657801-6020-4359-a9e1-919639e39d62" CreationDate="2011-10-02T21:00:03.997" UserId="6604" />
  <row Id="17610" PostHistoryTypeId="2" PostId="10660" RevisionGUID="91331e80-da90-4fc3-829a-622a359aacd8" CreationDate="2011-10-02T21:11:20.863" UserId="6604" Text="I'm surprised no one here mentioned sennheiser mkh8040 and mkh40.&#xD;&#xA;&#xD;&#xA;Im using mkh8040 as over head, and Neumann u87 as front mic for dubbing a major film.&#xD;&#xA;&#xD;&#xA;The sound designer brought his own mkh8040 to use as overhead instead of our studio's Akg416 boom.&#xD;&#xA;&#xD;&#xA;He likes to monitor his mkh8040 only in a dual mic recording, while I mute the track with Neumann u87.&#xD;&#xA;&#xD;&#xA;The mkh8040 gives lovely sound, when positioned down like a boom mic. Better than U87" ContentLicense="CC BY-SA 3.0" />
  <row Id="17611" PostHistoryTypeId="2" PostId="10661" RevisionGUID="7a346846-58bf-448c-a256-5665b0f6cbe8" CreationDate="2011-10-02T22:16:19.090" UserId="37" Text="is there a high pitched whine on old cameras? the new ones have this as they charge the capacitor which stores the energy for the flash. if you're going to be igniting powder or burning oxygen, that won't require the same amount of energy? &#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Flash_(photography)#Flashbulbs&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17612" PostHistoryTypeId="2" PostId="10662" RevisionGUID="5054450e-bdb8-4f24-8ddc-3ca0716e2d72" CreationDate="2011-10-02T22:28:27.947" UserId="1216" Text="I;ve said this before in another answer about going debt. I think it still applies: &#xD;&#xA;One of the rules i've learned to follow is this: &quot;Will spending this amount of money, on that piece of gear, allow me to work better/faster/for other people/projects? If the answer is yes and you have the money reserved, do it. If in doubt, wait for better times. &#xD;&#xA;&#xD;&#xA;In other words, i only buy stuff i really need and almost never treat myself on gear. Maybe in a future time of luxury i will, but for now i save up for what's needed most, like Shaun said.&#xD;&#xA;&#xD;&#xA;I must admit that at this moment i'm doubting between buying a new laptop or an extra mkh60 for a very good price. Buying both is not an option... Question is which piece of gear is needed most right now... I'm leaning towards laptop.&#xD;&#xA;&#xD;&#xA;It's always difficult i think, so just take your time and never buy on impulse, unless you're loaded with money and 80+years old :)&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="17613" PostHistoryTypeId="2" PostId="10663" RevisionGUID="a8f11845-96c6-45fa-ae9e-c546561cf060" CreationDate="2011-10-03T06:30:56.247" UserId="1049" Text="Haven't tried this myself, but this should work; quick and low-budget suggestion that should at least work as a starting-point:&#xD;&#xA;&#xD;&#xA;For powder bursts, flap a thin bed-sheet once, vigorously (this may need to be time-reduced or have the pitch adjusted). For a bulb flash/click; snip some scissors once for the higher 'click', and mix it with crushing a peanut shell with your hand. Again, some adjustment would probably be required.&#xD;&#xA;&#xD;&#xA;Good luck!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17614" PostHistoryTypeId="2" PostId="10664" RevisionGUID="7a94d055-3407-4a5b-abe0-5bc95f39cfe2" CreationDate="2011-10-03T07:25:23.823" UserId="1286" Text="A subtle crackle at the end of the &quot;flash&quot; might add to the old-school vibe. There are lots of things that crackle (candy wrappers, record players, rice krispies, etc) but I noticed the other day that hookah quick-light coals make for a great crackling sound. Pitch it down, EQ it, stretch it, whatever.&#xD;&#xA;&#xD;&#xA;Also check the vinyl distortion plugin in Ableton for some more crackle/pop sounds.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17615" PostHistoryTypeId="2" PostId="10665" RevisionGUID="c51afdb7-2951-428e-a7d4-f1c20d788551" CreationDate="2011-10-03T11:49:55.983" UserId="407" Text="We are planning on doing a Motion Capture session where we record the Dialogue on the motion capture stage - The whole session with be time code synced so we will know what audio take will go with which motion data. Now here comes the fun part - The software (motion builder) which the animators use for editing the mo cap data is extremely cumbersome when editing both mocap data and audio at the same time, meaning that it is pretty impossible to do. However the mo cap time data will stay intact during the edits, meaning that we can extract a non continuous time code from the 'edited' animated scene. My question to you guys is :&#xD;&#xA;1. have any of you guys and gals ever come across this problem before and have a solution?&#xD;&#xA;2. Do any of you know of any software that will edit an audio file to a given set of time code data.&#xD;&#xA;&#xD;&#xA;Any suggestions would be greatly appriciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="17616" PostHistoryTypeId="1" PostId="10665" RevisionGUID="c51afdb7-2951-428e-a7d4-f1c20d788551" CreationDate="2011-10-03T11:49:55.983" UserId="407" Text="Audio solution for working with motion capture" ContentLicense="CC BY-SA 3.0" />
  <row Id="17617" PostHistoryTypeId="3" PostId="10665" RevisionGUID="c51afdb7-2951-428e-a7d4-f1c20d788551" CreationDate="2011-10-03T11:49:55.983" UserId="407" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17618" PostHistoryTypeId="2" PostId="10666" RevisionGUID="d6c9a6ab-2c3c-4028-816b-a367e1f83089" CreationDate="2011-10-03T12:22:14.017" UserId="37" Text="Can you fake an EDL from the mocap edit timecode? :]&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17620" PostHistoryTypeId="2" PostId="10668" RevisionGUID="d24760ba-a011-4f26-95a5-e68e2f291e6c" CreationDate="2011-10-03T16:07:24.950" UserId="455" Text="I'm working on a sci fi short film right now.  One of the major elements in the film is a machine that keeps people from dying.  Upon death, the soul leaves the body, stays in a &quot;test&quot; room, and the machine sucks it back into the person, preventing death.&#xD;&#xA;&#xD;&#xA;The main mechanical function of the machine is to power large underground rotors that generate the energy needed to keep the soul from entering the gates of heaven or hell (depends if you're good or bad!)  It powers up, releases an energy burst, then powers down.&#xD;&#xA;&#xD;&#xA;So far, I have a combination of my own recordings/ signal generator fx and library effects.  It's sounding kind of generic right now due to the amount of library effects, and I'm looking for things to record to enhance or replace what I have now.&#xD;&#xA;&#xD;&#xA;Does anyone have any suggestions on what I can record for the power up sequence?  I live in Los Angeles.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17621" PostHistoryTypeId="1" PostId="10668" RevisionGUID="d24760ba-a011-4f26-95a5-e68e2f291e6c" CreationDate="2011-10-03T16:07:24.950" UserId="455" Text="Suggestions for what to record for a sci fi machine." ContentLicense="CC BY-SA 3.0" />
  <row Id="17622" PostHistoryTypeId="3" PostId="10668" RevisionGUID="d24760ba-a011-4f26-95a5-e68e2f291e6c" CreationDate="2011-10-03T16:07:24.950" UserId="455" Text="&lt;scifi&gt;&lt;machine&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17623" PostHistoryTypeId="2" PostId="10669" RevisionGUID="0ad92cba-a5cb-4371-bff8-ecb8c10c2968" CreationDate="2011-10-03T16:11:41.020" UserId="194" Text="I'd start with some servos - even small ones.  things like cameras, vehicle seats and windows, etc. &#xD;&#xA;&#xD;&#xA;then use liberal pitch moves and eqs to shape them into something cool.  add low end or alternatively lop everything under 10k off, etc.  &#xD;&#xA;&#xD;&#xA;Pitch moves from low to high and vice versa will yield great startup shut down sounds.&#xD;&#xA;&#xD;&#xA;choruses and flanges work well too.&#xD;&#xA;&#xD;&#xA;with the organic stuff done, break out some synths and fill in the sonic holes.  Synth work can be great for adding weight or complexity to otherwise simple sounds that work as anchors.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17624" PostHistoryTypeId="5" PostId="10666" RevisionGUID="902caf42-2ee5-480f-87f2-3fdd28b9990d" CreationDate="2011-10-03T17:15:04.753" UserId="37" Comment="added 61 characters in body" Text="Can you fake an EDL from the mocap edit timecode? :]&#xD;&#xA;&#xD;&#xA;Then maybe a product from SynchroArts or Maggot Software?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17625" PostHistoryTypeId="2" PostId="10670" RevisionGUID="12ff9d57-7fda-4d89-a760-d0adc14dcd72" CreationDate="2011-10-03T17:53:22.343" UserId="6411" Text="I've spent my entire career here in Washington, DC. As some of you know, I'll be headed out to LA in January. With that on the horizon, workflow, the division of labor, &amp; the responsibilities of the roles in audio post have been on my mind.&#xD;&#xA;&#xD;&#xA;See, around here you don't hire a Dialog Editor, a Sound Effects Editor, and a Re-Recording Mixer, you hire an Audio Engineer, an Audio Post Engineer, or more recently, a Sound Designer. Typically speaking, we're talking one guy, one room, soup to nuts.&#xD;&#xA;&#xD;&#xA;You have to record a VO? You're in Audio 1. You have to mix a promo? You're in Audio 1. You have a 13-episode series that needs dialog edit, sound effects edit, VO record, and mix? You're in Audio 1. I could go on, but I think you get it.&#xD;&#xA;&#xD;&#xA;It wasn't until I arrived at my current gig, where the workflow was so constant and schedules so condensed, that I brought up the notion to segment roles across the department. *&quot;You'll mix this episode while I tackle the OMF clean-up and dialog edit on the next one. You two split the sound effects work between you.&quot;* It's great, very efficient. Everyone is busy as a team with a common goal. However, we're not role restricted. That is to say, any one of us on the team could be saying this to the other four in the department. So this project, I'm mixing, the next two I could be sound designing, the next dialog editing. And while these larger, department-wide projects come and go there's still smaller productions that never leave a single room tucked into the holes in the schedule.&#xD;&#xA;&#xD;&#xA;From one perspective, I find it incredibly useful wearing the many hats of the audio post department. i.e. It wasn't really until I sat in a mixer's chair that I fully understood what others needed from me when I was acting as a dialog or effects editor. From another perspective, because my focus is scattered across so many aspects of the process, I feel like I haven't had an opportunity to gain the level of mastery in any one area of skills that my years of experience would/could attest to.&#xD;&#xA;&#xD;&#xA;From what I understand of the industry out in LA, this &quot;Hire-one-audio-guy-to-get-your-audio-done&quot; attitude is a rarity. Projects are strewn all across town with House A doing the dialog edit, House B adding FX, and House C re-recording. I've  heard former East-Coast producers complain that when they take simple promos to some houses out there they outright refuse to add in sound effects because, &quot;that's not what we do here.&quot;&#xD;&#xA;&#xD;&#xA;So, I'd like to know how common this is in your experience? What are the positives/negatives that you see to being a Jack Of All Trades? Am I at a competitive disadvantage amongst my peers on the West Coast? Or has my experience gained me insight that others may never have thought to seek?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17626" PostHistoryTypeId="1" PostId="10670" RevisionGUID="12ff9d57-7fda-4d89-a760-d0adc14dcd72" CreationDate="2011-10-03T17:53:22.343" UserId="6411" Text="Jack Of All Trades, Master of...Some?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17627" PostHistoryTypeId="3" PostId="10670" RevisionGUID="12ff9d57-7fda-4d89-a760-d0adc14dcd72" CreationDate="2011-10-03T17:53:22.343" UserId="6411" Text="&lt;roles&gt;&lt;workflow&gt;&lt;experience&gt;&lt;television-industry&gt;&lt;film-industry&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17628" PostHistoryTypeId="2" PostId="10671" RevisionGUID="a3135e2f-28e6-4f5a-ad09-d04590f310fd" CreationDate="2011-10-03T18:04:41.627" UserId="6669" Text="I've used it about half a dozen times for ADR and Foley, and then taken those files into the mix. It was chosen to try to match the timbre of the on-set Neumann used in all cases. It sounds great and natural almost all across the spectrum and has great off-axis noise rejection, which is great for poorly treated or hummy rooms. It also doesn't pick up a lot of reflections even in tiny rooms, if you're okay with the tonality you get from having the performer really close and loud. Worked seamlessly for replacing a couple of clipped lines in a standoff scene on one student production I worked on.&#xD;&#xA;&#xD;&#xA;Downsides: pattern's extremely tight (as befits a shotgun), which makes it tricky to use for ADR if your actor's really getting into the moment. It's also really, really bright up around the 6000-7000 range and required a little extra de-essing care in addition to the usual sorts of match-ADR-to-Production EQ scooping magic. YMMV." ContentLicense="CC BY-SA 3.0" />
  <row Id="17629" PostHistoryTypeId="2" PostId="10672" RevisionGUID="5241333f-708b-4acd-9104-57ccbb84eaf4" CreationDate="2011-10-03T18:58:05.043" UserDisplayName="user6508" Text="@Steve, having come from a similar background, and making the move to LA 10 years ago, I can say that in my experience, it's only helped me.  I started at a fairly big post-production house in the Detroit area right out of college.  We mostly did TV and Radio commercials for automotive (Shocking, I know) but here we had 2 official roles, Mixer and Assistant.  But it was at this facility that we all did multiple roles.  Even as an assistant, I was recording and editing VO, fx builds and occasionally some mixing.&#xD;&#xA;&#xD;&#xA;When I made the move to Los Angeles (Something I had been planning for 5 years prior) I was fortunate enough to get a job at one of the studios in their Ancillary department as a Sound Editor working primarily on restoration, foreign theatrical, television and airline versions etc.  It was here though that I wore many hats.  As time went on, I firmly believe it was my ability and willingness to wear these hats, that kept me fully employed for 5 years.  I worked as an editor, assistant, mixer, recordist throughout my time there.&#xD;&#xA;&#xD;&#xA;After 5 years I decided to move to another facility to work as a sound effects editor, primarily on television.  But here, once again, my previous experience stemming back to the post house in Michigan, through my Ancillary work in LA, has helped me grow (and keep me employed) for another 5 years.&#xD;&#xA;&#xD;&#xA;While I understand the saying &quot;Jack of all trades, master of none&quot;  I've found it extremely fulfilling, rewarding and wouldn't have it any other way.  Others may disagree but I only see it helping you having the background that you have.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17630" PostHistoryTypeId="2" PostId="10673" RevisionGUID="4e28c082-442e-4095-9b42-e82009e3938e" CreationDate="2011-10-03T19:27:58.053" UserId="194" Text="Here in Dallas its exactly the same way.&#xD;&#xA;&#xD;&#xA;[I asked a similar question about a year ago and got some interesting responses][1]&#xD;&#xA;&#xD;&#xA;For my gig I've had to learn:&#xD;&#xA;&#xD;&#xA; - sfx editing and sound design, &#xD;&#xA; - adr spotting cutting and editing, &#xD;&#xA; - dialogue edit and cleanup, &#xD;&#xA; - mixing, &#xD;&#xA; - field recording, &#xD;&#xA; - foley cutting and performance, &#xD;&#xA; - vo cutting and editing,&#xD;&#xA; - databasing and cataloguing&#xD;&#xA; - etc&#xD;&#xA;&#xD;&#xA;However in the last 5 years or so I've really started to hone in my specialties (field recording, sound design, adr cutting) while leaving the other things like mixing and dialogue editing to my other coworkers who happen to be zeroing in on those things as their own specialties.&#xD;&#xA;&#xD;&#xA;Noisejockey responded to my post with a thought that resonated to me:&#xD;&#xA;&#xD;&#xA;&gt; While many people have T-shaped skill sets - broad experience and one area of deep expertise - I have cultivated more of a comb-shaped skill set. I still have sweet spots that I don't suck in, but I have enough other skills that I can easily be sensitive to.&#xD;&#xA;&#xD;&#xA;I personally would never move to LA, but that's mainly because I love it here and I stil get to do interesting and fulfilling work with our client base here.&#xD;&#xA;&#xD;&#xA;With all of that said, you may actually be at a somewhat of a competitive disadvantage vs some of the specialists you'll be encountering.  Each of the things I've listed in my little list could have lifetimes spent on them perfecting the art.  Someone that does nothing but edit ADR all day for years could probably edit circles around me, even though I feel I'm pretty good.&#xD;&#xA;&#xD;&#xA;The LA mentality is very different from the rest of the world, and the entrenched hierarchies and workflows there will mean that you may have to conform in order to get in the door and stick.  &#xD;&#xA;&#xD;&#xA;If I were you I'd look at two or three parts of your production world and begin completely committing yourself to being as good as the specialists in those fields.  It won't be easy, but your broader background will make the learning process go quicker - at least initially.&#xD;&#xA;&#xD;&#xA;My .02 ymmv&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/5041/grabbing-hold-of-ones-career-arc" ContentLicense="CC BY-SA 3.0" />
  <row Id="17631" PostHistoryTypeId="2" PostId="10674" RevisionGUID="b13d6fa3-e03d-41a8-8c92-eb0c0f7d3510" CreationDate="2011-10-03T20:32:39.047" UserId="29" Text="The great science fiction master Robert Heinlein once said, &quot;Specialization is for insects.&quot; :-) But clearly there are pros and cons to specialization and generalism alike, and I for one don't believe the two are completely mutually exclusive.&#xD;&#xA;&#xD;&#xA;Generalism tends to be part of how many schools train you, since it's pretty much up to the student where their own interests lie. Some love field work, some love post, some love the intimacy of studio work and foley, and so forth. &#xD;&#xA;&#xD;&#xA;I think that many people vacillate between specializing and generalism throughout their careers as their interests change, and I think that is a Good And Natural Thing, to hell with what standard employers might say. Steve, you found this out yourself in your initial question! :-)&#xD;&#xA;&#xD;&#xA;I think there is a great benefit to being a generalist, even if/as you ultimately become a specialist: It allows you to understand the challenges of other specialists and use the same language to communicate. This can be true outside of just audio. If you've ever edited picture, you'll be your next editor's best friend when you anticipate his or her needs beforehand. If you've ever done VFX, you might know to ask for certain work-in-progress deliverables so you can get an early start. If you've ever developed software, you might know enough from an interaction design deliverable or use case to start your creative process. If you've ever directed, you might have better production audio suggestions on the day. Heck, if you're an audio guy, why *NOT* try directing a stage play, editing a video, building a web page or iOS app on the side? Generalization breeds sensitivity and awareness of the greater media creation pipeline as a whole, and leads towards a shared vocabulary in framing and addressing challenging problems.&#xD;&#xA;&#xD;&#xA;In many places, though, being a specialist is what's needed, and that often (but not always) is tied to the size of the facility and the number of concurrent projects underway. Robust workflow pipelines can't always be supported by an army of generalists. Finally, the geographical jobs market also determines the kinds of work that's available; that's why being a generalist in a smaller market might be just as competitive as being a specialist in a larger, more crowded market.&#xD;&#xA;&#xD;&#xA;In a competitive field, it can be hard talking about your work if you're a generalist. If you're a specialist, you can have a better chance of saying that you're the best at [FOO] in your market. Maybe you specialize in something that's not a traditional audio role: Maybe you're the only person who does end-to-end audio for thing [FOO] or project type/style [BAR], be that insect recording or documentaries or heavy industrial sounds or urban ambiences.&#xD;&#xA;&#xD;&#xA;My take on this whole thing is that generalism is incredibly rewarding but that specializations can be cultivated at the same time...as Rene said, it's not easy and is a huge investment in time and energy, but it allows maximum flexibility in the competitive marketplace while building greater appreciation for collaboration. If you are really honestly amazing at some vertical slice of audio, though, I think you'd be a fool to not make that your life's work! " ContentLicense="CC BY-SA 3.0" />
  <row Id="17632" PostHistoryTypeId="2" PostId="10675" RevisionGUID="fa7c3a80-0133-4bfd-8434-347e9ac2daee" CreationDate="2011-10-03T20:33:17.397" UserId="2856" Text="Record some ocean sounds and manipulate the samples.  It might help to record some organic sounds due to the nature of the soul.  Pitch moves do yield great startup shutdown sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="17633" PostHistoryTypeId="2" PostId="10676" RevisionGUID="c28fe5a3-37a3-4c37-b43d-1829882000e8" CreationDate="2011-10-03T20:41:30.387" UserId="2856" Text="Using a EQ and separating the channels with different settings and using some automation sometimes makes a phasey effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="17634" PostHistoryTypeId="2" PostId="10677" RevisionGUID="bfe7e105-9308-4085-9011-ec063be81bee" CreationDate="2011-10-03T20:46:03.093" UserId="2856" Text="The greatest asset and piece of gear is the mind and experience." ContentLicense="CC BY-SA 3.0" />
  <row Id="17635" PostHistoryTypeId="2" PostId="10678" RevisionGUID="e898d625-2351-4150-bcce-659b75eef1f2" CreationDate="2011-10-03T21:33:27.327" UserId="1228" Text="Yes, this is my experience in LA too - we're all &quot;guns for hire&quot; and W2/1099s are a way of life in my experience and of those around me.  Sometimes it can be complex when loan-outs are involved, where you're contracting for one studio but loaned out to a larger studio to work under their contract (while the studio whose doing the loaning is the only actually handing the sound duties for said larger studio).  And it indeed broken out into isolated services usually, although all-in deals can occur.&#xD;&#xA;&#xD;&#xA;I believe it very good having worn many hats, not only because of the many tasks you are able to proficiently handle, but in such a politically-charge environment that LA can be, it helps you learn where to set your boundaries on a variety of levels.  Also, some tasks can transcend many disciplines such as creature sound design:  it requires a knack for sound effects editorial, sound recording, and ADR/dialogue editorial sensibilities, and even musical theory/composition background.  Having worn many hats, one can cajole these skills seamlessly together and work very effectively.&#xD;&#xA;&#xD;&#xA;Specialization though is where there truly is an edge out here, as mentioned, because these are the reasons you tend to &quot;get the call&quot;, whether it be you are superb with backgrounds, wonderful at creature design or computer sequences, or outstanding and cutting vehicle sequences, or maybe you have the magic touch when it comes to ADR.  Personally, I tend to be called often for designing computer sequences/devices and other times for backgrounds.  But this, as any specialty, takes time to cultivate among working with your peers, notably by doing a more generalist work to show that you have the skills to handle the job at-large in the event you weren't being hired on a future show solely for your specialty - because hey, we all have bills to pay ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17636" PostHistoryTypeId="2" PostId="10679" RevisionGUID="da74e8ab-56f5-4429-ab3a-fc62cbd0b596" CreationDate="2011-10-04T03:24:26.990" UserDisplayName="user6513" Text="I don't think it's meant to work that way. The edits won't show up unless you export them out as an AAF and re-import them into FCP. If you can live without the edits, you can send you tracks, buses, and submixes back to FCP via the export function. Take note that the clips on each tracks will be mixdown so you won't see your edit points in between the start and end of the clips." ContentLicense="CC BY-SA 3.0" />
  <row Id="17638" PostHistoryTypeId="2" PostId="10681" RevisionGUID="3db886de-5c11-454b-bdc5-f55059a0b366" CreationDate="2011-10-04T06:10:50.930" UserDisplayName="user6513" Text="Gotta love those SMQV transmitters. My partner bought them when they first came out and the on/off function is awesome.&#xD;&#xA;&#xD;&#xA;Only gripes I have with them are: &#xD;&#xA;1. how insanely hot the pack can get (another recordist I know had his rechargeables melt inside the battery compartment); &#xD;&#xA;2. and the dirty looks I get from other members of the crew when I hold my mobile (to play the tone) in front of the talent's chest :P." ContentLicense="CC BY-SA 3.0" />
  <row Id="17639" PostHistoryTypeId="2" PostId="10682" RevisionGUID="dae7a203-ae58-4631-bc39-ceb8fa3bf680" CreationDate="2011-10-04T06:22:02.147" UserId="1266" Text="What measure should you take to protect your mic if you are interested in catching sound in the rain?  The pop filter is al I have and I am not venturing out into the moisture with only that thing.  What do you guys do?  Zeppelin?  Rycote? Umbrella?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17640" PostHistoryTypeId="1" PostId="10682" RevisionGUID="dae7a203-ae58-4631-bc39-ceb8fa3bf680" CreationDate="2011-10-04T06:22:02.147" UserId="1266" Text="Recording sfx during sprinkle (rain)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17641" PostHistoryTypeId="3" PostId="10682" RevisionGUID="dae7a203-ae58-4631-bc39-ceb8fa3bf680" CreationDate="2011-10-04T06:22:02.147" UserId="1266" Text="&lt;waterproof&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17642" PostHistoryTypeId="5" PostId="10682" RevisionGUID="33ce09fd-80fe-416b-8f83-7bffb43fa168" CreationDate="2011-10-04T06:34:11.710" UserId="1266" Comment="Grammar" Text="What measure should you take to protect your mic if you are interested in catching sound in the rain?  The pop filter is all I have and I am not venturing out into the moisture with only that thing.  What do you guys do?  Zeppelin?  Rycote? Umbrella?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17643" PostHistoryTypeId="2" PostId="10683" RevisionGUID="ca5e0cb6-c221-4413-9f35-6b589f7895fe" CreationDate="2011-10-04T06:39:30.597" UserId="315" Text="Record with a zepplin wrapped in a [Rainman][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.remoteaudio.com/rainman/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17644" PostHistoryTypeId="2" PostId="10684" RevisionGUID="3dc24a59-d9fc-4843-888b-77eed601e113" CreationDate="2011-10-04T07:22:24.270" UserId="61" Text="I've done a few sessions using H2a hydrophones as contact mics, and they really do a great job of capturing clean, clear signals. My primary problem with using them in that context is that, even with the rubber cup mount, they don't really stabilize unless your surface is completely flat and gravity is working in your favor. Even with mild angles or curves you lose that direct coupling between the mic and the surface, thus reducing the amount of signal you can pick up. A couple of solutions that have worked for me:&#xD;&#xA;&#xD;&#xA; - Duct or electricians tape!&#xD;&#xA; - Velcro wraps (tricky to keep them from slipping off the cylindrical mic but doesn't leave a sticky residue like tape)&#xD;&#xA;&#xD;&#xA;Sometimes I forgo the rubber cup altogether and press the mic directly onto the desired surface with my hand. I'm pretty confident that this yields a better recording since there's nothing coming between my noise source and the mic capsule, but you've got to be very, very still since the H2a is so sensitive.  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17645" PostHistoryTypeId="2" PostId="10685" RevisionGUID="7f16f885-44e2-42cd-b313-d1a41236ea94" CreationDate="2011-10-04T10:21:59.510" UserId="6432" Text="London streets through a post box&#xD;&#xA;&#xD;&#xA;    &lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F15141535&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F15141535&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/mark-durham/london-from-inside-a-post-box&quot;&gt;London from inside a post box&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/mark-durham&quot;&gt;Mark Durham&lt;/a&gt;&lt;/span&gt; " ContentLicense="CC BY-SA 3.0" />
  <row Id="17646" PostHistoryTypeId="12" PostId="10685" RevisionGUID="e3507ab2-60b3-44d9-a404-f3c7bc9d57c5" CreationDate="2011-10-04T10:23:47.173" UserId="6432" Text="[{&quot;Id&quot;:2866,&quot;DisplayName&quot;:&quot;Mark Durham&quot;}]" />
  <row Id="17647" PostHistoryTypeId="5" PostId="10685" RevisionGUID="b9150c1e-ca88-4a02-a1a2-0442cf1f3842" CreationDate="2011-10-04T10:30:25.997" UserId="6432" Comment="deleted 560 characters in body" Text="London streets through a post box&#xD;&#xA;&#xD;&#xA;[soundcloud] /mark-durham/london-from-inside-a-post-box [/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="17648" PostHistoryTypeId="13" PostId="10685" RevisionGUID="70324317-af68-4bee-b61b-36924291029b" CreationDate="2011-10-04T10:31:16.123" UserId="6432" Text="[{&quot;Id&quot;:2866,&quot;DisplayName&quot;:&quot;Mark Durham&quot;}]" />
  <row Id="17649" PostHistoryTypeId="2" PostId="10686" RevisionGUID="0ede04ba-3ae5-406d-8e11-d533e41ac17c" CreationDate="2011-10-04T11:08:32.453" UserId="547" Text="What's the frequency Kenneth?&#xD;&#xA;&#xD;&#xA;Everybody Hz" ContentLicense="CC BY-SA 3.0" />
  <row Id="17651" PostHistoryTypeId="2" PostId="10687" RevisionGUID="d9f0bf52-8373-43e2-8e48-2a85c00392ce" CreationDate="2011-10-04T12:37:44.210" UserId="985" Text="How do you call a musician without a girl friend? A homeless. ..not so funny anymore I think since the economic crisis." ContentLicense="CC BY-SA 3.0" />
  <row Id="17652" PostHistoryTypeId="5" PostId="10687" RevisionGUID="8428a3d1-8aa3-44d4-801f-28d52452d143" CreationDate="2011-10-04T14:21:02.670" UserId="985" Comment="deleted 55 characters in body" Text="How do you call a musician without a girl friend? A homeless. .." ContentLicense="CC BY-SA 3.0" />
  <row Id="17653" PostHistoryTypeId="2" PostId="10688" RevisionGUID="498c9075-0114-49c1-997d-333d53fdd16d" CreationDate="2011-10-04T15:48:50.257" UserId="393" Text="Put the gear in a garage or under a carport, well outside the rain." ContentLicense="CC BY-SA 3.0" />
  <row Id="17654" PostHistoryTypeId="5" PostId="10577" RevisionGUID="a240ee7e-4f30-4bdc-8269-2817b2ba15f0" CreationDate="2011-10-04T16:07:38.843" UserId="393" Comment="Vimeo surround sound update." Text="Assume that your demo will be viewed / listened to on a stereo device, unless they've actually ASKED for your demo.  *Vimeo does **not** support 5.1, though, so people that want it can hear it there.* (see below)&#xD;&#xA;&#xD;&#xA;Also assume that no one is going to ASK for your demo (someone will, don't worry, but assume that no one will).  They're going to go to your website and maybe watch the first 30 seconds of it, and make their decision from there.  They're not going to download something to burn it to a DVD and play it in their home theater -- if it's not streaming, they're not going to give you even 30 seconds.&#xD;&#xA;&#xD;&#xA;So, in my opinion, if you plan on developing a 5.1 demo, make it your only online demo, and make it available somewhere where surround streaming is supported.  Make it also compatible with stereo systems.  Don't give someone the option of &quot;Surround Sound Demo available on request,&quot; just make that the only option.&#xD;&#xA;&#xD;&#xA;**UPDATE:** Official word from Vimeo is that they don't currently support surround sound, and they don't comment on upcoming features.  BUT, [Flash 11 just dropped][1], and that does support up to 7.1.  ([Also, Microsoft Silverlight supports surround][2])  I would expect Vimeo to support surround sound in the near, if not very near, future.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.engadget.com/2011/10/03/flash-11-and-air-3-landing-tonight-and-delivering-7-1-surround-s/&#xD;&#xA;  [2]: http://www.reelseo.com/silverlight-srs-51-support-toolkit/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17655" PostHistoryTypeId="2" PostId="10689" RevisionGUID="23e38dd4-bde4-48d1-8346-f4bb8efdde03" CreationDate="2011-10-04T16:28:56.093" UserId="18" Text="Putting the mic under a carport or porch can help protect it and still capture rain sounds.  I usually use a full rycote setup (blimp and furry) and find that you can also stick the mic out in the middle of rain for some time without issue.  Keep in mind that if the mic is directly in the rain, the sound of rain drops on the mic might ruin your recording.  You'll want to keep a close eye on your gear when you are recording in or around rain.  Check your rycote often, when it becomes very wet, it is time to pull the get in and go back inside.  Let your furry air dry, don't try to put it in a clothes dryer.  Also, wear boot and a good rain jacket, it sucks being wet and cold when you are trying to record sounds.&#xD;&#xA;&#xD;&#xA;Samples of some rain the I recorded with my Neumann RSM191 are here:&#xD;&#xA;&#xD;&#xA;http://chuckrussomfx.com/store/index.php?main_page=product_info&amp;cPath=2&amp;products_id=8" ContentLicense="CC BY-SA 3.0" />
  <row Id="17657" PostHistoryTypeId="2" PostId="10690" RevisionGUID="a071c5de-a520-42d5-ad8b-054e65bd9fe0" CreationDate="2011-10-04T19:24:22.913" UserId="6669" Text="Just watched it last night on my terrible ATH headphones in a streaming stereo mix. But my thoughts:&#xD;&#xA;&#xD;&#xA;The growly, synthetic vocal elements of the baseline terminators struck me as over the top in a few early scenes, like when it was clawing after him after the helicopter crash. I felt like I wanted something lighter, shriller, more agile and sharp than a warbly Skrillex-type monster. I think I see what Chris is saying there - those voices are just so attention-grabbing (not necessarily a bad thing) that I immediately started trying to dissect it and wondered what was used to make it, not what was making or saying &quot;Shit, it's a Terminator!&quot; By the end of the film when all the extra 'weight' was coming into the mix with score, explosions, etc. though, those voices started to feel quite nice.&#xD;&#xA;&#xD;&#xA;Excellent use of distortion throughout. So much! The mix was clear and shifted focus really well, I first noticed it in the opening scene where helicopters/jets I really enjoyed the couple of quiet moments we got (when Connor came out of the underground facility where they first discovered the T-800 research, the shot of Marcus swimming after the road scene/transport capture).&#xD;&#xA;&#xD;&#xA;I randomly remember loving the musical wooden plank Marcus tosses on the fire when he sets up camp in the wastes. Great torrential rain there, too, fit the picture perfectly.&#xD;&#xA;&#xD;&#xA;Sound design for the Marcus/Skynet sequence was nice and glitchy and crazy and I liked that the end tail of it was just a tiny phoneme out of Marcus instead of a random beep or tchik.&#xD;&#xA;&#xD;&#xA;And I loved the mech foley on his fingers when he clasps around the girl's towards the end. Anyone know was used for that? It was so nice and delicate, but fit these horrific metal fingers perfectly just the same.&#xD;&#xA;&#xD;&#xA;Can't really complain other than the occasional extreme loudness of the stereo mix. Vehicles, weapons and explosions were sick and - most importantly - nothing sounded canned. I've been working on cutting sound sounds in a similar aesthetic for a trailer redesign over the last month or so and can really appreciate how hard the team must've worked to avoid being another movie with &quot;that explosion&quot; or &quot;those bullet ricochets.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17658" PostHistoryTypeId="2" PostId="10691" RevisionGUID="c0c45c94-9108-4627-be0b-3f29dbd2c294" CreationDate="2011-10-04T22:51:30.987" UserId="444" Text="So a buddy of mine is letting me borrow his Sound Devices 722, not to mention his MKH-30 and 40.  I got about three weeks with it.  I'm going through the manual to get a feel for what's inside, but I was wondering if any experienced users have any tips with the 722 they could share?&#xD;&#xA;&#xD;&#xA;Be sure I will test and play and record and experiment lots with it (not just M-S set ups), but I was wondering if there's any prefered presets, routing, roll off settings, limiter settings, etc. that anyone else might have?&#xD;&#xA;&#xD;&#xA;Is there anything I should watch out for in general when using the unit?  Anything anyone has run into that I should keep an eye out for?&#xD;&#xA;&#xD;&#xA;Also with the MKH-30 and 40 being shorties, could I still use a shotty like the ME66 in place of the MKH-40 in the M-S set up?  I know I could use anything, but would I get a decent result with a directional mic working with the fiq. 8?&#xD;&#xA;&#xD;&#xA;My main recording focus will be a HS football game (crowd, sidelines, field), a comedy club audience, waterfall, car drive bys, whooshes, and then anything else I stumble upon. &#xD;&#xA;&#xD;&#xA;As always, much thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="17659" PostHistoryTypeId="1" PostId="10691" RevisionGUID="c0c45c94-9108-4627-be0b-3f29dbd2c294" CreationDate="2011-10-04T22:51:30.987" UserId="444" Text="Do any SD 722 owners have tips they could share?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17660" PostHistoryTypeId="3" PostId="10691" RevisionGUID="c0c45c94-9108-4627-be0b-3f29dbd2c294" CreationDate="2011-10-04T22:51:30.987" UserId="444" Text="&lt;sound-devices&gt;&lt;722&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17661" PostHistoryTypeId="5" PostId="10690" RevisionGUID="e41550e4-0355-447b-9acf-02faa294f634" CreationDate="2011-10-04T22:51:53.873" UserId="6669" Comment="added 131 characters in body" Text="Just watched it last night on my terrible ATH headphones in a streaming stereo mix. But my thoughts:&#xD;&#xA;&#xD;&#xA;The growly, synthetic vocal elements of the baseline terminators struck me as over the top in a few early scenes, like when it was clawing after him after the helicopter crash. I felt like I wanted something lighter, shriller, more agile and sharp than a warbly Skrillex-type monster. I think I see what Chris is saying there - those voices are just so attention-grabbing (not necessarily a bad thing) that I immediately started trying to dissect it and wondered what was used to make it, not what was making or saying &quot;Shit, it's a Terminator!&quot; By the end of the film when all the extra 'weight' was coming into the mix with score, explosions, etc. though, those voices started to feel quite nice.&#xD;&#xA;&#xD;&#xA;Excellent use of distortion throughout. So much! The mix was clear and shifted focus really well, I first noticed it in the opening scene where helicopters/jets were flying by and bombing everything. I enjoyed the couple of quiet moments we got (when Connor came out of the underground facility where they first discovered the T-800 research, the shot of Marcus swimming after the road scene/transport capture).&#xD;&#xA;&#xD;&#xA;I randomly remember loving the musical wooden plank Marcus tosses on the fire when he sets up camp in the wastes. Great torrential rain there, too, fit the picture perfectly.&#xD;&#xA;&#xD;&#xA;Sound design for the Marcus/Skynet sequence was nice and glitchy and crazy and I liked that the end tail of it was just a tiny phoneme out of Marcus instead of a random beep or tchik. Kinda emphasized the human element. (Maybe? Reading into this like a high school English teacher?)&#xD;&#xA;&#xD;&#xA;And I loved the mech foley on his fingers when he clasps around the girl's towards the end. Anyone know was used for that? It was so nice and delicate, but fit these horrific metal fingers perfectly just the same.&#xD;&#xA;&#xD;&#xA;Can't really complain other than the occasional extreme loudness of the stereo mix. Vehicles, weapons and explosions were sick and - most importantly - nothing sounded canned. I've been working on cutting sound sounds in a similar aesthetic for a trailer redesign over the last month or so and can really appreciate how hard the team must've worked to avoid being another movie with &quot;that explosion&quot; or &quot;those bullet ricochets.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17662" PostHistoryTypeId="2" PostId="10692" RevisionGUID="1be81d57-14c1-4a0c-8f5e-c174b2a20da0" CreationDate="2011-10-05T00:23:16.357" UserId="1266" Text="Does anybody record ambiences with a shotgun?  I mean, it seems feasible if you are careful about it and then piecing them together in post.  It almost seems more ideal since you can pick out the interesting parts of an environment for post." ContentLicense="CC BY-SA 3.0" />
  <row Id="17663" PostHistoryTypeId="1" PostId="10692" RevisionGUID="1be81d57-14c1-4a0c-8f5e-c174b2a20da0" CreationDate="2011-10-05T00:23:16.357" UserId="1266" Text="Recording Ambience with a shotgun " ContentLicense="CC BY-SA 3.0" />
  <row Id="17664" PostHistoryTypeId="3" PostId="10692" RevisionGUID="1be81d57-14c1-4a0c-8f5e-c174b2a20da0" CreationDate="2011-10-05T00:23:16.357" UserId="1266" Text="&lt;recording&gt;&lt;shotgun&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17665" PostHistoryTypeId="2" PostId="10693" RevisionGUID="c395ac66-ed70-4687-a675-15efd4b83c6d" CreationDate="2011-10-05T00:27:01.060" UserId="194" Text="Tim Prebble does.  He's pretty good.&#xD;&#xA;&#xD;&#xA;http://hissandaroar.com/ambience-libraries/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17666" PostHistoryTypeId="2" PostId="10694" RevisionGUID="fe80cc3f-266f-49bf-8e7f-330c2d4cbc54" CreationDate="2011-10-05T02:09:34.313" UserId="1228" Text="Out of curiosity, does anybody know of and/or could recommend a good batch conversion utility that's in the same vain as Barbabatch but for the Windows environment.  I'm seeking something just as robust, even if it costs to purchase the program.  Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17667" PostHistoryTypeId="1" PostId="10694" RevisionGUID="fe80cc3f-266f-49bf-8e7f-330c2d4cbc54" CreationDate="2011-10-05T02:09:34.313" UserId="1228" Text="Robust Audio Conversion Utility for Windows platform" ContentLicense="CC BY-SA 3.0" />
  <row Id="17668" PostHistoryTypeId="3" PostId="10694" RevisionGUID="fe80cc3f-266f-49bf-8e7f-330c2d4cbc54" CreationDate="2011-10-05T02:09:34.313" UserId="1228" Text="&lt;conversion&gt;&lt;windows&gt;&lt;batch-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17669" PostHistoryTypeId="2" PostId="10695" RevisionGUID="385c5790-efe3-40a2-959e-7b731502ee1b" CreationDate="2011-10-05T03:34:12.477" UserId="29" Text="I think you'll find that it's really simple to operate. As powerful as it is, the routings and settings are supremely straightforward. Probably the biggest key concept to remember is that INPUTS can be mapped to TRACKS, and it's not always input L to track 1 and input R to track 2, but front LEDs indicate the track mapping, so again, it's pretty easy. &#xD;&#xA;&#xD;&#xA;I never use the HPF in the field myself, but I always keep the limiter on, just because it's really good and I'm pretty conservative when it comes to headroom as I set levels. Default to normal gain on the pre's unless otherwise needed.&#xD;&#xA;&#xD;&#xA;I like recording raw mid-side but listening decoded, and then decoding in post.&#xD;&#xA;&#xD;&#xA;I use a hypercardioid instead of a cardioid in my mid-side rig, and it works fine, slightly pronounced center to the stereo image: Not always ideal, but an MKH40 wasn't in the budget this year. It'd be most educational for you to record a steady-state sound with both the ME66 and the MKH40 and see what the center of the stereo is like. I've not tried a MKH-based mid-side with a shotgun, so I can't comment. Just watch that the noise levels of the mics are well-matched, as I'd bet the ME66 is a fair bit noisier than the MKH series.&#xD;&#xA;&#xD;&#xA;Be sure to download the manual and study it before you get the unit, and while you're fiddling with it, and you'll find the learning curve quite short." ContentLicense="CC BY-SA 3.0" />
  <row Id="17670" PostHistoryTypeId="2" PostId="10696" RevisionGUID="70d9883e-bd32-4647-84fa-3cce2d88dcd6" CreationDate="2011-10-05T04:00:06.503" UserId="1129" Text="dBPowerAmp (http://www.dbpoweramp.com/)&#xD;&#xA;It's the one and only, and not very expensive either." ContentLicense="CC BY-SA 3.0" />
  <row Id="17671" PostHistoryTypeId="2" PostId="10697" RevisionGUID="d13c3aa7-3223-4393-b5ca-723431991a5f" CreationDate="2011-10-05T04:51:43.167" UserId="2714" Text="Foobar2000 + all nesessary plugins and codecs. Its free, higly customizable, but needs advanced user's skills. But it worth it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17672" PostHistoryTypeId="2" PostId="10698" RevisionGUID="37f1c7c1-eedf-48e1-91d6-bef272770a77" CreationDate="2011-10-05T05:24:18.960" UserId="842" Text="I do from time to time, depending on the source I want.&#xD;&#xA;For example, I got a really really marvelous crowd-sound from a big theater a while ago using an MKH 416! I got everything from cheering, applauds, laughter, and intermission talking. A cardioid here, as I was about four meters above ground, wouldn't have been much more that a diffuse murmur and sometimes near white noise, which I of course recorded too with an Oktava 012 set and MKH 40's in different configurations, but with the shotgun you get a focus with good details. Way too thin to stand by themselves though.&#xD;&#xA;&#xD;&#xA;The 416 has a coloration from the sides, and are anything but neutral, but I'm very fond of that and use it as a tool,  both in effects and ambiance :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17673" PostHistoryTypeId="5" PostId="10698" RevisionGUID="fb21c418-e5c9-446a-a410-9457abea6463" CreationDate="2011-10-05T05:31:05.450" UserId="842" Comment="added 208 characters in body" Text="I do from time to time, depending on the source I want.&#xD;&#xA;For example, I got a really really marvelous crowd-sound from a big theater a while ago using an MKH 416! I got everything from cheering, applauds, laughter, and intermission talking. A cardioid here, as I was about four meters above ground, wouldn't have been much more that a diffuse murmur and sometimes near white noise, which I of course recorded too with an Oktava 012 set and MKH 40's in different configurations, but with the shotgun you get a focus with good details. The 416 is way too thin to stand by themselves though, and as all shotguns are a little too focused (which is exactly what I want) I would probably never use it all alone for ambiance at all, and that includes all shotguns, colored sides or not.&#xD;&#xA;&#xD;&#xA;The 416 has a heavy coloration from the sides, and are anything but neutral, but I'm very fond of that and use it as a tool,  both in effects and ambiance :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17674" PostHistoryTypeId="5" PostId="10698" RevisionGUID="1d52f398-d0ec-4bb6-bab4-a5da9b0c8646" CreationDate="2011-10-05T05:36:46.713" UserId="842" Comment="added 80 characters in body" Text="I do from time to time, depending on the source I want.&#xD;&#xA;For example, I got a really really marvelous crowd-sound from a big theater a while ago using an MKH 416! I got everything from cheering, applauds, laughter, and intermission talking. A cardioid here, as I was about four meters above ground, wouldn't have been much more that a diffuse murmur and sometimes near white noise, which I of course recorded too, with an Oktava 012 set and MKH 40's in different configurations, but with the shotgun you get a close focus with good details. The 416 is way too thin to stand by themselves though, and as all shotguns are a little too focused (which is exactly what I want) I would probably never use it all alone for ambiance at all, and that includes all shotguns, colored sides or not, as the soundscape often tends to be quite unruly and cluttered that way.&#xD;&#xA;&#xD;&#xA;The 416 has a heavy coloration from the sides, and are anything but neutral, but I'm very fond of that and use it as a tool,  both in effects and ambiance :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17675" PostHistoryTypeId="2" PostId="10699" RevisionGUID="90b9473f-6253-4688-9f54-69213a0ebca7" CreationDate="2011-10-05T06:01:43.140" UserId="817" Text="The SM series are great. I have 9 SMa's as well as a remote. It'd be cool to have SMV/SMQV's for the detachable antenna, but the SMa's run great and are easy to conceal. I just spent the last few weeks mixing a low budget show in which one of the female cast wore very tight low rise (and short) jeans with a short tight shirt similar to a tank top; that exposed her stomach and lower back. This wardrobe was used on a number of scenes since the pictures time line takes place over just a couple of days. I thought it would be impossible to wire her, but we were able to secure the SM into a small section of fabric at the top of the shirt behind the shirt's label and run the wire into her bra line to get the best full sound out of my Sanken COS-11's. The SM fit so perfectly that even when you lifted her long dark hair, you could barely tell she had a transmitter hidden in her shirt. Then you add the remote functionality to keep that Lithium lasting up to 6 + hours. It was a great show for the SMa.&#xD;&#xA;&#xD;&#xA;The heat can be an issue, but I usually find a way to keep the transmitter from being place directly on the actors skin. The usual straps and covers do the job well. A friend of mine made some very thin cloth pouches that he uses for deterring heat when placing the SM's close to the skin on very tight wardrobes. We all have a method for the madness.&#xD;&#xA;&#xD;&#xA;If you can afford them, get them. They are great. The only other unit that interests me are the new Impact Resistant Nylon Polymer TRX900LT units made by Zaxcom, but I can't spend no more money...&#xD;&#xA;&#xD;&#xA;Good Luck, And have fun making sound for movies " ContentLicense="CC BY-SA 3.0" />
  <row Id="17676" PostHistoryTypeId="2" PostId="10700" RevisionGUID="134f46a2-a095-4422-9216-a1c79cc897d8" CreationDate="2011-10-05T06:17:11.267" UserId="842" Text="Especially Tim described it very well, I'd say that the equivalent to what's called sound designer in movie-sound is pretty much the producer in music. I was first and foremost a producer myself before I lost interest and became a sounddesigner/movie soundguy instead, and compared to movies my job was pretty much a mix of director, producer, and sound designer. &#xD;&#xA;&#xD;&#xA;I have seen the title sound designer in music too, actually, but only as someone working with making sound-patches for synthesizers and keyboard for a living, never someone programming their own synths. After all, that's one of the most important aspects of owning a synth whatsoever anyway (otherwise you might as well just buy a keyboard instead), though most people I've known working with it did call themselves sound programmers." ContentLicense="CC BY-SA 3.0" />
  <row Id="17677" PostHistoryTypeId="2" PostId="10701" RevisionGUID="284896ff-afe5-452b-87fe-2ccaf4b906bd" CreationDate="2011-10-05T08:13:35.580" UserId="1228" Text="Four words: Lock your damn picture  ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17678" PostHistoryTypeId="5" PostId="10685" RevisionGUID="19051a0d-f411-41e2-a951-961cad9af763" CreationDate="2011-10-05T08:31:15.417" UserId="6432" Comment="deleted 3 characters in body; deleted 4 characters in body" Text="London from inside a post box&#xD;&#xA;&#xD;&#xA;[soundcloud]mark-durham/london-from-inside-a-post-box[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="17679" PostHistoryTypeId="2" PostId="10702" RevisionGUID="569deb1e-07d3-4fe2-a1cb-62bbf2a7ed3f" CreationDate="2011-10-05T09:58:56.223" UserId="1145" Text="Hey all. I Have a hard time deciding if i shall order the MKH 8040/MKH 30 MS rig or not.&#xD;&#xA;Today i record most of my stereo ambiences with NT4 in a blimp into my SD702.&#xD;&#xA;Actually i think this sounds really good. Sometimes the XY is a bit to narrow, but it works good simply to widen the tracks with different plugs in post. I also often crisp things up to get it to sound more like the Senns. I know it's noisier than the MKH series, but i rarelly have problems with this, and if i do, it's also possible to fix in the studio afterwords in most cases.&#xD;&#xA;&#xD;&#xA;I use it for film, TV, CD releases, (music) and for various stage work like ballet and theatre.&#xD;&#xA;I have the money to buy it, but how much will the quality on my recordings improve?&#xD;&#xA;I know some of you have used both, so this goes to you guys. Is it worth the extra money, or can i get close enough with what i use now? How do you feel about the difference in clarity and details of sounds being picked up? Do you also find other useful uses for the mid mic, like foley, indoor dialogue etc? (MKH 40 or 8040)&#xD;&#xA;&#xD;&#xA;Hope you're not fed up with questions about economic VS expensive gear :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17680" PostHistoryTypeId="1" PostId="10702" RevisionGUID="569deb1e-07d3-4fe2-a1cb-62bbf2a7ed3f" CreationDate="2011-10-05T09:58:56.223" UserId="1145" Text="Stereo ambience" ContentLicense="CC BY-SA 3.0" />
  <row Id="17681" PostHistoryTypeId="3" PostId="10702" RevisionGUID="569deb1e-07d3-4fe2-a1cb-62bbf2a7ed3f" CreationDate="2011-10-05T09:58:56.223" UserId="1145" Text="&lt;stereo&gt;&lt;field-recording&gt;&lt;microphone&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17682" PostHistoryTypeId="2" PostId="10703" RevisionGUID="b44baeef-5be8-477b-b37c-46c293f2fb4e" CreationDate="2011-10-05T12:23:10.540" UserId="1011" Text="Hi Auddity,&#xD;&#xA;&#xD;&#xA;I have a 722 and there's a few cool features I turn to that are helpful:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;- you can record simultaneously to hard drive and compact flash (menu setting 6: Rec: Media Select). Recording media rarely fail, but capturing on both media at once covers your bases&#xD;&#xA;- if you are recording stereo, you can gang/combine the pots for easier level control (28: Input 1,2: Linking, MS)&#xD;&#xA;- there are plenty of soft key shortcuts that save time from scrolling through the menu system.  Here's a link to the PDF from Sound Devices.  Print it out and tape it to the top of the unit:&#xD;&#xA;http://www.sounddevices.com/download/guides/7-series-shortcuts.pdf&#xD;&#xA;- make sure the unit has the latest firmware.  Free firmware download and installation instructions are here:&#xD;&#xA;http://www.sounddevices.com/download/722-firmware.htm&#xD;&#xA;- the pre roll is a great feature.  Never hurts and has saved me many times.  Set it at 11: Rec: Pre-Roll Time&#xD;&#xA;&#xD;&#xA;And some caveats to be aware of:&#xD;&#xA;&#xD;&#xA;- not every aspect of the 722's settings is displayed on the front panel or with the LEDs.  Since you are using someone else's recorder, the settings may need to be refreshed or reset.  Go through all the settings and make sure that settings such as gain, routing, delay, etc are set right&#xD;&#xA;- the dial on the right side of the machine modifies the monitoring settings while recording.  By turning this dial you can quickly select monitoring each channel, the input vs what is being printed, etc.  The problem is that this can easily be jogged mistakenly.  More than once I've been thrown off when this dial has been moved while tumbling around in my recording pack.  Not critical as it won't affect what is recorded, but good to know.  You can see the current settings at the bottom right of the main display&#xD;&#xA;&#xD;&#xA;Good luck and have fun.&#xD;&#xA;&#xD;&#xA;Paul&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17683" PostHistoryTypeId="2" PostId="10704" RevisionGUID="47122d4b-7b1d-4a59-b9e2-d9540c3044de" CreationDate="2011-10-05T12:28:33.083" UserId="432" Text="I've had an MKH40 for a few months now (and my MKH30 is finally arriving today). It's not the same as the 8040 that you're thinking of purchasing (doesn't have the extended frequency response), but I can say this: you will, and **should**, find uses for it other than just ambience recording. The MKH series is ridiculously quiet and has a great frequency response. I use the 40 for effects and foley recording a lot; especially when I need to use it in my apartment for a last minute sound need. That particular mic just makes it easier to RX out some of the unavoidable low-level noises from that environment.&#xD;&#xA;&#xD;&#xA;Personally, while I do love the mics, I just think it's a lot of money to spend if you're ONLY going to use it for ambiences. Actually, I feel that way for any M/S rig. If you have a need/desire to capture other effects (beyond ambiences) in stereo, or know that you will have uses for the mics in other applications as well (figure 8's can be very handy, by the way)...then it can be a great investment." ContentLicense="CC BY-SA 3.0" />
  <row Id="17684" PostHistoryTypeId="2" PostId="10705" RevisionGUID="fce40c37-9b14-45de-a947-f285fba47789" CreationDate="2011-10-05T13:13:48.417" UserId="578" Text="I have both setups (MKH8040+MKH30) and NT4, and I'm going to sell the NT4 as I just don't use it any more. The Senny setup just sounds awesome, can't say anything more than that. Another added benefit is the small size and light weight of the MS setup. As you know, the NT4's weight is rather heavy.&#xD;&#xA;&#xD;&#xA;And yep like Shaun said - you'll find other uses for this setup beyond ambience. Plus having a figure-8 allows for a lot of flexibility for when you start adding further mics to your kit. &#xD;&#xA;&#xD;&#xA;Also - I really like the extended frequency response of the MKH8040. I recently recorded various cricket ambiences and when pitched down these simply sound beautifully rich &amp; 'otherwordly'" ContentLicense="CC BY-SA 3.0" />
  <row Id="17685" PostHistoryTypeId="2" PostId="10706" RevisionGUID="f9e34aa1-5116-434d-aa9f-b0b1c7646c13" CreationDate="2011-10-05T13:32:46.657" UserId="1106" Text="I've just seen a question regarding sound conform for films, but it mostly seems to relate to people who have the budget for fancy software, and who are dealing with editors nice enough to provide fancy things like EDLs!&#xD;&#xA;&#xD;&#xA;I'm still pretty new to the field but I've done quite a few short films now and directors seem to be constantly changing the &quot;final cut&quot;.  I use Nuendo, and I have been manually re-syncing the sound edit to each new &quot;final cut&quot; of the film.  This is a very lengthy process, especially as they never tell me the list of edits that have been made.  I was wondering if there was an easier way to do this for low-budget shorts where the team is tiny and things like a nice list of the cuts and changes to the edits are unheard of?  &#xD;&#xA;&#xD;&#xA;As a bit of an example, here's a recent situation:&#xD;&#xA;&#xD;&#xA;I recently did the sound edit for a 30min film, and the director gave me 4 different cuts a couple of weeks ago (Directors Cut, Rights Free Cut, Festival Cut, Shorter Cut) and I hurridly did my best to sync everything back up as neatly as possible. &#xD;&#xA;&#xD;&#xA;The original sync was fine, but he's concerned the dialogue might be slightly out of sync in a couple of places now.  In all honesty it might well be slightly off by now, because everything has been shifted and tweaked at least 15 times... Every cut has apparently been &quot;final&quot;, so I've had to conform it 15 times, and each time I've been manually syncing dialogue back to picture. It's also an unpaid gig. If I've learnt anything from unpaid work, it's that it is about 10,000 times more work than anything I've been paid to do. &#xD;&#xA;&#xD;&#xA;Essentially what I'm asking is:  Was there anything I could have done to prevent sync issues whilst they were recutting the film, or is it just a pain in the arse that we have to grin and bear for low-budget productions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17686" PostHistoryTypeId="1" PostId="10706" RevisionGUID="f9e34aa1-5116-434d-aa9f-b0b1c7646c13" CreationDate="2011-10-05T13:32:46.657" UserId="1106" Text="Is there a quick / easy way to re-sync a sound edit for a short film, or is just one of those things we have to deal with?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17687" PostHistoryTypeId="3" PostId="10706" RevisionGUID="f9e34aa1-5116-434d-aa9f-b0b1c7646c13" CreationDate="2011-10-05T13:32:46.657" UserId="1106" Text="&lt;sync&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17688" PostHistoryTypeId="2" PostId="10707" RevisionGUID="99fb3504-6ee7-4bf2-bb07-0000c590c852" CreationDate="2011-10-05T13:58:02.467" UserId="432" Text="First off, the director doesn't know what he/she is doing if they're providing you 4 &quot;final&quot; edits. The most any director should provide is 2 (i.e. festival/feature cut and television/broadcast cut), and those are never simultaneous. In my experience, one is always completed and output before the other.&#xD;&#xA;&#xD;&#xA;You've also been exposed to the oxymoronic term &quot;final&quot;...nothing ever is until it's actually due.&#xD;&#xA;&#xD;&#xA;The big thing that could have affected your workflow is an EDL. Whatever they cut on should be able to output an EDL...unless they're using something like iMovie. Even software designed to deal with issues like this (Conformalizer, Virtual Katy, etc.) require EDLs to work their magic. Doing it by hand is a time consuming process. That's why those pieces of software were created. At least with an EDL for each version that you're conforming between, you can more accurately identify what changes were made (note that I didn't say &quot;easily&quot; there).&#xD;&#xA;&#xD;&#xA;One possible EDL-less approach would have been to use omf's for each respective version. You can load the revised omf into your existing session and use that as your conforming reference, moving your existing audio to match the new cuts. At least then you have waveform reference and can get closer to sample resolution matching." ContentLicense="CC BY-SA 3.0" />
  <row Id="17689" PostHistoryTypeId="4" PostId="10702" RevisionGUID="6f715b50-7fff-469f-a878-d60c32681a96" CreationDate="2011-10-05T14:17:25.960" UserId="432" Comment="edited title" Text="Stereo ambience - microphone selection" ContentLicense="CC BY-SA 3.0" />
  <row Id="17690" PostHistoryTypeId="5" PostId="10584" RevisionGUID="892e5391-83ba-4123-8334-881b6acadd1e" CreationDate="2011-10-05T15:15:04.613" UserId="1310" Comment="added 215 characters in body" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;I've read through all the threads on the portable recorders on here, and some have seen revisions or are simply outdated. I'm looking for the best sounding hand-held recorder for easy stereo ambiances - don't need mic inputs. I know the Sony PCM-50 is prob the best sounding, but that is out of my budget. I'm wondering if anyone has any experience with the Tascam DR-07 MKII or the Zoom H2n? I'm sort of in-between these two but not sure of the quality (bear in mind I am an amateur).&#xD;&#xA; Both of these are relatively new and I can't find many (if any) samples on them. I'm off to Morocco soon and would like something small to hold and grab some noises.&#xD;&#xA;&#xD;&#xA;EDIT: I've just ordered a Tascam DR-40. Was going to go with the Dr-07 and this seems the same with added combo jacks. Thanks for all the answers - will post a review of the uni when I get it as it is just released." ContentLicense="CC BY-SA 3.0" />
  <row Id="17691" PostHistoryTypeId="2" PostId="10708" RevisionGUID="a5df6e2e-936f-478f-8946-93d304951a0c" CreationDate="2011-10-05T15:15:39.900" UserId="622" Text="Hi,&#xD;&#xA;&#xD;&#xA;Just a little survey here.&#xD;&#xA;&#xD;&#xA;I was wondering what sampler do you use or planning to use specifically for sound design?&#xD;&#xA;N.I. Kontakt 3-4 or 5, Avid Structure, Apple Logic EXS24, Camelaudio Alchemy, Cubase Halion, MOTU Machfive, Ableton Live Sampler...&#xD;&#xA;&#xD;&#xA;Do you have any interest for a HQ sound effects libraries like foley (footsteps, clothing, sports, or any sfx time consuming to sync...)&#xD;&#xA;&#xD;&#xA;Thanks to all&#xD;&#xA;&#xD;&#xA;Bernard" ContentLicense="CC BY-SA 3.0" />
  <row Id="17692" PostHistoryTypeId="1" PostId="10708" RevisionGUID="a5df6e2e-936f-478f-8946-93d304951a0c" CreationDate="2011-10-05T15:15:39.900" UserId="622" Text="What sampler do you use?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17693" PostHistoryTypeId="3" PostId="10708" RevisionGUID="a5df6e2e-936f-478f-8946-93d304951a0c" CreationDate="2011-10-05T15:15:39.900" UserId="622" Text="&lt;sound-design&gt;&lt;sampler&gt;&lt;sound-effects&gt;&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17694" PostHistoryTypeId="2" PostId="10709" RevisionGUID="53e77a3d-b5e1-4f68-9cd8-403b136f1a84" CreationDate="2011-10-05T15:46:25.610" UserId="2136" Text="My cat lapping water from a dish." ContentLicense="CC BY-SA 3.0" />
  <row Id="17695" PostHistoryTypeId="2" PostId="10710" RevisionGUID="a16192d1-bcb9-432b-9106-92774f06889a" CreationDate="2011-10-05T16:49:35.710" UserId="253" Text="Definitely don't grin and bear it. I think this is where managing clients' expectations comes in. The client needs to understand that reconforming takes up your time, especially when they don't even want to provide an edit change list! If it's an unpaid gig, it might be an idea to tell them that they can only submit one cut to you for work, and can't change the picture afterwards. If there is some pay, make sure they understand that reconforms will cost extra.&#xD;&#xA;&#xD;&#xA;If you do end up reconforming (because you like the client, or they're willing to pay you) and you don't want to fork out for Virtual Katy or something, i have a quick and dirty method. Get them to lay the last mix you gave them under the picture, and make all their cut changes to your mix as they go. That way, when they give you an omf of the track that had your mix, you'll see all the cut points.&#xD;&#xA;&#xD;&#xA;Shaun's idea sounds good too, i might try that next time. Also, EDLs do help a lot; but for shorts where there aren't that many cut changes, i find the method i mentioned above to be quick and reliable enough.&#xD;&#xA;&#xD;&#xA;My sympathy goes out to you for that gig! Only 4 versions though? They didn't want a &quot;For my parents&quot; cut? Or a &quot;director's girlfriend's cut&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17696" PostHistoryTypeId="2" PostId="10711" RevisionGUID="174e14b0-8191-4101-9500-b3f24cc125a2" CreationDate="2011-10-05T16:59:14.507" UserId="315" Text="Plus one for getting the 8040 over the mkh40. Still waiting for Sennheiser to release an 8030 for the ultimate tiny MS pair.&#xD;&#xA;&#xD;&#xA;I'd also suggest looking at a Schoeps MS pair as well. An MK41 or MK4 paired with an MK8. They may have a bit more self-noise than the Sennheisers and cost a bit more, but they sound amazing (less clinical and smoother than the mkh mics imho) and would be my desert island MS pair...and I've recorded with both. Schoeps also has a rep of being bad in humidity, but I've used mine in humid areas (even in the rain) without problems." ContentLicense="CC BY-SA 3.0" />
  <row Id="17697" PostHistoryTypeId="2" PostId="10712" RevisionGUID="31feab65-6a12-4a81-87f0-56931edf1e18" CreationDate="2011-10-05T17:24:16.883" UserId="18" Text="The most important aspects in recording (in order of importance):&#xD;&#xA;&#xD;&#xA;1.  The source you are recording&#xD;&#xA;&#xD;&#xA;2.  The environment you are recording in&#xD;&#xA;&#xD;&#xA;3.  Your engineering skills&#xD;&#xA;&#xD;&#xA;4.  Your equipment&#xD;&#xA;&#xD;&#xA;If you have #1-3 sorted out and you are still looking to improve/change your recrodings, then you can look at adding new equipment.  You can't go wrong with Sennheiser.  I have a MKH40, 2 MKH800's, and a 416 and I use them all quite often.  I sold my NT4 as it just wasn't used anymore." ContentLicense="CC BY-SA 3.0" />
  <row Id="17698" PostHistoryTypeId="2" PostId="10713" RevisionGUID="8221705a-2413-40be-bd2d-6b8783d9064a" CreationDate="2011-10-05T17:24:28.613" UserId="842" Text="Akai S3000. Also want an Emu Emulator, pretty much don't care which version, and would give my right arm for a Fairlight CMI!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17699" PostHistoryTypeId="2" PostId="10714" RevisionGUID="03346be3-0f1d-4cac-9521-9d122f905c0e" CreationDate="2011-10-05T19:41:29.143" UserId="1145" Text="Thanks for taking the time everybody. Unfortunately i can't rent any microphones other than the usual shotguns where i live, so i just have to read reviews and ask for personal experience.&#xD;&#xA;No point of checking out mics like these in a store...&#xD;&#xA;&#xD;&#xA;Has all of you who have the 8040 in a rycote kit also the MZF filter module? If so, is it almost the same size as the MKH 30?&#xD;&#xA;&#xD;&#xA;I use a shotgun for wild foley/fx etc outdoors, so i guess the 8040 would be a nice addition to my other mics for indoor/studio recording.&#xD;&#xA;&#xD;&#xA;Even more tempted now. Guess i'll order real soon. Thanks!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17700" PostHistoryTypeId="2" PostId="10715" RevisionGUID="eeaece07-e6ff-4f6d-a0cd-e250a0394db8" CreationDate="2011-10-05T20:00:37.820" UserId="163" Text="i'd like to upgrade from my h4n and was thinking about purchasing the d50. &#xD;&#xA;&#xD;&#xA;unfortunately have to option to rent one and compare the recordings. &#xD;&#xA;&#xD;&#xA;basically my question is whether a d50 will be a noticeable upgrade when it comes to quality of the recordings taken with the in-built microphones, with focus on outside ambiences as well as quiet sounds (with gain set to higher levels). i'm looking for more detail, lower noise floor and range i guess.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17701" PostHistoryTypeId="1" PostId="10715" RevisionGUID="eeaece07-e6ff-4f6d-a0cd-e250a0394db8" CreationDate="2011-10-05T20:00:37.820" UserId="163" Text="replacing a zoom h4n with sony PCM D50" ContentLicense="CC BY-SA 3.0" />
  <row Id="17702" PostHistoryTypeId="3" PostId="10715" RevisionGUID="eeaece07-e6ff-4f6d-a0cd-e250a0394db8" CreationDate="2011-10-05T20:00:37.820" UserId="163" Text="&lt;portable-recorder&gt;&lt;zoom&gt;&lt;zoom-h4n&gt;&lt;sony-pcm-d50&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17703" PostHistoryTypeId="2" PostId="10716" RevisionGUID="5a33ec68-670e-4499-a6e3-124ccfe0b1ed" CreationDate="2011-10-05T20:20:44.877" UserId="393" Text="I have Kontakt 3, but I admittedly don't know how to use it as anything more than a midi instrument (any links would be awesome)." ContentLicense="CC BY-SA 3.0" />
  <row Id="17707" PostHistoryTypeId="2" PostId="10718" RevisionGUID="46e051bc-3d37-4a44-915d-4ae51776dc3c" CreationDate="2011-10-05T21:34:16.143" UserId="194" Text="over 15000 people there right now, and they've been doing things like the &quot;human microphone&quot; which seem really cool.&#xD;&#xA;&#xD;&#xA;[youtube]JCjs7YTxcVU[/youtube]&#xD;&#xA;&#xD;&#xA;who's rolling on this?  Wanna trade?  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17708" PostHistoryTypeId="1" PostId="10718" RevisionGUID="46e051bc-3d37-4a44-915d-4ae51776dc3c" CreationDate="2011-10-05T21:34:16.143" UserId="194" Text="hey new yorkers, who's recording occupy wallstreet?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17709" PostHistoryTypeId="3" PostId="10718" RevisionGUID="46e051bc-3d37-4a44-915d-4ae51776dc3c" CreationDate="2011-10-05T21:34:16.143" UserId="194" Text="&lt;field-recording&gt;&lt;new&gt;&lt;york&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17710" PostHistoryTypeId="2" PostId="10719" RevisionGUID="9407a437-c99f-4d51-95b0-4a41bbae4a5b" CreationDate="2011-10-05T21:34:48.043" UserId="285" Text="Very big difference.  The mics are much better and it has a much quieter noise floor.  It is more expensive then the H4n but if you use it a lot it, will pay for itself with its battery life and the remarkably few times you will need to change the batteries.  H4n eats up batteries and D-50 last forever on a set.&#xD;&#xA;&#xD;&#xA;I upgraded to the D-50 in the spring and have not regretted it once.  &#xD;&#xA;&#xD;&#xA;One thing to budget for though is wind protection.  The D-50 onboard mics are out in the open so you will need to either make your own furry, invest in the Rycote portable mic kit or put it in a blimp.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17711" PostHistoryTypeId="2" PostId="10720" RevisionGUID="12ec4900-b8cd-4ca3-96b4-c9e014690d87" CreationDate="2011-10-05T21:44:48.513" UserId="1152" Text="Just wondering why SSD doesn't show the year that a question or answer was posted.&#xD;&#xA;Sometimes I search, see the date for the replies and have no idea if its from this year or last year.&#xD;&#xA;Is it better to bump a dead discussion or start a new one?&#xD;&#xA;&#xD;&#xA;I think this info should be in the FAQ&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;~Jon~" ContentLicense="CC BY-SA 3.0" />
  <row Id="17712" PostHistoryTypeId="1" PostId="10720" RevisionGUID="12ec4900-b8cd-4ca3-96b4-c9e014690d87" CreationDate="2011-10-05T21:44:48.513" UserId="1152" Text="site question | Dates of posts, why no years?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17713" PostHistoryTypeId="3" PostId="10720" RevisionGUID="12ec4900-b8cd-4ca3-96b4-c9e014690d87" CreationDate="2011-10-05T21:44:48.513" UserId="1152" Text="&lt;ssd&gt;&lt;request&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17714" PostHistoryTypeId="2" PostId="10721" RevisionGUID="8bf2c068-d78b-41a0-b93e-cbc888658eaa" CreationDate="2011-10-05T21:48:02.787" UserId="194" Text="Yep, D50 much better in that regard - though I'd hang on to that H4n for low pro recordings with ext mics.&#xD;&#xA;&#xD;&#xA;[Here's the shootout I did a while back.][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://thesoundmyheadmakes.blogspot.com/2010/11/handheld-recorder-shootout-part-1-specs.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="17715" PostHistoryTypeId="2" PostId="10722" RevisionGUID="d8feb0e4-e6c6-4ef6-a6ca-e17639a7fd67" CreationDate="2011-10-05T21:51:09.353" UserId="238" Text="On a side-note to Shaun's post, if you're using Nuendo and cannot go the EDL route, there is a very useful alignment tool which will align any region to another. If you get the omf for the new cut, manually re-syncing becomes much, much easier. As Shaun said, you can load the new omf into your existing session and re-align the regions. &#xD;&#xA;&#xD;&#xA;To re-align, highlight the region that is in the correct position, then hover the mouse over the region that you want to move and &quot;command&quot; + click (mac)/ &quot;ctrl&quot; + click (PC). The region you want to move will automatically align with the region that was selected. This is also a really useful trick when building sound effects with multiple sounds. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17716" PostHistoryTypeId="2" PostId="10723" RevisionGUID="2bd1f885-d935-46c2-ae88-4b40180d3c85" CreationDate="2011-10-05T21:54:30.867" UserId="432" Text="I'm hoping they're still there when I go up to AES in two weeks. Hoping for an awesome AES SSD meetup + crowd recording excursion. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17717" PostHistoryTypeId="2" PostId="10724" RevisionGUID="c94d8b4d-cfaf-44f9-8830-1fc323ec463a" CreationDate="2011-10-05T21:59:02.083" UserId="238" Text="I think that the year only shows when it is not this year. In other words, your question currently says &quot;asked 9 mins ago&quot;. Tomorrow it'll say &quot;asked yesterday&quot;, in three months it'll say &quot;asked Oct 5th&quot; and next year it'll say &quot;asked Oct 5th 2011&quot;. &#xD;&#xA;&#xD;&#xA;[Check this link][1] and you'll see the first question in the list is dated 2010, and the rest just with the month (as they were asked this year). &#xD;&#xA;&#xD;&#xA;At least, that's how I think it works..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/search?q=Best+entry-level+portable+recorder" ContentLicense="CC BY-SA 3.0" />
  <row Id="17718" PostHistoryTypeId="2" PostId="10725" RevisionGUID="c2f26d8a-6fba-490e-a148-17a5e03df948" CreationDate="2011-10-05T22:00:43.333" UserId="6566" Text="Like many here I carry what I think I'll need and no more. But one thing I use a lot that I haven't seen in any posts yet that always come in handy for me are Cable Clamps:&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/QA-Worldwide-Cable-Clamp-organizer/dp/B0000CF6RO&#xD;&#xA;&#xD;&#xA;Even though I always carry some cable ties I rarely use them because these things are so easy to clamp and un-clamp. I always have a few latched onto to my D-rings on my bag. They are lightweight, very strong and come in many colors and sizes. I've seen them marketed under different names for different purposes but they all seem to be the same. Saw them at Home Depot too.&#xD;&#xA;&#xD;&#xA;Oh yeah, one more thing I carry...a little jewelers screwdriver to pop the batt off the bottom of the 722, 744t and super light and compact aluminum tripod chair that I can easily sling over my shoulder." ContentLicense="CC BY-SA 3.0" />
  <row Id="17719" PostHistoryTypeId="2" PostId="10726" RevisionGUID="39b21a79-4e0b-492a-a36d-a63cf17f4fed" CreationDate="2011-10-05T23:12:22.753" UserId="6411" Text="I've only used Structure LE as a quick footstep sampler when there's no time to record custom foley, works great. Here's how I use it:&#xD;&#xA;&#xD;&#xA;Pull any appropriate footstep file into your timeline, use Beat Detective to separate into regions, grab the regions, drag and drop into a Structure channel, select how you want to fill the keyboard (white keys only, black keys only, chromatically), start playing along with picture. Turns out reasonably well.&#xD;&#xA;&#xD;&#xA;So in that regard, certainly, I'd love HQ foley FX. Obviously, they won't beat recording actual custom foley though." ContentLicense="CC BY-SA 3.0" />
  <row Id="17720" PostHistoryTypeId="2" PostId="10727" RevisionGUID="9d9c165b-36fe-4453-b1ac-a3d627a59a8d" CreationDate="2011-10-05T23:30:32.247" UserId="2136" Text="Trying to get to Occupy Philly, might be able to get some recordings if I can carry my gear on the bus." ContentLicense="CC BY-SA 3.0" />
  <row Id="17721" PostHistoryTypeId="2" PostId="10728" RevisionGUID="f42bc701-f160-4719-baac-c3b278705c9a" CreationDate="2011-10-06T02:40:30.980" UserId="300" Text="Hello hello,&#xD;&#xA;&#xD;&#xA;I know there are a few related threads about re-conforming to new picture cuts on the board but they've only really been nibbled at, and I'm keen to hear about people's re-conforming habits in more detail should they care to share.&#xD;&#xA;&#xD;&#xA;Up until recently most of the work coming through the studio I work at was locked -- including the shorts\features as often the picture editors were working upstairs and schedules were pretty generous meaning that we didn't have to get cracking on unlocked pictures. Also, in the years I've been here there's been a bit of a move from mostly TV towards more feature films.&#xD;&#xA;&#xD;&#xA;I've just finished a project that went through so many iterations, partly because it's a co-pro and the notes just didn't stop coming.. and also because the schedule was tight. At the same time the demands on the sound were huge so there was just no point waiting for lock because of the amount of detail that it needed.&#xD;&#xA;&#xD;&#xA;So for what it's worth, below is my workflow, and I'd be really keen to hear if there are better ways to do things from you folks who are working with film constantly. I know a lot of this stuff is really rudimentary but I might as well spell it out in case even the simple stuff can be bettered.&#xD;&#xA;&#xD;&#xA;I'm using Conformalizer v3.2 which has been excellent, and am on PTLE8.0.4 with cptk&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;-Offline editor outputs EDLS for each video track at the end of each assembly, and they (tell avid to) keep the start and end of the Source tape names, so the middle is truncated.&#xD;&#xA;&#xD;&#xA;-Import OLD and NEW .edl's in to conformalizer and create the changelist&#xD;&#xA;&#xD;&#xA;-Reconform the guide audio and quicktime first to check that nothing crazy is going on.&#xD;&#xA;&#xD;&#xA;-Make any changes to the changelist, add events for holes that you have material for.&#xD;&#xA;&#xD;&#xA;-Create clusters of region groups for material, and avoid grouping too much silence. Region grouping the entire session makes things a lot slower it would seem.&#xD;&#xA;&#xD;&#xA;-Move entire session down to #x hours and tell conformalizer how much to offset the source by.&#xD;&#xA;&#xD;&#xA;-Make all those tracks Inactive, and make quicktime offline.&#xD;&#xA;&#xD;&#xA;-Thin All Automation (in an effort to quicken things up this seemed to help.. especially after 5 or so re-conforms where you've got so many consecutive identical breakpoints across x number of automation lanes)&#xD;&#xA;&#xD;&#xA;-hit the button&#xD;&#xA;&#xD;&#xA;-beer \ coffee \ SSD. and ready teh backhand for anyone nearing the computer.&#xD;&#xA;&#xD;&#xA;Blah!&#xD;&#xA;Any steez-enhancing suggestions, please go ahead!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17722" PostHistoryTypeId="1" PostId="10728" RevisionGUID="f42bc701-f160-4719-baac-c3b278705c9a" CreationDate="2011-10-06T02:40:30.980" UserId="300" Text="Reconforming workflow" ContentLicense="CC BY-SA 3.0" />
  <row Id="17723" PostHistoryTypeId="3" PostId="10728" RevisionGUID="f42bc701-f160-4719-baac-c3b278705c9a" CreationDate="2011-10-06T02:40:30.980" UserId="300" Text="&lt;re-conforming&gt;&lt;picture&gt;&lt;film&gt;&lt;workflow&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17724" PostHistoryTypeId="5" PostId="2965" RevisionGUID="86ab72f0-a43d-4e16-b463-bd81a496bb3f" CreationDate="2011-10-06T03:29:52.067" UserId="393" Comment="added 304 characters in body" Text="I use Sonar Home Studio, which I occasionally ReWire with Live.  The thing that's weird about Sonar is you can't compose AND do sound design in the same project, because tempo changes mess everything else up (it locks the samples to beat and measure, and not real time), but if you can learn to work around that, all is fine.&#xD;&#xA;&#xD;&#xA;Also, I have Sony Vegas Movie Studio to downgrade videos for easier import into Sonar.  Then I just export an audio file and put it all back together in Vegas.&#xD;&#xA;&#xD;&#xA;**UPDATE Oct. 2011**:  I just moved up to Sonar X1 Producer.  It's taking some getting used to, but it still feels, largely, like Sonar.&#xD;&#xA;&#xD;&#xA;Also, the thing about not being able to compose and design I mentioned above... that was just me not understanding things.  I've learned quite a bit since then." ContentLicense="CC BY-SA 3.0" />
  <row Id="17725" PostHistoryTypeId="2" PostId="10729" RevisionGUID="f72fff68-9f35-4d26-9f6b-f178abc6a75b" CreationDate="2011-10-06T03:35:29.017" UserId="393" Text="I was just thinking about this, today -- we talk a lot about what DAW we use, and even why we should use them, but what do we actually NEED as sound designers?&#xD;&#xA;&#xD;&#xA;DAWs, today, are largely built for musicians and composers, and we just kind of accept what we're given.  Granted, that's like saying we need a Ferrari and we're given a Lamborghini -- we can't really complain, as it's similar enough we can deal with it.&#xD;&#xA;&#xD;&#xA;But, if someone were to build a DAW from the ground up with sound design (and all things related to sound design like audio post production), what would have to be in it? " ContentLicense="CC BY-SA 3.0" />
  <row Id="17726" PostHistoryTypeId="1" PostId="10729" RevisionGUID="f72fff68-9f35-4d26-9f6b-f178abc6a75b" CreationDate="2011-10-06T03:35:29.017" UserId="393" Text="What do sound designers need in a DAW?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17727" PostHistoryTypeId="3" PostId="10729" RevisionGUID="f72fff68-9f35-4d26-9f6b-f178abc6a75b" CreationDate="2011-10-06T03:35:29.017" UserId="393" Text="&lt;daw&gt;&lt;wishful-thinking&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17729" PostHistoryTypeId="2" PostId="10731" RevisionGUID="8df949a7-a867-477b-8f73-0e5a47f82624" CreationDate="2011-10-06T04:21:26.167" UserId="1303" Text="I am about to do this myself. Have been recording with the H4N for about 6 months and am receiving a new D50 as &quot;an upgrade&quot; on friday to take with me on a trip to NYC. Hoping for a noticeable difference in everything you originally stated MacJ." ContentLicense="CC BY-SA 3.0" />
  <row Id="17730" PostHistoryTypeId="2" PostId="10732" RevisionGUID="3168fa91-bb59-483c-8517-667b8e93f754" CreationDate="2011-10-06T04:43:53.960" UserId="1237" Text="I don't know, maybe there is some analog of my thoughts and my English is so bad.... but, nevertheless. &#xD;&#xA;&#xD;&#xA;I personally want such thing, when the audio tracks in your DAW could be transformed in the keys of midi-keyboard. &#xD;&#xA;&#xD;&#xA;Let's say you have 10 tracks in your session. Each track contains some audio event. You just switch DAW in this magical “Track-to-MIDI” mode and now, when you press a certain key on midi-keyboard the DAW plays the sound which is placed on the linked track. The starting position of playback it is a beginning of audio region or sync point (pro tools) or snap point (nuendo) of this region. You can play these linked events when you DAW is stopped or also in real time to the video. And of course events are being played with all inserted plugins. And then you don't need such intermediary as Kontakt or Shortcircuit (free analog of Kontakt). Because your DAW is already a great sampler." ContentLicense="CC BY-SA 3.0" />
  <row Id="17733" PostHistoryTypeId="2" PostId="10733" RevisionGUID="dc803659-cb1f-4d27-9f8c-4b7f56dea37c" CreationDate="2011-10-06T06:40:56.357" UserId="6499" Text="gonna try and snatch occupy nola if i can borrow a recorder from a buddy of mine, My recorder has bit the dust as of late." ContentLicense="CC BY-SA 3.0" />
  <row Id="17734" PostHistoryTypeId="2" PostId="10734" RevisionGUID="712207a9-7c77-4476-af28-07f35616a2bc" CreationDate="2011-10-06T06:44:08.250" Text="D50 has no XLR inputs if you want record with good external mics... but there is some adapters like this one:&#xD;&#xA;http://www.bhphotovideo.com/c/product/516317-REG/Sony_XLR_1_XLR_1_XLR_Mic_Adapter.html Too expensive though" ContentLicense="CC BY-SA 3.0" />
  <row Id="17735" PostHistoryTypeId="5" PostId="10732" RevisionGUID="dfee6f56-956f-42c5-aec4-98685043b50c" CreationDate="2011-10-06T07:03:10.243" UserId="1237" Comment="added 12 characters in body" Text="I don't know, maybe there is some analogs of my thoughts and my English is so bad.... but, nevertheless. &#xD;&#xA;&#xD;&#xA;I personally want such thing, when the audio tracks in your DAW could be transformed in the keys of the midi-keyboard. &#xD;&#xA;&#xD;&#xA;Let's say you have 10 tracks in your session. Each track contains some audio event. You just switch DAW in this magical “Track-to-MIDI” mode and now, when you press a certain key on midi-keyboard the DAW plays the sound which is placed on the linked track. The starting position of playback it is the beginning of the audio region or sync point (pro tools) or snap point (nuendo) of this region. You can play these linked events when your DAW is stopped or also in real time to the video. And of course events are being played with all inserted plugins. And then you don't need such intermediary as Kontakt or Shortcircuit (free analog of Kontakt). Because your DAW is already a great sampler." ContentLicense="CC BY-SA 3.0" />
  <row Id="17736" PostHistoryTypeId="2" PostId="10735" RevisionGUID="569adff0-2f64-4f8e-9c8b-c575602b41a9" CreationDate="2011-10-06T08:24:20.590" UserId="721" Text="Hi People,&#xD;&#xA;&#xD;&#xA;This is my first post however I've been following up on the forum for a long time now.&#xD;&#xA;I'm about to take a editing/restoration work and it seems like it will be quite a bit of a problem.&#xD;&#xA;&#xD;&#xA;It's for a short film that will be sent to the Rotterdam film festival. According to the film editor: There are 2 long scenes that needs to be fixed. Long recordings of single mic (possibly shotgun). &#xD;&#xA;&#xD;&#xA;I've checked the video exports and: &#xD;&#xA;&#xD;&#xA;1) There are quite a lot of mic handling sounds in these recordings. 2 actors speak at the same time, speech levels are hugely different: one of them almost whispers and the other seems to be in normal voice level. On top of that add the background humming noise of lights (fluorescent)..&#xD;&#xA;&#xD;&#xA;2) In another long shot I have 3 actors, it's quite dynamic in voice levels which I like since they are all intelligible. The main problem however is the reverb. It's recorded in a empty huge basement sorta place. And although I think it fits to the scene, the directors seem to be in favor of having a very dried out sound..&#xD;&#xA;&#xD;&#xA;So, I've been asked to remove mic handling noise, balance speech levels (between actors), remove background noise, remove reverb...!!&#xD;&#xA;&#xD;&#xA;NOW, from what I've heard it seemed almost impossible to me (since it's single mic take), and if I'm wrong I dunno where to begin. &#xD;&#xA;&#xD;&#xA;I was thinking of asking if they have recorded room tones and getting my hands on those first. Then applying some careful gating, and some Izotope RX magic maybe.. but I'm pretty unsure how to go about this. &#xD;&#xA;&#xD;&#xA;Would you have any suggestions? Or should I just call the deal off? =)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17737" PostHistoryTypeId="1" PostId="10735" RevisionGUID="569adff0-2f64-4f8e-9c8b-c575602b41a9" CreationDate="2011-10-06T08:24:20.590" UserId="721" Text="Fixing bad audio/Cleaning up single mic long dialog takes (film sound)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17738" PostHistoryTypeId="3" PostId="10735" RevisionGUID="569adff0-2f64-4f8e-9c8b-c575602b41a9" CreationDate="2011-10-06T08:24:20.590" UserId="721" Text="&lt;audio-restoration&gt;&lt;cleaning&gt;&lt;sound-editing&gt;&lt;techniques&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17739" PostHistoryTypeId="5" PostId="10735" RevisionGUID="44a3d67f-9433-4edf-9328-b1ec2d882498" CreationDate="2011-10-06T08:31:44.863" UserId="721" Comment="edited body" Text="Hi People,&#xD;&#xA;&#xD;&#xA;This is my first post however I've been following up on the forum for a long time now.&#xD;&#xA;I'm about to take an editing/restoration work and it seems like it will be quite a bit of a problem.&#xD;&#xA;&#xD;&#xA;It's for a short film that will be sent to the Rotterdam film festival. According to the film editor: There are 2 long scenes that needs to be fixed. Long recordings of single mic (possibly shotgun). &#xD;&#xA;&#xD;&#xA;I've checked the video exports and: &#xD;&#xA;&#xD;&#xA;1) There are quite a lot of mic handling sounds in these recordings. 2 actors speak at the same time, speech levels are hugely different: one of them almost whispers and the other seems to be in normal voice level. On top of that add the background humming noise of lights (fluorescent)..&#xD;&#xA;&#xD;&#xA;2) In another long shot I have 3 actors, it's quite dynamic in voice levels which I like since they are all intelligible. The main problem however is the reverb. It's recorded in a empty huge basement sorta place. And although I think it fits to the scene, the director seem to be in favor of having a very dried out sound..&#xD;&#xA;&#xD;&#xA;So, I've been asked to remove mic handling noise, balance speech levels (between actors), remove background noise, remove reverb...!!&#xD;&#xA;&#xD;&#xA;NOW, from what I've heard it seemed almost impossible to me (since it's single mic take), and if I'm wrong I dunno where to begin. &#xD;&#xA;&#xD;&#xA;I was thinking of asking if they have recorded room tones and getting my hands on those first. Then applying some careful gating, and some Izotope RX magic maybe.. but I'm pretty unsure how to go about this. &#xD;&#xA;&#xD;&#xA;Would you have any suggestions? Or should I just call the deal off? =)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17740" PostHistoryTypeId="2" PostId="10736" RevisionGUID="2529af79-2d90-42b2-a97e-a9e0b2aa34a7" CreationDate="2011-10-06T08:39:01.510" UserId="1055" Text="hello all,&#xD;&#xA;&#xD;&#xA;ok the thing is, i already have h4n..the quality is emmm...kinda ok for beginning, now i'm thinking about upgrade and as far as i know, the audio will be cleaner with h4n with sd, but the thing is i will be mostly recording sounds for sound design so i think i need 192khz sampling rate(what as far as i know r44 does), also i think that by just using r44 i will feel a little bit more comfortable (also i then could sell h4n and buy a better mic, or save more money and buy a proper mic), BUT i'm a little bit scared about preamps on r44, thou i'm fixing sound from h4n quite successfully with izotope rx plugins, i think there will be situation where i will really need clean preamps...so which way would you go for?&#xD;&#xA;&#xD;&#xA;p.s.:sorry for my not so good english ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17741" PostHistoryTypeId="1" PostId="10736" RevisionGUID="2529af79-2d90-42b2-a97e-a9e0b2aa34a7" CreationDate="2011-10-06T08:39:01.510" UserId="1055" Text="h4n+sd preamp or just r44?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17742" PostHistoryTypeId="3" PostId="10736" RevisionGUID="2529af79-2d90-42b2-a97e-a9e0b2aa34a7" CreationDate="2011-10-06T08:39:01.510" UserId="1055" Text="&lt;preamp&gt;&lt;zoom&gt;&lt;edirol&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17743" PostHistoryTypeId="4" PostId="10735" RevisionGUID="a411f948-98e6-4120-ae98-4478cbb9741d" CreationDate="2011-10-06T09:11:18.917" UserId="721" Comment="edited title" Text="Question: Fixing bad audio/Cleaning up single mic long dialog takes (film sound)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17744" PostHistoryTypeId="2" PostId="10737" RevisionGUID="b08e0cb4-a9f9-4b1b-a2c0-0d682df1f84e" CreationDate="2011-10-06T09:40:31.440" UserId="2899" Text="Hi audiLE,&#xD;&#xA;&#xD;&#xA;I have had the same problems in the past where I have been sound editor/designer and not the on set recorder. &#xD;&#xA;&#xD;&#xA;What I suggest is you first ask for any room tones they may have recorded. If they are clean and well recorded then you may be able to mask some of the background noise. If they are not usable then its going to be even more difficult for you.&#xD;&#xA;&#xD;&#xA;Getting rid of handling noise isn't too much of a problem as long as it doesn't occur during dialogue that is going to be used. You can just cut out the handling noise if its on its own and the room tone should cover the gap (if you have it) &#xD;&#xA;&#xD;&#xA;Two actors talking over each other will need to be re-recorded (unless that's the result the director wants.)&#xD;&#xA;&#xD;&#xA;Reverb is notoriously difficult to get rid of. Most of the professionals I have heard talk about this have had to either re-record the entire scene which the reverb has ruined or use Foley and sound design techniques. I have had some success in getting rid, or reducing the reverb a little in experiments I have done but I still don't think its good enough yet to be applied to a festival bound film.  &#xD;&#xA;&#xD;&#xA;The florescent light bulb tend to hum at a specific frequency and stay there whilst they are on. Just use a parametric EQ and sweep across the board (unless your hearings good and you know what frequency it is :D ) to pin point it and then reduce or even cut that frequency out.&#xD;&#xA;&#xD;&#xA;For the different levels of the actors voices first thing I would try is normalizing the audio file but this often brings out loud unwanted background hiss. You can get rid of the hiss with extensive E.Q-ing depending on how bad it is. If this is does not work then becasue they are only on one track, ADR will more than likely be needed.&#xD;&#xA;&#xD;&#xA;I hope some of this information helped, If you want to talk more about it, or my reverb removing technique (but remember it doesn't always work, that's why I haven't posted it here yet) Add me on Facebook search Blank Canvas Sound Design and I have a black and white picture. I will gladly help out as much as I can.&#xD;&#xA;&#xD;&#xA;Good Luck,&#xD;&#xA;&#xD;&#xA;Scott &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17745" PostHistoryTypeId="2" PostId="10738" RevisionGUID="ad46d9c5-ec65-42f2-aadc-305612ee875e" CreationDate="2011-10-06T09:45:27.593" UserId="842" Text="Well, I might probably find more stuff the more I think of it, but right now there are a few things I can't live without (in no specific order);&#xD;&#xA;&#xD;&#xA;- Timestretch/Warp&#xD;&#xA;- Pitchshifter&#xD;&#xA;- Good surround panning&#xD;&#xA;- Automation capable plugin system in absolute realtime (though latency of course is acceptable to some extent)&#xD;&#xA;- Dynamic processing&#xD;&#xA;- Freehand waveform redraw&#xD;&#xA;- Good filters&#xD;&#xA;- Realistic though not necessarily naturalistic reverb&#xD;&#xA;- Possibility of outboard connection&#xD;&#xA;- Full (and working) AAF/OMF&#xD;&#xA;- Reliable timecode, SMPTE via both LTC and MTC without fuzz (the bad fuzz, that is)&#xD;&#xA;- A reliable and easy to configure video-system&#xD;&#xA;- Total reliability. Period&#xD;&#xA;- Logical, easily accessible design on interface, that doesn't just piss me off no matter how well I know it (still hate several early sequencers I had on my Atari before finding Pro 24, and later Cubase...)&#xD;&#xA;- As close to bit transparency as possible&#xD;&#xA;- Good Broadcast Wave-compatible file library software with meta-tagging and reading (MediaBay in Nuendo)&#xD;&#xA;&#xD;&#xA;Of course the plugins, processors, reverb and filters don't really need to be bundled with the DAW as such (and the ones that are are a little too often not very good, like the filters in Nuendo), but at least a few useful ones for good measure's not too much to ask for I'd say.&#xD;&#xA;&#xD;&#xA;I work much more with sources, extreme layering and microphone techniques than pure effects, so for me, personally, I most of all need high precision editing tools and &quot;tamers&quot;, so to say. IE plugs like compressors, limiters, filters and gates to keep the material more contained and kept to the curb. Not to mention pitchshifters.&#xD;&#xA;&#xD;&#xA;That was the bare essentials (of what I can think of right now), add to that Distortions, grainers, vocoders, physical modeling, external controllers, muxing, and every modulating and delay-based effect known to man (or woman ;-)), and you'll get me *very* happy!&#xD;&#xA;&#xD;&#xA;Jeez, to think that I started out with a really early version of SAW (later SAW Pro, though not that much of a difference) with nothing more than simple editing and some non-realtime effects..." ContentLicense="CC BY-SA 3.0" />
  <row Id="17746" PostHistoryTypeId="5" PostId="10737" RevisionGUID="63e99d35-09f5-4f52-9877-0b270eef62da" CreationDate="2011-10-06T11:12:39.857" UserId="2899" Comment="added 168 characters in body" Text="Hi audiLE,&#xD;&#xA;&#xD;&#xA;I have had the same problems in the past where I have been sound editor/designer and not the on set recorder. &#xD;&#xA;&#xD;&#xA;What I suggest is you first ask for any room tones they may have recorded. If they are clean and well recorded then you may be able to mask some of the background noise. If they are not usable then its going to be even more difficult for you.&#xD;&#xA;&#xD;&#xA;Getting rid of handling noise isn't too much of a problem as long as it doesn't occur during dialogue that is going to be used. You can just cut out the handling noise if its on its own and the room tone should cover the gap (if you have it) &#xD;&#xA;&#xD;&#xA;Two actors talking over each other will need to be re-recorded (unless that's the result the director wants.)&#xD;&#xA;&#xD;&#xA;Reverb is notoriously difficult to get rid of. Most of the professionals I have heard talk about this have had to either re-record the entire scene which the reverb has ruined or use Foley and sound design techniques. I have had some success in getting rid, or reducing the reverb a little in experiments I have done but I still don't think its good enough yet to be applied to a festival bound film.  &#xD;&#xA;&#xD;&#xA;The florescent light bulb tend to hum at a specific frequency and stay there whilst they are on. Just use a parametric EQ and sweep across the board (unless your hearings good and you know what frequency it is :D ) to pin point it and then reduce or even cut that frequency out.&#xD;&#xA;&#xD;&#xA;For the different levels of the actors voices first thing I would try is normalizing the audio file but this often brings out loud unwanted background hiss. You can get rid of the hiss with extensive E.Q-ing depending on how bad it is. If this is does not work then becasue they are only on one track, ADR will more than likely be needed.&#xD;&#xA;&#xD;&#xA;I hope some of this information helped, If you want to talk more about it, or my reverb removing technique (but remember it doesn't always work, that's why I haven't posted it here yet) Add me on Facebook search Blank Canvas Sound Design and I have a black and white picture. I will gladly help out as much as I can.&#xD;&#xA;&#xD;&#xA;Also, you might want to read this pos: http://socialsounddesign.com/questions/7034/how-to-minimizing-noise-and-reverb-with-diy-multi-band-expansion &#xD;&#xA;&#xD;&#xA;It may help.&#xD;&#xA;&#xD;&#xA;Good Luck,&#xD;&#xA;&#xD;&#xA;Scott &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17747" PostHistoryTypeId="2" PostId="10739" RevisionGUID="c1c49422-9259-487a-aa9a-c66b5c5f5a1f" CreationDate="2011-10-06T12:33:25.090" UserId="432" Text="This is going to be an issue of managing your client's expectations. Make sure the director is aware of the difficult nature of the work, and WHY it is difficult. Obviously, you have to be careful doing this. Pointing out problems has to be presented in a constructive way. Talk about the possible solutions available and what effect they will have on the audio (both positive and negative). You don't want him or her to be surprised with the result in a negative way.&#xD;&#xA;&#xD;&#xA;Some tricks you can try as far as noise reduction (I'll touch on some different ideas than Blank Canvas, who gave you some great information):&#xD;&#xA;&#xD;&#xA;It sounds like you have Izotope RX:&#xD;&#xA;&#xD;&#xA;-You can use this to deal with mic bumps pretty easily. The bulk of their frequency content tends to be in the very low-end of the spectrum. So even if there are some in concurrence with the dialog, you should be able to pull them down. Cpmpletely remove any fundamental frequencies of the bump that occur below the voice fundamentals, then you can carefully use spectral repair for any lingering remnants that occur higher up in the spectrum (use extreme care when doing this second part though).&#xD;&#xA;&#xD;&#xA;-Your background humming/buzzing noises are probably going to be relatively steady in terms of frequency content, so Izotop should be able to handle these relatively easily.&#xD;&#xA;&#xD;&#xA;Reverb Problems:&#xD;&#xA;&#xD;&#xA;-My go-to trick is multiband expansion. What you're trying to do is create more separation between the direct and reflected sounds, but you still want to have a natural tail out. Gating tends to be too extreme, and will chop off the tail. An expander helps create that separation between the source and the room in those really active frequency bands, and using a multiband version (like Waves C4) lets you really hone in on the trouble/really reverberant spots." ContentLicense="CC BY-SA 3.0" />
  <row Id="17748" PostHistoryTypeId="2" PostId="10740" RevisionGUID="99133825-62ac-4ad4-88a8-d73f87ce9162" CreationDate="2011-10-06T13:08:58.147" UserId="863" Text="you're going the right away about it already it seems, if it's any help this is what I've done in this situation.&#xD;&#xA;&#xD;&#xA;1) ask for alt. takes, you can replace some dialogue and cut it up to match lipsync. Stretching the vowels in words can help you fit them.&#xD;&#xA;&#xD;&#xA;20 ask for room tones and ambiences, draw out bumps etc and cover using tone.&#xD;&#xA;&#xD;&#xA;3) explain to the director what the effects will be of using noise reduction or not having any room tone/alternative takes and why you may need to even go for ADR if he is not happy.&#xD;&#xA;&#xD;&#xA;4) set your levels, set your fades do it manually, i wouldn't use normalize as it consolidates your region and you can't stretch it out if you've cut off the end of an S for example. &#xD;&#xA;&#xD;&#xA;5) use WNS noise reduction or izotope (as you have it), set your levels again&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I've never dealt with very reverberant rooms and a director wanting you to remove it, explain it could need ADR and that means spending money and he/she will probably soon think that the reverberant room adds character to the scene. &#xD;&#xA;&#xD;&#xA;Whatever you do, don't call the deal off, this is a great learning experience!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17749" PostHistoryTypeId="2" PostId="10741" RevisionGUID="bfc66b3f-95ba-47ed-be0a-7c871fc3e15d" CreationDate="2011-10-06T13:16:25.163" UserDisplayName="user6513" Text="In no particular order.&#xD;&#xA;&#xD;&#xA;1. Multi-session tab view like FCP, we must also be able to copy and paste tracks with automation and plugins attached between the tabs.&#xD;&#xA;&#xD;&#xA;2. Crystal sync with no latency issues on mixdown or export, can be an inbuilt feature or a plugin that automatically calculates and renders it appropriately.&#xD;&#xA;&#xD;&#xA;3. I like the ability to define an ambience noise print as found in Soundtrack Pro, and add it onto a sound clip.&#xD;&#xA;&#xD;&#xA;4. Inbuilt conforming ability.&#xD;&#xA;&#xD;&#xA;5. Batch file naming function, or generally more complex file naming functions i.e. the ability to select multiple clips within the DAW and define part of the name and let the DAW handle the part number.&#xD;&#xA;&#xD;&#xA;6. Ability to decode non-linear editing software files without having to use a third party protocol like OMF and AAF. I want to be able to open up FCP, Avid, Premier and all the other popular software files and instantly ingest the needed files into the DAW.&#xD;&#xA;&#xD;&#xA;7. Background mixdown/bounce ability.&#xD;&#xA;&#xD;&#xA;8. Editing functions activated by 'gesturing' on a multi-touch interface.&#xD;&#xA;&#xD;&#xA;9. Don't know how useful it would be, but visually, it would be nice to have a meter that had image retention abilities, so that once you played out your mix, you can see a horizontal representation of where peaks and rms values are at.&#xD;&#xA;&#xD;&#xA;I like to wish for the stars, so hopefully I get the moon. Ha..." ContentLicense="CC BY-SA 3.0" />
  <row Id="17750" PostHistoryTypeId="2" PostId="10742" RevisionGUID="12ebc5aa-71bd-4c3d-9ac2-28d6afebafb3" CreationDate="2011-10-06T15:25:19.220" UserId="29" Text="I started on an EMU-32 hardware sampler, then an Emu E5000 (ooh, with those gigantic Iomega Zip disks), then moved to Logic's EXS24 once I went nearly all-virtual with my instruments, which I find very fast for setting up patches and having pretty good routing options...good balance of complexity vs. immediacy. However, now I'm probably going to move to Kontakt in the next year or two, as that seems to be one of the most popular cross-DAW samplers with oodles of routing and filtering options. Many, or most, sample pack releases tend to be targeting Kontakt as a release platform these days anyway..." ContentLicense="CC BY-SA 3.0" />
  <row Id="17751" PostHistoryTypeId="2" PostId="10743" RevisionGUID="3a27ef10-af52-43e2-9d72-fa9a5cd0229d" CreationDate="2011-10-06T16:13:08.713" UserId="18" Text="I've had good luck with my Neumann RSM191.  It pulls sounds in closer than a cardioid setup would, so you have to be mindful about that, but that isn't always a bad thing.  It's not my primary setup for ambience recording, but I'm usually happy with the results I get.&#xD;&#xA;&#xD;&#xA;I recorded all of this rain with the 191:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/crussom/sets/december-rain-sound-library-preview-crfx/&#xD;&#xA;&#xD;&#xA;Also this train station amb:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/search?q%5Bfulltext%5D=chuck+russom+train&#xD;&#xA;&#xD;&#xA;And this city traffic stuff:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/crussom/amb-traffic-pasadena-colorado-raymond-01-crussomfx&#xD;&#xA;http://soundcloud.com/crussom/amb-traffic-pasadena-raymond-top-parking-stucture-01-crussomfx" ContentLicense="CC BY-SA 3.0" />
  <row Id="17752" PostHistoryTypeId="2" PostId="10744" RevisionGUID="fb534274-688a-4303-b378-cebe2ff368d9" CreationDate="2011-10-06T16:25:51.257" UserId="18" Text="Nathan and Paul have already given you some great tips.  Here are my thoughts:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Take the time to setup all of your monitoring presets before you go out in the field&#xD;&#xA;&#xD;&#xA;I always record with the limiter on&#xD;&#xA;&#xD;&#xA;Transfer your recordings off the machine after your session and format your drive, you don't want to be out in the field, run out of space, and have to selectively delete a bunch of recordings.&#xD;&#xA;&#xD;&#xA;Not really as big a deal with the 722, but it is huge with the 744: Before each session, make sure you set your input routing so that you are recording to the proper number of tracks.  It is annoying to find that, that while you were only recording a single mono channel, you end up with a 4 channel wav (with 3 blank channels).  I can't tell you how many times I've recorded mono or stereo and came back with a 4 channel recording all because I forgot to check my settings ahead of time.  It's even worse if it is set to record a single track when you thought you were recording multiple tracks!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17753" PostHistoryTypeId="2" PostId="10745" RevisionGUID="9aa5e0aa-6391-4c41-a65a-573f63f4c293" CreationDate="2011-10-06T16:35:38.603" UserId="2901" Text="If you're looking for a good D50 windscreen, check out these!&#xD;&#xA;&#xD;&#xA;http://www.redheadwindscreens.com/products/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17754" PostHistoryTypeId="2" PostId="10746" RevisionGUID="dac39ae2-5cfb-4e17-8039-30b103c7b475" CreationDate="2011-10-06T18:21:37.773" UserId="1286" Text="If you're looking for better sound quality, I'd suggest saving your money for decent external mics instead of purchasing an entirely new recorder. &#xD;&#xA;&#xD;&#xA;**Sony PCM D50 ($484):** Good built-in mics. No XLR input. Great for &quot;on the run&quot; recording but the lack of XLR input (and ridiculous size/cost of the XLR adapter) makes it a poor standalone recorder. Not a great choice if you're looking to eventually use external mics.&#xD;&#xA;&#xD;&#xA;**Tascam DR-100 ($313):** Decent built-in mics, includes XLR input, arguably better preamp/controls/battery life than the H4N. Good as a standalone recorder and also good for capturing quick sounds on the fly. The downside: As with the H4N, you'll likely want a mixer/preamp when using external mics (read [here][1] and [here][2]). This will run you another $350 or more.&#xD;&#xA;&#xD;&#xA;**Marantz PMD 661 ($599):** Larger size, poor built-in mics, but in most other ways a much better standalone recorder than those listed above (battery life, preamps, etc).&#xD;&#xA;&#xD;&#xA;**Tascam HD-P2 ($699):** Fantastic as a standalone recorder, but you will probably never use it without an external mic hooked up... making it useless for quick and easy &quot;on the run&quot; recording.&#xD;&#xA;&#xD;&#xA;It's a matter of weighing your options. Do you plan to eventually use external mics? Or do you just want something small to run around town and record sounds with?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dvxuser.com/V6/showthread.php?258998-H4N-Preamps-too-quiet&#xD;&#xA;  [2]: http://www.danmccomb.com/posts/880/zoom-h4n-with-sound-devices-mixpre-how-to-properly-connect-the-two-for-pristine-audio/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17755" PostHistoryTypeId="2" PostId="10747" RevisionGUID="8b8b7255-381b-48b4-8ce4-93bbe65a5b92" CreationDate="2011-10-06T18:29:10.917" UserId="1266" Text="I was searching through my library for some school bus sounds and ran into a L and R version and then stereo.  For one reason or another, I previewed the L version and thought whoops so I switched to the stereo version.  I noticed that phasing helped me determine space and depth or stereo field.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17756" PostHistoryTypeId="5" PostId="10746" RevisionGUID="a31d4cfb-f16e-4aa4-b8ae-7401a94e348a" CreationDate="2011-10-06T18:33:12.627" UserId="1286" Comment="deleted 9 characters in body" Text="If you're looking for better sound quality, I'd suggest saving your money for decent external mics instead of purchasing an entirely new recorder. &#xD;&#xA;&#xD;&#xA;**Sony PCM D50 ($484):** Good built-in mics. No XLR input. Great for &quot;on the run&quot; recording but the lack of XLR input (and ridiculous size/cost of the XLR adapter) makes it a poor standalone recorder. Not a great choice if you're looking to eventually use external mics.&#xD;&#xA;&#xD;&#xA;**Tascam DR-100 ($313):** Decent built-in mics, includes XLR input, arguably better preamp/controls/battery life than the H4N. Good as a standalone recorder and also good for capturing quick sounds on the fly. The downside: As with the H4N, you'll likely want a mixer/preamp when using external mics (read [here][1] and [here][2]). This will run you another $350 or more.&#xD;&#xA;&#xD;&#xA;**Marantz PMD 661 ($599):** Larger size, poor built-in mics, but in other ways a much better standalone recorder than those listed above (preamps, controls, etc).&#xD;&#xA;&#xD;&#xA;**Tascam HD-P2 ($699):** Fantastic as a standalone recorder, but you will probably never use it without an external mic hooked up... making it useless for quick and easy &quot;on the run&quot; recording.&#xD;&#xA;&#xD;&#xA;It's a matter of weighing your options. Do you plan to eventually use external mics? Or do you just want something small to run around town and record sounds with?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dvxuser.com/V6/showthread.php?258998-H4N-Preamps-too-quiet&#xD;&#xA;  [2]: http://www.danmccomb.com/posts/880/zoom-h4n-with-sound-devices-mixpre-how-to-properly-connect-the-two-for-pristine-audio/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17757" PostHistoryTypeId="5" PostId="10746" RevisionGUID="25564a20-a1e1-482b-bccc-2029166b4b6c" CreationDate="2011-10-06T18:38:56.987" UserId="1286" Comment="added 49 characters in body; added 11 characters in body; added 45 characters in body" Text="If you're looking for better sound quality, I'd suggest saving your money for decent external mics instead of purchasing an entirely new recorder.&#xD;&#xA;&#xD;&#xA;**Sony PCM D50 ($484):** Good built-in mics. No XLR input. Great for &quot;on the run&quot; recording but the lack of XLR input (and ridiculous size/cost of the XLR adapter) makes it a poor standalone recorder. IMO, not a great choice if you want to focus on quiet sounds (i.e. foley) or plan to eventually use external mics.&#xD;&#xA;&#xD;&#xA;**Tascam DR-100 ($313):** Decent built-in mics, includes XLR input, arguably better preamp/controls/battery life than the H4N. Good as a standalone recorder and also good for capturing quick sounds on the fly. The downside: As with the H4N, you'll likely want a mixer/preamp when using external mics (read [here][1] and [here][2]). This will run you another $350 or more.&#xD;&#xA;&#xD;&#xA;**Marantz PMD 661 ($599):** Larger size, poor built-in mics, but in other ways a much better standalone recorder than those listed above (preamps, controls, XLR input, etc).&#xD;&#xA;&#xD;&#xA;**Tascam HD-P2 ($699):** Fantastic as a standalone recorder, but you will probably never use it without an external mic hooked up... making it useless for quick and easy &quot;on the run&quot; recording.&#xD;&#xA;&#xD;&#xA;It's a matter of weighing your options. Do you plan to eventually use external mics? Or do you just want something small to run around town and record sounds with? What kind of sounds are you looking to record? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dvxuser.com/V6/showthread.php?258998-H4N-Preamps-too-quiet&#xD;&#xA;  [2]: http://www.danmccomb.com/posts/880/zoom-h4n-with-sound-devices-mixpre-how-to-properly-connect-the-two-for-pristine-audio/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17758" PostHistoryTypeId="2" PostId="10748" RevisionGUID="0dbf5316-3c84-4d08-a462-ee24648610de" CreationDate="2011-10-06T19:15:17.337" UserId="1286" Text="First consider some alternative recorders: e.g. Marantz PMD 661 ($599), Tascam HD-P2 ($699) and the Tascam DR-100 ($313). And look into [JuicedLink][1] preamps if your budget is tight ($300).&#xD;&#xA;&#xD;&#xA;Not sure why you feel the need to record in 192khz. If your hope is to record the *&quot;best possible quality sound ever&quot;* you should be saving up for a Sound Devices recorder and proper mics instead of relying on cheap handheld recorders.&#xD;&#xA;&#xD;&#xA;I have heard some samples from H4N + preamp + mics and it sounds great. I'm sure R44/HD-P2 + preamp + mics will sound even better. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.juicedlink.com/audio-preamps-mixers-etc-c-66" ContentLicense="CC BY-SA 3.0" />
  <row Id="17759" PostHistoryTypeId="2" PostId="10749" RevisionGUID="9b3c411a-5709-469b-aac6-46c523d4c118" CreationDate="2011-10-06T21:39:04.067" UserId="2899" Text="I own a Tascam DR-100 and in conjunction with a good shotgun microphone (although not the best on the market) the Tascam is extremely good quality and will give you professional recordings of the sound you want to capture.&#xD;&#xA;&#xD;&#xA;I have used the  R44 and it is a very, very good portable recorder, and I don't have anything negative to say about it besides one thing. It goes through batteries so quickly. I have tried so many different brands and when recording at only 96kHz (used as a reference frequency against other records not capable of the full 192kHz, such as the DR-100) I have only ever managed to stay in the field without a battery change for maximum 1 and a bit hours using one external mic with the phantom power provided by the R4. and just a little over 2 hours with the phantom power being provided via a battery.&#xD;&#xA;&#xD;&#xA;The DR-100 however, has a Lithium Ion battery that I would trust to run my own life support machine. O.K. a little exaggerated but I'm sure you understand my enthusiasm. I was out recording on a film set from 10am until around 6pm this summer just gone and I had to change to the AA batteries at 16:30pm. this was quite a heavy recording sessions with starts and stops of recordings and turning the device on and off for set preparation for a minute or two. This is whilst it is providing the phantom power for a RODE NTG2 shotgun. &#xD;&#xA;&#xD;&#xA;So the Lithium Ion alone lasted 6 hours (of course this number will change due to not recording constantly for 6 hours) However you can see that having that powerful internal battery is a definite advantage for sound designers who are out most of the day collecting material.&#xD;&#xA;&#xD;&#xA;As for the AA batteries I have only ever used 2500mAh rechargeable and whilst providing the phantom power, I would say you can get 2 hours out of them (it may be more, this is just an estimation).&#xD;&#xA;&#xD;&#xA;So to summarize, &#xD;&#xA;&#xD;&#xA;The Edirol R44 has fantastic quality and 4 mic capabilities but will cost you an arm and a leg in batteries, not to mention the high price of the unit.&#xD;&#xA;&#xD;&#xA;The Tascam DR-100 can record up to 96kHz 24bit but some sound designers will say this quality is plenty for most manipulation needs. (some may disagree) The built in Lithium Ion battery is a marathon runner and unless you get a defective one, it will carry you throughout the day. Finally you can buy a good mic and the DR-100 for the price of the R44, which, I'm sure most people with agree with me, is better than having a kick ass recorder and microphone with a rubbish frequency response. Quality mics are more important.&#xD;&#xA;&#xD;&#xA;Neither units cause horribly noticeable amounts of operation noise or hiss.&#xD;&#xA;&#xD;&#xA;My opinion, the Tascam is the choice for an independent sound designer like me. If you have the money to buy batteries by the barrel, go for the Edirol R44 to have that extra sound quality when manipulating your sounds. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17760" PostHistoryTypeId="2" PostId="10750" RevisionGUID="0af21360-8910-4b53-9368-096a2b597f4f" CreationDate="2011-10-06T22:21:15.657" UserId="1159" Text="I'm going to record a bunch of stuff in a wood workshop this weekend and am preparing a list of what I want to capture. Thought I would throw it out here to see if anyone has any ideas that I might have missed. I know there's table, band and chop saws as well as various hand power tools and a big old chainsaw.&#xD;&#xA;Given a day in a workshop what would you record?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17761" PostHistoryTypeId="1" PostId="10750" RevisionGUID="0af21360-8910-4b53-9368-096a2b597f4f" CreationDate="2011-10-06T22:21:15.657" UserId="1159" Text="Wood workshop recordings." ContentLicense="CC BY-SA 3.0" />
  <row Id="17762" PostHistoryTypeId="3" PostId="10750" RevisionGUID="0af21360-8910-4b53-9368-096a2b597f4f" CreationDate="2011-10-06T22:21:15.657" UserId="1159" Text="&lt;sound-design&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17763" PostHistoryTypeId="5" PostId="10721" RevisionGUID="02c8ad19-3697-4ce9-af6d-494d04d67739" CreationDate="2011-10-06T22:22:48.897" UserId="194" Comment="added 322 characters in body" Text="Yep, D50 much better in that regard - though I'd hang on to that H4n for low pro recordings with ext mics.&#xD;&#xA;&#xD;&#xA;[Here's the shootout I did a while back.][1]&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;people are suggesting the Sony XLR adapter is the main way to get XLR mics into the device.  IMO the Deneke PS2 is a far better solution for 1/3d the price.&#xD;&#xA;&#xD;&#xA;[listening test of PS2-&gt;PCMD50 vs a 744t here.][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://thesoundmyheadmakes.blogspot.com/2010/11/handheld-recorder-shootout-part-1-specs.html&#xD;&#xA;  [2]: http://thesoundmyheadmakes.blogspot.com/2011/03/quickie-shootout-744t-vs-pcm-d50-with.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="17764" PostHistoryTypeId="2" PostId="10751" RevisionGUID="f9ca886c-3631-45df-87e2-1a6b7cd87b5f" CreationDate="2011-10-06T22:53:36.337" UserId="842" Text="Very hard to answer just like that, but that gnarly chainsaw would be something I'd put a lot of time into! Actually I recorded about an hour of the same chainsaw myself last time I had the chance at any angle and distance possible...and then I found a brushcutter :-)&#xD;&#xA;&#xD;&#xA;Jeez,I get a warm fuzzy feeling just thinking of that wonderful brushcutter!&#xD;&#xA;&#xD;&#xA;Anyway, if I where you, I'd prepare on set with a notebook and take a note of absolutely everything I could find. Then I would go through the notes systematically, recording every single piece until I'm good with that, moving on to the next on the list, adding new entries as I found them, but not straying too much from the list if possible as to not risking forgetting something important.&#xD;&#xA;&#xD;&#xA;Remember to get every item from as many different positions and distances as possible. It's virtually impossible to predict exactly what you'll need at any given time in the future, so rather much too much than a little too little.&#xD;&#xA;&#xD;&#xA;Godu ruku!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17765" PostHistoryTypeId="2" PostId="10752" RevisionGUID="ffbccbde-3444-4d74-84ae-fcd16cba5e94" CreationDate="2011-10-06T23:13:39.127" UserId="444" Text="Instrument Panel of a Helicopter powering down&#xD;&#xA;&#xD;&#xA;[soundcloud]auddity/helicopter-instrument-panel[/soundcloud]&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/auddity/helicopter-instrument-panel" ContentLicense="CC BY-SA 3.0" />
  <row Id="17766" PostHistoryTypeId="2" PostId="10753" RevisionGUID="0dbba55d-bada-418b-8c8c-844fb93721d1" CreationDate="2011-10-06T23:17:49.273" UserId="61" Text="One thing that's sorely missing from my library is lumber being stacked, dropped, etc. Would be GREAT if you could record some of that from many different perspectives, close and distant, interior and exterior. And not so that it sounds like a big white-noisy wood crash, but rather to capture that distinctive &quot;pang&quot; (or whatever) that you hear when logs or lumber are impacted." ContentLicense="CC BY-SA 3.0" />
  <row Id="17767" PostHistoryTypeId="2" PostId="10754" RevisionGUID="7f435455-830b-417a-9512-6294b7751725" CreationDate="2011-10-06T23:24:48.690" UserId="558" Text="1 thing i use the hell out of is the integrated fx search engine inside nuendo.  Easy to use, no app switching, search by various fields, sort by varous fields, limit search to only various types/classes/ of stuff (audio, plug-in preset, samples, etc).  One of the biggest time savers around." ContentLicense="CC BY-SA 3.0" />
  <row Id="17768" PostHistoryTypeId="2" PostId="10755" RevisionGUID="bcaf8209-17b3-42c4-af1d-1a7455d943c6" CreationDate="2011-10-06T23:32:33.850" UserId="444" Text="jig saw, routers, circular saw, orbital sanders (different grades)&#xD;&#xA;&#xD;&#xA;Don't forget manual tools too!  Plane, sandpaper (different grades), files, hammer and chisel. &#xD;&#xA;&#xD;&#xA;A wood burning kit if they have one&#xD;&#xA;&#xD;&#xA;I'd probably go for more of the manual stuff personaly.  &#xD;&#xA;&#xD;&#xA;Also, With so many combinations, I would bring along a friend to take good notes.  Write down what type of tool, what brand, etc.  Also mark perspectives and mishaps (no finger misshaps though).  Sometimes it's nice to capture a blade getting jammed.&#xD;&#xA;&#xD;&#xA;You'll have quite the catalogue! " ContentLicense="CC BY-SA 3.0" />
  <row Id="17769" PostHistoryTypeId="2" PostId="10756" RevisionGUID="4e2fda79-b1ed-4104-8fbe-4e7791b58821" CreationDate="2011-10-06T23:56:07.990" UserId="6566" Text="If the room I'm in is quite enough and the right combination of live and dead (and I can spare the time) I find it to be kind of fun to play the sound out of one speaker and throw the Crown SASS-P up a few feet away from the speaker and record it. After a little experimentation with distance, orientation and volume the results can be pretty gratifying." ContentLicense="CC BY-SA 3.0" />
  <row Id="17770" PostHistoryTypeId="2" PostId="10757" RevisionGUID="c136ebea-6358-4cd5-806f-c61a4bfb3499" CreationDate="2011-10-07T00:30:18.253" UserId="1266" Text="Paul's Extreme Time Stretch will give you an orgasm that can last for days." ContentLicense="CC BY-SA 3.0" />
  <row Id="17771" PostHistoryTypeId="2" PostId="10758" RevisionGUID="8a0d7c7c-97f3-481e-93c8-0b3000eb0127" CreationDate="2011-10-07T01:47:40.143" UserId="1266" Text="Since sound sounds so much different compared to through the air, through a solid, I think that this affects the way we perceive the world.  Sound waves are traveling through our bones, body, and our ears on their to our recognition, not to mention, the sound waves that are partially reflected and partially absorbed by a solid.  It might make a more emotionally hitting sound if you were to add in a contact mic recording on some things.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17772" PostHistoryTypeId="1" PostId="10758" RevisionGUID="8a0d7c7c-97f3-481e-93c8-0b3000eb0127" CreationDate="2011-10-07T01:47:40.143" UserId="1266" Text="Theory of incorporating bone conduction (sound through solids) in sound design" ContentLicense="CC BY-SA 3.0" />
  <row Id="17773" PostHistoryTypeId="3" PostId="10758" RevisionGUID="8a0d7c7c-97f3-481e-93c8-0b3000eb0127" CreationDate="2011-10-07T01:47:40.143" UserId="1266" Text="&lt;design&gt;&lt;waves&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17774" PostHistoryTypeId="2" PostId="10759" RevisionGUID="b0280323-903e-4ee2-bfdf-1fc55407f8d7" CreationDate="2011-10-07T02:10:20.223" UserId="29" Text="Interesting idea. If you play back a sound recorded from a solid, thereby rendering an inaudible sound audible, and it re-enters our bodies through our ears, I doubt that it'd be perceived in the same way as if we'd truly felt it through our guts, bones, hair, what have you. That's not to say that your idea isn't valid for sound design and as an effective layer, but we'd be exposing the listener's ear to something they'd normally not get through the good ol' pinnae. This sensory transposition might be effective, or not...I'd think it would be really dependent on the sound source itself, the context of its use, and the emotional message one was going for." ContentLicense="CC BY-SA 3.0" />
  <row Id="17775" PostHistoryTypeId="2" PostId="10760" RevisionGUID="4ed13d87-887a-4975-835e-a5e745e65749" CreationDate="2011-10-07T02:44:38.323" UserId="29" Text="Damn. All I've got is a dubstep joke.&#xD;&#xA;&#xD;&#xA;KNOCK KNOCK.&#xD;&#xA;&#xD;&#xA;Who's there?&#xD;&#xA;&#xD;&#xA;BOB.&#xD;&#xA;&#xD;&#xA;Bob who?&#xD;&#xA;&#xD;&#xA;BOB WOB WOB WOB WOB" ContentLicense="CC BY-SA 3.0" />
  <row Id="17776" PostHistoryTypeId="2" PostId="10761" RevisionGUID="3586c388-70c6-4fca-8545-74b1640044d8" CreationDate="2011-10-07T02:53:02.530" UserId="2498" Text="the main effect is of course that our own voices sound much more bass-y then they to anyone outside of our heads." ContentLicense="CC BY-SA 3.0" />
  <row Id="17777" PostHistoryTypeId="2" PostId="10762" RevisionGUID="829acc08-faec-4310-bf69-74ce69cfb0a8" CreationDate="2011-10-07T02:56:47.467" UserId="842" Text="Most modern sound design today are based in the way we perceive sound, not the way it actually behaves in the natural world. Bone conduction, though, almost only applies to very personal sounds like hits and such physical interaction. Other things even more influential on how we perceive sound is due to the fact of our brains subconscious ability to sort different sounds out as to not risk overloading from stimulation. Even for us lacking most of that sensorical filtering, we still choose what we wanna focus on and reacts harder on details considered more important than others.&#xD;&#xA;&#xD;&#xA;I am very fond of contact mics in general, though my own one went belly up a while ago, but for emulating bone-structure I rather use extreme proximity from a cardioid for several reasons. For one thing, materials used as conductors rarely, if ever, follows the same characteristics as human skull-bone anyway. Second of all the entire cranium, inner ear, flesh and all, gets affected by that kinds of sounds. But most of all, a contact mic is based on piezo technology, meaning a crystalline material that makes a great addition to sound effects, but not being very fat in itself.&#xD;&#xA;&#xD;&#xA;As with most sound design issues, this is something better mimicked than tried to be reproduced in my opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="17778" PostHistoryTypeId="2" PostId="10763" RevisionGUID="abddf482-d1f4-4997-863f-e9088e20ba2d" CreationDate="2011-10-07T02:57:52.843" UserId="432" Text="I'd have to agree with NoiseJockey on this one. I don't think simply adding in a sound recorded through a contact microphone would achieve the results you're thinking of. To approach that ideal, you'd probably need to create a custom sound installation. Things like this have been attempted in cinema in the past...devices like vibrating seats, gas emitters and small speakers here and there for localized sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="17779" PostHistoryTypeId="2" PostId="10764" RevisionGUID="650b64ec-bdd4-4123-9e2e-54c2069bf01d" CreationDate="2011-10-07T03:14:57.520" UserId="2906" Text="Hey! I'm just going through exactly the same problem!&#xD;&#xA;&#xD;&#xA;I came up with some simple things who had reduced like 70% of the noise 40-50% of reverb.&#xD;&#xA;&#xD;&#xA;The scenario was just the same: 3 people having dialogue, one shotgun terribly placed, an empty bar with no furniture and large windows. Most of the noise came from refrigereting machines.&#xD;&#xA;&#xD;&#xA;My advice is as if don't have any access to another takes.&#xD;&#xA;&#xD;&#xA;1) Noise: use Wave's X-noise! It is incredibly efficient, quick and simple to use. I had to use two in some moments and I tell you the voice didn't suffer any losses. It's easy to know that since (if you don't know the plug in) you can hear the noise it takes out, adjust threshold and reduction level.&#xD;&#xA;About the handling noises, it's harder but include that in the noise you want to cut off in X-noise.&#xD;&#xA;&#xD;&#xA;2) Reverb: use Sonnox's expander. I know it is weird but just try it with a medium threshold and it will cut most of the tail. Also, try to find the frequency's room response. If you cut about it 3 to 6 dB you will get a much cleaner voice. I cut it in at 500 Hz which may be problematic in dialogue but the voice got much better.&#xD;&#xA;&#xD;&#xA;You may be able to separate even the same voice in pieces and make separate treatment. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I may provide you with some samples if you like.&#xD;&#xA;E-mail me if you want at melissapons@gmail.com&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Cheers everyone.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Melissa&#xD;&#xA;&#xD;&#xA;http://sounditmelissa.tumblr.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17780" PostHistoryTypeId="2" PostId="10765" RevisionGUID="b72dee01-c4ba-4f7f-be3c-aea761764170" CreationDate="2011-10-07T03:59:54.350" UserId="6566" Text="-Drag a region and drop it on to another to instantly apply various attributes of the dropped file onto the dropee such as spectral data, volume, panning etc or simply consolidates them to a single new region.&#xD;&#xA;&#xD;&#xA;-A way to take snapshots/memory locations of a selection across multiple tracks that include all the plugins on those tracks and their associated settings at that point in the timeline. This would allow you to make multiple variations of the same complex region assemblies and make all of the variations recallable. Then you could just make a copy of all the regions in the assembly dragging them adjacent to the previous one and begin making adjustments to the plugs and/or add or subtract plugs creating the new variation of the assembly and taking another snapshot. Rinse and repeat." ContentLicense="CC BY-SA 3.0" />
  <row Id="17781" PostHistoryTypeId="2" PostId="10766" RevisionGUID="e18962ff-fdaf-4c4a-bdc6-92614075ae75" CreationDate="2011-10-07T04:10:40.943" UserId="1266" Text="Watching TRON for the first time, thanks Netflix for being so nice, I noticed that during the first stadium fight (thats as far as I am right now) there seems to be this nice bite of distortion.  It seems like most of the sounds even the taiko drums in the music are given a little bit of distortion.  This distortion sounds really sweet though, something like harmonically pleasing.  Any way to recreate this effect in a DAW without using a nice overdriven tube amp?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17782" PostHistoryTypeId="1" PostId="10766" RevisionGUID="e18962ff-fdaf-4c4a-bdc6-92614075ae75" CreationDate="2011-10-07T04:10:40.943" UserId="1266" Text="How to create a pleasing distortion (harmonic)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17783" PostHistoryTypeId="3" PostId="10766" RevisionGUID="e18962ff-fdaf-4c4a-bdc6-92614075ae75" CreationDate="2011-10-07T04:10:40.943" UserId="1266" Text="&lt;design&gt;&lt;tron&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17784" PostHistoryTypeId="2" PostId="10767" RevisionGUID="84b1fa3b-2d95-4a73-8216-bda66fc6a463" CreationDate="2011-10-07T05:47:17.787" UserId="6566" Text="Using noise removal plugs such as RX or XNoise as sound design tools rather than for noise removal. &#xD;&#xA;&#xD;&#xA;For example, take a longish, constant waveform that has some variation in it dynamically like a backhoe digging a ditch. By either using extreme settings or swapping over to difference monitoring you can create some very unique source material with a little experimentation. Great for making ambiences.&#xD;&#xA;&#xD;&#xA;When I'm out field recording I will often just leave the Sound Devices rolling in between real takes to capture the random sounds of the next setup just for the purposes of having lots of unique source to use this technique with." ContentLicense="CC BY-SA 3.0" />
  <row Id="17785" PostHistoryTypeId="16" PostId="10767" RevisionGUID="84b1fa3b-2d95-4a73-8216-bda66fc6a463" CreationDate="2011-10-07T05:47:17.787" UserId="-1" />
  <row Id="17786" PostHistoryTypeId="2" PostId="10768" RevisionGUID="976d55f7-8603-4f91-a8b3-9cfe42e793e4" CreationDate="2011-10-07T05:53:06.057" UserId="1049" Text="Hmm, this is definitely a cool idea. But whilst the effect of mixing in contact-mic recordings with standard recordings would no doubt create some very interesting effects, the only practical use of this I can think of would be to add an interesting spin to POV pieces. &#xD;&#xA;&#xD;&#xA;When recording, you'd contact-mic your own head up (or the head of the subject of the POV / main character in a piece when recording their dialogue etc)! This would mainly be used with dialogue though, I guess, as our speech always sounds different to ourselves due to the conduction our voice through our own skulls. This could then help create a difference for when in &quot;POV mode&quot; and when not, in a piece.  &#xD;&#xA;&#xD;&#xA;However, as already discussed by others here, I think this effect would be best created manually with effects, altering EQ, enhancing bass etc (also discussed in [this][1] thread I think..!).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/10237/audio-effect-of-a-person-talking-inside-their-head" ContentLicense="CC BY-SA 3.0" />
  <row Id="17787" PostHistoryTypeId="2" PostId="10769" RevisionGUID="f583410b-4f64-4ee4-a802-854295a7b12f" CreationDate="2011-10-07T06:53:10.120" UserId="1055" Text="thanks for all the answers..so to sum up, most of you(i mean in other forums too) prefer battery life to a little bit better preamps? " ContentLicense="CC BY-SA 3.0" />
  <row Id="17788" PostHistoryTypeId="5" PostId="10521" RevisionGUID="56822632-fb8b-4e17-bc99-a4da7cb649ab" CreationDate="2011-10-07T07:16:24.457" UserId="61" Comment="added 1 characters in body" Text="I don't agree with that comment at all. Just because you're using sounds that you didn't record yourself doesn't mean that you're not making creative choices. Very seldom will library sounds work perfectly for the project you're working on, and it's up to you to mold and shape those sounds and make them your own.&#xD;&#xA;&#xD;&#xA;Should everyone be recording, mastering and using their own custom recorded fx? Sure, in a perfect world with generous budgets of time and money. Now, show me that perfect world ---" ContentLicense="CC BY-SA 3.0" />
  <row Id="17789" PostHistoryTypeId="2" PostId="10770" RevisionGUID="66cf2cc6-242f-41ba-8404-9dbc2000bc38" CreationDate="2011-10-07T08:42:58.550" UserId="721" Text="Thank you SO MUCH guys!&#xD;&#xA;&#xD;&#xA;All off your inputs have been very helpful already to get my mind around it!&#xD;&#xA;(This is why I love this community!)&#xD;&#xA;&#xD;&#xA;I'll try to work step by step as soon as I get my hands on the actual material and possibly make an update on this thread in re to my success level =)&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;Pinar&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17790" PostHistoryTypeId="5" PostId="49" RevisionGUID="6ee194a9-c21c-4a14-8ac0-4dec965522b5" CreationDate="2011-10-07T12:08:20.060" UserDisplayName="user80" Comment="deleted 80 characters in body" Text="I'm an absolute newbie. &#xD;&#xA;&#xD;&#xA;I'd like to buy a portable recorder but I don't know which is the best. I read about [Zoom H2][1], [Zoom H4n][2] and [Tascam DR-07][3] but there are also a lot of other models...&#xD;&#xA;&#xD;&#xA;Any suggestions?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[1]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;[2]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;[3]: http://www.tascam.com/products/dr-07.html&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17791" PostHistoryTypeId="2" PostId="10771" RevisionGUID="8df486f7-7c83-4a7c-9616-bdfbaf6f1aac" CreationDate="2011-10-07T12:45:41.413" UserId="2912" Text="There is a new recorder coming out from Roland in a weeks time:&#xD;&#xA;http://www.rolandsystemsgroup.com/products/100093&#xD;&#xA;&#xD;&#xA;I'm really excited about it and it may(or may not) be the upgrade option from the zoom. Waiting for the first reviews! The mic preamps are going to be the determining factor if it's worth the money." ContentLicense="CC BY-SA 3.0" />
  <row Id="17792" PostHistoryTypeId="2" PostId="10772" RevisionGUID="8e8864d3-6538-4821-b9d8-74bcc4ba7038" CreationDate="2011-10-07T12:54:28.243" UserId="1246" Text="1. &quot;How is acoustic in your studio?&quot;&#xD;&#xA;&quot;Don't know. Bring your own.&quot;&#xD;&#xA;&#xD;&#xA;2. Band was going to play a gig at the local sports center. They asked what kind of acoustics the place had. They were answered that after wrestling events it was bad but once windows are opened it will get better." ContentLicense="CC BY-SA 3.0" />
  <row Id="17793" PostHistoryTypeId="2" PostId="10773" RevisionGUID="6e582bc4-e2d6-4878-a22b-0c1c35d977f4" CreationDate="2011-10-07T15:02:57.000" UserId="253" Text="I think, unless you have one of your bones in contact with a surface, the effect won't be one of &quot;realism&quot;. Wouldn't our fleshy foot-soles do the same thing as the shock mount? Doesn't mean it won't be a cool effect though; just last night i was recording some stuff w/ a hypercardioid+contact mic. Mainly for a surreal effect, though.&#xD;&#xA;&#xD;&#xA;Sound recordings don't sound like what we really hear because our hearing mechanism is insanely sophisticated. I'm no psychoacoustics expert, but i think a lot of that comes from our brain/ear's ability to localise and focus on specific sounds.&#xD;&#xA;&#xD;&#xA;I also think that, while these discussions are fun, we can say &quot;could/would/should&quot; all day, but there's no substitute for empirical experimentation. So give it a shot and post results!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17794" PostHistoryTypeId="2" PostId="10774" RevisionGUID="2ce0e7ed-7cbe-4ef6-be3d-e27ab819487b" CreationDate="2011-10-07T15:29:25.533" UserId="930" Text="I think a lot of the sounds you'll discover when you're there/after you've seen the place rather than planning beforehand (although I do think planning beforehand is vitally important).&#xD;&#xA;&#xD;&#xA;Make sure you keep your eyes (and ears) open for anything that looks/sounds interesting, even if it's unrelated to the topic. &#xD;&#xA;&#xD;&#xA;Also, when you record it - slate it before/after the recording so you can remember what it is during the editing stage!&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="17795" PostHistoryTypeId="5" PostId="10521" RevisionGUID="f2bb5984-072f-4595-992e-8ccc7af2e20f" CreationDate="2011-10-07T16:35:01.417" UserId="61" Comment="added 2 characters in body" Text="I don't agree with that comment at all. Just because you're using sounds that you didn't personally record doesn't mean that you're not making creative choices. Very seldom will library sounds work perfectly for the project you're working on, and it's up to you to mold and shape those sounds and make them your own.&#xD;&#xA;&#xD;&#xA;Should everyone be recording, mastering and using their own custom recorded fx? Sure, in a perfect world with generous budgets of time and money. Now, show me that perfect world ---" ContentLicense="CC BY-SA 3.0" />
  <row Id="17796" PostHistoryTypeId="2" PostId="10775" RevisionGUID="f7b5aabd-1754-4dfd-a748-33ec57546328" CreationDate="2011-10-07T17:25:02.733" UserId="2913" Text="Hi All, I'm a long time lurker, first time poster, so thanks for all the great advice I've absorbed from you all already.&#xD;&#xA;&#xD;&#xA;I'm designing / mixing some trailers specifically for the internet, and was wondering if anyone had any words of wisdom. &#xD;&#xA;&#xD;&#xA;Mainly, I can't decide whether it's best to go down the advert / music route of compressing everything to hell to make sure my trailers stand out against everything else that's out there, or to actually embrace some dynamic range and create a better sounding stand-alone mix (whilst knowing full well if someone doesn't adjust their volume, it's going to sound rubbish compared to the metal they're listening to on youtube.)&#xD;&#xA;&#xD;&#xA;I'm guessing there's no point in mixing to -10dBFS or such, but other than that I'm undecided on a lot of things. Personally, I'm in the habit of adjusting my listening level for everything I hear on the net, but does the average person do that too? I've no idea.&#xD;&#xA;&#xD;&#xA;Any wise words?&#xD;&#xA;&#xD;&#xA;Thanks all.&#xD;&#xA;&#xD;&#xA;Sam" ContentLicense="CC BY-SA 3.0" />
  <row Id="17797" PostHistoryTypeId="1" PostId="10775" RevisionGUID="f7b5aabd-1754-4dfd-a748-33ec57546328" CreationDate="2011-10-07T17:25:02.733" UserId="2913" Text="Mixing trailers for the internet" ContentLicense="CC BY-SA 3.0" />
  <row Id="17798" PostHistoryTypeId="3" PostId="10775" RevisionGUID="f7b5aabd-1754-4dfd-a748-33ec57546328" CreationDate="2011-10-07T17:25:02.733" UserId="2913" Text="&lt;mix&gt;&lt;internet&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17799" PostHistoryTypeId="2" PostId="10776" RevisionGUID="044856d5-d4a2-4191-b390-5549901f1502" CreationDate="2011-10-07T17:26:42.770" UserId="1159" Text="There's a lot of great distortion plugins out there now. Seems like just about every company's got one. I've been partial to SoundToys Decapitator these days." ContentLicense="CC BY-SA 3.0" />
  <row Id="17800" PostHistoryTypeId="2" PostId="10777" RevisionGUID="5e18e41b-81dc-45b7-86d1-5ba80b6f4345" CreationDate="2011-10-07T17:31:15.723" UserId="1159" Text="How many music producers does it take to screw in a lightbulb?&#xD;&#xA;&#xD;&#xA;I don't know what do you think?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17801" PostHistoryTypeId="2" PostId="10778" RevisionGUID="a8ad9ea6-b468-40eb-9020-2aec1e55a823" CreationDate="2011-10-07T17:39:13.787" UserId="118" Text="Check out the D16 plugs, decimort or devastor for distortion / bitcrushing?  Or a crunchy comp plug like the Puigchild?  Or, for saturation, one of the new tape emulations from Waves or UA?  Your options are endless!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17802" PostHistoryTypeId="2" PostId="10779" RevisionGUID="31550d7d-1876-4863-b2f1-00bda77950c7" CreationDate="2011-10-07T17:47:05.827" UserId="432" Text="My room is setup so that I can switch between two listening levels **for mixing.** I do this through the multiple trim settings available in the 192 I/O, but you can possibly set something up in your monitoring chain if you don't have them.&#xD;&#xA;&#xD;&#xA;Basically, it boils down to this:&#xD;&#xA;&#xD;&#xA;One setting is -20dBFS pink noise is set 78dBSPL for broadcast level work.&#xD;&#xA;&#xD;&#xA;The other is -14dBFS pink noise is set to 78dBSPL for web work.&#xD;&#xA;&#xD;&#xA;[With the 192...the A-trim is electrically calibrated as -20dbFS=1.228 volts RMS, and the B trim is calibrated as -14dBFS=1.228 volts RMS. This way, I don't have to touch a monitor controller to when I switch reference levels. The speakers receive an appropriate level regardless of which output trim I've toggled to.]&#xD;&#xA;&#xD;&#xA;A consistent listening level is important. This way, I don't have to change the way I work (other than to keep in mind that I have less headroom), but I will naturally mix hotter for the web based stuff.&#xD;&#xA;&#xD;&#xA;I typically limit at -3dB FS for web, as opposed to the -10dB for broadcast." ContentLicense="CC BY-SA 3.0" />
  <row Id="17803" PostHistoryTypeId="5" PostId="10779" RevisionGUID="b3e0a3c4-5caf-4db0-834a-31217293238f" CreationDate="2011-10-07T17:54:30.080" UserId="432" Comment="deleted 3 characters in body" Text="My room is setup so that I can switch between two listening levels **for mixing.** I do this through the multiple trim settings available in the 192 I/O, but you can possibly set something up in your monitoring chain if you don't have them.&#xD;&#xA;&#xD;&#xA;Basically, it boils down to this:&#xD;&#xA;&#xD;&#xA;One setting is -20dBFS pink noise is set 78dBSPL for broadcast level work.&#xD;&#xA;&#xD;&#xA;The other is -14dBFS pink noise is set to 78dBSPL for web work.&#xD;&#xA;&#xD;&#xA;[With the 192...the A-trim is electrically calibrated as -20dbFS=1.228 volts RMS, and the B trim is calibrated as -14dBFS=1.228 volts RMS. This way, I don't have to touch a monitor controller when I switch reference levels. The speakers receive an appropriate level regardless of which output trim I've toggled to.]&#xD;&#xA;&#xD;&#xA;A consistent listening level is important. This way, I don't have to change the way I work (other than to keep in mind that I have less headroom), but I will naturally mix hotter for the web based stuff.&#xD;&#xA;&#xD;&#xA;I typically limit at -3dB FS for web, as opposed to the -10dB for broadcast." ContentLicense="CC BY-SA 3.0" />
  <row Id="17807" PostHistoryTypeId="2" PostId="10781" RevisionGUID="ec2a0176-dd81-4b27-970a-30d53821a70a" CreationDate="2011-10-07T18:16:00.033" UserId="6487" Text="I just started freelancing full-time in a new town. While everyone I have worked with has asked me back, I have been asked to discuss a mix or two in order to receive feedback as to why it was not exactly as they had hoped.&#xD;&#xA;&#xD;&#xA;I often am not provided specs, a template, any training or room orientation, or any guidance as to how hot they like their music, if SFX should be added, or if it is strictly a mix.  When I ask, I am often given a one word &quot;-24&quot; or &quot;just make it sound good,&quot; &quot;use your ears more, not the meters&quot;...&#xD;&#xA;&#xD;&#xA;But all the feedback I have had has been for things like...we mix on the track, we don't worry about undipped stems, the dialog is too conservative, hit the meters harder...use less of a dynamic range, we want the narrator about 2-3 dB hotter than the dialog, less volume automation on the music...it should be more music video like, they don't pay for sfx...just mix what is in the AAF, etc. &#xD;&#xA;&#xD;&#xA;I love the feedback but want to make sure this is normal.  How do you guys orientate your freelancers and are these types of situations par for the course when working with a new mixer? It kills me to think someone would have to correct a mix I did for them.  I am here to get work done for them, not create more. My goal is to become an extension of their own ears and hands. Whenever I can, I reach out and ask for more feedback and I often try and open old sessions to see what has been passed before....but many times they are not around nor are any example sessions to learn their proprietary processes or the level specs/deliverables for the show.&#xD;&#xA;&#xD;&#xA;Any advice on how to minimize gaps in communication as a freelancer and learn a new studio's mix style quick?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="17808" PostHistoryTypeId="1" PostId="10781" RevisionGUID="ec2a0176-dd81-4b27-970a-30d53821a70a" CreationDate="2011-10-07T18:16:00.033" UserId="6487" Text="How do you become the best freelancer possible...." ContentLicense="CC BY-SA 3.0" />
  <row Id="17809" PostHistoryTypeId="3" PostId="10781" RevisionGUID="ec2a0176-dd81-4b27-970a-30d53821a70a" CreationDate="2011-10-07T18:16:00.033" UserId="6487" Text="&lt;mixing&gt;&lt;freelancing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17810" PostHistoryTypeId="2" PostId="10782" RevisionGUID="9e4117f7-dec3-445c-ac5f-8a2ed8c85fc1" CreationDate="2011-10-07T19:29:54.470" UserId="1090" Text="- Effects like in FCP. Now I know this sounds a bit crazy, but hear (read) me out:&#xD;&#xA;&#xD;&#xA;Drop the effect onto a clip or a track or a send-track, and adjust the dry/wet like you do with opacity and audio levels in FCP. I think that would've been nice for really fast applications. And if you double click the region/clip you get the advanced parameters for that effect. Much like Nuendo has now, only more concentrated on the clips. &#xD;&#xA;&#xD;&#xA;- More flexibility with automation, view-wise. I mean for instance in Nuendo when you want to edit panning on a specific clip, that automation data should have brackets around them so that I know when the clip starts and ends, even if I'm at 300% zoom level. Just a cosmetic change however, probably achievable and in Nuendo right now... I just haven't figured out how yet. And also I'd like to see you being able to let a clip (with waveform) take up a whole window and see the automation lines on there, so you can actually paint the sound. With layers. That'd be cool. &#xD;&#xA;&#xD;&#xA;One thing that'd be REALLY cool:&#xD;&#xA;&#xD;&#xA;- Automatic dubs/Stems.&#xD;&#xA;&#xD;&#xA;A folder track in Nuendo (or group in Protools) would have an audio track automatically assigned and that is only and always monitoring what your playing from that specific group. Much like destructive recording in Pro Tools. So that everytime you play a specific group, the DAW will record it for you while playing, no questions asked and extremely invisible. So when you're through listening to the movie, you have good to go and mix ready dubs. First DAW to get that, I'm buying it. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17811" PostHistoryTypeId="2" PostId="10783" RevisionGUID="c105a25f-4763-4fb3-b0cb-500f2afce74d" CreationDate="2011-10-07T19:36:03.893" UserId="6566" Text="I've used King Crab legs for this very thing. The bigger the better. They are a good combination of crunch from the shell and flesh rip from the meat inside. Put on a pair of leather gloves and start ripping." ContentLicense="CC BY-SA 3.0" />
  <row Id="17813" PostHistoryTypeId="2" PostId="10784" RevisionGUID="9995a7f2-4ef8-4b98-af2c-99e6135712e3" CreationDate="2011-10-07T19:52:33.483" UserId="1179" Text="Kind of a long shot here but does anyone have a clue what's making those sounds on 'River Mara At Night' from Chris Watson's 'Stepping Into The Dark'? You know, the ones that sound like glowing alien transmission bubbles...&#xD;&#xA;&#xD;&#xA;A cursory check of the googles revealed nothing and I know there are some lurking fans of Watson here. Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17814" PostHistoryTypeId="1" PostId="10784" RevisionGUID="9995a7f2-4ef8-4b98-af2c-99e6135712e3" CreationDate="2011-10-07T19:52:33.483" UserId="1179" Text="Chris Watson's 'River Mara At Night'" ContentLicense="CC BY-SA 3.0" />
  <row Id="17815" PostHistoryTypeId="3" PostId="10784" RevisionGUID="9995a7f2-4ef8-4b98-af2c-99e6135712e3" CreationDate="2011-10-07T19:52:33.483" UserId="1179" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17816" PostHistoryTypeId="2" PostId="10785" RevisionGUID="6ff501d7-972e-438d-9f83-aeb5e37c4045" CreationDate="2011-10-07T21:08:18.160" UserId="285" Text="I have done freelance at a bunch of different studios and I have found everyone single one likes things done a bit differently, and has slightly different expectations.  In my head I liken it to how every director also wants things done a little differently on their projects.  &#xD;&#xA;&#xD;&#xA;The best way I find to deal with it is to keep notes.  Write down what studio wants things done which way.  I find they obviously expect a certain level of ability and quality, but they also know things are done differently in different locations and it will take a session or two to get up to speed on their expectations/protocols.  The main thing is to not make the same &quot;mistake&quot; twice.  Once I am told that ______ is not how they want things done, be sure not to do it again.  &#xD;&#xA;&#xD;&#xA;The truth is that if the client is happy, then your method of bussing the stems is of less importance.  If you keep the client happy and coming back with their next project the rest of the details is a learning curve that a studio is willing to put up with.  Just make sure make the adjustments they request............ and be prepared for the next studio to ask you to do the exact opposite.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17817" PostHistoryTypeId="2" PostId="10786" RevisionGUID="e61670a6-4797-4b9e-b014-58f5df6499b2" CreationDate="2011-10-07T22:02:54.213" UserId="103" Text="Not really sound, but i say it on sets a lot&#xD;&#xA;&#xD;&#xA;How many cigarettes does a DP smoke a day?&#xD;&#xA;&#xD;&#xA;One.&#xD;&#xA;&#xD;&#xA;Why?!!!&#xD;&#xA;&#xD;&#xA;It takes him all f$%&amp;$n day to light it." ContentLicense="CC BY-SA 3.0" />
  <row Id="17818" PostHistoryTypeId="5" PostId="10492" RevisionGUID="b9344b70-b8ba-4552-91ac-429a6cb34143" CreationDate="2011-10-07T22:27:03.377" UserId="432" Comment="added 157 characters in body" Text="I'll see you there, Colin. ;)&#xD;&#xA;&#xD;&#xA;**EDIT:** holy crap! between sessions, appointments and the yet to be scheduled drink-ups...i'm wondering if i'm actually going to sleep while i'm there." ContentLicense="CC BY-SA 3.0" />
  <row Id="17819" PostHistoryTypeId="5" PostId="10770" RevisionGUID="d0fd1064-a932-4070-b5f0-de70306ceac9" CreationDate="2011-10-07T23:17:16.477" UserId="721" Comment="deleted 1 characters in body; deleted 7 characters in body" Text="Thank you SO MUCH guys!&#xD;&#xA;&#xD;&#xA;All of your inputs have been very helpful already to get my mind around it!&#xD;&#xA;(This is why I love this community!)&#xD;&#xA;&#xD;&#xA;I'll try to work step by step as soon as I get my hands on the actual material and possibly make an update on this thread in re to my success level =)&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17820" PostHistoryTypeId="2" PostId="10787" RevisionGUID="5ba869a0-4dc6-48c5-98ce-9877cd3220b4" CreationDate="2011-10-08T04:17:45.697" UserId="6566" Text="Were there any distinct differences in the quality of the audio or in practical application?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17821" PostHistoryTypeId="1" PostId="10787" RevisionGUID="5ba869a0-4dc6-48c5-98ce-9877cd3220b4" CreationDate="2011-10-08T04:17:45.697" UserId="6566" Text="Has anyone tried the same Schoeps capsule on both a digital and analog amplifier?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17822" PostHistoryTypeId="3" PostId="10787" RevisionGUID="5ba869a0-4dc6-48c5-98ce-9877cd3220b4" CreationDate="2011-10-08T04:17:45.697" UserId="6566" Text="&lt;microphone&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17823" PostHistoryTypeId="2" PostId="10788" RevisionGUID="d0e88bbd-fa80-4333-a0d4-7c531ebb66fe" CreationDate="2011-10-08T08:15:31.533" UserId="2925" Text="&gt; -Reconform the guide audio and quicktime first to check that nothing&#xD;&#xA;&gt; crazy is going on.&#xD;&#xA;&gt; -Make any changes to the changelist, add events for holes that you have&#xD;&#xA;&gt; material for.&#xD;&#xA;&#xD;&#xA;this can be done from within conformalizer by importing the two corresponding pix.&#xD;&#xA;&#xD;&#xA;&gt; -Make all those tracks Inactive, and make quicktime offline.&#xD;&#xA;&#xD;&#xA;I don't actually do this myself - maybe I'm just being lazy.&#xD;&#xA;do people feel like it helps a lot?&#xD;&#xA;&#xD;&#xA;&gt; -Create clusters of region groups for material, and avoid grouping too much&#xD;&#xA;&gt; silence. Region grouping the entire&#xD;&#xA;&gt; session makes things a lot slower it&#xD;&#xA;&gt; would seem.&#xD;&#xA;&#xD;&#xA;this is a nice idea.&#xD;&#xA;you should also lower your UNDOs in PT to something like 4.&#xD;&#xA;it's the combo of memory heavy things like region groups and having to hold 32 of each in memory that causes the low memory issues&#xD;&#xA;&#xD;&#xA;justin" ContentLicense="CC BY-SA 3.0" />
  <row Id="17827" PostHistoryTypeId="2" PostId="10790" RevisionGUID="c7a3120b-afad-462b-9f44-b1e6d3aeb7a3" CreationDate="2011-10-08T12:59:40.320" UserId="510" Text="I will be there, we should meet up. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17828" PostHistoryTypeId="16" PostId="10790" RevisionGUID="c7a3120b-afad-462b-9f44-b1e6d3aeb7a3" CreationDate="2011-10-08T12:59:40.320" UserId="-1" />
  <row Id="17830" PostHistoryTypeId="2" PostId="10792" RevisionGUID="6b10b467-0c59-449a-af45-229d0ef3b291" CreationDate="2011-10-08T13:25:27.063" UserId="2498" Text="Is there such a thing as a digital amplifier? I'm pretty sure you're not asking the difference between solid-state and tube preamps, but I'm pretty sure you're asking about preamps... in fact you might even be asking about the amplifier circuit built into the mic itself? &#xD;&#xA;&#xD;&#xA;Either way, I'm pretty sure the amplifier you're interested to know about happens before the signal is converted into digital, in order to create a good signal/noise ratio.&#xD;&#xA;&#xD;&#xA;I'm happy to be wrong, but this question just doesn't make any sense to me." ContentLicense="CC BY-SA 3.0" />
  <row Id="17844" PostHistoryTypeId="2" PostId="10796" RevisionGUID="2c9eeaf3-f22a-4d3a-a2bb-975b5b20cc61" CreationDate="2011-10-08T14:50:59.243" UserId="2928" Text="hello friends,&#xD;&#xA;please give attention to my question, i need to finish my project. just now i post this question but the video didnt work well now i edit again and posted.&#xD;&#xA;&#xD;&#xA;how did they change leonardo dicaprio voice like this??&#xD;&#xA;[youtube]vaR7D3STrzs&amp;feature[/youtube]&#xD;&#xA;&#xD;&#xA;leonardo dicaprio original voice&#xD;&#xA;[youtube]gKQmC8xDtvU&amp;feature[/youtube]&#xD;&#xA;&#xD;&#xA;i am willing to get any software to create this specific voice. i need this voice to tell my story in few scene. i am not sure of the keyword to find tutorial in youtube to learn how to create this specific voice. i really will appreciate if anyone give me a keyword to find tutorial to learn how to create this voice, or if u can please link me to the tutorial will teach me how to change my original voice into something like what they did to leonardo dicaprio voice.... thankx in advance, hope someone will help me." ContentLicense="CC BY-SA 3.0" />
  <row Id="17845" PostHistoryTypeId="1" PostId="10796" RevisionGUID="2c9eeaf3-f22a-4d3a-a2bb-975b5b20cc61" CreationDate="2011-10-08T14:50:59.243" UserId="2928" Text="how did they create this specific voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="17846" PostHistoryTypeId="3" PostId="10796" RevisionGUID="2c9eeaf3-f22a-4d3a-a2bb-975b5b20cc61" CreationDate="2011-10-08T14:50:59.243" UserId="2928" Text="&lt;guide&gt;&lt;tutorial&gt;&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17847" PostHistoryTypeId="2" PostId="10797" RevisionGUID="994dd40c-b573-434f-985d-c994d92a8d37" CreationDate="2011-10-08T15:05:59.880" UserId="432" Text="He is an actor. He performed it that way. They may have done some processing afterwards, anything they did is probably minimal compared to what he contributed." ContentLicense="CC BY-SA 3.0" />
  <row Id="17848" PostHistoryTypeId="2" PostId="10798" RevisionGUID="3c44dc91-a7ee-45ae-b32b-6b1dc4228dd4" CreationDate="2011-10-08T15:52:53.013" UserId="1237" Text="You underestimate the capability of an actor's perfomance. &#xD;&#xA;&#xD;&#xA;It is a pity, that AFI doesn't have a category “Best 100 sound effects of all time”. I am totally sure that 99% of these effects would be unprocessed sounds. Only layering and basic editing such as cutting, volume or EQ." ContentLicense="CC BY-SA 3.0" />
  <row Id="17849" PostHistoryTypeId="2" PostId="10799" RevisionGUID="800153a2-c31f-4825-8761-1c7074fb63b8" CreationDate="2011-10-08T16:10:41.390" UserDisplayName="user80" Text="This really is the actor's voice with only limited processing." ContentLicense="CC BY-SA 3.0" />
  <row Id="17850" PostHistoryTypeId="2" PostId="10800" RevisionGUID="c46efe39-b271-48cb-a6f6-cc27506e5ae7" CreationDate="2011-10-08T16:22:09.847" UserId="6462" Text="I agree with Conant on this. Good actors can create some incredible 'effects' with their own voice that often need no or minimal processing. DiCaprio in has produced many different voices in his films and I think you'll find that this is 99% or even 100% his own voice.&#xD;&#xA;&#xD;&#xA;You have to remember that not everything can be created in post!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17851" PostHistoryTypeId="2" PostId="10801" RevisionGUID="8294190a-ed93-49f1-8efe-7f1f2b965516" CreationDate="2011-10-08T16:49:50.683" UserId="315" Text="I haven't tried it yet, but I've been very interested in going digital with my Schoeps mics. Sennheiser has also released digital bodies for their mkh4000 line. The practical problem with AES-42 mic bodies in the field is that you have to find a recorder that accepts AES 42 inputs and provides clocking. At this point the Sound Devices 788T is the only recorder to my knowledge (perhaps Nagra and other super-high end recorders) that does this. Otherwise you have to use a breakout box, like the DMI boxes built by Neumann. Too bulky for me and the 788T is out of my budget.&#xD;&#xA;&#xD;&#xA;I have recorded for a year now in a studio with a digital Neumann Solution D (owned by my work) and it sounds very nice, and gives you extended frequency response and a ton of clean gain. Although with sound effects, sometimes it's overkill. I'm pretty happy with a decent analog mic when recording car hood impacts..." ContentLicense="CC BY-SA 3.0" />
  <row Id="17852" PostHistoryTypeId="2" PostId="10802" RevisionGUID="0c25cda6-5d2b-40d8-82f1-40ac03b2881b" CreationDate="2011-10-08T18:10:27.057" UserId="842" Text="The voice is, as everybody else already pointed out, clean. It is, however, not recorded on location, it's completely ADR. I even, for the sake of argument, just made the exact same voice myself, except my voice is softer. It's not hard making your voice sound like this, though it helps being a little cold. &#xD;&#xA;&#xD;&#xA;I'm no speech trainer, but I do work a lot as both an ADR/Dubbing technician/director, locationsound recordist (mostly over-the-shoulder), and voice actor. When I direct I mostly show what I want and discuss it based on the actors own experience, I rarely try to make something out of a voice I haven't seen before as such (unless I've at least seen tendencies of it before) but I'd say that kind of voice is based on the top of the throat, giving absolutely no support from the diaphragm. To get a feel of it, try sounding like a creaking door.&#xD;&#xA;&#xD;&#xA;Probably not the answer you wanted, but fact is that processing almost never beats using good voice-actors the first place. We are *EXTREMELY* sensitive to voices, so even small unnaturalnesses tends to be very obvious even though the same degree on a, say, car, would go completely unnoticed. For good examples, see E.T. in the movie by the same name, the predator from Predator, Duke from Fear And Loathing, and even Chewbacca from Star Wars, though his voice is an annoyed sea-lion. Waylon Smithers from Simpsons also has a similar voice to this made from the same guy, Harry Shearer, making the voices for Principal Skinner, Kent Brockman, Mr. Burns, Ned Flanders, Reverend Lovejoy, Dr. Hibbert, Lenny Leonard, Otto Mann, Rainier Wolfcastle, Dr. Marvin Monroe and many others." ContentLicense="CC BY-SA 3.0" />
  <row Id="17853" PostHistoryTypeId="2" PostId="10803" RevisionGUID="3b3b2a60-6794-43ec-bb69-8134346c7e7d" CreationDate="2011-10-08T18:19:14.947" UserId="842" Text="I haven't tried it either, but it ought to be quite a difference as much of the characteristics are based on the pre-amp, and all amps sounds a little different.&#xD;&#xA;&#xD;&#xA;I'm staying analogue, I like being able to configure it any way I want :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17854" PostHistoryTypeId="2" PostId="10804" RevisionGUID="9c8d5348-15e4-40bd-b3f4-60a49d62f326" CreationDate="2011-10-08T18:33:03.750" UserId="558" Text="I agree with everyone else.  He is working in his upper register." ContentLicense="CC BY-SA 3.0" />
  <row Id="17855" PostHistoryTypeId="5" PostId="10801" RevisionGUID="08365491-15be-4d52-96c7-99f088500dc6" CreationDate="2011-10-08T19:06:40.133" UserId="315" Comment="edited body" Text="I haven't tried it yet, but I've been very interested in going digital with my Schoeps mics. Sennheiser has also released digital bodies for their mkh8000 line. The practical problem with AES-42 mic bodies in the field is that you have to find a recorder that accepts AES 42 inputs and provides clocking. At this point the Sound Devices 788T is the only recorder to my knowledge (perhaps Nagra and other super-high end recorders) that does this. Otherwise you have to use a breakout box, like the DMI boxes built by Neumann. Too bulky for me and the 788T is out of my budget.&#xD;&#xA;&#xD;&#xA;I have recorded for a year now in a studio with a digital Neumann Solution D (owned by my work) and it sounds very nice, and gives you extended frequency response and a ton of clean gain. Although with sound effects, sometimes it's overkill. I'm pretty happy with a decent analog mic when recording car hood impacts..." ContentLicense="CC BY-SA 3.0" />
  <row Id="17856" PostHistoryTypeId="2" PostId="10805" RevisionGUID="033a641a-9d8e-44be-adb8-ef3369cd5baa" CreationDate="2011-10-08T19:19:54.737" UserId="1266" Text="IRCAM tools has some badass voice formant processing plugin that supposedly works" ContentLicense="CC BY-SA 3.0" />
  <row Id="17857" PostHistoryTypeId="2" PostId="10806" RevisionGUID="1542f730-b11f-48f2-8c6c-e929be30e2f6" CreationDate="2011-10-09T04:06:40.057" UserId="300" Text="McDSP Analog Channel is a nice one for quickly winding in some heat." ContentLicense="CC BY-SA 3.0" />
  <row Id="17858" PostHistoryTypeId="2" PostId="10807" RevisionGUID="fbd1a1b6-6312-4836-b5e7-dbf866e43508" CreationDate="2011-10-09T09:31:28.000" UserId="6519" Text="Watch this:&#xD;&#xA;&#xD;&#xA;http://designingsound.tv/need-for-speed-the-run-capturing-the-sound/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17859" PostHistoryTypeId="2" PostId="10808" RevisionGUID="d651ef14-2c1c-4973-9927-f95fff5a51b8" CreationDate="2011-10-09T10:39:58.067" UserId="182" Text="Contrary to what Utopia said, you need to press the record button only once on the zoom H1. If you saw the red light (and the counter running), it was recording.&#xD;&#xA;&#xD;&#xA;I have had a similar issue once with my H1, where after a series of recordings in recorder-unfriendly conditions (taped to the back of a car), one file became corrupt and the next one was missing.&#xD;&#xA;I tried one of those drive rescue programs to see if the data was still on the memory card, but to no avail.&#xD;&#xA;&#xD;&#xA;I'm guessing it happend because somehow the device switched off before it could write the latest recording to the card.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17860" PostHistoryTypeId="2" PostId="10809" RevisionGUID="bc348ddf-5e54-47fb-90be-67adde76f8fb" CreationDate="2011-10-09T11:22:26.760" UserId="7642" Text="I have very limited experience recording cars specifically, but when you do get access to great cars and a dynamo setup i would NOT just go with one stereo recorder. That sounds like a recipe for missed opportunities imho. &#xD;&#xA;I would bring (borrow/rent/ share the recording gig With other recordist)at least a six channel recorder plus a backup.&#xD;&#xA;I'd prob go with at least one lav in the engine room, one mic on the exhaust, stereo interior, one exterior and one contact.&#xD;&#xA;&#xD;&#xA;This way you get all the recordings at the correct rpm aligned.&#xD;&#xA; If on a dynamo I'd use the additional recorder to record a stereo external perspective as well, although this might be of limited use depending on the sound of the room.&#xD;&#xA;But when bringing it outside I'd try to have at minimum a m/s setup to record pass by's.&#xD;&#xA;&#xD;&#xA;Getting access to great cars and good recording venues is expensive enough that I'd never dare risk a failed recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="17861" PostHistoryTypeId="2" PostId="10810" RevisionGUID="3bd674e8-f930-4206-951b-2e072d1b3a1c" CreationDate="2011-10-09T15:53:21.920" UserId="194" Text="I've put a few blog posts up with my truck recording experiences.&#xD;&#xA;&#xD;&#xA;http://thesoundmyheadmakes.blogspot.com/2011/02/truck-record-part-1-prep.html&#xD;&#xA;&#xD;&#xA;http://thesoundmyheadmakes.blogspot.com/2011/02/truck-record-part-2recording.html&#xD;&#xA;&#xD;&#xA;http://thesoundmyheadmakes.blogspot.com/2011/02/truck-record-part-3editing.html&#xD;&#xA;&#xD;&#xA;http://thesoundmyheadmakes.blogspot.com/2011/02/truck-record-part-4cataloging-and.html&#xD;&#xA;&#xD;&#xA;and also this one.&#xD;&#xA;&#xD;&#xA;http://thesoundmyheadmakes.blogspot.com/2011/08/truck-record-this-time-not-rained-out.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The main advice I'd give is to get more channels to record to, as this will cut your time down pretty dramatically.  &#xD;&#xA;&#xD;&#xA;also, use your best mics on the exhaust and a few feet away if possible.&#xD;&#xA;&#xD;&#xA;vehicles are as expressive as animals are, and as such you never really can get complete coverage - especially in the shop.  Most vehicles get covered for specific need, even if those needs are deep.  You can see my process of assessing what to cover in the blog posts I linked." ContentLicense="CC BY-SA 3.0" />
  <row Id="17862" PostHistoryTypeId="2" PostId="10811" RevisionGUID="ac3cec44-09bb-432f-8315-82cfe8906bd5" CreationDate="2011-10-09T17:24:19.353" UserId="1266" Text="http://filmsound.org/articles/bresson.htmw&#xD;&#xA;Sight and Hearing &#xD;&#xA;&#xD;&#xA;To know what business that sound (or that image) has there. &#xD;&#xA;&#xD;&#xA;What is for the eye must not duplicate what is for the ear.&#xD;&#xA;If the eye is entirely won, give nothing or almost nothing to the ear*. One can not be at &#xD;&#xA;the same time all eye and all ear.&#xD;&#xA;&#xD;&#xA;When a sound can replace an image, cut the image or neutralize it. The ear goes more toward the within, the eye toward the outer.&#xD;&#xA;&#xD;&#xA;A sound must never come to the help of a image, nor an image to help the of sound.&#xD;&#xA;If a sound is the obligatory complement of an image, give preponderance either to the sound or to the image. If equal, they damage or kill each other, as e say of colors&#xD;&#xA;Image and sound must not support each other, but must work each in turn through a sort of relay.&#xD;&#xA;&#xD;&#xA;The eye solicited alone makes the ear impatient, the ear solicited alone ,makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the senses in governable way. Against the tactics of speed, of noise, set tactics of slowness, of silence&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What is the forum's general consensus on these notes?  Have they been useful to you?  I have learned a lot from sound books and reading and re-reading old theory is fun and useful, I'm also hoping there is a new theory book that comes out of modern times." ContentLicense="CC BY-SA 3.0" />
  <row Id="17863" PostHistoryTypeId="1" PostId="10811" RevisionGUID="ac3cec44-09bb-432f-8315-82cfe8906bd5" CreationDate="2011-10-09T17:24:19.353" UserId="1266" Text="Rober Bresson's note's on sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="17864" PostHistoryTypeId="3" PostId="10811" RevisionGUID="ac3cec44-09bb-432f-8315-82cfe8906bd5" CreationDate="2011-10-09T17:24:19.353" UserId="1266" Text="&lt;film&gt;&lt;image&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17865" PostHistoryTypeId="2" PostId="10812" RevisionGUID="34dd2875-a6a7-4191-8027-4413f95f70ea" CreationDate="2011-10-09T17:44:40.433" UserId="6524" Text="[youtube]rhFPoxo-N_g[/youtube]&#xD;&#xA;&#xD;&#xA;[Re-Sounding by Varun Nair: Recording a car!][1]&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;  [1]: http://re-sounding.com/2011/07/02/recording-car/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17866" PostHistoryTypeId="2" PostId="10813" RevisionGUID="5419b2b6-cc04-4834-9a30-5f8718ce9222" CreationDate="2011-10-09T18:38:52.457" UserId="6462" Text="Check out these clips.&#xD;&#xA;The recordist is a guy called Watson Wu, who is considered kind of a guru of car recording!!&#xD;&#xA;Also do a google search for him and you'll get lot's of info.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=4WjJZNpV0ls&#xD;&#xA;http://www.youtube.com/watch?v=JFgQAiwRqLg&#xD;&#xA;http://www.youtube.com/watch?v=XlXrwAZePt4&#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="17867" PostHistoryTypeId="2" PostId="10814" RevisionGUID="3a644c57-be27-4e8d-9f59-2a529e197ff5" CreationDate="2011-10-09T18:52:04.967" UserDisplayName="user49" Text="These have been influential for me for a very long time... especially &quot;Against the tactics of speed, of noise, set tactics of slowness, of silence&quot;&#xD;&#xA;&#xD;&#xA;re more recent film sound theory books, I can reccomend Michel Chions book Audio Vision&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17868" PostHistoryTypeId="4" PostId="10811" RevisionGUID="3915ede7-50b9-494e-bbba-e2aea23b5eb0" CreationDate="2011-10-09T19:00:54.360" UserId="1266" Comment="edited title" Text="Rober Bresson's notes on sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="17869" PostHistoryTypeId="2" PostId="10815" RevisionGUID="1cb02308-c68c-4e6f-b6ca-fa111947fae3" CreationDate="2011-10-09T20:20:33.197" UserId="1266" Text="Do people hear differently at different times of the day?&#xD;&#xA;Thinking about it, I think I do.  When I wake up, I'm not hearing as clearly as later on say 5 or 6 hours later.  I wonder why?  &#xD;&#xA;Maybe, when we dream, or are asleep, we are hearing things a lot differently." ContentLicense="CC BY-SA 3.0" />
  <row Id="17870" PostHistoryTypeId="1" PostId="10815" RevisionGUID="1cb02308-c68c-4e6f-b6ca-fa111947fae3" CreationDate="2011-10-09T20:20:33.197" UserId="1266" Text="Do people here differently at different times of the day?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17871" PostHistoryTypeId="3" PostId="10815" RevisionGUID="1cb02308-c68c-4e6f-b6ca-fa111947fae3" CreationDate="2011-10-09T20:20:33.197" UserId="1266" Text="&lt;hearing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17872" PostHistoryTypeId="2" PostId="10816" RevisionGUID="2fcf6af3-fdaa-4cf9-9a43-0318396e7658" CreationDate="2011-10-09T20:48:15.347" UserId="1228" Text="Part of it may have to do with the sound propagation through air - the colder the temperature, the further sound travels (hence, we hear things at night more clearly, like traffic drone, that otherwise are nearly masked during the day)." ContentLicense="CC BY-SA 3.0" />
  <row Id="17873" PostHistoryTypeId="4" PostId="10815" RevisionGUID="ff8a6115-5825-4997-a190-80c3fe9be64a" CreationDate="2011-10-09T21:53:47.477" UserId="61" Comment="spelling" Text="Do people hear differently at different times of the day?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17874" PostHistoryTypeId="2" PostId="10817" RevisionGUID="b5a163e4-cd54-42d0-bb12-0989abe7e5b2" CreationDate="2011-10-09T22:10:04.990" UserId="37" Text="What you hear is normally judged against the background. Early morning and late at night ambient sound levels are lower so sounds tend to stick out. Also the air is cooler and sounds propagate more easily so you start hearing distant trains and such. So things sound different, and they're easier to hear.. When I'm just about to wake up, my hearing is the first to start up so all of a sudden everything sounds incredibly loud. It's just how my brain is wired I think.." ContentLicense="CC BY-SA 3.0" />
  <row Id="17875" PostHistoryTypeId="2" PostId="10818" RevisionGUID="9e5a489c-b609-4650-84fe-e80cc468f217" CreationDate="2011-10-09T23:35:41.357" UserId="728" Text="Possibly the earliest use of an effective silence in a film is Bande a Part AKA Band of Outsiders (1964) directed by Jean-Luc Godard. I loved that one-minute silence scene ...actually the whole movie is great.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=B9XAi7xYOwQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="17876" PostHistoryTypeId="5" PostId="10818" RevisionGUID="51e0d290-c1c8-4da6-8c1b-a791292a1a54" CreationDate="2011-10-09T23:41:56.193" UserId="728" Comment="added 34 characters in body; deleted 44 characters in body" Text="Possibly the earliest use of an effective silence in a film is Bande a Part AKA Band of Outsiders (1964) directed by Jean-Luc Godard. I loved that one-minute silence scene ...actually the whole movie is great.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[youtube]B9XAi7xYOwQ[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="17880" PostHistoryTypeId="2" PostId="10820" RevisionGUID="59d45263-5caa-49ec-bc63-97e291cf34f1" CreationDate="2011-10-10T02:19:11.897" UserId="429" Text="Asking one DAW application to do a wide variety of tasks well isn't practical. It is way more efficient to have multiple machines, OS's &amp; applications to take a more modular approach and choose the best combination of tools for the job at hand. Some of the suggestions so far are interesting to read though." ContentLicense="CC BY-SA 3.0" />
  <row Id="17881" PostHistoryTypeId="2" PostId="10821" RevisionGUID="7cbc66b5-0809-40ab-9d64-cd28dfc09935" CreationDate="2011-10-10T02:23:48.317" UserId="429" Text="I also set my peak to -3dBFS with the massey L2007 even though most web junk clips 0." ContentLicense="CC BY-SA 3.0" />
  <row Id="17882" PostHistoryTypeId="2" PostId="10822" RevisionGUID="980bea5e-5036-4e25-b5fb-6119151cfe05" CreationDate="2011-10-10T02:30:15.110" UserId="429" Text="The D-50 batteries lasts forever. Maybe this is obvious but hand holding the D-50 while recording the battery door and other parts rattle enough to ruin recordings. I wish it was a one piece unit with no parts at all. Thats my only complaint about it." ContentLicense="CC BY-SA 3.0" />
  <row Id="17883" PostHistoryTypeId="2" PostId="10823" RevisionGUID="45c187e2-55a8-4ec4-8602-482571175321" CreationDate="2011-10-10T04:59:06.480" UserId="1245" Text="Gotta add another +1 for **Reaper** as a sound design tool.&#xD;&#xA;&#xD;&#xA;The guys that make Reaper are super fast about making big changes and additions to their software for an insanely reasonable price...and they unfortunately go widely overlooked.&#xD;&#xA;&#xD;&#xA;**AND THEY LISTEN TO THEIR USERBASE**&#xD;&#xA;&#xD;&#xA;I used to be a big protools guy, mainly because I used it in school and never really gave any other DAWs a fair shake, but as time went on I just felt like I was getting burned/gouged more and more by protools so I went looking for something better.&#xD;&#xA;&#xD;&#xA;Started using reaper on my current game and I loved the crap out of it.&#xD;&#xA;&#xD;&#xA;No more random&#xD;&#xA;-DAE 900022: User is wearing the wrong color pants errors.&#xD;&#xA;&#xD;&#xA;Reaper works equally well on PC and Mac. &#xD;&#xA;&#xD;&#xA;Reaper is insanely fast and snappy, it's incredibly lightweight so it can run on just about any system with no problems.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Reaper offers a free trial that is 100% functional and you can use it to evaluate as long as you want for free.&#xD;&#xA;&#xD;&#xA;No reason not to check it out if your're in the market for something different.&#xD;&#xA;&#xD;&#xA;www.reaper.fm&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17884" PostHistoryTypeId="2" PostId="10824" RevisionGUID="e19df29c-3b43-4044-b5fa-962c1ecc9c11" CreationDate="2011-10-10T06:16:47.653" UserId="2498" Text="I'm sorry, I don't know how to ask a question to a question, but to the people recommending the D-50 as having superior in-built mics, I&quot;m quite cautious about phase issues, and the zoom h4n does have co-incidence pairs as compared to a slightly spaced pair.&#xD;&#xA;&#xD;&#xA;Does this give the h4n much of an advantage? cheers. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17885" PostHistoryTypeId="2" PostId="10825" RevisionGUID="d7ec4f7f-58c8-43e5-9288-15b732f51de1" CreationDate="2011-10-10T06:25:14.547" UserId="1049" Text="I'd say when we sleep our hearing would be more sensitive, acting as a 'defence mechanism' in order to wake us up if our sub-concious detects 'danger'. I'd say something similar is likely to happen generally at night when light levels are lower as your brain processing power will shift to focus on other senses, and less on sight (if you're in a dark place), and hence our hearing would seem heightened. &#xD;&#xA;&#xD;&#xA;Other than wave-propagation in air in areas with significant night-day temperature changes as @georgi.m and @Stavrosound mentioned, all other differences in hearing will be purely psychoacoustic. If you don't hear as clearly at the start of the day, that's likely to be related to how awake and alert you are at that time, and hence how your brain handles the information it's receiving at that time.&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17886" PostHistoryTypeId="2" PostId="10826" RevisionGUID="14148e27-e9a4-4251-95a7-dcf5edd387de" CreationDate="2011-10-10T07:06:14.187" UserId="2778" Text="Hi. i would like to know if there is any particular format for WRITING sound for a film. I am working on a film with a friend and he handed over me the script and it just put me in a fix. I have made out a list of basic sounds that i might use like the ambient sounds, birds chirping, crowd etc etc. but i am not sure about how to go about the script. This is the first film that i am working on. Its a part of my college project. it would be a great help if i would know a format that sound designers follow to give the movie a particular sonic personality." ContentLicense="CC BY-SA 3.0" />
  <row Id="17887" PostHistoryTypeId="1" PostId="10826" RevisionGUID="14148e27-e9a4-4251-95a7-dcf5edd387de" CreationDate="2011-10-10T07:06:14.187" UserId="2778" Text="Writing Sound for a movie" ContentLicense="CC BY-SA 3.0" />
  <row Id="17888" PostHistoryTypeId="3" PostId="10826" RevisionGUID="14148e27-e9a4-4251-95a7-dcf5edd387de" CreationDate="2011-10-10T07:06:14.187" UserId="2778" Text="&lt;sound-design&gt;&lt;writing&gt;&lt;script&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17889" PostHistoryTypeId="2" PostId="10827" RevisionGUID="4a9b0b7e-85ba-431d-904c-00cc4739b322" CreationDate="2011-10-10T07:32:08.560" UserId="6499" Text="I am involved with an app for the iphone in which I am doing the cut cinematics for the game.   What I am quite weary about is if I should mix this like I would a film, or do I need to mix the dialogue and everything else a little louder with less dynamics due to overall gain/volume of the Iphone headphone output. Basically apply some heavier compression akin to today music.  I really would hate to do that, but I do not want my dialogue to slip away from intelligibility when someone is listening to it on their speakers, I know Ill pretty much lose my BGs and most softer fx when on the built in speakers.    &#xD;&#xA;&#xD;&#xA;I have never really done a test to see where and what the sweeter levels are for the phones headphone amp.  &#xD;&#xA;&#xD;&#xA;Tomorrow I am going to export some different reference tones and dialogue at different levels to see where things fall away.&#xD;&#xA;&#xD;&#xA;Just curious if anyone else has any experience with it." ContentLicense="CC BY-SA 3.0" />
  <row Id="17890" PostHistoryTypeId="1" PostId="10827" RevisionGUID="4a9b0b7e-85ba-431d-904c-00cc4739b322" CreationDate="2011-10-10T07:32:08.560" UserId="6499" Text="Mixing Cinematics for Iphone APP" ContentLicense="CC BY-SA 3.0" />
  <row Id="17891" PostHistoryTypeId="3" PostId="10827" RevisionGUID="4a9b0b7e-85ba-431d-904c-00cc4739b322" CreationDate="2011-10-10T07:32:08.560" UserId="6499" Text="&lt;app&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17892" PostHistoryTypeId="2" PostId="10828" RevisionGUID="0ad5cb4e-1942-4bbb-b735-7067111262d3" CreationDate="2011-10-10T08:38:11.447" UserId="587" Text="I have had material kicked back because I used too much low-end. Also, slight compression on the master stem helps even it out as you said.&#xD;&#xA;&#xD;&#xA;Shooting your speakers at a lower db is one technique to getting louder, yet more comprehensible mixes without using compression. This will naturally crank your mix.&#xD;&#xA;&#xD;&#xA;Using a compression setting used on todays pop music would ruin your mix. The reason why its cinematic is because of dynamics, not because its just loud as hell constantly... however some action directors would disagree. Theres always people that disagree.&#xD;&#xA;&#xD;&#xA;Good luck,&#xD;&#xA;&#xD;&#xA;C3Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="17893" PostHistoryTypeId="5" PostId="10685" RevisionGUID="f95c4d75-fbb5-43c0-bf3a-e6c90d1e7559" CreationDate="2011-10-10T09:15:03.120" UserId="6432" Comment="added 150 characters in body" Text="London from inside a post box&#xD;&#xA;&#xD;&#xA;[soundcloud]mark-durham/london-from-inside-a-post-box[/soundcloud]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[http://soundcloud.com/mark-durham/london-from-inside-a-post-box][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/mark-durham/london-from-inside-a-post-box" ContentLicense="CC BY-SA 3.0" />
  <row Id="17894" PostHistoryTypeId="2" PostId="10829" RevisionGUID="c31c317a-56a8-4bfd-89f3-a5ce741e27f9" CreationDate="2011-10-10T09:49:26.063" UserId="1216" Text="Great question! I have rather sensitive ears (we probably all do in here!) and I respond differently throughout the day. Around 11 o'clock everything seems to sound best to me.&#xD;&#xA;I don't have any explanation for it, besides the psychoacoustic tricks my brain pull.&#xD;&#xA;&#xD;&#xA;There's one lesson learned at Art School about sound that i never forget: Bass sounds get 'softer' to the ear/brain  the evening. When i was working on projects back then most of them where late nighter's, to get everything to sound 'perfect'. Well needless to say, everything sounded horrible the next morning, too much bass and muddy mixes :)&#xD;&#xA;  &#xD;&#xA;Nowadays when under time constraints and rapidly approaching deadlines I avoid mixing in the evening exactly for this reason.&#xD;&#xA;&#xD;&#xA;Would love to hear some scientific evidence for this behaviour!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17895" PostHistoryTypeId="2" PostId="10830" RevisionGUID="ed4b0f38-c2d3-4d3c-812c-167fde9feae7" CreationDate="2011-10-10T10:00:51.647" UserId="1216" Text="Hi, I don't know about any formats. Randy Thom actually started a project/discussion on the 'sound-article-list' @ yahoo groups. &#xD;&#xA;But from my experience, the best thing to do is to sit down with the director and talk about the way he feels it should/could sound. You will most likely run into unconceivable sound concepts. &#xD;&#xA;&#xD;&#xA;I remember a animator/director asking for an 'emphatic' sound. I explained to him that this was an impossible assignment, unless he could help me visually. After going through all his ideas, my vision of the sound design was much clearer. I was able to visualize this to him just by explaining in 'normal' language.   &#xD;&#xA;&#xD;&#xA;I never handed him a written sound design, but he did have a good idea about what it was and adapted his script to make things better sound wise.&#xD;&#xA;&#xD;&#xA;So best thing to do is first listen to the director, try to distil a design principle out of that and work yourself down the script with him. Keep communicating and stay open to ideas, this will get you closer as a team and helps the project.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17899" PostHistoryTypeId="2" PostId="10832" RevisionGUID="ecb1b61b-60b6-47aa-9980-1c2e32336319" CreationDate="2011-10-10T10:40:58.593" UserId="300" Text="the weirdest thing for me has been working on music mixes from the early morning til early the next morning: my perception of speed changes ----- as I get tired in the wee hours a slow slow track can start to sound quite pacey. &#xD;&#xA;&#xD;&#xA;and then back to normal the next day. I wonder if it's something as simple as the brain slowing down as you get tired." ContentLicense="CC BY-SA 3.0" />
  <row Id="17900" PostHistoryTypeId="2" PostId="10833" RevisionGUID="3f033b96-d9f4-4d3c-9a9a-66cc1dffe81a" CreationDate="2011-10-10T10:46:04.793" UserId="771" Text="Couple of weeks back i had to record very loud drums for a documentary.I was carrying a SHURE two track mixer wired to a TASCAM two track recorder.I gave one output to the camera and one to the recorder.I gave a 1kHz tone from the mixer and aligned to -12dB in the recorder.I was recording almost 10 loud drums simultaneously and was monitoring from 20 feet away.The needle in the mixer (it was a VU meter and i could hardly handle the rotary knob of the mixer since for a small opening of the fader the level in the recorder was very high) was hardly fluctuating and it was showing more than -12dB in the recorder.I could hardly hear anything in the headphone due to near field monitoring.Finally the recording sounded just fine except at few places where it clipped.There was no gain cut in the mixer and i engaged the limiter in the recorder ( even though there was one in the output of the mixer also).&#xD;&#xA;&#xD;&#xA;How could have i dealt with the situation better ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17901" PostHistoryTypeId="1" PostId="10833" RevisionGUID="3f033b96-d9f4-4d3c-9a9a-66cc1dffe81a" CreationDate="2011-10-10T10:46:04.793" UserId="771" Text="Recording very Loud drums ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17902" PostHistoryTypeId="3" PostId="10833" RevisionGUID="3f033b96-d9f4-4d3c-9a9a-66cc1dffe81a" CreationDate="2011-10-10T10:46:04.793" UserId="771" Text="&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17904" PostHistoryTypeId="2" PostId="10834" RevisionGUID="c5c3a790-ed49-4f9d-97a5-ab082e8d3f49" CreationDate="2011-10-10T12:56:58.513" UserId="2" Text="What kind of mic were you using? &#xD;&#xA;&#xD;&#xA;Seems like an inline pad would have helped a lot. The second you see your levels are not moving much, it means your system is reaching the max as it gets to your pre-amp.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17905" PostHistoryTypeId="2" PostId="10835" RevisionGUID="a5b6bd26-a020-43f8-bdf3-a3eda25146f8" CreationDate="2011-10-10T14:17:19.597" UserId="29" Text="You have a rare opportunity: You're mixing for a *known platform*, and even better, a known *device* (well, two, if you count iPhone and iPad). No errant theatrical calibration woes, no home-TV-setting guesswork, no network affiliate variables. Mix, test, refine, repeat. Iteration is the best way to let your ears anticipate what wil happen. Don't guess at the solutions when you can render out mixes and try them on the device itself!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17906" PostHistoryTypeId="2" PostId="10836" RevisionGUID="ed209b76-96ad-4be6-ba0a-0dbfa8b41302" CreationDate="2011-10-10T16:07:21.187" UserId="2166" Text="I have my iphone connected to my mix system at all times. I do a mix, drop it onto the iphone, pop on the headphones, modify the mix, repeat until happy" ContentLicense="CC BY-SA 3.0" />
  <row Id="17907" PostHistoryTypeId="2" PostId="10837" RevisionGUID="6ba6e3cb-f972-47c0-b565-071b3174efc2" CreationDate="2011-10-10T21:14:36.843" UserId="1292" Text="There is another format the script can take and it is called and AV script.  Celtx (free script writing program) has a mode for it.  Check out this video http://www.ehow.com/video_4442031_learn-av-script-editor-celtx.html&#xD;&#xA;&#xD;&#xA;Also, google image search AV script format to see a visual.  Basically you draw a line down the page and the shot description goes on the left and the audio description goes on the right. The AV script can describe the exact shot and at the same time tell what the characters are saying.&#xD;&#xA;&#xD;&#xA;See if your director is willing to adapt the script to this format.  It will not only help you and the director discuss sound before you get to work the the film but it will also help him talk through the film with his camera person and editor.&#xD;&#xA;&#xD;&#xA;If the director is not interested in adapting the script, splice up the script you have into the descriptions and dialog and then add in the sound design descriptions on the audio side as needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="17908" PostHistoryTypeId="5" PostId="10343" RevisionGUID="d0f0dbe7-31f4-42c7-a16e-bab203fd8eca" CreationDate="2011-10-10T23:06:26.420" UserId="1241" Comment="Clarified paragraph breaks" Text="I don't know much about most middleware, but I've worked with FMOD before, so here's the cut-down non-legalese version of how their licencing works:&#xD;&#xA;&#xD;&#xA;You can use FMOD for free so long as you're not planning to make any money out of it - which is to say, if you're using it purely for education or for not-for-sale projects.&#xD;&#xA;&#xD;&#xA;For commercial projects, only one licence is needed per project - no matter how many hundreds of people they hire, as long as they're all working on the same project they'll only need the one licence. Of course, this means that when one project ends and the next begins, the company needs to purchase a new licence.&#xD;&#xA;&#xD;&#xA;If you have a licence for the FMOD Ex Programmer's API, then you also have a licence to use FMOD Designer. They're two halves of the same whole for licence-purchasing purposes.&#xD;&#xA;Oh, and you need a seperate licence for each platform the project is going to be released on." ContentLicense="CC BY-SA 3.0" />
  <row Id="17909" PostHistoryTypeId="2" PostId="10838" RevisionGUID="8804ce6e-8a85-44ce-b149-327cffb3566f" CreationDate="2011-10-11T03:50:04.350" UserId="558" Text="Is there any info on how most people listen to their iphone's?  I don't own one, but I have to believe that a reasonable % of the audience is listening via headphones or out the headphone jack into some better system.  Your approach to a mix would have to be very different if you are going for 1 or the other or both audiences.&#xD;&#xA;&#xD;&#xA;I wouldn't be surprised if the the software can tell whether the headphone jack is in use.  Depending on your sound engine, you may be able to modify your master bus fx based on this.&#xD;&#xA;&#xD;&#xA;good luck&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17910" PostHistoryTypeId="2" PostId="10839" RevisionGUID="5799bbac-cd81-497b-a7d4-c5674eec41c1" CreationDate="2011-10-11T06:49:08.307" UserId="348" Text="David Sonnenschien has done a lot in this area of putting together paradigms on how to attack a script for sound design. I find his ideas very useful when dissecting a script into emotional, transition, environmental areas of the film and helping me build a sonic philosophy around the narrative. Great stuff. Also, Randy Thom has a great essay on filmsound.org which discusses the importance of how to emotionally and theoretically wrap your head around a script in preparation for a sound design. &#xD;&#xA;&#xD;&#xA;With the ideas existing in these pieces, I have been able to improve on my verble interpretation of a script when consulting with the director and other members of the sound crew.&#xD;&#xA;I hope that this answers your question. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17911" PostHistoryTypeId="2" PostId="10840" RevisionGUID="67c3dc50-5266-477a-897b-f078419fdf35" CreationDate="2011-10-11T07:04:09.897" UserId="2498" Text="another reaper fan boy here. I use pro tools at work, because that's what's set up, and it's quite frustrating how relatively cumbersome it is." ContentLicense="CC BY-SA 3.0" />
  <row Id="17912" PostHistoryTypeId="2" PostId="10841" RevisionGUID="311a6fdb-4b52-4ee3-a2b0-f358dadc1c86" CreationDate="2011-10-11T07:25:45.667" UserId="1266" Text="I'm a big fan of SoundSnap.  The prices are amazing and sounds are great and variety is wide.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17913" PostHistoryTypeId="5" PostId="513" RevisionGUID="5b68931e-669c-4dc9-bdaa-73bb7b68b24f" CreationDate="2011-10-11T07:26:29.623" UserDisplayName="user80" Comment="added 1 characters in body" Text="I use Pro Tools 9 at Home and Pro Tools 9 HD at work.  For designing sounds themselves I prefer to use Synthesizer and Sampler plug-ins within Pro Tools, and then layer the sounds within the Pro Tools session." ContentLicense="CC BY-SA 3.0" />
  <row Id="17917" PostHistoryTypeId="2" PostId="10843" RevisionGUID="8fbb7ab6-0a57-4700-8b50-022962b71542" CreationDate="2011-10-11T09:56:53.367" UserId="2981" Text="Hi,&#xD;&#xA;&#xD;&#xA;I want to be able to create decent hollywood style high frequency tones- Sustained bell,glass or metal shimmering layers in my sound design projects.In the past I have mainly used stock effects for these but I really want to start creating these from scratch.I have tried countless times but not had any joy.&#xD;&#xA;&#xD;&#xA;Anyone got any tips on this?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17918" PostHistoryTypeId="1" PostId="10843" RevisionGUID="8fbb7ab6-0a57-4700-8b50-022962b71542" CreationDate="2011-10-11T09:56:53.367" UserId="2981" Text="Creating high frequency tones /shimmering metals" ContentLicense="CC BY-SA 3.0" />
  <row Id="17919" PostHistoryTypeId="3" PostId="10843" RevisionGUID="8fbb7ab6-0a57-4700-8b50-022962b71542" CreationDate="2011-10-11T09:56:53.367" UserId="2981" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17920" PostHistoryTypeId="2" PostId="10844" RevisionGUID="22cb4c28-70ee-4a79-a9c4-106edafeeaa4" CreationDate="2011-10-11T11:13:41.060" UserId="6519" Text="I vote for pond5" ContentLicense="CC BY-SA 3.0" />
  <row Id="17921" PostHistoryTypeId="2" PostId="10845" RevisionGUID="e4684c76-ad83-4e6a-b0fb-d92a65100aa7" CreationDate="2011-10-11T12:03:01.907" UserId="432" Text="Besides granular plug-ins, Waves' Enigma can be useful for this kind of stuff. Yes, Enigma modulates back and forth between two sounds, but you can &quot;pause&quot; it when it's got the tone you want. When you do, it will hold the sound it's creating until you release it (turning into its own form of granular synthesis). It's great for creating a sound that needs some movement into a sustained tone." ContentLicense="CC BY-SA 3.0" />
  <row Id="17922" PostHistoryTypeId="2" PostId="10846" RevisionGUID="204d3e75-379b-4027-8a24-0fa7b600a4d8" CreationDate="2011-10-11T12:17:14.953" UserId="1055" Text="buy a violin bow(or a bigger one), and record bowing of a cymbal for example, and you will get similar sounds to those in horror movies ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17923" PostHistoryTypeId="2" PostId="10847" RevisionGUID="467a3139-1def-4128-88ec-2422e20bbc2a" CreationDate="2011-10-11T12:50:47.093" UserId="2984" Text="If you look really close you'll see he's carrying a helium cylinder from which he inhales when the camera's off him. Listen hard and you can hear the hiss!&#xD;&#xA;&#xD;&#xA;C.O.Jones" ContentLicense="CC BY-SA 3.0" />
  <row Id="17924" PostHistoryTypeId="2" PostId="10848" RevisionGUID="51432562-dcac-4c9c-884d-66d5a85571c2" CreationDate="2011-10-11T13:44:22.787" UserId="6566" Text="Metasynth can be pretty handy for sounds like you describe.&#xD;&#xA;&#xD;&#xA;http://www.uisoftware.com/MetaSynth/index.php&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17925" PostHistoryTypeId="2" PostId="10849" RevisionGUID="459e363c-92fe-49e7-840c-0390fe1b956f" CreationDate="2011-10-11T14:51:32.150" UserId="103" Text="Just came up with a really lame one.&#xD;&#xA;&#xD;&#xA;He's not stereotypical. He's surroundotypical.&#xD;&#xA;&#xD;&#xA;Face palm." ContentLicense="CC BY-SA 3.0" />
  <row Id="17926" PostHistoryTypeId="2" PostId="10850" RevisionGUID="6f4c0bbb-1178-43fb-bf2f-935ec2e60760" CreationDate="2011-10-11T17:13:29.547" UserId="1266" Text="I guess lying down, brings a lot of blood to the head and definitely creates a kind of rhythm." ContentLicense="CC BY-SA 3.0" />
  <row Id="17927" PostHistoryTypeId="2" PostId="10851" RevisionGUID="27207169-6501-4272-8f95-dc3da13c9217" CreationDate="2011-10-11T17:23:52.993" UserId="2502" Text="sound mostly like his performance though possibly pitched up or altered a tad. Antares Throat may get you a sound you are happy with, but used conservatively. Someone else mentioned IRCAM Tools as well. Basically if you are wanting to create this type of sound beyond performance you are looking at Voice formant and pitch alteration." ContentLicense="CC BY-SA 3.0" />
  <row Id="17928" PostHistoryTypeId="2" PostId="10852" RevisionGUID="9381eda1-2e17-42ea-966c-882d86565861" CreationDate="2011-10-11T17:33:44.177" UserId="2502" Text="bow things, reverse things. explore various cymbals, bells like a crotale, singing bowls, wine glasses, etc. get a big bow and bass rosin. layer, verb, reverse, all that fun. i'm also a big fan of the ebow, resonating strings of various instruments. &#xD;&#xA;&#xD;&#xA;hope this helps.&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17929" PostHistoryTypeId="2" PostId="10853" RevisionGUID="f4357e9e-1220-4525-8d67-d4d5764f1c1d" CreationDate="2011-10-11T18:21:00.357" UserId="418" Text="I am actually finishing up a library of those kinds of suspenseful glass and metal sounds right now. I used a lot of crystal wine glasses, bowls, saws, sheet metal, etc. As mentioned above, bows are very helpful. I also got a ton of good material playing with digital and analog feedback. &#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="17930" PostHistoryTypeId="2" PostId="10854" RevisionGUID="6b1613d6-fb48-4f19-add8-9e21c10e6d1a" CreationDate="2011-10-11T18:33:02.547" UserId="1266" Text="The Zoom H4n line input is -10dbV and the Sound Devices MixPre output is a pro +4dbU.&#xD;&#xA;The signal from these two directly, overloads the recorder.&#xD;&#xA;I'm trying to figure out what kind of pads I can get to decrease the signal.  I've tried that AT adjustable 15-30 db pads and the PSC 50 db pads.  With the Audiotechnica 15-30 db adjustable pads, I could get a signal that was acceptable to the zoom but it would overload the recorder at -6 db on the recorder.  So I sent them back and returned them for the PSC which when I use these pads, I have to crank up my SD Pres and the zoom record level.  What pad's should I get?  I'm looking at a 40 db Whirlwind or a 40 db Hosa at this point.  &#xD;&#xA;Another question though--customer service advised me that If I turn down the Zoom Record level all the way, I will be bypassing the Zoom's hissy preamps.  I notice that If I do that with the PSC 50db pads, the signal is way to quiet to record ambience.  If I run without a Pad, I can keep the recording on the Zoom amazingly low and possibly bypassing the Zoom's Preamps.  &#xD;&#xA;Whats a good way to run this combo?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="17931" PostHistoryTypeId="1" PostId="10854" RevisionGUID="6b1613d6-fb48-4f19-add8-9e21c10e6d1a" CreationDate="2011-10-11T18:33:02.547" UserId="1266" Text="What in-line pad? Zoom and mixer questions" ContentLicense="CC BY-SA 3.0" />
  <row Id="17932" PostHistoryTypeId="3" PostId="10854" RevisionGUID="6b1613d6-fb48-4f19-add8-9e21c10e6d1a" CreationDate="2011-10-11T18:33:02.547" UserId="1266" Text="&lt;zoom-h4n&gt;&lt;devices&gt;&lt;signal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17933" PostHistoryTypeId="5" PostId="10854" RevisionGUID="07172ee7-01b1-4df1-a05e-93d4cfe5c028" CreationDate="2011-10-11T18:40:07.457" UserId="1266" Comment="Additional Questions" Text="The Zoom H4n line input is -10dbV and the Sound Devices MixPre output is a pro +4dbU.&#xD;&#xA;The signal from these two directly, overloads the recorder.&#xD;&#xA;I'm trying to figure out what kind of pads I can get to decrease the signal.  I've tried that AT adjustable 15-30 db pads and the PSC 50 db pads.  With the Audiotechnica 15-30 db adjustable pads, I could get a signal that was acceptable to the zoom but it would overload the recorder at -6 db on the recorder.  So I sent them back and returned them for the PSC which when I use these pads, I have to crank up my SD Pres and the zoom record level.  What pad's should I get?  I'm looking at a 40 db Whirlwind or a 40 db Hosa at this point.  &#xD;&#xA;Another question though--customer service advised me that If I turn down the Zoom Record level all the way, I will be bypassing the Zoom's hissy preamps.  I notice that If I do that with the PSC 50db pads, the signal is way to quiet to record ambience.  If I run without a Pad, I can keep the recording on the Zoom amazingly low and possibly bypassing the Zoom's Preamps.  &#xD;&#xA;Whats a good way to run this combo?  &#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;Also, does the unbalanced line input on the zoom give a more clean, clear signal than the Balanced XLRs?  As I understand now, the preamps on the zoom crank the line input as well as the XLR inputs so it would seem that the Balanced XLR Inputs will be more clean and clear if you turn them down and only use the MixPre's input gain.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17934" PostHistoryTypeId="2" PostId="10855" RevisionGUID="f93c5a45-3608-457f-92a5-e8521e64a536" CreationDate="2011-10-11T19:25:36.023" UserId="1286" Text="http://www.danmccomb.com/posts/880/zoom-h4n-with-sound-devices-mixpre-how-to-properly-connect-the-two-for-pristine-audio/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17935" PostHistoryTypeId="2" PostId="10856" RevisionGUID="aca564a2-e54b-4b16-9e3a-cd0459d5c3ac" CreationDate="2011-10-11T19:57:20.193" UserId="1266" Text="I've got the exact plugin for you.  It's Absynth with the Atherizer setting.  You can set it to different chords and use a sample like a dinging glass or thin tin hit." ContentLicense="CC BY-SA 3.0" />
  <row Id="17936" PostHistoryTypeId="2" PostId="10857" RevisionGUID="d5a0521b-4994-4ae1-95bc-2fb06852e048" CreationDate="2011-10-11T20:20:29.597" UserId="1266" Text="Do you have a kind of system for placing things like barking dogs, carbys, ringing phones, etc in the background of a scene?  How do you decide what to place?&#xD;&#xA;&#xD;&#xA;Also, do you ever use backgrounds that are emotional backgrounds that the audience won't pick up on rather than a recording of the real things?  Such as a convolved voice as roomtone or forest ambience at a certain level during an interview." ContentLicense="CC BY-SA 3.0" />
  <row Id="17937" PostHistoryTypeId="1" PostId="10857" RevisionGUID="d5a0521b-4994-4ae1-95bc-2fb06852e048" CreationDate="2011-10-11T20:20:29.597" UserId="1266" Text="Deciding where to place backgrounds and spot effects" ContentLicense="CC BY-SA 3.0" />
  <row Id="17938" PostHistoryTypeId="3" PostId="10857" RevisionGUID="d5a0521b-4994-4ae1-95bc-2fb06852e048" CreationDate="2011-10-11T20:20:29.597" UserId="1266" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17939" PostHistoryTypeId="2" PostId="10858" RevisionGUID="9a31f970-671e-4586-bdcd-f9a82ec022c6" CreationDate="2011-10-11T21:12:20.290" UserId="863" Text="Don't quite understand what you mean by system? placing effects is all relative to the scene?&#xD;&#xA;&#xD;&#xA;I tend to have a stereo ambience track and then a couple tracks which are mono/stereo where I can place spot effects for the ambience. They're then placed relative to the camera shot.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17940" PostHistoryTypeId="2" PostId="10859" RevisionGUID="f1908752-3b01-4417-b558-cbc8c1e62ff1" CreationDate="2011-10-11T22:34:38.917" UserId="7642" Text="As with so many things related to film/TV/game audio, there's no real answer...&#xD;&#xA;&#xD;&#xA;Wherever you feel is appropriate, or makes sense, or helps the story, or helps put the viewer in the right mood or environment, where it makes them feel sad, where it is really bloody annoying, where it won't interfere with dialog, where it will mess up a line of dialog so bad so you are certain that the viewer cant understand what really is beeing said, and of course wherever the boss/director tells you to.&#xD;&#xA;&#xD;&#xA;Theres really only one basic thing that should be avoided. Do not place it there if it doesn't actually do anything. Unless it does something there's no point in spending the time to put it there. Use your time wisely.&#xD;&#xA;&#xD;&#xA;I have no system, but each project and scene will dictate what, how and where I choose to put a sound. That's in the best of worlds...&#xD;&#xA;In the worst of worlds, as soon as you find something that moves the scene along you just kick it in there just to do something to try to make the scene come alive, but with no time to actually contribute anything to the story. And then you move on to the next scene or you wont make the deadline." ContentLicense="CC BY-SA 3.0" />
  <row Id="17941" PostHistoryTypeId="2" PostId="10860" RevisionGUID="ac762426-b9b3-41e0-b3d4-51e881533d63" CreationDate="2011-10-11T22:39:44.503" UserId="1228" Text="For me, it's simply a matter of not thinking about it - i shoot from the hip on on this stuff, gut intuition.  I play the scene segments over and over (as I move along the timeline with my editing duties) and drop things in and shuffle them around, replay a section here or there, tweak it etc.  There's an innate musicality and rhythm to doing spotted effects.  Great places are spots between dialogue where they can be massaged in, other times it's fun to play off of dialogue (or a funny offstage sound right after somebody shuts the other person down with a joke), and usually at the top or tail of scene when there's that brief moment of no dialogue there's golden moments to squeeze something in.&#xD;&#xA;&#xD;&#xA;Almost always I stretch reality in BGz for emotive content and richness, and sometimes you have to for fixing visual continuity or establishing a precedent.  Honestly, sonic reality equates to the word &quot;boring&quot; for my ears.  It's all about being tasteful and rich, whether the situation call for dense or minimal BGz.&#xD;&#xA;&#xD;&#xA;A common situation with this is moaning winds inside scary spaces, albeit edited at very subtle levels so that it weaves in and out of the roomtone.  I cut BGz on Killer Joe and during the final scene (a 20+ minute scene) we were inside a house during a rainstorm - yes, literally, 20+ minutes within the same one room.  It's a very stong scene for dialogue/story so it actually holds its own very well.  Now I could just play a steady, light rain like we see at the top of the scene's establishing shot - but 20 minutes of it would be boring and leave the sonical landscape incredibly flat.  So instead, to push the emotive envelope of the scene, I gradually started with a light pitter-patter and over about 8 minutes built up a gale-force storm with windows rattling and wind blowing internally, stronger rain tracks.  It builds up over such a long duration you aren't even aware of the change in BGz.  Then after the climax of the scene, I gently pulled back the energy of the rainstorm to a middle level, while still retaining some of intensity of the strongest moment.  It's one way to give a dynamic flow to especially long scenes and reinforce the story/emotive content (because even to some audiences, painfully obvious moments still need a gentle support by other non-dialogue means to sell effectively)." ContentLicense="CC BY-SA 3.0" />
  <row Id="17942" PostHistoryTypeId="2" PostId="10861" RevisionGUID="a40b021c-dc92-44f3-9396-1dc62db4f959" CreationDate="2011-10-11T22:45:20.237" UserId="6669" Text="Kind of a broad, high-level answer, but I hope this helps...&#xD;&#xA;&#xD;&#xA;A mixer/sound designer up here at VFS (&lt;a href=&quot;http://www.imdb.com/name/nm0385042/&quot;&gt;Brad Hillman&lt;/a&gt;) likes to use the E.A.T. acronym for background edits - &lt;b&gt;Entertaining, Accurate and Technical&lt;/b&gt;.&#xD;&#xA;&#xD;&#xA;I've found that helpful. So to bastardize his intentions, here's my interpretation of that:&#xD;&#xA;&#xD;&#xA;&lt;b&gt;Entertaining&lt;/b&gt; backgrounds are, in your example, those sorts of whispers, low drones, radically pitch-shifted elements that speak to an emotion or sense of eerieness without being an identifiable object in the scene, but nevertheless clue the audience in to what the story is saying somehow. Or, they are the comically distant tire squeal or bit of walla in a dangerous part of town, the parts of the background that have space to speak and be heard while still supporting the goal of the scene.&#xD;&#xA;&#xD;&#xA;&lt;b&gt;Accurate&lt;/b&gt; being, cut the precise right version of the thing you're seeing. If you're outside and it's raining, don't just grab any rain. How close is the camera perspective? How dense is the rain? Is it slappy and fat, with just the occasional spatters? Just kind of misting? Is it a torrential downpour? Is the rain hitting puddles, cars, etc.? Same thing with winds. If you can't see a visual reference of what the wind's doing, you might not want to cut in excessively howling winds. If you're cutting in a ringing phone, what era are you in? Don't give me an iPhone ring if I'm watching Madmen, etc.&#xD;&#xA;&#xD;&#xA;&lt;b&gt;Technical&lt;/b&gt;... I think of this as, choosing sounds on the basis of how that sound would be heard in the reality of the scene, and not just because it's a good-sounding background. So if you cut in a residential neighborhood dog bark, don't be afraid to filter that a little bit and try to give it a bit of distance. A mixer on a condensed schedule probably doesn't have time to rolloff and pre-send verb to properly place every single element you throw at them, and you will save them some time by taking them halfway there with tastefully baked-in effects in these cases. Outside traffic shouldn't have a bunch of really crisp highs on it. Rain, if you're indoors, should sound like it's hitting something (a roof) instead of just falling all over the place.&#xD;&#xA;&#xD;&#xA;In terms of speaker placement...&#xD;&#xA;&lt;ul&gt;&#xD;&#xA;&lt;li&gt;make sure the stuff you are panning center is there to support the production audio (e.g. cover up the production noise), and not pull attention away from the dialogue. If you can get a guide track before you start cutting ambiences, that will help you out a ton.&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Don't be afraid to hard-pan things left and right.&lt;/li&gt;&#xD;&#xA;&lt;li&gt;And be careful about putting basically anything with a transient attack, or that would be noticed, into the surround speakers.. unless the scene calls for something like that.&lt;/li&gt;&lt;/ul&gt;&#xD;&#xA;&#xD;&#xA;Backgrounds are really, really tough and require a ton of imagination and careful selection. I find them incredibly difficult and creatively challenging, even moreso than hard FX sometimes.&#xD;&#xA;&#xD;&#xA;Remember that like all sound, their purpose is to serve the goal of the story and scene rather than sound cool. Unless the scene's focus IS on the backgrounds - then they should sound really cool!&#xD;&#xA;&#xD;&#xA;There was an amazing interview with Tim Nielsen on Designing Sound re: backgrounds a month or two ago - http://designingsound.org/2011/08/tim-nielsen-special-interview-on-backgrounds/. Some good stuff in there." ContentLicense="CC BY-SA 3.0" />
  <row Id="17943" PostHistoryTypeId="5" PostId="10860" RevisionGUID="bf5f4439-876b-4c4a-928e-559dda5ac027" CreationDate="2011-10-11T22:49:28.587" UserId="1228" Comment="added 526 characters in body" Text="For me, it's simply a matter of not thinking about it - i shoot from the hip on on this stuff, gut intuition.  I play the scene segments over and over (as I move along the timeline with my editing duties) and drop things in and shuffle them around, replay a section here or there, tweak it etc.  There's an innate musicality and rhythm to doing spotted effects.  Great places are spots between dialogue where they can be massaged in, other times it's fun to play off of dialogue (or a funny offstage sound right after somebody shuts the other person down with a joke), and usually at the top or tail of scene when there's that brief moment of no dialogue there's golden moments to squeeze something in.&#xD;&#xA;&#xD;&#xA;Also, they can be a saving grace with ADR lines - pop a spotted effect between the production line and ADR lines (or better yet, slightly overlapping naturally into the ADR line itself), and it helps detract the ears from focusing on a bad ADR match.  BG phone rings in &quot;ring-and-half&quot; and &quot;2-rings-and-half&quot; style edits are great for this.  Computer beep sequences/devices work well too for this, for exterior situations OS car horns or a car by of some nature (even dog barks) work.  Just something to slightly distract.&#xD;&#xA;&#xD;&#xA;Almost always I stretch reality in BGz for emotive content and richness, and sometimes you have to for fixing visual continuity or establishing a precedent.  Honestly, sonic reality equates to the word &quot;boring&quot; for my ears.  It's all about being tasteful and rich, whether the situation call for dense or minimal BGz.&#xD;&#xA;&#xD;&#xA;A common situation with this is moaning winds inside scary spaces, albeit edited at very subtle levels so that it weaves in and out of the roomtone.  I cut BGz on Killer Joe and during the final scene (a 20+ minute scene) we were inside a house during a rainstorm - yes, literally, 20+ minutes within the same one room.  It's a very stong scene for dialogue/story so it actually holds its own very well.  Now I could just play a steady, light rain like we see at the top of the scene's establishing shot - but 20 minutes of it would be boring and leave the sonical landscape incredibly flat.  So instead, to push the emotive envelope of the scene, I gradually started with a light pitter-patter and over about 8 minutes built up a gale-force storm with windows rattling and wind blowing internally, stronger rain tracks.  It builds up over such a long duration you aren't even aware of the change in BGz.  Then after the climax of the scene, I gently pulled back the energy of the rainstorm to a middle level, while still retaining some of intensity of the strongest moment.  It's one way to give a dynamic flow to especially long scenes and reinforce the story/emotive content (because even to some audiences, painfully obvious moments still need a gentle support by other non-dialogue means to sell effectively)." ContentLicense="CC BY-SA 3.0" />
  <row Id="17944" PostHistoryTypeId="5" PostId="10861" RevisionGUID="1e83a0c9-40d1-4d78-bbbc-cd2cc5fd863e" CreationDate="2011-10-12T03:38:57.283" UserId="6669" Comment="added 64 characters in body" Text="Kind of a broad, high-level answer, but I hope this helps...&#xD;&#xA;&#xD;&#xA;A mixer/sound designer up here at VFS (&lt;a href=&quot;http://www.imdb.com/name/nm0385042/&quot;&gt;Brad Hillman&lt;/a&gt;) likes to use the E.A.T. acronym for background edits - &lt;b&gt;Entertaining, Accurate and Technical&lt;/b&gt;.&#xD;&#xA;&#xD;&#xA;I've found that helpful. So to bastardize his intentions, here's my interpretation of that:&#xD;&#xA;&#xD;&#xA;&lt;b&gt;Entertaining&lt;/b&gt; backgrounds are, in your example, those sorts of whispers, low drones, radically pitch-shifted elements that speak to an emotion or sense of eerieness without being an identifiable object in the scene, but nevertheless clue the audience in to what the story is saying somehow. Or, they are the comically distant tire squeal or bit of walla that manage to poke through when there's a lull in the dialogue. They are the parts of the background that get a tiny bit of space to speak without stealing the listener's focus, just subtly supporting the scene.&#xD;&#xA;&#xD;&#xA;&lt;b&gt;Accurate&lt;/b&gt; being, cut the precise right version of the thing you're seeing. If you're outside and it's raining, don't just grab any rain. How close is the camera perspective? How dense is the rain? Is it slappy and fat, with just the occasional spatters? Just kind of misting? Is it a torrential downpour? Is the rain hitting puddles, cars, etc.? Same thing with winds. If you can't see a visual reference of what the wind's doing, you might not want to cut in excessively howling winds. If you're cutting in a ringing phone, what era are you in? Don't give me an iPhone ring if I'm watching Madmen, etc.&#xD;&#xA;&#xD;&#xA;&lt;b&gt;Technical&lt;/b&gt;... I think of this as, choosing sounds on the basis of how that sound would be heard in the reality of the scene, and not just because it's a good-sounding background. So if you cut in a residential neighborhood dog bark, don't be afraid to filter that a little bit and try to give it a bit of distance. A mixer on a condensed schedule probably doesn't have time to rolloff and pre-send verb to properly place every single element you throw at them, and you will save them some time by taking them halfway there with tastefully baked-in effects in these cases. Outside traffic shouldn't have a bunch of really crisp highs on it. Rain, if you're indoors, should sound like it's hitting something (a roof) instead of gushing down in front of you.&#xD;&#xA;&#xD;&#xA;In terms of speaker placement...&#xD;&#xA;&lt;ul&gt;&#xD;&#xA;&lt;li&gt;make sure the stuff you are panning center is there to support the production audio (e.g. cover up the production noise), and not pull attention away from the dialogue. If you can get a guide track before you start cutting ambiences, that will help you out a ton.&lt;/li&gt;&#xD;&#xA;&lt;li&gt;Don't be afraid to hard-pan things left and right.&lt;/li&gt;&#xD;&#xA;&lt;li&gt;And be careful about putting basically anything with a transient attack, or that would be noticed, into the surround speakers.. unless the scene calls for something like that.&lt;/li&gt;&lt;/ul&gt;&#xD;&#xA;&#xD;&#xA;Backgrounds are really, really tough and require a ton of imagination and careful selection. I find them incredibly difficult and creatively challenging, even moreso than hard FX sometimes.&#xD;&#xA;&#xD;&#xA;Remember that like a lot of cinema sound, their purpose is to serve the goal of the story and scene rather than to purely sound cool. Unless the scene's focus IS on the backgrounds of course!&#xD;&#xA;&#xD;&#xA;There was an amazing interview with Tim Nielsen on Designing Sound re: backgrounds a month or two ago - http://designingsound.org/2011/08/tim-nielsen-special-interview-on-backgrounds/. Some good stuff in there." ContentLicense="CC BY-SA 3.0" />
  <row Id="17945" PostHistoryTypeId="2" PostId="10862" RevisionGUID="167a8a5a-d412-4d5e-ae7a-284242ce87b5" CreationDate="2011-10-12T07:41:08.130" UserId="1055" Text="btw...connecting mm1 to zoom is the same thing as mixpre?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17946" PostHistoryTypeId="2" PostId="10863" RevisionGUID="3ecd9f7d-f130-43b8-ae3d-20bd243aa65f" CreationDate="2011-10-12T09:02:09.713" UserId="1055" Text="hello all,&#xD;&#xA;&#xD;&#xA;excuse my noobiness again, but i was wondering, will i get more high frequency information when recording high sample rate audio using mic that has extended frequency range, and slowing it down? will i get similar results with mic that records up to 20khz?&#xD;&#xA;&#xD;&#xA;maybe someone has some samples of the same sound recorded for example with 20khz mic and 35-40khz(or similar) mic in at least 96khz sample rate?&#xD;&#xA;&#xD;&#xA;also whats the cheapest mic that has extended frequency range? (i saw some 1000$ mics, but that's out of my budget) :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17947" PostHistoryTypeId="1" PostId="10863" RevisionGUID="3ecd9f7d-f130-43b8-ae3d-20bd243aa65f" CreationDate="2011-10-12T09:02:09.713" UserId="1055" Text="about mics that have extended frequency range" ContentLicense="CC BY-SA 3.0" />
  <row Id="17948" PostHistoryTypeId="3" PostId="10863" RevisionGUID="3ecd9f7d-f130-43b8-ae3d-20bd243aa65f" CreationDate="2011-10-12T09:02:09.713" UserId="1055" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17949" PostHistoryTypeId="2" PostId="10864" RevisionGUID="d2df091a-a2f9-49c7-94a1-1c5db37a5840" CreationDate="2011-10-12T09:40:27.147" UserId="2998" Text="Absolutely awesome tips guys. Thanks. Can't wait to get back in the studio to try some of these out.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17950" PostHistoryTypeId="2" PostId="10865" RevisionGUID="89ffb03a-dbe4-4a04-b2b9-e5d3e08536ec" CreationDate="2011-10-12T11:32:48.767" UserId="194" Text="All pro mics will record *something* up above 20k, and some mics will record a heck of a lot up there.  The only thing is that what gets recorded up there may not be linear, but when you're talking about pitch shifting and sound design that's less of an issue IMO.  Also, only certain things really do a whole heck of a lot up above 40k.  Most living things really can't generate frequencies up higher than that.  Metallic and electronic things can though.&#xD;&#xA;&#xD;&#xA;I have great success with the built in electrets on my PCM D50.&#xD;&#xA;&#xD;&#xA;Here's a recording of a [metal spinning gate][1] captured with the D50 and slowed down to 20%.  You'll notice that it still sounds pretty full res, even though I've slowed down enough to pull all of the ultrasonic info down well below 20k.&#xD;&#xA;&#xD;&#xA;[soundcloud]rcoronado/revolving-metal-gate-20percent[/soundcloud]&#xD;&#xA;&#xD;&#xA;All that said, extended frequency rated mics certainly can produce comparatively nicer results way up there.  &#xD;&#xA;&#xD;&#xA;Here's a test that Frank Bry did with a 416 (rated to 20kHz) and an 8040 (rated to 50kHz)&#xD;&#xA;&#xD;&#xA;[source and pix here][2]&#xD;&#xA;&#xD;&#xA;[soundcloud]therecordist/sets/chains-8040-mkh416-comparison[/soundcloud]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://thesoundmyheadmakes.blogspot.com/2010/12/found-sound-metal-turnstile.html&#xD;&#xA;  [2]: http://www.therecordist.com/chains-and-sennheiser-mkh8040-mkh416-comparison" ContentLicense="CC BY-SA 3.0" />
  <row Id="17951" PostHistoryTypeId="5" PostId="2360" RevisionGUID="54919b8f-0925-422d-bdbd-55b598b2ac64" CreationDate="2011-10-12T12:02:50.323" UserId="432" Comment="updated link" Text="We have a couple of Earthworks mics at work, and they are excellent. They will not be a poor investment.&#xD;&#xA;&#xD;&#xA;You may or may not be correct in your assumptions regarding mics and pre's, perhaps someone else here will know. Of course, don't forget Nyquist. You're only going to be able to accurately capture frequencies that are 1/2 of your sampling rate.&#xD;&#xA;&#xD;&#xA;I'll run a test tomorrow with our 744T and one of our Earthworks mics that (either QTC30 or SR30) and let you know if I get anything interesting.&#xD;&#xA;&#xD;&#xA;Update: I was able to do some quick tests today while waiting for the video editors to get me some footage to finish off yet another test. You can find a description of what I did, some audio clips, and spectral analyses on my [website][1].&#xD;&#xA;&#xD;&#xA;**FURTHER UPDATE (8/11/10): I've done a noise floor test with a bunch of mics, including the QTC30 to appease Jay's curiosity. They're in their own dedicated post on my site. [link in my comment below if you're feeling lazy]**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynamicinterference.com/blog/2010/07/29/recording-ultrasonic-audio/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17952" PostHistoryTypeId="2" PostId="10866" RevisionGUID="26bf51db-bdc1-42a2-935f-c954fbb74f5b" CreationDate="2011-10-12T12:03:05.653" UserId="432" Text="One of the things you're paying for with microphones is frequency response. If you want extended (and linear) response, you're going to have to pay for it.&#xD;&#xA;&#xD;&#xA;You can also check out [this thread][1] for a bit more discussion on the subject. [Just updated the link in my post.]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2359/re-recording-ultrasonic-frequencies" ContentLicense="CC BY-SA 3.0" />
  <row Id="17953" PostHistoryTypeId="5" PostId="10833" RevisionGUID="b20a37d6-dcee-4575-b0ed-99e883ef1e9a" CreationDate="2011-10-12T12:05:57.407" UserId="771" Comment="deleted 5 characters in body" Text="Couple of weeks back i had to record very loud drums for a documentary.I was carrying a SHURE two track mixer wired to a TASCAM two track recorder.I gave one output to the camera and one to the recorder.I gave a 1kHz tone from the mixer and aligned to -12dB in the recorder.I was recording almost 10 loud drums simultaneously and was monitoring from 20 feet away.The needle in the mixer (it was a VU meter and i could hardly handle the rotary knob of the mixer since for a small opening of the fader the level in the recorder was very high) was hardly fluctuating and it was showing more than -12dB in the recorder.I could hardly hear anything in the headphone due to near field monitoring.Finally the recording sounded just fine except at few places where it clipped.There was no gain cut in the mixer and i engaged the limiter in the recorder ( even though there was one in the output of the mixer also).&#xD;&#xA;&#xD;&#xA;How could have i dealt the situation better ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17954" PostHistoryTypeId="2" PostId="10867" RevisionGUID="f22974cc-4288-4665-902d-dcbe3e0605b2" CreationDate="2011-10-12T15:05:15.960" UserId="1292" Text="This was so helpful to me I'm glad I found it.  I never noticed the wind problem when I biked in Chicago but this summer I rode from Chicago to Montana.  I have such sensative ears, downhills and windy days just killed my ears after six hours of riding. I'm going to give some of these solutions a try. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17955" PostHistoryTypeId="2" PostId="10868" RevisionGUID="cb4b0560-a8e8-4f9a-a388-48b02f280f8d" CreationDate="2011-10-12T17:16:39.957" UserId="1152" Text="Line level is -18dBFS. You don't need to record any hotter than that for a clean recording. Theoretically everything above that is overloading the circuit. You have 18dB of headroom and drum transients could take all of it.&#xD;&#xA;&#xD;&#xA;RX2 DeClipper used on just the clipped portions can work like magic." ContentLicense="CC BY-SA 3.0" />
  <row Id="17956" PostHistoryTypeId="2" PostId="10869" RevisionGUID="b6a883a8-bb4e-42d3-ba01-8763e74b2ca9" CreationDate="2011-10-12T19:42:16.720" UserId="3008" Text="Hi!I would like to know how do you calculate times for a sound design project? How much time (in human hours) does it take to make the sound design for a feature film (1:30hrs)? If you could specify by the different processess it would help a lot:&#xD;&#xA;&#xD;&#xA;- Cleaning/Editing Production Sound&#xD;&#xA;- ADR&#xD;&#xA;- Designing (recording/editing from libraries/etc) Backgrounds&#xD;&#xA;- Designing (recording/editing from libraries/etc) Effects&#xD;&#xA;- Recording/editing Foley&#xD;&#xA;- Editing Music or &#xD;&#xA;- Composing Music&#xD;&#xA;- Mixing in 5.1&#xD;&#xA;&#xD;&#xA;Am I missing something? I know times may vary depending on the films necesities, but to be a little more specific you could tell me these times for a thriller/suspense movie? With 3 or for action scenes (including gun fighting)?&#xD;&#xA;&#xD;&#xA;Thank you very much!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17957" PostHistoryTypeId="1" PostId="10869" RevisionGUID="b6a883a8-bb4e-42d3-ba01-8763e74b2ca9" CreationDate="2011-10-12T19:42:16.720" UserId="3008" Text="Sound Design Cronograms" ContentLicense="CC BY-SA 3.0" />
  <row Id="17958" PostHistoryTypeId="3" PostId="10869" RevisionGUID="b6a883a8-bb4e-42d3-ba01-8763e74b2ca9" CreationDate="2011-10-12T19:42:16.720" UserId="3008" Text="&lt;design&gt;&lt;time&gt;&lt;budget&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17959" PostHistoryTypeId="2" PostId="10870" RevisionGUID="b1403b5c-a6e1-42d4-9689-b2cd7c3dcfe2" CreationDate="2011-10-12T20:44:14.263" UserId="845" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;So, I'm in Edinburgh, a month into the masters programme, and I find that through all of the really fun stuff - playing with gear, sounds, and ideas - the idea of sound art installation has begun to worm its way into my brain.  I *love* the thought of taking basic/complex/generally interesting concepts and extrapolating them out into aesthetically stimulating experiences for people to enjoy or hate at their leisure.  It's a direction I'm very strongly considering going in.&#xD;&#xA;&#xD;&#xA;Do we have any sound artists in the house?&#xD;&#xA;Can anyone make some recommendations of interesting and stimulating exhibits?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17960" PostHistoryTypeId="1" PostId="10870" RevisionGUID="b1403b5c-a6e1-42d4-9689-b2cd7c3dcfe2" CreationDate="2011-10-12T20:44:14.263" UserId="845" Text="Sound Art/Installation" ContentLicense="CC BY-SA 3.0" />
  <row Id="17961" PostHistoryTypeId="3" PostId="10870" RevisionGUID="b1403b5c-a6e1-42d4-9689-b2cd7c3dcfe2" CreationDate="2011-10-12T20:44:14.263" UserId="845" Text="&lt;sound-art&gt;&lt;sound-installations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17962" PostHistoryTypeId="2" PostId="10871" RevisionGUID="80715b51-937d-4d54-9b9d-7e42754fae4c" CreationDate="2011-10-12T21:19:15.253" UserId="315" Text="Well...we're all sound artists in some sense. I highly recommend [this site][1] if you're into installations. Inspiring stuff up there. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.everydaylistening.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="17963" PostHistoryTypeId="2" PostId="10872" RevisionGUID="468d7df9-9118-4ace-a6d8-7c1230727b1b" CreationDate="2011-10-12T22:40:10.550" UserId="432" Text="Andrew Spitz here may be a source of useful information (whenever he sees your question).&#xD;&#xA;&#xD;&#xA;In the meantime, one of my old professors is heavily involved with sound installations as artwork. He's had installations all over the world, and you can look up the installations/locations on his website[link text][1]. Not sure which one's (if any) are still active?&#xD;&#xA;&#xD;&#xA;  [1]: http://jefftalman.com/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="17964" PostHistoryTypeId="2" PostId="10873" RevisionGUID="03c5ddc0-dbc5-47d8-8623-54a5463be900" CreationDate="2011-10-13T02:30:47.187" UserId="618" Text="I know someone who may help you, he is a sound artist who often work with installations. You can check his website at  http://phonotopy.org , great stuff there." ContentLicense="CC BY-SA 3.0" />
  <row Id="17965" PostHistoryTypeId="2" PostId="10874" RevisionGUID="1926d5f5-d804-4733-a567-b69b4123fbb2" CreationDate="2011-10-13T03:04:52.287" UserId="1228" Text="Reasonable times that pop off the top of my head are about 1 reel per week for cutting DX or FX, but sometimes 2 reels per week for cutting FX on a tight time budget (did that on my most recent feature - not ideal, but still doable).  Figure about 8-12 hours per day of wrok, and you'll be able to figure out how many human hours.&#xD;&#xA;&#xD;&#xA;A good rule of thumb I learned for cutting dialogue is to meet a minimum benchmark of 1 hour per 1 minute of dialogue.  I average around 1 hour per 2 minutes of dialogue, but it has taken some time to ramp up to this speed while still maintaining quality of work.&#xD;&#xA;&#xD;&#xA;As for the other categories, it I can't provide a definite answer because it's not something I've &quot;timed out&quot; really or done enough of to accurately gauge a time." ContentLicense="CC BY-SA 3.0" />
  <row Id="17967" PostHistoryTypeId="5" PostId="10874" RevisionGUID="6fff58b9-fd23-43e4-a2d6-b4235ec47602" CreationDate="2011-10-13T03:10:17.653" UserId="1228" Comment="added 11 characters in body" Text="Reasonable times that pop off the top of my head are about 1 reel per week for cutting DX or FX, but sometimes 2 reels per week for cutting FX on a tight time budget (did that on a recent feature - not ideal turn around time, but still doable).  Figure about 8-12 hours per day of work, and you'll be able to figure out how many human hours.&#xD;&#xA;&#xD;&#xA;A good rule of thumb I learned for cutting dialogue is to meet a minimum benchmark of 1 hour per 1 minute of dialogue.  I average around 1 hour per 2 minutes of dialogue, but it has taken some time to ramp up to this speed while still maintaining quality of work.&#xD;&#xA;&#xD;&#xA;As for the other categories, it I can't provide a definite answer because it's not something I've &quot;timed out&quot; really or done enough of to accurately gauge a time." ContentLicense="CC BY-SA 3.0" />
  <row Id="17972" PostHistoryTypeId="2" PostId="10878" RevisionGUID="94b1bf0f-81bf-4bee-8f27-a39874e33446" CreationDate="2011-10-13T07:30:17.427" UserDisplayName="user49" Text="It entirely depends on the total budget of the film, the creative and practical requirements etc.... films scale by huge amounts" ContentLicense="CC BY-SA 3.0" />
  <row Id="17974" PostHistoryTypeId="2" PostId="10880" RevisionGUID="98f27384-3d38-49be-98a7-5a1670851061" CreationDate="2011-10-13T08:43:12.067" UserId="1760" Text="This site may help:&#xD;&#xA;&#xD;&#xA;http://www.dawbench.com/win7-v-osx-1.htm&#xD;&#xA;&#xD;&#xA;Lots of nice comparison graphs." ContentLicense="CC BY-SA 3.0" />
  <row Id="17975" PostHistoryTypeId="2" PostId="10881" RevisionGUID="3404ce3e-918b-4bbe-a009-a7d524a65b0a" CreationDate="2011-10-13T09:29:12.473" UserDisplayName="user80" Text="As a general rule for really loud sources dynamic mics are the most useful.  If your budget is tight a pair of SM57s would do the job, otherwise RE-20s or similar.&#xD;&#xA;&#xD;&#xA;In-line pads are essential if you are using condenser mics." ContentLicense="CC BY-SA 3.0" />
  <row Id="17976" PostHistoryTypeId="2" PostId="10882" RevisionGUID="2f9f1e97-458f-458f-b714-35277cc68257" CreationDate="2011-10-13T13:57:31.853" UserId="863" Text="working on a live tv show where a 60 second show needs to be turned around in 25minutes. The client has come back and feels the female presenter is too essy? SSSSSy? sibilent? Due to the tight time, it leaves little time for post audio work. We did use a desser and now we're going to try and tweak some settings. It sounds quite awful in isolation.&#xD;&#xA;&#xD;&#xA;We plan to use a hardware compressor with desser on it, possibly a focusrite or a drawmer..&#xD;&#xA;&#xD;&#xA;Any ideas on what one could do? mic placement for example? (clip mic) OR what to look out for?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17977" PostHistoryTypeId="1" PostId="10882" RevisionGUID="2f9f1e97-458f-458f-b714-35277cc68257" CreationDate="2011-10-13T13:57:31.853" UserId="863" Text="a desser request..." ContentLicense="CC BY-SA 3.0" />
  <row Id="17978" PostHistoryTypeId="3" PostId="10882" RevisionGUID="2f9f1e97-458f-458f-b714-35277cc68257" CreationDate="2011-10-13T13:57:31.853" UserId="863" Text="&lt;desser&gt;&lt;live&gt;&lt;television&gt;&lt;sibilence&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17979" PostHistoryTypeId="2" PostId="10883" RevisionGUID="a18fc936-5b40-4481-9dc2-1001875177ec" CreationDate="2011-10-13T14:00:31.007" UserId="863" Text="I studied Sound art at LCC, here's their site http://www.soundarts.co.uk/&#xD;&#xA;&#xD;&#xA;I'd also check out Crisap http://www.crisap.org/." ContentLicense="CC BY-SA 3.0" />
  <row Id="17980" PostHistoryTypeId="2" PostId="10884" RevisionGUID="760e4297-ea6f-49a6-b21d-52a4827c1248" CreationDate="2011-10-13T15:10:00.593" UserId="2502" Text="Other than using it when i'm banging out an electro track, I have used it to create artificial harmonics to an otherwise monotone to add a layer of depth, same goes for harmony tools designed for vocal/singing harmonies (antares harmony efx). Adding a layer of harmonics to a monotone source like a high pitched ring or drone swell will sometimes add more complexity and induce more emotion." ContentLicense="CC BY-SA 3.0" />
  <row Id="17981" PostHistoryTypeId="2" PostId="10885" RevisionGUID="34d8a619-186f-4692-b816-e2f9719bc653" CreationDate="2011-10-13T16:31:47.940" UserId="432" Text="quick fix to deal with it in post and save yourself time on the tweaking:&#xD;&#xA;&#xD;&#xA;duplicate the track, find the worst moment of sibilance and set your de-esser's settings to control that particular instance (you can do this RTAS or Audio suite)...on the duplicated track of course. once that's done, go through and crossfade/mix between the processed and unprocessed track wherever needed.&#xD;&#xA;&#xD;&#xA;that will preserve the rest of the track and let you have some fine tuned controls (ranging between complete replacement and subtle reduction...depending on how you mix the two) for the trouble spots. it's light on automation, and will keep you from going overboard on tweaking/automating the de-esser's settings." ContentLicense="CC BY-SA 3.0" />
  <row Id="17982" PostHistoryTypeId="2" PostId="10886" RevisionGUID="a86bad21-b927-41fb-b987-6ffbfab7a30f" CreationDate="2011-10-13T17:29:54.070" UserId="1035" Text="Adding my $0.02 from an academic institution's standpoint, I learn here at SCAD from David Stone, a veteran supervising sound editor. He talks about separating the way you think of backgrounds in terms of broadband noise (or what he'll call &quot;the mushy, whooshy, air tone, room tone, that sort of thing&quot;) and more specific sounds (bird layers, car bys, walla). This may seem to be a simple concept, but it helps me in terms of how I think about my layers.&#xD;&#xA;&#xD;&#xA; I avoid grabbing too many sounds that contain air - you just get mud that way. The &quot;mush&quot;, whether it's made of traffic beds, AC sound, computer sounds, is going to support your dialogue track. &#xD;&#xA;&#xD;&#xA;Specific sounds and the like can be for creating the environment (the density of birds and walla, etc) and for affecting the pacing (in terms of spot BGs). An appropriately timed carby can both compress and expand an awkward pause. We feel that more time has passed, but it also feels much less awkward. Different carbys vary in their emotional content. Some can be very imposing, while other more distant car sounds, especially over wet roads, sound peaceful. &#xD;&#xA;&#xD;&#xA;I use a lot of editing techniques that come from DX editing. Frequently with a very busy stereo ambience recording, I'll create some fill, and then begin pulling certain sounds (a voice here, a car or bird there) to customize my track. &#xD;&#xA;&#xD;&#xA;Ultimately, start listening to movies really loud (closer to theater level) if you don't already. I discovered that when you do that, you actually hear the backgrounds. Se7en, Super 8, Social Network are a few that come to mind with awesome BGs. " ContentLicense="CC BY-SA 3.0" />
  <row Id="17983" PostHistoryTypeId="2" PostId="10887" RevisionGUID="bc863093-ce19-47c2-9231-dc289e87c98f" CreationDate="2011-10-13T17:32:11.740" UserId="6435" Text="Right now I'm using it to create a library of EVPs." ContentLicense="CC BY-SA 3.0" />
  <row Id="17984" PostHistoryTypeId="2" PostId="10888" RevisionGUID="ac622bcf-3eae-4739-a7d2-2983be7d9702" CreationDate="2011-10-13T19:32:50.923" UserId="7642" Text="Roland R-26 received and I've done some first very short tests in noisy surroundings, i.e. at home with kids playing and TV on in another room... I did simultaneous recordings with Sony M10 and Roland R-26&#xD;&#xA;&#xD;&#xA;Important part first, SOUND:&#xD;&#xA;&#xD;&#xA;The very first high gain recordings with the internal mics did not compare to well with the Sony M10 regarding noise. But I'll have to get better at setting the levels comparatively correct (otherwise the noise comparison will not be close to fair or even remotely usable as a comparison to make a real evaluation. And the SonyM10 is only beaten in noise floor by its larger and more expensive brother D50. All other recorders using the internal mics are noisier than those two models.&#xD;&#xA;&#xD;&#xA;I had really high hopes for it, and I still think it sounds quite good, but I dont think it will really be the D50 killer I had hoped for. &#xD;&#xA;The omnis sound full and nice, they have a lot more high end and slightly less low end than the Sony, but I think they are noisier then the Sony ones.&#xD;&#xA;The XY mics have impressive stereo separation and a very narrow angle (incorrect english: they feel more like hyper cardioid then tomatoes...) but they are quite a bit noisier than the omni's at the high sens setting. They are also very sensitive to noise and physical handling of the unit.&#xD;&#xA;&#xD;&#xA;But here's the interesting bit...&#xD;&#xA;When changing to mid or low sensitivity and actually recording at more &quot;sensible levels&quot; the difference is a lot less between the two units, the R-26 might even have less noise at those levels... &#xD;&#xA;&#xD;&#xA;Realistically I would not use the internal mics to record really low level sounds anyway.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;IN USE:&#xD;&#xA;Easy to use. After quickly browsing the manual online a few days ago I could quite easily find all the relevant menus and settings, I have yet needed to look at the manual. Moving and renaming files etc is quite easy, but feels a bit archaic and old school compared to modern tech like an iphone. OTOH it can do stuff that no other handheld portable recorder can. No manual setting of the individual level of the XY mics compared to the omni's. No big deal as they are physically close enough to give similar levels anyway.&#xD;&#xA;Additional drawback: its not possible to use the omnis and the plugin powered input at the same time as they share mic amps.&#xD;&#xA;When recording several channels there is a separate (software) monitor section allowing you to chose what tracks to listen to and how to mix them to the phones output.&#xD;&#xA;The round level &quot;faders&quot; are smooth and easy to adjust while recording without introducing any noise (but handling noise).&#xD;&#xA;&#xD;&#xA;I didn't have any proper mics at home but will do some more tests at work tomorrow. Sennheiser mkh 40 should do as a pretty decent low noise reference mic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;This is a very first reflection and I'll try to write up something proper in a day or two.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I like it a lot but am yet to be totally convinced if its the best solution for my needs. It will very much depend on how the main mic amps sound with external microphones.&#xD;&#xA;The internal mics are good but perhaps not great.&#xD;&#xA;&#xD;&#xA;Now, time for some outdoor night time ambience recording :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="17985" PostHistoryTypeId="2" PostId="10889" RevisionGUID="75414aae-a75a-4aee-bf7d-203935c04fd1" CreationDate="2011-10-13T19:46:02.097" UserId="432" Text="I will use vocoders when I'm trying to blend two very different sounds, and I want them to gel in a more active way than just editing/mixing will achieve. An example of a recent use would be gunshots and paper.&#xD;&#xA;&#xD;&#xA;An animated piece I've been editing on and off over the last few monts has a segment that looks like animated paper. I've been trying to match some of the sounds to it's style. So I used gunshots as modulators for paper tears. There's a slow motion section, and I got a nice, relatively subtle, sound where the gunshots have elements of hard paper tears and the bullets have a peeling through the paper effect.&#xD;&#xA;&#xD;&#xA;It's still mostly a gunshot sound, but it added a little coloration to the effects that help cement it as part of the animation. It would have been hard to get the envelopes to match so well without the vocoder (Waves Morphoder)." ContentLicense="CC BY-SA 3.0" />
  <row Id="17986" PostHistoryTypeId="2" PostId="10890" RevisionGUID="78e30c33-abeb-476b-b05c-e343e291aaf9" CreationDate="2011-10-14T00:29:05.017" UserId="558" Text="I don't know the specifics of the production, but mic selection is important.  Different mics treat different voices differently.  Doesnt sound like you have much time for mic selection tests, but i'd start there.  Can you set up multiple mics and pick the best?" ContentLicense="CC BY-SA 3.0" />
  <row Id="17987" PostHistoryTypeId="2" PostId="10891" RevisionGUID="768c9768-f387-4bcb-8d0a-3cd9e65e767b" CreationDate="2011-10-14T03:04:35.740" UserId="418" Text="I have been working on a fairly large piece for several months now that I'm super excited about, though I can't talk much about it yet as there is a big element of surprise involved for the visitors. And another smaller, but very technically complicated, one that I am trying to get a residency for so that I can actually fund the darn thing. I so wish I could yap more about them right now. They will definitely be a lot of fun to discuss here after they've shown though. :)&#xD;&#xA;&#xD;&#xA;There is loads of great stuff out there. I recently stumbled across this person's work and it's got me all kinds of drooling: http://zimoun.ch/&#xD;&#xA;&#xD;&#xA;More on the radar of the general music-making population might be:&#xD;&#xA;Giorgio Sancristoforo's audioscan pieces are spectacular. I'll be interviewing him soon for a new online sound art and sound design &quot;mag&quot; I'm launching soon. Very stoked to talk to him. Lately I've become really fascinated with grand scale outdoor stuff. http://www.gleetchplug.com/gleetchplug/Works.html&#xD;&#xA;&#xD;&#xA;and Ableton's own Robert Henke has done some really gorgeous work too: http://www.monolake.de/installations/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Cycling '74's Projects page often has some interesting stuff to show: http://cycling74.com/project/&#xD;&#xA;&#xD;&#xA;Harvestworks might also be a good place to check out as well: http://harvestworks.org/&#xD;&#xA;&#xD;&#xA;There really is tons and tons out there of all shapes and sizes. A little search on Vimeo should yield a few hours of viewing pleasure. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17988" PostHistoryTypeId="2" PostId="10892" RevisionGUID="70de015b-8d39-4669-b8ac-62842e8f48e2" CreationDate="2011-10-14T07:58:28.553" UserDisplayName="user6513" Text="While I would love to call myself a sound artist, I reckon I'm more of groupie so I'll plug for the artists I like. &#xD;&#xA;&#xD;&#xA;I'm a big fan of [Ryoji Ikeda][1] and his installations and performances have always blown me away. &#xD;&#xA;&#xD;&#xA;Alvin Lucier and his work I am Sitting In A Room inspired me to use that technique for creating ambience beds.&#xD;&#xA;&#xD;&#xA;The performace [True][2] sticks in my head because they had mic'd the scaffolds with contact mics and let the actors perform with it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.com.au/search?q=ryoji+ikeda&amp;ie=utf-8&amp;oe=utf-8&amp;aq=t&amp;rls=org.mozilla:en-US:official&amp;client=firefox-a#q=ryoji+ikeda&amp;hl=en&amp;client=firefox-a&amp;hs=ZRd&amp;rls=org.mozilla:en-US:official&amp;prmd=imvnslo&amp;source=lnms&amp;tbm=vid&amp;ei=OeiXTv_KHa6tiQeM6sisAg&amp;sa=X&amp;oi=mode_link&amp;ct=mode&amp;cd=4&amp;ved=0CBEQ_AUoAw&amp;bav=on.2,or.r_gc.r_pw.,cf.osb&amp;fp=2b9ac04288bd3fd4&amp;biw=1407&amp;bih=770&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=0yI56Y3aQgU" ContentLicense="CC BY-SA 3.0" />
  <row Id="17989" PostHistoryTypeId="2" PostId="10893" RevisionGUID="68ca83ca-00b2-484c-b98b-d5141963761e" CreationDate="2011-10-14T09:33:15.393" UserId="999" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;I have recently been working a film where production moved very fast and I was working as a one-man team mixing and booming. During i was thinking about sound reports and how people working in this capacity actually do them?&#xD;&#xA;&#xD;&#xA;Theres no time inbetween takes to make a report and i'm already juggling enough gear as it is without worrying about a clipboard on top of that. Any of you found reliable ways to report the important stuff?&#xD;&#xA;&#xD;&#xA;And what general information do you include?&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="17990" PostHistoryTypeId="1" PostId="10893" RevisionGUID="68ca83ca-00b2-484c-b98b-d5141963761e" CreationDate="2011-10-14T09:33:15.393" UserId="999" Text="Sound Reports on Set" ContentLicense="CC BY-SA 3.0" />
  <row Id="17991" PostHistoryTypeId="3" PostId="10893" RevisionGUID="68ca83ca-00b2-484c-b98b-d5141963761e" CreationDate="2011-10-14T09:33:15.393" UserId="999" Text="&lt;reporting&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17992" PostHistoryTypeId="5" PostId="10882" RevisionGUID="39f958b0-10c0-4c97-989c-349592b76b70" CreationDate="2011-10-14T10:06:24.297" UserDisplayName="user80" Comment="added 4 characters in body; edited title; edited tags" Text="working on a live tv show where a 60 second show needs to be turned around in 25minutes. The client has come back and feels the female presenter is too essy? SSSSSy? sibilent? Due to the tight time, it leaves little time for post audio work. We did use a de-esser and now we're going to try and tweak some settings. It sounds quite awful in isolation.&#xD;&#xA;&#xD;&#xA;We plan to use a hardware compressor with de-esser on it, possibly a focusrite or a drawmer..&#xD;&#xA;&#xD;&#xA;Any ideas on what one could do? mic placement for example? (clip mic) OR what to look out for?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17993" PostHistoryTypeId="4" PostId="10882" RevisionGUID="39f958b0-10c0-4c97-989c-349592b76b70" CreationDate="2011-10-14T10:06:24.297" UserDisplayName="user80" Comment="added 4 characters in body; edited title; edited tags" Text="a de-esser request..." ContentLicense="CC BY-SA 3.0" />
  <row Id="17994" PostHistoryTypeId="6" PostId="10882" RevisionGUID="39f958b0-10c0-4c97-989c-349592b76b70" CreationDate="2011-10-14T10:06:24.297" UserDisplayName="user80" Comment="added 4 characters in body; edited title; edited tags" Text="&lt;de-esser&gt;&lt;live&gt;&lt;television&gt;&lt;sibilence&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="17995" PostHistoryTypeId="2" PostId="10894" RevisionGUID="c4e4ac60-8589-4276-84bf-69a20faef4d1" CreationDate="2011-10-14T10:08:08.950" UserDisplayName="user80" Text="Try using an omni lav turned upside down.  The mic capsule actually blocks out some of the highs whilst the rest of the frequencies remain balanced." ContentLicense="CC BY-SA 3.0" />
  <row Id="17996" PostHistoryTypeId="2" PostId="10895" RevisionGUID="bf49110f-de95-4057-af3b-b18195b9d668" CreationDate="2011-10-14T10:11:18.003" UserDisplayName="user80" Text="Record the reports verbally on to the audio recorder using the slate mic and transcribe later." ContentLicense="CC BY-SA 3.0" />
  <row Id="17997" PostHistoryTypeId="2" PostId="10896" RevisionGUID="f8d0e2ae-e19e-4f8d-b21e-07a9ffa02de4" CreationDate="2011-10-14T12:04:01.440" UserId="432" Text="Another option might be to get an assistant or an intern to handle the clipboard data. They can take care of the general data on their own (scene, take, date, media, etc.), and get any of the more technically oriented notes from you between takes." ContentLicense="CC BY-SA 3.0" />
  <row Id="17998" PostHistoryTypeId="2" PostId="10897" RevisionGUID="22879247-cd5f-4717-852d-e440da73c1c4" CreationDate="2011-10-14T12:23:10.050" UserId="771" Text="Thanx for the response" ContentLicense="CC BY-SA 3.0" />
  <row Id="17999" PostHistoryTypeId="5" PostId="10718" RevisionGUID="28ec8e86-712b-4ef4-8060-97222fa840f0" CreationDate="2011-10-14T13:41:53.157" UserId="194" Comment="added 564 characters in body; added 73 characters in body" Text="over 15000 people there right now, and they've been doing things like the &quot;human microphone&quot; which seem really cool.&#xD;&#xA;&#xD;&#xA;[youtube]JCjs7YTxcVU[/youtube]&#xD;&#xA;&#xD;&#xA;who's rolling on this?  Wanna trade?  :)&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;edit:&#xD;&#xA;&#xD;&#xA;looks like someone in portland got a bunch of good stuff:&#xD;&#xA;http://www.organiccitysounds.com/2011/10/portland-soundscape-occupied/&#xD;&#xA;[soundcloud]organic-city-sounds/portland-portrait-occupied[/soundcloud]&#xD;&#xA;&#xD;&#xA;There is an occupy Dallas movement, but its not anywhere near the scale of what's happening in NY.  I'm going to see it this weekend and try to get some good stuff though.  &#xD;&#xA;&#xD;&#xA;you guys that are heading to NY, don't forget to dive into the protests and record some chants!  I have a feeling there will be a fair amount of demonstration media being developed in the coming months that will need good sounds.  ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18000" PostHistoryTypeId="2" PostId="10898" RevisionGUID="25881e34-af49-438c-acbe-2272005e57da" CreationDate="2011-10-14T15:23:00.597" UserId="6566" Text="Get an iPhone 4S, strap it on and clip the mic somewhere near enough to your mouth that it works properly. Use Siri to dictate hands free in between shots." ContentLicense="CC BY-SA 3.0" />
  <row Id="18001" PostHistoryTypeId="2" PostId="10899" RevisionGUID="053400af-01e0-4e6d-b9d5-190cdf31dd0e" CreationDate="2011-10-14T16:07:22.473" UserId="6411" Text="I keep getting production dialog delivered straight from [GoPro][1] cameras. It's built-in mono mic with auto gain control records at 48k straight to AAC. Typically it's a nightmare of intelligibility requiring a good deal of finagling and a great deal of understanding on the behalf of the producer. But the other day I found a random silver lining.&#xD;&#xA;&#xD;&#xA;On my latest show, I was clearing out dual-mono tracks by flipping the phase on the odd channel. Despite being recorded in mono to the GoPro's file, the editor laid the GoPro audio into the OMF on 2 channels. As I played it down, all I heard was the rapid glip-glop-bleep-blip of what I assumed was the AAC compression artifacts. A perfect building block for data, menu feedback / digital interface designs. So I strung out all the GoPro audio at the end of the session and bounced the result. I pulled a couple bleeps for the map graphics that were in the show, they worked great. Here it is with some down and dirty L1 to bump it up to listenable levels via soundcloud.&#xD;&#xA;&#xD;&#xA;[soundcloud] steve-urban/goprobot [/soundcloud]&#xD;&#xA;&#xD;&#xA;The thing is, I don't know how this happened. If I record pretty much anything mono, convert it to mp3/AAC, import it, duplicate it, and flip the phase on one, I'd be left with nothing but silence. I'm kinda thinking this out as I type, but I just did a quick experiment to prove my theory. Sure enough, no matter what bit rate I converted a mono signal to, when you dupe it and flip it, just as you would expect, you're left with silence. So what happened in this process? I have no idea. Perhaps someone out here has a GoPro with which they can try to achieve similar results.&#xD;&#xA;&#xD;&#xA;Regardless, I was pleasantly surprised and intrigued. So I figured I'd toss this out to all of you. What's your favorite trick to come up with new &quot;digital&quot; sounds for &quot;technology&quot; (data transmission, menu interaction, display readouts, robot-speak etc). Do you have stories of hidden gems like this that you stumble upon? Do you go with classic arp/synth sounds? Do you prefer nature-based technology and process organic sounds? Where do you start?&#xD;&#xA;&#xD;&#xA;  [1]: http://gopro.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18002" PostHistoryTypeId="1" PostId="10899" RevisionGUID="053400af-01e0-4e6d-b9d5-190cdf31dd0e" CreationDate="2011-10-14T16:07:22.473" UserId="6411" Text="Building Blocks of &quot;Technology&quot; Sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="18003" PostHistoryTypeId="3" PostId="10899" RevisionGUID="053400af-01e0-4e6d-b9d5-190cdf31dd0e" CreationDate="2011-10-14T16:07:22.473" UserId="6411" Text="&lt;sound-design&gt;&lt;tips&gt;&lt;digital-technology&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18005" PostHistoryTypeId="5" PostId="10899" RevisionGUID="857673d2-2447-4f17-abaf-cc68e5e00f29" CreationDate="2011-10-14T16:12:43.347" UserId="6411" Comment="tried to fix soundcloud link" Text="I keep getting production dialog delivered straight from [GoPro][1] cameras. It's built-in mono mic with auto gain control records at 48k straight to AAC. Typically it's a nightmare of intelligibility requiring a good deal of finagling and a great deal of understanding on the behalf of the producer. But the other day I found a random silver lining.&#xD;&#xA;&#xD;&#xA;On my latest show, I was clearing out dual-mono tracks by flipping the phase on the odd channel. Despite being recorded in mono to the GoPro's file, the editor laid the GoPro audio into the OMF on 2 channels. As I played it down, all I heard was the rapid glip-glop-bleep-blip of what I assumed was the AAC compression artifacts. A perfect building block for data, menu feedback / digital interface designs. So I strung out all the GoPro audio at the end of the session and bounced the result. I pulled a couple bleeps for the map graphics that were in the show, they worked great. Here it is with some down and dirty L1 to bump it up to listenable levels via soundcloud.&#xD;&#xA;&#xD;&#xA;[soundcloud]steve-urban/goprobot[/soundcloud]&#xD;&#xA;&#xD;&#xA;The thing is, I don't know how this happened. If I record pretty much anything mono, convert it to mp3/AAC, import it, duplicate it, and flip the phase on one, I'd be left with nothing but silence. I'm kinda thinking this out as I type, but I just did a quick experiment to prove my theory. Sure enough, no matter what bit rate I converted a mono signal to, when you dupe it and flip it, just as you would expect, you're left with silence. So what happened in this process? I have no idea. Perhaps someone out here has a GoPro with which they can try to achieve similar results.&#xD;&#xA;&#xD;&#xA;Regardless, I was pleasantly surprised and intrigued. So I figured I'd toss this out to all of you. What's your favorite trick to come up with new &quot;digital&quot; sounds for &quot;technology&quot; (data transmission, menu interaction, display readouts, robot-speak etc). Do you have stories of hidden gems like this that you stumble upon? Do you go with classic arp/synth sounds? Do you prefer nature-based technology and process organic sounds? Where do you start?&#xD;&#xA;&#xD;&#xA;  [1]: http://gopro.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18006" PostHistoryTypeId="2" PostId="10900" RevisionGUID="721623d6-7c8b-44d0-a2e4-965cfdfbe05b" CreationDate="2011-10-14T16:15:01.733" UserId="63" Text="I had a D-50 and it was stolen from me... literally! &#xD;&#xA;&#xD;&#xA;so I bought a H4N so if they steal from me again it will be a smaller pain... &#xD;&#xA;&#xD;&#xA;for me these 2 are 2 different things - H4N for effects - D-50 for ambiances - the end. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18007" PostHistoryTypeId="2" PostId="10901" RevisionGUID="6876e952-f54b-463a-b0d8-1ef62aa47e2f" CreationDate="2011-10-14T16:27:33.877" UserId="194" Text="I tend to build up simpler hi fi sounds that I have better control of for the tech things, since I like a pretty clean aesthetic.  Then I'll build up complex routing and fx when I'm designing.  I'm usually pretty heavy with reductive eq - often lopping off everything below 10k or otherwise doing severe bandpass limiting of the individual elements.  Its also important to do pitch manipulation to make certain things cut.  I'll tend to either doppler them or just do pitch bends with pitch n time.  I also like choruses and flanges.&#xD;&#xA;&#xD;&#xA;sources range from all over&#xD;&#xA;&#xD;&#xA; - camera and other small electronic servos&#xD;&#xA; - electrostatic recordings&#xD;&#xA; - small machine beeps and alarms&#xD;&#xA; - small metal clicks and latches&#xD;&#xA; - synth elements&#xD;&#xA; - line level audio funk&#xD;&#xA; - contact mic recordings&#xD;&#xA;&#xD;&#xA;in our sfx demo vid I used almost exclusively camera sounds, eqd and manipulated for the intro and outro animation:&#xD;&#xA;&#xD;&#xA;[vimeo]25090904[/vimeo]&#xD;&#xA;&#xD;&#xA;Generally I try to think in terms of noisyness and clickiness vs tonality, balancing the two per what I'm seeing on screen and hearing in context." ContentLicense="CC BY-SA 3.0" />
  <row Id="18008" PostHistoryTypeId="2" PostId="10902" RevisionGUID="383c1142-10ac-4711-ba59-4bc66d8cae5b" CreationDate="2011-10-14T16:44:37.930" UserId="455" Text="I attempted something the other day which came out kind of interesting.  I'm working on a sci fi project right now that centers around a technology that keeps a human soul from entering the afterlife.  The machine that does this has a large touch screen menu on the console.&#xD;&#xA;&#xD;&#xA;I filled my bathtub and got the recorder.  I recorded all kinds of movements and objects being thrown into my tub.  My goal here was to gather elements to manipulate in pro tools to achieve a more organic sound to the touch screen.  Once in pro tools, I time compressed, pitch shifted and automated EQ to achieve a variety of effects.  Here is a sample:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/dan2997/organic-digital-ascend-long-2&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18009" PostHistoryTypeId="2" PostId="10903" RevisionGUID="f5656cbb-ec16-455f-babc-0c916e183af5" CreationDate="2011-10-14T16:49:53.500" UserId="6566" Text="I can think of two little tricks that I have used a lot over the years to make stuff like this. They are similar methods using different tools.&#xD;&#xA;&#xD;&#xA;The first is using an old DAT machine with a jog/shuttle wheel. Depending on the content on the tape, playing the output to a DAW while shuttling the deck can produce some useful source. The Panasonic 3700 was great for this because it has a big giant wheel that you can use to continuously vary the shuttle rate, playing it like an instrument.&#xD;&#xA;&#xD;&#xA;The second is using the scrub tool in Pro Tools and outputting the results to another DAW or to a Sound Devices box. You have to experiment a bit with content and zoom level (works best if you are zoomed in pretty far). You can generate some great stuff with a little practice. Try reversing directions repeatedly, speeding up, slowing down etc. Anything goes." ContentLicense="CC BY-SA 3.0" />
  <row Id="18010" PostHistoryTypeId="5" PostId="10903" RevisionGUID="a004b220-d087-4b0c-a699-cbdfd54f9629" CreationDate="2011-10-14T16:58:59.130" UserId="6566" Comment="deleted 1 characters in body" Text="I can think of two little tricks that I have used a lot over the years to make stuff like this. They are similar methods using different tools.&#xD;&#xA;&#xD;&#xA;The first is using an old DAT machine with a jog/shuttle wheel. Depending on the content on the tape, playing the output to a DAW while shuttling the deck can produce some useful source. The Panasonic 3700 was great for this because it has a big giant wheel that you can use to continuously vary the shuttle rate, playing it like an instrument.&#xD;&#xA;&#xD;&#xA;The second is using the scrub tool in Pro Tools and outputing the results to another DAW or to a Sound Devices box. You have to experiment a bit with content and zoom level (works best if you are zoomed in pretty far). You can generate some great stuff with a little practice. Try reversing directions repeatedly, speeding up, slowing down etc. Anything goes." ContentLicense="CC BY-SA 3.0" />
  <row Id="18011" PostHistoryTypeId="2" PostId="10904" RevisionGUID="8522535d-a640-470d-ab9c-3003a3cc15a1" CreationDate="2011-10-14T17:03:36.640" UserId="418" Text="I make about 90% of my living from stock libraries and instruments, though the vast majority of that is from direct sales. I still do have some good relationships with 3rd party distributors that are worthwhile. People do definitely by sfx, different types for different markets. I think most people on here sell dry material geared toward sound designers to manipulate further on their own. My work is more thematic &quot;pre-designed&quot; sounds or music for visual artists to drop directly into a project. Fairly different market there. And I also do virtual instrument libraries, which are obviously just for musicians. &#xD;&#xA;&#xD;&#xA;For straight-up sfx I think AudioJungle.net is a really good place to be. They have a large user market. While music sales there far outweigh sfx, it's still a good spot. They have very fair royalties and it's super easy (and free) to get on board. I know of a handful of people who make their living pretty much purely from music sales on there. &#xD;&#xA;&#xD;&#xA;A new outfit called Sampleism launched recently. Looks like a really decent concept, but they charge a weird tiered subscription fee just to sell, plus they take substantial royalties on top of that. I've been in the stock audio/sample/patch market for a decade now. My work has been sold in a number of shops online, and in large retail chains like Guitar Center etc. I've never once paid a fee to have my products carried. Distributors take a chunk of the sales, that's the &quot;fee&quot;. It would be kind of like Stop n' Shop charging the milk company a monthly fee to cover their electric bills. Sorry, doesn't work that way. And the upper tiers promise promotional priority, which smells kind of like payola to me. I dunno, maybe I'm just missing the point. &#xD;&#xA;&#xD;&#xA;I've just started getting into doing stock libraries for iOS developers. This might turn out to be an interesting market. These devs need all kinds of little interface elements, button pushes, transitions, etc and in the beginning they may not have the cash for a custom design. I've had a few so far start with stock material and then get in touch with me later to replace them with custom sound and music once they have a handle on sales etc. I am exploring this now and it seems worthwhile. There are loads of people selling stock UI elements for iOS app developers, same concept. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18012" PostHistoryTypeId="2" PostId="10905" RevisionGUID="6144d195-9b16-46a6-9dcb-2d0993318edc" CreationDate="2011-10-14T18:03:49.177" UserId="3035" Text="Insist they clap it using a slate and and announce scene and take.  It'll slow them down a little (good for you), but post needs that info." ContentLicense="CC BY-SA 3.0" />
  <row Id="18013" PostHistoryTypeId="2" PostId="10906" RevisionGUID="0b399112-095a-44cf-950e-73abe80d49e2" CreationDate="2011-10-14T18:53:55.990" UserId="6435" Text="I've been unlucky enough to have a couple of hard drives go pear-shaped on me, but on one or two occasions I was able to throw Protools into record and capture a bunch of the bizarre sounds the drives were spewing before I got down to the desperate data-recovery phase. Also, if a file from long ago comes up corrupted there are generally some interesting artifacts to pull out. I used some of those recordings on a recent sci-fi project. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18014" PostHistoryTypeId="2" PostId="10907" RevisionGUID="815e34db-086b-4428-8b1a-7855d66dcf46" CreationDate="2011-10-14T19:52:25.760" UserId="418" Text="I'm doing a little project and would like to capture a soundwalk, or I should say, a &quot;soundride&quot;. I do about 15 miles every morning on the old bike through a really nice mix of loud urban, suburbs and even a little bit forest, or as close to forest as I'm going to get in a NYC borough. &#xD;&#xA;&#xD;&#xA;I'm trying to eliminate myself from the audio picture as much as possible, trying to get the vibe as if the bike is driving itself. I'm thinking that mounting something to the front-center of the handlebars might be the best way to go. All I've really got right now is my Gorillapod. I did a test run with my D50 mounted to the stem with the pod and the positioning seemed just about perfect, perhaps a bit too much bike noise and headwind, but decent. Problem was that there was just way too much handling noise to get anything usable out of it. &#xD;&#xA;&#xD;&#xA;Got any ideas for mounting this thing as shock-free as possible? It's a street ride, but even the slightest bump was too much for the occasion. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18015" PostHistoryTypeId="1" PostId="10907" RevisionGUID="815e34db-086b-4428-8b1a-7855d66dcf46" CreationDate="2011-10-14T19:52:25.760" UserId="418" Text="POV Bicycle Recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18016" PostHistoryTypeId="3" PostId="10907" RevisionGUID="815e34db-086b-4428-8b1a-7855d66dcf46" CreationDate="2011-10-14T19:52:25.760" UserId="418" Text="&lt;pov&gt;&lt;bike&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18017" PostHistoryTypeId="2" PostId="10908" RevisionGUID="0003877d-988f-45ea-843a-91e3c5b6fd21" CreationDate="2011-10-14T19:54:38.290" UserId="418" Text="Was planning to get there all week, but life got in the way. If it's still active next week I'll do my best to get over there and get some stuff. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18018" PostHistoryTypeId="2" PostId="10909" RevisionGUID="977e02ea-4404-4365-b3cc-fd069ff7e0c0" CreationDate="2011-10-14T20:11:45.243" UserId="418" Text="Everyone works differently, so this is just my opinion. And I do a lot more work that is artsy fartsy and am called upon much more for designing original soundscapes and fx, rather than working with or mixing the &quot;normal&quot; sounds of a film. I've never done any dry dialog, ADR or anything like that. Never done anything with much of a budget either. &#xD;&#xA;&#xD;&#xA;So that said, I've never had much luck with a script alone. I'd always prefer to have the writer and/or director of the work give me their vision of it in plain English, and any notes they feel are important, and just start brainstorming from that. At that early stage, it's probably beneficial to also make notes for the &quot;boring stuff&quot;; incidentals, interior, exterior, scene ambiences etc. All you can really do is prepare some &quot;maybes&quot;, as I call them. Stuff you already have that might come in handy in the scenes you know about. &#xD;&#xA;&#xD;&#xA;Beyond that, nothing beats sitting down and watching footage with your own eyes, in my opinion. I've never seen footage that really looked anything like it did in my head as it was being described to me or as I read a script. That's the problem/beauty of human interpretation. Hopefully the director gets things shot that look the way **they** see it in their heads though, that's the important part. So, in a nutshell, I pretty much design/compose sound to picture in realtime, one scene at a time. &#xD;&#xA;&#xD;&#xA;It's probably a very slow way to work. I'm sure that folks who work with major motion pictures etc have some much more valuable workflow tips to share. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18019" PostHistoryTypeId="2" PostId="10910" RevisionGUID="d8ce45ec-31b4-427c-9760-624d835aedb8" CreationDate="2011-10-14T20:18:37.873" UserId="315" Text="I've tried this with a Sony PCM D-1 gaffer taped to my bike a couple times, recording my commute to work. Sony recorders will hiccup if they're jostled too much. I lost the take the first time I tried this. After some experimenting I got a nice bike onboard.&#xD;&#xA;&#xD;&#xA;Some suggestions:&#xD;&#xA;&#xD;&#xA; - I'd recommend doing anything to decouple the recorder from the bike frame. A Gorilla pod just won't cut it IMHO. I'd suggest using a nice thick, firm piece of packing foam and gaff taping your recorder to it. Then gaff the foam to the bike, a poor man's shockmount. There's really nothing that you can't do with a ton of gaff tape.&#xD;&#xA; - Face the recorder backwards and mount it behind you on the bike. On the underside of the seat worked best for me. Of course, I wanted to pick up some of the tire and chain noise. That way your body acts as a windbreak, the recorder sits in the slipstream, the mics aren't facing into the wind, and you don't record yourself breathing.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="18020" PostHistoryTypeId="2" PostId="10911" RevisionGUID="39109d80-598c-4292-92ae-454839ead97a" CreationDate="2011-10-14T20:21:28.207" UserId="1179" Text="Some approaches I've used with good results:&#xD;&#xA;&#xD;&#xA;1) Synthesize the bleepybloops using sine wives w/ dopplers, sweeps, and randomized volume envelopes. Patchers like Max, Audiomulch, and Pd are great for this kind of stuff. Obiwannabe put together a great Pd patch for replicating R2D2-type sounds here:&#xD;&#xA;&#xD;&#xA;http://obiwannabe.co.uk/tutorials/html/tutorial_droids.html&#xD;&#xA;&#xD;&#xA;Look at what it does, listen to it, then build and tinker away until you get the sounds you want. I love Pure Data.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;2) For machinery and robotics, I've used granular synthesis on mechanical recordings to great effect. KTGranulator and Michael Norris' Spectral Granulation are great plugins for this. I've used them on recordings of a Canon D5 flash/shutter/servo to generate new and interesting combination sounds from the already-interesting original source.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Both of these techniques fall into the &quot;Hit record, let the computer do its thing, then search through the resulting audio file for interesting ideas&quot; approach, as opposed to the &quot;nose to the screen, design, tweak, design&quot; approach, neither of which is entirely superior or mutually exclusive." ContentLicense="CC BY-SA 3.0" />
  <row Id="18021" PostHistoryTypeId="5" PostId="10910" RevisionGUID="ac5d7f76-7130-4975-b1e8-b812efd393f8" CreationDate="2011-10-14T20:23:55.247" UserId="315" Comment="added 2 characters in body" Text="I've tried this with a Sony PCM D-1 gaffer taped to my bike a couple times, recording my commute to work. Sony recorders will hiccup if they're jostled too much. I lost the take the first time I tried this. After some experimenting I got a nice bike onboard.&#xD;&#xA;&#xD;&#xA;Some suggestions:&#xD;&#xA;&#xD;&#xA; - I'd recommend doing anything to decouple the recorder from the bike frame. A Gorilla pod just won't cut it IMHO. I'd suggest using a nice thick, firm piece of packing foam and gaff taping your recorder to it. Then gaff the foam to the bike, a poor man's shockmount. There's really nothing that you can't do with a ton of gaff tape.&#xD;&#xA;&#xD;&#xA; - Face the recorder backwards and mount it behind you on the bike. On the underside of the seat worked best for me. Of course, I wanted to pick up some of the tire and chain noise. That way your body acts as a windbreak, the recorder sits in the slipstream, the mics aren't facing into the wind, and you won't record yourself breathing.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="18022" PostHistoryTypeId="2" PostId="10912" RevisionGUID="dfb564cd-ee7d-4e1b-90f0-f345604dcdc5" CreationDate="2011-10-14T20:32:33.510" UserId="29" Text="I wasn't after ambiences, but rather bike sounds themselves, [so here's one approach using a small condenser mic, a SD 702, and a mafer clamp][1]. Can be applied to mounting a PCM-D50 or similar behind your backside for wind reduction (as per Justin's second bullet point), or for rigging external mics with proper wind and shock protection that are hard to rig up with handheld recorders. FWIW, just might help reframe the challenge, although I realize your recording hardware is different.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2009/09/01/meet-the-super-clamp-rigging-a-bicycle-for-sound/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18023" PostHistoryTypeId="2" PostId="10913" RevisionGUID="85da7df4-bf75-42e2-9842-07700609c507" CreationDate="2011-10-14T20:47:56.950" UserId="6462" Text="How about getting one of the Rycote [Portable Recorder Suspension?][1]&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;They are incredibly good at reducing the handling noise, I use one with my D50 all the time (well, most of the time!) You could still use your gorilla pod to attach to the bike.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rycote.com/products/portable_recorder_audio_kit/portable_recorder_suspension/&#xD;&#xA;  [2]: http://sicharles.com/photos/picturehosting/041119_AUDIO_RECORDER_SUSPENSION.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="18024" PostHistoryTypeId="2" PostId="10914" RevisionGUID="949af524-0dd6-4f4a-b103-402d6932e63c" CreationDate="2011-10-14T21:27:55.713" UserId="6566" Text="I'd have to answer yes. One example, last year an opportunity came up to record a bulldozer driving over a car. I didn't need the sound particularly but couldn't pass it up. The car turned out to be a little too much on the modern side, too much plastic, not enough metal so the sound of it was not that interesting. But...I did get to watch and record a bulldozer driving over a car.&#xD;&#xA;&#xD;&#xA;Checkbox filled in." ContentLicense="CC BY-SA 3.0" />
  <row Id="18025" PostHistoryTypeId="2" PostId="10915" RevisionGUID="62bee716-b49a-4973-8ce0-b241bdec3990" CreationDate="2011-10-14T21:55:59.483" UserId="29" Text="Rene's list is bomber; lots of familiar techniques there. I've designed a lot of actual interface sounds for real-world interfaces...of course, there's a difference between real-world GUI sounds and FUI (fantasy UI) sounds that need a lot more cinematic oomph, but each influences the other. Some other ones that I've employed, to expand the great lists already in this thread:&#xD;&#xA;&#xD;&#xA; - Good ol' FM synthesis. Works wonders, and is as complex as you make it, and sounds less cheesy sci-fi than pure analog synthesis methods.&#xD;&#xA; - Any synthesized sound that changes in pitch or filter cutoff quickly can really cut through background noise and help the user take notice; good for alarms, notifications, etc.&#xD;&#xA; - Anything short, metallic, with sharp transients is good. Heck, some of the better UI clicks and twips I've designed are from microsamples of mishandled mics, rattling mic suspensions, and the striking of contact mic cables. One man's trash, as they say...&#xD;&#xA; - The sound of telephone dialing sped up a lot has a very Matrix-y sound.&#xD;&#xA; - Snippets of shortwave whistlers, tweaks, swishes and tone dives.&#xD;&#xA; - Sometimes melodic sounds from actual instruments is the best approach. XBox's UI is a nice example. Depends on the emotional needs for the interface, whether real or imagined.  - Digital sounds for real interfaces can be alienating and annoying to hear over and over again.&#xD;&#xA; - RF and EM interference recordings with telephone coil pickups; [Jean-Edouard Miclot has done a lot of this!][1]&#xD;&#xA;&#xD;&#xA;I've found that, generally, if it's harmonically rich enough, almost anything edited to be incredibly short could serve as the basis for an interface sound!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://jedsound.com/blog/?p=200" ContentLicense="CC BY-SA 3.0" />
  <row Id="18026" PostHistoryTypeId="2" PostId="10916" RevisionGUID="5c7a04fb-6cf7-4f02-91b5-e46e903e9b43" CreationDate="2011-10-15T00:10:25.697" UserId="6566" Text="While I agree that in many cases cold calling can be detrimental, I got my first full time gig at a local mom and pop studio by cold calling and a bit of luck. It just so happened that the day before I called, another person had unexpectedly quit and they needed to replace them immediately. I was editing that afternoon. &#xD;&#xA;&#xD;&#xA;Always leave a little room for serendipity." ContentLicense="CC BY-SA 3.0" />
  <row Id="18027" PostHistoryTypeId="2" PostId="10917" RevisionGUID="486f63f1-a69f-4e15-aace-a8cb7dca81b6" CreationDate="2011-10-15T09:23:15.160" UserId="400" Text="It's hard to pick the best moment, but this week I made sounds for an ambience and implemented them into our game engine to test. That was a pretty amazing &quot;I'm so glad I got into this business&quot; moment." ContentLicense="CC BY-SA 3.0" />
  <row Id="18028" PostHistoryTypeId="2" PostId="10918" RevisionGUID="3c40c181-90c5-4440-9ded-e06e1c9672fc" CreationDate="2011-10-15T12:44:14.920" UserId="2" Text="In South Africa, the radio stations requires the sound to be an MPEG Audio Layer II with a&#xD;&#xA;Constant Bitrate of 384kbit/sec. I haven't come across this before, and I'm struggling to find a free converter for Mac. &#xD;&#xA;&#xD;&#xA;Can anyone advise?  &#xD;&#xA;&#xD;&#xA;Is this a common format for other countries? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18029" PostHistoryTypeId="1" PostId="10918" RevisionGUID="3c40c181-90c5-4440-9ded-e06e1c9672fc" CreationDate="2011-10-15T12:44:14.920" UserId="2" Text="Free MP2 Converter for Mac" ContentLicense="CC BY-SA 3.0" />
  <row Id="18030" PostHistoryTypeId="3" PostId="10918" RevisionGUID="3c40c181-90c5-4440-9ded-e06e1c9672fc" CreationDate="2011-10-15T12:44:14.920" UserId="2" Text="&lt;radio&gt;&lt;broadcast-standards&gt;&lt;converter&gt;&lt;freeware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18031" PostHistoryTypeId="2" PostId="10919" RevisionGUID="aa86d62a-bd49-43c4-959d-1e640da83300" CreationDate="2011-10-15T12:50:27.550" UserId="2778" Text="@britt. thanks for the link .. i have downloaded celtx. the way that i have started working is i have started recording basic sound samples scene wise and am making the director listen to them as i am proceeding. plus also jotting down the scenes where the director wants me to use sounds that have a SPECIFIC character." ContentLicense="CC BY-SA 3.0" />
  <row Id="18032" PostHistoryTypeId="2" PostId="10920" RevisionGUID="ca91ff38-4335-4b07-890d-96e1f1084654" CreationDate="2011-10-15T14:04:14.410" UserId="863" Text="My friend did this exact thing for one of his final pieces at university, it was accompanied by video which was good.&#xD;&#xA;&#xD;&#xA;He used binaural earphone mics and had some fluffies over his ears and it worked well." ContentLicense="CC BY-SA 3.0" />
  <row Id="18033" PostHistoryTypeId="2" PostId="10921" RevisionGUID="3a6141d6-6ed4-41a8-8731-4aac13f2399e" CreationDate="2011-10-15T15:07:29.740" UserId="6566" Text="I know Audacity will import an MP2 but not sure if it will save out to one. Worth a try.&#xD;&#xA;&#xD;&#xA;Music Man isn't free but almost ($25):&#xD;&#xA;&#xD;&#xA;http://www.mireth.com/pub/mpme.html&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18034" PostHistoryTypeId="2" PostId="10922" RevisionGUID="ccec5e5c-d717-4db9-96ea-b5bf960d434a" CreationDate="2011-10-15T18:10:49.917" UserId="219" Text="FFmpeg will do that for you. You can either get [FFmpegX][1] which is a GUI version of it but it runs a rather old version of FFmpeg. Or you could [use MacPorts and compile the latest version for your computer][2] and use it via the command line.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ffmpegx.com/&#xD;&#xA;  [2]: http://www.haykranen.nl/2007/11/21/howto-install-and-use-ffmpeg-on-mac-os-x-leopard/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18035" PostHistoryTypeId="5" PostId="10922" RevisionGUID="83f162c5-b771-4ced-8b8d-a7a031a752f9" CreationDate="2011-10-15T18:17:52.817" UserId="219" Comment="added 104 characters in body" Text="FFmpeg will do that for you. You can either get [FFmpegX][1] which is a GUI version of it but it runs a rather old version of FFmpeg. Or you could [use MacPorts and compile the latest version for your computer][2] and use it via the command line.&#xD;&#xA;&#xD;&#xA;    ffmpeg -i &lt;your_input_file&gt; -acodec mp2 -ab 384k &lt;your_output_file&gt;.mp2 #(or m2a or mpg or else)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ffmpegx.com/&#xD;&#xA;  [2]: http://www.haykranen.nl/2007/11/21/howto-install-and-use-ffmpeg-on-mac-os-x-leopard/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18036" PostHistoryTypeId="2" PostId="10923" RevisionGUID="0acc141b-35de-4a5f-b19f-e27faeb8fd8d" CreationDate="2011-10-15T19:22:17.820" UserId="1286" Text="Speaking of new recorders, the $199 Tascam DR-40 (XLR input, 4 tracks, and all that jazz) seems like a pretty serious contender for amateur sound work. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18037" PostHistoryTypeId="2" PostId="10924" RevisionGUID="a5fd1647-4d8d-4fbe-9a8d-1dee8cf4ffe8" CreationDate="2011-10-15T20:24:26.580" UserId="2136" Text="Specifically I'm looking for eight wireless face mics that would be good for use in a musical.  I'm located near Philadelphia if that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="18038" PostHistoryTypeId="1" PostId="10924" RevisionGUID="a5fd1647-4d8d-4fbe-9a8d-1dee8cf4ffe8" CreationDate="2011-10-15T20:24:26.580" UserId="2136" Text="What is a good place to rent mics from?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18039" PostHistoryTypeId="3" PostId="10924" RevisionGUID="a5fd1647-4d8d-4fbe-9a8d-1dee8cf4ffe8" CreationDate="2011-10-15T20:24:26.580" UserId="2136" Text="&lt;microphone&gt;&lt;gear&gt;&lt;rental&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18040" PostHistoryTypeId="2" PostId="10925" RevisionGUID="d71a0591-84fa-4620-8ab7-7766a60e3470" CreationDate="2011-10-15T21:19:19.743" UserId="6524" Text="You could try [MediaCoder][1] and run it with this program called [Darwine][2] that lets you run windows programs or something not really sure tbh, just heard of it from MediaCoder's website haha. May be you can try any free converter for windows and see if it would run with Darwine..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mediacoderhq.com/download.htm&#xD;&#xA;  [2]: http://darwine.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18041" PostHistoryTypeId="2" PostId="10926" RevisionGUID="4b0a349c-1e88-4279-a0e1-56e9a8915408" CreationDate="2011-10-16T03:42:47.930" UserId="432" Text="your best best for that may be to look for A/V rental companies. by that, i mean the companies that supply projectors and sound equipment for conferences and the like. you'll probably have better luck with them than the usual production equipment houses; at least for the type of gear that you're looking for.&#xD;&#xA;&#xD;&#xA;call up the event managers for some of the larger hotels or conference centers in the area. they always have a list of companies that they got to for that sort of thing, and they'll know which ones are knowledgeable and reliable. it will get you pointed in the right direction." ContentLicense="CC BY-SA 3.0" />
  <row Id="18042" PostHistoryTypeId="2" PostId="10927" RevisionGUID="0fcee900-94ff-484e-98c7-e5b87ed7f2a6" CreationDate="2011-10-16T10:42:29.580" UserId="3049" Text="&#xD;&#xA;I'm a sound designer fresh from Univerity and I've been asked to produce sound effects for a independent film. The strange thing is that I've been given audio samples of the effects required where all sequences of SFX (cut out from exixting movies like Batman Begins) are synchronized to the picture. But I will not be provided with the picture itself. I can easily recreate the required sounds using my own recordings and synchronize them to the audio samples but it doesn't leave much room for creativity.&#xD;&#xA;Did any one of you encountered a similar problem at the begining of your designing carier?&#xD;&#xA;Should I simply demand to see the scenes I'm designing for or just do it quick and simple?&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="18043" PostHistoryTypeId="1" PostId="10927" RevisionGUID="0fcee900-94ff-484e-98c7-e5b87ed7f2a6" CreationDate="2011-10-16T10:42:29.580" UserId="3049" Text="Designing for film with no vision" ContentLicense="CC BY-SA 3.0" />
  <row Id="18044" PostHistoryTypeId="3" PostId="10927" RevisionGUID="0fcee900-94ff-484e-98c7-e5b87ed7f2a6" CreationDate="2011-10-16T10:42:29.580" UserId="3049" Text="&lt;film-sound-design&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18045" PostHistoryTypeId="2" PostId="10928" RevisionGUID="22c83e70-4001-4602-adef-80b3bc9df3a8" CreationDate="2011-10-16T14:55:24.783" UserId="1049" Text="It depends on what the director's after, willing to supply you, and what you're happiest working with. I personally would request seeing the video as it would allow for me to work a lot more accurately and efficiently. Just supplying SFX based on examples you've been given could be a little 'robotic' and there's a high chance that they could seem unnatural if not specifically designed/altered to tailor them to that particular film.&#xD;&#xA;&#xD;&#xA;If you're just supplying samples does this mean there's a seperate SD who'll be implementing them? If so you won't have to worry about directionality etc. But still spatial factors etc will still need to be taken into consideration to some extent so seeing what you're designing for would be very useful.&#xD;&#xA;&#xD;&#xA;So I'd ask to see them, and explain that it'd make for a better result if you do. If they don't want to / can't send you the footage then just do the best you can from what you've got!&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18046" PostHistoryTypeId="5" PostId="10928" RevisionGUID="8697e379-ca59-4e2e-99e6-f2a250f80413" CreationDate="2011-10-16T15:01:34.090" UserId="1049" Comment="added 276 characters in body" Text="It depends on what the director's after, willing to supply you, and what you're happiest working with. I personally would request seeing the video as it would allow for me to work a lot more accurately and efficiently. Just supplying SFX based on examples you've been given could be a little 'robotic' and there's a high chance that they could seem unnatural if not specifically designed/altered to tailor them to that particular film. But if you're just supplying samples does this mean there's a seperate SD who'll be implementing them? If so you won't have to worry about directionality etc. But still spatial factors etc will still need to be taken into consideration to some extent so seeing what you're designing for would be very useful.&#xD;&#xA;&#xD;&#xA;Of course, if another SD will be altering the effects you supply then it's not so important to get them 'spot on' as it's that SD's job to make them fit in the piece. But if you're creating bespoke SFX then you might as well get them as close as possible in the first place. So I'd ask to see them, and explain that it'd make for a better result if you do. If they don't want to / can't send you the footage then just do the best you can from what you've got!&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18047" PostHistoryTypeId="5" PostId="10718" RevisionGUID="b904aa7f-a246-4a3e-8e2b-d1f022ae91bf" CreationDate="2011-10-16T16:30:11.090" UserId="194" Comment="added 301 characters in body" Text="over 15000 people there right now, and they've been doing things like the &quot;human microphone&quot; which seem really cool.&#xD;&#xA;&#xD;&#xA;[youtube]JCjs7YTxcVU[/youtube]&#xD;&#xA;&#xD;&#xA;who's rolling on this?  Wanna trade?  :)&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;edit:&#xD;&#xA;&#xD;&#xA;looks like someone in portland got a bunch of good stuff:&#xD;&#xA;http://www.organiccitysounds.com/2011/10/portland-soundscape-occupied/&#xD;&#xA;[soundcloud]organic-city-sounds/portland-portrait-occupied[/soundcloud]&#xD;&#xA;&#xD;&#xA;There is an occupy Dallas movement, but its not anywhere near the scale of what's happening in NY.  I'm going to see it this weekend and try to get some good stuff though.  &#xD;&#xA;&#xD;&#xA;you guys that are heading to NY, don't forget to dive into the protests and record some chants!  I have a feeling there will be a fair amount of demonstration media being developed in the coming months that will need good sounds.  ;)&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;&#xD;&#xA;edit 2:&#xD;&#xA;&#xD;&#xA;I went out yesterday and got a mountain of good stuff.  fully 45 minutes of chants and cheers.  &#xD;&#xA;&#xD;&#xA;here's a taste and a blog post.&#xD;&#xA;&#xD;&#xA;[soundcloud]rcoronado/occupy-dallas-march-comp[/soundcloud]&#xD;&#xA;&#xD;&#xA;http://thesoundmyheadmakes.blogspot.com/2011/10/recording-of-occupy-dallas.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="18048" PostHistoryTypeId="2" PostId="10929" RevisionGUID="b4d86b8c-dabc-423f-b612-73d7dd051e01" CreationDate="2011-10-16T17:38:02.940" UserId="238" Text="Last night I watched *We Need To Talk About Kevin* and was really impressed with the use of sound. British sound designer, Paul Davies, did an excellent job of helping the story evolve and, in particular, evoking an emotional reaction in the audience. One of the sounds that really stood out for me was his use of a garden water sprinkler, which was used throughout the film mostly in very tense scenes, often when there was no screen relevance. And it is only during the last moments of the film that the audience discovers the significance of this sound. But what I really enjoyed was the way the sound was used to create an **anempathetic effect**. &#xD;&#xA;&#xD;&#xA;To quote Michel Chion:&#xD;&#xA; *&quot;the anempathetic effect is employed when, for example, in a very violent scene after the death of a character some sonic process continues, like the noise of a machine, the hum of a fan, a shower running, as if nothing happened.&quot;*&#xD;&#xA;&#xD;&#xA;One of the most famous uses of this effect is the shower scene in Alfred Hitchcock's *Psycho*. There is also a scene in Antonioni's *The Passenger* using an electric fan. &#xD;&#xA;&#xD;&#xA;So my question is, what other examples of this effect are there?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18049" PostHistoryTypeId="1" PostId="10929" RevisionGUID="b4d86b8c-dabc-423f-b612-73d7dd051e01" CreationDate="2011-10-16T17:38:02.940" UserId="238" Text="Examples Of The Anempathetic Effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="18050" PostHistoryTypeId="3" PostId="10929" RevisionGUID="b4d86b8c-dabc-423f-b612-73d7dd051e01" CreationDate="2011-10-16T17:38:02.940" UserId="238" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18051" PostHistoryTypeId="2" PostId="10930" RevisionGUID="d785a3af-7124-4122-bff0-d9b4a2d323da" CreationDate="2011-10-16T18:31:03.113" UserId="6420" Text="One that springs to mind is the ear cutting scene in Reservoir Dogs. The music playing from the radio as it all gruesomely unfolds!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18052" PostHistoryTypeId="2" PostId="10931" RevisionGUID="a5cef0be-ff06-4511-b64b-f939f8bb9e01" CreationDate="2011-10-16T18:58:23.793" UserId="29" Text="The death of Harry Dean Stanton in *Alien*. Stupid cat. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18053" PostHistoryTypeId="2" PostId="10932" RevisionGUID="80280246-f580-425d-a2ef-c9080572036c" CreationDate="2011-10-16T20:10:52.823" UserId="2503" Text="The very last scene of &quot;The Shield&quot;&#xD;&#xA;&#xD;&#xA;If you havent seen it - and plan to see it spoiler alert.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=ihGapANcb2s" ContentLicense="CC BY-SA 3.0" />
  <row Id="18054" PostHistoryTypeId="2" PostId="10933" RevisionGUID="07145bd7-5ffa-40e1-8fb9-b233646d9121" CreationDate="2011-10-16T20:33:03.540" UserId="3050" Text="Itunes Genius is how i find most of my new music or in the suggestions on youtube :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18055" PostHistoryTypeId="2" PostId="10934" RevisionGUID="3ad3acbe-2e60-47da-8c1b-04175682ab01" CreationDate="2011-10-16T21:37:47.037" UserId="3051" Text="Today I have tested plurales. The set up was Sony Nex vg 10 and Edirol R09hd for recording audio.&#xD;&#xA;The clip was 10 minutes long. I have used clapping at the beginning, in the middle and at the end of the clip to test the accurcy of plurales. Unfortunately plurales cannot synchronize &quot;perfectly&quot; for more than 3 minutes&quot;. There was a small (although hard to hear) and progressive drift from the beginning to the end (could observe it visually on the time line of sony vegas pro 10 in zoom mode). Therefore, I will prefer using the clap method and uses short clip. &#xD;&#xA;&#xD;&#xA;Richard" ContentLicense="CC BY-SA 3.0" />
  <row Id="18056" PostHistoryTypeId="2" PostId="10935" RevisionGUID="1461758a-5b58-4e89-a305-7819b6cbe43a" CreationDate="2011-10-16T22:20:47.440" UserId="2503" Text="**Pandorra** is nice since they suggest music on it's content's not it's listeners.&#xD;&#xA;&#xD;&#xA;**Youtube** - any good music channels. (like this excellent bass music channel: http://www.youtube.com/user/NeurofunkGrid)&#xD;&#xA;Youtube has a nice algorithm for their suggestions - always nice finds, but always more of the same too. There's people posting their vinyl collection on youtube too. &#xD;&#xA;&#xD;&#xA;**Sharity** used to be a nice way to find rarity/oddity and niche stuff. http://www.kwsnet.com/music_weblog_sharity.html&#xD;&#xA;&#xD;&#xA;**Social Media** - When working in sound desifn / music you'll most likely have many people in your friend list (if on a network) with a good taste in music. Plus a passion for it, which often means they post about what they like. (in my experience anyway)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18057" PostHistoryTypeId="2" PostId="10936" RevisionGUID="f19353cf-7373-42f8-a3c0-f577f5ad74ea" CreationDate="2011-10-16T23:22:32.087" UserId="300" Text="The insects in the opening scenes of A History of Violence play this role well." ContentLicense="CC BY-SA 3.0" />
  <row Id="18058" PostHistoryTypeId="2" PostId="10937" RevisionGUID="08218425-db8d-4f23-9e91-081325ae93f6" CreationDate="2011-10-16T23:48:58.950" UserId="1266" Text="You could design from the script or just ask to see some rushes and refine the fx later on down the line" ContentLicense="CC BY-SA 3.0" />
  <row Id="18059" PostHistoryTypeId="2" PostId="10938" RevisionGUID="912ca741-5355-4c83-93cb-55928fc6dcbe" CreationDate="2011-10-17T00:28:22.713" UserId="432" Text="OK. So, I did something like this last year, and might as well offer it up again for those of you who can't make it to AES.&#xD;&#xA;&#xD;&#xA;Anyone have any questions for any of the vendors in the exhibit? If you see something new and want more information, or if there's something you've been wanting answered for a while now...post it here or (after Tuesday) shoot me an e-mail [here][1].&#xD;&#xA;&#xD;&#xA;Yes, I fully expect Avid to announce Pro Tools 10 (or in the very least, 9.1) at the show. Do me a favor on that topic though, and wait until they've delivered their presentation on Thursday night before sending me questions about that one. ;)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynamicinterference.com/contact-page/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18060" PostHistoryTypeId="1" PostId="10938" RevisionGUID="912ca741-5355-4c83-93cb-55928fc6dcbe" CreationDate="2011-10-17T00:28:22.713" UserId="432" Text="Questions you want answered at AES?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18061" PostHistoryTypeId="3" PostId="10938" RevisionGUID="912ca741-5355-4c83-93cb-55928fc6dcbe" CreationDate="2011-10-17T00:28:22.713" UserId="432" Text="&lt;aes&gt;&lt;community&gt;&lt;product-research&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18062" PostHistoryTypeId="16" PostId="10938" RevisionGUID="912ca741-5355-4c83-93cb-55928fc6dcbe" CreationDate="2011-10-17T00:28:22.713" UserId="432" />
  <row Id="18063" PostHistoryTypeId="2" PostId="10939" RevisionGUID="61fce554-ef78-48e9-9540-011dc628bd00" CreationDate="2011-10-17T00:46:49.867" UserId="863" Text="What is your role? it seems like you've been asked to just source/find sound effects.&#xD;&#xA;&#xD;&#xA;You're not really designing for the film. You cannot place the sound in any environment and fit it to dialogue." ContentLicense="CC BY-SA 3.0" />
  <row Id="18064" PostHistoryTypeId="2" PostId="10940" RevisionGUID="352f0ec9-0f8f-456f-a741-0b5c0cb22507" CreationDate="2011-10-17T01:09:29.370" UserDisplayName="user6513" Text="On shoots like that, I usually end up catching up with the reports during breaks and after the shoot. As much as I can, I'll always do a 'master' entry for Take 1 of each new shot, and use shorthand or verbal reports for the subsequent takes. You can actually do a fair bit of the report even before the take has been shot, i.e. noise floor is an approximation, scene description, etc. &#xD;&#xA;&#xD;&#xA;The [movie slate app][1] that the cam assist have been using has an additional plugin for the sound dept for logging reports.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://itunes.apple.com/us/app/id320315888?mt=8" ContentLicense="CC BY-SA 3.0" />
  <row Id="18065" PostHistoryTypeId="2" PostId="10941" RevisionGUID="d27adb9c-c083-46f8-ad35-7761160d0c80" CreationDate="2011-10-17T02:52:24.393" UserId="132" Text="PRX is a radio org in the US and they provide a free MP2 encoder:  http://www.prx.org/tools-and-resources/prx-tools" ContentLicense="CC BY-SA 3.0" />
  <row Id="18066" PostHistoryTypeId="2" PostId="10942" RevisionGUID="8df6f9b0-58ad-4dbc-a036-ba42dbe18791" CreationDate="2011-10-17T03:16:12.160" UserId="817" Text="For sound reports I use a small clipboard that sits inside the front pocket of the portabrace bag I mix out of. I made personalized sound reports containing all my contact info and production essentials that allow me to put simple information about scene/take/track assignments, etc... plus a few other things. &#xD;&#xA;&#xD;&#xA;The clipboard fits a sound report that is 1/2 the size of a standard 8 &amp; 1/2 x 11&quot; sheet. It carries enough extra sound reports for a couple days, plus all my copies in a separate section just to be able to deal with calls from post on the fly (I make 4 part reports @ Kinkos; 2 copies for post, 1 for production office, 1 for me). I also place the same clipboard on my mix cart when mixing off the cart so the sound reports are the same for any scripted project.&#xD;&#xA;&#xD;&#xA;For slating I have a couple Denecke TS-C Slates that I jam off my recorders timecode and hand off to camera. They'll take care of labeling each take on screen and clapping sticks for an A &amp; B camera. I make sure to keep a friendly relationship with the camera crew in order to keep our slate info in sync and to keep things fun on set. If the camera crew is not used to using slates I get them used to it, and they're usually very thankful for the opportunity to step up their game and become more professional. &#xD;&#xA;&#xD;&#xA;Have fun making sound for movies,&#xD;&#xA;&#xD;&#xA;E. Santiago" ContentLicense="CC BY-SA 3.0" />
  <row Id="18067" PostHistoryTypeId="2" PostId="10943" RevisionGUID="75cec0b4-80e7-48b6-b4e0-654ba54a22cf" CreationDate="2011-10-17T05:08:04.443" UserId="2778" Text="In Full Metal Jacket, when, after confirming two kills, the Trashmen's &quot;Surfin' Bird&quot; plays." ContentLicense="CC BY-SA 3.0" />
  <row Id="18068" PostHistoryTypeId="2" PostId="10944" RevisionGUID="614c3ff9-ca86-487b-b58a-2321a8964982" CreationDate="2011-10-17T06:38:36.883" UserId="6435" Text="Don Corleone's grandchild laughing, the breeze blowing and birds chirping as the old man lies dead in his tomato garden." ContentLicense="CC BY-SA 3.0" />
  <row Id="18069" PostHistoryTypeId="2" PostId="10945" RevisionGUID="faa3384b-f49d-4160-a666-d1c34012bad6" CreationDate="2011-10-17T06:57:40.843" UserDisplayName="AlicjaS" Text="Thank you all for the answers. Yes, at the moment it seems I'm only looking for SFX to fit to several scenes. The idea is though that I am the 'designated' person to deal with the sound design for this film. I will be mixing it at the end of the year. This project started in a wery unusual way and the director doesn't seem to care how it's done. But with your help I realized I'll have the chance to adjust my SFX on a later stage. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18070" PostHistoryTypeId="2" PostId="10946" RevisionGUID="3bf23d5b-53c8-42c0-befe-13c426425863" CreationDate="2011-10-17T07:44:53.517" UserId="1049" Text="The music playing in the background at the start of The Watchmen, whilst The Comedian is attacked. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18071" PostHistoryTypeId="5" PostId="10946" RevisionGUID="c82a55d4-8b31-4eb9-8c99-d505b8ca6330" CreationDate="2011-10-17T08:04:33.480" UserId="1049" Comment="added 173 characters in body" Text="The music playing in the background at the start of The Watchmen, whilst The Comedian is attacked. &#xD;&#xA;&#xD;&#xA;Edit: And similarly, from a gaming perspective, the music used throughout Fallout 3 is brilliantly anempathetic against what's going on in the game and it's intro video." ContentLicense="CC BY-SA 3.0" />
  <row Id="18072" PostHistoryTypeId="2" PostId="10947" RevisionGUID="95410d8b-b326-4701-9656-147fd1a09ab1" CreationDate="2011-10-17T08:16:25.703" UserId="605" Text="the sound of car racing blaring on the tv after the murders in 'funny games'" ContentLicense="CC BY-SA 3.0" />
  <row Id="18073" PostHistoryTypeId="2" PostId="10948" RevisionGUID="decf3440-026d-44a4-8205-1ccdfb8cbd96" CreationDate="2011-10-17T11:37:02.540" UserId="1055" Text="hello all,&#xD;&#xA;&#xD;&#xA;so i'm thinking about buying my first pair of omnis for ambient recordings..what should i be looking for? my budget is low, around 700$...oh and btw, as far as i understand omnis are the most popular choice of mic's for ambient recordings? :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18074" PostHistoryTypeId="1" PostId="10948" RevisionGUID="decf3440-026d-44a4-8205-1ccdfb8cbd96" CreationDate="2011-10-17T11:37:02.540" UserId="1055" Text="first pair of omnis for ambient recordings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18075" PostHistoryTypeId="3" PostId="10948" RevisionGUID="decf3440-026d-44a4-8205-1ccdfb8cbd96" CreationDate="2011-10-17T11:37:02.540" UserId="1055" Text="&lt;omni&gt;&lt;first&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18076" PostHistoryTypeId="2" PostId="10949" RevisionGUID="1c09413b-4efc-490a-8ed2-922383eff63b" CreationDate="2011-10-17T12:10:47.897" UserId="6432" Text="I've got some great recordings using a matched pair of DPA 4061's (the high sensitivity version) They cost about £500 UK price, so may be in your budget. They capture fantastic detail and are small enough to take anywhere.&#xD;&#xA;&#xD;&#xA;I bought these after they came highly recommended by the well known nature sound recordist Chris Watson.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18077" PostHistoryTypeId="2" PostId="10950" RevisionGUID="4751f8a1-c71f-4f9e-9a52-3a23355a5e8f" CreationDate="2011-10-17T12:19:36.523" UserId="6432" Text="I'm trying to work out the best way to create varying levels of distance and wondered if anyone would share their techniques? At the moment I'm especially working on gunshot and explosion sounds, wanting to create a war-zone soundscape from lots of individual recordings (some close, some medium perspective)&#xD;&#xA;&#xD;&#xA;I've been playing around with lowpass filters and reverb settings with some success, but any further hints or ideas would be appreciated. &#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Mark" ContentLicense="CC BY-SA 3.0" />
  <row Id="18078" PostHistoryTypeId="1" PostId="10950" RevisionGUID="4751f8a1-c71f-4f9e-9a52-3a23355a5e8f" CreationDate="2011-10-17T12:19:36.523" UserId="6432" Text="Placing sounds in the distance, outdoors" ContentLicense="CC BY-SA 3.0" />
  <row Id="18079" PostHistoryTypeId="3" PostId="10950" RevisionGUID="4751f8a1-c71f-4f9e-9a52-3a23355a5e8f" CreationDate="2011-10-17T12:19:36.523" UserId="6432" Text="&lt;reverb&gt;&lt;processing&gt;&lt;spaces&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18080" PostHistoryTypeId="2" PostId="10951" RevisionGUID="6abcedaf-0962-48d8-a9e5-0af646f75397" CreationDate="2011-10-17T12:26:33.137" UserId="37" Text="I think proximity effect but on a larger scale. Roll off lows and highs, diffuse the sound with some early reverb and add slap-back echo. You might have a play recording a few impulse responses. On a short a while back I was given the camera's built-in microphone track in addition to the others. Great reference to study. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18081" PostHistoryTypeId="2" PostId="10952" RevisionGUID="6ea9d49f-c881-4f26-90de-eafc675401da" CreationDate="2011-10-17T12:43:50.967" UserId="6420" Text="Any chance you could Worldize your sounds at all? If you have the option to go out to various locations and re-record your sounds from a loudspeaker with mics at different distances you could get some useful results :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18082" PostHistoryTypeId="5" PostId="10950" RevisionGUID="4aaa1091-9681-4c2c-8293-9d48e10935cf" CreationDate="2011-10-17T14:34:49.840" UserId="6432" Comment="added 142 characters in body" Text="I'm trying to work out the best way to create varying levels of distance and wondered if anyone would share their techniques? At the moment I'm especially working on gunshot and explosion sounds, wanting to create a war-zone soundscape from lots of individual recordings (some close, some medium perspective)&#xD;&#xA;&#xD;&#xA;I've been playing around with lowpass filters and reverb settings with some success, but any further hints or ideas would be appreciated. &#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;ps. Really interested in how everyone uses reverb for outdoor sounds. Also, which reverb and any algorithms better than others for this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18083" PostHistoryTypeId="5" PostId="10950" RevisionGUID="d07627fd-138b-4f05-a2db-410756ead0fc" CreationDate="2011-10-17T15:05:49.057" UserId="6432" Comment="added 4 characters in body" Text="I'm trying to work out the best way to create varying levels of distance and wondered if anyone would share their techniques? At the moment I'm especially working on gunshot and explosion sounds, wanting to create a war-zone soundscape from lots of individual recordings (some close, some medium perspective)&#xD;&#xA;&#xD;&#xA;I've been playing around with lowpass filters and reverb settings with some success, but any further hints or ideas would be appreciated. &#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;ps. Really interested in how everyone uses reverb for outdoor sounds. Also, which reverb and are any algorithms better than others for this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18084" PostHistoryTypeId="2" PostId="10953" RevisionGUID="efabfcf2-016e-49d6-8c83-224cda90c7ac" CreationDate="2011-10-17T15:28:00.550" UserId="194" Text="kill bill the bamboo fountain in the fight scene between lucy liu and the bride" ContentLicense="CC BY-SA 3.0" />
  <row Id="18085" PostHistoryTypeId="2" PostId="10954" RevisionGUID="9d1ce43d-35f0-42a4-84c6-bc2be943b816" CreationDate="2011-10-17T15:41:41.300" UserId="432" Text="There are a few tricks, besides the EQ roll-offs, that you can use to situate things in an outdoor environment.&#xD;&#xA;&#xD;&#xA;Reverb plug-ins typically have two main components: early reflections and reverb. Most outdoor locations don't trap in the acoustic waves, so you're going to want to reduce the reverb side of the plug-in significantly (maybe enitrely). Use the early reflections side to create the space. Even in the woods, you'll get early reflections. So you want some of that audio coming back.&#xD;&#xA;&#xD;&#xA;For those wide open spaces that don't really lend themselves to those techniques (i.e. wide open field), I like to use divergence with EQ automation. To use the gunshots/explosions idea that you're referencing, picture this...You see a gun fire on screen, maybe 40% to the right of center. The gun's attack, that initial bang, would be panned there. Almost immediately after the attack though, you start increasing the divergence, so that the tail of that gunshot spreads to other speakers. Speed and duration is up to you, and how it should work in the piece. Now, just automate the roll of frequencies of your EQ to shift for the duration of the tail. The automation of the roll of should be fairly smooth and consistent.&#xD;&#xA;&#xD;&#xA;You can combine the early reflections and the divergence tricks for &quot;enclosed&quot; outdoor spaces (alleyways, canyons, etc.), it will just require a different pace of automation for your EQ roll-offs. You'll probably also want to allow a little more of the reverb side of your reverb plug-ins into the mix as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="18086" PostHistoryTypeId="2" PostId="10955" RevisionGUID="7e37f3c2-d034-4157-b747-26ba23f4c73c" CreationDate="2011-10-17T19:05:44.040" UserId="1303" Text="Going to NYC to record over the next couple of days. I hope to hit up wall street on thursday or friday." ContentLicense="CC BY-SA 3.0" />
  <row Id="18087" PostHistoryTypeId="2" PostId="10956" RevisionGUID="4bd2d04c-29e6-4d50-989e-017d66feaf2c" CreationDate="2011-10-17T19:37:19.907" UserId="6499" Text="One of the two radio stations I listen to here in New Orleans is WWOZ.  They stream their shows @ http://www.wwoz.org/ .  It is a jazz and heritage station/blues  + New orleans local musicians.    Really cool station great DJs that bring in their private collections of vinyl/tapes/live recordings etc.  It is listener supported with a couple fundraiser drives per year so you do not get the BS of top 10 playlists that just repeat like 90% of the current radio stations .  It is really cool because each DJ has their own show/style/genre and love music so you get some out of the ordinary groups both past and present and sometimes you get interesting did you know facts about the musicians." ContentLicense="CC BY-SA 3.0" />
  <row Id="18088" PostHistoryTypeId="2" PostId="10957" RevisionGUID="1bf092a9-88ab-4fd5-82f1-0e60f088f3eb" CreationDate="2011-10-17T19:43:41.573" UserId="3060" Text="I tried MicW i456 on my Samsung Galaxy I9100.It works perfectly. It do not need any accessaries. Simply plug i456 into the earphone connector." ContentLicense="CC BY-SA 3.0" />
  <row Id="18089" PostHistoryTypeId="2" PostId="10958" RevisionGUID="83541384-8775-478a-aab3-b9aee1c6405f" CreationDate="2011-10-17T22:58:05.987" UserId="1013" Text="Distant sounds will have a lower dynamic range, so I find compression works for making some sounds appear more distant. This might be less effective for discrete, short envelope sounds like gunshots.&#xD;&#xA;&#xD;&#xA;I thinks it's interesting that although lower frequency sound can travel further than highs, rolling them off will immediately help them feel more distant - all about human perception I guess." ContentLicense="CC BY-SA 3.0" />
  <row Id="18090" PostHistoryTypeId="2" PostId="10959" RevisionGUID="f9d5f150-88bd-4736-98e2-4257174a41b6" CreationDate="2011-10-18T00:31:22.510" UserId="693" Text="@Steve - fwiw, I'm thinking that there might have been something happening in the conversion process when the editor imported that ended up producing sounds and anomalies that didn't phase. There's a ridiculous amount of editors that have no idea what they're doing and haven't the slightest clue about nesting sequences or using temp low-rez references properly. Not to mention simply setting up their session properly for post. &#xD;&#xA;&#xD;&#xA;My other thought is that there might have been some level adjustments or processing the editor did on one of the two tracks that made them different and thus allowed you to produce this. &#xD;&#xA;&#xD;&#xA;Based on the leftover frequencies I'm thinking some sort of craptastic compression happened somewhere.&#xD;&#xA;&#xD;&#xA;Much to my chagrin, I once had a project where the editor (ne: producer/director) would render out sub-scenes as wmv's and then import those into a master session, edit those together and then render out his master. I shudder when I think of it." ContentLicense="CC BY-SA 3.0" />
  <row Id="18091" PostHistoryTypeId="5" PostId="10959" RevisionGUID="76b46864-92b1-41b6-a11a-16091612fd33" CreationDate="2011-10-18T00:39:09.810" UserId="693" Comment="Added some additional info" Text="@Steve - fwiw, I'm thinking that there might have been something happening in the conversion process when the editor imported that ended up producing sounds and anomalies that didn't phase. There's a ridiculous amount of editors that have no idea what they're doing and haven't the slightest clue about nesting sequences or using temp low-rez references properly. Not to mention simply setting up their session properly for post. &#xD;&#xA;&#xD;&#xA;My other thought is that there might have been some level adjustments or processing the editor did on one of the two tracks that made them different and thus allowed you to produce this. &#xD;&#xA;&#xD;&#xA;Based on the leftover frequencies I'm thinking some sort of craptastic compression happened somewhere.&#xD;&#xA;&#xD;&#xA;Much to my chagrin, I once had a project where the editor (ne: producer/director) would render out sub-scenes as wmv's and then import those into a master session, edit those together and then render out his master. I shudder when I think of it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In addition, I have two amazing 45m long recordings I made while doing sound design fort the Dave Smith Tempest while crashing the OS from tweaking it so hard while in an unstable pre-release OS. I would make twaks that too 45s-2m to show up (if the edit latched at all). It was pure analog oscillator, digital modulation routing anarchy. Amazing stuff, maybe I'll post a clip sometime soon.&#xD;&#xA;&#xD;&#xA;I have so many recordings of weird happenstance occurrences like this from over the years it's insane. I'll be making a commercial library from them once I sort out a deal.&#xD;&#xA;&#xD;&#xA;I'm a big fan of feedback and extensive plug-in chains. Knowing my plug-in arsenal like I do, I know exactly what to insert where in the signal path to can get some insane and seemingly uncontrolled content within minutes." ContentLicense="CC BY-SA 3.0" />
  <row Id="18092" PostHistoryTypeId="5" PostId="10959" RevisionGUID="0b8d7c49-8b09-43b0-b6c5-0ed7f7f9ae6c" CreationDate="2011-10-18T00:46:48.423" UserId="693" Comment="added info, spelling" Text="@Steve - fwiw, I'm thinking that there might have been something happening in the conversion process when the editor imported that ended up producing sounds and anomalies that didn't phase. There's a ridiculous amount of editors that have no idea what they're doing and haven't the slightest clue about nesting sequences or using temp low-rez references properly. Not to mention simply setting up their session properly for post. &#xD;&#xA;&#xD;&#xA;My other thought is that there might have been some level adjustments or processing the editor did on one of the two tracks that made them different and thus allowed you to produce this. &#xD;&#xA;&#xD;&#xA;Based on the leftover frequencies I'm thinking some sort of craptastic compression happened somewhere.&#xD;&#xA;&#xD;&#xA;Much to my chagrin, I once had a project where the editor (ne: producer/director) would render out sub-scenes as wmv's and then import those into a master session, edit those together and then render out his master. I shudder when I think of it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In addition, I have two amazing 45m long recordings I made while doing sound design for the Dave Smith Tempest while force-crashing the OS from tweaking it so hard while using an unstable pre-release OS. I would make tweaks that too 45s-2m to show up (if the edit latched at all). It was pure analog oscillator, digital modulation routing anarchy. Amazing stuff, maybe I'll post a clip sometime soon.&#xD;&#xA;&#xD;&#xA;This is after the OS was stabilized. It previously couldn't handle this extent of tweaking and the crashes are 50x more insane:&#xD;&#xA;Article:&#xD;&#xA;http://www.modulatethis.com/2011/10/first-look-dsi-tempest-drum-machine-roger-linn-james-kojac.html&#xD;&#xA;&#xD;&#xA;Video from Article:&#xD;&#xA;[youtube]fnbspah_Zz0[/youtube]&#xD;&#xA;&#xD;&#xA;I have so many recordings of weird happenstance occurrences like this from over the years it's insane. I'll be making a commercial library from them once I sort out a deal.&#xD;&#xA;&#xD;&#xA;I'm a big fan of feedback and extensive plug-in chains. Knowing my plug-in arsenal like I do, I know exactly what to insert where in the signal path to can get some insane and seemingly uncontrolled content within minutes." ContentLicense="CC BY-SA 3.0" />
  <row Id="18093" PostHistoryTypeId="2" PostId="10960" RevisionGUID="a1a9ed26-09ca-43ad-b21d-37db579b5b33" CreationDate="2011-10-18T00:50:33.233" UserId="2681" Text="Was using RX Denoiser to get rid of some bad camera noise on some dialogue that was going to be used as a Sci-Fi video transmission sequence. As an experiment I trained on a sample of the actual voice and hit RX pretty hard and it came up with some amazing artifacty stuff the had a great flowing link with the dialogue." ContentLicense="CC BY-SA 3.0" />
  <row Id="18094" PostHistoryTypeId="2" PostId="10961" RevisionGUID="3bf272d6-a13a-4eba-9115-f3a38046790b" CreationDate="2011-10-18T04:11:03.537" UserId="6566" Text="Lots of good food for thought already posted here.&#xD;&#xA;&#xD;&#xA;One thing that has always been helpful for me is to simplify my workflow. Today we are presented with an astronomical amount of choices so much so that I think it can sometimes stifle creativity instead of promote it. Scads of plugins and unlimited tracks to name a couple of culprits.&#xD;&#xA;&#xD;&#xA;A technique that I'll occasionally use to get out of a rut or simply for a challenge is to pick a simple set of 3 to 5 plugins and limit myself to making sounds with only those plugs. This can force you to be creative in ways that you aren't always exercising and help find and develop new skills and editing techniques. It can also force you to dig much more deeply into something as simple as an EQ possibly discovering some special quirk about that plugin in the process.&#xD;&#xA;&#xD;&#xA;I'll even go as far as to create different simplified versions of my plugin folder so I can only see those few choices in the list in Pro Tools. The lack of this giant list of choices can be quite liberating." ContentLicense="CC BY-SA 3.0" />
  <row Id="18095" PostHistoryTypeId="2" PostId="10962" RevisionGUID="a6d6f6d9-3786-4854-877c-4cee48a93d81" CreationDate="2011-10-18T04:22:31.787" UserId="693" Text="Sadly, I am down to having two people who's music opinion I can always trust and get suggestions from them from time to time. The third and fourth source are some of the mixes by DVNT of [Darkfloor][1], who canes the sort of twisted darkness I prefer... then there's the odd accidental shit I come across on my own during my increasingly rare chances for musical based explorations.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://darkfloor.co.uk" ContentLicense="CC BY-SA 3.0" />
  <row Id="18096" PostHistoryTypeId="5" PostId="10959" RevisionGUID="c78c746b-1a7c-43e9-ba87-a3a16c11f372" CreationDate="2011-10-18T05:23:10.533" UserId="693" Comment="added 45 characters in body" Text="@Steve - fwiw, I'm thinking that there might have been something happening in the conversion process when the editor imported that ended up producing sounds and anomalies that didn't phase. There's a ridiculous amount of editors that have no idea what they're doing and haven't the slightest clue about nesting sequences or using temp low-rez references properly. Not to mention simply setting up their session properly for post. &#xD;&#xA;&#xD;&#xA;My other thought is that there might have been some level adjustments or processing the editor did on one of the two tracks that made them different and thus allowed you to produce this. &#xD;&#xA;&#xD;&#xA;Based on the leftover frequencies I'm thinking some sort of craptastic compression happened somewhere.&#xD;&#xA;&#xD;&#xA;Much to my chagrin, I once had a project where the editor (ne: producer/director) would render out sub-scenes as wmv's and then import those into a master session, edit those together and then render out his master. I shudder when I think of it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In addition, I have two amazing 45m long recordings I made while doing sound design for the Dave Smith Tempest while force-crashing the OS from tweaking it so hard while using an unstable pre-release OS. I would make tweaks that too 45s-2m to show up (if the edit latched at all). It was pure analog oscillator, digital modulation routing anarchy. Amazing stuff, maybe I'll post a clip sometime soon.&#xD;&#xA;&#xD;&#xA;This is after the OS was stabilized. It previously couldn't handle this extent of tweaking and the crashes are 50x more insane:&#xD;&#xA;Article:&#xD;&#xA;http://www.modulatethis.com/2011/10/first-look-dsi-tempest-drum-machine-roger-linn-james-kojac.html&#xD;&#xA;&#xD;&#xA;Video from Article:&#xD;&#xA;[youtube]fnbspah_Zz0[/youtube]&#xD;&#xA;&#xD;&#xA;I have so many recordings of weird happenstance occurrences like this from over the years it's insane. I'll be making a library from them once I get certain things sorted. I've been slacking a bit hard on that though.&#xD;&#xA;&#xD;&#xA;I'm a big fan of feedback and extensive plug-in chains. Knowing my plug-in arsenal like I do, I know exactly what to insert where in the signal path to can get some insane and seemingly uncontrolled content within minutes." ContentLicense="CC BY-SA 3.0" />
  <row Id="18097" PostHistoryTypeId="2" PostId="10963" RevisionGUID="8bdf3ecf-4e30-4248-aa6e-dd6493dcfea5" CreationDate="2011-10-18T06:42:38.390" UserId="3061" Text="Audio Technica 4022's are excellent mics, ~$350 each. They are quite sensitive, have very low noise (a respected person on the nature recordists mailing list measured them at 8dBA self-noise), and have a nice bright but smooth character with endless bottom end (but are very resistant to wind and handling noise). If they had detachable/moveable capsules for easier mounting in a blimp they'd almost be the perfect omni!&#xD;&#xA;&#xD;&#xA;I own a pair and am very happy with them. Check out this site for info on mounts etc. for them :&#xD;&#xA;http://diystereoboundarymics.blogspot.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18100" PostHistoryTypeId="2" PostId="10965" RevisionGUID="28b0ac58-abb5-4d4c-ae1b-50ed1f1554b0" CreationDate="2011-10-18T12:09:47.923" UserId="194" Text="I'd like to know if anything comes out in the portable HH recorder category that competes with either the D50 or the Marantz PDM661.&#xD;&#xA;&#xD;&#xA;Something in the $500-$800 range with killer pre-s and good battery life.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="18101" PostHistoryTypeId="16" PostId="10965" RevisionGUID="28b0ac58-abb5-4d4c-ae1b-50ed1f1554b0" CreationDate="2011-10-18T12:09:47.923" UserId="-1" />
  <row Id="18102" PostHistoryTypeId="2" PostId="10966" RevisionGUID="cdfd0b0f-1fe3-41cd-a55b-a9f6b4fd1d09" CreationDate="2011-10-18T14:13:26.733" UserId="1145" Text="Sennheiser MKH 8030 ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18103" PostHistoryTypeId="16" PostId="10966" RevisionGUID="cdfd0b0f-1fe3-41cd-a55b-a9f6b4fd1d09" CreationDate="2011-10-18T14:13:26.733" UserId="-1" />
  <row Id="18105" PostHistoryTypeId="2" PostId="10967" RevisionGUID="efe9590e-6807-4841-b53d-6862b189d6b4" CreationDate="2011-10-18T14:34:15.337" UserDisplayName="user80" Text="Sound Devices&#xD;&#xA;&#xD;&#xA;Have they ever considered designing a small stereo recorder with built-in mics and XLR inputs?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18106" PostHistoryTypeId="16" PostId="10967" RevisionGUID="efe9590e-6807-4841-b53d-6862b189d6b4" CreationDate="2011-10-18T14:34:15.337" UserId="-1" />
  <row Id="18107" PostHistoryTypeId="2" PostId="10968" RevisionGUID="0ab7b169-994f-4d8d-bfa8-f016a8c99f53" CreationDate="2011-10-18T15:13:36.283" UserId="3063" Text="Hi,&#xD;&#xA;I got to do some jobs that should sound good on a nice set of speakers but also translate well to iphones.&#xD;&#xA;&#xD;&#xA;In the past i have been emailing the mix myself and played it back on the phone to double check, but i would prefer to connect a set of tiny speakers instead during the mix.&#xD;&#xA;&#xD;&#xA;How are my fellow sound designers handling this issue, and are there maybe recommendations for  a certain speaker which makes a good iphone simulation?&#xD;&#xA;&#xD;&#xA;I have some cheap desktop speakers that come close but the iphone sounds even worst. :)&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;D." ContentLicense="CC BY-SA 3.0" />
  <row Id="18108" PostHistoryTypeId="1" PostId="10968" RevisionGUID="0ab7b169-994f-4d8d-bfa8-f016a8c99f53" CreationDate="2011-10-18T15:13:36.283" UserId="3063" Text="Best speakers to simulate Iphone playback?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18109" PostHistoryTypeId="3" PostId="10968" RevisionGUID="0ab7b169-994f-4d8d-bfa8-f016a8c99f53" CreationDate="2011-10-18T15:13:36.283" UserId="3063" Text="&lt;iphone&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18110" PostHistoryTypeId="2" PostId="10969" RevisionGUID="e4889069-a597-457d-86bc-c39a05224005" CreationDate="2011-10-18T15:18:28.520" UserId="6407" Text="Hi Guys,&#xD;&#xA;&#xD;&#xA;Our company got into a sticky situation recently due to other companies squabbling over payments and the like and it made us think we needed to have a standard contract that we send out before we go do a film shoot. &#xD;&#xA;&#xD;&#xA;So I was wondering if any of you had a standard contract for location recording/boom operating that I could have a look at? &#xD;&#xA;&#xD;&#xA;What I'm thinking is a short document basically saying that a: you'll pay us as agreed over the phone/email etc b: we'll give over the files once we've received payment c: this contract is binding.&#xD;&#xA;&#xD;&#xA;Just asking because we're very small at the moment and don't really know the legal jargon of how to get this across. &#xD;&#xA;&#xD;&#xA;As always, your help is very much appreciated!&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Nicol&#xD;&#xA;&#xD;&#xA;(ps we're in the UK so it would have to be British law/jargon)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18111" PostHistoryTypeId="1" PostId="10969" RevisionGUID="e4889069-a597-457d-86bc-c39a05224005" CreationDate="2011-10-18T15:18:28.520" UserId="6407" Text="Contract examples for location recording...?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18112" PostHistoryTypeId="3" PostId="10969" RevisionGUID="e4889069-a597-457d-86bc-c39a05224005" CreationDate="2011-10-18T15:18:28.520" UserId="6407" Text="&lt;legal&gt;&lt;location-recording&gt;&lt;boom-operator&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18113" PostHistoryTypeId="2" PostId="10970" RevisionGUID="5e3d2c9f-7c4d-4076-aad0-c4121ce7903f" CreationDate="2011-10-18T15:37:56.087" UserId="63" Text="I don't think you will find what you are looking for dk... Even if you find speakers that have the same sonic signature like iPhone's it will not be the same size so that will cancel the effect!&#xD;&#xA;&#xD;&#xA;I would go for a cheap iPhod Touch to do this job. It has the same speaker I think!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18114" PostHistoryTypeId="2" PostId="10971" RevisionGUID="9e93ba25-9075-4769-bad2-708e67c3c770" CreationDate="2011-10-18T16:20:06.770" UserId="6407" Text="Yeah I agree with Nikos. I'd just keep re-trying it on the iPhone until you feel you've got it right. Whenever I've got something I just try it out on a variety of places (car/TV/regular stereo speakers etc). Just remember that you'll get barely any bass response from the iPhone, anything below 1K is basically gone!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18115" PostHistoryTypeId="2" PostId="10972" RevisionGUID="7ae74c96-f3f3-4496-a2ed-12cf3016a94d" CreationDate="2011-10-18T16:32:14.527" UserId="3064" Text="If you have Reaktor, try this ensemble called Monolite:&#xD;&#xA;http://nonorder.wordpress.com/&#xD;&#xA;&#xD;&#xA;It's not free, but it's only 10 Euro.&#xD;&#xA;It's my favourite swiss army knife for drones and experimental sounds.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18116" PostHistoryTypeId="2" PostId="10973" RevisionGUID="b90822c1-b484-492c-8d90-ee479287f25d" CreationDate="2011-10-18T17:22:32.037" UserId="6524" Text="I guess the best thing to do is what Nikos said but you if you want, you could try one of these mobile speaker things and see if that works any good I don't know..&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ephekto.com/wp-content/uploads/2010/05/Nokia-md-8-mini-speakers.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="18117" PostHistoryTypeId="2" PostId="10974" RevisionGUID="f98c3a21-6eb8-4d6e-9688-a5b8a76986be" CreationDate="2011-10-18T17:55:32.843" UserId="863" Text="keep sending it to your iphone. I check every advert mix on a couple of tv/computer monitor/laptop speakers :) It just has to be done... don't try take any shortcuts." ContentLicense="CC BY-SA 3.0" />
  <row Id="18118" PostHistoryTypeId="2" PostId="10975" RevisionGUID="2ca17ee7-3bf7-4b3a-abfc-b93f8c577afa" CreationDate="2011-10-18T18:44:48.363" UserId="1266" Text="I read something in Bob Katz mastering book that debunks the &quot;use cheap speakers&quot; setup.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18119" PostHistoryTypeId="2" PostId="10976" RevisionGUID="f2f77be7-b758-4af6-ba4e-20dd749e0f8d" CreationDate="2011-10-18T19:06:43.037" UserDisplayName="user49" Text="why not use an iPhone speaker impulse response?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18120" PostHistoryTypeId="2" PostId="10977" RevisionGUID="05ead218-fed7-49e5-adc4-e5da3408c416" CreationDate="2011-10-18T20:37:51.703" UserId="622" Text="Try this free footsteps patch. Give me feedback please.&#xD;&#xA;Requires the full retail version of Native Instruments Kontakt 4.2.3 or later.&#xD;&#xA;&#xD;&#xA;http://www.signoaudiodesign.com&#xD;&#xA;&#xD;&#xA;Thanks " ContentLicense="CC BY-SA 3.0" />
  <row Id="18121" PostHistoryTypeId="1" PostId="10977" RevisionGUID="05ead218-fed7-49e5-adc4-e5da3408c416" CreationDate="2011-10-18T20:37:51.703" UserId="622" Text="Footsteps for Kontakt" ContentLicense="CC BY-SA 3.0" />
  <row Id="18122" PostHistoryTypeId="3" PostId="10977" RevisionGUID="05ead218-fed7-49e5-adc4-e5da3408c416" CreationDate="2011-10-18T20:37:51.703" UserId="622" Text="&lt;foley&gt;&lt;footsteps&gt;&lt;post-production&gt;&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18124" PostHistoryTypeId="2" PostId="10979" RevisionGUID="795e30e4-5b29-4759-9364-bfc52fb161cf" CreationDate="2011-10-18T21:28:09.467" UserDisplayName="user49" Text="I work in post but when I get a project confirmed I usually get a deal memo from the production company - a single page document with all the critical details....&#xD;&#xA;Google 'film sound deal memo' and you'll find plenty of examples - if you have ready with all your details etc on it then its a no brainer for a production company to complete it...&#xD;&#xA;&#xD;&#xA;Good rant &amp; PDF of a deal memo here:&#xD;&#xA;http://www.trewaudio.com/audioflow/2009/01/22/doing-a-deal/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18125" PostHistoryTypeId="2" PostId="10980" RevisionGUID="69398fc9-55d9-439b-b832-933b0eba948b" CreationDate="2011-10-18T21:34:25.837" UserId="842" Text="For these things I use a program called Azul on iPhone. Still not realtime, but it takes practically every formt out there (at least the current ones), so you neither needs to convert the file nor email it to yourself!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18126" PostHistoryTypeId="2" PostId="10981" RevisionGUID="17b3099e-1acf-4d2d-b31c-e75b9a9dc731" CreationDate="2011-10-18T22:28:42.033" UserId="2913" Text="Hi all,&#xD;&#xA;&#xD;&#xA;At home I monitor on passive [Dynaudio Acoustics BM5s][1], which I like very much. However, as my power amp has broken, I'm looking for a replacement. For the money (~£160) the Behringer A500 seems to be getting great reviews, but there does seem to be the odd [bad review][2].&#xD;&#xA;&#xD;&#xA;I'd love to hear from anyone with good or bad experience of this amp, or anyone with experience / knowledge of another amp in the same price range. I know you get what you pay for, but I only have around £150 to spend, so is the Behinger the way forward, or should I invest my monies elsewhere?&#xD;&#xA;&#xD;&#xA;Thanks a million,&#xD;&#xA;&#xD;&#xA;Sam&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynaudioacoustics.com/Default.asp?Id=6509&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=RWj5CUl7rio" ContentLicense="CC BY-SA 3.0" />
  <row Id="18127" PostHistoryTypeId="1" PostId="10981" RevisionGUID="17b3099e-1acf-4d2d-b31c-e75b9a9dc731" CreationDate="2011-10-18T22:28:42.033" UserId="2913" Text="Is the Behringer A500 Ultra-linear amplifier a good purchase?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18128" PostHistoryTypeId="3" PostId="10981" RevisionGUID="17b3099e-1acf-4d2d-b31c-e75b9a9dc731" CreationDate="2011-10-18T22:28:42.033" UserId="2913" Text="&lt;power&gt;&lt;amplifier&gt;&lt;low-budget&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18129" PostHistoryTypeId="2" PostId="10982" RevisionGUID="07c27906-b9cb-4945-9051-b9f00a27a013" CreationDate="2011-10-18T23:17:36.597" UserId="6432" Text="Mmmm.. I've never been sure about Behringer.. I don't like their strategy of producing cheaper copies of other manufacturers gear.&#xD;&#xA;&#xD;&#xA;Have you thought about buying second hand? Good quality amps last for years, and personally  I'd rather buy old but good, rather than new and cheap. Check out some of these on ebay:&#xD;&#xA;&#xD;&#xA;Quad 520f, &#xD;&#xA;Hafler P1000 or any of the more powerful Hafler's, &#xD;&#xA;ART SLA-1 or SLA-2, &#xD;&#xA;Audiolab 8000a (no xlr in and a bit more consumer grade, but solid none the less)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18130" PostHistoryTypeId="2" PostId="10983" RevisionGUID="d1d41b63-2da4-470f-9043-8de2b20c6863" CreationDate="2011-10-18T23:31:17.070" UserId="3065" Text="I use a program called airfoil which lets you slave an iphone or ipod touch to your mac run computer over wifi.  It has a reliable 3 second lag time and can be triggered from qlab by routing it through soundflower." ContentLicense="CC BY-SA 3.0" />
  <row Id="18131" PostHistoryTypeId="2" PostId="10984" RevisionGUID="efd2c9d3-c53b-49aa-9412-2b5c5948efe2" CreationDate="2011-10-18T23:44:40.643" UserId="6499" Text="Quick little question.  Doing some Dial editing and in some scenes the production sound guy recorded things way too low.  The 12db of gain I get from the trim plugin in PT just is not enough.  Do you all drop that plugin 2x to get extra gain or use a different plugin like eq to grab some more gain out of it? " ContentLicense="CC BY-SA 3.0" />
  <row Id="18132" PostHistoryTypeId="1" PostId="10984" RevisionGUID="efd2c9d3-c53b-49aa-9412-2b5c5948efe2" CreationDate="2011-10-18T23:44:40.643" UserId="6499" Text="DIalogue editing and when you need more gain?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18133" PostHistoryTypeId="3" PostId="10984" RevisionGUID="efd2c9d3-c53b-49aa-9412-2b5c5948efe2" CreationDate="2011-10-18T23:44:40.643" UserId="6499" Text="&lt;pt&gt;&lt;gain&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18134" PostHistoryTypeId="2" PostId="10985" RevisionGUID="9fb1af72-8430-4de9-89b2-d07a6529bc71" CreationDate="2011-10-19T00:18:35.750" UserId="1228" Text="If the dailies across the board are like that, yes, I'll drop trims on all the tracks as necessary to get them to a -18 to -12 level (so as to leave my volume automation at unity).  It's a sort of &quot;re-calibration&quot; of the dialogue track of sorts so the faders aren't having to sit way up at +12.&#xD;&#xA;&#xD;&#xA;Although I would be very suspicious of those dailies if they require greater than +12 amplification, especially if what you you're using is the OMF and you accidentally printed the clip automation or something of that nature.  I've had to raise the OMF levels globally by about 6-8 dB sometimes (usually though I'm having to lower it by 6-8 dB), but greater than 12 seems very insane at first glance." ContentLicense="CC BY-SA 3.0" />
  <row Id="18135" PostHistoryTypeId="2" PostId="10986" RevisionGUID="a6ac6206-61b5-4853-9dbf-9c55e3ef62b0" CreationDate="2011-10-19T02:09:46.997" UserId="565" Text="If you don't want to use two insert slots for the Trims, you can use the Time Adjuster Short plugin.  It has +24dB of gain on it.  The only minor drawback is that it shifts everything by 4 samples." ContentLicense="CC BY-SA 3.0" />
  <row Id="18136" PostHistoryTypeId="2" PostId="10987" RevisionGUID="65e6e5d8-284b-43ef-a717-e7d8dab787ae" CreationDate="2011-10-19T03:01:42.853" UserId="842" Text="I have one myself, bought it early in my career, and I think it's ok but not completely transparent. It might have been slightly ill-fitted with my od Alesis Monitor One mk2 though, not really sure as I haven't used either one in a very long time, but it still sounded very good considering the price!&#xD;&#xA;&#xD;&#xA;What I can say though, is that you get a lot of amp for the money. But Behringer are really cheap when it comes to components I'm afraid, so at least mine got a little problem with bad dials. Not disastrous in any way, but annoying..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18137" PostHistoryTypeId="2" PostId="10988" RevisionGUID="5f2ee11c-6135-46e1-bc11-365b9e1e1042" CreationDate="2011-10-19T06:32:04.537" UserId="3066" Text="Sound Forge has a really nice batch converter. Eq, vsts, reverse, fades.. etc. Check the trial.&#xD;&#xA;&#xD;&#xA;Also, Reaper has one, haven't used it enough beyond file conversion. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18138" PostHistoryTypeId="2" PostId="10989" RevisionGUID="afd1930f-8652-4578-853f-a19f6fd125c7" CreationDate="2011-10-19T06:48:48.067" UserId="1228" Text="My rule of thumb for the DVD/web mix is to bump the stems up 6dB each, brickwall with Maxim or L2007 at around -3dB and give it a slight bit of maximization for more 'pop'.  Babysit everything from there.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18139" PostHistoryTypeId="2" PostId="10990" RevisionGUID="fd5201ef-f0ee-41a1-abbc-08ed010238cf" CreationDate="2011-10-19T06:57:46.270" UserId="1228" Text="I second Tim for doing post work as well, although in my experience usually I'm the one extending the contract/deal to the client than their production company doing it to me, unless it's a larger studio entity and/or there's any NDA associated with the show. &#xD;&#xA;&#xD;&#xA;Occasionally I do handshake deals, but it's highly selective only only with a select few supervisors with whom I have a long, trusting history with.&#xD;&#xA;&#xD;&#xA;As for writing it, I will say that mine has evolved over 4 years from 1 page to 3 pages, and it still evolves.  SO it's nothing you have to make permanent (as long as you continually state its modification date in the footer or something).&#xD;&#xA;&#xD;&#xA;What usually helps me when writing it or modifying it is, whenever I come across a certain topic to be addressed, I ask myself &quot;how can I get legally screwed on this?&quot;.  The answer results in determining the rectified solution so I couldn't be screwed on that particular topic." ContentLicense="CC BY-SA 3.0" />
  <row Id="18140" PostHistoryTypeId="2" PostId="10991" RevisionGUID="6a63a8f0-df71-4cd3-bb20-381c235bd0fa" CreationDate="2011-10-19T07:23:28.433" UserId="1294" Text="Hello Audio Professionals,&#xD;&#xA;&#xD;&#xA;Im new here &amp; kindly help me out with my queries.&#xD;&#xA;&#xD;&#xA;I have a Zoom H4N &amp; i recently bought a Rode NTG-2 with the Rode Blimp but the levels are really low when i record even @ REC Level 100%. So im thinking of buying a Preamp for my setup - Sound Devices &amp; other high level mic pres are too expensive for me right now, So i thought of buying a &#xD;&#xA;&quot;FEL Mini MicBooster Extended XLR&quot; - here is the link - http://www.felmicamps.co.uk/products/felminimicbooste.html.&#xD;&#xA;&#xD;&#xA;I've seen a little good reviews about this mic pre &amp; its handy for field recording + cheap aswell.&#xD;&#xA;&#xD;&#xA;I would like to get some professional opinion before i buy this stuff.&#xD;&#xA;&#xD;&#xA;Kindly help.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Bala.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18141" PostHistoryTypeId="1" PostId="10991" RevisionGUID="6a63a8f0-df71-4cd3-bb20-381c235bd0fa" CreationDate="2011-10-19T07:23:28.433" UserId="1294" Text="FEL Mic Preamplifier for Zoom H4n &amp; Rode NTG2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18142" PostHistoryTypeId="3" PostId="10991" RevisionGUID="6a63a8f0-df71-4cd3-bb20-381c235bd0fa" CreationDate="2011-10-19T07:23:28.433" UserId="1294" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18143" PostHistoryTypeId="2" PostId="10992" RevisionGUID="53e2c808-5e0a-4661-b7bf-7968a8f730be" CreationDate="2011-10-19T08:13:45.060" UserId="1145" Text="Reaktor is my weapon of choice for studio work as well. Pretty much all i use these days pluss Kontakt and Absynth. (and MAX...and...and...:) &#xD;&#xA;&#xD;&#xA;Sometimes i bring my Korg MS2000R hardware synth when playing live.&#xD;&#xA;Run this through a bunch of pedals and loopers. The fabric presets sounds crap, but i've made a lot of cool sounds with it. It found it's way to a couple of my albums too." ContentLicense="CC BY-SA 3.0" />
  <row Id="18144" PostHistoryTypeId="2" PostId="10993" RevisionGUID="003c44ec-68ef-4aea-9462-9c3398d94d42" CreationDate="2011-10-19T08:24:57.753" UserId="1145" Text="You shouldn't need any extra preamp for this setup.&#xD;&#xA;Have you checked in the input meny? Make sure phantom power is turned on. (+48v)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18145" PostHistoryTypeId="2" PostId="10994" RevisionGUID="9cee54cd-afd8-4fec-99e7-9f38b897d42d" CreationDate="2011-10-19T10:35:05.437" UserId="37" Text="The NTG-2 can run with a single AA battery. &#xD;&#xA;&#xD;&#xA;If you're not recording loud sources that should be acceptable. Try it that way. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18146" PostHistoryTypeId="2" PostId="10995" RevisionGUID="74e5f718-5e1c-4161-bb20-72a64185c765" CreationDate="2011-10-19T13:50:35.140" UserId="432" Text="The H4N, while a solid little device, is notorious for having weak on-board preamps. It works great in loud situations, where less gain is needed, but doesn't have the power for quiet/high-sensitivity work.&#xD;&#xA;&#xD;&#xA;I looked at the link you posted. Haven't heard of this product before, but it's an interesting little device. The only thing that concerns me, is that it is a fixed boost of 20dB. I think you'd be better off saving up the cash to buy something like a Sound Devices MixPre. Not cheap, but nowhere near as expensive as some of their other gear. It would also give you two channels, so you could feed both inputs of your H4N if you add another mic in the future.&#xD;&#xA;&#xD;&#xA;Another option would be to look for a used field mixer on eBay or some other place. You can get a used Shure FP31 very cheaply now-a-days, though it is only a mono output. Shure FP32 and FP33 are both 2 channels out, and you might be able to find one of those for a reasonable price.&#xD;&#xA;&#xD;&#xA;P.S. I seem to remember something about the H4N's inputs being Hi-Z at line level, but I'm not sure. You can try contacting [Varun Nair][1]. I know he found something about the Hi-Z issue that prompted him to build some in-line pads to deal with it. Might be in your interest to find out what he knows.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://re-sounding.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18147" PostHistoryTypeId="2" PostId="10996" RevisionGUID="b72dbe94-9677-40bf-9ae1-89c95b19ab0a" CreationDate="2011-10-19T17:01:02.033" UserId="1286" Text="One user says he had success with a Rode D-PowerPlug:&#xD;&#xA;http://www.bhphotovideo.com/c/product/392814-REG/Rode_D_POWER_PLUG_D_PowerPlug_In_Line_Cable_Mounted.html&#xD;&#xA;&#xD;&#xA;I have also seen FetHeads and Cloudlifters suggested as alternatives, though I haven't heard much about them." ContentLicense="CC BY-SA 3.0" />
  <row Id="18148" PostHistoryTypeId="2" PostId="10997" RevisionGUID="d6647fc3-a071-491f-9c17-f357d78642a9" CreationDate="2011-10-19T18:35:50.417" UserId="1315" Text="I'm a huge fan of 8tracks.com&#xD;&#xA;&#xD;&#xA;It's a website full of user-generated playlists, searchable by artist or tag.  I've found a handful of fantastic playlists I listen to as I'm falling asleep.  I dig it better than Pandora because it does not utilize the music genome project, but instead is completely user generated.  Sure there are plenty of strangely constructed playlists, but the mystery is part of the fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18149" PostHistoryTypeId="2" PostId="10998" RevisionGUID="b58e4c59-e5e3-4992-a7bf-ff4a787064d2" CreationDate="2011-10-19T18:55:39.980" UserId="3049" Text=" I just used the Zoom H4N Yesterday. It worked fine with shotgun mic. and really quiet sound sources.  Make sure you're on the external mic setting" ContentLicense="CC BY-SA 3.0" />
  <row Id="18150" PostHistoryTypeId="2" PostId="10999" RevisionGUID="e5571f1a-12d2-43b8-bfbc-ee7d26011c16" CreationDate="2011-10-19T19:45:29.977" UserId="6524" Text="I use the same stuff you got, I don't know if it would make a difference but if you haven't already try updating the [firmware][1] or check if its the cable your using. This must really suck, good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.zoom.co.jp/downloads/h4n/software/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18151" PostHistoryTypeId="5" PostId="10869" RevisionGUID="ca9d7fe3-e056-4590-a2d5-f1f208bd0819" CreationDate="2011-10-20T00:13:02.003" UserId="3008" Comment="added 49 characters in body; edited tags; edited title" Text="Hi!I would like to know how do you calculate times for a sound design project? How much time (in human hours) does it take to make the sound design for a feature film (1:30hrs)? If you could specify by the different processess it would help a lot:&#xD;&#xA;&#xD;&#xA;- Cleaning/Editing Production Sound&#xD;&#xA;- ADR&#xD;&#xA;- Designing (recording/editing from libraries/etc) Backgrounds&#xD;&#xA;- Designing (recording/editing from libraries/etc) Effects&#xD;&#xA;- Recording/editing Foley&#xD;&#xA;- Editing Music or &#xD;&#xA;- Composing Music&#xD;&#xA;- Mixing in 5.1&#xD;&#xA;&#xD;&#xA;Am I missing something? I know times may vary depending on the films necesities, but to be a little more specific you could tell me these times for a thriller/suspense movie? With 3 or 4 action scenes (including gun fighting)? In my specific case, I'm working in a 2hr movie...&#xD;&#xA;&#xD;&#xA;Thank you very much!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18152" PostHistoryTypeId="4" PostId="10869" RevisionGUID="ca9d7fe3-e056-4590-a2d5-f1f208bd0819" CreationDate="2011-10-20T00:13:02.003" UserId="3008" Comment="added 49 characters in body; edited tags; edited title" Text="Sound Design Schedules" ContentLicense="CC BY-SA 3.0" />
  <row Id="18153" PostHistoryTypeId="6" PostId="10869" RevisionGUID="ca9d7fe3-e056-4590-a2d5-f1f208bd0819" CreationDate="2011-10-20T00:13:02.003" UserId="3008" Comment="added 49 characters in body; edited tags; edited title" Text="&lt;design&gt;&lt;time&gt;&lt;budget&gt;&lt;scheduling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18154" PostHistoryTypeId="5" PostId="643" RevisionGUID="b286b7ad-9a60-4657-9ec0-45cfdd62b6a4" CreationDate="2011-10-20T03:50:35.163" UserId="61" Comment="update" Text="Depending on your budget there are several noise reduction tools you can try:&#xD;&#xA;&#xD;&#xA;1. [Z-Noise][1] from Waves. Does a great job at a reasonable price but the algorithm doesn't hold up very well against too much reduction (ie. your dialog will start to sound &quot;underwater&quot;)&#xD;&#xA;&#xD;&#xA;2. [WNS][2] from Waves. More advanced than Z-Noise, approaching the quality of a CEDAR. Is very impressive, but beware dialog pumping from too much processing.&#xD;&#xA;&#xD;&#xA;3. [CEDAR][3]. It's what the pros use. Very expensive, but if you can borrow one for a while or if you know someone who owns once and can do a test-pass on some of your material it would be worth your while.&#xD;&#xA;&#xD;&#xA;**UPDATE**: A friend of mine recently turned me on to [SPL De-Verb][4]. It works really well at reducing…you guessed it -- reverb! It's a fantastic one knob solution that surely does the trick.&#xD;&#xA;&#xD;&#xA;Best of luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waves.com/Content.aspx?id=259&#xD;&#xA;  [2]: http://www.waves.com/Content.aspx?id=9943&#xD;&#xA;  [3]: http://www.cedar-audio.com/&#xD;&#xA;  [4]: http://spl.info/software/microplugs/de-verb.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="18155" PostHistoryTypeId="2" PostId="11000" RevisionGUID="980f762f-4d32-4de5-9ba7-35ad7ff5022b" CreationDate="2011-10-20T05:50:54.953" UserId="6499" Text="So this is somewhat of a revisit of a previous questions about Mixing Cinematics for Iphone App.  What I want to do because I have to mix  with producers, director, and  everyone and their brother who has invested in this project, they want to be able to check against earbuds.  What I am thinking is dropping a 1k tone file on my iphone at -20.  Then playing it with max volume on the iphone and measuring the voltage.  Then taking that, it will allow me to set the max volume level control on the headphone preamp by measuring that voltage with -20 playing out of my daw.  I match the voltages that way max headphone level will not exceed what the iphone can output.&#xD;&#xA;&#xD;&#xA;Am I missing something major in my sleep depraved logic?  I am hoping to mix using my reference monitors, but they want everyone to have the option to check against earbuds and I dont want to be able to drive the earbuds harder than the iphones capabilities.&#xD;&#xA;&#xD;&#xA;I have not had the chance to look into impedance of the iphone/stock buds/my headphone amplifier.  The idea just struck me a few minutes ago.  Any thoughts?&#xD;&#xA;&#xD;&#xA;    " ContentLicense="CC BY-SA 3.0" />
  <row Id="18156" PostHistoryTypeId="1" PostId="11000" RevisionGUID="980f762f-4d32-4de5-9ba7-35ad7ff5022b" CreationDate="2011-10-20T05:50:54.953" UserId="6499" Text="Earbud Mixing for Iphone app" ContentLicense="CC BY-SA 3.0" />
  <row Id="18157" PostHistoryTypeId="3" PostId="11000" RevisionGUID="980f762f-4d32-4de5-9ba7-35ad7ff5022b" CreationDate="2011-10-20T05:50:54.953" UserId="6499" Text="&lt;iphone&gt;&lt;app&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18158" PostHistoryTypeId="2" PostId="11001" RevisionGUID="4fc96802-93e9-40ce-bb3b-70eec7d54399" CreationDate="2011-10-20T07:53:44.037" UserId="1266" Text="Recording some foley mostly backpack movements and chair sitting downs and ups in (any wild ideas out there other than mimicking the real thing?&#xD;&#xA;&#xD;&#xA;Anyways, my noise floor is -50.5 dbA from SankenCS1e to MixPre and Zoom H4n.  I have a 30dB pad between the recorder and mixer and have to crank the MixPre pretty high to get the right signal.&#xD;&#xA;&#xD;&#xA;Whats an acceptable noise floor to most situations?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18159" PostHistoryTypeId="1" PostId="11001" RevisionGUID="4fc96802-93e9-40ce-bb3b-70eec7d54399" CreationDate="2011-10-20T07:53:44.037" UserId="1266" Text="What is an acceptable noise floor for recording foley in a quiet room" ContentLicense="CC BY-SA 3.0" />
  <row Id="18160" PostHistoryTypeId="3" PostId="11001" RevisionGUID="4fc96802-93e9-40ce-bb3b-70eec7d54399" CreationDate="2011-10-20T07:53:44.037" UserId="1266" Text="&lt;foley&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18161" PostHistoryTypeId="2" PostId="11002" RevisionGUID="52c3437a-68f8-4f43-ae77-86db44055129" CreationDate="2011-10-20T12:01:15.120" UserId="194" Text="why are you running a pad and then jacking up the preamp?  Pull the pad out and turn the pre down.  With the mix pre as your front end you should be totally fine to cut foley with that rig assuming that you're in a very quiet room.&#xD;&#xA;&#xD;&#xA;generally foley noise floors can be moderately forgiving since they'll be interplaying with the location audio from the dialogue track, but you do want to be careful not to have a bunch of noise ganging up on you across multiple tracks.  Backpacks are also relatively loud things to cut so if you're experiencing too much noise I'd look either at your room or your gain structure.&#xD;&#xA;&#xD;&#xA;also, to answer the question in the title - acceptable is what sounds good.  Its an ear thing not a measurement thing, and it is highly dependent on context.  If the backpack is on a kid running down a city street then you're going to be able to get away with a lot more noise than if the backpack is on a student in a quiet library." ContentLicense="CC BY-SA 3.0" />
  <row Id="18162" PostHistoryTypeId="2" PostId="11003" RevisionGUID="cc3af5eb-542a-428c-bee6-89bd6d2719aa" CreationDate="2011-10-20T15:18:40.070" UserId="845" Text="I think as a matter of course and principle you'll want it to be as quiet as possible.&#xD;&#xA;&#xD;&#xA;Think of it this way, the higher your noise floor the louder your sources have to be, or the closer you have to be to your object.  You want the sound you're aiming for to be loud enough that its spectral (frequency) content is not being affected by the sound of the noise itself.  This means that you could record something like a gunshot in a much louder environment than you could record the sound of turning a page in a book.&#xD;&#xA;&#xD;&#xA;Gaining up will definitely bring up the source sound, but the noise is going to come up with it, so you want as much distance as possible (in terms of amplidtude) between the noise and the source.  -50dB probably isn't too bad, but you're going to run into problems when you try to do delicate stuff like textures, closthes rustles, and things like that." ContentLicense="CC BY-SA 3.0" />
  <row Id="18163" PostHistoryTypeId="2" PostId="11004" RevisionGUID="c92db9dd-c3af-4778-8e54-5c3eb2eb514f" CreationDate="2011-10-20T15:28:39.053" UserDisplayName="user80" Text="A decent studio noise floor would be less than 20 dB A spl." ContentLicense="CC BY-SA 3.0" />
  <row Id="18164" PostHistoryTypeId="2" PostId="11005" RevisionGUID="8a0b9d16-5447-4af4-b457-40f4861d3059" CreationDate="2011-10-20T17:23:09.563" UserId="930" Text="Another problem you'll be hearing is the actual tone of the room, or the room mode. This is where a frequency being played is the same wavelength (or multiple of) a dimension in the room (W, D or H).&#xD;&#xA;&#xD;&#xA;You should find what frequency (or frequencies) excite the room and notch it out with an EQ. This will help a lot with getting rid of the room sound.&#xD;&#xA;&#xD;&#xA;The bigger the room is, the lower the room mode will be. I suggest starting low and working your way up until you find the correct frequency.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Other than this, I strongly agree with Ian Palmer's suggestion of SPL De-Verb. However, whilst this plug is great at removing a reverb tail, it struggles with the early reflections, which means you're still stuck with a characteristic of the room, albeit a less intrusive one.&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Fred" ContentLicense="CC BY-SA 3.0" />
  <row Id="18165" PostHistoryTypeId="2" PostId="11006" RevisionGUID="1062981b-0cfc-4d89-8bde-21316705c72a" CreationDate="2011-10-20T20:25:07.227" UserId="1145" Text="After reading this i started editing and mixing a new tv show today and ran into the same problem. There where interviews in gymnasiums and showers with wrong mic with bad positioning.&#xD;&#xA;Downloaded the De Verb and played with it for a few minutes. I must say i'm impressed.&#xD;&#xA;Always great with two buttons plugs when they work :)&#xD;&#xA;Maybe i was lucky with what i tried it on, but the dialogue got a lot closer and easier to understand. I'll probably buy it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18166" PostHistoryTypeId="2" PostId="11007" RevisionGUID="25d7fe95-ce24-480b-b628-ddd705e6d6b1" CreationDate="2011-10-21T03:01:33.697" UserId="393" Text="[My latest short film][1] is now available on YouTube.  I did all the music (and won Best Score! :D) and sound design -- 95% original recordings; there are 3 whooshes that aren't mine -- and the final mix.  I was also the boom op.  Everything you hear up to the moment he walks out of the shower is almost fully designed, with only a few sweeteners from the camera audio.&#xD;&#xA;&#xD;&#xA;Take into consideration that all the post production audio was done over a weekend, with only 3 hours of sleep taken from the moment I started to the last possible minute before I had to get the mix back to the editor for rendering and uploading (it was part of a timed film challenge), so I wasn't able to get your feedback before committing.  Now the director wants to do a longer cut for non-challenge festivals, so I have time to go back and fix things.&#xD;&#xA;&#xD;&#xA;I would absolutely love some tips from people who actually know what I did, instead of &quot;you probably did too much Foley, especially in scenes like the kitchen (where it's almost entirely camera audio).&quot;  Gotta love directors. :)&#xD;&#xA;&#xD;&#xA;Thanks. :)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=b_ylgirIyTI&amp;sns=fb" ContentLicense="CC BY-SA 3.0" />
  <row Id="18167" PostHistoryTypeId="1" PostId="11007" RevisionGUID="25d7fe95-ce24-480b-b628-ddd705e6d6b1" CreationDate="2011-10-21T03:01:33.697" UserId="393" Text="Critique on my latest project." ContentLicense="CC BY-SA 3.0" />
  <row Id="18168" PostHistoryTypeId="3" PostId="11007" RevisionGUID="25d7fe95-ce24-480b-b628-ddd705e6d6b1" CreationDate="2011-10-21T03:01:33.697" UserId="393" Text="&lt;critique&gt;&lt;criticism&gt;&lt;tips&gt;&lt;demo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18169" PostHistoryTypeId="2" PostId="11008" RevisionGUID="ff22d9c2-eda6-4857-b62f-35b0b8625d60" CreationDate="2011-10-21T03:06:38.317" UserId="393" Text="This is probably a bit too late, but I absolutely LOVE Reaper's ReaFir for noise reduction." ContentLicense="CC BY-SA 3.0" />
  <row Id="18170" PostHistoryTypeId="2" PostId="11009" RevisionGUID="65aebbe0-a818-4300-a936-08e5958f84e1" CreationDate="2011-10-21T03:43:00.060" UserId="6669" Text="Hey Dave,&#xD;&#xA;&#xD;&#xA;95% original recordings is amazing, really good initiative there.. and I can totally appreciate your situation. A friend and I just cut/mixed a student piece from a final picture that came in 3 days before the stems were due, and even though we knew we'd be able to go back in after the first screening to clean it up for festival submissions etc., it's extremely stressful to have to pick and choose your moments to cover.&#xD;&#xA;&#xD;&#xA;So take my amateur notes with a grain of salt and understand that I respect how rushed you were:&#xD;&#xA;&#xD;&#xA;The big one: there are many spots that just seem conspicuously not covered with sound - not eerie silence, just &quot;there's no sound there&quot; silence. In your situation, I would've probably relied more heavily on the camera audio to help that. A good dial edit would add a layer of reality to this piece that you wouldn't have time to artistically recreate. However shitty it was, I would make more of an effort to play up the camera PFX, Foley, etc. More roomy movement from the actor, some shuffling around, some actual shower in the bathroom, etc. At least until shit starts getting wacko.. at that point on I think what you did with the droning music works well.&#xD;&#xA;&#xD;&#xA;Main priority of the piece should've been the sound design, and that you did all stuff from scratch shows it. I dig the title whoosh but would maybe pitch it or do a variation for the logo out. The 'rrrree!'s are nice, but again, some variation would be good.. the main culprit here is the silent dream sequence! It strikes me as the moment the story goes crazy and it's dead quiet. Even some verbed out breaths, weird drones, whispers, IR'd winds, something to tell us that we're in otherworldly flashback land would be better than nothing. That stuck out for me.&#xD;&#xA;&#xD;&#xA;Another thing you could do, since we don't hear enough of this guy's voice to really worry about matching, is go into your bathroom or whatever and just done some quick breath revoicing, so we are more with him in those routine moments before things go nuts. Doing it in there would save you the time of needing to match/mix it too heavily and your Zoom would probably come pretty close to the camera audio tone with enough distance.&#xD;&#xA;&#xD;&#xA;The Foley is good, especially the stuff in the closet. Some footsteps got covered, like the carpet ones, but then coverage for them falls off later!&#xD;&#xA;&#xD;&#xA;Final note is that I would watch the room tone/reverb tail cutoffs that happen here and there.. 2:16, 3:39, 6:00. Gotta smooth those guys. If I can hear them on my crappy $20 ATH headphones, they will definitely jump out on a festival playback system.&#xD;&#xA;&#xD;&#xA;I will say that the TV futz and room perspective - especially as he comes back in around 4:32 - is badass. Really great job on that, better than I could do.&#xD;&#xA;&#xD;&#xA;So yeah man. Sorry if that was a lot of notes, just trying to be thorough..&#xD;&#xA;&#xD;&#xA;Quick fixes I would shoot for are just more verb (it's a horror film, no shame in drowning it a bit), more sound design coverage, more camera audio if you don't have time to cut and mix BGs/Foley for the piece.&#xD;&#xA;&#xD;&#xA;Hope that helps a bit!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18171" PostHistoryTypeId="2" PostId="11010" RevisionGUID="e98e826b-12a7-4b51-884c-f9af703f5e25" CreationDate="2011-10-21T05:15:17.133" UserId="1266" Text="Nice!  The title out fx was the first thing that I noticed that could be improved.  Perhaps some windy spooky elements under the music at the beginning.  The camera audio was noticable and could do with some replacing.  Creepy violins sent chills down my spine.  Those moments were well done too.  When he wakes up, the low droning strings I think can be pitched down 5 or 6 (or other number) of semitones to give the film more of a frequency and dynamic contrast throughout." ContentLicense="CC BY-SA 3.0" />
  <row Id="18172" PostHistoryTypeId="5" PostId="10938" RevisionGUID="e4d24df0-c804-4267-b4a6-1d2059f24b8f" CreationDate="2011-10-21T05:20:01.377" UserId="432" Comment="added 405 characters in body" Text="OK. So, I did something like this last year, and might as well offer it up again for those of you who can't make it to AES.&#xD;&#xA;&#xD;&#xA;Anyone have any questions for any of the vendors in the exhibit? If you see something new and want more information, or if there's something you've been wanting answered for a while now...post it here or (after Tuesday) shoot me an e-mail [here][1].&#xD;&#xA;&#xD;&#xA;Yes, I fully expect Avid to announce Pro Tools 10 (or in the very least, 9.1) at the show. Do me a favor on that topic though, and wait until they've delivered their presentation on Thursday night before sending me questions about that one. ;)&#xD;&#xA;&#xD;&#xA;***Edit:** Now that it's officially announced, and we've been told some of the features...What are your questions/complaints for Avid regarding Pro Tools 10. I've got my own list that I've generated already, but I'm sure some of you may think of something that I haven't.*&#xD;&#xA;&#xD;&#xA;*...As far as complaints, I already plan to hit them over the pricing disparity regarding HD upgrades (versions 7, 8 and 9).*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynamicinterference.com/contact-page/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18173" PostHistoryTypeId="2" PostId="11011" RevisionGUID="ab71b0bf-1f3a-4350-9a04-d53d91e51f0f" CreationDate="2011-10-21T05:56:55.230" UserId="6566" Text="Anybody up and running with it yet? How's the new channel strip? Has anyone tested the new caching and tried running a session over a network yet? &#xD;&#xA;&#xD;&#xA;I'm probably going to wait a bit because I just can't risk an upgrade at the moment. But I would love to hear any first impressions." ContentLicense="CC BY-SA 3.0" />
  <row Id="18174" PostHistoryTypeId="1" PostId="11011" RevisionGUID="ab71b0bf-1f3a-4350-9a04-d53d91e51f0f" CreationDate="2011-10-21T05:56:55.230" UserId="6566" Text="Pro Tools 10 - First Impressions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18175" PostHistoryTypeId="3" PostId="11011" RevisionGUID="ab71b0bf-1f3a-4350-9a04-d53d91e51f0f" CreationDate="2011-10-21T05:56:55.230" UserId="6566" Text="&lt;pro-tools&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18176" PostHistoryTypeId="2" PostId="11012" RevisionGUID="b5c74e79-fb86-4270-b79b-6664666fa31f" CreationDate="2011-10-21T07:00:29.340" UserId="1228" Text="Not impressed by their marketing strategy, or lack of one maintaining good solidarity from the get go.  Somehow anyone who's got CPTK1 or 2 gets a &quot;free-pass&quot; to run it with PT10 at no extra charge, but if anyone missed out on upgrading their DVTK or MPTK to CPTK for $350 during  PT9, we're all SOL and have to buy CPTK for a full $2000.  Hopefully that's just a mistake in their store, but it's lack of a united front.  And that they didn't mention support for the 002/003, but buried in their FAQ on their support page the mention support for those boxes and PT10 is the last version to officially support them.  Had to dig around to discover in a fine-print note that CPTK is still required for all the &quot;HD features&quot; - they don't disclose this up front and delineate if you need it.  Maybe so you buy the upgrade, realize you don't have the cool HD features, then realize you have to play them $2000 to pass go?  So far it's all come across disorganized and shady to me.&#xD;&#xA;&#xD;&#xA;So unfortunately I have not tried PT10 yet, however they way they have handled its presentation thusfar has left me unimpressed and planning to stay on PT8 until they get their act together.&#xD;&#xA;&#xD;&#xA;Sorry for this being somewhat of a rant.  Now I'm realizing why so many stages and facilities have held onto older versions for so long... it's such a mess to try to upgrade and maintain modular transparency in my opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="18177" PostHistoryTypeId="5" PostId="11012" RevisionGUID="8a3e5a45-24f4-461e-a02e-4daaf7d5eddc" CreationDate="2011-10-21T07:05:46.983" UserId="1228" Comment="added 169 characters in body; added 7 characters in body; deleted 3 characters in body" Text="Unfortunately I have not tried PT10 yet, however they way they have handled its presentation thusfar has left me unimpressed and planning to stay on PT8 until they get their act together.&#xD;&#xA;&#xD;&#xA;Not impressed by their marketing strategy, or lack of one maintaining good solidarity from the get go.  Somehow anyone who's got CPTK1 or 2 gets a &quot;free-pass&quot; to run it with PT10 at no extra charge, but if anyone missed out on upgrading their DVTK or MPTK to CPTK for $350 during  PT9, we're all SOL and have to buy CPTK for a full $2000.  Hopefully that's just a mistake in their store, but it's lack of a united front.  And that they didn't mention support for the 002/003, but buried in their FAQ on their support page the mention support for those boxes and PT10 is the last version to officially support them.  Had to dig around to discover in a fine-print note that CPTK is still required for all the &quot;HD features&quot; - they don't disclose this up front and delineate if you need it.  Maybe so you buy the upgrade, realize you don't have the cool HD features, then realize you have to play them $2000 to pass go?  So far it's all come across disorganized and shady to me.&#xD;&#xA;&#xD;&#xA;And here's the funny part:&#xD;&#xA;&#xD;&#xA;&lt;p&gt;PT8 or lower to PT9 to PT10 = $550&lt;/p&gt;&#xD;&#xA;PT8 or lower to PT10 = $500&#xD;&#xA;&#xD;&#xA;Accounting error much?  Another example of a lack of a united front.&#xD;&#xA;&#xD;&#xA;Sorry for this being somewhat of a rant.  Now I'm realizing why so many stages and facilities have held onto older versions for so long... it's such a mess to try to upgrade and maintain modular transparency in my opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="18178" PostHistoryTypeId="2" PostId="11013" RevisionGUID="d422eb15-da5b-4709-93ab-45bb286876a4" CreationDate="2011-10-21T07:09:37.967" UserId="1228" Text="Question to Avid.  Why did you just screw over every DVTK and MPTK owner whose stuck without an upgrade path?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18179" PostHistoryTypeId="16" PostId="11013" RevisionGUID="d422eb15-da5b-4709-93ab-45bb286876a4" CreationDate="2011-10-21T07:09:37.967" UserId="-1" />
  <row Id="18180" PostHistoryTypeId="2" PostId="11014" RevisionGUID="19140f4e-b49b-4a2c-aeb0-c092d5377007" CreationDate="2011-10-21T08:22:11.307" UserId="1117" Text="i have been trying to order an education version on PT9 for a few weeks now and apparently there was none in AUS so they ordered me one but its been taking so long and they said there was a hold up at avid. &#xD;&#xA;&#xD;&#xA;the lady i have been speaking to said shes not sure when PT10 will come to AUS, basically now im not sure weather to just get PT10 or continue with my plan to get PT9. so ill be watching this space to see what you guys think of it. i guess im just worried if its gonna be buggy for a while.&#xD;&#xA;&#xD;&#xA;clip based gain sounds handy though, i remember using it when i used cubase around 5 years ago and when i switched to logic it was one of the most annoying things because i was so used to it." ContentLicense="CC BY-SA 3.0" />
  <row Id="18181" PostHistoryTypeId="2" PostId="11015" RevisionGUID="2b63ed7c-46cb-48c3-adfe-681ae389937d" CreationDate="2011-10-21T10:26:45.753" UserId="1216" Text="ok linas,   &#xD;&#xA;i recorded silecnce with the following setup:  &#xD;&#xA;rme fireface uc @96 khz 24 bit, with the onboard preamps which go from 0 dB tot 65 dB.  &#xD;&#xA;Two levels:  &#xD;&#xA;1. 26 dB   &#xD;&#xA;2. 32 dB  &#xD;&#xA;You can hear me say test and clap my hands. Second recording clipped, but it's just for background noise comparison. good luck on your decision.   &#xD;&#xA;&#xD;&#xA;Here's the link: [link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://db.tt/6RuVFrfd" ContentLicense="CC BY-SA 3.0" />
  <row Id="18182" PostHistoryTypeId="5" PostId="11012" RevisionGUID="2a0f6414-a5fc-4fac-a837-cbc933b85a84" CreationDate="2011-10-21T10:50:28.217" UserId="1228" Comment="added 260 characters in body" Text="Unfortunately I have not tried PT10 yet, however they way they have handled its presentation thusfar has left me unimpressed and planning to stay on PT8 until they get their act together.&#xD;&#xA;&#xD;&#xA;Not impressed by their marketing strategy, or lack of maintaining good solidarity from the get go.  Somehow anyone who's got CPTK1 or 2 gets a &quot;free-pass&quot; to run it with PT10 at no extra charge, but if anyone missed out on upgrading their DVTK or MPTK to CPTK for $350 during  PT9, we're all SOL and have to buy CPTK for a full $2000.  Hopefully that's just a mistake in their store, but it's lack of a united front.  And that they didn't mention support for the 002/003, but buried in their FAQ on their support page the mention support for those boxes and PT10 is the last version to officially support them.  Had to dig around to discover in a fine-print note that CPTK is still required for all the &quot;HD features&quot; - they don't disclose this up front and delineate if you need it.  Maybe so you buy the upgrade, realize you don't have the cool HD features, then realize you have to play them $2000 to pass go?  So far it's all come across disorganized and shady to me.&#xD;&#xA;&#xD;&#xA;And here's the funny part:&#xD;&#xA;&#xD;&#xA;&lt;p&gt;PT8 or lower to PT9 to PT10 = $550&lt;/p&gt;&#xD;&#xA;PT8 or lower to PT10 = $500&#xD;&#xA;&#xD;&#xA;Accounting error much?  Another example of a lack of a united front.&#xD;&#xA;&#xD;&#xA;Sorry for this being somewhat of a rant.  Now I'm realizing why so many stages and facilities have held onto older versions for so long... it's such a mess to try to upgrade and maintain modular transparency in my opinion.  Why Avid still doesn't get this is beyond me.  The plugin vendors know whats up (see: Waves drastic new pricing), but Avid's still a space cadet.&#xD;&#xA;&#xD;&#xA;In conclusion, my initial reaction to ProTools 10's release was this: &quot;Avid, I'm taking away your final Man card&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18183" PostHistoryTypeId="2" PostId="11016" RevisionGUID="91fd25e3-2a63-4b4c-817f-6028bfe60550" CreationDate="2011-10-21T12:49:49.297" UserId="826" Text="Still no offline bounce though..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18184" PostHistoryTypeId="2" PostId="11017" RevisionGUID="d2add0ad-0c4f-4d74-aaeb-33f3b2db8cf5" CreationDate="2011-10-21T13:33:31.757" UserId="6432" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I don't have anywhere quiet enough to reproduce the test Arnoud carried out, but can offer a slightly more crude, real-world example. This is a recording made from out of my window in using the 4060s into a Zoom H4 recorder with the onboard preamps at 96khz 24bit&#xD;&#xA;&#xD;&#xA;[soundcloud]/mark-durham/street-recording-test-dpa-4060[/soundcloud]&#xD;&#xA;&#xD;&#xA;Download the original Wav here:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/mark-durham/street-recording-test-dpa-4060&#xD;&#xA;&#xD;&#xA;For recording technique check out this picture:&#xD;&#xA;&#xD;&#xA;http://www.flickr.com/photos/62290248@N08/6266488932/&#xD;&#xA;&#xD;&#xA;Yes, that is a coat hanger, and those are mini rycote windjammers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also, as an added bonus here is the spectral frequency display of one of the car-passes:&#xD;&#xA;&#xD;&#xA;http://www.flickr.com/photos/62290248@N08/6265959853/&#xD;&#xA;&#xD;&#xA;You can see that there is a good amount of sound recorded up to about 30'000 hz&#xD;&#xA;&#xD;&#xA;Hpe this helps,&#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="18185" PostHistoryTypeId="5" PostId="11017" RevisionGUID="12576c0f-a600-489c-b828-dd6b1a37f898" CreationDate="2011-10-21T13:40:16.453" UserId="6432" Comment="deleted 1 characters in body; added 222 characters in body; added 1 characters in body" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I don't have anywhere quiet enough to reproduce the test Arnoud carried out, but can offer a slightly more crude, real-world example. This is a recording made from out of my window in using the 4060s into a Zoom H4 recorder with the onboard preamps at 96khz 24bit&#xD;&#xA;&#xD;&#xA;[soundcloud]mark-durham/street-recording-test-dpa-4060[/soundcloud]&#xD;&#xA;&#xD;&#xA;You should hear some cars going past, a few car door closes on the street just outside (recorded from 1st floor btw), some reggae emanating from a house down the street and a train pulling away in the station opposite.&#xD;&#xA;&#xD;&#xA;Download the original Wav here:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/mark-durham/street-recording-test-dpa-4060&#xD;&#xA;&#xD;&#xA;For recording technique check out this picture:&#xD;&#xA;&#xD;&#xA;http://www.flickr.com/photos/62290248@N08/6266488932/&#xD;&#xA;&#xD;&#xA;Yes, that is a coat hanger, and those are mini rycote windjammers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also, as an added bonus here is the spectral frequency display of one of the car-passes:&#xD;&#xA;&#xD;&#xA;http://www.flickr.com/photos/62290248@N08/6265959853/&#xD;&#xA;&#xD;&#xA;You can see that there is a good amount of sound recorded up to about 30'000 hz&#xD;&#xA;&#xD;&#xA;Hope this helps,&#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="18186" PostHistoryTypeId="2" PostId="11018" RevisionGUID="0e41b117-246f-4f65-b168-2cd2f2993a9a" CreationDate="2011-10-21T15:15:24.533" UserId="930" Text="Another question for Avid (unless it's been covered somewhere and I've just missed it).&#xD;&#xA;&#xD;&#xA;With a new HDX Pro Tools Rig, can you use AAX Native and AAX DSP plugs together in the same session, like you could use TDM and RTAS together with the previous HD Systems?&#xD;&#xA;&#xD;&#xA;And if you can, does this still use up voices when you switch from one to another?&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="18187" PostHistoryTypeId="16" PostId="11018" RevisionGUID="0e41b117-246f-4f65-b168-2cd2f2993a9a" CreationDate="2011-10-21T15:15:24.533" UserId="-1" />
  <row Id="18188" PostHistoryTypeId="2" PostId="11019" RevisionGUID="f6dfc7c4-d06e-40a6-a3af-39c0e90a4387" CreationDate="2011-10-21T17:13:32.583" UserId="654" Text="At least with the AAX plugin format they can now process either on the host or on their new DSP boards, meaning offline/faster than realtime bouncing is much more achievable than in the TDM days - seems like a strategy to me.&#xD;&#xA;Lots of post features in 10 - disk cache for big sessions is a god send and more field recorder features - the ability to set a &quot;guide&quot; track for matches/expansions stuff like that.&#xD;&#xA;32bit plugin architecture and 64bit mixer - lots of headroom, great for mixing. Interleaved support for sending crap back and forth to editorial. All good features to smooth pain points IMHO." ContentLicense="CC BY-SA 3.0" />
  <row Id="18189" PostHistoryTypeId="2" PostId="11020" RevisionGUID="addaced7-f74c-43e3-a1c7-69885fe1e0a1" CreationDate="2011-10-21T18:01:31.773" UserId="1216" Text="here's a link to a roundup of new features, made by Jamie Hardt: [designing sound link][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2011/10/pro-tools-10-at-aes/&#xD;&#xA;&#xD;&#xA;@stavrosound: i totally feel your pain, i'm also without the CPTK and although it's ok for stereo and editing, i am saving up for the big punch... buying a 2K dongle :( " ContentLicense="CC BY-SA 3.0" />
  <row Id="18190" PostHistoryTypeId="2" PostId="11021" RevisionGUID="8654113f-b453-427e-935b-198c81fcd581" CreationDate="2011-10-21T23:12:49.243" UserId="253" Text="I got out to Occupy Times Square and grabbed some stuff. Here's a link to one of the better recordings, all of which come from my little Zoom H4N.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F26097379&amp;amp;show_comments=true&amp;amp;auto_play=false&amp;amp;color=ff7700&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F26097379&amp;amp;show_comments=true&amp;amp;auto_play=false&amp;amp;color=ff7700&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;   &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/rogermiddenway/crowd-protest-banks-got-bailed&quot;&gt;Crowd Protest Banks Got Bailed Out Times Square&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/rogermiddenway&quot;&gt;Roger Middenway&lt;/a&gt;&lt;/span&gt;&#xD;&#xA;&#xD;&#xA;I'm hoping to get them cut and labeled next week. Just give me a shout if you want them." ContentLicense="CC BY-SA 3.0" />
  <row Id="18191" PostHistoryTypeId="5" PostId="11012" RevisionGUID="3c47480b-489d-4832-9628-66b3f1117e91" CreationDate="2011-10-22T02:17:55.610" UserId="1228" Comment="added 261 characters in body" Text="Unfortunately I have not tried PT10 yet, however they way they have handled its presentation thusfar has left me unimpressed and planning to stay on PT8 until they get their act together.&#xD;&#xA;&#xD;&#xA;Not impressed by their marketing strategy, or lack of maintaining good solidarity from the get go.  Somehow anyone who's got CPTK1 or 2 gets a &quot;free-pass&quot; to run it with PT10 at no extra charge, but if anyone missed out on upgrading their DVTK or MPTK to CPTK for $350 during  PT9, we're all SOL and have to buy CPTK for a full $2000.  Hopefully that's just a mistake in their store, but it's lack of a united front.  And that they didn't mention support for the 002/003, but buried in their FAQ on their support page the mention support for those boxes and PT10 is the last version to officially support them.  Had to dig around to discover in a fine-print note that CPTK is still required for all the &quot;HD features&quot; - they don't disclose this up front and delineate if you need it.  Maybe so you buy the upgrade, realize you don't have the cool HD features, then realize you have to play them $2000 to pass go?  So far it's all come across disorganized and shady to me.&#xD;&#xA;&#xD;&#xA;And here's the funny part:&#xD;&#xA;&#xD;&#xA;&lt;p&gt;PT8 or lower to PT9 to PT10 = $550&lt;/p&gt;&#xD;&#xA;PT8 or lower to PT10 = $500&#xD;&#xA;&#xD;&#xA;Accounting error much?  Another example of a lack of a united front.&#xD;&#xA;&#xD;&#xA;Sorry for this being somewhat of a rant.  Now I'm realizing why so many stages and facilities have held onto older versions for so long... it's such a mess to try to upgrade and maintain modular transparency in my opinion.  Why Avid still doesn't get this is beyond me.  The plugin vendors know whats up (see: Waves drastic new pricing), but Avid's still a space cadet.&#xD;&#xA;&#xD;&#xA;In conclusion, my initial reaction to ProTools 10's release was this: &quot;Avid, I'm taking away your final Man card&quot;&#xD;&#xA;&#xD;&#xA;**EDIT:** An email response from the Avid store did state that upgrade options fro DVTK 1, 2, and MPTK are coming.  Good to hear that steps in the right direction are being made.  Still a pretty bad PR mess on their part, but at least there's some progress." ContentLicense="CC BY-SA 3.0" />
  <row Id="18192" PostHistoryTypeId="2" PostId="11022" RevisionGUID="8c8c4e4c-fa31-4d17-80d5-4060b98cafbb" CreationDate="2011-10-22T02:49:40.410" UserId="432" Text="Answers to these questions:&#xD;&#xA;&#xD;&#xA;**Zaxcom Nomad** - up to 96kHz confirmed&#xD;&#xA;&#xD;&#xA;**Sound Devices handheld** - short answer, no. long answer, they don't want to be a &quot;me too&quot; company, so they would need to consider what can they bring to it that is unique. they also want to continue catering to the higher end market. if they did try to put one together, it would be a question of price-point vs. demand.&#xD;&#xA;&#xD;&#xA;**Sennheiser MKH8030** - yes. they want to, and will do it. they wanted to concentrate on getting the shotgun mics out, which they have. it's one of the next things in the queue. as for target date...there isn't one. so don't expect it anytime soon.&#xD;&#xA;&#xD;&#xA;**Other handhelds** - haven't seen anything. i don't even think any vendors on the floor have the new roland ones, but i'll check those out if i spot them.&#xD;&#xA;&#xD;&#xA;**DVTK to CPTK upgrade path** - will return to the store. they're changing the CPTK (i.e. no longer including Neyrinck), so the store is being updated as well. expect it to return soon, but no date was given." ContentLicense="CC BY-SA 3.0" />
  <row Id="18193" PostHistoryTypeId="16" PostId="11022" RevisionGUID="8c8c4e4c-fa31-4d17-80d5-4060b98cafbb" CreationDate="2011-10-22T02:49:40.410" UserId="-1" />
  <row Id="18194" PostHistoryTypeId="2" PostId="11023" RevisionGUID="6e7012f6-cf43-4eea-a149-528298b72b4c" CreationDate="2011-10-22T10:14:56.207" UserDisplayName="AlicjaS" Text="I agree with @Luca the TV is excellent work, sounds absolutely natural. &#xD;&#xA;There is one thing that is missing, in my humble opinion, from the design. I know it is a matter of aesthetic choice but I’d introduce the girl’s screams the moment she is being taken. I’d introduce them muffled, barely audible, as in a dream, but increasing in power and culminating the second the main character wakes up with a nice sting. The sound would then linger and continue in the real world as the character realizes he is no longer asleep. I believe it’d provide a nice passage from the dream world to the real one. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18195" PostHistoryTypeId="2" PostId="11024" RevisionGUID="8e70ecc0-f40e-4080-9faa-8139d210cdb2" CreationDate="2011-10-22T11:12:17.153" UserId="6420" Text="Nice one! Apart from what's already been said I think adding a few more dynamic BG's might have helped a bit. Especially with the bit where he's out on the terrace bit with the city scape in the background. Perhaps adding a few distant police sirens or a bit of 'ominous' wind could have underplayed how the city was in fear of his actions. Sometimes can get a bit cliche but done well its really powerful. BG's are great for emotive bits! ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18196" PostHistoryTypeId="5" PostId="11020" RevisionGUID="a6caac15-7e49-4527-9da6-fa09d3ccc41b" CreationDate="2011-10-22T12:49:45.337" UserId="1216" Comment="updated info" Text="here's a link to a roundup of new features, made by Jamie Hardt: [designing sound link][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;@stavrosound: i totally feel your pain, i'm also without the CPTK and although it's ok for stereo and editing, i am saving up for the big punch... buying a 2K dongle :( &#xD;&#xA;&#xD;&#xA;update:&#xD;&#xA;shaun farley wrote down an elaboration on the article by jamie.&#xD;&#xA;[update by shaun farley][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2011/10/pro-tools-10-at-aes/&#xD;&#xA;  [2]: http://designingsound.org/2011/10/pro-tools-1-at-aes-part-2/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18197" PostHistoryTypeId="2" PostId="11025" RevisionGUID="178465b2-e3fe-4110-a92c-24b32018f4a6" CreationDate="2011-10-22T13:33:25.130" UserId="863" Text="I haven't fully worked on a feature other than just foley recording/editing or ADR, but from my experience on just doing a 20min short film to the best of my ability it has taken almost 3weeks-4weeks. This was working on my own, cleaning dialogue, editing, foley, design etc... If there is three of you and you assign tasks to eachother and they're all being done at the same time, I see no problem in it being done in a month and a half maybe?&#xD;&#xA;&#xD;&#xA;I would stress though that I'm sure once the director watches it he'll be coming back to you for changes, which you should take into consideration. Goodluck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18198" PostHistoryTypeId="2" PostId="11026" RevisionGUID="1f448339-de8e-4662-9a72-8917bab5c07e" CreationDate="2011-10-22T14:08:27.210" UserDisplayName="user80" Text="Everything looks look similar to Pro Tools 9, but it does seem to run slightly faster on my MacBook Pro.  Installation was easy and everything is stable.  Will test it with Lion tomorrow." ContentLicense="CC BY-SA 3.0" />
  <row Id="18199" PostHistoryTypeId="5" PostId="11026" RevisionGUID="3a7b7295-fbf4-462b-8175-9f53c4352ba9" CreationDate="2011-10-22T14:22:12.610" UserDisplayName="user80" Comment="added 92 characters in body" Text="Everything looks look similar to Pro Tools 9, but it does seem to run slightly faster on my MacBook Pro.  Installation was easy and everything is stable.  Will test it with Lion tomorrow.&#xD;&#xA;&#xD;&#xA;I am enjoying using the channel strip, very easy to use as well as being nice and clean." ContentLicense="CC BY-SA 3.0" />
  <row Id="18200" PostHistoryTypeId="2" PostId="11027" RevisionGUID="7f8d3327-9ff3-486d-8bbb-9e8fd5ae8741" CreationDate="2011-10-22T15:14:21.067" UserId="6420" Text="Hey all.&#xD;&#xA;&#xD;&#xA;Just thought I'd post a quick recording I made of me making soup/toast/coffee/washing hands,etc in my kitchen with my new SP-BMC1 binaural mics that I got recently (cheers for the heads up guys!). Quite a noisy, hissy gas hob unfortunately though :/ Sounds of me eating/drinking at the end of it!&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/andrewjohnlewis/sets/binuaral-sound-recording&#xD;&#xA;&#xD;&#xA;How many other got their hands on them during the special offer? Mine didn't come with any windscreens so any sudden head movements/walking can be slightly noticeable, but I'm quite happy with the sound. Will need to somehow find some mini windjammers suitable if I ever take them outdoors. Will no doubt get strange looks with my excessive ear hair growth if I did! lol&#xD;&#xA;&#xD;&#xA;Just be careful, levels are bit peaky! Wanted to demonstrate the dynamic range of the mics a bit though. Recorded into an H2 with plug-in power on. (some noise reduction carried out after)&#xD;&#xA;&#xD;&#xA;Obviously best listened on headphones! (but not too loud)&#xD;&#xA;&#xD;&#xA;Anyone else bought these mics and wanna share put up some sounds? :)&#xD;&#xA;Enjoy&#xD;&#xA;Andy" ContentLicense="CC BY-SA 3.0" />
  <row Id="18201" PostHistoryTypeId="1" PostId="11027" RevisionGUID="7f8d3327-9ff3-486d-8bbb-9e8fd5ae8741" CreationDate="2011-10-22T15:14:21.067" UserId="6420" Text="Sound Professionals SP-BMC-1 recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="18202" PostHistoryTypeId="3" PostId="11027" RevisionGUID="7f8d3327-9ff3-486d-8bbb-9e8fd5ae8741" CreationDate="2011-10-22T15:14:21.067" UserId="6420" Text="&lt;binaural&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18203" PostHistoryTypeId="5" PostId="11027" RevisionGUID="5aed331d-3499-4f0c-b41a-966fb5f7b14d" CreationDate="2011-10-22T15:24:22.280" UserId="6420" Comment="added 41 characters in body" Text="Hey all.&#xD;&#xA;&#xD;&#xA;Just thought I'd post a quick recording I made of me making soup/toast/coffee/washing hands,etc in my kitchen with my new SP-BMC1 binaural mics that I got recently (cheers for the heads up guys!). Quite a noisy, hissy gas hob unfortunately though :/ Sounds of me eating/drinking at the end of it!&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/andrewjohnlewis/sets/binuaral-sound-recording&#xD;&#xA;&#xD;&#xA;Download original with link at 48/24.&#xD;&#xA;&#xD;&#xA;How many other got their hands on them during the special offer? Mine didn't come with any windscreens so any sudden head movements/walking can be slightly noticeable, but I'm quite happy with the sound. Will need to somehow find some mini windjammers suitable if I ever take them outdoors. Will no doubt get strange looks with my excessive ear hair growth if I did! lol&#xD;&#xA;&#xD;&#xA;Just be careful, levels are bit peaky! Wanted to demonstrate the dynamic range of the mics a bit though. Recorded into an H2 with plug-in power on. (some noise reduction carried out after)&#xD;&#xA;&#xD;&#xA;Obviously best listened on headphones! (but not too loud)&#xD;&#xA;&#xD;&#xA;Anyone else bought these mics and wanna share put up some sounds? :)&#xD;&#xA;Enjoy&#xD;&#xA;Andy" ContentLicense="CC BY-SA 3.0" />
  <row Id="18204" PostHistoryTypeId="5" PostId="11027" RevisionGUID="1c82138e-385f-44a5-83b8-3005b36a3efd" CreationDate="2011-10-22T16:36:23.930" UserId="6420" Comment="added 71 characters in body" Text="Hey all.&#xD;&#xA;&#xD;&#xA;Just thought I'd post a quick recording I made of me making soup/toast/coffee/washing hands,etc in my kitchen with my new SP-BMC2 binaural (edit:just realised on the packaging they're the BMC2 not the BMC1!) mics that I got recently (cheers for the heads up guys!). Quite a noisy, hissy gas hob unfortunately though :/ Sounds of me eating/drinking at the end of it!&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/andrewjohnlewis/sets/binuaral-sound-recording&#xD;&#xA;&#xD;&#xA;Download original with link at 48/24.&#xD;&#xA;&#xD;&#xA;How many other got their hands on them during the special offer? Mine didn't come with any windscreens so any sudden head movements/walking can be slightly noticeable, but I'm quite happy with the sound. Will need to somehow find some mini windjammers suitable if I ever take them outdoors. Will no doubt get strange looks with my excessive ear hair growth if I did! lol&#xD;&#xA;&#xD;&#xA;*Just be careful*, levels are bit peaky! Wanted to demonstrate the dynamic range of the mics a bit though. Recorded into an H2 with plug-in power on. (some noise reduction carried out after)&#xD;&#xA;&#xD;&#xA;Obviously best listened on headphones! (but not too loud)&#xD;&#xA;&#xD;&#xA;Anyone else bought these mics and wanna share put up some sounds? :)&#xD;&#xA;Enjoy&#xD;&#xA;Andy" ContentLicense="CC BY-SA 3.0" />
  <row Id="18205" PostHistoryTypeId="2" PostId="11028" RevisionGUID="9c7f22b8-bfdf-4632-9020-b0db0fe3bc2a" CreationDate="2011-10-22T19:37:39.213" UserId="589" Text="Looks very much like Pro Tools is trying to catch up with Nuendo. It now got a lot of the Nuendo features that makes working in post much quicker. But still a few important features to go until it is even with Nuendo. &#xD;&#xA;&#xD;&#xA;Nevertheless, this update really makes me think of working in Pro Tools again. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18206" PostHistoryTypeId="2" PostId="11029" RevisionGUID="e1625740-cf19-488d-8ea6-8d444e5a411d" CreationDate="2011-10-22T19:46:46.373" UserId="1266" Text="&quot;  I still have no budget for this show, everyone is volunteer and I am paying out of pocket for studio time and food...I just need someone to even everything out and make it sound good.&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&quot;We are just doing it for the love of film, nobody is getting paid.&quot;&#xD;&#xA;&#xD;&#xA;&quot;It will be a great piece for your reel.&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Is there anything else that producers/production manager/director's say to cheapskate sound people especially into a free lunch?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What if there really is no budget for this show? Just kidding! " ContentLicense="CC BY-SA 3.0" />
  <row Id="18207" PostHistoryTypeId="1" PostId="11029" RevisionGUID="e1625740-cf19-488d-8ea6-8d444e5a411d" CreationDate="2011-10-22T19:46:46.373" UserId="1266" Text="Things a producer/production manager says..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18208" PostHistoryTypeId="3" PostId="11029" RevisionGUID="e1625740-cf19-488d-8ea6-8d444e5a411d" CreationDate="2011-10-22T19:46:46.373" UserId="1266" Text="&lt;free&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18211" PostHistoryTypeId="2" PostId="11032" RevisionGUID="4e13bb31-8853-4156-a0db-2af6e1e4f7d2" CreationDate="2011-10-22T21:55:29.697" UserId="589" Text="Normalize the files and then reduce the gain." ContentLicense="CC BY-SA 3.0" />
  <row Id="18212" PostHistoryTypeId="2" PostId="11033" RevisionGUID="c4f7b92d-d636-4f6a-b183-bc79457033c7" CreationDate="2011-10-23T00:57:37.330" UserId="2186" Text="Tried to reply directly to @Stavrosound, but could not find a way to do it. Will not normalizing it just gain it so that the highest peak will be ~0 dB?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18213" PostHistoryTypeId="2" PostId="11034" RevisionGUID="3164d31b-f56d-43e7-843d-fd5016295e3f" CreationDate="2011-10-23T03:34:45.133" UserId="432" Text="&quot;you'll be given credit&quot;&#xD;&#xA;&#xD;&#xA;&quot;we're going to submit it to [insert festival here].&quot;&#xD;&#xA;&#xD;&#xA;i'm not opposed to doing work for free if i find a short, interesting and worthwhile project (I do on rare occasions), but there's always one thing they will have to agree to: i dictate the audio schedule and final delivery date. ;)&#xD;&#xA;&#xD;&#xA;if it's something i'm willing to work on, they need to understand that i'll be fitting it in around other...paying...work." ContentLicense="CC BY-SA 3.0" />
  <row Id="18214" PostHistoryTypeId="2" PostId="11035" RevisionGUID="b69eed80-3e2e-407c-8cb5-37b2d2f58916" CreationDate="2011-10-23T03:50:37.370" UserId="1266" Text="How are ways to mix scene angles?&#xD;&#xA;&#xD;&#xA;Say it is a dialogue scene or interview or anything else you can think of that is not graphic and sound FX laden.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What objectives are set during mixing scene angles?  What do you have in mind?&#xD;&#xA;What objectives of the film are met after scene angles are succesfully mixed?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18215" PostHistoryTypeId="1" PostId="11035" RevisionGUID="b69eed80-3e2e-407c-8cb5-37b2d2f58916" CreationDate="2011-10-23T03:50:37.370" UserId="1266" Text="Mixing Scene Angle" ContentLicense="CC BY-SA 3.0" />
  <row Id="18216" PostHistoryTypeId="3" PostId="11035" RevisionGUID="b69eed80-3e2e-407c-8cb5-37b2d2f58916" CreationDate="2011-10-23T03:50:37.370" UserId="1266" Text="&lt;mixing&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18217" PostHistoryTypeId="2" PostId="11036" RevisionGUID="c66d9323-bdac-4772-85b7-b5ac16c9cbcc" CreationDate="2011-10-23T07:42:13.223" UserId="842" Text="Well, there are different opinions on this, but for cinematic and other regular medias, one rule of thumb is to never break the illusion. And one way to keep from that is not to let dialogue stray from the center, be it the center speaker or the entire front row of speakers doesn't matter, unless absolutely necessary. That's the panning aspect in angles.&#xD;&#xA;&#xD;&#xA;When it comes to frequency response, it's a lot harder to say a certain method always does the trick. Theoretically, every mix would preferably be mixed with perfect respect to distance, reverbation, and sometimes even atmospheric moist, but practically it's often not a good idea. Mainly for two reasons, but in essence it all comes down to intelligibility. When I work I mostly divide the dialogue in forground, intelligible background, and ambient background. In the foreground I have no perspective whatsoever, and how far that stretches depends totally on the framing. The intelligible background is actually more of a mid, and here I have a special system to keep clarity though three dimensional placement, mostly based on reverb and a frequency treatment which is next to impossible to explain here right now, but basically I keep all processing as sparse as possible, and I rarely use panning. In the ambient background I couldn't care less! Gotten muffled? So much the better! Less risk of distraction! And I use full panning, reverb and EQ as I see fit for the very scene :-)&#xD;&#xA;&#xD;&#xA;The first reason I mentioned is that you never really know where people will see/listen to your material. A mix that may sound absolutely marvelous with everything in perfect distance to each other and perfect clarity in one system might very well sound absolute crap in a cheaper system, with dialogue muffled, thin, or in other ways indistinct. The most important part of the soundtrack, with absolutely no competition, is the dialogue and that demands clarity. For the dialogue that actually is part of the story that is, for ambient voices I have total freedom to do as both I and the director wants, as long as it still sounds decent on an artistic level on smaller systems! But actually, the issue with frequency response doesn't really have to be a problem, it becomes a problem because of the source material used.&#xD;&#xA;&#xD;&#xA;Which leads to reason according to me number two, unless a total ADR or dub from a very good studio, there are no way in hell the sync dialogue will keep good enough consistency to allow for this kind of treatment. As long as the sync dialogue is in perfect focus with perfect distance and angle these things are quite easy, but as location is basically a warzone, it never is. No matter how good a location recordist one may be, you still have to keep out of frame, keep from shadowing anything in picture, avoid reflections and ambient noises, not to mention you might have to keep moving while on take. In respect to all this, there are LOTS of things that has to be matched up as it is to work at all, and all this processing is only inaudible to a certain point.&#xD;&#xA;&#xD;&#xA;A good example was actually from this summer! I had a gig recording a feature, and this day we where at a theater for some extremely important scenes. At this...place, the ceiling was FILLED with lights, and as the play that was scheduled after us already had done all the lights and noone knew how to (or dared) save the settings, we only had TWO options; power and intensity. First actor; With a whole xxxxxxx ceiling flooded in light (actually the actors looked absolutely great, but to try to fit a boom there...), two cameramen, a floor with several squeaky zones I had to keep track of, ventilation, and the actors constantly moving over the entire scene...and there was no way whatsoever to do any ADR later on, I actually pulled it off and it sounded absolutely smashing! To the day I die, I will still say: I did it *fanfare*! It was the absolutely most physically demanding thing I have ever done on film, and thanks to all the years as a karateka, it was doable.&#xD;&#xA;&#xD;&#xA;Then came the next actor. And the one after that. Eight actors all in all as I remember. I nailed it all, but the problem was that without exceptions every actor had totally different conditions from the others. They all sounded great, but they all also had different sounds depending on distance and position, and that's why this is such a good example of this. In editing, all the voices MUST sound the same, or it will fail completely. That will mean several of the voices will need a lot of EQ and processing, and that takes time. Should I also give the voices perspective, I will have to make a second set of processing for every voice in the scene, and I will need a way to pan between the two sets. That takes a lot of time, and time ain't exactly cheap, so a good middle way is to just automate a send to a good reverb, and you get depth with minimal risk of bad response!&#xD;&#xA;&#xD;&#xA;Jeez, looking at this reply I'm actually quite thankful you didn't ask about sound effects and ambiance as well, I treat those things differently as well ;-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18218" PostHistoryTypeId="2" PostId="11037" RevisionGUID="a18bc60d-cd6c-4fb3-a527-a22860e17fe7" CreationDate="2011-10-23T11:00:47.423" UserId="37" Text="&quot;labour of love&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18219" PostHistoryTypeId="2" PostId="11038" RevisionGUID="9240564f-8311-4e93-ae7a-7251410815ae" CreationDate="2011-10-23T12:00:55.027" UserId="3077" Text="I GOT PROTOOLS 9 EARLY OCTOBER SO THEY SENT ME A FREE UPGRADE TO 10. I HAVE BEEN FIGHTING 10 WITH CRASHES DAE ERRORS. I HAVE DONE EVRYTHING TO DELETING OLD PT PREFERENCES TO CLEAN INSTALLS. IT WORKS FOR A FEW SESSIONS THEN I WILL TRY TO OPEN A SEESION OR MAKE A NEW SESSION AND CRASH. I HAVE TO REINSTALL IT TO GET TO WORK AGAIN. BACK TO 9.0.3. GONA HAVE TO WAIT TILL THEY FIX THAT CRAP. NEW PROTOOLS ALWAYS HAS GLITCHES IN THE BEGINING BUT THIS IS THE WORST ONE YET. ATLEAST I COULD OPEN THE FIRST RELEASES IN THE PAST. GEEEZ! I AM IMPRESSED WITH SOME OF THE NEW FEATURES. UNFORTUNATLY THIS EXPERIENCE HAS PUT A DENT IN MY CONFIDENCE WITH PROTOOLS. I CANT WORK AND BE CREATIVE ON AN EXTREMLY UNSTABLE DAW. WHO CAN? YOU WOULD THINK AVID WOULD THINK ABOUT THE GUYS LIKE ME WHO ARE THE PROFESSIONALS AND DONT HAVE TIME FOR THESE ISSUES. 10 IS UNACCEPTABLE IN MY OPINION. WAIT FOR UPDATES B4 TRYING IT UNLESS YOU HAVE TIME TO SCREW AROUND." ContentLicense="CC BY-SA 3.0" />
  <row Id="18220" PostHistoryTypeId="5" PostId="11038" RevisionGUID="4b16fff0-a874-4315-94ac-e0c8e295d749" CreationDate="2011-10-23T14:19:12.750" UserId="37" Comment="capitalize via via http://txtformat.com/" Text="I got protools 9 early october so they sent me a free upgrade to 10. I have been fighting 10 with crashes dae errors. I have done evrything to deleting old pt preferences to clean installs. It works for a few sessions then i will try to open a seesion or make a new session and crash. I have to reinstall it to get to work again. Back to 9. 0. 3. Gona have to wait till they fix that crap. New protools always has glitches in the begining but this is the worst one yet. Atleast i could open the first releases in the past. Geeez! I am impressed with some of the new features. Unfortunatly this experience has put a dent in my confidence with protools. I cant work and be creative on an extremly unstable daw. Who can? You would think avid would think about the guys like me who are the professionals and dont have time for these issues. 10 is unacceptable in my opinion. Wait for updates b4 trying it unless you have time to screw around. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18221" PostHistoryTypeId="2" PostId="11039" RevisionGUID="e2f8ecd4-7d0b-4ce0-91c1-b11060e55b75" CreationDate="2011-10-23T14:21:41.800" UserId="234" Text="&quot;When we get distribution, we'll ALL be rich&quot;. Usually said by producer/directors who've never had a movie actually SOLD to distributor - and who's movies are usually pretty bad.&#xD;&#xA;&#xD;&#xA;I have a basic policy - I don't work for NOTHING. Sometimes the something is not money (although it is my favourite). It might be emotional -seeing a REALLY good film get a decent sound job, or donating my time for a charity I believe in or good karma (helping out a director who gave me my first gig). Sometimes it's barter - gear rentals, tickets, etc. But I always ensure I am compensated in some way.&#xD;&#xA;&#xD;&#xA;Oh and my favourite of the above &quot;It'll be great for your reel!&quot;. &#xD;&#xA;&#xD;&#xA;Buddy, I have a &quot;reel&quot; the length of my arm from my actual PAYING clients - I really don't need your crappy film on it!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18222" PostHistoryTypeId="2" PostId="11040" RevisionGUID="557de341-462e-452e-8c2c-35756ac43af1" CreationDate="2011-10-23T19:50:14.447" UserId="2" Text="I've been offered shares in feature films (with low pay), which would be cool if the film made money. Sometimes they do and it's a descent bonus, but that's waaay later. The main question is whether the time commitment is really worth the risk... " ContentLicense="CC BY-SA 3.0" />
  <row Id="18223" PostHistoryTypeId="2" PostId="11041" RevisionGUID="12bf0a68-8725-4fbf-a497-562750e80151" CreationDate="2011-10-23T20:20:42.747" UserId="208" Text="Hi all&#xD;&#xA;&#xD;&#xA;So a week ago my old dual 1.8 g5 mac died. I briefly panicked and didnt know what to do. Called a dealer and was told that HDX was coming at AES. &#xD;&#xA;Now Im on the search for a new mac that in time, most likely will house the HDX PCIe card, and PT10HD. Because of the very steep crossgrade price, Im forced to cut the costs where I can.&#xD;&#xA;I was wondering if any of you are running Protools HD (maybe 9?) on a quad core mac (2010 model), with either HD Accel cards or Natively, and if you find it to have enough juice for non dsp tasks, RTAS plugs and so on. Also of it is playing along nicely, together with PT.&#xD;&#xA;8 core users, and everybody else, are most welcome to chime in with their knowledge too.&#xD;&#xA;&#xD;&#xA;Im uncertain if a quad will have enough power, to playback surround sesions, edits, automation and have a bunch of native plugs inserted etc. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks alot&#xD;&#xA;&#xD;&#xA;Best wishes&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="18224" PostHistoryTypeId="1" PostId="11041" RevisionGUID="12bf0a68-8725-4fbf-a497-562750e80151" CreationDate="2011-10-23T20:20:42.747" UserId="208" Text="Quad core vs. 8 core and Protools HD" ContentLicense="CC BY-SA 3.0" />
  <row Id="18225" PostHistoryTypeId="3" PostId="11041" RevisionGUID="12bf0a68-8725-4fbf-a497-562750e80151" CreationDate="2011-10-23T20:20:42.747" UserId="208" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18226" PostHistoryTypeId="2" PostId="11042" RevisionGUID="d974d825-28b3-4d38-82f3-caf06be110ff" CreationDate="2011-10-23T21:00:27.417" UserId="891" Text="I don't have an HD system. But I bought the smallest MacPro (Quad 2.8 I think) last year running PT9 with CPTK. So everything is native on this machine.&#xD;&#xA;&#xD;&#xA;Though I'm working in bigger studios a lot, I use the system in my own room to do all kinds of stuff. E.g. sound design for a feature last year with a setup that was intended to mimic a HD3 system in terms of busses and I/Os. This was for the ambience and effects session, which I also premixed on my own system before moving to the mixing stage. Even with the small 3GB onboard RAM I had no trouble so far.&#xD;&#xA;&#xD;&#xA;In regards to 10 I hope that stuffing it full with RAM will make my Mac a nice though small work horse." ContentLicense="CC BY-SA 3.0" />
  <row Id="18227" PostHistoryTypeId="2" PostId="11043" RevisionGUID="dc2a2ccc-1f10-4185-affa-3e1402481910" CreationDate="2011-10-23T22:29:37.993" UserId="6669" Text="Hi All,&#xD;&#xA;&#xD;&#xA;Question for the game audio folks out there - I'm doing a playthrough of Deus Ex: Human Revolution now and noticing that a lot of the character voices sound very up close/clear and 'voiceovery' in fixed camera-angle conversations where they're not really that tight on the game camera.&#xD;&#xA;&#xD;&#xA;I'm sure this doesn't bother the huge majority of players out there, but it jumped out to me and probably would to anyone who's familiar with how production audio tends to sound.&#xD;&#xA;&#xD;&#xA;So I'm wondering: when recording game dialogue, do you bother recording for perspective at all, or record it super up-close, hot and present, letting the game itself do all of the rolloffs/etc. in realtime?&#xD;&#xA;&#xD;&#xA;If you know this dialogue's going to be for a fixed-perspective shot like a conversation, would you bother burbing in some rolled off highs/lows in advance to try to 'match' it a little more like in post?&#xD;&#xA;&#xD;&#xA;Have you noticed a trend towards one or the other and if so, do you feel it's changing?&#xD;&#xA;&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="18228" PostHistoryTypeId="1" PostId="11043" RevisionGUID="dc2a2ccc-1f10-4185-affa-3e1402481910" CreationDate="2011-10-23T22:29:37.993" UserId="6669" Text="Game Dialogue Recording and Perspective" ContentLicense="CC BY-SA 3.0" />
  <row Id="18229" PostHistoryTypeId="3" PostId="11043" RevisionGUID="dc2a2ccc-1f10-4185-affa-3e1402481910" CreationDate="2011-10-23T22:29:37.993" UserId="6669" Text="&lt;gameaudio&gt;&lt;equalization&gt;&lt;dialogue&gt;&lt;dialogue-recording&gt;&lt;perspective&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18230" PostHistoryTypeId="2" PostId="11044" RevisionGUID="8e32b8ac-2132-4db2-ba85-4426c6213d88" CreationDate="2011-10-23T23:58:18.330" UserId="936" Text="It's an excellent question. For cutscenes, there's definitely a trend to use more perspective, I like to record both using perspective mics and a boom or lav mic to always have a close option.&#xD;&#xA;&#xD;&#xA;For in-game cinematics which are pre-rendered you're relying on the capabilities of the audio engine to use real-time DSP effects to create the sense of depth, such as using a low-pass filter, volume attenuation and reverb depending on the distance.&#xD;&#xA;&#xD;&#xA;I noticed the same on Gears of War 2, all the dialogue sounded very flat and poorly placed." ContentLicense="CC BY-SA 3.0" />
  <row Id="18231" PostHistoryTypeId="5" PostId="11043" RevisionGUID="db0bd044-6a56-429b-a4b5-703b4ea2eb53" CreationDate="2011-10-24T01:53:53.087" UserId="6669" Comment="added 2 characters in body" Text="Hi All,&#xD;&#xA;&#xD;&#xA;Question for the game audio folks out there - I'm doing a playthrough of Deus Ex: Human Revolution now and noticing that a lot of the character voices sound very up close/clear and 'voiceovery' in fixed camera-angle conversations where they're not really that tight on the game camera.&#xD;&#xA;&#xD;&#xA;I'm sure this doesn't bother the huge majority of players out there, but it jumped out to me and probably would to anyone who's familiar with how production audio tends to sound.&#xD;&#xA;&#xD;&#xA;So I'm wondering: when recording game dialogue, do you bother recording for perspective at all, or record it super up-close, hot and present, letting the game itself do all of the rolloffs/etc. in realtime?&#xD;&#xA;&#xD;&#xA;If you know this dialogue's going to be for a fixed-perspective shot like a conversation, would you bother burning in some rolled off highs/low EQ in advance to try to 'match' it a little more like in post?&#xD;&#xA;&#xD;&#xA;Have you noticed a trend towards one or the other and if so, do you feel it's changing?&#xD;&#xA;&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="18232" PostHistoryTypeId="2" PostId="11045" RevisionGUID="d41bcb14-9e23-4097-af2b-5fa2f9b7cf8b" CreationDate="2011-10-24T05:18:56.153" UserId="1035" Text="Hi guys, so, I'm about to be using a Sound Devices 788T on set and I know I'm going to want to run at least in 4 track mode. What I'm mainly curious about is the production sound -&gt; picture edit -&gt; sound edit workflow. I keep hearing people talking about doing the mono mix for the picture editor. Is there some way that the picture editor can just be given the mono mix, dialogue editor is delivered production sound files, and then is able to reconform the entire multitrack polywave easily? Does the timecode stamp on the sound file take care of this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18233" PostHistoryTypeId="1" PostId="11045" RevisionGUID="d41bcb14-9e23-4097-af2b-5fa2f9b7cf8b" CreationDate="2011-10-24T05:18:56.153" UserId="1035" Text="Poly .wav picture editorial &lt;-&gt; sound dept workflow questions" ContentLicense="CC BY-SA 3.0" />
  <row Id="18234" PostHistoryTypeId="3" PostId="11045" RevisionGUID="d41bcb14-9e23-4097-af2b-5fa2f9b7cf8b" CreationDate="2011-10-24T05:18:56.153" UserId="1035" Text="&lt;devices&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18235" PostHistoryTypeId="2" PostId="11046" RevisionGUID="da62df88-3d94-4c4c-a0d5-fe19dd3665c8" CreationDate="2011-10-24T06:58:34.973" UserId="455" Text="Hi James.&#xD;&#xA;&#xD;&#xA;You definitely DO NOT want to give a mono mix to anyone (assuming by mono mix you mean a sum of your 4 discrete audio tracks).  You will hand over all of your discretely recorded tracks to the picture editor.  He/she will then sync these tracks to picture, edit the film and hand it to the sound editor to select the appropriate track(s) for the re-recording mixer.&#xD;&#xA;&#xD;&#xA;Each individual track that you are recording is in mono (duh) so that's maybe what people are referring to.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18236" PostHistoryTypeId="2" PostId="11047" RevisionGUID="7eb63bd9-1e1d-4fc3-8f38-8b0446e2ef96" CreationDate="2011-10-24T08:24:05.843" UserId="2504" Text="Hey guys, I am currently working on a project where I need to make music sound as if it is playing from a record player, and then separately I need to make some dialogue sound like its coming from a gramophone, has any body got an idea on how to do this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18237" PostHistoryTypeId="1" PostId="11047" RevisionGUID="7eb63bd9-1e1d-4fc3-8f38-8b0446e2ef96" CreationDate="2011-10-24T08:24:05.843" UserId="2504" Text="making it sound like a record player" ContentLicense="CC BY-SA 3.0" />
  <row Id="18238" PostHistoryTypeId="3" PostId="11047" RevisionGUID="7eb63bd9-1e1d-4fc3-8f38-8b0446e2ef96" CreationDate="2011-10-24T08:24:05.843" UserId="2504" Text="&lt;music&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18239" PostHistoryTypeId="2" PostId="11048" RevisionGUID="4c5288c6-8301-4a3e-b354-431884903e03" CreationDate="2011-10-24T08:37:50.047" UserId="3049" Text="Hi All&#xD;&#xA;I’m recording SFX for an independent film. One of those is a plane crashing into the ground. It has to be a powerful crash. I’ve used many props for this (the jet engines are a fan pitch-shifted down and time stretched a bit) but the impact sounds tend to loose all thir power after I pitch-shift down. I’ll do some more recordings asap but to be honest I’m at a loss....what props can I use for something as massive as a plane crash? Or maybe there is a way to fix the loss of power problem I’m experiencing when pitch-shifting smaller crash and impact sounds?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18240" PostHistoryTypeId="1" PostId="11048" RevisionGUID="4c5288c6-8301-4a3e-b354-431884903e03" CreationDate="2011-10-24T08:37:50.047" UserId="3049" Text="plane crash sound effect, how to record a powerful crash?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18241" PostHistoryTypeId="3" PostId="11048" RevisionGUID="4c5288c6-8301-4a3e-b354-431884903e03" CreationDate="2011-10-24T08:37:50.047" UserId="3049" Text="&lt;sound-design&gt;&lt;recording&gt;&lt;sound-effects&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18242" PostHistoryTypeId="2" PostId="11049" RevisionGUID="208cb7ff-7164-4492-a6b3-a8f107cfcdbf" CreationDate="2011-10-24T08:45:42.907" UserId="2" Text="If you're on Nuendo, then there's a plugin for that: Grungelizer. It's really good! &#xD;&#xA;&#xD;&#xA;If not, you can download [iZotope Vinyl][1], it's free. Never tried it but looks really nice. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.izotope.com/products/audio/vinyl/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18243" PostHistoryTypeId="2" PostId="11050" RevisionGUID="8cbda36a-8499-4574-a054-a19861104a9f" CreationDate="2011-10-24T10:08:23.113" UserId="6524" Text="I got some [explosion][1] sounds while playing with bass and reverb the distortion makes it seem more powerful I think, you can download it if you like. I don't know how the scene plays out exactly but you could also try slowly pitching up the engine sounds as it descends to add more tension and and lower other sounds with it prior to the explosion to make it seem more powerful (like this [LoTR example][2]), Greg Russell also mentions a [good point][3] when mixing to make an impact seem more powerful.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org/people/StephenSaldanha/sounds/121892/&#xD;&#xA;  [2]: http://youtu.be/EW7lC6CTmbY?t=1m40s&#xD;&#xA;  [3]: http://youtu.be/kZZylpvlySs?t=16m35s" ContentLicense="CC BY-SA 3.0" />
  <row Id="18244" PostHistoryTypeId="2" PostId="11051" RevisionGUID="13ffb4c5-1cb8-4f6a-b71b-e63935d4f81d" CreationDate="2011-10-24T11:11:35.620" UserDisplayName="user6513" Text="Depending on the requirements of the film, i.e. if you screen dailies, you may or may not be required to do a mix. Tim Prebble's answered this before [here][1]. I reckon it is part of the production sound mixer's job to mix the tracks down to help save time for post production. If it's no good, then the dialogue editors can use the discreet tracks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/6319/production-sound-mic-mixing" ContentLicense="CC BY-SA 3.0" />
  <row Id="18245" PostHistoryTypeId="5" PostId="11050" RevisionGUID="c8e0b9e7-ed28-4357-bd08-45543974a445" CreationDate="2011-10-24T12:04:44.240" UserId="6524" Comment="added 22 characters in body" Text="I got some [explosion][1] sounds while playing with bass and reverb the distortion makes it seem more powerful I think, you can download it if you like. I don't know how the scene plays out exactly but you could also try slowly pitching up the engine sounds as it descends to add more tension and and lower other sounds with it prior to the explosion to make it seem more powerful (like this [LoTR example][2]), Greg Russell also mentions a [good point][3] (skip to 16:35) when mixing to make an impact seem more powerful.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org/people/StephenSaldanha/sounds/121892/&#xD;&#xA;  [2]: http://youtu.be/EW7lC6CTmbY?t=1m40s&#xD;&#xA;  [3]: http://www.youtube.com/watch?v=kZZylpvlySs" ContentLicense="CC BY-SA 3.0" />
  <row Id="18246" PostHistoryTypeId="2" PostId="11052" RevisionGUID="2aae2956-9dda-4f68-85b9-a5f2340812dc" CreationDate="2011-10-24T12:33:11.913" UserId="6420" Text="Dont forget to add debris sounds. They'll help a lot with enphasizing the scale of the impact. Rock/mud/dirt/trees/bricks etc. Maybe some heavy creaking sounds of metal and wood. Perhaps some screechy dry ice type sounds at the point of impact might work? &#xD;&#xA;Use plenty of layers :) " ContentLicense="CC BY-SA 3.0" />
  <row Id="18247" PostHistoryTypeId="2" PostId="11053" RevisionGUID="fa15a113-cbc0-454c-9bf4-451efd0a325c" CreationDate="2011-10-24T13:17:48.493" UserId="1145" Text="You could also demo the Speakerphone from AudioEase. Good for other stuff too... :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18248" PostHistoryTypeId="2" PostId="11054" RevisionGUID="10cf9e90-1d42-469c-a507-e3c2ed7d6919" CreationDate="2011-10-24T16:11:49.127" UserId="298" Text="I have this itching idea to research field of application of sound arts composed specifically for particular space - interior or can be called indoor dimensions, but can't find any studies that have been previously done on this subject. Eg what is the relations between different spaces and different sounds and how soundscape can be created for a specific place and enrich or highlight some of its aspects ?&#xD;&#xA;Anything about this in the internet or books? Guess this has definitely something to do with psychoacoustics but just in general...&#xD;&#xA;&#xD;&#xA;Thank you in advance colleagues" ContentLicense="CC BY-SA 3.0" />
  <row Id="18249" PostHistoryTypeId="1" PostId="11054" RevisionGUID="10cf9e90-1d42-469c-a507-e3c2ed7d6919" CreationDate="2011-10-24T16:11:49.127" UserId="298" Text="Anyone know about 'Soundscapes for interiors and architecture' ???" ContentLicense="CC BY-SA 3.0" />
  <row Id="18250" PostHistoryTypeId="3" PostId="11054" RevisionGUID="10cf9e90-1d42-469c-a507-e3c2ed7d6919" CreationDate="2011-10-24T16:11:49.127" UserId="298" Text="&lt;soundscapes&gt;&lt;psychoacoustics&gt;&lt;art&gt;&lt;research&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18251" PostHistoryTypeId="2" PostId="11055" RevisionGUID="b88048cc-dc99-4593-a366-3660b2557d5d" CreationDate="2011-10-24T16:49:12.050" UserId="315" Text="From my observation (since I've haven't had the opportunity to design a plane crash yet), a plane crash or other large scale impact is designed with a ton of carefully layered sounds/events. I've always liked [this one][1]. Which is less about the impact and more about the aftermath. Really nice use of metal, water in this sequence to elevate the danger.&#xD;&#xA;&#xD;&#xA;Real world props. &#xD;&#xA;&#xD;&#xA;I'd suggest finding a large metal dumpster or shipping container to start. They can sound huge if recorded in the right way. &#xD;&#xA;&#xD;&#xA;It's not always necessary to pitch elements down to sound big if you record them with some proximity effect. Or the opposite, use acoustics to your advantage and record with some distance to capture some nice big reverb/slap. Contact mics are also your friend, especially with metal. And don't forget about the subwoofer, a key tool in designing these large scale events. A little 60kHz rumble can go a long way in selling size.&#xD;&#xA;&#xD;&#xA;Have you looked at library recordings of trains (rumble, wheel screeches), or car crashes? Building demolition? Those could make for nice material as well.&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;  [1]: http://movieclips.com/KoVgC-cast-away-movie-plane-crash/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18252" PostHistoryTypeId="5" PostId="11055" RevisionGUID="56174cac-8db2-40db-a9ff-1cfd071712af" CreationDate="2011-10-24T17:00:47.527" UserId="315" Comment="added 1 characters in body" Text="From my observations (since I've haven't had the opportunity to design a plane crash yet), a plane crash or other large scale impact is designed with a ton of carefully layered sounds/events. I've always liked [this one][1]. Which is less about the impact and more about the aftermath. Really nice use of metal, water in this sequence to elevate the danger.&#xD;&#xA;&#xD;&#xA;Real world props. &#xD;&#xA;&#xD;&#xA;I'd suggest finding a large metal dumpster or shipping container to start. They can sound huge if recorded in the right way. &#xD;&#xA;&#xD;&#xA;It's not always necessary to pitch elements down to sound big if you record them with some proximity effect. Or the opposite, use acoustics to your advantage and record with some distance to capture some nice big reverb/slap. Contact mics are also your friend, especially with metal. And don't forget about the subwoofer, a key tool in designing these large scale events. A little 60kHz rumble can go a long way in selling size.&#xD;&#xA;&#xD;&#xA;Have you looked at library recordings of trains (rumble, wheel screeches), or car crashes? Building demolition? Those could make for nice material as well.&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;  [1]: http://movieclips.com/KoVgC-cast-away-movie-plane-crash/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18253" PostHistoryTypeId="2" PostId="11056" RevisionGUID="94563919-85b8-42bf-9922-bc0dc404bb6b" CreationDate="2011-10-24T17:35:09.170" UserId="315" Text="It is fairly common for a production mixer to deliver a mono mixdown of tracks to the editor as a temp guide track for picture cutting purposes. Especially if you're recording say more than 4 channels of production sound on set. Multiple channel production sound can easily become unwieldy in the Avid, and some picture editors (depending on working style) don't like to deal with 8 tracks of dialog in their timeline (which can easily become 16 if they like to overlap dialog). This method of workflow is usually determined on a show to show basis.&#xD;&#xA;&#xD;&#xA;The sound department receives the multichannel files and conforms them to the mono mixdown using tools such as Conformalizer, Virtual Katy, or Titan. This requires an EDL from the picture department and proper timecode stamps from the production mixer to work. Then the dialog editors can work their magic using split tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="18254" PostHistoryTypeId="5" PostId="11056" RevisionGUID="b8f7d9dc-f3f3-4518-97ac-6d3a5b3980bf" CreationDate="2011-10-24T17:40:27.570" UserId="315" Comment="added 277 characters in body; added 75 characters in body; added 30 characters in body" Text="It is fairly common for a production mixer to deliver a mono mixdown of tracks to the editor as a temp guide track for picture cutting purposes. Especially if you're recording say more than 4 channels of production sound on set. Multiple channel production sound can easily become unwieldy in the Avid, and some picture editors (depending on working style) don't like to deal with 8 tracks of dialog in their timeline (which can easily become 16 if they like to overlap dialog). This method of workflow is usually determined on a show to show basis.&#xD;&#xA;&#xD;&#xA;The sound department receives the multichannel files and conforms them to the mono mixdown cut by the picture department using tools such as Conformalizer, Virtual Katy, or Titan. Sometimes even just by hand syncing (which I've done and is a total pain). This requires an EDL from the picture department and proper timecode stamps from the production mixer to work. Then the dialog editors can work their magic using split tracks. &#xD;&#xA;&#xD;&#xA;This process can be easily messed up if the tracks aren't properly labeled, timestamped, imported incorrectly; so it's very important to run a test between the picture and sound department with one scene early in the process to make sure everything is working correctly.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18256" PostHistoryTypeId="2" PostId="11057" RevisionGUID="917dfd46-91fb-4c15-8a1d-2bb6c6cb6698" CreationDate="2011-10-24T19:33:15.380" UserId="6669" Text="Seconded on the details selling it. I had to design a bunch of train car impacts a while back and ran into similar problems with getting things to sound massive. Don't think that your pitch-shifted layers will make the entire sound - they can provide some low body, but all that high tinkly, full-res stuff is also really important.&#xD;&#xA;&#xD;&#xA;My quick tips in addition to what's been said here:&#xD;&#xA;&#xD;&#xA;1) Picture what's actually happening to the plane in slow motion and map it out if it will help you structure your crash. Like, maybe first there's the plane hitting water, so you need a large splash. Then there's the metal of the plane crumpling - deep metal stresses and groans, maybe some high creaks or write tensiony snaps. Glass breaks. A fuel tank explodes. Bubbles rush up as some stuff starts to sink down, etc.&#xD;&#xA;&#xD;&#xA;2) Don't be afraid to use some distortion. Hearing a real impact like that close up would probably deafen you instantly, so go big.&#xD;&#xA;&#xD;&#xA;3) Jump from as quiet as you possibly can to as loud as you possibly can as quickly as you possibly can. There's no better way to make something sound loud than using all the dynamic range you have and making it as transient as possible. Once that initial 'hit' is done, you can bring up a bunch of squashed/limited layers, but I wouldn't bother compressing the initial hit at all. Maybe have the first part of the impact be the bass so that people's ears get a chance to warm up a tiny bit before the real nasty hits come in though.&#xD;&#xA;&#xD;&#xA;4) Kinda goes without saying, but try to hit the full frequency spectrum - sub basses, low groans, low mid explosions, mid creaks and tears, mid high creepy dry ice-y sort of metal sounds, high glass. That'll give you even more perceived loudness and make sure that no matter what else is going on in the mix (e.g. music), there are the necessary layers available to the mixer to make your hit sound as big as possible at that moment.&#xD;&#xA;&#xD;&#xA;Impacts that long are kinda like doing a mini mix session - you will want to be constantly taking your audience's ears from one detail to another in very short amounts of time. So choose your details and make sure to give them space to speak, one by one.&#xD;&#xA;&#xD;&#xA;Post up when you're done! Would love to hear it." ContentLicense="CC BY-SA 3.0" />
  <row Id="18257" PostHistoryTypeId="2" PostId="11058" RevisionGUID="9b1b2145-59b6-47f2-9d12-acf128797849" CreationDate="2011-10-24T19:42:15.290" UserId="1266" Text="Maybe here....&#xD;&#xA;http://www.juliantreasure.com/Julian_Treasure/Home.html&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18258" PostHistoryTypeId="5" PostId="11056" RevisionGUID="e40221dd-50a5-411f-942d-192b59222662" CreationDate="2011-10-24T20:28:28.703" UserId="315" Comment="added 3 characters in body" Text="It is fairly common for a production mixer to deliver a mono mixdown of tracks to the editor as a temp guide track for picture cutting purposes. Especially if you're recording say more than 4 channels of production sound on set. Multiple channel production sound can easily become unwieldy in the Avid, and some picture editors (depending on working style) don't like to deal with 8 tracks of dialog in their timeline (which can easily become 16 if they like to overlap dialog). This method of workflow is usually determined on a show to show basis.&#xD;&#xA;&#xD;&#xA;The sound department receives the multichannel files and conforms them to the mono mixdown cut by the picture department using tools such as Conformalizer, Virtual Katy, or Titan. Sometimes even just by hand syncing (which I've done and is a total pain). This requires an EDL from the picture department and proper timecode stamps from the production mixer to work. Then the dialog editors can work their magic using split tracks. &#xD;&#xA;&#xD;&#xA;This process can be easily messed up if the tracks aren't properly labeled, timestamped, or imported incorrectly; so it's very important to run a test between the picture and sound department with one scene early in the process to make sure everything is working correctly.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18259" PostHistoryTypeId="2" PostId="11059" RevisionGUID="40872110-8a01-4021-a179-fb1a97853a48" CreationDate="2011-10-24T21:19:07.623" UserId="3083" Text="The distance between the human ears is half a wavelength of a sound having a frequency of 700Hz. At frequencies appreciably below this, the head offers no obstacle to sound waves, and so the amplitude of sound reaching the two ears is virtually identical11, 17-19.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Does anybody NOT spatialize lower frequencies?  Seems kind of strange." ContentLicense="CC BY-SA 3.0" />
  <row Id="18260" PostHistoryTypeId="1" PostId="11059" RevisionGUID="40872110-8a01-4021-a179-fb1a97853a48" CreationDate="2011-10-24T21:19:07.623" UserId="3083" Text="Panning of frequencies under 700 hz" ContentLicense="CC BY-SA 3.0" />
  <row Id="18261" PostHistoryTypeId="3" PostId="11059" RevisionGUID="40872110-8a01-4021-a179-fb1a97853a48" CreationDate="2011-10-24T21:19:07.623" UserId="3083" Text="&lt;psychoacoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18262" PostHistoryTypeId="2" PostId="11060" RevisionGUID="0a493130-1355-4428-a2f2-7c59e905efcc" CreationDate="2011-10-24T22:19:56.590" UserId="432" Text="You mean to tell me that you think it's not possible to localize a saxophone or a trumpet? How about a flute? 700Hz is right around F5 on the musical scale; near the upper registers of the former two, and right in the middle of the latter.&#xD;&#xA;&#xD;&#xA;There is far more that goes into acoustic localization than merely wavelength. One of the biggest factors is timing, which the human ear is extremely sensitive to. Let's not forget how reflections and reverberation contribute to that element of auditory perception. The body is also **extremely** sensitive to pressure acting upon it, and acoustic sound is nothing more than cycles of pressure changes around us. Let's not forget harmonics, because pure tones don't exist oustide of an electrical/digital environment...including after they go through transduction to be turned into acoustic waves.&#xD;&#xA;&#xD;&#xA;While it's true that localization becomes more difficult as the frequency of a sound is lowered, you need to get WAY down there for there to be an appreciable effect. Maybe this would be true in an anechoic chamber, but this question is a little too narrow minded in it's consideration.&#xD;&#xA;&#xD;&#xA;I don't mean to sound condescending in this response, but, practically speaking, this is a silly idea." ContentLicense="CC BY-SA 3.0" />
  <row Id="18263" PostHistoryTypeId="2" PostId="11061" RevisionGUID="70a582a6-9200-42a7-a0cd-4168cb205aa5" CreationDate="2011-10-24T22:42:26.277" UserId="936" Text="As it happens I do nearly all of the composition/sound design for Julian Treasure's The Sound Agency, happy to answer any questions you might have.&#xD;&#xA;&#xD;&#xA;We've created soundscapes for banks, hotels, shops and even a small town. A lot of what I've done with Julian is designing ambient music for a specific space and we often install the speaker systems as well.&#xD;&#xA;&#xD;&#xA;Is there something specific you're interested in?&#xD;&#xA;&#xD;&#xA;Paul Weir" ContentLicense="CC BY-SA 3.0" />
  <row Id="18264" PostHistoryTypeId="2" PostId="11062" RevisionGUID="318ad5c6-419d-42a3-97bc-d55f83ba6010" CreationDate="2011-10-24T23:42:32.183" UserId="863" Text="You can really look at it in different ways. One is as Paul and Chris have highlighted. It can be used commercially for marketing and business purposes, but I have a feeling you're looking at it differently? &#xD;&#xA;&#xD;&#xA;I studied Sound Art and my dissertation was about how sound and noise has dictated the way we live in our world. An example... Thames Barrier park in London is built with acoustics in mind, the park is raised above traffic to deflect harsh sounds and has fountains at the entrance to mask traffic with white noise. http://static.london.gov.uk/mayor/strategies/noise/docs/urbandes/14thamesbarrierpark.pdf&#xD;&#xA;&#xD;&#xA;There are also schools in London which have been redeveloped with noise in mind as well as it being aesthetically pleasing to the eye/brain. There is even proof that it has improved grades. Here's more info on some projects in England which have done this. http://static.london.gov.uk/mayor/strategies/noise/&#xD;&#xA;&#xD;&#xA;Acoustics make a massive change to how we perceive our spaces, you only need to walk into a huge cathedral to understand. &#xD;&#xA;&#xD;&#xA;You don't have to make sound for it to be sound art/design :)&#xD;&#xA;&#xD;&#xA;Also check out some sound sculptures which are purpose made for where they have been placed.  Singing, Ringing Tree by Tonkin Liu, http://youtu.be/Ve6PTrlLGOU A sound sculpture that the wind plays. Eerie sounds played by the executed witches that once inhabited the area? :P" ContentLicense="CC BY-SA 3.0" />
  <row Id="18265" PostHistoryTypeId="2" PostId="11063" RevisionGUID="d074524e-8e9f-49f9-bc3b-3f6945bd2115" CreationDate="2011-10-25T00:10:51.430" UserId="863" Text="Layer up the impact, distortion as Luca said would sound great as well as a sub bass going under it.&#xD;&#xA;&#xD;&#xA;I thought the turbines on the plane would pitch up not down as they are working harder?&#xD;&#xA;&#xD;&#xA;contact mics/close mic on big sheets of metal, get the creeks yourself, go to a junk yard, I'm sure they won't mind. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18266" PostHistoryTypeId="2" PostId="11064" RevisionGUID="599b33ba-bde3-4fde-88a8-0a8ff4377a49" CreationDate="2011-10-25T00:14:02.137" UserId="558" Text="Yes, an excellent question. &#xD;&#xA;&#xD;&#xA;A lot of game dialog is driven by schedules (unfortunately).  Any change to the standard VO process (large diaphram mic in a recording booth) that might threaten a schedule is hard to shepherd thru.  Improvements are the result of individual audio directors or VO directors pushing for them.&#xD;&#xA;&#xD;&#xA;The results of alternative ways of capturing world dialog are quite startling.  5 years ago I had the pleasure of seeing an A - B type demo given by Charles Deenan of dialog recorded for a basketball video game ( NBA Street think?).  Same dialog, same implementation, 1st batch recorded in booth, 2nd on a basketball court with Lavs and the actors actually moving around.  There was no question that the fidelity of the former was better, but there was also no question that the effect of the latter on the feel of the game was head and shoulders above the former.&#xD;&#xA;&#xD;&#xA;Over the next couple of years I intended to incorporate this lesson in the battle chatter of some games, but never had a schedule that permitted it.  This kind of work complicates the scheduling of actors, the list of gear required, the recording process, and the editing process, but i believe is worth it." ContentLicense="CC BY-SA 3.0" />
  <row Id="18267" PostHistoryTypeId="2" PostId="11065" RevisionGUID="0f222e2a-5aa0-42d2-a2c1-4c80dbdf560d" CreationDate="2011-10-25T04:17:12.520" UserId="194" Text="we recorded the dialogue for brothers in arms 2 and 3, as well as borderlands, duke nukem and dragonball z budokai 3.&#xD;&#xA;&#xD;&#xA;In each of those cases we ran a 2 mic setup, but that was to handle main challenge of keeping the yelling and talking/whispering phrases in line with one another and working well.&#xD;&#xA;&#xD;&#xA;Its my experience that perspective recording would dramatically increase the deliverables of voice files (since you'd need close and distant perspectives across the tens of thousands of files that get played back in game) and would extend and complicate the mixing and sound programming process.&#xD;&#xA;&#xD;&#xA;This is not to say that something like that wouldn't be worth the effort, just to say that the effort towards voice cutting, editing and programming comes on the tail end of the development process so funds and time tend to be winding down at that point. &#xD;&#xA;&#xD;&#xA;In most cases, perspective mixing just has to happen in the programming stage due to outside constraints." ContentLicense="CC BY-SA 3.0" />
  <row Id="18268" PostHistoryTypeId="2" PostId="11066" RevisionGUID="5d67ac31-0d1c-4175-ab41-f107b797c998" CreationDate="2011-10-25T05:02:15.620" UserId="407" Text="Another issue in why a lot of games choose the close mic perspective is Localization. Localization is generally outsourced to different recording studios depending on language, and using multiple mic set up in the english version complicates and could serious compromise the quality of the localized versions. In this respect it is much safer to record the english at one fixed perspective and then let the game engine add the feeling of distance.&#xD;&#xA;Having said that we are currently going down the multi mic/perspective road, because we are trying to help the animation team jump the uncanny valley. As the fidelity of the visuals increase I think the approach and complexity of the recording requirements for dialogue will also change." ContentLicense="CC BY-SA 3.0" />
  <row Id="18270" PostHistoryTypeId="2" PostId="11068" RevisionGUID="019d7ec2-2fde-472e-a581-4078d213fb93" CreationDate="2011-10-25T06:29:56.560" UserId="3089" Text="Hi !&#xD;&#xA;&#xD;&#xA;Maybe this question is a little out of place here, but this forum is maybe a way to get out of established trails... I'm studying sound design in France in an art school, along with Ircam in Paris. My profile is a little unusual, as I have an academic musical training, and did quite a lot of experimental music, while studying musicology. Currently, we have to find a few months training in a lab, school or sound design agency. I'm looking for a place where I can really get to learn, especially about interaction (with max-msp for instance), synthesis (physical model and electronics). I'm especially interested in ergonomy, scenography, architecture, sound/video, ecology... not really into video games or commercials. Anyone has suggestions ?&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;Coralie" ContentLicense="CC BY-SA 3.0" />
  <row Id="18271" PostHistoryTypeId="1" PostId="11068" RevisionGUID="019d7ec2-2fde-472e-a581-4078d213fb93" CreationDate="2011-10-25T06:29:56.560" UserId="3089" Text="looking for training / sound design studies" ContentLicense="CC BY-SA 3.0" />
  <row Id="18272" PostHistoryTypeId="3" PostId="11068" RevisionGUID="019d7ec2-2fde-472e-a581-4078d213fb93" CreationDate="2011-10-25T06:29:56.560" UserId="3089" Text="&lt;studies&gt;&lt;training&gt;&lt;career&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18274" PostHistoryTypeId="2" PostId="11069" RevisionGUID="d3f9b0b0-061c-4294-b58e-6efeebe93931" CreationDate="2011-10-25T09:29:43.667" UserId="37" Text="Shoot Andy Farnell an email. You never know what might happen.&#xD;&#xA;&#xD;&#xA;http://obiwannabe.co.uk/html/author/author.html&#xD;&#xA;&#xD;&#xA;and check out http://groups.yahoo.com/group/sound_design/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18275" PostHistoryTypeId="2" PostId="11070" RevisionGUID="4fb6e227-17c9-4cdd-9e07-601041204f83" CreationDate="2011-10-25T10:12:07.037" UserId="826" Text="This is a student short i recorded sound for and now got to do the sound post. What do you guys think?&#xD;&#xA;&#xD;&#xA;http://vimeo.com/31074340&#xD;&#xA;password is socialsounddesign" ContentLicense="CC BY-SA 3.0" />
  <row Id="18276" PostHistoryTypeId="1" PostId="11070" RevisionGUID="4fb6e227-17c9-4cdd-9e07-601041204f83" CreationDate="2011-10-25T10:12:07.037" UserId="826" Text="Hello, want to hear some critique of my latest work." ContentLicense="CC BY-SA 3.0" />
  <row Id="18277" PostHistoryTypeId="3" PostId="11070" RevisionGUID="4fb6e227-17c9-4cdd-9e07-601041204f83" CreationDate="2011-10-25T10:12:07.037" UserId="826" Text="&lt;critique&gt;&lt;project&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18278" PostHistoryTypeId="2" PostId="11071" RevisionGUID="d99716f6-3854-4929-9716-0beb969ecc78" CreationDate="2011-10-25T14:13:28.957" UserId="2913" Text="I think it's generally accepted that frequencies sub ~80Hz are difficult to localise, hence the need for only one subwoofer in a consumer 5.1 setup. As Shaun states above though, there's a lot of clever stuff that the human ear / brain does to localise audio, so I think it'd be strange not to pan low frequency material." ContentLicense="CC BY-SA 3.0" />
  <row Id="18280" PostHistoryTypeId="2" PostId="11073" RevisionGUID="56815014-cc2b-4240-bf5c-bd39307993e0" CreationDate="2011-10-25T16:20:21.043" UserId="842" Text="In crashes and such, the impact and explosions are not even close to as important as the immediate aftermath with debris and material stress! You can make the fattest, most bad-ass explosion in the world, and the audience still just think it's a pretty cool sound, but by adding collapsing metal, sprinkles of debris, bursting plastic, chattering glass and all kinds of really unhealthy sounds you sell the shit has really hit the fan in 1000Mph!&#xD;&#xA;&#xD;&#xA;In explosions, dynamite is very often a best friend. TNT and such burns with an extremely high speed that tends to be very difficult to do something with (at least what I think right now), but dynamite has a nice and threatening release with nice low-end I've found very useful in many ways. Also, the low-end is vital for the scale, but actually not that threatening. Imho the best way to enhance the shitstorm-effect in an explosion, other than loads of debris, is to use the range around 2KHz, a very physical range for the human ear, and a very careful raise somewhere around the centered bass, with the sub-bass (not to be confused with LFE, though it will mostly come from there) as just an enhancer.&#xD;&#xA;&#xD;&#xA;I'm not a big fan of hammock shaped EQ'ing, especially not in explosions and impacts..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18281" PostHistoryTypeId="2" PostId="11074" RevisionGUID="f3a75bcd-687e-4a0e-8f42-3ae0eeeb4523" CreationDate="2011-10-25T18:17:50.173" UserId="863" Text="The film froze for me at 3.54 but its really good work on your side. I'd say in the scene with the girl and son you can hear a difference in ambience which could've done with some more noise reduction, I also felt her footsteps were quite loud. Everything else from what I could see was brilliant. Perhaps some of the dialogue was very loud and best to try keep that top end free for something special?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18282" PostHistoryTypeId="6" PostId="11070" RevisionGUID="f2ecdb91-fee5-4dab-8aec-c05de53de7e3" CreationDate="2011-10-25T19:13:27.270" UserId="826" Comment="edited tags" Text="&lt;critique&gt;&lt;project&gt;&lt;feedback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18284" PostHistoryTypeId="2" PostId="11076" RevisionGUID="4b2a29e9-5252-41c3-9074-210d866addb1" CreationDate="2011-10-25T23:19:19.443" UserId="3095" Text="hi guys, i'm hoping someone will be able to help me out.&#xD;&#xA;&#xD;&#xA;i've got a mini series set in 1941 canada and i'm looking for north american vehicles from the 1939 to 1941 range.&#xD;&#xA;&#xD;&#xA;sound effect recordings for cars like (or similar to)...&#xD;&#xA;&#xD;&#xA;cadillac series 62/&#xD;&#xA;Packard 120/&#xD;&#xA;FORD Mercury Club Coupe ; Town Sedan; Marmon-Herrington sedan/ &#xD;&#xA;Chevrolet Master DeLuxe; Convertible Coupe;  Fleetline/&#xD;&#xA;Buick Special Series Touring Sedan/&#xD;&#xA;Chrysler Sedan; Royal/&#xD;&#xA;Plymouth 2door Sedan. &#xD;&#xA;&#xD;&#xA;i've also some *large trucks* and *military vehicles* that i need to find sound for as well.&#xD;&#xA;&#xD;&#xA;i'll only need the usual standard stuff (start, idle, away / in, idle, off / pass bys: gravel &amp; asphalt)&#xD;&#xA;&#xD;&#xA;if there's someone who knows their vintage vehicles i could send some screen shots to, so i can find out what make some of these are, it would help me in tracking down the sounds i'll need.&#xD;&#xA;&#xD;&#xA;if you own recordings, or can point me in the right direction to some sounds, i would really appreciate it.&#xD;&#xA;&#xD;&#xA;cheers for this,&#xD;&#xA;&#xD;&#xA;P.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18285" PostHistoryTypeId="1" PostId="11076" RevisionGUID="4b2a29e9-5252-41c3-9074-210d866addb1" CreationDate="2011-10-25T23:19:19.443" UserId="3095" Text="looking for vehicles 1939-41" ContentLicense="CC BY-SA 3.0" />
  <row Id="18286" PostHistoryTypeId="3" PostId="11076" RevisionGUID="4b2a29e9-5252-41c3-9074-210d866addb1" CreationDate="2011-10-25T23:19:19.443" UserId="3095" Text="&lt;sound-effects&gt;&lt;sound-libraries&gt;&lt;sfx&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18287" PostHistoryTypeId="2" PostId="11077" RevisionGUID="d231dc8d-ff5f-4004-bf92-3c4f6f4196f8" CreationDate="2011-10-25T23:58:00.123" UserId="29" Text="Has anyone ever set up a semi-Jecklin-Disc-style stereo rig with two omni lavalieres with sound-absorbing material in between? &#xD;&#xA;&#xD;&#xA;I suspect that a lot of us are perfectly aware of binaural recording with two lavs, often worn in or near the ears, or with a Neumann Fritz head. But I'm mulling a semi-stealth rig for stereo ambiences that captures stereo, not binaural, via a Jecklin-Disc-style baffle between the omni lavs, housed in a Rycote windjammer or even baby ball gag, if the Jecklin-esque absorber would fit. (Not unlike many [remote-capsule-mic rigs][1] set up in windjammers or blimps, but those are cardioid small-condenser mics set up for ORTF, not omni lavs.)&#xD;&#xA;&#xD;&#xA;Have you ever tried this, or seen/read accounts of something similar?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://thesoundmyheadmakes.blogspot.com/2011/10/recording-of-occupy-dallas.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="18288" PostHistoryTypeId="1" PostId="11077" RevisionGUID="d231dc8d-ff5f-4004-bf92-3c4f6f4196f8" CreationDate="2011-10-25T23:58:00.123" UserId="29" Text="Jecklin Stereo with Lavs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18289" PostHistoryTypeId="3" PostId="11077" RevisionGUID="d231dc8d-ff5f-4004-bf92-3c4f6f4196f8" CreationDate="2011-10-25T23:58:00.123" UserId="29" Text="&lt;microphone&gt;&lt;lavalier&gt;&lt;stereo&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18290" PostHistoryTypeId="2" PostId="11078" RevisionGUID="5747611f-9d35-4cf6-a397-dcad211eccad" CreationDate="2011-10-26T00:22:50.987" UserId="1228" Text="For the military trucks try the Deuce and a Half from Soundstorm." ContentLicense="CC BY-SA 3.0" />
  <row Id="18291" PostHistoryTypeId="2" PostId="11079" RevisionGUID="ddda0c41-4991-4934-b1df-5d0a1d854c37" CreationDate="2011-10-26T00:27:06.237" UserId="1266" Text="When you are recording an interview, do you ride the levels?  For example if someone has a dynamic voice do you ride the levels.  Do you anticipate riding the levels if someone is a loud speaker as they start a sentence?  How much of this goes on if any or should you keep the knobs in one spot.  This is for an office interview with no outside noise except the AC." ContentLicense="CC BY-SA 3.0" />
  <row Id="18292" PostHistoryTypeId="1" PostId="11079" RevisionGUID="ddda0c41-4991-4934-b1df-5d0a1d854c37" CreationDate="2011-10-26T00:27:06.237" UserId="1266" Text="Do you ride the levels during an interview?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18293" PostHistoryTypeId="3" PostId="11079" RevisionGUID="ddda0c41-4991-4934-b1df-5d0a1d854c37" CreationDate="2011-10-26T00:27:06.237" UserId="1266" Text="&lt;recording&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18294" PostHistoryTypeId="2" PostId="11080" RevisionGUID="e9bb3697-6973-4458-b985-d9feca5e137e" CreationDate="2011-10-26T01:23:03.117" UserId="3096" Text="I mostly keep it in one spot. I just make sure to have enough headroom. :)&#xD;&#xA;&#xD;&#xA;An exception would be when the speaker generally has gotten louder (maybe got more excited?) but on a per sentence basis, it's much more harder to anticipate. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18295" PostHistoryTypeId="2" PostId="11081" RevisionGUID="1b202e8b-5f3f-4194-a7f5-0ecae5a8e4de" CreationDate="2011-10-26T01:35:36.567" UserId="432" Text="I try not to. It makes things more difficult in post. The closest I'll get is a slight tweak or two, between sentences or while the opposite person is talking, because I find that people speak differently when they actually start the interview than they do when checking the mic. Those are very rare occasions.&#xD;&#xA;&#xD;&#xA;I make sure to pay attention to what they sound like speaking before I approach them about putting on a lav (I always use one as backup). I then listen for differences during level checks, and try to predict if they'll be louder or softer once they've settled in.&#xD;&#xA;&#xD;&#xA;Record at 24 bit, with reasonable levels, and you should be fine." ContentLicense="CC BY-SA 3.0" />
  <row Id="18296" PostHistoryTypeId="2" PostId="11082" RevisionGUID="e11065a4-a078-4cb4-89ee-a880e2b35064" CreationDate="2011-10-26T01:37:21.403" UserId="1286" Text="Loud hissing in the outdoor scenes... Very noticeable when the sound cuts out for the titles. Why not ADR?&#xD;&#xA;&#xD;&#xA;Getting a weird click/pop at 1:05-1:06 or so.&#xD;&#xA;&#xD;&#xA;Seems to be a lot of low-end on some things here and there, like some of the footsteps in the house and the bumping around at 4:03.&#xD;&#xA;&#xD;&#xA;Otherwise sounds fantastic." ContentLicense="CC BY-SA 3.0" />
  <row Id="18297" PostHistoryTypeId="2" PostId="11083" RevisionGUID="8c2c48c7-48bd-42f6-b8fb-d5501f31d1f2" CreationDate="2011-10-26T04:07:13.497" UserId="842" Text="I never ever ride faders during session, though I do sometimes tweak it down if it shows to be way hotter than expected to begin with and will give a more sustained dist on several occasions during the take. In that case, often due to very spontaneous actors (which may be ever worse for your ears...), the take is ruined anyway so I might as well make the best possible of whats left of it.&#xD;&#xA;&#xD;&#xA;In the Dark Ages (IE when DAT was something positive), it was often a real challenge to keep the voices above noisefloor but below hard clipping on dynamic actors, often including heavy compression which I've never really liked during recording anyway, but as we do have sweet sweet 24bit nowadays, it's MUCH better to keep it lower rather than higher and keep everything absolutely clean! Everything one can do during recording, can be made in post, with the difference that you can undo it there. Except keeping the material in focus, or anything else related to micking techniques, of course :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18298" PostHistoryTypeId="2" PostId="11084" RevisionGUID="9979cda3-4a0f-451a-848d-815cc1af165b" CreationDate="2011-10-26T04:30:28.380" UserId="3098" Text="I have protools 10, running MacBook Pro with OS x 10.6.8 core i7 2.66GHz, Focusrite Saffire Pro 40, ProjectMix i/o, ART Digital MPA ii. I was deep into a session things started slowing down, so i saved and closed PT10 to open back up and now I get OS Compatibility Issues, no Support from Avid so far. But this is F***ing bullshit. I am about to have to uninstall PT10 and Reinstall PT9 or maybe better yet take it back to good ole stable PT 7.4.&#xD;&#xA;&#xD;&#xA;UPGRADE TO LION IF YOU ARE GOING TO TRY AND RUN PROTOOLS 10.&#xD;&#xA;&#xD;&#xA;PT 10 such-soon-therafter birth is due to PT9 compatibility with mac's new OS; Lion." ContentLicense="CC BY-SA 3.0" />
  <row Id="18299" PostHistoryTypeId="2" PostId="11085" RevisionGUID="0241b828-6c3d-4dd6-9c5d-edff167cee57" CreationDate="2011-10-26T07:00:30.353" UserId="208" Text="Hi all&#xD;&#xA;&#xD;&#xA;I was hoping some of you could tell me the rules or laws when selling ambience recordings from trainstations, beaches, playing grounds, busy city streets, or anywhere else where we hear people talking to each other, clearly.&#xD;&#xA;&#xD;&#xA;Thanks alot:)&#xD;&#xA;&#xD;&#xA;Mikkel&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18300" PostHistoryTypeId="1" PostId="11085" RevisionGUID="0241b828-6c3d-4dd6-9c5d-edff167cee57" CreationDate="2011-10-26T07:00:30.353" UserId="208" Text="Selling sound fx recorded in public places." ContentLicense="CC BY-SA 3.0" />
  <row Id="18301" PostHistoryTypeId="3" PostId="11085" RevisionGUID="0241b828-6c3d-4dd6-9c5d-edff167cee57" CreationDate="2011-10-26T07:00:30.353" UserId="208" Text="&lt;ambience&gt;&lt;rule&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18302" PostHistoryTypeId="2" PostId="11086" RevisionGUID="edd2c1fd-7404-48af-bbac-c6b143c06442" CreationDate="2011-10-26T08:22:13.427" UserId="2498" Text="Shaun's answer looks pretty good, but just to pick on you a bit more: I don't understand your reasoning about the size of someone's head vs the wavelength of sound-waves. &#xD;&#xA;&#xD;&#xA;I expect it's related to misunderstanding the nature of sound-waves as being something that looks like a sine wave, instead of being a series of pulses?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18303" PostHistoryTypeId="2" PostId="11087" RevisionGUID="e53a04e8-dec1-45ff-a89f-0a7d04ce10ad" CreationDate="2011-10-26T08:22:21.687" UserId="6432" Text="I'd be interested to hear the results from this if you do try. &#xD;&#xA;&#xD;&#xA;The main question which sprang to mind is how small will your disc have to be, and how would this smaller disc affect the recording? It seems that most discs are 30 - 35cm and still require spacing between the omni's. Perhaps if you needed it smaller you could emphasise the effect by not having a flat disc, but one which is slightly parabolic on both sides or maybe even slightly ear shaped. &#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="18304" PostHistoryTypeId="2" PostId="11088" RevisionGUID="d7073ae0-5b4a-4a8b-b16a-406f799c9458" CreationDate="2011-10-26T08:31:21.277" UserId="37" Text="Are there official, simplified, rules on (specifically) sound recording?&#xD;&#xA;&#xD;&#xA;There are different laws on recording, depending on where you live.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;In the meantime: http://en.wikipedia.org/wiki/Legality_of_recording_by_civilians and http://www.sirimo.co.uk/2009/05/14/uk-photographers-rights-v2/ , and generally treat the topic as [hairy][1] (though the photographers' rights are nice, recording in the time-domain is much more complicated)&#xD;&#xA;&#xD;&#xA;Privacy is an issue. Additional copyright rules may apply to ringtones, sounds as part of a product (coin-op games), public transport announcements, and so on. Finally, http://www.mediacollege.com/downloads/forms/talent-release.html .&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://legallad.quickanddirtytips.com/the-legality-of-recording-conversations.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="18305" PostHistoryTypeId="2" PostId="11089" RevisionGUID="fa864279-8975-4d99-91bb-24be8487c657" CreationDate="2011-10-26T11:59:00.080" UserId="1011" Text="Hi pepe,&#xD;&#xA;&#xD;&#xA;While at Sounddogs.com some years ago I mastered the Masters Workshop vintage car collection for the in-house library.&#xD;&#xA;&#xD;&#xA;They have a 34 Rolls, 39 Packard and more.  Not perfect matches but perhaps useful.&#xD;&#xA;&#xD;&#xA;The recordings are older (DAT), but they were recorded exceptionally well.  Masters Workshop (a post facility in Toronto) had a recordist (Jamie, I think?) who was very skilled at recording cars.  The recordings are clean and thorough.  They are I believe 48/16.&#xD;&#xA;&#xD;&#xA;I cut them by perspective and also maneuver (i.e. up, away, by) so they are organized and should be easy to cut in.&#xD;&#xA;&#xD;&#xA;Here's the link to the library on Sound Dogs.  There are a few pages you'll have to flip through:&#xD;&#xA;http://www.sounddogs.com/searchresults.asp?Keyword=workshop&#xD;&#xA;&#xD;&#xA;If you are thinking about buying, contact Rob Nokes, Sounddogs.com's owner, directly.  He assembles custom libraries and will likely give you a break on price.&#xD;&#xA;&#xD;&#xA;Paul Virostek&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18306" PostHistoryTypeId="2" PostId="11090" RevisionGUID="79a1d228-12fe-4642-befd-8208e1d31be6" CreationDate="2011-10-26T13:57:20.923" UserId="7642" Text="Well If you place it within a standard zepp and rycote it will hardly be very stealthy will it :-)&#xD;&#xA;Considered doing a similar thing as well but havent found the time to actually try it yet." ContentLicense="CC BY-SA 3.0" />
  <row Id="18307" PostHistoryTypeId="2" PostId="11091" RevisionGUID="5683509d-0000-4200-9763-f564e9648dfb" CreationDate="2011-10-26T14:29:17.417" UserId="234" Text="For a student film, excellent overall, but a few things that could stand be improved (mostly from a mix perspective).&#xD;&#xA;&#xD;&#xA;At the beginning, when the younger attendant is doing whatever business he's doing on the ground by the bike, it seems there's no sound for it. His movements are quite big, and he's obviously doing SOMETHING, so there should be some sound associated with it. If there is, it needs to come up in the mix&#xD;&#xA;&#xD;&#xA;Overall the mix is inconsistent in terms of levels - Dialog lines that pop out, whole scenes that are considerably louder than those before and after (when we cut to the ext. of the van after the girl runs out for example), and as @mattdesl said there's a fair amount of low end that seems to come out of nowhere on some of the dialog and fx. In a mix, CONSISTENCY, is king. It's far better to make a full line sound thin so it matches the line next to it, then to try and make the thin line sound full (which never really works). Did you mix in a calibrated room? Learning how to calibrate a room can make a HUGE difference in your mixes. GO to the DUC or gearslutz.com for some excellent tutorials. Even inexpensive speakers can do a good job, when properly set-up.&#xD;&#xA;&#xD;&#xA;I did like the sound design itself - it felt&quot;right&quot; for the scenes and the film - I REALLY liked the stereo rain ambience when he's in the truck on the radio, actually all the ambiences were nice (I'm a big BG guy). I also liked the sound of the Dialog from other rooms - very well done there, whether production or your work.&#xD;&#xA;&#xD;&#xA;Good job!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18308" PostHistoryTypeId="5" PostId="11088" RevisionGUID="afdaf0f2-55d0-4078-bfbe-12e7e7134924" CreationDate="2011-10-26T15:27:13.300" UserId="37" Comment="added 14 characters in body" Text="Are there official, simplified, rules on (specifically) sound recording?&#xD;&#xA;&#xD;&#xA;Different laws apply on recording, depending on where you &lt;del&gt;live&lt;/del&gt; record.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;In the meantime: http://en.wikipedia.org/wiki/Legality_of_recording_by_civilians and http://www.sirimo.co.uk/2009/05/14/uk-photographers-rights-v2/ , and generally treat the topic as [hairy][1] (though the photographers' rights are nice, recording in the time-domain is much more complicated)&#xD;&#xA;&#xD;&#xA;Privacy is an issue. Additional copyright rules may apply to ringtones, sounds as part of a product (coin-op games), public transport announcements, and so on. Finally, http://www.mediacollege.com/downloads/forms/talent-release.html .&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://legallad.quickanddirtytips.com/the-legality-of-recording-conversations.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="18309" PostHistoryTypeId="2" PostId="11092" RevisionGUID="00ce8534-b6b0-42f8-80db-fb7ac3896d3c" CreationDate="2011-10-26T20:39:10.513" UserId="1228" Text="This is obviously a touchy subject, but one of those things that unlike taking a photo, a recorded sound can be totally disassociated with where and when it was recorded when taken out of physical context.  So in short, I don't think there's anything to be concerned about as long as you're not purposely stalking or being a voyeur.  And when you have many layers of BGz in the edit, its nearly impossible to pick something out.&#xD;&#xA;&#xD;&#xA;That said, I have a few rules I like to follow.&#xD;&#xA;&#xD;&#xA;I personally make it a point to, as a sort of &quot;sound effects recordist's code of conduct&quot;, to scramble or erase any conversation &quot;callouts&quot; which blatantly stand out in a crowd/ambience recording and are of private nature.  If I'm recording and somebody notices or asks, I reassure them of the above and all  has been fine.  When in doubt, remove it.  This is why I try to record 15+ minutes in people-heavy locations.&#xD;&#xA;&#xD;&#xA;The other is I obliterate all brand names where possible.  Rick's book make a valid point on this subject, one of very the few items in his book I actually agree with.  Because if a walla track found its way into a film and it had the audible word &quot;I hate this X,Y,Z place&quot; or &quot;z,y,z place sucks&quot;, you could be slapped with a defamation lawsuit.  Probable?  Not likely, but it's best to be safe.  This is where I roll up my dialogue editorial sleeves and tweak any callout of this nature that features a brand name and either remove the callout, or tweak it so it says &quot;That pizza&quot; versus &quot;That Dominos pizza&quot; or something of that ilk.&#xD;&#xA;&#xD;&#xA;I do the same thing when using cop radios, scramble them all up, because you never know the codes (except I've memorized that a 419 is LVPD for dead body/homicide thanks to CSI).  Since every city has it's own codes and such, the last thing you'd want to have happen is during some sort of comedy scene have a code in the background that somebody recognizes as a code for rape in progress." ContentLicense="CC BY-SA 3.0" />
  <row Id="18310" PostHistoryTypeId="2" PostId="11093" RevisionGUID="c4313b0d-f62a-4e7f-abe8-98e020753432" CreationDate="2011-10-27T01:36:27.807" UserId="3077" Text="Yes, PT 10 does NOT run good on Snow Leopard. I updated to lion, reinstalled 10, found that i had a couple plugins i had to update like. Flux Verb Session will not run on 10 till you update to the latest version. It crashes PT at loading plugins stage. I am stable and running strong with PT 10 in OSX Lion now. I have most all plugins and they are all there and running well, so if anyone is wondering about plugins in lion with PT10 , Waves complete, Native Instruments, Rob Papen, Kontakt 4 and 5, Linplug, DSP, PSP, iZotope, Spectrasonics... are all running fine. I am posting that info cuz i had that question and noone could answer it for me. Just remember to do a safe uninstall of 9 or 8 or you will have to reinstall all your plugins. Note*** Nexus 2 runs fine but does need an update that is not available yet by refx. The GUI looks a little funny on my system but WORKS fine. Hope this helps:-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18311" PostHistoryTypeId="5" PostId="11093" RevisionGUID="fee3559a-7a29-4b3a-809d-598d8b45fa49" CreationDate="2011-10-27T01:41:57.790" UserId="3077" Comment="added 73 characters in body; added 35 characters in body" Text="Yes, PT 10 does NOT run good on Snow Leopard. I updated to lion, reinstalled 10, found that i had a couple plugins i had to update like. Flux Verb Session will not run on 10 till you update to the latest version. It crashes PT at loading plugins stage. I am stable and running strong with PT 10 in OSX Lion now. I have most all plugins and they are all there and running well, so if anyone is wondering about plugins in lion with PT10 , Waves complete, Native Instruments, Rob Papen, Kontakt 4 and 5, Linplug, DSP, PSP, iZotope, Spectrasonics... are all running fine. I am posting that info cuz i had that question and noone could answer it for me. Just remember to do a safe uninstall of 9 or 8 or you will have to reinstall all your plugins. Note*** Nexus 2 runs fine but does need an update that is not available yet by refx. The GUI looks a little funny on my system but WORKS fine. Hope this helps:-) I am curious about the 32 bit recording. Once i use it i will post info. BTW Channel strip is a nice plugin" ContentLicense="CC BY-SA 3.0" />
  <row Id="18312" PostHistoryTypeId="2" PostId="11094" RevisionGUID="10ac39cd-8b5b-48bf-85e4-a6137f4d19b1" CreationDate="2011-10-27T09:46:02.817" UserDisplayName="user80" Text="Only to avoid distortion, otherwise I try and keep everything the same." ContentLicense="CC BY-SA 3.0" />
  <row Id="18313" PostHistoryTypeId="2" PostId="11095" RevisionGUID="9a055dfc-12f4-4576-9511-84acd399f948" CreationDate="2011-10-27T16:52:48.420" UserId="6407" Text="Hi Coralie,&#xD;&#xA;&#xD;&#xA;I studied the MSc in Sound Design at the University of Edinburgh and it does exactly all those things you're looking for. It relies heavily on Max-MSP and the academic nature of sound as well as synthesis and sonic art. It has a huge acoustics department who do everything from acoustic data modeling to synthesis modeling of ancient instruments. They're also very interested in sound and architecture. &#xD;&#xA;&#xD;&#xA;ps. Andy Farnell came and taught us one lesson at Edinburgh too. Think he does it annually. Nice guy.  &#xD;&#xA;&#xD;&#xA;pps Love what you guys do at IRCAM! &#xD;&#xA;&#xD;&#xA;http://sd.caad.ed.ac.uk/mscsounddesign/&#xD;&#xA;&#xD;&#xA;http://www.ed.ac.uk/schools-departments/edinburgh-college-art/graduate-school/taughtdegrees/msc-sound-design&#xD;&#xA;&#xD;&#xA;best of luck, &#xD;&#xA;Nicol" ContentLicense="CC BY-SA 3.0" />
  <row Id="18314" PostHistoryTypeId="2" PostId="11096" RevisionGUID="75e12b83-74d5-4a82-a741-13716d832ffc" CreationDate="2011-10-27T16:54:58.670" UserId="6407" Text="This, my friends, tells the whole sorry truth: http://www.youtube.com/watch?v=c38CekaAtfI" ContentLicense="CC BY-SA 3.0" />
  <row Id="18315" PostHistoryTypeId="2" PostId="11097" RevisionGUID="47810e83-f0f0-4405-8c67-40b1cda1d7d5" CreationDate="2011-10-27T19:08:02.807" UserId="3111" Text="I have read all the posts and the one that had the most sway was the 96 bit floating point (Mac) vs. the 64 bit floating point (pc).&#xD;&#xA;&#xD;&#xA;My two cents: I have been using Nuendo 4 for several years now and have gotten some pretty good results. I just purchased Pro Tools 10 and am about to install it on my PC running Windows 7.&#xD;&#xA;&#xD;&#xA;Before I go any further, I would like to comment on the Windows 7 platform. Back when Windows 98 came out, it was a crashy little beach, I hated it. Then XP was released and stability was acheived. As time went on Windows 2000 and Vista came and went while I stayed with XP. I've purchased Windows 7 and found the same contrast in stability between 7 and XP, as I did between XP and 98. &#xD;&#xA;&#xD;&#xA;I also build PC's and if you know which componants to link together, it is possible to build a rock solid system with SSD's and much faster than a mac at 1/8th of the cost, componant for componant.&#xD;&#xA;Some of the componants are made in the USA, some are not. (Note: Intel chips used by Mac are made overseas)&#xD;&#xA; &#xD;&#xA;Everyone in the production or post production industry will say that Mac is the industry standard. You will not see a PC at the show floors, period. You will also lose customers if you don't have a Mac. Portable drives with Mac to PC drivers are a pain.&#xD;&#xA;&#xD;&#xA;I have been sitting in the wings and comparing Native systems, DSP systems, and HD systems. Now Avid has released the HD-X system. My buddy is already into his HD system 40,000.00 and I can see the pain in his face. I think I may make the jump to HD-X which is not that bad, 12,000 - 20,000 with 4X the processing power, new interfaces 750.00, and a MAC 12,500. All my preamps are boutique and will never go out of style.&#xD;&#xA;&#xD;&#xA;Long story short, when I have 12,500.00 to get the Mac of my choice, I will. And now is probably a good time now that there is a major platform change by Avid (headroom is now 1000 dBs). Until then, I will make do and will avoid telling my clients I have rock solid PC. &#xD;&#xA;&#xD;&#xA;It's kind of like having an ugly wife that you're afraid to take out in public because people will make fun of you and your feelings are bound to get hurt, but she works hard and I can count on her. But baby, you know I'm gonna leave you someday for that ever changing honey that makes me money." ContentLicense="CC BY-SA 3.0" />
  <row Id="18322" PostHistoryTypeId="2" PostId="11099" RevisionGUID="2ccb8bb6-e25d-4f30-92a2-af3a804d0641" CreationDate="2011-10-28T00:01:54.590" UserId="18160" Text="&quot;Just make it work.&quot;&#xD;&#xA;&#xD;&#xA;&quot;The audio personnel volunteering for this job is required to provide their own professional equipment for the shoot. We can accommodate a 16 channel Mackie mixboard, but the rest is up to the audio personnel to bring with them.&quot;&#xD;&#xA;&#xD;&#xA;&quot;The picture is locked. There will be no more edit changes.&quot;&#xD;&#xA;&#xD;&#xA;&quot;Can't you guys say the line in German? What's so hard about translating these 40 lines into German? This is what you guys do for a living, right? Just give me a German translation of it real-time - that's all I ask.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18324" PostHistoryTypeId="2" PostId="11100" RevisionGUID="9c8a72db-7225-4116-9908-c7eb4575cf76" CreationDate="2011-10-28T13:37:23.233" UserId="2778" Text="Almost all Ingmar Bergman movies. They are the ones that have made great use of silence. here's one of the scenes from wild strawberries:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=A3n4TxNeaPg" ContentLicense="CC BY-SA 3.0" />
  <row Id="18325" PostHistoryTypeId="16" PostId="11100" RevisionGUID="9c8a72db-7225-4116-9908-c7eb4575cf76" CreationDate="2011-10-28T13:37:23.233" UserId="-1" />
  <row Id="18326" PostHistoryTypeId="5" PostId="7025" RevisionGUID="8da30bd5-0d58-412a-b235-fb647c84b512" CreationDate="2011-10-28T14:41:08.953" UserId="253" Comment="added 161 characters in body" Text="There are 2 films from the same director, Kyoshi Kurosawa, that use silence in an interesting way. Not just designed silence, but an absolutely (or, if not, very close to) dead soundtrack.&#xD;&#xA;&#xD;&#xA;Cure (1997) has a scene where the antagonist (to use the term loosely) hypnotises a doctor. I can't remember the exact details but, as he speaks to her (doing the whole hypnotist soothing voice thing) the image cuts to some water, spilled from a glass, trickling along the floor. It's accompanied by the sound of water oozing over the floor, then fades to nothing briefly. Very eerie, and creates a strange effect.&#xD;&#xA;&#xD;&#xA;Tokyo Sonata (2008) has a scene in which a mother sees off her rebellious teenage son, who's leaving to join the army. As the bus he's in pulls off, there's a tight POV (from the mother's perspective) of her son's face in the window, which is accompanied by a brief dead spot in the soundtrack. The scene was already quite emotional but, somehow, the dip to silence gave me a lump in my throat.&#xD;&#xA;&#xD;&#xA;Madeo (2009): i don't know what it is with Japanese/Korean sound design, but this one also has a fantastic use of dead silence in the final shot of the film." ContentLicense="CC BY-SA 3.0" />
  <row Id="18327" PostHistoryTypeId="2" PostId="11101" RevisionGUID="57e1d94b-bcf5-434c-8947-cfdf7b62c6f2" CreationDate="2011-10-28T17:39:43.720" UserId="930" Text="Literally just happened:&#xD;&#xA;&#xD;&#xA;&quot;Can I borrow a bag please?&quot;&#xD;&#xA;&#xD;&#xA;Knowing that the only bag in the building is my Tesco bag from earlier, I took it to them:&#xD;&#xA;&#xD;&#xA;&quot;Here, you can have this one if you like?&quot;&#xD;&#xA;&#xD;&#xA;&quot;Seriously? Would you be seen walking around town with that? Oh, maybe you would!&quot;&#xD;&#xA;&#xD;&#xA;Incredible!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18328" PostHistoryTypeId="2" PostId="11102" RevisionGUID="e5ba4cb5-19ef-4076-9572-e111eb996052" CreationDate="2011-10-28T21:21:35.553" UserId="3124" Text="The common wisdom is that we can't localize.  However, while I may not be able to *hear* directionality in low frequencies, I am able to *sense* directionality from subwoofers.  As a result, the classic offset single-sub design is uncomfortable to me.  Following Bob Hodas' thought process described **[HERE][1]** (last sub-heading on the page), I've dual-subwoofed my home system with a subwoofer on each side, in line with the stereo mains.  With the single offset config, what I sense is differential pressure on the tympanies, much like you feel when you've only got one window open in the car, the one next to you, and drive at speed, turning the interior of the car into a VLF whistle.  You can feel that on one side as well.  It's also a little like when you have a cold and one Eustachian tube is clogged.  It kind of turns the head into a dual pressure-gradient receiver rather than a binaural receptor. ;)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bobhodas.com/to-woof-or-not-to-woof.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="18329" PostHistoryTypeId="5" PostId="11101" RevisionGUID="4c688a48-3886-44a6-99ec-5547990477e1" CreationDate="2011-10-29T00:18:09.027" UserId="930" Comment="added 14 characters in body; added 2 characters in body" Text="Literally just happened:&#xD;&#xA;&#xD;&#xA;Them: &quot;Can I borrow a bag please?&quot;&#xD;&#xA;&#xD;&#xA;Knowing that the only bag in the building is my Tesco bag from earlier, I took it to them:&#xD;&#xA;&#xD;&#xA;Me: &quot;Here, you can have this one if you like?&quot;&#xD;&#xA;&#xD;&#xA;Them: &quot;Seriously? Would you be seen walking around town with that? Oh, maybe you would!&quot;&#xD;&#xA;&#xD;&#xA;Incredible!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18330" PostHistoryTypeId="2" PostId="11103" RevisionGUID="b0b4dac2-df50-44fe-aee0-67fa31cce862" CreationDate="2011-10-29T01:06:13.750" UserId="6435" Text="&quot;Audio engineers in this city are expected to shut up and do their job.&quot; --actual quote from two days ago." ContentLicense="CC BY-SA 3.0" />
  <row Id="18331" PostHistoryTypeId="2" PostId="11104" RevisionGUID="05c0862d-47ae-4fbd-9e7f-92050b47d2d7" CreationDate="2011-10-29T05:09:32.273" UserId="6411" Text="&quot;I'll be sure to courier that to you by close of business Friday so you can have the weekend to get ahead.&quot;&#xD;&#xA;&#xD;&#xA;Followed by the call on Monday.&#xD;&#xA;&#xD;&#xA;&quot;Hey, sorry I didn't get that off to you on Friday. I'm sending it right over. This shouldn't affect our deadline, right?&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18332" PostHistoryTypeId="2" PostId="11105" RevisionGUID="d5f33338-de6e-48e3-9552-6c09f7213358" CreationDate="2011-10-29T09:44:51.787" UserId="3049" Text="If you're looking for someting low-paid or apprenticeship check this website:&#xD;&#xA;&#xD;&#xA;http://www.mandy.com/1/filmtvjobs.cfm&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18333" PostHistoryTypeId="2" PostId="11106" RevisionGUID="bb0a5079-c880-47a4-93cc-0b5778de8a7c" CreationDate="2011-10-29T11:34:02.417" UserId="985" Text="Haven't anything to offer, but why not come together and have a coffee in Paris some time. Talk about sound design and composition, your CV looks pretty interesting." ContentLicense="CC BY-SA 3.0" />
  <row Id="18334" PostHistoryTypeId="2" PostId="11107" RevisionGUID="8bba7647-8793-42ef-a437-0e62fc6215c0" CreationDate="2011-10-29T14:46:51.167" UserId="479" Text="You are walking down a street with a few tall buildings either side, you hear a helicopter approaching.&#xD;&#xA;&#xD;&#xA;Which direction in the sky do you look?&#xD;&#xA;&#xD;&#xA;Even though I can quickly figure out where the sounds are going to reflect against the buildings and pinpoint the helicopter, my ears automatically direct me to the wrong direction.&#xD;&#xA;&#xD;&#xA;My question then is, where or how would you pan this helicopter sound in your film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18335" PostHistoryTypeId="1" PostId="11107" RevisionGUID="8bba7647-8793-42ef-a437-0e62fc6215c0" CreationDate="2011-10-29T14:46:51.167" UserId="479" Text="A hypothetical stereo mixing question" ContentLicense="CC BY-SA 3.0" />
  <row Id="18336" PostHistoryTypeId="3" PostId="11107" RevisionGUID="8bba7647-8793-42ef-a437-0e62fc6215c0" CreationDate="2011-10-29T14:46:51.167" UserId="479" Text="&lt;psychoacoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18337" PostHistoryTypeId="2" PostId="11108" RevisionGUID="4c880772-5565-4358-bb2f-43898b5061d9" CreationDate="2011-10-29T15:23:15.640" UserId="432" Text="Do you mean that your ears direct you to the wrong location in real life? That happens all the time because of obstruction and reflections.&#xD;&#xA;&#xD;&#xA;The better person to ask is the person directing the film. What's trying to be conveyed in the scene? Sound does not have to conform to real-life in all settings. The important thing is how it helps focus the viewer through the story. Will it be distracting if it's panned to the wrong location, or will it support and blend with what's going on at that given moment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18338" PostHistoryTypeId="2" PostId="11109" RevisionGUID="5516efe1-c6c4-4d17-ac45-f5ca297e18ea" CreationDate="2011-10-29T16:07:33.657" UserId="3131" Text="http://www.youtube.com/watch?v=8pNOxynC1Dc&amp;feature=player_detailpage&#xD;&#xA;&#xD;&#xA;In the opening sequences there is an odd, glitchy, tremolo kind of effect. The same style of design is used in movies like transformers. What are some ways to go about creating this effect?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18339" PostHistoryTypeId="1" PostId="11109" RevisionGUID="5516efe1-c6c4-4d17-ac45-f5ca297e18ea" CreationDate="2011-10-29T16:07:33.657" UserId="3131" Text="Glitchy sound design how-to? Example inside" ContentLicense="CC BY-SA 3.0" />
  <row Id="18340" PostHistoryTypeId="3" PostId="11109" RevisionGUID="5516efe1-c6c4-4d17-ac45-f5ca297e18ea" CreationDate="2011-10-29T16:07:33.657" UserId="3131" Text="&lt;post-production&gt;&lt;gameaudio&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18341" PostHistoryTypeId="2" PostId="11110" RevisionGUID="c7a4c762-9b3d-4daf-bd73-02b9bb8704e4" CreationDate="2011-10-29T17:20:21.080" UserId="432" Text="one way is to slap a side-chained gate on your source sound, and feed the gate with an irregular (referring to tempo here) sound to control when it opens. if you know what kind of rhythm/a-tempo you want the glitch to have, you can even record yourself tapping with a pair of pens/pencils/drumsticks on a desk or table. this can be the best way to get a useful control on the gate, because the sound you feed to the side-chain key will be easier to use as a control if it is transient in nature.&#xD;&#xA;&#xD;&#xA;something else you can try is to use a plug-in like Waves Mondo-Mod and automate the crap out of it." ContentLicense="CC BY-SA 3.0" />
  <row Id="18342" PostHistoryTypeId="2" PostId="11111" RevisionGUID="dd8e7e7c-a37f-4249-8f2f-133fd4937fe1" CreationDate="2011-10-29T17:23:32.743" UserId="1266" Text="It happens a lot in film, panning is less than psycholigical, more than real, when I'm paying attention to things." ContentLicense="CC BY-SA 3.0" />
  <row Id="18343" PostHistoryTypeId="2" PostId="11112" RevisionGUID="71db8bcd-1d81-42ea-bbb2-04c9066ce239" CreationDate="2011-10-29T18:20:30.810" UserId="930" Text="Whatever is less distracting.&#xD;&#xA;&#xD;&#xA;If the picture clearly shows the helicopter coming from the right, but I pan it to the left because of the reflections, the listeners are going to think it's really odd and will definitely pull them out of the film. In that scenario, I would pan it in relation to where the chopper is.&#xD;&#xA;&#xD;&#xA;If you can't see the chopper, I would probably keep it centre. A helicopter sound with a decent amount of reverb is enough to create the illusion, panning would just be distracting.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="18344" PostHistoryTypeId="2" PostId="11113" RevisionGUID="03771a33-a276-4776-8559-5e6d633b7e03" CreationDate="2011-10-29T18:51:59.533" UserId="558" Text="lots of distortion, lots of compression, and I love this FREE vst plug called dfx skidder.  Really intuitive easy to use way of skittering stuff.  It has some built in distortion that's pretty much useless, but the rest is great.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18345" PostHistoryTypeId="2" PostId="11114" RevisionGUID="e0b7e56f-1fa5-4258-8916-6670050fac0a" CreationDate="2011-10-29T19:46:25.540" UserId="3132" Text="Perhaps you guys should brush up your physics (after wiping the egg from your faces and apologising to the OP) and have a look at Lord Rayleigh's papers on sound localisation (over 100 years old and still worth reading.) What with the Nobel Prize and the professorship at Cambridge I think he knew what he was talking about.&#xD;&#xA;&#xD;&#xA;If you're interested in the subject then look up more recent material by Michael Gerzon and Dave Griesinger - easily discoverable on the web. &#xD;&#xA;&#xD;&#xA;Better yet, take a look at something like &quot;Stereoplacer&quot; - a VST which can do frequency dependent panning. Draw your own conclusions........" ContentLicense="CC BY-SA 3.0" />
  <row Id="18346" PostHistoryTypeId="2" PostId="11115" RevisionGUID="159c04b7-bad5-4cfb-8fa1-27993b388117" CreationDate="2011-10-29T19:51:44.067" UserId="3132" Text="BTW you may be interested in another VST by the makers of Stereoplacer which does EXACTLY this - i.e. monos the low end of a mix" ContentLicense="CC BY-SA 3.0" />
  <row Id="18347" PostHistoryTypeId="2" PostId="11116" RevisionGUID="6f1ce812-5e08-4a5b-a6ae-772d1f5c3448" CreationDate="2011-10-29T21:05:15.130" UserId="253" Text="I agree with Fred here. I think cinema sound has a set of conventions which don't necessarily reflect reality. When you break those conventions for no other reason than to reflect reality, it tends to stick out as a &quot;mistake&quot; to an average viewer. Film is a collaborative medium though, so a realistic sound treatment can work very well if it's supported by another area, such as cinematography, editing or acting.&#xD;&#xA;&#xD;&#xA;I was actually thinking about this exact phenomenon last night, walking home. Fireworks to the west sounded exactly like they were coming from the east whenever i was between buildings. It's a cool psychoacoustic effect.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18348" PostHistoryTypeId="2" PostId="11117" RevisionGUID="af47a95c-f2dc-493b-a55d-f1b8a784db03" CreationDate="2011-10-29T22:25:49.047" UserId="40" Text="Also, Izotope Stutter Edit has a lot of these types of effects. They can very easily be mapped to any midi keyboard and &quot;performed&quot; in realtime if you need as well.&#xD;&#xA;&#xD;&#xA;They advertise it for music, but it is very useful for SD too.&#xD;&#xA;&#xD;&#xA;http://www.izotope.com/products/audio/stutteredit/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18349" PostHistoryTypeId="2" PostId="11118" RevisionGUID="6a6d35ab-d274-4513-be1f-ad3559ebbe4b" CreationDate="2011-10-30T02:50:22.283" UserId="3104" Text="One of the best uses of silence would have to be Jean Pierre Melville's *Le Cercle Rouge* or *The Red Circle*. The heist scene just keeps you on pins an needles!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18350" PostHistoryTypeId="16" PostId="11118" RevisionGUID="6a6d35ab-d274-4513-be1f-ad3559ebbe4b" CreationDate="2011-10-30T02:50:22.283" UserId="-1" />
  <row Id="18351" PostHistoryTypeId="2" PostId="11119" RevisionGUID="72d25e81-eaf2-4997-a2da-f4a16bc938f4" CreationDate="2011-10-30T04:48:12.000" UserId="3134" Text="Hi&#xD;&#xA;&#xD;&#xA;I'd like to know some info as to break into the Game Audio industry. I'm an electronic music producer for the past 6 years and also an avid gamer! Been very keen to pursue this field, but i'm not quite sure how to go about it. I've also designed sound for an small X-box title, where my main job was to create all te sounds/scores for the entire game, and the developer had to just merely put the sounds with the tools. I'm guessing that apart from the producing the music bit, there has to be certain tools and techniques that need to be learnt to have the overall knowledge as to how to design sound for the game. Hence, i've been looking for courses specifically for this. Unfortunately, i've found only 2-3 schools giving a special course on game audio design. One of them being VFS, which is a bit too expensive for me to pursue.&#xD;&#xA;&#xD;&#xA;so are there any other reasonably priced institutes providing courses specialising in Game Audio Design ? IS there any way or any place/studio offering internships for the same ? I'm based in India, and unfortunately, there are no such institutes catering to this, despite having a big upcoming gaming market.&#xD;&#xA;&#xD;&#xA;Any info/help/suggestion would be appreciated. I've tried to find out through several sites, forums etc etc, but only just got a small picture. I guess this is the most ideal place to ask.&#xD;&#xA;&#xD;&#xA;Thank you&#xD;&#xA;&#xD;&#xA;    " ContentLicense="CC BY-SA 3.0" />
  <row Id="18352" PostHistoryTypeId="1" PostId="11119" RevisionGUID="72d25e81-eaf2-4997-a2da-f4a16bc938f4" CreationDate="2011-10-30T04:48:12.000" UserId="3134" Text="Game Audio Course" ContentLicense="CC BY-SA 3.0" />
  <row Id="18353" PostHistoryTypeId="3" PostId="11119" RevisionGUID="72d25e81-eaf2-4997-a2da-f4a16bc938f4" CreationDate="2011-10-30T04:48:12.000" UserId="3134" Text="&lt;game&gt;&lt;course&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18354" PostHistoryTypeId="2" PostId="11120" RevisionGUID="ae01170c-4c30-43b8-8447-d7275733664d" CreationDate="2011-10-30T08:28:01.987" UserId="400" Text="Leonard Paul and Gordon Durity, 2 of the bigger names in game audio (as I understand it anyway), have recently started this online course: http://school.videogameaudio.com/&#xD;&#xA;&#xD;&#xA;Think it's full for this year but you could apply for next year, and given their respective track records in the industry, I imagine it'd help a lot.&#xD;&#xA;&#xD;&#xA;That aside, I'd say keep practicing your sound design skills on trailers etc (plenty to download at www.gametrailers.com), and start looking at the tools used by games developers. Wwise and FMOD are two to get you started, and both can be downloaded for free. There are also a bunch of tutorials on YouTube about the different things you can do with them.&#xD;&#xA;&#xD;&#xA;And if you're on Twitter, follow @lostlab The guy is a seemingly endless fountain of game audio knowledge.&#xD;&#xA;&#xD;&#xA;Links: www.audiokinetic.com for Wwise and www.fmod.org for FMOD." ContentLicense="CC BY-SA 3.0" />
  <row Id="18355" PostHistoryTypeId="2" PostId="11121" RevisionGUID="3c47ec6a-ec74-40e9-824e-88eb2fc05fd7" CreationDate="2011-10-30T14:35:10.240" UserId="3136" Text="PT 10 cannot run xpand2 at all...its not a new bug but if this is an issue for anyone forget installing at present..also it has tacky 'marketplace' menu in session.." ContentLicense="CC BY-SA 3.0" />
  <row Id="18356" PostHistoryTypeId="2" PostId="11122" RevisionGUID="08bef40b-0bb8-4762-9e5e-f14396c4e06a" CreationDate="2011-10-30T15:04:13.227" UserId="194" Text="Rabbit ears audio did a series of tanks and APCs that may be useful to you" ContentLicense="CC BY-SA 3.0" />
  <row Id="18357" PostHistoryTypeId="5" PostId="11120" RevisionGUID="840525e1-dc3a-4a56-b9f5-959e5966c39d" CreationDate="2011-10-30T15:12:49.127" UserId="400" Comment="added info" Text="Leonard Paul and Gordon Durity, 2 of the bigger names in game audio (as I understand it anyway), have recently started this online course: http://school.videogameaudio.com/&#xD;&#xA;&#xD;&#xA;Think it's full for this year but you could apply for next year, and given their respective track records in the industry, I imagine it'd help a lot.&#xD;&#xA;&#xD;&#xA;That aside, I'd say keep practicing your sound design skills on trailers etc (plenty to download at www.gametrailers.com), and start looking at the tools used by games developers. Wwise and FMOD are two to get you started, and both can be downloaded for free. There are also a bunch of tutorials on YouTube about the different things you can do with them.&#xD;&#xA;&#xD;&#xA;And if you're on Twitter, follow @lostlab The guy is a seemingly endless fountain of game audio knowledge.&#xD;&#xA;&#xD;&#xA;Links: www.audiokinetic.com for Wwise and www.fmod.org for FMOD.&#xD;&#xA;&#xD;&#xA;EDIT: This one is good too, how Joshua Davidson at Gearbox got into games. Well worth a read: http://joshuadav.tumblr.com/post/8072664655/how-i-made-it-into-games-plus-a-few-things" ContentLicense="CC BY-SA 3.0" />
  <row Id="18358" PostHistoryTypeId="2" PostId="11123" RevisionGUID="4dbde27f-21be-489a-8e58-233dbeba1c64" CreationDate="2011-10-30T19:46:41.300" UserId="455" Text="I use the air filter gate plug in that comes with pro tools.  Use it as an insert and record to another track.  The one draw back is that you can't automate the pattern or rate parameters so you may need to record several versions, and edit and layer them.  &#xD;&#xA;&#xD;&#xA;From there you process it using other plug ins (pitch shifters, time expansion/ compression etc.) to make the sound fit for what you need.&#xD;&#xA;&#xD;&#xA;I recorded myself de-tuning a string on my guitar, and did one pass with the filter gate plug in.  Check it out here-&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/dan2997/air-filter-gate-example" ContentLicense="CC BY-SA 3.0" />
  <row Id="18359" PostHistoryTypeId="2" PostId="11124" RevisionGUID="54245ecc-2907-424e-9aee-ffd018967764" CreationDate="2011-10-30T19:54:13.043" UserId="163" Text="hi there,&#xD;&#xA;&#xD;&#xA;would like to know your opinion how does the Audiotechnica AT8022 comes out in comparison to Rode NT4 when it comes to recording quality, susceptibility to handling noise, application scope, range. Audiotechnica is a bit less expensive as well as looks less bulky. Also looking at AT2022.&#xD;&#xA;&#xD;&#xA;Any other alternatives for a stereo x-y in that price range?&#xD;&#xA;&#xD;&#xA;thanks in advance for your replies" ContentLicense="CC BY-SA 3.0" />
  <row Id="18360" PostHistoryTypeId="1" PostId="11124" RevisionGUID="54245ecc-2907-424e-9aee-ffd018967764" CreationDate="2011-10-30T19:54:13.043" UserId="163" Text="alternatives to rode nt4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18361" PostHistoryTypeId="3" PostId="11124" RevisionGUID="54245ecc-2907-424e-9aee-ffd018967764" CreationDate="2011-10-30T19:54:13.043" UserId="163" Text="&lt;rode&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18362" PostHistoryTypeId="2" PostId="11125" RevisionGUID="54ae27a1-3d28-4401-9ac7-2d029322caec" CreationDate="2011-10-31T00:23:02.550" UserId="1152" Text="Everything below 700Hz should appear in front of us in stereo? That's not how my ears work. I think that would sound very strange and would make mixing extremely cumbersome.&#xD;&#xA;&#xD;&#xA;In music mastering I often widen the highs and narrow the lows (below about 80Hz) using Ozone 4." ContentLicense="CC BY-SA 3.0" />
  <row Id="18363" PostHistoryTypeId="2" PostId="11126" RevisionGUID="f1e10c82-8644-488e-8d62-dc35c90c6d07" CreationDate="2011-10-31T03:57:18.943" UserId="132" Text="thanks Rene.  If you need Military Vehicles, we did a large collection of tanks and APCS with tons of exterior coverage and 6-8 channels on board each vehicle:&#xD;&#xA;&#xD;&#xA;http://rabbitearsaudio.com/rea005-military-vehicles/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Michael" ContentLicense="CC BY-SA 3.0" />
  <row Id="18364" PostHistoryTypeId="5" PostId="11060" RevisionGUID="95757582-540a-4f07-a283-6028211aba5b" CreationDate="2011-10-31T12:02:51.883" UserId="432" Comment="added 104 characters in body" Text="You mean to tell me that you think it's not possible to localize a saxophone or a trumpet? How about a flute? 700Hz is right around F5 on the musical scale; near the upper registers of the former two, and right in the middle of the latter.&#xD;&#xA;&#xD;&#xA;There is far more that goes into acoustic localization than merely wavelength. One of the biggest factors is timing, which the human ear is extremely sensitive to. Let's not forget how reflections and reverberation contribute to that element of auditory perception. The body is also **extremely** sensitive to pressure acting upon it, and acoustic sound is nothing more than cycles of pressure changes around us. Let's not forget harmonics, because pure tones don't exist oustide of an electrical/digital environment...including after they go through transduction to be turned into acoustic waves.&#xD;&#xA;&#xD;&#xA;While it's true that localization becomes more difficult as the frequency of a sound is lowered, you need to get WAY down there for there to be an appreciable effect. Maybe this would be true in an anechoic chamber, but this question is a little too narrow minded in it's consideration.&#xD;&#xA;&#xD;&#xA;I don't mean to sound condescending in this response, but, practically speaking...without supplying a specific context...this is a silly idea.&#xD;&#xA;&#xD;&#xA;*yes, i edited that last line...stupid omission on my part.*" ContentLicense="CC BY-SA 3.0" />
  <row Id="18365" PostHistoryTypeId="2" PostId="11127" RevisionGUID="6a57e953-a104-49c6-8686-995ce6a3d6ca" CreationDate="2011-10-31T12:15:09.433" UserId="6432" Text="I've not used the 8022, but the college I studied at had an 822 which could well be essentially the same microphone. I mostly used it for recording atmos and generally remember it a a mic which was easy to use with a good sound.&#xD;&#xA;&#xD;&#xA;This sound was recorded with the 822:&#xD;&#xA;&#xD;&#xA;[soundcloud]mark-durham/london-underground-train[/soundcloud]&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/mark-durham/london-underground-train&#xD;&#xA;&#xD;&#xA;Handling noise was fine, but if you want to use it out and about I'd recommend getting a pistol grip and windjammer of some kind.&#xD;&#xA;&#xD;&#xA;I've not used the NT4, but it looks more like a mic designed for the studio. It certainly has quite a wide body which may make it a more difficult to mount etc. Weight of NT4 is 480g, 8022 is 247g. There is also no protection for the capsules. This is all speculation though, perhaps some NT4 owners will chip in here?&#xD;&#xA;&#xD;&#xA;Hope this helps,&#xD;&#xA;&#xD;&#xA;Mark" ContentLicense="CC BY-SA 3.0" />
  <row Id="18366" PostHistoryTypeId="2" PostId="11128" RevisionGUID="e9ad4b9e-d405-4c05-9765-23a979f22343" CreationDate="2011-10-31T14:40:44.247" UserId="1049" Text="There are a couple of questions on here that are similar, and I've looked at several reviews etc but thought it'd still be worthwhile asking for opinions on my situation.&#xD;&#xA;&#xD;&#xA;I'm fairly new to the SD field and about to get some kit to start me off with field effects recordings etc. My budget is fairly limited. Initially, for a portable recorder, my eyes were always set on the Zoom H4n as, within my budget, it seemed the most suitable. However, I've recently found a deal on a Sony PCM-D50 which would mean that at a real stretch I could just about afford to get one of them instead.&#xD;&#xA;&#xD;&#xA;From what I've read the SNR on the PCM-D50's built-in mics is far better than that on the H4n and the unit itself seems to be much better in general (it is technically in the next price-bracket up really, so this is expected). My only issue is the lack of XLR inputs. &#xD;&#xA;&#xD;&#xA;For standard effects recordings using internal mics the PCM-D50 wins hands down it would seem. However I'm going to be working on a project that will require me to do some dialogue recording. I'm probably looking to boom-mic using a Rode NTG-2; as this can be battery-powered or phantom-powered from the unit it would work with either the PCM-D50 or the H4n, and fits in my mic budget of £150-170. So, my question:  &#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;&#xD;&#xA;***Does anyone have experience of using a battery-powered NTG-2 with a PCM-D50 and it's 3.5mm input, what the quality and level is like etc?  Would the H4n with the NTG-2 be a better choice?  Or would using the money saved from getting an H4n over a PCM-D50 on a better mic (suggestions?) be a good idea?***&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18367" PostHistoryTypeId="1" PostId="11128" RevisionGUID="e9ad4b9e-d405-4c05-9765-23a979f22343" CreationDate="2011-10-31T14:40:44.247" UserId="1049" Text="External Mic use (eg. Rode NTG-2) with the Sony PCM-D50 and Zoom H4n" ContentLicense="CC BY-SA 3.0" />
  <row Id="18368" PostHistoryTypeId="3" PostId="11128" RevisionGUID="e9ad4b9e-d405-4c05-9765-23a979f22343" CreationDate="2011-10-31T14:40:44.247" UserId="1049" Text="&lt;portable-recorder&gt;&lt;field-recording&gt;&lt;zoom-h4n&gt;&lt;pcm-d50&gt;&lt;ntg2&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18369" PostHistoryTypeId="2" PostId="11129" RevisionGUID="123f656a-bd5d-445e-a3df-dd92ec4d9388" CreationDate="2011-10-31T14:43:35.683" UserId="680" Text="Sample Library module – Questionnaire for customers.&#xD;&#xA;&#xD;&#xA;I am currently partaking in a sample library creation module as part of my studies towards a BA HONS in music production.&#xD;&#xA;&#xD;&#xA;For this module I have decided to create a number of Kontakt sample instruments themed around cinematic drums.&#xD;&#xA;&#xD;&#xA;The instruments all feature &#xD;&#xA;&#xD;&#xA; 1. Tempo Synched construction loops&#xD;&#xA;    from keys C3 to D3 – with increasing&#xD;&#xA;    complexity the further up the&#xD;&#xA;    keyboard you play.&#xD;&#xA;    &#xD;&#xA; 2. The tempo synched loops are multi&#xD;&#xA;        velocity samples – with velocity&#xD;&#xA;        affecting various different parts of&#xD;&#xA;        the loop itself.&#xD;&#xA; &#xD;&#xA; 3. A modwheel group switch changing for&#xD;&#xA;    “clean” loops to “Glitched” loops&#xD;&#xA;&#xD;&#xA; 4. A keyswitch changing from loop mode&#xD;&#xA;    to kit mode, where you have access&#xD;&#xA;    to the majority of the individual&#xD;&#xA;    drum sounds used in the loops. These&#xD;&#xA;    have been mapped as closely to&#xD;&#xA;    standard midi number protocol as&#xD;&#xA;    possible for easy translation to&#xD;&#xA;    midi triggering.&#xD;&#xA;&#xD;&#xA; 5. Kit mode also features “clean” and&#xD;&#xA;    “glitched” versions.&#xD;&#xA;&#xD;&#xA;To gain a higher mark I was hoping to get some feedback and ideas from people working as film composers or sound designers. If you would take the time to leave your name – profession – links to some of your work and any other info you may think is relevant then fill out the questions it would be greatly appreciated.&#xD;&#xA;&#xD;&#xA; 1. As a user, what would you be looking&#xD;&#xA;    for in a cinematic drum instrument?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; 2. What would you like to see included&#xD;&#xA;    in the license agreement? (Im aware&#xD;&#xA;    we would all like it to say you&#xD;&#xA;    don't have to pay for said&#xD;&#xA;    instruments ect ect, but id really&#xD;&#xA;    like to know serious suggestions&#xD;&#xA;    about usage allowance and other&#xD;&#xA;    things)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; 3. When buying a sample based&#xD;&#xA;    instrument (in this case a Kontakt&#xD;&#xA;    instrument) do you prefer to receive&#xD;&#xA;    just Monolith files (all inclusive)&#xD;&#xA;    or do you like to have access to the&#xD;&#xA;    instruments parts as plain audio&#xD;&#xA;    files as well?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; 4. How much range over original tempos&#xD;&#xA;    would be desirable – including&#xD;&#xA;    lowest and highest tempo speeds?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; 5. What are the desired time signatures&#xD;&#xA;    for such an instrument?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; 6. Any suggestions you'd like to see&#xD;&#xA;    included?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Regards – Elliot – thunder.vip@live.com&#xD;&#xA;&#xD;&#xA;By answering the questionnaire you give your consent for me to use this in my univeristy project.&#xD;&#xA;&#xD;&#xA;If you wish to stay anonymous please make me aware.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;To say thank you for your time I am offering a free license for the instrument for anyone whom answers the questionnaire. Please send me an email to the address above if you wish to receive a free copy" ContentLicense="CC BY-SA 3.0" />
  <row Id="18370" PostHistoryTypeId="1" PostId="11129" RevisionGUID="123f656a-bd5d-445e-a3df-dd92ec4d9388" CreationDate="2011-10-31T14:43:35.683" UserId="680" Text="Help with university work - would you answer this short questionnaire " ContentLicense="CC BY-SA 3.0" />
  <row Id="18371" PostHistoryTypeId="3" PostId="11129" RevisionGUID="123f656a-bd5d-445e-a3df-dd92ec4d9388" CreationDate="2011-10-31T14:43:35.683" UserId="680" Text="&lt;instruments&gt;&lt;drum&gt;&lt;cinema&gt;&lt;samples&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18372" PostHistoryTypeId="2" PostId="11130" RevisionGUID="abdc81b5-1434-4e2c-a32c-0b028bb061f6" CreationDate="2011-10-31T16:20:12.150" UserId="1286" Text="The problem with H4N + Rode NTG2 is that the zoom's preamps are too quiet, and you'll probably want a mic preamp (e.g. MixPre) to get a hotter signal. &#xD;&#xA;&#xD;&#xA;Some people here have supported the NTG2 + PCM-D50 combo -- [link][1]&#xD;&#xA;&#xD;&#xA;If you can find a D50 for cheap it might be worth it. It's got great preamps and and very solid internal mics. Something like the Denecke PS-2 can give you XLR input. That's not the most portable/cheap solution, though, so if those are your priorities you should look into the Tascam DR-100, DR-40, or some other XLR-capable device.&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/4033/battery-powered-shotgun-mic-for-use-with-pcm-d-50" ContentLicense="CC BY-SA 3.0" />
  <row Id="18373" PostHistoryTypeId="2" PostId="11131" RevisionGUID="05787d8b-b3a6-4521-9258-480c09a9ba25" CreationDate="2011-10-31T16:57:07.310" UserId="7642" Text="Just as side info...&#xD;&#xA;For stealth recording, there are some pretty quiet electret omni capsules available.&#xD;&#xA;I bought the Primo EM172 from &quot;frogloggers&quot;.&#xD;&#xA;I hav yet to find the time to compare it to a Rode nt1a, but noise and level wise it compares pretty well with a sennheiser mkh 40/30 setup (considered reasonably quiet)&#xD;&#xA;Of course beeing omnis they capture a  different sound compared I the directional mics. But definition and noise feels good after my first actual recordings." ContentLicense="CC BY-SA 3.0" />
  <row Id="18374" PostHistoryTypeId="2" PostId="11132" RevisionGUID="d8161036-e4ce-472f-800e-606820e09166" CreationDate="2011-10-31T17:08:30.770" UserId="558" Text="I have captured some sweet ambiences with my 822.  I have not used any Rode products, but I do recommend the 822 for ambiences. (hopefully the 8022 isnt a step backwards)." ContentLicense="CC BY-SA 3.0" />
  <row Id="18375" PostHistoryTypeId="2" PostId="11133" RevisionGUID="a5f4272a-f584-4cd4-8354-cdf70350df74" CreationDate="2011-10-31T17:13:21.083" UserId="7642" Text="I have the Roland R26&#xD;&#xA;&#xD;&#xA;The internal mics are useful in a pinch but does not sound as nice as the Sony m10 or d50 internal mics. I did quite a lot of tests comparing the internal mics to the Sony m10, and the m10 has less noise, better definition/depth.&#xD;&#xA;The R26 directional mics are very directional giving a pretty wide stereo image. They work ok with louder sounds but not that we'll with ambiances.&#xD;&#xA;I decided to keep mine despite this as I like the multichannel recording possibilities, and it was easy to open so I will make a alternative mic front end for my unit.&#xD;&#xA;Either a front rear x/y setup, or I might try it with a tetra style mic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Mic amps are pretty decent but I have not hade the time to compare them to a sound devices pre yet." ContentLicense="CC BY-SA 3.0" />
  <row Id="18376" PostHistoryTypeId="2" PostId="11134" RevisionGUID="903a9f2b-ee2e-4b12-ba56-f34eba5be845" CreationDate="2011-10-31T17:20:51.947" UserId="1145" Text="Well, I've gotten some really nice recordings with NT4. I use it in the blimp mounted on a tripod, so the size or weight hasn't been a problem for me. I rarely walk around and record stereo handheld... Never used the AT, but i guess you'll get good but not mindblowing recordings with these microphones/pricerange.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18377" PostHistoryTypeId="2" PostId="11135" RevisionGUID="b8d65261-31c5-4146-ab14-189945dd0e36" CreationDate="2011-10-31T18:01:46.000" UserId="6524" Text="Currently I only use an NTG-2 with a H4n that was within my budget, so far I haven't had any problems really only like I'm sure you've heard before the preamps aren't too good when recording quiet sounds, I almost always need to have some noise-reduction during editing but I'm so used to it doesn't bother me anymore. If you can afford the Sony D-50 you can also buy this [accessory][1] to connect to XLR (I'm not entirely sure if batteries are needed for phantom power, may be some else can help with that). If you want to hear what a H4n+NTG-2 sound like with NR (from Audacity which isn't even the best) you can listen to them [here][2] and judge, look up recordings on soundcloud with the D-50 and compare. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/516317-REG/Sony_XLR_1_XLR_1_XLR_Mic_Adapter.html&#xD;&#xA;  [2]: http://soundcloud.com/stephensaldanha/sets/water-sfx/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18378" PostHistoryTypeId="5" PostId="11135" RevisionGUID="c9ad5e6e-ef7a-45a2-a2a3-768da94929a6" CreationDate="2011-10-31T18:22:58.917" UserId="6524" Comment="added 57 characters in body" Text="Currently I only use an NTG-2 with a H4n that was within my budget, so far I haven't had any problems really only like I'm sure you've heard before the preamps aren't too good when recording quiet sounds, I almost always need to have some noise-reduction during editing but I'm so used to it doesn't bother me anymore. If you can afford the Sony D-50 you can also buy this [accessory][1] to connect to XLR (I'm not entirely sure if batteries are needed for phantom power, may be some else can help with that). If you want to hear what a H4n+NTG-2 sound like with NR (from Audacity which isn't even the best) you can listen to them [here][2] (I know its not the best recordings, I'm still learning) and judge, look up recordings on soundcloud with the D-50 and compare. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/516317-REG/Sony_XLR_1_XLR_1_XLR_Mic_Adapter.html&#xD;&#xA;  [2]: http://soundcloud.com/stephensaldanha/sets/water-sfx/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18379" PostHistoryTypeId="2" PostId="11136" RevisionGUID="a140b0dc-31a0-4fa8-926c-6ad3d0b268c3" CreationDate="2011-10-31T18:30:30.720" UserId="6566" Text="From the Sound Devices web site:&#xD;&#xA;&#xD;&#xA;*Although the RS-232 standard allows for cable lengths of up to 50 feet, the recommended maximum length of C.Link cable between any given pair of 7-series recorders is 4 feet. Longer cables lengths introduce the risk of the slave unit losing word clock synchronization with the master unit.*&#xD;&#xA;&#xD;&#xA;Has anyone had succes running long link cables (between 4 and 50 feet)? Or longer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18380" PostHistoryTypeId="1" PostId="11136" RevisionGUID="a140b0dc-31a0-4fa8-926c-6ad3d0b268c3" CreationDate="2011-10-31T18:30:30.720" UserId="6566" Text="Sound Devices recorders maximum link cable length?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18381" PostHistoryTypeId="3" PostId="11136" RevisionGUID="a140b0dc-31a0-4fa8-926c-6ad3d0b268c3" CreationDate="2011-10-31T18:30:30.720" UserId="6566" Text="&lt;744t&gt;&lt;722&gt;&lt;702&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18382" PostHistoryTypeId="2" PostId="11137" RevisionGUID="4625390a-fd2d-4a33-a3c2-f6665cb0fe57" CreationDate="2011-10-31T18:46:24.990" UserId="3049" Text="HI, I'm not an expert but found somebody who is into the Glitchy sounds. Have a look if you like:&#xD;&#xA;http://sterilismusic.wordpress.com/2011/10/31/live-cut/#comment-12&#xD;&#xA;It's got nice links to VST's and more..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18383" PostHistoryTypeId="2" PostId="11138" RevisionGUID="d15c4918-c264-4f71-86b8-0f3874fc2cd1" CreationDate="2011-10-31T19:15:19.387" UserId="930" Text="In a similar format to a Director's Commentary - does anyone know of any films where the sound designer or re-recording/dubbing mixer gets a commentary to talk through what they've tried to achieve?&#xD;&#xA;&#xD;&#xA;I think getting a list together of films that include this would be a great resource to have!&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="18384" PostHistoryTypeId="1" PostId="11138" RevisionGUID="d15c4918-c264-4f71-86b8-0f3874fc2cd1" CreationDate="2011-10-31T19:15:19.387" UserId="930" Text="Sound Designer's Commentary" ContentLicense="CC BY-SA 3.0" />
  <row Id="18385" PostHistoryTypeId="3" PostId="11138" RevisionGUID="d15c4918-c264-4f71-86b8-0f3874fc2cd1" CreationDate="2011-10-31T19:15:19.387" UserId="930" Text="&lt;director&gt;&lt;directors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18386" PostHistoryTypeId="2" PostId="11139" RevisionGUID="244c37ea-0ac6-451c-84c8-427a6a94db02" CreationDate="2011-10-31T19:23:21.470" UserId="6524" Text="Cast Away has a very interesting commentary from Randy Thom." ContentLicense="CC BY-SA 3.0" />
  <row Id="18387" PostHistoryTypeId="2" PostId="11140" RevisionGUID="69cfe5da-faa6-4e21-a386-a576e097dda3" CreationDate="2011-10-31T20:40:00.753" UserId="2" Text="[SoundWorks Collection][1] has got a ton of incredible videos about the sound design for various media.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18388" PostHistoryTypeId="2" PostId="11141" RevisionGUID="706a7ad1-1b9a-40f1-9083-8fa8a2d8bb9b" CreationDate="2011-10-31T21:27:16.050" UserId="6420" Text="The commentary for Se7en I can highly recommend. There's a great one about sound and music on it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18389" PostHistoryTypeId="2" PostId="11142" RevisionGUID="f388b09b-c9b6-4523-8849-0ccf6b00041f" CreationDate="2011-10-31T21:46:19.840" UserId="3138" Text="Hi Gang,&#xD;&#xA;&#xD;&#xA;Have a brief for a doppler SFX on a voice throughout a 30 second read and than will pass by on a key couple of words at the end of the read.&#xD;&#xA;&#xD;&#xA;Whats the best way to approach this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18390" PostHistoryTypeId="1" PostId="11142" RevisionGUID="f388b09b-c9b6-4523-8849-0ccf6b00041f" CreationDate="2011-10-31T21:46:19.840" UserId="3138" Text="Doppler SFX on voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="18391" PostHistoryTypeId="3" PostId="11142" RevisionGUID="f388b09b-c9b6-4523-8849-0ccf6b00041f" CreationDate="2011-10-31T21:46:19.840" UserId="3138" Text="&lt;doppler&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18393" PostHistoryTypeId="2" PostId="11144" RevisionGUID="ffc203f7-b0d4-4fa4-bc08-278a4bdce6cf" CreationDate="2011-10-31T22:44:22.803" UserId="517" Text="I believe that Walter Murch talks about sound design on his commentary on The Conversation in addition to discussing the picture editing." ContentLicense="CC BY-SA 3.0" />
  <row Id="18394" PostHistoryTypeId="5" PostId="11136" RevisionGUID="e629fde0-c55c-457b-b93a-79123be30377" CreationDate="2011-10-31T22:55:24.897" UserId="6566" Comment="added 1 characters in body" Text="From the Sound Devices web site:&#xD;&#xA;&#xD;&#xA;*Although the RS-232 standard allows for cable lengths of up to 50 feet, the recommended maximum length of C.Link cable between any given pair of 7-series recorders is 4 feet. Longer cables lengths introduce the risk of the slave unit losing word clock synchronization with the master unit.*&#xD;&#xA;&#xD;&#xA;Has anyone had success running long link cables (between 4 and 50 feet)? Or longer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18395" PostHistoryTypeId="2" PostId="11145" RevisionGUID="a9867a70-f2ef-41e7-9875-858416cc5c5b" CreationDate="2011-10-31T23:13:42.417" UserId="6411" Text="Every year I think to myself that this'll be the year that I get it together to really scare some kids (and parents) with sound as they try and bleed me dry of my candy money, and then it doesn't happen. Too busy, too full of excuses, too whatever.&#xD;&#xA;&#xD;&#xA;Maybe it's because I turned out to be a soundie, but it's the houses that would play those atrocious Halloween sound effects cds in quasi darkness and sit in their lawn as a scarecrow that I remember the most. Anybody go to the extreme to put on a truly haunting experience for the kids and make their own Halloween soundtrack? &#xD;&#xA;&#xD;&#xA;I need some inspiration/challenge for the coming years! Vids and soundtracks appreciated. Happy Halloween!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18396" PostHistoryTypeId="1" PostId="11145" RevisionGUID="a9867a70-f2ef-41e7-9875-858416cc5c5b" CreationDate="2011-10-31T23:13:42.417" UserId="6411" Text="Anybody do it up for Halloween?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18397" PostHistoryTypeId="3" PostId="11145" RevisionGUID="a9867a70-f2ef-41e7-9875-858416cc5c5b" CreationDate="2011-10-31T23:13:42.417" UserId="6411" Text="&lt;sound-design&gt;&lt;halloween&gt;&lt;horror&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18398" PostHistoryTypeId="16" PostId="11145" RevisionGUID="a9867a70-f2ef-41e7-9875-858416cc5c5b" CreationDate="2011-10-31T23:13:42.417" UserId="6411" />
  <row Id="18399" PostHistoryTypeId="2" PostId="11146" RevisionGUID="85a1969d-6382-4cf3-ac4d-3e0618dcedaa" CreationDate="2011-10-31T23:30:24.980" UserId="1042" Text="A Bugs Life has an isolated 5.1 SFX track as well as a documentary.&#xD;&#xA;&#xD;&#xA;The Conversation also has commentary by Walter Murch." ContentLicense="CC BY-SA 3.0" />
  <row Id="18400" PostHistoryTypeId="2" PostId="11147" RevisionGUID="890a3f6f-f560-49aa-ae93-c6154f0233a2" CreationDate="2011-11-01T04:35:06.433" UserId="1042" Text="&quot;We don't have any money left on the budget for sound. This is only because it's a one day and the shooting location is going to cost us a lot of money.&quot;&#xD;&#xA;&#xD;&#xA;I didn't know locations where worth more than sound crew.&#xD;&#xA;&#xD;&#xA;&quot;If you decide to get onboard with these projects and help us and if we see that we have good chemistry on set - then there's a music video I am going to produce for a renowned music label company for one of their artist and I will give you the first opportunity to get onboard. That's going to be a paid gig.&quot; &#xD;&#xA;&#xD;&#xA;All from a student producer... when will they learn..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18401" PostHistoryTypeId="2" PostId="11148" RevisionGUID="0edcd270-7b63-4b87-b71b-4d72d8529924" CreationDate="2011-11-01T10:26:40.600" UserId="880" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;Has anyone tried running sm v4.3 pro with PT 10?&#xD;&#xA;&#xD;&#xA;Any issues?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Many thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Rada" ContentLicense="CC BY-SA 3.0" />
  <row Id="18402" PostHistoryTypeId="1" PostId="11148" RevisionGUID="0edcd270-7b63-4b87-b71b-4d72d8529924" CreationDate="2011-11-01T10:26:40.600" UserId="880" Text="PT10 &amp; Soundminer V4.3 Pro" ContentLicense="CC BY-SA 3.0" />
  <row Id="18403" PostHistoryTypeId="3" PostId="11148" RevisionGUID="0edcd270-7b63-4b87-b71b-4d72d8529924" CreationDate="2011-11-01T10:26:40.600" UserId="880" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18404" PostHistoryTypeId="2" PostId="11149" RevisionGUID="96e0d827-bd25-4f1f-a57c-283eeec85cf9" CreationDate="2011-11-01T13:07:12.733" UserId="863" Text="Recently saw a post on shootingpeople for a &quot;professional&quot; sound recordist with own equipment... travel only.. thought that was quite funny.&#xD;&#xA;&#xD;&#xA;There are times where working for free or cheap is worth it though. Ask for the script, ask for showreels or credits of other crew, if the film is already cut, ask to see it. If it's all shit (pardon my french) then say no. Make sure you have a big say in the sound design as well.&#xD;&#xA;&#xD;&#xA;I rarely do anything free now unless I know the quality will be extremely high quality.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18405" PostHistoryTypeId="2" PostId="11150" RevisionGUID="390cd5f2-ea4d-4663-9576-b48f4880d788" CreationDate="2011-11-01T14:32:52.763" UserId="2136" Text="My director was wondering if changing batteries (such as switching from regular double A to rechargeable batteries) in a microphone could possibly affect the sound quality.  I don't think this would be an issue, but if it could be, or if there is an explanation for why this is a possibility, please share." ContentLicense="CC BY-SA 3.0" />
  <row Id="18406" PostHistoryTypeId="1" PostId="11150" RevisionGUID="390cd5f2-ea4d-4663-9576-b48f4880d788" CreationDate="2011-11-01T14:32:52.763" UserId="2136" Text="Has switching batteries ever affected your sound?'" ContentLicense="CC BY-SA 3.0" />
  <row Id="18407" PostHistoryTypeId="3" PostId="11150" RevisionGUID="390cd5f2-ea4d-4663-9576-b48f4880d788" CreationDate="2011-11-01T14:32:52.763" UserId="2136" Text="&lt;microphone&gt;&lt;theatre-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18408" PostHistoryTypeId="2" PostId="11151" RevisionGUID="275248f5-cc15-47e0-b0f8-63d324a9997c" CreationDate="2011-11-01T14:53:14.270" UserDisplayName="user80" Text="If batteries are not providing the full voltage then you can sometimes reduce the range of a radio mic belt pack or make it more prone to interference." ContentLicense="CC BY-SA 3.0" />
  <row Id="18409" PostHistoryTypeId="2" PostId="11152" RevisionGUID="955ae5fc-fa1c-4f13-8451-385991bea88c" CreationDate="2011-11-01T15:51:57.060" UserId="202" Text="Yes, I'm working with PT10 and SMpro 4.3: it works, but SM doesn't auto-detect the PT session you're working on, so you just have to manually set it. Furthermore, the new PT functions (like interleaved audiofiles) aren't supported in SM: it just means that you cannot send an interleaved file to PT (an annoying popup appears).&#xD;&#xA;&#xD;&#xA;However, all the other functions in SM behave like they always did. And I'm really really happy with the new Pro Tools release!&#xD;&#xA;&#xD;&#xA;Davide" ContentLicense="CC BY-SA 3.0" />
  <row Id="18410" PostHistoryTypeId="2" PostId="11153" RevisionGUID="d8134703-d830-4556-b78c-34f24b7c51af" CreationDate="2011-11-01T15:56:37.387" UserId="253" Text="Off the top of my head, i'd say use a very mild doppler pass at the end, in the key-word pass-by. Doppler plug ins affect pitch, which is fine for cars and whatnot, but the effect of a pitch change on a human voice will stick out like a sore thumb, and potentially sound silly.&#xD;&#xA;&#xD;&#xA;If you're after the effect of the voice coming closer and closer, and then whooshing by, you could use eq/panning/reverb/performance to create this effect, and bolster the effect of your slight doppler shift at the end." ContentLicense="CC BY-SA 3.0" />
  <row Id="18411" PostHistoryTypeId="2" PostId="11154" RevisionGUID="c238e6dd-8ad7-4e62-a61c-5c198fed043a" CreationDate="2011-11-01T16:51:34.743" UserId="3141" Text="The Lord of the Rings boxed set has nearly a movie's worth of material, including sfx and score." ContentLicense="CC BY-SA 3.0" />
  <row Id="18414" PostHistoryTypeId="2" PostId="11156" RevisionGUID="37f11ba5-b1db-49dc-aca5-1473015b09f6" CreationDate="2011-11-01T20:43:56.513" UserId="3124" Text="It doesn't have to appear in stereo and probably shouldn't.  In fact, my point was that when placed to one side, low frequencies are uncomfortable to me.  You can experience this with some early stereo pop albums where the engineers really had no idea what to do with the sound field so they panned the bass to one side and the guitar to the other.  Yuk.&#xD;&#xA;&#xD;&#xA;However, there is at least one mastering format where panned bass is a problem and that is vinyl.  Conflicting panned bass sources can cause some really wonky issues with, for instance dual drummers and outboard kick drums  In fact, loud, out of phase bass in the two grooves will neatly eject the needle!&#xD;&#xA;&#xD;&#xA;Bob&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18415" PostHistoryTypeId="2" PostId="11157" RevisionGUID="12345d02-2d76-4f2b-b164-8d6cd4fee868" CreationDate="2011-11-01T21:08:34.507" UserId="1292" Text="Spiderman 2 has a bit about how they made the scene where Doc Ock robs the bank. I don't know what edition of the DVD it is on though." ContentLicense="CC BY-SA 3.0" />
  <row Id="18416" PostHistoryTypeId="2" PostId="11158" RevisionGUID="9aad183a-e15c-446f-8456-52d6c7da360f" CreationDate="2011-11-01T21:13:07.680" UserId="3124" Text="After extensive attempts, we've bailed on rechargeables entirely and have decided that fresh alkaline batteries are simply a cost of doing business.  In digital units you can have the problems Iain McGregor mentioned above.  With analog units, you can add reduced headroom.  Our biggest problem was simply unpredictability of service life.&#xD;&#xA;&#xD;&#xA;The problem lies with the discharge patterns of these two types of batteries.  Alkalines maintain something near their rated output for most of their service life and then sink quickly at the end.  You can learn how long to expect an alkaline to last pretty easily.  Rechargeable batteries, however, sag from their rated output steadily as they discharge.  The *rate* of sag increases as the batteries age, sometimes quite unpredictably.  You usually figure out the hard way when your expectations are no longer valid by having them fail in the middle of a scene or show.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18417" PostHistoryTypeId="2" PostId="11159" RevisionGUID="c2642bbb-6ee1-4795-91b5-40aecc37b547" CreationDate="2011-11-01T21:25:17.417" UserId="194" Text="I've had the batter going low on my phantom power unit greatly affect the sound quality.  Really, its the less than full voltage scenario you have to watch out for." ContentLicense="CC BY-SA 3.0" />
  <row Id="18418" PostHistoryTypeId="2" PostId="11160" RevisionGUID="de897f6f-f655-42f9-9cd8-c8732168ae10" CreationDate="2011-11-01T21:52:15.990" UserId="3143" Text="It seems to me that PCs will work fine, maybe better, but you have to be willing to sort out some hardware conflicts sometimes.  I had a lot of problems with HD 8 conflicting with an NVidia 9600GT card, finally figured it out and switched it out with an ATI card and now its very stable.  I don't use this particular PC for anything other than Pro Tools.  I have a laptop for every day use.&#xD;&#xA;&#xD;&#xA;The reason I went with PC was due to cost.  You can get the PCIx cards for HD for like $700 each and those are still compatible with PC.  Whereas the PCIe cards which are what you have to have for mac are around $2100 each right now.  HD3 PCIx and PCIe are supposed to be comparable, although I understand that HD1 PCIe and HD2 PCIe will outperform the equivalent PCIx configuration slightly.&#xD;&#xA;&#xD;&#xA;So I built my PC based HD3 system for about $3000 where it would have cost me about $8000 on mac.  Of course none of this probably matters now that there is HDX!&#xD;&#xA;&#xD;&#xA;-Tyler" ContentLicense="CC BY-SA 3.0" />
  <row Id="18419" PostHistoryTypeId="2" PostId="11161" RevisionGUID="7ba99441-2ae4-4a3f-ae97-2e996af1fd43" CreationDate="2011-11-01T21:55:24.137" UserId="1228" Text="Hi everyone!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Does anyone happen to have a recording of the walk sign chirps that I can do a sound trade for?  I could go out and do a rogue recording late at night but I though it would be best to ask here first unless somebody's already done just that :)&#xD;&#xA;&#xD;&#xA;I'm not seeking the voice saying &quot;cross sign to walk for _____&quot;, just the digital chirps.  If you happen to have to have the &quot;beep boop&quot; chirp of hitting the walk sign button, that would be a plus.&#xD;&#xA;&#xD;&#xA;If anyone would be so kind as to help and willing to trade, I'd love to know.  Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18420" PostHistoryTypeId="1" PostId="11161" RevisionGUID="7ba99441-2ae4-4a3f-ae97-2e996af1fd43" CreationDate="2011-11-01T21:55:24.137" UserId="1228" Text="REQUEST: Walk sign chirps" ContentLicense="CC BY-SA 3.0" />
  <row Id="18421" PostHistoryTypeId="3" PostId="11161" RevisionGUID="7ba99441-2ae4-4a3f-ae97-2e996af1fd43" CreationDate="2011-11-01T21:55:24.137" UserId="1228" Text="&lt;sound-effects&gt;&lt;city&gt;&lt;urban&gt;&lt;traffic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18422" PostHistoryTypeId="2" PostId="11162" RevisionGUID="e95ba535-0638-452e-8791-de369d6b6a3b" CreationDate="2011-11-01T23:24:53.237" UserId="423" Text="I have one from Nashville...but there's a lot street noise that comes along with it." ContentLicense="CC BY-SA 3.0" />
  <row Id="18423" PostHistoryTypeId="2" PostId="11163" RevisionGUID="668b3bbc-1cc3-4cef-84d9-3b7f8b6b4273" CreationDate="2011-11-01T23:38:39.327" UserId="3144" Text="@Sumith: Thanks for the mention @Joe.  This is Leonard Paul of the School of Video Game Audio.  It is true that we are currently running a private beta for the school just to polish things up before the school launches in 2012.&#xD;&#xA;&#xD;&#xA;I happen to have a lot of free material already available on my website at http://VideoGameAudio.com which might be of use while you're looking for a school.  I would also recommend Damien's feed on Twitter for current updates: http://twitter.com/lostlab.  There's also great information available on Karen Collins' site at: http://www.gamessound.com/.  If you're interested in books, the ones featured on her site are a good way to get started.&#xD;&#xA;&#xD;&#xA;To keep things affordable for our school, applicants who pay the registration fee will have access to most of the school curriculum for a while.  This would allow you to survey the material on the site and get a good idea of what the courses have to offer.  For people that are interested in getting feedback on their work, courses will run every few months and participants will receive qualitative assessments on their projects oriented to help them succeed in the game audio industry.&#xD;&#xA;&#xD;&#xA;As far as Gordon Durity's qualifications and my own, feel free to do some research online.  I have personally taught at the Vancouver Film School, the Art Institute and Emily Carr University over the past few years and I feel that an online school is a great way that we can share our knowledge with people wanting to know more about video game audio in an affordable manner.&#xD;&#xA;&#xD;&#xA;If you would like to know more, you can sign up for more information on our site and reserve your spot for when the school launches in 2012:     &#xD;&#xA;http://School.VideoGameAudio.com." ContentLicense="CC BY-SA 3.0" />
  <row Id="18424" PostHistoryTypeId="2" PostId="11164" RevisionGUID="b9b9930c-d3a4-442f-b82d-9916712f8947" CreationDate="2011-11-02T01:07:15.210" UserId="1266" Text="I'll be on the lookout this friday to get some chirps from Berkeley&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18425" PostHistoryTypeId="2" PostId="11165" RevisionGUID="0a577780-8fb8-491f-b12f-757418d7085f" CreationDate="2011-11-02T01:40:31.930" UserId="1064" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I've been given an assignment in school to cut the SFX for a car chase and I'm having a hell of a time trying to maintain engine continuity throughout the scene. Anybody have any advice, tips, tricks, etc?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18426" PostHistoryTypeId="1" PostId="11165" RevisionGUID="0a577780-8fb8-491f-b12f-757418d7085f" CreationDate="2011-11-02T01:40:31.930" UserId="1064" Text="Cutting a car chase" ContentLicense="CC BY-SA 3.0" />
  <row Id="18427" PostHistoryTypeId="3" PostId="11165" RevisionGUID="0a577780-8fb8-491f-b12f-757418d7085f" CreationDate="2011-11-02T01:40:31.930" UserId="1064" Text="&lt;cars&gt;&lt;vehicles&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18428" PostHistoryTypeId="2" PostId="11166" RevisionGUID="542e9f35-336e-4523-afe6-bcdffc0c17d0" CreationDate="2011-11-02T02:15:06.027" UserId="1266" Text="Maybe keep one layer going the whole time while alter the other layers?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18429" PostHistoryTypeId="2" PostId="11167" RevisionGUID="de5c77ed-7744-4f76-89b1-688e4c00f1e9" CreationDate="2011-11-02T02:30:49.347" UserId="1228" Text="Here's a nice trick: Take an engine start away and reverse it, makes for a nice aggressive in and idle.  Works wonders for O/S cars too.&#xD;&#xA;&#xD;&#xA;Sharp fades in and out of each engine &quot;movement&quot; help so there's no buildup, and try seeing out recordings that are onboard ext (usually with CH1 as engine block, CH2 as tailpipe).  I know Soundstorm has these for many of it's vehicles, and many of them are long city driving movements and car chase aggressive movements.  Having proper source is the key, I've leanred, with enough variety in that source set to do the edit.&#xD;&#xA;&#xD;&#xA;The standard &quot;car by&quot; sounds of a vehicle set can help with blending the POVs as a vehicle goes by.&#xD;&#xA;&#xD;&#xA;As Jay had said a while back, vehicles can be tough to crack and sometimes you may even trash it and do a complete revision or two.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18430" PostHistoryTypeId="2" PostId="11168" RevisionGUID="91d8d1d9-02fc-4592-8f39-e84a86fdb72c" CreationDate="2011-11-02T03:00:41.837" UserId="1013" Text="Layers, layers, and more layers - to sort of paraphrase the sagely advise above. Make changes in layers that synch with the camrea shot changes.&#xD;&#xA;&#xD;&#xA;Don't forget to check out the 'related' threads, I've read some great stuff about car chases here in the past." ContentLicense="CC BY-SA 3.0" />
  <row Id="18431" PostHistoryTypeId="2" PostId="11169" RevisionGUID="973b7cfe-c949-47d6-802e-57dd1bbf8aa6" CreationDate="2011-11-02T03:13:16.947" UserId="3135" Text="I have one recording, although not sure how much car noise was in it. It was a quick record on my way to the parking garage here in LA. 96k 24bit.. PM me?  or What's your email? " ContentLicense="CC BY-SA 3.0" />
  <row Id="18432" PostHistoryTypeId="2" PostId="11170" RevisionGUID="c615a5cf-8005-4914-a01d-7e60bc9c7b5e" CreationDate="2011-11-02T03:32:22.250" UserId="3145" Text="Don't be too tied to car model or type.  You can use several cars if similar.  Go for drama not consistency.  Work backwards sometimes. Don't always search through effects to match the shot, listen to a lot of engines, skids, bys, dirt, tires and pull out ones you like to put in the scene.  Let the car effects play and you will often find serendipitous crazy matches. Skids and tires will cover a multitude of problems in getting from A to B. Cut to please yourself and the audience will come along for the ride." ContentLicense="CC BY-SA 3.0" />
  <row Id="18433" PostHistoryTypeId="2" PostId="11171" RevisionGUID="57444489-28a2-4e2d-b1c1-2d8bc5ae31c1" CreationDate="2011-11-02T08:17:29.750" UserId="3146" Text="Cheat:&#xD;&#xA;&#xD;&#xA;http://www.moogmusic.com/content/animoog" ContentLicense="CC BY-SA 3.0" />
  <row Id="18434" PostHistoryTypeId="16" PostId="11171" RevisionGUID="57444489-28a2-4e2d-b1c1-2d8bc5ae31c1" CreationDate="2011-11-02T08:17:29.750" UserId="-1" />
  <row Id="18435" PostHistoryTypeId="2" PostId="11172" RevisionGUID="ffa274db-1315-4baa-bd69-e96b040e9ed8" CreationDate="2011-11-02T09:20:36.077" UserId="1228" Text="This may sound weird, but a thought came to me.  Every film has a sound designer's commentary: the full mix.&#xD;&#xA;&#xD;&#xA;Sound designers let the film's soundtrack speak for itself.  And that's part of the beauty, no need to explain ourselves, fully open to personal interpretation and exploration." ContentLicense="CC BY-SA 3.0" />
  <row Id="18436" PostHistoryTypeId="2" PostId="11173" RevisionGUID="27c2f70e-f4a6-4908-a8ed-1b26919e9e77" CreationDate="2011-11-02T09:48:37.790" UserId="2" Text="This is a long shot, but I just created a little programme for you to generate your own. The idea is that you'll have a SUPER clean version of it, and then you can add the plugins you want to make it sound like it's in your desired space.  &#xD;&#xA;&#xD;&#xA;The problem is I have no idea what LA pedestrian crossing beeps sound like, so I'm basing it off the UK one. You need to add your own resonance (from the sound it would make from being in a box), and maybe add your own harmonic distortion rather than the one I added. &#xD;&#xA;&#xD;&#xA;I based this off the code from Andy Farnel's book: [Designing Sound][1] &#xD;&#xA;&#xD;&#xA;Here's the link to the [Pedestrian Crossing Generator][2]. let me know how it goes :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&amp;tid=12282&#xD;&#xA;  [2]: http://www.soundplusdesign.com/wp-content/uploads/software/PedestrianCrossing.zip" ContentLicense="CC BY-SA 3.0" />
  <row Id="18437" PostHistoryTypeId="2" PostId="11174" RevisionGUID="b4308475-a6ee-47b2-a5b8-b2d766908c46" CreationDate="2011-11-02T10:18:11.237" UserId="1237" Text="Hi Sumith!&#xD;&#xA;&#xD;&#xA;Maybe it can help you:&#xD;&#xA;http://designingsound.org/2011/11/full-scholarship-challenge-by-soundcloud-and-vancouver-film-school/&#xD;&#xA;&#xD;&#xA;:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18438" PostHistoryTypeId="2" PostId="11175" RevisionGUID="53b1bec4-953e-4d55-804a-922e941b4e6c" CreationDate="2011-11-02T10:33:58.023" UserId="596" Text="hello,&#xD;&#xA;&#xD;&#xA;i've previously posted a question regarding magazine recommendations... however i'm posting this again to try and attack the issue from a different angle: i find it difficult a hard-copy magazine which covers my interests. i'm looking for something with less gear reviews, less about how to record the next big hit. more sound design / post-production theory, technique, sound-art... perhaps a mag aimed more towards the creative sound designer/engineer rather than the 'electronic musician'.&#xD;&#xA;&#xD;&#xA;can anyone advise? i'm looking into Resolution Magazine and Music Tech Magazine... anyone subscribed to those?&#xD;&#xA;&#xD;&#xA;thanks,&#xD;&#xA;K&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18439" PostHistoryTypeId="1" PostId="11175" RevisionGUID="53b1bec4-953e-4d55-804a-922e941b4e6c" CreationDate="2011-11-02T10:33:58.023" UserId="596" Text="sound design / sound art / post-production magazine recommendation" ContentLicense="CC BY-SA 3.0" />
  <row Id="18440" PostHistoryTypeId="3" PostId="11175" RevisionGUID="53b1bec4-953e-4d55-804a-922e941b4e6c" CreationDate="2011-11-02T10:33:58.023" UserId="596" Text="&lt;magazine&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18441" PostHistoryTypeId="2" PostId="11176" RevisionGUID="16ccb4d3-6d5a-4637-841d-cc486566b5b4" CreationDate="2011-11-02T11:17:51.200" UserId="6420" Text="Looked at The Mix magazine? Often articles with sound designers discussing theory and techniques etc in there. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18442" PostHistoryTypeId="2" PostId="11177" RevisionGUID="b9e9c217-5119-4c1d-847c-aff466d5aaed" CreationDate="2011-11-02T12:08:29.080" UserId="3147" Text="hi,&#xD;&#xA;I just installed pro tools 10 and I'm also running lion but I have a problem with the midi , I use a 003. I've installed the driver (latest) and still doesn't recognize it.  Anyone with the same problem?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18445" PostHistoryTypeId="2" PostId="11179" RevisionGUID="2e88244f-8f7e-41f3-a1ea-f1725d9689a7" CreationDate="2011-11-02T14:20:37.900" UserId="62" Text="Resolution is rather good, especially for post. It does require a paid subscription though (not that that's a bad thing).&#xD;&#xA;&#xD;&#xA;I read [Audio Media][1] as they have a free online only subscription. Again it's quite good for post sound, but not as much as Resolution.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiomedia.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="18447" PostHistoryTypeId="2" PostId="11181" RevisionGUID="85ae7825-46ac-49de-8276-931d4da4abc6" CreationDate="2011-11-02T15:11:47.247" UserId="432" Text="I've probably mentioned it ad nauseum in various posts on this site, but I've really been enjoying The New Soundtrack (formerly The Soundtrack). It's an academic journal published twice a year. It deals much more with the aesthetics, and critical sutdies (i.e. Marxist, Feminist, Semiotic, etc.), of film sound. There's always an article or two about some classic work of sound film, but there's a consistent effort to approach more modern pieces and ideas. Regardless, there's always a ton of information about how sound contributes to the story in a film, and how it affects **perception** of the story.&#xD;&#xA;&#xD;&#xA;Like I mentioned, it's an academic journal. So, it's a bit on the pricey side, but well worth it if you can afford it. Here's a link to [the latest issue][1] (Oct. 2011).&#xD;&#xA;&#xD;&#xA;Don't forget to check out the [Motion Picture Editor's Guild Magazine][2] and [CAS Quarterly][3] newsletters either. Both are available to read online for free.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.euppublishing.com/journal/sound&#xD;&#xA;  [2]: https://www.editorsguild.com/Magazine.cfm&#xD;&#xA;  [3]: http://cinemaaudiosociety.org/quarterly/index.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="18449" PostHistoryTypeId="2" PostId="11183" RevisionGUID="6e77bb55-f413-48e8-8474-844f25f92d74" CreationDate="2011-11-02T15:56:06.897" UserId="599" Text="Monsters Inc has an isolated 5.1 SFX track on my DVD. Nice feet foley." ContentLicense="CC BY-SA 3.0" />
  <row Id="18450" PostHistoryTypeId="2" PostId="11184" RevisionGUID="205a8d89-5943-4f6f-a9d6-fb876ae71006" CreationDate="2011-11-02T17:55:09.393" UserId="558" Text="try listening to some films with great car sequences.  Ronin comes to mind (good flick, great cars).  The Bourne movies do a great job with sound all around as well.  See how they solved some of your problems.  Also, i recommend listening to them with headphones to help pick up some of the detail work.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18451" PostHistoryTypeId="2" PostId="11185" RevisionGUID="42820039-970b-432f-b3a1-d454bd3f74da" CreationDate="2011-11-02T18:25:58.720" UserId="558" Text="I often fall back on the question, &quot;Does the object (not the sound, the cinematic element) in question sit in the foreground, midground or background of the scene?&quot;  Is it shooting at me (foreground), does it represent some amount of danger (midground), is it ambient in nature (background)?  Does this change during the course of the scene? etc.&#xD;&#xA;&#xD;&#xA;On a side note, a heli is a beautifully complex sound that is affected greatly by wind, obstruction/occlusion, and acceleration direction (toward, or away).  There are at least 2 distinct elements (engine and blade) and they respond differently from each other (the rate of the thwop thwop remains pretty constant, while the engine changes pitch and intensity with acceleration and direction changes.  Next time one passes by, give it a listen." ContentLicense="CC BY-SA 3.0" />
  <row Id="18459" PostHistoryTypeId="2" PostId="11189" RevisionGUID="9607d210-c8a8-47db-be68-bc274d10000d" CreationDate="2011-11-02T21:20:36.897" UserId="3148" Text="Thats funny i run a custom built AMD Core 6 with 16gigs of ram and Pro Tools 10 runs flawless.I went in and disabled Aero and other crap that was slowing down resources and i get prefection at it's finest.I also run Komplete 8 Ultimate with Pro tools 10 again it's perfect.AMD makes a heck of a processor for use with Pro Tools.You people read about the older processors and give bad raps to the new batches like the AMD milti cores.Read any Pro Tools fourms AMD runs amazingly well.Where do you people come from?Don't hook up the internet and use a virus scan program with Pro tools people lol.Keep your software up to date.Stop giving a PC bad raps people because of your own ignorance.Stop being lazy and put up the effort on a PC and it will reward you.I know an Apple looks alot cooler to use like wearing your sunglasses at night lol.Stop falling for Apple marketing people.Apple vs PC no comparision just different workflows just a different OS thats it lol.It's the same fight about which Daw is better it's a useless argument if you know your game. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18460" PostHistoryTypeId="2" PostId="11190" RevisionGUID="93451c21-fd02-44c3-83a3-fac48ae7fc46" CreationDate="2011-11-03T03:36:52.903" UserId="3149" Text="I'm having the same problem - the sound is  low with the rode NTG-2.  I'm assuming it's a setting that is off in my Zoom.  I don't understand all of the settings.  I tried resetting to factory default but still the sound is low.  I've read comments on other forums to check the &quot;gain&quot; and &quot;levels&quot;, but don't see those options.  Can anyone advise on what settings in the Zoom are best for one-on-one interviews in a quiet space, with shotgun mic?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18461" PostHistoryTypeId="2" PostId="11191" RevisionGUID="c28eac67-4b72-4380-9939-2b3b3051ec6d" CreationDate="2011-11-03T06:28:31.670" UserId="3086" Text="Hi, I'm thinking abut buying my own portable recording equipment, pretty clear on which mics I'm gonna need but when it comes to the recorder...&#xD;&#xA;&#xD;&#xA;I really like the 722 its got great storage, quality and size, but is just too expensive.&#xD;&#xA;&#xD;&#xA;Anyone knows any good alternatives for it?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="18462" PostHistoryTypeId="1" PostId="11191" RevisionGUID="c28eac67-4b72-4380-9939-2b3b3051ec6d" CreationDate="2011-11-03T06:28:31.670" UserId="3086" Text="Alternatives for the 722" ContentLicense="CC BY-SA 3.0" />
  <row Id="18463" PostHistoryTypeId="3" PostId="11191" RevisionGUID="c28eac67-4b72-4380-9939-2b3b3051ec6d" CreationDate="2011-11-03T06:28:31.670" UserId="3086" Text="&lt;722&gt;&lt;portable-recorder&gt;&lt;production-sound&gt;&lt;production-audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18464" PostHistoryTypeId="5" PostId="11191" RevisionGUID="b1838687-6bd5-4b9f-810c-4589d619c726" CreationDate="2011-11-03T06:48:44.197" UserId="3086" Comment="added 75 characters in body" Text="Hi, I'm thinking abut buying my own portable recording equipment, pretty clear on which mics I'm gonna need but when it comes to the recorder...&#xD;&#xA;&#xD;&#xA;(Field recording, maybe production audio, I'm looking for versatility) &#xD;&#xA;&#xD;&#xA;I really like the 722 its got great storage, quality and size, but is just too expensive.&#xD;&#xA;&#xD;&#xA;Anyone knows any good alternatives for it?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="18465" PostHistoryTypeId="2" PostId="11192" RevisionGUID="626d78ee-37b6-41f2-b844-71b184df310d" CreationDate="2011-11-03T07:15:17.243" UserId="2" Text="Are you looking at the [Sound Devices 722][1] for a specific reason rather than the [Sound Devices 702][2]? You REALLY don't need that kind of storage. An 8GB CF card will last you for at least a day for sure, even several. Plus, do you really want to have all your sounds on a huge drive, ready to get corrupt from running around chasing sounds or stollen from being in sonically awesome places but maybe not so safe? Better to have solid state (like a CF card), and backup everyday. &#xD;&#xA;&#xD;&#xA;Now the other main thing about a 722, is that it has timecode. You say you mostly want it for field recording and maybe some production audio, so chances are you don't need timecode. &#xD;&#xA;&#xD;&#xA;The cool thing about the 7 series, is that you can lock several machines together, so they're all in sync. If you want to turn your setup into a four channel, then just buy another machine and link them :-) That's what I did. Got two 702s, and if I need to have four tracks then I connect them and if I need to have them separated (SFX or line feed or a second recordist), then I can. Obviously you can get a mixer as well...  &#xD;&#xA;&#xD;&#xA;Does $1,800 (702) seem better as a price tag than $2,500 (722)? If not, then there are a ton of other options out there, and we can cross that bridge later on. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/325630-REG/Sound_Devices_722_722_2_Channel_High_Resolution_Portable.html/BI/7139/KBID/7663&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/product/429566-REG/Sound_Devices_702_702_High_Resolution_2_Channel.html/BI/7139/KBID/7663" ContentLicense="CC BY-SA 3.0" />
  <row Id="18466" PostHistoryTypeId="2" PostId="11193" RevisionGUID="f208213b-f470-4a8c-a232-485e2d418d30" CreationDate="2011-11-03T10:44:04.833" UserId="3150" Text="1) Intuitive user interface.&#xD;&#xA;&#xD;&#xA;2) Licence to permit usage in any music composition (songs, television, film, video games), sound design for all media.&#xD;&#xA;&#xD;&#xA;3) Monolith files are quick and easy.&#xD;&#xA;&#xD;&#xA;4) Roughly +/- 40% of original tempo&#xD;&#xA;&#xD;&#xA;5) Ideally, switchable, as in Stylus RMX. Realistically, 4/4 is fine for most of my work. Since you've included a kit mode I can make manual edits if different time signatures are required.&#xD;&#xA;&#xD;&#xA;6) Although almost superfluous to normal working procedures, I find a nice graphical interface is sometimes inspiring. Especially with Kontakt instruments, as they can look quite drab with the standard GUI.&#xD;&#xA;&#xD;&#xA;I do not need anonymity. Quite the opposite, in fact.&#xD;&#xA;No free copy necessary. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18467" PostHistoryTypeId="5" PostId="11129" RevisionGUID="87a3bbd1-aae1-4080-8860-ca42b9c8f5cb" CreationDate="2011-11-03T12:00:03.083" UserId="680" Comment="revised questions" Text="I am currently studying for a BA (Hons) in Music Production.&#xD;&#xA;Part of my assignment requires the creation of sample-based software instruments (namely, Kontakt instruments).&#xD;&#xA;&#xD;&#xA;I am creating a cinematic drum package, the key features of which are:&#xD;&#xA;&#xD;&#xA; 1. Tempo-synched Construction loops&#xD;&#xA;    placed on keys C3 – D3 (the loops&#xD;&#xA;    increase in complexity further up&#xD;&#xA;&#xD;&#xA;    the keyboard)&#xD;&#xA; 2. Multi-velocity sampling used within&#xD;&#xA;    each loop&#xD;&#xA;&#xD;&#xA; 3. Modwheel control introduces varying&#xD;&#xA;    degrees of glitched samples&#xD;&#xA;&#xD;&#xA; 4. Key switching between “Loop” and&#xD;&#xA;    “Kit”. Kit Mode enables MIDI&#xD;&#xA;    compatible drum kit. Create your own&#xD;&#xA;    performances with the clean/glitched&#xD;&#xA;    sounds used in the loops!&#xD;&#xA;&#xD;&#xA;**Free Instruments for taking part!**&#xD;&#xA;&#xD;&#xA;As part of the research and development element of this assignment, I would appreciate any feedback from composers and sound designers, whether professional or enthusiast.&#xD;&#xA;I will give a free copy of this software to everyone taking part!&#xD;&#xA;&#xD;&#xA;1.    What would you like to see included with such an instrument?&#xD;&#xA;&#xD;&#xA;2.    What do you consider fair policy with regards to End-User Licence Agreements?&#xD;&#xA;&#xD;&#xA;3.    How do you feel about restricted access to included samples within such instruments?     (Many libraries allow you to load preset patches without giving direct access to the included sample content).&#xD;&#xA;&#xD;&#xA;4.    What time signature ranges would you typically require from such an instrument?&#xD;&#xA;&#xD;&#xA;5.    If you have any other feedback, please enter it here.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Please note:&#xD;&#xA;&#xD;&#xA;Your answers will be used as part of my research.&#xD;&#xA;&#xD;&#xA;If you’d prefer to remain anonymous, please state this at the end of the survey.&#xD;&#xA;&#xD;&#xA;Thank you for your time,&#xD;&#xA;&#xD;&#xA;Elliot &#xD;&#xA;Thunder.VIP@live.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="18468" PostHistoryTypeId="4" PostId="11129" RevisionGUID="87a3bbd1-aae1-4080-8860-ca42b9c8f5cb" CreationDate="2011-11-03T12:00:03.083" UserId="680" Comment="revised questions" Text="would you answer this short questionnaire to help with university research - revised " ContentLicense="CC BY-SA 3.0" />
  <row Id="18469" PostHistoryTypeId="2" PostId="11194" RevisionGUID="9cbc044f-7a7f-487b-aeed-e5e716e2e0ca" CreationDate="2011-11-03T12:07:12.660" UserId="3151" Text="CLIP GAIN!!  &#xD;&#xA;&#xD;&#xA;Okay, well, maybe it's not THAT exciting....&#xD;&#xA;&#xD;&#xA;From what I've seen of the update I'm quite impressed.  Clip gain and the ability to load a session directly into the RAM of a system (especially on a host-based system) are probably the most useful features in my mind.&#xD;&#xA;&#xD;&#xA;To echo the above sentiment - DEFINITELY upgrade to Lion.  Haven't had a chance to test midi though....that may be an issue with support for the 003 itself.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18470" PostHistoryTypeId="2" PostId="11195" RevisionGUID="12a26ab2-1c2a-4887-a9df-8950affc20de" CreationDate="2011-11-03T12:44:44.243" UserId="3149" Text="I kept searching and couldn't find any answers so started changing the settings in the Zoom H4n. Changing the Mono Mix to ON made a huge difference.  The sound level noticeably increased.  I'd be curious to know about Mono Mix and what it means, if anyone can explain." ContentLicense="CC BY-SA 3.0" />
  <row Id="18471" PostHistoryTypeId="2" PostId="11196" RevisionGUID="b73bd99b-d81d-4046-b98d-37a555805a23" CreationDate="2011-11-03T13:55:50.327" UserId="37" Text="anyone else with a more definitive report on PT10 and 10.6.8? &#xD;&#xA;&#xD;&#xA;I doubt if that many PT users have jumped onto Lion..?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18472" PostHistoryTypeId="2" PostId="11197" RevisionGUID="1f2642b3-528d-40b0-b7de-b4b4ccc46642" CreationDate="2011-11-03T15:38:06.977" UserId="3152" Text="1) The ability to manipulate the sound and change envelopes etc&#xD;&#xA;&#xD;&#xA;2) Able to use freely in compositions for commercial release.&#xD;&#xA;&#xD;&#xA;3) It doesn't bother me at all because I don't think I would need to use the samples in any other package.&#xD;&#xA;&#xD;&#xA;4) For me something in the range of 60BPM to 280BPM&#xD;&#xA;&#xD;&#xA;5) The quality and sound of the samples is paramount to me and the ability of the sound library to accomodate varying bit resolutions.&#xD;&#xA;&#xD;&#xA;http://www.facebook.com/#!/pages/Waylands-Forge-Recording-Studio/129234190490863" ContentLicense="CC BY-SA 3.0" />
  <row Id="18473" PostHistoryTypeId="2" PostId="11198" RevisionGUID="80fa3728-9e0d-485c-95eb-d14a589d075c" CreationDate="2011-11-03T18:23:18.637" UserId="178" Text="The Marantz PMD661 is nice. The preamps are quite good (although not quite as good as the Sound Devices), but for a fraction of the price. XLR and 1/4&quot; headphone output. It may or may not suit your needs. It's hard to tell from the original post." ContentLicense="CC BY-SA 3.0" />
  <row Id="18474" PostHistoryTypeId="2" PostId="11199" RevisionGUID="d104425e-558e-46eb-8bb8-7471abe5ccee" CreationDate="2011-11-03T19:31:19.157" UserId="2186" Text="You might want to check out [soundworks collection][1]   &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18475" PostHistoryTypeId="2" PostId="11200" RevisionGUID="4a69a7ae-e159-4699-a848-998650696e75" CreationDate="2011-11-04T00:20:15.137" UserId="1049" Text="[Sound on Sound][1]. Covers all things.. soundy...!&#xD;&#xA;&#xD;&#xA;Not sure if it's just available in the UK though!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18476" PostHistoryTypeId="5" PostId="11200" RevisionGUID="6fb5c019-31cd-4447-be7c-0c182a843847" CreationDate="2011-11-04T00:50:38.530" UserId="1049" Comment="added 268 characters in body" Text="[Sound on Sound][1]. Covers all things.. soundy... Recording techniques, interviews with all sorts of audio professionals from stereotypical post guys to some audio analysists in the police force. Of course it has the usual reviews on plug-ins, equipment etc, but also lots of other things. A decent all-round magazine.&#xD;&#xA;&#xD;&#xA;Not sure if it's just available in the UK though!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18477" PostHistoryTypeId="2" PostId="11201" RevisionGUID="4762b51d-4815-4f82-9d2b-6f5c64e3699c" CreationDate="2011-11-04T00:52:42.547" UserId="863" Text="If you don't need the timecode and are on a budget, why not look at the Fostex FR2LE?&#xD;&#xA;&#xD;&#xA;judging by this chart, http://www.avisoft.com/recordertests.htm The mic input noise is not far off sound devices and its way cheaper.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18478" PostHistoryTypeId="2" PostId="11202" RevisionGUID="72065623-fc3d-4f20-9d96-a8c8941198a0" CreationDate="2011-11-04T07:08:42.973" UserId="1228" Text="I like using pig squeals as sweeteners, gives a nice searing heat sound, especially when jets are fired up for the first time (a la Top Gun visuals).  Sometimes monkeys pitched up really high do the trick too, but have to be careful about having source material that doesn't have too many modulations - the steadier, the better.&#xD;&#xA;&#xD;&#xA;These also work wonders for designing gnarly flamethowers when mixed with lion growls.&#xD;&#xA;&#xD;&#xA;I'm always an advocate for experimenting with blending in animal noises when a moment calls for a cinematic sound of ungodly proportions - and sometimes it's the animal timbres that breath life into and take it from a 10 to an 11 ;)&#xD;&#xA;&#xD;&#xA;Just my 2 cents." ContentLicense="CC BY-SA 3.0" />
  <row Id="18479" PostHistoryTypeId="2" PostId="11203" RevisionGUID="4a8d5183-21d2-4d3b-ae0a-f1029d35c6d7" CreationDate="2011-11-04T09:55:14.333" UserId="3153" Text="Doing it, seems to be working just fine, including session detection here.&#xD;&#xA;Using 4.3 v3&#xD;&#xA;FWIW" ContentLicense="CC BY-SA 3.0" />
  <row Id="18480" PostHistoryTypeId="2" PostId="11204" RevisionGUID="1feff34b-fa94-446a-b785-8ea98f96d4fb" CreationDate="2011-11-04T10:20:16.860" UserId="1237" Text="There is one problem. &#xD;&#xA;&#xD;&#xA;Sometimes when I see a new movie or computer game I often have a desire to discuss numerous things about the sound of these movies or games. &#xD;&#xA;&#xD;&#xA;There are myriad of sites where you can discuss practically all the aspects of media production. For example game forums. You can discuss with other people anything what you want. Graphic, scenario, art, game design, animation etc. And often a considerable part of this critique has a healthy and quite useful opinions. But if you begin to discuss the sound, people will just say good/bad sound, nice/poor music and that's it.&#xD;&#xA;&#xD;&#xA;I understand that there are many professionals on this site (or on friendly sites) and it is often a little inconvenient to discuss the work of your friends or colleagues. But IMO it has a very bad side. Again, if somebody will release significant game or movie and for some reason there would be some poor aspects, people just won't leave it without an attention.&#xD;&#xA;&#xD;&#xA;I came from gamedev and the reading of the opinions of your work is a very common and useful practice. So the question is – are there some resources, sites, forums where I could discuss the sound with other concerned people?&#xD;&#xA;&#xD;&#xA;Thank you and sorry for my English." ContentLicense="CC BY-SA 3.0" />
  <row Id="18481" PostHistoryTypeId="1" PostId="11204" RevisionGUID="1feff34b-fa94-446a-b785-8ea98f96d4fb" CreationDate="2011-11-04T10:20:16.860" UserId="1237" Text="Sound Criticism Problem" ContentLicense="CC BY-SA 3.0" />
  <row Id="18482" PostHistoryTypeId="3" PostId="11204" RevisionGUID="1feff34b-fa94-446a-b785-8ea98f96d4fb" CreationDate="2011-11-04T10:20:16.860" UserId="1237" Text="&lt;criticism&gt;&lt;opinion&gt;&lt;community&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18483" PostHistoryTypeId="5" PostId="11204" RevisionGUID="dcafec0f-7370-4fc5-9d4a-8aa2930591c4" CreationDate="2011-11-04T11:02:21.473" UserId="1237" Comment="added 1 characters in body" Text="There is one problem. &#xD;&#xA;&#xD;&#xA;Sometimes when I see a new movie or computer game I often have a desire to discuss numerous things about the sound of these movies or games. &#xD;&#xA;&#xD;&#xA;There are myriad of sites where you can discuss practically all the aspects of media production. For example game forums. You can discuss with other people anything what you want. Graphic, scenario, art, game design, animation etc. And often a considerable part of this critique has a healthy and quite useful opinions. But if you begin to discuss the sound, people will just say good/bad sound, nice/poor music and that's it.&#xD;&#xA;&#xD;&#xA;I understand that there are many professionals on this site (or on friendly sites) and it is often a little inconvenient to discuss the work of your friends or colleagues. But IMO it has a very bad side. Again, if somebody will release significant game or movie and for some reason there would be some poor aspects, people just won't leave it without an attention.&#xD;&#xA;&#xD;&#xA;I came from gamedev and the reading of the opinions of your work is a very common and useful practice. So any opinions about that? :) Maybe some resources, sites, forums where you could discuss it with other concerned people?&#xD;&#xA;&#xD;&#xA;Thank you and sorry for my English." ContentLicense="CC BY-SA 3.0" />
  <row Id="18484" PostHistoryTypeId="2" PostId="11205" RevisionGUID="d0939f3c-e991-454e-a495-0ab6f551f228" CreationDate="2011-11-04T11:24:05.923" UserId="402" Text="There's [Pretty Ugly Game Sound Study][1] It's not really a discussion forum, but it does invite people to post up specific examples of good/bad sound in games. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://prettyuglygamesoundstudy.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18485" PostHistoryTypeId="2" PostId="11206" RevisionGUID="c7df18bc-6862-47ad-bd3a-6487010aa3c2" CreationDate="2011-11-04T11:57:29.077" UserId="432" Text="This is the kind of thing that I wanted to do in the Film Sound Discussion Group I started over at Designing Sound. Thus far, we've only done two simple discussions concerning primarily workflow ideas...had to keep it simple to develop a system and figure out what the limitations of the web client were.&#xD;&#xA;&#xD;&#xA;There were a lot of bugs with the web client (AnyMeeting) the first time we tried it. They've since eliminated most of those bugs, and we had a successful session with Ann Kroeber just last week.&#xD;&#xA;&#xD;&#xA;Keep an eye out over there, because we're going to get that going on a more regular basis. We'll be expanding the subjects that we talk about when we do." ContentLicense="CC BY-SA 3.0" />
  <row Id="18486" PostHistoryTypeId="2" PostId="11207" RevisionGUID="2bef0890-8ecb-4fd7-a086-65ff1c9875a5" CreationDate="2011-11-04T13:46:26.170" UserId="842" Text="Technically, most is already said here, but the reason I would never trade my trusty Rycote-kits for Röde is actually all acoustical.&#xD;&#xA;&#xD;&#xA;The Rycote does by all means lose a lot of high details with the zeppelin on, and even more with the fur, but it's quite neutral, and honestly it's completely impossible to get a windshield that doesn't affect the sound at all, so I must say I'm very impressed by this system considering gains versus losses. And I absolutely love the suspensions!!!&#xD;&#xA;&#xD;&#xA;The Röde-blimp on the other hand sounded much more restrained and lack-luster I think. It was, literary, in comparison like powdering gray dust over a camera-lens. As far as I can say, the Rycote is great at fending off internal reflections, but the Röde is not. I think it felt a little like the old DV-cams I played with in the beginning of the 2000's, though not by far as sickening. Their sound was greatly affected by the capsules mounted sloppily in a crappy casing of very cheap plastic and gave a very annoying resonance-flutter in the higher mid. I feel the same effect in the Röde-blimp, though it's MUCH easier on the ears and more focused on the lower mid where you're much more likely to filter anyway.&#xD;&#xA;&#xD;&#xA;One other thing that annoyed me was balance. My Rycotes are balanced with the handle in the middle of the blimp and with the rear suspension all the way back on the mike and the front suspension halfway up the tube on the shotguns, and nearly all the way (or as far as it allows on MKH-40) up on other mikes. On the Röde I didn't seem to really be able to change the positions of pretty much anything, so it was much harder to get a good flow in the work as all weight was too much off.&#xD;&#xA;&#xD;&#xA;When it comes to sturdiness, I have no clue how much the Röde can take, but my first Rycote has gotten many a good beatings over the years as I do tend to work in pretty unhealthy situations some times, and the only time it took any damage at all was while on location an extremely heavy steel security-door the same construction as safe-doors got slammed right on it. The door was heavy as hell (we where recording at a place where people have all reason to do their best to keep burglars out...), and yet the only thing that happened (except me nearly crapping my pants) was the part between the handle and the rail got slightly warped in a perfectly straight angle.&#xD;&#xA;Pretty impressive, actually! As I said, the door was frigging massive, but still there was absolutely NO damage whatsoever on the mike (a Sennheiser MKH40) nor my K-Tek Klassic boom! :-D" ContentLicense="CC BY-SA 3.0" />
  <row Id="18487" PostHistoryTypeId="5" PostId="6220" RevisionGUID="11cf8e57-4f98-41cf-a03c-a64006f0f7c8" CreationDate="2011-11-04T14:07:48.267" UserId="432" Comment="added 67 characters in body" Text="So, this question is for anyone out there who has used both Rode and Rycote wind protection systems. Twice now I've heard people say they prefer the Rode system over the Rycote (Haydn Payne here on SSD being one of them). I'm curious if there's anyone else here who has used both and has a preference for one over the other.&#xD;&#xA;&#xD;&#xA;I'm trying to make a decision on future purchases. The Rode price point is very appealing, and I could probably mod it to take a Rycote Connbox if I really wanted to get silly. Any thoughts on durability and functional performance of the two brands? I'm just looking at this comparison for single mic systems (not stereo/m-s).&#xD;&#xA;&#xD;&#xA;[I'm aware that Sennheiser makes zeppelin kits as well. We have two at work, and I'm not impressed with the way the back cap fits. They're out of the running as far as I'm concerned.]&#xD;&#xA;&#xD;&#xA;Thanks in advance.&#xD;&#xA;&#xD;&#xA;**UPDATE:** So I found a deal on a used Rycote kit. I upgraded the suspension to the new lyre mounts and added a Connbox. Very happy with it, and definitely prefer it over the Sennheiser models.&#xD;&#xA;&#xD;&#xA;**Update #2:** I now own three Rycote systems...just sayin'. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18488" PostHistoryTypeId="6" PostId="11148" RevisionGUID="fdb549d3-5bfd-4779-bbfa-e162ee7f07f5" CreationDate="2011-11-04T14:29:17.703" UserId="432" Comment="edited tags" Text="&lt;pro-tools&gt;&lt;soundminer&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18489" PostHistoryTypeId="5" PostId="11152" RevisionGUID="88599ce3-b07d-4214-884a-2862eefbcb3e" CreationDate="2011-11-04T16:00:46.307" UserId="202" Comment="Added mor info" Text="Yes, I'm working with PT10 (on OsX 10.6.8) and SMpro 4.3: it works, but SM doesn't auto-detect the PT session you're working on, so you just have to manually set it. Furthermore, the new PT functions (like interleaved audiofiles) aren't supported in SM: it just means that you cannot send an interleaved file to PT (an annoying popup appears).&#xD;&#xA;&#xD;&#xA;However, all the other functions in SM behave like they always did. And I'm really really happy with the new Pro Tools release!&#xD;&#xA;&#xD;&#xA;Davide" ContentLicense="CC BY-SA 3.0" />
  <row Id="18490" PostHistoryTypeId="2" PostId="11208" RevisionGUID="52ec5485-73fa-4677-b7ac-9b04b3549316" CreationDate="2011-11-04T19:01:18.870" UserId="636" Text="Hi guys &#xD;&#xA;&#xD;&#xA;I'm planning on purchasing one of the rode boom poles, either the mini or the micro.&#xD;&#xA;&#xD;&#xA;The problem is that the micro is only £39.99 whereas the mini is closer to £70.&#xD;&#xA;The only difference between them is the length of the micro is 2m and the mini is 2.05m.&#xD;&#xA;&#xD;&#xA;Does anyone have any experience with these boom poles. I can't understand why there is such a vast price difference if the length difference is 0.5 m.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="18491" PostHistoryTypeId="1" PostId="11208" RevisionGUID="52ec5485-73fa-4677-b7ac-9b04b3549316" CreationDate="2011-11-04T19:01:18.870" UserId="636" Text="Rode Boom pole enquiry" ContentLicense="CC BY-SA 3.0" />
  <row Id="18492" PostHistoryTypeId="3" PostId="11208" RevisionGUID="52ec5485-73fa-4677-b7ac-9b04b3549316" CreationDate="2011-11-04T19:01:18.870" UserId="636" Text="&lt;boom-pole&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18493" PostHistoryTypeId="2" PostId="11209" RevisionGUID="c6ab919d-2db0-43a4-9513-9b42f040a12d" CreationDate="2011-11-04T20:35:30.000" UserId="278" Text="I rather not touch the gain. it will increase the cups of tea in post. Leave plenty headroom and use 24bit depth if possible (permits a wider dynamic range capture than 16 bit) &#xD;&#xA;&#xD;&#xA;I would pay attention to mic placement. Probably go for a dynamic mic if the acoustics of the room are not good, also they not respond to fast transients which may cause clipping.&#xD;&#xA;&#xD;&#xA;You could also try to get the interviewee on you side by telling him cool stuff that they may not understand about acoustics and microphone characteristics, and ask him to control his/shes dynamics.&#xD;&#xA;Unfortunately they tend to forget everything you told them as soon as they start talking.:) &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18494" PostHistoryTypeId="5" PostId="11209" RevisionGUID="2468f830-3c78-42c5-a871-30ac6fa8067b" CreationDate="2011-11-04T21:35:27.310" UserId="278" Comment="trying to be a bit more acurate" Text="I rather not touch the gain. it will increase the cups of tea in post. Leave plenty headroom -12dBFS? and use 24bit depth if possible (permits a wider dynamic range capture than 16 bit) &#xD;&#xA;&#xD;&#xA;I would pay attention to mic placement. Probably go for a dynamic mic if the acoustics of the room are not good, also they not respond to fast transients which may cause clipping.&#xD;&#xA;&#xD;&#xA;You could also try to get the interviewee on you side by telling him cool stuff that they may not understand about acoustics and microphone characteristics, and ask him to control his/shes dynamics.&#xD;&#xA;Unfortunately they tend to forget everything you told them as soon as they start talking.:) &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18495" PostHistoryTypeId="2" PostId="11210" RevisionGUID="52c9035b-b680-4026-b40b-b67ac11d9831" CreationDate="2011-11-05T02:50:56.690" UserId="3151" Text="I agree with the above - gain adjustments should definitely be kept to a minimum.  However, keep in mind your environment.  &#xD;&#xA;&#xD;&#xA;You mentioned that the location was indoors with little to no ambient noise?  For that, I'd set it and forget it because normalizing the signal will be fairly easy without bringing up the unwanted noise. In noisier environments it becomes much more necessary to optimize the gain on the way in.&#xD;&#xA;&#xD;&#xA;Good luck! " ContentLicense="CC BY-SA 3.0" />
  <row Id="18496" PostHistoryTypeId="2" PostId="11211" RevisionGUID="d2436437-1713-4fc8-a4bb-d17ffef90225" CreationDate="2011-11-05T03:01:56.487" UserId="6600" Text="In a standard film scenario I think I would fall on the side of the cinematic approach, where panning corresponds to the direction of the helicopter as opposed to what would happen in reality.  I guess it's a similar argument to the way distant explosions/lightning strikes are traditionally treated in films; you hear them as the event is seen rather than after what would be a small delay in real life.  This is one of those crazy conventions that Fred and Roger refer to.&#xD;&#xA;&#xD;&#xA;Incidentally I was reading some comments on a Battlefield 3 trailer earlier and everyone was complaining about hearing the gunshot at the wrong time i.e. it wasn't realistic.  I think people were more intent on pointing out the fact that they knew the gunshot would come later rather than trying to improve gameplay - I'm sure the sound designers at DICE are well aware of the physics but chose this approach because in such a fast paced game it would be utter chaos (not saying that you have the same reasoning for bringing this up ofa :D )&#xD;&#xA;&#xD;&#xA;I also agree with Shaun however that the sound treatment is relative to whatever is happening in the story at that particular moment and/or the style of cinematography.  Maybe it would benefit the scene to intentionally make it disorientating and flip all the panning round (I quite like the idea of doing that for something....dibs!)&#xD;&#xA;&#xD;&#xA;So anyways, back to the original scenario, maybe a good way to illustrate the building reflections would be to pan the helicopter in the &quot;correct&quot; direction, and send the same signal to a bus panned in the opposite direction with 100% wet slapback reverb of some kind?  So you get the dry signal coming from the helicopter on the right and a slightly delayed reflection bouncing off the building on the left sort of thing.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18497" PostHistoryTypeId="2" PostId="11212" RevisionGUID="87ccea33-ecb2-4ad5-a104-bdd1b679b482" CreationDate="2011-11-05T03:01:58.717" UserId="1287" Text="I'm absolutely loving having clip gain.  So much faster than constantly using audiosuite's gain, even with it on a key command.&#xD;&#xA;&#xD;&#xA;Also having multiple audiosuite windows open at the same time is great.&#xD;&#xA;&#xD;&#xA;Channelstrip is a nice plug.  I'm not sure if it'll replace any of my favorites, but it sounds very good, and the dynamics section is really killer.  Very light on cpu too.&#xD;&#xA;&#xD;&#xA;Haven't tried RAM caching yet, I've only had it installed for 2 days and I'm waiting until I have a giant mix to really be able to utilize it properly...&#xD;&#xA;&#xD;&#xA;Also, everything just runs smoother.  You can actually now move an region while playing, and hear the change in real time, as opposed to having to stop and start again.  &#xD;&#xA;&#xD;&#xA;The one gripe I have is the changing of everything that used the word &quot;Region&quot; to &quot;Clip.&quot;  It may be a superficial annoyance, but it's annoying nonetheless.&#xD;&#xA;&#xD;&#xA;I'm very happy with HD10.  I do think the asking price is too high, but the new features have already sped up my workflow quite a bit." ContentLicense="CC BY-SA 3.0" />
  <row Id="18498" PostHistoryTypeId="2" PostId="11213" RevisionGUID="2f15b7e8-b553-4a10-87f7-5203eba50f61" CreationDate="2011-11-05T04:16:25.700" UserId="40" Text="Have a fun SFX recording session going down Sunday - Source is going to be about 140 - 150db, about 100m from me.&#xD;&#xA;&#xD;&#xA;Definitely bringing some high SPL shotguns, but was considering using a dynamic. The thing about dynamics is that their frequency response tends to get a little wonky after a distance, but the level of the sound tends to &quot;extend&quot; their reach.&#xD;&#xA;&#xD;&#xA;What's the furthest you've ever successfully (as in got a good sound out of) used a dynamic mic?&#xD;&#xA;&#xD;&#xA;For me, I think it was about 10m, while recording gun shots." ContentLicense="CC BY-SA 3.0" />
  <row Id="18499" PostHistoryTypeId="1" PostId="11213" RevisionGUID="2f15b7e8-b553-4a10-87f7-5203eba50f61" CreationDate="2011-11-05T04:16:25.700" UserId="40" Text="Furthest Distance You've Successfully Used a Dynamic Mic From?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18500" PostHistoryTypeId="3" PostId="11213" RevisionGUID="2f15b7e8-b553-4a10-87f7-5203eba50f61" CreationDate="2011-11-05T04:16:25.700" UserId="40" Text="&lt;sfx&gt;&lt;field-recording&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18501" PostHistoryTypeId="2" PostId="11214" RevisionGUID="96c2f16f-33b1-4438-9a85-546114aa978c" CreationDate="2011-11-05T06:56:23.787" UserId="1984" Text="This Halloween was a blast - I got to create a bunch of Halloween sound assets for Rivet Games, for my current &quot;big&quot; game &quot;Pet Tales&quot;  (It's currently Free to play on Facebook - http://apps.facebook.com/pettales/ )  &#xD;&#xA;&#xD;&#xA;Tons of fun stuff:  Original music, long  environmental ambiance loops for a &quot;haunted cemetary&quot;, plus I got to create a few new Halloween characters as well, one of which was the voice of a giant demonic pumpkin, called &quot;The Great Pumpkin King&quot; who blocks your path in the Pumpkin patch maze.  Plus there were giant carniverous plants, in an &quot;Enchanted Mushroom forest&quot;...owls.... lots of bats!  Total blast! &#xD;&#xA;&#xD;&#xA;bentleyaudio@sonic.net" ContentLicense="CC BY-SA 3.0" />
  <row Id="18502" PostHistoryTypeId="16" PostId="11214" RevisionGUID="96c2f16f-33b1-4438-9a85-546114aa978c" CreationDate="2011-11-05T06:56:23.787" UserId="-1" />
  <row Id="18503" PostHistoryTypeId="5" PostId="11214" RevisionGUID="3510393b-9085-48e8-b011-fd919f6392aa" CreationDate="2011-11-05T08:17:12.167" UserId="1984" Comment="deleted 127 characters in body" Text="This Halloween was a blast - I got to create a bunch of Halloween sound assets for Rivet Games, for my current game &quot;Pet Tales&quot;  (free, on the Facebook platform).&#xD;&#xA;&#xD;&#xA;Tons of fun stuff:  Original music, long  environmental ambiance loops for a &quot;haunted cemetary&quot;, plus I got to create a few new Halloween characters as well, one of which was the voice of a giant demonic pumpkin in a Pumpkin patch maze.  Plus carniverous plants, in an &quot;Enchanted Mushroom forest&quot;...owls.... lots of bats!  Total blast! &#xD;&#xA;&#xD;&#xA;bentleyaudio@sonic.net" ContentLicense="CC BY-SA 3.0" />
  <row Id="18504" PostHistoryTypeId="2" PostId="11215" RevisionGUID="02b96ced-a7b4-44e3-a14e-d5c6fcc09559" CreationDate="2011-11-05T09:29:45.333" UserId="397" Text="Hey Colin,&#xD;&#xA;&#xD;&#xA;I didnt have the chance yet to record a high SPL sound in order to use a dynamic mic. I would try to place it as close as I could in order to get the punchy part of the sound. What's the source? &#xD;&#xA;&#xD;&#xA;Best regards,&#xD;&#xA;Marco" ContentLicense="CC BY-SA 3.0" />
  <row Id="18505" PostHistoryTypeId="2" PostId="11216" RevisionGUID="6099dce3-3bcc-44e4-a2d1-37f71d384648" CreationDate="2011-11-05T10:51:09.767" UserId="3049" Text="Compare the weight of those two. There might be a price difference that represents materials from which both boom poles are made. The lighter the better obviously. Also I am not sure it is the best purchase you can make...." ContentLicense="CC BY-SA 3.0" />
  <row Id="18506" PostHistoryTypeId="2" PostId="11217" RevisionGUID="c472a930-a20d-440f-9345-b01391a55878" CreationDate="2011-11-05T11:18:05.787" UserId="6524" Text="I've lived in Dubai all my life and have never really been &quot;into the wild&quot; much other than camping in the desert and mountainous areas as a Boy Scout so this is pretty exciting. I'm going to be visiting Perth, WA in Jan just before I head to NZ for film school, when we're there my brother and some friends are planning on visiting some interesting places for photography. I'll be going along obviously recording sounds but all I got is an H4n (Hopefully a PreMix-D to accompany it in that time) and a Rode NTG-2 which is better than nothing I guess. &#xD;&#xA;&#xD;&#xA;I'm wondering if you guy's could possibly give me some general ideas on what to record that aren't very obvious like ambience and foley, I'll also do some research on the sort of sounds are commonly found in these type of libraries. Also could you give me some insight on how to take care of my stuff? I hear there are quite a few ticks around in one of places we're visiting I don't want any getting on my deadwombat, also its going to be summer in Australia so I'll be putting my gear in a little pouch with a silica gel packet in there. The last thing I want to do is ruin my gear just before starting film school. Thanks for the help." ContentLicense="CC BY-SA 3.0" />
  <row Id="18507" PostHistoryTypeId="1" PostId="11217" RevisionGUID="c472a930-a20d-440f-9345-b01391a55878" CreationDate="2011-11-05T11:18:05.787" UserId="6524" Text="First Time Recording in Forrests" ContentLicense="CC BY-SA 3.0" />
  <row Id="18508" PostHistoryTypeId="3" PostId="11217" RevisionGUID="c472a930-a20d-440f-9345-b01391a55878" CreationDate="2011-11-05T11:18:05.787" UserId="6524" Text="&lt;field-recording&gt;&lt;nature&gt;&lt;protection&gt;&lt;australia&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18509" PostHistoryTypeId="2" PostId="11218" RevisionGUID="a92d9771-89e8-4f8d-9212-2f11f9d48a8b" CreationDate="2011-11-05T12:30:50.167" UserId="3155" Text="Hi,&#xD;&#xA;&#xD;&#xA;I currently use a sd mix pre-d with a zoom H4n. Its a nice setup. The advantage of this setup is that it is really modular. I can use the mixer, or the mixer and recorder it only the recorder. &#xD;&#xA;What I don't like about the H4n, is that you cannot put it in a bag, like other recorders. That's why im looking four an alternative for the H4n.&#xD;&#xA;&#xD;&#xA;Because i am using a good field mixer, pre amps are not really important. I do want good xlr inputs, line or mic level.&#xD;&#xA;&#xD;&#xA;The fostex fr2le is my best option at this moment. But what I don't like about it is that I cannot see the display if it's tucked away in my bag. it gives you certain feedback. For example: When recording you can double check if the time is really running or checking the take or slate number. That really important to me.&#xD;&#xA;&#xD;&#xA;Other options for fields recorders are tascam or sound devices. But those are more expensive. &#xD;&#xA;&#xD;&#xA;Another dilemma: I can choose a good field recorder, but why do I need the fields mixer then? Why not use the pre amps of the fields recorder instead of the field mixer. Where can I draw the line?&#xD;&#xA;&#xD;&#xA;So does anybody know a good fields recorder in combination with a field mixer?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18510" PostHistoryTypeId="1" PostId="11218" RevisionGUID="a92d9771-89e8-4f8d-9212-2f11f9d48a8b" CreationDate="2011-11-05T12:30:50.167" UserId="3155" Text="Looking for a good field recorder in combination with a field mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="18511" PostHistoryTypeId="3" PostId="11218" RevisionGUID="a92d9771-89e8-4f8d-9212-2f11f9d48a8b" CreationDate="2011-11-05T12:30:50.167" UserId="3155" Text="&lt;field&gt;&lt;field-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18512" PostHistoryTypeId="2" PostId="11219" RevisionGUID="c1ccb28e-9b57-4b15-ae2a-4be6864d16b7" CreationDate="2011-11-05T12:58:17.033" UserId="842" Text="In dynamic mics I mostly work with Shure SM-57 &amp; 58, and as they're modeled to reject feedback by heavy use of the proxi-effect one can't really be much more than 20cm away tops with the 57, much less with the 58. &#xD;&#xA;I have some cheap dynamics that have distance comparing to condensers, but they doesn't really have very much SPL.&#xD;&#xA;As dynamics are much more mechanical in its construction than condensers, I have a sneaking suspicion they need to be less flexible to handle really high SPL." ContentLicense="CC BY-SA 3.0" />
  <row Id="18513" PostHistoryTypeId="2" PostId="11220" RevisionGUID="5ea29a86-b486-4f74-b244-5394296de0f5" CreationDate="2011-11-05T13:10:32.243" UserId="842" Text="As far as I can tell, the difference is all in the locking-system of the sections as well as the thickness of the boom. The Micro looks REALLY unimpressive, though I haven't seen it live, of what I can tell from the pictures it looks like pretty hard to operate in the field." ContentLicense="CC BY-SA 3.0" />
  <row Id="18514" PostHistoryTypeId="2" PostId="11221" RevisionGUID="7112b4d0-6410-4a09-a818-c158fb516d5f" CreationDate="2011-11-05T14:15:26.997" UserId="194" Text="I had some dynamics up (421s) when recording the implosion of tx stadium.  The thing about sounds that are that loud is that no mic will get the sound just right in isolation.  I'd definitely bring a wide variety of mics, and aim some of them *away* from the source." ContentLicense="CC BY-SA 3.0" />
  <row Id="18515" PostHistoryTypeId="4" PostId="11217" RevisionGUID="01636af6-38b5-4d07-88a3-97d18c48fdc4" CreationDate="2011-11-05T14:16:56.730" UserId="6524" Comment="Spelling Error" Text="First Time Recording in Forests" ContentLicense="CC BY-SA 3.0" />
  <row Id="18516" PostHistoryTypeId="2" PostId="11222" RevisionGUID="1b1a18ec-a914-42e8-a4cb-d9510ac017d5" CreationDate="2011-11-05T17:23:01.120" UserId="1228" Text="Well, it falls under ambience, but I've always been interested in hearing more tracks where you can hear the occasional twig or tree branch snap.  Soundstorm has two tracks of these, they're great and uniquely perfect for forest scenes, but that's the sad part - there's only 2, and they're little too sparse/quiet amidst the noise floor so they're not always ideal." ContentLicense="CC BY-SA 3.0" />
  <row Id="18520" PostHistoryTypeId="2" PostId="11224" RevisionGUID="edb4e0d7-28b6-415a-8482-a557894b68a8" CreationDate="2011-11-05T17:55:51.330" UserId="1090" Text="Don't buy a Rode boom pole. They're aluminium. If you're going to pick up dialog and swing it around set, you'll most likely be battling handling noise and heaviness. A cheap boom pole is expensive in the long run cus in a year you'll instantly be thinking of the next boom purchase. &#xD;&#xA;&#xD;&#xA;Get a good, more expensive pole that lives forever and is lighter. Like the PSC, or K-tek. &#xD;&#xA;&#xD;&#xA;It's worth it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18521" PostHistoryTypeId="2" PostId="11225" RevisionGUID="bfffce47-fa19-4aa6-b127-65e0f7d07ec2" CreationDate="2011-11-05T18:00:30.347" UserId="1090" Text="Have you seen the Sound Devices 7-series recorders? http://www.sounddevices.com&#xD;&#xA;Also check the SD 552 out, on the same site but under mixers. It's a mixer with a built in recorder.&#xD;&#xA;&#xD;&#xA;There are numerous other alternatives. Cheap or expensive. The Tascam DR-680 for example, and the Edirol R-4 Pro are decent field recorders/mixers and a lot of bang for the buck.&#xD;&#xA;&#xD;&#xA;Lurk around these forums and check out vendor's webistes. Like www.trewaudio.com or www.coffeysound.com or the best one IMHO, http://www.pro-sound.com/&#xD;&#xA;&#xD;&#xA;Browse the categories and look at specs and get an idea of what you can get. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;On a side note, if you get a remote for the H4n, you CAN put it in a bag. &#xD;&#xA;I have mine with my SD302, with the H4n beneath the mixer and the remote coming out. I only monitor levels with the 302. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18523" PostHistoryTypeId="2" PostId="11226" RevisionGUID="72ff1541-e0bb-4930-a492-89eb10358636" CreationDate="2011-11-05T18:11:02.980" UserId="2778" Text="hey. i was looking out for some egg hatching sound effects but the ones i found were of low quality with a lot of ambient noise in them. Can anyone give me suggestions as to how i can create the egg hatching sound effect using things of daily use??" ContentLicense="CC BY-SA 3.0" />
  <row Id="18524" PostHistoryTypeId="1" PostId="11226" RevisionGUID="72ff1541-e0bb-4930-a492-89eb10358636" CreationDate="2011-11-05T18:11:02.980" UserId="2778" Text="Egg Hatching Sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="18525" PostHistoryTypeId="3" PostId="11226" RevisionGUID="72ff1541-e0bb-4930-a492-89eb10358636" CreationDate="2011-11-05T18:11:02.980" UserId="2778" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18526" PostHistoryTypeId="2" PostId="11227" RevisionGUID="a9ddae41-d7bf-4d9d-b059-f257d73726e7" CreationDate="2011-11-05T18:21:29.580" UserId="315" Text="How about some eggs from the grocery store?&#xD;&#xA;&#xD;&#xA;Or watch [this][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=Dp7aJ6zoLXY" ContentLicense="CC BY-SA 3.0" />
  <row Id="18527" PostHistoryTypeId="2" PostId="11228" RevisionGUID="7ff95a04-c122-4bba-ab42-c1c5d7982bef" CreationDate="2011-11-05T18:37:41.930" UserId="3146" Text="The amplified tines of the Fender Rhodes." ContentLicense="CC BY-SA 3.0" />
  <row Id="18528" PostHistoryTypeId="2" PostId="11229" RevisionGUID="c57e822b-9036-4b46-9a1b-991a181a0022" CreationDate="2011-11-05T18:46:02.473" UserId="3146" Text="I came across the following artist (Soncbrat) today and thought about such a topic until I searched and found this.  Great thread, and I share the taste of many who already posted here.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/sonicbrat" ContentLicense="CC BY-SA 3.0" />
  <row Id="18529" PostHistoryTypeId="2" PostId="11230" RevisionGUID="ec03aabc-3ef0-4694-8a5f-cb81122050e8" CreationDate="2011-11-05T18:53:02.170" UserId="253" Text="I'm not really familiar with the west side of australia, but there's a good chance you'll be able to get a lot of cicada recordings. In fact, you might wish those little things would just shut up for a second, depending on the weather and area. Like Stavro said, some generic tree forest movement tracks would be fantastic. I always find myself wanting recordings of branches creaking/rubbing, and close perspective leaves rustling. &#xD;&#xA;&#xD;&#xA;As far as weather, i think WA is generally pretty dry, but don't quote me on that. Your gear should be good, as long as you don't let it overheat. Try to keep it shaded. And i don't think ticks will be attracted to your dead wombat, as they go for body heat. Always check yourself for ticks after you've been walking through bushes and whatnot, though. Also, general safety tips: take more water than you think you'll need, and be careful around long grass, as you might disturb a snake.&#xD;&#xA;&#xD;&#xA;Good luck and happy recording! And enjoy NZ film school; there are a lot of brilliant sound post folk down in that corner of the world." ContentLicense="CC BY-SA 3.0" />
  <row Id="18530" PostHistoryTypeId="2" PostId="11231" RevisionGUID="cc60aae3-e12b-49a9-aa2d-bdb288dfdf1a" CreationDate="2011-11-05T19:34:27.377" UserId="517" Text="Hello everyone.&#xD;&#xA;&#xD;&#xA;This is the first time that I'm cutting sound on a feature film in a major way, so this the first time I'm really dealing with reel breaks. &#xD;&#xA;&#xD;&#xA;Generally when I'm cutting DIA, I leave a one frame fade on either side of a scene transition. But at the head and tail of a reel, that's not possible because no audio can play before the FFOA and after the LFOA. &#xD;&#xA;&#xD;&#xA;What do you do for reel breaks? Do you cut really short fade from the beginning of the FFOA frame? " ContentLicense="CC BY-SA 3.0" />
  <row Id="18531" PostHistoryTypeId="1" PostId="11231" RevisionGUID="cc60aae3-e12b-49a9-aa2d-bdb288dfdf1a" CreationDate="2011-11-05T19:34:27.377" UserId="517" Text="DIA Editing At Reel Breaks" ContentLicense="CC BY-SA 3.0" />
  <row Id="18532" PostHistoryTypeId="3" PostId="11231" RevisionGUID="cc60aae3-e12b-49a9-aa2d-bdb288dfdf1a" CreationDate="2011-11-05T19:34:27.377" UserId="517" Text="&lt;dialogue&gt;&lt;editing&gt;&lt;reel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18533" PostHistoryTypeId="5" PostId="11227" RevisionGUID="3696af68-e566-487f-bfad-6c984d827dda" CreationDate="2011-11-05T19:43:34.017" UserId="238" Comment="embeded video" Text="How about some eggs from the grocery store?&#xD;&#xA;&#xD;&#xA;Or watch [this][1]:&#xD;&#xA;&#xD;&#xA;[youtube]Dp7aJ6zoLXY[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=Dp7aJ6zoLXY" ContentLicense="CC BY-SA 3.0" />
  <row Id="18534" PostHistoryTypeId="2" PostId="11232" RevisionGUID="8a8ea30f-d0c7-4a66-a09b-fd9228034123" CreationDate="2011-11-05T20:05:44.710" UserId="1228" Text="For reel breaks (assuming picture dept didn't do an improper break mid-scene and/or during a line), I do an Equal Gain 2-frame fade, one frame on either side of the LFOA, same as when I do hard cuts from scene to scene - 2 frame fades.  I do the same at the top of the reel.&#xD;&#xA;&#xD;&#xA;I don't know all the details of this, but sometimes after the mix, the stage creates a few frames of &quot;pull up&quot; on the end of each reel (essentially, stealing the first few frames of the start of the next reel) so that when all reels are hung together, the transition is, quite literally, seamless and phase coherent.  I've only heard of this practice, never witnessed it even on printmasters and stems I've worked with from stages, so I'm not sure how widely it's adopted nor how common it is." ContentLicense="CC BY-SA 3.0" />
  <row Id="18535" PostHistoryTypeId="5" PostId="11222" RevisionGUID="f13ddfc9-1062-4b65-8ecf-ed8958039f33" CreationDate="2011-11-05T20:09:38.443" UserId="1228" Comment="added 167 characters in body" Text="Well, it falls under ambience, but I've always been interested in hearing more tracks where you can hear the occasional twig or tree branch snap.  Soundstorm has two tracks of these, they're great and uniquely perfect for forest scenes, but that's the sad part - there's only 2, and they're little too sparse/quiet amidst the noise floor so they're not always ideal.&#xD;&#xA;&#xD;&#xA;EDIT: Kookaburras too... there seems to be a lacking of decent recordings of these in libraries in my experiences (although the BBC Nature Series might have them)." ContentLicense="CC BY-SA 3.0" />
  <row Id="18536" PostHistoryTypeId="2" PostId="11233" RevisionGUID="bcc27fb2-13fd-4bf8-8846-6f16e2d6d118" CreationDate="2011-11-05T22:32:14.200" UserId="1228" Text="I'm going to be the market soon to finally shift the SFX library to a RAID, and I'd love to hear some thoughts/personal usage regarding these two:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Sans Digital TR4UTBPN&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;http://www.newegg.com/Product/Product.aspx?Item=N82E16816111149&#xD;&#xA;&#xD;&#xA;&lt;p&gt;Drobo DR04DD10 (or possibly the Drobo S 5-drive array @ $600) &lt;/p&gt;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;http://www.newegg.com/Product/Product.aspx?Item=N82E16822240010&#xD;&#xA;&#xD;&#xA;The intention here is run a hardware RAID 5, not really any performance-demanding writing to be done (e.g. Copy/Paste), mostly reading/spotting files via Soundminer.  I don't mind USB 2.0 speeds either - faster is great, but it's not the deal breaker as both of these are capable of USB 2.0 or greater.&#xD;&#xA;&#xD;&#xA;Really just after personal thoughts and experiences on reliability, portability (in terms of being able to move it between systems on the fly without anything more than Plug n Play), modular scalability (it seems that the Drobo excels at this on paper), customer/tech support solidarity, and day to day usage of the device.&#xD;&#xA;&#xD;&#xA;I will of course have an offline backup of whats on this RAID on regular external drives for safety - simply seeking something more robust though for being my online (not internet-wise) SFX database.  Any and all thoughts about these models and/or track record with these companies, good and bad, are welcome - no holds barred.  I'd love top be more informed.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://images17.newegg.com/is/image/newegg/16-111-149-Z11?$S300W$.jpg&#xD;&#xA;  [2]: http://images17.newegg.com/is/image/newegg/22-240-010-Z02?$S300W$.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="18537" PostHistoryTypeId="1" PostId="11233" RevisionGUID="bcc27fb2-13fd-4bf8-8846-6f16e2d6d118" CreationDate="2011-11-05T22:32:14.200" UserId="1228" Text="SFX RAID - Drobo or Sans Digital?  Thoughts Welcome" ContentLicense="CC BY-SA 3.0" />
  <row Id="18538" PostHistoryTypeId="3" PostId="11233" RevisionGUID="bcc27fb2-13fd-4bf8-8846-6f16e2d6d118" CreationDate="2011-11-05T22:32:14.200" UserId="1228" Text="&lt;sound-libraries&gt;&lt;storage&gt;&lt;database&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18539" PostHistoryTypeId="2" PostId="11234" RevisionGUID="179823d6-0ef1-46d2-bcbe-55adaa9e569e" CreationDate="2011-11-05T23:04:28.550" UserId="300" Text="fwiw -- I live in Auckland and 3 days ago I heard the first lone cicada fire up its ratchet --- I'm scrambling to get a bunch of exterior recordings I need before summer hits us properly because cicada's here are such a pain! &#xD;&#xA;&#xD;&#xA;Not sure about WA but I lived in Brisbane for a year and seeing as how summer is about 5months long there's just no escaping insects during that period -- good opportunities for hunting out single insects though, and if you can get close enough without spooking them then that's worthwhile. &#xD;&#xA;&#xD;&#xA;I've found the very beginning \ end of summer here is best to find lone insects to record, the ones which for whatever reason have missed the memo, and are still in their lounge singing karaoke" ContentLicense="CC BY-SA 3.0" />
  <row Id="18540" PostHistoryTypeId="2" PostId="11235" RevisionGUID="b2e45087-8164-45d9-ad34-189810c783f6" CreationDate="2011-11-05T23:19:21.290" UserId="1266" Text="http://soundcloud.com/chrisnealysound/berkeley-5pm-crossing-chirp-2&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/chrisnealysound/berkeley-5pm-crossing-chirp&#xD;&#xA;&#xD;&#xA;here are the two tracks from Berkeley of chirps" ContentLicense="CC BY-SA 3.0" />
  <row Id="18541" PostHistoryTypeId="2" PostId="11236" RevisionGUID="c6c3fcef-5359-4dbb-8ac5-e4ec58a520ad" CreationDate="2011-11-06T00:04:56.767" UserId="278" Text="I was thinking, what about try recording the sound of the cracking of a dry piece of a Baguette? As one of your layers..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18542" PostHistoryTypeId="2" PostId="11237" RevisionGUID="9d87368e-c32d-4340-a4ec-944f0a51a0af" CreationDate="2011-11-06T09:08:10.380" UserId="1228" Text="A production mixer buddy of mine, back in the day when he started with an FR2 before going the way of a 788T, had is FR2 modified with a Hirose connector, in which he was then able to power it via NP1 batteries... these batteries are a brick a smidge smaller than a DVD case, but I'm told a single NP1 charge can go for days on end even with a recorder/mic running on standby (if not actively recording).&#xD;&#xA;&#xD;&#xA;Your question is a good one to ask production mixers for their opinions, since in my experience they tend to be the most vigilant and &quot;in the know&quot; about how to stretch every single last drip of portable power they can to maintain the most uptime possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="18543" PostHistoryTypeId="2" PostId="11238" RevisionGUID="6070f91b-421c-45b0-9a6a-77ae25d6cc23" CreationDate="2011-11-06T12:04:12.407" UserId="2498" Text="1.) What are some of your favourite sounds?&#xD;&#xA;Girls laughing, and water flowing over stones in a small creek.&#xD;&#xA;&#xD;&#xA;4.) What are some sounds that you can hear right now as you read this text?&#xD;&#xA;tinnitus; my breathing as it whistles in my nose and rumbles in my chest and throat. (I'm wearing a pair of isolated headphones, and typing.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18544" PostHistoryTypeId="2" PostId="11239" RevisionGUID="c9776476-d0df-4505-a5ff-27ff7aa11d25" CreationDate="2011-11-06T13:02:56.630" UserId="1011" Text="Hi @Stavrosound,&#xD;&#xA;&#xD;&#xA;I have a Drobo 4-bay.&#xD;&#xA;&#xD;&#xA;I'm a big fan of it.  It's incredibly simple to use and has worked without problems so far.&#xD;&#xA;&#xD;&#xA;Highlights&#xD;&#xA;&#xD;&#xA; - ease of use - Very simple to get up and running.  Add or remove drives on the fly without powering down. Just remove the magnetically-attached front faceplate and add/remove drives&#xD;&#xA; - construction - well made.  Solid jacks, drive bays and case&#xD;&#xA; - aesthetics - it looks incredibly slick.  Design is top notch.  Thoughtfully made&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Caveats&#xD;&#xA;&#xD;&#xA; - I have the drive on my desk.  When being used consistently (i.e a large copy) the fan kicks in and it is a bit loud.  Too loud for sound editing in my opinion.  However when it is accessed casually, as you need for spotting, it is quiet&#xD;&#xA; - while the Drobo can add any configuration of drives, using mismatched drive sizes results in unusual total capacities.  Use their [capacity calculator][1] to gauge things accurately&#xD;&#xA; - I wouldn't exactly say it is portable.  In theory you could but it is short and squat and long and doesn't seem easily portable.  The Drobo Dashboard software does allow you to put the device in &quot;Standby&quot; which I believe parks the drive heads which is better for travel&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Let us know which you choose!&#xD;&#xA;&#xD;&#xA;Paul Virostek&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://drobo.com/products/capacity-calculator/index.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="18545" PostHistoryTypeId="2" PostId="11240" RevisionGUID="91ce3a11-437f-4057-8e75-67e2f6664d3b" CreationDate="2011-11-06T13:20:08.000" UserId="863" Text="Been asked at work to mix to a loudness reading aswell/rather than ppm. I think the UK are switching over to this it seems. &#xD;&#xA;&#xD;&#xA;Have any of you used these before? &#xD;&#xA;which do you recommend? &#xD;&#xA;is PPMULATORXL any good?&#xD;&#xA;Any tips? it seems like can't over compress our ads now to make them stand out more.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18546" PostHistoryTypeId="1" PostId="11240" RevisionGUID="91ce3a11-437f-4057-8e75-67e2f6664d3b" CreationDate="2011-11-06T13:20:08.000" UserId="863" Text="loudness metering" ContentLicense="CC BY-SA 3.0" />
  <row Id="18547" PostHistoryTypeId="3" PostId="11240" RevisionGUID="91ce3a11-437f-4057-8e75-67e2f6664d3b" CreationDate="2011-11-06T13:20:08.000" UserId="863" Text="&lt;loudness&gt;&lt;television&gt;&lt;mixing&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18548" PostHistoryTypeId="2" PostId="11241" RevisionGUID="fd510be0-d712-4e71-838e-ba043f9033ea" CreationDate="2011-11-06T14:06:47.643" UserId="234" Text="I've been using the Nugen VIS-Lm for a while, and it seems fairly solid, and bang on in terms of QC. Settings for EBU, ATSC and ITU 1770.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18549" PostHistoryTypeId="2" PostId="11242" RevisionGUID="29a716a2-0bd1-42d2-9cd8-e03c64d02ded" CreationDate="2011-11-06T14:23:13.097" UserId="3158" Text="Drum separation, to use within a drum map or keyboard. &#xD;&#xA;&#xD;&#xA;Loops available for user use if buying the patch.&#xD;&#xA;&#xD;&#xA;I feel samples should be of use to anyone who uses the product. It seems unfair to supply such a patch to then not be able to use pre made samples. &#xD;&#xA;&#xD;&#xA;cinematic drums I would vision as slower more powerful drums. 100bpm to 200bpm&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18550" PostHistoryTypeId="2" PostId="11243" RevisionGUID="3ea3daa6-692f-4dfa-a208-f9d19fadf2ce" CreationDate="2011-11-06T14:24:18.543" UserId="234" Text="Pullups are used when actually working with a FILM print (i.e actually going to 35mm or 70mm for projection). A &quot;pullup&quot; (in film terms as opposed to timecode terms) is the first 26 frames of the NEXT reel that are spliced onto this reel to avoid glitches in the sound during reel changeover. Even in these days of automated projection, they are still necessary, as the film still ships in AB reels that are assembled at the cinema into the master projection reel (I've spent way too much time in projection booths lately). Even in the case of DCP, assuming the project still has a 35mm component, the DCP Master will be assembled from those original FILM reels. The fades past LFOA sound great in theory, but in practice they will probably be removed at the lab/printmaster when the pullups are done. Always make sure your reel breaks work as a hard cut, and you won't have any nasty surprises at projection.&#xD;&#xA;&#xD;&#xA;In practice I've never actually HAD a problem, even with projects where the director/producer didn't listen to practical advice and cut according to reel breaks, but you're always playing with fire when you do that.&#xD;&#xA;&#xD;&#xA;If of course you're dealing with a 100% DCP/Digital workflow-say RED/Alexa straight to DCP playout, then these rules don't apply. But given the number of non-DCP cinemas still in existence, it'll be a while before these thing disappear for theatrical releases.&#xD;&#xA;&#xD;&#xA;If you think THIS is fun, you should try dealing with Optical Counts! :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18551" PostHistoryTypeId="2" PostId="11244" RevisionGUID="f942bcd8-e00b-4e8f-9146-9b3fac0b03cd" CreationDate="2011-11-06T15:05:14.063" UserId="3096" Text="1.) What are some of your favourite sounds?&#xD;&#xA;&#xD;&#xA;Whistling wind, bar chimes&#xD;&#xA;&#xD;&#xA;2.) What are some sounds that you relate strongly with memories of your childhood?&#xD;&#xA;&#xD;&#xA;Sound of sand underwater, actually any sound I hear underwater when I go to the beach and swim&#xD;&#xA;&#xD;&#xA;3.) What are some sounds that, in your opinion, are strongly evocative of the city/town that you are currently living in?&#xD;&#xA;&#xD;&#xA;Karaoke (something corny at that)&#xD;&#xA;&#xD;&#xA;4.) What are some sounds that you can hear right now as you read this text?&#xD;&#xA;&#xD;&#xA;Snoring, aircon hum" ContentLicense="CC BY-SA 3.0" />
  <row Id="18552" PostHistoryTypeId="2" PostId="11245" RevisionGUID="e23e8065-eb4f-4c7b-9357-add52129508d" CreationDate="2011-11-06T18:16:48.233" UserId="1292" Text="If you wanted to have a separate cracking sound without the wet sound of an egg from the grocery store, you could try blowing the egg dry.  That is where you take a pin and make two small holes on an egg on at the top and one on the bottom and then you shake the egg really hard to crack the yolk inside.  Then you put your mouth over one hole and blow out the egg guts out the other hole.  Let it dry overnight and you have an empty egg shell.....then again its rather laborious.. You could just crack an egg in half and let the halves dry for the same effect.  Maybe you want something sticky for the fluids? Try honey or sticky rice for some texture." ContentLicense="CC BY-SA 3.0" />
  <row Id="18553" PostHistoryTypeId="2" PostId="11246" RevisionGUID="30b7629c-3efc-4464-b94d-3ed3c29a950f" CreationDate="2011-11-06T18:57:24.160" UserId="46" Text="The Dolby Media Meter is pricey, but also includes Leq(m) metering if you're going to come across any theatrical trailer work. It's a bit of a resource hog, but probably the standard, especially if you're sending stuff to networks that are still QCing with LM100 hardware.&#xD;&#xA;&#xD;&#xA;Always important to trust your ears above all, is the one caveat with all these latest devices..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18557" PostHistoryTypeId="2" PostId="11248" RevisionGUID="a669912e-6a76-4e74-b649-02dc45657bbd" CreationDate="2011-11-06T20:29:28.860" UserId="18160" Text="I have an issue with a gig I do every few months.&#xD;&#xA;&#xD;&#xA;I record live speeches in outdoor environments around the world.&#xD;&#xA;&#xD;&#xA;Some of the locations can get extremely windy within a matter of minutes.&#xD;&#xA;&#xD;&#xA;What I need is extremely good wind protection for two MK41 capsules on a gooseneck, while still looking good on camera (i.e. I am not able to place a large furry windjammer on the mics even though I would love to, it's got to look good on camera still).&#xD;&#xA;&#xD;&#xA;Another requirement is along with the extreme wind protection from large fast gusts, it's got to still yield good tonality for a voice. Kind of a catch 22, but I know there must be something out there and I am prepared to spend however much money it will take to get this sorted out.&#xD;&#xA;&#xD;&#xA;Does anyone have any experience in this area or any leads on tricks or tips I can use?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18558" PostHistoryTypeId="1" PostId="11248" RevisionGUID="a669912e-6a76-4e74-b649-02dc45657bbd" CreationDate="2011-11-06T20:29:28.860" UserId="18160" Text="Best wind protection for podium microphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18559" PostHistoryTypeId="3" PostId="11248" RevisionGUID="a669912e-6a76-4e74-b649-02dc45657bbd" CreationDate="2011-11-06T20:29:28.860" UserId="18160" Text="&lt;outdoor&gt;&lt;podium&gt;&lt;wind-protection&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18560" PostHistoryTypeId="5" PostId="11248" RevisionGUID="04bf10ab-13e3-495b-b5ca-3e85e9981f43" CreationDate="2011-11-06T20:37:16.877" UserId="18160" Comment="added 408 characters in body; added 10 characters in body; added 74 characters in body" Text="I have an issue with a gig I do every few months.&#xD;&#xA;&#xD;&#xA;I record live speeches in outdoor environments around the world.&#xD;&#xA;&#xD;&#xA;Some of the locations can get extremely windy within a matter of minutes.&#xD;&#xA;&#xD;&#xA;What I need is extremely good wind protection for two MK41 capsules on a gooseneck, while still looking good on camera (i.e. I am not able to place a large furry windjammer on the mics even though I would love to, it's got to look good on camera still).&#xD;&#xA;&#xD;&#xA;Another requirement is along with the extreme wind protection from large fast gusts, it's got to still yield good tonality for a voice. Kind of a catch 22, but I know there must be something out there and I am prepared to spend however much money it will take to get this sorted out.&#xD;&#xA;&#xD;&#xA;Specific things I have tried:&#xD;&#xA;&#xD;&#xA;- Schoeps B5D - Looks great on camera but not enough for strong wind.&#xD;&#xA;- Schoeps B20 - Good on camera but tonality sounds horrible for some reason.&#xD;&#xA;- Schoeps W20 - Great protection, sounds great, just too big and furry for the camera.&#xD;&#xA;- DPA foams - Great for indoor PA speeches, not enough protection for outdoors.&#xD;&#xA;- Various Sennheiser foam - Sounds good, not enough protection.&#xD;&#xA;- Rycote Softie - Not exactly the most optimum tonality I'm looking for.&#xD;&#xA;&#xD;&#xA;Does anyone have any experience in this area or any leads on tricks or tips I can use?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18564" PostHistoryTypeId="5" PostId="11248" RevisionGUID="41acea66-7236-43ac-b131-6f005636d699" CreationDate="2011-11-06T23:19:52.900" UserId="18160" Comment="deleted 18 characters in body" Text="I have an issue with a gig I do every few months.&#xD;&#xA;&#xD;&#xA;I record live speeches in outdoor environments around the world.&#xD;&#xA;&#xD;&#xA;Some of the locations can get extremely windy within a matter of minutes.&#xD;&#xA;&#xD;&#xA;What I need is extremely good wind protection for two MK41 capsules on a gooseneck, while still looking good on camera (i.e. I am not able to place a large furry windjammer on the mics even though I would love to, it's got to look good on camera still).&#xD;&#xA;&#xD;&#xA;Another requirement is along with the extreme wind protection from large fast gusts, it's got to still yield good tonality for a voice. Kind of a catch 22, but I know there must be something out there and I really would appreciate anyone's help on sorting this out.&#xD;&#xA;&#xD;&#xA;Specific things I have tried:&#xD;&#xA;&#xD;&#xA;- Schoeps B5D - Looks great on camera but not enough for strong wind.&#xD;&#xA;- Schoeps B20 - Good on camera but tonality sounds horrible for some reason.&#xD;&#xA;- Schoeps W20 - Great protection, sounds great, just too big and furry for the camera.&#xD;&#xA;- DPA foams - Great for indoor PA speeches, not enough protection for outdoors.&#xD;&#xA;- Various Sennheiser foam - Sounds good, not enough protection.&#xD;&#xA;- Rycote Softie - Not exactly the most optimum tonality I'm looking for.&#xD;&#xA;&#xD;&#xA;Does anyone have any experience in this area or any leads on tricks or tips I can use?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18565" PostHistoryTypeId="2" PostId="11250" RevisionGUID="445dfa98-8c7c-4655-9345-6d93dafb5ee1" CreationDate="2011-11-07T01:01:38.987" UserId="842" Text="I've been using the Dolby Media Meter II for quite a while, and think it's good! Frankly I use it mostly as a limiter (it has an extremely transparent limiter!) and for safety as I work mostly by ear anyway, but I'd say it does the job very well where you need to be picky too! I originally bought it to deal with an extremely tight schedule with a project where I had to turn off all active listening for extended periods of time as to not risk ear fatigue and still be able to keep the mix at a steady level, but it really works wonders when optimizing mixes for TV/Commercials and setting Dolby-levels :-) I can't say it's nigher better nor worse than what you mentioned before as I've never tried the other stuff, but there are several things I like about it; like a graphical display of different measures over time, the ability to measure &quot;absolute level&quot; (how it will translate into voltage through DAC and anti-alias, not as a digital pattern), stability, and again, the great limiter :-)&#xD;&#xA;&#xD;&#xA;The only things I wish could be better is that there seems to be no documentation whatsoever (I'm still not sure what differs between the different types of measures), it can't really measure single words very well (it seems to be made pretty much all for overall material loudness), and for some reason it comes on a burned disc (yes, it is a genuine retail version with the real iLok-key box and all). With a pricetag of over 5000:- SEK (~ $760 according to my iPhone) for a single plugin doing nothing more than telling level (and limiting!) I guess it might not sell enough to justify a real glass-master disc, but it still feels a little cheap of 'em..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18566" PostHistoryTypeId="2" PostId="11251" RevisionGUID="9a13925d-ddf7-4d46-9571-f7d415c97d95" CreationDate="2011-11-07T01:43:56.083" UserId="558" Text="way back in the 90's (back in my film days) I was told that the Pullup was needed because the frame of picture being projected was not at the same spot on the print as the bit of sound being played because the lamp and the play head are not next to each other on the projector. They are 26 frames apart in a 35mm print (as my memory tells me).  I dont remember which is earlier, the pic frame or the sound frame.  By tacking on a bit of the sound from the following reel you make a seamless cross-fade easier.  &#xD;&#xA;&#xD;&#xA;That's how i remember it." ContentLicense="CC BY-SA 3.0" />
  <row Id="18567" PostHistoryTypeId="2" PostId="11252" RevisionGUID="8cd6f863-b84b-423a-9975-919b4ee08f8a" CreationDate="2011-11-07T02:01:56.510" UserId="37" Text="love ppmulatorxl. the r128 mode is great. recommend you run some of your favourite material through it, just to get a feel for the values. having said this, it's incredibly easy to pick up, and pretty intuitive (ref, quiet moments, loud moments)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18568" PostHistoryTypeId="2" PostId="11253" RevisionGUID="a9ae0cd9-f3e7-447e-80cf-81814360db8c" CreationDate="2011-11-07T04:31:23.767" UserId="1286" Text="Snap/crush some crackers or chips." ContentLicense="CC BY-SA 3.0" />
  <row Id="18569" PostHistoryTypeId="5" PostId="115" RevisionGUID="911c4861-2276-4314-b989-87b1bbd59fe8" CreationDate="2011-11-07T07:34:11.470" UserId="61" Comment="deleted 2 characters in body" Text="1.) What are some of your favourite sounds?&#xD;&#xA;&#xD;&#xA;Rain and distant thunder, metal resonances, tires on snow and my children laughing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;2.) What are some sounds that you relate strongly with memories of your childhood?&#xD;&#xA;&#xD;&#xA;Growing up in Maine, I have vivid memories of very specific sounds, including:&#xD;&#xA;Blue Jays screaming, Chickadees deep in the forest, tractors in the field, loons on the lake and whipporwills singing with crickets at night.&#xD;&#xA;&#xD;&#xA;3.) What are some sounds that, in your opinion, are strongly evocative of the city/town that you are currently living in?&#xD;&#xA;&#xD;&#xA;Southern California has the same blanket of urban noise common to most other metro cities. What sets it apart from the rest? The wild parrots at sunrise and sunset, and the crows vocalizing in the trees, among other things.&#xD;&#xA;&#xD;&#xA;4.) What are some sounds that you can hear right now as you read this text?&#xD;&#xA;&#xD;&#xA;The PALAOA hydrophones underneath the Antarctic ice streaming thru iTunes.&#xD;&#xA;http://www.awi.de/de/aktuelles_und_presse/hintergrund/palaoa_wie_klingt_das_suedpolarmeer/livestream/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18570" PostHistoryTypeId="2" PostId="11254" RevisionGUID="81dbc272-ca86-4f3b-9918-06894c7d0337" CreationDate="2011-11-07T07:38:32.173" UserId="221" Text="I have run comparison tests of all the key players in the market. For me the best, and most expensive, is the TC Electronic LM5D. I love the Radar display and the 3 measurement criteria are all displayed.&#xD;&#xA;&#xD;&#xA;If that is outside you price range then the Nugen Audio VIS-LM gets my vote, again displays all the data, excellent scrolling history display. However if screen real estate is in short supply then the PPMulator XL is the answer. Very compact display, and you can have multiple instances of it s you could have a BBC PPM and the R128 loudness meter on the screen at once.&#xD;&#xA;&#xD;&#xA;Hope that helps,&#xD;&#xA;&#xD;&#xA;Mike Thornton - Pro Tools for Media" ContentLicense="CC BY-SA 3.0" />
  <row Id="18572" PostHistoryTypeId="2" PostId="11255" RevisionGUID="b3e4fc72-ef88-4f9c-bdee-82260dc4417b" CreationDate="2011-11-07T10:52:18.780" UserId="6432" Text="I understand not wanting to use a furry windjammer, but just had the radical thought of using one underneath a foam windgag. has anyone tried this? &#xD;&#xA;&#xD;&#xA;You could cut up an old rycote windjammer or similar, and try it underneath a much larger foam windshield. Maybe even try some kind of sandwich with two thin foam layers and a furry windsock in the middle. worth a test perhaps?&#xD;&#xA;&#xD;&#xA;Either way, seems like some kind of custom solution is required." ContentLicense="CC BY-SA 3.0" />
  <row Id="18573" PostHistoryTypeId="2" PostId="11256" RevisionGUID="0a6f5b8d-c514-4d36-96b2-26492613377d" CreationDate="2011-11-07T11:21:44.533" UserId="3162" Text="&#xD;&#xA;&#xD;&#xA;Hey Utopia,&#xD;&#xA;&#xD;&#xA;from my point of view there is not THE solution, but a combination of protectives will work-&#xD;&#xA;sonically and for the camera department.&#xD;&#xA;&#xD;&#xA;What I did quite often:&#xD;&#xA;&#xD;&#xA;- stockings underneath.&#xD;&#xA;works to some degree of wind.&#xD;&#xA;try  out and layer a few with different transparencies. just cut off the toe and there you have it.&#xD;&#xA;&#xD;&#xA;- lavallier windshield.&#xD;&#xA;there are bigger and smaller ones. the big one will fit.&#xD;&#xA;http://www.rycote.com/products/personal_mic_solutions/lavalier_windjammer_furry/&#xD;&#xA;&#xD;&#xA;if too flurry for the camera, cut the hairs and add a stocking.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Good luck with that!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18574" PostHistoryTypeId="2" PostId="11257" RevisionGUID="0c71745f-aeb3-41e1-98d3-0072f0949923" CreationDate="2011-11-07T14:37:38.403" UserDisplayName="user6513" Text="I've used them and reckon they are pretty crap. You could do better with a painting stick. Too thick, too heavy, and too long. I've got my eye on the [Lightwave A5][1]. The company's been taken over by Rycote so there should be reasonable amounts of QC there. More expensive than the Rode, but the little bit extra lets you put the pole in your luggage and not have to check it in as an additional odd ball package. It is made of aluminum though, and I haven't used it myself. Anyone like to chime in with experiences on this pole?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rycote.com/products/boom_pole/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18575" PostHistoryTypeId="2" PostId="11258" RevisionGUID="14fb90f8-611a-4c5e-a366-4c6f666993ce" CreationDate="2011-11-07T15:01:55.920" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;I've been looking into this as well. I was thinking about a Qnap setup, which is a SAN/server and not just a harddisk set in raid5. I will also use it for Timemachine backups, so that's my reasoning for the network part.&#xD;&#xA;But i've decided to wait for a bit, because prices of Harddrives are sky high due to the flooding of the Bangkok area. Sources say it will at least take at least untill January for prices to settle at there normal level, but this is in the Netherlands. Don't know how this compares to other countries.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18576" PostHistoryTypeId="2" PostId="11259" RevisionGUID="1561e890-3685-4655-bc63-1776f536afcd" CreationDate="2011-11-07T15:09:34.577" UserId="1216" Text="I've also used stockings for protection of my 4060's, i had a wire frame around the mic's but it was cumbersome and fragile. I guess also to big for your situation.  &#xD;&#xA;If i am correct, the whole principle of wind reduction with rycote furry's is based on wind energy being absorbed by the hairs. Putting them in a foam windgag will probably reduce their efficiency to a large amount.   &#xD;&#xA;&#xD;&#xA;Best thing to do, i think, is discuss this with your local soundgear reseller, maybe they can think of or construct something?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18577" PostHistoryTypeId="2" PostId="11260" RevisionGUID="97bad688-2f11-457f-9e06-0e5b3b9ad1c4" CreationDate="2011-11-07T16:44:33.907" UserId="1107" Text="I absolutely agree that you should get a carbon fiber pole if at all possible.  They make a huge difference in your day to day work experience and are a downright pleasure to use.  &#xD;&#xA;&#xD;&#xA;I did a lot of research before I bought mine and ended up with a Gitzo six section pole and absolutely love it.  It is light, has really easy to use and positive feeling, super-strong section locks and it feels indestructible.  A quick check online shows that you can get a 4 section for under $200 (US).&#xD;&#xA;&#xD;&#xA;Unless you absolutely have to have it, don't bother with internal cabling.  From what I hear from other users, the &quot;convenience&quot; is just never worth the extra price.&#xD;&#xA;&#xD;&#xA;Scott" ContentLicense="CC BY-SA 3.0" />
  <row Id="18578" PostHistoryTypeId="2" PostId="11261" RevisionGUID="7ef31455-c125-4025-aa15-2ae7a093fd4f" CreationDate="2011-11-07T16:52:21.090" UserId="985" Text="1.) What are some of your favorite sounds? Wind in the leaves, owl (if possible both at the same time)&#xD;&#xA;2.) What are some sounds that you relate strongly with memories of your childhood? crackling in the radiator&#xD;&#xA;3.) What are some sounds that, in your opinion, are strongly evocative of the city/town that you are currently living in? boat motors passing by&#xD;&#xA;4.) What are some sounds that you can hear right now as you read this text? I'm hearing the cooling system of my computers. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18579" PostHistoryTypeId="2" PostId="11262" RevisionGUID="6d976dcd-a541-4b57-a9e3-84ad677974bc" CreationDate="2011-11-07T17:34:35.297" UserId="3164" Text="Hey guys, I was just wondering while I'm starting my demo reel for video games if I am allowed to cut up different trailers for my sound design demo purpose without running into legal problems?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18580" PostHistoryTypeId="1" PostId="11262" RevisionGUID="6d976dcd-a541-4b57-a9e3-84ad677974bc" CreationDate="2011-11-07T17:34:35.297" UserId="3164" Text="Demo Reel Etiquette?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18581" PostHistoryTypeId="3" PostId="11262" RevisionGUID="6d976dcd-a541-4b57-a9e3-84ad677974bc" CreationDate="2011-11-07T17:34:35.297" UserId="3164" Text="&lt;sound-design&gt;&lt;demo-reel&gt;&lt;legal&gt;&lt;trailer&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18582" PostHistoryTypeId="2" PostId="11263" RevisionGUID="910dbfe6-70c9-4db0-b9fa-680758ae577f" CreationDate="2011-11-07T17:48:10.100" UserId="1266" Text="Hey everyone, I'd love to get some feedback here for this short 27 second clip that I sound designed.  It is a piece I made for fun and then turned into a more serious work.  It is a redesign of a section of a trailer for a game called Child of Eden which this game originally is an interactive music game that you play with XBox motion sensor.  The graphics are so stunning and at times overwhelming that I had a hard time filling it in with my own sounds and having it fit.  It would be great if I could get some feedback on it because I want to finish it up and have it sound right and nice.  Almost all the sounds were made by me minus 3 or 4 whooshes that I added last minute from a stock library.  I also tried to keep the game somewhat musical and and aurally beautiful.  Still though I feel something may be missing or some parts may not be arranged the way they should be but I don't know why yet...the music is not my making and maybe I should take it out but it's only there for a few seconds..&#xD;&#xA;&#xD;&#xA;&gt; http://vimeo.com/31659476&#xD;&#xA;&#xD;&#xA;Thanks in advance for taking a listen/look" ContentLicense="CC BY-SA 3.0" />
  <row Id="18583" PostHistoryTypeId="1" PostId="11263" RevisionGUID="910dbfe6-70c9-4db0-b9fa-680758ae577f" CreationDate="2011-11-07T17:48:10.100" UserId="1266" Text="Would love feedback on my latest project" ContentLicense="CC BY-SA 3.0" />
  <row Id="18584" PostHistoryTypeId="3" PostId="11263" RevisionGUID="910dbfe6-70c9-4db0-b9fa-680758ae577f" CreationDate="2011-11-07T17:48:10.100" UserId="1266" Text="&lt;design&gt;&lt;feedback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18585" PostHistoryTypeId="2" PostId="11264" RevisionGUID="63e69d22-c0d5-4996-89e1-e74280e2f2c2" CreationDate="2011-11-07T18:14:21.440" UserId="1228" Text="Well, if you mean cutting up trailers and doing a sound re-design on them, you'll want to tag them as a sound re-design so as to not be confused with the real deal.&#xD;&#xA;&#xD;&#xA;If it's trailer's that you've actually done, I believe it should be fine since it is your own work and being shown for demonstration purposes.  In my reel I make sure to tag the production company and post sound house that actually secured the film (since I'm an independent contractor, not all the films I work on are strictly through my own company).  That way I'm properly crediting the involved studios and not making an ill &quot;political sidestep, however unintended it may be - something as seemingly mundane as giving credit where credit is due can actually go a long way." ContentLicense="CC BY-SA 3.0" />
  <row Id="18586" PostHistoryTypeId="2" PostId="11265" RevisionGUID="da8f119c-6153-4e5f-88d8-7cfea5050d0b" CreationDate="2011-11-07T19:19:50.683" UserId="3165" Text="I love the bell sound with the watery reverb and the opening section.  I think the last part needs some adjustments, all in all very unique sounds though." ContentLicense="CC BY-SA 3.0" />
  <row Id="18587" PostHistoryTypeId="2" PostId="11266" RevisionGUID="5dfe5f2b-3599-47c7-9396-f25931537c4e" CreationDate="2011-11-07T20:57:59.920" UserId="3166" Text="I have never had mouth click problems when I was using tape and really working close to the mic.  If they were there I never heard them.  This clicking thing is amplified in the digital format and you can see the clicks very clearly when looking at the wave file.  I wind up lowering the volume on the clicks or deleting them unless the noise is over speech and then you can't do anything but re-do.  I've tried working farther away from the mic and even talking across it and still those clicks appear.  It was recommended that I buy a compressor and run my mic through it.  The various settings will squash any clicks for a smooth voice track.  Any and all comments welcome.  It's the only way we're gonna find out what really does the trick.&#xD;&#xA;&#xD;&#xA;Ed&#xD;&#xA;edwardto@shente.net" ContentLicense="CC BY-SA 3.0" />
  <row Id="18588" PostHistoryTypeId="2" PostId="11267" RevisionGUID="95139f35-bccf-4231-9903-f505c8556f2d" CreationDate="2011-11-07T21:38:10.973" UserId="3167" Text="What is in the egg?  What is the context?  You could use some crystilline form combined with organic animal sound&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18589" PostHistoryTypeId="2" PostId="11268" RevisionGUID="e5ffee9d-9318-4bab-be3b-d76ec6ba480d" CreationDate="2011-11-07T22:16:30.373" UserId="3162" Text="&#xD;&#xA;&#xD;&#xA;Even I am not as experienced with VO recordings as some of You are,&#xD;&#xA;I would say: &#xD;&#xA;try a different recording chain.&#xD;&#xA;A ribbon mic with a different preamp.&#xD;&#xA; &#xD;&#xA;And any drink without sugar.&#xD;&#xA;&#xD;&#xA;That helped me quite some time.&#xD;&#xA;&#xD;&#xA;BTW, this site is sooo great.´was living under a stone for Not finding it earlier.&#xD;&#xA;&#xD;&#xA;Good luck!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18590" PostHistoryTypeId="2" PostId="11269" RevisionGUID="5ba49ca9-77bc-47c9-94bb-ddee22678f55" CreationDate="2011-11-07T23:01:44.260" UserId="278" Text="Nice pie e of work! I like the organic feel the sounds create, they support well the atmosphere the image is trying to create. &#xD;&#xA;&#xD;&#xA; In second 6-7 the boy moves his hand as if he is throwing a power ball? This movement could maybe sported by a sound effect. I think this is an important section because sec 7 is just the transition point between the world of the boy and the world of the game, so you could use this effect to connect one scene with the other. &#xD;&#xA;&#xD;&#xA;The sounds of the &quot;bullets/shots&quot; I think maybe could be more present and synchronized (a hell of a job to do...) What I understood from the image is that there are shots being fired at some organic shapes. This is the main idea the image wants to convey, so I would use the sound to reinforce this message. That is why I would give more importance to the sound and synchrony of the shots and use the other sound effects, which in my view work very well, to create a bed or ambiance.&#xD;&#xA;As a little joke I would say that the last half a second sounds a bit like a flushing toilet :).&#xD;&#xA;&#xD;&#xA;In over all its a nice piece of work and I hope to see more of you creations soon!!&#xD;&#xA;&#xD;&#xA;All best " ContentLicense="CC BY-SA 3.0" />
  <row Id="18591" PostHistoryTypeId="5" PostId="11263" RevisionGUID="34f56c6c-d156-46e1-9edb-e5d3a0de0ca8" CreationDate="2011-11-08T01:32:39.583" UserId="1266" Comment="added 35 characters in body" Text="Hey everyone, I'd love to get some feedback here for this short 27 second clip that I sound designed.  &#xD;&#xA;&#xD;&#xA;It is a piece I made for fun and then turned into a more serious work.  It is a redesign of a section of a trailer for a game called Child of Eden which this game originally is an interactive music game that you play with XBox motion sensor. &#xD;&#xA;&#xD;&#xA;The graphics are so stunning and at times overwhelming that I had a hard time filling it in with my own sounds and having it fit.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It would be great if I could get some feedback on it because I want to finish it up and have it sound right and nice.&#xD;&#xA;Almost all the sounds were made by me minus 3 or 4 whooshes that I added last minute from a stock library.  &#xD;&#xA;&#xD;&#xA;I also tried to keep the game somewhat musical and and aurally beautiful.  &#xD;&#xA;&#xD;&#xA;Still though I feel something may be missing or some parts may not be arranged the way they should be but I don't know why yet...the music is not my making and maybe I should take it out but it's only there for a few seconds..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&gt; http://vimeo.com/31659476&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks in advance for taking a listen/look" ContentLicense="CC BY-SA 3.0" />
  <row Id="18592" PostHistoryTypeId="2" PostId="11270" RevisionGUID="04d744b8-2227-4f5f-9c1f-6058f2ab823d" CreationDate="2011-11-08T01:40:34.403" UserId="1266" Text="Just running across an old student film and remembered that the editor doubled several dialogue takes.  Does anybody here do this or hear of doing this for some reason or another?  &#xD;&#xA;&#xD;&#xA;It seems like a beginner method to me." ContentLicense="CC BY-SA 3.0" />
  <row Id="18593" PostHistoryTypeId="1" PostId="11270" RevisionGUID="04d744b8-2227-4f5f-9c1f-6058f2ab823d" CreationDate="2011-11-08T01:40:34.403" UserId="1266" Text="Do you ever double dialogue takes in your mix or design/edit" ContentLicense="CC BY-SA 3.0" />
  <row Id="18594" PostHistoryTypeId="3" PostId="11270" RevisionGUID="04d744b8-2227-4f5f-9c1f-6058f2ab823d" CreationDate="2011-11-08T01:40:34.403" UserId="1266" Text="&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18595" PostHistoryTypeId="2" PostId="11271" RevisionGUID="28a7fbfa-e576-429f-ac9c-a9ccbc562a06" CreationDate="2011-11-08T01:49:30.907" UserId="278" Text="Interesting, &#xD;&#xA;When I posted an audio show reel a few months ago for feedback this matter was raised by one of our SSD mates. The issue was because I had included a clip of re-designed sound for the Ratatouille animation. According to one of the answers I got, it is not permitted to use any type of film material with out the express authorization of its owner in publc forums. How ever the more I ask around its seems to me that copy-right law is a pretty subjective matter in many situations. &#xD;&#xA;I think this is an interesting one...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18596" PostHistoryTypeId="2" PostId="11272" RevisionGUID="66afc31f-a0a1-400b-aaf1-8a70b6770307" CreationDate="2011-11-08T03:52:45.467" UserId="1013" Text="Was that to achieve a special effect? Or if not, what was the intention do you think?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18597" PostHistoryTypeId="2" PostId="11273" RevisionGUID="6f74313c-d392-477b-a7ce-9185fd2cb929" CreationDate="2011-11-08T04:22:28.730" UserId="3168" Text="I vaguely remember that being a way to achieve a stereo sound from a mono mic feed. But unsure why. Maybe on earlier systems pan L R was controlled by track placement (A1, A2, etc., rather than a specific pan control for each track. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18598" PostHistoryTypeId="2" PostId="11274" RevisionGUID="9ccbbf34-e955-470c-a262-a971753e9dd0" CreationDate="2011-11-08T06:17:22.160" UserId="587" Text="Hey all!&#xD;&#xA;&#xD;&#xA;On royalty free music sites - how does the composer normally remove their content from said site when he/she wants to reel their material back in?&#xD;&#xA;&#xD;&#xA;There has to be a contractual clause between the parties that provides direction in this particular case. I would imagine its quite common.&#xD;&#xA;&#xD;&#xA;Any thoughts?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18599" PostHistoryTypeId="1" PostId="11274" RevisionGUID="9ccbbf34-e955-470c-a262-a971753e9dd0" CreationDate="2011-11-08T06:17:22.160" UserId="587" Text="RFM Site Contract Dissolve" ContentLicense="CC BY-SA 3.0" />
  <row Id="18600" PostHistoryTypeId="3" PostId="11274" RevisionGUID="9ccbbf34-e955-470c-a262-a971753e9dd0" CreationDate="2011-11-08T06:17:22.160" UserId="587" Text="&lt;contracts&gt;&lt;royalty-free&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18601" PostHistoryTypeId="2" PostId="11275" RevisionGUID="11011b46-504e-4589-bd43-c70335587ab5" CreationDate="2011-11-08T06:37:07.243" UserId="397" Text="I've encounter also this setup in some OMF's and I believe is for level issues. The editor's setup is not calibrated for cinema, instead most of the times is consisted of 2 tiny speakers.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="18602" PostHistoryTypeId="2" PostId="11276" RevisionGUID="96f42c38-1973-426a-99b4-2fc3ea019f7c" CreationDate="2011-11-08T06:53:35.287" UserId="1266" Text="I just figured it was to double the voice and make it be louder or more impressive but still I'll chalk it up to a 1st year student editor.." ContentLicense="CC BY-SA 3.0" />
  <row Id="18603" PostHistoryTypeId="2" PostId="11277" RevisionGUID="9d57b2b0-e0c6-47ae-a9f7-4808ca2de40a" CreationDate="2011-11-08T09:16:34.743" UserId="2498" Text="S/he wasn't just cutting between the best takes? " ContentLicense="CC BY-SA 3.0" />
  <row Id="18604" PostHistoryTypeId="2" PostId="11278" RevisionGUID="c888c4e4-e625-4dfa-8243-8b1dd43806e3" CreationDate="2011-11-08T12:37:53.087" UserId="432" Text="First guess, written request to the company. Even if you speak to someone on the phone about it, they're probably going to want a written formal request for their records. It helps protect you legally as well, so I would send it in via certified mail/signature confirmation so that you have some record as to when it was received. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18605" PostHistoryTypeId="2" PostId="11279" RevisionGUID="fba789d0-1353-4ee9-9d04-75fbd27b8ae6" CreationDate="2011-11-08T15:01:32.423" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;I like your work, it seems like you invested a good amount of time in it.&#xD;&#xA;The sound design (excluding music) is nice but a little underplayed. I actually liked your rough mix a bit better because you mixed them louder and that it feel more alive and firm. &#xD;&#xA;I agree with Eric about the syncing of the shot, overall this would help the image more.&#xD;&#xA;The music is a bit distracting, i personally don't really like it, and i feel you could do with a little less, put your cards on the sound fx. &#xD;&#xA;&#xD;&#xA;Nice job!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18606" PostHistoryTypeId="2" PostId="11280" RevisionGUID="74980ce4-8d1b-42d4-8015-17b889c45f6d" CreationDate="2011-11-08T16:23:32.790" UserId="709" Text="Hey all - &#xD;&#xA;&#xD;&#xA;Quick question for those working with 5.1 content for broadcast, long- or short- formats.&#xD;&#xA;&#xD;&#xA;What exactly is your client's approval process or processes?&#xD;&#xA;&#xD;&#xA;We're quickly approaching a couple of holiday seasons which mean a LOT of spots for various clients, as well as a 5.1 doc for a large cable network.  I can certainly get approval from my client(s) in the room with me or in our theater experiencing the 5.1 mix.  But what of the other various levels of approval that our client's clients must be a part of?&#xD;&#xA;&#xD;&#xA;How do you all handle this?  Are your client's clients approving LtRt mixes offsite?  Are they coming into the studio/theater to approve?  Do you find that your client's clients have 5.1 monitoring offsite?&#xD;&#xA;&#xD;&#xA;Best - kp" ContentLicense="CC BY-SA 3.0" />
  <row Id="18607" PostHistoryTypeId="1" PostId="11280" RevisionGUID="74980ce4-8d1b-42d4-8015-17b889c45f6d" CreationDate="2011-11-08T16:23:32.790" UserId="709" Text="Approval/Review process for Broadcast 5.1" ContentLicense="CC BY-SA 3.0" />
  <row Id="18608" PostHistoryTypeId="3" PostId="11280" RevisionGUID="74980ce4-8d1b-42d4-8015-17b889c45f6d" CreationDate="2011-11-08T16:23:32.790" UserId="709" Text="&lt;broadcast&gt;&lt;5.1&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18609" PostHistoryTypeId="2" PostId="11281" RevisionGUID="aa3fc4f6-dba8-40f5-b852-a13cd04cf2bd" CreationDate="2011-11-08T16:47:38.613" UserId="432" Text="Personally, I haven't had any surround approvals take place anywhere other than my studio. I think I've been lucky with that so far. We have Dolby Digital and Dolby-E encoding abilities, so I would probably build a DVD with a Dolby Digital stream and an LtRt if I had to send something off-site." ContentLicense="CC BY-SA 3.0" />
  <row Id="18610" PostHistoryTypeId="2" PostId="11282" RevisionGUID="2dc6232f-5f6f-44af-b2b1-a49d11bbdf65" CreationDate="2011-11-08T16:51:27.983" UserId="2186" Text="It's often done in music to create a fatter sound, but it has to be really tight to work.&#xD;&#xA;&#xD;&#xA;Edit: Or was he duplicating it? In that case he might have put an effect on one of the tracks and used it as an aux send" ContentLicense="CC BY-SA 3.0" />
  <row Id="18611" PostHistoryTypeId="2" PostId="11283" RevisionGUID="f115500b-22dd-4b42-89ec-f6c108be716e" CreationDate="2011-11-08T18:17:09.550" UserId="1292" Text="I have never uploaded stuff to a royalty free site but I have read a lot of the different contracts.  Usually, they require you to formally email them a request to remove your pieces from the site so that they are no longer for sale.  You cannot get back the pieces of music you have already sold you can only choose to no longer sell them.  It is apart of the license that the buyers agree to, they can use it forever.  Imagine buying some royalty free music and then getting an email that you have to delete it and never use it again.  I would guess that people only put certain pieces up on those sites and keep their best ones for other hopeful sales." ContentLicense="CC BY-SA 3.0" />
  <row Id="18612" PostHistoryTypeId="2" PostId="11284" RevisionGUID="aff60529-860b-4acd-b8b1-55d2602cc8d7" CreationDate="2011-11-08T18:42:30.110" UserId="6411" Text="To echo @Shaun, I'm typically approving in the suite as well, regardless of if it's 5.1 or stereo.&#xD;&#xA;&#xD;&#xA;In my case, when doing broadcast work, my client is the Post Supervisor and the Producer. Unless it's a huge show for the network, the EPs rarely come in to review. So I'm already reviewing with the end of the chain.&#xD;&#xA;&#xD;&#xA;If my client does have a client and they want the experience of being in the studio, they'll attend the screening along with my client. There are rare occasions where we stream through [Quicktime Broadcaster][1] or [Slingbox][2] when a client's client can't attend a review, but would like to take part in the process. We provide our client a link to a private website which they forward to their client(s), who can then log in from their office/home/etc. While we review in 5.1 in the suite, we stream video and a stereo mix. Skype, iChat, AIM or a muted speakerphone helps in that situation, so they can discuss issues immediately. Otherwise we'll send our client out the door with DVD screeners with 5.1 + 2, or a stereo quicktime privately uploaded to mediasilo/youtube/vimeo to provide their client an approval copy. &#xD;&#xA;&#xD;&#xA;As for what systems they approve on, I almost never know for certain. I've heard tales of some producers who approve promos on their iPhone, without headphones. So what their client might listen on is a mystery to me.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.apple.com/quicktime/extending/resources.html&#xD;&#xA;  [2]: http://www.slingbox.com/go/slingbox" ContentLicense="CC BY-SA 3.0" />
  <row Id="18613" PostHistoryTypeId="2" PostId="11285" RevisionGUID="9c65c3b4-2072-42be-8742-9a7d2c17b5ef" CreationDate="2011-11-08T19:39:01.307" UserId="2368" Text="Hello i've just uploaded my first attempt at a sound design showreel and thought it would be a good idea to get some feedback off like-minded people. It can be viewed here &#xD;&#xA;&#xD;&#xA;http://vimeo.com/31798677&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;Adam " ContentLicense="CC BY-SA 3.0" />
  <row Id="18614" PostHistoryTypeId="1" PostId="11285" RevisionGUID="9c65c3b4-2072-42be-8742-9a7d2c17b5ef" CreationDate="2011-11-08T19:39:01.307" UserId="2368" Text="Showreel feedback " ContentLicense="CC BY-SA 3.0" />
  <row Id="18615" PostHistoryTypeId="3" PostId="11285" RevisionGUID="9c65c3b4-2072-42be-8742-9a7d2c17b5ef" CreationDate="2011-11-08T19:39:01.307" UserId="2368" Text="&lt;showreel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18620" PostHistoryTypeId="2" PostId="11288" RevisionGUID="36514164-d4d3-4c34-a39d-3b91ea51d30c" CreationDate="2011-11-08T21:58:01.670" UserId="37" Text="Ideally you want to showcase original work (i.e. product originally had your sound, not someone else's). It's then far easier to assume you have the right to showcase the work if you haven't explicitly requested so. Realise this is a catch 22 but it also means keeping a pretty tight focus on what's included in your reel. Over time, with some luck, i'm guessing you will have less and less time to devote updating it... &#xD;&#xA;&#xD;&#xA;*Always* credit whoever you worked with, and whom it was for. Be very clear about labelling the clips where you substituted the original sound with yours. Seeing that the reel is to showcase your abilities, i doubt anyone in any legal department will lift a finger. That said, asking for permission is common sense, and so is assuming you won't get it, especially on a AAA excerpt. Basically, find an indie developer and do a project. Like, right now.&#xD;&#xA;&#xD;&#xA;Finally, trailers are slightly on the cinematic side. I suspect more often than not you will be judged on your potential to contribute to the interactive and way more programmatic in-game experience." ContentLicense="CC BY-SA 3.0" />
  <row Id="18621" PostHistoryTypeId="2" PostId="11289" RevisionGUID="93e56ef8-b8a9-4d44-bf33-69d2049053b3" CreationDate="2011-11-09T03:02:09.997" UserId="2906" Text="In the first clip, what's the deal with the voices? Even if that's not your work it distracts from everything else. Fun job with Wall-E although some objects don't sound like they are in that scenario. Very nice work with the dialogue editing.&#xD;&#xA;And by the way, congrats on the Designing Sound Challenge. Real nice!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18622" PostHistoryTypeId="2" PostId="11290" RevisionGUID="bd24b704-92d0-4dbc-ba6f-1a2afeb8e8a2" CreationDate="2011-11-09T05:56:29.700" UserId="397" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;Can you help me on this one? It's been some time that I wanted to broaden my options in sound design so I've got to the conclusion of starting with Camel Alchemy. Could you recommend me a keyboard/controler so I can use Alchemy? &#xD;&#xA;&#xD;&#xA;Best regards,&#xD;&#xA;Marco" ContentLicense="CC BY-SA 3.0" />
  <row Id="18623" PostHistoryTypeId="1" PostId="11290" RevisionGUID="bd24b704-92d0-4dbc-ba6f-1a2afeb8e8a2" CreationDate="2011-11-09T05:56:29.700" UserId="397" Text="Camel Alchemy Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="18624" PostHistoryTypeId="3" PostId="11290" RevisionGUID="bd24b704-92d0-4dbc-ba6f-1a2afeb8e8a2" CreationDate="2011-11-09T05:56:29.700" UserId="397" Text="&lt;design&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18625" PostHistoryTypeId="2" PostId="11291" RevisionGUID="17aed433-e485-444b-b72b-5056df4e8d15" CreationDate="2011-11-09T06:47:30.280" UserId="6487" Text="I recommend MTV style lower 3rds with your title/role in the production and credits to the co-mixer and/or co-designer/editor for the beginning of each scene included.  I have also included a credit list with this info to accompany my reel as well.&#xD;&#xA;&#xD;&#xA;I have actually gotten a gig or two based on someone who saw my reel and knew someone I had worked with.  &#xD;&#xA;&#xD;&#xA;Note: I always ask everyone I credit.  I have never had anyone say &quot;no.&quot;  They almost always are happy to hear that I am giving them the respect and advertisement." ContentLicense="CC BY-SA 3.0" />
  <row Id="18626" PostHistoryTypeId="2" PostId="11292" RevisionGUID="a6cda955-b73a-49fd-bb70-711045c4c5e5" CreationDate="2011-11-09T07:36:58.627" UserId="3169" Text="I edit for animated feature films, and we sometimes use the double up method to increase the volume of a dialogue clip, sometimes the recorded dialogue track is so soft that even when we crank up the levels to max it is still too soft. When we are in a rush we use this method" ContentLicense="CC BY-SA 3.0" />
  <row Id="18627" PostHistoryTypeId="2" PostId="11293" RevisionGUID="f1b7f617-df48-4f55-8262-3dbd943874f1" CreationDate="2011-11-09T10:53:48.397" UserId="958" Text="I'm just curious to ask anyone who has produced sound for a nature documentary, how much of the audio content is recorded in the field or how much is the product of sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18628" PostHistoryTypeId="1" PostId="11293" RevisionGUID="f1b7f617-df48-4f55-8262-3dbd943874f1" CreationDate="2011-11-09T10:53:48.397" UserId="958" Text="Nature doco sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18629" PostHistoryTypeId="3" PostId="11293" RevisionGUID="f1b7f617-df48-4f55-8262-3dbd943874f1" CreationDate="2011-11-09T10:53:48.397" UserId="958" Text="&lt;documentary&gt;&lt;nature&gt;&lt;field-recording&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18630" PostHistoryTypeId="2" PostId="11294" RevisionGUID="b71f16e0-9444-4b24-947c-b16b1d438b76" CreationDate="2011-11-09T16:16:10.343" UserId="1237" Text="I have just reviewed “The Lord of The Rings” trilogy. I have not seen it since its theatrical release and when I saw it then everything was normal. But now I know about the Wilhelm Scream...&#xD;&#xA;&#xD;&#xA;So I had to stop the viewing three times. Once in the second movie and twice in the third episode. Because when I had heard this scream in these movies and it was so much pronounced I just fell in a frustration.&#xD;&#xA;&#xD;&#xA;My question: What is the Wilhelm Scream for you in terms of sound design? &#xD;&#xA;&#xD;&#xA;IMO If it is a professional joke then it is a very bad joke." ContentLicense="CC BY-SA 3.0" />
  <row Id="18631" PostHistoryTypeId="1" PostId="11294" RevisionGUID="b71f16e0-9444-4b24-947c-b16b1d438b76" CreationDate="2011-11-09T16:16:10.343" UserId="1237" Text="What is The Wilhelm scream?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18632" PostHistoryTypeId="3" PostId="11294" RevisionGUID="b71f16e0-9444-4b24-947c-b16b1d438b76" CreationDate="2011-11-09T16:16:10.343" UserId="1237" Text="&lt;wilhelm-scream&gt;&lt;cliche&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18633" PostHistoryTypeId="2" PostId="11295" RevisionGUID="c920538f-49ae-42b7-98d4-68a0cfe6bf3c" CreationDate="2011-11-09T17:05:07.170" UserId="3171" Text="Hi all&#xD;&#xA;&#xD;&#xA;I know there are a few previous questions along these lines...but I was wondering if anyone could help / offer advice re suitable content..&#xD;&#xA;&#xD;&#xA;I'm in my final year of Music Tech degree and intend to base my major project on sound design for film/animation.  I'm already in the process of researching and contacting film makers and animators to ask nicely if I could possibly use their content.&#xD;&#xA;&#xD;&#xA;I've seen the common licence options too - Big Buck Bunny and Elephant's Dream, which might be a fall back option.&#xD;&#xA;&#xD;&#xA;Ideally, I'd like to work from a blank canvas, i.e. lesser known/unknown artistic content or animation to really focus from a sound designer's perspective, rather than try and imitate existing interpretations.&#xD;&#xA;&#xD;&#xA;Can anyone help or point me in the right direction??&#xD;&#xA;&#xD;&#xA;I'm new to this forum and a newbie sound designer...&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Geth" ContentLicense="CC BY-SA 3.0" />
  <row Id="18634" PostHistoryTypeId="1" PostId="11295" RevisionGUID="c920538f-49ae-42b7-98d4-68a0cfe6bf3c" CreationDate="2011-11-09T17:05:07.170" UserId="3171" Text="Film/Animation content needed for Hons Project in Sound Design.." ContentLicense="CC BY-SA 3.0" />
  <row Id="18635" PostHistoryTypeId="3" PostId="11295" RevisionGUID="c920538f-49ae-42b7-98d4-68a0cfe6bf3c" CreationDate="2011-11-09T17:05:07.170" UserId="3171" Text="&lt;project&gt;&lt;animation&gt;&lt;honours&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18636" PostHistoryTypeId="2" PostId="11296" RevisionGUID="43d5ef44-0c76-4478-b0c3-07ad16dea8ad" CreationDate="2011-11-09T17:10:52.297" UserId="693" Text="I know some people who work in that arena and from the stories I've been told that it's a frighteningly large amount... or more than the suits would like us admitting to. I'd say at least 75% in most situations." ContentLicense="CC BY-SA 3.0" />
  <row Id="18637" PostHistoryTypeId="2" PostId="11297" RevisionGUID="03a174d4-b441-47c8-902d-8e313dae9dbb" CreationDate="2011-11-09T17:13:25.800" UserId="18" Text="What is the Wilhelm Scream:&#xD;&#xA;&#xD;&#xA;http://www.hollywoodlostandfound.net/wilhelm/&#xD;&#xA;&#xD;&#xA;What does the Wilhelm Scream mean to me:&#xD;&#xA;&#xD;&#xA;The Wilhelm is an overused sound effect that sound people still put in their projects because they either think it is funny or they think they are Ben Burt.  It is such a cliche' that even normal (non sound) people recognize it.  My wife recognized it without me even mentioning it to her.  Then she asked why this same scream is popping up everywhere.&#xD;&#xA;&#xD;&#xA;It totally pulls me out of a film/game/etc when I hear it, ruins the scene for me, and I cringe when I hear it.  People need to stop using the damn thing already.  It was a Ben Burt thing that was later used by people at Skywalker who had worked with Burt as sort of a tribute to him and an inside joke.  Well, it isn't an inside joke anymore, everyone is on to it and it is just stupid." ContentLicense="CC BY-SA 3.0" />
  <row Id="18638" PostHistoryTypeId="2" PostId="11298" RevisionGUID="ad915ac5-40ac-494b-8f45-202e067f8075" CreationDate="2011-11-09T18:48:02.343" UserId="238" Text="Yes, generally a very large percentage of audio in nature docs is recorded in post. Back in January I posted a TVB Europe magazine article on [my blog][1] that deals with exactly that subject. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audioloungesound.com/blog/2011/01/the-sounds-of-nature/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18639" PostHistoryTypeId="2" PostId="11299" RevisionGUID="0a8d2bf4-a4dc-4f8b-b57c-7e9d9426647f" CreationDate="2011-11-09T18:59:04.947" UserId="2136" Text="1.) What are some of your favourite sounds?&#xD;&#xA;&#xD;&#xA; - Purring cats&#xD;&#xA; - Stilettos on tile flooring&#xD;&#xA; - The engine starting in my 1995 Geo Prism&#xD;&#xA;&#xD;&#xA;2.) What are some sounds that you relate strongly with memories of your childhood?&#xD;&#xA;&#xD;&#xA; - The sound of chalk on pavement&#xD;&#xA; - The sound of new shoes scuffing &#xD;&#xA;&#xD;&#xA;3.) What are some sounds that, in your opinion, are strongly evocative of the city/town that you are currently living in?&#xD;&#xA;&#xD;&#xA;(I live in Greater Philadelphia)&#xD;&#xA;&#xD;&#xA; - The female Septa voice saying &quot;this route has multiple fair zones&quot;&#xD;&#xA; - Train brake screech (very different from NJ transit brakes)&#xD;&#xA; - &quot;wudder&quot; &#xD;&#xA;&#xD;&#xA;4.) What are some sounds that you can hear right now as you read this text?&#xD;&#xA;&#xD;&#xA; - Air ventilation system&#xD;&#xA; - Typing &#xD;&#xA; - Drawers opening &#xD;&#xA; - Sighs&#xD;&#xA; - Distant jet engine" ContentLicense="CC BY-SA 3.0" />
  <row Id="18640" PostHistoryTypeId="2" PostId="11300" RevisionGUID="de02521d-9f1e-4c88-93f3-bbbc564a6760" CreationDate="2011-11-09T19:13:46.810" UserId="6435" Text="...of course, now we have clients *asking* for the Wilhelm to be put into projects..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18641" PostHistoryTypeId="2" PostId="11301" RevisionGUID="163263c7-8b19-4420-99f3-3d206eaa6985" CreationDate="2011-11-09T19:49:39.590" UserId="235" Text="  This is a pet peeve of mine.  I see this all the time in OMFs I get.  And I do mean all the time.  It seems like a pretty standard approach video editors take to make quiet clips louder.  If the volume is turned all the way up and the clip is still not loud enough they'll double it.  Drives me crazy, because then I have to sort through and delete the extraneous regions.  I just got an OMF recently where these extra clips were not even on adjacent tracks, they were scattered all over the place.  Is it not possible to add another gain stage in final cut? " ContentLicense="CC BY-SA 3.0" />
  <row Id="18642" PostHistoryTypeId="2" PostId="11302" RevisionGUID="36d1bbc1-8d78-4ae9-aa07-17463879cf3c" CreationDate="2011-11-09T20:44:30.873" UserId="6669" Text="Kind of partial to the &quot;Gut-Wrenching Scream and Fall Into Distance&quot; scream myself.&#xD;&#xA;&#xD;&#xA;Equally unsuited for everyday use, sticks out like a sore thumb, but still cracks me up..&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=hf6_hok4-lo" ContentLicense="CC BY-SA 3.0" />
  <row Id="18643" PostHistoryTypeId="2" PostId="11303" RevisionGUID="d3983269-0e35-432c-a862-eb7fce8ad038" CreationDate="2011-11-09T20:58:16.757" UserId="6669" Text="Hey Geth,&#xD;&#xA;&#xD;&#xA;I just finished a year in VFS where all grads go through a similar process.&#xD;&#xA;&#xD;&#xA;I'd say 95% of the people in the program end up finding their video by deep-diving on Vimeo, searching the archives day after day and just sending out tons of letters. Don't think there's a better way, unless you are in touch with someone who's designing something from the ground up.. it's a lot of hunting.&#xD;&#xA;&#xD;&#xA;If you want to guarantee you take a new approach and aren't influenced by the original sound treatment, you could just browse Vimeo with your sound off. You could avoid referencing the original audio for the whole time, or just wait until you've at least finished your first pass of edits. At that point you might find it worth your while to listen back and make sure that moment for moment, you're trying to do it better.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18644" PostHistoryTypeId="2" PostId="11304" RevisionGUID="20c471ef-98b2-4f2c-80f7-0b2ae9f9e64c" CreationDate="2011-11-09T21:13:38.537" UserId="373" Text="Following on from the previous how did they do that posts, I'm intrigued to find out if anyone knows how the moves for the tree people in Lord of the Rings was achieved. Heres a linky linky:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=uFzAxAEMwrY" ContentLicense="CC BY-SA 3.0" />
  <row Id="18645" PostHistoryTypeId="1" PostId="11304" RevisionGUID="20c471ef-98b2-4f2c-80f7-0b2ae9f9e64c" CreationDate="2011-11-09T21:13:38.537" UserId="373" Text="How Did They Do That?? Vol. 4: Lord of the Rings Tree People" ContentLicense="CC BY-SA 3.0" />
  <row Id="18646" PostHistoryTypeId="3" PostId="11304" RevisionGUID="20c471ef-98b2-4f2c-80f7-0b2ae9f9e64c" CreationDate="2011-11-09T21:13:38.537" UserId="373" Text="&lt;iconic-sounds&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18647" PostHistoryTypeId="2" PostId="11305" RevisionGUID="0370661c-7e31-4e58-9d4a-c2dc91d7ea8b" CreationDate="2011-11-09T21:33:48.120" UserId="238" Text="I've been asked to do a mix on a short advert that will be shown to potential clients on an ipad. This version will not be broadcast and is strictly going to be used as promo material to be played via the ipads. I have no info on how they will listen to the audio (headphones or through the ipads speakers?), but I'm just wondering at what RMS and Peak levels I should aim my mix at? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18648" PostHistoryTypeId="1" PostId="11305" RevisionGUID="0370661c-7e31-4e58-9d4a-c2dc91d7ea8b" CreationDate="2011-11-09T21:33:48.120" UserId="238" Text="Mix Levels for iPad " ContentLicense="CC BY-SA 3.0" />
  <row Id="18649" PostHistoryTypeId="3" PostId="11305" RevisionGUID="0370661c-7e31-4e58-9d4a-c2dc91d7ea8b" CreationDate="2011-11-09T21:33:48.120" UserId="238" Text="&lt;ipad&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18650" PostHistoryTypeId="2" PostId="11306" RevisionGUID="4c94347d-0230-434a-91bf-dc5e1ef2e3d9" CreationDate="2011-11-09T22:01:07.723" UserId="863" Text="contact an animation course, ask them to pass your message onto students to collaborate? that's what we did." ContentLicense="CC BY-SA 3.0" />
  <row Id="18651" PostHistoryTypeId="2" PostId="11307" RevisionGUID="bcadbe55-13d0-4242-99c6-cf0ea96c32f3" CreationDate="2011-11-09T22:12:10.217" UserId="1286" Text="Couple of ideas in this thread:&#xD;&#xA;http://socialsounddesign.com/questions/6126/tree-grown-sound-effect-tree-ents-in-lotr&#xD;&#xA;&#xD;&#xA;Contact mic + ice cracking might be another idea. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18652" PostHistoryTypeId="2" PostId="11308" RevisionGUID="ae2f83f9-55dd-4b50-b586-f3efb4822b46" CreationDate="2011-11-09T22:26:30.870" UserId="3172" Text="Why don't you try [Edinburgh College of Art][1] they run a really good course in animation and I'm sure some of the students would be glad of a bespoke sound design for one of their projects.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.eca.ac.uk/index.php?id=400" ContentLicense="CC BY-SA 3.0" />
  <row Id="18653" PostHistoryTypeId="2" PostId="11309" RevisionGUID="16695d91-4d00-4b24-b006-90c4cdf63207" CreationDate="2011-11-09T22:45:10.963" UserId="1072" Text="I've done a few iPad mixes quite successfully. The speaker is pretty nice compared to the iPhone or blackberry. Obviously keep in mind low freq as a lot of that won't come across. If you keep your overall mix around or below 85 LeQ(M) set your L1 to -0.4 and things should be peachy. Best thing is to mic test on the device and make notes then make adjustments. Keep things well balanced as if mixing for Internet and stay within a minimized dynamic range and test your mix. Oh&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18654" PostHistoryTypeId="2" PostId="11310" RevisionGUID="44267b5d-f699-4a2f-9517-282f6309800d" CreationDate="2011-11-10T00:54:20.950" UserId="6411" Text="There's a great doc on the extended edition of LOTR:T2T that goes into some particulars about the sound design and talks specifically about the voice and footsteps of the Ent. Check it out &quot;LOTR2: TT Sound Design part 1&quot; around the 5 minute mark [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2009/12/the-sound-design-of-the-lord-of-the-rings-the-fellowship-of-the-ring-and-the-two-towers/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18661" PostHistoryTypeId="2" PostId="11313" RevisionGUID="628ce857-8876-4e92-bf88-93af3ec76922" CreationDate="2011-11-10T04:28:02.370" UserId="1072" Text="Another mixer recently suggested mounting it so the brand name sennheiser is on top. That way the polar patterns are most accurately reproduced." ContentLicense="CC BY-SA 3.0" />
  <row Id="18662" PostHistoryTypeId="2" PostId="11314" RevisionGUID="04e137b5-8c3b-43f7-8f10-36c7fc61efe0" CreationDate="2011-11-10T05:28:22.993" UserId="587" Text="Adobe drops Flash for HTML5, officially, for the mobile market.&#xD;&#xA;&#xD;&#xA;http://www.wired.com/gadgetlab/2011/11/adobe-kills-mobile-flash/&#xD;&#xA;&#xD;&#xA;This is a glance at how it may effect the mobile market... but what about audio?&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;C3" ContentLicense="CC BY-SA 3.0" />
  <row Id="18663" PostHistoryTypeId="1" PostId="11314" RevisionGUID="04e137b5-8c3b-43f7-8f10-36c7fc61efe0" CreationDate="2011-11-10T05:28:22.993" UserId="587" Text="Adobe Dropping Flash" ContentLicense="CC BY-SA 3.0" />
  <row Id="18664" PostHistoryTypeId="3" PostId="11314" RevisionGUID="04e137b5-8c3b-43f7-8f10-36c7fc61efe0" CreationDate="2011-11-10T05:28:22.993" UserId="587" Text="&lt;mobile&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18665" PostHistoryTypeId="2" PostId="11315" RevisionGUID="a89b408b-cb03-4c5d-b577-a8784815f5a2" CreationDate="2011-11-10T08:33:26.460" UserId="3162" Text="&#xD;&#xA;&#xD;&#xA;&quot; top and bottom &quot; is a good idea if you´re booming above of the person.&#xD;&#xA;&#xD;&#xA;BUT,&#xD;&#xA;&#xD;&#xA;if you´re miking close to the ground then turn the interference mic, so none of the side grills point to the ground. &#xD;&#xA;Because if so You get combfiltering sounds that might be audible, especially with the Schoeps CMIT.&#xD;&#xA;&#xD;&#xA;Have fun trying out.&#xD;&#xA;   " ContentLicense="CC BY-SA 3.0" />
  <row Id="18666" PostHistoryTypeId="2" PostId="11316" RevisionGUID="c56a9e73-ccd2-47f9-a910-d1c1820f9828" CreationDate="2011-11-10T10:44:57.773" UserId="618" Text="Hi everybody!&#xD;&#xA;&#xD;&#xA;Can someone tell me who the f*** is mixing the 2nd season of The Walking Dead ?&#xD;&#xA;For what is this guy paid ?&#xD;&#xA;&#xD;&#xA;Awful ambiences going down during dialogue then up again with an awful pomping effect...&#xD;&#xA;&#xD;&#xA;What do you think about this mess ?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18667" PostHistoryTypeId="1" PostId="11316" RevisionGUID="c56a9e73-ccd2-47f9-a910-d1c1820f9828" CreationDate="2011-11-10T10:44:57.773" UserId="618" Text="The Walking Dead S2 mixes, what the f***  ?!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18668" PostHistoryTypeId="3" PostId="11316" RevisionGUID="c56a9e73-ccd2-47f9-a910-d1c1820f9828" CreationDate="2011-11-10T10:44:57.773" UserId="618" Text="&lt;walking&gt;&lt;re-recording&gt;&lt;mixer&gt;&lt;mixing&gt;&lt;television&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18669" PostHistoryTypeId="2" PostId="11317" RevisionGUID="b7ccb9b2-ad58-463f-a299-ace41b56c4be" CreationDate="2011-11-10T12:08:41.547" UserId="6420" Text="I'm glad I'm not the only one to have noticed this. Ive been meaning to post but you beat me to it lol I can't imagine the mixer would have done that on purpose. Makes no sense at all. I'm guessing theres some kind of encoding/decoding prob somewhere? Maybe something funky with the dialnorm settings going on? Who knows. &#xD;&#xA;&#xD;&#xA;But you're right. Some episodes I've caught sound like the dialogue has been used to side chain the ambience track. Quite distracting to say the least. &#xD;&#xA;Would love to hear thoughts as to what's happening there!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18670" PostHistoryTypeId="2" PostId="11318" RevisionGUID="cb973b67-a31f-46c0-b185-a6dae0b27f96" CreationDate="2011-11-10T12:29:45.010" UserId="842" Text="Not a big fan of flash as such as it is pretty annoyingly unstable, though I am by all means a big fan of many things made in flash, like Weebl, Salad Fingers and such. It seems most of the ones commenting on this focuses a little too much on browser issues, but as an iPhone-user (at least for now) I couldn't care less. What I wonder is what will happen to all this sweet sweet animations??&#xD;&#xA;&#xD;&#xA;As far as I can see it, though I'm pretty sure someone else might very well have good reasons to disagree, I can't really see how this would affect my work as a sounddesigner/audio editor in any significant way. I work mostly with feature films, commercials and other more offline-friendly medias, and normally delivers everything in Broadcast Wave anyway, even for those things distributed in flash.&#xD;&#xA;&#xD;&#xA;For me, this is a good thing. I hope this will force both YouTube and Vimeo to abandon that system resource-hogging flash in favor of MP4/h264, but still i wonder what will replace it in animation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18671" PostHistoryTypeId="2" PostId="11319" RevisionGUID="62ba350b-5b79-420f-bbc5-620beb1ff587" CreationDate="2011-11-10T12:42:06.727" UserId="842" Text="This exact sound is actually something I make quite often to train myself in making vocal noises! It comes from the back of the throat :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18672" PostHistoryTypeId="2" PostId="11320" RevisionGUID="56cf8a16-f778-4407-b560-201eeeb2907f" CreationDate="2011-11-10T14:46:21.487" UserId="863" Text="Oh god, I noticed this as well and wanted to post but didn't want to seem like the only one. It's frustrating, it's almost like there is side compression on the dialogue to cut out ambience. I'm watching it quite loud as well which just enhances the awfulness.&#xD;&#xA;&#xD;&#xA;First series wasn't mixed all that well either.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18673" PostHistoryTypeId="2" PostId="11321" RevisionGUID="d9465bb6-07ce-4327-845d-5d935b8067eb" CreationDate="2011-11-10T15:13:26.137" UserId="234" Text="This is strictly the MOBILE market- i.e Android, IOS, Symbian, etc. The greater web, and certainly the animation market will continue to have and use Flash. Plus Adobe is pushing AIR, which can include materials that were authored in Flash. Flash's days as a web delivery system are probably going the way of the dodo, but as development/animation tool it will probably be around for a while" ContentLicense="CC BY-SA 3.0" />
  <row Id="18674" PostHistoryTypeId="2" PostId="11322" RevisionGUID="f257f575-3bcf-4737-a4c2-483d78408f6f" CreationDate="2011-11-10T15:23:28.707" UserDisplayName="user6508" Text="Before you guys start bagging on the mixers for the show, you should know that there are many possible causes for the issues your discussing.  Once the &quot;Final Mix&quot; is complete and signed off on, it goes off to the network and then your cable provider get's ahold of it.  Sometimes they'll run it through their own compressors even though the show meets the networks specs. It's hard to know what happens to it.&#xD;&#xA;&#xD;&#xA;On shows I've worked on, we've had mixes that sounded great on the stage but sound like crap on air.  And sometimes it sounds good on one cable provider but completely different on another.  While most big shows are mixed in 5.1 and delivered an LtRt mix, I've heard of networks not using the provided LtRt and making there own from the 5.1.  Why?  Beats me.  There are many a phone calls placed between producers, mixers and network people to try and resolve these issues.  It's been happening for a long time and probably won't get any better soon.&#xD;&#xA;&#xD;&#xA;You'll have a better chance of hearing the actual mix on DVD or Blu-Ray than you will on air.&#xD;&#xA;&#xD;&#xA;Just my 2 cents.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18675" PostHistoryTypeId="2" PostId="11323" RevisionGUID="9ebb1fd7-bfa5-416e-9065-74bbe0b209ad" CreationDate="2011-11-10T17:31:02.300" UserId="6392" Text="While I haven't heard the second season of the show, I agree with Gary on this.  As a re-recording mixer, I have heard plenty of my shows degrade once on air.  One of the biggest things we are faced with now is the use of expanders by the networks.  In a misguided attempt to compete with the volume levels of commercials, broadcasters are resorting to expanders in order to keep program material at an 'average' raised level.  In effect they are trying to reduce any sort of dynamics on a program so the 'viewer' doesn't complain about low volume.  By doing this you get a pumping effect between dialogue lines where the dynamics are low, which in turn brings up the ambiances that are playing low in the mix. The level bumps of the ambiances could easily be the result of the expanders.  Also, as Gary also pointed out, you never know how broadcasters are airing your show.  I worked on a show that was having its video transmitted via satellite, audio via landlines, having both signals recoded onto a recycled Beta SP, and then re-transmitted via microwave to the local service provider.  Can't really compensate for that.  I know that once the mix leaves my stage it's out of my hands and it can be really depressing to watch a show I've spent a lot of time working on get butchered, but you do the best you can. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18676" PostHistoryTypeId="2" PostId="11324" RevisionGUID="ec4a5001-de79-4dc6-b327-bc9fe0946990" CreationDate="2011-11-10T19:05:20.950" UserId="2906" Text="When, between the music track you need to insert speech -- be it voice over or dialogue -- how do you automate the music volume?&#xD;&#xA;&#xD;&#xA; - How far do you go with levels?&#xD;&#xA; - How quick? How's the curve of the automation related to the duration of the speech itself: in and out?&#xD;&#xA;&#xD;&#xA;     I'm trying to make it sound as clean as possible so it wouldn't be even noticeable to the main audience (the sad part of our job: what gets well done, usually goes unnoticed).&#xD;&#xA;&#xD;&#xA;     Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18677" PostHistoryTypeId="1" PostId="11324" RevisionGUID="ec4a5001-de79-4dc6-b327-bc9fe0946990" CreationDate="2011-11-10T19:05:20.950" UserId="2906" Text="Volume automation in music between dialogues." ContentLicense="CC BY-SA 3.0" />
  <row Id="18678" PostHistoryTypeId="3" PostId="11324" RevisionGUID="ec4a5001-de79-4dc6-b327-bc9fe0946990" CreationDate="2011-11-10T19:05:20.950" UserId="2906" Text="&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18679" PostHistoryTypeId="2" PostId="11325" RevisionGUID="f09a639c-a4b6-4f31-be86-4cb276a7a7c5" CreationDate="2011-11-10T19:17:27.380" UserId="432" Text="This one is kind of hard to answer; it's one of those things that you can only judge in context.&#xD;&#xA;&#xD;&#xA;A related idea that you may want to consider is a notching EQ automation. I'll use that if I feel that volume automation is too heavy handed for the style and phrase of music in a given spot, or if I want to keep the music louder to give the piece more energy. An easy (fast) way to do this is to route your music through an aux with the EQ on it. Crossfade between the original and the processed version as needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="18680" PostHistoryTypeId="2" PostId="11326" RevisionGUID="b7d019b1-bf7f-4002-be8c-6df91cb0c99c" CreationDate="2011-11-10T19:38:10.513" UserId="432" Text="I'll be honest, I haven't watched the show.&#xD;&#xA;&#xD;&#xA;That being said, as a general principle, I have to agree with Gary and Kelle (though maybe Kelle meant compressors instead of expanders). In the broadcast world, there are a lot of factors beyond our control that can affect the quality of the transmission. This doesn't absolve the mixer of responsibility, but there needs to be recognition that there may be more at work here than just his/her ability.&#xD;&#xA;&#xD;&#xA;Two HUGE, intertwined, ideas that haven't been mentioned yet are budget and scheduling. I don't care what anybody says, you get what you pay for. People have bills to pay, and there's a limit to how much time you can (and should) spend on a given project. More money can pull in more effort. *[Please don't misunderstand this statement. I'm not necessarily referring to **individual** effort when I say that.]* On the flip side...at a certain point, it doesn't matter how much money you've got if you don't have the **time** to do the job properly. Yes bringing in more people can mitigate the time issue, but there's a point of diminishing returns there as well.&#xD;&#xA;&#xD;&#xA;Again, haven't seen the show. So, I can't really comment on it. I'm just putting forward some ideas for people to consider. One thing I will say, is that I'm fond of this particular community's ability to approach these matters in a constructive way. I'd prefer to see questions of this nature posed in a less negative/incendiary fashion in the future." ContentLicense="CC BY-SA 3.0" />
  <row Id="18681" PostHistoryTypeId="2" PostId="11327" RevisionGUID="f04ae699-1f29-452c-b7a0-a9f174aefec5" CreationDate="2011-11-10T19:57:58.250" UserId="7642" Text="I agree with Shaun!&#xD;&#xA;&#xD;&#xA;But yes some broadcasters use a expander with negative settings thus raising low level sounds often together with some form of peak limiting.&#xD;&#xA;&#xD;&#xA;Our own Swedish national broadcaster does this." ContentLicense="CC BY-SA 3.0" />
  <row Id="18682" PostHistoryTypeId="5" PostId="11326" RevisionGUID="584594e4-a969-4bbc-8212-d84d4e86c6f1" CreationDate="2011-11-10T20:08:56.870" UserId="432" Comment="deleted 60 characters in body" Text="I'll be honest, I haven't watched the show.&#xD;&#xA;&#xD;&#xA;That being said, as a general principle, I have to agree with Gary and Kelle. In the broadcast world, there are a lot of factors beyond our control that can affect the quality of the transmission. This doesn't absolve the mixer of responsibility, but there needs to be recognition that there may be more at work here than just his/her ability.&#xD;&#xA;&#xD;&#xA;Two HUGE, intertwined, ideas that haven't been mentioned yet are budget and scheduling. I don't care what anybody says, you get what you pay for. People have bills to pay, and there's a limit to how much time you can (and should) spend on a given project. More money can pull in more effort. *[Please don't misunderstand this statement. I'm not necessarily referring to **individual** effort when I say that.]* On the flip side...at a certain point, it doesn't matter how much money you've got if you don't have the **time** to do the job properly. Yes bringing in more people can mitigate the time issue, but there's a point of diminishing returns there as well.&#xD;&#xA;&#xD;&#xA;Again, haven't seen the show. So, I can't really comment on it. I'm just putting forward some ideas for people to consider. One thing I will say, is that I'm fond of this particular community's ability to approach these matters in a constructive way. I'd prefer to see questions of this nature posed in a less negative/incendiary fashion in the future." ContentLicense="CC BY-SA 3.0" />
  <row Id="18683" PostHistoryTypeId="2" PostId="11328" RevisionGUID="3a201031-f7ef-4ab5-80cd-6513f63b4780" CreationDate="2011-11-10T23:13:33.100" UserId="6669" Text="Sean's note is great, it really does depend from piece to piece. I think you really can push the music down pretty far if you pick your moments right, so don't be afraid. My sense is that audiences are somewhat conditioned to that happening from years of subconciously absorbing the conventions of film mixing. Try masking the volume jump with an incoming dialogue line, another loud moment, or just on a picture cut and see if that sells it.&#xD;&#xA;&#xD;&#xA;Another thing you can try if you want to leave the music louder - if it is just one part of the music that's competing with the dialogue, use a multiband compressor like Waves C4 to squash those frequencies a bit. That way when you turn the music down, you won't have to bring the bass, drums and overall music presence down so far just to get rid of the problem area. If you have stems, even better..&#xD;&#xA;&#xD;&#xA;Another option is compressing the dialogue and gaining it back up. For some styles, you may be able to get away with a lot of this without it sounding weird. But I would go easy on this one myself.&#xD;&#xA;&#xD;&#xA;All that stuff together plus Sean's EQ trick and you should be in pretty good shape.&#xD;&#xA;&#xD;&#xA;I would try to test the clip on someone who doesn't know the dialogue afterwards and see if it's still intelligible to them as a final check." ContentLicense="CC BY-SA 3.0" />
  <row Id="18687" PostHistoryTypeId="2" PostId="11330" RevisionGUID="93c655c8-9da1-4475-8371-a65d87f46128" CreationDate="2011-11-11T04:51:45.977" UserId="82" Text="The unfortunate thing is that Flash provides a way (via RTMP) to offer somewhat secure audio streaming.  While I realize that streamed audio can still be captured, most people are either not going to know how to do it or will not go to the trouble.  HTML5 does not (to my knowledge) offer any true streaming capability, nor is audio format support standardized across different browsers.  I don't claim to be an expert in this... if someone knows better, let me know... I'd love to have a solution!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18688" PostHistoryTypeId="2" PostId="11331" RevisionGUID="cc008d9e-8d94-4374-b4b5-6814c8227ebf" CreationDate="2011-11-11T06:07:03.737" UserId="348" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I have done some research into my question but am still finding it hard to grasp an overall understanding of the difference between dBFS and dBu for leveling when it comes to final mix and standards for cinematic release. I know that each country is different. In South Africa, the spec for cinematic release is -2dBFS. We use the -18dB as our 0 on the peak meter but what is dBFS? Does it mean theat we peak at -2dBFS on the peak meter with a dynamic range of about 11dB? &#xD;&#xA;&#xD;&#xA;I hope this isn't to confusing. Thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18689" PostHistoryTypeId="1" PostId="11331" RevisionGUID="cc008d9e-8d94-4374-b4b5-6814c8227ebf" CreationDate="2011-11-11T06:07:03.737" UserId="348" Text="Explaining dBFS for final mix and cinema spec" ContentLicense="CC BY-SA 3.0" />
  <row Id="18690" PostHistoryTypeId="3" PostId="11331" RevisionGUID="cc008d9e-8d94-4374-b4b5-6814c8227ebf" CreationDate="2011-11-11T06:07:03.737" UserId="348" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18691" PostHistoryTypeId="2" PostId="11332" RevisionGUID="f0cae24b-5654-4e83-984c-487c24dcd4af" CreationDate="2011-11-11T06:53:04.840" UserId="3176" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm about to buy a rycote stereo bar to use it with my kit of oktavas. This should provide me a quite versatile set up for stereo recordings (X/Y, ORTF, A/B).&#xD;&#xA;&#xD;&#xA;The rycote bar comes in two sizes 40 cm and 70 cm. As I'm not really quite familiar with AB techniques, I would like to know if I would really need the extra 30 cm from the 70 cm bar. In which situations this could be useful?&#xD;&#xA;&#xD;&#xA;The price difference between the two is almost irrelevant but for portability I'm thinking of going with the smaller one." ContentLicense="CC BY-SA 3.0" />
  <row Id="18692" PostHistoryTypeId="1" PostId="11332" RevisionGUID="f0cae24b-5654-4e83-984c-487c24dcd4af" CreationDate="2011-11-11T06:53:04.840" UserId="3176" Text="Stereo bar 40 cm or 70 cm?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18693" PostHistoryTypeId="3" PostId="11332" RevisionGUID="f0cae24b-5654-4e83-984c-487c24dcd4af" CreationDate="2011-11-11T06:53:04.840" UserId="3176" Text="&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18694" PostHistoryTypeId="5" PostId="11328" RevisionGUID="9b1280c7-0d24-41bc-ab2f-6389923bb6cc" CreationDate="2011-11-11T07:28:55.817" UserId="6669" Comment="added 2 characters in body" Text="Shaun's note is great, it really does depend from piece to piece. I think you really can push the music down pretty far if you pick your moments right, so don't be afraid. My sense is that audiences are somewhat conditioned to that happening from years of subconciously absorbing the conventions of film mixing. Try masking the volume jump with an incoming dialogue line, another loud moment, or just on a picture cut and see if that sells it.&#xD;&#xA;&#xD;&#xA;Another thing you can try if you want to leave the music louder - if it is just one part of the music that's competing with the dialogue, use a multiband compressor like Waves C4 to squash those frequencies a bit. That way when you turn the music down, you won't have to bring the bass, drums and overall music presence down so far just to get rid of the problem area. If you have stems, even better..&#xD;&#xA;&#xD;&#xA;Another option is compressing the dialogue and gaining it back up. For some styles, you may be able to get away with a lot of this without it sounding weird. But I would go easy on this one myself.&#xD;&#xA;&#xD;&#xA;All that stuff together plus Shaun's EQ trick and you should be in pretty good shape.&#xD;&#xA;&#xD;&#xA;I would try to test the clip on someone who doesn't know the dialogue afterwards and see if it's still intelligible to them as a final check." ContentLicense="CC BY-SA 3.0" />
  <row Id="18695" PostHistoryTypeId="2" PostId="11333" RevisionGUID="f86161c7-be21-4611-9696-c58c1e2182e5" CreationDate="2011-11-11T08:24:03.433" UserId="221" Text="Ok the first and most important thing to realise is that dB is a relative scale, it is essentially a ratio but because we deal with such large ratios it is also a logarithmic scale to make the numbers more manageable.&#xD;&#xA;&#xD;&#xA;So to use dB as a measurement we need to specify a reference point.  For dBu, the reference - 0dBu is 0.775volt.  Now dBu is a measurement of voltage or signal level.  For dBfs, the fs stands for full scale and is only relevant in digital settings and so 0dBfs is when all the bits are a 1, ie it can't get any higher. &#xD;&#xA;&#xD;&#xA;To relate the dBu and dBfs scales you need to establish what your headroom figure is going to be and like all good standards we have more than one. Some manufacturers set -20dBfs as 0dBu, the standard here in the Uk is -18dBfs is 0dBu. So you have to know what your metering has been set to, to be able to equate dBu ad dBfs.&#xD;&#xA;&#xD;&#xA;Hope that helps,&#xD;&#xA;&#xD;&#xA;Mike.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18699" PostHistoryTypeId="2" PostId="11335" RevisionGUID="8a80729f-07c5-4284-b278-5f7f5d9b4bf3" CreationDate="2011-11-11T10:58:23.703" UserId="1216" Text="Go with the 40 cm version, if the AB really needs to be wider, just use an extra mic stand.&#xD;&#xA;(i know a mic stand is bigger than a 70 cm stereo bar, but i always bring a small spare stand just in case)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18700" PostHistoryTypeId="2" PostId="11336" RevisionGUID="982261cc-0ff6-4f00-bf51-13eaeba2c56e" CreationDate="2011-11-11T11:55:05.187" UserId="3178" Text="Hi. My name is Calum and i'm studying a Ba hons degree in Music production.&#xD;&#xA;&#xD;&#xA;As part of my course I have chosen to study sound design for video games,&#xD;&#xA;&#xD;&#xA;I'd love the opportunity to conduct a Quick Open Questionnaire to anyone willing as this will be greatly appreciated ,thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;1.how long have you been in the video games industry and how did you get started?&#xD;&#xA;&#xD;&#xA;2.what equipment do you use  in the studio and for foley recordings? and what computer programmes and Middlware used?&#xD;&#xA;&#xD;&#xA;3.what is involved with your job role, and how does this differ between companies you have worked for?&#xD;&#xA;&#xD;&#xA;4.specifically how much computer programming is involved in your job, and how does this differ between companies you have worked for? and what is expected of you in terms of this?&#xD;&#xA;&#xD;&#xA;5.What is your favourite aspect as being a sound designer? and what is the hardest part of the role?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks for your time regardless&#xD;&#xA;&#xD;&#xA;thanks a lot, Calum Grant" ContentLicense="CC BY-SA 3.0" />
  <row Id="18701" PostHistoryTypeId="1" PostId="11336" RevisionGUID="982261cc-0ff6-4f00-bf51-13eaeba2c56e" CreationDate="2011-11-11T11:55:05.187" UserId="3178" Text="Questionnaire for all levels of game sound designers!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18702" PostHistoryTypeId="3" PostId="11336" RevisionGUID="982261cc-0ff6-4f00-bf51-13eaeba2c56e" CreationDate="2011-11-11T11:55:05.187" UserId="3178" Text="&lt;gameaudio&gt;&lt;video-games&gt;&lt;sound-design&gt;&lt;questionnaire&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18703" PostHistoryTypeId="2" PostId="11337" RevisionGUID="2ba2399c-b0a2-4f53-ba71-1d7fa73107dd" CreationDate="2011-11-11T15:58:35.003" UserId="1237" Text="I've reviewed modern “Star Wars” trilogy and one sound just blew my mind.&#xD;&#xA;It was Varactyl's voice in the third episode. The hooting call at the very beginning:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=MPPKEW02CXk&#xD;&#xA;&#xD;&#xA;I've tried to find the information about the creation of this sound but I only found this article:&#xD;&#xA;http://starwars.wikia.com/wiki/Varactyl&#xD;&#xA;&#xD;&#xA;Maybe somebody knows anything about the history of this sound. How was it made? Any ideas?&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18704" PostHistoryTypeId="1" PostId="11337" RevisionGUID="2ba2399c-b0a2-4f53-ba71-1d7fa73107dd" CreationDate="2011-11-11T15:58:35.003" UserId="1237" Text="Star Wars Varactyl's voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="18705" PostHistoryTypeId="3" PostId="11337" RevisionGUID="2ba2399c-b0a2-4f53-ba71-1d7fa73107dd" CreationDate="2011-11-11T15:58:35.003" UserId="1237" Text="&lt;starwars&gt;&lt;creature-vocalizations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18706" PostHistoryTypeId="6" PostId="11337" RevisionGUID="d9ed6cf3-af66-4c50-af8d-dd9fda159656" CreationDate="2011-11-11T16:06:33.007" UserId="1237" Comment="edited tags" Text="&lt;starwars&gt;&lt;creature-vocalizations&gt;&lt;iconic-sounds&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18707" PostHistoryTypeId="2" PostId="11338" RevisionGUID="452c7f14-8bfa-4849-9a14-a3d2fd5840a5" CreationDate="2011-11-11T16:17:07.763" UserId="208" Text="When i was a child i had a guinea pig. Every time i opened the fridge he would make this exact sound, only pitched up. &#xD;&#xA;Not saying that this is how its done, but i believe it could be done by recording a guinea pig at a high khz, and pitch it down to taste. &#xD;&#xA;&#xD;&#xA;Best wishes&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="18708" PostHistoryTypeId="2" PostId="11339" RevisionGUID="b87418b8-6820-47f7-b352-6e2a4d2a241e" CreationDate="2011-11-11T17:09:03.160" UserId="1292" Text="Perhaps it is in the Sound of Star Wars book? I read parts of the book but it covers so much, I can't remember." ContentLicense="CC BY-SA 3.0" />
  <row Id="18709" PostHistoryTypeId="2" PostId="11340" RevisionGUID="4e21a209-5331-4085-89a6-5671476b17cc" CreationDate="2011-11-11T17:21:11.243" UserId="1292" Text="What holiday gifts will you tell people to get you this year? &#xD;&#xA;&#xD;&#xA;I know we all have a microphone that we secretly want but what about something more affordable?&#xD;&#xA;&#xD;&#xA;I want The Sound of Star Wars book,  I was able to look at a friends and I would love to have it for myself.  &#xD;&#xA;&#xD;&#xA;Maybe some rechargeable batteries for my portable recorder?&#xD;&#xA;&#xD;&#xA;What is on your wish list? Any cool noise making desk toys, books, or Blu-Rays with SFX related special features?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18710" PostHistoryTypeId="1" PostId="11340" RevisionGUID="4e21a209-5331-4085-89a6-5671476b17cc" CreationDate="2011-11-11T17:21:11.243" UserId="1292" Text="Holiday Gifts for Sound Designers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18711" PostHistoryTypeId="3" PostId="11340" RevisionGUID="4e21a209-5331-4085-89a6-5671476b17cc" CreationDate="2011-11-11T17:21:11.243" UserId="1292" Text="&lt;gift&gt;&lt;holidays&gt;&lt;ideas&gt;&lt;wishful-thinking&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18712" PostHistoryTypeId="2" PostId="11341" RevisionGUID="54635cfd-dd13-4765-8fd6-cfea4a400bd2" CreationDate="2011-11-11T17:21:23.740" UserId="6524" Text="Although my question is similar to [another][1] about an interface for Pro Tools/Preamp for field recording with a portable recorder (H4n aswell). I'm not as experienced as others on this site so I was wondering if you guy's could give me some insight into choosing the right one to give me more long term use. I personally think the MixPre-D would be better since I don't have to worry about external power supply and after reading Varun Nair's [post][2] about the USBPre-2 it sounds like it a bit of a pain to work with the H4n, but I really don't know for sure, thanks for the help.&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/8468/can-you-use-an-mbox-or-other-audio-interface-without-a-computer-also-make-your&#xD;&#xA;  [2]: http://www.sonic-terrain.com/2011/06/usbpre2-first-impressions-part1/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18713" PostHistoryTypeId="1" PostId="11341" RevisionGUID="54635cfd-dd13-4765-8fd6-cfea4a400bd2" CreationDate="2011-11-11T17:21:23.740" UserId="6524" Text="Sound Devices MixPre-D vs USBPre-2" ContentLicense="CC BY-SA 3.0" />
  <row Id="18714" PostHistoryTypeId="3" PostId="11341" RevisionGUID="54635cfd-dd13-4765-8fd6-cfea4a400bd2" CreationDate="2011-11-11T17:21:23.740" UserId="6524" Text="&lt;sound-devices&gt;&lt;interface&gt;&lt;preamp&gt;&lt;pro-tools&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18715" PostHistoryTypeId="2" PostId="11342" RevisionGUID="abb973f3-2ea4-4b58-85ec-e197ce845f68" CreationDate="2011-11-11T17:58:54.930" UserId="315" Text="I recommend reading [this article][1] before making your decision. A lot of useful info about AB mic placement etc.. &#xD;&#xA;&#xD;&#xA;I think you'd be fine with 40cm unless you want a wide AB image from a pair of omnis. I'd also consider the [Grace Design Spacebar][2] as well as the Rycote.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dpamicrophones.com/en/Mic-University/StereoTechniques.aspx&#xD;&#xA;  [2]: http://www.gracedesign.com/products/spacebar/spacebar_stereo.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="18716" PostHistoryTypeId="2" PostId="11343" RevisionGUID="fd9dc5fb-d1ab-4e65-a5d0-2ccf2d3a6d1c" CreationDate="2011-11-11T18:03:36.170" UserId="6420" Text="Do you mean the Boga roar? That's what I see on that clip. Anyway, I have the Star Wars book and it says a combination of dolphin, Tasmanian Devil, dog and coyote were used for that creature. Can definitely hear the dolphin at the start of that clip ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18717" PostHistoryTypeId="2" PostId="11344" RevisionGUID="0584be30-5de1-4eb4-a2c6-45d27a35864b" CreationDate="2011-11-11T19:01:24.400" UserId="6392" Text="Ben Burtt uses a program called Kyma for a lot of his sound design work.  It is definitely a combination of the animals Andy mentioned processed and combined in Kyma." ContentLicense="CC BY-SA 3.0" />
  <row Id="18718" PostHistoryTypeId="2" PostId="11345" RevisionGUID="f2f1a096-09d7-490d-bc08-c0a6a0ed1693" CreationDate="2011-11-11T19:40:51.117" UserId="517" Text="1. I started working on games in 2009. I went to USC Film School and a colleague of mine recommended my partner and I to the developer.&#xD;&#xA;2. I use ProTools 9 with an Mbox Pro 3 for my DAW. When my partner and I record FX for games, we generally use a Sennheiser 416 running into a Sound Devices 442/Sound Devices 722. Since we've only ever worked for one developer, we implement our audio with their proprietary engine.&#xD;&#xA;3. My job is sound designer. I'm responsible for all of the audio that goes into the game, apart from music creation (although I handle the implementation).&#xD;&#xA;4. I don't do any computer programming. However, I work closely with the programmers to ensure that all of the audio cues are functioning properly and help them develop approaches for implementing audio in the most effective manner.&#xD;&#xA;5. My favorite aspect of being a sound designer is hearing everything playing in the game and being surprised (usually pleasantly) when things sound different in game than I had expected. The hardest part of game design is doing sound design blind - i.e. designing sounds for things that you know will be in the game but haven't been finished or even developed by the art department." ContentLicense="CC BY-SA 3.0" />
  <row Id="18719" PostHistoryTypeId="2" PostId="11346" RevisionGUID="3c2c4889-15cd-4fd8-8c0b-238f9082b1f3" CreationDate="2011-11-11T21:35:32.000" UserId="1069" Text="I'm going to have to disagree with everyone saying that the poor sound is just because of the use of the network's expanders. That probably is part of the problem, but it's not an excuse for the lazy attention of detail this show has in all parts of the production. It's laughable how bad the sound, video quality, lighting, WRITING, etc in this season. Not that the last season was amazing or anything, but it definitely had it's moments.&#xD;&#xA;If you want to blame the network then why aren't shows like Breaking Bad and Mad Men effected by this? I wouldn't even call Walking Dead's mixing bad, I would just call it lazy. There really is no excuse for using the same sound bed for the forest and inside a house. Does anyone else laugh with they hear owls hooting like they are in the other room?&#xD;&#xA;It's really too bad how this show has turned out. I believe it had a lot of real potential with an interesting idea and some really good actors. Now it's turned out to look like a bad idea with what seems to be bad actors because of all the awful dialogue.&#xD;&#xA;I'm sorry most of this post doesn't have to do with sound, but sadly getting good audio and mixing it well seem to be an afterthought to zombie makeup, unnecessary CGI, and long boring and depressing conversations." ContentLicense="CC BY-SA 3.0" />
  <row Id="18720" PostHistoryTypeId="2" PostId="11347" RevisionGUID="477dad1f-618a-4586-afea-8b5ba72dd824" CreationDate="2011-11-11T23:03:57.073" UserId="432" Text="If you're planning to do a lot in the field with whatever you buy, then I think you're on the right track. The MixPre-D would probably be the better choice.&#xD;&#xA;&#xD;&#xA;The USBPre-2 is not as well suited to field work. It can do the job, there's no doubt about that. It's just requires a few extra considerations.&#xD;&#xA;&#xD;&#xA;If you're looking for something to use more as an I/O interface, and you're only considering these two units, the USBPre-2 is going to be a better choice. While the DIP switches are a bit cumbersome, it's a more flexible unit for that purpose." ContentLicense="CC BY-SA 3.0" />
  <row Id="18721" PostHistoryTypeId="2" PostId="11348" RevisionGUID="8b5ec6af-494d-4c78-9b79-b724061b63e5" CreationDate="2011-11-11T23:34:15.917" UserId="3124" Text="It is indeed contextually sensitive.&#xD;&#xA;&#xD;&#xA;However, I read in *Techniques of the Sound Studio* that the BBC did studies that found that music needs to be 6db below adjacent voice in order for the audience to sense it as the same volume as voice.  That's because music is usually a more broadband sound and voice is relatively narrow band.  How does that work into dropping music below dialog?  If you have a segment of music up full followed by a segment of voice over music, at the point where you begin your fade under the voice, the music should be at -6.  You can gently sneak it down to -6 as you approach the transition and then begin your fade under the voice.&#xD;&#xA;&#xD;&#xA;One other technique I also find very useful is based upon the fact that hiding one end of the music fade under the voice entrance makes the fade less pronounced.  I simply make sure that the down end of the fade is underneath the beginning of the voice.  Exiting the voice over music segment to music up is simply a reversal of the same technique on both counts above." ContentLicense="CC BY-SA 3.0" />
  <row Id="18722" PostHistoryTypeId="2" PostId="11349" RevisionGUID="170e9ca6-92b6-4d12-a895-1e0fb18548d1" CreationDate="2011-11-12T02:07:31.970" UserId="6432" Text="For versatile, neutral, portable amps you should check out Acoustic Image.&#xD;&#xA;&#xD;&#xA;http://www.acousticimg.com/#/home&#xD;&#xA;&#xD;&#xA;Perhaps only just it your price range and not good if you want to be really loud, but they're more portable than a PA speaker and sound good. &#xD;&#xA;&#xD;&#xA;Read the &quot;our approach&quot; bit on their website." ContentLicense="CC BY-SA 3.0" />
  <row Id="18723" PostHistoryTypeId="2" PostId="11350" RevisionGUID="95e5162b-38e9-4f48-b3ad-02c10cbfa24c" CreationDate="2011-11-12T11:09:11.377" UserId="407" Text="1.how long have you been in the video games industry and how did you get started?&#xD;&#xA;&#xD;&#xA;started in 2004 designing, programming and doing sounds for Flash games. Currently work as Audio Lead at Remedy Entertainment.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;2.what equipment do you use in the studio and for foley recordings? and what computer programmes and Middlware used?&#xD;&#xA;&#xD;&#xA;We outsource a lot of the the raw recording work but also do some recording in house, we have a few mics, Rode, Tbone, Sennheiser and Neumann. Our main recorder is the Tascam DR680. Software we use varies on the job at hand we have licenses for Protools, Logic, Sony sound forge, vegas and Acid, and of course Izotope RX which is a must for us, and use all of them on a weekly basis. Middleware depends on the project, we use FMOD API in our main engine but have also used open AL on occasion.&#xD;&#xA;&#xD;&#xA;3.what is involved with your job role, and how does this differ between companies you have worked for?&#xD;&#xA;&#xD;&#xA;I look after the audio department and the projects needs, this involves a lot of different stuff from scheduling and document writing to audio vison, sound design and publisher liason, I also working closely with outsourcers for dialogue, music, sound effects, and our in house team to make sure everyone is working towards the same vision. &#xD;&#xA;&#xD;&#xA;4.specifically how much computer programming is involved in your job, and how does this differ between companies you have worked for? and what is expected of you in terms of this?&#xD;&#xA;&#xD;&#xA;Currently I don't program C++ at all but have done often in the past. I am not a good coder btw. it has just been a necessity. Our current engine has a java like scripting language which I do use a lot. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;5.What is your favourite aspect as being a sound designer? and what is the hardest part of the role?&#xD;&#xA;&#xD;&#xA;Hardest part by far is the tight deadlines and getting everything done on time and on budget. The best part is working with the team towards a common goal and then seeing the whole thing come together at the end. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18724" PostHistoryTypeId="2" PostId="11351" RevisionGUID="5d4ce764-8659-440a-9e9d-d34492ae4c35" CreationDate="2011-11-12T15:29:24.780" UserId="182" Text="![alt text][1]&#xD;&#xA;&#xD;&#xA;It's that I have one already, otherwise I would put a Korg Monotron on my list: $60 gets you a little analog synth that's loads of fun and is usable too!&#xD;&#xA;I saw a $20 rebate action on zzsounds (never ordered there because I'm in Europe, but it might be useful for others).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;What I don't have is a Stylophone. Even cheaper, a bit less useful but still another fun little sound generator to play with.&#xD;&#xA;&#xD;&#xA;And then you can use them together!&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=FzoOpRJlp80][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.technoszene.com/core/wp-content/uploads/2010/04/korg_monotron.jpg&#xD;&#xA;  [2]: http://www.ditverzinjeniet.nl/magento/media/upload/image/Stylophone/stylophone_vrijstaand.jpg&#xD;&#xA;  [3]: http://www.youtube.com/watch?v=FzoOpRJlp80" ContentLicense="CC BY-SA 3.0" />
  <row Id="18725" PostHistoryTypeId="2" PostId="11352" RevisionGUID="600646c7-a844-406e-ac40-61bac9b3fa3a" CreationDate="2011-11-12T15:48:33.377" UserId="6432" Text="I spotted these the other day:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.vmeter.net/product_images/uploaded_images/vmeter-usb-volume-control-touch-strip-hand.jpg&#xD;&#xA;&#xD;&#xA;$59&#xD;&#xA;&#xD;&#xA;They're pressure sensitive and 8 zone multi-touch too...&#xD;&#xA;&#xD;&#xA;Anyone got one? How is it working out?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18726" PostHistoryTypeId="2" PostId="11353" RevisionGUID="7493d538-2edd-4e63-81d4-81247f6b0e2d" CreationDate="2011-11-12T21:40:12.557" UserId="1266" Text="How do you choose a sound design aesthetic?  For example, seeing a dog hearing a dog or see a dog hear a cat?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18727" PostHistoryTypeId="1" PostId="11353" RevisionGUID="7493d538-2edd-4e63-81d4-81247f6b0e2d" CreationDate="2011-11-12T21:40:12.557" UserId="1266" Text="Choosing a sound design aesthetic" ContentLicense="CC BY-SA 3.0" />
  <row Id="18728" PostHistoryTypeId="3" PostId="11353" RevisionGUID="7493d538-2edd-4e63-81d4-81247f6b0e2d" CreationDate="2011-11-12T21:40:12.557" UserId="1266" Text="&lt;design&gt;&lt;aesthetic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18729" PostHistoryTypeId="2" PostId="11354" RevisionGUID="ad889213-af4d-41c1-abcc-929a372795c6" CreationDate="2011-11-12T21:41:16.647" UserId="1266" Text="Plugins, plugins and more plugins!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18730" PostHistoryTypeId="2" PostId="11355" RevisionGUID="b66c8091-5225-46e0-a04a-ddd124cac3aa" CreationDate="2011-11-12T22:20:34.283" UserId="3181" Text="I have also noticed it. It's not just *The Walking Dead*; it's also the new AMC series *Hell on Wheels*. I don't think it's some kind of automatic compression performed by cable provider; it sounds intentional. The background audio is constantly being intentionally subdued in order to isolate the dialog. The constant &quot;rush&quot; of background audio makes for a really schizophrenic experience. [Here's a short sample from episode 4][1] (AC3, 48KHz, 5.1ch, 384 kb/s).&#xD;&#xA;&#xD;&#xA;[1]: http://dl.dropbox.com/u/12091499/Trash/walkingdeadaudio.mp4" ContentLicense="CC BY-SA 3.0" />
  <row Id="18731" PostHistoryTypeId="2" PostId="11356" RevisionGUID="f543a1e5-3599-4d69-a7c4-89613c02a821" CreationDate="2011-11-12T23:10:28.123" UserId="426" Text="Are you asking about using realistic versus antithetical sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18732" PostHistoryTypeId="2" PostId="11357" RevisionGUID="e92b561d-d669-4979-acda-c5002e204594" CreationDate="2011-11-12T23:27:06.737" UserId="3086" Text="I'm currently working in a short animation where the &quot;bad guy&quot; is a bunch of hair fighting scissors, razors and other barber tools.&#xD;&#xA;&#xD;&#xA;it's mainly foley but Im struggling to find the proper sound for this &quot;hair monster&quot; (faceless, just a bunch of hair, like a dough)&#xD;&#xA;&#xD;&#xA;Any ideas will be great, layers, suggestions?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="18733" PostHistoryTypeId="1" PostId="11357" RevisionGUID="e92b561d-d669-4979-acda-c5002e204594" CreationDate="2011-11-12T23:27:06.737" UserId="3086" Text="How would you sound design a monster made out of hair?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18734" PostHistoryTypeId="3" PostId="11357" RevisionGUID="e92b561d-d669-4979-acda-c5002e204594" CreationDate="2011-11-12T23:27:06.737" UserId="3086" Text="&lt;monster&gt;&lt;sound-design&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18735" PostHistoryTypeId="2" PostId="11358" RevisionGUID="246245c2-3d2c-4010-957a-f26070e06d3f" CreationDate="2011-11-13T02:31:33.110" UserId="18160" Text="Steel wool?&#xD;&#xA;&#xD;&#xA;I would experiment with getting two strips of astroturf and rubbing them lightly together.&#xD;&#xA;&#xD;&#xA;There are also sponges you can get from bath&amp;body type stores which are hard-fibered sponges - like those big sponge balls - they might create an interesting layer.&#xD;&#xA;&#xD;&#xA;Horse hair brush? Like the ones used to shine shoes.&#xD;&#xA;&#xD;&#xA;Raid a salon and steal all of their color samples.&#xD;&#xA;&#xD;&#xA;Footsteps for a hair monster? Maybe sponges, experiment with soft fabrics, faux fur like windjammers are made out of...&#xD;&#xA;&#xD;&#xA;This is a tough one because it has to be faked or fabricated from something that isn't hair (because hair doesn't really make much noise) and end up with something that the audience *thinks* hair would sound like..&#xD;&#xA;&#xD;&#xA;I think you should experiment, experiment, experiment, and after you've done tons of experiments and are slamming your head against the wall, try something you wouldn't think would work in a million years and see how that sounds, then do some more experimentation. Then, when you think you're happy with it, do more experiments after that.&#xD;&#xA;&#xD;&#xA;Then, when it's released, do more experiments." ContentLicense="CC BY-SA 3.0" />
  <row Id="18736" PostHistoryTypeId="2" PostId="11359" RevisionGUID="ae94aa5d-db89-48c5-927b-7859cadf914a" CreationDate="2011-11-13T02:46:13.333" UserId="432" Text="three suggestions: two possible ideas, and one to help you find your own.&#xD;&#xA;&#xD;&#xA; 1. I immediately start thinking of rustling sounds and cord whips. Something like Tim Prebble's [Swishes library][1] could be very useful. Ryan (Utopia) has given you some useful suggestions for generating rustling sounds, but I wouldn't be afraid to expand it out of the realm of fabric. Something like leaves and paper done correctly could be what you're looking for.&#xD;&#xA; 2. Maybe concerning yourself with the creature's movement itself is the wrong approach. Have you considered the possibility that maybe it doesn't make any sound on its own to begin with? Experiment with sounds for what the creature is interacting with; i.e. those barber tools you mentioned, the surface it's moving across, etc.&#xD;&#xA; 3. If you exhaust &quot;relevant&quot; ideas, try throwing using the weirdest things you can think of for the situation. Go completely off the wall. You may discover something by accident, or maybe it will give you an idea for an approach. In the very least, it will help you define what the sound **shouldn't** be. That can be just as useful at times.&#xD;&#xA;  [1]: http://hissandaroar.com/sd002-swishes/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18737" PostHistoryTypeId="2" PostId="11360" RevisionGUID="1963929d-83ef-4a79-b3ae-2fba7f67ebdb" CreationDate="2011-11-13T03:10:04.153" UserId="100" Text="My first thought is a Koosh Ball.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://upload.wikimedia.org/wikipedia/en/0/07/KOOSH.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="18738" PostHistoryTypeId="2" PostId="11361" RevisionGUID="32b1e7f9-688b-47de-bee2-8660bbc2c385" CreationDate="2011-11-13T04:35:06.050" UserDisplayName="user49" Text="The aesthetic for sound deign is motivated by the story, the directors brief, the particular moment in the arc of the story &amp; its relationship to story before and after the moment, the genre, the setting, the emotion, the characters, the action, the era, the time frame, the point of view etc etc...." ContentLicense="CC BY-SA 3.0" />
  <row Id="18739" PostHistoryTypeId="2" PostId="11362" RevisionGUID="84c8e3d8-760a-40b3-a4d9-553810edbde8" CreationDate="2011-11-13T04:43:49.043" UserDisplayName="user49" Text="&#xD;&#xA;The fact he is fighting would tend to mean strong fast movement so maybe you could pursue sounds that are associated with hair eg hair brush scrapes &amp; scuffs, hair or string through a comb... Could be worth borrowing a wig (or finding some plant material that is made of a lot of strands) and record swishes through the air, but also sliding across surfaces etc..... Even a feather duster might be of use, especially if you have some layers of loose string or hair-like material to keep the association going....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18740" PostHistoryTypeId="2" PostId="11363" RevisionGUID="865d7dc5-df01-4b4d-940d-cf3895586481" CreationDate="2011-11-13T04:44:55.577" UserId="558" Text="Seems like a huge question.  I agree with Tim in that the answers lie in the material, and there are many many answers (a career's worth).&#xD;&#xA;&#xD;&#xA;Is it realistic?&#xD;&#xA;Is it a period piece?&#xD;&#xA;Is the sound in question in the foreground, mid-ground, or background?&#xD;&#xA;Animation?&#xD;&#xA;Danger?&#xD;&#xA;Humor?&#xD;&#xA;On screen or off screen?&#xD;&#xA;Flashback?&#xD;&#xA;&#xD;&#xA;I might cut a dog bark differently for each different answer to the above questions." ContentLicense="CC BY-SA 3.0" />
  <row Id="18741" PostHistoryTypeId="2" PostId="11364" RevisionGUID="f9d21b51-9619-456f-8766-084282bc4c60" CreationDate="2011-11-13T12:04:01.063" UserId="407" Text="Interesting question - if I am reading it the correct way. Games are a bit different to Movies in this respect IMO in that the production cycle is often much longer than movies and to keep an overall aesthetic for a 10 hour game you have to have a clear vision of what you want. But basically it goes like this, what's the game about? whats the target audience? what does the director want? what references are we using? what are the cliches? what do we think will be cool in X number of years? What technology are we using?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18742" PostHistoryTypeId="2" PostId="11365" RevisionGUID="ec2a203b-a3a1-428b-ab2c-64eaafee51db" CreationDate="2011-11-13T15:38:16.890" UserId="132" Text="I totally agree with Shaun and if you are just looking for a solid front end for your recorder to use in the field you might try and find the original [mix-pre][1] used, which has since been discontinued. Personally, I think it sounds a lot better and it has a much creamier sounding limiter.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sounddevices.com/products/mx2master.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="18743" PostHistoryTypeId="2" PostId="11366" RevisionGUID="edc510d6-0e96-40f1-868b-5bf17c9d6d08" CreationDate="2011-11-13T16:02:31.117" UserId="1153" Text="As this will be the first time I spend any 'large' amount of money on headphones I want to get it right! I've read through the previous posts and (think I) have some good ideas about which pair to go for. I'm looking to spend somewhere in the region of £100 - £200... sadly can't spare anymore. &#xD;&#xA;&#xD;&#xA;**Use:** I will be using these for **Field Recording**, **Mixing** and occasionally recording bands and overdubbing, though the first two subjects will be the primary uses so ideally good isolation and an 'uncoloured' sound.&#xD;&#xA;&#xD;&#xA;Now I know that there's this whole thing about ***mixing on headphones***, but with my previous (and first) release one piece of feedback that I received multiple times was compliments on the mixing which was actually done about 70% on phones. They were only some cheap £20 sony phones but I knew their sound so it worked and thus would like to continue to mix on phones once I get used to the new pair. I unfortunately dropped the sonys at the end of a field recording session so no longer have them :'[&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/disconnectuser - to give you an idea of the style of music I generally make. It could help influence the decision, who knows! :]&#xD;&#xA;&#xD;&#xA;**Models:** Anyways I've narrowed it to these at the moment but feel free to suggest others more suitable:&#xD;&#xA;&#xD;&#xA;Sennheiser HD280&lt;br&gt;&#xD;&#xA;Beyerdynamic DT 880 - too open for field use?&lt;br&gt;&#xD;&#xA;Beyerdynamic DT 770&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Cheers for your help as always SSD!&#xD;&#xA;&lt;br&gt;Al" ContentLicense="CC BY-SA 3.0" />
  <row Id="18744" PostHistoryTypeId="1" PostId="11366" RevisionGUID="edc510d6-0e96-40f1-868b-5bf17c9d6d08" CreationDate="2011-11-13T16:02:31.117" UserId="1153" Text="Yes, another Headphone question..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18745" PostHistoryTypeId="3" PostId="11366" RevisionGUID="edc510d6-0e96-40f1-868b-5bf17c9d6d08" CreationDate="2011-11-13T16:02:31.117" UserId="1153" Text="&lt;headphones&gt;&lt;mixing&gt;&lt;field-recording&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18746" PostHistoryTypeId="2" PostId="11367" RevisionGUID="a684cce5-0a1c-4dc2-bc8c-bc9aeeb4f416" CreationDate="2011-11-13T16:44:32.327" UserId="3183" Text="Hi!&#xD;&#xA;I love the audio-technica ath-m50. They are great sounding ones, and are well built so they lasts long. I like the sennheiser hd 25, and others from the hd series, but I always had cable issues with them." ContentLicense="CC BY-SA 3.0" />
  <row Id="18747" PostHistoryTypeId="2" PostId="11368" RevisionGUID="63bc9200-f2d1-47af-98f6-a59915934f8e" CreationDate="2011-11-13T17:28:00.810" UserId="1166" Text="I have the DT770 and bought them for the same reasons. I'm really loving them. I decided against the 880s specically because of the isolation. I'm sure they'd be slightly nicer for mixing, but I think the 770s are a champ for all around use." ContentLicense="CC BY-SA 3.0" />
  <row Id="18748" PostHistoryTypeId="2" PostId="11369" RevisionGUID="fcfabe77-9e9e-4b8a-bac7-a367445ba2a1" CreationDate="2011-11-13T21:55:41.013" UserId="18160" Text="Your time is greatly appreciated if you could answer this super-fast question for me to help me dislodge my design block I have right now:&#xD;&#xA;&#xD;&#xA;What are the first 2 sounds you think of when I say the words &quot;Magical Mystery&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18749" PostHistoryTypeId="1" PostId="11369" RevisionGUID="fcfabe77-9e9e-4b8a-bac7-a367445ba2a1" CreationDate="2011-11-13T21:55:41.013" UserId="18160" Text="Quick survey re: magical sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="18750" PostHistoryTypeId="3" PostId="11369" RevisionGUID="fcfabe77-9e9e-4b8a-bac7-a367445ba2a1" CreationDate="2011-11-13T21:55:41.013" UserId="18160" Text="&lt;magical&gt;&lt;survey&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18751" PostHistoryTypeId="16" PostId="11369" RevisionGUID="fcfabe77-9e9e-4b8a-bac7-a367445ba2a1" CreationDate="2011-11-13T21:55:41.013" UserId="18160" />
  <row Id="18752" PostHistoryTypeId="2" PostId="11370" RevisionGUID="645a0311-f1c8-4c4a-8f42-4f75668ee4ef" CreationDate="2011-11-13T22:23:20.547" UserId="1072" Text="Chimes instantly come to mind" ContentLicense="CC BY-SA 3.0" />
  <row Id="18753" PostHistoryTypeId="16" PostId="11370" RevisionGUID="645a0311-f1c8-4c4a-8f42-4f75668ee4ef" CreationDate="2011-11-13T22:23:20.547" UserId="-1" />
  <row Id="18754" PostHistoryTypeId="2" PostId="11371" RevisionGUID="613a75c3-7a1a-41df-8480-f862d979e9b8" CreationDate="2011-11-13T23:07:32.880" UserId="6420" Text="+1 for chimes. Other thing that comes to mind are the kinda flash pop things like an old style camera flash burst. The powder igniting for the flashes or whatever it was they used!&#xD;&#xA;Maybe used at the end of a magic trick when something disappears...Kazzam!!! &quot;pop&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18755" PostHistoryTypeId="16" PostId="11371" RevisionGUID="613a75c3-7a1a-41df-8480-f862d979e9b8" CreationDate="2011-11-13T23:07:32.880" UserId="-1" />
  <row Id="18756" PostHistoryTypeId="2" PostId="11372" RevisionGUID="01c738c1-0e0b-4909-a8fe-4fe41245b88c" CreationDate="2011-11-13T23:18:07.097" UserId="3184" Text="Super cliche belltree.  And reversed cymbal." ContentLicense="CC BY-SA 3.0" />
  <row Id="18757" PostHistoryTypeId="16" PostId="11372" RevisionGUID="01c738c1-0e0b-4909-a8fe-4fe41245b88c" CreationDate="2011-11-13T23:18:07.097" UserId="-1" />
  <row Id="18758" PostHistoryTypeId="2" PostId="11373" RevisionGUID="068236fc-772e-4092-821a-f6562da998a5" CreationDate="2011-11-13T23:59:44.940" UserId="1036" Text="Different kinds of chimes, glass, clay, aluminium &#xD;&#xA;&#xD;&#xA;Dust or scattering confetti layers&#xD;&#xA;&#xD;&#xA;Clockwork/windup mechanisms/toys&#xD;&#xA;&#xD;&#xA;Sparklers, fizzles&#xD;&#xA;&#xD;&#xA;Poofs, darker poofs, not comical cartoon ones&#xD;&#xA;&#xD;&#xA;Puffs, like powder puff &#xD;&#xA;&#xD;&#xA;A musical element, like harp, glock, belltree, tubular bells.. bowed glass works too, as you mentioned, depends on how scary you want to go ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18759" PostHistoryTypeId="16" PostId="11373" RevisionGUID="068236fc-772e-4092-821a-f6562da998a5" CreationDate="2011-11-13T23:59:44.940" UserId="-1" />
  <row Id="18760" PostHistoryTypeId="2" PostId="11374" RevisionGUID="1e800d4c-0166-43e1-adf4-1f54bc9a53fb" CreationDate="2011-11-14T07:09:06.290" UserId="182" Text="A harp arpeggio, and wind." ContentLicense="CC BY-SA 3.0" />
  <row Id="18761" PostHistoryTypeId="16" PostId="11374" RevisionGUID="1e800d4c-0166-43e1-adf4-1f54bc9a53fb" CreationDate="2011-11-14T07:09:06.290" UserId="-1" />
  <row Id="18762" PostHistoryTypeId="2" PostId="11375" RevisionGUID="9d316f28-d4be-404e-ba52-37dde07562d5" CreationDate="2011-11-14T11:46:12.397" UserId="813" Text="Try a mop with some doppler" ContentLicense="CC BY-SA 3.0" />
  <row Id="18763" PostHistoryTypeId="2" PostId="11376" RevisionGUID="a05f9439-f63d-4b72-a9a6-53a532e7b13a" CreationDate="2011-11-14T12:58:59.027" UserId="261" Text="Hi Folks,&#xD;&#xA;&#xD;&#xA;Due to a recent change in philosophy, and the realisation that I am making a living only doing sound, I realised that I needed to do some proper bookkeeping to get a handle on when, where, how much etc.&#xD;&#xA;&#xD;&#xA;I don't want to add work that I don't need, but I suppose spending 1 to 2 hours a week sorting out my books will aenable me to see where I'm going ('When will I be able to by that 744T?')&#xD;&#xA;Or how I'm doing(&quot;How much do I need to put away to pay for renewing my AppleCare and replacing a mic if it goes down?&quot;) etc.&#xD;&#xA;&#xD;&#xA;Ya dig?&#xD;&#xA;&#xD;&#xA;What do you guys use to do the accounting. Ledger books? Or software?&#xD;&#xA;how do you split up expenses, e.g. batteries for a shoot, buying lunch when out recording sounds for work and the like?&#xD;&#xA;&#xD;&#xA;Im looking at something FREE asn in beer or not more than 100 USD/EUR&#xD;&#xA;&#xD;&#xA;Any hints (i.t.o. software and accounting process) would be appreciated&#xD;&#xA;&#xD;&#xA;Kurt&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18764" PostHistoryTypeId="1" PostId="11376" RevisionGUID="a05f9439-f63d-4b72-a9a6-53a532e7b13a" CreationDate="2011-11-14T12:58:59.027" UserId="261" Text="The Boring Stuff - Bookkeeping: Do you do it? Which program do you use?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18765" PostHistoryTypeId="3" PostId="11376" RevisionGUID="a05f9439-f63d-4b72-a9a6-53a532e7b13a" CreationDate="2011-11-14T12:58:59.027" UserId="261" Text="&lt;workflow&gt;&lt;money&gt;&lt;career&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18766" PostHistoryTypeId="2" PostId="11377" RevisionGUID="ea14b0c2-42b2-4eb2-882a-1c7135612db7" CreationDate="2011-11-14T13:40:46.857" UserId="37" Text="you can do basic bookkeeping in excel, if you already have ms office. just a matter of cashflow layout" ContentLicense="CC BY-SA 3.0" />
  <row Id="18767" PostHistoryTypeId="2" PostId="11378" RevisionGUID="966780ec-bba9-42e8-80c7-21586ce27e0a" CreationDate="2011-11-14T13:56:25.240" UserId="234" Text="PC or Mac there are a number of decent low-cost accounting programs out there - do a quick search on Google or [here][1]. HOWEVER, if you also use the services of an accountant than you'll save much more than the cost of the program, by using whatever software they use. They will bill you for the time they spend copying the information from your stuff to theirs, so a couple of hours saved will quickly add up.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ilovefreesoftware.com/24/featured/best-open-source-accounting-software.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="18768" PostHistoryTypeId="2" PostId="11379" RevisionGUID="be857ff6-ec0c-4a27-a598-eb92f43e7349" CreationDate="2011-11-14T14:19:29.110" UserId="6411" Text="Thanks to a Google+ chat I've been having, I now want a [RadioShack Mini Audio Amplifier][1]. At $15, it's way cheaper than [Speakerphone][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.radioshack.com/product/index.jsp?productId=2062620&amp;CAWELAID=107599029&#xD;&#xA;  [2]: http://www.audioease.com/Pages/Speakerphone/speakerphone.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="18769" PostHistoryTypeId="2" PostId="11380" RevisionGUID="e4f678fa-cc31-4ad1-8f1e-ce8bbbfbe82b" CreationDate="2011-11-14T17:37:33.130" UserId="2136" Text="Cables and adapters.  Probably the most invaluable tools I have.  Also cash." ContentLicense="CC BY-SA 3.0" />
  <row Id="18770" PostHistoryTypeId="2" PostId="11381" RevisionGUID="b8d108ce-603b-4d22-bfa4-b95ff530f184" CreationDate="2011-11-14T17:40:22.257" UserId="2136" Text="First thing that came to mind was a soft bristled brush on a rough surface (cement, sand paper)." ContentLicense="CC BY-SA 3.0" />
  <row Id="18771" PostHistoryTypeId="2" PostId="11382" RevisionGUID="956c65e9-d50d-4a97-91dd-37ea4651cc6a" CreationDate="2011-11-14T17:42:15.487" UserId="46" Text="Have heard good things about Billable, now called ProfitTrain: http://clickablebliss.com/profittrain/ &#xD;&#xA;&#xD;&#xA;It's more of an invoicing app than a bookkeeping app, but you can track and categorize expenses, etc..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18772" PostHistoryTypeId="2" PostId="11383" RevisionGUID="ed3dd423-9706-44e7-ae22-4893114debc4" CreationDate="2011-11-14T17:47:47.187" UserId="40" Text="I agree with Sonsey, hiring an accountant can save you a ton of time and money.&#xD;&#xA;&#xD;&#xA;If you decide to go at it yourself, I'm a bit fan of the Quicken line. They have software that starts at $29 and up. I use Quicken Deluxe, which is just $60. Does really well for me. I also keep track of my expenses for tax write offs in an Excel doc, then I just give all the files to an accountant at the end of the tax year to file my returns, which only ends up costing me about $200 since I've kept track of everything.&#xD;&#xA;&#xD;&#xA;Obviously, keep your receipts too. I keep them categorized in envelopes in a binder, and in my Excel doc, I keep Amount, Date, Location, Who it was with (lunches, etc...) and Why it was a business expense." ContentLicense="CC BY-SA 3.0" />
  <row Id="18773" PostHistoryTypeId="2" PostId="11384" RevisionGUID="e3537649-32fe-4d26-b6ee-a0d9032f3f09" CreationDate="2011-11-14T18:09:39.520" UserId="1266" Text="Whispy brass instrument" ContentLicense="CC BY-SA 3.0" />
  <row Id="18774" PostHistoryTypeId="16" PostId="11384" RevisionGUID="e3537649-32fe-4d26-b6ee-a0d9032f3f09" CreationDate="2011-11-14T18:09:39.520" UserId="-1" />
  <row Id="18775" PostHistoryTypeId="2" PostId="11385" RevisionGUID="8576f288-58f9-4635-bfb9-c8b5bb62cb4f" CreationDate="2011-11-14T18:10:53.347" UserId="1266" Text="Fire, human breaths, bean sprouts&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18776" PostHistoryTypeId="2" PostId="11386" RevisionGUID="6412ff79-e1a4-4c2d-805a-169b9339b492" CreationDate="2011-11-14T19:14:28.567" UserId="845" Text="My first thought was a push-broom.  One of those big long ones with a flat head and really stiff bristles.  Perfect for your footsteps." ContentLicense="CC BY-SA 3.0" />
  <row Id="18777" PostHistoryTypeId="2" PostId="11387" RevisionGUID="22fc8ee7-2378-48ec-81bc-5ace7cc5bdc2" CreationDate="2011-11-14T21:43:39.800" UserId="2136" Text="So I'm working on a musical and about three out of 10 face mics continue to produce pops when the actors move quickly or over-enunciate consonants.  Yes I have added wind guards, yes I have lowered the gain, fine tuned the eq, and changed the taping/placement.  I'm running into a wall with the show opening this Thursday, and any help getting rid of these unwanted pops would be much appreciated.  Has this happened to anyone?  Does anyone know how to get rid of it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18778" PostHistoryTypeId="1" PostId="11387" RevisionGUID="22fc8ee7-2378-48ec-81bc-5ace7cc5bdc2" CreationDate="2011-11-14T21:43:39.800" UserId="2136" Text="Mic pops with movement, consonants" ContentLicense="CC BY-SA 3.0" />
  <row Id="18779" PostHistoryTypeId="3" PostId="11387" RevisionGUID="22fc8ee7-2378-48ec-81bc-5ace7cc5bdc2" CreationDate="2011-11-14T21:43:39.800" UserId="2136" Text="&lt;theatre-sound-design&gt;&lt;microphone&gt;&lt;unwanted&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18780" PostHistoryTypeId="2" PostId="11388" RevisionGUID="247bf44d-6b84-4733-b171-178a416b2952" CreationDate="2011-11-14T21:53:18.863" UserId="18160" Text="Define &quot;face-mic&quot;? Is it a lapel in someone's hair? Is it a mic gaffer-taped to someone's cheek? Are they mics that reach out from the person's ear and in front of their mouth like a headset situation? Face-mic means nothing - please specify what exact mics you're using.&#xD;&#xA;&#xD;&#xA;What's your roll-off at?&#xD;&#xA;&#xD;&#xA;What wind guard are you talking about? A cheap piece of foam or a professional-grade rycote mini-windjammer made for lapel mics? There is a big difference.&#xD;&#xA;&#xD;&#xA;Don't worry. There are ways of fixing it but first I need to know what exact mic and what exact position you have it on the person.&#xD;&#xA;&#xD;&#xA;It can also be something totally different than a wind problem - on a show I was doing we had the same &quot;wind problems&quot; - low bursts of low-end that sounded exactly like overloads on the capsules of our mics - but nope, it was a faulty piece of equipment spitting DC into the signal chain." ContentLicense="CC BY-SA 3.0" />
  <row Id="18781" PostHistoryTypeId="2" PostId="11389" RevisionGUID="4d8b4410-e044-46e6-a9be-0f19d88add42" CreationDate="2011-11-14T22:06:36.057" UserId="930" Text="It might be a cable break? If so, get the trusty soldering iron out!&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="18782" PostHistoryTypeId="5" PostId="11389" RevisionGUID="f73a5470-4663-46e6-ab58-3854ed42124c" CreationDate="2011-11-14T22:13:19.623" UserId="930" Comment="added 269 characters in body" Text="It might be a cable break? If so, get the trusty soldering iron out!&#xD;&#xA;&#xD;&#xA;You should also try swapping out everything you possibly can to see what the problem is. Swap the actors, swap the wireless transmitters (assuming they're wireless), swap the batteries etc. This will help you narrow down the problem to a specific item or component.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="18783" PostHistoryTypeId="2" PostId="11390" RevisionGUID="f1a8d45b-fa48-4042-b6a2-c59dc476974d" CreationDate="2011-11-14T23:43:34.687" UserId="315" Text="What Lavs are you using? I have a pair of DPA 4060s that will pop/clip on loud material (such as an actor yelling) simply because they can't handle the SPL. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18784" PostHistoryTypeId="2" PostId="11391" RevisionGUID="a8b26be9-4897-45de-ad5e-b2a47b11cc7a" CreationDate="2011-11-15T00:14:30.303" UserId="426" Text="We use the same mics for our pastors and some of our shows. Countryman makes some good mics, but they definitely pop every once in awhile. If it is in the ultra low end, try setting your high pass filter higher. You already mentioned that you placed the mic about an inch or so behind the actor's mouth, which is definitely the right spot. Double check the cabling and rf equipment as well. Can you swap out the mics to try and localize the problem? If it is always the same 3, swap them out for some that never have problems." ContentLicense="CC BY-SA 3.0" />
  <row Id="18788" PostHistoryTypeId="2" PostId="11393" RevisionGUID="71935cd8-6938-4b03-9a35-0d1436c5e98a" CreationDate="2011-11-15T01:41:21.460" UserId="6499" Text="Was walking through wal-greens today playing with random items.  Christmas garland, reathes, and other stuff of that nature immediately brought up this topic in my head." ContentLicense="CC BY-SA 3.0" />
  <row Id="18789" PostHistoryTypeId="2" PostId="11394" RevisionGUID="ee2f6196-647b-4500-9eab-28f41b057159" CreationDate="2011-11-15T02:27:58.100" UserId="1266" Text="Not sure if this is obvious...but wouldn't scissors be a great choice?  Or Sizzling?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18790" PostHistoryTypeId="2" PostId="11395" RevisionGUID="ab5790b1-a5c4-41b8-aabc-e06b37def12d" CreationDate="2011-11-15T03:52:04.550" UserId="2" Text="I use billings 3 for all my invoices. It's great for keeping track of payments and to see how I've been doing for a certain period of time. If I remember correctly, I paid 40 dollars for it. &#xD;&#xA;&#xD;&#xA;Like others here, for accounting stuff, I use an accountant. As a freelancer, there's lots of potential write-offs and percs I would not necessarily be aware of. It's not worth my time to try figure it out, and whatever I end up spending, will be for sure way less than the amount I'll make back. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18791" PostHistoryTypeId="2" PostId="11396" RevisionGUID="2c352eb1-81cb-4609-939a-4cd5eac6f212" CreationDate="2011-11-15T03:59:06.090" UserId="3188" Text="Use magnetic tape on a rough surfce, then you can play with the tempo or pitch&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="18792" PostHistoryTypeId="2" PostId="11397" RevisionGUID="1b25f07d-097c-4fa2-8c14-2218418cf3b1" CreationDate="2011-11-15T05:09:08.717" UserId="18160" Text="What's the most stressful, highest stakes, pressure inducing job in audio?&#xD;&#xA;&#xD;&#xA;My guess:&#xD;&#xA;&#xD;&#xA;Grammy awardee music playback engineer. This cat has to listen to the person at the podium in the Staples Center read off the winner's name and has to instantly with no delay start the playback of that artist's song that one. If he slips or hits the wrong track - ouch.&#xD;&#xA;&#xD;&#xA;&quot;The winner is... Taylor Swift!!&quot;&#xD;&#xA;&#xD;&#xA;PA: &quot;We gonna sip bicardi like its ya birfday...&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18793" PostHistoryTypeId="1" PostId="11397" RevisionGUID="1b25f07d-097c-4fa2-8c14-2218418cf3b1" CreationDate="2011-11-15T05:09:08.717" UserId="18160" Text="Audio hats that have the most pressure." ContentLicense="CC BY-SA 3.0" />
  <row Id="18794" PostHistoryTypeId="3" PostId="11397" RevisionGUID="1b25f07d-097c-4fa2-8c14-2218418cf3b1" CreationDate="2011-11-15T05:09:08.717" UserId="18160" Text="&lt;jobs&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18795" PostHistoryTypeId="5" PostId="11397" RevisionGUID="17c5a4bd-c4ca-48f8-a25a-1212b3e36546" CreationDate="2011-11-15T05:14:59.240" UserId="18160" Comment="added 161 characters in body; edited body; edited body" Text="What's the most stressful, highest stakes, pressure inducing job in audio?&#xD;&#xA;&#xD;&#xA;My guess:&#xD;&#xA;&#xD;&#xA;Grammy awardee music playback engineer. This cat has to listen to the person at the podium in the Staples Center read off the winner's name and has to instantly with no delay start the playback of that artist's song that won. If you slip or hit the wrong track - ouch. Oh, and by the way, they keep the winners confidential until they are read from those little envelopes, so no rehearsal or list of awardees for you. No pressure!&#xD;&#xA;&#xD;&#xA;&quot;The winner is... Taylor Swift!!&quot;&#xD;&#xA;&#xD;&#xA;PA: &quot;We gonna sip bacardi like its ya birfday...&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18796" PostHistoryTypeId="2" PostId="11398" RevisionGUID="b0d31457-c4b2-4d3b-addd-632785512bb1" CreationDate="2011-11-15T05:17:53.177" UserId="1129" Text="If you are using an earset, the #1 thing you can do is to get that boom out of direct line with the mouth.  That's assuming what you are getting is breath noise.  &#xD;&#xA;&#xD;&#xA;You said you have already looked at the gain structure, so I will leave that one alone.&#xD;&#xA;&#xD;&#xA;If you are using traditional lavalieres with tape or floral wire, try going for a temple mount (capsule on the hard part of the cheekbone, just past the ear) or even better, a wig mount (capsule located centered on forehead hidden right at the hairline.)&#xD;&#xA;&#xD;&#xA;For quality of sound, the wig mount will usually give you the most natural sounding result, albeit with a loss of gain via a vis the earset mount.&#xD;&#xA;&#xD;&#xA;All of this assumes your pops are breath noise, and that you have performers who can project well enough for the wig mount, and that you are not going for the close-miked rock show aesthetic.  (that said, I have used the wig mount successfully with 10 year old kids, so your performers should be able to handle it.)&#xD;&#xA;&#xD;&#xA;And as Fred said earlier, it could be a cable break, if your popping sound is clean and transient that might indicate an electrical fault instead. More info could definitely help." ContentLicense="CC BY-SA 3.0" />
  <row Id="18797" PostHistoryTypeId="2" PostId="11399" RevisionGUID="f918996c-ea1d-4691-a8f5-243c9d96d622" CreationDate="2011-11-15T05:50:34.080" UserId="348" Text="I have used eno in a thin metal bowl and rotated the water as the bubbles reverberated off the sides. Very cool sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18798" PostHistoryTypeId="16" PostId="11399" RevisionGUID="f918996c-ea1d-4691-a8f5-243c9d96d622" CreationDate="2011-11-15T05:50:34.080" UserId="-1" />
  <row Id="18799" PostHistoryTypeId="2" PostId="11400" RevisionGUID="262cae9a-e249-477d-81b8-e11e54fa5b35" CreationDate="2011-11-15T05:51:24.163" UserId="3189" Text="Haha! I've never considered that before but I believe you're right!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18800" PostHistoryTypeId="2" PostId="11401" RevisionGUID="8e07a118-8015-4750-9556-2d654208054f" CreationDate="2011-11-15T07:03:50.180" UserId="842" Text="Nice to hear more people mixing in part on headphones! As far as I see it, we get the best results from mixing in as many formats we can so we can find the best way possible, and many viewers will listen to our works in headphones :-)&#xD;&#xA;&#xD;&#xA;I always have my DT 250's (have three pairs) wherever I go, but that's as much an absolute minimum according to me as well as a personal favorite. Although I absolutely hated Sennheiser's HD25 (I know they're popular, but they gave me tremendous problems when I tried them on a job...) I got deeply impressed with the 280's! It's been a few years since I tried 'em out, but the guy I visited actually had both a pair of Sennheiser 280 and a DT 770 there so I could compare them to each other. In my opinion (though this wasn't in a work-situation) the 280 had a more neutral sound with a little more presence, whereas the 770 had a little more thick sound in the high bass/low mid. &#xD;&#xA;&#xD;&#xA;I can't say that one is better than the other as such. The sennheisers seems a little less colored and gives a very full spectrum, but the bump in the DT770 makes great use when recording, giving some great pointers of a range that often risks getting fuzzy and annoying, especially considering so many using the loudness-function as default. Unlike loudspeakers, headphones often seems to translate different to different ears to some extent, the best way is trying for yourself, using both material you know has errors, and material you like and know well! For me, when originally choosing the DT250, it was Skinny Puppy's album Rabies, Yello's album Baby, Front 242's Tyranny &gt;For You&lt;, and a bunch'a my first mixes made on shitty hifi-loudspeakers and cheap amplifier in the early 90's that showed me the way past such competition as AKG and Sony :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18801" PostHistoryTypeId="2" PostId="11402" RevisionGUID="32481c14-bb19-4c80-a6c9-6e09fc7cb873" CreationDate="2011-11-15T07:55:53.217" UserId="61" Text="When we were designing the soundtrack for Tangled (the Disney movie), one of the big challenges was how to create the sound of Rapunzel's hair. We recorded a TON of material, mostly plant-based but also using different types of cloth. Some of the results were less than astounding but there were some great discoveries along the way, and although they weren't big players in the final mix, they definitely played a part and contributed to the storytelling.&#xD;&#xA;&#xD;&#xA;So, I would encourage you to try recording your own foley for your project. Experiment with different plants; the subtle textures and weights may be helpful in developing your character. Also try canvas, burlap, velvet, velcro, any synthetic fabric, etc. Go for small movements that are close-mic'ed - record at the highest sample and bit rate, then manipulate from there.&#xD;&#xA;&#xD;&#xA;Good luck, and have fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18802" PostHistoryTypeId="2" PostId="11403" RevisionGUID="8e69c5c8-d51e-445a-97d1-b69299dcb0a2" CreationDate="2011-11-15T09:06:45.123" UserId="125" Text="I have to record a phase scope to video. please, offer for a program that you can do a full screen, or what i can zoom in? it doesnt matter its stand alone, or plug-in.&#xD;&#xA;i find one app: http://www.music-sound-lab.com/images/stereotool.jpg, but its to small on the screen.&#xD;&#xA;&#xD;&#xA;any solution?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18803" PostHistoryTypeId="1" PostId="11403" RevisionGUID="8e69c5c8-d51e-445a-97d1-b69299dcb0a2" CreationDate="2011-11-15T09:06:45.123" UserId="125" Text="Full screen Phase Scope? " ContentLicense="CC BY-SA 3.0" />
  <row Id="18804" PostHistoryTypeId="3" PostId="11403" RevisionGUID="8e69c5c8-d51e-445a-97d1-b69299dcb0a2" CreationDate="2011-11-15T09:06:45.123" UserId="125" Text="&lt;phase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18805" PostHistoryTypeId="2" PostId="11404" RevisionGUID="264521d5-4f7b-444c-af6e-086bf091d7d0" CreationDate="2011-11-15T10:34:57.713" UserId="6420" Text="Try a demo of Izotope 5 with new Meter Bridge in full screen mode. Has a phase meter amongst overs you can view in full screen. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18806" PostHistoryTypeId="2" PostId="11405" RevisionGUID="47fea1e5-505b-4a9f-ae37-c0d007878576" CreationDate="2011-11-15T13:48:29.350" UserId="3183" Text="Or if you screen capture in hd quality, and then zoom in with some video editing app." ContentLicense="CC BY-SA 3.0" />
  <row Id="18807" PostHistoryTypeId="2" PostId="11406" RevisionGUID="e55f2726-f462-4f66-ae69-244ce7741ac4" CreationDate="2011-11-15T15:08:28.780" UserId="3191" Text="I arrived here after a google search because I wanted to know for sure that I wasn't the only one who has noticed the over compression. I did also suspect that it could not possibly have been the audio engineer on the job but rather the broadcasters. I'd have expected AMC to be more meticulous about the quality of what the put out and simply put their food down about some of these very easy to fix issues.... Just a thought.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18808" PostHistoryTypeId="2" PostId="11407" RevisionGUID="eb5e1aa9-2219-4a5b-8164-cf7a85550ee5" CreationDate="2011-11-15T15:16:04.920" UserId="6411" Text="Just wondering if anyone knows where I can find some decent recordings of a variety of elephant movements &amp; vocalizations. Looking through our library I see we have WWA, AT, &amp; DIGI. We have a nature doc coming up in the next few weeks entirely about elephants, and I'm not entirely positive that we'll make it through with what we have.&#xD;&#xA;&#xD;&#xA;Thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="18809" PostHistoryTypeId="1" PostId="11407" RevisionGUID="eb5e1aa9-2219-4a5b-8164-cf7a85550ee5" CreationDate="2011-11-15T15:16:04.920" UserId="6411" Text="REQUEST: Elephants" ContentLicense="CC BY-SA 3.0" />
  <row Id="18810" PostHistoryTypeId="3" PostId="11407" RevisionGUID="eb5e1aa9-2219-4a5b-8164-cf7a85550ee5" CreationDate="2011-11-15T15:16:04.920" UserId="6411" Text="&lt;request&gt;&lt;sound-libraries&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18811" PostHistoryTypeId="2" PostId="11408" RevisionGUID="9c6bbdfa-791c-49f8-aa74-f3cca89faf9c" CreationDate="2011-11-15T16:03:49.497" UserId="6420" Text="Maybe get in touch with Ann Kroeber? Seems like the sort of thing she might have recordings of in abundance ;) Could be worth a shot!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18812" PostHistoryTypeId="2" PostId="11409" RevisionGUID="65af155a-6312-46e5-b7f3-e8a5ac50e579" CreationDate="2011-11-15T18:19:13.033" UserId="253" Text="I used to work as an audio assistant on a live to air morning news/variety show, and i have massive respect for the audio directors there. They have to deal with: &#xD;&#xA;&#xD;&#xA;- a rolling schedule that stops for nobody &#xD;&#xA;- various audio sources (satellite feeds, hybrid boxes, studio mics, tape playback) - all of which can, and do, drop out at the worst possible moment &#xD;&#xA;- a 5:00 am start and a 9:00am finish - during which they can maybe get away for a single 2 minute toilet break &#xD;&#xA;- a noisy control room where you have to yell to be heard&#xD;&#xA;-  on air talent who aren't really sure how to work their IFB receivers&#xD;&#xA;-  directors who ask for random music tracks with no advance notice&#xD;&#xA;&#xD;&#xA;It's not as high stakes as the Grammys button press, it's more like a marathon of pressure. &#xD;&#xA;&#xD;&#xA;Hats off to TV audio directors!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18813" PostHistoryTypeId="2" PostId="11410" RevisionGUID="1b0f3c43-43fd-462a-b48a-0e4721cfe4b2" CreationDate="2011-11-15T18:37:41.007" UserId="1266" Text="The fellas who aren't getting paid often enough yet!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18814" PostHistoryTypeId="2" PostId="11411" RevisionGUID="cf846276-50cb-4c4b-b5ac-9f8053305efe" CreationDate="2011-11-15T19:00:32.953" UserId="1266" Text="I'm making some backgrounds for a short bit of film to make my reel sound nice.&#xD;&#xA;&#xD;&#xA;Half of the section takes place with a couple people talking inside an apartment and then the other half is a flashback to a beautifully green sunny field.&#xD;&#xA;I'm happy with the 30 track ambience that I've created for the field, it includes wind, grass in the wind, ice melting, and the woman's voice convoluted in wind with birds.  It has a lot of depth from the MS plugins, LP Filtering and Reverb.&#xD;&#xA;&#xD;&#xA;Hearing the apartment sounds a little bit lifeless.  &#xD;&#xA;&#xD;&#xA;Are there any cool tricks that you use, and plugins to give many layers to places that aren't big spaces?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18815" PostHistoryTypeId="1" PostId="11411" RevisionGUID="cf846276-50cb-4c4b-b5ac-9f8053305efe" CreationDate="2011-11-15T19:00:32.953" UserId="1266" Text="How to make a nice indoor, city apartment ambience" ContentLicense="CC BY-SA 3.0" />
  <row Id="18816" PostHistoryTypeId="3" PostId="11411" RevisionGUID="cf846276-50cb-4c4b-b5ac-9f8053305efe" CreationDate="2011-11-15T19:00:32.953" UserId="1266" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18817" PostHistoryTypeId="2" PostId="11412" RevisionGUID="1f2b57af-35db-4432-a29e-3e868341d369" CreationDate="2011-11-15T19:42:15.993" UserId="1049" Text="Well it depends on how high up the aparment is as to quite what you involve.  &#xD;&#xA;&#xD;&#xA;You're definitely going to need some traffic drone in there as a basis. If the apartment is close to the street then some street walla would be good. Again, if you're within 'earshot' of the street, then other spot effects would be brilliant; car horns, shop doors, children, animals, sirens, all the normal.&#xD;&#xA;&#xD;&#xA;If you're 'higher up' or want to include less external noise, then think about what might be going on up in the apartment. Maybe muffled noise from neighbours? TVs, radios, maybe muffled voices? Aircon, fans, random wood and pipe creaks, doors opening/closing, quiet footsteps etc.&#xD;&#xA;&#xD;&#xA;If you spend some time giving these individual sounds some life, eg. making footsteps come closer then move further away with EQ rolloffs and panning etc, it can give the piece more character.&#xD;&#xA;&#xD;&#xA;One thing to remember though is to not do things for the sake of it. If the apartment is up high and in a quiet place then of course it's going to be quieter than a breezy external location!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18818" PostHistoryTypeId="2" PostId="11413" RevisionGUID="fb4ab2c7-0d05-498e-9606-7b3372c794e7" CreationDate="2011-11-16T00:05:03.440" UserDisplayName="user49" Text="When layering ambiences I often think in terms of distance: foreground, mid &amp; far... So 'far' components would be distant city, mid ground would be within the nearest block &amp; near would be in the same building... &#xD;&#xA;&#xD;&#xA;An important aspect of tricking the mind into interpreting distant sounds as actually being distant is natural slap delay/complex verb - not something that you can easily create with plugins but not too difficult to capture field recording eg think of a siren recorded from 20 blocks away compared with one recorded close &amp; trying to use plugins - you'd literally need hundreds of different delays &amp; impulses to emulate the complexity of that sound...&#xD;&#xA;&#xD;&#xA;For mid &amp; close you don't say what the emotional context is - is it a safe place? or a dangerous neighbourhood? Fragments of voices, from outside and from neighbouring apartments could be useful... It really depends what you are trying to evoke - being quiet &amp; isolated from the world may be exactly what the narrative needs, or the opposite may be true.." ContentLicense="CC BY-SA 3.0" />
  <row Id="18819" PostHistoryTypeId="2" PostId="11414" RevisionGUID="12d323d0-ddd7-44d0-be4a-80e97d6cea02" CreationDate="2011-11-16T00:18:29.413" UserId="3167" Text="You could suprise them and use tie fighters" ContentLicense="CC BY-SA 3.0" />
  <row Id="18820" PostHistoryTypeId="2" PostId="11415" RevisionGUID="f545d29a-6a02-4a67-b853-ee506f063644" CreationDate="2011-11-16T04:48:14.427" UserId="61" Text="Be sure to check with the production company for any location sound recordings they may have from the shoot. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18821" PostHistoryTypeId="2" PostId="11416" RevisionGUID="b714b5ab-6a34-41ce-95d4-d7d96f4b92fe" CreationDate="2011-11-16T05:07:25.793" UserId="18160" Text="Per the LOTR documentary on the Return of the King sound design, they said that elephants (even the big ones) walk around and are nearly silent. They went to go record some gigantic footsteps for the hour-and-a-half battle scene that has the evil elephants. So this little fact might help you out - no footsteps to cut! Yay.&#xD;&#xA;&#xD;&#xA;Might be time to dust off the old trombone..&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18822" PostHistoryTypeId="2" PostId="11417" RevisionGUID="664ec1a2-fa06-47e4-bede-955ca1b1eb07" CreationDate="2011-11-16T06:36:56.693" UserId="842" Text="Like Utopia already said, the elephants doesn't really sound much when walking. Near well nothing at all actually, at least the ones I've seen at zoos here in Sweden. They have a very effective gelatinous cushion-sole under their feet with some pretty amazing shock absorbing properties! I actually got MUCH more interesting movements from cows...especially one humongous pointy psychopath who came to the conclusion my ass was grass &amp; she could do with a snack... Jeez... &#xD;&#xA;&#xD;&#xA;If you still wanna make a more Hollywood-esqu sound for their feet I'd say foley (much faster) or some creatively designed sound editing (more control) with excessive use of pitchshifting and bass-processing/LoAir is pretty much the only way, but as most people knows pretty well real elephants doesn't really make the ground tremble, I would probably solve this by gaffa-tapeing skin-cushions from sofas to my feet, or perhaps regular cushions wrapped with leather jackets and then duct-taped to my feet, recording at the nearest (undisturbed) crappily sustained lawn or earth-patch. Or, of course, in the studio if you have the possibility of real foley :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18823" PostHistoryTypeId="2" PostId="11418" RevisionGUID="9999d0ac-3464-4219-9d4e-c45c61e6e8cf" CreationDate="2011-11-16T07:46:26.050" UserId="1286" Text="Also think about other sounds an elephant might make -- flapping its ears, blowing water from its trunk. These things can be designed on your own (e.g. flapping bed sheets), without needing to go out and record an elephant. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18824" PostHistoryTypeId="2" PostId="11419" RevisionGUID="564c37a7-86d8-4def-93b5-17ec877543c6" CreationDate="2011-11-16T17:46:38.780" UserId="18160" Text="Designer Armani or Dolce &amp; Gabbana Ear Muffs." ContentLicense="CC BY-SA 3.0" />
  <row Id="18825" PostHistoryTypeId="2" PostId="11420" RevisionGUID="94915587-dcba-4773-a711-60c2fe043511" CreationDate="2011-11-16T19:13:31.837" UserId="1266" Text="Just like the title says...&#xD;&#xA;&#xD;&#xA;Obviously we are all nuts when it comes to sound and sound quality but how far does that go with recordings we use.  &#xD;&#xA;&#xD;&#xA;Do Handheld recorder recordings get used in your projects or are you too much of a snob for that?&#xD;&#xA;&#xD;&#xA;I personally am snobby but I find that it limits me.  On the other hand, it may be a good thing because better quality recordings are in my mixes.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18826" PostHistoryTypeId="1" PostId="11420" RevisionGUID="94915587-dcba-4773-a711-60c2fe043511" CreationDate="2011-11-16T19:13:31.837" UserId="1266" Text="How many people use recordings from their Zoom or Handheld recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18827" PostHistoryTypeId="3" PostId="11420" RevisionGUID="94915587-dcba-4773-a711-60c2fe043511" CreationDate="2011-11-16T19:13:31.837" UserId="1266" Text="&lt;handheld&gt;&lt;recorder&gt;&lt;quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18828" PostHistoryTypeId="2" PostId="11421" RevisionGUID="2dd07347-8fd0-403f-8148-6d580661d9eb" CreationDate="2011-11-16T19:25:53.287" UserId="202" Text="Yes, absolutely! I use it (and all the other guys where I work) all the time.&#xD;&#xA;I think that the quality obviously can't be compared to a sennheiser or schoeps kit, but it really depends on the sounds your record.&#xD;&#xA;And most of the time I have my small recorder in a pocket, not my big kit, and I got great, unique recordings with my small Zoom: things that were almost impossible to record with the full rig.&#xD;&#xA;I think a lot of time it's more important the sound, recording that unique moment, than the quality or a perfect (technically) recording.&#xD;&#xA;Obviously when the recording allows me, I use and enjoy using my main kit, but one of the greatest new tool we have now are those small pocketable recorder.&#xD;&#xA;My 2 cents&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18829" PostHistoryTypeId="2" PostId="11422" RevisionGUID="5c8b6e42-a27a-4ea6-8b4c-0d0a2a7c06b0" CreationDate="2011-11-16T19:28:12.007" UserId="400" Text="All the time. My Sony M10 was, at one point, the only mic I had access to. It just meant I had to be a bit more creative with mic-ing and editing the end result." ContentLicense="CC BY-SA 3.0" />
  <row Id="18830" PostHistoryTypeId="2" PostId="11423" RevisionGUID="ee4792f4-632b-4eaa-b2bd-2febe99d8277" CreationDate="2011-11-16T19:28:15.860" UserId="1159" Text="I use mine all the time. It's what I've got and I'd rather have a fresh unique recording of a slightly lower quality than no sound at all. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18831" PostHistoryTypeId="2" PostId="11424" RevisionGUID="8005e412-d211-4792-a948-745123c1e985" CreationDate="2011-11-16T20:07:17.597" UserId="18160" Text="You can't gaffer-tape a Schoeps ORTF rig to a windmill (which I did with my Zoom).&#xD;&#xA;&#xD;&#xA;You can't easily take a rig into a 4-mile underground abandoned train tunnel and record without getting water on your mics (which I did with my Zoom).&#xD;&#xA;&#xD;&#xA;You can't set up your rig on an airplane to get captain announces or the seatbelt sign or the take-off and landing without the stewardess seeing you and telling you to turn off your electrical device (which I did with my Zoom).&#xD;&#xA;&#xD;&#xA;You can't walk around with 10 Gs worth of mics and recorders and record ambiences in Mexico, Russia, Columbia, Venezuela, Africa, etc. without getting robbed (but I did with a Zoom!)&#xD;&#xA;&#xD;&#xA;You can't do lots of stuff that you can with a Zoom which makes it absolutely fantastic as a recorder. I have used recordings I've gotten off it in my projects.&#xD;&#xA;&#xD;&#xA;I've also used my zoom to grab wild dialogue lines on set with a second unit and they worked well." ContentLicense="CC BY-SA 3.0" />
  <row Id="18832" PostHistoryTypeId="5" PostId="11424" RevisionGUID="b0ddba4b-2521-4914-aa1e-b97d20d4623a" CreationDate="2011-11-16T20:12:42.347" UserId="18160" Comment="added 158 characters in body; added 168 characters in body" Text="You can't gaffer-tape a Schoeps ORTF rig to a windmill (which I did with my Zoom).&#xD;&#xA;&#xD;&#xA;You can't easily take a rig into a 4-mile underground abandoned train tunnel and record without getting water on your mics (which I did with my Zoom).&#xD;&#xA;&#xD;&#xA;You can't set up your rig on an airplane to get captain announces or the seatbelt sign or the take-off and landing without the stewardess seeing you and telling you to turn off your electrical device (which I did with my Zoom).&#xD;&#xA;&#xD;&#xA;You can't walk around with 10 Gs worth of mics and recorders and record ambiences in Mexico, Russia, Columbia, Venezuela, Africa, etc. without getting robbed (but I did with a Zoom!)&#xD;&#xA;&#xD;&#xA;You can't do lots of stuff that you can with a Zoom which makes it absolutely fantastic as a recorder. I have used many recordings I've gotten off it in my projects. I'm not saying I prefer it over a nice MK5 pair or a Neumann 191, but in certain instances I think it's a perfectly capable recorder and can yield usable results.&#xD;&#xA;&#xD;&#xA;I've also used my zoom to grab wild dialogue lines on set with a second unit and they worked well.&#xD;&#xA;&#xD;&#xA;Who the %&amp;#* cares where the recording got transferred into electrical signal and then converted into 0s and 1s? If it sounds good, it's good. **Period.**" ContentLicense="CC BY-SA 3.0" />
  <row Id="18833" PostHistoryTypeId="2" PostId="11425" RevisionGUID="c477a839-a8f6-4c3d-a683-5a1e16be9401" CreationDate="2011-11-16T20:48:27.633" UserId="234" Text="Use my H4N all the time... On the current TV show I'm doing (*Les Bleus de Ramville* for TFO here in the Great White North) all the BG's were recorded with it. As @Utopia said it's so small, and so stealthy I don't have issue carting it into places where bringing the full rig would bring undue attention - not from a legal perspective per se, but from curious folks walking up to your mics saying &quot;Are you recording? Why? Is this for a Movie?&quot; etc, etc. Plus I don't feel like I'm risking a fortune when I dangle it down from a highway overpass to get traffic bys! :) (which get used ALL the time).&#xD;&#xA;&#xD;&#xA;I also use my iPhone and the excellent FiRE app as well as Soundcloud, all the time to grab great sounds wherever I am. A very cool squeaky bathroom stall I recorded on it (in all it's compressed glory) recently made it's way into a festival piece.&#xD;&#xA;&#xD;&#xA;A great FX recording BTW, is not necessarily a function of the quality of the gear that was used, but of the quality of the sound, and it's appropriateness to the picture. Sometimes a really lo-fi sound is what's needed and right, rather than a super clean sound.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18834" PostHistoryTypeId="2" PostId="11426" RevisionGUID="fb1a2fcb-11cd-4453-b24f-b8b154a88c03" CreationDate="2011-11-16T20:49:50.950" UserId="432" Text="I use a Sony PCM-D50 and have gotten all kinds of useful stuff I wouldn't have without it. It's definitely better for ambiences than point sounds, but I've used it for both. There have been times where I need some particular sounds, and the only stuff that matches were ones recorded with that little piece of gear. Worth 3 times its weight in gold." ContentLicense="CC BY-SA 3.0" />
  <row Id="18835" PostHistoryTypeId="2" PostId="11427" RevisionGUID="dd31fa29-5224-41e9-a146-adce90fae5b9" CreationDate="2011-11-16T21:05:56.523" UserId="6435" Text="I use it all the time, for the reasons cited above. Better to have a recording made with medium-quality gear than to sit around wishing you could have a recording with the super-nice gear you don't have with you. I just did a whole mess of field recording in D.C. with my Zoom while on vacation--there's just no way I could have lugged my Sound Devices and mics around all week; my traveling companion (and my back) would have killed me!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18836" PostHistoryTypeId="2" PostId="11428" RevisionGUID="360cba04-03d7-46a2-a112-1bb3cd66934e" CreationDate="2011-11-16T21:11:33.887" UserId="315" Text="I like to use a simple analogy to professional photographers. My Sound Devices and Schoeps MS kit is my Hasselblad, studio-grade camera. My Sony PCM D-1 is my point and shoot camera (albeit a nice point and shoot).&#xD;&#xA;&#xD;&#xA;Ansel Adams lugged a heavy camera rig around (with the help of an assistant) and captured some brilliant and detailed images, often by waiting hours just for the right light. Diane Arbus carried a small Leica point and shoot with her, and was able to spontaneously capture insightful images of urban life by being in the right place at the right time with a camera handy. Her pictures might not have had the clarity and sharpness of Adams, but they were of the moment. Both tools have their uses.&#xD;&#xA;&#xD;&#xA;I love both of my recorders, but probably end up using the Sony more, simply due to portability, stealth, and ease of set-up. Just ran outside last night with it to capture a news helicopter circling overhead. I wouldn't have been able to capture that moment if I had to wire up XLR cables." ContentLicense="CC BY-SA 3.0" />
  <row Id="18837" PostHistoryTypeId="2" PostId="11429" RevisionGUID="229b9bbf-55cb-4a45-b9a5-0abaabbb75d5" CreationDate="2011-11-16T21:19:44.597" UserId="393" Text="My Zoom is really the best piece of kit I own (I'm poor), but even if it wasn't I'd probably go to it A LOT.  Because it's small enough to carry around in a large pocket, and it sounds decent.  Finally, it's cheap enough that if it gets broken or stolen, I won't have to sell my car to get a new one.&#xD;&#xA;&#xD;&#xA;You know what they say... the best camera you have is the one you have with you, and the same holds true for any recorder." ContentLicense="CC BY-SA 3.0" />
  <row Id="18838" PostHistoryTypeId="5" PostId="11421" RevisionGUID="128b1623-5346-4f95-8cf2-4c4401525e9d" CreationDate="2011-11-16T21:45:33.887" UserId="202" Comment="added 57 characters in body" Text="Yes, absolutely! I use it (and all the other guys where I work too) all the time.&#xD;&#xA;I think the quality obviously can't be compared to a sennheiser or schoeps kit, but it really depends on the sounds your recording.&#xD;&#xA;And most of the time I have my small recorder in a pocket, not my big kit, and I got great, unique recordings with my small Zoom: things that were almost impossible to record with the full rig.&#xD;&#xA;I think a lot of time the sound you're recording is more important than how you're recording it: recording that unique moment, much more than the quality or a perfect (technically) recording.&#xD;&#xA;Obviously when the recording allows me, I use and enjoy using my main kit, but one of the greatest new tool we have now are those small pocketable recorders!&#xD;&#xA;My 2 cents&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18839" PostHistoryTypeId="5" PostId="11424" RevisionGUID="5a95afc9-8db7-4852-8b42-18a3eb722e7a" CreationDate="2011-11-16T23:03:49.710" UserId="18160" Comment="added 3 characters in body" Text="You can't gaffer-tape a Schoeps ORTF rig to a windmill (which I did with my Zoom).&#xD;&#xA;&#xD;&#xA;You can't easily take a rig into a 1.66-mile underground abandoned train tunnel and record without getting water on your mics (which I did with my Zoom).&#xD;&#xA;&#xD;&#xA;You can't set up your rig on an airplane to get captain announces or the seatbelt sign or the take-off and landing without the stewardess seeing you and telling you to turn off your electrical device (which I did with my Zoom).&#xD;&#xA;&#xD;&#xA;You can't walk around with 10 Gs worth of mics and recorders and record ambiences in Mexico, Russia, Columbia, Venezuela, Africa, etc. without getting robbed (but I did with a Zoom!)&#xD;&#xA;&#xD;&#xA;You can't do lots of stuff that you can with a Zoom which makes it absolutely fantastic as a recorder. I have used many recordings I've gotten off it in my projects. I'm not saying I prefer it over a nice MK5 pair or a Neumann 191, but in certain instances I think it's a perfectly capable recorder and can yield usable results.&#xD;&#xA;&#xD;&#xA;I've also used my zoom to grab wild dialogue lines on set with a second unit and they worked well.&#xD;&#xA;&#xD;&#xA;Who the %&amp;#* cares where the recording got transferred into electrical signal and then converted into 0s and 1s? If it sounds good, it's good. **Period.**" ContentLicense="CC BY-SA 3.0" />
  <row Id="18840" PostHistoryTypeId="2" PostId="11430" RevisionGUID="d33dfdfd-35ad-4839-8316-2311ac0dcdae" CreationDate="2011-11-16T23:22:55.060" UserId="6420" Text="Ive used recordings I've made a lot that were done with my Zoom. Its great for grabbing spontaneous things that you'd miss otherwise. And it's small enough to go unnoticed for capturing interesting ambiences ( as long as the pres don't have to work toooo hard ). Using some stuff on a film I'm working on at the moment. Will be getting a Sony D50 soon though. Unless anything new and improved comes out soon! ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18841" PostHistoryTypeId="2" PostId="11431" RevisionGUID="c96eeff6-5cf6-46a2-9006-473554577ea9" CreationDate="2011-11-17T01:52:47.557" UserId="1303" Text="I have a D50 and a ZOOM used them both for &quot;big&quot; films. I like the noise floor of the D50 better but I'm not afraid to throw the H4N in the ring." ContentLicense="CC BY-SA 3.0" />
  <row Id="18842" PostHistoryTypeId="2" PostId="11432" RevisionGUID="98895832-f750-47a1-93ad-7cb8df83dd8f" CreationDate="2011-11-17T01:54:39.943" UserId="1303" Text="I would totally dig one of these as a gift(obviously on the expensive side though)&#xD;&#xA;&#xD;&#xA;[http://vaporsky.com/resonant/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vaporsky.com/resonant/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18843" PostHistoryTypeId="2" PostId="11433" RevisionGUID="d6394377-fb9e-415b-b388-8032df09e02b" CreationDate="2011-11-17T05:27:01.577" UserId="29" Text="My take is from the authorship standpoint: Write-once, deploy-many is a really sexy workflow, which you don't get with HTML, JS, and its derivative technologies, mostly because browsers all interpret HTML, CSS, and JS differently, despite all efforts towards web standards. The QA cycle for Flash is streamlined compared to the multi-variant array of browsers, processors, RAM, and OS's that exist out there for both desktop and mobile. Testing HTML and its variants is a QA nightmare, always has been, and still is, unless you're targeting one browser on one OS.&#xD;&#xA;&#xD;&#xA;That said, Flash on devices has been challenged from its early-2000's start. Implementing a subset of Flash will always hobble someone's attempt to port desktop Flash apps to mobile. The processor speed variance between mobile and desktop has also always been a concern.&#xD;&#xA;&#xD;&#xA;In terms of audio, AFAIK, HTML5 is not at all finessed. Flash wasn't exactly audio rocket science either, but at least there were streaming, event, and compression parameters you could customize..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18844" PostHistoryTypeId="2" PostId="11434" RevisionGUID="d6063dae-0141-4d3a-8409-bc46710a7659" CreationDate="2011-11-17T06:56:29.473" UserDisplayName="user49" Text="Rerecording mixers on big budget studio film gets my vote! When you look around the room during a playback &amp; count up the hourly rates (director, producer, entourage, editor, compsoer, mixers, sound editors &amp; support crew plus the dub stage) and then consider the deadlines that EVERYTHING is based on, then think about how its technically a VERY demanding job, but even more importantly it is an incredibly creative, intuitive job... Its like these guys fly to the moon and back every other week, without breaking a sweat... And when that deadline is imminent &amp; VERY late picture changes/VFX updates are occurring constantly.... And despite the fact they haven't seen their families for weeks, maybe months, or slept properly for weeks, they make it all seem effortless - nothing is a problem. &#xD;&#xA;&#xD;&#xA;Hats off...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18845" PostHistoryTypeId="2" PostId="11435" RevisionGUID="ef547417-e284-4ea8-9573-7893e20db54e" CreationDate="2011-11-17T07:49:59.763" UserId="125" Text="thx guys, heres the result :)&#xD;&#xA; https://www.youtube.com/watch?v=AFL3j60BKgk&amp;feature=youtube_gdata_player" ContentLicense="CC BY-SA 3.0" />
  <row Id="18846" PostHistoryTypeId="2" PostId="11436" RevisionGUID="1fb1a0ed-67a3-4b97-9e52-562af51967f6" CreationDate="2011-11-17T08:29:35.547" UserId="3135" Text="love my d50, and prior h4. They both have captured sounds that have played in big film trailers, as well TV. Second best piece of gear I own. &#xD;&#xA;&#xD;&#xA;Amazing days for the wandering sound collector.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18850" PostHistoryTypeId="2" PostId="11438" RevisionGUID="5b64e50f-712e-4fd0-9afc-7924b243319c" CreationDate="2011-11-17T14:53:41.173" UserId="771" Text="Few minutes before reading this article, i was having a discussion of testing an Zoom H4n and recorder+2 mic combination for the same sound source .I am benefited a lot from all your feed backs.Thanks to the website and its members." ContentLicense="CC BY-SA 3.0" />
  <row Id="18851" PostHistoryTypeId="2" PostId="11439" RevisionGUID="205ac16e-3749-4293-a6f5-898eccef090e" CreationDate="2011-11-17T16:09:14.430" UserId="261" Text="It gets used all the time!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18852" PostHistoryTypeId="2" PostId="11440" RevisionGUID="65815e70-badd-486a-8121-0c3668a51791" CreationDate="2011-11-17T16:44:21.887" UserId="1145" Text="I have used recordings done with my zoom on 3 films and some tv drama and shorts. (ambiences with the built in mics and fx + wild foley with a shotgun) Now i mostly use my sound devises recorder and sennheiser mics, so i keep my zoom in my bag together with a bunch of different contact mics only, in case i come across something interesting." ContentLicense="CC BY-SA 3.0" />
  <row Id="18853" PostHistoryTypeId="2" PostId="11441" RevisionGUID="f5d9cba3-a9ba-469c-bcaf-0803a606a939" CreationDate="2011-11-17T21:18:16.620" UserId="578" Text="Of course I use recordings I've made with my handheld(s), otherwise what's the point?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18854" PostHistoryTypeId="2" PostId="11442" RevisionGUID="59f9f949-ae1d-4222-9854-3abe65510ad8" CreationDate="2011-11-17T22:17:10.840" UserId="88" Text="I'm never without my M10.  I've used my Zooms and M10 as supplemental recorders to get helo and combat sounds as well as ambiences in remote countries where a Sound Devices and mic might attract undue attention.  Those sounds have all gotten a lot of use.&#xD;&#xA;&#xD;&#xA;Even if a bunch of higher-end rigs are getting the bulk of your tracks, it's always nice to have some extra channels going.  Sometimes the magic gets captured by the recorder you threw in as an afterthought.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18855" PostHistoryTypeId="2" PostId="11443" RevisionGUID="dab36af4-84c6-40e6-8f86-321337583070" CreationDate="2011-11-17T22:51:20.140" UserId="1117" Text="hello,&#xD;&#xA;&#xD;&#xA;does anyone have a few mouse squeaks they are willing to share? im not sure what i have to trade, but i smashed a TV in an old warehouse once with some cool results, and i have a few ZOOM shopping centre walla/ambience with no music, or in a few cases very little music that you cant understand.&#xD;&#xA;&#xD;&#xA;if not i might just see if i could get a useable result at a pet store, but im not to sure how often they actually squeak. &#xD;&#xA;&#xD;&#xA;if someone has some ideas to recreate a mouse squeak, i would love to hear it too.&#xD;&#xA;&#xD;&#xA;cheers&#xD;&#xA;Jamie" ContentLicense="CC BY-SA 3.0" />
  <row Id="18856" PostHistoryTypeId="1" PostId="11443" RevisionGUID="dab36af4-84c6-40e6-8f86-321337583070" CreationDate="2011-11-17T22:51:20.140" UserId="1117" Text="Request: mouse squeaks" ContentLicense="CC BY-SA 3.0" />
  <row Id="18857" PostHistoryTypeId="3" PostId="11443" RevisionGUID="dab36af4-84c6-40e6-8f86-321337583070" CreationDate="2011-11-17T22:51:20.140" UserId="1117" Text="&lt;request&gt;&lt;animals&gt;&lt;mouse&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18858" PostHistoryTypeId="2" PostId="11444" RevisionGUID="27454254-a2ab-404b-9886-1676f61b78ae" CreationDate="2011-11-17T23:09:57.763" UserId="18160" Text="Get one of those stools that you twist/spin to raise higher or lower - like a piano stool. One that is squeeky is easy to manipulate and I'm sure you can re-create a sound like that if you manipulate something like that with pitch shifting it up.&#xD;&#xA;&#xD;&#xA;Otherwise, did you try searching Sound Dogs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18859" PostHistoryTypeId="2" PostId="11445" RevisionGUID="b6f82516-e93a-4c48-b8fc-cd6ff89380ae" CreationDate="2011-11-17T23:42:18.997" UserId="1266" Text="Get some car brakes.  Everytime I listen to a zoom recording of traffic, I hear all these new squeaks and I think they are car brakes.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18860" PostHistoryTypeId="2" PostId="11446" RevisionGUID="8fd959e2-5a29-4ca4-82dc-f9923699de53" CreationDate="2011-11-18T00:55:13.580" UserId="194" Text="wet rubber soled shoes make great squeaks and are very controllable.&#xD;&#xA;&#xD;&#xA;an old pad lock with some extra sand in the latch will usually give out really nice squeaks as well.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18861" PostHistoryTypeId="2" PostId="11447" RevisionGUID="a436c8cc-6a5e-4e0b-8645-b77249e129d5" CreationDate="2011-11-18T02:19:46.803" UserId="1013" Text="I have a bird caller, which consists of a wooden bead around a metal shaft - it's amazingly good for making a variety of bird chirps and squeaky noises. They are easy to pick up a outdoor type stores.&#xD;&#xA;&#xD;&#xA;Not sure how mousey that would sound, but I'm happy to post a recording if you're interested." ContentLicense="CC BY-SA 3.0" />
  <row Id="18862" PostHistoryTypeId="2" PostId="11448" RevisionGUID="dd174593-f13c-40ae-91af-bd78525c7931" CreationDate="2011-11-18T03:43:32.347" UserId="6499" Text="I am making the transition into operating through an LLC of mine.  I have been slowly going through all the stuff I have and making an inventory and replacement cost for insurance.  With doing this I am realizing that most of my equipment is not labeled and I am not quite sure how to go about doing it.  Some of the cables that I have made, I use a label maker to put name on it then use clear heatshrink over to lock it in. But that option is not available on cables already done up without loping an end off and resoldering it.  &#xD;&#xA;&#xD;&#xA;What do you guys do for labeling things?.  I have a ton of mics that I use for live concerts and many times They are being used in conjunction with other companies microphones.  Anyone have a sleek professional looking way of labeling your stuff.  Right now I just have green Electric tape near the connectors on most of the Mics, but I have been thinking about maybe painting a small ring around them.  I do not want to engrave because It may damage the item.  &#xD;&#xA;&#xD;&#xA;Looking for a very clean and professional solution that way items can be wrangled by people other than myself.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="18863" PostHistoryTypeId="1" PostId="11448" RevisionGUID="dd174593-f13c-40ae-91af-bd78525c7931" CreationDate="2011-11-18T03:43:32.347" UserId="6499" Text="Labeling your stuff.  Whats your method?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18864" PostHistoryTypeId="3" PostId="11448" RevisionGUID="dd174593-f13c-40ae-91af-bd78525c7931" CreationDate="2011-11-18T03:43:32.347" UserId="6499" Text="&lt;equipment&gt;&lt;labels&gt;&lt;management&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18865" PostHistoryTypeId="2" PostId="11449" RevisionGUID="2f222ba6-6134-4b00-b1be-a63e3722619e" CreationDate="2011-11-18T07:08:44.577" UserId="61" Text="Make your way to the local pet store. Talk to the owner / manager about what you need and why you need it; you will probably find them willing to help and interested in what you need the sounds for. &#xD;&#xA;&#xD;&#xA;Also, try guinea pigs, hamsters and gerbils. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18866" PostHistoryTypeId="2" PostId="11450" RevisionGUID="91a4cc74-0a6b-47e2-ade8-baf51fab200d" CreationDate="2011-11-18T07:30:53.527" UserId="771" Text="I was trying to calibrate a SQN mixer with a DEVA 5.8 using a 1 Khz tone generated from the mixer.Where will you place the master fader if it isn't depended on the tone and it does not have a marking ?&#xD;&#xA;I dont know how to put this question better.... " ContentLicense="CC BY-SA 3.0" />
  <row Id="18867" PostHistoryTypeId="1" PostId="11450" RevisionGUID="91a4cc74-0a6b-47e2-ade8-baf51fab200d" CreationDate="2011-11-18T07:30:53.527" UserId="771" Text="How do you calibrate between a mixer and recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18868" PostHistoryTypeId="3" PostId="11450" RevisionGUID="91a4cc74-0a6b-47e2-ade8-baf51fab200d" CreationDate="2011-11-18T07:30:53.527" UserId="771" Text="&lt;recorder-mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18869" PostHistoryTypeId="2" PostId="11451" RevisionGUID="823f894e-7b22-4911-937b-e5a5a055470a" CreationDate="2011-11-18T09:51:21.063" UserId="826" Text="Okay, i used SQN mixer for some time, but didn't use it with direct outputs, so I am not really familiar with how they work there. My experience is based on Sound Devices 442 mixer here.&#xD;&#xA;The main use of master fader on the mixer is when you need to feed for ex. the inputs of the camera hotter, so you can raise the level of the whole mix. The tone is independent of the master fader, and it should be, as it is set in the mixer firmware at the specified level (usually 0dBu, or +4dBu). Then, what you have to do is set the gain staging right. So you have some headroom left at the mixer - let's say the tone is at 0dBu, then you set the trim on the input of the recorder so you have enough headroom left - it depends if the recorder is professional, then it can accept full analog line level which can be as high as +27dBu in Deva's 5.8 example (i didn't use DEVA 5.8 so bare with me here, the specs say the clipping level is +28dBu). So when Zaxcom specifies DEVA's Line-level Range as -26 to +8 dBu, you could set the trims on the recorder so they show -20dbfs with the tone set to 0dBu. Then you will have a lot of headroom left at both the mixer and the recorder, so you can record dynamic material. Don't worry about recording low (around -12dBfs) , because they can raise it in post. Hope it clears as much as possible:) check out this picture for the scales :&#xD;&#xA;&#xD;&#xA;http://media.soundonsound.com/sos/oct03/images/qadbcomparison.l.jpg&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="18870" PostHistoryTypeId="2" PostId="11452" RevisionGUID="cbb2d432-de12-44b5-89b5-22d130b0500c" CreationDate="2011-11-18T10:29:24.190" UserId="771" Text="I know the procedure for calibration.But my doubt is where to keep the master faders after calibrating with 1k tone when the mic inputs are depended on them.I have used a TL audio mixer which alteast have a 0 marking for the master faders.But the SQN does'nt have one.&#xD;&#xA;&#xD;&#xA;The model number is SQN 5s&#xD;&#xA;&#xD;&#xA;Thnx for the response :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18871" PostHistoryTypeId="2" PostId="11453" RevisionGUID="4b168c23-55f5-460b-bfaa-4a9d1ca32efa" CreationDate="2011-11-18T12:23:43.373" UserId="826" Text="Well, most of the time you'd keep the master at unity. If you need more level for the camera, push it more. I know that gain and fader in SQN mixers are linked, that is a difference to SD mixers. You just set them to whatever level you need at the moment. There is a very good manual here : http://www.sqn.co.uk/5Sbook.html#a9&#xD;&#xA;The SQN sounds fabulous, btw. I sometimes miss the sound. Much better pres than 442. At least for my ears.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18872" PostHistoryTypeId="2" PostId="11454" RevisionGUID="822edb4a-aa98-47a1-991b-85539b74f52a" CreationDate="2011-11-18T20:16:04.343" UserId="1129" Text="My favorite mouse squeaks came from pitch-shifted puppy yips.  Find some clean puppy yips, and  pitch shift them up without time compensation and you'll find some really neat and natural sounding mouse squeaks.  &#xD;&#xA;&#xD;&#xA;I used a stock puppy yap track from the Hollywood Edge (yeah, I know) and it came out rather nice on the other end." ContentLicense="CC BY-SA 3.0" />
  <row Id="18873" PostHistoryTypeId="2" PostId="11455" RevisionGUID="834db061-b4ee-4720-8596-bce66234f31e" CreationDate="2011-11-18T20:22:50.487" UserId="1129" Text="Production rental mixers or house mixers in live concert venues.  &#xD;&#xA;You are mixing a different show each night, for large crowds, often with only a short sound-check to introduce you to the band.&#xD;&#xA;&#xD;&#xA;You have just met them a few hours ago, the entire sound check has been spent getting the monitor mix right, and you only have had a few minutes with the full band to rough-in a house mix.  &#xD;&#xA;&#xD;&#xA;You've never heard these guys before, just got the set list a few minutes ago, and the show is about to start.  There are no retakes, no re-shoots, and no post-production.  You have to get it right the first time, 'cause it is the only time.&#xD;&#xA;&#xD;&#xA;Then you do it all over again, the next night, with a new band.&#xD;&#xA;&#xD;&#xA;The only thing higher-pressure that I can think of would be FESTIVAL live mixer, who is doing all of this with minutes of turnover time." ContentLicense="CC BY-SA 3.0" />
  <row Id="18874" PostHistoryTypeId="2" PostId="11456" RevisionGUID="b604eb50-6fb5-4dfd-a7a3-928c0954e05c" CreationDate="2011-11-18T20:25:59.893" UserId="1129" Text="Most of the production rental companies I work with either use sharpie or an engraving tool.  Not polished looking, but it is practical.&#xD;&#xA;&#xD;&#xA;You could look into thermal printer labels, or if you want to be more secure, there are specific &quot;inventory tag&quot; labels either in plastic tape or metal-engraving that will be difficult to remove or leave an identifying mark behind if removed." ContentLicense="CC BY-SA 3.0" />
  <row Id="18875" PostHistoryTypeId="2" PostId="11457" RevisionGUID="e84f82aa-8a66-49f5-954d-a55d0f87eb26" CreationDate="2011-11-18T23:49:53.223" UserId="6600" Text="Doppler plug ins such as the Waves Doppler give you the option to bypass any combination of elements that make up the effect, or alternatively adjust the 'strength' of those elements.    As Roger points out, the pitch element generally has an adverse effect on voices and I would also suggest a very low application of pitch or bypassing it altogether.&#xD;&#xA;&#xD;&#xA;I imagine the short length of some words will cause problems and it might be worth adding a reverse reverb tail building into the word, allowing the intelligible part of the word to be at the center of the doppler and then reverbing out again.  Depending on your brief this may or may not be useful as it will obviously mess with the natural flow of the read, but on the other hand will assist in highlighting those key words." ContentLicense="CC BY-SA 3.0" />
  <row Id="18876" PostHistoryTypeId="2" PostId="11458" RevisionGUID="b87ebe91-09de-4cf1-9a82-d5dc8d64d672" CreationDate="2011-11-19T05:12:00.870" UserId="3104" Text="I used my H4N on two features this past summer and I use it all the time for SFX gathering. Sure it doesn't sound as good as recorder that Sound Devices or Fostex puts out, but you can still get some good recordings out of it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18877" PostHistoryTypeId="2" PostId="11459" RevisionGUID="79f83be3-d353-453b-84b5-f6c9c5895ede" CreationDate="2011-11-19T09:29:05.260" UserDisplayName="user80" Text="We use asset tags.  &#xD;&#xA;&#xD;&#xA;http://www.seareach.plc.uk/asset-tags.htm&#xD;&#xA;&#xD;&#xA;If something is too small to take one, I will cut the tag down to fit, so that at least a portion is visible." ContentLicense="CC BY-SA 3.0" />
  <row Id="18878" PostHistoryTypeId="2" PostId="11460" RevisionGUID="70e63faa-efbb-4f7f-b203-a49c29966185" CreationDate="2011-11-19T10:04:50.337" UserId="3196" Text="could anyone please explain to me what is a soundscape.. if you are asked to create a soundscape how should one go about it? does this term apply to film sound design.. if so, how?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18879" PostHistoryTypeId="1" PostId="11460" RevisionGUID="70e63faa-efbb-4f7f-b203-a49c29966185" CreationDate="2011-11-19T10:04:50.337" UserId="3196" Text="what is a soundscape?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18880" PostHistoryTypeId="3" PostId="11460" RevisionGUID="70e63faa-efbb-4f7f-b203-a49c29966185" CreationDate="2011-11-19T10:04:50.337" UserId="3196" Text="&lt;soundscapes&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18881" PostHistoryTypeId="2" PostId="11461" RevisionGUID="78a26e9d-495b-479c-bbf0-c195f85efe37" CreationDate="2011-11-19T11:05:22.367" UserId="270" Text="I have got some good mouse squeaks by quickly sliding my fingers over a sheet of glass " ContentLicense="CC BY-SA 3.0" />
  <row Id="18882" PostHistoryTypeId="2" PostId="11462" RevisionGUID="039a8691-5f8f-4cf5-8c16-796025823a20" CreationDate="2011-11-19T13:59:06.193" UserDisplayName="user80" Text="A soundscape has been defined as the auditory environment which surrounds a listener.  The term has also been used to describe soundtracks and audio art.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="18883" PostHistoryTypeId="5" PostId="11462" RevisionGUID="0e5a1700-89e4-4092-85ec-06af3fdb31da" CreationDate="2011-11-19T14:06:04.987" UserDisplayName="user80" Comment="added 197 characters in body" Text="A soundscape has been defined as the auditory environment which surrounds a listener.  The term soundscape is analogous with landscape in that it represents an individual’s unique experience of inhabiting an auditory environment, based on their previous experiences and interests.&#xD;&#xA;&#xD;&#xA;The term has also been used to describe soundtracks and audio art.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="18884" PostHistoryTypeId="4" PostId="11448" RevisionGUID="467c6294-6f57-4017-9c3b-039dd8f2d2d0" CreationDate="2011-11-19T14:13:23.200" UserDisplayName="user80" Comment="edited title" Text="Labelling your stuff.  What's your method?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18885" PostHistoryTypeId="2" PostId="11463" RevisionGUID="c710b1a5-c33c-4055-b0d5-5562a5e7f08f" CreationDate="2011-11-19T14:17:17.933" UserId="3179" Text="A coherent sound piece that describes an event, has an overall theme or something. For example in film sound a soundscape may be a sound piece that attempts to portray the visual image as realistically as possible to engage the listener. I would say it's equal to a piece of music, but differs by using &quot;unmusical&quot; sounds e.g. found sounds and unusual timbres. It's also more freeform i.e. doesn't need conform to rhythmic or tonal structures like music. A soundscape is not music, although it can have musical qualities, but more of a sound collage. Then there's stuff that's is somewhat a combination of being music and soundscape, like ambient music and some sound art stuff for example." ContentLicense="CC BY-SA 3.0" />
  <row Id="18886" PostHistoryTypeId="2" PostId="11464" RevisionGUID="ded4c90e-8ae3-48ad-85b0-03403cfb9157" CreationDate="2011-11-19T15:25:49.937" UserId="842" Text="There are lots of opinions of this, and mine is that a soundscape is the exact same thing as a landscape, just aural-based instead of geographical. In that sense, the soundscape, in films, is the space in which the characters live, including both ambiance, wildlife, and events. It's mostly a three dimensional space that gives the impression of location, be it real or not. &#xD;&#xA;&#xD;&#xA;Take for example a landscape; You might be standing on a field facing north-east, having a forest not 100 meters ahead. In this landscape there might be a deer grazing to the north, a pack of confused cows trying to make head or tails out of a mental goat trying to pick a fight (actually seen this myself) south of the forest, and there might be a gravel road crossing a brook in the distance.&#xD;&#xA;&#xD;&#xA;A soundscape is mostly pretty much the same thing; You might hear a soft breeze through the leaves, two nightingales corresponding quite nearly, other birds all over the place, the sound of your feet in the grass, the soothing sound of the brook, as well as the less than soothing sound of some pissed off cows finally deciding the prick of a goat is a pain in the ass and deserves to be sent to kingdom come, in combination with a very surprised goat just realizing &quot;kingdom come&quot; just went &quot;kingdom now&quot;. And we might as well throw in your voice commenting on this. (though the goat I saw only got a swift crash course in meekness, it didn't really seem injured in any other way that a smashed up ego :-)&#xD;&#xA;&#xD;&#xA;In music, the soundscape is pretty much the same thing. Not dependent of melody or pitch, but in feeling, color and depth. There is, however, a big difference in cinematic soundscapes and musical ditto IMHO; In cinematic soundtracks the music and sound stands apart from each other even though they must collaborate to work, as such the music is not part of the soundscape, it's an enhancer of the moment. In music however, sound effects, spoken dialogue and ambiances might very well be part of the soundscape, in many styles like Ambient, Industrial, Noise-Music and some Avante Garde for example sound effects and such might very well be a vital part of the music. Good examples is Art Of Noise, Yello, Einstürzende Neubauten and Das Ich.&#xD;&#xA;&#xD;&#xA;I think one might say that every talkie-movie and recorded song has a soundscape, which I do agree to, but frankly most people I know, me included, consider it pointless to use that word unless there actually is a perceptible space to hear, and not just a flat mix without contrasts or position." ContentLicense="CC BY-SA 3.0" />
  <row Id="18887" PostHistoryTypeId="5" PostId="11206" RevisionGUID="3e269d9b-a7fa-4900-9b85-481080df7ed2" CreationDate="2011-11-19T15:25:51.997" UserId="432" Comment="added 374 characters in body" Text="This is the kind of thing that I wanted to do in the Film Sound Discussion Group I started over at Designing Sound. Thus far, we've only done two simple discussions concerning primarily workflow ideas...had to keep it simple to develop a system and figure out what the limitations of the web client were.&#xD;&#xA;&#xD;&#xA;There were a lot of bugs with the web client (AnyMeeting) the first time we tried it. They've since eliminated most of those bugs, and we had a successful session with Ann Kroeber just last week.&#xD;&#xA;&#xD;&#xA;Keep an eye out over there, because we're going to get that going on a more regular basis. We'll be expanding the subjects that we talk about when we do.&#xD;&#xA;&#xD;&#xA;**Update:** Just announced the next [Film Sound Discussion Group over on Designing Sound][1]. The topic is Cast Away (2000), and it will be a free form community discussion (with some moderation on my part). This one is supposed to be like a book club, so come with your opinions.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2011/11/film-sound-discussion-group-cast-away-2000/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18888" PostHistoryTypeId="2" PostId="11465" RevisionGUID="fcbdac35-e3ba-4aa5-972d-53917567abb8" CreationDate="2011-11-19T17:05:36.337" UserDisplayName="user80" Text="I use a selection of latex squeaky dog balls." ContentLicense="CC BY-SA 3.0" />
  <row Id="18889" PostHistoryTypeId="2" PostId="11466" RevisionGUID="b93b42e0-a00b-46b3-bd18-705f5a30c1c0" CreationDate="2011-11-19T18:52:39.067" UserId="338" Text="How do you like to record ambiances, and backgrounds?  &#xD;&#xA;Stereo?  Mono?  ORTF?  MS?&#xD;&#xA;&#xD;&#xA;How do you like to layer them in a project?&#xD;&#xA;Mono?  Some Stereo?  Lots of Stereo files?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18890" PostHistoryTypeId="1" PostId="11466" RevisionGUID="b93b42e0-a00b-46b3-bd18-705f5a30c1c0" CreationDate="2011-11-19T18:52:39.067" UserId="338" Text="Favorite Ambiance, Background Recording Technique and Delivery" ContentLicense="CC BY-SA 3.0" />
  <row Id="18891" PostHistoryTypeId="3" PostId="11466" RevisionGUID="b93b42e0-a00b-46b3-bd18-705f5a30c1c0" CreationDate="2011-11-19T18:52:39.067" UserId="338" Text="&lt;ambiance&gt;&lt;recording&gt;&lt;and&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18892" PostHistoryTypeId="2" PostId="11467" RevisionGUID="b12b6ca1-faf2-4a1a-8886-820173111190" CreationDate="2011-11-19T19:04:59.117" UserId="1107" Text="I mostly use those battery powered label makers: http://www.brother-usa.com/Ptouch/&#xD;&#xA;&#xD;&#xA;Good for all of your labeling needs: cables, connectors, equipment, filing systems, etc.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18893" PostHistoryTypeId="2" PostId="11468" RevisionGUID="8a307b90-6055-428b-83ae-47ef4eb36b9a" CreationDate="2011-11-19T19:13:21.300" UserId="1090" Text="That depends... In Sweden we call ambiances &quot;atmospheres&quot; which I think is a better word for describing the function of ambiances.&#xD;&#xA;&#xD;&#xA;An ambience tells us where we are and what we should feel like. &#xD;&#xA;&#xD;&#xA;When I started out working with post sound I used to think ambiances was all about putting a lot of stereo recordings on top of each other to create a fill... Now I know it's a lot more complex. So I do lots of stuff. &#xD;&#xA;&#xD;&#xA;Most of the times I record a 2 minute &quot;ambiance&quot; = a raw &quot;this is what this location sounds like&quot; stereo in ORTF (Imho, I think ORTF sounds the most natural and spatious) and then I fill that up with single mono things that's panned. The FX are important part of the ambiances as well. It's really easy to just throw a lot of stuff into the AMB-tracks, but it should be handled more gracefully than that.&#xD;&#xA;&#xD;&#xA;The ambiances are by far the most important part of the overall feeling of sound. It's also the hardest part of sound design. Imo." ContentLicense="CC BY-SA 3.0" />
  <row Id="18894" PostHistoryTypeId="5" PostId="11468" RevisionGUID="e564416a-0fc6-4301-b7e8-3c6d7c5600aa" CreationDate="2011-11-19T19:20:27.167" UserId="1090" Comment="added 237 characters in body" Text="That depends... In Sweden we call ambiances &quot;atmospheres&quot; which I think is a better word for describing the function of ambiances.&#xD;&#xA;&#xD;&#xA;An ambience tells us where we are and what we should feel like. &#xD;&#xA;&#xD;&#xA;When I started out working with post sound I used to think ambiances was all about putting a lot of stereo recordings on top of each other to create a fill... Now I know it's a lot more complex. So I do lots of stuff. &#xD;&#xA;&#xD;&#xA;Most of the times I record a 2 minute &quot;ambiance&quot; = a raw &quot;this is what this location sounds like&quot; stereo in ORTF (Imho, I think ORTF sounds the most natural and spatious) and then I fill that up with single mono things that's panned. The FX are important part of the ambiances as well. It's really easy to just throw a lot of stuff into the AMB-tracks, but it should be handled more gracefully than that.&#xD;&#xA;&#xD;&#xA;The ambiances are by far the most important part of the overall feeling of sound. It's also the hardest part of sound design. Imo.&#xD;&#xA;&#xD;&#xA;So to answer your question (I took a trip to preaching to the choir-land) I deliver one or two base stereo (or 5.1) files and then lots of mono or stereo FX-type sounds bundled in the Ambiance tracks to make a nice, fluffy airy mix. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18895" PostHistoryTypeId="2" PostId="11469" RevisionGUID="606b0799-2f8d-45e0-8ec0-4eb8d52524f2" CreationDate="2011-11-19T20:17:15.087" UserId="1319" Text="Hi, here's the thing. We've got three editing stations(Mac Pro). At each of them there's a Soundminer V4Pro, we haven't got the server edition. Currenlty our database consists of over 1 TB SFX. They're all on a D-Link hard drive with LAN support. We are using samba to connect the drive to each of stations. It works, however we don't have much control of all the LAN traffic. Do You have a better solution? Our goal is to improve the download transfer from the LAN storage, and also to have a history of downloads for each station. Thanks for all answers! Regards " ContentLicense="CC BY-SA 3.0" />
  <row Id="18896" PostHistoryTypeId="1" PostId="11469" RevisionGUID="606b0799-2f8d-45e0-8ec0-4eb8d52524f2" CreationDate="2011-11-19T20:17:15.087" UserId="1319" Text="Network storage for SFX?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18897" PostHistoryTypeId="3" PostId="11469" RevisionGUID="606b0799-2f8d-45e0-8ec0-4eb8d52524f2" CreationDate="2011-11-19T20:17:15.087" UserId="1319" Text="&lt;sfx&gt;&lt;storage&gt;&lt;networking&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18898" PostHistoryTypeId="2" PostId="11470" RevisionGUID="c3c5255e-7c51-4c6d-a0ef-fe03ab183b8c" CreationDate="2011-11-19T22:48:25.490" UserDisplayName="user80" Text="I've started using a Soundfield mic (SPS200) recording to 4 track (R-44), that way I can decode to stereo, 5.1 or even 7.1 in Pro Tools HD.  To date we have used stereo, 5.1 and 7.1, but not mono." ContentLicense="CC BY-SA 3.0" />
  <row Id="18899" PostHistoryTypeId="2" PostId="11471" RevisionGUID="76e07d08-31f3-40eb-93b2-7ac2bf9cba53" CreationDate="2011-11-19T23:29:21.617" UserId="194" Text="I personally stay away from MS for recordings intended for BGFX.  dolby decoding can sometimes react strangely when you pan decoded MS recordings into the surrounds.&#xD;&#xA;&#xD;&#xA;For recording I like ORTF, but I'll roll XY if I have to and mono if there's no alternatives and I need to capture the moment.&#xD;&#xA;&#xD;&#xA;Olle spelled out the standard way to approach things in post.  layer a few washy tracks and then spot one offs to taste and with respect to the story." ContentLicense="CC BY-SA 3.0" />
  <row Id="18900" PostHistoryTypeId="2" PostId="11472" RevisionGUID="49935be5-c467-4ed1-8522-664be0e387ca" CreationDate="2011-11-20T00:56:34.367" UserId="429" Text="SMB sucks on osx .. get new NAS hardware .. something like readynas or qnap and use the iSCSI protocol .. not sure about sharing your search/download history search history" ContentLicense="CC BY-SA 3.0" />
  <row Id="18901" PostHistoryTypeId="2" PostId="11473" RevisionGUID="89a6aa4b-8a21-4166-9c0d-338d1cfe5be7" CreationDate="2011-11-20T00:58:13.087" UserId="1299" Text="Hi, I recently put together an audio story. I was looking for a bit of feedback about how it has been mixed. It consists of a narration, a night-time room ambience of crickets, various sound-effects, and a couple of music tracks. I haven't done any compression of sounds, and just a little bit of panning, and I was just wondering does it sound alright, or could it have been mixed better?&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/fotwaudio/e-a-poe-and-the-krautrock-connection&#xD;&#xA;&#xD;&#xA;Thanks for your help,&#xD;&#xA;Iain." ContentLicense="CC BY-SA 3.0" />
  <row Id="18902" PostHistoryTypeId="1" PostId="11473" RevisionGUID="89a6aa4b-8a21-4166-9c0d-338d1cfe5be7" CreationDate="2011-11-20T00:58:13.087" UserId="1299" Text="Audio Story Mixing" ContentLicense="CC BY-SA 3.0" />
  <row Id="18903" PostHistoryTypeId="3" PostId="11473" RevisionGUID="89a6aa4b-8a21-4166-9c0d-338d1cfe5be7" CreationDate="2011-11-20T00:58:13.087" UserId="1299" Text="&lt;mixing&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18904" PostHistoryTypeId="2" PostId="11474" RevisionGUID="b93fd5cf-66ad-4991-b6c4-68c3ebf8d707" CreationDate="2011-11-20T07:08:45.900" UserDisplayName="user49" Text="I could write a book on this subject - I love working with ambiences, no matter the size of the team ambiences is usually something I prefer to cut myself, I totally agree ambiences play a crucial role in many different ways... Here is my rant for now - suspect it will become a blog post/chapter in a book etc etc..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In terms of recording ambiences, it depends on the location &amp; what ambience I'm recording as to the best way to capture it, or elements of it. It also depends on whether it is a location I have plenty of time at, or its a one take scenario. All of the recent films I have done have involved me revisiting locations from the shoot to capture ambiences, and those by far have been the most satisfying ambience tracks to build &amp; edit eg a week spent in Samoa recording ambiences achieved a far better result than trying to composite layers from the library, without any real world reference for how ambiences there actually sound (which is a very important part of recording your own ambiences ie the memory). Most ambiences I record 5 minutes minimum and eg some night ambiences I recorded in Samoa I rolled from 10pm through to and including dawn. If you are prepared (large hard drive, plenty of batteries) it is fascinating to later be able to skip through time and hear how night changes. When I listened to 'night' in Samoa in real time it didn't appear to change much, but replaying the recording and skipping forward an hour the changes are very significant...&#xD;&#xA;&#xD;&#xA;I prefer using a combination of spaced omni, stereo, and discrete stereo/dual mono and mono recordings. For any location I seperate the tasks of (a) capturing a general ambience, and then (b) capturing individual elements intended for specific placement. No one recording technique can achieve both of these aims, simply because most ambiences change over time, and when dealing with film we are not making a real time documentary of a location - we are aiming to create and evoke the world of the film, scene, moment as best serves the story.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;With respect to editing ambiences &amp; preparing them for predubs, there are many considerations.... &#xD;&#xA;Each project has to be considered seperately, general rules are only that i.e. general, and films require specificity.... As I am editing ambiences I determine how many predub stems the ambiences will need, so as to allow enough rebalancing during the final dub &amp; to not have any debateable elements locked together. As a minimum I would want to predub to 4 x 5.0 stems (main ambiences) and 4 x LCR stems (spot/split elements) but thats a minimum...&#xD;&#xA;&#xD;&#xA;First &amp; most important imho is consideration of the centre channel. The main reason film exists is to convey stories and that is primarily achieved via dialogue, which is mostly coming from the centre speaker &amp; mostly was recorded on location/set etc with varying backgrounds &amp; time of day... On a shot by shot, and scene by scene basis I think it is important to listen to the background behind the production audio and provide enough material in the centre channel to (a) match &amp; mask any inherited ambiences and (b) help make these appear interesting, characterful, appropriate &amp; of good fidelity. For most scenes/shots I would layer up to 4 mono tracks, solely to meet these requirements... Then depending on the set and setting, I'd layer 2-6 stereo (&amp; offset stereo/dual mono) ambiences for use in LCR and an additional 2-4 stereo ambiences for surround LR per stem to build each stem of the 'ambient world of the film'. If I have quad ambiences I will consider using them, but the chances of them matching the perspective and picture cuts within a scene are less likely than cutting layered stereo (&amp; offset stereo) ambiences.. But if I have them I will use them... Experience and specific context dictates how much offlaying/cutting is required for perspective cuts, which is why it is so important to attend the predubs of material you have edited.&#xD;&#xA;&#xD;&#xA;So that set of tracks (Cx4+LRx6+sLRx4) are my source elements for each predub stem. The content &amp; number of elements depends on what the scene/moment needs. There are no prizes for using every track - its a matter of making it only as complex/simple as it needs to be. Sometimes stems are split between foreground, mid ground &amp; background/distant, other times they are divided by constituent elements eg Ambience stems A/B = winds C/D = wildlife E/F/G/H = spot ambience elements... it totally depends on the context....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[NOTE: this is all subjective -there is no right or wrong way to do anything, experience reinforces what works etc etc....]&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18905" PostHistoryTypeId="2" PostId="11475" RevisionGUID="2270ba5d-836f-47e5-ab31-ed254b726d99" CreationDate="2011-11-20T07:37:37.563" UserDisplayName="user49" Text="Considering how cheap 1TB or 2TB drives are, whats stopping you having a local copy of the library on each Mac? Why bother with network access? You can still have a process for adding to the library (&amp; updating the clone copies)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18906" PostHistoryTypeId="2" PostId="11476" RevisionGUID="3cee5445-5424-459d-991e-f88a2ce4c9f6" CreationDate="2011-11-20T12:40:12.680" UserId="219" Text="I'm writing this as I'm listening to the piece, so my comments should come in chronological order...&#xD;&#xA;&#xD;&#xA;First, I can hear mouth clicks, you might want to edit them out.&#xD;&#xA;&#xD;&#xA;Compressing the narration would give it a bit more impact.&#xD;&#xA;&#xD;&#xA;When the music comes in, we're not sure what is the prominent element: is it the voice or the music? I believe it is the narration that you want to project, so I'd expect more dynamics with the background music. I'd play it softer and make more space for the voice (using equalization), and use reverb to place it in another dimension than that of the narration's.&#xD;&#xA;&#xD;&#xA;I like the material you chose, I'd try to establish greater dynamics for more impact.&#xD;&#xA;&#xD;&#xA;Hope that helps and you agree with what I said,&#xD;&#xA;Cheers." ContentLicense="CC BY-SA 3.0" />
  <row Id="18907" PostHistoryTypeId="2" PostId="11477" RevisionGUID="6b380281-74cf-4671-b43c-b907291c6331" CreationDate="2011-11-20T13:47:17.510" UserId="182" Text="Because of the flooding in Thailand, hard drives are not cheap at all at the moment: they more than doubled in price, at some vendors even tripled.&#xD;&#xA;And it is expected to stay that way at least until march 2012.&#xD;&#xA;&#xD;&#xA;(Statistics from a huge collection of Dutch web shops for the Samsung Ecogreen F4 2TB drive. blue is average, green is minimum price)&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ic.tweakimg.net/ext/i/?ProduktID=261662&#xD;&#xA;&#xD;&#xA;That said, we have recently purchased the QNAP TS-809U RP, an 8-drive, rack-mounted, very configurable storage solution with redundant power, dual network and many data redundancy options. Currently with 4x 2TB and one spare disk, we have 6 TB of effective storage and one disk may fail. Later this can be expanded to 8x 3TB where two drives may fail without data loss.&#xD;&#xA;It can do 100 MB/s over a gigabit network, even faster if you use link aggregation on the macs and the QNAP (we have a 100 Mbit network, so it's a tenth of that here). This is regardless of protocol by the way: AFP or SMB don't make a difference in our case.&#xD;&#xA;&#xD;&#xA;A history of downloads should be doable, but that will be tricky to set up. For example, you can have the SMB-server on the network drive log activity to a file, even to multiple files specific to one user. This will require knowledge of the file access protocol (SMB) and linux, and you need a NAS box with full access. &#xD;&#xA;See here for a glimpse of the complexity: http://moiristo.wordpress.com/2009/08/10/samba-logging-user-activity/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18908" PostHistoryTypeId="2" PostId="11478" RevisionGUID="20538a1b-ea2b-4a62-807e-dafb4ba905fe" CreationDate="2011-11-20T14:06:52.917" UserId="1216" Text="&#xD;&#xA;&#xD;&#xA;hi everyone,&#xD;&#xA;&#xD;&#xA;i am currently preparing the audio post process for a (low budget) documentary. &#xD;&#xA;the doc isn't finished and still needs a lot of work, but i was eager to see and hear some footage.&#xD;&#xA;the director and had a screening (on her laptop(speakers)) and talked about the sound and her&#xD;&#xA;ideas, so far so good... well i also asked for the omf and am now listening through the material in my studio.  &#xD;&#xA;&#xD;&#xA;my first conclusion is that it's pretty bad soundwise. the director filmed everything herself, but is not&#xD;&#xA;at all audio savy out of the 18 minutes, at least 6 minutes of the audio is distorted, not very badly, &#xD;&#xA;but defenitely noticeable in about 30% of the peaks per region. &#xD;&#xA;&#xD;&#xA;the soundtrack consists mainly of an interview with one subject, over the course of three days. &#xD;&#xA;everything was recorded using lavelier mic (and transmitter) direct to DVcamera. the other part of &#xD;&#xA;the soundtrack is ambience and city sounds. everything is mono and there are no alternate takes &#xD;&#xA;available. some DV tapes have ok sound, others are distorted.&#xD;&#xA;&#xD;&#xA;to get a feel of how to approach this little monster i decided to do some tests. i've started declipping &#xD;&#xA;with izotope rx to get an idea of how bad it is and must say i'm quite pleased with the results so far. &#xD;&#xA;but i'm still wondering how and where to start when i get the locked picture and omf.&#xD;&#xA;&#xD;&#xA;normally i don't get audiorecordings this bad and restoring bad takes is only a small part of the job.&#xD;&#xA;i start with dialogue editing: cleaning up the tracks (ticks, clicks, pops etc) and a few passes have &#xD;&#xA;them leveled out evenly. (this is overtly simplified ofcourse) but now i face the challenge of having a &#xD;&#xA;lot of clipped audio and some reasonably good audio. cleaning up dialogue within the clipped regions &#xD;&#xA;is not an option, everything is to loud and if i bring down the volume i'm still left with a audio image &#xD;&#xA;full of clipped peaks, distorting my vision/hearing.&#xD;&#xA;&#xD;&#xA;i managed to boil it down into two options:&#xD;&#xA;&#xD;&#xA;a. start first with the reasonably good audio takes, cleaning them up and getting a feel for the dialogue &#xD;&#xA;flow (and it's levels) and then work your way down to the bad parts&#xD;&#xA;&#xD;&#xA;b. start with the bad parts and use ie. izotope to declip the regions first* and then start the cleaning &#xD;&#xA;up of all the dialogue in one pass and go from there.&#xD;&#xA;&#xD;&#xA;*i mainly ask this because i don't know how much izotope (in my case) changes in the audio&#xD;&#xA;besides extrapolating the headroom, is the rest of the audio left 'untouched'? i don't think so,&#xD;&#xA;but will it matter with audio in this saturated state?&#xD;&#xA;&#xD;&#xA;am i still thinking straight? what would be your approach to this? &#xD;&#xA;&#xD;&#xA;any help would be greatly appreciated!&#xD;&#xA;&#xD;&#xA;greetings,&#xD;&#xA;&#xD;&#xA;arnoud &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18909" PostHistoryTypeId="1" PostId="11478" RevisionGUID="20538a1b-ea2b-4a62-807e-dafb4ba905fe" CreationDate="2011-11-20T14:06:52.917" UserId="1216" Text="Approaching dialogue recovery with clipped audio, what to do first? (DOCUMENTARY)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18910" PostHistoryTypeId="3" PostId="11478" RevisionGUID="20538a1b-ea2b-4a62-807e-dafb4ba905fe" CreationDate="2011-11-20T14:06:52.917" UserId="1216" Text="&lt;dialogue&gt;&lt;izotope&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18911" PostHistoryTypeId="2" PostId="11479" RevisionGUID="426f8736-00ab-44a2-87b2-e585c975e5eb" CreationDate="2011-11-20T17:20:55.757" UserId="1090" Text="You do what you can do! That's all you can do, really. &#xD;&#xA;I've done the same thing. But it was a commercial thing, the audio was distorted heavily all the time through the whole show and they still wanted to air it. I just took the X-noise, X-hum and X-click (Waves) through the whole mixing process and did all the EQ and trimming of levels POST FX. That way I could get a sense of how bad it was and how un-bad I could make it.&#xD;&#xA;&#xD;&#xA;So for your project, I'd do the same; make one &quot;clean&quot; audio region with izotope, mix it if you have to with the original material to get some presence or whatever. But if it's clipped, not much to do than just work with it. Make it sound a bit smoother. But don't overdo it, trying to repair sound is like trying to glue an old vase together. If people pay attention they can clearly see the cracks. &#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18912" PostHistoryTypeId="2" PostId="11480" RevisionGUID="89a956a6-2e00-4f98-bc5d-7c509e75ddc8" CreationDate="2011-11-20T18:28:50.057" UserId="432" Text="I'm assuming you're asking about this, because you're trying to optimize your efforts. If the audio is that badly distorted, any side effects of the Izotope Declipper are going to be more tolerable/acceptable than the raws.&#xD;&#xA;&#xD;&#xA;I'd start with the problem pieces, because consistency of sound is more important in this situation. Jarring jumps in audio quality are distracting and draw attention to themselves. The more consistent the audio (including if it's all crappy sounding), the more likely the viewer is to acclimate to and overlook its problems. If you've got one piece of pristine sounding audio in a sea of distortion, people will instantly begin recognizing that distortion...whereas they'll probably have ignored it previously.&#xD;&#xA;&#xD;&#xA;I'm going to make one suggestion here though. Ignore the visual waveforms.&#xD;&#xA;&#xD;&#xA;They're going to affect your percption of the problems. If you're working in Pro Tools, switch from &quot;waveform&quot; to &quot;blocks&quot; view. Use your ears, independent of your eyes, and determine where the most egregious problems are. Figure out which segments are completely intolerable, and focus on fixing those first. As best you can, get them to behave similarly to the cleaner audio clips. You're probably going to run out of time to work on the better pieces, but that's something you're may just have to accept. It's OK. Your return on investment of effort will be far greater this way.&#xD;&#xA;&#xD;&#xA;If you start by working from the other direction, you'll more likely run out of time to work on the crappy audio...meaning you've lost that consistent sound, and drawn attention to the program's weaknesses. That's something you're client will not be happy with; whether they recognize it consciously or not." ContentLicense="CC BY-SA 3.0" />
  <row Id="18913" PostHistoryTypeId="2" PostId="11481" RevisionGUID="2d229764-2aaa-4d55-b383-654e13a416cc" CreationDate="2011-11-20T19:28:01.497" UserId="253" Text="Looks like Shaun and Olle have covered everything, but just about Izotope DeClipper: It has a threshold setting, and i'm pretty sure that only audio above the threshold is extrapolated. So if you put your threshold right at the point where the audio is clipped, you should be fine.&#xD;&#xA;&#xD;&#xA;Also, you haven't mentioned it, but if you have a camera mic track, you can use that (with some eq treatment) to paste over very short clips.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18914" PostHistoryTypeId="2" PostId="11482" RevisionGUID="5db95429-2eff-4933-8ebc-55ee6567afb2" CreationDate="2011-11-20T19:37:27.320" UserId="338" Text="How can you go about infusing sounds with other sounds?&#xD;&#xA;&#xD;&#xA;For example if you want the sound of a baby crying to increase the emotional pull of a certain moment or ambience I usually use an Impulse Response but I've also added massive amounts of reverb to the baby sound and used it like that.  I think that the effectiveness of a crying baby is somewhat the timbre and somewhat the identifiability of the sound but to what extent can you break these types of rules?  &#xD;&#xA;I've also used Paul's Time stretch to stretch out certain timbres.&#xD;&#xA;&#xD;&#xA;What other ways can you use tricks like these and colorize scenes with emotion?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18915" PostHistoryTypeId="1" PostId="11482" RevisionGUID="5db95429-2eff-4933-8ebc-55ee6567afb2" CreationDate="2011-11-20T19:37:27.320" UserId="338" Text="Favorite way to infuse sounds with other sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="18916" PostHistoryTypeId="3" PostId="11482" RevisionGUID="5db95429-2eff-4933-8ebc-55ee6567afb2" CreationDate="2011-11-20T19:37:27.320" UserId="338" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18917" PostHistoryTypeId="4" PostId="11482" RevisionGUID="497790fe-b696-45ba-a718-b2ca956ee606" CreationDate="2011-11-20T21:05:20.827" UserId="338" Comment="edited title" Text="Favorite way to infuse sounds with other sounds or Infuse moments with manipulated sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="18919" PostHistoryTypeId="2" PostId="11484" RevisionGUID="aacb3540-72f7-4e60-848e-ecf90f2d3539" CreationDate="2011-11-20T22:31:29.033" UserId="18160" Text="The way most of the digital plug-in de-clippers work is that they try to re-draw the waveform how the waveform looked had it not been &quot;clipped&quot; at the top.&#xD;&#xA;&#xD;&#xA;If your dialogue is full-on clipped at digital 0, the first thing I do in this case is gain down the audio at least 3 or 4 dB to give it the headroom the plug-in needs to do it's job better. You can't re-draw waveforms without headroom above the clipped cycles and this, in my humble experience, helps it work and sound much better." ContentLicense="CC BY-SA 3.0" />
  <row Id="18920" PostHistoryTypeId="2" PostId="11485" RevisionGUID="f8147708-0a9e-4c00-a861-f518c63a72bc" CreationDate="2011-11-20T22:43:16.537" UserId="18160" Text="Hey guys! I tried searching the many questions about these handhelds, but I have a specific question:&#xD;&#xA;&#xD;&#xA;Has anyone done tests or has anyone tried out various handhelds to know which one sounds the best when using the XLR input w/ phantom power on a condenser mic?&#xD;&#xA;&#xD;&#xA;The one I'm eying right now is a Tascam DR-40 or the Zoom H4n. I've got a Zoom H2n right now and I want to upgrade to one which allows me to use a better mic for on-the-fly interviews and such.&#xD;&#xA;&#xD;&#xA;Anyone have any suggestions as to the best sounding XLR input on these types of devices or do they sound similar enough that quality doesn't really matter?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18921" PostHistoryTypeId="1" PostId="11485" RevisionGUID="f8147708-0a9e-4c00-a861-f518c63a72bc" CreationDate="2011-11-20T22:43:16.537" UserId="18160" Text="Handheld XLR Input Tests" ContentLicense="CC BY-SA 3.0" />
  <row Id="18922" PostHistoryTypeId="3" PostId="11485" RevisionGUID="f8147708-0a9e-4c00-a861-f518c63a72bc" CreationDate="2011-11-20T22:43:16.537" UserId="18160" Text="&lt;handheld&gt;&lt;xlr-input&gt;&lt;quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18923" PostHistoryTypeId="2" PostId="11486" RevisionGUID="ce0d9231-f586-4b62-8746-d7a40988bbf0" CreationDate="2011-11-20T22:43:25.680" UserId="6499" Text="I am eyeing the Zaxcom Nomad and that will probably be my next recorder/mixer purchase.  It satisfies what I need for doing sfx recording and also will allow me to do docu/eng mixing or a small budget film if need be.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18924" PostHistoryTypeId="5" PostId="11485" RevisionGUID="a74b9fb1-7099-46ca-903c-86ba71f0719f" CreationDate="2011-11-20T22:52:21.483" UserId="18160" Comment="added 246 characters in body" Text="Hey guys! I tried searching the many questions about these handhelds, but I have a specific question:&#xD;&#xA;&#xD;&#xA;Has anyone done tests or has anyone tried out various handhelds to know which one sounds the best when using the XLR input w/ phantom power on a condenser mic?&#xD;&#xA;&#xD;&#xA;The one I'm eying right now is a Tascam DR-40 or the Zoom H4n. I've got a Zoom H2n right now and I want to upgrade to one which allows me to use a better mic for on-the-fly interviews and such.&#xD;&#xA;&#xD;&#xA;Anyone have any suggestions as to the best sounding XLR input on these types of devices or do they sound similar enough that quality doesn't really matter?&#xD;&#xA;&#xD;&#xA;p.s. I have a contact at GC Pro and other such retail stores that could possibly get me some test units of the top contenders out there and I can do a battery of tests with them and I can post them up for ya'll to hear if anyone's interested." ContentLicense="CC BY-SA 3.0" />
  <row Id="18926" PostHistoryTypeId="5" PostId="11485" RevisionGUID="134ec10f-4912-46ed-82d1-d176474781d5" CreationDate="2011-11-20T23:02:00.233" UserId="18160" Comment="added 82 characters in body" Text="Hey guys! I tried searching the many questions about these handhelds, but I have a specific question:&#xD;&#xA;&#xD;&#xA;Has anyone done tests or has anyone tried out various handhelds to know which one sounds the best when using the XLR input w/ phantom power on a condenser mic?&#xD;&#xA;&#xD;&#xA;The one I'm eying right now is a Tascam DR-40 or the Zoom H4n. I've got a Zoom H2n right now and I want to upgrade to one which allows me to use a better mic for on-the-fly interviews and such.&#xD;&#xA;&#xD;&#xA;Anyone have any suggestions as to the best sounding XLR input on these types of devices or do they sound similar enough that quality doesn't really matter?&#xD;&#xA;&#xD;&#xA;p.s. I have a contact at GC Pro and other such retail stores that could possibly get me some test units of the top contenders out there and I can do a battery of tests with them and I can post them up for ya'll to hear if anyone's interested.&#xD;&#xA;&#xD;&#xA;p.p.s. Come on, Rene, surely you've done this sort of thing already, right? :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18927" PostHistoryTypeId="2" PostId="11487" RevisionGUID="5954b023-539d-4901-8a83-ba8288fa8b10" CreationDate="2011-11-20T23:20:58.437" UserId="18160" Text="Couple of things I noticed:&#xD;&#xA;&#xD;&#xA;Not sure if you're like me but I am well aware of the extraneous voices a human mouth can make. I would edit out at least the major clicks and I heard a few swallows in there as well.&#xD;&#xA;&#xD;&#xA;The recording sounds like it was done in a medium-sized room with bare walls. When I record narration for audiobooks, I try to make it have no space at all - no discernible sense of &quot;oh - this was recorded in a room&quot;, because most people will listen to this on headphones.&#xD;&#xA;&#xD;&#xA;I'd add a bit more body to the voice - either by adding a touch (not too much) of compression, or weight like 80-100 Hz, though the voice doesn't naturally have this much bass so it might end up making it sound muddy. I would at least take out the 2K zing that hurts when you turn it up loud.&#xD;&#xA;&#xD;&#xA;Same point as Justin - the levels could be more smooth. Bring what you want large up behind the narrator for a moment or edit the narrator to come in after the music comes in.&#xD;&#xA;&#xD;&#xA;I'd make the sound effect of the record mono as if it's happening in the space (like foley) and then make the music start out mono and then gradually pan it into the stereo you've got it at. Because it starts out as source music and then switches to score (I think that's what happens in the story, anyway).&#xD;&#xA;&#xD;&#xA;What microphone did you use to record? And what recorder? I can hear a bit of the digital I/O harshness.&#xD;&#xA;&#xD;&#xA;But anyways, good job! Seems like a fun project." ContentLicense="CC BY-SA 3.0" />
  <row Id="18928" PostHistoryTypeId="2" PostId="11488" RevisionGUID="2ef7d47f-3b98-46a9-9607-24ddf9976345" CreationDate="2011-11-21T01:14:31.610" UserId="6669" Text="In contrast to how little sound they apparently make while walking, elephants have a pretty killer roar when unhappy - saw this video today and this was the first thread I thought of. Bone chilling.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=l7p1tZ_bhwM" ContentLicense="CC BY-SA 3.0" />
  <row Id="18929" PostHistoryTypeId="5" PostId="11487" RevisionGUID="ba9e6624-3332-4de4-a594-c1164c4deec7" CreationDate="2011-11-21T02:16:08.157" UserId="18160" Comment="added 86 characters in body" Text="Couple of things I noticed, but keep in mind it's merely my humble opinion and can be taken with a grain of salt:&#xD;&#xA;&#xD;&#xA;Not sure if you're like me but I am well aware of the extraneous voices a human mouth can make. I would edit out at least the major clicks and I heard a few swallows in there as well.&#xD;&#xA;&#xD;&#xA;The recording sounds like it was done in a medium-sized room with bare walls. When I record narration for audiobooks, I try to make it have no space at all - no discernible sense of &quot;oh - this was recorded in a room&quot;, because most people will listen to this on headphones.&#xD;&#xA;&#xD;&#xA;I'd add a bit more body to the voice - either by adding a touch (not too much) of compression, or weight like 80-100 Hz, though the voice doesn't naturally have this much bass so it might end up making it sound muddy. I would at least take out the 2K zing that hurts when you turn it up loud.&#xD;&#xA;&#xD;&#xA;Same point as Justin - the levels could be more smooth. Bring what you want large up behind the narrator for a moment or edit the narrator to come in after the music comes in.&#xD;&#xA;&#xD;&#xA;I'd make the sound effect of the record mono as if it's happening in the space (like foley) and then make the music start out mono and then gradually pan it into the stereo you've got it at. Because it starts out as source music and then switches to score (I think that's what happens in the story, anyway).&#xD;&#xA;&#xD;&#xA;What microphone did you use to record? And what recorder? I can hear a bit of the digital I/O harshness.&#xD;&#xA;&#xD;&#xA;But anyways, good job! Seems like a fun project." ContentLicense="CC BY-SA 3.0" />
  <row Id="18930" PostHistoryTypeId="5" PostId="11485" RevisionGUID="a6ea4d7b-d423-4d90-ba82-923d3370ea01" CreationDate="2011-11-21T03:49:31.533" UserId="18160" Comment="added 33 characters in body" Text="Hey guys! I tried searching the many questions about these handhelds, but I have a specific question:&#xD;&#xA;&#xD;&#xA;Has anyone done tests or has anyone tried out various handhelds to know which one sounds the best when using the XLR input w/ phantom power on a condenser mic? Essentially, a pre-amp shootout.&#xD;&#xA;&#xD;&#xA;The one I'm eying right now is a Tascam DR-40 or the Zoom H4n. I've got a Zoom H2n right now and I want to upgrade to one which allows me to use a better mic for on-the-fly interviews and such.&#xD;&#xA;&#xD;&#xA;Anyone have any suggestions as to the best sounding XLR input on these types of devices or do they sound similar enough that quality doesn't really matter?&#xD;&#xA;&#xD;&#xA;p.s. I have a contact at GC Pro and other such retail stores that could possibly get me some test units of the top contenders out there and I can do a battery of tests with them and I can post them up for ya'll to hear if anyone's interested.&#xD;&#xA;&#xD;&#xA;p.p.s. Come on, Rene, surely you've done this sort of thing already, right? :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18931" PostHistoryTypeId="2" PostId="11489" RevisionGUID="e8678a5c-0298-4d68-8850-2629fd6f8e08" CreationDate="2011-11-21T04:19:36.017" UserId="1228" Text="These may be helpful:&#xD;&#xA;&#xD;&#xA;http://www.avisoft.com/recordertests.htm&#xD;&#xA;&#xD;&#xA;http://www.wingfieldaudio.com/portable-recorder-noise.html#samples" ContentLicense="CC BY-SA 3.0" />
  <row Id="18932" PostHistoryTypeId="5" PostId="11489" RevisionGUID="a65f2838-0431-45ff-839d-91a1bd4b9020" CreationDate="2011-11-21T04:24:44.430" UserId="1228" Comment="added 599 characters in body; added 154 characters in body" Text="These may be helpful:&#xD;&#xA;&#xD;&#xA;http://www.avisoft.com/recordertests.htm&#xD;&#xA;&#xD;&#xA;http://www.wingfieldaudio.com/portable-recorder-noise.html#samples&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I've been using an H4n for a while, and needless to say I'm not too much of a fan anymore (I'm on a the verge of shelling out for a FR2 LE box) - than again, I'm pushing the H4n well beyond it's &quot;practical&quot; limits with trying to record Mojave desert ambiences, Wind, Foley, and small device beeps like Bluetooth headsets among other things.  I've heard good things about the R26, and at least one recording I heard of quiet door squeaks sounded quite clean using the internals, heard nearly no hiss.  But unfortunately I don't know enough about it to say one way or another about going for it.&#xD;&#xA;&#xD;&#xA;And FYI these observations and usage of the H4n is based on various instances of using the internals and tying in my Rode NT4 for outboard situations." ContentLicense="CC BY-SA 3.0" />
  <row Id="18933" PostHistoryTypeId="2" PostId="11490" RevisionGUID="e41e542f-beca-4b6a-918f-b788b43cc05a" CreationDate="2011-11-21T05:53:15.807" UserId="842" Text="I don't really use handhelds myself anymore, though I started out with an old M-Audio Microtrack (still collecting dust in the studio :-)), but I'm actually looking for something too now for collecting covert restaurant-, airport-, and happening-abiances as well as any other amb where you don't want your victims aware and commenting (not to say piss off guards and such...). &#xD;&#xA;I've found this site. Perhaps not exactly fresh I'd guess (can't find any date on this article), but still pretty good I'd say!&#xD;&#xA;&#xD;&#xA;http://digitalmedia.oreilly.com/audio/portable-recorder-comparison/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18934" PostHistoryTypeId="5" PostId="11487" RevisionGUID="9e1ef90b-2810-45aa-b3d3-940852865ed9" CreationDate="2011-11-21T06:26:13.733" UserId="18160" Comment="added 100 characters in body" Text="Couple of things I noticed, but keep in mind it's merely my humble opinion and can be taken with a grain of salt:&#xD;&#xA;&#xD;&#xA;Not sure if you're like me but I am well aware of the extraneous voices a human mouth can make. I would edit out at least the major clicks and I heard a few swallows in there as well.&#xD;&#xA;&#xD;&#xA;The recording sounds like it was done in a medium-sized room with bare walls. When I record narration for audiobooks, I try to make it have no space at all - no discernible sense of &quot;oh - this was recorded in a room&quot;, because most people will listen to this on headphones.&#xD;&#xA;&#xD;&#xA;I'd add a bit more body to the voice - either by adding a touch (not too much) of compression, or weight like 80-100 Hz, though the voice doesn't naturally have this much bass so it might end up making it sound muddy. I would at least take out the 2K zing that hurts when you turn it up loud.&#xD;&#xA;&#xD;&#xA;Same point as Justin - the levels could be more smooth. Bring what you want large up behind the narrator for a moment or edit the narrator to come in after the music comes in. Feather in the music if you want it that loud but don't overpower the voice if that's your message.&#xD;&#xA;&#xD;&#xA;I'd make the sound effect of the record mono as if it's happening in the space (like foley) and then make the music start out mono and then gradually pan it into the stereo you've got it at. Because it starts out as source music and then switches to score (I think that's what happens in the story, anyway).&#xD;&#xA;&#xD;&#xA;What microphone did you use to record? And what recorder? I can hear a bit of the digital I/O harshness.&#xD;&#xA;&#xD;&#xA;But anyways, good job! Seems like a fun project." ContentLicense="CC BY-SA 3.0" />
  <row Id="18935" PostHistoryTypeId="2" PostId="11491" RevisionGUID="b353a808-c6de-4ed9-af45-686fd907e066" CreationDate="2011-11-21T08:23:59.443" UserId="3201" Text="I don't where I heard this, but it seems that big guys tend to get best dialog result out of combining boom track and lav together, so I'm just wondering HOW?&#xD;&#xA;&#xD;&#xA;for instance, do you cut the boom's low and add it with lav's low?  and how could you avoid the phase problem? " ContentLicense="CC BY-SA 3.0" />
  <row Id="18936" PostHistoryTypeId="1" PostId="11491" RevisionGUID="b353a808-c6de-4ed9-af45-686fd907e066" CreationDate="2011-11-21T08:23:59.443" UserId="3201" Text="How do you combine boom mic track with lav mic track for best dialog?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18937" PostHistoryTypeId="3" PostId="11491" RevisionGUID="b353a808-c6de-4ed9-af45-686fd907e066" CreationDate="2011-11-21T08:23:59.443" UserId="3201" Text="&lt;dialogue&gt;&lt;lavalier&gt;&lt;boom&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18938" PostHistoryTypeId="2" PostId="11492" RevisionGUID="97326328-b0df-4b4d-bfb4-24973e4cb8a0" CreationDate="2011-11-21T09:25:56.130" UserId="3201" Text="Musically, I'd say harp..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18939" PostHistoryTypeId="16" PostId="11492" RevisionGUID="97326328-b0df-4b4d-bfb4-24973e4cb8a0" CreationDate="2011-11-21T09:25:56.130" UserId="-1" />
  <row Id="18940" PostHistoryTypeId="2" PostId="11493" RevisionGUID="12c02f50-f0ef-4ae5-b353-d626dc1f70a0" CreationDate="2011-11-21T12:37:32.850" UserId="3203" Text="You cant...&#xD;&#xA;&#xD;&#xA;So either you spend a lot of time trying your very best to make the phase perfect, to then realize that the mixer promptly chooses the best mic for the job and mutes the other (or uses it pretty low as a room mic).&#xD;&#xA;Phase issues sound VERY different in a near field monitoring than it will on a dub stage.&#xD;&#xA;So choose your sounds/mics wisely.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Well, it can work in totally static shots but if its a static shot it would probably be less issues with sound quality to begin with.&#xD;&#xA;&#xD;&#xA;It can however be used that way if its been recorded as ADR (if you wanted to) as long as you are very careful with the phase matching. But personally I find the best solution is almost always to just go with the best sounding one.&#xD;&#xA;&#xD;&#xA;There will OTOH be times when you HAVE to do it to get any usable sound at all. Then you do the best you can and leave it at that :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18941" PostHistoryTypeId="2" PostId="11494" RevisionGUID="681240af-94e8-429e-a140-d3f99473be6e" CreationDate="2011-11-21T12:57:49.310" UserId="826" Text="The Sound Devices mixers work well with various recorders. This way you get SD preamps quality, and save the money until you can buy serious recorder (SD 744t or 788t, maybe Nomad)&#xD;&#xA;The Tascam DR-680 has a very good quality for the money. And it works very good with SD mixers as it can accept a signal that is as hot as +24dBu (top of the range output on SD mixers). 302, 442, or 552, whichever suits your budget. They're all fine. With the 442 and 552 you can record 4 or 5 isolated tracks. Also 552 gives you an option to record 2 channel timecode material. Good stuff :-)   " ContentLicense="CC BY-SA 3.0" />
  <row Id="18942" PostHistoryTypeId="2" PostId="11495" RevisionGUID="62227d9c-7dfb-422e-a548-bf8030dc1868" CreationDate="2011-11-21T14:40:57.820" UserId="3204" Text="Erik makes a very good point. More and more, mixers schedules don't permit to be choosing between sides. As an editor you should be confident in your tracks to just choose your best sounding side and go with it.&#xD;&#xA;&#xD;&#xA;However... There are situations that require boom and lav to make it even acceptable without looping. (Or typically getting it the best it can sound because without fail the producers/directors will want to go with the production over ADR to save the performance.) In this case, I typically use the boom and clean that up best I can. Then pull up the lav underneath and usually mod cut it to avoid any unnecessary lav/cloth noise. You need to turn your nudge value to subframes, zoom right in and nudge your lav track so the waveforms match your boom region (or clip we're calling it these days). Sometimes you'll need to audiosuite invert the lav region if your waveforms don't match. Use your ears. If it sounds phasey, maybe you need to shift it another subframe in one direction of the other. Then I usually volume graph between the two sides to find a good mix between the two.&#xD;&#xA;&#xD;&#xA;This can be a bit tedious (especially for a long scene) but it can sometimes save a scene from being looped. If you wanted to take it a step further and were concerned the mixer might drop a side you could always bounce down that shot and lay it in as a mixdown but move the original to tracks a strip track that gets carried along with the mix so the mixer always can go into the original if they need to. Grab handles or whatever.&#xD;&#xA;&#xD;&#xA;Everyone is different but that's my 2¢&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18943" PostHistoryTypeId="2" PostId="11496" RevisionGUID="68c959aa-bad6-4972-a7b7-2c183ac6199d" CreationDate="2011-11-21T15:17:10.827" UserId="2136" Text="The moment during the wedding in Fiddler on the Roof right before the Russian soldiers start destroying everything.  I also like how the silence is broken by the horse and not any person, I feel like this makes the moment more poignant." ContentLicense="CC BY-SA 3.0" />
  <row Id="18944" PostHistoryTypeId="16" PostId="11496" RevisionGUID="68c959aa-bad6-4972-a7b7-2c183ac6199d" CreationDate="2011-11-21T15:17:10.827" UserId="-1" />
  <row Id="18945" PostHistoryTypeId="2" PostId="11497" RevisionGUID="65a1a092-38dc-462d-befd-820f0536c128" CreationDate="2011-11-21T15:33:38.750" UserId="3145" Text="Delicate glass tinkle." ContentLicense="CC BY-SA 3.0" />
  <row Id="18946" PostHistoryTypeId="16" PostId="11497" RevisionGUID="65a1a092-38dc-462d-befd-820f0536c128" CreationDate="2011-11-21T15:33:38.750" UserId="-1" />
  <row Id="18947" PostHistoryTypeId="2" PostId="11498" RevisionGUID="5a224fbb-1789-4d98-9bdf-e845ad971357" CreationDate="2011-11-21T16:08:05.533" UserId="61" Text="Heavenly choir / voices and any sort of bells." ContentLicense="CC BY-SA 3.0" />
  <row Id="18948" PostHistoryTypeId="16" PostId="11498" RevisionGUID="5a224fbb-1789-4d98-9bdf-e845ad971357" CreationDate="2011-11-21T16:08:05.533" UserId="-1" />
  <row Id="18949" PostHistoryTypeId="2" PostId="11499" RevisionGUID="f38ebe28-f910-4e60-8e40-ee9ad4affdfa" CreationDate="2011-11-21T16:14:01.303" UserId="6499" Text="This is kind of a follow up to a previous question I had asked about audio cleanup.&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/10371/some-tips-to-soften-wind-noise&#xD;&#xA;&#xD;&#xA;The director has asked me my thoughts on doing ADR for some of the scenes/shots in which there is really heavy wind noise.  My initial response to the first set of clips she sent me was, instead of adr, we should just reshoot it.  Both of the clips are very simple, man on a boat explaining some things.  &#xD;&#xA;&#xD;&#xA;She has sent me another clip which would be almost impossible to recreate, so now ADR is back on the table.&#xD;&#xA;&#xD;&#xA;Here are my concerns with ADR.  For starters, I am not really experienced much in adr.  Second, it is non actors, so I am not sure how well they will fair with looping things.  Third is that I have no facility to do this in.  I am currently editing out of my house,  All of the rooms are large and wooden and very very very live.  The Scene takes place out on the water, so I feel that anything I record at my house will not ever sit within the scene.&#xD;&#xA;&#xD;&#xA;I'm not really sure what I am asking, I just do not know what to do, or how to do adr to fit in an ext scene. There is also some weird part of me that feels morally wrong for looping a documentary haha.&#xD;&#xA;&#xD;&#xA;Should I maybe find some other studio here that has the facilities to loop and then refer her to them for adr?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18950" PostHistoryTypeId="1" PostId="11499" RevisionGUID="f38ebe28-f910-4e60-8e40-ee9ad4affdfa" CreationDate="2011-11-21T16:14:01.303" UserId="6499" Text="ADR in a documentary" ContentLicense="CC BY-SA 3.0" />
  <row Id="18951" PostHistoryTypeId="3" PostId="11499" RevisionGUID="f38ebe28-f910-4e60-8e40-ee9ad4affdfa" CreationDate="2011-11-21T16:14:01.303" UserId="6499" Text="&lt;adr&gt;&lt;documentary&gt;&lt;clean&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18952" PostHistoryTypeId="2" PostId="11500" RevisionGUID="3cbe458e-b54a-4480-87ed-9eeda7dbc796" CreationDate="2011-11-21T17:07:21.753" UserId="142" Text="There have been a couple of discussions about this but none have really covered Micron or Audio LTD which are two systems I am looking at. I need to invest in a decent wireless setup and have two or three choices which will hopefully be in my budget. I know Lectrosonics or Zaxcom are at the top of the list but I just can't afford to go there. &#xD;&#xA;I am looking at Audio Ltd setups especially the Audio Limited EN2 Dual Diversity kit. [http://www.pinknoise-systems.co.uk/audio-limited-dual-diversity-p-634.html][1]&#xD;&#xA;Micron was also another choice with the 100 explorer series [http://www.pinknoise-systems.co.uk/micron-explorer-series-16ch-sdr116-tx716a-p-382.html][2]&#xD;&#xA;Also kinder to the wallet would be the Sennheiser G3 wireless which seem to have mixed opinions on here.&#xD;&#xA;Any advice or sharing of experiences with these systems would be a great help. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.pinknoise-systems.co.uk/audio-limited-dual-diversity-p-634.html&#xD;&#xA;  [2]: http://www.pinknoise-systems.co.uk/micron-explorer-series-16ch-sdr116-tx716a-p-382.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="18953" PostHistoryTypeId="1" PostId="11500" RevisionGUID="3cbe458e-b54a-4480-87ed-9eeda7dbc796" CreationDate="2011-11-21T17:07:21.753" UserId="142" Text="Help with wireless mic setup" ContentLicense="CC BY-SA 3.0" />
  <row Id="18954" PostHistoryTypeId="3" PostId="11500" RevisionGUID="3cbe458e-b54a-4480-87ed-9eeda7dbc796" CreationDate="2011-11-21T17:07:21.753" UserId="142" Text="&lt;wireless&gt;&lt;radiomics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18955" PostHistoryTypeId="2" PostId="11501" RevisionGUID="035f6dc6-abdd-40bb-b550-495e02a4cd85" CreationDate="2011-11-21T17:19:32.960" UserDisplayName="user80" Text="I am very happy with the Sennheiser G3s, just spend a bit of time hunting for clear bandwidth and then use fresh Duracells." ContentLicense="CC BY-SA 3.0" />
  <row Id="18956" PostHistoryTypeId="2" PostId="11502" RevisionGUID="6052bf6d-98c0-4697-8abd-9d7b3bf79589" CreationDate="2011-11-21T18:14:37.423" UserId="3205" Text="krk rokit8, good for recording-bad for mixing (exept hip-hop). the midrange of guitars, hamond, vocals...is not real. they are just for r&amp;b or hip hop." ContentLicense="CC BY-SA 3.0" />
  <row Id="18957" PostHistoryTypeId="2" PostId="11503" RevisionGUID="c0737074-99f4-47ae-bf0f-a6b6508467b0" CreationDate="2011-11-21T18:18:13.337" UserId="315" Text="Do you have a field recording kit, or some sort of field recorder? You could loop the interview somewhere (preferably quiet) outside. It will probably match production better than a super clean studio recording anyway. I wouldn't try this in a live, non-treated room. The human ear is super sensitive to early reflections, and it will be pretty obvious that the line is looped.&#xD;&#xA;&#xD;&#xA;A good idea when looping is to play the offending interview back in headphones (line by line if you can), so the subject can get an idea of the rhythm and tone of what they said, and mimic it back to you. Even if you think they nailed it, you'll probably have a bunch of editing to do to get it to sync up later.&#xD;&#xA;&#xD;&#xA;Looping is done all the time in documentaries, I wouldn't sweat it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18958" PostHistoryTypeId="2" PostId="11504" RevisionGUID="b9e935fb-20a3-4f2c-a195-5cac75d6777d" CreationDate="2011-11-21T19:18:32.400" UserId="7642" Text="The R26 XLR inputs are quite ok. &#xD;&#xA;Not as quiet as a SD/Fostex FR2 or Tascam 680.&#xD;&#xA;But not at all bad. I have yet to find enough time to set up a proper comparision.&#xD;&#xA;&#xD;&#xA;The internal mics however leave a lot to wish for... Lots a hiss...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18959" PostHistoryTypeId="2" PostId="11505" RevisionGUID="a3a24a06-5645-429e-aeff-8b71b1c80a31" CreationDate="2011-11-21T20:23:45.193" UserId="826" Text="I use the Micron Explorer 100 series wireless, and have to say they sound really good. I used sennheiser g2 500 systems before and they were really noisy. I have one G3 500 IEM system and while the sound quality is better than the g2 systems, i think that microns will be a better investment if you want to do this professionally. The range of my systems is way better than g2 systems, usually i get a 30-50 meters of range. Depends on the area of course. Microns have only basic features, no scanning but are built to last and easy to use. It depends how much you want to spend, i bought mine used but in very good shape. You could ask John @ Pinknoise at used kits. I got mine from him also. I'm sure Audio LTD EN2 is a nice system and it has the scan feature as i see.There is another system worth considering -the company is called Audio Wireless - http://www.audiowireless.co.uk/ I do not know the pricing, as it's the new thing, but i heard that they are manufactured by the guy that founded Micron, it may be worth checking out. You could also ask soundies on jwsoundgroup forum. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18960" PostHistoryTypeId="2" PostId="11506" RevisionGUID="7575896c-d448-4454-a4b9-ae9f68e27e17" CreationDate="2011-11-21T20:53:34.033" UserId="278" Text="I think its a nice piece of work! how to improve it? Ok here is an other humble opinion based in my short experience.&#xD;&#xA;&#xD;&#xA;Taking into account that dialog is the first driver of the story telling I would:&#xD;&#xA;&#xD;&#xA;Technically- I agree with Utopia about the sound of the room being present in the recording is not the best. It is true that creating an optimum recording space for voice over is not easy. I found a way round this problem  could using a less sensitive microphone, a dynamic microphone like the good old SM58. As it so less sensitive than your rode it will not pick up the room specially if you still treat your space. I think it is normal to want to use the &quot;best&quot; possible mic  for a job but sometimes the best mic is not the best tool for a certain job due to other factors, in this case the room.&#xD;&#xA;&#xD;&#xA;Creatively- I think the narrator could to with a bit more practice with the (dramatizing/preforming/acting) to add more impact. This would also involve increasing the dynamics of the recording which could later be carefully compressed (As my friend Justin rightly pointed out) a careful compression would permit the voice sit clearer/more present with out compromising its dramatic content.&#xD;&#xA;&#xD;&#xA;The ambiance could do with a few more layers to make it a bit more rich? (Sound scape).&#xD;&#xA;&#xD;&#xA;I have added an example of dialogue recordings I carried out using a sm58 beta because of room issues. the narrator voice was recorded using a Rode NT1, all the other interviews were recorded with the SM. I then added different amounts of reverb to each recording to match the worst sounding environment which was a dance studio where one wall was covered with massive mirrors the other wall was all windows and the floor was polished wood! Its not the best example of how dry a recording you can get nor a lecture in voice recording but will maybe give you an idea of the sound quality you can get from this mic.&#xD;&#xA;&#xD;&#xA;http://peric.podbean.com/2009/12/06/flamenco-in-scotland/&#xD;&#xA;&#xD;&#xA;All the best&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18961" PostHistoryTypeId="2" PostId="11507" RevisionGUID="9177252b-50a4-47a6-8c79-be2ad8797998" CreationDate="2011-11-21T21:20:15.047" UserId="261" Text="So, I'm going away for a bit and want to take my laptop with me. Including my NI Komplete so that I can make music when/where I want to...&#xD;&#xA;&#xD;&#xA;I've been looking at getting an OCZ Vertex 3 250GB and moving Komplete onto it and throwing out the DVD drive (I haven't burnt a disc of any kind in about 2 years)&#xD;&#xA;&#xD;&#xA;I know that SSDs slow down with age(and a lot of writing and 'erasing' causes this slow down, etc, but I'm wondering whether I need to be concerned about this at all as the iea is to use this drive solely for my NI stuff, including the great instruments made by Tonehammer, Twisted  Tools etc.&#xD;&#xA;So no writing/erasing taking place....only streaming from disk.&#xD;&#xA;&#xD;&#xA;The forums I've looked seem to discuss the pros/cons of using an SSD as main drive, but there doesn't seem to be much out there in the way of music/sound specific tricks.&#xD;&#xA;&#xD;&#xA;@joecavers @C3Sound @JayJennings&#xD;&#xA;&#xD;&#xA;What do you know?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18962" PostHistoryTypeId="1" PostId="11507" RevisionGUID="9177252b-50a4-47a6-8c79-be2ad8797998" CreationDate="2011-11-21T21:20:15.047" UserId="261" Text="Has anyone here replaced their MBP dvd drive with an SSD? I wanna run NI Komplete sans external HDD" ContentLicense="CC BY-SA 3.0" />
  <row Id="18963" PostHistoryTypeId="3" PostId="11507" RevisionGUID="9177252b-50a4-47a6-8c79-be2ad8797998" CreationDate="2011-11-21T21:20:15.047" UserId="261" Text="&lt;ssd&gt;&lt;harddrive&gt;&lt;computer&gt;&lt;gear&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18964" PostHistoryTypeId="2" PostId="11508" RevisionGUID="e5100b10-0f60-4df2-9748-558aea02ba1a" CreationDate="2011-11-22T01:05:08.253" UserId="118" Text="One simpler method of doing fine phase adjustment such as Tyler describes might be to use a phase adjustment plugin such as Radix's [Auto-Alignment][1] plugin.  Haven't had a chance to test it out yet but worth a go perhaps? (I think Voxengo do one too)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundradix.com/products/auto-align/" ContentLicense="CC BY-SA 3.0" />
  <row Id="18968" PostHistoryTypeId="2" PostId="11510" RevisionGUID="2c8f2616-8f85-4463-865d-876e975ca8cb" CreationDate="2011-11-22T01:55:40.590" UserId="418" Text="I have an SSD in my Macbook, love it. &#xD;&#xA;&#xD;&#xA;However, be aware that the Komplete factory library takes up around 200GB, even with a lot of the Kontakt patches in their compressed states. That doesn't leave you much room for the OS or anything else. I store Komplete (and all other big libraries) on an external drive. No other choice really. " ContentLicense="CC BY-SA 3.0" />
  <row Id="18969" PostHistoryTypeId="2" PostId="11511" RevisionGUID="f9f25848-9b8c-44d1-af83-1d8a800291bd" CreationDate="2011-11-22T02:46:51.533" UserId="18160" Text="... you have 4 answers in this thread alone." ContentLicense="CC BY-SA 3.0" />
  <row Id="18970" PostHistoryTypeId="16" PostId="11511" RevisionGUID="f9f25848-9b8c-44d1-af83-1d8a800291bd" CreationDate="2011-11-22T02:46:51.533" UserId="-1" />
  <row Id="18971" PostHistoryTypeId="12" PostId="11511" RevisionGUID="d6ff1d41-c9a5-414e-b91f-44589604d353" CreationDate="2011-11-22T02:50:30.057" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="18972" PostHistoryTypeId="2" PostId="11512" RevisionGUID="9dcda13b-bab6-4c47-9ee8-1473e1c1f81a" CreationDate="2011-11-22T06:11:33.667" UserId="182" Text="I have replaced the stock drive in my macbook with a 500 gb hard drive with 4gb flash memory. It automatically copies the most used files to the flash. Not nearly as fast as a real ssd though.&#xD;&#xA;&#xD;&#xA;Wouldn't it be a better option to have a (perhaps smaller) ssd for your OS and applications, and put a normal 500gb or 750gb drive in place of the dvd drive for your samples? That way you have much more space, and if it's a fast drive you won't hit its limits very quickly when making music.&#xD;&#xA;&#xD;&#xA;The downside is that power consumption will increase slightly." ContentLicense="CC BY-SA 3.0" />
  <row Id="18973" PostHistoryTypeId="2" PostId="11513" RevisionGUID="e0a27651-a11c-4c14-b08d-24692324bc7b" CreationDate="2011-11-22T10:17:41.070" UserId="280" Text="Hi,&#xD;&#xA;I got a Roland R-26 and I've used it for two weeks. &#xD;&#xA;Well, I'm pretty happy about my choice, I think that fot that money it gives you more that you pay. &#xD;&#xA;I've used it in different occasions with different set-ups.&#xD;&#xA;&#xD;&#xA;- Internal mics: this configuration is very usefull and easy to use. I don't really understend what the two OMNI mics are there for, but the XY mics are well calibrated and works great. I'm telling that about the OMNIs because they are like an A-B rec but they are too cole for a real a-b recording. I'm afraid that you could have mono-compatibility problems. With XY you can be secure that you'll not have MONO problems. &#xD;&#xA;- External mics: I'tried to use the same microphones (Sennheiser MKH 416 and Neumann 81) passing through an &quot;AUDIO&quot; mixer and through the R-26 pre to have a comparative idea. Well...the internal Pre are noisy. More or less like the H4n pre. Maybe the Roland's are a little bit better, but they still remain low level pre. (In my opinion it's obvious, at that price!!). Passing through the external mixer and using the line input the recording is absolutely silent. So if you can, use an external mic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What about rooting options, touch screen and knobs? Fantastic, everything can be used in a very simple and rapid way. About that I think that Roland has made the best entry level recorder. &#xD;&#xA;&#xD;&#xA;So...my conclusions is: Roland R-26 is a good buy, but always remember how much you paid it, never ask him too much. Don't try to make a field recording with gain at maximum level and expect to do not hear the pre's noise. It's made very well and it has a very light weight. Buy it!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;ps: I paid it 380 euros.&#xD;&#xA;&#xD;&#xA;bye!&#xD;&#xA;&#xD;&#xA;Francesco" ContentLicense="CC BY-SA 3.0" />
  <row Id="18974" PostHistoryTypeId="2" PostId="11514" RevisionGUID="8264b8f4-ac55-46ed-b2ae-c391809999b9" CreationDate="2011-11-22T10:18:13.287" UserId="278" Text="You sit on the toilet and reflect about its shape and volume and wonder what is its resonance frequency? " ContentLicense="CC BY-SA 3.0" />
  <row Id="18975" PostHistoryTypeId="16" PostId="11514" RevisionGUID="8264b8f4-ac55-46ed-b2ae-c391809999b9" CreationDate="2011-11-22T10:18:13.287" UserId="-1" />
  <row Id="18976" PostHistoryTypeId="2" PostId="11515" RevisionGUID="32fcd976-2901-406d-a0f3-d1bcb6d09dcc" CreationDate="2011-11-22T11:41:06.940" UserId="3162" Text="&#xD;&#xA;&#xD;&#xA;Can You rent them both and try out first?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There is only one issue with the Microns:&#xD;&#xA;You need to take care of metal touching the case, even the belt clip should not touch the case.To be on the safe side, just by the leather cover for it and You´ll never have any problems with ´em. Although a lot of &quot;theorists&quot; (seller) say, they´re aren´t that good, I used them more than 100 times and never had problems! Better radio frequency stability than G3 .  &#xD;&#xA;&#xD;&#xA;You might get more possibilities with G3, depends if You need versatility.&#xD;&#xA;Radio -Frequency- slection wise, If You leave Your country ;-)&#xD;&#xA;Frequency wise, if You ever want to transmit signal with bass (mixer to camera etc.)&#xD;&#xA;&#xD;&#xA;My&#xD;&#xA;0.2 cents&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18977" PostHistoryTypeId="2" PostId="11516" RevisionGUID="86311c25-4381-4e66-a4d0-4875f3879275" CreationDate="2011-11-22T13:13:30.413" UserId="3208" Text="@Pretaeperon Have you found much more on this subject elsewhere?  This is something I am very interested in!" ContentLicense="CC BY-SA 3.0" />
  <row Id="18978" PostHistoryTypeId="2" PostId="11517" RevisionGUID="5e64ef3a-2a78-4df6-9541-56be32885d2e" CreationDate="2011-11-22T15:20:52.423" UserId="178" Text="Generally speaking, if I'm doing the dialog editing and I have both tracks, I listen to both of them individually. Then I'll pick the best one and mute the other one.&#xD;&#xA;&#xD;&#xA;Most of the time the boom mic wins, but there are cases where the lav comes out better.&#xD;&#xA;&#xD;&#xA;I wouldn't really try to mix both of them together simultaneously. Think of it as a primary and an alternate, not something you're going to blend together in the perfect ratio." ContentLicense="CC BY-SA 3.0" />
  <row Id="18979" PostHistoryTypeId="2" PostId="11518" RevisionGUID="d1a871d2-cb0e-4958-8039-30b2c0392112" CreationDate="2011-11-22T18:13:07.947" UserId="936" Text="You're very welcome to mail me off-list if it'll help for your research, we've a number of interesting projects in the pipeline.&#xD;&#xA;&#xD;&#xA;paulw@earcom.net&#xD;&#xA;&#xD;&#xA;PaulW" ContentLicense="CC BY-SA 3.0" />
  <row Id="18980" PostHistoryTypeId="2" PostId="11519" RevisionGUID="7345a672-3f41-4a10-9cd4-d904689c44c7" CreationDate="2011-11-22T19:18:43.610" UserDisplayName="user49" Text="Only thing I can add is that you can get interesting results by using 'normal' sounds as impulse responses eg I made a long decaying impulse from a loop group of girls whispering, by then playing different winds (which share some frequency content with the impulse) the winds took on some of the whispering... " ContentLicense="CC BY-SA 3.0" />
  <row Id="18981" PostHistoryTypeId="2" PostId="11520" RevisionGUID="ed89616c-3741-401e-bd6d-de9a1fc134d5" CreationDate="2011-11-22T23:06:55.140" UserId="958" Text="...your sms message tone is the Wilhelm Scream." ContentLicense="CC BY-SA 3.0" />
  <row Id="18982" PostHistoryTypeId="16" PostId="11520" RevisionGUID="ed89616c-3741-401e-bd6d-de9a1fc134d5" CreationDate="2011-11-22T23:06:55.140" UserId="-1" />
  <row Id="18983" PostHistoryTypeId="2" PostId="11521" RevisionGUID="f6bb0fa0-8abb-4565-adbb-4cebd5323f4b" CreationDate="2011-11-22T23:18:32.173" UserId="958" Text="I'm wondering if anyone has or knows where I could find Street Ambience or Walla from the first half of last century. I'm not concerned about a specific nationality or language.&#xD;&#xA;&#xD;&#xA;I'm working on a uni project where the character travels to a unique, foreign land that has a vintage, steampunk style. The vehicles look vaguely like Model T Fords." ContentLicense="CC BY-SA 3.0" />
  <row Id="18984" PostHistoryTypeId="1" PostId="11521" RevisionGUID="f6bb0fa0-8abb-4565-adbb-4cebd5323f4b" CreationDate="2011-11-22T23:18:32.173" UserId="958" Text="Request: Historical Street Atmos/Walla (Pre-50s)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18985" PostHistoryTypeId="3" PostId="11521" RevisionGUID="f6bb0fa0-8abb-4565-adbb-4cebd5323f4b" CreationDate="2011-11-22T23:18:32.173" UserId="958" Text="&lt;historical&gt;&lt;walla&gt;&lt;atmosphere&gt;&lt;street&gt;&lt;vintage&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18986" PostHistoryTypeId="2" PostId="11522" RevisionGUID="8cc6dd2f-4fea-479c-a1d8-4e208dec55b5" CreationDate="2011-11-23T01:31:09.337" UserId="18160" Text="Search your library for &quot;old traffic&quot;. This is a cliche, very often used traffic file that your uni might have on their drives. It's got a great little &quot;beep beep&quot; that I hear at least 3 times a month in TV shows and movies." ContentLicense="CC BY-SA 3.0" />
  <row Id="18987" PostHistoryTypeId="5" PostId="11522" RevisionGUID="aad9d160-3b15-4a56-a5e3-58cba39e59fb" CreationDate="2011-11-23T02:19:14.320" UserId="18160" Comment="added 32 characters in body; added 1 characters in body; added 17 characters in body" Text="Search your library for a WAV file named &quot;old traffic&quot;. This is a cliche, very often used traffic sound that your uni might have on their drives. It's got a great little &quot;beep beep&quot; in the beginning of the file that I hear at least once a month in dated TV shows and movies." ContentLicense="CC BY-SA 3.0" />
  <row Id="18989" PostHistoryTypeId="2" PostId="11523" RevisionGUID="ca41ddb3-2c93-4d4c-b83f-1fa3686ab295" CreationDate="2011-11-23T05:42:15.833" UserId="338" Text="There might be a Fox 20th Century library of older sounds somewhere..." ContentLicense="CC BY-SA 3.0" />
  <row Id="18990" PostHistoryTypeId="2" PostId="11524" RevisionGUID="d552af92-3d7d-423c-bd40-d9db253a6fd7" CreationDate="2011-11-23T05:58:11.080" UserId="397" Text="There's this collection of sfx from the 50's to the 80's.  [http://sound-ideas.com/digivintage.html][1], also check this [link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sound-ideas.com/sfxmenu-vintage.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="18991" PostHistoryTypeId="4" PostId="6527" RevisionGUID="64e4bc5a-865d-4832-96fc-4cb23cc39ccc" CreationDate="2011-11-23T06:38:34.973" UserDisplayName="user80" Comment="edited title" Text="Separating Early reflections from Diffuse in an Impulse Response" ContentLicense="CC BY-SA 3.0" />
  <row Id="18992" PostHistoryTypeId="2" PostId="11525" RevisionGUID="0117458c-d9dc-4de9-81ef-ca6d24dc3390" CreationDate="2011-11-23T07:05:49.310" UserId="61" Text="![alt text][2]&#xD;&#xA;&#xD;&#xA;Probably not, but at $80 it may become many people's go-to solution for impromptu everyday captures. And although it's currently capped at 16bit-44.1kHz, I imagine it's only a matter of time before a software/firmware update takes care of that.&#xD;&#xA;&#xD;&#xA;[Tascam iM2][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tascamcontractor.com/product/im2/overview/&#xD;&#xA;  [2]: http://www.tascamcontractor.com/content/images/universal/misc/im2_with_iphone_grey.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="18993" PostHistoryTypeId="1" PostId="11525" RevisionGUID="0117458c-d9dc-4de9-81ef-ca6d24dc3390" CreationDate="2011-11-23T07:05:49.310" UserId="61" Text="Is this the Zoom killer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18994" PostHistoryTypeId="3" PostId="11525" RevisionGUID="0117458c-d9dc-4de9-81ef-ca6d24dc3390" CreationDate="2011-11-23T07:05:49.310" UserId="61" Text="&lt;handheld&gt;&lt;field-recording&gt;&lt;zoom&gt;&lt;tascam&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="18995" PostHistoryTypeId="2" PostId="11526" RevisionGUID="e8efe608-9d83-4428-af72-af65a2f0014b" CreationDate="2011-11-23T07:35:43.923" UserId="842" Text="In my opinion you can't combine boom and lav in the same scene at all, it's a HUGE difference in character between 'em. The lavs have a much more &quot;flat&quot; sound, and where you might very well match up two different boom-mics to appear consistent by filtering, you can't really do that between lav and boom as the change in flatness and liveliness gets very obvious when hearing them both at the same time.&#xD;&#xA;I rarely work with lavs at all, I don't like them and my employers mostly prefer the shine I can give by using high quality booming, but when I do it's mostly only in extreme wideshots without any closeups, or in long takes with extensive steadycam movement where there are no room to move smoothly.&#xD;&#xA;&#xD;&#xA;Sometimes, though, you might get a project or two where there are no budget for ADR, not enough preparations, and no respect for wild-lines. In this case, having a clear take though it will sounds pretty mongoloid in the mix (still ONLY meaning when jigsawed together, everything else is a matter of taste and need), compared to a rich, living sound where you have absolutely no idea what was said, is well worth it! Though the average Joe might deem it amateurish depending on how obvious the transition is, they will buy it. An unintelligible line, however, is not as easily forgiven and might ruin the whole take.&#xD;&#xA;&#xD;&#xA;But mostly, if it's that bad, you discard the boom altogether and go with the lavs fot that scene.&#xD;&#xA;&#xD;&#xA;I was about to compare mixing lavs and boom-mics with Roger Rabbit, but that's very unfair of me. Instead, a great comparison is actually to try combine 35mm film with DV! It can be used either as an effect or by keeping 'em apart with good editing and planning, but it will never be the same, and must be treated carefully." ContentLicense="CC BY-SA 3.0" />
  <row Id="18996" PostHistoryTypeId="2" PostId="11527" RevisionGUID="da787ed0-778a-45b9-987b-7f83675c3064" CreationDate="2011-11-23T07:47:06.217" UserId="18160" Text="Nice find!&#xD;&#xA;&#xD;&#xA;Yeah - I'd use it if it was 96 24, personally. It's what I run my Zoom H2n at.&#xD;&#xA;&#xD;&#xA;and hopefully they put some XLR inputs on it (somewhat joking..) if they worked out phantom power from the phone :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="18997" PostHistoryTypeId="2" PostId="11528" RevisionGUID="b3707819-81c7-47ac-869b-5831d95d0d3a" CreationDate="2011-11-23T08:35:48.027" UserId="3183" Text="Maybe I'm wrong, but as far as I know, this 16/44.1 thing is some kind of hardware limitation. But for this price, it seems very good." ContentLicense="CC BY-SA 3.0" />
  <row Id="18998" PostHistoryTypeId="2" PostId="11529" RevisionGUID="30b6fbbd-2d4e-4a5f-92f2-e956c2827254" CreationDate="2011-11-23T09:33:00.143" UserId="842" Text="That spacing between the mics makes me pretty negative about it...&#xD;&#xA;&#xD;&#xA;Great idea though! Wonder how the mics are considering the price? I mean, you can get a very good Line CM3 for less than 100 euro, but that's the cheapest I've ever seen for a single pro mike, and here we got stereo?" ContentLicense="CC BY-SA 3.0" />
  <row Id="18999" PostHistoryTypeId="2" PostId="11530" RevisionGUID="9a76ef78-aed8-4123-b0fa-772fc227d98c" CreationDate="2011-11-23T09:38:45.447" UserId="2498" Text="I've always been a bit confused as to why smart phones aren't exploited as portable recorders. I tried using an iphone3S for the job, but the rumour was that the iphone's onboard preamp was proprietary and couldn't be bypassed, to the point that having a a/d converter in the mobile interface wasn't an option.&#xD;&#xA;&#xD;&#xA;Glad to see someone's found a way around it (or I was just wrong?). Picked up the sony pcm m10 recently, but this is a niche that imo hasn't been exploited enough. &#xD;&#xA;&#xD;&#xA;*Camera? Who needs a camera! Gimme a damn audio interface!*  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also, is this different from blue's &quot;mikey&quot;&#xD;&#xA;http://www.bluemic.com/mikey/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19000" PostHistoryTypeId="5" PostId="11506" RevisionGUID="e0d24d29-70d9-40bb-b65b-b215986af8b9" CreationDate="2011-11-23T11:16:06.077" UserId="278" Comment="added 2 characters in body" Text="I think its a nice piece of work! how to improve it? Ok here is an other humble opinion based in my short experience.&#xD;&#xA;&#xD;&#xA;Taking into account that dialog is the first driver of the story telling I would:&#xD;&#xA;&#xD;&#xA;Technically- I agree with Utopia about the sound of the room being present in the recording is not the best. It is true that creating an optimum recording space for voice over is not easy. I found a way round this problem  could using a less sensitive microphone, a dynamic microphone like the good old SM58. As it so less sensitive than your rode it will not pick up the room specially if you still treat your space. I think it is normal to want to use the &quot;best&quot; possible mic  for a job but sometimes the best mic is not the best tool for a certain job due to other factors, in this case the room.&#xD;&#xA;&#xD;&#xA;Creatively- I think the narrator could to with a bit more practice with the (dramatizing/preforming/acting) to add more impact. This would also involve increasing the dynamics of the performance which could later be carefully compressed (As my friend Justin rightly pointed out) a careful compression would permit the voice sit clearer/more present with out compromising its dramatic content.&#xD;&#xA;&#xD;&#xA;The ambiance could do with a few more layers to make it a bit more rich? (Sound scape).&#xD;&#xA;&#xD;&#xA;I have added an example of dialogue recordings I carried out using a sm58 beta because of room issues. the narrator voice was recorded using a Rode NT1, all the other interviews were recorded with the SM. I then added different amounts of reverb to each recording to match the worst sounding environment which was a dance studio where one wall was covered with massive mirrors the other wall was all windows and the floor was polished wood! Its not the best example of how dry a recording you can get nor a lecture in voice recording but will maybe give you an idea of the sound quality you can get from this mic.&#xD;&#xA;&#xD;&#xA;http://peric.podbean.com/2009/12/06/flamenco-in-scotland/&#xD;&#xA;&#xD;&#xA;All the best&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19001" PostHistoryTypeId="2" PostId="11531" RevisionGUID="80655228-c88e-4bae-b880-fb09f42b5f67" CreationDate="2011-11-23T11:38:32.643" UserId="7642" Text="This is almost what I always wanted (since the original iPhone appeared!&#xD;&#xA;&#xD;&#xA;While 80$ is not that much, I bet it does not have &quot;true&quot; condensers but electret mics like every other handheld recorder does as well.&#xD;&#xA;Electret mic capsules by their construction is pretty cheap. An expensive one might cost 10$. It's not the microphones that are expensive in portable recorders. Never have been, probably never will.&#xD;&#xA;&#xD;&#xA;16bit 44.1 is not optimum and might very well be a hardware limitation. But in our bought archive 70% is still that very format. And is used daily so in itself not a huge limitation. Of corse it will not be the best choice of recorder to record sound design material, but neither is any other small format hand held recorder.&#xD;&#xA;&#xD;&#xA;Comparing ANY handheld or proffessional recorder to the recording app FIre2 as it is unfair, it pretty much kills them all.&#xD;&#xA;Functions like geotagging and adding photos is included, easy meta data editing and super convenient format.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'll buy it if it sounds anywhere near decent." ContentLicense="CC BY-SA 3.0" />
  <row Id="19002" PostHistoryTypeId="2" PostId="11532" RevisionGUID="291b724f-5355-424c-8c1a-b55f6584c5f4" CreationDate="2011-11-23T11:39:38.790" UserId="1216" Text="To be honest, walla sounds from the 50's don't sound all that different, when listening to the voices. What makes a great walla is not the individual voices, but the sum of it's parts. The thing that makes it sound specifically 50's are mostly contextual sounds, like the car honks that utopia refers to.  &#xD;&#xA;Focus on getting good 50s specific street sounds (incl. some voices by street vendors from that era) and everyone will believe it's the real deal/authentic. &#xD;&#xA;&#xD;&#xA;Good luck on your project&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19003" PostHistoryTypeId="5" PostId="11531" RevisionGUID="01582adc-2245-4851-9fae-09a13e481a89" CreationDate="2011-11-23T11:54:54.803" UserId="7642" Comment="added 35 characters in body" Text="This is almost what I always wanted (since the original iPhone appeared!&#xD;&#xA;&#xD;&#xA;While 80$ is not that much, I bet it does not have &quot;true&quot; condensers but electret mics like every other handheld recorder does as well.&#xD;&#xA;Electret mic capsules by their construction is pretty cheap. An expensive one might cost 10$. It's not the microphones that are expensive in portable recorders. Never have been, probably never will.&#xD;&#xA;&#xD;&#xA;16bit 44.1 is not optimum and might very well be a hardware limitation. But in our bought archive 70% is still that very format. And is used daily so in itself not a huge limitation. Of corse it will not be the best choice of recorder to record sound design material, but neither is any other small format hand held recorder.&#xD;&#xA;&#xD;&#xA;Comparing ANY handheld or proffessional recorder to the recording app FIre2 as it is unfair, it pretty much kills them all.&#xD;&#xA;Functions like geotagging and adding photos is included, easy meta data editing and super convenient format.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'll buy it if it sounds anywhere near decent. Just because I love funky gadgets." ContentLicense="CC BY-SA 3.0" />
  <row Id="19004" PostHistoryTypeId="2" PostId="11533" RevisionGUID="d7be1463-edbb-499f-a1db-ead4f8e4b8c9" CreationDate="2011-11-23T12:03:14.240" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;I've been recording M/S since a year or two and am very happy with my setup so far.&#xD;&#xA;My MKH's feed into a SQN4iia and i record on my PCM-D50. Unfortunately, the D50 doesn't have a MS matrix so i always listen to the SQN headphone outputs. This works great most of the time, but sometimes i get overloads when my setttings are either a bit to hot or something wonderful, but unexpected, happens. &#xD;&#xA;&#xD;&#xA;Now of course i can pay better attention on my levels or drag around a ms/matrix box, but maybe somebody knows a way to create a small m/s-circuit, that can be placed between my headphone and D50 output? I'm thinking a simple but sturdy mini-jack in/out cable with the matrix in between the connectors. &#xD;&#xA;&#xD;&#xA;Any ideas? Is this at all possible or will i lose a lot of output, increase noise?&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19005" PostHistoryTypeId="1" PostId="11533" RevisionGUID="d7be1463-edbb-499f-a1db-ead4f8e4b8c9" CreationDate="2011-11-23T12:03:14.240" UserId="1216" Text="Mid Side monitoring on PCM-D50" ContentLicense="CC BY-SA 3.0" />
  <row Id="19006" PostHistoryTypeId="3" PostId="11533" RevisionGUID="d7be1463-edbb-499f-a1db-ead4f8e4b8c9" CreationDate="2011-11-23T12:03:14.240" UserId="1216" Text="&lt;mid-side&gt;&lt;monitoring&gt;&lt;field-recording&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19007" PostHistoryTypeId="2" PostId="11534" RevisionGUID="2ad65a9c-4972-4c24-ab6b-4c8772c8169e" CreationDate="2011-11-23T12:57:12.730" UserDisplayName="user6513" Text="As long as it's got an online store, we might all be able to buy, so if you've found a good deal, please share!&#xD;&#xA;&#xD;&#xA;http://www.sweetwater.com/dealzone/computer-audio-deals&#xD;&#xA;the bulk of the better deals are for demo stock. The M-Audio Oxygen 49 is going for $99 (RRP $199)&#xD;&#xA;http://www.sweetwater.com/store/detail/Oxygen2-49&#xD;&#xA;&#xD;&#xA;http://www.sound-ideas.com/order.html&#xD;&#xA;Sound Ideas are having a 50% sale of all products&#xD;&#xA;&#xD;&#xA;Amazon is having pretty decent deals, but nothing that I thought was overly smashing. Anyways, the idea is to share, so if you find something good please post it here. Let's target for discounts that are 50% or more and hopefully we might all be able to get ourselves some early Christmas presents." ContentLicense="CC BY-SA 3.0" />
  <row Id="19008" PostHistoryTypeId="1" PostId="11534" RevisionGUID="2ad65a9c-4972-4c24-ab6b-4c8772c8169e" CreationDate="2011-11-23T12:57:12.730" UserDisplayName="user6513" Text="Black Friday Discounts" ContentLicense="CC BY-SA 3.0" />
  <row Id="19009" PostHistoryTypeId="3" PostId="11534" RevisionGUID="2ad65a9c-4972-4c24-ab6b-4c8772c8169e" CreationDate="2011-11-23T12:57:12.730" UserDisplayName="user6513" Text="&lt;cheap&gt;&lt;deals&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19010" PostHistoryTypeId="16" PostId="11534" RevisionGUID="2ad65a9c-4972-4c24-ab6b-4c8772c8169e" CreationDate="2011-11-23T12:57:12.730" UserDisplayName="user6513" />
  <row Id="19011" PostHistoryTypeId="2" PostId="11535" RevisionGUID="618fcd0e-5229-4dba-85a1-74f12599e5fa" CreationDate="2011-11-23T12:59:49.093" UserId="7642" Text="doesent the mixer have direct outs and four inputs?&#xD;&#xA;just use the direct outs to feed th d50 and then return the out from the d50 to the remaining two inputs on the mixer and monitor it that way.&#xD;&#xA;if possible all you need are a few cables.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19012" PostHistoryTypeId="2" PostId="11536" RevisionGUID="535c591b-9af8-4ca8-b1e7-6eacaa65dc59" CreationDate="2011-11-23T13:01:29.827" UserId="3154" Text="I'm definitely going to be getting one of these. The best audio device you have is the one to hand." ContentLicense="CC BY-SA 3.0" />
  <row Id="19013" PostHistoryTypeId="5" PostId="11512" RevisionGUID="87a0e891-e697-4b4c-abbb-069a83ccaf5c" CreationDate="2011-11-23T13:15:31.650" UserId="182" Comment="added stuff about TRIM" Text="I have replaced the stock drive in my macbook with a 500 gb hard drive with 4gb flash memory. It automatically copies the most used files to the flash. Not nearly as fast as a real ssd though.&#xD;&#xA;&#xD;&#xA;Wouldn't it be a better option to have a (perhaps smaller) ssd for your OS and applications, and put a normal 500gb or 750gb drive in place of the dvd drive for your samples? That way you have much more space, and if it's a fast drive you won't hit its limits very quickly when making music.&#xD;&#xA;&#xD;&#xA;The downside is that power consumption will increase slightly.&#xD;&#xA;&#xD;&#xA;**ADDENDUM:**&#xD;&#xA;&#xD;&#xA;The degradation over time has to do with TRIM and garbage collection on the drive. If this is supported, the drive degradation will be much, much lower. TRIM is supported from OS X 10.6.8 onwards, but normally only on Apple-installed SSDs. [Trim Enabler for Lion][1] or [Trim Enabler for Snow Leopard][2] activates this for third-party non-Apple SSDs. (Disclaimer: Haven't tested it myself).&#xD;&#xA;&#xD;&#xA;If you order your Macbook Pro with SSD right from Apple, this is not really an issue as three mechanisms ensure the degradation is only minimal: TRIM support, Aggressive garbage collection by the OS and a big chunk of over-provisioning for wear-leveling.&#xD;&#xA;&#xD;&#xA;In third-party SSDs, these last two are handled by the drive itself. Avoid OCZ, as they have poor life expectancy.&#xD;&#xA;&#xD;&#xA;And if you have a good backup strategy, wiping the drive and then restoring the data from the backup will bring it back to new-like condition. While this is annoying when you store your sounds on it, if it's just the OS and Software this is quite doable as that data changes much less (maybe a preference file here and there).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://digitaldj.net/2011/07/21/trim-enabler-for-lion/&#xD;&#xA;  [2]: http://www.macgasm.net/2011/03/28/quick-tip-enable-trim-support-in-os-x/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19014" PostHistoryTypeId="2" PostId="11537" RevisionGUID="5d1bf6ec-291c-49b2-9f9f-fc492247ace3" CreationDate="2011-11-23T13:30:27.283" UserId="194" Text="first person to pick that little guy up needs to post some samples.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19015" PostHistoryTypeId="5" PostId="11532" RevisionGUID="2952e5b2-abd0-432b-885a-7f38a46a2345" CreationDate="2011-11-23T13:53:43.323" UserId="1216" Comment="added a small note" Text="To be honest, walla sounds from the 50's don't sound all that different from regular walla's, when listening to the voices. What makes a great walla is not the individual voices, but the sum of it's parts. The thing that makes it sound specifically 50's are mostly contextual sounds, like the car honks that utopia refers to.  &#xD;&#xA;Focus on getting good 50s specific street sounds (incl. some voices by street vendors from that era) and everyone will believe it's the real deal/authentic. &#xD;&#xA;&#xD;&#xA;Good luck on your project&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19016" PostHistoryTypeId="2" PostId="11538" RevisionGUID="2bc6f114-884b-47ee-8a3b-eb967bbfbc39" CreationDate="2011-11-23T14:16:43.330" UserId="1027" Text="Micing the host on a beach, to a location where the AC can't be turned off, to a completely reverberated hall... to... the voice over -- **how do you maintain consistency in the mix and in the micing (sometimes having to go from lav to boom)?**&#xD;&#xA;&#xD;&#xA;**Background:** As a music-guy with little experience in location sound, this was my first paid sound-job.. and it wasn't that impressive.&#xD;&#xA;&#xD;&#xA;I'd love to it all as ADR, but this production had no budget for that. In the end the wonderfully understanding director told me about previous sound guys who have been able to maintain the same sound between a variety of locations. Something I failed to do.  And now I need to take a stab at trying to learn how to do this. What are your recommendations?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19017" PostHistoryTypeId="1" PostId="11538" RevisionGUID="2bc6f114-884b-47ee-8a3b-eb967bbfbc39" CreationDate="2011-11-23T14:16:43.330" UserId="1027" Text="How do you maintain consistency between various locations?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19018" PostHistoryTypeId="3" PostId="11538" RevisionGUID="2bc6f114-884b-47ee-8a3b-eb967bbfbc39" CreationDate="2011-11-23T14:16:43.330" UserId="1027" Text="&lt;location-recording&gt;&lt;boom-operator&gt;&lt;boom&gt;&lt;lavalier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19019" PostHistoryTypeId="2" PostId="11539" RevisionGUID="6486bb81-ac48-4738-8a86-3db5435b2341" CreationDate="2011-11-23T15:03:43.513" UserId="69" Text="I have used QTC 40 on many things. They sound amazing. Even with extreme pitch shift, sound is full.&#xD;&#xA;&#xD;&#xA;But they have quite high internal noise level, so aren't that great for low level sounds.&#xD;&#xA;&#xD;&#xA;I think they sound even better than MKH 8040s.&#xD;&#xA;&#xD;&#xA;Didn't check handling noise, always used them on a stand." ContentLicense="CC BY-SA 3.0" />
  <row Id="19020" PostHistoryTypeId="5" PostId="11525" RevisionGUID="88d06848-0d0e-4964-a8f2-817a372358ab" CreationDate="2011-11-23T16:37:59.643" UserId="61" Comment="added 629 characters in body" Text="![alt text][2]&#xD;&#xA;&#xD;&#xA;Probably not, but at $80 it may become many people's go-to solution for impromptu everyday captures. And although it's currently capped at 16bit-44.1kHz, I imagine it's only a matter of time before a software/firmware update takes care of that.&#xD;&#xA;&#xD;&#xA;Perhaps someone can shed some light on this: This device has it's own D/A converters so it's not relying on the iphone's capability to do this. Would this mean that rates beyond 16bit/44.1k would be possible?&#xD;&#xA;&#xD;&#xA;Also, as a note, Tascam says that the mics are adjustable up to 180 degrees front to back, so at least there is a limited amount of control over the stereo image. And regarding the quality of the preamps, they are the same as those used in the DR series. I have a DR-680 and can tell you that they are not very quiet, however they are quite acceptable if you're not recording ultra delicate or sensitive sources. &#xD;&#xA;&#xD;&#xA;[Tascam iM2][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tascamcontractor.com/product/im2/overview/&#xD;&#xA;  [2]: http://www.tascamcontractor.com/content/images/universal/misc/im2_with_iphone_grey.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="19021" PostHistoryTypeId="5" PostId="11512" RevisionGUID="c33b4c01-c480-4298-b7aa-a69e5d50af13" CreationDate="2011-11-23T17:01:05.703" UserId="182" Comment="added 73 characters in body" Text="I have replaced the stock drive in my macbook with a 500 gb hard drive with 4gb flash memory. It automatically copies the most used files to the flash. Not nearly as fast as a real ssd though.&#xD;&#xA;&#xD;&#xA;Wouldn't it be a better option to have a (perhaps smaller) ssd for your OS and applications, and put a normal 500gb or 750gb drive in place of the dvd drive for your samples? That way you have much more space, and if it's a fast drive you won't hit its limits very quickly when making music.&#xD;&#xA;&#xD;&#xA;The downside is that power consumption will increase slightly.&#xD;&#xA;&#xD;&#xA;**ADDENDUM:**&#xD;&#xA;&#xD;&#xA;The degradation over time is caused by write operations, reading doesn't affect it. TRIM and garbage collection on the drive are invented to minimize this. If this is supported, the drive degradation will be much, much lower. TRIM is supported from OS X 10.6.8 onwards, but normally only on Apple-installed SSDs. [Trim Enabler for Lion][1] or [Trim Enabler for Snow Leopard][2] activates this for third-party non-Apple SSDs. (Disclaimer: Haven't tested it myself).&#xD;&#xA;&#xD;&#xA;If you order your Macbook Pro with SSD right from Apple, this is not really an issue as three mechanisms ensure the degradation is only minimal: TRIM support, Aggressive garbage collection by the OS and a big chunk of over-provisioning for wear-leveling.&#xD;&#xA;&#xD;&#xA;In third-party SSDs, these last two are handled by the drive itself. Avoid OCZ, as they have poor life expectancy.&#xD;&#xA;&#xD;&#xA;And if you have a good backup strategy, wiping the drive and then restoring the data from the backup will bring it back to new-like condition. While this is annoying when you store your sounds on it, if it's just the OS and Software this is quite doable as that data changes much less (maybe a preference file here and there).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://digitaldj.net/2011/07/21/trim-enabler-for-lion/&#xD;&#xA;  [2]: http://www.macgasm.net/2011/03/28/quick-tip-enable-trim-support-in-os-x/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19022" PostHistoryTypeId="2" PostId="11540" RevisionGUID="d526ca5f-01a5-498c-9145-5525713d0f8f" CreationDate="2011-11-23T18:11:32.020" UserId="1090" Text="Anyone who, like me, wonders a bit just HOW will one be able to transfer the files to PC seeing as there's no way of transferring most anything except pictures from the iPhone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19023" PostHistoryTypeId="2" PostId="11541" RevisionGUID="362b8043-3cb1-4ef9-b057-275bd18767ee" CreationDate="2011-11-23T18:26:49.903" UserId="1090" Text="I'm not sure I understand if you mean fix it in post or on set... &#xD;&#xA;&#xD;&#xA;If it's in post:&#xD;&#xA;&#xD;&#xA;I'd start by setting the levels so that they match somewhat. If the BG noise is too high in one scene I'd try and de-noise it. If the de-noising don't sound good, just forget about it and try to cut around it. Setting the levels and using EQ to match the previous clip can make it work... but it really depends on the situation. And, crap in = crap out, always, I'm afraid. It's not your fault! You did what you could. &#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;When in the field, to keep a consistent sound is extremely hard. I mean if you have different settings there's no way of keeping it super consistent all the time due to the BG noise changing and reverberation and voice's intensity and all these things. Always go with &quot;If it sounds good, is sounds good&quot;. Very simple. Just remember to try and keep the levels sort of the same. But this is also relative to all the other elements.&#xD;&#xA;&#xD;&#xA;Personally, I always lav and try to boom as good as I can. The lav will be somewhat consistent. But consistency in sound with lots of different settings , again, is just... well it's hard. &#xD;&#xA;&#xD;&#xA;It's all about signal to noise ratio and luck, really. Remember to trust your ears. You'll be fine. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19024" PostHistoryTypeId="2" PostId="11542" RevisionGUID="0a36d939-02fd-4d8f-9627-cad52d80084d" CreationDate="2011-11-23T18:47:10.620" UserId="338" Text="If it's bugginess is like the other tascam handhelds...I'd say no.  Plus there are no XLRs so double no.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="19025" PostHistoryTypeId="2" PostId="11543" RevisionGUID="e767ba20-795f-4a6a-8ec0-cf7ed453279f" CreationDate="2011-11-23T18:48:53.167" UserId="253" Text="If you keep your radio mic in a similar area all the time (which can be difficult with wardrobe changes, but that's part of the challenge!), that should be consistent and not contain too much noise. A big thing to watch out for though, is clothing rustle.&#xD;&#xA;&#xD;&#xA;Booming is a trickier proposition. You want push that thing so far into frame that the camera op starts gesturing wildly at you, then slowly back out until he/she stops. During the rehearsal, of course.&#xD;&#xA;&#xD;&#xA;Always lav and boom; having 2 tracks is very useful for post production. Even if you can't get in as close as you'd like with the boom, record it anyway.&#xD;&#xA;&#xD;&#xA;It's a big, long learning curve, but a good location recordist is priceless." ContentLicense="CC BY-SA 3.0" />
  <row Id="19026" PostHistoryTypeId="2" PostId="11544" RevisionGUID="a2ec52a9-e045-449a-b624-e5e69c78620a" CreationDate="2011-11-23T19:56:52.873" UserId="338" Text="You can always pray to the a god of Sound Design like Randy Thom, Benny Burtt, Jay Jennings, Tim Prebble, me or whatever...Andrew Spitz, Shaun Farley..." ContentLicense="CC BY-SA 3.0" />
  <row Id="19027" PostHistoryTypeId="2" PostId="11545" RevisionGUID="8cff9531-5f43-435b-805f-39172d8a5fac" CreationDate="2011-11-23T20:10:35.513" UserId="278" Text=".One extra thing apart of the already mentioned above. As sound dudes we are very aware (much more than mortals) about the sound quality of our recordings. To add consistency to your recordings a trick is mach your best (cleanest/driest) recordings to your crappiest one (after you have done everything you can to improve this bad recording) People tend to take noise for granted, it doesn't disturb them as much as us, as long as it is consistent. So to an extent you can dirty and add different amounts of reverb (if the image allows it) to the recordings to add consistency.&#xD;&#xA;&#xD;&#xA;In a way this is what you are doing when you add room tone to ADR..." ContentLicense="CC BY-SA 3.0" />
  <row Id="19028" PostHistoryTypeId="5" PostId="11543" RevisionGUID="afc8ccf6-ff70-4a90-b0eb-27d2aa5f569c" CreationDate="2011-11-23T20:43:36.840" UserId="253" Comment="added 97 characters in body" Text="If you keep your radio mic in a similar area all the time (which can be difficult with wardrobe changes, but that's part of the challenge!), that should be consistent and not contain too much noise. A big thing to watch out for though, is clothing rustle.&#xD;&#xA;&#xD;&#xA;Booming is a trickier proposition. You want push that thing so far into frame that the camera op starts gesturing wildly at you, then slowly back out until he/she stops. During the rehearsal, of course. And make sure to tell them that you're getting your position, otherwise you might piss them off.&#xD;&#xA;&#xD;&#xA;Always lav and boom; having 2 tracks is very useful for post production. Even if you can't get in as close as you'd like with the boom, record it anyway.&#xD;&#xA;&#xD;&#xA;It's a big, long learning curve, but a good location recordist is priceless." ContentLicense="CC BY-SA 3.0" />
  <row Id="19029" PostHistoryTypeId="2" PostId="11546" RevisionGUID="bca34845-6f99-4ce5-abb5-04e10ff0e6b1" CreationDate="2011-11-23T21:25:33.170" UserId="3209" Text="I think you are looking for what is called wire flag labels--when the heat shrink tube won't fit over the connector. Wire flag labels have a self laminating overwrap and work with curved surfaces. Most of the thermal transfer wire/cable label manufacturers have this - I use a K-Sun which has a variety label printers, some that work with your computer. The BEE3 that I use has the larger heat shrink tubes and is under $100. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19030" PostHistoryTypeId="6" PostId="10475" RevisionGUID="fb5863cb-2fe3-4192-a6bb-77d00695c075" CreationDate="2011-11-23T21:55:16.383" UserId="182" Comment="edited tags" Text="&lt;binaural&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19031" PostHistoryTypeId="6" PostId="9685" RevisionGUID="0b0c22c6-225b-4d25-a7b9-20c00150cef0" CreationDate="2011-11-23T21:55:58.350" UserId="182" Comment="edited tags" Text="&lt;ntg3&gt;&lt;microphone&gt;&lt;failure&gt;&lt;damage&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19032" PostHistoryTypeId="6" PostId="8923" RevisionGUID="261c4b2b-79e6-4e80-9424-0ac4aa6fd6c4" CreationDate="2011-11-23T21:56:34.700" UserId="182" Comment="edited tags" Text="&lt;microphone&gt;&lt;selection&gt;&lt;indoor&gt;&lt;books&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19033" PostHistoryTypeId="5" PostId="11526" RevisionGUID="1378b092-7507-47f9-bcbc-007c0b0b6ec6" CreationDate="2011-11-23T23:17:43.913" UserId="842" Comment="deleted 4 characters in body" Text="In my opinion you can't combine boom and lav in the same scene at all, it's a HUGE difference in character between 'em. The lavs have a much more &quot;flat&quot; sound, and where you might very well match up two different boom-mics to appear consistent by filtering, you can't really do that between lav and boom as the change in flatness and liveliness gets very obvious when hearing them both at the same time.&#xD;&#xA;I rarely work with lavs at all, I don't like them and my employers mostly prefer the shine I can give by using high quality booming, but when I do it's mostly only in extreme wideshots without any closeups, or in long takes with extensive steadycam movement where there are no room to move smoothly.&#xD;&#xA;&#xD;&#xA;Sometimes, though, you might get a project or two where there are no budget for ADR, not enough preparations, and no respect for wild-lines. In this case, having a clear take though it will sounds pretty weird in the mix (still ONLY meaning when jigsawed together, everything else is a matter of taste and need), compared to a rich, living sound where you have absolutely no idea what was said, is well worth it! Though the average Joe might deem it amateurish depending on how obvious the transition is, they will buy it. An unintelligible line, however, is not as easily forgiven and might ruin the whole take.&#xD;&#xA;&#xD;&#xA;But mostly, if it's that bad, you discard the boom altogether and go with the lavs for that scene.&#xD;&#xA;&#xD;&#xA;I was about to compare mixing lavs and boom-mics with Roger Rabbit, but that's very unfair of me. Instead, a great comparison is actually to try combine 35mm film with DV! It can be used either as an effect or by keeping 'em apart with good editing and planning, but it will never be the same, and must be treated carefully." ContentLicense="CC BY-SA 3.0" />
  <row Id="19034" PostHistoryTypeId="2" PostId="11547" RevisionGUID="a856ea6f-6783-43f8-a6a3-bdb55155d6bb" CreationDate="2011-11-24T00:16:19.520" UserId="930" Text="I think it's a great idea, with only two real disadvantages over the H1/2 or similar.&#xD;&#xA;&#xD;&#xA;Whilst the price of the unit is only $80, it is connected to a phone with a value of $700. So you couldn't strap it to the side of a boat or a windmill (can't remember who did this with their Zoom, but it was someone on SSD), for instance, without worrying about what might happen to .&#xD;&#xA;&#xD;&#xA;Another potential flaw is the speed of getting it into use. I imagine most of us would keep it in a seperate bag or pocket and wouldn't be connected to the phone at all times - the speed of getting your phone out of your pocket, getting the microphones out, connecting them, starting the app and recording might take too long to capture that once in a lifetime sound. However, a certain advantage is that there is no boot time to the device (assuming that your phone will be switched on) which might lead to a quicker load time than starting a Zoom from the off position.&#xD;&#xA;&#xD;&#xA;I'd be very interested to see how this little thing performs!&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="19035" PostHistoryTypeId="5" PostId="11537" RevisionGUID="5ff62e2d-b127-48d8-9581-6c3adccfe3f9" CreationDate="2011-11-24T01:40:46.303" UserId="194" Comment="added 94 characters in body" Text="first person to pick that little guy up needs to post some samples.  :)&#xD;&#xA;&#xD;&#xA;on a seperate note, I'd probably pay for an iphone to xlr box (with phantom power and A/D)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19036" PostHistoryTypeId="2" PostId="11548" RevisionGUID="5d05c991-9392-4556-bbc5-540e19c6e8a9" CreationDate="2011-11-24T05:03:59.730" UserId="771" Text="I was using Sound devices772 recorder (without mixer) for pilot recording.I landed up loosing gain in the recorder when the battery went down.Does that happen with digital recorder?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19037" PostHistoryTypeId="1" PostId="11548" RevisionGUID="5d05c991-9392-4556-bbc5-540e19c6e8a9" CreationDate="2011-11-24T05:03:59.730" UserId="771" Text="Are the battery power and gain related in a digital mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19038" PostHistoryTypeId="3" PostId="11548" RevisionGUID="5d05c991-9392-4556-bbc5-540e19c6e8a9" CreationDate="2011-11-24T05:03:59.730" UserId="771" Text="&lt;battery&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19039" PostHistoryTypeId="2" PostId="11549" RevisionGUID="c72bb561-6f73-43a1-8860-98d778324bd7" CreationDate="2011-11-24T05:32:25.600" UserId="3211" Text="Hey Ask Steve Smith, he might know!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19040" PostHistoryTypeId="2" PostId="11550" RevisionGUID="b822cb36-cd09-490f-b95a-fc86f5d4759c" CreationDate="2011-11-24T10:32:56.877" UserId="3162" Text="&#xD;&#xA;&#xD;&#xA;If You use 48 V, &#xD;&#xA;Yes, because of insuring the mic gets enough voltage.&#xD;&#xA;&#xD;&#xA;At least happened to me quite often." ContentLicense="CC BY-SA 3.0" />
  <row Id="19041" PostHistoryTypeId="2" PostId="11551" RevisionGUID="a5fa235e-0438-4629-b21c-772969380a4e" CreationDate="2011-11-24T13:48:47.540" UserId="3213" Text="Just found this in a german blog, maybe it helps you (there are links to many black friday offers): http://mixingroom.de/musiksoftware-musikprogramme-aller-art-um-bis-zu-70-prozent-reduziert/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19042" PostHistoryTypeId="16" PostId="11551" RevisionGUID="a5fa235e-0438-4629-b21c-772969380a4e" CreationDate="2011-11-24T13:48:47.540" UserId="-1" />
  <row Id="19043" PostHistoryTypeId="2" PostId="11552" RevisionGUID="0c53d646-ebc8-40f3-9842-155a8b684bd2" CreationDate="2011-11-24T16:40:54.093" UserId="132" Text="We are having a black friday sale through sunday at [Rabbit Ears Audio][1].  We are doing 20% off all single-user licenses with this discount code: rabbitfriday &lt;br&gt;&lt;br&gt;&#xD;&#xA;&#xD;&#xA;The sale will start today and run through Sunday (-500 GMT)&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Michael Raphael&#xD;&#xA;[Rabbit Ears Audio][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://rabbitearsaudio.com&#xD;&#xA;  [2]: http://rabbitearsaudio.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="19044" PostHistoryTypeId="16" PostId="11552" RevisionGUID="0c53d646-ebc8-40f3-9842-155a8b684bd2" CreationDate="2011-11-24T16:40:54.093" UserId="-1" />
  <row Id="19045" PostHistoryTypeId="5" PostId="11552" RevisionGUID="161aa7f8-1f7f-41d3-956d-5fcfc8afa518" CreationDate="2011-11-24T16:46:12.780" UserId="132" Comment="added 4 characters in body" Text="We are having a black friday sale through sunday at [Rabbit Ears Audio][1].  We are doing 20% off all single-user licenses with this discount code: rabbitfriday &lt;br&gt;&lt;br&gt;&#xD;&#xA;&#xD;&#xA;The sale will start today and run through Sunday (-500 GMT)&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Michael Raphael&lt;br&gt;&#xD;&#xA;[Rabbit Ears Audio][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://rabbitearsaudio.com&#xD;&#xA;  [2]: http://rabbitearsaudio.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="19046" PostHistoryTypeId="2" PostId="11553" RevisionGUID="2bc66ce9-0ae8-4c25-98d7-b22428ad7a8b" CreationDate="2011-11-24T19:26:39.347" UserId="1056" Text="Firstly, directors get a kick out of running the sound guys down unless, of course, they're doing it for free.&#xD;&#xA;&#xD;&#xA;Secondly, if you can close your eyes and still get a reasonable idea of the location just from listening, then the sound is good. Only reduce location noise when it detracts from the focal point of the recording.  Even then, don't overdo it - just enough that it is no longer a distraction.  This makes for a much more natural result.&#xD;&#xA;&#xD;&#xA;Locations are not the same and, consequently, the sound shouldn't be either.  It is, however, important to be as consistent as possible with your levels, particularly with respect to dialogue.      " ContentLicense="CC BY-SA 3.0" />
  <row Id="19047" PostHistoryTypeId="2" PostId="11554" RevisionGUID="4e03ba66-f9bc-4d43-8357-bebae7626cf9" CreationDate="2011-11-24T23:51:51.693" UserId="3171" Text="Hi all&#xD;&#xA;&#xD;&#xA;Was just wondering how much of much of your work consists of library sounds (bought or licensed) for generic / hard effects like doors, vehicles, footsteps, etc, etc....&#xD;&#xA;&#xD;&#xA;Are there certain scenarios where you rely on these rather than create things from scratch?&#xD;&#xA;&#xD;&#xA;Or do you gradually compile your own libraries and avoid using these altogether?&#xD;&#xA;&#xD;&#xA;Thanks everyone" ContentLicense="CC BY-SA 3.0" />
  <row Id="19048" PostHistoryTypeId="1" PostId="11554" RevisionGUID="4e03ba66-f9bc-4d43-8357-bebae7626cf9" CreationDate="2011-11-24T23:51:51.693" UserId="3171" Text="Use of library sounds vs recording from scratch?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19049" PostHistoryTypeId="3" PostId="11554" RevisionGUID="4e03ba66-f9bc-4d43-8357-bebae7626cf9" CreationDate="2011-11-24T23:51:51.693" UserId="3171" Text="&lt;sound-effects&gt;&lt;library&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19050" PostHistoryTypeId="5" PostId="11554" RevisionGUID="18387f1c-5bb2-446f-87a5-10e0f314b7fd" CreationDate="2011-11-25T00:11:19.820" UserId="3171" Comment="corrected spelling" Text="Hi all&#xD;&#xA;&#xD;&#xA;Was just wondering how much of your work consists of library sounds (bought or licensed) for generic / hard effects like doors, vehicles, footsteps, etc, etc....&#xD;&#xA;&#xD;&#xA;Are there certain scenarios where you rely on these rather than create things from scratch?&#xD;&#xA;&#xD;&#xA;Or do you gradually compile your own libraries and avoid using these altogether?&#xD;&#xA;&#xD;&#xA;Thanks everyone" ContentLicense="CC BY-SA 3.0" />
  <row Id="19051" PostHistoryTypeId="2" PostId="11555" RevisionGUID="48c1e490-7f79-4554-ab1d-3b4b03185b11" CreationDate="2011-11-25T00:23:55.233" UserId="3214" Text="Hello, I am about to finish uni and was questioning wether I should take advantage of the student discount and buy pro tools?&#xD;&#xA;&#xD;&#xA;I have used Logic for a long time and find it excellent, but think as everyone in the real world seems to use pro tools, maybe I should invest?&#xD;&#xA;&#xD;&#xA;Any advice would be hugely appreciated.&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="19052" PostHistoryTypeId="1" PostId="11555" RevisionGUID="48c1e490-7f79-4554-ab1d-3b4b03185b11" CreationDate="2011-11-25T00:23:55.233" UserId="3214" Text="Is pro tools worth it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19053" PostHistoryTypeId="3" PostId="11555" RevisionGUID="48c1e490-7f79-4554-ab1d-3b4b03185b11" CreationDate="2011-11-25T00:23:55.233" UserId="3214" Text="&lt;pro&gt;&lt;tools&gt;&lt;daw&gt;&lt;logic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19054" PostHistoryTypeId="2" PostId="11556" RevisionGUID="a84aecb9-9009-46bb-9c5e-a58ea0986c45" CreationDate="2011-11-25T00:30:15.760" UserId="432" Text="It's really a question of schedule and the time available. In an ideal world, I prefer to record things from scratch. There just isn't always time for that (not in TV audio at least). However, there are occassions where it's more efficient to record from scratch than to spend time building a complex sound from library components.&#xD;&#xA;&#xD;&#xA;I try to spend down time at work adding to our library. Whether that be sounds that just aren't available in our libraries, or collecting unique recordings of common sounds. That practice has come in handy on plenty of occassions. There are a number of sounds in our library that just don't exist in any of our commercially purchased sets." ContentLicense="CC BY-SA 3.0" />
  <row Id="19055" PostHistoryTypeId="2" PostId="11557" RevisionGUID="eb40319e-e559-4765-abd5-9e28b09af963" CreationDate="2011-11-25T00:33:11.127" UserId="18160" Text="Hi. Welcome to Social Sound Design.&#xD;&#xA;&#xD;&#xA;Check out these previous questions:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/4864/sfx-recorded-or-library&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/10520/canned-sounds-vs-ones-you-record-yourself&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19056" PostHistoryTypeId="2" PostId="11558" RevisionGUID="d10802a9-ad6e-41c6-8646-15ff5fbb5b03" CreationDate="2011-11-25T00:38:26.880" UserId="432" Text="Not EVERYONE in the &quot;real world&quot; uses it, but there's definitely a high percentage. The things to be concerned with is what direction you see yourself headed in, and how you'll need to integrate with other professionals (both audio and not).&#xD;&#xA;&#xD;&#xA;If you were to ask me my direct opinion on Logic vs. Pro Tools for post-production audio? I would say Pro Tools. I may be biased though. I wasn't that fond of Logic before Apple bought it, and I haven't really used it since. There is simplicity with Pro Tools as far as compatability with other people goes, since it is so prevalent in our field." ContentLicense="CC BY-SA 3.0" />
  <row Id="19057" PostHistoryTypeId="2" PostId="11559" RevisionGUID="41297722-a4d5-4fe1-b0ec-b2ffc431a09f" CreationDate="2011-11-25T01:21:00.967" UserId="37" Text="There's a lot of indirect value to owning pro tools, from hundreds of people across the globe being able to relate when you (inevitably) start cursing its limitations or bugs, to actually being able to hand your work down the standard role chain of bigger post-production projects. &#xD;&#xA;&#xD;&#xA;Pro Tools 9 (and 10) is excellent value, even the vanilla (non-HD) package, and it doesn't cost an arm+leg the way Nuendo does. There is no other &quot;industry standard&quot; package for post (regardless of how many times someone here says Reaper or anything else), just these two. &#xD;&#xA;&#xD;&#xA;I'm a long time Logic user and had taken a short break recently, only to come back to it under a slightly tighter deadline, and that felt like pure agony. With PT I've mostly had a smooth time (touch wood)." ContentLicense="CC BY-SA 3.0" />
  <row Id="19058" PostHistoryTypeId="2" PostId="11560" RevisionGUID="46bda203-f494-4158-a98e-130b9e9290b5" CreationDate="2011-11-25T02:22:28.623" UserId="1013" Text="I'm in a similar situation. I have used Logic for a while now too, and I find It does everything I need easily. I can use pro-tools if I have too, and I think editing wise it is very intuitive.  I record foley, edit dialogue, and do sound design with it, as well as music.&#xD;&#xA;&#xD;&#xA;&gt; Not EVERYONE in the &quot;real world&quot; uses it, but there's definitely a high percentage.&#xD;&#xA;&#xD;&#xA;I would agree.&#xD;&#xA;&#xD;&#xA;Cost versus quality was an issue for me when I first got Logic. Pro-tools was locked to the proprietary m-boxes, which I didn't like the quality of (I was not in the market for an HD system at that stage).  I found at the time that I could get a much better quality AD converter for the same money.&#xD;&#xA;&#xD;&#xA;That's a little convoluted, but my point is, now that Pro-tools is again unlocked from the proprietary boxes, it makes it very probable that i'll move over to it.&#xD;&#xA;&#xD;&#xA;Just another opinion.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19059" PostHistoryTypeId="2" PostId="11561" RevisionGUID="354503cd-f8e1-48f6-b8d8-372f8a3ab323" CreationDate="2011-11-25T03:26:02.203" UserId="18160" Text="If it were me, I would have asked the director:&#xD;&#xA;&#xD;&#xA;&quot;Why isn't the lighting the exact same on the beach as it is in the hallway? Why didn't you place the key light in the exact same spot and have the same exact exposure and backlight as you had from the sun on the beach than the florescent light in the hallway? Lighting guys I know would have lit the scene to match perfectly in the different locations - it's called Green Screen. So, stop being a cheap ass and give me money for ADR if you need it to match. THEY'RE DIFFERENT LOCATIONS AND... SURPRISE! DIFFERENT REFLECTIONS AND SPACES CREATE DIFFERENT TONALITIES ON A RECORDING&quot;&#xD;&#xA;&#xD;&#xA;If someone is standing in a hallway and a beach, the resultant recordings will sound different - period. And, sorry, I'd like to hear a recording done on a beach sound the exact same as the hallway shot with the exact same amount of ambient noise like this director is asking you for. Anyone got one? It doesn't exist.&#xD;&#xA;&#xD;&#xA;The correct thing you should have done was figure out what microphone you could have used and worked in each location, which would have the most rejection of reflections and stick with that as your main mic and use the other as a backup. Based on what I read, I think a Lapel would have worked best, first because if you plant it on his neck tie or shirt, you've got somewhat of a natural baffle and closeness to the source, and it will be pretty similarly placed in each of the locations and you would have minimal reflections if you placed it correctly. The key for these shots is using the same mic in the same spot to achieve a consistency. Then mix it to match - start with one scene, get it sounding good, then move on to the next and match it best you can.&#xD;&#xA;&#xD;&#xA;What I suspect happened is you're using a chesty lav and trying to match it with far-miced boom mics and that's the difference he's hearing. Do you have a lapel recording throughout the whole thing? I'd drop everything and swap out all dialogue to be that mic - that would be the best possible match, I think. Otherwise, live and learn, do it better next time and don't dwell on your mistakes - learn from them and move on. You're only smarter now. We've all made mistakes. Don't let it happen again and do better next time." ContentLicense="CC BY-SA 3.0" />
  <row Id="19060" PostHistoryTypeId="5" PostId="11561" RevisionGUID="d398cbe6-19b3-4397-9f49-a71724924dd8" CreationDate="2011-11-25T03:35:12.093" UserId="18160" Comment="added 132 characters in body; deleted 20 characters in body" Text="If it were me, I would have asked the director:&#xD;&#xA;&#xD;&#xA;&quot;Why isn't the lighting the exact same on the beach as it is in the hallway? Why didn't you place the key light in the exact same spot and have the same exact exposure and backlight as you had from the sun on the beach than the florescent light in the hallway? Lighting guys I know would have lit the scene to match perfectly in the different locations - it's called Green Screen. So, stop being a cheap ass and give me money for ADR if you need it to match. Sorry if it didn't occur to you that different locations can look different but not sound different.&quot;&#xD;&#xA;&#xD;&#xA;If someone is standing in a hallway and a beach, the resultant recordings will sound different - period. And, sorry, I'd like to hear a recording done on a beach sound the exact same as the hallway shot with the exact same amount of ambient noise like this director is asking you for. Anyone got one? It doesn't exist. I agree you could get the same tonality, but ambient noise? A beach creating 80 dB of white noise compared to a quiet hallway? Wow.&#xD;&#xA;&#xD;&#xA;The correct thing you should have done was figure out what microphone you could have used and worked in each location, which would have the most rejection of reflections and stick with that as your main mic and use the other as a backup. Based on what I read, I think a Lapel would have worked best, first because if you plant it on his neck tie or shirt, you've got somewhat of a natural baffle and closeness to the source, and it will be pretty similarly placed in each of the locations and you would have minimal reflections if you placed it correctly. The key for these shots is using the same mic in the same spot to achieve a consistency. Then mix it to match - start with one scene, get it sounding good, then move on to the next and match it best you can.&#xD;&#xA;&#xD;&#xA;What I suspect happened is you're using a chesty lav and trying to match it with far-miced boom mics and that's the difference he's hearing. Do you have a lapel recording throughout the whole thing? I'd drop everything and swap out all dialogue to be that mic - that would be the best possible match, I think. Otherwise, live and learn, do it better next time and don't dwell on your mistakes - learn from them and move on. You're only smarter now. We've all made mistakes. Don't let it happen again and do better next time." ContentLicense="CC BY-SA 3.0" />
  <row Id="19061" PostHistoryTypeId="2" PostId="11562" RevisionGUID="74eee4a8-04a8-48e6-96c5-811330a5d707" CreationDate="2011-11-25T03:36:35.043" UserId="338" Text="Well heres a story about a Sound Ideas ambience...it was loops and there was somebody repeatedly screaming in pain in the background.&#xD;&#xA;&#xD;&#xA;At least with recorded sounds, you know what you're putting into your mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="19062" PostHistoryTypeId="2" PostId="11563" RevisionGUID="32cfef9d-55b0-47f1-a22b-a5d8b3ff3206" CreationDate="2011-11-25T03:41:52.137" UserId="279" Text="Does any one have any information on the types of mics that were used on film sets during the 60's and 70's? Here's a screen shot from Bergman's Persona...Anyone know what kind of mic this is?&#xD;&#xA;&#xD;&#xA;http://tinypic.com/r/2bd6c2/5" ContentLicense="CC BY-SA 3.0" />
  <row Id="19063" PostHistoryTypeId="1" PostId="11563" RevisionGUID="32cfef9d-55b0-47f1-a22b-a5d8b3ff3206" CreationDate="2011-11-25T03:41:52.137" UserId="279" Text="Production mics used during the 60's and 70's?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19064" PostHistoryTypeId="3" PostId="11563" RevisionGUID="32cfef9d-55b0-47f1-a22b-a5d8b3ff3206" CreationDate="2011-11-25T03:41:52.137" UserId="279" Text="&lt;vintage&gt;&lt;film&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19065" PostHistoryTypeId="2" PostId="11564" RevisionGUID="6ac4c82a-8650-4bdb-b8a1-a37bf935b79f" CreationDate="2011-11-25T04:24:34.057" UserId="18160" Text="If I had to guess, I'd say it's some sort of old AKG mic. Looks a lot like a C12 but with extra grills at the tip.&#xD;&#xA;&#xD;&#xA;That doesn't look like a mic they were using for booming. Looks just like they were using it as a close-up side-address announcer or VO mic. What is he doing in the pic?&#xD;&#xA;&#xD;&#xA;As for mics in the 50s and 60s, as far as I know, they used Ribbons on sets for a long time.&#xD;&#xA;&#xD;&#xA;But what do I know... I was born in 1985." ContentLicense="CC BY-SA 3.0" />
  <row Id="19066" PostHistoryTypeId="2" PostId="11565" RevisionGUID="395f5765-b1de-4c90-b568-6645d8422ad0" CreationDate="2011-11-25T05:26:02.020" UserId="1237" Text="I would say that this is mostly depend on your personal attitude and schedule or budget are secondary things.&#xD;&#xA;&#xD;&#xA;Some people work only with libraries some people hate them and some people find compromise. If you don't want to work with stock material just change your job and find people who share your vision.&#xD;&#xA;&#xD;&#xA;I'd better advise you to read articles from designingsound.org. It has a great section “Featured Sound Designers”:&#xD;&#xA;http://designingsound.org/featured-sound-designers/&#xD;&#xA;&#xD;&#xA;Here you definetely can find some good answers on this question." ContentLicense="CC BY-SA 3.0" />
  <row Id="19067" PostHistoryTypeId="5" PostId="11538" RevisionGUID="beba1647-4341-4dca-89c0-9e3027c23ab6" CreationDate="2011-11-25T07:02:20.310" UserId="1027" Comment="corrected spelling" Text="Micing the host on a beach, to a location where the AC can't be turned off, to a completely reverberated hall... to... the voice over -- **how do you maintain consistency in the mix and in the micing (sometimes having to go from lav to boom)?**&#xD;&#xA;&#xD;&#xA;**Background:** As a music-guy with little experience in location sound, this was my first paid sound-job.. and it wasn't that impressive.&#xD;&#xA;&#xD;&#xA;I'd love to do it all as ADR, but this production had no budget for that. In the end the wonderfully understanding director told me about previous sound guys who have been able to maintain the same sound between a variety of locations. Something I failed to do.  And now I need to take a stab at trying to learn how to do this. What are your recommendations?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19068" PostHistoryTypeId="2" PostId="11566" RevisionGUID="8dac7745-6ff3-4230-8056-52ae5d0e09bd" CreationDate="2011-11-25T07:03:30.497" UserId="61" Text="To echo a bit of what @Shaun said, it's definitely preferable to record your own material and build your library. Time and budget don't always allow, but when they do it's a perfect occasion to build your personal stash of sounds and set yourself apart from all the rest." ContentLicense="CC BY-SA 3.0" />
  <row Id="19069" PostHistoryTypeId="2" PostId="11567" RevisionGUID="b500e775-0164-4a54-9b56-d8917273f755" CreationDate="2011-11-25T08:09:21.013" UserId="6392" Text="I'm not going to say which platform is better, but when I'm hiring new people at our post facility, if they don't know Protools they usually don't make it past the first round of cuts.  I'd take advantage of the educational discount if you can, it will give you a leg up knowing multiple platforms." ContentLicense="CC BY-SA 3.0" />
  <row Id="19070" PostHistoryTypeId="2" PostId="11568" RevisionGUID="7ceb8b4f-bcbc-410f-8cff-991438dd0eb4" CreationDate="2011-11-25T08:53:06.620" UserId="7642" Text="As a side note. I have been known to add crap to sell less than stellar performed ADR.&#xD;&#xA;Example several shots of couple walking and talking. Down stairways corridors etc.&#xD;&#xA;Lavs unusable. Added reverb (of course) and fake lav noise rustling. As viewers we have been used to hearing lavs ins scenes like his and the added rustle really sold it. Without it it was screaming ADR." ContentLicense="CC BY-SA 3.0" />
  <row Id="19071" PostHistoryTypeId="2" PostId="11569" RevisionGUID="aa2e5d8f-1b01-4fe2-bd97-8f5b35f32bcc" CreationDate="2011-11-25T09:39:36.707" UserId="3215" Text="Get Pro Tools with your student discount!&#xD;&#xA;&#xD;&#xA;I still design and compose in Logic, but for audio post production, Pro Tools or Nuendo are your best bet. All of my work has been mixed in pro tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="19072" PostHistoryTypeId="2" PostId="11570" RevisionGUID="f6ed1dee-e664-43cc-86c1-529f817cc694" CreationDate="2011-11-25T10:06:43.227" UserId="62" Text="I share Shaun's sentiment, mainly as I too work in TV. &#xD;&#xA;&#xD;&#xA;I disagree with Conant who's response seems a little naive to practicalities of life. I would love to record all the sounds I need but there simply isn't time (and budget) to do such things in the world of quick turn around TV work.&#xD;&#xA;&#xD;&#xA;Besides, another argument is why would I spend time and money recording, cleaning, editing, labeling basic things like footsteps when I can buy them for very little money and be using them in within minutes of purchase. That's less time than I would spend setting up a recorder. Additionally, there's some sounds that would be extremely difficult to source due to the props needed (guns are not easily available in the UK for example) or their location. Why would I travel thousands of miles to record ambiances I can easily source from a library?&#xD;&#xA;&#xD;&#xA;On the flip side nothing takes me out of a film or TV show like recognising a sound from a library.&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 3.0" />
  <row Id="19073" PostHistoryTypeId="2" PostId="11571" RevisionGUID="bbd8b314-a1c6-41a9-9439-dd4033aba83c" CreationDate="2011-11-25T12:57:08.360" UserId="278" Text="This web page may help you. The guy who made the page says you can contact him for any questions about vintage mics :)&#xD;&#xA;cheers&#xD;&#xA;http://www.vintage-microphones.de/index.html&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19074" PostHistoryTypeId="2" PostId="11572" RevisionGUID="b643065f-d99b-4b2d-bb3f-1f0f38978c00" CreationDate="2011-11-25T16:29:28.913" UserId="400" Text="I'd have to second Ian's sentiments here. It's not as simple as &quot;Go work overtime.&quot;. The games industry sounds similar to TV and often it's not possible to record new sounds. Before I worked in the industry I was all &quot;I'll never use libraries!&quot; and now I'm actually working to deadlines and see what production is actually like, I'm thankful we have libraries because our games would sound AWFUL otherwise. I can guarantee the company I work for wouldn't fork out for a trip to the US for gun sounds, or give up days for us recording, not because they're tight fisted, but simply because there is NO TIME.&#xD;&#xA;&#xD;&#xA;I'd love to record stuff after overtime, but when crunch is 60-70 hours a week, I tend to want my free time for me.&#xD;&#xA;&#xD;&#xA;Should also say at this point, the studio I work at is great, and crunch is paid and voluntary." ContentLicense="CC BY-SA 3.0" />
  <row Id="19075" PostHistoryTypeId="2" PostId="11573" RevisionGUID="650fae01-1f10-44b7-bc6f-853db93b5573" CreationDate="2011-11-25T18:53:25.500" UserId="6462" Text="I agree with Utopia that it's an old AKG, although it looks like it's possibly attached to a Fisher Boom [(JL Fisher)][1], albeit an old one.&#xD;&#xA;&#xD;&#xA;![Fisher Boom][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jlfisher.com/booms/model_7_boom/index.asp&#xD;&#xA;  [2]: http://www.howhill.com/allsorts/fisher.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="19076" PostHistoryTypeId="2" PostId="11574" RevisionGUID="e2e9dd5f-d327-4080-9cba-5700bc47b303" CreationDate="2011-11-25T19:44:47.767" UserId="3216" Text="Hi man,&#xD;&#xA;I feed my pcm with MS microphones but I could not find any MS Dematricer so I decided to buy my own according to some schematics I found on the net.&#xD;&#xA;You will need to feed the MS dematricer box with the headphone Out of the PCM and plug your headphone on the output of the box. I just use it to monitor, not to record unmatriced.&#xD;&#xA;I have been using that system for a bit more than a week and it works great. You don't need to be an expert in electronics to build it but the basics will help I guess.&#xD;&#xA;&#xD;&#xA;Check that out:&#xD;&#xA;http://www.recordingmag.com/resources/resourceDetail/326.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="19077" PostHistoryTypeId="2" PostId="11575" RevisionGUID="711776f7-0e08-4880-be6c-dd8016aa586c" CreationDate="2011-11-25T20:12:41.047" UserId="132" Text="Doesn't the SQN 4S allow you to monitor a matrixed signal in your headphones?  I'm pretty sure it does.  You also have the option of decoding your outputs as well.  &lt;br&gt;&#xD;&#xA;&#xD;&#xA;this is the mixers I'm talking about:  http://www.sqn.co.uk/4SMspec.html &lt;br&gt;&#xD;&#xA;&#xD;&#xA;Is that the one you have?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19078" PostHistoryTypeId="5" PostId="11564" RevisionGUID="25a55a94-b2f0-4826-b860-518483b25e20" CreationDate="2011-11-25T22:19:18.460" UserId="18160" Comment="added 2 characters in body" Text="If I had to guess, I'd say it's some sort of old AKG mic. Looks a lot like a C12 but with extra grills at the tip.&#xD;&#xA;&#xD;&#xA;That doesn't look like a mic they were using for booming. Looks just like they were using it as a close-up side-address announcer or VO mic. What is he doing in the pic?&#xD;&#xA;&#xD;&#xA;As for mics in the 50s and 60s, as far as I know, they used Ribbons on sets for a long time.&#xD;&#xA;&#xD;&#xA;But what do I know... I'm still a young'un." ContentLicense="CC BY-SA 3.0" />
  <row Id="19079" PostHistoryTypeId="2" PostId="11576" RevisionGUID="3e85c510-f629-42d4-804d-57fcfca6ae9e" CreationDate="2011-11-25T22:28:55.900" UserId="3171" Text="As a fellow student, I would definitely recommend taking advantage of the discounts on offer.....PT 9 or 10 for less than half the standard price is a no-brainer, especially as it's considered the standard for most pros in sound and post.  You're no longer tied to dedicated interfaces either.  I prefer Cubase for MIDI sequencing and drum mapping, but I've really warmed to the simplicity of the PT functionality, which just makes more sense from a routing/bussing/plugins perspective.  Plus, there's an awful lot more guidance out there to assist you with learning PT.&#xD;&#xA;&#xD;&#xA;There's a few other nice student discounts too - Waves Plugins (35% off), Windows 7 upgrades from XP or Vista to W7 Ultimate for £60! (software4students), Apple (15%+ off)....        " ContentLicense="CC BY-SA 3.0" />
  <row Id="19080" PostHistoryTypeId="5" PostId="11561" RevisionGUID="bc56d2bb-3901-45b1-9fd2-a4a990ddd7b2" CreationDate="2011-11-25T23:11:33.370" UserId="18160" Comment="deleted 27 characters in body" Text="If it were me, I would have asked the director:&#xD;&#xA;&#xD;&#xA;&quot;Why isn't the lighting the exact same on the beach as it is in the hallway? Why didn't you place the key light in the exact same spot and have the same exact exposure and backlight as you had from the sun on the beach than the florescent light in the hallway? Lighting guys I know would have lit the scene to match perfectly in the different locations - it's called Green Screen. So, give me money for ADR if you need it to match. Sorry if it didn't occur to you that different locations can look different but not sound different.&quot;&#xD;&#xA;&#xD;&#xA;If someone is standing in a hallway and a beach, the resultant recordings will sound different - period. And, sorry, I'd like to hear a recording done on a beach sound the exact same as the hallway shot with the exact same amount of ambient noise like this director is asking you for. Anyone got one? It doesn't exist. I agree you could get the same tonality, but ambient noise? A beach creating 80 dB of white noise compared to a quiet hallway? Wow.&#xD;&#xA;&#xD;&#xA;The correct thing you should have done was figure out what microphone you could have used and worked in each location, which would have the most rejection of reflections and stick with that as your main mic and use the other as a backup. Based on what I read, I think a Lapel would have worked best, first because if you plant it on his neck tie or shirt, you've got somewhat of a natural baffle and closeness to the source, and it will be pretty similarly placed in each of the locations and you would have minimal reflections if you placed it correctly. The key for these shots is using the same mic in the same spot to achieve a consistency. Then mix it to match - start with one scene, get it sounding good, then move on to the next and match it best you can.&#xD;&#xA;&#xD;&#xA;What I suspect happened is you're using a chesty lav and trying to match it with far-miced boom mics and that's the difference he's hearing. Do you have a lapel recording throughout the whole thing? I'd drop everything and swap out all dialogue to be that mic - that would be the best possible match, I think. Otherwise, live and learn, do it better next time and don't dwell on your mistakes - learn from them and move on. You're only smarter now. We've all made mistakes. Don't let it happen again and do better next time." ContentLicense="CC BY-SA 3.0" />
  <row Id="19081" PostHistoryTypeId="2" PostId="11577" RevisionGUID="eb5216b8-e78b-4460-81f0-b43e95c8ce22" CreationDate="2011-11-26T06:56:43.587" UserId="771" Text="As far as my experience goes, if you are doing location sound for a project,a proper recce has to be done to find out whether location sound is possible for the given script and location.I have seen some directors doing location sound thinking that ADR is expensive.What they really don't know is that, sync sound can be tougher and expensive.&#xD;&#xA;Given your current situation i agree with utopia.Its better to rely on the lav and EQ the boom to match with it.Always remember to do a sound recce next time. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19082" PostHistoryTypeId="2" PostId="11578" RevisionGUID="47159d16-b43c-4a8d-a300-85867b9186a7" CreationDate="2011-11-26T07:27:55.457" UserId="3217" Text="sounds a bit like pouring through one of these really fast -&#xD;&#xA;&#xD;&#xA;http://www.worldbarsupply.com/images/tapered-pourer.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="19083" PostHistoryTypeId="2" PostId="11579" RevisionGUID="b72ac146-8bea-4ff4-8241-e4220e32b979" CreationDate="2011-11-26T07:34:23.200" UserId="426" Text="I've got a Yamaha MG24/14FX and a digi 002 sitting on my desk. I'm debating what signal path I'd like to use. Which piece of gear has better preamps?&#xD;&#xA;&#xD;&#xA;Here's the Yamaha mixer:&#xD;&#xA;http://www.sweetwater.com/store/detail/MG24-14FX&#xD;&#xA;&#xD;&#xA;And the lovable 002:&#xD;&#xA;http://www.zzounds.com/item--DGDMX002R" ContentLicense="CC BY-SA 3.0" />
  <row Id="19084" PostHistoryTypeId="1" PostId="11579" RevisionGUID="b72ac146-8bea-4ff4-8241-e4220e32b979" CreationDate="2011-11-26T07:34:23.200" UserId="426" Text="Yamaha MG24 vs. Digi002" ContentLicense="CC BY-SA 3.0" />
  <row Id="19085" PostHistoryTypeId="3" PostId="11579" RevisionGUID="b72ac146-8bea-4ff4-8241-e4220e32b979" CreationDate="2011-11-26T07:34:23.200" UserId="426" Text="&lt;pre-amp&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19086" PostHistoryTypeId="2" PostId="11580" RevisionGUID="b2955b3a-ce6d-402e-8854-fdf1d40d191d" CreationDate="2011-11-26T15:43:46.067" UserId="397" Text="I'm not sure, I would say ribbons and dynamics. Specially the AKG D12 in some point. Didn't The production mixer of &quot;The Good German&quot; or &quot;Good Night Good Luck&quot; used ribbon mics and plant mics to match the sound of the 50's, 60's?     " ContentLicense="CC BY-SA 3.0" />
  <row Id="19087" PostHistoryTypeId="2" PostId="11581" RevisionGUID="997048b1-a018-476e-9dec-e7e5fba6f37b" CreationDate="2011-11-26T18:04:08.967" UserId="278" Text="Quality between preamps; This question has probably ended more friendships amongst sound engineers than any other!! :)&#xD;&#xA;I think what has been established is that amongst &quot;average preamps&quot;, the difference in quality is a very subjective matter. In preamps when you talk about quality you talk about money, which the majority of us don't have.&#xD;&#xA;&#xD;&#xA;The happy side is that you can achieve high standard recordings with the majority of average preamps found in mixers and DAW's, and its down to recording technique. Establishing optimum gain, mic choice, mic placement in relation to the talent and within the room, room treatment, training the talent with microphone technique, use and placement of pop shield, attention to voice plosives, clicks, sss, exploitation of proximity effect or not, an so on. So for us that cant afford a boutique preamp, technique is the thing to worry about. The day we can afford one we will want to cry when we hear the level of quality we have achieved!!! &#xD;&#xA;&#xD;&#xA;The more circuitry you add to the signal path the more noise you will induce and supposedly there is a 3dB loss in signal every time you add a connector to a signal path, so I would keep it as simple as possible. . I don't think the Yamaha has direct out's.&#xD;&#xA;Hope you have fun trying different set ups!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19088" PostHistoryTypeId="2" PostId="11582" RevisionGUID="0991f5bd-eed0-43b9-abd4-b3adc61f4eb7" CreationDate="2011-11-26T20:05:16.047" UserId="786" Text="I live in Denmark. I speak Danish. Most of the films I make are in Danish.&#xD;&#xA;&#xD;&#xA;I cannot have American walla in a Danish street, restaurant or bar, so I record Danish walla instead.&#xD;&#xA;&#xD;&#xA;On the other hand, for instance the sound of rain on a car roof is pretty international, as well as wind in trees, planes passing overhead and the sound of car tires on cobblestone.&#xD;&#xA;&#xD;&#xA;If I don't have the budget for a foley artist, about 90-95 percent of the sounds I use are from the library, the rest are recorded for the film." ContentLicense="CC BY-SA 3.0" />
  <row Id="19089" PostHistoryTypeId="2" PostId="11583" RevisionGUID="02b7b42d-ff29-44ae-9825-9d5a7be2a211" CreationDate="2011-11-26T23:10:51.397" UserDisplayName="user49" Text="I use libraries when it simply isn't possible or practical to record specific material, be it for schedule/budget reasons or because I simply cannot access them.... But I also use them when I want as big a range of source material as possible eg I had some big fire scenes in the Cirque 3D film and while I have a lot of fire sounds in my library I also recorded a fire performer recreating the exact moves.... but I was also very happy to buy Franks Fire library, to expand my options beyond what I already had.... Every recordist records differently &amp; finds different ways of manipulating props etc... You could give the exact same prop to five recordists &amp; get (at least) five very different sounds....&#xD;&#xA;&#xD;&#xA;I think another important aspect of using libraries is HOW you use them. Nothing makes me cringe more than hearing an obvious sound library effect, with no editing/alteration whatsoever.. eg that metal hatch door open from Hollywood Edge makes me feel a little sick, and I kind of laugh/kind of groan every time they use it in The Simpsons since for them its a running gag.. but I hear that sound in some big budget films &amp; think WTF? How hard is it to record something unique? But if that isn't possible how hard is it it to layer it, pitch it, process it a little or something just so its not sitting there like a sign saying: LIBRARY EFFECT #017.... (maybe the picture editor cut it in as a temp effect &amp; they fell in love with it?)&#xD;&#xA;&#xD;&#xA;Regardless of the source of the sound, if you aren't personally invested in it - if it doesn't have some of your character (taste/aesthetics etc) in it - then I think there is something wrong... " ContentLicense="CC BY-SA 3.0" />
  <row Id="19090" PostHistoryTypeId="2" PostId="11584" RevisionGUID="60f3ad92-9816-4ba9-8215-faea9d0a6522" CreationDate="2011-11-27T02:52:18.007" UserId="3219" Text="Time and budget hardly ever allow for recording everything you need. We try to record the&#xD;&#xA; more unusual or signature stuff as much as we can for each proect. Watching the cut of a show and then going out to record always leads to me recording in a different way, trying to get the specific stuff I need, rather than a complete recording set; unless time allows. So for me the answer is always a mix of fresh and library stuff. Plus , there's always the stuff I recorded for previous projects as well....." ContentLicense="CC BY-SA 3.0" />
  <row Id="19091" PostHistoryTypeId="2" PostId="11585" RevisionGUID="063c5239-3de7-477a-a1a2-8d9f66f08a97" CreationDate="2011-11-27T03:52:05.643" UserId="587" Text="Hey all,&#xD;&#xA;&#xD;&#xA;Anyone have an issue in Pro Tools 9, running on Snow Leopard, where the DAW consistently puts out a a problem detected report every 5-10 minutes and the temporary fix is to increase or decrease the buffer size?&#xD;&#xA;&#xD;&#xA;&quot;Problem detected with audio clock. Check that your clock source and sample rate are correct.&quot;&#xD;&#xA;&#xD;&#xA;Under clock Source it says &quot;See Control Panel&quot; - is that Audio Midi Setup or Sound Options under the OSX preferences? Or something different?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;C3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19092" PostHistoryTypeId="1" PostId="11585" RevisionGUID="063c5239-3de7-477a-a1a2-8d9f66f08a97" CreationDate="2011-11-27T03:52:05.643" UserId="587" Text="PT9 Possible Bug?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19093" PostHistoryTypeId="3" PostId="11585" RevisionGUID="063c5239-3de7-477a-a1a2-8d9f66f08a97" CreationDate="2011-11-27T03:52:05.643" UserId="587" Text="&lt;protools9&gt;&lt;bugs&gt;&lt;clock&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19094" PostHistoryTypeId="2" PostId="11586" RevisionGUID="1d74390d-da48-495a-929a-d3036185d756" CreationDate="2011-11-27T04:45:40.990" UserId="587" Text="It was a clock problem - Nevermind!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19095" PostHistoryTypeId="2" PostId="11587" RevisionGUID="c7f96965-21ae-4146-a584-b69747acb774" CreationDate="2011-11-27T05:54:29.250" UserId="1027" Text="If I could go back in time, I would by it in a heartbeat. I would even consider financing if I couldn't pay upfront. Pro Tools 10... for less than half the regular price? Absolutely! I really want to buy it now, but it's $699! If I'd bought Pro Tools 9 while in school, I would have had it all this time, and the upgrade would cost me $299. I'd say do it!&#xD;&#xA;&#xD;&#xA;Also, I should add, if you want to work for someone else, getting your Pro Tools shorcuts down and being a fast operator is a huge merit! The best way to do that, is to own the software and to use it for everything you want to do. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19096" PostHistoryTypeId="2" PostId="11588" RevisionGUID="3f93eb34-1b34-4476-8025-790c601343e8" CreationDate="2011-11-27T14:47:45.783" UserId="3196" Text="is it advisable to use pop filters to avoid blows for recording vocals? or should we place the mic a bit off from the mouth though it might lead to loss of high frequencies since they are directional? also could anyone please tell me if there is a downside of using pop filters and how do we get rid of lip sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19097" PostHistoryTypeId="1" PostId="11588" RevisionGUID="3f93eb34-1b34-4476-8025-790c601343e8" CreationDate="2011-11-27T14:47:45.783" UserId="3196" Text="Should one use pop filters for recording vocals?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19098" PostHistoryTypeId="3" PostId="11588" RevisionGUID="3f93eb34-1b34-4476-8025-790c601343e8" CreationDate="2011-11-27T14:47:45.783" UserId="3196" Text="&lt;pop&gt;&lt;filtering&gt;&lt;voice&gt;&lt;recording&gt;&lt;song&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19099" PostHistoryTypeId="2" PostId="11589" RevisionGUID="3354ffa7-ef5f-46b4-80e1-d749f2c944ea" CreationDate="2011-11-27T15:08:18.310" UserId="37" Text="trust your ears. i vote yes." ContentLicense="CC BY-SA 3.0" />
  <row Id="19100" PostHistoryTypeId="2" PostId="11590" RevisionGUID="da48e4b7-ec9e-43ae-88ee-debed2a86a1a" CreationDate="2011-11-27T16:00:50.630" UserId="182" Text="A pop screen has more uses than just reducing pops and wind: it also protects the mic from moisture from someone's breath, and it can serve as a spacer ensuring a minimal distance from the mic is kept which you can set by adjusting the distance between the pop screen and the mic. This can be handy to control the amount of proximity effect.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19101" PostHistoryTypeId="2" PostId="11591" RevisionGUID="09caedb8-0935-46d0-baed-6f98bc74f74d" CreationDate="2011-11-27T20:29:00.977" UserId="455" Text="Pop filters won't significantly reduce any frequencies (unless you're spacing it far enough from the capsule).  You're going to be using eq anyway right?  Compensate here.&#xD;&#xA;&#xD;&#xA;There are a lot of ways to reduce lip noise (i assume you mean ticks) like apples, limes, water etc but ultimately you may need to clean up the waveform after recording.  You can do this after a good take if you're quick enough!  &#xD;&#xA;&#xD;&#xA;Ultimately the proper use of a pop filter will only help you.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19102" PostHistoryTypeId="2" PostId="11592" RevisionGUID="0680729e-ed16-47aa-8177-0c4777e8aeaf" CreationDate="2011-11-28T00:02:05.863" UserDisplayName="user6513" Text="Besides reducing pops and wind, my secondary purpose for the pop filter is to get my talents to a safe distance away from my mic. You won't believe how many VO artists love kissing microphones, and inadvertently dumping a gallon of spit into it. Personally I can't stand it when my mics stink so I use the pop filters to protect them." ContentLicense="CC BY-SA 3.0" />
  <row Id="19103" PostHistoryTypeId="5" PostId="11592" RevisionGUID="db3737a2-91ae-47a0-9ac1-1ee0f21c2307" CreationDate="2011-11-28T00:10:14.750" UserDisplayName="user6513" Comment="improved answer" Text="Besides reducing pops and wind, my secondary purpose for the pop filter is to get my talents to a safe distance away from my mic. You won't believe how many VO artists love kissing microphones, and inadvertently dumping a gallon of spit into it. Can't stand a stinky mic.&#xD;&#xA;&#xD;&#xA;That being said, if you have amatures going in front of the mics, they may be a little intimidated by the mic, and they will usually assume the pop filter to be the mic and naturally back away from it.&#xD;&#xA;&#xD;&#xA;Minus giving our talents water, apple jiuce, honey, etc, it's really up to how conscious they are of their own mouth sounds. Getting a good VO artist usually helps you to avoid a lot of these problems. Otherwise you will just have to edit them out." ContentLicense="CC BY-SA 3.0" />
  <row Id="19104" PostHistoryTypeId="2" PostId="11593" RevisionGUID="dc4e79b5-c1e4-467a-bf0e-c5df9250493c" CreationDate="2011-11-28T00:28:46.307" UserId="278" Text="Most inexperienced talents will end up getting closer to the mic than what you intended. This is probably due to the psychoacoustic impression that louder is perceived as better ( if you have never heard before about the &quot;equal-loudess contours&quot; I promise you an amassing bit of reading and some information that will be invaluable for your sound work)&#xD;&#xA;&#xD;&#xA;Using the screen will avoid the talent getting closer than what you want. In the states i think they also use guns :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19105" PostHistoryTypeId="2" PostId="11594" RevisionGUID="11ddd557-cb9b-4840-af1d-cf41597fe1f2" CreationDate="2011-11-28T10:37:04.410" UserId="1117" Text="Anyone else watched Episode 07 yet?&#xD;&#xA;&#xD;&#xA;it seems those bugs, although still present, have been pushed back to a more appropriate level and especially in INT scenes haha, maybe they read this thread?&#xD;&#xA;&#xD;&#xA;anyway i think it works better because of it, they really pulled me out of the story, the way they instantly dropped out when someone spoke then popped back in again. even my non soundie friends noticed this.&#xD;&#xA;&#xD;&#xA;now they just need to work on getting the story back on track, the last few episodes have been a little to days of our lives-y for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="19106" PostHistoryTypeId="2" PostId="11595" RevisionGUID="65ce88b0-1b5c-46ce-b789-981cc720e144" CreationDate="2011-11-28T10:44:44.093" UserId="673" Text="Surprised nobody mentioned -&gt; http://designingsound.tv/ &#xD;&#xA;&#xD;&#xA;Should cover everything you want." ContentLicense="CC BY-SA 3.0" />
  <row Id="19107" PostHistoryTypeId="2" PostId="11596" RevisionGUID="e38d7400-47b0-4986-b915-40a719d0fed1" CreationDate="2011-11-28T10:49:46.287" UserId="278" Text="I was wondering what is the reason behind positioning a third mic a few feet away from a basic stereo AB. I noticed this on the three tenors in Rome for example. Here is a link to understand better my curiosity. &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=A08e2KKzXFo  &#xD;&#xA;&#xD;&#xA;I would have thought that this could add phase problems.. but I bet the guy who put the mic there knew what he was doing!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19108" PostHistoryTypeId="1" PostId="11596" RevisionGUID="e38d7400-47b0-4986-b915-40a719d0fed1" CreationDate="2011-11-28T10:49:46.287" UserId="278" Text="About mic possisioning" ContentLicense="CC BY-SA 3.0" />
  <row Id="19109" PostHistoryTypeId="3" PostId="11596" RevisionGUID="e38d7400-47b0-4986-b915-40a719d0fed1" CreationDate="2011-11-28T10:49:46.287" UserId="278" Text="&lt;stereo&gt;&lt;techniques&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19110" PostHistoryTypeId="2" PostId="11597" RevisionGUID="4c4d1449-3ee9-414d-8f68-28a138c7ec90" CreationDate="2011-11-28T11:31:55.283" UserId="3220" Text="Seems like a great deal and I'm also interested in buying PT to that price, but does anyone know for sure that:&#xD;&#xA;&#xD;&#xA;1. You can use it commercially&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;2. You get 4 years of free upgrades&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I've searched different forums now and this seems to be the case, but I'm not 100 % sure. And Avid seems to have the worst email support when you have to pay for asking these questions. I will probably call avid here in Sweden." ContentLicense="CC BY-SA 3.0" />
  <row Id="19111" PostHistoryTypeId="4" PostId="11596" RevisionGUID="7aec2c0b-d571-492d-8599-fa07269a54fa" CreationDate="2011-11-28T12:52:37.820" UserId="432" Comment="edited title" Text="About mic positioning" ContentLicense="CC BY-SA 3.0" />
  <row Id="19112" PostHistoryTypeId="2" PostId="11598" RevisionGUID="0a6e5507-bbbf-4ba9-be6c-aa31750c6d0f" CreationDate="2011-11-28T14:46:41.260" UserId="547" Text="Hi This will only cause phase problems if it's routed to the same output as the stereo-pair.&#xD;&#xA;Except this won't be a stereo pair. Recording vocals in stereo is pointless, small movements between mics are translated as large movements between speakers. (MS is or Binaural works though)&#xD;&#xA;Usually one mic is either a) fail-safe b) different gain or both.&#xD;&#xA;The third mic could be for 1) to counter very high SPL on crescendo or fff parts. 2) to capture a separate feed for transmission somewhere else." ContentLicense="CC BY-SA 3.0" />
  <row Id="19113" PostHistoryTypeId="5" PostId="11196" RevisionGUID="00efa1ca-6045-486b-b62f-8d602511be62" CreationDate="2011-11-28T15:38:54.690" UserId="37" Comment="added 1211 characters in body; added 67 characters in body" Text="&lt;del&gt;anyone else with a more definitive report on PT10 and 10.6.8? &lt;/del&gt;&#xD;&#xA;&#xD;&#xA;I doubt if that many PT users have jumped onto Lion..?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;edit: I held off upgrading for some time, anticipating a .0.1 release, but finally took the plunge and installed PT10 over PT9. iLok made this slightly less straightforward but from there onwards it was pretty smooth, and I was pleasantly surprised that nothing (as far as I could see) broke in the process. My preferences did get trashed though. I find that awkward, apparently someone at Avid didn't get the message that it's 2011 and this should magically work. Credit to them for turning my PT9 license into a 9+10 bundle - comforting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Clip-based gain brings a whole new workflow for me, and the channel strip plugin is nice. Still getting my head around Audiosuite and handles, and how they work (or not) when I have clip gain already in.&#xD;&#xA;&#xD;&#xA;Am already in the middle of a little project, with nothing unexpected in terms of routing/IO. If anything, things feel slightly more straightforward now. I did leave the system idling with a session open for hours, which also worked fine (I factor this in, when judging stability). &#xD;&#xA;&#xD;&#xA;Liked that I didn't have to re-download all content I already had installed. Just the PT10 installer. Still not sure about the virtual instruments though.&#xD;&#xA;&#xD;&#xA;Finally, using this on Snow Leopard 10.6.8 with no issues so far.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19114" PostHistoryTypeId="2" PostId="11599" RevisionGUID="372fa739-8331-47c9-bf8f-0b8be96409f3" CreationDate="2011-11-29T01:09:15.583" UserId="6600" Text="You could also try checking out mandy.com which regularly advertises opportunities for sound designers in short independent films.  As for dialogue I guess it'll be the luck of the draw as to what is available, and you'll also have to consider what kind of schedule they have vs your submission dates.&#xD;&#xA;&#xD;&#xA;I was in a similar predicament during university and ended up contacting the tutors of the film studies/media studies courses to offer my services as a sound designer to any of the final year students there.  I really wanted to design/score some original material and was lucky enough to take on sound designer duties for a short student horror film.  Whilst I don't mean to be negative towards student/independent film makers, you should be aware that it's very possible that you will need to undertake a fair amount of noise reduction and cleaning up of dialogue for these types of projects.  This, however, might actually be beneficial for your project/dissertation in that you will have the opportunity to demonstrate your knowledge of noise-reduction and possibly even ADR.  Also as fellow final year students your deadlines will be similar.&#xD;&#xA;&#xD;&#xA;Whatever the case, good luck with your project!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19115" PostHistoryTypeId="2" PostId="11600" RevisionGUID="9cf3e769-ece0-4199-b17a-eedc9337dcad" CreationDate="2011-11-29T01:31:52.027" UserId="3221" Text="I love this scene. Oh and I agree, great topic… http://www.youtube.com/watch?v=vzN3qO-qc8U" ContentLicense="CC BY-SA 3.0" />
  <row Id="19116" PostHistoryTypeId="2" PostId="11601" RevisionGUID="6e37f53d-ea5d-476c-8d46-976025c0b73b" CreationDate="2011-11-29T04:15:50.063" UserId="3222" Text="Ideally while recording vocals you would want to avoid the proximity effect ie. Artificial Low frequency generation caused if the microphone is placed to close. A Vocal recording should be between the bandwidth of 900 Hz to 4 Khz. To achieve this you should have your mic placed at least 1 foot away from your vocalist. You wil achieve the desired level of sound from this distance but there is still a question of the pop sounds created by the lip movements. For this you should place your mic either 15 degrees to the left or right of the source of sound. If not that then you should place your microphone 25 degrees to the top with your diaphragm still pointing to the source of sound.&#xD;&#xA;&#xD;&#xA;In this way you can avoid using your pop filter while achieving good levels and proper frequency response from your vocals. From the distance of 1 foot you would not loose any high frequencies and you will cut down on your Proximity without using your pop filter. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19117" PostHistoryTypeId="2" PostId="11602" RevisionGUID="4597eee5-a6bb-40f0-84c9-6157a2c2e8f4" CreationDate="2011-11-29T04:48:38.367" UserId="3223" Text="First example to come to mind is the &quot;Danny Boy&quot; scene from *Millers Crossing* ... terribly effective, IMO...&#xD;&#xA;&#xD;&#xA;&lt;object style=&quot;height: 390px; width: 640px&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/mAnD9P4ummA?version=3&amp;feature=player_detailpage&quot;&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;param name=&quot;allowScriptAccess&quot; value=&quot;always&quot;&gt;&lt;embed src=&quot;http://www.youtube.com/v/mAnD9P4ummA?version=3&amp;feature=player_detailpage&quot; type=&quot;application/x-shockwave-flash&quot; allowfullscreen=&quot;true&quot; allowScriptAccess=&quot;always&quot; width=&quot;640&quot; height=&quot;360&quot;&gt;&lt;/object&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19118" PostHistoryTypeId="12" PostId="11602" RevisionGUID="7d1480fe-855a-4e56-95c7-848b6fe03b07" CreationDate="2011-11-29T04:49:07.353" UserId="3223" Text="[{&quot;Id&quot;:3223,&quot;DisplayName&quot;:&quot;Rob D&quot;}]" />
  <row Id="19119" PostHistoryTypeId="13" PostId="11602" RevisionGUID="60e0201b-b473-4961-a91a-474977312ebc" CreationDate="2011-11-29T04:51:07.650" UserId="3223" Text="[{&quot;Id&quot;:3223,&quot;DisplayName&quot;:&quot;Rob D&quot;}]" />
  <row Id="19120" PostHistoryTypeId="2" PostId="11603" RevisionGUID="1f24cc9e-bbbf-44b3-9845-11a65c59cb0e" CreationDate="2011-11-29T08:00:49.640" UserId="1027" Text="The ear-scene in Reservoir Dogs was the first thing that came to my mind too. &#xD;&#xA;&#xD;&#xA;The second ting that came to my mind was a movie (and a book) that's full of music that (kind of) juxtaposes the scene (at least if we're not to look at the scene from Alex' psychopathic view)...&#xD;&#xA;&#xD;&#xA;...A Clockwork Orange, a movie full of contrapuntal/anempathic/juxtapositional/contrasting/what-ever-you-want-to-call-it music -- and here's just one selected scene:&#xD;&#xA;&#xD;&#xA;[youtube]2kFBRX9kRIk#t=0m17s[/youtube]&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19121" PostHistoryTypeId="2" PostId="11604" RevisionGUID="6a806ebc-2f99-4247-b8e6-f4c3191d247b" CreationDate="2011-11-29T08:15:40.673" UserId="1055" Text="Hello,&#xD;&#xA;&#xD;&#xA;i'm sound designer for small video games, so i have many projects coming in and out...and i always struggle at making those user interface/menu sounds...i know they should be subtle and all, but when there are so many projects i kinda running out of ideas/techniques, for these small and subtle sounds...any tips n tricks that might help me? :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19122" PostHistoryTypeId="1" PostId="11604" RevisionGUID="6a806ebc-2f99-4247-b8e6-f4c3191d247b" CreationDate="2011-11-29T08:15:40.673" UserId="1055" Text="Designing Game Menu/Interface Sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19123" PostHistoryTypeId="3" PostId="11604" RevisionGUID="6a806ebc-2f99-4247-b8e6-f4c3191d247b" CreationDate="2011-11-29T08:15:40.673" UserId="1055" Text="&lt;video&gt;&lt;game&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19124" PostHistoryTypeId="2" PostId="11605" RevisionGUID="f013abc3-3a8f-4314-9911-4fda59655b7f" CreationDate="2011-11-29T08:59:49.740" UserId="1090" Text="Always depends on what the overall ambience and feel should be of course. What type of game is it? &#xD;&#xA;&#xD;&#xA;I really enjoy the iPhone games that are on the app store, all of them have very nice menu sounds. Like the Halfbrick Studio games, Fruit Ninja for example. One interface (and overall sound in game btw) I really liked was &quot;Bulletstorm&quot;. I know that isn't helping but it could be something to be inspired by.&#xD;&#xA;&#xD;&#xA;I've never actually (professionally) worked with games and sound design for HUDs and menus, but I'd like to think that if I were, I'd work with the imagery and overall feel. I mean if the game's all about cowboys I'd work with leather, chains and the likes. If the game's about dancing I'd probably want to manufacture some music-like sounds. Small snippets. &#xD;&#xA;&#xD;&#xA;In a way I think the easiest route to go is to make it simple and start out with finding small snippets of sound with only one object. Set creative boundaries for yourself.&#xD;&#xA;Sort of like Diego Stocco making music out of just one thing, that trick could be really creatively inspiring. &#xD;&#xA;I remember doing sound design for a short film in the beginning of my career, and the film contained a computer like thingy that had to have interaction sounds. The thingy was to look old and crappy, so I decided that I would use a printer and record all different stages of that and cut out small snippets of the printer sounds. That way, I had just used one &quot;thing&quot; to make the sound for the computer thingy. That made it simple, and it made it fun. &#xD;&#xA;That's what I do when I run out of ideas anyway. &#xD;&#xA;&#xD;&#xA;I'm sure you'll come up with something and it will rock!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19125" PostHistoryTypeId="2" PostId="11606" RevisionGUID="1678fc18-ec38-4b73-964f-12927387001a" CreationDate="2011-11-29T09:27:27.347" UserId="149" Text="most interface sounds regardless of style need to be incredibly short. start with drum samples. Real kits or samples from electronic kits. Process some hi hats and layer them on top of processed kicks for a starting point.&#xD;&#xA;&#xD;&#xA;Take any sound that has a transient and just trim around the transient...just those few milliseconds. Once you have a bunch of these you can begin to mix and match and add flavor from there.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19126" PostHistoryTypeId="2" PostId="11607" RevisionGUID="8d83789b-36f2-4f93-a653-53c6378a1191" CreationDate="2011-11-29T09:54:35.213" UserId="662" Text="When I have to deal with a generic Hud , I usually come with fm synthesis first . The flexibility and the control of the fm process help the creation of a large variety of tones which can cover all interface actions (validation, error, cancellation, rollover, etc...). Plus this sounds particularly clean on small device speakers.&#xD;&#xA;&#xD;&#xA;For a themed menu I try to take small snippets of a related set of samples." ContentLicense="CC BY-SA 3.0" />
  <row Id="19127" PostHistoryTypeId="2" PostId="11608" RevisionGUID="4dba34b2-3464-49e5-b24e-0c999643c3d6" CreationDate="2011-11-29T10:11:47.397" UserId="1225" Text="For interface sounds you can use recordings of small stones, metal parts, ice, breaking glass etc. Take snippets not from the most loud parts of the sample, but from the tail. Build your sound from several elements to make it sounding nice. In some cases, add melodic elements (bells, mallets)." ContentLicense="CC BY-SA 3.0" />
  <row Id="19128" PostHistoryTypeId="2" PostId="11609" RevisionGUID="8d85599e-9d49-41ee-b71c-7056e15b811c" CreationDate="2011-11-29T10:14:59.040" UserId="3201" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;I've got an upcoming feature animation project, my part exactly is to record dialogue. Since I've never got any experience on animation, I did some research especially on the mic use and positioning, nothing were found but some pics and small clips...such like, [Happy Feet 2][1], [Happy Feet 1][2] (these are from Happy Feet 1 and 2, but totally different use of mics...)&#xD;&#xA;&#xD;&#xA;So, I was wondering, what are the tricks to record an feature animation dialogue? Does it like doing ADR? or Voice Over? or...somewhere in between?&#xD;&#xA;&#xD;&#xA;Any comments are very much appreciated!! &#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;Eric&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/media/rm2653598208/tt1402488&#xD;&#xA;  [2]: http://www.imdb.com/media/rm1153076224/tt0366548" ContentLicense="CC BY-SA 3.0" />
  <row Id="19129" PostHistoryTypeId="1" PostId="11609" RevisionGUID="8d85599e-9d49-41ee-b71c-7056e15b811c" CreationDate="2011-11-29T10:14:59.040" UserId="3201" Text="How to record an feature animation dialogue?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19130" PostHistoryTypeId="3" PostId="11609" RevisionGUID="8d85599e-9d49-41ee-b71c-7056e15b811c" CreationDate="2011-11-29T10:14:59.040" UserId="3201" Text="&lt;dialogue&gt;&lt;animation&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19131" PostHistoryTypeId="5" PostId="11607" RevisionGUID="c757cb49-fd65-4b0c-b97c-20272d5bb84d" CreationDate="2011-11-29T10:17:54.470" UserId="662" Comment="deleted 1 characters in body" Text="When I have to deal with a generic Hud, I usually come with fm synthesis first . The flexibility and the control of the fm process help the creation of a large variety of tones which can cover all interface actions (validation, error, cancellation, rollover, etc...). Plus this sounds particularly clean on small device speakers.&#xD;&#xA;&#xD;&#xA;For a themed menu I try to take small snippets of a related set of samples." ContentLicense="CC BY-SA 3.0" />
  <row Id="19132" PostHistoryTypeId="2" PostId="11610" RevisionGUID="89f31ecc-1e29-4f16-b4d4-0ef0c1f44a9f" CreationDate="2011-11-29T11:12:56.937" UserId="6420" Text="I think it's the Soundworks vid for Where The Wild Things Are in which they show how they recorded the actors in the studio &quot;physically&quot; acting out the scenes with mics strapped to their heads, as opposed to the usual static VO/ADR type session. Well worth a look!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19133" PostHistoryTypeId="2" PostId="11611" RevisionGUID="0ec93dc9-ac33-45fd-b140-170c9e1371af" CreationDate="2011-11-29T12:11:39.967" UserId="3224" Text="I recently installed pt 10 on my macpro 2 x 2,4GHZ quadcore Intel Xenon westmere 24gb ram but MPTK 2 does not detect PT 10 as a valid PT install. I tried to install MPTK 2 from the installer disk aswell from my account. Can anybody help me or has anybody encounterd the same problem. Due to this problem i'm not able to use the disk cach function in PT 10.&#xD;&#xA;&#xD;&#xA;regards Adrian" ContentLicense="CC BY-SA 3.0" />
  <row Id="19134" PostHistoryTypeId="1" PostId="11611" RevisionGUID="0ec93dc9-ac33-45fd-b140-170c9e1371af" CreationDate="2011-11-29T12:11:39.967" UserId="3224" Text="MPTK 2 does not detect PT 10" ContentLicense="CC BY-SA 3.0" />
  <row Id="19135" PostHistoryTypeId="3" PostId="11611" RevisionGUID="0ec93dc9-ac33-45fd-b140-170c9e1371af" CreationDate="2011-11-29T12:11:39.967" UserId="3224" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19136" PostHistoryTypeId="2" PostId="11612" RevisionGUID="253a38c0-fd76-4c4c-a540-e31af2d7b580" CreationDate="2011-11-29T12:14:15.323" UserId="578" Text="I find Mario games usually very inspiring for UI &amp; HUD sounds, and love borrowing their ideas. It basically comes down to creating fast and short tonal scales of mallet-like sounds that are in the same key as the background music. So ideally it's either you who's also writing the music, or you collaborate closely with the composer to ensure consistency between UI sfx and music." ContentLicense="CC BY-SA 3.0" />
  <row Id="19137" PostHistoryTypeId="5" PostId="11612" RevisionGUID="5c27810e-257a-4dd2-a3b1-0d7d65c6f7e9" CreationDate="2011-11-29T12:19:43.217" UserId="578" Comment="added 493 characters in body" Text="I find Mario games usually very inspiring for UI &amp; HUD sounds, and love borrowing their ideas. It basically comes down to creating fast and short tonal scales of mallet-like sounds that are in the same key as the background music. So ideally it's either you who's also writing the music, or you collaborate closely with the composer to ensure consistency between UI sfx and music. &#xD;&#xA;&#xD;&#xA;Another important aspect in the Mario/Nintendo approach is identifying lots of different UI 'hooks', as to not merely end up with a single sound for 'select' and 'back' events for instance, but many different stages of similar events that occur at different screens, 'click-through-sequences' and so forth, each single event sounding a little bit different. You'll get a lovely rich, joyous and musical hybrid between UI fx and music by giving all of this a lot of detailed attention.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19138" PostHistoryTypeId="2" PostId="11613" RevisionGUID="57be9e44-886e-4e5f-ae87-4ed3b12db313" CreationDate="2011-11-29T12:34:26.723" UserId="3183" Text="I think mptk has been eliminated from the product line. Now you can have pt10, or pt10 with cptk, or pt10hd software." ContentLicense="CC BY-SA 3.0" />
  <row Id="19139" PostHistoryTypeId="2" PostId="11614" RevisionGUID="de457657-65cb-401d-b0fe-eff6a8bea14c" CreationDate="2011-11-29T12:35:46.587" UserId="432" Text="I believe 10 doesn't support the Music Production Toolkit or DV Toolkit., only the Complete Production Toolkit. A lot of the features of the previous Toolkits have been incoporated into the base software. Upgrade paths from MPTK/DVTK to CPTK are still available." ContentLicense="CC BY-SA 3.0" />
  <row Id="19140" PostHistoryTypeId="2" PostId="11615" RevisionGUID="f4db8a09-9b57-4ada-8e6d-dc8760afd6ce" CreationDate="2011-11-29T13:00:06.263" UserId="62" Text="I've not recorded feature dialogue but I have done TV animation dialogue. We decided to keep it simple in the records and do any perspective changes required in the show during post. This is because there were no storyboards to work with and also because our cast was made up mainly of under 10 year olds.&#xD;&#xA;&#xD;&#xA;We recorded each character separately and positioned the actor about a foot away from the mic and with a pop-shield in place. This gave us nice dry dialogue to work with but without a lot of mouth noise and clack, especially good for the kid's performances.&#xD;&#xA;&#xD;&#xA;I don't think there's a right or wrong way to do this as there's advantages and disadvantages to the way I work and what Andy just said." ContentLicense="CC BY-SA 3.0" />
  <row Id="19141" PostHistoryTypeId="2" PostId="11616" RevisionGUID="d140b3fe-92b4-4f14-87ae-2a90a5379257" CreationDate="2011-11-29T17:37:34.307" UserId="3197" Text="I remember reading somewhere about someone creating a stone door closing when they were packing up for the day and scraped a box along the ground that was covered in salt and I'm sure there's many other examples. So what's the best thing **you've** made by mistake?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19142" PostHistoryTypeId="1" PostId="11616" RevisionGUID="d140b3fe-92b4-4f14-87ae-2a90a5379257" CreationDate="2011-11-29T17:37:34.307" UserId="3197" Text="What is the best sound you've created by mistake?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19143" PostHistoryTypeId="3" PostId="11616" RevisionGUID="d140b3fe-92b4-4f14-87ae-2a90a5379257" CreationDate="2011-11-29T17:37:34.307" UserId="3197" Text="&lt;sound-design&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19144" PostHistoryTypeId="2" PostId="11617" RevisionGUID="fbfe5013-dd5a-4cc5-b47b-252294ca9eef" CreationDate="2011-11-29T18:30:25.443" UserId="7642" Text="Moving a sofa created a wonderful low end growl so I just had to record it." ContentLicense="CC BY-SA 3.0" />
  <row Id="19145" PostHistoryTypeId="2" PostId="11618" RevisionGUID="1e8d1110-e560-4e49-b429-054e50311517" CreationDate="2011-11-29T18:55:35.810" UserId="194" Text="one time my ISDN box freaked out on connection, but in an awesome digital kind of way.  I hit record and caught a sound I'd never be able to reproduce otherwise.  For a year or so I used that sound in everything.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19146" PostHistoryTypeId="2" PostId="11619" RevisionGUID="4388fab9-55e0-47fb-9053-f0beffcd2e85" CreationDate="2011-11-29T19:46:38.950" UserId="845" Text="I was mussing about in the studio with a friend of mine a few weeks ago and discovered a way of making really cool and totally epic sweeps using a thin piece of MDF board and the metal edge of a baffle.  Since then I've used it in pretty much everything I've put my ears to since then.  Transitions and flybys.  Ambiences and spot effects.  I just can't help it.  I love the sounds so much, and they [magically] seem to suit everything.&#xD;&#xA;&#xD;&#xA;I think I'm approaching the point of beating a severely dead horse, but I can't help myself.  So, how do you guys feel about re-using sounds from project to project?  Do you have a point where you force yourself to stop using certain sounds because you're starting to repeat yourself, or do you just have at 'er and use it till you lose it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19147" PostHistoryTypeId="1" PostId="11619" RevisionGUID="4388fab9-55e0-47fb-9053-f0beffcd2e85" CreationDate="2011-11-29T19:46:38.950" UserId="845" Text="Addicted to Sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="19148" PostHistoryTypeId="3" PostId="11619" RevisionGUID="4388fab9-55e0-47fb-9053-f0beffcd2e85" CreationDate="2011-11-29T19:46:38.950" UserId="845" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19149" PostHistoryTypeId="2" PostId="11620" RevisionGUID="f306c336-970f-46b7-87c5-c12f4e5285e4" CreationDate="2011-11-29T20:31:38.343" UserId="300" Text="stepping backwards away from a lecturn and laughing turned in to this amazing phazey sci-fi sound that ended up being a car-start for a futuristic show.... &#xD;&#xA;&#xD;&#xA;I have a folder full of 'leftovers' that holds all the little gems that might otherwise be indiscriminately culled from a recording session. Things that just sound cool and are hard to categorize.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19150" PostHistoryTypeId="2" PostId="11621" RevisionGUID="157a4e27-bb4e-4a69-9754-bc7c6a240839" CreationDate="2011-11-29T20:43:53.883" UserId="194" Text="I typed this up in response to a gearslutz thread, but I figured it could find a home here as well.  The question was: &quot;what tips do you have for recording dialogue for animation?&quot;&#xD;&#xA;&#xD;&#xA;here are my answers:&#xD;&#xA;&#xD;&#xA;run a dual mic setup if possible. one close and one a bit back to handle yelling and wider perspectives.&#xD;&#xA;&#xD;&#xA;I'd also try to make sure that the individual scripted lines are numbered in advance so that you can pull takes and feed actors the lines of other actors for context quickly.&#xD;&#xA;&#xD;&#xA;pull selects as you go along if possible. Directors or actors will often run takes in sets of three, so if you hear an approving grunt come from behind you then mark the script and grab the take before moving on. This will make the edits faster and performances better later on if you're in control of those things.&#xD;&#xA;&#xD;&#xA;also, be proactive about ref audio in advance of the session. Often, actors will have established or auditioned a particular character voice that they'll want to hear so that they can match. producers are notorious for not bringing those things and you don't want to hunt during the session anyway, so seek those things out and line them up in advance (if they exist).&#xD;&#xA;&#xD;&#xA;route the talkback mic and actor's mics as a mono feed to a seperate recorder that just spins the whole session. Inevitably the actor will say something hilarious or otherwise amazing in between takes and you'll want to be able to say &quot;that's cool, i got it with that rig over there&quot; If there's no uncaught gold it'll be obv during the session, so you can wipe the media after a day or two.&#xD;&#xA;&#xD;&#xA;when I did ADR for the ant bully we were actually running a timecode DAT with the timecode display up where the script super could see it for this exact purpose.&#xD;&#xA;&#xD;&#xA;be sure to read the direction between the scripted lines. There will often be cues for exertions that the dialogue editor and animators will want. On a bowling animated show we did I was constantly having to make sure that we were covered for exertions the characters would need when lifting the ball, bowling, pushing each other around, etc. None of those exertions were scripted, but all of that direction was there in black and white between the lines - I just had to stay on top of it. A good script super will have this kind of thing covered, but good script supers are not a given and you'll regret not getting them if you're the one doing the editing later on. If an animator is the one doing the script supervising you really have to take responsibility and watch things like this.&#xD;&#xA;&#xD;&#xA;get some laughter and other short exertions wild if time permits.&#xD;&#xA;&#xD;&#xA;have a system for adlibs. comedy relies on adlibs in the moment and you'll want to be able to facilitate and accommodate that kind of thing.&#xD;&#xA;&#xD;&#xA;any other tips?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19151" PostHistoryTypeId="1" PostId="11621" RevisionGUID="157a4e27-bb4e-4a69-9754-bc7c6a240839" CreationDate="2011-11-29T20:43:53.883" UserId="194" Text="recording dialogue for animation" ContentLicense="CC BY-SA 3.0" />
  <row Id="19152" PostHistoryTypeId="3" PostId="11621" RevisionGUID="157a4e27-bb4e-4a69-9754-bc7c6a240839" CreationDate="2011-11-29T20:43:53.883" UserId="194" Text="&lt;animation&gt;&lt;workflow&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19153" PostHistoryTypeId="16" PostId="11621" RevisionGUID="157a4e27-bb4e-4a69-9754-bc7c6a240839" CreationDate="2011-11-29T20:43:53.883" UserId="194" />
  <row Id="19154" PostHistoryTypeId="2" PostId="11622" RevisionGUID="3c9edbbb-1747-4590-a819-8bfc2a1873dd" CreationDate="2011-11-29T20:51:19.900" UserId="194" Text="I certainly do that.&#xD;&#xA;&#xD;&#xA;I have some whooshes that I built with a combination of [Michael Raphael's rockets][1] and some flame bys that I still use in just about everything.  I need to make some different ones. :)&#xD;&#xA;&#xD;&#xA;ditto with some screen text scanning that I did a while back and some other clicky sounding things that work well in UI looking CG moves.&#xD;&#xA;&#xD;&#xA;I'm currently in the process of beating to death a recording of our garage door that I made as well.  Its soo big!&#xD;&#xA;&#xD;&#xA;  [1]: http://rabbitearsaudio.com/rea001-rockets/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19155" PostHistoryTypeId="2" PostId="11623" RevisionGUID="72600341-3765-44fb-95fb-09f2c07a9b2b" CreationDate="2011-11-29T21:10:22.660" UserId="863" Text="Tell you what, after working with some puppeteers for some kids TV shows including the amazing Kevin Clash (Elmo) the microphone on the headband sounds brilliant. If you have the mics get them to act it out using this technique, you don't even need loads of space, just enough that they can act stuff out on the spot can help give an authentic delivery.&#xD;&#xA;&#xD;&#xA;Naturally some actors are so animated and have so much experience in voiceover that they can pull it off in a booth." ContentLicense="CC BY-SA 3.0" />
  <row Id="19156" PostHistoryTypeId="2" PostId="11624" RevisionGUID="99bcce08-b265-462c-9d75-07c012218663" CreationDate="2011-11-30T02:53:31.133" UserId="3178" Text="if you have ever used the WII then the home screen and dashboard menus are actually quite well done in terms of audio, subtle electronic heavily rhythmic UI musc and nice synthesised tones for back and forth selecting and hovering the cursor over the selections, a game called EVAC HD on android i particularly like that imitates this style, might be on IOS too but unsure, =]" ContentLicense="CC BY-SA 3.0" />
  <row Id="19157" PostHistoryTypeId="2" PostId="11625" RevisionGUID="37dc44a9-2df6-466b-bd6b-49b1c49a9bc4" CreationDate="2011-11-30T03:29:12.330" UserId="3178" Text="Must say very nice work man,&#xD;&#xA;&#xD;&#xA;I think maybe the voice acting is a tad repetitive , and when the player skis through water I&#xD;&#xA;&#xD;&#xA;think maybe add some water spraying or something, all gun SFX are great, good music levels &#xD;&#xA;&#xD;&#xA;and hit points too, like when the player captures the flag etc.&#xD;&#xA;&#xD;&#xA;any news on when tribes: ascend is released on PC? cant wait to play it, all the best with &#xD;&#xA;&#xD;&#xA;this game =]" ContentLicense="CC BY-SA 3.0" />
  <row Id="19158" PostHistoryTypeId="2" PostId="11626" RevisionGUID="37d7dbd3-57ef-4027-8d24-8b7fe9e6a00c" CreationDate="2011-11-30T04:01:54.877" UserId="3222" Text="In an Optical medium, The Dolby Digital print has a 5776 dots each representing a bit of data in one perforation. Therefore 4 perforations per frame and 96 perforations in one second. So in one second dolby is accommodating 554496 bits of data. However the data in an uncompressed wav in second is 6912000 bits of data is stored.&#xD;&#xA;&#xD;&#xA;What kind of compression does my audio go through when the AC3 codec is used ? How come there is no drop in quality and while there is a huge, drastic drop in data ?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19159" PostHistoryTypeId="1" PostId="11626" RevisionGUID="37d7dbd3-57ef-4027-8d24-8b7fe9e6a00c" CreationDate="2011-11-30T04:01:54.877" UserId="3222" Text="What kind of compression does my audio go through when it undergoes Dolby AC3 Codec ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19160" PostHistoryTypeId="3" PostId="11626" RevisionGUID="37d7dbd3-57ef-4027-8d24-8b7fe9e6a00c" CreationDate="2011-11-30T04:01:54.877" UserId="3222" Text="&lt;data&gt;&lt;compression&gt;&lt;dolby&gt;&lt;digital&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19161" PostHistoryTypeId="2" PostId="11627" RevisionGUID="fc86f53a-5696-4ca3-91f1-e7b0e2ef5247" CreationDate="2011-11-30T06:36:53.067" UserId="2778" Text="hey guys. i am a fresher to this field and have started doing my research and work in sound design around 6-7 months back. As a part of the learning process, i make sure that i watch loads and loads of films (almost all types i.e. mono, stereo and surround). But the question i always have is WHAT TO LOOK OUT FOR!? Usually when i see a movie, i observe sounds that grab my attention, the use of silence, why is it used, why has the ambient sound reduced which was first prominent, why has the level of music increased, why a particular sound is panned, how was that effect created etc etc. &#xD;&#xA;I still feel that i should look out for more aspects. Are there any more suggestions or advice  you fellow sound designers would like to give in regards to WHAT TO LOOK OUT FOR!?, while studying a movie. &#xD;&#xA;Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="19162" PostHistoryTypeId="1" PostId="11627" RevisionGUID="fc86f53a-5696-4ca3-91f1-e7b0e2ef5247" CreationDate="2011-11-30T06:36:53.067" UserId="2778" Text="How to study sound for any film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19163" PostHistoryTypeId="3" PostId="11627" RevisionGUID="fc86f53a-5696-4ca3-91f1-e7b0e2ef5247" CreationDate="2011-11-30T06:36:53.067" UserId="2778" Text="&lt;film-sound-design&gt;&lt;film&gt;&lt;studies&gt;&lt;beginner&gt;&lt;creative-inspiration&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19164" PostHistoryTypeId="5" PostId="2911" RevisionGUID="b978ffee-1b6b-40be-85dd-8f3ed45e8e32" CreationDate="2011-11-30T07:34:25.043" UserId="61" Comment="added 8 characters in body" Text="So I'm flipping channels and find [The Terminator][1] on AMC. And it was just starting! It's been a while since I've seen it in its entirety, so I decided to give it my full attention.&#xD;&#xA;&#xD;&#xA;The thing that strikes me immediately: **Sound design with a purpose**. This is a soundtrack that tells a story right from the first scene. It is not sound *for the sake* of sound, but rather with the intent of immersing you in a time and place, specifially Los Angeles, circa 1984. The trash truck's groans and squeals, all air pistons and clanging forks. Wonderful.&#xD;&#xA;&#xD;&#xA;The fights, gun shots, and gun foley are incredibly powerful and beautifully detailed. The shootout in Tech-Noir, the attack on the police station: Brutal. Unforgiving. Uncensored.&#xD;&#xA;&#xD;&#xA;The smashes, crashes and general mayhem are expertly executed. The car chase through the garages and underpasses: Exciting and clean. This track is really a study in how the *right sound* can make the scene; you can tell that the redundant layering of elements (as many editors/designers work today) is very much absent here. Each sound is proudly presented and put right out front to affect the viewer and keep the story moving.&#xD;&#xA;&#xD;&#xA;Does it sound dated? Well, some parts of it do. But be forgiving, this film was released in 1984! And for the number of sounds that sound a bit lo-fi, there are double that number that sound crisp and full of life, ie. the automatic weapons, the terminator vision fx. (I wonder, though, how much of the sound I heard was a product of the restoration that was completed by the folks at Skywalker Sound?) If anyone out there was involved in the making of this track or know someone who was, would you please enlighten us with stories?&#xD;&#xA;&#xD;&#xA;Of course, having a [director][2], [producer][3] and [picture editor][4] that nurture and demand this level of prowess is critical. Too many middling, timid filmmakers have caved in on boldly-presented sound, and it's rare for a film's visual style to be so excellent as to be able to support such a track.&#xD;&#xA;&#xD;&#xA; [David Campling][5], the supervising sound editor credited on IMDB, deserves a huge round of applause for his attention to detail. If you haven't seen this movie in a long time, I encourage you to watch it soon! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0088247/&#xD;&#xA;  [2]: http://www.imdb.com/name/nm0000116/&#xD;&#xA;  [3]: http://www.imdb.com/name/nm0005036/&#xD;&#xA;  [4]: http://www.imdb.com/name/nm0325358/&#xD;&#xA;  [5]: http://www.imdb.com/name/nm0133095/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19165" PostHistoryTypeId="2" PostId="11628" RevisionGUID="57918e74-1a5f-42b1-bc70-e28396570b0c" CreationDate="2011-11-30T08:23:34.587" UserId="2" Text="I strongly recommend you to get a copy of [Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema][1] by David Sonnenschein. It will give you a good idea of all the elements to look out for in sound design for film. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Sound-Design-Expressive-Effects-Cinema/dp/0941188264" ContentLicense="CC BY-SA 3.0" />
  <row Id="19166" PostHistoryTypeId="2" PostId="11629" RevisionGUID="0163007a-96da-4fb5-84ab-ef02eda8db04" CreationDate="2011-11-30T09:17:50.663" UserId="1062" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;Im starting to do research for my dissertation and I really want to do it on an area of Sound Design. Im still pretty unsure on what exactly it is I am going to write about so I was wondering if anyone on here could give me some ideas? Ideally it has to be something that hasn't had a lot research already documented about and that I can define key questions to research and conclude my findings. &#xD;&#xA;&#xD;&#xA;If anyone has any ideas or leads that would be a great help!&#xD;&#xA;Sam&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19167" PostHistoryTypeId="1" PostId="11629" RevisionGUID="0163007a-96da-4fb5-84ab-ef02eda8db04" CreationDate="2011-11-30T09:17:50.663" UserId="1062" Text="University Dissertation" ContentLicense="CC BY-SA 3.0" />
  <row Id="19168" PostHistoryTypeId="3" PostId="11629" RevisionGUID="0163007a-96da-4fb5-84ab-ef02eda8db04" CreationDate="2011-11-30T09:17:50.663" UserId="1062" Text="&lt;sound-design&gt;&lt;research&gt;&lt;dissertation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19169" PostHistoryTypeId="2" PostId="11630" RevisionGUID="726c6c2d-f7f2-4e7a-aea7-95fbe28bbd12" CreationDate="2011-11-30T10:20:30.193" UserId="62" Text="+1 for Andrew's suggestion.&#xD;&#xA;&#xD;&#xA;My suggestion for you would be to break down film sound into components and approach the film for each one. Please feel free to look at my old dissertation if it helps you in that regard.&#xD;&#xA;&#xD;&#xA;http://ianpalmersound.com/2010/08/26/64/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19170" PostHistoryTypeId="2" PostId="11631" RevisionGUID="fda265be-6c7c-4735-87e2-7028d8b4eaca" CreationDate="2011-11-30T11:14:18.930" UserId="6420" Text="All the things you mention are usually there to try and give an emotive response for the audience when viewing. Try to think why the sounds are being used instead of just how they are used too. Think of what the characters might be thinking/feeling at any given point any how the sound is reflecting this. This might make it easier to piece together the details in the soundtrack. It's all about helping the narrative at the end of the day. Think of any films where you were really drawn in by the sound then think why. Did it help you connect with the character more? Did it make you scared etc?&#xD;&#xA;&#xD;&#xA;Go and watch Apocalypse Now if you haven't already too ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19171" PostHistoryTypeId="2" PostId="11632" RevisionGUID="c96ab03c-3915-4051-a0ac-6aefbfbe69ab" CreationDate="2011-11-30T12:01:10.153" UserId="863" Text="We imported some music into a 48khz pro tools project to record some vocals, the music file was at 44khz and we didn't SRC convert it to 48khz, therefore the music was slower than the original. The whole session is out of time and out of tune.&#xD;&#xA;&#xD;&#xA;How can someone convert this back to its original? What is the process for repairing this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19172" PostHistoryTypeId="1" PostId="11632" RevisionGUID="c96ab03c-3915-4051-a0ac-6aefbfbe69ab" CreationDate="2011-11-30T12:01:10.153" UserId="863" Text="48k project to 44k project" ContentLicense="CC BY-SA 3.0" />
  <row Id="19173" PostHistoryTypeId="3" PostId="11632" RevisionGUID="c96ab03c-3915-4051-a0ac-6aefbfbe69ab" CreationDate="2011-11-30T12:01:10.153" UserId="863" Text="&lt;sample&gt;&lt;rate&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19174" PostHistoryTypeId="2" PostId="11633" RevisionGUID="fe7ea881-6ee8-4a07-b7b3-fa129207df4d" CreationDate="2011-11-30T12:18:27.633" UserId="6420" Text="Can you just reimport the music with the right SRC for the project then re-pitch the recorded vocal to that?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19175" PostHistoryTypeId="2" PostId="11634" RevisionGUID="5eb40d25-98c8-4ff4-8468-54244cc91257" CreationDate="2011-11-30T13:07:02.370" UserId="3104" Text="I agree with Andy Lewis on this one and feel that all of the elements are in the soundtrack are there to serve the story. With the elements in the soundtrack being dialog, sound effects, ambiance and score, one has to look at all of these things and how they tell the story, as well as how they work together to make everything complete i.e. the mix.&#xD;&#xA;&#xD;&#xA;Is the dialog clear enough and does it get information across? Are the sound effects believable and are they spaced appropriately in the mix? Is the ambiance smooth and do they sound believable in the appropriate space? Is the score help convey the emotions of the characters or themes of the film? Is the mix good? Does it have a wide range of dynamics? All of these things should be looked at to get a good feel of how the audio in the film is being used to tell the story. &#xD;&#xA;&#xD;&#xA;Some great examples of sound in some films are The Conversation, Master and Commander: Far Side of the World, Wall-E, Alien, The Matrix, Jurassic Park and Saving Private Ryan.&#xD;&#xA;&#xD;&#xA;Whether you've seen these films already or not, the next time you pop in a Blu-Ray or DVD of any of these or any film for that matter, just listen to them, preferably in an ideal surround sound setting and try to see how the story is conveyed.    " ContentLicense="CC BY-SA 3.0" />
  <row Id="19176" PostHistoryTypeId="2" PostId="11635" RevisionGUID="eca827d3-e322-44d0-a275-8049998c1ceb" CreationDate="2011-11-30T13:16:42.407" UserId="432" Text="It's going through a perceptual (think mp3/aac) and matrix encoding process. And there is a drop in quality, but most people aren't listening on speakers where they would be able to clearly hear the difference. That's how it is with any of the flavors of Dolby or DTS encoding formats. Though it's interesting to note that Blu-Ray have started shipping with unencoded, discrete, multi-channel audio on them. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19177" PostHistoryTypeId="2" PostId="11636" RevisionGUID="fe59d468-6e6a-4060-9e02-997f0d253227" CreationDate="2011-11-30T13:27:41.810" UserId="432" Text="Only one thing I can think of without telling you to redo everything, and this is gonna be dicey. I don't if the results will actually be any good.&#xD;&#xA;&#xD;&#xA;The fastest way will be to re-import the music file (as a second file, different file name) and allow SRC to properly convert it. You should then have both your buggered music file and the new version that is at the correct speed and pitch.&#xD;&#xA;&#xD;&#xA;First consolidate your vocal track into one file that is the exact length of the music region it was recorded against. Find the exact length of the new (correct) region (you may want to view in sample), and varispeed time-compress the incorrect music file to match. Play back and A/B between the two music regions to make sure that it worked properly. Now, time-compress the vocal track (NO VARISPEED this time) to match the exact length of your music files, and you should be there.&#xD;&#xA;&#xD;&#xA;Again, I don't know how good the results will be...but it's worth a shot." ContentLicense="CC BY-SA 3.0" />
  <row Id="19178" PostHistoryTypeId="2" PostId="11637" RevisionGUID="7f926a9f-4ba8-4789-b078-eedbaaee1a7f" CreationDate="2011-11-30T13:45:07.437" UserId="432" Text="It sounds like you're still working your way into this process, and I think you're going to have a hard time getting much that is substantive from such a broad approach. You'll probably find it much more beneficial to focus on smaller bytes of information first.&#xD;&#xA;&#xD;&#xA;Select a scene only, and watch it over...and over...and over............and over. Get to the point where you have every little piece dialog/vocalization, lighting and character blocking memorized. Now, you've probably also got the sounds memorized by this point as well. Start thinking about how the sounds interact with all of those elements. Where do sounds occur? Where don't they? Do any of the sounds exhibit a particular meaning to the characters? Where do they come to the foreground and demand both your and the characters' attention? Where are they subservient to the dialog and visuals? What you're trying to understand with all of this is, &quot;How does the sound support the scene?&quot;&#xD;&#xA;&#xD;&#xA;There's a lot going on in sound beyond the technical, and that's the more difficult information to process. Once you start to get the hang of this on the smaller scale, you'll naturally begin to apply it in a broader context. You'll start understanding how elements within that particular scene tie into the context of other scenes in the film, and how they affect your perception as a viewer.&#xD;&#xA;&#xD;&#xA;Find places to talk with other people about your thoughts as well. It will help you process and cement opinions in a way that just watching the films won't. If you're interested, we're going to be talking about the story-telling functions of the sound for Cast Away in the next [Film Sound Discussion Group][1]. Randy Thom has said that he wants to pop in and participate as well...you might have a hard time finding a better perspective than that. ;)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2011/11/film-sound-discussion-group-cast-away-2000/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19179" PostHistoryTypeId="5" PostId="11635" RevisionGUID="da092bd1-6080-4c37-88c6-966603e57e0c" CreationDate="2011-11-30T13:57:50.993" UserId="432" Comment="added 18 characters in body" Text="It's going through a perceptual (think mp3/aac) and matrix encoding process. And there is a drop in quality, but most people aren't listening on speakers where they would be able to clearly hear the difference (at home anyways). That's how it is with any of the flavors of Dolby or DTS encoding formats. Though it's interesting to note that Blu-Ray have started shipping with unencoded, discrete, multi-channel audio on them. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19180" PostHistoryTypeId="5" PostId="11619" RevisionGUID="1bc10e59-7780-4934-b6cf-f160d791b364" CreationDate="2011-11-30T14:58:41.527" UserId="845" Comment="added 60 characters in body" Text="I was mussing about in the studio with a friend of mine a few weeks ago and discovered a way of making really cool and totally epic sweeps using a thin piece of MDF board and the metal edge of a baffle.  Since then I've used it in pretty much everything I've put my ears to since then.  Transitions and flybys.  Ambiences and spot effects.  I just can't help it.  I love the sounds so much, and they [magically] seem to suit everything.&#xD;&#xA;&#xD;&#xA;I think I'm approaching the point of beating a severely dead horse, but I can't help myself.  So, how do you guys feel about re-using sounds from project to project?  Do you have a point where you force yourself to stop using certain sounds because you're starting to repeat yourself, or do you just have at 'er and use it till you lose it?&#xD;&#xA;&#xD;&#xA;[soundcloud]g-a-harry/wood-scrape-stereo-04[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="19181" PostHistoryTypeId="2" PostId="11638" RevisionGUID="7c0282ac-a130-4084-b66b-28ec6e9a8fed" CreationDate="2011-11-30T15:30:46.223" UserId="202" Text="Actually there's a great drop in quality! If you ever listened to a mix while making the Dolby optical disk (so, in the same room where you mixed) you clearly hear drop of quality, definition, dynamics.&#xD;&#xA;One of the great things of DCP projections (or Blu-Ray discs), is the uncompressed audio format. I think that abandonment of AC3 for uncompressed audio, and better calibrate theater are the most prominent improvement we could have in the next few years in sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19182" PostHistoryTypeId="2" PostId="11639" RevisionGUID="14cd6ebb-66f1-48f0-9ac9-cf1f9f5d7b84" CreationDate="2011-11-30T17:05:42.190" UserId="7642" Text="The way To clearly hear the destruction is to feed strong complex signals to the fronts and some nice sounding orchestra music at lower levels to the rears. Mute the fronts and only listen to the rears... Make sure to mute AFTER the DMU and that you monitor through the ac3 process.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Sometimes bass heavy sounds gets seriously messed up as well. It used to be a big issue, but Definetly have become better the last few years.&#xD;&#xA;&#xD;&#xA;The perceptual coding and data reduction for film prints is crazy. There's way more data on a DVD or bluray compared to what's available on a 35mm print.&#xD;&#xA;Otoh it's quite a feat getting to sound as decent as it does with the limited data rate available." ContentLicense="CC BY-SA 3.0" />
  <row Id="19183" PostHistoryTypeId="5" PostId="11639" RevisionGUID="0f0c661f-8741-4b04-9bbe-ee7c2d6de2d5" CreationDate="2011-11-30T17:11:09.727" UserId="7642" Comment="added 3 characters in body" Text="The way To clearly hear the destruction is to feed strong complex signals to the fronts and some nice sounding orchestra music at lower levels to the rears. Mute the fronts and only listen to the rears... Make sure to mute AFTER the DMU and that you monitor through the ac3 process.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Sometimes bass heavy sounds gets seriously messed up as well. It used to be a big issue, but Definetly have become better the last few years.&#xD;&#xA;&#xD;&#xA;The perceptual coding and data reduction for film prints is crazy. There's way more data on a DVD or bluray compared to what's available on a 35mm print.&#xD;&#xA;Otoh it's quite a feat getting it to sound as decent as it does with the limited data rate available." ContentLicense="CC BY-SA 3.0" />
  <row Id="19184" PostHistoryTypeId="5" PostId="11638" RevisionGUID="3968012e-72b3-4727-ba00-502da52cf855" CreationDate="2011-11-30T17:19:24.477" UserId="202" Comment="added 8 characters in body; deleted 8 characters in body" Text="Actually there's a great drop in quality! If you ever listened to a mix while making the Dolby optical disk (so, in the same room where you mixed) you clearly hear drop of quality, definition, dynamics.&#xD;&#xA;One of the great things of DCP projections (or Blu-Ray discs), is the uncompressed audio format. I think that abandonment of AC3 for uncompressed audio and better calibrate theaters are the most prominent improvement we could have in the next few years in sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19185" PostHistoryTypeId="2" PostId="11640" RevisionGUID="d87ca24f-ddef-4d29-843c-a599e8430308" CreationDate="2011-11-30T17:43:22.593" UserId="3222" Text="What would be the most optimum approach to cleaning Dialogue from a location Recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19186" PostHistoryTypeId="1" PostId="11640" RevisionGUID="d87ca24f-ddef-4d29-843c-a599e8430308" CreationDate="2011-11-30T17:43:22.593" UserId="3222" Text="Complexities Of Audio Cleanup" ContentLicense="CC BY-SA 3.0" />
  <row Id="19187" PostHistoryTypeId="3" PostId="11640" RevisionGUID="d87ca24f-ddef-4d29-843c-a599e8430308" CreationDate="2011-11-30T17:43:22.593" UserId="3222" Text="&lt;dialogue&gt;&lt;cleaning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19188" PostHistoryTypeId="2" PostId="11641" RevisionGUID="d53bcdd6-a41e-49f5-bce7-93e13aa3a49b" CreationDate="2011-11-30T18:50:42.280" UserId="3227" Text="I don't know what you can do with pro tools. I write to you what I would do on my Nuendo, maybe you can do the same on pro tools.&#xD;&#xA;&#xD;&#xA;Make new copy of the project.&#xD;&#xA;Brutally switch the project settings from 48 to 44.&#xD;&#xA;Nuendo ask to you if you would convert or not the audio files to a new rate.&#xD;&#xA;You do answer “NO”.&#xD;&#xA;Nuendo ask to you if you want to keep the events at their sample position.&#xD;&#xA;You do answer “NO”&#xD;&#xA;By this way the events remain at their starting sample, perfectly in sync with your project and the music files are like the original 44 without any SRC.&#xD;&#xA;Now your voice is slow than before but is in tune. You need simply time compress it by 8,8354% with the best algorithm you have (for nuendo the ratio is 108,8354%).&#xD;&#xA;Time compression with best algorithm on voice is normally without artifact.&#xD;&#xA;That's it." ContentLicense="CC BY-SA 3.0" />
  <row Id="19189" PostHistoryTypeId="2" PostId="11642" RevisionGUID="fa9b9052-8cd7-4264-ba5f-0d29a3dbbad6" CreationDate="2011-11-30T19:43:06.120" UserId="842" Text="I too think the loss of both details, definition, and transients is humongous in Dolby Digital, though it is by all means a good format considering what it's made for. Personally I don't like it anymore though, but I do respect it.&#xD;&#xA;&#xD;&#xA;Most people doesn't think much of it as they don't really know what it could have been, but they react to it in a very physical way as the human conception of reality is very much based on small sometimes barely noticeable details and imperfections which helps us distinguish between different sound-sources in a more realistic way. Dolby Digital, like MPEG Layer 3 and such for example, is losing most if not all that small pieces of air in the process of reducing the bitstream. That doesn't mean the mix gets totally bollocks, it just means the audience doesn't get as into the illusion as they would had had the soundstream been richer.&#xD;&#xA;&#xD;&#xA;For me, DTS is da shit! It's still lossy, but it is MUCH more transparent to the material due to both higher compression ratio and frankly a better algorithm.&#xD;&#xA;&#xD;&#xA;It's difficult for me to explain exactly how it works, but it is not based upon samples but in frequency response. By eliminating stuff the codec doesn't think is perceptible, or at least unimportant, the codec can keep the soundfile small. One of the things lost in this kind of compression is the extreme highs, and in at least MP3, the extreme lows. I'm not sure whether or not the fullrange speakers in AC-3 have much sub-bass. I do know the LFE does (well duh! ;-), but I actually hasn't checked a Dolby stream in an analyzer yet as I has with MP3 :-) A more direct effect is that the sound gets more dull and compact, with more transient sounds risking to drown in the mix, at least on lower settings. Some people like this effect though!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19190" PostHistoryTypeId="2" PostId="11643" RevisionGUID="10b030de-0064-4cf2-90cf-7377739ef369" CreationDate="2011-11-30T20:57:02.770" UserId="930" Text="A thing I like to do is to watch a film (or a scene in a film), but disconnect/mute the centre channel which helps you focus on the sound design and less drawn into the story. &#xD;&#xA;&#xD;&#xA;I find this really helps when I want to delve into the sound design further and can allow you to pick up the finer details.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="19192" PostHistoryTypeId="2" PostId="11645" RevisionGUID="4d208cf9-1635-40e8-9b5d-9026ed5f7f2d" CreationDate="2011-11-30T22:21:55.430" UserId="3229" Text="I run Airfoil, which allows me to stream sound directly from my DAW to the iPad.  There's a few seconds latency, so it doesn't work for video sync work, but for quickly checking a mix or checking to see how a sound effect is going to sound on the device, while you tweak levels or EQ, it's excellent.  I find myself using it in the same way a music mix studio will quickly check their mixes on a pair of NS-10s or Auratones." ContentLicense="CC BY-SA 3.0" />
  <row Id="19193" PostHistoryTypeId="5" PostId="11643" RevisionGUID="45a60539-c6fa-4ee8-8e19-af7ecc8a5d93" CreationDate="2011-11-30T22:46:54.130" UserId="930" Comment="deleted 80 characters in body" Text="A thing I like to do is to watch a film (or a scene in a film), but disconnect/mute the centre channel.&#xD;&#xA;&#xD;&#xA;I find it helps me focus on the sound design more and I get distracted by the story less. (I'm easily distracted :P)&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="19194" PostHistoryTypeId="2" PostId="11646" RevisionGUID="8d4701c0-0a68-4353-ac12-ab16b183986a" CreationDate="2011-12-01T00:31:57.297" UserId="958" Text="Izotope RX - try out the demo." ContentLicense="CC BY-SA 3.0" />
  <row Id="19195" PostHistoryTypeId="2" PostId="11647" RevisionGUID="b6acb8de-991d-4fc1-a0ba-df0e091586fe" CreationDate="2011-12-01T07:00:15.177" UserId="1178" Text="Pro tools and clip gain, welcome to twenty first century." ContentLicense="CC BY-SA 3.0" />
  <row Id="19196" PostHistoryTypeId="5" PostId="11642" RevisionGUID="dd39f3f2-ebda-4c27-8914-64118e1f77d6" CreationDate="2011-12-01T07:39:17.927" UserId="842" Comment="syntax error" Text="I too think the loss of both details, definition, and transients is humongous in Dolby Digital, though it is by all means a good format considering what it's made for. Personally I don't like it anymore though, but I do respect it.&#xD;&#xA;&#xD;&#xA;Most people doesn't think much of it as they don't really know what it could have been, but they react to it in a very physical way as the human conception of reality is very much based on small sometimes barely noticeable details and imperfections which helps us distinguish between different sound-sources in a more realistic way. Dolby Digital, like MPEG Layer 3 and such for example, is losing most if not all that small pieces of air in the process of reducing the bitstream. That doesn't mean the mix gets totally bollocks, it just means the audience doesn't get as into the illusion as they would had had the soundstream been richer.&#xD;&#xA;&#xD;&#xA;For me, DTS is da shit! It's still lossy, but it is MUCH more transparent to the material due to both lower compression ratio and frankly a better algorithm.&#xD;&#xA;&#xD;&#xA;It's difficult for me to explain exactly how it works, but it is not based upon samples but in frequency response. By eliminating stuff the codec doesn't think is perceptible, or at least unimportant, the codec can keep the soundfile small. One of the things lost in this kind of compression is the extreme highs, and in at least MP3, the extreme lows. I'm not sure whether or not the fullrange speakers in AC-3 have much sub-bass. I do know the LFE does (well duh! ;-), but I actually hasn't checked a Dolby stream in an analyzer yet as I has with MP3 :-) A more direct effect is that the sound gets more dull and compact, with more transient sounds risking to drown in the mix, at least on lower settings. Some people like this effect though!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19198" PostHistoryTypeId="2" PostId="11649" RevisionGUID="afe43074-a4b4-4f06-96a1-44b1a87dcf18" CreationDate="2011-12-01T09:18:12.377" UserId="842" Text="One of the first things I normally do is removing clicks, tisks and different kinds of glitches, mostly by freehand redraw of the bad waveform, and removing handeling-rumble. Often there are also small distracting sounds that will need to be replaced with clean parts. As with all dialogue editing, when replacing bits and pieces it's EXTREMELY important to keep consistency, a bad jump in roomtone can ruin the illusion completely. Actually, one can use that effect creatively too (most no-nos actually can!), but for that one must REALLY know what one's doing :-)&#xD;&#xA;&#xD;&#xA;As Jay said above, there are near well an infinite numbers of things that can mess with the recording, so it's not easy to give a good single answer to this question without knowing what's wrong, or what will get wrong.&#xD;&#xA;&#xD;&#xA;Most of the things that can mess with an otherwise good take, no to mention those things that might bollocks it up completely, is frankly mostly something that must be taken care of on set. Though you can reduce the effects of humming blondie trafos, squeaking dollys, and loud fansystems in post, it WILL affect the sound, often quite a lot, and other things like out of focus mikeing and too much distance can't be fixed at all, only possibly slightly polished if you're lucky...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19199" PostHistoryTypeId="2" PostId="11650" RevisionGUID="5485ab5f-75f3-438d-9f61-c6ed56e2e708" CreationDate="2011-12-01T09:20:37.593" UserId="1228" Text="Two things I regularly study nowadays are:&#xD;&#xA;&#xD;&#xA;- How are sounds choices playing contextually to the story/moment? (big, small, brash, subtle, etc)&#xD;&#xA;- How are &quot;real&quot; sounds cinematicaly cheated effectively?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19200" PostHistoryTypeId="5" PostId="11649" RevisionGUID="cd72338c-1d8d-4488-942e-04252e50ce33" CreationDate="2011-12-01T09:29:42.050" UserId="842" Comment="added 326 characters in body" Text="One of the first things I normally do is removing clicks, tisks and different kinds of glitches, mostly by freehand redraw of the bad waveform, and removing handeling-rumble. Often there are also small distracting sounds that will need to be replaced with clean parts. As with all dialogue editing, when replacing bits and pieces it's EXTREMELY important to keep consistency, a bad jump in roomtone can ruin the illusion completely. Actually, one can use that effect creatively too (most no-nos actually can!), but for that one must REALLY know what one's doing :-)&#xD;&#xA;When it comes to noise-reduction, you must be very careful. If the recorder and/or the mic is very noisy then you'll have no choice, but when it comes to regular ambiance a good Expander might be a better choice than a noise-wash. It takes some experience to know when to use what and why, but it makes a big difference.&#xD;&#xA;&#xD;&#xA;As Jay said above, there are near well an infinite numbers of things that can mess with the recording, so it's not easy to give a good single answer to this question without knowing what's wrong, or what will get wrong.&#xD;&#xA;&#xD;&#xA;Most of the things though that can mess with an otherwise good take, not to mention those things that might bollocks it up completely, is frankly mostly something that must be taken care of on set. Though you can reduce the effects of humming blondie trafos, squeaking dollys, and loud fansystems in post, it WILL affect the sound, often quite a lot, and other things like out of focus mikeing and too much distance can't be fixed at all, only possibly slightly polished if you're lucky..." ContentLicense="CC BY-SA 3.0" />
  <row Id="19201" PostHistoryTypeId="2" PostId="11651" RevisionGUID="98ab2736-2bc4-4e66-bc1c-291ebe5a43c7" CreationDate="2011-12-01T11:10:45.423" UserId="217" Text="I did this last year and it was great fun to hear what people had done. So I thought I'd do it again for this year.&#xD;&#xA;&#xD;&#xA;The idea is to pick your favorite sound that you recorded during 2011 and share it with your fellow sound recordists in this thread, whether it be a soundfile (maybe on SoundCloud) or a video (Youtube, Vimeo). Help here: http://socialsounddesign.com/help&#xD;&#xA;&#xD;&#xA;All sounds are welcome, whether it's Sound Effect, Ambience, Synth, Music or Speech.&#xD;&#xA;&#xD;&#xA;--&#xD;&#xA;&#xD;&#xA;Personally, I've been incredibly busy working on TV docs and short films this year, so not alot of time for going out and recording sounds. But here is one that I recorded very early in the year. &#xD;&#xA;&#xD;&#xA;I was out at Midnight in January and stopped off a small village church yard and recorded this gloomy sound church bell. Hope you like it: &#xD;&#xA;&#xD;&#xA;[youtube]IYr0EizRUhI[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Note: I may end up making a blog post on this which will include may favourite sounds I make, so will link to everybodies blogs or websites as a credit. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19202" PostHistoryTypeId="1" PostId="11651" RevisionGUID="98ab2736-2bc4-4e66-bc1c-291ebe5a43c7" CreationDate="2011-12-01T11:10:45.423" UserId="217" Text="Your best sound of 2011." ContentLicense="CC BY-SA 3.0" />
  <row Id="19203" PostHistoryTypeId="3" PostId="11651" RevisionGUID="98ab2736-2bc4-4e66-bc1c-291ebe5a43c7" CreationDate="2011-12-01T11:10:45.423" UserId="217" Text="&lt;best&gt;&lt;2011&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19204" PostHistoryTypeId="2" PostId="11652" RevisionGUID="4d588eb6-f809-40d7-86dc-1cf47c014b39" CreationDate="2011-12-01T12:40:33.577" UserId="3230" Text="Best advice: OBSESS over the signal before recording.   Of course, you don't always have time to fine-tune your placement and/or technique, but IT'S WORTH IT.   Three minutes worth of adjustments pre-recording (listening to the source from several angles, eliminating any ambient interference that you can control), will save hours of editing and cleanup.&#xD;&#xA;&#xD;&#xA;For said cleanup, I usually start with an NR plug-in (BNR, NoNoise, or even the default in Soundtrack Pro), a high pass filter (usually no less than 100hz), an additional EQ to add some clarity and/or remove high-end noise (notch filter), and then finish it up with a little gain to bring everything back up." ContentLicense="CC BY-SA 3.0" />
  <row Id="19205" PostHistoryTypeId="2" PostId="11653" RevisionGUID="daa1fc6d-8100-484e-a988-0f70cc1c16d6" CreationDate="2011-12-01T12:48:15.457" UserId="6432" Text="It's been an exciting year for me as I've really developed my knowledge of DSP and general sound synthesis techniques. I've been working on a new synth aimed at sound designers, and for many reasons it's sounds are my favorite thing this year. The project is still in it's infancy, so I'll not go into details yet, but it's a hybrid physical modelling/FM/wavetable design currently built in Max/Msp. Incidentially, this is the first thing I've built with the new 64-bit audio engine of Max 6 and I'm really pleased with the overall sound quality.&#xD;&#xA;&#xD;&#xA;This demonstration soundscape is actually a combination of about four different takes recorded direct from the synth. These we're then assembled in a sequencer, but with no extra effects or dynamics processing, so this is essentially raw sound.&#xD;&#xA;&#xD;&#xA;[soundcloud]mark-durham/prototype[/soundcloud]&#xD;&#xA;&#xD;&#xA;direct link:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/mark-durham/prototype&#xD;&#xA;&#xD;&#xA;Any thoughts or constructive criticism welcome." ContentLicense="CC BY-SA 3.0" />
  <row Id="19206" PostHistoryTypeId="2" PostId="11654" RevisionGUID="59964d8b-7d9f-4250-afaa-0edfa2a32984" CreationDate="2011-12-01T14:38:16.223" UserId="3228" Text="I would agree with what has been said above. An easy way to make some extra money is to distribute and sell your sounds online.&#xD;&#xA;&#xD;&#xA;If I may be so bold, may I suggest Sampleism?&#xD;&#xA;&#xD;&#xA;http://www.sampleism.com&#xD;&#xA;&#xD;&#xA;Sampleism is all about creating cool, unique pocket-sized instruments and libraries. &#xD;&#xA;&#xD;&#xA;We have an easy to use, intuitive way of presenting your sound designs and selling them to a growing audience of producers, professionals and music makers. &#xD;&#xA;&#xD;&#xA;You are the boss! You can do it all yourself – upload, manage, store and sell your sounds and patches via our new interface. Set your own pricing, promotions and track your sales in real time. With regular payments and statistics you can manage your own library of sounds and tailor your own online store.&#xD;&#xA;&#xD;&#xA;Sampleism offers the best services around for setting up your own online store. No contracts to sign and no hassle. Manage your own sounds and request your earnings at any time. See what sells and what works and manage your own online store to suit. With a vast amount of control, the potential to reach a huge audience and automatic integration with Soundcloud there is no other place on the net that can give you the presence to sell your samples, sounds, libraries and audio collections.&#xD;&#xA;&#xD;&#xA;You can also use Soundcloud’s technology to embed widgets, players and promotional material anywhere you like. &#xD;&#xA;&#xD;&#xA;We are actively looking for new developers to join the community so please get in touch if you want more information – We are very keen to talk to you to find out what you like, dislike or desire and we are flexible when it comes to commission and storage needs.&#xD;&#xA;&#xD;&#xA;We are particularly interested in Kontakt Libraries (or any sampler format).&#xD;&#xA;&#xD;&#xA;Sorry if this sounds self-promotional (I guess it is a little) but I’m pretty sure this is a service some of you will be very keen to use.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19207" PostHistoryTypeId="2" PostId="11655" RevisionGUID="ab011506-e7fe-44b7-8547-3095a2bb3c43" CreationDate="2011-12-01T16:10:57.423" UserId="527" Text="I have been working (moonlighting) as a Sound Editor in NYC for 2 years now.  (Foley, DX, FX and MX) I am working a day job and have been pretty lucky in that I can edit at night/weekends.&#xD;&#xA;&#xD;&#xA;However, I am beginning to feel like this is never going to grow into a full time gig.  As I find directors and producers to work for, I find myself as the only person on the post sound crew (no mentorship/learning from others at all).&#xD;&#xA;&#xD;&#xA;This makes me think that I should just be working for Supervising Sound Editors and not Producers and Directors directly.&#xD;&#xA;&#xD;&#xA;Can anyone provide any insight into taking this next step from part time to full time?   " ContentLicense="CC BY-SA 3.0" />
  <row Id="19208" PostHistoryTypeId="1" PostId="11655" RevisionGUID="ab011506-e7fe-44b7-8547-3095a2bb3c43" CreationDate="2011-12-01T16:10:57.423" UserId="527" Text="Sound Editors dilemma" ContentLicense="CC BY-SA 3.0" />
  <row Id="19209" PostHistoryTypeId="3" PostId="11655" RevisionGUID="ab011506-e7fe-44b7-8547-3095a2bb3c43" CreationDate="2011-12-01T16:10:57.423" UserId="527" Text="&lt;career-advice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19211" PostHistoryTypeId="2" PostId="11656" RevisionGUID="1cdc6cf7-ad3c-4ce4-911f-2996f5e0ec31" CreationDate="2011-12-01T19:23:48.197" UserDisplayName="user49" Text="What research have you done in terms of finding a supervising sound editor to approach? Its not hard these days to find out who is doing all the work, I'd start a big list of all the NY Supervising sound editors &amp; even try &amp; track who their teams are (its usually all listed on IMDB) then you'll have some insight into who is busiest... But remember if a team has just started a project it was probably crewed six months ago - they need to know you, your work &amp; your work ethics, approach, personality &amp; availability before a project ever comes to them...." ContentLicense="CC BY-SA 3.0" />
  <row Id="19213" PostHistoryTypeId="2" PostId="11658" RevisionGUID="c590b469-a24e-48e3-8d9a-1bc578b598de" CreationDate="2011-12-01T20:35:17.773" UserId="6487" Text="What are you using to search the SFX you bring to sessions on your drives? I have thought about Soundminer so that I may have metadata access as ProTools will only search file names and any comments written in ProTools. But I am concerned I will not be able to run the Soundminer application from the SFX drive and will need to install software on each system I go to. How are you doing it? " ContentLicense="CC BY-SA 3.0" />
  <row Id="19214" PostHistoryTypeId="1" PostId="11658" RevisionGUID="c590b469-a24e-48e3-8d9a-1bc578b598de" CreationDate="2011-12-01T20:35:17.773" UserId="6487" Text="Freelancer Sound Editors and Designers, how do you search your SFX when in a new studio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19215" PostHistoryTypeId="3" PostId="11658" RevisionGUID="c590b469-a24e-48e3-8d9a-1bc578b598de" CreationDate="2011-12-01T20:35:17.773" UserId="6487" Text="&lt;soundminer&gt;&lt;sfx&gt;&lt;metadata&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19216" PostHistoryTypeId="2" PostId="11659" RevisionGUID="c3f1448f-265c-4a13-a3a3-12d27d1650e7" CreationDate="2011-12-01T21:48:00.943" UserId="285" Text="Soundminer has a built in function called &quot;freelance mode&quot; that let's you install the software and databases on the same portable drive as your library. So you can just bring the one drive, plug it in and you are ready to go. Go to the help window in Soundminer, pull up the manual and it is all explained in there.  Good Luck. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19217" PostHistoryTypeId="5" PostId="11650" RevisionGUID="26b35522-abd2-4f3c-9869-2530b164c742" CreationDate="2011-12-01T23:45:27.250" UserId="1228" Comment="added 200 characters in body" Text="Two things I regularly study nowadays are:&#xD;&#xA;&#xD;&#xA;- How are sounds choices playing contextually to the story/moment? (big, small, brash, subtle, etc)&#xD;&#xA;- How are &quot;real&quot; sounds cinematicaly cheated effectively? (Example: hot cars always sound like a slip-n-slide and it feels &quot;right&quot; on screen, but hardly ever do we hear a car in real life creating those kinds of skids for a simple peel-out or punch in/stop)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19218" PostHistoryTypeId="2" PostId="11660" RevisionGUID="f906cc77-8c3a-4649-8cf0-8d4271e3d3cb" CreationDate="2011-12-02T00:07:29.947" UserId="1228" Text="In short, no.  Because I request in writing that picture department properly prepares the OMF to my specifications (which are also provided in writing).  The way I look at it is that I don't have time to waste re-preparing a show on my own dime.  Anything not prepared as such when I open it gets bounced and is re-requested.  Interestingly enough, it works out great for everyone I've worked with so far in my experience and OMFs are a pleasure to work with nowadays.  It's all about attitude and being nice with the picture department through the process.&#xD;&#xA;&#xD;&#xA;A picture editor can sort and organize a show they've lived with for many weeks/months far quicker than I can with fresh eyes, not knowing my way around.  It also teaches picture department to be mindful in the future of their editing organization and to treat the audio timeline with the same respect that the picture timeline probably receives.&#xD;&#xA;&#xD;&#xA;I request 8-12 tracks MAX (if more are needed, we discuss on a per-situation basis), and I want the top 2-4 tracks to be DX, 1-2 tracks for ADR/Temp ADR, followed by Temp FX, and Temp MX/Score at the bottom.  If it can't be fit in 8-12 tracks, then the picture editor did more sound editing than they were supposed to and it more junk usually that I don't need wasting hard drive space.&#xD;&#xA;&#xD;&#xA;I'm sure these thoughts are slightly tainted by receiving 32+ track OMFs that look like a bomb went off in the timeline in the past, and I've finally set my foot down on the nonsense." ContentLicense="CC BY-SA 3.0" />
  <row Id="19220" PostHistoryTypeId="2" PostId="11662" RevisionGUID="2e51f91e-b6ed-4310-893e-dee86cf16dcf" CreationDate="2011-12-02T01:36:51.940" UserId="622" Text="I run AudioFinder cause it can add my Kontakt SFX patches. I do not know if Soundminer can but the old versions did not. AudioFindrer is cheaper and works very well and it can spot to Pro Tools too.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="19221" PostHistoryTypeId="2" PostId="11663" RevisionGUID="54acaab0-0169-4031-a366-ecce5ebd763c" CreationDate="2011-12-02T05:17:12.320" UserId="3232" Text="Hey All -&#xD;&#xA;&#xD;&#xA;Long time reader of the site. I just finished my reel consisting of all of the video game titles I've worked on during my career so far, and wanted some feedback.&#xD;&#xA;&#xD;&#xA;In particular - I have a lot of titles on my resume, though they are mostly sports games. Does a single type of sound design limit what potential employers think you are capable of?&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[youtube]LGb52su5gOM[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="19222" PostHistoryTypeId="1" PostId="11663" RevisionGUID="54acaab0-0169-4031-a366-ecce5ebd763c" CreationDate="2011-12-02T05:17:12.320" UserId="3232" Text="Sound Design Reel Feedback" ContentLicense="CC BY-SA 3.0" />
  <row Id="19223" PostHistoryTypeId="3" PostId="11663" RevisionGUID="54acaab0-0169-4031-a366-ecce5ebd763c" CreationDate="2011-12-02T05:17:12.320" UserId="3232" Text="&lt;gameaudio&gt;&lt;demo-reel&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19225" PostHistoryTypeId="2" PostId="11665" RevisionGUID="9ef2811d-0fab-4cd4-b865-4fa31728f09b" CreationDate="2011-12-02T06:10:02.853" UserId="3234" Text="0dB is the highest any peaks can go, before it clips. I recommend mixing your music to about --10dB average and 0dB peak. Anything quieter will annoy anyone who's using a laptop - they'll feel like they can &quot;just barely hear it&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="19226" PostHistoryTypeId="2" PostId="11666" RevisionGUID="f9344ec0-c5f9-40f6-8abf-a240a496505d" CreationDate="2011-12-02T12:44:04.777" UserId="3235" Text="Hey,&#xD;&#xA;&#xD;&#xA;We offer this sound design course -&#xD;&#xA;&#xD;&#xA;http://www.pointblankonline.net/sound-design-course.php&#xD;&#xA;&#xD;&#xA;it's not specifically game audio sound design, but it does cover the topic, along with all other areas.&#xD;&#xA;&#xD;&#xA;It uses Native Instruments Kontakt and Reaktor.  Recent student successes include the wall's sausage TV advert and the Swatch TV advert.&#xD;&#xA;&#xD;&#xA;Take a look, and get in touch if you need any more info." ContentLicense="CC BY-SA 3.0" />
  <row Id="19227" PostHistoryTypeId="2" PostId="11667" RevisionGUID="2e30512a-4587-4cd5-962f-a5ea7226d707" CreationDate="2011-12-02T13:18:21.910" UserId="3235" Text="Hey,&#xD;&#xA;&#xD;&#xA;We are a music production college based in North London but we also run an online school. We offer a 12 week course in sound design -&#xD;&#xA;&#xD;&#xA;http://www.pointblankonline.net/sound-design-course.php&#xD;&#xA;&#xD;&#xA;The course uses Kontakt and Reaktor. Take a look at the link and give us a call if you need any more info on 020 7729 4884" ContentLicense="CC BY-SA 3.0" />
  <row Id="19231" PostHistoryTypeId="2" PostId="11669" RevisionGUID="75f207ad-8964-42ed-813d-42ed17b7a537" CreationDate="2011-12-02T14:48:19.950" UserId="3235" Text="Hi,&#xD;&#xA;&#xD;&#xA;We offer this online Sound Design course - &#xD;&#xA;&#xD;&#xA;http://www.pointblankonline.net/sound-design-course.php&#xD;&#xA;&#xD;&#xA;It uses Native Instruments Kontakt and Reaktor.  There is a new course starting on the 5th and if you book before then you can get £50 off.  More details here -&#xD;&#xA;&#xD;&#xA;http://www.pointblankonline.net/blog/get-phat-over-christmas-beef-up-your-production-this-winter/&#xD;&#xA;&#xD;&#xA;Get in touch if you need any more info." ContentLicense="CC BY-SA 3.0" />
  <row Id="19233" PostHistoryTypeId="2" PostId="11670" RevisionGUID="6293ec3a-cde8-45f8-a999-7e3b5e6f2ee9" CreationDate="2011-12-02T17:01:06.760" UserId="578" Text="Howdy!&#xD;&#xA;I've been searching this site and various other ones extensively for an answer to my problem, but so far I've not found a satisfactory solution.&#xD;&#xA;&#xD;&#xA;I'm going to the Bolivian Amazon in about a week to record ambiences and wildlife, and because it is rainy season, it is likely that I will encounter some heavy rain from time to time. Especially because my plan is to set up my rig for overnight recording, to let it run for about 12 hours straight, so I might be asleep and not ready to run out and get my gear back indoor whenever a serious rain downpour begins.&#xD;&#xA;&#xD;&#xA;I'm aware of the Remote Audio Rainman, which lots of people recommend, but it also seems that this product is mostly focused on dampening the sound of rain drops - if my mics with a Rainman on will be left for more than, say, 30 mins in heavy rain it seems pretty likely everything will still get very wet. Any users of the Rainman who could confirm that?&#xD;&#xA;&#xD;&#xA;It seems that the best option in this situation might be to use non-lubricated condoms for protectecting the mics, and some form of dampening for over the zeppelin to soften the impact of drops. Perhaps wrap a towel around the zeppelin for dampening purposes in case I can't get hold of a Rainman here in the UK?&#xD;&#xA;&#xD;&#xA;Anybody have any other suggestions to protect mics in a zeppelin  against torrential rain that could potentially last for several hours?&#xD;&#xA;&#xD;&#xA;I'd prefer to not use an umbrella or a roof (due to the noise of raindrops)." ContentLicense="CC BY-SA 3.0" />
  <row Id="19234" PostHistoryTypeId="1" PostId="11670" RevisionGUID="6293ec3a-cde8-45f8-a999-7e3b5e6f2ee9" CreationDate="2011-12-02T17:01:06.760" UserId="578" Text="Recording in heavy rain &amp; protecting your mics" ContentLicense="CC BY-SA 3.0" />
  <row Id="19235" PostHistoryTypeId="3" PostId="11670" RevisionGUID="6293ec3a-cde8-45f8-a999-7e3b5e6f2ee9" CreationDate="2011-12-02T17:01:06.760" UserId="578" Text="&lt;rain&gt;&lt;protection&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19236" PostHistoryTypeId="2" PostId="11671" RevisionGUID="3a948362-3839-4ac8-8132-578913be9ba9" CreationDate="2011-12-02T17:29:58.300" UserId="315" Text="A Rainman would be a good start. Condoms work great on SM57 and other dynamics as hydrophones, but I'd be concerned that any sort of condenser in one would loose high end frequency response (which is pretty important if you're recording rain).&#xD;&#xA;&#xD;&#xA;My suggestion would be to build some sort of tarp/structure out of soft rubber packing foam like [this][1]. Perhaps cut it in a round shape that will cover the top of an umbrella? Kind of a poor man's Rainman. This sort of material should work pretty well at absorbing the drops without a ton of sound. &#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.uline.com/BL_865/Soft-Foam" ContentLicense="CC BY-SA 3.0" />
  <row Id="19237" PostHistoryTypeId="2" PostId="11672" RevisionGUID="8d7ec7e0-2d4c-4535-aec6-9a29b6137c92" CreationDate="2011-12-02T19:47:13.773" UserId="3236" Text="Looking at the waveform below, there is a &quot;bleeding&quot;. Is this ok or is something that should be fixed? If so, how?&#xD;&#xA;&#xD;&#xA;http://i.imgur.com/xQmcF.jpg (sorry I did not embed the image - new users are not allowed to)&#xD;&#xA;&#xD;&#xA;Thank you!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19238" PostHistoryTypeId="1" PostId="11672" RevisionGUID="8d7ec7e0-2d4c-4535-aec6-9a29b6137c92" CreationDate="2011-12-02T19:47:13.773" UserId="3236" Text="&quot;Bleeding&quot; waveform" ContentLicense="CC BY-SA 3.0" />
  <row Id="19239" PostHistoryTypeId="3" PostId="11672" RevisionGUID="8d7ec7e0-2d4c-4535-aec6-9a29b6137c92" CreationDate="2011-12-02T19:47:13.773" UserId="3236" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;problems&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19240" PostHistoryTypeId="2" PostId="11673" RevisionGUID="1de58e63-df9e-4f84-8e8b-18192a3d2f60" CreationDate="2011-12-02T20:43:09.800" UserId="194" Text="if your ears say it sounds good, it's probably good." ContentLicense="CC BY-SA 3.0" />
  <row Id="19241" PostHistoryTypeId="5" PostId="11672" RevisionGUID="d435bbcf-0fdb-4035-a8bf-5008538ac37b" CreationDate="2011-12-02T20:54:24.160" UserId="61" Comment="embed pix" Text="Looking at the waveform below, there is a &quot;bleeding&quot;. Is this ok or is something that should be fixed? If so, how?&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Thank you!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.imgur.com/xQmcF.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="19242" PostHistoryTypeId="2" PostId="11674" RevisionGUID="cab8a863-6372-40ee-af5a-a92cfcc78a4f" CreationDate="2011-12-02T23:20:12.143" UserId="253" Text="+1 to Rene, the audience won't be looking at your waveform.&#xD;&#xA;&#xD;&#xA;Does anyone know what causes this, though? I've had some waveforms that look like their centre axis is well below where it should be. It doesn't bother me, as long as it sounds fine, but i wonder what causes it." ContentLicense="CC BY-SA 3.0" />
  <row Id="19243" PostHistoryTypeId="2" PostId="11675" RevisionGUID="4dcc234e-7407-4030-bdd7-cf28dc06ad2c" CreationDate="2011-12-02T23:43:14.390" UserId="194" Text="I agree with Justin, condoms will probably degrade your recordings too much.&#xD;&#xA;&#xD;&#xA;IMO you should seriously consider some sort of large and tall tarp on sticks that can protect a rig you intend to leave out in the rain.  If the structure is tall enough then the sound of the rain hitting the world around you will mask the sound of the rain hitting the covering.  It would also have to be pretty wide in order to accommodate winds blowing rain diagonally towards your rig.  You could even go the extra step and cover the tarp in local foliage in order to acoustically camouflage it into the rest of the surroundings.  Be sure to give it a pitch so that the rain can roll off in a controlled manner.&#xD;&#xA;&#xD;&#xA;I'd also consider rolling hypercardioid mics to focus the pattern away from the tarp and out towards the world in front of the mics.  &#xD;&#xA;&#xD;&#xA;If that kind of structure is in place, you should be able to get some pretty rockin rain recordings without any unwanted noises.  For you purposes I'd bet that setting something up like that would be worth it.&#xD;&#xA;&#xD;&#xA;When it rains near my apt complex I tend to go outside where my front door is covered by a balcony about 12 feet up.  That gives me perfect access to the rain sounds and I never hear the rain hitting the balcony in the recordings.&#xD;&#xA;&#xD;&#xA;I'd also suggest looking into Tim Prebble's recent treks to Samoa.  He recorded tons of rain there and from the looks of his videos was using a similar &quot;distant canopy of protection with directional mic&quot; type of technique.&#xD;&#xA;&#xD;&#xA;Here's a link with a vid.&#xD;&#xA;http://www.musicofsound.co.nz/blog/samoa-field-recording-5-rain" ContentLicense="CC BY-SA 3.0" />
  <row Id="19244" PostHistoryTypeId="2" PostId="11676" RevisionGUID="204eaf59-2bb6-4ccd-872d-13613c08df6d" CreationDate="2011-12-03T00:11:14.337" UserId="6420" Text="Here's a link to quite a useful post about rain recording&#xD;&#xA;&#xD;&#xA;http://audiofieldrecordings.wordpress.com/2011/11/07/the-trials-tribulations-of-field-recording-%E2%80%93-a-beginner%E2%80%99s-guide-part-ii/&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Andy" ContentLicense="CC BY-SA 3.0" />
  <row Id="19245" PostHistoryTypeId="2" PostId="11677" RevisionGUID="8b3513b3-46b2-496a-a5db-c6b0893ad03c" CreationDate="2011-12-03T00:13:38.463" UserId="3239" Text="I used to get similar waveforms off their centre axis as you've described, and would get rid of the DC offset by running the wave through a destructive high pass filter at 0hz. Think for me it was caused by ineffective grounding of my (at the time quite rubbish) mixer, though not entirely sure about that. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19246" PostHistoryTypeId="2" PostId="11678" RevisionGUID="ac8d65bf-fdb3-4b57-9fe4-424d78a4350c" CreationDate="2011-12-03T06:33:29.737" UserId="3240" Text="Hi,&#xD;&#xA;&#xD;&#xA;I purchased PT9 about 8 months ago, but never really get started to use it... yeah, not a wise expense...  To get workflow going, I just sticked with Sonar X1 and waited for a 'downtime' that never came yet...&#xD;&#xA;&#xD;&#xA;Now, 8 months later, I look at the specs and a few points strike me. Among those: maximum 32 simultaneous tracks ??... was this the same limit with PT9 ? (Yet, I never went there, but I have projects well around or over 40 tracks with Sonar and the limit is... what your system can achieve!!...&#xD;&#xA;&#xD;&#xA;I see nothing about a real friendly integration of dual (or more) displays. Going 2-monitors with PT9 was 'kind of' feasible, not exactely friendly or value-added. Has this evolved in PT10?&#xD;&#xA;&#xD;&#xA;I now realize that some cool features I had seen in studios equipped with PTHD are working only in ... PTHD (write on stop, and some editing features...) - My decision to buy PT9 standalone was essentially... such features!!...&#xD;&#xA;&#xD;&#xA;Bottom line, ok I have not done my homeworks... But just out of curiosity: is PT10 standalone (that is, not the high-end HD systems) offering less than PT9 ?? &#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;DorbicheOne" ContentLicense="CC BY-SA 3.0" />
  <row Id="19247" PostHistoryTypeId="1" PostId="11678" RevisionGUID="ac8d65bf-fdb3-4b57-9fe4-424d78a4350c" CreationDate="2011-12-03T06:33:29.737" UserId="3240" Text="PT10 - less tracks ?  Still single display ?...." ContentLicense="CC BY-SA 3.0" />
  <row Id="19248" PostHistoryTypeId="3" PostId="11678" RevisionGUID="ac8d65bf-fdb3-4b57-9fe4-424d78a4350c" CreationDate="2011-12-03T06:33:29.737" UserId="3240" Text="&lt;pro&gt;&lt;tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19249" PostHistoryTypeId="2" PostId="11679" RevisionGUID="799f66b2-5fe9-4ab2-929c-5766dd31ac6e" CreationDate="2011-12-03T10:10:45.147" UserId="6420" Text="&quot;32 simultaneous tracks&quot; are you referring to recording or playback? Obviously it has far more for editing/mixing capabilities. Some cool new features were added to PT10 but it's probably best if you just checked out Avid's site or YouTube to see for yourself what it can do ;)&#xD;&#xA;&#xD;&#xA;Not really sure what you mean by the dual screen integration either? Probably the best DAW out there for using 2 screens! Just the edit and mix window (unless you do much MIDI/scoring)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19250" PostHistoryTypeId="2" PostId="11680" RevisionGUID="5267a125-8851-4ebe-bbe6-5e21342c4e7f" CreationDate="2011-12-03T11:13:01.107" UserId="37" Text="I've seen triple-display setups in PT (edit+mix+video). In fact this is more common than not. &#xD;&#xA;&#xD;&#xA;PT9/10 [has][1] more tracks than that. You can *record* up to 32 simultaneous, and play up to 96, depending on your project sample rate. There are features in 10 which make it worth upgrading from 9, however if you're not really using 9 then you won't be missing much of what 10 has to offer.&#xD;&#xA;&#xD;&#xA;Sonar's is a much more recent interface design, while Pro Tools has a lot of legacy to carry through. Could be PT feels limited in terms of multiple display flexibility, but I haven't seen that get in the way. Haven't even thought about it.&#xD;&#xA;&#xD;&#xA;Re if PT 10 has *less* to offer than PT 9 - in short: No. Clip gain, the new channel strip, AudioSuite handles. These three don't look very big in text. (I mean who needs yet another channel strip, right?, and clip gain and render handles are old news). But with the three combined, my PT10 sessions look nothing like PT9 and earlier.&#xD;&#xA;&#xD;&#xA;If you're looking to do video-related work, I don't think Sonar has much ground in that market, so spare yourself the frustration of finding out. Add PT to your workflow without switching over from X1. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/US/products/family/pro-tools/compare" ContentLicense="CC BY-SA 3.0" />
  <row Id="19251" PostHistoryTypeId="2" PostId="11681" RevisionGUID="799f9b4c-4dc0-41ae-8df9-70290931636b" CreationDate="2011-12-03T13:13:38.443" UserId="842" Text="I've seen this many times, no matter if it where through my Lynx-systems,  as close to perfectly reproducing as one can get in recording, or my fieldrecorders. As far as I can tell it seems to be due to two reasons;&#xD;&#xA;&#xD;&#xA;First of all, for a sonic waveform to get negative, the source must vibrate both positive and negative. As far as I know the air only moves in the very direction it's shoved, and SHOULDN'T, though mind you this is just my theory, be able to blow back unless it's actually pulled back into a negative part-cycle. Most, if not practically every, physical item that resonates does so both back an forth, thus both compressing and expanding the air it moves.&#xD;&#xA;&#xD;&#xA;Secondly, I often see this on heavily distortet electro-acoustic material, as well as some very unsymetrical waveforms. It might very well be a matter or energy. The more something resonates in one direction with high energy, the more it has to compensate on the other side of the cycle, though in amplitude, to make up for the same energy.&#xD;&#xA;&#xD;&#xA;Personally I think it's a total combination of the two. Only pulses can be made to go in only one direction, and pulse and square-waveforms aren't exactly common in nature. At least not in a pure state. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19252" PostHistoryTypeId="2" PostId="11682" RevisionGUID="1adfeeac-f43b-4079-8025-b8c9116d78aa" CreationDate="2011-12-03T13:52:24.530" UserId="842" Text="I never had any real education in sounddesign at all, though I did start out as a music producer, musician and audio engineer in mostly Industrial, Ethno (mostly African and Indian), Techno, Classical, Rock, Hard Rock, Metal, Goth, EBM and Electro. I got my diploma after a year as a combination of student and apprentice in a record company/studio licenced to give this kind of professional education. Up till that I learned everything I knew by myself through trial and error as well as books. When getting into movies and television pretty much nothing except purely technical knowledge translated at all, and I had to make up totally new methods and philosophies to make it work. One of the biggest differences to get over was the fact that individual voices and sound sources in music isn't ment to be neighter too natural nor too dynamic as it will mess up the mix or sound boring and dull. In movies, being a much more &quot;airy&quot; media, dynamics give both life and space to the story. Not to mention credibility overrides artistic expression much more here where it's the exact opposite in music.&#xD;&#xA;&#xD;&#xA;Frankly, even though it did take a lot of time to train myself to become a working Sounddesigner/Location Recordist/Audio Engineer, if I was given the choise to go back in time and get a regular education, I quite frankly don't think I would want it. Not saying it's a bad thing to do get a regular education in the field, just saying I'm a little worried by all the teachers I've spoken to seeing everything in absolute black and white. It's true that there are rules, and they're there for a reason, but imho often the best works are those breaking the rules in a way that makes the movie better." ContentLicense="CC BY-SA 3.0" />
  <row Id="19256" PostHistoryTypeId="2" PostId="11684" RevisionGUID="d3227b99-d687-44d9-afce-a3fd660138c5" CreationDate="2011-12-03T20:31:07.063" UserId="6499" Text="I have PT9 And I use 3 displays.  1 is my edit window, 2 is my mix window/ workspace folder structures , which is offset to the side of my desk near my control surface and 3 is used for video playback/durrough meters etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What I am more worried about with PT 10 and the clip gain and new channel strips is how it will react when you open it in any other version of PT.  It would be lots of work to lose, all of your clip based gain when you have to open it on an older PT system like I would for the dub stages here.&#xD;&#xA;&#xD;&#xA;I'm curious how the flow between 10 and older systems reacts.  I know PT 9 I have never had a problem with opening it in PT 8" ContentLicense="CC BY-SA 3.0" />
  <row Id="19257" PostHistoryTypeId="2" PostId="11685" RevisionGUID="8de358e8-e295-4ef9-b0c6-160f467c3857" CreationDate="2011-12-03T21:27:21.040" UserId="278" Text="What about talking of volume when referring to SPL? I have heard the only thing you can measure in volume when working with sound is tea or the room. This is because volume is not a measure of intencitiy." ContentLicense="CC BY-SA 3.0" />
  <row Id="19258" PostHistoryTypeId="2" PostId="11686" RevisionGUID="8c6c5f09-fe70-441f-9f0c-f4817d1c712c" CreationDate="2011-12-03T23:45:49.393" UserId="3075" Text="Hello soundies.. I was wondering if anyone knew an example of when a film has used a single tone frequency (or if they ever have) that sits below the mix and creates an almost subliminal  'uneasy feeling that could be perceived as tension. &#xD;&#xA;A bit of a weird question, but why not ey///&#xD;&#xA;&#xD;&#xA;cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="19259" PostHistoryTypeId="1" PostId="11686" RevisionGUID="8c6c5f09-fe70-441f-9f0c-f4817d1c712c" CreationDate="2011-12-03T23:45:49.393" UserId="3075" Text="Un-easy frequencies used in film to create tension?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19260" PostHistoryTypeId="3" PostId="11686" RevisionGUID="8c6c5f09-fe70-441f-9f0c-f4817d1c712c" CreationDate="2011-12-03T23:45:49.393" UserId="3075" Text="&lt;tension&gt;&lt;frequency&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19261" PostHistoryTypeId="2" PostId="11687" RevisionGUID="db534535-8a37-4632-8705-26e1cbd66735" CreationDate="2011-12-03T23:51:36.577" UserId="6420" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I'm currently working on a dialogue reel and using the Trim plugin gain automation to level out the dialogue a bit (no PT10 yet! Still on v9). I kinda like the way you can toggle from the Waveform view to the Volume automation view with a simple minus keystroke (keyboard focus on). Is there a way of quickly doing this to a desired plug in automation lane, ie the Trim gain? &#xD;&#xA;&#xD;&#xA;I know I can just open up another automation lane below and adjust it there, but that starts to get messy for me. I like to have the automation overlapped on the waveform in this case. Having to click on the Track View and go to the end of the list to switch to the Trim gain automation is becoming tedious :/&#xD;&#xA;&#xD;&#xA;Any suggestions/workflow tips appreciated!&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;Andy" ContentLicense="CC BY-SA 3.0" />
  <row Id="19262" PostHistoryTypeId="1" PostId="11687" RevisionGUID="db534535-8a37-4632-8705-26e1cbd66735" CreationDate="2011-12-03T23:51:36.577" UserId="6420" Text="Switching plug in automation lanes shortcut in Pro Tools.." ContentLicense="CC BY-SA 3.0" />
  <row Id="19263" PostHistoryTypeId="3" PostId="11687" RevisionGUID="db534535-8a37-4632-8705-26e1cbd66735" CreationDate="2011-12-03T23:51:36.577" UserId="6420" Text="&lt;pro&gt;&lt;tools&gt;&lt;automation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19264" PostHistoryTypeId="5" PostId="11687" RevisionGUID="55d88a13-d0f4-465d-8192-0621d9b99fa8" CreationDate="2011-12-04T00:00:47.810" UserId="6420" Comment="added 141 characters in body" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I'm currently working on a dialogue reel and using the Trim plugin gain automation to level out the dialogue a bit (no PT10 yet! Still on v9). I kinda like the way you can toggle from the Waveform view to the Volume automation view with a simple minus keystroke (keyboard focus on). Is there a way of quickly doing this to a desired plug in automation lane, ie the Trim gain? &#xD;&#xA;&#xD;&#xA;I know I can just open up another automation lane below and adjust it there, but that starts to get messy for me. I like to have the automation overlapped on the waveform in this case. Having to click on the Track View and go to the end of the list to switch to the Trim gain automation is becoming tedious :/ I know I can Control + Command + Left/Right arrow to scroll through the list, but I was wondering if there was a one click solution to this?&#xD;&#xA;&#xD;&#xA;Any suggestions/workflow tips appreciated!&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;Andy" ContentLicense="CC BY-SA 3.0" />
  <row Id="19265" PostHistoryTypeId="2" PostId="11688" RevisionGUID="bef934ce-42ba-4485-81ce-07f6b7bcdecd" CreationDate="2011-12-04T00:31:44.727" UserId="253" Text="Good question; i know this occurs to a lot of sound designers at one time or another. A lot of examples of cinematic tinnitus are around (Children of Men, Saving Private Ryan, Noise, etc.). In those films it's more of a psychological diegesis than a non diegetic effect, though (which is what i think you're talking about).&#xD;&#xA;&#xD;&#xA;A couple of potential problems for this approach are: &#xD;&#xA;&#xD;&#xA;- Playback system frequency response; if you're trying to use a very high (or low) tone to induce discomfort, it may not even come through on some playback systems. Not to mention the fact that an older person might not even hear a higher frequency tone, while it won't be subtle at all for a teenager. &#xD;&#xA;&#xD;&#xA;- Habituation; Constant sounds that don't change are pushed to the back of our psychoacoustic perception. I can't say whether or not this will negate any subliminal effects, though. An interesting idea that this brings up is that an audience member may notice when such a tone stops, while not being aware of what exactly has changed. I think raising a question (however small) for the audience can be very effective in the right place.&#xD;&#xA;&#xD;&#xA;IMHO, using a single tone in an attempt to subliminally affect the audience is a bit of a clumsy technique by itself. The idea behind it can be a good starting point for creating effects more specific to your film's needs, though. Like the tinnitus/ear ringing thing, or low thunder/synth rumbles." ContentLicense="CC BY-SA 3.0" />
  <row Id="19266" PostHistoryTypeId="2" PostId="11689" RevisionGUID="e1a9957f-eba1-485f-a608-80ffa6c803a0" CreationDate="2011-12-04T01:57:34.263" UserId="3241" Text="Trains  being coupled  in train yards  in Parkersburg WV&#xD;&#xA;&#xD;&#xA;Barges on the  Ohio River" ContentLicense="CC BY-SA 3.0" />
  <row Id="19270" PostHistoryTypeId="2" PostId="11691" RevisionGUID="b990f553-2c83-4307-88f9-57e5c03eb760" CreationDate="2011-12-04T02:44:28.233" UserId="278" Text="In the Black Swan I noticed lo frequency tones used to anticipate tension. I noticed them because I was paying a lot of attention to the sound track. They are quite evident for some one &quot;analyzing&quot; the sound track but I don't think the average viewer would consciously understand their use or their presence.. &#xD;&#xA;&#xD;&#xA;Very low frequencies which are not perceptible by the ear can be felt through the body, but as Roger explains above, a play back system that can reproduce such frequencies is an issue. Cinema play back systems have always had a problem with the reproduction of low frequencies. &#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="19271" PostHistoryTypeId="5" PostId="11691" RevisionGUID="b0633bb5-b992-4f9c-a3ae-c211687bdfdf" CreationDate="2011-12-04T02:59:49.383" UserId="278" Comment="added a link; edited body" Text="In the Black Swan I noticed lo frequency tones used to anticipate tension. I noticed them because I was paying a lot of attention to the sound track. They are quite evident for some one &quot;analyzing&quot; the sound track but I don't think the average viewer would consciously understand their use or their presence.. &#xD;&#xA;&#xD;&#xA;Very low frequencies which are not perceptible by the ear can be felt through the body, but as Roger explains above, a play back system that can reproduce such frequencies is an issue. Cinema play back systems have always had a problem with the reproduction of low frequencies. &#xD;&#xA;&#xD;&#xA;This link is not related with film but is about low frequency noise and its effect on people.&#xD;&#xA;&#xD;&#xA;http://www.environmental-protection.org.uk/noise/environmental-noise/low-frequency-noise/&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="19272" PostHistoryTypeId="2" PostId="11692" RevisionGUID="8ce438d1-3fd4-4e34-a51f-c062a829cde7" CreationDate="2011-12-04T03:18:53.583" UserId="3243" Text="Control + Command click on the gain slider in the trim plugin window." ContentLicense="CC BY-SA 3.0" />
  <row Id="19273" PostHistoryTypeId="2" PostId="11693" RevisionGUID="0278cd63-8919-4be0-804c-3a7178234502" CreationDate="2011-12-04T04:53:31.040" UserId="300" Text="@soundspeed's already got it there. another suggestion -- if you constantly dip in to a particular automation lane, such as your trim gain, you could use your Zoom Toggle ('e') to switch views back and forth quickly.&#xD;&#xA;&#xD;&#xA;Just make sure it's set to 'last used' in prefs for the 'zoom toggle' section&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19274" PostHistoryTypeId="2" PostId="11694" RevisionGUID="2d12e023-4c2a-420a-8d53-fd6be39b16a3" CreationDate="2011-12-04T05:07:41.533" UserId="3222" Text="For a Film Post Studio what kind of studio speaker network would be good , Active or Passive ? Why ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19275" PostHistoryTypeId="1" PostId="11694" RevisionGUID="2d12e023-4c2a-420a-8d53-fd6be39b16a3" CreationDate="2011-12-04T05:07:41.533" UserId="3222" Text="For a studio, what kind of speaker system network should one opt for?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19276" PostHistoryTypeId="3" PostId="11694" RevisionGUID="2d12e023-4c2a-420a-8d53-fd6be39b16a3" CreationDate="2011-12-04T05:07:41.533" UserId="3222" Text="&lt;loudspeakers&gt;&lt;amplifier&gt;&lt;systems&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19277" PostHistoryTypeId="2" PostId="11695" RevisionGUID="f6d94b60-d518-4e94-9b73-744c68fd6a6b" CreationDate="2011-12-04T05:19:55.803" UserId="6487" Text="Do you have to have producer permission or lead mixer permission to apply for IMDB credit?  Now that I am freelance I have actually been quite busy on some nice shows and want to list my contributions but I do not want to step on any toes.  Do I just apply honestly to IMDB and describe my role or do I ask each client/supervising sound editor/lead mixer if they mind if I list my role in the production?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19278" PostHistoryTypeId="1" PostId="11695" RevisionGUID="f6d94b60-d518-4e94-9b73-744c68fd6a6b" CreationDate="2011-12-04T05:19:55.803" UserId="6487" Text="IMDB Etiquette: Can you just claim your role?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19279" PostHistoryTypeId="3" PostId="11695" RevisionGUID="f6d94b60-d518-4e94-9b73-744c68fd6a6b" CreationDate="2011-12-04T05:19:55.803" UserId="6487" Text="&lt;credits&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19280" PostHistoryTypeId="2" PostId="11696" RevisionGUID="779a7250-b176-4499-b1c8-6e2531647cb6" CreationDate="2011-12-04T05:26:09.093" UserId="6487" Text="After you find the folks on IMDB, I would also check out any Linkedin profiles...they may know someone you know. It is always better to be introduced than to cold call. It is a small world." ContentLicense="CC BY-SA 3.0" />
  <row Id="19281" PostHistoryTypeId="2" PostId="11697" RevisionGUID="c758e970-aca3-4eb6-822a-a6ba5d5fd68c" CreationDate="2011-12-04T05:29:52.877" UserId="1117" Text="i believe if you were in the credits, then your are entitled to a credit on imdb. so then just update it yourself and it will be ok'd with the producer before it goes up.&#xD;&#xA;&#xD;&#xA;but you can be credited on imdb if you weren't in the end credit but the producer or whoever is in charge of the imdb page will have to put it up.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19282" PostHistoryTypeId="2" PostId="11698" RevisionGUID="4b8c9ca2-6665-4f88-805c-c7ea860b0a5a" CreationDate="2011-12-04T06:02:14.087" UserId="253" Text="I just go in and list myself on imdb. I don't think that's bad etiquette if you did work on it, and i imagine that everyone does the same. One of my imdb credits is even listed as &quot;uncredited&quot;, despite the fact that the post supervisor asked me 2 or 3 times for the spelling of my name for the credits." ContentLicense="CC BY-SA 3.0" />
  <row Id="19283" PostHistoryTypeId="2" PostId="11699" RevisionGUID="0d8d5f46-f812-44d2-b5f6-ec4536afb4b9" CreationDate="2011-12-04T06:04:42.073" UserDisplayName="user49" Text="When you say 'Film Post Studio' - do you mean an editing studio or a mix/dub stage? The requirements are related but very, very different&#xD;&#xA;&#xD;&#xA;Active or passive is largely irrelevant, the main issue is for them being matched &amp; correctly calibrated/set up. The advantage of active is that the manufacturer has already matched the speakers to the amps... whereas passive requires someone with knowledge to match &amp; set them up - bi or tri-amped, crossovers etc.... &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19284" PostHistoryTypeId="2" PostId="11700" RevisionGUID="9f95328e-8ad2-41be-9dad-b411b5933033" CreationDate="2011-12-04T06:12:30.837" UserId="3245" Text="Making some sounds for a mobile game and need to make a force field sound. Doing a little research on it, but thought I'd ask here. Any thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19285" PostHistoryTypeId="1" PostId="11700" RevisionGUID="9f95328e-8ad2-41be-9dad-b411b5933033" CreationDate="2011-12-04T06:12:30.837" UserId="3245" Text="Any good ideas for force-field sound effects?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19286" PostHistoryTypeId="3" PostId="11700" RevisionGUID="9f95328e-8ad2-41be-9dad-b411b5933033" CreationDate="2011-12-04T06:12:30.837" UserId="3245" Text="&lt;sound-effects&gt;&lt;video-games&gt;&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19289" PostHistoryTypeId="2" PostId="11702" RevisionGUID="0995f7a0-d60f-418f-af53-809d965db610" CreationDate="2011-12-04T06:41:28.740" UserId="3104" Text="Gaspar Noe's *Irreversible* does this in the first 30 minutes of the film. I've heard that it was so effective that when the film was screening at festivals around the world, there were occasions of people vomiting, fainting and all other kinds of hysteria happening. Watch at your own risk though, it's a very intense movie and not for the faint of heart. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19290" PostHistoryTypeId="2" PostId="11703" RevisionGUID="258f2a56-4d27-4276-b185-4b5d96d2a195" CreationDate="2011-12-04T08:18:28.690" UserId="6435" Text="I just made a forcefield sound by taking a bowed brass prayer bowl and running it through some of the modulation plugs in Pro-Tools. I think I actually used the &quot;Sci-fi&quot; plug, in fact. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19291" PostHistoryTypeId="2" PostId="11704" RevisionGUID="9744ee3f-4b0f-4a84-a858-bee9de8321bf" CreationDate="2011-12-04T08:54:50.440" UserId="3197" Text="Try taking any sort of electric hum or buzz and running it through a RTAS pitch shifter with a high feedback. The more you pitch it the more powerful the forcefield will sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="19292" PostHistoryTypeId="2" PostId="11705" RevisionGUID="43199f68-b1d2-4c4f-b011-952e2900dd42" CreationDate="2011-12-04T12:45:49.153" UserId="726" Text="I'm in the same situation i.e. saving up for a boom pole. I've decided to save up for a good spec boom pole, since it greatly enhances your ability to boom effectively and with less arm fatigue. I've used aluminium (Rode) and carbon fibre poles, and must say that your arms definitely appreciate you using carbon fibre! I'm saving up for a &lt;a href=&quot;http://www.panamic.net/&quot;&gt;Panamic Boom Pole&lt;/a&gt; which I've used and would recommend to anybody! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19293" PostHistoryTypeId="2" PostId="11706" RevisionGUID="e9d50051-e87f-4b00-a889-7fff565fd32e" CreationDate="2011-12-04T13:10:15.327" UserId="37" Text="what is generating the force field? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19294" PostHistoryTypeId="2" PostId="11707" RevisionGUID="51d031d0-c6ed-4f75-9ce2-b9bcc6fc1a54" CreationDate="2011-12-04T15:35:17.087" UserId="194" Text="the few things that I run into when doing forcefields:&#xD;&#xA;&#xD;&#xA;1) electrical forcefields are going to sound different than magical forcefields.  Be sure to know what's causing the FF story-wise as you pull together your source elements.&#xD;&#xA;&#xD;&#xA;2) forcefields tend to be tricky to mix unless you plan the frequency spectrums out carefully.  Its very easy to get caught up making this full frequency drone that sounds amazing but that takes up all of the headroom in a mix and has to be turned way down before anyone can say anything through it.  Don't make that mistake - have a very low frequency layer and a very high frequency layer with a fair amount of midrange left untouched or barely touched so that people can talk through it without it having to disappear.&#xD;&#xA;&#xD;&#xA;3) consider a continuously moving layer.  base that sound on whatever is continuously moving in the visual.  things like stretched voices and wispy synth tones are nice touches on good forcefields.&#xD;&#xA;&#xD;&#xA;4) don't go too layer crazy.  build the 3 to 5 best sounding layers you can build, make sure they each serve a *specific* purpose in the sound and roll with those.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="19295" PostHistoryTypeId="5" PostId="8357" RevisionGUID="3f466f91-d572-4e92-bcd6-d145e84ca768" CreationDate="2011-12-04T16:55:45.663" UserId="6524" Comment="deleted 215 characters in body" Text="Hey guys, I'm Indian and I'm pretty cheap so I've never paid for plugins or VST instruments (yet) and I'm always on the look out for something free, so I thought I'd list some of the stuff that I've found and if you guy's have something that I haven't listed we can share links. &#xD;&#xA;&#xD;&#xA;**Plugins:**&#xD;&#xA;&#xD;&#xA;[Variety of Sound][1]: I found these plugins today and I'm not sure if anyone's used them before but I was so impressed by how good they look and sound, their **epicVerb** and **FerricTDS** are the best plugins I've heard out of my computer (I don't know how it compares to stuff like Waves and others though).&#xD;&#xA;&#xD;&#xA;[Kjaerhus Audio Classic Series][2]: I found these from DJ Laidback Luke he mentioned them in some weird studio tour in his home, These are pretty alright I like the **Auto-Filter**.&#xD;&#xA;&#xD;&#xA;[ReaPlugs][3]: I found these today as well but I haven't tried them yet, these are the plugins that are found in Cockos REAPER, I'm excited to try their **Multi-band Compressor** cause I've never really used one before.&#xD;&#xA;&#xD;&#xA;[Molot][4]: This is a Russian **Compressor** which I haven't used yet to be honest but its looks great.&#xD;&#xA;&#xD;&#xA;**Instruments:**&#xD;&#xA;&#xD;&#xA;[Elektrostudio][6]: These were first free synths that I had found, I really like the **Model Pro** its like a replica of the Moog Prodigy its pretty fun to play with.&#xD;&#xA;&#xD;&#xA;[MinimogueVA][7]: This is one more thing I found today, its a replica of the **Mini Moog** and its so much fun and sounds great too.&#xD;&#xA;&#xD;&#xA;[Formant Classic][8]: I found this synth last night and its pretty good, the guy who made it says that its good for learning how to use synths and stuff.&#xD;&#xA;&#xD;&#xA;[DiscoDSP HighLife][9]: I found this through the Game Audio Tutorial book and its so much fun, its a **Sampler**, I like to put in recordings of my brother farting and make melodies out of it lol.&#xD;&#xA;&#xD;&#xA;[Vocov2][10]: This is a fun **Vocoder** which is another alternative I use to make music with my brother's farts.  &#xD;&#xA;&#xD;&#xA;[TS-808][11]: Ohh snap this is another thing I found today, this is obviously a replica of the **Roland 808 Drum Machine**, I've only played around a little bit with this but from what I've heard so far its really good.&#xD;&#xA;&#xD;&#xA;So anyway I hope this doesn't make me look like a super duper fantastical cheapo and also since I'm still a beginner in sound and can't really help many people on here, I hope at least these can help you guys. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://varietyofsound.wordpress.com/vst-effects/&#xD;&#xA;  [2]: http://www.acoustica.com/plugins/vst-directx.htm&#xD;&#xA;  [3]: http://www.reaper.fm/reaplugs/&#xD;&#xA;  [4]: http://vladgsound.wordpress.com/plugins/molot/&#xD;&#xA;  [5]: http://illformed.org/plugins/glitch/&#xD;&#xA;  [6]: http://www.elektrostudio.ovh.org/index2.php&#xD;&#xA;  [7]: http://home.no/gunnare/index.htm&#xD;&#xA;  [8]: http://www.ftec-audio.com/formant-classic/&#xD;&#xA;  [9]: http://www.discodsp.com/highlife/&#xD;&#xA;  [10]: http://www.g200kg.com/en/software/vocov.html&#xD;&#xA;  [11]: http://tactilesounds.blogspot.com/p/tactile-synthesizers.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="19297" PostHistoryTypeId="2" PostId="11709" RevisionGUID="7ea1f887-48cb-4668-93e8-57fb21af5bd5" CreationDate="2011-12-04T19:44:51.717" UserId="1225" Text="http://plugins.gersic.com/index.php - great source for free plug-ing. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19298" PostHistoryTypeId="2" PostId="11710" RevisionGUID="5a1085aa-f353-4a95-948d-9dcf06e5b17b" CreationDate="2011-12-04T21:06:51.093" UserId="3247" Text="Run a energy sounding synth lead through a doppler and phaser." ContentLicense="CC BY-SA 3.0" />
  <row Id="19299" PostHistoryTypeId="2" PostId="11711" RevisionGUID="f8dcfced-34df-4425-82f4-dda3449b36d4" CreationDate="2011-12-04T21:19:54.837" UserId="6499" Text="Im trying to make the things I have work for a new purpose.  I want to try and take my 2 Countryman B3's which are already wired to work with Sennheiser G2 units and make an adapter cable that way I can plug them straight into my Zoom so that I can do some low profile stealth recording akin to how people use the DPA/eyeglass rigs.  &#xD;&#xA;&#xD;&#xA;Buying a set of DPA's is on the list for the future.  But by some miracle I am graduating soon and figured it would be great to sneak a couple of mics on my person to get some stereo BG recordings of a large arena graduation.  If all else fails I will run them through my g2 units and then into the recorder, but I am trying to avoid the rizz I get in the high frequency range with those units.&#xD;&#xA;&#xD;&#xA;I do not want a permanent mod so I was thinking of rewiring them from the g2 plug to a mini XLR.  Then make mini XLR to XLR adapters and Mini XLR to 3.5mm plug, that way I can swap as I need.&#xD;&#xA;&#xD;&#xA;Anyone have any suggestions or tips?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="19300" PostHistoryTypeId="1" PostId="11711" RevisionGUID="f8dcfced-34df-4425-82f4-dda3449b36d4" CreationDate="2011-12-04T21:19:54.837" UserId="6499" Text="DIY - Countryman B3  wired for Senn g2...how to mod to xlr?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19301" PostHistoryTypeId="3" PostId="11711" RevisionGUID="f8dcfced-34df-4425-82f4-dda3449b36d4" CreationDate="2011-12-04T21:19:54.837" UserId="6499" Text="&lt;diy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19303" PostHistoryTypeId="2" PostId="11713" RevisionGUID="13a0b726-9fe5-4f3a-8eca-a4f6397f20a1" CreationDate="2011-12-04T22:57:52.453" UserId="300" Text="As @Roger mentions, subtly *removing* tones / ambiences / that have been established without the audience even noticing is something to experiment with -- it can have the same effect subconsciously, and personally I prefer that approach because it's harder for anyone to say &quot;yes I can hear your 'tension' sfx, thankyou very much&quot;, which can be a bit of a boom-in-shot." ContentLicense="CC BY-SA 3.0" />
  <row Id="19304" PostHistoryTypeId="2" PostId="11714" RevisionGUID="c75620f4-3bf6-4b97-8130-3f5ebc4e4feb" CreationDate="2011-12-05T02:04:21.950" UserId="432" Text="not focused exclusively on frequencies, but you should check out this thread on creating tension. a lot of great ideas and information contained in it.&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/9502/tension-sounds-like" ContentLicense="CC BY-SA 3.0" />
  <row Id="19305" PostHistoryTypeId="2" PostId="11715" RevisionGUID="30973e9a-af22-43aa-b883-8ef009b8260d" CreationDate="2011-12-05T04:38:43.473" UserId="558" Text="eraserhead has a horrible hum thru it that created a ton of tension." ContentLicense="CC BY-SA 3.0" />
  <row Id="19308" PostHistoryTypeId="2" PostId="11717" RevisionGUID="457b56b3-185f-4f93-a8aa-249e235fc5e6" CreationDate="2011-12-05T08:26:01.517" UserId="3249" Text="I have one little question about loudness calibration levels. It seems there are 2 norms:&#xD;&#xA;&#xD;&#xA; - **-20dB FS of pink noise RMS = 85 dB(C) SPL** used for film, 79 for TV *(it is 6 dB below film)*&#xD;&#xA; - the second is pink noise on **83 dB(C)** for film and 78 for TV *(only 5 dB below film)*, even 73 for music (according to Bob Katz K-system).&#xD;&#xA;&#xD;&#xA;First is used in Central Europe - especially Czech republic, maybe the rest of Europe is using another calibration levels.&#xD;&#xA;Second (I believe) is used in USA.&#xD;&#xA;&#xD;&#xA;Where is the truth?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19309" PostHistoryTypeId="2" PostId="11718" RevisionGUID="51abbad5-bdf7-446d-ada2-9d243b0101b0" CreationDate="2011-12-05T16:03:13.280" UserId="985" Text="Technically, I read - 0,3 db is pretty safe. 100% safe is - 6db. That is the peaks, of course. No peak going above -6db and/or -0.3 db. Don't forget that volume is not really measurable. It is mostly perceived. There is a harmonic balance to be found between high mids and lows. If you have too much lows, you volume will peak and very low perceived level. If you have many highs or high mids, and your mix is peaking constantly at 0,03 db, it might be too loud, because it is perceived as very loud. Don't forget also that the loudness is felt in context. If you are having more volume contrast, the loud passages will of course &quot;feel&quot; louder, but all the rest will feel a lot quieter. So if you are having very little dynamic range, everything will &quot;feel&quot; louder overall. But as often discussed, not necessarily better.&#xD;&#xA;&#xD;&#xA;So it's little more complicated than to know your peak levels. I mostly try to work with references to not go overboard in any direction." ContentLicense="CC BY-SA 3.0" />
  <row Id="19310" PostHistoryTypeId="5" PostId="3070" RevisionGUID="1cef5c48-d535-47fa-9379-14ff9091c377" CreationDate="2011-12-05T16:30:37.347" UserId="432" Comment="a few clarification tweaks" Text="Don't worry, Dave, yours wasn't the loudest. ;) 0dB is a mine field, because it all depends on which scale you're referring to. If you're referring to Full Scale (like I did in the post), 0dB is the absolute maximum volume you can produce in a digital system before clipping occurs. Someone suggested that in addition to -10dB full scale, we should have 0db on a VU meter equal -20dB full scale.  You see where this is going yet?&#xD;&#xA;&#xD;&#xA;There are all kinds of measurement systems, and it all depends on how your meter is calibrated. For a while now, the idea of dialnorm (where the dialogue should sit in the mix) has been ruling audio for film and television measurements. For a long time, the US used a scale known as Linear EQ A, you'll see it abbreviated in a lot of places as LeqA. Using that scale, many broadcasters designated a dialnorm of -27dB LeqA, and you need special equipment to be able to get that measurement. A common dialnorm for film was -31dB LeqA.&#xD;&#xA;&#xD;&#xA;That measurement system is going away now, as the new suggested spec is BS.1770 (something that's been gaining ground in Europe for a number of years now), which you'll see referred to as LKFS. A very common measurement for television using an application of this system (i.e. ATSC/A85 or EBU-R128) is -24dB LKFS/LUFS. They've switched over to this system because of arguments regarding the way each scale works.&#xD;&#xA;&#xD;&#xA;LeqA really only accounted for dialogue volume over time. The program could get all kinds of loud without going over the -10dbfs (full scale) peak limit spec, as long as all dialogue measured out to -27dB LeqA. The LKFS scale takes into account the rest of the audio program and is an indicator of the program's overall loudness level over time.&#xD;&#xA;&#xD;&#xA;This is a lot of technical jargon that doesn't really answer your basic question of where to mix your levels to. It's kind of hard to tell you &quot;x value&quot; dB full scale is where you want to be. A good starting place is to keep all peaks below -10dB full scale. From there, it's a question of how much dynamic range do you want in your piece. You should really start by calibrating your monitors. A quick and dirty way is to play some pink noise through your monitors at -20dbFS and use a dB-SPL meter (you can get these cheap at Radioshack) and adjust the monitors until that meter reads [78dB for TV style mixing/83dB for film style mixing] from your listening position. This means that the max your system will output Full Scale is 98dB-SPL or 103dB-SPL respectively (getting close to the threshold of damage/pain with film mixing, but staying below it). After you've done that play a -20dbFS 1kHz sine wave out through the monitors to give yourself a reference point. Then you can load in something professionally (DVD's can be great for this) done and A/B the program vs. the sine wave, and you'll train your ears for an appropriate level.&#xD;&#xA;&#xD;&#xA;This is a better way to start out than to look for &quot;the magic dB&quot; level. If you want to find out how loud an audio file is, I'd suggest loading it into your DAW and using a plug-in that lets you find its RMS value (the gain plug-in in Pro Tools can do this). That will give you yet another reference point. Mixing is all about those reference points and dynamic range. Keep that in mind, and you'll get the hang of what you're looking for in no time.&#xD;&#xA;&#xD;&#xA;**Edit:** I will admit that, when working on television programming, I start out by premixing dialog/narration to a comfortable, but present, level. If I run a semi-QC check on it, it regularly hangs in the -26 to -28 LeqA using Digidesign's Phasescope plug-in (measurement time scale/duration of 3 seconds). I then mix everything else around it." ContentLicense="CC BY-SA 3.0" />
  <row Id="19311" PostHistoryTypeId="2" PostId="11719" RevisionGUID="d5c14c7d-09bf-4869-806d-0e7418c432be" CreationDate="2011-12-05T16:52:15.573" UserId="3222" Text="It all depends what you're mixing and where is it going to be exhibited. For instance when I am mixing music I keep my peak at -8 dBFS. When it comes to film my loudest mix stem is dialogue which is at -10 dBFS.&#xD;&#xA;&#xD;&#xA;You need to understand where your, Mix is going to be exhibited. Keeping that in mind my recording levels are also set that way. During Location recording my levels are more or less at -16 dBFS. sometimes my peaks go up to -14 dbFS and that about it. I do so because it gives me headroom on either side during post production. Even after I know that all my dialogue peaks are going to be at -10 dBFS I still like to keep the headspace so that when I mix i create depth and perception of loudness. &#xD;&#xA;&#xD;&#xA;For Music, Due its very nature, you would want to achieve a flat frequency response from your mix. It's easy to achieve that by getting your peaks up to -8 dbFS. If you can achieve it at a lower level then it's great.&#xD;&#xA;&#xD;&#xA;Also you should keep in mind the back compatibility of your hardwares and softwares. Assuming that you know that and have your monitor system aligned. Finding our own level range should not be difficult. After all Sound is all perception.&#xD;&#xA;&#xD;&#xA;Remember mixing film for DOLBY DIGITAL and DOLBY SR is a Different ball game all together&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="19312" PostHistoryTypeId="2" PostId="11720" RevisionGUID="66fc2ec0-1e78-4ee5-8f95-15ae297b7bca" CreationDate="2011-12-05T19:17:25.907" UserId="397" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;This is my first demo reel( [http://vimeo.com/33159167][1] ) and wanted to share with you. Any comments are welcome. &#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;Marco&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/33159167" ContentLicense="CC BY-SA 3.0" />
  <row Id="19313" PostHistoryTypeId="1" PostId="11720" RevisionGUID="66fc2ec0-1e78-4ee5-8f95-15ae297b7bca" CreationDate="2011-12-05T19:17:25.907" UserId="397" Text="Sound Design Reel " ContentLicense="CC BY-SA 3.0" />
  <row Id="19314" PostHistoryTypeId="3" PostId="11720" RevisionGUID="66fc2ec0-1e78-4ee5-8f95-15ae297b7bca" CreationDate="2011-12-05T19:17:25.907" UserId="397" Text="&lt;demo&gt;&lt;reel&gt;&lt;feedback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19315" PostHistoryTypeId="2" PostId="11721" RevisionGUID="0db4fd75-e37f-4278-b089-e430eb1508da" CreationDate="2011-12-05T19:30:48.757" UserId="235" Text="  I have a general question but I think it's easiest if I ask it in the context of an example.  So say you have a scene where someone is talking and opening a bag of chips at the same time.  The location recordist did a good job and the two sounds are balanced nicely.  I like it (sfx editor), the mixer likes it, and the clients like it.  We all want to work with the production audio as-is except for the fact that we're delivering this movie as M&amp;E for international distribution.  &#xD;&#xA;  Two questions really - what's done about this in a big budget situation and what's the low budget trying to be as efficient as possible approach? &#xD;&#xA;&#xD;&#xA;  Do people really ADR and Foley every single instance of Dialog and SFX overlap?  That seems excessive.  The other option I can think of would be to Foley everything and mix the Foley in under the PFX.  Seems like this would mean overlapping Foley would get mixed in real low where the PFX were already loud.  Do movies get re-mixed when they're dubbed? &#xD;&#xA;  &#xD;&#xA;  One more example.  A guy is running through the forest breathing heavily.  Once again the production recordings sound awesome and everyone loves them.  For M&amp;E purposes do you put this on a PFX track or a dialog track?  Or does it need to be recreated even though everyone loves it so all the elements can be dealt with separately?    " ContentLicense="CC BY-SA 3.0" />
  <row Id="19316" PostHistoryTypeId="1" PostId="11721" RevisionGUID="0db4fd75-e37f-4278-b089-e430eb1508da" CreationDate="2011-12-05T19:30:48.757" UserId="235" Text="prepping tracks for international release (M&amp;E)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19317" PostHistoryTypeId="3" PostId="11721" RevisionGUID="0db4fd75-e37f-4278-b089-e430eb1508da" CreationDate="2011-12-05T19:30:48.757" UserId="235" Text="&lt;mixing&gt;&lt;me&gt;&lt;track&gt;&lt;organization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19318" PostHistoryTypeId="2" PostId="11722" RevisionGUID="894e76b7-2a1a-4a9c-9cb5-35cff3b80033" CreationDate="2011-12-05T20:09:01.473" UserId="315" Text="&gt; &quot;what's done about this in a big&#xD;&#xA;&gt; budget situation and what's the low&#xD;&#xA;&gt; budget trying to be as efficient as&#xD;&#xA;&gt; possible approach?&quot;&#xD;&#xA;&#xD;&#xA;From my experience, these events are always covered in foley for the M&amp;E, even if the pfx sound great. Most foley supervisors will spot a majority of the props/feet they see on screen just to cover their bases. If foley feet are used for a character in a scene, they will cover all of the feet in that scene for consistency and let the mixer decide whether to kill them. Often a cloth pass is done and never used in the mix with the production sound, only in the M&amp;E to give the dubbing a less canned feel with some movement and life.&#xD;&#xA;&#xD;&#xA;&gt; &quot;One more example. A guy is running&#xD;&#xA;&gt; through the forest breathing heavily.&#xD;&#xA;&gt; Once again the production recordings&#xD;&#xA;&gt; sound awesome and everyone loves them.&#xD;&#xA;&gt; For M&amp;E purposes do you put this on a&#xD;&#xA;&gt; PFX track or a dialog track? Or does&#xD;&#xA;&gt; it need to be recreated even though&#xD;&#xA;&gt; everyone loves it so all the elements&#xD;&#xA;&gt; can be dealt with separately?&quot;&#xD;&#xA;&#xD;&#xA;This is more of a legal/SAG union question. It depends on the agreement/contract between the actor and the producers. Often all breaths are done again in dubbing to keep this issue cut and dry. Of course, many of the breaths you hear in films are actually the breaths of the dialog editor or some group ADR actor, which is a whole other story.&#xD;&#xA;&#xD;&#xA;Foreign versions are definitely remixed, as the dialog in other languages may need to be rebalanced over music and effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="19319" PostHistoryTypeId="5" PostId="11722" RevisionGUID="2e6746f9-e79d-40e4-add8-4e5acc60666b" CreationDate="2011-12-05T20:20:17.363" UserId="315" Comment="added 2 characters in body; added 1 characters in body" Text="&gt; &quot;what's done about this in a big&#xD;&#xA;&gt; budget situation and what's the low&#xD;&#xA;&gt; budget trying to be as efficient as&#xD;&#xA;&gt; possible approach?&quot;&#xD;&#xA;&#xD;&#xA;From my experience, these events are always covered in foley for the M&amp;E, even if the pfx sound great. Most foley supervisors will spot a majority of the props/feet they see on screen just to cover their bases. If foley feet are used for a character in a scene, they will cover all of the feet in that scene for consistency and let the mixer decide whether to kill them. Often a cloth pass is done and never used in the mix with the production sound, only in the M&amp;E to give the dubbing a less canned feel with some movement and life.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&gt; &quot;One more example. A guy is running&#xD;&#xA;&gt; through the forest breathing heavily.&#xD;&#xA;&gt; Once again the production recordings&#xD;&#xA;&gt; sound awesome and everyone loves them.&#xD;&#xA;&gt; For M&amp;E purposes do you put this on a&#xD;&#xA;&gt; PFX track or a dialog track? Or does&#xD;&#xA;&gt; it need to be recreated even though&#xD;&#xA;&gt; everyone loves it so all the elements&#xD;&#xA;&gt; can be dealt with separately?&quot;&#xD;&#xA;&#xD;&#xA;This is more of a legal/SAG union question. It depends on the agreement/contract between the actor and the producers. Often all breaths are done again in dubbing to keep this issue cut and dry. Of course, many of the breaths you hear in films are actually the breaths of the dialog editor or some group ADR actor, which is a whole other story.&#xD;&#xA;&#xD;&#xA;Foreign versions are definitely remixed, as the dialog in other languages may need to be rebalanced over music and effects. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19320" PostHistoryTypeId="2" PostId="11723" RevisionGUID="6a891062-25d9-48f7-ba75-21cf1726b10c" CreationDate="2011-12-05T20:52:19.723" UserId="3250" Text="More to do with uneasy harmony but &quot;How to Disappear Completely&quot; by Radiohead has a high-pitched tone that carries for the first 1.5 minutes of the song. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19321" PostHistoryTypeId="2" PostId="11724" RevisionGUID="5f6fc836-6d8f-41f5-8f1e-099bebb0d6ae" CreationDate="2011-12-05T20:58:24.073" UserId="1049" Text="Just to add a little something to what @Justin has already said: &#xD;&#xA;&#xD;&#xA;I've usually found that it depends on the type of programme you are working on. In my experience international versions of drama and 'movie-like' material will be distributed with an original full-mix, and M&amp;E which is just without dialogue, the effects being purely Foley etc. Again, as Justin said, this will be remixed with the foreign dialogue. &#xD;&#xA;&#xD;&#xA;However, other forms of programming, eg. reality shows, wildlife shows etc will not ship with M&amp;E but rather Mix Minus Narration, which is just as it says, a full mix just without narration. These will either be pre-dipped or undipped (for dubbing) depending on the supplier and will simply be dubbed over with new foreign narration, and translation over any speech. From what you've described in the question I'm pretty sure this is irrelevant for your current situation but I thought I'd add it in case you're interested!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19322" PostHistoryTypeId="2" PostId="11725" RevisionGUID="a3b625a6-4f29-44f2-b7a2-a576b3648cf0" CreationDate="2011-12-05T21:49:22.940" UserId="6435" Text="I found this today and it brought this thread to mind. Especially the bit about the distinction between photographer's rights and the wiretapping laws.&#xD;&#xA;&#xD;&#xA;http://www.cio.com/article/690123/FAQ_When_Can_You_Capture_Cops_on_Camera_" ContentLicense="CC BY-SA 3.0" />
  <row Id="19323" PostHistoryTypeId="2" PostId="11726" RevisionGUID="c83b1d16-1938-4ba7-840c-d5d67d4161df" CreationDate="2011-12-05T21:55:20.980" UserId="3251" Text="I know this is a year old post but for what it's worth, a couple of things that could keep Pro Tools from launching for several minutes are as follows:  1) Make sure you have internet connection and find Pro Tools Software Updater application usually found in the Pro Tools folder inside the Digidesign program Application folder. Launch the software updater and check the box so that pro tools DOES NOT CHECK for updates. This hangs pro tools from launching while it tries to check for updates. 2) Using Pro Tools 9, the iLok has the license on it out of the box but, if you do not go to iLok.com and sync it to you account it will stall pro tools for SEVERAL minutes even if you installed the ilok client installer and driver installer that is the most current version. Sync the iLok to your account and the correct information on the ilok will then allow your pro tools to launch without delay.Also make sure your Airport is turned off if using a mac, Pc users disable ethernet adapter as this sticks pro tools on building edit window opening or creating sessions.&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;Instructor&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19324" PostHistoryTypeId="2" PostId="11727" RevisionGUID="a6bed14f-4d37-4590-a6cb-4ff39248968d" CreationDate="2011-12-05T22:37:48.903" UserId="3178" Text="great attention to detail, great variety of clips, good pacing, the only thing is maybe the door creek at the beginning is a little too in your face, if you were thinking of adding any other clips to this vid i would recommend something sci-fi because this is mainly a 'foley' show-reel, it would give you a chance to demonstrate use of synthesis, good stuff marco, cal" ContentLicense="CC BY-SA 3.0" />
  <row Id="19325" PostHistoryTypeId="2" PostId="11728" RevisionGUID="f2f09d37-dadc-4a21-9ae4-49ccb623cae7" CreationDate="2011-12-05T22:42:38.583" UserId="418" Text="Silence: The most uneasy frequency of all. :)&#xD;&#xA;&#xD;&#xA;Badalamenti uses it masterfully in the Lynch films. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19326" PostHistoryTypeId="2" PostId="11729" RevisionGUID="ea1bb2d4-9dd8-47d2-ac23-cef4096b0194" CreationDate="2011-12-06T06:14:24.840" UserId="2498" Text="increase gain on room noise to crazy level? " ContentLicense="CC BY-SA 3.0" />
  <row Id="19327" PostHistoryTypeId="2" PostId="11730" RevisionGUID="f2418f3c-a572-44b2-b5b0-027e80a4c089" CreationDate="2011-12-06T09:27:31.567" UserId="62" Text="Same here, I just add myself. I have no idea if the credit is checked with anyone or not." ContentLicense="CC BY-SA 3.0" />
  <row Id="19328" PostHistoryTypeId="2" PostId="11731" RevisionGUID="fa3d9cb9-a268-456e-ab2d-6ffc1508b6d3" CreationDate="2011-12-06T09:50:26.153" UserId="3075" Text="thank you all for your replies,, really helpful..&#xD;&#xA;&#xD;&#xA;@dbp - I think that the radiohead method could really work if used as a subtle, low in the mix sound that when taken out abruptly reinforces/ elevates the viewers emotion.&#xD;&#xA;&#xD;&#xA;@ruben - I have seen the film but obviously my speakers didnt pick that up.. still thats a dark film.&#xD;&#xA;&#xD;&#xA;@Eric baca - interesting stuff, thanks for the link - i still need to see Black Swan, ill check it out.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks again all.. i will put up a link on the finished product.." ContentLicense="CC BY-SA 3.0" />
  <row Id="19329" PostHistoryTypeId="2" PostId="11732" RevisionGUID="2c1b4c56-4761-44ff-bfb7-45366cb0919f" CreationDate="2011-12-06T10:09:01.030" UserId="3253" Text="&quot;Anyone who, like me, wonders a bit just HOW will one be able to transfer the files to PC seeing as there's no way of transferring most anything except pictures from the iPhone?&quot;&#xD;&#xA;&#xD;&#xA;On my iphone 4, you just email the file to yourself. I use the iphone recorder as a last resort when I'm out and about. It can be surprisingly good at times, but this would be a great addition.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19330" PostHistoryTypeId="2" PostId="11733" RevisionGUID="cb64f572-55d3-45b8-ae95-d94a86edaa9a" CreationDate="2011-12-06T10:38:04.527" UserId="596" Text="hi, i have about 300 sound files with various max. gain level each. i need all sounds to have a max. level of -10dB. i'm thinking the best way to do that would be batch process all sounds through a limiter with a threshold set at -10dB, would that do?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19331" PostHistoryTypeId="1" PostId="11733" RevisionGUID="cb64f572-55d3-45b8-ae95-d94a86edaa9a" CreationDate="2011-12-06T10:38:04.527" UserId="596" Text="batch process for leveling sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="19332" PostHistoryTypeId="3" PostId="11733" RevisionGUID="cb64f572-55d3-45b8-ae95-d94a86edaa9a" CreationDate="2011-12-06T10:38:04.527" UserId="596" Text="&lt;batch-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19333" PostHistoryTypeId="2" PostId="11734" RevisionGUID="457c8df3-a338-4308-8335-de4a10d6d1d6" CreationDate="2011-12-06T11:22:53.267" UserId="125" Text="I am also interested in!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19334" PostHistoryTypeId="2" PostId="11735" RevisionGUID="10f1b3e8-bf47-4429-abdb-79bf977be922" CreationDate="2011-12-06T11:25:39.593" UserId="6432" Text="If you use a limiter you are changing the audio. If you normalize you are just changing the amplitude, so this is the best way.&#xD;&#xA;&#xD;&#xA;Remember though, there is a difference between level and perceived loudness. What are the sounds and what are they for? " ContentLicense="CC BY-SA 3.0" />
  <row Id="19335" PostHistoryTypeId="2" PostId="11736" RevisionGUID="d0ac1663-6bd9-4b56-9218-3a040eeb5fe7" CreationDate="2011-12-06T11:59:02.147" UserId="202" Text="In the movie I just finished, I had to save a long (continuous) take where a popular singer (here in Italy) singed with playback but was out of sync (in a few spots more than half a second). Obviously the out-of sync is not constant, as the singer sometime was on the beat, sometime late, etc. This shot was edited without cuts, and the production guide track was obviously substituted with the studio recording (that was used for the playback during the shooting).&#xD;&#xA;&#xD;&#xA;Recording the song again, with the tempo mapped to her singing, was out of the question (for budget and agreement problems).&#xD;&#xA;&#xD;&#xA;I asked for the instrumental track and the voice track. Then I stretched, moved, edited every single line/ word trying to match the lip sync, but always paying attention to the musical rhythm. On two or three spots I had to slightly time stretch the music too. In the end, the resulting sequence is far from perfect, but much better then the original, and the production approved and signed the edits, everybody was happy. But...&#xD;&#xA;&#xD;&#xA;But how would you have dealt this? Time stretched music and voice at the same time? (I tried, but to me the result was much worse and the flow of the song completely destroyed). Found the sync for the voice part, and then remap (with time-stretch) the instrumental track?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19336" PostHistoryTypeId="1" PostId="11736" RevisionGUID="d0ac1663-6bd9-4b56-9218-3a040eeb5fe7" CreationDate="2011-12-06T11:59:02.147" UserId="202" Text="Out of sync singer on a long take: how to save it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19337" PostHistoryTypeId="3" PostId="11736" RevisionGUID="d0ac1663-6bd9-4b56-9218-3a040eeb5fe7" CreationDate="2011-12-06T11:59:02.147" UserId="202" Text="&lt;music&gt;&lt;sync&gt;&lt;editing&gt;&lt;how-to&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19338" PostHistoryTypeId="2" PostId="11737" RevisionGUID="11b27384-dbdc-4b83-8bc2-554a5df33e38" CreationDate="2011-12-06T12:13:43.443" UserId="37" Text="thought of [clusters][1]?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Tone_cluster" ContentLicense="CC BY-SA 3.0" />
  <row Id="19339" PostHistoryTypeId="2" PostId="11738" RevisionGUID="04711afd-f731-4c6f-8f7b-efad8a333155" CreationDate="2011-12-06T12:33:28.237" UserId="2498" Text="That's the best I can think of. That, and to charge by the hour. :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="19340" PostHistoryTypeId="2" PostId="11739" RevisionGUID="e08bd09a-cd1c-4559-aca7-1040b136faa9" CreationDate="2011-12-06T12:44:16.213" UserId="863" Text="Is this a sample rate issue? 44.1 to 48? I'm going to guess the guide was a cd at 44.1k and you're now putting in the studio recording without sample rate conversion (which is 44.1) into your film which could be at 48k? Could this be it?&#xD;&#xA;&#xD;&#xA;This was done at work recently by accident and threw all of our audio out of sync with the video." ContentLicense="CC BY-SA 3.0" />
  <row Id="19341" PostHistoryTypeId="2" PostId="11740" RevisionGUID="000b9698-d823-4b36-8f36-cd7e48f62838" CreationDate="2011-12-06T13:01:07.687" UserId="432" Text="Nugen has a very cool piece of software called LMB (Loudness Manaagement Batch Processor). It will normalize your files to a loudness level using the BS.1770 spec, and will also allow you to set peak limiting levels as well. It ain't cheap ($999 through their site), but it might be worth looking into if it's something you have to do on a regular basis." ContentLicense="CC BY-SA 3.0" />
  <row Id="19342" PostHistoryTypeId="2" PostId="11741" RevisionGUID="237de342-12cb-4dea-9e77-4fc7ed4c8707" CreationDate="2011-12-06T13:05:52.223" UserId="432" Text="I think you've done the best you could have in the situation...probably exactly what I would have done as well.&#xD;&#xA;&#xD;&#xA;Honestly, it's something that should have been accounted for in the visual edit; hiding the spots where it's really noticeable with different shots. Obviously that's not always possible though." ContentLicense="CC BY-SA 3.0" />
  <row Id="19343" PostHistoryTypeId="2" PostId="11742" RevisionGUID="43f04166-ae76-4077-b390-d2bc1a82bce5" CreationDate="2011-12-06T15:20:58.107" UserId="7642" Text="@Nikky&#xD;&#xA;See my post above.&#xD;&#xA;File transfer is controlled by the application used.&#xD;&#xA;If you use a good recording program like fire, the program controls how files can be transferred. In the case of Fire you have iTunes, Dropbox, soundcloud, FTP and direct access from a local (within the same network) web browser" ContentLicense="CC BY-SA 3.0" />
  <row Id="19344" PostHistoryTypeId="2" PostId="11743" RevisionGUID="253b4a72-53d6-47b1-b552-c1434483c2fa" CreationDate="2011-12-06T17:13:01.830" UserId="202" Text="Hi all&#xD;&#xA;&#xD;&#xA;Do you spot what and where to record on the timeline with fake blank regions, and then replace those blank regions while recording (if your recording foley) and with your edited sfx?&#xD;&#xA;Or do you just spot with markers or on the paper?&#xD;&#xA;&#xD;&#xA;I find that spotting (and create regions as marker-place) on the timeline take more time, but in the end the results are more precise and the time spent planning is well rewarded in the end.&#xD;&#xA;&#xD;&#xA;What do you think? What's your workflow?&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Davide" ContentLicense="CC BY-SA 3.0" />
  <row Id="19345" PostHistoryTypeId="1" PostId="11743" RevisionGUID="253b4a72-53d6-47b1-b552-c1434483c2fa" CreationDate="2011-12-06T17:13:01.830" UserId="202" Text="Spotting to timeline with blank regions before recording/editing sfx" ContentLicense="CC BY-SA 3.0" />
  <row Id="19346" PostHistoryTypeId="3" PostId="11743" RevisionGUID="253b4a72-53d6-47b1-b552-c1434483c2fa" CreationDate="2011-12-06T17:13:01.830" UserId="202" Text="&lt;editing&gt;&lt;foley&gt;&lt;spotting&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19347" PostHistoryTypeId="2" PostId="11744" RevisionGUID="c91ef270-f6b8-412d-af8c-3816708c74bb" CreationDate="2011-12-06T17:31:40.600" UserId="1216" Text="I don't spot with blank regions, simply because i find it a hassle.  &#xD;&#xA;Furthermore i'm afraid i could confuse a low amplitude region with an empty one.  &#xD;&#xA;&#xD;&#xA;What i do create are midi region's to keep track of specific spots that either:&#xD;&#xA;need  more design attention. Or some other practical reason for looking at, for example: &#xD;&#xA;a region could be named &quot;temp visuals&quot; to remind myself that not everything needs to be sync&#xD;&#xA;in that timeframe. &#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="19348" PostHistoryTypeId="2" PostId="11745" RevisionGUID="aa20637b-574b-4c50-8b76-a25c66c62fe9" CreationDate="2011-12-06T17:39:11.763" UserId="3254" Text="hi guys,&#xD;&#xA;&#xD;&#xA;i downloaded their demo and must say, it's really special but very nice!&#xD;&#xA;i think i will present myself today with this nice eq - because it is St. Nicholas Day :D&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;how many other users are here that are using this beauty ???&#xD;&#xA;&#xD;&#xA;http://www.analoginthebox.com/product.php?id=8243" ContentLicense="CC BY-SA 3.0" />
  <row Id="19349" PostHistoryTypeId="1" PostId="11745" RevisionGUID="aa20637b-574b-4c50-8b76-a25c66c62fe9" CreationDate="2011-12-06T17:39:11.763" UserId="3254" Text="Anyone in love with the W735EQ Plugin by analoginthebox.com ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19350" PostHistoryTypeId="3" PostId="11745" RevisionGUID="aa20637b-574b-4c50-8b76-a25c66c62fe9" CreationDate="2011-12-06T17:39:11.763" UserId="3254" Text="&lt;plug-ins&gt;&lt;equalization&gt;&lt;mixing&gt;&lt;recording&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19351" PostHistoryTypeId="2" PostId="11746" RevisionGUID="b564760f-4fd0-4ea4-849a-b1085600a485" CreationDate="2011-12-06T18:29:25.777" UserId="3183" Text="I use clip groups on audio tracks. In clip groups you can make comments, and they can serve you as visual cues like where to record." ContentLicense="CC BY-SA 3.0" />
  <row Id="19352" PostHistoryTypeId="2" PostId="11747" RevisionGUID="5c1cd162-4f80-441a-ab4e-b39353140925" CreationDate="2011-12-06T18:34:27.733" UserId="1992" Text="I'd imagine most people would look to someone of your standing for advice rather than vice versa.&#xD;&#xA;&#xD;&#xA;The only criticism I can find is the world lacks what I could only describe as ambient sounds.  Simpler background sounds such as: distant gunfire or the wind rushing past you when you're travelling fast in an aircraft or the hoverbike.&#xD;&#xA;&#xD;&#xA;I can't fault any of the implemented sounds at all, only the lack of small touches leave the map with a small sense of emptiness, audio-wise.&#xD;&#xA;&#xD;&#xA;I hope that could help you! :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19353" PostHistoryTypeId="5" PostId="11747" RevisionGUID="b8dab8f1-774a-4659-8aa1-f7be64940ec9" CreationDate="2011-12-06T18:44:51.560" UserId="1992" Comment="deleted 3 characters in body" Text="I'd imagine most people would look to someone of your standing for advice rather than vice versa.&#xD;&#xA;&#xD;&#xA;The only criticism I can find is the world lacks what I could only describe as ambient sounds.  Simpler background sounds such as: distant gunfire or the wind rushing past you when you're travelling fast in an aircraft or the hoverbike.&#xD;&#xA;&#xD;&#xA;I can't fault any of the implemented sounds at all, only the lack of small touches leave the map with a small sense of emptiness, audio-wise.&#xD;&#xA;&#xD;&#xA;I hope that could help you!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19354" PostHistoryTypeId="2" PostId="11748" RevisionGUID="5d44aef3-f551-4048-a74b-bec6c82b2718" CreationDate="2011-12-06T19:15:56.840" UserDisplayName="user49" Text="I use markers to cue FX, mainly because&#xD;&#xA;&#xD;&#xA;- they can be used as a non-linear grid&#xD;&#xA;- they are easy to conform &amp; you dont get messy sub-regions&#xD;&#xA;- they can be dropped during playback (for instant notes or to capture human timing)&#xD;&#xA;- they can be exported to text if required&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;one day we will see PT support proper marker databasing....&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19358" PostHistoryTypeId="2" PostId="11750" RevisionGUID="29d7f8d6-b1d6-477d-adc5-aed21c99c232" CreationDate="2011-12-06T20:35:14.337" UserId="63" Text="this one looks pretty cool! and its the definite form of &quot;everywhere-all-around&quot; mic!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19362" PostHistoryTypeId="2" PostId="11752" RevisionGUID="469f130c-8434-44ca-9c8c-72928281055d" CreationDate="2011-12-06T21:58:10.823" UserId="662" Text="Adobe Audition CS5.5 has a match volume function which does exactly what you are looking for. The files can be normalized by rms, peak or perceived loudness. Just set the process and the value you want to reach and drop the files in the box... you're done! Batch process are multithreaded in Audition CS5, it goes really fast on multi-core cpus" ContentLicense="CC BY-SA 3.0" />
  <row Id="19366" PostHistoryTypeId="2" PostId="11754" RevisionGUID="71fbee35-c6a3-4727-a68e-5295116ca63c" CreationDate="2011-12-07T01:23:37.520" UserId="278" Text="You can also batch process in Audacity. Set the chain of different processes you want to do Like limit, normalize and convert to MP3, for example, and then precede.&#xD;&#xA;And its open source. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19367" PostHistoryTypeId="2" PostId="11755" RevisionGUID="3f78183f-c3ef-4919-8707-dc5e3b3b25b6" CreationDate="2011-12-07T01:45:09.063" UserId="622" Text="I keep Midi for tracking sfx with Kontakt sampler ;O) and spot with markers.&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19369" PostHistoryTypeId="2" PostId="11756" RevisionGUID="8c906a8c-b2e2-4263-b284-7a50916c65bf" CreationDate="2011-12-07T04:08:41.823" UserId="194" Text="I do spot with blank regions, though I don't eschew markers.  Here's the upside to groups:&#xD;&#xA;&#xD;&#xA; - **[edicue][1]**  We use edicue for our ADR, foley and sfx cueing, and the workflow requires region groups.  Edicue is great for spotting other things as well though, and has department note functionality built in.  The program takes the region groups and outputs nice pretty pdf reports with timecodes, or can spit out a tab delimited text file.  This solves the databasing and transcription issues that Tim has to deal with, though it *is* a third party solution.&#xD;&#xA; - **Multiple tracks.**  I can spot different tracks for different departments, so foley, sound design, and dialogue can all get their own tracks with notes.  This would be true even without edicue.&#xD;&#xA; - **Color Coding.**  A common footstep foley workflow for me is to spot the feet per character and surface with region groups, then change the color of the groups away from the default color of the tracks (usually per surface).  As we cut the foot foley, we drag the recorded file down to the character track and set it on top of the empty group, overwriting it.  In this way we can tell at a glance what's been recorded and what's left to do.&#xD;&#xA; - **in and out points.**  Markers only give you one point of reference at a time.  region groups give you ins and outs.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundsinsync.com/products/edicue" ContentLicense="CC BY-SA 3.0" />
  <row Id="19370" PostHistoryTypeId="5" PostId="11745" RevisionGUID="3585b2a0-2a0f-487b-971d-cf26bbdec770" CreationDate="2011-12-07T05:53:25.887" UserId="3254" Comment="deleted 152 characters in body; edited title; added 38 characters in body; edited title" Text="hi guys,&#xD;&#xA;&#xD;&#xA;i downloaded their demo from and need to say, it's special but very nice!&#xD;&#xA;&#xD;&#xA;there are so many choices out there, what kind of equalizer do you prefer for sound-design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19371" PostHistoryTypeId="4" PostId="11745" RevisionGUID="3585b2a0-2a0f-487b-971d-cf26bbdec770" CreationDate="2011-12-07T05:53:25.887" UserId="3254" Comment="deleted 152 characters in body; edited title; added 38 characters in body; edited title" Text="Who is using the W735EQ plugin?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19372" PostHistoryTypeId="5" PostId="11745" RevisionGUID="6bda07b4-4575-49c2-a662-19b6b5936cfc" CreationDate="2011-12-07T06:02:05.353" UserId="3254" Comment="deleted 7 characters in body" Text="hi guys,&#xD;&#xA;&#xD;&#xA;i downloaded the demo and need to say, it's special but very nice!&#xD;&#xA;&#xD;&#xA;there are so many choices out there, what kind of equalizer do you prefer for sound-design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19373" PostHistoryTypeId="2" PostId="11757" RevisionGUID="74bd3b7c-bb70-47aa-a844-5bccda8b65cc" CreationDate="2011-12-07T08:12:15.663" UserId="125" Text="hy. not bad, but it should be clarified. i agree with grand sound, for example the last was too dry. i hear, u wanted to be accurate in rythm, but spend at least as much attention to howe its sounds like. try to be better positioned in the space." ContentLicense="CC BY-SA 3.0" />
  <row Id="19374" PostHistoryTypeId="2" PostId="11758" RevisionGUID="8fc8399b-c521-4809-a7b9-aaf267161064" CreationDate="2011-12-07T09:32:02.590" UserId="1013" Text="Hi IJ, I liked your audio story. I recently did one myself and wanted to share it too. Funnily, it's an Edgar Allan Poe short story. I guess it sort of sits on the line between old school audio book, and more film based style.&#xD;&#xA;&#xD;&#xA;I'd love to hear everyone's feedback also.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/sampleflip/masque-of-the-red-death-audio&#xD;&#xA;&#xD;&#xA;Enjoy!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19375" PostHistoryTypeId="2" PostId="11759" RevisionGUID="1855042e-c557-4493-b8ab-2443f9605e5f" CreationDate="2011-12-07T09:34:56.797" UserId="842" Text="I never ever disconnect the limiters in my FR-2, but I never intend them to be used either.&#xD;&#xA;&#xD;&#xA;The way I work, I try to keep peaks somewhere between -4 and -10, or sometimes even down to -20 depending on how dynamically unpredictable the sound is. That way, there will (hopefully) not be any clippings messing up important takes/recordings I/the actor might not be able to repeat as well again. All limiters are different, and not all are transparent until clip, but on the regular FR-2 it is. Well, to be frank it's not exactly an Aaton, it's more like a really steep compressor as it kicks in at -2dB with a ratio of 1:5, but up until then it's completely transparent. However, it's not rare that things happen, a sound effect you expected to stay below a certain point might suddenly send unexpected but nice sounding transients due to the surface it is on, something hitting the boom might give a humongous bass-chock to the recording, or perhaps an actor who decides to change the performance mid-session. Without a limiter that could ruin the take. The limiter might sound a little more harsh when used (depending on the limiter), but the sound can without a doubt still be used without any extra processing, where had it been recorded without, the recording would probably be ruined.&#xD;&#xA;&#xD;&#xA;I don't like using **any** processing while recording, any mistake no matter how small is completely irreversible, but with limiters I see it pretty much like a helmet or perhaps the steel-toe on my Martens; if away recording a demolition of a house or something else less than safe, I will do my absolute best not getting hit in the head with a beam or having an oversized boulder rolling over my feet, but if it happens, I prefer to be prepared. If it never happens, I still didn't lose anything :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19376" PostHistoryTypeId="2" PostId="11760" RevisionGUID="ba8b907b-5675-418a-94e5-6694877c00b0" CreationDate="2011-12-07T11:28:35.090" UserDisplayName="user80" Text="I don't use a limiter for any recording, field or studio.  &#xD;&#xA;&#xD;&#xA;If I am worried about the levels I will use a y-split cable and record on two channels, making the second channel quieter so that if there is clipping I still have a spare clean channel.  I will always split the signal prior to the preamps rather than after. &#xD;&#xA;&#xD;&#xA;The difference in levels varies according to what I am recording, but the minimum difference is usually - 6 dB and the max - 18 dB." ContentLicense="CC BY-SA 3.0" />
  <row Id="19377" PostHistoryTypeId="5" PostId="1420" RevisionGUID="bf48364f-fd59-4499-a093-dae56177454a" CreationDate="2011-12-07T11:31:01.267" UserDisplayName="user80" Comment="deleted 3 characters in body" Text="Most field mixers and portable recorders have basic limiters at least for the stereo output. Stereo linked, no threshold or release, just switch it on or off. When recording vocals I prefer recording without limiter even if I have to record at lower levels. For ambience or noise I will switch it on because a little harsh is better than a big digital distortion.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19378" PostHistoryTypeId="2" PostId="11761" RevisionGUID="1cd6efed-e48b-4ce7-bb3c-843f67084446" CreationDate="2011-12-07T12:40:12.643" UserId="1011" Text="Barbabatch can do exactly what you need.&#xD;&#xA;http://www.audioease.com/Pages/BarbaBatch/&#xD;&#xA;&#xD;&#xA;Blindingly fast, excellent conversion quality.&#xD;&#xA;&#xD;&#xA;Can also batch fades, gating, etc. as well as convert to scores of file formats and sample rates.  Highly recommended.&#xD;&#xA;&#xD;&#xA;Also has a demo version.&#xD;&#xA;&#xD;&#xA;Paul" ContentLicense="CC BY-SA 3.0" />
  <row Id="19381" PostHistoryTypeId="2" PostId="11763" RevisionGUID="db298b31-322f-49b3-a460-33b62ec7c6d5" CreationDate="2011-12-07T14:21:09.810" UserId="3258" Text="doing a 20k feature. everyone worked minimum wage on set to get the film to actually happen so about 750 for 3 weeks. now i'm doing post sound i'm going to be very busy but not sure what is a fair asking price. 10% as suggested about would be 2000, which is out of the question. I would think another 750 just to make the film a reality but their funds are really tight. a point in the profits is included but who knows what will happen." ContentLicense="CC BY-SA 3.0" />
  <row Id="19382" PostHistoryTypeId="6" PostId="11743" RevisionGUID="a8e92ed8-1acd-4fe9-839c-35737644fe92" CreationDate="2011-12-07T15:23:32.970" UserId="202" Comment="edited tags" Text="&lt;editing&gt;&lt;foley&gt;&lt;spotting&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19383" PostHistoryTypeId="2" PostId="11764" RevisionGUID="8326e653-2edd-4869-b950-5b0b71f6e416" CreationDate="2011-12-07T17:31:55.777" UserId="310" Text="I prefer [FabFilter][1] [Pro-Q][2] and for compressor [Pro-C][3].&#xD;&#xA;&#xD;&#xA;FabFilter has excellent user interface and very advanced features for mix and mastering (LR,MS, Oversampling, Solo for bands etc.)&#xD;&#xA;&#xD;&#xA;Highly recommended!!! &#xD;&#xA;&#xD;&#xA;If you want vintage equalizer try TubeTech emulation from [Softube][4]. &#xD;&#xA;&#xD;&#xA;[PE 1C][5] - Excelent Bass management and analog feel - good for punch for smashes :)&#xD;&#xA;&#xD;&#xA;**Of course this is my personal opinion!**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fabfilter.com&#xD;&#xA;  [2]: http://www.fabfilter.com/products/pro-q.php&#xD;&#xA;  [3]: http://www.fabfilter.com/products/pro-c.php&#xD;&#xA;  [4]: http://www.softube.com&#xD;&#xA;  [5]: http://www.softube.com/tubetech_pe1c.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="19384" PostHistoryTypeId="2" PostId="11765" RevisionGUID="3a162f34-eb89-40b8-a5f6-03ce674db007" CreationDate="2011-12-07T18:38:53.990" UserId="3178" Text="sign me up matey, would love to play the Beta, if you have the keys to spare still, been looking forwards to this title for a while now,x" ContentLicense="CC BY-SA 3.0" />
  <row Id="19386" PostHistoryTypeId="2" PostId="11766" RevisionGUID="a7ceedd1-0865-4da6-8ea3-402c84c1753c" CreationDate="2011-12-07T21:50:43.040" UserId="6669" Text="Hi All,&#xD;&#xA;&#xD;&#xA;I've read the threads on external HDs but was wondering about everyone's opinions and enclosures/manufacturers that they liked.&#xD;&#xA;&#xD;&#xA;Usually I just use the reviews on NewEgg for stuff like this, but I purchased a Vantec/Nexstar 3.5&quot; USB 2.0 one a month or so back that was rated 5/5. It finally died a few days ago, and before that, it worked unreliably, flat-out not showing up on some systems, and registering fine on others. Not what I had in mind.&#xD;&#xA;&#xD;&#xA;So, what do you rely on to keep your external hard drives protected and accessible? &#xD;&#xA;&#xD;&#xA;Manufacturers and specific models are more important to me than transfer protocol/ports.&#xD;&#xA;&#xD;&#xA;Thanks SSD!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19387" PostHistoryTypeId="1" PostId="11766" RevisionGUID="a7ceedd1-0865-4da6-8ea3-402c84c1753c" CreationDate="2011-12-07T21:50:43.040" UserId="6669" Text="Favorite External Enclosure?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19388" PostHistoryTypeId="3" PostId="11766" RevisionGUID="a7ceedd1-0865-4da6-8ea3-402c84c1753c" CreationDate="2011-12-07T21:50:43.040" UserId="6669" Text="&lt;hard-drive&gt;&lt;external-harddrives&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19390" PostHistoryTypeId="2" PostId="11768" RevisionGUID="338e40e1-3fa9-4b2e-87cb-0a3abefa1fba" CreationDate="2011-12-08T00:18:23.473" UserId="3261" Text="I use OWC Drives and or enclosures and they work great with Pro Tools. I have their 8 tb raid enclosure with 4 7200/2tb drives. Very much w2orth it. But not a movable drive. I also picked up a 3tb external work drive to transport work to home from OWC. Also a durable drive. But I work on a Mac FYI. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19391" PostHistoryTypeId="2" PostId="11769" RevisionGUID="ebe8d532-b57d-41dc-9491-9a3105c4e23e" CreationDate="2011-12-08T01:23:14.367" UserId="3214" Text="Hey chaps.&#xD;&#xA;In a bit of bother desperately racking my brains, I need to record foley for a game with a small river running through it and it's pretty last minute.&#xD;&#xA;Any ideas or techniques you've used before would be hugely appreciated.&#xD;&#xA;Thanks&#xD;&#xA;Dominic" ContentLicense="CC BY-SA 3.0" />
  <row Id="19392" PostHistoryTypeId="1" PostId="11769" RevisionGUID="ebe8d532-b57d-41dc-9491-9a3105c4e23e" CreationDate="2011-12-08T01:23:14.367" UserId="3214" Text="River/Large Stream Sound Design." ContentLicense="CC BY-SA 3.0" />
  <row Id="19393" PostHistoryTypeId="3" PostId="11769" RevisionGUID="ebe8d532-b57d-41dc-9491-9a3105c4e23e" CreationDate="2011-12-08T01:23:14.367" UserId="3214" Text="&lt;water&gt;&lt;foley&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19394" PostHistoryTypeId="2" PostId="11770" RevisionGUID="347151ee-ad24-4f2d-80c4-607b4653ef24" CreationDate="2011-12-08T01:37:53.533" UserId="396" Text="What kind of game is it? What kind of perspective are we hearing the rivers from?&#xD;&#xA;&#xD;&#xA;If you have a contact mic or hydrophone, try recording running water by attaching the mic to a pipe (non-metallic preferably), or some other surface which is in contact with running water. I've recorded some great running water sounds using contact mics, which I imagine would work perfectly in a scenario where the sound was intended to be relatively symbolic (as opposed to trying to recreate a soundscape in a 3D environment)." ContentLicense="CC BY-SA 3.0" />
  <row Id="19395" PostHistoryTypeId="2" PostId="11771" RevisionGUID="1dc340e1-3989-4a26-a434-66408e53cdfb" CreationDate="2011-12-08T01:53:27.117" UserId="3214" Text="I thought it was great, the main two slightly critical points I had were the two already mentioned with the loud door creak in the first and the last one a bit dead, but you explained all that. Maybe the camera taking is a bit loud but then the character does react to it so I can see why that is. Oh and maybe the gunshots in Absent were slightly weedy sounding, possibly a bit more realistic but not what you'd normally get in a hollywood film for example.&#xD;&#xA;&#xD;&#xA;But yeah really really good job, well done.&#xD;&#xA;Dominic&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19396" PostHistoryTypeId="2" PostId="11772" RevisionGUID="8a488965-942d-48c1-8625-fa58786d3c74" CreationDate="2011-12-08T01:57:36.323" UserId="429" Text="So I know that several libraries are now over 10 years old IE : Sound ideas General 6000.&#xD;&#xA;&#xD;&#xA;I'm looking for the best &quot;new&quot; library something like [Blastdrive][1] or the new Sound Ideas [General HD Collection][2] that provide a wide range of general content @ 96k 24bit. I'll pickup the smaller collections for more specific stuff as needed.&#xD;&#xA;&#xD;&#xA;I would really appreciate any recommendation or suggestions.&#xD;&#xA;&#xD;&#xA;Thanks !! :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.blastwavefx.com/p2/The%20BLASTDRIVE%202.0%20HD%20Sound%20Effects%20Library/product_info.html&#xD;&#xA;  [2]: http://www.sound-ideas.com/general-hd-sfx.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="19397" PostHistoryTypeId="1" PostId="11772" RevisionGUID="8a488965-942d-48c1-8625-fa58786d3c74" CreationDate="2011-12-08T01:57:36.323" UserId="429" Text="What the best &quot;new&quot; large general sound library out there ??" ContentLicense="CC BY-SA 3.0" />
  <row Id="19398" PostHistoryTypeId="3" PostId="11772" RevisionGUID="8a488965-942d-48c1-8625-fa58786d3c74" CreationDate="2011-12-08T01:57:36.323" UserId="429" Text="&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19399" PostHistoryTypeId="2" PostId="11773" RevisionGUID="4a7c023f-4920-4f89-9a3b-602794f9231b" CreationDate="2011-12-08T02:00:39.577" UserId="429" Text="uhm you guys know that kvraudio.com is the place to search for audio plugin effects and instruments .. right? the advanced &quot;search&quot; page is totally awesome .. just set it up to search for free stuff" ContentLicense="CC BY-SA 3.0" />
  <row Id="19400" PostHistoryTypeId="2" PostId="11774" RevisionGUID="df13582f-f06f-464b-8bad-703db4471f96" CreationDate="2011-12-08T04:46:39.227" UserId="3262" Text="Another vote for OWC. Fantastic products. I've had several of them over the years and they have been incredibly reliable. Using two of their quad interface mobile drives and one desktop drive at the moment and they're rock solid. &#xD;&#xA;&#xD;&#xA;Great company with great customer service. Enough said. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19402" PostHistoryTypeId="2" PostId="11776" RevisionGUID="62f2d930-821d-4b1a-bea2-ec8c2ef1623e" CreationDate="2011-12-08T12:51:55.673" UserId="3178" Text="i recently used my shower, tolilet,sink,kettle and hose to record loads of waters sounds for a video game aswell, i did record a small stream and pitch alter and Eq it to give it more size, hope this helps" ContentLicense="CC BY-SA 3.0" />
  <row Id="19403" PostHistoryTypeId="2" PostId="11777" RevisionGUID="2966a14f-6940-436e-a269-f1eac6118c93" CreationDate="2011-12-08T13:22:04.507" UserId="1055" Text="here is a small river recording i did on my h4n...nothing special but with a bit of post production i think this could be workable sample ;) you can do and use this on whatever you want ;)&#xD;&#xA;http://www.sendspace.com/file/ykaqzd" ContentLicense="CC BY-SA 3.0" />
  <row Id="19404" PostHistoryTypeId="2" PostId="11778" RevisionGUID="17a6721a-8580-4a24-9bd5-c462083edfd6" CreationDate="2011-12-08T15:44:12.437" UserId="726" Text="Hello!&#xD;&#xA;&#xD;&#xA;Just wondering what peoples' preferences are to footwear while booming in the studio? I currently use sports canvas trainers (or sneakers to all you across the pond), which don't squeak, are dark coloured, but can make my feet a little achey at the end of a long day. &#xD;&#xA;&#xD;&#xA;I was thinking in investing in some walking trainers, or some sketchers which seem to offer more support for people being up on their feet all day. Another post mentioned climbing shoes to use while booming. Anyone have any other recommendations?&#xD;&#xA;&#xD;&#xA;Thanks " ContentLicense="CC BY-SA 3.0" />
  <row Id="19405" PostHistoryTypeId="1" PostId="11778" RevisionGUID="17a6721a-8580-4a24-9bd5-c462083edfd6" CreationDate="2011-12-08T15:44:12.437" UserId="726" Text="Best shoes for a boom-op?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19406" PostHistoryTypeId="3" PostId="11778" RevisionGUID="17a6721a-8580-4a24-9bd5-c462083edfd6" CreationDate="2011-12-08T15:44:12.437" UserId="726" Text="&lt;boom-operator&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19407" PostHistoryTypeId="2" PostId="11779" RevisionGUID="3a8be666-a2f2-4778-888c-6ca322e39887" CreationDate="2011-12-08T15:49:01.083" UserId="37" Text="Hi guys. Looking for a few good examples of film/CGI/games where sound and picture have completely different character, or even nothing in common, or there's any other disconnect between them, but the whole thing manages to work well. Youtube and/or links appreciated. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19408" PostHistoryTypeId="1" PostId="11779" RevisionGUID="3a8be666-a2f2-4778-888c-6ca322e39887" CreationDate="2011-12-08T15:49:01.083" UserId="37" Text="examples of sound+video juxtaposition" ContentLicense="CC BY-SA 3.0" />
  <row Id="19409" PostHistoryTypeId="3" PostId="11779" RevisionGUID="3a8be666-a2f2-4778-888c-6ca322e39887" CreationDate="2011-12-08T15:49:01.083" UserId="37" Text="&lt;sound-design&gt;&lt;abstract&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19410" PostHistoryTypeId="2" PostId="11780" RevisionGUID="d285d168-e0f2-4bf4-82da-256042417ea5" CreationDate="2011-12-08T15:58:19.007" UserId="423" Text="Here's a sample of some stuff I've designed recently.  I just wanted to get more ears and speakers on these.&#xD;&#xA;&#xD;&#xA;Mostly recorded with my Sony PCM D-50 while traveling.  Made from junebugs recorded on my front porch, the DFW Tram, icemaker on my fridge, some street traffic and buses from Nashville in there, thunder, lightbulb going bad, windscreen being rubbed on acoustic tiles in my studio, and on-and-on-and on.  Obviously a lot of processing and playing around.&#xD;&#xA;&#xD;&#xA;Let me know what y'all think.&#xD;&#xA;&#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F30077140&amp;amp;show_comments=true&amp;amp;auto_play=false&amp;amp;color=001727&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F30077140&amp;amp;show_comments=true&amp;amp;auto_play=false&amp;amp;color=001727&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;   &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/joeedwards/bec-sound-design-samples&quot;&gt;BEC-Sound Design Samples 120811&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/joeedwards&quot;&gt;BEC Sound Design&lt;/a&gt;&lt;/span&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19411" PostHistoryTypeId="1" PostId="11780" RevisionGUID="d285d168-e0f2-4bf4-82da-256042417ea5" CreationDate="2011-12-08T15:58:19.007" UserId="423" Text="New Sound Design Samples...Junebugs, Trams and Icemakers Oh My!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19412" PostHistoryTypeId="3" PostId="11780" RevisionGUID="d285d168-e0f2-4bf4-82da-256042417ea5" CreationDate="2011-12-08T15:58:19.007" UserId="423" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19414" PostHistoryTypeId="2" PostId="11782" RevisionGUID="4e7db4e3-ee4b-4a13-8fbb-b3eb33f23b6a" CreationDate="2011-12-08T16:50:26.810" UserId="6462" Text="Walking style shoes are the best in my opinion, they cushion your soles and support your foot when you are standing for long periods of time. I have a great pair of North Face which are also breathable, not waterproof, but would be perfect for indoor studio work.&#xD;&#xA;&#xD;&#xA;I recommend having another pair of shoes that you can wear then not booming so you are not in the same shoes all day long. I have a pair of Crocs that I slip into when there is a break." ContentLicense="CC BY-SA 3.0" />
  <row Id="19415" PostHistoryTypeId="2" PostId="11783" RevisionGUID="8742f9dc-690e-46e2-b97c-425b59ce1f25" CreationDate="2011-12-08T17:05:06.030" UserId="6669" Text="Just listened on some iMac speakers, and these all sound dope! Like an ultra-long radio imaging stinger, in a good way. And you recorded all the source for this stuff yourself?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19416" PostHistoryTypeId="2" PostId="11784" RevisionGUID="41d7a258-a953-4709-974e-7e8ba7002bd5" CreationDate="2011-12-08T17:17:15.137" UserId="1292" Text="I don't have any experience with choosing shoes for booming and i know that sneakers can be pretty cheap but have you ever thought about service shoes? My girlfriend has a pair of black no slip shoes for her restaurant job that are rated at 10 hours and I know if you spend more you can get longer rated shoes.  She brings them to work and puts them on there so that they will be comfortable longer into the work day. I think hers are Keens." ContentLicense="CC BY-SA 3.0" />
  <row Id="19417" PostHistoryTypeId="2" PostId="11785" RevisionGUID="d0818517-9cc9-4a47-9680-c594b10fce7a" CreationDate="2011-12-08T18:06:46.627" UserId="234" Text="The OWC cases are my choice if the drive is &quot;locked&quot; in -i.e not needing to be swapped. For swap-able drives we've been using the Weibetech RTX cases in varying sizes (I use a 2 bay one in my main room and a single bay at my home suite). &#xD;&#xA;&#xD;&#xA;I find it amusing that when I started at this studio I had a STACK of 4GB drives attached to my Mac, and now I regularly walk around with 4TB in my briefcase! :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="19418" PostHistoryTypeId="2" PostId="11786" RevisionGUID="22ca63fb-1a75-4d46-8752-545e54dbafb9" CreationDate="2011-12-08T19:34:34.290" UserId="3248" Text="I'm curious as to what the audio production workflow looks like at in-house game studios working on large scale projects. &#xD;&#xA;&#xD;&#xA;Can anyone give me any insight?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19419" PostHistoryTypeId="1" PostId="11786" RevisionGUID="22ca63fb-1a75-4d46-8752-545e54dbafb9" CreationDate="2011-12-08T19:34:34.290" UserId="3248" Text="Game Audio Production Pipeline " ContentLicense="CC BY-SA 3.0" />
  <row Id="19420" PostHistoryTypeId="3" PostId="11786" RevisionGUID="22ca63fb-1a75-4d46-8752-545e54dbafb9" CreationDate="2011-12-08T19:34:34.290" UserId="3248" Text="&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19421" PostHistoryTypeId="2" PostId="11787" RevisionGUID="b1bdd6e8-c90c-482b-9f63-e2ccf55f7892" CreationDate="2011-12-08T20:08:11.890" UserId="3104" Text="Hello,&#xD;&#xA;&#xD;&#xA;I live in Chicago and I've a broken headphone input on my H4N. It still works, but when trying to monitor, I have to fiddle with my headphones in order to get a signal. I called but they charge too much for labor and I don't have a soldering kit to fix it myself yet. Does anyone know a good place to get is fixed locally or somewhere dependable in the states?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19422" PostHistoryTypeId="1" PostId="11787" RevisionGUID="b1bdd6e8-c90c-482b-9f63-e2ccf55f7892" CreationDate="2011-12-08T20:08:11.890" UserId="3104" Text="Where to fix a Broken Headphone Input in an H4N?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19423" PostHistoryTypeId="3" PostId="11787" RevisionGUID="b1bdd6e8-c90c-482b-9f63-e2ccf55f7892" CreationDate="2011-12-08T20:08:11.890" UserId="3104" Text="&lt;zoom-h4n&gt;&lt;field-recording&gt;&lt;monitoring&gt;&lt;repair&gt;&lt;replacement-parts&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19424" PostHistoryTypeId="2" PostId="11788" RevisionGUID="32f80da1-30fe-44be-9539-df75a4e4023c" CreationDate="2011-12-08T21:57:12.497" UserId="842" Text="It doesn't really matter what shoes you have as long as you're comfortable in 'em and they're noiseless, but some people I know uses Ecco-shoes for extended periods of time with good results. Myself I have a taste for heavy boots, so when actually wearing shoes on interior settings and studios I use either Dr Martens, Gettagrip, of Underground. Simple models with steel-toe but no loose rattling metal, chains or zippers. As they all have rubber soles I can walk completely silently with 'em, and they have an amazing fit...when walked in, that is...&#xD;&#xA;&#xD;&#xA;I do, however, often go bare-foot or in soft cotton socks indoors for a good feel of the surroundings, unless of course I expect there to be broken glass or nail or something...or the carpet is so disgusting you would rather take a bullet to your most precious parts than let a single bare cell on your body touch it (don't ask). As I can't very well look where I'm going while booming i can at least feel my way ahead." ContentLicense="CC BY-SA 3.0" />
  <row Id="19425" PostHistoryTypeId="2" PostId="11789" RevisionGUID="5d0f7265-1bd5-4a61-99da-dde069724fca" CreationDate="2011-12-09T00:12:06.253" UserId="194" Text="I did that to my old H4.  The headphone jacks on that one were mounted straight onto the circuit board, which was not accessible without destroying the device.  &#xD;&#xA;&#xD;&#xA;that's kind of the tradeoff with super compact recording devices.  You may be out of luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="19426" PostHistoryTypeId="2" PostId="11790" RevisionGUID="910bbd87-6955-46ed-aaa5-5988048ac60d" CreationDate="2011-12-09T01:29:58.370" UserId="622" Text="I'm working on a Kontakt (Structure?) samples library contains 61 surround streams from waterfalls to rivers and creeks spread from left to right thru the keyboard. Not ready yet but coming out soon." ContentLicense="CC BY-SA 3.0" />
  <row Id="19427" PostHistoryTypeId="2" PostId="11791" RevisionGUID="e9269297-0c9a-4c42-837b-d34bed847d92" CreationDate="2011-12-09T02:43:41.767" UserId="558" Text="try this thread:  &#xD;&#xA;http://socialsounddesign.com/questions/10422/game-audio-culture" ContentLicense="CC BY-SA 3.0" />
  <row Id="19428" PostHistoryTypeId="2" PostId="11792" RevisionGUID="03dcfc47-45fc-4443-bdde-6cbaef69686b" CreationDate="2011-12-09T04:57:12.923" UserId="132" Text="Not to pimp myself out here, but I do have a large collection or rivers and streams here: http://rabbitearsaudio.com/rea007-brooks-streams-waterfalls/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19429" PostHistoryTypeId="2" PostId="11793" RevisionGUID="2979d1f5-101c-4f66-8af3-01ab2356994c" CreationDate="2011-12-09T11:58:09.710" UserId="3243" Text="I always use a pair of classic, slip-on Vans. I find them really comfortable and quiet as well. And I can easily take them off and on if ever I need to for locations that have, for example, uncontrollably noisy, boomy, wooden floors.&#xD;&#xA;&#xD;&#xA;But of course it also depends on your needs. I wouldn't use these shoes if I had to shoot in a sewer like Dirty Jobs or something." ContentLicense="CC BY-SA 3.0" />
  <row Id="19430" PostHistoryTypeId="2" PostId="11794" RevisionGUID="9f715209-1b20-44db-83ac-feeb9e618351" CreationDate="2011-12-09T14:24:01.873" UserDisplayName="user6513" Text="I use a pair of Timberland Gortex shoes. You never know when you're gonna suddenly step into a puddle of water or some unstable ground." ContentLicense="CC BY-SA 3.0" />
  <row Id="19431" PostHistoryTypeId="2" PostId="11795" RevisionGUID="34dbd1ca-3c4a-4939-bffc-9fcff7e6fced" CreationDate="2011-12-09T15:03:08.137" UserDisplayName="user80" Text="Anything as long as they are comfortable, silent and discrete." ContentLicense="CC BY-SA 3.0" />
  <row Id="19432" PostHistoryTypeId="2" PostId="11796" RevisionGUID="e609883b-01a5-4d73-a8c2-663337be0299" CreationDate="2011-12-09T15:46:47.903" UserId="3266" Text="I can't help with a place that will fix it, but if you do decide to try to fix it yourself here's a step by step guide for disassembling the H4N.&#xD;&#xA;&#xD;&#xA;http://2090.org/zoom/bbs/viewtopic.php?f=15&amp;t=14917&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19433" PostHistoryTypeId="2" PostId="11797" RevisionGUID="f4841c15-8122-4b82-8d4a-830065de956e" CreationDate="2011-12-09T16:12:32.500" UserId="596" Text="what's the recommended length a sound design showreel should be? is 8 or 10min a good length or too long?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19434" PostHistoryTypeId="1" PostId="11797" RevisionGUID="f4841c15-8122-4b82-8d4a-830065de956e" CreationDate="2011-12-09T16:12:32.500" UserId="596" Text="showreel length" ContentLicense="CC BY-SA 3.0" />
  <row Id="19435" PostHistoryTypeId="3" PostId="11797" RevisionGUID="f4841c15-8122-4b82-8d4a-830065de956e" CreationDate="2011-12-09T16:12:32.500" UserId="596" Text="&lt;showreel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19436" PostHistoryTypeId="2" PostId="11798" RevisionGUID="31b14dca-a850-45c8-880e-275d4c4641ef" CreationDate="2011-12-09T16:14:07.160" UserId="194" Text="8 minutes is way too long.  I'd keep it down under 90 seconds if possible.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="19437" PostHistoryTypeId="2" PostId="11799" RevisionGUID="2df3b227-bae3-4292-bb86-bf1beb370f41" CreationDate="2011-12-09T18:44:45.500" UserId="132" Text="If it is just staying on your desk, I would use on of these:  http://www.newertech.com/products/hdddocks.php  I keep my drives in cases and got rid of a bunch of external enclosures this way. Less power supplys to worry about.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Michael&#xD;&#xA;Rabbit Ears Audio&lt;br&gt;&#xD;&#xA;SFX: http://rabbitearsaudio.com&lt;br&gt;&#xD;&#xA;BLOG: http://sepulchra.com/blog/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19438" PostHistoryTypeId="2" PostId="11800" RevisionGUID="8ee1a475-afed-4e74-bdf6-aa128c0772c5" CreationDate="2011-12-09T20:58:56.077" UserDisplayName="user80" Text="Two minutes would be ideal with your best material in the first 30 seconds." ContentLicense="CC BY-SA 3.0" />
  <row Id="19442" PostHistoryTypeId="2" PostId="11802" RevisionGUID="d8dc7277-062f-4679-9d3f-df2266983a6d" CreationDate="2011-12-09T21:48:27.887" UserId="3267" Text="This is not really an AD, I'm not trying to spam the board. I'm looking for a sound guy in the NY area and have been having trouble finding someone. I've posted on craigslist but I either get nothing or craigslist takes down my ad.&#xD;&#xA;&#xD;&#xA;Any recommendations guys?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19443" PostHistoryTypeId="1" PostId="11802" RevisionGUID="d8dc7277-062f-4679-9d3f-df2266983a6d" CreationDate="2011-12-09T21:48:27.887" UserId="3267" Text="Looking for a Sound Designer" ContentLicense="CC BY-SA 3.0" />
  <row Id="19444" PostHistoryTypeId="3" PostId="11802" RevisionGUID="d8dc7277-062f-4679-9d3f-df2266983a6d" CreationDate="2011-12-09T21:48:27.887" UserId="3267" Text="&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19445" PostHistoryTypeId="2" PostId="11803" RevisionGUID="a8887dea-481d-4189-b2e8-e78ab44ac96b" CreationDate="2011-12-09T23:41:46.563" UserId="253" Text="Try mandy.com as well as craigslist. Also, make sure you offer, at very least, a token compensation. There are so many ads on craigslist offering &quot;credit and copy&quot; (which should be a part of any working relationship anyway). I can imagine that a lot of the ads calling for volunteers would be flagged by people tired of seeing them. Even just $100 - whatever you can spare - would go a long way towards attracting someone who's serious about the role." ContentLicense="CC BY-SA 3.0" />
  <row Id="19446" PostHistoryTypeId="2" PostId="11804" RevisionGUID="ff83c2de-cd7d-4023-a0dd-5441f39aa6a5" CreationDate="2011-12-10T00:05:00.147" UserId="3268" Text="The mythical creatures appear only during times of great need..." ContentLicense="CC BY-SA 3.0" />
  <row Id="19447" PostHistoryTypeId="2" PostId="11805" RevisionGUID="7c026a6b-91fe-42f0-b264-ed1f182c88b7" CreationDate="2011-12-10T00:27:58.163" UserId="693" Text="Keep in mind that in our technologically advantageous climate that Sound Designers don't need to be local unless there's a specific situation that requires it. I do remote work all the time. 99% of the time actually. And yes, as @Roger mentioned, please offer some form of compensation. Any of us worth our salt or worth hiring really has no need for credit and copy or food service meals. Integrity alone is worth more than any of that." ContentLicense="CC BY-SA 3.0" />
  <row Id="19448" PostHistoryTypeId="2" PostId="11806" RevisionGUID="dd4dc41f-40b1-493e-8940-dab77bd0a169" CreationDate="2011-12-10T04:22:49.060" UserId="3269" Text="Hello Everyone, &#xD;&#xA;&#xD;&#xA;I'm a novice sound designer with a bare bones setup. I have only been building it for a couple of weeks and on a strict budget.&#xD;&#xA;&#xD;&#xA;So far everything I have is 100% legit and paid for though, so I take some pride in that. It seems like everyone that's learning just pirates everything but I feel the funnest part is getting gigs and using the money to slowly build a studio. &#xD;&#xA;&#xD;&#xA;Anyways, I have a good enough PC, a copy of Reaper, Reason 4, Komplete Elements, Cut my samples and such with Audacity, do my field recording with my Tascam DR-05, Compose/perform sounds with an M-Audio Ozone. Still saving for proper monitors so for now I'm learning on a pair of Skullcandy cans and a pair of JVC's not amazing I know but so far I've only spent like 300. &#xD;&#xA;&#xD;&#xA;Anyways, I have found about a billion and 3 free Synths but not a ton of things for manipulating my samples. I will be buying VST's as I need them for jobs or as I can afford them, but until then I would like to know if there is anything I'm missing. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I currently use:&#xD;&#xA;&#xD;&#xA;Alchemy Player&#xD;&#xA;Ambiance by Mangus&#xD;&#xA;EQII for EQ&#xD;&#xA;Round Pan for auto panning &#xD;&#xA;Waterverb for under watery kinds of effects &#xD;&#xA;Dblue Glitch for various effects, mostly electronic &#xD;&#xA;&#xD;&#xA;I think that's about all off the ones that I use the most. &#xD;&#xA;&#xD;&#xA;A few things I would like to find: (If possible)&#xD;&#xA;&#xD;&#xA;HQ Doppler Effect&#xD;&#xA;Something like Scapes could be fun&#xD;&#xA;Something to slow down or speed audio up &#xD;&#xA;Something to pitch audio up or down&#xD;&#xA;Something like the GRM stuff&#xD;&#xA;Something similar to the full version of Alchemy&#xD;&#xA;Anything else for HQ effects/shaping &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I know that's a lot to ask for out of Free VST's so I'm not expecting to find a replacement for every high end tool out there. Mainly just tools to learn on/placeholders until I can afford to expand. &#xD;&#xA;&#xD;&#xA;I'm exited to try any plugins you guys know about even if they are just better versions of what I have.&#xD;&#xA;&#xD;&#xA;Thanks in advance!  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19449" PostHistoryTypeId="1" PostId="11806" RevisionGUID="dd4dc41f-40b1-493e-8940-dab77bd0a169" CreationDate="2011-12-10T04:22:49.060" UserId="3269" Text="Free VSTs for manipulating sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19450" PostHistoryTypeId="3" PostId="11806" RevisionGUID="dd4dc41f-40b1-493e-8940-dab77bd0a169" CreationDate="2011-12-10T04:22:49.060" UserId="3269" Text="&lt;sound-design&gt;&lt;free&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19451" PostHistoryTypeId="5" PostId="11806" RevisionGUID="000407f3-ea40-4a5a-9d02-d42b9b142039" CreationDate="2011-12-10T06:00:33.570" UserId="3269" Comment="added 54 characters in body; deleted 25 characters in body" Text="Hello Everyone, &#xD;&#xA;&#xD;&#xA;I'm a novice sound designer with a bare bones setup. I have only been building it for a couple of weeks and on a strict budget.&#xD;&#xA;&#xD;&#xA;So far everything I have is 100% legit and paid for though, so I take some pride in that. It seems like everyone that's learning just pirates everything but I feel the funnest part is getting gigs and using the money to slowly build a studio. &#xD;&#xA;&#xD;&#xA;Anyways, I have a good enough PC, a copy of Reaper, Reason 4, Komplete Elements, Cut my samples and such with Audacity, do my field recording with my Tascam DR-05, Compose/perform sounds with an M-Audio Ozone. Still saving for proper monitors so for now I'm learning on a pair of Skullcandy cans and a pair of JVC's not amazing I know but so far I've only spent like 300. &#xD;&#xA;&#xD;&#xA;Anyways, I have found about a billion and 3 free Synths but not a ton of things for manipulating my samples. I will be buying VST's as I need them for jobs or as I can afford them, but until then I would like to know if there is anything I'm missing. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**I currently use**:&#xD;&#xA;&#xD;&#xA;**Alchemy Player,&#xD;&#xA;Ambiance by Mangus,&#xD;&#xA;EQII for EQ,&#xD;&#xA;Round Pan for auto panning,&#xD;&#xA;Waterverb for under watery kinds of effects,&#xD;&#xA;Dblue Glitch for various effects, mostly electronic** &#xD;&#xA;&#xD;&#xA;I think that's about all off the ones that I use the most. &#xD;&#xA;&#xD;&#xA;**A few things I would like to find: (If possible)**&#xD;&#xA;&#xD;&#xA;**HQ Doppler Effect,&#xD;&#xA;Something like Scapes could be fun,&#xD;&#xA;Something to slow down or speed audio up, &#xD;&#xA;Something to pitch audio up or down,&#xD;&#xA;Something like the GRM stuff,&#xD;&#xA;Something similar to the full version of Alchemy,&#xD;&#xA;Anything else for HQ effects/shaping** &#xD;&#xA;&#xD;&#xA;I know that's a lot to ask for out of Free VST's so I'm not expecting to find a replacement for every high end tool out there. Mainly just tools to learn on/placeholders until I can afford to expand. &#xD;&#xA;&#xD;&#xA;I'm exited to try any plugins you guys know about even if they are just better versions of what I have.&#xD;&#xA;&#xD;&#xA;Thanks in advance!  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19453" PostHistoryTypeId="2" PostId="11807" RevisionGUID="065f08b2-9bdb-47fe-bd2e-d368317a08c4" CreationDate="2011-12-10T14:11:12.023" UserId="234" Text="If you haven't already, go to http://www.kvraudio.com/ - it's free to sign up, and you can do searches for lots of VST in varying categories including (most important in your case) free (You do have to sign up in order to use the database). Just a quick look under &quot;Spectral Processing&quot;, &quot;Modulation&quot;, &quot;VST&quot;, &quot;Windows&quot; and &quot;Free&quot; brings up 127 search results, so you should find some interesting stuff there. Also dontcrack.com has good free stuff and great deals on paid stuff. &#xD;&#xA;&#xD;&#xA;BTW... you have some pretty decent kit there in terms of software. Don't feel you have to &quot;load up for bear&quot; with plug-ins. It's much better to have real control of a few tools than to  have dozens of ones you can barely use. I'm actually in the process of &quot;pruning&quot; my plug ins to the ones I only use on a regular basis." ContentLicense="CC BY-SA 3.0" />
  <row Id="19458" PostHistoryTypeId="2" PostId="11809" RevisionGUID="790c99e8-7a23-445f-b6c1-105ae539e63c" CreationDate="2011-12-10T19:05:27.343" UserId="6604" Text="Hi&#xD;&#xA;I want to create Tron like sound effects for video in&#xD;&#xA; protools by manipulating the sound layers. I want to send the later of sounds to&#xD;&#xA;Another sampler like plugin and manipulate it.&#xD;&#xA;&#xD;&#xA;I tried with Reason but it only supports midi and not audio.&#xD;&#xA;So can I create my layers in Protools (I'm quite familiar with protools)&#xD;&#xA;And some how send the audio in realtime to Ableton(not familiar with using it but aware of its capabilities) and using Ableton's plugin chain Manipulate the sounds in Ableton and return in protools.&#xD;&#xA;&#xD;&#xA;Can I do this?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19459" PostHistoryTypeId="1" PostId="11809" RevisionGUID="790c99e8-7a23-445f-b6c1-105ae539e63c" CreationDate="2011-12-10T19:05:27.343" UserId="6604" Text="Rewiring protools and ableton live to cut sound for picture" ContentLicense="CC BY-SA 3.0" />
  <row Id="19460" PostHistoryTypeId="3" PostId="11809" RevisionGUID="790c99e8-7a23-445f-b6c1-105ae539e63c" CreationDate="2011-12-10T19:05:27.343" UserId="6604" Text="&lt;pro-tools&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19461" PostHistoryTypeId="2" PostId="11810" RevisionGUID="9e1e348f-f0a2-4e36-9ec5-87b16b194a0d" CreationDate="2011-12-10T19:13:27.480" UserId="6604" Text="Any similar free RTAS plugins? Or can these be &quot;wrapped&quot; for use in protools?&#xD;&#xA;&#xD;&#xA;Try Sugar Bytes plugin s like Turnado. all are awesome" ContentLicense="CC BY-SA 3.0" />
  <row Id="19462" PostHistoryTypeId="2" PostId="11811" RevisionGUID="cbde4ffa-b647-4004-b04a-031c4017f8ef" CreationDate="2011-12-10T19:21:24.167" UserId="6604" Text="What RTAS plugins are you using? I'm thinking of little electric static sound with a low freq hum from an oscillator" ContentLicense="CC BY-SA 3.0" />
  <row Id="19463" PostHistoryTypeId="2" PostId="11812" RevisionGUID="db3b1bb9-bd19-4070-a60d-665b4b223962" CreationDate="2011-12-10T19:49:36.067" UserId="3270" Text="Get a MAC when you can. Michael Norris has a series of free AU spectral plug ins called &quot;Spectral Morphing&quot;  http://www.michaelnorris.info/software/soundmagic-spectral.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="19464" PostHistoryTypeId="2" PostId="11813" RevisionGUID="30488036-c18b-4b77-abba-3e5a62d9b8c8" CreationDate="2011-12-10T20:24:37.763" UserId="3249" Text="Someone got the job? ;-)&lt;br&gt;&#xD;&#xA;I do 90% of my work in my own studio, using the internet for data transmission (mostly FTP). I think this the way for not really big budgets - and maybe even for big ones ;-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19465" PostHistoryTypeId="2" PostId="11814" RevisionGUID="ac253794-80c2-4cf0-8943-b84719dd481b" CreationDate="2011-12-10T21:07:56.957" UserId="6499" Text="Hey all&#xD;&#xA;So all of my work to this point has been local projects.  I was wondering how you all set up remote work.  Where you are in one place and director/producers in another.  &#xD;&#xA;&#xD;&#xA;One question is how do they hear what your doing,  do you just print a mix and send that to them and they sync it up?  And then talk via phone/skype?  Or is there some system lock that can be achieved on both sides so that you can have simultaneous playback while conference calling so its like your there?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19466" PostHistoryTypeId="1" PostId="11814" RevisionGUID="ac253794-80c2-4cf0-8943-b84719dd481b" CreationDate="2011-12-10T21:07:56.957" UserId="6499" Text="Remote work, how do go about setting it up?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19467" PostHistoryTypeId="3" PostId="11814" RevisionGUID="ac253794-80c2-4cf0-8943-b84719dd481b" CreationDate="2011-12-10T21:07:56.957" UserId="6499" Text="&lt;remote&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19468" PostHistoryTypeId="2" PostId="11815" RevisionGUID="a2bcaf88-01aa-4a17-b9b7-c5ac8f5d5eed" CreationDate="2011-12-10T21:22:35.133" UserId="338" Text="When sticking your microphone in a pipe, always check these things:&#xD;&#xA;1)  What's in the pipe?&#xD;&#xA;2)  What's going to be coming and going in the pipe?&#xD;&#xA;3)  Always have a softie or something on it to be safe.&#xD;&#xA;&#xD;&#xA;During SFX gathering on top of a skyscraper, there was a nice looking pipe that had some cool echo and a regular beeping that I could hear when I put my mic down there.  There was also a funky smell and some water sloshing sounds.  When I took my mic out, my dead cat looked like a side of it had been licked like actual cat fur looking licked--matted and wet.  Always use a softie!&#xD;&#xA;&#xD;&#xA;Mic was unscathed.&#xD;&#xA;&#xD;&#xA;It turns out that the machines on the roof near the pipe were sewage treatment/water treatment for the building and that also explained the smell coming from the pipe.&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="19469" PostHistoryTypeId="1" PostId="11815" RevisionGUID="a2bcaf88-01aa-4a17-b9b7-c5ac8f5d5eed" CreationDate="2011-12-10T21:22:35.133" UserId="338" Text="Microphone safety....things like, when sticking your microphone in a pipe always...what?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19470" PostHistoryTypeId="3" PostId="11815" RevisionGUID="a2bcaf88-01aa-4a17-b9b7-c5ac8f5d5eed" CreationDate="2011-12-10T21:22:35.133" UserId="338" Text="&lt;microphone&gt;&lt;safety&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19471" PostHistoryTypeId="2" PostId="11816" RevisionGUID="9489ac69-0b41-4ed1-ac46-1987fd5ec1bc" CreationDate="2011-12-10T22:57:46.237" UserId="28" Text="[Audio Damage][1] make superb quality plug-ins that are great for mangling or transforming sounds. Check out their recent rerelease of Kombinat, a multi-band distortion.&#xD;&#xA;&#xD;&#xA;True, these plug-ins are not free. However, they are *very* reasonably priced. Think of it this way, set your sight on something, scrimp and save. Anticipate. Research. And when you're finally able to drop $50 on that shiny new plug-in, you'll be the happiest cat. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audiodamage.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="19472" PostHistoryTypeId="2" PostId="11817" RevisionGUID="701d1338-b744-4014-a538-7fc1f21409aa" CreationDate="2011-12-11T00:38:41.313" UserId="1228" Text="I usually post a mix and they review it if they're not local.  Then we sometimes talk about it over the phone but I always request notes with timecode values so I can review their thoughts.  I only do audio prints with pops unless there's a specific request for picture to be embedded with it.&#xD;&#xA;&#xD;&#xA;I'm not aware of any good way to do conference integration for a mix.  I always deliver temp prints though in a channel denomination less than the final to protect the work (usually because final payment isn't completed until they've approved they like it, in which the the printmasters are released following clearance of payment).  If they have paid in full though, I'm happy to deliver these temp prints in their native channel format.&#xD;&#xA;&#xD;&#xA;I'm open to knowing more about whether there is something more &quot;live&quot; which is possible.  Until then though, this is how I've facilitated it." ContentLicense="CC BY-SA 3.0" />
  <row Id="19477" PostHistoryTypeId="2" PostId="11820" RevisionGUID="d9b5b4ea-eebe-4165-be80-99ecfd1667c3" CreationDate="2011-12-11T08:39:13.253" UserId="310" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;Looks that there will be some good sales from renowned companies these Holidays and I would like to share it together.&#xD;&#xA;&#xD;&#xA;My first contribution is:&#xD;&#xA;&#xD;&#xA;**2caudio** - Sale on [Aether][1] and [Breeze][2]&#xD;&#xA;&#xD;&#xA;More on http://2caudio.com/promo/HolidayPromo2011/&#xD;&#xA;&#xD;&#xA;Any contribution is welcome&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.2caudio.com/products/aether/&#xD;&#xA;  [2]: http://www.2caudio.com/products/breeze/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19478" PostHistoryTypeId="1" PostId="11820" RevisionGUID="d9b5b4ea-eebe-4165-be80-99ecfd1667c3" CreationDate="2011-12-11T08:39:13.253" UserId="310" Text="Christmas/Holidays Sales" ContentLicense="CC BY-SA 3.0" />
  <row Id="19479" PostHistoryTypeId="3" PostId="11820" RevisionGUID="d9b5b4ea-eebe-4165-be80-99ecfd1667c3" CreationDate="2011-12-11T08:39:13.253" UserId="310" Text="&lt;sales&gt;&lt;daw&gt;&lt;shopping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19480" PostHistoryTypeId="2" PostId="11821" RevisionGUID="0b96e794-5384-4b10-8439-269d7447ca0a" CreationDate="2011-12-11T09:43:42.210" UserId="278" Text="Thanks! I'm after a C414 those days.." ContentLicense="CC BY-SA 3.0" />
  <row Id="19481" PostHistoryTypeId="2" PostId="11822" RevisionGUID="afb59323-183d-44c1-8957-8236d52f7043" CreationDate="2011-12-11T10:13:04.723" UserId="62" Text="I've done a LOT of remote work. I've used the same method that Stavro mentioned of simply sending the audio for them to sync in their edit suite and review, then send me notes. I find it a nice laid back workflow method studio billing time for reviews is taken out of the equation.&#xD;&#xA;&#xD;&#xA;I used to work in a place that did remote reviews live via ISDN where we sent the stereo mix to LA and we could also talk normally at the same time via a simple patching system. It's also possible to do the same via IP APT are one company who make such devices - http://www.aptcodecs.com/radio.html&#xD;&#xA;&#xD;&#xA;Source Connect (http://www.source-elements.com/source-connect/) make ProTools plugins that do the same job, also via the internet. I've had patchy results but mainly due to bottlenecks appearing somewhere between myself and the other studio and that's the fault of internet infrastructure and nothing else." ContentLicense="CC BY-SA 3.0" />
  <row Id="19482" PostHistoryTypeId="2" PostId="11823" RevisionGUID="7e572286-0dbd-4b79-9e75-3181edc5f150" CreationDate="2011-12-11T12:23:40.277" UserId="37" Text="I do a lot of remote work. I find the most difficult is the initial discussion where they have to explain to you in words, on the phone, or in writing, what the brief is. There's a lot of guesswork involved and given that more than 50% of human interaction is non-verbal you can infer what that means. Somewhat naturally chances of getting remote work without actually meeting in person seem to be slim. Not to mention networking to actually bring in work..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Depending on the quality, and how abstract the brief is, your work may be self-explanatory with some correlation to how well it's received. Or it may involve revisions (sometimes many...) that it wouldn't if it was local. I've had occasions where I've had to start entirely from scratch, just because I wasn't physically around to advise otherwise on a poor decision that was to ruin things down the line. For branding/corporate video stuff you may well run into problems where client and CD want different things and not being able to sit down with both turns into huge pain very quickly.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Clear delivery requirements are essential and you should assume that video editors cannot sync to anything other than Frame 1. Also they will do incredible things to your audio if you don't double-check that it's OK. Say an export at 24kHz stereo goes to client and such..&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19485" PostHistoryTypeId="2" PostId="11824" RevisionGUID="692e2696-7da9-4834-9256-1711c5a2d90d" CreationDate="2011-12-11T20:53:19.347" UserDisplayName="user49" Text="I haven't done remote work other than cut a few FX for people at times but a few thoughts:&#xD;&#xA;&#xD;&#xA;1. Never underestimate the importance of face to face meetings. If it was a big project I'd almost pay for my own airfare to go meet for the initial meetings/spot session &amp; reviews at least, just to establish common ground etc... &#xD;&#xA;&#xD;&#xA;2. There are tools created primarily for VFX use but that would work well for sound reviews, which allow two people in different locations to play the same Quicktime movie, and both control it, add notes etc... One of them is called cineSYNC http://www.cinesync.com&#xD;&#xA;&#xD;&#xA;One of the biggest concerns would be verifying the monitor system at the directors end - getting notes for sound based on someone listening on a laptop, or with headphones would be not so helpful..." ContentLicense="CC BY-SA 3.0" />
  <row Id="19486" PostHistoryTypeId="2" PostId="11825" RevisionGUID="334eaac1-24b6-4c14-b8af-a581aad50296" CreationDate="2011-12-11T23:03:38.843" UserId="1145" Text="Did any of you use the Lemur from jazzmutant in the past and have you tried the [Lemur][1] for Ipad? This is just what my ipad has been waiting for, so i'll try it out as soon as work slow down for the holidays. Yaaay!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://itunes.apple.com/us/app/lemur/id481290621?mt=8 " ContentLicense="CC BY-SA 3.0" />
  <row Id="19487" PostHistoryTypeId="1" PostId="11825" RevisionGUID="334eaac1-24b6-4c14-b8af-a581aad50296" CreationDate="2011-12-11T23:03:38.843" UserId="1145" Text="Lemur for iPad?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19488" PostHistoryTypeId="3" PostId="11825" RevisionGUID="334eaac1-24b6-4c14-b8af-a581aad50296" CreationDate="2011-12-11T23:03:38.843" UserId="1145" Text="&lt;ipad&gt;&lt;controller&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19489" PostHistoryTypeId="2" PostId="11826" RevisionGUID="f2baa987-ca80-4ed5-8337-e8b266ad857b" CreationDate="2011-12-11T23:19:54.243" UserId="1145" Text="I've been using the V-Control Pro since day one. Was hoping to be able to use the faders for mixing DIA but that was no success. Maybe for mixing music, but i like to watch the picture and waveforms when riding faders and thats not easy with a touch screen :)&#xD;&#xA;&#xD;&#xA;Early next year Neyrinck will make it possible to mirror plugins on the ipad. Maybe that will&#xD;&#xA;do the trick: [AES 2011 NYC][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=UpQ7j__lv3o" ContentLicense="CC BY-SA 3.0" />
  <row Id="19490" PostHistoryTypeId="2" PostId="11827" RevisionGUID="54ef152e-18ee-42e7-8aa1-9a85cc20861a" CreationDate="2011-12-12T02:04:42.653" UserId="3269" Text="Hello, &#xD;&#xA;&#xD;&#xA;A few of you might know me from posting about free/affordable Vst's the other day, and also thanks for anyone who responded to that! &#xD;&#xA;Anyways, I've been interested in making sound design the focus of my studies in 2012. Though I can not afford school so I will mostly be teaching myself/using the internet for all that it's worth. &#xD;&#xA;&#xD;&#xA;I should be alright though, My current day job is Freelance Illustration mainly for the smaller publishers of the comic book industry. I have been freelance for the last 3 years and also did all of that without school, money or help. Also as you can tell from here on I'm working with a bare bones setup and using mostly free tools&lt; a midi keyboard and Reaper to learn.&#xD;&#xA;&#xD;&#xA;With that said, let me get into my questions.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**EQ's** &#xD;&#xA;&#xD;&#xA;I currently use Eq's on sounds to change them as needed, more low end for thumps, less low end for metal hits, ect. Though I would like to know how real sound designers use them. Is it best to EQ each track, EQ everything in one pass? Both? or use other methods of manipulation? &#xD;&#xA;&#xD;&#xA;**Quality**&#xD;&#xA;&#xD;&#xA;Everything I record myself is 96k, 24bit PCM. Though when there is something I can not record or create I will often check out Free Sound, or hit one of the free libraries out there by HISSandaROAR, ect. The question is though, should I try to keep all the different sounds from different sources the same bitrate/sample rate, ect? &#xD;&#xA;&#xD;&#xA;**Creating Sound**&#xD;&#xA;&#xD;&#xA;I have also seen that when in doubt, good sound designers are able to use synths to create sounds. I have Reason 4, a lot of free synths along with Komplete Elements and I can do a wide range of sounds, but they all kinda just sound like a synth, lol. Is there any good guides out there or videos on reverse engineering sound with Synths?&#xD;&#xA;&#xD;&#xA;**Using Reason**&#xD;&#xA;&#xD;&#xA;Like I said before, I also have a copy of Reason 4, I use the NN-XT quite a bit in reason, but would there be a way to use it combined with some other things to create something like a poor mans Alchemy? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**General Workflow Questions**&#xD;&#xA;&#xD;&#xA;Alright, I figured I would throw in my workflow on a typical sound I record just to see if what I'm doing is correct, also to make sure I'm not starting off with bad habits and also to see if there are better ways of doing things I might not have considered.&#xD;&#xA;&#xD;&#xA;I record with a Tascam Dr-05 96k, 24bit, Stero. I then use Audacity to amplify the sounds if needed, recorder seems to be a bit quiet. Also cut and export multiple clips for each sound. &#xD;&#xA;&#xD;&#xA;Load sound into reaper and arrange it as needed, Usually apply the plugin Ambiance from Smart Electronix to model the space the sound should be in. Sometimes EQ with something simple like a 3 band para EQ. &#xD;&#xA;&#xD;&#xA;Sometimes I will use the free Alchemy player instead to &quot;Preform&quot; a sound but after that the rest is pretty much the same.&#xD;&#xA;&#xD;&#xA;I know as I build my collection of gear a lot more options will open up but for now does this seem like the best way to tackle things with what is out there for cheap/free?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19491" PostHistoryTypeId="1" PostId="11827" RevisionGUID="54ef152e-18ee-42e7-8aa1-9a85cc20861a" CreationDate="2011-12-12T02:04:42.653" UserId="3269" Text="General Noob Quesions" ContentLicense="CC BY-SA 3.0" />
  <row Id="19492" PostHistoryTypeId="3" PostId="11827" RevisionGUID="54ef152e-18ee-42e7-8aa1-9a85cc20861a" CreationDate="2011-12-12T02:04:42.653" UserId="3269" Text="&lt;newbie&gt;&lt;question&gt;&lt;starter&gt;&lt;new&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19493" PostHistoryTypeId="2" PostId="11828" RevisionGUID="e9dab5ef-dc8d-4d66-921e-23bda12c18e5" CreationDate="2011-12-12T12:14:18.577" UserId="6420" Text="What I suggest is to head over to Designing Sound website and start reading the articles from sound designers and some of the SFX Lab posts for ideas/inspiration. Also the sister site Designing Sound TV has lots of great interviews and tutorials. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19494" PostHistoryTypeId="5" PostId="11820" RevisionGUID="ba815643-7d9c-47ce-9fec-472ed94b0836" CreationDate="2011-12-12T13:20:11.983" UserId="310" Comment="added 103 characters in body; edited title; added 84 characters in body" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;Looks that there will be some good sales from renowned companies these Holidays and I would like to share it together.&#xD;&#xA;&#xD;&#xA;My first contribution is:&#xD;&#xA;&#xD;&#xA;**2caudio** - Sale on [Aether][1] and [Breeze][2]&#xD;&#xA;&#xD;&#xA;More on http://2caudio.com/promo/HolidayPromo2011/&#xD;&#xA;&#xD;&#xA;**FabFilter** - 25% Sale on Bundles to 31th December!!!&#xD;&#xA;&#xD;&#xA;More on http://www.fabfilter.com/shop/&#xD;&#xA;&#xD;&#xA;**Rayzoon** - Virtual drums - 35% off&#xD;&#xA;&#xD;&#xA;More on http://www.rayzoon.com/buy.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any contribution is welcome&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.2caudio.com/products/aether/&#xD;&#xA;  [2]: http://www.2caudio.com/products/breeze/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19495" PostHistoryTypeId="4" PostId="11820" RevisionGUID="ba815643-7d9c-47ce-9fec-472ed94b0836" CreationDate="2011-12-12T13:20:11.983" UserId="310" Comment="added 103 characters in body; edited title; added 84 characters in body" Text="Christmas/Holidays Sales - Still growing..." ContentLicense="CC BY-SA 3.0" />
  <row Id="19496" PostHistoryTypeId="2" PostId="11829" RevisionGUID="3d5adf89-2a79-476a-a37d-a4f153f5ee07" CreationDate="2011-12-12T14:33:13.640" UserDisplayName="user6513" Text="If you had enough outputs and inputs on your audio interface, you could hard-patch it to your liking.&#xD;&#xA;&#xD;&#xA;If you're trying to do it without hardware, you are looking for a software with routing capabilities like Jack (http://www.jackosx.com/). Which version of ProTools are you on? You can't do it on the older versions of PT, but with 9 and 10 you might have a chance. I haven't tried it but you could try to use Jack Pilot to hack the software outputs.&#xD;&#xA;&#xD;&#xA;http://duc.avid.com/showthread.php?t=93414" ContentLicense="CC BY-SA 3.0" />
  <row Id="19497" PostHistoryTypeId="2" PostId="11830" RevisionGUID="be75cae5-7b63-4171-b109-3da80aa2db4c" CreationDate="2011-12-12T15:36:02.473" UserId="310" Text="According the topic here http://forum.ableton.com/viewtopic.php?f=1&amp;t=143804 it is not possible to use Rewire Slave as effect processor. &#xD;&#xA;&#xD;&#xA;You will be able to use Ableton as dam good sampler, but not as effect chain." ContentLicense="CC BY-SA 3.0" />
  <row Id="19498" PostHistoryTypeId="2" PostId="11831" RevisionGUID="b5c9f30e-c6df-4318-a12f-bd24358e1176" CreationDate="2011-12-12T21:53:53.763" UserId="3272" Text="For a while I've been looking for some good paperwork and overvieuws to gain my knowledge on rhythm in sound design. Few books I found have something to say about it and I'm wondering if there's any therminology written about it at all?&#xD;&#xA;I find this all very strange since rhythm is such an important element in Sound Design. Does anyone knows any literature for this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19499" PostHistoryTypeId="1" PostId="11831" RevisionGUID="b5c9f30e-c6df-4318-a12f-bd24358e1176" CreationDate="2011-12-12T21:53:53.763" UserId="3272" Text="Where can I find some theory about rhythm in Sound Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19500" PostHistoryTypeId="3" PostId="11831" RevisionGUID="b5c9f30e-c6df-4318-a12f-bd24358e1176" CreationDate="2011-12-12T21:53:53.763" UserId="3272" Text="&lt;rhythm&gt;&lt;theory&gt;&lt;books&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19501" PostHistoryTypeId="2" PostId="11832" RevisionGUID="3a125dc0-2646-425e-9204-9472edca5496" CreationDate="2011-12-12T22:10:56.600" UserId="3272" Text="&quot;Barton Fink&quot; is a better sound-film made by the Coens than &quot;No Country for Old man&quot; if you ask me. The work is much more subtle but has a huge impact on the way we look at the characters' environment. Then there's this small new wave of documentary-makers in the Netherlands who all do some really interesting stuff with sound for example the film: &quot;4 Elements&quot; by Jiska Rickels or &quot;Bloody Mondays and Strawberry pies&quot; by Coco Schreiber. check out the trailers:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=vf-PaJuqhVQ&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Q__SCH_dbNI&#xD;&#xA;&#xD;&#xA;Have fun with it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19502" PostHistoryTypeId="16" PostId="11832" RevisionGUID="3a125dc0-2646-425e-9204-9472edca5496" CreationDate="2011-12-12T22:10:56.600" UserId="-1" />
  <row Id="19503" PostHistoryTypeId="2" PostId="11833" RevisionGUID="134e3fbb-6498-4de5-88ce-60b76b4f54c4" CreationDate="2011-12-12T22:32:24.680" UserId="1228" Text="Unfortunately I don't have a direct answer for you as far as reading sources are concerned.  However in my own personal experience, I learned about rhythm and timing from back when I used to be a DJ at a winebar working with beat-matching vinyl and such.  It gave my a very tactile, hands-on understanding of pitch, rhythm, and timing manipulation - and through the process I began to understand musical structures such as lead ins, lead outs, chorus, bridge, breakdowns, etc - and even in a DJ set it taught me how to create and manipulate structure (because long DJ sets are just like songs too!  they have build ups and breakdowns based upon reading the crowd's energy).  I find that sound design follows a similar suite to music with carefully-determined rises and falls in dynamics and frequency content.  And in the case of scare moments, how you can take principals of rhythm and timing and turn them on their end to physiologically mess with the audience and give them a really good sound scare!&#xD;&#xA;&#xD;&#xA;And interestingly enough, most of the sound designers and editors I know and have met have some sort of musically-inclined background, whether it be a Music degree, a recreational musician, a former studio/band musician, or other DJs.  The degrees of background vary, but it seems the music is a common thread or &quot;language&quot; amongst sound designers.&#xD;&#xA;&#xD;&#xA;Studying music theory may be a good place to start, but I feel that working with some sort of tactile source such as a music instrument or such could be of great benefit too.  There is something to be said for the floodgates that tactile manipulation opens in terms of expressive creativity." ContentLicense="CC BY-SA 3.0" />
  <row Id="19504" PostHistoryTypeId="2" PostId="11834" RevisionGUID="f9190692-815c-49c8-b6b6-0a0b365dd74a" CreationDate="2011-12-12T22:44:35.060" UserId="3272" Text="First check out your video monitor to find out what part of the floor the camera will see. Then use a piece, or several pieces, of carpet and gaffer them to the floor (or ask your assistant to do so). This way you don't just damp your footsteps but the footsteps of the entire crew and offscreen cast. &#xD;&#xA;I've been using this method for several productions now and it comes in very handy, it makes your production-sound a lot cleaner and makes it better possible to make useable MS recordings, since the atmosphere of the room is more clear. &#xD;&#xA;Watch out with taking your shoes of, even on fiction film sets. All the heavy stuff laying there makes it easy to break a tow, and then you'll be out of work for a couple of weeks.&#xD;&#xA;&#xD;&#xA;For documentary and fiction film sets I will usually wear Clark Desert Boots, they are silent, good shoes for interior and exterior and you can wear them from a lunch in jail to a weddingparty in the hilton. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19505" PostHistoryTypeId="2" PostId="11835" RevisionGUID="1fef7055-c67e-4f61-9af9-ec150f7a35f0" CreationDate="2011-12-12T23:28:08.377" UserId="3272" Text="If possible; try and use an Omnidirectional microphone (like the Schoeps MK 5 switched to omin) together witch your other mic. The effort you have to put in it is making the vocal booth a lot more silent and dry. But you end up with the great opportunity of using the beautiful low frequencies of you omni (omnis are not sensitive for the proximity effect) in your (pre)mix.&#xD;&#xA;And don't ever record with a directional mic without pop filters. The frequency-loss you'll find is practically inaudible (when using a good one like the Rycote stuff) and you're simply not safe of having a good recording if you don't use it." ContentLicense="CC BY-SA 3.0" />
  <row Id="19506" PostHistoryTypeId="2" PostId="11836" RevisionGUID="54e09e68-90c1-42e9-894e-73b4221c8e69" CreationDate="2011-12-13T06:51:41.530" UserDisplayName="user49" Text="The rhythm of sound design (&amp; score) for film is preceded by the rhythm of the work fo the picture editor, so it might be worth reading up on the aesthetics of picture editing....&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19507" PostHistoryTypeId="2" PostId="11837" RevisionGUID="e9f688e4-245a-476b-b10c-2f9ae86b7555" CreationDate="2011-12-13T08:52:33.680" UserId="2286" Text="I have tried it, bought it, and it's worth it. I would have bought it just for the physics aspect alone, but the potential is pretty great, if you ask me - not least because of the scripting.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19508" PostHistoryTypeId="2" PostId="11838" RevisionGUID="7c79f221-8351-4fc9-80c9-91442149bd51" CreationDate="2011-12-13T11:06:41.507" UserId="958" Text="The best online resource for learning synths = [http://synth.tk/][1]&#xD;&#xA;&#xD;&#xA;Also maybe check out [audio.tutsplus.com][2] for more software-based tutorials.&#xD;&#xA;&#xD;&#xA;There is an epic free online sound fundamentals website, but I lost the link...&#xD;&#xA;Hope that helps!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://synth.tk/&#xD;&#xA;  [2]: http://audio.tutsplus.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="19509" PostHistoryTypeId="2" PostId="11839" RevisionGUID="dc5e12e9-2aee-497a-bb2a-7da10d322333" CreationDate="2011-12-13T23:34:51.993" UserId="3275" Text="i've made some WEIRD stuff by accidentally leaving &quot;noise only&quot; selected when using noise reduction tools like iZotope" ContentLicense="CC BY-SA 3.0" />
  <row Id="19510" PostHistoryTypeId="2" PostId="11840" RevisionGUID="eb8b29e5-72d1-4aa1-a7bd-aa85d1a16db1" CreationDate="2011-12-14T11:51:03.533" UserId="1062" Text="Hi everyone. Just wondering if anyone had any tips on recording city and town ambiances? &#xD;&#xA;&#xD;&#xA;I have access to a few different kinds of microphone so is there any specific type I should record with? Stereo, Omni etc.&#xD;&#xA;&#xD;&#xA;Also im not too sure on what the best levels would be for recording fairly quiet parts. I need to get some clean recordings so dont want to go trigger happy with cranking the levels up and getting noisy recordings.. If it helps im using a Zoom H4n and a PSC mixer.&#xD;&#xA;&#xD;&#xA;If anyone has any other tips that would be great!&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;Sam" ContentLicense="CC BY-SA 3.0" />
  <row Id="19511" PostHistoryTypeId="1" PostId="11840" RevisionGUID="eb8b29e5-72d1-4aa1-a7bd-aa85d1a16db1" CreationDate="2011-12-14T11:51:03.533" UserId="1062" Text="Recording City Ambiance" ContentLicense="CC BY-SA 3.0" />
  <row Id="19512" PostHistoryTypeId="3" PostId="11840" RevisionGUID="eb8b29e5-72d1-4aa1-a7bd-aa85d1a16db1" CreationDate="2011-12-14T11:51:03.533" UserId="1062" Text="&lt;city&gt;&lt;ambience&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19513" PostHistoryTypeId="5" PostId="11820" RevisionGUID="80f4b98c-419b-45be-8749-e98683166092" CreationDate="2011-12-14T12:48:40.407" UserId="310" Comment="added 108 characters in body" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;Looks that there will be some good sales from renowned companies these Holidays and I would like to share it together.&#xD;&#xA;&#xD;&#xA;My first contribution is:&#xD;&#xA;&#xD;&#xA;**2caudio** - Sale on [Aether][1] and [Breeze][2]&#xD;&#xA;&#xD;&#xA;More on http://2caudio.com/promo/HolidayPromo2011/&#xD;&#xA;&#xD;&#xA;**FabFilter** - 25% Sale on Bundles to 31th December!!!&#xD;&#xA;&#xD;&#xA;More on http://www.fabfilter.com/shop/&#xD;&#xA;&#xD;&#xA;**Rayzoon** - Virtual drums - 35% off&#xD;&#xA;&#xD;&#xA;More on http://www.rayzoon.com/buy.html&#xD;&#xA;&#xD;&#xA;**Camel Audio** - 50% sale on CamelPhat and CamelSpace&#xD;&#xA;&#xD;&#xA;More info on http://www.camelaudio.com/index.php&#xD;&#xA;&#xD;&#xA;Any contribution is welcome&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.2caudio.com/products/aether/&#xD;&#xA;  [2]: http://www.2caudio.com/products/breeze/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19514" PostHistoryTypeId="2" PostId="11841" RevisionGUID="16e367e1-7e93-4688-b99a-5b1240ff8bf1" CreationDate="2011-12-14T13:26:06.393" UserId="1011" Text="Hi Sam,&#xD;&#xA;&#xD;&#xA;Sounds like a cool project.&#xD;&#xA;&#xD;&#xA;There are a lot of traffic and crowd sound effects already out there, so you may want to consider recording things that are unique to your environment.  Not sure on the requirements for your project, but I find these sounds get a lot of milage.&#xD;&#xA;&#xD;&#xA;In Toronto, for example, we have streetcars here that aren't anywhere else and make some characteristic traffic tracks.  Another idea is a specific farmer's market, or a classic location (Champs-Elysees, Times Square etc).&#xD;&#xA;&#xD;&#xA;Of course stock ambiences are necessary for flexibility. I'd suggest also seeking out those characteristic recordings to make recording even more interesting.&#xD;&#xA;&#xD;&#xA;As far as the technical aspects,  I'd choose the most transparent yet lush gear you can find.  This will make sure you represent the location well.&#xD;&#xA;&#xD;&#xA;Because there is a lot of overlap (i.e. crowds over traffic, birds over crowd) you may want to find a mic that has so options at isolating sounds (different capsules or matrix box).&#xD;&#xA;&#xD;&#xA;I would think you won't be facing many ambiences that are especially quiet, except perhaps room tones or air tones.&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;Good luck and enjoy,&#xD;&#xA;&#xD;&#xA;Paul Virostek&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19515" PostHistoryTypeId="2" PostId="11842" RevisionGUID="3de32621-3ced-44dd-8e12-25a88ed49fb5" CreationDate="2011-12-14T20:18:20.047" UserId="418" Text="It's the bomb. Very pleased here. Between Lemur and Konkreet Performer, I'm all set on MIDI control. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19516" PostHistoryTypeId="2" PostId="11843" RevisionGUID="aa5fe6be-3a59-4b4e-ad1d-815eb654fec4" CreationDate="2011-12-14T20:58:12.107" UserId="3276" Text="@Tommy-Jansen Not sure if this reply is ending up where it's supposed to, but I've actually only tested it with Wireless(!) MIDI for now, and I'm surprised how well it works.&#xD;&#xA;&#xD;&#xA;However, if you want really tight control, I guess you should go for something like the iRig MIDI interface, and perhaps use OSC.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19517" PostHistoryTypeId="2" PostId="11844" RevisionGUID="2ddd8aa2-4dfa-43d5-8a3a-fe15472be256" CreationDate="2011-12-15T04:09:42.580" UserId="3277" Text="Dual-system would be your best bet ie. output audio from one computer into the interface of another. We used to do that all the time in film school to record half-speed playback from one pro-tools rig to another. Soundflower might work as well...it's an app by the guys and gals at Cycling74 that basically operates like a virtual patchbay, and it's free. Pro-Tools is not really open to that type of hacking but you can find some third party apps like AntiMatter and Max that better facilitate that type of workflow. &#xD;&#xA;&#xD;&#xA;Anyway, dual-system or Soundflower. Good luck to you, and watch your ears!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19519" PostHistoryTypeId="2" PostId="11845" RevisionGUID="9beafd2c-c2e5-4be7-b8f3-e8fd426b185a" CreationDate="2011-12-15T10:30:50.850" UserDisplayName="user6513" Text="Voxengo is having a sale on all software titles. 15% off one, and two or more titles will give you additional discounts.&#xD;&#xA;&#xD;&#xA;http://www.voxengo.com/press/204/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19520" PostHistoryTypeId="2" PostId="11846" RevisionGUID="14fd7563-e51e-408e-9e6d-4c91d4b8b589" CreationDate="2011-12-15T12:07:38.043" UserId="3222" Text="what would one make a microphone rig for a car to record dialogues ? Which microphones are preferable for these situations and why ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19521" PostHistoryTypeId="1" PostId="11846" RevisionGUID="14fd7563-e51e-408e-9e6d-4c91d4b8b589" CreationDate="2011-12-15T12:07:38.043" UserId="3222" Text="Rigging Microphones in Cars" ContentLicense="CC BY-SA 3.0" />
  <row Id="19522" PostHistoryTypeId="3" PostId="11846" RevisionGUID="14fd7563-e51e-408e-9e6d-4c91d4b8b589" CreationDate="2011-12-15T12:07:38.043" UserId="3222" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19523" PostHistoryTypeId="6" PostId="11846" RevisionGUID="d92a1267-4fae-456b-a423-cdefdf39d0e7" CreationDate="2011-12-15T13:46:59.837" UserId="182" Comment="edited tags" Text="&lt;field-recording&gt;&lt;cars&gt;&lt;vehicles&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19524" PostHistoryTypeId="2" PostId="11847" RevisionGUID="672036db-b6fb-4ccc-8edb-0eb916992efe" CreationDate="2011-12-15T14:20:07.060" UserId="3104" Text="There's all kinds of ways to tackle this problem and on top of that, there's a bunch of factors in terms of how the scene is being shot and what kind of car. Here's my 2 cents...&#xD;&#xA;&#xD;&#xA;-If you've got some a lav mics, plant them in the visors above each front seat or on the dashboard, if it's a two person scene.&#xD;&#xA;&#xD;&#xA;-If you have a boom operator with a shotgun mic and you're able to hide them in the back seat, have them have the mic in the middle to split the difference.&#xD;&#xA;&#xD;&#xA;-One of the best ways to handle a situation like this is with a modular mic set, like the Schoeps CMC series or an Oktava MK-012. Another easy route is any sort of Lavalier mic that can be easily hidden in order to get a good clear signal. &#xD;&#xA;&#xD;&#xA;Those are just a few options to keep in mind and I hope this helps. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19525" PostHistoryTypeId="2" PostId="11848" RevisionGUID="701c3719-979e-4aee-a194-38e2f24f4cc1" CreationDate="2011-12-15T14:38:27.727" UserId="1145" Text="Universal Audio is having a holiday sale as well. 10-60% on more than [50 plug-ins][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.uaudio.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19526" PostHistoryTypeId="2" PostId="11849" RevisionGUID="573ac912-9fff-4afd-ba8d-c71d81e8ec2d" CreationDate="2011-12-15T15:29:39.843" UserId="3272" Text="The best mics for these jobs I found so far were the DPA 4081 miniature supercardiod mics. You can hide them easily in the front part of the car and they sound superb. The directional principle of these mics make sure you have the least amount of engine-noise in your dialogue The sunshields and the ventilation shafts are my favorite spots. If you have time, try and find a way to open up the dashboard as well. &#xD;&#xA;A 24dB/oct or 36dB/oct lowpass round 70 Hz (for female voices 100 Hz) will also take some of the engine humm away, without bothering the human voice spectrum.&#xD;&#xA;Good luck! " ContentLicense="CC BY-SA 3.0" />
  <row Id="19527" PostHistoryTypeId="2" PostId="11850" RevisionGUID="97d63342-6d44-4f12-b068-78ebc9517642" CreationDate="2011-12-15T15:41:30.523" UserId="3272" Text="If you're looking for a quite, overall city ambience, you might try to get up a high building. Here you wont have any pronounced sounds, just the over all city hum. I usually like ambient recordings made with a AB stereo set (two omni's with a distance of 70 cm between them). The omni's usually have a more clear sound on them.&#xD;&#xA;The record level on a digital recorder as the H4n should be pretty easy (low) I guess, it's not necessary to record your ambience any louder, you'll only have to pull your faders down in the mix where the dBscale is harder to manage.&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19528" PostHistoryTypeId="5" PostId="11820" RevisionGUID="58fdde78-75ef-46ec-a764-a9201a38a9a0" CreationDate="2011-12-15T16:21:45.740" UserId="310" Comment="added 107 characters in body" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;Looks that there will be some good sales from renowned companies these Holidays and I would like to share it together.&#xD;&#xA;&#xD;&#xA;My first contribution is:&#xD;&#xA;&#xD;&#xA;**2caudio** - Sale on [Aether][1] and [Breeze][2]&#xD;&#xA;&#xD;&#xA;More on http://2caudio.com/promo/HolidayPromo2011/&#xD;&#xA;&#xD;&#xA;**FabFilter** - 25% Sale on Bundles to 31th December!!!&#xD;&#xA;&#xD;&#xA;More on http://www.fabfilter.com/shop/&#xD;&#xA;&#xD;&#xA;**Rayzoon** - Virtual drums - 35% off&#xD;&#xA;&#xD;&#xA;More on http://www.rayzoon.com/buy.html&#xD;&#xA;&#xD;&#xA;**Camel Audio** - 50% sale on CamelPhat and CamelSpace&#xD;&#xA;&#xD;&#xA;More info on http://www.camelaudio.com/index.php&#xD;&#xA;&#xD;&#xA;**Mellowmuse** - 15% discount called &quot;Festive Fifteen Offer&quot;&#xD;&#xA;&#xD;&#xA;More info on http://www.mellowmuse.com/&#xD;&#xA;&#xD;&#xA;Any contribution is welcome&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.2caudio.com/products/aether/&#xD;&#xA;  [2]: http://www.2caudio.com/products/breeze/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19529" PostHistoryTypeId="2" PostId="11851" RevisionGUID="532c7e1d-3702-431e-88e2-b0bb9c971849" CreationDate="2011-12-15T16:34:58.477" UserId="2778" Text="All Ingmar Bergman movies if u wanna see the best use of silence.&#xD;&#xA;The Seventh Seal, Wild Strawberries etc etc.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19530" PostHistoryTypeId="16" PostId="11851" RevisionGUID="532c7e1d-3702-431e-88e2-b0bb9c971849" CreationDate="2011-12-15T16:34:58.477" UserId="-1" />
  <row Id="19531" PostHistoryTypeId="2" PostId="11852" RevisionGUID="ef32494d-a680-4727-806f-9799d4aba656" CreationDate="2011-12-15T16:52:02.360" UserId="1145" Text="50% on all [Waves][1]&#xD;&#xA;plugs, bundles and upgrades&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waves.com/content.aspx?id=351" ContentLicense="CC BY-SA 3.0" />
  <row Id="19532" PostHistoryTypeId="2" PostId="11853" RevisionGUID="0cc3f0d1-efca-4d83-9953-2ec9017e4e5d" CreationDate="2011-12-16T02:50:29.043" UserId="863" Text="I've done three separate things. Once involved me laying uncomfortably in the back seat with the boom between both actors, 2nd time I positioned 2 Rode NT-6's on the sun visor/shields and another time I used lavs on the actors themselves." ContentLicense="CC BY-SA 3.0" />
  <row Id="19533" PostHistoryTypeId="2" PostId="11854" RevisionGUID="9c1af092-8f53-4223-a0f5-883cdebcaee3" CreationDate="2011-12-16T06:04:17.910" UserId="771" Text="I love the films of the Turkish director Nuri Bilge Ceylan :koza, Iklimler, Uzak, Three monkeys.I also love the way Hou Hsiao Hsien minimally uses sound in his films like : A time to live time to die, Flight of the red balloons, Summer at Grand pa's and the films by Terennce malick.I liked the way he uses music in Thin Red line." ContentLicense="CC BY-SA 3.0" />
  <row Id="19534" PostHistoryTypeId="16" PostId="11854" RevisionGUID="9c1af092-8f53-4223-a0f5-883cdebcaee3" CreationDate="2011-12-16T06:04:17.910" UserId="-1" />
  <row Id="19535" PostHistoryTypeId="2" PostId="11855" RevisionGUID="c176e968-d09a-478c-b464-b8eb54dd137b" CreationDate="2011-12-16T07:03:46.523" UserId="310" Text="+1 for **[District 9][1]**&#xD;&#xA;&#xD;&#xA;I was also fascinated by sound and music texture of **[Once Upon a Time in the West][2]** &#xD;&#xA;&#xD;&#xA;Percussive textures without music and excellent sound from my point of hear is in **[The Hurt Locker][3]**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt1136608/&#xD;&#xA;  [2]: http://www.imdb.com/title/tt0064116/&#xD;&#xA;  [3]: http://www.imdb.com/title/tt0887912/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19536" PostHistoryTypeId="16" PostId="11855" RevisionGUID="c176e968-d09a-478c-b464-b8eb54dd137b" CreationDate="2011-12-16T07:03:46.523" UserId="-1" />
  <row Id="19537" PostHistoryTypeId="2" PostId="11856" RevisionGUID="ec4bdaa4-8d48-4b04-adc8-1bc52910e181" CreationDate="2011-12-16T07:15:23.873" UserId="310" Text="Some big companies have free stuff too:&#xD;&#xA;&#xD;&#xA;**Solid State Logic (SSL)** - http://solidstatelogic.com/music/section_free_plug-ins.asp&#xD;&#xA;&#xD;&#xA;**Voxengo** - http://www.voxengo.com/group/free-vst-plugins/&#xD;&#xA;&#xD;&#xA;**Sonalksis** - http://www.sonalksis.com/freeg.htm&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**PS: Do not forget your DAW plug-ins!!! Sometimes is much more better than mass of uselles free plug-ins..** " ContentLicense="CC BY-SA 3.0" />
  <row Id="19538" PostHistoryTypeId="5" PostId="11856" RevisionGUID="15f33764-018a-488c-bbab-4d4e6b943073" CreationDate="2011-12-16T09:57:10.190" UserId="310" Comment="added 183 characters in body" Text="Some big companies have free stuff too:&#xD;&#xA;&#xD;&#xA;**Solid State Logic (SSL)** - http://solidstatelogic.com/music/section_free_plug-ins.asp&#xD;&#xA;&#xD;&#xA;**Voxengo** - http://www.voxengo.com/group/free-vst-plugins/&#xD;&#xA;&#xD;&#xA;**Sonalksis** - http://www.sonalksis.com/freeg.htm&#xD;&#xA;&#xD;&#xA;**Camel Audio** - http://www.camelaudio.com/products.php&#xD;&#xA;&#xD;&#xA;And if you have never tried **KVR** database I am recommending this search  http://www.kvraudio.com/q.php?search=1&amp;pr[]=f&#xD;&#xA;&#xD;&#xA;**PS: Do not forget your DAW plug-ins!!! Sometimes is much more better than mass of uselles free plug-ins..** " ContentLicense="CC BY-SA 3.0" />
  <row Id="19539" PostHistoryTypeId="2" PostId="11857" RevisionGUID="626c0999-734e-4c81-af24-2ad4ed030a74" CreationDate="2011-12-16T11:09:01.267" UserId="3272" Text="Fortunately, I've had the chance to work as a sound designer already in the preproduction stage of most productions I've worked on.&#xD;&#xA;&#xD;&#xA;My way of working usually comes down to reading the screnario, making comments on possible options for sound and writing a sound design concept including some musical choices.&#xD;&#xA;I have the idea that this way of working is pretty good but not optimal for the use of sound in film. More than often, your concept is being read, commented on (also in positive ways) and then forgotten.&#xD;&#xA;&#xD;&#xA;So I wonder, in what ways do other sound designers use their influence in the preproduction and scenario development stage? Hoe do you use your knowledge? And how do you keep the entire crew aware of your ideas?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19540" PostHistoryTypeId="1" PostId="11857" RevisionGUID="626c0999-734e-4c81-af24-2ad4ed030a74" CreationDate="2011-12-16T11:09:01.267" UserId="3272" Text="How can a sound designer best use it's knowledge in the preproduction?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19541" PostHistoryTypeId="3" PostId="11857" RevisionGUID="626c0999-734e-4c81-af24-2ad4ed030a74" CreationDate="2011-12-16T11:09:01.267" UserId="3272" Text="&lt;script&gt;&lt;sound-design&gt;&lt;preparation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19542" PostHistoryTypeId="5" PostId="11854" RevisionGUID="ebe111e9-efef-4e2d-9222-a6a5722a5cc7" CreationDate="2011-12-16T12:55:42.910" UserId="771" Comment="deleted 41 characters in body" Text="I love films of Turkish director Nuri Bilge Ceylan :koza, Iklimler, Uzak, Three monkeys.I also love the way Hou Hsiao Hsien minimally uses sound in his films like : A time to live time to die, Flight of the red balloons, Summer at Grand pa's and films by Terennce malick, The thin red line" ContentLicense="CC BY-SA 3.0" />
  <row Id="19543" PostHistoryTypeId="2" PostId="11858" RevisionGUID="2b4edb6a-c484-47f0-b97c-e961dad09839" CreationDate="2011-12-16T15:22:24.103" UserId="426" Text="From What I remember from school, to even be brought in for pre-production on a film is a bit of a rarity. I can imagine that writing down your ideas and revisiting them with the director in the Post production phase is one option. I can't think off the top of my head of an effective way of keeping the entire crew aware of your ideas. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19544" PostHistoryTypeId="2" PostId="11859" RevisionGUID="66857a67-e117-4119-8f5e-264e2c8bfaff" CreationDate="2011-12-16T15:46:23.620" UserId="6420" Text="When you refer to the crew do you mean the sound crew or everyone? I think making the sound recordist/boom ops informed of what you specifically require will help. Let them know if there are any specific sounds from the set you need ie atmos, impulse responses etc. Not always easy for them to get those in the heat of battle though! &#xD;&#xA;&#xD;&#xA;I've always thought it would be cool to have a &quot;second unit&quot; sound crew on set that could record specifics on set that the set sound mixer might not have a chance to do. Obviously budgets don't always allow that!&#xD;&#xA;&#xD;&#xA;If it was something you were able to do and wanted to offer your time to do so I'm sure you could get some useful stuff from locations filmed. Maybe with less traffic/planes/people in the way... Just a thought!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19545" PostHistoryTypeId="2" PostId="11860" RevisionGUID="ccf44637-473f-45a7-9ac5-9390899c5f4a" CreationDate="2011-12-16T16:03:37.017" UserId="29" Text="Record in layers, so that you have flexibility when mixing. I've recorded urban ambiences at street level, on a 3rd story, and on an 8th story rooftop, mics pointing down and up, and it all sounds incredibly different. A mix of perspectives, times of day, and amount of traffic (vehicular and/or human) will all make a huge difference. To get really usable layers, it's harder and takes more time than you'd think.&#xD;&#xA;&#xD;&#xA;If you do it right, IMO, recording urban ambiences is pretty much the same as shooting natural ambiences: Scout locations, listen keenly, think about final use, record longer than you'll need by a factor of 2x-3x, and determine per location if a spot sound or the broader scene is what you want to capture. Biggest difference, though, is that you don't really need to worry about mic self-noise in a city the way you do for rural recording. &#xD;&#xA;&#xD;&#xA;I like ORTF for the widest and most enveloping ambiences, but truth be told, for portability and convenience I usually roll with an M/S rig. This has saved my bacon loads of times as I try out a location ambience session and find that actually that truck/streetsweeper/car/motorcycle/crazyman is a far more interesting spot source, so I switch focus in the field and then break it down as a mono layer in post.&#xD;&#xA;&#xD;&#xA;I often just run experiments where I build urban ambiences in post against specific emotion keywords: Stressful, intimidating, bucolic, etc. Good practice to see where the holes in your library exist!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19546" PostHistoryTypeId="2" PostId="11861" RevisionGUID="76163c4f-5edf-4ee1-983a-6bd003c3dae9" CreationDate="2011-12-16T16:10:46.583" UserId="29" Text="Develop thoughtful discussions around the emotional content of the moment and the creative intent of the director (or the emotional descriptors of the brand, if a corporate or non-narrative project), for both the whole project as well as moment/scene to moment/scene. The higher up the chain you can take these discussions, the better, but spreading the fact that you're thinking at that higher level will absolutely get noticed by insightful folks. Taking a holistic, narrative approach opens up avenues for specific relationships with other departments and collaborators, and shows a willingness to help identify where sound design needs to step aside for other components, or should take center stage, while keeping the discussion less about your role and more about the final product. Everything is just implementation and execution. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19547" PostHistoryTypeId="2" PostId="11862" RevisionGUID="0bca9ab2-110b-4bf2-8a6e-672899a23cc1" CreationDate="2011-12-16T18:29:10.707" UserId="6669" Text="Hi All,&#xD;&#xA;&#xD;&#xA;I'm a little confused on the correct way to measure for and set the dialnorm metadata value when creating an AC3 for delivery to a client. Here's a scenario I just went through:&#xD;&#xA;&#xD;&#xA;A month or two back, I did a 5.1 student film mix where the delivery requirements were just the trimmed/conformed stems. AC3 creation was to be handled by another department that was creating the graduation ceremony DVD with all the finished films on it.&#xD;&#xA;&#xD;&#xA;Fast-forward to the graduation ceremony - the entire batch of final films is quiet as hell, probably in the range of 9dB below where everyone should be hearing them. The audience was straining to hear dialogue and even the big full-scale moments are registering like a Powerpoint presentation. A few mixers from the other films on that DVD that were in attendance confirmed that the same thing had happened to their mixes. It sucked.&#xD;&#xA;&#xD;&#xA;As a few short films that had aired earlier in the ceremony (ones where sound people had created the AC3s) sounded fine (e.g. calibrated for 85), and I can't imagine whoever was running the booth just suddenly trimmed the entire playback system down in time for the main event, I suspect it was a problem with AC3 creation and the decode.&#xD;&#xA;&#xD;&#xA;**&#xD;&#xA;&#xD;&#xA;A few weeks ago, I do another mix where I'm responsible for delivery all the way through the AC3..&#xD;&#xA;&#xD;&#xA;Disclaimer: this is my understanding of how the dialnorm value is handled on playback, and it's here that I would love corrections and notes. I hope that I am at least close to the truth.&#xD;&#xA;&#xD;&#xA;&gt; The dialnorm parameter is used in the&#xD;&#xA;&gt; decoding process to adjust the mix's&#xD;&#xA;&gt; level appropriately for how the user's&#xD;&#xA;&gt; playback system is set up. The&#xD;&#xA;&gt; dialnorm value itself is, in&#xD;&#xA;&gt; professional cases, automatically&#xD;&#xA;&gt; determined by a Dolby hardware&#xD;&#xA;&gt; box/plugin whose algorithm that can&#xD;&#xA;&gt; intelligently separate dialogue from&#xD;&#xA;&gt; the other sounds in the mix and spit&#xD;&#xA;&gt; out an average dialogue level for you.&#xD;&#xA;&gt; You key this in to your encoding&#xD;&#xA;&gt; software, make your AC3, and go.&#xD;&#xA;&gt; &#xD;&#xA;&gt; What happens at the time of decode is&#xD;&#xA;&gt; that the entire mix will be trimmed to&#xD;&#xA;&gt; bring the encoded mix's specified dial&#xD;&#xA;&gt; level to whatever -27dbSPL is on the&#xD;&#xA;&gt; user's playback system. So if you key&#xD;&#xA;&gt; in a dialnorm value of -23, the whole&#xD;&#xA;&gt; mix is going to get ducked 4dB on&#xD;&#xA;&gt; playback for an unattenuated system.&#xD;&#xA;&gt; If the user's turned his system down&#xD;&#xA;&gt; by 6dB so he can have a conversation&#xD;&#xA;&gt; with his buddy while the movie's on,&#xD;&#xA;&gt; your mix will be dropped 10dB.&#xD;&#xA;&gt; &#xD;&#xA;&gt; The decoder will not automatically&#xD;&#xA;&gt; boost the original signal no matter&#xD;&#xA;&gt; what the dialnorm was set to.&#xD;&#xA;&#xD;&#xA;To avoid stuff playing back too quietly again, I decide to simply set the dialnorm metadata value at -31 (e.g. &quot;don't adjust anything&quot;) -- even though I had mixed all the film's dialogue to average between -20 and -23. I was just scared of the decoder dropping my mix due to anything being set incorrectly and didn't want to take any chances. Also, delivery was happening at the 11th hour due to a last minute picture cut, so there wasn't time to burn a DVD and test playback before shipping this thing.&#xD;&#xA;&#xD;&#xA;* Was this the right thing to do?&#xD;&#xA;* Have you experienced similar horror stories?&#xD;&#xA;* And how should setting the dialnorm -- and playing back the finished DVD -- go in a perfect world?&#xD;&#xA;&#xD;&#xA;I'm still pretty new to deliveries and would love to hear this board's experiences. Maybe we can make this into a community post aftwards." ContentLicense="CC BY-SA 3.0" />
  <row Id="19548" PostHistoryTypeId="1" PostId="11862" RevisionGUID="0bca9ab2-110b-4bf2-8a6e-672899a23cc1" CreationDate="2011-12-16T18:29:10.707" UserId="6669" Text="AC3 Creation and Dialnorm Settings -- Best Practices" ContentLicense="CC BY-SA 3.0" />
  <row Id="19549" PostHistoryTypeId="3" PostId="11862" RevisionGUID="0bca9ab2-110b-4bf2-8a6e-672899a23cc1" CreationDate="2011-12-16T18:29:10.707" UserId="6669" Text="&lt;ac3&gt;&lt;dialnorm&gt;&lt;mixing&gt;&lt;deliveries&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19550" PostHistoryTypeId="2" PostId="11863" RevisionGUID="d6c036cc-6f02-4b83-9e7b-b037979d2739" CreationDate="2011-12-16T18:52:36.507" UserId="315" Text="A thoughtful essay that answers this very question [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.filmsound.org/articles/designing_for_sound.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="19551" PostHistoryTypeId="2" PostId="11864" RevisionGUID="8a434085-e812-4dd3-aa0f-fe99627b1f2d" CreationDate="2011-12-16T19:05:21.273" UserDisplayName="user49" Text="I think its important to remember the script is a map or blueprint for a film - its a statement of intent, but not the finished film - no one knows how that will appear exactly. It is invaluable to be involved early in a production, but also important to retain objectivity &amp; inspiration for the first viewing of the cut. Thinking time is invaluable, formulating possible approaches, concepts etc but I am wary of getting too invested in concepts before I see the cut of the film.....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;A few practical ideas:&#xD;&#xA;&#xD;&#xA;- Extract a scene list &amp; create a database &amp; see how many times each location is used, at times of day. Start to appreciate the resources for ambiences you will need &amp; whether it is crucial to record them at the same time of season as the film is shot. Also identifying any problematic locations for dialogue recording.&#xD;&#xA;&#xD;&#xA;- Extract a list of vehicles &amp; contact the vehicle wrangler to have access to them for recording, now and later when you have seen the cut of the film. Despite recording what you think is full coverage of a vehicle, when shots &amp; scenes are edited together it may become apparent you need to record more material.&#xD;&#xA;&#xD;&#xA;- Note any potential crowd scenes &amp; request specific wild tracks&#xD;&#xA;&#xD;&#xA;- Note any specific FX moments &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I worked on a film once a long time ago where they pushed a car off a cliff, shot second unit without sound - I would have recorded it for free if need be!!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19552" PostHistoryTypeId="5" PostId="11862" RevisionGUID="2ec1b40a-a6a1-47db-b6b6-5bb97eaaf8d9" CreationDate="2011-12-16T19:45:58.883" UserId="6669" Comment="deleted 5 characters in body" Text="Hi All,&#xD;&#xA;&#xD;&#xA;I'm a little confused on the correct way to measure for and set the dialnorm metadata value when creating an AC3 for delivery to a client. Here's a scenario I just went through:&#xD;&#xA;&#xD;&#xA;A month or two back, I did a 5.1 student film mix where the delivery requirements were just the trimmed/conformed stems. AC3 creation was to be handled by another department that was creating the graduation ceremony DVD with all the finished films on it.&#xD;&#xA;&#xD;&#xA;Fast-forward to the graduation ceremony - the entire batch of final films is quiet as hell, probably in the range of 9dB below where everyone should be hearing them. The audience was straining to hear dialogue and even the big full-scale moments are registering like a Powerpoint presentation. A few mixers from the other films on that DVD that were in attendance confirmed that the same thing had happened to their mixes. It sucked.&#xD;&#xA;&#xD;&#xA;As a few short films that had aired earlier in the ceremony (ones where sound people had created the AC3s) sounded fine (e.g. calibrated for 85), and I can't imagine whoever was running the booth just suddenly trimmed the entire playback system down in time for the main event, I suspect it was a problem with AC3 creation and the decode.&#xD;&#xA;&#xD;&#xA;**&#xD;&#xA;&#xD;&#xA;A few weeks ago, I do another mix where I'm responsible for delivery all the way through the AC3..&#xD;&#xA;&#xD;&#xA;Disclaimer: this is my understanding of how the dialnorm value is handled on playback, and it's here that I would love corrections and notes. I hope that I am at least close to the truth.&#xD;&#xA;&#xD;&#xA;&gt; The dialnorm parameter is used in the&#xD;&#xA;&gt; decoding process to adjust the mix's&#xD;&#xA;&gt; level appropriately for how the user's&#xD;&#xA;&gt; playback system is set up. The&#xD;&#xA;&gt; dialnorm value itself is, in&#xD;&#xA;&gt; professional cases, automatically&#xD;&#xA;&gt; determined by a Dolby hardware&#xD;&#xA;&gt; box/plugin whose algorithm can&#xD;&#xA;&gt; intelligently separate dialogue from&#xD;&#xA;&gt; the other sounds in the mix and spit&#xD;&#xA;&gt; out an average dialogue level for you.&#xD;&#xA;&gt; You key this in to your encoding&#xD;&#xA;&gt; software, make your AC3, and go.&#xD;&#xA;&gt; &#xD;&#xA;&gt; What happens at the time of decode is&#xD;&#xA;&gt; that the entire mix will be trimmed to&#xD;&#xA;&gt; bring the encoded mix's specified dial&#xD;&#xA;&gt; level to whatever -27dbSPL is on the&#xD;&#xA;&gt; user's playback system. So if you key&#xD;&#xA;&gt; in a dialnorm value of -23, the whole&#xD;&#xA;&gt; mix is going to get ducked 4dB on&#xD;&#xA;&gt; playback for an unattenuated system.&#xD;&#xA;&gt; If the user's turned his system down&#xD;&#xA;&gt; by 6dB so he can have a conversation&#xD;&#xA;&gt; with his buddy while the movie's on,&#xD;&#xA;&gt; your mix will be dropped 10dB.&#xD;&#xA;&gt; &#xD;&#xA;&gt; The decoder will not automatically&#xD;&#xA;&gt; boost the original signal no matter&#xD;&#xA;&gt; what the dialnorm was set to.&#xD;&#xA;&#xD;&#xA;To avoid stuff playing back too quietly again, I decide to simply set the dialnorm metadata value at -31 (e.g. &quot;don't adjust anything&quot;) -- even though I had mixed all the film's dialogue to average between -20 and -23. I was just scared of the decoder dropping my mix due to anything being set incorrectly and didn't want to take any chances. Also, delivery was happening at the 11th hour due to a last minute picture cut, so there wasn't time to burn a DVD and test playback before shipping this thing.&#xD;&#xA;&#xD;&#xA;* Was this the right thing to do?&#xD;&#xA;* Have you experienced similar horror stories?&#xD;&#xA;* And how should setting the dialnorm -- and playing back the finished DVD -- go in a perfect world?&#xD;&#xA;&#xD;&#xA;I'm still pretty new to deliveries and would love to hear this board's experiences. Maybe we can make this into a community post aftwards." ContentLicense="CC BY-SA 3.0" />
  <row Id="19553" PostHistoryTypeId="2" PostId="11865" RevisionGUID="bbb352fd-a0fa-4eb6-b634-cc1dabeeaacf" CreationDate="2011-12-16T22:24:26.953" UserId="842" Text="I'm about to make a tremendous rework of the acoustics in my studio, and a fix for the 129Hz standing rez-wave that haunts it. &#xD;&#xA;Right now I'm looking at Auralex Wedges, considering possibly 4&quot; wedges at the hotspots and 2&quot; elsewhere, with bass-traps consisting of a kind of long tubular heavy insulation originally meant for ventilation pipes running continuously along every corner in the ceiling.&#xD;&#xA;I wonder if anyone here has any opinions on this, or perhaps Auralex in general?&#xD;&#xA;I use the same room for both sound designing/editing, mix, ADR, sound effect recordings and foley, so I prefer reliability and neutrality over artistic and beautiful acoustics." ContentLicense="CC BY-SA 3.0" />
  <row Id="19554" PostHistoryTypeId="1" PostId="11865" RevisionGUID="bbb352fd-a0fa-4eb6-b634-cc1dabeeaacf" CreationDate="2011-12-16T22:24:26.953" UserId="842" Text="Acoustics and Auralex?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19555" PostHistoryTypeId="3" PostId="11865" RevisionGUID="bbb352fd-a0fa-4eb6-b634-cc1dabeeaacf" CreationDate="2011-12-16T22:24:26.953" UserId="842" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19556" PostHistoryTypeId="2" PostId="11866" RevisionGUID="49f602cd-c0cf-41d0-8f05-b5156fd8bdbf" CreationDate="2011-12-16T23:39:47.543" UserId="842" Text="My favorite way of doing this is to sit in the opposite side behind the one being filmed, using an as short a boom I can get it, with either a Sennheiser MKH-40 or Oktava 012 (which capsule also depends), depending on the voice and car, facing a best sweet-spot I can find and staying there.&#xD;&#xA;Of course that means you have to follow the movements of both the actor and the car as well as keep out of shot, but used in the right way it's well worth the extra work on your behalf!&#xD;&#xA;&#xD;&#xA;It's much easier if you just use lavs, but especially in cars with the proximity to pretty much everything reflective in mind, in my opinion the much better sound of a cardioid or super aimed in perfect focus makes it well worth despite the fact that it's an everything but comfortable position to boom in.&#xD;&#xA;&#xD;&#xA;Early in my career, before I could afford more good mikes, I used my 416 to everything. Including car interior. Doesn't miss that time." ContentLicense="CC BY-SA 3.0" />
  <row Id="19557" PostHistoryTypeId="2" PostId="11867" RevisionGUID="8d04a0f0-58f0-436c-b801-a90e5b4785e4" CreationDate="2011-12-17T01:42:48.833" UserId="1228" Text="In my experience, if I'm reading you right, is that you're experiencing the discrepancy between a theatrical and a DVD mix, or rather, the professional versus consumer differences.  Think of it sort of like the -10 versus +4 of line level.  On a home theater system calibrated properly, when I boosted the amp's playback level to 100, it sounded proper for a -20dB mix put on a DVD- But any lower (lower, like to the amp level used when watching other DVDs or TV) it sounded too quiet.  Made me wonder why when I pop a DVD I bought at the store, I have to lower the volume a lot to get a comparable -20dB playback level, because otherwise it's too loud.  When preparing a mix for DVD/Web (consumer playback), I boost the stems by 6dB and engage a brickwall at about -3dB or so like the L2007 or Maxim - nothing to degrade the signal but just as a catch-all.  And then I make automated adjustments as needed  That seems to yield proper playback levels similar to DVDs you find in the store, and similar to the playback levels I hear on Hulu etc.  And it turns out a lot of DVDs/BluRays have &quot;remixed&quot; printmasters that are boosted in level, compressed in dynamics, for optimal playback in a consumer environment - most of the times it sounds pretty transparent, but on some action shows when heard on headphones, you can hear they slammed it hard against a limiter (this is my beef with them using the marketing ploy &quot;Master Audio blah blah the same mix heard on the stage&quot; or &quot;at the theater&quot; - well, NOT quite true - uncompressed fidelity, yes... but byte-per-byte frequency and dynamics representation of what was used to strike the 35mm print, probably not).&#xD;&#xA;&#xD;&#xA;But when I've used the regular theatrical -20dB mix for DVDs or web, without that 6dB boost and dynamics control, it sounds super low.  This is just my own experience though, and what research has led me to do with my own work.  There seems to be a somewhat of a &quot;dark art&quot; to consumer printmastering practices, have had a hard time finding any white paperish information or documentation about it.  The +6dB to stems and limiting is about all I've managed to find." ContentLicense="CC BY-SA 3.0" />
  <row Id="19558" PostHistoryTypeId="5" PostId="11867" RevisionGUID="3736b37a-1369-45c1-91b9-ba7efa3a8f66" CreationDate="2011-12-17T01:49:55.293" UserId="1228" Comment="added 709 characters in body" Text="In my experience, if I'm reading you right, is that you're experiencing the discrepancy between a theatrical and a DVD mix, or rather, the professional versus consumer differences.  Think of it sort of like the -10 versus +4 of line level.  On a home theater system calibrated properly, when I boosted the amp's playback level to 100, it sounded proper for a -20dB mix put on a DVD- But any lower (lower, like to the amp level used when watching other DVDs or TV) it sounded too quiet.  Made me wonder why when I pop a DVD I bought at the store, I have to lower the volume a lot to get a comparable -20dB playback level, because otherwise it's too loud.  When preparing a mix for DVD/Web (consumer playback), I boost the stems by 6dB and engage a brickwall at about -3dB or so like the L2007 or Maxim - nothing to degrade the signal but just as a catch-all.  And then I make automated adjustments as needed  That seems to yield proper playback levels similar to DVDs you find in the store, and similar to the playback levels I hear on Hulu etc.  And it turns out a lot of DVDs/BluRays have &quot;remixed&quot; printmasters that are boosted in level, compressed in dynamics, for optimal playback in a consumer environment - most of the times it sounds pretty transparent, but on some action shows when heard on headphones, you can hear they slammed it hard against a limiter (this is my beef with them using the marketing ploy &quot;Master Audio blah blah the same mix heard on the stage&quot; or &quot;at the theater&quot; - well, NOT quite true - uncompressed fidelity, yes... but byte-per-byte frequency and dynamics representation of what was used to strike the 35mm print, probably not).&#xD;&#xA;&#xD;&#xA;But when I've used the regular theatrical -20dB mix for DVDs or web, without that 6dB boost and dynamics control, it sounds super low.  This is just my own experience though, and what research has led me to do with my own work.  There seems to be a somewhat of a &quot;dark art&quot; to consumer printmastering practices, have had a hard time finding any white paperish information or documentation about it.  The +6dB to stems and limiting is about all I've managed to find.&#xD;&#xA;&#xD;&#xA;And, you are correct... that's what dialnorm does in AC3, but only so long as you know what you mixed to and enter the proper value to compensate for that level.  The other part of it too is determing the LEQ(a) loudness of the Center dialogue track through a Dolby LM100 hitting a loudness target of -27dB.  If using the Phasescope over a stereo mix bus, I believe the target to hit is -24dB for an equivalent -27dB true Center via the LM100 (because of the phantom center summing).  My understanding, and somebody please correct me if I'm wrong, is that whatever number you calibrate to via the LM100 is what the dialnorm value is for the metadata (usually -27, but some places like Discovery want -24)." ContentLicense="CC BY-SA 3.0" />
  <row Id="19559" PostHistoryTypeId="2" PostId="11868" RevisionGUID="ea2764b8-66a7-4599-8d20-08c2a7f14b71" CreationDate="2011-12-17T08:31:04.443" UserId="654" Text="Make some tuned panel absorbers instead - the wedges wont tame it in my experience.&#xD;&#xA;Lots of cheaper options than buying that stuff, go DIY on your studio, you'll learn a bunch in the process of saving a sheckle or two and make for a better end result." ContentLicense="CC BY-SA 3.0" />
  <row Id="19561" PostHistoryTypeId="2" PostId="11870" RevisionGUID="ecf4ce5e-91e0-485a-b6de-618bb63c9a51" CreationDate="2011-12-17T11:21:32.900" UserId="3272" Text="It's a hard thing not getting lost in the story but I use a method that usually helps a lot. The problem usually is that you don't notice a good sound design because of the fact that it's good.. The method I'm using is simple but takes away all the beauty of the movie, so you have to sacrifice. First, you watch the movie, and you're blown away by it. Then you want to know how they did this. &#xD;&#xA;&#xD;&#xA;Going back to the basics and remembering that a movie is nothing more then a story told by images and sound will get you to the &quot;Masking method&quot;. (I read about this method in a great book by Michel Chion: &quot;audiovision&quot;).&#xD;&#xA;&#xD;&#xA;After you've seen the movie you're going to watch it scene by scene. With every scene you first shut the sound down and just watch the images. Then you go and listen the scene without image. You make notes while doing both and you go through the whole movie this way. At the end you're going to read all your notes and you'll find yourself a clear blueprint of the movie. I usually go and write a small paper for myself about the movie. &#xD;&#xA;&#xD;&#xA;It's a time consuming process and it takes all the magic away, but for me it's the only way I can truly analyze the sound design. To make it more clear, I usually separate the whole movie in four categories: Dialogue, Sounds, Silence and Music.&#xD;&#xA;&#xD;&#xA;I could send you a couple of examples I made, but I think it wouldn't make sense, since their'e all in Dutch. If you would still like to see them, contact me. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19562" PostHistoryTypeId="5" PostId="11868" RevisionGUID="c3ff079b-5a29-420f-aa46-3398649b3279" CreationDate="2011-12-17T11:25:40.840" UserId="654" Comment="added 368 characters in body" Text="Make some tuned panel absorbers instead - the wedges wont tame it in my experience.&#xD;&#xA;Lots of cheaper options than buying that stuff, go DIY on your studio, you'll learn a bunch in the process of saving a sheckle or two and make for a better end result.&#xD;&#xA;&#xD;&#xA;http://www.protoolsprofessional.com/2010/03/14/basstraps/&#xD;&#xA;&#xD;&#xA;http://forum.studiotips.com/viewforum.php?f=37&amp;sid=348b55a4bb2295ef0c7de8a063752198&#xD;&#xA;&#xD;&#xA;http://www.audiotechnology.com.au/PDF/79/AT79_Supermegaultragroovy.pdf&#xD;&#xA;&#xD;&#xA;http://www.gcaudio.com/resources/howtos/roomacoustics.html&#xD;&#xA;&#xD;&#xA;Lots of good articles on the Sound on Sound &quot;technique&quot; and archive section too." ContentLicense="CC BY-SA 3.0" />
  <row Id="19563" PostHistoryTypeId="13" PostId="1153" RevisionGUID="43ffb3a7-f558-4557-9bdb-08389d0bd314" CreationDate="2011-12-17T13:23:20.467" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="19564" PostHistoryTypeId="2" PostId="11871" RevisionGUID="3e2197e2-e971-41e0-9b34-00abc1538433" CreationDate="2011-12-17T13:55:52.073" UserId="3282" Text="Hi mates,&#xD;&#xA;I am looking for an advanced way of playing my own samples, recordings and experimentations in an &quot;instrumental&quot; way. That means : controlling play position, &quot;grain&quot; pausing, vari-speed, scratching, loop cues, applying realtime FX and being able to record the output as an audio file.&#xD;&#xA;What piece of software/hardware would you recommend ? Is there any DJing stuff that could suit my needs, even with non metrical sounds ? &#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Xavier&#xD;&#xA;&#xD;&#xA;PS : I am an ableton live, EW, and NI user." ContentLicense="CC BY-SA 3.0" />
  <row Id="19565" PostHistoryTypeId="1" PostId="11871" RevisionGUID="3e2197e2-e971-41e0-9b34-00abc1538433" CreationDate="2011-12-17T13:55:52.073" UserId="3282" Text="Looking for an advanced sample player (scrub, grain, transpose, scratching...)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19566" PostHistoryTypeId="3" PostId="11871" RevisionGUID="3e2197e2-e971-41e0-9b34-00abc1538433" CreationDate="2011-12-17T13:55:52.073" UserId="3282" Text="&lt;sampler&gt;&lt;scratching&gt;&lt;granular-synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19567" PostHistoryTypeId="2" PostId="11872" RevisionGUID="305d26e0-de87-4e57-905f-73fac67d8fed" CreationDate="2011-12-17T14:19:49.617" UserId="1145" Text="Do you have Max for Live with your Ableton? If so check out Granulator. Also have a look at  [m4l library][1]&#xD;&#xA;&#xD;&#xA;This is also a cool granular sample recorder and player from [Density][2] Even the iPad version is great.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Your'e covered if your'e a NI user as well. Search in the [Reaktor user library][3]&#xD;&#xA; for granular and I'm sure you'll find something you like. I have used the good old Plasma a lot, but there is plenty of new things since that was deleloped. I just love the way it sounds...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://maxforlive.com/library/index.php&#xD;&#xA;  [2]: http://www.densitygs.com/&#xD;&#xA;  [3]: http://www.native-instruments.com/?id=userlibrary" ContentLicense="CC BY-SA 3.0" />
  <row Id="19568" PostHistoryTypeId="2" PostId="11873" RevisionGUID="b661d24d-25d3-45b6-99a0-381dce53a224" CreationDate="2011-12-17T15:19:42.683" UserDisplayName="user80" Text="I would avoid going down the absorption wedges route, it is really easy to mess up.  &#xD;&#xA;&#xD;&#xA;Personally I would work with moveable panels which you can make up from fibreglass sheets which you cover with rockwool and then cover with cloth.  The size of the sheet and the depth of the rockwool will allow you to control the frequencies that you absorb.  These panels can either be floor standing if you mount them in a wooden frame, or they can be screwed on to the wall.  Either way you can tune the room to the right balance of live and dead according to the job you are working on.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="19569" PostHistoryTypeId="5" PostId="11872" RevisionGUID="6939fd97-00e1-4379-b81f-8cf1ae4b7689" CreationDate="2011-12-17T16:35:48.457" UserId="1145" Comment="edited body" Text="Do you have Max for Live with your Ableton? If so check out Granulator. Also have a look at  [m4l library][1]&#xD;&#xA;&#xD;&#xA;This is also a cool granular sample recorder and player from [Density][2] Even the iPad version is great.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Your'e covered if your'e a NI user as well. Search in the [Reaktor user library][3]&#xD;&#xA; for granular and I'm sure you'll find something you like. I have used the good old Plasma a lot, but there is plenty of new things since that was developed. I just love the way it sounds...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://maxforlive.com/library/index.php&#xD;&#xA;  [2]: http://www.densitygs.com/&#xD;&#xA;  [3]: http://www.native-instruments.com/?id=userlibrary" ContentLicense="CC BY-SA 3.0" />
  <row Id="19570" PostHistoryTypeId="2" PostId="11874" RevisionGUID="035843c9-bf66-4cf4-a3a5-130eb4b278e7" CreationDate="2011-12-17T21:19:31.610" UserId="3135" Text="Kontakt is great for all of that. &#xD;&#xA;&#xD;&#xA;Some good fun can be had by mapping the sample start position to your mod wheel and the sample pitch to a fader. Map some FX parameters to your faders and hit record." ContentLicense="CC BY-SA 3.0" />
  <row Id="19571" PostHistoryTypeId="2" PostId="11875" RevisionGUID="8497df6f-6a9c-4bad-9134-2e41c50136c0" CreationDate="2011-12-17T21:32:30.130" UserId="587" Text="Hey all!&#xD;&#xA;&#xD;&#xA;Is anyone running PT9, beta or non-beta, on Lion OSX?&#xD;&#xA;&#xD;&#xA;Any issues if so?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;C3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19572" PostHistoryTypeId="1" PostId="11875" RevisionGUID="8497df6f-6a9c-4bad-9134-2e41c50136c0" CreationDate="2011-12-17T21:32:30.130" UserId="587" Text="Lion and PT9 Compatibility" ContentLicense="CC BY-SA 3.0" />
  <row Id="19573" PostHistoryTypeId="3" PostId="11875" RevisionGUID="8497df6f-6a9c-4bad-9134-2e41c50136c0" CreationDate="2011-12-17T21:32:30.130" UserId="587" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19574" PostHistoryTypeId="2" PostId="11876" RevisionGUID="d9768637-66ae-4816-adbf-1bb2e2fb58e9" CreationDate="2011-12-17T21:36:30.893" UserId="587" Text="Hey all,&#xD;&#xA;&#xD;&#xA;So &quot;AAA&quot; companies advertise jobs on gamasutra.com, gameaudio101.com, etc etc.&#xD;&#xA;&#xD;&#xA;What about &quot;AA&quot; companies? Where do they get their employees? How do they hire and is there a place where they advertise job openings like the previously mentioned pages?&#xD;&#xA;&#xD;&#xA;Gamedevmap.com is the best site I have known to find ALL game companies, but its extremely time consuming to visit every single one of their sites in every state to see what jobs they have available. Is this literally the best way to go about it?&#xD;&#xA;&#xD;&#xA;Thanks for your thoughts!&#xD;&#xA;C3" ContentLicense="CC BY-SA 3.0" />
  <row Id="19575" PostHistoryTypeId="1" PostId="11876" RevisionGUID="d9768637-66ae-4816-adbf-1bb2e2fb58e9" CreationDate="2011-12-17T21:36:30.893" UserId="587" Text="AA Video Game Companies" ContentLicense="CC BY-SA 3.0" />
  <row Id="19576" PostHistoryTypeId="3" PostId="11876" RevisionGUID="d9768637-66ae-4816-adbf-1bb2e2fb58e9" CreationDate="2011-12-17T21:36:30.893" UserId="587" Text="&lt;jobs&gt;&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19577" PostHistoryTypeId="2" PostId="11877" RevisionGUID="4dc75e24-bd96-404a-be7d-13fcd0dd6b5b" CreationDate="2011-12-17T21:42:37.397" UserId="3283" Text="I agree with the previous posts.  Go DIY!  I like Auralex for the more architectural products which especially for diffusion.  The foam products are petroleum based and much of the modern insulation products are very green.  There are some many great forums and youtube videos that show  you how to make absorption and bass traps with material from home depot and fabric from   the internet. On another note, Gik acoustics makes a soffit trap which one of my favorite prefab devices.  Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="19578" PostHistoryTypeId="2" PostId="11878" RevisionGUID="e560537c-ff18-4e34-b9e8-a97f8c6ebcdd" CreationDate="2011-12-17T21:53:35.583" UserId="3075" Text="has anyone else seen/ heard hard candy?&#xD;&#xA;&#xD;&#xA;i would recommend it as the sound design on that film is really great,,. the whole film seems very sterile almost as if they didnt record any sound on production and the main character Jeff must of had his dialogue recorded in an anechoic chamber and has a VO quality to it..&#xD;&#xA;&#xD;&#xA;Makes me wonder how they got the sound so clean and sterile sounding (other than good eqing), would they have just recorded very good production audio or was it all adr?&#xD;&#xA;&#xD;&#xA;be great if anyone had any insight into this.. i know the budget for the film was only a million (only hehe)..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="19579" PostHistoryTypeId="1" PostId="11878" RevisionGUID="e560537c-ff18-4e34-b9e8-a97f8c6ebcdd" CreationDate="2011-12-17T21:53:35.583" UserId="3075" Text="sound design in 'Hard Candy'" ContentLicense="CC BY-SA 3.0" />
  <row Id="19580" PostHistoryTypeId="3" PostId="11878" RevisionGUID="e560537c-ff18-4e34-b9e8-a97f8c6ebcdd" CreationDate="2011-12-17T21:53:35.583" UserId="3075" Text="&lt;adr&gt;&lt;production&gt;&lt;dialogue-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19581" PostHistoryTypeId="2" PostId="11879" RevisionGUID="af015c3e-41d7-4a4c-b5e5-2e3126c59da6" CreationDate="2011-12-17T22:41:24.597" UserId="3214" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm looking to buy a portable recorder and shotgun microphone.&#xD;&#xA;&#xD;&#xA;I want the recorder to have decent internal mic's, to get some nice ambience recordings, but, as I can't really afford an extra pre-amp, I also need xlr input and phantom power.&#xD;&#xA;&#xD;&#xA;I think i've narrowed it down to these:&#xD;&#xA;-Marantz PMD661&#xD;&#xA;-Roland R-26&#xD;&#xA;-Tascam DR-100 Mk2&#xD;&#xA;&#xD;&#xA;And as for a microphone I am looking to get a Rode NTG-2.&#xD;&#xA;&#xD;&#xA;If you have any experience with any of these, or any advice, I would hugely appreciate it, I find it so hard to pick between them.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="19582" PostHistoryTypeId="1" PostId="11879" RevisionGUID="af015c3e-41d7-4a4c-b5e5-2e3126c59da6" CreationDate="2011-12-17T22:41:24.597" UserId="3214" Text="Mid-priced Portable Recorders &amp; Microphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="19583" PostHistoryTypeId="3" PostId="11879" RevisionGUID="af015c3e-41d7-4a4c-b5e5-2e3126c59da6" CreationDate="2011-12-17T22:41:24.597" UserId="3214" Text="&lt;portable-recorder&gt;&lt;shotgun&gt;&lt;marantz&gt;&lt;tascam&gt;&lt;rode&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19584" PostHistoryTypeId="2" PostId="11880" RevisionGUID="1dd17f04-3f03-4582-8b7e-7631f2d8d4e6" CreationDate="2011-12-17T23:00:06.163" UserId="3284" Text="I live at the seaside and have found it to be a great resource for unusual sounds that are hard to find elsewhere.&#xD;&#xA;&#xD;&#xA;A particular favourite, although nothing special, is the sound of donkeys sauntering along with their bells (as in donkey rides on the beach).&#xD;&#xA;&#xD;&#xA;Arcades would be ideal, however I've never had any success with permission, due to the copyright issues with the music and recordings played back on arcade machines. Unless you do it surreptitiously... But that would be a bit naughty!&#xD;&#xA;&#xD;&#xA;Thinking of where you are, does the pier still stand? If you can get beneath it, the ambience, combined with the sound of the shore, could be interesting." ContentLicense="CC BY-SA 3.0" />
  <row Id="19585" PostHistoryTypeId="2" PostId="11881" RevisionGUID="a64540f5-ab86-41c6-9577-4b69104f02be" CreationDate="2011-12-18T01:13:36.637" UserId="587" Text="According to multiple sites, there is no issue with PT9 and Lion. New OS here I come!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19586" PostHistoryTypeId="2" PostId="11882" RevisionGUID="f87e8765-03f7-42e4-975b-73d193da725a" CreationDate="2011-12-18T03:23:20.313" UserId="3182" Text="I am looking at getting the Zoom H1 recorder, but a decent Shotgun Mic, and then build a Boom Pole and a Shock Mount. I searched youtube.com and came across many videos on how to build them. &#xD;&#xA;&#xD;&#xA;I have a nady shotgun mic, it doesnt pic up the best of quality, but with some editing I can clean it up pretty well." ContentLicense="CC BY-SA 3.0" />
  <row Id="19587" PostHistoryTypeId="2" PostId="11883" RevisionGUID="3dbedcd9-3e42-444e-bbbf-55cb5b458786" CreationDate="2011-12-18T03:29:16.137" UserId="3182" Text="I work as a sound designer at a small community theater. Currently I am using creative common sounds, as well as my own recordings. I am handed a script which is the blueprint, and I generally stay right on with that is said to use. There are times when I change the sounds because I feel it sounds better. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19588" PostHistoryTypeId="2" PostId="11884" RevisionGUID="a71904b8-2bb5-4c6e-9f94-e513df97d0f8" CreationDate="2011-12-18T05:05:03.123" UserId="3285" Text="Hello,&#xD;&#xA;&#xD;&#xA;I'm looking for a lavalier microphone which can make recordings of rifle, car and other vehicles...&#xD;&#xA;I know the DPA 4060 but I found on the Internet countryman C3, Rode lavalier, AKG, Audio-technica, for less dear.&#xD;&#xA;&#xD;&#xA;In this price range, which would you recommend me ?&#xD;&#xA;By thanking you in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="19589" PostHistoryTypeId="1" PostId="11884" RevisionGUID="a71904b8-2bb5-4c6e-9f94-e513df97d0f8" CreationDate="2011-12-18T05:05:03.123" UserId="3285" Text="Lavalier microphones for various uses" ContentLicense="CC BY-SA 3.0" />
  <row Id="19590" PostHistoryTypeId="3" PostId="11884" RevisionGUID="a71904b8-2bb5-4c6e-9f94-e513df97d0f8" CreationDate="2011-12-18T05:05:03.123" UserId="3285" Text="&lt;lavalier&gt;&lt;microphone&gt;&lt;car&gt;&lt;weapon&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19591" PostHistoryTypeId="5" PostId="11868" RevisionGUID="d2a2020f-cccc-4658-9f9c-3834c22ec77b" CreationDate="2011-12-18T06:25:50.527" UserId="654" Comment="added 119 characters in body; added 64 characters in body" Text="Make some tuned panel absorbers instead - the wedges wont tame it in my experience.&#xD;&#xA;Lots of cheaper options than buying that stuff, go DIY on your studio, you'll learn a bunch in the process of saving a sheckle or two and make for a better end result.&#xD;&#xA;&#xD;&#xA;**FYI McGregor and I are talking about the same thing...**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.protoolsprofessional.com/2010/03/14/basstraps/&#xD;&#xA;&#xD;&#xA;http://forum.studiotips.com/viewforum.php?f=37&amp;sid=348b55a4bb2295ef0c7de8a063752198&#xD;&#xA;&#xD;&#xA;http://www.audiotechnology.com.au/PDF/79/AT79_Supermegaultragroovy.pdf&#xD;&#xA;&#xD;&#xA;http://www.gcaudio.com/resources/howtos/roomacoustics.html&#xD;&#xA;&#xD;&#xA;Lots of good articles on the Sound on Sound &quot;technique&quot; and archive section too.&#xD;&#xA;http://www.soundonsound.com/search?page=3&amp;Section=8&amp;Subject=5&#xD;&#xA;Particularly the &quot;Practical Acoustic Treatment&quot; series" ContentLicense="CC BY-SA 3.0" />
  <row Id="19598" PostHistoryTypeId="2" PostId="11886" RevisionGUID="7d7895f9-590a-4428-a494-8d696bf177b9" CreationDate="2011-12-18T07:00:11.543" UserId="338" Text="BMC professional sound lavalier mic's would sound great for recording machine noise and harsh noises&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19600" PostHistoryTypeId="2" PostId="11888" RevisionGUID="43fd1a07-351c-4551-b489-338fce073262" CreationDate="2011-12-18T07:19:10.767" UserId="432" Text="I just hosted a webinar with Randy Thom, and he gets into this idea a little bit in the course of the discussion. It's later on in the webinar, but he talks about discussing with the director types of shots that could be filmed to provide the opportunity for sound to work, and create something meaningful, with the images. Something that can prepare the audience for later usage, or make the mentally reference that image when they hear the sound later on.&#xD;&#xA;&#xD;&#xA; A recording of the webinar is available here: http://www.anymeeting.com/WebConference/RecordingDefault.aspx?c_psrid=E958D888894C" ContentLicense="CC BY-SA 3.0" />
  <row Id="19601" PostHistoryTypeId="2" PostId="11889" RevisionGUID="8cad8732-ea24-47c9-ae02-abb33f33a4da" CreationDate="2011-12-18T07:28:27.297" UserDisplayName="user80" Text="We have a Marantz PMD-661 and it works really well, for the price point the mic pre-amps are quiet, and the built in mics are a lot better than I expected.  We also have the older PMD-660s which have never broken down, so I am pretty certain that the PMD-661 will be as reliable.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="19605" PostHistoryTypeId="2" PostId="11891" RevisionGUID="34454f17-163a-425f-ac3e-ae8576365b67" CreationDate="2011-12-18T10:31:45.360" UserId="3162" Text="Did You also treat the first reflection points?&#xD;&#xA;If not, I suggest to do it first and the measure again&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It can be quite tricky to optimize Your spot.&#xD;&#xA;It might take some time, &#xD;&#xA;So If You want to learn - got DIY&#xD;&#xA;&#xD;&#xA;If You have no time to dig into acoustics - go greenacoustics, real traps, GIK, etc.&#xD;&#xA;depends on the money really.&#xD;&#xA;Auralex might not work too well due to material.&#xD;&#xA;&#xD;&#xA;If You can insure that Your room is quite linear already but just have some probs with specific freqs/-ranges, You need to go Helmholtz or VPR (Plate resonator- hope it´s also called like this in english) .&#xD;&#xA;Which can be VERY tricky to build.&#xD;&#xA;If You need more infos, feel free to ask for links...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So my way would be: &#xD;&#xA;&#xD;&#xA;Measure again, treat the corners AND first reflection points. measure again.&#xD;&#xA;&#xD;&#xA;fabrics for DIY can be : owens corning 703, basotect, hemp :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Happy optimizing, it´s worth it &#xD;&#xA;&#xD;&#xA;L&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19606" PostHistoryTypeId="2" PostId="11892" RevisionGUID="49f0cfe0-a369-4749-8829-aa7a1cbb1125" CreationDate="2011-12-18T10:45:33.560" UserId="3162" Text="&#xD;&#xA;I´d go DPA, yes they are expensive, but they are very good and useful for pretty much&#xD;&#xA;any field.&#xD;&#xA;&#xD;&#xA;If not , &#xD;&#xA;&#xD;&#xA;Voice Technologies (VT 500 or different one)&#xD;&#xA;&#xD;&#xA;TRAM Tr 50 (versatile, hiding under cloth not toooo good) &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;a Sanken Cos 11 is fine (also good for hiding under cloth)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19607" PostHistoryTypeId="2" PostId="11893" RevisionGUID="94feedbd-c234-4352-8f03-cf19c990d501" CreationDate="2011-12-18T10:47:45.807" UserId="6519" Text="Can you recommend suction-cup microphone holder ?&#xD;&#xA;Recording cars etc..." ContentLicense="CC BY-SA 3.0" />
  <row Id="19608" PostHistoryTypeId="1" PostId="11893" RevisionGUID="94feedbd-c234-4352-8f03-cf19c990d501" CreationDate="2011-12-18T10:47:45.807" UserId="6519" Text="can you recommend suction-cup microphone holder ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19609" PostHistoryTypeId="3" PostId="11893" RevisionGUID="94feedbd-c234-4352-8f03-cf19c990d501" CreationDate="2011-12-18T10:47:45.807" UserId="6519" Text="&lt;microphone&gt;&lt;microphone-stand&gt;&lt;car&gt;&lt;vehicles&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19610" PostHistoryTypeId="2" PostId="11894" RevisionGUID="357c7c77-88f8-417a-b954-69141d73fe63" CreationDate="2011-12-18T16:57:40.240" UserDisplayName="user80" Text="I use a pair or Manfrotto pump-cups, and have never had one fall off.  They are large (60cm diameter), and you need to remember to take something with you to clean the windows afterwards as they usually leave a visible ring. &#xD;&#xA;&#xD;&#xA;http://www.manfrotto.com/pump-cup-with-flat-base" ContentLicense="CC BY-SA 3.0" />
  <row Id="19611" PostHistoryTypeId="2" PostId="11895" RevisionGUID="ee287c9e-6d09-4294-8cdb-a55553b3ddbf" CreationDate="2011-12-18T19:31:48.273" UserId="3284" Text="Fairly straightforward question, really!&#xD;&#xA;&#xD;&#xA;Is there an equivalent (I don't think it's a particularly controversial point) and what do you call it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19612" PostHistoryTypeId="1" PostId="11895" RevisionGUID="ee287c9e-6d09-4294-8cdb-a55553b3ddbf" CreationDate="2011-12-18T19:31:48.273" UserId="3284" Text="What is the sound equivalent of 'mise en scene'?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19613" PostHistoryTypeId="3" PostId="11895" RevisionGUID="ee287c9e-6d09-4294-8cdb-a55553b3ddbf" CreationDate="2011-12-18T19:31:48.273" UserId="3284" Text="&lt;visuals&gt;&lt;terminology&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19614" PostHistoryTypeId="2" PostId="11896" RevisionGUID="a6c11218-f324-46e5-9cf7-a9756f825371" CreationDate="2011-12-18T19:40:59.477" UserId="253" Text="I think mise en scene relates to all aspects of film production, including sound. &#xD;&#xA;&#xD;&#xA;Because it means &quot;putting on stage&quot; or something like that, i think it can be interpreted as pertaining to anything that has been put into the world of the film. Things like the blocking of the actors, or the way a set is dressed; but also the inclusion of a loud highway outside, or neighbours having loud sex on the other side of the wall. &#xD;&#xA;&#xD;&#xA;It's kind of an ambiguous term for me, but that's my basic take on it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19615" PostHistoryTypeId="2" PostId="11897" RevisionGUID="c88e9664-0173-4691-90f0-7bdfceeab3ac" CreationDate="2011-12-18T19:59:36.250" UserId="6519" Text="Yeah, me too I'm using **Marantz PMD-661** with **RODE NTG-2** shotgun microphone.Fantastic pairing, but I recommend it.&#xD;&#xA;[**Check my sound demos**][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/membrans-sound-design" ContentLicense="CC BY-SA 3.0" />
  <row Id="19616" PostHistoryTypeId="5" PostId="9857" RevisionGUID="8bba1749-e37d-4035-8c27-07b5f75f6436" CreationDate="2011-12-18T20:03:56.413" UserId="6519" Comment="added 4 characters in body" Text="I use this model: **ART USB Dual Pre Portable Preamp** (2 channel, phantom power, internal 9V battery).&#xD;&#xA;Cheap, durable and a good voice.&#xD;&#xA;http://www.artproaudio.com/products.asp?type=86&amp;cat=9&amp;id=150&#xD;&#xA;&#xD;&#xA;![valid XHTML](http://bandwagonperth.co.uk/site/components/com_virtuemart/shop_image/product/ART_Project_Seri_4d2f1b1772927.jpg)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19617" PostHistoryTypeId="2" PostId="11898" RevisionGUID="4e88ec50-33a5-43df-a0cf-0aeeef278d66" CreationDate="2011-12-18T20:08:31.187" UserId="3249" Text="I used for this standard camera car rig suction caps - 2 for boom pole, 1 for single microphone on mic holder.&#xD;&#xA;Follow this video: http://vimeo.com/33421306" ContentLicense="CC BY-SA 3.0" />
  <row Id="19618" PostHistoryTypeId="4" PostId="11893" RevisionGUID="821ecfef-4b4b-4241-8b14-741f9d740742" CreationDate="2011-12-18T20:09:15.127" UserId="6519" Comment="edited title" Text="Can you recommend suction-cup microphone holder ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19619" PostHistoryTypeId="2" PostId="11899" RevisionGUID="1e2c6c71-5c99-459e-ba4f-85156e24c289" CreationDate="2011-12-18T20:40:37.707" UserId="3222" Text="I personally have done 16 mise en scenes and the perfect translation of mise en scene for in soud is Bresson. Bresson is a play of foleys and minor play of ambiences. However here the foleys are most important. A foley as unimportant as clothes rustle is given more importance and is dynamically larger. If you need I can send you references of my own mise en scene which you can refer to understand and get a better idea of it.&#xD;&#xA;&#xD;&#xA;In Bresson the use of BGM is very minimal and its as good as not being present in your sound track. Bresson is very difficult to achieve as you try to define the narrative through diagetic and non - diagetic sound. Because there is no BGM to support your narrative, there is a huge strain on the sound design. You have to foreshadow your emotion through sound. It is very difficult and pretty difficult to achieve. Its Even more difficult to bridge gaps between scenes through sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="19620" PostHistoryTypeId="2" PostId="11900" RevisionGUID="e00aeff7-2710-450a-95da-6e6e11b19db9" CreationDate="2011-12-18T20:47:11.370" UserId="238" Text="The sound equivalent of *mise en scène* would be soundscape / soundtrack. *Mise en scène* is a term used to describe a number of different visual design elements such as set design, space, lighting, costume etc. The term soundtrack (or soundscape in theatre) is used in a similar way and can be equally broken down into categories such as dialogue, ambiance, sfx, music etc. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19621" PostHistoryTypeId="2" PostId="11901" RevisionGUID="66361d65-cb6b-44f2-887b-f136e7b5ddc1" CreationDate="2011-12-19T00:15:35.303" UserId="1072" Text="I've done a bunch of motorcycles and cars with cos-11s they work well and can be placed on the driver nicely" ContentLicense="CC BY-SA 3.0" />
  <row Id="19622" PostHistoryTypeId="2" PostId="11902" RevisionGUID="d067cb3b-4eac-4669-89ee-fb77c9127410" CreationDate="2011-12-19T00:27:27.827" UserId="6499" Text="Has anyone experimented with police tactical bags?&#xD;&#xA;&#xD;&#xA;http://www.mycopshop.com/category.cfm/policesupplies/cases&#xD;&#xA;&#xD;&#xA;This  place is  down the road from my parents and tomorrow I am going to bring my 416/with zepplin and recorder out there and see if I can find something that it will all fit into safely for low profile city adventures of the unexpected recording, while maintaining ease of access.&#xD;&#xA;&#xD;&#xA;I have an fr2 LE atm but I want to make sure it can/will be able to fit a 7 series or nomad.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19623" PostHistoryTypeId="2" PostId="11903" RevisionGUID="c5a2bf5d-da46-471e-8fe7-1988492c7097" CreationDate="2011-12-19T02:46:56.030" UserId="1129" Text="I assume you are referring to the Countryman B3, I don't think they make a C3.  I would NOT recommend this mic for recording the sources you mentioned above.&#xD;&#xA;&#xD;&#xA;I have a whole stock of B3s that I use for live theatre reinforcement.  They are a little heavy on the high-mids, which is a feature for my use, but I think for recording something more true, you'd want something with a flatter response.&#xD;&#xA;&#xD;&#xA;Also, while you can get them in several sensitivities, I don't think they could handle the high SPL, transient nature of recording gunfire." ContentLicense="CC BY-SA 3.0" />
  <row Id="19624" PostHistoryTypeId="2" PostId="11904" RevisionGUID="c13c40b5-0616-4429-8994-8925370ec341" CreationDate="2011-12-19T06:12:27.143" UserId="1178" Text="You might want to check http://www.gamedev.net forum." ContentLicense="CC BY-SA 3.0" />
  <row Id="19625" PostHistoryTypeId="2" PostId="11905" RevisionGUID="289a0854-ab61-4677-a18b-8fbed31d7cef" CreationDate="2011-12-19T07:11:47.320" UserId="6519" Text="I think a good location, such as local shopping centers, cafes, markets, museum or school yard.&#xD;&#xA;Lots of interesting sounds you can get." ContentLicense="CC BY-SA 3.0" />
  <row Id="19626" PostHistoryTypeId="2" PostId="11906" RevisionGUID="d85f8c53-29f5-4a0c-8730-24704aec81cc" CreationDate="2011-12-19T07:19:43.520" UserId="6519" Text="Try this [http://www.gamecareerguide.com/jobs/][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gamecareerguide.com/jobs/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19627" PostHistoryTypeId="2" PostId="11907" RevisionGUID="a7ab2445-83f5-4a27-9742-fa91ab40d409" CreationDate="2011-12-19T07:27:18.817" UserId="397" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;I was in Brussels 2 days ago and now in Stockholm, Sweden. I've already recorded night traffic in Brussels and also at 5am exterior snow/water dripping. An interior airplane take off. In Stockholm since last night I've recorded traffic outside my hotel room. So, I'll be recording some more streets, room tone and since we're moving north I'm definetly gonna record some forests! Unfortunately all this with my Sony PCM D50 at 96Khz. But, hey, it's not bad either.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="19628" PostHistoryTypeId="2" PostId="11908" RevisionGUID="1bd3bc57-eadf-48ef-9866-8946d994500c" CreationDate="2011-12-19T07:35:52.037" UserId="6519" Text="Hi !&#xD;&#xA;&#xD;&#xA;Similar software known as Audioease Speakerphone ?&#xD;&#xA;Thinking of something cheaper.&#xD;&#xA;Perhaps some alternative?&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19629" PostHistoryTypeId="1" PostId="11908" RevisionGUID="1bd3bc57-eadf-48ef-9866-8946d994500c" CreationDate="2011-12-19T07:35:52.037" UserId="6519" Text="Similar software known as Audioease Speakerphone ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19630" PostHistoryTypeId="3" PostId="11908" RevisionGUID="1bd3bc57-eadf-48ef-9866-8946d994500c" CreationDate="2011-12-19T07:35:52.037" UserId="6519" Text="&lt;cheap&gt;&lt;software&gt;&lt;effect&gt;&lt;prices&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19631" PostHistoryTypeId="2" PostId="11909" RevisionGUID="8fbd79de-bdeb-4819-ae35-5cc0d4036f33" CreationDate="2011-12-19T08:33:12.240" UserId="3162" Text="&#xD;&#xA;There is a little company in Berlin which produces customizable bags for anything You can think of.&#xD;&#xA;The company´s owner knows what we recordists need because he´s also a tonmeister.&#xD;&#xA;Go check the site, which is in german, but You get the point...&#xD;&#xA;the link directly brings You to the list of hardware bags...&#xD;&#xA;so no german needed.&#xD;&#xA;&#xD;&#xA;Did I say that I highly recommend these bags??? :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.filmtontechnik.de/taschenanfertigung.html &#xD;&#xA;&#xD;&#xA;If You need to contact them for further questions, don´t hesitate to mail them,&#xD;&#xA;the tailors all speak english !&#xD;&#xA;&#xD;&#xA;mail@filmtontechnik.de &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;L" ContentLicense="CC BY-SA 3.0" />
  <row Id="19632" PostHistoryTypeId="2" PostId="11910" RevisionGUID="3238d90e-3fca-4099-b7a2-3d4319e4c1f6" CreationDate="2011-12-19T08:41:19.677" UserId="6420" Text="&#xD;&#xA;McDsp Futzbox? Sale on at the moment $150. Ends tomorrow though so be quick!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19634" PostHistoryTypeId="5" PostId="11894" RevisionGUID="b8fa626b-2a12-48b2-a6c3-77c57375b25e" CreationDate="2011-12-19T13:45:07.010" UserDisplayName="user80" Comment="deleted 8 characters in body; added 3 characters in body; edited body" Text="I use a pair or Manfrotto pump-cups, and have never had one fall off.  They are 60mm in diameter, and you need to remember to take something with you to clean the surface afterwards as they usually leave a visible ring. &#xD;&#xA;&#xD;&#xA;http://www.manfrotto.com/pump-cup-with-flat-base" ContentLicense="CC BY-SA 3.0" />
  <row Id="19635" PostHistoryTypeId="5" PostId="11909" RevisionGUID="1ed8ad56-762b-478a-8263-382b57e3be71" CreationDate="2011-12-19T14:55:35.327" UserId="3162" Comment="added 54 characters in body" Text="There is a little company in Berlin which produces customizable bags for anything You can think of.&#xD;&#xA;The company´s owner knows what we recordists need because he´s also a tonmeister.&#xD;&#xA;Go check the site, which is in german, but You get the point...&#xD;&#xA;the link directly brings You to the list of hardware bags...&#xD;&#xA;so no german needed.&#xD;&#xA;&#xD;&#xA;Did I say that I highly recommend these bags???&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.filmtontechnik.de/taschenanfertigung.html &#xD;&#xA;&#xD;&#xA;If You need to contact them for further questions, don´t hesitate to mail them,&#xD;&#xA;the tailors all speak english !&#xD;&#xA;&#xD;&#xA;mail@filmtontechnik.de &#xD;&#xA;&#xD;&#xA;p.s.&#xD;&#xA;I don´t work for them, just a convinced customer :-)&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;L" ContentLicense="CC BY-SA 3.0" />
  <row Id="19636" PostHistoryTypeId="2" PostId="11912" RevisionGUID="b7b75aae-d548-450d-a31f-4e95e602a91a" CreationDate="2011-12-20T00:02:22.807" UserId="3275" Text="Yep Futzbox is pretty good. Don't be afraid to try to emulate things yourself using EQ, distortion, and the Lo-Fi plugin that comes with Pro Tools.&#xD;&#xA;&#xD;&#xA;I have to admit that Speakerphone is amazing though!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19637" PostHistoryTypeId="2" PostId="11913" RevisionGUID="e27bb431-5bf8-49ca-9da4-b4bad388846b" CreationDate="2011-12-20T04:05:14.837" UserId="18160" Text="Alternative if you have the time and means:&#xD;&#xA;&#xD;&#xA;**Worldizing.**" ContentLicense="CC BY-SA 3.0" />
  <row Id="19638" PostHistoryTypeId="2" PostId="11914" RevisionGUID="30d4e8dd-4c3c-4665-9252-8bba689c5dbd" CreationDate="2011-12-20T08:36:11.723" UserId="1178" Text="Can anyone recommend me a AU equivalent for Pro Tools GRM tools plugin pack? I´ve swiched from pro tools to logic and would like to have similar FX plugins in my productions. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19639" PostHistoryTypeId="1" PostId="11914" RevisionGUID="30d4e8dd-4c3c-4665-9252-8bba689c5dbd" CreationDate="2011-12-20T08:36:11.723" UserId="1178" Text="GRM tools equivalent AU plugin set?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19640" PostHistoryTypeId="3" PostId="11914" RevisionGUID="30d4e8dd-4c3c-4665-9252-8bba689c5dbd" CreationDate="2011-12-20T08:36:11.723" UserId="1178" Text="&lt;sound-design&gt;&lt;plugin&gt;&lt;pro-tools&gt;&lt;gameaudio&gt;&lt;logic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19641" PostHistoryTypeId="2" PostId="11915" RevisionGUID="d63d560c-303b-4c36-ba70-f60af18b29dc" CreationDate="2011-12-20T08:45:49.220" UserId="202" Text="Grm tools v3 work as Rtas, Vst and AU: they just work in Logic! BTW, just updated to v3.2&#xD;&#xA;&#xD;&#xA;They're quite unique, but there are other interesting plugins to try: have a look at Michael Norris' SoundMagic Spectral suite http://www.michaelnorris.info/software/soundmagic-spectral.html&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;Davide" ContentLicense="CC BY-SA 3.0" />
  <row Id="19642" PostHistoryTypeId="2" PostId="11916" RevisionGUID="df90bf47-cfcf-4794-bde4-2e5a80c8deaf" CreationDate="2011-12-20T14:11:14.573" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;Does anyone know an open source software package that can batch convert WAV-files to BWF?  &#xD;&#xA;I can only find paid and non open source packages (rematacator for example).   &#xD;&#xA;The project I'm working is completely open source and there is no budget, at least not yet :)&#xD;&#xA;Since we need to convert 2000 WAV-files, we really need a reliable batch converter.&#xD;&#xA;&#xD;&#xA;Anyone have an idea?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19643" PostHistoryTypeId="1" PostId="11916" RevisionGUID="df90bf47-cfcf-4794-bde4-2e5a80c8deaf" CreationDate="2011-12-20T14:11:14.573" UserId="1216" Text="Open Source Software for Batch converting WAV to BWF for free?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19644" PostHistoryTypeId="3" PostId="11916" RevisionGUID="df90bf47-cfcf-4794-bde4-2e5a80c8deaf" CreationDate="2011-12-20T14:11:14.573" UserId="1216" Text="&lt;bwf&gt;&lt;wav&gt;&lt;batch-processing&gt;&lt;file-conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19645" PostHistoryTypeId="2" PostId="11917" RevisionGUID="96cb2df4-dec1-44fd-b4f8-577bfedacb28" CreationDate="2011-12-20T14:12:05.943" UserId="3290" Text="Omnisphere or atmosphere" ContentLicense="CC BY-SA 3.0" />
  <row Id="19646" PostHistoryTypeId="2" PostId="11918" RevisionGUID="31cda8fe-f2c8-4716-9b7b-4b1f168ef489" CreationDate="2011-12-20T15:28:07.877" UserId="6420" Text="Wave Agent by Sound Devices might do what you're looking for. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19647" PostHistoryTypeId="2" PostId="11919" RevisionGUID="9564ceea-23c7-4f7d-8613-b81022ea590e" CreationDate="2011-12-20T19:49:40.003" UserId="1294" Text="Hi Audio Professionals,&#xD;&#xA;&#xD;&#xA;I would like to develop a Music Sample Library but then i have a couple of doubts mainly on the business side, before I start working on it.&#xD;&#xA;&#xD;&#xA;Ok, now lets assume that i have recorded &amp; edited the samples &amp; its all set.&#xD;&#xA;&#xD;&#xA;1. Now, do i have to sell it on my own (by starting a website) or find another sampling company to buy my stuff, which one would be the better way?&#xD;&#xA;&#xD;&#xA;2. If i make a sample library content worth of 1GB, &#xD;&#xA;a. How much do i charge for a CD or DVD of it, if im selling it on my own website? &#xD;&#xA;b. How much to quote to a sampling company if im selling the stuff to them on a buyout deal?&#xD;&#xA;c. Does the pricing completely depend up on the richness &amp; rareness of the library?&#xD;&#xA;d. Does Ethnic &amp; folk Music Genre has more sales capability than the regular Pop, Rock, Hiphop etc...?&#xD;&#xA;&#xD;&#xA;Kindly Advice, &#xD;&#xA;&#xD;&#xA;Looking forward to hearing from you guys,&#xD;&#xA;&#xD;&#xA;Best Regards &amp; Season Greetings!!!&#xD;&#xA;&#xD;&#xA;Bala.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19648" PostHistoryTypeId="1" PostId="11919" RevisionGUID="9564ceea-23c7-4f7d-8613-b81022ea590e" CreationDate="2011-12-20T19:49:40.003" UserId="1294" Text="Creating a Music Sample Library - Advice &amp; Ideas required" ContentLicense="CC BY-SA 3.0" />
  <row Id="19649" PostHistoryTypeId="3" PostId="11919" RevisionGUID="9564ceea-23c7-4f7d-8613-b81022ea590e" CreationDate="2011-12-20T19:49:40.003" UserId="1294" Text="&lt;sample&gt;&lt;library&gt;&lt;business&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19650" PostHistoryTypeId="2" PostId="11920" RevisionGUID="1cf921ab-24be-4b8d-878d-0bc5637c1d33" CreationDate="2011-12-20T20:03:06.513" UserId="930" Text="I'm not able to answer the questions you've asked, however, I would offer some advice on the distribution front.&#xD;&#xA;&#xD;&#xA;I would almost definitely include a digital download of the tracks as well as/instead of a CD/DVD. The amount of facilities who will need tracks NOW, ready to download will be far greater than those who will wait for the music to come through the post will be far greater.&#xD;&#xA;&#xD;&#xA;Another option is to make a library of music (you can probably charge for the physical CDs), send it out to all customers on CD/DVD and get them to notify you only when it's been used. This means you can charge for royalties, however if you're going through the 'buy the track once' route (which I believe you might be) this isn't really an option for you.&#xD;&#xA;&#xD;&#xA;I hope this helps,&#xD;&#xA;&#xD;&#xA;Good luck with your endeavour!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19651" PostHistoryTypeId="2" PostId="11921" RevisionGUID="aa66b599-ae4d-4e21-9473-57148400f020" CreationDate="2011-12-20T20:44:52.643" UserId="194" Text="Hi Bala,&#xD;&#xA;&#xD;&#xA;it sounds like you still have more market research to do before you're ready to launch.&#xD;&#xA;&#xD;&#xA;I'd go check out the kontakt forums for a good source of guys that are already out there doing it.  Once you see what they do and what they charge you'll have a better idea of where your stuff fits in the marketplace.&#xD;&#xA;&#xD;&#xA;Aditionally, go look at soundiron.com and maybe buy a pack or two so that you can see how much you get for the 30-50 bucks you may spend on a library.  also check out the documentation and marketing materials, as you'll have to create all of that as well.&#xD;&#xA;&#xD;&#xA;also, go check out jetstreaming.org, where Paul has put up a number of very informative articles related to this biz." ContentLicense="CC BY-SA 3.0" />
  <row Id="19652" PostHistoryTypeId="2" PostId="11922" RevisionGUID="f7e00079-652d-4fbd-acc0-7f82ed81d81c" CreationDate="2011-12-20T21:47:44.287" UserId="3275" Text="I've been hearing that the 6-core Mac Pros fare better than the 8-cores when it comes to Pro Tools. Something about how Pro Tools like faster cores better than more cores. Might not be true, but I've seen 6 cores run huge surround sessions." ContentLicense="CC BY-SA 3.0" />
  <row Id="19653" PostHistoryTypeId="2" PostId="11923" RevisionGUID="f6327d29-f0b3-4413-8b5e-5da3e04d10b3" CreationDate="2011-12-21T00:14:37.687" UserId="194" Text="Assume that you're looking at a scene with dozens of hard synced events that need a few layers of sound per event.  Something like a fistfight or a shootout.&#xD;&#xA;&#xD;&#xA;What's your specific workflow for finding all of the sync points cutting the various layers of sound to those sync points?&#xD;&#xA;&#xD;&#xA;I have my methodology which I'll edit this post with once a few answers are in, but I'm eternally curious as to whether I'm doing this as efficiently as I can.  Thanks in advance for any responses." ContentLicense="CC BY-SA 3.0" />
  <row Id="19654" PostHistoryTypeId="1" PostId="11923" RevisionGUID="f6327d29-f0b3-4413-8b5e-5da3e04d10b3" CreationDate="2011-12-21T00:14:37.687" UserId="194" Text="cutting multiple hard synced layered events - workflow" ContentLicense="CC BY-SA 3.0" />
  <row Id="19655" PostHistoryTypeId="3" PostId="11923" RevisionGUID="f6327d29-f0b3-4413-8b5e-5da3e04d10b3" CreationDate="2011-12-21T00:14:37.687" UserId="194" Text="&lt;workflow&gt;&lt;cutting&gt;&lt;design&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19656" PostHistoryTypeId="2" PostId="11924" RevisionGUID="e5557d88-3f51-47ad-a5d4-0ef6205d0485" CreationDate="2011-12-21T00:29:00.463" UserId="6600" Text="I generally always work in the way you suggest; bouncing draft mixes, attaching them to movie and sending for the clients feedback/approval.  This is the case for both our local and non-local clients.  I like to think that this gives the client the opportunity to review the work at their own pace and get back to you with well considered points(!).  Whilst clients may call over skype/phone to discuss feedback I will often ask them to summarise their points over a quick email so that there is documented direction that you can refer back to.  &#xD;&#xA;&#xD;&#xA;Don't get me wrong - I totally recommend meeting new clients for the first time face to face where possible, but once you are well acquainted I would think a meeting/conference call for every interim delivery would become an inconvenience and you would never get any work done (especially with multiple projects on the go). I would only say that you should have a good system in place in terms of how you receive and deliver media/information so that you never miss a trick.  &#xD;&#xA;&#xD;&#xA;In any case I often find there is more than just one client in the chain of command (sometimes in different locations) that need to listen to the work, and to organise conference calls/online listening sessions with these people every time a new mix is prepared would be unfeasible.  Then of course you have time differences to consider.&#xD;&#xA;&#xD;&#xA;I work alongside two other guys, and in fact we often work together from different locations (within the UK) and therefore also communicate over Skype.  We haven't run into any problems yet and are always firing stuff back and forth to each other and then the client over email and Skype.  The internet is obviously awesome for expanding your business, but I wonder what it does for my real-life social skills!&#xD;&#xA;&#xD;&#xA;In terms of solutions for simultaneous playback, I have nothing!  Except maybe using soundflower to link your DAW output to your skype input?  But that only gives control at your end and will probs have fluctuating quality - but does mean you can put plug ins on your voice when you ring your mates up :)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19657" PostHistoryTypeId="2" PostId="11925" RevisionGUID="943f71af-914e-4655-a84f-8d63d71986fc" CreationDate="2011-12-21T00:32:09.483" UserId="194" Text="I'm going out into the city to do some recording on Christmas day, just because that's one day that the city sounds completely different.&#xD;&#xA;&#xD;&#xA;I plan on getting some downtown amb, maybe some commuter trains, and other stuff like that.&#xD;&#xA;&#xD;&#xA;If you're going out to record that day, what are you looking to get? Even if you're not, what opportunities should I seek out?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19658" PostHistoryTypeId="1" PostId="11925" RevisionGUID="943f71af-914e-4655-a84f-8d63d71986fc" CreationDate="2011-12-21T00:32:09.483" UserId="194" Text="Christmas day = dead quiet city. what to record?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19659" PostHistoryTypeId="3" PostId="11925" RevisionGUID="943f71af-914e-4655-a84f-8d63d71986fc" CreationDate="2011-12-21T00:32:09.483" UserId="194" Text="&lt;field-recording&gt;&lt;silence&gt;&lt;city&gt;&lt;ambiance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19660" PostHistoryTypeId="2" PostId="11926" RevisionGUID="012cce36-b226-4fc5-9f8e-45c52f964dfd" CreationDate="2011-12-21T02:07:15.550" UserDisplayName="user49" Text="I tend to mark a scene or sequence using markers, and then split elements across as many sets of stem source tracks as is required...&#xD;&#xA;&#xD;&#xA;In terms of sync, insuring the hard attack of sounds is tight between layers is VERY important - one sound early in sync by 1/4 frame can blurr the attack on all the elements...&#xD;&#xA;&#xD;&#xA;Another sync consideration is score - it may mean moving sync by +/- 2 frames to benefit music/FX relationship, whether fx move in sync with music/tempo or move to sit in the gap depends on the context &amp; what matters most....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19661" PostHistoryTypeId="2" PostId="11927" RevisionGUID="ba9c9046-cff4-4f8e-b9cd-6fc1ba92e34b" CreationDate="2011-12-21T03:22:43.863" UserId="426" Text="Sweet! This makes me wish I wasn't traveling for Christmas. A train station or bus station would be a great place to record. A bit dead I'd imagine, but fun nonetheless.&#xD;&#xA;&#xD;&#xA;Are there any abandoned buildings or houses? If there are any near usually busy roads, that might be a pretty sweet place to record." ContentLicense="CC BY-SA 3.0" />
  <row Id="19662" PostHistoryTypeId="2" PostId="11928" RevisionGUID="e2422892-5ef9-4165-afa9-4fdd80f894b8" CreationDate="2011-12-21T04:13:02.953" UserId="18160" Text="I would worldize explosions and animal roars and other transient effects from my library under a freeway overpass or other echoey bridge or tunnel or acoustically odd public space where there isn't much people traffic that day. Large concrete spaces = lots of 40 Hz and below !!!&#xD;&#xA;&#xD;&#xA;I would also get Subway stop idents (when the conductor or computer voice says &quot;Next Stop.. Hollywood Blv.&quot; etc. and I would also seek out traffic pedestrian crossing signals (the beeps and notifications for the blind to cross a city intersection) Those are very difficult to come by a really clean recording of and I would imagine they would be valuable to people who do films in city environments." ContentLicense="CC BY-SA 3.0" />
  <row Id="19663" PostHistoryTypeId="2" PostId="11929" RevisionGUID="32ad68f6-b44b-4775-b7fc-b2cdf4fc0cd3" CreationDate="2011-12-21T04:58:04.663" UserId="338" Text="...do you like to play the clip downward expanded and have the noise pop through when the dialogue comes up?&#xD;&#xA;&#xD;&#xA;or&#xD;&#xA;&#xD;&#xA;do you like to keep it all the same level and not downward expand it?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19664" PostHistoryTypeId="1" PostId="11929" RevisionGUID="32ad68f6-b44b-4775-b7fc-b2cdf4fc0cd3" CreationDate="2011-12-21T04:58:04.663" UserId="338" Text="When you are mixing dialogue with lots of BG noise..." ContentLicense="CC BY-SA 3.0" />
  <row Id="19665" PostHistoryTypeId="3" PostId="11929" RevisionGUID="32ad68f6-b44b-4775-b7fc-b2cdf4fc0cd3" CreationDate="2011-12-21T04:58:04.663" UserId="338" Text="&lt;dialogue&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19666" PostHistoryTypeId="2" PostId="11930" RevisionGUID="21c667b3-c215-40e7-a83d-71d0f8a5f4d6" CreationDate="2011-12-21T05:45:51.240" UserId="3223" Text="For me, depends on the situation. Generally speaking, I try to avoid using expansion on Dial tracks, as I find the  pulsing in and out of noise to be more distracting/unnatural than a consistent noise floor. That being said, in certain instances I will use a multi-band compressor/expander (such as waves c4) to expand certain bands out in the silence between dialogue. &#xD;&#xA;&#xD;&#xA;All in all, i really only use expanders when my BG stems are able to mask the noise &quot;pop&quot; (as you described) on my dial tracks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19667" PostHistoryTypeId="2" PostId="11931" RevisionGUID="c7965e95-c8b4-4230-9df0-463fcb258cda" CreationDate="2011-12-21T12:37:00.827" UserId="1011" Text="Hi Rene,&#xD;&#xA;&#xD;&#xA;Great idea!  Christmas + winter (i.e no birds) + a Sunday... likely quietest urban day of the year.&#xD;&#xA;&#xD;&#xA;What about church bells?  Cathedrals or basilicas?&#xD;&#xA;&#xD;&#xA;Most church bells these days are usually buried in rush hour traffic.  &#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;Paul" ContentLicense="CC BY-SA 3.0" />
  <row Id="19668" PostHistoryTypeId="2" PostId="11932" RevisionGUID="4f44631a-e11a-44ea-87a8-2ea57b30e421" CreationDate="2011-12-21T13:01:22.300" UserId="432" Text="I'm going to be in the woods, so I'll probably record some ambiences. If I were in the city though, and it were as quiet as you're suggesting, I'd go out and try to get stuff that would otherwise be mangled by traffic noise.&#xD;&#xA;&#xD;&#xA;Are there crosswalks that have those audible indicators for crossing? Those might be useful when building ambiences. Can't think of any other examples at the moment, but I'll edit this if I do." ContentLicense="CC BY-SA 3.0" />
  <row Id="19669" PostHistoryTypeId="2" PostId="11933" RevisionGUID="57377464-58e9-4b1c-9542-ac947db80fd3" CreationDate="2011-12-21T13:02:12.050" UserId="6462" Text="You might want to look at AudioGate from Korg. Been very reliable whenever i've converted things. I'm not sure you'll be able to convert 2000 files at once but it's worth a try." ContentLicense="CC BY-SA 3.0" />
  <row Id="19670" PostHistoryTypeId="5" PostId="11923" RevisionGUID="982ddf4b-532d-48ab-aeff-b1a0be007eff" CreationDate="2011-12-21T13:27:34.110" UserId="194" Comment="added 9 characters in body" Text="Assume that you're looking at a scene with dozens of hard synced events that need a few layers of sound per event.  Something like a fistfight or a shootout.&#xD;&#xA;&#xD;&#xA;What's your specific workflow for finding all of the sync points and then cutting the various layers of sound to those sync points?&#xD;&#xA;&#xD;&#xA;I have my methodology which I'll edit this post with once a few answers are in, but I'm eternally curious as to whether I'm doing this as efficiently as I can.  Thanks in advance for any responses." ContentLicense="CC BY-SA 3.0" />
  <row Id="19671" PostHistoryTypeId="2" PostId="11934" RevisionGUID="4b6fd6fe-1a07-4576-ae11-6d3542e3675e" CreationDate="2011-12-21T15:13:07.203" UserId="118" Text="If Dallas is quiet enough and you bump up your gain loads then you might just be able to pick up the faint sound of sleigh bells as Santa makes his way back to Greenland after a long and hard night's work.&#xD;&#xA;&#xD;&#xA;Failing that, it's all about the urban slap acoustics really isn't it?:  shouts, exterior doors, distant sirens.....the usual suspects that are normally swamped by the fog of noise that is modern city life.&#xD;&#xA;&#xD;&#xA;Only other thought is interior public spaces which are normally overrun with people: ticket barriers, ventilation units or escalators on the subway, perhaps?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19672" PostHistoryTypeId="2" PostId="11935" RevisionGUID="121eea60-1264-4321-ba1a-a9fdaa0295a3" CreationDate="2011-12-21T15:18:13.260" UserId="432" Text="I only ever use expanders on dialogue tracks when I'm trying to reduce reverb in the recording. And in those cases I try to use a multiband processor like Waves C4. Otherwise, I'll use noise-reduction software and EQs to handle noise problems.&#xD;&#xA;&#xD;&#xA;Sometimes, there's only so much you can do. I just finished working on a project where the dialogue was so bad that I added a &quot;noise track&quot; to the session. I needed it for fill, as there were sections where necessary cuts left holes in the dialogue/production track. The noise was dropping out completey. While adding noise is not something I'm fond of, it's required sometimes. Consistency of audio quality is critical, because the brain will start to filter it out as it becomes accustomed to it. The moment that changes occur, the brain takes notice and it becomes a distraction. That's the danger that Rob mentioned with regards to expanders and pulsing." ContentLicense="CC BY-SA 3.0" />
  <row Id="19673" PostHistoryTypeId="2" PostId="11936" RevisionGUID="3937166f-45b1-4e74-84d2-d031efcf2f92" CreationDate="2011-12-21T15:34:23.427" UserId="432" Text="I usually have some sort of moderately detailed plan in place before I start spotting effects to the timeline, and I'll start with the foreground or most active elements for the scene. It's kind of like how a lot of painters will start out with a line sketched on the canvas, before they put paint to brush. Once I have the key elements in place, I evaluate my original plan. Now that I can physically hear (not just in my head anymore) how the scene is working and what it still needs, I'll make any amendments to the plan I feel are necessary and move further into the background and supportive elements.&#xD;&#xA;&#xD;&#xA;While I repeat this with each layer I add, it doesn't really take a lot of time. It also moves faster with each pass and layer, because I'm just adding refinements and detail. The further I get into it, the more minute the changes. I do this to try and avoid having too much sound in the scene. On the whole, I tend to take things away when I mix. Occassionally, I'll find things that need to be added, but it's not that frequent. This process helps me determine what's important at edit, and means I have less to mentally process in the mix. I'm just trying to make the mixer's job a little simpler and efficient; whether that's me or someone else." ContentLicense="CC BY-SA 3.0" />
  <row Id="19674" PostHistoryTypeId="5" PostId="11923" RevisionGUID="b3446d08-b6c0-4115-b299-7cb4bd90fba5" CreationDate="2011-12-21T16:19:47.130" UserId="194" Comment="added 1163 characters in body" Text="Assume that you're looking at a scene with dozens of hard synced events that need a few layers of sound per event.  Something like a fistfight or a shootout.&#xD;&#xA;&#xD;&#xA;What's your specific workflow for finding all of the sync points and then cutting the various layers of sound to those sync points?&#xD;&#xA;&#xD;&#xA;I have my methodology which I'll edit this post with once a few answers are in, but I'm eternally curious as to whether I'm doing this as efficiently as I can.  Thanks in advance for any responses.&#xD;&#xA;&#xD;&#xA;--&#xD;&#xA;edit:&#xD;&#xA;&#xD;&#xA;ok, here's my workflow&#xD;&#xA;&#xD;&#xA;1) go into grid mode and spot all sync events with markers to the frame edges&#xD;&#xA;&#xD;&#xA;2) grab a group of sounds for a layer and begin cutting the transients to the markers.  This typically means going into tap to transient mode, tabbing, hitting &quot;b&quot; to break the region at the transient, and then grabbing the region and lining it up to the marker.  if there's a lead up to the file I'll usually just manually trim it back out again.&#xD;&#xA;&#xD;&#xA;(as a side note, one thing I *don't* do is to use region markers on the transients.  I haven't found the workflow there that makes me faster yet, but I'm suspicious that one exists.)&#xD;&#xA;&#xD;&#xA;3) with one layer cut I'll move on to the next using a similar technique.  if there are swishes that lead up to the transient I'll usually just eyeball those once the impact are in.&#xD;&#xA;&#xD;&#xA;4) once all the layers are in I'll begin tweaking the timing thing that Tim outlined.  Sometimes events *do* have to be moved to accommodate musicality and other things.  This is also the point at which I'll work on the balances more consciously.&#xD;&#xA;&#xD;&#xA;ok, spot the flaws there.  any useful critique is appreciated.&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19675" PostHistoryTypeId="5" PostId="11923" RevisionGUID="47f642fa-1cf5-4dff-92d4-9bdcc41104fa" CreationDate="2011-12-21T16:33:31.107" UserId="194" Comment="added 1 characters in body" Text="Assume that you're looking at a scene with dozens of hard synced events that need a few layers of sound per event.  Something like a fistfight or a shootout.&#xD;&#xA;&#xD;&#xA;What's your specific workflow for finding all of the sync points and then cutting the various layers of sound to those sync points?&#xD;&#xA;&#xD;&#xA;I have my methodology which I'll edit this post with once a few answers are in, but I'm eternally curious as to whether I'm doing this as efficiently as I can.  Thanks in advance for any responses.&#xD;&#xA;&#xD;&#xA;--&#xD;&#xA;edit:&#xD;&#xA;&#xD;&#xA;ok, here's my workflow&#xD;&#xA;&#xD;&#xA;1) go into grid mode and spot all sync events with markers to the frame edges&#xD;&#xA;&#xD;&#xA;2) grab a group of sounds for a layer and begin cutting the transients to the markers.  This typically means going into tap to transient mode, tabbing, hitting &quot;b&quot; to break the region at the transient, and then grabbing the region and lining it up to the marker.  if there's a lead up to the file I'll usually just manually trim it back out again.&#xD;&#xA;&#xD;&#xA;(as a side note, one thing I *don't* do is to use region markers on the transients.  I haven't found the workflow there that makes me faster yet, but I'm suspicious that one exists.)&#xD;&#xA;&#xD;&#xA;3) with one layer cut I'll move on to the next using a similar technique.  if there are swishes that lead up to the transient I'll usually just eyeball those once the impact are in.&#xD;&#xA;&#xD;&#xA;4) once all the layers are in I'll begin tweaking the timing things that Tim outlined.  Sometimes events *do* have to be moved to accommodate musicality and other things.  This is also the point at which I'll work on the balances more consciously.&#xD;&#xA;&#xD;&#xA;ok, spot the flaws there.  any useful critique is appreciated.&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19676" PostHistoryTypeId="2" PostId="11937" RevisionGUID="610fa7a5-9329-4af8-b394-8af3643e6f67" CreationDate="2011-12-21T16:49:34.920" UserId="418" Text="Forgive me if I'm being slow, but I've re-read your question several times and I still can't figure out exactly what you're looking to do. Some mixing of terminology happening I think.&#xD;&#xA;&#xD;&#xA;Sample Libraries: Loops, individual musical elements, riffs, sound fx, standalone sounds etc. typically designed for musicians to use for music-making purposes. &#xD;&#xA;&#xD;&#xA;Music Libraries: Complete pieces of music (songs, tracks, whatever you want to call them) typically designed to accompany visual/video/game productions.&#xD;&#xA;&#xD;&#xA;Which are you referring to? I can probably provide some good advice for the first one as I've been making &quot;soundware&quot; professionally for about 10 years now. I have also done a fair amount of stock music over the years as well, both for other libraries and on my own. Please clarify. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19677" PostHistoryTypeId="2" PostId="11938" RevisionGUID="09f96e1c-ff63-4879-8734-4110db710df8" CreationDate="2011-12-21T17:35:14.293" UserId="3275" Text="i usually put just a little expansion on dialogue tracks. try a pretty big knee and a small floor of about 6-8 db. I find that it helps clean it up without too much pumping." ContentLicense="CC BY-SA 3.0" />
  <row Id="19678" PostHistoryTypeId="2" PostId="11939" RevisionGUID="ad0b4ca4-d9b8-4388-844b-73f59f57267a" CreationDate="2011-12-21T17:44:37.417" UserDisplayName="user80" Text="Impulse responses of all the built up areas, so that you can use them to worldise other sounds later." ContentLicense="CC BY-SA 3.0" />
  <row Id="19679" PostHistoryTypeId="2" PostId="11940" RevisionGUID="5300a8b5-804e-47f0-a781-b12e59376eb9" CreationDate="2011-12-21T19:17:16.000" UserId="418" Text="Live should cover all of your recording, performance, realtime, automation etc stuff nicely.&#xD;&#xA;&#xD;&#xA;As for the sample manipulation; Today might be your lucky day, because NI just released a freebie instrument for Reaktor called Skanner, which appears to do a bunch of the stuff you mention specifically. http://www.native-instruments.com/#/en/products/producer/powered-by-reaktor/skanner/?content=1823&#xD;&#xA;&#xD;&#xA;If you don't have Reaktor, I can very highly recommend Camel Alchemy for all forms of sample manipulation, including granular stuff. It's the best. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19680" PostHistoryTypeId="2" PostId="11941" RevisionGUID="5318f573-4a22-47e2-972f-7e5deff172c8" CreationDate="2011-12-21T20:26:21.063" UserId="3249" Text="My experience says that it's really much better to do it by hand on fader.&#xD;&#xA;Noise track is nice idea, but still it depends on source noise character you are dealing with." ContentLicense="CC BY-SA 3.0" />
  <row Id="19681" PostHistoryTypeId="2" PostId="11942" RevisionGUID="4f6e8d2f-fe00-4c24-b8b5-4d10f79e7cf0" CreationDate="2011-12-21T21:15:22.897" UserId="6411" Text="@Rene, I'm pretty close to where you're at. One thing that I've found useful...&#xD;&#xA;&#xD;&#xA;If you have a single file that contains multiple hits. Rather than switch to Tab to Transient (Opt+Cmd+Tab for those still mousing up to the top of the screen), I'll use Beat Detective (cmd+numpad8). Under Operation switch to Region Separation, then Capture Selection, Analyze (pick the correct High/Low Emphasis depending on the file), then use the sensitivity slider to slice up the file. I typically use this trick on footsteps and it works great.&#xD;&#xA;&#xD;&#xA;But in your scenario, what's a typical number of stems you're producing? ie. Hits, Whooshes, Gunfire, GunHandling, etc?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19682" PostHistoryTypeId="5" PostId="11923" RevisionGUID="ed015eb5-cdf5-4bb5-a527-575573944b73" CreationDate="2011-12-22T00:42:40.373" UserId="194" Comment="added 191 characters in body" Text="Assume that you're looking at a scene with dozens of hard synced events that need a few layers of sound per event.  Something like a fistfight or a shootout.&#xD;&#xA;&#xD;&#xA;What's your specific workflow for finding all of the sync points and then cutting the various layers of sound to those sync points?&#xD;&#xA;&#xD;&#xA;I have my methodology which I'll edit this post with once a few answers are in, but I'm eternally curious as to whether I'm doing this as efficiently as I can.  Thanks in advance for any responses.&#xD;&#xA;&#xD;&#xA;--&#xD;&#xA;edit:&#xD;&#xA;&#xD;&#xA;ok, here's my workflow&#xD;&#xA;&#xD;&#xA;1) go into grid mode and spot all sync events with markers to the frame edges&#xD;&#xA;&#xD;&#xA;2) grab a group of sounds for a layer and begin cutting the transients to the markers.  This typically means going into tap to transient mode, tabbing, hitting &quot;b&quot; to break the region at the transient, and then grabbing the region and lining it up to the marker.  if there's a lead up to the file I'll usually just manually trim it back out again.&#xD;&#xA;&#xD;&#xA;(as a side note, one thing I *don't* do is to use region markers on the transients.  I haven't found the workflow there that makes me faster yet, but I'm suspicious that one exists.)&#xD;&#xA;&#xD;&#xA;3) with one layer cut I'll move on to the next using a similar technique.  if there are swishes that lead up to the transient I'll usually just eyeball those once the impact are in.&#xD;&#xA;&#xD;&#xA;4) once all the layers are in I'll begin tweaking the timing things that Tim outlined.  Sometimes events *do* have to be moved to accommodate musicality and other things.  This is also the point at which I'll work on the balances more consciously.&#xD;&#xA;&#xD;&#xA;ok, spot the flaws there.  any useful critique is appreciated.&#xD;&#xA;&#xD;&#xA;--another edit&#xD;&#xA;&#xD;&#xA;I found this tutorial that gives me a better look into how I might improve using the sync points.&#xD;&#xA;&#xD;&#xA;http://www.showmeprotools.com/using-sync-points/&#xD;&#xA;&#xD;&#xA;still digging...&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19683" PostHistoryTypeId="2" PostId="11943" RevisionGUID="b371a495-0847-4d88-aebb-2c32f1fcad7f" CreationDate="2011-12-22T02:32:28.867" UserId="18160" Text="If there is too much noise that I feel I cannot mix to standard, I reject it and demand ADR. I have been blessed the last few movies I have had to do this on where the director fully backs me up and makes the producer pay for it." ContentLicense="CC BY-SA 3.0" />
  <row Id="19686" PostHistoryTypeId="2" PostId="11944" RevisionGUID="a0c632cc-b50c-4067-a88a-74613ba5ef5c" CreationDate="2011-12-22T04:00:28.503" UserId="18160" Text="I think my answer will have to be &quot;use common sense&quot;.&#xD;&#xA;&#xD;&#xA;It's a skill acquired where you know what will happen if you do &quot;so and so&quot;.&#xD;&#xA;&#xD;&#xA;Meaning: You can sort of predict that your microphone will get soaked if you drop it in water.&#xD;&#xA;&#xD;&#xA;I personally never let my mikes get exposed to extreme wind even if the manufacturer says they can be. I also make sure I turn off phantom power or the pre if I can't otherwise turn it off before I plug in or unplug my mic. I also make sure to place my mikes in their boxes or safe compartments or cabinets at night and I **never** leave them out on a stand overnight or for long periods of time in the studio. This is something I've learned from Bruce Swedien and I used to scoff at people who told me to do these types of things before I held his mint condition U-47 he bought 20+ years go.. It looks brand new. And the quality of sound from mikes I've found to be directly proportionate to their care.&#xD;&#xA;&#xD;&#xA;Throw up a brand new MK41 against a used rental model that's been beat up and that will dispel any facts to the contrary, I think." ContentLicense="CC BY-SA 3.0" />
  <row Id="19687" PostHistoryTypeId="2" PostId="11945" RevisionGUID="7170f3e6-9d75-40db-9cb5-7e70f58bea2f" CreationDate="2011-12-22T16:29:34.693" UserId="1237" Text="Serenity. &#xD;&#xA;&#xD;&#xA;The fight scene in the bar when Summer Glau (River) gets crazy. Her voice, clothes, then the first punches and finally the whole ambience of the bar is appearing with screams, foley, sfx...&#xD;&#xA;&#xD;&#xA;Great scene and one of the greatest sci-fi movie of all time." ContentLicense="CC BY-SA 3.0" />
  <row Id="19688" PostHistoryTypeId="16" PostId="11945" RevisionGUID="7170f3e6-9d75-40db-9cb5-7e70f58bea2f" CreationDate="2011-12-22T16:29:34.693" UserId="-1" />
  <row Id="19689" PostHistoryTypeId="5" PostId="11945" RevisionGUID="7bbb7fd0-724f-46af-a9fd-e048ce634ae9" CreationDate="2011-12-22T16:39:04.743" UserId="1237" Comment="added 34 characters in body" Text="Serenity. &#xD;&#xA;&#xD;&#xA;The fight scene in the bar when Summer Glau (River) gets crazy. Her voice, clothes, then the first punches and finally the whole ambience of the bar is appearing with screams, foley, sfx...&#xD;&#xA;&#xD;&#xA;[youtube]R8CYWGDxdQ0[/youtube]&#xD;&#xA;&#xD;&#xA;Great scene and one of the greatest sci-fi movie of all time." ContentLicense="CC BY-SA 3.0" />
  <row Id="19690" PostHistoryTypeId="2" PostId="11946" RevisionGUID="53765a5d-2dca-42e6-abb7-adf7fae621b8" CreationDate="2011-12-22T20:52:02.860" UserId="418" Text="In that case, here's some random bits of info in no particular order. I'll try not to ramble, I could go on all day about this stuff. I'm actually working on a little ebook on the subject. :)&#xD;&#xA;&#xD;&#xA;**Digital Downloads are a Must:** You might have romantic thoughts now about burning disks and packing envelopes, but they will turn from dream to nightmare quickly. The medium is dead. Customers want the product now. It adds nothing but financial and time overhead. Instant downloads immediately after paying are required. There are a ton of super affordable solutions for this. There's no excuse not to do it.&#xD;&#xA;&#xD;&#xA;**Choose Your Market/Platform(s) Wisely:** Different platforms have different kinds of users. From genre, to likelihood to spend money, to quality (bit/sample rate) needs, to you-name-it. Marketing massive multisampled orchestral instruments to Fruity Loops users, or cheesy techno loops to Kontakt users is missing the mark. &#xD;&#xA;&#xD;&#xA;**Forget About Piracy:** There is literally nothing you can do about it. Piracy does not equal lost sales. That person was never going to buy anything from you anyway. Do not complicate the process for the customers who do pay in an attempt to thwart pirates. Complete waste of time, and nobody wins.&#xD;&#xA;&#xD;&#xA;**Understand Your Customers:** There are intrinsic potential negatives with the soundware business which are baked right in from the beginning. The biggest one is so glaringly obvious that people almost always fail to see it. It's this: *Your customers are musicians.* To put a finer point on it; Your customers are computer musicians. Breaking this down, and speaking in broad strokes, this can mean a few important things... &#xD;&#xA;&#xD;&#xA;They are young.&#xD;&#xA;They don't have much money to spend, partly because they are young.&#xD;&#xA;They are artists.&#xD;&#xA;They are fickle, and opinionated.&#xD;&#xA;They want things cheap, and they want them now.&#xD;&#xA;They are tech-savvy.&#xD;&#xA;&#xD;&#xA;Obviously these are gross generalities, and there is plenty of margin for exceptions. But in general terms, there is some real truth to a lot of this stuff. Understanding it, being cool with it, and working your business model around it is essential. &#xD;&#xA;&#xD;&#xA;**Be Awesome:** In this age of the App Store, much of the world is living under the assumption that everything digital is free. Or maybe, if it's really great, it's worth .99 cents. The upside is that this same world is the one that allows independent creatives to easily go into business for themselves and make a career with their passions. But you must be good. The cream rises to the top, poor quality is called out instantly and dissatisfaction spreads on the web like wildfire. Be exceptional, or don't bother charging money for it. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'll stop there. Hope some of that is useful for you. Good luck on your new venture!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19691" PostHistoryTypeId="2" PostId="11947" RevisionGUID="112a8dc7-2577-4e95-ac6c-0b3d437b0c83" CreationDate="2011-12-23T05:39:46.283" UserId="338" Text="Water fronts, apartment building foyers/stairwells" ContentLicense="CC BY-SA 3.0" />
  <row Id="19692" PostHistoryTypeId="2" PostId="11948" RevisionGUID="e909836e-d614-4742-a89c-1232d56ae34f" CreationDate="2011-12-24T05:49:50.643" UserId="3141" Text="http://www.imdb.com/title/tt0247425/&#xD;&#xA;&#xD;&#xA;In the Bedroom (SPOILER ALERT)&#xD;&#xA;&#xD;&#xA;I actually will not say the spoiler because the terrible thing that occurs is written, directed, and acted so well that it scared me - not as in action movie explosions, bazooka shots, monsters, fights, etc.  But actually made me jump like glancing over and seeing a little kid step into a street with a car coming on fast.  Stomach drops and the brain dumps adrenaline into your bloodstream.  The use of silence in those scenes is crucial.  I will say no more.  Watch the movie and don't allow anyone to tell you what happens.&#xD;&#xA;&#xD;&#xA;And no - no one sees &quot;dead people&quot; and it is not &quot;all a dream&quot; or some other trope.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19693" PostHistoryTypeId="16" PostId="11948" RevisionGUID="e909836e-d614-4742-a89c-1232d56ae34f" CreationDate="2011-12-24T05:49:50.643" UserId="-1" />
  <row Id="19694" PostHistoryTypeId="2" PostId="11949" RevisionGUID="5f5d1a96-6b4d-4642-b7d8-c702eeec986e" CreationDate="2011-12-24T07:29:43.243" UserId="338" Text="After some critical listening of the Bourne series and other, I hear the bg noise come up during the dialogue." ContentLicense="CC BY-SA 3.0" />
  <row Id="19695" PostHistoryTypeId="2" PostId="11950" RevisionGUID="362d1809-4f74-4f71-b522-900b3f22217e" CreationDate="2011-12-24T15:44:55.973" UserId="3295" Text="hi guys havent posted here b4 but have been lurking &#xD;&#xA;&#xD;&#xA;ive been working on ns2 sounds &#xD;&#xA;&#xD;&#xA;here is an interview with me:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=kjq1zzr8h9o&amp;feature=player_embedded&#xD;&#xA;&#xD;&#xA;a question related to the vid, how do u game audio ppl deal with the whole consistency between assets issue? eq matching? do u do it manually? do u use a reference sound?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;cheers&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;simon&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19696" PostHistoryTypeId="1" PostId="11950" RevisionGUID="362d1809-4f74-4f71-b522-900b3f22217e" CreationDate="2011-12-24T15:44:55.973" UserId="3295" Text="ns2 sound design vid and a question" ContentLicense="CC BY-SA 3.0" />
  <row Id="19697" PostHistoryTypeId="3" PostId="11950" RevisionGUID="362d1809-4f74-4f71-b522-900b3f22217e" CreationDate="2011-12-24T15:44:55.973" UserId="3295" Text="&lt;game&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19698" PostHistoryTypeId="2" PostId="11951" RevisionGUID="54dd1cdb-717f-4df8-8c76-a07e0f562b40" CreationDate="2011-12-24T16:35:45.390" UserId="3296" Text="Really depends how much noise you're talking. Agree with Shaun though I tend to use boise removal software on low levels of noise. But for heavy noise add noise tracks in the gaps. And I also only tend to use downward expanders on dialog I'm reducing reverb levels in." ContentLicense="CC BY-SA 3.0" />
  <row Id="19699" PostHistoryTypeId="2" PostId="11952" RevisionGUID="c936b3f1-d98c-4228-b5a3-b96c24e12b07" CreationDate="2011-12-24T17:06:03.250" UserId="3296" Text="Totally agree about Let The Right One In (the orginal version) for it's use of silence and suspense. Amazing film. Amazing sound!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19700" PostHistoryTypeId="16" PostId="11952" RevisionGUID="c936b3f1-d98c-4228-b5a3-b96c24e12b07" CreationDate="2011-12-24T17:06:03.250" UserId="-1" />
  <row Id="19703" PostHistoryTypeId="2" PostId="11954" RevisionGUID="c2455225-c071-4b70-beb9-14ab7be234de" CreationDate="2011-12-24T23:53:24.987" UserId="18160" Text="Have you ever had complaints that your live mix was too loud?&#xD;&#xA;&#xD;&#xA;My last gig I had replies of &quot;best ever, sounds awesome, the sound was amazing&quot;&#xD;&#xA;&#xD;&#xA;and one person (that I know of) wrote how loud and unprofessional the gig was...&#xD;&#xA;&#xD;&#xA;Has anyone had experience in this area and how to feel better again?&#xD;&#xA;&#xD;&#xA;p.s. Merry Christmas!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19704" PostHistoryTypeId="1" PostId="11954" RevisionGUID="c2455225-c071-4b70-beb9-14ab7be234de" CreationDate="2011-12-24T23:53:24.987" UserId="18160" Text="For those of you who mix live sound:" ContentLicense="CC BY-SA 3.0" />
  <row Id="19705" PostHistoryTypeId="3" PostId="11954" RevisionGUID="c2455225-c071-4b70-beb9-14ab7be234de" CreationDate="2011-12-24T23:53:24.987" UserId="18160" Text="&lt;live-sound&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19706" PostHistoryTypeId="5" PostId="11954" RevisionGUID="c5afe90b-f8b6-43f8-a41f-db05b9d3e653" CreationDate="2011-12-25T00:11:17.957" UserId="18160" Comment="added 48 characters in body" Text="Have you ever had complaints that your live mix was too loud?&#xD;&#xA;&#xD;&#xA;My last gig I had replies of &quot;best ever, sounds awesome, the sound was amazing&quot;&#xD;&#xA;&#xD;&#xA;and one person (that I know of - who knows, I could have made 50% of them deaf) wrote how loud and unprofessional the gig was...&#xD;&#xA;&#xD;&#xA;Has anyone had experience in this area and how to feel better again?&#xD;&#xA;&#xD;&#xA;p.s. Merry Christmas!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19707" PostHistoryTypeId="2" PostId="11955" RevisionGUID="f28c81d8-1ee5-4569-a90d-5ee033a112ef" CreationDate="2011-12-25T01:22:13.967" UserId="338" Text="I loved doing the two live sound gigs that I did but I only helped with setup and breakdown mostly...both times the people were extremely happy.  The guy that did the mix must have been doing a good job because they were so happy" ContentLicense="CC BY-SA 3.0" />
  <row Id="19708" PostHistoryTypeId="2" PostId="11956" RevisionGUID="cdb02938-a2eb-4df2-b08e-2437d5824a1b" CreationDate="2011-12-25T01:40:10.980" UserId="6499" Text="Very kindly ask where they were in the room.  I listen to people in the audience when they take the time to come to FOH and file a formal complaint, sometimes something exists that you were not aware of, balcony fills amplifier went into thermal, turning off the fills on one side, in the booth on the dance floor, I cannot hear them so without the audience member informing me, I would have never known.  &#xD;&#xA;&#xD;&#xA;Another time a gentleman came up multiple times telling me there was way too much bass in the mix and he could not hear the vocals.  After the third time I asked to accompany him to where he was watching the show, turns out he was standing directly in front of my subs on the ground, he even took advantage of them as a cup holder/table.&#xD;&#xA;&#xD;&#xA;As far as feeling better, don't let it get you down.  If the mix was good to you and others, it was good.  Trust your ears.  If your in a less than optimal mix position, side stage, back corner of room, etc.  Be very active in walking around the room and listen at key spots in the room.&#xD;&#xA;&#xD;&#xA;I have realized that most people do not actually understand how to speak in terms of sound and quickly jump to the 3 common things.  Too Loud, To quiet, Bad mix.&#xD;&#xA;&#xD;&#xA;They are not sure what or why they are bothered.  If the person was standing right at stage edge or 5 feet from a screaming guitar amp,  of course it is going to be loud and really there is nothing you as an engineer can do to rectify the situation without having the guitar player modify his settings.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Always mix to your audience, and genre, client.  &#xD;&#xA;&#xD;&#xA;I started bringing my zoom and throwing it up at my mix position recording 4 trk...getting L/R board feed and stereo of my mix.  I use it for reference to check my mixes later, that usually allows a critical look at my mix after the fact and usually I'm more impressed by it later than at the time; and also its nice to be able to send a couple live mixes to interested bands that would like to hire you as an engineer.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19709" PostHistoryTypeId="2" PostId="11957" RevisionGUID="9d675597-5018-40d4-bd88-647437c1d0f8" CreationDate="2011-12-25T08:43:39.870" UserId="3297" Text="HI! I AM HAVING A YAMAHA MG-24 CHANNEL 16 MIC XLR &amp; 17/18 19/20 21/22 23/ 24 STEREO JACK LR INPUT. IF I HAVE TO CONNECT A MIC TO 17/18 19/20 21/22 23/ 24 CAN GET OUTPUT, HOW DO I DO IT." ContentLicense="CC BY-SA 3.0" />
  <row Id="19710" PostHistoryTypeId="2" PostId="11958" RevisionGUID="107eaaf5-b81f-4b02-bf73-1e476c4c1f45" CreationDate="2011-12-26T14:56:33.653" UserId="3299" Text="Good on you trying to stay legit; the moment I decided to start trying to make this my career I took on the same philosophy and use only legit plug ins. &#xD;&#xA;&#xD;&#xA;The *Sound Hack* plug ins and app are great. http://soundhack.henfast.com/freeware/&#xD;&#xA;&#xD;&#xA;The *Sound Hack* app is great, but the learning curve is a little steep. There's a few (not great) videos on YouTube explaining some of the parameters and how to use them. &#xD;&#xA;&#xD;&#xA;The *ValahallaDSP* plug ins are pretty celebrated for their quality and price. There's a free frequency shifting delay there that can make some great sounds if you play with the delay times etc. http://www.valhalladsp.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19714" PostHistoryTypeId="2" PostId="11960" RevisionGUID="7a860927-114c-48b1-9ee8-30230980b3a1" CreationDate="2011-12-26T22:44:31.253" UserId="6604" Text="Found something similar for Windows, as im on windows7... its called Virtual Audio Cable&#xD;&#xA;http://www.ntonyx.com/vac.htm&#xD;&#xA;&#xD;&#xA;yet to try it with Protools and ableton." ContentLicense="CC BY-SA 3.0" />
  <row Id="19715" PostHistoryTypeId="2" PostId="11961" RevisionGUID="1deda579-41d6-49f4-b590-f8f343ff2e9f" CreationDate="2011-12-27T01:00:13.887" UserId="38" Text="I'd really recommend an Australian film called &quot;Samson &amp; Delilah&quot; for fantastic use of &quot;silence&quot;. The majority of the film has no dialogue or music and it's set in the Australian outback, mostly in the desert, yet still manages to be captivating sonically as well as a great film overall." ContentLicense="CC BY-SA 3.0" />
  <row Id="19716" PostHistoryTypeId="16" PostId="11961" RevisionGUID="1deda579-41d6-49f4-b590-f8f343ff2e9f" CreationDate="2011-12-27T01:00:13.887" UserId="-1" />
  <row Id="19717" PostHistoryTypeId="2" PostId="11962" RevisionGUID="1e866536-4c69-4e2b-9118-8362da691e3e" CreationDate="2011-12-27T05:33:23.100" UserId="18160" Text="So tell us what happened - what did you record?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19721" PostHistoryTypeId="2" PostId="11964" RevisionGUID="74a673ad-35be-4583-9813-8569664845c6" CreationDate="2011-12-27T08:55:54.897" UserId="1228" Text="Ever try this with the Waves C4?  Been using the method for a few years now, sounds similar to what you mentioned.  I did a blog writeup on it a few months back for dialogue noise, it may be of interest as another means of reaching a similar solution:&#xD;&#xA;&#xD;&#xA;http://www.stavrosound.com/blog/wordpress/2011/07/dialogue-clean-out-the-noise/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19722" PostHistoryTypeId="16" PostId="11964" RevisionGUID="74a673ad-35be-4583-9813-8569664845c6" CreationDate="2011-12-27T08:55:54.897" UserId="-1" />
  <row Id="19723" PostHistoryTypeId="2" PostId="11965" RevisionGUID="aced158b-7aca-43ab-bd60-12257625b95f" CreationDate="2011-12-27T23:23:24.220" UserId="339" Text="Hi to you all,&#xD;&#xA;I just picked up a zoom h4n recorder and i noticed that when using the onboard stereo mics the right channel is a LOT hotter than the left one. Is there a setting to change this or did i get a faulty unit? Please help me out because if thats the case i should return it before next week.&#xD;&#xA;Thanks,&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19724" PostHistoryTypeId="1" PostId="11965" RevisionGUID="aced158b-7aca-43ab-bd60-12257625b95f" CreationDate="2011-12-27T23:23:24.220" UserId="339" Text="Zoom h4n gain difference in onboard mic channels" ContentLicense="CC BY-SA 3.0" />
  <row Id="19725" PostHistoryTypeId="3" PostId="11965" RevisionGUID="aced158b-7aca-43ab-bd60-12257625b95f" CreationDate="2011-12-27T23:23:24.220" UserId="339" Text="&lt;zoom-h4n&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19726" PostHistoryTypeId="2" PostId="11966" RevisionGUID="4fefd3fe-6989-4f34-960f-d10c9fbfa3f2" CreationDate="2011-12-28T00:54:22.140" UserId="3299" Text="Hi,&#xD;&#xA;Don't own one, but just browsing the manual here. The M/S Matrix option isn't on is it? And you're definitely in stereo record mode? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19727" PostHistoryTypeId="2" PostId="11967" RevisionGUID="3ad35296-e21d-46fd-abca-28c8ef02c5b5" CreationDate="2011-12-28T01:49:06.707" UserId="3302" Text="How would you make the footsteps in snow sound either via synthesis or recording/sampling?&#xD;&#xA;I would prefer the latter." ContentLicense="CC BY-SA 3.0" />
  <row Id="19728" PostHistoryTypeId="1" PostId="11967" RevisionGUID="3ad35296-e21d-46fd-abca-28c8ef02c5b5" CreationDate="2011-12-28T01:49:06.707" UserId="3302" Text="Sound Effect, Footsteps in Snow" ContentLicense="CC BY-SA 3.0" />
  <row Id="19729" PostHistoryTypeId="3" PostId="11967" RevisionGUID="3ad35296-e21d-46fd-abca-28c8ef02c5b5" CreationDate="2011-12-28T01:49:06.707" UserId="3302" Text="&lt;snow&gt;&lt;effect&gt;&lt;footsteps&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19730" PostHistoryTypeId="5" PostId="11925" RevisionGUID="a0bb6a98-03d9-41ea-99dc-c6997c753512" CreationDate="2011-12-28T02:48:59.523" UserId="194" Comment="added 173 characters in body" Text="I'm going out into the city to do some recording on Christmas day, just because that's one day that the city sounds completely different.&#xD;&#xA;&#xD;&#xA;I plan on getting some downtown amb, maybe some commuter trains, and other stuff like that.&#xD;&#xA;&#xD;&#xA;If you're going out to record that day, what are you looking to get? Even if you're not, what opportunities should I seek out?&#xD;&#xA;&#xD;&#xA;--edit--&#xD;&#xA;&#xD;&#xA;blog post with pix and downloadable sounds posted [here][1]  Enjoy!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://thesoundmyheadmakes.blogspot.com/2011/12/christmas-day-recordings.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="19731" PostHistoryTypeId="2" PostId="11968" RevisionGUID="6d899f6d-1e7d-44e6-a61f-326a5bd3cee8" CreationDate="2011-12-28T03:05:12.290" UserId="19" Text="Squeezing bags of corn starch sounds a lot like walking in the snow." ContentLicense="CC BY-SA 3.0" />
  <row Id="19732" PostHistoryTypeId="2" PostId="11969" RevisionGUID="97d1a95c-b7be-4f3c-a4c7-919aa7fa8305" CreationDate="2011-12-28T03:11:35.780" UserId="3299" Text="Walking on gravel can also provide an effective 'snow' sound with some help from EQ. Though it misses the 'squeak' of the shoes compressing the snow. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19733" PostHistoryTypeId="2" PostId="11970" RevisionGUID="0ce6b851-44b4-4949-9451-abd2abf88ba9" CreationDate="2011-12-28T05:54:10.737" UserId="3304" Text="I've put corn starch in pillowcases, then recorded a foley artist walking on it. Creates that perfect scrunch, but also makes quite a mess as the powder gets everywhere. You can add some rock salt to get a grittier sound if desired." ContentLicense="CC BY-SA 3.0" />
  <row Id="19734" PostHistoryTypeId="2" PostId="11971" RevisionGUID="ba1b5ebb-ab20-46c2-bf75-639773383804" CreationDate="2011-12-28T06:00:34.100" UserId="3304" Text="This is an expensive solution, but I am an avid Kyma user, and love to use my iPad as the front end. You can manipulate samples endlessly, and the sound quality is the bet I've ever heard. Plan on spending a few grand and several months to get fluid with the system, but it is absolutely amazing." ContentLicense="CC BY-SA 3.0" />
  <row Id="19735" PostHistoryTypeId="2" PostId="11972" RevisionGUID="c19aa9fe-9031-4781-8755-47a6560da210" CreationDate="2011-12-28T06:03:28.403" UserId="3304" Text="If you are new to the industry and looking to get your feet wet in game audio with a lesser known company, what about looking on Craigslist? I've seen plenty of startups here in San Francisco looking for audio help on a budget." ContentLicense="CC BY-SA 3.0" />
  <row Id="19736" PostHistoryTypeId="2" PostId="11973" RevisionGUID="b74de74a-35a3-4f62-a434-3614eaebf8ff" CreationDate="2011-12-28T06:16:06.047" UserId="3295" Text="i find that speeding sounds up but huge amounts (4-5 octaves) gives good restults" ContentLicense="CC BY-SA 3.0" />
  <row Id="19737" PostHistoryTypeId="2" PostId="11974" RevisionGUID="9e9e47ed-2124-4ea5-b101-ce5e6b327152" CreationDate="2011-12-28T06:44:19.103" UserId="338" Text="I think you can go further by adding an icy element to it" ContentLicense="CC BY-SA 3.0" />
  <row Id="19743" PostHistoryTypeId="2" PostId="11976" RevisionGUID="f1919ae9-a449-40f2-8eb3-74a940a8ddb9" CreationDate="2011-12-28T09:28:46.660" UserId="1301" Text="This is my first question ever, so don't be too hard on me. That sound of Master Chief's shield being recharged, how do I recreate it? How much does it have to do with FM synthesis?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19744" PostHistoryTypeId="1" PostId="11976" RevisionGUID="f1919ae9-a449-40f2-8eb3-74a940a8ddb9" CreationDate="2011-12-28T09:28:46.660" UserId="1301" Text="Halo shield sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="19745" PostHistoryTypeId="3" PostId="11976" RevisionGUID="f1919ae9-a449-40f2-8eb3-74a940a8ddb9" CreationDate="2011-12-28T09:28:46.660" UserId="1301" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19746" PostHistoryTypeId="2" PostId="11977" RevisionGUID="c7681e99-c360-468c-a5e6-d4d891c7225a" CreationDate="2011-12-28T10:46:57.043" UserId="3305" Text="Hey everyone, my question relates to a specific sound heard in Wolfgang Gartner's &quot;Fire Power&quot;&#xD;&#xA;&#xD;&#xA;[youtube]7M7CiegyP90[/youtube]&#xD;&#xA;&#xD;&#xA;It's the sound at 1:25 to 1:26, here it is sampled:&#xD;&#xA;&#xD;&#xA;http://audioboo.fm/boos/604605-sample&#xD;&#xA;&#xD;&#xA;It's also heard in &quot;VDE 128BPM Economic Melody Root A&quot;&#xD;&#xA;&#xD;&#xA;http://audioboo.fm/boos/604615-sample2&#xD;&#xA;&#xD;&#xA;Does anybody here know how to re-create this sound, and could help out? I'd really appreciate it. &#xD;&#xA;&#xD;&#xA;I'm using Live.&#xD;&#xA;&#xD;&#xA;Looking forward to any replies, thanks a lot in advance.&#xD;&#xA;-V." ContentLicense="CC BY-SA 3.0" />
  <row Id="19747" PostHistoryTypeId="1" PostId="11977" RevisionGUID="c7681e99-c360-468c-a5e6-d4d891c7225a" CreationDate="2011-12-28T10:46:57.043" UserId="3305" Text="How can I acheive this sound? (Wolfgang Gartner - Fire Power)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19748" PostHistoryTypeId="3" PostId="11977" RevisionGUID="c7681e99-c360-468c-a5e6-d4d891c7225a" CreationDate="2011-12-28T10:46:57.043" UserId="3305" Text="&lt;effect&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19749" PostHistoryTypeId="2" PostId="11978" RevisionGUID="94316d67-a1c7-4caf-895b-39e5f3f6bb75" CreationDate="2011-12-28T14:55:54.170" UserId="553" Text="Check [this][1] out. Max4Live, too.&#xD;&#xA;&#xD;&#xA;/Markus&#xD;&#xA;&#xD;&#xA;  [1]: http://koti.teak.fi/~meriksso/maxmsp/sora.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="19750" PostHistoryTypeId="2" PostId="11979" RevisionGUID="03ffba2d-fe9a-4b44-bef5-0d3990664fd9" CreationDate="2011-12-28T15:35:14.963" UserId="565" Text="To get a slushier sound, do what Nick said above, cornstarch in a pillowcase but make the mixture 50/50 cornstarch and birdseed." ContentLicense="CC BY-SA 3.0" />
  <row Id="19751" PostHistoryTypeId="2" PostId="11980" RevisionGUID="617c67df-b9b0-4b37-ada8-f4acd69c81cf" CreationDate="2011-12-28T16:19:06.153" UserId="930" Text="Agree with the corn starch, but adding a bit of rice gives a nice crispy texture as well. &#xD;&#xA;&#xD;&#xA;Manipulating it with your hands rather than feet gives you more control over the sound.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="19753" PostHistoryTypeId="2" PostId="11982" RevisionGUID="93d2232f-1f99-4e1f-9a2c-27568285bfec" CreationDate="2011-12-28T17:54:10.867" UserId="1138" Text="Any idea where to try and buy location sound stuff in Paris? Like mic capsules and hearphones?&#xD;&#xA;Also portabraces.&#xD;&#xA;&#xD;&#xA;Thanks¡" ContentLicense="CC BY-SA 3.0" />
  <row Id="19754" PostHistoryTypeId="1" PostId="11982" RevisionGUID="93d2232f-1f99-4e1f-9a2c-27568285bfec" CreationDate="2011-12-28T17:54:10.867" UserId="1138" Text="Buying stuff in Paris" ContentLicense="CC BY-SA 3.0" />
  <row Id="19755" PostHistoryTypeId="3" PostId="11982" RevisionGUID="93d2232f-1f99-4e1f-9a2c-27568285bfec" CreationDate="2011-12-28T17:54:10.867" UserId="1138" Text="&lt;buying-stuff&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19756" PostHistoryTypeId="2" PostId="11983" RevisionGUID="38cc6e31-c8ef-4207-b087-8a3349e95542" CreationDate="2011-12-28T19:55:00.613" UserId="848" Text="Squeeze custard powder or corn starch in rubber gloves. Sounds great!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19757" PostHistoryTypeId="2" PostId="11984" RevisionGUID="d42b9d75-a9ec-43d4-98d1-0cff668cbb2b" CreationDate="2011-12-28T23:32:58.253" UserId="3197" Text="Mind posting an example?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19758" PostHistoryTypeId="2" PostId="11985" RevisionGUID="4092e1e2-6269-4b80-b4a0-fdfcc816c376" CreationDate="2011-12-28T23:33:49.600" UserId="3308" Text="http://www.tapages.fr/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19759" PostHistoryTypeId="2" PostId="11986" RevisionGUID="48b45e0c-0362-4e5d-9a62-2f567dd59e70" CreationDate="2011-12-29T01:50:17.410" UserId="3299" Text="I'm really interested in the responses here. I'm editing and mixing the audio for a short at the moment that a friend just didn't have time to deal with. &#xD;&#xA;&#xD;&#xA;There's very bad wind noise throughout as it was recorded in a very exposed area. Also, some of the dialogue was clipped during dramatic moments. A mess overall! My inclination was to use expansion, but I may remove it and follow Shaun's philosophy of consistency.&#xD;&#xA;&#xD;&#xA;Two of the three characters are going to be ADR'd, but the third isn't available anymore due to a falling out. Has anyone any experience mixing ADR alongside very noisy outdoor dialogue? " ContentLicense="CC BY-SA 3.0" />
  <row Id="19760" PostHistoryTypeId="2" PostId="11987" RevisionGUID="fad74c9f-90b7-44ed-a6b5-1e7910b56afe" CreationDate="2011-12-29T07:25:32.023" UserId="208" Text="Ive got a 25min snowy footsteps library ,recorded last winter. Lots of different types of snow, from crusty deep to frozen hard packed. &#xD;&#xA;Contact me at gimaudio {(at.)} gmail.com if you like. &#xD;&#xA;&#xD;&#xA;Best wishes&#xD;&#xA;Mikkel&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19761" PostHistoryTypeId="2" PostId="11988" RevisionGUID="6dd96501-186a-49ed-bf93-88e33ba55e46" CreationDate="2011-12-29T13:47:03.007" UserId="238" Text="In terms of buying gear, France is considerably more expensive than elsewhere. I live in Paris but always buy from either the UK or Germany. It usually works out cheaper to buy from abroad and pay a delivery charge than to buy from a French retailer. Don't forget that if you buy from a European seller, there are no issues with import tax. Buying from the US does mean import taxes are due. UK retailer Digital Village has a French website, even though it is essentially the UK store that you buy from. They also offer a price-match deal, so if you find what you're looking for cheaper elsewhere, they'll match it.  &#xD;&#xA;&#xD;&#xA;If you want to try before you buy, there are a number of companies in Paris that rent out audiovisual gear. But most of these will only stock different models of high-end gear - if you are interested in trying different models of headphones this becomes more difficult. I would advise doing extensive research on the Internet, then try and find a seller that allows you to try first. The same applies for Portabrace. The following links will help you on your way, I'll update with more links as I think of them:&#xD;&#xA;&#xD;&#xA;[DC Audiovisuel (rental)][1]&#xD;&#xA;&#xD;&#xA;[Thomann (Germany)][2]&#xD;&#xA;&#xD;&#xA;[DV 247][3]&#xD;&#xA;&#xD;&#xA;[Pinknoise Systems (UK)][4]&#xD;&#xA;&#xD;&#xA;[Audio Fanzine (second hand gear)][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dcaudiovisuel.com/&#xD;&#xA;  [2]: http://www.thomann.de/fr/index.html&#xD;&#xA;  [3]: http://www.dv247.fr/&#xD;&#xA;  [4]: http://www.pinknoise-systems.co.uk/&#xD;&#xA;  [5]: http://fr.audiofanzine.com/petites-annonces/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19762" PostHistoryTypeId="2" PostId="11989" RevisionGUID="b3c834e9-dce1-45e3-bf8f-7f75e0ea2824" CreationDate="2011-12-29T18:06:09.263" UserId="703" Text="Anybody using Sennheiser 2000 Series on location? I´m highly interested on how this wireless system works in the battle field. I also would love to hear how do they work on the stage, is it a big quality difference with a lectro system sound?&#xD;&#xA;Thanks," ContentLicense="CC BY-SA 3.0" />
  <row Id="19763" PostHistoryTypeId="1" PostId="11989" RevisionGUID="b3c834e9-dce1-45e3-bf8f-7f75e0ea2824" CreationDate="2011-12-29T18:06:09.263" UserId="703" Text="Sennheiser 2000 survey" ContentLicense="CC BY-SA 3.0" />
  <row Id="19764" PostHistoryTypeId="3" PostId="11989" RevisionGUID="b3c834e9-dce1-45e3-bf8f-7f75e0ea2824" CreationDate="2011-12-29T18:06:09.263" UserId="703" Text="&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19765" PostHistoryTypeId="2" PostId="11990" RevisionGUID="8bda2e4c-a4b8-4da6-8ee6-fd0327ce8115" CreationDate="2011-12-29T19:19:45.953" UserId="3312" Text="It depends on the type and loudness of noise and whether it belongs in the scene. The &quot;Royale With Cheese&quot; scene in Pulp Fiction has a lot of traffic noise but it's fine, and is probably all from production. I've stressed over noise on dialog only to hear it's fine when I watch the movie playing on TV. But, it really depends. If it's even moderate a/c or fridge, or generator noise, for example, in a quiet interior dialog scene, you're probably in trouble. Start by trying to EQ out the offending frequencies. If it's not enough, use noise redux plugins like Cedar or WNS and see. If it's not enough, then it's obviously a big problem and the producer should pay for an ADR session, or sessions, because it's due to sloppy production and out of your control.&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="19766" PostHistoryTypeId="2" PostId="11991" RevisionGUID="27e0a393-7bbf-480c-8f90-4510859fe9ea" CreationDate="2011-12-29T22:43:36.197" UserId="3313" Text="I live in a place without snow, even during the winter.&#xD;&#xA;Walking over sand, make something very similar." ContentLicense="CC BY-SA 3.0" />
  <row Id="19767" PostHistoryTypeId="2" PostId="11992" RevisionGUID="9b8890a8-57ca-4e98-9c42-cc071ce54e62" CreationDate="2011-12-30T08:16:18.480" UserId="3264" Text="Post an example of what you've tried so far, and maybe we can offer suggestions." ContentLicense="CC BY-SA 3.0" />
  <row Id="19768" PostHistoryTypeId="5" PostId="11980" RevisionGUID="fe37cdf9-3a5e-4897-af17-4d55e6b6fa29" CreationDate="2011-12-30T09:14:49.017" UserId="930" Comment="added 52 characters in body" Text="Agree with the corn starch, but adding a bit of rice gives a nice crispy texture as well. Also, adding dishwasher salts can give this texture.&#xD;&#xA;&#xD;&#xA;Manipulating it with your hands rather than feet gives you more control over the sound.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="19769" PostHistoryTypeId="5" PostId="11976" RevisionGUID="efb6d166-b0cb-4d7c-8e8b-d1402ca77105" CreationDate="2011-12-30T11:19:22.557" UserId="1301" Comment="added 122 characters in body" Text="This is my first question ever, so don't be too hard on me. That sound of Master Chief's shield being recharged, how do I recreate it? How much does it have to do with FM synthesis?&#xD;&#xA;&#xD;&#xA;Edit: Here's the original sound I ripped from the game&#xD;&#xA;http://soundcloud.com/rave4everyday/halo-shield-recharge-sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="19770" PostHistoryTypeId="2" PostId="11993" RevisionGUID="68d9747c-7621-42c2-8478-f14778bd7eaf" CreationDate="2011-12-30T14:54:12.597" UserId="3214" Text="Sounds to me like a simple synthesised sound, play around in a synthesiser using a few different waves, make sure you have the envelope set to have long decay, and then automate the cut-off a high pass filter to create the rise.&#xD;&#xA;&#xD;&#xA;It's normally just best to try a few different things in a synthesiser and see what you like.&#xD;&#xA;&#xD;&#xA;Hope this is of some help. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19771" PostHistoryTypeId="2" PostId="11994" RevisionGUID="f2f268d6-d161-4b18-a8e8-a67e2b39c177" CreationDate="2011-12-30T17:32:32.393" UserId="3204" Text="Glad to hear I'm not the only one. This is an issue with some of the new Zoom H4n's. I had the same problem. I ran a line in of tone from my pro tools rig to confirm and as suspected, the right channel was about 3db hotter than the left. No matter what mode I was in. I took it back to where I bought it here in Canada (Long and McQuade) and they sent it out for repair. It was after the 30 days otherwise they'd probably just exchange it on the spot. I got a loner while it was out for repair, parts were replaced and it's as good as new.&#xD;&#xA;&#xD;&#xA;If you didn't want to send it out for repair... The new firmware update allows for independent gain control for each channel. You could always just adjust the right channel. But if it were me.. out of principal I'd get the faulty hardware fixed.&#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="19772" PostHistoryTypeId="2" PostId="11995" RevisionGUID="6fde4ea7-01c7-4b73-99f3-366f839a180e" CreationDate="2011-12-30T23:46:34.803" UserId="1049" Text="That sound is (probably) a VST Instrument or synth. I'd suggest playing around with various instruments and plugins; something from [Superwave][1], or if you've got the budget, Native Instruments' Absynth, should be more than capable of creating such a sound and will probably already have something similar as a preset. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.superwavesynths.co.uk/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19773" PostHistoryTypeId="5" PostId="11995" RevisionGUID="a8c46d96-2e29-4be5-ab08-8492d87905ee" CreationDate="2011-12-31T00:06:13.110" UserId="1049" Comment="added 147 characters in body" Text="That sound is (probably) a VST Instrument or synth. From the sounds of it, it could have been created from the Nord Lead 3. A similar sound (but obviously higher pitch) is present as the main lead on [Yeah Yeah by Bodyrox feat. Luciana][1], which was created with the Nord Lead 3. Take a look [here][2] for how that was created.&#xD;&#xA;&#xD;&#xA;Hope this helps, good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=o2Xq4q1wCk4&#xD;&#xA;  [2]: http://www.musicradar.com/news/tech/the-40-greatest-synth-sounds-of-all-time-ever-306114/40" ContentLicense="CC BY-SA 3.0" />
  <row Id="19774" PostHistoryTypeId="2" PostId="11996" RevisionGUID="89528c5e-5c94-47fc-b1bd-f61492becaa4" CreationDate="2011-12-31T06:30:14.393" UserId="1049" Text="Ok, the initial very-high pitch is (the same as) a defibrillator. This is followed by a one-octave sweep of a very basic synth, with some HP Filtering in the middle as @Dominic said, rounded off with some mild static / electric crackle. Should be quite simple to recreate; defib. and electricity samples should be easy to come by. &#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19775" PostHistoryTypeId="2" PostId="11997" RevisionGUID="28b01f16-e7b2-478c-92e9-cdf5fc8c9b5c" CreationDate="2011-12-31T07:32:39.487" UserId="18160" Text="A flight attendant, a neighbor, an acquaintance on a train,&#xD;&#xA;&#xD;&#xA;How do you tell people what you do for a living when they ask what it is?&#xD;&#xA;&#xD;&#xA;I find it difficult to answer what a Sound Designer does in 3 sentences or less - it usually goes into the history of Apocalypse Now through Star Wars and into Hurt Locker or No Country for Old Men and I spend about 30 minutes at least explaining the field.&#xD;&#xA;&#xD;&#xA;What do you tell people?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19776" PostHistoryTypeId="1" PostId="11997" RevisionGUID="28b01f16-e7b2-478c-92e9-cdf5fc8c9b5c" CreationDate="2011-12-31T07:32:39.487" UserId="18160" Text="How do you tell people what your profession is?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19777" PostHistoryTypeId="3" PostId="11997" RevisionGUID="28b01f16-e7b2-478c-92e9-cdf5fc8c9b5c" CreationDate="2011-12-31T07:32:39.487" UserId="18160" Text="&lt;sound-design&gt;&lt;explanation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19778" PostHistoryTypeId="2" PostId="11998" RevisionGUID="61099509-5421-4ef3-a7ac-9e4da51fedfb" CreationDate="2011-12-31T07:35:04.490" UserId="18160" Text="What project did you complete in 2011 that you were most proud of and really did a smoking job on?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19779" PostHistoryTypeId="1" PostId="11998" RevisionGUID="61099509-5421-4ef3-a7ac-9e4da51fedfb" CreationDate="2011-12-31T07:35:04.490" UserId="18160" Text="What was the job you were most proud of doing in 2011?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19780" PostHistoryTypeId="3" PostId="11998" RevisionGUID="61099509-5421-4ef3-a7ac-9e4da51fedfb" CreationDate="2011-12-31T07:35:04.490" UserId="18160" Text="&lt;2011&gt;&lt;project&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19781" PostHistoryTypeId="2" PostId="11999" RevisionGUID="b1cf2692-bb1c-458e-b4d3-1aee12c1734c" CreationDate="2011-12-31T07:42:21.897" UserId="18160" Text="For example, a morning show that requires instant playback of samples or sound effects on triggers such as a keyboard or other device.&#xD;&#xA;&#xD;&#xA;I was checking out Playback Pro - anyone have any experience with this software and it's reliability in a live situation?&#xD;&#xA;&#xD;&#xA;Does anyone know what kind of software or things used in a morning radio talk show or late night television talk show by chance?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19782" PostHistoryTypeId="1" PostId="11999" RevisionGUID="b1cf2692-bb1c-458e-b4d3-1aee12c1734c" CreationDate="2011-12-31T07:42:21.897" UserId="18160" Text="Best software or hardware for playing back SFX in a live broadcast environment." ContentLicense="CC BY-SA 3.0" />
  <row Id="19783" PostHistoryTypeId="3" PostId="11999" RevisionGUID="b1cf2692-bb1c-458e-b4d3-1aee12c1734c" CreationDate="2011-12-31T07:42:21.897" UserId="18160" Text="&lt;playback&gt;&lt;live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19784" PostHistoryTypeId="5" PostId="11997" RevisionGUID="fc112a04-94bf-477a-9e78-6b7b694afc2e" CreationDate="2011-12-31T07:48:03.750" UserId="18160" Comment="added 2 characters in body" Text="A flight attendant, a neighbor, an acquaintance on a train,&#xD;&#xA;&#xD;&#xA;How do you tell people what you do for a living when they ask what it is?&#xD;&#xA;&#xD;&#xA;I find it difficult to answer what a Sound Designer does in 3 sentences or less - it usually goes into the history of Apocalypse Now through Star Wars and into Hurt Locker or No Country for Old Men and I spend about 30 minutes (at least) explaining the field.&#xD;&#xA;&#xD;&#xA;What do you tell people?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19785" PostHistoryTypeId="2" PostId="12000" RevisionGUID="cbf1a666-43d2-4b0c-b69f-1aee002df180" CreationDate="2011-12-31T08:13:21.157" UserId="61" Text="You know all those cool sounds you hear in movies, like robots, zombies and car chases? I make that." ContentLicense="CC BY-SA 3.0" />
  <row Id="19786" PostHistoryTypeId="2" PostId="12001" RevisionGUID="8a5e918d-5c1f-4947-b452-a792d09b6ee0" CreationDate="2011-12-31T08:17:17.290" UserId="61" Text="I can't judge whether I did a smokin' job on it or not, but I was really proud of the work we did on Captain America: The First Avenger. A very tall order in an extremely short amount of time. Lots of talented people put their 110% into it and I think it shows." ContentLicense="CC BY-SA 3.0" />
  <row Id="19787" PostHistoryTypeId="2" PostId="12002" RevisionGUID="0a5a2e53-df84-40c1-9ecf-9ab4d6d84678" CreationDate="2011-12-31T08:32:49.790" UserId="1228" Text="&quot;We create and destroy worlds through sound every day.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19788" PostHistoryTypeId="2" PostId="12003" RevisionGUID="a52c32c7-d12d-46dd-a03b-ee6d1c6d1686" CreationDate="2011-12-31T10:59:37.683" UserId="238" Text="I know a lot of people in live events use [Q Cart][1]. It's not too pricy and is apparently very stable. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://figure53.com/qcart/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19789" PostHistoryTypeId="2" PostId="12004" RevisionGUID="5bea042c-581e-499d-8d16-9a95ba9ebbd6" CreationDate="2011-12-31T12:38:17.870" UserId="842" Text="I mostly just say I work with sound and sound effects, depending on who I talk to :-)&#xD;&#xA;Mostly people have practically no concept of sound in movies (as you probably all know full well), they take it for granted and expect it all to be production sound, so for good examples most people can relate well to I often explains how I use animal sounds, stressed objects and vocalization to make monster-sounds, and that an explosion, gunshot or especially shotgun sounds rather dull as it is, so my work is to make it go from &quot;puff&quot; to a mean xxxxxxxxxxx **KABOOM**!!!&#xD;&#xA;Worked pretty well so far :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19790" PostHistoryTypeId="2" PostId="12005" RevisionGUID="c2cd28b2-442d-4a8c-8e3b-446d94729554" CreationDate="2011-12-31T13:10:08.580" UserId="1237" Text="If I don't have time to explain it in detail, I would better say that I just work in cinema with a director, actors and a composer.&#xD;&#xA;&#xD;&#xA;Once I have tried to explain it to one lovely girl in the bar... She asked me what do I do. I told her that I create sound for movies and games. For instance sounds of guns, explosions, or creature roars like in Star Wars or Lord of The Rings. &#xD;&#xA;&#xD;&#xA;She said, “Wow! But what exactly you do?” I said, “Well, usually I go around and record some stuff, like gun shots or vehicle motors...”&#xD;&#xA;&#xD;&#xA;- Do you fire a gun?!&#xD;&#xA;- No, that do another guy. &#xD;&#xA;- Did you drive a military tank like an actor?&#xD;&#xA;- No, my purpose is to record and collect that stuff and later use it in the movie.&#xD;&#xA;- Oh, I see..." ContentLicense="CC BY-SA 3.0" />
  <row Id="19791" PostHistoryTypeId="2" PostId="12006" RevisionGUID="92ca4a7d-10ae-4091-968e-d77f2971b4a3" CreationDate="2011-12-31T13:10:41.293" UserId="842" Text="Sounds like a pretty straight forward synth-sound, having a ring to it that makes me suspect some kind of FM or similar modulating synthesis.&#xD;&#xA;&#xD;&#xA;It doesn't have any real fatness, so it's probably not an Ensoniq or Roland, but it does have a rather firm bass, so I doubt it would be a Kawai or Teisco (more or less the same company, but Kawai generally sounds a little firmer but less gritty imho) (I like grit). It also have no sharpness whatsoever, which rules out Moog, Sequential, ARP, Elektron or the analogue KORG-synths. My best guess is that it's from KORG's digital line, or possibly a mid 90's Yamaha SY/DX-synth. I don't know if any of those was the origin to this very sound, but both KORG Wavestation and Yamaha DX-7 II (the first of the DX:es to actually have any lows to speak of) can do that very well.&#xD;&#xA;&#xD;&#xA;It might also be a Doepfer A100-system, hard to tell from a more lofi recording. It also seems to have Chorus on it, but I can't tell if it's really added or if it's a phasing in the recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="19792" PostHistoryTypeId="2" PostId="12007" RevisionGUID="2823397d-99af-47ae-bf4f-62441305a5ed" CreationDate="2011-12-31T13:30:55.153" UserId="842" Text="It's an arpeggio or step-sequensing of an subtractive synth (based in filters and pitch). The Nord Lead-line is good at this, though it actually can be a heavily processed Moog (my best guess: MiniMoog or Little Fatty) or KORG MS-20 too!&#xD;&#xA;&#xD;&#xA;Good bite on that one :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19793" PostHistoryTypeId="2" PostId="12008" RevisionGUID="a7b30105-fa78-4bbb-b297-69a4582b7e1f" CreationDate="2011-12-31T15:01:44.433" UserId="842" Text="Cheers and thanks for the answers! &#xD;&#xA;&#xD;&#xA;As I see it right now, I will make the first steps in the new rebuild of the studio by completing the bass-traps I already have (some triangular broad-band traps, don't really know exactly where they're most effective) with, among others, the Auralex Venus Bass-Trap, which is especially effective (at least in print) in the very range I have most resonance in. I'll also check out the spring-traps, some Helmholtz resonators, and bass-panels at the resonance-points. &#xD;&#xA;&#xD;&#xA;I'm still not sure exactly how to deal with the high/mid acoustics, as for now the Auralex 4&quot; wedges seems the most interesting. I'm looking for absolute neutrality and short reverb-time, so I suppose it will take quite some tweaking before I get it great. But I will use a combination of my old modular walls, retractable moltom (of at least 400gpm thickness) and a few other things to reach as close to complete deadness as I can when doing sound effects, ADR and foley. I don't really care how much it will cost in the end, it's not only that I do make a living out of this, I live for sound and are willing to do whatever it takes to get as close to perfection as possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="19794" PostHistoryTypeId="2" PostId="12009" RevisionGUID="21bc899b-4967-4707-8f31-2d57e602b107" CreationDate="2011-12-31T17:08:30.867" UserId="3314" Text="Amazing and inspiring question!&#xD;&#xA;&#xD;&#xA;Completed my first commissioned work for a dance company this year. Worked more than a few 18 hour days towards the end of the production for the love of wanting to get it perfect and absolutely right. I feel more defined as an artist as a result." ContentLicense="CC BY-SA 3.0" />
  <row Id="19795" PostHistoryTypeId="2" PostId="12010" RevisionGUID="e3435b44-22de-4d76-abb5-399625793f5c" CreationDate="2011-12-31T17:54:50.847" UserId="418" Text="For software, I'd recommend Ableton Live. You can see your hold clip grid, color-code everything, add fx, etc. Lots of integrated hardware controllers available.&#xD;&#xA;&#xD;&#xA;On the hardware front, an MPC might do the trick, depending the situation. Triggering sfx from pads just feels better than a keyboard to me. &#xD;&#xA;&#xD;&#xA;And as a marriage of the two, I'd recommend Maschine. That would probably offer the best of both worlds. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19796" PostHistoryTypeId="2" PostId="12011" RevisionGUID="18ce35ed-6f24-4878-8ccb-5c31442057dc" CreationDate="2011-12-31T18:39:44.003" UserId="6499" Text="Ive used Sports Sounds Pro.  Worked nicely, stable, also keeps track of if you have played the sound or not. Very simple and basic interface.    It worked really well doing Imagination Movers Live.  I have no idea about external controllers for it, I never got into that when I used it.  It is designed to use for triggering audio during events so it really has what you need and only that." ContentLicense="CC BY-SA 3.0" />
  <row Id="19797" PostHistoryTypeId="2" PostId="12012" RevisionGUID="7c74178f-9c68-4abc-b994-386bcd4b9c7f" CreationDate="2011-12-31T20:13:31.193" UserId="3275" Text="hmmm good question, i somehow wrapped my first feature documentary. definitely a different animal from narrative work... Happy New Year! " ContentLicense="CC BY-SA 3.0" />
  <row Id="19798" PostHistoryTypeId="2" PostId="12013" RevisionGUID="11da1b02-729c-41ce-89ad-13cfa12ab1d4" CreationDate="2011-12-31T22:16:27.403" UserId="1129" Text="For simple, cheap, and reliable one-shot effects there is SoundPlant.  It basically makes your keyboard an assignable sampler.  One key, one shot.  Very simple and very robust. (And free!)&#xD;&#xA;&#xD;&#xA;If you are looking for a cue list structured playback engine with a lot of power, check out Stage Research's SFX (for Windows) or Qlab (Mac) they are both very powerful playback engines:  THE industry standards for live theatre playback.  Multi track, midi triggering, with its own scripting language to boot." ContentLicense="CC BY-SA 3.0" />
  <row Id="19799" PostHistoryTypeId="2" PostId="12014" RevisionGUID="12194901-c2b7-4ae1-a16b-d409d1e53c1d" CreationDate="2011-12-31T23:50:15.687" UserId="6462" Text="I've just done some recordings of the fireworks at midnight here in Tallinn (I will be putting  the sounds online later, and will update this post with the links)&#xD;&#xA;&#xD;&#xA;Has anyone else made any recordings of the celebrations, would be interested to hear the different sounds of the start of 2012.&#xD;&#xA;&#xD;&#xA;Wishing you all a fantastic 2012." ContentLicense="CC BY-SA 3.0" />
  <row Id="19800" PostHistoryTypeId="1" PostId="12014" RevisionGUID="12194901-c2b7-4ae1-a16b-d409d1e53c1d" CreationDate="2011-12-31T23:50:15.687" UserId="6462" Text="Recordings of New Year celebrations!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19801" PostHistoryTypeId="3" PostId="12014" RevisionGUID="12194901-c2b7-4ae1-a16b-d409d1e53c1d" CreationDate="2011-12-31T23:50:15.687" UserId="6462" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19802" PostHistoryTypeId="2" PostId="12015" RevisionGUID="cea66b58-d717-404c-9c6f-f569094a40f8" CreationDate="2012-01-01T00:00:01.457" UserId="208" Text="Just pressed stop on my recorder. Having 45 mins of absolute madness to edit in the coming days. &#xD;&#xA;Dpa 4061 low sens, handled the boooms nicely, and was easy to strap just outside the window. &#xD;&#xA;&#xD;&#xA;Happy new year all. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19803" PostHistoryTypeId="2" PostId="12016" RevisionGUID="a48ea662-9e96-469f-af82-83c8d77ab28c" CreationDate="2012-01-01T02:49:31.280" UserId="3243" Text="I have 45 mins of stuff as well... But here in the Philippines, you get a lot of karaoke going on everywhere. But I'm sure there's a lot of good stuff I can get after editing through it.&#xD;&#xA;&#xD;&#xA;Recorded M/S with a Sanken CMS-7s @ 192khz." ContentLicense="CC BY-SA 3.0" />
  <row Id="19804" PostHistoryTypeId="2" PostId="12017" RevisionGUID="9a9d218d-c1f9-4255-b111-d5549816c70b" CreationDate="2012-01-01T03:43:49.350" UserId="253" Text="I finished up sound post on my first feature this year. We had an excellent dialogue editor/ADR recordist, who i was very thankful to have, because i pretty much did the rest. A year of late nights and weekends, trial and error, guerilla foley in vo booths/the producer's basement, and by the time we were done, i still felt like i had 1000 more things i wanted to tweak. &#xD;&#xA;&#xD;&#xA;I watched it through the other day when i was recording out DME stems, and i'm pretty satisfied with it." ContentLicense="CC BY-SA 3.0" />
  <row Id="19805" PostHistoryTypeId="5" PostId="12014" RevisionGUID="7570c032-91af-4832-be8f-13045bdc8b3d" CreationDate="2012-01-01T09:12:02.940" UserId="6462" Comment="added 147 characters in body" Text="I've just done some recordings of the fireworks at midnight here in Tallinn (I will be putting  the sounds online later, and will update this post with the links)&#xD;&#xA;&#xD;&#xA;Has anyone else made any recordings of the celebrations, would be interested to hear the different sounds of the start of 2012.&#xD;&#xA;&#xD;&#xA;Wishing you all a fantastic 2012.&#xD;&#xA;&#xD;&#xA;Midnight fireworks no.1 (Rode NTG3 into Sound Devices 744): [link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/siaudio/atm_fireworks_newyear_2012" ContentLicense="CC BY-SA 3.0" />
  <row Id="19806" PostHistoryTypeId="5" PostId="12014" RevisionGUID="975fe65f-835a-4540-996c-d97d3446b34e" CreationDate="2012-01-01T10:32:57.417" UserId="6462" Comment="Added sounds" Text="I've just done some recordings of the fireworks at midnight here in Tallinn (I will be putting  the sounds online later, and will update this post with the links)&#xD;&#xA;&#xD;&#xA;Has anyone else made any recordings of the celebrations, would be interested to hear the different sounds of the start of 2012.&#xD;&#xA;&#xD;&#xA;Wishing you all a fantastic 2012.&#xD;&#xA;&#xD;&#xA; - Midnight fireworks no.1 (Rode NTG3 into Sound Devices 744): [link text][1]&#xD;&#xA; - Midnight fireworks no.2 (Sony PCM D-50): [link text][2]&#xD;&#xA; - Midnight fireworks no.2 (Sony PCM D-50): [link text][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/siaudio/atm_fireworks_newyear_2012&#xD;&#xA;  [2]: http://soundcloud.com/siaudio/atm_fireworks_newyear_2012_02&#xD;&#xA;  [3]: http://soundcloud.com/siaudio/atm_fireworks_newyear_2012_03--" ContentLicense="CC BY-SA 3.0" />
  <row Id="19807" PostHistoryTypeId="2" PostId="12018" RevisionGUID="4afe5554-2b70-4d0b-8418-c0b8557bfaae" CreationDate="2012-01-01T11:40:04.037" UserId="400" Text="These all sound like really cool projects, well done to all :)&#xD;&#xA;&#xD;&#xA;For me, 2011 was the year I started my career as a sound designer for games, so the project I'm most proud of? My first AAA shipped game: &quot;LEGO: Harry Potter Years 5-7&quot;&#xD;&#xA;&#xD;&#xA;I'm proud of it, but already I'm looking at some of my work in it and seeing places it could be improved. That's a good thing though right? :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19808" PostHistoryTypeId="5" PostId="12015" RevisionGUID="c0d0c076-2525-4a36-a157-f5b5e5d682de" CreationDate="2012-01-01T13:55:32.677" UserId="208" Comment="added 617 characters in body" Text="Just pressed stop on my recorder. Having 45 mins of absolute madness to edit in the coming days. &#xD;&#xA;Dpa 4061 low sens, handled the boooms nicely, and was easy to strap just outside the window. &#xD;&#xA;&#xD;&#xA;Happy new year all. &#xD;&#xA;&lt;object height=&quot;81&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F32123540&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;81&quot; src=&quot;https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F32123540&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/gimaudio/happynewyear2012&quot;&gt;HappyNewYear2012 DPA4061Sounddevices702&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/gimaudio&quot;&gt;gimaudio&lt;/a&gt;&lt;/span&gt; " ContentLicense="CC BY-SA 3.0" />
  <row Id="19809" PostHistoryTypeId="2" PostId="12019" RevisionGUID="ac8e3360-187f-4eb5-bc99-67b1af95581f" CreationDate="2012-01-01T14:32:49.277" UserId="3315" Text="Ha! Nice tread ;) i made also a 50 minute recording. Here's a link of a short edit...&#xD;&#xA;I used a nt4 into my h4n&#xD;&#xA;&#xD;&#xA;http://www.klang-manufaktur.de/free-sound-of-the-day" ContentLicense="CC BY-SA 3.0" />
  <row Id="19810" PostHistoryTypeId="2" PostId="12020" RevisionGUID="a556842a-4078-45d1-a7ed-7201a0888ff4" CreationDate="2012-01-01T15:04:15.633" UserId="168" Text="It would be great if you guys could contribute these sounds to the Designing Sound/Sonic-Terrain Sonic-Mash! http://bit.ly/sQmbXA&#xD;&#xA;&#xD;&#xA;Have a great year ahead!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19811" PostHistoryTypeId="2" PostId="12021" RevisionGUID="9994d9c6-0f79-430e-9352-5ce57fed3ddc" CreationDate="2012-01-01T17:01:05.423" UserId="238" Text="The project I am most proud of during 2011 was a documentary on one of France's most well-known comedians, Jamel. I was the sound recordist throughout the shoot that took place during the week-long Marakech du Rire comedy festival, then I oversaw the sound post-production back in Paris. &#xD;&#xA;&#xD;&#xA;Not only was it a very high-profile, which obviously brings with it a lot of stress, but it was also the first time I have been involved from start to finish (location to post). It turned out to be a great learning curve!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19812" PostHistoryTypeId="2" PostId="12022" RevisionGUID="bf179b0e-4297-4745-99b5-c2c5b421c93f" CreationDate="2012-01-01T17:09:53.520" UserId="622" Text="I did a lot of TV shows for 15 years. I started with Akai sampler then switch to a macbook, motu 828 and Kontakt sampler trigged by a keyboard. Now you can have a nice rig with small audio card with enought output to support surround (if you need) and a small keyboard with controls as levels, cutoff, effects... I did a bunch of kids shows live with a lot of sfx and music playback. My keyboard full of tapes for cues. Was very funny. From Award shows with a big surround applause set-up to simple talk show music set-up trigged by tv host with a keyboard Kontakt is amazing and deep. With the large instruments banks that come with, you can even write music on the spot! Producers like that!&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="19813" PostHistoryTypeId="2" PostId="12023" RevisionGUID="b66296da-4f31-454b-9105-532590b74be6" CreationDate="2012-01-01T17:34:50.793" UserId="3141" Text="It is telling how professional and humble the users of this forum are - even in a thread specifically prompting everyone to share their best work from an entire year, most don't mention the specific title of their project and all frame their pride within statements of &quot;hearing mistakes&quot; &quot;tweeking more&quot; &quot;learning curves&quot; etc.  This is exactly why I am so appreciative of the users who post here.  Even the Captain America post by Jay spends most of the word count of the team, says &quot;we&quot; instead of I, and still prefaces his pride statement with &quot;I can't judge whether I did a smokin' job on it or not.&quot;  Within this environment refined skill and hard work naturally are elevated." ContentLicense="CC BY-SA 3.0" />
  <row Id="19814" PostHistoryTypeId="2" PostId="12024" RevisionGUID="960e7158-b9cc-450d-a2e8-05530bacc682" CreationDate="2012-01-01T18:39:37.930" UserId="622" Text="I'm currently working on a Winter Kontakt library that will contains footsteps on about 16 different types of snow. Check this demo video [here][1]. You can go to my [site][2] and download a free footsteps patch for Kontakt. This &quot;Female boots footsteps patch&quot; is not the final version but a test drive version of the patch, so let me know.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Bernard&#xD;&#xA;&#xD;&#xA;http://www.signoaudiodesign.com&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/mnYNd0LhLhM&#xD;&#xA;  [2]: http://www.signoaudiodesign.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="19815" PostHistoryTypeId="2" PostId="12025" RevisionGUID="92fce653-05e3-4907-8ed5-cebb1c815a66" CreationDate="2012-01-01T18:49:24.747" UserId="3316" Text="I am in the middle of researching different field recorders. &#xD;&#xA;&#xD;&#xA;Sound devices - £1400 for just 2 channels, twice that for 4 :(&#xD;&#xA;Zaxcom - nomad is around £2500  slightly too much&#xD;&#xA;&#xD;&#xA;Roland R44 - GREAT PRICE, but having to upgrade the pre amps seems a little backwards. &#xD;&#xA;&#xD;&#xA;Tascam - again great price, but unsure of quality. &#xD;&#xA;&#xD;&#xA;And I already own the Fostex Fr.&#xD;&#xA;&#xD;&#xA;Are there any hidden companies? I'm not looking for a brand name, but something that will work, Inbuilt hard drive OR SD card capabilities. Semi decent battery life. 92k +, and 4 track (need to try future proof)&#xD;&#xA;&#xD;&#xA;I would love to be able to get a sound devices as I know thats what everyone uses and loves, but 4 track suddenly makes it so darn expensive. unless theres a second hand market for these things I don't know of. &#xD;&#xA;&#xD;&#xA;Really scratching my head over this :(&#xD;&#xA;&#xD;&#xA;Anyways hope some guys n gals here can be of help :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19816" PostHistoryTypeId="1" PostId="12025" RevisionGUID="92fce653-05e3-4907-8ed5-cebb1c815a66" CreationDate="2012-01-01T18:49:24.747" UserId="3316" Text="Field Recorders, Quality to Price, any hidden companies?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19817" PostHistoryTypeId="3" PostId="12025" RevisionGUID="92fce653-05e3-4907-8ed5-cebb1c815a66" CreationDate="2012-01-01T18:49:24.747" UserId="3316" Text="&lt;field-recorder&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19818" PostHistoryTypeId="5" PostId="12021" RevisionGUID="d3c4f58c-7b71-4350-acde-18355ebd645c" CreationDate="2012-01-01T18:56:18.700" UserId="238" Comment="deleted 32 characters in body; deleted 18 characters in body" Text="The project I am most proud of during 2011 was a documentary about a French comedian. I was the sound recordist throughout the shoot that took place during a week-long festival, then I oversaw the sound post-production back in Paris. &#xD;&#xA;&#xD;&#xA;Not only was it for a high-profile client, which obviously brings with it a lot of stress, but it was also the first time I have been involved from start to finish (location to post). It turned out to be a big learning curve." ContentLicense="CC BY-SA 3.0" />
  <row Id="19819" PostHistoryTypeId="2" PostId="12026" RevisionGUID="f1aebba8-a186-4f95-9cfc-0ec76787eb4d" CreationDate="2012-01-01T19:05:51.537" UserId="3315" Text="I think the tascam hdp2 could be a good choice, it's rated as &quot;upper class&quot; recorder in www.professional-audio.de&#xD;&#xA;&#xD;&#xA;I will buy it and try it in the future, because i can't get the money for a SD in the next Years, i think" ContentLicense="CC BY-SA 3.0" />
  <row Id="19820" PostHistoryTypeId="2" PostId="12027" RevisionGUID="f0b495dc-7f53-4085-afc4-5872ca8139ff" CreationDate="2012-01-01T19:20:59.510" UserDisplayName="user6508" Text="Supervising my first show from scratch (pilot through the 1st season) Extremely proud and thankful for the crew I get to work with. From runners, assistants, editors, mixers to the producers.&#xD;&#xA;&#xD;&#xA;Were there things I thought could have been better? Of course. But knowing the turn around time we had and the caliber of the work put in makes me feel proud,thankful and extremely blessed that I get to do what I do for a living. 2011 was a good year personally and professionally for me. I look forward to the things I'll learn and people I'll meet and work with in 2012.&#xD;&#xA;&#xD;&#xA;I hope everyone here has a good year in and out of sound in 2012. Happy New Year!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19821" PostHistoryTypeId="2" PostId="12028" RevisionGUID="2aed9d9c-1ef0-4a24-8099-ae650f5cf491" CreationDate="2012-01-01T20:33:40.867" UserId="6487" Text="I worked hard to get rostered on the IER and now want to focus my job search on union facilities. I know many facilities outside of the lots are union, a good amount of my friends who do work on lot were hired from facilities that were off lot but union. So, I know of a few. But how do you get the list so you can focus on these companies specifically in your job search?  Does it exist?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19822" PostHistoryTypeId="1" PostId="12028" RevisionGUID="2aed9d9c-1ef0-4a24-8099-ae650f5cf491" CreationDate="2012-01-01T20:33:40.867" UserId="6487" Text="How do you find which post houses in LA are union?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19823" PostHistoryTypeId="3" PostId="12028" RevisionGUID="2aed9d9c-1ef0-4a24-8099-ae650f5cf491" CreationDate="2012-01-01T20:33:40.867" UserId="6487" Text="&lt;unions&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19824" PostHistoryTypeId="2" PostId="12029" RevisionGUID="7d57b15b-0376-4ff7-8377-804b3cfed234" CreationDate="2012-01-01T21:14:09.723" UserDisplayName="user6508" Text="You may want to contact the Motion Picture Editors Guild and see if they have a list of what facilities are signatories." ContentLicense="CC BY-SA 3.0" />
  <row Id="19825" PostHistoryTypeId="2" PostId="12030" RevisionGUID="1c638164-8dfb-41d3-8202-4e183e53460a" CreationDate="2012-01-01T21:25:22.303" UserId="1149" Text="Made 40 minutes of fireworks/bells @ this little quiet village on The Alps: Maishofen Salzburg, Austria.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19826" PostHistoryTypeId="2" PostId="12031" RevisionGUID="e4ebe8cd-6adf-4502-9be7-1963db2346e9" CreationDate="2012-01-01T22:49:42.560" UserId="432" Text="Something you may want to consider is using a device like the Zoom H4N or the Marantz PMD661 as a recording device, and buying yourself some decent mic pres to drive the signal (rather than the device's built-in preamps). A Sound Devices MixPre would work well ahead of either of those devices. Or you could look into a piece of used, higher-end, gear like a Wendt X3 or X4. Just something to consider, as you'll always be able to use those preamps...no matter what recorder you work with in the future.&#xD;&#xA;&#xD;&#xA;You need to take a look at how you plan to use this gear, and figure out which features are necessary vs. unnecessary. It's entirely possible that you can find some combination of gear that does exactly what you need for a lower cost. The higher end recorder/preamp devices (Sound Devices, Zaxcom, Aaton) are expensive because they include those esoteric/niche functions that certain people need. You may not be one of those people. Then again, you may...but at least you'll know you made the right decision for your needs." ContentLicense="CC BY-SA 3.0" />
  <row Id="19827" PostHistoryTypeId="2" PostId="12032" RevisionGUID="34f9543a-ad1a-4689-94f4-a1651c1e26a0" CreationDate="2012-01-01T23:07:05.283" UserId="675" Text="Here's a few minutes from the centre of Rotterdam, the Netherlands:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/jorgschellekens/nye-2012-field-recording&#xD;&#xA;&#xD;&#xA;Nothing too fancy, just a Zoom H2 out of the window of my appartement on the 5th floor.&#xD;&#xA;&#xD;&#xA;Happy new year to all!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19828" PostHistoryTypeId="2" PostId="12033" RevisionGUID="759a7554-536b-44f3-9c69-6c1d6351a72c" CreationDate="2012-01-02T00:22:58.720" UserId="1049" Text="Hi All,&#xD;&#xA;&#xD;&#xA;I know the questions asked about portable recorders on here are numerous and repetitive but this is a very simple &quot;question&quot; about two devices that will be new to the market this year, within the next month or so. &#xD;&#xA;&#xD;&#xA;I'm awaiting the (UK) launch of both the Tascam DR-100 Mk2 and the Olympus LS-100. Both look very good and I'm looking forward to heading down to my nearest store to see both in-the-plastic'n'metal.&#xD;&#xA;&#xD;&#xA;I'm keen to hear views on both recorders, especially the Olympus, which, besides looking beautiful, seems to have a lot of great features up its sleeve. If anyone has had, or gets to have, a go on either (or better still, both) please could you report back with your thoughts and findings?!&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19829" PostHistoryTypeId="1" PostId="12033" RevisionGUID="759a7554-536b-44f3-9c69-6c1d6351a72c" CreationDate="2012-01-02T00:22:58.720" UserId="1049" Text="New Portable Recorders for 2012: Olympus LS-100 and Tascam DR-100 Mk2; anyone had a go?!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19830" PostHistoryTypeId="3" PostId="12033" RevisionGUID="759a7554-536b-44f3-9c69-6c1d6351a72c" CreationDate="2012-01-02T00:22:58.720" UserId="1049" Text="&lt;new&gt;&lt;portable-recorder&gt;&lt;tascam&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19831" PostHistoryTypeId="2" PostId="12034" RevisionGUID="a46ce5fa-9d9c-4aa3-b80d-77871cce995c" CreationDate="2012-01-02T06:35:34.043" UserId="61" Text="Hello all, and happy new year!&#xD;&#xA;&#xD;&#xA;I'm looking for 1940's to 1950's era traffic and urban recordings from (preferably) non-commercial sources (read: not Sound Ideas, Hollywood Edge, all the usual suspects). The goal is to capture the feel of what the major metropolitan cities of the United States sounded like on any given day. Think downtown New York, Chicago, Los Angeles, San Francisco; traffic ambiences made up of Fords, Packards, Plymouths, Studebakers, etc, as well as other modes of transport such as electric street cars, cable cars, motorcycles, etc.&#xD;&#xA;&#xD;&#xA;This doesn't have to be limited to the United States, necessarily, as I believe places like Cuba and Mexico also had (and still have) many American-made autos and relatively low levels of heavy traffic wash from freeways and interstates. &#xD;&#xA;&#xD;&#xA;I'm looking forward to the ensuing thread and possible leads!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19832" PostHistoryTypeId="1" PostId="12034" RevisionGUID="a46ce5fa-9d9c-4aa3-b80d-77871cce995c" CreationDate="2012-01-02T06:35:34.043" UserId="61" Text="REQUEST: Archival recordings of metropolitan cities and traffic" ContentLicense="CC BY-SA 3.0" />
  <row Id="19833" PostHistoryTypeId="3" PostId="12034" RevisionGUID="a46ce5fa-9d9c-4aa3-b80d-77871cce995c" CreationDate="2012-01-02T06:35:34.043" UserId="61" Text="&lt;sound-effects&gt;&lt;period&gt;&lt;archival&gt;&lt;traffic&gt;&lt;urban&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19834" PostHistoryTypeId="5" PostId="12034" RevisionGUID="55b3380c-8239-45c8-939b-84d70f1f9ec9" CreationDate="2012-01-02T06:50:19.240" UserId="61" Comment="added 8 characters in body" Text="Hello all, and happy new year!&#xD;&#xA;&#xD;&#xA;I'm looking for 1940's to 1950's era traffic and urban recordings from (preferably) individual or boutique sources (read: not Sound Ideas, Hollywood Edge, all the usual suspects). The goal is to capture the feel of what the major metropolitan cities of the United States sounded like on any given day. Think downtown New York, Chicago, Los Angeles, San Francisco; traffic ambiences made up of Fords, Packards, Plymouths, Studebakers, etc, as well as other modes of transport such as electric street cars, cable cars, motorcycles, etc.&#xD;&#xA;&#xD;&#xA;This doesn't have to be limited to the United States, necessarily, as I believe places like Cuba and Mexico also had (and still have) many American-made autos and relatively low levels of heavy traffic wash from freeways and interstates. &#xD;&#xA;&#xD;&#xA;I'm looking forward to the ensuing thread and possible leads!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19835" PostHistoryTypeId="2" PostId="12035" RevisionGUID="78df9050-7af3-40b6-b70d-1f75e38c98e3" CreationDate="2012-01-02T09:06:26.893" UserId="310" Text="I am big fan of Olympus but I was really  amazed with Roland R26 (Don't know release date) http://www.rolandsystemsgroup.com/products/100093 There is option to record from internal mics and also from microphones. &#xD;&#xA;&#xD;&#xA;But prices of all &quot;smart&quot; recorders are still very high in compassion to High-End Recorders because they are about 1/2 of Tascam HD-P2 which has Time Code option very useful in movie industry. And from 1/3 to 1/4 of price Sound Devices...&#xD;&#xA;&#xD;&#xA;I wrote some thoughts about LS-100 on my BLOG Creative Sound - http://www.creative-sound.cz/2011/portable-recorder-olympus-ls-100-new-recording-gear-in-my-studio/ maybe they help you to decide. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19836" PostHistoryTypeId="2" PostId="12036" RevisionGUID="809ee1cf-15d3-4e99-ba16-d2feec84ffe0" CreationDate="2012-01-02T13:00:20.580" UserId="3318" Text="I bought all Nick's tuts except for the Ambient whatever which is new.  Excellent vids.  I went from virtually no electronic music experience to producing my first track using many of the techniques I learned from him.  watch?v=qxg4v5RngDE  &#xD;&#xA;&#xD;&#xA;Haven't tried Sonnenschein.  Haven't heard of him till now.  &#xD;&#xA;&#xD;&#xA;My only gripe is the support with Nick.  He all but promises responses but the only response I got came after I responded to his solicitation of ideas for his new series.  I find that disappointing. He said he's going to release a production and mixing series.  I have a few questions that have yet to be answered.  &#xD;&#xA;&#xD;&#xA;So..&#xD;&#xA;Quality: 10&#xD;&#xA;Content: 10&#xD;&#xA;Support: ???  (double check your spam box)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19837" PostHistoryTypeId="2" PostId="12037" RevisionGUID="b8029f7a-a1dd-419d-ab32-5cefe51c2412" CreationDate="2012-01-02T14:01:47.020" UserId="3289" Text="FMod Sandbox is great when you're auditioning. Also, there's a tool named &quot;Audition 3D&quot; at Tools menu of FMod. &#xD;&#xA;&#xD;&#xA;Both are great whn you need quick Auditioning.&#xD;&#xA;&#xD;&#xA;Also, FMod has Network Auditioning tool which able to connect another device (Like XBOX) and recieve it's current audio with their exact parameters." ContentLicense="CC BY-SA 3.0" />
  <row Id="19838" PostHistoryTypeId="2" PostId="12038" RevisionGUID="5b5d863f-b284-4247-9f9d-e3e8840e25a4" CreationDate="2012-01-02T14:05:05.867" UserId="3289" Text="FMod has a &quot;Casual license&quot; for mid-sized developers.&#xD;&#xA;When you consider the time you saved with using FMOD, it's quite handy." ContentLicense="CC BY-SA 3.0" />
  <row Id="19839" PostHistoryTypeId="2" PostId="12039" RevisionGUID="6e5b382e-eeb8-4646-bc0d-e9f2438fdcb2" CreationDate="2012-01-02T14:11:06.720" UserId="3289" Text="Hey there,&#xD;&#xA;&#xD;&#xA;Does FMod Multitrack events, loads a sound def to memory only when it's called by the Multitrack Event, and, kills events when they aren't needed anymore?&#xD;&#xA;&#xD;&#xA;Or does FMod load all the event sounds on the memory when event first called?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19840" PostHistoryTypeId="1" PostId="12039" RevisionGUID="6e5b382e-eeb8-4646-bc0d-e9f2438fdcb2" CreationDate="2012-01-02T14:11:06.720" UserId="3289" Text="FMod Memory Optimization" ContentLicense="CC BY-SA 3.0" />
  <row Id="19841" PostHistoryTypeId="3" PostId="12039" RevisionGUID="6e5b382e-eeb8-4646-bc0d-e9f2438fdcb2" CreationDate="2012-01-02T14:11:06.720" UserId="3289" Text="&lt;fmod&gt;&lt;memory&gt;&lt;optimizations&gt;&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19842" PostHistoryTypeId="2" PostId="12040" RevisionGUID="7be3b5cb-5267-447f-af71-56eb4dd9e7df" CreationDate="2012-01-02T14:38:05.637" UserDisplayName="user914" Text="Perhaps it's worth a try asking at the city archive.&#xD;&#xA;I don't know what they think about commercial use if you are planning to do so." ContentLicense="CC BY-SA 3.0" />
  <row Id="19843" PostHistoryTypeId="2" PostId="12041" RevisionGUID="f8dcd1c7-6699-44f0-af00-53f9716ffb30" CreationDate="2012-01-02T17:29:32.237" UserId="6669" Text="Hi Everyone,&#xD;&#xA;&#xD;&#xA;I've cut together my first linear audio reel and was hoping a few of you might tear it apart before I plaster it all over the place, burn a big stack of DVDs and pound some pavement in 2012.&#xD;&#xA;&#xD;&#xA;www.vimeo.com/lucafusi/reel&#xD;&#xA;&#xD;&#xA;The intended purpose of the reel is to be a general overview of liner audio work I've done that I could send along as an introduction, or burn to DVD alongside an couple of other clips. Mostly I'd be looking for notes like, this pacing was too quick, I couldn't read X, you don't need to show clip Y, the whole thing was too long, stuff like that.&#xD;&#xA;&#xD;&#xA;Specific notes on the quality of the work are helpful, but for the most part these productions are what they are and what I have to work with right now. That said, I could always do a bit of remixing if anything really sticks out.&#xD;&#xA;&#xD;&#xA;Thanks so much for watching, I truly appreciate the help.&#xD;&#xA;&#xD;&#xA;Luca&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19844" PostHistoryTypeId="1" PostId="12041" RevisionGUID="f8dcd1c7-6699-44f0-af00-53f9716ffb30" CreationDate="2012-01-02T17:29:32.237" UserId="6669" Text="General Reel Feedback" ContentLicense="CC BY-SA 3.0" />
  <row Id="19845" PostHistoryTypeId="3" PostId="12041" RevisionGUID="f8dcd1c7-6699-44f0-af00-53f9716ffb30" CreationDate="2012-01-02T17:29:32.237" UserId="6669" Text="&lt;demo-reel&gt;&lt;showreel&gt;&lt;linear-sound-design&gt;&lt;feedback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19846" PostHistoryTypeId="5" PostId="12035" RevisionGUID="ae181f56-6666-4397-8636-51a14e29765f" CreationDate="2012-01-02T18:30:53.660" UserId="310" Comment="Fixed typo reported by Skarik" Text="I am big fan of Olympus but I was really  amazed with Roland R26 (Don't know release date) http://www.rolandsystemsgroup.com/products/100093 There is option (on Roloand, not on LS-100) to record from internal mics and also from microphones. &#xD;&#xA;&#xD;&#xA;But prices of all &quot;smart&quot; recorders are still very high in compassion to High-End Recorders because they are about 1/2 of Tascam HD-P2 which has Time Code option very useful in movie industry. And from 1/3 to 1/4 of price Sound Devices...&#xD;&#xA;&#xD;&#xA;I wrote some thoughts about LS-100 on my BLOG Creative Sound - http://www.creative-sound.cz/2011/portable-recorder-olympus-ls-100-new-recording-gear-in-my-studio/ maybe they help you to decide. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19847" PostHistoryTypeId="2" PostId="12042" RevisionGUID="cbcc6cf0-1af9-418a-8a97-2f7cb1749528" CreationDate="2012-01-02T20:15:48.117" UserId="1055" Text="the reel is very nice, maybe deus ex part at the end should be cut...its very good, but somehow i skipped it at the end, because i heard some great sound work in the beginning of the reel, other than that its good imo;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19848" PostHistoryTypeId="2" PostId="12043" RevisionGUID="fa333290-f7ab-41d6-9d2b-077c12a8e4a0" CreationDate="2012-01-02T20:37:48.217" UserId="1090" Text="Long question in the title there.. ahem. &#xD;&#xA;&#xD;&#xA;I'm doing post on a film where a couple is sitting in a sofa watching television. I'd really like to not have to do an entire new program just for that scene, it always sounds fake. &#xD;&#xA;Does anyone have any other idea? &#xD;&#xA;Has anyone ever come across a public domain TV show that's OK for use in a film, that sounds like an actual TV show? &#xD;&#xA;Does anyone know any other site where you can find those types of sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19849" PostHistoryTypeId="1" PostId="12043" RevisionGUID="fa333290-f7ab-41d6-9d2b-077c12a8e4a0" CreationDate="2012-01-02T20:37:48.217" UserId="1090" Text="Where to find GOOD sounding TV Shows for BGs in movies" ContentLicense="CC BY-SA 3.0" />
  <row Id="19850" PostHistoryTypeId="3" PostId="12043" RevisionGUID="fa333290-f7ab-41d6-9d2b-077c12a8e4a0" CreationDate="2012-01-02T20:37:48.217" UserId="1090" Text="&lt;television&gt;&lt;tv-show&gt;&lt;effects&gt;&lt;ambiance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19851" PostHistoryTypeId="2" PostId="12044" RevisionGUID="8ba335c2-68e4-4233-99dd-c2fbdeef65c6" CreationDate="2012-01-02T20:42:51.877" UserId="3275" Text="i'm in the same boat as you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19852" PostHistoryTypeId="2" PostId="12045" RevisionGUID="79d1c0c1-2cfa-48a5-893b-423218f30b44" CreationDate="2012-01-02T21:27:34.040" UserId="863" Text="I think it's a bit long, but I like the comparison, something I want to do with some of my work as well, show some more of that maybe? " ContentLicense="CC BY-SA 3.0" />
  <row Id="19853" PostHistoryTypeId="2" PostId="12046" RevisionGUID="5bf7ce14-ec69-4969-97d9-e58a7a3ac94b" CreationDate="2012-01-02T21:27:45.597" UserId="3319" Text="what are some efficient and cheap ways to record your own cinematic 'booms'? By this I mean the typical Hollywood film trailer low end impacts with a little rumble that rocks the sub woofer but is just wide enough in frequency range that it can still be just about felt on domestic speakers.&#xD;&#xA;&#xD;&#xA;on this topic, are there any similar effective ways to get a nice heavy whoosh.&#xD;&#xA;&#xD;&#xA;In general, I guess I'm asking how the heck these high end sound libraries recorded them in the first place?&#xD;&#xA;&#xD;&#xA;THANKS!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19854" PostHistoryTypeId="1" PostId="12046" RevisionGUID="5bf7ce14-ec69-4969-97d9-e58a7a3ac94b" CreationDate="2012-01-02T21:27:45.597" UserId="3319" Text="post production 'BOOMs' - any help?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19855" PostHistoryTypeId="3" PostId="12046" RevisionGUID="5bf7ce14-ec69-4969-97d9-e58a7a3ac94b" CreationDate="2012-01-02T21:27:45.597" UserId="3319" Text="&lt;whooshes&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19856" PostHistoryTypeId="2" PostId="12047" RevisionGUID="71d80dce-8ffc-492e-b6c0-e813f26466f4" CreationDate="2012-01-02T21:50:12.370" UserId="930" Text="In regards to the wooshes that you seek, there's a great video on Tonsturm's website showing how they achieved some of their woosh sounds.&#xD;&#xA;&#xD;&#xA;You can find it here, near the middle of the page:&#xD;&#xA;&#xD;&#xA;[http://www.tonsturm.com/Soundpacks/files/22722b8af3a3a40308b5d28b33dd9edc-5.html][1]&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tonsturm.com/Soundpacks/files/22722b8af3a3a40308b5d28b33dd9edc-5.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="19857" PostHistoryTypeId="2" PostId="12048" RevisionGUID="a8ef2223-feeb-40a0-8eef-6fb547ee2832" CreationDate="2012-01-03T02:12:06.727" UserDisplayName="user6513" Text="Had that problem with a film, and no matter what we did, we couldn't do better than the temp track.&#xD;&#xA;&#xD;&#xA;I've also used other films the director or producer have made. Copyright is easy, and they get some free advertising." ContentLicense="CC BY-SA 3.0" />
  <row Id="19858" PostHistoryTypeId="2" PostId="12049" RevisionGUID="a89c2231-fdd2-4a53-82c1-b09dfb31c2e3" CreationDate="2012-01-03T02:24:48.840" UserId="234" Text="While I second the motion of using other films from the same director, when that isn't possible I've often used stuff from The Internet Archive (http://www.archive.org). Since you can search by subject, I often try and find something that's appropriate for the scene." ContentLicense="CC BY-SA 3.0" />
  <row Id="19859" PostHistoryTypeId="2" PostId="12050" RevisionGUID="b74cee31-3542-4f54-acc8-4df6c58e1b15" CreationDate="2012-01-03T03:06:49.733" UserId="1228" Text="In my experience in dealing with this often, a TV feed is treated as being part of Hard FX and not BGz.  So in that regard usually we always build from the ground up, then comp it down into 1 or two tracks, even for military/riot/crime scene stuff.  On some occasions, shows have played a visual on a TV in which they obtained permission to use the footage, and that &quot;found footage&quot; has an audio track which is then provided in the OMF.  From there we just sweeten what's already there with a light FX pass.  Had to do that once for about 20 minutes worth of footage across a show where we're in a house repeadtedly that has monster truck sports footage playing on a TV in the BG - cut FX for all the monster truck revs (match when we see onscreen, cheat OS ones around dialogue), along with a steady crowd bed and spotted rise/falls of crowd cheers and jeers.&#xD;&#xA;&#xD;&#xA;Usually TV feeds play so low in the mix that if for some reason the source audio has to be dropped and only the FX played, it would sell just fine.  I personally wouldn't sweat it too hard, unless the TV has a larger story purpose and/or is featured prominently (e.g. ECU shots of the screen).&#xD;&#xA;&#xD;&#xA;Besides, I always find something fun about creating a movie within a movie ;)&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19860" PostHistoryTypeId="2" PostId="12051" RevisionGUID="7a2ef14d-200a-4615-b61d-31e06429c711" CreationDate="2012-01-03T03:08:38.563" UserId="1042" Text="I've had a lot of success at making cinematic booms using large metal containers (barrels, dumpsters, storage containers) that have deep long-lasting resonances. One object that I have recently sampled has been a large metal flower pot (with nothing inside). Although the resonances in objects like this are usually higher than you would want, they can easily be pitch shifted down to get that bass rumble you might be after. &#xD;&#xA;&#xD;&#xA;Hitting metal handrails inside stairwells also produces useful booms and rumbles. &#xD;&#xA;&#xD;&#xA;In reference to whooshes, like Fred said, that Tonsturm video is great. &#xD;&#xA;&#xD;&#xA;Good luck and have fun experimenting!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19861" PostHistoryTypeId="5" PostId="12034" RevisionGUID="8f087ad7-4d9e-4e75-be95-3947730d2561" CreationDate="2012-01-03T06:40:40.307" UserId="61" Comment="update" Text="Hello all, and happy new year!&#xD;&#xA;&#xD;&#xA;I'm searching for 1930's to 1950's-era traffic and urban recordings from (preferably) individual or boutique libraries (read: not Sound Ideas, Hollywood Edge, all the usual suspects). My goal is to capture the feel of what the major metropolitan cities of the United States sounded like on any given day. Think downtown New York, Chicago, Los Angeles, San Francisco; traffic ambiences made up of classic Fords, Packards, Plymouths, Studebakers, etc, as well as other modes of transport such as electric street cars, cable cars, motorcycles, etc.&#xD;&#xA;&#xD;&#xA;**UPDATE:** As I stated before, this request isn't limited to the United States; I believe cities such as Cuba and Mexico have many vintage American autos still on the streets and relatively low levels of heavy traffic wash from freeways and interstates. **If there are any SSD folks living in such an area, I would love to talk with you re. your existing recordings or perhaps gathering new ones for this purpose.** &#xD;&#xA;&#xD;&#xA;I'm looking forward to the ensuing thread and possible leads!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19862" PostHistoryTypeId="2" PostId="12052" RevisionGUID="c68af31e-b29a-4454-9fd7-6471cd940a3f" CreationDate="2012-01-03T09:29:16.230" UserId="1299" Text="I watched this a few months ago through the Designing Sound website; it has a few videos about how to mix the sounds, once you have them. &#xD;&#xA;&#xD;&#xA;Boom Library: http://vimeo.com/23965688&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19863" PostHistoryTypeId="2" PostId="12053" RevisionGUID="954f401b-5b27-47e9-bdd7-378103c5d357" CreationDate="2012-01-03T12:26:44.167" UserId="3296" Text="Most proud of our work on an online promo for some gaming headphones created by Tritton for Xbox360. Really exciting cinematic sound.&#xD;&#xA;&#xD;&#xA;Looking forward to 2012!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19864" PostHistoryTypeId="2" PostId="12054" RevisionGUID="cf089932-8bbc-4098-acae-8127ac4a7b4d" CreationDate="2012-01-03T17:15:31.413" UserId="194" Text="in 2011 I did a successful [kickstarter project][1], helped to launch [echo | collective][2], and supervised sound on a great little short called &quot;[crescendo][3]&quot;, which I think is the best work I've personally pulled off to date.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.kickstarter.com/projects/675954423/the-uptown-trolley-sound-library&#xD;&#xA;  [2]: http://www.echocollectivefx.com/&#xD;&#xA;  [3]: http://www.imdb.com/title/tt1805526/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19865" PostHistoryTypeId="2" PostId="12055" RevisionGUID="4182c3de-6940-4a21-8b68-cc0d3fb7f996" CreationDate="2012-01-03T17:39:36.343" UserId="1129" Text="Agreed that the Deus Ex end sequence should be cut.  I really don't want to watch a whole trailer, I want to hear samples of your work.&#xD;&#xA;&#xD;&#xA;So, I'd lose the end sequence and perhaps an additional 25% or more off the front end as well.&#xD;&#xA;&#xD;&#xA;Also, I found myself rewinding to re-read your titles for some sequences.  I like that they stayed up for the entire Gargoyles clip.  I'd consider leaving the titles up for the entirety of each clip, that way whomever is watching can refer to them as the clip progresses." ContentLicense="CC BY-SA 3.0" />
  <row Id="19866" PostHistoryTypeId="2" PostId="12056" RevisionGUID="e8a4e3ff-d5ad-4a70-97d8-9b5d2e08c53b" CreationDate="2012-01-03T17:56:24.633" UserId="3296" Text="Hi there&#xD;&#xA;&#xD;&#xA;Am looking at Zoom H4n for 269 pounds UK. Does anyone have any alternatives that would be better?&#xD;&#xA;&#xD;&#xA;I'm not up my my handhelds! Just want something portable&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="19867" PostHistoryTypeId="1" PostId="12056" RevisionGUID="e8a4e3ff-d5ad-4a70-97d8-9b5d2e08c53b" CreationDate="2012-01-03T17:56:24.633" UserId="3296" Text="Recommend me a good hand held recorder" ContentLicense="CC BY-SA 3.0" />
  <row Id="19868" PostHistoryTypeId="3" PostId="12056" RevisionGUID="e8a4e3ff-d5ad-4a70-97d8-9b5d2e08c53b" CreationDate="2012-01-03T17:56:24.633" UserId="3296" Text="&lt;handheld&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19869" PostHistoryTypeId="2" PostId="12057" RevisionGUID="3382a428-6d5f-430f-afe2-e48bcf8e67a6" CreationDate="2012-01-03T18:11:41.987" UserId="61" Text="Who is using the various Tempo and MIDI functions in Pro Tools for sound design creation, and how?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19870" PostHistoryTypeId="1" PostId="12057" RevisionGUID="3382a428-6d5f-430f-afe2-e48bcf8e67a6" CreationDate="2012-01-03T18:11:41.987" UserId="61" Text="Using Pro Tools MIDI and tempo tools for sound design" ContentLicense="CC BY-SA 3.0" />
  <row Id="19871" PostHistoryTypeId="3" PostId="12057" RevisionGUID="3382a428-6d5f-430f-afe2-e48bcf8e67a6" CreationDate="2012-01-03T18:11:41.987" UserId="61" Text="&lt;pro-tools&gt;&lt;tempo&gt;&lt;midi&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19872" PostHistoryTypeId="2" PostId="12058" RevisionGUID="1ce1f17d-cb32-4a56-adf6-87f5feae02df" CreationDate="2012-01-03T18:25:22.380" UserId="3320" Text="&quot;The better one&quot; questions are the trickiest ones because the answer depends of what you are going to record. I really liked my H2, and I'm not in love in H4n, yet it is still useable." ContentLicense="CC BY-SA 3.0" />
  <row Id="19873" PostHistoryTypeId="2" PostId="12059" RevisionGUID="a3e5794d-153e-4c28-accc-8ad003e3c366" CreationDate="2012-01-03T18:25:56.597" UserId="315" Text="Perhaps you could investigate vintage newsreels at [Archive.org][1], specifically the movies in the Prelinger Collection, which are public domain. [Here's][2] one about New York in 1941. I'm guessing that they'll mostly be music, but you might find some city recordings in the clear.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.archive.org&#xD;&#xA;  [2]: http://www.archive.org/details/Arteries1941" ContentLicense="CC BY-SA 3.0" />
  <row Id="19874" PostHistoryTypeId="5" PostId="12059" RevisionGUID="c7d6eb1e-f85f-47d4-a981-aaeffb2eb729" CreationDate="2012-01-03T18:31:22.087" UserId="315" Comment="added 144 characters in body" Text="Perhaps you could investigate vintage newsreels at [Archive.org][1], specifically the movies in the Prelinger Collection, which are public domain. [Here's][2] one about New York in 1941. I'm guessing that they'll mostly be music, but you might find some city recordings in the clear.&#xD;&#xA;&#xD;&#xA;You may also have some luck investigating the BBC archives. Or taking a trip to a vintage auto show, there's a great one in Monterey every year.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.archive.org&#xD;&#xA;  [2]: http://www.archive.org/details/Arteries1941" ContentLicense="CC BY-SA 3.0" />
  <row Id="19875" PostHistoryTypeId="2" PostId="12060" RevisionGUID="d6108270-4897-4551-98fa-604e25007f82" CreationDate="2012-01-03T19:07:45.057" UserId="842" Text="I take it you mean low rumbles and such, and not explosions?&#xD;&#xA;&#xD;&#xA;Well, the secret to really kick-ass bass-effects must always begin with exceptionally good monitoring. See, bass is pretty much imho the hardest thing in the entire realm of sound to get great, especially the lower you go below 100Hz. For consumers, that mostly goes pretty unnoticed because pretty much everything they ever listen to, that actually has that kind of bass, is already heavily contained and shaped. For us making said effects though it is not, and for those buying already shaped effects they still must balance it, which can be very difficult if the mix-room isn't well padded in the lows. And add to that that the human hearing reacts very differently to bass that higher frequencies, only a few decibels might very well be the difference between inaudible and unbearable in the sub-bass (sub-bass is freqs below approx 70Hz, the subwoofer is an LFE).&#xD;&#xA;&#xD;&#xA;Now to the funny stuff: Don't let that let you down though. With a good and honest sub-woofer made for studio-work and nice acoustics this is literally a blast! ;-) How to reach these sound differ a lot between designers, though I'd say most of us work first and foremost with pitchshifting and bass-management like the Waves Air and such. Ta mention a few of the soundsources I often use to make dedicated bass-effects can be mentioned djembe-drums, dharbukas, large sheets of both a special plastic and different kinds of metal, a big auto-harp, and my own body. As it's often a pure matter of mic-positioning, you may find lotta really impressive sounds if you only play around with the mic in different ways for different sound sources.&#xD;&#xA;&#xD;&#xA;A common misconception is that to make something fatter you need to add more bass, but the truth is that that often just makes things muddy. Though it might sound like a contradiction, one often gets the best bassy sounds by adding more of the higher frequensies, the human ear is extremely sensitive to details and good details in higher ranges makes the sound much more prominent.&#xD;&#xA;&#xD;&#xA;Often though the best sounds are the ones created. Your best friend here is the pitchshifter. The best you can do is just experiment by yourself, but to give you a hint of how unlikely sources can sometimes become a human rear part full of Dr Martens (ie= kick ass like there's no tomorrow), a few years ago I messed around i the corridor outside my studio with something that's called &quot;tricky-smällare&quot; in Swedish. Dunnu what they're called in English, but they're a kind of small round crackers of thin paper that detonates on impact with a not exactly ear-threatening little &quot;poff&quot;. I didn't really know what to do with it, but after a fun time of playing with my recordings through different pitchshifters and filters I actually got an amazingly convincing (and heavy) hearth-beat!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19876" PostHistoryTypeId="2" PostId="12061" RevisionGUID="d2b6ee8b-0e59-440d-ac7d-ec9c092d11cd" CreationDate="2012-01-03T21:44:01.063" UserId="3156" Text="Elastic audio, when working in samples, can be automated with tempo. Its not always the best tool for speed changes and such, but I've occasionally found it useful. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19877" PostHistoryTypeId="5" PostId="357" RevisionGUID="c95859c8-07b5-4535-ae76-b36501f995c9" CreationDate="2012-01-03T23:16:44.557" UserId="61" Comment="added 18 characters in body" Text="If you're anything like me you spend up to 12 hours a day sitting at an audio workstation, toiling away at your craft. Very often these workstations are set up in an office-type setting, ie. desk, keyboard, monitor and mouse, which arguably is *not* the best setup for this sort of thing. I mean really, is the QWERTY keyboard the best input device for a sound designer?!&#xD;&#xA;&#xD;&#xA;So, who has devised good ergonomic strategies? Who's using tablets or scroll wheels, control surfaces or touchscreens (including iPads)? How many video monitors is enough? Quickeys or other software automation packages?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19878" PostHistoryTypeId="2" PostId="12062" RevisionGUID="8716de42-532a-4260-81c6-589ad840415e" CreationDate="2012-01-04T00:00:11.817" UserId="3275" Text="For the price I don't think it gets better than the H4N. If you are using separate mics, make sure you go 1/4&quot; in and not XLR in order to bypass the noisy preamps. Otherwise I've captured some great sounds with it. I'd also recommend the RedHead windscreen for wind protection." ContentLicense="CC BY-SA 3.0" />
  <row Id="19879" PostHistoryTypeId="2" PostId="12063" RevisionGUID="53bb4718-8a04-457d-b64b-575a83721a9b" CreationDate="2012-01-04T00:05:07.337" UserId="3214" Text="What did it for me is a timpani drum pitched down with a low synthesiser over the top.&#xD;&#xA;Would be interested to hear any results you get.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19881" PostHistoryTypeId="2" PostId="12065" RevisionGUID="ba227c9f-31ab-4e47-b06b-9ef45b4c5526" CreationDate="2012-01-04T02:50:19.693" UserId="622" Text="H4n is great for the price." ContentLicense="CC BY-SA 3.0" />
  <row Id="19885" PostHistoryTypeId="2" PostId="12067" RevisionGUID="dfe34c43-0f52-4370-9928-80dde811e37e" CreationDate="2012-01-04T03:24:55.813" UserId="622" Text="As I am very very very old, :O) and as I wear glasses with progressive lenses I had to lower my 27 &quot;iMac about 3 inches from the top of my desk. Then, I was able to put another video monitor above my computer which greatly improves my potition ergonomic. I use QuicKeys for drag&amp;drop bunch of samples and repetitive tasks and it is much appreciated. I also use the magic trackpad ... I can not live without it! as my glasses !&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="19886" PostHistoryTypeId="5" PostId="12061" RevisionGUID="e0270725-e790-4942-ac30-ed12f4982062" CreationDate="2012-01-04T05:11:08.773" UserId="61" Comment="ADD'L info - mod incorporated new post into OP" Text="Elastic audio, when working in samples, can be automated with tempo. Its not always the best tool for speed changes and such, but I've occasionally found it useful. &#xD;&#xA;&#xD;&#xA;*UPDATED:*&#xD;&#xA;&#xD;&#xA;Sure thing. First, I should mention that I had a brain fart and your track's time-base should be thrown in to &quot;Ticks&quot; and not &quot;Samples&quot;. Once in Ticks, open up some form of elastic audio (varispeed, for example) on the track. Drop the tempo ruler down, showing the green shaded area. Using your pencil tool, draw in some tempo automation- the bottom (or lowest BPM) being the furthest possible stretch, and the top being the smallest squeeze possible on your region. Once you've drawn in some automation, you'll see the region's length change accordingly. On the left side of the tempo ruler you can also change the resolution and density of the tempo- 50ms is great for really quick changes. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19889" PostHistoryTypeId="2" PostId="12069" RevisionGUID="a1ec8be5-f9f2-49b5-950f-01e18270eaf3" CreationDate="2012-01-04T16:03:27.533" UserId="3162" Text="&#xD;&#xA;I highly suggest to measure the room´s dimensions first,&#xD;&#xA;make a draft, &#xD;&#xA;then think of the reflection points FROM the glass and Your listening position.&#xD;&#xA;treating the ceiling and ground would be needful.&#xD;&#xA;&#xD;&#xA;I also see some acoustic baffle in use.&#xD;&#xA;Or hang some absorbers and use sth. like a curtain rail to move them.&#xD;&#xA;Measure again.&#xD;&#xA;&#xD;&#xA;Happy drawing&#xD;&#xA;&#xD;&#xA;:-)   " ContentLicense="CC BY-SA 3.0" />
  <row Id="19890" PostHistoryTypeId="2" PostId="12070" RevisionGUID="618648e8-8ff8-4b60-9045-3bdd34ef2b28" CreationDate="2012-01-04T16:14:56.630" UserId="238" Text="Happy new year Ryan. DIY acoustic treatment is going to be difficult without creating a visual barrier. I did come across [Clear Sonic Panels][1] which may be of some help.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.clearsonic.com/csp.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="19891" PostHistoryTypeId="2" PostId="12071" RevisionGUID="ac1d62e4-7c82-4c37-ac43-23be41d2fbf1" CreationDate="2012-01-04T21:09:11.113" UserId="1189" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I've just got a quick question. I've been working on a project in Pro Tools that requires a constant battlefield soundscape a couple of miles off in the distance. I've spent countless days tweaking a number of convolution reverbs trying to get the perfect ER and diffuse field sounds.&#xD;&#xA;&#xD;&#xA;However, just today, I have managed to use the EQ envelope within Space Designer to create (imo) a realistic model for the way the attack and decay of gunfire appears and disintegrates.&#xD;&#xA;My problem is, the preset I have created is housed within Logic's Space Designer and I need to be able to use it in Pro Tools as that's my main DAW.&#xD;&#xA;&#xD;&#xA;I didn't know whether there was A) a way of exporting this preset into a PT-compatible format (Altiverb, AIR, IR-1) or B) an RTAS convolution plug-in that allows me to create volume AS WELL AS EQ envelopes for IR files so that I may at least be able to replicate my existing preset.&#xD;&#xA;&#xD;&#xA;Can anyone give me any sort of idea at all?&#xD;&#xA;&#xD;&#xA;Thanks in advance :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19892" PostHistoryTypeId="1" PostId="12071" RevisionGUID="ac1d62e4-7c82-4c37-ac43-23be41d2fbf1" CreationDate="2012-01-04T21:09:11.113" UserId="1189" Text="Space Designer presets in Pro Tools" ContentLicense="CC BY-SA 3.0" />
  <row Id="19893" PostHistoryTypeId="3" PostId="12071" RevisionGUID="ac1d62e4-7c82-4c37-ac43-23be41d2fbf1" CreationDate="2012-01-04T21:09:11.113" UserId="1189" Text="&lt;reverb&gt;&lt;convolution&gt;&lt;pro-tools&gt;&lt;export&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19894" PostHistoryTypeId="2" PostId="12072" RevisionGUID="1676049e-e8f7-4da1-8ae8-cb4a9a1b8ea1" CreationDate="2012-01-04T22:04:21.713" UserDisplayName="user914" Text="What if you send a sweep through your preset in Logic'Space Designer. Record/bounce it and import it in another IR plugin. :)&#xD;&#xA;&#xD;&#xA;I don't now space designer:&#xD;&#xA;So, do you mean by &quot;eq envelope&quot; that different bands have different attack, sustain and decay values, or does the eq react to the input like an envelope filter?&#xD;&#xA;&#xD;&#xA;I guess in the second case it would not be representable in the IR-sweep." ContentLicense="CC BY-SA 3.0" />
  <row Id="19895" PostHistoryTypeId="2" PostId="12073" RevisionGUID="0cf5cd29-4ef8-4c18-83f5-884dcc11b1d5" CreationDate="2012-01-04T23:27:06.220" UserId="857" Text="**Happy New Year to all of you!** On New Year's Eve I played around with my new Tascam iM2. For a better handling and windprotection I mounted the iPhone to a Rycote suspension plus windshield. Please follow the links below to see some fotos and find some audio examples on SoundCloud. I did some editing on the files but no eq or dynamic processing. For recording, the iM2 limiter was set to &gt;on&lt;. All eq and lowcut on the Tascam PCM Recorder app were &gt;off&lt;. I did these experiments just to try this mic-phone hybrid and I must say it was fun. I´m used to work with Zooms, 744s, and all former digital and analog recorders (plus the most expensive mics) and I´m sure it will not be a recorder-killer. But I have found one more option to record sounds **and!** my mobile is always in my pocket. This thing definitely needs a windscreen!! and a suspension in handheld use. It is really sensitive. ...iTunes is running on PC - no problems to safe the files directly to your harddrive.&#xD;&#xA;For more pics please visit http://www.facebook.com/yoursounds?sk=photos&#xD;&#xA;and for listening some test-recordings http://www.facebook.com/yoursounds?sk=app_19507961798&#xD;&#xA;&#xD;&#xA;Thanks and have fun with your new mic..&#xD;&#xA;..but be sure you already have an iPhone." ContentLicense="CC BY-SA 3.0" />
  <row Id="19896" PostHistoryTypeId="2" PostId="12074" RevisionGUID="05ed5f02-5dc0-4932-b722-f1e85261d1b0" CreationDate="2012-01-05T00:28:23.887" UserId="558" Text="I highly recommend starting from distant assets.  Most up to date weapons libs include some distanced material.  The stereo fields tend to be richer, and the frequency rolloffs and dynamics much more naturalistic.  just my 2 cents coming from a video game designer who has put distant weaponry in tons of projects." ContentLicense="CC BY-SA 3.0" />
  <row Id="19898" PostHistoryTypeId="2" PostId="12075" RevisionGUID="7422d1be-adfd-4fdd-8123-0673a929ed7a" CreationDate="2012-01-05T01:25:46.927" UserDisplayName="user6513" Text="In theory... I say so because I haven't tried myself but have read that this is possible on other forums.&#xD;&#xA;&#xD;&#xA;you can use Jack OSX to link Protools and Logic. So what you would want to do is to use route an output from Protools into Logic, and then an output from Logic back to Protools. If you're only using the Sound Designer plugin, I guess you would only have to keep Logic open and just treat this connection like an effect sends bus. From memory, Jack only started working with Protools 9.&#xD;&#xA;&#xD;&#xA;this will give you some ideas&#xD;&#xA;&#xD;&#xA;http://blog.dubspot.com/traktor-to-ableton-live-how-to-route-audio/&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/music-computers/485645-logic-pro-9-1-mainstage-2-instruments-pro-tools.html&#xD;&#xA;&#xD;&#xA;Another option is Soundflower&#xD;&#xA;&#xD;&#xA;http://duc.avid.com/showthread.php?t=286398&#xD;&#xA;&#xD;&#xA;I don't have the solution for you, but hopefully this information gears you to someone who will." ContentLicense="CC BY-SA 3.0" />
  <row Id="19899" PostHistoryTypeId="2" PostId="12076" RevisionGUID="6660ae43-8777-43b4-9587-abf119c16fe6" CreationDate="2012-01-05T03:41:12.637" UserId="220" Text="I've heard that some folks like kicking their garage door when it's closed to get some nice rumbles and interesting base tones.  You might also want to play around with contact mics to get lower sounds that are still in the &quot;consumer&quot; range.  If you make your own, the bigger elements get lower frequencies.  Once you got a wide variety, start EQing, layering, and pitch shifting until you get what you want.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="19900" PostHistoryTypeId="2" PostId="12077" RevisionGUID="b5196acb-934f-41ec-b145-6674164dfc5d" CreationDate="2012-01-05T08:16:38.080" UserId="2504" Text="Hey guys a film I worked on is being submitted for a festival and the producer has been asked what format the sound is, there is a link to the list he has been given, all I did was mix it on pro tools and bounce it to disk as a interleaved stereo file so that is the only format I know it is, I am more inclined to say &quot;other&quot; on the list but I want to be sure so I would really like t if you could look at the list and tell me, thank you very much! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[list][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://imageshack.us/photo/my-images/4/screenshot20111229at724.png/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19901" PostHistoryTypeId="1" PostId="12077" RevisionGUID="b5196acb-934f-41ec-b145-6674164dfc5d" CreationDate="2012-01-05T08:16:38.080" UserId="2504" Text="Festival Sound  entry list" ContentLicense="CC BY-SA 3.0" />
  <row Id="19902" PostHistoryTypeId="3" PostId="12077" RevisionGUID="b5196acb-934f-41ec-b145-6674164dfc5d" CreationDate="2012-01-05T08:16:38.080" UserId="2504" Text="&lt;filmfestival&gt;&lt;format&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19903" PostHistoryTypeId="2" PostId="12078" RevisionGUID="3d7d1bd1-eec7-41c9-867d-d08e05d5751c" CreationDate="2012-01-05T08:27:24.873" UserId="1090" Text="If you didn't use a Dolby encoder, or any other (expensive hardware) encoder to master it in any way other than a straight-out-of-the-DAW PCM Linear wav-file, it should say &quot;other&quot;. I think I know which festival and I also do it like you do. &quot;Other&quot; is fine. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19904" PostHistoryTypeId="2" PostId="12079" RevisionGUID="2c7aea8d-d6ad-45e2-a5e7-ebd9cc29a3ae" CreationDate="2012-01-05T09:04:54.530" UserId="1228" Text="Yes, &quot;Other&quot; is the correct choice here since you're using a stereo interleave uncompressed file.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;On a beneficial sidenote however, if the stereo file was encoded to AC3 by way of licensed Dolby encoding software (Neyrinck, DOlby Surround Tools, etc) and printed to the screener this way, then Dolby Digital would be the correct choice (since AC3 can store 1.0 - 5.1 streams)&#xD;&#xA;&#xD;&#xA;The LtRt and Dolby SR are phase-matrixed fold downs of 5.1+ mixes into stereo streams (technically quad @ L, C, R, Surround Summed Mono) - but what gets confusing there is this phase-matrix is done into uncompressed files, which are then converted to AC3 (and flagged in the metadata as LtRt so that the decoders use ProLogic to expend it back to 5.1 rather than a pass-through).  While LtRt (generic) and Dolby SR (proprietary) function generally the same, there are some subtle differences.&#xD;&#xA;&#xD;&#xA;The Dolby Surround EX 6.1 is somewhat similar in that in its L, C, R, followed by an LtRt of the LsRs to fold in the discrete Cs by way of phase-matrixing - creatively this is called Lst, Rst.  In this case too, the encoding is done in the uncompressed format usually and then during the AC3 encoding, it's printed as a 5.1 with flagged metadata for Dolby Digital Surround EX so that ProLogic properly decodes it.&#xD;&#xA;&#xD;&#xA;SDDS is dead.  Nuff said there.&#xD;&#xA;&#xD;&#xA;DTS uses a different encoding algorithm than Dolby but it effectively is the same thing - in that it is an encoding format after the uncompressed prints are generated, and it too is capable of 1.0 - 5.1 streams.  I'm not certain if it supports phase-matrixing, although maybe that's what the Neo functionality is.&#xD;&#xA;&#xD;&#xA;I have a feeling most of what's listed on there is meant to cater to 35mm/70mm prints in addition to the DVD world (since Dolby SR, Optical, Dolby Digital, and DTS are VERY different animals than their stricly-digital, encoding-scheme-only counterparts).  For anyone submitting digital files or DVDs as a screener format to festivals, the only formats you'll probably ever deal with on a regular basis are Dolby Digital, LtRt, and Dolby SR.  On VERY rare occasions Dolby Digital EX.  And when it's just plain-old uncompressed stereo, 'Other' is always the right choice.&#xD;&#xA;&#xD;&#xA;Hope it helps clear some of it up! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19905" PostHistoryTypeId="5" PostId="12079" RevisionGUID="0e912331-9871-4075-8818-645fd918fef7" CreationDate="2012-01-05T09:10:33.580" UserId="1228" Comment="deleted 13 characters in body; added 6 characters in body" Text="Yes, &quot;Other&quot; is the correct choice here since you're using a stereo interleave uncompressed file.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;On a beneficial sidenote however, if the stereo file was encoded to AC3 by way of licensed Dolby encoding software (Neyrinck, DOlby Surround Tools, etc) and printed to the screener this way, then Dolby Digital would be the correct choice (since AC3 can store 1.0 - 5.1 streams)&#xD;&#xA;&#xD;&#xA;The LtRt and Dolby SR are phase-matrixed fold downs of 5.1+ mixes into stereo streams (technically quad @ L, C, R, Surround Summed Mono) - but what gets confusing there is this phase-matrix is done into uncompressed files, which are then converted to AC3 (and flagged in the metadata as LtRt so that the decoders use ProLogic to expend it back to 5.1 rather than a pass-through).  While LtRt (generic) and Dolby SR (proprietary) function generally the same, there are some subtle differences.&#xD;&#xA;&#xD;&#xA;The Dolby Surround EX 6.1 is somewhat similar in that in its L, C, R, followed by an LtRt of the LsRs to fold in the discrete Cs by way of phase-matrixing - creatively this is called Lst, Rst.  In this case too, the encoding is done in the uncompressed format usually and then during the AC3 encoding, it's printed as a 5.1 with flagged metadata for Dolby Digital Surround EX so that ProLogic properly decodes it.&#xD;&#xA;&#xD;&#xA;SDDS is dead.  Nuff said there.&#xD;&#xA;&#xD;&#xA;DTS uses a different encoding algorithm than Dolby but it effectively is the same thing - in that it is an encoding format after the uncompressed prints are generated, and it too is capable of 1.0 - 5.1 streams.  I'm not certain if it supports phase-matrixing, although maybe that's what the Neo functionality is.&#xD;&#xA;&#xD;&#xA;I have a feeling most of what's listed on there is meant to cater to 35mm/70mm prints in addition to the DVD world (since Dolby SR, Optical, Dolby Digital, and DTS are VERY different animals than mentioned above when dealing with physical prints).  For anyone submitting digital files or DVDs as a screener format to festivals, the only formats you'll probably ever deal with on a regular basis are Dolby Digital, LtRt, and Dolby SR.  On VERY rare occasions Dolby Digital EX.  And when it's just plain-old uncompressed stereo, 'Other' is always the right choice.&#xD;&#xA;&#xD;&#xA;Hope it helps clear some of it up! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19906" PostHistoryTypeId="2" PostId="12080" RevisionGUID="3cb67b7f-39d2-467b-834d-634653d50008" CreationDate="2012-01-05T10:20:18.103" UserId="6519" Text="I vote [Marantz PMD-661][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://portabledigitalrecordersreviews.com/pmd661-marantz-your-first-class-potable-digital-recorder/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19910" PostHistoryTypeId="2" PostId="12082" RevisionGUID="fd1ad2a1-feb1-4415-a6eb-725cf99a3b70" CreationDate="2012-01-05T12:05:44.883" UserId="37" Text="look at the &quot;Related&quot; box to the right of the discussion. &#xD;&#xA;I vote Sony PCM-D50 (I have the M10). Don't be fooled by the lack of XLR inputs. It's all about ergonomy and durability. Sony have put in a lot of effort." ContentLicense="CC BY-SA 3.0" />
  <row Id="19911" PostHistoryTypeId="2" PostId="12083" RevisionGUID="3e31ef41-06e4-4524-a8ec-155e22997e86" CreationDate="2012-01-05T12:29:01.723" UserId="6432" Text="I worked as a projectionist for a while and know that the folks at the festival are concerned with two things - putting stuff in which they can't screen (embarrassing), and making sure that their staff and gear are in the right place at the right time. &#xD;&#xA;&#xD;&#xA;Which format are you providing the film as? eg 35mm print, Digibeta, HDCam etc... I presume there was another set of choices for this?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19912" PostHistoryTypeId="2" PostId="12084" RevisionGUID="f80f5082-0529-407f-99c2-68bff59f5d5b" CreationDate="2012-01-05T13:42:26.083" UserId="3316" Text="I'm looking for a smaller size field recorder bag for my fostex fr le and or my roland R 26, as well as bits n bobs like cables, batteries, tape, mini tripods etc etc. &#xD;&#xA;&#xD;&#xA;All the bags I've seen so far are aimed towards people with A LOT more stuff, any advice on a more stream lined one?&#xD;&#xA;&#xD;&#xA;Preferably one that will last me as I upgrade my fostex to a SD 702 for instance?&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;C" ContentLicense="CC BY-SA 3.0" />
  <row Id="19913" PostHistoryTypeId="1" PostId="12084" RevisionGUID="f80f5082-0529-407f-99c2-68bff59f5d5b" CreationDate="2012-01-05T13:42:26.083" UserId="3316" Text="Small field recorder bags (for large handhelds?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19914" PostHistoryTypeId="3" PostId="12084" RevisionGUID="f80f5082-0529-407f-99c2-68bff59f5d5b" CreationDate="2012-01-05T13:42:26.083" UserId="3316" Text="&lt;transport-bag&gt;&lt;cases&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19915" PostHistoryTypeId="2" PostId="12085" RevisionGUID="d3681a9e-826b-425f-9471-103d358bfc1e" CreationDate="2012-01-05T18:05:01.733" UserId="3275" Text="Just wondering if it possible to listen in surround using Apples' DVD Player on my Macbook Pro through an Mbox Pro. Or would I need an external DVD player? Before I buy the Mbox Pro I wanted to make sure I can listen to other movies through it, not just my own work.&#xD;&#xA;&#xD;&#xA;At the same time, can I send the video through a Blackmagic card to an external LCD TV? Thanks for your help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19916" PostHistoryTypeId="1" PostId="12085" RevisionGUID="d3681a9e-826b-425f-9471-103d358bfc1e" CreationDate="2012-01-05T18:05:01.733" UserId="3275" Text="Anyone play 5.1 DVD's through their Macbook Pro/Mbox Pro?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19917" PostHistoryTypeId="3" PostId="12085" RevisionGUID="d3681a9e-826b-425f-9471-103d358bfc1e" CreationDate="2012-01-05T18:05:01.733" UserId="3275" Text="&lt;5.1&gt;&lt;surround-sound&gt;&lt;macbook-pro&gt;&lt;mbox&gt;&lt;movies&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19918" PostHistoryTypeId="2" PostId="12086" RevisionGUID="01efdfbd-d77d-482c-91fe-19bb3cbe58fa" CreationDate="2012-01-05T18:09:13.000" UserId="1145" Text="Check out [Petrol.][1]&#xD;&#xA;I use the small mixer bag myself for my SD702. Small but carry anything i need except zeppelins and stands of course... :)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.petrolbags.com/Sound-Bags" ContentLicense="CC BY-SA 3.0" />
  <row Id="19919" PostHistoryTypeId="2" PostId="12087" RevisionGUID="31d88947-423a-4203-983c-ec8eb963556c" CreationDate="2012-01-05T20:16:27.953" UserId="1292" Text="For the holidays I got rechargeable batteries and a cool charger that charges, tests, and refreshes the batteries, The Sounds of Star Wars, and a giftcard to Amazon with which I bought myself a Korg Monotron that I am excitedly awaiting to arrive!!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19920" PostHistoryTypeId="2" PostId="12088" RevisionGUID="3c18ca8a-b575-4a76-88a0-92149fd776e7" CreationDate="2012-01-05T20:31:15.317" UserId="2502" Text="I use a good amount of the midi and tempo functionality in PT but it is usually when I am working on projects that blur the line between sound design and music composition.&#xD;&#xA;&#xD;&#xA;Adam is correct about elastic audio. As a composer the tempo mapping scenes is critical and sometimes cumbersome when dealing with re-conforms. I personally avoid elastic audio unless I'm in a pinch to compress/expand a multitrack music session (non-midi) to a slightly different length.&#xD;&#xA;&#xD;&#xA;Remember that tempo is a relative grid value unless working in &quot;ticks&quot; with elastic audio so it will not change sync of waveform audio in your timeline, it is not however a relative grid to midi data and changing tempo will indeed change it's absolute placement in the timeline (sync to pict in your case) by design.  That's the advantage to midi in writing electronic music and such. &#xD;&#xA;&#xD;&#xA;As far as using midi for true sound design goes you might try using the midi notation to easily draw patterns (random, arpeggiating, ascending, descending) triggering soft-samplers like kontakt to play sound samples of your desire. remember also that midi clips can be time-expanded and contracted with the TCE tool so you can quickly explore various speeds of your midi pattern triggering your sounds. &#xD;&#xA;&#xD;&#xA;Working with the midi functionality also allows all the standard midi tools to automate (pitch bend, velocity, and my favorite the mod wheel)&#xD;&#xA;&#xD;&#xA;In kontakt, or similar, you can assign all sorts of parameters to the mod wheel such as an LFO that is acting on the amp volume, then automate it's rate via the midi timeline and create stutter effects of longer sounds. That would be one example of a endless array of things you can do when working with midi to sound design.&#xD;&#xA;&#xD;&#xA;Happy exploring&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19921" PostHistoryTypeId="2" PostId="12089" RevisionGUID="e2f351f7-d73f-41e6-8b4e-0d76ea028548" CreationDate="2012-01-05T20:41:56.403" UserId="182" Text="I don't have an Mbox Pro myself, but I have successfully played back 5.1 sound from a variety of movies through several multi-channel audio interfaces. The trick is to configure which output of the audio interface represents which surround channel.&#xD;&#xA;&#xD;&#xA;You do this by opening 'Audio Midi Setup' (it's in Applications&gt;Utilities), and then, in the audio window, hit the button 'Configure Speakers...' and assign the correct Multichannel configuration.&#xD;&#xA;&#xD;&#xA;Then any media player (including the DVD player application) that can handle 5.1 audio will send it out using that channel assignment (make sure the correct audio tracks are selected, sometimes the media player will default to stereo)." ContentLicense="CC BY-SA 3.0" />
  <row Id="19922" PostHistoryTypeId="2" PostId="12090" RevisionGUID="a302d259-a0b6-486b-9c64-68e0c5938344" CreationDate="2012-01-05T21:31:26.673" UserId="670" Text="The movie I'm trying to bounce out is 25 FPS and I have both my timecodes and feet+frames rate at 25 FPS, but every single time I bounce to disk in PT 10 the audio lags about one or two seconds behind the video. Anyone ever have this problem?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19923" PostHistoryTypeId="1" PostId="12090" RevisionGUID="a302d259-a0b6-486b-9c64-68e0c5938344" CreationDate="2012-01-05T21:31:26.673" UserId="670" Text="Problem with bouncing out" ContentLicense="CC BY-SA 3.0" />
  <row Id="19924" PostHistoryTypeId="3" PostId="12090" RevisionGUID="a302d259-a0b6-486b-9c64-68e0c5938344" CreationDate="2012-01-05T21:31:26.673" UserId="670" Text="&lt;bounce&gt;&lt;sync&gt;&lt;pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19925" PostHistoryTypeId="2" PostId="12091" RevisionGUID="97e851db-9b5e-402c-bdd8-5cdf4dfe722b" CreationDate="2012-01-05T21:46:16.763" UserId="3324" Text="Pretty close.&#xD;&#xA;Well Done.&#xD;&#xA;&#xD;&#xA;I made a tutorial for this on youtube.&#xD;&#xA;Just look for luke sega- rotating properellers.&#xD;&#xA;I recommend VST Korg MS20 for advanced sound remod.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19929" PostHistoryTypeId="5" PostId="12090" RevisionGUID="f2958e76-c872-4ea0-a957-1e901ea92d78" CreationDate="2012-01-05T22:23:04.853" UserId="670" Comment="added 31 characters in body; edited tags; edited title" Text="The movie I'm trying to bounce out is 25 FPS and I have both timecodes and feet+frames rate at 25 FPS, but every single time I bounce to disk in PT 10 the audio drifts about one or two seconds behind the video. Anyone ever have this problem or know how to solve it? Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19930" PostHistoryTypeId="6" PostId="12090" RevisionGUID="f2958e76-c872-4ea0-a957-1e901ea92d78" CreationDate="2012-01-05T22:23:04.853" UserId="670" Comment="added 31 characters in body; edited tags; edited title" Text="&lt;bounce&gt;&lt;sync&gt;&lt;pro&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19931" PostHistoryTypeId="4" PostId="12090" RevisionGUID="f2958e76-c872-4ea0-a957-1e901ea92d78" CreationDate="2012-01-05T22:23:04.853" UserId="670" Comment="added 31 characters in body; edited tags; edited title" Text="Problem with bouncing out to QT" ContentLicense="CC BY-SA 3.0" />
  <row Id="19932" PostHistoryTypeId="6" PostId="12090" RevisionGUID="5bb57591-c34d-48f5-8cff-e22ba3734e25" CreationDate="2012-01-05T22:28:24.357" UserId="670" Comment="edited tags" Text="&lt;bounce&gt;&lt;sync&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19933" PostHistoryTypeId="2" PostId="12093" RevisionGUID="6bfe3a3e-0a53-488d-8dd3-e739ba0664fb" CreationDate="2012-01-05T22:53:39.657" UserId="3275" Text="How long is the total bounce? Can you try bouncing it in shorter reels, then combining it afterwards?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19934" PostHistoryTypeId="5" PostId="12090" RevisionGUID="e88116f7-68e7-44b3-98bd-a26febe644f4" CreationDate="2012-01-05T23:07:20.120" UserId="670" Comment="deleted 1 characters in body" Text="The clip I'm trying to bounce out is 25 FPS and I have both timecodes and feet+frames rate at 25 FPS, but every single time I bounce to disk in PT 10 the audio drifts about one or two seconds behind the video. Anyone ever have this problem or know how to solve it? Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19935" PostHistoryTypeId="2" PostId="12094" RevisionGUID="98ea29e9-aae4-4cf9-89bc-a67feb016f18" CreationDate="2012-01-05T23:26:14.640" UserId="868" Text=" I have 2 possibilities.  First are you referencing to PAL or a 25 frame HD ref source?  Second on the Session Setup page do you have your Video Ref Format set to PAL?  The answer to both should be yes but having either one set improperly could cause sync problems." ContentLicense="CC BY-SA 3.0" />
  <row Id="19936" PostHistoryTypeId="2" PostId="12095" RevisionGUID="6f65ecc1-5346-4163-a93d-949152c321e4" CreationDate="2012-01-06T00:45:26.917" UserId="3078" Text="Hi folks - and Happy New Year!&#xD;&#xA;&#xD;&#xA;I have been lurking around this fantastic site for a little while, but finally decided to ask a question.&#xD;&#xA;&#xD;&#xA;I am gaining some freelance experience in the world of sound recording/dialogue editing, etc and have been working on some v/o's for a friend's web-based documentary.&#xD;&#xA;&#xD;&#xA;My procedure has been this: in PT8 the mono files are first edited to fix mistakes, mispronunciations (where possible), sort timing and generally smooth out the talent's performance.  Then I have been going into the volume track and adjusting the peak syllables/words to reduce the dynamic range somewhat. This part is pretty time-consuming, but it seems necessary to me. Using just the compressor would sound too heavy-handed and bring up the noise floor too much.&#xD;&#xA;&#xD;&#xA;I can't remember the exact order just now, but my plug-ins are the  7-band eq, compressor, expander (as gate) and trim, with the Master meter to keep the peaks to around -8db.&#xD;&#xA;&#xD;&#xA;Am I going about this in the most practical and efficient way, or are there some obvious improvements I can make?&#xD;&#xA;&#xD;&#xA;Many thanks for any help!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19937" PostHistoryTypeId="1" PostId="12095" RevisionGUID="6f65ecc1-5346-4163-a93d-949152c321e4" CreationDate="2012-01-06T00:45:26.917" UserId="3078" Text="Voiceover editing procedure - tips please." ContentLicense="CC BY-SA 3.0" />
  <row Id="19938" PostHistoryTypeId="3" PostId="12095" RevisionGUID="6f65ecc1-5346-4163-a93d-949152c321e4" CreationDate="2012-01-06T00:45:26.917" UserId="3078" Text="&lt;editing&gt;&lt;dialogue&gt;&lt;voice-over&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19939" PostHistoryTypeId="2" PostId="12096" RevisionGUID="58b86b02-3eba-4854-a2ed-41262130b437" CreationDate="2012-01-06T00:50:26.063" UserId="3326" Text="Hi, I've been running a non beta of PT9 on Lion for a few months with no issues.&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="19940" PostHistoryTypeId="2" PostId="12097" RevisionGUID="851f9e83-61d3-41ac-aba7-fd4b32b619dc" CreationDate="2012-01-06T01:11:16.357" UserId="1228" Text="One of about 5 actors who do this voice shared the secret as being &quot;years of cigarettes and coffee&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="19941" PostHistoryTypeId="2" PostId="12098" RevisionGUID="f649b164-ca39-4364-bbfd-86b2af7c9e57" CreationDate="2012-01-06T01:36:22.900" UserId="432" Text="I would say that you're overlooking a vital aspect of compression...there's nothing requiring you to use make up gain. Compessors can be used very effectively to control sustained amplitude increases or transient peaks. Your argument about bringing up the noise floor is a little mistaken as well. If you need to bring up the volume of a passage (whether by volume automation, trim automation, or make up gain in a compressor), then you're also bringing up the noise floor. It can't be avoided. So, if all you're going to do is pull volume down on a track, why not use a compressor with sans makeup-gain?&#xD;&#xA;&#xD;&#xA;What I tend to do with dialog when mixing, is throw all of my processing (EQ, gross level adjustments, etc.) via inserts on the actual track; making sure not to clip out anything in the chain if I'm pushing things hard. I then pass the dialog through an Aux track via a bus (instead of routing directly to an output). That Aux track will have a compressor on it that I use to fine tune the loudness of the DX. I may use make up gain in that compressor, I may not. Depends on the situation.&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="19942" PostHistoryTypeId="2" PostId="12099" RevisionGUID="d6cc5a25-b45f-4a3a-a73f-24913027afcb" CreationDate="2012-01-06T01:40:45.330" UserId="432" Text="Confirm that your session is in the right frame rate (Session Setup window). Also make sure that you don't have any pull-up or pull down enabled (same window); you only need to do that if you're bouncing to a different frame rate than your session." ContentLicense="CC BY-SA 3.0" />
  <row Id="19943" PostHistoryTypeId="2" PostId="12100" RevisionGUID="8569749d-526d-475b-9377-3f30c914220e" CreationDate="2012-01-06T02:21:47.947" UserId="1241" Text="My understanding is that when an event is called all of the associated sound defs will also be loaded. The data then sticks around until you call freeEventData.&#xD;&#xA;&#xD;&#xA;support@fmod.org will typically reply to this kind of technical question pretty promptly." ContentLicense="CC BY-SA 3.0" />
  <row Id="19944" PostHistoryTypeId="2" PostId="12101" RevisionGUID="eacfc73b-148e-4893-8cb7-0e757eed1d17" CreationDate="2012-01-06T02:36:04.523" UserId="100" Text="I have to agree that it's the talent, and not the treatment of the recording, that creates the magic trailer VO. With few exceptions, most LaFontaine copycats fall short as they can't hit the lower register as well as he did, and no amount of doctoring can fake it accurately IMO. You can have successful VO with a totally different voice of course, as proven by these guys:&#xD;&#xA;&#xD;&#xA;[youtube]JQRtuxdfQHw[/youtube]&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=JQRtuxdfQHw" ContentLicense="CC BY-SA 3.0" />
  <row Id="19945" PostHistoryTypeId="5" PostId="3370" RevisionGUID="9bf6880a-ba1a-4f63-94f9-587c36d605e9" CreationDate="2012-01-06T08:10:15.813" UserId="61" Comment="edited body" Text="I've actually worked on a project that called for a voice like that so I'm just going to share my experience. &#xD;&#xA;&#xD;&#xA;Yes. Your talent is really important and must be able to pull off the voice by himself to a certain extent. He had a strong bass voice but still had to mimic it. &#xD;&#xA;&#xD;&#xA;Use proximity effect to help get the voice. It sounds a bit more natural than EQ and it helps the talent feel better during the performance. Just don't let him get too near and muffle up the voice. I tried multiple mics and (can't remember for sure now) the mic we ended up using was a Blue 8 Ball. &#xD;&#xA;&#xD;&#xA;Don't EQ the voice too much. Too much bass makes it dull and doesn't sound so impressive. A little reverb will make the voice sound bigger. Use a setting that sounds huge with a really short tail. You just want it sound in a slightly larger room but make the reverb subtle. &#xD;&#xA;&#xD;&#xA;If I were to try it again, I might try a sub-harmonic generator plugin to see how it works out. &#xD;&#xA;&#xD;&#xA;Remember that the voice isn't really just bass heavy, its an &quot;in your face&quot; kind of voice. The nuances in the voice is really important as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="19946" PostHistoryTypeId="2" PostId="12102" RevisionGUID="2f6a316b-4327-4521-92ef-198970658853" CreationDate="2012-01-06T12:36:01.453" UserId="253" Text="In addition to what Shaun said, be careful with expansion. If you're using a plain old digi Expander/Gate, anything more (or rather less) than a -6dB range will be a bit too heavy, and could result in pumping. A multiband expander like Waves C4 (with the &quot;4 Band Noise Reducer&quot; setting) will be much better if you have don't have the quietest recording set up.&#xD;&#xA;&#xD;&#xA;Your set up sounds fine, although i second Shaun's recommendation of using aux tracks as submasters. Personally, i never use Master tracks in Pro Tools because i prefer to use an Aux track (that i use as a master) to a record track (rather than the old &quot;Bounce to disk&quot;).&#xD;&#xA;&#xD;&#xA;I also like to put a brick wall limiter like Waves L1 on the master track so i can adjust dynamics easily. If your mix is destined for web-only use, you may want to play around with the dynamics and max peak so your work sits well against all that other randomly-leveled web content out there. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19947" PostHistoryTypeId="2" PostId="12103" RevisionGUID="2727ee0b-07aa-42f2-8781-2ef2c7c90e74" CreationDate="2012-01-06T13:13:57.550" UserId="6519" Text="http://www.youtube.com/watch?v=5Zf1wzWxzKQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="19948" PostHistoryTypeId="2" PostId="12104" RevisionGUID="c70c0147-1e74-4071-acc9-8246fd36d940" CreationDate="2012-01-06T21:09:03.893" UserId="3332" Text="Yes. However Apple's DVD Player cannot play 5.1. VLC can though." ContentLicense="CC BY-SA 3.0" />
  <row Id="19949" PostHistoryTypeId="2" PostId="12105" RevisionGUID="70f705aa-c2e7-4ac8-908d-af84c57a611d" CreationDate="2012-01-07T03:35:52.563" UserId="863" Text="Hello guys,&#xD;&#xA;&#xD;&#xA;Just started working on a victorian horror, typically the audio will need quite a bit of ADR and background/ambience work. I'm wondering if any of you know of any sound libraries around which have been specifically created for this period.&#xD;&#xA;&#xD;&#xA;Thanks for any help you can offer" ContentLicense="CC BY-SA 3.0" />
  <row Id="19950" PostHistoryTypeId="1" PostId="12105" RevisionGUID="70f705aa-c2e7-4ac8-908d-af84c57a611d" CreationDate="2012-01-07T03:35:52.563" UserId="863" Text="victorian sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="19951" PostHistoryTypeId="3" PostId="12105" RevisionGUID="70f705aa-c2e7-4ac8-908d-af84c57a611d" CreationDate="2012-01-07T03:35:52.563" UserId="863" Text="&lt;library-sound-effects&gt;&lt;effects&gt;&lt;period&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19952" PostHistoryTypeId="2" PostId="12106" RevisionGUID="1c10d4ab-e1a4-415c-bc8e-d5b64aed768d" CreationDate="2012-01-07T05:20:40.693" UserId="3334" Text="Wasn't thinking and had my speakers cranked... the first hit practically tore my face off!  haha.  Very nice sounds, I like the transitions." ContentLicense="CC BY-SA 3.0" />
  <row Id="19953" PostHistoryTypeId="2" PostId="12107" RevisionGUID="9134cd9b-c667-4fb7-a225-786a257b6095" CreationDate="2012-01-07T07:44:59.870" UserId="125" Text="I am totally clueless.&#xD;&#xA;We made ​​a film, which takes place in a waste bag, I mean, it gives the feeling of the picture. A total, where a guy lying on a bed about 3m away from the camera, surrounded by black bag is paved with the environment. it looks good.:)&#xD;&#xA;I recorded the Atmore with M-S michrophone on the shooting (the actor lying on the bed and eating chips, he moved on the bag and it rattle on the left. The right side of the bed a TV screen is flashing with no sound, you can not see the contents)&#xD;&#xA;So we have an atmosphere, the sound field (which I recorded with NEUMANN MS), and i have to put in the TV sound. Not facing the viewer, 3m from us, and the best fit to the recorded atmosphere.&#xD;&#xA;I have used, eq, speakerphone, altiverb, but I could not reach the effect, no matter how twisted the parameters. I know that there are no rules, but I really hope that you can say something sensible, especially since I started out by many.&#xD;&#xA;the sound is dropped from the picture, it is very difficult ..:)&#xD;&#xA;I can write many things, but I think to begin to talk about it, and asked if perhaps, answer, or when you need i can place a link here from the short part from the movie." ContentLicense="CC BY-SA 3.0" />
  <row Id="19954" PostHistoryTypeId="1" PostId="12107" RevisionGUID="9134cd9b-c667-4fb7-a225-786a257b6095" CreationDate="2012-01-07T07:44:59.870" UserId="125" Text="background noise, TV on a film." ContentLicense="CC BY-SA 3.0" />
  <row Id="19955" PostHistoryTypeId="3" PostId="12107" RevisionGUID="9134cd9b-c667-4fb7-a225-786a257b6095" CreationDate="2012-01-07T07:44:59.870" UserId="125" Text="&lt;sound-design&gt;&lt;television&gt;&lt;backgroundambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19956" PostHistoryTypeId="5" PostId="12107" RevisionGUID="32a490f4-b4c0-47f5-8fa3-7b2535931404" CreationDate="2012-01-07T07:58:53.730" UserId="125" Comment="deleted 14 characters in body" Text="I am totally clueless.&#xD;&#xA;We made ​​a film, which takes place in a waste bag, I mean, it gives the feeling of the picture. A total, where a guy lying on a bed about 3m away from the camera, surrounded by black bag is paved with the environment. it looks good.:)&#xD;&#xA;&#xD;&#xA;I recorded the atmosphere with Neumann M-S michrophone on the shooting. The actor is lying on the left and eating potato chips, he moved on the bag and it rattle. The right side of the bed a TV screen is flashing with no sound, you can not see the contents)&#xD;&#xA;&#xD;&#xA;So we have an atmosphere, the sound field, and i have to put in the TV sound. Not facing the viewer, 3m from us, and the best fit to the recorded atmosphere.&#xD;&#xA;&#xD;&#xA;I have used, eq, speakerphone, altiverb, but I could not reach the effect, no matter how twisted the parameters. I know that there are no rules, but I really hope that you can say something sensible, especially since I started out by many.&#xD;&#xA;&#xD;&#xA;The sound is dropped from the picture, it is very difficult ..:)&#xD;&#xA;&#xD;&#xA;I can write many things, but I think to begin to talk about it, and asked if perhaps, answer, or when you need i can place a link here from the short part from the movie." ContentLicense="CC BY-SA 3.0" />
  <row Id="19957" PostHistoryTypeId="2" PostId="12108" RevisionGUID="23c9d5de-38c9-49ca-bcdc-2f02a005de90" CreationDate="2012-01-07T09:37:49.687" UserId="6432" Text="So you need to fit the television sound in with the location recordings? Have you tried [worldizing][1] it? Recording it through a television with the same Neumann should help. Perhaps go back to the same space where you shot the scene and record it there. Be sure to do several recordings from different distances if you get the opportunity.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://filmsound.org/terminology/worldizing.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="19958" PostHistoryTypeId="4" PostId="12107" RevisionGUID="f5eb5939-9783-45ee-aa00-35f506d6235c" CreationDate="2012-01-07T09:47:24.213" UserId="125" Comment="edited title; edited tags" Text="Worldizing (background noise, TV on a film.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19959" PostHistoryTypeId="6" PostId="12107" RevisionGUID="f5eb5939-9783-45ee-aa00-35f506d6235c" CreationDate="2012-01-07T09:47:24.213" UserId="125" Comment="edited title; edited tags" Text="&lt;sound-design&gt;&lt;television&gt;&lt;backgroundambience&gt;&lt;worldizing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19960" PostHistoryTypeId="2" PostId="12109" RevisionGUID="3e0e0f34-062d-4321-946a-1a470758762d" CreationDate="2012-01-07T12:18:42.263" UserDisplayName="user6513" Text="Why don't you worldize all the sounds and not just the TV sound? When a sound I want seems out of place, I've added it to all the sounds that I wanted to worldize and it usually works out. If it doesn't sound right the first time, put the recorded track through again. Each time you worldize, you record fresh ambience, and that will help the sound effects become more realistic. Have a look at [this][1] for a clearer idea of what I'm explaining. It's a technique I've used a far bit over the years to good effect.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://takuyakatsu.wordpress.com/2009/09/16/presence/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19961" PostHistoryTypeId="2" PostId="12110" RevisionGUID="0524030c-f933-44b3-aaae-3a110e3d9473" CreationDate="2012-01-07T20:06:27.593" UserId="208" Text="I think sound-ideas sells this one: http://sound-ideas.com/amadeus.html&#xD;&#xA;ok its not 100% victorian, but not far from it:D&#xD;&#xA;Maybe you could go record some yourself, and only buy the atmosphere tracks needed.&#xD;&#xA;What else do you need? Maybe the community can help.&#xD;&#xA;&#xD;&#xA;Best wishes&#xD;&#xA;&#xD;&#xA;Mikkel " ContentLicense="CC BY-SA 3.0" />
  <row Id="19962" PostHistoryTypeId="2" PostId="12111" RevisionGUID="ec9d23f2-05ae-42c1-8192-187f83d33e9b" CreationDate="2012-01-07T20:12:47.450" UserId="3336" Text="You can get really nice low tail rumble by using a high pass filter on any EQ set around 200-400Hz then process you sound over and over till you get the sound you want. The texture of the original sound you use will influence the outcome, I've found outdoors atmos tracks with lots of sonic information work well. This can then be mixed with your other explosion components to  your hearts content... " ContentLicense="CC BY-SA 3.0" />
  <row Id="19963" PostHistoryTypeId="2" PostId="12112" RevisionGUID="d295c08e-96f7-42ce-b86d-50fe51a46691" CreationDate="2012-01-07T23:02:49.070" UserId="278" Text="Have you tried to manipulate the TV sound in mono? " ContentLicense="CC BY-SA 3.0" />
  <row Id="19964" PostHistoryTypeId="2" PostId="12113" RevisionGUID="92e6e5cb-c84d-4b32-9608-ba31a5f24539" CreationDate="2012-01-08T08:17:24.287" UserId="407" Text="At work we're planning a smashing and impact recording session which is going to be very messy with lots of broken glass, crockery, fruit and anything else we can get our hands on. We'd usually do this sort of a session outdoors but seeing that it's horribly cold and snowy here, we're planning on doing it indoors instead. I'm thinking about using dust sheets over plastic - but would really like to hear what solutions you guys have.&#xD;&#xA;So here's my question - when you guys do messy recordings indoors, what materials do you use on the floor and walls to 1. protect your studio environment 2. make it easier to clean up 3. are sonically acceptable?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19965" PostHistoryTypeId="1" PostId="12113" RevisionGUID="92e6e5cb-c84d-4b32-9608-ba31a5f24539" CreationDate="2012-01-08T08:17:24.287" UserId="407" Text="messy jobs in the studio - how do you protect the floor and walls" ContentLicense="CC BY-SA 3.0" />
  <row Id="19966" PostHistoryTypeId="3" PostId="12113" RevisionGUID="92e6e5cb-c84d-4b32-9608-ba31a5f24539" CreationDate="2012-01-08T08:17:24.287" UserId="407" Text="&lt;studio&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19967" PostHistoryTypeId="2" PostId="12114" RevisionGUID="bd1f5dce-c032-429e-a7fb-f3ebfd3f2acf" CreationDate="2012-01-08T14:30:34.563" UserId="432" Text="What I've done in the past is lay out a bunch of plastic (painter's drop cloth) with packing blankets laid over top. The blankets are thick enough that they muffle any plastic sounds pretty well (though if you're going to have heavy movements, you'll probably get a little bit of noise), and the combination protects the floor far better than a fabric painters drop cloth will.&#xD;&#xA;&#xD;&#xA;For the walls, and I've only done this once, we used a bunch of C-Stands to string up some heavy fabric to catch splatter...sand bags weighing down the bottom of the fabric. I left a lot of slack in them so that they would &quot;catch&quot; materials, instead of &quot;stopping&quot; them. They were also spaced well away from the walls; so that the fabric wouldn't touch them if something hit them hard." ContentLicense="CC BY-SA 3.0" />
  <row Id="19968" PostHistoryTypeId="2" PostId="12115" RevisionGUID="206bd3a6-0a21-4053-8912-0d9e4e18fb89" CreationDate="2012-01-08T14:39:04.057" UserId="3316" Text="I actually recently spent a full day in B &amp; Q (british DIY superstore) buying insane amount of cloth, dust sheets and wood to try make a sort of target / capture area. &#xD;&#xA;&#xD;&#xA;I recorded some glass smashing several months ago, and no matter how hard I tried at the time it got EVERYWHERE. So making this dedicated DIY pit of sorts was the only thing I could think of.&#xD;&#xA;&#xD;&#xA;Definitely worth putting the time in protecting your floor and walls, or you end up like me with glass embedded in your walls. Not always a good look.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="19969" PostHistoryTypeId="2" PostId="12116" RevisionGUID="23025b78-73c0-46e4-9667-ab920f3952bd" CreationDate="2012-01-08T21:44:40.440" UserId="3339" Text="I'm not sure what everyone else hears, but there's four types of noise I do hear that seems like few others can hear.&#xD;&#xA;&#xD;&#xA;1. flyback transformer noise. I don't hear this nearly as often as when everyone had CRT televisions, but I still own a CRT and I never turn it on because I can hear it, even when it's &quot;off&quot; It sits unplugged. It can be described as a very loud high pitch noise that can be confused for tinnitus. Going to another floor or room withthe doors shut is sufficient for muting it. I also hear...&#xD;&#xA;2. Electronic &quot;charging&quot; noise. In one example the power supply brick for my laptop makes this noise if the laptop is off, but the charger is plugged in. It's so irritating that I actually prefer the sound of the laptop being ON to hearing the charge noise. It is however not that loud. Similarly, it sounds like the noise when a camera flash is being charged, only between two high pitch points.&#xD;&#xA;3. Dog Whistles. I can't even describe what this sounds-feels like. Someone pointed one at me and it felt like my ears were rattling along with a buzzing feeling. It's more painful than actual sound.&#xD;&#xA;4. A loud tinnitus-like noise, only it's not a solid tone like tinnitus, rather it's a vaguely &quot;noisy&quot; tone that seems to bounce between two frequencies. I can hear it in certain locations if there's no overpowering noise.&#xD;&#xA;&#xD;&#xA;I lived under powerlines until graduating high school. I don't think there is a connection as the power lines made a different kind of noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="19970" PostHistoryTypeId="5" PostId="4363" RevisionGUID="92aa445e-bfde-4c59-814c-52a6b5aae5d9" CreationDate="2012-01-08T22:31:41.027" UserId="432" Comment="added 1109 characters in body" Text="I doubt they're actually hearing radio frequencies, more likely they're hearing a high-pitched electrical noise from one of the components and mistaking it for the electrical field. No component is ideal, and there is always some energy lost to an extra process (heat, noise, etc.). I've always been able to tell when a TV is on in the next room (even if its muted), be it CRT or LCD. All electrical appliances make some sort of high-pitched noise when they have power running through them. It's just a question of which component, what the frequency output is, and whether or not you've protected your ears well enough to still be able to hear them.&#xD;&#xA;&#xD;&#xA;There's also the myth of people being able to pick up and hear actual radio broadcast through replacement teeth, caps and fillings. I don't remember what their results were, but Mythbusters tackled that one. :)&#xD;&#xA;&#xD;&#xA;**Addtional Info:** A lot of people here are mentioning that they can hear electronics when they're plugged in, powered on, etc. I think it's important to note that this is pretty common for anyone who has protected their ears over the years (including myself), and those frequencies that you're hearing are not above 20k. Are there frequency components above there? Yes...but you're just hearing the fundamentals, just the harmonics. Keep in mind that no electrical process runs in an ideal state. Almost all electronics give off heat, meaning that the electrical current is causing friction within the conductor. Friction equals a form of vibration, equals sound production. I'm beyond skeptical of this idea. Afterall, there are some forms of tinnitus that are not tied to hearing loss (meaning without damage to the inner ear). The human brain is a funky thing that can malfunction just like any other electrical device. If it can cause tinnitus without trauma to the ear, isn't it safe to assume that it can cause you to perceive other high frequency sounds by itself?&#xD;&#xA;&#xD;&#xA;...Something to think about." ContentLicense="CC BY-SA 3.0" />
  <row Id="19971" PostHistoryTypeId="2" PostId="12117" RevisionGUID="2bc3bbb3-db38-43fd-8be4-c2aee116d36f" CreationDate="2012-01-09T00:26:19.007" UserId="1129" Text="Wild guess, but can you take an impulse response of the room in question, then pass your audio through Altiverb (using that impulse response), through a very good monitor speaker, and then back into your Neumann at the 3m distance?  That would seem to get you pretty close (at least in my head.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="19972" PostHistoryTypeId="2" PostId="12118" RevisionGUID="b8ad9cfd-af72-4ff8-aa5e-72780552fe4b" CreationDate="2012-01-09T00:33:59.577" UserId="18160" Text="Just for fun, are there any die-hard audiophiles out there that have tested and experimented with underwater worldizing?&#xD;&#xA;&#xD;&#xA;I was clacking together large rocks at the bottom of the ocean a while back and thought the echo it created down there sounded pretty cool and wondered if it was possible to experiment with some underwater speakers and mics to create some nifty SFX via water instead of air.&#xD;&#xA;&#xD;&#xA;It seems to me that something like this could possibly yield some great results, but it could also be a large waste of time. Has anyone heard of anyone doing something like this before?&#xD;&#xA;&#xD;&#xA;What sort of frequency range does a submerged mic pick up?&#xD;&#xA;&#xD;&#xA;Could be a fun summer project of mine. I could imagine an elephant roar might sound pretty cool if it's sent via water... Or some sub harmonic info if it's possible... Or it could sound just plain lame. That's why I'm asking - I have no experience with underwater speakers or what is possible to recreate frequency-wise underwater. Has anyone got any experience or info with recording underwater?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19973" PostHistoryTypeId="1" PostId="12118" RevisionGUID="b8ad9cfd-af72-4ff8-aa5e-72780552fe4b" CreationDate="2012-01-09T00:33:59.577" UserId="18160" Text="Underwater Worldizing" ContentLicense="CC BY-SA 3.0" />
  <row Id="19974" PostHistoryTypeId="3" PostId="12118" RevisionGUID="b8ad9cfd-af72-4ff8-aa5e-72780552fe4b" CreationDate="2012-01-09T00:33:59.577" UserId="18160" Text="&lt;underwater&gt;&lt;worldizing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19975" PostHistoryTypeId="2" PostId="12119" RevisionGUID="56d22706-076c-4f5b-9061-c19ffd4dadcc" CreationDate="2012-01-09T02:20:48.520" UserId="6411" Text="You can go round and round driving yourself crazy about which pocket recorder is &quot;better&quot;. The one that's the best is the one that's with you.&#xD;&#xA;&#xD;&#xA;The number of sounds that I missed while I was trying to decide which piece of kit was &quot;the best&quot; is far more agonizing than the thought that I could've gotten something better, cheaper, more versatile, etc.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19976" PostHistoryTypeId="2" PostId="12120" RevisionGUID="411668a3-85bb-48d2-ae53-90c77a75b200" CreationDate="2012-01-09T10:30:30.700" UserId="238" Text="Willem van den Bos has written a very interesting thesis on the subject. Check the link below. It seems that it is possible, and has been done but there are many factors that make it difficult to achieve. Cost (underwater speakers are expensive) and surface noise (which affect the results) seem to be the most significant. &#xD;&#xA;&#xD;&#xA;[Diploma Thesis - Willem van den Bos][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://homepage.mac.com/bavala/thesis.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="19977" PostHistoryTypeId="2" PostId="12121" RevisionGUID="f3c53f76-da89-44f5-b7d5-3ce7361e7ebd" CreationDate="2012-01-09T11:32:01.397" UserId="341" Text="Very interesting subject. I worked for a year as a sound tech on 'The House of Dancing Water' by Franco Dragone (theatre show on water) which incorporated 36 underwater speakers carrying show-feed and show-call for divers who move props and performers around. I wish I had thought of your worldizing experiment at the time! The underwater system was not part of my jurisdiction but I did dive a couple of times and seem to remember there was no problem with the bottom end, even though the speakers were pretty small (http://www.lubell.com/3400.html). I did do a bit of recording of the system in the pool and the result was nothing like you often get with a 'designed' underwater sound. If it's realism you're after I would recommend worldizing, but you'd probably have to jazz it up a bit after to make it interesting for the listener!&#xD;&#xA;You could try contacting one of those shows (there's one in Vegas as well), they might let you use the system for free if you have the right approach, or for minimal costs. I don't see why not if you only want to play a bunch of sounds and record with a hydrophone or two (stereo is kind of irrelevant as sound travels that much faster but you might get some interesting results with the mics more than 15m apart).&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="19978" PostHistoryTypeId="2" PostId="12122" RevisionGUID="de833b5a-845f-4c27-98cb-5353665c28ad" CreationDate="2012-01-09T14:07:48.887" UserId="3212" Text="Do any of you know of a good template-based portfolio site which caters for sound and music? I'm thinking of sites like http://carbonmade.com/ for visual media.&#xD;&#xA;&#xD;&#xA;Or perhaps the best solution is just a link to a Vimeo account? Or one consolidated video?&#xD;&#xA;&#xD;&#xA;My current portfolio is on Tumblr using a pretty nifty theme but I just feel like there's something better out there. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19979" PostHistoryTypeId="1" PostId="12122" RevisionGUID="de833b5a-845f-4c27-98cb-5353665c28ad" CreationDate="2012-01-09T14:07:48.887" UserId="3212" Text="Is there a good solution for hosting a sound design/music portfolio online?" ContentLicense="CC BY-SA 3.0" />
  <row Id="19980" PostHistoryTypeId="3" PostId="12122" RevisionGUID="de833b5a-845f-4c27-98cb-5353665c28ad" CreationDate="2012-01-09T14:07:48.887" UserId="3212" Text="&lt;portfolio&gt;&lt;design&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19981" PostHistoryTypeId="2" PostId="12123" RevisionGUID="b4adfbce-9cd0-432d-81ba-70a646f0f146" CreationDate="2012-01-09T14:28:18.767" UserId="6407" Text="Any sound with a sharp initial transient is good for booms (and enough low-end information!), like the other metallic 'hits' are often good. I smashed around a microwave quite recently that gave some epic 'crashes'. Layer that with a kick or some other 'thud' and keep experimenting. &#xD;&#xA;&#xD;&#xA;I like to loop-record with different reverb settings and to try out other plugins to give them different flavours. " ContentLicense="CC BY-SA 3.0" />
  <row Id="19982" PostHistoryTypeId="2" PostId="12124" RevisionGUID="78f73422-8c7b-4143-b679-38ed3932d56d" CreationDate="2012-01-09T16:24:28.343" UserId="1129" Text="Squarespace for hosting, Vimeo for video, and Soundcloud for audio.  That's the holy trinity as far as I can figure it." ContentLicense="CC BY-SA 3.0" />
  <row Id="19983" PostHistoryTypeId="2" PostId="12125" RevisionGUID="26216ea6-7b27-40cd-99a3-1288a92485bb" CreationDate="2012-01-09T16:32:14.857" UserId="1129" Text="I don't think LF has a problem propagating underwater.  It has been used rather effectively as a communications medium (see ELF radio) and LF acoustic sound can travel very long distances under water (see &quot;The Bloop&quot;).&#xD;&#xA;&#xD;&#xA;Underwater speakers are band-limited, probably for intelligibility reasons.  You might also need to be concerned with standing waves if you are in a pool.  You can pop an eardrum with enough of a pressure differential." ContentLicense="CC BY-SA 3.0" />
  <row Id="19984" PostHistoryTypeId="2" PostId="12126" RevisionGUID="c26bac28-c0bd-4cdc-9d25-58241730eb91" CreationDate="2012-01-09T18:36:53.403" UserId="1266" Text="Without the spectral and timbral processing functions of Kyma, I'd like to figure out how to modify human voice.  I'd love to get the spectral and timbral properties of a wolf and cross it with a man to make a more rich, sound designed voice.  &#xD;&#xA;Kyma has a spectral/timbral footprint style processing function among many others.  Any plugins out there to use for spectral/timbral mushing?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19985" PostHistoryTypeId="1" PostId="12126" RevisionGUID="c26bac28-c0bd-4cdc-9d25-58241730eb91" CreationDate="2012-01-09T18:36:53.403" UserId="1266" Text="Favorite way to modify a voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="19986" PostHistoryTypeId="3" PostId="12126" RevisionGUID="c26bac28-c0bd-4cdc-9d25-58241730eb91" CreationDate="2012-01-09T18:36:53.403" UserId="1266" Text="&lt;design&gt;&lt;spectral&gt;&lt;plugin&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19987" PostHistoryTypeId="2" PostId="12127" RevisionGUID="f18af452-3ddd-4568-a779-ff541225968d" CreationDate="2012-01-09T19:00:44.050" UserId="3316" Text="Actually that is a good point, &#xD;&#xA;you can get water resistant rain covers for your blimp, which apparently make little or no sound when water hits it, it simply drips off. &#xD;&#xA;Surely there is a cheap alternative that people could bulk buy to help water resist area while recording, with that awful CRUNCH, when you accidentally move onto the tarp. &#xD;&#xA;&#xD;&#xA;That would be an amazing way to help protect area's   silently. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19988" PostHistoryTypeId="2" PostId="12128" RevisionGUID="0053f827-4146-4fac-85e5-f288f6de0b32" CreationDate="2012-01-09T21:26:02.320" UserId="6566" Text="Similar to what some have posted here, I built a temporary booth I can easily assemble and disassemble out of PVC pipe and elbows. Then, using spring loaded clips attached one layer of plastic and one layer of painters tarp to all four sides and over the top. The floor is rubber mat covered with more painter tarp. The plastic for keeping liquids controlled and the tarp because the plastic can be a bit too reflective. If you are doing marginally liquidy stuff you can skip the plastic and just use the tarps.&#xD;&#xA;&#xD;&#xA;It's very easy to put up and take appart. The only downside is if you are doing really hi impact stuff that sends debri flying readily, the debri can hit the sides of the booth making unwanted noises.&#xD;&#xA;&#xD;&#xA;The whole thing cost around a hundred bucks and is mostly reusable depending on how bad you soil the tarps." ContentLicense="CC BY-SA 3.0" />
  <row Id="19989" PostHistoryTypeId="2" PostId="12129" RevisionGUID="ee61f010-0ef0-4ad4-a6d6-2b71300e4615" CreationDate="2012-01-09T21:29:46.000" UserId="2502" Text="I've done basically what Shawn has mentioned with c-stands and plastic/cloth combonations. &#xD;&#xA;&#xD;&#xA;Also, when doing gore sounds (vegetables, actual pigs, bones, etc)  I used a cheap blow up baby pool in the recording space. It worked well to capture juicy. bloody elements and cheap enough to just carry out and toss in the dumpster when finished." ContentLicense="CC BY-SA 3.0" />
  <row Id="19990" PostHistoryTypeId="2" PostId="12130" RevisionGUID="6a0deec9-e4f0-44fc-9e36-811aacc47e8b" CreationDate="2012-01-09T22:31:39.033" UserId="1206" Text="[FScape][1] is a great standalone, non-realtime audio mangler. I'm not too familiar with Kyma, but I think the convolution operation would be able to do what you suggest.&#xD;&#xA;&#xD;&#xA;  [1]: http://sourceforge.net/projects/fscape/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19991" PostHistoryTypeId="2" PostId="12131" RevisionGUID="304e34fc-a68e-4c53-bedb-8b5836f564b7" CreationDate="2012-01-09T22:54:05.083" UserId="6420" Text="Maybe try out some vocoder plugs? I've heard Alchemy can go some cool sample morphing type stuff too. Maybe even give a demo of Metasynth a whirl!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19992" PostHistoryTypeId="5" PostId="12128" RevisionGUID="1ac36e71-469e-49ca-ac05-d602a66d3505" CreationDate="2012-01-09T23:47:40.793" UserId="6566" Comment="added 4 characters in body" Text="Similar to what some have posted here, I built a temporary booth I can easily assemble and disassemble out of PVC pipe and elbows. Then, using spring loaded clips attached one layer of plastic and one layer of painters tarp to all four sides and over the top. The floor is rubber mat covered with more painter tarp. The plastic for keeping liquids controlled and the tarp because the plastic can be a bit too reflective. If you are doing marginally liquidy stuff you can skip the plastic and just use the tarps.&#xD;&#xA;&#xD;&#xA;It's very easy to put up and take appart. The only downside is if you are doing really high impact stuff that sends debriS flying readily, the debris can hit the sides of the booth making unwanted noises.&#xD;&#xA;&#xD;&#xA;The whole thing cost around a hundred bucks and is mostly reusable depending on how bad you soil the tarps." ContentLicense="CC BY-SA 3.0" />
  <row Id="19993" PostHistoryTypeId="2" PostId="12132" RevisionGUID="0b690905-5ba4-4724-acf4-c1fea68322c1" CreationDate="2012-01-09T23:53:10.217" UserId="1228" Text="Greetings!&#xD;&#xA;&#xD;&#xA;I'm in a situation where a show calls for some &quot;historically-accurate&quot; (within reason, 'geographically-accurate' may be the more correct term) ambiences in terms of animal and bird choices.  It's placed in medieval England, so I'm seeking cleanly-recorded birds/birdsong of European variety (same with cicadas, as I've been told they make different sounds in the European regions than the more traditionally-found library material which covers the US Deep South variety).  Ambience versions of bird beds are fine as well.  And also seeking animals of the area like a red fox or grey wolf - especially tasty, reverberant distant, evocative calls for offstage (in terms of distance/style, think of how Common Loon recordings sound) - not the growly close up stuff.&#xD;&#xA;&#xD;&#xA;The Tonsturm Mountain Air package seems right on the money for the birds/ambience area, yet I am seeking something to compliment it in the lines of more bird/insect specifics of the European region.  And also seeking some animals.&#xD;&#xA;&#xD;&#xA;The BBC Nature series seems like a 'money' goldmine of source material, but it's well outside of my budget (and based upon the cost, it makes more sense to wait until I could invest in the entire BBC package as one unit).&#xD;&#xA;&#xD;&#xA;I'm also trying to avoid buying single-sounds in the lines of Sounddogs only because I don't want to be spot-paying for FX I'm going to be investing in later on in the larger sets.  So that leaves me with either custom recording in Europe (which I feasibly can't facilitate), trading sounds with someone who has custom recordings, or finding a nice boutique FX package along the lines of the Mountain Air that I can invest in.  Anyone have any ideas of where to look or who would be willing to trade who's got some sounds from the region?&#xD;&#xA;&#xD;&#xA;Also, I'm in the process of checking out the McCauley library too, but I've got a feeling that won't come cheap nor be a royalty-free license, which defeats the whole purpose of the investment if that's the case.  But we'll see.&#xD;&#xA;&#xD;&#xA;Any insight would be greatly appreciated.  Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19994" PostHistoryTypeId="1" PostId="12132" RevisionGUID="0b690905-5ba4-4724-acf4-c1fea68322c1" CreationDate="2012-01-09T23:53:10.217" UserId="1228" Text="REQUEST: European BGz variety - birds, animals" ContentLicense="CC BY-SA 3.0" />
  <row Id="19995" PostHistoryTypeId="3" PostId="12132" RevisionGUID="0b690905-5ba4-4724-acf4-c1fea68322c1" CreationDate="2012-01-09T23:53:10.217" UserId="1228" Text="&lt;europe&gt;&lt;birds&gt;&lt;animals&gt;&lt;sound-effects&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="19996" PostHistoryTypeId="5" PostId="12132" RevisionGUID="6fddfb87-f64e-496c-a3ca-6020a22f7223" CreationDate="2012-01-10T00:03:50.987" UserId="1228" Comment="added 116 characters in body" Text="Greetings!&#xD;&#xA;&#xD;&#xA;I'm in a situation where a show calls for some &quot;historically-accurate&quot; (within reason, 'geographically-accurate' may be the more correct term) ambiences in terms of animal and bird choices.  It's placed in medieval England, so I'm seeking cleanly-recorded birds/birdsong of European variety (same with cicadas, as I've been told they make different sounds in the European regions than the more traditionally-found library material which covers the US Deep South variety).  Ambience versions of bird beds are fine as well.  And also seeking animals of the area like a red fox or grey wolf - especially tasty, reverberant distant, evocative calls for offstage (in terms of distance/style, think of how Common Loon recordings sound) - not the growly close up stuff.&#xD;&#xA;&#xD;&#xA;The Tonsturm Mountain Air package seems right on the money for the birds/ambience area, yet I am seeking something to compliment it in the lines of more bird/insect specifics of the European region.  And also seeking some animals.&#xD;&#xA;&#xD;&#xA;The BBC Nature series seems like a 'money' goldmine of source material, but it's well outside of my budget (and based upon the cost, it makes more sense to wait until I could invest in the entire BBC package as one unit).&#xD;&#xA;&#xD;&#xA;I'm also trying to avoid buying single-sounds in the lines of Sounddogs only because I don't want to be spot-paying for FX I'm going to be investing in later on in the larger sets.  So that leaves me with either custom recording in Europe (which I feasibly can't facilitate), trading sounds with someone who has custom recordings, or finding a nice boutique FX package along the lines of the Mountain Air that I can invest in.  Anyone have any ideas of where to look or who would be willing to trade who's got some sounds from the region?&#xD;&#xA;&#xD;&#xA;Also, I'm in the process of checking out the McCauley library too, but I've got a feeling that won't come cheap nor be a royalty-free license, which defeats the whole purpose of the investment if that's the case.  But we'll see.&#xD;&#xA;&#xD;&#xA;I've been referencing this list too to for research: http://en.wikipedia.org/wiki/List_of_birds_of_Great_Britain&#xD;&#xA;&#xD;&#xA;Any insight would be greatly appreciated.  Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="19997" PostHistoryTypeId="2" PostId="12133" RevisionGUID="27c0c1b9-81b6-408f-b550-f6af63a36edd" CreationDate="2012-01-10T00:24:32.667" UserId="315" Text="The McCauley library won't be cheap, but they'll have what you need for sure. &#xD;&#xA;&#xD;&#xA;Outside of finding a generous nature recordist in the UK, your best luck is indeed in the BBC library. Lots of properly labeled, well recorded UK bird sounds in there. The general BBC library (not the nature specific one) also has a lot of birds. I know it's a bummer buying specific sounds, then purchasing them as part of a set later. &#xD;&#xA;&#xD;&#xA;I'd also suggest asking this question on the [Yahoo Nature Recordist group][1].&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tech.groups.yahoo.com/group/naturerecordists/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19998" PostHistoryTypeId="5" PostId="12133" RevisionGUID="3f098ff4-77c5-4f6f-80dc-cfe830c0c6e5" CreationDate="2012-01-10T02:17:30.277" UserId="315" Comment="added 5 characters in body" Text="The McCauley library won't be cheap, but they'll have what you need for sure. &#xD;&#xA;&#xD;&#xA;Outside of finding a generous nature recordist in the UK, your best luck is indeed in the BBC library. Lots of properly labeled, well recorded UK bird sounds in there. The general BBC library (not just the nature specific one) also has a lot of birds. I know it's a bummer buying specific sounds, then purchasing them as part of a set later. &#xD;&#xA;&#xD;&#xA;I'd also suggest asking this question on the [Yahoo Nature Recordist group][1].&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tech.groups.yahoo.com/group/naturerecordists/" ContentLicense="CC BY-SA 3.0" />
  <row Id="19999" PostHistoryTypeId="2" PostId="12134" RevisionGUID="4f8d9f9e-b19f-4702-bfb0-0a01e0a17130" CreationDate="2012-01-10T05:50:35.957" UserId="479" Text="I'm doing some equipment research for a friends surfing doco.&#xD;&#xA;&#xD;&#xA;I need a lapel mic and a recorder as small as possible to be sewn into a surfers rash vest.&#xD;&#xA;&#xD;&#xA;A waterproof lapel mic I've seen is the Voice Technologies VT500water. Anyone used one in water?&#xD;&#xA;&#xD;&#xA;I then need to connect it to a recording device that I can hit record on and leave recording for roughly 30mins( the length of the film) but preferably 50mins.&#xD;&#xA;&#xD;&#xA;The device will need to withstand being thrashed around in the surf and therefore needs to be waterproof or resistant. I don't need anything fancy, just a mic input and a button to record with, with either inbuilt memory and an output method or record to memory card.&#xD;&#xA;&#xD;&#xA;Sound quality I'm not too sure on yet, but it is to capture breaths and body movement sounds of a surfer out in the water, there will probably not be any dialogue needed from this mic and recorder setup as several on camera mics in the surf will cover dialogue if there is any.&#xD;&#xA;&#xD;&#xA;I have a few solutions I've found, but any help appreciated. size of device is probably the most important thing as it needs to be hidden and not too visibly protruding from under a rashvest(not a wetsuit) and i'd like to keep away from transmitters.&#xD;&#xA;&#xD;&#xA;On another note has anyone had experience where they have needed to be in the surf or rapids while doing higher quality recordings with shotguns, with a good chance you are going underwater at any moment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20000" PostHistoryTypeId="1" PostId="12134" RevisionGUID="4f8d9f9e-b19f-4702-bfb0-0a01e0a17130" CreationDate="2012-01-10T05:50:35.957" UserId="479" Text="water resistant mic and recorder" ContentLicense="CC BY-SA 3.0" />
  <row Id="20001" PostHistoryTypeId="3" PostId="12134" RevisionGUID="4f8d9f9e-b19f-4702-bfb0-0a01e0a17130" CreationDate="2012-01-10T05:50:35.957" UserId="479" Text="&lt;waterproof&gt;&lt;recorder&gt;&lt;sport&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20002" PostHistoryTypeId="5" PostId="12034" RevisionGUID="1d40e6fc-d5d1-4d73-938a-e58570dc943f" CreationDate="2012-01-10T08:09:44.970" UserId="61" Comment="added 4 characters in body" Text="Hello all, and happy new year!&#xD;&#xA;&#xD;&#xA;I'm searching for 1930's to 1950's-era traffic and urban recordings from (preferably) individual or boutique libraries (read: not Sound Ideas, Hollywood Edge, all the usual suspects). My goal is to capture the feel of what the major metropolitan cities of the United States sounded like on any given day. Think downtown New York, Chicago, Los Angeles, San Francisco; traffic ambiences made up of classic Fords, Packards, Plymouths, Studebakers, etc, as well as other modes of transport such as electric street cars, cable cars, motorcycles, etc.&#xD;&#xA;&#xD;&#xA;**UPDATE:** As I stated before, this request isn't limited to the United States; I believe cities such as Cuba and Mexico have many vintage American autos still on the streets and relatively low levels of heavy traffic wash from freeways and interstates. **If there are any SSD folks living in such an area, I would love to talk with you re. your existing recordings or perhaps gathering new ones for this purpose.** &#xD;&#xA;&#xD;&#xA;I'm looking forward to the ensuing thread and all possible leads!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20003" PostHistoryTypeId="2" PostId="12135" RevisionGUID="4b532a45-1741-4f72-80a6-2ac485f384df" CreationDate="2012-01-10T10:45:35.870" UserId="62" Text="Have you thought about using the likes of SoundDogs? They have the BBC libraries but you can buy individual sounds from it." ContentLicense="CC BY-SA 3.0" />
  <row Id="20004" PostHistoryTypeId="2" PostId="12136" RevisionGUID="3f65c7d6-f20d-4609-b764-4883f6e624dd" CreationDate="2012-01-10T10:59:23.320" UserId="3049" Text="It might sound silly but there is a very easy way of making small equipment water resistant. My friend did all his underwater recordings this way. He used condoms and duckt tape on a pair of cheap microphones. I am sure there is some way of making any recorder resistant to water." ContentLicense="CC BY-SA 3.0" />
  <row Id="20005" PostHistoryTypeId="2" PostId="12137" RevisionGUID="e049965e-5adc-4f3c-843b-54a42758ce01" CreationDate="2012-01-10T10:59:54.477" UserId="373" Text="Need to foley some feet on a boxing ring in the studio in the next couple of weeks, anyone done this before? boxing rings have a very specific sound, dont think i'll have time to go to the local boxing gym and record a wildtrack (busy schedule), anyone got any ideas on how to build my own canvas in the studio? or something that sounds right! much appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="20006" PostHistoryTypeId="1" PostId="12137" RevisionGUID="e049965e-5adc-4f3c-843b-54a42758ce01" CreationDate="2012-01-10T10:59:54.477" UserId="373" Text="boxing ring feet" ContentLicense="CC BY-SA 3.0" />
  <row Id="20007" PostHistoryTypeId="3" PostId="12137" RevisionGUID="e049965e-5adc-4f3c-843b-54a42758ce01" CreationDate="2012-01-10T10:59:54.477" UserId="373" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20008" PostHistoryTypeId="2" PostId="12138" RevisionGUID="e68d3e26-66bd-4bf0-aa62-1936c63f2d5d" CreationDate="2012-01-10T11:52:09.500" UserId="3257" Text="This chap is top notch - http://www.chriswatson.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20009" PostHistoryTypeId="2" PostId="12139" RevisionGUID="0bc1769a-249d-4629-9320-5818c7d9447e" CreationDate="2012-01-10T14:25:41.727" UserId="1067" Text="This might seem like a dumb question, but don't let that fool you. It is a dumb question.&#xD;&#xA;&#xD;&#xA;Say I connect my mics to my MixPre-D, and then connect my MixPre-D to my Sony PCM M10 recorder via line-in.&#xD;&#xA;&#xD;&#xA;Using the recorder, I can attenuate or boost the signal. Apparently unity gain is at 4 on the PCM M10, so that's what I leave it at.&#xD;&#xA;&#xD;&#xA;But . . . what's boosting the signal if I turn up the gain on line-in? If it's not the recorder's on-board preamp doing the work, what is?&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;Ian " ContentLicense="CC BY-SA 3.0" />
  <row Id="20010" PostHistoryTypeId="1" PostId="12139" RevisionGUID="0bc1769a-249d-4629-9320-5818c7d9447e" CreationDate="2012-01-10T14:25:41.727" UserId="1067" Text="How does a recorder boost a signal at line-in?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20011" PostHistoryTypeId="3" PostId="12139" RevisionGUID="0bc1769a-249d-4629-9320-5818c7d9447e" CreationDate="2012-01-10T14:25:41.727" UserId="1067" Text="&lt;recorder&gt;&lt;line-level&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20012" PostHistoryTypeId="2" PostId="12140" RevisionGUID="41c506c6-24f0-459c-86c1-0feb1faa2df1" CreationDate="2012-01-10T14:38:54.973" UserId="37" Text="a cheapomatic solid-state-memory recorder with no moving parts and no phantom power should not generate any heat so you can stuff it in whatever you can construct, and take cables out to a waterproof microphone or hydrophone or, best, both going left and right. You could probably wrap+hide a Zoom H1 easily? It won't win on quality but imagine a 702 sinking :) Anyhow, worst case the kit gets destroyed, but even then chances are you would be able to recover the data from the card. the higher the quality you want the higher the risk =) my 2c." ContentLicense="CC BY-SA 3.0" />
  <row Id="20013" PostHistoryTypeId="2" PostId="12141" RevisionGUID="fe075350-004b-4fc3-8bfa-6d971f739a2f" CreationDate="2012-01-10T15:52:57.110" UserId="7642" Text="An aquapac with headphone connector would most likely work perfect.&#xD;&#xA;I have on for my iPhone for sailing, no sailing is not surfing. But I tested my aquapac at two meters an not one drop entered the bag.&#xD;&#xA;Use two, and use smallish recorders like Olympus etc in the bag. Then electrets with plugin power for mics. Depending on the risk of actually beeing in/under the water the protection would differ. Simple capsules with condoms and rubber bands could even work in a pinch. And when/if they fail they are pretty cheap to have a few extra." ContentLicense="CC BY-SA 3.0" />
  <row Id="20014" PostHistoryTypeId="2" PostId="12142" RevisionGUID="e7075131-d87a-4eb1-945e-44f6194886a5" CreationDate="2012-01-10T17:15:10.510" UserId="234" Text="Often (but not always) &quot;gain&quot; on a line-in is actually attenuation. &quot;Line-In&quot; can refer to a number of different signal levels, ranging from -10dbV to +6 dbu (this part you may already know). A &quot;line-in&quot; jack can be set to take say -10dbV, at 0 attenuation, and then attenuate the signal accordingly as the signal get's hotter. However &quot;gain&quot; is more consistent terminology with how we audio folks work, so it's often expressed in this fashion. So at -10dbV for example is set as a gain of &quot;10&quot; (using a 1-10 scale) which is NO attenuation, +4dbu at &quot;4&quot; and say +6dbu at a gain of &quot;0&quot; which is actually MAX attenuation.&#xD;&#xA;&#xD;&#xA;In some cases however, the &quot;line-in&quot; is set at a nominal level (let's say +4dbu) and then an amplifier circuit will provide gain for lower level signals. The difference in this amplifier circuit is a question of gain- hence the term &quot;pre-amp&quot; - something that processes the signal &quot;pre&quot; or before another amplifier. The amplifier at line level wants to see a considerably louder signal then at mic level and provides less gain, making it a much simpler circuit.&#xD;&#xA;&#xD;&#xA;Some decent Wikipedia (i.e referenced) articles can be found [here][1] and [here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Line_level&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Instrumentation_amplifier" ContentLicense="CC BY-SA 3.0" />
  <row Id="20015" PostHistoryTypeId="2" PostId="12143" RevisionGUID="f5e9fbe6-e5d0-4e07-8da5-ad92fde89652" CreationDate="2012-01-10T17:18:27.613" UserId="3345" Text="Hello,&#xD;&#xA;&#xD;&#xA; There are a number of ways of doing this Sound Hack has a variable cross convolution process and is great ( as is FScape ). Spectrumworx Audiosculpt SPEAR Composers Desktop Project can all do this kind of thing. Alchemy and metasynth as mentioned are also very good .&#xD;&#xA;&#xD;&#xA;I was recently at a kyma Conference and got to meet a fantastic chap called Pete Johnston (check out his work here http://www.bantusound.com/) who gave demonstration on morphing. Some of the general principles apply to any software. General things you may know already (apologies if you do) such as choosing the the point of transformation can make the transition more or less believable. It is easier to transition harmonic material and harmonic material that is similar in pitch. Therefore it is a good idea to preprocess the sound files so they have similar pitch and formant characteristics. Here is a link to the video where he explains it more clearly.&#xD;&#xA;&#xD;&#xA;http://ssc-media.com/Movies/KISS2011/TheWireBetween.mov &#xD;&#xA;&#xD;&#xA;I should think the wolf to voice should be a great starting point as there can be lots of harmonic material in the howl of the wolf (I think pete may have an example on his site)&#xD;&#xA;&#xD;&#xA;This is my first post so please feel free to amend if I have inadvertently broken any codes.&#xD;&#xA;&#xD;&#xA;Best of luck.&#xD;&#xA;s" ContentLicense="CC BY-SA 3.0" />
  <row Id="20016" PostHistoryTypeId="2" PostId="12144" RevisionGUID="0e885bac-5e41-45ee-885b-226bada02388" CreationDate="2012-01-10T17:22:51.440" UserId="315" Text="Good responses so far. I've done some boat recording and I found two things very useful:&#xD;&#xA;&#xD;&#xA;1) Plumbers Tape-- rubberized tape used to seal pipes and other stuff. It's has all of the uses of gaff tape, plus it can make objects/seals water tight.&#xD;&#xA;&#xD;&#xA;2) Dry bags--Used for diving etc., (usually found in places like REI) keep a recorder in there, sealed with plumbers tape.&#xD;&#xA;&#xD;&#xA;PS: Be careful when using phantom power in the water, since the XLR is conducting current." ContentLicense="CC BY-SA 3.0" />
  <row Id="20017" PostHistoryTypeId="2" PostId="12145" RevisionGUID="be259775-9ebd-4fff-9867-7676f5eb9571" CreationDate="2012-01-10T18:03:01.567" UserId="936" Text="Depending on what you want I might have some stuff, it's just general background practising ambience recorded at a boxing gym in London." ContentLicense="CC BY-SA 3.0" />
  <row Id="20018" PostHistoryTypeId="2" PostId="12146" RevisionGUID="adf5047e-b3f9-421f-8273-64ddbacdd1c4" CreationDate="2012-01-10T21:02:28.707" UserId="6519" Text="[**Shotgun microphone comparison**][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pro-sound.com/Merchant2/merchant.mvc?Screen=Shotguns" ContentLicense="CC BY-SA 3.0" />
  <row Id="20019" PostHistoryTypeId="5" PostId="12146" RevisionGUID="d238ceb4-151b-47a4-9cd2-edf905143fb1" CreationDate="2012-01-10T21:17:22.573" UserId="6519" Comment="added 169 characters in body" Text="[**Shotgun microphone comparison**][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[**The RecordingHacks Microphone Database**][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[**Microphone Data**][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pro-sound.com/Merchant2/merchant.mvc?Screen=Shotguns&#xD;&#xA;  [2]: http://recordinghacks.com/microphones&#xD;&#xA;  [3]: http://www.microphone-data.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20020" PostHistoryTypeId="2" PostId="12147" RevisionGUID="75f2ba17-c516-40c6-b5c3-dfbad550eae2" CreationDate="2012-01-10T21:48:54.870" UserId="3346" Text="Please don't get a zoom as your primary recorder. I have one and it sucks for sound fx. It's noisy preamps are under all quality. Shure. They're quite good, and recording detailed and deep ( for that price) but they're massively hissy and silent sounds, like you will record for sound fx, you'll. Need a better one. I read forums and articles since one month. Mostly on gearsluts. These guys are really professional.  And i will get a dr680 because of it's silent preamps and a lot of Channels. For sound fx it's never bad to have more mics on your object to capture the perfect take :). &#xD;&#xA;&#xD;&#xA;Go for the tascam. Thumbs up !!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20021" PostHistoryTypeId="2" PostId="12148" RevisionGUID="36fe83aa-1002-4338-8244-176757bcc51f" CreationDate="2012-01-10T22:20:02.727" UserId="3347" Text="How funny just saw this, probably not entirely what you are after but...&#xD;&#xA;&#xD;&#xA;http://news.symbolicsound.com/&#xD;&#xA;&#xD;&#xA;@Andy Lewis . Many Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="20022" PostHistoryTypeId="2" PostId="12149" RevisionGUID="822a7bf7-08a5-42c7-84c1-17ecd5f9d950" CreationDate="2012-01-10T23:32:31.843" UserId="845" Text="My absolute, all-time, mega-mega favourite thing to do to voices is to run them through Waves' UltraPitch 6-Voices plug.  Pitching waaaay down or waaaaay up and then playing with the formant regions is probably the most fun thing in the entire wide world.&#xD;&#xA;&#xD;&#xA;It doesn't do spectral stuff, but if you layer the messed up stuff in under the &quot;Clean&quot; stuff you'd be amazed how natural your weird can sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="20023" PostHistoryTypeId="2" PostId="12150" RevisionGUID="52ab7e50-1141-428e-8ca2-529ca4b34f5e" CreationDate="2012-01-11T03:53:18.643" UserId="3317" Text="hi all am i have Macpro&#xD;&#xA;One 2.8GHz Quad-Core Intel Xeon &quot;Nehalem&quot; processor/3GB (three 1GB)memory System lion&#xD;&#xA;and 003 Factory Complete The Ultimate Tactile Pro Tools LE&#xD;&#xA;the Complete Production Toolkit running Avid Pro Tools 10 i have problem with 003 factory Fader don't move when checking the version on the device X.xx  and sometimes the 003 became offline and protool's open &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20024" PostHistoryTypeId="1" PostId="12150" RevisionGUID="52ab7e50-1141-428e-8ca2-529ca4b34f5e" CreationDate="2012-01-11T03:53:18.643" UserId="3317" Text="problem with 003 factory" ContentLicense="CC BY-SA 3.0" />
  <row Id="20025" PostHistoryTypeId="3" PostId="12150" RevisionGUID="52ab7e50-1141-428e-8ca2-529ca4b34f5e" CreationDate="2012-01-11T03:53:18.643" UserId="3317" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20026" PostHistoryTypeId="2" PostId="12151" RevisionGUID="c5c8ff7c-15a1-4eb1-a522-aa8c388b61fd" CreationDate="2012-01-11T07:07:24.730" UserId="958" Text="Hello there soundies.&#xD;&#xA;&#xD;&#xA;I would love some constructive feedback on my creative sound project that I am currently working on for uni. You can view it here - [The Arrival on Vimeo][1]. &#xD;&#xA;&#xD;&#xA;I am creating sound and music for a graphic novel that I scanned and turned into video.&#xD;&#xA;&#xD;&#xA;I aim to create a soundtrack that is reflective of the book's visual style and shows the world from the character's point of view.&#xD;&#xA;&#xD;&#xA;It features artwork from Shaun Tan's graphic novel, The Arrival - [shauntan.net][2]&#xD;&#xA;&#xD;&#xA;Sound used is both my own field recording and foley work as well as sound libraries including [freesound.org][3], Sound Library by [Stephan Schutze][4] and Logic's library.&#xD;&#xA;&#xD;&#xA;I appreciate any feedback you can offer as it is an essential element of my project.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/34876816&#xD;&#xA;  [2]: http://shauntan.net&#xD;&#xA;  [3]: http://freesound.org&#xD;&#xA;  [4]: http://stephanschutze.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="20027" PostHistoryTypeId="1" PostId="12151" RevisionGUID="c5c8ff7c-15a1-4eb1-a522-aa8c388b61fd" CreationDate="2012-01-11T07:07:24.730" UserId="958" Text="Uni Project Feedback" ContentLicense="CC BY-SA 3.0" />
  <row Id="20028" PostHistoryTypeId="3" PostId="12151" RevisionGUID="c5c8ff7c-15a1-4eb1-a522-aa8c388b61fd" CreationDate="2012-01-11T07:07:24.730" UserId="958" Text="&lt;feedback&gt;&lt;design&gt;&lt;music&gt;&lt;composition&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20029" PostHistoryTypeId="2" PostId="12152" RevisionGUID="18d4c343-edae-4848-bdd1-682ce97137fb" CreationDate="2012-01-11T07:42:35.670" UserId="1055" Text="imo very very cool, loved everything, and music too. the only thing i would change if it was my work, is the &quot;crowd&quot; ambience at the beginning, it doesn't fit kinda...but that's only my opinion, other than that, its very nice :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20030" PostHistoryTypeId="6" PostId="12150" RevisionGUID="1c99234d-9d05-409a-bb46-6e26fe70f7cf" CreationDate="2012-01-11T07:49:18.507" UserId="3317" Comment="edited tags; edited tags" Text="&lt;pro-tools&gt;&lt;recording&gt;&lt;software&gt;&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20031" PostHistoryTypeId="2" PostId="12153" RevisionGUID="cb01a461-bd7f-4281-95cf-30aa81b43305" CreationDate="2012-01-11T11:25:09.183" UserId="373" Text="Hollywood edge historical, got some great stuff for period dramas on that library." ContentLicense="CC BY-SA 3.0" />
  <row Id="20032" PostHistoryTypeId="2" PostId="12154" RevisionGUID="c46933b7-75b9-4ed6-bb4c-99f8a33abd30" CreationDate="2012-01-11T12:56:07.057" UserId="432" Text="Did you install the updated drivers? They're actually separate from the software installer.&#xD;&#xA;&#xD;&#xA;They can be found [here][1], under the &quot;Pro Tools Firewire Device Drivers&quot; heading.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=379411" ContentLicense="CC BY-SA 3.0" />
  <row Id="20033" PostHistoryTypeId="2" PostId="12155" RevisionGUID="cabdd240-d2b5-4da7-9e9c-507815b7ce4f" CreationDate="2012-01-11T14:02:51.517" UserId="662" Text="I would go for Native Instrument Vokator, I never found anything better for processing voice. Such a shame this piece of software was abandoned." ContentLicense="CC BY-SA 3.0" />
  <row Id="20034" PostHistoryTypeId="2" PostId="12156" RevisionGUID="03f6049e-4099-4a1f-b344-8d3308acd305" CreationDate="2012-01-11T15:02:38.140" UserId="3345" Text="I would echo what has been said lovely graphics and sound design I would also agree about the opening crowd sound. As a more general point and this might be stylistic decision, but I felt the pacing of the video and sound could be varied for emphasis and dramatic effect. Perhaps distinguish between functional frames and emotionally significant frames in the story. This would allow you to give the 'story' more richness. It also allows the viewer/listener more time to enjoy and linger over your great sounds and graphics. Hope that helps. Good work! Best of luck. S" ContentLicense="CC BY-SA 3.0" />
  <row Id="20035" PostHistoryTypeId="16" PostId="12156" RevisionGUID="03f6049e-4099-4a1f-b344-8d3308acd305" CreationDate="2012-01-11T15:02:38.140" UserId="3345" />
  <row Id="20036" PostHistoryTypeId="2" PostId="12157" RevisionGUID="888909e6-cffe-4e01-8278-73d25174a557" CreationDate="2012-01-11T18:23:08.697" UserId="418" Text="Virb.com $10/month. Beautiful, customizable designs. Unlimited content, hosting, everything included. Soundlcoud integration. Great company. Good people. The bomb." ContentLicense="CC BY-SA 3.0" />
  <row Id="20037" PostHistoryTypeId="12" PostId="12157" RevisionGUID="8fbbe835-8b25-4f1e-b808-97ecf5353352" CreationDate="2012-01-11T18:23:38.150" UserId="418" Text="[{&quot;Id&quot;:418,&quot;DisplayName&quot;:&quot;theodorejordan&quot;}]" />
  <row Id="20038" PostHistoryTypeId="5" PostId="9829" RevisionGUID="ad7d1ea4-8776-405a-8119-fe9d869c2b4b" CreationDate="2012-01-11T18:34:14.717" UserId="6411" Comment="Additional content" Text="I believe there's a group trying to get started over on the sound_design [yahoo group][1] as well. I bet if you joined forces you could get a decent turn out.&#xD;&#xA;&#xD;&#xA;I'll be in LA starting Jan 2012 and would love a chance to put some faces to names. In the meantime, @MixingManiac will be out there starting in Sept and I am positive she'd be down for a meetup too.&#xD;&#xA;&#xD;&#xA;**EDIT:**&#xD;&#xA;&#xD;&#xA;Just wanted to give this post a nudge. I'm in LA now and it would be awesome to put some faces and names to the handles. After the unfortunate passing of Seann Flynn in early December, I don't know if the LA Sound Group will continue or not. I do hope that it does. It sounded like a great crew of peers that I was really looking forward to be a part of.&#xD;&#xA;&#xD;&#xA;  [1]: http://groups.yahoo.com/group/sound_design/message/24891" ContentLicense="CC BY-SA 3.0" />
  <row Id="20039" PostHistoryTypeId="2" PostId="12158" RevisionGUID="a2ca6662-e16e-48f6-9003-9576e80fc897" CreationDate="2012-01-11T19:49:18.893" UserId="182" Text="Check out [Bandcamp][1]. They even offer a way to sell your stuff if you want.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Or [Newgrounds Audio][2], which has a layout that not everyone might like, but they seem more geared towards music/sound for games, whereas Bandcamp is mostly about music from the artist's perspective.&#xD;&#xA;&#xD;&#xA;Or dive into Wordpress and integrate [Soundcloud][3] and/or [Audioboo][4] with it. Lots of options and flexibility there, but also a steeper learning curve. You can host a Wordpress blog on [wordpress.com][5] for free, or get your own hosting solution and [install][6] it there for even greater freedom (and more effort).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://bandcamp.com&#xD;&#xA;  [2]: http://www.newgrounds.com/audio/&#xD;&#xA;  [3]: http://soundcloud.com&#xD;&#xA;  [4]: http://audioboo.fm&#xD;&#xA;  [5]: http://wordpress.com&#xD;&#xA;  [6]: http://codex.wordpress.org/Installing_WordPress" ContentLicense="CC BY-SA 3.0" />
  <row Id="20040" PostHistoryTypeId="2" PostId="12159" RevisionGUID="b67b7319-31df-40ac-97cc-e4251d68ad2b" CreationDate="2012-01-11T20:05:46.410" UserId="1014" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;i'm seeking for an audio editor which allow to remove silence from beginning and end of a set of audio files... something like auto trim/crop of soundforge.&#xD;&#xA;&#xD;&#xA;I already use Logic Pro 9 'strip silence' feature to create new regions and convert them to new sound clips. Then I need to further process those clips to remove silence in beginning/end.&#xD;&#xA;&#xD;&#xA;Any suggestion?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="20041" PostHistoryTypeId="1" PostId="12159" RevisionGUID="b67b7319-31df-40ac-97cc-e4251d68ad2b" CreationDate="2012-01-11T20:05:46.410" UserId="1014" Text="OSX audio editor with batch silence crop?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20042" PostHistoryTypeId="3" PostId="12159" RevisionGUID="b67b7319-31df-40ac-97cc-e4251d68ad2b" CreationDate="2012-01-11T20:05:46.410" UserId="1014" Text="&lt;batch-processing&gt;&lt;silence&gt;&lt;strip-silence&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20043" PostHistoryTypeId="2" PostId="12160" RevisionGUID="0effcfd5-0dce-4602-9e87-9e92d1a84e3b" CreationDate="2012-01-11T22:59:26.823" UserId="6420" Text="Try Twisted Wave. Had batch processing and silence removal features. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20044" PostHistoryTypeId="2" PostId="12161" RevisionGUID="16085e34-8ee6-4f5b-991c-6c95642240d2" CreationDate="2012-01-11T23:08:42.123" UserDisplayName="user6513" Text="[https://www.plugin-alliance.com/en/plugins/detail/spl_attacker.html][1]&#xD;&#xA;&#xD;&#xA;Was looking through the free plugins listed on the protooler blog and while it's no longer free, this updated version is only a dollar. Does anyone have it? Tried looking around for reviews but only thing I could find was people reporting about it when it was free. Will probably just get it for the price but I do hate myself for collecting things I don't end up using... Arggghhh&#xD;&#xA;&#xD;&#xA;  [1]: https://www.plugin-alliance.com/en/plugins/detail/spl_attacker.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="20045" PostHistoryTypeId="1" PostId="12161" RevisionGUID="16085e34-8ee6-4f5b-991c-6c95642240d2" CreationDate="2012-01-11T23:08:42.123" UserDisplayName="user6513" Text="SPL Attacker for spare change ($1)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20046" PostHistoryTypeId="3" PostId="12161" RevisionGUID="16085e34-8ee6-4f5b-991c-6c95642240d2" CreationDate="2012-01-11T23:08:42.123" UserDisplayName="user6513" Text="&lt;plugin&gt;&lt;spl&gt;&lt;transients&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20047" PostHistoryTypeId="2" PostId="12162" RevisionGUID="603fc94b-6bfd-4dbf-a976-2037e98547b6" CreationDate="2012-01-12T00:21:17.887" UserId="930" Text="Not exactly what you're looking for, but a great resource none the less.&#xD;&#xA;&#xD;&#xA;http://www.vocalimpactmedia.com/SoundStorage.html#U87ai&#xD;&#xA;&#xD;&#xA;It's basically a massive list of mics being used by, unfortuantely, different VO artists and different Signal Paths. All have audio files assosciated with them and whilst it's not the most clinical of test, it does give a pretty good idea of each mic's characteristics.&#xD;&#xA;&#xD;&#xA;Definitely one to look at.&#xD;&#xA;&#xD;&#xA;(There's also a section near the bottom which compares the Safe Sound P-1, Apogee Duet and Mbox 2 on the same voice with four different mics)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20048" PostHistoryTypeId="2" PostId="12163" RevisionGUID="22af5aa9-08d4-4a8c-bd3c-a6595bbb6c4b" CreationDate="2012-01-12T00:31:29.020" UserId="1159" Text="Sample Manager will do it." ContentLicense="CC BY-SA 3.0" />
  <row Id="20049" PostHistoryTypeId="2" PostId="12164" RevisionGUID="90892120-ef17-47b9-9ba4-1bb545908e21" CreationDate="2012-01-12T06:39:06.660" UserId="18160" Text="I'm setting up a pretty dangerous field recording and I need a few expendable mics which I expect to be expended (read: burnt and demolished).&#xD;&#xA;&#xD;&#xA;Can anyone recommend a decent sounding cardioid condenser for less than $100? Preferably less than $50?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20050" PostHistoryTypeId="1" PostId="12164" RevisionGUID="90892120-ef17-47b9-9ba4-1bb545908e21" CreationDate="2012-01-12T06:39:06.660" UserId="18160" Text="Best Condenser for &lt;$100?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20051" PostHistoryTypeId="3" PostId="12164" RevisionGUID="90892120-ef17-47b9-9ba4-1bb545908e21" CreationDate="2012-01-12T06:39:06.660" UserId="18160" Text="&lt;cheap&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20052" PostHistoryTypeId="2" PostId="12165" RevisionGUID="0c8e27a6-2c91-4e43-8608-f0d14b3fc6db" CreationDate="2012-01-12T08:39:24.897" UserId="842" Text="One of my favorites in the cheap range is Line Audio's CM3!&#xD;&#xA;It's fairly straight-curved with not too sharp highs and with virtually no colorations from the sides and back at all, and exceptionally small,  so it can be fitted in even quite narrow places :-)&#xD;&#xA;&#xD;&#xA;What you gonna record if you don't mind me asking? These are usually my first choice when doing seriously unhealthy things. Haven't lost any yet though!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20053" PostHistoryTypeId="2" PostId="12166" RevisionGUID="cbc4c81a-9545-42d6-836a-edda8cc60a52" CreationDate="2012-01-12T09:02:10.793" UserDisplayName="user80" Text="I really like the dbx Driverack RTA-M Real Time Analyzer Microphone.  It is an omnidirectional reference mic with a surprisingly flat response.&#xD;&#xA;&#xD;&#xA;http://www.dbxpro.com/RTA%20Mic/index.php&#xD;&#xA;&#xD;&#xA;http://www.zzounds.com/item--DBXRTAM&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20054" PostHistoryTypeId="2" PostId="12167" RevisionGUID="fe2c89aa-c90f-4bae-a53a-37dfe88a730c" CreationDate="2012-01-12T11:12:55.837" UserId="182" Text="I have taped a pair of Behringer C2's (cardioid) to the underside of a sports car with good results. No super sound, but adequate.&#xD;&#xA;&#xD;&#xA;Talking about cheap, they retail for € 49 for a pair!&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://images6.thomann.de/pics/prod/183760.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="20055" PostHistoryTypeId="2" PostId="12168" RevisionGUID="7a1409cd-a53b-485e-a9cc-15ca2f63bb9b" CreationDate="2012-01-12T13:46:23.060" UserId="1067" Text="Sony PCM M10 if you want a small device and don't need XLR inputs.&#xD;&#xA;&#xD;&#xA;Roland R-26 if you do want a compact XLR-enabled recorder." ContentLicense="CC BY-SA 3.0" />
  <row Id="20056" PostHistoryTypeId="2" PostId="12169" RevisionGUID="13d791b0-9400-4afc-83d0-7bf58ecda88f" CreationDate="2012-01-12T14:09:55.743" UserDisplayName="user80" Text="I am a fan of the Marantz PMD 661." ContentLicense="CC BY-SA 3.0" />
  <row Id="20057" PostHistoryTypeId="2" PostId="12170" RevisionGUID="c9b47593-cbb0-474a-8fe6-42172b5619c9" CreationDate="2012-01-12T14:22:23.450" UserId="3230" Text="The H4n is a fantastic value!  Phantom power, XLR and TRS inputs, 4 channel mode, extremely versatile internal options.... All under $300!&#xD;&#xA;&#xD;&#xA;I don't think you can go wrong with the Zoom." ContentLicense="CC BY-SA 3.0" />
  <row Id="20058" PostHistoryTypeId="2" PostId="12171" RevisionGUID="79b2b0ba-148a-4ce9-bebe-774978238b80" CreationDate="2012-01-12T15:17:14.423" UserId="220" Text="How far out from the beach will they be?&#xD;&#xA;&#xD;&#xA;If you're able to be within transmit distance, you can use the [Lectrosonics mm400c][1].  Pair that with the Countryman B3s are water resistant and top-notch.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.lectrosonics.com/Transmitters/mm400c.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="20059" PostHistoryTypeId="2" PostId="12172" RevisionGUID="000684a6-e467-4647-95b8-3e8770624b6a" CreationDate="2012-01-12T15:50:53.700" UserId="7642" Text="Or just buy good electrets. Primo's EM172 with 5-10V power handles 122 db.&#xD;&#xA;Price around 10$ each. They are omnis with low. Quiet and extended flat lf response.&#xD;&#xA;If you have enough channels you could have them setup on different distances meaning that some will survive (longer?) than others.&#xD;&#xA;You can buy them in small numbers from frogloggers.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="20060" PostHistoryTypeId="2" PostId="12173" RevisionGUID="d778e9f6-a7c1-4917-89ad-2e3a2983ef93" CreationDate="2012-01-12T17:19:49.430" UserId="315" Text="I also asked this question once [here][1] with some great suggestions. I have to say at $59, an [MXL 990][2] is a mic I wouldn't flinch at putting in harms way. I don't know how they manage to manufacture a large diaphragm mic at that price.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/1356/nice-sfx-recording-mics-that-are-cheap-enough-that-you-wouldnt-be-too-upset-if-t&#xD;&#xA;  [2]: http://www.musiciansfriend.com/pro-audio/mxl-mxl-990-condenser-microphone-with-shockmount" ContentLicense="CC BY-SA 3.0" />
  <row Id="20061" PostHistoryTypeId="2" PostId="12174" RevisionGUID="1345e6c9-d296-4459-91ca-ca8106615023" CreationDate="2012-01-12T19:12:55.007" UserId="194" Text="[12 gauge microphones][1] are another option at $35 and $45. electret, but sound ok.  review with audio samples here:&#xD;&#xA;&#xD;&#xA;http://audiogeekzine.com/2012/01/review-12-gauge-microphones-red12-and-green12/&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.12gaugemicrophones.com/&#xD;&#xA;  [2]: http://audiogeekzine.com/wp-content/uploads/DSC03659-copy.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="20062" PostHistoryTypeId="2" PostId="12175" RevisionGUID="af9f4d36-600d-432a-b711-e3d3fd5ce1cc" CreationDate="2012-01-13T00:24:49.687" UserId="3348" Text="Zoom H4n is a great recorder. Best in this price range &lt; $300" ContentLicense="CC BY-SA 3.0" />
  <row Id="20063" PostHistoryTypeId="2" PostId="12176" RevisionGUID="63b5d115-9ba7-4d8b-bc45-e544449969b4" CreationDate="2012-01-13T02:05:35.787" UserId="1266" Text="Looking for a book to explain technical things for games.  Or a resource.  Got some audio files that were 22500 and they are voices.  I know that I could figure it out if I thought for long enough but it would be easier if I could read it.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="20064" PostHistoryTypeId="1" PostId="12176" RevisionGUID="63b5d115-9ba7-4d8b-bc45-e544449969b4" CreationDate="2012-01-13T02:05:35.787" UserId="1266" Text="Resource/book that explains in depth, sample rates for mobile or other video games" ContentLicense="CC BY-SA 3.0" />
  <row Id="20065" PostHistoryTypeId="3" PostId="12176" RevisionGUID="63b5d115-9ba7-4d8b-bc45-e544449969b4" CreationDate="2012-01-13T02:05:35.787" UserId="1266" Text="&lt;sfx&gt;&lt;games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20066" PostHistoryTypeId="2" PostId="12177" RevisionGUID="3d6b0d6e-c680-4cbc-83a2-12423438d1b5" CreationDate="2012-01-13T02:47:52.797" UserId="432" Text="You will probably have to do some searching to find an appropriate article or two, but you should check out [Game Audio Relevance][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://gameaudiorelevance.iasig.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20067" PostHistoryTypeId="2" PostId="12178" RevisionGUID="a2baf6cc-efdd-4a4f-b1dd-041073c0645f" CreationDate="2012-01-13T06:40:54.077" UserId="3349" Text="Thanks to Membrans Sound Design for linking to Recordinghacks; that's how I found this.&#xD;&#xA;&#xD;&#xA;The original question is from about 10 months ago,  but in case anyone is still looking, I can point to some specific resources. In all these cases, we did exactly what the OP requests -- same material, same mic position, same signal path. For many of these, you can listen blind right on the website. We have WAV downloads for most of them too.&#xD;&#xA;&#xD;&#xA;We put 30 different ribbon mics through 5 sessions: guitar cab, alto sax, acoustic guitar, character voices, and drum overheads. This was probably the biggest ribbon-mic test in history:&#xD;&#xA;http://recordinghacks.com/2011/07/11/60000-ribbon-mic-shootout/&#xD;&#xA;&#xD;&#xA;In a feature called &quot;the ultimate podcasting mic shootout,&quot; we collected every great broadcast dynamic mic and tested them on voice: MD-421, RE20, SM7B, PR40, and more. &#xD;&#xA;http://recordinghacks.com/2011/06/02/ultimate-podcast-mic-shootout/&#xD;&#xA;&#xD;&#xA;Professional voice actor Mark Keller tested two rounds of high-end condensers: Neumann, Bock Audio, Manley Labs, sE Electronics, MXL. There are HD videos for these, too:&#xD;&#xA;http://recordinghacks.com/2010/04/16/tube-mic-voiceover-test/ and &#xD;&#xA;http://recordinghacks.com/2011/09/19/manley-tube-microphones-for-voiceover/&#xD;&#xA;&#xD;&#xA;Here are six popular LDCs on two acoustic guitars:&#xD;&#xA;http://recordinghacks.com/2010/09/20/acoustic-guitar-mic-shootout/&#xD;&#xA;&#xD;&#xA;One of our most recent features lets you hear seven (or nine) popular sub-$200 condensers on sung vocals, acoustic guitar, guitar cab, and voiceover/podcasting. &#xD;&#xA;&#xD;&#xA;In short, we do this sort of thing all the time. I won't pretend that it's as good as having all these mics in your own studio for a weekend, but we do the best we can to make these tests useful and educational, such as including popular reference mics whenever possible.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20068" PostHistoryTypeId="2" PostId="12179" RevisionGUID="23416320-e9ad-46e0-b806-d981d643df59" CreationDate="2012-01-13T14:52:28.010" UserId="3336" Text="I've got plenty of high quality recordings in my personal library if your still looking? I live over here in the UK and am out and about recording all the time. Have some nice recordings up in Edinburgh when I was up there and also from Norfolk where I am now. &#xD;&#xA;Give me a shout if your still stuck... phil@eelaudio.com  :-) &#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="20069" PostHistoryTypeId="2" PostId="12180" RevisionGUID="e97f1af8-871c-4b07-b4ff-1e76b2d14aeb" CreationDate="2012-01-13T18:21:20.670" UserId="930" Text="I recorded this sound effect (recorded in 4 channel surround) which you're welcome to use: http://soundcloud.com/arrowheadaudiosfx/birds-sample&#xD;&#xA;&#xD;&#xA;There's a touch of motorway in there, but, if you'd like the full sample then give me a PM or an e-mail (contact@arrowheadaudiosfx.com) and I can sort you out.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="20070" PostHistoryTypeId="2" PostId="12181" RevisionGUID="5d61657c-7b72-4f7a-b018-19571550869a" CreationDate="2012-01-13T18:27:28.090" UserId="708" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I am looking for some video content (preferably short abstract pieces) to put some sound/music to for my portfolio and for practice. Does anyone know of any on-line resources where one might find free video content (royalty-free)?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20071" PostHistoryTypeId="1" PostId="12181" RevisionGUID="5d61657c-7b72-4f7a-b018-19571550869a" CreationDate="2012-01-13T18:27:28.090" UserId="708" Text="Abstract videos for sound design practice " ContentLicense="CC BY-SA 3.0" />
  <row Id="20072" PostHistoryTypeId="3" PostId="12181" RevisionGUID="5d61657c-7b72-4f7a-b018-19571550869a" CreationDate="2012-01-13T18:27:28.090" UserId="708" Text="&lt;sound-design&gt;&lt;video&gt;&lt;royalty-free&gt;&lt;download&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20073" PostHistoryTypeId="2" PostId="12182" RevisionGUID="bd447858-d597-493c-a0e0-f5a8f7f3aa65" CreationDate="2012-01-13T18:49:48.957" UserId="18160" Text="I have a question for you foley artists out there.&#xD;&#xA;&#xD;&#xA;Let's say you received 2 films to shoot foley on.&#xD;&#xA;&#xD;&#xA;One is a beautifully shot film, let us say for example it's &quot;War Horse&quot;. Great cinematography, rich colors, sharp images and vast detail of the set and colors. It's got the mega-budget look.&#xD;&#xA;&#xD;&#xA;The second one is a movie shot very gritty and handheld and more documentary-like. Let's say an action movie much like Hurt Locker or maybe even something like REC, where the image quality isn't as pristine as something like Avatar for instance.&#xD;&#xA;&#xD;&#xA;Would the styles of shooting and cinematography of these 2 films affect the mic choices, placement, recording styles and your approach to the overall timbre of foley you were going to create for the soundtrack?&#xD;&#xA;&#xD;&#xA;For me, it would absolutely effect how I recorded. I'd go for a more warm, rich tonal quality for the first example and for the second, I'd choose sharper, more &quot;in your face&quot; raw and gritty.&#xD;&#xA;&#xD;&#xA;How would you go about it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20074" PostHistoryTypeId="1" PostId="12182" RevisionGUID="bd447858-d597-493c-a0e0-f5a8f7f3aa65" CreationDate="2012-01-13T18:49:48.957" UserId="18160" Text="Does the quality of picture affect the timbre of foley you record?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20075" PostHistoryTypeId="3" PostId="12182" RevisionGUID="bd447858-d597-493c-a0e0-f5a8f7f3aa65" CreationDate="2012-01-13T18:49:48.957" UserId="18160" Text="&lt;foley&gt;&lt;style&gt;&lt;timbre&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20076" PostHistoryTypeId="5" PostId="12180" RevisionGUID="8e8cf9ad-5711-4ff4-8e83-b1a43bc09c58" CreationDate="2012-01-13T19:16:31.310" UserId="930" Comment="added 72 characters in body; added 15 characters in body" Text="I recorded this sound effect (recorded in 4 channel surround) which you're welcome to use: http://soundcloud.com/arrowheadaudiosfx/birds-sample&#xD;&#xA;&#xD;&#xA;Unfortunately, there's a touch of motorway in there, but, if you'd like the full sample then give me a PM or an e-mail (contact@arrowheadaudiosfx.com) and I can sort you out.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;EDIT: Forgot to add that this was recorded in Warwickshire, England." ContentLicense="CC BY-SA 3.0" />
  <row Id="20077" PostHistoryTypeId="2" PostId="12183" RevisionGUID="a60ba620-198a-4188-a819-740bdf982f78" CreationDate="2012-01-13T20:13:08.987" UserId="842" Text="When I do foley I rarely base such things on the quality of the movie as a whole. After all, first of all it can be hard to tell when I get a movie ungraded and raw how it will be in the end, and second I do not believe in adapting the sound to the picture but to the scene and the emotions it's supposed to bring. And possibly age if it's supposed to be old photage of course!&#xD;&#xA;&#xD;&#xA;The difference in my work from movie to movie, both in design, foley and mix, has, at least so far, never been so much in &quot;the sound&quot; (hope you understand what I mean, I know no other word for it...) but in composition. When I'm in charge of the sound for a movie I like to incorporate as much details as I can and keep the excessive parts held well back in the mix so it will not be confusing and chaotic, and as such I try to record everything as well as possible. This is as much to bring more life to the movie as it is to steer the audience emotionally. After all, it's easier to remove things from the sounds in the mix than to add.&#xD;&#xA;&#xD;&#xA;That is if I am the one supervising it. If I'm hired by someone else, it's their decision and I'll adapt to that :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20078" PostHistoryTypeId="5" PostId="12183" RevisionGUID="092abfcb-39c5-4c9b-b7fd-a7a3f9a381ba" CreationDate="2012-01-13T20:22:59.080" UserId="842" Comment="added 56 characters in body" Text="When I do foley I rarely base such things on the quality of the movie as a whole. After all, first of all it can be hard to tell when I get a movie ungraded and raw how it will be in the end, and second I do not believe in adapting the sound to the picture but to the scene, the emotions it's supposed to bring, and possibly the quality of the dialogue track. And sometimes age if it's supposed to be old degraded photage of course! &#xD;&#xA;&#xD;&#xA;The difference in my work from movie to movie, both in design, foley and mix, has, at least so far, never been so much in &quot;the sound&quot; (hope you understand what I mean, I know no other word for it...) but in composition. When I'm in charge of the sound for a movie I like to incorporate as much details as I can and keep the excessive parts held well back in the mix so it will not be confusing and chaotic, and as such I try to record everything as well as possible. This is as much to bring more life to the movie as it is to steer the audience emotionally. After all, it's easier to remove things from the sounds in the mix than to add.&#xD;&#xA;&#xD;&#xA;That is if I am the one supervising it. If I'm hired by someone else, it's their decision and I'll adapt to that :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20079" PostHistoryTypeId="2" PostId="12184" RevisionGUID="0f7c3730-519d-4195-9a13-b743b716ed1f" CreationDate="2012-01-13T21:50:20.930" UserId="6460" Text="I see what you are getting at, and it's something into which I put a ton of thought on each project. I tend to base my recording style on both the quality of the image and the quality of the production dialog recordings.&#xD;&#xA;&#xD;&#xA;Typically, the more War-Horse-like films tend to have extremely clean recordings of dialog —— phrased a different way, it's strange to see sweeping, perfectly-choreographed camera moves with exquisite lighting when the dialog is roomy or slightly unclear.  When presented with dialog like this, it's necessary to take a similar amount of care in presenting element of the foley with clarity (to match the precision of the dialog).&#xD;&#xA;&#xD;&#xA;Now, The Hurt Locker presented everything very clearly while still retaining the quality of &quot;grit&quot; — probably why it won the academy award for best sound — but let's say for now that you, the foley artist, are presented with the shakiest scene from Hurt Locker with more documentary-style dialog. In this situation, it would be strange and inconsistent to present foley or ADR with the same clarity as you would in war horse. In these situations, I sometimes like to hit the field with my recorder and a couple of production mics (hypers, shotguns) and do some wild recordings in a natural setting. In my opinion, there is a lot of power in recording with imperfections — even for the untrained ear it invokes a feeling of reality, as though what is happening on screen was not planned. &#xD;&#xA;&#xD;&#xA;In fact, I am a huge fan of recording foley elements on the actual scene with the same mics. Even if the recordings are roomy, they often match the production dialog *exactly* when you get into the design phase.&#xD;&#xA;&#xD;&#xA;I hope this helps :).&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="20080" PostHistoryTypeId="2" PostId="12185" RevisionGUID="68826d7e-031d-4708-99dd-9dfb60afbbfc" CreationDate="2012-01-13T22:08:58.830" UserId="6460" Text="I'd definitely vote for Vimeo/Soundcloud. Buy the soundcloud basic membership, which gets you more than enough space for an average portfolio of a few years, plus you can organize your material into &quot;Sets&quot; (e.g., film sound design, game sound effects, music production, etc.). I would recommend using one of the many free website designers out there to organize your sounds into a site with descriptions for each example, then embed your vimeo videos and soundcloud sounds in that site. Keeps things neater.&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20081" PostHistoryTypeId="2" PostId="12186" RevisionGUID="db2802d9-9a55-4ea2-98c2-9c24556777a2" CreationDate="2012-01-13T22:25:05.250" UserId="6460" Text="I would also suggest re-recording your designs in an acoustical space. In the soundworkscollection.com video about Inception, the designers talked about putting huge subwoofers on a large soundstage, putting low-frequency sine waves through them, and recording the results. While the sine waves by themselves are fairly stale, the acoustics of the room add harmonics and spatial quality which helps to make the low stuff organic. This could also apply to low frequency booms and such. The downside is that you would need access to recording gear and large subwoofers, but if you can get your hands on this stuff it could be a cool thickness layer.&#xD;&#xA;&#xD;&#xA;Just my 2¢! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20082" PostHistoryTypeId="2" PostId="12187" RevisionGUID="67205a9d-85a8-4efe-86d8-2f6b73b0c71a" CreationDate="2012-01-13T23:32:43.963" UserId="3199" Text="I was just reading a thread that mentioned a reasonable per/line price of $.75 or $.85. It shows the client it's worth your while personally to have a quick turn-around while also giving a realistic rate that scales with the project. &#xD;&#xA;&#xD;&#xA;Also note that they were speaking just about editing, normalizing and renaming files. No eq or other mastering. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20083" PostHistoryTypeId="2" PostId="12188" RevisionGUID="5094b044-f565-4c1b-a6df-31a9db9f7b07" CreationDate="2012-01-14T11:18:28.867" UserId="1049" Text="GoDaddy hosting and Wordpress with a premium theme is my choice, then nicely embedding Vimeo and Soundcloud content in. Wordpress even has plugins and shortcodes specifically for Soundcloud etc though I personally use the nice 'Artwork Player' embed code from Soundcloud itself." ContentLicense="CC BY-SA 3.0" />
  <row Id="20084" PostHistoryTypeId="2" PostId="12189" RevisionGUID="40c12e9f-3e30-4202-9616-9249c4d6f1cf" CreationDate="2012-01-14T14:20:38.977" UserId="3352" Text="Hello all and thank you for having me.&#xD;&#xA; &#xD;&#xA;I have a video studio which is great however I need help with the audio.&#xD;&#xA;&#xD;&#xA;I have the following:&#xD;&#xA;&#xD;&#xA; - Matrox MX02 - XLR Audio input&#xD;&#xA; - Sennheiser MKE2-P-C, condenser lavalier microphone, omni directional, with XLR-preamp , black,&#xD;&#xA; - Focusrite ISA One Analog&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;The &quot;Sennheiser MKE2-P-C, condenser lavalier microphone, omni directional, with XLR-preamp , black,&quot; is super sensitive and pics up everything.&#xD;&#xA; &#xD;&#xA;The problems I have is:&#xD;&#xA; •Background ambient noise (Room is sound proofed)&#xD;&#xA;&#xD;&#xA;I have only one person in the studio talking and he/she does not move that much. I need (I think) a directional mic to focus the recording. I do not want the MIC to be visable in the video. MAybe a NTG-3?&#xD;&#xA;&#xD;&#xA;I do not want to change the AMP but of coure the MIC i have too!!!&#xD;&#xA; &#xD;&#xA;My Goal is to have AMAZING VOCAL AUDIO, Very clear and loud... This is not for singing but just for talking.&#xD;&#xA;&#xD;&#xA;Thank you " ContentLicense="CC BY-SA 3.0" />
  <row Id="20085" PostHistoryTypeId="1" PostId="12189" RevisionGUID="40c12e9f-3e30-4202-9616-9249c4d6f1cf" CreationDate="2012-01-14T14:20:38.977" UserId="3352" Text="NTG-3 Shotgun Mic for Indoor Studio to remove ambient noise" ContentLicense="CC BY-SA 3.0" />
  <row Id="20086" PostHistoryTypeId="3" PostId="12189" RevisionGUID="40c12e9f-3e30-4202-9616-9249c4d6f1cf" CreationDate="2012-01-14T14:20:38.977" UserId="3352" Text="&lt;microphone&gt;&lt;studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20087" PostHistoryTypeId="2" PostId="12190" RevisionGUID="b83abed4-be18-4304-82c3-b727f25c6f75" CreationDate="2012-01-14T15:02:07.587" UserId="3336" Text="I totally agree with ~Matt, especially on his point about wild recordings outside. Natural recordings sometimes just slot in perfectly saving time on balancing your backgrounds and Foley. I like to use my MS stereo shotgun which allows me some control over the background level. Whenever I'm out field recording I'll generally always get a few footstep recordings in, you can literally just hold the mic towards your feet and gather whatever surface your walking on. Takes a bit of upper body control to avoid handling noise and a selection of noise-supression trousers. Never going to be clinical but a great addition to my footsteps library. I don't bother editing each footstep, just pull out the usable steps and save them as a whole file. Has saved my life on a few time-constrained occasions.&#xD;&#xA;:-) Phil" ContentLicense="CC BY-SA 3.0" />
  <row Id="20088" PostHistoryTypeId="2" PostId="12191" RevisionGUID="725e722d-bb2f-462f-986a-9109d185a318" CreationDate="2012-01-14T15:08:01.700" UserId="711" Text="My advice would be: estimate how much time you'll need to do this and think accordingly. Here's a little check list I always have in mind:&#xD;&#xA;&#xD;&#xA;- Ask how many words (or lines?) you have to edit. &#xD;&#xA;- What kind of game is it ? Editing VO from a RPG is more complex than a RTS or a game with shorter lines.&#xD;&#xA;- Do you have to apply some post-process or do a batch ? SFX ? RMS ?&#xD;&#xA;- Can you work out the deadline ?&#xD;&#xA;- Is it a big company ? Is it a subcontractor ? &#xD;&#xA;- Are you on your own on this project or is there somebody competent and ready to answer your questions in case of big problems (like an Art Director or a fellow designer)&#xD;&#xA;&#xD;&#xA;I'm in the EU and as a sound designer, I was taught that you can charge between 300€ and 800€ max/day, depending on your experience and reputation." ContentLicense="CC BY-SA 3.0" />
  <row Id="20089" PostHistoryTypeId="2" PostId="12192" RevisionGUID="931aa0ee-fb9d-4c07-8d61-f4a735695b61" CreationDate="2012-01-14T16:30:16.440" UserId="3353" Text="Hi all. Is there anyway I can conform dialogue from poly BWFs into Pro Tools using EDL? Auto conform was a wonderful procedure. I am not sure why non of the popular digital editors do it. There must be a better way than mod-matching cues?! many thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20090" PostHistoryTypeId="1" PostId="12192" RevisionGUID="931aa0ee-fb9d-4c07-8d61-f4a735695b61" CreationDate="2012-01-14T16:30:16.440" UserId="3353" Text="Pro Tools Auto Conform" ContentLicense="CC BY-SA 3.0" />
  <row Id="20091" PostHistoryTypeId="3" PostId="12192" RevisionGUID="931aa0ee-fb9d-4c07-8d61-f4a735695b61" CreationDate="2012-01-14T16:30:16.440" UserId="3353" Text="&lt;edl&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20092" PostHistoryTypeId="2" PostId="12193" RevisionGUID="a199ccbe-1940-4eef-8119-9af5aac64808" CreationDate="2012-01-14T17:19:39.003" UserId="221" Text="There are a number of third party applications that can do this sort of thing. Please read the [post on my blog][1] all about the options.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also with the improved field recorder support in Pro Tools 10 it is possible to undertake an assembly from within Pro tools. See my [Pro tools 10 for post FAQ][2]&#xD;&#xA;&#xD;&#xA;Hope that helps,&#xD;&#xA;&#xD;&#xA;Mike.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.osd-uk.com/2011/11/the-question-of-conforming-what-software-to-use/&#xD;&#xA;  [2]: http://www.osd-uk.com/2011/10/pro-tools-10-post-related-faq/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20093" PostHistoryTypeId="2" PostId="12194" RevisionGUID="3c40585f-068c-4289-8138-ff5f90a829bd" CreationDate="2012-01-14T17:55:55.837" UserId="234" Text="Mike hit the nail on the head. If you're using the conform functions in PT be sure to check out the Field Recorder Workflow document under Help. I'm using the Conform functions on a show now with good results. AVID also has this video tutorial:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Gz9e9LuIdXU&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20094" PostHistoryTypeId="2" PostId="12195" RevisionGUID="14a7d57e-8579-48be-806d-02d3f52a7795" CreationDate="2012-01-14T20:05:12.467" UserId="1159" Text="Another important thing to find out is if the speech will be stitched together. In sports games lines are broken up into sections such as actions and player names (simplifying that a whole bunch). If that's the case the editing needs to be done so that it all fits back together and will take more time to check." ContentLicense="CC BY-SA 3.0" />
  <row Id="20095" PostHistoryTypeId="2" PostId="12196" RevisionGUID="3756306b-8d4f-4a96-b191-7d5ead2aaec4" CreationDate="2012-01-14T21:21:20.093" UserId="6487" Text="Everyone I know who does this in the machine room uses VirtualKaty.  They have a free full 48 hour trial version available on their website. http://www.virtualkaty.com/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20096" PostHistoryTypeId="5" PostId="12157" RevisionGUID="40785ca7-8952-4b42-9297-6b76559e86d8" CreationDate="2012-01-14T22:53:42.980" UserId="418" Comment="added 310 characters in body" Text="What about Behance.net? Free, unlimited everything, and it's a massive and very well-respected platform for creative professionals to network etc. Even has job listings. Best place to put your portfolio online in my opinion. I've gotten lots of work just from being part of Behance.&#xD;&#xA;&#xD;&#xA;They also offer the new ProSite service if you want a fully customizable site with your own branding etc, which ties directly in to your Behance portfolio. Gotta be on Behance these days." ContentLicense="CC BY-SA 3.0" />
  <row Id="20097" PostHistoryTypeId="13" PostId="12157" RevisionGUID="91b8ede3-b52c-451a-ba79-b1a974712d51" CreationDate="2012-01-14T22:53:46.790" UserId="418" Text="[{&quot;Id&quot;:418,&quot;DisplayName&quot;:&quot;theodorejordan&quot;}]" />
  <row Id="20098" PostHistoryTypeId="2" PostId="12197" RevisionGUID="ca07343d-c082-455a-b5e0-9424cab5c934" CreationDate="2012-01-15T04:30:01.037" UserId="18160" Text="I've never been a fan of an interference tube mic indoors unless you're in an anechoic chamber or you have a very quiet sound source. A voice is not quiet unless you're whispering or doing &quot;in a world&quot; voice overs and even then I hear the room reflection clouding up those highs by comb filtering off the tube slits..&#xD;&#xA;&#xD;&#xA;I think a better choice would be a hypercardioid condenser or possibly even a dynamic mic like the AKG C5. The AKG C5 I have found to be able to get rid of a waterfall quite nicely and produce a useable result, depending on what sound you're running into.&#xD;&#xA;&#xD;&#xA;Is it just traffic or air conditioning noise or computer whines or what? Most local noises can be strategically turned off (fridges, A/C, HVAC, computers, etc.) You just have to be creative with mic placement, silence all those things and you should be good.&#xD;&#xA;&#xD;&#xA;Besides...&#xD;&#xA;&#xD;&#xA;I've heard it said by many people here and Stavro as well that who cares if you have a bit of noise in your foley or dialogue - it adds to the flavor of the soundtrack. Just as long as it doesn't impede the message, a tiny bit of ambient noise floor or traffic in a dialogue scene inside a living room is OK in my books *to an extent*. Who says we live in a quiet world where dialogue is recorded in sound proof booths?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20099" PostHistoryTypeId="5" PostId="12197" RevisionGUID="8de0a401-7cc2-48e4-8f20-fc2f4eaced09" CreationDate="2012-01-15T04:35:54.933" UserId="18160" Comment="added 374 characters in body" Text="Mic placement with a lapel mic is the most important thing. I haven't even begun to learn how to place one correctly or where the best positions are but if you're new at it as I was you probably placed the mic halfway down the person's shirt. Get it closer to the person's mouth (tie or collar) and this should reduce your signal/noise ratio and level quite drastically.&#xD;&#xA;&#xD;&#xA;I've never been a fan of an interference tube mic indoors unless you're in an anechoic chamber or you have a very quiet sound source. A voice is not quiet unless you're whispering or doing &quot;in a world&quot; voice overs and even then I hear the room reflection clouding up those highs by comb filtering off the tube slits..&#xD;&#xA;&#xD;&#xA;I think a better choice would be a hypercardioid condenser or possibly even a dynamic mic like the AKG C5. The AKG C5 I have found to be able to get rid of a waterfall quite nicely and produce a useable result, depending on what sound you're running into.&#xD;&#xA;&#xD;&#xA;Is it just traffic or air conditioning noise or computer whines or what? Most local noises can be strategically turned off (fridges, A/C, HVAC, computers, etc.) You just have to be creative with mic placement, silence all those things and you should be good.&#xD;&#xA;&#xD;&#xA;Besides...&#xD;&#xA;&#xD;&#xA;I've heard it said by many people here and Stavro as well that who cares if you have a bit of noise in your foley or dialogue - it adds to the flavor of the soundtrack. Just as long as it doesn't impede the message, a tiny bit of ambient noise floor or traffic in a dialogue scene inside a living room is OK in my books *to an extent*. Who says we live in a quiet world where dialogue is recorded in sound proof booths?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20100" PostHistoryTypeId="2" PostId="12198" RevisionGUID="8f472bda-4746-47c9-afc6-3fe275aaf53f" CreationDate="2012-01-15T14:46:15.657" UserId="37" Text="&quot;amazing vocal audio&quot; shouldn't be limited to obtaining absolutely dry recordings. Sometimes you want a bit of the ambience to go with the voice. It helps with the picture. Placing the mic closer will help with the voice/ambience ratio. And depending on what the walls are made of, and how big the space is, a shotgun microphone may not be your best bet. Or if you're doing VOs and such, this calls for a dedicated soundbooth or some portable solution. Finally, don't judge this by listening on headphones. My 2c." ContentLicense="CC BY-SA 3.0" />
  <row Id="20101" PostHistoryTypeId="2" PostId="12199" RevisionGUID="9e7ea23f-53fe-4ad2-9f0e-7e04f2ba65d3" CreationDate="2012-01-15T16:45:33.140" UserId="863" Text="It seems like you're a video guy trying to fill in the role of sound, probably for budget reasons? then I recommend doing a bit of reading first. &#xD;&#xA;&#xD;&#xA;Read up what the different Polar Patterns mean: http://en.wikipedia.org/wiki/Microphone#Microphone_polar_patterns&#xD;&#xA;&#xD;&#xA;Have a google search for boom mic placement&#xD;&#xA;&#xD;&#xA;and you've got the basics there." ContentLicense="CC BY-SA 3.0" />
  <row Id="20105" PostHistoryTypeId="5" PostId="12157" RevisionGUID="cf5bd3c7-b5de-4338-8488-5830a2352ba3" CreationDate="2012-01-15T18:47:48.230" UserId="418" Comment="added 1 characters in body" Text="I recommend Behance.net. Free, unlimited everything, and it's a massive and very well-respected platform for creative professionals to network etc. Even has job listings. Best place to put your portfolio online in my opinion. I've gotten lots of work just from being part of Behance.&#xD;&#xA;&#xD;&#xA;They also offer the new ProSite service if you want a fully customizable site with your own branding etc, which ties directly in to your Behance portfolio. Gotta be on Behance these days." ContentLicense="CC BY-SA 3.0" />
  <row Id="20106" PostHistoryTypeId="5" PostId="764" RevisionGUID="883cb791-46f0-424f-98ef-5a63d5cdab8c" CreationDate="2012-01-15T20:56:42.667" UserId="100" Comment="deleted 91 characters in body" Text="My oldest daughter throwing a tantrum when she was 3. It's a dual tone shriek that sounds very much like a Ringwraith. I use it in everything like my own Wilhelm scream." ContentLicense="CC BY-SA 3.0" />
  <row Id="20107" PostHistoryTypeId="2" PostId="12201" RevisionGUID="d8af34e2-2a4e-4afd-9da8-0570b911686d" CreationDate="2012-01-15T22:02:34.113" UserId="3356" Text="Is anyone using this beautiful looking (albeit expensive) mic for location recording of stereo ambience? I am looking to purchase it for both rural and urban settings, and the noise specs make it seem to be both quiet and dynamic enough for both. I'll run this into my Sound Devices 702. &#xD;&#xA;&#xD;&#xA;Thoughts? Other stereo mic suggestions are welcome, but must be able to fit into a blimp or another windscreen for portability and ease of use.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20108" PostHistoryTypeId="1" PostId="12201" RevisionGUID="d8af34e2-2a4e-4afd-9da8-0570b911686d" CreationDate="2012-01-15T22:02:34.113" UserId="3356" Text="Neumann SM 69 for location recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20109" PostHistoryTypeId="3" PostId="12201" RevisionGUID="d8af34e2-2a4e-4afd-9da8-0570b911686d" CreationDate="2012-01-15T22:02:34.113" UserId="3356" Text="&lt;neumann&gt;&lt;stereo&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20110" PostHistoryTypeId="2" PostId="12202" RevisionGUID="2ac91298-dc1a-4c3d-aac3-b7789e87facd" CreationDate="2012-01-15T22:49:07.887" UserId="3357" Text="Hi everyone!&#xD;&#xA;&#xD;&#xA;I'm doing the sound editing for a £2000 budget film that has been shot.&#xD;&#xA;&#xD;&#xA;They sent me a test scene and the audio was awful. It's meant to be one continuous scene with each angle change occurring in real time. Naturally with each angle change there was an actual difference in the time it was recorded. This means that with each angle change, the air con level changes, other sounds occur etc.&#xD;&#xA;&#xD;&#xA;I managed to fix al, this though it was quite difficult and I'm inexperienced ....but have a questions that is based on the future for me.&#xD;&#xA;&#xD;&#xA;I order to ensure that no jobs in the future are so awful I want to get in a hyper cardioid (or shotgun) mic. I'm not professional, in fact this is my first actual bit of real experience. &#xD;&#xA;&#xD;&#xA;Obviously as a sound editor I want pretty much audible silence other than dialogue. . .as opposed to what I've been given . . .dialogue with massive amounts of noise embedded.&#xD;&#xA;&#xD;&#xA;Could someone suggest the cheapest way I could go about this ? The audio for this film was obviously recorded with the camera microphone. . So I'll be suggesting for our next movie to do it my way (a microphone that gets everything. . Dialogue and ambience (as back up) but also this hyper cardioid or shotgun mic that gives me pretty much NO ambience or sound other than the dialogue. I can then add in the ambience, foley etc.&#xD;&#xA;&#xD;&#xA;How would I go about getting a microphone that gives me clear audio dialogue and little else. Is it a case of just making sure the hyper cardioid is pointed directly at the actor? Does the microphone ignore the room noise? Giving me clean dialogue?&#xD;&#xA;&#xD;&#xA;If I turn my sm57 on . . It gives a really loud room noise on top of the vocals. . D hypercardoid mikes block this out?&#xD;&#xA;&#xD;&#xA;Thanks for any cheap suggestions!! :):):)&#xD;&#xA;&#xD;&#xA;Aaron" ContentLicense="CC BY-SA 3.0" />
  <row Id="20111" PostHistoryTypeId="1" PostId="12202" RevisionGUID="2ac91298-dc1a-4c3d-aac3-b7789e87facd" CreationDate="2012-01-15T22:49:07.887" UserId="3357" Text="Low budget dialogue microphone ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20112" PostHistoryTypeId="3" PostId="12202" RevisionGUID="2ac91298-dc1a-4c3d-aac3-b7789e87facd" CreationDate="2012-01-15T22:49:07.887" UserId="3357" Text="&lt;microphone-technique&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20114" PostHistoryTypeId="2" PostId="12204" RevisionGUID="9cbe3aa8-2e05-4653-b4a5-f9b3d1a1e47e" CreationDate="2012-01-16T00:07:48.927" UserId="863" Text="You can't get NO ambiance from any microphone. &#xD;&#xA;You would need different microphones for different locations and situations, outdoors, indoors, wide shots etc &#xD;&#xA;&#xD;&#xA;The SM57 is a great mic but its not really designed for sensitivity, its a dynamic mic, it's made to take high sound pressure levels, you would need to turn the gain up a lot to pick subtle sounds up and therefore raise the noise.&#xD;&#xA;&#xD;&#xA;Get yourself a recorder, Fostex FR2LE or ZOOM H4N(cheaper) is great for the price and a Rode NTG-3. You can get cheaper products also. But already with just these two purchases you're looking at around £800 or $1200. You'll then need XLRS, blimps and fluffy for outdoors, preamp if needed and then you'll have a scene that needs radio mics or multiple mics.&#xD;&#xA;&#xD;&#xA;Have a google and youtube search for recording audio for film, recording sound for film and you'll get loads of info." ContentLicense="CC BY-SA 3.0" />
  <row Id="20119" PostHistoryTypeId="2" PostId="12207" RevisionGUID="5fce9e13-141c-4ac8-b99b-f0c7ab4f9ffb" CreationDate="2012-01-16T03:48:43.923" UserId="3358" Text="Hi Guys,&#xD;&#xA;&#xD;&#xA;I record interviews for radio. I just bought a **MixPre-D**, a **Sony PCM M10**, and a **BeyerDynamic M58**. &#xD;&#xA;&#xD;&#xA;I'm finding that I can't get good recorded levels going from [MixPre-D &quot;Tape Out&quot;] into [Sony M10 &quot;Line-in&quot;]. The levels are OK on the mixer, but even with the input level maxed on the Sony it still seems low... &#xD;&#xA;&#xD;&#xA;It means that the files have to be boosted in post, which I don't like to do (possibly boosting bad stuff). I'd like to have it record to proper levels on the Sony...&#xD;&#xA;&#xD;&#xA;Anyone have any experience with this combo -- trying to find the source of the problem... Would the MixPre-D XLR line-out be hotter than tape-out? &#xD;&#xA;&#xD;&#xA;Thanks in advance... " ContentLicense="CC BY-SA 3.0" />
  <row Id="20120" PostHistoryTypeId="1" PostId="12207" RevisionGUID="5fce9e13-141c-4ac8-b99b-f0c7ab4f9ffb" CreationDate="2012-01-16T03:48:43.923" UserId="3358" Text="MixPre-D into Sony PCM M10 - Low Line-in Level Problem" ContentLicense="CC BY-SA 3.0" />
  <row Id="20121" PostHistoryTypeId="3" PostId="12207" RevisionGUID="5fce9e13-141c-4ac8-b99b-f0c7ab4f9ffb" CreationDate="2012-01-16T03:48:43.923" UserId="3358" Text="&lt;pcm-m10&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20122" PostHistoryTypeId="2" PostId="12208" RevisionGUID="1f4ee37a-a576-48ea-a56e-8194d0f1ca76" CreationDate="2012-01-16T06:45:11.037" UserId="1178" Text="What we used to do at previous company I worked with was to count the amount of words and lines the project included. We also kept very precise workbook on each step of the process and got some really accurate quotation models that relied on the previous projects we had done. Our calculations were based on 100 word chunks / per VO and we got really accurate estimations of the project budget.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="20123" PostHistoryTypeId="2" PostId="12209" RevisionGUID="491c3f8e-70ed-4deb-b4de-ac75c92a9a7f" CreationDate="2012-01-16T06:49:33.900" UserId="2498" Text="I don't think normalising is &quot;boosting&quot; bad stuff. &#xD;&#xA;&#xD;&#xA;I'm quite confused as to why people want to record hot when they have 24bit depth, particularly when they need to turn up their preamps perhaps higher then they can handle.  &#xD;&#xA;&#xD;&#xA;If the problem you're having is not being able to monitor what you're recording live, don't forget to turn up the headphones via the little toggle on the back.&#xD;&#xA;&#xD;&#xA;Also just as basic troubleshooting, try plugging the mic directly into the pcm. (I'm not sure why you need the mixer?) Just make sure you use the mic input and not the line input. &#xD;&#xA;&#xD;&#xA;But yeah, basically I disagree with your reluctance to &quot;boost&quot;, and even use of the word &quot;boost&quot; entirely. &#xD;&#xA;&#xD;&#xA;EDIT: also, I don't why you're using an external mic at all. I figured it was so it'd be more directional, (i.e. just record what it's pointing at, instead of recording background noise) but the google tells me the m58 is omnidirectional, so maybe you should just use the onboard mics? &#xD;&#xA;&#xD;&#xA;I used the pcm to record an interview recently, and was quite happy. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20124" PostHistoryTypeId="5" PostId="12209" RevisionGUID="f300df5f-8767-4183-ad2e-9e8b209b3f26" CreationDate="2012-01-16T06:55:54.300" UserId="2498" Comment="added 164 characters in body" Text="I don't think normalising is &quot;boosting&quot; bad stuff. &#xD;&#xA;&#xD;&#xA;I'm quite confused as to why people want to record hot when they have 24bit depth, particularly when they need to turn up their preamps perhaps higher then they can handle.  &#xD;&#xA;&#xD;&#xA;If the problem you're having is not being able to monitor what you're recording live, don't forget to turn up the headphones via the little toggle on the back.&#xD;&#xA;&#xD;&#xA;Also just as basic troubleshooting, try plugging the mic directly into the pcm. (I'm not sure why you need the mixer?) Just make sure you use the mic input and not the line input. &#xD;&#xA;&#xD;&#xA;But yeah, basically I disagree with your reluctance to &quot;boost&quot;, and even use of the word &quot;boost&quot; entirely. &#xD;&#xA;&#xD;&#xA;EDIT: also, I don't why you're using an external mic at all. I figured it was so it'd be more directional, (i.e. just record what it's pointing at, instead of recording background noise) but the google tells me the m58 is omnidirectional, so maybe you should just use the onboard mics? &#xD;&#xA;&#xD;&#xA;I used the pcm to record an interview recently, and was quite happy. &#xD;&#xA;&#xD;&#xA;EDIT^2: If I turn up the pmc mics fully up in a quite room with the headphones turn up, the device will feedback. (though my headphones) so yeah. Give it a go. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20126" PostHistoryTypeId="2" PostId="12210" RevisionGUID="ad670f8c-dc68-42ac-b054-7e943877c409" CreationDate="2012-01-16T08:43:05.000" UserId="3289" Text="If you're going with an hosting plan, better go with http://nearlyfreespeech.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20129" PostHistoryTypeId="2" PostId="12212" RevisionGUID="48ec2df7-026e-41a5-8c26-5edcb2687165" CreationDate="2012-01-16T12:55:24.227" UserId="1055" Text="Hello all,&#xD;&#xA;&#xD;&#xA;so deciding on what to buy, i think soundminer is more of a industry standart? The thing is i would like to add metadata to my own recordings, to make clean libraries, also i need good search tool. Also soundminer different versions got my head spinning(why should i pay for &quot;hd plus universal&quot; version almost 2x amount of money), i really don't understand whats the big difference in them. So what would you choose and why, maybe there are things i should know about both of them?&#xD;&#xA;&#xD;&#xA;So far BaseHead wins for the price, but maybe i'm doing a mistake?&#xD;&#xA;&#xD;&#xA;thanks for your time and answers :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20130" PostHistoryTypeId="1" PostId="12212" RevisionGUID="48ec2df7-026e-41a5-8c26-5edcb2687165" CreationDate="2012-01-16T12:55:24.227" UserId="1055" Text="BaseHead vs Soundminer" ContentLicense="CC BY-SA 3.0" />
  <row Id="20131" PostHistoryTypeId="3" PostId="12212" RevisionGUID="48ec2df7-026e-41a5-8c26-5edcb2687165" CreationDate="2012-01-16T12:55:24.227" UserId="1055" Text="&lt;search&gt;&lt;engine&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20132" PostHistoryTypeId="5" PostId="12003" RevisionGUID="a042e978-497c-43ca-8d84-57f3a8f307c3" CreationDate="2012-01-16T13:51:09.010" UserId="238" Comment="update; deleted 6 characters in body" Text="I know a lot of people in live events use [Q Cart][1]. It's not too pricy and is apparently very stable. &#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;Today I have been using Jingle Palette and am pretty happy with it's performance. It's free, though not sure it's available on Mac (I was using a PC today). You can load up to 30 sounds per &quot;palette&quot; and it's quick and easy to load a new &quot;palette&quot;. Playback response is really good and the user interface is very pleasing. I'll continue using it this week so will add to the post if I come across any problems. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://figure53.com/qcart/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20133" PostHistoryTypeId="2" PostId="12213" RevisionGUID="8c0c4eed-d9f8-4257-9a09-d09f92e1a3a7" CreationDate="2012-01-16T13:58:46.453" UserId="37" Text="from the [manual][1]: &quot;Tape Out level is fixed at a -10 dBu nominal level and is electrically isolated from the XLR Outputs.&quot; So 0 on the Mixpre-D will be quiet on the PCM-m10. Up your limiter's threshold and you can ride your mixer hot, beyond 0 if you want. &#xD;&#xA;&#xD;&#xA;Apart from that when recording line-in 96khz (noisiest sample rate with the m10) you will want to check where the self-noise of the recorder is, but there should still be plenty of dynamic range left to use.&#xD;&#xA;&#xD;&#xA;Also a dynamic mic like this one you should be able to plug it straight into the M10 (just make yourself a cable adapter).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sounddevices.com/download/guides/mixpre-d_en.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="20134" PostHistoryTypeId="2" PostId="12214" RevisionGUID="7ad48de0-362b-4395-8024-f0cfe233449c" CreationDate="2012-01-16T15:39:53.263" UserId="37" Text="Mac? http://www.ambrosiasw.com/utilities/soundboard-mac/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20135" PostHistoryTypeId="2" PostId="12215" RevisionGUID="bbd7c74b-5172-437a-a7da-40caed9eb151" CreationDate="2012-01-16T18:04:31.467" UserId="6566" Text="It might sound great but probably not a very practical mic to use in the field because of the big AC power supply. Looks like they made a battery powered supply for it but it looks pretty big too. Not to mention how difficult it might be to find one in good working condition and the cost of maintenance. For what this mic would probably go for there are most likely plenty of modern equivalents in both function and sound characteristics to choose from.&#xD;&#xA;&#xD;&#xA;All that being said there are many gear hounds on this site (myself included) that would probably want to give it a go if that mic landed in their lap.&#xD;&#xA;&#xD;&#xA;SM 69 Operating Manual:&#xD;&#xA;&#xD;&#xA;http://downloads.neumann.com/d.php?sid=90c1cd1caa21971842eb3535fba3d440&amp;download=copi0104.PDF&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20136" PostHistoryTypeId="2" PostId="12216" RevisionGUID="363889c2-1a34-4a6a-811d-7cc26d9283ba" CreationDate="2012-01-16T18:36:50.517" UserId="1145" Text="I guess i would either use Kontakt controlled by iPad or Ableton controlled by Novation Launchpad or iPad again. Depends on what you have/use today i guess..." ContentLicense="CC BY-SA 3.0" />
  <row Id="20137" PostHistoryTypeId="2" PostId="12217" RevisionGUID="e63abda2-adf6-4d9b-8904-826166ca3111" CreationDate="2012-01-16T20:54:34.770" UserId="670" Text="I just imported the dialog audio from the QT video of this clip and for some reason the clip gets really distorted, but sounds fine on the actual QT video. I imported other SFX files into the session and they come out just fine. This is what the waveform (stereo) looks like: http://instagr.am/p/hz8UK/&#xD;&#xA;&#xD;&#xA;What could be the problem here? " ContentLicense="CC BY-SA 3.0" />
  <row Id="20138" PostHistoryTypeId="1" PostId="12217" RevisionGUID="e63abda2-adf6-4d9b-8904-826166ca3111" CreationDate="2012-01-16T20:54:34.770" UserId="670" Text="Imported dialog track distorting" ContentLicense="CC BY-SA 3.0" />
  <row Id="20139" PostHistoryTypeId="3" PostId="12217" RevisionGUID="e63abda2-adf6-4d9b-8904-826166ca3111" CreationDate="2012-01-16T20:54:34.770" UserId="670" Text="&lt;dialogue&gt;&lt;importing&gt;&lt;pro-tools&gt;&lt;distortion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20140" PostHistoryTypeId="2" PostId="12218" RevisionGUID="bdc7a45d-20f0-4f03-9b69-6b2844ed69a7" CreationDate="2012-01-16T21:02:40.467" UserDisplayName="user6508" Text="I've had issues importing the audio from a QT into PT before where the audio is fine when playing the video in QT but when I import, only one channel is at the wrong sample rate playing at half speed but the other tracks from the QT are fine.&#xD;&#xA;&#xD;&#xA;Not sure if this will work for you, but the work around I did was in QT pro, export the QT video as an AIFF or WAV with the proper session settings.  For whatever reason, this fixed my issue of the single track importing into PT at the wrong speed.  This may help with your audio if it's fine on the QT but distorted on PT import." ContentLicense="CC BY-SA 3.0" />
  <row Id="20141" PostHistoryTypeId="5" PostId="12213" RevisionGUID="9efee96a-b3a0-462b-874c-09c6abd26a5d" CreationDate="2012-01-16T22:14:35.563" UserId="37" Comment="added 189 characters in body" Text="from the [manual][1]: &quot;Tape Out level is fixed at a -10 dBu nominal level and is electrically isolated from the XLR Outputs.&quot; So 0 on the Mixpre-D will be quiet on the PCM-m10. Up your limiter's threshold and you can ride your mixer hot, beyond 0 if you want. &#xD;&#xA;&#xD;&#xA;Apart from that when recording line-in 96khz (noisiest sample rate with the m10) you will want to check where the self-noise of the recorder is, but there should still be plenty of dynamic range left to use.&#xD;&#xA;&#xD;&#xA;edit: oh hang on. The tape out is -10dBu, but the XLR outputs are +4dBu. That's 14dB of &quot;gain&quot; right there. Of course you should test to see how the M10 would handle a signal that hot..&#xD;&#xA;&#xD;&#xA;Also a dynamic mic like this one you should be able to plug it straight into the M10 (just make yourself a cable adapter).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sounddevices.com/download/guides/mixpre-d_en.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="20142" PostHistoryTypeId="2" PostId="12219" RevisionGUID="06e839d5-1f5b-4a44-8fd7-f44b06d4bdc0" CreationDate="2012-01-16T22:40:31.827" UserId="7642" Text="Do you use a specific program to plan your projects?&#xD;&#xA;&#xD;&#xA;We use project planning software. We use it to both plan specific projects and booking our studios. It's by no means the perfect tool but it works decent.&#xD;&#xA;&#xD;&#xA;What I like is the visual overview over longer time periods. Calendars like iCal don't have views for quarters/years/custom. Looking at a month at a time is no good when doing long term planning.&#xD;&#xA;&#xD;&#xA;Any other suggestions on alternative planning tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="20143" PostHistoryTypeId="1" PostId="12219" RevisionGUID="06e839d5-1f5b-4a44-8fd7-f44b06d4bdc0" CreationDate="2012-01-16T22:40:31.827" UserId="7642" Text="Planning your projects? " ContentLicense="CC BY-SA 3.0" />
  <row Id="20144" PostHistoryTypeId="3" PostId="12219" RevisionGUID="06e839d5-1f5b-4a44-8fd7-f44b06d4bdc0" CreationDate="2012-01-16T22:40:31.827" UserId="7642" Text="&lt;planning&gt;&lt;project&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20145" PostHistoryTypeId="2" PostId="12220" RevisionGUID="8a22a1e2-9708-480d-9d19-5f1a62a75005" CreationDate="2012-01-17T00:09:05.367" UserId="578" Text="There's pro's and cons to both Basehead and Soundminer HD, so why don't you try out the demo's for both of them and see which one you like best? I personally like Soundminer HD a bit better for how it groups and organises search results, but like you pointed out it's more expensive and you have to pay double to go cross-platform. I only tried the Basehead demo for a couple of weeks about a year ago, and it's certainly a good program, and lots of people swear by it. I think I got confused by how it wouldn't smoothly let me search by categories or library names, but maybe I was just being an idiot or it has been improved since. Try it out for yourself! &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20146" PostHistoryTypeId="2" PostId="12221" RevisionGUID="bee2defc-665a-46ca-827a-2ec79c42db46" CreationDate="2012-01-17T01:46:12.100" UserId="3316" Text="I use **pivotal tracker**. &#xD;&#xA;It's not really a calendar based tool, but more a project resource management type thing. &#xD;&#xA;&#xD;&#xA;These tracker type programs are often used for programming. For bug checking, beta testing and deployment etc, but I just steal the terms and give them my own meaning. &#xD;&#xA;&#xD;&#xA;For instance in pivotal tracker (which also runs on iphone etc. . super handy)&#xD;&#xA;I set up a project, then the individual tasks, then checklists that each task involves. The task is rated by difficultly - i.e how long I guess it will take me to accomplish. &#xD;&#xA;If it is something that the producer of the project has asked for its a FEATURE, if its something that they havent but it is needed (i.e location recording, research) its a CHORE. &#xD;&#xA;If theres some audio clean up needing doing its a BUG. &#xD;&#xA;A cheap way of using a tool not meant for sound, but its proven quite interesting. &#xD;&#xA;&#xD;&#xA;Theres also the brilliant completion section, meaning you can process what you have delivered, if it was accepted, and if not, why not?&#xD;&#xA;&#xD;&#xA;Between this, and a copious amount of colourful mind mapping tools out their, I can try manage as much as possible. &#xD;&#xA;&#xD;&#xA;although we all know it comes down to a lot of caffeine and 2 dozen post it notes in the end. :D&#xD;&#xA;&#xD;&#xA;Cam" ContentLicense="CC BY-SA 3.0" />
  <row Id="20147" PostHistoryTypeId="2" PostId="12222" RevisionGUID="1fb49c5a-5f71-4a2f-a1ab-d85c5dc3d337" CreationDate="2012-01-17T02:22:26.753" UserId="1266" Text="Well one of the features of Basehead http://www.baseheadinc.com/products/basehead-mac/feature-overview is that it actually improves your sex life.  I'm not sure how other products compete with that but its definitely worth checkin in to." ContentLicense="CC BY-SA 3.0" />
  <row Id="20148" PostHistoryTypeId="2" PostId="12223" RevisionGUID="01515392-8fd6-4425-95ed-30b26408b05f" CreationDate="2012-01-17T02:42:19.237" UserId="1228" Text="Personally I've been a big fan of Soundminer - used it since v3 and always have liked it.  Although it is worth bearing in mind that the price of HD/HD+ versus the older versions is dramatically cheaper (read: $600-700 for SMXP and $800 for SMv4 Standard) so I think the price point difference is somewhat negligible nowadays since HD/HD+ have almost all features that SMv4 Standard and SMXP have at half the price (right now the only two major outstanding features are the Admin panel and playlisting a la v4 stye).&#xD;&#xA;&#xD;&#xA;For my the choice is uniformity and I like how it works in my workflow.  Everyone I've worked with uses Soundminer, so I like having the comfort in knowing embedded metadata will populate on pretty much any system I have to work on (especially when custom FX are traded for work purposes like FX pulls - it's nice to receive those files and have per-prepared SM metadata).  And I'm just used to how the tools work and the way the Boolean searches work within Soundminer.  I guess it's a personal taste in the choice and when I saw Baseheads layout a while back it's design looked clunky and wasn't pleasing on my eyes (I know, somewhat superfluous, but when you have to stare at a certain piece of software for many hours of the day, I like to choose something that's comfortable for my eyes)." ContentLicense="CC BY-SA 3.0" />
  <row Id="20152" PostHistoryTypeId="2" PostId="12225" RevisionGUID="429144f4-cfa6-4be5-b769-e9594fb2b945" CreationDate="2012-01-17T05:10:56.470" UserId="3356" Text="My apologies! I am wondering about the current version, the Neumann USM 69 i. This does not require an external box as far as I can tell and can be put in a Rycote Blimp. Thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20153" PostHistoryTypeId="4" PostId="12201" RevisionGUID="87cb517e-65f3-454f-8720-d25153661980" CreationDate="2012-01-17T05:11:27.390" UserId="3356" Comment="edited title" Text="Neumann USM 69 i for location recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20157" PostHistoryTypeId="2" PostId="12228" RevisionGUID="91d0c3f8-af9b-4631-933a-7942bdc110eb" CreationDate="2012-01-17T08:36:19.267" UserId="3361" Text="When using any shotgun, or any super directional mic indoors you have to be aware of reflections of sound.  While the microphone cancels out a lot of off axis sound the microphone will still pick up reflections from the un-soundproffed walls when indoors.  This is the case with all shotguns not just the Rode NTG 3.  If you have to go with a directional go with a shorter one like the Rode NTG 2 (not great quality sound). Just remember that it will still pick up sound in the direction it faces so it will still pick up the base rumble of a city. all miss will but if the audio is clear and the rumble is consistent you can take it out in post to some extent. Alternately if you don't need any particular perspective and you don't mind a more base filled recording, you can get clearer sound with a lapel.  If you position it close enough, and the lines are delivered clean, clear and of average strength, you should be able to reduce or remove some of the background noise in post if its just the steady consistant rumble. Also remember to put on a highpass filter to get rid of the base rumble a bit.  Its always good practice to do it in an unclean environment where you need clean dialogue.&#xD;&#xA;&#xD;&#xA;Just a note for outdoors Rode NTG are fine, i own one.  The base pick up is nice even at a distance.  Recording men with deep voices is easy." ContentLicense="CC BY-SA 3.0" />
  <row Id="20161" PostHistoryTypeId="2" PostId="12230" RevisionGUID="1a0b4a09-038b-4246-8a01-68ba6261cfd7" CreationDate="2012-01-17T13:16:11.517" UserId="3362" Text="I've worked with Nuendo for years and think Protools is simply over rated, I know EVERY feature &amp; function on Nuendo from front to back and recored hit records in my studio!!!! I'll give Nuendo five stars.............." ContentLicense="CC BY-SA 3.0" />
  <row Id="20162" PostHistoryTypeId="2" PostId="12231" RevisionGUID="c288030e-9221-48c7-b1d2-132c46261980" CreationDate="2012-01-17T15:11:09.600" UserId="3197" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;I usually record stereo using XY but I've seen some hardcore support for M/S on here. I know how it works but I'm just looking for advice on what mics to use to test it out.&#xD;&#xA;&#xD;&#xA;My university has a huge mic catalogue at their disposal so pretty much anything goes." ContentLicense="CC BY-SA 3.0" />
  <row Id="20163" PostHistoryTypeId="1" PostId="12231" RevisionGUID="c288030e-9221-48c7-b1d2-132c46261980" CreationDate="2012-01-17T15:11:09.600" UserId="3197" Text="Your favourite MS mic setup?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20164" PostHistoryTypeId="3" PostId="12231" RevisionGUID="c288030e-9221-48c7-b1d2-132c46261980" CreationDate="2012-01-17T15:11:09.600" UserId="3197" Text="&lt;microphone&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20167" PostHistoryTypeId="2" PostId="12233" RevisionGUID="a93c73e1-5d1d-4b66-b15d-03ada9bdeeb5" CreationDate="2012-01-17T16:20:05.053" UserId="3230" Text="This thread is awesome!  I'm a little late to the party (as most of this discussion went down 6 months ago), but I appreciate the topic.&#xD;&#xA;&#xD;&#xA;I'd be interested to hear followup!  How'd the project go?  Now that you've done it (@g.a.harry), what advice would you give?  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm currently working on a simple radio drama pilot myself (nothing major, an adaptation of an existing script - 4-5 actors, original music, etc, etc).   We've just finished recording and editing the dialog; now moving on to the foley and sound design.  We used a combination stereo/spot mic setup in a small, dead room, (close mics on two actors facing one another with a bidirectional in between. I think it turned out GREAT!  We captured the dynamics of the dual performance in space AND still have complete control of the room tone.&#xD;&#xA;&#xD;&#xA;I'll be building the BG &quot;spaces&quot; this week....Interested to hear some follow up!  What worked for you?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20168" PostHistoryTypeId="2" PostId="12234" RevisionGUID="d609f710-6db6-4ca5-81a9-b58b13647bf2" CreationDate="2012-01-17T16:24:49.203" UserId="432" Text="I'd say this is more dependent upon your application than, &quot;this pair of mics in any situation.&quot;&#xD;&#xA;&#xD;&#xA;I have a Sennheiser MKH-30/40 pair at home myself for use out in the field (one day, I'll buy a Schoeps pair as well). I'll frequently pull out a Neumann TLM-103/170R pair at work when we're recording in our live room . As far as LDCs with selectable patterns...we have a pair of U87's, but their noise floor can be a little high for M/S purposes. Good for louder sources that don't need a ton of gain, but not my first choice. An alternative to the U87's, that I find more useful/fits a broader set of applications, is a pair of Audio-Technica AT4050's (a highly underrated mic, in my opinion)." ContentLicense="CC BY-SA 3.0" />
  <row Id="20169" PostHistoryTypeId="2" PostId="12235" RevisionGUID="7977d648-1f63-405a-9e1c-0ff7eb0087a4" CreationDate="2012-01-17T17:40:34.597" UserId="315" Text="From my observations, these are the most used MS pairs in field recording:&#xD;&#xA;&#xD;&#xA; - Sennheiser MKH 40 or 50 (or 8040 or&#xD;&#xA;   8050) paired with an MKH 30 or MK 800&#xD;&#xA; - Schoeps CMC bodies with MK4 or MK41 capsules paired with an MK8&#xD;&#xA; - Schoeps CCM4 or CCM41 paired with a&#xD;&#xA;   CCM8&#xD;&#xA; - Neumann KM100 bodies with AK40&#xD;&#xA;   or AK50 capsules paired with an AK20&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There are also single stereo MS mics like the Sanken CSS5 or the Neumann RSM 191i&#xD;&#xA;&#xD;&#xA;I personally own a Schoeps pair and love the sound of them." ContentLicense="CC BY-SA 3.0" />
  <row Id="20171" PostHistoryTypeId="5" PostId="12235" RevisionGUID="ed60f592-9d4d-4d2b-b88d-9a37acaeac4c" CreationDate="2012-01-17T19:43:07.033" UserId="315" Comment="added 1 characters in body; added 20 characters in body" Text="From my observations, these are the most used MS pairs in field recording:&#xD;&#xA;&#xD;&#xA; - Sennheiser MKH 40 or 50 (or 8040 or&#xD;&#xA;   8050) paired with an MKH 30 or MKH 800&#xD;&#xA; - Schoeps CMC bodies with MK4 or MK41 capsules paired with an MK8&#xD;&#xA; - Schoeps CCM4 or CCM41 paired with a&#xD;&#xA;   CCM8&#xD;&#xA; - Neumann KM100 bodies with AK40&#xD;&#xA;   or AK50 capsules paired with an AK20&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There are also single stereo MS mics like the Sanken CSS5, Sennheiser MKH418, or the Neumann RSM 191i&#xD;&#xA;&#xD;&#xA;I personally own a Schoeps pair and love the sound of them." ContentLicense="CC BY-SA 3.0" />
  <row Id="20172" PostHistoryTypeId="2" PostId="12237" RevisionGUID="e2b4ccfd-0228-4981-92ee-5454cf1a0e5a" CreationDate="2012-01-17T20:03:14.830" UserId="578" Text="It depends what you want to record; if you're looking for a wide stereo field you're best off to use a cardioid or omni as your mid mic. If you want to record spot fx or dialogue with a bit of (stereo) ambience, get a shotgun as your mid. &#xD;&#xA;&#xD;&#xA;Any of the above mics are great recommendations. &#xD;&#xA;Don't think a shotgun had been listed yet, so I'd like to add a Sennheiser MKH60, 8060, or 416 (or Rode NTG3). As for omni, a Sennheiser MKH20 or 8020 would be great. For your side mic, a MKH30 will sound great with any of these.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20173" PostHistoryTypeId="5" PostId="12237" RevisionGUID="de93c892-5878-4b04-aab4-5b0d1de9f350" CreationDate="2012-01-17T20:11:31.427" UserId="578" Comment="added 1 characters in body" Text="It depends what you want to record; if you're looking for a wide stereo field you're best off to use a cardioid or omni as your mid mic. If you want to record spot fx or dialogue with a bit of (stereo) ambience, get a shotgun as your mid. &#xD;&#xA;&#xD;&#xA;Any of the above mics are great recommendations. &#xD;&#xA;Don't think a shotgun had been listed yet, so I'd like to add a Sennheiser MKH60, 8060, or 416 (or Rode NTG3). As for omni, a Sennheiser MKH20 or 8020 would be great. For your side mic, an MKH30 will sound great with any of these.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20175" PostHistoryTypeId="2" PostId="12239" RevisionGUID="29b6ce0e-4fa7-478b-88c3-bdb204866960" CreationDate="2012-01-17T23:41:39.410" UserId="3272" Text="I love working with the schoeps DMS pair. The combination of CCM41 (mid) and CCM8 (side) and an additional CCM5 for the rear usually gives me pretty much everything I want in postproduction. You can widen your recordings all the way to the surrounds or just pinpoint the supercardioid to the dialogue. The CCM5 has a pretty good low end when set to omni, I think even better then their &quot;true&quot; omni's.&#xD;&#xA;&#xD;&#xA;Of course it still comes down to the film you're making and the location you're shooting on. &#xD;&#xA;&#xD;&#xA;The senheisser 418 comes in handy for the really wide shots. But I've never found a really good sounding MS shotgun mic, which isn't strange since a shotgunmic goes a bit against the &quot;ms principal&quot; I guess.&#xD;&#xA;&#xD;&#xA;Best way to find out what you like best is to set up a couple of sets on the same, well chosen spot and do a recording with all pairs at the same time. Then just decode the signals and do a listening test by switching from one pair to the other. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20176" PostHistoryTypeId="2" PostId="12240" RevisionGUID="d8033048-afa9-4dc3-b38d-95c466a95c77" CreationDate="2012-01-18T01:12:57.727" UserId="1266" Text="http://www.datelinezero.com/2012/01/17/strange-sounds-heard-worldwide/&#xD;&#xA;&#xD;&#xA;apparently this is a video compilation that has been floating around the net recently.  Anyone out there get a decent recording? &#xD;&#xA;Care to comment on these?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20177" PostHistoryTypeId="1" PostId="12240" RevisionGUID="d8033048-afa9-4dc3-b38d-95c466a95c77" CreationDate="2012-01-18T01:12:57.727" UserId="1266" Text="Strange sounds heard worldwide...any SSD comments?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20178" PostHistoryTypeId="3" PostId="12240" RevisionGUID="d8033048-afa9-4dc3-b38d-95c466a95c77" CreationDate="2012-01-18T01:12:57.727" UserId="1266" Text="&lt;strange&gt;&lt;sounds&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20179" PostHistoryTypeId="2" PostId="12241" RevisionGUID="5e9ec5d0-210a-4708-8048-c36c2b1dfc92" CreationDate="2012-01-18T01:45:45.357" UserId="1266" Text="I've been using a MKH30/60 pair.  It seems great except there is something of a hole in the image at the frequencies where the interference tubes start to take affect.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20180" PostHistoryTypeId="2" PostId="12242" RevisionGUID="6bbf8da0-cac2-417d-90e7-467d22099b5a" CreationDate="2012-01-18T02:15:47.450" UserId="1286" Text="Sounds like a hoax:&#xD;&#xA;http://www.youtube.com/watch?v=GZ2ZcmMxehk&#xD;&#xA;&#xD;&#xA;Listen to 0:45 and 13:34 -- same bird noises, same screeching, same 'alien' noise..." ContentLicense="CC BY-SA 3.0" />
  <row Id="20181" PostHistoryTypeId="2" PostId="12243" RevisionGUID="3092e744-4572-4fec-84b7-d41d699b55f8" CreationDate="2012-01-18T02:25:04.440" UserId="558" Text="I havent used basehead for several years because Nuendo's built in search is fine.  Before that I was a basehead fan (for a while steve was using a quote from me on his site).  I used it for years.  I have spent very little time on sound miner, so I cant speak to it.&#xD;&#xA;&#xD;&#xA;FOr a search and retrieval system basehead was awesome.  I know some people like to do fancy things with their search engine (like applying fx and pitching).  That's not how i work.  Basehead was great, and support was great as well.&#xD;&#xA;&#xD;&#xA;dr" ContentLicense="CC BY-SA 3.0" />
  <row Id="20182" PostHistoryTypeId="2" PostId="12244" RevisionGUID="ab0f09b9-a193-4242-b4ec-67f583babd41" CreationDate="2012-01-18T02:29:11.487" UserId="558" Text="I'm not a lawyer, but if you use is just for portfolio purposes I dont think you need to worry about royalties (unless you are using famous clips and representing yourself as having worked on the actual project itself).&#xD;&#xA;&#xD;&#xA;dr" ContentLicense="CC BY-SA 3.0" />
  <row Id="20184" PostHistoryTypeId="2" PostId="12246" RevisionGUID="afe82c56-4ca7-470b-b874-0ac07fa63afd" CreationDate="2012-01-18T08:41:21.030" UserId="3361" Text="Rather than trying to treat your Mic, you should be treating the environment.  when your shooting turn off air conditioner, fridge, and anything else that makes a noise.  Make sure to put the air con on super cool to cool the room first or it will get super hot with lights.  Good practice on set is to put your car keys in the fridge so you can't leave and forget to turn it back on.  &#xD;&#xA;&#xD;&#xA;In terms of equipment I have to agree with ed mathews, if your just starting out go with a zoom H4n and a Rode NTG 3.  Rode is relatively cheep, yet are still easily on par with sennhizer 416's which used to be the industry standard i think.  They come with a 10 year warrantee and everything. Don't bother with an NTG 1 or 2 as they are no where near as nice. Then you need accessories in order of importance would be a pistol grip (just get a rode Pg3) XLR's and then get your wind sock.  You don't particularly need a blimp, i make do with out one.  &#xD;&#xA;&#xD;&#xA;For radios i went which sennhiser G3's.  Cheep and decent to start with.  This is my gear its super basic but it works http://www.realsound.com.au/?page_id=114 ." ContentLicense="CC BY-SA 3.0" />
  <row Id="20185" PostHistoryTypeId="2" PostId="12247" RevisionGUID="d6da856f-ffe1-413b-88a0-26e2fda214a1" CreationDate="2012-01-18T08:48:08.837" UserId="3361" Text="My gear, very basic but it works.  Don't bother with NTG 1 and 2 isn't that much better.  NTG 3 on the other hand is on par with a 416, but a little more base heavy if i remember correctly.  Go with a zoom H4n.  This is my gear.  I manage in the industry as a location sound recordist fine. http://www.realsound.com.au/?page_id=114  I'll need some more gear if i get some bigger gigs, but for now its pretty good.  Also you don't particularly need the mixer right away.  my gear costed about $3500 Australian Dollars.  the mixer was $800 AUD." ContentLicense="CC BY-SA 3.0" />
  <row Id="20186" PostHistoryTypeId="2" PostId="12248" RevisionGUID="786d4f47-0bd0-48ec-9117-c7b5d3114784" CreationDate="2012-01-18T08:51:13.190" UserId="3361" Text="Sex scene production sound.  It was for a short film with a really professional crew.  So it was this weird vibe like these people on screen are almost totally naked (with socks covering their bits) and yet the crew was just like, lets do the work.  It was an odd sound when i played it back." ContentLicense="CC BY-SA 3.0" />
  <row Id="20187" PostHistoryTypeId="2" PostId="12249" RevisionGUID="1b274e94-05b5-4a56-94c8-8e8996a61d04" CreationDate="2012-01-18T11:25:16.597" UserId="1145" Text="This forum convinced me to go for the MKH 40/30 and I couldn't be more happy. Love these mics!&#xD;&#xA;I also bought an extra MKH 40 for ORTF recording. Stereo Rycote for the MS rig and Rycote baby ball gags for ORTF. The next step for me now is two MKH 8020's for spaced omnis.&#xD;&#xA;I even still use my old NT4 with the blimp for some TV work, as I feel XY is great for that media.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20188" PostHistoryTypeId="2" PostId="12250" RevisionGUID="e8169626-85e3-41c6-99bf-d57ca04c7cdd" CreationDate="2012-01-18T14:29:38.663" UserId="253" Text="Is this the first hoax to employ social media like facebook? Not bad, although it seems that the commenters on the youtube video are picking up on (as well as the birds) the &quot;Hollywood-ness&quot; of the groaning metal sound. If it was me, i would have gone with a less easily recognisable sound.&#xD;&#xA;&#xD;&#xA;Can creating your own unidentified audio hoax be the next Sound Design Challenge?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20189" PostHistoryTypeId="5" PostId="12250" RevisionGUID="9ad5936f-ce93-4154-88d3-539e40341449" CreationDate="2012-01-18T15:42:21.723" UserId="253" Comment="deleted 4 characters in body" Text="Is this the first hoax to employ social media like facebook? Not bad, although it seems that the commenters on the youtube video are picking up on (as well as the birds) the &quot;Hollywood-ness&quot; of the groaning metal sound. If it was me, i would have gone with a less easily recognisable sound.&#xD;&#xA;&#xD;&#xA;Can creating an Unidentified Aural Object be the next Sound Design Challenge?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20190" PostHistoryTypeId="2" PostId="12251" RevisionGUID="9d4bad88-69d2-49ff-b3c1-6a26b421e092" CreationDate="2012-01-18T19:33:14.933" UserId="3230" Text="The title says it all.   What is a good hard-copy resource out there that can offer a foundation for A for V mixing technique?  Perhaps one that walks the reader through the process - Raw tracks to printed master.&#xD;&#xA;&#xD;&#xA;Anyone?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20191" PostHistoryTypeId="1" PostId="12251" RevisionGUID="9d4bad88-69d2-49ff-b3c1-6a26b421e092" CreationDate="2012-01-18T19:33:14.933" UserId="3230" Text="Can you suggest a good reference book on Sound Design and mixing for Film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20192" PostHistoryTypeId="3" PostId="12251" RevisionGUID="9d4bad88-69d2-49ff-b3c1-6a26b421e092" CreationDate="2012-01-18T19:33:14.933" UserId="3230" Text="&lt;mixing&gt;&lt;books&gt;&lt;references&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20193" PostHistoryTypeId="2" PostId="12252" RevisionGUID="199af712-ff0b-4f6d-8f38-91feb07531b8" CreationDate="2012-01-18T21:08:11.213" UserId="842" Text="There's not really just one way to do this, there are practically as many ways as there are practitioners, possibly more as many of us tends to adopt to the project rather than always doing it the same way. As such, and due to the fact that it's a humongous field to cover, I don't think there are actual walk-throughs for this.&#xD;&#xA;&#xD;&#xA;What do exist though, is several good books in the more general and practical field. Of your question to judge I take it you don't have much experience in this, and even if you're a full-blown pro, this is still a very good and easily read book - The Sound Effects Bible by Ric Viers." ContentLicense="CC BY-SA 3.0" />
  <row Id="20194" PostHistoryTypeId="2" PostId="12253" RevisionGUID="d62080a6-3b2a-4a98-9101-95971f1d5804" CreationDate="2012-01-18T21:14:25.723" UserId="6566" Text="I once recorded a pig that could strum an acoustic guitar that was lying on the ground.&#xD;&#xA;&#xD;&#xA;Another time I was recording a llama chewing and it hawked up a giant glob of green lugi all over me and the mic. I'm still scarred.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20195" PostHistoryTypeId="2" PostId="12254" RevisionGUID="55211f2c-a2f1-4bdd-9166-925085d6627f" CreationDate="2012-01-18T21:52:54.803" UserId="400" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;So I've been working on this sound replacement exercise for practice, would it be too much trouble to ask for some feedback/constructive criticism?&#xD;&#xA;&#xD;&#xA;Would be much appreciated!&#xD;&#xA;&#xD;&#xA;Video is here: http://vimeo.com/35278747&#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;Joe" ContentLicense="CC BY-SA 3.0" />
  <row Id="20196" PostHistoryTypeId="1" PostId="12254" RevisionGUID="55211f2c-a2f1-4bdd-9166-925085d6627f" CreationDate="2012-01-18T21:52:54.803" UserId="400" Text="Sound Design - Sound Replacement Exercise Feedback" ContentLicense="CC BY-SA 3.0" />
  <row Id="20197" PostHistoryTypeId="3" PostId="12254" RevisionGUID="55211f2c-a2f1-4bdd-9166-925085d6627f" CreationDate="2012-01-18T21:52:54.803" UserId="400" Text="&lt;sound-design&gt;&lt;replacement&gt;&lt;feedback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20199" PostHistoryTypeId="2" PostId="12256" RevisionGUID="20368c5f-335a-4491-9389-95d087c0c84b" CreationDate="2012-01-19T02:59:49.207" UserId="1228" Text="Overall, very nice attempt and there's some good subtleties in there like the gear movement and guns handling.&#xD;&#xA;&#xD;&#xA;I'd love to hear tastier backgrounds upfront.  It felt one-dimensional to me - nice choices of elements, but it felt somewhat flat.  Mabye some different insects layered and some leaf rustle wind for the forest, and for the meadow some gently fluttering winds to counterpoint the longer, deeper gentle breeze modulations.&#xD;&#xA;&#xD;&#xA;Additionally, some impacts could be bigger in my opinion, such as when he hits the tree.  I was waiting to hear a deep thud/bodyfall against the trunk, along with some gear mvt and nice thick dry bone crack - hard and heavy impact  Something to give it some mid and high-frequency meat.  The sound of it wasn't quite hitting me in the chest.  And the fighting felt sort of thin, or maybe it was because there was a lack of high-frequency content, so everything felt dampened and distant rather than up front in-your-face.&#xD;&#xA;&#xD;&#xA;Overall though nice choices in laser sounds (sounded a BIT canned, but it worked for me), beep choices, and design elements.  Again, the gun and armor mvts were fantastic and tasty.  The vocal bits were well-selected too, didn't feel forced.&#xD;&#xA;&#xD;&#xA;My global thought for an improvement, or learning, point would to consider the dynamics of sonic density and frequency separation/balance, and how those can be advantageously used additively or subtractively - there's a very musical quality to these kinds of sequences in this regard that make them exciting, engaging, and interesting.  Walter Murch's &quot;Clear Density, Dense Clarity&quot; is a good read on this subject too.&#xD;&#xA;&#xD;&#xA;Nice job!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20200" PostHistoryTypeId="2" PostId="12257" RevisionGUID="e74d8e56-bf8e-4dbc-a931-8ca1a0aea5eb" CreationDate="2012-01-19T04:39:11.570" UserId="3365" Text="Hi All- &#xD;&#xA;&#xD;&#xA;First off, I literally started an account two seconds ago and am surprised I didn't find this site sooner. Happy to be here. &#xD;&#xA;&#xD;&#xA;Okay, so my question. I did a sound design for a small (and tiny budgeted) one-woman show. Essentially, my design changed as her story was being workshopped over months. Now the show is finalized and is going on tour. My design has a lot of environmental cues and found music. (Mainly Nigerian high life and gospel, also some Nigerian pop.) Since the show is tiny and most of my stuff was found and not originally composed music or the like, what is an acceptable royalty fee to ask for? The director wants to know how to compensate me for my work as she takes this on tour. Is it a percentage type of situation (i.e, a certain percentage of what the venue is paying to have the show)? Or should I pitch a fixed rate? &#xD;&#xA;&#xD;&#xA;Thanks! &#xD;&#xA;&#xD;&#xA;Gilly" ContentLicense="CC BY-SA 3.0" />
  <row Id="20201" PostHistoryTypeId="1" PostId="12257" RevisionGUID="e74d8e56-bf8e-4dbc-a931-8ca1a0aea5eb" CreationDate="2012-01-19T04:39:11.570" UserId="3365" Text="Fair royalties for a sound designer as a show tours " ContentLicense="CC BY-SA 3.0" />
  <row Id="20202" PostHistoryTypeId="3" PostId="12257" RevisionGUID="e74d8e56-bf8e-4dbc-a931-8ca1a0aea5eb" CreationDate="2012-01-19T04:39:11.570" UserId="3365" Text="&lt;royalties&gt;&lt;small&gt;&lt;budget&gt;&lt;theater&gt;&lt;education&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20203" PostHistoryTypeId="2" PostId="12258" RevisionGUID="5d82138a-8386-4eac-9735-8ee9f7c480f2" CreationDate="2012-01-19T04:50:24.837" UserId="2928" Text="please some explain me clearly and also give few example for drama genre films." ContentLicense="CC BY-SA 3.0" />
  <row Id="20204" PostHistoryTypeId="1" PostId="12258" RevisionGUID="5d82138a-8386-4eac-9735-8ee9f7c480f2" CreationDate="2012-01-19T04:50:24.837" UserId="2928" Text="what is different between sound effect and foley?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20205" PostHistoryTypeId="3" PostId="12258" RevisionGUID="5d82138a-8386-4eac-9735-8ee9f7c480f2" CreationDate="2012-01-19T04:50:24.837" UserId="2928" Text="&lt;foley&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20206" PostHistoryTypeId="2" PostId="12259" RevisionGUID="47c65926-0bfa-40cc-bc2c-53c3396b1c33" CreationDate="2012-01-19T05:28:42.690" UserId="1228" Text="My take on it has always been that there's no black and white answer, because Foley crews do a lot on some major union shows that delve into the FX area (like Dan O'Connell creating sounds of a steam train), and sometimes they only do the feet/cloth and such which is termed as 'tradition' Foley.&#xD;&#xA;&#xD;&#xA;I've come to call the difference as this:  FX adds in the impact, Foley adds the human touch&#xD;&#xA;&#xD;&#xA;Traditionally though, Foley crews are always obligated to shoot:&#xD;&#xA;&#xD;&#xA;&lt;p&gt;-footsteps character&lt;/p&gt;&#xD;&#xA;-footsteps BG&lt;/p&gt;&#xD;&#xA;-cloth pass (including specifics/props like jackets, sweaters, etc)&lt;/p&gt;&#xD;&#xA;-all prop pickups/putdowns/hand-offs/handling (books, guns, glasses, plates, etc)&lt;/p&gt;&#xD;&#xA;-hands (touching skin, hands slide on surface, rubs, etc)&lt;/p&gt;&#xD;&#xA;-human interaction (kissing, sucking, etc)&lt;/p&gt;&#xD;&#xA;-grabs and pats (cloth and flesh, objects like doors, etc)&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And from there they tend to cover props which require the human quality such as stirring coffee with a spoon or doing complicated prop movements like rubbing a cloth repeatedly on a window (although FX sometimes sweetens it with rub squeaks to blend with the Foley).  This is where the FX side that's usually cut (if any for some these things) adds the impact especially if something needs to cut through the mix.  Sometimes they'll shoot door FX and water sounds too, sometimes punches and crash sequences.  It really depends on the stage facility and the show's operating budget.  But the above is what is traditionally shot under the most basic of Foley passes.  Especially in walk-n-talk drama films where those are most of anything that's happening.&#xD;&#xA;&#xD;&#xA;Hope it helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20207" PostHistoryTypeId="2" PostId="12260" RevisionGUID="da0ed86e-841f-4abc-87d7-9956bda35406" CreationDate="2012-01-19T06:17:50.690" UserId="18160" Text="Here's my humble notes from my opinion. Take it with a grain of Tatooine salt.&#xD;&#xA;&#xD;&#xA;Foley is missing for the guy's armor @ :07&#xD;&#xA;&#xD;&#xA;I'd preempt the flybys a bit sooner with a far-off rumble first and then the fly by when it happens on screen. I would go so far as to automate a low-pass from low to high to create this effect.&#xD;&#xA;&#xD;&#xA;A little bird is heard after 3 huge spaceships buzzed a forest. I don't think the little birdy would have the guts to chirp for at least 30 seconds.&#xD;&#xA;&#xD;&#xA;Verify sync of the lady who lands with a jetpack and walks with the rest of the marching. Would like to hear more low-end of the march and her jetpack.&#xD;&#xA;&#xD;&#xA;The stormtroopers have too much of a jingly sound rather than an &quot;I have bad-ass white plastic armor on&quot; sound. The gun cock sounded too much like a modern 9 millimeter to my ear (apologies if this is incorrect). I like the beep of the switch he hits in his hand. The gun holster had too much cloth in it. I'd put more of a plastic slide or something - even though he might have a cloth holster, the camera doesn't show it and I think it might be a little confusing as a timbre added in when all that's seen is cool white armor.&#xD;&#xA;&#xD;&#xA;I'd like to hear more of the walking droid @ 46 seconds&#xD;&#xA;&#xD;&#xA;On the battle sequence, some really good stuff in there. However, the way it was mixed and flushed out made me think I was listening to just a footstep and hard FX stem. I believe there can be more and more detail to put into the track. In the mixing, I noticed that a few things that my instinct would turn up and have in your face were lacking while background noises were above them, specifically the light sabers being twirled right in front of the camera. This could be a good chance to really make them punchy and preempt hits and further developments of the foley/explosions. A great explanation of this is from Ratatoullie (can't spell it) if you watch the Soundworks Collection special on it, Randy Thom talks about not having walls of sound in these types of scenes but having very specific things the camera has focused on come up and doing it very quickly, one right after the other, so the audience subliminally feels they've heard a bunch of things all at once when really you just made them listen to specific things one right after the other (i.e. you don't need to mix a battle scene by turning up all the sound effects to full volume to make the audience feel like they're in the middle of a battle.)&#xD;&#xA;&#xD;&#xA;The 1:20 fade to silence I think could be played more and all other sounds faded out. It takes judgment though - maybe you tried that and it just sounded lame. Hard to tell without trying it.&#xD;&#xA;&#xD;&#xA;Good job - when will we see more?&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 3.0" />
  <row Id="20208" PostHistoryTypeId="5" PostId="12260" RevisionGUID="69cdbdbd-7cca-4643-8991-92e3c483b643" CreationDate="2012-01-19T06:24:30.323" UserId="18160" Comment="added 280 characters in body; deleted 243 characters in body; added 315 characters in body; added 174 characters in body" Text="Here's my humble notes from my opinion. Take it with a grain of Tatooine salt.&#xD;&#xA;&#xD;&#xA;Foley is missing slightly for the guy's armor @ :07 after the cocks his weapon.&#xD;&#xA;&#xD;&#xA;I'd preempt the flybys a bit sooner with a far-off rumble first and then the fly by when it happens on screen. I would go so far as to automate a low-pass from low to high to create this effect.&#xD;&#xA;&#xD;&#xA;A little bird is heard after 3 huge spaceships buzzed a forest. I don't think the little birdy would have the guts to chirp for at least 30 seconds.&#xD;&#xA;&#xD;&#xA;Verify sync of the lady who lands with a jetpack and walks with the rest of the marching. Would like to hear more low-end of the march and her jetpack.&#xD;&#xA;&#xD;&#xA;The stormtroopers have too much of a jingly sound rather than an &quot;I have bad-ass white plastic armor on&quot; sound. The gun cock sounded too much like a modern 9 millimeter to my ear (apologies if this is incorrect). I like the beep of the switch he hits in his hand. The gun holster had too much cloth in it. I'd put more of a plastic slide or something - even though he might have a cloth holster, the camera doesn't show it and I think it might be a little confusing as a timbre added in when all that's seen is cool white armor.&#xD;&#xA;&#xD;&#xA;I'd like to hear more of the walking droid @ 46 seconds&#xD;&#xA;&#xD;&#xA;On the battle sequence, some really good stuff in there. However, the way it was mixed and flushed out made me think I was listening to just a footstep and hard FX stem. I believe there can be more and more detail to put into the track. In the mixing, I noticed that a few things that my instinct would turn up and have in your face were lacking while background noises were above them, specifically the light sabers being twirled right in front of the camera. This could be a good chance to really make them punchy and preempt hits and further developments of the foley/explosions. A great explanation of this is from Ratatoullie (can't spell it) if you watch the Soundworks Collection special on it, Randy Thom talks about not having walls of sound in these types of scenes but having very specific things the camera has focused on come up and doing it very quickly, one right after the other, so the audience subliminally feels they've heard a bunch of things all at once when really you just made them listen to specific things one right after the other (i.e. you don't need to mix a battle scene by turning up all the sound effects to full volume to make the audience feel like they're in the middle of a battle.)&#xD;&#xA;&#xD;&#xA;Another note about the mix leading up to the battle. The forest foley doesn't have forest reverb on it. If you put a couple twig snaps where people step, or other transient sounds that seem appropriate to you, put a forest / grove slap-back echo on it. The effects all seemed pretty dry and &quot;adrish&quot; to my ears. A lot of times, even adding just a few specific effects with forest reverb can create that 3 dimensional space and environment convincing as to what we are seeing on screen.&#xD;&#xA;&#xD;&#xA;The 1:20 fade to silence I think could be played more and all other sounds faded out. It takes judgment though - maybe you tried that and it just sounded lame. Hard to tell without trying it.&#xD;&#xA;&#xD;&#xA;Good job - when will we see more?&#xD;&#xA;&#xD;&#xA;- Ryan" ContentLicense="CC BY-SA 3.0" />
  <row Id="20209" PostHistoryTypeId="2" PostId="12261" RevisionGUID="4e06b3e0-fb5d-4b17-bba7-11ee93afb299" CreationDate="2012-01-19T09:46:53.033" UserId="1228" Text="John Purcell's Dialogue Editing book covers this process in broad strokes from dailies -&gt; printmasters.  Very broad strokes, because all the ins and outs of dialogue/ADR editing alone would fill an Encyclopedia Brittancia set easily.  But, it does offer a very well rounded and approachable introduction to dialogue editing, and where it sits within the entire process of post sound (and, what that post sound process is).  It doesn't have extensive details, but its a good book to start with.  One VERY nice bit is it speaks to some of the etiquette to be aware of.  Some of it has been great suggestions in my opinion, and I've adapted some of his ideas on this topic into how I work with my clients and colleagues.&#xD;&#xA;&#xD;&#xA;Also, Dave Yewdall's Practical Art of Motion Picture Sound covers this same process too but more from the FX angle.  It's a bit older of a book, and full of poignantly dry humor, but still very good and very relevant to today's post sound world.  There's no doubt about it, this man has been in the trenches for a very long time and in a variety of ways, so there's a wealth of knowledge to be grasped from this book.&#xD;&#xA;&#xD;&#xA;The absolute best resource though is being a part of the process itself, or sitting in on it - ranging from the cutting room up to the dub stage.  My experiences have been that books and classroom material only go so far.  The hands-on experience is where it counts, whether you're in the trenches or observing intently from the sidelines." ContentLicense="CC BY-SA 3.0" />
  <row Id="20210" PostHistoryTypeId="2" PostId="12262" RevisionGUID="8b289f5f-d9a4-425c-8203-490b16951820" CreationDate="2012-01-19T10:08:49.833" UserId="3272" Text="I'm not answering the question because this wasn't a recording of my own, but made by a classmate of mine. I've heard the recording a couple of times and I think it's worth well telling.&#xD;&#xA;&#xD;&#xA;This classmate (Claas) was recording a bell of a railroad crossway in the middle of nowhere when a guy suddenly walked up to him and tried to ask him something. Claas putted his finger on his own lips to silence the man, cause the train was coming and the bells were about to start ringing. All of a sudden the unknown man ran up the railroad towards the train. You can hear the train honking in pretty close distance and then putting all his powers on the brakes. You can hear my classmate screaming in panic. And you can hear the unknown mans footsteps running in distance.&#xD;&#xA;&#xD;&#xA;Fortunately the train stopped just in time.&#xD;&#xA;&#xD;&#xA;The unknown man ran away and my classmate tried to follow him in the woods but couldn't find him anymore, he's still trying to figure out what the man asked him before he started ranning towards the train.&#xD;&#xA;&#xD;&#xA;It's by far the most creepy thing I've ever heard and will hear." ContentLicense="CC BY-SA 3.0" />
  <row Id="20211" PostHistoryTypeId="2" PostId="12263" RevisionGUID="2f926345-5a51-42b6-826b-4f23647fb63f" CreationDate="2012-01-19T10:29:19.897" UserId="2928" Text="i want learn mixing for film. i know the boom pool connect to audio mixer and it connect to a recording device when you shooting. i don't know even basic thing about how to separate 2 different audio coming from different mic or mix that together in shooting, its just basic but i don't even know that. can u guys please recommend me any good book or DVD to get start??" ContentLicense="CC BY-SA 3.0" />
  <row Id="20212" PostHistoryTypeId="1" PostId="12263" RevisionGUID="2f926345-5a51-42b6-826b-4f23647fb63f" CreationDate="2012-01-19T10:29:19.897" UserId="2928" Text="i want learn about sound mixing when shooting film, can anyone suggest me a good DVD or book to get start?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20213" PostHistoryTypeId="3" PostId="12263" RevisionGUID="2f926345-5a51-42b6-826b-4f23647fb63f" CreationDate="2012-01-19T10:29:19.897" UserId="2928" Text="&lt;mixing&gt;&lt;books&gt;&lt;sound-design&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20214" PostHistoryTypeId="2" PostId="12264" RevisionGUID="c8b1578b-1ee7-4b6f-b0ea-e06f3b1cebc3" CreationDate="2012-01-19T11:17:33.697" UserId="6420" Text="Ive got the Roll Sound book which covers a lot of useful stuff. http://www.rollsoundbook.com/ sale on at the moment too. &#xD;&#xA;&#xD;&#xA;You could try YouTube for some basic info. Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="20215" PostHistoryTypeId="2" PostId="12265" RevisionGUID="dc65d430-0dba-42af-b5b2-3b3f8b01053c" CreationDate="2012-01-19T11:44:26.827" UserId="6407" Text="Rose - Producing Great Sound for Film &amp; Radio is not bad.&#xD;&#xA;&#xD;&#xA;Bob Katz - Mastering Audio is a kind of audio engineer's bible. (for post sound)&#xD;&#xA;&#xD;&#xA;Ric Viers - The Sound Effects Bible - good for an introduction to most audio concepts that are required knowledge to capturing good sound.&#xD;&#xA;&#xD;&#xA;Some websites&#xD;&#xA;&#xD;&#xA;http://www.bhphotovideo.com/indepth/tips_and_solutions/Audio&#xD;&#xA;&#xD;&#xA;http://filmsound.org/&#xD;&#xA;&#xD;&#xA;Depends what angle your coming at it from? (director wanting to learn more? musician wanting to learn sound design?)&#xD;&#xA;&#xD;&#xA;Best of luck.&#xD;&#xA;Nicol" ContentLicense="CC BY-SA 3.0" />
  <row Id="20216" PostHistoryTypeId="2" PostId="12266" RevisionGUID="20eb2316-3bcb-41ed-891d-527f57f7e621" CreationDate="2012-01-19T11:48:08.347" UserId="6407" Text="I've answered similar question here: http://socialsounddesign.com/questions/12263/i-want-learn-about-sound-mixing-when-shooting-film-can-anyone-suggest-me-a-good&#xD;&#xA;&#xD;&#xA;Get Bob Katz - Mastering Audio, incredibly in-depth and everything you'll ever need to know (probably).  " ContentLicense="CC BY-SA 3.0" />
  <row Id="20217" PostHistoryTypeId="2" PostId="12267" RevisionGUID="ebc2225d-dce8-493d-97c1-384d215f8aaa" CreationDate="2012-01-19T11:58:28.557" UserId="6407" Text="Hi Bowie_Rascal,&#xD;&#xA;&#xD;&#xA;I agree with Stavrosound. The main difference (in my little head) is usually between living and non-living sounds. So, a lightsaber would be a sound effect and the rustling of darth vader's clothes would be foley. However, there is overlap depending on the foley artists/sound designers: some foley artists make the sound of horses from their mouths, some use library material and others will record some (budget permitting usually). As a broad difference that it.&#xD;&#xA;&#xD;&#xA;However, a lot of foley sessions will yield incredible opportunities for sound manipulation and design (ie sound effects): eg. in the new transformers they melted dry ice on metal to give a particular metallic ringing sound which was manipulated to be all sorts of twisted mechanical sounds.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="20218" PostHistoryTypeId="2" PostId="12268" RevisionGUID="5493e29c-a26f-4f16-b98d-cb91969e7c57" CreationDate="2012-01-19T12:03:36.530" UserId="726" Text="I managed to sneak my Zoom H2 onto &quot;Tower of Terror&quot; ride in Disney World in Tokyo! The recording sounds really eerie since I haven't a clue what's being said in Japanese by the narrator but it did managed to scare the life out of me! It was a bit of a challenge keeping hold of my Zoom as I plunged down the tower!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20219" PostHistoryTypeId="2" PostId="12269" RevisionGUID="bc1ae904-f27b-420b-9afa-9bf73b7c250b" CreationDate="2012-01-19T12:16:30.403" UserId="3319" Text="Doing some adr but still working my way around pro tools.&#xD;&#xA;&#xD;&#xA;I've worked out how to do a 'pre roll' but I would like to add a 3 - 2 - 1 metronome just before the actor's cue to say their line to the picture.&#xD;&#xA;&#xD;&#xA;Does anyone know how to get this feature working with the bare basic Pro Tools?&#xD;&#xA;&#xD;&#xA;Many thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20220" PostHistoryTypeId="1" PostId="12269" RevisionGUID="bc1ae904-f27b-420b-9afa-9bf73b7c250b" CreationDate="2012-01-19T12:16:30.403" UserId="3319" Text="ADR beat countdown in Pro Tools LE 8" ContentLicense="CC BY-SA 3.0" />
  <row Id="20221" PostHistoryTypeId="3" PostId="12269" RevisionGUID="bc1ae904-f27b-420b-9afa-9bf73b7c250b" CreationDate="2012-01-19T12:16:30.403" UserId="3319" Text="&lt;pro&gt;&lt;pro-tools&gt;&lt;adr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20222" PostHistoryTypeId="2" PostId="12270" RevisionGUID="22b24819-099c-4e6d-8b7c-c344f8c769ef" CreationDate="2012-01-19T12:50:01.957" UserId="432" Text="use the signal generator plug-in to create a one frame tone pop, duplicate it twice and place each one at 1/2/3 second intervals prior to the start of the line you are replacing...preferrably on a different track as well. **note, your insertion point (recording start) should actually start at the &quot;1&quot; count.** better to record silence than miss a syllable if the actor jumps the gun...that take might end up being useful. to make life easy for yourself afterwards (for recording lines in different locations), turn those three clips (plus the remaining frames between your &quot;1&quot; count and dialogue start) into a region group. then you can move the whole sequence around easily, matching the end of the group to the start of the next line you need to record." ContentLicense="CC BY-SA 3.0" />
  <row Id="20223" PostHistoryTypeId="2" PostId="12271" RevisionGUID="ce6e8b68-5c5e-4aca-8d55-944a309d39b7" CreationDate="2012-01-19T13:11:26.850" UserId="432" Text="The more traditional view is that foley is **performed** to picture, whereas FX are cut to picture. There is an efficiency idea at work here. To piggy-back off of an example that Stavrosound mentioned, let's use the idea of props handling (specifically a dinner scene). I could, with very little fuss, edit in all of the plate/silverware/glass/chair/table noises for this type of scene with effects from a library. Little fuss, but it's going to take me a while if I have to do it for more than one character. A foley artist can perform all of the necessary sounds for one character (sometimes more) in a single pass through the scene. That's a lot less time than it's going to take me to cut each of those individual sounds by hand.&#xD;&#xA;&#xD;&#xA;That's the &quot;traditional&quot; view. Foley artists have been known to help sound designers and editors by performing complex sound sequences that would take far longer to cut by hand...even though they aren't of the human/animal movement and environmental interaction variety. It depends on the budget of the project. Foley has also come into use in describing library sound effects for movement and handling/interaction. Not everyone has the space or budget to hire additional sound crew, such as foley artists. That's why you'll see things like &quot;foley_footstep&quot; sounds in libraries. They have come to be described and named as &quot;foley&quot; sounds, despite the fact that they are not performed, because it is a fast way to locate and identify sounds one might need to cover that specific purpose." ContentLicense="CC BY-SA 3.0" />
  <row Id="20224" PostHistoryTypeId="2" PostId="12272" RevisionGUID="b3e50c8d-88e4-4809-91cc-88291fd0f8d0" CreationDate="2012-01-19T14:55:14.930" UserId="3214" Text="Hi there,&#xD;&#xA;&#xD;&#xA;Wanted to know if you have any tips for making sea &amp; ocean sounds? I live too far from the sea to actually go and record there.&#xD;&#xA;&#xD;&#xA;I've played around with filtering noise and got some fairly ok results but I need to layer a few more things on top.&#xD;&#xA;&#xD;&#xA;I've heard pouring carbonated drink out on concrete sounds quite good?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20225" PostHistoryTypeId="1" PostId="12272" RevisionGUID="b3e50c8d-88e4-4809-91cc-88291fd0f8d0" CreationDate="2012-01-19T14:55:14.930" UserId="3214" Text="Large Bodies Of Water?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20226" PostHistoryTypeId="3" PostId="12272" RevisionGUID="b3e50c8d-88e4-4809-91cc-88291fd0f8d0" CreationDate="2012-01-19T14:55:14.930" UserId="3214" Text="&lt;sound-design&gt;&lt;water&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20227" PostHistoryTypeId="2" PostId="12273" RevisionGUID="f563f8ad-8d66-4f07-92fc-3029f0ad7ee1" CreationDate="2012-01-19T15:06:16.733" UserId="18160" Text="Seagulls always help sell the ocean.&#xD;&#xA;&#xD;&#xA;What is important is what perspective you want to portray. Do you want intimate wave lappings on a lake shore? Or do you want large waves of an ocean as if you're standing on the beach? Or do you want distant waves as if you're standing in an alley near the ocean? I think your answer is a tad bit general because there is a vast difference in approach if you want any of those 3 and there are infinite variations of the above.&#xD;&#xA;&#xD;&#xA;As an easy way out, you can search for boutique ocean libraries. Tim Prebble over at Hiss and a Roar released a great one with ocean sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="20228" PostHistoryTypeId="5" PostId="12272" RevisionGUID="74401b8c-a4fe-44e4-b70a-b0b410f38522" CreationDate="2012-01-19T15:41:03.673" UserId="3214" Comment="added 169 characters in body" Text="Hi there,&#xD;&#xA;&#xD;&#xA;Wanted to know if you have any tips for making sea &amp; ocean sounds? I live too far from the sea to actually go and record there.&#xD;&#xA;&#xD;&#xA;I've played around with filtering noise and got some fairly ok results but I need to layer a few more things on top.&#xD;&#xA;&#xD;&#xA;I've heard pouring carbonated drink out on concrete sounds quite good?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;edit- realise I've been very vague. I am re-making the sound for this video, so need everything to sound quite colossal: http://www.youtube.com/watch?v=IQ72d8xYqqQ&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20229" PostHistoryTypeId="5" PostId="12272" RevisionGUID="586feaed-d747-431f-8dc3-28f6ffe10c7c" CreationDate="2012-01-19T15:54:47.553" UserId="3214" Comment="added 169 characters in body" Text="Hi there,&#xD;&#xA;&#xD;&#xA;Wanted to know if you have any tips for making sea &amp; ocean sounds? I live too far from the sea to actually go and record there.&#xD;&#xA;&#xD;&#xA;I've played around with filtering noise and got some fairly ok results but I need to layer a few more things on top.&#xD;&#xA;&#xD;&#xA;I've heard pouring carbonated drink out on concrete sounds quite good?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;edit- realise I've been very vague. I am re-making the sound for this video, so need everything to sound quite colossal: http://www.youtube.com/watch?v=IQ72d8xYqqQ&#xD;&#xA;&#xD;&#xA;another edit- Just out of interest how do you think the sound at the start of this video was made? http://vimeo.com/31373936&#xD;&#xA;That freezing effect sounds really nice. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20230" PostHistoryTypeId="2" PostId="12274" RevisionGUID="f02cb78f-a99c-4ef3-913e-02ec17288236" CreationDate="2012-01-19T15:57:16.537" UserId="3367" Text="I've got a client who used a cymbal swell with the title graphic of their show for the pilot (mixed elsewhere), and now that the series has come to us they want to re-use it, but don't have the original effect. The 20-odd similar choices I sent them from our library were rejected, so I'm hoping someone here might recognize this particular cymbal, and which library it came from (out of all the thousands of canned cymbals, I know! I've got great faith in the knowledge of this community though).&#xD;&#xA;&#xD;&#xA;[soundcloud]saxtonpope/cymbal-example[/soundcloud]&#xD;&#xA;&#xD;&#xA;Thanks SSD!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20231" PostHistoryTypeId="1" PostId="12274" RevisionGUID="f02cb78f-a99c-4ef3-913e-02ec17288236" CreationDate="2012-01-19T15:57:16.537" UserId="3367" Text="SFX hunt for a particular cymbal" ContentLicense="CC BY-SA 3.0" />
  <row Id="20232" PostHistoryTypeId="3" PostId="12274" RevisionGUID="f02cb78f-a99c-4ef3-913e-02ec17288236" CreationDate="2012-01-19T15:57:16.537" UserId="3367" Text="&lt;sound-libraries&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20233" PostHistoryTypeId="2" PostId="12275" RevisionGUID="2fb4cd08-e0df-404a-88be-a0ba0cd0979d" CreationDate="2012-01-19T16:05:54.243" UserId="18160" Text="take a regular cymbal swell, roll it off at 2K (which is what it sounds like in the sample you sent me) and pitch it so it's the same pitch and tell the producer you found it. I can't believe they are that attached to a cymbal swell...&#xD;&#xA;&#xD;&#xA;It sounds like any of the cymbal swells of the Vienna Symph Library would do... If I had time I'd try to duplicate it." ContentLicense="CC BY-SA 3.0" />
  <row Id="20234" PostHistoryTypeId="2" PostId="12276" RevisionGUID="33591679-7687-4a41-ac6d-64df48af624f" CreationDate="2012-01-19T17:04:42.800" UserId="842" Text="In my opinion, and I follow the old school in this, there is only one difference: performance.&#xD;&#xA;&#xD;&#xA;Sound effects are something you can record whenever you want, and normally referred to as sound editing (sound design is in many ways an artistic and philosophical extension to sound editing). It doesn't even matter what you'll use it for later, as it's in the library for whenever called for.&#xD;&#xA;It can be anything from extremely complicated explosions in something mechanical to simple footsteps and handclaps, though it's most common to use sound editing for hard effects (gunshots, punches and such) as the better control often outweighs the longer time needed to find, edit and paste every single effect in sync.&#xD;&#xA;&#xD;&#xA;Foley is something performed in front of a screen in sync to the movie. It can be anything from simple (or perhaps not so simple, depending on the performer) footsteps and cloth to heavy fist-fights to, I've heard, complete train-stations! It's a MUCH faster way to work, but puts very high demands on the one performing as well as it doesn't have as much control over the final result as pure sound editing. &#xD;&#xA;&#xD;&#xA;Because of the different techniques positive as well as negative aspects most movies, with exceptions of course, mostly in exchanging foley with editing due to poor performance expected, combine the two techniques by using them for what they're best suited for: Foley for more personal and dynamic sounds like footsteps, animal movement and cloth, and editing for explosions, impacts, train-stations ;-) and  cloth rustling to mane but a few things.&#xD;&#xA;&#xD;&#xA;Other things, like the slams of doors, bells and falls are more individual how they're treated. I do all those things as consciously designed edits as that suits med best, and I have friends who would never even consider doing such sounds anyway but foley.&#xD;&#xA;&#xD;&#xA;The term &quot;foley&quot; comes from Jack Foley. He did, as far as I know, everything this way and was frigging fantastic at it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20235" PostHistoryTypeId="2" PostId="12277" RevisionGUID="fc89c52b-930c-4365-94a7-7b5c73694d4d" CreationDate="2012-01-19T17:46:34.083" UserId="842" Text="It's a crash-cymbal played rapidly with mallets with synthetic fur-coated balls in top. Doesn't really matter which brand used as the recording isn't that great to begin with, which makes your search easier :-)&#xD;&#xA;&#xD;&#xA;I don't think this particular sound is from a library at all, the snare in the end as well as the rather poor quality tells me it's probably ripped from an overhead drum-channel from a raw demo someone brought in the first composition." ContentLicense="CC BY-SA 3.0" />
  <row Id="20236" PostHistoryTypeId="2" PostId="12278" RevisionGUID="2d0b872c-27ec-49eb-9ed7-7e8e4db48796" CreationDate="2012-01-19T18:03:54.783" UserId="3368" Text="Hi. . I went into my local ' DigitalVillage Cambridge ' today. . Ive just come out their shop after demo'ing the HS80's next to MR8 MK2's. . &#xD;&#xA;&#xD;&#xA;HS80's hold their mid-frequencies alot more than the Mackies although the bottom end on the Mackies were really warm. I liked them both for different reasons. . &#xD;&#xA;&#xD;&#xA;I'm more in favour of the Yamaha's at the moment but keep finding myself cross examine the two !!&#xD;&#xA;&#xD;&#xA;If anyone is still live on this forum or the host of this topic is here, I would like to hear what you eventually went for ?!&#xD;&#xA;&#xD;&#xA;Regards&#xD;&#xA;&#xD;&#xA;C  " ContentLicense="CC BY-SA 3.0" />
  <row Id="20240" PostHistoryTypeId="5" PostId="12277" RevisionGUID="fce51a48-10eb-467c-81df-9c6e7b9637b7" CreationDate="2012-01-19T20:38:47.610" UserId="842" Comment="added 3 characters in body" Text="It's a crash-cymbal played rapidly with mallets with synthetic fur-coated balls in top. Doesn't really matter which brand used as the recording isn't that great to begin with, which makes your search easier :-)&#xD;&#xA;&#xD;&#xA;I don't think this particular sound is from a library at all, the snare in the end as well as the rather poor quality tells me it's probably ripped from an overhead drum-channel from a raw demo someone brought to the original composition." ContentLicense="CC BY-SA 3.0" />
  <row Id="20241" PostHistoryTypeId="2" PostId="12280" RevisionGUID="f6326290-a3b6-4c2f-8811-d9ebb25154c7" CreationDate="2012-01-19T21:10:13.097" UserId="3369" Text="i have had resolv 80a and esi 05, searching the net for a few days, i'm gonna order and try the behringer b3031a&#xD;&#xA;&#xD;&#xA;my reasons:&#xD;&#xA;&#xD;&#xA;b3031a&#xD;&#xA;&#xD;&#xA;pros&#xD;&#xA;&#xD;&#xA;+ribbon tweater is not that harsh or hard, won't fatigue&#xD;&#xA;&#xD;&#xA;+effective built-in eq'ing, mr8 can't reduce the the lf, hs80m was tested by &quot;audio  professional&quot; and the tester said the eq doesn't have enaugh effect&#xD;&#xA;&#xD;&#xA;+two people reporting something like &quot;no background noise at all&quot;&#xD;&#xA;&#xD;&#xA;+the lf goes about as deep as the hs80m&#xD;&#xA;&#xD;&#xA;+wide sweet spot&#xD;&#xA;&#xD;&#xA;cons&#xD;&#xA;&#xD;&#xA;-the behringers are probably overall a little bit muddy, bad impulse response, at least no one seems to report very crisp sound&#xD;&#xA;&#xD;&#xA;-built quality might be good, but i expect it to be worse than of yamaha and mackie" ContentLicense="CC BY-SA 3.0" />
  <row Id="20245" PostHistoryTypeId="2" PostId="12282" RevisionGUID="257e8f98-dbd8-45f7-9c0f-003767b47a5c" CreationDate="2012-01-19T22:59:30.940" UserId="3370" Text="Check out Robert Altman's large ensemble films like Nashville (1976) and A Wedding (1978). In Nashville, at least, he had 24 tracks going – one for each character." ContentLicense="CC BY-SA 3.0" />
  <row Id="20246" PostHistoryTypeId="16" PostId="12282" RevisionGUID="257e8f98-dbd8-45f7-9c0f-003767b47a5c" CreationDate="2012-01-19T22:59:30.940" UserId="-1" />
  <row Id="20248" PostHistoryTypeId="2" PostId="12283" RevisionGUID="922aad74-edc8-4153-a1d3-968d82e112f6" CreationDate="2012-01-20T07:43:00.630" UserId="3249" Text="You should ask this question at Sound Devices corporation and let us know the results..." ContentLicense="CC BY-SA 3.0" />
  <row Id="20249" PostHistoryTypeId="2" PostId="12284" RevisionGUID="50e26902-8944-4d13-a140-2820102a465d" CreationDate="2012-01-20T07:55:33.913" UserId="3249" Text="It is not easy decision to make ;-) If you think the venue will be successful then go ahead for some percentage fee for every venue. But on the other hand if no one attends venues at all, you will get nothing payed for your work - so it's better to have fixed price.&#xD;&#xA;&lt;br&gt;&#xD;&#xA;Maybe you should figure out some combination of these 2 - for example 20% with minimum $100.&#xD;&#xA;It doesn't matter that your work was &quot;only&quot; to put sounds together, not inventing and designing them by yourself.&lt;br&gt;&#xD;&#xA;Are you going on tour too?&#xD;&#xA;&lt;br&gt;&#xD;&#xA;Good luck with the show!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20250" PostHistoryTypeId="2" PostId="12285" RevisionGUID="e62094d8-ff01-442e-852a-edb299b24669" CreationDate="2012-01-20T11:32:36.243" UserId="993" Text="I'm hitting a brick wall on a key bit of sound design on a show I'm working on. It's set in a magical fantasy world and the moment I'm having trouble with is when a mind control spell is cast on one of the characters. The script calls for having both the voice of the magician and the characters audible. So I've already got two dialogue tracks - one of the character and one of the magician in sync, but the tricky part is combining those voices in a believable way where each voice is recognisable, but it's clear that the magician is exerting his will here. I'm having difficulty with both coming up with creative solutions that work and technically achieving this effect.&#xD;&#xA;&#xD;&#xA;A few of  my early brainstorms and tests included thinking along the lines of David Bowie's Space Oddity, where Bowie sings and octave higher and and double tracks and octave lower - so the result is this beautiful, eerie harmony. But with two voices that idea goes nowhere. Playing around with the usual EQs, reverbs, delays just muddies the clarity of the dialogue and it still sounds like two voices stacked on top of one another. A bit of reverse pre-delay is nice, but that's the only element I've liked so far.&#xD;&#xA;&#xD;&#xA;I should also add that the magician ADR was recorded to exactly match the delivery of the possessed character. Perhaps this was a mistake and I should have tried to have gotten some variations, say having the magician whisper his lines, like he's whispering a suggestion in their ear...hmmmm. Some second opinions would be most excellent. Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20251" PostHistoryTypeId="1" PostId="12285" RevisionGUID="e62094d8-ff01-442e-852a-edb299b24669" CreationDate="2012-01-20T11:32:36.243" UserId="993" Text="Conceptualising possessed double-voice dialogue" ContentLicense="CC BY-SA 3.0" />
  <row Id="20252" PostHistoryTypeId="3" PostId="12285" RevisionGUID="e62094d8-ff01-442e-852a-edb299b24669" CreationDate="2012-01-20T11:32:36.243" UserId="993" Text="&lt;dialogue&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20253" PostHistoryTypeId="2" PostId="12286" RevisionGUID="8902f664-516f-4a35-8c86-97ee7e542ae3" CreationDate="2012-01-20T11:54:42.317" UserId="6420" Text="Tried using some kind of harmoniser effect on the wizard vocal? Maybe that'll be worth trying. Or double tracking it but changing the formants of the voice with something like Melodyne type manipulation? Sounds like fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20254" PostHistoryTypeId="2" PostId="12287" RevisionGUID="14e7434f-0631-4fbd-b866-0136276182ff" CreationDate="2012-01-20T13:57:34.243" UserId="18160" Text="Your reference here is the Two Towers (LOTR) special features where they discuss how they created the doubling effect between Sauramon and Gandalf when Gandalf reappears as Gandalf the White. This should give you some inspiration.&#xD;&#xA;&#xD;&#xA;Also, if the wizard is supposed to have the dominant voice, I would re-record the other characters lines whispered so the wizard's voice has more cut. Whispering takes all of the low-end out of a voice and this will help to separate and not muddy up the sound, but add a nice timbre.&#xD;&#xA;&#xD;&#xA;If this is not possible, high-pass the actor's voice at about 1K or higher and send it through a reverb unit of your choice (perhaps a room or shorter reverb, not something longer than 3 seconds) and ONLY mix in the return of the reverb with the wizard's voice, and have NO reverb on the wizard's voice, so in effect, the reverb return is from the actor's voice and the main signal is from the wizard's.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20255" PostHistoryTypeId="5" PostId="12287" RevisionGUID="f4626500-519b-4309-b283-85d5731d7252" CreationDate="2012-01-20T14:48:00.873" UserId="18160" Comment="added 178 characters in body" Text="Your reference here is the Two Towers (LOTR) special features where they discuss how they created the doubling effect between Sauramon and Gandalf when Gandalf reappears as Gandalf the White. This should give you some inspiration.&#xD;&#xA;&#xD;&#xA;Also, if the wizard is supposed to have the dominant voice, I would re-record the other characters lines whispered so the wizard's voice has more cut. Whispering takes all of the low-end out of a voice and this will help to separate and not muddy up the sound, but add a nice timbre.&#xD;&#xA;&#xD;&#xA;If this is not possible, high-pass the actor's voice at about 1K or higher and send it through a reverb unit of your choice (perhaps a room or shorter reverb, not something longer than 3 seconds) and ONLY mix in the return of the reverb with the wizard's voice, and have NO reverb on the wizard's voice, so in effect, the reverb return is from the actor's voice and the main signal is from the wizard's.&#xD;&#xA;&#xD;&#xA;I also find AVOX Throat to be a good plugin for this type of scenario.&#xD;&#xA;&#xD;&#xA;In the end there is no right or wrong way. Just as long as you provide what the director envisioned!&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20256" PostHistoryTypeId="2" PostId="12288" RevisionGUID="790f0b94-4cb9-499a-9c3c-5a90cca5ce5a" CreationDate="2012-01-20T16:43:21.393" UserId="3196" Text="i would like to know how to do a proper **film mix** -both **mono** and **5.1** in details. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;what are the steps one should follow? is it necessary to EQ all dialogue tracks, foley and fx tracks? if so, why? also if one should always use compressors on the dialouge tracks..should one put the ambience track in center speaker or surround in case of 5.1 mix.&#xD;&#xA;&#xD;&#xA; It would also be of great help if someone can provide me some links on this topic..-" ContentLicense="CC BY-SA 3.0" />
  <row Id="20257" PostHistoryTypeId="1" PostId="12288" RevisionGUID="790f0b94-4cb9-499a-9c3c-5a90cca5ce5a" CreationDate="2012-01-20T16:43:21.393" UserId="3196" Text="how to do a film mix- 5.1  and mono" ContentLicense="CC BY-SA 3.0" />
  <row Id="20258" PostHistoryTypeId="3" PostId="12288" RevisionGUID="790f0b94-4cb9-499a-9c3c-5a90cca5ce5a" CreationDate="2012-01-20T16:43:21.393" UserId="3196" Text="&lt;film&gt;&lt;mixing&gt;&lt;5.1&gt;&lt;mono&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20259" PostHistoryTypeId="2" PostId="12289" RevisionGUID="14f9ee06-4a21-49a1-8012-89209ff942f3" CreationDate="2012-01-20T16:55:44.473" UserId="6435" Text="Usually a designer for a show like that gets an up-front fee for the initial run of the show and any &quot;royalties&quot; come in the form of re-mount fees if/when the show is put up again. And those fees (in a non-union setting) can vary from $50 to upwards of $2000, depending on the overall budget of the producing company (there's a wide range of budgets in local theatre). Since you didn't have an agreed-upon fee before you started work, it's good that the director is willing to talk about what's fair. I agree with Binoj about a combination fee-- agree on a minimum vs. a percentage of the gate. As far as whether the sounds were your own or found--it doesn't matter. You designed the overall sound of the production, and you were there tweaking it while the show was being workshopped, which is not standard for a theatrical sound designer. You've put time and talent into the show and deserve to be compensated. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20260" PostHistoryTypeId="2" PostId="12290" RevisionGUID="69abeeca-5c6e-4023-80d4-aefd640c9cde" CreationDate="2012-01-20T17:09:26.120" UserId="3336" Text="Hi all,&#xD;&#xA;  Just finished a design replacement for this short extract of the Dragon Age 2 cinematic. I'm looking to spread my scope beyond the film world and would be great to get some feedback. I've only used designed atmos and no music.. was wondering if I could of done more with the backgrounds?   &#xD;&#xA;&#xD;&#xA;http://vimeo.com/35246979&#xD;&#xA;&#xD;&#xA;thanks,&#xD;&#xA;&#xD;&#xA;Phil" ContentLicense="CC BY-SA 3.0" />
  <row Id="20261" PostHistoryTypeId="1" PostId="12290" RevisionGUID="69abeeca-5c6e-4023-80d4-aefd640c9cde" CreationDate="2012-01-20T17:09:26.120" UserId="3336" Text="Sound Design for Cinematic Feedback" ContentLicense="CC BY-SA 3.0" />
  <row Id="20262" PostHistoryTypeId="3" PostId="12290" RevisionGUID="69abeeca-5c6e-4023-80d4-aefd640c9cde" CreationDate="2012-01-20T17:09:26.120" UserId="3336" Text="&lt;showreel&gt;&lt;sound-design&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20263" PostHistoryTypeId="2" PostId="12291" RevisionGUID="fcb56d8d-57bd-4091-85fb-acef53a8bb65" CreationDate="2012-01-20T18:28:13.220" UserId="6411" Text="The reversed pre-delay was the first thing that sprung to mind, but similar to @Utopia's reverb idea, you may want to try using only one character's voice for the wet and the other for the dry signal.&#xD;&#xA;&#xD;&#xA;Depending on how the picture is cut you may try nudging the wizard's voice a little earlier (or the possessed character later) so that it's as though the wizard is leading the character and the character mimics the wizard.&#xD;&#xA;&#xD;&#xA;But if you're set on having them both play together, I would imagine if you don't use something akin to [Vocalign][1] or judicious use of Elastic Audio you're going to end up with doubled syllables &amp; slurred fricatives which would muddle up the intelligibility of the lines even before you start futzing with EQ.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.synchroarts.com/index.php?PAGEID=products&amp;ID=vocalign" ContentLicense="CC BY-SA 3.0" />
  <row Id="20264" PostHistoryTypeId="2" PostId="12292" RevisionGUID="01430890-6e11-41b1-9044-13f92db5d178" CreationDate="2012-01-20T20:34:15.387" UserId="6604" Text="You can use the metronome in an aux track to record 3 clicks in a separate audio track. This region thus created can be given as a cue to your artist/talent to dub his lines. And punch in after the clicks to record his lines.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In India we do ADR most of the time but differently. Adr could be for films and even content localisation-translating and dubbing NGC, Discovery, Disney, etc. channels in numerous local languages and Indian content into English for international audiences.&#xD;&#xA;&#xD;&#xA;We don't use beeps or tones. Our artists/talents just mark their lines according to previous character's guide track or video timecode on screen. Even if they miss the opening syllable, they continue their lines with the same speed till the end of the line. Since they start about 2-3 frames late, they finish late too. Then we just nudge the region left by the same no. of frames and achieve synch. If not, the talent is requested to speak slower or faster and pause on certain words to match the guide track." ContentLicense="CC BY-SA 3.0" />
  <row Id="20265" PostHistoryTypeId="2" PostId="12293" RevisionGUID="435ff6ac-47e3-4e17-9e0f-c578748d9686" CreationDate="2012-01-20T21:24:30.290" UserId="842" Text="What you're asking here is basically like asking how to build a car from scratch, in detail. Not only is it extremely technical, different cars demand different ways to be built. Same goes here.&#xD;&#xA;&#xD;&#xA;A good book to read how 5.1 works and why is Tomlinson Holmans - 5.1 Up And Running.&#xD;&#xA;&#xD;&#xA;The only true rule is: You do what you must. Nothing more, nothing less. What one want to accomplish differs totally from person to person, but no matter what your goal is you must always avoid doing neighter anything that doesn't really add to the experience nor neglect something important as far as possible. That's a hard line to stay on and is dependent on experience and judgment, it doesn't matter whether the choice is maximalistic or minimalistic, both the absence of important sounds and excess of things that doesn't belong equally kills the illusion of reality." ContentLicense="CC BY-SA 3.0" />
  <row Id="20266" PostHistoryTypeId="2" PostId="12294" RevisionGUID="dab80e8a-b1ab-4374-8e7d-27319565c353" CreationDate="2012-01-20T22:07:05.190" UserId="432" Text="This question is way too broad. there are pleny of places you can read up on personal techniques and mixing preferences on the web. I say this to help you...this kind of question is a bad way to approach people who can share knowledge with you. **Take the time to educate yourself and develop informed...and specific...questions.**&#xD;&#xA;&#xD;&#xA;You'll develop some of your own ideas in the process that you can discuss with working professional. it will help you in the long run, and you're more likely to get the responses you're looking for than with the type of question you posted. Here are a few sites to get you going:&#xD;&#xA;&#xD;&#xA; - [DesigningSound.org][1]&#xD;&#xA; - [Soundworks Collection][2]&#xD;&#xA; - [FilmSound.org][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org&#xD;&#xA;  [2]: http://soundworkscollection.com/&#xD;&#xA;  [3]: http://www.filmsound.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20267" PostHistoryTypeId="2" PostId="12295" RevisionGUID="6fb87d01-d500-440d-aae8-4d85409d7193" CreationDate="2012-01-21T01:23:34.953" UserId="1199" Text="  - &quot;As far as whether the sounds were your own or found--it doesn't matter. -&#xD;&#xA;&#xD;&#xA;hmmm... depends, who is paying for the performance rights for this &quot;*found*&quot; Nigerian music?&#xD;&#xA;you or the performer... ?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20268" PostHistoryTypeId="2" PostId="12296" RevisionGUID="15647aa3-f846-4998-96c5-a980199680fe" CreationDate="2012-01-21T02:11:16.443" UserId="3178" Text="great work,all i can say is the very beginning of this clip is lacking, the flash backs, it appears to be a concious decision but some reverby screams from that king guy might be needed to sell exactly what is happening even more so,a nice long tail on that idea faded into the next scene with the crown falling down the steps,maybe i do like it how it is though,just great throughout" ContentLicense="CC BY-SA 3.0" />
  <row Id="20269" PostHistoryTypeId="2" PostId="12297" RevisionGUID="68d8a21a-bf45-4381-bf41-38865239f7b6" CreationDate="2012-01-21T04:59:59.703" UserId="3372" Text="I wonder. I have a pair of m-audio bx8a deluxes. Personally, I am happy with them, but I didn't wind up doing a lot of ear-testing. Where do they stand in comparison to the other monitors on this list?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20270" PostHistoryTypeId="2" PostId="12298" RevisionGUID="8d49cf23-416d-4fc8-887c-58ad9a558b75" CreationDate="2012-01-21T06:56:44.850" UserId="61" Text="There are no wrong answers here…  Above all, CLARITY is key. If people can't understand the words you're sunk before you leave the harbor. So whatever you do - make sure you protect the dialog. &#xD;&#xA;&#xD;&#xA;Off the top of my head…&#xD;&#xA;&#xD;&#xA;Approach #1: Use EQ. High-pass the character's voice around 3k (or higher, maybe 8k) so you simulate a whisper (similar to Utopia's idea). Low-pass the magician's voice around 500Hz or so to capture the body. Perhaps the two EQ curves have a good amount of crossover so you don't miss the mids? In addition, try adding some synthesized low end to the magician (ie. Lowender, LoAir) - this may heighten the menace.&#xD;&#xA;&#xD;&#xA;Approach #2: Use Pitch. Keep the characters voice as it is but duck it in level by a fair amount. Process the magician's voice through something like UltraPitch 6-voices to give it an otherworldly feel (similar to Andy Lewis's idea). Be careful, it can start sounding faked if you push it too much.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Approach #3: Use your fader. Try dropping the character's voice altogether and just use the magician's voice. And make it front and center, no mistaking that it's him. Who knows, that could be completely wrong for your project but could be worth a shot. Sometimes, it's better to just let it jump right out and bite you than to hide everything behind gauzy reverbs and delays and such.&#xD;&#xA;&#xD;&#xA;Approach #4: Use convolution. I have no idea how this may work, but try using the magician's dialog as an IR and process the character's speech through it. You'd probably have to do it on a word-by-word basis, but it could be incredibly cool! (Or an utter failure).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Would love to hear what you come up with - please consider posting your results so we can all benefit from your experience.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20271" PostHistoryTypeId="2" PostId="12299" RevisionGUID="98a14990-6f99-43cb-9cec-b26aa26f8734" CreationDate="2012-01-21T07:36:00.930" UserId="1228" Text="I 100% agree with Tim.  Let the stage make the decision.&#xD;&#xA;&#xD;&#xA;The **ONLY** EQ I ever (rarely) use in the edit is a 12-18dB/oct high pass rolloff at 80Hz on the Master if the production mixer left me with some nasty low end, but that's only if the low end is so bad that you can actually see the modulations and its making every single minute sub-frame edit snap regardless of the crossfade I gave it (like for cleaning out ticks and lip smacks).  In my experiences this frequency area is where it tends gets rolled off in a premix, so that's the only reason I safely use that curve when I cut when the production quality calls for me to do so.&#xD;&#xA;&#xD;&#xA;This type of EQ is strictly of troubleshooting nature only.  And normally production mics/mixers are set during shows to roll off at 60Hz or 80Hz, so normally there's nothing down there to be even rolled off by the time everything arrives via dailies and OMF.  But on those rare occasions where the mic or the mixer rolloff was completely disabled and low-end galore made it onto the recording, I'll be simulating in effect what the mixer should have probably been doing by using this EQ setting.&#xD;&#xA;&#xD;&#xA;Now, if I am dealing with someone's voice who does extend down below 80, or if there's no obnoxiously bad low end problem overall in the dailies, I'll forgo the EQ all together and follow exactly what Tim says." ContentLicense="CC BY-SA 3.0" />
  <row Id="20272" PostHistoryTypeId="2" PostId="12300" RevisionGUID="3df7aff6-9d39-4a5e-8f8e-612f21b7a1b3" CreationDate="2012-01-21T08:32:00.853" UserId="310" Text="I personally use FabFilter Pro Q as surgical tool..." ContentLicense="CC BY-SA 3.0" />
  <row Id="20273" PostHistoryTypeId="2" PostId="12301" RevisionGUID="e4d9e670-ab37-4757-a2d6-e1e0369e19f3" CreationDate="2012-01-21T12:26:46.377" UserId="6420" Text="DMG Equality is great" ContentLicense="CC BY-SA 3.0" />
  <row Id="20274" PostHistoryTypeId="2" PostId="12302" RevisionGUID="789b4e8a-fc50-4098-ba94-4437f5ce8ad8" CreationDate="2012-01-21T12:58:03.010" UserId="74" Text="Hi,&#xD;&#xA;I'm going to do a project of language design, that is the creation of an artificial language like it happens, for example, for the aliens of some sc-fi movies.&#xD;&#xA;(Famous examples are the aliens in District 9 and Chewbecca in Star Wars (of course ;)).&#xD;&#xA;It is also called &quot;conlang&quot; (constructed language).&#xD;&#xA;This is a project for the Sound Design course of of my Art School and the final work should be some kind of a &quot;speaking installation&quot;, where the speech is an artificial language.&#xD;&#xA;&#xD;&#xA;My plans are to collect a database of sounds/phonems from human speeches of different languages, in addiction to synthetic sounds,and find a way to re-arrange them on the fly when triggered by an interaction with the audience, in order to create &quot;sentences&quot;.&#xD;&#xA;&#xD;&#xA;The techniques used to create aliens/creatures languages for movies and videogames have been widely discussed, also here on SSD.&#xD;&#xA;**What I'd like to know instead, if there are examples of artificial language design in Sound Art or Arts in general.**&#xD;&#xA;&#xD;&#xA;No videogames or films involved this time ;)&#xD;&#xA;&#xD;&#xA;Any help or suggestion is much appreciated!!&#xD;&#xA;Thanks!&#xD;&#xA;Max&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20275" PostHistoryTypeId="1" PostId="12302" RevisionGUID="789b4e8a-fc50-4098-ba94-4437f5ce8ad8" CreationDate="2012-01-21T12:58:03.010" UserId="74" Text="Language Design/Conlang in Sound Art: Do you know any examples?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20276" PostHistoryTypeId="3" PostId="12302" RevisionGUID="789b4e8a-fc50-4098-ba94-4437f5ce8ad8" CreationDate="2012-01-21T12:58:03.010" UserId="74" Text="&lt;speech&gt;&lt;sound-art&gt;&lt;creature-vocalizations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20278" PostHistoryTypeId="2" PostId="12304" RevisionGUID="6ba31e51-46ef-4859-befb-6eb443e02631" CreationDate="2012-01-21T19:08:34.273" UserId="517" Text="Tolkien's Middle Earth languages comes to mind, although of course they have been used in the Lord of the Rings films. Also Anthony Burges' A Clockwork Orange uses Nadsat, a conlag based on Russian." ContentLicense="CC BY-SA 3.0" />
  <row Id="20279" PostHistoryTypeId="2" PostId="12305" RevisionGUID="f738facf-bb1a-4f5c-930f-59bcd94153ea" CreationDate="2012-01-21T21:24:15.427" UserId="1072" Text="While this is a great suggestion and we are attempting to implement it, I was wondering if anyone uses a similar method that is slightly more customizable and can be more tailored to sound supervision and project organization. I have been doing the spreadsheet method and am finding myself wanting a better option.&#xD;&#xA;&#xD;&#xA;Cheers !&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20280" PostHistoryTypeId="2" PostId="12306" RevisionGUID="0de31c59-935c-4336-88b5-74996bfe0364" CreationDate="2012-01-21T23:44:05.673" UserId="3352" Text="Hello All. &#xD;&#xA;&#xD;&#xA;I have CS5, I need a de hummer within premier. The standard one is not very good. I need it in Premier Pro to speed up my work flow by applying a specific presset. I have over 400 video files however I need to remove a humming noise which is in the background. &#xD;&#xA;&#xD;&#xA;Izotope RX 2 seems to be good however it is not a Plugin for Premier Pro from what I am aware of.&#xD;&#xA;&#xD;&#xA;Can any one advise me of a VERY good plugin that can be used. &#xD;&#xA;&#xD;&#xA;Thank you" ContentLicense="CC BY-SA 3.0" />
  <row Id="20281" PostHistoryTypeId="1" PostId="12306" RevisionGUID="0de31c59-935c-4336-88b5-74996bfe0364" CreationDate="2012-01-21T23:44:05.673" UserId="3352" Text="Izotope RX 2 as plugin in premier (De Hummer)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20282" PostHistoryTypeId="3" PostId="12306" RevisionGUID="0de31c59-935c-4336-88b5-74996bfe0364" CreationDate="2012-01-21T23:44:05.673" UserId="3352" Text="&lt;plugin&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20283" PostHistoryTypeId="2" PostId="12307" RevisionGUID="c96ef22d-8a14-4134-9f05-1f2005e5bebd" CreationDate="2012-01-22T00:36:09.947" UserId="6420" Text="Have you tried using an EQ from within Premiere? You may have luck with some surgical use of one. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20284" PostHistoryTypeId="2" PostId="12308" RevisionGUID="39fbf8b9-f0d7-4ce0-8e98-402783317110" CreationDate="2012-01-22T01:22:43.363" UserId="6411" Text="I agree with @Eric's comment on Shaun's answer, use loop record to do multiple takes in one go. But be sure to give the talent heads up first. :)  When loop recording I like to have &quot;Automatically Create New Playlists When Loop Recording&quot; checked in the Preferences &gt; Operation pane. Makes it super easy to cut together fragments of multiple takes." ContentLicense="CC BY-SA 3.0" />
  <row Id="20285" PostHistoryTypeId="2" PostId="12309" RevisionGUID="a50b65da-1610-4b31-bdba-85acd88ee2de" CreationDate="2012-01-22T01:28:41.087" UserId="1072" Text="+1 for AudioFinder, that's what we use in our facility.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20286" PostHistoryTypeId="2" PostId="12310" RevisionGUID="68fbf58f-62d6-4fe8-a374-96cf4e4c1e3d" CreationDate="2012-01-22T01:38:46.070" UserId="6512" Text="For my live theater sound work, I've always used a laptop running Ableton Live, so I'll second that. It lets you do sound processing on the fly, too, if need be." ContentLicense="CC BY-SA 3.0" />
  <row Id="20287" PostHistoryTypeId="2" PostId="12311" RevisionGUID="b3b64369-a748-4892-8d44-0fdbf2917361" CreationDate="2012-01-22T03:20:39.073" UserId="2498" Text="Hit me with critical.&#xD;&#xA;http://www.youtube.com/watch?v=8rO8BrDJbL8&amp;context=C3b05fd2ADOEgsToPDskKQtOpX1iUCRYr3CGmsQswg&#xD;&#xA;&#xD;&#xA;It was weird using xylophone, it had such an overwhelming amount of sound around 300Hz. The most interesting noise is the &quot;tinkely sound&quot; for the snake: that was tapping bricks covered in broken champagne flutes with tiny spanners.&#xD;&#xA;&#xD;&#xA;I went into it trying to do this again:&#xD;&#xA;http://www.youtube.com/watch?v=YRRn73dTItM &#xD;&#xA;but to have more long form musicality in the samples, and for them to be more reflective of what was on screen, which was really made it difficult to have the repetition of sources that I think this sort of thing might need to have. &#xD;&#xA;&#xD;&#xA;cheers for your time. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20288" PostHistoryTypeId="1" PostId="12311" RevisionGUID="b3b64369-a748-4892-8d44-0fdbf2917361" CreationDate="2012-01-22T03:20:39.073" UserId="2498" Text="Sound design feedback?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20289" PostHistoryTypeId="3" PostId="12311" RevisionGUID="b3b64369-a748-4892-8d44-0fdbf2917361" CreationDate="2012-01-22T03:20:39.073" UserId="2498" Text="&lt;design&gt;&lt;feedback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20290" PostHistoryTypeId="2" PostId="12312" RevisionGUID="67f31e53-8f94-4d3d-b4b8-157afeb63d59" CreationDate="2012-01-22T06:56:06.880" UserId="208" Text="Rx2 can be used as standalone. &#xD;&#xA;I have used the demo on some wildly distorted thunder recordings, which were just nice after rx2, and demoed the de hummer for some pigs fx in a barn where the most annoying ac unit was going constantly. &#xD;&#xA;After rx2, it was totally gone, and no harm was done to the pigs. My jaw dropped. &#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="20291" PostHistoryTypeId="2" PostId="12313" RevisionGUID="08c633b2-178e-4a79-9609-89a087da0254" CreationDate="2012-01-22T10:18:16.190" UserDisplayName="user6513" Text="I've always tried to remember the sounds during such a circumstance but never found an opportunity to use it, but these guys have! Have a look at this clip from Margin Call that has been re-edited [Margin Call Awkward Silence][1]. Awesome stuff.&#xD;&#xA;&#xD;&#xA;[youtube]9MRoF25gPAg[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=9MRoF25gPAg&amp;feature=share" ContentLicense="CC BY-SA 3.0" />
  <row Id="20292" PostHistoryTypeId="1" PostId="12313" RevisionGUID="08c633b2-178e-4a79-9609-89a087da0254" CreationDate="2012-01-22T10:18:16.190" UserDisplayName="user6513" Text="Awkward Silence" ContentLicense="CC BY-SA 3.0" />
  <row Id="20293" PostHistoryTypeId="3" PostId="12313" RevisionGUID="08c633b2-178e-4a79-9609-89a087da0254" CreationDate="2012-01-22T10:18:16.190" UserDisplayName="user6513" Text="&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20294" PostHistoryTypeId="2" PostId="12314" RevisionGUID="afa5c12f-5036-496d-ae6d-13e01fa74e43" CreationDate="2012-01-22T12:01:17.137" UserId="3336" Text="What a great project, I'd also be really interested in hearing your results. Sounds like perfect Max/MSP territory. Program in some universal rules taken from aspects of languages around the world as a basis for your sound triggers possibly? Play around with convolution, you could take the articulation of one language and convolve it to another? Soundhack could be a great tool for this or logic's space designer. &#xD;&#xA;Best of luck...&#xD;&#xA;Phil  " ContentLicense="CC BY-SA 3.0" />
  <row Id="20295" PostHistoryTypeId="2" PostId="12315" RevisionGUID="c0516d5a-c04e-4f4e-b775-2e02afe2b571" CreationDate="2012-01-22T12:50:33.053" UserId="2928" Text="i know how to use boom, microphone, cable and all its function to its best. but when i use 2microphone or more i don't know how to operate my field mixer. actually i don't know anything about mixer. i want learn properly about this. please anyone suggest me a good DVD or book that will teach me..." ContentLicense="CC BY-SA 3.0" />
  <row Id="20296" PostHistoryTypeId="1" PostId="12315" RevisionGUID="c0516d5a-c04e-4f4e-b775-2e02afe2b571" CreationDate="2012-01-22T12:50:33.053" UserId="2928" Text="i want learn ''production sound mixing'' for film, particularly everything about the field mixer and what it can do for me. any DVD/book tutorial?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20297" PostHistoryTypeId="3" PostId="12315" RevisionGUID="c0516d5a-c04e-4f4e-b775-2e02afe2b571" CreationDate="2012-01-22T12:50:33.053" UserId="2928" Text="&lt;production&gt;&lt;mixer&gt;&lt;mixing&gt;&lt;production-mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20298" PostHistoryTypeId="2" PostId="12316" RevisionGUID="5367f3be-b59e-4745-93a5-7300e9ed3595" CreationDate="2012-01-22T13:00:44.133" UserId="6420" Text="I suggest a search using button on the first page first. Lots of similar posts can be found here. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20299" PostHistoryTypeId="5" PostId="12315" RevisionGUID="f410524c-7a0b-48a8-978d-09eb077a77ab" CreationDate="2012-01-22T13:18:20.613" UserId="2928" Comment="added 88 characters in body" Text="i know how to use boom, microphone, cable and all its function to its best. but when i use 2microphone or more i don't know how to operate my field mixer. actually i don't know anything about mixer. i want learn properly about this. please anyone suggest me a good DVD or book that will teach me... (i already done the search i cannot find a good book or DVD to learn detail about this)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20300" PostHistoryTypeId="2" PostId="12317" RevisionGUID="62a38e93-31b5-4e36-9e0a-9b1b3834b5a1" CreationDate="2012-01-22T14:43:41.013" UserId="7642" Text="I've read a lot online so I think I have a decent setup.&#xD;&#xA;&#xD;&#xA;Roland R26 recording stereo Interior and dynamics on engine and exhaust&#xD;&#xA;&#xD;&#xA;Cantar recording two different pan mics (with dual mics in each zepp Shoeps and MKH 416) and a stereo close perspective (dual mkh 50)&#xD;&#xA;&#xD;&#xA;Sony M10 with external mics recording distant perspective stereo.&#xD;&#xA;&#xD;&#xA;What really worries me is that we are going to use the actual cars from set, and they will continue to use them in a few days after were done. So to my actual question:&#xD;&#xA;&#xD;&#xA;What is the best type of TAPE to use to tape cables and mics to the car without risking damaging the paint.&#xD;&#xA;It needs to be able to stick to the paint while recording but not leave to much glue residue afterwards and def wont damage the paint.&#xD;&#xA;&#xD;&#xA;Brand new cars..." ContentLicense="CC BY-SA 3.0" />
  <row Id="20301" PostHistoryTypeId="1" PostId="12317" RevisionGUID="62a38e93-31b5-4e36-9e0a-9b1b3834b5a1" CreationDate="2012-01-22T14:43:41.013" UserId="7642" Text="First time for &quot;proper&quot; Car recording. What TAPE to use to tape on car paint?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20302" PostHistoryTypeId="3" PostId="12317" RevisionGUID="62a38e93-31b5-4e36-9e0a-9b1b3834b5a1" CreationDate="2012-01-22T14:43:41.013" UserId="7642" Text="&lt;sound-effects-recording&gt;&lt;cars&gt;&lt;tape&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20303" PostHistoryTypeId="2" PostId="12318" RevisionGUID="614fcebc-ec57-4ec6-bca5-95ab178c5a88" CreationDate="2012-01-22T15:06:27.373" UserId="182" Text="We (I work at a premium car manufacturer, in development) always use black or grey Tesa Gaffer tape, the type that's almost fabric-like, rather than plasticy, with lots of fibers in both directions.&#xD;&#xA;&#xD;&#xA;It doesn't tear off the paint, holds very well (I tested it up to 280 km/h, taping mics to the underside of cars etc) and leaves little to no residue.&#xD;&#xA;&#xD;&#xA;If it does leave residue (this might be the case when it gets hot, near exhaust or engine parts), you can use another bit of tape to pull it off the car body.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If you can wait a day I can look up the exact type tomorrow." ContentLicense="CC BY-SA 3.0" />
  <row Id="20304" PostHistoryTypeId="2" PostId="12319" RevisionGUID="84e6e466-2574-4a1f-b1bd-f241d6fd5a10" CreationDate="2012-01-22T18:08:26.820" UserId="1072" Text="Starts with good acting performances, film editing, clever mix of prod dial track and tasteful Foley/Sfx. Thanks for sharing! Fun moment indeed!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20305" PostHistoryTypeId="2" PostId="12320" RevisionGUID="37b460fa-9803-4e10-97b7-7f976b3ad636" CreationDate="2012-01-22T18:13:48.263" UserId="1072" Text="This site has a lot of good info on this topic. You may want to read up in the DVX user forums as well as purchase some recommended reading posted throughout the Internet sites including this one. The best possible way to learn is to rent the equipment or offer your time as a cable person / utility to established mixers and learn from them. Best of luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="20306" PostHistoryTypeId="2" PostId="12321" RevisionGUID="bcf4d816-d097-4f9e-a8e8-c6119c9be015" CreationDate="2012-01-22T18:22:26.753" UserId="1072" Text="I would say to try and focus on separate yet universally concurrent design for smaller individual moments. Seemed a bit too busy and as if painted with &quot;too large a brush&quot; try smaller more tighter &quot;brush strokes&quot;. That would be my approach. &#xD;&#xA;&#xD;&#xA;Very cool none the less!&#xD;&#xA;&#xD;&#xA;art is art right? " ContentLicense="CC BY-SA 3.0" />
  <row Id="20307" PostHistoryTypeId="2" PostId="12322" RevisionGUID="c384d25c-b120-43cf-a3c5-f85a968056f5" CreationDate="2012-01-22T18:28:29.103" UserId="1072" Text="When we mix dialogue units we use the pro tools EQ7 and if need to notch waves Q10.&#xD;&#xA;&#xD;&#xA;Been meaning to look at Equality but worried about CPU / dly" ContentLicense="CC BY-SA 3.0" />
  <row Id="20308" PostHistoryTypeId="2" PostId="12323" RevisionGUID="1a5d33fb-f8b8-4d7a-a569-d39f4b00edcc" CreationDate="2012-01-22T18:30:08.430" UserId="1072" Text="I should suggest a software called Streamers&#xD;&#xA;&#xD;&#xA;http://figure53.com/streamers/&#xD;&#xA;&#xD;&#xA;We use it for ADR and Foley. Cheap and awesome" ContentLicense="CC BY-SA 3.0" />
  <row Id="20309" PostHistoryTypeId="2" PostId="12324" RevisionGUID="a6e50791-71c5-4cdf-884f-1588c12267c3" CreationDate="2012-01-22T18:37:06.040" UserId="3374" Text="Hi Leon,&#xD;&#xA;&#xD;&#xA;There was an old bug between RX 2 and Premiere Pro that prevented RX from showing up in the plug-in list.  This has been fixed on iZotope's side in the latest version of RX 2 and on Adobe's side by the latest versions of Premiere (though I'm not 100% sure if the update is in Premiere Pro CS5 or CS5.5).  Please make sure you're running the latest versions of both software packages." ContentLicense="CC BY-SA 3.0" />
  <row Id="20310" PostHistoryTypeId="2" PostId="12325" RevisionGUID="3ffe7eda-df7d-4367-a966-694819ec4d48" CreationDate="2012-01-22T18:39:40.250" UserId="1072" Text="Some I'd you may know me or some of my team personally, and I have posted quite a bit. But am often busy with work and not as &quot;social&quot; as would like to be. So I wanted to share our project reel from 2011. It's great to have and be a part of this community!&#xD;&#xA;&#xD;&#xA;http://giftofsound.ca/en/reel.html&#xD;&#xA;&#xD;&#xA;Look forward to your comments.&#xD;&#xA;&#xD;&#xA;-Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="20311" PostHistoryTypeId="1" PostId="12325" RevisionGUID="3ffe7eda-df7d-4367-a966-694819ec4d48" CreationDate="2012-01-22T18:39:40.250" UserId="1072" Text="Demo reel show n tell" ContentLicense="CC BY-SA 3.0" />
  <row Id="20312" PostHistoryTypeId="3" PostId="12325" RevisionGUID="3ffe7eda-df7d-4367-a966-694819ec4d48" CreationDate="2012-01-22T18:39:40.250" UserId="1072" Text="&lt;demo-reel&gt;&lt;design&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20313" PostHistoryTypeId="5" PostId="12324" RevisionGUID="0d616e48-8b13-46cc-a52c-6239d5d30106" CreationDate="2012-01-22T18:44:54.660" UserId="3374" Comment="added 285 characters in body" Text="Hi Leon,&#xD;&#xA;&#xD;&#xA;There was an old bug between RX 2 and Premiere Pro that prevented RX from showing up in the plug-in list.  This has been fixed on iZotope's side in the latest version of RX 2 and on Adobe's side by the latest versions of Premiere (though I'm not 100% sure if the update is in Premiere Pro CS5 or CS5.5).  Please make sure you're running the latest versions of both software packages.&#xD;&#xA;&#xD;&#xA;Also, the RX 2 standalone app will open anything that can be opened by Quicktime codecs (it strips out the audio so you'll have to re-spot it in Premiere) and has a batch processor that will take care of all of your files in a batch (provided they have the same type of problem).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20314" PostHistoryTypeId="2" PostId="12326" RevisionGUID="f435af02-7252-451b-a139-7e91e94fcbab" CreationDate="2012-01-22T19:51:42.883" UserId="1072" Text="I'm considering this vs the zaxcom nomad. Has anyone had experience with the Tascam?&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="20315" PostHistoryTypeId="1" PostId="12326" RevisionGUID="f435af02-7252-451b-a139-7e91e94fcbab" CreationDate="2012-01-22T19:51:42.883" UserId="1072" Text="tascam hs-p82 8 ch recorder mixer for prod recording and field recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="20316" PostHistoryTypeId="3" PostId="12326" RevisionGUID="f435af02-7252-451b-a139-7e91e94fcbab" CreationDate="2012-01-22T19:51:42.883" UserId="1072" Text="&lt;field-recording&gt;&lt;portable-recorder&gt;&lt;recorder-mixer&gt;&lt;production-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20317" PostHistoryTypeId="2" PostId="12327" RevisionGUID="b27c635d-b064-41c8-af4d-9ef54706def5" CreationDate="2012-01-22T23:17:12.267" UserId="3377" Text="hello,&#xD;&#xA;i am working on a project where i crash together 2 foot copper and steel boxes in mid air (using a pneumatic colliding machine i made - yes, silly...), and i use old 16mm film to record slow motion of the collisions, and record sound using piezo film sensors and standard mikes. **what i would love to know is possible ways to slow down the audio 40 - 100 times** (yes, a lot) using digital means.  i am NOT a sound designer, but i am trying as much as i can.  i have tried phase vocoder stuff, which smears the transients and all detail, i have tried paul's extreme sound stretch (which does the same, obviously, though is more suited to extreme stretching), i have tried reel to reel, re-recording and building the stretch over several passes (which becomes quite noisy), and digital resampling (which from 192kHz ends up being quite glitchy....)&#xD;&#xA;i am wondering if recording 1bit 2.8MHz DSD is worth considering - giving me enough sampling speed to really play with resampling and slow time (i realise this will lower the pitch also....)  or are there other options to consider???&#xD;&#xA;what interests me most right now is getting the sound accurately slowed, so that i can understand what is happening and link it to the visuals of the film.  i may perhaps end up editing heavily, or even foley-ing the whole thing, but at the moment i really want to understand what is happening sonically at very slow speeds - to be able to hear the smallest times and what is going on there....  &#xD;&#xA;in the past i have just recorded at 192kHz, slowed the sound down in Soundtrak Pro's stretcher, and then added transint peaks on top to preserve some of the punch that i *imagine* would be happening (!)&#xD;&#xA;this is a very old version of the project (two more itterations now), but you get the idea - 2 foot tall copper and steel boxes in mid air, wanting to get an accurate sonification of the collision....&#xD;&#xA;&#xD;&#xA;[vimeo] 28642463 [/vimeo]&#xD;&#xA;&#xD;&#xA;i hope someone has been playing with slow-down in this sort of range of 40 - 100x and has some possibilities worth exploring that they are willing to share.&#xD;&#xA;thanks, sean." ContentLicense="CC BY-SA 3.0" />
  <row Id="20318" PostHistoryTypeId="1" PostId="12327" RevisionGUID="b27c635d-b064-41c8-af4d-9ef54706def5" CreationDate="2012-01-22T23:17:12.267" UserId="3377" Text="slowing down sound - a lot.... suggestions needed!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20319" PostHistoryTypeId="3" PostId="12327" RevisionGUID="b27c635d-b064-41c8-af4d-9ef54706def5" CreationDate="2012-01-22T23:17:12.267" UserId="3377" Text="&lt;time-stretching&gt;&lt;slow&gt;&lt;video&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20320" PostHistoryTypeId="2" PostId="12328" RevisionGUID="895bc6b5-fee0-4b67-9bfa-b8e6ad787153" CreationDate="2012-01-23T00:46:22.143" UserId="1228" Text="Try XForm.  I've had decent results, granted it takes a VERY long time to do it's processing  That's only only other option I can think of.  However, it's a processor which is going to add interpolation points (e.g. new sound generation).  The only other option to retain transparent quality, that I can think of, is do a pitch change with no time compression, meaning the pitch is cut 50% for example, and the sound is elongated by 2x it's original.  But it's only viable, in the case of how much you want to slow it down by, to have the original recording be 192kHz.&#xD;&#xA;&#xD;&#xA;The deal is, slowing down by that much is going to create digital artifacts unless you use the latter means (and accept working with the pitch drop).  Period.  There's no way around that.  There are only so many 1s and 0s, and for each time you cut the speed in half, interpolated voltage points have to be created by averaging two voltages.  When averaging, it has no way of creating all of the modulated harmonics which come along with those wave forms.  Hence, it has a washy and stretched-sound.  Especially because in that much of a slowdown, you're creative three or more &quot;averaged&quot;, interpolated voltage points - which in of themselves are averages of over voltages.  The fidelity and quality of these interpolations exponentially decay when compounded.&#xD;&#xA;&#xD;&#xA;Those ideas you tried sound solid (DSD may be an option, I'm just not familiar with it), and the above are some other recommendations I can provide.  But unfortunately within the constructs and limitations of 'standard' digital audio formats we all work with, there is a very finite limit to forgivable time-stretching within the digital domain.  And there always will be artifacting, sometimes not easily audible.  The art is learning where to walk the fine line of doing the stretching you need but not beyond the point in which it reveals the problems inherent with digital stretching.  But in some cases, like the speed adjustments you are trying to get, are virtually unobtainable without receiving audible artificting in return.&#xD;&#xA;&#xD;&#xA;Unfortunately that's the best answer I can provide, both from my own experience and what I know about how digital time stretching functions.  Maybe there is a 'secret sauce' I'm not familiar with, and maybe somebody knows what it is. Although from where I'm sitting, I unfortunately don't see a perfect no-strings-attached solution to the problem you are presenting." ContentLicense="CC BY-SA 3.0" />
  <row Id="20321" PostHistoryTypeId="5" PostId="12328" RevisionGUID="300601d0-2d3c-4811-9a83-26b75cd0c51e" CreationDate="2012-01-23T00:55:13.490" UserId="1228" Comment="added 105 characters in body; added 19 characters in body" Text="Try XForm.  I've had decent results, granted it takes a VERY long time to do it's processing  That's only only other option I can think of.  However, it's a processor which is going to add interpolation points (e.g. new sound generation).  The only other option to retain transparent quality, that I can think of, is do a pitch change with no time compression, meaning the pitch is cut 50% for example, and the sound is elongated by 2x it's original.  But it's only viable, in the case of how much you want to slow it down by, to have the original recording be 192kHz.&#xD;&#xA;&#xD;&#xA;The deal is, slowing down by that much is going to create digital artifacts unless you use the latter means (and accept working with the pitch drop).  Period.  There's no way around that, just like how Moore's law breaks down at the atomic level.  There's a limit to the forgivability factor of time stretching.  There are only so many 1s and 0s, and for each time you cut the speed in half, interpolated voltage points have to be created by averaging two voltages.  When averaging, it has no way of creating all of the modulated harmonics which come along with those wave forms.  Hence, it has a washy and stretched-sound.  Especially because in that much of a slowdown, you're creative three or more &quot;averaged&quot;, interpolated voltage points - which in of themselves are averages of over voltages.  The fidelity and quality of these interpolations exponentially decay when compounded.&#xD;&#xA;&#xD;&#xA;Those ideas you tried sound solid (DSD may be an option, I'm just not familiar with it), and the above are some other recommendations I can provide.  But unfortunately within the constructs and limitations of 'standard' digital audio formats we all work with, there is a very finite limit to forgivable time-stretching within the digital domain.  And there always will be artifacting, sometimes not easily audible.  The art is learning where to walk the fine line of doing the stretching you need but not beyond the point in which it reveals the problems inherent with digital stretching.  But in some cases, like the speed adjustments you are trying to get, are virtually unobtainable without receiving audible artificting in return.&#xD;&#xA;&#xD;&#xA;Unfortunately that's the best answer I can provide, both from my own experience and what I know about how digital time stretching functions.  Maybe there is a 'secret sauce' I'm not familiar with, and maybe somebody knows what it is. Although from where I'm sitting, I unfortunately don't see a perfect no-strings-attached solution to the problem you are presenting." ContentLicense="CC BY-SA 3.0" />
  <row Id="20322" PostHistoryTypeId="5" PostId="12328" RevisionGUID="033c419f-d51e-4d7b-bd13-e86f676aa1e9" CreationDate="2012-01-23T02:49:55.930" UserId="1228" Comment="edited body" Text="Try XForm.  I've had decent results, granted it takes a VERY long time to do it's processing  That's only only other option I can think of.  However, it's a processor which is going to add interpolation points (e.g. new sound generation).  The only other option to retain transparent quality, that I can think of, is do a pitch change with no time compression, meaning the pitch is cut 50% for example, and the sound is elongated by 2x it's original.  But it's only viable, in the case of how much you want to slow it down by, to have the original recording be 192kHz.&#xD;&#xA;&#xD;&#xA;The deal is, slowing down by that much is going to create digital artifacts unless you use the latter means (and accept working with the pitch drop).  Period.  There's no way around that, just like how Moore's law breaks down at the atomic level.  There's a limit to the forgivability factor of time stretching.  There are only so many 1s and 0s, and for each time you cut the speed in half, interpolated voltage points have to be created by averaging two voltages.  When averaging, it has no way of creating all of the modulated harmonics which come along with those wave forms.  Hence, it has a washy and stretched-sound.  Especially because in that much of a slowdown, you're creating three or more &quot;averaged&quot;, interpolated voltage points - which in of themselves are averages of over voltages.  The fidelity and quality of these interpolations exponentially decay when compounded.&#xD;&#xA;&#xD;&#xA;Those ideas you tried sound solid (DSD may be an option, I'm just not familiar with it), and the above are some other recommendations I can provide.  But unfortunately within the constructs and limitations of 'standard' digital audio formats we all work with, there is a very finite limit to forgivable time-stretching within the digital domain.  And there always will be artifacting, sometimes not easily audible.  The art is learning where to walk the fine line of doing the stretching you need but not beyond the point in which it reveals the problems inherent with digital stretching.  But in some cases, like the speed adjustments you are trying to get, are virtually unobtainable without receiving audible artificting in return.&#xD;&#xA;&#xD;&#xA;Unfortunately that's the best answer I can provide, both from my own experience and what I know about how digital time stretching functions.  Maybe there is a 'secret sauce' I'm not familiar with, and maybe somebody knows what it is. Although from where I'm sitting, I unfortunately don't see a perfect no-strings-attached solution to the problem you are presenting." ContentLicense="CC BY-SA 3.0" />
  <row Id="20323" PostHistoryTypeId="2" PostId="12329" RevisionGUID="bc2ed1c3-875f-4cc3-b48d-adc87507f249" CreationDate="2012-01-23T05:34:12.773" UserId="61" Text="Try:&#xD;&#xA;&#xD;&#xA;[paulstretch][1] &#xD;&#xA;&#xD;&#xA;or &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[photosounder][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hypermammut.sourceforge.net/paulstretch/&#xD;&#xA;  [2]: http://photosounder.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20324" PostHistoryTypeId="2" PostId="12330" RevisionGUID="d2432f49-e184-4166-baa1-ac51643a287f" CreationDate="2012-01-23T07:18:46.297" UserId="7642" Text="Left field opinion...&#xD;&#xA;&#xD;&#xA;If you choose to not EQ at all during dia editing you will very likely use too long fades and transitions,  and use too much fill to be able to make the dia sound great. Since on the stage they will EQ and correct tonal (in)balance. So the fades to hide those tonal differences will be longer than necessary and might smear the sound more than necessary.&#xD;&#xA;&#xD;&#xA;Otoh... You need great calibrated monitoring that translates well to get anywhere near close... Headphones does NOT work.&#xD;&#xA;You always have to talk to your mixer if attempting to prep EQ!&#xD;&#xA;You also need a good time of dub stage experience to hear how it translates." ContentLicense="CC BY-SA 3.0" />
  <row Id="20325" PostHistoryTypeId="5" PostId="2578" RevisionGUID="cd7c0c78-8a7a-4257-adaf-c0d2f5feb187" CreationDate="2012-01-23T08:26:52.170" UserId="61" Comment="added 1 characters in body" Text="I believe there were several eras when the importance of sound was understood and given the resources required (think 1930s, 1970s). I'm not sure we're in one of those eras now, however. Speaking from a feature film standpoint, the budgets for post-production sound have been greatly reduced over the last decade, and this reduction has of course resulting not only in stagnating wages but also smaller crew sizes and shorter schedules. &#xD;&#xA;&#xD;&#xA;One driving force behind this is the perpetuating philosophy that &quot;digital makes things easier and faster&quot; - which is true in many ways. But just because it can be done faster doesn't mean that it *should*. Sound is an art, just as much as writing, set design, and picture editorial. It should not be viewed (or budgeted) as a technical task to complete in the last stages of the film's schedule.&#xD;&#xA;&#xD;&#xA;These budgets will continue to decrease and there's only so much &quot;educating&quot; that can be attempted before the producers and directors get tired of your complaints and take their business elsewhere. This is a **business**, after all, and so long as we keep delivering stellar soundtracks under less-than-desirable conditions, then what motivation do they really have to pay us more??" ContentLicense="CC BY-SA 3.0" />
  <row Id="20326" PostHistoryTypeId="2" PostId="12331" RevisionGUID="9c270190-a946-40a3-a212-9452c244ea51" CreationDate="2012-01-23T08:36:05.000" UserId="61" Text="Great strides have been made in the field of sound recording over the last couple of decades. We've seen (in no particular order):&#xD;&#xA;&#xD;&#xA; - Digital recording (both tape and disk&#xD;&#xA;   based)&#xD;&#xA; - Multichannel recording&#xD;&#xA; - Multichannel mics (think Holophone or&#xD;&#xA;   any other mic that captures more than&#xD;&#xA;   a stereo image)&#xD;&#xA; - improved contact mics&#xD;&#xA; - improved hydrophones&#xD;&#xA; - sub- and super-sonic mics (think miss&#xD;&#xA;   that can capture below 20Hz or above&#xD;&#xA;   50kHz)&#xD;&#xA;&#xD;&#xA;…and many more.&#xD;&#xA;&#xD;&#xA;But, **what's next**? What's that next big tech that will be a true innovation? I'm thinking something akin to what 3-D capture has done for the visual medium (think Avatar).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And let's keep this thread clear of any reproduction systems, ie. 5.1, 7.1, etc. I'm interested in the future of HOW we capture sound, not how it is played back. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20327" PostHistoryTypeId="1" PostId="12331" RevisionGUID="9c270190-a946-40a3-a212-9452c244ea51" CreationDate="2012-01-23T08:36:05.000" UserId="61" Text="What is the future of recording technologies?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20328" PostHistoryTypeId="3" PostId="12331" RevisionGUID="9c270190-a946-40a3-a212-9452c244ea51" CreationDate="2012-01-23T08:36:05.000" UserId="61" Text="&lt;field-recording&gt;&lt;microphone&gt;&lt;the-future&gt;&lt;technology&gt;&lt;innovation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20329" PostHistoryTypeId="5" PostId="12318" RevisionGUID="be7cfbb9-cf47-4d42-bcdc-fa2147818cba" CreationDate="2012-01-23T09:01:15.000" UserId="182" Comment="Added tape specifications.; added 8 characters in body" Text="We (I work at a premium car manufacturer, in development) always use black or grey Tesa Gaffer tape, the type that's almost fabric-like, rather than plasticy, with lots of fibers in both directions.&#xD;&#xA;&#xD;&#xA;It doesn't tear off the paint, holds very well (I tested it up to 280 km/h, taping mics to the underside of cars etc) and leaves little to no residue.&#xD;&#xA;&#xD;&#xA;If it does leave residue (this might be the case when it gets hot, near exhaust or engine parts), you can use another bit of tape to pull it off the car body.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;It's [**Tesa 4651**][2] (Premium acrylic coated cloth tape) or [**Tesa 4657**][3] (Temperature resistant acrylic coated cloth tape).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tesatape.com/imedia/298/514298,dim:282x400,mode:exact.jpg&#xD;&#xA;  [2]: http://www.tesatape.com/industry/products/tesa_4651.html&#xD;&#xA;  [3]: http://www.tesatape.com/industry/products/tesa_4657.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="20330" PostHistoryTypeId="2" PostId="12332" RevisionGUID="9d6c864a-5a8e-4703-ae8d-e9239a5e6eac" CreationDate="2012-01-23T10:24:21.610" UserId="3344" Text="Sorry to sort of hijack this thread by asking a question within question! But is it possible to record at a high sample rate, say 192kHz or even up to 1bit 2.8MHz DSD (granted I dont know much about DSD!), and then play it back at a 44.1kHz or 48kHz for example to slow it down? In a similar way to high speed cameras that record at 1000's of FPS and then being play the footage back at around 24-30 FPS?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20331" PostHistoryTypeId="2" PostId="12333" RevisionGUID="3bb1f1fc-996e-4dc4-9782-a4ed248e2d3f" CreationDate="2012-01-23T13:10:05.897" UserId="182" Text="**Miniaturization**.&#xD;&#xA;&#xD;&#xA;Like this: [Scientists create the world's tiniest 'ear'][1].&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;Pick up sound from stuff that we can't even hear with our own ears.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Or (self-powered, wireless) mics that are so small that you can put them literally everywhere.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**2D Microphone arrays**&#xD;&#xA;&#xD;&#xA;Like this: [New super microphone can hear you in a crowded stadium][3]&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;So you can focus on sound, even after recording it.&#xD;&#xA;&#xD;&#xA;If you can somehow make this with depth as well (several layers of microphones), you can even decide how deep you want to focus, which makes it sort of similar to the possibilities that the [lytro light field camera][5] offers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I can't wait for this stuff to turn into commercial products!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://news.sciencemag.org/sciencenow/2012/01/scientists-create-worlds-tiniest.html?ref=hp&#xD;&#xA;  [2]: http://news.sciencemag.org/sciencenow/assets_c/2012/01/sn-nanoears-thumb-200xauto-12005.jpg&#xD;&#xA;  [3]: http://singularityhub.com/2010/10/13/new-super-microphone-can-hear-you-in-a-crowded-stadium-video/&#xD;&#xA;  [4]: http://singularityhub.com/wp-content/uploads/2010/10/super-microsphone-audioscope.jpg&#xD;&#xA;  [5]: https://www.lytro.com/camera" ContentLicense="CC BY-SA 3.0" />
  <row Id="20332" PostHistoryTypeId="2" PostId="12334" RevisionGUID="9e141108-0484-436f-8ce9-99144da410ed" CreationDate="2012-01-23T16:41:55.293" UserId="3379" Text="[Photosounder][1] probably comes the closet to doing what you want to do. Mostly if you fiddle with the parameters for precision/resolution in the configuration file (see manual). Also see this http://www.youtube.com/watch?v=zTi_HwdlJ20&#xD;&#xA;&#xD;&#xA;PaulStretch is nice but not as precise in time, even when slowing things just 8 times it sounds like a smear, and most other time-stretching algorithms aren't suited to such ratios so they sound too unnatural.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://photosounder.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="20333" PostHistoryTypeId="2" PostId="12335" RevisionGUID="01a4796c-59f1-4bb6-aa2c-ab3f2d02c3ee" CreationDate="2012-01-23T20:44:54.243" UserId="826" Text="I'd choose Nomad if I were you. pros of the Nomad are the number of inputs, very low power consumption, and it's a very bag friendly recorder (if that's important for you). Have only dr-680 experience (a good one nonetheless) but this is a different price bracket. You should compare Tascam with both SD 788T and Nomad, and choose the one that suits your needs better. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20334" PostHistoryTypeId="2" PostId="12336" RevisionGUID="1544f946-323d-421f-8088-1aaa99521fe3" CreationDate="2012-01-23T20:46:07.010" UserId="826" Text="This book : http://www.trewaudio.com/store/product.php?productid=1120&amp;cat=149&amp;page=1 is a very valuable source of real world information. No bullshit here :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20336" PostHistoryTypeId="2" PostId="12337" RevisionGUID="3314e974-9c3c-4d1a-9aaa-f659772b8369" CreationDate="2012-01-23T22:51:15.417" UserId="432" Text="So, here's something I bat around with people every now and then...and I know several people on here have discussed this in other venues. Why not bring the conversation here and see if we can expand things a bit?&#xD;&#xA;&#xD;&#xA;Where do you find inspiration and what non-audio activities/interests affect your work?&#xD;&#xA;&#xD;&#xA;To get things rolling, one common thing that a lot of us mention are things that are visually oriented...probably because many Gestalt principles of visual perception apply equally well to auditory perception. I also like to think that all the kung-fu and tai chi I've studied in the past affects my sense of timing, pace and overall flow.&#xD;&#xA;&#xD;&#xA;What about you?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20337" PostHistoryTypeId="1" PostId="12337" RevisionGUID="3314e974-9c3c-4d1a-9aaa-f659772b8369" CreationDate="2012-01-23T22:51:15.417" UserId="432" Text="Inspiration - What influences your aesthetic" ContentLicense="CC BY-SA 3.0" />
  <row Id="20338" PostHistoryTypeId="3" PostId="12337" RevisionGUID="3314e974-9c3c-4d1a-9aaa-f659772b8369" CreationDate="2012-01-23T22:51:15.417" UserId="432" Text="&lt;creativity&gt;&lt;inspiration&gt;&lt;influences&gt;&lt;aesthetic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20339" PostHistoryTypeId="2" PostId="12338" RevisionGUID="89a988b8-afda-45bf-a566-7bc7686e1114" CreationDate="2012-01-23T23:14:36.587" UserId="1228" Text="For me, it's being out in nature (usually alone, or with like-minded sound people who GET what this kind of experience is all about) - the stillness of the high desert, the cliffs along the beach, the redwood forests of the Pacific Northwest (its where they shot Endor in Star Wars) are a few favorites which come to mind.  Being out there dissociates me from the societal constructs of time, schedules, deadline, stress, organization, obnoxious people, loud sounds, mind-numbing advertising, social obligations, professional courtesies, daily obligations, and so forth - all of which I feel can stagnate inspirational and creative flow. It's the Ultimate (Frank!) head-clearing place for me, allows me to shut out everything else around me and listen within and to only that which is present around me.  It's the one type of place I can truly think a ponder uninhibited.&#xD;&#xA;&#xD;&#xA;It's nice to be busy, but very nice where there's that errant day here and there I can duck out for an experience like this to recharge and ponder." ContentLicense="CC BY-SA 3.0" />
  <row Id="20340" PostHistoryTypeId="2" PostId="12339" RevisionGUID="51db896b-da57-438f-9383-6e213e7b43d7" CreationDate="2012-01-23T23:17:12.297" UserId="3248" Text="This does a good job of slowing things down. &#xD;&#xA;&#xD;&#xA;http://www.csounds.com/cecilia/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20341" PostHistoryTypeId="2" PostId="12340" RevisionGUID="5ad88c85-1b61-4c2c-b8fa-62d9fd0190d0" CreationDate="2012-01-23T23:17:45.257" UserId="194" Text="I find that looking at writing can be very inspirational, as well as looking at painting and photography.&#xD;&#xA;&#xD;&#xA;I also find that **practicing** art in other disciplines can sharpen one's aethetic.  I'm currently in the process of designing our company's new website, and working within that design aesthetic has been fun for me.  The same is true when I shoot timelapses or video.  I find that I really know what I like vs what I don't, and I feel like a lot of that is already informed from and with my audio aesthetic.&#xD;&#xA;&#xD;&#xA;I also really like watching good films and TV shows.  I know that's probably not far enough removed from the work as what the question is asking for, but I truly do find inspiration and clarity of thought with regards to my own aesthetics when looking at fully realized works that others have done.  For example, I'm unashamed in my love for the aesthetic of Tron, District 9, Transoformers, and the Matrix as sci fi films.  With that said, I also love love love what more stripped down films like No Country For Old Men and The American can achieve.&#xD;&#xA;&#xD;&#xA;My fav TV show WRT aesthetic is easily Breaking Bad.  Unabashed avant garde in a way that completely and totally serves the story all throughout that series.  Loads of timelapses, strange audio overlaps, cool textures, etc.  Love love love that show." ContentLicense="CC BY-SA 3.0" />
  <row Id="20345" PostHistoryTypeId="2" PostId="12342" RevisionGUID="87b63d0e-f309-428e-a14c-f42198c2464e" CreationDate="2012-01-24T01:15:42.580" UserId="432" Text="I think/hope we'll see support for digital mics expand in recording devices, and hopefully some additional models beyond those offered by Neumann and Schoeps. I'm also hoping that we'll see more in the development of more affordable higher-order microphones using techniques like &quot;beam forming.&quot; Something like a microphone with the built in electronics to give you continuous transitions between pickup patterns (a more integrated Ambisonics type microphone...with no need for the matrixing boxes/software), would make me really excited. Imagine being able to record a sound source while tranisitioning your pickup pattern...&quot;telephoto&quot; zoom mics!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20346" PostHistoryTypeId="5" PostId="12340" RevisionGUID="ee548291-725a-4f35-baea-39570f810f07" CreationDate="2012-01-24T02:52:19.470" UserId="194" Comment="added 315 characters in body" Text="I find that looking at writing can be very inspirational, as well as looking at painting and photography.&#xD;&#xA;&#xD;&#xA;I also find that **practicing** art in other disciplines can sharpen one's aethetic.  I'm currently in the process of designing our company's new website, and working within that design aesthetic has been fun for me.  The same is true when I shoot timelapses or video.  I find that I really know what I like vs what I don't, and I feel like a lot of that is already informed from and with my audio aesthetic.&#xD;&#xA;&#xD;&#xA;I also really like watching good films and TV shows.  I know that's probably not far enough removed from the work as what the question is asking for, but I truly do find inspiration and clarity of thought with regards to my own aesthetics when looking at fully realized works that others have done.  For example, I'm unashamed in my love for the aesthetic of Tron, District 9, Transoformers, and the Matrix as sci fi films.  With that said, I also love love love what more stripped down films like No Country For Old Men and The American can achieve.&#xD;&#xA;&#xD;&#xA;My fav TV show WRT aesthetic is easily Breaking Bad.  Unabashed avant garde in a way that completely and totally serves the story all throughout that series.  Loads of timelapses, strange audio overlaps, cool textures, etc.  Love love love that show.&#xD;&#xA;&#xD;&#xA;-edit to add that I left out the most important part of observing other works is to *discuss* them with others.  By articulating what you do and don't like about other people's works you force yourself to take artistic stands and defend your positions, which IMO is very important to developing ones' aesthetic." ContentLicense="CC BY-SA 3.0" />
  <row Id="20347" PostHistoryTypeId="2" PostId="12343" RevisionGUID="34ddef86-8f99-440f-b511-28bfa3bf3cf7" CreationDate="2012-01-24T02:55:11.187" UserId="3365" Text="Thank you all for the answers! &#xD;&#xA;&#xD;&#xA;@ron macleod: I paid for them.  &#xD;&#xA;&#xD;&#xA;@Joe Griffin: A little digression and correction that's really no big deal...&quot;treating her design efforts...&quot; I'm one of those rare lady sound designers! =] &#xD;&#xA;&#xD;&#xA;Thank you all again for the input. (Sound pun not intended.) " ContentLicense="CC BY-SA 3.0" />
  <row Id="20348" PostHistoryTypeId="5" PostId="12340" RevisionGUID="483a4d72-43a3-465e-ab32-cf5caf495fce" CreationDate="2012-01-24T03:23:16.387" UserId="194" Comment="added 145 characters in body" Text="I find that looking at writing can be very inspirational, as well as looking at painting and photography.&#xD;&#xA;&#xD;&#xA;I also find that **practicing** art in other disciplines can sharpen one's aethetic.  I'm currently in the process of designing our company's new website, and working within that design aesthetic has been fun for me.  The same is true when I shoot timelapses or video.  I find that I really know what I like vs what I don't, and I feel like a lot of that is already informed from and with my audio aesthetic.&#xD;&#xA;&#xD;&#xA;I also really like watching good films and TV shows.  I know that's probably not far enough removed from the work as what the question is asking for, but I truly do find inspiration and clarity of thought with regards to my own aesthetics when looking at fully realized works that others have done.  For example, I'm unashamed in my love for the aesthetic of Tron, District 9, Transoformers, and the Matrix as sci fi films.  With that said, I also love love love what more stripped down films like No Country For Old Men and The American can achieve.&#xD;&#xA;&#xD;&#xA;My fav TV show WRT aesthetic is easily Breaking Bad.  Unabashed avant garde in a way that completely and totally serves the story all throughout that series.  Loads of timelapses, strange audio overlaps, cool textures, etc.  Love love love that show.&#xD;&#xA;&#xD;&#xA;-edit to add that I left out the most important part of observing other works is to *discuss* them with others.  By articulating what you do and don't like about other people's works you force yourself to take artistic stands and defend your positions, which IMO is very important to developing ones' aesthetic.&#xD;&#xA;&#xD;&#xA;-another edit - this post inspired a more well thought out blog post. http://thesoundmyheadmakes.blogspot.com/2012/01/it-depends-preview.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="20349" PostHistoryTypeId="2" PostId="12344" RevisionGUID="719c950d-c296-4163-9a42-771b9953474e" CreationDate="2012-01-24T04:25:33.933" UserId="3381" Text="I wouldn't suggest mixing with headphones in any case...unless u really know them inside out and know what to compensate for...which is something which takes time...and there r some good near fields that could substitute your need of a costly pair of headphones...KRK makes some amazing low budget but great near fields..." ContentLicense="CC BY-SA 3.0" />
  <row Id="20350" PostHistoryTypeId="2" PostId="12345" RevisionGUID="60f2cd61-dbfe-4951-9c28-52cbb960c909" CreationDate="2012-01-24T07:35:55.220" UserId="3223" Text="I second Matt. Can't stress enough the value in being able to shadow someone experienced. While I was lucky enough to study sound in film school, I'd say 80% (if not more) or my knowledge was acquired by getting out there and working - which, needless to say, frequently means working utility for little to no money while you learn the ropes. If you know of anyone in the field, give them a shout - mixers are frequently looking for a cable person and are usually more than willing to show you the ins and outs when time allows on location. Time spent on set with a working professional is invaluable; you'll learn more on a couple shoots with a friendly pro than you ever could with books/dvds alone. Put in the hours and you'll get there. Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20351" PostHistoryTypeId="2" PostId="12346" RevisionGUID="61f9bce7-84df-40db-a5da-8f0d8bad44a3" CreationDate="2012-01-24T08:47:40.227" UserId="2928" Text="i roughly place 6-8inch above overhead to get the quality speech from the actor. doesn't matter it visible in frame or not, later i will use adobe after effect to take out the microphone in the frame. how about u guys? how many inch you think is the limit and you don't go over that??" ContentLicense="CC BY-SA 3.0" />
  <row Id="20352" PostHistoryTypeId="1" PostId="12346" RevisionGUID="61f9bce7-84df-40db-a5da-8f0d8bad44a3" CreationDate="2012-01-24T08:47:40.227" UserId="2928" Text="how many inch maximum to place microphone overhead to get quality/clean dialogue. i know there is no rules for this, but just lets share how many inch roughly, so we know what each of us have in our mind too.. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20353" PostHistoryTypeId="3" PostId="12346" RevisionGUID="61f9bce7-84df-40db-a5da-8f0d8bad44a3" CreationDate="2012-01-24T08:47:40.227" UserId="2928" Text="&lt;production-sound&gt;&lt;location-audio&gt;&lt;boom-operator&gt;&lt;microphone-positioning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20354" PostHistoryTypeId="2" PostId="12347" RevisionGUID="393cbd7a-e208-4b8f-a57a-6863642d5705" CreationDate="2012-01-24T08:59:19.957" UserId="2928" Text="please tell me the difference between that, i know it use to serve same purpose." ContentLicense="CC BY-SA 3.0" />
  <row Id="20355" PostHistoryTypeId="1" PostId="12347" RevisionGUID="393cbd7a-e208-4b8f-a57a-6863642d5705" CreationDate="2012-01-24T08:59:19.957" UserId="2928" Text="what is the different between field mixer and studio mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20356" PostHistoryTypeId="3" PostId="12347" RevisionGUID="393cbd7a-e208-4b8f-a57a-6863642d5705" CreationDate="2012-01-24T08:59:19.957" UserId="2928" Text="&lt;field&gt;&lt;mixer&gt;&lt;studio&gt;&lt;production-mixing&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20357" PostHistoryTypeId="2" PostId="12348" RevisionGUID="629112ea-2a43-491f-95bc-2bbbcc269105" CreationDate="2012-01-24T10:40:01.830" UserId="6519" Text="This article I found today. I think that might be of interest. You what is your opinion about that?&#xD;&#xA;&#xD;&#xA;[Selling Sound Effects: How to Choose Where to Sell – Part 1 ][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Selling Sound Effects: How to Choose Where to Sell – Part 2 ][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jetstreaming.org/2011/02/18/selling-sound-effects-how-to-choose-where-to-sell-part-1/&#xD;&#xA;  [2]: http://www.jetstreaming.org/2011/02/23/selling-sound-effects-how-to-choose-where-to-sell-part-2/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20358" PostHistoryTypeId="1" PostId="12348" RevisionGUID="629112ea-2a43-491f-95bc-2bbbcc269105" CreationDate="2012-01-24T10:40:01.830" UserId="6519" Text="How to choose where to sell my sfx?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20359" PostHistoryTypeId="3" PostId="12348" RevisionGUID="629112ea-2a43-491f-95bc-2bbbcc269105" CreationDate="2012-01-24T10:40:01.830" UserId="6519" Text="&lt;effects&gt;&lt;selling&gt;&lt;library&gt;&lt;royalties&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20360" PostHistoryTypeId="2" PostId="12349" RevisionGUID="42302301-70a8-4ecc-a1a3-8aeee749ea9d" CreationDate="2012-01-24T11:17:16.827" UserId="6420" Text="The general rule is getting the boom as close as possible to the actors mouths WITHOUT getting the mic in the frame! Can't see many directors having the attitude of &quot;it's ok we'll fix THAT in post&quot;. Definitely not an attitude i would think a boom op would have on set, unless he/she wanted a very short career in sound..." ContentLicense="CC BY-SA 3.0" />
  <row Id="20361" PostHistoryTypeId="2" PostId="12350" RevisionGUID="a562b881-206c-429f-8b4a-b0e1a3c601f3" CreationDate="2012-01-24T11:35:12.387" UserId="6407" Text="Yes I, for obvious reasons, completely agree with Andy. I've never ever heard of anyone saying they'll take the boom out in post, wasteful use of time and unnecessary. Get as close as you can, about 6-8 inches is fine. If it's a wide shot, do it MOS and then ask the director if they can do another shot for sound (unless you quality radio mics). " ContentLicense="CC BY-SA 3.0" />
  <row Id="20362" PostHistoryTypeId="2" PostId="12351" RevisionGUID="069a4fcd-5f1c-4327-a516-d9a8a24b3d08" CreationDate="2012-01-24T12:42:37.473" UserId="432" Text="There is no rule, because there is no guideline that will work in every situation. Listen to what you're recording and adjust appropriately." ContentLicense="CC BY-SA 3.0" />
  <row Id="20363" PostHistoryTypeId="2" PostId="12352" RevisionGUID="548ae54f-e8be-437c-99be-b2a1508a8b3d" CreationDate="2012-01-24T14:30:08.710" UserId="3319" Text="I would say this hiss on my H4N recordings can be outrageous when recording quiet scenes, so much that I think it could just be my version. Wouldn't recommend it for dialogue recording at all, but love it for recording sounds on the fly." ContentLicense="CC BY-SA 3.0" />
  <row Id="20364" PostHistoryTypeId="2" PostId="12353" RevisionGUID="65922719-d3a0-4920-8814-754b30788ac0" CreationDate="2012-01-24T15:11:38.687" UserId="142" Text="Unless you are making a mocumentry or it is specifically requests in say a scene with a news reporter NEVER NEVER NEVER let your mic show in frame, as a boom op your job is to check the frame first and check with cameraman to make sure this does not happen. As mentioned above it is a complete waste of time fixing something in post when there is no need. All mics are different, you can get nice and close with say a MKH 50 or obviously give more room if you have a long shotgun mic, as Shaun says listen and adjust accordingly." ContentLicense="CC BY-SA 3.0" />
  <row Id="20365" PostHistoryTypeId="5" PostId="12346" RevisionGUID="1f613605-b316-4ffc-b25e-a83266dbcc6f" CreationDate="2012-01-24T16:28:15.220" UserId="2928" Comment="added 561 characters in body" Text="i roughly place 6-8inch above overhead to get the quality speech from the actor. doesn't matter it visible in frame or not, later i will use adobe after effect to take out the microphone in the frame. how about u guys? how many inch you think is the limit and you don't go over that??&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I DON'T KNOW HOW TO ADD COMMENT, WHEN I CLICK ADD COMMENT NOTHING CHANGE. nyway i didn't say i want to fix in post, i understand sound is important. i want to record quality sound in shooting too. if i bring the mic closer i know i can get quality sound. but let say in medium shot where the frame line is far away from actors head, if i put the mic outside the frame i am sure i cannot listen to actors voice clearly. so can i bring the mic close and make it visible in camera frame but later i use adobe after effect to take out mic, that's my question." ContentLicense="CC BY-SA 3.0" />
  <row Id="20366" PostHistoryTypeId="2" PostId="12354" RevisionGUID="82fb9faf-1ec3-4a39-a743-61c019ebc44d" CreationDate="2012-01-24T16:39:39.430" UserId="2928" Text="i am getting very confuse between both of this.. please anyone give me a clear explaination with some good examples.." ContentLicense="CC BY-SA 3.0" />
  <row Id="20367" PostHistoryTypeId="1" PostId="12354" RevisionGUID="82fb9faf-1ec3-4a39-a743-61c019ebc44d" CreationDate="2012-01-24T16:39:39.430" UserId="2928" Text="what is different between room tone and ambient/atmosphere sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20368" PostHistoryTypeId="3" PostId="12354" RevisionGUID="82fb9faf-1ec3-4a39-a743-61c019ebc44d" CreationDate="2012-01-24T16:39:39.430" UserId="2928" Text="&lt;room&gt;&lt;tone&gt;&lt;atmosphere&gt;&lt;backgroundambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20369" PostHistoryTypeId="2" PostId="12355" RevisionGUID="83713960-be18-4cfd-856d-3d6dc54e016e" CreationDate="2012-01-24T16:59:48.777" UserId="432" Text="Room tone is background audio, recorded on set, during production, using the same microphone that is used for dialogue. It is used for filling holes in the production audio that are created during dialogue editing, or replacing unwanted noises (during non-speaking moments) in your production audio.&#xD;&#xA;&#xD;&#xA;Backgrounds and atmospheres are recorded separately and/or designed to reflect the location.&#xD;&#xA;&#xD;&#xA;A good example would be a scene in a dance club. A club typically has music and lots of people making noise (either through speech or dancing). You wouldn't shoot it that way, because you might sacrifice intelligibility of the main characters. Instead, it is shot with no music, and everyone else in the scene remaining as silent as possible. The room tone reflects the recording conditions, the background/atmosphere is cut in by an editor and what you will hear in the final version of the film.&#xD;&#xA;&#xD;&#xA;You seem to be posting a lot of questions about basic practices over the last few days. I suggest you grab a book or two to help you understand these concepts and how they intersect. Two good starting pieces are [The Practical Art of Motion Picture Sound][1] by David Lewis Yewdall and [Producing Great Sound for Film and Video][2] by Jay Rose. People here are very willing to share their knowledge, but most of the questions you're asking require extensive explanations. Many of us simply don't have the time to give you those kinds of answers. Get a grasp of some of this information, then come back and ask for help with clarification on anything that is still confusing. You'll get a much wider response from people.&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Practical-Motion-Picture-Sound-Third/dp/0240808657/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1257540228&amp;sr=8-1m&#xD;&#xA;  [2]: http://www.amazon.com/s/ref=nb_sb_noss_1/188-5170881-4203248?url=search-alias%3Daps&amp;field-keywords=jay+rose" ContentLicense="CC BY-SA 3.0" />
  <row Id="20370" PostHistoryTypeId="2" PostId="12356" RevisionGUID="a9f8ec01-2b1a-4bcb-9cee-b1a1266935dd" CreationDate="2012-01-24T17:05:10.670" UserId="6566" Text="I would like to see something along the lines of a version of the laser microphones that many intelligence organizations use for surveillance made for audio applications with a focusable field. I can think of many potential uses, one being as a long distance contact mic for capturing source from things that are too dangerous or physically difficult to get to but are in your line of sight. You could have a scope on it for things really far away for surgical aiming.&#xD;&#xA;&#xD;&#xA;It could also be mounted on a motion control rig with both manual joystick control or utilizing some sort of motion tracking software. How cool would it be to continuously track a bird in flight, a tennis ball getting hit by a racket and bouncing or a Cheetah chasing its prey.&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Laser_microphone&#xD;&#xA;&#xD;&#xA;Also, maybe a satellite/wifi/cell data option for my recorder that is backing up my takes to the cloud in the background while I'm recording. Creating redundancy for critical captures and also giving editors instant access to newly created material. Plus no data dumps when you get home, just start editing.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20371" PostHistoryTypeId="2" PostId="12357" RevisionGUID="af8a63d7-e84c-4b40-bc8f-399e9f2d3ba2" CreationDate="2012-01-24T17:16:07.057" UserId="3230" Text="If you are miking a properly framed close shot (in on an actor's face), than 6-8 inches is great...with the boom OUT of the frame.  If it takes 2 more inches to stay out, give it.  The sonic difference between 8 and 10 is going to be negligible.   &#xD;&#xA;&#xD;&#xA; Now, if you are talking about any angles other than those up close, you should ASSUME that you will be recreating the audio in post - ADR, foley, etc.  A couple of ADR sessions are going to cost you far less time and energy and are going to give you a much better finished product than trying to &quot;erase&quot; a boom op from a scene!  I don't care what special effects program you're using!&#xD;&#xA;&#xD;&#xA;As far as technique goes, one important thing to remember (if you're running the boom) is to stay light on your feet.  If the actor moves, you better be one step ahead of him.  Consistency is key." ContentLicense="CC BY-SA 3.0" />
  <row Id="20373" PostHistoryTypeId="2" PostId="12359" RevisionGUID="588df6b2-674e-4bd1-9eb7-9338213d3a2d" CreationDate="2012-01-24T18:55:44.550" UserId="3383" Text="I'm studying communication design and my final project is an inteactive concept for learning russian. I tryied to make an appropriate sound, but I failed. Does anyone can help me with it? I'm frustrated." ContentLicense="CC BY-SA 3.0" />
  <row Id="20374" PostHistoryTypeId="1" PostId="12359" RevisionGUID="588df6b2-674e-4bd1-9eb7-9338213d3a2d" CreationDate="2012-01-24T18:55:44.550" UserId="3383" Text="Does anybody can help me with sound for my interactive concept? (urgent)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20375" PostHistoryTypeId="3" PostId="12359" RevisionGUID="588df6b2-674e-4bd1-9eb7-9338213d3a2d" CreationDate="2012-01-24T18:55:44.550" UserId="3383" Text="&lt;design&gt;&lt;film&gt;&lt;interactive&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20376" PostHistoryTypeId="2" PostId="12360" RevisionGUID="6b523389-fec7-425e-8de1-7cddb97b6eec" CreationDate="2012-01-24T19:15:36.680" UserId="6411" Text="The only time I have seen it be acceptable to have a boom in the shot is when shooting green screen. Typically your video editing program allows you to create a [trash mat][1] that eliminates everything but your main subject. Otherwise, follow the advice previously given and get your boom out of the shot. Have you considered using a lavaliere?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://help.adobe.com/en_US/AfterEffects/9.0/WS3878526689cb91655866c1103906c6dea-7bf6a.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="20378" PostHistoryTypeId="2" PostId="12362" RevisionGUID="512514a9-8055-4227-90e1-cacf96b323ac" CreationDate="2012-01-24T20:26:00.917" UserId="3384" Text="Matt,&#xD;&#xA;&#xD;&#xA;Very cool reel! Really liked the tense atmospheric horror-styled sound design in certain parts.&#xD;&#xA;&#xD;&#xA;My reel is not as concise and coherent as yours, but I'll throw my hat in the ring here:&#xD;&#xA;http://sethnorman.com/&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Seth&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20379" PostHistoryTypeId="2" PostId="12363" RevisionGUID="48e2246f-3812-4f61-90d2-189bb6ef299a" CreationDate="2012-01-24T21:33:22.843" UserId="315" Text="[Woody Norris][1] is doing some amazing things with directional sound. Yes it is a playback technology, but I imagine the same principles could be applied to hyper-directional recording.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ted.com/talks/woody_norris_invents_amazing_things.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="20380" PostHistoryTypeId="2" PostId="12364" RevisionGUID="d723673f-763b-4ae2-a809-b6042cbf7706" CreationDate="2012-01-24T22:21:36.897" UserId="37" Text="If you are the filmmaker, then get a production sound recordist. They would be more than happy to help you without explaining the complex decision chain.&#xD;&#xA;&#xD;&#xA;Otherwise get the mic as close as possible without it being in the part of the frame you want to use. That means either outside of the frame, or where the picture will be replaced with something else, and especially where in replacing the picture you won't encounter problems.&#xD;&#xA;&#xD;&#xA;Most of the time you can have the microphone just out of the frame and still get good results. It's why these things are expensive. It also depends on the type of microphone (yeah, &quot;it depends&quot;, i know). Lapel mics can get you close sounding results whilst being invisible, but they lack the atmosphere and roundness of sound of the boom mic. With wider shots you would have to get creative about making the mic invisible.&#xD;&#xA;&#xD;&#xA;Boom ops take pride in knowing their craft, and it can be difficult and physically demanding. It's not easy and it's not advisable to be one if you're already into something else. So, if you are the filmmaker, then get a production sound recordist.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20382" PostHistoryTypeId="2" PostId="12366" RevisionGUID="0d6a9d7e-56db-4a82-a510-2fc7c65ee470" CreationDate="2012-01-24T22:41:38.027" UserId="18160" Text="Who says the mic always has to be on a boom? On medium shots, I've hidden mics in planters, taped them onto the shoulder of actors facing the camera to pick up someone speaking behind them, mounted an MK41 on the front of someone who's back is to the camera to pick up the main character's lines who is speaking to him, hidden them in hats, placed them behind chess pieces, cups, books, anything in the frame big enough to cover it, the list goes on and on. It sometimes takes a lot of creativity to get good sound on medium shots but it can be done with a little bit of thought and cleverness, but never do it to the detriment of the shooting schedule, sometimes it's just easier and cheaper to ADR it, but I will add this to the rest of the great advice given on this topic:&#xD;&#xA;&#xD;&#xA;**Even if you tell yourself and the director you are going to just record ADR in post, ALWAYS get a guidetrack with even a far mic. It makes recording ADR much easier.**&#xD;&#xA;&#xD;&#xA;It seems like a no-brainer piece of advice, but you'd be surprised some of the projects that did not have any audio recorded at all &quot;because it would be recorded later&quot; and they expect it to be ADRed perfectly." ContentLicense="CC BY-SA 3.0" />
  <row Id="20383" PostHistoryTypeId="2" PostId="12367" RevisionGUID="95025118-7ce9-44b6-89d7-fa8c0dde11d3" CreationDate="2012-01-24T22:48:46.333" UserDisplayName="user49" Text="Regardless of the art form the main inspiration for me is meaning, its relevance to emotions &amp; the human condition. I am not a fan of action for its own sake - when I was a kid I was more easily impressed with the surface of things, whereas now if it doesn't have meaning or significance then I don't tend to engage with it.&#xD;&#xA;&#xD;&#xA;Travel also plays an important part of inspiration &amp; evolving my personal aesthetics. It is incredibly rewarding to challenge the assumptions of your own 'normal' way of being, behavior &amp; customs, how people live &amp; function in society in all aspects and how that is reflected in their culture &amp; art. For me personally, time spent in Japan, South East Asia &amp; the Pacific has deeply influenced me, as does travel in my own country….&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20384" PostHistoryTypeId="2" PostId="12368" RevisionGUID="9bf6ddb5-1de8-474a-9fd8-a0a31a7e1637" CreationDate="2012-01-24T22:52:07.630" UserId="18160" Text="Not necessarily the same purpose.&#xD;&#xA;&#xD;&#xA;In a nutshell,&#xD;&#xA;&#xD;&#xA;Studio mixers are used to sum together the final soundtrack of a film or specific sections of it (foley, gunshots, explosions, sweeteners, loop group, etc.). They could also be used for recording ADR. They could also be used to create sound effects.&#xD;&#xA;&#xD;&#xA;Field mixers are used generally to mix down two or more mics being used on set to a useful track that the film editors can use in their editing process - i.e. the film editors will not load all iso tracks recorded on the day, but a simple stereo mixdown of the mics via this mixer. You could also use them to solely record the iso mics via custom EQs or filters or level adjustments.&#xD;&#xA;&#xD;&#xA;This is in my opinion, the most common uses of these pieces of equipment. I know for a fact that it all depends on workflow and what your project calls for that determines how you are going to use these. There are infinite variations and ways of using them it would take more than it's worth to try to describe them all." ContentLicense="CC BY-SA 3.0" />
  <row Id="20385" PostHistoryTypeId="2" PostId="12369" RevisionGUID="bdc0281b-e19c-4b2f-aaff-33d9d70a02de" CreationDate="2012-01-24T22:59:08.860" UserId="18160" Text="I really think wireless power and wireless signal will be the future.&#xD;&#xA;&#xD;&#xA;Imagine loading in for a show or gig and not having to do those 300+ foot cable runs...&#xD;&#xA;&#xD;&#xA;Imagine a boom mic that has no cable.&#xD;&#xA;&#xD;&#xA;I keep dreaming of my little hovering boom mic much like the practice droid Luke Skywalker used to drill with on the Millennium Falcon, thus not having to use your arms but instead, an iPad app or remote control to move it around, but I digress...&#xD;&#xA;&#xD;&#xA;Maybe someone will invent sunglasses that can see wireless frequencies so wireless management is way easier." ContentLicense="CC BY-SA 3.0" />
  <row Id="20386" PostHistoryTypeId="2" PostId="12370" RevisionGUID="76722380-c7fa-436e-896d-05fcd22bca2d" CreationDate="2012-01-25T05:15:31.890" UserId="2498" Text="Remember a while ago people generated a grainy picture of what people were visualizing while dreaming? &#xD;&#xA;&#xD;&#xA;Imagine if instead of a recording engineer, there was a technician capturing the subjective processing of the auditory brain bits. I say subjective just because it's going through someone's brain, so perhaps people particularly good at critical listening would be in demand to have their experience of music recorded. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20387" PostHistoryTypeId="2" PostId="12371" RevisionGUID="649ba1ef-9ed4-4c38-bd21-0e203834f35d" CreationDate="2012-01-25T10:05:43.777" UserId="3386" Text="I'm the editor and sound designer from that video... Practically the entire scene was constructed sound-wise, since all of the reaction shots had people talking over them.  I took original room ambience and a small smattering of sounds from the original scene, then added a generous helping of coughs, phone buzzes, etc.  The ice cream truck sound I procured from the internet, but it didn't sound right at full speed so it was slowed.  Much of the material came from stock sound libraries, including the chair squeaks and leather shuffling.  The stomach gurgling was from one of a disturbing number of women recording their digestion and posting it to YouTube.  There is only one thing that I had to create myself...  there was no clean source material available to me for mouth sounds.  Every lip smack, mouth opening and closing is actually me and my trusty condenser mic.  To make it all gel as a cohesive whole, I applied reverb to the whole thing to make the room sound even more empty and make all of the foley sound as if they occupy the same space.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20391" PostHistoryTypeId="2" PostId="12373" RevisionGUID="7de40287-ddf1-42ef-ae69-6e2a4c6fffde" CreationDate="2012-01-25T12:03:31.280" UserId="1055" Text="yeah, we all love senn30/40 or shoeps rigs, or anything that's a bit expensive...so what would be cheaper and not so noisy M/S rigs, excluding oktava rig(fig-8 from oktava is not so good, and overal oktava M/S rig is a bit noisy)?&#xD;&#xA;&#xD;&#xA;also how essential is to pair mid and side mics from the same manufacturer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20392" PostHistoryTypeId="1" PostId="12373" RevisionGUID="7de40287-ddf1-42ef-ae69-6e2a4c6fffde" CreationDate="2012-01-25T12:03:31.280" UserId="1055" Text="cheaper M/S rigs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20393" PostHistoryTypeId="3" PostId="12373" RevisionGUID="7de40287-ddf1-42ef-ae69-6e2a4c6fffde" CreationDate="2012-01-25T12:03:31.280" UserId="1055" Text="&lt;microphone&gt;&lt;mid-side&gt;&lt;cheap&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20394" PostHistoryTypeId="2" PostId="12374" RevisionGUID="497a98e2-7017-4ee2-8c98-d7b13008b9eb" CreationDate="2012-01-25T12:27:07.903" UserId="1216" Text="Hi Linas,&#xD;&#xA;&#xD;&#xA;Although i think the price of a good m/s pair is pretty high, it is worth it.  &#xD;&#xA;Let me start by answering your last question. Mics from the same manufacturer are designed to work together. In the case of the Sennheiser MKH series, the sensitivity of the mics is matched so your preamp can use almost the same gainstage for both mics whilst recording. Easy in the field and very handy in the studio, because you always know that the gain of both channels is the same. This makes adapting the stereo width a lot more intuitive.  &#xD;&#xA;&#xD;&#xA;Furthermore, your mics will probably have a low signal to noise ratio if they are from a higher price-range, like you already said about oktava mics. &#xD;&#xA;&#xD;&#xA;But I am curious if there are others out here who have experience with cheaper ms sets.&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20395" PostHistoryTypeId="2" PostId="12375" RevisionGUID="5f9c68f7-4884-4438-8b47-06628f9197bf" CreationDate="2012-01-25T12:38:26.743" UserId="432" Text="You're going to have a hard time finding a field M/S rig option cheaper than the MKH 30/40 pair...which are less expensive than a Schoeps pair. I have some of the AKG Blue Line bodies (SE300B) with cardioid and hypercardioid capsules, but I've never tried out the figure-8 capsule. I do know that it is noisier than the capsules that I do have. While in no way terrible, the cardioids and hypercardioids do have a noticeable noise floor. I wouldn't suggest them for quiet environments...meaning, I wouldn't suggest an M/S pair of this line for quiet situations/sounds either.&#xD;&#xA;&#xD;&#xA;If you're going to be working indoors, I'd say there's nothing to keep you from using some large diaphragm condensers instead of smaller pencil mics. A pair of Audio Technica AT-4050's would produce some nice results (gotta love selectable patterns).&#xD;&#xA;&#xD;&#xA;It's not necessary to use microphones from the same manufacturer, but be sure to audition any pairing before laying out the cash. Also, keep in mind that there are other stereo recording techniques that might suit your needs just as well: ORTF, spaced omnis, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="20399" PostHistoryTypeId="2" PostId="12378" RevisionGUID="386b9aef-57ba-4242-bf41-7f9355269e0e" CreationDate="2012-01-25T18:48:49.257" UserId="3275" Text="Hi everyone-&#xD;&#xA;&#xD;&#xA;Got a shoot coming up and I could sure use some advice. The short takes place in a house that is up for sale, so it's devoid of any furniture. Moving blankets on C-stands going to be of any use? I'll be using a Schoeps CMC6/MK41 Hyper.&#xD;&#xA;&#xD;&#xA;Also, some scenes are free of dialogue, just a lot of movement and rummaging through boxes. Would you recommend the same mic for the PFX?&#xD;&#xA;&#xD;&#xA;Cheers-&#xD;&#xA;Max" ContentLicense="CC BY-SA 3.0" />
  <row Id="20400" PostHistoryTypeId="1" PostId="12378" RevisionGUID="386b9aef-57ba-4242-bf41-7f9355269e0e" CreationDate="2012-01-25T18:48:49.257" UserId="3275" Text="Empty Rooms and Production FX" ContentLicense="CC BY-SA 3.0" />
  <row Id="20401" PostHistoryTypeId="3" PostId="12378" RevisionGUID="386b9aef-57ba-4242-bf41-7f9355269e0e" CreationDate="2012-01-25T18:48:49.257" UserId="3275" Text="&lt;production-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20402" PostHistoryTypeId="2" PostId="12379" RevisionGUID="e3ebd04b-287c-4f73-a022-a5c30177b8c4" CreationDate="2012-01-26T00:38:22.640" UserId="3388" Text="Lol bogs is the name for that certain varactyl and it is also used as a voice of the pokemon Palkia, Read http://starwars.wikia.com/wiki/Varactyl under the &quot;behind the scenes&quot; tab" ContentLicense="CC BY-SA 3.0" />
  <row Id="20403" PostHistoryTypeId="16" PostId="12379" RevisionGUID="e3ebd04b-287c-4f73-a022-a5c30177b8c4" CreationDate="2012-01-26T00:38:22.640" UserId="3388" />
  <row Id="20404" PostHistoryTypeId="2" PostId="12380" RevisionGUID="2e218915-49ad-47b5-a8d9-5b8d040fb884" CreationDate="2012-01-26T03:21:08.680" UserId="720" Text="Moving blankets in C stands will certainly help. Also take special note to the corners of the rooms on the ceiling. I used to put a bunch of old towels and sheets in a sack or material bag and gaffa tape or hook them onto the corners - doing that for all corners can make a big difference in dampening reverb (I am assuming that's what you are trying to achieve).&#xD;&#xA;&#xD;&#xA;I use the same mic for location dialogue and action sound but perhaps in a studio you have the luxury of choosing mics with particular qualities over others rather than on location. Just (as I'm sure you do) be sure to get a good clear signal for whatever you are focusing on - dialogue or action.&#xD;&#xA;&#xD;&#xA;Can I ask what is PFX? I have not come across that before and a google search gave no results.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20405" PostHistoryTypeId="2" PostId="12381" RevisionGUID="700102c6-4630-45ae-a598-758b178007b3" CreationDate="2012-01-26T03:57:29.220" UserId="720" Text="Also, request access to the wardrobe head of department and art department so the recordist can lay down some rules.&#xD;&#xA;&#xD;&#xA;This is the same as the DOP saying to wardrobe: No high contrast stripes on actors - this will not work with well with many HD digital cameras.&#xD;&#xA;&#xD;&#xA;The head of sound department will say things like, no dangling metallic jewellery, no noisy materials etc.&#xD;&#xA;&#xD;&#xA;No noisy fans used as set dressing etc.&#xD;&#xA;&#xD;&#xA;Also having location sound in mind when choosing locations. I hhave never had a location scout or director choose a location that is good for recording. They always go for the visuals! Fair enough, but then one must allow time for retakes and wilds and crew silence for recording some extra ambient backing for the recording mix in post. Allow time for waiting for for planes or traffic or car alarms or trains or rain or wind or birds etc in the schedule.&#xD;&#xA;&#xD;&#xA;That's what comes to mind that has not already been said by the great answers above." ContentLicense="CC BY-SA 3.0" />
  <row Id="20406" PostHistoryTypeId="2" PostId="12382" RevisionGUID="c8396cb7-b5d0-43b3-8830-f842dca79afe" CreationDate="2012-01-26T04:35:26.920" UserId="587" Text="Aye,&#xD;&#xA;&#xD;&#xA;Not recommended to go too far - C.Link definitely won't do ya. And as far as I know, there isn't a signal strength booster/interference guard.&#xD;&#xA;&#xD;&#xA;BNC should work for 50 foot runs though.&#xD;&#xA;I had referenced an audio-tech sales employee about this for doing gun-range recording. Also, here is an online reference:&#xD;&#xA;http://www.ehow.com/decision_6867184_long-can-run-bnc-cable_.html&#xD;&#xA;&#xD;&#xA;What are your thoughts? &#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;- Curtis - c3sound.com&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="20407" PostHistoryTypeId="2" PostId="12383" RevisionGUID="a79a18b5-2c0e-4fde-a67c-98e251bf62da" CreationDate="2012-01-26T05:22:00.317" UserId="444" Text="I'm curious to know what combonations of equipment stated in the title are being used in larger budgeted feature productions.  Or basicly what the 'pro's in Hollywood' use when it comes to production audio on locations regarding lavalier microphones.&#xD;&#xA;&#xD;&#xA;My biggest concern is that I don't want to purchase for example... a lav mic that has a unique end and won't fit into a certain transmitter, or needs a specific adapter for a specific type of transmitter. I really want to try and avoid any logistical oversites that may arise when using combonations of equipment that don't come in a kit.&#xD;&#xA;&#xD;&#xA;I've done a bit of research on what lav mics are popular, and are widely used.  I've also found info on transmitter/receivers that are popular, and widely used.  I just haven't found all the info and logistics in one place.  So that's kind of what I'm looking for here.&#xD;&#xA;&#xD;&#xA;Just to share, I'm looking at lav mics along the lines of a Tram TR50, Sanken COS-11D, or possibly even the DBA's 4061 or 4071.&#xD;&#xA;&#xD;&#xA;As for transmitter/recievers I've heard good things about Lectrosonics series, such as UCR411 kits, and 401, and also Sennheiser 2000ENG-SK, or their G3 series.&#xD;&#xA;&#xD;&#xA;So to reiterate, What pieces work well together, and what are the necessary tools (such as adaptors) required to make them work harmoniously?  As for the use of these, they will be primarily in production audio, but I would also use them in recording sound effects for post-production.&#xD;&#xA;&#xD;&#xA;Pre-emptive Thanks!  expert advise is alwasy much appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="20408" PostHistoryTypeId="1" PostId="12383" RevisionGUID="a79a18b5-2c0e-4fde-a67c-98e251bf62da" CreationDate="2012-01-26T05:22:00.317" UserId="444" Text="lav mic, wireless transmitter/receiver combonations" ContentLicense="CC BY-SA 3.0" />
  <row Id="20409" PostHistoryTypeId="3" PostId="12383" RevisionGUID="a79a18b5-2c0e-4fde-a67c-98e251bf62da" CreationDate="2012-01-26T05:22:00.317" UserId="444" Text="&lt;production-audio&gt;&lt;lavalier&gt;&lt;wireless&gt;&lt;transmitter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20410" PostHistoryTypeId="2" PostId="12384" RevisionGUID="92129c2c-567a-4c92-a0fc-443080d013ac" CreationDate="2012-01-26T06:14:35.987" UserId="3389" Text="Check out www.pro-sound.com. Rich Topham gives free seminars on the basics of sound mixing all the time. Also their newsletter each month has great advise." ContentLicense="CC BY-SA 3.0" />
  <row Id="20411" PostHistoryTypeId="2" PostId="12385" RevisionGUID="a608b763-71dd-43df-92cb-4926056616f5" CreationDate="2012-01-26T06:52:12.367" UserId="990" Text="Lectrosonics, Zaxcom and Audio Ltd. are probably the most widely used in higher budget productions.&#xD;&#xA;&#xD;&#xA;Unfortunately, each company pretty much has their own wiring schemes for lavalieres. It is possible to create 'jumper' cables. Like put a Sanken COS-11 wired TA5F for Lectrosonics to a Sennheiser 1/8&quot; mini connector. Even doing that isn't ideal... but it works.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20412" PostHistoryTypeId="2" PostId="12386" RevisionGUID="f856f273-603e-45b0-a8bb-278804b00386" CreationDate="2012-01-26T07:23:30.317" UserId="1055" Text="thank you for your answers, after googling abit more on this subeject, i found that basicaly there is no cheaper alternatives :/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20413" PostHistoryTypeId="2" PostId="12387" RevisionGUID="e73b276c-895c-420e-9ac7-8f491cb1b16f" CreationDate="2012-01-26T12:07:59.197" UserId="641" Text="This is not so much a question other than a post.&#xD;&#xA;&#xD;&#xA;I purchased my Lectrosonics SMV's a while back but had immense issues trying to get them to work with my Sennheiser MKE2 Microphones and the M150's that I purchased with the lectro's simply did not come close to the quality of sound that the Sennheiser's gave me.  &#xD;&#xA;The local (I'm based in Johannesburg, South Africa) Sennheiser and Lectrosonics agents could not help me, nor give me the time of day as to how to wire the mics up correctly.&#xD;&#xA;The Sennheiser agnets couldn't even tell me that the microphone was a positive bias 2-wire electret!  When I asked them if it was, their answer was &quot;Um...I dont know&quot;&#xD;&#xA;&#xD;&#xA;To cut a long story short, I finally found an electronics engineer who specialises in Sennheiser products and he was able to give me the correct configuration!  See the diagram &#xD;&#xA;below!&#xD;&#xA;&#xD;&#xA;[IMG]http://i565.photobucket.com/albums/ss99/feldmaus_photos/CMCapture1.jpg[/IMG]&#xD;&#xA;&#xD;&#xA;http://i565.photobucket.com/albums/ss99/feldmaus_photos/CMCapture1.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="20414" PostHistoryTypeId="1" PostId="12387" RevisionGUID="e73b276c-895c-420e-9ac7-8f491cb1b16f" CreationDate="2012-01-26T12:07:59.197" UserId="641" Text="Sennheiser MKE-2 Wiring for use with Lectrosonics SMV Transmitters" ContentLicense="CC BY-SA 3.0" />
  <row Id="20415" PostHistoryTypeId="3" PostId="12387" RevisionGUID="e73b276c-895c-420e-9ac7-8f491cb1b16f" CreationDate="2012-01-26T12:07:59.197" UserId="641" Text="&lt;lectrosonics&gt;&lt;sennheiser&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20416" PostHistoryTypeId="2" PostId="12388" RevisionGUID="f51c379f-74b1-4ff0-b916-b0196627b51a" CreationDate="2012-01-26T15:25:23.657" UserId="208" Text="Im using a 416 with an Ambient ate208 on top. This works quite well i think.&#xD;&#xA; http://www.ambient.de/en/produkte/ambient-recording/mikrofone/emesser.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="20417" PostHistoryTypeId="2" PostId="12389" RevisionGUID="851f3bb6-e94c-4302-a51e-72055437853f" CreationDate="2012-01-26T19:51:44.443" UserId="182" Text="As I find myself wanting to put microphones in various places where space is tight (yes, cars), I'm on the lookout for small omni condensers, like for example the Schoeps CCM 2 series.&#xD;&#xA;&#xD;&#xA;The price of these things make me hesitant of putting them inside hot engine bays and under the car at high speeds. I'm afraid lavs are too fragile, but maybe I'm wrong about this?&#xD;&#xA;&#xD;&#xA;The mini XLR plug and thin cable of the Schoeps is a plus, though not absolutely necessary.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Does anyone have some experiences to share about mics that are a bit cheaper than the schoeps but similar in size?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(you might wonder: why don't you ask your colleagues, surely you're not the first that wants to put a mic under the car? The thing is, measurement microphones require special preamps and they are designed for producing nice graphs and measurement data, not nice sound)&#xD;&#xA;  [1]: http://schoeps.de/IMG/product_categories/small_ccm2h-ng.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="20418" PostHistoryTypeId="1" PostId="12389" RevisionGUID="851f3bb6-e94c-4302-a51e-72055437853f" CreationDate="2012-01-26T19:51:44.443" UserId="182" Text="Physically small omni condensers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20419" PostHistoryTypeId="3" PostId="12389" RevisionGUID="851f3bb6-e94c-4302-a51e-72055437853f" CreationDate="2012-01-26T19:51:44.443" UserId="182" Text="&lt;small&gt;&lt;microphone&gt;&lt;field-recording&gt;&lt;omni&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20420" PostHistoryTypeId="2" PostId="12390" RevisionGUID="31510e44-cef0-4d5a-acde-3d1361a32562" CreationDate="2012-01-26T19:57:28.700" UserId="930" Text="How about lav mics like the DPA 4060:&#xD;&#xA;&#xD;&#xA;http://www.dpamicrophones.com/en/products.aspx?c=item&amp;category=128&amp;item=24035&#xD;&#xA; &#xD;&#xA;or the Rode Lav:&#xD;&#xA;&#xD;&#xA;http://www.rodemic.com/mics/lavalier&#xD;&#xA;&#xD;&#xA;I know you said you think lavs are too fragile, but they're omni, and are super easy to get into small places where conventional mics (even ones like the Schoeps CCM 2 Series) can't reach easily, if at all.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Fred" ContentLicense="CC BY-SA 3.0" />
  <row Id="20421" PostHistoryTypeId="2" PostId="12391" RevisionGUID="6afd6364-0c90-4dcd-b6a8-06dad1a62e60" CreationDate="2012-01-26T20:15:38.610" UserId="3391" Text="Don't delay it more please! I completed my BA on Linguistics and Literature, but sound has been in my mind for about 9 years. First I didn't have the money and social environment to develop skills, then started working, I had the money but no time, then by the time I was 25, 26, I had some money and time but thought I was old for it and lots of discouraging comments such as its being very risky to change career after that age and its being mostly a men-dominated business, blurred my mind. I'm also a dj and video editor and did some short courses on sound and music in the meantime, even appointed as a studio recording assistant at a very good uni when I was doing a short course by the very much amazing and successful tutor and also worked in one of his experimental projects about &quot;feeling sound&quot; (I'm absolute ear, so that helped too) but never dared to take it very seriously to get very technical and didn't even use it as an advantage afterwards because of age-related fears. Now I'm 30, though feeling much younger than 10 years before hehe, regret losing all that valuable time, but I have realized I'll be a very unhappy linguist if I don't try, so, while working part-time, firstly I'm enrolling a technical course covering sound production and music tech, 12 hours a week for about 1,5 years, as I need structure and push for catching-up and I find it more difficult to self-study probably because of daily life-work events interfering.. I still have some fears, worries esp. due to money-related issues, not surprisingly, but I guess they wouldn't kill me..&#xD;&#xA;&#xD;&#xA;I think your background would help a lot and you would comprehend lots of technical things easier/quicker than most people. Please don't even think that you are old for it, firstly because it never is &amp; it just slows one down, and secondly it is not helping me to hear about such worries from a 25 year-old when at 30 hehe. I hope it is going well and the motivation is there!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20422" PostHistoryTypeId="2" PostId="12392" RevisionGUID="f6cb281d-2d63-42d5-8040-d3ffb80b5745" CreationDate="2012-01-26T20:31:51.377" UserId="1266" Text="COS-11's I've read sound matched for engine, mechanical vibrations." ContentLicense="CC BY-SA 3.0" />
  <row Id="20423" PostHistoryTypeId="2" PostId="12393" RevisionGUID="71ec5f80-c33a-424a-8a92-30564cbd96b4" CreationDate="2012-01-26T20:40:48.817" UserId="315" Text="DPA lavs are the way to go. The cables may be fragile, but that's what gaff tape is for. They sound excellent on cars. [Here's][1] an example.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=6A9olcof-qg" ContentLicense="CC BY-SA 3.0" />
  <row Id="20424" PostHistoryTypeId="2" PostId="12394" RevisionGUID="75b7b631-d8e2-42e8-8146-76639c0efd09" CreationDate="2012-01-26T21:06:32.057" UserId="194" Text="I've used the COS11 in that sitaution a fair amount.  Rode Lav would probably sound great as well.  NT5s are also nice for that application, though they're a little larger and not omni." ContentLicense="CC BY-SA 3.0" />
  <row Id="20425" PostHistoryTypeId="2" PostId="12395" RevisionGUID="820b7052-64cb-42de-b7d6-e4e955b83bc2" CreationDate="2012-01-27T04:31:00.347" UserId="253" Text="The remaining 40ish years of your working life is a long time to be wishing you'd taken that other fork in the road. &#xD;&#xA;&#xD;&#xA;My boss got into sound post something like 10 years ago, after 30ish years in the music industry. &#xD;&#xA;&#xD;&#xA;My dad was a photographer for more than 30 years before getting into web design. &#xD;&#xA;&#xD;&#xA;My girlfriend is, in her late 20s, embarking on a degree in psychology.&#xD;&#xA;&#xD;&#xA;At the school where i did my MA in sound design, 2 out of the 4 screen composition students were over 35. &#xD;&#xA;&#xD;&#xA;I'd go so far as saying that, in this industry, maturity is definitely a bonus. And, as i'm sure you saw in other comments, just mentioning your background in robotics will make you the life of the soundparty and get you bonus points in an interview.&#xD;&#xA;&#xD;&#xA;I studied with some awesome people, and they are great contacts to have, but that's because i worked with them. When you work with people, and they see that you're dead keen on sound, you'll have the same thing before too long.&#xD;&#xA;&#xD;&#xA;Keep us updated!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20426" PostHistoryTypeId="2" PostId="12396" RevisionGUID="1ac48173-0f57-4185-9e38-7d9b2450608f" CreationDate="2012-01-27T05:42:25.113" UserId="3394" Text="Check out Karma Mics K-Micro&#xD;&#xA;&#xD;&#xA;http://www.karmamics.com/shop/Condenser-Mics/&#xD;&#xA;&#xD;&#xA;You can get 7....(yes..... 7 !!!!)   for about $100..... they actually sound pretty good, and, if screw one up, you just throw it away and buy another set :)&#xD;&#xA;&#xD;&#xA;Sound on Sound reviewed them a few months ago too.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20430" PostHistoryTypeId="2" PostId="12398" RevisionGUID="13e492a3-6541-4176-804c-9d651f515b3b" CreationDate="2012-01-27T09:32:23.917" UserId="3396" Text="LATE TO THE PARTY - &#xD;&#xA; This advice will be feature film-centric. &#xD;&#xA;I'll start by telling you that I don't know a single person who got a gig because of a degree ... twenty weeks of Junior College here buddy. It's about your creativity.&#xD;&#xA;&#xD;&#xA;I started at 30 and have been doing it for close to thirty years now with some success. &#xD;&#xA;When I started I was a film geek and a music freak working in a completely different industry and decided to make the leap. What I feel you do need is a love and knowledge of film. Technical knowledge and skill with the machines alone are not enough. You gotta have an ear and you gotta be able to talk the talk with filmmakers and co-workers. When someone references other films or filmmakers styles you need to know what they are talking about. You have to have a sense of what makes a scene work and how it fits in with the film as a whole. You gotta know when to go big and when to go small. You have to be able to tell what feels real. I've found that some have a natural ear for what works and some no matter how brilliant or technically skilled they are just don't have the knack. &quot;Oh that sounds cool&quot; ain't enough. This ability to pick the right sound seems to be something that can't be taught.&#xD;&#xA;&#xD;&#xA;You need to know how dialogue is cut and how it fits with what you do, when production sound will play and when it won't. Are the sounds you are providing gonna glue to that production or are they gonna sound separate and floating in space. You need to understand what foley can and cannot do and how it's gears mesh with yours. What's music doing here and am I going to step on it? It's a team sport baby.&#xD;&#xA;&#xD;&#xA;You also at times need a thick skin. When someone tells you it isn't working it can be like an arrow to the heart (at least for me). Something you've poured your heart and soul into can get flushed in the blink of an eye and believe it or not there are some in our industry that can be kinda harsh with their criticism, imagine that. &#xD;&#xA;&#xD;&#xA;Another discipline you'll have to learn is the dreaded change pass. I think any working sound person will tell you that they spend as much time (and sometimes more) updating for picture changes (recutting the film) and visual fx updates as they do creating the sound in the first place. This is not really a complaint as it keeps us working. Learning how to update pre-dubs and stems is essential.&#xD;&#xA;&#xD;&#xA;You also need to be prepared for down time. A gig can last anywhere from weeks to months. I'm lucky in that I'm frequently the &quot;stage guy&quot;, meaning I am on the dub stage through the end of the mix where the rest of the crew has been let go weeks before. A film can also &quot;push&quot; going away for weeks or months for recutting or reshooting just when you were going to pay for that new whatever the hell it is. I've seen good editors/designers go for months without work depending on what's going on in the industry.&#xD;&#xA;&#xD;&#xA;So in a nutshell (oops too late for that) if you want to earn a living doing this be aware that the feature film sound community is relatively small with people competing for jobs on crews that are getting smaller and smaller, be ready to be the &quot;new guy&quot; at the bottom of the ladder who has to prove himself. Your first gig will not be cutting that cool spaceship or that end of the world sequence. In my opinion you should learn all the disciplines, be low maintenance, be easy to get along with, be dependable, be freaking weirdly creative, always be nice to ALL assistants, accept the fact that your vision isn't always the same as the vision of the powers that be, educate yourself about film and it never hurts to know somebody ...&#xD;&#xA;&#xD;&#xA;...&#xD;&#xA;or I could be full of shit.&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;Best, Chris Assells&#xD;&#xA;&#xD;&#xA;P.S. - I have no clue if any of this applies to the video game industry.&#xD;&#xA;P.P.S. - Just found this place, very cool." ContentLicense="CC BY-SA 3.0" />
  <row Id="20432" PostHistoryTypeId="2" PostId="12400" RevisionGUID="9846a044-2668-415c-b23d-181a8ac1d05a" CreationDate="2012-01-27T19:07:42.723" UserId="713" Text="Two people come to mind when I think of language and sound art.&#xD;&#xA;&#xD;&#xA;Diana Deutsch and Kurt Schwitters&#xD;&#xA;&#xD;&#xA;Kurt Schwitters has a famous sound work called &quot;Ursonate&quot;. It is phonetically based and may give you some ideas of structure or the way a language can sound.&#xD;&#xA;Links to listen to &quot;Ursonate&quot; on this page:  http://www.ubu.com/sound/schwitters.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Diana Deutsch is a psychologist rather than artist but has some great research on sound and speech and perception. You can find a lot online about her work.&#xD;&#xA;&#xD;&#xA;Hope you find this helpful." ContentLicense="CC BY-SA 3.0" />
  <row Id="20433" PostHistoryTypeId="5" PostId="12391" RevisionGUID="e43d4dae-23c2-42a2-b199-e89ffda80ac1" CreationDate="2012-01-28T00:15:50.580" UserId="3391" Comment="deleted 1 characters in body" Text="Don't delay it more please! I completed my BA on Linguistics and Literature, but sound has been in my mind for about 9 years. First I didn't have the money and social environment to develop skills, then started working, I had the money but no time, then by the time I was 25, 26, I had some money and time but thought I was old for it and lots of discouraging comments such as its being very risky to change career after that age and its being mostly a men-dominated business, blurred my mind. I'm also a dj and video editor and did some short courses on sound and music in the meantime, even appointed as a studio recording assistant at a very good uni when I was doing a short course by the very much amazing and successful tutor and also worked in one of his experimental projects about &quot;feeling sound&quot; (I'm absolute ear, so that helped too) but never dared to take it very seriously to get very technical and didn't even use it as an advantage afterwards because of age-related fears. Now I'm 30, though feeling much younger than 10 years before hehe, regret losing all that valuable time, but I have realized I'll be a very unhappy linguist if I don't try, so, while working part-time, firstly I'm enrolling a technical course covering sound production and music tech, 12 hours a week for about 1,5 years, as I need structure and push for catching-up and I find it more difficult to self-study probably because of daily life-work events interfering.. I still have some fears, worries esp. due to money-related issues, not surprisingly, but I guess they wouldn't kill me..&#xD;&#xA;&#xD;&#xA;I think your background would help a lot and you would comprehend lots of technical things easier/quicker than most people. Please don't even think that it is late for it, firstly because it never is &amp; it just slows one down, and secondly it is not helping me to hear about such worries from a 25 year-old when at 30 hehe. I hope it is going well and the motivation is there!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20434" PostHistoryTypeId="2" PostId="12401" RevisionGUID="c01abb67-22d9-4098-80fc-85d7b7eb06df" CreationDate="2012-01-28T15:15:49.917" UserId="3399" Text="I use an Olympus recorder, and it'a an old model but it really produces great quality sounds. so I am guessing this one is okay." ContentLicense="CC BY-SA 3.0" />
  <row Id="20435" PostHistoryTypeId="2" PostId="12402" RevisionGUID="6601219b-0819-4fcb-b606-566666d41b62" CreationDate="2012-01-28T16:34:55.947" UserId="1014" Text="Hi guys and thanks for your replies. I've tried both, but can't find something quick as much as soundforge was. i'll keep seeking ;)&#xD;&#xA;&#xD;&#xA;Thanks again,&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="20436" PostHistoryTypeId="2" PostId="12403" RevisionGUID="ec8779c2-adc5-410a-99be-6543ee7300ff" CreationDate="2012-01-28T17:49:04.170" UserId="3230" Text="I'm currently working on a throwback radio drama (no image involved).  It's not long, however, production value is going to be very high.  There is a fairly significant amount of foley/sound design being applied throughout.&#xD;&#xA;&#xD;&#xA;Curious, what can you tell me about track management and scene management in Pro Tools.  I'm working the project scene by scene - learning the workflow as I go.  For tracks, I currently have 4-5 foley tracks per character, 10-15 stereo and mono tracks for layering fx, and 5-8 tracks dedicated to layering the scene ambiance (all this is in addition to the primary and secondary dialog tracks).    I don't have a specific issue with the track workflow, I'm quite interested to get your input on timeline management.  &#xD;&#xA;&#xD;&#xA;Region groups? Track Groups? Aux sends? Edit/Timecode Lock?&#xD;&#xA;&#xD;&#xA;What can I learn...." ContentLicense="CC BY-SA 3.0" />
  <row Id="20437" PostHistoryTypeId="1" PostId="12403" RevisionGUID="ec8779c2-adc5-410a-99be-6543ee7300ff" CreationDate="2012-01-28T17:49:04.170" UserId="3230" Text="Managing &quot;scenes&quot;.....specifically, Pro Tools workflow" ContentLicense="CC BY-SA 3.0" />
  <row Id="20438" PostHistoryTypeId="3" PostId="12403" RevisionGUID="ec8779c2-adc5-410a-99be-6543ee7300ff" CreationDate="2012-01-28T17:49:04.170" UserId="3230" Text="&lt;pro-tools&gt;&lt;sound-design&gt;&lt;session-organization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20439" PostHistoryTypeId="2" PostId="12404" RevisionGUID="c8dc8540-798c-4ee5-a7dc-a77ab0071854" CreationDate="2012-01-28T20:12:32.197" UserId="37" Text="just throwing this link in as it might be relevant&#xD;&#xA;&#xD;&#xA;http://www.sengpielaudio.com/calculator-distance.htm&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20440" PostHistoryTypeId="2" PostId="12405" RevisionGUID="f655df0d-c097-4115-89ff-660d51b6b1b5" CreationDate="2012-01-28T21:00:07.657" UserId="37" Text="I believe Audition is the one that comes closest to the old-school soundfile editors.. Shame even that isn't on par." ContentLicense="CC BY-SA 3.0" />
  <row Id="20441" PostHistoryTypeId="2" PostId="12406" RevisionGUID="b8570742-fd82-49ab-b404-c8bd754342fb" CreationDate="2012-01-29T05:42:10.807" UserId="1035" Text="First, I'd set up submasters for your dialogue, FX, Foley, music and ambience tracks. Example, hard bus (on the output, as opposed to on a send) your dialogue tracks to an aux &amp; solo safe it. Then, hard bus all the submasters to a final printmaster aux (or a printmaster audio track if you're using HD.)&#xD;&#xA;&#xD;&#xA;As far as splitting for scenes, it ultimately just needs to be manageable. With 4-5 tracks of Foley per character, you might want to pre-dub this stuff together. Mix each track you need so that you've got a solid sounding Foley mix for each character, and then either use a mix/edit group or do a layback of that mix. &#xD;&#xA;&#xD;&#xA;If you stagger by scene (e.g. scene 1 FX uses FX 1-4, scene 2 uses FX 5-8, etc.) your life will be much easier. &#xD;&#xA;&#xD;&#xA;I normally use time lock on my regions, primarily with dialogue when sync is crucial. &#xD;&#xA;&#xD;&#xA;Region groups are useful for a lot of things, mostly editing, but also if you've got some sort of layered effect that you need to use a bunch of, like a gunshot or monster footstep.&#xD;&#xA;&#xD;&#xA;Hope that helped a bit! Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="20445" PostHistoryTypeId="2" PostId="12408" RevisionGUID="b75ead88-0939-415e-9229-712a81656b2b" CreationDate="2012-01-29T09:16:37.203" UserId="397" Text=" Hey guys,&#xD;&#xA;&#xD;&#xA; Exciting sound designing times are coming! So please be patient with me. &#xD;&#xA; &#xD;&#xA; I'm sound designing a short which at the end, there's a boxing fight in a ring. It's not a proper Las Vegas fight. There's no &quot;Michael Buffer&quot; guy shouting thourgh a mic: &quot;Lets get reay to rumble&quot;, and the audience is some how bored looking. &#xD;&#xA;&#xD;&#xA; One of the boxers is young, powerfull and the other one is kinda old and slow. So I was thinking to differentiate them sonically. The young's one hits are going to sound big, with a short whoosh before each hit, while the older's one hits are going to sound kind of dull and slow as he is. I've already asked for a pair of boxing gloves to start with. I'm gonna try and see if I can get some foley sounds with them. I was thinking also to try to hit some leather pillows.  Of course we'll record some meat hiting and some body hits. For these sounds I'm thinking of trying some dynamic mics also and perhaps some contact micing on the meat and then on the human body.&#xD;&#xA;&#xD;&#xA; So after all this talking, is there any advice specifically for the hits? (Material wise, mic wise) &#xD;&#xA;&#xD;&#xA; Thank you very much for your time,&#xD;&#xA; Marco. &#xD;&#xA;&#xD;&#xA;PS: **The list of sounds includes:** &#xD;&#xA;1. Ring Footsteps (i'm thinking of using also contact mic for this one, to see what comes out for the young boxer's footsteps). &#xD;&#xA;2. Roping practicing.&#xD;&#xA;3. Some heavy bag hiting.&#xD;&#xA;4. Some speed bag hitting.&#xD;&#xA;5. Walla and perhaps some specific lines of words of the guys practicing. Trainers,&#xD;&#xA; etc... &#xD;&#xA;6. Audience specifics and general walla.&#xD;&#xA;7. The Bell&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20446" PostHistoryTypeId="1" PostId="12408" RevisionGUID="b75ead88-0939-415e-9229-712a81656b2b" CreationDate="2012-01-29T09:16:37.203" UserId="397" Text="Boxing Fight Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="20447" PostHistoryTypeId="3" PostId="12408" RevisionGUID="b75ead88-0939-415e-9229-712a81656b2b" CreationDate="2012-01-29T09:16:37.203" UserId="397" Text="&lt;footsteps&gt;&lt;hits&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20448" PostHistoryTypeId="2" PostId="12409" RevisionGUID="0372df0d-2c79-4cb0-b07a-085bc1d07d8d" CreationDate="2012-01-29T12:28:38.573" UserId="863" Text="Usually think of it as working in a couple of layers. A realistic sound such as a body hit, this could be on a slab of meat, a slap to the face or hitting your chest and then adding an impact sound. This could be anything really... swinging a wet towel on a wall, hitting a door or a cardboard box, endless as long as it sounds good and mixed with the realistic sfx.&#xD;&#xA;&#xD;&#xA;I don't know how effective a contact mic would be on impact sounds, worth a try though, I'd get some close mic action boost the mid and add compression etc. &#xD;&#xA;&#xD;&#xA;Maybe think about the breathing, deep long hollow breaths for the slow boxer and something more hissy and fast for the faster boxer. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20449" PostHistoryTypeId="2" PostId="12410" RevisionGUID="12ce4643-c71d-484e-9ef7-b92236855986" CreationDate="2012-01-29T14:42:34.017" UserId="3272" Text="Try pushing a kickdrum through the LFE for the baddest punches. When mixed good, this will feel like a punch in the stomach of the audience. &#xD;&#xA;Also try to get some hits on crunshed ice (packed in a towel or so), they will give you a nice wet punch. &#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20450" PostHistoryTypeId="2" PostId="12411" RevisionGUID="66a01cc5-c5a6-4de5-a30e-b644dd03a77a" CreationDate="2012-01-29T15:37:12.553" UserId="194" Text="so as we upgrade our studios in the coming months I'll be looking to upgrade the one piece of gear that I come into contact with more than any other - my keyboard.&#xD;&#xA;&#xD;&#xA;as such, here are my specific needs:&#xD;&#xA;&#xD;&#xA;- silence.  I'd like the keyboard to be relatively quiet so that I can do regular setup type things with the talkback mic open.  ultra silent would be magical, but I don't exactly know how heavily I weight the silence thing in my needs vs other things.  The biggest plus of the standard mac keyboard is the silence of the thing.&#xD;&#xA;&#xD;&#xA;- mac specific.  forget about remapping keys man, the mac market is big enough that I can certainly find what I need with the mac functionality designed in.&#xD;&#xA;&#xD;&#xA;- seperated F keys.  my biggest beef with the stock mac keyboards is that all of the F keys are too small and that the separator gap doesn't exist.  I use those F keys *constantly*, and I do it by touch, so I think it'd be huge to have the F keys be the proper size and have the separating gaps in place.&#xD;&#xA;&#xD;&#xA;- usb hub - we swap dongles a fair amount in the studio, and its nice to be able to just look at the keyboard and see who has what.&#xD;&#xA;&#xD;&#xA;- durability - I'd like a keyboard that can take heavy use for years on end without struggle.&#xD;&#xA;&#xD;&#xA;things I don't care about:&#xD;&#xA;&#xD;&#xA;- macros. I use quickeys, so macros don't really matter to me.&#xD;&#xA;&#xD;&#xA;- look.  Most good keyboards look fine IMO.  I'm not really picky.&#xD;&#xA;&#xD;&#xA;In my searches I've come across the [das keyboard S professional silent model for mac][1], and the [Matias Tactile Pro 3.][2]  &#xD;&#xA;&#xD;&#xA;any other suggestions or any experience with either of these would be appreciated.&#xD;&#xA;&#xD;&#xA;thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.daskeyboard.com/model-s-professional-silent/&#xD;&#xA;  [2]: http://matias.ca/tactilepro3/index.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="20451" PostHistoryTypeId="1" PostId="12411" RevisionGUID="66a01cc5-c5a6-4de5-a30e-b644dd03a77a" CreationDate="2012-01-29T15:37:12.553" UserId="194" Text="best mac keyboard for sound editing" ContentLicense="CC BY-SA 3.0" />
  <row Id="20452" PostHistoryTypeId="3" PostId="12411" RevisionGUID="66a01cc5-c5a6-4de5-a30e-b644dd03a77a" CreationDate="2012-01-29T15:37:12.553" UserId="194" Text="&lt;workstation&gt;&lt;ergonomics&gt;&lt;keyboard&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20453" PostHistoryTypeId="2" PostId="12412" RevisionGUID="a9faabca-7d93-4a24-b3bb-c0cd807d4342" CreationDate="2012-01-29T16:39:51.323" UserId="3179" Text="Pearl microphones are about half or less the price of a MKH30/40 set and they're integrated designs.&#xD;&#xA;&#xD;&#xA;http://pearl.se/microphones/application/film.video" ContentLicense="CC BY-SA 3.0" />
  <row Id="20454" PostHistoryTypeId="2" PostId="12413" RevisionGUID="bf2fb2f4-ce5e-40a5-89af-5c9359e10f27" CreationDate="2012-01-29T19:53:27.930" UserId="1266" Text="The game Skyrim has this slowed down and crystally bit crushed sound when you slice someone's head off.  At first it was a little disconcerting but it's a neat effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="20455" PostHistoryTypeId="2" PostId="12414" RevisionGUID="5140112a-fcf4-45bf-9a80-0d8b61721a62" CreationDate="2012-01-29T20:09:43.370" UserId="3397" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I'm a sound production student and i'm looking into doing quite a lot of loud effects recordings i.e car tyre screeching, engine recordings aswell as some outdoor speech recordings and crowd &quot;walla&quot;. I'd like the ability to record a wide range of volumes without being to specific to one set up, if you get me! I'm now in the market for a suitable set up (on a student budget) that could perform well over all.&#xD;&#xA;&#xD;&#xA;I have access to some Zoom portable recorders but id really like to get myself a decent kit that could be used in more situations. &#xD;&#xA;Along what lines should I be looking and what prices should I expect to pay?&#xD;&#xA;&#xD;&#xA;Appologies for any newb questions, and thanks for any help in advance!&#xD;&#xA;&#xD;&#xA;Nick" ContentLicense="CC BY-SA 3.0" />
  <row Id="20456" PostHistoryTypeId="1" PostId="12414" RevisionGUID="5140112a-fcf4-45bf-9a80-0d8b61721a62" CreationDate="2012-01-29T20:09:43.370" UserId="3397" Text="Best recording set up for student work" ContentLicense="CC BY-SA 3.0" />
  <row Id="20457" PostHistoryTypeId="3" PostId="12414" RevisionGUID="5140112a-fcf4-45bf-9a80-0d8b61721a62" CreationDate="2012-01-29T20:09:43.370" UserId="3397" Text="&lt;student&gt;&lt;outdoor&gt;&lt;cheap&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20458" PostHistoryTypeId="2" PostId="12415" RevisionGUID="e58fea30-fa89-4c1d-a756-212e06c7fd52" CreationDate="2012-01-29T20:11:25.363" UserId="7642" Text="Good question!&#xD;&#xA;&#xD;&#xA;Im also trying to find alternatives.&#xD;&#xA;&#xD;&#xA;We used to have the old standard Mac keyboards and many editors found it hard to change to the newer low profile mac keyboards. Also they dont seem to last as long as the old ones did.&#xD;&#xA;Neither of them are very quiet though. Not really a big issue for me/us. Really the tactile feel is what is important." ContentLicense="CC BY-SA 3.0" />
  <row Id="20459" PostHistoryTypeId="2" PostId="12416" RevisionGUID="fb9095b4-96d5-4e42-8f0c-45e26b9aea59" CreationDate="2012-01-29T20:34:37.560" UserId="253" Text="I've heard, from someone who's tried it, that bashing around a raw chicken filled with peanuts (in the shell) is a pretty good layer for body/face hits." ContentLicense="CC BY-SA 3.0" />
  <row Id="20460" PostHistoryTypeId="2" PostId="12417" RevisionGUID="408a8b0e-b007-49b4-916e-0046e925dbab" CreationDate="2012-01-29T20:52:53.637" UserId="3179" Text="@NickMcK&#xD;&#xA;&#xD;&#xA;I suggest getting a dedicated field recorder e.g. Fostex FR2-LE. Very inexpensive and blows handheld recorders out of the water. And you can continue using it by just changing the mics you connect to it. Some might suggest something like the Zoom H4N, but for me all the handheld recorders have too many compromises for good quality and low-noise sound recording.&#xD;&#xA;&#xD;&#xA;Pair it with microphone(s) in your budget. Rode NTG-2 is a fairly good and inexpensive shotgun mic. Rode NT3 is a good basic cardioid field condenser. For stereo recording you should look at Rode NT4, Rode NT5 pair or e.g. Oktava MK-012 pair, but there are probably a dozen other options as well. You also need some sort of wind protection (go with the furry ones instead of basic foam ones), but probably could do with normal mic stands or some very inexpensive pistol grip depending on your preference.&#xD;&#xA;&#xD;&#xA;Look to spend at least 500€ for the whole setup. Buy used equipment if you can find some." ContentLicense="CC BY-SA 3.0" />
  <row Id="20461" PostHistoryTypeId="5" PostId="12417" RevisionGUID="670c03c1-254b-4d21-b826-0135953cc11c" CreationDate="2012-01-29T20:59:48.470" UserId="3179" Comment="added 21 characters in body; added 16 characters in body" Text="@NickMcK&#xD;&#xA;&#xD;&#xA;I suggest getting a dedicated field recorder e.g. Fostex FR2-LE. Very inexpensive and blows handheld recorders out of the water. And you can continue using it by just changing the mics you connect to it. Some might suggest something like the Zoom H4N, but for me all the handheld recorders have too many compromises for good quality and low-noise sound recording.&#xD;&#xA;&#xD;&#xA;Pair it with microphone(s) in your budget. Rode NTG-2 is a fairly good and inexpensive shotgun mic. Rode NT3 is a good basic cardioid field condenser. For stereo recording you should look at Rode NT4, Rode NT5 pair or e.g. Oktava MK-012 pair, but there are probably a dozen other options as well like MXL V67N (very inexpensive SDC). You also need some sort of wind protection (go with the furry ones instead of basic foam ones), but probably could do with normal mic stands or some very inexpensive pistol grip depending on your preference.&#xD;&#xA;&#xD;&#xA;Look to spend at least 500€ for the whole setup. Buy used equipment if you can find some." ContentLicense="CC BY-SA 3.0" />
  <row Id="20462" PostHistoryTypeId="2" PostId="12418" RevisionGUID="bf4be3df-bfec-41d5-bd83-03113bef0cae" CreationDate="2012-01-29T23:36:27.480" UserId="3179" Text="Anyone know if such website exists which is non-profit or very small profit for the service provider, but allows selling &amp; purchasing samples?&#xD;&#xA;&#xD;&#xA;There's probably a dilemma in offering such service without taking a share of the sales to cover hosting &amp; support costs, but I still wanted to ask, because I think such community for recordists and sound designers would be brilliant and fair.&#xD;&#xA;&#xD;&#xA;Like freesound.org, but where sounds are exchanged for money, can be fully licensed (and not CC or public domain) and the profits go to the recordists and sound designers that deserve them.&#xD;&#xA;&#xD;&#xA;I feel bad for purchasing from sites that pass only a fraction of the profits to the content providers. And big downloadable libraries are not as flexible as online libraries." ContentLicense="CC BY-SA 3.0" />
  <row Id="20463" PostHistoryTypeId="5" PostId="12418" RevisionGUID="c23640c8-d993-4cad-978e-034943204c69" CreationDate="2012-01-29T23:47:46.423" UserId="3179" Comment="added 22 characters in body; added 16 characters in body" Text="Anyone know if such website exists which is non-profit or very small profit for the service provider, but allows selling &amp; purchasing samples?&#xD;&#xA;&#xD;&#xA;There's probably a dilemma in offering such service without taking a share of the sales to cover hosting &amp; support costs, but I still wanted to ask, because I think such community for recordists and sound designers would be brilliant and fair.&#xD;&#xA;&#xD;&#xA;Like freesound.org, but where sounds are exchanged for money (or for other sounds), can be fully licensed (and not CC or public domain) and the profits go to the recordists and sound designers that deserve them.&#xD;&#xA;&#xD;&#xA;I feel bad for purchasing from sites that pass only a fraction of the profits to the content providers. And big downloadable libraries are not as flexible as online libraries with previewing." ContentLicense="CC BY-SA 3.0" />
  <row Id="20465" PostHistoryTypeId="2" PostId="12419" RevisionGUID="38811959-0012-4a2a-905b-a70919a9ce64" CreationDate="2012-01-30T02:47:14.463" UserId="18160" Text="My two cents is that you find a keyboard you can use for a long time. It can be detrimental to switch keyboards. Switching keyboards can slow production down a lot - I have seen it many times. I get mad when someone changes my mouse acceleration speed... Editing for 12 hours a day gets you comfortable with computer lag and keyboard sensitivity. It's important!!!&#xD;&#xA;&#xD;&#xA;I find that for me, the grooves of the older Mac keyboards that still had grooves in the keys for your fingers make my sound editing go way faster than the newer flatter keyboards. So much so that when I broke my old one, I bought a new standard issue one and took off all the keys and replaced them with the colorful pro tools keyboard shortcut keys and I've done this twice now since 2005. I find my sense memory of what key is where is dependent upon the grooves and the feel of the older keys and the new ones slow me down a lot!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20466" PostHistoryTypeId="2" PostId="12420" RevisionGUID="5e17b410-0f03-4014-8d0c-48968521b629" CreationDate="2012-01-30T12:58:58.983" UserId="62" Text="You could stick with the standard slim Mac keyboard and use a cover. I've used this for years now and am very happy. Plus if the keyboard breaks or stops working you can quickly replace it without it affecting work.&#xD;&#xA;&#xD;&#xA;http://www.kbcovers.com/servlet/Categories?category=Pro+Tools&#xD;&#xA;&#xD;&#xA;Ian" ContentLicense="CC BY-SA 3.0" />
  <row Id="20467" PostHistoryTypeId="2" PostId="12421" RevisionGUID="8a9de50c-2ef0-4f7a-829f-6a2ec9e7d55e" CreationDate="2012-01-30T19:49:56.520" UserId="527" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;I am working at a studio (with their library) and I have an interesting dilemma.&#xD;&#xA;&#xD;&#xA;There are duplicate (and triplicate) sounds in Soundminer. The interesting part is that the file names do not match and neither does the metadata. So several of smaller libraries have been renamed/converted and re-entered into the database. &#xD;&#xA;&#xD;&#xA;Is there any way to find these files other than manually? Since none of the naming or matadata matches , Soundminer does not recognize them as duplicates. &#xD;&#xA;&#xD;&#xA;Thanks for your help. &#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="20468" PostHistoryTypeId="1" PostId="12421" RevisionGUID="8a9de50c-2ef0-4f7a-829f-6a2ec9e7d55e" CreationDate="2012-01-30T19:49:56.520" UserId="527" Text="Removing duplicate sounds (different Metadata) in SoundMiner v4pro?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20469" PostHistoryTypeId="3" PostId="12421" RevisionGUID="8a9de50c-2ef0-4f7a-829f-6a2ec9e7d55e" CreationDate="2012-01-30T19:49:56.520" UserId="527" Text="&lt;metadata&gt;&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20470" PostHistoryTypeId="2" PostId="12422" RevisionGUID="1270463f-f024-43cc-8bbb-01d88f1160d3" CreationDate="2012-01-30T21:25:32.730" UserDisplayName="user49" Text="One way to possibly speed up the process could be to find a bad/unwanted duplicate, then hit the SAME FOLDER button and/or REVEAL SELECTED IN FINDER and see if all the bad duplicates are in the same folder - that way you might be able to trace back which groups of files should not have been added to the library database....&#xD;&#xA;&#xD;&#xA;Don't forget to make a backup of the library database before you do anything destructive, so you can go back a step&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20471" PostHistoryTypeId="2" PostId="12423" RevisionGUID="da53ee36-e4f8-4c36-8bea-9872fbc9380f" CreationDate="2012-01-31T01:59:42.267" UserId="61" Text="Hi Chris,&#xD;&#xA;&#xD;&#xA;I've experienced this many times and I'm afraid you're kinda out of luck re. automated removal of identical recordings. Since both the filename and description / metadata are both unique, there is no way for Soundminer to identify which ones are the same. Your best approach (should you even choose to undertake it) is to delete already existing files when you encounter them. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20473" PostHistoryTypeId="5" PostId="12419" RevisionGUID="928c48b5-a3b1-4402-b806-7547a380e296" CreationDate="2012-01-31T03:11:08.707" UserId="18160" Comment="added 279 characters in body" Text="My two cents is that you find a keyboard you can use for a long time. It can be detrimental to switch keyboards. Switching keyboards can slow production down a lot - I have seen it many times. I get mad when someone changes my mouse acceleration speed... Editing for 12 hours a day gets you comfortable with computer lag and keyboard sensitivity. It's important!!!&#xD;&#xA;&#xD;&#xA;I find that for me, the grooves of the older Mac keyboards that still had grooves in the keys for your fingers make my sound editing go way faster than the newer flatter keyboards. So much so that when I broke my old one, I bought a new standard issue one and took off all the keys and replaced them with the colorful pro tools keyboard shortcut keys and I've done this twice now since 2005. I find my sense memory of what key is where is dependent upon the grooves and the feel of the older keys and the new ones slow me down a lot!!!&#xD;&#xA;&#xD;&#xA;UPDATE: The keyboard I use and love is an oldschool (from around 2002-2003) Macally iKey with the Pro Tools colored keys. It works like a charm for me and can get around shortcuts pretty fast. It's fairly silent and I've recorded it many times for generic typing SFX as well!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20474" PostHistoryTypeId="2" PostId="12425" RevisionGUID="618d2c96-1ea0-4acf-8902-5dc47857f8ee" CreationDate="2012-01-31T07:22:43.420" UserId="1202" Text="So Im looking to upgrade my audio interface and found the RME UFX which has some great field recording capabilities aside from the lack of battery powered operation. I also want to upgrade my portable recording gear so i would love to kill 2 birds here.&#xD;&#xA;&#xD;&#xA;I know about using car batteries and inverters but those are heavy.&#xD;&#xA;&#xD;&#xA;I dont have high hopes for finding a solution but thought i would ask" ContentLicense="CC BY-SA 3.0" />
  <row Id="20475" PostHistoryTypeId="1" PostId="12425" RevisionGUID="618d2c96-1ea0-4acf-8902-5dc47857f8ee" CreationDate="2012-01-31T07:22:43.420" UserId="1202" Text="Run 120v gear on batteries? Lightweight options even possible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20476" PostHistoryTypeId="3" PostId="12425" RevisionGUID="618d2c96-1ea0-4acf-8902-5dc47857f8ee" CreationDate="2012-01-31T07:22:43.420" UserId="1202" Text="&lt;field-recording&gt;&lt;portable-recorder&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20477" PostHistoryTypeId="5" PostId="2163" RevisionGUID="ee2f0f27-ce05-4035-8e32-9c25415b89d2" CreationDate="2012-01-31T10:02:57.540" UserId="6411" Comment="update" Text="I'm in Arlingon, VA and work as a sound editor / mixer / designer for TV and radio (with the occasional indie flick)&#xD;&#xA;&#xD;&#xA;**:EDIT:**&#xD;&#xA;&#xD;&#xA;I'm no longer in VA. I recently celebrated my first full month in LA, and I can still pay all my bills doing sound! Let's hope this trend continues..." ContentLicense="CC BY-SA 3.0" />
  <row Id="20478" PostHistoryTypeId="2" PostId="12426" RevisionGUID="45ce81cd-563c-4dfc-a0bb-ef7fbde111bc" CreationDate="2012-01-31T10:13:10.670" UserId="1228" Text="I'm a sound editor/designer in Los Angeles, CA under the moniker/company Stavrosound.  I supervise some shows, while serving as part of a crew on other shows.  Additionally I own Simultaneous Contrast, a new sound effects library offered presently through Sounddogs.com, still growing at about 3,800 assets to-date.  I love going out to record new material at every opportunity.&#xD;&#xA;&#xD;&#xA;I am a dialogue editor by trade (and fiercely at heart), although I have been in high demand lately for BGz, EFX, and Design work.  It sort of ebbs and flows like that." ContentLicense="CC BY-SA 3.0" />
  <row Id="20479" PostHistoryTypeId="16" PostId="12426" RevisionGUID="45ce81cd-563c-4dfc-a0bb-ef7fbde111bc" CreationDate="2012-01-31T10:13:10.670" UserId="-1" />
  <row Id="20480" PostHistoryTypeId="2" PostId="12427" RevisionGUID="2848c76d-d1b3-4fcb-ba65-5b56a4894de9" CreationDate="2012-01-31T10:52:46.680" UserId="3336" Text="Has anybody had experience of removing location music from documentary dialogue? A filmmaker has approached me to tackle an issue with broadcast rights on the music coming from a stereo in the background during a couple of shots in her documentary. &#xD;&#xA;I was thinking of editing the dialogue as I would for a scripted film and then replacing the gaps with ambience from the shoot as well as a royalty-free music track of similar style fitting the reverb of the warehouse where the film is shot. I'm not sure how well this will work. Is this going to be insanely difficult? Any one else had a similar job in the past? &#xD;&#xA;Thanks Phil   " ContentLicense="CC BY-SA 3.0" />
  <row Id="20481" PostHistoryTypeId="1" PostId="12427" RevisionGUID="2848c76d-d1b3-4fcb-ba65-5b56a4894de9" CreationDate="2012-01-31T10:52:46.680" UserId="3336" Text="Removing background location music from documentary dialogue" ContentLicense="CC BY-SA 3.0" />
  <row Id="20482" PostHistoryTypeId="3" PostId="12427" RevisionGUID="2848c76d-d1b3-4fcb-ba65-5b56a4894de9" CreationDate="2012-01-31T10:52:46.680" UserId="3336" Text="&lt;documentary&gt;&lt;dialogue&gt;&lt;removal&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20486" PostHistoryTypeId="5" PostId="4123" RevisionGUID="38e5f9a6-d0fe-4749-ada6-4251f5aa3ef0" CreationDate="2012-01-31T12:37:07.167" UserId="182" Comment="deleted 11 characters in body" Text="I am from the Netherlands, living in Munich, Germany now and doing sound design at BMW (the car company).&#xD;&#xA;&#xD;&#xA;My background is in Industrial Design, with a master towards sound design.&#xD;&#xA;&#xD;&#xA;Besides some music and sound stuff for various small projects, I haven't achieved much yet, I am very much a newbie. So I eagerly soak up all the knowledge and expertise that is shared in this community!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20487" PostHistoryTypeId="2" PostId="12429" RevisionGUID="bceabd1b-cb3d-47b2-b019-b522bd42ae0a" CreationDate="2012-01-31T12:45:47.540" UserId="432" Text="I'd say insanely difficult, if not impossible. You're going to have huge issues if the music is audible while the person is speaking. If that's the case, you're going to need something that can separate out elements of a complex signal. The only thing I can think of that might be able to pull that off is Melodyne...but I'm not sure even that will work. &#xD;&#xA;&#xD;&#xA;Is a reshoot of the interview is off the table? Because that's the filmmaker's best option." ContentLicense="CC BY-SA 3.0" />
  <row Id="20488" PostHistoryTypeId="2" PostId="12430" RevisionGUID="a10856b1-5e1d-4114-9063-ffdf81afd7e0" CreationDate="2012-01-31T12:54:26.153" UserId="432" Text="First off, your gear may not actually run on 120 volts. Virtually all of the devices we use have step down transformers...what we commonly refer to as power supplies. Look at any external power brick, and it will tell you what it outputs to the device that it powers. The UFX has a built in power supply, though. So, it's not like you can bypass it without having someone make some serious modifications to the gear. That's not to say it's impossible, but it goes way beyond my knowledge as to how it could be done.&#xD;&#xA;&#xD;&#xA;As far as field power solutions that don't require modding, I don't really know.  Maybe [Stuart Cody][1] can give you some ideas. He specializes in batteries for extreme conditions film-making. It may be something out of his expertise as well, but he's a far better starting point than I am.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.automatedmedia.com/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="20489" PostHistoryTypeId="2" PostId="12431" RevisionGUID="9ef73790-3b0c-4603-9e82-0375528edd80" CreationDate="2012-01-31T13:36:57.523" UserId="3162" Text="&#xD;&#xA;To me, this is close to impossible.&#xD;&#xA;&#xD;&#xA;But I would try to things anyway, just to find out and learn.&#xD;&#xA;&#xD;&#xA;1) Go back to the location and try to setup the EXACT !! position:&#xD;&#xA;stereo ergo speaker, mic, volume, direction , you name it.&#xD;&#xA;Then try phase cancellation in post.&#xD;&#xA;2) try to mimic the room (speakerphone, frequency, room´s reverb)&#xD;&#xA;then phase cancellation in post.&#xD;&#xA;3) Maybe a lil bit of Izotope´s RX advanced. But no real experience here with that.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If this doesn´t work and would be the best idea anyway&#xD;&#xA;As Shawn stated :&#xD;&#xA;&#xD;&#xA;Reshoot and let the filmmaker learn out of it.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20490" PostHistoryTypeId="2" PostId="12432" RevisionGUID="c0509ec2-abd1-4cc8-8b2d-b0ccd93ed769" CreationDate="2012-01-31T14:59:58.670" UserId="397" Text=" I would say impossible because, the music it's a complex signal( frequency, level of each frequency, harmonics) that blends with another complex signal the dialogue in a complex space (reverberation, early reflections, some phasing perhaps or comb filtering).... So, my wild guess is that if you ever manage to recreate the same conditions and you start phasing out the music, there's gonna be some residuals there before you start affecting the dialogue. That's one scenario. The second one: How much do you charge for this one? &#xD;&#xA;&#xD;&#xA; I agree with Shaun that the reshoot is THE option, and perhaps the cheapest. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20491" PostHistoryTypeId="2" PostId="12433" RevisionGUID="0e60e5e8-1148-42f1-8a8a-caa0f233b386" CreationDate="2012-01-31T15:12:06.123" UserId="3230" Text="Phil Ensminger, Minneapolis, MN.  http://philensminger.com/about/ &#xD;&#xA;&#xD;&#xA;I am currently a student in Audio Production with a concentration in audio for video at Hennepin Technical College.  I'm just entering the post-production industry, taking as many projects as I can get my ears on! &#xD;&#xA;&#xD;&#xA;I absolutely love this forum....as a resource, and outlet, or just good topical reading!  Keep it up!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20492" PostHistoryTypeId="16" PostId="12433" RevisionGUID="0e60e5e8-1148-42f1-8a8a-caa0f233b386" CreationDate="2012-01-31T15:12:06.123" UserId="-1" />
  <row Id="20493" PostHistoryTypeId="5" PostId="12433" RevisionGUID="6bf63e43-876a-461e-8081-08a998432dc7" CreationDate="2012-01-31T16:46:09.513" UserId="3230" Comment="deleted 1 characters in body" Text="Phil Ensminger, Minneapolis, MN.  http://philensminger.com/about/ &#xD;&#xA;&#xD;&#xA;I am currently a student in Audio Production with a concentration in audio for video at Hennepin Technical College.  I'm just entering the post-production industry, taking as many projects as I can get my ears on! &#xD;&#xA;&#xD;&#xA;I absolutely love this forum....as a resource, an outlet, or just good topical reading!  Keep it up!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20495" PostHistoryTypeId="5" PostId="10521" RevisionGUID="b5ff7877-7be1-4ba8-8793-e3e8db066659" CreationDate="2012-01-31T17:06:05.420" UserId="61" Comment="added 25 characters in body" Text="That's ridiculous.   &#xD;&#xA;&#xD;&#xA;I don't agree with that comment at all. Just because you're using sounds that you didn't personally record doesn't mean that you're not making creative choices. Very seldom will library sounds work perfectly for the project you're working on, and it's up to you to mold and shape those sounds and make them your own.&#xD;&#xA;&#xD;&#xA;Should everyone be recording, mastering and using their own custom recorded fx? Sure, in a perfect world with generous budgets of time and money. Now, show me that perfect world ---" ContentLicense="CC BY-SA 3.0" />
  <row Id="20496" PostHistoryTypeId="2" PostId="12434" RevisionGUID="85c98a7d-065d-48c8-80c6-92856698b17b" CreationDate="2012-01-31T17:26:01.577" UserId="182" Text="I would say removing the music is impossible. With very clever and tedious spectral editing (Izotope RX) you might be able to make the music less obvious and then maybe you can put louder music over it in an attempt to mask it. This might be worth a try, but depending on how much headroom there is between the original music and the dialogue, adding something louder on top will probably make everything worse." ContentLicense="CC BY-SA 3.0" />
  <row Id="20497" PostHistoryTypeId="5" PostId="12434" RevisionGUID="b604d533-60b5-4142-b12c-69a98705685e" CreationDate="2012-01-31T17:34:11.840" UserId="182" Comment="added 339 characters in body" Text="I would say removing the music is impossible. Phase cancellation won't work unfortunately, the signals need to be mathematically identical for this to work, and if anything is off by a mm or if someone is not in the room you won't achieve this and (as Marco Lopez said) end up with high frequency residual at best, or mutilated dialogue and no cancellation at all at worst. &#xD;&#xA;&#xD;&#xA;Maybe, with very clever and tedious spectral editing (Izotope RX) you might be able to make the music less obvious and then maybe you can put louder music over it in an attempt to mask it. This might be worth a try, but depending on how much headroom there is between the original music and the dialogue, adding something louder on top will probably make everything worse." ContentLicense="CC BY-SA 3.0" />
  <row Id="20499" PostHistoryTypeId="4" PostId="12383" RevisionGUID="41e8a811-2515-4327-83db-b21cddee96fe" CreationDate="2012-01-31T21:09:20.810" UserId="18160" Comment="edited title" Text="lav mic, wireless transmitter/receiver combinations" ContentLicense="CC BY-SA 3.0" />
  <row Id="20500" PostHistoryTypeId="2" PostId="12435" RevisionGUID="fe3adf09-492e-4f8f-9023-488234bab5d3" CreationDate="2012-01-31T22:03:37.963" UserId="343" Text="This has happen to me a few times too and my approach to his is similar as yours. If your music is broadband you will need to both edit and spectral removal. When possible I use to remove the music between dialog lines and fill it with clean room tone. The rest will need spectral repair. For this I feel comfortable with iZotope RX. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20502" PostHistoryTypeId="5" PostId="8975" RevisionGUID="da92dff9-e86a-4104-b4c7-b6f9c40e2fa7" CreationDate="2012-02-01T07:20:15.193" UserId="1178" Comment="update on my work" Text="Hello! I´m a audio producer and sound designer, in Helsinki, Finland. Been in the audio biz for ten years and I´ve recently branched out to gaming audio. I´ve got a BA in digital audio and commercial music and currently work at Remedy Entertaiment as an Audio trainee. &#xD;&#xA;&#xD;&#xA;update: Now working as an sound designer in the same company" ContentLicense="CC BY-SA 3.0" />
  <row Id="20503" PostHistoryTypeId="2" PostId="12437" RevisionGUID="5d22a7c9-cc81-4c40-9173-e3306df33652" CreationDate="2012-02-01T07:47:54.247" UserId="3249" Text="Have you tried to compare prices of airbornesound.com (author of Selling Sound Effects: How to Choose Where to Sell) and other independent sound effects libraries? I found it completely out of reasonable range.&lt;br&gt;&#xD;&#xA;Just look at http://designingsound.org/sfx-independence/. There are much better, complex and professional libraries for much better prices." ContentLicense="CC BY-SA 3.0" />
  <row Id="20506" PostHistoryTypeId="2" PostId="12440" RevisionGUID="e80a3436-9df0-434a-bea3-32fab2a97197" CreationDate="2012-02-01T23:32:06.147" UserId="18160" Text="I need some extremely close, exciting P-52 or similar deep, throaty, exciting airplane bys. Preferably extremely close, high quality recordings with lots of punchy low-end.&#xD;&#xA;&#xD;&#xA;Willing to trade or possibly buy.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Ryan" ContentLicense="CC BY-SA 3.0" />
  <row Id="20507" PostHistoryTypeId="1" PostId="12440" RevisionGUID="e80a3436-9df0-434a-bea3-32fab2a97197" CreationDate="2012-02-01T23:32:06.147" UserId="18160" Text="REQUEST: WWII Airplane Bys" ContentLicense="CC BY-SA 3.0" />
  <row Id="20508" PostHistoryTypeId="3" PostId="12440" RevisionGUID="e80a3436-9df0-434a-bea3-32fab2a97197" CreationDate="2012-02-01T23:32:06.147" UserId="18160" Text="&lt;request&gt;&lt;sfx&gt;&lt;airplane&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20509" PostHistoryTypeId="5" PostId="12440" RevisionGUID="9e857792-d42a-4c2d-8dfb-12807b14267b" CreationDate="2012-02-01T23:38:51.033" UserId="18160" Comment="deleted 9 characters in body" Text="I need some extremely close, exciting P-52 or similar deep, throaty, exciting airplane bys. Preferably extremely close, high quality recordings with lots of punchy low-end.&#xD;&#xA;&#xD;&#xA;Willing to trade or buy.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Ryan" ContentLicense="CC BY-SA 3.0" />
  <row Id="20510" PostHistoryTypeId="2" PostId="12441" RevisionGUID="2582f883-5b35-422f-a8c1-c2f1f0b1d40e" CreationDate="2012-02-02T00:16:10.800" UserId="18160" Text="What are some examples of exciting mixes you've heard? Very dynamic, powerful, knock you out of your chair but are still very pleasant to listen to?&#xD;&#xA;&#xD;&#xA;I'm interested in studying further how mixers use dynamics and mixing to really create excitement and suspense and exhilaration in the soundtrack." ContentLicense="CC BY-SA 3.0" />
  <row Id="20511" PostHistoryTypeId="1" PostId="12441" RevisionGUID="2582f883-5b35-422f-a8c1-c2f1f0b1d40e" CreationDate="2012-02-02T00:16:10.800" UserId="18160" Text="Examples of Exciting Mixes" ContentLicense="CC BY-SA 3.0" />
  <row Id="20512" PostHistoryTypeId="3" PostId="12441" RevisionGUID="2582f883-5b35-422f-a8c1-c2f1f0b1d40e" CreationDate="2012-02-02T00:16:10.800" UserId="18160" Text="&lt;excitement&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20513" PostHistoryTypeId="2" PostId="12442" RevisionGUID="3a98153d-3775-4ba5-ab5f-c0e30753b364" CreationDate="2012-02-02T00:39:52.733" UserId="61" Text="There are too many to name.&#xD;&#xA;&#xD;&#xA;Se7en always stands out to me, as do Saving Private Ryan and District 9." ContentLicense="CC BY-SA 3.0" />
  <row Id="20514" PostHistoryTypeId="2" PostId="12443" RevisionGUID="038216df-68cd-4590-8fe9-2300abfc89b7" CreationDate="2012-02-02T00:56:29.863" UserId="315" Text="This [boutique library][1] from John Leonard called &quot;sounds of flight&quot; might do the trick. The price is certainly right...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.johnleonard.co.uk/immersive.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="20515" PostHistoryTypeId="5" PostId="12440" RevisionGUID="5043b8d7-41df-4f50-83b5-85114a0c0ac2" CreationDate="2012-02-02T01:11:08.810" UserId="18160" Comment="edited body" Text="I need some extremely close, exciting P-51 or similar deep, throaty, exciting airplane bys. Preferably extremely close, high quality recordings with lots of punchy low-end.&#xD;&#xA;&#xD;&#xA;Willing to trade or buy.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Ryan" ContentLicense="CC BY-SA 3.0" />
  <row Id="20516" PostHistoryTypeId="2" PostId="12444" RevisionGUID="c274cee6-7479-4f06-9b80-ba58a9c9f4cd" CreationDate="2012-02-02T01:45:11.580" UserId="565" Text="&#xD;&#xA;&#xD;&#xA;As Jay mentions, there are too many to name but one movie that I really like for it's dynamics over the course of the entire film that often gets over looked with all the SFX driven movies is &quot;Forrest Gump&quot;.  It really is an exceptional sounding movie that is mixed very well.  It has really soft moments, to very punchy and loud (but clean) during the Vietnam war scenes.  The score is wonderful and really pulls out the emotions during the movie, and scource music cues are great for tying in the historical eras of the story.&#xD;&#xA;&#xD;&#xA;I also really like Contact, Fight Club, Heat, and The Phantom Menace.  All &quot;JarJar&quot; jokes aside, it's one of the tightest mixes I've heard. &#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="20518" PostHistoryTypeId="2" PostId="12445" RevisionGUID="8e8faff8-66f9-4b2a-b616-cbf01ae1bceb" CreationDate="2012-02-02T05:16:31.727" UserId="6669" Text="Fight Club for sure. Saw it again in a theater setup a few months ago and it's incredibly dynamic and powerful. The nightmare scene where the plane starts had me thinking the room was going to explode and the gunshot at the end is a thing of beauty.." ContentLicense="CC BY-SA 3.0" />
  <row Id="20519" PostHistoryTypeId="5" PostId="12445" RevisionGUID="7abd1dc3-5a7f-46b4-a231-c23dd98c6bc0" CreationDate="2012-02-02T07:53:05.023" UserId="6669" Comment="added 14 characters in body" Text="Fight Club for sure. Saw it again in a theater setup a few months ago and it's incredibly dynamic and powerful. The hallucination where the plane starts breaking apart had me thinking the room was going to explode, and the gunshot at the end is a thing of beauty.." ContentLicense="CC BY-SA 3.0" />
  <row Id="20520" PostHistoryTypeId="2" PostId="12446" RevisionGUID="cd40f69e-3f38-45cd-894d-9ea8f033cd45" CreationDate="2012-02-02T08:01:06.177" UserDisplayName="user49" Text="What are some examples of mixes you've heard that are very emotionally powerful, don't knock you out of your chair because the concept, story telling &amp; depth of character development makes all those action based blockbusters seem like they are aimed at 12 year olds? Beautiful performances captured with equally beautiful production sound &amp; masterful dialogue/adr editing &amp; mix... Films that make you glad to be a human, where you leave the theatre lost for words....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20521" PostHistoryTypeId="1" PostId="12446" RevisionGUID="cd40f69e-3f38-45cd-894d-9ea8f033cd45" CreationDate="2012-02-02T08:01:06.177" UserDisplayName="user49" Text="Examples of non-overt mixes" ContentLicense="CC BY-SA 3.0" />
  <row Id="20522" PostHistoryTypeId="3" PostId="12446" RevisionGUID="cd40f69e-3f38-45cd-894d-9ea8f033cd45" CreationDate="2012-02-02T08:01:06.177" UserDisplayName="user49" Text="&lt;emotion&gt;&lt;film&gt;&lt;art&gt;&lt;performance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20523" PostHistoryTypeId="2" PostId="12447" RevisionGUID="fb2c8bd8-a2b8-4af2-a595-5a8dca8c6c09" CreationDate="2012-02-02T08:06:51.673" UserId="6669" Text="I remember feeling this way about Super 8 recently, but I'd have to re-watch it to really put my finger on it." ContentLicense="CC BY-SA 3.0" />
  <row Id="20524" PostHistoryTypeId="2" PostId="12448" RevisionGUID="2069c3cd-3a6a-49d6-9260-62c593d41988" CreationDate="2012-02-02T08:25:19.970" UserId="3406" Text="Ghost in the Shell 2. Sound design by Randy Thom. The flick hits all the right acoustic notes. Track down a copy and enjoy a hidden acoustic gem." ContentLicense="CC BY-SA 3.0" />
  <row Id="20525" PostHistoryTypeId="2" PostId="12449" RevisionGUID="c9d63d11-fd29-4344-a0d9-adf90a0718a9" CreationDate="2012-02-02T09:44:01.473" UserId="548" Text="Mission Impossible - Ghost Protocol actually has a very inspirational and controlled mix. Obviously there are a lot of crashes, punches and explosions, but it is not over the top like the Transformers films for example. The music, dialogue and the effects are always very well positioned and in great balance.&#xD;&#xA;&#xD;&#xA;Here is a clip I just found about the sound design of the film:&#xD;&#xA;&#xD;&#xA;http://soundworkscollection.com/ghostprotocol" ContentLicense="CC BY-SA 3.0" />
  <row Id="20526" PostHistoryTypeId="2" PostId="12450" RevisionGUID="846110c9-28cc-4848-9af3-0112b96b98bf" CreationDate="2012-02-02T09:51:12.493" UserId="1228" Text="It's a tie for me:&#xD;&#xA;&#xD;&#xA;Star Trek -&gt; only movie I've ever seen and my analytical sound mind never kicked in, walked out of there and days later realized I never gave a single thought to the sound.&#xD;&#xA;&#xD;&#xA;The other is 'Runaway Jury' - fully dialogue-driven film but highly creative, outstanding performances, brilliant story.  A lot of creative futzing in there and forced sonic masking against DX and BGz, more so than the average film.  Very well done.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;However, the movie that actually had me leaving the theater with a loss for words was 'Book of Eli'." ContentLicense="CC BY-SA 3.0" />
  <row Id="20527" PostHistoryTypeId="2" PostId="12451" RevisionGUID="0c4fe59f-6536-4da0-827d-3940bcb1384f" CreationDate="2012-02-02T09:54:31.570" UserId="1228" Text="Inception.   My work here is done ;)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also...&#xD;&#xA;&#xD;&#xA;I found 127 Hours mix very exciting for all that it lacked.  The more it lacked, the more exciting it actually was.  It played to realism, and in such shots where we go from inside his headphones, to the exterior of nearly dead silence (what the real desert sound like) are incredibly dynamic. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20528" PostHistoryTypeId="2" PostId="12452" RevisionGUID="e68427de-e3af-4bb5-962b-f637d7496ddc" CreationDate="2012-02-02T10:26:15.223" UserId="1237" Text="You can also check this page:&#xD;&#xA;http://awardsdatabase.oscars.org/ampas_awards/BasicSearchInput.jsp&#xD;&#xA;&#xD;&#xA;Choose category “Sound” or “Sound Editing” and you will see the list of the movies with good sound. But don't use the checkbox “Winners only” since in this case you won't see “Avatar” and “WALL-E” in the list." ContentLicense="CC BY-SA 3.0" />
  <row Id="20529" PostHistoryTypeId="2" PostId="12453" RevisionGUID="e47a72f6-0532-405b-aa74-038a49b0cfd3" CreationDate="2012-02-02T16:01:11.880" UserId="6519" Text="Somebody use [RODE NTG-8][1] ? I think new model.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/mics/ntg8" ContentLicense="CC BY-SA 3.0" />
  <row Id="20530" PostHistoryTypeId="1" PostId="12453" RevisionGUID="e47a72f6-0532-405b-aa74-038a49b0cfd3" CreationDate="2012-02-02T16:01:11.880" UserId="6519" Text="Somebody use Rode NTG-8 ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20531" PostHistoryTypeId="3" PostId="12453" RevisionGUID="e47a72f6-0532-405b-aa74-038a49b0cfd3" CreationDate="2012-02-02T16:01:11.880" UserId="6519" Text="&lt;shotgun&gt;&lt;rode&gt;&lt;microphone&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20532" PostHistoryTypeId="2" PostId="12454" RevisionGUID="c22a58ff-6c76-4342-9fb0-68f296a1e896" CreationDate="2012-02-02T16:14:49.233" UserId="3179" Text="Never noticed they had something like that. While off-topic, I really wish Rode made a M-S shotgun/field mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="20533" PostHistoryTypeId="2" PostId="12455" RevisionGUID="02aa826d-3b0a-4234-bcc6-f58923fa2d2f" CreationDate="2012-02-02T17:10:08.517" UserId="6420" Text="No Country For Old Men did it for me when I remember seeing that for the first time." ContentLicense="CC BY-SA 3.0" />
  <row Id="20534" PostHistoryTypeId="2" PostId="12456" RevisionGUID="0f6948d3-dc00-47fc-b2df-b7ee49b2320a" CreationDate="2012-02-02T17:41:11.100" UserId="315" Text=" - Once Upon a Time in the West &#xD;&#xA; - PlayTime&#xD;&#xA; - North By Northwest&#xD;&#xA; - The Black Stallion&#xD;&#xA; - The Conversation&#xD;&#xA; - Apocalypse Now&#xD;&#xA; - 2001&#xD;&#xA; - Das Boot&#xD;&#xA; - Master and Commander&#xD;&#xA; - Toy Story&#xD;&#xA; - A River Runs Through It&#xD;&#xA; - The English Patient&#xD;&#xA; - Ratatouille&#xD;&#xA; - No Country For Old Men&#xD;&#xA; - The King's Speech&#xD;&#xA; - The Hurt Locker&#xD;&#xA;&#xD;&#xA;To name a few. All superb sound jobs, where the sound work/sonic choices/mix support the narrative." ContentLicense="CC BY-SA 3.0" />
  <row Id="20535" PostHistoryTypeId="2" PostId="12457" RevisionGUID="7566dfe8-d739-409d-9230-9861d8e66883" CreationDate="2012-02-02T17:57:21.973" UserId="18160" Text="Forrest Gump and The Thin Red Line left me speechless the most. (I didn't see Forrest Gump in theaters because I was 9 when Gump came out..)&#xD;&#xA;&#xD;&#xA;Social Network was superb as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="20536" PostHistoryTypeId="5" PostId="12457" RevisionGUID="25c29f2d-be36-4bfe-ab48-1ce02d18a035" CreationDate="2012-02-02T18:21:33.660" UserId="18160" Comment="added 149 characters in body" Text="Forrest Gump and The Thin Red Line left me speechless the most. (I didn't see Forrest Gump in theaters because I was too young to see PG-13, but I left my living room speechless!....)&#xD;&#xA;&#xD;&#xA;Social Network was superb as well.&#xD;&#xA;&#xD;&#xA;Also, Benjamin Button was extremely well done and I was thinking about that movie for days afterwards." ContentLicense="CC BY-SA 3.0" />
  <row Id="20537" PostHistoryTypeId="2" PostId="12458" RevisionGUID="07442af1-e35a-4cb8-9981-4ee17b67f837" CreationDate="2012-02-02T18:34:56.337" UserId="238" Text=" - Elephant&#xD;&#xA; - Uncle Boonmee&#xD;&#xA; - Let's Talk About Kevin&#xD;&#xA; - No Country For Old Men&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20538" PostHistoryTypeId="2" PostId="12459" RevisionGUID="f84404ed-b3c3-40a0-9257-5df518e45e6e" CreationDate="2012-02-02T18:44:12.620" UserId="3407" Text="Hey! I have to design the voice of a demonic snowman and this voice must sounds &quot;icy&quot;...&#xD;&#xA;&#xD;&#xA;Any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20539" PostHistoryTypeId="1" PostId="12459" RevisionGUID="f84404ed-b3c3-40a0-9257-5df518e45e6e" CreationDate="2012-02-02T18:44:12.620" UserId="3407" Text="Snowman icy voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="20540" PostHistoryTypeId="3" PostId="12459" RevisionGUID="f84404ed-b3c3-40a0-9257-5df518e45e6e" CreationDate="2012-02-02T18:44:12.620" UserId="3407" Text="&lt;voice&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20541" PostHistoryTypeId="2" PostId="12460" RevisionGUID="f2034fff-45cb-4375-a266-e206111d748e" CreationDate="2012-02-02T18:51:27.377" UserId="61" Text="If you are having a voice actor perform the voice for you (which is a great idea, btw) make sure you get the best performance possible, with plenty of options. Once you have that in place and working, you may want to start layering in sounds of glass cracking or spiderwewbbing, ice cubes crushing, plastic twists, etc. Maybe those sounds can live under the consanants or percussive parts of speech. Maybe try more open sounds under the vowels, ie. Ice moans, glass rubs, crystal rubs, etc. &#xD;&#xA;&#xD;&#xA;And see where that takes you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20542" PostHistoryTypeId="2" PostId="12461" RevisionGUID="eda8f96d-b93c-4e26-90c7-58d4a6d2353d" CreationDate="2012-02-02T18:52:09.823" UserId="18160" Text="It may sound horrible, but try toying with using a reverb with an IR of glass or ice breaking/cracking.&#xD;&#xA;&#xD;&#xA;You can also do a lot with breath. When I create special voices like these I spend a lot of time augmenting or even replacing the breaths and exhales of the actor with custom effects depending on the character and his mock-up, in your case you could use cold icy wind instead of the actor's breath, or cold whistles, crackling ice mixed in with it, etc. etc. etc.&#xD;&#xA;&#xD;&#xA;I would also check out the movie &quot;Thor&quot; because I specifically remember the Ice God or whatever the bad guy was sounding really cool." ContentLicense="CC BY-SA 3.0" />
  <row Id="20543" PostHistoryTypeId="5" PostId="12461" RevisionGUID="90958f6f-7e47-46ba-922a-edfec480b625" CreationDate="2012-02-02T18:57:14.673" UserId="18160" Comment="deleted 1 characters in body" Text="It may sound horrible, but try toying with using a reverb with an IR of glass or ice breaking/cracking.&#xD;&#xA;&#xD;&#xA;You can also do a lot with breath. When I create special voices like these I spend a lot of time augmenting or even replacing the breaths and exhales of the actor with custom effects depending on the character and his mock-up, in your case you could use cold icy wind instead of the actor's breath, or cold whistles, crackling ice mixed in with it, etc. etc. etc.&#xD;&#xA;&#xD;&#xA;I would also check out the movie &quot;Thor&quot; because I specifically remember the Ice God or whatever the bad guy was sounded really cool." ContentLicense="CC BY-SA 3.0" />
  <row Id="20544" PostHistoryTypeId="2" PostId="12462" RevisionGUID="7d219cfd-4dc1-456d-80a6-4434d245afb8" CreationDate="2012-02-02T19:18:01.970" UserId="587" Text="A variety of mics has to be the equivalent to the swiss army knife of field recording.&#xD;&#xA;&#xD;&#xA;Some very unique and useful recordings have come from iPhone microphones. Whether it be some random ambience, a funny noisemaker in a toy shop, or any spur of the moment capture ...&#xD;&#xA;&#xD;&#xA;I was wondering if anyone had actually made or found a pinna/cone/etc like structure to successfully enhance, focus, or modify in a desirable way the input to the phone? I have actually cupped my hand around the microphone and had greater focus. Also, placing the phone on a resonant structure coupled with the sound source has allowed me to capture more bass in a sound.&#xD;&#xA;&#xD;&#xA;Any thoughts?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20545" PostHistoryTypeId="1" PostId="12462" RevisionGUID="7d219cfd-4dc1-456d-80a6-4434d245afb8" CreationDate="2012-02-02T19:18:01.970" UserId="587" Text="Pinna iPhone Construction" ContentLicense="CC BY-SA 3.0" />
  <row Id="20546" PostHistoryTypeId="3" PostId="12462" RevisionGUID="7d219cfd-4dc1-456d-80a6-4434d245afb8" CreationDate="2012-02-02T19:18:01.970" UserId="587" Text="&lt;iphone&gt;&lt;field-recording&gt;&lt;modification&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20547" PostHistoryTypeId="2" PostId="12463" RevisionGUID="d32e73be-1ce3-492b-90ba-073f7543e28d" CreationDate="2012-02-02T20:06:08.010" UserId="220" Text="I'm sure you could do any number of things to alter the mic on the iPhone (like wrap it in foil), but I doubt any of them would improve the sound.  I'd think I'd rather have a clean version to alter in editing than put a device on that turns it in to a roll of the dice on what I'll actually get out.  &#xD;&#xA;&#xD;&#xA;The only interesting passive devices I've seen for the iPhone are on the output side - little wooden boxes with holes you can slide the phone in to and amplify the sound a little bit.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="20548" PostHistoryTypeId="2" PostId="12464" RevisionGUID="8589dfb7-4f5b-4b7d-8495-67bb73008222" CreationDate="2012-02-02T20:38:26.683" UserId="6604" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;This is a slightly off topic question...i want to have a online presence to share my sound design/audio work...but im confused between having a blog(wordpress) where i can discuss my work and a FB page..&#xD;&#xA;&#xD;&#xA;1. i want eveybody to see...not just FB users&#xD;&#xA;2. link to wordpress blog to FB or vice versa&#xD;&#xA;3. ability to link it to a profile website in future..&#xD;&#xA;4. have my custom header image&#xD;&#xA;5. easy update, insert vimeo / soundcloud links&#xD;&#xA;&#xD;&#xA;so what do you suggest?&#xD;&#xA;&#xD;&#xA;Also, if a blog, then self-host a blog or use wordpress hosted?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20549" PostHistoryTypeId="1" PostId="12464" RevisionGUID="8589dfb7-4f5b-4b7d-8495-67bb73008222" CreationDate="2012-02-02T20:38:26.683" UserId="6604" Text="A FB Page or a Blog?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20550" PostHistoryTypeId="3" PostId="12464" RevisionGUID="8589dfb7-4f5b-4b7d-8495-67bb73008222" CreationDate="2012-02-02T20:38:26.683" UserId="6604" Text="&lt;blog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20551" PostHistoryTypeId="2" PostId="12465" RevisionGUID="6d2d469e-ff6d-4ec8-b0a4-a2928a738bb1" CreationDate="2012-02-02T21:28:51.583" UserId="3282" Text="Hi mates,&#xD;&#xA;&#xD;&#xA;I am looking for web sites with  successful sound design (no matter the technology behind). I don't mean background music but interactive sounds only.&#xD;&#xA;Thanks !&#xD;&#xA;&#xD;&#xA;Xavier" ContentLicense="CC BY-SA 3.0" />
  <row Id="20552" PostHistoryTypeId="1" PostId="12465" RevisionGUID="6d2d469e-ff6d-4ec8-b0a4-a2928a738bb1" CreationDate="2012-02-02T21:28:51.583" UserId="3282" Text="Examples of recent web sites/IOS stuff with great or innovative user interface sound design/sonification ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20553" PostHistoryTypeId="3" PostId="12465" RevisionGUID="6d2d469e-ff6d-4ec8-b0a4-a2928a738bb1" CreationDate="2012-02-02T21:28:51.583" UserId="3282" Text="&lt;design&gt;&lt;sonification&gt;&lt;interface&gt;&lt;websites&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20554" PostHistoryTypeId="2" PostId="12466" RevisionGUID="59ca3db4-3af5-4941-b9c0-f5742ca63eae" CreationDate="2012-02-02T22:43:01.560" UserId="238" Text="Two quite different examples jump to mind. The first is *[Devine Sound][1]*. Very simple, minimal bleeps on button clicks as well as some other nice interactive sounds throughout. Minimal, sleek and very effective.&#xD;&#xA;&#xD;&#xA;The second is *[La Gaité Lyrique - Experience][2]*. A very deep, immerse user experience with a whole host of interactive sounds. The first time I visited this site I spent ages exploring it.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.devinesound.net/&#xD;&#xA;  [2]: http://www.gaite-lyrique.net/experience/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20555" PostHistoryTypeId="2" PostId="12467" RevisionGUID="c61149fb-f725-4aa0-8056-c971c806f729" CreationDate="2012-02-03T00:33:13.930" UserId="558" Text="On a more subtle note I thought that Tin Tin had all around great editing and mix.  The scene where the dog chases the cat around the room destroying furniture was terrific and detailed.  Much less cluttered than many soundscapes, possibly due to it being an animation.  I definitely concur with all the other titles.  District 9 is a fave of mine." ContentLicense="CC BY-SA 3.0" />
  <row Id="20556" PostHistoryTypeId="2" PostId="12468" RevisionGUID="db9c049a-df88-433e-a419-9998a08b36db" CreationDate="2012-02-03T00:59:33.067" UserId="1266" Text="Super 8 was pretty exciting to me.  Also any mix that you have personal control of is exciting.&#xD;&#xA;&#xD;&#xA;I-Spy was great too.  Sound was perfect for that movie." ContentLicense="CC BY-SA 3.0" />
  <row Id="20557" PostHistoryTypeId="5" PostId="12462" RevisionGUID="c83e7ded-cafb-4ec9-810e-9d5b1493afe7" CreationDate="2012-02-03T02:55:20.080" UserId="587" Comment="added 790 characters in body" Text="A variety of mics has to be the equivalent to the swiss army knife of field recording.&#xD;&#xA;&#xD;&#xA;Some very unique and useful recordings have come from iPhone microphones. Whether it be some random ambience, a funny noisemaker in a toy shop, or any spur of the moment capture ...&#xD;&#xA;&#xD;&#xA;I was wondering if anyone had actually made or found a pinna/cone/etc like structure to successfully enhance, focus, or modify in a desirable way the input to the phone? I have actually cupped my hand around the microphone and had greater focus. Also, placing the phone on a resonant structure coupled with the sound source has allowed me to capture more bass in a sound.&#xD;&#xA;&#xD;&#xA;Any thoughts?&#xD;&#xA;&#xD;&#xA;--------------------------------------------&#xD;&#xA;Just found these - not much for non mic devices but still some cool products:&#xD;&#xA;&#xD;&#xA;Use this in conjunction with this to use any mic (or using a T or Phantom box additionally) http://www.kvconnection.com/product-p/009-541.htm / http://www.kvconnection.com/product-p/km-iphone-2trs.htm&#xD;&#xA;&#xD;&#xA;Cardioid Condensor Mic - http://www.bluemic.com/mikey_for_ipod/&#xD;&#xA;&#xD;&#xA;Quarter Inch Line Input - http://www.ikmultimedia.com/irig/features/&#xD;&#xA;&#xD;&#xA;SoundClip for iPhone 3G (VCProd's product suggestion for audio output) Would love a 4 version of this!&#xD;&#xA;http://tenonedesign.com/soundclip.php&#xD;&#xA;&#xD;&#xA;Small mic attachment - http://touchmic.com/products-page/view-all-products/touchmic-mitymic---voice-recording-and-interview-mic/&#xD;&#xA;&#xD;&#xA;Interesting lil array of products. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20558" PostHistoryTypeId="2" PostId="12469" RevisionGUID="32a29aea-f27d-468f-a74a-826c4d4d7cd2" CreationDate="2012-02-03T03:23:23.203" UserId="194" Text="I'd go with a blog.  &#xD;&#xA;&#xD;&#xA;Facebook is headed the way of myspace IMO.  They're constantly guilty of changing the rules midstream, and your entire presence will be subject to their whims.  [Also, the kids are moving from facebook to twitter.][1]  &#xD;&#xA;&#xD;&#xA;With a blog you can control the entire presentation top to bottom, and change things on your terms.  You're in control of your own content, layout, and archives which is a huge deal.&#xD;&#xA;&#xD;&#xA;Also, remember that the two are not mutually exclusive.  If you just do a facebook page then you just have a facebook page.  If you do a blog, then you can post updates to facebook and have both.&#xD;&#xA;&#xD;&#xA;re:self hosting vs wordpress, IMO that depends on your vision for the blog.  Again, you're not locked into anything, so my advice would be to go with a wordpress host till you outgrow it, then move into self hosting.&#xD;&#xA;&#xD;&#xA;of course, all of this is IMO, YMMV, etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.debaird.net/blendededunet/2012/01/teens-leaving-facebook-for-twitter-heres-why.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="20559" PostHistoryTypeId="2" PostId="12470" RevisionGUID="34850256-beb9-43eb-b7ff-0fca0042a54c" CreationDate="2012-02-03T03:25:38.713" UserId="6487" Text="As I have just come to a new town and am editing dialogue for a good number of different mixers who have very different preferences in how they like their dialogue edited, I would like to know if their are anymore common permutations I have not seen yet.&#xD;&#xA;&#xD;&#xA;What do you like when you sit down at the board?&#xD;&#xA;&#xD;&#xA;Do you like 4 frames or 2 frames fade outs and ins on scenes?&#xD;&#xA;&#xD;&#xA;How long do you like your fades from character to character in a scene?&#xD;&#xA;&#xD;&#xA;Do you like muted extra tracks on the dialogue tracks in addition to your inactive AAFs?&#xD;&#xA;&#xD;&#xA;Do you prefer characters to consistently be on the same tracks? Do you require this throughout the project or just in a scene?&#xD;&#xA;&#xD;&#xA;Do you want your dialogue editor to Izotope clicks and crackles?&#xD;&#xA;&#xD;&#xA;Do you checkerboard your dialogue from one character to another even if it was recorded on one mic?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20560" PostHistoryTypeId="1" PostId="12470" RevisionGUID="34850256-beb9-43eb-b7ff-0fca0042a54c" CreationDate="2012-02-03T03:25:38.713" UserId="6487" Text="Mixers: What are your Dialogue Editing Preferences?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20561" PostHistoryTypeId="3" PostId="12470" RevisionGUID="34850256-beb9-43eb-b7ff-0fca0042a54c" CreationDate="2012-02-03T03:25:38.713" UserId="6487" Text="&lt;dialogue&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20562" PostHistoryTypeId="5" PostId="12470" RevisionGUID="34a1f3ac-c860-42ae-9439-d1f8eb7dc618" CreationDate="2012-02-03T04:43:32.580" UserId="6487" Comment="deleted 3 characters in body; added 37 characters in body" Text="I have just come to a new town and am editing dialogue for a good number of different mixers who have very different preferences in how they like their dialogue edited. I would like to know if there are anymore common permutations I have not yet seen.&#xD;&#xA;&#xD;&#xA;What do you like when you sit down at the board?&#xD;&#xA;&#xD;&#xA;Do you like 4 frames or 2 frames fade outs and ins on scenes?&#xD;&#xA;&#xD;&#xA;How long do you like your fades from character to character in a scene?&#xD;&#xA;&#xD;&#xA;Do you like muted extra tracks on the dialogue tracks in addition to inactive AAF tracks at the bottom of the session window?&#xD;&#xA;&#xD;&#xA;Do you prefer characters to consistently be on the same tracks? Do you require this throughout the project or just in a scene?&#xD;&#xA;&#xD;&#xA;Do you want your dialogue editor to Izotope clicks and crackles?&#xD;&#xA;&#xD;&#xA;Do you checkerboard your dialogue from one character to another even if it was recorded on one mic?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20563" PostHistoryTypeId="2" PostId="12471" RevisionGUID="1c8a671e-cf04-451e-8d16-475851dd4000" CreationDate="2012-02-03T06:21:23.640" UserId="6411" Text="My mind has been preoccupied lately with the concept of negative space and figure-ground perception. As an example of what I'm talking about, check out [Rubin's face / vase][1] or the [Young Lady / Old Hag][2]. You've also probably seen [Escher's tessellations][3] before. But what I'm trying to come to a conclusion on is whether or not this phenomenon is possible to accomplish with sound.&#xD;&#xA;&#xD;&#xA;Certainly we can construct backgrounds that evolve through a scene or level that become the foreground object. But we make the transition for the listener. We mix and edit with the transformation as our goal. But is it possible to design sound that can be perceived two different ways by people upon one listening? How about by the same person upon repeated listening?&#xD;&#xA;&#xD;&#xA;I'm taking the stance that it cannot, simply because we all work along a linear timeline and this is a concept from 2D art. For these images to work you have to essentially overload your visual input to the point that you can switch your mind to begin seeing the other image. But I really, *really* want to be proven wrong. Can you rationalize this for me? Have you or some sound artist you've heard of explored this terrain?&#xD;&#xA;&#xD;&#xA;I may be out in left field here. But this notion has been rolling over and over in my mind.&#xD;&#xA;&#xD;&#xA;  [1]: https://www.google.com/search?q=rubin%27s+face+vase+illusion&amp;hl=en&amp;client=firefox-a&amp;hs=GZD&amp;rls=org.mozilla:en-US:official&amp;prmd=imvns&amp;tbm=isch&amp;tbo=u&amp;source=univ&amp;sa=X&amp;ei=H3wrT__iA6XW2AWskNHtDg&amp;ved=0CEAQsAQ&amp;biw=1440&amp;bih=711&#xD;&#xA;  [2]: https://www.google.com/search?q=young+lady+old+lady+illusion&amp;hl=en&amp;client=firefox-a&amp;hs=Y3X&amp;rls=org.mozilla:en-US:official&amp;prmd=imvns&amp;tbm=isch&amp;tbo=u&amp;source=univ&amp;sa=X&amp;ei=dHkrT_uVMOji2AXImu3eDg&amp;ved=0CDcQsAQ&amp;biw=1440&amp;bih=711&#xD;&#xA;  [3]: https://www.google.com/search?q=mc+escher+tessellations&amp;hl=en&amp;client=firefox-a&amp;hs=83X&amp;rls=org.mozilla:en-US:official&amp;prmd=imvnso&amp;tbm=isch&amp;tbo=u&amp;source=univ&amp;sa=X&amp;ei=mHkrT8PXK-fi2QWT84GSDw&amp;ved=0CCoQsAQ&amp;biw=1440&amp;bih=711" ContentLicense="CC BY-SA 3.0" />
  <row Id="20564" PostHistoryTypeId="1" PostId="12471" RevisionGUID="1c8a671e-cf04-451e-8d16-475851dd4000" CreationDate="2012-02-03T06:21:23.640" UserId="6411" Text="Negative Space / Figure-Ground Perception in Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="20565" PostHistoryTypeId="3" PostId="12471" RevisionGUID="1c8a671e-cf04-451e-8d16-475851dd4000" CreationDate="2012-02-03T06:21:23.640" UserId="6411" Text="&lt;audio-illusion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20566" PostHistoryTypeId="2" PostId="12472" RevisionGUID="16ceb32d-441d-45db-ae26-d7d276929c12" CreationDate="2012-02-03T06:48:11.037" UserId="61" Text="My forté is not in dialog editing but I can shed some light based on working with and learning from some really talented people:&#xD;&#xA;&#xD;&#xA; - *Do you like 4 frames or 2 frames fade outs and ins on scenes?*&#xD;&#xA; - *How long do you like your fades from&#xD;&#xA;   character to character in a scene?*&#xD;&#xA;&#xD;&#xA;Depends on the scene but I'd use 2 frames as the standard. That's how I prepare FX, BG and Foley tracks. Can't advise on the character to character fades but I assume it depends mostly on the amount of similar/dissimilar noise from angle to angle. &#xD;&#xA;&#xD;&#xA; - *Do you like muted extra tracks on the dialogue tracks in addition to&#xD;&#xA;   inactive AAF tracks at the bottom of&#xD;&#xA;   the session window?*&#xD;&#xA;&#xD;&#xA;This is basically a question regarding conveying information and organization. If you prepare a slew of muted regions but no one knows why there are there, then you've created a **problem**. If, on the other hand, you prepare a slew of muted regions and TELL the mixer what they are for and why they may need them, then you've provided **options**. Also, having the editor's tracks (OMF or AAF) running along in the session is **CRITICAL**. You will be constantly referencing and pulling material from those tracks during the mix, and if you don't have the editor's tracks then you've screwed up royally and will pay dearly.&#xD;&#xA;&#xD;&#xA; - *Do you prefer characters to consistently be on the same tracks?&#xD;&#xA;   Do you require this throughout the&#xD;&#xA;   project or just in a scene?*&#xD;&#xA;&#xD;&#xA;Principal characters should always be on the first four (or so) tracks of the dialog session, allowing room to split for new angles or locations. Secondary characters can bounce around a bit but it's better to keep them up near the top if possible. Definitely keep continuity within the reel but it's not necessary to have the exact same track layout throughout the whole project (unless you can pull it off, which would be fantastic).&#xD;&#xA;&#xD;&#xA; - *Do you want your dialogue editor to Izotope clicks and crackles?*&#xD;&#xA;&#xD;&#xA;Depends on a few things: Your proficiency with Izotope (don't render regions that are over-processed), the type of noise you're considering for reduction (certain noises may be better left to the mixer to work with), etc. If you do process regions with Izotope (or similar plugs) then be sure to leave a muted original in sync on a nearby track in case somebody doesn't like what you've done.&#xD;&#xA;&#xD;&#xA; - *Do you checkerboard your dialogue&#xD;&#xA;   from one character to another even if&#xD;&#xA;   it was recorded on one mic?*&#xD;&#xA;&#xD;&#xA;I think that depends on the scene but I would say generally no. You'd be creating extra work for yourself and may do more harm than good.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="20567" PostHistoryTypeId="2" PostId="12473" RevisionGUID="5b65218a-c795-4ce2-83fc-ec7cd36a692a" CreationDate="2012-02-03T06:48:33.147" UserId="18160" Text="Since I started out as an ADR mixer and dialogue editor and did this for quite a while, I have a few guidelines I make sure are known if I have someone cutting for me, and these are:&#xD;&#xA;&#xD;&#xA;- Never consolidate an edit. I like all edits to be on the track and easily fixable if there is something I hear that is not quite right (I have an ear for the slightest over-fade or glitchy edit)&#xD;&#xA;&#xD;&#xA;- Use as much original material as possible when editing ADR. If a whole line is picked up, either use the first few syllables from the production track or just replace what is needed (word change, word clarification, etc.)&#xD;&#xA;&#xD;&#xA;- Never print EQ or noise-reduction. Add it as a plug-in non-destructively, but never print it so that what I have on the faders is original tonality.&#xD;&#xA;&#xD;&#xA;- Depending on the amount of ADR and if it matches well, editing them in on the same track is okay - if they are extremely different tonalities, keep them on separate tracks.&#xD;&#xA;&#xD;&#xA;- Anything you're unsure about (sync, etc.) place an alt take or whatever other takes there may be on another track directly below the line in question.&#xD;&#xA;&#xD;&#xA;- Mute (but don't delete) the bleed of different mics of the scene so I can see I have these in case I need them (something I learned from music mixing - bleed from other mics can help meld the scene and sound more convincing - *to a degree. Use judgement*)&#xD;&#xA;&#xD;&#xA;- I personally like to region group an edit (not consolidate) after it's been edited so it's easier to see the levels and arcs of delivery of lines while riding the faders in the mix.&#xD;&#xA;&#xD;&#xA;- Depending on the source tracks and how big the session is and if I've heard the tracks in rushes or in a spotting session already, I may ask for the session to be &quot;Save Copy As&quot;ed so that any extraneous audio files are dispensed with by the time I get the session.&#xD;&#xA;&#xD;&#xA;If I think of any other peculiarities I'll edit my answer but keep in mind these are my own little quirks and may be completely different than those you work for. I suggest just meeting with them and have them show you examples in a session (not just talk about them because misunderstandings and misinterpretations may arise and you don't want those at the beginning of an expensive mixing day)." ContentLicense="CC BY-SA 3.0" />
  <row Id="20568" PostHistoryTypeId="5" PostId="12473" RevisionGUID="28620057-9fd9-4ab3-8c81-d2a7d1fe85ab" CreationDate="2012-02-03T06:57:49.137" UserId="18160" Comment="added 1078 characters in body" Text="Since I started out as an ADR mixer and dialogue editor and did this for quite a while, I have a few guidelines I make sure are known if I have someone cutting for me, and these are:&#xD;&#xA;&#xD;&#xA;- Never consolidate an edit. I like all edits to be on the track and easily fixable if there is something I hear that is not quite right (I have an ear for the slightest over-fade or glitchy edit)&#xD;&#xA;&#xD;&#xA;- Use as much original material as possible when editing ADR. If a whole line is picked up, either use the first few syllables from the production track or just replace what is needed (word change, word clarification, etc.)&#xD;&#xA;&#xD;&#xA;- Never print EQ or noise-reduction. Add it as a plug-in non-destructively, but never print it so that what I have on the faders is original tonality.&#xD;&#xA;&#xD;&#xA;- Depending on the amount of ADR and if it matches well, editing them in on the same track is okay - if they are extremely different tonalities, keep them on separate tracks.&#xD;&#xA;&#xD;&#xA;- Anything you're unsure about (sync, etc.) place an alt take or whatever other takes there may be on another track directly below the line in question.&#xD;&#xA;&#xD;&#xA;- Mute (but don't delete) the bleed of different mics of the scene so I can see I have these in case I need them (something I learned from music mixing - bleed from other mics can help meld the scene and sound more convincing - *to a degree. Use judgement*)&#xD;&#xA;&#xD;&#xA;- I personally like to region group an edit (not consolidate) after it's been edited so it's easier to see the levels and arcs of delivery of lines while riding the faders in the mix.&#xD;&#xA;&#xD;&#xA;- Depending on the source tracks and how big the session is and if I've heard the tracks in rushes or in a spotting session already, I may ask for the session to be &quot;Save Copy As&quot;ed so that any extraneous audio files are dispensed with by the time I get the session.&#xD;&#xA;&#xD;&#xA;- You ask about hard cuts and if they should be 4 frames or 2 frames. I say use your ears - I have never heard of a hard rule about this sort of thing. If it sounds good, then do it. It really depends on the ambient noise and if it sounds good to fade it out gradually with an S-curve or a straight fade or maybe even sometimes a scooped fade to get rid of some noise.&#xD;&#xA;&#xD;&#xA;- Don't take out every single tiny little click of the actor's performance. I have had some of the hottest, most talented editors rip a performance to shreds thinking it was noise and they took out every little nuance and lip-click the actor delivered - which turned out to be detrimental to his performance and in the end looked unnatural because every time the actor stopped talking he didn't make any noise with his mouth even though he was opening and closing his mouth. Use good judgement on what is distracting and what is okay to leave in - for example, The King's Speech, if they edited out all of his little noises he made, it wouldn't make sense because his character stuttered and stammered.&#xD;&#xA;&#xD;&#xA;If I think of any other peculiarities I'll edit my answer but keep in mind these are my own little quirks and may be completely different than those you work for. I suggest just meeting with them and have them show you examples in a session (not just talk about them because misunderstandings and misinterpretations may arise and you don't want those at the beginning of an expensive mixing day)." ContentLicense="CC BY-SA 3.0" />
  <row Id="20569" PostHistoryTypeId="2" PostId="12474" RevisionGUID="52e8324a-a271-4eaa-9a43-2349c13347d1" CreationDate="2012-02-03T07:09:12.257" UserId="18160" Text="Pretty deep.&#xD;&#xA;&#xD;&#xA;I think you'd have to set the listeners up with a way to alter the way they hear a sound - like on hi-fi 20Hz-20K speakers and let them hear something rumbly and the sound sound on computer speakers and all of a sudden you hear something else in the track because the rumble is gone - because the viewers of those optical illusions are shifting how they are viewing it..&#xD;&#xA;&#xD;&#xA;Perhaps you can have 2 sounds so similarly balanced and similar tonality that one listen you might hear one sound out of the two, and then next listen you'll hear the other one.&#xD;&#xA;&#xD;&#xA;I personally like how in The Grey, there is a character who falls asleep at night and the rest of the characters are looking out for wolves and the sleeper awakes violently from a dream and makes a wolf-like sound and it scared the sh&amp;* out of me in the theater (makes me wonder if the sound designer meant it to sound like a wolf) - something like this might be up your alley." ContentLicense="CC BY-SA 3.0" />
  <row Id="20570" PostHistoryTypeId="2" PostId="12475" RevisionGUID="d7590933-4d18-4b07-b13a-c9c58dacac96" CreationDate="2012-02-03T07:10:48.773" UserDisplayName="user80" Text="You can partially achieve this effect with two overlapping voices.  Try editing a conversation so that the participants talk over each other.  If the timbre is similar, as well as the dynamic range then you will find that you have a slightly different listening experience each time you listen to the track." ContentLicense="CC BY-SA 3.0" />
  <row Id="20572" PostHistoryTypeId="2" PostId="12476" RevisionGUID="4e1ae8eb-4de9-4fec-a91b-a063b33c51c9" CreationDate="2012-02-03T07:22:09.807" UserId="18160" Text="Tomorrow I'll be going out to a stretch of highway and coasting a pickup truck down a hill with the engine off and placing things with holes (plywood, old fridges, big empty bottles and containers, etc. etc. etc., anything that whistles when wind passes them) and I wanted to see in this last minute if any of you have done this sort of thing or recorded in high high high wind scenarios and have a golden tip I might be overlooking.&#xD;&#xA;&#xD;&#xA;I've got my W5Ds and baskets and rycotes for my stereo pair of omni MK5s, and I'm bringing a stereo pair of Senn 421s and of course, the good ol' SM58s.&#xD;&#xA;&#xD;&#xA;Is there anything you encountered that caused a face-palm moment for you on the day? Something ridiculous like &quot;Bring a piece of plexiglass to put in front of your mic stands and mic to deflect some of the air because going 60 miles an hour or more makes your mic fall over&quot;, or &quot;bring a miniature sandbag to keep your hat on&quot;, or &quot;look out for cops because putting your truck into neutral with the engine off coasting down a hill is highly illegal&quot;.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Ryan" ContentLicense="CC BY-SA 3.0" />
  <row Id="20573" PostHistoryTypeId="1" PostId="12476" RevisionGUID="4e1ae8eb-4de9-4fec-a91b-a063b33c51c9" CreationDate="2012-02-03T07:22:09.807" UserId="18160" Text="Best mic to record wind with." ContentLicense="CC BY-SA 3.0" />
  <row Id="20574" PostHistoryTypeId="3" PostId="12476" RevisionGUID="4e1ae8eb-4de9-4fec-a91b-a063b33c51c9" CreationDate="2012-02-03T07:22:09.807" UserId="18160" Text="&lt;wind&gt;&lt;recording&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20575" PostHistoryTypeId="5" PostId="12476" RevisionGUID="8052a556-3583-46bc-ad2c-21add3968f7f" CreationDate="2012-02-03T07:27:52.843" UserId="18160" Comment="added 3 characters in body" Text="Tomorrow I'll be going out to a stretch of highway and coasting a pickup truck down a hill with the engine off and placing things with holes (plywood, old fridges, big empty bottles and containers, etc. etc. etc., anything that whistles when wind passes them) and I wanted to see in this last minute if any of you have done this sort of thing or recorded in high high high wind scenarios and have a golden tip I might be overlooking.&#xD;&#xA;&#xD;&#xA;I've got my W5Ds and baskets and rycotes for my stereo pair of omni MK5s, and I'm bringing a stereo pair of Senn 421s and of course, the good ol' SM58s.&#xD;&#xA;&#xD;&#xA;Is there anything you encountered that caused a face-palm moment for you on the day? Something ridiculous like &quot;Bring a piece of plexiglass to put in front of your mic stands and mic to deflect some of the air because going 60 miles an hour or more makes your mic fall over&quot;, or &quot;bring a miniature sandbag to keep your hat on&quot;, or &quot;look out for cops because putting your truck into neutral with the engine off coasting down a hill is extremely illegal&quot;.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Ryan" ContentLicense="CC BY-SA 3.0" />
  <row Id="20576" PostHistoryTypeId="5" PostId="12473" RevisionGUID="6ccf86d5-a208-4c58-b711-465cba1ca971" CreationDate="2012-02-03T07:36:33.317" UserId="18160" Comment="added 343 characters in body; added 196 characters in body" Text="Since I started out as an ADR mixer and dialogue editor and did this for quite a while, I have a few guidelines I make sure are known if I have someone cutting for me, and these are:&#xD;&#xA;&#xD;&#xA;- Never consolidate an edit. I like all edits to be on the track and easily fixable if there is something I hear that is not quite right (I have an ear for the slightest over-fade or glitchy edit)&#xD;&#xA;&#xD;&#xA;- Use as much original material as possible when editing ADR. If a whole line is picked up, either use the first few syllables from the production track or just replace what is needed (word change, word clarification, etc.)&#xD;&#xA;&#xD;&#xA;- Never print EQ or noise-reduction. Add it as a plug-in non-destructively, but never print it so that what I have on the faders is original tonality.&#xD;&#xA;&#xD;&#xA;- Depending on the amount of ADR and if it matches well, editing them in on the same track is okay - if they are extremely different tonalities, keep them on separate tracks.&#xD;&#xA;&#xD;&#xA;- Anything you're unsure about (sync, etc.) place an alt take or whatever other takes there may be on another track directly below the line in question.&#xD;&#xA;&#xD;&#xA;- Mute (but don't delete) the bleed of different mics of the scene so I can see I have these in case I need them (something I learned from music mixing - bleed from other mics can help meld the scene and sound more convincing - *to a degree. Use judgement*)&#xD;&#xA;&#xD;&#xA;- I personally like to region group an edit (not consolidate) after it's been edited so it's easier to see the levels and arcs of delivery of lines while riding the faders in the mix.&#xD;&#xA;&#xD;&#xA;- Depending on the source tracks and how big the session is and if I've heard the tracks in rushes or in a spotting session already, I may ask for the session to be &quot;Save Copy As&quot;ed so that any extraneous audio files are dispensed with by the time I get the session.&#xD;&#xA;&#xD;&#xA;- You ask about hard cuts and if they should be 4 frames or 2 frames. I say use your ears - I have never heard of a hard rule about this sort of thing. If it sounds good, then do it. It really depends on the ambient noise and if it sounds good to fade it out gradually with an S-curve or a straight fade or maybe even sometimes a scooped fade to get rid of some noise.&#xD;&#xA;&#xD;&#xA;- Don't take out every single tiny little click of the actor's performance. I have had some of the hottest, most talented editors rip a performance to shreds thinking it was noise and they took out every little nuance and lip-click the actor delivered - which turned out to be detrimental to his performance and in the end looked unnatural because every time the actor stopped talking he didn't make any noise with his mouth even though he was opening and closing his mouth. Use good judgement on what is distracting and what is okay to leave in - for example, The King's Speech, if they edited out all of his little noises he made, it wouldn't make sense because his character stuttered and stammered.&#xD;&#xA;&#xD;&#xA;- I personally despise playlists when editing dialogue because as soon as a picture edit comes in and you update it on your most recent edit, all the playlists below are out of sync. I also hate hidden tracks. If you have to hide a track make sure there is a note or else it is sometimes never seen and thus used by the mixer on the stage.&#xD;&#xA;&#xD;&#xA;- Please cut in wild-track under the clean ADR if you need to and label this accordingly and keep the tracks directly under one another so that it doesn't get lost and thus nudged out of sync.&#xD;&#xA;&#xD;&#xA;If I think of any other peculiarities I'll edit my answer but keep in mind these are my own little quirks and may be completely different than those you work for. I suggest just meeting with them and have them show you examples in a session (not just talk about them because misunderstandings and misinterpretations may arise and you don't want those at the beginning of an expensive mixing day)." ContentLicense="CC BY-SA 3.0" />
  <row Id="20577" PostHistoryTypeId="2" PostId="12477" RevisionGUID="05651d4b-7b5a-4710-b562-a10e6519c3f9" CreationDate="2012-02-03T07:37:12.427" UserId="3249" Text="Looks like a big fun ;-) I think omni microphones with long hair wind jammers (Rycote) are the best for this case.&#xD;&#xA;&lt;br&gt;Wish you good luck, don't forget to share the recording ;-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20578" PostHistoryTypeId="2" PostId="12478" RevisionGUID="5957314f-749c-4714-aaff-9f2b6e0914cd" CreationDate="2012-02-03T08:11:44.507" UserId="3272" Text="http://www.youtube.com/watch?v=vf-PaJuqhVQ&#xD;&#xA;&#xD;&#xA;Really special and really good mix from the Netherlands. You can't find the difference between music and SFX anymore after 10 minutes. Great dynamics and a truly beautiful movie" ContentLicense="CC BY-SA 3.0" />
  <row Id="20579" PostHistoryTypeId="2" PostId="12479" RevisionGUID="fc1b1b67-a1bf-45bb-afb6-6f0a8b7e58b3" CreationDate="2012-02-03T15:36:56.770" UserId="1072" Text="True Grit was one for me among many others mentioned here. I really enjoy the work of Skip Lievsay, Craig Berkey and Greg Orloff, quite inspiring and cinematic while keeping things fresh and real if I may say so" ContentLicense="CC BY-SA 3.0" />
  <row Id="20580" PostHistoryTypeId="2" PostId="12480" RevisionGUID="ad083f3a-9ac8-4fb3-8f10-2eb017800ba1" CreationDate="2012-02-03T17:38:49.443" UserId="3197" Text="There's an office scene in Girl With the Dragon Tattoo (which they explain in this video http://soundworkscollection.com/dragontattoo) where there's a floor shining machine of sorts that is at the exact same pitch as Reznor's score.&#xD;&#xA;&#xD;&#xA;When I watched the film I thought it was just the sound of the cleaner intensifying and didn't realize it was part of the score until the scene changed. The person I was with heard it as score right away. That might be along the lines of what you're talking about." ContentLicense="CC BY-SA 3.0" />
  <row Id="20581" PostHistoryTypeId="2" PostId="12481" RevisionGUID="0d2281b6-997d-4449-bc25-3332eaaf5505" CreationDate="2012-02-03T17:38:53.350" UserId="1049" Text="Just heard about [QuickBooks][1] and remembered this thread. Might be worth taking a look. It covers book-keeping, invoicing and general accountancy, aimed at small businesses. You can control/access it from tablet and phone apps too. Not sure if it's just available in the UK though.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.intuit.co.uk/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20582" PostHistoryTypeId="2" PostId="12482" RevisionGUID="79c342d6-af40-4cc0-a3cf-8a8566a81903" CreationDate="2012-02-03T18:12:41.823" UserId="2524" Text="Steve McQueen's 'Shame'&#xD;&#xA;(you might be lost for words for other reasons with this one though.. ) &#xD;&#xA;&#xD;&#xA;Tinker, Tailor, Soldier, Spy&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20583" PostHistoryTypeId="2" PostId="12483" RevisionGUID="b1eb93ae-fd96-4dc1-b703-77be82d22483" CreationDate="2012-02-03T19:52:58.373" UserId="3408" Text="I am a freshman at USC who is very much interested in sound design. I am currently working on two senior theses, and am also studying live sound. School ends May 11th and I am free till August. Los Angeles is my current location; however, I can relocate for the summer.&#xD;&#xA;I am new to the 'industry' and don't really know anyone hiring sound design interns. Do you know of anyone who offers this sort of internship, or are you yourself in need of a summer intern? I can happily email you my curriculum vitae, portfolio list, or some of my work!&#xD;&#xA;Thank you!&#xD;&#xA;Larissa S." ContentLicense="CC BY-SA 3.0" />
  <row Id="20584" PostHistoryTypeId="1" PostId="12483" RevisionGUID="b1eb93ae-fd96-4dc1-b703-77be82d22483" CreationDate="2012-02-03T19:52:58.373" UserId="3408" Text="Internship over the summer" ContentLicense="CC BY-SA 3.0" />
  <row Id="20585" PostHistoryTypeId="3" PostId="12483" RevisionGUID="b1eb93ae-fd96-4dc1-b703-77be82d22483" CreationDate="2012-02-03T19:52:58.373" UserId="3408" Text="&lt;internships&gt;&lt;newbie&gt;&lt;work&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20586" PostHistoryTypeId="2" PostId="12484" RevisionGUID="f00191a8-b232-49d4-ad79-52ac53eb3eb1" CreationDate="2012-02-03T22:03:00.097" UserId="208" Text="When recording a motorcycle last summer i placed a pair Dpa4061 in their own rycote furs. This wasnt enough when going fast, so I placed the mica inside the rycotes, and placed these inside a pair of small rycote softies. &#xD;&#xA;Just saying, that your mics might get exposed to too much wind, if not protected properly. &#xD;&#xA;Looking forward to hearing about how it all went. &#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[SonicSalute Sfx][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sonicsalute.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="20587" PostHistoryTypeId="2" PostId="12485" RevisionGUID="a9ca15a3-d8c2-4f23-bf1f-887d7b0ad9e5" CreationDate="2012-02-03T23:04:06.180" UserId="182" Text="I hope this is not something you find out the hard way:&#xD;&#xA;&#xD;&#xA;With the engine off, you have no or diminished brake pressure, and no power steering. So be careful to have some space down the hill to decrease your speed without relying on the brakes too much.&#xD;&#xA;&#xD;&#xA;(this is probably why such tricks are frowned upon by the cops)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20588" PostHistoryTypeId="2" PostId="12486" RevisionGUID="4037c53a-275b-414a-9e07-6ddf2bdbd77e" CreationDate="2012-02-03T23:50:13.663" UserId="61" Text="You may be able to leave the engine running if you can enough isolation with your mics. This will work to your benefit since you'll be able to increase or decrease your speed at will, or coast in neutral. Plus it will be a lot safer. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20589" PostHistoryTypeId="2" PostId="12487" RevisionGUID="466d3558-cb4f-4e2b-82d1-f9c8f6704f1d" CreationDate="2012-02-04T02:09:27.913" UserId="1266" Text="It seems like that may happen more than you think.  Something that sounds mysterious to one person can sound kablam different to another." ContentLicense="CC BY-SA 3.0" />
  <row Id="20590" PostHistoryTypeId="2" PostId="12488" RevisionGUID="255660d2-5a75-483d-b042-30ea7240c158" CreationDate="2012-02-04T03:36:57.090" UserId="6669" Text="Good stuff man. In addition to the extra detail needed during the initial flashbacks, the main thing that seems like it could use a little improvement is in the frequency content, especially since you're not competing with music here. You could have lower lows, higher highs and more dramatic transitions between the two. Running that moany ambience behind the whole thing risks washing it out and killing some of the dynamics you could have.&#xD;&#xA;&#xD;&#xA;The shockwave at the end especially could use a little more design work, I'd want to hear the blast more than the dry sound of those rocks cracking -- though rocks at the tail end of it would be great too.&#xD;&#xA;&#xD;&#xA;The character swings/whooshes are mixed really well, I was totally buying into the combat. If you wanted to you could add a little extra gack / jingles or some breaths and play them low just to get that stuff sparkling a little more, but totally up to you. Playing it clean and sparse with the SPFX moments you have (slo-mo) etc. works too." ContentLicense="CC BY-SA 3.0" />
  <row Id="20591" PostHistoryTypeId="2" PostId="12489" RevisionGUID="31896ddf-c9fe-4d0e-82fb-b9fed4e6f8ac" CreationDate="2012-02-04T04:47:00.517" UserId="517" Text="Hey Larissa,&#xD;&#xA;&#xD;&#xA;In my last semester at USC (grad program), I did an internship at Danetracks, Dane Davis' sound company (Supervising Sound Editor on The Matrix trilogy, Ghost Rider, and Riding Giants amongst others). It was definitely an interesting and fun experience and you can learn a lot there. If you go to Danetracks' website, there's a link to the internship application there." ContentLicense="CC BY-SA 3.0" />
  <row Id="20592" PostHistoryTypeId="2" PostId="12490" RevisionGUID="e941532f-3a73-45d0-801d-86dac49d853a" CreationDate="2012-02-04T05:39:47.657" UserId="3230" Text="Is anyone using a stand-alone shuttle wheel for fx, dialog or other general post-production editing in Pro Tools?  I've fallen in love with the ICON and Euphonix control-surfaces at my college's studios.  Interested in picking up a semi-portable controller that I can use with my own system....as well as float from one editorial station to another.   Experiences?  Recommendations?    &#xD;&#xA;&#xD;&#xA;Budget is small, but it doesn't hurt to put some better products on the horizon.  Buy nice, or buy twice is always in full affect!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20593" PostHistoryTypeId="1" PostId="12490" RevisionGUID="e941532f-3a73-45d0-801d-86dac49d853a" CreationDate="2012-02-04T05:39:47.657" UserId="3230" Text="USB or Ethernet Jog/Shuttle Wheel for Pro Tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20594" PostHistoryTypeId="3" PostId="12490" RevisionGUID="e941532f-3a73-45d0-801d-86dac49d853a" CreationDate="2012-02-04T05:39:47.657" UserId="3230" Text="&lt;pro-tools&gt;&lt;post-production&gt;&lt;controller&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20595" PostHistoryTypeId="2" PostId="12491" RevisionGUID="9ddae04c-9934-4d47-aa7c-e27c664d4e8b" CreationDate="2012-02-04T06:45:11.363" UserId="3408" Text="The H1 is great. I carry it everywhere. It fits in a small handbag and is great for travel, recording unusual sounds one happens upon, etc. Be very gentle.  I also recommend the H2n, which is a bit bigger and more durable but has a great selection of patterns to pick from - awesome ambiance recording machine!&#xD;&#xA;Cheers,&#xD;&#xA;Larissa S." ContentLicense="CC BY-SA 3.0" />
  <row Id="20596" PostHistoryTypeId="2" PostId="12492" RevisionGUID="6be4182f-fbb3-4e6d-abc0-cfd8c03aa713" CreationDate="2012-02-04T08:20:12.597" UserId="3409" Text="[I use one of these all day in an unrelated job, they work pretty well&#xD;&#xA;][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://retail.contourdesign.com/?/products/23" ContentLicense="CC BY-SA 3.0" />
  <row Id="20597" PostHistoryTypeId="2" PostId="12493" RevisionGUID="2bfe4836-daf8-44a6-bde3-8ac30c0f6abd" CreationDate="2012-02-04T09:17:10.090" UserId="693" Text="I know how you feel. After working on an Icon rig daily for several years and training others on it I was hooked hard. I've often asked the same question you are now. I'm on the visceral interfacing tip lately. Tactile interaction makes a huge difference." ContentLicense="CC BY-SA 3.0" />
  <row Id="20598" PostHistoryTypeId="2" PostId="12494" RevisionGUID="cb262cfa-a3ab-4adf-896b-3ca75da9edb8" CreationDate="2012-02-04T09:22:07.143" UserId="6411" Text="I've had my eye on the [Artist Transport][1] since I left my D-Command behind. I hear good things about them. But I'm also on board with Nelson and the Contour ShuttlePro v2. At 1/4 the price of the Artist series, buying twice still puts you ahead.&#xD;&#xA;&#xD;&#xA;Also, I've seen people use the [Griffin Powermate][2] but I don't know how effective it is. Seems very single-purpose as opposed to the other solutions.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/US/products/Artist-Transport&#xD;&#xA;  [2]: http://www.amazon.com/Griffin-Technology-NA16029-Multimedia-Controller/dp/B003VWU2WA" ContentLicense="CC BY-SA 3.0" />
  <row Id="20599" PostHistoryTypeId="2" PostId="12495" RevisionGUID="bbbdcada-e246-4588-a7fc-1ef2d60a14df" CreationDate="2012-02-04T14:11:44.493" UserId="194" Text=" - no country for old men&#xD;&#xA; - district 9&#xD;&#xA; - ratatouille&#xD;&#xA; - the king's speech&#xD;&#xA; - the american&#xD;&#xA; - house of flying daggers&#xD;&#xA; - [symbol][1]&#xD;&#xA; - ip man&#xD;&#xA; - good will hunting&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=UAO52xo46LE" ContentLicense="CC BY-SA 3.0" />
  <row Id="20600" PostHistoryTypeId="5" PostId="12495" RevisionGUID="94ac3985-f514-435b-9d78-75333517ed47" CreationDate="2012-02-04T14:17:33.467" UserId="194" Comment="added 954 characters in body" Text=" - no country for old men&#xD;&#xA; - district 9&#xD;&#xA; - ratatouille&#xD;&#xA; - the king's speech&#xD;&#xA; - the american&#xD;&#xA; - house of flying daggers&#xD;&#xA; - [symbol][1]&#xD;&#xA; - ip man&#xD;&#xA; - good will hunting&#xD;&#xA;&#xD;&#xA;I'm positive I'm missing a few good horror and suspense flicks in there.&#xD;&#xA;&#xD;&#xA;IMO asian cinema has always had a culturally important direct line to minimalism and emotion that puts them at the head of the pack wrt subtlety and meaning in a mix.  I'm positive i've missed dozens of great asian flicks in my list as well, but this was just off the top of my head.&#xD;&#xA;&#xD;&#xA;I also believe that only in the last 20 years or so has the technology of sound reached the point to where that kind of a mix can be achieved consistently.  The old westerns used to take valiant swings at these types of mixes, but the limitations of the technology of the time sets the true emotional impact behind that of modern films that are on the same level creatively in my opinion.  I think this is because at the time you really had to crush the nagra with level when recording dialogue, and now that this is no longer the case you have much more low level space in which to play. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=UAO52xo46LE" ContentLicense="CC BY-SA 3.0" />
  <row Id="20601" PostHistoryTypeId="2" PostId="12496" RevisionGUID="e522e19b-7c2f-4cb7-aae5-78c5310aac86" CreationDate="2012-02-04T16:55:10.667" UserId="1014" Text="Hi folks,&#xD;&#xA;&#xD;&#xA;do you know any deconvolver for osx other than Apple's IR utility?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="20602" PostHistoryTypeId="1" PostId="12496" RevisionGUID="e522e19b-7c2f-4cb7-aae5-78c5310aac86" CreationDate="2012-02-04T16:55:10.667" UserId="1014" Text="Deconvolver for OSX" ContentLicense="CC BY-SA 3.0" />
  <row Id="20603" PostHistoryTypeId="3" PostId="12496" RevisionGUID="e522e19b-7c2f-4cb7-aae5-78c5310aac86" CreationDate="2012-02-04T16:55:10.667" UserId="1014" Text="&lt;convolution&gt;&lt;osx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20604" PostHistoryTypeId="2" PostId="12497" RevisionGUID="37f28af1-28a0-4ef5-b6cd-08f15f22b3c3" CreationDate="2012-02-04T18:53:32.527" UserId="1072" Text="We use Billings Pro + iCal + quicken but are always looking at other options" ContentLicense="CC BY-SA 3.0" />
  <row Id="20605" PostHistoryTypeId="2" PostId="12498" RevisionGUID="ff424dca-870c-47b7-8ff3-c2145f7aba8c" CreationDate="2012-02-04T19:21:25.027" UserId="6420" Text="Here's a few from Varun's cool blog comparing a few deconvolving processes with various applications. Hope this helps!&#xD;&#xA;http://re-sounding.com/2011/06/15/ir-plugin-comparisions/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20606" PostHistoryTypeId="2" PostId="12499" RevisionGUID="a68472d5-36c2-4dfa-88ff-e19ecde5b951" CreationDate="2012-02-04T19:47:41.203" UserId="343" Text="I´ve recently seen The Steam of Life, a finnish documentary that sounds really natural and. I liked  Magnolia and Morvern Callar (some mentioned We need to talk about Kevin) mixes too." ContentLicense="CC BY-SA 3.0" />
  <row Id="20607" PostHistoryTypeId="2" PostId="12500" RevisionGUID="41869ab4-c515-45f7-b36f-0aa11ec15e9f" CreationDate="2012-02-04T21:35:26.417" UserId="3272" Text="These are to my opinion the best three mixes and movies from europe in this category:&#xD;&#xA;&#xD;&#xA;- Katalin Varga : http://www.youtube.com/watch?v=8PTjObn2W5I&#xD;&#xA;- Can get trough skin : http://www.youtube.com/watch?v=F5iohh7c698&#xD;&#xA;- the Misfortunates: http://www.youtube.com/watch?v=5q5yH0P5oZw&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20608" PostHistoryTypeId="2" PostId="12501" RevisionGUID="5ee048e3-04e9-40dd-8a3a-4e61fdf4c378" CreationDate="2012-02-05T02:23:46.540" UserId="845" Text="Syndromes and a Century" ContentLicense="CC BY-SA 3.0" />
  <row Id="20616" PostHistoryTypeId="5" PostId="12151" RevisionGUID="c3862d8b-6c44-4c74-90c3-0dd1affd8067" CreationDate="2012-02-05T23:27:48.287" UserId="958" Comment="Updated Video; added 59 characters in body" Text="Hey everyone!&#xD;&#xA;&#xD;&#xA;So I have finished the creative project that I posted earlier. You can view it here - [The Arrival on Vimeo][1]. &#xD;&#xA;&#xD;&#xA;I have created sound and music for a graphic novel that I scanned and turned into video.&#xD;&#xA;&#xD;&#xA;I aim to create a soundtrack that is reflective of the book's visual style and shows the world from the character's point of view, using an appropriate balance of abstract and descriptive sound.&#xD;&#xA;&#xD;&#xA;It features artwork from Shaun Tan's graphic novel, The Arrival - [shauntan.net][2]&#xD;&#xA;&#xD;&#xA;I am looking for constructive feedback on the project, and to show my appreciation I am giving away either a Soundcloud Premium account or $20 iTunes gift card. The winner will be picked by random and the draw will include anyone who offers me constructive feedback.&#xD;&#xA;&#xD;&#xA;I appreciate any feedback you can offer as it is an essential element of my project.&#xD;&#xA;&#xD;&#xA;Thanking you in advance,&#xD;&#xA;Eric.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/36180836&#xD;&#xA;  [2]: http://shauntan.net" ContentLicense="CC BY-SA 3.0" />
  <row Id="20617" PostHistoryTypeId="4" PostId="12151" RevisionGUID="c3862d8b-6c44-4c74-90c3-0dd1affd8067" CreationDate="2012-02-05T23:27:48.287" UserId="958" Comment="Updated Video; added 59 characters in body" Text="Uni Project Feedback and soundcloud giveaway" ContentLicense="CC BY-SA 3.0" />
  <row Id="20618" PostHistoryTypeId="5" PostId="12151" RevisionGUID="f431b690-908b-417d-a3fa-d9a75f9bb014" CreationDate="2012-02-06T00:34:48.510" UserId="958" Comment="added 32 characters in body" Text="Hey everyone!&#xD;&#xA;&#xD;&#xA;So I have finished the creative project that I posted earlier. You can view it here - [The Arrival on Vimeo][1]. &#xD;&#xA;&#xD;&#xA;I have created sound and music for a graphic novel that I scanned and turned into video.&#xD;&#xA;&#xD;&#xA;I aim to create a soundtrack that is reflective of the book's visual style and shows the world from the character's point of view, using an appropriate balance of abstract and descriptive sound.&#xD;&#xA;&#xD;&#xA;It features artwork from Shaun Tan's graphic novel, The Arrival - [shauntan.net][2]&#xD;&#xA;&#xD;&#xA;I am looking for constructive feedback on the project, and to show my appreciation I am giving away either a Soundcloud Premium account or $20 iTunes gift card. The winner will be picked by random and the draw will include anyone who offers me constructive feedback, drawn on the 9th Feb, 1pm AEST.&#xD;&#xA;&#xD;&#xA;I appreciate any feedback you can offer as it is an essential element of my project.&#xD;&#xA;&#xD;&#xA;Thanking you in advance,&#xD;&#xA;Eric.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/36180836&#xD;&#xA;  [2]: http://shauntan.net" ContentLicense="CC BY-SA 3.0" />
  <row Id="20619" PostHistoryTypeId="2" PostId="12504" RevisionGUID="9b822042-9ce7-4825-94c4-c7e27e7343ab" CreationDate="2012-02-06T02:09:57.567" UserId="1266" Text="PT 9's Delay Compensation is a joke.  It doesn't even work.  Maybe it's just my system.  So since the ADC is not working, every time you use an AUX you get at least an 8 sample delay.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20620" PostHistoryTypeId="1" PostId="12504" RevisionGUID="9b822042-9ce7-4825-94c4-c7e27e7343ab" CreationDate="2012-02-06T02:09:57.567" UserId="1266" Text="How do you deal with PT9's fake delay compensation and Aux Delays when sound designing or mixing" ContentLicense="CC BY-SA 3.0" />
  <row Id="20621" PostHistoryTypeId="3" PostId="12504" RevisionGUID="9b822042-9ce7-4825-94c4-c7e27e7343ab" CreationDate="2012-02-06T02:09:57.567" UserId="1266" Text="&lt;pro&gt;&lt;tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20622" PostHistoryTypeId="2" PostId="12505" RevisionGUID="1607ec29-5649-453c-afee-2c81d81cb06e" CreationDate="2012-02-06T03:38:00.437" UserId="3412" Text="Not so much a question, but rather a personal project which I believe the audio community could certainly appreciate!  ...well, actually it's a project *only* the audio community could appreciate... :D&#xD;&#xA;&#xD;&#xA;[www.phonopath.com][1]&#xD;&#xA;&#xD;&#xA;Phonopath is free-to-play, and the gameplay is as follows:  Download a sound clip, manipulate it to find your password, and advance to the next stage.  Puzzle concepts span basic processing, spectrograms, cryptography, music, etc...&#xD;&#xA;&#xD;&#xA;It was released last month, and received a ton of solid feedback from sound geeks all over.  Check it out if you got some time - it's pretty fresh stuff. :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.phonopath.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="20623" PostHistoryTypeId="1" PostId="12505" RevisionGUID="1607ec29-5649-453c-afee-2c81d81cb06e" CreationDate="2012-02-06T03:38:00.437" UserId="3412" Text="I created an audio-focused puzzle game, and you should give it a shot. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20624" PostHistoryTypeId="3" PostId="12505" RevisionGUID="1607ec29-5649-453c-afee-2c81d81cb06e" CreationDate="2012-02-06T03:38:00.437" UserId="3412" Text="&lt;sound-design&gt;&lt;game&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20625" PostHistoryTypeId="2" PostId="12506" RevisionGUID="1b1314ce-d455-4238-a3a3-e6f441da0374" CreationDate="2012-02-06T04:23:24.850" UserId="2498" Text="I did the first two, not sure I'll be bothered to go much further, but I think audio schools would absolutely lap this up. I'm going to forward it to a teacher mate of mine now. I think it'd perfect to give them for a homework.&#xD;&#xA;&#xD;&#xA;edit: urgh, I can't make out what the woman is saying from the lack of bit depth. shark? chalk? chock? Also, if i'm supposed to be listening, then make it really easy to turn off that back ground music." ContentLicense="CC BY-SA 3.0" />
  <row Id="20626" PostHistoryTypeId="5" PostId="12506" RevisionGUID="75935b20-ac8c-46fe-89a7-503e32fa5d79" CreationDate="2012-02-06T04:33:00.747" UserId="2498" Comment="added 182 characters in body; added 11 characters in body" Text="Very cool. I did the first two, not sure I'll be bothered to go much further, but I think audio schools would absolutely lap this up. I'm going to forward it to a teacher mate of mine now. I think it'd perfect to give them for a homework.&#xD;&#xA;&#xD;&#xA;edit: urgh, I can't make out what the woman is saying from the lack of bit depth. shark? chalk? chock? Also, if i'm supposed to be listening, then make it really easy to turn off that back ground music.&#xD;&#xA;&#xD;&#xA;edit^2: Also I think you need some sort of cookie based thing that drops people back where they had progressed to, that unskipable intro is not necessary to hear more then once. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20627" PostHistoryTypeId="2" PostId="12507" RevisionGUID="98363af8-8362-42b5-9c2e-5c1c19147c7d" CreationDate="2012-02-06T10:50:01.113" UserId="1216" Text="Hi Chris,&#xD;&#xA;&#xD;&#xA;I'm curious what type of plug-ins you are using in your aux channels?&#xD;&#xA;They might be the source of the delay/latency... &#xD;&#xA;&#xD;&#xA;oh and did you ask this question on avid's forum/DUC?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20628" PostHistoryTypeId="2" PostId="12508" RevisionGUID="c2526515-b645-44e9-9a96-dd362f7aacb8" CreationDate="2012-02-06T18:12:06.523" UserId="680" Text="Im doing some research for my dissertation and some of it is based on the title of this thread.&#xD;&#xA;&#xD;&#xA;In my practical side I found myself using a lot of sounds from commercial sound libraries (mainly gunshots as I live in england and do not have an opportunity to record automatic weapons, and some other aircraft sounds etc)&#xD;&#xA;&#xD;&#xA;I was wondering how others feel about using commercial sound libraries when being employed as a sound designer?&#xD;&#xA;&#xD;&#xA;Are there any particular companies that produce really useable libraries in terms of license agreement and quality of the sounds?&#xD;&#xA;&#xD;&#xA;Any particular problems or areas commercial sound libraries are lacking in?&#xD;&#xA;&#xD;&#xA;(I dont expect people to answer all these questions in one answer, it would just be nice to hear other peoples opinions on the subject - If there are some really good answers I may quote them within my uni work, please state if you do not wish to be quoted) " ContentLicense="CC BY-SA 3.0" />
  <row Id="20629" PostHistoryTypeId="1" PostId="12508" RevisionGUID="c2526515-b645-44e9-9a96-dd362f7aacb8" CreationDate="2012-02-06T18:12:06.523" UserId="680" Text="Sound libraries and their usability in modern medias" ContentLicense="CC BY-SA 3.0" />
  <row Id="20630" PostHistoryTypeId="3" PostId="12508" RevisionGUID="c2526515-b645-44e9-9a96-dd362f7aacb8" CreationDate="2012-02-06T18:12:06.523" UserId="680" Text="&lt;library&gt;&lt;designer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20631" PostHistoryTypeId="2" PostId="12509" RevisionGUID="f13b3002-e2a8-42ec-8c38-a6e2a4dd0bb7" CreationDate="2012-02-06T19:02:08.387" UserId="243" Text="Today I started a course on protools 10, there are a few things I just can't get my head around. &#xD;&#xA;&#xD;&#xA;1. What exactly is a 32 bit floating point?&#xD;&#xA;&#xD;&#xA;I understand there are 6 Db between each bit (i.e 16 bit= 96 Db) what I dont get is in a 32 bit float point why 23 bits are only used to represent to represent &quot;discrete amplitude levels&quot; (what are discrete amplitude levels?!)  &#xD;&#xA;&#xD;&#xA;2. What is the difference between protools and protools HD native hard ware?&#xD;&#xA;&#xD;&#xA;It has been my first day of protools 10 so am VERY curious." ContentLicense="CC BY-SA 3.0" />
  <row Id="20632" PostHistoryTypeId="1" PostId="12509" RevisionGUID="f13b3002-e2a8-42ec-8c38-a6e2a4dd0bb7" CreationDate="2012-02-06T19:02:08.387" UserId="243" Text="Protools 10 what is a 32-bit floating point about? " ContentLicense="CC BY-SA 3.0" />
  <row Id="20633" PostHistoryTypeId="3" PostId="12509" RevisionGUID="f13b3002-e2a8-42ec-8c38-a6e2a4dd0bb7" CreationDate="2012-02-06T19:02:08.387" UserId="243" Text="&lt;bit-depth&gt;&lt;native&gt;&lt;hardware&gt;&lt;pro-tools&gt;&lt;question&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20634" PostHistoryTypeId="2" PostId="12510" RevisionGUID="760b7238-7ea4-4410-80ce-8f138a214245" CreationDate="2012-02-06T19:28:59.677" UserId="587" Text="The following is just an opinion from just another freelancer.&#xD;&#xA;&#xD;&#xA;In my experiences, I have never found a sound from a library that completely matches picture or fulfills the need with just that one layer pulled right off the hard drive.&#xD;&#xA;&#xD;&#xA;Usually its layering many different sonic characteristics together to create a full sound that matches the style and universe that you are telling the aural story of at that moment.&#xD;&#xA;&#xD;&#xA;Quick Example:&#xD;&#xA;&#xD;&#xA;Processing can be implemented onto particular layers that you can dub as the unique layers of the sound. Say you are making a laser gun of an alien race. You could use a combination of gunshot layering so make the initial transient information, but you still have to make it sound like a laser gun - so you grab a couple of those layers with longer decays and process them into the sci-fi realm with manglers like iZotope Spectron. Use those combination with a pitch shifter that allows point-to-point manipulation of pitch along the timeline of the sound to make the quick rise and long dip in pitch of the &quot;basic laser&quot; sound everyone connects with, and even then you probably have just started to create something solid for the gun's audio.&#xD;&#xA;&#xD;&#xA;Basically, its sound-design, not sound drag-and-drop. Sound libraries rock, but they have their place in the processes. Do I feel like I haven't created a sound because I have used a sound from a sound library? No, because I have never just drag and dropped a sound from a library without layering or processing it with something else - either recorded or also from library.... Actually, I think I have used a zap from a jacobs ladder from freesound.org before....&#xD;&#xA;&#xD;&#xA;I have heard blastwave puts out some cool stuff. Plus, I believe they have a 5.1 library as well which probably makes for a good base to jump from.&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20635" PostHistoryTypeId="2" PostId="12511" RevisionGUID="5ac17f0f-57dd-4119-80f5-c05c9f552274" CreationDate="2012-02-06T20:12:09.593" UserId="432" Text="Someone may correct me or refine my response, but...&#xD;&#xA;&#xD;&#xA;In this case, floating point is referring to the idea that the decimal point &quot;floats&quot; depending on the need for significant digits. If you need to represent a very large number, the numbers to the right of your decimal point (the non-integer portion) are less important. If you need to represent a smaller number, those decimal places become far more important, but you also have less need for digits to represent numbers in the 10's, 100's 1,000's, etc. Zeros on the left and right of your number aren't actually providing any useful data; for example, 0000569.34891000 can far more easily be written as simply 569.34891. The same value is still represented with fewer digits. So, do you need additional integer values, or additional decimal values.&#xD;&#xA;&#xD;&#xA;Let's say we've got a number, 1234.56789123, that can only be represented by 10 total digits. 001234.5678 would be a fixed-point (don't know if that's actually a term) representation of that number, while 1234.567891 would be a floating-point representation. Because the decimal place can float, you can get a more accurate representation of the number.&#xD;&#xA;&#xD;&#xA;It's all about where and when you need the precision." ContentLicense="CC BY-SA 3.0" />
  <row Id="20636" PostHistoryTypeId="2" PostId="12512" RevisionGUID="dd5de8e9-b071-4261-b54b-f418eaca3755" CreationDate="2012-02-06T21:31:04.147" UserId="3316" Text="So I recently miss placed my traveling headphones. I know silly me. &#xD;&#xA;&#xD;&#xA;So instead of buying then again, I've decided to upgrade, what sort of headphones are everyone using for portable situations?&#xD;&#xA;&#xD;&#xA;Casual listening?&#xD;&#xA;&#xD;&#xA;Looking super fly on the street telling people you do audio, followed by blank expressions?&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;C" ContentLicense="CC BY-SA 3.0" />
  <row Id="20637" PostHistoryTypeId="1" PostId="12512" RevisionGUID="dd5de8e9-b071-4261-b54b-f418eaca3755" CreationDate="2012-02-06T21:31:04.147" UserId="3316" Text="Headphones what am I missing and who much do I need it" ContentLicense="CC BY-SA 3.0" />
  <row Id="20638" PostHistoryTypeId="3" PostId="12512" RevisionGUID="dd5de8e9-b071-4261-b54b-f418eaca3755" CreationDate="2012-02-06T21:31:04.147" UserId="3316" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20639" PostHistoryTypeId="2" PostId="12513" RevisionGUID="0f279f3e-84a1-4aa9-8f6f-5f2ce74649d0" CreationDate="2012-02-06T21:53:36.477" UserId="29" Text="Although it has more buttons, and is larger than a Griffin PowerMate or similar, I absolutely adore my Euphonix MC Transport (and the other units, to boot). Zero issues with PT9, Logic, and MacOS. Solid, huge range of button programming options, I even use it with FCP, After Effects, even Photoshop. Highly recommended if you're willing to have a unit that large, although it's pretty light in terms of weight." ContentLicense="CC BY-SA 3.0" />
  <row Id="20640" PostHistoryTypeId="2" PostId="12514" RevisionGUID="563385a2-a269-4562-97ef-0a94f51ce10f" CreationDate="2012-02-06T21:56:50.400" UserId="18160" Text="From similar questions on here I purchased Ultrasones. They are actually pretty awesome and I really enjoy casual listening on them as well as side-checking my mixes and recordings on the road." ContentLicense="CC BY-SA 3.0" />
  <row Id="20641" PostHistoryTypeId="2" PostId="12515" RevisionGUID="5d8a6ff7-cc22-4705-a937-a2781b681a60" CreationDate="2012-02-06T21:57:18.247" UserId="587" Text="1. Sennheiser HD650's&#xD;&#xA;&#xD;&#xA;2. Ultimate Ears In-Ear Reference Monitors&#xD;&#xA;&#xD;&#xA;3. What you should totally wear on the street.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.blogcdn.com/www.urlesque.com/media/2010/03/thriller-headphones.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="20642" PostHistoryTypeId="4" PostId="12512" RevisionGUID="f94eb2d0-7d8f-4bc9-ad84-ec1b5bc3f750" CreationDate="2012-02-06T22:07:23.753" UserId="18160" Comment="edited title" Text="Headphones what am I missing and how much do I need it" ContentLicense="CC BY-SA 3.0" />
  <row Id="20643" PostHistoryTypeId="2" PostId="12516" RevisionGUID="b273b4de-7930-4a9c-a1c1-229a9469f69c" CreationDate="2012-02-06T22:54:11.593" UserId="1303" Text="Noticed that the Sony PCM-D50 recorder is discontinued. I like mine so much I almost wanted to buy one as a backup. I love the noise floor, battery life, and heavy duty-ness of the unit. What other field recorders this size are this good?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20644" PostHistoryTypeId="1" PostId="12516" RevisionGUID="b273b4de-7930-4a9c-a1c1-229a9469f69c" CreationDate="2012-02-06T22:54:11.593" UserId="1303" Text="PCM-D50 discontinued?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20645" PostHistoryTypeId="3" PostId="12516" RevisionGUID="b273b4de-7930-4a9c-a1c1-229a9469f69c" CreationDate="2012-02-06T22:54:11.593" UserId="1303" Text="&lt;field&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20646" PostHistoryTypeId="2" PostId="12517" RevisionGUID="eca263c5-62d0-49d8-99e1-fb8f41923353" CreationDate="2012-02-06T23:26:44.247" UserId="194" Text="Wow, that's a damn shame as IMO there's not another handheld like this one in the market at this price point.&#xD;&#xA;&#xD;&#xA;I actually had a D50 go bad on me and got a new one from Sony within a week or so.  Preamp crapped out.  The input stage is actually pretty fragile if you're swapping in a lot of sources.  If you're just using internals than the thing is built like a tank.&#xD;&#xA;&#xD;&#xA;With the D50 off the market, I'm not sure which of the other handhelds will hold the top rank with regards to internal mics in the sub $600 category.  Probably worth figuring out at this point." ContentLicense="CC BY-SA 3.0" />
  <row Id="20647" PostHistoryTypeId="2" PostId="12518" RevisionGUID="6d3b7c9f-da73-4f60-9624-7a8f547913bf" CreationDate="2012-02-07T00:03:34.467" UserId="1228" Text="I like the Sennheiser HD280 Pros.  I still prefer monitors over headphones in general, but these are nice phones that have a great price point (a place like Sam Ash or West LA Music will usually sell em for about $80-$90) and structural integrity akin to that of the MDR7506 (if not more durable), but the sound quality and outside noise cancellation is leaps and bounds better than the Sony cans in my experience.  I guess what I like about them is they're like decently high-quality yet of acceptable disposable nature thanks to their low cost." ContentLicense="CC BY-SA 3.0" />
  <row Id="20648" PostHistoryTypeId="5" PostId="12504" RevisionGUID="1b1f4157-1004-4753-8911-b057b0f3db5d" CreationDate="2012-02-07T03:44:24.747" UserId="1266" Comment="added 265 characters in body" Text="PT 9's Delay Compensation is a joke.  It doesn't even work.  Maybe it's just my system.  So since the ADC is not working, every time you use an AUX you get at least an 8 sample delay.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Even with the channels empty I'm getting this nightmare!!!&#xD;&#xA;&#xD;&#xA;Try effects processing a voice, you really notice it then.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The channels can even be empty and when you send thru multiple aux's (daisy chain )  the delay is increased maybe squared. ( 8x8 ) &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20649" PostHistoryTypeId="5" PostId="12517" RevisionGUID="c69391cf-b16d-4591-8903-5dc1f8a94a13" CreationDate="2012-02-07T05:14:24.253" UserId="194" Comment="added 117 characters in body" Text="Wow, that's a damn shame as IMO there's not another handheld like this one in the market at this price point.&#xD;&#xA;&#xD;&#xA;I actually had a D50 go bad on me and got a new one from Sony within a week or so.  Preamp crapped out.  The input stage is actually pretty fragile if you're swapping in a lot of sources.  If you're just using internals than the thing is built like a tank.&#xD;&#xA;&#xD;&#xA;With the D50 off the market, I'm not sure which of the other handhelds will hold the top rank with regards to internal mics in the sub $600 category.  Probably worth figuring out at this point.&#xD;&#xA;&#xD;&#xA;edit:&#xD;&#xA;&#xD;&#xA;looks like the sony pro site still lists the D50 as available.  still, it's days are likely numbered...." ContentLicense="CC BY-SA 3.0" />
  <row Id="20650" PostHistoryTypeId="2" PostId="12519" RevisionGUID="c68da1e2-fd3d-41ab-b584-c3bb2e1fce27" CreationDate="2012-02-07T05:18:54.500" UserId="6435" Text="There's a work-around; it's kind of a pain, but so's the latency...&#xD;&#xA;&#xD;&#xA;First, make a safety copy of all of your tracks as alternate playlists, so you can go back if need be. Then Option+Command-Click (or Alt+Control-Click) on the channel's vol/peak/delay display so you know how many ms the delay is. Then nudge your track forward in time by that number of milliseconds. &#xD;&#xA;&#xD;&#xA;Like I said, a pain. But it will help with the plug-in delay on audio channels. AUX delays may be measurable in the same way; I don't know." ContentLicense="CC BY-SA 3.0" />
  <row Id="20651" PostHistoryTypeId="2" PostId="12520" RevisionGUID="142687d0-1183-4296-81b2-c18870f4f7a5" CreationDate="2012-02-07T12:23:35.473" UserId="142" Text="These guys always make epic videos but I thought it would be of interest to most of you. [http://www.youtube.com/watch?v=MejbOFk7H6c][1] The pure scale and effort in production for this is mind blowing. If anybody else has any other good vids involving involving live sound effects used in music or a concrete style or element please post them up. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=MejbOFk7H6c" ContentLicense="CC BY-SA 3.0" />
  <row Id="20652" PostHistoryTypeId="1" PostId="12520" RevisionGUID="142687d0-1183-4296-81b2-c18870f4f7a5" CreationDate="2012-02-07T12:23:35.473" UserId="142" Text="Amazing music videos for sound recordists" ContentLicense="CC BY-SA 3.0" />
  <row Id="20653" PostHistoryTypeId="3" PostId="12520" RevisionGUID="142687d0-1183-4296-81b2-c18870f4f7a5" CreationDate="2012-02-07T12:23:35.473" UserId="142" Text="&lt;music&gt;&lt;concrete&gt;&lt;video&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20654" PostHistoryTypeId="2" PostId="12521" RevisionGUID="9d98bf58-6e55-45b5-ac2f-014680abf37f" CreationDate="2012-02-07T18:19:06.213" UserId="728" Text="32-bit floating point format audio has virtually or theoretically an extremely wider dynamic range compared to fixed point formats such as 16 bit (96dB) or 24 bit (144dB) or even 32 fixed bit (192dB).&#xD;&#xA;&#xD;&#xA;Thus, it is advantageous to use 32-bit float session during mixing stage as it will provide high amount of headroom.&#xD;&#xA;&#xD;&#xA;As an experiment, try this - &#xD;&#xA;1) Try importing a well mixed song into your session.&#xD;&#xA;2) Duplicate the track 3-4 times, so that it overlays over the original track. Obviously, the overall should sound heavily clipped.&#xD;&#xA;3) Export the song in 32-bit float WAV file.&#xD;&#xA;4) Import the newly exported WAV file into the session. The waveform will look badly clipped and will sound heavily distorted.&#xD;&#xA;5) Solo the track and Normalize it. And hear the magic.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20655" PostHistoryTypeId="2" PostId="12522" RevisionGUID="b3509da0-a07d-4716-b6b4-63555f2e014e" CreationDate="2012-02-07T19:00:59.590" UserId="1294" Text="Hi Audio Pros,&#xD;&#xA;&#xD;&#xA;I would like to know if there are any online college that offer a Masters degree in Sound Design (or) Audio Production.&#xD;&#xA;&#xD;&#xA;The reason that im asking this is because i have no formal education in audio &amp; i would like to work abroad, but looking at the VISA requirements i guess a degree is a must, But Im am a sound guy completely experience based &amp; i have 6 years of experience in audio feild as a Sound Editor/Game Audio Artist.&#xD;&#xA;&#xD;&#xA;Kindly advice me on this,&#xD;&#xA;&#xD;&#xA;Best Regards,&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20656" PostHistoryTypeId="1" PostId="12522" RevisionGUID="b3509da0-a07d-4716-b6b4-63555f2e014e" CreationDate="2012-02-07T19:00:59.590" UserId="1294" Text="Online - Master Degree In Sound Design (or) Audio Production" ContentLicense="CC BY-SA 3.0" />
  <row Id="20657" PostHistoryTypeId="3" PostId="12522" RevisionGUID="b3509da0-a07d-4716-b6b4-63555f2e014e" CreationDate="2012-02-07T19:00:59.590" UserId="1294" Text="&lt;online&gt;&lt;master&gt;&lt;degree&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20658" PostHistoryTypeId="2" PostId="12523" RevisionGUID="4954beff-7fb6-4ee1-b165-75aee39cf9ac" CreationDate="2012-02-07T19:08:45.767" UserId="3416" Text="Hey Elliot, &#xD;&#xA;&#xD;&#xA;I can affirm what C3Sound told you, so I want to add some other thoughts...&#xD;&#xA;&#xD;&#xA;I like archives for the starting point they give for my sound design.&#xD;&#xA; &#xD;&#xA;But there's always something that doesn't feel right, the distance to the microphone, some frequencies in the sound, the room around, ....&#xD;&#xA;&#xD;&#xA;and people are used to the cinema sound effects, for example for gun sounds, you have maybe to add layers to the original recording to get the right impact otherwise it is possible that the audience won't recognize it, mishear it as something else (if there's nothing in the picture that does fit to the sound impression) or that it doesn't artistically fit with the picture. &#xD;&#xA;&#xD;&#xA;If it would be that easy to create the right sound, just by adding things from the library, all the films, games, etc. would sound the same. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But the sound change with every situation, with every story, with the role, the point of view...that's the real art.&#xD;&#xA;&#xD;&#xA;As I said, I use libraries for the starting point, then I get usually lost in all the &quot;maybe this fits too&quot; sounds, and often by chance you find something, that, if you treat/process it right, fits much better than the first searching matches. then i add all these, and throw away all unnecessary sounds. It's always the inner fight with the possibilities, the coincidences and the willing to not lose the thread. &#xD;&#xA;&#xD;&#xA;And if there's something that I can work out for myself, I just grab my recorder and the microphone and get it in the way I want it to sound. &#xD;&#xA;&#xD;&#xA;Hope I didn't told you something, that was already clear.&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="20659" PostHistoryTypeId="2" PostId="12524" RevisionGUID="7def2eda-d9c4-48c8-b824-8f533dbf6e69" CreationDate="2012-02-07T19:38:11.023" UserId="6420" Text="Some places will offer you a place without a degree if you're relevant industry experience is sufficient so don't be put off by that. I did a Masters in Sound Design at Bournemouth University, but I don't think that course is running anymore. I know there is one in Edinburgh that at least one SSD regular attends (G A Harry - I'm looking at you! ;) ). There are a few others in the UK too, including the NFTS. Be prepared to pay a LOT for one, and weigh up the pros and cons if you're that serious. Having a Master's doesn't necessarily assure you employment at the end of it. Far from it.&#xD;&#xA;&#xD;&#xA;I can't speak for any others outside the UK but I'm sure others will chip in. Good luck! " ContentLicense="CC BY-SA 3.0" />
  <row Id="20660" PostHistoryTypeId="2" PostId="12525" RevisionGUID="52e73139-59e0-4db7-9a27-4b444297bdfd" CreationDate="2012-02-07T19:53:29.177" UserId="253" Text="You might want to talk to an immigration lawyer before starting any courses. Just from my visa experience in the US, it seems they don't deem audio engineer or sound editor to be a job that requires a degree, which weakens your position when applying for certain visas. If you can link your degree experience to things like directing voice talent, that can bolster your application, as directing IS something US immigration believes to require a degree.&#xD;&#xA;&#xD;&#xA;But this is just for the US, and i'm not a lawyer so i can't guarantee how accurate my info is; this is just what i remember from my application a year ago. Talk to a good immigration lawyer, they'll be able to make things clear for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="20661" PostHistoryTypeId="2" PostId="12526" RevisionGUID="cb722f62-cc53-480a-b02d-128e75802862" CreationDate="2012-02-07T20:31:37.897" UserId="432" Text="I contacted Sony, and they have said that the PCM-D50 is not being discontinued, but the D1 is. So, keep buying them awesome Sony hand-held recorders." ContentLicense="CC BY-SA 3.0" />
  <row Id="20662" PostHistoryTypeId="2" PostId="12527" RevisionGUID="3c516335-5b82-4870-a24b-7f1ecafd9f1b" CreationDate="2012-02-07T21:37:07.867" UserId="730" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;Thought I would share this info on Tribes: Ascend. We just released our largest beta patch. Many new changes, 16 weapons/ devices, new maps, character class customization, and more. The full list of patch notes can be found here. &#xD;&#xA;http://hi-rez.custhelp.com/app/answers/detail/a_id/297&#xD;&#xA;&#xD;&#xA;I would love to get some feedback from the community on my sound design. &#xD;&#xA;&#xD;&#xA;To get a beta key all you have to do is go to the Tribes: Ascend facebook page and 'LIKE' it. &#xD;&#xA;&#xD;&#xA;-Benjie" ContentLicense="CC BY-SA 3.0" />
  <row Id="20663" PostHistoryTypeId="1" PostId="12527" RevisionGUID="3c516335-5b82-4870-a24b-7f1ecafd9f1b" CreationDate="2012-02-07T21:37:07.867" UserId="730" Text="Sound Design - Tribes: Ascend - Part 3" ContentLicense="CC BY-SA 3.0" />
  <row Id="20664" PostHistoryTypeId="3" PostId="12527" RevisionGUID="3c516335-5b82-4870-a24b-7f1ecafd9f1b" CreationDate="2012-02-07T21:37:07.867" UserId="730" Text="&lt;sound-design&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20665" PostHistoryTypeId="2" PostId="12528" RevisionGUID="545448f7-0131-49cb-a91e-56fd00f087d0" CreationDate="2012-02-07T22:42:38.540" UserId="835" Text="There's a sound design MA in Edinburgh. Here in Barcelona you have 2 other options at the Pompeu I Fabra University, the Sound Computing MA and a posgraduate in Sonology. Another option would be to study the Audio Production Degree at any SAE in Europe." ContentLicense="CC BY-SA 3.0" />
  <row Id="20666" PostHistoryTypeId="5" PostId="12526" RevisionGUID="173d31f4-5398-43cf-ac46-9a7045a10046" CreationDate="2012-02-08T02:47:28.207" UserId="432" Comment="added 183 characters in body" Text="I contacted Sony, and they have said that the PCM-D50 is not being discontinued, but the D1 is. So, keep buying them awesome Sony hand-held recorders.&#xD;&#xA;&#xD;&#xA;**UPDATE:** Fly in the ointment. Someone heard from a different Sony rep that they are going to be discontinued. So, now we're all confused. Gonna try following up again tomorrow." ContentLicense="CC BY-SA 3.0" />
  <row Id="20667" PostHistoryTypeId="2" PostId="12529" RevisionGUID="f085dc87-de6a-4ebe-aa79-be2f9e23adcc" CreationDate="2012-02-08T03:27:38.147" UserId="3363" Text="Shame this vid is no longer online due to copyright reasons, would've &quot;dug&quot; to have a  look / listen after reading Kilna's breakdown..." ContentLicense="CC BY-SA 3.0" />
  <row Id="20668" PostHistoryTypeId="5" PostId="12151" RevisionGUID="9cb7eb72-fdac-471b-a84d-08c44fc6653e" CreationDate="2012-02-08T04:07:32.800" UserId="958" Comment="edited body" Text="Hey everyone!&#xD;&#xA;&#xD;&#xA;So I have finished the creative project that I posted earlier. You can view it here - [The Arrival on Vimeo][1]. &#xD;&#xA;&#xD;&#xA;I am looking for constructive feedback on the project, and to show my appreciation I am giving away either a Soundcloud Premium account or $20 iTunes gift card. The winner will be picked by random and the draw will include anyone who offers me constructive feedback, drawn on the 9th Feb, 1pm AEST.&#xD;&#xA;&#xD;&#xA;I have created sound and music for a graphic novel that I scanned and turned into video.&#xD;&#xA;&#xD;&#xA;I aim to create a soundtrack that is reflective of the book's visual style and shows the world from the character's point of view, using an appropriate balance of abstract and descriptive sound.&#xD;&#xA;&#xD;&#xA;It features artwork from Shaun Tan's graphic novel, The Arrival - [shauntan.net][2]&#xD;&#xA;&#xD;&#xA;I appreciate any feedback you can offer as it is an essential element of my project.&#xD;&#xA;&#xD;&#xA;Thanking you in advance,&#xD;&#xA;Eric.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/36180836&#xD;&#xA;  [2]: http://shauntan.net" ContentLicense="CC BY-SA 3.0" />
  <row Id="20669" PostHistoryTypeId="5" PostId="7435" RevisionGUID="7540e036-823f-476b-bcad-a90031507ac9" CreationDate="2012-02-08T04:33:19.373" UserId="6524" Comment="deleted 208 characters in body" Text="I know a lot of people would want some recordings of the Muslim Prayers from a Mosque so I recorded one a couple of days ago, just so you know its not a super duper fantastical recording cause it was one on a H4n on my cousins apartment terrace, (I'll try to get better ones one day) but anyway its like 9mins and 300mb and I can't upload it and share it like I usually do on Soundcloud cause my internet is too slow (512kbps), and even when I do that I need to upload then in mp3. What other alternatives are out there that I could use? I've used dropbox before but I don't think it would be any faster." ContentLicense="CC BY-SA 3.0" />
  <row Id="20670" PostHistoryTypeId="5" PostId="7435" RevisionGUID="4c318f0d-7ffd-4a4c-9e0f-07f3b0bc7715" CreationDate="2012-02-08T05:26:27.893" UserId="6524" Comment="added 158 characters in body; added 72 characters in body" Text="I know a lot of people would want some recordings of the Muslim Prayers from a Mosque so I recorded one a couple of days ago, just so you know its not a super duper fantastical recording cause it was one on a H4n on my cousins apartment terrace, (I'll try to get better ones one day) but anyway its like 9mins and 300mb and I can't upload it and share it like I usually do on Soundcloud cause my internet is too slow (512kbps), and even when I do that I need to upload then in mp3. What other alternatives are out there that I could use? I've used dropbox before but I don't think it would be any faster.&#xD;&#xA;&#xD;&#xA;Here's a recording at Jumeira Beach, Dubai UAE I think it was three mosques doing their morning prayer at probably 6 or 7am (48k/24). http://ge.tt/8tEAWKD [Uploaded on 08/02/2012 I think it won't be available again in 30 days]" ContentLicense="CC BY-SA 3.0" />
  <row Id="20671" PostHistoryTypeId="2" PostId="12530" RevisionGUID="97ae85e8-67e5-4de0-9c50-6bbdf0af72a7" CreationDate="2012-02-08T06:15:03.420" UserId="1178" Text="Dropbox here with free 10gb account, works perfect for slower connections as it will automaticly upload the files to cloud as long as you have the native app running on the background. You also get extra 250mb (up to 10gb) of space by suggesting dropbox to your friend. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20672" PostHistoryTypeId="2" PostId="12531" RevisionGUID="ea289d1e-114c-4686-9deb-c9fed88f78dd" CreationDate="2012-02-08T07:14:46.210" UserId="18160" Text="I work about 5 mins away from Griffith Park, but the guttural rumble from the bowels of the Interstate 5 prevent me from recording such lush greenery being trampled.&#xD;&#xA;&#xD;&#xA;What would be a good substitute for someone who needs to record foley in grass who is deserted on a desert island with no such availability of the stuff?&#xD;&#xA;&#xD;&#xA;Cheerleader pom-poms? A pinata? Astroturf? Grass skirts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20673" PostHistoryTypeId="1" PostId="12531" RevisionGUID="ea289d1e-114c-4686-9deb-c9fed88f78dd" CreationDate="2012-02-08T07:14:46.210" UserId="18160" Text="How to foley grass footsteps" ContentLicense="CC BY-SA 3.0" />
  <row Id="20674" PostHistoryTypeId="3" PostId="12531" RevisionGUID="ea289d1e-114c-4686-9deb-c9fed88f78dd" CreationDate="2012-02-08T07:14:46.210" UserId="18160" Text="&lt;foley&gt;&lt;footsteps&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20675" PostHistoryTypeId="2" PostId="12532" RevisionGUID="109c293d-7fef-4754-bc5d-6a330f841b9a" CreationDate="2012-02-08T07:46:08.187" UserId="7642" Text="Disclaimer: its been a while...&#xD;&#xA;&#xD;&#xA;Grass itself does not really make a strong sound unless it's dried up grass.&#xD;&#xA;So unless you have close ups of feet walking in grass spend less time to recreate the grassy part of the sound. The green grass sound is mostly about a good NON resonant soil sound, with a little grassiness on top.&#xD;&#xA;Old school was using old quarter inch tape, the scrappiest the better (if it's to new it will crackle to much). Place a thin rug or towel over it in the dirt/soil pit and go from there. Quarter inch tape can be replaced with other materials, paper based stuff has a very limited lifespan. Plastic can easily sound to plastic.&#xD;&#xA;IMHO less is more in terms of green grass rustle. But then theess there is the more it will stand out when it's there. Careful editing and dressing can also help to get the sound feel right." ContentLicense="CC BY-SA 3.0" />
  <row Id="20676" PostHistoryTypeId="5" PostId="12532" RevisionGUID="400346ae-8bb9-4f19-a81b-4b967374d849" CreationDate="2012-02-08T07:53:37.787" UserId="7642" Comment="added 3 characters in body; deleted 1 characters in body; added 1 characters in body" Text="Disclaimer: its been a while...&#xD;&#xA;&#xD;&#xA;Grass itself does not really make a strong sound unless it's dried up grass.&#xD;&#xA;So unless you have close ups of feet walking in grass spend less time to recreate the grassy part of the sound. The green grass sound is mostly about a good NON resonant soil sound, with a little grassiness on top.&#xD;&#xA;Old school was using old quarter inch tape, the scrappier the better (if it's to new it will crackle to much). Place a thin rug or towel over it in the dirt/soil pit and go from there. Quarter inch tape can be replaced with other materials, paper based stuff has a very limited lifespan. Plastic can easily sound to plastic.&#xD;&#xA;IMHO less is more in terms of green grass rustle. But then the less there is, the more it will stand out when it's there. Careful editing and de-essing can also help to get the sound feel right." ContentLicense="CC BY-SA 3.0" />
  <row Id="20677" PostHistoryTypeId="2" PostId="12533" RevisionGUID="b2138648-c066-4540-9665-d2424e4f332c" CreationDate="2012-02-08T10:14:37.080" UserId="958" Text="Closing soon! I guess it's not that big a prize is it. Next time I will make it a better prize to attract more feedback." ContentLicense="CC BY-SA 3.0" />
  <row Id="20678" PostHistoryTypeId="5" PostId="12526" RevisionGUID="86103a96-04f5-4d84-83f5-4494c7921010" CreationDate="2012-02-08T16:26:28.507" UserId="432" Comment="added 387 characters in body" Text="I contacted Sony, and they have said that the PCM-D50 is not being discontinued, but the D1 is. So, keep buying them awesome Sony hand-held recorders.&#xD;&#xA;&#xD;&#xA;**UPDATE #1:** Fly in the ointment. Someone heard from a different Sony rep that they are going to be discontinued. So, now we're all confused. Gonna try following up again tomorrow.&#xD;&#xA;&#xD;&#xA;**UPDATE #2:** Contacted Sony rep again, and asked about this info given by the rep that Jake spoke to. I asked if that rep might have been confused. Here's the response:&#xD;&#xA;&#xD;&#xA;**&quot;That’s entirely possible. I can assure you that the D50 has not been discontinued. However, I’m sure a replacement model will come at some point. We are always looking at ways to improve our products.&quot;**" ContentLicense="CC BY-SA 3.0" />
  <row Id="20679" PostHistoryTypeId="2" PostId="12534" RevisionGUID="c1d00918-eff0-4743-9dfc-2bca352f6fa3" CreationDate="2012-02-08T16:33:33.623" UserId="670" Text="I had to foley grass for a feature a couple months ago. What I used was the film inside of an old VHS tape piled up. It might sound good for dry grass too. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20680" PostHistoryTypeId="2" PostId="12535" RevisionGUID="6858c9e7-60a9-4ca0-b83c-5cfe6c7758b2" CreationDate="2012-02-08T19:41:14.743" UserId="315" Text="On a grass heavy project we did recently, we actually bought a couple rolls of sod and rolled them out in the foley room. Messy...but it sounded great. Nothing beats the real thing." ContentLicense="CC BY-SA 3.0" />
  <row Id="20681" PostHistoryTypeId="2" PostId="12536" RevisionGUID="d41f3237-7c98-4f95-a840-f84b9c2ef0ba" CreationDate="2012-02-08T20:25:02.963" UserId="3418" Text="I have recently worked on an animation where grass footsteps were needed.I've recorded one of the plants i have while i squashed and squeezed its branches and leafs at different speeds and amplitudes. &#xD;&#xA;with a bit of editing i got pretty good results." ContentLicense="CC BY-SA 3.0" />
  <row Id="20682" PostHistoryTypeId="2" PostId="12537" RevisionGUID="2cfe3397-b949-4f2d-9ffc-82d4df084c59" CreationDate="2012-02-08T23:55:05.140" UserId="3420" Text="I took a pile of grass from the garden (or in your case park) and used it accordingly - though some of the less literal suggestions would work great as listed above." ContentLicense="CC BY-SA 3.0" />
  <row Id="20683" PostHistoryTypeId="2" PostId="12538" RevisionGUID="25f3d156-63da-4ae9-97fc-d09ef034f5bc" CreationDate="2012-02-09T00:00:48.863" UserId="3420" Text="Hey everyone, &#xD;&#xA;&#xD;&#xA;Starting to tire of the literal soundscapes that most of my projects up to now have involved. For the next project I'm involved with it's dark, deep, unnatural and all-round funky!&#xD;&#xA;&#xD;&#xA;I don't want to use Pro Tools and say. . some deep base sounds, strings etc as that's too set and simple..&#xD;&#xA;&#xD;&#xA;I guess my question is - do you guys know of any great free standalone apps (usually these are roughly made apps) that allow the creation of soundscapes/textures?&#xD;&#xA;&#xD;&#xA;I used to use one where you could load a sample in, and it would stretch, pitch manipulate, reverberate and cause great evolving textures to stem from the original sound (even an easy to use  modular synthesiser). I use Pro Tools so limited to those plugins and not the .DLL kind :)&#xD;&#xA;&#xD;&#xA;Was wondering if anyone knew of one? Would love to get a wee application where I could load a sound like. . .say a metallic sound. . .and drag a few parameters around to creates really stunning ambience soundscapes that could accompany the videos.&#xD;&#xA;&#xD;&#xA;Be interested in your thoughts and suggestions on these soundscapes that aren't your average literal City-scapes :)&#xD;&#xA;&#xD;&#xA;Aaron." ContentLicense="CC BY-SA 3.0" />
  <row Id="20684" PostHistoryTypeId="1" PostId="12538" RevisionGUID="25f3d156-63da-4ae9-97fc-d09ef034f5bc" CreationDate="2012-02-09T00:00:48.863" UserId="3420" Text="Your favourite soundscape / texture creation tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20685" PostHistoryTypeId="3" PostId="12538" RevisionGUID="25f3d156-63da-4ae9-97fc-d09ef034f5bc" CreationDate="2012-02-09T00:00:48.863" UserId="3420" Text="&lt;soundscapes&gt;&lt;synthesis&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20687" PostHistoryTypeId="2" PostId="12540" RevisionGUID="1702127d-e393-40ce-b5b9-82011f61bb70" CreationDate="2012-02-09T02:24:49.310" UserId="3421" Text="Hi all, Happy February lol! I recently entered the graduate sound design program at the Savannah College of Art &amp; Design after studying radio production in Undergrad. I know it's graduate school, but the sound/audio industry is so broad I'm trying to narrow down where I want focus my career in the near future. I got into the whole audio thing because of my love of music and one of the things I would love to get into is music mixing and mastering. I'm wondering if anyone has any ideas about learning more about that/getting into that industry outside of the academic environment. I've been looking into internships but they don't seem to be as common as, say, a post-house. Any advice helps, take care!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20688" PostHistoryTypeId="1" PostId="12540" RevisionGUID="1702127d-e393-40ce-b5b9-82011f61bb70" CreationDate="2012-02-09T02:24:49.310" UserId="3421" Text="Any Advice Getting into  Mixing &amp; Mastering?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20689" PostHistoryTypeId="3" PostId="12540" RevisionGUID="1702127d-e393-40ce-b5b9-82011f61bb70" CreationDate="2012-02-09T02:24:49.310" UserId="3421" Text="&lt;music&gt;&lt;mixing&gt;&lt;sound-design&gt;&lt;career&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20690" PostHistoryTypeId="2" PostId="12541" RevisionGUID="0d2ecaa7-c0cf-45d0-9b7b-e8d79b195597" CreationDate="2012-02-09T02:36:33.573" UserId="18160" Text="I got my start recording and mixing music.&#xD;&#xA;&#xD;&#xA;Get an internship at a studio in New York or LA. Learn under a pro mixer, it's really the only way to go about it without chasing your tail for 10 years learning things the hard way." ContentLicense="CC BY-SA 3.0" />
  <row Id="20691" PostHistoryTypeId="5" PostId="12541" RevisionGUID="dfe45e0c-b7a4-4cf4-95a9-78d245f80ff5" CreationDate="2012-02-09T03:00:25.587" UserId="18160" Comment="added 330 characters in body" Text="I got my start recording and mixing music.&#xD;&#xA;&#xD;&#xA;Get an internship at a studio in New York or LA. Learn under a pro mixer, it's really the only way to go about it without chasing your tail for 10 years learning things the hard way.&#xD;&#xA;&#xD;&#xA;Also, the person I apprenticed under started out going to where local bands rehearsed (rehearsal stages, garages, etc.) and practiced micing them. It's easier to practice micing and recording this way as opposed to doing free albums for new bands because you don't constantly have band members begging for you to turn them up." ContentLicense="CC BY-SA 3.0" />
  <row Id="20692" PostHistoryTypeId="5" PostId="12541" RevisionGUID="7ecab145-d3b9-4164-ab37-fc6fe15c210b" CreationDate="2012-02-09T03:13:57.797" UserId="18160" Comment="edited body" Text="I got my start recording and mixing music.&#xD;&#xA;&#xD;&#xA;Get an internship at a studio in New York or LA. Learn under a pro mixer, it's really the only way to go about it without chasing your tail for 10 years learning things the hard way.&#xD;&#xA;&#xD;&#xA;Also, the person I apprenticed under started out going to where local bands rehearsed (rehearsal stages, garages, etc.) and practiced miking them. It's easier to practice miking and recording this way as opposed to doing free albums for new bands because you don't constantly have band members begging for you to turn them up." ContentLicense="CC BY-SA 3.0" />
  <row Id="20693" PostHistoryTypeId="2" PostId="12542" RevisionGUID="4e9668d6-a942-4666-a3fc-00c73fc095d8" CreationDate="2012-02-09T03:46:07.577" UserId="3179" Text="Camel Audio Alchemy is a good and easy software synthesizer for manipulating samples drastically.&#xD;&#xA;&#xD;&#xA;Pluggo was a program used to run Max/MSP patches as VST/AU/RTAS, it's discontinued and replaced by Max4Live. Of course there's also the stand-alone Max/MSP.&#xD;&#xA;&#xD;&#xA;NI Reaktor obviously has a bunch of useful stuff.&#xD;&#xA;&#xD;&#xA;Soundhack is also pretty popular I believe.&#xD;&#xA;&#xD;&#xA;You can also find some stand-alone programs for e.g. granular and spectral stuff from the internet that can also be very useful for turning samples to something totally different.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20694" PostHistoryTypeId="5" PostId="12542" RevisionGUID="693e337a-14fb-4ff5-9e60-5a35fc765dfb" CreationDate="2012-02-09T03:51:13.690" UserId="3179" Comment="deleted 1 characters in body" Text="Camel Audio Alchemy is a good and easy software synthesizer for manipulating samples drastically.&#xD;&#xA;&#xD;&#xA;Pluggo was a program used to run Max/MSP patches as VST/AU/RTAS, it's discontinued and replaced by Max4Live. Of course there's also the stand-alone Max/MSP.&#xD;&#xA;&#xD;&#xA;NI Reaktor obviously has a bunch of useful stuff.&#xD;&#xA;&#xD;&#xA;Soundhack is also pretty popular I believe.&#xD;&#xA;&#xD;&#xA;You can also find some stand-alone programs for e.g. granular and spectral stuff from the internet that can also be very useful in turning samples to something totally different.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20695" PostHistoryTypeId="5" PostId="12542" RevisionGUID="cf441a9b-1202-4c53-b461-8309ddfd5ce5" CreationDate="2012-02-09T03:58:50.323" UserId="3179" Comment="added 37 characters in body" Text="Camel Audio Alchemy is a good and easy software synthesizer for manipulating samples drastically.&#xD;&#xA;&#xD;&#xA;Pluggo was a program used to run Max/MSP patches as VST/AU/RTAS, it's discontinued and replaced by Max4Live. Of course there's also the stand-alone Max/MSP.&#xD;&#xA;&#xD;&#xA;NI Reaktor obviously has a bunch of useful stuff.&#xD;&#xA;&#xD;&#xA;Soundhack is also pretty popular I believe. As is the GRM Tools plug-in package.&#xD;&#xA;&#xD;&#xA;You can also find some stand-alone programs for e.g. granular and spectral stuff from the internet that can also be very useful in turning samples to something totally different.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20696" PostHistoryTypeId="12" PostId="12533" RevisionGUID="1216b4a3-a5bc-4f1e-8750-ab23e3808b4a" CreationDate="2012-02-09T09:25:35.493" UserId="958" Text="[{&quot;Id&quot;:958,&quot;DisplayName&quot;:&quot;Jinksi&quot;}]" />
  <row Id="20697" PostHistoryTypeId="13" PostId="12533" RevisionGUID="48ecaa19-106f-4455-ad85-2a2fbc42e22a" CreationDate="2012-02-09T09:25:43.793" UserId="958" Text="[{&quot;Id&quot;:958,&quot;DisplayName&quot;:&quot;Jinksi&quot;}]" />
  <row Id="20698" PostHistoryTypeId="2" PostId="12543" RevisionGUID="e2b6940e-be12-4418-9e3b-3962f7f19405" CreationDate="2012-02-09T10:28:05.513" UserId="641" Text="What is it?  How does it happen?  How does one avoid it?&#xD;&#xA;I dont think I have ever experienced it...or maybe I have but I dont know what it is! :p&#xD;&#xA;&#xD;&#xA;Go!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20699" PostHistoryTypeId="1" PostId="12543" RevisionGUID="e2b6940e-be12-4418-9e3b-3962f7f19405" CreationDate="2012-02-09T10:28:05.513" UserId="641" Text="Overmodulation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20700" PostHistoryTypeId="3" PostId="12543" RevisionGUID="e2b6940e-be12-4418-9e3b-3962f7f19405" CreationDate="2012-02-09T10:28:05.513" UserId="641" Text="&lt;modulation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20701" PostHistoryTypeId="2" PostId="12544" RevisionGUID="0a43cd13-77c4-4be4-b219-516805c50594" CreationDate="2012-02-09T10:32:28.923" UserId="6432" Text="It's a good question, and I understand your desire to get involved with some new and exciting tools, we all love toys after all! Before you do though, it's worth considering how to create abstract soundscapes with conventional tools. After all, sound designers we're doing amazing eerie, unnatural and abstract sounds before protools came along - I had the pleasure of watching Eraserhead (1977) in the cinema recently and was really blown away by Alan Splet's sound design. It's worth spending time with some good recordings playing with stretching, pitch-shifting, pitch-bending, reverse, adding effects in reverse, eq, reverb and worldizing before reaching for more exotic effects. It doesn't take much to make a sound completely unidentifiable.&#xD;&#xA;&#xD;&#xA;Having said all that, I love new toys. A much used technique for what you describe is using an extreme granular sample stretcher. There's a free one called PaulStretch which is great. Windows only I think. Stretching out sounds like bowed cymbals is good fun. Often with granular effects like these digital artefacts are added so it's nice to add some reverb to smooth the sound out, a bit of reverse-reverb sounds nice too. I also love the Reaktor instrument Metaphysical function and Skrewel for making synthetic layers. &#xD;&#xA;&#xD;&#xA;I think it's good to have layers created by different techniques in a soundscape, if you just use the granular method for instance it all sounds a bit uninteresting. Make lots layers out of real sound, synths, effected sounds  etc. Remember to mix them across the stereo field with some movement, add layers of depth with reverb and eq. When you think you've finished bounce out the whole this as a wav and play with it some more - complexity is everything." ContentLicense="CC BY-SA 3.0" />
  <row Id="20702" PostHistoryTypeId="2" PostId="12545" RevisionGUID="328777d3-45fa-454d-80a4-f18141a781f7" CreationDate="2012-02-09T11:02:11.703" UserId="641" Text="I dont know if this would work, but you could try transmitting the signal across a radio link?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20703" PostHistoryTypeId="5" PostId="12544" RevisionGUID="270a414a-e333-4eab-a5a2-1569ff541f03" CreationDate="2012-02-09T11:02:24.860" UserId="6432" Comment="added 12 characters in body" Text="It's a good question, and I understand your desire to get involved with some new and exciting tools, we all love toys after all! Before you do though, it's worth considering how to create abstract soundscapes with conventional tools. After all, sound designers we're doing amazing eerie, unnatural and abstract sounds before protools came along - I had the pleasure of watching Eraserhead (1977) in the cinema recently and was really blown away by Alan Splet's atmospheric sound design. It's worth spending time with some good recordings playing with stretching, pitch-shifting, pitch-bending, reverse, adding effects in reverse, eq, reverb and worldizing before reaching for more exotic effects. It doesn't take much to make a sound completely unidentifiable.&#xD;&#xA;&#xD;&#xA;Having said all that, I love new toys. A much used technique for what you describe is using an extreme granular sample stretcher. There's a free one called PaulStretch which is great. Windows only I think. Stretching out sounds like bowed cymbals is good fun. Often with granular effects like these digital artefacts are added so it's nice to add some reverb to smooth the sound out, a bit of reverse-reverb sounds nice too. I also love the Reaktor instrument Metaphysical function and Skrewel for making synthetic layers. &#xD;&#xA;&#xD;&#xA;I think it's good to have layers created by different techniques in a soundscape, if you just use the granular method for instance it all sounds a bit uninteresting. Make lots layers out of real sound, synths, effected sounds  etc. Remember to mix them across the stereo field with some movement, add layers of depth with reverb and eq. When you think you've finished bounce out the whole this as a Wav and play with it some more - complexity is everything." ContentLicense="CC BY-SA 3.0" />
  <row Id="20704" PostHistoryTypeId="2" PostId="12546" RevisionGUID="5585d65f-fb87-4748-98ce-b1f09afd2b20" CreationDate="2012-02-09T11:03:36.360" UserId="1228" Text="http://en.wikipedia.org/wiki/Clipping_%28audio%29&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Avoidance can be found in proper gain staging so that in each stage of your signal chain maintains a prudent amount of headroom.  Calibration levels in film, for instance, take all of this into account so that over modulation never occurs.  In the end it all comes down to watching and making sure the signal doesn't peak out.  Regardless of all the tools etc, baby sitting the signal is still king.&#xD;&#xA;&#xD;&#xA;This is a starting point, at least.&#xD;&#xA;&#xD;&#xA;I'm sure other SSD'ers will be happy to chime too." ContentLicense="CC BY-SA 3.0" />
  <row Id="20705" PostHistoryTypeId="2" PostId="12547" RevisionGUID="dd61008d-5f58-425a-9a62-61f732d7a784" CreationDate="2012-02-09T14:40:52.580" UserId="37" Text="Sculpture for sprinkling on things. Notam Mammut for turning any sound into mush. Soundmagic Spectral by Michael Norris for sheen and weirdness. Valhalla Shimmer for droning darkness. Ringshifter and phase distortion for degradation. Copious amounts of EQ.&#xD;&#xA;&#xD;&#xA;And every now and then I reach for Reaktor in live recording mode.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20706" PostHistoryTypeId="2" PostId="12548" RevisionGUID="6d571f33-7990-46a9-a34d-581540462c58" CreationDate="2012-02-09T16:40:57.843" UserId="37" Text="the D1 doesn't offer enough over the D50 to justify for the huge premium they used to ask.  The M10 is not good enough to hit the &quot;prosumer&quot; market, so it makes no sense to discontinue the D50 without offering a replacement.....&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20707" PostHistoryTypeId="2" PostId="12549" RevisionGUID="bfa3fb30-6733-4563-b8fa-7eabd3e83016" CreationDate="2012-02-09T18:13:59.100" UserId="1303" Text="Hey All,&#xD;&#xA;&#xD;&#xA;There's this ultrasonic motion detector in my room that the studio installed. Which is great at turning off my lights if I forget to and also great at ruining any chance of pitching the recordings I do in the room. It's blazing at about 30+khz so when I slow down anything I record in here the cue is useless(devoured by 15k frequencies). The unit hardwired into the ceiling so I can't turn it off and I tried putting a moving blanket of the the device but that doesn't seem block any of the high frequencies. Any ideas? Can any type of sound proofing fix this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20708" PostHistoryTypeId="1" PostId="12549" RevisionGUID="bfa3fb30-6733-4563-b8fa-7eabd3e83016" CreationDate="2012-02-09T18:13:59.100" UserId="1303" Text="blocking ultrasonic frequencies" ContentLicense="CC BY-SA 3.0" />
  <row Id="20709" PostHistoryTypeId="3" PostId="12549" RevisionGUID="bfa3fb30-6733-4563-b8fa-7eabd3e83016" CreationDate="2012-02-09T18:13:59.100" UserId="1303" Text="&lt;studio-design&gt;&lt;high-frequency&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20710" PostHistoryTypeId="2" PostId="12550" RevisionGUID="3b76a241-26a6-45bf-a3a2-2c5415bd8621" CreationDate="2012-02-09T20:13:52.383" UserId="182" Text="How about having it replaced with an infrared motion detector?&#xD;&#xA;&#xD;&#xA;Otherwise, high frequencies can be reflected with dense material, so if you have a closed wooden box (mdf is very dense) that you can put up around the detector, the sound will stay trapped inside and bounce around without coming out. Having some kind of rubber seal between the box and the ceiling will improve the shielding.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20718" PostHistoryTypeId="2" PostId="12553" RevisionGUID="ecee657a-5f3e-4f64-b88f-e67611735f05" CreationDate="2012-02-10T05:48:43.573" UserId="3334" Text="I started using Google docs for file transfers and have been really happy.  I think you get 2GB of free space???  I pay $5/yr for 20GB of space. You can manage who has access to the file (everyone, only you, specific people etc).  Not to mention all the other benefits of google docs.  Great service!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20723" PostHistoryTypeId="2" PostId="12556" RevisionGUID="b0abd2b4-4f60-4e31-b68d-9c2a358ea7b3" CreationDate="2012-02-10T14:02:52.957" UserId="3425" Text="GRM Tools Evolution" ContentLicense="CC BY-SA 3.0" />
  <row Id="20726" PostHistoryTypeId="2" PostId="12558" RevisionGUID="3fb17059-dbe3-4aa0-86df-d45793f64a05" CreationDate="2012-02-10T17:22:36.240" UserId="3008" Text="Hi! I am building a new studio dedicated to sound design, and I was wondering how to choose a TV to have in the control room and in the foley room. I've seen some LG LCD TVs that have a very good price, but I have no idea if they make any unacceptable noise (like those unbearable hums generated by some monitors). Which is more &quot;silent&quot; when muted: PLASMA, LCD, or LED? Are there any specific brands that are known to make more noise than others? Is there anyway noise from TVs can be reduced or eliminated?&#xD;&#xA;&#xD;&#xA;Thanks for your help!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20727" PostHistoryTypeId="1" PostId="12558" RevisionGUID="3fb17059-dbe3-4aa0-86df-d45793f64a05" CreationDate="2012-02-10T17:22:36.240" UserId="3008" Text="What is the best TV to have in a foley stage?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20728" PostHistoryTypeId="3" PostId="12558" RevisionGUID="3fb17059-dbe3-4aa0-86df-d45793f64a05" CreationDate="2012-02-10T17:22:36.240" UserId="3008" Text="&lt;studio&gt;&lt;television&gt;&lt;noise&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20733" PostHistoryTypeId="2" PostId="12559" RevisionGUID="5cff4906-18e3-4a96-a532-b2be52462f89" CreationDate="2012-02-10T21:03:21.967" UserId="3230" Text="I'd echo the previous comments...&#xD;&#xA;&#xD;&#xA;I just launched a production blog/portfolio site hosted through wordpress.com (I'm not a developer, nor do I have time to learn the ropes of self-hosting).   It's extremely simple.  I then have all updates &quot;publicize&quot; through multiple online outlets - a dedicated Facebook page, LinkedIN, twitter, Google+, etc.   The FB, or G+ page can simply serve as another portal....nothing more than a simple bio, a few pictures, and links back to content on the main blog." ContentLicense="CC BY-SA 3.0" />
  <row Id="20739" PostHistoryTypeId="2" PostId="12561" RevisionGUID="c240cfae-819d-4907-9fdb-f1171eebff27" CreationDate="2012-02-11T04:40:07.763" UserId="6411" Text="Learned a few more tonight in Pro Tools 10.&#xD;&#xA;&#xD;&#xA; - Control + Shift + minus = Toggles&#xD;&#xA;   Clip Gain Line (similar to toggle&#xD;&#xA;   volume graph) &#xD;&#xA; - Control + Shift + X =    Cut Clip&#xD;&#xA;   Gain Line &#xD;&#xA; - Control + Shift +    C =    Cut Clip&#xD;&#xA;   Gain Line &#xD;&#xA; - Control +    Shift    + B =    Clear&#xD;&#xA;   Clip Gain Line&#xD;&#xA;&#xD;&#xA;However, contrary to the trend you see forming here, &quot;V&quot; or Cmd + V will paste your clip gain line after cut or copy.&#xD;&#xA;&#xD;&#xA;If you're mousing around, they're tucked up in the Edit &gt; Cut / Copy / Clear Special menus.&#xD;&#xA;&#xD;&#xA;Oh and don't forget:&#xD;&#xA;&#xD;&#xA; - Control + Shift +  Up / Down Arrow = Increases or decreases the Clip Gain by a value you set up in Preferences &gt; Editing &gt; Clips &gt; Clip Gain Nudge Value." ContentLicense="CC BY-SA 3.0" />
  <row Id="20740" PostHistoryTypeId="16" PostId="12561" RevisionGUID="c240cfae-819d-4907-9fdb-f1171eebff27" CreationDate="2012-02-11T04:40:07.763" UserId="-1" />
  <row Id="20742" PostHistoryTypeId="2" PostId="12562" RevisionGUID="b9f85033-c52e-4c64-b62c-411880e4e581" CreationDate="2012-02-11T06:04:47.707" UserId="3275" Text="Option + C clears all clip indicators!&#xD;&#xA;&#xD;&#xA;Control + Option + Command and click on your meters to get phat meters.&#xD;&#xA;&#xD;&#xA;Control + Option + Command + W hides all floating windows.&#xD;&#xA;&#xD;&#xA;oh and Option + Command + G makes a clip group.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="20743" PostHistoryTypeId="16" PostId="12562" RevisionGUID="b9f85033-c52e-4c64-b62c-411880e4e581" CreationDate="2012-02-11T06:04:47.707" UserId="-1" />
  <row Id="20744" PostHistoryTypeId="2" PostId="12563" RevisionGUID="0949aa34-10b4-4634-892e-102a514fb703" CreationDate="2012-02-11T06:52:34.447" UserDisplayName="user80" Text="Try turning off the light permanently and bringing in your own lights.  Before our last refit we had fluorescent tubes that whined when on, so I just never turned them on.  If you are lucky the motion detector is switched off when the lights are off." ContentLicense="CC BY-SA 3.0" />
  <row Id="20745" PostHistoryTypeId="2" PostId="12564" RevisionGUID="f480546a-1f64-467b-9f48-7b5c9b8ed4e3" CreationDate="2012-02-11T11:03:15.443" UserId="3282" Text="Hi mates,&#xD;&#xA;&#xD;&#xA;as the title says ! &#xD;&#xA;It's hard to find material about that sound wizard around the web, so any links, videos, books or whatever warmly welcome ! &#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Xavier" ContentLicense="CC BY-SA 3.0" />
  <row Id="20746" PostHistoryTypeId="1" PostId="12564" RevisionGUID="f480546a-1f64-467b-9f48-7b5c9b8ed4e3" CreationDate="2012-02-11T11:03:15.443" UserId="3282" Text="Looking for resources about Jimmy McDonald (Disney sound designer and voice actor)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20747" PostHistoryTypeId="3" PostId="12564" RevisionGUID="f480546a-1f64-467b-9f48-7b5c9b8ed4e3" CreationDate="2012-02-11T11:03:15.443" UserId="3282" Text="&lt;design&gt;&lt;resources&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20748" PostHistoryTypeId="2" PostId="12565" RevisionGUID="12cd6057-e4d9-4cd8-8569-02b180ae1f52" CreationDate="2012-02-11T11:49:08.460" UserId="3272" Text="Has anyone got some experience in Double MS dialogue editing and mixing? &#xD;&#xA;I recently finished a short movie in which all the dialogue and sync was recorded in Double MS. I treaded it as if it wasn't there until I came to the mix, only there I connected the Side and Rear recordings to the Mid channel and pushed it trough the Schoeps DMS plugin.&#xD;&#xA;&#xD;&#xA;I found out that some parts weren't edited so well when taking all three channels, while they sounded good with only the mid channel active. Even within scenes and dialogues I sometimes had to switch from a DMS dialogue track to a Mono track combined with a wider atmosphere, and back again. It took a long time editing some stuff again, while I was sitting in a mixing stage.&#xD;&#xA;&#xD;&#xA;So my question is, does anyone has experiences with Dialogue editing and mixing in DMS and what was your workflow in it?&#xD;&#xA;&#xD;&#xA;I think the sound is great, and if the shooting location is true to the story location it gives you a really rich sound image. So I'm trying to learn more about it.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Taco" ContentLicense="CC BY-SA 3.0" />
  <row Id="20749" PostHistoryTypeId="1" PostId="12565" RevisionGUID="12cd6057-e4d9-4cd8-8569-02b180ae1f52" CreationDate="2012-02-11T11:49:08.460" UserId="3272" Text="Experience on Double MS dialogue editing/mixing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20750" PostHistoryTypeId="3" PostId="12565" RevisionGUID="12cd6057-e4d9-4cd8-8569-02b180ae1f52" CreationDate="2012-02-11T11:49:08.460" UserId="3272" Text="&lt;dialogue&gt;&lt;editing&gt;&lt;mixing&gt;&lt;surround-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20751" PostHistoryTypeId="2" PostId="12566" RevisionGUID="ecd6f0b3-493c-4a22-8416-34b42fdf8fd1" CreationDate="2012-02-11T12:04:47.497" UserId="3299" Text="I think I kissed my Mac when I first realised this shortcut was available:&#xD;&#xA;&#xD;&#xA;Restore previous selection: Command + Option + Z&#xD;&#xA;&#xD;&#xA;Also, I like these two for getting a quick overview:&#xD;&#xA;&#xD;&#xA;Fit all shown tracks to edit window: Control + Option + Command + Up/Down Arrow&#xD;&#xA;&#xD;&#xA;Vertical Zoom to show all tracks: Option + A" ContentLicense="CC BY-SA 3.0" />
  <row Id="20752" PostHistoryTypeId="16" PostId="12566" RevisionGUID="ecd6f0b3-493c-4a22-8416-34b42fdf8fd1" CreationDate="2012-02-11T12:04:47.497" UserId="-1" />
  <row Id="20753" PostHistoryTypeId="2" PostId="12567" RevisionGUID="78e873a9-06be-4ce6-a863-d5c9ca69c547" CreationDate="2012-02-11T12:07:27.787" UserId="3272" Text="Command Z. Without a doubt" ContentLicense="CC BY-SA 3.0" />
  <row Id="20754" PostHistoryTypeId="16" PostId="12567" RevisionGUID="78e873a9-06be-4ce6-a863-d5c9ca69c547" CreationDate="2012-02-11T12:07:27.787" UserId="-1" />
  <row Id="20755" PostHistoryTypeId="2" PostId="12568" RevisionGUID="272dc274-f415-4f02-8ffb-95d12ee2d37e" CreationDate="2012-02-11T15:48:46.470" UserId="618" Text="The very best solution would be to use a video projector, in another room, isolated from the foley stage." ContentLicense="CC BY-SA 3.0" />
  <row Id="20756" PostHistoryTypeId="2" PostId="12569" RevisionGUID="9e5edc0f-65fd-41f2-99f5-73db553f2e97" CreationDate="2012-02-11T16:30:34.440" UserDisplayName="user80" Text="Our LCD Sony 37&quot; is very quiet, but not completely silent.  Recently we have switched to using VGA LCD monitors, and trying out different brands, but they all seem to be really quiet, even after hours of work, just avoid anything with a fan in it." ContentLicense="CC BY-SA 3.0" />
  <row Id="20757" PostHistoryTypeId="2" PostId="12570" RevisionGUID="9111e3bf-dc7d-4973-a0a3-d473c7d43d90" CreationDate="2012-02-11T16:34:33.303" UserId="6411" Text="If you can't go the projector route, I've seen an LCD encased in plexiglass, attached to a lazy susan. They didn't have to worry about dust in the TV or a wild prop ricocheting off the screen. It kept the room quiet, and they could position it to be viewable from anywhere. Quite clever really." ContentLicense="CC BY-SA 3.0" />
  <row Id="20758" PostHistoryTypeId="2" PostId="12571" RevisionGUID="cb75e920-6c6f-46f4-a6c8-14472644cb65" CreationDate="2012-02-11T18:21:48.577" UserId="3392" Text="Hello all. In few weeks we will start a student short film production. This short film will be a diploma-work for both director and DOP. As for me, it's my first work, which will be mixed in 5.1. My job basically is everyting except re-recording mixing, i will be doing production sound, sfx recording, editing and so on. Everything i would be able to get my hands on. So i'm here to ask you, more experienced people, **what should i pay more attention to during production, sfx recording and editing? How much should my work be different on a film, that will be mixed in 5.1, than the one mixed in stereo?**&#xD;&#xA;&#xD;&#xA;I would appreciate any feedback.&#xD;&#xA;&#xD;&#xA;Thanks to everyone in advance.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20759" PostHistoryTypeId="1" PostId="12571" RevisionGUID="cb75e920-6c6f-46f4-a6c8-14472644cb65" CreationDate="2012-02-11T18:21:48.577" UserId="3392" Text="A 5.1 short feauture production: What should i pay attention to?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20760" PostHistoryTypeId="3" PostId="12571" RevisionGUID="cb75e920-6c6f-46f4-a6c8-14472644cb65" CreationDate="2012-02-11T18:21:48.577" UserId="3392" Text="&lt;5.1&gt;&lt;production-sound&gt;&lt;post-production&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20761" PostHistoryTypeId="2" PostId="12572" RevisionGUID="4c3fbdea-655c-4041-8b50-86696d8b7218" CreationDate="2012-02-11T18:31:08.943" UserId="3230" Text="Most of my favorites have been mentioned, but I'd have to add Cntrl+Opt+Cmd+Up/Down to vertically fit all tracks to the edit window, and the recently discovered series of clip list commands: Shift+Cmd+F = Search by name, Shift+Cmd+D = clear search are of special note.&#xD;&#xA;&#xD;&#xA;Also, A and S for quick clip trimming, and Cmd+T to trim to selection, Cntrl+-/+, tool commands (Cmd+7, what?), .....Don't get me started! &#xD;&#xA;&#xD;&#xA;We could start another thread titled &quot;You know you're a Pro Tools geek when....&quot;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20762" PostHistoryTypeId="16" PostId="12572" RevisionGUID="4c3fbdea-655c-4041-8b50-86696d8b7218" CreationDate="2012-02-11T18:31:08.943" UserId="-1" />
  <row Id="20763" PostHistoryTypeId="5" PostId="12572" RevisionGUID="0fc65cbb-d271-4f8f-a31c-16bca23705f3" CreationDate="2012-02-11T18:37:06.480" UserId="3230" Comment="added 25 characters in body" Text="Most of my favorites have been mentioned, but I'd have to add Cntrl+Opt+Cmd+Up/Down to vertically fit all tracks to the edit window, and the recently discovered series of clip list commands:&#xD;&#xA;&#xD;&#xA;Shift+Cmd+F = Search by name, and Shift+Cmd+D = clear search&#xD;&#xA;&#xD;&#xA;Those two are of especially useful.&#xD;&#xA;&#xD;&#xA;Also, A and S for quick clip trimming, and Cmd+T to trim to selection, Cntrl+-/+, tool commands (Cmd+7, what?), .....Don't get me started! &#xD;&#xA;&#xD;&#xA;We could start another thread titled &quot;You know you're a Pro Tools geek when....&quot;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20764" PostHistoryTypeId="2" PostId="12573" RevisionGUID="9d868e34-13f3-4fce-90e7-9a7cba9d650a" CreationDate="2012-02-11T19:46:14.940" UserId="3426" Text="There are two videos that touch on the amazing work of McDonald that I can think of:&#xD;&#xA;&#xD;&#xA;[One here.][1]&#xD;&#xA;&#xD;&#xA;[And one here.][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/imagineering&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=TSf8Er2gV_Q" ContentLicense="CC BY-SA 3.0" />
  <row Id="20765" PostHistoryTypeId="2" PostId="12574" RevisionGUID="c568c47a-b746-432e-a78d-ea34f05cea40" CreationDate="2012-02-11T20:27:50.660" UserId="407" Text="ctrl click on group to show only tracks in that group - I found that by mistake today -&#xD;&#xA;but it is damn useful :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20766" PostHistoryTypeId="16" PostId="12574" RevisionGUID="c568c47a-b746-432e-a78d-ea34f05cea40" CreationDate="2012-02-11T20:27:50.660" UserId="-1" />
  <row Id="20767" PostHistoryTypeId="2" PostId="12575" RevisionGUID="c5109137-e050-4d20-9b4a-c7b5de24247c" CreationDate="2012-02-11T21:38:29.840" UserId="3427" Text="Hey Anton!  First of all, I like to hear that you're doing both the editing and production recording.  Most of the smaller projects I work on I prefer to be controlling all aspects of the audio.  Since you're the man with the mic on set, be sure to roll 30 sec of &quot;room tone&quot; after each set-up.  This will be your go-to effect when recreating the scene in your mix.  When you get to post production, break up you edit schedule like a film shoot.  Schedule a few days for sound effects recording, a few days for any necessary ADR and set a date for completing the edit.  This will allow you to focus on each step and not get overwhelmed by the work load.  Take a look at http://bit.ly/post_sound_basics for a detailed workflow.&#xD;&#xA;-Good Luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="20768" PostHistoryTypeId="2" PostId="12576" RevisionGUID="1142fd47-c344-49f1-83c9-ed77cf1d84ba" CreationDate="2012-02-12T01:34:28.037" UserId="527" Text="I have cut several road/travel films &amp; docs recently and I am having trouble with a few car actions. &#xD;&#xA;&#xD;&#xA;1)Scene - Car INT (driving at highway speed) - We see cars passing slowly outside the car we are in (but at highway speed).  Are you guys using an onboard EXT and creating the motion/perspective afterward? Normal car bys aren't working and creating this with processing is proving VERY time consuming. &#xD;&#xA;&#xD;&#xA;2)Incredibly long shots of car in action.  The camera starts off static of an empty parking lot. The car comes into frame, then the camera pans to follow. The car is doing a lot of maneuvering and finally settles on a parking spot. -- I have found myself going to SoundStorm cars since there are a lot of &quot;packages&quot; of vehicles, but I am still troubled by these crazy long shots. There simply is not enough variety and I wind up cutting either different cars or the same recordings to get through it.&#xD;&#xA;&#xD;&#xA;I am not hearing a lot of complaints, but I know this can be improved. Any thoughts or advice would be greatly appreciated!&#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="20769" PostHistoryTypeId="1" PostId="12576" RevisionGUID="1142fd47-c344-49f1-83c9-ed77cf1d84ba" CreationDate="2012-02-12T01:34:28.037" UserId="527" Text="Wierd car actions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20770" PostHistoryTypeId="3" PostId="12576" RevisionGUID="1142fd47-c344-49f1-83c9-ed77cf1d84ba" CreationDate="2012-02-12T01:34:28.037" UserId="527" Text="&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20771" PostHistoryTypeId="2" PostId="12577" RevisionGUID="a402cd51-0764-4041-877f-ae6fa0b800da" CreationDate="2012-02-12T02:04:07.277" UserId="270" Text="BBC Radio broadcast a documentary about him which is no longer available to download from the BBC website, but it has been uploaded to soundcloud - http://soundcloud.com/jameschristie/the-voice-of-mickey-mouse" ContentLicense="CC BY-SA 3.0" />
  <row Id="20772" PostHistoryTypeId="2" PostId="12578" RevisionGUID="905c4188-2238-4533-af7a-54e4aa2ab5f5" CreationDate="2012-02-12T02:44:41.057" UserId="1228" Text="To answer number 2, Soundstorm should have everything you need (and it definitely has a LOT more than the SI 5000 series give you for variety on individual cars, if the car in question is even recorded/mastered decently) - but it depends on the vehicle source since some cars are more full recording sets than others.  Source is everything with cutting vehicles (both the right kind of engine, and the right amount of record varieties).  having the right source can make cutting vehicles pretty straightforward, but having the wrong source can be a nightmare and detriment.&#xD;&#xA;&#xD;&#xA;I don't know what kind of car you're cutting for, so I can't point you to an appropriate starting point, but check out the Chrysler Sebring, Saab 900, Mercedes E320, Mercedes 220SE, Cadillac Escalade, Chevrolet C-30 Tow Truck, Ford Dually, Crown Vic.  As I recall these are pretty complete sets (I'm sure there's other too but they don't immediately come to mind).  For doing car bits like what you stated, the key is to use the **onboard** EXT mics for doing the car itself (usually they come split as engine block and tailpipe, and have chase driving, city driving, and maneuvers varieties - the Sebring set is a perfect example of this), and use the **offboard** EXT material as needed to &quot;bridge&quot; some maneuvers that need it (such as using an EXT washy BY to help blend between source material).  And sometimes you need the stereo image of an offboard EXT accel by or aggressive maneuver to sell the motion of the car onscreen when it's close to camera and POVs are shifting.  If you are working with only the offboard EXT, I agree, cutting said sequence will be pretty damn hard - but when you get the onboard EXT into the mix, it opens up a new world of cutting vehicles.  Hope that helps!&#xD;&#xA;&#xD;&#xA;Also, don't under-estimate the power of the Reverse tool.  Oddly enough, engines can be reversed.   And as I heard Jay mention before on here somewhere, sometimes you have to mix car source to get the right sound (Case in point, one time I slightly pitched down the Sebring source for the INT scenes of an SUV, and on the EXT I used my Subaru Forster for a throatier, punchier sound since the Sebring would sound too small for the EXT)." ContentLicense="CC BY-SA 3.0" />
  <row Id="20773" PostHistoryTypeId="5" PostId="9351" RevisionGUID="a2fbd5ad-be0e-4ba0-9f8c-1844e1c0586a" CreationDate="2012-02-12T02:53:05.463" UserId="1228" Comment="edited body" Text="Are you referring to ReWire?&#xD;&#xA;&#xD;&#xA;What I do, and many other sound editors I work with do, is patch your computers 1/8&quot; TRS out into our Digi box's Analog in 7-8.  Then we create an Aux input with Analog 7-8 as the In.  Then you should be able to control it just as if you had the SM ReWrie patched into an Aux.&#xD;&#xA;&#xD;&#xA;I believe that's what you're asking?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20774" PostHistoryTypeId="5" PostId="12578" RevisionGUID="56f91701-e2f1-4ab0-8b6c-01c5645713fd" CreationDate="2012-02-12T02:54:40.220" UserId="1228" Comment="added 44 characters in body" Text="To answer number 2, Soundstorm should have everything you need (and it definitely has a LOT more than the SI 5000 series give you for variety on individual cars, if the car in question is even recorded/mastered decently) - but it depends on the vehicle source since some cars are more full recording sets than others.  Source is everything with cutting vehicles (both the right kind of engine, and the right amount of record varieties).  having the right source can make cutting vehicles pretty straightforward, but having the wrong source can be a nightmare and detriment.&#xD;&#xA;&#xD;&#xA;I don't know what kind of car you're cutting for, so I can't point you to an appropriate starting point, but check out the Chrysler Sebring, Saab 900, Mercedes E320, Mercedes 220SE, Cadillac Escalade, Chevrolet C-30 Tow Truck, Ford Dually, Crown Vic.  As I recall these are pretty complete sets (I'm sure there's other too but they don't immediately come to mind).  For doing car bits like what you stated, the key is to use the **onboard** EXT mics for doing the car itself (usually they come split as engine block and tailpipe, and have chase driving, city driving, and maneuvers varieties - the Sebring set is a perfect example of this), and use the **offboard** EXT material as needed to &quot;bridge&quot; some maneuvers that need it (such as using an EXT washy BY to help blend between source material).  And sometimes you need the stereo image of an offboard EXT accel by or aggressive maneuver to sell the motion of the car onscreen when it's close to camera and POVs are shifting.  If you are working with only the offboard EXT, I agree, cutting said sequence will be pretty damn hard - but when you get the onboard EXT into the mix, it opens up a new world of cutting vehicles.  Hope that helps!&#xD;&#xA;&#xD;&#xA;Also, don't under-estimate the power of the Reverse tool.  Oddly enough, engines can be reversed and they're quite forgiving in that respect.   And as I heard Jay mention before on here somewhere, sometimes you have to mix car source to get the right sound (Case in point, one time I slightly pitched down the Sebring source for the INT scenes of an SUV, and on the EXT I used my Subaru Forster for a throatier, punchier sound since the Sebring would sound too small for the EXT)." ContentLicense="CC BY-SA 3.0" />
  <row Id="20775" PostHistoryTypeId="2" PostId="12579" RevisionGUID="36dfd118-bfcb-4aa5-a64f-6d33eb3dca09" CreationDate="2012-02-12T15:49:33.680" UserId="1294" Text="Hello Audio pros,&#xD;&#xA;&#xD;&#xA;I would like to learn about mixing, recording in a mixer. Ive been in the field for quiet a while &amp; ive only been mixing in the box all these years.&#xD;&#xA;&#xD;&#xA;What would be the best way to learn about mixer's in &amp; out.&#xD;&#xA;&#xD;&#xA;Many would suggest me to work in a studio or assist a good sound engineer, but my problem is that i work from home &amp; getting a full time asst job would be difficult when considering my freelance work schedule.&#xD;&#xA;&#xD;&#xA;So i thought of buying a small format mixer &amp; learn it myself.Is this s good idea? &#xD;&#xA;&#xD;&#xA;What would you guys recommend me to buy &quot; a Digital or an Analog mixer?&#xD;&#xA;&#xD;&#xA;Any mixer/s in particular?&#xD;&#xA;&#xD;&#xA;Kindly give me your thoughts.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20776" PostHistoryTypeId="1" PostId="12579" RevisionGUID="36dfd118-bfcb-4aa5-a64f-6d33eb3dca09" CreationDate="2012-02-12T15:49:33.680" UserId="1294" Text="Mixing/Recording in a Mixer - getting out of &quot;In the box Mixing&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20777" PostHistoryTypeId="3" PostId="12579" RevisionGUID="36dfd118-bfcb-4aa5-a64f-6d33eb3dca09" CreationDate="2012-02-12T15:49:33.680" UserId="1294" Text="&lt;mixer&gt;&lt;small&gt;&lt;digital&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20778" PostHistoryTypeId="2" PostId="12580" RevisionGUID="4fe92e91-f2eb-46ed-ace4-26eea9d1107e" CreationDate="2012-02-12T17:26:15.570" UserId="1185" Text="As mentioned the Sound Design degree is no longer offered at Bournemouth, but we do have an MA in Sound Production for Film and Television or an MSc in Digital Music and Audio Production.  Both of these have taught elements by the members of the old SD team.  I teach on MSc if you want anymore details." ContentLicense="CC BY-SA 3.0" />
  <row Id="20779" PostHistoryTypeId="2" PostId="12581" RevisionGUID="2445974b-c8d2-44a2-839c-ad554b1363ab" CreationDate="2012-02-12T18:58:30.017" UserId="842" Text="I ditched all ideas of TV's in my studio pretty much the same day I tried them. CRT:s was sending massive interferences to the mikes, the plasmas I've seen was buzzing, and the LCD:s had, for some reason, a lot of delay.&#xD;&#xA;&#xD;&#xA;I use LCD-monitors in my studio for all monitoring, be it the two from the computer or through the Video Out from my Matrox-card via a VGA split-box to all video playback. They do give off a very low pulse-sound when dormant, but are virtually dead silent while active. Though I do use Samsung's more expensive models, they do have had a few year since they left the factory, and as such they do have a florescent light backlight. On paper, that would mean potential statics through microphones, but frankly I have never ever noticed anything like that though any of my ADR-mikes, normally Sennheiser MKH416, MKH 40, Oktava 012 or Schoeps CMIT 5. Modern LED-backlight LCD displays have, at least on paper, none of that problem whatsoever, and my home monitor, a BENQ, seems to confirm that." ContentLicense="CC BY-SA 3.0" />
  <row Id="20780" PostHistoryTypeId="2" PostId="12582" RevisionGUID="977f2229-190a-49cc-9afb-ab4d805a4092" CreationDate="2012-02-12T20:33:38.273" UserId="3396" Text="I've cut quite a few car sequences over the years, here's what I'd do - &#xD;&#xA;For your onboard sequence I assume the cars slowly cruising by are going in the same direction as your main car. I've always had good luck using exterior recordings of long slooooow carbys. They work fine even though you are theoretically traveling at freeway speeds. Don't hurt your brain on this one. You just wanna feel the cars go by, THEY ARE NOT THE FOCUS, not a lot of detail is needed. Don't be afraid to pitch 'em down even more.&#xD;&#xA;&#xD;&#xA;Here's the secret for your other sequence - lots of editing. No way around it pal. That's why we get the big (OK maybe its medium) bucks.&#xD;&#xA;&#xD;&#xA;If you don't have the real deal I also might use an onboard recording focusing on the tailpipe mic. If you are lucky you can find a series where a smart recordist has done an exterior parking maneuvers series. It's not that unusual, it's a series I always try to get and they are showing up more and more often. I've never had a lot of luck with the Sound Ideas sets, a friend described them as being recorded by robots on an airless planet. Great recordings if your car isn't doing anything unusual but I find them not quirky or fun enough if your car is doing strange stuff. Like that other guy  I'm also not shy about reversing stuff - reversing aways for in and stops, reversing accels for slow downs. We know in real life that slow downs don't really involve the engine much. In our heightened reality movie world it really sells a slow down by having the engine wind down.&#xD;&#xA;&#xD;&#xA;VERY VERY IMPORTANT - Don't forget your tires, suspension, brake squeak and all that little detail stuff that glues the sound to the car. Tires will absolutely sell your maneuvers, often more than the engine will. &#xD;&#xA;&#xD;&#xA;I've always felt that's it more difficult cutting a car puttering around a parking lot than it is cutting a big car chase. Subtlety is not easy. I just did a big car chase that was nothing but fun. Big tires, crashes, roaring engines, cars whooshing by in your face (I'll give you a hint - Denzel was in the back seat). It was a joy to work on. I am now working on a film that involves a road trip with no car chases. It is an unforgiving pain in the ass. Subtle and real, no roaring, no Sturm und Drang. Car sounds that don't wave their arms in the air shouting &quot;Here I Am!&quot;. Just reality  ... damn.&#xD;&#xA;&#xD;&#xA;Good Luck buddy&#xD;&#xA;&#xD;&#xA;Best, Chris " ContentLicense="CC BY-SA 3.0" />
  <row Id="20781" PostHistoryTypeId="2" PostId="12583" RevisionGUID="0bbe1cc1-8361-422b-94de-54405fc1ab3d" CreationDate="2012-02-12T21:16:40.810" UserId="194" Text="imagine you had a pair of foley pits that were 8 feet long, 2 feet wide, and about a foot deep.&#xD;&#xA;&#xD;&#xA;each pit would be divided into 4 parts.  the middle space between the pits would be exposed foundational concrete, so scratch that one off the list.&#xD;&#xA;&#xD;&#xA;given all of that, which 8 surfaces would you put into the pit?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20782" PostHistoryTypeId="1" PostId="12583" RevisionGUID="0bbe1cc1-8361-422b-94de-54405fc1ab3d" CreationDate="2012-02-12T21:16:40.810" UserId="194" Text="top 8 foley pit surfaces?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20783" PostHistoryTypeId="3" PostId="12583" RevisionGUID="0bbe1cc1-8361-422b-94de-54405fc1ab3d" CreationDate="2012-02-12T21:16:40.810" UserId="194" Text="&lt;foley&gt;&lt;surfaces&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20784" PostHistoryTypeId="2" PostId="12584" RevisionGUID="ba90788c-acd4-4332-b294-2a94945aab3f" CreationDate="2012-02-12T22:05:27.677" UserDisplayName="user80" Text=" 1. Carpet &#xD;&#xA; 2. Wood&#xD;&#xA; 3. Linoleum&#xD;&#xA; 4. Sheet Metal&#xD;&#xA; 5. Water&#xD;&#xA; 6. Sand&#xD;&#xA; 7. Gravel&#xD;&#xA; 8. Dry earth" ContentLicense="CC BY-SA 3.0" />
  <row Id="20786" PostHistoryTypeId="2" PostId="12586" RevisionGUID="420a0bf1-976b-4b44-b36e-f58e972b0e67" CreationDate="2012-02-13T00:05:09.583" UserId="3285" Text="Hello&#xD;&#xA;&#xD;&#xA;May be a stupid question (sorry for that), but which is the difference between an audio designer and a sound designer ? Or it's the same job ?&#xD;&#xA;&#xD;&#xA;Thank you in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="20787" PostHistoryTypeId="1" PostId="12586" RevisionGUID="420a0bf1-976b-4b44-b36e-f58e972b0e67" CreationDate="2012-02-13T00:05:09.583" UserId="3285" Text="Audio Designer vs  Sound Designer" ContentLicense="CC BY-SA 3.0" />
  <row Id="20788" PostHistoryTypeId="3" PostId="12586" RevisionGUID="420a0bf1-976b-4b44-b36e-f58e972b0e67" CreationDate="2012-02-13T00:05:09.583" UserId="3285" Text="&lt;designer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20789" PostHistoryTypeId="2" PostId="12587" RevisionGUID="820a8a5d-ea26-4e12-bffe-fb498065c793" CreationDate="2012-02-13T00:14:02.860" UserId="432" Text="1. hard-wood floor&#xD;&#xA;2. carpet&#xD;&#xA;3. linoleum&#xD;&#xA;4. tile&#xD;&#xA;5. coarse dirt/earth&#xD;&#xA;6. sandy loam or sand&#xD;&#xA;7. asphalt/blacktop&#xD;&#xA;8. lined/sealed deep empty pit with interchangeable covers&#xD;&#xA;   a. metal grate&#xD;&#xA;   b. metal plate (i.e. &quot;diamond-plate&quot;)&#xD;&#xA;   c. wood planks&#xD;&#xA;   e. can also be used as a water pit, hence the &quot;deep&quot; descriptor (though you'd need some sort of pump to empty it)&#xD;&#xA;&#xD;&#xA;I'd also keep some loose gravel stashed in a bin for use with the dirt and asphalt/blacktop pits. I'd probably keep a shop vac handy too." ContentLicense="CC BY-SA 3.0" />
  <row Id="20793" PostHistoryTypeId="2" PostId="12589" RevisionGUID="fdc3c1d5-18cb-4eaa-9c6f-914654e9259e" CreationDate="2012-02-13T06:47:25.863" UserDisplayName="user80" Text="Essentially Audio and Sound Designer are interchangeable jobs in the games industry, it just depends upon which company you are working for.&#xD;&#xA;&#xD;&#xA;In more general terms audio refers to the electrical/digital sound signal and sound refers to the physical vibrations through a medium like air or water." ContentLicense="CC BY-SA 3.0" />
  <row Id="20795" PostHistoryTypeId="2" PostId="12590" RevisionGUID="7f5e272c-1f47-4b9b-9d63-23595ab2ba72" CreationDate="2012-02-13T07:50:43.267" UserId="958" Text="put it up on kickstarter!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20796" PostHistoryTypeId="2" PostId="12591" RevisionGUID="a9a04b11-370f-4bfe-929e-ee4a67c003d1" CreationDate="2012-02-13T11:32:49.473" UserId="3429" Text="Hi, I am new to recording. I have bought a Sony d50 to record voices and ambient sounds as well as to hook it up to a parabola for distant pinpoint sound recording to for a stills photographic project. &#xD;&#xA;&#xD;&#xA;Any advice on using the inboard mics and any other useful stuff to help me to shorten the learning curve will be gratefully received.&#xD;&#xA;&#xD;&#xA;Thank, Alex " ContentLicense="CC BY-SA 3.0" />
  <row Id="20797" PostHistoryTypeId="1" PostId="12591" RevisionGUID="a9a04b11-370f-4bfe-929e-ee4a67c003d1" CreationDate="2012-02-13T11:32:49.473" UserId="3429" Text="Sony D50 internal mics for new Recordist" ContentLicense="CC BY-SA 3.0" />
  <row Id="20798" PostHistoryTypeId="3" PostId="12591" RevisionGUID="a9a04b11-370f-4bfe-929e-ee4a67c003d1" CreationDate="2012-02-13T11:32:49.473" UserId="3429" Text="&lt;sony-pcm-d50&gt;&lt;shotgun&gt;&lt;ambience&gt;&lt;microphone&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20799" PostHistoryTypeId="2" PostId="12592" RevisionGUID="068e6ec8-cd73-4e54-b662-0407b0b00e12" CreationDate="2012-02-13T13:12:13.090" UserId="1185" Text="I have blogged on the difference between Sound Design and Sound Engineering (http://sound-sculpting.blogspot.com/2011/06/how-is-sound-design-different-to-sound.html), but your question is slightly different to this.  IMO Iain's distinction between Sound and Audio sums it up." ContentLicense="CC BY-SA 3.0" />
  <row Id="20800" PostHistoryTypeId="2" PostId="12593" RevisionGUID="9f33191b-bfb1-4db7-8b74-b35ce392a6ff" CreationDate="2012-02-13T13:31:56.217" UserId="6462" Text="If you can, don't turn the gain up above the number 4. Once you get above that it starts to get a little noisy. Fine to turn up if in louder environment but not good for recording quiet sounds.&#xD;&#xA;&#xD;&#xA;Also, make sure you are actually recording!! Pressing REC only 'primes' the record, you have to press 'pause' to actually record. Seems simple, but I've missed out on a number of recordings when i've pressed the record button twice and thought I was recording. Sounds silly but it's very easy to do!&#xD;&#xA;&#xD;&#xA;Get a mini windjammer for the mics, this is ESSENTIAL! I use the Rycote one for the D50 and it's excellent.&#xD;&#xA;&#xD;&#xA;Other than that, just enjoy it, it's an incredible device." ContentLicense="CC BY-SA 3.0" />
  <row Id="20801" PostHistoryTypeId="2" PostId="12594" RevisionGUID="3bfe8cf0-324e-494a-b40c-572d6e4787ee" CreationDate="2012-02-13T13:32:54.093" UserId="3243" Text="Be a bit more generous when cutting BGs and SFX. Your tracks might sound cluttered when you cut them in stereo but being able to throw things around in 5.1 opens it right up. If it still becomes cluttered then your mixer can just throw the fader down." ContentLicense="CC BY-SA 3.0" />
  <row Id="20802" PostHistoryTypeId="5" PostId="12571" RevisionGUID="ce5d993c-230b-4518-acdc-b6b7ca790f10" CreationDate="2012-02-13T14:18:26.297" UserDisplayName="user80" Comment="spelling" Text="Hello all. &#xD;&#xA;&#xD;&#xA;In few weeks we will start a student short film production. This short film will be a diploma-work for both director and DOP. As for me, it's my first work, which will be mixed in 5.1. My job basically is everything except re-recording mixing, I will be doing production sound, sfx recording, editing and so on. Everything I would be able to get my hands on. So I'm here to ask you, more experienced people, **what should i pay more attention to during production, sfx recording and editing? How much should my work be different on a film, that will be mixed in 5.1, than the one mixed in stereo?**&#xD;&#xA;&#xD;&#xA;I would appreciate any feedback.&#xD;&#xA;&#xD;&#xA;Thanks to everyone in advance.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20803" PostHistoryTypeId="4" PostId="12571" RevisionGUID="ce5d993c-230b-4518-acdc-b6b7ca790f10" CreationDate="2012-02-13T14:18:26.297" UserDisplayName="user80" Comment="spelling" Text="A 5.1 short feature production: What should I pay attention to?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20804" PostHistoryTypeId="2" PostId="12595" RevisionGUID="747f8bd5-16d0-4269-afb5-d721d1a4a3f3" CreationDate="2012-02-13T15:46:07.233" UserId="3197" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I'm looking into a handheld for the sole purpose of recording those quick one-off ambiences: a subway station late at night, wind whistling in a stairwell of somewhere you're visiting when you don't have your full kit - you know the drill.&#xD;&#xA;&#xD;&#xA;Out of the obvious H4N, PCM-D50, PCM-M10 etc. which onboard mics are the best at recording (sometimes quiet) ambiences? Any less popular recorders I should look at?&#xD;&#xA;&#xD;&#xA;Thanks in advanced!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20805" PostHistoryTypeId="1" PostId="12595" RevisionGUID="747f8bd5-16d0-4269-afb5-d721d1a4a3f3" CreationDate="2012-02-13T15:46:07.233" UserId="3197" Text="Handheld recorders for BGs and Ambiences " ContentLicense="CC BY-SA 3.0" />
  <row Id="20806" PostHistoryTypeId="3" PostId="12595" RevisionGUID="747f8bd5-16d0-4269-afb5-d721d1a4a3f3" CreationDate="2012-02-13T15:46:07.233" UserId="3197" Text="&lt;portable-recorder&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20807" PostHistoryTypeId="2" PostId="12596" RevisionGUID="6d89921c-862d-455b-bb09-b7a54103d020" CreationDate="2012-02-13T16:43:50.333" UserDisplayName="user80" Text="I carry a Zoom H2 with me all the time, just in case something interesting happens.  I am thinking about changing to either the Zoom H2N or a Marantz PMD620.  At work I use the Marantz PMD661, as the built-in mics are surprisingly good." ContentLicense="CC BY-SA 3.0" />
  <row Id="20808" PostHistoryTypeId="5" PostId="12576" RevisionGUID="61f6ee20-b39a-4909-9864-c6bd92233c41" CreationDate="2012-02-13T16:46:39.557" UserDisplayName="user80" Comment="added 2 characters in body; edited title" Text="I have cut several road/travel films &amp; docs recently and I am having trouble with a few car actions. &#xD;&#xA;&#xD;&#xA;1) Scene - Car INT (driving at highway speed) - We see cars passing slowly outside the car we are in (but at highway speed).  Are you guys using an onboard EXT and creating the motion/perspective afterward? Normal car bys aren't working and creating this with processing is proving VERY time consuming. &#xD;&#xA;&#xD;&#xA;2) Incredibly long shots of car in action.  The camera starts off static of an empty parking lot. The car comes into frame, then the camera pans to follow. The car is doing a lot of maneuvering and finally settles on a parking spot. -- I have found myself going to SoundStorm cars since there are a lot of &quot;packages&quot; of vehicles, but I am still troubled by these crazy long shots. There simply is not enough variety and I wind up cutting either different cars or the same recordings to get through it.&#xD;&#xA;&#xD;&#xA;I am not hearing a lot of complaints, but I know this can be improved. Any thoughts or advice would be greatly appreciated!&#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="20809" PostHistoryTypeId="4" PostId="12576" RevisionGUID="61f6ee20-b39a-4909-9864-c6bd92233c41" CreationDate="2012-02-13T16:46:39.557" UserDisplayName="user80" Comment="added 2 characters in body; edited title" Text="Weird car actions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20810" PostHistoryTypeId="2" PostId="12597" RevisionGUID="57e2a6d6-b4c5-452d-8bb6-2f30a0aee4e6" CreationDate="2012-02-13T16:58:12.930" UserId="2502" Text="i'd say hardwood/wood plank is still in play. hardwood floors in a traditional hardwood floored house sound much different than prefab wood floors over concrete slab. it's a lifted hollow sound rather than the thin hard sound.&#xD;&#xA;&#xD;&#xA;i'd also look at a strip of artificial grass that could have dirt layered in it. not astroturf but the synthetic grass.&#xD;&#xA;&#xD;&#xA;http://www.syntheticgrasspros.com/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20811" PostHistoryTypeId="2" PostId="12598" RevisionGUID="467d209b-1593-4153-8c79-95a0a76bc39d" CreationDate="2012-02-13T17:12:54.517" UserId="3299" Text="If you're looking for good on-board mics and don't necessarily need external connections, the PCM-D50 is most usually recommended. &#xD;&#xA;&#xD;&#xA;I've the PMD-661 and the on-boards are *fine* for capturing reasonably loud town/city ambiences. But, if you're looking to capture something as nuanced and dynamic as wind, then perhaps the D50 (or equivalent) is your best option." ContentLicense="CC BY-SA 3.0" />
  <row Id="20813" PostHistoryTypeId="2" PostId="12599" RevisionGUID="ba55da6d-c9c4-42e4-8abd-19d4846f54d2" CreationDate="2012-02-13T18:15:26.107" UserId="6420" Text="I own a Zoom H2 and for quiet ambiences I wouldn't say it had one of the quietest sets of internal mics. It's perfectly good for those off spur of the moment times when you want to capture something interesting, as long as its reasonably loud enough! As previously mentioned, the D50 is often recommended and if your budget stretches to one I'd go for it.&#xD;&#xA;&#xD;&#xA;I think its about time Sony updated their D50 with something new (and even better) so I'm waiting a little longer until I take the plunge in upgrading ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20814" PostHistoryTypeId="2" PostId="12600" RevisionGUID="ee7fdb39-00ff-46d6-bb5c-b1f59c8acb47" CreationDate="2012-02-13T18:50:05.593" UserId="315" Text="I've recorded in double ms several times and used the Schoeps DMS plugin, but only for SFX work. I've never heard of anyone recording dialog in double ms unless it's large crowds. Surround production dialog sounds very problematic to me.&#xD;&#xA;&#xD;&#xA;Panning dialog in film mixing is a slippery slope. Some mixers do it, usually to sell off screen dialog, or for channel separation if there are a bunch of characters on screen, but a lot of mixers keep every word of plot driving dialog anchored in the center channel. Dialog in the surrounds is used even less, since it can be distracting and some theaters don't have full range surrounds.&#xD;&#xA;&#xD;&#xA;Double ms is so reliant on phase, that I would never edit with it undecoded. If one channel slips, then the entire image is out of whack. I'd take your dialog recordings, and decode them to 5.0 using the schoeps plug, then pan everything to the center channel and treat everything like mono tracks. Mute everything that's off mic, since you're likely to have phase issues. If you want to pan any of the dialog later, do so with mono tracks.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="20815" PostHistoryTypeId="5" PostId="12599" RevisionGUID="33dfd641-9d04-4114-8ac5-f4c8d165c578" CreationDate="2012-02-13T19:29:47.447" UserId="6420" Comment="added 103 characters in body" Text="I own a Zoom H2 and for quiet ambiences I wouldn't say it had one of the quietest sets of internal mics. It's perfectly good for those off spur of the moment times when you want to capture something interesting, as long as its reasonably loud enough! As previously mentioned, the D50 is often recommended and if your budget stretches to one I'd go for it.&#xD;&#xA;&#xD;&#xA;I think its about time Sony updated their D50 with something new (and even better) so I'm waiting a little longer until I take the plunge in upgrading ;)&#xD;&#xA;&#xD;&#xA;EDIT: Just added an ambience recorded with my H2 to the SSD Soundcloud group if you want to listen." ContentLicense="CC BY-SA 3.0" />
  <row Id="20816" PostHistoryTypeId="2" PostId="12601" RevisionGUID="96efbed5-3d94-4821-b277-18b6f119999f" CreationDate="2012-02-13T20:22:12.907" UserId="315" Text="Since you asked for quiet and less popular recorders, I'd also look at the Sony PCM D1 or the Nagra SD. &#xD;&#xA;&#xD;&#xA;I haven't tried the Nagra, but there a good review of it [here][1]. I have the PCM D1 and it has very little self noise. I use it to record room tone all the time. Both are pricey, but low noise preamps are expensive to manufacture, especially in a small hand held package. &#xD;&#xA;&#xD;&#xA;Although something like a subway station will probably have a high enough noise floor that you can get away with a less expensive hand held like the PCM D50; which is the best recorder in its class imho. Hopefully Sony will revamp its hand-helds soon; they're about due for something new.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wildlife-sound.org/equipment/recorders/nagra-sd/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="20817" PostHistoryTypeId="5" PostId="12601" RevisionGUID="483cb4fb-a51b-4cb8-adf4-3576d1c163a8" CreationDate="2012-02-13T22:31:08.480" UserId="315" Comment="added 2 characters in body" Text="Since you asked for quiet and less popular recorders, I'd also look at the Sony PCM D1 or the Nagra SD. &#xD;&#xA;&#xD;&#xA;I haven't tried the Nagra, but there's a good review of it [here][1]. I have the PCM D1 and it has very little self noise. I use it to record room tone all the time. Both are pricey, but low noise preamps are expensive to manufacture, especially in a small hand held package. &#xD;&#xA;&#xD;&#xA;Although something like a subway station will probably have a high enough noise floor that you can get away with a less expensive hand held like the PCM D50; which is the best recorder in its class imho. Hopefully Sony will revamp its hand-helds soon; they're about due for something new.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wildlife-sound.org/equipment/recorders/nagra-sd/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="20818" PostHistoryTypeId="2" PostId="12602" RevisionGUID="d53fe047-34ca-4572-917b-65a472b683c2" CreationDate="2012-02-14T03:57:17.407" UserId="6604" Text="What kind of Mic does the Nagra have? It looks like a mono. Recently I used a friend's zoom h4n and found it to he very good. It has stereo xy Mic with 90 and 120° angles width and 2 xlr-phono combo inputs with phantom power. I used a sennheiser 416 shotgun with a rycote shield to record vehicle sounds and simultaneously used inbuilt mics for ambiences. Plan to buy it now as renting mic is cheap but not the recorder.&#xD;&#xA;&#xD;&#xA;Will post the recordings soon on my new blog" ContentLicense="CC BY-SA 3.0" />
  <row Id="20821" PostHistoryTypeId="2" PostId="12605" RevisionGUID="8687c713-b949-478d-b123-7b9b29494220" CreationDate="2012-02-14T10:11:02.530" UserId="3272" Text="You might consider making a couple of LFE tracks, but only after talking with your mixer about it. When I mix 5.1 I prefer to completely seperate the LFE from the other SFX, this way I can simply add more body by just touching one fader.&#xD;&#xA;Furthermore it might be interesting to see in what parts of the story a complete surround sound would be interesting and how you will achieve that. I love having surround recordings when I'm mixing 5.1. Recordings in Double MS, Surround B-format, the Williams surround set up, or simply doubling stereo recordings. It'll give you a more rich sound field in the mix.&#xD;&#xA;&#xD;&#xA;Good luck and have fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20822" PostHistoryTypeId="2" PostId="12606" RevisionGUID="a3f10f5d-214e-4068-a5d8-d0de41a453f2" CreationDate="2012-02-14T10:35:22.403" UserId="845" Text="Understandably, the vast majority of the chat on here is almost exclusively about SD.  It's sometimes difficult, as an audio-centric person, to remember that the images we work with are actually *made* by someone.  Even more difficult to remember is that the painstaking detail and care with which we treat our sounds is matched in equal measure on the part of the video editor.  &#xD;&#xA;&#xD;&#xA;It's in our nature to want to separate, categorize, box up our ideas into neat little packages to make things easier to deal with.  He's an audio guy, and that girl does video, and never the twain shall meet.  When I think about it, I've never met an editor in the flesh before.  This seems wrong to me.&#xD;&#xA;&#xD;&#xA;We as sound people are dependent on picture people, and though they're loath to admit it, picture people are dependent on us.  Doesn't it make sense then to wrap up those dependencies into one box?  Shouldn't a Sound Designer also be a Picture Editor?  Wouldn't it help one's sound designing immensely to be able to watch a cut and feel the rhythm, to know exactly why the pictures move the way they do?&#xD;&#xA;&#xD;&#xA;I feel like my own sound design has really been lacking this element.  The picture has always been something almost to work *against* not with, if you take my meaning.  Something given, put forward, stimulus to which I am supposed to respond.  Pavlovian Sound Design.  This is exacerbated by the fact that we are always the very last in line, the unconsidered &quot;oh f*ck&quot; afterthought.&#xD;&#xA;&#xD;&#xA;Wouldn't a great way to integrate ourselves better into the process be to learn, understand, and be able to edit film/video so that we do our jobs even better?  I know it doesn't work perfectly, but this old saying came to mind:&#xD;&#xA;&#xD;&#xA;Give a man a fish, and he'll eat for a day. Teach a man to fish, and he'll eat for a lifetime.&#xD;&#xA;&#xD;&#xA;Thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20823" PostHistoryTypeId="1" PostId="12606" RevisionGUID="a3f10f5d-214e-4068-a5d8-d0de41a453f2" CreationDate="2012-02-14T10:35:22.403" UserId="845" Text="Video Editing Sound Designer" ContentLicense="CC BY-SA 3.0" />
  <row Id="20824" PostHistoryTypeId="3" PostId="12606" RevisionGUID="a3f10f5d-214e-4068-a5d8-d0de41a453f2" CreationDate="2012-02-14T10:35:22.403" UserId="845" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20825" PostHistoryTypeId="2" PostId="12607" RevisionGUID="2d7b4cfa-ee2e-48f1-bbea-df3d65c7b2d3" CreationDate="2012-02-14T10:55:16.850" UserId="3272" Text="Great Question!&#xD;&#xA;&#xD;&#xA;Not so long ago I've asked a question on this site about rhythm in Sound Design. Tim Prebble advised me to read a book about rhythm in picture editing to learn more about it, and while reading I've learned a lot more about Sound Design then only rhythm.&#xD;&#xA;&#xD;&#xA;Another book I can advice is &quot;In the blink of an eye&quot; by Walter Murch. He is of course a legend in both Sound Design and picture editing, and this small book gives you a great feeling 'what it's all about'.&#xD;&#xA;&#xD;&#xA;In my experience there are two ways to work well WITH the picture edit instead of against it. The first and best one is to take time and sit next to the editor and director while they're cutting the movie. Not all the time of course but just enough to get sound ideas in the picture and to understand what way they're trying to tell the story. The second way is to take a lot of time for getting the film edit to the sound post production. About a month ago, the director, editor and me took two days to completely discuss every cut and the essence of every scene before I got the picture'latch' (I think lock is the wrong word because sometimes you have to get back to the picture edit). This was for a 15 minute movie. And when I started the sound edit, I hung up all the notes I made durning the conversations and new exactly where to start and what to do.&#xD;&#xA;&#xD;&#xA;When I get stuck, ore change big things 'picture edit things' like musical or voice over timing. The first one I call and send a quick bounce is the picture editor, just to see if he agrees with the rhythmical changes I've made.&#xD;&#xA;&#xD;&#xA;I think the Sound Designer and Picture Editor should be two minds in one body to get the best out of the story and feeling of the movie." ContentLicense="CC BY-SA 3.0" />
  <row Id="20826" PostHistoryTypeId="2" PostId="12608" RevisionGUID="166b2d3c-d841-4c2d-890f-76a55fe2de54" CreationDate="2012-02-14T11:01:09.717" UserId="407" Text="This is interesting post and is something I have been thinking about a lot recently. I work in games which doesn't have the same 'clear' production processes (or any clear process at all come to that) as linear media but ironically alot of the requirements that we have are shared with our linear media counterparts, and actually alot of the content we produce here at Remedy is actually linear media, and pretty much all of it is done in house.&#xD;&#xA;Anyway to get to the point - I agree with you that knowing how to edit picture, teaches how picture editors think, and what their priorities are. Because we actually have no post production phase in our pipeline the audio is being developed at the same time as the picture is being cut so sometimes our sound effects are the stimulus for how the picture is cut and the flow of the scene. Close cooperation between the sound and the picture, especially the picture cut is how to create greatness.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20827" PostHistoryTypeId="2" PostId="12609" RevisionGUID="9242e5c4-c5f2-4628-8c43-3f21586e6d73" CreationDate="2012-02-14T11:48:27.120" UserId="3392" Text="Hey. I wil be working on student film production soon. The camera for the job is Arri Alexa, I  will be using Sound Devices either 744t or 788t. The problem I faced is the lack of time code cables at our state film school. I'll be recording to both, the recorder and the camera, however i might not be able to get ambient cable for tc (that could sound rather dull, but thats how things are here in Moscow).&#xD;&#xA;&#xD;&#xA;So my question is, what are possible losses of recording  into not synced recorder? Will the sync drift be visible?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20828" PostHistoryTypeId="1" PostId="12609" RevisionGUID="9242e5c4-c5f2-4628-8c43-3f21586e6d73" CreationDate="2012-02-14T11:48:27.120" UserId="3392" Text="How crucial is recording with timecode?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20829" PostHistoryTypeId="3" PostId="12609" RevisionGUID="9242e5c4-c5f2-4628-8c43-3f21586e6d73" CreationDate="2012-02-14T11:48:27.120" UserId="3392" Text="&lt;timecode&gt;&lt;sound-devices&gt;&lt;744t&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20830" PostHistoryTypeId="2" PostId="12610" RevisionGUID="fb54621f-af33-494e-a0ba-95ee9fc8485a" CreationDate="2012-02-14T13:31:46.330" UserId="310" Text="In my personal opinion you have no loose. You are still able to do sync clicks per shot with flap like in old time movies...&#xD;&#xA;&#xD;&#xA;You loose only comfort." ContentLicense="CC BY-SA 3.0" />
  <row Id="20831" PostHistoryTypeId="2" PostId="12611" RevisionGUID="ba8c2350-d694-4340-b1d8-44fb60270502" CreationDate="2012-02-14T14:12:38.637" UserId="407" Text="OK here is the situation - I have an animated video which has some close ups on the face, the lip sync is out. In some cases the dialogue if it starts in the right place will be out of sync by the end of the line. One can stretch this in using pro-tools elastic time, - no problem - but getting it to actually feel right is another matter. So my question to you guys is this: &#xD;&#xA;&#xD;&#xA;Does anyone have any tips on how to make the lips sync feel right?&#xD;&#xA;&#xD;&#xA;For instance do you have any particular speech sounds that you try to sync first to get the right effect, or do you feel that starting the dialogue early by a couple of frames makes the lip sync feel better? Any tips or tricks would be greatly appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="20832" PostHistoryTypeId="1" PostId="12611" RevisionGUID="ba8c2350-d694-4340-b1d8-44fb60270502" CreationDate="2012-02-14T14:12:38.637" UserId="407" Text="lip syncing dialogue any tips?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20833" PostHistoryTypeId="3" PostId="12611" RevisionGUID="ba8c2350-d694-4340-b1d8-44fb60270502" CreationDate="2012-02-14T14:12:38.637" UserId="407" Text="&lt;dialogue&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20834" PostHistoryTypeId="2" PostId="12612" RevisionGUID="6009ae4f-1da2-4c25-8d17-e7075bf84f57" CreationDate="2012-02-14T15:25:43.767" UserId="1237" Text="imho&#xD;&#xA;&#xD;&#xA;There are only two rules:&#xD;&#xA;&#xD;&#xA;1) Just begin to do it and most of your questions will disappear.&#xD;&#xA;&#xD;&#xA;2) On editing (sync) stage your primary task is to sync the dialogue. Lips by lips, frame by frame and that's it. Later on re-recording stage re-recording mixer will do it so that it will feel right." ContentLicense="CC BY-SA 3.0" />
  <row Id="20835" PostHistoryTypeId="2" PostId="12613" RevisionGUID="1fb301c0-ad0d-4c37-b5bb-78ded29c1f88" CreationDate="2012-02-14T15:49:36.030" UserId="253" Text="Is there guide audio? The animators &quot;should&quot; have had scratch dialogue in order for them to draw the lip movement. &#xD;&#xA;&#xD;&#xA;I'm not totally sure of your workflow, but sync has to be achieved when you're recording your actors. You can cut and paste and squeeze and stretch dialogue all you want, but if you process it too much, it'll just sound wrong. If there is a scratch track, that can help you get good sync when you're recording your voice talent.&#xD;&#xA;&#xD;&#xA;I do a lot of animation dubbing, and the only way to get it right is to record it right (or within about 5%, which can be taken care of with some light time compression/expansion)." ContentLicense="CC BY-SA 3.0" />
  <row Id="20836" PostHistoryTypeId="2" PostId="12614" RevisionGUID="e311b91b-792a-4597-8f3f-30c3a97bc0ac" CreationDate="2012-02-14T16:45:56.920" UserId="3230" Text="Frame by frame, line by line.....You have to accept the tedium of the task.  That's the price for an inaccurate performance (if the sync was done after the picture).&#xD;&#xA;&#xD;&#xA;Elastic Audio as well as some other TCE tools such as VocAlign will work...but I would cut the &quot;lines&quot; into  the smallest possible pieces - using TCE as minimally as possible. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20837" PostHistoryTypeId="2" PostId="12615" RevisionGUID="b940209c-eed3-4270-ad09-e5bff4d606c1" CreationDate="2012-02-14T17:02:02.883" UserId="3396" Text="B's and P's baby.&#xD;&#xA;To a lesser extent F's, M's and V's." ContentLicense="CC BY-SA 3.0" />
  <row Id="20838" PostHistoryTypeId="2" PostId="12616" RevisionGUID="dc035c49-27f2-4eff-8526-5158d7e9b2d9" CreationDate="2012-02-14T17:22:48.373" UserDisplayName="user80" Text="Work with a mirror beside your monitor and that way you can see what the mouth shapes should be for every word." ContentLicense="CC BY-SA 3.0" />
  <row Id="20839" PostHistoryTypeId="2" PostId="12617" RevisionGUID="c7d2ebd0-b67e-42a7-8571-8cf404bcc21f" CreationDate="2012-02-14T17:47:33.720" UserId="7642" Text="I do not agree! If the acting isn't close enough, it will sound and feel awful.&#xD;&#xA;Feel beats sync! When it's close already THEN you can align it. But if it's way out I'd go old school and match the end of the line." ContentLicense="CC BY-SA 3.0" />
  <row Id="20842" PostHistoryTypeId="2" PostId="12619" RevisionGUID="62fdd9d5-e4f9-40ea-8cd0-9fb0d0aa5057" CreationDate="2012-02-14T18:15:43.200" UserId="238" Text="Timecode is very useful as it really does lock the devices together, but we do not live in an ideal world and sometimes it is not possible to record this way. As others have mentioned, slating each take with a clapper will be a good start. And if you are recording the Sound Devices' output on one of the camera channels, this will also be able to be used as the guide track in post." ContentLicense="CC BY-SA 3.0" />
  <row Id="20843" PostHistoryTypeId="2" PostId="12620" RevisionGUID="3ccf49db-201b-4833-837d-7bd4f6ac06af" CreationDate="2012-02-14T20:44:18.533" UserId="670" Text="I just did the sound design on a Valentines Day promo for Volcom and the one they uploaded to YouTube seems to be out of sync and phasey, where as my original is not at all. Can anyone explain to me what happened and how I can prevent this in the future? Below are links to both cuts.&#xD;&#xA;&#xD;&#xA;Original: http://vimeo.com/36594353&#xD;&#xA;&#xD;&#xA;YouTube version: http://youtu.be/1BxpGDqXzW4&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20844" PostHistoryTypeId="1" PostId="12620" RevisionGUID="3ccf49db-201b-4833-837d-7bd4f6ac06af" CreationDate="2012-02-14T20:44:18.533" UserId="670" Text="Video offsync and phasey after uploaded" ContentLicense="CC BY-SA 3.0" />
  <row Id="20845" PostHistoryTypeId="3" PostId="12620" RevisionGUID="3ccf49db-201b-4833-837d-7bd4f6ac06af" CreationDate="2012-02-14T20:44:18.533" UserId="670" Text="&lt;phase&gt;&lt;sync&gt;&lt;youtube&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20846" PostHistoryTypeId="4" PostId="12620" RevisionGUID="c87b16db-8f14-43aa-a66a-f6bf8b03af00" CreationDate="2012-02-14T20:56:53.057" UserId="670" Comment="edited title" Text="Video out of sync and phasey after uploaded" ContentLicense="CC BY-SA 3.0" />
  <row Id="20847" PostHistoryTypeId="4" PostId="12620" RevisionGUID="93132d69-db6e-4f0a-a070-12bae1105c81" CreationDate="2012-02-14T22:30:21.490" UserId="670" Comment="edited title; edited title" Text="Video out of sync and phasey after uploaded to the web" ContentLicense="CC BY-SA 3.0" />
  <row Id="20848" PostHistoryTypeId="2" PostId="12621" RevisionGUID="0cb198dd-93c2-4a63-a7e4-ca6eab17a120" CreationDate="2012-02-14T22:49:10.520" UserId="37" Text="codecs.&#xD;&#xA;&#xD;&#xA;To keep video and audio in sync you're relying on sample-perfect decoding and this can go wrong very often (think audio interface does not support 44.1kHz sample rate for instance, true story from Creative Labs). To avoid this, older codecs used to feature audio/video interleaving, so the relevant audio went hand in hand with the relevant video. You can notice this on older divx videos that tend to skip a frame every so often. Newer containers such as Quicktime/h264 have a timebase parameter so it's no problem to sync things.&#xD;&#xA;&#xD;&#xA;So when transcoding your video, the following could go wrong:&#xD;&#xA;&#xD;&#xA;* It was wrongly encoded at the source. Say your encoder component was a bit off. Adobe tend to cause this often.&#xD;&#xA;* It was wrongly decoded for the purposes of transcoding. Say your codec component was exotic so the video host's one got things wrong (happens to a lot of opensource).&#xD;&#xA;* The transcoded video was then wrongly decoded by your computer. This does not necessarily mean it would happen (or not) on other computers. It's not entirely predictable.&#xD;&#xA;* Everything is fine at source, transcoding, and decoding, but the hardware is locked at a different sample rate. No way to predict what's going to happen if your player/component/OS does not cater for this. OSX does, to my awareness.&#xD;&#xA;&#xD;&#xA;Things to try:&#xD;&#xA;&#xD;&#xA;* Try the other &quot;quality&quot; settings (480p, 720p).&#xD;&#xA;* Restart your browser.&#xD;&#xA;* Reupload in a super-common format: mpeg4 h264 48khz stereo and cross your fingers.&#xD;&#xA;&#xD;&#xA;(They did sound different to me so it might be the third option you're heading towards. Also consider the &quot;internet weather&quot; sometimes causing SNAFUs even on the biggest sites.)&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20849" PostHistoryTypeId="2" PostId="12622" RevisionGUID="f6682d57-515e-44a2-ac4f-6987f1403eea" CreationDate="2012-02-15T00:21:27.340" UserId="3432" Text="I Just came here after a google search and I agree, the sound mixing is terrible and incredibly distracting. I don't know how it was released for broadcast with ambient cricket noises being louder than the dialogue." ContentLicense="CC BY-SA 3.0" />
  <row Id="20850" PostHistoryTypeId="2" PostId="12623" RevisionGUID="a67c10a0-dbd2-4d91-8254-878347347008" CreationDate="2012-02-15T06:21:09.127" UserId="3179" Text="I'd be more interested in teaming with or having a close contact with the picture editor. I understand that it can be impossible in a project where audio is outsourced, you're working to a &quot;locked&quot; picture and you have no ways or time to reach the picture editor(s).&#xD;&#xA;&#xD;&#xA;It's surely a problem with the post production process where audio is expected to work after the picture editors or e.g. animators have done their job, whereas it would make a lot more sense for those two to work simultaneously and also take turns in which one leads the process (picture editors can edit and animators can animate FOR the sound just as sound can be made for the picture)." ContentLicense="CC BY-SA 3.0" />
  <row Id="20851" PostHistoryTypeId="5" PostId="12623" RevisionGUID="ef381d57-000b-4ea7-99b6-5f24708c19a1" CreationDate="2012-02-15T07:17:09.360" UserId="3179" Comment="added 213 characters in body; deleted 2 characters in body" Text="I'd be more interested in teaming with or having a close contact with the picture editor. I understand that it can be impossible in a project where audio is outsourced, you're working to a &quot;locked&quot; picture and you have no ways or time to reach the picture editor(s).&#xD;&#xA;&#xD;&#xA;It's surely a problem with the post production process where audio is expected to work after the picture editors or e.g. animators have done their job, whereas it would make a lot more sense for those two to work simultaneously and also take turns in which one leads the process (picture editors can edit and animators can animate FOR the sound just as sound can be made for the picture). Edit: Although ultimately audio should be present from the very early idea stages as well, so the use of audio is made an integral part of the whole production, not just a final polish or unavoidable necessity." ContentLicense="CC BY-SA 3.0" />
  <row Id="20852" PostHistoryTypeId="2" PostId="12624" RevisionGUID="ef6a3eec-4916-41a8-bffe-13e3bc5cbf70" CreationDate="2012-02-15T08:33:08.147" UserId="3429" Text="Hi there,I was wondering what tips anyone would have for recording a dawn chorus with Sony D50. I'm in 44/24bit mode and there is a bit of preamp sound(?) when you push the gain above 4/5 (as @scaudio noted in another post). &#xD;&#xA;&#xD;&#xA;I'm using Audacity for post production, btw. And I have limited skills but am very ambitious and want to learn as much as I can as quickly as possible!&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Earlsmead" ContentLicense="CC BY-SA 3.0" />
  <row Id="20853" PostHistoryTypeId="1" PostId="12624" RevisionGUID="ef6a3eec-4916-41a8-bffe-13e3bc5cbf70" CreationDate="2012-02-15T08:33:08.147" UserId="3429" Text="Recording quiet sounds (like birdsong) with Sony D50" ContentLicense="CC BY-SA 3.0" />
  <row Id="20854" PostHistoryTypeId="3" PostId="12624" RevisionGUID="ef6a3eec-4916-41a8-bffe-13e3bc5cbf70" CreationDate="2012-02-15T08:33:08.147" UserId="3429" Text="&lt;sony-pcm-d50&gt;&lt;silence&gt;&lt;nature-recording&gt;&lt;noise-reduction&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20855" PostHistoryTypeId="2" PostId="12625" RevisionGUID="1149eb69-d8ba-42bc-a83c-d981c13f4f6b" CreationDate="2012-02-15T09:51:25.530" UserId="3299" Text="Unfortunately, this is the cost/quality dichotomy we all face, particularly when starting out (as I am also).&#xD;&#xA;&#xD;&#xA;It just can't be expected of a piece of kit costing less than a grand to perform the same as kit that will cost five times that. I'm sure you're aware of this, but I'm just stating the point. &#xD;&#xA;&#xD;&#xA;All the same, hiss isn't going to *ruin* the recording (as long as it's not for commercial use). It's better to have the sound recorded than not!&#xD;&#xA;&#xD;&#xA;You can try some low-pass filtering, or high shelf EQ, to minimise the noise, but it will affect the timbre of the birdsong. &#xD;&#xA;&#xD;&#xA;Noise removal plug-ins will be fairly ineffective as any attenuation of ambiance that quiet will effectively kill the signal. (Someone may correct me on this)&#xD;&#xA;&#xD;&#xA;Aside from this, get a piggybank and start saving for some Schoeps. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20856" PostHistoryTypeId="2" PostId="12626" RevisionGUID="a1facf29-ccb5-4618-beb6-eda44696470a" CreationDate="2012-02-15T10:30:08.343" UserId="3183" Text="For quiet birdsong, etc. a dish would be the real solution (telling, etc.). The pcmd50 does very great job, especially for the price, but don't wait sennheiser of schoeps performance from it.&#xD;&#xA;With all that said, I think many-many pcm-d50 recordings went into big productions, because it is a very decent recorder, even with the built in mics. One thing you should be aware of: sometimes you can use more gain, because the headphone preamp is bit hissy, but still the recording is not. Experiment with it a bit, and you'll find it's sweet spot regarding to soft ambiences,etc.&#xD;&#xA;I too highly recommend to record in 24bit 96kHz. And really, the main point is to record, once you'll have more money, you'll buy better equipment, but the sony is a very capable little device, so don't miss any opportunity just because you don't have thousands for a mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="20857" PostHistoryTypeId="2" PostId="12627" RevisionGUID="7fd6ae85-cf1d-4428-a3bb-af78292725cf" CreationDate="2012-02-15T10:35:45.527" UserId="3282" Text="Thanks Colin. I cannot believe that you are the only one to have suggestions about it. Interactive sonification is a promising area. Mates, don't you have any other successfull interface sound design references to give to the community (websites, video games, handheld devices and so on...)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20858" PostHistoryTypeId="5" PostId="12626" RevisionGUID="6bc6ad83-d8cf-4d6f-8e3e-8c9e10569a88" CreationDate="2012-02-15T10:37:52.917" UserId="3183" Comment="typo" Text="For quiet birdsong, etc. a dish would be the real solution (telinga, etc.). The pcmd50 does very great job, especially for the price, but don't wait sennheiser of schoeps performance from it.&#xD;&#xA;With all that said, I think many-many pcm-d50 recordings went into big productions, because it is a very decent recorder, even with the built in mics. One thing you should be aware of: sometimes you can use more gain, because the headphone preamp is bit hissy, but still the recording is not. Experiment with it a bit, and you'll find it's sweet spot regarding to soft ambiences,etc.&#xD;&#xA;I too highly recommend to record in 24bit 96kHz. And really, the main point is to record, once you'll have more money, you'll buy better equipment, but the sony is a very capable little device, so don't miss any opportunity just because you don't have thousands for a mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="20859" PostHistoryTypeId="2" PostId="12628" RevisionGUID="96eb1330-6f32-470b-aeab-4948f668f432" CreationDate="2012-02-15T13:03:19.330" UserId="6432" Text="Hi Xavier,&#xD;&#xA;&#xD;&#xA;I just remembered this [Amon Tobin experiment][1] that's kind of intriguing. I think the sound design could have been more immersive, but it's an interesting example. Generally though, this raises the question of whether it's actually a good thing to have lots of interface style sound on a website. For me, I only want sites to make sound if their purpose is to be an audio/audio-visual experience, otherwise I can't listen to music when browsing the web etc... &#xD;&#xA;  [1]: http://www.amontobin.com/field/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20860" PostHistoryTypeId="2" PostId="12629" RevisionGUID="fcb650df-ad44-4fb2-af3c-39a9a3711215" CreationDate="2012-02-15T15:54:59.560" UserId="208" Text="So I bought a Quad to go with the HDX card. Couldnt be happier.&#xD;&#xA;Everything works flawlessly (so far....)&#xD;&#xA;&#xD;&#xA;I can see why you should go with an 8core or more if going native, but with my HDX card onboard Im safe.&#xD;&#xA;Still able to run a big amount of native plugs, like Altiverbs etc. Dosent take up to much cpu.&#xD;&#xA;&#xD;&#xA;Thanks all:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20861" PostHistoryTypeId="2" PostId="12630" RevisionGUID="481b33af-9bed-49b1-9cec-e64a422ff7ea" CreationDate="2012-02-15T18:32:54.647" UserId="6519" Text="I made shotgun microphone comparion table which can be useful before buying.&#xD;&#xA;I try to update it continuously.&#xD;&#xA;[Shotgun microphones comparison][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://membrans.hu/index.php?option=com_content&amp;view=article&amp;id=23&amp;Itemid=2" ContentLicense="CC BY-SA 3.0" />
  <row Id="20862" PostHistoryTypeId="1" PostId="12630" RevisionGUID="481b33af-9bed-49b1-9cec-e64a422ff7ea" CreationDate="2012-02-15T18:32:54.647" UserId="6519" Text="Help for buying shotgun microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="20863" PostHistoryTypeId="3" PostId="12630" RevisionGUID="481b33af-9bed-49b1-9cec-e64a422ff7ea" CreationDate="2012-02-15T18:32:54.647" UserId="6519" Text="&lt;shotgun&gt;&lt;microphone&gt;&lt;buying&gt;&lt;buy&gt;&lt;database&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20864" PostHistoryTypeId="2" PostId="12631" RevisionGUID="0c1eae5b-f2ae-4db8-abbd-483bbe54296a" CreationDate="2012-02-15T19:13:39.380" UserId="3299" Text="Wow, great work, very comprehensive! Could you make it downloadable, or do you want to keep it online only?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20865" PostHistoryTypeId="2" PostId="12632" RevisionGUID="70c115ae-3614-45e4-b7dd-fd2ad838a1b2" CreationDate="2012-02-15T19:31:29.513" UserId="3299" Text="Keeping in mind all the ideas presented here, and in similar ADR threads, I'd like to ask for some opinions.&#xD;&#xA;&#xD;&#xA;I'm working on a short film at the moment which absolutely requires ADR. The location was here:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://brendanrehillaudio.files.wordpress.com/2012/02/dsc01533.jpg&#xD;&#xA;&#xD;&#xA;One of the actors is not available for ADR due to a falling out. The other two are not very experienced with ADR. &#xD;&#xA;&#xD;&#xA;My intention after the reading I've done here is to record ADR at this location again, due to it being almost impossible (I assume) to make studio recorded ADR sit alongside the audio from the actor who isn't available anymore, let alone make it sound like it's outside in a space like that.&#xD;&#xA;&#xD;&#xA;Is this the best approach I have?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20866" PostHistoryTypeId="2" PostId="12633" RevisionGUID="7ab4e6e4-99c1-46ac-83f8-91082ae79234" CreationDate="2012-02-16T01:09:09.943" UserId="194" Text="A couple of years ago I went out and bought a DSLR and started shooting and editing.  &#xD;&#xA;&#xD;&#xA;It's been a very rewarding experience and has greatly enhanced my perspective wrt sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="20867" PostHistoryTypeId="2" PostId="12634" RevisionGUID="4e72403a-d7d8-47cd-8196-620f90363f61" CreationDate="2012-02-16T06:49:02.847" UserId="3434" Text="Hi, are you sure you don't mean the NTG-3 (may look like an 8, i guess).  If so, I use this mic often and it sounds fantastic for outdoor booming.  It was a toss up between this mic and the Sennheiser MKH416 and I found that the MKH416 sounded a bit thinner and not as warm as the NTG-3.  A little side note, they used the NTG-3 on &quot;Lost&quot;, so booyah to that." ContentLicense="CC BY-SA 3.0" />
  <row Id="20869" PostHistoryTypeId="2" PostId="12636" RevisionGUID="94ff1698-fbd8-414c-a6da-9400159cc005" CreationDate="2012-02-16T15:29:59.387" UserId="644" Text="I have never had to attempt this, as most of the time the sync has been checked at the ADR stage or has been done properly by the animator.&#xD;&#xA;&#xD;&#xA;From working with students who have recorded ADR that is a little out, I have asked them to look for Hard letters (technical term?); these give distinctive pops and good visual mouth references.&#xD;&#xA;&#xD;&#xA;Rather than going for elastic audio, which still seems to colour the sound of dialogue IMO, I would prefer to edit bad dialogue over a couple of tracks and route to a group aux for better sync and overlap." ContentLicense="CC BY-SA 3.0" />
  <row Id="20870" PostHistoryTypeId="2" PostId="12637" RevisionGUID="b0228960-38c5-4e62-9e16-c6e912864c51" CreationDate="2012-02-16T17:59:00.883" UserId="3145" Text="You might have a speed problem. Is this PAL or NTSC?  If it's too fast try resampling at 46034 Hz.  If too slow, resample at 50000 Hz.  Sync with plosives like P or B, also M's will work.  You should not have to re-sync each word.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="20871" PostHistoryTypeId="2" PostId="12638" RevisionGUID="705e5f83-522d-46da-a166-995351321245" CreationDate="2012-02-16T18:47:45.313" UserId="1303" Text="Anyone test out the nagra sd yet? Thoughts? I've only found one review online." ContentLicense="CC BY-SA 3.0" />
  <row Id="20872" PostHistoryTypeId="1" PostId="12638" RevisionGUID="705e5f83-522d-46da-a166-995351321245" CreationDate="2012-02-16T18:47:45.313" UserId="1303" Text="Nagra SD reviews?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20873" PostHistoryTypeId="3" PostId="12638" RevisionGUID="705e5f83-522d-46da-a166-995351321245" CreationDate="2012-02-16T18:47:45.313" UserId="1303" Text="&lt;field-recording&gt;&lt;field-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20874" PostHistoryTypeId="2" PostId="12639" RevisionGUID="26098f24-d608-466c-ae0a-ae4064c75f87" CreationDate="2012-02-16T21:33:13.570" UserId="234" Text="In 15 years of editing and mixing animation, I've found that animators SELDOM get the lip sync exactly right, for a wealth of reasons, some of which the animators have little control over including time budget, and poor character designs. As far getting things to &quot;feel right&quot;, it really boils down to just nudging things. I've moved lines of dialog 4 or 5 frames to make it feel right, even when things were &quot;in sync&quot; with the start of the audio. There are two main reasons. &#xD;&#xA;&#xD;&#xA;One, animation uses only a limited number of &quot;mouth positions&quot;... anywhere from 2 (open and closed for very crude animation) to as many as twelve. Since the human mouth makes many more than that, often animators have to match as close as they can. Sounds like &quot;s&quot; can be difficult, since the mouth moves very litte. If you really pay attention to the way humans speak, you'll notice we can make a HUGE quantity of sound, while moving our lips very little.&#xD;&#xA;&#xD;&#xA;The other reason is that animation is very often done &quot;on twos&quot;. In other words, motion only happens every TWO frames.. hard consonants like a 't' can sometimes last only a frame, which makes things seem out. &#xD;&#xA;&#xD;&#xA;Unfortunately, there's no hard and fast rule as to when to move forward, and when to move backward. A lot of my time doing Dialog sync in animation is spent moving things two frames this way, and then three frames that way until I find it &quot;works&quot;. Having said that... most people notice dialog that's too early, before dialog that's too late (because we're used to sound travelling slower than light), so I usually start by nudging the dialog later... If that doesn't work, then I nudge it sooner." ContentLicense="CC BY-SA 3.0" />
  <row Id="20875" PostHistoryTypeId="2" PostId="12640" RevisionGUID="ddd22e0b-5b6c-4228-a719-f62af2014c5e" CreationDate="2012-02-16T23:11:25.557" UserId="3433" Text="This solution isn't entirely &quot;honest&quot;, but you could suggest the filmaker get a good voice actor and just reconstruct the interview with new audio.  Yeah, I know, it's kinda lame and would get harder if the interviewee appears more than once but perhaps it'll fit the directors needs.&#xD;&#xA;&#xD;&#xA;Also this is my first post.. hello everyone." ContentLicense="CC BY-SA 3.0" />
  <row Id="20876" PostHistoryTypeId="2" PostId="12641" RevisionGUID="fe5286b1-0176-42df-81ce-982b0e92f1ab" CreationDate="2012-02-16T23:20:04.790" UserId="3433" Text="We do this in the real world when listening to a conversation in a room full of conversations.   Our brain filters for us, just like when we interpret an ambiguous 2d image.  We will also shift at will (recall those moments that a background conversation becomes super interesting and you have a hard time understanding what the person right in front of you is saying)  There are folks that have difficulty with this.  See http://en.wikipedia.org/wiki/Auditory_processing_disorder&#xD;&#xA;&#xD;&#xA;I agree - it's a fascinating subject.  I particularly like MarcoP's example.  Perhaps because I really like Reznor ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20877" PostHistoryTypeId="2" PostId="12642" RevisionGUID="f8268bab-4d59-4c6f-9da0-64fd2339f972" CreationDate="2012-02-17T00:10:40.817" UserId="432" Text="I think you've hit on something with the fact that audio is a temporal idea, as opposed to the 2D non-temporal nature of those pieces of art. In those pieces, we have time for our brain to process and pick them apart from different perspectives, because it remains static. People have a hard time doing that in the acoustic realm, since acoustic events are undergoing change while we attend them. Attack, decay, sustain release and all that.&#xD;&#xA;&#xD;&#xA;That tells me that it might be possible if the acoustic event is cyclical in nature; that we could pull off this trick if we can predict what is going to happen in the future of the event. We may need something to help us shift perspective though. Which is convenient, since we work on audio to accompany visual material. Audio adds meaning and depth to the visuals. There's no reason the reverse can't happen. So, I'd say it's possible...but not without the effort and coordination of multiple departments." ContentLicense="CC BY-SA 3.0" />
  <row Id="20878" PostHistoryTypeId="2" PostId="12643" RevisionGUID="3d39a860-6ec9-4908-8059-659518bae5ba" CreationDate="2012-02-17T02:03:57.410" UserId="2502" Text="So should the processors that the networks are installing to comply to the new LKFS standards help this or be the culprit? I'm interested if anyone on here has insight into this aspect of this topic. thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="20879" PostHistoryTypeId="5" PostId="12611" RevisionGUID="378d5f11-f962-40da-80e3-6d7c28a10df0" CreationDate="2012-02-17T06:58:19.067" UserId="407" Comment="added 1046 characters in body" Text="OK here is the situation - I have an animated video which has some close ups on the face, the lip sync is out. In some cases the dialogue if it starts in the right place will be out of sync by the end of the line. One can stretch this in using pro-tools elastic time, - no problem - but getting it to actually feel right is another matter. So my question to you guys is this: &#xD;&#xA;&#xD;&#xA;Does anyone have any tips on how to make the lips sync feel right?&#xD;&#xA;&#xD;&#xA;For instance do you have any particular speech sounds that you try to sync first to get the right effect, or do you feel that starting the dialogue early by a couple of frames makes the lip sync feel better? Any tips or tricks would be greatly appreciated.&#xD;&#xA;&#xD;&#xA;**Update:**&#xD;&#xA;&#xD;&#xA;I think we have found the problem and come up with a solution and I thought I would share it with you guys as you have all been so helpful. I spent a day cutting and moving each word to get them in sync with the animation usually by about half a frame one way or another (using a mirror matching the P's abd B's and not time stretching at all ;)). I then took my results and findings to the animators and showed them the issues. To cut a long story short, the problem was to do with frame rate, the simple explanation was the animators were working at 50 frames, but the game engine plays back at 30. The animation curves for the face were alaising from the 50 to the 30 meaning they were 'missing/averaging' 2/5ths of the information. So the solution to this problem is they are going to re animate at 30 fps and that should solve the majority or the issues. This is a great relief for me as I do not envy anyone who has to try and match lip sync by hand. It is also great that it is not always the case of 'fix it in post' - " ContentLicense="CC BY-SA 3.0" />
  <row Id="20880" PostHistoryTypeId="2" PostId="12644" RevisionGUID="5b9391f3-b135-4ca8-8dbf-24f6b0421932" CreationDate="2012-02-17T09:53:03.280" UserId="3299" Text="I'm familiar with the images, but just found out through a little searching that the phenomenon is called 'the figure-ground effect':&#xD;&#xA;&#xD;&#xA;&gt; Normally the brain classifies images by what surrounds what - establishing depth and relationships. If something surrounds another thing, the surrounded object is seen as figure, and the presumably further away (and hence background) object is the ground, and vice versa. - Wikipedia&#xD;&#xA;&#xD;&#xA;So, we'd have to completely remove the idea of a foreground/background relationship just to even begin to create an aural equivalent. &#xD;&#xA;&#xD;&#xA;Do you think timbre would be the correct equivalent of the geometry in Rubin et al?&#xD;&#xA;&#xD;&#xA;Shaun, your mentioning of cyclical characteristics makes me think of LaMonte Young's 'Drift Studies', one of which had sine tones playing from small speakers in a space, and as the listener moved the relationship would change, causing phasing and beating. This is close as I can imagine the effect being carried out *purely* by sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="20881" PostHistoryTypeId="2" PostId="12645" RevisionGUID="1d4cac34-1591-4744-a445-74eb8d49bc16" CreationDate="2012-02-17T09:58:42.573" UserId="3049" Text="A year ago I decided to transfer from Music and Audio Production course at the University onto Professional Sound and Video Production Degree. It was the best decision of my life! I know now what it means to be multiskilled and how much it helps to get behind the camera once in a while. It changes the perception of image, puts into perspective the sound design, visual effects design and other elements of the whole picture (like colour, lighting, mood and all the elements that we, sound people, take for granted). If I can advice anything (after all I graduate next year!) I'd say that the more we know about video, the more we know about sound design. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20882" PostHistoryTypeId="2" PostId="12646" RevisionGUID="be345c8f-e5a6-497c-bd23-8ef79d88f98b" CreationDate="2012-02-17T09:58:55.980" UserId="1117" Text="Might not be the right answer but,&#xD;&#xA;in Blade Runner when Roy says 'fucker' but it also sounds like 'Father' for that kinda double meaning effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="20883" PostHistoryTypeId="2" PostId="12647" RevisionGUID="488abaae-2f34-48d8-8ce7-0b5de5a9fa14" CreationDate="2012-02-17T10:21:34.070" UserId="3049" Text="Hallo All&#xD;&#xA;&#xD;&#xA;I often find myself in a situation where I can hear a brilliant sound (when shopping, for example, or trawelling to work) but I do not have the recording gear with me. I always have my iPhone, though. Could this microphone be the answer? Can it be used for recording in situations where using professional mic is out of the question? Or would that be a waste of time and money (although it is quite cheap) Can it produce at least semi-pro quality of sound? Has any one ever used it?&#xD;&#xA;http://www.gear4music.com/Recording-and-Computers/Tascam-iM2-Stereo-Condenser-Microphone-for-iPhone-iPad/I4N&#xD;&#xA;Or maybe there are other, better solutions?&#xD;&#xA;&#xD;&#xA;Thank You&#xD;&#xA;AlicjaS" ContentLicense="CC BY-SA 3.0" />
  <row Id="20884" PostHistoryTypeId="1" PostId="12647" RevisionGUID="488abaae-2f34-48d8-8ce7-0b5de5a9fa14" CreationDate="2012-02-17T10:21:34.070" UserId="3049" Text="iPhone microphones, are they worth looking at" ContentLicense="CC BY-SA 3.0" />
  <row Id="20885" PostHistoryTypeId="3" PostId="12647" RevisionGUID="488abaae-2f34-48d8-8ce7-0b5de5a9fa14" CreationDate="2012-02-17T10:21:34.070" UserId="3049" Text="&lt;microphone&gt;&lt;field-recording&gt;&lt;recording&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20886" PostHistoryTypeId="5" PostId="12644" RevisionGUID="756d33a8-3a56-4b59-be09-325d0ae0d537" CreationDate="2012-02-17T10:30:24.307" UserId="3299" Comment="deleted 103 characters in body" Text="Figure/Ground is explained as:&#xD;&#xA;&#xD;&#xA;&gt; Normally the brain classifies images by what surrounds what - establishing depth and relationships. If something surrounds another thing, the surrounded object is seen as figure, and the presumably further away (and hence background) object is the ground, and vice versa. - Wikipedia&#xD;&#xA;&#xD;&#xA;So, we'd have to completely remove the idea of a foreground/background relationship just to even begin to create an aural equivalent. &#xD;&#xA;&#xD;&#xA;Do you think timbre would be the correct equivalent of the geometry in Rubin et al?&#xD;&#xA;&#xD;&#xA;Shaun, your mentioning of cyclical characteristics makes me think of LaMonte Young's 'Drift Studies', one of which had sine tones playing from small speakers in a space, and as the listener moved the relationship would change, causing phasing and beating. This is close as I can imagine the effect being carried out *purely* by sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="20887" PostHistoryTypeId="2" PostId="12648" RevisionGUID="aa51ca15-8252-44be-8d53-132f270817d2" CreationDate="2012-02-17T10:54:30.033" UserId="261" Text="Hey people,&#xD;&#xA;&#xD;&#xA;A question:&#xD;&#xA;&#xD;&#xA;I have a shoot coming up in a few days where the client would like to be able to have timecode as well as be able to play back footage shot on 5d mk2 WITH audio...i.e a feed from my mixer.&#xD;&#xA;&#xD;&#xA;I was planning to send that audio for playback wirelessly to the camera with a Sennheiser G3 TX/RX kit.&#xD;&#xA;&#xD;&#xA;Is it possible to hop timecode on the same signal?&#xD;&#xA;How on earth is this done.&#xD;&#xA;I've just started my researches and discovered this:&#xD;&#xA;&#xD;&#xA;http://endlesspicnic.com/blog/2011/11/time-code-canon-5d/&#xD;&#xA;&#xD;&#xA;What do you know about this?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20888" PostHistoryTypeId="1" PostId="12648" RevisionGUID="aa51ca15-8252-44be-8d53-132f270817d2" CreationDate="2012-02-17T10:54:30.033" UserId="261" Text="How does one get timecode onto a 5d at the same time as hopping an audio feed from the mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20889" PostHistoryTypeId="3" PostId="12648" RevisionGUID="aa51ca15-8252-44be-8d53-132f270817d2" CreationDate="2012-02-17T10:54:30.033" UserId="261" Text="&lt;timecode&gt;&lt;location-recording&gt;&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20890" PostHistoryTypeId="2" PostId="12649" RevisionGUID="733b4213-2802-4785-bcbb-6f54b29c1d6b" CreationDate="2012-02-17T11:50:33.270" UserId="238" Text="Please see [this question][1], where this has already been discussed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/11525/is-this-the-zoom-killer" ContentLicense="CC BY-SA 3.0" />
  <row Id="20891" PostHistoryTypeId="2" PostId="12650" RevisionGUID="8cf54b74-79bd-480c-8579-36ad21b361f9" CreationDate="2012-02-17T12:59:20.727" UserId="432" Text="My first guess is no. In order to get synchronous playback from your recording device, while playing video back from a 5D, you would need one device to chase timecode from the other. The 5D has no provisions for timecode whatsoever (and they can have slippy internal clocking for video to begin with, so watch out for that in post). In that post you linked to, the author is running time-code to an audio track. That's an idea from older analog workflows. It might be possible if you can get the audio from the camera to feed an input to your clock generator, but that means you're going to require a fancier rig than that simple Horita box. You'd also then have to be careful that it doesn't reset the timecode being generated by the box...you don't want overlapping timecode between shots.&#xD;&#xA;&#xD;&#xA;My suggestion would be to look into the rental costs of a [Sound Devices Pix system][1], or convince them to buy one. they can play back from that device, with audio, and it will create native Apple or Avid format files with time code.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sounddevices.com/products/pix.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="20892" PostHistoryTypeId="2" PostId="12651" RevisionGUID="f3e9b2ca-8233-4c27-b9c7-01040ca2ba48" CreationDate="2012-02-17T13:33:36.397" UserId="3272" Text="Yes, it can be done, but you'll have only mono sound on the 5D. Next week I'll start the post of a project where they've done it this way:&#xD;&#xA;&#xD;&#xA;For the audio to get in the 5D, they used this mic adapter: &#xD;&#xA;&#xD;&#xA;(http://www.bhphotovideo.com/c/product/674341-REG/Beachtek_DXA_5DA_DXA_5DA_DSLR_Cameras_Passive.html)&#xD;&#xA;&#xD;&#xA;The sound girl send a mono mixdown signal, wireless to the 5d from her Cantar recorder.&#xD;&#xA;&#xD;&#xA;For the timecode, they used a Clockit &#xD;&#xA;&#xD;&#xA;(http://www.ambient.de/produkte/ambient-recording/clockit-timecode.html)&#xD;&#xA;&#xD;&#xA;Jammed every now en then with the recorder set on free run, and then hang the Clockit on the camerarig with timecode out in an audio signal.&#xD;&#xA;&#xD;&#xA;When they got the workflow right, it all went great. But be shure that, if you want to do it this way, you test it a couple of times (also with the editor) before the shoot.&#xD;&#xA;&#xD;&#xA;Good Luck!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20893" PostHistoryTypeId="5" PostId="12651" RevisionGUID="058ebe84-6f15-4321-bbe3-cba621c47524" CreationDate="2012-02-17T13:50:55.563" UserId="3272" Comment="added 155 characters in body" Text="Yes, it can be done, but you'll have only mono sound on the 5D. Next week I'll start the post of a project where they've done it this way:&#xD;&#xA;&#xD;&#xA;For the audio to get in the 5D, they used this mic adapter: &#xD;&#xA;&#xD;&#xA;(http://www.bhphotovideo.com/c/product/674341-REG/Beachtek_DXA_5DA_DXA_5DA_DSLR_Cameras_Passive.html)&#xD;&#xA;&#xD;&#xA;The sound girl send a mono mixdown signal, wireless to the 5d from her Cantar recorder.&#xD;&#xA;&#xD;&#xA;For the timecode, they used a Clockit &#xD;&#xA;&#xD;&#xA;(http://www.ambient.de/produkte/ambient-recording/clockit-timecode.html)&#xD;&#xA;&#xD;&#xA;Jammed every now en then with the recorder set on free run, and then hang the Clockit on the camerarig with timecode out in an audio signal.&#xD;&#xA;&#xD;&#xA;When they got the workflow right, it all went great. But be shure that, if you want to do it this way, you test it a couple of times (also with the editor) before the shoot.&#xD;&#xA;&#xD;&#xA;Good Luck!&#xD;&#xA;&#xD;&#xA;Ps I'm not sure if the 5D has an video sync input. If so, you can sync the video from the clockit too, then you'll really have no sync problems anymore&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20894" PostHistoryTypeId="2" PostId="12652" RevisionGUID="5f8947e1-205f-4be6-b7ae-a48fb057dcb6" CreationDate="2012-02-17T14:54:15.927" UserId="3104" Text="Hey Everybody,&#xD;&#xA;&#xD;&#xA;I worked on a feature over the past summer and now its time for me to do post on the film.&#xD;&#xA;The editor gave me an OMF but when I went to a buddies house to import it into Pro Tools, none of the audio files were there. What should I ask for from my editor in order to start my work and what I should always expect when being handed off something?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20895" PostHistoryTypeId="1" PostId="12652" RevisionGUID="5f8947e1-205f-4be6-b7ae-a48fb057dcb6" CreationDate="2012-02-17T14:54:15.927" UserId="3104" Text="What kind of OMF do I ask for from my Editor?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20896" PostHistoryTypeId="3" PostId="12652" RevisionGUID="5f8947e1-205f-4be6-b7ae-a48fb057dcb6" CreationDate="2012-02-17T14:54:15.927" UserId="3104" Text="&lt;omf&gt;&lt;editing&gt;&lt;post-production&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20897" PostHistoryTypeId="2" PostId="12653" RevisionGUID="fb78aaa2-988d-4207-adb8-b798a0017f48" CreationDate="2012-02-17T15:37:44.093" UserId="2502" Text="sounds like you need to ask for the omf to have &quot;embeded audio.&quot; it still wants to link to the original audio currently. the omf settings should included &quot;embeded audio&quot; and &quot;linked video&quot;. OMF 2.0 &#xD;&#xA;&#xD;&#xA;also, ask for long handles on the audio. when making the omf, they have options regarding embedding media and creating handles." ContentLicense="CC BY-SA 3.0" />
  <row Id="20898" PostHistoryTypeId="2" PostId="12654" RevisionGUID="4bedb6a3-179d-4e3b-bcdc-58bd9ee0b40b" CreationDate="2012-02-17T17:20:17.737" UserId="1145" Text="I need to have both Pro Tools 9 and 10 installed on the same machine.&#xD;&#xA;Has anyone here this up and running? If so, how did you get it to work?&#xD;&#xA;When i install PT9 it overwrites PT10. Hmmm&#xD;&#xA;&#xD;&#xA;Gratefull for some input" ContentLicense="CC BY-SA 3.0" />
  <row Id="20899" PostHistoryTypeId="1" PostId="12654" RevisionGUID="4bedb6a3-179d-4e3b-bcdc-58bd9ee0b40b" CreationDate="2012-02-17T17:20:17.737" UserId="1145" Text="Pro Tools 9 and 10 on the same machine" ContentLicense="CC BY-SA 3.0" />
  <row Id="20900" PostHistoryTypeId="3" PostId="12654" RevisionGUID="4bedb6a3-179d-4e3b-bcdc-58bd9ee0b40b" CreationDate="2012-02-17T17:20:17.737" UserId="1145" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20901" PostHistoryTypeId="2" PostId="12655" RevisionGUID="a9bf1a7e-a16f-4d35-902a-b6e076f51f12" CreationDate="2012-02-17T17:48:50.200" UserId="432" Text="Within the same OS drive? I don't think so. They probably require two different sets of drivers, and having both on one machine could cause problems. You could partition your OS drive (or just install a second drive), and create two different systems...one with 9 on it, and one with 10." ContentLicense="CC BY-SA 3.0" />
  <row Id="20902" PostHistoryTypeId="2" PostId="12656" RevisionGUID="08f915b2-de69-4ced-9a18-2cd2e321bd78" CreationDate="2012-02-17T17:57:38.720" UserId="315" Text="Well, I haven't recorded with one, but I'm interested in them too. I'm also curious to hear any reports. I imagine at that price point, most folks in this group would opt for a SD 702. But the convenience of a high quality hand held is really nice. I love traveling with one.&#xD;&#xA;&#xD;&#xA;I picked one up once at a trade show...it's very small and well built with a metal case. Nagra certainly has a great reputation, building quality sounding gear. Although with the strength of the Swiss Franc compared to the US dollar, their stuff is probably a bit overpriced here in the US.&#xD;&#xA;&#xD;&#xA;From my online research, folks are saying that it sounds nice, especially if you upgrade and buy the green banded &quot;high quality&quot; stereo mic. Here'a [gearslutz thread][1] with a bit of useful info.&#xD;&#xA;&#xD;&#xA;It has a slick adaptor cable that allows you to plug in external mics. But that feature is also the biggest downfall of this machine. It doesn't supply phantom power. If it did, buying this would be a no brainer to me, considering it's the size of a deck of cards.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/remote-possibilities-acoustic-music-location-recording/631785-nagra-sd.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="20903" PostHistoryTypeId="5" PostId="12656" RevisionGUID="6ed6b1ce-b72f-42b5-b513-ec59c32f58f5" CreationDate="2012-02-17T18:12:20.293" UserId="315" Comment="added 118 characters in body; deleted 1 characters in body" Text="Well, I haven't recorded with one, but I'm interested in them too. I'm also curious to hear any reports. I imagine at that price point, most folks in this group would opt for a SD 702. But the convenience of a high quality hand held is really nice. I love traveling with one.&#xD;&#xA;&#xD;&#xA;I picked one up once at a trade show...it's very small and well built with a metal case. Nagra certainly has a great reputation, building quality sounding gear. Although with the strength of the Swiss Franc compared to the US dollar, their stuff is probably a bit overpriced here in the US.&#xD;&#xA;&#xD;&#xA;From my online research, folks are saying that it sounds nice, especially if you upgrade and buy the green banded &quot;high quality&quot; stereo mic. Here'a [gearslutz thread][1] with a bit of useful info.&#xD;&#xA;&#xD;&#xA;It has a slick adaptor cable that allows you to plug in external mics. But that feature is also the biggest downfall of this machine. It doesn't supply phantom power. If it did, buying this would be a no brainer to me, considering it's the size of a deck of cards. It's pretty clear that Nagra designed this feature primarily for news journalists walking around with a dynamic mic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/remote-possibilities-acoustic-music-location-recording/631785-nagra-sd.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="20904" PostHistoryTypeId="2" PostId="12657" RevisionGUID="a1790640-c18a-46e7-b29d-2d2ae85ac49a" CreationDate="2012-02-17T18:16:01.480" UserDisplayName="user80" Text="This works fine if you have two different startup drives, my iLok license works with both 9 and 10." ContentLicense="CC BY-SA 3.0" />
  <row Id="20905" PostHistoryTypeId="10" PostId="12647" RevisionGUID="11f0dce5-f053-4012-8c8e-64bfe89caecf" CreationDate="2012-02-17T18:56:58.967" UserId="61" Comment="1" Text="[{&quot;Id&quot;:61,&quot;DisplayName&quot;:&quot;Jay Jennings&quot;}]" />
  <row Id="20906" PostHistoryTypeId="5" PostId="12647" RevisionGUID="b34058f6-46a5-4dd0-82e0-4f82defd6d10" CreationDate="2012-02-17T18:56:59.077" UserId="-1" Comment="insert duplicate link" Text="&gt; **Possible Duplicate:**  &#xA;&gt; [Is this the Zoom killer?](http://socialsounddesign.com/questions/11525/is-this-the-zoom-killer)  &#xA;&#xA;&#xA;Hallo All&#xD;&#xA;&#xD;&#xA;I often find myself in a situation where I can hear a brilliant sound (when shopping, for example, or trawelling to work) but I do not have the recording gear with me. I always have my iPhone, though. Could this microphone be the answer? Can it be used for recording in situations where using professional mic is out of the question? Or would that be a waste of time and money (although it is quite cheap) Can it produce at least semi-pro quality of sound? Has any one ever used it?&#xD;&#xA;http://www.gear4music.com/Recording-and-Computers/Tascam-iM2-Stereo-Condenser-Microphone-for-iPhone-iPad/I4N&#xD;&#xA;Or maybe there are other, better solutions?&#xD;&#xA;&#xD;&#xA;Thank You&#xD;&#xA;AlicjaS" ContentLicense="CC BY-SA 3.0" />
  <row Id="20907" PostHistoryTypeId="2" PostId="12658" RevisionGUID="eb94f372-93a0-471e-917a-85576da5d286" CreationDate="2012-02-17T19:01:41.437" UserId="3299" Text="OMF comes in two flavours, *Embedded* and *External Referenced*; Embedded OMF creates copies of all the media files and keeps it contained within the file, Referenced (what you've been given) contains only metadata. &#xD;&#xA;&#xD;&#xA;You could just ask for the media files and then relink all the data.&#xD;&#xA;&#xD;&#xA;Embedded OMF has a limitation that no file within it can be over 2GB, Referenced doesn't have this problem. Important to know depending on the size and type of project you're working on." ContentLicense="CC BY-SA 3.0" />
  <row Id="20908" PostHistoryTypeId="2" PostId="12659" RevisionGUID="f9459ed2-0887-40da-ac5d-35ad19cb371d" CreationDate="2012-02-18T00:16:36.990" UserId="1303" Text="Some artist had 1000 cars honk their horns in LA today, anyone record it?&#xD;&#xA;&#xD;&#xA;[THE LINK][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.scpr.org/news/2012/02/16/31270/artist-flair-disruption-sounds-horns-la-traffic/" ContentLicense="CC BY-SA 3.0" />
  <row Id="20909" PostHistoryTypeId="1" PostId="12659" RevisionGUID="f9459ed2-0887-40da-ac5d-35ad19cb371d" CreationDate="2012-02-18T00:16:36.990" UserId="1303" Text="Anyone record this 1000 horn symphony?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20910" PostHistoryTypeId="3" PostId="12659" RevisionGUID="f9459ed2-0887-40da-ac5d-35ad19cb371d" CreationDate="2012-02-18T00:16:36.990" UserId="1303" Text="&lt;field-recording&gt;&lt;art&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20911" PostHistoryTypeId="2" PostId="12660" RevisionGUID="6e35f1cf-ed00-4702-b22b-3b2a1a5d9607" CreationDate="2012-02-18T05:12:46.007" UserId="842" Text="Yebo good people!&#xD;&#xA;Not strictly a question as much as posted more as an inspiration for those who might enjoy it!&#xD;&#xA;&#xD;&#xA;The TV-set was sentenced to sledgehammer for the viscous crime of sending Days Of Our Life and 7th Heaven to innocent unsuspecting viewers.&#xD;&#xA;&#xD;&#xA;[vimeo]36985816[/vimeo]" ContentLicense="CC BY-SA 3.0" />
  <row Id="20912" PostHistoryTypeId="1" PostId="12660" RevisionGUID="6e35f1cf-ed00-4702-b22b-3b2a1a5d9607" CreationDate="2012-02-18T05:12:46.007" UserId="842" Text="Happiness in devastation" ContentLicense="CC BY-SA 3.0" />
  <row Id="20913" PostHistoryTypeId="3" PostId="12660" RevisionGUID="6e35f1cf-ed00-4702-b22b-3b2a1a5d9607" CreationDate="2012-02-18T05:12:46.007" UserId="842" Text="&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20916" PostHistoryTypeId="2" PostId="12662" RevisionGUID="36f42e11-cdff-4bfb-8801-787c92e9e9f7" CreationDate="2012-02-18T07:50:50.220" UserId="1228" Text="While in the midst of a dialogue premix, I've been playing around with this Snapshot feature on TLSpace I never knew existed.  Has made verbing so much quicker and easier now especially for recurring locations - in fact I wish I knew this for the past 4 years ;)&#xD;&#xA;&#xD;&#xA;It has been nice to add just a touch of verb to interior scenes, with Snapshot settings matching the right feel and timbre of the space (some having a short pre-delay slap of a living room IR for an apartment,  and a longer pre-delay with a slap back late delay of a garage for a big empty club/bar location that has high ceilings etc).&#xD;&#xA;&#xD;&#xA;But when it comes to exterior spaces, I'm curious what some of you have done (or not done) regarding verbing the premix chain.  I ask because when I have always added just a touch of verb to the dialogue ('a touch' meaning that in the case of TL Space, I'm running a ratio of 0dB Dry, -25 to -30dB wet) it seems to round it out with some warmth and make it pop, almost in that it diminishes the slightly flat sound that results from running prudent/conservative broadband Noise suppression (a la Cedar, C4, etc).  In other words, just enough reverb to give some life and space back to the now-clean dialogue but not enough verb that you're hearing it as &quot;oh my good, there's reverb in here!&quot;.&#xD;&#xA;&#xD;&#xA;But then comes exterior spaces  Something still sounds flat about raw dialogue even against BGz when it's fully dry.   I have normally left it alone because it seems that in most exterior locations it feels natural that the dialogue doesn't react with the space (for example, on a mountain trail overlooking the city).  But in spaces where we do naturally have slap-happy interactions like an alley or such, I did recently play with a dark plate verb I found and fit the bill.  For seem reason, even that touch of it was enough to bring life to the exterior dialogue that the other dry exteriors didn't quite have.&#xD;&#xA;&#xD;&#xA;So it brings me to the question of those who mix dialogue - have you experienced this 'sparkling' effect with how reverbs react with production in a pleasant way, and as such, do you tend to always add a tinge of verb to all of production regardless of interior or exterior (while of course choosing the right IR and parameters that feel correct for the type of space).  Or do you find exterior verbing a waste of time/no benefit to the luster of the production track and just roll with it dry on exteior unless we're in an appropriately-reverberant space (e.g. an alley)?&#xD;&#xA;&#xD;&#xA;There isn't a right or wrong answer here, just seeking opinions and experiences of others.  Thanks!&#xD;&#xA;&#xD;&#xA;**NOTE:** My signal flow: DX EDIT TRACKS =&gt; SIDECHAIN (EQ, Comp, Noise Suppress, DeEss, etc) =&gt; DX Submaster (sometimes I run the verb insert on this, sometimes I feed the Sidechain to an Aux Send for verb and feed that to sum into the Submaster - depends on a case by case).  So ultimately, my verb is always at the tail end of my chain before the DX signal hits the stem print track.  if this at all helps visualize.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20917" PostHistoryTypeId="1" PostId="12662" RevisionGUID="36f42e11-cdff-4bfb-8801-787c92e9e9f7" CreationDate="2012-02-18T07:50:50.220" UserId="1228" Text="Dialogue Premix - Exterior Verb" ContentLicense="CC BY-SA 3.0" />
  <row Id="20918" PostHistoryTypeId="3" PostId="12662" RevisionGUID="36f42e11-cdff-4bfb-8801-787c92e9e9f7" CreationDate="2012-02-18T07:50:50.220" UserId="1228" Text="&lt;dialogue&gt;&lt;mixing&gt;&lt;reverb&gt;&lt;chain&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20919" PostHistoryTypeId="2" PostId="12663" RevisionGUID="8d18370e-f488-450c-8d68-044a9689c841" CreationDate="2012-02-18T10:37:39.550" UserId="221" Text="As Brendan &amp; Brad have outlined you need at embedded OMF.&#xD;&#xA;&#xD;&#xA;I have free help guides on my site which outline how to create Pro Tools friendly OMFs from both Avid and FCP. &#xD;&#xA;&#xD;&#xA;Go to http://www.osd-uk.com/free-help-guides/ and choose the guide you want.&#xD;&#xA;&#xD;&#xA;Mike" ContentLicense="CC BY-SA 3.0" />
  <row Id="20920" PostHistoryTypeId="2" PostId="12664" RevisionGUID="639f8c65-3b74-49e6-854d-40d5a8652eae" CreationDate="2012-02-18T11:51:02.643" UserId="37" Text="............. why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20921" PostHistoryTypeId="2" PostId="12665" RevisionGUID="60139455-8f6b-49a5-9024-e86a49c53832" CreationDate="2012-02-18T15:35:44.603" UserId="390" Text="I have a fun gig providing sound for a Free Theater program. The guys put on a great production at a community center for 5-6 weeks in the Spring and Fall. I've been learning a lot about sound design and live audio production. The actors ultimately put on their wirelesses as they get in and out of costume. But the hair pins are cutting into their wires and causing havoc!  Bobby pins are the worst offenders. We have approved some gentler hair pins but they've managed to have them cut into the wire as well.  Is anyone aware of any specialized pins that actors can wear to hold mics in their hair that doesn't chew up the wire?  We have tie clips that came with the mics but nothing for the hair. &#xD;&#xA;&#xD;&#xA;We do have some over the ear mics that would be ideal in some cases but last year an actor still had to use a hair pin to help hide the wire and that one also cut into the wire." ContentLicense="CC BY-SA 3.0" />
  <row Id="20922" PostHistoryTypeId="1" PostId="12665" RevisionGUID="60139455-8f6b-49a5-9024-e86a49c53832" CreationDate="2012-02-18T15:35:44.603" UserId="390" Text="Best tools to hold a wireless mic in place" ContentLicense="CC BY-SA 3.0" />
  <row Id="20923" PostHistoryTypeId="3" PostId="12665" RevisionGUID="60139455-8f6b-49a5-9024-e86a49c53832" CreationDate="2012-02-18T15:35:44.603" UserId="390" Text="&lt;wireless&gt;&lt;clips&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20924" PostHistoryTypeId="2" PostId="12666" RevisionGUID="72a70f70-d62f-4a7a-ad39-10edc3b0fd69" CreationDate="2012-02-18T16:12:14.827" UserId="3438" Text="I am upgrading my home studio from a two channel mbox to the 002.  I made a patch bay to go to the front of my rack for inputs (front vs back issue solved).  In an effort to get the cleanest sound into Pro Tools, I am going into 002 rack first then out using outputs on interface on back to mixer to control mix on console to control room and FOH (looking to do some live recording).  My problem is I am not getting any signal from outputs on back of 002 whether I plug a mono instrument cable to mixer or balanced TRS to XLR to mixer.  Either way nothing.  &#xD;&#xA;&#xD;&#xA;My other choice is going into mixer first then to 002 rack.  But I don't like the idea of passing thru mixer first when recording live.  But I can control the live mix (most important). I also have a question on which cable will be best coming from i/o (my only out on Yamaha MG24) to 002 rack for best recording.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="20925" PostHistoryTypeId="1" PostId="12666" RevisionGUID="72a70f70-d62f-4a7a-ad39-10edc3b0fd69" CreationDate="2012-02-18T16:12:14.827" UserId="3438" Text="Using Digi 002 with Yamaha MG24" ContentLicense="CC BY-SA 3.0" />
  <row Id="20926" PostHistoryTypeId="3" PostId="12666" RevisionGUID="72a70f70-d62f-4a7a-ad39-10edc3b0fd69" CreationDate="2012-02-18T16:12:14.827" UserId="3438" Text="&lt;home&gt;&lt;studio&gt;&lt;upgrade&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20927" PostHistoryTypeId="2" PostId="12667" RevisionGUID="1ec6fa88-5a33-4b7c-bd46-08156304e48f" CreationDate="2012-02-18T18:11:07.317" UserDisplayName="user80" Text="Have you assigned the outputs from within the I/O menu in Pro Tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20928" PostHistoryTypeId="2" PostId="12668" RevisionGUID="2f940d26-ba25-43e5-858b-0d4a587b895b" CreationDate="2012-02-18T18:18:02.310" UserId="3439" Text="This has been driving me crazy for a while.  The effects sequence at the end of this trailer has me stumped.  It's so intricate and the sounds evolve so quickly, I'm having trouble figuring out how they did this.  Any ideas?  It's the end sequence where the camera zooms in on the robot's eye, and then ends in an exploding title sequence, starting at around 2:04.&#xD;&#xA;&#xD;&#xA;Any ideas?  It all sounds kind of granular to me, so maybe sounds that have been granularized?  Ideas are welcome and appreciated.&#xD;&#xA;&#xD;&#xA;[Here's the video][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=3H8bnKdf654" ContentLicense="CC BY-SA 3.0" />
  <row Id="20929" PostHistoryTypeId="1" PostId="12668" RevisionGUID="2f940d26-ba25-43e5-858b-0d4a587b895b" CreationDate="2012-02-18T18:18:02.310" UserId="3439" Text="Transformers 3 teaser trailer sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="20930" PostHistoryTypeId="3" PostId="12668" RevisionGUID="2f940d26-ba25-43e5-858b-0d4a587b895b" CreationDate="2012-02-18T18:18:02.310" UserId="3439" Text="&lt;transformers&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20931" PostHistoryTypeId="5" PostId="12667" RevisionGUID="04d1425c-29ab-4522-882e-b0609857240e" CreationDate="2012-02-18T18:25:22.740" UserDisplayName="user80" Comment="added 447 characters in body" Text="Have you assigned the outputs from within the I/O menu in Pro Tools?&#xD;&#xA;&#xD;&#xA;With regards to configuration I would suggest bypassing the patch bay and sending groups 1 - 4 on the Yamaha to the line inputs 1-4 on the 002, and then, if you need to, you can send mixes from the Yamaha, or plug straight into the mic inputs on the 002.&#xD;&#xA;&#xD;&#xA;You could then use auxes 1-4 on the Yamaha for the additional 4 line inputs of the 002.&#xD;&#xA;&#xD;&#xA;Finally, I would send all of the line outputs from the 002 as line inputs 19-24 on the Yamaha." ContentLicense="CC BY-SA 3.0" />
  <row Id="20932" PostHistoryTypeId="2" PostId="12669" RevisionGUID="9dc9990b-5e25-4e9e-87a9-283c755b906e" CreationDate="2012-02-18T19:07:43.177" UserId="208" Text="Guess it could be done with alot  of different kind of processing, but it sounds alot like Kyma processing to me. &#xD;&#xA;Take a look at this site: http://jedsound.com/blog/&#xD;&#xA;And scroll down through the examples found there. Very similar, and many had Kyma involved I believe. &#xD;&#xA;&#xD;&#xA;Best wishes, Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="20933" PostHistoryTypeId="2" PostId="12670" RevisionGUID="fc1b115b-c9ec-4fa3-9e2a-c9174c876961" CreationDate="2012-02-18T19:24:49.607" UserId="3440" Text="Here's the KPCC video link, it's great: http://www.scpr.org/news/2012/02/16/31270/artist-flair-disruption-sounds-horns-la-traffic/&#xD;&#xA;&#xD;&#xA;And stay tuned For Zefrey's video which we'll have very shortly!&#xD;&#xA;&#xD;&#xA;For more information, please email me at hilary@hilarywhite.com, call me at 310-625-1608&#xD;&#xA;or send me a tweet at @hilwhite1&#xD;&#xA;&#xD;&#xA;Thanks! Glad you liked it. &#xD;&#xA;&#xD;&#xA;Hilary White" ContentLicense="CC BY-SA 3.0" />
  <row Id="20934" PostHistoryTypeId="2" PostId="12671" RevisionGUID="c4ca11d9-2515-4c01-8b03-6f5d00f34ffe" CreationDate="2012-02-18T21:30:12.233" UserId="1228" Text="GRM Tools and Metasynth are some others they probably used.  I'm pretty such Dane used both on The Matrix and I know GRM can create similar type sounds.  Probably lots of recorded servos and motor sounds that were made smaller too.  Fluttering is something they do a lot and Mondo Mod can be tweaked to make some pretty good flutter effects. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20935" PostHistoryTypeId="2" PostId="12672" RevisionGUID="6aec6b65-4514-4374-8733-27ab6b523256" CreationDate="2012-02-18T22:00:22.017" UserId="3086" Text="Hi, I'm working on my first Radio Spot and I'm not sure about the delivery specs.&#xD;&#xA;&#xD;&#xA;Of course the voice is in a mono track, but what about Music and FX? are the deliveries usually Mono or Stereo?, in case of being stereo I guess I should bounce them interleaved  right?&#xD;&#xA;&#xD;&#xA;My client had no idea what I was talking about when I asked him.&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="20936" PostHistoryTypeId="1" PostId="12672" RevisionGUID="6aec6b65-4514-4374-8733-27ab6b523256" CreationDate="2012-02-18T22:00:22.017" UserId="3086" Text="Radio Spot Spec Deliveires" ContentLicense="CC BY-SA 3.0" />
  <row Id="20937" PostHistoryTypeId="3" PostId="12672" RevisionGUID="6aec6b65-4514-4374-8733-27ab6b523256" CreationDate="2012-02-18T22:00:22.017" UserId="3086" Text="&lt;radio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20938" PostHistoryTypeId="2" PostId="12673" RevisionGUID="3308b781-982c-4021-bf94-34e605e489b7" CreationDate="2012-02-18T22:32:01.933" UserId="238" Text="I have never personally worked on a project for radio broadcast but I'm sure the standard output file would be a stereo interleaved wav file. However, you should pay particular attention to the level norms, which can vary somewhat from country to country. Your bounce would need to conform with the level norms (peaks and average levels) so I would make sure that you have clarification on this BEFORE you start your mix. I made the mistake once of mixing a project before realising that the broadcast norms were quite different form what I had used for my mix, and ended up having to re-mix the whole thing from scratch. &#xD;&#xA;&#xD;&#xA;[This article][1] should be pretty useful in getting your head around this if you haven't dealt with mixing for TV or radio before. If the client has no idea about the spec requirements, then you should diplomatically insist on finding who you can speak to in order to have the relevant info. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://transom.org/?p=16413" ContentLicense="CC BY-SA 3.0" />
  <row Id="20939" PostHistoryTypeId="2" PostId="12674" RevisionGUID="c1a24969-c6d2-48b3-b803-988ef0212d34" CreationDate="2012-02-19T00:26:26.217" UserId="3437" Text="Hi,&#xD;&#xA;&#xD;&#xA;Total newbie to sound design as its a new module im taking at university, so please bear with me :-)&#xD;&#xA;&#xD;&#xA;Basically, I'm looking to recreate the sound of a first person perspective(?) of someone sumbmerging in and out of water. I have been informed of the condom trick, however, this isn't really an option as the equipment doesn't belong to me and have been told doing this isn't an option in case something goes wrong.&#xD;&#xA;&#xD;&#xA;Is there any way of recreating this sound? I am currently using Pro Tools 8. &#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20940" PostHistoryTypeId="1" PostId="12674" RevisionGUID="c1a24969-c6d2-48b3-b803-988ef0212d34" CreationDate="2012-02-19T00:26:26.217" UserId="3437" Text="submerging/emerging from water" ContentLicense="CC BY-SA 3.0" />
  <row Id="20941" PostHistoryTypeId="3" PostId="12674" RevisionGUID="c1a24969-c6d2-48b3-b803-988ef0212d34" CreationDate="2012-02-19T00:26:26.217" UserId="3437" Text="&lt;water&gt;&lt;underwater&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20942" PostHistoryTypeId="2" PostId="12675" RevisionGUID="e7162d6f-d369-4817-b38b-7f90668f663f" CreationDate="2012-02-19T01:02:39.243" UserId="6669" Text="In your scenario, is this person jumping into the water or just gradually sinking in?&#xD;&#xA;&#xD;&#xA;If it's the former, consider the stages of what's happening to your character:&#xD;&#xA;&#xD;&#xA;* We hear above water ambiences as you establish that scene&#xD;&#xA;* There's a sharp crack as the body enters the water, while the ears are still above it&#xD;&#xA;* That initial crack blends into a more muted, rushing water sound as the ears plunge underwater&#xD;&#xA;* There's an ambience transition as the above-ground sounds basically disappear (except for any particularly loud / transient ones, like a clicking generator or something)&#xD;&#xA;* There's extra bubbling/fizz that rushes up as all the water around the character kind of settles once the movement's done&#xD;&#xA;&#xD;&#xA;If you have access to any decent libraries, I would really focus on finding the 'right' splash,  making sure it has a good stereo width to it and feels more like a first-person splash than the deep ker-SPLUNK of a rock getting tossed into a lake from a different microphone. That's going to be the biggest piece that sells the first-person perspective.&#xD;&#xA;&#xD;&#xA;Sweeping a low-pass filter (at 6-12dB per octave) down really quickly over some of the ambiences at the moment of submersion will help sell things, too. But it definitely won't get you all the way there so you should really have a totally separate bed of underwater ambiences that you can fade up.&#xD;&#xA;&#xD;&#xA;I dunno, I've generally found that things recorded underwater with a hydrophone rarely sound like that cinematic underwater sound we've come to expect. What you're really going to be looking for is the sound of water rushing from an underwater perspective, to play at that moment when you sink under.. I got some good results out of using a hydrophone in a toilet flush, you may not want to go that far.&#xD;&#xA;&#xD;&#xA;Also try ducking your head underwater (briefly, don't drown on us) and just counting up the layers of sound you hear. Try to identify stuff in each frequency range and get ideas for reconstructing them later. I'm almost positive there will be elements -- that omnipresent low rumbling, and the sound of bubbles, that you'll need to layer in there to sell the scene, in addition to whatever you want to record yourself.&#xD;&#xA;&#xD;&#xA;That all should be a reasonable start -- let me know how it goes, and good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20943" PostHistoryTypeId="2" PostId="12676" RevisionGUID="12d6ef28-960a-4f0e-859b-2b270f370b06" CreationDate="2012-02-19T05:25:09.040" UserId="3433" Text="Have the actors use the pins if they have to, but use something around the wire to protect it from the pin.  Electrical tape should do.&#xD;&#xA;&#xD;&#xA;I've never seen special pins before, but perhaps they exist. How many are the actors using?  They really only need one or two - the rest of the wire can be attached with surgical tape to the skin and that's much kinder to wires.  In fact, when I've worn one I used tape only - as long as the wire is taped to the back of the neck then firmly tape to the hairline you're good. I get the impression the actors may be overdoing it with the pins if the wires are getting mangled.&#xD;&#xA;&#xD;&#xA;Here is surg tape I like...&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/3M-Transpore-Tape-10-Box/dp/B000MILZ8G/ref=sr_1_10?ie=UTF8&amp;qid=1329628831&amp;sr=8-10&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20944" PostHistoryTypeId="2" PostId="12677" RevisionGUID="8181511d-3f2d-47a6-80ac-62d02d7f44e0" CreationDate="2012-02-19T07:48:07.207" UserId="253" Text="If you're concerned, definitely speak to someone at the radio station where your spot is to be aired. Maybe your client can refer you to whoever he's dealing with there. I did one a little while ago, and i mixed it to -3dB peak with a -20dB average in Phase Scope (set to BBC with 10 sec window). That seemed to work just fine.&#xD;&#xA;&#xD;&#xA;Just a stereo mix should be fine too.&#xD;&#xA;&#xD;&#xA;I did a bit of googling to see if there were any generic specs for radio spots, and the general consensus seems to be that you can drive by the radio station and shout the spot out the window, and they'll still find a way to put it on the air. It's money for them, right? Why should they make it difficult?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20945" PostHistoryTypeId="5" PostId="12673" RevisionGUID="a2a2f843-be8b-41da-bfe5-e1d7431d3065" CreationDate="2012-02-19T10:28:14.820" UserId="238" Comment="edited body" Text="I have never personally worked on a project for radio broadcast but I'm sure the standard output file would be a stereo interleaved wav file. However, you should pay particular attention to the level norms, which can vary somewhat from country to country. Your bounce would need to conform with the level norms (peaks and average levels) so I would make sure that you have clarification on this BEFORE you start your mix. I made the mistake once of mixing a project before realising that the broadcast norms were quite different from what I had used for my mix, and ended up having to re-mix the whole thing from scratch. &#xD;&#xA;&#xD;&#xA;[This article][1] should be pretty useful in getting your head around this if you haven't dealt with mixing for TV or radio before. If the client has no idea about the spec requirements, then you should diplomatically insist on finding who you can speak to in order to have the relevant info. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://transom.org/?p=16413" ContentLicense="CC BY-SA 3.0" />
  <row Id="20946" PostHistoryTypeId="2" PostId="12678" RevisionGUID="525a7fd9-0f25-4be1-9b57-1b05e0d59fe5" CreationDate="2012-02-19T10:33:19.280" UserId="238" Text="iZotope's Stutter Edit can also be used to create this flutter/stutter effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="20947" PostHistoryTypeId="5" PostId="12676" RevisionGUID="615a1f4c-d63a-43cf-b876-13eaa29274c2" CreationDate="2012-02-19T11:45:41.607" UserId="3433" Comment="added 247 characters in body" Text="Have the actors use the pins if they have to, but use something around the wire to protect it from the pin.  Electrical tape should do.&#xD;&#xA;&#xD;&#xA;I've never seen special pins before, but perhaps they exist. How many are the actors using?  They really only need one or two - the rest of the wire can be attached with surgical tape to the skin and that's much kinder to wires.  In fact, when I've worn one I used tape only - as long as the wire is taped to the back of the neck then firmly tape to the hairline you're good. I get the impression the actors may be overdoing it with the pins if the wires are getting mangled.&#xD;&#xA;&#xD;&#xA;Here is surg tape I like...&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/3M-Transpore-Tape-10-Box/dp/B000MILZ8G/ref=sr_1_10?ie=UTF8&amp;qid=1329628831&amp;sr=8-10&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;edit: http://livedesignonline.com/gear/0701-wireless-mics-toolkit/ she mentions a couple other 3m tapes.  Also I like her suggestion for an over the ear position for baldies ;).  I found this when I searching for methods I haven't tried yet.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20948" PostHistoryTypeId="2" PostId="12679" RevisionGUID="9472c85c-32b5-4fba-9d84-107558267c20" CreationDate="2012-02-19T11:59:23.557" UserId="3299" Text="As mentioned above, processing aside, it's around 50-odd discrete sound elements chained together. Here's a video on some of the sound effects work done on the film which may lend some clues: [&quot;Soundworks Collection&quot;][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/transformers3 " ContentLicense="CC BY-SA 3.0" />
  <row Id="20949" PostHistoryTypeId="2" PostId="12680" RevisionGUID="37291bc7-7be9-4802-a4d3-f8a59270863c" CreationDate="2012-02-19T12:03:59.783" UserId="3299" Text="Just off the top of my head, another possible way to do it would be to thread the lav wire through an elastic band, twist the band so it grips the wire, and then use hair pins to clips a loop of the elastic band to the hair. &#xD;&#xA;&#xD;&#xA;Just might be less troublesome than a tape/hair situation." ContentLicense="CC BY-SA 3.0" />
  <row Id="20952" PostHistoryTypeId="2" PostId="12682" RevisionGUID="abc72295-1086-4954-8c44-923ffe4ea366" CreationDate="2012-02-20T00:05:57.910" UserId="18160" Text="I'm sitting outside Starbucks coffee here at Hollywood and Highland on a rare day off thinking I was going to get some good crowd walla with a couple of binaurals, stealth-like.&#xD;&#xA;&#xD;&#xA;But, there is one problem. My recordings are being ruined around every corner by Lil' Wayne and T.I.&#xD;&#xA;&#xD;&#xA;By all means, crowds with indistinguishable music in the background are valuable, too, but I was looking for more along the lines of isolated crowd ambiences.&#xD;&#xA;&#xD;&#xA;Is there any fruitful source of large crowds around (where I am able to close-mic, i.e. walk through the crowd with binaurals) without my rap buddies following me?&#xD;&#xA;&#xD;&#xA;(Chuck, I know you were the one who originally told me that ambiences around a city were tough to do due to music, but surely you found something around town?)&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;Ryan " ContentLicense="CC BY-SA 3.0" />
  <row Id="20953" PostHistoryTypeId="1" PostId="12682" RevisionGUID="abc72295-1086-4954-8c44-923ffe4ea366" CreationDate="2012-02-20T00:05:57.910" UserId="18160" Text="Where to go in L.A. for stealth crowd - WITHOUT MUSIC" ContentLicense="CC BY-SA 3.0" />
  <row Id="20954" PostHistoryTypeId="3" PostId="12682" RevisionGUID="abc72295-1086-4954-8c44-923ffe4ea366" CreationDate="2012-02-20T00:05:57.910" UserId="18160" Text="&lt;stealth&gt;&lt;crowd&gt;&lt;ambience&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20955" PostHistoryTypeId="2" PostId="12683" RevisionGUID="9ef59495-c378-48d3-872f-18a2d90f068e" CreationDate="2012-02-20T03:26:34.940" UserId="194" Text="try any of the following:&#xD;&#xA;&#xD;&#xA; - museums&#xD;&#xA; - libraries&#xD;&#xA; - govt buildings&#xD;&#xA; - college campus hallways&#xD;&#xA;&#xD;&#xA;also check out organized high school events like band recitals and graduations.  They're never heavily produced, and there are often large chunks of time where you can get great walla as things are setting up or tearing down." ContentLicense="CC BY-SA 3.0" />
  <row Id="20956" PostHistoryTypeId="2" PostId="12684" RevisionGUID="8cace772-9f83-4ac1-8a5f-63dc3c4226f2" CreationDate="2012-02-20T03:34:37.900" UserId="3445" Text="The video is back online, it was removed errantly by Lion's Gate, I think their IP enforcer mistook it for the original scene (probably by only skipping through it and not paying attention).  @Utopia: that's the original actor's &quot;uhhhh&quot;, there is are only a few bits where I used original source audio, that's one of them.  He does &quot;ummm&quot; a few times in the scene." ContentLicense="CC BY-SA 3.0" />
  <row Id="20957" PostHistoryTypeId="2" PostId="12685" RevisionGUID="a12370b4-dc75-431f-80b8-a0ebb787fdbc" CreationDate="2012-02-20T03:57:35.797" UserId="6460" Text="It's interesting to hear you talk about your approach, thank you for sharing. I have found myself wanting the same effect in the past, especially when dealing with ADR, or really any alternate take that was recorded from a different perspective than what is on screen.&#xD;&#xA;&#xD;&#xA;My particular example, however, involved the production dialog. The shoot was a nighttime bonfire party scene, during which one of the main characters starts a fight. The music immediately goes off, everyone quiets down, and then the whole soundscape consists of two people yelling at each other, very quiet fire sounds and some insects —— i.e., the dialog was very naked. The location was a very open farm field, so I couldn't use reverb overtly. I wound up making a collection of aux tracks: &#xD;&#xA;&#xD;&#xA;• a slap delay (somewhere between 50 and 150 ms)&#xD;&#xA;• a convolution reverb with a small room IR (e.g., a closet or very small bedroom)&#xD;&#xA;• an outdoor conv. verb with a longer tail (e.g., forest or urban setting)&#xD;&#xA;&#xD;&#xA;I also put a PF send from the delay to the outdoor reverb. All of these sends were pre-fader so that I could balance everything with the faders.&#xD;&#xA;&#xD;&#xA;When I wanted the feeling of space I would send some balance of the original dialog and the slap delay to the outdoor verb. Usually, this was when the actors would leave long gaps between their words, or directly after a particularly loud shout. When I wanted to &quot;thicken&quot; the voices, I would send the dry signal to the small room reverb and bring it in to fill out the Left and Right channels as well as the Center (assuming 5.1). It was very subtle, but it made the voices feel &quot;wider&quot; across the screen.&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="20961" PostHistoryTypeId="2" PostId="12687" RevisionGUID="017c35f5-423a-4cfa-b792-c2a3f713d89a" CreationDate="2012-02-20T07:03:54.210" UserId="1237" Text="How do you think which fighting scene from all the movies or games has the best sound design?&#xD;&#xA;&#xD;&#xA;Mandatory conditions: only bare hands, no cold weapon, no magic power or any super power etc.&#xD;&#xA;&#xD;&#xA;I have one example. It's the scene from Bourne Ultimatum, when Bourne met agent Desh (watch from 1:08).&#xD;&#xA;&#xD;&#xA;[youtube]uLt7lXDCHQ0[/youtube]&#xD;&#xA;&#xD;&#xA;PS I guess this scene done mostly with foley. But who will say that foley it is not a sound deisgn? :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20962" PostHistoryTypeId="1" PostId="12687" RevisionGUID="017c35f5-423a-4cfa-b792-c2a3f713d89a" CreationDate="2012-02-20T07:03:54.210" UserId="1237" Text="Best hand-to-hand fight scene sound design" ContentLicense="CC BY-SA 3.0" />
  <row Id="20963" PostHistoryTypeId="3" PostId="12687" RevisionGUID="017c35f5-423a-4cfa-b792-c2a3f713d89a" CreationDate="2012-02-20T07:03:54.210" UserId="1237" Text="&lt;sound-design&gt;&lt;survey&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20964" PostHistoryTypeId="4" PostId="12687" RevisionGUID="5d528034-810f-4589-aa45-21199ad69d4e" CreationDate="2012-02-20T07:18:26.040" UserId="1237" Comment="edited title" Text="Best hand-to-hand fight scene" ContentLicense="CC BY-SA 3.0" />
  <row Id="20965" PostHistoryTypeId="2" PostId="12688" RevisionGUID="59f3e3ea-7255-44d3-858f-195ff1c687a4" CreationDate="2012-02-20T13:05:17.063" UserId="3433" Text="I've never rented before, so I'd like to know if anyone has had good experiences in the bay area.  I'd like to rent a few mics and field recorders and mixers to get some hands-on experience with a wide variety of equipment.  Field and location recording, sound effects etc is all new to me.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="20966" PostHistoryTypeId="1" PostId="12688" RevisionGUID="59f3e3ea-7255-44d3-858f-195ff1c687a4" CreationDate="2012-02-20T13:05:17.063" UserId="3433" Text="Can anyone recommend a good rental company near San Francisco?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20967" PostHistoryTypeId="3" PostId="12688" RevisionGUID="59f3e3ea-7255-44d3-858f-195ff1c687a4" CreationDate="2012-02-20T13:05:17.063" UserId="3433" Text="&lt;rental&gt;&lt;recommendations&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20968" PostHistoryTypeId="2" PostId="12689" RevisionGUID="3dcec238-fdba-4680-b9fb-ab7f869b9ed4" CreationDate="2012-02-20T13:37:31.200" UserId="6420" Text="The scene in The Matrix where Neo and Morpheus spar comes to mind " ContentLicense="CC BY-SA 3.0" />
  <row Id="20969" PostHistoryTypeId="5" PostId="12683" RevisionGUID="4485b5e0-ea3c-4085-867b-3e260c866c94" CreationDate="2012-02-20T14:37:05.850" UserId="194" Comment="added 36 characters in body" Text="try any of the following:&#xD;&#xA;&#xD;&#xA; - museums&#xD;&#xA; - libraries&#xD;&#xA; - govt buildings&#xD;&#xA; - college campus hallways&#xD;&#xA; - hospitals and medical buildings&#xD;&#xA;&#xD;&#xA;also check out organized high school events like band recitals and graduations.  They're never heavily produced, and there are often large chunks of time where you can get great walla as things are setting up or tearing down." ContentLicense="CC BY-SA 3.0" />
  <row Id="20970" PostHistoryTypeId="2" PostId="12690" RevisionGUID="6fb14542-dd5f-4377-a22e-768beec019da" CreationDate="2012-02-20T15:16:38.203" UserId="3433" Text="Holy cow, what fun! Loved the end of phase one, what a neat idea.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20971" PostHistoryTypeId="2" PostId="12691" RevisionGUID="48145485-3e89-4e49-8c9a-6621226b4746" CreationDate="2012-02-20T15:33:43.857" UserId="234" Text="For Dialog, I usually have two verbs - one for bigger spaces, one for smaller rooms (both heavily automated) plus an &quot;ambience&quot; send and a 200ms-ish delay all being fed by auxes. Adding a little reverb to the Dialog tracks is something I always do... it helps them share a space and smooths over changes in perspective and mic position immensely. I actually picked this technique up ages ago while on the dub stage at my first feature. The &quot;ambience&quot; send (basically just ER) is used for those times when I have a very dry lav on one character and a boom on another, to help even it out. Finally the delay is used either with the big verb to cover things like an arena (much of the show I'm doing now takes place in a hockey arena) and I will also use just a taste of it for exterior shots. If I can hear the distinct echos, then I've used too much (I also like to roll it off fairly heavily around 3 to 5k for exteriors). I've found it adds that feeling of space, without sounding artificial. I don't often use IR verbs for this, preferring the good old algorithmic type, although I will use IR's for FX design, and for matching ADR sometimes." ContentLicense="CC BY-SA 3.0" />
  <row Id="20972" PostHistoryTypeId="2" PostId="12692" RevisionGUID="5c5351af-6ab3-473a-a154-118126b2924b" CreationDate="2012-02-20T15:55:12.153" UserId="3438" Text="It was my output assignments.  They were still configured for Stereo Out instead of multiple outputs.  The TRS to XLR Hosa interconnect cable works perfect for connection to board.  Looks like I am set until the Digimax D8 comes in.  Then I will need to add the additional ins/outs.  Thanks for the tip." ContentLicense="CC BY-SA 3.0" />
  <row Id="20973" PostHistoryTypeId="2" PostId="12693" RevisionGUID="98edc532-c8da-47c4-99f2-9613e662311c" CreationDate="2012-02-20T16:47:23.060" UserId="3450" Text="Check out this remote app for the SM transmitters:&#xD;&#xA;&#xD;&#xA;iPhone - http://itunes.apple.com/us/app/lectrorm/id459947180?ls=1&amp;mt=8&#xD;&#xA;&#xD;&#xA;Android - https://market.android.com/details?id=com.newendian.android.LectroRM" ContentLicense="CC BY-SA 3.0" />
  <row Id="20974" PostHistoryTypeId="2" PostId="12694" RevisionGUID="6c6d0bb7-ddef-4350-b959-78dfd19af8fd" CreationDate="2012-02-20T17:34:52.490" UserId="29" Text="Maybe I'm a sucker for the more realistic stuff, but I thought the first sequence in The *Bourne Identity* and the rather (in)famous naked knife fight from *Eastern Promises* really split the difference between semi-realistic choreography and an aural balance of realistic vs. cinematic. On the less realistic side, for me, very little beats *Raging Bull* and *Fight Club*, for different reasons per film." ContentLicense="CC BY-SA 3.0" />
  <row Id="20975" PostHistoryTypeId="2" PostId="12695" RevisionGUID="d2d64977-e7ff-421c-8c82-7aa575e5541c" CreationDate="2012-02-20T17:39:50.013" UserId="3444" Text="Conant, you chose one of my favorites fighting scenes! With this type of intricacy, only a few come to mind. I like when they highlight the foley by removing or making music a secondary factor, this really brings the gruesome and raw nature of fighting. It allows us to create rhythm outside of bpm! Here's one of my favorites...&#xD;&#xA;&#xD;&#xA;[youtube] GXLfTv42T8A [/youtube]&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20976" PostHistoryTypeId="12" PostId="12695" RevisionGUID="0fee7c07-1600-44ea-b6ef-1cd926d38342" CreationDate="2012-02-20T17:40:34.253" UserId="3444" Text="[{&quot;Id&quot;:3444,&quot;DisplayName&quot;:&quot;Alexandre Saba&quot;}]" />
  <row Id="20977" PostHistoryTypeId="13" PostId="12695" RevisionGUID="2e618fe6-0604-41f6-88cb-2782902a0b95" CreationDate="2012-02-20T17:43:45.093" UserId="3444" Text="[{&quot;Id&quot;:3444,&quot;DisplayName&quot;:&quot;Alexandre Saba&quot;}]" />
  <row Id="20978" PostHistoryTypeId="5" PostId="12695" RevisionGUID="a0198fb6-74ad-4888-909b-54441289f746" CreationDate="2012-02-20T17:49:32.487" UserId="3444" Comment="deleted 2 characters in body" Text="Conant, you chose one of my favorites fighting scenes! With this type of intricacy, only a few come to mind. I like when they highlight the foley by removing or making music a secondary factor, this really brings the gruesome and raw nature of fighting. It allows us to create rhythm outside of bpm! Here's one of my favorites...&#xD;&#xA;&#xD;&#xA;[youtube]GXLfTv42T8A[/youtube]&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20979" PostHistoryTypeId="2" PostId="12696" RevisionGUID="dadb77e1-34a1-4b35-810a-56401d3f1d0f" CreationDate="2012-02-20T18:05:59.473" UserId="18160" Text="I really like the Saving Private Ryan scene where the German and American run out of ammo near the end of the movie and it's down to fists and eventually a knife. Very unnerving scene with foley.&#xD;&#xA;&#xD;&#xA;I also like the new Bond fist fights.&#xD;&#xA;&#xD;&#xA;But the one that I always loved was the fist fight between Indiana Jones and the super-huge bald German guy in front of the airplane getting ready to take off. The slap echoes Ben Burtt created for those punches were so unique that I pointed out to a friend that in the 4th installment (Crystal Skull) it sounded like they used the same exact punches, and they did!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="20980" PostHistoryTypeId="2" PostId="12697" RevisionGUID="2fe486b9-6589-47dd-8abf-33a1e52d66a2" CreationDate="2012-02-20T18:23:44.023" UserId="18160" Text="I, too, have used TL Space as my go-to reverb if the room isn't equipped with an M6000.&#xD;&#xA;&#xD;&#xA;I absolutely put on verb if the character is outside. A lot of people I've worked with don't realize that one of the largest surface areas that creates reflection is the ground or floor in a room. In this case, on a street there would definitely be some early reflections being created if you were talking to someone.&#xD;&#xA;&#xD;&#xA;I think the only place I would never put reverb on a voice mix would be on a large beach (far away from cliffs or trees, just sand for at least 100 yards) and possibly a meadow with taller grass. Other than that, early reflections add back a realism quality to a voice that you simply don't get with a dry lav recording.&#xD;&#xA;&#xD;&#xA;Check out the preset named &quot;Trillium Field&quot;. This is a good, realistic outside slapback.&#xD;&#xA;&#xD;&#xA;Since you mentioned you just now found the snapshot recall function, one thing I have noticed about TL Space snapshot recall is that the Pre-delay setting is subject to not recall 100% correctly each time. Keep an eye out for that. I also found that sometimes when you close and re-open a session, always make the plug-in instances inactive and active, and re-load each snapshot by cycling through them (not by scrolling your mouse and letting them load but actually click the &quot;Load&quot; button on the top right) because those that were stereo are suddenly mono sometimes. Over the last 6 years it's caused a lot of hardship with these little details." ContentLicense="CC BY-SA 3.0" />
  <row Id="20981" PostHistoryTypeId="5" PostId="12697" RevisionGUID="3abd2175-1c17-4905-94a6-47abc8994c31" CreationDate="2012-02-20T18:32:38.337" UserId="18160" Comment="added 64 characters in body; added 730 characters in body" Text="I, too, have used TL Space as my go-to reverb for almost 6 years now (that is, unless I have the privilege of using an M6000 - those things are sweet).&#xD;&#xA;&#xD;&#xA;I absolutely put on verb if the character is outside. A lot of people I've worked with don't realize that one of the largest surface areas that creates reflection is the ground or floor in a room. In this case, on a street there would definitely be some early reflections being created if you were talking to someone.&#xD;&#xA;&#xD;&#xA;I think the only place I would never put reverb on a voice mix would be on a large beach (far away from cliffs or trees, just sand for at least 100 yards) and possibly a meadow with taller grass. Other than that, early reflections add back a realism quality to a voice that you simply don't get with a dry lav recording.&#xD;&#xA;&#xD;&#xA;Check out the preset named &quot;Trillium Field&quot;. This is a good, realistic outside slapback.&#xD;&#xA;&#xD;&#xA;I also believe in spending a lot more time than just &quot;setting and forgetting&quot; reverb on a voice. Just walking around my studio in through the hallways, other rooms, niches, under chandeliers, etc. changes the reverb characteristic immensely and you don't get that with a static IR or algorithm. I like riding the reverb return and even changing the reverb mid-sentence as the actor is walking through a room or into another area outside (closer to a barn, building, near a tree, etc.) This is something I learned from Jay - I will print the verb on another track and crossfade it and mesh it where I want it to change that way. I hear this being done in movies quite a bit. I think it just adds more realism into the dialogue.&#xD;&#xA;&#xD;&#xA;Since you mentioned you just now found the snapshot recall function, one thing I have noticed about TL Space snapshot recall is that the Pre-delay setting is subject to not recall 100% correctly each time. Keep an eye out for that. I also found that sometimes when you close and re-open a session, always make the plug-in instances inactive and active, and re-load each snapshot by cycling through them (not by scrolling your mouse and letting them load but actually click the &quot;Load&quot; button on the top right) because those that were stereo are suddenly mono sometimes. Over the last 6 years it's caused a lot of hardship with these little details." ContentLicense="CC BY-SA 3.0" />
  <row Id="20982" PostHistoryTypeId="5" PostId="12697" RevisionGUID="805be85a-7202-424d-9874-9b97693993fd" CreationDate="2012-02-20T18:39:03.677" UserId="18160" Comment="added 206 characters in body" Text="I, too, have used TL Space as my go-to reverb for almost 6 years now (that is, unless I have the privilege of using an M6000 - those things are sweet).&#xD;&#xA;&#xD;&#xA;I absolutely put on verb if the character is outside. A lot of people I've worked with don't realize that one of the largest surface areas that creates reflection is the ground or floor in a room. In this case, on a street there would definitely be some early reflections being created if you were talking to someone.&#xD;&#xA;&#xD;&#xA;I think the only place I would never put reverb on a voice mix would be on a large beach (far away from cliffs or trees, just sand for at least 100 yards) and possibly a meadow with taller grass. Other than that, early reflections add back a realism quality to a voice that you simply don't get with a dry lav recording.&#xD;&#xA;&#xD;&#xA;Check out the preset named &quot;Trillium Field&quot;. This is a good, realistic outside slapback.&#xD;&#xA;&#xD;&#xA;I also believe in spending a lot more time than just &quot;setting and forgetting&quot; reverb on a voice. Just walking around my studio in through the hallways, other rooms, niches, under chandeliers, etc. changes the reverb characteristic immensely and you don't get that with a static IR or algorithm. I like riding the reverb return and even changing the reverb mid-sentence as the actor is walking through a room or into another area outside (closer to a barn, building, near a tree, etc.) This is something I learned from Jay - I will print the verb on another track and crossfade it and mesh it where I want it to change that way. I hear this being done in movies quite a bit. I think it just adds more realism into the dialogue.&#xD;&#xA;&#xD;&#xA;Since you mentioned you just now found the snapshot recall function, one thing I have noticed about TL Space snapshot recall is that the Pre-delay setting is subject to not recall 100% correctly each time. Keep an eye out for that. I also found that sometimes when you close and re-open a session, always make the plug-in instances inactive and active, and re-load each snapshot by cycling through them (not by scrolling your mouse and letting them load but actually click the &quot;Load&quot; button on the top right) because those that were stereo are suddenly mono sometimes. Over the last 6 years it's caused a lot of hardship with these little details. It's also helpful to checkerboard the reverb recalls with 2 instances of TL Space on the same Aux track and automating the bypass button when you want it to change (less likely to digitally snap that way)." ContentLicense="CC BY-SA 3.0" />
  <row Id="20989" PostHistoryTypeId="2" PostId="12700" RevisionGUID="5740fcf0-8e7d-4c37-a9ed-14367c955b40" CreationDate="2012-02-20T18:46:34.160" UserId="18160" Text="VER (Video Equipment Rentals) has a location in South San Francisco.&#xD;&#xA;&#xD;&#xA;I highly recommend this company." ContentLicense="CC BY-SA 3.0" />
  <row Id="20990" PostHistoryTypeId="5" PostId="12696" RevisionGUID="9ff92976-44b8-4b87-abe5-641a2eb146e7" CreationDate="2012-02-20T18:51:47.560" UserId="18160" Comment="added 191 characters in body" Text="I really like the Saving Private Ryan scene where the German and American run out of ammo near the end of the movie and it's down to fists and eventually a knife. Very unnerving scene with foley.&#xD;&#xA;&#xD;&#xA;I also like the new Bond fist fights.&#xD;&#xA;&#xD;&#xA;But the one that I always loved was the fist fight between Indiana Jones and the super-huge bald German guy in front of the airplane getting ready to take off. The slap echoes Ben Burtt created for those punches were so unique that I pointed out to a friend that in the 4th installment (Crystal Skull) it sounded like they used the same exact punches, and they did!!&#xD;&#xA;&#xD;&#xA;I'm surprised no-one mentioned the Mortal Kombat 2 punches! Those are the largest, most air-moving slams and hits I've ever heard (totally fake sounding of course, but they sound awesome)" ContentLicense="CC BY-SA 3.0" />
  <row Id="20991" PostHistoryTypeId="2" PostId="12701" RevisionGUID="dc274933-530d-4d4a-bfd7-894b65617ace" CreationDate="2012-02-20T20:26:37.367" UserId="3453" Text="Verite, essentially b-roll footage.  It isn't quite dialogue, but not FX either. &#xD;&#xA;&#xD;&#xA;I ( the sound effects editor)just received tracks from the dialogue editor that have zero verite tracks.  This has left HUGE holes in the film and (after being completely killed by &#xD;&#xA;this project) I feel like this isn't my responsibility.  &#xD;&#xA;&#xD;&#xA;** The doc was spotted on the idea that if it exists in the OMF..don't cut anything new.&#xD;&#xA;&#xD;&#xA;Thanks for any advice. " ContentLicense="CC BY-SA 3.0" />
  <row Id="20992" PostHistoryTypeId="1" PostId="12701" RevisionGUID="dc274933-530d-4d4a-bfd7-894b65617ace" CreationDate="2012-02-20T20:26:37.367" UserId="3453" Text="Doc Production...Verite - who is responsible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="20993" PostHistoryTypeId="3" PostId="12701" RevisionGUID="dc274933-530d-4d4a-bfd7-894b65617ace" CreationDate="2012-02-20T20:26:37.367" UserId="3453" Text="&lt;documentary&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20994" PostHistoryTypeId="2" PostId="12702" RevisionGUID="a7662e54-cf04-45af-8f69-a0ec4493ed24" CreationDate="2012-02-20T20:40:12.257" UserId="1216" Text="hmm, the dialogue editor didn't split out the sync sound effects to different tracks of the session? this is, in my humble opinion, what he should have done. (sorry for being captain hindsight). &#xD;&#xA;the advice: if you really haven't slept in days, take your responsibility and take a rest/break. nothing is more important than your health. let the team know about your situation and that you are/feel not responsible for this particular mess (i'd use other words in your case).&#xD;&#xA;in the meantime the dialogue editor should figure out a way to get the sync sound back in the session or hook you up with an omf that works for you.&#xD;&#xA;&#xD;&#xA;good luck and relax it's only work.&#xD;&#xA;&#xD;&#xA;arnoud&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="20996" PostHistoryTypeId="2" PostId="12703" RevisionGUID="0608bf3c-db26-45ef-acfd-5d20b333f732" CreationDate="2012-02-20T22:50:19.937" UserId="3455" Text="Dialogue editor is a slightly wrong naming for me. Production Sound Editor is a far better name. Your production sound editor should have prepared some sync sound for any clip where there is some that is useful.&#xD;&#xA;Marc Specter" ContentLicense="CC BY-SA 3.0" />
  <row Id="20997" PostHistoryTypeId="2" PostId="12704" RevisionGUID="adaa15bf-6299-4f75-a908-7dfb60c4c402" CreationDate="2012-02-20T23:37:40.960" UserId="18160" Text="If the dialogue is edited and all there and he thinks the responsibility isn't his for the verite tracks, you'll be the one who is hit for it.&#xD;&#xA;&#xD;&#xA;The audience only ever hears the final soundtrack - there are no notes about this type of thing in the credits: &quot;Dialogue editor screwed over Sound Effects editor so there were no sound effects in some places&quot;.&#xD;&#xA;&#xD;&#xA;I say it's still your responsibility as the &quot;Sound effects editor&quot;. If I received little to no verite tracks on a doc I was cutting FX for I'd replace them or put in new sounds to fill it out - unless this is one of those National Geographic &quot;has to have the real sounds of the elephants&quot; type gigs where you can't put new material in that easily. But if it's a car ambience, an outdoor wind ambience, by all means it's probably faster just to cut it newly. In the case of the National Geographic scenario, I'd talk to the supervisor and let him know what happened and suggest the dialogue editor either fixes it or somehow turns over something able to be worked with." ContentLicense="CC BY-SA 3.0" />
  <row Id="20998" PostHistoryTypeId="2" PostId="12705" RevisionGUID="9c9ec29c-0783-4c22-b306-e606e8b834bb" CreationDate="2012-02-21T00:22:05.700" UserId="29" Text="&#xD;&#xA;I'm surprised no one has mentioned Steve Reich's early work in this discussion! His tape loops drift in and out of sync, creating evolving harmonies, letting some words shift in emphasis over time, and tricks our ears into making up hybrid &quot;words&quot; as phonemes are juxtaposed and overlapped. Re-listening does pull out different relationships on each listen, although I'm not certain how to measure if 2 people are having similar or different perceptual experiences moment to moment, but in work that complex and weird, I'd bet they are. &#xD;&#xA;&#xD;&#xA;This isn't meant as a discrete answer, but rather the closest example I can possibly think of to Steve's original (excellent) question.&#xD;&#xA;&#xD;&#xA;I wonder if anyone has ever done a test wherein which of two channels are put into a side chain compressor, and then automate/interpolate/fade which signal is triggering the compressor and which is being compressed. Could be an interesting way to mess with figure-ground relationships over time." ContentLicense="CC BY-SA 3.0" />
  <row Id="20999" PostHistoryTypeId="2" PostId="12706" RevisionGUID="c365ac36-fb8d-4a67-b1e5-6e87d416b03c" CreationDate="2012-02-21T01:42:53.480" UserId="315" Text="Great suggestions above. When I lived in LA, I remember having luck recording music free crowds at:&#xD;&#xA;&#xD;&#xA; - The Venice Boardwalk &#xD;&#xA; - Beverly Center&#xD;&#xA; - The Hollywood Farmer's Market&#xD;&#xA; - Pasadena Flea Market&#xD;&#xA; - UCLA&#xD;&#xA; - Santa Monica Pier&#xD;&#xA; - Pretty much any non-hipster restaurant, since the trendy ones have DJs..." ContentLicense="CC BY-SA 3.0" />
  <row Id="21000" PostHistoryTypeId="2" PostId="12707" RevisionGUID="e8e26168-e7f0-4b97-ac5a-1b55aa0ee807" CreationDate="2012-02-21T02:00:29.830" UserId="3456" Text="Peace and mercy of Allah&#xD;&#xA;&#xD;&#xA;My problem with my H4N is when i start recording,without any sound in the room , the sound pointer  become very noisy during recording, so the recorded sound becomes very bad,&#xD;&#xA;&#xD;&#xA;sometimes noisy become in the left mic only :As in the picture&#xD;&#xA;&#xD;&#xA;  [1]: https://mail.google.com/mail/u/0/?ui=2&amp;ik=1cfe7f972b&amp;view=att&amp;th=1359d91ecc30cdb1&amp;attid=0.1&amp;disp=emb&amp;realattid=ii_1359d91c156ac623&amp;zw&#xD;&#xA;&#xD;&#xA;and sometimes it become in both mic:As in the picture&#xD;&#xA;&#xD;&#xA;  [2]: https://mail.google.com/mail/u/0/?ui=2&amp;ik=1cfe7f972b&amp;view=att&amp;th=1359d91ecc30cdb1&amp;attid=0.2&amp;disp=emb&amp;realattid=ii_1359d9141718b119&amp;zw&#xD;&#xA;&#xD;&#xA;by using external mic, the problem is disappear, but i want the internal mic&#xD;&#xA;&#xD;&#xA;i want you to determine the cause of the problem and solved&#xD;&#xA;Please note that I use this device for recording lessons and lectures.&#xD;&#xA;and it's very important to me&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I expect from you distinctive and fast answer &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Please accept my thanks in advance&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21001" PostHistoryTypeId="1" PostId="12707" RevisionGUID="e8e26168-e7f0-4b97-ac5a-1b55aa0ee807" CreationDate="2012-02-21T02:00:29.830" UserId="3456" Text="my h4n noise problem" ContentLicense="CC BY-SA 3.0" />
  <row Id="21002" PostHistoryTypeId="3" PostId="12707" RevisionGUID="e8e26168-e7f0-4b97-ac5a-1b55aa0ee807" CreationDate="2012-02-21T02:00:29.830" UserId="3456" Text="&lt;zoom-h4n&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21003" PostHistoryTypeId="2" PostId="12708" RevisionGUID="1770bdda-327a-43a1-8c93-bfe405cd81c8" CreationDate="2012-02-21T04:38:52.783" UserId="6669" Text="The Barnes and Noble cafe at Union Square in NYC has an upstairs area full of din and without any music. I was kicking myself for not having my H2 with me the day I did Christmas shopping..&#xD;&#xA;&#xD;&#xA;Anyways, a bookstore might work!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21004" PostHistoryTypeId="2" PostId="12709" RevisionGUID="374b8c18-2832-4f6e-83ba-53c31b4ceb66" CreationDate="2012-02-21T04:47:53.963" UserId="6669" Text="Any of the basement fights in Fight Club are pretty great! The sounds as Edward Norton's character is beating Jared Leto's face into the pavement.. I get squeamish just thinking about that scene." ContentLicense="CC BY-SA 3.0" />
  <row Id="21006" PostHistoryTypeId="2" PostId="12711" RevisionGUID="31afffd6-5220-416b-9c1d-ae0c2b7fd05f" CreationDate="2012-02-21T04:55:30.323" UserId="1035" Text="I'm reminded of Sonnenschein's idea of sound spheres. I still need to read all of his published writing on the subject more in depth, but the general idea appears to be focused around how our perception of a sound influences and is influenced by our level of awareness of its context. &#xD;&#xA;&#xD;&#xA;Leaving academia behind, I often think of personal experiences I've had with mistaken sound. One morning outside a gas station, amidst the beginnings of traffic rumble, bird ambience and light walla, I heard what seemed to be a woman's scream. I turned, alarmed at first, only to see that the source of the sound was really an industrial vacuum. &#xD;&#xA;&#xD;&#xA;In terms of horror and thriller films, I think this device has been used quite a bit through the years, though it's frequently heavy handed and almost becomes a cliche (yet somehow all film examples slip my mind - funny how cliches work like that). But I think there's still room for experimentation with the technique.&#xD;&#xA;&#xD;&#xA;Another personal experience, I was sitting in a museum and became aware of a layer of sound hiding just below the general &quot;fill&quot;. It seemed like water droplets on a skylight from within a house. I slowly began to walk towards where the sound appeared to be coming from, and gradually realized that it was coming from an air vent. As I moved closer, the proximity effect began to take place, but my overall perception of the sound was also altered as I discovered its source. Initially, I had associated the sound with liquid and transparency, and suddenly I was hearing the sound as metal on metal and air pushing dense materials.&#xD;&#xA;&#xD;&#xA;I'm not entirely sure of how recreating this moment could be used in terms of narrative structure, but it was still interesting in revealing to me that the sound source reveal could be used in more subtle ways apart from horror misdirection." ContentLicense="CC BY-SA 3.0" />
  <row Id="21008" PostHistoryTypeId="2" PostId="12712" RevisionGUID="455fd1a1-4c04-4832-a4ff-84686af7f2f2" CreationDate="2012-02-21T11:14:16.177" UserId="845" Text="Hey Dude(ette)s,&#xD;&#xA;&#xD;&#xA;I'm going down to London tomorrow and will be there for a few days.&#xD;&#xA;&#xD;&#xA;Anybody know of any interesting sounding places to visit?  Galleries, museums, train stations, underpasses? General London soundmarks?&#xD;&#xA;&#xD;&#xA;Anything you can think of, really.&#xD;&#xA;&#xD;&#xA;Hugz." ContentLicense="CC BY-SA 3.0" />
  <row Id="21009" PostHistoryTypeId="1" PostId="12712" RevisionGUID="455fd1a1-4c04-4832-a4ff-84686af7f2f2" CreationDate="2012-02-21T11:14:16.177" UserId="845" Text="Sonically Interesting Places In London" ContentLicense="CC BY-SA 3.0" />
  <row Id="21010" PostHistoryTypeId="3" PostId="12712" RevisionGUID="455fd1a1-4c04-4832-a4ff-84686af7f2f2" CreationDate="2012-02-21T11:14:16.177" UserId="845" Text="&lt;london&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21011" PostHistoryTypeId="2" PostId="12713" RevisionGUID="78d08548-9422-4b20-97ad-6c5e99b2076c" CreationDate="2012-02-21T12:00:23.547" UserId="6432" Text="Good call, &#xD;&#xA;&#xD;&#xA;The Tate modern turbine hall springs to mind for large acoustic spaces, as does St Paul's cathedral and the O2 (millennium dome)&#xD;&#xA;&#xD;&#xA;The water fountains (if they're running) and general ambiance of the square at the Barbican  &#xD;&#xA;&#xD;&#xA;Trains coming into underground stations sound great - be covert about this though as you usually need permission&#xD;&#xA;&#xD;&#xA;Borough market with the trains rumbling overhead&#xD;&#xA;&#xD;&#xA;Perhaps there are more ideas at the [London sound survey][1], you might even want to contribute?&#xD;&#xA;&#xD;&#xA;You could also visit [Longplayer][2] if you're here at the weekend&#xD;&#xA;&#xD;&#xA;Will add more if I think of them, &#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundsurvey.org.uk/index.php/london_map/intro/&#xD;&#xA;  [2]: http://longplayer.org/what/overview.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="21012" PostHistoryTypeId="2" PostId="12714" RevisionGUID="5188464d-7c39-4c0a-90e5-f8f4726f51d9" CreationDate="2012-02-21T12:09:25.177" UserId="1090" Text="The internal mics are pretty noisy, but they shouldn't be that noisy that you can't use the sound recorded. Is there perhaps a ventilation system in the rooms? Also, what is your recording level? Perhaps you're recording too loud or maybe listening too loud. Was there an attached image? I didn't see any&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21013" PostHistoryTypeId="2" PostId="12715" RevisionGUID="af7edcdf-bdfa-4cee-9f4e-48caec9df735" CreationDate="2012-02-21T12:33:19.537" UserId="432" Text="I'm going to echo other people in their love of Fight Club. To be honest though, my favorite fights are the early outdoor ones between &quot;Jack&quot; and &quot;Tyler.&quot; They're perfectly understated in terms of sound design, and really give the impression that the two of them have no clue what they're doing.&#xD;&#xA;&#xD;&#xA;On the other end of the spectrum, I love how over the top the fight scenes are in Scott Pilgrim Vs. The World. The first fight with Matthew Patel is awesome!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21014" PostHistoryTypeId="5" PostId="12630" RevisionGUID="d5db5981-9fae-4152-b39c-46896949e3c8" CreationDate="2012-02-21T13:42:13.883" UserId="6519" Comment="added 1 characters in body" Text="I made shotgun microphone comparison table which can be useful before buying.&#xD;&#xA;I try to update it continuously.&#xD;&#xA;[Shotgun microphones comparison][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://membrans.hu/index.php?option=com_content&amp;view=article&amp;id=23&amp;Itemid=2" ContentLicense="CC BY-SA 3.0" />
  <row Id="21015" PostHistoryTypeId="2" PostId="12716" RevisionGUID="9ff5362c-0699-47a3-9893-7eb472688112" CreationDate="2012-02-21T19:33:31.247" UserId="2906" Text="Hi!&#xD;&#xA;&#xD;&#xA;As someone said above, P's and B's are great points of sync. If the animation is close enough,  you should place the very beginning of the &quot;P&quot; sound in the first frame the characters' lips are preparing for this letter. Vowels, most of all &quot;A&quot; and &quot;O&quot; are probably the best for stretching.&#xD;&#xA;I advise you, if you haven't went through yet, Jay Rose's Audio Post-Production for Film and Video.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="21016" PostHistoryTypeId="2" PostId="12717" RevisionGUID="747a777b-dc85-4cfa-bbee-22981186d4a5" CreationDate="2012-02-21T21:49:39.553" UserId="238" Text="**Market Ambiances:**&#xD;&#xA;&#xD;&#xA;Borough Market on Fridays or Saturdays.&#xD;&#xA;&#xD;&#xA;Columbia Road Flower Market - Sundays (awesome &quot;five geraniums for a fiver&quot; type cries in a cockney accent).&#xD;&#xA;&#xD;&#xA;Portobello Road market - Saturday.&#xD;&#xA;&#xD;&#xA;**Transport**&#xD;&#xA;&#xD;&#xA;Around borough market, but not on market day, there is the London Bridge trainline which passes overhead.&#xD;&#xA;&#xD;&#xA;Embankment (same kind of effect).&#xD;&#xA;&#xD;&#xA;London taxis - perhaps the iconic sound will one day be extinct!&#xD;&#xA;&#xD;&#xA;**Others**&#xD;&#xA;&#xD;&#xA;Southbank - people, riverside opportunities&#xD;&#xA;&#xD;&#xA;London wetland centre for some bird action.&#xD;&#xA;&#xD;&#xA;All museums are free - often a great place for crowd wallas without music.&#xD;&#xA;&#xD;&#xA;Hampstead Heath - awesome park!&#xD;&#xA;&#xD;&#xA;And last, but not least...**BIG BEN!!!!!**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21017" PostHistoryTypeId="2" PostId="12718" RevisionGUID="d7c3e16a-8fb4-4cee-b20f-b43e275c1ef2" CreationDate="2012-02-21T23:28:11.037" UserId="3396" Text="My oh my, pretty tough f*cking audience. Having worked on all the &quot;Bourne&quot; movies I can tell you that the bulk of this fight was cut FX and not foley. Done by my friend the brilliant Dino DiMuro. The goal was no &quot;Van Damme&quot;, no &quot;John Wayne&quot;, no &quot;John Woo&quot;... it was realism. I'm going to defend those whooshes and swishes. They add speed, danger and a feeling that these guys are lethal trained fighters. When you're not rocking the sub Rocky-style it's a great flavor. I think he did a great job (was this one the Oscar winner? I can never keep them straight). &#xD;&#xA;&#xD;&#xA;You get 10 editor/designers to cut a fight and they'll each do it differently, just as you all have different opinions about what you think is good. You have to please the director, the picture editor, the mixers and yourself and then take notes from studio executives. Lucky for us the execs on these were savvy smart people starting with Frank Marshall on down the line. Feature film sound is truly a collaborative art. The final result goes through many filters. Often your original vision is diluted, altered or neutered. I think in this case Dino hit it on the nose.&#xD;&#xA;&#xD;&#xA;I was gonna show this to Dino but then I thought, nope ... it'll just piss him off (picture a smiley face made with punctuation marks here).&#xD;&#xA;&#xD;&#xA;As ever, Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="21018" PostHistoryTypeId="2" PostId="12719" RevisionGUID="901d346a-1f59-4cdb-84b5-f7a25fa167d1" CreationDate="2012-02-22T03:21:51.207" UserId="6499" Text="Hey all,&#xD;&#xA;&#xD;&#xA;So I got a small little Wacom Tablet for Christmas and Am finally getting around to trying to see how I can use it other than a penmouse :).  How are you all using tablets to control things In PT or Nuendo.  Im trying to find ways to kind of open up happy accidental sound creation.  I have seen videos on how kyma x integrates a tablet and thought maybe I could link it to mess with plugins and things in PT.  Any tips? Any 3rd party programs that allow you to use it in a non standard manner?&#xD;&#xA;&#xD;&#xA;I am trying to isolate it as some kind of controller in PT rather than have it move my mouse cursor, that way I can use my trackball for cursor and tablet for manipulation etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="21019" PostHistoryTypeId="1" PostId="12719" RevisionGUID="901d346a-1f59-4cdb-84b5-f7a25fa167d1" CreationDate="2012-02-22T03:21:51.207" UserId="6499" Text="Using Wacom with PT " ContentLicense="CC BY-SA 3.0" />
  <row Id="21020" PostHistoryTypeId="3" PostId="12719" RevisionGUID="901d346a-1f59-4cdb-84b5-f7a25fa167d1" CreationDate="2012-02-22T03:21:51.207" UserId="6499" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21021" PostHistoryTypeId="2" PostId="12720" RevisionGUID="ff49d29c-90d8-4a33-900b-c91108201dad" CreationDate="2012-02-22T04:58:14.430" UserId="18160" Text="Might be cool to somehow record the changing of the guard at buckingham palace. I saw it when I was 8 years old, so don't take my word for it, but I remember the crowd was silent and the guards would yell out commands. Might be cool to get them." ContentLicense="CC BY-SA 3.0" />
  <row Id="21022" PostHistoryTypeId="2" PostId="12721" RevisionGUID="787e2c56-430e-4f78-bec3-59f0ad660394" CreationDate="2012-02-22T05:04:32.067" UserId="6499" Text="Just found a little program called Wmidi.  Takes wacom tablet signals and converts them into midi.  Now to see what I can do with that." ContentLicense="CC BY-SA 3.0" />
  <row Id="21023" PostHistoryTypeId="2" PostId="12722" RevisionGUID="a2e5f5a0-7c03-404f-b011-96d0f9045069" CreationDate="2012-02-22T05:43:45.003" UserId="1237" Text="I don't know about PT, but in Nuendo with quick controls (it's the thing where you can very quickly assign any vst parameters to selected midi controller) Intuos 4 become some sort of magic wand,  because you can control four parameters simultaneously with one hand: X/Y, pressure and pen incline as the fourth.&#xD;&#xA;&#xD;&#xA;imho the incline of the pen is an uncomfortable controller for the midi-messages and therefore you can save your money and buy Bamboo Pen and still control three parameters at one time." ContentLicense="CC BY-SA 3.0" />
  <row Id="21024" PostHistoryTypeId="2" PostId="12723" RevisionGUID="fc719276-47f5-4694-a467-1eac962bf3cf" CreationDate="2012-02-22T06:22:53.233" UserId="1228" Text="I've had some success at the SM Pier like Justin.  Funny cuz I just did a show with a long scene taking place at that pier and my field recordings from there was the only thing that really fit the bill as the primary crowd layer in the BGz.&#xD;&#xA;&#xD;&#xA;Hollywood &amp; Highland is a pretty good place too where I've had some success, especially in the Plaza next to the (former) Kodak Theater - but even inside that hallway there's cool reflections too for crowd washes!&#xD;&#xA;&#xD;&#xA;Griffith Observatory, fantastic outdoor crowds with great acoustics, indoors there's nice activity too albeit slightly verby in a lot of places, but pleasant sounding nonetheless.  &#xD;&#xA;&#xD;&#xA;My favorite though is the Getty Center, ridiculously cool crowd murmurs and shuffle that are hard to arrange a mock session for.  And all of the rooms in the wings sound so vastly different.  There's an awesome room there that's dampened so much and so well you'd think it was a sound editing suite, but the nearly-dry foot shuffles/scuffs on wood and whispers are priceless.  Go Saturday nights after 5, when admission is free and it's usually packed to gills with people.  We ought ot make it joint sound recording filed trip  - I need more source from there  too ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21025" PostHistoryTypeId="5" PostId="12662" RevisionGUID="ad1af3be-4b2c-4c14-8e13-4e1a953dd5c8" CreationDate="2012-02-22T06:49:44.240" UserId="1228" Comment="added 338 characters in body" Text="While in the midst of a dialogue premix, I've been playing around with this Snapshot feature on TLSpace I never knew existed.  Has made verbing so much quicker and easier now especially for recurring locations - in fact I wish I knew this for the past 4 years ;)&#xD;&#xA;&#xD;&#xA;It has been nice to add just a touch of verb to interior scenes, with Snapshot settings matching the right feel and timbre of the space (some having a short pre-delay slap of a living room IR for an apartment,  and a longer pre-delay with a slap back late delay of a garage for a big empty club/bar location that has high ceilings etc).&#xD;&#xA;&#xD;&#xA;But when it comes to exterior spaces, I'm curious what some of you have done (or not done) regarding verbing the premix chain.  I ask because when I have always added just a touch of verb to the dialogue ('a touch' meaning that in the case of TL Space, I'm running a ratio of 0dB Dry, -25 to -30dB wet) it seems to round it out with some warmth and make it pop, almost in that it diminishes the slightly flat sound that results from running prudent/conservative broadband Noise suppression (a la Cedar, C4, etc).  In other words, just enough reverb to give some life and space back to the now-clean dialogue but not enough verb that you're hearing it as &quot;oh my good, there's reverb in here!&quot;.&#xD;&#xA;&#xD;&#xA;But then comes exterior spaces  Something still sounds flat about raw dialogue even against BGz when it's fully dry.   I have normally left it alone because it seems that in most exterior locations it feels natural that the dialogue doesn't react with the space (for example, on a mountain trail overlooking the city).  But in spaces where we do naturally have slap-happy interactions like an alley or such, I did recently play with a dark plate verb I found and fit the bill.  For seem reason, even that touch of it was enough to bring life to the exterior dialogue that the other dry exteriors didn't quite have.&#xD;&#xA;&#xD;&#xA;So it brings me to the question of those who mix dialogue - have you experienced this 'sparkling' effect with how reverbs react with production in a pleasant way, and as such, do you tend to always add a tinge of verb to all of production regardless of interior or exterior (while of course choosing the right IR and parameters that feel correct for the type of space).  Or do you find exterior verbing a waste of time/no benefit to the luster of the production track and just roll with it dry on exteior unless we're in an appropriately-reverberant space (e.g. an alley)?&#xD;&#xA;&#xD;&#xA;There isn't a right or wrong answer here, just seeking opinions and experiences of others.  Thanks!&#xD;&#xA;&#xD;&#xA;**NOTE:** My signal flow: DX EDIT TRACKS =&gt; SIDECHAIN (EQ, Comp, Noise Suppress, DeEss, etc) =&gt; DX Submaster (sometimes I run the verb insert on this, sometimes I feed the Sidechain to an Aux Send for verb and feed that to sum into the Submaster - depends on a case by case).  So ultimately, my verb is always at the tail end of my chain before the DX signal hits the stem print track.  if this at all helps visualize.&#xD;&#xA;&#xD;&#xA;**I think my question may be slightly mus-interpreted, although I appreciate the responses so far they've been great to read and learn about.  I'm asking more though about &quot;why&quot; verbing Exteriors (beyond the obvious verby spaces) could be useful or a waste of time on helping/hindering the dialogue track, versus the &quot;how&quot;.  Thanks!**&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21026" PostHistoryTypeId="2" PostId="12724" RevisionGUID="b7d3fcf6-1c31-4115-ae80-13ac3fb5b519" CreationDate="2012-02-22T10:14:56.160" UserId="3461" Text="Greenwich Foot Tunnel its a nice echo space..." ContentLicense="CC BY-SA 3.0" />
  <row Id="21027" PostHistoryTypeId="5" PostId="12713" RevisionGUID="bbcb81e6-e545-4f90-82a1-11363bdf1d58" CreationDate="2012-02-22T10:19:14.700" UserId="6432" Comment="added 754 characters in body" Text="Good call, &#xD;&#xA;&#xD;&#xA;The Tate modern turbine hall springs to mind for large acoustic spaces, as does St Paul's cathedral and the O2 (millennium dome)&#xD;&#xA;&#xD;&#xA;The water fountains (if they're running) and general ambiance of the square at the Barbican  &#xD;&#xA;&#xD;&#xA;Trains coming into underground stations sound great - be covert about this though as you usually need permission&#xD;&#xA;&#xD;&#xA;Borough market with the trains rumbling overhead&#xD;&#xA;&#xD;&#xA;Perhaps there are more ideas at the [London sound survey][1], you might even want to contribute?&#xD;&#xA;&#xD;&#xA;You could also visit [Longplayer][2] if you're here at the weekend&#xD;&#xA;&#xD;&#xA;Will add more if I think of them, &#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT: A few more ideas.. this is starting to turn into my to do list! &#xD;&#xA;&#xD;&#xA;There's a dedicated sound art gallery opened recently called [SoundFjord][3]. I've been meaning to get there myself. A bit out of the way, but there's an exhibition on till Friday 22nd. &#xD;&#xA;&#xD;&#xA;For markets there's also Smithfield meat market, Billingsgate fish market and Columbia Road flower market. These are more wholesale markets so probably sound a bit more industrial. These are all indoors.&#xD;&#xA;&#xD;&#xA;The science museum currently have the [oramics machine][4] which was part of the BBC Radiophonic Workshop. It's a small display, but it's an interesting museum anyway.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundsurvey.org.uk/index.php/london_map/intro/&#xD;&#xA;  [2]: http://longplayer.org/what/overview.php&#xD;&#xA;  [3]: http://www.soundfjord.org/&#xD;&#xA;  [4]: http://www.sciencemuseum.org.uk/visitmuseum/galleries/oramics.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="21028" PostHistoryTypeId="2" PostId="12725" RevisionGUID="959c88b3-0764-459d-b2d7-04fc9230aaf2" CreationDate="2012-02-22T15:28:09.013" UserId="527" Text="I am on a mac with a litte piece of software called OSCulator ([http://www.osculator.net/][1])&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.osculator.net/&#xD;&#xA;&#xD;&#xA;It is free to try, and cheap to buy.  This was proven to be the easiest solution for me. Just press the caps lock key and the wacom stops being a mouse and starts sending midi data. &#xD;&#xA;&#xD;&#xA;I have used this with Reaktor and Alchemy with some pretty cool results.&#xD;&#xA;&#xD;&#xA;Hope this helps. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21029" PostHistoryTypeId="2" PostId="12726" RevisionGUID="298f1a86-97c2-4d91-9fc9-ebfdc4c7479d" CreationDate="2012-02-22T15:29:01.340" UserId="3462" Text="Hi All,&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I recently finished my first soundset for DSI Evolvers (Trance/Progressive Soundset). I tried to use all of its features to make really fat sounds, even unison-style presets on a mono Evolver.&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=OCCm00KESUk&amp;fmt=18][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=OCCm00KESUk&amp;fmt=18&#xD;&#xA;&#xD;&#xA;I definitely love and recommend this synthesizer.&#xD;&#xA;Regards,&#xD;&#xA;&#xD;&#xA;Miksa&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21030" PostHistoryTypeId="2" PostId="12727" RevisionGUID="db9b6bb5-92d6-4282-acc3-c630e7f097ee" CreationDate="2012-02-22T16:11:18.563" UserId="3444" Text="At first it kind of through me off, the ambience is too loud and the dialogue attenuation is pumping. However I'm beginning to think it's a creative decision, a very bold one, but none the least. The whole series comes off as b-list and has a certain production charm imo... and this plays right along with it. Perhaps they're trying to come off as a bit cheesy, hell it's about a zombie apocalypse!&#xD;&#xA;&#xD;&#xA;If definitely has it's own sound and that in itself is an accomplishment, with so many cookie cutter series playing it safe&#xD;&#xA;&#xD;&#xA;ps Kudos to the zombie vocal designer!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21031" PostHistoryTypeId="2" PostId="12728" RevisionGUID="7c55bc98-c626-45a2-b3ca-4c9931b39ea2" CreationDate="2012-02-22T20:41:29.697" UserId="587" Text="I was in a debate with some game designers I work with about the best archiving format.&#xD;&#xA;&#xD;&#xA;What it inevitably came down to was a really dumb test, in which the results were futile in producing a winner since all archive formats compress different kinds of data differently anyway.&#xD;&#xA;&#xD;&#xA;They use .7z for their game data archiving when I have always just used .zip or .rar (which I was chastised for being too 1990's)&#xD;&#xA;&#xD;&#xA;For example - movie files, .7z actually produces a higher file size than the folder containing the movies that its archiving. However, for the programmers needs, it crams it into a nice little file size.&#xD;&#xA;&#xD;&#xA;**So my question is:**&#xD;&#xA;&#xD;&#xA;Whats the best archiving format for STRICTLY audio? Whats our format for squeezing every little last bit of space? Whats our .7z?&#xD;&#xA;&#xD;&#xA;If anyone wants to see the community source list of formats - just check the wiki:&#xD;&#xA;http://en.wikipedia.org/wiki/List_of_archive_formats&#xD;&#xA;&#xD;&#xA;- C3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21032" PostHistoryTypeId="1" PostId="12728" RevisionGUID="7c55bc98-c626-45a2-b3ca-4c9931b39ea2" CreationDate="2012-02-22T20:41:29.697" UserId="587" Text="Space Saving Archive Format" ContentLicense="CC BY-SA 3.0" />
  <row Id="21033" PostHistoryTypeId="3" PostId="12728" RevisionGUID="7c55bc98-c626-45a2-b3ca-4c9931b39ea2" CreationDate="2012-02-22T20:41:29.697" UserId="587" Text="&lt;archive&gt;&lt;compression&gt;&lt;format&gt;&lt;filesize&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21034" PostHistoryTypeId="2" PostId="12729" RevisionGUID="ff81b7bb-6498-4ccd-a578-c1559e9cc1b5" CreationDate="2012-02-22T21:15:44.873" UserId="1228" Text="StuffIt's SITX has algorithms for compressing uncompressed audio formats built into their format, and I've known a lot of people who use it when Digidelivery/Aspera isn't an option and we have to resort to FTP et al.&#xD;&#xA;&#xD;&#xA;Luckily they are now Win and Mac (used to be Mac only), so it's become a universal format, although not quite as deeply-compatible as say ZIP, which almost all OS formats can natively decopmress (if not also compress)." ContentLicense="CC BY-SA 3.0" />
  <row Id="21035" PostHistoryTypeId="2" PostId="12730" RevisionGUID="66e25e3f-36a0-4e1d-8c4a-e8774d83ac94" CreationDate="2012-02-23T01:47:18.283" UserId="2906" Text="Hi everyone!&#xD;&#xA;&#xD;&#xA;I'm working on a project in which the interior scenes have 2 different perspectives: 2 men sitting at a table close to the exit door (always shut) and 1 man sitting at the bar listening to their conversation, less closer to the door.&#xD;&#xA;I've lay a subtle background for the exterior for start and been playing a bit with its volume automation. I tried first to cut 3 dB whenever the man in the bar appears but this turned out confusing. I'm trying now to use volume background depending on which sensations we want to provoke, growing up as the story moves along.&#xD;&#xA;&#xD;&#xA;I wonder how you use to manage this kind of balance with backgrounds! " ContentLicense="CC BY-SA 3.0" />
  <row Id="21036" PostHistoryTypeId="1" PostId="12730" RevisionGUID="66e25e3f-36a0-4e1d-8c4a-e8774d83ac94" CreationDate="2012-02-23T01:47:18.283" UserId="2906" Text="Background interiors with different perspectives" ContentLicense="CC BY-SA 3.0" />
  <row Id="21037" PostHistoryTypeId="3" PostId="12730" RevisionGUID="66e25e3f-36a0-4e1d-8c4a-e8774d83ac94" CreationDate="2012-02-23T01:47:18.283" UserId="2906" Text="&lt;background&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21038" PostHistoryTypeId="2" PostId="12731" RevisionGUID="13af70be-8d2a-4b56-96ad-4633724b06ea" CreationDate="2012-02-23T06:10:24.093" UserId="1228" Text="Usually a change in the crowd density/textures, as well as underying tones (such as a fridge compressor type sound up by the bar maybe, and over by the exit play with tones for the fluorescent lights (if thre are any), or sounds evocative of a bathroom offstage.  Usually for something like this I'll cut a continuous A side with all of the global tones/sounds carrying the entire length of the scene, then use the bottom of the A side (along with the available B side) to checkerboard the hard POV splits for the specific POV-shifting sounds like crowd wallas and tones.  Hopefully that helps answer the question at least as one opinion of how it can be done." ContentLicense="CC BY-SA 3.0" />
  <row Id="21039" PostHistoryTypeId="2" PostId="12732" RevisionGUID="60500a5c-7e8a-4e51-ace7-3b370963eaca" CreationDate="2012-02-23T07:07:24.370" UserId="3093" Text="Hey there!anyone knows of any site where companies regularly post interniship or job positions required?&#xD;&#xA;&#xD;&#xA;United states-Canada-&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="21040" PostHistoryTypeId="1" PostId="12732" RevisionGUID="60500a5c-7e8a-4e51-ace7-3b370963eaca" CreationDate="2012-02-23T07:07:24.370" UserId="3093" Text="Internship seeker :P" ContentLicense="CC BY-SA 3.0" />
  <row Id="21041" PostHistoryTypeId="3" PostId="12732" RevisionGUID="60500a5c-7e8a-4e51-ace7-3b370963eaca" CreationDate="2012-02-23T07:07:24.370" UserId="3093" Text="&lt;internships&gt;&lt;site&gt;&lt;jobs&gt;&lt;job&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21042" PostHistoryTypeId="2" PostId="12733" RevisionGUID="22ee9df5-b327-4521-a8b4-697241badb78" CreationDate="2012-02-23T12:36:06.827" UserDisplayName="user80" Text="Does anyone have both recorders?  &#xD;&#xA;&#xD;&#xA;I understand all of the differences with regards to the mic choice and usability, I was just wondering if the new preamps were noticeably quieter.&#xD;&#xA;&#xD;&#xA;I am thinking of upgrading from my H2, hence the question." ContentLicense="CC BY-SA 3.0" />
  <row Id="21043" PostHistoryTypeId="1" PostId="12733" RevisionGUID="22ee9df5-b327-4521-a8b4-697241badb78" CreationDate="2012-02-23T12:36:06.827" UserDisplayName="user80" Text="Zoom H2/H2n comparison, does the H2n have less preamp noise than the H2?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21044" PostHistoryTypeId="3" PostId="12733" RevisionGUID="22ee9df5-b327-4521-a8b4-697241badb78" CreationDate="2012-02-23T12:36:06.827" UserDisplayName="user80" Text="&lt;zoom&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21045" PostHistoryTypeId="2" PostId="12734" RevisionGUID="044d5fef-d623-4e97-8b8a-84b6c4ecde4f" CreationDate="2012-02-23T13:58:25.690" UserId="253" Text="You could try Mandy.com or craigslist.org (in both the Jobs/Film and Television and the Gigs sections). However, a sound post internship will only appear on either of these sites once in a blue moon. You'd be much better served researching all the studios out there, and approaching them yourself. &#xD;&#xA;&#xD;&#xA;Also, i just noticed you're from Guatemala; if you're not a US resident, you might have a very hard time getting a studio to sponsor you for an internship visa. If you post more details about your situation we may be able to help more, but it's a tough industry to crack into.&#xD;&#xA;&#xD;&#xA;Best of luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="21046" PostHistoryTypeId="2" PostId="12735" RevisionGUID="4de60df0-6f26-4d6f-b60b-96fdfcf844ed" CreationDate="2012-02-23T16:25:16.370" UserId="3475" Text="I'm working on a documentary on Tajikistan. I'm looking for sound banks or recordings from the region for ambiences and specs. Any good leads?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21047" PostHistoryTypeId="1" PostId="12735" RevisionGUID="4de60df0-6f26-4d6f-b60b-96fdfcf844ed" CreationDate="2012-02-23T16:25:16.370" UserId="3475" Text="Sounds from Tajikistan or the countries around." ContentLicense="CC BY-SA 3.0" />
  <row Id="21048" PostHistoryTypeId="3" PostId="12735" RevisionGUID="4de60df0-6f26-4d6f-b60b-96fdfcf844ed" CreationDate="2012-02-23T16:25:16.370" UserId="3475" Text="&lt;soundeffects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21049" PostHistoryTypeId="2" PostId="12736" RevisionGUID="6c3f6004-6ca5-42dc-8a50-c3097be8a635" CreationDate="2012-02-23T16:46:12.717" UserId="2906" Text="Hello everyone!&#xD;&#xA;&#xD;&#xA;I'll be soon recording a dialogue between 3 persons w/ NO budget so we only have one NTG2. I watched a recording in these conditions with the same actors and it was horrible. I understand it is very difficult to record the 3 voices properly, being an animated and long conversation.  What should be the approach? That time the operator had a hard time trying to place the mic above each actor while they were speaking but it was impossible to track them at time and with many overlapped lines... awful. I spent weeks in post to make it less terrible.&#xD;&#xA;&#xD;&#xA;We will have at least one rehearsal. What advises can you have for me? &#xD;&#xA;&#xD;&#xA;Thank you very much." ContentLicense="CC BY-SA 3.0" />
  <row Id="21050" PostHistoryTypeId="1" PostId="12736" RevisionGUID="6c3f6004-6ca5-42dc-8a50-c3097be8a635" CreationDate="2012-02-23T16:46:12.717" UserId="2906" Text="Dialogue recording, 3 actors, w/ 1 boom only" ContentLicense="CC BY-SA 3.0" />
  <row Id="21051" PostHistoryTypeId="3" PostId="12736" RevisionGUID="6c3f6004-6ca5-42dc-8a50-c3097be8a635" CreationDate="2012-02-23T16:46:12.717" UserId="2906" Text="&lt;dialogue-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21052" PostHistoryTypeId="2" PostId="12737" RevisionGUID="130d9888-b37f-4ffc-82e1-3433cd3e6135" CreationDate="2012-02-23T17:28:36.123" UserId="3299" Text="Something that will help in this situation tremendously is getting a hold of the script, becoming familiar with the actors' lines and using the rehearsal to determine the speech rhythms of their delivery. &#xD;&#xA;&#xD;&#xA;This should hopefully allow you to move the boom more naturally with the conversation. Fluidity will be the most important thing do achieve." ContentLicense="CC BY-SA 3.0" />
  <row Id="21053" PostHistoryTypeId="2" PostId="12738" RevisionGUID="03c68552-dbe1-4949-b59a-3690d4e1b8f6" CreationDate="2012-02-23T17:33:09.467" UserId="1237" Text="So, since it's a documentary, I guess you should apply a little effort and try to get a true recordings of Tajikistan and not from &quot;the countries around&quot;. Or it will be some sort of a careless work :)&#xD;&#xA;&#xD;&#xA;There is a large Russian music maker forum:&#xD;&#xA;http://forum.rmmedia.ru/forum.php&#xD;&#xA;It's in Russian language only, but it's very popular place on the former USSR countries also (accordingly, in Tajikistan).&#xD;&#xA;&#xD;&#xA;You can create an account there and put your message and maybe you will be lucky and you will find some studios who will be able to record or sell to you some audio material or maybe give you some sort of advice.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="21054" PostHistoryTypeId="2" PostId="12739" RevisionGUID="2818b236-2f8e-4fd9-8d0b-f8af14ccbf54" CreationDate="2012-02-23T17:36:20.297" UserId="3477" Text="I'm looking to have some sound effects and sound tracks made for a few games my company has created.  I have no idea where to start or what kind of cost to expect.  Thus, my question is twofold:&#xD;&#xA;&#xD;&#xA; 1. Where do I find free-lance sound designers?&#xD;&#xA; 2. How much should I expect things to cost?&#xD;&#xA;  1. A basic sound effect like like a ding or pop or something&#xD;&#xA;  2. A 1 or 2 minute sound track that can loop seamlessly&#xD;&#xA;&#xD;&#xA;I know answers will range widely based on the location of the designer and his/her experience level, but I just need a ballpark mean.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Patrick" ContentLicense="CC BY-SA 3.0" />
  <row Id="21055" PostHistoryTypeId="1" PostId="12739" RevisionGUID="2818b236-2f8e-4fd9-8d0b-f8af14ccbf54" CreationDate="2012-02-23T17:36:20.297" UserId="3477" Text="Where does one get started looking for a sound designer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21056" PostHistoryTypeId="3" PostId="12739" RevisionGUID="2818b236-2f8e-4fd9-8d0b-f8af14ccbf54" CreationDate="2012-02-23T17:36:20.297" UserId="3477" Text="&lt;sound-effects&gt;&lt;composition&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21057" PostHistoryTypeId="5" PostId="12737" RevisionGUID="5095bb51-386c-4bb5-879e-eedc5de442e7" CreationDate="2012-02-23T17:39:22.787" UserId="3299" Comment="edited body" Text="Something that will help in this situation tremendously is getting a hold of the script, becoming familiar with the actors' lines and using the rehearsal to determine the speech rhythms of their delivery. &#xD;&#xA;&#xD;&#xA;This should hopefully allow you to move the boom more naturally with the conversation. Fluidity will be the most important thing to achieve." ContentLicense="CC BY-SA 3.0" />
  <row Id="21058" PostHistoryTypeId="2" PostId="12740" RevisionGUID="06ba5b27-e9fe-4511-a9c8-25ea6c69600b" CreationDate="2012-02-23T17:50:58.463" UserId="2906" Text="If you don't mind working distanced-based with this person, you are able to choose from a wider range. There are dozens of videos on youtube and vimeo that you can find easily searching for gameplay sound replacement or sound designer reels. You are looking specifically for effects and music so you may wider your search among composers too, although a lot of sound designers can compose music too. Then, there are platforms like AudioDraft.com which launch this kind of thing as contents so the contest holder has a lot to choose from. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21059" PostHistoryTypeId="2" PostId="12741" RevisionGUID="c7143b5c-b9ae-429b-9105-58dda85acf42" CreationDate="2012-02-23T17:53:05.577" UserId="587" Text="One of the techniques recommended is to trail off to the next character who speaks during the last moments of the subjects line. This gives you time to catch the next actors line while simulating the natural way that some people drop in volume as they finish a sentence.&#xD;&#xA;&#xD;&#xA;This isn't a switch to next actor during the first bit of the last sentence. When I say last bit, its like, the very last bit haha. It just gives you that jump on that moment that determines a weak beginning delivery and a strong one.&#xD;&#xA;&#xD;&#xA;I used this quite a bit when doing production audio in LA, and was fortunate for it to work out the majority of the time." ContentLicense="CC BY-SA 3.0" />
  <row Id="21060" PostHistoryTypeId="2" PostId="12742" RevisionGUID="b51da53f-2867-471e-87cf-bc29e15f48db" CreationDate="2012-02-23T18:06:37.993" UserId="315" Text="Try Sounddogs.com, Rob Nokes has done some recording around there. [Here's][1] a video.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=DzUcuOMWrI8&amp;list=UUaKW0Jj1oOwTnvf2t9Apbmw&amp;index=18&amp;feature=plcp" ContentLicense="CC BY-SA 3.0" />
  <row Id="21061" PostHistoryTypeId="2" PostId="12743" RevisionGUID="43fc8d9f-3308-4e6c-9544-1d0d5d415148" CreationDate="2012-02-23T19:46:11.430" UserId="279" Text="If you feel that a line is totally cut off (off mic) pull the actors a side directly after a take and do wild tracks. Just make sure that you slate them as such. This is very helpful for sound editors down the line." ContentLicense="CC BY-SA 3.0" />
  <row Id="21062" PostHistoryTypeId="2" PostId="12744" RevisionGUID="57389514-faf7-40e7-9861-796cf05daf5e" CreationDate="2012-02-23T20:00:28.790" UserId="6499" Text="http://www.youtube.com/watch?v=4mPQL9PUI-w&amp;feature=player_embedded&#xD;&#xA;&#xD;&#xA;Be a ninja!  Like C3 Sound said, learn the lines, learn the flow of the scene, so that if they improve, you feel it out also.  Make sure you work with camera and gaffer to give you the ability to swing the boom.  Boom ops are very active on set, not just hold it up over people for the length of the shot.&#xD;&#xA;&#xD;&#xA;If you get lit out of the scene, then get wild lines." ContentLicense="CC BY-SA 3.0" />
  <row Id="21066" PostHistoryTypeId="2" PostId="12746" RevisionGUID="a0bf071a-a956-4289-9136-6340a2ed0ecd" CreationDate="2012-02-23T21:39:34.457" UserId="3316" Text="I use mine in PT to draw in automation a little more smoothly, as well as use it in spectral clean up software. &#xD;&#xA;Not that it speeds up work flow, but feels more intuitive. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21068" PostHistoryTypeId="4" PostId="12527" RevisionGUID="047a3c3d-b702-49c3-825e-877c85e8ab1e" CreationDate="2012-02-23T22:59:08.083" UserId="730" Comment="edited title" Text="Sound Design on Tribes: Ascend - Part 3" ContentLicense="CC BY-SA 3.0" />
  <row Id="21069" PostHistoryTypeId="4" PostId="8872" RevisionGUID="c72d6f8d-c40c-4aaa-a5ad-0c5cb77b2515" CreationDate="2012-02-23T23:01:27.493" UserId="730" Comment="edited title" Text="Sound Design on Tribes: Ascend - Part 1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21070" PostHistoryTypeId="2" PostId="12748" RevisionGUID="cc9fc769-4d26-4dd7-a854-94f9bdd5953d" CreationDate="2012-02-24T00:17:57.567" UserId="3482" Text="I am a sound designer. I will have my MFA in May 2012. What is the project that you want to sound design for? What is the address? How much is the compensation? If you are still looking for a sound designer contact me on ial@gm.slc.edu" ContentLicense="CC BY-SA 3.0" />
  <row Id="21071" PostHistoryTypeId="2" PostId="12749" RevisionGUID="d99168fb-60a1-408b-bdb1-2991565d1b7f" CreationDate="2012-02-24T05:53:15.667" UserId="6499" Text="So Ive found that using a program named Tablet 2 Midi, then using LoopBe1 as an internal midi pipeline, in combination with nuendo's quickcontrols, I can have some pretty darn cool things controlled using wacom, playing around with some screams and mondo mod currently :)&#xD;&#xA;&#xD;&#xA;Trying to figure out how to use the 2 buttons on the pen as modifiers some how, would be cool to have x/y normal , x/y when button 1 depressed and x/y when button 2 depressed." ContentLicense="CC BY-SA 3.0" />
  <row Id="21072" PostHistoryTypeId="2" PostId="12750" RevisionGUID="01e599c3-333e-47a2-b85e-f246eb4d91f7" CreationDate="2012-02-24T07:41:24.030" UserId="3243" Text="Is this specific scene going to be just one shot? If not, then the closeups are going to be your chance to get all the dialogue. If the closeup is on character A, keep your boom on character A; if it's on B, then focus on capturing B's lines." ContentLicense="CC BY-SA 3.0" />
  <row Id="21075" PostHistoryTypeId="2" PostId="12752" RevisionGUID="a6a586c9-782b-425c-a3df-006538f6b2ac" CreationDate="2012-02-24T17:13:05.410" UserId="3444" Text="A good part of the last year and a half i've spent creating monster sounds. Recording with different people, mics, creating synth patches, etc. One of the most challenging parts is layering different sounds (human, animal) to make them fit as though they're coming from the same source. Effects like a vocoder and volume automation come to mind, all of which work well and have shaped a good part of my sounds.&#xD;&#xA;&#xD;&#xA;I was wondering what other tricks some of you are using to morph vocal sounds together?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21076" PostHistoryTypeId="1" PostId="12752" RevisionGUID="a6a586c9-782b-425c-a3df-006538f6b2ac" CreationDate="2012-02-24T17:13:05.410" UserId="3444" Text="Monster Voice Sound Layering" ContentLicense="CC BY-SA 3.0" />
  <row Id="21077" PostHistoryTypeId="3" PostId="12752" RevisionGUID="a6a586c9-782b-425c-a3df-006538f6b2ac" CreationDate="2012-02-24T17:13:05.410" UserId="3444" Text="&lt;monster&gt;&lt;creature-vocalizations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21079" PostHistoryTypeId="2" PostId="12754" RevisionGUID="e64a91f8-d875-4c23-8b7a-04ab94187354" CreationDate="2012-02-24T18:24:24.647" UserId="432" Text="Skipping the obvious uses of pitch shift and eq...&#xD;&#xA;&#xD;&#xA;Editing can be your friend. You don't necessarily need to use the whole sound when building the voice. Selecting only the sections that contain the key timbres your looking to add, and placing them in as &quot;accents&quot; can be a useful trick. For example, a full horse whinny may not be what you need, but a chunk of just one of the oscillations they produce can be a nice lead in to the next component (maybe to a segment from a howler monkey or high pitched, raspy, bird). Experiment with combining granular pieces of sounds with related timbres. You can create some really interesting sounds in a linear fashion, even in only one layer.&#xD;&#xA;&#xD;&#xA;If you're going to try using a vocoder, my suggestion is to combine sounds that have a similar sonic trajectory. The closer they match in frequency shifts (they don't have to be exactly the same frequencies, I'm just talking about percentage shifts up and down), the better the two sounds will mesh. Something I did a few months ago makes a decent example of what I'm talking about. I had a set of human vocalizations that I wanted to use to modulate electronic interference noises. I built a patch in Structure that let me play out the electronic interference to get the timbres I wanted (through mapping the raw electronic sounds to my MIDI controller keys), and pitch bend them to match the pitch trajectories (through the MIDI controller's joystick). I took those intermediate sounds and ran them through Waves Morphoder with the original human sounds as the modulator.&#xD;&#xA;&#xD;&#xA;Those are my suggestions. I'm looking forward to seeing what interesting techniques other people here use." ContentLicense="CC BY-SA 3.0" />
  <row Id="21080" PostHistoryTypeId="2" PostId="12755" RevisionGUID="00ed576a-d8da-46a9-ada8-a906d6c47964" CreationDate="2012-02-24T18:25:54.473" UserId="2906" Text="I think vocoder is very powerful for that. I recently used some distortion (any distort plug-in will do) and it was nice too; but it depends on your final purpose. There is this software -- Spear -- who analyses all content through FFT and you can morph and do a lot of stuff with the frequency content. It's free and it's worth trying it. Good question, btw." ContentLicense="CC BY-SA 3.0" />
  <row Id="21081" PostHistoryTypeId="5" PostId="12755" RevisionGUID="6b8685cf-6a1e-45b7-9ce0-930347c7aa03" CreationDate="2012-02-24T18:38:00.833" UserId="432" Comment="added link" Text="I think vocoder is very powerful for that. I recently used some distortion (any distort plug-in will do) and it was nice too; but it depends on your final purpose. There is this software -- [Spear][1] -- who analyses all content through FFT and you can morph and do a lot of stuff with the frequency content. It's free and it's worth trying it. Good question, btw.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://klingbeil.com/spear/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21085" PostHistoryTypeId="2" PostId="12757" RevisionGUID="a2220644-4b9a-476f-9609-0c6b2c7634cf" CreationDate="2012-02-24T20:48:53.420" UserId="587" Text="Anyone remember how long it took for Avid to put out a patch for Lion?&#xD;&#xA;&#xD;&#xA;I honestly can't believe another OS switch so soon. I guess its a new OS every year for Apple, it just seems sooner because of the press.&#xD;&#xA;&#xD;&#xA;Is their a difficulty for Avid with this? How much does the audio driver change between OS? It would seem this would be as simple of a fix as a quick app fix.&#xD;&#xA;&#xD;&#xA;Any thoughts on this?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21086" PostHistoryTypeId="1" PostId="12757" RevisionGUID="a2220644-4b9a-476f-9609-0c6b2c7634cf" CreationDate="2012-02-24T20:48:53.420" UserId="587" Text="Mountain Lion!??" ContentLicense="CC BY-SA 3.0" />
  <row Id="21087" PostHistoryTypeId="3" PostId="12757" RevisionGUID="a2220644-4b9a-476f-9609-0c6b2c7634cf" CreationDate="2012-02-24T20:48:53.420" UserId="587" Text="&lt;osx&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21088" PostHistoryTypeId="2" PostId="12758" RevisionGUID="aeff2c93-67f5-4076-ae7a-77028f103bf6" CreationDate="2012-02-24T22:08:35.143" UserId="1294" Text="Hello Audio Pros,&#xD;&#xA;&#xD;&#xA;I have a Zoom H4n &amp; a NTG2 &amp; the levels are low - i have previously asked for help regarding this &amp; someone suggested to go with Dan McComb way with the SD mix pre.&#xD;&#xA;&#xD;&#xA;I have been thinking of getting an SD MM1 mic pre to use with my zoom h4n - im not an electronics guy &amp; noob when it comes to field recording.&#xD;&#xA;&#xD;&#xA;Would the connectivity be complicated with this set up? or can i directly connect these two?&#xD;&#xA;&#xD;&#xA;Please give me your opinion.&#xD;&#xA;&#xD;&#xA;Best Regards," ContentLicense="CC BY-SA 3.0" />
  <row Id="21089" PostHistoryTypeId="1" PostId="12758" RevisionGUID="aeff2c93-67f5-4076-ae7a-77028f103bf6" CreationDate="2012-02-24T22:08:35.143" UserId="1294" Text="How to connect Sound Devices MM1 Mic Pre with Zoom H4n" ContentLicense="CC BY-SA 3.0" />
  <row Id="21090" PostHistoryTypeId="3" PostId="12758" RevisionGUID="aeff2c93-67f5-4076-ae7a-77028f103bf6" CreationDate="2012-02-24T22:08:35.143" UserId="1294" Text="&lt;devices&gt;&lt;microphone&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21091" PostHistoryTypeId="2" PostId="12759" RevisionGUID="4a7b8f13-9143-472d-8493-249a474970cd" CreationDate="2012-02-24T22:32:53.593" UserId="432" Text="Yes. With OS X there has been a a new release every year. They're extra motivated now, because they seem to be trying to merge the functionality between their computers and they're more consumer oriented devices. The company has a history of just outright changing key pieces of operational code without warning...something like that affected Sound Miner recently if memory serves. I also know a few programmers, and Apple just doesn't provide the same level of support to software developers that Microsoft does. So, be prepared for the wait." ContentLicense="CC BY-SA 3.0" />
  <row Id="21094" PostHistoryTypeId="2" PostId="12760" RevisionGUID="57076bf3-665c-489e-8331-71c892b1f1fd" CreationDate="2012-02-25T08:28:07.817" UserId="61" Text="I have a date with some WW2 guns and an armorer and am looking to brainstorm some unconventional mic choices and/or placements to capture something special. I'll be traveling with some heavy hitters who will have all the usual high-end mic suspects, so this could be my opportunity to bring something unique to the table.&#xD;&#xA;&#xD;&#xA;Right now I'm leaning towards older dynamic mics (ie. RE-20. 421, 441, etc.). I'll have 6 channels at my disposal.&#xD;&#xA;&#xD;&#xA;Ready, set…BRAINSTORM!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21095" PostHistoryTypeId="1" PostId="12760" RevisionGUID="57076bf3-665c-489e-8331-71c892b1f1fd" CreationDate="2012-02-25T08:28:07.817" UserId="61" Text="Recording vintage firearms" ContentLicense="CC BY-SA 3.0" />
  <row Id="21096" PostHistoryTypeId="3" PostId="12760" RevisionGUID="57076bf3-665c-489e-8331-71c892b1f1fd" CreationDate="2012-02-25T08:28:07.817" UserId="61" Text="&lt;field-recording&gt;&lt;guns&gt;&lt;microphone-positioning&gt;&lt;microphone-technique&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21097" PostHistoryTypeId="2" PostId="12761" RevisionGUID="97f97064-34bf-41a1-ad71-6a7ab0f3e47d" CreationDate="2012-02-25T09:27:07.847" UserId="1228" Text="As I recall, Richard King used lavs mounted on the guns the get an interesting POV for Inception when recording with John Fasal and Eric Potter.  Than again, they were recording more of the usual suspects (Glock, SIG-Sauer, Colt, etc) and it likely captured the mechanics of shell ejects.  I personally haven't worked with/recording WW2 guns so I've got idea if there's be anything capture-able in this POV but maybe worth a shot.  If these two fine gentlemen happen to be a part of your crew it may be worth asking for specifics about ;)&#xD;&#xA;&#xD;&#xA;I wonder what kind of sounds you would capture submerging a hydrophone in tank/bucket of water both near the gun and at the distance, especially using different container types (metal versus plastic etc)." ContentLicense="CC BY-SA 3.0" />
  <row Id="21098" PostHistoryTypeId="2" PostId="12762" RevisionGUID="5ac5b945-19a5-41f1-bd26-b5661ca6d149" CreationDate="2012-02-25T09:58:23.563" UserId="1228" Text="Ah, the ever-present battle of Music and Dialogue ;)&#xD;&#xA;&#xD;&#xA;As Shaun and some others have mentioned, context is everything.  A perfectly poor example in my opinion is Inception.  Overall, production is pretty crystal clear so they can rock the music nice and loud.  But Ken Watanabe has a thick accent, so much so that the music drowned him out in 2 specific spots (if not more).  It was about the 3th time I saw the film in a theater that I finally understood what he said (and I'm a dialogue editor).  So in this case, I feel the music was mixed well against very clear English-language for an English-language audience, but in the case of someone who wasn't speaking so clearly in English, it wasn't mixed well in my opinion.&#xD;&#xA;&#xD;&#xA;The approach I like with music when I'm mixing is to set up my submaster to give it about a 3-4dB attenuation at 1kHz with about a 0.75-1.0 Q.  Always - never gets automated, just sits there globally. I've found that this little attenuation allows the dialogue to more effectively cut through at the chief intelligibility range and lift it dimensionally off the screen.  I then follow it up with a stereo imager - my personal favorite is the one by Flux because it has a nice fat phase scope so I can see what's going on.  It's set to a conservative width of +0.7 to +1.0 dB.  Again, not enough to change the characteristics, but it helps open up that center-channel 'hole' so that music can be pushed more aggressively without blurring dialogue.  The catch here though is I only use this stereo imager when mixing in a 2.0 environment, not 5.1.  This imaging width increase I find helps simulate the LCR discreteness that's heard when a true 5.1 is folded down and played back.  In 2.0 we don't have that center channel dedicated to dialogue, so the stereo imaging width helps carefully simulate that &quot;forced discreteness&quot; to be allocated across the LR phantom center more decisively, rather than the blurry LCR image that a 2.0 naturally has.&#xD;&#xA;&#xD;&#xA;After that, for me it's about babysitting the meters and riding the levels of music against the dialogue intuitively.  I personally prefer not to work with expanders/sidechain compressors.  Nothing against them, the faders just feel more comfortable to me.  The goal to my ears is the make sure dialogue is always heard, but at the same time respect the composer's material and push it where its appropriate to give it moments to shine when dialogue is robust enough to handle the music rockin' or where there's no dialogue.  Shaping the volume ramping too is one of those intuitive things, but I try to follow the natural crescendos and rise/falls of the music so that the build up or build down has a natural feel - sometimes it means quick a sudden changes, and other times it can very long and gentle&#xD;&#xA;&#xD;&#xA;I wish I had a more quantitative way to answer the question as far as the automating/mixing goes, yet unfortunately that's the best angle I can share.  With post sound I've observed that I work intuitively under a mantra which has resonated with me the most - &quot;if it sounds good, it is good&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="21099" PostHistoryTypeId="2" PostId="12763" RevisionGUID="b8d7c6c0-cfe3-452c-b673-1d2588b2d51c" CreationDate="2012-02-25T12:33:33.210" UserId="6420" Text="Maybe some binaural mics? Perhaps a pair in the ears of the armorer as they're firing like some DPA 4060's? ;) " ContentLicense="CC BY-SA 3.0" />
  <row Id="21100" PostHistoryTypeId="5" PostId="12642" RevisionGUID="503d0df3-a720-45e6-a988-eb83db5b8010" CreationDate="2012-02-25T15:42:20.250" UserId="432" Comment="added new idea" Text="I think you've hit on something with the fact that audio is a temporal idea, as opposed to the 2D non-temporal nature of those pieces of art. In those pieces, we have time for our brain to process and pick them apart from different perspectives, because it remains static. People have a hard time doing that in the acoustic realm, since acoustic events are undergoing change while we attend them. Attack, decay, sustain release and all that.&#xD;&#xA;&#xD;&#xA;That tells me that it might be possible if the acoustic event is cyclical in nature; that we could pull off this trick if we can predict what is going to happen in the future of the event. We may need something to help us shift perspective though. Which is convenient, since we work on audio to accompany visual material. Audio adds meaning and depth to the visuals. There's no reason the reverse can't happen. So, I'd say it's possible...but not without the effort and coordination of multiple departments.&#xD;&#xA;&#xD;&#xA;**Update:**&#xD;&#xA;&#xD;&#xA;**So, why I didn't think of this earlier is beyond me...especially considering the article I just posted on both my site and Designing Sound this week. You can define audio/acoustic negative space as those things that we don't hear (or, myabe on occassions, those things to which we don't attend). &quot;Figure&quot; would equal the sonic content that accompanies the picture, while &quot;ground&quot; equals the sonic content that, while pertinent to the picture, does not. The trick then would be to provide some way to draw attention to what the viewer is not hearing. This might provide a means to infuse two distinct interpretations within a scene; one based on the overt use of sounds, and one based on the overt omissions. Thoughts?**" ContentLicense="CC BY-SA 3.0" />
  <row Id="21101" PostHistoryTypeId="5" PostId="12642" RevisionGUID="19b2f9d0-daab-482a-bd68-2bf31701c0e3" CreationDate="2012-02-25T16:26:13.160" UserId="432" Comment="added 121 characters in body" Text="I think you've hit on something with the fact that audio is a temporal idea, as opposed to the 2D non-temporal nature of those pieces of art. In those pieces, we have time for our brain to process and pick them apart from different perspectives, because it remains static. People have a hard time doing that in the acoustic realm, since acoustic events are undergoing change while we attend them. Attack, decay, sustain release and all that.&#xD;&#xA;&#xD;&#xA;That tells me that it might be possible if the acoustic event is cyclical in nature; that we could pull off this trick if we can predict what is going to happen in the future of the event. We may need something to help us shift perspective though. Which is convenient, since we work on audio to accompany visual material. Audio adds meaning and depth to the visuals. There's no reason the reverse can't happen. So, I'd say it's possible...but not without the effort and coordination of multiple departments.&#xD;&#xA;&#xD;&#xA;**Update:**&#xD;&#xA;&#xD;&#xA;**So, why I didn't think of this earlier is beyond me...especially considering the article I just posted on both my site and Designing Sound this week. You can define audio/acoustic negative space as those things that we don't hear (or, myabe on occassions, those things to which we don't attend). &quot;Figure&quot; would equal the sonic content that accompanies the picture, while &quot;ground&quot; equals the sonic content that, while pertinent to the picture, does not. The trick then would be to provide some way to draw attention to what the viewer is not hearing. Maybe it's pairings or groups of sounds that you establish early on, then use only specific elements later in the piece. This might provide a means to infuse two distinct interpretations within a scene; one based on the overt use of sounds, and one based on the overt omissions. Thoughts?**" ContentLicense="CC BY-SA 3.0" />
  <row Id="21102" PostHistoryTypeId="5" PostId="12761" RevisionGUID="ca511ed3-10f7-473b-a7b5-831d44429cb9" CreationDate="2012-02-25T17:20:28.147" UserId="1228" Comment="added 25 characters in body" Text="As I recall, Richard King used lavs (or maybe contact mics?) mounted on the guns the get an interesting POV for Inception when recording with John Fasal and Eric Potter.  Than again, they were recording more of the usual suspects (Glock, SIG-Sauer, Colt, etc) and it likely captured the mechanics of shell ejects.  I personally haven't worked with/recording WW2 guns so I've got idea if there's be anything capture-able in this POV but maybe worth a shot.  If these two fine gentlemen happen to be a part of your crew it may be worth asking for specifics about ;)&#xD;&#xA;&#xD;&#xA;I wonder what kind of sounds you would capture submerging a hydrophone in tank/bucket of water both near the gun and at the distance, especially using different container types (metal versus plastic etc)." ContentLicense="CC BY-SA 3.0" />
  <row Id="21103" PostHistoryTypeId="2" PostId="12764" RevisionGUID="be0a05e5-d6d6-4597-8c55-0e980ce3d359" CreationDate="2012-02-25T19:21:04.760" UserId="587" Text="Do you have a Nagra handy? :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21104" PostHistoryTypeId="2" PostId="12765" RevisionGUID="78b01cb1-535b-4654-b6da-968f9f170b29" CreationDate="2012-02-25T19:25:02.393" UserId="315" Text="Sounds like fun.&#xD;&#xA;&#xD;&#xA;If you can get your hands on/rent a Nagra, the sound of overdriving the tape will bring something special to the party. It's a bit of a pain to set up and run, but it squashes the dynamics of a gun in a really nice/meaty way. Much like recording a drumset on a 2 inch Studer.&#xD;&#xA;&#xD;&#xA;I recently did a gun shoot and put an AKG D112 dynamic near the shooter, 3ft or so from the barrel. I thought a kick drum mic that could handle high spl would sound great and give me a nice close up perspective. It was probably the least interesting mic from the shoot. Thin and like a pop gun. The initial SPL from the shot seemed to choke it a bit.&#xD;&#xA;&#xD;&#xA;I much preferred the sound of condenser mics much further away from the shooter. Of the mics I put up, a sennheiser mkh 8050 60 feet downrange pointed at the shooter sounded the best, capturing the acoustics of the shooting environment and giving me a nice fat, low end decay. I actually wish I had put if further away. I'd even suggest putting a mic downrange pointed away from the shooter, just to capture the acoustics of shooting space.&#xD;&#xA;&#xD;&#xA;If you go with the DPA lav suggestion, which is a good one I think. I'd make sure that you use 4062s instead of 4060s. The 4060s won't be able to handle the spl.&#xD;&#xA;&#xD;&#xA;Good luck. Would love to hear a report about the session. And don't forget inline pads, you'll probably need them.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21105" PostHistoryTypeId="2" PostId="12766" RevisionGUID="7a21c440-3231-4b03-8a2d-18549e83c574" CreationDate="2012-02-25T23:24:40.843" UserId="809" Text="Hey there,&#xD;&#xA;&#xD;&#xA;Have been playing round with some stereo atmospheres i recorded, trying to make them into 5.0s I can bounce and use in the future as pre made surround  backgrounds. I would normally just pan in Pro Tools but figuring it would be nice phase wise to make them 5.0 through a plugin. (And yes ideally record them 5.0 in first place but I sadly don't have a surround mic). Ive tried 2 versions using Waves UM226, and Waves S360 imager. I've folded them back through Surround Code plug to stereo to check phase. Some presets sound a little phasey but Ive found a nice one for each plugin that works. Seems like a nice spread in 5.0.&#xD;&#xA;&#xD;&#xA;Anyone had experience of this - or recommendations - a good idea, or am I just wasting my time??&#xD;&#xA;&#xD;&#xA;Also, when tracklaying do people tend to create 5.0 atmospheres by simply panning a stereo in Pro tools, or by using a different section of the atmos for the rears,  or only use 5.0 recorded atmospheres or anything else? And do people diverge a stereo atmos or only use discrete panning for backgrounds. I guess I personally do a combination of all, depending on the situation and particular track - but would be interested to hear how other people work.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;A" ContentLicense="CC BY-SA 3.0" />
  <row Id="21106" PostHistoryTypeId="1" PostId="12766" RevisionGUID="7a21c440-3231-4b03-8a2d-18549e83c574" CreationDate="2012-02-25T23:24:40.843" UserId="809" Text="Creating 5.0 atmospheres &amp; Panning" ContentLicense="CC BY-SA 3.0" />
  <row Id="21107" PostHistoryTypeId="3" PostId="12766" RevisionGUID="7a21c440-3231-4b03-8a2d-18549e83c574" CreationDate="2012-02-25T23:24:40.843" UserId="809" Text="&lt;panning&gt;&lt;ambience&gt;&lt;atmosphere&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21108" PostHistoryTypeId="2" PostId="12767" RevisionGUID="e2b87d25-22ef-4f7f-b229-3b5c47b01d80" CreationDate="2012-02-26T00:21:26.790" UserId="253" Text="I'd guess that, unless you're doing fast turnaround episodic TV stuff, it's best not to prefabricate 5.0 backgrounds. That way you can have more control in the mix.&#xD;&#xA;&#xD;&#xA;I asked a similar question a while back, and got some awesome answers:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/2889/mixing-backgrounds-atmos-for-5-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="21109" PostHistoryTypeId="2" PostId="12768" RevisionGUID="0a24da06-fb9e-4fc8-bd9f-b41afbb8a8d1" CreationDate="2012-02-26T01:35:06.307" UserId="3230" Text="As I am working through a scene, and contemplating this question on my own, I thought it wise to tap into the experiential resource that is SocialSoundDesign....  Let's get your insight!&#xD;&#xA;&#xD;&#xA;The sound: Ambient &quot;battlefield panic&quot; to accompany several (and I mean SEVERAL) scenes throughout an American Civil War documentary.  Cannon shots, men screaming, horses, more cannon shots....the works!&#xD;&#xA;&#xD;&#xA;The situation: The most distinct sound in this scape is, of course, the cannon and gunshots.  I have a limited selection of raw samples of each to work with.   ...and no, I am not in a position to create any more of my own.  That opportunity has passed.  &#xD;&#xA;&#xD;&#xA;Do I, A) use only a few of the best sounds MANY, MANY times each (going loony with Pitch, and TCE to change it up), or B) do I use a variety of my available samples regardless of tone, perspective, and timbre?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm leaning toward a mixture of the two options, emphasis on option A.  The real question here may be: Which will an audience notice less - repeated fx, or mismatched timbre?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21110" PostHistoryTypeId="1" PostId="12768" RevisionGUID="0a24da06-fb9e-4fc8-bd9f-b41afbb8a8d1" CreationDate="2012-02-26T01:35:06.307" UserId="3230" Text="Distinct Ambient Noises: Consistency, or Variety?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21111" PostHistoryTypeId="3" PostId="12768" RevisionGUID="0a24da06-fb9e-4fc8-bd9f-b41afbb8a8d1" CreationDate="2012-02-26T01:35:06.307" UserId="3230" Text="&lt;sound-effects&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21112" PostHistoryTypeId="2" PostId="12769" RevisionGUID="2cb4ab4a-bc76-491e-b056-d626033ad51c" CreationDate="2012-02-26T02:14:43.780" UserId="3214" Text="I think I would personally go for your second option- so long as the samples aren't really terrible- I think a wider variety is important. and surely tone, timbre and perspective would change anyway if there are cannons at different distances etc?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21113" PostHistoryTypeId="2" PostId="12770" RevisionGUID="86cc7982-f23c-423e-9954-493fdd81cb9a" CreationDate="2012-02-26T05:46:05.187" UserId="194" Text="lavs are always fun, so i'll second that.&#xD;&#xA;&#xD;&#xA;I'd also try some pzm mics for low end and amb.&#xD;&#xA;&#xD;&#xA;Also, I'm very interested in seeing how ribbon mics fare in weaponfire situations.  (its a common misconception that high spls damage ribbons - in fact its wind turbulence that does.) I think a nice ribbon blumeline setup could potentially yield some really nice stuff.&#xD;&#xA;&#xD;&#xA;maybe try some crappy camera mics?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21114" PostHistoryTypeId="2" PostId="12771" RevisionGUID="134b4bf8-2cfd-4805-97f4-00f2628d28fa" CreationDate="2012-02-26T07:07:03.673" UserId="3433" Text="I'd like to make a field recording trip to Hong Kong and mainland China in June.   Anyone know if I need to worry about permits?  Can I float a blimp around without worrying the authorities, or should I keep it stealth?  Any advice concerning such an endeavor would be greatly appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="21115" PostHistoryTypeId="1" PostId="12771" RevisionGUID="134b4bf8-2cfd-4805-97f4-00f2628d28fa" CreationDate="2012-02-26T07:07:03.673" UserId="3433" Text="Permits to field record in China and Hong Kong?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21116" PostHistoryTypeId="3" PostId="12771" RevisionGUID="134b4bf8-2cfd-4805-97f4-00f2628d28fa" CreationDate="2012-02-26T07:07:03.673" UserId="3433" Text="&lt;legal&gt;&lt;field-recording&gt;&lt;legality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21117" PostHistoryTypeId="2" PostId="12772" RevisionGUID="bf129ef1-0d6c-4f50-bd55-2173029423dc" CreationDate="2012-02-26T07:50:58.757" UserId="3433" Text="Very simple - mic into the preamp, line out to your H4N.&#xD;&#xA;&#xD;&#xA;Also - before you drop money on a pre-amp, try powering your mic with a battery instead of the H4N phantom power and make sure you've upped the input gain on your H4N.  Sometimes it's the little things..." ContentLicense="CC BY-SA 3.0" />
  <row Id="21118" PostHistoryTypeId="2" PostId="12773" RevisionGUID="76b744d7-32e9-4d6b-97df-fa228206ec29" CreationDate="2012-02-26T07:54:57.687" UserId="1228" Text="Wild lines and multiple takes.  Your dialogue editor will thank you.  Don't know how many times some 1-2 wild takes and/or 3-4 regular takes (instead of 1-take wonders) have saved a complete trainwreck scene in the OMF from going into ADR at all - and how much money that's saved.  I agree with others about learning the flow of the scene, always good to have a copy of the sides of the day in your pocket for a reference.&#xD;&#xA;&#xD;&#xA;Another thing to keep in mind: the energy of the voice itself isn't at the mouth.  It sits in a &quot;sphere&quot; about 8-10 inches in front of the mouth, so if you mic for that area, it should cut down the distance you have to swing the boom.  This is why boom ops tend to angle their termination at the chest slightly.  The chest serves as a baffle for extraneous noise, but this angled line-of-sight intersects conveniently at a point about 8-10 inches in front of the mouth before terminating at the chest.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21119" PostHistoryTypeId="5" PostId="12773" RevisionGUID="1006ee48-f4a4-4044-9cbb-ed96da22f80a" CreationDate="2012-02-26T08:01:28.387" UserId="1228" Comment="added 117 characters in body" Text="Wild lines and multiple takes.  Your dialogue editor will thank you.  Don't know how many times some 1-2 wild takes and/or 3-4 regular takes (instead of 1-take wonders) have saved a complete trainwreck scene in the OMF from going into ADR at all - and how much money that's saved.  I agree with others about learning the flow of the scene, always good to have a copy of the sides of the day in your pocket for a reference.&#xD;&#xA;&#xD;&#xA;Another thing to keep in mind: the energy of the voice itself isn't at the mouth.  It sits in a &quot;sphere&quot; about 8-10 inches in front of the mouth, so if you mic for that area, it should cut down the distance you have to swing the boom.  This is why boom ops tend to angle their termination at the chest slightly.  The chest serves as a baffle for extraneous noise, but this angled line-of-sight intersects conveniently at a point about 8-10 inches in front of the mouth before terminating at the chest.  Actually, that crazy video Michael posted shows the boom op doing pretty exactly this, but with pinpoint precision.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21120" PostHistoryTypeId="2" PostId="12774" RevisionGUID="c74f235a-c149-4def-bb58-56b14df00aee" CreationDate="2012-02-26T08:51:15.080" UserId="1237" Text="I think in any country the foreigner with a reserved (stealth) behavior always provoke more suspicions than a usual (impudent) tourist with a camera. Or in your case with a blimp.&#xD;&#xA;&#xD;&#xA;If there will be some prohibited places a local police officer will always warn you about that. Or you just can ask him about it yourself." ContentLicense="CC BY-SA 3.0" />
  <row Id="21121" PostHistoryTypeId="2" PostId="12775" RevisionGUID="36c63611-2e5c-415a-8a68-e5ae557dbbb5" CreationDate="2012-02-26T11:07:13.960" UserId="238" Text="I would say that there are some places that are considered more sensitive than others (i.e. government buildings, public transport systems) so this may be more problematic if you intend to record in these places. Though I don't think a recording permit exists, it may be worth inquiring at the Chinese embassy when you sort out your visa. If you are working for a production, this should be more easily sorted by the production company, but if this is a personal trip you should check with the embassy if any sort of official documentation is required.&#xD;&#xA;&#xD;&#xA;On arrival, customs officials can be quite strict. Most of the time, they are familiar with recording equipment (every sound recordist travelling to China will 99% of the time have the essential/breakable items in his/her hand luggage). I would also suggest having a small test recording on your recorder - it can be useful to quickly playback to the official just to show what it is you do. &#xD;&#xA;&#xD;&#xA;I have only been to Beijing and did all my recordings using a small handheld, so don't have first hand experience. I think it's probably very similar in other big cities, so here's some tips that may be useful. Everytime you enter the metro, you have to scan your bag. This is also the case in many shopping centers. Though I genuinely got the impression that the police were much less concerned with foreign tourists than Chinese locals, be prepared to be questioned on your kit. Having mic cables going into your recorder may freak them out slightly, so have your explanation ready. English is not widely spoken, so make sure you are prepared to explain that you are a recordist. Perhaps learn the word in mandarin and cantonese before you travel - speaking a few words of the local dialect can go a very long way! &#xD;&#xA;&#xD;&#xA;My experience, although limited to the capital, was fantastic. It took a little getting used to, but the locals are genuinely friendly and I had some awesome conversations (usually myself speaking English and the the other in Chinese) and learnt a lot from this country. &#xD;&#xA;&#xD;&#xA;Good luck with your trip!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21122" PostHistoryTypeId="2" PostId="12776" RevisionGUID="b9bf9dc1-357b-4829-8c17-787815c3154d" CreationDate="2012-02-26T12:07:36.967" UserId="2" Text="Years ago I was in China and had a little recorder, it was my first recording trip overseas actually. I had no issues whatsoever apart from people staring and coming to talk in the middle of the recording - the usual... Don't know about a blimp though. As Colin says, be careful of certain places. Maybe if there are lots of officials around, skip it, or go stealth  (in-ear binaural mics?).  &#xD;&#xA;&#xD;&#xA;If I can recommend a place, you should really try head to [Pingyao][1], it's an amazing place.. &#xD;&#xA;&#xD;&#xA;Oh, and the Beijing train station was particularly interesting sonically, it's huge! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Pingyao_County" ContentLicense="CC BY-SA 3.0" />
  <row Id="21123" PostHistoryTypeId="2" PostId="12777" RevisionGUID="d38c880f-282a-426a-b864-9c230d41be80" CreationDate="2012-02-26T13:14:55.323" UserId="1036" Text="I am in hong kong now and it's a city which never sleeps! I reckon HK is less strict than china and is overall more English language-friendly. I have done recordings with a team in the industrial area and we never really got questioned aside from curious onlookers.  When in HK, Be sure to look out for small protests downtown almost every Sunday (usually against government policies etc) those make quite interesting recordings ;) they are safe to be around and are well-managed. All the domestic workers get an off-day on Sundays too, and depending on which zone you go to, you can get really interesting Indonesian walla, or Filipino walla mixed with Cantonese. &#xD;&#xA;&#xD;&#xA;If you're down there in June, you're in luck. Don't miss the memorial gathering (in rememberance of the Tiananmen Massacre) on June 4th I think. Hundreds of thousands of people gather, holding a candle each. Quite an experience! &#xD;&#xA;&#xD;&#xA;It's hard to get recordings without traffic or unwanted walla but if you go to the New Territories away from the city, there are buses which go into the mountains and rural areas. You can hike on Lantau Island too if you wanna record something more natural, or take small boats across to isolated islands from Sai Kung where people fish. I doubt people will stop you from recording there. &#xD;&#xA;&#xD;&#xA;China would be different because they are generally wary of outsider reporters (mistaking you for one) and based on experience, they are also harder to reason with. I could also only make do with a handheld.&#xD;&#xA;&#xD;&#xA;When in Beijing, be sure to visit Jingshan Park. My last visit there (4 years ago?), it was super lively with mostly old folks doing activities like reciting poetry, performing, singing, dancing, some with whole orchestras. Definitely an unique sonic experience.&#xD;&#xA;&#xD;&#xA;Sorry I can't really share more about Beijing (it was also one of my first recording trips :P) ! &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21124" PostHistoryTypeId="2" PostId="12778" RevisionGUID="d1a4bc3c-df70-4add-8fe7-0e347f10b539" CreationDate="2012-02-26T13:36:38.990" UserId="194" Text="there's already a lot of good advice here, so i'll just ditto what they said and add this:&#xD;&#xA;&#xD;&#xA;if the scene is indoors maybe try to find a different mic.  The NTG2 has a very tight pickup pattern and will sound funky off axis very quickly.  If you can find a cardiod mic instead (like the NT5) you'll have a lot more off axis latitude.&#xD;&#xA;&#xD;&#xA;Also, if you are inside don't use a blimp.  just have the mic with a good foam cover.  you'll be more nimble.&#xD;&#xA;&#xD;&#xA;Stavarosound has one of the best techniques, which is the multiple takes and wild lines thing.  If the plan on the set is to shoot isos, (running the scene three times with the camera trained on only one actor for the entirety of each run) then use that opporunity to have the mic trained on just the isolated actor when that happens.  don't jump from actor to actor if the camera isn't doing so, and the coverage will help the scene as its cut together.&#xD;&#xA;&#xD;&#xA;then when its done, get the entire scene from each actor individually, while standing in the same place as a wild line, but with no voice overlap.  that should cover it." ContentLicense="CC BY-SA 3.0" />
  <row Id="21125" PostHistoryTypeId="5" PostId="12778" RevisionGUID="65153fbd-b8e7-4887-9629-a5e6289220af" CreationDate="2012-02-26T14:07:35.237" UserId="194" Comment="added 114 characters in body; added 5 characters in body" Text="there's already a lot of good advice here, so i'll just ditto what they said and add this:&#xD;&#xA;&#xD;&#xA;if the scene is indoors maybe try to find a different mic.  The NTG2 has a very tight pickup pattern and will sound funky off axis very quickly.  If you can find a hypercardiod mic instead (or at worst a cardioid like the NT5) you'll have a lot more off axis latitude - though this will come at the expense of also having more room verb in the pickup pattern.&#xD;&#xA;&#xD;&#xA;Also, if you are inside don't use a blimp.  just have the mic with a good foam cover.  you'll be more nimble.&#xD;&#xA;&#xD;&#xA;Stavarosound has one of the best techniques, which is the multiple takes and wild lines thing.  If the plan on the set is to shoot isos, (running the scene three times with the camera trained on only one actor for the entirety of each run) then use that opporunity to have the mic trained on just the isolated actor when that happens.  don't jump from actor to actor if the camera isn't doing so, and the coverage will help the scene as its cut together.&#xD;&#xA;&#xD;&#xA;then when its done, get the entire scene from each actor individually, while standing in the same place as a wild line, but with no voice overlap.  that should cover it." ContentLicense="CC BY-SA 3.0" />
  <row Id="21126" PostHistoryTypeId="2" PostId="12779" RevisionGUID="308376fd-0976-490c-81d3-5db304e83c52" CreationDate="2012-02-26T23:12:16.433" UserId="1049" Text="If you already have 6 years experience in related fields then I'd say a decent showreel is worth more than a Masters Degree by a long shot...!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21127" PostHistoryTypeId="2" PostId="12780" RevisionGUID="f1d5afb0-461a-4b83-978c-38b8aa2a247b" CreationDate="2012-02-27T16:14:21.783" UserId="3508" Text="If you don't have time to create your own sounds, check out [&quot;THE INTERFACE&quot;][1] from BOOM Library. A professional SFX library with tons of interface sounds.&#xD;&#xA;&#xD;&#xA;[soundcloud]http://www.soundcloud.com/boom-library/the-interface-demo-01[/soundcloud]&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.boomlibrary.com/boomlibrary/index.php?option=com_content&amp;view=article&amp;id=85" ContentLicense="CC BY-SA 3.0" />
  <row Id="21128" PostHistoryTypeId="2" PostId="12782" RevisionGUID="e4696717-c008-4cd8-8113-f3b5370f21be" CreationDate="2012-02-28T00:38:36.937" UserId="3360" Text="Hi sound lovers :)&#xD;&#xA;I'm analyzing the sound of Malik's masterpiece but i'm a bit confused about who between John Fasal and Claude Letessier is the main sound designer. Do you have any clue? IMDB doesn't answer this &quot;simple&quot; question.&#xD;&#xA;&#xD;&#xA;May the sound be with you&#xD;&#xA;&#xD;&#xA;Giacomo&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21129" PostHistoryTypeId="1" PostId="12782" RevisionGUID="e4696717-c008-4cd8-8113-f3b5370f21be" CreationDate="2012-02-28T00:38:36.937" UserId="3360" Text="The Thin Red Line: who is the main sound designer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21130" PostHistoryTypeId="3" PostId="12782" RevisionGUID="e4696717-c008-4cd8-8113-f3b5370f21be" CreationDate="2012-02-28T00:38:36.937" UserId="3360" Text="&lt;sound-design&gt;&lt;film-sound-design&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21133" PostHistoryTypeId="2" PostId="12784" RevisionGUID="726c485a-0737-48f4-80ac-ab2d769cb28d" CreationDate="2012-02-28T01:22:20.120" UserId="958" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I've just finished uni and am looking to get my career started in the game audio.&#xD;&#xA;Just a quick question to ask any Game Audio people who have worked in QA or as a Game Tester:&#xD;&#xA;Is this a path worth taking? Or should I focus on building up experience as a freelance? &#xD;&#xA;&#xD;&#xA;Or Both?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Eric." ContentLicense="CC BY-SA 3.0" />
  <row Id="21134" PostHistoryTypeId="1" PostId="12784" RevisionGUID="726c485a-0737-48f4-80ac-ab2d769cb28d" CreationDate="2012-02-28T01:22:20.120" UserId="958" Text="Getting Foot in the Door - Game Tester?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21135" PostHistoryTypeId="3" PostId="12784" RevisionGUID="726c485a-0737-48f4-80ac-ab2d769cb28d" CreationDate="2012-02-28T01:22:20.120" UserId="958" Text="&lt;gameaudio&gt;&lt;games&gt;&lt;career&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21136" PostHistoryTypeId="2" PostId="12785" RevisionGUID="65349324-05db-4bfc-8596-152ba61ed15b" CreationDate="2012-02-28T03:09:13.157" UserId="1228" Text="Have you checked the rolling credits?&#xD;&#xA;&#xD;&#xA;I'm assuming this based upon you mentioning you're analyzing the sound, and likely you'll need a cut of the film to watch if that's the case ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21139" PostHistoryTypeId="2" PostId="12788" RevisionGUID="dfba5d63-39a4-461a-9548-48b8eb744673" CreationDate="2012-02-28T05:53:32.783" UserId="61" Text="Paul Huntsman (RIP) was the supervising sound editor on TRL. John Fasal may have created some sound design sequences or elements but I'm assuming his main role was as a recordist for all of the weapons, artillery, bullets, etc for the film. I'm not familiar with Claude's work or credits. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21140" PostHistoryTypeId="5" PostId="12760" RevisionGUID="f795327d-6fdf-4971-8df4-f93acceab618" CreationDate="2012-02-28T05:54:29.377" UserId="61" Comment="deleted 3 characters in body" Text="I have a date with some WW2 guns and an armorer and am looking to brainstorm some unconventional mic choices and/or placements to capture something special. I'll be traveling with some heavy hitters who will have all the usual high-end mic suspects, so this could be my opportunity to bring something unique to the table.&#xD;&#xA;&#xD;&#xA;Right now I'm leaning towards older dynamic mics (ie. RE-20. 421, 441, etc.). I have 6 channels at my disposal.&#xD;&#xA;&#xD;&#xA;Ready, set…BRAINSTORM!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21141" PostHistoryTypeId="2" PostId="12789" RevisionGUID="c7a24f51-2bd4-4156-a056-dca924b483cd" CreationDate="2012-02-28T06:39:38.750" UserId="6435" Text="There was a good Mix Magazine article about Thin Red Line when it came out. It may be archived on their site. I know I still have that back issue close by in my studio someplace." ContentLicense="CC BY-SA 3.0" />
  <row Id="21142" PostHistoryTypeId="2" PostId="12790" RevisionGUID="caa6ff36-f193-4151-8ee4-56c2e6a90502" CreationDate="2012-02-28T06:45:20.447" UserId="3396" Text="The only way to find out it to talk to somebody who worked on the show. &#xD;&#xA;&#xD;&#xA;Credits can be VERY misleading. I worked on a show with a &quot;sound designer&quot; credited who literally did nothing on the show. Other films I have worked on people credited as FX editors did design work. The line between the two is blurry to begin with.&#xD;&#xA;&#xD;&#xA;I'll bet you a dollar that on this one there was a person responsible for weapons, perhaps another responsible for vehicles, maybe another for aircraft, another for atmosphere and ambiances, another maybe did whooshy special fx kinda stuff with Paul overseeing everything.&#xD;&#xA;&#xD;&#xA;I could be completely wrong. There could of been one main guy creating sounds with other people cutting his stuff. But   This one had a lot of stuff going on.I seriously doubt that there was one guy responsible for everything in this big beautiful film.&#xD;&#xA;&#xD;&#xA;A lot of big shows will have the supervisor assigning different areas of the sound to different people depending on their strengths.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21143" PostHistoryTypeId="2" PostId="12791" RevisionGUID="1cc6e091-cf1e-4dd5-9898-ff4d83541f3d" CreationDate="2012-02-28T10:57:22.120" UserId="1067" Text="Assuming that the recordist is using discreet recording equipment rather than brandishing a Rycote windshield and a Sound Devices 702 in a bag with EXPENSIVE EQUIPMENT IN HERE! written on it, the following places are worth visiting:&#xD;&#xA;&#xD;&#xA;The West End in general with Soho, Covent Garden and Villiers Street/Embankment in particular worth visiting at night.&#xD;&#xA;&#xD;&#xA;Brick Lane and Petticoat Lane markets on a Sunday morning. They are both quite near to each other in east London, try to get there by 11am at the latest.&#xD;&#xA;&#xD;&#xA;Best echoes are in the long pedestrian tunnel leading from South Kensington tube station.&#xD;&#xA;&#xD;&#xA;Speakers Corner in Hyde Park on a Saturday or Sunday.&#xD;&#xA;&#xD;&#xA;Whitehall end of St James's Park fairly early in the morning. On the hour the bells of several churches and towers can be heard striking within a few seconds of each other.&#xD;&#xA;&#xD;&#xA;Brixton day or night, especially the area outside Brixton tube station, the covered and street markets, Atlantic Road, Railton Road, Electric Avenue.&#xD;&#xA;&#xD;&#xA;Great sounds at two museums in Brentford: the Steam Museum (has working stationary steam engines) and the Music Museum, which has player pianos and other mechanical, self-playing instruments." ContentLicense="CC BY-SA 3.0" />
  <row Id="21144" PostHistoryTypeId="2" PostId="12792" RevisionGUID="e3aaa339-3c8d-4e27-bd0b-3abe32cd1a04" CreationDate="2012-02-28T11:05:33.223" UserId="1067" Text="For quiet ambiences the Sony PCM M10 is good as the internal mics and preamp produce a clean sound with very little hiss.&#xD;&#xA;&#xD;&#xA;The drawback is that the internal mics don't produce a particularly compelling stereo image, although this seems to be most noticeable with sound sources that are neither very close nor very distant.&#xD;&#xA;&#xD;&#xA;A small recorder like the M10 is better than a large machine for opportunistic use as you'll be more likely to carry it around with you as a matter of course." ContentLicense="CC BY-SA 3.0" />
  <row Id="21145" PostHistoryTypeId="2" PostId="12793" RevisionGUID="f0b71a5f-6016-4df5-94e8-ddda2056cede" CreationDate="2012-02-28T11:31:07.020" UserDisplayName="user6513" Text="Not an answer but another question since we're on the topic. Does anyone remember reading articles about the location sound and final mix?&#xD;&#xA;&#xD;&#xA;I remember reading an article about how the sound recordists spent months after the film to capture ambiences and particularly birds. Being an avid ornithologist, Malick made sure the birds were all on the right kind of trees when they went for the sound mix. I positively remember reading all these but I haven't been able to find that article since. Does anyone have any leads on that? " ContentLicense="CC BY-SA 3.0" />
  <row Id="21146" PostHistoryTypeId="2" PostId="12794" RevisionGUID="b6caa371-6b86-4006-a2f5-c1ce6e5e6d30" CreationDate="2012-02-28T11:50:13.823" UserId="1067" Text="Extendable pole a.k.a. camera monopod. The Manfrotto 560B has retractable tripod feet which live inside the pole and can be pulled out and screwed into position when needed. Downside: it's quite heavy. &#xD;&#xA;&#xD;&#xA;Manfrotto also make thread adapters that might come in handy too, eg their 1/4&quot; to 3/8&quot; adapter, model number 088.&#xD;&#xA;&#xD;&#xA;Edit: Sonic Fields beat me to it with his monopod suggestion." ContentLicense="CC BY-SA 3.0" />
  <row Id="21147" PostHistoryTypeId="5" PostId="12791" RevisionGUID="c449ea4f-4fdb-4a7c-a3d3-0e69cc6494d2" CreationDate="2012-02-28T11:55:33.450" UserId="1067" Comment="deleted 6 characters in body" Text="Assuming that the recordist is using discreet recording equipment rather than brandishing a Rycote windshield and a Sound Devices 702 in a bag with EXPENSIVE EQUIPMENT IN HERE! written on it, the following places are worth visiting:&#xD;&#xA;&#xD;&#xA;The West End in general with Soho, Covent Garden and Villiers Street/Embankment in particular worth visiting at night.&#xD;&#xA;&#xD;&#xA;Brick Lane and Petticoat Lane markets on a Sunday morning. They are both quite near to each other in east London, try to get there by 11am at the latest.&#xD;&#xA;&#xD;&#xA;Best echoes are in the long pedestrian tunnel leading from South Kensington tube station.&#xD;&#xA;&#xD;&#xA;Speakers Corner in Hyde Park on a Saturday or Sunday.&#xD;&#xA;&#xD;&#xA;Whitehall end of St James's Park fairly early in the morning. On the hour the bells of several churches and towers can be heard striking within a few seconds of each other.&#xD;&#xA;&#xD;&#xA;Brixton by day, especially the area outside Brixton tube station, the arcades and street markets, Atlantic Road, Railton Road, Electric Avenue.&#xD;&#xA;&#xD;&#xA;Great sounds at two museums in Brentford: the Steam Museum (has working stationary steam engines) and the Music Museum, which has player pianos and other mechanical, self-playing instruments." ContentLicense="CC BY-SA 3.0" />
  <row Id="21148" PostHistoryTypeId="2" PostId="12795" RevisionGUID="2b89ff2c-dc72-427e-a442-800b6ef3edb1" CreationDate="2012-02-28T12:45:03.970" UserId="432" Text="The few times I've done firearms/explosive recordings, I've found that having one omni-directional up somewhere really helps define the low-end and the tail-out. I've never used it the recordings from one standalone, but it's great to mix with recordings from the other mics. Automate a low pass filter so it's really restricted to low frequency content on the bang and open it up for the tail." ContentLicense="CC BY-SA 3.0" />
  <row Id="21149" PostHistoryTypeId="2" PostId="12796" RevisionGUID="044fffd8-7495-48c6-9b96-16bf09219a2a" CreationDate="2012-02-28T15:01:59.723" UserDisplayName="user80" Text="I always pair up mics so that you can have an extreme dynamic range.  If you have 6 tracks try two lavs on the person firing the weapons, then two omnis and then two dynamics.&#xD;&#xA;&#xD;&#xA;Make one mic so that it doesn't distort and then allow the matched mic to overload so that you have plenty of detail for the quiet parts.  &#xD;&#xA;&#xD;&#xA;The lavs (DPAs) will catch all of the handling noises.  The omnis (4003/6 DPAs are best) will catch the fast transients, and the dynamics (RE-20 is ideal) will blur the transients and add warmth." ContentLicense="CC BY-SA 3.0" />
  <row Id="21150" PostHistoryTypeId="2" PostId="12797" RevisionGUID="a8302b16-482e-4c4a-9152-ec4d21b95058" CreationDate="2012-02-28T16:00:12.023" UserId="1035" Text="Alternative to the H4n, I've got a Tascam DR-100 that I like quite a lot. I'd worked with the H4n in the past, and while I liked some features, I wasn't happy with the way one adjusted gain or the overall construction (too plastic and flimsy). The DR-100 costs about the same (possibly a bit cheaper?) and does basically the same thing." ContentLicense="CC BY-SA 3.0" />
  <row Id="21151" PostHistoryTypeId="2" PostId="12798" RevisionGUID="4e3dc363-8d96-45f7-a217-92fce9d3b68a" CreationDate="2012-02-28T16:06:58.937" UserId="1035" Text="+1 to basically everything said so far in this thread. I'm all about using either synthesis or different kinds of small sound recordings of things like sticks clacking, little stones, etc. It all depends on the look and feel. &#xD;&#xA;&#xD;&#xA;One thing I like to always keep in mind when doing UI sounds is that something needs to be inherently pleasing about the sound, and when combined with the visual feedback of the button, should almost be able to act upon all the senses. A lot of kids puzzle games have some really good stuff like this, I'm thinking in particular of one I played a long time ago (cannot remember the name) where you would drag little colored translucent cubes into a tray to solve a puzzle. The &quot;klak&quot; sound that they had, combined with the visuals, could only be described as &quot;delicious.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21152" PostHistoryTypeId="2" PostId="12799" RevisionGUID="0f549084-a4d9-4974-bb8a-4e41902f1c9d" CreationDate="2012-02-28T16:43:58.163" UserId="3512" Text="I Agree 120% with Matthew's comment. Even though there are other reasons for people not listening to complete albums anymore (like &quot;owning&quot; simple tracks), I do consider that one of the hidden reasons is the fact that too much compressed audio causes fatigue to the listener..therefore the hearing experience turns into an unpleasing one. As well it happens on  TV broadcasting on Argentina (where I'm from)." ContentLicense="CC BY-SA 3.0" />
  <row Id="21153" PostHistoryTypeId="2" PostId="12800" RevisionGUID="389b63cd-5476-43be-846a-f5fd7d650a77" CreationDate="2012-02-28T18:21:27.963" UserId="3179" Text="I would personally vote for no. Reason for this is simply because game testing has very little to do with game audio production. As a game tester you might get an in-house position or sort of, which COULD in turn allow you to interact with other people in the company e.g. the audio team. However, I really don't see how being a game tester or having the experience of a game tester would make one any more employable in audio, which is what you're really trying to pursue.&#xD;&#xA;&#xD;&#xA;It's a personal choice, but I would focus on audio projects rather than playing games." ContentLicense="CC BY-SA 3.0" />
  <row Id="21154" PostHistoryTypeId="2" PostId="12801" RevisionGUID="cc41ec9a-7862-4367-8ad6-3d144e1f24db" CreationDate="2012-02-28T19:02:38.183" UserId="1049" Text="You should be thinking about the CV perspective of things. Working in game-audio requries you to be competant with audio engines, game engines, audio production, audio glitch hunting/fixing etc. Whilst &quot;Have a passion for gaming&quot; will be on every job-listing you see for permanant vacancies and a role in gaming QA will certainly prove this, it's not a skill and isn't the highest priority on job-listing requirements! A role in something a little more audio-focused would be a better starting job to look for whilst building up a portfolio and working on projects etc in your spare time.&#xD;&#xA;&#xD;&#xA;I agree with Mviljamaa that general game testing isn't quite the route in if you're doing QA and bug-hunting. However, this depends on the material that the developer/publisher you'd be working for focuses on. If you got a position QAing audio-focused games or specialised in audio glitch hunting etc then that'd be a pretty decent entry on your CV. But again, as mentioned by Mviljamaa, you can't rely on it leading to an in-house sound designer position." ContentLicense="CC BY-SA 3.0" />
  <row Id="21155" PostHistoryTypeId="2" PostId="12802" RevisionGUID="6355f2c5-d19e-4f29-b638-bc36ad9b73b4" CreationDate="2012-02-28T19:28:31.003" UserId="1159" Text="I got my in through a combination of being a tester and knowing the right people. While I don't think it's necessarily the best way in any more you do gain a lot of knowledge of how development works that you won't learn anywhere else. Overall I always like working with people who have been testers since they know all sides of things. It will also make you life a little easier once you are doing audio. Being able to find and repro your own bugs is invaluable. Nobody will know your games audio better than you so it can help to be your own tester at times. You're still going to need to set yourself apart so don't stop doing freelance work if your contracts allow it." ContentLicense="CC BY-SA 3.0" />
  <row Id="21156" PostHistoryTypeId="2" PostId="12803" RevisionGUID="fe850e82-562b-4676-b9aa-279447104a82" CreationDate="2012-02-28T20:13:36.303" UserId="2177" Text="I need to record a bunch of footsteps in a dilapidated building.  Ideally with both tile and unfinished hardwood surfaces, and also with a layer of dust and dirt (but not overly dirty or crunchy).  I am located in NYC, but can travel if need be (locally in NY/NJ would be preferred...).  If anyone has any ideas or leads, please let me know.  &#xD;&#xA;&#xD;&#xA;the scene is too long and too exposed to get away with it being done in a foley studio.&#xD;&#xA;&#xD;&#xA;thanks!&#xD;&#xA;&#xD;&#xA;greg at eastwestaudio dot com&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21157" PostHistoryTypeId="1" PostId="12803" RevisionGUID="fe850e82-562b-4676-b9aa-279447104a82" CreationDate="2012-02-28T20:13:36.303" UserId="2177" Text="need a location for warehouse or dilapidated building footstep recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="21158" PostHistoryTypeId="3" PostId="12803" RevisionGUID="fe850e82-562b-4676-b9aa-279447104a82" CreationDate="2012-02-28T20:13:36.303" UserId="2177" Text="&lt;field&gt;&lt;recording&gt;&lt;foley&gt;&lt;footsteps&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21159" PostHistoryTypeId="2" PostId="12804" RevisionGUID="d2c88889-d23e-4c1b-a8f4-9db639c2d0fa" CreationDate="2012-02-28T20:43:49.983" UserId="3249" Text="My favorite is jumping on markers (on numeric keypad):&#xD;&#xA;&lt;pre&gt;[period][number of marker][period]    &lt;/pre&gt;for example press .100. to go to marker 100&#xD;&#xA;&#xD;&#xA;and window configurations:&#xD;&#xA;&lt;pre&gt;[period][number of window config][asterisk]   &lt;/pre&gt;for example .1*&#xD;&#xA;&#xD;&#xA;Give it a try, its great time saver!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21160" PostHistoryTypeId="16" PostId="12804" RevisionGUID="d2c88889-d23e-4c1b-a8f4-9db639c2d0fa" CreationDate="2012-02-28T20:43:49.983" UserId="-1" />
  <row Id="21161" PostHistoryTypeId="2" PostId="12805" RevisionGUID="ffda6d4f-1a2d-4db5-9f2b-f03843f2f0a2" CreationDate="2012-02-28T21:19:55.850" UserId="730" Text="said page not found." ContentLicense="CC BY-SA 3.0" />
  <row Id="21162" PostHistoryTypeId="2" PostId="12806" RevisionGUID="e6009fc2-559c-49d3-8cef-db42fb79c709" CreationDate="2012-02-28T23:54:43.370" UserId="2906" Text="georgi answer is great, but it might simply be a YouTube issue. This happens often. Just recently, a friend of mine uploaded a video to it and L and R were switched!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21163" PostHistoryTypeId="2" PostId="12807" RevisionGUID="7c0af607-1917-416e-bcf2-161586c06645" CreationDate="2012-02-29T00:29:26.223" UserId="1117" Text="I worked on a film last year where we needed a abandoned factory location.&#xD;&#xA;the way we ended up getting one was going through demolition companies and found a place that was going to be destroyed an a few months. they didn't charge us or anything.&#xD;&#xA;&#xD;&#xA;just watch out for the crackheads though." ContentLicense="CC BY-SA 3.0" />
  <row Id="21164" PostHistoryTypeId="2" PostId="12808" RevisionGUID="fb40b779-dcc2-4480-8796-8ecfab960d5e" CreationDate="2012-02-29T01:33:29.870" UserId="3360" Text="Someone else yesterday replied me on another sound design social space that Fasal did the main sound design for the film, whereas Letessier supervised the sound for Zimmer.&#xD;&#xA;Anyway i do agree with @Chris; probably I'll never know :P" ContentLicense="CC BY-SA 3.0" />
  <row Id="21165" PostHistoryTypeId="2" PostId="12809" RevisionGUID="521358f1-8d67-4955-ba0c-5d674b565c93" CreationDate="2012-02-29T03:16:17.000" UserId="29" Text="Here's a rundown on my wireless rig, since you asked what-all it takes to make a complete system, but it is just enough to do stereo effects or a 2-person scene, like an interview: Two Lectronics 411 receivers, Lectro LMa transmitters, DPA 4060 lavs (my decision was clinched by their modular micro-dot connector and adapter system - I can plug 'em into almost anything, wireless or not), Countryman B3 lav as a backup/option (more moisture-resistant), Remote Audio MicroCat windscreens, short right-angle XLR cables to go into a recorder or mixer, Powerex AA NiMH batteries for the Tx's, iPower LiIon 9 volt batteries for the Rx's. For effects, it's actually pretty great to have a system that can follow moving sound sources without having to swing a boom accurately...&#xD;&#xA;&#xD;&#xA;Had I the chance to do it over again, I'd have chosen the less-sensitive 4061's. They're more versatile for effects. You can even get 4062's if you're aiming to shove 'em in car engine bays and the like.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21166" PostHistoryTypeId="2" PostId="12810" RevisionGUID="9974f68a-1cc6-4acb-af02-d69a5655d941" CreationDate="2012-02-29T05:23:11.240" UserId="1228" Text="I agree with Shaun, network TV usually tops out at -10dBFS.  I know soome primetime dramas top out at -6dB with a brickwall (at least as far as their final DVCAM output goes).&#xD;&#xA;&#xD;&#xA;For a regular theatrical mix, I don't do any 'mastering' beyond what global plugin's I have on each of my submaster feeds to the stems.  Even then, the only submaster I have plugnis on are MX (EQ, reverb) and FX (limiter, global EQ as a fail-safe if I need it).&#xD;&#xA;&#xD;&#xA;For a DVD/web mix, Shaun is also correct.  It is indeed a remix of the theatrical stems so it turns that whole advertisement of &quot;hear it on BluRay like exactly how it was mixed&quot; to complete hogwash.  If consumers heard a theatrical printmaster play back on their home theater they'd be pissed off likely because the levels are 'too low' and the dynamic range too wide.  It's hard to find much info about this process, it seems to be hidden behind closed doors.  The most I've ever heard is that Sony has some internal manual or guidelines for DVD remixing but alas I';ve never seen it.  After a lot of digging a few years ago I did find one solid bit of information:&#xD;&#xA;&#xD;&#xA;The rule of thumb that I've heard and have used for a few years now, which seems to yield appropriate results for both DVD playback and internet playback robustness, is to take your theatrical stems and bump them +6 dB, and then brickwall them  near the top with something like Maxim or the Massey L2007 since they are both transparent and can take a lot of abuse (whereas something like the L1 is a joke in my opinion because it does a poor job at brickwall limiting and adds a lot of color to the material).  Depending on how busy the material is in the stems, you may need to ride the levels an/or very **gently** use sidechain compression to weave the stems together at the reduced dynamic range but retain the clarity of the theatrical.  Again, this is only what I've heard and seems to have worked for me, so that's my 2 cents." ContentLicense="CC BY-SA 3.0" />
  <row Id="21167" PostHistoryTypeId="2" PostId="12811" RevisionGUID="58e8a7ea-4e1c-4942-a0cc-8abcf827527d" CreationDate="2012-02-29T07:21:23.950" UserId="18160" Text="Did it happen already? Sorry it took so long for me to see this question.&#xD;&#xA;&#xD;&#xA;I would experiment with stuff I've learned from recording snare drums for albums:&#xD;&#xA;&#xD;&#xA;- Place a dynamic mic inside a styrofoam cup and record a round with it, see if it adds some brilliance in the early refs.&#xD;&#xA;- Same as above, but use a cut-in-half milk carton.&#xD;&#xA;- Measure out 30 feet of distance from the source and place up some reflective items like metal sheets or doors or even cars. (results vary on what you have available)&#xD;&#xA;- I would bring my 20 tube traps I have from my studio and set up a reflective sound field around the gun to get those high-end early refs to smooth over the recording to not make it so sharp but bright and present but also pleasant. http://www.tubetrap.com/tubetrap-history.htm&#xD;&#xA;- Remember that the power of a gun is not so much in it's close-miked position but positions from far away to get the echo rolling through the surroundings. I learned this from Dark Knight's interview with the gun recordist - he made sure to get a long perspective because most of a gun's low-end is from the reflections around it.&#xD;&#xA;- Possibly place binaural mics on the shooter just to see how it would sound? Might sound horrible, but it might be an awesome perspective for when you need that &quot;sniper's eye view&quot; &#xD;&#xA;perspective in the movie. You know what I'm talking about.&#xD;&#xA;- Could be cool to record with " ContentLicense="CC BY-SA 3.0" />
  <row Id="21168" PostHistoryTypeId="5" PostId="12811" RevisionGUID="e3593fa5-31c6-4f84-9aad-9f691e130914" CreationDate="2012-02-29T07:27:14.537" UserId="18160" Comment="added 87 characters in body; added 56 characters in body; added 81 characters in body" Text="Did it happen already? Sorry it took so long for me to see this question.&#xD;&#xA;&#xD;&#xA;I would experiment with stuff I've learned from recording snare drums for albums:&#xD;&#xA;&#xD;&#xA;- Place a dynamic mic inside a styrofoam cup and record a round with it, see if it adds some brilliance in the early refs.&#xD;&#xA;- Same as above, but use a cut-in-half milk carton.&#xD;&#xA;- Measure out 30 feet of distance from the source and place up some reflective items like metal sheets or doors or even cars. (results vary on what you have available). This will cause a discernible slap-back echo at 60 ms. Might sound pretty cool.&#xD;&#xA;- I would bring my 20 tube traps I have from my studio and set up a reflective sound field around the gun to get those high-end early refs to smooth over the recording to not make it so sharp but bright and present but also pleasant. http://www.tubetrap.com/tubetrap-history.htm  http://www.acousticsciences.com/products/studio-traps/ (if you contact the dealer he will let you rent them. E-mail me if you're interested.)&#xD;&#xA;- Remember that the power of a gun is not so much in it's close-miked position but positions from far away to get the echo rolling through the surroundings. I learned this from Dark Knight's interview with the gun recordist - he made sure to get a long perspective because most of a gun's low-end is from the reflections around it.&#xD;&#xA;- Possibly place binaural mics on the shooter just to see how it would sound? Might sound horrible, but it might be an awesome perspective for when you need that &quot;sniper's eye view&quot; &#xD;&#xA;perspective in the movie. You know what I'm talking about.&#xD;&#xA;- Could be cool to record with " ContentLicense="CC BY-SA 3.0" />
  <row Id="21169" PostHistoryTypeId="5" PostId="12811" RevisionGUID="f6236691-8550-421d-94dd-fb9d66bad371" CreationDate="2012-02-29T07:32:44.963" UserId="18160" Comment="added 118 characters in body; added 200 characters in body" Text="Did it happen already? Sorry it took so long for me to see this question.&#xD;&#xA;&#xD;&#xA;I would experiment with stuff I've learned from recording snare drums for albums:&#xD;&#xA;&#xD;&#xA;- Place a dynamic mic inside a styrofoam cup and record a round with it, see if it adds some brilliance in the early refs. (don't point it towards the bottom of the cup, cut out a hole and stick it through so it makes a sort of &quot;lens hood&quot;)&#xD;&#xA;- Same as above, but use a cut-in-half milk carton.&#xD;&#xA;- Measure out 30 feet of distance from the source and place up some reflective items like metal sheets or doors or even cars. (results vary on what you have available). This will cause a discernible slap-back echo at 60 ms. Might sound pretty cool.&#xD;&#xA;- I would bring my 20 tube traps I have from my studio and set up a reflective sound field around the gun to get those high-end early refs to smooth over the recording to not make it so sharp but bright and present but also pleasant. http://www.tubetrap.com/tubetrap-history.htm  http://www.acousticsciences.com/products/studio-traps/ (if you contact the dealer he will let you rent them. E-mail me if you're interested.)&#xD;&#xA;- Remember that the power of a gun is not so much in it's close-miked position but positions from far away to get the echo rolling through the surroundings. I learned this from Dark Knight's interview with the gun recordist - he made sure to get a long perspective because most of a gun's low-end is from the reflections around it.&#xD;&#xA;- Possibly place binaural mics on the shooter just to see how it would sound? Might sound horrible, but it might be an awesome perspective for when you need that &quot;sniper's eye view&quot; &#xD;&#xA;perspective in the movie. You know what I'm talking about.&#xD;&#xA;- Could be cool to record with a blumlein pair or another interesting configuration.&#xD;&#xA;&#xD;&#xA;I've got quite a mic arsenal. Perhaps I can bring along some mics you need if I could only witness and observe how the session goes down....!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21170" PostHistoryTypeId="5" PostId="12801" RevisionGUID="07b2c3e8-12e6-42db-9077-49051a841413" CreationDate="2012-02-29T07:38:39.307" UserId="1049" Comment="added 21 characters in body" Text="You should be thinking about the CV perspective of things. Working in game-audio requries you to be competant with audio engines, game engines, audio production, audio glitch hunting/fixing etc. Whilst &quot;Have a passion for gaming&quot; will be on every job-listing you see for permanant vacancies and a role in gaming QA will certainly prove this, &quot;a passion for gaming&quot; is not a skill and isn't the highest priority on job-listing requirements! A role in something a little more audio-focused would be a better starting job to look for whilst building up a portfolio and working on projects etc in your spare time.&#xD;&#xA;&#xD;&#xA;I agree with Mviljamaa that general game testing isn't quite the route in if you're doing QA and bug-hunting. However, this depends on the material that the developer/publisher you'd be working for focuses on. If you got a position QAing audio-focused games or specialised in audio glitch hunting etc then that'd be a pretty decent entry on your CV. But again, as mentioned by Mviljamaa, you can't rely on it leading to an in-house sound designer position." ContentLicense="CC BY-SA 3.0" />
  <row Id="21171" PostHistoryTypeId="5" PostId="12811" RevisionGUID="0eeb5c05-fe98-4988-affc-c6c419dbe8e4" CreationDate="2012-02-29T07:38:43.113" UserId="18160" Comment="added 146 characters in body" Text="Did it happen already? Sorry it took so long for me to see this question.&#xD;&#xA;&#xD;&#xA;I would experiment with stuff I've learned from recording snare drums for albums:&#xD;&#xA;&#xD;&#xA;- Place a dynamic mic inside a styrofoam cup and record a round with it, see if it adds some brilliance in the early refs. (don't point it towards the bottom of the cup, cut out a hole and stick it through so it makes a sort of &quot;lens hood&quot;)&#xD;&#xA;- Same as above, but use a cut-in-half milk carton.&#xD;&#xA;- Measure out 30 feet of distance from the source and place up some reflective items like metal sheets or doors or even cars. (results vary on what you have available). This will cause a discernible slap-back echo at 60 ms. Might sound pretty cool.&#xD;&#xA;- I would bring my 20 tube traps I have from my studio and set up a reflective sound field around the gun to get those high-end early refs to smooth over the recording to not make it so sharp but bright and present but also pleasant. http://www.tubetrap.com/tubetrap-history.htm  http://www.acousticsciences.com/products/studio-traps/ (if you contact the dealer he will let you rent them. E-mail me if you're interested.)&#xD;&#xA;- Do a couple takes with the mics pointed away from the source to mix with (something I learned from Bruce Swedien's method of recording choirs)&#xD;&#xA;- Remember that the power of a gun is not so much in it's close-miked position but positions from far away to get the echo rolling through the surroundings. I learned this from Dark Knight's interview with the gun recordist - he made sure to get a long perspective because most of a gun's low-end is from the reflections around it.&#xD;&#xA;- Possibly place binaural mics on the shooter just to see how it would sound? Might sound horrible, but it might be an awesome perspective for when you need that &quot;sniper's eye view&quot; &#xD;&#xA;perspective in the movie. You know what I'm talking about.&#xD;&#xA;- Could be cool to record with a blumlein pair or another interesting configuration.&#xD;&#xA;&#xD;&#xA;I've got quite a mic arsenal. Perhaps I can bring along some mics you need if I could only witness and observe how the session goes down....!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21172" PostHistoryTypeId="5" PostId="12801" RevisionGUID="474faf99-0601-43fc-b362-ed08b5a3c472" CreationDate="2012-02-29T07:48:17.973" UserId="1049" Comment="Replaced &quot;this&quot; with &quot;a passion for gaming&quot; to avoid confusion." Text="You should be thinking about the CV perspective of things. Working in game-audio requries you to be competant with audio engines, game engines, audio production, audio glitch hunting/fixing etc. Whilst &quot;Have a passion for gaming&quot; will be on every job-listing you see for permanant vacancies and a role in gaming QA will certainly prove this, &quot;a passion for gaming&quot; is not a skill and isn't the highest priority on job-listing requirements! A role in something a little more audio-focused would be a better starting job to look for whilst building up a portfolio and working on projects etc in your spare time.   &#xD;&#xA;&#xD;&#xA;I agree with Mviljamaa that general game testing isn't quite the route in if you're doing QA and bug-hunting. However, this depends on the material that the developer/publisher you'd be working for focuses on. If you got a position QAing audio-focused games or specialised in audio glitch hunting etc then that'd be a pretty decent entry on your CV. But again, as mentioned by Mviljamaa, you can't rely on it leading to an in-house sound designer position." ContentLicense="CC BY-SA 3.0" />
  <row Id="21173" PostHistoryTypeId="2" PostId="12812" RevisionGUID="e18fa6ca-a58e-4f67-b263-fc31183a32c9" CreationDate="2012-02-29T10:57:25.417" UserId="1185" Text="What are you trying to achieve?&#xD;&#xA;&#xD;&#xA;First do the deconvolution of the input impulse and the recorded room response.  This will give you the IR file for the room. (You could do this in Matlab, but you'll need some background to use it.  Logic comes with an app called IR Utility that will do the deconvolution assuming the response recording was done with an input sine sweep.)   Save the IR file and open it in any wave editor so you can edit the file.  Then remove the IRs &quot;tails&quot; (diffuse field) either by cutting or fading.  This will leave just the direct sound and the early reflections.  (The point you do the the cut/fade will affect the results so you may want to play around a bit, depending on what you are trying to achieve.)  Save the modified IR and open/apply it using your preferred convolution reverb.&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="21174" PostHistoryTypeId="2" PostId="12813" RevisionGUID="7d7d5a5e-b2c2-4d18-9655-25aa39ed9e78" CreationDate="2012-02-29T12:02:24.587" UserId="578" Text="Games testing is a really good way of learning about games development processes and realities. Even better if you can land a job as audio tester, you will get to work with the in-house audio tools and be in direct contact with the sound team. I started as a games tester myself and it's been invaluable experience. It's not a guaranteed path to becoming an employed audio designer, but if you're focussed it won't hurt your development at all.&#xD;&#xA;&#xD;&#xA;Obviously, you should still keep doing freelance audio work and what not on the side. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21175" PostHistoryTypeId="2" PostId="12814" RevisionGUID="bb01099c-eeb3-457a-bc29-2dce238e91de" CreationDate="2012-02-29T13:25:33.577" UserId="2778" Text="I just finished recording a few sounds for a film that i am working on, for practice. I am working on nuendo 4. I wanted to know about the sample rate and the bit rate that i should use. 44/16 or 48/24? I also wanted to know what effect each of these have on the sound of the film and also, do i have to work on different sample rates and bit rates for films having different fps? I mean is the sample rate and bit rate different for a film that is 24 fps from a film that is 29fps?&#xD;&#xA;P.S.: I am just a beginner, so please excuse me if i have used any wrong term. I hope i have put my question forward properly.&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="21176" PostHistoryTypeId="1" PostId="12814" RevisionGUID="bb01099c-eeb3-457a-bc29-2dce238e91de" CreationDate="2012-02-29T13:25:33.577" UserId="2778" Text="Beginning a new session!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21177" PostHistoryTypeId="3" PostId="12814" RevisionGUID="bb01099c-eeb3-457a-bc29-2dce238e91de" CreationDate="2012-02-29T13:25:33.577" UserId="2778" Text="&lt;beginner&gt;&lt;starter&gt;&lt;sound-editing&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21178" PostHistoryTypeId="2" PostId="12815" RevisionGUID="4978163c-8b1c-46b9-ab6b-2c4d530be1a1" CreationDate="2012-02-29T16:24:29.293" UserId="61" Text="The industry standard right now is 24bit, 48kHz. The frame rate doesn't influence those settings. Depending on the type of work you are doing (dialog editing, foley editing, sound effects editing or design), your sample rate may vary anywhere from 48k all the way up to 192k. But 99% of the sessions that are ultimately destined for a professional dub stage will be saved as 24/48." ContentLicense="CC BY-SA 3.0" />
  <row Id="21179" PostHistoryTypeId="2" PostId="12816" RevisionGUID="e552c5eb-2ac3-4efa-8eca-7f0b97640cdf" CreationDate="2012-02-29T16:26:59.473" UserId="310" Text="44.1 kHz sample rate should be fine but if you would like to do something like pitch shifting or time warp 96 kHz is strongly recommended. Your audio waves will have more detail in time. Same practice is applicable in bit depth. 24 bit is basic level. In Nuendo you should use 32 bit. &#xD;&#xA;&#xD;&#xA;I **strongly suggest to open manual** :] Steinberg explain theory very well in manual.&#xD;&#xA;&#xD;&#xA;There is many interesting articles on this forum about high sample rates&#xD;&#xA;&#xD;&#xA;You always can do mix down of your project with dithering for right bit depth (in nuendo just add master diner effect on last insert slot on your master channel)..." ContentLicense="CC BY-SA 3.0" />
  <row Id="21180" PostHistoryTypeId="2" PostId="12817" RevisionGUID="bff1f141-cf5c-4d53-9171-e1a72331b435" CreationDate="2012-02-29T16:27:56.443" UserDisplayName="user80" Text="24 bit 48 kHz, if you are pitch shifting use 96 kHz." ContentLicense="CC BY-SA 3.0" />
  <row Id="21181" PostHistoryTypeId="2" PostId="12818" RevisionGUID="8d0779fb-30b2-4572-9c69-83c7d5d464ee" CreationDate="2012-02-29T17:44:38.157" UserId="6435" Text="Here you go, folks. There may be some answers for you in this article:&#xD;&#xA;&#xD;&#xA;http://mixonline.com/mag/audio_delicacy_war/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21182" PostHistoryTypeId="2" PostId="12819" RevisionGUID="5aa325d1-6e92-4ea7-8112-41ddd017e25f" CreationDate="2012-02-29T17:50:23.283" UserId="3444" Text="I would go with variety, but do it in a sneaky way. Layering sounds together will benefit the end result, meaning layering and combining the good with the bad. If your samples are in stereo I would re-import the layered sounds in mono, this way you can easily pan them to match the location of the original sound. You can stack up a bunch of samples, even from different source material, you'll just need to adjust the volume and add reverb (you should bus the mono track to a stereo reverb) to make it seamless. I think in this situation layering and spotting sounds is your best bet to create a varied and believable environment." ContentLicense="CC BY-SA 3.0" />
  <row Id="21183" PostHistoryTypeId="2" PostId="12820" RevisionGUID="3dfdf336-1ece-445f-bf63-38f8b4b4ac0e" CreationDate="2012-02-29T19:04:32.470" UserId="680" Text="Does anyone know where its possible to buy blocks of dry ice in the uk?&#xD;&#xA;&#xD;&#xA;Tried google but want to make sure Im not purchasing something useless" ContentLicense="CC BY-SA 3.0" />
  <row Id="21184" PostHistoryTypeId="1" PostId="12820" RevisionGUID="3dfdf336-1ece-445f-bf63-38f8b4b4ac0e" CreationDate="2012-02-29T19:04:32.470" UserId="680" Text="where to buy Blocks of dry Ice in the UK" ContentLicense="CC BY-SA 3.0" />
  <row Id="21185" PostHistoryTypeId="3" PostId="12820" RevisionGUID="3dfdf336-1ece-445f-bf63-38f8b4b4ac0e" CreationDate="2012-02-29T19:04:32.470" UserId="680" Text="&lt;uk&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21186" PostHistoryTypeId="2" PostId="12821" RevisionGUID="767a5ff0-7609-4a75-bde5-a323bc7c1502" CreationDate="2012-02-29T19:15:44.420" UserId="18160" Text="If you don't find anything, a close second to buying dry ice is purchasing ice cream over the internet.&#xD;&#xA;&#xD;&#xA;It arrives in a styrofoam box with a ton of dry ice inside of it.&#xD;&#xA;&#xD;&#xA;If you buy a couple cartons, you'll have a treat to eat while you play with a bunch of dry ice!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21187" PostHistoryTypeId="2" PostId="12822" RevisionGUID="371ecc09-46e2-4dbd-908c-c8163032cf07" CreationDate="2012-02-29T19:19:24.713" UserId="6420" Text="http://www.chillistick.co.uk/dry-ice-products-c-318.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="21188" PostHistoryTypeId="2" PostId="12823" RevisionGUID="38af035b-78f5-467c-926c-4346c439509d" CreationDate="2012-02-29T19:28:12.367" UserId="3316" Text="Haven't read all the posts, but I can only presume its the world saying NO. Game testing isn't at all glamorous. And is less to do with playing games, and more about trying to repetitively break them, in the exact same way, writing reports, then doing it again. &#xD;&#xA;It's not at all the best way to get a foot in the door, it has worked for some I know, but by the time they are in the door, they regret not finding another method. :P&#xD;&#xA;Also much like alot of the in house games business the hours are poor, I recently visited a 24/h game testing facility. The people lucky enough to grab a smoke break, did not look pleased. aha&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21189" PostHistoryTypeId="2" PostId="12824" RevisionGUID="8c7c7674-ca18-4e87-a433-0ebf85592754" CreationDate="2012-02-29T20:52:54.283" UserId="3515" Text="Hey. im have a clip that i have to use in my uni project and there is a scene where peoples head explode, i was wondering if anyone could give me some advice on how to record this myself using foley.&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="21190" PostHistoryTypeId="1" PostId="12824" RevisionGUID="8c7c7674-ca18-4e87-a433-0ebf85592754" CreationDate="2012-02-29T20:52:54.283" UserId="3515" Text="creating the sound of exploding heads" ContentLicense="CC BY-SA 3.0" />
  <row Id="21191" PostHistoryTypeId="3" PostId="12824" RevisionGUID="8c7c7674-ca18-4e87-a433-0ebf85592754" CreationDate="2012-02-29T20:52:54.283" UserId="3515" Text="&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21192" PostHistoryTypeId="2" PostId="12825" RevisionGUID="3f9d1624-a708-486c-8a85-db9b51a95db2" CreationDate="2012-02-29T20:59:17.733" UserId="6669" Text="My thinking is:&#xD;&#xA;&#xD;&#xA;IF you have the means to support yourself for a while, focus solely on audio projects (indie games, post, personal sound design projects) and hold out for the full-on audio gigs. Testing is not a super direct route in. Audio testing maybe.&#xD;&#xA;&#xD;&#xA;However, if you need to pay bills in the meantime, you could probably do worse than a testing job in the 9-6PM hours. You'll be in a studio, learning their tools, build processes, and depending on how high up on the QA chain you are / how visible you are you may get to cross paths with the audio department specifically. If you keep your desire to eventually move into sound known (many QA testers leave the role for the 'real' development job they want after a while) you may get your shot.&#xD;&#xA;&#xD;&#xA;In the meantime you could keep your audio skills sharp in the afterhours.&#xD;&#xA;&#xD;&#xA;Full disclosure, I just picked up a testing position a week or two back (situation #2 describes me), so I'll let you know how it goes." ContentLicense="CC BY-SA 3.0" />
  <row Id="21193" PostHistoryTypeId="2" PostId="12826" RevisionGUID="6bfe50cd-046b-436e-9259-c4a93e6662c3" CreationDate="2012-02-29T21:00:43.437" UserId="6420" Text="Wow! Sounds awesome :) the obvious way forward seems to be with the use (and abuse) of fruit and veg! Something like hitting a ripe, soft (almost gone off) water melon with a baseball bat mid flight could be a good layer to start with. Prepare to get messy though ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21194" PostHistoryTypeId="2" PostId="12827" RevisionGUID="280e17e8-1f2c-492e-9891-7bdae970f807" CreationDate="2012-02-29T21:15:32.507" UserId="730" Text="i agree with andy, very wet, and slimy sounding squish sounds with the crunch of bones from tree branches, lettuce, celery etc.  I find oranges work really well for a good squish." ContentLicense="CC BY-SA 3.0" />
  <row Id="21195" PostHistoryTypeId="2" PostId="12828" RevisionGUID="6ee71906-76ac-4ac3-a877-903a7f2830a8" CreationDate="2012-02-29T22:10:59.743" UserId="1153" Text="I agree with the other answers from Andy and Benjie for the use of fruit and twigs etc.&#xD;&#xA;&#xD;&#xA;Also, ask yourself what stylistic approach you want/need to take for the scene. Do you want a 'realistic' sound or something more comedic? etc.&#xD;&#xA;&#xD;&#xA;For a comedic or cartoon approach sounds of inflation from a pump and balloon, coupled with a balloon pop and a bit of light squelching from fruit may work well. It depends on how these heads are exploding as well as the context.&#xD;&#xA;&#xD;&#xA;Hope that helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21196" PostHistoryTypeId="2" PostId="12829" RevisionGUID="4982e0a6-ca01-4e4d-b61f-7f9381b0958e" CreationDate="2012-02-29T22:14:19.687" UserId="18160" Text="Drop a melon or a watermelon off a 2 story house to concrete.&#xD;&#xA;&#xD;&#xA;Cut one almost in half before you throw it so it gets broken more upon impact.&#xD;&#xA;&#xD;&#xA;Or just save your money and time and the harm of innocent fruits and buy Vegetable Violence from Tim Prebble's Hiss and a Roar company." ContentLicense="CC BY-SA 3.0" />
  <row Id="21197" PostHistoryTypeId="2" PostId="12830" RevisionGUID="2734ec1c-6331-453c-bc7f-acaa70bed85b" CreationDate="2012-02-29T22:43:22.830" UserDisplayName="user80" Text="Any theatre lighting hire/sales company will sell dry ice.  If you let me know where you live I can suggest somewhere local." ContentLicense="CC BY-SA 3.0" />
  <row Id="21198" PostHistoryTypeId="2" PostId="12831" RevisionGUID="f513dc45-a6dc-48e9-9bca-03bfda2049ca" CreationDate="2012-02-29T23:56:55.663" UserId="3299" Text="There's numerous question on here about favourite examples of sound usage in a film, but what's everyone's favourite film *about* sound? I know it's a limited genre, but worthwhile compiling a list for everyone to draw from!&#xD;&#xA;&#xD;&#xA;Last week, I got the opportunity to go to the premiere here in Dublin of the film *Silence* by Pat Collins. It's a docu-drama of sorts, about a sound recordist returning home to Ireland to record natural ambiance away from any man made noise.  &#xD;&#xA;It is hauntingly beautiful, with amazing cinematography and a wonderfully philosophical meditation on silence and the effect it has on people.&#xD;&#xA;&#xD;&#xA;Site here: http://silencefilm.ie/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21199" PostHistoryTypeId="1" PostId="12831" RevisionGUID="f513dc45-a6dc-48e9-9bca-03bfda2049ca" CreationDate="2012-02-29T23:56:55.663" UserId="3299" Text="Have you a favourite film about sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21200" PostHistoryTypeId="3" PostId="12831" RevisionGUID="f513dc45-a6dc-48e9-9bca-03bfda2049ca" CreationDate="2012-02-29T23:56:55.663" UserId="3299" Text="&lt;film&gt;&lt;documentary&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21201" PostHistoryTypeId="2" PostId="12832" RevisionGUID="9810bc2c-c989-4c63-91fd-0e6541bf87b5" CreationDate="2012-03-01T00:57:20.867" UserId="432" Text="Touch the Sound. It's a documentary about Evelyn Glennie, a deaf percussionist (and an amazing one at that). The first 17=20 minutes is primarily sound montage...there's some dialog in that stretch, but it's very sparse.&#xD;&#xA;&#xD;&#xA;It's a must watch for any sound editor/designer/mixer, in my humble opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="21202" PostHistoryTypeId="2" PostId="12833" RevisionGUID="d53cdef5-6f21-4b72-b629-145374d39992" CreationDate="2012-03-01T02:32:05.137" UserId="315" Text="Plus one for Touch the Sound.&#xD;&#xA;&#xD;&#xA;There's a great old newsreel called &quot;Back of the Mike&quot; which shows a radio play performance in action, complete with live sound effects performance. You can watch it [here][1].&#xD;&#xA;&#xD;&#xA;I also dig &quot;Fog City Mavericks&quot; a documentary about Bay Area Filmmakers (Coppola, Lucas etc.) and how they influenced the cinema world, including film sound. You can watch the entire doc [here][2].&#xD;&#xA;&#xD;&#xA;There are also great docs about Theramin and Moog out there which are worth a watch if you're interested in pioneers of electronic sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.archive.org/details/Backofth1938&#xD;&#xA;  [2]: http://www.hulu.com/watch/216711/fog-city-mavericks" ContentLicense="CC BY-SA 3.0" />
  <row Id="21203" PostHistoryTypeId="2" PostId="12834" RevisionGUID="f47f8d6f-525f-4770-a45d-6d1c8761a2cc" CreationDate="2012-03-01T02:43:24.010" UserId="3396" Text="Hands down &quot;Modern Romance&quot;&#xD;&#xA;&#xD;&#xA;The famous &quot;space floor&quot; scene -&#xD;&#xA;&#xD;&#xA;http://video.google.com/videoplay?docid=-4531705519963169998&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21204" PostHistoryTypeId="2" PostId="12835" RevisionGUID="1ff25327-1d12-44cb-b489-810fcb47f5cf" CreationDate="2012-03-01T03:07:56.563" UserId="3439" Text="Could you pump a watermelon full of air until it explodes or at least cracks?  That might be a good layer of sound to throw in there.  Hm.  Going to have to get out the foot pump and go to the market tomorrow." ContentLicense="CC BY-SA 3.0" />
  <row Id="21205" PostHistoryTypeId="2" PostId="12836" RevisionGUID="64372201-602e-44b1-9233-cf666a91f118" CreationDate="2012-03-01T03:58:05.997" UserId="6487" Text="What do you do when you encounter a person who has claimed work you know they did not do on their credit list? Does your reaction change when they are in a position to hire you?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21206" PostHistoryTypeId="1" PostId="12836" RevisionGUID="64372201-602e-44b1-9233-cf666a91f118" CreationDate="2012-03-01T03:58:05.997" UserId="6487" Text="Credit where it's due..." ContentLicense="CC BY-SA 3.0" />
  <row Id="21207" PostHistoryTypeId="3" PostId="12836" RevisionGUID="64372201-602e-44b1-9233-cf666a91f118" CreationDate="2012-03-01T03:58:05.997" UserId="6487" Text="&lt;ethics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21208" PostHistoryTypeId="2" PostId="12837" RevisionGUID="05a86b4c-916e-4dd9-8d2c-db2f99445299" CreationDate="2012-03-01T05:17:15.800" UserId="587" Text="Leave 'em alone. Karma kills both ways.&#xD;&#xA;&#xD;&#xA;Don't work for them because they will exploit you.&#xD;&#xA;&#xD;&#xA;Blah, this question puts chills down my spine. Here's to not encountering that situation....ever." ContentLicense="CC BY-SA 3.0" />
  <row Id="21209" PostHistoryTypeId="2" PostId="12838" RevisionGUID="1f81cfe6-29e4-4eb6-8b26-c1e547a18e12" CreationDate="2012-03-01T05:42:58.570" UserDisplayName="user6508" Text="I hate to say &quot;It depends&quot;, but sometimes it does.  Are they claiming to have cut FX or Dialogue on a feature or series, but aren't listed in the credits?  That's entirely possible. Did they say they designed all the sounds for the Star Wars universe or dinosaur vocals in Jurassic Park, knowing full well they had nothing to do with it?  That's a different story.&#xD;&#xA;&#xD;&#xA;If you know for a fact they're 100% full of BS, then you know what type of person you're dealing with and it wouldn't hurt to steer clear of them.  Or at least stick that information in your back pocket so you know what to expect in future dealings.&#xD;&#xA;&#xD;&#xA;If they are in a position to hire you, again, you're at least going in knowing what type of person they are.&#xD;&#xA;&#xD;&#xA;But I do agree with C3Sound, karma can be a bitch... " ContentLicense="CC BY-SA 3.0" />
  <row Id="21210" PostHistoryTypeId="2" PostId="12839" RevisionGUID="bf3ba5d9-01e4-4047-9db8-6316cd5a0528" CreationDate="2012-03-01T06:03:08.500" UserId="18160" Text="Ever heard of Brice Carrington?&#xD;&#xA;&#xD;&#xA;This has happened before.&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/the-end-of-the-road&#xD;&#xA;&#xD;&#xA;No matter how small a credit he is faking, it will be uncovered by someone somewhere down along the line.&#xD;&#xA;&#xD;&#xA;I would not work for him/her. I've had my share of experiences with this type of person and each instance I was better off not taking the job." ContentLicense="CC BY-SA 3.0" />
  <row Id="21211" PostHistoryTypeId="5" PostId="12839" RevisionGUID="5b5fbbc4-896c-4040-9d79-de7197e630e8" CreationDate="2012-03-01T06:15:07.327" UserId="18160" Comment="added 523 characters in body; added 19 characters in body" Text="I agree with the others - how big of a credit are we talking about here? Is it a name-drop that he says he recorded an ADR session with an A-List celebrity to sound cool? Or is he trying to get others to believe he's someone he's not for personal gain far beyond that of brownie points at the local Akbar - let's say, 4 million dollars in a ponzi scheme?&#xD;&#xA;&#xD;&#xA;Ever heard of Brice Carrington?&#xD;&#xA;&#xD;&#xA;This has happened before.&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/the-end-of-the-road&#xD;&#xA;&#xD;&#xA;No matter how small a credit he is faking, it will be uncovered by someone somewhere down along the line.&#xD;&#xA;&#xD;&#xA;Depending on how severe the claims are, I would not work for him/her. I've had my share of experiences with this type of person and each instance I was better off not taking the job. Check it out and if they are serious &quot;Hi, I am Gary Rydstrom&quot; type claims, look into it. You might have another Brice Flamington on your hands." ContentLicense="CC BY-SA 3.0" />
  <row Id="21212" PostHistoryTypeId="2" PostId="12840" RevisionGUID="ac984a39-6e44-4c7c-8775-62cd196e6439" CreationDate="2012-03-01T06:25:07.040" UserId="18160" Text="... you correct children playing with toy lightsabers that the sound they are making with their lips while they swing is not the proper pitch and the doppler effect could be better." ContentLicense="CC BY-SA 3.0" />
  <row Id="21213" PostHistoryTypeId="16" PostId="12840" RevisionGUID="ac984a39-6e44-4c7c-8775-62cd196e6439" CreationDate="2012-03-01T06:25:07.040" UserId="-1" />
  <row Id="21214" PostHistoryTypeId="2" PostId="12841" RevisionGUID="69cfe650-a769-419f-ba22-bb9a79bd214b" CreationDate="2012-03-01T08:06:39.663" UserId="3517" Text="This has been a great conversation.  I was one of those sound guys that had to learn the hard way.  I had some seriously noisy recordings and certainly caused some post guys some grief!  Through experience and discussions with sound guys and actors I now have a good handle on dealing with most issues, and editors and directors use terms like &quot;phenomenal&quot; to describe my audio.&#xD;&#xA;I like to carry a mix of a few mics.  The Cos-11, VT-401, and Countryman are great for ties and taping to skin.  I will usually place a piece of 3M medical tape to the skin at the most concave point or between the breasts as high as possible but out of view, then tape the mic over that piece so it's not touching skin.  Talk to wardrobe dept. and ask them for 100% cotton when possible.  If not, mole skin is amazing and can be placed on the underside of a garment where it contacts the mic.  An actor also taught me a trick a sound guy used on him: he taped a small paper clip to the wire below the mic and bent a piece of it over the mic to keep the clothing from touching. (Brilliant for heavy stuff like jackets).  &#xD;&#xA;My absolute favorite lav mic, though, is the Voice Technologies VT-506.  It has a slight bump in the 8k range that overcomes the high-end deadening caused by clothing, and it comes with an amazing mic clip set that is very intuitive and versatile.  Tram also uses a similar set.  My favorite is the vampire clip that has two down-pointing pins like vampire teeth.  It can be pinned quickly to a bra or a jacket or shirt, and the mic can face out or be reversed and faced inward with a small gap between the mic face and the clip.  This is absolutely amazing for reduction of clothing rub! &#xD;&#xA;All the advice I've heard here is good stuff, and I learned some more tricks myself.  Take care guys! " ContentLicense="CC BY-SA 3.0" />
  <row Id="21215" PostHistoryTypeId="2" PostId="12842" RevisionGUID="3ec08712-b40c-402c-b1e7-095602ef2198" CreationDate="2012-03-01T08:28:15.213" UserId="238" Text="[Soundtracker - A Portrait Of Gordon Hempton][1]&#xD;&#xA;&#xD;&#xA;[youtube]ROWl0eh9BLo[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=ROWl0eh9BLo&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The guy is a legend!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21216" PostHistoryTypeId="2" PostId="12843" RevisionGUID="1ca6dd31-eb62-40fa-ac21-58b9d3324bb5" CreationDate="2012-03-01T09:30:41.213" UserId="62" Text="Came across this sort of thing on Twitter and the DUC a couple of weeks ago. The poor chap claimed to have worked on a popular UK series and the chap who was the sound super suddenly appeared on the thread.&#xD;&#xA;&#xD;&#xA;http://duc.avid.com/showthread.php?t=316520&#xD;&#xA;&#xD;&#xA;How to kill a career before it's started.&#xD;&#xA;&#xD;&#xA;Credits are a funny thing. I agree with Tim in that they are not always trying to over blow things. I mixed the Irish language version of The Polar Express. Although I'd like some form of credit for doing the job I would never say I mixed the film, but I did mix a foreign dub." ContentLicense="CC BY-SA 3.0" />
  <row Id="21217" PostHistoryTypeId="2" PostId="12844" RevisionGUID="50571b11-1fff-43a5-9313-0819a8742974" CreationDate="2012-03-01T11:01:53.527" UserId="985" Text="The question can be understood in 2 ways, for me at least :&#xD;&#xA;&#xD;&#xA;- A person claiming credit for someone who worked on the project &quot;for them&quot; and did all the work. In music it's called ghost writing.&#xD;&#xA;&#xD;&#xA;- A person &quot;pretending&quot; to have done work, that he or she didn't do.&#xD;&#xA;&#xD;&#xA;I can only speak for myself, but in the second case (which I think you are speaking of), credit is not always listed for many possible legal or practical reasons. So, just because something does not appear on the credit list, or the name does not appear on the final product does not necessarily mean they didn't do the work on it." ContentLicense="CC BY-SA 3.0" />
  <row Id="21218" PostHistoryTypeId="2" PostId="12845" RevisionGUID="f143aa34-2bdb-4d32-913c-4488fbcfc931" CreationDate="2012-03-01T11:03:05.037" UserId="1228" Text="This is an interesting question, indeed.  I agree with Tim and Utopia first and foremost, it does depend upon the scale, yet a lie is a lie.&#xD;&#xA;&#xD;&#xA;However my take though quite frankly is that **what said person does or credits them self with is none of my business, so I won't make it my business.** The same sort of thing hold true when, for example, I visit a colleagues studio and see some session up on their screen.  I don't inquire about it, because it's not my business.  If they want to share or reach out about it, they will on their own accord.  So if this person with the 'interesting' credits wishes to clear up what may be construed as a red-flag, they will on their own accord, or they won't.  But then it's on them and them alone to sit with whatever that business may be. &#xD;&#xA;&#xD;&#xA;Karmic debt is an interesting force and this will all play itself out behind closed doors so why worry about this person's business?  Becoming nosy and gossipy into another's business is said to create karmic debt of your own, and we never want that ;)  Now, if this business is having a direct inflicting affect upon someone else, then by all means it becomes not an issue of gossip and personal business but rather than issue which should be looked into and properly addressed by speaking with the appropriate individuals.  Or, choose avoid the toxic energy all together.&#xD;&#xA;&#xD;&#xA;The post world, at least in LA, is a very small world as I've personally experienced in a variety of facets, and word gets around quick (relatively-speaking) - both positive and negative, about ones body of work, quality of work, and ethics/integrity.  So I quess what I'm getting at here is that the karma will clear itself up and take its own course.  And why not maintain a clear conscience and self-integrity about minding our own business? :) &#xD;&#xA;&#xD;&#xA;That being said, I believe it's healthy though to duly note that something **may** be amiss with this individual's integrity, dismiss it as being none of our business, and carry on with an enlightened understanding how we can be artists of solid integrity - **and even better**, be able to retain our sterling integrity when we do have to work in the presence of and become intertwined professionally with those who may not be of that nature, and still not let that deter us from what we do or tarnish our integrity.  Essentially, the ability to set healthy boundaries.&#xD;&#xA;&#xD;&#xA;This is my 2 cents anyway, albeit from a philosophical/spiritual angle.  Hope it helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21219" PostHistoryTypeId="5" PostId="12845" RevisionGUID="437687f3-134a-41c5-89c9-8a84e1791c1c" CreationDate="2012-03-01T11:11:47.453" UserId="1228" Comment="added 531 characters in body; added 51 characters in body" Text="This is an interesting question, indeed.  I agree with Tim and Utopia first and foremost, it does depend upon the scale, yet a lie is a lie.&#xD;&#xA;&#xD;&#xA;However my take though quite frankly is that **what said person does or credits them self with is none of my business, so I won't make it my business.** The same sort of thing hold true when, for example, I visit a colleagues studio and see some session up on their screen.  I don't inquire about it, because it's not my business.  If they want to share or reach out about it, they will on their own accord.  So if this person with the 'interesting' credits wishes to clear up what may be construed as a red-flag, they will on their own accord, or they won't.  But then it's on them and them alone to sit with whatever that business may be. &#xD;&#xA;&#xD;&#xA;Karmic debt is an interesting force and this will all play itself out behind closed doors so why worry about this person's business?  Becoming nosy and gossipy into another's business is said to create karmic debt of your own, and we never want that ;)  Now, if this business is having a direct inflicting affect upon someone else, then by all means it becomes not an issue of gossip and personal business but rather than issue which should be looked into and properly addressed by speaking with the appropriate individuals.  Or, choose avoid the toxic energy all together.&#xD;&#xA;&#xD;&#xA;The post world, at least in LA, is a very small world as I've personally experienced in a variety of facets, and word gets around quick (relatively-speaking) - both positive and negative, about ones body of work, quality of work, and ethics/integrity.  So I quess what I'm getting at here is that the karma will clear itself up and take its own course.  And why not maintain a clear conscience and self-integrity about minding our own business? :) &#xD;&#xA;&#xD;&#xA;That being said, I believe it's healthy though to duly note that something **may** be amiss with this individual's integrity, dismiss it as being none of our business, and carry on with an enlightened understanding how we can be artists of solid integrity - **and even better**, be able to retain our sterling integrity when we do have to work in the presence of and become intertwined professionally with those who may not be of that nature, and still not let that deter us from what we do or tarnish our integrity.  Essentially, the ability to set healthy boundaries and not shut the door on them or burn the professional work bridge.  We are creatures of habit and everyone does the best they can - even that is relative, and someone's 'best' may not be on an equal level to someone else's 'best'.  I propose the idea of accepting the situation for what it is with loving compassion as best you can that they're doing the best they can, and maybe that 'best' can get them in a lot of trouble within their own career, but outside of that there's no need to make it our own business unless they reach out or cross a healthy boundary we set with them.&#xD;&#xA;&#xD;&#xA;This is my 2 cents anyway, albeit from a philosophical/spiritual angle.  Hope it helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21220" PostHistoryTypeId="5" PostId="12844" RevisionGUID="1281ef42-5b8b-46bc-b08b-b56d7c4c0389" CreationDate="2012-03-01T11:20:54.310" UserId="985" Comment="added 113 characters in body" Text="The question can be understood in 2 ways, for me at least :&#xD;&#xA;&#xD;&#xA;- A person claiming credit for someone who worked on the project &quot;for them&quot; and did all the work. In music it's called ghost writing.&#xD;&#xA;&#xD;&#xA;- A person &quot;pretending&quot; to have done work, that he or she didn't do.&#xD;&#xA;&#xD;&#xA;I can only speak for myself, but in the second case (which I think you are speaking of), credit is not always listed for many possible legal or practical reasons. So, just because something does not appear on the credit list, or the name does not appear on the final product does not necessarily mean they didn't do the work on it.&#xD;&#xA;&#xD;&#xA;So, I'd go for the benefit of the doubt. If it is important, ask straight away, why his name does not appear." ContentLicense="CC BY-SA 3.0" />
  <row Id="21221" PostHistoryTypeId="2" PostId="12846" RevisionGUID="5a96cd95-6619-46c7-a6c2-8333963a921f" CreationDate="2012-03-01T12:49:28.863" UserId="680" Text="Thanks guys, just wanted to make sure I wasn't buying something absolutely useless with the same name.&#xD;&#xA;&#xD;&#xA;Thank you very much for the help" ContentLicense="CC BY-SA 3.0" />
  <row Id="21222" PostHistoryTypeId="2" PostId="12847" RevisionGUID="b2ee19c3-c571-4db5-a925-46ad598a11c6" CreationDate="2012-03-01T13:26:56.637" UserId="6432" Text="I was totally blown away by *Trimpin, the sound of invention*. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[youtube]ahQKsW0LHEA[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If you've not seen it, you must!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21223" PostHistoryTypeId="2" PostId="12848" RevisionGUID="4166b5ab-e759-486d-83d3-562b0491b50b" CreationDate="2012-03-01T13:31:32.920" UserId="1067" Text="I bet if you got the biggest, hardest coconut you can find and then bashed it in violently, the results might sound horribly realistic." ContentLicense="CC BY-SA 3.0" />
  <row Id="21224" PostHistoryTypeId="2" PostId="12849" RevisionGUID="28c09663-f04b-42c4-bd8d-10f11a0b7cd3" CreationDate="2012-03-01T13:45:39.450" UserId="6420" Text="There was quite an intersting one I saw recently about Pierre Henry which can still be found on Youtube:&#xD;&#xA;http://www.youtube.com/watch?v=1uVCYL8zVBk&#xD;&#xA;&#xD;&#xA;Worth a look especially if you're into your music concrete ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21225" PostHistoryTypeId="2" PostId="12850" RevisionGUID="e032a08e-7990-467a-920d-ce52617324d7" CreationDate="2012-03-01T14:09:07.093" UserId="2778" Text="For me its reading poetry. The one thing about poetry is the use of symbolism and metaphor. I try to apply the same principles on the projects that I work on. I also direct short films so this is where it helps me the most. Like, trying to replace a line or a shot by using a sound that tells the same thing. Just like in poetry i.e. use of a single word to say what a line does." ContentLicense="CC BY-SA 3.0" />
  <row Id="21228" PostHistoryTypeId="2" PostId="12852" RevisionGUID="9fa1c2be-2747-4044-bb81-437111f88b9c" CreationDate="2012-03-01T16:51:13.193" UserId="29" Text="What a wonderful thread with some inspiring perspectives!&#xD;&#xA;&#xD;&#xA;I engage in two kinds of inspirational activity: Focusing on taking in within the discipline, and working outside the discipline altogether.&#xD;&#xA;&#xD;&#xA;The first one involves tons of listening, instead of producing or making. Input, not output. For me, that ranges from music to movies to sitting in public places. Sometimes I'll bring a recorder, arm it so I can monitor the signal, but *never hit record*. I often do this while hiking or backpacking, while taking a break. Interesting way to compare active listening through the ol' pinnae and the stark, unbiased listening mode of the microphone.&#xD;&#xA;&#xD;&#xA;The second involves almost anything that's not sound-related, frankly. I often go in phases and turn my creativity to other outlets when sound fails to inspire: Videography, photography, drawing, etc. Like many others here, I also get fired up by being outdoors and traveling. Physical activity really does tone the mind as much as the body. When I'm rested and connected to my body, inspiration just flows without actively seeking it." ContentLicense="CC BY-SA 3.0" />
  <row Id="21229" PostHistoryTypeId="2" PostId="12853" RevisionGUID="7a864cdd-ca9b-43df-996a-d3c4cb524629" CreationDate="2012-03-01T18:41:18.400" UserId="7642" Text="We have a few shows ahead that need plenty of vehicles/cars and several boats.&#xD;&#xA;We will do as much custom recording that we can but I'm not shure it will be enough still.&#xD;&#xA;&#xD;&#xA;So, suggestions on sound effects with varied sounds of similar vehicle types from several angles and speeds.&#xD;&#xA;We have most of the standard Major FX lib's.&#xD;&#xA;Any costum libraries for stuff like this around?&#xD;&#xA;&#xD;&#xA;We need regular (preferably European) cars and boats.&#xD;&#xA;Race cars and sports boats aren't going to give us what we need." ContentLicense="CC BY-SA 3.0" />
  <row Id="21230" PostHistoryTypeId="1" PostId="12853" RevisionGUID="7a864cdd-ca9b-43df-996a-d3c4cb524629" CreationDate="2012-03-01T18:41:18.400" UserId="7642" Text="Need more sounds... Cars and boats" ContentLicense="CC BY-SA 3.0" />
  <row Id="21231" PostHistoryTypeId="3" PostId="12853" RevisionGUID="7a864cdd-ca9b-43df-996a-d3c4cb524629" CreationDate="2012-03-01T18:41:18.400" UserId="7642" Text="&lt;career&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21232" PostHistoryTypeId="2" PostId="12854" RevisionGUID="8c3256df-09a4-4e49-8875-e73e2cedf63a" CreationDate="2012-03-01T18:49:07.797" UserId="18160" Text="Like many others have said here, I like traveling and getting out.&#xD;&#xA;&#xD;&#xA;This last year I have been blessed to have been able to travel to Australia, Mexico, UK, Ohio, Michigan, the Caribbean, Florida, Oregon coast, Idaho, among other places for gigs,&#xD;&#xA;&#xD;&#xA;and I must say, going out and meeting new people and experiencing different cultures is possibly the biggest cure to our tunnel-vision (both the tunnel you stare at your computer screen through and my American tunnel-vision).&#xD;&#xA;&#xD;&#xA;Just experiencing a place like Australia (where I only saw 2 overweight people [not even obese!] the entire 4 weeks I was there by the way) was eye-opening.&#xD;&#xA;&#xD;&#xA;Getting out and reminding myself of the physical world recharges me. I don't think I can explain it any better than Stavrosound and Tim.&#xD;&#xA;&#xD;&#xA;I also took heed of an answer I got off this very site to one of my questions about how you learn about mixing and someone suggested learning different art forms. I've since purchased a semi-pro camera, bought 12 vintage lenses and I keep collecting them, and I'm a full-blown shutterbug. I caught the disease fast! Photography as well as filming my own short films for the family and learning via those art forms has actually taught me a lot of things I otherwise would have never learned had I not done it." ContentLicense="CC BY-SA 3.0" />
  <row Id="21233" PostHistoryTypeId="2" PostId="12855" RevisionGUID="f20b2fbe-9f59-4f52-bbb6-bca3ec8b015b" CreationDate="2012-03-01T18:52:22.380" UserId="730" Text="I have seen a few cases of this.  Where someone has claimed to work on a project or for a company.  The best thing to do is just leave them alone and not work with them.  If they are going to lie about a credit, then there is a chance they will lie about making the sounds or music for you.  And if that is the case you run the risk of a law suite because of that person ripping sounds and music off from other people.  The only other thing you can do is make people you know in the industry aware.  Such as a post like the one you made here." ContentLicense="CC BY-SA 3.0" />
  <row Id="21234" PostHistoryTypeId="2" PostId="12856" RevisionGUID="da643ade-482d-4788-86db-d74140ed385a" CreationDate="2012-03-01T18:52:52.287" UserId="6519" Text="I think you will find **here:**&#xD;&#xA;&#xD;&#xA;[Pole position production][1]&#xD;&#xA;&#xD;&#xA;[Pond5][2]&#xD;&#xA;&#xD;&#xA;[Audiomicro][3]&#xD;&#xA;&#xD;&#xA;[Audiojungle][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pole.se/sounds.asp&#xD;&#xA;  [2]: http://www.pond5.com/&#xD;&#xA;  [3]: http://www.audiomicro.com/&#xD;&#xA;  [4]: http://audiojungle.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21235" PostHistoryTypeId="2" PostId="12857" RevisionGUID="df860778-c54f-4115-95db-627b94597707" CreationDate="2012-03-01T19:11:51.967" UserId="3520" Text="Long time browser... First time getting involved...&#xD;&#xA;&#xD;&#xA;I'm working on a film that has specific notes, from EVERYONE involved, to include the sounds of the inner workings of a hand gun as it's fired.  I've been told that the guns used are air-soft guns that we want to pass off as 9MM's.  We have plenty of sounds of the actual shot being fired...  What I'm hoping to get from this post is a brainstorm of ideas of how to pull off the inner mechanics of the pistol.  I don't believe that putting contact mics on a 9MM will give us the desired sound, as they would like it to sound a little more fantastical.  I'm not sure whether the shots in question are going to be in slow-mo or not (you would almost assume though, since they're asking for such clarity of something that typically would go unheard at full speed), as I have yet to see any footage.  Just trying to get the idea train rolling...  Any tips or ideas are greatly appreciated.&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="21236" PostHistoryTypeId="1" PostId="12857" RevisionGUID="df860778-c54f-4115-95db-627b94597707" CreationDate="2012-03-01T19:11:51.967" UserId="3520" Text="Sound Design:  Inner Mechanics of a Gun" ContentLicense="CC BY-SA 3.0" />
  <row Id="21237" PostHistoryTypeId="3" PostId="12857" RevisionGUID="df860778-c54f-4115-95db-627b94597707" CreationDate="2012-03-01T19:11:51.967" UserId="3520" Text="&lt;sound-design&gt;&lt;guns&gt;&lt;brainstorm&gt;&lt;ideas&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21238" PostHistoryTypeId="2" PostId="12858" RevisionGUID="bd7451be-8473-4065-8742-63f48cb50e13" CreationDate="2012-03-01T19:26:50.547" UserId="730" Text="Just a bunch of random weapon foley clicks and hits should do the trick.  But I agree it is pretty important to know if its slow motion or regular speed.  Regular speed you would probably only get a quarter of a second of time to work with if that.  Slow motion would give you several seconds i'm assuming.  It would be best to find that out before moving forward and if its possible, get a copy of the scene so you can design to it.&#xD;&#xA;&#xD;&#xA;Also if they want more of a hollywood sound that is just 'cool' rather then realistic sounding, then I would probably use foley from a machine gun.  The parts are heavier and louder.  Or who knows, slam a door shut and that might be the sound you need. &#xD;&#xA;&#xD;&#xA;I hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="21239" PostHistoryTypeId="2" PostId="12859" RevisionGUID="e1aa6263-1d4b-4e37-8099-5cc9e4d337d6" CreationDate="2012-03-01T19:37:37.163" UserId="18160" Text="Getting a doorknob from a junkyard should do the trick.&#xD;&#xA;&#xD;&#xA;And, I like adding in a bit of spring-action to my guns, so I used a three-hole-punch with squeeky (not TOO squeeky) hinges with springs in them. I've also used large staplers opening and closing because they have a spring in them, too." ContentLicense="CC BY-SA 3.0" />
  <row Id="21240" PostHistoryTypeId="2" PostId="12860" RevisionGUID="23434986-13b0-4b52-8a1e-260f38675047" CreationDate="2012-03-01T19:41:13.603" UserId="18160" Text="Tim Prebble noted on his blog the movie &quot;Diva&quot;. I watched it and liked it a lot." ContentLicense="CC BY-SA 3.0" />
  <row Id="21241" PostHistoryTypeId="2" PostId="12861" RevisionGUID="1ee42d73-8138-46fa-a013-9498551dfced" CreationDate="2012-03-01T21:15:21.583" UserId="3521" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;I'll clear this up for you. Legacy Mbox 1 is not supported under PT 8.0.1 onwards. There is a Russian driver knocking around, but it simply won't work on any PT system post 8.0.1. &#xD;&#xA;&#xD;&#xA;The Aggregate I/O is a system that will collate all of your connected Audio Hardware and represent the inputs and outputs together in I/O Settings. I theory, you could use 2 Audio INterfaces in tandem with each other under the Aggregate I/O. I understand it's quite unstable though and I wouldn't recommend for critical audio capture. &#xD;&#xA;&#xD;&#xA;You can configure all of your Audio Interfaces to be seen under the Aggregate I/O in AMS in Mac.&#xD;&#xA;&#xD;&#xA;The &quot;Can't set Sample Rate&quot; is an easy fix - PT installer has installed multiple instances of the Aggregate I/O and PT is trying to open the session with a different instance of the Aggregate I/O that is already running and you'll always get this message. Simple fix it load pro tools, but don't open a session. Go into Playback Engine in the settings menu and change the Current Engine Value to either Built in Output for your internal soundcard or the name of your connected Audio Interface. &#xD;&#xA;&#xD;&#xA;Good luck&#xD;&#xA;&#xD;&#xA;Dave Phillips&#xD;&#xA;Avid Certified&#xD;&#xA;www.davephillipsmusic.co.uk&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21242" PostHistoryTypeId="2" PostId="12862" RevisionGUID="3c3ad642-7613-4a34-9a59-f6fce6136645" CreationDate="2012-03-01T22:27:25.137" UserId="3522" Text="What about the film *Blow out*. Havent actually watched it yet but the main character is a sound recordist who accidently records the sound of a murder! chilling stuff..." ContentLicense="CC BY-SA 3.0" />
  <row Id="21243" PostHistoryTypeId="2" PostId="12863" RevisionGUID="de5ea49a-12d4-4f99-bb5f-5666878b24f5" CreationDate="2012-03-01T22:34:00.767" UserId="3522" Text="Not really relevant unless you live in the tropics, but the sandbox tree actually grows fruit that explodes on its own! Now that would be fun to record. &#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Hura_crepitans" ContentLicense="CC BY-SA 3.0" />
  <row Id="21244" PostHistoryTypeId="2" PostId="12864" RevisionGUID="4380bd86-022c-4598-bff0-3ac492d3938c" CreationDate="2012-03-01T22:44:04.710" UserId="3522" Text="I'm currently studying digital media in Edinburgh and specialising in film sound.&#xD;&#xA;&#xD;&#xA;For my final year project I had to source a film which I could create the sound design for and write a dissertation on relation to its genre and sound design principles.&#xD;&#xA;&#xD;&#xA;One aspect of the project requires me to show the piece film to a professional sound designer and interview them for feedback on the films sound.&#xD;&#xA;&#xD;&#xA;I was hoping that someone would be free at some point during the last week of March to take part in an interview via Skype to get some feedback on my project. The film itself is a 16 minute section of a horror film shot in Scotland.  The interview itself will last an hour, with the first section consisting of watching the film itself, then using the rest of that time to discuss the sound design. &#xD;&#xA;&#xD;&#xA;Below is a link to a section of the film Tron Legacy I created the sound design for, so that you can see that I hopefully have at least some potential!&#xD;&#xA;&#xD;&#xA;http://vimeo.com/32876845&#xD;&#xA;&#xD;&#xA;I look forward to any responses!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21245" PostHistoryTypeId="1" PostId="12864" RevisionGUID="4380bd86-022c-4598-bff0-3ac492d3938c" CreationDate="2012-03-01T22:44:04.710" UserId="3522" Text="Final year university project, need a professional sound designer's feedback!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21246" PostHistoryTypeId="3" PostId="12864" RevisionGUID="4380bd86-022c-4598-bff0-3ac492d3938c" CreationDate="2012-03-01T22:44:04.710" UserId="3522" Text="&lt;film-sound-design&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21248" PostHistoryTypeId="2" PostId="12865" RevisionGUID="4d470ef3-d1a6-42de-92fb-208bc7849383" CreationDate="2012-03-01T23:34:51.937" UserId="18160" Text="Has anyone used these? I'm looking for wind protection I can use on audience reaction mics which can protect my mics on a windy day without me having to roll them off at 500 Hz because of wind.&#xD;&#xA;&#xD;&#xA;Thanks in advance with any experience you guys might have." ContentLicense="CC BY-SA 3.0" />
  <row Id="21249" PostHistoryTypeId="1" PostId="12865" RevisionGUID="4d470ef3-d1a6-42de-92fb-208bc7849383" CreationDate="2012-03-01T23:34:51.937" UserId="18160" Text="Rycote Softies - good buy?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21250" PostHistoryTypeId="3" PostId="12865" RevisionGUID="4d470ef3-d1a6-42de-92fb-208bc7849383" CreationDate="2012-03-01T23:34:51.937" UserId="18160" Text="&lt;rycote&gt;&lt;windscreens&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21255" PostHistoryTypeId="2" PostId="12867" RevisionGUID="ae88d44a-959c-4952-9d81-6792dd046938" CreationDate="2012-03-02T00:55:19.573" UserId="18160" Text="You ask your wife (girlfriend, sister, ... mom...) to teach you how to walk in high heels to deliver better foley tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="21256" PostHistoryTypeId="16" PostId="12867" RevisionGUID="ae88d44a-959c-4952-9d81-6792dd046938" CreationDate="2012-03-02T00:55:19.573" UserId="-1" />
  <row Id="21257" PostHistoryTypeId="2" PostId="12868" RevisionGUID="9f976cef-d222-4e76-871d-2d7e1da50c35" CreationDate="2012-03-02T02:12:13.243" UserId="587" Text="Hey all,&#xD;&#xA;&#xD;&#xA;Im interested in recreating a few Raptor calls - Heavily influenced by Jurassic Park.&#xD;&#xA;&#xD;&#xA;Take a listen to these particular ones:&#xD;&#xA;&#xD;&#xA;- 0:18 - laugh like - during &quot;otherwise we would be dead already&quot;&#xD;&#xA;- 0:21 - short and bursty&#xD;&#xA;- 1:17 - seal like - hornish&#xD;&#xA;&#xD;&#xA;http://youtu.be/Du95opzY8qg?hd=1&#xD;&#xA;&#xD;&#xA;Brainstorming myself, it sounds like the first is a combination of time-shifted chickens and roosters as base layers.&#xD;&#xA;&#xD;&#xA;Second one sounds more &quot;airy&quot; version of the first sound. A longer form of 1 laugh, yet it has a distinct air to it - almost in the background of the sound is a far off air compressor soaked and blurred in reverb to be mixed in with the chicken.&#xD;&#xA;&#xD;&#xA;And the third sound comes the obvious seal/walrus approach. But what gets me is the distorted characteristic of the beginning. I almost want to say its the same layer duplicated and bit crushed and mixed in just slightly.&#xD;&#xA;&#xD;&#xA;What do you all think?&#xD;&#xA;&#xD;&#xA;- C3&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21258" PostHistoryTypeId="1" PostId="12868" RevisionGUID="9f976cef-d222-4e76-871d-2d7e1da50c35" CreationDate="2012-03-02T02:12:13.243" UserId="587" Text="The Raptor - Jurassic Park" ContentLicense="CC BY-SA 3.0" />
  <row Id="21259" PostHistoryTypeId="3" PostId="12868" RevisionGUID="9f976cef-d222-4e76-871d-2d7e1da50c35" CreationDate="2012-03-02T02:12:13.243" UserId="587" Text="&lt;raptor&gt;&lt;dinosaur&gt;&lt;jurassic-park&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21260" PostHistoryTypeId="2" PostId="12869" RevisionGUID="278bc54a-eed0-4c1c-b6d9-53748135ff4b" CreationDate="2012-03-02T02:20:34.793" UserId="315" Text="Why not get the answer from the man himself. Gary Rydstrom goes into detail [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mpse.org/education/bigmovierydstrom.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="21261" PostHistoryTypeId="2" PostId="12870" RevisionGUID="9f461c3c-69fe-42e0-bd0f-9aa1fd153998" CreationDate="2012-03-02T03:13:55.010" UserId="6487" Text="I am noticing 2 schools of thought in compression usage in a mix (Each camp appears to think the other camp is completely incorrect.)....&#xD;&#xA;&#xD;&#xA;1. Compression is the final &quot;glue&quot; of the mix to be adding extremely lightly only to the bus channel at ratios no higher than 2:1 at a very quick attack.  The fader should be the only general level setting device.&#xD;&#xA;2. Compression should be added to help the signal sustain a smooth regular level of signal and should be added in layers at the track, bus, and perhaps even master output stage in varying attacks and ratios as to avoid pumping and maximize audibility.&#xD;&#xA;&#xD;&#xA;Which school of thought are you and why?  Do you have a different approach all together?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21262" PostHistoryTypeId="1" PostId="12870" RevisionGUID="9f461c3c-69fe-42e0-bd0f-9aa1fd153998" CreationDate="2012-03-02T03:13:55.010" UserId="6487" Text="To compress or not to compress...." ContentLicense="CC BY-SA 3.0" />
  <row Id="21263" PostHistoryTypeId="3" PostId="12870" RevisionGUID="9f461c3c-69fe-42e0-bd0f-9aa1fd153998" CreationDate="2012-03-02T03:13:55.010" UserId="6487" Text="&lt;recorder-mixer&gt;&lt;mixing&gt;&lt;use-of-compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21264" PostHistoryTypeId="2" PostId="12871" RevisionGUID="01ed3e85-41ef-462b-99ee-80b454b03e75" CreationDate="2012-03-02T04:05:08.123" UserId="6411" Text="Reminds me of cymbal washes I used to find buried in CDs from Killer Tracks, APM, or other music licensing companies. If that's the case, you'd need to license this as a needle-drop or production wide buy-out, which could ultimately be expensive. It could get *very* expensive if you don't find its source, still use it, it turns out it does belong to a music library, don't license it, and one of the libraries' golden eared reps finds it while flipping channels.&#xD;&#xA;&#xD;&#xA;Is it impossible to contact the original mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21265" PostHistoryTypeId="2" PostId="12872" RevisionGUID="3388be58-8611-4d69-8cd0-fe9d27cdf3cb" CreationDate="2012-03-02T04:42:56.180" UserId="3243" Text="I use them all the time and they're great! It depends on how strong the wind is, of course." ContentLicense="CC BY-SA 3.0" />
  <row Id="21266" PostHistoryTypeId="2" PostId="12873" RevisionGUID="346e4c33-97f1-4bf6-ad49-2a5df51365c7" CreationDate="2012-03-02T05:19:57.650" UserId="587" Text="From Justins post above, here are some excerpts from Gary's interview.&#xD;&#xA;&#xD;&#xA;&quot;I had a neighbor who had a de-barked dog. I didn't de-bark the dog myself, but it made this amazing slicing/breathing sound that I used for the raptor.&quot;&#xD;&#xA;&#xD;&#xA;&quot;That became raptor breathing, when the raptor shows up and looks in the window of the kitchen and snorts, that's just an angry horse.&quot;&#xD;&#xA;&#xD;&#xA;&quot;So in the case of the raptor, there was no one animal sound that made the sound of the raptor vocals, it really was made up of many, and they were chosen for each of their… But it is orchestrating. It's taking sounds... the strongest example of taking two sounds of different frequencies and putting them together are the walrus sound, which is a very low WRRR, which is cut for the raptor attack scream; and then the dolphin scream which we recorded underwater with a hydrophone of a dolphin in heat, it turned out. A dolphin that made this high-pitched scream. Neither one was right by itself, but if you blend them together you get this high-pitched scream blended with a low walrus -- then together they made the scream of the raptor, so two animals blended into what sounded like a third.&quot;&#xD;&#xA;&#xD;&#xA;Anyone got a de-barked dog? Hahahaha.&#xD;&#xA;&#xD;&#xA;Still want peoples ideas on these particular 3 to try out. Ill me making them within the next day - so Ill post how it goes!&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21267" PostHistoryTypeId="2" PostId="12874" RevisionGUID="03d6aef6-a79b-4cda-b05b-ff88f4edaf5a" CreationDate="2012-03-02T06:41:13.740" UserDisplayName="user80" Text="We have three and they can cope up to about 25 mph." ContentLicense="CC BY-SA 3.0" />
  <row Id="21268" PostHistoryTypeId="2" PostId="12875" RevisionGUID="87c6d210-48a8-4697-9759-11ae8487349e" CreationDate="2012-03-02T09:56:25.950" UserId="3162" Text="To me the softie isn´t the best choice because it just covers a part of the mic´s body.&#xD;&#xA;For better wind *and* rain protection use the s- Series Kit. This one´s ok.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="21269" PostHistoryTypeId="2" PostId="12876" RevisionGUID="27fab43a-eb69-4cba-819b-b493b0d3bba2" CreationDate="2012-03-02T13:02:46.807" UserId="432" Text="Personally, I use compression all over the place...including on the Mater Bus. I think one of the mistaken notions that people harbor about compressors is that you only use them to make things louder. Obviously, it's not everyone, but I find myself constantly reminding people that they **don't have to apply** &quot;make up gain.&quot; *[I know you don't need to know this, but I figure someone reading this might not have thought of that yet.]*&#xD;&#xA;&#xD;&#xA;Here are some of the things I do:&#xD;&#xA;&#xD;&#xA; - Especially when working on telelvision programming, I pretty much always use compressors on any dialog or narration tracks...as you said, to keep things smooth and regular.&#xD;&#xA; - As I get past edit into the mix stage, I use compressors to help different elements sit properly in the soundfield. It's pretty typical for me to leave make up gain at nominal in this situation. I'm looking to control transient information, so that elements have an appropriate attack when compared to one another and for any specific space they're meant to occupy.&#xD;&#xA; - I'll also use a compressor on the music track (or submaster), keyed to the dialog and narration tracks with a fast-moderate attack (don't want it to hit too quickly), and a long release (up around 1 second). Ratio and threshold are dependent on the style of music. This automates the level for me against whatever gross adjustment I've already made. It usually only requires small tweaking here and there afterwards. I should note that I only do this for television and web programming, but it does significantly speed up my process when I do it.&#xD;&#xA; - As I mentioned, I do use compression on the Master Bus at times, typically with no make up gain and a gentle ratio. I use it as preliminary form of limiting...just to kind of reign things in a little bit before they hit whatever final limiting I'm using. It prevents the limiter from kicking in too hard, and I just think it sounds better than it would without.&#xD;&#xA;&#xD;&#xA;Great question, and I'm looking forward to hearing how other people use compression in their mixes." ContentLicense="CC BY-SA 3.0" />
  <row Id="21270" PostHistoryTypeId="2" PostId="12877" RevisionGUID="d11dccf5-e491-4688-91da-071fe32865f7" CreationDate="2012-03-02T13:25:15.083" UserId="3523" Text="I recently went for the HS80s because I thought they would give a true picture of the mix.&#xD;&#xA;&#xD;&#xA;After about two months of use I find mixes translate well to other playback system. The stereo image is rock solid. The highs and mids are very clear and accurate. &#xD;&#xA;&#xD;&#xA;The low end is acurate but always feels on the light side unless there is a lot of high frequencies in the bass sound - then the bass can sound quite strong. This is probably a good thing as a lot of the punch comes from the upper frequency content anyway.&#xD;&#xA;&#xD;&#xA;The monitors are more tiring on the ears and you need more breaks - but to be honest this is a good thing as being stuck too long in front of near fields just messes up your judgement anyway.&#xD;&#xA;&#xD;&#xA;I have bass traps up in the normal places to stop standing waves, but I find I can hear the bass more accurately if I stand at lead six feet away from the speakers. I find this is more the case when dealing with a mix rather than a single channel.&#xD;&#xA;&#xD;&#xA;As with any speakers, referencing to CDs helps make judgements about the speakers and the mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="21271" PostHistoryTypeId="2" PostId="12878" RevisionGUID="80c149c8-3003-4a26-b196-bac7f5ad411b" CreationDate="2012-03-02T13:40:37.050" UserId="6420" Text="Hi all.&#xD;&#xA;&#xD;&#xA;Just had a look at a recent DesigningSound post which took me to Cinephile (Uni of British Colombia Film Journal). Had a look at their archives and theres an intereseting volume called Sound on Screen from 2010 (http://www.cinephile.ca/files/vol6no1-complete-withbleed.pdf).&#xD;&#xA;&#xD;&#xA;Anyone else know of any hidden jem journals related to film (or game) sound they'd care to share too? :)&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Andy" ContentLicense="CC BY-SA 3.0" />
  <row Id="21272" PostHistoryTypeId="1" PostId="12878" RevisionGUID="80c149c8-3003-4a26-b196-bac7f5ad411b" CreationDate="2012-03-02T13:40:37.050" UserId="6420" Text="Interesting Sound Journals? " ContentLicense="CC BY-SA 3.0" />
  <row Id="21273" PostHistoryTypeId="3" PostId="12878" RevisionGUID="80c149c8-3003-4a26-b196-bac7f5ad411b" CreationDate="2012-03-02T13:40:37.050" UserId="6420" Text="&lt;sound-theory&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21274" PostHistoryTypeId="2" PostId="12879" RevisionGUID="6688c0ca-4469-4f04-813c-b84949247d34" CreationDate="2012-03-02T13:51:16.980" UserId="432" Text="I keep mentioning The Soundtrack/The New Soundtrack over and over, and all over the place to boot. You should really pay more attention. ;)&#xD;&#xA;&#xD;&#xA;It was originally [The Soundtrack, published by Intellect][1], and you may still be able to get back issues through that link. It is now called [The New Soundtrack, published by Edinburgh University Press][2]. It's a journal put together by [The School of Sound][3], and it's editorial board includes, among many others, Michel Chion, Randy Thom and Walter Murch. While I'm mentioning the School of Sound, you may also want to look into the book [Soundscape: The School of Sound Lectures 1998-2001][4]...another publication of theirs.&#xD;&#xA;&#xD;&#xA;You may also want to check out [this thread][5], which has a host of other excellent suggestions.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.intellectbooks.co.uk/journals/view-journal,id=146/&#xD;&#xA;  [2]: http://www.euppublishing.com/journal/sound&#xD;&#xA;  [3]: http://schoolofsound.co.uk&#xD;&#xA;  [4]: http://schoolofsound.co.uk/content/book.htm&#xD;&#xA;  [5]: http://socialsounddesign.com/questions/11175/sound-design-sound-art-post-production-magazine-recommendation" ContentLicense="CC BY-SA 3.0" />
  <row Id="21275" PostHistoryTypeId="2" PostId="12880" RevisionGUID="3400563e-f9cf-428c-9c83-a1fa22fed5f2" CreationDate="2012-03-02T13:55:17.820" UserId="6519" Text="Use vegetables &amp; fruits ! :)&#xD;&#xA;&#xD;&#xA;[**VEGETABLE VIOLENCE**][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hissandaroar.com/sd001-vegetable-violence/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21276" PostHistoryTypeId="2" PostId="12881" RevisionGUID="d2d6ceb5-543e-4f74-8398-1588a0890f9f" CreationDate="2012-03-02T14:19:26.170" UserId="1049" Text="I can't really add much more in suggestions as what to use (people seem to have covered the best ideas) but I think which of the suggestions you try will depend on what was causing the head to explode! For example dropping or smashing up melons may not be as appropriate for 'spontaneous combustion' of a head as you'd get the unwanted thud of the bat / floor etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="21278" PostHistoryTypeId="2" PostId="12882" RevisionGUID="94ed839f-31ab-43bb-a8d3-7b16c942f1da" CreationDate="2012-03-02T17:56:21.167" UserId="18160" Text="Lots of good answers here, too:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/2079/compression-when-do-you-use-it-if-ever" ContentLicense="CC BY-SA 3.0" />
  <row Id="21279" PostHistoryTypeId="2" PostId="12883" RevisionGUID="a43f9d19-23cc-484d-befe-2eb9d62eb546" CreationDate="2012-03-02T18:00:22.073" UserId="3444" Text="In video games I primarily  use compression when creating individual assets, or mixing dialogue. So basically I use compression for two purposes, as an effect and to smooth out the signal.&#xD;&#xA;&#xD;&#xA;When using it as an effect i'm usually trying to make something sound louder than it is. Exaggerating the dynamics even getting some pumping. An example that comes to mind is when designing creature vocals. You have 80 monsters in the game all have different sizes and personalities, how do you make Mr. 52 sound louder than 46. Level wise there's only so much you can push it and you want to stay within your specs (clipping isn't an option). So you need to cheat it :)&#xD;&#xA;&#xD;&#xA;Actors are usually recorded one at a time from different studios around the world, different dates, engineers etc. That said when mixing dialogue you need to insure that all of the in game vocals sound like they're coming from the same place, as the game engine will process the 3d space and distance fall off. I use a ratio of about 3:1 quick attack with a bit of make up gain. I usually automate the hell out of my volume to make sure there's appropriate emotional dynamics.&#xD;&#xA;&#xD;&#xA;I don't touch compression when I create ambiences and environments, all of the dynamics are created from 1 shot sounds. &#xD;&#xA;&#xD;&#xA;Good question!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21280" PostHistoryTypeId="2" PostId="12884" RevisionGUID="1f933f9b-1db0-4d49-8a9e-552706d9452a" CreationDate="2012-03-02T19:06:34.180" UserId="3522" Text="I'm currently working on a project which involves a character becoming possessed by one of the other characters who at this point is deceased.  &#xD;&#xA;&#xD;&#xA;My initial thoughts related to the combination of two voices in order to create the sound of the possessed voice, like they did in the exorcist.  My only problem is that neither characters share any similar dialogue apart from one word. Also, ADR isn't an option for project. &#xD;&#xA;&#xD;&#xA;Does anyone have any advice or can recommend some clever pieces of software to make the possessed characters voice sound similar in tonality to the other characters. &#xD;&#xA;&#xD;&#xA;thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="21281" PostHistoryTypeId="1" PostId="12884" RevisionGUID="1f933f9b-1db0-4d49-8a9e-552706d9452a" CreationDate="2012-03-02T19:06:34.180" UserId="3522" Text="Demonic Possession: Morphing one characters dialogue to sound like another character" ContentLicense="CC BY-SA 3.0" />
  <row Id="21282" PostHistoryTypeId="3" PostId="12884" RevisionGUID="1f933f9b-1db0-4d49-8a9e-552706d9452a" CreationDate="2012-03-02T19:06:34.180" UserId="3522" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21283" PostHistoryTypeId="2" PostId="12885" RevisionGUID="89007cfb-a560-494d-93b2-07452a543335" CreationDate="2012-03-02T19:11:53.973" UserId="18160" Text="Nothing really apart from fooling around with &quot;AVOX Throat&quot; IMHO.&#xD;&#xA;&#xD;&#xA;It's going to be really tough to try to accomplish that without ADR. I'd really suggest strongly seeing how you can go that route.&#xD;&#xA;&#xD;&#xA;Also, did the actor deliver the lines in a different timbre than his/her regular lines before the possession? That alone would be cause for ADR in my opinion - just because I believe that the actor's performance is everything. The performance is the cake. The reverb, flange, vocoder, effects us mixers put on top of the performance is just the icing on the cake. The real stuff comes from the actor originally. Ever try to eat just frosting straight out of the container? Not as good as having really nice fluffy cake under it... :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21284" PostHistoryTypeId="2" PostId="12886" RevisionGUID="55273dcd-70e4-49f8-85bf-982b654dd3a5" CreationDate="2012-03-02T19:43:55.900" UserId="3522" Text="i completely agree. had i been involved in the production of the film i would have started this section of sound design on set with delivery of the actresses lines. unfortunatly the film haf no crew members soley responsible or knowledgable of production sound. they actually recorded all the sound using portable handheld recorders, some placed rather poorly on set during takes and some taped to boom poles... &#xD;&#xA;&#xD;&#xA;i'm having to just make do with whats available.&#xD;&#xA;&#xD;&#xA;So if i dont have much of a chance of accomplishing the above with out ADR, anyone got any good tips for scary possession sounding effects... i would really like to avoid the cliched pitch shifted down voice :) " ContentLicense="CC BY-SA 3.0" />
  <row Id="21285" PostHistoryTypeId="2" PostId="12887" RevisionGUID="603e7584-b47c-4abc-9d88-d85f6b1743e7" CreationDate="2012-03-02T19:58:11.157" UserId="730" Text="Hey everyone!&#xD;&#xA;&#xD;&#xA;I am curious as to what workflow people use to create crisp and heavy scifi laser sounds.  Tribes: Ascend has lasers left and right in it, and I am running out of ideas for new laser sounds that are 100% unique sounding.  So I was wondering what techniques people use to get this sound.  I figure if I take a different approach to this, I might be able to come up with another new style for laser sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="21286" PostHistoryTypeId="1" PostId="12887" RevisionGUID="603e7584-b47c-4abc-9d88-d85f6b1743e7" CreationDate="2012-03-02T19:58:11.157" UserId="730" Text="Scifi Laser Sounds - What works for you?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21287" PostHistoryTypeId="3" PostId="12887" RevisionGUID="603e7584-b47c-4abc-9d88-d85f6b1743e7" CreationDate="2012-03-02T19:58:11.157" UserId="730" Text="&lt;sound-design&gt;&lt;video-games&gt;&lt;scifi&gt;&lt;techniques&gt;&lt;style&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21288" PostHistoryTypeId="6" PostId="12887" RevisionGUID="a81965d8-e9d5-4976-aba3-a121b6f4152b" CreationDate="2012-03-02T20:06:33.023" UserId="730" Comment="edited tags" Text="&lt;sound-design&gt;&lt;video-games&gt;&lt;scifi&gt;&lt;techniques&gt;&lt;ideas&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21289" PostHistoryTypeId="2" PostId="12888" RevisionGUID="c5dfcb07-07d4-4cbf-992f-860f35e61949" CreationDate="2012-03-02T20:23:08.740" UserId="730" Text="I always find it really cool when there are large explosions and warfare going off and you hear no sound, ore even a small tease of sound from a LPF.  Even better when the scene is in slow motion." ContentLicense="CC BY-SA 3.0" />
  <row Id="21290" PostHistoryTypeId="16" PostId="12888" RevisionGUID="c5dfcb07-07d4-4cbf-992f-860f35e61949" CreationDate="2012-03-02T20:23:08.740" UserId="-1" />
  <row Id="21291" PostHistoryTypeId="6" PostId="12887" RevisionGUID="b9562774-843e-494f-a063-c0ede4d79a72" CreationDate="2012-03-02T20:25:58.617" UserId="730" Comment="edited tags" Text="&lt;sound-design&gt;&lt;video-games&gt;&lt;scifi&gt;&lt;techniques&gt;&lt;style&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21292" PostHistoryTypeId="2" PostId="12889" RevisionGUID="95d4c686-ab30-4243-9b73-b56c5b5be13c" CreationDate="2012-03-02T20:59:47.027" UserId="29" Text="Whoo-whee, that's a subjective area...that's also really fun! Can't wait to see the answers here.&#xD;&#xA;&#xD;&#xA;Starting with what works (and, granted, is cliched) doesn't hurt: Striking thin metal wires or springs under tension with other metallic objects. Good for base layers and achieving the baseline *Star Wars* or *Wall-E* sound, even if you do it just as an exercise to dive deep into what a listener will expect and then branch out from there.&#xD;&#xA;&#xD;&#xA;Beyond that, I like using FM synthesis for creating sound layers for energy weapons. It can work well when combined with real-world gun sounds or explosions, often run through effects. Subtractive synthesis is also handy sometimes, but somehow FM methods get me closer to what I like faster.&#xD;&#xA;&#xD;&#xA;Of course, never forget to get back to the details of the weapon at hand: Many energy weapons can be described differently in terms of their mechanisms and even their visuals, and rationalizing how the device might actually work might yield interesting ideas, such as integrating the sounds of capacitors charging, flywheels storing energy, and other such hard sci-fi rationalizations. Plus, hey, it's fun to uber-nerd-out on this stuff. :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21293" PostHistoryTypeId="2" PostId="12890" RevisionGUID="091fded8-493f-4586-97be-fc7e16573c85" CreationDate="2012-03-02T21:07:12.957" UserDisplayName="user49" Text="If it is slow mo then it opens the door to use all sorts of different approaches..... I had to  do this for the climax of the film The Warriors Way - might be worth a look if you want to see one approach, but it is so dependent on the visual effects... I layered a lot of elements for each moment in the timeline of the gun being fired eg &#xD;&#xA;&#xD;&#xA;- the finger clenching the trigger, &#xD;&#xA;&#xD;&#xA;- the trigger releasing (one element was a lift cable being twanged, slowed way down which worked as it evoked the tension release) &#xD;&#xA;&#xD;&#xA;- the hammer approaching the bullet, the hammer hitting the bullet, the bullet igniting (fireworks, black powder cannon, processed explosions) &#xD;&#xA;&#xD;&#xA;- the bullet starting to travel (spiralling as they do) down the barrell (i used metal scraping across an anvil &amp; train screeches amongst other things) and I wont describe what happens then as its a spoiler for the film....&#xD;&#xA;&#xD;&#xA;Remember if its slow motion and close up, then you can potentially scale the sounds up &amp; use far heavier sounds than the reality would suggest.... &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Hopefully needless to say, it takes very tight editing and shaping/volume graphing to insure the attacks of different layers are exactly as you intend and rate as a composite sound....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21294" PostHistoryTypeId="2" PostId="12891" RevisionGUID="73eb60e8-b935-4da0-9c89-963f1871113a" CreationDate="2012-03-02T22:08:50.167" UserId="6524" Text="I really liked how nerve wrecking the silence was in the film Insidious you know somethings coming but you don't know when, it works well with the really weird and creepy soundtrack." ContentLicense="CC BY-SA 3.0" />
  <row Id="21295" PostHistoryTypeId="16" PostId="12891" RevisionGUID="73eb60e8-b935-4da0-9c89-963f1871113a" CreationDate="2012-03-02T22:08:50.167" UserId="-1" />
  <row Id="21296" PostHistoryTypeId="2" PostId="12892" RevisionGUID="aaef21da-38c3-4576-ba01-573fcb4c1b47" CreationDate="2012-03-03T00:41:49.490" UserId="317" Text="My whole basement is a giant Amerigo Vespucci sail boat that creaks wherever you go. There's a spot on the first step of the stairs that has a wide bandwidth going from high to low frequencies. I recorded it by controlling the speed of the creeks with my foot or my hand and got some laser type sounds this way. Laser in real life don't make any sound so I would say that it's entirely free for you to come up with anything that conveys the energy, the velocity and the power of the blast." ContentLicense="CC BY-SA 3.0" />
  <row Id="21297" PostHistoryTypeId="2" PostId="12893" RevisionGUID="507aadbb-3723-436b-93c0-1654a928a313" CreationDate="2012-03-03T01:54:52.297" UserId="542" Text="Try to run sounds through a fast doppler and layer those sounds together with real world weapons and wire sounds. Could be a way to give each laser sound a subtle character. &#xD;&#xA;Try to experiment with feedback loops and run it through a doppler.&#xD;&#xA;It's already late and these ideas are all that came into my mind. I hope that you can use them." ContentLicense="CC BY-SA 3.0" />
  <row Id="21298" PostHistoryTypeId="2" PostId="12894" RevisionGUID="f934b107-32eb-4b83-b69a-273db45eac96" CreationDate="2012-03-03T02:41:23.037" UserId="2906" Text="Hi, Benjie! &#xD;&#xA;&#xD;&#xA;You have already very nice suggestions above and I'd like to share mine too: very recently, by accident, I step into a sonority very close to the laser thing. (Apart from handling the gun and other great details that should make the difference)&#xD;&#xA;I took a file of a metal impact with some reverb on it, reversed it (here I might choose to keep the atck. transient or not), then made some kind of samples with it -- 2 octaves or so. Then, I stupidly forgot that higher pitched notes (resulting of this rough process) would led to smaller samples in time. &#xD;&#xA;I realized that when I imported all the tracks into my DAW and they were all starting at different times with less then 1 sec of difference between the 2 more distant. &#xD;&#xA;I was surprised of how cool that worked!&#xD;&#xA;&#xD;&#xA;As mentioned above, I guess higher pitched will work better and you may consider pass your sound files through a vocoder with some nice synths. Good work!&#xD;&#xA;&#xD;&#xA;By the way, here's a rough sample of that rough accident thing (sorry for the abrupt cut in the end): http://soundcloud.com/melissapons/futuristic-vehicle-decelerate" ContentLicense="CC BY-SA 3.0" />
  <row Id="21299" PostHistoryTypeId="2" PostId="12895" RevisionGUID="7a588188-7920-416c-8521-1812cb3822aa" CreationDate="2012-03-03T02:53:59.297" UserId="6524" Text="I've been noticing this sound being used quite a bit mainly in video games, and I'm just curious if anyone knows where its from, it's obviously from a library.&#xD;&#xA;&#xD;&#xA;Doom 3 (@ 0:36):&#xD;&#xA;&#xD;&#xA;[youtube]quS52KtB8Kw[/youtube]&#xD;&#xA;&#xD;&#xA;Bioshock (@ 6:36):&#xD;&#xA;&#xD;&#xA;[youtube]ZgDEh3UN404[/youtube]&#xD;&#xA;&#xD;&#xA;Battlefield 3 (@ 1:07):&#xD;&#xA;&#xD;&#xA;[youtube]ac3uinK0jM8[/youtube]&#xD;&#xA;&#xD;&#xA;I think even heard it when watching gameplay footage of Dead Space but I haven't played the game so I'm not entirely sure, I think it was when a necromorph was breaking down a fence or something." ContentLicense="CC BY-SA 3.0" />
  <row Id="21300" PostHistoryTypeId="1" PostId="12895" RevisionGUID="7a588188-7920-416c-8521-1812cb3822aa" CreationDate="2012-03-03T02:53:59.297" UserId="6524" Text="Reused Metal Groan in Video Games" ContentLicense="CC BY-SA 3.0" />
  <row Id="21301" PostHistoryTypeId="3" PostId="12895" RevisionGUID="7a588188-7920-416c-8521-1812cb3822aa" CreationDate="2012-03-03T02:53:59.297" UserId="6524" Text="&lt;reused&gt;&lt;effect&gt;&lt;video-games&gt;&lt;metal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21302" PostHistoryTypeId="5" PostId="12894" RevisionGUID="ba72c6e2-d47a-4cd2-b026-9a97f066901b" CreationDate="2012-03-03T03:02:04.053" UserId="2906" Comment="improved formatting" Text="Hi, Benjie! &#xD;&#xA;&#xD;&#xA;You have already very nice suggestions above and I'd like to share mine too: very recently, by accident, I step into a sonority very close to the laser thing. (Apart from handling the gun and other great details that should make the difference)&#xD;&#xA;I took a file of a metal impact with some reverb on it, reversed it (here I might choose to keep the atck. transient or not), then made some kind of samples with it -- 2 octaves or so. Then, I stupidly forgot that higher pitched notes (resulting of this rough process) would led to smaller samples in time. &#xD;&#xA;I realized that when I imported all the tracks into my DAW and they were all starting at different times with less then 1 sec of difference between the 2 more distant. &#xD;&#xA;I was surprised of how cool that worked!&#xD;&#xA;&#xD;&#xA;Experimenting with various numbers of layers, pitch, delays and combinations should lead to interesting results.&#xD;&#xA;&#xD;&#xA;As mentioned above, I guess higher pitched will work better and you may consider pass your sound files through a vocoder with some nice synths. &#xD;&#xA;&#xD;&#xA;Good work!&#xD;&#xA;&#xD;&#xA;By the way, here's a sample of that rough accident thing (sorry for the abrupt cut in the end): http://soundcloud.com/melissapons/futuristic-vehicle-decelerate" ContentLicense="CC BY-SA 3.0" />
  <row Id="21303" PostHistoryTypeId="5" PostId="12895" RevisionGUID="926a1e97-5dea-405b-9536-63c0605c1aa5" CreationDate="2012-03-03T03:04:34.793" UserId="6524" Comment="added 5 characters in body" Text="I've been noticing this sound being used quite a bit mainly in video games, and I'm just curious if anyone knows where its from, it's obviously from a library.&#xD;&#xA;&#xD;&#xA;Doom 3 (@ 0:36):&#xD;&#xA;&#xD;&#xA;[youtube]quS52KtB8Kw[/youtube]&#xD;&#xA;&#xD;&#xA;Bioshock (@ 6:36):&#xD;&#xA;&#xD;&#xA;[youtube]ZgDEh3UN404[/youtube]&#xD;&#xA;&#xD;&#xA;Battlefield 3 (@ 1:07):&#xD;&#xA;&#xD;&#xA;[youtube]ac3uinK0jM8[/youtube]&#xD;&#xA;&#xD;&#xA;I think I've even heard it when watching gameplay footage of Dead Space but I haven't played the game so I'm not entirely sure, I think it was when a necromorph was breaking down a fence or something." ContentLicense="CC BY-SA 3.0" />
  <row Id="21304" PostHistoryTypeId="2" PostId="12896" RevisionGUID="ee1215e1-fda7-4963-9200-c6ad59036e34" CreationDate="2012-03-03T03:37:16.490" UserId="6499" Text="Just curious which stem would breathing end up in?  Its a chase scene that I had to adr entirely and so I have looped in breathing.  I have it on a separate channel for mixing purposes but does the breathing end up in the dx stem? or would it maybe go into an fx stem." ContentLicense="CC BY-SA 3.0" />
  <row Id="21305" PostHistoryTypeId="1" PostId="12896" RevisionGUID="ee1215e1-fda7-4963-9200-c6ad59036e34" CreationDate="2012-03-03T03:37:16.490" UserId="6499" Text="Which stem would breathing go in?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21306" PostHistoryTypeId="3" PostId="12896" RevisionGUID="ee1215e1-fda7-4963-9200-c6ad59036e34" CreationDate="2012-03-03T03:37:16.490" UserId="6499" Text="&lt;stems&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21307" PostHistoryTypeId="2" PostId="12897" RevisionGUID="4ae76484-5738-4957-8f73-0343c8d3a8f9" CreationDate="2012-03-03T03:58:38.467" UserId="18160" Text="Unfortunately I've never mixed on a big stage like 20th Century or WB,&#xD;&#xA;&#xD;&#xA;But in my humble opinion, it really depends on if you're going to need it for foreign overdubs.&#xD;&#xA;&#xD;&#xA;If overdubbing, it might be a good idea to place it in with the FX so it's there for the foreign dubbing team who then don't have to re-create it.&#xD;&#xA;&#xD;&#xA;If doing an English only mix, I would place it on the dia stem.&#xD;&#xA;&#xD;&#xA;To me, it makes more sense to put it on the dia, but I also like to take into account those later on the chain.&#xD;&#xA;&#xD;&#xA;Cheers," ContentLicense="CC BY-SA 3.0" />
  <row Id="21308" PostHistoryTypeId="2" PostId="12898" RevisionGUID="d4dedb87-fda1-44b1-997f-07bfbe235657" CreationDate="2012-03-03T04:38:38.873" UserId="253" Text="Back when i used to QC feature mixes, M+Es would often be accompanied by an &quot;options track&quot;: a mono track with nothing but the breaths and non verbal vocalisations. This makes the most sense to me, as it gives the dubbing house the option of using it or not, while keeping vocal stuff out of the M+E.&#xD;&#xA;&#xD;&#xA;To achieve this, i'm guessing it'd be best to keep your breaths in the dial stem, but on separate &quot;Breath Tracks&quot; so you can also send them to an options track (rather than the M+E).&#xD;&#xA;&#xD;&#xA;The small effort this takes can save so much time in dubbing!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21310" PostHistoryTypeId="2" PostId="12899" RevisionGUID="13091494-98c5-408f-8e97-0c071df5abd0" CreationDate="2012-03-03T06:41:26.940" UserId="3528" Text="I actually did something like this, picture link below.  I followed Dan McComb's rig using the MM1 instead of the SD mix pre because it is true the H4n has terrible mic pre's. I chose a switchable pad attenuator with 20, 30, 40db of attenuation because I wanted options.  The result is a big step up towards broadcast quality. Only downfall is having to figure out how to carry this rig and still have access to all the needed functions.   &#xD;&#xA;&#xD;&#xA;[ZoomH4n + SD MM1 + MKH 416][1]&#xD;&#xA;  [1]: http://www.freeimagehosting.net/9h5tj" ContentLicense="CC BY-SA 3.0" />
  <row Id="21311" PostHistoryTypeId="2" PostId="12900" RevisionGUID="497313c0-aab5-42d9-b16a-6a121cfc341d" CreationDate="2012-03-03T07:49:33.130" UserDisplayName="user80" Text="Dialogue stem if it was recorded in ADR by the original actor.  &#xD;&#xA;&#xD;&#xA;The Dialogue Editor can leave it in the M&amp;E mix as they have to prepare the production sound effects anyway." ContentLicense="CC BY-SA 3.0" />
  <row Id="21312" PostHistoryTypeId="2" PostId="12901" RevisionGUID="8fc905c1-6564-404d-a396-6f2a5905d907" CreationDate="2012-03-03T08:15:54.287" UserId="3529" Text="Hi everybody,&#xD;&#xA;&#xD;&#xA;I'm on a documentary shoot and am using three transmitters with lavs and a boom, connected to a R44 multitrack recorder. I'm recording .WAV's.&#xD;&#xA;&#xD;&#xA;The problem with syncing using pluraleyes is that the r44 puts all the audiofiles in a separate folder with each take. So now I end up with a lot of mono tracks with the same number (1 to 4)as their filename. Pluraleyes puts all of these on one FCP puts all of these on one timeline, so I foresee a problem.&#xD;&#xA;&#xD;&#xA;Should I be recording to stereo tracks? Maybe use .BWF files to get more metadata?&#xD;&#xA;Any tips?&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;Mark" ContentLicense="CC BY-SA 3.0" />
  <row Id="21313" PostHistoryTypeId="1" PostId="12901" RevisionGUID="8fc905c1-6564-404d-a396-6f2a5905d907" CreationDate="2012-03-03T08:15:54.287" UserId="3529" Text="Problem with syncing 4 monotracks using pluraleyes and the R44's filestructure." ContentLicense="CC BY-SA 3.0" />
  <row Id="21314" PostHistoryTypeId="3" PostId="12901" RevisionGUID="8fc905c1-6564-404d-a396-6f2a5905d907" CreationDate="2012-03-03T08:15:54.287" UserId="3529" Text="&lt;problems&gt;&lt;plural-eyes&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21315" PostHistoryTypeId="2" PostId="12902" RevisionGUID="211d6583-a110-4546-87f7-6bb102732884" CreationDate="2012-03-03T11:23:01.870" UserId="1216" Text="Hi Mark,&#xD;&#xA;Couldn't you rename the files using a batchrename programme, based on the folder names or numbers? It would solve the identical names. Don't know how plural does it's work, but if naming conventions still are an issue, contact them or use their forums.&#xD;&#xA;BTW I would always use BWF instead of wav. &#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="21316" PostHistoryTypeId="2" PostId="12903" RevisionGUID="e212f1f3-25b1-430b-aabb-f7dfa88b6c3c" CreationDate="2012-03-03T14:37:54.790" UserId="6519" Text="My favourite movie scene is in **Sneakers** - [When Whistler is navigating by sound.][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=KuIheGaiFLM" ContentLicense="CC BY-SA 3.0" />
  <row Id="21317" PostHistoryTypeId="2" PostId="12904" RevisionGUID="79621708-c5eb-4410-bf99-615dd29295bd" CreationDate="2012-03-03T19:33:29.107" UserId="1216" Text="Well quite literally &quot;The Sound of Noise&quot; is also a great film!&#xD;&#xA;&#xD;&#xA;http://www.imdb.com/title/tt1278449/&#xD;&#xA;&#xD;&#xA;Great question!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21318" PostHistoryTypeId="2" PostId="12905" RevisionGUID="61b3fba8-9fbc-434c-a80c-e505c1759f4a" CreationDate="2012-03-03T22:24:16.150" UserId="3145" Text="The breaths should definitely be in the dialogue stem but also available in helper tracks (options track) for the foreign M&amp;E. Most foreign dubs will use their own breaths from the foreign voice actor, but it's good to give them the option. Same with screams and singing." ContentLicense="CC BY-SA 3.0" />
  <row Id="21319" PostHistoryTypeId="2" PostId="12906" RevisionGUID="3846f5f6-f72a-47ff-a1a1-e8b7103c31f0" CreationDate="2012-03-04T15:59:56.843" UserId="842" Text="Myself, I really do not like softies at all, to be frank. It nicks way to much of the highs for my taste and makes the sound dull and lack-luster.&#xD;&#xA;&#xD;&#xA;I would instead recommend Rycote's blimp-systems! These I'm very fond of. The combination of a really well working zeppelin cage, a very decent fur, a con-box to remove cable vibrations, and a truly kick-ass suspension-set makes my a VERY happy panda :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21320" PostHistoryTypeId="2" PostId="12907" RevisionGUID="0768a6bf-01c7-49e7-8801-295d8584f67c" CreationDate="2012-03-04T19:00:57.570" UserId="3532" Text="Hi, I'm wondering if it's possible to fit a MS pair of Microphones (cardiod/shotgun + figure8) inside of a Rycote Windshield Kit.&#xD;&#xA;&#xD;&#xA;After purchasing a Stereo System, and hoping it could be doubled for production work, I'm thinking about reinvesting.  First, the stereo kit does not come with a conbox and a Windshield kit does.  Something that I would like to have.  Also the Stereo Windshield kit is more expensive and is a bit more heavy.  &#xD;&#xA;&#xD;&#xA;If it's physically possible, I'd like to fit two mic's inside a Windshield kit, save $30, and get a conbox.  What I'd done before acquiring a Zepplin, is taping the two mics together with gaff tape and a soft cloth separating the two mic's.  I wouldn't mind doing this for the Kit if that would mean it would work.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21321" PostHistoryTypeId="1" PostId="12907" RevisionGUID="0768a6bf-01c7-49e7-8801-295d8584f67c" CreationDate="2012-03-04T19:00:57.570" UserId="3532" Text="Can you fit two microphones in a Rycote Zepplin for MS  Setup?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21322" PostHistoryTypeId="3" PostId="12907" RevisionGUID="0768a6bf-01c7-49e7-8801-295d8584f67c" CreationDate="2012-03-04T19:00:57.570" UserId="3532" Text="&lt;wind&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21325" PostHistoryTypeId="2" PostId="12909" RevisionGUID="d8666074-5d8e-4426-b830-9fb3fec213da" CreationDate="2012-03-04T22:01:44.110" UserId="931" Text="You can use double clips to secure one of the microphones to the other.&#xD;&#xA;There are windshield kits that are big enough to allow such a set up, how big is the one you have?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For an example, see: http://frogrecordist.home.mindspring.com/docs/ms_setups.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="21326" PostHistoryTypeId="2" PostId="12910" RevisionGUID="ff7491ca-9d2a-4275-b4ea-ac702d17819d" CreationDate="2012-03-05T01:02:43.663" UserId="432" Text="Before I answer, let me say that I have several single mic Rycote systems and 1 stereo system.&#xD;&#xA;&#xD;&#xA;No, you're not really going to be able to fit two mics into a WS4/WS2/or whatever size you're buying. *[Not in a Rycote anyways. Maybe in a Sennheiser kit, but that's about the same cost as Stereo Rycote with appropriate Connbox.]* Unless they're completely imobilized, your going to have at least one of them bump into the windscreen anytime you move it...and if you immobilize it, you're effectively negating the shockmount. In all likelihood, even if you did just gaffe tape them together, the mic on top will probably just end up rubbing against the inside of the shell. Additionally, the Connbox you get with the standard kits are for one mic only, and you can't mount two Connboxes to a single rail.&#xD;&#xA;&#xD;&#xA;There are stereo Conn Boxes available. Yes, they are a separate purchase from the stereo kit (the Connbox 3, and they're more than double the price of a Connbox 1).&#xD;&#xA;&#xD;&#xA;I say shell out the cash for the stereo kit + connbox. It's expensive, but you get what you pay for. It's a great piece of gear. It's also the right tool for the application. The wrong one will just cause you aggravation." ContentLicense="CC BY-SA 3.0" />
  <row Id="21327" PostHistoryTypeId="2" PostId="12911" RevisionGUID="d3bda377-062c-49ac-9ca0-be4b81f5646f" CreationDate="2012-03-05T01:12:54.113" UserId="432" Text="It depends on your application...but, overall, I'm with Christian on this one. We have two at work, and I only use them if I've run out of the blimp systems. The softie mount doesn't isolate as well as the lyre or band mounts, and the things are THICK! All blimp systems cut a bit of the high frequencies, but these cut a bit more. Don't get me wrong, it's tolerable in most applications...it's just my personal prejudice against them. ;)&#xD;&#xA;&#xD;&#xA;Something else to keep in mind if you do use them, you may want to put the softie on before plugging in and powering the mic. The inner mesh is plastic and very snug...scrape noise central." ContentLicense="CC BY-SA 3.0" />
  <row Id="21328" PostHistoryTypeId="2" PostId="12912" RevisionGUID="c9c5856e-c9c5-48ef-8ec5-8d8e25ba620c" CreationDate="2012-03-05T04:47:12.813" UserId="3444" Text="I would also try to include elements of both characters. However seeing that no text matches, you may have to recreate it. I would try reversing dialogue from the deceased character and editing it tightly insuring the timing matches up perfectly. You can also use automation to follow all of the formants in the regular voice. Doing it this way you are free to choose what sounds best as opposed to what the character is saying, basically creating a sound library out of it. Keeping the possessed characters tone intact, you should be able to tweak the eq enough to be seamless and automate waves ultra pitch (or any pitch plug-in) if or when you need the character to sound even crazier.&#xD;&#xA;&#xD;&#xA;This may be a time consuming process, but if can't get an ADR session might as well salvage what you can!    " ContentLicense="CC BY-SA 3.0" />
  <row Id="21329" PostHistoryTypeId="2" PostId="12913" RevisionGUID="c3d7dd53-7c08-4b3b-9660-1304aa3f0b0a" CreationDate="2012-03-05T05:57:01.613" UserDisplayName="user80" Text="Layering multiple pitch shifted voices can sometimes be effective, especially if you vary the balance continuously." ContentLicense="CC BY-SA 3.0" />
  <row Id="21330" PostHistoryTypeId="2" PostId="12914" RevisionGUID="22d84ea3-65b4-41f0-b301-204a9460330d" CreationDate="2012-03-05T06:14:25.943" UserId="1178" Text="Take a machine room tone that´s constant in pitch and put it to soundforge or similar sound editor. Pitch bend the sound up to down. Experiment with ricochets and flangers. Combine these to assets together." ContentLicense="CC BY-SA 3.0" />
  <row Id="21333" PostHistoryTypeId="2" PostId="12915" RevisionGUID="f920b227-91fe-4554-8174-2afffd40b03a" CreationDate="2012-03-05T07:00:00.627" UserId="1178" Text="to separate dialogue stem track." ContentLicense="CC BY-SA 3.0" />
  <row Id="21334" PostHistoryTypeId="2" PostId="12916" RevisionGUID="18937d6f-1835-4452-85d1-530a4fd1dff2" CreationDate="2012-03-05T09:56:22.510" UserId="3345" Text="Following on from Alexandre Saba's good advice. If you have dialogue from both characters then you can cut up what you do have and match up phonemes. You could then use quick crossfades, spectral morphing or pitch alteration to blend  them together. It would not be a complete blend but a flickering in an out of the dead characters voice. The phonemes could also be stretched and delayed to give an possessed echo &#xD;&#xA;&#xD;&#xA;AVOX throat is good, as too is Antares Talk box or something similar. Using your cut up phonemes again you could use Talkbox to bleed the two together. Also some brassage effects from Cecilia or Soundhack might add some background.&#xD;&#xA;&#xD;&#xA;Hope that helps&#xD;&#xA;&#xD;&#xA;I would agree with the others better more natural results would be had by getting new recordings. Best&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;s" ContentLicense="CC BY-SA 3.0" />
  <row Id="21335" PostHistoryTypeId="2" PostId="12917" RevisionGUID="93401e68-cbe6-491f-9c85-da047aed38b2" CreationDate="2012-03-05T13:43:38.833" UserId="527" Text="I have found myself in a situation where we are not really working under contracts.  I am approached about working on a project, I say sure, and I am handed an OMF. There is email communication, but that is about it. &#xD;&#xA;&#xD;&#xA;I just ran in to this project where it was put on hold for budget reasons(they don't have the money to pay me).  This put a nice big whole in my schedule where I am not getting paid. I also have had project in the past that run long or want the mix done earlier. All this has made is VERY difficult to keep my schedule full. &#xD;&#xA;&#xD;&#xA;So my question is this... Do you guys work under professionally written contracts? and is there a clause for a &quot;50% upfront and n% late cancellation fee?&quot;  &#xD;&#xA;&#xD;&#xA;Thanks for your help!&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="21336" PostHistoryTypeId="1" PostId="12917" RevisionGUID="93401e68-cbe6-491f-9c85-da047aed38b2" CreationDate="2012-03-05T13:43:38.833" UserId="527" Text="Do you charge late/cancellation fees?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21337" PostHistoryTypeId="3" PostId="12917" RevisionGUID="93401e68-cbe6-491f-9c85-da047aed38b2" CreationDate="2012-03-05T13:43:38.833" UserId="527" Text="&lt;business&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21338" PostHistoryTypeId="2" PostId="12918" RevisionGUID="c5351333-4db4-47f5-b8c0-9b11428853b8" CreationDate="2012-03-05T16:13:18.697" UserId="1216" Text="Hi Everyone,&#xD;&#xA;&#xD;&#xA;I'm working on a whiteboard animation and I want the listener to follow the main character (a woman) walking around her office environment. I have some footsteps in my library but i've used them so many times already in other projects, I want something fresh sounding. Unfortunately I don't have the time or place to record foley. &#xD;&#xA;&#xD;&#xA;Can anyone recommend a SFX library with nice multi-surface footsteps and different perspectives? I've already checked out sounddogs and sfxonline.eu but either preview quality is very low or the samples sound dull.&#xD;&#xA;&#xD;&#xA;Any help is appreciated! Thanks in advance!&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="21339" PostHistoryTypeId="1" PostId="12918" RevisionGUID="c5351333-4db4-47f5-b8c0-9b11428853b8" CreationDate="2012-03-05T16:13:18.697" UserId="1216" Text="SFX/Foley :Female/Woman Footsteps on different surfaces needed, which library? " ContentLicense="CC BY-SA 3.0" />
  <row Id="21340" PostHistoryTypeId="3" PostId="12918" RevisionGUID="c5351333-4db4-47f5-b8c0-9b11428853b8" CreationDate="2012-03-05T16:13:18.697" UserId="1216" Text="&lt;sfx&gt;&lt;foley&gt;&lt;footsteps&gt;&lt;sound-library&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21341" PostHistoryTypeId="2" PostId="12919" RevisionGUID="093093ad-cbb1-4dff-a867-1effc113fd3d" CreationDate="2012-03-05T17:48:06.880" UserId="1228" Text="http://www.sound-ideas.com/artfoley.html&#xD;&#xA;&#xD;&#xA;http://www.hollywoodedge.com/Foley-Footsteps-Sonic-Boon-P39C8.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="21342" PostHistoryTypeId="2" PostId="12920" RevisionGUID="b577ef63-15fc-4b52-8c69-50a321d36eb7" CreationDate="2012-03-05T18:22:12.297" UserId="730" Text="I have had this happen once in the past.  The best advice I can give you is...&#xD;&#xA;&#xD;&#xA;A)  GET CONTRACTS FOR EVERYTHING.  Signed by all parties.&#xD;&#xA;&#xD;&#xA;B)  If you have completed work for a client and they have not paid you and you know there are budget issues like you mentioned, hold on to the work.  Do not give it to them until you are paid in full for the services you provided them.  If they want their project and the work they hired you for bad enough, they will get the money.  Usually they have the money already and are playing games with you.&#xD;&#xA;&#xD;&#xA;Since you have no contract its going to be hard for you to file a claim of any sort, since its just 'he say'.  Good luck with everything, I hope it works out and you get paid!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21343" PostHistoryTypeId="2" PostId="12921" RevisionGUID="fd4c8447-36a1-4011-980e-91f730446be0" CreationDate="2012-03-05T18:42:07.260" UserId="18" Text="Never work without a contract.  Hire an attorney to draft one up for you, it won't cost that much money and you can probably re-word and use the same contract for all of your clients.  Consider it a small investment.  Without a contract, you have little (or no) legal ground to stand on when something goes wrong.  &#xD;&#xA;&#xD;&#xA;Be sure your contract explicitly states payment terms, delivery schedules, materials that you require from the client (OMF, etc), specific dates, cancelation terms/fees, etc.  The contract needs to state what happens if there is a breech by either party.  You should also have language in the contract that states who retains rights to the work you create (99.9% of the time this goes to the client, but it still needs to be stated).  &#xD;&#xA;&#xD;&#xA;If a project goes past the schedule that is stated in the contract, then a new contract (or addendum) needs to be drawn up.  Otherwise, you are no longer contractually obligated to continue work on the project and are free to remove yourself from the project and move on to something else." ContentLicense="CC BY-SA 3.0" />
  <row Id="21344" PostHistoryTypeId="2" PostId="12922" RevisionGUID="7142baee-852e-43dd-9151-f96f07279edc" CreationDate="2012-03-05T19:07:18.237" UserId="1225" Text="I'd like to add http://www.sound-ideas.com/sfx-kit.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="21347" PostHistoryTypeId="2" PostId="12924" RevisionGUID="fb7727fc-e0a9-4c21-a950-5f205402a168" CreationDate="2012-03-05T20:46:04.687" UserId="315" Text="I think it depends on what mics you plan on using. Schoeps MK and Neumann KK pairs will work. A Sennheiser MKH40/30 rig won't fit in a mono Rycote all that well. Either way, you'll still want to purchase a stereo connbox.&#xD;&#xA;&#xD;&#xA;I purchased a stereo Rycote (AE) and stereo connbox when I first picked up my Schoeps MS pair years ago. It worked great and was the recommended size for these mics, but I was bothered by the fact that it is practically the size of a watermelon and there was a ton of empty space in there. I've since changed my rig to a smaller mono windshield. A bit of a compromise on wind protection, but it was worth it in portability.&#xD;&#xA;&#xD;&#xA;While it is not ideal, it is possible to fit an MS pair inside a mono Rycote. Especially if you can find the older, non-lyre based blimps. You just need smaller bands. I have a rig very similar to the picture [here][1] and it works great. If the shield isn't cutting it, just put the furry on.&#xD;&#xA;&#xD;&#xA;If size is really an issue, I'd recommend looking at a Schoeps ccm MS pair. They can fit in a a mono ballgag no problem. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2011/08/tim-nielsen-special-ms-recording/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21348" PostHistoryTypeId="2" PostId="12925" RevisionGUID="f0b6da8e-e84c-4acb-8111-6a6850a9c11a" CreationDate="2012-03-05T20:50:10.457" UserId="261" Text="After recording again and being puzzled again by the levels on my Zoom H4n, I googled a bit and found this awesome handheld recorder shootout:&#xD;&#xA;&#xD;&#xA;[&quot;Noise floor of the on-board mics and mic-inputs - Zoom H4, Zoom H4n, Edirol R-4, Sony PCM-D50&quot; &#xD;&#xA;by Martin Doppelbauer][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I thought this might be of interest to you guys....&#xD;&#xA;&#xD;&#xA;Anyway, I'm a bit pissed because I have this great ambience in the part of the basement where all the plumbing passes of the building I live in...Dripping and gurgling etc..&#xD;&#xA;Wanting to get a stereo recording, I whipped out my Zoom, cranked up the levels to 100 and recorded 7 minutes....while monitoring on headphones at 45 (on the headphone output meters)&#xD;&#xA;&#xD;&#xA;I'm looking at the waveform in Audiofinder and it looks terrible...i.e. flat:&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For those of you that new all about this...sorry to bore you. The comparison linked above should still be fairly interesting anyway. I mean, I've used the H4n for lot's of things and have been satisfied with the performance, noise-floor aside.&#xD;&#xA;&#xD;&#xA;Anyway, I guess I'm buying one of these&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;and one of these then&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.martin-doppelbauer.de/fieldrecorder/&#xD;&#xA;  [2]: http://db.tt/81PgtYce&#xD;&#xA;  [3]: http://www.sounddevices.com/download/photos/552-front-1800px.jpg&#xD;&#xA;  [4]: http://www.sanken-mic.com/en/product/product.cfm/9.1001600" ContentLicense="CC BY-SA 3.0" />
  <row Id="21349" PostHistoryTypeId="1" PostId="12925" RevisionGUID="f0b6da8e-e84c-4acb-8111-6a6850a9c11a" CreationDate="2012-03-05T20:50:10.457" UserId="261" Text="ZoomH4n - Some kind of an answer...." ContentLicense="CC BY-SA 3.0" />
  <row Id="21350" PostHistoryTypeId="3" PostId="12925" RevisionGUID="f0b6da8e-e84c-4acb-8111-6a6850a9c11a" CreationDate="2012-03-05T20:50:10.457" UserId="261" Text="&lt;field-recording&gt;&lt;zoom-h4n&gt;&lt;noise&gt;&lt;equipment&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21351" PostHistoryTypeId="5" PostId="12925" RevisionGUID="4171985b-0e48-4fde-9e41-83de1d3f555a" CreationDate="2012-03-05T21:02:14.200" UserId="261" Comment="deleted 6 characters in body" Text="After recording again and being puzzled again by the levels on my Zoom H4n, I googled a bit and found this awesome handheld recorder shootout:&#xD;&#xA;&#xD;&#xA;[&quot;Noise floor of the on-board mics and mic-inputs - Zoom H4, Zoom H4n, Edirol R-4, Sony PCM-D50&quot; &#xD;&#xA;by Martin Doppelbauer][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I thought this might be of interest to you guys....&#xD;&#xA;&#xD;&#xA;Anyway, I'm a bit pissed because I have this great ambience in the part of the basement where all the plumbing passes of the building I live in...Dripping and gurgling etc..&#xD;&#xA;Wanting to get a stereo recording, I whipped out my Zoom, cranked up the levels to 100 and recorded 7 minutes....while monitoring on headphones at 45 (on the headphone output meters)&#xD;&#xA;&#xD;&#xA;I'm looking at the waveform in Audiofinder and it looks terrible...i.e. flat:&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For those of you that new all about this...sorry to bore you. The comparison linked above should still be fairly interesting anyway. I mean, I've used the H4n for lot's of things and have been satisfied with the performance, noise-floor aside.&#xD;&#xA;&#xD;&#xA;Anyway, I guess I'm buying one of these&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;and one of these then&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.martin-doppelbauer.de/fieldrecorder/&#xD;&#xA;  [2]: http://db.tt/81PgtYce&#xD;&#xA;  [3]: http://www.sounddevices.com/download/photos/552-front-1800px.jpg&#xD;&#xA;  [4]: http://www.sanken-mic.com/upload/prd/img/1001600.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="21352" PostHistoryTypeId="5" PostId="12924" RevisionGUID="8c3599ef-9492-4959-a8ea-e3d9d6563104" CreationDate="2012-03-05T21:17:05.900" UserId="315" Comment="added 49 characters in body; deleted 57 characters in body; added 6 characters in body" Text="I think it depends on what mics you plan on using. Schoeps MK and Neumann KK pairs will work. A Sennheiser MKH40/30 rig won't fit in a mono Rycote all that well. &#xD;&#xA;&#xD;&#xA;While it is not ideal, it is possible to fit an MS pair inside a mono Rycote. Especially if you can find the older, non-lyre based blimps. You just need smaller bands. I have a rig very similar to the picture [here][1] and it works great. If the shield isn't cutting it alone, just put the furry on.&#xD;&#xA;&#xD;&#xA;I purchased a stereo Rycote (AE) and stereo connbox when I first picked up my Schoeps MS pair years ago. It worked great and was the recommended size for these mics, but I was bothered by the fact that it is practically the size of a watermelon and there was a ton of empty space in there. I've since changed my rig to a smaller mono windshield. A bit of a compromise on wind protection, but it was worth it in portability.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If size is really an issue, I'd recommend looking at a Schoeps ccm MS pair. They can fit in a a mono ballgag no problem. Plus the ccm 41 is a great production dialog mic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2011/08/tim-nielsen-special-ms-recording/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21353" PostHistoryTypeId="5" PostId="12924" RevisionGUID="056f0e4d-ec1c-49d4-a1da-677d58a67d8d" CreationDate="2012-03-05T23:30:51.487" UserId="315" Comment="added 182 characters in body" Text="I think it depends on what mics you plan on using. Schoeps MK and Neumann KK pairs will work. A Sennheiser MKH40/30 rig won't fit in a mono Rycote all that well. &#xD;&#xA;&#xD;&#xA;While it is not ideal, it is possible to fit an MS pair inside a mono Rycote. Especially if you can find the older, non-lyre based blimps. You just need smaller bands. I have a rig very similar to the picture [here][1] and it works great. If the shield isn't cutting it alone, just put the furry on.&#xD;&#xA;&#xD;&#xA;I purchased a stereo Rycote (AE) and stereo connbox when I first picked up my Schoeps MS pair years ago. It worked great and was the recommended size for these mics, but I was bothered by the fact that it is practically the size of a watermelon and there was a ton of empty space in there. I've since changed my rig to a smaller mono windshield. A bit of a compromise on wind protection, but it was worth it in portability.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If size is really an issue, I'd recommend looking at a Schoeps ccm MS pair. They can fit in a a mono ballgag no problem. Plus the ccm 41 is a great production dialog mic.&#xD;&#xA;&#xD;&#xA;PS: Don't gaff the mics together. Use [these][2] back to back clips.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2011/08/tim-nielsen-special-ms-recording/&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/product/770035-REG/Rycote_48488_Back_to_Back_Clips_for_Microphones.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="21354" PostHistoryTypeId="2" PostId="12926" RevisionGUID="9f56f5cd-17c9-4ce0-929a-f782b0ac2655" CreationDate="2012-03-06T06:23:27.853" UserDisplayName="user49" Text="With film, having a contract is only a description of intent: as with the production crew it will have provisos for schedule delays, which can and do happen, and there is rarely any fees paid for delays. (In the absence of a contract, a deal memo is a good starting point just so that both parties are clear about rates and intended schedule, but as I said delays can and do happen)&#xD;&#xA;&#xD;&#xA;In the worst case having a contract is only worth the paper it written on eg if their funding disappears or the project falls over (which is what you are describing) what point is there in litigation? You will likely achieve nothing other than racking up lawyers fees and permanently damaging your relationship with the production company (who are under huge duress even keeping their project afloat). Under those circumstances you can only be supportive and be clear with both yourself and them as to your degree of flexibility and commitment to their project and to other projects. I've seen people be delayed six months or more for a project, and meanwhile they have turned down other work. Only you can know your commitment to any one project. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21355" PostHistoryTypeId="2" PostId="12927" RevisionGUID="99dce97b-133f-4cda-9e13-08d9e1f2cb79" CreationDate="2012-03-06T07:01:24.967" UserId="1064" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I'm working on my final project at school and I've run into a bit of a mental block as to how to make some sort of abstract sound for time lapse shots of flowers wilting and food rotting. I've been playing around with things like fire crackling, water boiling, various mud sounds, etc. in ProTools and Kyma. Nothing has really had the effect that I'm really looking for. Any suggestions?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;Kris" ContentLicense="CC BY-SA 3.0" />
  <row Id="21356" PostHistoryTypeId="1" PostId="12927" RevisionGUID="99dce97b-133f-4cda-9e13-08d9e1f2cb79" CreationDate="2012-03-06T07:01:24.967" UserId="1064" Text="Designing a sound for flowers wilting/food rotting" ContentLicense="CC BY-SA 3.0" />
  <row Id="21357" PostHistoryTypeId="3" PostId="12927" RevisionGUID="99dce97b-133f-4cda-9e13-08d9e1f2cb79" CreationDate="2012-03-06T07:01:24.967" UserId="1064" Text="&lt;sound-design&gt;&lt;abstract&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21358" PostHistoryTypeId="2" PostId="12928" RevisionGUID="e9f22d94-ee18-4f1b-b170-e5ec37c95427" CreationDate="2012-03-06T07:28:29.800" UserId="7642" Text="I'd go musical sounding or buy a few plants, mess with roots,leafs and stems. I would avoid any electronic sounding processing as it quickly goes artificial. Editing and timbre is crucial in timelapse shots IMHO. Digital processing less so. Pitch and filters are my main tools.&#xD;&#xA;&#xD;&#xA;And then when you get bored with your kyma you can give it to me :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21359" PostHistoryTypeId="2" PostId="12929" RevisionGUID="ab723321-638b-49a8-90d8-2e6d9aca294b" CreationDate="2012-03-06T08:27:01.400" UserId="3433" Text="Try boiling something thicker than water to get a goopier sound, maybe mix with crinkling paper. &#xD;&#xA;&#xD;&#xA;Also perhaps sprinkling dirt on different things like wax paper, tinfoil, printer paper would get you another useful layer.&#xD;&#xA;&#xD;&#xA;I also agree with @EricG - keep to organic sounds unless you want to go completely stylistic.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21360" PostHistoryTypeId="2" PostId="12930" RevisionGUID="d5cb3bf5-ecc4-4dd6-984a-5751a6e10909" CreationDate="2012-03-06T08:46:06.283" UserId="61" Text="If you have access to a compost pile, worm farm or local green recycling center, grab a couple of contact mics (or perhaps hydrophones would work), shove them in and let the bugs do the work for you! You should get some pretty interesting dual-mono material." ContentLicense="CC BY-SA 3.0" />
  <row Id="21361" PostHistoryTypeId="2" PostId="12931" RevisionGUID="4c12d05b-2965-48c4-b2c2-815bea96bac0" CreationDate="2012-03-06T12:24:03.297" UserId="3439" Text="I got great gloopy sounds the other day from playing with some grape jelly in a bowl.  Maybe do something like that, and then reverse and pitchbend/timestretch? Maybe a leafy/dry crunchy layer under that?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21362" PostHistoryTypeId="2" PostId="12932" RevisionGUID="23c6a278-8476-4ba2-a1cd-5fb88b776712" CreationDate="2012-03-06T13:55:15.500" UserId="845" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I'm working on a new project that's much more abstract than what I usually work on.  I'd like to approach the sound design more as a musical composition than a simple description of what I'm seeing on the screen.  This means it's all going to be about motion and flow.&#xD;&#xA;&#xD;&#xA;What I'd like to do is make up a spreadsheet of hit points (important visual moments) and end up with a linear graph of the whole timeline.  If I can then manipulate the points vertically to show intensity/loudness that'd be great too.&#xD;&#xA;&#xD;&#xA;I've tried doing it in OpenOffice and Excel, and it's really not coming out the way I'd hoped it would.  Does anybody know of anything that works (and is as close to free as possible)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21363" PostHistoryTypeId="1" PostId="12932" RevisionGUID="23c6a278-8476-4ba2-a1cd-5fb88b776712" CreationDate="2012-03-06T13:55:15.500" UserId="845" Text="Creating Timelines" ContentLicense="CC BY-SA 3.0" />
  <row Id="21364" PostHistoryTypeId="3" PostId="12932" RevisionGUID="23c6a278-8476-4ba2-a1cd-5fb88b776712" CreationDate="2012-03-06T13:55:15.500" UserId="845" Text="&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21365" PostHistoryTypeId="2" PostId="12933" RevisionGUID="7b8d4023-070a-449c-bb58-c47d1f129b9e" CreationDate="2012-03-06T15:18:13.753" UserId="37" Text="data on sensitivity and self-noise, please.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21366" PostHistoryTypeId="2" PostId="12934" RevisionGUID="4dcacf56-3a42-45f1-874b-cf810ed9f8c4" CreationDate="2012-03-06T15:35:24.773" UserId="3299" Text="If you're going abstract it might be fun to try graphic notation. &#xD;&#xA;&#xD;&#xA;INA-GRM have a free notation application called Acousmographe available [**here**][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.inagrm.com/accueil/outils/acousmographe&#xD;&#xA;&#xD;&#xA;You can register it for free as well to remove the nag-screen at start up. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21367" PostHistoryTypeId="2" PostId="12935" RevisionGUID="edfe0b51-1012-432f-bf09-7eee3c4a53f9" CreationDate="2012-03-06T15:49:36.010" UserId="238" Text="There's a great website called [Visual.ly][1] that offers interesting ways to display data. Although you will find many of the examples not really suitable for what you're trying to visualise, there are some good examples of timeline-based ideas. &#xD;&#xA;&#xD;&#xA;Here are a couple of examples (more can be found by browsing further):&#xD;&#xA;&#xD;&#xA;[Visual.ly - Quora][2]&#xD;&#xA;&#xD;&#xA;[Visual.ly - Six Nations Head to Head][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://visual.ly/&#xD;&#xA;  [2]: http://visual.ly/wonderful-world-quora-0&#xD;&#xA;  [3]: http://visual.ly/six-nations-head-head" ContentLicense="CC BY-SA 3.0" />
  <row Id="21368" PostHistoryTypeId="2" PostId="12936" RevisionGUID="0a9fb959-2448-472a-8db6-d208842f9b1f" CreationDate="2012-03-06T17:38:25.510" UserId="3444" Text="Time lapse videos magnify what you're seeing, so I would probably take a similar approach. Meaning exaggerating sounds, making everything more intense and bigger than it is. For flowers wilting the first thing I thought of was celery cracking, or fresh bamboo being split down the middle. As for the food rotting, i've gotten some great results crushing fresh egg shells mixed with squishes of raw meat. This gives it a really nice transient texture. Jay gave a great pointer, if you have access to a contact mic, try digging and recording, you might get some usable material." ContentLicense="CC BY-SA 3.0" />
  <row Id="21369" PostHistoryTypeId="2" PostId="12937" RevisionGUID="7f34a517-2faf-4ff3-99ce-c83fb940686a" CreationDate="2012-03-06T18:02:32.387" UserId="1027" Text="Hey all, &#xD;&#xA;&#xD;&#xA;What do you reckon is the fastest and &quot;best&quot; way to export/convert movies for sound/music work in your DAW of choice?  Which programs do you use to do it, and how do you go about doing it?&#xD;&#xA;&#xD;&#xA;Thanks in advance, and please excuse my lack of knowledge and newness to this field.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;***Background:*** I tend to get huge files from the editors and I end up using Photo-JPEG (same frame-rate, low quality, and a substantial decrease in the aspect ratio), and I'm thinking whether I should try to standardize a faster workflow for myself at this point. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21370" PostHistoryTypeId="1" PostId="12937" RevisionGUID="7f34a517-2faf-4ff3-99ce-c83fb940686a" CreationDate="2012-03-06T18:02:32.387" UserId="1027" Text="Fastest way to export movies for sound work?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21371" PostHistoryTypeId="3" PostId="12937" RevisionGUID="7f34a517-2faf-4ff3-99ce-c83fb940686a" CreationDate="2012-03-06T18:02:32.387" UserId="1027" Text="&lt;post-production&gt;&lt;export&gt;&lt;video&gt;&lt;sync&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21372" PostHistoryTypeId="5" PostId="12937" RevisionGUID="656c0168-58ca-4f69-907c-8768c20545c4" CreationDate="2012-03-06T18:23:32.527" UserId="1027" Comment="Improved formatting" Text="Hey all, &#xD;&#xA;&#xD;&#xA;What do you reckon is **the fastest and &quot;best&quot; way to export/convert movies for sound/music work in your DAW of choice?**  Which programs and settings do you use to do it?&#xD;&#xA;&#xD;&#xA;Thanks in advance, and please excuse my lack of knowledge and newness to this field.&#xD;&#xA;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&#xD;&#xA;***Background:*** *I tend to get huge files from the editors and I end up using Photo-JPEG (same frame-rate, low quality, and a substantial decrease in the aspect ratio), and I'm thinking whether I should try to standardize a faster workflow for myself at this point.*&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21373" PostHistoryTypeId="2" PostId="12938" RevisionGUID="8db148ed-de57-4c94-8bb5-5275fe11382f" CreationDate="2012-03-06T18:36:48.413" UserId="1049" Text="Suggestion for a quick 'n' easy possibility: Record the following and mix them together, tweaking pitch, EQ etc where necessary - &#xD;&#xA;&#xD;&#xA;Rustle and crunch up some paper in you hand.&#xD;&#xA;&#xD;&#xA;Pour some sand onto a tray or flat surface.&#xD;&#xA;&#xD;&#xA;Add a little bit of a 'squish' from squashing a tomato or similar.&#xD;&#xA;&#xD;&#xA;And maybe, mixed in low-level, add a little bit of a crunch or crumble from mashing up some biscuits!&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="21374" PostHistoryTypeId="2" PostId="12939" RevisionGUID="9824de52-ccac-410f-943b-32b847f19db8" CreationDate="2012-03-06T18:40:09.987" UserId="238" Text="I usually do an export in QT 7, reducing frame size and audio quality (I keep the audio track intact as a guide track, but use compression to help reduce the file size). This tends to help make the video file easier for the DAW to handle." ContentLicense="CC BY-SA 3.0" />
  <row Id="21375" PostHistoryTypeId="5" PostId="12939" RevisionGUID="fd59913f-8134-447e-97c4-0edd1efe2df2" CreationDate="2012-03-06T18:50:23.623" UserId="238" Comment="added 57 characters in body" Text="I usually do an export in QT 7, reducing frame size and audio quality (I keep the audio track intact as a guide track, but use compression to help reduce the file size). This tends to help make the video file easier for the DAW to handle. &#xD;&#xA;&#xD;&#xA;I'm interested to find out how others approach this." ContentLicense="CC BY-SA 3.0" />
  <row Id="21376" PostHistoryTypeId="2" PostId="12940" RevisionGUID="c8d1068a-7e17-4c14-ba51-67d4daa11b87" CreationDate="2012-03-06T19:02:08.773" UserId="253" Text="We tend to use DV Streams a lot because, in our recording facility, we use those old Canopus DV out boxes. DV Streams are pretty big, but i actually quite like them. They're very fast to convert (using Quicktime Pro), and don't put much strain on the system when you're running it with your session - my guess is that this is because it's pretty much uncompressed. Of course, the downside is that you're limited to SD quality and the files are pretty big.&#xD;&#xA;&#xD;&#xA;At my old film school, our practice to ask for either DV or motion jpeg A. mjpegA is legacy now though, so most editors have no idea how to export one. &#xD;&#xA;&#xD;&#xA;So i guess, in summary, DV is the easiest for me. It runs quickly, and you can &quot;Play Video out DV/PCIE&quot; if you have an external monitor. And who doesn't have room for a few extra GB these days?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21377" PostHistoryTypeId="2" PostId="12941" RevisionGUID="a4419270-c533-4092-bbae-204af373364b" CreationDate="2012-03-06T19:37:14.590" UserId="2906" Text="I've been working on a project (within &quot;friends&quot; = no payment) that consists of one short-movie with loads of sfx and at least 3 webisodes, producing every single task related to sound.&#xD;&#xA;&#xD;&#xA;Recently I was crushed by one director's request that is **not** to use my own sounds (I work freely in a studio with very good conditions and have time to experiment and explore) in a 4 minute scene fight where there are more sfx that you can imagine at first, and illegally use &quot;hollywood&quot; sounds. &#xD;&#xA;&#xD;&#xA;His reasons for this request are: audience doesn't care and doesn't pay attention, top Hollywood effects is what makes the difference, it's good for me, and that I shouldn't put my ego first.&#xD;&#xA;&#xD;&#xA;Well... obviously this could come only from someone who doesn't understand a thing about the sound production. I think this would be dishonest, non-ethical and bring almost or no value at all to my work. &#xD;&#xA;&#xD;&#xA;What do you guys think about this? If we don't come to an agreement I don't see myself using 80% or 90% of copyright material as if it was mine, and I'd rather not do it, although I have already spent weeks on it." ContentLicense="CC BY-SA 3.0" />
  <row Id="21378" PostHistoryTypeId="1" PostId="12941" RevisionGUID="a4419270-c533-4092-bbae-204af373364b" CreationDate="2012-03-06T19:37:14.590" UserId="2906" Text="Asken to used copyright material instead of original" ContentLicense="CC BY-SA 3.0" />
  <row Id="21379" PostHistoryTypeId="3" PostId="12941" RevisionGUID="a4419270-c533-4092-bbae-204af373364b" CreationDate="2012-03-06T19:37:14.590" UserId="2906" Text="&lt;ethics&gt;&lt;copyright&gt;&lt;director&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21380" PostHistoryTypeId="4" PostId="12941" RevisionGUID="580a67d4-2203-416e-8ca4-9eecdd505a76" CreationDate="2012-03-06T19:51:05.633" UserId="2906" Comment="fixed grammar" Text="Asked to use copyright material instead of original" ContentLicense="CC BY-SA 3.0" />
  <row Id="21381" PostHistoryTypeId="2" PostId="12942" RevisionGUID="0b4ee4a7-9e36-4e17-986a-09dc6f621658" CreationDate="2012-03-06T20:38:37.077" UserId="3433" Text="Here is how I look at it - don't use the stolen sounds, but imitate them using original material to the best of your ability. If the director wants the &quot;hollywood&quot; sound, show off your abilities by making your effects sound like the ones he or she is so fond of.  Make this director want the &quot;Melissa&quot; sound.&#xD;&#xA;&#xD;&#xA;If you're worried about time already spent - don't.  It's a free project that I would imagine you've done for practice, right?  It'll be great practice to try and &quot;wow&quot; this short sighted director.  If he or she doesn't budge, well, it might suck that you didn't see it through to completion but at least you would be able to leave the project with your morals and dignity intact.&#xD;&#xA;&#xD;&#xA;Good luck Melissa, and kudos to you for your sense of artistic integrity.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21382" PostHistoryTypeId="2" PostId="12943" RevisionGUID="e9f5ce31-c25c-4bf2-b80a-3914e1dedc22" CreationDate="2012-03-06T20:40:50.797" UserId="3538" Text="Thanks for the feedback, SSDers.  I've kept the Rycote and managed to record crowd and ambiance from the Sacramento student Rally.  Mind was not lost.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21383" PostHistoryTypeId="2" PostId="12944" RevisionGUID="53a88cf7-0686-44cf-8157-7eb26df76cdf" CreationDate="2012-03-06T20:43:25.083" UserId="3538" Text="Does anybody have a specific process for brainstorming at the time when they are creating a sound pallet and aesthetic for the project?&#xD;&#xA;&#xD;&#xA;David Sonnenheines book about Sound Design describes some processes which I have used for pretty much every major undertaking I have done." ContentLicense="CC BY-SA 3.0" />
  <row Id="21384" PostHistoryTypeId="1" PostId="12944" RevisionGUID="53a88cf7-0686-44cf-8157-7eb26df76cdf" CreationDate="2012-03-06T20:43:25.083" UserId="3538" Text="Choosing and creating a sound asthetic/pallet" ContentLicense="CC BY-SA 3.0" />
  <row Id="21385" PostHistoryTypeId="3" PostId="12944" RevisionGUID="53a88cf7-0686-44cf-8157-7eb26df76cdf" CreationDate="2012-03-06T20:43:25.083" UserId="3538" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21386" PostHistoryTypeId="2" PostId="12945" RevisionGUID="7b42d3b3-0571-4231-b8ab-dca7af7d6c4b" CreationDate="2012-03-06T21:40:57.200" UserId="3539" Text="There was an article about sound pallet and aesthetic on designing sound a little while back. Has some good info. http://designingsound.org/2012/02/wrangling-aesthetic/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21387" PostHistoryTypeId="2" PostId="12946" RevisionGUID="57713d99-9a9d-45b5-bfe8-0750c79462f4" CreationDate="2012-03-06T21:47:54.440" UserId="3444" Text="I usually start a style, how I want my end product to sound, be it tech, organic, musical, clean, dirty. Use reference material as inspiration, movies, games, trailers, anything relevant that can spark an idea or a concept. From there it's a matter of creating sounds, prototyping and giving the images sound. Recording, creating patches and shaping your thoughts into an audible form. I think frequency distribution is something you need to establish quite early on, because this influences your final mix. &#xD;&#xA;&#xD;&#xA;I try not to get too technical and let the artistic side win, because aesthetic is art and creation. It is the colors and shapes we choose from as sound designers and tools tend to limit this.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="21388" PostHistoryTypeId="2" PostId="12947" RevisionGUID="8bd6e384-a11f-4945-86f1-070e4a5b3797" CreationDate="2012-03-06T21:51:47.967" UserId="842" Text="I never brainstorm at all, and I use a new way of doing things for almost every new project I get.&#xD;&#xA;&#xD;&#xA;However, the way I usually start with a project, providing I haven't had a chance to see enough yet, is to look it through completely several times to get a grasp of it, and then demanding a spotting session with at least me, the composer, and the director. In some cases, also the main producer, but that's a thing between the director and the producer, and nothing that really concerns me.&#xD;&#xA;&#xD;&#xA;I'm a full-on sound designer, and as such I always have my recorder and a selection of mikes with me to record anything I might find. Often, the first thing I might try after the dialogue editing is to see which ones from the latest batch of sounds might be particularly sweet in the project I'm in at the moment. After that the road will fork in a selection of virtually billions of ways, depending on the project and my latest experiences. No matter how I go on, however, I make a first simple editiong/design that I enhance as I know how much time I have left." ContentLicense="CC BY-SA 3.0" />
  <row Id="21389" PostHistoryTypeId="5" PostId="12947" RevisionGUID="d390b9a8-d7a1-4fa4-9595-b37869bad299" CreationDate="2012-03-06T21:59:47.700" UserId="842" Comment="added 452 characters in body; added 4 characters in body" Text="I never brainstorm at all, and I use new ways of doing things for practically every new project I get.&#xD;&#xA;&#xD;&#xA;However, the way I usually start with a project, providing I haven't had a chance to see enough yet, is to look it through completely several times to get a grasp of it, and then demanding a spotting session with at least me, the composer, and the director. In some cases, also the main producer, but that's a thing between the director and the producer, and nothing that really concerns me.&#xD;&#xA;&#xD;&#xA;I'm a full-on sound designer, and as such I always have my recorder and a selection of mikes with me to record anything I might find. Often, the first thing I might try after the dialogue editing is to see which ones from the latest batch of sounds might be particularly sweet in the project I'm in at the moment. After that the road will fork in a selection of virtually billions of ways, depending on the project and my latest experiences. No matter how I go on, however, I make a first simple editiong/design that I enhance as I know how much time I have left.&#xD;&#xA;&#xD;&#xA;For me, style is rarely if ever a conscious choice. Though I do always enter a project with a direction in mind, so far I have always changed that direction many times during the course of the work as I've found new and better ways of doing things. It might sound like I'd lose time from that, but as I always work with my projects very open and unlocked, on the contrary that actually saves a lot of time I can use to make the project even better!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21390" PostHistoryTypeId="2" PostId="12948" RevisionGUID="8b440f8b-71c7-435b-81d9-708cedfec88f" CreationDate="2012-03-06T22:15:32.700" UserId="37" Text="Get that conversation in writing. An ordinary email to the guy expressing your worries, then wait for the reply. Just in case......&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21391" PostHistoryTypeId="2" PostId="12949" RevisionGUID="54b89a97-9c09-419f-87c8-a8e86c01c7c4" CreationDate="2012-03-06T22:30:51.363" UserId="6407" Text="If you are completely honest with yourself, is your original recordings (I presume foley type stuff) as good as the 'Hollywood' sounds you're talking about? Will the movie be broadcast in any way (even just at a local cinema or something)? Is there any way to buy the Hollywood sound fx and therefore not make them illegal (I know plenty studios who use sound libraries from various sources, morals intact)? I reckon answering these questions might point you in a direction....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21392" PostHistoryTypeId="2" PostId="12950" RevisionGUID="0ff59104-2023-489d-905e-3bedceec582b" CreationDate="2012-03-06T22:36:14.370" UserId="6407" Text="Dear Audiophiles,&#xD;&#xA;&#xD;&#xA;I'm embarking on a trip to Beijing very shortly and am wondering if any of you have any tips or recommendations for places of sonic interest, as I hope to come back with a collection of interesting ambiances and oriental soundscapes. &#xD;&#xA;&#xD;&#xA;Would love to hear your thoughts. &#xD;&#xA;&#xD;&#xA;Sound,&#xD;&#xA;Nicol" ContentLicense="CC BY-SA 3.0" />
  <row Id="21393" PostHistoryTypeId="1" PostId="12950" RevisionGUID="0ff59104-2023-489d-905e-3bedceec582b" CreationDate="2012-03-06T22:36:14.370" UserId="6407" Text="So, who's been to China and what should I record?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21394" PostHistoryTypeId="3" PostId="12950" RevisionGUID="0ff59104-2023-489d-905e-3bedceec582b" CreationDate="2012-03-06T22:36:14.370" UserId="6407" Text="&lt;recording&gt;&lt;location-recording&gt;&lt;field-recording&gt;&lt;travel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21395" PostHistoryTypeId="2" PostId="12951" RevisionGUID="b2f1d6a0-2dcc-4e56-a637-57b5e76e7190" CreationDate="2012-03-06T23:02:59.397" UserId="1294" Text="I have faced similar problem with an animation company, as Benjie Freund said, they play games while they still have money, It took 7 months to get half of my payment &amp; the rest is still pending &amp; i completed the work @ feb 2011 - all this'casue i had no agreement for my work, So never work without an agreement.&#xD;&#xA;&#xD;&#xA;Have you read the book by Aaron marks &quot;complete guide to game audio&quot;, it has an agreement look-alike &amp; it has been really useful to me. &#xD;&#xA;&#xD;&#xA;If you don't have the budget for an attorney to prepare an agreement for you, i can send you the one from the book &amp; you could add or edit this document for your needs.&#xD;&#xA;&#xD;&#xA;Hope this is of some help for you, Let me know if you need it:)&#xD;&#xA;&#xD;&#xA;Cheers.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21396" PostHistoryTypeId="2" PostId="12952" RevisionGUID="e9748659-cf6a-4ea7-8c14-270ac3cd9d1c" CreationDate="2012-03-07T02:05:03.573" UserId="253" Text="It sounds like a major client management situation. What i recommend is taking a plank wood, about a metre long, then hammering some nails through one end...&#xD;&#xA;&#xD;&#xA;Ha, kidding.&#xD;&#xA;&#xD;&#xA;But you should never let a client make you do something that's &quot;over the line&quot; for you (i'm talking serious stuff, not just insisting on some cliche like a heartbeat or underground wind). I don't really know the relationship you have with the director, or what you've tried, but i recommend sitting down and explaining the situation slowly and clearly. See if you can get him to work with you on finding a solution that satisfies you both, rather than just brickwalling your attempts. And if he really wants those &quot;Hollywood FX&quot;, then you can go on Sounddogs or Productionmusic, or some other online FX library, and i'm sure you can get what you need for $100 or less (paid for by the production).&#xD;&#xA;&#xD;&#xA;I'm sorry to be blunt, but the guy sounds like an idiot. I know these situations can be tricky, especially when you're a few weeks in, but if you stand firm on your convictions you'll either get your way, or get rid of him. Someone who's worth developing a working relationship with would never be so disrespectful.&#xD;&#xA;&#xD;&#xA;Fight the good fight!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21397" PostHistoryTypeId="2" PostId="12953" RevisionGUID="cddd7ba3-553a-4291-a159-12fa08f15a58" CreationDate="2012-03-07T02:45:13.747" UserId="3522" Text="Seems like a tough situation. Since you're not being paid for this I would stick to your guns, make your points to the director and get as many other people in the production team to back you up, I bet he wouldn't like it if you simply replaced a scene from this movie with one from another film... If this were a real world situation where you were being paid and the director's word was final, fair enough but I think you should stand firm on this, take pride in your work and the effort you put in. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21398" PostHistoryTypeId="2" PostId="12954" RevisionGUID="42aeec3d-d072-4722-98d6-99cebf87f624" CreationDate="2012-03-07T02:47:27.747" UserId="3522" Text="I've never been, but if I were you, I would record everything! You can never have TOO many recordings! " ContentLicense="CC BY-SA 3.0" />
  <row Id="21399" PostHistoryTypeId="2" PostId="12955" RevisionGUID="2cc090f9-4637-4d24-b4a1-b70862299c94" CreationDate="2012-03-07T09:21:25.383" UserDisplayName="user80" Text="Don't do it, you really don't want to ever be put in this situation.&#xD;&#xA;&#xD;&#xA;Just make it clear that you can only continue to work on the project if everything is legal." ContentLicense="CC BY-SA 3.0" />
  <row Id="21400" PostHistoryTypeId="2" PostId="12956" RevisionGUID="16c88de1-a644-4ce9-b46b-6e705b1e92ef" CreationDate="2012-03-07T09:23:34.387" UserId="1228" Text="This immediately reminded me, first off, of an excerpt for Dave Yewdall's book about the &quot;Big Sound&quot; (or Hollywood Sound):&#xD;&#xA;&#xD;&#xA;[The &quot;Big Sound&quot;][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://books.google.com/books?id=3O0HmpNHitkC&amp;lpg=PA265&amp;ots=-ncbJLHDxS&amp;dq=david%20yewdall%20the%20big%20sound&amp;pg=PA265#v=onepage&amp;q&amp;f=false&#xD;&#xA;&#xD;&#xA;The key phrase being *&quot;It's a philosophy, an art - an understanding of what sounds good together to make a bigger sound.&quot;*&#xD;&#xA;&#xD;&#xA;The 'Hollywood sound' is a gestalt, or culmination, of individual parts and pieces fitting together in dynamic and complimentary ways which exude big, bold, and ballsy attitude (when such attitude is called for) - while at the same time having the composure within this gestalt to introduce rich subtleties and tasteful depth of contrast.  What I'm getting at here is that the Hollywood sounds can't be bought outright, yet they ARE something that you are capable of creating yourself - it comes down to having the right source elements to work with, and the experience and wisdom gained over time of how to dramatically piece these puzzle pieces together in ways which effectively work to achieve that Hollywood sound (and do so quickly/efficiently).  It's a slight digression from the topic question, yet I feel it's an important foundation to begin to address your question since the word &quot;Hollywood sound&quot; is being thrown around incorrectly as a noun in my opinion, when **actually** it's more a verb.&#xD;&#xA;&#xD;&#xA;The question you pose then seems to be directly at it's core an ethical issue regarding your tangible source sound elements, or assets.  Source elements can be bought legally from a variety of providers, some which have studio ties - for example, The Hollywood Edge is a distribution division of CSS Studios, which owns Soundelux/Todd-AO, and nearly everything from The Hollywood Edge label is in same way, shape, or form sound source that comes straight from the vaults of Soundelux itself.  These are top, proven-to-work Hollywood sounds  But even so, these sounds aren't &quot;The Hollywood sound&quot; itself in their own right - nice recordings, yes, but it still matters how you piece them together dynamically and dramatically.  Many times this &quot;Hollywood sound&quot; is developed using a composite of bought source material from known libraries, along with custom sound effects recordings of our own.  But who cares what we use as long as we create a believable sound?  In the end, if &quot;it sounds good, is good&quot;.&#xD;&#xA;&#xD;&#xA;To come full-circle to your primary question, my personal thought on the situation you pose is that you are taking the correct ethical approach of choosing to work with material you are allowed to use (or record yourself).  I strongly commend you for that.  But &quot;sound effects source&quot; from copyright FX libraries are perfectly okay too as long as you purchased a license to the library - and trust me, we all use these libraries to pull from, even ones we feel dirty for using sometimes cough cough General 6000 cough cough ;)  &#xD;&#xA;&#xD;&#xA;And even more, please embrace your recording and editorial skills regardless of what anyone else says.  We all have the power and the ability to create the 'Hollywood sound' with our recordings.  Your own effects CAN be as good as the major effects, it is indeed attainable.  The catch is most of these 'Hollywood sound' type effects are layered and processed in such a way that, yes, a raw single-layer recording of a punch may not be encouraging.  But take a meat slap, a bone crunch foley sound, and other such 'foley-able' sounds and edit them together, slam it with a compressor and you can begin to turn these possibly discouraging recordings into a big Hollywood-style punch that is rounded out with a nice thud which hits you in the cheat, an ear-piercing crack, and frieghtening flesh slap.  &#xD;&#xA;&#xD;&#xA;The bigger part of question regarding him/her determining what you use is: **it's not their business to tell you what to do**.  Especially so because it is not paid work.  But even so, it's not their business to tell you what to use, and furthermore, undermine you by saying in effect &quot;your sounds can't meet the cinema standard&quot;.  For example, a client will provide suggestions for what they want their combat aesthetic to sound like (sock punches versus realistic versus cinematic sensational versus hyper-real), but it's not their place to judge what source I'm going to use to develop that sound (and in most cases I know what my go-to's are for each style) - it's not their area of expertise quite frankly to dictate what source I use, and by them approaching me (or you), it's because they value (or should value) the sound judgements you can make about what the right source material is required for developing the aesthetic they want to achieve, in this case, to achieve the &quot;Hollywood sound'.  The journey now is developing your creations to mirror a similar aesthetic with your own signature on it.  You used your own recordings? so what!  If they combine (on their own or in tandem with bough library FX) to achieve the end result of the 'Hollywood' aesthetic, who gives a a damn that it was your won material ;) &#xD;&#xA;&#xD;&#xA;Good luck with 'wrangling' the client on this one!  Sometimes these types of clients can be the trickiest to handle, yet so far it appears that you're doing so with grace and a strong sense of ethical well-being and professional integrity (which is the right road).  Embrace it!  The silver lining in this situation: this gives you a fantastic opportunity to study the 'Hollywood sound' of others and work at achieving the same type of aesthetic from the ground-up the SAME WAY all these big shows' 'Hollywood sound' started from -&gt; the raw source recordings!  The world is your oyster in this situation if you choose to look at it from the angle of &quot;lets create this Hollywood sound he wants to hear&quot;.&#xD;&#xA;&#xD;&#xA;Hopefully that wasn't too long-winded Melissa.  It's such a multi-faceted question!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21401" PostHistoryTypeId="5" PostId="12956" RevisionGUID="007bbb4b-01f9-4bc5-90bb-3975e971ea1a" CreationDate="2012-03-07T09:34:06.783" UserId="1228" Comment="added 9 characters in body" Text="This immediately reminded me, first off, of an excerpt for Dave Yewdall's book about the &quot;Big Sound&quot; (or Hollywood Sound):&#xD;&#xA;&#xD;&#xA;[The &quot;Big Sound&quot;][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://books.google.com/books?id=3O0HmpNHitkC&amp;lpg=PA265&amp;ots=-ncbJLHDxS&amp;dq=david%20yewdall%20the%20big%20sound&amp;pg=PA265#v=onepage&amp;q&amp;f=false&#xD;&#xA;&#xD;&#xA;The key phrase being *&quot;It's a philosophy, an art - an understanding of what sounds good together to make a bigger sound.&quot;*&#xD;&#xA;&#xD;&#xA;The 'Hollywood sound' is a gestalt, or culmination, of individual parts and pieces fitting together in dynamic and complimentary ways which exude big, bold, and ballsy attitude (when such attitude is called for) - while at the same time having the composure within this gestalt to introduce rich subtleties and tasteful depth of contrast.  What I'm getting at here is that the Hollywood sounds can't be bought outright, yet they ARE something that you are capable of creating yourself - it comes down to having the right source elements to work with, and the experience and wisdom gained over time of how to dramatically piece these puzzle pieces together in ways which effectively work to achieve that Hollywood sound (and do so quickly/efficiently).  It's a slight digression from the topic question, yet I feel it's an important foundation to begin to address your question since the word &quot;Hollywood sound&quot; is being thrown around incorrectly as a noun in my opinion, when **actually** it's more a verb.&#xD;&#xA;&#xD;&#xA;The question you pose then seems to be directly at it's core an ethical issue regarding your tangible source sound elements, or assets.  Source elements can be bought legally from a variety of providers, some which have studio ties - for example, The Hollywood Edge is a distribution division of CSS Studios, which owns Soundelux/Todd-AO, and nearly everything from The Hollywood Edge label is in same way, shape, or form sound source that comes straight from the vaults of Soundelux itself.  These are top, proven-to-work Hollywood sounds  But even so, these sounds aren't &quot;The Hollywood sound&quot; itself in their own right - nice recordings, yes, but it still matters how you piece them together dynamically and dramatically.  Many times this &quot;Hollywood sound&quot; is developed using a composite of bought source material from known libraries, along with custom sound effects recordings of our own.  But who cares what we use as long as we create a believable sound?  In the end, if &quot;it sounds good, is good&quot;.&#xD;&#xA;&#xD;&#xA;To come full-circle to your primary question, my personal thought on the situation you pose is that you are taking the correct ethical approach of choosing to work with material you are allowed to use (or record yourself).  I strongly commend you for that.  But &quot;sound effects source&quot; from copyright FX libraries are perfectly okay too as long as you purchased a license to the library - and trust me, we all use these libraries to pull from, even ones we feel dirty for using sometimes cough cough General 6000 cough cough ;)  &#xD;&#xA;&#xD;&#xA;And even more, please embrace your recording and editorial skills regardless of what anyone else says.  We all have the power and the ability to create the 'Hollywood sound' with our recordings.  Your own effects CAN be as good as the major effects, it is indeed attainable.  The catch is most of these 'Hollywood sound' type effects are layered and processed in such a way that, yes, a raw single-layer recording of a punch may not be encouraging.  But take a meat slap, a bone crunch foley sound, and other such 'foley-able' sounds and edit them together, slam it with a compressor and you can begin to turn these possibly discouraging recordings into a big Hollywood-style punch that is rounded out with a nice thud which hits you in the cheat, an ear-piercing crack, and frieghtening flesh slap.  &#xD;&#xA;&#xD;&#xA;The bigger, primary part of question regarding him/her determining what you use is: **it's not their business to tell you what to do**.  Especially so because it is not paid work.  But even so, it's not their business to tell you what to use, and furthermore, undermine you by saying in effect &quot;your sounds can't meet the cinema standard&quot;.  For example, a client will provide suggestions for what they want their combat aesthetic to sound like (sock punches versus realistic versus cinematic sensational versus hyper-real), but it's not their place to judge what source I'm going to use to develop that sound (and in most cases I know what my go-to's are for each style) - it's not their area of expertise quite frankly to dictate what source I use, and by them approaching me (or you), it's because they value (or should value) the sound judgements you can make about what the right source material is required for developing the aesthetic they want to achieve, in this case, to achieve the &quot;Hollywood sound'.  The journey now is developing your creations to mirror a similar aesthetic with your own signature on it.  You used your own recordings? so what!  If they combine (on their own or in tandem with bough library FX) to achieve the end result of the 'Hollywood' aesthetic, who gives a a damn that it was your won material ;) &#xD;&#xA;&#xD;&#xA;Good luck with 'wrangling' the client on this one!  Sometimes these types of clients can be the trickiest to handle, yet so far it appears that you're doing so with grace and a strong sense of ethical well-being and professional integrity (which is the right road).  Embrace it!  The silver lining in this situation: this gives you a fantastic opportunity to study the 'Hollywood sound' of others and work at achieving the same type of aesthetic from the ground-up the SAME WAY all these big shows' 'Hollywood sound' started from -&gt; the raw source recordings!  The world is your oyster in this situation if you choose to look at it from the angle of &quot;lets create this Hollywood sound he wants to hear&quot;.&#xD;&#xA;&#xD;&#xA;Hopefully that wasn't too long-winded Melissa.  It's such a multi-faceted question!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21402" PostHistoryTypeId="2" PostId="12957" RevisionGUID="90148b43-6815-4732-93b1-8f321195a5be" CreationDate="2012-03-07T09:59:46.100" UserId="863" Text="I was in Shanghai for 5 weeks and I loved the markets over there. Bustling with life, chickens and other animals, people screaming, very fun.&#xD;&#xA;&#xD;&#xA;I will say though be careful out there especially in Beijing. Don't start whipping a recorder out infront of soldiers or police or in any government areas, they don't like that much from foreigners!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21403" PostHistoryTypeId="5" PostId="12947" RevisionGUID="befcbe78-8d99-4a3e-a7d9-d341633ded25" CreationDate="2012-03-07T10:18:41.763" UserId="842" Comment="added 65 characters in body" Text="I never brainstorm at all, at least not in the common definition of the word, and I use new ways of doing things for practically every new project I get.&#xD;&#xA;&#xD;&#xA;However, the way I usually start with a project, providing I haven't had a chance to see enough yet, is to look it through completely several times to get a grasp of it, and then demanding a spotting session with at least me, the composer, and the director. In some cases, also the main producer, but that's a thing between the director and the producer, and nothing that really concerns me.&#xD;&#xA;&#xD;&#xA;I work mostly as a full-on sound designer, and as such I always have my recorder and a selection of mikes with me to record anything I might find. Often, the first thing I might try after the dialogue editing is to see which ones from the latest batch of sounds might be particularly sweet in the project I'm in at the moment. After that the road will fork in a selection of virtually billions of ways, depending on the project and my latest experiences. No matter how I go on, however, I make a first simple editing/design that I enhance as I know how much time I have left.&#xD;&#xA;&#xD;&#xA;For me, style is rarely if ever a conscious choice. Though I do always enter a project with a direction in mind, so far I have always changed that direction many times during the course of the work as I've found new and better ways of doing things. It might sound like I'd lose time from that, but as I always work with my projects very openly and unlocked, on the contrary that actually saves a lot of time I can use to make the project even better!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21404" PostHistoryTypeId="2" PostId="12958" RevisionGUID="410428cd-5cb9-456a-bc41-d0cb05dfe7aa" CreationDate="2012-03-07T10:25:41.827" UserId="238" Text="I went to Beijing in 2009 and found it to be sonically very rich. The first thing that struck me was the number of people - sounds like a cliché but it the population difference between Beijing and the big cities in Europe is quite apparent. This makes recording nature (such as in parks, of which there are many) slightly difficult. On the flip side, markets, subway stations, teahouses, streets etc. make very interesting subjects to record. &#xD;&#xA;&#xD;&#xA;As Edmatthews82 has said, just be aware of recording in certain places. I did all recording with a small handheld. Check [this post][1] for more info. There are many street markets in the daytime and at night which are pretty cool to record. Silk St market is a great place to get cheap counterfit clothes, and offers an interesting soundscape and Donghuamen, a night food market is also well worth a visit. Also, the Hutongs (complex network of small alleys and backstreets) are usually pretty lively and I got some great recordings there. &#xD;&#xA;&#xD;&#xA;In terms of temples and monuments, at the Forbidden City, there are usually some musical performances and a lot of interesting temple sounds (gongs, chanting, traditional instruments). Further towards the outskirts, the Summer Palace is a much bigger, greener space where it's possible to record much calmer ambiances. But there are many smaller temples, such as Prince Gong's palace, where you can often find some interesting (and usually very calm) soundscapes. &#xD;&#xA;&#xD;&#xA;Teahouses are great places to record, as well as to soak up some local atmosphere. Try to find a genuine one though, rather than a tourist-aimed operation. I found the soundscapes of the subway system to be really interesting too. Maybe it's the fact that to me, the language is so different, but the announcements reverberating around the station, along with the hustle and bustle of people made it very rich. &#xD;&#xA;&#xD;&#xA;Lastly, if you have enough time it's well worth making a trip to the Great Wall of China. There are a couple of spots not far from Beijing, but these tend to be very busy. I would recomend taking a trip a bit further out to avoid the masses. I went to Jinshanling (about 2.5 hrs from Beijing) and hiked 12km to Simatai. An awesome experience both sonically and visually. &#xD;&#xA;&#xD;&#xA;I have archived all of my recordings on my [Sound Map][2]. If you're interested to hear what I recorded, just zoom in on Beijing and have a listen. Enjoy your trip, and I'd love to hear what you experienced once you're back!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/12771/permits-to-field-record-in-china-and-hong-kong&#xD;&#xA;  [2]: http://audioloungesound.com/blog/sound-map/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21405" PostHistoryTypeId="5" PostId="12958" RevisionGUID="20b4877d-7b2c-44ff-b171-eeecbcc82d89" CreationDate="2012-03-07T10:48:25.023" UserId="238" Comment="deleted 3 characters in body" Text="I went to Beijing in 2009 and found it to be sonically very rich. The first thing that struck me was the number of people - sounds like a cliché but the population difference between Beijing and the big cities in Europe is quite apparent. This makes recording nature (such as in parks, of which there are many) slightly difficult. On the flip side, markets, subway stations, teahouses, streets etc. make very interesting subjects to record. &#xD;&#xA;&#xD;&#xA;As Edmatthews82 has said, just be aware of recording in certain places. I did all recording with a small handheld. Check [this post][1] for more info. There are many street markets in the daytime and at night which are pretty cool to record. Silk St market is a great place to get cheap counterfit clothes, and offers an interesting soundscape and Donghuamen, a night food market is also well worth a visit. Also, the Hutongs (complex network of small alleys and backstreets) are usually pretty lively and I got some great recordings there. &#xD;&#xA;&#xD;&#xA;In terms of temples and monuments, at the Forbidden City, there are usually some musical performances and a lot of interesting temple sounds (gongs, chanting, traditional instruments). Further towards the outskirts, the Summer Palace is a much bigger, greener space where it's possible to record much calmer ambiances. But there are many smaller temples, such as Prince Gong's palace, where you can often find some interesting (and usually very calm) soundscapes. &#xD;&#xA;&#xD;&#xA;Teahouses are great places to record, as well as to soak up some local atmosphere. Try to find a genuine one though, rather than a tourist-aimed operation. I found the soundscapes of the subway system to be really interesting too. Maybe it's the fact that to me, the language is so different, but the announcements reverberating around the station, along with the hustle and bustle of people made it very rich. &#xD;&#xA;&#xD;&#xA;Lastly, if you have enough time it's well worth making a trip to the Great Wall of China. There are a couple of spots not far from Beijing, but these tend to be very busy. I would recomend taking a trip a bit further out to avoid the masses. I went to Jinshanling (about 2.5 hrs from Beijing) and hiked 12km to Simatai. An awesome experience both sonically and visually. &#xD;&#xA;&#xD;&#xA;I have archived all of my recordings on my [Sound Map][2]. If you're interested to hear what I recorded, just zoom in on Beijing and have a listen. Enjoy your trip, and I'd love to hear what you experienced once you're back!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/12771/permits-to-field-record-in-china-and-hong-kong&#xD;&#xA;  [2]: http://audioloungesound.com/blog/sound-map/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21406" PostHistoryTypeId="2" PostId="12959" RevisionGUID="ea91b093-f0a8-49f4-aabc-dc3c18e3da84" CreationDate="2012-03-07T16:37:23.290" UserId="845" Text="I tent to think more in terms of textures, i.e. soft, hard, rough, smooth, shakey, clear, foggy, gritty, silky.&#xD;&#xA;&#xD;&#xA;Once you know how you want your sounds to move, it's much easier to start putting together a coherent collection of sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="21407" PostHistoryTypeId="2" PostId="12960" RevisionGUID="78f82219-5085-4998-b47d-9180f6f3104b" CreationDate="2012-03-07T16:47:43.993" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;I was wondering if there are any other solutions to checking sync in PT9 than Syncheck3.&#xD;&#xA;It's quite expensive and hope there is another way to do it.&#xD;&#xA;&#xD;&#xA;Arnoud " ContentLicense="CC BY-SA 3.0" />
  <row Id="21408" PostHistoryTypeId="1" PostId="12960" RevisionGUID="78f82219-5085-4998-b47d-9180f6f3104b" CreationDate="2012-03-07T16:47:43.993" UserId="1216" Text="Sync Picture/Sound over HDMI on iMac in Protools: How to check?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21409" PostHistoryTypeId="3" PostId="12960" RevisionGUID="78f82219-5085-4998-b47d-9180f6f3104b" CreationDate="2012-03-07T16:47:43.993" UserId="1216" Text="&lt;sync&gt;&lt;imac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21410" PostHistoryTypeId="2" PostId="12961" RevisionGUID="0863dc44-226d-4511-892b-6bfe440d7758" CreationDate="2012-03-07T17:31:25.963" UserId="253" Text="I do it by eye with a 2 pip. I rationalise this by saying that we are the ones to whom sync matters (as in humans, as opposed to machines), so if a pip looks like it's in sync, then that's good enough.&#xD;&#xA;&#xD;&#xA;One of the problems with this is our brain's tendency to try to sync things up after the fact. I've found that looking away from the screen, so you can only see the 2 (or flash) out of the corner of your eye, helps avoid the psychological issues with perceiving sync.&#xD;&#xA;&#xD;&#xA;I know it's a pretty cheap and dirty solution - but hey, it's worked so far!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21411" PostHistoryTypeId="2" PostId="12962" RevisionGUID="50b514fd-8ac7-449a-bd17-1d87ff93a9b6" CreationDate="2012-03-07T20:18:00.020" UserId="243" Text="Hey there guys! I started my first lecture on processing sound today, we were asked to do some further research. I really want to get a diverse understanding from experienced sonic designers. &#xD;&#xA;&#xD;&#xA;Could someone please explain the concept of overtones in music and harmonic frequencies (from what I imagine these frequencies can be overlapped?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21412" PostHistoryTypeId="1" PostId="12962" RevisionGUID="50b514fd-8ac7-449a-bd17-1d87ff93a9b6" CreationDate="2012-03-07T20:18:00.020" UserId="243" Text="Processing audio " ContentLicense="CC BY-SA 3.0" />
  <row Id="21413" PostHistoryTypeId="3" PostId="12962" RevisionGUID="50b514fd-8ac7-449a-bd17-1d87ff93a9b6" CreationDate="2012-03-07T20:18:00.020" UserId="243" Text="&lt;processing&gt;&lt;frequencies&gt;&lt;music&gt;&lt;research&gt;&lt;question&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21414" PostHistoryTypeId="2" PostId="12963" RevisionGUID="ac0e20f7-537a-433b-9705-585986b3ae5f" CreationDate="2012-03-07T20:34:33.473" UserDisplayName="user49" Text="I was in Beijing for a week or so back in 2000 and the most memorable recordings I got were&#xD;&#xA;&#xD;&#xA;- I went to the Bell Temple/Museum and paid the assistant a small amount to let me record some of the bells&#xD;&#xA;&#xD;&#xA;- stealth recorded in a really big &amp; well know noodle restaurant, where all the waiters shout out the number of people in the next group waiting to be seated....&#xD;&#xA;&#xD;&#xA;- about half hour drive out of Beijing towards Great Wall there is a military base with a shooting range where you can pay to sue whatever weapons you like... i think it was listed in the Lonely Planet Guide&#xD;&#xA;&#xD;&#xA;- recorded a guy using a spinning device/toy in a park that made an amazing sound!!&#xD;&#xA;&#xD;&#xA;Examples of it &amp; other recordings from trip are here:&#xD;&#xA;http://www.musicofsound.co.nz/blog/field-recording-2000&#xD;&#xA;&#xD;&#xA;(the most bizzarre thing I saw was at the Natural Health Museum (or something like that - it was in Lonely Planet guide book) - dissected human cadavers!? it was very strange, straight out of a David Lynch film...)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21415" PostHistoryTypeId="2" PostId="12964" RevisionGUID="f352a05d-7d5a-464a-80ed-3bd619a215b0" CreationDate="2012-03-07T20:38:13.407" UserDisplayName="user49" Text="Find someone local with a Sync Checker &amp; pay them to check it for you:&#xD;&#xA;&#xD;&#xA;http://www.pharoahaudio.com/syncheckproducthomepage.html&#xD;&#xA;&#xD;&#xA;It is a device with a microphone and light sensor built in, so it 'hears' the 2pop and 'sees' the flash frame - when you play a QT it can verify sync within 1/100th of a frame!&#xD;&#xA;&#xD;&#xA;More info and results from some of their tests with ProTools configs here:&#xD;&#xA;&#xD;&#xA;http://www.pharoahaudio.com/ptvideosyncstudy.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/calibration-2-sync&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21416" PostHistoryTypeId="2" PostId="12965" RevisionGUID="0d61fef9-d5c0-4964-9336-c504189d4647" CreationDate="2012-03-07T20:56:47.470" UserId="3433" Text="I'm new to video post production, so I may not do it the best way.  I use Reaper as a DAW and it likes DV so I export a low rez version out of Vegas.  I've tried mixing audio in Vegas and I don't like it as much as Reaper.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="21417" PostHistoryTypeId="2" PostId="12966" RevisionGUID="cbc070ef-0b64-4e43-9112-7fb1eb579c3c" CreationDate="2012-03-07T20:57:50.143" UserId="3334" Text="How about running the show in protools with an empty track, grab a fader and record automation .  That'll give you a nice linear graph that's easily manipulatable.  Then if you want take a screen shot(s) toss into another program like excel and make notes in the columns nearby the points you want to highlight.  Or just drop markers with notes and output those markers to excel (via [edimarker][1])&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundsinsync.com/products/edimarker" ContentLicense="CC BY-SA 3.0" />
  <row Id="21418" PostHistoryTypeId="2" PostId="12967" RevisionGUID="12fbc16b-b231-4f43-8ebd-3bc589a8d524" CreationDate="2012-03-07T22:43:13.367" UserDisplayName="user49" Text="We often get 1080p QTs but until I upgrade to a faster Mac for my HD2 rig I down rez to 720p and use the PhotoJPG codec.... I use the free app StreamClip to convert as does a good job and has a batch list so can set all the seperate QTs for the reels of a film going....&#xD;&#xA;&#xD;&#xA;get StreamClip for free here:&#xD;&#xA;http://www.squared5.com/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(most important: never use h264 to work to!)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21419" PostHistoryTypeId="2" PostId="12968" RevisionGUID="74291b4f-7b63-4e28-9caa-93c62e445b11" CreationDate="2012-03-07T23:27:19.737" UserId="37" Text="Open in QT Sync, burn in timecode, export to Photo JPEG Quicktime. &#xD;&#xA;&#xD;&#xA;Firewire people may want to use DV. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21420" PostHistoryTypeId="2" PostId="12969" RevisionGUID="8900bfb4-bc31-4df7-b09c-fa6978a8ddcb" CreationDate="2012-03-08T01:37:57.167" UserId="3545" Text="Hi,&#xD;&#xA;&#xD;&#xA;Try this footsteps [patch][1]. I'm currently working on a footsteps library for Kontakt, EXS24 and Structure.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.signo-sfx-instruments.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="21421" PostHistoryTypeId="2" PostId="12970" RevisionGUID="97f864f4-ff06-4deb-a8ff-a3cc5b4a185f" CreationDate="2012-03-08T02:31:11.147" UserId="1303" Text="I've been getting some great suggestions through email correspondence but I wanted to put this question out to ya'll.&#xD;&#xA;&#xD;&#xA;You have $4000 and you want to buy a M-S stereo microphone setup(zeppelin and furry included) What would you get?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21422" PostHistoryTypeId="1" PostId="12970" RevisionGUID="97f864f4-ff06-4deb-a8ff-a3cc5b4a185f" CreationDate="2012-03-08T02:31:11.147" UserId="1303" Text="My first MS stereo setup." ContentLicense="CC BY-SA 3.0" />
  <row Id="21423" PostHistoryTypeId="3" PostId="12970" RevisionGUID="97f864f4-ff06-4deb-a8ff-a3cc5b4a185f" CreationDate="2012-03-08T02:31:11.147" UserId="1303" Text="&lt;microphone&gt;&lt;field-recording&gt;&lt;ms&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21424" PostHistoryTypeId="2" PostId="12971" RevisionGUID="42e24d70-9c84-4012-8a04-ba7b48c59204" CreationDate="2012-03-08T02:45:12.797" UserId="29" Text=" - Sennheiser MKH 40&#xD;&#xA; - Sennheiser MKH 30&#xD;&#xA; - Rycote suspension w/ pistol grip&#xD;&#xA; - Rycote Stereo Windshield size AE&#xD;&#xA; - Rycote Stereo Windjammer Rycote&#xD;&#xA; - Stereo Connbox Rycote MS stereo mic clips &#xD;&#xA; - Boom pole of your choice&#xD;&#xA;&#xD;&#xA;The only alternative I'd consider is a Schoeps MS rig, but $4k will barely cover the capsules and power supplies. But equally sweet, for different reasons. If a recorder needs to be factored in, hmm, it gets more challenging, and you start looking at single MS integrated mics..." ContentLicense="CC BY-SA 3.0" />
  <row Id="21425" PostHistoryTypeId="2" PostId="12972" RevisionGUID="dd617b9b-fb34-426d-ae42-91defebc9eac" CreationDate="2012-03-08T02:56:27.973" UserId="234" Text="After running some tests on my system with various codecs, I've come down to DV for SD material (I still use the ol' Canopus on my home rig) and DVProHD for HD material at 720P... PhotoJPEG and ProRes came in a very close second in my CPU tests. I have FCP on my systems so I usually use Compressor to Convert." ContentLicense="CC BY-SA 3.0" />
  <row Id="21426" PostHistoryTypeId="2" PostId="12973" RevisionGUID="065a294b-eb6e-4fd6-adac-620b38fac57e" CreationDate="2012-03-08T03:57:51.020" UserId="3525" Text="Hey everyone! Recently I was on a shoot with two lavs and one shotgun. The shotgun mic was plugged straight into the camera that we had on set and the lav receivers were plugged into mic inputs 1 and 2. Now here's where my question come's in. One lady was yelling and the other wasn't but I could only set the mic level for both inputs. Does anyone know how to manually adjust the mic level on each input?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21427" PostHistoryTypeId="1" PostId="12973" RevisionGUID="065a294b-eb6e-4fd6-adac-620b38fac57e" CreationDate="2012-03-08T03:57:51.020" UserId="3525" Text="How do you separate inputs on the zoom H4n so you can adjust each mic level " ContentLicense="CC BY-SA 3.0" />
  <row Id="21428" PostHistoryTypeId="3" PostId="12973" RevisionGUID="065a294b-eb6e-4fd6-adac-620b38fac57e" CreationDate="2012-03-08T03:57:51.020" UserId="3525" Text="&lt;zoom&gt;&lt;zoom-h4n&gt;&lt;lavalier&gt;&lt;production-audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21429" PostHistoryTypeId="2" PostId="12974" RevisionGUID="384783a2-caa6-4792-8481-4ae93383ea6b" CreationDate="2012-03-08T04:42:28.417" UserId="1027" Text="You have to update your firmware first, if you haven't already done so:&#xD;&#xA;http://www.zoom.co.jp/downloads/h4n/software/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Then you just go to: Menu / Input / Turn OFF 1/2 Link ([http://www.hv20.com/showthread.php?43895-Zoom-h4n][1])&#xD;&#xA;&#xD;&#xA;Once linking is turned off, all you need to do is to click on the buttons (1) or (2) under the MIC-button, and just adjust the volume.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hv20.com/showthread.php?43895-Zoom-h4n" ContentLicense="CC BY-SA 3.0" />
  <row Id="21430" PostHistoryTypeId="2" PostId="12975" RevisionGUID="307dd26e-9852-4719-a074-a166cec1b1d1" CreationDate="2012-03-08T05:25:03.887" UserId="1129" Text="Strictly defined, overtones are frequencies higher than the fundamental in a musical note, while harmonics are frequencies that are mathematical multiples of the fundamental.  For example, 400Hz has harmonics at 800, 1.2KHz, 1.6KHz, 2KHz, etc.&#xD;&#xA;&#xD;&#xA;More colloquially, both &quot;harmonic&quot; and &quot;overtone&quot; are often used interchangeably to refer to frequencies beyond the fundamental in a musical note.&#xD;&#xA;&#xD;&#xA;As you probably know, very few sounds in nature are composed of one single frequency.  When you play a musical instrument, it vibrates the air at a specific frequency.  That frequency is called the FUNDAMENTAL frequency, and comprises the PITCH of the musical note.  For example, a fundamental A is defined at 440Hz. &#xD;&#xA;&#xD;&#xA;However, most musical instruments don't just vibrate the air at one frequency.  It vibrates the air at HARMONICS of that frequency as well (440, 880, 1320, etc).  The combination of the fundamental and its harmonics makes up the character of the sound, or its TIMBRE.  It's the timbre of the musical note that allows you to distinguish between a trumpet's A, and a violin's A, even though they both have fundamentals at 440Hz.  Instruments differ in the relative strength of the various harmonics in a musical note.  For example, one instrument may have a strong second order harmonic (880Hz, from an A,) while another instrument might not have as strong a second, but a stronger third (1320), etc. &#xD;&#xA;&#xD;&#xA;Some instruments (like cymbals, and plucked string instruments like the piano), produce frequencies that are not mathematically pure harmonics.  Strictly, they would be said to have overtones, but not harmonics.  However, as I said before, colloquially &quot;harmonic&quot; is often used to refer to both pure harmonics, and enharmonic overtones.&#xD;&#xA;&#xD;&#xA;Is that sort of what you were looking for?&#xD;&#xA;Let me know if you want some more detail, or if you want to go into combining overtones in the air to make new fundamentals, and other more esoteric stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="21431" PostHistoryTypeId="2" PostId="12976" RevisionGUID="971c3a16-89a6-4224-97bc-e068752967b4" CreationDate="2012-03-08T08:08:12.010" UserId="3182" Text="Hey all! I have been working with a theater here in Arizona, I started there as an intern for credit, and now that my hours are done, I think its time to start charging them for the time I work for them. I'm not sure how to bring it up with the owners and how to start asking for money. It costs me a lot to get there, its about an hour drive to get there for the shows and rehearsals. So for 1 full week, and 2 to 3 weekends I am spending everyday 2 hours driving, plus about 4 to 6 hours there for only about 30 min of work, since I am only doing the board op while there. I do all the sound designing for the shows at home, and work about 40 hours total the month before designing the show sound effects, scene change riffs, and also doing the preshow announcement recording and editing. I think I rambled about this, but I hope I got all the info needed for some help. If not I can edit or add in, thanks all!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21432" PostHistoryTypeId="1" PostId="12976" RevisionGUID="971c3a16-89a6-4224-97bc-e068752967b4" CreationDate="2012-03-08T08:08:12.010" UserId="3182" Text="Start Charging clients?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21433" PostHistoryTypeId="3" PostId="12976" RevisionGUID="971c3a16-89a6-4224-97bc-e068752967b4" CreationDate="2012-03-08T08:08:12.010" UserId="3182" Text="&lt;theater&gt;&lt;sound-effects&gt;&lt;sound-design&gt;&lt;theatre-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21434" PostHistoryTypeId="2" PostId="12977" RevisionGUID="303cf0f5-d679-4336-a900-3d29d12ba302" CreationDate="2012-03-08T08:52:13.497" UserId="3182" Text="Thanks for this, very informative and helpful!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21435" PostHistoryTypeId="2" PostId="12978" RevisionGUID="3abf3eeb-eb52-42ef-a249-19c0005562da" CreationDate="2012-03-08T10:18:38.860" UserId="6407" Text="Hey there, by the sounds of it you should be getting a full wage! I think you should definitely mention how much you're working and how much you're driving to your employer and ask for a wage. &#xD;&#xA;&#xD;&#xA;Only thing is, for some unknown reason, people can be funny around money (especially when it's for sound!). So you'll have to think of a tactful way to approach it. But for the amount of work you're doing, continually, you definitely deserve to be paid. Or I imagine you won't be able to keep it up for them. &#xD;&#xA;&#xD;&#xA;Best of luck with it,&#xD;&#xA;Nicol" ContentLicense="CC BY-SA 3.0" />
  <row Id="21436" PostHistoryTypeId="5" PostId="12956" RevisionGUID="aee4cb7d-c877-4dca-8837-f28e7776c8ab" CreationDate="2012-03-08T11:02:20.503" UserId="1228" Comment="edited body; deleted 2 characters in body" Text="This immediately reminded me, first off, of an excerpt for Dave Yewdall's book about the &quot;Big Sound&quot; (or Hollywood Sound):&#xD;&#xA;&#xD;&#xA;[The &quot;Big Sound&quot;][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://books.google.com/books?id=3O0HmpNHitkC&amp;lpg=PA265&amp;ots=-ncbJLHDxS&amp;dq=david%20yewdall%20the%20big%20sound&amp;pg=PA265#v=onepage&amp;q&amp;f=false&#xD;&#xA;&#xD;&#xA;The key phrase being *&quot;It's a philosophy, an art - an understanding of what sounds good together to make a bigger sound.&quot;*&#xD;&#xA;&#xD;&#xA;The 'Hollywood sound' is a gestalt, or culmination, of individual parts and pieces fitting together in dynamic and complimentary ways which exude big, bold, and ballsy attitude (when such attitude is called for) - while at the same time having the composure within this gestalt to introduce rich subtleties and tasteful depth of contrast.  What I'm getting at here is that the Hollywood sounds can't be bought outright, yet they ARE something that you are capable of creating yourself - it comes down to having the right source elements to work with, and the experience and wisdom gained over time of how to dramatically piece these puzzle pieces together in ways which effectively work to achieve that Hollywood sound (and do so quickly/efficiently).  It's a slight digression from the topic question, yet I feel it's an important foundation to begin to address your question since the word &quot;Hollywood sound&quot; is being thrown around incorrectly as a noun in my opinion, when **actually** it's more a verb.&#xD;&#xA;&#xD;&#xA;The question you pose then seems to be directly at it's core an ethical issue regarding your tangible source sound elements, or assets.  Source elements can be bought legally from a variety of providers, some which have studio ties - for example, The Hollywood Edge is a distribution division of CSS Studios, which owns Soundelux/Todd-AO, and nearly everything from The Hollywood Edge label is in same way, shape, or form sound source that comes straight from the vaults of Soundelux itself.  These are top, proven-to-work Hollywood sounds  But even so, these sounds aren't &quot;The Hollywood sound&quot; itself in their own right - nice recordings, yes, but it still matters how you piece them together dynamically and dramatically.  Many times this &quot;Hollywood sound&quot; is developed using a composite of bought source material from known libraries, along with custom sound effects recordings of our own.  But who cares what we use as long as we create a believable sound?  In the end, if &quot;it sounds good, is good&quot;.&#xD;&#xA;&#xD;&#xA;To come full-circle to your primary question, my personal thought on the situation you pose is that you are taking the correct ethical approach of choosing to work with material you are allowed to use (or record yourself).  I strongly commend you for that.  But &quot;sound effects source&quot; from copyright FX libraries are perfectly okay too as long as you purchased a license to the library - and trust me, we all use these libraries to pull from, even ones we feel dirty for using sometimes cough cough General 6000 cough cough ;)  &#xD;&#xA;&#xD;&#xA;And even more, please embrace your recording and editorial skills regardless of what anyone else says.  We all have the power and the ability to create the 'Hollywood sound' with our recordings.  Your own effects CAN be as good as the major effects, it is indeed attainable.  The catch is most of these 'Hollywood sound' type effects are layered and processed in such a way that, yes, a raw single-layer recording of a punch may not be encouraging.  But take a meat slap, a bone crunch foley sound, and other such 'foley-able' sounds and edit them together, slam it with a compressor and you can begin to turn these possibly discouraging recordings into a big Hollywood-style punch that is rounded out with a nice thud which hits you in the chest, an ear-piercing crack, and frieghtening flesh slap.  &#xD;&#xA;&#xD;&#xA;The bigger, primary part of question regarding him/her determining what you use is: **it's not their business to tell you what to do**.  Especially so because it is not paid work.  But even so, it's not their business to tell you what to use, and furthermore, undermine you by saying in effect &quot;your sounds can't meet the cinema standard&quot;.  For example, a client will provide suggestions for what they want their combat aesthetic to sound like (sock punches versus realistic versus cinematic sensational versus hyper-real), but it's not their place to judge what source I'm going to use to develop that sound (and in most cases I know what my go-to's are for each style) - it's not their area of expertise quite frankly to dictate what source I use, and by them approaching me (or you), it's because they value (or should value) the sound judgements you can make about what the right source material is required for developing the aesthetic they want to achieve, in this case, to achieve the &quot;Hollywood sound'.  The journey now is developing your creations to mirror a similar aesthetic with your own signature on it.  You used your own recordings? so what!  If they combine (on their own or in tandem with bough library FX) to achieve the end result of the 'Hollywood' aesthetic, who gives a damn that it was your own material ;) &#xD;&#xA;&#xD;&#xA;Good luck with 'wrangling' the client on this one!  Sometimes these types of clients can be the trickiest to handle, yet so far it appears that you're doing so with grace and a strong sense of ethical well-being and professional integrity (which is the right road).  Embrace it!  The silver lining in this situation: this gives you a fantastic opportunity to study the 'Hollywood sound' of others and work at achieving the same type of aesthetic from the ground-up the SAME WAY all these big shows' 'Hollywood sound' started from -&gt; the raw source recordings!  The world is your oyster in this situation if you choose to look at it from the angle of &quot;lets create this Hollywood sound he wants to hear&quot;.&#xD;&#xA;&#xD;&#xA;Hopefully that wasn't too long-winded Melissa.  It's such a multi-faceted question!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21437" PostHistoryTypeId="2" PostId="12979" RevisionGUID="44c1940b-74b9-40e4-989f-fa5ee4c21272" CreationDate="2012-03-08T17:00:47.880" UserId="3525" Text="Hey guys I'd like to hear from everyone which of their sounds they ever recorded was their most unique? I'm asking specifically for sounds that have no processing or editing done to them so anything straight from the field. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21438" PostHistoryTypeId="1" PostId="12979" RevisionGUID="44c1940b-74b9-40e4-989f-fa5ee4c21272" CreationDate="2012-03-08T17:00:47.880" UserId="3525" Text="What's the most unique sound you ever captured, before  processing or editing etc?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21439" PostHistoryTypeId="3" PostId="12979" RevisionGUID="44c1940b-74b9-40e4-989f-fa5ee4c21272" CreationDate="2012-03-08T17:00:47.880" UserId="3525" Text="&lt;sound-effects&gt;&lt;sound-design&gt;&lt;field-recording&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21440" PostHistoryTypeId="2" PostId="12980" RevisionGUID="3a4075b2-a33a-45f9-b70c-73f8c9dd2eb1" CreationDate="2012-03-08T17:40:08.093" UserId="3444" Text="Was recording stuff in a narrow 12 story stairwell. Whenever I needed to adjust levels etc I would run up or down to where my gear was (5, 6, 7, 8 stories away). The reverb would swell as I would run towards it, going from wet to progressively dry. At the time I thought nothing of it, it wasn't even the sound I set out to record. But when I played back it was magic! I reprocess those samples regularly and has been used for so much material. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21441" PostHistoryTypeId="2" PostId="12981" RevisionGUID="aa09dced-0703-41fb-a96f-0b531da58569" CreationDate="2012-03-08T21:47:36.610" UserId="711" Text="1.how long have you been in the video games industry and how did you get started?&#xD;&#xA;&#xD;&#xA;I started hobbying on games in 2009. I am currently finishing a Masters degree in Sound Design for interactive media, started in 2010. I'm in second year but have been employed in a company called Game Audio Factory, specialized in ... Game Audio :) For almost a year now. I currently work and study at the same time !&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;2.what equipment do you use in the studio and for foley recordings? and what computer programmes and Middlware used?&#xD;&#xA;&#xD;&#xA;For voices, we have the classic Neumann U87 + Avalon 737 combo routed to a 192 I/0 with PT9HD. We have also Sennheiser/Rode/lavalier mics for various other type of recordings&#xD;&#xA;For Foley, artists bring their own mic which are DPA or Schoeps (most of the time) coupled with a focusrite ISA.&#xD;&#xA;&#xD;&#xA;We use various softwares but mostly Adobe Audition, Soundforge and Vegas. A lot of Excel as well :)&#xD;&#xA;Middleware depends on the project. I have used wwise and fmod so far, and a bit of UDK's kismet as well.&#xD;&#xA;&#xD;&#xA;3.what is involved with your job role, and how does this differ between companies you have worked for?&#xD;&#xA;&#xD;&#xA;We are mainly working for companies who seeks to outsource their audio (RedSonic01 you can get in touch if interested ^^) so my tasks are various and covers the whole Video Game Audio pipeline: sound design, integration, Audio QA, localisation ... We are also proposing in-house services. I'm a bit like a freelancer but with a company structure and a professional studio equipment. The other difference with the &quot;regular&quot; sound designer job is that I have to spend time skyping/calling/emailing instead of seeing people around a table :)&#xD;&#xA;&#xD;&#xA;4.specifically how much computer programming is involved in your job, and how does this differ between companies you have worked for? and what is expected of you in terms of this?&#xD;&#xA;&#xD;&#xA;I don't do programming but some of my team mates have this ability. I mostly do scripting XML/java/flash, depends on the project.&#xD;&#xA;&#xD;&#xA;5.What is your favourite aspect as being a sound designer? and what is the hardest part of the role?&#xD;&#xA;&#xD;&#xA;The hardest parts are definetly the tight deadlines and the pressure of delivering on time, especially when some people don't learn from their past mistakes ^^ &#xD;&#xA;&#xD;&#xA;Working as part of multidisciplinary team and interact with graphic designers, programmers &amp; game designers is what makes game audio a fascinating job. I also quite enjoy the necessity of being jack of all trades. The job shapes your ability to adapt and that's what I find interesting.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21442" PostHistoryTypeId="12" PostId="12981" RevisionGUID="fcebaf4d-2618-43b2-b017-f0b43d783f90" CreationDate="2012-03-08T21:47:55.627" UserId="711" Text="[{&quot;Id&quot;:711,&quot;DisplayName&quot;:&quot;doc&quot;}]" />
  <row Id="21443" PostHistoryTypeId="13" PostId="12981" RevisionGUID="87d3faea-89b4-4421-aafe-5842f6f6e327" CreationDate="2012-03-08T21:48:22.630" UserId="711" Text="[{&quot;Id&quot;:711,&quot;DisplayName&quot;:&quot;doc&quot;}]" />
  <row Id="21444" PostHistoryTypeId="2" PostId="12982" RevisionGUID="31d6845b-f7aa-4c59-a7aa-8f49f6b127cf" CreationDate="2012-03-08T22:53:09.663" UserId="842" Text="Though not my absolutely best nor even most useful sound...frankly, not even close...but by all means my most unusual and funny sound, was something I recorded while being a music producer/sound engineer apprentice! The studio lies at a former school with marble absolutely everywhere in the stairways, so I filled one of the stairs with AKG CK1's, about four of them I think, recorded on a DAT, and emptied an entire humongous garbage-sack stuffed to the brim with aluminum cans once containing soda, beer and flavored water right down the stairs! Haha, it was one of the funniest sessions I've ever done! :-D" ContentLicense="CC BY-SA 3.0" />
  <row Id="21445" PostHistoryTypeId="2" PostId="12983" RevisionGUID="c5a48348-4583-44ec-8c83-82230609a5b2" CreationDate="2012-03-09T02:06:08.410" UserId="1138" Text="What do you think is better for shooting in 23,976 fps?&#xD;&#xA;The recorder is a SD 788T if you wanna know&#xD;&#xA;&#xD;&#xA;Thanks " ContentLicense="CC BY-SA 3.0" />
  <row Id="21446" PostHistoryTypeId="1" PostId="12983" RevisionGUID="c5a48348-4583-44ec-8c83-82230609a5b2" CreationDate="2012-03-09T02:06:08.410" UserId="1138" Text="48 or 48,048 KHz?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21447" PostHistoryTypeId="3" PostId="12983" RevisionGUID="c5a48348-4583-44ec-8c83-82230609a5b2" CreationDate="2012-03-09T02:06:08.410" UserId="1138" Text="&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21448" PostHistoryTypeId="2" PostId="12984" RevisionGUID="0413f3b1-00a3-472d-b381-83911bd46dbf" CreationDate="2012-03-09T02:56:33.643" UserId="432" Text="A better question might be, &quot;What is the final delivery format?&quot; There are a number of workflows where it's more efficient to record at 24/48 and an audio framerate of 29.92/25 fps if the final delivery is either of those formats respectively?&#xD;&#xA;&#xD;&#xA;I'd suggest talking with whoever is going to be editing to work out what's the most efficient for post-production." ContentLicense="CC BY-SA 3.0" />
  <row Id="21449" PostHistoryTypeId="5" PostId="12984" RevisionGUID="fd197344-43dc-4b6f-8aa8-02ede40da3cc" CreationDate="2012-03-09T03:05:43.140" UserId="432" Comment="added 246 characters in body" Text="A better question might be, &quot;What is the final delivery format?&quot; There are a number of workflows where it's more efficient to record at 24/48 and an audio framerate of 29.92/25 fps if the final delivery is either of those formats respectively?&#xD;&#xA;&#xD;&#xA;I'd suggest talking with whoever is going to be editing to work out what's the most efficient for post-production.&#xD;&#xA;&#xD;&#xA;**Edit:**&#xD;&#xA;&#xD;&#xA;Should have mentioned that you only want to use 48.048 if you're shooting in true 24 going to 29.97 in post. [Check out this article for a full explanation][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.trewaudio.com/audioflow/2007/03/19/48048-khz/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21450" PostHistoryTypeId="5" PostId="12984" RevisionGUID="8b7c8506-2633-4e6a-a7ff-cf4ad965dd1f" CreationDate="2012-03-09T03:14:44.103" UserId="432" Comment="added 7 characters in body" Text="A better question might be, &quot;What is the final delivery format?&quot; There are a number of workflows where it's more efficient to record at standard 48k and an audio framerate of 29.97/25 fps if the final delivery is either of those formats respectively.&#xD;&#xA;&#xD;&#xA;I'd suggest talking with whoever is going to be editing to work out what's the most efficient for post-production.&#xD;&#xA;&#xD;&#xA;**Edit:**&#xD;&#xA;&#xD;&#xA;Should have mentioned that you only want to use 48.048 if you're shooting in true 24 going to 29.97 in post. [Check out this article for a full explanation][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.trewaudio.com/audioflow/2007/03/19/48048-khz/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21451" PostHistoryTypeId="2" PostId="12985" RevisionGUID="570548da-e661-4df7-b5be-3317b682aed9" CreationDate="2012-03-09T05:09:32.600" UserId="6524" Text="This isn't very unique (well as fart I guess it is cause I've never heard one like this) but it's one of the first things I recorded with my NTG-2 not intentionally, my brother just got near the mic while it was recording, but I really like this recording for some reason.&#xD;&#xA;&#xD;&#xA;[soundcloud]stephensaldanha/weird-high-pitch-fart[/soundcloud]&#xD;&#xA;&#xD;&#xA;Here's something fun, I challenged Nick Maxwell to design something with it and this is what he made:&#xD;&#xA;&#xD;&#xA;[soundcloud]nickmaxwell/swirling-death-vortex[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="21452" PostHistoryTypeId="2" PostId="12986" RevisionGUID="b1668e65-e798-4241-9abf-f985d98d2b2e" CreationDate="2012-03-09T08:38:25.233" UserId="61" Text="I posted this on another SSD thread before but it's worth repeating -&#xD;&#xA;&#xD;&#xA;Dual-hydrophone recording of a sunken wooden box filled with 30 live Maine lobsters crawling all over each other. &#xD;&#xA;&#xD;&#xA;Take your worst insect-invasion nightmare and amplify it by 1000! " ContentLicense="CC BY-SA 3.0" />
  <row Id="21453" PostHistoryTypeId="2" PostId="12987" RevisionGUID="f6ca65cb-5b5d-4b13-95aa-6a1a38eed36c" CreationDate="2012-03-09T10:18:51.457" UserId="6432" Text="Perhaps this recording from inside a london post box. Lots of natural resonance.&#xD;&#xA;&#xD;&#xA;[soundcloud]mark-durham/london-from-inside-a-post-box[/soundcloud]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21454" PostHistoryTypeId="2" PostId="12988" RevisionGUID="89df4afe-a46a-4d2a-bd36-06985e5ac469" CreationDate="2012-03-09T13:34:30.167" UserId="6420" Text="I'll all for putting mics where they shouldnt normally go! (erm..up to a point of course! lol)&#xD;&#xA;&#xD;&#xA;I've put my handheld recorder into places like fridges and oven's before (VERY low heat!) and got some interesting sounds of their inner workings ;)&#xD;&#xA;&#xD;&#xA;Oven&#xD;&#xA;&lt;object height=&quot;145&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Fplaylists%2F1656594&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;145&quot; src=&quot;https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Fplaylists%2F1656594&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/andrewjohnlewis/sets/oven&quot;&gt;Oven&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/andrewjohnlewis&quot;&gt;AndrewJohnLewis&lt;/a&gt;&lt;/span&gt; &#xD;&#xA;&#xD;&#xA;Fridge in here..&#xD;&#xA;&lt;object height=&quot;360&quot; width=&quot;100%&quot;&gt; &lt;param name=&quot;movie&quot; value=&quot;https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Fplaylists%2F1619760&quot;&gt;&lt;/param&gt; &lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt; &lt;embed allowscriptaccess=&quot;always&quot; height=&quot;360&quot; src=&quot;https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Fplaylists%2F1619760&quot; type=&quot;application/x-shockwave-flash&quot; width=&quot;100%&quot;&gt;&lt;/embed&gt; &lt;/object&gt;  &lt;span&gt;&lt;a href=&quot;http://soundcloud.com/andrewjohnlewis/sets/random-ambience-recordings&quot;&gt;Random Ambience Recordings&lt;/a&gt; by &lt;a href=&quot;http://soundcloud.com/andrewjohnlewis&quot;&gt;AndrewJohnLewis&lt;/a&gt;&lt;/span&gt; " ContentLicense="CC BY-SA 3.0" />
  <row Id="21455" PostHistoryTypeId="2" PostId="12989" RevisionGUID="a27f6670-3a2d-4a19-8e0d-5c32e5f54e67" CreationDate="2012-03-09T17:44:50.820" UserId="3444" Text="1. Exclusively games... about five years. It started with a hacked internship ;)&#xD;&#xA;&#xD;&#xA;2. Use Cubase for all my sequencing, fmod for implementation and for foley I do anything necessary to get a good sound, meaning it's not always recorded in the studio. Always carry a portable recorder on my waist.&#xD;&#xA;&#xD;&#xA;3. Responsible for anything related to audio. If something breaks I need to address it, if I add a new feature I need to test it.&#xD;&#xA;&#xD;&#xA;4. I don't write code from scratch, but we do have access to the back-end of tools that let me change and add parameters, thus not relying on a programmer every time something is required. So a base in programming allows me to do this comfortably.&#xD;&#xA;&#xD;&#xA;5. Seeing the game grow from prototype to final product. The lack of communication between departments is sometimes frustrating, but is also rewarding when done right." ContentLicense="CC BY-SA 3.0" />
  <row Id="21456" PostHistoryTypeId="2" PostId="12990" RevisionGUID="b794baf2-145d-491f-aa92-6e474c71c61a" CreationDate="2012-03-09T18:03:14.010" UserId="6432" Text="When I was a student I read an article which was really inspiring at the time. It described the creative process of a sound designer process at the beginning of a project - using his hands to manipulate tape over the playheads as a way of generating unique source material. Then at the end of the project he'd burn everything. As I was reading lots back then I forgot where to find it, but recently explained the article to a friend who knew exactly where it was. The article was from Soundscape: the school of sound lectures, and it was an interview with Walter Murch talking about Frank Warner. You can read it [here][1], it's at the bottom of page 101-102.&#xD;&#xA;&#xD;&#xA;Does anyone still use tape in this way, or have any other interesting uses for it? I've been thinking about buying a second hand revox or similar, but am not sure which to get.. any thoughts on this? &#xD;&#xA;&#xD;&#xA;I still try to have a stage at the beginning of each new project of just gathering material without putting anything on the timeline, but my whole process is very computer based. I mean I spend time recording or sourcing sounds from libraries and then manipulate then with a computer. What I'm really after are other options for physical control of sound, particularly any that don't involve a screen, and feel more responsive/involving than controlling stuff with midi. &#xD;&#xA;&#xD;&#xA;Any thoughts welcomed.&#xD;&#xA;&#xD;&#xA;  [1]: http://books.google.co.uk/books?id=80FiGA7oBe4C&amp;pg=PA111&amp;lpg=PA111&amp;dq=scholar+soundscape+sound+lectures&amp;source=bl&amp;ots=fEGZO2H-n5&amp;sig=thQgrkTTZ7uKu4CvmQ9jEUaJHV8&amp;hl=en&amp;sa=X&amp;ei=0zdaT86sOunE0QXpzt3kDQ&amp;ved=0CCgQ6AEwAQ#v=onepage&amp;q&amp;f=false" ContentLicense="CC BY-SA 3.0" />
  <row Id="21457" PostHistoryTypeId="1" PostId="12990" RevisionGUID="b794baf2-145d-491f-aa92-6e474c71c61a" CreationDate="2012-03-09T18:03:14.010" UserId="6432" Text="Tape, Murch, Warner, controllers and turning the computer off. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21458" PostHistoryTypeId="3" PostId="12990" RevisionGUID="b794baf2-145d-491f-aa92-6e474c71c61a" CreationDate="2012-03-09T18:03:14.010" UserId="6432" Text="&lt;murch&gt;&lt;tape&gt;&lt;manipulation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21462" PostHistoryTypeId="2" PostId="12992" RevisionGUID="247885be-b65a-462e-ac4a-d69599e748d0" CreationDate="2012-03-09T21:05:33.480" UserDisplayName="user49" Text="&quot;The C. Link protocol links carries the following data:&#xD;&#xA;• word clock &#xD;&#xA;• time code information (744T, 702T only) &#xD;&#xA;• RS-232 machine transport data&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Its probably wordclock that you'd want to be most careful with...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;from Sound Devices website:&#xD;&#xA;http://www.sounddevices.com/notes/recorders/linking-recorders/&#xD;&#xA;&#xD;&#xA;Although the RS-232 standard allows for cable lengths of up to 50 feet, the recommended maximum length of C.Link cable between any given pair of 7-series recorders is 4 feet. Longer cables lengths introduce the risk of the slave unit losing word clock synchronization with the master unit.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21463" PostHistoryTypeId="2" PostId="12993" RevisionGUID="daee9d6e-66cc-4764-ae77-3df88228f636" CreationDate="2012-03-09T23:37:27.557" UserId="3179" Text="1.how long have you been in the video games industry and how did you get started?&#xD;&#xA;&#xD;&#xA;I haven't really started yet.&#xD;&#xA;&#xD;&#xA;2.what equipment do you use in the studio and for foley recordings? and what computer programmes and Middlware used?&#xD;&#xA;&#xD;&#xA;Everything that gets the job in hand done. I've picked as my own favorites: Cubase 5, Reaper, Reason, Pure Data, numerous software synthesizers, all commercial middleware packages (because it depends on what the project uses). An audio interface to get sound in and out of the computer, a field recorder to record outside and mics for different uses.&#xD;&#xA;&#xD;&#xA;3.what is involved with your job role, and how does this differ between companies you have worked for?&#xD;&#xA;&#xD;&#xA;I'm a student and my work currently involves mostly just school projects.&#xD;&#xA;&#xD;&#xA;4.specifically how much computer programming is involved in your job, and how does this differ between companies you have worked for? and what is expected of you in terms of this?&#xD;&#xA;&#xD;&#xA;As a part of my growing interest to audio in interactive media, I'm taking up programming on the side, because it's what drives the medium. I don't feel sound is able to work efficiently in the medium without having at least vague understanding of how sound is driven programmatically and being able to discuss about it with a programmer in a programmer way, if you're not programming yourself.&#xD;&#xA;&#xD;&#xA;5.What is your favourite aspect as being a sound designer? and what is the hardest part of the role?&#xD;&#xA;&#xD;&#xA;I do it just because it fills my life and for the love that I have for the sound medium. The hardest part is using the medium to say what you want to say and convey, because it's not often trivial, even less when it comes to interactive and non-linear media." ContentLicense="CC BY-SA 3.0" />
  <row Id="21464" PostHistoryTypeId="5" PostId="12993" RevisionGUID="7828e98d-b76d-4b26-bf4b-c52a02f7c381" CreationDate="2012-03-09T23:43:33.433" UserId="3179" Comment="added 238 characters in body; added 30 characters in body" Text="1.how long have you been in the video games industry and how did you get started?&#xD;&#xA;&#xD;&#xA;I haven't really started yet.&#xD;&#xA;&#xD;&#xA;2.what equipment do you use in the studio and for foley recordings? and what computer programmes and Middlware used?&#xD;&#xA;&#xD;&#xA;Everything that gets the job in hand done. I've picked as my own favorites: Cubase 5, Reaper, Reason, Pure Data, numerous software synthesizers, all commercial middleware packages (because it depends on what the project uses). An audio interface to get sound in and out of the computer, a field recorder to record outside and mics for different uses.&#xD;&#xA;&#xD;&#xA;3.what is involved with your job role, and how does this differ between companies you have worked for?&#xD;&#xA;&#xD;&#xA;I'm a student and my work currently involves mostly just school projects.&#xD;&#xA;&#xD;&#xA;4.specifically how much computer programming is involved in your job, and how does this differ between companies you have worked for? and what is expected of you in terms of this?&#xD;&#xA;&#xD;&#xA;As a part of my growing interest to audio in interactive media, I'm taking up programming on the side, because it's what drives the medium. I don't feel sound is able to work efficiently in the medium without having at least vague understanding of how sound is driven programmatically and being able to discuss about it with a programmer in a programmer way, if you're not programming yourself.&#xD;&#xA;&#xD;&#xA;5.What is your favourite aspect as being a sound designer? and what is the hardest part of the role?&#xD;&#xA;&#xD;&#xA;I do it just because it fills my life and for the love that I have for the sound medium. The hardest part is using the medium to say what you want to say and convey, because it's not often trivial, even less when it comes to interactive and non-linear media. I also agree on the difficulty of working without seeing the game working, it's comparable to working on a film that you haven't seen. I wouldn't suggest anyone working this way and wouldn't work myself (unless it's really workable), but it seems that it's happening." ContentLicense="CC BY-SA 3.0" />
  <row Id="21469" PostHistoryTypeId="2" PostId="12995" RevisionGUID="145225bd-d552-4e16-9b05-5762aaad5d6d" CreationDate="2012-03-10T05:40:44.397" UserId="990" Text="Don't do it unless post asks you to do it. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21470" PostHistoryTypeId="2" PostId="12996" RevisionGUID="f0515abd-3cd1-4c8a-b059-b831333d63f6" CreationDate="2012-03-10T11:07:30.710" UserDisplayName="user80" Text="Stick to 48 kHz." ContentLicense="CC BY-SA 3.0" />
  <row Id="21471" PostHistoryTypeId="2" PostId="12997" RevisionGUID="47d23d22-d222-492b-866f-76f04c42b382" CreationDate="2012-03-10T12:33:37.297" UserId="963" Text="Wow. Can't believe your 'friend' would dare to ask you this. It's the equivalent of him ripping off a Hollywood script and passing it off as his own. &#xD;&#xA;&#xD;&#xA;A) never compromise your own personal integrity.  &#xD;&#xA;B) free gigs never turn out well.  Tell your friend to start paying you min wage for the project. Money begets respect. Respect for your time and respect for your creative decisions.  I've done favors for people before and it usually doesn't end well. &#xD;&#xA;C) you can have the director pick and choose his sfx from soundsnap and then he can have 'Hollywood' sounds legally. &#xD;&#xA;&#xD;&#xA;It's not what sounds you have, it's what you do with them. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21472" PostHistoryTypeId="2" PostId="12998" RevisionGUID="6e59c29e-756a-41e4-a236-a335599b2fae" CreationDate="2012-03-10T12:43:47.917" UserId="963" Text="There's no tactful way to bring it up.  Be a straight shoot and just ask to speak with the person (who writes the checks) after a rehearsal. Tell them you need to start paying some bills like the rest of the world and your hourly rate is xx per hour and do they prefer invoicing or a weekly time card.  Then shut up. &#xD;&#xA;&#xD;&#xA;Don't say anything till they finish there rebuttal. If they really value your work, they'll easily pay your rate and it'll be a done matter. &#xD;&#xA;&#xD;&#xA;If not, then explain to them the hours and type of work you put into their business, just like electricity, it's a bill, not an option not to have sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21473" PostHistoryTypeId="2" PostId="12999" RevisionGUID="0b215593-921a-4576-843c-99637714bfda" CreationDate="2012-03-10T12:48:42.727" UserId="963" Text="I've tried AAF, exporting XML, exporting edl, and exporting avid compatable AAF, but there doesn't seem to be an easy way of getting the Sony Vegas session to PT9. bouncing down stems is not an option. &#xD;&#xA;&#xD;&#xA;Anyone have any real world experience in this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21474" PostHistoryTypeId="1" PostId="12999" RevisionGUID="0b215593-921a-4576-843c-99637714bfda" CreationDate="2012-03-10T12:48:42.727" UserId="963" Text="How to get from Sony Vegas to Pro tools 9" ContentLicense="CC BY-SA 3.0" />
  <row Id="21475" PostHistoryTypeId="3" PostId="12999" RevisionGUID="0b215593-921a-4576-843c-99637714bfda" CreationDate="2012-03-10T12:48:42.727" UserId="963" Text="&lt;omf&gt;&lt;pro-tools&gt;&lt;post-production&gt;&lt;vegas&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21476" PostHistoryTypeId="2" PostId="13000" RevisionGUID="3cbd83a8-0935-4e9c-a794-599e30d10ff1" CreationDate="2012-03-10T17:58:36.113" UserId="2778" Text="I was just curious to know .. Who has won the most number of oscars for sound? &#xD;&#xA;I know Gary Rydstrom has won 7 .. but is he the only one to have won these many? or are there few more?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21477" PostHistoryTypeId="1" PostId="13000" RevisionGUID="3cbd83a8-0935-4e9c-a794-599e30d10ff1" CreationDate="2012-03-10T17:58:36.113" UserId="2778" Text="Most number of Oscars won by a sound designer, re-recording mixer, editor .." ContentLicense="CC BY-SA 3.0" />
  <row Id="21478" PostHistoryTypeId="3" PostId="13000" RevisionGUID="3cbd83a8-0935-4e9c-a794-599e30d10ff1" CreationDate="2012-03-10T17:58:36.113" UserId="2778" Text="&lt;academy-awards&gt;&lt;sound-design&gt;&lt;mixing&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21479" PostHistoryTypeId="2" PostId="13001" RevisionGUID="ae6fac35-2506-48cd-a60e-67888ff108da" CreationDate="2012-03-10T22:13:29.117" UserId="132" Text="Let me also chime in as an owner of two stereo Rycote AEs. One for a MKH 30/40 pair and another for an Mk4/Mk8 setup. You can certainly get away with Schoeps in mono suspension but if you are doing heavy cueing (movement) you are likely to bottom them out in a mono suspension. If you are doing a lot of running and gunning I wouldn't recommend it." ContentLicense="CC BY-SA 3.0" />
  <row Id="21480" PostHistoryTypeId="2" PostId="13002" RevisionGUID="41270109-2f9e-49c8-90e8-5ff138af168e" CreationDate="2012-03-10T22:25:08.587" UserId="132" Text="If you are going to use an 8050 with that setup you are going to need to spend some time learning the pickup pattern and how that affects your decoded MS. The little lobe in the back can play tricks on your image when items move from behind the ring to around the front. Just get a feel for it. Have someone ride a bicycle around the rig and you'll know what I mean. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21481" PostHistoryTypeId="2" PostId="13003" RevisionGUID="d09721c5-676f-402d-a129-cb8acd230f0b" CreationDate="2012-03-10T22:26:55.690" UserId="175" Text="Basically, I'm doing a music video for an ambient tune that is very long and slow-moving. Variations in tone, frequency and volume shift at the pace of a lava lamp and I'd like these glacial variations to be reflected by some of the visual characteristics of the track. The contours of the track as a whole are pretty interesting - the amplitude increases steadily over the duration, with a couple of small peaks and valleys, and the track is comprised of several competing harmonics that drift in and out in different configurations.&#xD;&#xA;&#xD;&#xA;My initial idea is to have the amplitude mirrored by the brightness and saturation of the images, with higher luminance and saturation values for higher volumes. In addition, though it might be more difficult to implement, I'd like to have the frequency characteristics mirrored by slight variations in colour. I guess this would require devising a scheme by which the full frequency range covered in the song will relate to a colour scale.&#xD;&#xA;&#xD;&#xA;My question is, what is the best method of achieving these results? Is Max the right choice of software? Any help and direction would be much appreciated!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21482" PostHistoryTypeId="1" PostId="13003" RevisionGUID="d09721c5-676f-402d-a129-cb8acd230f0b" CreationDate="2012-03-10T22:26:55.690" UserId="175" Text="How can I map and scale attributes of sound and apply them to video content? " ContentLicense="CC BY-SA 3.0" />
  <row Id="21483" PostHistoryTypeId="3" PostId="13003" RevisionGUID="d09721c5-676f-402d-a129-cb8acd230f0b" CreationDate="2012-03-10T22:26:55.690" UserId="175" Text="&lt;max-msp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21484" PostHistoryTypeId="2" PostId="13004" RevisionGUID="ae013e0a-dfd9-4cf9-a0d3-a6f3de87b988" CreationDate="2012-03-11T00:30:22.723" UserId="6432" Text="Max is a really good choice for this, but be aware that if you've never used it before the initial learning curve is fairly steep (but well supported). Expect to spend at least a week or two finding your way around. If you search over at the Max forum you will find loads of stuff to help you, and lots of examples to reverse-engineer. All of the things you mention above are possible and a lot more besides. I think there's even a video controlled by audio tutorial which would start you off.&#xD;&#xA;&#xD;&#xA;I've been using Max for about three years now, and my only regret is that I didn't get into it sooner - it's a deep rabbit hole, but one that's very rewarding." ContentLicense="CC BY-SA 3.0" />
  <row Id="21485" PostHistoryTypeId="2" PostId="13005" RevisionGUID="b9693c5b-2bae-4d5d-9c10-cba646b6a0b3" CreationDate="2012-03-11T07:17:43.060" UserId="407" Text="This is something that I have dealt with a lot and I am sorry to say that there is no easy solution. Sony Vegas basically doesn't conform to industry standards e.g. OMF. This makes opening Vegas projects in other systems a real pain in the ar*e. You have probably already seen [this from SSL][1]. I haven't used it personally but it looks like the best option if you are not willing to render stems. But to be honest even using this I have a feeling that it will take a while to tidy up the PT session after the import.&#xD;&#xA;&#xD;&#xA;Unfortunately our solution is to bounce stems from vegas - you can do this really quickly using the in built scripts in vegas. But even this isn't fool proof as Vegas doesn't do a very good job at delay compensation with 3rd party plugins so beware of sync issues.&#xD;&#xA;&#xD;&#xA;sorry for not being much help -&#xD;&#xA;&#xD;&#xA;  [1]: http://www.solidstatelogic.com/post/pro-convert/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21486" PostHistoryTypeId="2" PostId="13006" RevisionGUID="4ebb323d-fd6b-4e5f-b707-52d0158740a8" CreationDate="2012-03-11T13:15:55.560" UserId="1129" Text="I have done that very thing with a Rode Blimp.  I used an Earthworks pencil cardioid and an AKG414 for my figure 8.  Suspended the Earthworks in the blimp, and used rubber bands to suspend the 414 below it with some cut up foam windscreen material between the two to provide some mechanical isolation.  Worked like a charm.&#xD;&#xA;&#xD;&#xA;Edit:  I wrapped the upper lyre bands over their screw posts twice, effectively shortening the length of the top bands.  That gave me the height and the extra strength on the lyre that I needed to get it to support two mics." ContentLicense="CC BY-SA 3.0" />
  <row Id="21487" PostHistoryTypeId="5" PostId="13005" RevisionGUID="6b47e811-f0df-41ad-b49f-c5b8bd2eac65" CreationDate="2012-03-11T13:24:35.780" UserId="407" Comment="deleted 1 characters in body" Text="This is something that I have dealt with a lot and I am sorry to say that there is no easy solution. Sony Vegas basically doesn't conform to industry standards e.g. OMF. This makes opening Vegas projects in other systems a real pain in the ar*e. You have probably already seen [this from SSL][1]. I haven't used it personally but it looks like the best option if you are not willing to render stems. But to be honest even using this I have a feeling that it will take a while to tidy up the PT session after the import.&#xD;&#xA;&#xD;&#xA;Unfortunately my solution is to bounce stems from vegas - you can do this really quickly using the in built scripts in vegas. But even this isn't fool proof as Vegas doesn't do a very good job at delay compensation with 3rd party plugins so beware of sync issues.&#xD;&#xA;&#xD;&#xA;sorry for not being much help -&#xD;&#xA;&#xD;&#xA;  [1]: http://www.solidstatelogic.com/post/pro-convert/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21488" PostHistoryTypeId="2" PostId="13007" RevisionGUID="d74d9535-08f4-4c7e-96ae-8592dde007f2" CreationDate="2012-03-11T14:45:51.310" UserId="29" Text="If you want to go the rendering route, as opposed to the real time route (like pure data, Max/MSP/Jitter, etc.), you can do this in Adobe After Effects. If you can get isolated tracks or stems, you can have a lot more control over tying amplitudes to visual parameters. However, out of the box, AE only responds to amplitude; you might need to look for a plug-in that would handle frequency." ContentLicense="CC BY-SA 3.0" />
  <row Id="21489" PostHistoryTypeId="2" PostId="13008" RevisionGUID="da8cd99d-95f4-4c14-8722-bfc3d6c3dfed" CreationDate="2012-03-11T15:02:11.813" UserId="3554" Text="Troikatronix's Isadora is a good choice for this. There are frequency and amp analysis modules, data smoothers, and a suite of effects and adjustments that respond directly to those inputs. They have a trial version too, and it sounds like you could make this patch pretty simply.  There may be a latency issue at first but you can record the video output and slip them in a video editor later. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21490" PostHistoryTypeId="2" PostId="13009" RevisionGUID="68c2c5da-c896-4cce-bb0b-9d72ea47ac31" CreationDate="2012-03-11T20:59:59.453" UserId="243" Text="Hi guys thank you for the answer @TheFaderJockey (cool name!). &#xD;&#xA;I have the 101 assessment coming up and I wanted to know if it is possible to practice on a my protools 9 (at home), I'd obviously need a proper num pad-included-keyboard because I run it off a macbook pro. &#xD;&#xA;&#xD;&#xA;Are there any really significant changes I should look out for besides the name change of &quot;regions&quot; to &quot;clips&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21491" PostHistoryTypeId="1" PostId="13009" RevisionGUID="68c2c5da-c896-4cce-bb0b-9d72ea47ac31" CreationDate="2012-03-11T20:59:59.453" UserId="243" Text="Protools 101 avid assessment " ContentLicense="CC BY-SA 3.0" />
  <row Id="21492" PostHistoryTypeId="3" PostId="13009" RevisionGUID="68c2c5da-c896-4cce-bb0b-9d72ea47ac31" CreationDate="2012-03-11T20:59:59.453" UserId="243" Text="&lt;protools9&gt;&lt;avid&gt;&lt;test&gt;&lt;best-practice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21493" PostHistoryTypeId="2" PostId="13010" RevisionGUID="51ad3761-5453-457a-869b-202d3edd5085" CreationDate="2012-03-12T02:04:41.740" UserId="1030" Text="Is the assessment something different to the exam? I've taken the exam, which was just a multiple choice test of randomly selected questions across many subjects (such as MIDI, Audio, Editing etc.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21494" PostHistoryTypeId="2" PostId="13011" RevisionGUID="d6289333-8204-4565-ba2b-e631fcfc9431" CreationDate="2012-03-12T02:22:27.137" UserId="3093" Text="Hey! I found an app for my iphone that's called &quot;NumberKey&quot;and it works perfectly, you only create a network or connect via wifi and your iphone becomes your keypad :). Plus it comes really handy when you need to record and you are far away from your laptop. &#xD;&#xA;&#xD;&#xA;I hope this helps, and hope you have an iphone haha.&#xD;&#xA;&#xD;&#xA;Cheers." ContentLicense="CC BY-SA 3.0" />
  <row Id="21495" PostHistoryTypeId="2" PostId="13012" RevisionGUID="1cc8d0e8-9fc8-4d25-8763-35c2bb6d05fa" CreationDate="2012-03-12T09:05:59.437" UserId="3299" Text="You shouldn't have to worry about any of the changes to Pro Tools.&#xD;&#xA;You only do the exam for whatever course version you completed.&#xD;&#xA; &#xD;&#xA;Your exam supervisor chooses the version when they are creating your exam account, so if you did the course in version 9, your exam will be in 9. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21496" PostHistoryTypeId="2" PostId="13013" RevisionGUID="60d9c8f5-c468-4855-85f6-340d8ff4fe20" CreationDate="2012-03-12T09:32:33.960" UserDisplayName="user80" Text="If you can, do version 10 of the exam so that you are bang up to date." ContentLicense="CC BY-SA 3.0" />
  <row Id="21497" PostHistoryTypeId="2" PostId="13014" RevisionGUID="fba005b4-5bc9-4aa3-a8bc-6e2ff159ed00" CreationDate="2012-03-12T12:28:34.897" UserId="786" Text="I always try to make a concept dictate the sound of the film I am working on. The concept is &#xD;&#xA;generated by the field between the director, the editor, the composer, me and the film itself.&#xD;&#xA;&#xD;&#xA;I always like to try something that is new to me, so that I can remain fresh and evolve.&#xD;&#xA;&#xD;&#xA;The last feature film, which I made about a year ago, had me working a lot with my modular synth to create minimal, noisy sounds, which blended with the more naturalistic sounds as well as the score (which was a string orchestra). It had a pretty loud overall concept with lots of rich noisy bass in the soundtrack, as well as a lot of panning of all sorts of sound - including the dialogue.&#xD;&#xA;&#xD;&#xA;The film I am working on now is much more realistic, and so I try not to use my synths on this one. This is quite new to me, as I have always used synths to make drones and other special emotional sounds. I am just about to bid on some organ pipes on an internet auction. They may be able to help me get some drones without using synths. I don't know, but I'll try it out...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21498" PostHistoryTypeId="2" PostId="13015" RevisionGUID="da6ac299-0cf6-477f-a3ff-b3951947a1b0" CreationDate="2012-03-12T15:51:43.590" UserId="730" Text="Thanks for all the great answers everyone!  I spent the entire weekend on nothing but lasers and while it was a looooong weekend, it was really fun!  I tried several new techniques for lasers and it turned out great!.&#xD;&#xA;&#xD;&#xA;If i could recommend one plug in bundle for someone starting sound design, I would have to say without a doubt in my mind... GRM Tools!!!  Ive used GRM Tools so much for tribes." ContentLicense="CC BY-SA 3.0" />
  <row Id="21499" PostHistoryTypeId="2" PostId="13016" RevisionGUID="3a77332d-6168-4d1d-8e92-00e6260f55ef" CreationDate="2012-03-12T18:21:37.463" UserId="3525" Text="Hey guys I'm looking to start building a decent sized foley pit for my studio and would love to hear from anyone who has done this before. I know it's mostly just squared off blocks of wood with different textures filled inside but I'm wondering what else I could do that would get a lot of use. Let me know if you have had any experience in this thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21500" PostHistoryTypeId="1" PostId="13016" RevisionGUID="3a77332d-6168-4d1d-8e92-00e6260f55ef" CreationDate="2012-03-12T18:21:37.463" UserId="3525" Text="What's the most cost effective way to build a foley pit?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21501" PostHistoryTypeId="3" PostId="13016" RevisionGUID="3a77332d-6168-4d1d-8e92-00e6260f55ef" CreationDate="2012-03-12T18:21:37.463" UserId="3525" Text="&lt;foley&gt;&lt;foley-artist&gt;&lt;building&gt;&lt;studio&gt;&lt;studio-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21502" PostHistoryTypeId="2" PostId="13017" RevisionGUID="c3052289-c145-4cc8-a622-bf329a4d6a7b" CreationDate="2012-03-12T18:28:54.717" UserId="1055" Text="hello all,&#xD;&#xA;&#xD;&#xA;need help on making voice overs sound more cartoonish, i tried the obvious...pitching, but still need something that will give cartoonish feel to it." ContentLicense="CC BY-SA 3.0" />
  <row Id="21503" PostHistoryTypeId="1" PostId="13017" RevisionGUID="c3052289-c145-4cc8-a622-bf329a4d6a7b" CreationDate="2012-03-12T18:28:54.717" UserId="1055" Text="making voice overs sounding cartoonish?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21504" PostHistoryTypeId="3" PostId="13017" RevisionGUID="c3052289-c145-4cc8-a622-bf329a4d6a7b" CreationDate="2012-03-12T18:28:54.717" UserId="1055" Text="&lt;cartoon&gt;&lt;voice-over&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21505" PostHistoryTypeId="2" PostId="13018" RevisionGUID="8de9f6ac-06e0-49b3-b1c0-0ab043d9a71e" CreationDate="2012-03-12T18:42:52.117" UserId="730" Text="Planning.  Draw your design get the measurement.  price of wood adds up fast, especially when you buy extra.  it shouldnt cost more then about 300-400 for the wood for an 8foot by 2 foot pit.  not including the tiles, terrain, and whatever else you want to put in the pit.  also a good idea to make it in sections when you can lift a door to get to a tile, that way you have the entire 8x2 top to do footsteps etc if needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="21506" PostHistoryTypeId="2" PostId="13019" RevisionGUID="ff37cd86-09c5-4c7e-bf3b-9e9dabb2eb57" CreationDate="2012-03-12T19:15:17.313" UserId="1228" Text="Helium during the actual voiceover recording.  The voiceover talent is pretty much everything, since the delivery speed and cadence can create cartoonish qualities, and that kind of inflection can't be easily &quot;mapped&quot; by DSP.  It's a human nuance.  Or if you do play with pitch, try altering the formant as well (I know Waves UltrPitch allows for this, I'm sure there are many others too) - that can create some strange qualities.  Could also try [Antares THROAT Evo][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.antarestech.com/products/avox-evo.shtml#throat" ContentLicense="CC BY-SA 3.0" />
  <row Id="21507" PostHistoryTypeId="2" PostId="13020" RevisionGUID="14867853-75b6-4e5c-a5c8-f6e6f092a9e6" CreationDate="2012-03-12T21:11:08.540" UserId="842" Text="In my opinion the only voices that can be made cartooney in post is chipmunks, smurfs, and shrunken people voices, absolutely everything else (that I can think of right now) is a matter of great and talented voice-actors. It doesn't matter if it's Bugs Bunny, Donald Duck, Weebl, Bart Simpsons, Stimpy, Schwartzenegger, or perhaps Itchy and Scratchy, it's all in the mouth, with little or absolutely no processing other than the usual compressor and EQ." ContentLicense="CC BY-SA 3.0" />
  <row Id="21508" PostHistoryTypeId="5" PostId="12990" RevisionGUID="c7c187a9-6c34-4375-a676-6ea22c23498d" CreationDate="2012-03-12T21:17:08.980" UserId="6432" Comment="more" Text="When I was a student I read an article which was really inspiring at the time. It described the creative process of a sound designer process at the beginning of a project - using his hands to manipulate tape over the playheads as a way of generating unique source material. Then at the end of the project he'd burn everything. As I was reading lots back then I forgot where to find it, but recently explained the article to a friend who knew exactly where it was. The article was from Soundscape: the school of sound lectures, and it was an interview with Walter Murch talking about Frank Warner. You can read it [here][1], it's at the bottom of page 101-102.&#xD;&#xA;&#xD;&#xA;Does anyone still use tape in this way, or have any other interesting uses for it? I've been thinking about buying a second hand revox or similar, but am not sure which to get.. any thoughts on this? &#xD;&#xA;&#xD;&#xA;I still try to have a stage at the beginning of each new project of just gathering material without putting anything on the timeline, but my whole process is very computer based. I mean I spend time recording or sourcing sounds from libraries and then manipulate then with a computer. What I'm really after are other options for physical control of sound, particularly any that don't involve a screen, and feel more responsive/involving than controlling stuff with midi. &#xD;&#xA;&#xD;&#xA;Any thoughts welcomed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT: I'm kind of surprised that no one has been interested in this so far, I'm certainly not suggesting that it's a good idea to throw protools in the bin or anything like that. More just that sometimes old technology does interesting things that new technology doesn't. As someone who has never had to use tape as a necessity perhaps I'm over romaticising it, but I'm interested to hear from people who did use tape when it was around.&#xD;&#xA;&#xD;&#xA;  [1]: http://books.google.co.uk/books?id=80FiGA7oBe4C&amp;pg=PA111&amp;lpg=PA111&amp;dq=scholar+soundscape+sound+lectures&amp;source=bl&amp;ots=fEGZO2H-n5&amp;sig=thQgrkTTZ7uKu4CvmQ9jEUaJHV8&amp;hl=en&amp;sa=X&amp;ei=0zdaT86sOunE0QXpzt3kDQ&amp;ved=0CCgQ6AEwAQ#v=onepage&amp;q&amp;f=false" ContentLicense="CC BY-SA 3.0" />
  <row Id="21509" PostHistoryTypeId="2" PostId="13021" RevisionGUID="2eca823d-5d47-4d55-8f5d-cf21223d395f" CreationDate="2012-03-12T22:07:43.053" UserDisplayName="user80" Text="I used tape when I first started as a sound engineer, and learned to edit on Studers.  For those of us old enough to remember, tape was costly and a tricky medium.  Machines had to be calibrated before use, and you would have to be careful not to pass the tape over the heads too often, or you would scrape off too much oxide and make everything sound dull.  We also had print through problems as well as crosstalk, over saturation, high noise levels, wow and flutter etc.&#xD;&#xA;&#xD;&#xA;Now magnetic tape is just another prop, just like everything else that can make a noise, which is great.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21510" PostHistoryTypeId="5" PostId="13021" RevisionGUID="e229d4a0-2cc4-4063-a0a6-1ed00d4acf51" CreationDate="2012-03-12T22:23:37.697" UserDisplayName="user80" Comment="added 343 characters in body" Text="I used tape when I first started as a sound engineer, and learned to edit on Studers.  For those of us old enough to remember, tape was costly and a tricky medium.  Machines had to be calibrated before use, and you would have to be careful not to pass the tape over the heads too often, or you would scrape off too much oxide and make everything sound dull.  We also had print through problems as well as crosstalk, over saturation, high noise levels, wow and flutter etc.&#xD;&#xA;&#xD;&#xA;Now magnetic tape is just another prop, just like everything else that can make a noise, which is great.&#xD;&#xA;&#xD;&#xA;If you really want to try something fun with tape try emulating Laurie Anderson's tape bow violin.  You don't need the violin, but the bow is useful, as you can overstretch the tape and pass it over the tape head while it's still attached to the recorder.  If you do this, remember to clean the heads regularly so that you don't damage them." ContentLicense="CC BY-SA 3.0" />
  <row Id="21511" PostHistoryTypeId="2" PostId="13022" RevisionGUID="1c41938f-8894-47c4-a419-07371fb0ba89" CreationDate="2012-03-12T22:24:19.087" UserId="3559" Text="Hi guys I'm currently working on a project that includes enormous robots transforming, I've read a lot about the sound of transformers and I've been experimenting with a lot of different techniques and plugins so any suggestions on what sounds to search for or plugins that you recommend using or a certain process that you have to archive that sound would be highly appreciated!&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21512" PostHistoryTypeId="1" PostId="13022" RevisionGUID="1c41938f-8894-47c4-a419-07371fb0ba89" CreationDate="2012-03-12T22:24:19.087" UserId="3559" Text="Transformers sound design" ContentLicense="CC BY-SA 3.0" />
  <row Id="21513" PostHistoryTypeId="3" PostId="13022" RevisionGUID="1c41938f-8894-47c4-a419-07371fb0ba89" CreationDate="2012-03-12T22:24:19.087" UserId="3559" Text="&lt;transformers&gt;&lt;metal&gt;&lt;transformation&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21514" PostHistoryTypeId="2" PostId="13023" RevisionGUID="1896157e-15da-467d-a038-cd292d0c17b3" CreationDate="2012-03-12T23:03:42.690" UserId="3522" Text="If you haven't already seen them, designing sound has some videos about the sound design for the films.&#xD;&#xA;&#xD;&#xA;designingsound.tv" ContentLicense="CC BY-SA 3.0" />
  <row Id="21515" PostHistoryTypeId="2" PostId="13024" RevisionGUID="6779bfb2-157a-4a1c-a177-5aa60df57fe4" CreationDate="2012-03-13T00:54:32.473" UserId="1228" Text="I highly recommend the Search function on the website ;)&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/12668/transformers-3-teaser-trailer-sound/12671#12671" ContentLicense="CC BY-SA 3.0" />
  <row Id="21516" PostHistoryTypeId="2" PostId="13025" RevisionGUID="4a462ce9-96d1-478a-a7af-a469600a80ac" CreationDate="2012-03-13T01:47:12.903" UserDisplayName="user49" Text="The first recordings I ever did were with a Nagra borrowed from Film School, and I still have a hankering to own one now - just waiting for a good model to come up for sale locally as they weigh a lot to ship internationally...  Even the most basic processing was worth doing eg we always recorded at 15ips, but when transferring into the computer would do it at 15ips, then 7.5ips and 3.75 ips - it does very interesting things to the attack &amp; 'ooompf' of sounds without any of the grain that becomes apparent in digital processing...." ContentLicense="CC BY-SA 3.0" />
  <row Id="21517" PostHistoryTypeId="2" PostId="13026" RevisionGUID="be1ed4a6-cbbf-4fd4-aa66-37b70a8330d3" CreationDate="2012-03-13T05:14:21.877" UserId="3439" Text="Been doing a lot of thinking about just this topic.  Servos, metal impacts, gear/mechanical types of sounds, lots of them, in very quick succession.  I think that's probably a good start." ContentLicense="CC BY-SA 3.0" />
  <row Id="21518" PostHistoryTypeId="2" PostId="13027" RevisionGUID="d36d2aa6-a86e-4231-b71f-49c362593d02" CreationDate="2012-03-13T13:46:25.190" UserId="3563" Text="Hello,&#xD;&#xA;&#xD;&#xA;I'm doing some sound design work on a short film, i was wondering what your thoughts are on charging a flat fee for the project and how royalties might come into this if it made any money in the future. Am i entitled to royalties?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="21519" PostHistoryTypeId="1" PostId="13027" RevisionGUID="d36d2aa6-a86e-4231-b71f-49c362593d02" CreationDate="2012-03-13T13:46:25.190" UserId="3563" Text="Royalties with film" ContentLicense="CC BY-SA 3.0" />
  <row Id="21520" PostHistoryTypeId="3" PostId="13027" RevisionGUID="d36d2aa6-a86e-4231-b71f-49c362593d02" CreationDate="2012-03-13T13:46:25.190" UserId="3563" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21521" PostHistoryTypeId="2" PostId="13028" RevisionGUID="cbc3dbe3-cfa5-4cf5-945c-294345e418ce" CreationDate="2012-03-13T15:21:47.520" UserId="3525" Text="Transformers is done with lots of synthesis. You can create some awesome sounds in programs like massive or reaktor but as far as the metallic sounds you need to try some foley work. I know for footsteps you can combine some car doors slamming and gate a lfe hit to give it body. Also something simple as pots and pans and silverware will work for when the transformer actually transform. You can also go out and get some stuff at homedepot and collect all sizes and weights of metal beams or tools and this should get you a really great start. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21522" PostHistoryTypeId="2" PostId="13029" RevisionGUID="8bf1bdea-f573-45ba-86d5-57e8237dc66a" CreationDate="2012-03-13T15:46:45.767" UserId="3522" Text="Hey, I'm planning on investing in some personal audio equipment to use once the ability to borrow my university's equipment is gone! Ultimately I plan on ending up with a solid MS portable recording set up that will give me good quality recordeds with a relatively low amount of noise.&#xD;&#xA;&#xD;&#xA;So far the Roland R26 has caught my eye, seems to have good reviews. Any comments on the mic pres on it? I think I know what to expect from the onboard mics but as I said, ultimately I want to be using it with a set of external mics so the pres need to be up to scratch.&#xD;&#xA;&#xD;&#xA;The other option I saw was the marantz PMD 661.  Its a bit more expensive so I'd be interested to know if its worth the extra money? &#xD;&#xA;&#xD;&#xA;Also, any recommendations for entry level microphones for an MS set up would be good, still in the learning stage of things so I don't want (and can't afford to) get anything too pricey. I'll also be investing in a Rode blimp for them as well. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="21523" PostHistoryTypeId="1" PostId="13029" RevisionGUID="8bf1bdea-f573-45ba-86d5-57e8237dc66a" CreationDate="2012-03-13T15:46:45.767" UserId="3522" Text="Portable audio recorder remcomendations (Roland R26 or Marantz PMD 661)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21524" PostHistoryTypeId="3" PostId="13029" RevisionGUID="8bf1bdea-f573-45ba-86d5-57e8237dc66a" CreationDate="2012-03-13T15:46:45.767" UserId="3522" Text="&lt;field-recording&gt;&lt;recommendations&gt;&lt;microphone&gt;&lt;pre-amp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21525" PostHistoryTypeId="2" PostId="13030" RevisionGUID="7c9d997b-734a-405a-b4b5-b625f24ae213" CreationDate="2012-03-13T16:06:04.187" UserId="6432" Text="Perhaps mention what you want to use it for. Also consider how many hands you have! If you're holing a seperate external microphone or boom then you probably want something you can carry in a bag. How about the FR2LE from fostex? Really quiet preamps for the money." ContentLicense="CC BY-SA 3.0" />
  <row Id="21526" PostHistoryTypeId="2" PostId="13031" RevisionGUID="3e5d111c-45e9-40ef-aa61-f39e378cb5ef" CreationDate="2012-03-13T18:52:03.523" UserId="3214" Text="I was asking my self the same question a couple of months back and ended up buying the Marrantz. I bought a refurbished one from digital village (uk) so saved my self a good hundred pounds and i'm really very happy with it, having really nice mic preamps and onboard mic's which are ok- I haven't tested them loads but for a good general ambience or really quick recording their great. I find it pretty simple and easy to use too. Only worrying thing is that twice before it just hasn't turned on but then I try it again in a few hours and it works. I wanted to take this up with the place that I bought it but being a final year uni student I just haven't had any spare time and I can't really afford to give it to them to look at for a week as I use it pretty often.&#xD;&#xA;&#xD;&#xA;Haven't had any experience using the Roland, but it does look decent too.&#xD;&#xA;&#xD;&#xA;If I'm honest I do wish I had looked a bit longer at the FR2LE and other bigger devices as though it is handy being so small, having a larger recorder on a strap tends to work well.&#xD;&#xA;&#xD;&#xA;Mic wise I use the Rode NT2. For the price I think it's they're really excellent and not sure of any other cheap shotguns that really come close. If your spending a bit more on a mic you have more options I think but the NT3 is supposed to be a good buy too.&#xD;&#xA;&#xD;&#xA;Hope this helps" ContentLicense="CC BY-SA 3.0" />
  <row Id="21527" PostHistoryTypeId="2" PostId="13032" RevisionGUID="d21b78af-3562-4c5d-b0ba-41600ab8abb7" CreationDate="2012-03-13T19:13:37.317" UserId="6519" Text="I use Marantz PMD-661 with Rode NTG2, Rode NT4 &amp; Rode NT2000 microphones. &#xD;&#xA;Reliable and robust device with excellent parameters.Highly recommended.&#xD;&#xA;&#xD;&#xA;Hear my [Sound Demos][1].&#xD;&#xA;&#xD;&#xA;A little help for shotgun microphone purchase: [http://socialsounddesign.com/questions/12630/help-for-buying-shotgun-microphone][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/membrans-sound-design&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/12630/help-for-buying-shotgun-microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="21528" PostHistoryTypeId="2" PostId="13033" RevisionGUID="d0a3e422-c661-41e9-b4e0-41dce1093b65" CreationDate="2012-03-13T19:25:02.447" UserId="7642" Text="R26&#xD;&#xA;Pros: good preamps, six recording channels&#xD;&#xA;Cons: digital limiters and lo cuts are not great, internal mics very noisy" ContentLicense="CC BY-SA 3.0" />
  <row Id="21529" PostHistoryTypeId="2" PostId="13034" RevisionGUID="100649c4-2173-4d9f-9b99-dd7fa231f04a" CreationDate="2012-03-13T20:24:32.323" UserId="3567" Text="I'm in the process of creating an audio ident for a website I'll be launching soon. I had a great voice actor record a number of takes and I have been toying with these for a few days now. However, I can't seem to find any suitable effects for voice processing.&#xD;&#xA;&#xD;&#xA;I really love the nVidia ident that's in a lot of video games these days. I tried reverb, compression, delays, phasers, flangers and I'm not nearly content with the result. &#xD;&#xA;&#xD;&#xA;What would you guys recommend I use? Is there a secret amount of some fx or a specific effect that works best?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;G." ContentLicense="CC BY-SA 3.0" />
  <row Id="21530" PostHistoryTypeId="1" PostId="13034" RevisionGUID="100649c4-2173-4d9f-9b99-dd7fa231f04a" CreationDate="2012-03-13T20:24:32.323" UserId="3567" Text="Voice processing for audio ident." ContentLicense="CC BY-SA 3.0" />
  <row Id="21531" PostHistoryTypeId="3" PostId="13034" RevisionGUID="100649c4-2173-4d9f-9b99-dd7fa231f04a" CreationDate="2012-03-13T20:24:32.323" UserId="3567" Text="&lt;voice&gt;&lt;processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21532" PostHistoryTypeId="2" PostId="13035" RevisionGUID="2fe5c73d-0113-4df6-8ba8-27e7c8a7b76c" CreationDate="2012-03-13T20:47:28.950" UserId="234" Text="Most shorts work on a flat flee... and probably a low one at that. If you are getting a flat fee make sure you haver an agreement drawn up entailing EXACTLY what said fee entails, and what will qualify as overages - otherwise you may end up doing far more for the fee than you thought.&#xD;&#xA;&#xD;&#xA;As far as &quot;royalties&quot; go - non are &quot;owed&quot; to a sound designer (unlike a composer for example) but you can negotiate percentages however you and the producer want. Having said that, shorts don't make money... period. Even most features very seldom make money, at least on paper..." ContentLicense="CC BY-SA 3.0" />
  <row Id="21533" PostHistoryTypeId="2" PostId="13036" RevisionGUID="b3c8a743-efe3-40ea-b7b8-dd0515952796" CreationDate="2012-03-13T22:27:34.663" UserId="3179" Text="Start with the right style of voice and performance, which are in the ballpark of what you're looking to achieve. Then edit and process it however possible until it sounds like something nice, without destroying it.&#xD;&#xA;&#xD;&#xA;Vocal processing is tricky and relies largely on the recorded performance/voice, unless ones making sci-fi vocals, which can take lots of processing without ending sounding bad/odd.&#xD;&#xA;&#xD;&#xA;If you want to keep the integrity of the original voice, I would experiment with layering differently processed versions of the recording with the original. Or multi-tracking the same line/performance and playing with layering those.&#xD;&#xA;&#xD;&#xA;Post examples, if it's something specific you have in mind." ContentLicense="CC BY-SA 3.0" />
  <row Id="21534" PostHistoryTypeId="2" PostId="13037" RevisionGUID="9cdbd4dc-9f0e-4325-9ca9-f78ec2c8b02e" CreationDate="2012-03-13T22:56:52.610" UserId="3299" Text="I was in this position last year. It was a toss up between the PMD-661, the FR LE2 and the Sony PCM D50. &#xD;&#xA;&#xD;&#xA;I ended up going with the PMD-661 due to it's portability, good build quality, the brilliant quality screen, and the well regarded sound quality.&#xD;&#xA;&#xD;&#xA;I got lucky and found someone selling an Oade Supermodded version second hand and in perfect condition, so the external mic/line pre-amps are super clean. The on board mics aren't fantastic, but are certainly usable in a relatively loud environment. Street ambiance etc. is fine, but *clean* natural ambiance you can forget about. &#xD;&#xA;&#xD;&#xA;I've recorded some natural ambiance on it using an NT-4 and it did well, though the mic wasn't the best for the job. I've yet to try some high quality, sensitive mics with it for nature recording, but I think it will do very well.&#xD;&#xA;&#xD;&#xA;I just love the readability of the screen and the large transport buttons, they make it very easy to operate even if it's stuck in a bag. Also the ADAT in and 1/8&quot; line in are nice additions, as well as the RCA out. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21541" PostHistoryTypeId="2" PostId="13041" RevisionGUID="4e211773-9a9d-4f2d-8ca1-1a75e5bd364a" CreationDate="2012-03-14T14:55:02.527" UserId="3525" Text="Looking for some help on how to create all types of rising sfx whether it be for action movies or horror movies." ContentLicense="CC BY-SA 3.0" />
  <row Id="21542" PostHistoryTypeId="1" PostId="13041" RevisionGUID="4e211773-9a9d-4f2d-8ca1-1a75e5bd364a" CreationDate="2012-03-14T14:55:02.527" UserId="3525" Text="How do you create the rising cinematic sfx seen in most trailers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21543" PostHistoryTypeId="3" PostId="13041" RevisionGUID="4e211773-9a9d-4f2d-8ca1-1a75e5bd364a" CreationDate="2012-03-14T14:55:02.527" UserId="3525" Text="&lt;trailer&gt;&lt;sfx&gt;&lt;sound-design&gt;&lt;sound-effects&gt;&lt;suggestion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21544" PostHistoryTypeId="2" PostId="13042" RevisionGUID="df0cfceb-5293-4a48-b056-d317d60b9f31" CreationDate="2012-03-14T18:01:32.617" UserId="1225" Text="Start with taking various hits and impacts, process them with a long tailed reverberation, render, make a copy of processed sound and reverse it. &#xD;&#xA;To enrich your newborn effects, add some other elements like vocals, strings, stretched animal roars or synthetic whooshes - whatever you may need. :)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21548" PostHistoryTypeId="2" PostId="13044" RevisionGUID="85c474d2-43a0-486f-9a2b-9af007e3f9b1" CreationDate="2012-03-14T19:36:57.507" UserId="3519" Text="Maybe this is a silly question, but here it goes.&#xD;&#xA;&#xD;&#xA;When I put my shotgun mic (416) in the windshield, I don't know if I should orient the interference gaps horizontally or vertically. &#xD;&#xA;&#xD;&#xA;¿Does the mic orientation (twisting it along his axis) affects the sound in any way?&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21549" PostHistoryTypeId="1" PostId="13044" RevisionGUID="85c474d2-43a0-486f-9a2b-9af007e3f9b1" CreationDate="2012-03-14T19:36:57.507" UserId="3519" Text="Shotgun mic orientation inside windshield" ContentLicense="CC BY-SA 3.0" />
  <row Id="21550" PostHistoryTypeId="3" PostId="13044" RevisionGUID="85c474d2-43a0-486f-9a2b-9af007e3f9b1" CreationDate="2012-03-14T19:36:57.507" UserId="3519" Text="&lt;shotgun&gt;&lt;microphone&gt;&lt;windshield&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21551" PostHistoryTypeId="2" PostId="13045" RevisionGUID="4d93187b-4a85-44b6-be82-e76d2eeaf9ea" CreationDate="2012-03-14T21:58:36.220" UserId="432" Text="Makes no difference...at least not one that I've ever noticed." ContentLicense="CC BY-SA 3.0" />
  <row Id="21552" PostHistoryTypeId="2" PostId="13046" RevisionGUID="60fc2c20-477e-4f8f-8291-ed4c835a8c35" CreationDate="2012-03-14T23:00:34.197" UserId="3104" Text="I've had nothing but trouble for the past few weeks trying to get this figured out. Its a feature film that got trimmed down to 64 minutes and I haven't been able to get it into a decent Pro Tools session. I've done multiple OMF's in order to not go over the 2GB limit. We've done a track at a time, turned it into OMF and either way we go, we can't get the tracks in properly. The audio files end up getting jumbled up and sync just ends up getting mucked up." ContentLicense="CC BY-SA 3.0" />
  <row Id="21553" PostHistoryTypeId="1" PostId="13046" RevisionGUID="60fc2c20-477e-4f8f-8291-ed4c835a8c35" CreationDate="2012-03-14T23:00:34.197" UserId="3104" Text="Anyone ever get a an OMF from Premier successfully into Pro Tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21554" PostHistoryTypeId="3" PostId="13046" RevisionGUID="60fc2c20-477e-4f8f-8291-ed4c835a8c35" CreationDate="2012-03-14T23:00:34.197" UserId="3104" Text="&lt;omf&gt;&lt;post-production&gt;&lt;workflow&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21555" PostHistoryTypeId="2" PostId="13047" RevisionGUID="0bf1271b-fc76-416f-af35-e7754d4e57ff" CreationDate="2012-03-15T01:14:45.927" UserId="432" Text="I've received working omf's from Premier in the past. The only issues I've run into are is when there are mixed audio formats in the Premier timeline (but don't know how this may or may not be affected in Pro Tools 10). MP3s in particular caused a fair number of problems." ContentLicense="CC BY-SA 3.0" />
  <row Id="21556" PostHistoryTypeId="2" PostId="13048" RevisionGUID="836bc9ff-ea1f-4cb2-823e-6f7067893d29" CreationDate="2012-03-15T03:29:52.353" UserId="842" Text="I don't know for sure, but I always position the gaps facing the sides of the zeppelin 'cause I'm convinced it's better to have both grills as free as possible instead of having one of 'em possibly shadowed by the baseplate of the shockmount!&#xD;&#xA;&#xD;&#xA;When it comes to these things, especially since it doesn't really take any extra time to turn the mic perhaps an extra 90 degrees, I prefer to be safe over mildly sorry :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21557" PostHistoryTypeId="2" PostId="13049" RevisionGUID="04445f55-a5a5-4afc-85ea-806ad0cf795c" CreationDate="2012-03-15T06:47:19.753" UserId="3532" Text="So I'm transferring and EDL and heres the situation.  The timecode on the EDL doesn't match with the time code on my Pro Tools Session&#xD;&#xA;--clarification&#xD;&#xA;The third number pair xx:xx:33:xx goes up higher than my pro tools session goes.  Pro Tools session goes up to 23 and this goes up at least to 42 and thats just by judging the first page of the EDL.  &#xD;&#xA;Whats the deal here?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21558" PostHistoryTypeId="1" PostId="13049" RevisionGUID="04445f55-a5a5-4afc-85ea-806ad0cf795c" CreationDate="2012-03-15T06:47:19.753" UserId="3532" Text="Timecode questions" ContentLicense="CC BY-SA 3.0" />
  <row Id="21559" PostHistoryTypeId="3" PostId="13049" RevisionGUID="04445f55-a5a5-4afc-85ea-806ad0cf795c" CreationDate="2012-03-15T06:47:19.753" UserId="3532" Text="&lt;timecode&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21560" PostHistoryTypeId="2" PostId="13050" RevisionGUID="c994c152-d4e6-417e-ae38-a3e78777786f" CreationDate="2012-03-15T08:58:42.060" UserId="1228" Text="Well, being timecode is HH:MM:SS:FF, you're talking about the seconds, in which case it should go up to 59 and then roll over to 00, so any number from 00-59 is valid, regardless of your framerate.  So if 23 seconds is as far as PT is going, I'd say PT is likely what's in the wrong here.&#xD;&#xA;&#xD;&#xA;If you incorrectly listed that and meant frames instead of seconds, than likely you were provided an EDL that's in an HD/ATSC standard which supports 60 and 59.94 (NDF and DF flavors) - both of which are simply double the normal NTSC framerates (30 and 29.97, respectively).  In PT if you enable Timecode 2, these become visible options. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21561" PostHistoryTypeId="5" PostId="13050" RevisionGUID="420f66ec-e417-44ea-b6c0-eb989311f6a1" CreationDate="2012-03-15T09:09:57.693" UserId="1228" Comment="added 300 characters in body; added 29 characters in body; added 47 characters in body; edited body" Text="Well, being timecode is HH:MM:SS:FF, you're talking about the seconds, in which case it should go up to 59 and then roll over to 00, so any number from 00-59 is valid, regardless of your framerate.  So if 23 seconds is as far as PT is going, I'd say PT is likely what's in the wrong here.&#xD;&#xA;&#xD;&#xA;If you incorrectly listed that and meant frames instead of seconds, than likely you were provided an EDL that's in an HD/ATSC standard which supports 60 and 59.94 (NDF and DF flavors) - both of which are simply double the normal NTSC framerates (30 and 29.97, respectively).  In PT if you enable Timecode 2, these become visible options.&#xD;&#xA;&#xD;&#xA;To tell if it's NDF or DF, it usually has a **;** between the SS and FF.  **The other way to tell is that in DF, the first 2 frame numbers of each round Minute are dropped except on the 10s (the round 10-minute values)**.  That one's saved me lots of times when the colon/semicolon paradigm was carelessly forgotten on a BITC and had to figure out what timecode they're in." ContentLicense="CC BY-SA 3.0" />
  <row Id="21562" PostHistoryTypeId="2" PostId="13051" RevisionGUID="4f4e2e8d-92f5-4229-be8c-a40f5732fb07" CreationDate="2012-03-15T11:12:24.043" UserId="6460" Text="Check out the &quot;Transform&quot; library from Twisted Tools. Some really fantastic sounds, and they come both as WAV files and mapped out in many of the common sampler formats.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="21566" PostHistoryTypeId="2" PostId="13053" RevisionGUID="8904eddb-8dc5-491f-853d-de3b3174fd97" CreationDate="2012-03-15T13:12:42.713" UserId="2906" Text="Hi there!&#xD;&#xA;&#xD;&#xA;I'm wondering if there is anyone out there who enrolled this MA at Aalto University. I will run for it next year and would like to know better from a insider perspective. Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="21567" PostHistoryTypeId="1" PostId="13053" RevisionGUID="8904eddb-8dc5-491f-853d-de3b3174fd97" CreationDate="2012-03-15T13:12:42.713" UserId="2906" Text="MA, Sound in New Media; Finland" ContentLicense="CC BY-SA 3.0" />
  <row Id="21568" PostHistoryTypeId="3" PostId="13053" RevisionGUID="8904eddb-8dc5-491f-853d-de3b3174fd97" CreationDate="2012-03-15T13:12:42.713" UserId="2906" Text="&lt;masters-degree&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21569" PostHistoryTypeId="5" PostId="13053" RevisionGUID="db418061-a6bb-4bda-9735-c517ceff0ad6" CreationDate="2012-03-15T13:34:37.370" UserId="2906" Comment="correcter spelling" Text="Hi there!&#xD;&#xA;&#xD;&#xA;I'm wondering if there is anyone out there who enrolled this MA at Aalto University. I will run for it next year and would like to know better from an insider perspective. Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="21570" PostHistoryTypeId="2" PostId="13054" RevisionGUID="db221f21-1abc-4040-a536-179600582ddd" CreationDate="2012-03-15T14:13:29.337" UserId="3316" Text="Been really interested in trying out the 500 series lunchbox and several of the 3rd party modules, seems like a nice adaptable and compact unit.&#xD;&#xA;&#xD;&#xA;Anyone have any love or hate stories? &#xD;&#xA;Or better yet, recommended modules or unheard of ones etc&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;C&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21571" PostHistoryTypeId="1" PostId="13054" RevisionGUID="db221f21-1abc-4040-a536-179600582ddd" CreationDate="2012-03-15T14:13:29.337" UserId="3316" Text="Anyone here using anything from the API 500 series " ContentLicense="CC BY-SA 3.0" />
  <row Id="21572" PostHistoryTypeId="3" PostId="13054" RevisionGUID="db221f21-1abc-4040-a536-179600582ddd" CreationDate="2012-03-15T14:13:29.337" UserId="3316" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21573" PostHistoryTypeId="2" PostId="13055" RevisionGUID="25aec022-e048-4765-b052-760332ac702c" CreationDate="2012-03-15T15:04:14.613" UserId="3532" Text="Thanks Stavro.  Its been awhile since I learned the proper linguistics of timecode and I much forgot.  haha.&#xD;&#xA;&#xD;&#xA;Also, what threw me off was that the original OMF started at the 07 hour.  The new timecode started at a normal hour.  After I figured that out it all fell into place.  &#xD;&#xA;&#xD;&#xA;Right now I'm demoing Titan to conform on PT9 but I've had no luck yet....&#xD;&#xA;What does it mean when it says in bold letters after you flashcut, AUDIO NOT FOUND and how do you fix it?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="21574" PostHistoryTypeId="2" PostId="13056" RevisionGUID="46578764-115a-4835-9408-8601160a3b56" CreationDate="2012-03-15T15:32:12.360" UserId="6566" Text="I dig the format myself and have a full lunchbox. I basically built it so I could have what amounts to a full stereo channel strip I can easily move anywhere around the studio. For instance when I'm sitting in front of a rack of noise making toys tweaking knobs.&#xD;&#xA;&#xD;&#xA;My rig consists of pairs of Shadow Hills pres, Burgin McDaniel Komits and A-Designs EM PEQs. Still on my list to get are a pair of the Harrison EQs and Tonelux comps. &#xD;&#xA;&#xD;&#xA;This subject has been beaten to death over at Gearslutz. I would highly recommend dropping by there and doing some digging." ContentLicense="CC BY-SA 3.0" />
  <row Id="21575" PostHistoryTypeId="2" PostId="13057" RevisionGUID="a40e094a-6b8a-4131-ac8b-5e72645edf03" CreationDate="2012-03-15T17:45:48.830" UserId="234" Text="What version of Premiere? As I recall everything below CS3 was pretty buggy about OMF's. I believe there was a CS2 update that fixed that version, but I think I only got one OMF from that (as I recall it worked). The CS3 stuff all seemed to be fine - we did about 25 shorts for Parks Canada out of it." ContentLicense="CC BY-SA 3.0" />
  <row Id="21576" PostHistoryTypeId="5" PostId="13056" RevisionGUID="ce3ab384-8d0a-4227-ba22-ac5fdb46c8d6" CreationDate="2012-03-15T17:57:30.640" UserId="6566" Comment="added 590 characters in body" Text="I dig the format myself and have a full lunchbox. I basically built it so I could have what amounts to a stereo channel strip I can easily move anywhere around the studio. For instance when I'm sitting in front of a rack of noise making toys tweaking knobs.&#xD;&#xA;&#xD;&#xA;My rig consists of pairs of Shadow Hills pres, Burgin McDaniel Komits and A-Designs EM PEQs. Still on my list to get are a pair of the Harrison EQs, Standard Audio Level-ORs and Tonelux comps. &#xD;&#xA;&#xD;&#xA;The 500 series format has grown exponentially in the last couple years and continues to do so. Radial has embraced it and is creating some interesting products, one being the Workhorse rack. There are a number of manufacturers that are beginning to release modules at less expensive price points. Lindell Audio is about to launch their new line of 500 modules at musikmesse at $299 per module. Pretty reasonable for a 500 module assuming they sound good. Lindell makes some amazing sounding stuff so I have high hopes for these.&#xD;&#xA;&#xD;&#xA;This subject has been beaten to death over at Gearslutz. I would highly recommend dropping by there and doing some digging. There is a wealth of 500 info there." ContentLicense="CC BY-SA 3.0" />
  <row Id="21577" PostHistoryTypeId="2" PostId="13058" RevisionGUID="62b52d10-dd00-4032-a409-b20ee76ba253" CreationDate="2012-03-15T18:54:06.033" UserId="3525" Text="Hey guys just looking for some feedback and critical comments. This is one of my first projects in school. Rip me apart let me know everything I could do to make it better. Thanks!&#xD;&#xA;Heres the link:&#xD;&#xA;&#xD;&#xA;http://vimeo.com/33840492" ContentLicense="CC BY-SA 3.0" />
  <row Id="21578" PostHistoryTypeId="1" PostId="13058" RevisionGUID="62b52d10-dd00-4032-a409-b20ee76ba253" CreationDate="2012-03-15T18:54:06.033" UserId="3525" Text="Looking for some feedback on my first project!?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21579" PostHistoryTypeId="3" PostId="13058" RevisionGUID="62b52d10-dd00-4032-a409-b20ee76ba253" CreationDate="2012-03-15T18:54:06.033" UserId="3525" Text="&lt;feedback&gt;&lt;sound-design&gt;&lt;movie-trailers&gt;&lt;mixing&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21580" PostHistoryTypeId="2" PostId="13059" RevisionGUID="22ad29bd-82f2-4711-8b7f-5cef2a116d98" CreationDate="2012-03-15T20:17:33.683" UserId="3199" Text="Are both you and the editor running the same OS? I've had issues relinking .wav OMFs created on a PC into a Mac PT rig. Converting them to .aif in the OMF export process solved the relinking problem.&#xD;&#xA;&#xD;&#xA;Also, I've had unsolvable issues for exports over 20 minutes- any way to break the OMFs into reels?&#xD;&#xA;&#xD;&#xA;Are the regions showing up where they should or is everything all scattered? Has the editor tried re-importing the OMFs into Premiere (or Audition) to make sure they aren't getting messed up on that end?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21581" PostHistoryTypeId="2" PostId="13060" RevisionGUID="abcaa2d9-5f79-4a86-9615-cb291d95db80" CreationDate="2012-03-15T21:14:04.907" UserId="6432" Text="Don't get me wrong... I think the question format of this site is great, but sometimes I discover things ([like this][1]) which I'd like to share in a more conversational way. Also, how many comments have you seen loosely wrapped up as questions just to comply with the rules of the site?&#xD;&#xA;&#xD;&#xA;Perhaps there's another space online where you are all doing this already, if so I'd love to know where, otherwise let's discuss the idea.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/34405214" ContentLicense="CC BY-SA 3.0" />
  <row Id="21582" PostHistoryTypeId="1" PostId="13060" RevisionGUID="abcaa2d9-5f79-4a86-9615-cb291d95db80" CreationDate="2012-03-15T21:14:04.907" UserId="6432" Text="Perhaps SSD needs a chat space??" ContentLicense="CC BY-SA 3.0" />
  <row Id="21583" PostHistoryTypeId="3" PostId="13060" RevisionGUID="abcaa2d9-5f79-4a86-9615-cb291d95db80" CreationDate="2012-03-15T21:14:04.907" UserId="6432" Text="&lt;ssd&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21584" PostHistoryTypeId="2" PostId="13061" RevisionGUID="8a438fa3-08ba-451f-b24d-f51a35d8647b" CreationDate="2012-03-15T21:58:12.410" UserId="730" Text="SSD chat is a great idea +1!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21585" PostHistoryTypeId="5" PostId="13020" RevisionGUID="39444794-27b8-4137-bcd4-06ea925039a2" CreationDate="2012-03-15T22:00:32.447" UserId="842" Comment="added 1192 characters in body" Text="In my opinion the only voices that can be made cartooney in post is chipmunks, smurfs, and shrunken people voices, absolutely everything else (that I can think of right now) is a matter of great and talented voice-actors. It doesn't matter if it's Bugs Bunny, Donald Duck, Weebl, Bart Simpsons, Stimpy, Schwartzenegger, or perhaps Itchy and Scratchy, it's all in the mouth, with little or absolutely no processing other than the usual compressor and EQ.&#xD;&#xA;&#xD;&#xA;EDIT: One thing that, if done right, can sound very good and cartoony, is ventriloquism! When doing voice-acting visual lipflap doesn't matter of course, but the very technique of ventriloquism often gives a very nice &quot;middy&quot; kind of voice often associated with toons, and much of it's character, as far as I know (can't actually do it myself), is actually based in forming the words in other ways than usual, resulting in somewhat different performances.&#xD;&#xA;This song, performed by the late Shari Lewis as both herself and the puppets, shows my point very well!&#xD;&#xA;http://www.youtube.com/watch?v=b4ztfrr8fls&amp;feature=related&#xD;&#xA;&#xD;&#xA;Also, I stick to my opinion that living things needs living voices, but after thinking a little more about it I remembered some inanimate object with voices formed by nice mechanical effects! One is the trains in Disney-movies, for example Dumbo, which is made by placing a kind of more vibrator-esque loudspeaker to the throat and speaking with it playing soundwaves of choice. Reminds a little of vocoders, but way more organic. The other thing is talking springs, for example the one Donald Duck fought in an early short! They're jaw harps, no more, no less :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21586" PostHistoryTypeId="2" PostId="13062" RevisionGUID="bbbd5e58-9870-46f1-a9ba-886e3b5459b1" CreationDate="2012-03-15T22:09:35.217" UserId="3581" Text="Does anyone know where i can find tips and tricks about film mixing: track-layout, plugins etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="21587" PostHistoryTypeId="1" PostId="13062" RevisionGUID="bbbd5e58-9870-46f1-a9ba-886e3b5459b1" CreationDate="2012-03-15T22:09:35.217" UserId="3581" Text="tips and tricks film mixing" ContentLicense="CC BY-SA 3.0" />
  <row Id="21588" PostHistoryTypeId="3" PostId="13062" RevisionGUID="bbbd5e58-9870-46f1-a9ba-886e3b5459b1" CreationDate="2012-03-15T22:09:35.217" UserId="3581" Text="&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21589" PostHistoryTypeId="2" PostId="13063" RevisionGUID="1e50a8c3-b1f5-4225-93e4-8cbc1e7b95ee" CreationDate="2012-03-15T22:47:44.760" UserId="1216" Text="What you could try is importing the OMF in another DAW that allows OMF export and make a new OMF for PT. This has saved me a lot of headaches sometimes. I used Cubase back then, if i remember correctly.&#xD;&#xA;Anyway OMF's can be a real headache, so hope this helps!&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="21590" PostHistoryTypeId="5" PostId="13062" RevisionGUID="13bcdfca-11fa-4e0a-9f60-eeae5e7b49bb" CreationDate="2012-03-15T22:50:04.513" UserId="3581" Comment="added 42 characters in body" Text="Does anyone know where i can find tips and tricks about film mixing: track-layout, using compression or not on dialogue-mix, plugins etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="21591" PostHistoryTypeId="2" PostId="13064" RevisionGUID="abe3bfa4-b6a8-41e3-b4a5-4a435bfe7f74" CreationDate="2012-03-15T22:57:46.680" UserId="18160" Text="I've got 550As and 550Bs in my music studio.&#xD;&#xA;&#xD;&#xA;They sound great on certain things. Other things, not so much. If used with certain pieces of gear they need line drivers because they load down the signal too much.&#xD;&#xA;&#xD;&#xA;I kind of wish they had more frequency options and Qs, but such is the case with most vintage gear. You're not going to use these to cut out offending frequencies, mostly to boost overall high-end or low-end...&#xD;&#xA;&#xD;&#xA;I liken them to the GML EQ - they add a bit of a sandy graininess to the high-end when accentuated.&#xD;&#xA;&#xD;&#xA;Some things like crash cymbals tend to sound great through them. A voice, however, like a VO or close-miked dialogue, sound horrible I've found.&#xD;&#xA;&#xD;&#xA;Good luck in your search." ContentLicense="CC BY-SA 3.0" />
  <row Id="21592" PostHistoryTypeId="2" PostId="13065" RevisionGUID="48245248-d23a-45d6-9599-b688ba00b9ac" CreationDate="2012-03-15T23:05:51.783" UserId="18160" Text="If SSD had a chat space I'd spend my entire workday there and not get any work done..." ContentLicense="CC BY-SA 3.0" />
  <row Id="21593" PostHistoryTypeId="2" PostId="13066" RevisionGUID="bb5a5219-c5b9-4ad8-9552-728794083793" CreationDate="2012-03-16T00:39:32.237" UserId="194" Text="could probably just do it by adding a twitter feed that updates anytime someone tweets @ssd" ContentLicense="CC BY-SA 3.0" />
  <row Id="21594" PostHistoryTypeId="2" PostId="13067" RevisionGUID="a469bc11-b12e-47d5-b9e4-afc5af104195" CreationDate="2012-03-16T02:15:58.217" UserId="3522" Text="Really good. Only comment I would say is to maybe include a few more sections of sound as it would be in the film. The use of sound effects and monologue was very technical and impressive, typical of a hollywood trailer but on their own it became slightly monotonous by the end. &#xD;&#xA;&#xD;&#xA;Kudos! &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21595" PostHistoryTypeId="2" PostId="13068" RevisionGUID="3fecefa3-b4ac-47f2-9f60-2f6bbaae2d36" CreationDate="2012-03-16T04:43:58.033" UserId="3532" Text="Al-righty so film is past deadline.  Editor screwed up giving me a proper .OMF and .MV4 file.  Producer says I'm the guy who's at fault.  Besides giving him the proverbial finger (American) I've got other things to think about.  Like....&#xD;&#xA;&#xD;&#xA;The .EDL file I got from the editor was the one for the final picture lock.  The first audio file (AA) marker on the EDL is a file that is not in the .OMF.  It's not in there at all.  The first file in the . OMF is completely different.  The files that are in the .OMF are in the .EDL but there are these &quot;ghost files&quot; like the one mentioned above that are thick in the .EDL.  &#xD;&#xA;&#xD;&#xA;Is this common?&#xD;&#xA;Might this be my mistake?&#xD;&#xA;Do you think it's even possible to finish with this?&#xD;&#xA;&#xD;&#xA;Somewhere I was trying to remember a way to work with the new cut just from the .OMF file but I can't find it and with this particular piece a lot of Alternate takes have been used.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I was theorizing that there were inactive clips or something that was in the project during .EDL creation." ContentLicense="CC BY-SA 3.0" />
  <row Id="21596" PostHistoryTypeId="1" PostId="13068" RevisionGUID="3fecefa3-b4ac-47f2-9f60-2f6bbaae2d36" CreationDate="2012-03-16T04:43:58.033" UserId="3532" Text="Reading an EDL.  Is it screwed up?  A very murky story." ContentLicense="CC BY-SA 3.0" />
  <row Id="21597" PostHistoryTypeId="3" PostId="13068" RevisionGUID="3fecefa3-b4ac-47f2-9f60-2f6bbaae2d36" CreationDate="2012-03-16T04:43:58.033" UserId="3532" Text="&lt;time&gt;&lt;edl&gt;&lt;omf&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21598" PostHistoryTypeId="5" PostId="13068" RevisionGUID="5f3dfa3f-2ae2-4d6c-a536-bd8e8aa02df7" CreationDate="2012-03-16T05:05:33.930" UserId="3532" Comment="New development" Text="Al-righty so film is past deadline.  Editor screwed up giving me a proper .OMF and .MV4 file.  Producer says I'm the guy who's at fault.  Besides giving him the proverbial finger (American) I've got other things to think about.  Like....&#xD;&#xA;&#xD;&#xA;The .EDL file I got from the editor was the one for the final picture lock.  The first audio file (AA) marker on the EDL is a file that is not in the .OMF.  It's not in there at all.  The first file in the . OMF is completely different.  The files that are in the .OMF are in the .EDL but there are these &quot;ghost files&quot; like the one mentioned above that are thick in the .EDL.  &#xD;&#xA;&#xD;&#xA;Is this common?&#xD;&#xA;Might this be my mistake?&#xD;&#xA;Do you think it's even possible to finish with this?&#xD;&#xA;&#xD;&#xA;Somewhere I was trying to remember a way to work with the new cut just from the .OMF file but I can't find it and with this particular piece a lot of Alternate takes have been used.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I was theorizing that there were inactive clips or something that was in the project during .EDL creation.&#xD;&#xA;&#xD;&#xA;EDIT:: I found out the .EDL is not even from the .OMF that it was supposed to be from but I still have some questions." ContentLicense="CC BY-SA 3.0" />
  <row Id="21599" PostHistoryTypeId="2" PostId="13069" RevisionGUID="e967ce4c-91be-4397-81f1-c54e12a23c2f" CreationDate="2012-03-16T05:37:21.823" UserId="407" Text="Hello, I studied/graduated from Aalto University Media Lab in 2004 - 2006 - before the Sound in New Media course or Aalto University existed. My tutor was Antti Ikonen who now runs the Sound in New Media Course, and we still meet up from time to time to discuss audio related matters. I would definitely recommend it. Aalto University is not one university but 4+ different university's and schools in collaboration, (the art school, technical university, economics school etc.) - so as a student you can choose within reason whichever course you feel you need to graduate. For example I was taking Programming courses at the technical university along side my sound/art courses. If you are looking for a basic audio engineering style of course this is not it (go to the SAE instead :)) - but if you have some good ideas, and are pro-active, you'll get a lot of support and help to achieve you goals." ContentLicense="CC BY-SA 3.0" />
  <row Id="21600" PostHistoryTypeId="2" PostId="13070" RevisionGUID="a1b2fdc9-b17e-4269-9849-af0206701400" CreationDate="2012-03-16T07:31:12.053" UserId="7642" Text="Ive just started on a film featuring a old man who builds models. And they move. :)&#xD;&#xA;Some manually driven by strings and turning wheels, some electric and some mechanical.&#xD;&#xA;Great fun!&#xD;&#xA;But with limited time I wonder if anyone else has done stuff like this before?&#xD;&#xA;Cheating full on is not what I want, I can give it to my foley guys and they will make it move, but I want to do it the perfect way, ie my way :).&#xD;&#xA;&#xD;&#xA;So I need to build a few model parts, to generate some sound.&#xD;&#xA;Where the heck do I start?&#xD;&#xA;&#xD;&#xA;Suggestions on both how to do it or where to find stuff welcome.&#xD;&#xA;I'll start with scrounging my two local thrift stores for stuff to dismantle. I'm thinking old typewriters, stuff with less than perfect bearings etc.&#xD;&#xA;This will generate a shitload of trash when I'm done." ContentLicense="CC BY-SA 3.0" />
  <row Id="21601" PostHistoryTypeId="1" PostId="13070" RevisionGUID="a1b2fdc9-b17e-4269-9849-af0206701400" CreationDate="2012-03-16T07:31:12.053" UserId="7642" Text="Model building To make sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="21602" PostHistoryTypeId="3" PostId="13070" RevisionGUID="a1b2fdc9-b17e-4269-9849-af0206701400" CreationDate="2012-03-16T07:31:12.053" UserId="7642" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21603" PostHistoryTypeId="2" PostId="13071" RevisionGUID="37aa6ce3-42bc-412e-a001-df3fe82ca0f3" CreationDate="2012-03-16T10:36:12.690" UserId="993" Text="If you have any prop/costume friends, ask them where they source their materials. Hopefully that can recommend a recycled art materials store in your area. Plus you can just donate the materials back once you're done with them, so you won't have a pile of rubbish when you're finished. If you happen to be in Australia, there's these two I can recommend: http://www.reversearttruck.com.au/ and http://www.reversegarbage.com.au/ &#xD;&#xA;&#xD;&#xA;If time is short you may want to buy some sound libraries to add to your recordings. The following may suit:&#xD;&#xA;&#xD;&#xA;http://echocollectivefx.com/wordpress/collections&#xD;&#xA;&#xD;&#xA;http://hissandaroar.com/sd006-tortured-piano/&#xD;&#xA;&#xD;&#xA;http://rabbitearsaudio.com/rea009-antique-engines/&#xD;&#xA;&#xD;&#xA;http://rabbitearsaudio.com/rea004-metal-machines/&#xD;&#xA;&#xD;&#xA;http://rabbitearsaudio.com/rea002-small-motors/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21604" PostHistoryTypeId="2" PostId="13072" RevisionGUID="4bbf477b-315a-4016-8f08-18fe8f1c81cc" CreationDate="2012-03-16T11:40:21.903" UserId="6524" Text="I think we should use the Twibe thing @Syndicate Synthetique made in this [post][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/6196/twitter-users-on-here" ContentLicense="CC BY-SA 3.0" />
  <row Id="21605" PostHistoryTypeId="2" PostId="13073" RevisionGUID="ff2e6ef1-899e-4250-9ce7-7b38bea013bf" CreationDate="2012-03-16T11:56:07.507" UserId="6420" Text="Are there any horology schools or similar (clock making) places near you? Might be worth seeing if they'd let you in to record some mechanisms and intricate workings for a few hours ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21606" PostHistoryTypeId="2" PostId="13074" RevisionGUID="3526378c-31a8-4aff-9b53-99cfec3dcbfb" CreationDate="2012-03-16T12:11:31.787" UserId="3586" Text="how to set trim, pre-amp level, in DEVA 5.8 recorder on location for condensor and lapel mikes?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21607" PostHistoryTypeId="1" PostId="13074" RevisionGUID="3526378c-31a8-4aff-9b53-99cfec3dcbfb" CreationDate="2012-03-16T12:11:31.787" UserId="3586" Text="Trim levels in Deva 5.8 channels" ContentLicense="CC BY-SA 3.0" />
  <row Id="21608" PostHistoryTypeId="3" PostId="13074" RevisionGUID="3526378c-31a8-4aff-9b53-99cfec3dcbfb" CreationDate="2012-03-16T12:11:31.787" UserId="3586" Text="&lt;line-level&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21609" PostHistoryTypeId="2" PostId="13075" RevisionGUID="d8a4f7fb-9459-428c-a691-ab01cccaffb0" CreationDate="2012-03-16T12:31:43.817" UserId="432" Text="You can do two things. There is a &quot;fader assign&quot; menu that let's you map the front knobs to the individual channel strips (you can even assign multiple channels to one knob, which is a nice feature if you're doing things like stereo recording). The knobs can be configured to control both input and output faders. Just make sure you keep track of how you set them. For the second option, you can also assign the touch screen to display the faders for the channels.&#xD;&#xA;&#xD;&#xA;A related item for you is the trim control in the individual channel setups (where you activate 48v phantom power). There is a fader on that screen that adjusts the overall gain range for that channel, though it's meant to be set and left alone for the remainder of the shoot. You should use the faders to control record." ContentLicense="CC BY-SA 3.0" />
  <row Id="21610" PostHistoryTypeId="2" PostId="13076" RevisionGUID="207d0fc3-9d69-4701-81e9-74a32836c093" CreationDate="2012-03-16T12:42:50.423" UserId="432" Text="Yes, you can get &quot;ghost&quot; audio entries in EDL's. It can happen when graphics screens (i.e. titles, lower thirds, etc.) are created within the editing software, when slugs or full screen colors are dropped on the timeline, or if there's B-roll/L-cuts happening. And all of that can depend on...&#xD;&#xA;&#xD;&#xA;The fact that there are also multiple formats of EDL's, which all present slightly different information. That's why it's a good idea to test out post-production workflows anytime you're being teamed up with an editor you haven't worked with before. Push for that in the future if you can, because it will save you some headaches.&#xD;&#xA;&#xD;&#xA;If you get it sorted out, write it down somewhere for future reference. That way you can request specific formats in the future that you know will work. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21611" PostHistoryTypeId="2" PostId="13077" RevisionGUID="6e374da9-40c0-49ad-b8d3-8075a5b960f8" CreationDate="2012-03-16T13:16:51.467" UserId="3587" Text="I know that panning in a DAW is basically just turning the right/left channel up, making the sound pressure in one ear greater than the other.&#xD;&#xA;But as far as I know, in the real world, the perception of directionality doesn't come from a difference in volume as much as a tiny delay in the time of arrival from one ear to the other.&#xD;&#xA;&#xD;&#xA;I have tried manually phase delaying one channel half a milisecond or so, and it did work to an extend (making the sound seem like it came from the left), but it made the sound thin and not very nice. I'm guessing there is more to it than that :-)&#xD;&#xA;&#xD;&#xA;Is it possible to fake this delay in a convincing way, and if so are there any VST plugins for stereo panning that takes it into account, and perhaps other factors too that I don't know about?&#xD;&#xA;And what are the problems with doing so, since it doesn't seem to be very widespread? I can imagine that there's a reason no daws seem to have it as a default panning option, what am I missing?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21612" PostHistoryTypeId="1" PostId="13077" RevisionGUID="6e374da9-40c0-49ad-b8d3-8075a5b960f8" CreationDate="2012-03-16T13:16:51.467" UserId="3587" Text="Does &quot;true&quot; stereo panning exist?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21613" PostHistoryTypeId="3" PostId="13077" RevisionGUID="6e374da9-40c0-49ad-b8d3-8075a5b960f8" CreationDate="2012-03-16T13:16:51.467" UserId="3587" Text="&lt;stereo&gt;&lt;phase&gt;&lt;delay&gt;&lt;time&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21614" PostHistoryTypeId="2" PostId="13078" RevisionGUID="bc3d47f6-8cb9-4156-898f-3d9162381776" CreationDate="2012-03-16T14:31:26.647" UserId="432" Text="First off, your understanding of the perception of directionality is a little flawed. Yes, &quot;Interaural Time Difference&quot; (ITD) affects our ability to localize, but so does &quot;Interaural Level Difference&quot; (ILD). Our brain makes use of both, because each lose effectiveness outside of certain frequency ranges. We need both mechanisms to localize across the frequency spectrum. High frequency sounds are prone to lose energy faster than lower frequency sounds. ILD helps localize high frequency sounds, and ITD helps localize low frequency sounds. It's not a hard cut crossover between the two; there's a lot of overlap. So we use both to cover a large chunk of the audible spectrum.&#xD;&#xA;&#xD;&#xA;The problem you may be running into with using delays to pan is that each person has a unique HRTF (Head Related Transfer Function); due to the shape of the head, amount of hair, shape and position of the ears, etc.. Though I suppose that could also apply to the perception of level difference, so I don't know. Personally, I've found delays to be useful as a low dsp method of creating space (i.e. reverb). Any delay approaching 30ms will start to sound like an echo, but it can be very effective in the 5 to 20ms range. It's important to have a difference in volume between the two channels (or pairs of channels) as well. It's a useful method when you don't need a complex space, but need it to sound a little more &quot;alive.&quot;&#xD;&#xA;&#xD;&#xA;You might by interested in some of the things going on in &quot;wave-field synthesis.&quot; They're using arrays of speakers to create &quot;holographic&quot; sound images; sounds that appear to be coming from a localized point within a three dimensional space. The theories and discussion all sound very interesting (though way over my head), and I'd love the chance to experience it. Probably way to complex for getting it into theatrical and home environments though." ContentLicense="CC BY-SA 3.0" />
  <row Id="21615" PostHistoryTypeId="2" PostId="13079" RevisionGUID="7c3778f3-2f10-4884-83a9-0b055e1cb85e" CreationDate="2012-03-16T15:31:46.053" UserId="3545" Text="Hi, &#xD;&#xA;&#xD;&#xA;I am currently working on sample sound effects libraries powered by Kontakt, EXS24 and Structure and I'm looking for suggestions. &#xD;&#xA;&#xD;&#xA;From your point of view, what would be useful and complementary to conventional of sound effects libraries.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="21616" PostHistoryTypeId="1" PostId="13079" RevisionGUID="7c3778f3-2f10-4884-83a9-0b055e1cb85e" CreationDate="2012-03-16T15:31:46.053" UserId="3545" Text="Sound effects suggestions requested" ContentLicense="CC BY-SA 3.0" />
  <row Id="21617" PostHistoryTypeId="3" PostId="13079" RevisionGUID="7c3778f3-2f10-4884-83a9-0b055e1cb85e" CreationDate="2012-03-16T15:31:46.053" UserId="3545" Text="&lt;sfx&gt;&lt;sound-effects&gt;&lt;sound-design&gt;&lt;sampler&gt;&lt;kontakt&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21618" PostHistoryTypeId="2" PostId="13080" RevisionGUID="0aa49000-5aeb-41b7-823c-3c76331c8688" CreationDate="2012-03-16T16:12:38.500" UserId="37" Text="take the headphones off and everything goes back to the way it should be...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21619" PostHistoryTypeId="2" PostId="13081" RevisionGUID="2f98b617-7a6d-4fff-88af-c44508de8dfc" CreationDate="2012-03-16T17:37:24.027" UserId="3519" Text="I would suggest Omnisphere. &#xD;&#xA;I think it might be a good complement. &#xD;&#xA;It combines synth and sample sounds in a very interesting way.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21620" PostHistoryTypeId="2" PostId="13082" RevisionGUID="b23e8f00-a982-40b4-b7b7-45a287cac425" CreationDate="2012-03-16T17:43:51.073" UserId="6432" Text="Perhaps it's worth trying the demo of [Wave-arts Panorama 5][1]. It uses the HRTF technique which Shaun describes plus what it calls &quot;acoustic environment modeling&quot;. I've been meaning to give it a try myself. I think this technique is computationally too expensive to replace conventional panning on every track of your Daw, and probably less useful for music based applications. Seems like the effect is also much better with headphones. &#xD;&#xA;  [1]: http://wavearts.com/products/plugins/panorama/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21621" PostHistoryTypeId="2" PostId="13083" RevisionGUID="aff48ae7-be25-412c-92d6-abec959a6fe3" CreationDate="2012-03-16T18:01:27.077" UserId="253" Text="Good work, your scoring sounded pretty appropriate for the trailer, and i did feel an ebb and flow of tension, which is like the backbone of good sound design.&#xD;&#xA;&#xD;&#xA;The first thing that i felt could have been improved is the build-up at the end. It sounded like you went for the whole crazy buildup and cut that many trailers climax with. I felt that it didn't build up enough, and the silence at the end could be made more powerful with a bigger, crazier crescendo before it.&#xD;&#xA;&#xD;&#xA;You had some pretty good wolf vocalisations, but i felt that they were a bit reserved; maybe you could bring them out more. I'm not presuming that this is what you've done, but i used to find that when i wasn't totally happy with an effect i'd created, i had a tendency to push it down in the mix. This is a mistake. Your key FX need to really stand out, especially in action and suspense sequences.&#xD;&#xA;&#xD;&#xA;Also, i think the trailer would have benefited from more details. It's time consuming, but good sound design comes, in part, from all the little (and big) aural details. Some are more important than others, but it's not always clear which is which until you've auditioned them.&#xD;&#xA;&#xD;&#xA;All in all, nice work. And good on you for posting an example for the world to critique! No one ever got good at anything by doing it perfectly the first time." ContentLicense="CC BY-SA 3.0" />
  <row Id="21622" PostHistoryTypeId="2" PostId="13084" RevisionGUID="c79bff5a-dfb4-45cd-a4ec-26a55b30517f" CreationDate="2012-03-16T18:35:30.297" UserId="3588" Text="This is a great result for an early project and it sounds like you're in the right place. Having said that, here are a few tips for your consideration.&#xD;&#xA;&#xD;&#xA;The wolves sounded like they could use a little boost in the lower end to beef them up a little and attenuation on the high end to localize them more. Another trick is to duplicate the sound on another track, pitch the duplicate down about an octave and then you can blend that in. Be sure to keep an ear out for artifacting with vocal sounds like the wolves. This is also a good trick to use sparingly on percussive hits. &#xD;&#xA;&#xD;&#xA;Another thing that I heard was some clipping. It didn't sound like you were over-driving the digital channels, but it was more in the breaks in sound. I noticed it in some of the dialog, score and effect sounds. Make sure that you have small fades on both the top and tail end of the sound regions just a few milliseconds will do. Another trick if you want to have a fluttering effect like you did with what sounded like a hawk sound and in the score during the dissonant crescendo towards the end is side-chain dynamic processing. There are two approaches to it, depending on your desired result. One is to have the sound go through a gate and send a signal to the side-chain of the gate to allow the gate to open. The other approach is to do the same thing, but with a compressor, so that the level is attenuated by the side-chain signal and then have a gate after that. Either approach, make sure you adjust your attack and release times to loose the clipping at the open and close points. The first approach would probably be the one to give you the result you would want for this particular approach.&#xD;&#xA;&#xD;&#xA;I hope you find these tips useful. Good luck with your future endeavors!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21623" PostHistoryTypeId="2" PostId="13085" RevisionGUID="0216c089-300c-4da7-8a4c-62b440a52530" CreationDate="2012-03-16T20:08:37.500" UserId="2309" Text="I guess is not done often because mono compatibility concerns. Delay introduces all sort of phase issues.  Mono is important in broadcast.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21624" PostHistoryTypeId="2" PostId="13086" RevisionGUID="62f351f5-fe8d-4b28-96be-21787e8a8c89" CreationDate="2012-03-16T21:59:46.693" UserId="2" Text="Actually, this is something that will more than likely be happening in the next few months... Just a heads up ;-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21625" PostHistoryTypeId="2" PostId="13087" RevisionGUID="bfb1644b-9e42-45cf-b7b7-6a9ff47e94dd" CreationDate="2012-03-16T22:21:13.977" UserId="3104" Text="First off, thanks for all your help for everyone that tried to answer my question. Earlier today I imported a new OMF that the editor got from Audition. He exported another OMF that he handed off to me yesterday, with a whole new set of audio files. Lo and behold, once I imported this OMF, it finally worked! I'm assuming that the reason why PT wasn't responding to all of the other OMF's was because it wasn't recognizing particular metadata or was just incomparable because they're built differently. Now that I know this, I will definitely pass on this info and make sure that no one else has this problem ever come up again.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="21626" PostHistoryTypeId="5" PostId="13079" RevisionGUID="674d4a74-10e0-48de-b95d-1756b745c3b0" CreationDate="2012-03-17T01:41:30.333" UserId="3545" Comment="deleted 3 characters in body" Text="Hi, &#xD;&#xA;&#xD;&#xA;I am currently developping a sample foley/sound effects library for Kontakt, EXS24 and Structure and I'm looking for suggestions. &#xD;&#xA;&#xD;&#xA;From your point of view, what would be useful and complementary to conventional sound effects libraries.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="21627" PostHistoryTypeId="2" PostId="13088" RevisionGUID="123a8be9-9488-4761-af0f-82fbfcb9c767" CreationDate="2012-03-17T07:51:50.960" UserId="1027" Text="Not sure if you're looking for material on post or location... but I'm currently reading &quot;S. Dean Miles - Location Audio Simplified&quot;, and can already say that only halfway through the book, I've learned tonnes! &#xD;&#xA;&#xD;&#xA;I highly recommend it (you can see some sample pages on Trew Audio's website):&#xD;&#xA;[http://www.trewaudio.ca/store/product.php?productid=768][1]&#xD;&#xA;[http://www.locationaudiosimplified.com/BookStore2010.html][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.trewaudio.ca/store/product.php?productid=768&#xD;&#xA;  [2]: http://www.locationaudiosimplified.com/BookStore2010.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="21628" PostHistoryTypeId="2" PostId="13089" RevisionGUID="6d9b1682-5ff0-4b10-bfed-5390b795699f" CreationDate="2012-03-17T09:19:20.563" UserId="6524" Text="If you can wait for a while Ric Viers' nearly done with his new book which is unofficially titled &quot;The Location Sound Bible&quot; which is supposed to cover sound mixing and stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="21630" PostHistoryTypeId="2" PostId="13091" RevisionGUID="f8ec1ff3-84ec-4fbc-887e-a4719a7435cb" CreationDate="2012-03-17T21:51:11.890" UserId="3230" Text="@g.a.harry    Not sure how this would go through if I commented directly on my previous answer above....  Still a bit new to this forum format.    &#xD;&#xA;&#xD;&#xA;I finished the audio drama pilot!  You can listen to it here on SoundCloud. [http://soundcloud.com/northernlightsmedia/my-fair-lady-northern-lights][1]   &#xD;&#xA;&#xD;&#xA;That project offered SO many &quot;firsts&quot; for me as a producer/engineer.  It was a blast to run, and I hope that I'll be working more in the future.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/northernlightsmedia/my-fair-lady-northern-lights" ContentLicense="CC BY-SA 3.0" />
  <row Id="21631" PostHistoryTypeId="5" PostId="13091" RevisionGUID="2bace400-6c9c-4936-9b31-3da7e93aa72d" CreationDate="2012-03-18T01:47:14.653" UserId="3230" Comment="added 10 characters in body" Text="@g.a.harry    Not sure how this would go through if I commented directly on my previous answer above....  Still a bit new to this forum format.    &#xD;&#xA;&#xD;&#xA;I finished the audio drama pilot!  You can listen to it here on SoundCloud. [http://soundcloud.com/northernlightsmedia/my-fair-lady-northern-lights][1]   &#xD;&#xA;&#xD;&#xA;That project offered SO many &quot;firsts&quot; for me as a producer/engineer.  It was a blast to run, and I hope that I'll be working with them more in the future.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/northernlightsmedia/my-fair-lady-northern-lights" ContentLicense="CC BY-SA 3.0" />
  <row Id="21632" PostHistoryTypeId="2" PostId="13092" RevisionGUID="9bc0ae55-d35d-410f-a6a9-a0ec07e7447f" CreationDate="2012-03-18T07:49:45.947" UserId="3596" Text="Another Antonioni one, 'Blow Up', the sound of the leaves rustling with the wind when the photographer discovers the dead body in the park at night, and realises that he didn't prevent the murder. So serene and creepy." ContentLicense="CC BY-SA 3.0" />
  <row Id="21633" PostHistoryTypeId="2" PostId="13093" RevisionGUID="81e97e24-9a41-42eb-872a-6358b29a6398" CreationDate="2012-03-18T09:41:33.690" UserId="3299" Text="A superfluously surreal example is the murder of Paul Allen in *American Psycho* to 'Huey Lewis and the News'. It's so viciously funny!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21634" PostHistoryTypeId="2" PostId="13094" RevisionGUID="1de83ee7-7cde-4852-ba62-d89114003479" CreationDate="2012-03-18T16:00:56.070" UserId="1153" Text="Thrift/Second hand stores are definitely the right direction to go for this. Perhaps carboot sales as well? You may find that broken or incorrectly working mechanisms on clocks, toys and other similar items may produce more interesting and unique sounds, something that you could then mix with fully working mechanisms to give the appearance of full function but with added 'character'.&#xD;&#xA;&#xD;&#xA;Another place to search for such things would be eBay as there's always something like these items going, even not in fully working condition being sold for spares/repairs.&#xD;&#xA;&#xD;&#xA;Have you heard of Mechano? Simply put it's like Lego with metal but has nuts and screws. These normally feature motors etc which may be useful. You could also manipulate the metal (e.g. rubbing two pieces past each other that are joined together via a mediumly tightened nut and screw) to get some 'one-shot' style samples that you could than build mechanism sounds from in a DAW.&#xD;&#xA;&#xD;&#xA;At the end of the project don't think of it as trash, think of it as future source material!&#xD;&#xA;&#xD;&#xA;Good Luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21635" PostHistoryTypeId="2" PostId="13095" RevisionGUID="817a3978-fbf5-423f-a2d0-f319db5dbba8" CreationDate="2012-03-18T16:21:18.497" UserId="3525" Text="Thanks guys for the feedback well appreciated I'll be posting more soon keep the constructive criticism coming!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21636" PostHistoryTypeId="2" PostId="13096" RevisionGUID="1736f8ce-5e23-4691-9203-74258cd63c93" CreationDate="2012-03-18T17:28:04.050" UserId="587" Text="Sup people&#xD;&#xA;&#xD;&#xA;Fmod has a music system - parameter based &quot;cue &lt; theme &lt; file&quot; type graphical layout. Almost Unreal Editor / fancy MaxMSP style setup thats geared strictly for interactive music.&#xD;&#xA;&#xD;&#xA;However, they also have another way of implementing music through the event editor. I've seen people straight up create multi-track events with individual files referenced and manipulating the playhead of the music with parameters -&#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;Again, using the event editor - dragging in a multi-channel file (say a 10 channel - 5 stereo files), baked with audacity or another software, that simply crossfades between sets of channels using 1 parameter.&#xD;&#xA;&#xD;&#xA;**My question is:**&#xD;&#xA;&#xD;&#xA;When do you use the interactive music player built into Fmod, and when do you use the event editor? What are the system resource advantages/disadvantages of using either/or?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21637" PostHistoryTypeId="1" PostId="13096" RevisionGUID="1736f8ce-5e23-4691-9203-74258cd63c93" CreationDate="2012-03-18T17:28:04.050" UserId="587" Text="Fmod Music Options" ContentLicense="CC BY-SA 3.0" />
  <row Id="21638" PostHistoryTypeId="3" PostId="13096" RevisionGUID="1736f8ce-5e23-4691-9203-74258cd63c93" CreationDate="2012-03-18T17:28:04.050" UserId="587" Text="&lt;game-audio&gt;&lt;fmod&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21639" PostHistoryTypeId="5" PostId="13093" RevisionGUID="4516b3c3-184e-44a5-ac12-9cfd44074bf9" CreationDate="2012-03-18T17:36:38.443" UserId="3299" Comment="deleted 5 characters in body" Text="An overtly surreal example is the murder of Paul Allen in *American Psycho* to 'Huey Lewis and the News'. It's so viciously funny!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21640" PostHistoryTypeId="5" PostId="13096" RevisionGUID="4bcbb2e6-05f8-4d35-8715-7c171e292efb" CreationDate="2012-03-18T19:25:08.377" UserId="587" Comment="clarification" Text="Sup people&#xD;&#xA;&#xD;&#xA;Fmod has a music system - parameter based &quot;cue &lt; theme &lt; file&quot; type graphical layout. Almost Unreal Editor / fancy MaxMSP style setup thats geared strictly for interactive music.&#xD;&#xA;&#xD;&#xA;However, they also have another way of implementing music through the event editor. I've seen people straight up create multi-track events with individual files referenced and manipulating the playhead of the music with parameters -&#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;Again, using the event editor - dragging in a multi-channel file (say a 10 channel - 5 stereo files), baked with audacity or another software, that simply crossfades between sets of channels using 1 parameter.&#xD;&#xA;&#xD;&#xA;**My question is:**&#xD;&#xA;&#xD;&#xA;When do you use the interactive music player built into Fmod, and when do you use the event editor for implementing music? What are the system resource advantages/disadvantages of using either/or?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21641" PostHistoryTypeId="2" PostId="13097" RevisionGUID="0728b2f9-ad5b-415e-909c-7d6440a0e75c" CreationDate="2012-03-18T23:07:44.240" UserId="3299" Text="After many failed attempts to view it before, I finally sat down and watched Hitchcock's *Rear Window*&#xD;&#xA;&#xD;&#xA;During the build up to Jimmy Stewart being confronted by the murderer, the scene struck me as almost completely the same as the scene in which Josh Brolin's character is confronted by Javier Bardem's Anton Chigurh at the hotel room in *No Country for Old Men*, a scene which has already been discussed here numerous times.&#xD;&#xA;&#xD;&#xA;What other films have such homage in them (intended or not), and without it being a spoof! (Just to eliminate all the *[Insert adjective here] Movie* series and most of Leslie Nielsen's back catalogue!)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21642" PostHistoryTypeId="1" PostId="13097" RevisionGUID="0728b2f9-ad5b-415e-909c-7d6440a0e75c" CreationDate="2012-03-18T23:07:44.240" UserId="3299" Text="List of Mimetic Scenes" ContentLicense="CC BY-SA 3.0" />
  <row Id="21643" PostHistoryTypeId="3" PostId="13097" RevisionGUID="0728b2f9-ad5b-415e-909c-7d6440a0e75c" CreationDate="2012-03-18T23:07:44.240" UserId="3299" Text="&lt;film&gt;&lt;art&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21647" PostHistoryTypeId="2" PostId="13099" RevisionGUID="c3b19e2e-7888-4096-ad67-05951d822b6f" CreationDate="2012-03-19T05:40:44.003" UserId="6460" Text="I would love to hear about your progress as well! The masters sound design program I am part of is planning to mount a performance of live &quot;radio&quot; drama next year (no costumes, sets, or lighting, just sound). Although the live aspect makes our project quite different from yours I'd love to hear about your experiences working with the actors, preparing sound effects and mixing it all.&#xD;&#xA;Cheers!&#xD;&#xA;~Matt " ContentLicense="CC BY-SA 3.0" />
  <row Id="21648" PostHistoryTypeId="2" PostId="13100" RevisionGUID="5d31314e-48f2-44e4-a523-3eb70653cac8" CreationDate="2012-03-19T07:19:11.847" UserId="2504" Text="Hey Guys &#xD;&#xA;I don't know if you can help, am at the end of a film, ready to send it in to submit for a festival, the festival wants the video in NTSC format and when we did the conversion from pal to ntsc  the sounds pitch went higher, like we expected it to, but I am not sure quite how to fix it, the frame rate was converted from 25fps to 30fps, I did search SSD for this question and it did bring up something it just didn't really help, what i'm asking is there any step by step solution to this using pro tools 9? &#xD;&#xA;Would really appreciate any help thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21649" PostHistoryTypeId="1" PostId="13100" RevisionGUID="5d31314e-48f2-44e4-a523-3eb70653cac8" CreationDate="2012-03-19T07:19:11.847" UserId="2504" Text="Pal To Ntsc conversion" ContentLicense="CC BY-SA 3.0" />
  <row Id="21650" PostHistoryTypeId="3" PostId="13100" RevisionGUID="5d31314e-48f2-44e4-a523-3eb70653cac8" CreationDate="2012-03-19T07:19:11.847" UserId="2504" Text="&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21651" PostHistoryTypeId="2" PostId="13101" RevisionGUID="ed473f7a-d23c-4d84-a8a8-36a2eb16bcc0" CreationDate="2012-03-19T11:13:22.380" UserId="3603" Text="Hi! Did your film start as a film at 24fps or a video 25fps PAL? If so the pitch shift is 0.1% and barely noticeable. If you do a PAL 25fps to NTSC 29.97 (running at 23,976) then you will suffer a greater than 4% reduction is speed and pitch. The pitch can be fixed but your music runs slower and your edits will have had the pace taken off them in places. A number of programs can fix the pitch, the speed change requires judicious re-editing, that if your target was cinema in the first place, should have taken place at 24fps not 25fps.&#xD;&#xA;Best, Ray" ContentLicense="CC BY-SA 3.0" />
  <row Id="21652" PostHistoryTypeId="2" PostId="13102" RevisionGUID="bc453d77-d7fa-4701-8de4-7c1d01d5c516" CreationDate="2012-03-19T12:09:01.367" UserId="432" Text="Well, you're not really going to 30fps...you're going to either 29.97 (or maybe 23.98). I realize you may just be rounding, but who knows what newbies are out there looking at this page? Don't want them to get confused. ;)&#xD;&#xA;&#xD;&#xA;Just pitch shift your finished mix by the inverse percentage of the pull-down (i.e. here you're talking about a 4.1% pull-down, so pitch your mix up by 4.1%). If you feel you need step-by-step instructions, [this article might be useful][1]. *[Note: The article talks about doing your pull-up/pull-down on import...yes, you can do this on export if you choose to &quot;Bounce&quot; the audio instead of an internal re-record. If you've already made the speed conversion, you don't need to do it again. Don't make the mistake of doing it twice.]*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://protools.dudesnetwork.com/2009/05/18/audio-pull-updown/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21653" PostHistoryTypeId="2" PostId="13103" RevisionGUID="4b74da41-dd0b-4e2f-a0fc-372f118a9273" CreationDate="2012-03-19T12:46:56.207" UserId="2504" Text="Thanks guys! I actually asked this question a bit prematurely, was quite frantic trying to problem solve at the time, turned out the picture wasn't acceptable as well after that conversion was far too quick, we originally tried from 25 fps to 29.97, so we then tried 25 fps to 23.98 fps, the sound pitch was better but they     just     spoke     so     slowly, we ended up finding Jes deinterlacer and that converted the entire project picture and sound to ntsc quite successfully. Thanks once again!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21654" PostHistoryTypeId="2" PostId="13104" RevisionGUID="3bb59874-2f90-467a-ae1c-ed5066415cf3" CreationDate="2012-03-19T18:23:08.737" UserId="315" Text="The [Odessa Steps sequence][1] in Battleship Potemkin is a famous one. It's been revisited in The Untouchables, The Godfather, Brazil, Star Wars Episode III and others...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/The_Battleship_Potemkin#The_Odessa_Steps_sequence" ContentLicense="CC BY-SA 3.0" />
  <row Id="21655" PostHistoryTypeId="2" PostId="13105" RevisionGUID="ec69ff6f-8a7d-4c2b-a5eb-6c9e0b34a08c" CreationDate="2012-03-20T03:32:12.540" UserId="3532" Text="When you are SFX editing placing effect like cars, horns, construction, birds, etc...&#xD;&#xA;&#xD;&#xA;Say you have all of these recorded you've got them in a pallet of sorts and they are from different places.  Some from a library, some personally recorded, and some from Wild Sound.  Say for example they are all either in a city or a suburb meaning they have extraneous noise like city wash or other stuff.&#xD;&#xA;&#xD;&#xA;When you prepare these SFX for print after the edit, do you make sure that they are Noise reduced?  If they aren't noise reduced, do you use some kind of fitting method to make the mix fit into them?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21656" PostHistoryTypeId="1" PostId="13105" RevisionGUID="ec69ff6f-8a7d-4c2b-a5eb-6c9e0b34a08c" CreationDate="2012-03-20T03:32:12.540" UserId="3532" Text="How do you make your spot SFX fit in the mix?  (Honks, construction, birdies)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21657" PostHistoryTypeId="3" PostId="13105" RevisionGUID="ec69ff6f-8a7d-4c2b-a5eb-6c9e0b34a08c" CreationDate="2012-03-20T03:32:12.540" UserId="3532" Text="&lt;edit&gt;&lt;sfx&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21658" PostHistoryTypeId="5" PostId="13105" RevisionGUID="c26fd798-e311-4351-82e9-f3de2c5e1ebb" CreationDate="2012-03-20T03:45:36.367" UserId="3532" Comment="added 242 characters in body" Text="When you are SFX editing placing effect like cars, horns, construction, birds, etc...&#xD;&#xA;&#xD;&#xA;Say you have all of these recorded you've got them in a pallet of sorts and they are from different places.  Some from a library, some personally recorded, and some from Wild Sound.  Say for example they are all either in a city or a suburb meaning they have extraneous noise like city wash or other stuff.&#xD;&#xA;&#xD;&#xA;When you prepare these SFX for print after the edit, do you make sure that they are Noise reduced?  If they aren't noise reduced, do you use some kind of fitting method to make the mix fit into them?&#xD;&#xA;&#xD;&#xA;What I've been doing is slight Noise Reduction and what I havn't been doing is dynamically EQing them to bring back some of the life.  The result is a somewhat space monkeyed and less originally vibrant sound that has less background noise.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21659" PostHistoryTypeId="2" PostId="13106" RevisionGUID="64ccc978-65d8-4b52-9017-754acaaff93f" CreationDate="2012-03-20T03:56:34.863" UserId="1241" Text="(Based on how you phrased your question, I assume you're talking about FMOD Designer, rather than FMOD Ex.)&#xD;&#xA;&#xD;&#xA;Long story short, the music system is better for music... unless you want to do something complicated.&#xD;&#xA;&#xD;&#xA;The music system is much more efficient resource-wise than the event system could ever hope to be, and it's specifically designed for sample-accurate stitching and precise timing. However, the price tag is that it lacks most of the event system's features and has a somewhat unintuitive interface.&#xD;&#xA;&#xD;&#xA;The event system has a whole bunch more features, and the ability to automate effects based on game parameters means there's a lot more options available for controlling sound... but the event editor doesn't allow you to seek within a sample, and events can suffer from latency and delays that don't exist in the music system. Those two issues can kill a lot of interactive music ideas before they get off the ground.&#xD;&#xA;&#xD;&#xA;It has been announced on the [FMOD forums][1] that the upcoming FMOD Studio will address the problems of the event editor and the interactive music system. I could tell you how, but I work for Firelight Technologies, and it'd seem too much like a plug.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fmod.org/forum/viewtopic.php?f=8&amp;t=14867" ContentLicense="CC BY-SA 3.0" />
  <row Id="21661" PostHistoryTypeId="2" PostId="13108" RevisionGUID="e6813a20-1e25-49fc-8fd2-ae2e69cdfa65" CreationDate="2012-03-20T09:24:14.357" UserId="542" Text="Since I dont own any good (interpolation) noise reduction software I only use volume and EQ automation as well as some very slight mutliband expansion. &#xD;&#xA;But it totally depends on the sound and where it is used. For example some cars edited into some city ambience can hide in the overall noise. Even though it's not the ideal way (cause you raise the overall noise) it works for me right now. I think the best way is to have good recordings that dont need to be edited and processed too much.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;...on the other hand: I'm pretty bad in mixing, so I may not be the best person to listen to =)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21662" PostHistoryTypeId="2" PostId="13109" RevisionGUID="0cf94729-8e8c-4a67-a738-97f8985440bf" CreationDate="2012-03-20T12:13:26.787" UserId="3444" Text="I think the best way to get isolated sounds, is to record your sound in a controlled environment and get as little background as possible. The other option is to record or find an environment that contains exactly the elements you're looking for. This will avoid over processing your mix just to make random elements work together. In the long run probably a quicker solution.&#xD;&#xA;&#xD;&#xA;I rarely use noise reduction tools to remove anything more than roomtone (computer hum, building rumble, ac units). Izotope rx is definitely my go to plug-in. The more you reduce the more artifacts you introduce, which can be even worst than simply lowering the volume, eq'ing your file to the desired frequency. &#xD;&#xA;&#xD;&#xA;Smooth fades and cross fades, as well as global reverbs can help mesh your sounds together for a more unified environment. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21663" PostHistoryTypeId="2" PostId="13110" RevisionGUID="d23aacd5-336f-4e63-9bcd-9486633627fd" CreationDate="2012-03-20T12:54:17.777" UserId="6460" Text="I agree with Alexandre that NR processing can be detrimental to the sound quality. In general, I tackle backgrounds and wild FX in this order:&#xD;&#xA;&#xD;&#xA; 1. Use volume - Put the sound or sounds at an appropriate volume and see if the background noise is an issue. Make sure the entrance and exit (fade in/fadeout) of the sound is appropriate for the sound and for the context. Sometimes this is all the effect needs to blend, and offers the most clarity.&#xD;&#xA; 2. Use space - If volume adjustment still doesn't fix the perspective, put a bit of an appropriate reverb/delay on the sound to push it back into the scene. Try making the aux send &quot;pre-fader&quot;, then you can physically balance the level of the two faders to find the result you are looking for.&#xD;&#xA; 3. Use dynamics control - One of my favorite signal chains for backgrounds is to have all of the specifics on a single bus and to put a compressor on that bus. If the backgrounds need to be more subtle and blend in with the background, then push the individual sounds up in level (pushing the compressor harder) and pull down the bus level. If you want more clarity in the specific effects, do the opposite.&#xD;&#xA; 4. EQ - This is the point when I turn to EQ. Even now, I only use it subtly and to shape, not completely alter, the sound. Of course, if you know that the sound was recorded poorly, or has a lot of low frequency, then you'll know if it needs corrective EQ.&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;~Matt&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21664" PostHistoryTypeId="2" PostId="13111" RevisionGUID="61c90a61-22cf-4da8-bd1f-6710c9201bf2" CreationDate="2012-03-20T13:35:15.213" UserId="3587" Text="I recently got myself a Zoom H2n which I'm using for general recording purposes.&#xD;&#xA;It has a build-in mid-side recording feature along with normal XY stereo recording.&#xD;&#xA;From what I can read, there are only advantages to using mid-side recording. It's 100% mono compatible and it makes the stereo field easily adjustable in editing. The only disadvantage seems to be the inconvenience in setting up the microphones and decoding the signal, which is pretty much a non-issue with the Zoom recorder.&#xD;&#xA;&#xD;&#xA;So are there any disadvantages to mid-side recording? Are there any situations where I would be better off switching the Zoom H2n to XY recording mode instead of mid-side?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21665" PostHistoryTypeId="1" PostId="13111" RevisionGUID="61c90a61-22cf-4da8-bd1f-6710c9201bf2" CreationDate="2012-03-20T13:35:15.213" UserId="3587" Text="Is mid-side always better than XY?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21666" PostHistoryTypeId="3" PostId="13111" RevisionGUID="61c90a61-22cf-4da8-bd1f-6710c9201bf2" CreationDate="2012-03-20T13:35:15.213" UserId="3587" Text="&lt;stereo&gt;&lt;mid-side&gt;&lt;zoom&gt;&lt;h2n&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21667" PostHistoryTypeId="2" PostId="13112" RevisionGUID="1d183a11-f898-4c4b-8983-e1e504fad931" CreationDate="2012-03-20T13:52:44.693" UserId="3299" Text="Without meaning to denigrate your question, there is no point in asking is &quot;X&quot; better than &quot;Y&quot; when it comes to mic technique (among other things); the source decides what technique you should use. Breaking it down to a list of pros and cons doesn't account for the salient and hard to define characteristic that a specific mic technique will lend a recording. You will get different results with different mic technique, and it is dependent on the amount of experience and expertise one has to decide which technique will best lend itself to recording a given source." ContentLicense="CC BY-SA 3.0" />
  <row Id="21668" PostHistoryTypeId="2" PostId="13113" RevisionGUID="53f07e04-2072-4235-b18e-a31d2fef7149" CreationDate="2012-03-20T14:00:34.377" UserId="3442" Text="What do you want to record? &#xD;&#xA;&#xD;&#xA;I like using mid-side for super directional recordings, where you want to adjust the room/place you are recording. Try recording speak with mid-side, it's really cool.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21669" PostHistoryTypeId="5" PostId="13111" RevisionGUID="e17e8d2c-dccf-4d28-bb12-1b8f4bacd924" CreationDate="2012-03-20T14:30:00.227" UserId="3587" Comment="added 35 characters in body" Text="I recently got myself a Zoom H2n which I'm using for general recording purposes.&#xD;&#xA;It has a build-in mid-side recording feature along with normal XY stereo recording.&#xD;&#xA;From what I can read, there are only advantages to using mid-side recording. It's 100% mono compatible and it makes the stereo field easily adjustable in editing. The only disadvantage seems to be the inconvenience in setting up the microphones and decoding the signal, which is pretty much a non-issue with the Zoom recorder.&#xD;&#xA;&#xD;&#xA;So are there any disadvantages to mid-side recording, or is there any difference at all? Are there any situations where I would be better off switching the Zoom H2n to XY recording mode instead of mid-side?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21670" PostHistoryTypeId="2" PostId="13114" RevisionGUID="3183c2b8-109e-4841-964c-438f81d1cea1" CreationDate="2012-03-20T14:55:04.363" UserId="1067" Text="Another vote here for variety. Years ago there was a very good British TV documentary series called 'The World at War' about WW2. It used a lot of archive footage of battle scenes but had the same sound effects over and over again - the same rocket barrage or ricocheting bullet. This was quite noticeable." ContentLicense="CC BY-SA 3.0" />
  <row Id="21671" PostHistoryTypeId="2" PostId="13115" RevisionGUID="a76ee9d5-4148-409f-8301-9b9552261e14" CreationDate="2012-03-20T15:02:59.730" UserId="3525" Text="Hey guys I'm working on a short film and I am wondering what kind of techniques people use to help get rid of noise floor or room tone. I usually use X-Noise and EQ but I'm wondering what other plugins people may use or techniques. I ran into the problem of low dialogue on one recording and high on the next so when I bring up the dialogue on the low it brings up the room tone or noise floor and doesn't match the higher one at all. Let me know what you guys use or how you go about this?? Thanks!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21672" PostHistoryTypeId="1" PostId="13115" RevisionGUID="a76ee9d5-4148-409f-8301-9b9552261e14" CreationDate="2012-03-20T15:02:59.730" UserId="3525" Text="Looking for some help on dialogue editing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21673" PostHistoryTypeId="3" PostId="13115" RevisionGUID="a76ee9d5-4148-409f-8301-9b9552261e14" CreationDate="2012-03-20T15:02:59.730" UserId="3525" Text="&lt;dialogue&gt;&lt;audio-restoration&gt;&lt;production-audio&gt;&lt;production-mixing&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21674" PostHistoryTypeId="2" PostId="13116" RevisionGUID="fbb8be00-04a6-4050-bf88-b4ce6e29ffcf" CreationDate="2012-03-20T15:21:55.690" UserId="238" Text="[iZotope RX][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.izotope.com/products/audio/rx/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21675" PostHistoryTypeId="2" PostId="13117" RevisionGUID="ab837541-189f-45ce-b395-cffe8a20e4f0" CreationDate="2012-03-20T16:05:21.023" UserId="3525" Text="Used it once wish I had the money to buy the advanced version!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21676" PostHistoryTypeId="2" PostId="13118" RevisionGUID="9bfe0c5c-95ce-455a-9398-3a31da9a861d" CreationDate="2012-03-20T16:11:20.850" UserId="3299" Text="Stavrosound linked to a great post he did on the Waves C4 being used for cleaning dialogue. [Here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.stavrosound.com/blog/wordpress/2011/07/dialogue-clean-out-the-noise/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21677" PostHistoryTypeId="2" PostId="13119" RevisionGUID="c3c089c2-87b3-436b-863c-dc86eb9e3d8e" CreationDate="2012-03-20T16:58:00.137" UserDisplayName="user80" Text="iZotope RX2 is excellent for the money." ContentLicense="CC BY-SA 3.0" />
  <row Id="21678" PostHistoryTypeId="2" PostId="13120" RevisionGUID="f6db83c7-8421-460f-8e34-2201a31b6bfb" CreationDate="2012-03-20T17:39:34.103" UserId="1049" Text="I ended up getting the Tascam DR-100 MkII in the end and it's brilliant! The inbuilt mics are surprisingly good, the SNR is impressive. Battery-life of the rechargeable battery seems pretty decent, I haven't tested it out fully yet or tried it with phantom power on, but so far so good. The build quality is superb; sturdy metal casing, the buttons and wheel feel  nice. It even comes with a wireless remote! I would definitely recommend! " ContentLicense="CC BY-SA 3.0" />
  <row Id="21679" PostHistoryTypeId="2" PostId="13121" RevisionGUID="b29f89af-34fe-4207-8224-405e6a801892" CreationDate="2012-03-20T17:59:18.293" UserId="2906" Text="John Purcell, on his book Dialoge Editing, advises strongly to have a proper edit regarding the room tone before you run to the noise reduction. Having longer fades on room tones to trick our ears between aggressive transitions; If using plug ins like x_noise or alike, and turn to destructive, maybe try some eq first, know the noise offending your audio so you can work more surgically on it.&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21683" PostHistoryTypeId="2" PostId="13123" RevisionGUID="f18a010f-1551-4725-96cf-8eed2ad7a083" CreationDate="2012-03-20T19:31:06.893" UserDisplayName="user49" Text="You can put your headphones on with one hand" ContentLicense="CC BY-SA 3.0" />
  <row Id="21684" PostHistoryTypeId="16" PostId="13123" RevisionGUID="f18a010f-1551-4725-96cf-8eed2ad7a083" CreationDate="2012-03-20T19:31:06.893" UserId="-1" />
  <row Id="21685" PostHistoryTypeId="2" PostId="13124" RevisionGUID="91c39f0f-20da-4510-b304-6a76faa59621" CreationDate="2012-03-20T21:23:33.473" UserId="3272" Text="You ever, on purpose, stood on your cat's tail with a cadiod pointing at his head to finish up your night ambience&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21686" PostHistoryTypeId="16" PostId="13124" RevisionGUID="91c39f0f-20da-4510-b304-6a76faa59621" CreationDate="2012-03-20T21:23:33.473" UserId="-1" />
  <row Id="21687" PostHistoryTypeId="2" PostId="13125" RevisionGUID="32296c12-0561-4145-a252-b2ef6b54a1a1" CreationDate="2012-03-20T22:47:34.993" UserId="3614" Text="I need to know what exactly means natural flat. And where can I find natural flat headphones with the impedance of 40 ohms. (32 to 60).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21688" PostHistoryTypeId="1" PostId="13125" RevisionGUID="32296c12-0561-4145-a252-b2ef6b54a1a1" CreationDate="2012-03-20T22:47:34.993" UserId="3614" Text="What´s exactly natural flat headphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="21689" PostHistoryTypeId="3" PostId="13125" RevisionGUID="32296c12-0561-4145-a252-b2ef6b54a1a1" CreationDate="2012-03-20T22:47:34.993" UserId="3614" Text="&lt;flat&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21690" PostHistoryTypeId="2" PostId="13126" RevisionGUID="48192f60-ee85-46dd-9192-588ef43c3eb0" CreationDate="2012-03-20T23:09:26.317" UserId="18" Text="This is a debate that has been going on forever.  And people totally over-think this and read too many posts about specs, and phase, and mono compatibility, etc.  This topic seems to be as hotly debated as religion and politics.  The answer to your question is actually pretty easy:&#xD;&#xA;&#xD;&#xA;**Use what sounds best to you and works best in your workflow.**&#xD;&#xA;&#xD;&#xA;I often use a Neumann RSM191 and like your Zoom I can choose to record MS or XY.  I almost always use XY.  The only time I use MS with the 191 is when I think I might end up only wanting a mono recording; I can easily get rid of the Side (or even the Mid) and have mono.  If I know I want stereo, I go XY.  I just prefer to get the sound I want when I am recording and not have to worry about decoding later.  But that's just what works for me, and 100 other people on this board can show you charts and diagrams about how I am wrong and my recordings are ruined...." ContentLicense="CC BY-SA 3.0" />
  <row Id="21691" PostHistoryTypeId="2" PostId="13127" RevisionGUID="f33120d8-e3b7-4de6-9466-8c29d31810a8" CreationDate="2012-03-20T23:15:50.027" UserId="432" Text="Flat means that it reproduces evenly and consistently across the frequency spectrum. Also, I don't care what any manufacturer says, flat headphones don't exist. There are some that are better than others, but there is always a compromise somewhere.&#xD;&#xA;&#xD;&#xA;You may want to ammend your question to describe where you intend to use your headphones, and for what purpose. People here can give you good suggestions, but application matters." ContentLicense="CC BY-SA 3.0" />
  <row Id="21696" PostHistoryTypeId="2" PostId="13129" RevisionGUID="89a5738c-efe3-4da4-987c-7f86b7f8e011" CreationDate="2012-03-21T06:05:34.920" UserId="3433" Text="Hello Sound Designers!  I added a sound to the SSD Soundcloud group that I'd like some feedback from. It's the one titled &quot;monster&quot;.&#xD;&#xA;&#xD;&#xA;I haven't done creature effects before, so I started messing around with some sounds.  I got something that, to me, sounds monster-like but I'd really like some &quot;pro&quot; ears on it.&#xD;&#xA;&#xD;&#xA;I did another version with reverb and such, and got so many different opinions as to what to sound actually was I decided to re-tweak it.  (grand dad said it sounded like something falling down)&#xD;&#xA;&#xD;&#xA;I'm not sensitive, and find negative feedback helpful so if all you have to say is negative I'd really like to hear it.  I hope to have a good skill-set someday =)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21697" PostHistoryTypeId="1" PostId="13129" RevisionGUID="89a5738c-efe3-4da4-987c-7f86b7f8e011" CreationDate="2012-03-21T06:05:34.920" UserId="3433" Text="Anyone have a moment to offer some critique?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21698" PostHistoryTypeId="3" PostId="13129" RevisionGUID="89a5738c-efe3-4da4-987c-7f86b7f8e011" CreationDate="2012-03-21T06:05:34.920" UserId="3433" Text="&lt;critique&gt;&lt;sound-design&gt;&lt;sound-effects&gt;&lt;creature-vocalizations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21699" PostHistoryTypeId="2" PostId="13130" RevisionGUID="d54d080f-e58d-4b61-9140-a0690677f2f3" CreationDate="2012-03-21T07:29:41.107" UserDisplayName="user80" Text="Flat response just means that the output of the headphones is equal at all frequencies.&#xD;&#xA;&#xD;&#xA;In order for headphones to have a flat response they usually need to be open backed, which makes them not suitable for monitoring with live microphones.  &#xD;&#xA;&#xD;&#xA;There is no such thing as a flat response for loudspeakers/headphones but some get close.&#xD;&#xA;&#xD;&#xA;Choosing headphones is very personal, I am a Beyerdynamic fan, others Sennheiser or Sony etc.&#xD;&#xA;&#xD;&#xA;The best thing is to try lots.&#xD;&#xA;&#xD;&#xA;Let us know what you choose in the end." ContentLicense="CC BY-SA 3.0" />
  <row Id="21700" PostHistoryTypeId="6" PostId="13125" RevisionGUID="776e4df2-6b5d-4761-bede-14cb2f9eeffc" CreationDate="2012-03-21T07:30:03.840" UserDisplayName="user80" Comment="edited tags" Text="&lt;flat&gt;&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21701" PostHistoryTypeId="2" PostId="13131" RevisionGUID="440b03fe-1a70-4ec7-b537-66084f5294f4" CreationDate="2012-03-21T07:46:59.590" UserId="6524" Text="Here's the Flattest headphones I've ever seen, though it's not very practical for this kind of work and not mention the price.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://graphs.headphone.com/graphCompare.php?graphType=0&amp;graphID[]=3431" ContentLicense="CC BY-SA 3.0" />
  <row Id="21702" PostHistoryTypeId="2" PostId="13132" RevisionGUID="67959150-4853-43e9-80fb-4c0df18c5209" CreationDate="2012-03-21T11:54:27.083" UserId="3289" Text="FMod guys has redesigned their website, and it seems FMod Studio is just around the corner. They already moved &quot;Designer&quot; and &quot;EX&quot; to their &quot;Legacy&quot; section. And there's a PDF about new FMod features.&#xD;&#xA;&#xD;&#xA;Right now I'm working with FMod on a project. And it seems it's not going to be hard to move whole project to Studio from Designer.&#xD;&#xA;&#xD;&#xA;So, what do you think about new FMod? Is it really going to be a game changer? Or do you think WWise/another middleware will still be better?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21703" PostHistoryTypeId="1" PostId="13132" RevisionGUID="67959150-4853-43e9-80fb-4c0df18c5209" CreationDate="2012-03-21T11:54:27.083" UserId="3289" Text="FMod Studio is about to arrive, what do you think about it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21704" PostHistoryTypeId="3" PostId="13132" RevisionGUID="67959150-4853-43e9-80fb-4c0df18c5209" CreationDate="2012-03-21T11:54:27.083" UserId="3289" Text="&lt;fmod&gt;&lt;gameaudio&gt;&lt;middleware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21705" PostHistoryTypeId="2" PostId="13133" RevisionGUID="3d3a293b-6ad4-4359-9194-990fc8336592" CreationDate="2012-03-21T13:03:42.517" UserId="1035" Text="Is the shot with low-level dialogue the only unusually low recording? Are there alternate takes at a more acceptable level? Using either one of those, or audio from another shot entirely like Michael Gilbert said, you can likely edit together a line that sounds convincingly enough like the original's tone and performance. Make sure that you've edited your dialogue fill so that you have sufficient handles going in and out of each shot, this makes it easier to sneak it in and out. &#xD;&#xA;&#xD;&#xA;If you can't cut an alt and don't have any luck with noise reduction/C4, best thing I can think of would be to take that loud fill from the quiet line, cut together a looong piece of it, and extend it over most of the scene." ContentLicense="CC BY-SA 3.0" />
  <row Id="21707" PostHistoryTypeId="2" PostId="13134" RevisionGUID="c86e7c1c-03d0-4bcf-90fe-bcdad31b67dc" CreationDate="2012-03-21T14:37:23.467" UserId="3620" Text="Could someone please help me with defining what it means to be a sound designer/ mixing artist working on a feature film as well as what the role is of the sound designer, his/her responsibilities, the working environment and employment conditions, entry level conditions with the potential of growth and the pros and cons of working in this field." ContentLicense="CC BY-SA 3.0" />
  <row Id="21708" PostHistoryTypeId="1" PostId="13134" RevisionGUID="c86e7c1c-03d0-4bcf-90fe-bcdad31b67dc" CreationDate="2012-03-21T14:37:23.467" UserId="3620" Text="The Role of Sound Design in Post Production" ContentLicense="CC BY-SA 3.0" />
  <row Id="21709" PostHistoryTypeId="3" PostId="13134" RevisionGUID="c86e7c1c-03d0-4bcf-90fe-bcdad31b67dc" CreationDate="2012-03-21T14:37:23.467" UserId="3620" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21710" PostHistoryTypeId="2" PostId="13135" RevisionGUID="487a6e30-b788-4eb7-9273-9bb17365e0c9" CreationDate="2012-03-21T15:26:48.273" UserId="3621" Text="I have a background in sound and music recording. The program was tailored more towards music, film, and television. I learned to use Pro Tools, Reason, and Digital Performer. I also learned recording techniques (although this was two years ago, and I've forgotten some of them). I was wondering if it was possible to intern at a video game company's sound department.&#xD;&#xA;&#xD;&#xA;Would it be weird to call a video game company, and ask to speak to their sound department?&#xD;&#xA;&#xD;&#xA;Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="21711" PostHistoryTypeId="1" PostId="13135" RevisionGUID="487a6e30-b788-4eb7-9273-9bb17365e0c9" CreationDate="2012-03-21T15:26:48.273" UserId="3621" Text="transferring from music to games" ContentLicense="CC BY-SA 3.0" />
  <row Id="21712" PostHistoryTypeId="3" PostId="13135" RevisionGUID="487a6e30-b788-4eb7-9273-9bb17365e0c9" CreationDate="2012-03-21T15:26:48.273" UserId="3621" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21713" PostHistoryTypeId="2" PostId="13136" RevisionGUID="af50ebc0-7dbd-44ac-95de-88b8000e87e0" CreationDate="2012-03-21T15:52:43.647" UserId="3532" Text="Does anybody boom from camera angle on smaller budget projects?  By doing this you are in a sense, mixing the voice in relation to the camera angle during filming.  What I  mean by this is that if the camera is a medium shot on two people talking placed to their left at say, a diagonal angle, would you ever in an indie budget, boom from the angle in a fixed position?  The reasoning I have for this is that 1)This indie/small budget project may not have the money it takes to mix the dialogue so it sounds correct.  With this method of booming the dialogue will be recorded in a way so that simulating EQ during a dialogue mix will not be necessary.  2) By doing this it adds a sense of realism to the dialogue in conjunction with the scene and camera angles in the scene?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21714" PostHistoryTypeId="1" PostId="13136" RevisionGUID="af50ebc0-7dbd-44ac-95de-88b8000e87e0" CreationDate="2012-03-21T15:52:43.647" UserId="3532" Text="Booming from camera angle" ContentLicense="CC BY-SA 3.0" />
  <row Id="21715" PostHistoryTypeId="3" PostId="13136" RevisionGUID="af50ebc0-7dbd-44ac-95de-88b8000e87e0" CreationDate="2012-03-21T15:52:43.647" UserId="3532" Text="&lt;booming&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21716" PostHistoryTypeId="2" PostId="13137" RevisionGUID="a517c44e-6ad5-426c-a2e7-4831e29cf7ec" CreationDate="2012-03-21T17:26:21.723" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;Honestly, this is not a really good idea. First of all, off axis vocals sound awful, second what if the room is really noisy? There is not a change that you'll be able to fix that, especially if there is no post production budget.&#xD;&#xA;Furthermore, what if they hypothetically want to do a mix after not being satisfied with the sound... they'll have unusable dialogue tracks with no presence.&#xD;&#xA;&#xD;&#xA;I'd turn down the job if there is no security about money for post. Whatever amount of effort you put into it, the soundtrack will not sound good in the end. By the way 'realism' doesn't exist in film, it's somewhere in between fantasy and hyper-realism.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="21717" PostHistoryTypeId="2" PostId="13138" RevisionGUID="f73f410d-c62f-491c-99ae-8928529034f3" CreationDate="2012-03-21T17:28:03.150" UserId="2906" Text="Films aren't very natural or real! &#xD;&#xA;If you are booming at a certain distance you will probably pick up a lot of reflections, if we are dealing with indoors. Even if it is &quot;natural&quot;, it can sound nasty in the end. &#xD;&#xA;I speak with not much experience but if the mic pattern is tight you will need to find the recording &quot;sweet spot angle&quot; and check if getting away too much from that will ruin your recordings. You also need to think about the final product. What is the intention with this dialogue? What do you want the audience to perceive it like?&#xD;&#xA;It is very important to keep in mind that microphones don't &quot;hear&quot; like we do. &#xD;&#xA;&#xD;&#xA;There are other tricks that help to simulate distance and perspective angles. If you have the chance, you may read David Sonnenschein's &quot;Sound Design&quot; in which he writes specifically on this. If your P.O.V. is a bit far from this character speaking you can try to add some (on and off-screen) sounds relatively close to the P.O.V. with which you are indicating a sense of distance.&#xD;&#xA;&#xD;&#xA;If you'll be recording indoors, it is worth watching this: http://www.youtube.com/watch?v=fYIGjLKJ0EM&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21718" PostHistoryTypeId="2" PostId="13139" RevisionGUID="134469af-a726-4736-b489-23ec8cd54406" CreationDate="2012-03-21T18:02:25.617" UserId="2906" Text="It seems exciting! Actually, the mixing content introduced now, is what I've been missing with FMod Designer. &#xD;&#xA;Any ideas if it still going to be compatible with FMOD Sandbox?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21719" PostHistoryTypeId="2" PostId="13140" RevisionGUID="1f9297ba-068b-4cc0-8eae-a6ba23467f48" CreationDate="2012-03-21T18:02:46.163" UserDisplayName="user80" Text="Always try and get the mic as close as possible, you can artificially create the correct perspective later using worldisation." ContentLicense="CC BY-SA 3.0" />
  <row Id="21720" PostHistoryTypeId="2" PostId="13141" RevisionGUID="797a4c91-a49d-44b4-b781-a9f8654a7d00" CreationDate="2012-03-21T18:04:54.950" UserDisplayName="user80" Text="Your car numberplate ends with the letters OMF and you know what it means.&#xD;&#xA;&#xD;&#xA;It is sad to say that mine really does end in OMF, a friend has DAE." ContentLicense="CC BY-SA 3.0" />
  <row Id="21721" PostHistoryTypeId="16" PostId="13141" RevisionGUID="797a4c91-a49d-44b4-b781-a9f8654a7d00" CreationDate="2012-03-21T18:04:54.950" UserId="-1" />
  <row Id="21722" PostHistoryTypeId="2" PostId="13142" RevisionGUID="85bc6216-0258-4ef7-935c-599dde801f60" CreationDate="2012-03-21T18:24:25.440" UserId="2906" Text="It sounds like a big snore! Although it is cool, like Stephen said above, it doesn't have much power neither the sound seemed to have good definition.&#xD;&#xA;I don't know how you did it, but human laughs and even the most hysterical screams are cool to work on, playing their pitch, length, and vocoder works for the best! " ContentLicense="CC BY-SA 3.0" />
  <row Id="21723" PostHistoryTypeId="2" PostId="13143" RevisionGUID="3eb53718-8a5a-47a1-a69c-9aa949fdaf25" CreationDate="2012-03-21T18:31:16.467" UserId="3622" Text="There are a few things about video game sound that are very different the film and video.  You have to be able to use, learn and understand new tools, you have to be able to think logically  and programmaticly.   You should know what kind of file formats and compression codecs are good for different scenarios, etc.  &#xD;&#xA;&#xD;&#xA;I always recommend that sound designers familiarise themselves with a signal flow programming environment such as PureData, Max/MSP, or Reaktor.  I think that the skill set require to make a patch in one of these environments is similar to that required to design sounds for games.&#xD;&#xA;&#xD;&#xA;I think there are often opening for interns at game studios.  You should apply like you would for any other job, with a resume and cover letter.  Phoning may not be a bad idea, but could be seen by some as too forward.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21724" PostHistoryTypeId="2" PostId="13144" RevisionGUID="574522a0-f4d4-434b-a55b-4a5fe8802bf8" CreationDate="2012-03-21T19:12:05.430" UserId="531" Text="[link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.equatoraudio.com/D5_Studio_Monitors_with_DSP_300_Pair_p/d5.htm &quot;For $300 a pair, these look to good to pass up&quot;&#xD;&#xA;&#xD;&#xA;Does anyone have experience with these monitors? The coaxial design looks very appealing for creating phase coherent stereo imaging. I know they've been given rave reviews over at gearslutz, just wondering what you guys and gals think as well. &#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="21725" PostHistoryTypeId="1" PostId="13144" RevisionGUID="574522a0-f4d4-434b-a55b-4a5fe8802bf8" CreationDate="2012-03-21T19:12:05.430" UserId="531" Text="Equator D5 Studio Monitors. Thoughts? " ContentLicense="CC BY-SA 3.0" />
  <row Id="21726" PostHistoryTypeId="3" PostId="13144" RevisionGUID="574522a0-f4d4-434b-a55b-4a5fe8802bf8" CreationDate="2012-03-21T19:12:05.430" UserId="531" Text="&lt;studio-monitors&gt;&lt;post-production&gt;&lt;stereo-imaging&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21727" PostHistoryTypeId="2" PostId="13145" RevisionGUID="2541031d-3654-4f6d-8d90-6f8b6ca247be" CreationDate="2012-03-21T19:39:33.533" UserId="235" Text="  I just had to turn down a paying gig and possibly piss off some important people because I had serious moral issues with the film I was set to work on.  Now, I don't want to pass judgement on other peoples decisions in this regard.  It's a very personal sort of thing, but I'm wondering if other people have done anything similar?  How do you do it?  How do you avoid it?  Where are the lines for you?&#xD;&#xA;  For me, the line his hate speech.  I try to avoid but will still do things I find personally disturbing but draw the line at anything that advocates hatred or violence towards a subset of society.  &#xD;&#xA;  Working in post, we don't get much control over content and I look at my job as helping people be heard even if I disagree with them, but how can I be proud of the positive work I do without taking responsibility for the negative?  &#xD;&#xA;  This is a potentially sensitive subject but I trust everyone here to be respectful of everyones viewpoint.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="21728" PostHistoryTypeId="1" PostId="13145" RevisionGUID="2541031d-3654-4f6d-8d90-6f8b6ca247be" CreationDate="2012-03-21T19:39:33.533" UserId="235" Text="Have you ever turned down work for moral reasons?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21729" PostHistoryTypeId="3" PostId="13145" RevisionGUID="2541031d-3654-4f6d-8d90-6f8b6ca247be" CreationDate="2012-03-21T19:39:33.533" UserId="235" Text="&lt;business&gt;&lt;best-practice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21730" PostHistoryTypeId="2" PostId="13146" RevisionGUID="6e15ac83-21de-4fe5-becd-75224ab425be" CreationDate="2012-03-21T20:00:30.327" UserId="432" Text="That's a situation that, thankfully, I haven't encountered in my work yet, but I think you're justified in turning it down. I'm of the opinion that you you leave a piece of yourself (consciousness, opinions, etc.) in any work you contribute to. There are a number of people who advocate that you should only work on projects you can be excited about, because it draws out your best work. We don't all have that luxury, but I think avoiding work for the reasons you mentioned is a wise decision. Putting yourself in that situation would be additional stress above the usual level, and your work will reflect that. If your work falls short, then the piece suffers...potentially leaving you with an unhappy client anyways. Just my opinion.&#xD;&#xA;&#xD;&#xA;I'm hoping this went down before the stage where you would have started working on it, because that WOULD be bring the problem to an even higher level. This is another reason to get as much info as you can about a project before agreeing to contribute." ContentLicense="CC BY-SA 3.0" />
  <row Id="21731" PostHistoryTypeId="2" PostId="13147" RevisionGUID="2193d039-7234-45a1-a716-a05b7bc204c3" CreationDate="2012-03-21T22:27:42.383" UserId="234" Text="I have actually turned down projects because I found the subject matter particularly upsetting - a documentary on the genocide of kids in Rwanda comes to mind. Not that the material was glorifying the events, but as a recent father at the time, I simply knew that it would be emotionally and mentally too hard on me, so I politely declined and offered another name - and yes the client came back. &#xD;&#xA;&#xD;&#xA;Everyone's line will be different of course. And some will belittle you for it, but that's just human nature. At the end of the day, if you can do your job, and be comfy in your own skin, you've done well, no?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21732" PostHistoryTypeId="2" PostId="13148" RevisionGUID="03beb154-85f3-497f-b198-2746c80ec474" CreationDate="2012-03-21T22:52:46.920" UserId="1303" Text="I turned down working on a film because of the director. I just didn't feel right working for the person based on their &quot;activity&quot; before the show was to start." ContentLicense="CC BY-SA 3.0" />
  <row Id="21733" PostHistoryTypeId="2" PostId="13149" RevisionGUID="d17df2d3-42bb-4270-a608-e362b80d3f6b" CreationDate="2012-03-21T23:47:20.123" UserId="1241" Text="One thing to keep in mind is that games are interactive. Yes, it sounds like a no-brainer, but it's important because it means that you won't be able to predict exactly how action in the game will progress, which can make handling music for games somewhat tricky. There's ways of dealing with it (generative or interactive music can be amazing if done well) but be aware you may have to learn some new skills." ContentLicense="CC BY-SA 3.0" />
  <row Id="21734" PostHistoryTypeId="2" PostId="13150" RevisionGUID="507316c7-632e-4362-832b-f5433dc453b8" CreationDate="2012-03-22T01:02:18.793" UserId="3587" Text="I can add that one thing you want to be aware of is that as an in-house audio guy for games, you might be expected take charge of the entire audio pipeline, including recording, implementation, sound design and music. Many game studios will have only one or two persons dedicated to audio, either relying on them for everything, or having them manage outsourcing. Personally that's one of the things I like about it, because it makes the job more interesting.&#xD;&#xA;&#xD;&#xA;And no, it wouldnt be weird. Many Game companies have established internship programs for that purpose, and even if they don't, they might be willing to create one for the occasion.&#xD;&#xA;&#xD;&#xA;If you want some more information on getting jobs and internships in the game industry, here are some links from the top of my head:&#xD;&#xA;http://www.gamasutra.com/&#xD;&#xA;http://www.gamedev.net/&#xD;&#xA;http://www.sloperama.com/advice.html&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21736" PostHistoryTypeId="2" PostId="13152" RevisionGUID="921c0aab-f413-486b-a050-b1acd6c1d3e5" CreationDate="2012-03-22T03:12:38.267" UserId="3624" Text="thanks for the answers guys. one thing i'm worried about is the software. i've looked at job postings from companies such as ubisoft, and they list some software that I've never heard of. teaching me how to use software from scratch during internship seems a bit of a hassle on their end&#xD;&#xA;&#xD;&#xA;oh and upvotes all around if i had 15 rep. heh" ContentLicense="CC BY-SA 3.0" />
  <row Id="21737" PostHistoryTypeId="2" PostId="13153" RevisionGUID="12b0ba41-5c5e-4f1d-8123-43dfa955b410" CreationDate="2012-03-22T03:21:03.043" UserId="3179" Text="If you have no previous experience or knowledge about designing sound for games, I'd suggest some kind of introduction to the subject before even thinking about interning. You will face the concepts anyways, because it's how game audio works, but I wouldn't expect a company being interested in taking an intern to train him to use the tools and basics of game audio.&#xD;&#xA;&#xD;&#xA;There are many books that go through the basics of the process, the terms and methodology. Some approach it from the perspective of film sound, because games are a visual medium as well. But how sound is used in games is different: the sound is played non-linearly and it's driven programmatically i.e. the game is what controls your sound.&#xD;&#xA;&#xD;&#xA;Any kind of music/recording/sound design/audio background is useful in creating the actual content, because that's partially done in the same way (using a DAW). But game audio introduces a new concept, which is the other part of the process: audio implementation, i.e. getting the sounds to play in the game in the intended way. You need to take a look at audio middleware programs and what they are capable of and learn about dynamically controlled audio (e.g. how car engine sounds are made in racing games). Similar concepts apply to music (dynamic/adaptive/interactive music). Audio implementation itself sits between programming and creating the right content. Often there's a programmer managing the programming side and a sound designer creating the content and planning how it should be played in the game and how the programmer should program it. Audio middleware lessens the burden of both parties, because it makes it easy for a sound designer to &quot;program&quot; the sound events and frees a programmer from having to think about audio design.&#xD;&#xA;&#xD;&#xA;The mentioned programs Pure Data, Max/MSP and Reaktor are approriate for learning about real-time audio control, but they aren't (at least widely) used in audio implementation. They can be used to prototype the ideas for audio before implementing them in other ways though." ContentLicense="CC BY-SA 3.0" />
  <row Id="21738" PostHistoryTypeId="5" PostId="13153" RevisionGUID="b1fc8ac7-c457-4e36-b6a9-8c5ef9726041" CreationDate="2012-03-22T03:29:09.393" UserId="3179" Comment="deleted 1 characters in body" Text="If you have no previous experience or knowledge about creating sound for games, I'd suggest some kind of introduction to the subject before even thinking about interning. You will face the concepts anyways, because it's how game audio works, but I wouldn't expect a company being interested in taking an intern to train him to use the tools and basics of game audio.&#xD;&#xA;&#xD;&#xA;There are many books that go through the basics of the process, the terms and methodology. Some approach it from the perspective of film sound, because games are a visual medium as well. But how sound is used in games is different: the sound is played non-linearly and it's driven programmatically i.e. the game is what controls your sound.&#xD;&#xA;&#xD;&#xA;Any kind of music/recording/sound design/audio background is useful in creating the actual content, because that's partially done in the same way (using a DAW). But game audio introduces a new concept, which is the other part of the process: audio implementation, i.e. getting the sounds to play in the game in the intended way. You need to take a look at audio middleware programs and what they are capable of and learn about dynamically controlled audio (e.g. how car engine sounds are made in racing games). Similar concepts apply to music (dynamic/adaptive/interactive music). Audio implementation itself sits between programming and creating the right content. Often there's a programmer managing the programming side and a sound designer creating the content and planning how it should be played in the game and how the programmer should program it. Audio middleware lessens the burden of both parties, because it makes it easy for a sound designer to &quot;program&quot; the sound events and frees a programmer from having to think about audio design.&#xD;&#xA;&#xD;&#xA;The mentioned programs Pure Data, Max/MSP and Reaktor are approriate for learning about real-time audio control, but they aren't (at least widely) used in audio implementation. They can be used to prototype the ideas for audio before implementing them in other ways though." ContentLicense="CC BY-SA 3.0" />
  <row Id="21739" PostHistoryTypeId="2" PostId="13154" RevisionGUID="bf558ee7-a74a-4e34-876d-cec4aa8f2d41" CreationDate="2012-03-22T03:40:07.560" UserId="1228" Text="First, welcome!&#xD;&#xA;&#xD;&#xA;Second, this is an exceedingly broad question (or series of related questions tied together).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Sound designer can mean one of two roles:  the more or less 'incorrect' usage of the term is an individual either doing all or multiple sound editorial roles on a show (e.g. if you're the only one doing post on the film, you may go credited as Sound Designer instead of Supervising Sound Editor, etc)&#xD;&#xA;&#xD;&#xA;The more accurate definition is that they are someone who is charged with designing and creating never-before-heard (usually) concrete sounds (and/or an expressive library of these sounds), as well as creating conceptual and subjective (think whooshes, stings, transitions and all those) signature sound textures for a show (or a series, if we're talking episodic TV).&#xD;&#xA;&#xD;&#xA;For the purpose of answering your question, I'll go with the latter definition.&#xD;&#xA;&#xD;&#xA;Their responsibility is to ultimately develop the sound signature of a show, creating all of the non-Hard FX effects elements (and sometimes Hard FX-related elements) and in many cases nowadays, also required to edit those together for the show in question.  Sometimes this involves creating specialized, literal computer sounds for a high-tech system (think Minority Report), other times it's creature development (think Super 8), sometimes it's sweetening combat with larger-than-life, in-your-face ballsy sound textures.  And other times it's creating scare moments, stings, transitions, whooshes, swishes, booms, speed ramps, flashes, whip pans, snap zooms, suck outs, swells, drones, bumps and other tasty elements to work cohesively to drive/reinforce the story and visual where appropriate and where requested by the client.&#xD;&#xA;&#xD;&#xA;As far as entry-level goes, my best understanding and from my own experience, is that it requires some background experience in cutting sound effects and working your way up.  It's not one of the walk-in entry level roles (in the feature world at least, as per your question).  It's a considerably demanding role and comes with a large responsibility.  Sound Designer sits in a gray area between Sound Effects editors and the Supervising Sound Editor - as what they are doing is sound effects related, but they are charged with making sweeping creative and aesthetic decisions in tandem with the supervisor.  It's a pay your dues type of role that some individuals grow into by chance or by choice.  But usually you have to show that you can deliver solid tracks in regular sound effects editorial for some time and the like in order to be provided more opportunities to instill creative freedoms and subsequently ease into a role of a Sound Designer (that's been my own experience).&#xD;&#xA;&#xD;&#xA;As for pros and cons, I can't really answer that because the scope and esteem of a Sound Designers role changes on a show by show basis and it's one of those &quot;to each their own&quot; opinions - which too change on a show by show basis.&#xD;&#xA;&#xD;&#xA;The working environment also depends too.  I work from a home studio, as do a lot of other sound editors I work along with and/or know personally.  That seems to be the paradigm today.  On major Union shows, depending upon how classified/big the show is, you might be working on a studio lot in an edit/design suite.  Again, it all depends, so there's no definitive answer to this question.  Employment environment and conditions are transient in nature.&#xD;&#xA;&#xD;&#xA;Hopefully that helps!  Again, only my opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="21740" PostHistoryTypeId="2" PostId="13155" RevisionGUID="38a2da38-8fdf-4031-97ad-26fd5bda7f8d" CreationDate="2012-03-22T06:13:54.990" UserId="3567" Text="I don't think the guys are 100% correct in this. When I first started creating audio for video games, all I heard was learn Max, learn Reaktor, learn Wwise, learn FMod etc. While being versatile and knowing a little implementation won't hurt, you have to understand that the time spent in learning implementation could be used in honing your skills, which would make you less of a Jack of All Audio Trades and more of a Talented Audio Producer.&#xD;&#xA;&#xD;&#xA;So I never got round to learning implementation, and until now that's never been a hindrance. I did not get a job with Blizzard or Bethesda yet, but I have a steady flow of small games to work on. I got to learn a lot about Orchestration, Sound Design and DSP while actually doing it, and I will still be learning 10 years from now. It's just that I hate programming, and I won't be bothered to learn implementation.&#xD;&#xA;&#xD;&#xA;And I'm sure that when you will be applying for a job at a major player in the industry, having a solid reel and knowing how to channel your creativity will matter more than knowing a bit about everything, programming/implementation included. After all, everything you need to know is that in games, audio does not behave linearly like it does in movies." ContentLicense="CC BY-SA 3.0" />
  <row Id="21741" PostHistoryTypeId="2" PostId="13156" RevisionGUID="6a480628-686b-41ff-8958-e3b8ad20529f" CreationDate="2012-03-22T06:25:51.683" UserId="3567" Text="You wish people's voice was de-essed.&#xD;&#xA;&#xD;&#xA;You cringe when you hear mic rumble.&#xD;&#xA;&#xD;&#xA;You end up with 3 hours of recording when you only needed that bird.&#xD;&#xA;&#xD;&#xA;You find out the road is nowhere to be found (and your car for that matter)." ContentLicense="CC BY-SA 3.0" />
  <row Id="21742" PostHistoryTypeId="16" PostId="13156" RevisionGUID="6a480628-686b-41ff-8958-e3b8ad20529f" CreationDate="2012-03-22T06:25:51.683" UserId="-1" />
  <row Id="21743" PostHistoryTypeId="2" PostId="13157" RevisionGUID="f4d0bc0a-c42c-4795-bd59-9145f781b379" CreationDate="2012-03-22T06:31:23.933" UserId="407" Text="Aside from just the the Audio aspect, you should play a lot of games, and listen to how the sounds function, and what their purpose's are, to me this kind of knowledge is more important than knowing software - software can always be learnt, but a good understanding of game sound takes time to absorb and is ultimately more important. Also become familiar with the different disciplines in a studio and what they do, and how what they do will affect your work as a sound designer. After all Audio is just a part of a game and the goal is to make great games not just great audio.&#xD;&#xA;If you've never done games before the most important thing you could learn is a game engine like, source engine, Unity or Unreal all of these are free for experimenting with. Work out how the audio works in one of these first, this will be far more valuable IMO than learning MaxMSP, Reactor etc. &#xD;&#xA;As a side note the 8 years I've worked in games I have never once needed to use MaxMSP etc. the closest think I have ever done that would have required that sort of knowledge was visual programming in Unreal engine (Kismet)." ContentLicense="CC BY-SA 3.0" />
  <row Id="21745" PostHistoryTypeId="2" PostId="13159" RevisionGUID="3c42ff92-4400-4067-b508-5cc91a6583bc" CreationDate="2012-03-22T08:26:06.607" UserId="1228" Text="Very kind of you Brendan to link to the blog post, glad people are finding it useful!&#xD;&#xA;&#xD;&#xA;As Melissa has touched upon (and that book is a very good introduction to dialogue that I equally recommend), and as briefly mentioned in the blog post, editorial is the foundation here.  No amount of Broadband noise suppression, even a Cedar DNS, can fix a dialogue track which isn't properly prepared from the ground up.&#xD;&#xA;&#xD;&#xA;This entails doing any and all edits necessary to make the dialogue track play smoothly and seamlessly (as humanly possible) in raw form without a sidechain.  It entails carefully building out backfill to both get rid of unwanted noises and create very long, gradual fades where necessary to 'hide' the noise bumps of different angles.  Sometimes the required editorial to whip a dialogue track into shape can be downright intense and feel nearly impossible (and even frustrating when you have only 5 seconds of clean backfill to work with sometimes).&#xD;&#xA;&#xD;&#xA;For dialogue editorial, even before running a sidechain, I personally like to take a 3-Pass Approach:&#xD;&#xA;&#xD;&#xA;Pass 1: Down-and-dirty cleanup, brute force edits to make sense of the OMF, remove major offending noises, split out all PFX, backfill where necessary and smooth all edits, level out all my edits' gain for a consistent -18dbFS playback level across the show (= to about -27 dB LEQ(A) for Dolby LM100 or -24dB LEQ(a) on a Stereo Phase Scope I believe) - work at a pace of 2 minutes of footage/hour to create a rudimentary dialogue track which is 'temp-mix ready' if it hand to be shipped at a moments notice.  Think of this as the organizational and &quot;cover my ass&quot; stage ;)&#xD;&#xA;&#xD;&#xA;Pass 2: Thorough Deep Cleaning, removing every single lip smack, tick, pop, click, crackle, plosive there is to be removed - I prefer the manual labor approach rather than signal processing.  Anything which is processed at this stage has the original source edits copied down to X Tracks&#xD;&#xA;&#xD;&#xA;Pass 3: This is where I swap in all the required alt takes, phonetic and phrase fixes for items I noted along the way like Overlaps, Swallowed letters (such as not pronouncing a consonant like 'T' at the end of a word), and other Noise-related issues (maybe a low-level or intelligibility issue) - basically, anywhere in which dialogue was compromised, this is the Phase where I make sure we have all of those fixed by way of the dailies.  All original edits being replaced are copied down to the X Tracks.&#xD;&#xA;&#xD;&#xA;Once this is all dialed in, then setting up a sidechain with something like a C4 can help you suppress the background noise, which through all of this preparation you have made consistent in level and timbre so the C4 is working FOR you not AGAINST you.  **And, at this point you'll be able to properly evaluate material as you roll over it**, and maybe it needs a 'touch' of FFT like iZotope RX or X-Noise to make it sparkle.  Now would be the time to do it, while making sure to keep a copy of the original on your X Tracks.  These X tracks are 'cover your ass' tracks for the stage, especially if you're doing your own premix pass before it hits the stage (as they will likely want to tweak it, sometimes undoing or altering some of the rendered processing you did, so the X Tracks are a must).&#xD;&#xA;&#xD;&#xA;**Also food for thought:** physcoacoustics are a powerful ally.  Sometimes we add noise to remove noise ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21746" PostHistoryTypeId="2" PostId="13160" RevisionGUID="b0e641aa-95c6-491a-ab15-7dc7d41e3102" CreationDate="2012-03-22T12:16:56.097" UserId="3628" Text="Hi there, I'm a film student interested in sound design on a practical and theoretical level. For a recent assignment I recreated the sound in a scene from one of my favourite films, THX-1138. I went for a more minimalist approach than the original, focusing on creating eerie room tones and atmospheres as well as using various aircraft sounds to create the car noises.&#xD;&#xA;&#xD;&#xA;Any tips or pointers would be appreciated :)&#xD;&#xA;&#xD;&#xA;http://vimeo.com/36538708" ContentLicense="CC BY-SA 3.0" />
  <row Id="21747" PostHistoryTypeId="1" PostId="13160" RevisionGUID="b0e641aa-95c6-491a-ab15-7dc7d41e3102" CreationDate="2012-03-22T12:16:56.097" UserId="3628" Text="THX-1138 Redub, would be great to get some feedback." ContentLicense="CC BY-SA 3.0" />
  <row Id="21748" PostHistoryTypeId="3" PostId="13160" RevisionGUID="b0e641aa-95c6-491a-ab15-7dc7d41e3102" CreationDate="2012-03-22T12:16:56.097" UserId="3628" Text="&lt;sound-design&gt;&lt;scifi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21749" PostHistoryTypeId="2" PostId="13161" RevisionGUID="f9cacefc-b8c3-459d-add6-194e83eb9eb7" CreationDate="2012-03-22T13:02:55.743" UserId="3629" Text="I bought the Tascam DR-100 MK11 a couple of months after it was released and it is such a good piece of kit!  I upgraded it from the Zoom H4 (the older one) and the main benefit I have found is that it is much more user friendly, intuitive and quicker to navigate the menus. I also feel like the pre amps are easier to adjust to a suitable level with its quick gain settings and fine tuning knobs on the side. Apparently the pre amps have more gain and are much better than the older DR100.  Build quality is very good  which is the premium I feel it has over the H4n - also the wireless remote that is included (which can be also used wired). Mics are a league ahead also I feel. I would recommend a tripod stand for it to cut out handling noise - I got a small one of eBay for £1.50.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21750" PostHistoryTypeId="2" PostId="13162" RevisionGUID="df15d1c3-2323-4aff-9f8e-68f844bab19f" CreationDate="2012-03-22T13:10:08.810" UserId="3629" Text="Tascam DR100 MKII - Aluminium casing, Good mics/ pres, quick and easy to use, incl wireless or wired remote. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21751" PostHistoryTypeId="2" PostId="13163" RevisionGUID="7568d2d6-7de1-4314-bca5-74e5fb9bf3ac" CreationDate="2012-03-22T14:23:12.430" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;Recently I've worked on a D-control ES, which was a real treat. Beautifull and thoughtfull design. Especially the embedded keyboard. trackball and screen arm swing are really great.&#xD;&#xA;Ever since working on it I miss the trackball especially. Normally I use a Wacom Bamboo, but sometimes in PT it's just not the right thing for the job. Specially scrolling through sessions was such a breeze with the trackball in the D-Control. The inertia, because of the weight of the ball, works magic. Just give it a jank and stop it where you need to be.&#xD;&#xA;&#xD;&#xA;Anyway, is there something comparable on the market, since I can't afford the real deal :)&#xD;&#xA;&#xD;&#xA;Thanks for any suggestions!&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="21752" PostHistoryTypeId="1" PostId="13163" RevisionGUID="7568d2d6-7de1-4314-bca5-74e5fb9bf3ac" CreationDate="2012-03-22T14:23:12.430" UserId="1216" Text="Looking for a good trackball, comparable to D-Control ES trackball" ContentLicense="CC BY-SA 3.0" />
  <row Id="21753" PostHistoryTypeId="3" PostId="13163" RevisionGUID="7568d2d6-7de1-4314-bca5-74e5fb9bf3ac" CreationDate="2012-03-22T14:23:12.430" UserId="1216" Text="&lt;trackball&gt;&lt;pro-tools&gt;&lt;control&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21754" PostHistoryTypeId="2" PostId="13164" RevisionGUID="f4c3529b-eb7c-406c-a0b8-910ee006fcbe" CreationDate="2012-03-22T17:25:27.910" UserId="3519" Text="Great idea! I actually did something similar in excel when I was choosing gear.&#xD;&#xA;&#xD;&#xA;Why don't we start something similar in google docs open to everyone? If more people get involved and can edit, we can have a more exhaustive table even with personal experiences about different gear.&#xD;&#xA;&#xD;&#xA;In a few hours I'm going to open some excels to start with. I will post them here, you can join if you like!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21755" PostHistoryTypeId="2" PostId="13165" RevisionGUID="c4ca2aae-d51b-4e46-b84b-dd90e051dc2b" CreationDate="2012-03-22T17:57:01.627" UserId="527" Text="[The Kensington Expert Mouse is, in my opinion, the best thing out there.][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.kensington.com/kensington/us/us/p/1444/K64325/expert-mouse%C2%AE.aspx&#xD;&#xA;&#xD;&#xA;I program my 4 most used keystrokes to the extra buttons and I can really fly with this thing." ContentLicense="CC BY-SA 3.0" />
  <row Id="21756" PostHistoryTypeId="2" PostId="13166" RevisionGUID="749a555c-959d-48eb-960e-07163425cf49" CreationDate="2012-03-22T20:20:46.503" UserId="3632" Text="I have the +48V push rectangle on my small Behringer 602A. How do I know if the phantom power is on or off?  Is it on when the light is red and button is pushed in?   I am starting with a condenser mic with the button out. I engage mic, then push in button. Correct?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21757" PostHistoryTypeId="1" PostId="13166" RevisionGUID="749a555c-959d-48eb-960e-07163425cf49" CreationDate="2012-03-22T20:20:46.503" UserId="3632" Text="How do I know if phantom power is on or off?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21758" PostHistoryTypeId="3" PostId="13166" RevisionGUID="749a555c-959d-48eb-960e-07163425cf49" CreationDate="2012-03-22T20:20:46.503" UserId="3632" Text="&lt;phantom&gt;&lt;power&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21759" PostHistoryTypeId="2" PostId="13167" RevisionGUID="96c01f4b-3a1d-41da-bfd0-c4e4b6b32236" CreationDate="2012-03-22T20:32:01.590" UserId="3299" Text="Yep, you're correct - the red light means on.&#xD;&#xA;&#xD;&#xA;And best practice dictates connecting the mic first, then turning on phantom power." ContentLicense="CC BY-SA 3.0" />
  <row Id="21760" PostHistoryTypeId="2" PostId="13168" RevisionGUID="7efd1982-72b4-46fe-89de-87a78508887c" CreationDate="2012-03-22T20:32:07.127" UserId="3230" Text="When it comes to sound design and audio for film, I will not hesitate to admit that I define &quot;rookie&quot;.  My keyboard is shiny, and my headphone cable still coils properly!&#xD;&#xA;&#xD;&#xA;Curious to get feedback on the concept of project archiving.   What do you keep?  How long do you keep it?  Naming conventions?   In-session (DAW) techniques for archiving and/or returning to the project (Track active state, clip groups, etc, etc)....&#xD;&#xA;&#xD;&#xA;What do you do!?&#xD;&#xA;&#xD;&#xA;With only a few major projects under my belt, I'm trying to establish a system that I can use going forward that will be repeatable, straight-forward, and practical.  Space is not an issue. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21761" PostHistoryTypeId="1" PostId="13168" RevisionGUID="7efd1982-72b4-46fe-89de-87a78508887c" CreationDate="2012-03-22T20:32:07.127" UserId="3230" Text="Project Archiving.  Delete or not to delete?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21762" PostHistoryTypeId="3" PostId="13168" RevisionGUID="7efd1982-72b4-46fe-89de-87a78508887c" CreationDate="2012-03-22T20:32:07.127" UserId="3230" Text="&lt;storage&gt;&lt;archiving&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21763" PostHistoryTypeId="2" PostId="13169" RevisionGUID="1fc86387-873d-4ddd-b155-28f2c5867ddc" CreationDate="2012-03-22T21:17:30.140" UserDisplayName="user80" Text="Mic in, power on (light comes on)." ContentLicense="CC BY-SA 3.0" />
  <row Id="21764" PostHistoryTypeId="2" PostId="13170" RevisionGUID="4dc34958-96ef-4f6c-9ffc-076886aa69b4" CreationDate="2012-03-22T21:24:15.000" UserId="18160" Text="If you are like me and have Ribbon mics and are terrified of frying that $1,200 mic by plugging it into a cable,&#xD;&#xA;&#xD;&#xA;you can purchase these:&#xD;&#xA;&#xD;&#xA;http://www.google.com/products/catalog?client=safari&amp;rls=en&amp;q=phantom+power+tester&amp;oe=UTF-8&amp;safe=vss&amp;um=1&amp;ie=UTF-8&amp;tbm=shop&amp;cid=7275317222120391040&amp;sa=X&amp;ei=U5hrT9aMCo_QiAK_1si6BQ&amp;ved=0CE8Q8wIwAA#ps-sellers&#xD;&#xA;&#xD;&#xA;It shows if there is phantom power coming down the line.&#xD;&#xA;&#xD;&#xA;I have one that shows if the phantom power is on the right pin or not (wrongly wired pins can fry ribbons)." ContentLicense="CC BY-SA 3.0" />
  <row Id="21765" PostHistoryTypeId="2" PostId="13171" RevisionGUID="2226a6a1-52df-47e1-97e8-226d4abe3efc" CreationDate="2012-03-22T21:24:46.180" UserId="3634" Text="So I have been doing audio post production and master for a friend of mine for a few months now. He is starting to have a higher demand for videos and is sending more to work on. They are commentaries about call of duty gameplay. I would like to know if there is software and or VSTs I could use to streamline the process.&#xD;&#xA; &#xD;&#xA;Here are some examples of what I have done:&#xD;&#xA; &#xD;&#xA;http://m.youtube.com/watch?v=9aq3dhD51_Y&#xD;&#xA;http://m.youtube.com/watch?v=CmFDbC7IsiY&#xD;&#xA; &#xD;&#xA;I compose custom sound fx special events in the videos such as a double kill, and I add those in to the time points that they fit.&#xD;&#xA; &#xD;&#xA;I level his selected music for the video in conjunction with his voice and the sound Fx.&#xD;&#xA; &#xD;&#xA;I make skits, and music.&#xD;&#xA; &#xD;&#xA;The biggest thing I do that takes the most time is fixing the shortcomings in his commentary. What is do for that is hand automate each second of it by use of a volume level. During the process I eliminate all shrill sounds ( he doesn't have a pop filter yet) from &quot;S's&quot; and &quot;T's&quot;, lower his voice when he gets too loud, take out any plosives, take out long and loud Sizzles from &quot;s&quot;, remove unneeded spit noises, lower Long breaths, rearrange some word when he says the wrong thing 2-4 times while trying to say the right thing, I add FX to his trademark saying at the end of the commentary.&#xD;&#xA; &#xD;&#xA;I want to know of some of these procedures could be fixed simple with some types of EQ, I do use a pramstric EQ to help soften the &quot;S's&quot; and I get rid of most of the B plosives by taking out the range that his voice doesn't reach. It takes me about 3hrs to do this and make sure it's loudened, sound fx are playing at right times, levels are correct ( to my standards and his requests), and ultimately make sure he sounds really good.&#xD;&#xA; &#xD;&#xA;The commentaries are usually 5-7 minutes with music and sound fx. I custom make the sound fx and sometimes the music too, as well as all audio mastering and mixing.&#xD;&#xA; &#xD;&#xA; &#xD;&#xA; &#xD;&#xA;I am looking into get ozone 5 and isotope RX.&#xD;&#xA; &#xD;&#xA;I am using:&#xD;&#xA; &#xD;&#xA;FL Studio 10&#xD;&#xA;FL fx and EQ (compressor, reverb 2, parametric EQ 2, multi-band compressor, FL volume (automation), and delay.&#xD;&#xA;T-racks (mastering)&#xD;&#xA;Waves platinum bundle (hiss removal and other)&#xD;&#xA; &#xD;&#xA;He is currently recording with a blue snowball mic, so he sounds ALOT Better than when he first started and I have a bit less work to do than before..&#xD;&#xA; &#xD;&#xA;Please let me know your opinions and the processes that you use for these procedures&#xD;&#xA; &#xD;&#xA; &#xD;&#xA;Thank you for your time!!&#xD;&#xA;  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21766" PostHistoryTypeId="1" PostId="13171" RevisionGUID="2226a6a1-52df-47e1-97e8-226d4abe3efc" CreationDate="2012-03-22T21:24:46.180" UserId="3634" Text="Post Production, How To Become Faster?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21767" PostHistoryTypeId="3" PostId="13171" RevisionGUID="2226a6a1-52df-47e1-97e8-226d4abe3efc" CreationDate="2012-03-22T21:24:46.180" UserId="3634" Text="&lt;post-production&gt;&lt;mastering&gt;&lt;production-audio&gt;&lt;audio-restoration&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21768" PostHistoryTypeId="2" PostId="13172" RevisionGUID="984ab629-8b8c-4e41-a09c-4f129e693a73" CreationDate="2012-03-22T21:31:28.060" UserId="1228" Text="I keep everything, usually doing a final Saveout of all my sessions for Backup which has everything neat and tidy (because sometimes there's a lot of scattered saveout seession files for Reel deliveries and such.&#xD;&#xA;&#xD;&#xA;Each show has it's own master folder on my drive so I archive that (thus including OMF, spotting notes, sessions, etc).  I'll usually do a quick cleanup of un-needed bits like temp prints of design samples for approval etc.  Pix is on a third drive for me, following the same master folder scheme, so I archive latest pix too (and older versions if necessary).&#xD;&#xA;&#xD;&#xA;If I was just contracted to do a part of a show, like sound design or sound effects editorial (and thus I don't have extra materials), I'll do the final Saveout of the edit session (making sure any and all Stage Addz/Replaces are living in that session, so that saveout is a sort of &quot;final snapshot&quot; of what was shipped to the stage).  Usually I'll always leave the guide track living in this saveout, since more often than not I'm having to make volume tweaks and little edits here and there so the guide's not distracting as I work through a show.  That way if you have to load up the show again down the road, you can simply open it and you're up and running.&#xD;&#xA;&#xD;&#xA;I recommend to always archive, and keep the material on your active work drive until the printmastering is finished - god only knows how many times we receive a call at the 11th hour for some sort of Addz either due to late VFX or a clients request, so if you have to switch over to that show at a moments notice, best to have it nearby and not packed up with a pretty bow just yet.&#xD;&#xA;&#xD;&#xA;Archiving is definitely a must, or rather, an investment in future job security - if not for running into a situation where the material is needed years down the road, but also as a good practice of organizational and data management skills.&#xD;&#xA;&#xD;&#xA;And sometimes, it's nice to know where maybe you built something unique a few shows ago and know exactly where to snag the source edits from archive to save time.  I've found that helpful, especially for a cigarette/candle 'smoke trail' design I made a while back.  Constantly grabbing that saveout of the source edits, huge time saver." ContentLicense="CC BY-SA 3.0" />
  <row Id="21769" PostHistoryTypeId="2" PostId="13173" RevisionGUID="62448cee-df5b-4e46-aa85-01406073abe8" CreationDate="2012-03-22T22:12:51.803" UserId="390" Text="I highly recommend Isotope RX2. They even uploaded a video on correcting mouth noise and plosives yesterday!&#xD;&#xA;   &#xD;&#xA;http://www.youtube.com/watch?v=qwdECSt3qX4&amp;feature=g-like&amp;context=G257a1bcALT2uPFgAAAA" ContentLicense="CC BY-SA 3.0" />
  <row Id="21770" PostHistoryTypeId="2" PostId="13174" RevisionGUID="e6beac28-9bcb-46f0-bad9-1c927070b0d9" CreationDate="2012-03-22T22:54:32.920" UserId="264" Text="I would consider moving your post workflow to a different DAW. I worked with FL Studio from versions 4 through 7, and when it came down to doing solid audio cutting/editing I could never find a good method because the interface targeted MIDI and sample management. I don't know what new features they've added since 7 though. Have you heard of Reaper? It's free, and very robust. The paradigm is very much like Pro Tools in that the focus is on a Tracks window and a corresponding Mixer window (instead of the channels + patterns paradigm I remember from FL). I find that this is more suitable for post-production. FL Studio can be a solid music production tool in the right hands, but when it comes to editing audio in post I think its interface can slow you down.&#xD;&#xA;&#xD;&#xA;http://www.reaper.fm/&#xD;&#xA;&#xD;&#xA;Also, get Isotope RX2 because it really is as amazing as what they say." ContentLicense="CC BY-SA 3.0" />
  <row Id="21771" PostHistoryTypeId="2" PostId="13175" RevisionGUID="ccf61e78-72e4-4409-8631-cb68159a58ab" CreationDate="2012-03-22T23:46:04.603" UserId="3635" Text="The most important thing to know about location sound isn't how to push buttons and faders, or really even how to use recorders. The single most important thing to know is how to use a microphone. If you don't know what various mics should sound like, in various conditions, it doesn't matter how you record it or what track it's on or what the level is, it will be bad. &#xD;&#xA;&#xD;&#xA;The best thing I could recommend is to get paid to learn. Go and be a boom op first. Learn to know what you are hearing and how to use various mics in various conditions, optimum or horrible. Simply reading will not train your ears or you ability to make decisions and choices on the fly. Learn what it takes to be a good boom op. How to solve the puzzle that is each shot and how to dance with the talent and crew when Action is called.&#xD;&#xA;&#xD;&#xA;On set recording is dealing with pressure and troubleshooting. How can you get that mic where it needs to be and around all the lights, stands, the dolly, the focus puller, the gripology, dealing with a horrible location, in advance. You will want the Locations people and the cinematographer to be your best friends. A book won't tell you how to charm a cinematographer who wants to light your boom op off the set." ContentLicense="CC BY-SA 3.0" />
  <row Id="21772" PostHistoryTypeId="2" PostId="13176" RevisionGUID="086ea439-336d-431f-82b1-e62ccdabeae2" CreationDate="2012-03-22T23:58:52.140" UserId="3396" Text="Yes!&#xD;&#xA;&#xD;&#xA;It was the right thing to do. I had already said yes, saw the film, then asked to be taken off. It never came back to haunt me. Follow your heart ... always." ContentLicense="CC BY-SA 3.0" />
  <row Id="21773" PostHistoryTypeId="5" PostId="13174" RevisionGUID="51553015-f3a5-4ebb-8d08-e43d925ed9af" CreationDate="2012-03-23T00:03:44.643" UserId="264" Comment="deleted 8 characters in body; added 3 characters in body" Text="Consider moving your post workflow to a different DAW. I worked with FL Studio from versions 4 through 7, and when it came down to doing solid audio cutting/editing I could never find a good method because the interface targeted MIDI and sample management. I don't know what new features they've added since 7 though.&#xD;&#xA;&#xD;&#xA;Have you heard of Reaper? It's free, and very robust. The paradigm is very much like Pro Tools in that the focus is on a Tracks window and a corresponding Mixer window (instead of the channels + patterns paradigm I remember from FL). I find that this is more suitable for post-production. FL Studio can be a solid music production tool in the right hands, but when it comes to editing audio in post I think its interface can slow you down.&#xD;&#xA;&#xD;&#xA;http://www.reaper.fm/&#xD;&#xA;&#xD;&#xA;Also, get Isotope RX2 because it really is as amazing as what they say." ContentLicense="CC BY-SA 3.0" />
  <row Id="21774" PostHistoryTypeId="5" PostId="13171" RevisionGUID="879aaf52-988a-459a-8213-c18ae7d476c2" CreationDate="2012-03-23T00:59:09.437" UserId="3634" Comment="deleted 17 characters in body; deleted 16 characters in body; added 2 characters in body" Text="So I have been doing audio post production and master for a friend of mine for a few months now. He is starting to have a higher demand for videos and is sending more to work on. They are commentaries about call of duty gameplay. I would like to know if there is software and or VSTs I could use to streamline the process.&#xD;&#xA; &#xD;&#xA;Here are some examples of what I have done:&#xD;&#xA; &#xD;&#xA;http://bit.ly/yungce0omc4&#xD;&#xA;&#xD;&#xA;http://bit.ly/iwantrecon&#xD;&#xA; &#xD;&#xA;I compose custom sound fx special events in the videos such as a double kill, and I add those in to the time points that they fit.&#xD;&#xA; &#xD;&#xA;I level his selected music for the video in conjunction with his voice and the sound Fx.&#xD;&#xA; &#xD;&#xA;I make skits, and music.&#xD;&#xA; &#xD;&#xA;The biggest thing I do that takes the most time is fixing the shortcomings in his commentary. What is do for that is hand automate each second of it by use of a volume level. During the process I eliminate all shrill sounds ( he doesn't have a pop filter yet) from &quot;S's&quot; and &quot;T's&quot;, lower his voice when he gets too loud, take out any plosives, take out long and loud Sizzles from &quot;s&quot;, remove unneeded spit noises, lower Long breaths, rearrange some word when he says the wrong thing 2-4 times while trying to say the right thing, I add FX to his trademark saying at the end of the commentary.&#xD;&#xA; &#xD;&#xA;I want to know of some of these procedures could be fixed simple with some types of EQ, I do use a pramstric EQ to help soften the &quot;S's&quot; and I get rid of most of the B plosives by taking out the range that his voice doesn't reach. It takes me about 3hrs to do this and make sure it's loudened, sound fx are playing at right times, levels are correct ( to my standards and his requests), and ultimately make sure he sounds really good.&#xD;&#xA; &#xD;&#xA;The commentaries are usually 5-7 minutes with music and sound fx. I custom make the sound fx and sometimes the music too, as well as all audio mastering and mixing.&#xD;&#xA; &#xD;&#xA; &#xD;&#xA; &#xD;&#xA;I am looking into get ozone 5 and isotope RX.&#xD;&#xA; &#xD;&#xA;I am using:&#xD;&#xA; &#xD;&#xA;FL Studio 10&#xD;&#xA;FL fx and EQ (compressor, reverb 2, parametric EQ 2, multi-band compressor, FL volume (automation), and delay.&#xD;&#xA;T-racks (mastering)&#xD;&#xA;Waves platinum bundle (hiss removal and other)&#xD;&#xA; &#xD;&#xA;He is currently recording with a blue snowball mic, so he sounds ALOT Better than when he first started and I have a bit less work to do than before..&#xD;&#xA; &#xD;&#xA;Please let me know your opinions and the processes that you use for these procedures&#xD;&#xA; &#xD;&#xA; &#xD;&#xA;Thank you for your time!!&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="21775" PostHistoryTypeId="2" PostId="13177" RevisionGUID="9571d4aa-5915-4823-a961-f6acd370a7c7" CreationDate="2012-03-23T01:35:42.867" UserId="390" Text="I was asked for a copy of my sound report 2 years after I finished working on a film. TWO YEARS! I don't have an answer for you unfortunately as that's the only feature film I worked on and I do mostly post production now. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21776" PostHistoryTypeId="2" PostId="13178" RevisionGUID="9be10265-0ee0-4bbb-b2e8-c7f8cda23993" CreationDate="2012-03-23T03:56:30.813" UserId="3433" Text="Hi Jamie!&#xD;&#xA;&#xD;&#xA;I checked out your video and a couple things stood out to me:&#xD;&#xA;&#xD;&#xA;I liked the room tones, and the slow builds.  The computer sounds and typing were appropriate.  You supported the change in on-screen energy between the computer room and the traffic/tunnels.  Also, when he's driving in traffic and we hear the whooshes, engine sound etc - that worked very well for me.&#xD;&#xA;&#xD;&#xA;As for the &quot;bad stuff&quot;, In some of your clips I heard clicking at the beginning and end of the clips.  You'll want to fade in/out or xfade for a fraction of a second to get rid of that.  Also, and this is a design issue and I have more experience as an editor and mixer, but I think you may want to consider altering some of the aircraft sounds a little by pitching them or mixing in other similar sounds so they don't sound so much like aircraft.&#xD;&#xA;&#xD;&#xA;I'm hesitant to go into detail about anything regarding design theory because of my lack of knowledge so I guess that's all I have to offer.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21777" PostHistoryTypeId="2" PostId="13179" RevisionGUID="7c409e3a-c480-43df-ace6-7718c0d6828e" CreationDate="2012-03-23T05:46:42.283" UserId="3567" Text="You could do this a lot easier if you split it into two jobs. First you should edit the voice recordings in a linear editing software, and when this is done you can add the music and sound effects by using a multichannel DAW.&#xD;&#xA;&#xD;&#xA;For linear editing nothing beats Adobe Audition, with built in effects from iZotope. You can also use VST plugins with this. I use Waves plugins for de-essing, EQ, compression and filtering. And once the overall audio is filtered and enhanced, you can listen to it and edit out any shortcomings.&#xD;&#xA;&#xD;&#xA;For step 2,  I would recommend Ableton Live. I've been using it for 5 years, and it never let me down. It also plays video, so you can sync the music and sfx in real time. It saves a lot of time and has a host of built in effects such as compressors, reverb, eq, delay etc.&#xD;&#xA;&#xD;&#xA;This is how I usually approach this type of task. With Audition you can assign favorite effects to individual keys, so instead of navigating all the way to the compressor and setting all the parameters you can simply highlight a segment and press the specific key. This has streamlined my work greatly, and I don't want to kill myself each time I have to edit a 4 hour voice recording :)&#xD;&#xA;&#xD;&#xA;Hope this helps,&#xD;&#xA;G." ContentLicense="CC BY-SA 3.0" />
  <row Id="21778" PostHistoryTypeId="2" PostId="13180" RevisionGUID="5507e949-5bb5-490c-abb3-29aa301c00ec" CreationDate="2012-03-23T05:53:33.777" UserId="3634" Text="@stavrosound awesone answer, please check out my question about post production. I ususlly always do your phase 2 deep clean process to the commentaries that i work on, which can take me up to 3 hours or so.&#xD;&#xA;&#xD;&#xA;To the asker of the question, one good thing to do might be to much the silent parts of the dialogue via automation.. only level up the volume on the audible part. Too much fx processing to the whispering or quiet tones will mske them sound unatural. If possible it might be a good option to rerecord the actors or actresses.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21779" PostHistoryTypeId="5" PostId="13159" RevisionGUID="35531949-f1e8-447a-b4bd-1cb5e2f06ed4" CreationDate="2012-03-23T06:54:03.363" UserId="1228" Comment="added 183 characters in body" Text="Very kind of you Brendan to link to the blog post, glad people are finding it useful!&#xD;&#xA;&#xD;&#xA;As Melissa has touched upon (and that book is a very good introduction to dialogue that I equally recommend), and as briefly mentioned in the blog post, editorial is the foundation here.  No amount of Broadband noise suppression, even a Cedar DNS, can fix a dialogue track which isn't properly prepared from the ground up.&#xD;&#xA;&#xD;&#xA;This entails doing any and all edits necessary to make the dialogue track play smoothly and seamlessly (as humanly possible) in raw form without a sidechain.  It entails carefully building out backfill to both get rid of unwanted noises and create very long, gradual fades where necessary to 'hide' the noise bumps of different angles.  Sometimes the required editorial to whip a dialogue track into shape can be downright intense and feel nearly impossible (and even frustrating when you have only 5 seconds of clean backfill to work with sometimes).&#xD;&#xA;&#xD;&#xA;For dialogue editorial, even before running a sidechain, I personally like to take a 3-Pass Approach:&#xD;&#xA;&#xD;&#xA;Pass 1: Down-and-dirty cleanup, brute force edits to make sense of the OMF, remove major offending noises, split out all PFX, backfill where necessary and smooth all edits, level out all my edits' gain for a consistent -18dbFS playback level across the show (= to about -27 dB LEQ(A) for Dolby LM100 or -24dB LEQ(a) on a Stereo Phase Scope I believe) - work at a pace of 2 minutes of footage/hour to create a rudimentary dialogue track which is 'temp-mix ready' if it hand to be shipped at a moments notice.  Think of this as the organizational and &quot;cover my ass&quot; stage ;)&#xD;&#xA;&#xD;&#xA;Pass 2: Thorough Deep Cleaning, removing every single lip smack, tick, pop, click, crackle, plosive there is to be removed - I prefer the manual labor approach rather than signal processing.  Anything which is processed at this stage has the original source edits copied down to X Tracks&#xD;&#xA;&#xD;&#xA;Pass 3: This is where I swap in all the required alt takes, phonetic and phrase fixes for items I noted along the way like Overlaps, Swallowed letters (such as not pronouncing a consonant like 'T' at the end of a word), and other Noise-related issues (maybe a low-level or intelligibility issue) - basically, anywhere in which dialogue was compromised, this is the Phase where I make sure we have all of those fixed by way of the dailies.  All original edits being replaced are copied down to the X Tracks.&#xD;&#xA;&#xD;&#xA;Once this is all dialed in, then setting up a sidechain with something like a C4 can help you suppress the background noise, which through all of this preparation you have made consistent in level and timbre so the C4 is working FOR you not AGAINST you.  **And, at this point you'll be able to properly evaluate material as you roll over it**, and maybe it needs a 'touch' of FFT like iZotope RX or X-Noise to make it sparkle.  Now would be the time to do it, while making sure to keep a copy of the original on your X Tracks.  These X tracks are 'cover your ass' tracks for the stage, especially if you're doing your own premix pass before it hits the stage (as they will likely want to tweak it, sometimes undoing or altering some of the rendered processing you did, so the X Tracks are a must).&#xD;&#xA;&#xD;&#xA;**Also food for thought:** physcoacoustics are a powerful ally.  Sometimes we add noise to remove noise ;)&#xD;&#xA;&#xD;&#xA;EDIT: Here's a link to another post about what's involved with the above-listed 2nd Pass: http://www.stavrosound.com/blog/wordpress/2012/02/the-rice-crispies-mix-snap-crackle-pop/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21780" PostHistoryTypeId="2" PostId="13181" RevisionGUID="3dd0382e-62b0-42a8-aa6e-0738e5ae1b24" CreationDate="2012-03-23T07:03:21.027" UserId="1228" Text="- Templates, templates, templates&#xD;&#xA;&#xD;&#xA;- Know your hot keys front and back&#xD;&#xA;&#xD;&#xA;- To do the above, practice, practice, practice so it becomes muscle memory&#xD;&#xA;&#xD;&#xA;- As George said, organize your workflow into jobs, passes, or procedures - scattered workflow is the quickest way to get gummed up - in it's most simply form, do all editorial together as one, and do all mixing/processing together as another pass&#xD;&#xA;&#xD;&#xA;- De-essing for the sibilance (try a HF rolloff of 7-10dB starting at about 7k)&#xD;&#xA;&#xD;&#xA;- Compressor to help control the dialogue (within reason, you should be mixing into it not relying on it to force your levels) -set your dialogue to an average of about -18dB calibration, then load a compressor with something like 4:1-6:1 ratio, -8 threshold, 7ms Attack and 35ms Release&#xD;&#xA;&#xD;&#xA;Hope that helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21781" PostHistoryTypeId="2" PostId="13182" RevisionGUID="273da8ec-24ec-4f15-821e-b05cedb70aa5" CreationDate="2012-03-23T11:47:02.870" UserId="2515" Text="Hi There, I have been creating and implementing audio into the Unity 3D game engine for my Honours Project at University. I was wondering if anyone with experience in the Video Game Audio field could give me feedback on this project that I could include in my Honours Dissertation. &#xD;&#xA;The game is based on the Desktop platform and a MacOS/Windows Build of the game can be created.&#xD;&#xA;&#xD;&#xA;Any replies are appreciated thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="21782" PostHistoryTypeId="1" PostId="13182" RevisionGUID="273da8ec-24ec-4f15-821e-b05cedb70aa5" CreationDate="2012-03-23T11:47:02.870" UserId="2515" Text="Honours Project Feedback (Video Game Audio)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21783" PostHistoryTypeId="3" PostId="13182" RevisionGUID="273da8ec-24ec-4f15-821e-b05cedb70aa5" CreationDate="2012-03-23T11:47:02.870" UserId="2515" Text="&lt;honours&gt;&lt;video-games&gt;&lt;sound-design&gt;&lt;student&gt;&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21787" PostHistoryTypeId="2" PostId="13184" RevisionGUID="c5553022-b834-4844-b261-f9d16a41e73c" CreationDate="2012-03-23T18:58:57.143" UserId="3587" Text="I'm looking for sample libraries with generic cartoon sounds. Mainly those zips and swishes you'll hear when characters move instantly in or out of the picture.&#xD;&#xA;&#xD;&#xA;I tried doing some on my own, but I think I have to face that my $2 slide-whistle and 30 minutes of experimentation doesn't make me an expert on cartoon sounds.&#xD;&#xA;&#xD;&#xA;Any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21788" PostHistoryTypeId="1" PostId="13184" RevisionGUID="c5553022-b834-4844-b261-f9d16a41e73c" CreationDate="2012-03-23T18:58:57.143" UserId="3587" Text="Sample libraries with cartoon sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21789" PostHistoryTypeId="3" PostId="13184" RevisionGUID="c5553022-b834-4844-b261-f9d16a41e73c" CreationDate="2012-03-23T18:58:57.143" UserId="3587" Text="&lt;cartoon&gt;&lt;sound-effects&gt;&lt;library&gt;&lt;sample&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21790" PostHistoryTypeId="5" PostId="13184" RevisionGUID="8bff5344-9f68-429e-aa6c-9085a2cfed7e" CreationDate="2012-03-23T19:16:05.830" UserId="3587" Comment="added 86 characters in body" Text="I'm looking for sample libraries with generic cartoon sounds. Mainly those zips and swishes you'll hear when characters move instantly in or out of the picture.&#xD;&#xA;&#xD;&#xA;In general, any experience, tips or resources regarding cartoon sounds would also be highly appreciate.&#xD;&#xA;I tried doing some on my own, but I think I have to face that my $2 slide-whistle and 30 minutes of experimentation doesn't make me an expert on cartoon sounds. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21791" PostHistoryTypeId="2" PostId="13185" RevisionGUID="2a26fa4a-d191-4f89-8dc2-f97566e84f9a" CreationDate="2012-03-23T19:33:00.353" UserId="1225" Text="A classic Sound Ideas 4000 series should help you.&#xD;&#xA;http://www.sound-ideas.com/4000.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="21792" PostHistoryTypeId="2" PostId="13186" RevisionGUID="faa84d75-665f-4045-86d7-b7347f4e2803" CreationDate="2012-03-23T22:12:55.020" UserId="1299" Text="Hi, this is another sfx library that is good: http://www.sound-ideas.com/rocky.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="21793" PostHistoryTypeId="2" PostId="13187" RevisionGUID="2dc46797-ca91-4a5b-b33c-167765e0094c" CreationDate="2012-03-23T22:16:59.017" UserId="6435" Text="This, too: Warner Brothers. http://www.sound-ideas.com/wb.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="21794" PostHistoryTypeId="2" PostId="13188" RevisionGUID="ce484f59-d781-421f-b137-b01a9bf7ec3b" CreationDate="2012-03-23T23:56:38.397" UserId="6524" Text="I've seen a lot of people praising the sound design concept for a film but what exactly does that mean, and can you give an example?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21795" PostHistoryTypeId="1" PostId="13188" RevisionGUID="ce484f59-d781-421f-b137-b01a9bf7ec3b" CreationDate="2012-03-23T23:56:38.397" UserId="6524" Text="What do you mean by &quot;Sound Design Concept&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21796" PostHistoryTypeId="3" PostId="13188" RevisionGUID="ce484f59-d781-421f-b137-b01a9bf7ec3b" CreationDate="2012-03-23T23:56:38.397" UserId="6524" Text="&lt;film&gt;&lt;design&gt;&lt;noob&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21797" PostHistoryTypeId="2" PostId="13189" RevisionGUID="f7e3116d-c92c-4a64-9ffb-06bdf7ca3f73" CreationDate="2012-03-24T00:31:26.157" UserId="6411" Text="If you want classic, but slightly recognizable cartoon effects: http://www.sound-ideas.com/hb.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="21798" PostHistoryTypeId="2" PostId="13190" RevisionGUID="cbacdf63-06a1-4dbd-acab-42f2f083a2b3" CreationDate="2012-03-24T00:40:47.570" UserId="1228" Text="Likely referring the aesthetic, and how that supports (positively) the underlying story/visual, and it's extreme uniqueness of style (like the sound palette of Transformers or The Matrix, for instance) - round an subtle for a drama, or abrasive and agitated for some hyperreal action piece like 300 or Sin City, or smooth and punchy like Inception, harsh and frightening for a thriller/slasher, etc.&#xD;&#xA;&#xD;&#xA;So many aesthetic styles that can be chosen, and finding that best match to drive the story and thus serve the story's intent productively.&#xD;&#xA;&#xD;&#xA;Overall that's my best guess." ContentLicense="CC BY-SA 3.0" />
  <row Id="21799" PostHistoryTypeId="2" PostId="13191" RevisionGUID="d9f006d2-5106-48fa-abf4-3558f10dfec7" CreationDate="2012-03-24T00:51:07.110" UserId="3426" Text="Do yourself a big favor and Google Treg Brown and Jimmy MacDonald. It's worth the time :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21800" PostHistoryTypeId="2" PostId="13192" RevisionGUID="205e6723-ba01-4e0d-9d98-ab273099adcf" CreationDate="2012-03-24T10:56:49.977" UserId="3529" Text="I'm wondering what could be the cause of a ticking sound at a regular interval in speech recordings recorded with a sennheiser ew100 and sanken Lav mic through a Wendt mixer on a camera. Th ticking only appears when the person is speaking ( or at least it's only audible when the input signal goes up)&#xD;&#xA;&#xD;&#xA;I'm thinking this could be a bad input on the camera.&#xD;&#xA;What ideas do you have.&#xD;&#xA;&#xD;&#xA;I&#xD;&#xA;Have some ideas of how to fix this in post. Suggestions on this are welcome too.&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;Mark " ContentLicense="CC BY-SA 3.0" />
  <row Id="21801" PostHistoryTypeId="1" PostId="13192" RevisionGUID="205e6723-ba01-4e0d-9d98-ab273099adcf" CreationDate="2012-03-24T10:56:49.977" UserId="3529" Text="Lav mic signal produces a periodic ticking sound. Anny ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21802" PostHistoryTypeId="3" PostId="13192" RevisionGUID="205e6723-ba01-4e0d-9d98-ab273099adcf" CreationDate="2012-03-24T10:56:49.977" UserId="3529" Text="&lt;lavalier&gt;&lt;problems&gt;&lt;recording&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21803" PostHistoryTypeId="2" PostId="13193" RevisionGUID="23db4269-0bdb-451f-a7f3-d6cc0f0a12f7" CreationDate="2012-03-24T11:55:29.090" UserId="103" Text="I had that happening to me this week. I changed the frequency and it stopped, though i really don't know why. (We use Audio limited emitters and receivers)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21805" PostHistoryTypeId="2" PostId="13195" RevisionGUID="f5898046-d6a0-4f94-aaaf-86241ac26104" CreationDate="2012-03-24T16:35:51.813" UserId="29" Text="Just riffing off the top of my head: Any number of things could cause this, but my guess is RF or EM interference. A lot depends on what the ticks sound like: Soft thwps, hard hits, just dropouts, etc. Phones and nearby antennae could introduce such sounds, and in Filipe's case, if changing frequency helped, that sounds like RF interference to me. Another possibility is intermodulation, especially if you have an older receiver without a diversity antenna - were you just running one channel of wireless audio, or multiple? Any large metallic objects nearby? Might the EW100's compander be gating all signal unless the subject is speaking, thereby revealing the ticking? Finally, it could be humidity with the lav, but humidity sputtering would probably not be absolutely rhythmic all the time." ContentLicense="CC BY-SA 3.0" />
  <row Id="21806" PostHistoryTypeId="2" PostId="13196" RevisionGUID="ef6c3376-ca58-4cfa-be50-81e2137ccd2c" CreationDate="2012-03-24T16:57:33.080" UserId="3587" Text="Thanks,I'll take a look at all of these! Up vote for all ifi had 15 rep :-)." ContentLicense="CC BY-SA 3.0" />
  <row Id="21807" PostHistoryTypeId="2" PostId="13197" RevisionGUID="547900ab-a6c3-44c7-8cbd-a17fd96bea66" CreationDate="2012-03-24T17:20:32.933" UserId="3171" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;When you're cutting and layering multiple sounds in order to achieve a desired effect, how would you normally apply any plugin processing that's required?&#xD;&#xA;&#xD;&#xA;At the moment, I'm working on a sound redesign for the dragon scene in Sintel (Blender Foundation), where at certain points, I'm layering maybe 8 or 9 tracks for a roar or a flame burst.&#xD;&#xA;&#xD;&#xA;To save on dsp, track counts and automation, I have often committed changes to EQ, Compression, Harmonics, Modulation, etc via audiosuite renders.  Such an element may only occur once in the whole piece.  I might also occasionally print a dry processed effect (with multiple consecutive plugin inserts) to a separate audio track, and spot to timeline in the relevant fx track.  Am I making life hard for myself by processing destructively, or does it make sense to commit to something in order to conserve cpu and tracks?  I'll automate Levels, Reverbs and Sends, etc during the final mix process - my headache is with specific infrequent effects that require lots of processing.  &#xD;&#xA;&#xD;&#xA;I'd really appreciate it if you could share your preferred methods in this area of workflow.  Thanks!&#xD;&#xA;&#xD;&#xA;Gethin   " ContentLicense="CC BY-SA 3.0" />
  <row Id="21808" PostHistoryTypeId="1" PostId="13197" RevisionGUID="547900ab-a6c3-44c7-8cbd-a17fd96bea66" CreationDate="2012-03-24T17:20:32.933" UserId="3171" Text="SFX Editing &amp; Layering - Audiosuite or Inserts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21809" PostHistoryTypeId="3" PostId="13197" RevisionGUID="547900ab-a6c3-44c7-8cbd-a17fd96bea66" CreationDate="2012-03-24T17:20:32.933" UserId="3171" Text="&lt;audiosuite&gt;&lt;workflow&gt;&lt;cutting&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21810" PostHistoryTypeId="2" PostId="13198" RevisionGUID="7433b1d4-a082-44b3-8561-05fa0ab386ea" CreationDate="2012-03-24T18:28:29.467" UserId="3532" Text="In my experience, AS seems nice and fast, easy, etc...but later on now I've discovered that I like to keep the plugins on tracks and bounce out my sounds/ record them etc and save these tracks in case I need to come back to these settings and plugins for rewworking a sound.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21811" PostHistoryTypeId="2" PostId="13199" RevisionGUID="1ed95944-1972-4935-91af-ee611f85c019" CreationDate="2012-03-24T19:20:04.317" UserId="29" Text="I go nondestructive on everything until the CPU gives out, because: Clients. :-) If I need to render or bounce, I archive the previous session(s) before doing so." ContentLicense="CC BY-SA 3.0" />
  <row Id="21812" PostHistoryTypeId="2" PostId="13200" RevisionGUID="b9e77d5f-af70-43c6-8541-c492394661c3" CreationDate="2012-03-24T19:27:25.667" UserId="29" Text="When I establish, or experience, sound design based on a concept, that usually means a set of overarching design principles or themes that act as a set of heuristics that can guide decisions - and critiques - made along the way. Is it intended to compliment or contrast the emotional tone of a scene? Are there emotive descriptors that can be used to influence the piece? Are there textural elements for certain scenes, actions, or characters?  It's rare that there is just one concept (unless it boils down to &quot;hyperreal,&quot; &quot;uncomfortable focus,&quot; &quot; distance&quot;, or &quot;uneasy&quot;), but rather a small set of easy-to-remember strategic principles that frame the creative challenge before you and guide more tactical decisions.&#xD;&#xA;&#xD;&#xA;This approach not only is helpful in the making of things, but also a key way to frame challenges, hold meaningful critiques, establish shared language between collaborators in discussing audio decisions, and defend aesthetic decisions beyond &quot;I did it because it sounded good:&quot; That, in my opinion, should *always* be the result, but never a justification." ContentLicense="CC BY-SA 3.0" />
  <row Id="21813" PostHistoryTypeId="2" PostId="13201" RevisionGUID="48c5719f-5dc9-46c8-818f-e1cd29ab40fc" CreationDate="2012-03-24T20:09:03.463" UserId="542" Text="I keep everything non-destructive, but if I really need to save CPU power I freeze tracks (even though this happend only once)." ContentLicense="CC BY-SA 3.0" />
  <row Id="21814" PostHistoryTypeId="2" PostId="13202" RevisionGUID="66a1e616-372b-4892-8670-39a6ca39698a" CreationDate="2012-03-24T22:18:13.983" UserId="3179" Text="I personally find audiosuite/offline processing a bit clumsy for most processing, because of how the preview sounds (looping and fast with short regions) and because it's not automatable. I occasionally use offline processing when I'm only going to do only one small fix and not multiple at the same time e.g. one eq cut.&#xD;&#xA;&#xD;&#xA;I work nondestructively and render whenever I reach a certain &quot;goal&quot; with the sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="21815" PostHistoryTypeId="5" PostId="13202" RevisionGUID="31f917c9-962b-4a97-99fe-495809b34591" CreationDate="2012-03-24T22:30:00.640" UserId="3179" Comment="added 293 characters in body; added 1 characters in body" Text="I personally find audiosuite/offline processing a bit clumsy for most processing, because of how the preview sounds (looping and fast with short regions) and because it's not automatable. I occasionally use offline processing when I'm only going to do only one small fix and not multiple at the same time e.g. one eq cut.&#xD;&#xA;&#xD;&#xA;I work nondestructively and render whenever I reach a certain &quot;goal&quot; with the sound. In terms of layering, I don't find it difficult to sum the layers either, as soon as they are close enough finished. I might &quot;save as&quot; to a new version number if I'm bouncing a lot of stuff, so in case something needs to be changed, I can go to a previos save and retrieve the original tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="21816" PostHistoryTypeId="2" PostId="13203" RevisionGUID="276eda6d-5d50-4327-b0d8-45504241dce1" CreationDate="2012-03-24T23:35:51.630" UserId="3646" Text="I realise this is an old thread, but just thought I'd throw this out there, as it hadn't been mentioned.  Personally, I love McDSP's Futzbox plugin for this sort of thing.  Has a lot of great presets and it's also really easy to adjust the settings for whatever you're working on." ContentLicense="CC BY-SA 3.0" />
  <row Id="21817" PostHistoryTypeId="2" PostId="13204" RevisionGUID="b45ff67e-92cd-4134-bd42-f5b6c1ba1855" CreationDate="2012-03-25T00:21:09.043" UserId="930" Text="I personally have two sets of tracks.&#xD;&#xA;&#xD;&#xA;I have my active track lay at the top, with my FX/Atmos tracks etc. and then I have an exact copy of the same tracks underneath, but made inactive. The two mirror each other, however, the clips/regions in the bottom, inactive section, are completely un-processed in case I need to go back to the original elements and change things.&#xD;&#xA;&#xD;&#xA;I feel that this route gives you the best of both worlds - low CPU usage, but you still have the option to go back to the elements if needed.&#xD;&#xA;&#xD;&#xA;Cheers." ContentLicense="CC BY-SA 3.0" />
  <row Id="21818" PostHistoryTypeId="5" PostId="13204" RevisionGUID="99ff36a0-061b-480b-bb18-7d7e47868a40" CreationDate="2012-03-25T00:26:18.143" UserId="930" Comment="added 11 characters in body" Text="I personally have two sets of tracks.&#xD;&#xA;&#xD;&#xA;I have my active track lay at the top, with my FX/Atmos tracks etc. and then I have an exact copy of the same tracks underneath, but made inactive. The two mirror each other, however, the clips/regions in the bottom, inactive section, are completely un-processed in case I need to go back to the original elements and change things.&#xD;&#xA;&#xD;&#xA;I feel that this route gives you the best of both worlds - low CPU usage, but you still have the option to go back to the individual elements if needed.&#xD;&#xA;&#xD;&#xA;Cheers." ContentLicense="CC BY-SA 3.0" />
  <row Id="21819" PostHistoryTypeId="2" PostId="13205" RevisionGUID="6d268a07-67f4-4833-8765-5b9b32368f18" CreationDate="2012-03-25T01:28:06.563" UserId="6524" Text="Just curious if anyone knows how and when all the weird beeps and boops and stuff started being used in modern radio we hear today." ContentLicense="CC BY-SA 3.0" />
  <row Id="21820" PostHistoryTypeId="1" PostId="13205" RevisionGUID="6d268a07-67f4-4833-8765-5b9b32368f18" CreationDate="2012-03-25T01:28:06.563" UserId="6524" Text="Who started the &quot;Radio&quot; sound style we hear today?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21821" PostHistoryTypeId="3" PostId="13205" RevisionGUID="6d268a07-67f4-4833-8765-5b9b32368f18" CreationDate="2012-03-25T01:28:06.563" UserId="6524" Text="&lt;radio&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21822" PostHistoryTypeId="2" PostId="13206" RevisionGUID="5d34ed5e-9a7b-4b24-a426-666be3ca9aab" CreationDate="2012-03-25T02:43:45.883" UserId="3532" Text="I worldized through plugins a song to sound like an iphone ring.  I used guitar rig and with the right combinations of above mentioned EQ, and distortion,  I was really happy with the sound i got.  On the other hand, I've been drooling over speakerphone and the Altiverb package for awhile now but the simulations i do with guitar rig have been guiding me pretty well towards the right sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="21823" PostHistoryTypeId="2" PostId="13207" RevisionGUID="ffca46ef-e6c4-4bc7-a4d9-e4bf57139589" CreationDate="2012-03-25T03:15:17.997" UserId="6435" Text="*The Hunger Games* has a shot (a bunch of miners in a lift) that looks like it's lifted straight from *Metropolis*. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21824" PostHistoryTypeId="2" PostId="13208" RevisionGUID="0f85d5d2-c5ea-4460-94ca-3e1a79adf751" CreationDate="2012-03-25T03:20:26.860" UserId="6435" Text="I try to keep everything. At my day job I pretty much have to. A client may come back five years later and want to revise a project. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21825" PostHistoryTypeId="2" PostId="13209" RevisionGUID="bed4cc9d-711f-4284-85ac-1e2b06460f65" CreationDate="2012-03-25T04:35:30.377" UserId="1228" Text="My approach is that on my main FX tracks, there's never an RTAS running at all.  Stages don't take well to this stuff usually., especially when they realize a bunch of your plugins won't necessarily load or load correctly.&#xD;&#xA;&#xD;&#xA;That said, I build in layers (where appropriate, of course) and try my best to **region group parts of a sound** catorgically (e.g. for a gun combat segment I might do: grab, pistol whip, gun mvt (for pistol whip), gun mvt (handling), gun cock, shot, shot wide, shell eject, etc) or by frequency (e.g. for a sting, I might do: hi, mid, lo, tonal).  Laid out from a top-down approach and strategically organized toward what the mixer is probably going to want (e.g. same recurring sounds on same track, consistantly start a multi-track region group on the Odd numbered FX track, etc)  That's for the final FX tracks.&#xD;&#xA;&#xD;&#xA;I also carry many mono and stereo 'source' tracks which serve as a sandbox.  Usually it's where I build my edits and comp them down, which are then pulled into the FX tracks.  A great example as a vehicle engine.  The engine, in one case I was working on, consisted of about 8 mic angles per take for the vehicle source itself, and they had to be weaved together to create a 'Start, double tap rev, very hard rev out' maneuver.  Some angles on the car were muted depending on the segment I was using (or because some mics were not good on some parts), but overall the raw edit of this vehicle move was about 25 tracks wide (in order to carry all mic POVs that I needed and still checkerboard the edit).  Then I would go through and comp down the entire maneuver into a mono' Engine' and a 'Tailpipe' POV, which means that what ends up on my final FX track is 2 mono files of this engine.  That's all the stage want's and needs, especially if the Tailpipe can be provided separate from the Engine - sometimes, that's not the case with some vehicles because there is not discrete Tailpipe POV on the source, or the POV exists but blows (no pun intended), and the stage is thus better using EQ on it.  Once these mono's are generated, I'll do split outs and gain-adjust for POV cuts that happen - so that way, the stage isn't committed to how the POVs are and essentially have handles on the edit tracks - so ultimately what we did here was use 'source' to create 'new source' that we edit with.  I rinse and repeat for other vehicle items like tires, skids/peels, suspension, cornering, brakes, shifter - each comp'd down to mono tracks stacking under the engine in the FX tracks (and POV split from there as needed).&#xD;&#xA;&#xD;&#xA;  I use the same technique on other things too, like doors - unless it's some sort of elaborate tech door or vault door, I limit myself to 3-4 elements.  If the door's any wider, I'll comp down appropriately complimenting elements to bring it down to 3-4.  Again this is sort of thing in the mentality of the stage and what the mixer wants (e.g. enough, but not too much).&#xD;&#xA;&#xD;&#xA;In these cases, I keep the region-grouped 'source' edits muted on the source tracks and always carry these tracks in my edit.  In the event the stage calls because they need to dig into a sound elements deeper, then it's easy to ship off the source edits themselves.  Over time and practice of using proper discrimination and confidence in your edits, this stage situation should usually never happen because you'll kept comp'd elements appropriately separated from others which you know the mixer will need discrete control over (hence, comping by frequency range or categorically).  But you still never know - so I always keep these source edits.&#xD;&#xA;&#xD;&#xA;Sometimes I have RTAS plugins in them to automate specific processes on the fly, especially when an effect is non-linear in nature (e.g. speed ramp), especially when doing design so I can create proper sonic textures and gestures to match what's happening.  But even then, those get comp'd down and pulled up into the FX tracks (in this case, Design tracks sitting below my FX tracks) to serve as anew 'source' element to build into the overall design composite which gets region grouped.&#xD;&#xA;&#xD;&#xA;Hope it helps!  That's my 2 cents at least.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21826" PostHistoryTypeId="5" PostId="13209" RevisionGUID="1ab1f07f-7687-4728-b0fc-07720ab5a542" CreationDate="2012-03-25T04:50:23.030" UserId="1228" Comment="added 907 characters in body" Text="My approach is that on my main FX tracks, there's never an RTAS running at all.  Stages don't take well to this stuff usually., especially when they realize a bunch of your plugins won't necessarily load or load correctly.&#xD;&#xA;&#xD;&#xA;That said, I build in layers (where appropriate, of course) and try my best to **region group parts of a sound** catorgically (e.g. for a gun combat segment I might do: grab, pistol whip, gun mvt (for pistol whip), gun mvt (handling), gun cock, shot, shot wide, shell eject, etc) or by frequency (e.g. for a sting, I might do: hi, mid, lo, tonal).  Laid out from a top-down approach and strategically organized toward what the mixer is probably going to want (e.g. same recurring sounds on same track, consistantly start a multi-track region group on the Odd numbered FX track, etc)  That's for the final FX tracks.&#xD;&#xA;&#xD;&#xA;I also carry many mono and stereo 'source' tracks which serve as a sandbox.  Usually it's where I build my edits and comp them down, which are then pulled into the FX tracks.  A great example as a vehicle engine.  The engine, in one case I was working on, consisted of about 8 mic angles per take for the vehicle source itself, and they had to be weaved together to create a 'Start, double tap rev, very hard rev out' maneuver.  Some angles on the car were muted depending on the segment I was using (or because some mics were not good on some parts), but overall the raw edit of this vehicle move was about 25 tracks wide (in order to carry all mic POVs that I needed and still checkerboard the edit).  Then I would go through and comp down the entire maneuver into a mono' Engine' and a 'Tailpipe' POV, which means that what ends up on my final FX track is 2 mono files of this engine.  That's all the stage want's and needs, especially if the Tailpipe can be provided separate from the Engine - sometimes, that's not the case with some vehicles because there is not discrete Tailpipe POV on the source, or the POV exists but blows (no pun intended), and the stage is thus better using EQ on it.  Once these mono's are generated, I'll do split outs and gain-adjust for POV cuts that happen - so that way, the stage isn't committed to how the POVs are and essentially have handles on the edit tracks - so ultimately what we did here was use 'source' to create 'new source' that we edit with.  I rinse and repeat for other vehicle items like tires, skids/peels, suspension, cornering, brakes, shifter - each comp'd down to mono tracks stacking under the engine in the FX tracks (and POV split from there as needed).&#xD;&#xA;&#xD;&#xA;  I use the same technique on other things too, like doors - unless it's some sort of elaborate tech door or vault door, I limit myself to 3-4 elements.  If the door's any wider, I'll comp down appropriately complimenting elements to bring it down to 3-4.  Again this is sort of thing in the mentality of the stage and what the mixer wants (e.g. enough, but not too much).&#xD;&#xA;&#xD;&#xA;In these cases, I keep the region-grouped 'source' edits muted on the source tracks and always carry these tracks in my edit.  In the event the stage calls because they need to dig into a sound elements deeper, then it's easy to ship off the source edits themselves.  Over time and practice of using proper discrimination and confidence in your edits, this stage situation should usually never happen because you'll kept comp'd elements appropriately separated from others which you know the mixer will need discrete control over (hence, comping by frequency range or categorically).  But you still never know - so I always keep these source edits.&#xD;&#xA;&#xD;&#xA;Sometimes I have RTAS plugins in them to automate specific processes on the fly, especially when an effect is non-linear in nature (e.g. speed ramp), especially when doing design so I can create proper sonic textures and gestures to match what's happening.  But even then, those get comp'd down and pulled up into the FX tracks (in this case, Design tracks sitting below my FX tracks) to serve as anew 'source' element to build into the overall design composite which gets region grouped.&#xD;&#xA;&#xD;&#xA;Aside from all that, I usually just AS a source element with processing and commit it to the file if I even process a file (e.g. EQ, ring modulation, etc).  I prefer keeping my edits layered and raw, and commit anything which actually requires processing.  In my opinion,  **nearly no amount of processing can make up for using the wrong source elements to create a sound.** The only real exception to that is when your (a) creating something conceptual like sound design (b) correcting for a problem with the source element (e.g. low end rumble or getting rid of the muddy bass, a steady tone needing to be notched out, etc).  If your having to constant EQ and process everything before it hits the FX tracks (hence, running all the processing) then it may be wise to go back and make soure you're working with the right source elements and not trying to cajole bad/poor ones into getting the job done.&#xD;&#xA;&#xD;&#xA;Hope it helps!  That's my 2 cents at least.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21827" PostHistoryTypeId="2" PostId="13210" RevisionGUID="6b8a2552-18cd-4982-94c1-eba33e6cb001" CreationDate="2012-03-25T06:54:32.007" UserId="842" Text="If we're thinking of the same thing it started pretty much the same second the synths, vocoders, and other tools got invented. In an entirely sonic media such as radio they where dependent of clear and recognizable jingles to have even the most inattentive listener, like drivers for example, to be aware of changes in programs and notifications without risking confusion. And as such, they often used as unique and interesting sounds as they could find.&#xD;&#xA;Of course many channels kept, and still keep, using regular musical instruments playing simple little tunes, but it's WAY easier to design something spacey than to compose it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21828" PostHistoryTypeId="2" PostId="13211" RevisionGUID="b1ce7566-5591-46c7-aa8e-54bb8d713a6a" CreationDate="2012-03-25T07:55:17.637" UserId="3641" Text="Hello,&#xD;&#xA;&#xD;&#xA;I would like a recommendation regarding naming a sound files. &#xD;&#xA;&#xD;&#xA;My problem is that I end up having huge names after doing many processing and also at the end I look at the name I gave and have no idea about what it sounds like. &#xD;&#xA;&#xD;&#xA;For example, say I have a Metro recording, I start working with a small edit of it, say pitch shift it, add reverb, then convolve it with another sound etc. &#xD;&#xA;&#xD;&#xA;What would be the best way of naming this kind of procedures?&#xD;&#xA;&#xD;&#xA;thanx,&#xD;&#xA;panjethro" ContentLicense="CC BY-SA 3.0" />
  <row Id="21829" PostHistoryTypeId="1" PostId="13211" RevisionGUID="b1ce7566-5591-46c7-aa8e-54bb8d713a6a" CreationDate="2012-03-25T07:55:17.637" UserId="3641" Text="Naming sound files" ContentLicense="CC BY-SA 3.0" />
  <row Id="21830" PostHistoryTypeId="3" PostId="13211" RevisionGUID="b1ce7566-5591-46c7-aa8e-54bb8d713a6a" CreationDate="2012-03-25T07:55:17.637" UserId="3641" Text="&lt;file-naming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21831" PostHistoryTypeId="2" PostId="13212" RevisionGUID="b0f684f2-9fa7-4a8d-a60e-09a5ecbfc124" CreationDate="2012-03-25T15:07:47.460" UserId="3567" Text="Do yourself a huge favor and start creating your own library. Not that difficult and a lot more satisfactory." ContentLicense="CC BY-SA 3.0" />
  <row Id="21832" PostHistoryTypeId="2" PostId="13213" RevisionGUID="9e681f35-09ce-4ed2-85a9-5efef42dec38" CreationDate="2012-03-25T15:58:28.233" UserId="3650" Text="Hi all, &#xD;&#xA;I'm having a hard time getting the right settings on my new Zoom H4N for recording with 2 XLR inputs -- a shotgun mic and wireless lav system for a film shoot. I also can't figure out how to turn off the onboard mics -- I just want those two inputs, and to be able to monitor both. It seems like it should be straightforward, but it's proving confusing. Should it be in 4-Channel or MTR mode, and how do I set each of the inputs? &#xD;&#xA;&#xD;&#xA;Thank you for any advice you might have on settings! " ContentLicense="CC BY-SA 3.0" />
  <row Id="21833" PostHistoryTypeId="1" PostId="13213" RevisionGUID="9e681f35-09ce-4ed2-85a9-5efef42dec38" CreationDate="2012-03-25T15:58:28.233" UserId="3650" Text="How to set the Zoom H4N for recording with external mic &amp; lav? " ContentLicense="CC BY-SA 3.0" />
  <row Id="21834" PostHistoryTypeId="3" PostId="13213" RevisionGUID="9e681f35-09ce-4ed2-85a9-5efef42dec38" CreationDate="2012-03-25T15:58:28.233" UserId="3650" Text="&lt;zoom-h4n&gt;&lt;film-sound-design&gt;&lt;lavalier&gt;&lt;xlr-input&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21835" PostHistoryTypeId="2" PostId="13214" RevisionGUID="5a2b4810-128c-4b3c-a65e-10eb8b4996e0" CreationDate="2012-03-25T16:46:04.623" UserId="3426" Text="[Clear Channel][1] is most likely responsible for the fact that most radio promos sound the same. They own at least 1,200 radio stations in the US. &#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Clear_Channel_Communications" ContentLicense="CC BY-SA 3.0" />
  <row Id="21836" PostHistoryTypeId="5" PostId="13213" RevisionGUID="20b395e3-0c01-4360-a968-4abae9f56558" CreationDate="2012-03-25T17:03:28.483" UserId="3650" Comment="added 11 characters in body" Text="Hi all, &#xD;&#xA;I'm having a hard time getting the right settings on my new Zoom H4N for recording with 2 XLR inputs -- a shotgun mic and wireless lav system for a film shoot. I also can't figure out how to turn off the onboard mics -- I just want those two inputs, and to be able to monitor both. It seems like it should be straightforward, but it's proving confusing. Should it be in 4-Channel, Stereo, (or MTR mode), and how do I set each of the inputs? &#xD;&#xA;&#xD;&#xA;Thank you for any advice you might have on settings! " ContentLicense="CC BY-SA 3.0" />
  <row Id="21837" PostHistoryTypeId="2" PostId="13215" RevisionGUID="5639e5f3-1fb4-4974-9646-0485a85e6178" CreationDate="2012-03-25T17:35:17.917" UserId="29" Text="I'm sure it's different for everyone, but once I start mixing and rendering out specific SFX, I tend to name them for what they represent or will be used for, not the original sound source, and append with some other characteristics. Examples include &quot;button_touchRelease_sharpClicky_v1,&quot; &quot;drone_analog_spectralBlur+800c,&quot; &quot;blaster_light_sizzle-2o,&quot; (+800c = +800 cents pitch shift, -2o = minus two octaves pitch shift), what have you. When processing chains get long, my names get more subjective: &quot;blaster_light_sparkly_v4,&quot; &quot;buttonPress_heavyThunk,&quot; etc. Time permitting, I like putting the original sound source and processing notes in a metadata field, so I can backtrack in case of session corruption or creating a larger family of sounds if they get approved." ContentLicense="CC BY-SA 3.0" />
  <row Id="21838" PostHistoryTypeId="2" PostId="13216" RevisionGUID="f6c82bc9-fc61-4c29-b803-0fceb675aa1a" CreationDate="2012-03-25T18:42:30.987" UserId="708" Text="Hi Willa,&#xD;&#xA;&#xD;&#xA;I would put it in stereo mode and select input 1 or 2 (this will de-select the external mics). In the &quot;Input&quot; menu, make sure stereo link is OFF. This will allow you to adjust the recording level for Input 1 and 2 independently (simply press 1 or 2 on the h4n and then adjust the input level for that channel). Plug in your microphones into the xlr jacks and press the record button. This will record arm the H4N, and allow you to monitor the two mics. Since it is in STEREO mode, it will create one stereo track with input 1 on the left and input2 on the right. &#xD;&#xA;&#xD;&#xA;I hope this helps some. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21839" PostHistoryTypeId="2" PostId="13217" RevisionGUID="df278c6e-6c17-4309-af95-9c0f556008bc" CreationDate="2012-03-25T20:08:06.727" UserId="3652" Text="can i only use 2 speakers on a 5.1 system I am looking to connect only two speakers so I can have music outside only" ContentLicense="CC BY-SA 3.0" />
  <row Id="21840" PostHistoryTypeId="1" PostId="13217" RevisionGUID="df278c6e-6c17-4309-af95-9c0f556008bc" CreationDate="2012-03-25T20:08:06.727" UserId="3652" Text="can i only use 2 speakers on a 5.1 system I am looking to connect only two speakers " ContentLicense="CC BY-SA 3.0" />
  <row Id="21841" PostHistoryTypeId="3" PostId="13217" RevisionGUID="df278c6e-6c17-4309-af95-9c0f556008bc" CreationDate="2012-03-25T20:08:06.727" UserId="3652" Text="&lt;5.1&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21842" PostHistoryTypeId="2" PostId="13218" RevisionGUID="8163a543-349a-4191-aa38-e5865dd8ea67" CreationDate="2012-03-25T20:45:21.657" UserDisplayName="user80" Text="If the 5.1 is running from a shared amplifier you will need a dummy-load so as not to damage the amp.&#xD;&#xA;&#xD;&#xA;http://diyaudioprojects.com/Technical/DIY-Speaker-Dummy-Load/&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="21843" PostHistoryTypeId="2" PostId="13219" RevisionGUID="1d75f327-89d3-40e1-876f-60d1c82d4c54" CreationDate="2012-03-25T20:48:45.727" UserDisplayName="user80" Text="I name the sound according to the source and action that the sound is representing rather than what made it.  I include the source and modifications as part of the metadata." ContentLicense="CC BY-SA 3.0" />
  <row Id="21844" PostHistoryTypeId="2" PostId="13220" RevisionGUID="081dbdb3-0be7-48c1-aaf5-101947d2fd3c" CreationDate="2012-03-25T23:26:39.590" UserId="863" Text="Hey nice work first off, especially for a first stab at this.&#xD;&#xA;&#xD;&#xA;I would say attempt to layer and manipulate the sounds you're using. It sounds like aircrafts. Add extra elements, It sounds monstrous in the original like theres a ton of afterburners going off, experiment, use things you don't expect, distort, stretch, etc etc.&#xD;&#xA;&#xD;&#xA;The bike sounds were nice, but did you create them or were they just something you found? Good work though." ContentLicense="CC BY-SA 3.0" />
  <row Id="21845" PostHistoryTypeId="2" PostId="13221" RevisionGUID="b71a715c-195c-4035-a88f-98042ffebacb" CreationDate="2012-03-26T07:20:42.247" UserId="3179" Text="I might be lending the thread a bit, but I'm looking for a particular type of wind and would like to know if anyone knows libraries which might include what I'm looking for. My last resort is to try to whistle or synthesize it.&#xD;&#xA;&#xD;&#xA;What I'm looking for is this type of howling wind (00:10 onwards): http://www.soundsnap.com/node/10399. But that particular recording obviously has very bad quality." ContentLicense="CC BY-SA 3.0" />
  <row Id="21846" PostHistoryTypeId="2" PostId="13222" RevisionGUID="038d5bce-c8da-4d45-8178-51c303237077" CreationDate="2012-03-26T10:31:02.627" UserId="3654" Text="i also name it by what is in there: Forrest_Birds_Churchbells_Light_Wind_01 or like Iain McGregor said..... what is sounds like...." ContentLicense="CC BY-SA 3.0" />
  <row Id="21847" PostHistoryTypeId="2" PostId="13223" RevisionGUID="06028ae8-a8c5-4516-978e-bca46c5abddf" CreationDate="2012-03-26T13:11:15.407" UserId="3655" Text="I import an OMF into my Protools session. &#xD;&#xA;I match the session to the OMF spec of 48/16bit.&#xD;&#xA;I notice that the audio that came with the video guide track is 44.1/16bit.&#xD;&#xA;When I import the video track I don’t see anywhere where I can adjust the sample rate of the audio.&#xD;&#xA;How do I do this or do I need to?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21848" PostHistoryTypeId="1" PostId="13223" RevisionGUID="06028ae8-a8c5-4516-978e-bca46c5abddf" CreationDate="2012-03-26T13:11:15.407" UserId="3655" Text="Omf and video guide track sample rate" ContentLicense="CC BY-SA 3.0" />
  <row Id="21849" PostHistoryTypeId="3" PostId="13223" RevisionGUID="06028ae8-a8c5-4516-978e-bca46c5abddf" CreationDate="2012-03-26T13:11:15.407" UserId="3655" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21850" PostHistoryTypeId="2" PostId="13224" RevisionGUID="7c3916eb-a778-4acd-826b-98511f85e2e0" CreationDate="2012-03-26T19:24:24.707" UserId="3658" Text="Working on a project with a scene in a middle eastern marketplace. I've attempted to record a conversations between me and 2 other people standing far away from the mic, and then layering, but it doesn't sound quite right. Has anybody managed to achieve a similar sound using this technique? Any other techniques I could try?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21851" PostHistoryTypeId="1" PostId="13224" RevisionGUID="7c3916eb-a778-4acd-826b-98511f85e2e0" CreationDate="2012-03-26T19:24:24.707" UserId="3658" Text="Does anybody know of any way to create a market ambience sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21852" PostHistoryTypeId="3" PostId="13224" RevisionGUID="7c3916eb-a778-4acd-826b-98511f85e2e0" CreationDate="2012-03-26T19:24:24.707" UserId="3658" Text="&lt;film&gt;&lt;sound-design&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21853" PostHistoryTypeId="2" PostId="13225" RevisionGUID="b90d0815-b070-4f4d-ac8f-2c937dcb1ce1" CreationDate="2012-03-26T19:58:57.113" UserId="3145" Text="When you import your video it will ask you if you want to import the guide track as well.  When you import the guide track audio it will automatically convert it to the proper sample rate to match the session.  You just have to point where you want the new guide track audio files to live." ContentLicense="CC BY-SA 3.0" />
  <row Id="21854" PostHistoryTypeId="2" PostId="13226" RevisionGUID="4098cb67-c0d9-4dca-ada7-f8a6e2ad7e0c" CreationDate="2012-03-26T21:02:39.647" UserId="6462" Text="Perhaps grab a recorder and make a trip to a few outdoor markets and layer those. Can't beat actually going out and getting the recordings! I know it won't be much like the markets in the middle east but it might give you a start. You could also go through sound websites and see if there are elements that you could use." ContentLicense="CC BY-SA 3.0" />
  <row Id="21855" PostHistoryTypeId="2" PostId="13227" RevisionGUID="350e224a-ce80-4674-b2da-adae427591dc" CreationDate="2012-03-26T21:16:15.400" UserId="3179" Text="Definitely recording the real thing or using a recording of the real thing or something that's convincing enough. If it has to sound realistic, it could be difficult to make it sound convincing even with a recording from for example a western marketplace." ContentLicense="CC BY-SA 3.0" />
  <row Id="21856" PostHistoryTypeId="2" PostId="13228" RevisionGUID="18cecbb3-e46e-4af3-8a25-857635fdf732" CreationDate="2012-03-26T22:01:03.053" UserId="3587" Text="When you see behind-the-scenes shots from ADR/dubbing stages, they're almost always pitch black, except one or two sharp lights. &#xD;&#xA;&#xD;&#xA;Why is this? You'd think it would be more comfortable to work in a properly lit room?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21857" PostHistoryTypeId="1" PostId="13228" RevisionGUID="18cecbb3-e46e-4af3-8a25-857635fdf732" CreationDate="2012-03-26T22:01:03.053" UserId="3587" Text="Why are ADR scenes dark?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21858" PostHistoryTypeId="3" PostId="13228" RevisionGUID="18cecbb3-e46e-4af3-8a25-857635fdf732" CreationDate="2012-03-26T22:01:03.053" UserId="3587" Text="&lt;adr&gt;&lt;dubbing-stage&gt;&lt;behind-the-scenes&gt;&lt;dark&gt;&lt;dubbing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21859" PostHistoryTypeId="2" PostId="13229" RevisionGUID="3f23bd77-6331-4666-9ede-b054546c221b" CreationDate="2012-03-26T22:01:58.023" UserId="3093" Text="@Bill Your question is quite unclear to me... You mean, you want the audio from your 5.1 system to only be reproduced in 2 speakers? You want to reproduce the audio that is divided through the 6 channels and send it only to 2 of them? or do you wish only to mute the other 4 channels?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21860" PostHistoryTypeId="2" PostId="13230" RevisionGUID="b9e94c9e-521e-4a57-a937-c8530b9302bf" CreationDate="2012-03-26T22:13:24.377" UserId="6392" Text="More often than not, the actor is watching a projected picture, so having a dark room helps with seeing the screen.  If you are dubbing in a smaller room, and using a monitor, you can have more ambient light.  At our studio we have both systems." ContentLicense="CC BY-SA 3.0" />
  <row Id="21861" PostHistoryTypeId="2" PostId="13231" RevisionGUID="64aa10ab-f92e-4393-b2a0-8e60be72e535" CreationDate="2012-03-26T23:01:43.477" UserId="3093" Text="@Justin hey Justin, I just watched your video with some friends and we all liked it, we noticed some important things you may want to know though.  In the basketball ones, the sound from the actual ball was not noticeable! that is something we really felt you missed, and the shoes' squeaks where too loud and repetitive, you should have some more variations for those. Later one, everything was really cool! the ambiences where really cool and the football one sounded just like madden in my opinion.&#xD;&#xA;&#xD;&#xA;I hope this helps you!&#xD;&#xA;Cheers." ContentLicense="CC BY-SA 3.0" />
  <row Id="21862" PostHistoryTypeId="2" PostId="13232" RevisionGUID="2ce02012-237d-4a48-9729-fdf685f9ac1f" CreationDate="2012-03-26T23:51:30.470" UserId="3178" Text="Battlefield 3 on pc, awesome sound design! FYI, &#xD;&#xA;&#xD;&#xA;Battlelog: sgtfondle&#xD;&#xA;&#xD;&#xA;Steam: left 4 dead 2 mostly and battlefield bad company 2&#xD;&#xA;Steam name: caloof&#xD;&#xA;&#xD;&#xA;=]" ContentLicense="CC BY-SA 3.0" />
  <row Id="21863" PostHistoryTypeId="16" PostId="13232" RevisionGUID="2ce02012-237d-4a48-9729-fdf685f9ac1f" CreationDate="2012-03-26T23:51:30.470" UserId="-1" />
  <row Id="21864" PostHistoryTypeId="2" PostId="13233" RevisionGUID="c8703b09-93ec-475d-91c8-0059ceb5299b" CreationDate="2012-03-27T01:16:07.867" UserId="842" Text="Both as a necessity when using projectors, and as to not risk distracting the actor. Mind you, voice-acting is MUCH harder for actors then regular physically based acting as all there is is a screen and a mic and nothing else. Dimming the room helps them, in my opinion (I too do a lot of voice-acting as well), to forget where they are to some degree and imagine doing what they do on screen. &#xD;&#xA;&#xD;&#xA;Personally, though I have no problem acting in bright daylight (other than that I have to use shades due to an hypersensitivity), I hate voice-acting in bright light. It annoys me, and that shows in my result. The same applies to many of my costumers, even many directors. No doubt, cinemas would still be dark if they changed to humongous OLED-screens for some reason. Though sound is the way to give a movie life and credibility, undisturbed vision that makes sense is the way to keep the audience focused. Absence of sensory stimuli is never a problem as long as there is something that we can focus on, in this case the movie, but unwanted impressions can be very very distracting. Ergo, it's best to keep EVERYTHING not needed for the scene as far away as possible. For people suffering from different dysfunctions in attention it's even more important, and many of us in this industry do." ContentLicense="CC BY-SA 3.0" />
  <row Id="21865" PostHistoryTypeId="2" PostId="13234" RevisionGUID="3cc3dfc8-64ed-4fc7-80e9-560a1c857255" CreationDate="2012-03-27T04:06:13.673" UserId="3662" Text="Mid side is a great technique when you want to capture a wider spread of instruments. For some, it is a pseudostereo image that sounds unnatural and to others its another useful technique to have up your sleave. It all depends on your taste and which sounds best to your ears. Reading posts online will only confuse and therefore it is best to test it out for yourself. I found this article incredibly useful in explaining how mid side works, the technique and where its applications are useful... http://refrec.com.au/midside/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21866" PostHistoryTypeId="2" PostId="13235" RevisionGUID="56c6bec6-3654-4d01-98a4-fdb9a49792b8" CreationDate="2012-03-27T09:20:42.770" UserId="786" Text="When I'm designing sound effects, I use a lot of Audiosuite for all effects apart from compression, panning, EQ and reverb sends. This way I can keep my track layout pretty simple, and my track count as high as possible. It is easier to reuse a sound later on in a different scene of the film, if I don't have to worry too much on which tracks are using specific effects.&#xD;&#xA;&#xD;&#xA;Also, I really like the destructive way of working when designing sounds. I like to make decisions right away, to clear my mind and keep my mind on the task right in front of me. Sure, I will most probably go back and change the effect, but mostly it can be done by mixing it differently or by adding new sounds or removing/muting annoying sounds.&#xD;&#xA;&#xD;&#xA;I mostly do my sound design out of the box, by designing the sound in Ableton Live on my laptop, or Reaktor on my laptop, or using my modular synth or other instruments. I record what I play as I play it, and afterwards I edit it on my protools system, using the interesting parts of what I have done....&#xD;&#xA;&#xD;&#xA;This way of working has worked fine for me so far." ContentLicense="CC BY-SA 3.0" />
  <row Id="21870" PostHistoryTypeId="5" PostId="3774" RevisionGUID="f25f9012-dd07-498e-9ada-f4f10aa4a033" CreationDate="2012-03-27T11:14:49.417" UserId="264" Comment="added 55 characters in body; added 4 characters in body" Text="SteamID: copiousx&#xD;&#xA;&#xD;&#xA;Origin (BF3): Kilometerrs&#xD;&#xA;&#xD;&#xA;Games: TF2, L4D 1 &amp; 2, Civ III, Civ 5&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Btw, BF3's sound is a-MAY-zing." ContentLicense="CC BY-SA 3.0" />
  <row Id="21871" PostHistoryTypeId="2" PostId="13237" RevisionGUID="209e4de4-8c6c-4d47-9eb4-5556e9a9f6c8" CreationDate="2012-03-27T11:22:25.467" UserId="264" Text="visually, don't be afraid to push the font size of your titles/descriptions. They're way too small right now." ContentLicense="CC BY-SA 3.0" />
  <row Id="21872" PostHistoryTypeId="2" PostId="13238" RevisionGUID="d4d3a894-57ba-430f-ae03-ea7d1172963b" CreationDate="2012-03-27T11:29:33.897" UserId="6519" Text="Try Audioease Speakerphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="21873" PostHistoryTypeId="2" PostId="13239" RevisionGUID="f8a89b2b-e52a-4a7b-82e0-82ec0a0a32f1" CreationDate="2012-03-27T11:30:51.990" UserId="264" Text="Experiment and have fun with it. What comes to my mind are three specific layers. Go record a crowd layer. This could be say, a talkative crowd waiting for a seminar to begin or after a choir concert is over. Then record yourself + friends letting out the occasional shout of something &quot;middle-eastern&quot; sounding, as if you are all peddling your wares. Then, find some &quot;middle eastern&quot; music appropriate to the locale, and place that in the distance to add a more festive feel and to reinforce the setting." ContentLicense="CC BY-SA 3.0" />
  <row Id="21874" PostHistoryTypeId="2" PostId="13240" RevisionGUID="ced45fe3-f5bd-40c6-8610-f0ad974c6c4c" CreationDate="2012-03-27T12:26:25.423" UserId="726" Text="Hey all!&#xD;&#xA;&#xD;&#xA;I know that the hand held recorder question has come up on this forum more times than I've had hot dinners, but none that specifically answer this;&#xD;&#xA;&#xD;&#xA;Has anyone used the Sound Devices Mix Pre-D with a portable audio recorder (not Zoom H4n) and can they give their plus/minus points on them? I am considering investing in a recorder, it doesn't need XLR inputs (use Sound Devices' preamps then line out to recorder)&#xD;&#xA;&#xD;&#xA;On a side note, does anyone have an opinion on a quality rival (within same price range) as the Sound Devices Mix Pre as a stand alone 2 channel mixer?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21875" PostHistoryTypeId="1" PostId="13240" RevisionGUID="ced45fe3-f5bd-40c6-8610-f0ad974c6c4c" CreationDate="2012-03-27T12:26:25.423" UserId="726" Text="Sound Devices Mix Pre and...........?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21876" PostHistoryTypeId="3" PostId="13240" RevisionGUID="ced45fe3-f5bd-40c6-8610-f0ad974c6c4c" CreationDate="2012-03-27T12:26:25.423" UserId="726" Text="&lt;sound-devices&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21877" PostHistoryTypeId="2" PostId="13241" RevisionGUID="e6387a25-32cc-4cad-9ddc-f607d4d5317e" CreationDate="2012-03-27T12:37:09.463" UserId="6420" Text="I'd agree with the other posts in saying that recording an actual market place could be the way to go. Not sure where you're from but if you're near a big city there might be some ethnic areas where you could get some realistic crowd walla type stuff even though you're not in the Middle East! " ContentLicense="CC BY-SA 3.0" />
  <row Id="21878" PostHistoryTypeId="2" PostId="13242" RevisionGUID="59adea6f-c717-429d-922d-1d03c945cffe" CreationDate="2012-03-27T14:01:07.820" UserId="3179" Text="This is a question that's been on my mind lately as I'm starting to collect a selection of especially field-capable microphones.&#xD;&#xA;&#xD;&#xA;As there's so much to choose from in terms of microphone techniques, manufacturers and models and prices, how do you get to know how they work without buying blindly and hearing yourself (through a lot of different uses of course).&#xD;&#xA;&#xD;&#xA;Renting and lending is an obvious option to get to know the gear, but when it comes to more expensive microphones (Schoeps etc.) it can be difficult to get to try them. So especially in the case of more expensive microphones, how do you know what you're purchasing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21879" PostHistoryTypeId="1" PostId="13242" RevisionGUID="59adea6f-c717-429d-922d-1d03c945cffe" CreationDate="2012-03-27T14:01:07.820" UserId="3179" Text="How do you get to know microphones and decide on microphone purchases?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21880" PostHistoryTypeId="3" PostId="13242" RevisionGUID="59adea6f-c717-429d-922d-1d03c945cffe" CreationDate="2012-03-27T14:01:07.820" UserId="3179" Text="&lt;microphone&gt;&lt;selection&gt;&lt;recording&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21881" PostHistoryTypeId="2" PostId="13243" RevisionGUID="dd38d157-9c77-40c0-9d48-d6d48bdd9957" CreationDate="2012-03-27T14:03:36.603" UserId="730" Text="white or pink noise tones with audiosuite EQs, pitch shift, and a slow doppler, and then i let UDK do the rest, oscillation, pitch variation etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="21882" PostHistoryTypeId="2" PostId="13244" RevisionGUID="f0e8fddd-b55a-4d95-a4c0-2cd7f76db1b3" CreationDate="2012-03-27T17:32:43.680" UserId="315" Text="A couple of thoughts. Go to a trade show like AES or NAB. Many of the dealers have mics set up on the floor feeding a preamp with headphones. Also, a few dealers will lend out demo mics for you to check out. &#xD;&#xA;&#xD;&#xA;That being said, field recording and sound design is such a niche field, that there is no way to check out all of the gear before you buy. I bought my first expensive recording rig based on a ton of online research, the word of people involved in the field that I respected, and on the reputation of the brands involved (Schoeps/Sound Devices was my choice). It's a lot of money to spend without trying stuff out, but I have no regrets.&#xD;&#xA;&#xD;&#xA;Photography and field recording are very similar fields if you think about it. Microphones are like lenses. In photography there are a few trusted brands that everyone keeps going back to: Canon and Nikon (Hasselblad and Leica to a lesser extent). Most photographers have owned some piece of Cannon or Nikon gear in their lives.&#xD;&#xA;&#xD;&#xA;I would regard Sennheiser and Schoeps as the Canon and Nikon of field recording, with DPA, Sanken, Neumann figuring in there somewhere as well. While there are tons of excellent mics from other companies, you really can't go wrong starting out with Sennheiser MKH or Schoeps MK capsules. Both companies have years of experience building mics and excellent reputations. Then experiment with other (usually cheaper) brands like Rode, Crown, Shure, AKG, Audio Technica, Line Audio, Heil etc..&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21883" PostHistoryTypeId="2" PostId="13245" RevisionGUID="25605bc9-ffd8-4ace-9a00-5e9a499fc198" CreationDate="2012-03-27T18:01:51.027" UserId="29" Text="As you said, the very best thing is to borrow gear. The next best thing you can do is rent first, and test against the sound sources you will most commonly shoot. If you can't rent, then find a local reseller and the pro shops will usually set up mic shootouts for you...the more you're willing to spend, the more they'll accommodate you. (Say you're in the market for a CMIT5u, for example, and shops will eagerly open their doors...a $400 Røde, not so much.) However, a lot of us in this Internet age, as Justin said, do buy based on specs, reputation, and word of mount recommendations on sites such as this one, JWSound, the Yahoo! sound design group, and even those of us active on Twitter. Remember to order from places with solid reputations and generous return policies." ContentLicense="CC BY-SA 3.0" />
  <row Id="21884" PostHistoryTypeId="2" PostId="13246" RevisionGUID="ef29544f-8a36-4a26-b919-5c1b517bb84d" CreationDate="2012-03-27T18:04:51.940" UserId="29" Text="A MixPre-D and a Sony PCM-D10 or PCM-D50, depending on your budget, would be a killer combo: Rock solid build, less weight when you don't need the mic pre's, good control, but you top out at 96kHz as opposed to 192kHz with bag-based recorders. Get the MixPre-D 1/4-20 screw adapter and you can mate it with a D50, nice and clean. I need to pass on the second question, as we wait for more knowledgeable contributors... :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21885" PostHistoryTypeId="2" PostId="13247" RevisionGUID="cdc039f7-2365-46ee-88fe-725512190612" CreationDate="2012-03-27T19:01:42.740" UserId="3299" Text="I'm carrying out field recordings for a college project of ambiaances; so far my NT4 has been fine for the city ambiences due to the due to the healthy signal/noise ratio. But, I plan on going out and recording more remote countryside ambiences.&#xD;&#xA;&#xD;&#xA;I've been given the OK to bring out my colleges B&amp;K 4006s to do the quiet recording with - I plan on running them through a Sound Devices 442 into a Marantz PMD-661.&#xD;&#xA;&#xD;&#xA;I've been warned that they're highly sensitive to air moisture and humidity. Does anyone have any experience of nominal temperatures/atmospheric conditions with these mics? I'm in Ireland, so as long as the rain stays away (!) it's very temperate. &#xD;&#xA;&#xD;&#xA;Will having them in the blimps help protect them from any minor fluctuations in moisture etc?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21886" PostHistoryTypeId="1" PostId="13247" RevisionGUID="cdc039f7-2365-46ee-88fe-725512190612" CreationDate="2012-03-27T19:01:42.740" UserId="3299" Text="B&amp;K 4006s for field recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21887" PostHistoryTypeId="3" PostId="13247" RevisionGUID="cdc039f7-2365-46ee-88fe-725512190612" CreationDate="2012-03-27T19:01:42.740" UserId="3299" Text="&lt;microphone&gt;&lt;field&gt;&lt;field-recording&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21888" PostHistoryTypeId="2" PostId="13248" RevisionGUID="c28aa211-41e5-427c-ae4b-814d6dfd433e" CreationDate="2012-03-27T19:05:04.010" UserId="221" Text="I do all my radio dram &amp; documentary with a Mix Pre feeding the line inputs of a Marantz PMD670 and the line inputs of my Zoom H2 for backup. It works brilliantly, great combo." ContentLicense="CC BY-SA 3.0" />
  <row Id="21889" PostHistoryTypeId="2" PostId="13249" RevisionGUID="1d7eddc6-64b8-47c6-a561-42230d92aa5a" CreationDate="2012-03-27T20:01:06.147" UserId="315" Text="There's a great article in the recent &quot;[Nagra News][1]&quot; about a field recording trip to Antartica. The field recordist used a pair of 4006 (DPA not B&amp;K though) in Rycotes. Got to imagine if they will hold up there, they will work for you. They are certainly beautiful sound mics, having recorded with them before (in a more controlled environment though).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.nagraaudio.com/doc_en/NagraNews_27.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="21890" PostHistoryTypeId="2" PostId="13250" RevisionGUID="80dd367a-58e1-4f0d-b848-24d883a7d959" CreationDate="2012-03-27T20:43:19.207" UserDisplayName="user80" Text="I have used B&amp;Ks a lot and there are no real problems.  I have used them in a wide variety of environments both indoors and outdoors, humid and dry, without any problems.&#xD;&#xA;&#xD;&#xA;If you are worried about moisture just keep the mics in a sealed container with silica gel bags when you are not using them.&#xD;&#xA;&#xD;&#xA;If moisture is affecting the miss you will be able to hear it go slightly muffled but the Rycotes will help prevent this.&#xD;&#xA;&#xD;&#xA;You can hear the effect at concerts when the singer has been spraying their mics with saliva." ContentLicense="CC BY-SA 3.0" />
  <row Id="21891" PostHistoryTypeId="2" PostId="13251" RevisionGUID="2d391020-0c50-4695-afb9-56a19a69dec0" CreationDate="2012-03-27T21:05:50.850" UserId="3658" Text="Anybody know of anyway to create a low rumbling earthquake like sound? The only way i've managed to see online is to rub a balloon, but the rumbling is short when I can actually make the sound. Any suggestions? I am going to assume o lot of processing will need to take place, but looking for an initial sound to record and work with." ContentLicense="CC BY-SA 3.0" />
  <row Id="21892" PostHistoryTypeId="1" PostId="13251" RevisionGUID="2d391020-0c50-4695-afb9-56a19a69dec0" CreationDate="2012-03-27T21:05:50.850" UserId="3658" Text="Low rumbling sound effect?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21893" PostHistoryTypeId="3" PostId="13251" RevisionGUID="2d391020-0c50-4695-afb9-56a19a69dec0" CreationDate="2012-03-27T21:05:50.850" UserId="3658" Text="&lt;sound-design&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21894" PostHistoryTypeId="2" PostId="13252" RevisionGUID="5cf1833c-1c5d-4c20-812c-dbee70f48b70" CreationDate="2012-03-27T21:26:51.680" UserId="3299" Text="I've gotten great rumbles from the drum skins - the larger the better. Just hold it loose and shake gently so that it's got some movement; it'll probably sound a bit 'snappy' but record at a high sample rate and pitch down to get a nice deep sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="21895" PostHistoryTypeId="2" PostId="13253" RevisionGUID="ea85fa66-4637-4fd4-ae34-c3b5bf72b01c" CreationDate="2012-03-27T21:28:53.813" UserId="3179" Text="Synths.&#xD;&#xA;&#xD;&#xA;Camel Audio Alchemy is brilliant for this as you can use either waveforms or sampled sources or a combination of those. After that it's a case of just modulating and filtering it." ContentLicense="CC BY-SA 3.0" />
  <row Id="21896" PostHistoryTypeId="5" PostId="13253" RevisionGUID="8a1c7e31-6f0d-47e9-9e6e-5b58a26032d2" CreationDate="2012-03-27T21:36:26.770" UserId="3179" Comment="added 131 characters in body" Text="Synths.&#xD;&#xA;&#xD;&#xA;Camel Audio Alchemy is brilliant for this as you can use either waveforms or sampled sources or a combination of those. After that it's a case of just modulating and filtering it.&#xD;&#xA;&#xD;&#xA;But you can of course get all kinds of rumbling by just low pass filtering a heavily modulated or noise containing synth patch." ContentLicense="CC BY-SA 3.0" />
  <row Id="21897" PostHistoryTypeId="2" PostId="13254" RevisionGUID="f482a45a-598e-412d-8372-b246638e6f24" CreationDate="2012-03-27T21:47:29.430" UserId="6435" Text="I just made a really nice low rumble the other day by taking a 96k recording of AM radio static and pitch-shifting it down 2 or 3 octaves." ContentLicense="CC BY-SA 3.0" />
  <row Id="21898" PostHistoryTypeId="2" PostId="13255" RevisionGUID="6736d34e-7294-4a60-a01b-993c701a1cfd" CreationDate="2012-03-27T22:12:49.103" UserId="845" Text="Blow (gently) directly into your microphone.&lt;br&gt;&#xD;&#xA;Roll off the high-end.&lt;br&gt;&#xD;&#xA;Voila.&#xD;&#xA;&#xD;&#xA;If you're worried about ruining a nice condenser, try it with an SM57 with the cap pulled off." ContentLicense="CC BY-SA 3.0" />
  <row Id="21899" PostHistoryTypeId="5" PostId="13255" RevisionGUID="1f7cdc2b-ec91-44b7-9692-84fb595d082a" CreationDate="2012-03-27T23:11:18.760" UserId="845" Comment="added 124 characters in body" Text="Blow (gently) directly into your microphone.&lt;br&gt;&#xD;&#xA;Roll off the high-end.&lt;br&gt;&#xD;&#xA;Voila.&#xD;&#xA;&#xD;&#xA;No synths, no fancy jiggery-pokery.&#xD;&#xA;&#xD;&#xA;If you're worried about ruining a nice condenser, try it with an SM57 with the cap pulled off.&#xD;&#xA;&#xD;&#xA;You could also try dragging the 57 along the ground.  The rougher the better.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21900" PostHistoryTypeId="2" PostId="13256" RevisionGUID="d2dcc2e7-8514-45ea-a16a-a7631755f53e" CreationDate="2012-03-27T23:19:28.060" UserId="3669" Text="I work as an audio designer for a games company and I purchase stock sfx all the time.  The site I regularly go to is sounddogs." ContentLicense="CC BY-SA 3.0" />
  <row Id="21901" PostHistoryTypeId="2" PostId="13257" RevisionGUID="fded7765-8bc0-41c6-ae4f-6b829d205bc6" CreationDate="2012-03-27T23:40:22.317" UserId="18160" Text="Has anyone used the B1D as a close-speech pop guard for their Schoeps microphones?&#xD;&#xA;&#xD;&#xA;http://www.schoeps.de/en/products/b1d&#xD;&#xA;&#xD;&#xA;I am specifically going to test it out with an MK41.&#xD;&#xA;&#xD;&#xA;I need something that can withstand close pops by otherwise untrained speakers, at podiums for corporate events.&#xD;&#xA;&#xD;&#xA;Nothing makes those executives turn around and glare at the sound mixer (me) at one of these events than a nice big POP (BOOOOOOMMMM) throughout the hotel's auditorium. I'd like more than anything to reply to them &quot;It's your buddy up there - he doesn't know how to speak into a microphone correctly&quot; but I don't think that will go over too well - they might not let me have any cannolis or pastries at the refreshment table (and you don't want that to happen... the continental breakfasts at these places consist of dried bacon, egg molds and yoplait yogurt!).&#xD;&#xA;&#xD;&#xA;Any advice on a close-speech pop guard (that also looks good on camera) please let me know!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21902" PostHistoryTypeId="1" PostId="13257" RevisionGUID="fded7765-8bc0-41c6-ae4f-6b829d205bc6" CreationDate="2012-03-27T23:40:22.317" UserId="18160" Text="B1D popscreen from Schoeps" ContentLicense="CC BY-SA 3.0" />
  <row Id="21903" PostHistoryTypeId="3" PostId="13257" RevisionGUID="fded7765-8bc0-41c6-ae4f-6b829d205bc6" CreationDate="2012-03-27T23:40:22.317" UserId="18160" Text="&lt;podium&gt;&lt;live-sound&gt;&lt;plosives&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21904" PostHistoryTypeId="2" PostId="13258" RevisionGUID="3f722d43-2c92-431d-b101-7d094cce2bdb" CreationDate="2012-03-28T00:01:43.937" UserId="842" Text="I use several different techniques for rumble, but blowing in cardioid condenser mics and shaking a humongous sheet of thin steel is what I use the most.&#xD;&#xA;Other good things is grinding a large boulder on the ground and pitching it, or large waterfalls from certain angles.&#xD;&#xA;&#xD;&#xA;The shockwave in the sound used for the first atomic bomb was a room filled with a very old but sturdy newspaper printing-press. The explosion was actually regular dynamite, as it burns very slow for an explosive!" ContentLicense="CC BY-SA 3.0" />
  <row Id="21905" PostHistoryTypeId="2" PostId="13259" RevisionGUID="7b906505-b63e-45b7-89ed-0b40ae329495" CreationDate="2012-03-28T00:05:57.563" UserId="1159" Text="I've got a few sounds up on Audiomicro. I get a few sales every month. It's never been a lot but it's really not a lot of sounds (around 250). Ends up paying for Netflix or Dropbox each month." ContentLicense="CC BY-SA 3.0" />
  <row Id="21906" PostHistoryTypeId="2" PostId="13260" RevisionGUID="5e366cf6-f8f5-4347-b62d-167e824657cb" CreationDate="2012-03-28T00:12:56.050" UserId="3669" Text="What meta data information should I have embedded in each audio file to make batch uploading my sound library to multiple distribution sites easier?&#xD;&#xA;&#xD;&#xA;Pond5&#xD;&#xA;Audiomicro&#xD;&#xA;Audiojungle&#xD;&#xA;Audio Sparx&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21907" PostHistoryTypeId="1" PostId="13260" RevisionGUID="5e366cf6-f8f5-4347-b62d-167e824657cb" CreationDate="2012-03-28T00:12:56.050" UserId="3669" Text="Sfx library meta data for batch uploading " ContentLicense="CC BY-SA 3.0" />
  <row Id="21908" PostHistoryTypeId="3" PostId="13260" RevisionGUID="5e366cf6-f8f5-4347-b62d-167e824657cb" CreationDate="2012-03-28T00:12:56.050" UserId="3669" Text="&lt;sfx&gt;&lt;library&gt;&lt;meta&gt;&lt;data&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21909" PostHistoryTypeId="5" PostId="13258" RevisionGUID="1713f3cd-6d99-442c-8dbb-5eb855c95876" CreationDate="2012-03-28T01:16:11.923" UserId="842" Comment="added 331 characters in body" Text="I use several different techniques for rumble, but blowing in cardioid condenser mics and shaking a humongous sheet of thin steel is what I use the most.&#xD;&#xA;Other good things is grinding a large boulder on the ground and pitching it, or large waterfalls from certain angles.&#xD;&#xA;&#xD;&#xA;The shockwave in the sound used for the first atomic bomb was a recording from the Niagara Falls, slowed down. The explosion was actually regular dynamite razing a house, as it burns very slow for an explosive!&#xD;&#xA;&#xD;&#xA;Yet another good rumble, though I can't remember where it was used right now, was a room filled with a very old but sturdy newspaper printing-press.&#xD;&#xA;&#xD;&#xA;When it comes to synthesizers, I never use them for this kind om sound. There are things they are great for, but their sound is far too synthetic to make a convincing earthquake." ContentLicense="CC BY-SA 3.0" />
  <row Id="21910" PostHistoryTypeId="2" PostId="13261" RevisionGUID="bb07db7c-fb7a-4341-8588-a1b9abab6897" CreationDate="2012-03-28T01:35:59.740" UserId="3671" Text="What is a good volume reference for the foley and FX editors to go by? I want to avoid having to re-adjust volumes of the various layers (DIA, Foley, and SFX) when I put all the tracks together for the Master." ContentLicense="CC BY-SA 3.0" />
  <row Id="21911" PostHistoryTypeId="1" PostId="13261" RevisionGUID="bb07db7c-fb7a-4341-8588-a1b9abab6897" CreationDate="2012-03-28T01:35:59.740" UserId="3671" Text="Reference Volume for Editing" ContentLicense="CC BY-SA 3.0" />
  <row Id="21912" PostHistoryTypeId="3" PostId="13261" RevisionGUID="bb07db7c-fb7a-4341-8588-a1b9abab6897" CreationDate="2012-03-28T01:35:59.740" UserId="3671" Text="&lt;foley-editing&gt;&lt;sound-effects&gt;&lt;volume&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21913" PostHistoryTypeId="2" PostId="13262" RevisionGUID="ef58ce1f-91a8-4c17-ab21-647f78f40f44" CreationDate="2012-03-28T02:31:07.330" UserId="1228" Text="Editorial calibrated to -18 or -20 dBFS = 85 dB SPL, Dialogue shous be hitting a LM100 at -27dB LEQ(A) or -24 via a Stereo Phase Scope (but still about -27 when monitored via a Center channel Phase Scope if you're running a 5.1 mix us) - which when the room is calibrated to -18 or -20, should sound loud, robust, but comfortable.&#xD;&#xA;&#xD;&#xA;To make sure everything translates to the stage properly we want to cut at the same calibration the stages uses, also since monitoring level affects our editorial judgements (both in terms of sound 'impact' and the Equal Loudness curve)." ContentLicense="CC BY-SA 3.0" />
  <row Id="21914" PostHistoryTypeId="5" PostId="13262" RevisionGUID="cff2f8e9-10b1-4390-a829-4fbaaad3ebcb" CreationDate="2012-03-28T03:09:54.127" UserId="1228" Comment="added 52 characters in body" Text="Editorial calibrated to -18 or -20 dBFS = 85 dB SPL, Dialogue should be hitting a LM100 at -27dB LEQ(A) or -24 via a Stereo Phase Scope (but still about -27 when monitored via a Center channel Phase Scope if you're running a 5.1 mix bus - the -24 is due to a +3dB in-phase summing thing) - which when the room is calibrated to -18 or -20, should sound loud, robust, but comfortable.&#xD;&#xA;&#xD;&#xA;To make sure everything translates to the stage properly we want to cut at the same calibration the stages uses, also since monitoring level affects our editorial judgements (both in terms of sound 'impact' and the Equal Loudness curve)." ContentLicense="CC BY-SA 3.0" />
  <row Id="21915" PostHistoryTypeId="2" PostId="13263" RevisionGUID="c9d76917-9bca-44f6-b5b6-0a1741e61711" CreationDate="2012-03-28T04:34:52.510" UserId="3673" Text="I do video in weddings, I have a Canon XHA1 with a Rode mike.&#xD;&#xA;When a record in the wedding reception if they have live music, and if there are a lot of drums, like the Mexican music or live DJ with a lot of base, the sound come out very distorted in the low frequencies.&#xD;&#xA;My question is, what can I do to remove the low frequencies to get a decent sound in the video?.&#xD;&#xA;Do you recomend the Wind Muff Microphone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21916" PostHistoryTypeId="1" PostId="13263" RevisionGUID="c9d76917-9bca-44f6-b5b6-0a1741e61711" CreationDate="2012-03-28T04:34:52.510" UserId="3673" Text="Sound very distorted" ContentLicense="CC BY-SA 3.0" />
  <row Id="21917" PostHistoryTypeId="3" PostId="13263" RevisionGUID="c9d76917-9bca-44f6-b5b6-0a1741e61711" CreationDate="2012-03-28T04:34:52.510" UserId="3673" Text="&lt;sound-effects-recording&gt;&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21918" PostHistoryTypeId="2" PostId="13264" RevisionGUID="0835c0ae-84ce-44bd-816a-9c669054ccbf" CreationDate="2012-03-28T05:32:34.507" UserDisplayName="user80" Text="Which Rode mic are you using? &#xD;&#xA;&#xD;&#xA;A Wind Muff will not reduce bass distortion due to high levels of sound, only distortion due to wind. &#xD;&#xA;&#xD;&#xA;Check if the mic has a HPF high pass filter (80 Hz). Also try using the built in pads -10 or -20, if the mic has them. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21919" PostHistoryTypeId="2" PostId="13265" RevisionGUID="8c5daccd-9e63-4f48-aea9-b83b63378296" CreationDate="2012-03-28T07:00:29.900" UserId="6524" Text="Driving through a rocky/bumpy road and recording inside the car? &#xD;&#xA;&#xD;&#xA;This is the raw recording, think of what you could do with it:&#xD;&#xA;&#xD;&#xA;[soundcloud]stephensaldanha/earthquake-in-the-car[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="21920" PostHistoryTypeId="2" PostId="13266" RevisionGUID="bfdcdd0c-03bf-4689-98c2-72b63f8ebdf5" CreationDate="2012-03-28T07:33:46.930" UserId="1225" Text="Well, i took once a pre-generated pink noise, processed it with Quadra Fuzz (20-60hz max gain), passed through a LP Filter, then Maximizer, a reverberation (optional) and a limiter at the end. The resulting sound is exactly a low rumble, though it'd be nice to add some &quot;earthly&quot; elements to it." ContentLicense="CC BY-SA 3.0" />
  <row Id="21922" PostHistoryTypeId="2" PostId="13268" RevisionGUID="fffd6483-5196-4cc4-a8a6-1d7a7e127429" CreationDate="2012-03-28T09:49:41.340" UserId="3676" Text="Hi, I mean what metadata categories do I need to include?  Thanks for helping me clarify that.&#xD;&#xA;For example  AudioSparx have the following categories&#xD;&#xA;Sound Category &gt; Subcategory&#xD;&#xA;    Household Sound Effects&#xD;&#xA;       Light switch sound effects&#xD;&#xA;Extended Properties&#xD;&#xA;  Duration: 0:01   Tempo:&#xD;&#xA;   Arrangement:&#xD;&#xA;   Vocal Mix: Undetermined&#xD;&#xA;   Language:&#xD;&#xA;&#xD;&#xA;If I add this information as metadata within the audio file and upload to another distribution site, say Audio Jungle am I correct in thinking I'll only ever have to add this information once?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="21923" PostHistoryTypeId="2" PostId="13269" RevisionGUID="b2d280e7-8e66-484b-9bfc-bb137f64f4d3" CreationDate="2012-03-28T11:19:13.537" UserId="654" Text="Sorry to disagree with Stavros, but in my humble opinion, it really depends on the room - 85 as a dolby reference is intended for rooms with a volume of 150 cubic metres or bigger. &#xD;&#xA;In a typical edit suite in the near field, you wouldn't normally want to monitor any higher than -20dbFS = 79dbSPL IMHO. Anything louder and you'll probably be under-cooking your balance for the stage or driving yourself deaf...&#xD;&#xA;If you get your monitor level right you shouldnt need to look at the meters." ContentLicense="CC BY-SA 3.0" />
  <row Id="21924" PostHistoryTypeId="2" PostId="13270" RevisionGUID="a80eb369-5e66-4ae4-b514-1769477c5f3a" CreationDate="2012-03-28T11:29:44.390" UserId="6524" Text="I just know that it's has something to do with the loudness levels being equal across the frequency spectrum, care to explain it further?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21925" PostHistoryTypeId="1" PostId="13270" RevisionGUID="a80eb369-5e66-4ae4-b514-1769477c5f3a" CreationDate="2012-03-28T11:29:44.390" UserId="6524" Text="Explain the Fletcher-Munson Curve To An Idiot" ContentLicense="CC BY-SA 3.0" />
  <row Id="21926" PostHistoryTypeId="3" PostId="13270" RevisionGUID="a80eb369-5e66-4ae4-b514-1769477c5f3a" CreationDate="2012-03-28T11:29:44.390" UserId="6524" Text="&lt;loudness&gt;&lt;level&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21927" PostHistoryTypeId="2" PostId="13271" RevisionGUID="32f7c2e9-044c-49e4-b508-1eb59d0176c3" CreationDate="2012-03-28T11:59:06.343" UserId="3179" Text="Loudness levels NOT being equal across the frequency spectrum. The Fletcher-Munson curve demonstrates that our perception of frequencies is altered depending on the sound's loudness.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://upload.wikimedia.org/wikipedia/commons/4/49/Lindos4.svg" ContentLicense="CC BY-SA 3.0" />
  <row Id="21928" PostHistoryTypeId="2" PostId="13272" RevisionGUID="3fe80ec2-4de3-4e94-84ee-2e17ae2b7649" CreationDate="2012-03-28T11:59:47.703" UserId="432" Text="The X-axis is obviously frequency, and the Y-axis is power. Each curve on the graph is a &quot;perceived loudness&quot; level. The curves dip lower towards the middle-high end of the spectrum, because we hear those frequencies more easily. Each curve is labelled with a number equivalent to its perceived loudness level. If you look at each of those curves on the 1,000 Hz line (X-axis), you'll notice that they cross the power level that matches their perceived rating. For example, the 60 curve meets the intersection of 60 on the Y-axis (power), and the 100 curve meets the intersection of 100 on the Y-axis.&#xD;&#xA;&#xD;&#xA;Things get compacted on either end of the spectrum, because more energy is required for us to **perceive those frequencies as the same loudness level**. Let's use that 60 curve as an example. We've already established that it crosses the power scale at 60 for 1,000 Hz. For us to **pereive** 30 Hz as the same volume as 1,000 Hz, it will need approximately 19dB more power (the 60 curve meets 30 Hz at approximately 79 on the Y-axis). 16 kHz needs about the same increase in power above 1,000 Hz to match in percevied volume (the 60 curve meets 16 kHz at approximately 80dB).&#xD;&#xA;&#xD;&#xA;While there have been some flaws identified in the Fletcher-Munson curves (don't ask me what, because I don't know for certain), the principle applies to sound propagation/reproduction in any medium. Amplifiers and playback systems are designed using information similar to these (that's why we have the &quot;.1&quot; in 5.1, and things like &quot;bass management&quot; to make up for crappy mains in home theatre systems), and you could easily see similar results to the curve walking around outside with an SPL meter. Without that power increase, whether it come from electrical amplification or natural acoustic phenomenon, we won't hear things as being the same level.&#xD;&#xA;&#xD;&#xA;Make sense?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21929" PostHistoryTypeId="2" PostId="13273" RevisionGUID="e77bcd40-60fc-48ad-9f6b-44b4f7937819" CreationDate="2012-03-28T12:11:37.573" UserId="432" Text="Excellent explanation Steve, but I'm going to second Brent on SPL according to room size. I've got a break down on the recommended SPL level vs. room size in a post I did about monitor calibration on my site, Jellan. You can check it out [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynamicinterference.com/blog/2010/09/quick-and-dirty-monitor-calibration/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21930" PostHistoryTypeId="2" PostId="13274" RevisionGUID="c61471b1-6d40-4679-942f-1585aaf4a8ae" CreationDate="2012-03-28T12:34:29.407" UserId="1011" Text="Hi Nevis,&#xD;&#xA;&#xD;&#xA;I'm not sure if you mean organizing your metadata for your own benefit (to make uploading easier), or for the website's benefit (so the websites can read the metadata).&#xD;&#xA;&#xD;&#xA;If you're thinking about organizing your metadata so it will be prepared to fit with every website out there, I'm sorry to say that there's no standard method of categorization.  Every website has their own sound effect categories.  Some need just 'description'.  Others need 'genre,' 'category,' etc.  In my experience I've had to re-categorize my library for every website I partner with.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If, on the other hand, you mean categorizing you library so that the websites can take advantage of embedded Soundminer metadata, you're similarly out of luck.  Only one website I know of reads metadata in their ingestion process, and that is Sounddogs.com.  The rest of them read your descriptions and categories via a combination of Excel sheets or tab-delimited files.  Or, like Audio Sparx, multi webpage manual entry (shudder).&#xD;&#xA;&#xD;&#xA;I hope I've answered your question, if I can expand on anything, let me know.&#xD;&#xA;&#xD;&#xA;Paul&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21931" PostHistoryTypeId="5" PostId="13272" RevisionGUID="bb0fda09-4c85-4261-a5f0-c4ed2a15f131" CreationDate="2012-03-28T14:24:10.113" UserId="432" Comment="i'm a crappy typist" Text="The X-axis is obviously frequency, and the Y-axis is power. Each curve on the graph is a &quot;perceived loudness&quot; level. The curves dip lower towards the middle-high end of the spectrum, because we hear those frequencies more easily. Each curve is labelled with a number equivalent to its perceived loudness level. If you look at each of those curves on the 1,000 Hz line (X-axis), you'll notice that they cross the power level that matches their perceived rating. For example, the 60 curve meets the intersection of 60 on the Y-axis (power), and the 100 curve meets the intersection of 100 on the Y-axis.&#xD;&#xA;&#xD;&#xA;Things get compacted on either end of the spectrum, because more energy is required for us to **perceive those frequencies as the same loudness level**. Let's use that 60 curve as an example. We've already established that it crosses the power scale at 60 for 1,000 Hz. For us to **perceive** 30 Hz as the same volume as 1,000 Hz, it will need approximately 19dB more power (the 60 curve meets 30 Hz at approximately 79 on the Y-axis). 16 kHz needs about the same increase in power above 1,000 Hz to match in percevied volume (the 60 curve meets 16 kHz at approximately 80dB).&#xD;&#xA;&#xD;&#xA;While there have been some flaws identified in the Fletcher-Munson curves (don't ask me what, because I don't know for certain), the principle applies to sound propagation/reproduction in any medium. Amplifiers and playback systems are designed using information similar to these (that's why we have the &quot;.1&quot; in 5.1, and things like &quot;bass management&quot; to make up for crappy mains in home theatre systems), and you could easily see similar results to the curve walking around outside with an SPL meter. Without that power increase, whether it come from electrical amplification or natural acoustic phenomenon, we won't hear things as being the same level.&#xD;&#xA;&#xD;&#xA;Make sense?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21932" PostHistoryTypeId="5" PostId="13273" RevisionGUID="d0ff59b6-8a10-4869-bad3-504f203b5767" CreationDate="2012-03-28T15:03:15.987" UserId="432" Comment="added 34 characters in body" Text="Excellent explanation Steve. I'm going to second Brent on SPL according to room size, but it is a great response otherwise. I've got a break down on the recommended SPL level vs. room size in a post I did about monitor calibration on my site, Jellan. You can check it out [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynamicinterference.com/blog/2010/09/quick-and-dirty-monitor-calibration/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21933" PostHistoryTypeId="2" PostId="13275" RevisionGUID="b065f6bd-08c9-4998-b322-5ad1ea2ddc02" CreationDate="2012-03-28T16:12:37.383" UserId="1145" Text="Have any of you who own a pro sound level meter tested one of the iPhone apps?&#xD;&#xA;Can we trust them?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21935" PostHistoryTypeId="2" PostId="13277" RevisionGUID="805a11bf-34d9-4827-b05d-7899280029bf" CreationDate="2012-03-28T16:30:37.357" UserId="3678" Text="You can make the classic transformers sound using a flange and tremelo and preferably source input that rises and falls in some way.&#xD;&#xA;For example ....choose anything from a simple sine to a complex sample, slow lfo on it's pitch, pass it through meta flanger into tremelo and fiddle with the trem speed etc.&#xD;&#xA;&#xD;&#xA;For more complex transformations, it's good to choose your source samples wisely.&#xD;&#xA;You want a disparate mix of machinery,various automobiles ,metal being played with, all at varying lengths  ...then some pre-rendered synthesised source fx such as filtered noise , laser zaps, dark menacing tones, sub elements.&#xD;&#xA;Obviously all source should be well recorded. Don't use anything that can't be warped without losing it's quality too much.&#xD;&#xA;&#xD;&#xA;The you can go about combining these in various ways. This depends on what software you use....&#xD;&#xA;&#xD;&#xA;As said above, synths like Massive and Dcam are good for creating your synthesised parts.&#xD;&#xA;Alchemy is great for combining and manipulating your source. Reaktor is always handy for both.Using Kore fx is ok also, especially if you modulate the fx paramters using same controller/envelope change affecting the sources envelope(s).&#xD;&#xA;&#xD;&#xA;Generally speaking,you want to experiment with the pitch, speed, direction, frequency of each sample. So set up envelopes for those parameters on your sampler or record automation to reuse. Trigger the samples manually in different orders ,or several together. You'll start to modulate the envelopes of each to work with the other and the sounds will then start to mould together.&#xD;&#xA;&#xD;&#xA;An easy way of doing this is to use multiple channels in your daw,&#xD;&#xA;&#xD;&#xA;Example, loading your chosen sampler on three channels.&#xD;&#xA;In each , assigning a different range of source samples and modulation settings, then triggering all three by keyboard note,you can delay or change note on separate channels to create different combinations.&#xD;&#xA;&#xD;&#xA;Render these as you are manipulating them.&#xD;&#xA;Now you have a whole variety of organic machinelike modulations&#xD;&#xA;&#xD;&#xA;Then you lay these out on another sampler to trigger, manipulate and combine them in sync with your project.&#xD;&#xA;&#xD;&#xA;I made a similar library called robostep, which can be found here&#xD;&#xA;&#xD;&#xA;http://www.pushbuttonbang.com/robostep.html&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21936" PostHistoryTypeId="2" PostId="13278" RevisionGUID="82a083f2-65c8-4baf-9f28-61994f16d76d" CreationDate="2012-03-28T20:52:00.547" UserId="6519" Text="Cheap technics.Try Video recorder servos &amp; digital camera optic movings." ContentLicense="CC BY-SA 3.0" />
  <row Id="21937" PostHistoryTypeId="2" PostId="13279" RevisionGUID="a36faf25-0c6b-49e1-a81b-785582755e1a" CreationDate="2012-03-28T21:23:55.680" UserId="3680" Text="The first noise reduction suite I had experience with was Sound Forge Noise Reduction.  Version 1 was pretty lame.  Version 2 was much better, quite useable (I still turn to the declicker for problematic clicks occasionally) and I reviewed it for Recording magazine.&#xD;&#xA;&#xD;&#xA;Subsequently I got the Waves Restoration Suite, and I have used it a lot for various noise reduction tasks.  It offers better fidelity than SFNR with some limitations--the declicker seems optimized for vinyl and cannot handle big clicks for example.  &#xD;&#xA;&#xD;&#xA;Recently I got iZotope RX2 (the basic version), and I have been exploring its capabilities. Spectral repair, of course, is something new and I find its ability to deal with discrete sound events within the overall sound picture to be fascinating.  The other tools--broadband noise reduction, declick and decrackle, hum removal, a nice parametric EQ, all seem to work very well.  For the price, the basic version of RX2 offers a lot of bang for the buck.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="21938" PostHistoryTypeId="2" PostId="13280" RevisionGUID="cac013b7-6333-45b8-99ca-c0a718878a4f" CreationDate="2012-03-28T21:34:24.490" UserId="3680" Text="Sound Forge Noise Reduction 2.0 is quite useable.  In particular, the declicker is very effective (though used over-agressively it can get degrade the overall sound).  The broadband noise reduction takes some experimentation to get good results.&#xD;&#xA;&#xD;&#xA;I have also used the Waves Restoration suite.  Their declicker is more transparent than that in SFNR, but refuses to declick some larger clicks.  The broadband noise reduction can work very well, though the noise floor can sound rather electronic if you are going for a lot of noise reduction.  &#xD;&#xA;&#xD;&#xA;I just got iZotope RX2 (basic version).  It is very impressive, and most other noise reduction suites do not have anything like spectral repair, which can be used to remove discrete sounds from a sound file.  At about $300 street price as of this date, it is quite a bargain." ContentLicense="CC BY-SA 3.0" />
  <row Id="21939" PostHistoryTypeId="2" PostId="13281" RevisionGUID="ca6198b6-b064-4ac0-aea4-1b7209dfabe5" CreationDate="2012-03-28T21:55:18.093" UserId="3680" Text="You probably have an overload problem with the original recording.  My first suspect would be microphone pre-amp overload, which could be addressed by either padding down the mic, or possibly by using a high pass filter, as your problem seems to be caused by strong bass sounds.  I doubt that the microphone itself is overloading--Rode makes good quality microphones that should not overload in your application, unless you stick the mic inside a kick drum, etc. (unlikely for general video pickup).&#xD;&#xA;&#xD;&#xA;There is also the question of how you are setting and monitoring your sound levels.  If you are relying on AGC built into your camera, it may not be adequate to the task of dealing with really loud levels.  If you are setting sound levels manually, you have to check the metering in your camera to see what happens when loud, bass heavy music starts playing--it could just be a matter of your levels being set too high for that situation." ContentLicense="CC BY-SA 3.0" />
  <row Id="21940" PostHistoryTypeId="2" PostId="13282" RevisionGUID="9ac7d2cb-f816-4f43-9b91-5139a28f6df2" CreationDate="2012-03-28T21:59:59.887" UserId="3641" Text="Hello,&#xD;&#xA;&#xD;&#xA;I was wondering what is the best way to isolate specific sounds out of a field recording.&#xD;&#xA;&#xD;&#xA;For example, one has a recording of a city centre and wants to isolate the siren of an ambulance passing by for further processing. What would you suggest be the best way or best technique of isolating sound events?&#xD;&#xA;&#xD;&#xA;thank you&#xD;&#xA;&#xD;&#xA;panjethro " ContentLicense="CC BY-SA 3.0" />
  <row Id="21941" PostHistoryTypeId="1" PostId="13282" RevisionGUID="9ac7d2cb-f816-4f43-9b91-5139a28f6df2" CreationDate="2012-03-28T21:59:59.887" UserId="3641" Text="Isolating sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="21942" PostHistoryTypeId="3" PostId="13282" RevisionGUID="9ac7d2cb-f816-4f43-9b91-5139a28f6df2" CreationDate="2012-03-28T21:59:59.887" UserId="3641" Text="&lt;isolation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21943" PostHistoryTypeId="2" PostId="13283" RevisionGUID="43d00351-6ba5-45b8-81b6-83a591b7bc52" CreationDate="2012-03-28T22:30:36.270" UserId="542" Text="Really depends on the sound and what you are about to with it afterwards. :)&#xD;&#xA;&#xD;&#xA;Isolating sounds can be very difficult, snce you can't simply erase the noise around it like in photoshop. &#xD;&#xA;&#xD;&#xA;Try EQ and volume automation combined with some multiband expanding. It won't totally isolate your sounds, but as I already said: &quot;isolating sounds.....&quot; :) &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;P.S.:For some special cases (like the sound of a camera flash recharging) [Spear][1] is working perfectly. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.klingbeil.com/spear/" ContentLicense="CC BY-SA 3.0" />
  <row Id="21945" PostHistoryTypeId="2" PostId="13285" RevisionGUID="7fb45e15-c23f-4ae0-8973-ba002224cbcf" CreationDate="2012-03-29T00:49:22.610" UserId="3682" Text="I haven't used the B1D in a close micing situation, but I have used the Shure outdoor windscreen designed for the SM81 (which fits the SM57 (see your Pres. Obama and every president going back to Bush and beyond). It's quite big, but very effective, even outdooors in calm conditions. It fits the Schoeps MK41/Mk4 very well. You might want to put an O-ring on the mic body just below the capsule to ensure a snug fit.&#xD;&#xA;Oh, yeah, its pretty cheap too, around $50 as I recall.&#xD;&#xA;cheers,&#xD;&#xA;Chris Newton" ContentLicense="CC BY-SA 3.0" />
  <row Id="21946" PostHistoryTypeId="2" PostId="13286" RevisionGUID="3e5793ac-7864-48a1-b069-6da8d56be254" CreationDate="2012-03-29T02:10:51.953" UserId="6512" Text="iZotope RX is absolutely wonderful for this sort of thing. The denoise section of it works well on its own, and you can do spectral edits (like in SPEAR), but with much better detail, accuracy, and results. I think there's a trial available on the website.&#xD;&#xA;&#xD;&#xA;EQ is also your friend here, but it's sometimes difficult to isolate stuff without losing necessary frequencies. If you're dealing with a siren, you can probably roll off a lot of the low frequencies and not lose anything you need (just a guess, albeit).&#xD;&#xA;&#xD;&#xA;I've had great results with it in my often less-than-ideal recording environments.&#xD;&#xA;&#xD;&#xA;That said, it really depends on how pure you need the sound to be. Any sound isolation is going to lose something in the edit, especially if it's in a city. It also depends on how much the siren stands out from the background, how loud it is, and what's going on in the background. I wouldn't expect perfect results with city isolation in general, though.&#xD;&#xA;&#xD;&#xA;This thread is also going on at the moment:&#xD;&#xA;http://socialsounddesign.com/questions/69/sound-off-on-noise-reduction. It might be of some help." ContentLicense="CC BY-SA 3.0" />
  <row Id="21947" PostHistoryTypeId="2" PostId="13287" RevisionGUID="fe7038e6-6992-4b87-a59f-1dc972d31ed3" CreationDate="2012-03-29T05:18:28.023" UserId="3093" Text="@Richard Have you tried making the ADR yourself?&#xD;&#xA;&#xD;&#xA;You could add some kind of specific gasp or gulps or something to the character (B) that will later on possess character (a), so later on you begin adding this gasps or whatever sound to the character(a) who is starting to get possessed, so one can think like: &quot;hey, that's new, I thought only character (B) had that weird gulp when speaking&quot;...and later its like: &quot; Oh ofcourse! character (a) was getting possessed so that's why he started doing the same throat noises as the other guy&quot;. " ContentLicense="CC BY-SA 3.0" />
  <row Id="21948" PostHistoryTypeId="2" PostId="13288" RevisionGUID="b41a5dc4-426a-4f6f-88dd-03a2b7d67d0f" CreationDate="2012-03-29T09:06:48.403" UserId="3212" Text="Hi Guys,&#xD;&#xA;&#xD;&#xA;I have some audio from a piece-to-camera video which was recorded using a lavalier mic. unfortunately during the original recording the talent was mispronouncing a certain word. Rather than reshoot the decision was made to just re-record those lines using vaguely the same conditions. I'm having some problems editing the new lines in and making it sound natural and flow correctly.&#xD;&#xA;&#xD;&#xA;Any tips or techniques I can utilise here?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21949" PostHistoryTypeId="1" PostId="13288" RevisionGUID="b41a5dc4-426a-4f6f-88dd-03a2b7d67d0f" CreationDate="2012-03-29T09:06:48.403" UserId="3212" Text="Matching recorded speech" ContentLicense="CC BY-SA 3.0" />
  <row Id="21950" PostHistoryTypeId="3" PostId="13288" RevisionGUID="b41a5dc4-426a-4f6f-88dd-03a2b7d67d0f" CreationDate="2012-03-29T09:06:48.403" UserId="3212" Text="&lt;sound-editing&gt;&lt;lavalier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21951" PostHistoryTypeId="2" PostId="13289" RevisionGUID="411a6942-a3f8-4ab3-851d-595d27225513" CreationDate="2012-03-29T09:32:18.687" UserId="1228" Text="There's quite a few options out there: WaveArts MD5, Waves C4/C6, Waves X-Noise, Waves Z-Noise, Waves WNS, Waves W43, CEDAR DNS(1000,1500,2000), Cedar DNS One, Dolby Cat .43, Sonic Solutions NoNoise, BIAS Soundsoap, Algorithmix reNOVAtor, iZotope RX, DINR, Zynaptiq Unveil - and probably a host of others.&#xD;&#xA;&#xD;&#xA;Noise suppression is a dark art, in that most of the time 'we're shooting into the dark' as to which tool or combination of tools to use under varying circumstances.  The price ranges of these vary (from $100-$7500), as do their alogrithm basis (some are FFT, some Spectral, some Expansion), and depending upon what you throw at each one, each will provide varying degrees of success or failure.  And that's where it becomes an art - figuring out the high points of them and playing to your strengths.&#xD;&#xA;&#xD;&#xA;My personal favorite is the CEDAR DNS, it's quite amazing, but on a regular basis the Waves C4 is my workhorse - and it's quite soft on the wallet while being a pretty good catch-all for most broadband noise problems without creating digital artifacting weirdness" ContentLicense="CC BY-SA 3.0" />
  <row Id="21952" PostHistoryTypeId="2" PostId="13290" RevisionGUID="041e7dc9-2381-4efc-8b0f-7df26ada017a" CreationDate="2012-03-29T11:07:09.513" UserDisplayName="user80" Text="Get the timing right first using time compression and expansion.&#xD;&#xA;&#xD;&#xA;Then match the levels using gain and compression/expansion.&#xD;&#xA;&#xD;&#xA;Next match the timbre using EQ.&#xD;&#xA;&#xD;&#xA;Finally hide the edits using cross fades." ContentLicense="CC BY-SA 3.0" />
  <row Id="21953" PostHistoryTypeId="2" PostId="13291" RevisionGUID="cd9af1b9-6071-40be-999e-4fc40b62c804" CreationDate="2012-03-29T11:10:32.587" UserDisplayName="user80" Text="CEDAR DNS is also my favourite, but I don't often have access to it, so I use Izotope RX2 which is excellent for the cost (£185)." ContentLicense="CC BY-SA 3.0" />
  <row Id="21954" PostHistoryTypeId="2" PostId="13292" RevisionGUID="5bdcfe34-56e4-4b88-a66c-49763f75c43f" CreationDate="2012-03-29T11:56:29.110" UserId="432" Text="I haven't used it yet, but I've been dieing to try [DUY's Magic Spectrum][1]. I've heard great things about it. Might be worth a look.&#xD;&#xA;&#xD;&#xA;If you can't do that, I've found that EQ'ing in individual bands of frequencies at a time can make the job of matching dialog MUCH easier. Use high and low pass filters to make a band pass on the original and the re-record, then EQ the re-record to to match the sound in that band. Slide the filters to the next frequency range you need to work on and repeat. Build the bands around the fundamentals for the vowels and the consonants to speed up the process.&#xD;&#xA;&#xD;&#xA;Obviously, remove the band pass filtering when you're done and review.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.duystore.com/com/magicspectrum.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="21955" PostHistoryTypeId="2" PostId="13293" RevisionGUID="10168591-bad9-47e1-8648-f81504026963" CreationDate="2012-03-29T13:14:46.403" UserId="253" Text="As in ADR, i think the most important thing to match is your talent's performance. Also, they need to say the whole sentences which contained the mispronounced words - not just the words themselves - or your rhythm will be off. If you can get your talent to match their original tone (or pitch) and rhythm, then dropping in the new words will be easy, and shouldn't need too much processing (unless you're using a drastically different mic).&#xD;&#xA;&#xD;&#xA;Sorry if you're already on top of the performance side of things; it's just my experience that, when recording ADR, performance is 95%. Unfortunately, they don't have a plug in for that yet." ContentLicense="CC BY-SA 3.0" />
  <row Id="21956" PostHistoryTypeId="2" PostId="13294" RevisionGUID="3e0c3e8e-0406-4813-ad36-70e8be1f8f2e" CreationDate="2012-03-29T16:29:41.360" UserId="3532" Text="You could try Izotope RX partials and noise spectral repair.  Put one character on one side and the other one on the other, morph, see what you come up with.&#xD;&#xA;The guys at the Izotope booth during GDC let me know about that one about a way to morph.  I have not tried it yet.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21957" PostHistoryTypeId="2" PostId="13295" RevisionGUID="3ade977e-2f3f-491f-a087-d8e1dd57872b" CreationDate="2012-03-29T16:51:55.940" UserId="3688" Text="I've read a few questions about creating HUD / UI / interface sounds and a lot of them discuss using snippets of audio as a starting point. That makes sense from the standpoint of button presses, clicks, etc. But what about when making the more musical feedback sounds?&#xD;&#xA;&#xD;&#xA;Just as one example, The Boom Library has a package called &quot;The Interface&quot; that does a bit of this. It's located here: http://soundcloud.com/boom-library/sets/the-interface/ (you have to click the actual link for some reason)&#xD;&#xA;&#xD;&#xA;Sections 0:15 - 0:20 and 0:32 - 0:42 are what I'm particularly interested in. But I've no idea how to create that sort of thing or how they're doing it. Any ideas?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21958" PostHistoryTypeId="1" PostId="13295" RevisionGUID="3ade977e-2f3f-491f-a087-d8e1dd57872b" CreationDate="2012-03-29T16:51:55.940" UserId="3688" Text="Using synthesis to create musical HUD / UI / interface sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="21959" PostHistoryTypeId="3" PostId="13295" RevisionGUID="3ade977e-2f3f-491f-a087-d8e1dd57872b" CreationDate="2012-03-29T16:51:55.940" UserId="3688" Text="&lt;sfx&gt;&lt;ui&gt;&lt;synthesis&gt;&lt;interface&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21960" PostHistoryTypeId="2" PostId="13296" RevisionGUID="44c35f28-24b0-4939-85fd-c65cbe332b81" CreationDate="2012-03-29T17:21:00.383" UserId="1225" Text="I don't see anything special that couldn't be recreated with almost any virtual analog synthesizer. Simple chords, single notes with delay, small cuts made of pads and processed with phaser/flanger etc.&#xD;&#xA;&#xD;&#xA;Try to imitate the sounds that you liked and then you'll catch the basics. I like to use Linplug Albino, it's pretty useful. As for free vsti synths, check FreeAlpha, Minimogue, SuperWave, Synth1, ZynAddSubFX." ContentLicense="CC BY-SA 3.0" />
  <row Id="21961" PostHistoryTypeId="2" PostId="13297" RevisionGUID="1fc9cee4-72d3-43b5-8d64-fae09938160a" CreationDate="2012-03-29T17:30:54.187" UserId="3253" Text="It's a great machine for the money. I've used it on a wide range of projects from small commercials to documentary and films. With a good mic and a bit of knowledge it's perfectly capable.&#xD;&#xA;&#xD;&#xA;PRO's-&#xD;&#xA;&#xD;&#xA;- For a portable device to be able to record 4 independent tracks is amazing. That's the 2 Xlr mic inputs plus either the built in mics/ the 3.5mm ext mic input.(I prefer the 3.5mm input via a mixer) allowing me to record 2 radio mics, one boom mic and 1 extra positioned mic. &#xD;&#xA;&#xD;&#xA;- Small and inconspicuous for those covert recordings.&#xD;&#xA;&#xD;&#xA;- Quite a lot of functions. Compressors, limiters, bass cut-off, fx etc &#xD;&#xA;&#xD;&#xA;- With the remote control can be triggered to record from distance. I've had the remote stuck to my boom for almost hands free recording.&#xD;&#xA;&#xD;&#xA;CON's&#xD;&#xA;- I don't use the in-built mics that much as a bit noisy. Maybe they would have been alright but when you start using proper mics there's no going back.&#xD;&#xA;&#xD;&#xA;- Batteries get eaten up in no time when using Phantom power on external mics. Can be a pain in pressured recording situations.&#xD;&#xA;&#xD;&#xA;- Adjusting input levels of individual mics on the fly is a bit slow compared to a mixers dials but if levels set well first can be got around." ContentLicense="CC BY-SA 3.0" />
  <row Id="21962" PostHistoryTypeId="2" PostId="13298" RevisionGUID="62b8ecda-5136-4e88-9040-b737cd988712" CreationDate="2012-03-29T17:32:54.173" UserId="3680" Text="Regarding flaws in the Fletcher-Munson curves: the original work establishing the curves was done in the 1920's and early 1930's under the supervision of Harvey Fletcher of Bell Laboratories.  He was assisted by Fred Munson.  At that time, making accurate measurements of the properties of sound was more difficult than it became later, the sources and instruments available were simply not as good as what we have now.  Therefore, later researchers (Robinson and Dadson, for example)  revised the curves, based on the improved measurements that they made." ContentLicense="CC BY-SA 3.0" />
  <row Id="21963" PostHistoryTypeId="2" PostId="13299" RevisionGUID="6d7db8ca-b268-45ac-a6c7-0e5215c7dfc7" CreationDate="2012-03-29T17:45:10.567" UserId="3680" Text="I have gone the &quot;keep the computer quiet&quot; route myself, as it is not practical for me to put the computer in another room.  Further, there are times when it is essential to have access to the computer (unplugging and replugging stuff, trouble-shooting, etc.), and then having it right next to me helps a lot.&#xD;&#xA;&#xD;&#xA;If you are getting a new machine, buying from a vendor who offers computers optimized for audio  applications makes sense.  Such machines will usually be configured to run quietly from the get-go (damped case, quiet fans, etc.).  Sweetwater Sound is a good source for quiet PCs, and they offer excellent support for what they sell as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="21964" PostHistoryTypeId="2" PostId="13300" RevisionGUID="58d95094-005c-4681-82cf-4ddbd88aeabf" CreationDate="2012-03-29T17:52:43.367" UserId="3680" Text="One technique I used: took a large rolled up carpet and dragged it slowly across a cement floor.  Then pitched the sound down a couple of octaves in the workstation.  The lack of a distinct pitch was useful in this case--it was a low, rumbling &lt;i&gt;noise&lt;/i&gt;." ContentLicense="CC BY-SA 3.0" />
  <row Id="21965" PostHistoryTypeId="2" PostId="13301" RevisionGUID="63d5c599-a9cf-4c1d-af33-5a7d64404a67" CreationDate="2012-03-29T17:58:21.943" UserId="3680" Text="The B1D looks like it is well designed--the air space between the foam and the mic end should help. (Shure's indoor pop filter for the SM-57 works the same way and is effective.)  Sorry, haven't had the chance to try out the B1D, but it should certainly be better than not using a pop screen." ContentLicense="CC BY-SA 3.0" />
  <row Id="21966" PostHistoryTypeId="2" PostId="13302" RevisionGUID="de81857c-a66b-4e7f-87ee-930076256674" CreationDate="2012-03-29T17:59:03.760" UserDisplayName="user80" Text="I place noisy equipment in closed drawers at home and then strategically place absorbent materials around the kit so that you they enough air to keep cool.  With regards to the computer I use a laptop to reduce fan noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="21967" PostHistoryTypeId="2" PostId="13303" RevisionGUID="dbb1d55d-4ea5-4425-8cd2-9b383b339b74" CreationDate="2012-03-29T18:22:03.447" UserId="3680" Text="Regarding technical differences between mid-side and XY stereo recordings:  with mid-side, if you have access to the unencoded tracks (one track is your &quot;mid&quot; signal, the other track is your &quot;side&quot; signal), then you can vary the levels between the tracks to get a wider or narrower stereo spread, going all the way down to mono if you use only the mid track.  (As I do not have the H2n, I do not know if it allows recording M/S to separate, unencoded tracks.)&#xD;&#xA;&#xD;&#xA;With XY stereo, you do not have this kind of control over the stereo image after the fact--it is a stereo recording, and you can manipulate it in various ways in post using the usual tools, but not with the precise control you have with M/S.&#xD;&#xA;&#xD;&#xA;As for how the two techniques compare in sound, that will depend on the microphones used to implement the techniques.  That said, M/S will usually give you an excellent center image, because the mid pickup will be from a (usually) cardioid mic pointed at the center of the source.  XY may not give as good a center sound, because that will be derived from two microphones pointed 45 degrees off axis from the center of the source. In that situation, off-axis coloration of the microphone pickups may be a factor.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="21968" PostHistoryTypeId="2" PostId="13304" RevisionGUID="422df701-a72f-44b0-8529-532e5aecb392" CreationDate="2012-03-29T18:36:14.157" UserDisplayName="user80" Text="M/S is more accurate, X Y is cheaper and easier to implement." ContentLicense="CC BY-SA 3.0" />
  <row Id="21969" PostHistoryTypeId="2" PostId="13305" RevisionGUID="92195015-72e2-44aa-8e94-bf5ee54737a3" CreationDate="2012-03-29T19:03:44.823" UserId="3680" Text="I have the H4n.  Very good for the money, but some limitations: the line inputs (1/4&quot; jacks in the combo jacks) will not accept full pro level (+4 dBm) without overloading on peaks.  They will accept consumer level signal (-10 dBv) OK.  I use my H4n with a Shure FP-33 mixer.  The Shure will send mic-level outs, but the cables pick up noise when used that way.  I settled for sending line-level out the Shure and padding the signal down at the H4n mic inputs--that works OK.  &#xD;&#xA;&#xD;&#xA;The mic inputs of the H4n are noisy when used with typical dynamic mics, or condensers with similarly low output.  Hotter condensers will probably overide the noise.  The built-in mics sound good, but again, the noise floor is not as low as I would like--pre-amp hiss is evident.  If you get a good signal into the H4n, it sounds very good." ContentLicense="CC BY-SA 3.0" />
  <row Id="21970" PostHistoryTypeId="2" PostId="13306" RevisionGUID="d5b72b4b-77dd-4410-93fd-9fbbb74aab99" CreationDate="2012-03-29T19:07:11.027" UserId="730" Text="85hz sine tone, with doppler and then a delay.  EQ if needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="21971" PostHistoryTypeId="2" PostId="13307" RevisionGUID="c3d6dad1-a1e9-4c6a-a7f9-d1ac67d741b3" CreationDate="2012-03-29T19:09:36.823" UserId="3680" Text="Anything really flexible, with good overall sound quality.  The Waves Q-10 works well.  The parametric EQs in iZotope's products also work.  It is also helpful to have a really good notch filter available to deal with certain types of noises--again the Q-10 can be set up that way, though my favorite is an old plug-in I have called the Blue Filter." ContentLicense="CC BY-SA 3.0" />
  <row Id="21972" PostHistoryTypeId="2" PostId="13308" RevisionGUID="f659e78f-dbb2-4666-8f03-4ca33f21fe34" CreationDate="2012-03-29T19:56:21.330" UserId="3678" Text="Yep, pretty much use any synth you can find for sounds in those sections. &#xD;&#xA;&#xD;&#xA;Some simple ideas to try for musical feedback buttons:&#xD;&#xA;&#xD;&#xA;Load your synth. Choose a preset.&#xD;&#xA;&#xD;&#xA;Find the main amp envelope and adjust so ADSR all on zero. Raise decay till you have a quick bleep. &#xD;&#xA;&#xD;&#xA;Adjust the ADSR of both AMP and FILTER envelope of synth. Always keeping the envelopes quick and sharp.&#xD;&#xA;&#xD;&#xA;harmonic/discordant (very) short chords or phrases depending on interface interaction.&#xD;&#xA;&#xD;&#xA;Meaning if its a &quot;happy&quot; win sound or power-up, you want it harmonic and rewarding, incorrect or failure button discordant.&#xD;&#xA;&#xD;&#xA;Arpeggiate those short chords in various musical modes and speeds. Short sounds, so you want fast settings.&#xD;&#xA;&#xD;&#xA;Or You can play a little three key arpeggio and keep it really short,less then a second, ...flick the keys.&#xD;&#xA;&#xD;&#xA;Most buttons with delay in those examples have simple slow repeats,most synths will have one built in. Better to keep the delay minimal unless it has a purpose. Hope that helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21973" PostHistoryTypeId="5" PostId="13308" RevisionGUID="5a8fb757-9ee7-46fc-9c2d-4ceec9905901" CreationDate="2012-03-29T20:03:24.283" UserId="3678" Comment="added 57 characters in body" Text="Yep, pretty much use any decent synth you can find for sounds in those sections. &#xD;&#xA;&#xD;&#xA;Some simple ideas to try for musical feedback buttons:&#xD;&#xA;&#xD;&#xA;Load your synth. Choose a preset.&#xD;&#xA;&#xD;&#xA;Find the main amp envelope and adjust so ADSR all on zero. Raise decay till you have a quick bleep. &#xD;&#xA;&#xD;&#xA;Adjust the ADSR of both AMP and FILTER envelope of synth. Always keeping the envelopes quick and sharp.&#xD;&#xA;&#xD;&#xA;harmonic/discordant (very) short chords or phrases depending on interface interaction.&#xD;&#xA;&#xD;&#xA;Meaning if its a &quot;happy&quot; win sound or power-up, you want it harmonic and rewarding, incorrect or failure button discordant.&#xD;&#xA;&#xD;&#xA;Hopefully your synth or host has an arpeggiator.&#xD;&#xA;Arpeggiate those short chords in various musical modes and speeds. Short sounds, so you want fast settings.&#xD;&#xA;&#xD;&#xA;Or You can play a little three key arpeggio and keep it really short,less then a second, ...flick the keys.&#xD;&#xA;&#xD;&#xA;Most buttons with delay in those examples have simple slow repeats,most synths will have one built in. Better to keep the delay minimal unless it has a purpose. Hope that helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21974" PostHistoryTypeId="2" PostId="13309" RevisionGUID="c3135cb3-5197-48d9-bfca-66daf9c5768b" CreationDate="2012-03-29T20:38:38.890" UserId="3179" Text="Working those with well designed presets - super easy. The hard part in designing good interface sounds is finding the stuff that works for the exact use and has the right meaning.&#xD;&#xA;&#xD;&#xA;The fascination of using sampled audio (e.g. in a sampler, or a synth that can use samples) is that you get different tones. Whereas pure synthesis has the ability to be pure, sampled sources can result in a more modulated/varying and perhaps interesting outcomes.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21975" PostHistoryTypeId="2" PostId="13310" RevisionGUID="5e30daaa-fe50-4e42-8181-7cc630fa0e13" CreationDate="2012-03-29T22:22:00.860" UserDisplayName="user49" Text="If you want a textured rumble I've made them by processing source sounds like fires, a roller door, animals stampeding etc... processing = a low pass filter plus a subharmonic generator eg LowEnder plug.... Be careful where you set your LPF, good rumbles are in the LCR speakers as well as the sub... " ContentLicense="CC BY-SA 3.0" />
  <row Id="21976" PostHistoryTypeId="2" PostId="13311" RevisionGUID="948f76c0-b0d9-407e-930d-5f0face265fe" CreationDate="2012-03-29T22:45:03.007" UserId="3688" Text="Thank you all for your answers. I spent a good four hours today in Reason applying the suggestions in this thread to Subtractor and Thor. I think the key to making these sounds come to life is dynamics. Not just w/ volume but with pitch and frequency modulation, etc.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21977" PostHistoryTypeId="2" PostId="13312" RevisionGUID="eb14d9eb-d8d0-4790-9b9e-2180353f2c8f" CreationDate="2012-03-29T23:03:54.817" UserId="3284" Text="Apologies if this is digging up an old question, but I wanted to contribute my own thoughts and perhaps just add some contrast for anybody else who reads the Q&amp;A.&#xD;&#xA;&#xD;&#xA;My first instinct is to ask the question 'why?'. Why do you (or the site owner/ developer/ designer etc) want to use UI SFX? I have a foot in both camps here, so from a web design perspective, I'd ask how sound adds value to the site or improves its functionality.&#xD;&#xA;&#xD;&#xA;Sometimes, web designers have a tendency to be self-indulgent and project their own aesthetic values onto a client's site. It might look great visually, but does it work for the client and their audience? Simplicity wins out quite often.&#xD;&#xA;&#xD;&#xA;Think about the environment the website's audience will be using it in. If it's a business-to-business site viewed by people in offices, there's a good chance they won't even be able to hear anything because sound is disabled on their system. If it's a mobile site, visitors might not want sounds played every time they click on something (how annoying would that be for people sat on a bus?).&#xD;&#xA;&#xD;&#xA;Here's a good example of when sound might not be appropriate or useful (and might even work to your disadvantage): [http://novalight.net/NOVALIGHT.html][1]&#xD;&#xA;&#xD;&#xA;There are times when sound is clearly appropriate - with Flash-based games and with the prospect of so much more creativity with HTML5, sound can be an important part of the creative mix.&#xD;&#xA;&#xD;&#xA;I often try to ask myself &quot;who is this for and what does it do?&quot; when I plan out a web page. It's really hard, because the process will never result in perfection, but by trying to justify elements of a page, I am at least evaluating the value of what is on-page.&#xD;&#xA;&#xD;&#xA;If you must add sound to a website, at least give people the option to disable sounds, using clear ideograms in anticipated locations on-page. Personally, I prefer an indication of some kind that the site uses sound, so I'm not taken by surprise (that really, really bugs me).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://novalight.net/NOVALIGHT.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="21978" PostHistoryTypeId="2" PostId="13313" RevisionGUID="8bff5733-5d74-4db7-ba0e-123b360a1695" CreationDate="2012-03-29T23:54:05.370" UserId="37" Text="From what I've experienced the trick to creating many of these is to have many very short sounds in succession. You can create pretty nice sounds by just using a virtual analogue synth, even a sine tone, provided you keep it at unusual/uncommon pitch and potentially combine more than one voice. Rapidly triggering the same tone in succession and for very short duration results in some nice modulation texture. Sharp attack and release are key, and your DAW piano-roll may look outrageous once you've crafted the finished sound - nothing to worry about. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21979" PostHistoryTypeId="2" PostId="13314" RevisionGUID="0ae4364d-d56f-4c0b-b787-931202bc769d" CreationDate="2012-03-30T00:46:30.283" UserId="3690" Text="-18vu (-21 rms) full scale (0 dB peak). adjust dynamics with compression accordingly. i'd recommend 1.8:1 tight attack and release with just enough threshold to get it into the proper level spec.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21983" PostHistoryTypeId="12" PostId="13304" RevisionGUID="2ecb64f8-147a-4289-8f07-2ff838e3dd55" CreationDate="2012-03-30T05:05:36.387" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="21984" PostHistoryTypeId="13" PostId="13304" RevisionGUID="52fb9914-be41-4a06-9c67-00409a179ab0" CreationDate="2012-03-30T05:10:38.883" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="21985" PostHistoryTypeId="5" PostId="13304" RevisionGUID="54597640-95df-4845-9150-22d767f96877" CreationDate="2012-03-30T05:17:09.840" UserDisplayName="user80" Comment="added 337 characters in body; added 28 characters in body" Text="M/S is more accurate in the centre (as cardioid capsule is facing forward) and you can vary the stereo width in post production. &#xD;&#xA;&#xD;&#xA;X Y is generally easier to implement as no &quot;decoding' (sum and difference) is required, although you can still vary the width by changing the angles to make them a near coincident pair.  &#xD;&#xA;&#xD;&#xA;Cost wise figure of eight mics tend to be more expensive than cardioids if you want them to be  small." ContentLicense="CC BY-SA 3.0" />
  <row Id="21986" PostHistoryTypeId="5" PostId="13304" RevisionGUID="b9f62c20-7ac0-4b7b-88e2-332783f283a9" CreationDate="2012-03-30T05:29:21.857" UserDisplayName="user80" Comment="added 95 characters in body; added 66 characters in body; added 34 characters in body" Text="The X Y configuration is useful when you want to slightly de-emphasise what is in the centre of the stereo field, which is great if you are recording content to work with dialogue.  &#xD;&#xA;&#xD;&#xA;There is only a subtle centre de-emphasis but it is enough to help with improving the perceived clarity of the overlaid dialogue, if the dialogue is in the centre channel or panned centre.&#xD;&#xA;&#xD;&#xA;The M/S gives a lovely centre clarity to stereo recordings and is ideal when you really want to emphasise the centre of a stereo recording and you can automate this in post so that you can vary the amount of perceived direct to indirect sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="21987" PostHistoryTypeId="2" PostId="13316" RevisionGUID="21df6943-674f-4928-b9ab-39d21ebb6afc" CreationDate="2012-03-30T05:59:43.843" UserId="3567" Text="You could dump Reason and start using a VST compatible DAW. Get your hands on a VST synth with loads of presets and start tweaking. This is what I did for a recent gig:&#xD;&#xA;http://soundcloud.com/george-v/sets/sound-effects/ - First three tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="21988" PostHistoryTypeId="2" PostId="13317" RevisionGUID="8ad96a67-b776-49d7-83b0-961e3adc65c8" CreationDate="2012-03-30T09:32:19.877" UserId="1049" Text="Lie your mic (without any stands etc) down on a picnic table, then drag something heavy along the surface of the table. I'd say a contact mic would work best with this, but anything would do really; I used the internal mics on my portable recorder. &#xD;&#xA;&#xD;&#xA;I accidentally got some nice sounds this way, the vibrations in the table recorded by your mic will be a nice low frequency rumble. I personally was dragging a brick across a spare paving slab, on top of the table, with my DR100 on the table too." ContentLicense="CC BY-SA 3.0" />
  <row Id="21990" PostHistoryTypeId="5" PostId="13317" RevisionGUID="e020d85f-a61b-45f1-b9be-a76a025bf327" CreationDate="2012-03-30T09:39:24.053" UserId="1049" Comment="added 94 characters in body; added 5 characters in body" Text="Lie your mic (without any stands etc) down on a picnic table, then drag something heavy along the surface of the table. I'd say a contact mic would work best with this, but anything would do really; I used the internal mics on my portable recorder. &#xD;&#xA;&#xD;&#xA;I accidentally got some nice sounds this way, the vibrations in the table recorded by your mic will be a nice low frequency rumble. I personally was dragging a brick across a spare paving slab, on top of the table, with my DR100 on the table too.&#xD;&#xA;&#xD;&#xA;EDIT: (The picnic table was also on paving slabs, but this may work with it on bare ground too)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21991" PostHistoryTypeId="2" PostId="13318" RevisionGUID="436763ff-8e8e-4e43-958f-26ad8abc2079" CreationDate="2012-03-30T09:45:39.940" UserId="6420" Text="Similarly to Tim if had good results processing source materials. I recorded some jet plane sounds with a lot of low energy then pitched down and low passed the file to get some serious rumbling effects! " ContentLicense="CC BY-SA 3.0" />
  <row Id="21992" PostHistoryTypeId="2" PostId="13319" RevisionGUID="6c4a9bd9-2be0-4e0e-85ce-10772a2249f0" CreationDate="2012-03-30T13:18:56.847" UserId="243" Text="I would just like a get eveyone's view on the purposes/&quot;what they do&quot; on a compressor. &#xD;&#xA;&#xD;&#xA;They way I understand it is, the threshold is the Db level that is reached by a signal that causes the knee + threshold aettings to come in effect and &quot;compress&quot; the signal. &#xD;&#xA;&#xD;&#xA;So the knee is a combination of the threshold and ratio. The threshold is the apex of the knee correct? and the ratio is the angle of the knee after that apex? That is a very basic overview but the ration is the proportion a signal must be compressed once crossing that threshold.&#xD;&#xA;&#xD;&#xA;Look forward to the responses." ContentLicense="CC BY-SA 3.0" />
  <row Id="21993" PostHistoryTypeId="1" PostId="13319" RevisionGUID="6c4a9bd9-2be0-4e0e-85ce-10772a2249f0" CreationDate="2012-03-30T13:18:56.847" UserId="243" Text="The purpose of Threshold, Knee and ration in a compressor (discussion)" ContentLicense="CC BY-SA 3.0" />
  <row Id="21994" PostHistoryTypeId="3" PostId="13319" RevisionGUID="6c4a9bd9-2be0-4e0e-85ce-10772a2249f0" CreationDate="2012-03-30T13:18:56.847" UserId="243" Text="&lt;compression&gt;&lt;knowledge&gt;&lt;post-production&gt;&lt;recording&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="21995" PostHistoryTypeId="2" PostId="13320" RevisionGUID="9d5997b5-d6e2-4ea7-aaaf-bc08ace62e5d" CreationDate="2012-03-30T14:58:32.480" UserId="6420" Text="I'd recommend having a look here:&#xD;&#xA;http://www.barryrudolph.com/mix/comp.html&#xD;&#xA;&#xD;&#xA;Covers all the basics well" ContentLicense="CC BY-SA 3.0" />
  <row Id="21996" PostHistoryTypeId="2" PostId="13321" RevisionGUID="89add7b2-5602-4ce9-84c6-7ce6004fd1dd" CreationDate="2012-03-30T16:48:49.877" UserId="18160" Text="Threshold is the point set for when the compressor actually starts compressing once the volume of the program or track reaches above that level. Note that it's a static volume, so if you have a voice or instrument that is all over the place due to levels, you might want to do a pre-leveling with a fader/volume automation to even it out so it's always hitting the compressor at the same point on the material - otherwise certain portions will be over-compressed, under-compressed, etc.&#xD;&#xA;&#xD;&#xA;The knee is a rounded-off joint at the threshold point that smooths out the transition from non-compression and compression. It can sound very nice on certain sharp and pokey voices. Many compressors call this &quot;soft knee&quot;.&#xD;&#xA;&#xD;&#xA;The ratio is how much the compression does - for example, at a ratio of 4:1, for every 4dB of volume past the threshold, the output of the compressor will be 1 dB.&#xD;&#xA;&#xD;&#xA;Do you understand the attack and release portions of the compressor?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21997" PostHistoryTypeId="5" PostId="13321" RevisionGUID="3ba01f24-0bc2-47bf-9106-1646473a9339" CreationDate="2012-03-30T16:54:15.897" UserId="18160" Comment="added 40 characters in body" Text="Threshold is the point set for when the compressor actually starts compressing once the volume of the program or track reaches above that level. Note that it's a static volume, so if you have a voice or instrument that is all over the place due to levels, you might want to do a pre-leveling with a fader/volume automation to even it out so it's always hitting the compressor at the same point on the material - otherwise certain portions will be over-compressed, under-compressed, etc.&#xD;&#xA;&#xD;&#xA;The knee is a rounded-off joint at the threshold point that smooths out the transition from non-compression and compression. It can sound very nice on certain sharp and pokey voices. Many compressors call this &quot;soft knee&quot;.&#xD;&#xA;&#xD;&#xA;The ratio is how much the compression does - for example, at a ratio of 4:1, for every 4dB of volume past the threshold, the output of the compressor will be 1 dB.&#xD;&#xA;&#xD;&#xA;Do you understand how the attack and release portions of the compressor interact with the thresh/knee/ratio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21998" PostHistoryTypeId="5" PostId="13321" RevisionGUID="43d42be0-19dd-4cbe-a29d-606bcd04e2cc" CreationDate="2012-03-30T18:33:39.810" UserId="18160" Comment="added 144 characters in body" Text="Threshold is the point set for when the compressor actually starts compressing once the volume of the program or track reaches above that level. Note that it's a static volume, so if you have a voice or instrument that is all over the place due to levels, you might want to do a pre-leveling with a fader/volume automation to even it out so it's always hitting the compressor at the same point on the material - otherwise certain portions will be over-compressed, under-compressed, etc.&#xD;&#xA;&#xD;&#xA;The knee is a rounded-off joint at the threshold point that smooths out the transition from non-compression and compression. It can sound very nice on certain sharp and pokey voices. Many compressors call this &quot;soft knee&quot;. If you see a graphical representation of it, it rounds off the threshold point so it's round and doesn't have an angle, the more you put it on.&#xD;&#xA;&#xD;&#xA;The ratio is how much the compression does - for example, at a ratio of 4:1, for every 4dB of volume past the threshold, the output of the compressor will be 1 dB.&#xD;&#xA;&#xD;&#xA;Do you understand how the attack and release portions of the compressor interact with the thresh/knee/ratio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="21999" PostHistoryTypeId="2" PostId="13322" RevisionGUID="9cb4bd6f-80ad-453d-807c-93917965512b" CreationDate="2012-03-30T18:46:33.543" UserId="6435" Text="Here's another: At the beginning of The Fog (the original John Carpenter), when a stone mysteriously falls out of the wall in the old church, startling the priest and revealing the creepy old book, he drops his radio and it starts playing uptempo jazz music over what is otherwise a disturbing supernatural event." ContentLicense="CC BY-SA 3.0" />
  <row Id="22000" PostHistoryTypeId="2" PostId="13323" RevisionGUID="7bb7a260-3dc7-49cc-91b7-95825d9e1772" CreationDate="2012-03-30T19:26:58.020" UserId="3698" Text="What does it mean when people say a headphone is natural sounding ? does it mean the headphones is flat and boring when listening to songs ? does it make your music sound amazing or just normal but with more detail ?&#xD;&#xA;example :sennheiser hd 448&#xD;&#xA;i would like some detailed answers and anyone with the headphone above(the sennehsier hd 448)&#xD;&#xA;can give me their take on it ' thanks!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22001" PostHistoryTypeId="1" PostId="13323" RevisionGUID="7bb7a260-3dc7-49cc-91b7-95825d9e1772" CreationDate="2012-03-30T19:26:58.020" UserId="3698" Text="Natural headphone Mean?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22002" PostHistoryTypeId="3" PostId="13323" RevisionGUID="7bb7a260-3dc7-49cc-91b7-95825d9e1772" CreationDate="2012-03-30T19:26:58.020" UserId="3698" Text="&lt;headphones&gt;&lt;sennheiser&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22003" PostHistoryTypeId="2" PostId="13324" RevisionGUID="0ef0c5bb-a070-40b3-9871-3eff90bef130" CreationDate="2012-03-30T19:58:25.090" UserId="730" Text="i believe it means there is no gain of certain frequencies.  example, the DREs headphones have a gain in low frequencies." ContentLicense="CC BY-SA 3.0" />
  <row Id="22004" PostHistoryTypeId="2" PostId="13325" RevisionGUID="4a07c7dc-878f-4815-bd92-61e004bc9a2c" CreationDate="2012-03-30T22:00:50.023" UserId="37" Text="This might be of interest:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/1888/would-you-rather-use-flat-headphones-for-monitoring/1899#1899&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22006" PostHistoryTypeId="2" PostId="13326" RevisionGUID="a62c1a1e-a9c2-42b4-b430-8df075736c3c" CreationDate="2012-03-30T23:40:37.107" UserId="1153" Text="Hey everyone!&#xD;&#xA;&#xD;&#xA;I've been trying to refine and improve my sound editing process/skills and have been working from Ric Viers 'L-I-S-T-E-N' process from 'The Sound Effects Bible' (pg 187 for those of you whom have a copy within reach).&#xD;&#xA;&#xD;&#xA;My variant of the process mixes it up a bit:&#xD;&#xA;&#xD;&#xA;L - listen critically &lt;br&gt;&#xD;&#xA;I - identify clicks, pops, errors&lt;br&gt;&#xD;&#xA;T - trim / crop&lt;br&gt;&#xD;&#xA;E - examine fades&lt;br&gt;&#xD;&#xA;S - signal process&lt;br&gt;&#xD;&#xA;N - normalize / name&lt;br&gt;&#xD;&#xA;&#xD;&#xA;*(Not to be construed as me sayings he's wrong, it's just how I've found myself working most efficiently as of yet - 'I' and 'T' are also interchangeable)*&#xD;&#xA;&#xD;&#xA;Practicing on some motorbike sounds I recorded, the aim of these edits is to act as 'raw' material for designing sound effects in the future, so this current edit process itself plays more of a fixing impurities and neatening up around the edges role. I've acted sparingly with signal processing (EQ, comp, norm) to try and keep the character of the takes and the bike itself. &#xD;&#xA;&#xD;&#xA;Some takes - because of the mic positioning - focus on certain sounds or frequency ranges so consequently some edits end up sounding weak in certain frequency ranges, however when brought together later with a complementary sample recorded from another angle, really bring the bike to life. Would you edit/keep recordings like this that perhaps by themselves sound 'rubbish' so you could play with the sound later or would you mix it down so the sound was more complete instead of components? Personally I'd perhaps do both, favouring components however as it leaves more options.&#xD;&#xA;&#xD;&#xA;**Bearing this all in mind I was wondering how you guys/gals approach editing in regards to your own recorded material to make 'raw' sound effects (or building blocks if you will). How do you go about making your edits? Do you have an underlying system/process like 'LISTEN'? Or do you vary dependant upon the sound recorded?** &#xD;&#xA;&#xD;&#xA;*Here's a few of the edited sounds using the described process above and PT10. Thoughts/Opinions/Feedback would be much appreciated also.*&#xD;&#xA;&#xD;&#xA;[http://soundcloud.com/disconnectuser/sets/soundeffects][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/disconnectuser/sets/soundeffects &quot;Bike Sounds&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22007" PostHistoryTypeId="1" PostId="13326" RevisionGUID="a62c1a1e-a9c2-42b4-b430-8df075736c3c" CreationDate="2012-03-30T23:40:37.107" UserId="1153" Text="Raw Audio Edit Process" ContentLicense="CC BY-SA 3.0" />
  <row Id="22008" PostHistoryTypeId="3" PostId="13326" RevisionGUID="a62c1a1e-a9c2-42b4-b430-8df075736c3c" CreationDate="2012-03-30T23:40:37.107" UserId="1153" Text="&lt;editing&gt;&lt;signal-processing&gt;&lt;process&gt;&lt;pro-tools&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22009" PostHistoryTypeId="2" PostId="13327" RevisionGUID="8fc9887a-0486-427b-9c6f-f24aa2c994b9" CreationDate="2012-03-31T00:14:09.707" UserId="1013" Text="Yep, read the article above.&#xD;&#xA;&#xD;&#xA;You can only assume that it means they have a flat frequencey response, which mean thst no particular frequencies are emphasised or cut. They are specifically meant to provide you with a representation as true as possible, without any colour (ie. distortion) provided by the speakers.&#xD;&#xA;&#xD;&#xA;You will generally find that you can hear more detail with a decent pair of monitor speakers/headphones. If music is poorly mixed or produced, it will show up theses flaws.&#xD;&#xA;&#xD;&#xA;If you produce and mix, then it is important. If you are just a music listener, then not so much - unless you value sourcing quality music on a decent format and hearing it as intended (ie. not on mp3).&#xD;&#xA;&#xD;&#xA;For example - if you have speakers that 'make your music sound amazing' in your studio by say, boosting the bass a bit. When you pass that music onto others, their system will have no such bass boost, so your music might sound thin and crappy.&#xD;&#xA;&#xD;&#xA;Look into the concept of MASTERING if you are curious to learn more.&#xD;&#xA;&#xD;&#xA;D" ContentLicense="CC BY-SA 3.0" />
  <row Id="22010" PostHistoryTypeId="5" PostId="13327" RevisionGUID="b5eca0f6-9540-4cfb-b9b9-36d18e3db905" CreationDate="2012-03-31T00:19:54.010" UserId="1013" Comment="added 228 characters in body" Text="Yep, read the article above.&#xD;&#xA;&#xD;&#xA;You can only assume that it means they have a flat frequencey response, which mean thst no particular frequencies are emphasised or cut. They are specifically meant to provide you with a representation as true as possible, without any colour (ie. distortion) provided by the speakers.&#xD;&#xA;&#xD;&#xA;You will generally find that you can hear more detail with a decent pair of monitor speakers/headphones. If music is poorly mixed or produced, it will show up theses flaws.&#xD;&#xA;&#xD;&#xA;If you produce and mix, then it is important. If you are just a music listener, then not so much - unless you value sourcing quality music on a decent format and hearing it as intended (ie. not on mp3).&#xD;&#xA;&#xD;&#xA;For example - if you have speakers that 'make your music sound amazing' in your studio by say, boosting the bass a bit. When you pass that music onto others, their system will have no such bass boost, so your music might sound thin and crappy.&#xD;&#xA;&#xD;&#xA;Look into the concept of MASTERING if you are curious to learn more.&#xD;&#xA;&#xD;&#xA;D&#xD;&#xA;&#xD;&#xA;PS. I have a pair of HD25s which are comfortable and have good sound exclusion. I use them for music listening, studio, and DJ applications. For actual mixing I prefer speakers - monitors which I know the sound of very well." ContentLicense="CC BY-SA 3.0" />
  <row Id="22011" PostHistoryTypeId="2" PostId="13328" RevisionGUID="ae156f85-841e-4a28-a6b2-0fb53dc5586c" CreationDate="2012-03-31T02:32:25.650" UserId="432" Text="Personally, I stopped any activities in any way related to normalizing a long time ago. How I record sounds is how they go into my library. I don't mess with the dynamics, and I don't gain them up (unless I'm actually designing a sound for a specific use). I don't need every single sound peaking out at -.3 dBFS with an RMS of -10 dBFS. I'm never going to put them into a project at that level. I'd much rather have something closer to the natural dynamics of the sound. As long as they are properly gain staged and cleanly recorded, I can turn them up in the mix if I need to.&#xD;&#xA;&#xD;&#xA;Ric's little acronym is a good starting point, but audio has very few rules that apply across all situations (and those that do are extremely non-specific). It's important to think about how the sounds are going to be used when you're &quot;mastering&quot; them. Just my 2 cents." ContentLicense="CC BY-SA 3.0" />
  <row Id="22012" PostHistoryTypeId="2" PostId="13329" RevisionGUID="684a8f8d-b188-423e-bb90-0225ffdaf643" CreationDate="2012-03-31T02:45:12.690" UserId="29" Text="Jeez, I'm so late to the party that all the good answers are taken. :-p I'll only expound on what's already been said, or add new perspectives.&#xD;&#xA;&#xD;&#xA;I think the most important aspects to work backwards from are A) the brand at play, B) the type of website it is (if business, what vertical), and C) its users. Get ready for Supremely Extreme Generalizations™!&#xD;&#xA;&#xD;&#xA;Brand and website type should drive your broad palette. Brand is the underlying emotional core of your sounds, the equivalent of the driving themes in a film or the emotional content of a scene: Warmth, musical vs. texture, etc. Business will shape the texture of your sounds: High tech, organic, bubbly, severe, minimal, rich, etc. As others have said, this is where discussions with clients is key. Get emotional brand descriptors, those are critical.&#xD;&#xA;&#xD;&#xA;Users are what gives your sound context. A website whose features will be consumed by busy people during the day will probably warrant a different approach than a website meant to be used at home, at night. Part of the challenge of online UI sound design is the same as designing for TV: You have no control over the end playback device, or the room or even the context surrounding how people are consuming the media. I also seemed to have coined the term &quot;least common expectation,&quot; the emotional equivalent of the &quot;least common denominator.&quot; Like visual effects, the kind of user you have will influence how much they're even expecting sound, and if they are, what their aesthetic minimum expectations are. And, people being people, they are the ones triggering the sounds, so like in game sound design, you need to 1,000% ensure that your sounds won't trigger fatigue...having slight variations triggered with some very simple programming can pay off bigtime. Please, treat button presses like foley footsteps in games, your users will LOVE YOU for it.&#xD;&#xA;&#xD;&#xA;Over the last 3 years, I've found most of my work in this area breaking down into two types: Musical effects and digital effects for interfaces. Vast variances in each, but very distinctive. Listen to the XBox menu system for a great example of musical UI effects; if you like abstract IDM or &quot;microsound&quot; electronic music, then those ultra-short, crisp, digital sounds can often work well in interfaces, too, on the other end of the spectrum.&#xD;&#xA;&#xD;&#xA;Finally: Be consistent. Rollover, mouseDown, mouseUp...be consistent in what user input triggers sounds. The richness of the visuals often guide your hand and ears here. Rollover and mouseUps are minimums, in my opinion, but don't forget about screen transitions, lists unfurling, alert messages...UI is about a LOT more than buttons.&#xD;&#xA;&#xD;&#xA;My best recommendation is really to think about every digital UI sound design project as a device or product: Whole unto itself. It'll get your work past the &quot;sound for website&quot; stage and into the &quot;digital interface effects&quot; stage. My Roomba, my Mac, my PC, and my MINI Cooper have completely different sonic vocabularies, and it really does imbue each of them with different personalities.&#xD;&#xA;&#xD;&#xA;Sorry I'm late, hope that helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22013" PostHistoryTypeId="2" PostId="13330" RevisionGUID="0f6ab035-e7be-4448-af67-34e710c52379" CreationDate="2012-03-31T02:54:27.947" UserId="29" Text="I agree with @Shaun on this. I think the confidence to not normalize or alter gain comes with experience. &#xD;&#xA;&#xD;&#xA;My big a-ha came as I built my own library of ambiences: Adjusting gain in post would leave me with just as many variances in background noise and mic self-noise as my wildly varying input gain on my mic pre's in the field between outings, perhaps more. Gain staging and setting solid levels in the field are by far more important, in my opinion, are far more important than doing so as one files, masters and archives them. A sparrow chirp peaking at 0dB is just as bad as a close-up dump truck roaring at -19dB.&#xD;&#xA;&#xD;&#xA;I'm more of an LTISE person than a LISTEN person. I'm an ENFJ, too, but that's a different kind of type. :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22014" PostHistoryTypeId="4" PostId="13319" RevisionGUID="35576d97-706d-470e-9749-68f430b22079" CreationDate="2012-03-31T06:26:55.473" UserId="61" Comment="edited title" Text="The purpose of Threshold, Knee and ratio in a compressor (discussion)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22015" PostHistoryTypeId="5" PostId="13319" RevisionGUID="3a3c5d60-5523-4b46-a34f-88616456acaa" CreationDate="2012-03-31T06:28:50.507" UserDisplayName="user80" Comment="spelling" Text="I would just like a get eveyone's view on the purposes/&quot;what they do&quot; on a compressor. &#xD;&#xA;&#xD;&#xA;They way I understand it is, the threshold is the dB level that is reached by a signal that causes the knee + threshold settings to come in effect and &quot;compress&quot; the signal. &#xD;&#xA;&#xD;&#xA;So the knee is a combination of the threshold and ratio. The threshold is the apex of the knee correct? And the ratio is the angle of the knee after that apex? That is a very basic overview but the ratio is the proportion a signal must be compressed once crossing that threshold.&#xD;&#xA;&#xD;&#xA;Look forward to the responses." ContentLicense="CC BY-SA 3.0" />
  <row Id="22016" PostHistoryTypeId="2" PostId="13331" RevisionGUID="630fe4fd-9c7b-4cb7-9874-8814a05b3dad" CreationDate="2012-03-31T07:45:57.027" UserId="845" Text="I've always thought of Knee as being an analog of acceleration.&lt;br&gt;From 1:1 to 4:1 in 6dB...&lt;br&gt;Not sure it actually works, but it makes sense to my brain." ContentLicense="CC BY-SA 3.0" />
  <row Id="22017" PostHistoryTypeId="2" PostId="13332" RevisionGUID="d82303ae-4198-4ce9-b5b2-0f36ab27f913" CreationDate="2012-03-31T08:28:54.157" UserId="6524" Text="I've heard and read about how recording/mixing engineers in the music business analyze each others mixes to learn the techniques used to make a certain track sound so good or what the latest trend/style is being used for them to incorporate in their work. They listen to how the track is balanced, panned and where each instrument fits in the frequency spectrum and so on, I'm guessing the same applies to a film or video game?, what else is there to look for?   " ContentLicense="CC BY-SA 3.0" />
  <row Id="22018" PostHistoryTypeId="1" PostId="13332" RevisionGUID="d82303ae-4198-4ce9-b5b2-0f36ab27f913" CreationDate="2012-03-31T08:28:54.157" UserId="6524" Text="How Do You Analyse A Film or Game For It's Sound Content?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22019" PostHistoryTypeId="3" PostId="13332" RevisionGUID="d82303ae-4198-4ce9-b5b2-0f36ab27f913" CreationDate="2012-03-31T08:28:54.157" UserId="6524" Text="&lt;film&gt;&lt;work&gt;&lt;analysis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22020" PostHistoryTypeId="2" PostId="13333" RevisionGUID="79e042fc-6a4f-4e4e-8d41-c4eb4bce6ddf" CreationDate="2012-03-31T09:21:18.113" UserId="3316" Text="I'm starting pre production on a rather ambitious self funded game project. &#xD;&#xA;And almost sadly, this will be beyond the stage of myself and friends being roped in to do the voices. &#xD;&#xA;&#xD;&#xA;I am curious as to resources people here are aware of for hiring voice talent? Both U.K local and of course remote. &#xD;&#xA;Many attempts to search this myself has brought up kitchenware style advert voice overs. Not the style of V.O you would expect for a game.&#xD;&#xA;&#xD;&#xA;This ie me really just putting the feelers out so I can start to time and resource budget, so any help, is amazing help. : )&#xD;&#xA;&#xD;&#xA;Thanks again guys" ContentLicense="CC BY-SA 3.0" />
  <row Id="22021" PostHistoryTypeId="1" PostId="13333" RevisionGUID="79e042fc-6a4f-4e4e-8d41-c4eb4bce6ddf" CreationDate="2012-03-31T09:21:18.113" UserId="3316" Text="Voice Artists and where to find the good ones" ContentLicense="CC BY-SA 3.0" />
  <row Id="22022" PostHistoryTypeId="3" PostId="13333" RevisionGUID="79e042fc-6a4f-4e4e-8d41-c4eb4bce6ddf" CreationDate="2012-03-31T09:21:18.113" UserId="3316" Text="&lt;voice-over&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22023" PostHistoryTypeId="2" PostId="13334" RevisionGUID="9095a400-ff40-4361-92b2-ad3680b15fc1" CreationDate="2012-03-31T10:34:58.417" UserId="917" Text="I found it effective to use Adobe Audition and XMind (mind mapping tool). &#xD;&#xA;&#xD;&#xA;In Audition I am able to see both waveform and spectrum at the same time. I set markers at the in and out points of certain audio sections that I'm interested in and then use Marque Tool to listen to exact frequency range of the sound. I can reverse, de-noise, make it louder. &#xD;&#xA;&#xD;&#xA;In XMind I have a template mindmap for this kind of task with several sections that I need to fill in, like Melody, Harmony, Rhythm, Instruments, FX, Structure, Mix, Automation, Stats etc. I tried to use simple lists and spreadsheets for this but I'm a visual person and mindmaps just work better for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="22024" PostHistoryTypeId="2" PostId="13335" RevisionGUID="bb1cc4a1-3303-455c-94b0-c40b16353305" CreationDate="2012-03-31T11:19:17.407" UserId="3567" Text="I have some voice actors I'm working with, if you're interested. Their voices are really suitable for video games. Shoot me an email at alchemyaudiodesign@gmail.com if you want to know more." ContentLicense="CC BY-SA 3.0" />
  <row Id="22025" PostHistoryTypeId="2" PostId="13336" RevisionGUID="6c3c64a8-6d0f-48d9-8b62-6e038f1ac4a0" CreationDate="2012-03-31T12:14:29.173" UserId="407" Text="What you are looking for is a casting agent - in the UK we have used [SideUK][1] - casting is just one aspect of their work as they also can do all the recording and localization too. If you are looking for something lower budget I have also used acting students from the local theatre school. If you have time to audition a few people and are well prepared you might find gold :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.side.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22026" PostHistoryTypeId="2" PostId="13337" RevisionGUID="8a29196c-95be-4fa8-a2cd-549e4013409d" CreationDate="2012-03-31T17:23:17.907" UserId="3705" Text="&#xD;&#xA;Hi everyone,&#xD;&#xA;&#xD;&#xA;Sorry for poor English presentation, firstly.&#xD;&#xA;&#xD;&#xA;I would like to know how to place microphones for live sports broadcast, like tennis, soccer, basketball, baseball and badminton.&#xD;&#xA;&#xD;&#xA;Are there any related online articles talking about these?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What is the most important principle for the location sound in Sports broadcasting?&#xD;&#xA;&#xD;&#xA;Thanks for any possible answers from you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22027" PostHistoryTypeId="1" PostId="13337" RevisionGUID="8a29196c-95be-4fa8-a2cd-549e4013409d" CreationDate="2012-03-31T17:23:17.907" UserId="3705" Text="Place Microphones for Live Sports Broadcasting" ContentLicense="CC BY-SA 3.0" />
  <row Id="22028" PostHistoryTypeId="3" PostId="13337" RevisionGUID="8a29196c-95be-4fa8-a2cd-549e4013409d" CreationDate="2012-03-31T17:23:17.907" UserId="3705" Text="&lt;sport&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22029" PostHistoryTypeId="2" PostId="13338" RevisionGUID="bf8b8ebc-725f-492e-806f-26f857fc7042" CreationDate="2012-03-31T19:53:17.957" UserId="3587" Text="Besides a casting agent, you could check out http://voiceactingalliance.com/ if you are on a tight budget. If you have the time to set up an audition and weed through the bad submissions (most of the voice actors there are not very experience and might not have very good equipment), it's not unlikely that you will find someone talented who is willing to work on an original project for a relatively low price, or even for free for their portfolio. &#xD;&#xA;&#xD;&#xA;I don't have a very good point of reference, as I have never needed to go to a casting agent, but I have found several talented amateurs voice actors there for different projects." ContentLicense="CC BY-SA 3.0" />
  <row Id="22030" PostHistoryTypeId="2" PostId="13339" RevisionGUID="c39daef7-1217-4980-85e0-516f4e39b3b3" CreationDate="2012-03-31T20:51:19.307" UserId="3707" Text="If you need bilingual voiceovers check out amadorbilingualvoiceovers.com.  You can also email and ask for recommendations.  Rosi Amador is also a partner instructor at Edge Studio's in NY for voiceover coaching.  Definitely plugged in." ContentLicense="CC BY-SA 3.0" />
  <row Id="22031" PostHistoryTypeId="5" PostId="13339" RevisionGUID="364790a0-2054-4b03-b115-4fc7615eb216" CreationDate="2012-03-31T21:00:35.007" UserId="3707" Comment="editing link" Text="Besides the list of English Voice talent agencies listed below: If you need bilingual voiceovers check out amadorbilingualvoiceovers.com.  You can also email Rosi and ask her for talent recommendations.  Rosi Amador is a partner instructor at Edge Studios in NY for voiceover coaching and talent directory.  Definitely plugged in.&#xD;&#xA;&#xD;&#xA;Also check out:&#xD;&#xA;&#xD;&#xA;www.cybersoundmusic.com |&#xD;&#xA;http://www.ariatalent.com/search/index.cfm |&#xD;&#xA;Allstarvoices.com  |&#xD;&#xA;www.edgestudio.com/  |&#xD;&#xA;&#xD;&#xA;I also have done voiceover work starting in 2000 at Clear Channel Communications.&#xD;&#xA;Some Demos: &#xD;&#xA;http://allstarvoices.com/profile/JoanBishop  |&#xD;&#xA;http://audiorichter.bandcamp.com/album/voiceovers-production&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22032" PostHistoryTypeId="5" PostId="13339" RevisionGUID="be36d636-60a2-43a2-ab12-510aea7dac92" CreationDate="2012-03-31T21:05:53.107" UserId="3707" Comment="add info" Text="Besides the list of English Voice talent agencies listed below: If you need bilingual voiceovers check out amadorbilingualvoiceovers.com.  You can also email Rosi and ask her for talent recommendations.  Rosi Amador is a partner instructor at Edge Studios in NY for voiceover coaching and talent directory.  Definitely plugged in.&#xD;&#xA;&#xD;&#xA;Also check out:&#xD;&#xA;&#xD;&#xA;www.cybersoundmusic.com |&#xD;&#xA;http://www.ariatalent.com/search/index.cfm |&#xD;&#xA;Allstarvoices.com  |&#xD;&#xA;www.edgestudio.com/  |&#xD;&#xA;&#xD;&#xA;I also have done voiceover work starting in 2000 at Clear Channel Communications.&#xD;&#xA;Some Demos: &#xD;&#xA;http://allstarvoices.com/profile/JoanBishop  |&#xD;&#xA;http://audiorichter.bandcamp.com/album/voiceovers-production&#xD;&#xA;&#xD;&#xA;You can also check out voiceover universe, Voices.com, voices123.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="22033" PostHistoryTypeId="2" PostId="13340" RevisionGUID="8c6a1ae9-972e-47a3-9549-08c5a6c41c95" CreationDate="2012-03-31T21:34:17.663" UserDisplayName="user80" Text="The most important aspect of sound in sports is coverage.  You will need to lay out a lot of mics so that the audience thinks they hear everything.  In some sports samples are played when  coverage is not available.&#xD;&#xA;&#xD;&#xA;In the UK generally shotgun mics are placed down one side of the track, pitch, river etc. with additional mics to cover the crowd and goal posts/finish lines.&#xD;&#xA;&#xD;&#xA;In the states they make more use of parabolic reflectors to follow the action.&#xD;&#xA;&#xD;&#xA;Chapter 13 of Alten's Audio in Media is about Field Production: News and Sport." ContentLicense="CC BY-SA 3.0" />
  <row Id="22034" PostHistoryTypeId="2" PostId="13341" RevisionGUID="e4e0ad3f-81a6-47e8-9c17-7953e2029ee3" CreationDate="2012-04-01T05:48:39.880" UserId="390" Text="*light spoilers ahead for We Own the Night, Inglorious Basterds and Michael Clayton ahead*&#xD;&#xA;&#xD;&#xA;Be careful not to get too lost in the technical details. Be mindful of the overall purpose of the sound design. I brought this up in another question a couple years ago... the movie, We Own the Night, starring Joaquin Phoenix and Mark Wahlberg has a very compelling car chase sequence in the rain where the viewer gets the sense of claustrophobia as the unwilling passenger in the car that's being chased thanks to great editing and sound design.&#xD;&#xA;&#xD;&#xA;In Inglorious Basterds, the scene where the Nazi officer gets beaten to death with a bat is pretty intense. You get this great buildup as Sgt. Donny Donowitz beats his bat against the wall of this long tunnel for an eternity... before he even appears on screen. Accompanying his entrance is this epic music that heralds the Bear Jew and just when the tension and music builds up to its highest point, the music is pulled out and all we hear are the cheers of the American Soldiers and the brutal pummeling of the twitching Nazi officer. It kind of makes for a rather dystopic experience if your sensitive to such brutality.  At the same time, the movie does not really tell you how to feel about the scene. It's pretty much determined by how you feel about the situation as it unfolded.&#xD;&#xA;&#xD;&#xA;Lastly, there's a scene in Michael Clayton near the end where Michael's Car blows up in the background. You see his car in the distance and out of focus blow up and almost a second later you hear the explosion. Perhaps someone accidentally slipped the explosion SFX behind a second or so by accident. Or, was it done on purpose to create a surreal effect. As if to ask yourself, &quot;Did my car just blow up?&quot; only to get the affirmative answer a half second later with the explosion.  Or perhaps that happened as recorded because light travels faster than sound and to get that delay, Michael was far enough away from the effect to watch that delay occur (*shrug*)  &#xD;&#xA;&#xD;&#xA;Anyway, my point is to also consider the context or the role sound design plays in supporting or telling the story. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22035" PostHistoryTypeId="2" PostId="13342" RevisionGUID="879e2023-97cc-4360-9b85-ba1c7de3c351" CreationDate="2012-04-01T14:19:24.700" UserId="194" Text="in my experience mic placement is heavily dependant on which sport you're recording.  &#xD;&#xA;&#xD;&#xA;with that said, the general idea is to be in a position to record as much of the action as possible, and to use whatever techniques and access are necessary to get there.  &#xD;&#xA;&#xD;&#xA;**Almost all sports employ plant mics based around the part of the playing surface where the action is most likely to occur.**  &#xD;&#xA;&#xD;&#xA;An example would be basketball, where in the NBA the arenas will use contact mics and lavs attached to both goals (for the Mavs, there are COS-11s placed inside the breakaway hinge of the basekets - these catch everything from dunks to shoe squeaks for the broadcast).  Baseball also uses plant mics inside of the actual bases.  American football does something similar in that they lav up the center's back and use that during the start of each play, so the center is essentially a plant mic that moves around the field with the action.  Hockey tends to use pzm mics attached the glass at multiple points, and the mixer will fade them in and out as the action approaches them.  I believe that tenns and table tennis use plant mics at the edges of the net aimed out at either side.&#xD;&#xA;&#xD;&#xA;**In addition to plant mics, most sports employ multiple shotgun mics for additional coverage.**&#xD;&#xA;&#xD;&#xA;Again, placement is sport specific, but for example baseball tends to have a shotgun in the first base dugout aimed at the batters box, two behind the batter aimed at the box as well (one high one low), and another aimed at the pitcher, all permanently mounted and without operators.  For hockey and basketball at the AAC in Dallas, there are two MKH60s under the center hang aimed at opposite ends of the ice/court that catch broad coverage for when the action is at one side of the playing surface or the other.  Basketball also has roving boom operators covering action.  American football famously employs parabolic mics with operators along the sidelines, and I assume that soccer is similar.  In many sports, the roving cameras also have shotgun mics attached that can get mixed in with the camera cut.  Golf does this, and has a crew of roving shotgun operators as well.  &#xD;&#xA;&#xD;&#xA;**the last part of the equation is crowd mics**&#xD;&#xA;&#xD;&#xA;The AAC in Dallas has four schoeps CMC6 with omni heads hung 100' above the crowd for wide crowd coverage, and they use the other plant mics to supplement the crowd sounds.  Cowboys Stadium does something similar.  I'm not sure what other arenas do, but the general idea is to get coverage of the wide perspecive with an omni pickup.  &#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;In the end, the real answer is that you need tons of plant mics and mounted shotguns in coverage areas, and then you should supplement that with roving shotguns and wide mounted crowd mics.  dozens of channels of coverage are not unheard of in big events." ContentLicense="CC BY-SA 3.0" />
  <row Id="22037" PostHistoryTypeId="2" PostId="13343" RevisionGUID="9407d538-bb49-49a1-befa-577a81bb682f" CreationDate="2012-04-01T16:57:47.970" UserId="6460" Text="The music engineering world is very different from a technical standpoint because the music usually stands on its own, giving the engineers, producers and artists free reign (more or less) to make choices without penalty. On the other hand, film and game sound design must work harmoniously with visual elements to tell a story (as Hubert described above). It's quite easy to get in the habit of listening to the finer details of the mix (panning, processing, reverbs, etc.), but remember that the ordinary listener appreciates sound design as a whole gesture and not as a sum of parts. Moreover, many designers strive to design that way too, trumping slight imperfections in the mix with contextual intent.&#xD;&#xA;&#xD;&#xA;When watching films and playing games, sit back, turn off the lobe of your brain that says &quot;whoa what's the reverb tail on that&quot;, and just enjoy the experience first. Try to listen without expectations, and then when you listen again and check out the detail you'll have a better understanding of why the designers made the decisions they did. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22038" PostHistoryTypeId="2" PostId="13344" RevisionGUID="565f3bdf-b625-41d3-babf-fb12b0e0ccb1" CreationDate="2012-04-01T19:52:34.410" UserId="1072" Text="I was wondering if some folks can help put me in a quick direction to achieve this effect. &#xD;&#xA;&#xD;&#xA;I need to make a &quot;telepathic voice&quot; speak as if it were a crowd, choir. I have been given a choir recording that I am supposed to use and the director will perform the voice of the alien to the flow of the choir and would like the alien to have the timbre of the choir but intelligibility of the dialogue. While still maintaining a cool and creepy effect. &#xD;&#xA;&#xD;&#xA;Layering, chorus / delay come to mind and I will play with this. We just don't have that much time and would love to have some assistance with direction, would vocoding this work? &#xD;&#xA;&#xD;&#xA;I dont own a vocoder for and am working in Pro Tools. But would also like to consider that route if anyone has had success with a specific plug in or workflow.&#xD;&#xA;&#xD;&#xA;Looking forward to giving this a try over the coming week, will be fun for sure. &#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="22039" PostHistoryTypeId="1" PostId="13344" RevisionGUID="565f3bdf-b625-41d3-babf-fb12b0e0ccb1" CreationDate="2012-04-01T19:52:34.410" UserId="1072" Text="Alien Voice design questions " ContentLicense="CC BY-SA 3.0" />
  <row Id="22040" PostHistoryTypeId="3" PostId="13344" RevisionGUID="565f3bdf-b625-41d3-babf-fb12b0e0ccb1" CreationDate="2012-04-01T19:52:34.410" UserId="1072" Text="&lt;voice-manipulation&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22041" PostHistoryTypeId="2" PostId="13345" RevisionGUID="f29c748c-20e1-457f-aa1c-3fdc20e83b5f" CreationDate="2012-04-01T22:18:41.887" UserId="18160" Text="Alright,&#xD;&#xA;&#xD;&#xA;I've got an awesome recording of a voice-over for a trailer, and I want to make it gigantic.&#xD;&#xA;&#xD;&#xA;How do you go about getting your trailer VO sounding gigantic and &quot;in-your-face&quot;?&#xD;&#xA;&#xD;&#xA;I have a few &quot;tried and true&quot; ways of doing it but I wanted to spice things up a bit and think outside of the box and try something new,&#xD;&#xA;&#xD;&#xA;What's your favorite type or model of compressor to use? Favorite type of EQ for this application?&#xD;&#xA;&#xD;&#xA;The voice talent recorded it in his own studio with a Gefell LDC mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="22042" PostHistoryTypeId="1" PostId="13345" RevisionGUID="f29c748c-20e1-457f-aa1c-3fdc20e83b5f" CreationDate="2012-04-01T22:18:41.887" UserId="18160" Text="Creating a huge trailer voice." ContentLicense="CC BY-SA 3.0" />
  <row Id="22043" PostHistoryTypeId="3" PostId="13345" RevisionGUID="f29c748c-20e1-457f-aa1c-3fdc20e83b5f" CreationDate="2012-04-01T22:18:41.887" UserId="18160" Text="&lt;voice-over&gt;&lt;trailer&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22044" PostHistoryTypeId="2" PostId="13346" RevisionGUID="8ec71a5b-b729-4cea-bf10-6786a24598a8" CreationDate="2012-04-02T00:33:35.580" UserId="1072" Text="Plugs that come to mind: rbass, l1 slammed, rvox also play with multiband comps" ContentLicense="CC BY-SA 3.0" />
  <row Id="22045" PostHistoryTypeId="2" PostId="13347" RevisionGUID="5794f903-c06c-49fe-add0-131e1b53ced4" CreationDate="2012-04-02T00:40:39.110" UserId="1072" Text="Sennheiser 816 baby " ContentLicense="CC BY-SA 3.0" />
  <row Id="22046" PostHistoryTypeId="2" PostId="13348" RevisionGUID="7accb1b8-3e56-4534-8dc1-d081e39c24d3" CreationDate="2012-04-02T02:09:48.657" UserId="3444" Text="Some experimentation with a trailer voice, I like this! Apart from Matt's suggestions maybe try bussing it to a pitch shifter at -12 semitones. I would go nuts on the eq cutting anything under 100 Hz hard and poking some frequencies that work well between 120-300, you can remove those same frequencies from the actual track to make them sit well together. A nice C4 under your pitch might compliment it well! &#xD;&#xA;&#xD;&#xA;Depending on what your mix contains a tiny reverb with a short pre-delay can give a bit of depth to your mono voice. Even automating your reverb throughout the trailer might add some dynamics and emotion to it at key times.&#xD;&#xA;&#xD;&#xA;Have fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22047" PostHistoryTypeId="2" PostId="13349" RevisionGUID="a00980c9-4e00-411c-bc53-b04f706ed812" CreationDate="2012-04-02T04:28:21.767" UserId="3532" Text="Hey,&#xD;&#xA;I am looking for a way to make things unique.&#xD;&#xA;I'm a firm believer that sounds all have an internal mechanism on our psyche through their timbre.&#xD;&#xA;&#xD;&#xA;Would you think that by using several sounds and convolving them at a very low level output of the reverb, you would contribute the feeling associated with the particular sounds?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22048" PostHistoryTypeId="1" PostId="13349" RevisionGUID="a00980c9-4e00-411c-bc53-b04f706ed812" CreationDate="2012-04-02T04:28:21.767" UserId="3532" Text="Adding minute amounts of different sound Convolved to a Mix....effect?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22049" PostHistoryTypeId="3" PostId="13349" RevisionGUID="a00980c9-4e00-411c-bc53-b04f706ed812" CreationDate="2012-04-02T04:28:21.767" UserId="3532" Text="&lt;convolution-reverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22050" PostHistoryTypeId="5" PostId="13345" RevisionGUID="cebb9f14-6ab5-4cd8-a06a-878955d1a9a5" CreationDate="2012-04-02T04:43:49.223" UserId="18160" Comment="added 1012 characters in body; added 84 characters in body" Text="Alright,&#xD;&#xA;&#xD;&#xA;I've got an awesome recording of a voice-over for a trailer, and I want to make it gigantic.&#xD;&#xA;&#xD;&#xA;How do you go about getting your trailer VO sounding gigantic and &quot;in-your-face&quot;?&#xD;&#xA;&#xD;&#xA;I have a few &quot;tried and true&quot; ways of doing it but I wanted to spice things up a bit and think outside of the box and try something new,&#xD;&#xA;&#xD;&#xA;What's your favorite type or model of compressor to use? Favorite type of EQ for this application?&#xD;&#xA;&#xD;&#xA;The voice talent recorded it in his own studio with a Gefell LDC mic.&#xD;&#xA;&#xD;&#xA;**UPDATE:** I ended up going with the Renn Axe as the first stage of compression (about 6-8 constant dB and an attack of about 3-4 ms) and the second stage of lesser ratio (2:1) on the Euphonix dynamics. Seems to work well and make the voice sit in a nice pocket. I added some lows after the first stage of compression and then just added a tiny bit of top from about 10K up with 5dB of that. I had a few tight notches on the voice from resonant frequencies of the mic somewhere around 800, 2.5K and 300 (which I think the 300 was the resonance of the booth the guy recorded in).&#xD;&#xA;&#xD;&#xA;I put a small room verb for those early refs and a longer verb to automate on certain words to make the reverb &quot;hhhhaahhhhhhhhhhh (sound you make when you're fogging up your glasses with your breath to clean them)&quot; nicely into the distance with an M6000. The preset &quot;Small Room&quot; is incredible - doesn't muddy up the voice with the music but anchors the voice  in the music so it's not just this super-dry VO.&#xD;&#xA;&#xD;&#xA;Overall it pops and sounds really nice with the music.&#xD;&#xA;&#xD;&#xA;Thanks for the suggestions again, guys!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22051" PostHistoryTypeId="2" PostId="13350" RevisionGUID="d836905f-73f5-48b6-a70c-2a08a6da49e2" CreationDate="2012-04-02T07:37:20.553" UserId="3282" Text="Hi mates,&#xD;&#xA;&#xD;&#xA;I am looking for examples or frequent uses of analog synthesis in sound design, like the Arp 2600 in R2D2's voice. Examples could be individual sounds or in conjunction/layering with real sounds (eerie ambiences, explosion, earthquake...). Any idea or reference ? It could be movie or game or whatever...&#xD;&#xA;&#xD;&#xA;Thanks !&#xD;&#xA;&#xD;&#xA;Xavier" ContentLicense="CC BY-SA 3.0" />
  <row Id="22052" PostHistoryTypeId="1" PostId="13350" RevisionGUID="d836905f-73f5-48b6-a70c-2a08a6da49e2" CreationDate="2012-04-02T07:37:20.553" UserId="3282" Text="Examples of substractive/substractive synthesis in sound design ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22053" PostHistoryTypeId="3" PostId="13350" RevisionGUID="d836905f-73f5-48b6-a70c-2a08a6da49e2" CreationDate="2012-04-02T07:37:20.553" UserId="3282" Text="&lt;sound-design&gt;&lt;synthesis&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22054" PostHistoryTypeId="4" PostId="13350" RevisionGUID="d0115d3b-4f89-4446-ad94-582ed912e063" CreationDate="2012-04-02T08:05:27.540" UserId="3282" Comment="edited title" Text="Examples of substractive/analog synthesis in sound design ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22055" PostHistoryTypeId="2" PostId="13351" RevisionGUID="43c2be8d-c873-4757-b4f8-ef19a7c26997" CreationDate="2012-04-02T08:09:42.747" UserId="3567" Text="Is this what you are looking for? http://soundcloud.com/george-v/v-dusk-falling-sfx The fourth sound effect was designed exactly for a telepathy scene in a video game. Lots of layering, delay, convolution reverb, highpass filters, nothing special. Just experiment with different fx on layers, and some delays on the master." ContentLicense="CC BY-SA 3.0" />
  <row Id="22057" PostHistoryTypeId="2" PostId="13353" RevisionGUID="13c8b2b9-276c-4ca8-bea7-3e5d3773ad2b" CreationDate="2012-04-02T09:09:24.177" UserId="3634" Text="What you have already planned to do sound good. A vocoder is a wonderful choice, but since you don't have one i have another idea for you.&#xD;&#xA;&#xD;&#xA;Download FL Studio 10 demo. It should be fully functional mostly except the fact that you cannot save the project. It has a bunch of tools that you can use to get this FX right long as you know how to tweak it right, i know you said that you don't have much time.&#xD;&#xA;&#xD;&#xA;If you download try using these:&#xD;&#xA;&#xD;&#xA;Fruity Vocoder &#xD;&#xA;&#xD;&#xA;Vocodex &#xD;&#xA;&#xD;&#xA;Newtone&#xD;&#xA;&#xD;&#xA;after you have done that you should be able to render it as a wav or mp3 as needed for the project.&#xD;&#xA;&#xD;&#xA;I did something simular to this using the tools i told you (mostly just a nice synth sound and vocoder) to make a robotic voice for a commentator. My Girl Friend was the voice over talent, check it out.&#xD;&#xA;&#xD;&#xA;First FX at about 40 seconds&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=ObPMsyyZfV8&amp;list=UUp7O2yMl5nflYxTex_kLf4Q&amp;index=4&amp;feature=plcp&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If you have any other questions feel free to ask!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;first FX at about 2minutes:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=7prqyMBMi7g&amp;list=UUp7O2yMl5nflYxTex_kLf4Q&amp;index=3&amp;feature=plcp&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22058" PostHistoryTypeId="5" PostId="13182" RevisionGUID="8f7f84e6-7ee1-440f-9148-c9899230da5b" CreationDate="2012-04-02T10:15:55.360" UserId="2515" Comment="added 97 characters in body; added 49 characters in body; deleted 49 characters in body" Text="Hi There, I have been creating and implementing audio into the Unity 3D game engine for my Honours Project at University. I was wondering if anyone with experience in the Video Game Audio field could give me feedback on this project that I could include in my Honours Dissertation. &#xD;&#xA;The game is based on the Desktop platform and a MacOS/Windows Build of the game can be created.&#xD;&#xA;&#xD;&#xA;Any replies are appreciated thanks.&#xD;&#xA;&#xD;&#xA;** Update **&#xD;&#xA;&#xD;&#xA;MacOS Build: http://dl.dropbox.com/u/70495486/MacBuild.zip&#xD;&#xA;&#xD;&#xA;Windows Build: " ContentLicense="CC BY-SA 3.0" />
  <row Id="22059" PostHistoryTypeId="5" PostId="13182" RevisionGUID="93eb5f29-362d-4a7b-8749-cfec281c3819" CreationDate="2012-04-02T10:43:56.133" UserId="2515" Comment="deleted 45 characters in body" Text="Hi There, I have been creating and implementing audio into the Unity 3D game engine for my Honours Project at University. I was wondering if anyone with experience in the Video Game Audio field could give me feedback on this project that I could include in my Honours Dissertation. &#xD;&#xA;The game is based on the Desktop platform and a MacOS/Windows Build of the game can be created.&#xD;&#xA;&#xD;&#xA;Any replies are appreciated thanks.&#xD;&#xA;&#xD;&#xA;** Update **&#xD;&#xA;&#xD;&#xA;MacOS Build: &#xD;&#xA;&#xD;&#xA;Windows Build: " ContentLicense="CC BY-SA 3.0" />
  <row Id="22060" PostHistoryTypeId="5" PostId="13182" RevisionGUID="920d1214-add7-49ba-b09f-5039f066ef3c" CreationDate="2012-04-02T11:01:00.443" UserId="2515" Comment="added 45 characters in body; added 49 characters in body" Text="Hi There, I have been creating and implementing audio into the Unity 3D game engine for my Honours Project at University. I was wondering if anyone with experience in the Video Game Audio field could give me feedback on this project that I could include in my Honours Dissertation. &#xD;&#xA;The game is based on the Desktop platform and a MacOS/Windows Build of the game can be created.&#xD;&#xA;&#xD;&#xA;Any replies are appreciated thanks.&#xD;&#xA;&#xD;&#xA;** Update **&#xD;&#xA;&#xD;&#xA;MacOS Build: http://dl.dropbox.com/u/70495486/MacBuild.zip&#xD;&#xA;&#xD;&#xA;Windows Build: http://dl.dropbox.com/u/70495486/WindowsBuild.zip" ContentLicense="CC BY-SA 3.0" />
  <row Id="22061" PostHistoryTypeId="2" PostId="13354" RevisionGUID="048c4bed-57e4-4317-9147-2d85ff340c86" CreationDate="2012-04-02T11:27:00.490" UserId="1067" Text="One of the best design guidelines ever was that of Abram Games: 'strive for maximum meaning from minimum means'.&#xD;&#xA;&#xD;&#xA;I can't honestly recall many website interfaces which were enhanced by the addition of sound effects when navigation buttons and the like were clicked on. &#xD;&#xA;&#xD;&#xA;Browser games and kids' websites like Club Penguin are different, so I guess it's down to who the audience is and what their expectations are.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22062" PostHistoryTypeId="5" PostId="13354" RevisionGUID="c59daa4e-b0cf-4b84-bb20-72a12c537a9a" CreationDate="2012-04-02T11:52:30.850" UserId="1067" Comment="added 141 characters in body; deleted 12 characters in body" Text="One of the best design guidelines ever was that of Abram Games: 'strive for maximum meaning from minimum means'.&#xD;&#xA;&#xD;&#xA;I can't honestly recall many website interfaces which were enhanced by the addition of sound effects when navigation buttons and the like were clicked on. &#xD;&#xA;&#xD;&#xA;Browser games and kids' websites like Club Penguin are different, so I guess it's down to who the audience is and what their expectations are.&#xD;&#xA;&#xD;&#xA;One game which had good, subtle sound design throughout its interface was [Eufloria][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.eufloria-game.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22063" PostHistoryTypeId="2" PostId="13355" RevisionGUID="e4766f53-7074-41e1-92c5-0d9588603500" CreationDate="2012-04-02T12:20:27.960" UserId="6432" Text="I'm not sure if you are asking about analog (hardware) synthesis specifically, might be worth clarifying.&#xD;&#xA;&#xD;&#xA;I usually associate analog synths with the classic sci-fi sound around the 70's. Here in the UK the radiophonic workshop was using machines like the VCS3 to interesting effect.&#xD;&#xA;&#xD;&#xA;Although I don't have any analog gear yet, I'm really interested in getting some... perhaps some of the Moog effects or the Jomox T-resonator. I really like the idea of generating sounds in Max/msp and having a load of analog gear to process it with." ContentLicense="CC BY-SA 3.0" />
  <row Id="22064" PostHistoryTypeId="5" PostId="13355" RevisionGUID="2d8c91ac-ba45-4a6e-8b4a-4f613c433f46" CreationDate="2012-04-02T16:09:49.927" UserId="6432" Comment="deleted 114 characters in body" Text="I usually associate analog synths with the classic sci-fi sound around the 70's. Here in the UK the radiophonic workshop used machines like the VCS3 to interesting effect.&#xD;&#xA;&#xD;&#xA;Although I don't have any analog gear yet, I'm really interested in getting some... perhaps some of the Moog effects or the Jomox T-resonator. I really like the idea of generating sounds in Max/msp and having a load of analog gear to process it with." ContentLicense="CC BY-SA 3.0" />
  <row Id="22065" PostHistoryTypeId="5" PostId="13355" RevisionGUID="96c7a456-ad86-4db0-9283-c8f418f777b3" CreationDate="2012-04-02T16:34:03.643" UserId="6432" Comment="added 245 characters in body" Text="I usually associate analog synths with the classic sci-fi sound around the 70's. Here in the UK the radiophonic workshop used machines like the VCS3 to interesting effect. There is some interesting stuff about EMS who built it at Sound on Sound pt1 [here][1] pt2 [here][2]. &#xD;&#xA;&#xD;&#xA;Although I don't have any analog gear yet, I'm really interested in getting some... perhaps some of the Moog effects or the Jomox T-resonator. I really like the idea of generating sounds in Max/msp and having a load of analog gear to process it with.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/nov00/articles/retrozone.htm&#xD;&#xA;  [2]: http://www.soundonsound.com/sos/dec00/articles/retrozone.asp" ContentLicense="CC BY-SA 3.0" />
  <row Id="22066" PostHistoryTypeId="2" PostId="13356" RevisionGUID="1cd7abb4-ee5e-44b3-bc3e-60721c814eed" CreationDate="2012-04-02T21:58:28.453" UserId="1303" Text="Anyone care to share any updated experiences or review of the Busman modded DR-680? Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22067" PostHistoryTypeId="1" PostId="13356" RevisionGUID="1cd7abb4-ee5e-44b3-bc3e-60721c814eed" CreationDate="2012-04-02T21:58:28.453" UserId="1303" Text="Experiences with Busman DR-680" ContentLicense="CC BY-SA 3.0" />
  <row Id="22068" PostHistoryTypeId="3" PostId="13356" RevisionGUID="1cd7abb4-ee5e-44b3-bc3e-60721c814eed" CreationDate="2012-04-02T21:58:28.453" UserId="1303" Text="&lt;field-recording&gt;&lt;field-recorder&gt;&lt;tascam-dr-680&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22069" PostHistoryTypeId="2" PostId="13357" RevisionGUID="75d8ca3e-b4d2-4c64-b6cd-c217648ec043" CreationDate="2012-04-03T01:17:17.860" UserId="234" Text="Dr. Who, especially the originals, HitchHikers Guide to the Galaxy (the radio play and the 80's TV series) and pretty much anything from the BBC Radiophonic Workshop. A good documentary on Workshop can be found here: http://www.youtube.com/watch?v=cKPGzX5kZd0" ContentLicense="CC BY-SA 3.0" />
  <row Id="22070" PostHistoryTypeId="2" PostId="13358" RevisionGUID="dbebf136-4da3-4e28-b415-aa276a38fda2" CreationDate="2012-04-03T04:44:59.517" UserId="730" Text="if you are looking for some examples you can check out a few that i have that are playing audio with the site UI.  www.neutrinogaming.com  www.ariesrevenge.com  maybe this will help." ContentLicense="CC BY-SA 3.0" />
  <row Id="22071" PostHistoryTypeId="5" PostId="13356" RevisionGUID="01d574b3-9748-41f1-b47b-65c478b30b71" CreationDate="2012-04-03T05:39:24.560" UserId="1303" Comment="deleted 7 characters in body" Text="Anyone care to share any experiences or reviews of the Busman modded DR-680? Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22072" PostHistoryTypeId="2" PostId="13359" RevisionGUID="03f22aa4-8f60-408a-a18a-f371c13afaec" CreationDate="2012-04-03T09:22:45.133" UserId="1185" Text="I believe Walter Murch synthesised elements of helicopter sound in Apocalypse Now. He then mixed between the acoustic and synthesised sounds, particularly in the dream like sequences." ContentLicense="CC BY-SA 3.0" />
  <row Id="22073" PostHistoryTypeId="5" PostId="13359" RevisionGUID="279f1a3e-87fb-4f00-b7f3-acc81d1fdc9f" CreationDate="2012-04-03T09:32:13.243" UserId="1185" Comment="added 42 characters in body" Text="I believe Walter Murch synthesised elements of helicopter sound in Apocalypse Now. He then mixed between the acoustic and synthesised sounds, particularly in the dream like sequences.&#xD;&#xA;&#xD;&#xA;http://www.salon.com/2000/04/27/murch/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22074" PostHistoryTypeId="2" PostId="13360" RevisionGUID="edb8cf13-01da-4489-bb7e-4cbb761ddd08" CreationDate="2012-04-03T15:30:58.150" UserId="3738" Text="I have the same problem (Left mic&#xD;&#xA;is at least 12db hotter than right mic). No solution found, I'll compensate the levels after recording in an audio editor, and get the unit replaced as soon as I can. Disappointing..." ContentLicense="CC BY-SA 3.0" />
  <row Id="22075" PostHistoryTypeId="2" PostId="13361" RevisionGUID="ea1b2e69-b954-437f-b4a4-27768adba694" CreationDate="2012-04-03T15:38:26.157" UserId="930" Text="The best explanation of a compressor I've ever read is in Stavro's 'Mixing with your Mind' book.&#xD;&#xA;&#xD;&#xA;I don't think it's right posting the actual content here, but the book is definitely worth a read. It's aimed at music, but so many of the techniques he outlines can be transferred to all aspects of audio.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="22076" PostHistoryTypeId="5" PostId="13361" RevisionGUID="476a3f0d-e3f1-4ec2-bcf1-0cc2fdf4a180" CreationDate="2012-04-03T17:17:31.500" UserId="930" Comment="added 6 characters in body" Text="The best explanation of a compressor I've ever read is in Stavro's 'Mixing with your Mind' book.&#xD;&#xA;&#xD;&#xA;I don't think it's appropriate to post the actual content here, but the book is definitely worth a read. It's aimed at music, but so many of the techniques he outlines can be transferred to all aspects of audio.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="22077" PostHistoryTypeId="2" PostId="13362" RevisionGUID="2fcebc1a-e175-48bb-bce5-cee099fcbf65" CreationDate="2012-04-03T17:36:01.827" UserId="3522" Text="Hey everyone, thanks for the good advice! I managed to throw something together in the end using pauls extreme stretch and various other effects. Sounds quite good to my ears. Having just spoken to the people who made the film (I'm only working on it as a university project) they actually got the person who plays the dead character to come in a do ADR so hopefully i'll get hold of that at some point, problem solved! &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22078" PostHistoryTypeId="2" PostId="13363" RevisionGUID="b9cc95a6-5345-426e-af0e-2ce9e8327149" CreationDate="2012-04-03T18:07:00.693" UserId="100" Text="I held out on jumping aboard the Twitter Wagon for as long as I could stand it.&#xD;&#xA;&#xD;&#xA;@Cavanaudio" ContentLicense="CC BY-SA 3.0" />
  <row Id="22079" PostHistoryTypeId="16" PostId="13363" RevisionGUID="b9cc95a6-5345-426e-af0e-2ce9e8327149" CreationDate="2012-04-03T18:07:00.693" UserId="-1" />
  <row Id="22080" PostHistoryTypeId="2" PostId="13364" RevisionGUID="d7a2c6d7-1ef3-4bdf-8324-e05ce6fba998" CreationDate="2012-04-03T19:03:14.873" UserId="3739" Text="@map_a_mundi&#xD;&#xA;&#xD;&#xA;field recording, architecture, aural cartography, design" ContentLicense="CC BY-SA 3.0" />
  <row Id="22081" PostHistoryTypeId="16" PostId="13364" RevisionGUID="d7a2c6d7-1ef3-4bdf-8324-e05ce6fba998" CreationDate="2012-04-03T19:03:14.873" UserId="-1" />
  <row Id="22082" PostHistoryTypeId="2" PostId="13365" RevisionGUID="4b3167b8-1808-4bfe-b937-858f89cba460" CreationDate="2012-04-03T19:09:00.083" UserId="3567" Text="I am recording industrial processes and mechanisms these days. I'm still getting the hang of it, and I'm trying to convince people I'm not spying on them, so for the moment I am using solely a Zoom H4n for the task.&#xD;&#xA;&#xD;&#xA;However, I am planning on getting a mic or a pair of mics for this task in the near future. I have been going through a lot of discussions and blog posts, but I'm not sure what make/model or type I should get.&#xD;&#xA;&#xD;&#xA;So I'm asking you, given that you are a helpful and knowledgeable lot. My budget for this is fairly limited at the moment, but I am looking for a decent setup, so I will set some finances aside just for this if needed. Given that I can use the Zoom as the recorder, I would only need the mic or mics for this. What would you guys get if you were me?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22083" PostHistoryTypeId="1" PostId="13365" RevisionGUID="4b3167b8-1808-4bfe-b937-858f89cba460" CreationDate="2012-04-03T19:09:00.083" UserId="3567" Text="Recording advice" ContentLicense="CC BY-SA 3.0" />
  <row Id="22084" PostHistoryTypeId="3" PostId="13365" RevisionGUID="4b3167b8-1808-4bfe-b937-858f89cba460" CreationDate="2012-04-03T19:09:00.083" UserId="3567" Text="&lt;field-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22085" PostHistoryTypeId="2" PostId="13366" RevisionGUID="58a35738-69d6-4867-8de4-c6a48abf125f" CreationDate="2012-04-03T19:11:29.673" UserId="3740" Text="Hi all, how do sound designers come up with sounds for things that do not exists?&#xD;&#xA;&#xD;&#xA;For example:&#xD;&#xA;&#xD;&#xA;1. Dinosaurs.&#xD;&#xA;&#xD;&#xA;I read a little bit on the sound design for Jurassic Park by Gary Rydstrom and he mentioned that he basically got people running around recording stuff and then the sounds got layered over one another to give the sound for a particular dinosaur. What i would like to know is this. Do sound designers like, take into consideration the biology/anatomy of like the dinosaur's bone structure, mass, diet and then result in having an idea of how it should sound like?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;2. Items and objects that exists in a science fiction world (lightsabers, spacecrafts, transformers, robots, etc.)&#xD;&#xA;&#xD;&#xA;Again i have read somewhere on how Ben Burtt, having done a degree in Physics, implemented what he learnt in Physics to produce some of the sounds for *Star Wars*. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thus, to break my question further down:&#xD;&#xA;&#xD;&#xA;1. Do real life physics and biology/anatomy of a creature play a part in sound design?&#xD;&#xA;&#xD;&#xA;2. Or do sound designers just record sounds that are relevant, or if it sounds great, and layer it with other sounds to produce 'that sound'?&#xD;&#xA;&#xD;&#xA;3. I remember reading somewhere, where the interviewee said that sound design is essentially used to complement the movie, to the point where it is exaggerated to bring out or match the genre of the film. In this case, how do sound designers balance realism and 'creative licensing' (if this is the term called)? &#xD;&#xA;&#xD;&#xA;Also, could any of you be so kind as to refer me to any websites, articles, books or videos that you know of that is relevant? It would be great!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;-Zack" ContentLicense="CC BY-SA 3.0" />
  <row Id="22086" PostHistoryTypeId="1" PostId="13366" RevisionGUID="58a35738-69d6-4867-8de4-c6a48abf125f" CreationDate="2012-04-03T19:11:29.673" UserId="3740" Text="Sound Design For Things That Do Not Exist" ContentLicense="CC BY-SA 3.0" />
  <row Id="22087" PostHistoryTypeId="3" PostId="13366" RevisionGUID="58a35738-69d6-4867-8de4-c6a48abf125f" CreationDate="2012-04-03T19:11:29.673" UserId="3740" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22088" PostHistoryTypeId="2" PostId="13367" RevisionGUID="811a37f8-afa2-451c-9c3b-1bef075da82a" CreationDate="2012-04-03T19:19:40.787" UserId="3740" Text="Hi George!&#xD;&#xA;&#xD;&#xA;I work for my friend's video production house and i have the same situation as you. I am definitely not the best out there, but i thought i'd share my opinion with you, and learn if there is a better option and good advice from others. I am currently saving up for this bundle on eBay. The bundle includes a rode Ntg-3 shotgun microphone, blimp, boom pole and cables.&#xD;&#xA;&#xD;&#xA;Here's the link: http://www.ebay.com.sg/itm/Location-Sound-Package-4-Rode-NTG-3-Blimp-and-More-/160656771209?pt=LH_DefaultDomain_0&amp;hash=item2567e3c889#ht_1545wt_907" ContentLicense="CC BY-SA 3.0" />
  <row Id="22089" PostHistoryTypeId="2" PostId="13368" RevisionGUID="ecb91bb9-56f6-4367-99c4-a0e0c3728323" CreationDate="2012-04-03T22:34:14.047" UserId="3214" Text="I'm pretty sure that in Jurassic Park they actually went against what scientists best guess was for the dinosaurs sound. They went for a more dramatic, deep roar.&#xD;&#xA;I think on the whole you would focus more on what sounds good and fits nicely and less what is factually correct, just the same as you don't hear 'realistic' sounding punches in movies etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="22090" PostHistoryTypeId="2" PostId="13369" RevisionGUID="ad63d81e-7533-4851-8204-2671c71be7c9" CreationDate="2012-04-03T22:35:57.583" UserId="842" Text="In my opinion, the only true rule in sound designing is: It must be believable.&#xD;&#xA;&#xD;&#xA;When it comes to stuff like bonestructure, and mouth cavity form for example, noone really cares as it's virtually impossible to predict exactly how such things affect vocalization even for someone studying these things for a living. Mass do affect the sound as bigger lungs and bodies gives higher probability of deeper voices, normally when you see a big creature you expect a big sound. Diet doesn't influence the sound at all, though carnivores tend to be much more aggressive and use snarling and growling more than herbivores. That's however not entirely true. Cats (carnivore), for example, doesn't growl at all. Some cats do have a &quot;I will send your fingers to kingdom come you prick&quot; almost sounding like a snarl, and they hiss, but that's pretty much it. Cows (herbivore), normally considered imbecile pacifists, can give off a VERY disturbing roar when they get pissed off. And take my word for it, when these huge retarded juggernaughts give off that call, you will not have any doubt in the world now is a VERY good time to run like there's no tomorrow...which of course is true if you stop for even a split second before getting somewhere safe...jeez...&#xD;&#xA;&#xD;&#xA;When it comes to layering and designing, practically all of us have our own ways of doing this, but generally it's often not a good idea to layer discrete sounds directly on top of each other as it can sound like two separate voices. It's not always that way, but often. Like with most other complex sounds, like well-designed guns and machines, one way many of us do it, including me, is to begin with the best single sound we can find for this purpose. Then we add what's needed to reach that specific sound we're looking for that specific session.&#xD;&#xA;&#xD;&#xA;When it comes to realism versus creative licensing, there is no difference when it comes to sounds noone has ever heard. If you edit, for the sake of argument, a light sabre, everyone knows how it sound as it's not unknown. But when Ben Burtt made it, it was completely new and he could do whatever he wanted as long as the audience bought it. Same goes for extinct animals and other things man has never seen. People expect a Tyrannosaurus to roar as it's humongous and they always roar in movies, but it doesn't necessarily have to be a regular lion-roar. Velociraptors are expected to sound bird-like because they do in Jurassic Park. But suppose they give you a project with a somewhat big lizard with feathers and fur all over that eats nothing but middle age clerks (or something), then you can do pretty much what you want as long as you follow the size of it and adapt the voice for the story (like making it mean or sad or such).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22091" PostHistoryTypeId="2" PostId="13370" RevisionGUID="0aad3996-a537-45ee-9630-ae00e8f3146d" CreationDate="2012-04-03T22:47:54.620" UserId="315" Text="This question is really broad and would require a book to answer. But I will say that I believe that a primary role of sound designers, especially those working in movies with visual effects or animation, is to make the audience believe what they are seeing on screen is indeed real and interacting with the physical world. &#xD;&#xA;&#xD;&#xA;A CGI Dinosaur or an enormous rolling bolder made out of styrofoam make little to no sound, but when I first heard the T-Rex footsteps and roar, or the large circular boulder crashing down towards Indiana Jones...I believed they were real and remained completely engrossed in both films. It is clear to my ears that designers like Rydstrom and Burtt are very interested in physics and biology, and go to great lengths to find and design the right sounds for the right moments.&#xD;&#xA;&#xD;&#xA;Ultimately though, every sound in a film is selected and designed to benefit storytelling...period. Be it vérité storytelling or fantastical storytelling. Or both." ContentLicense="CC BY-SA 3.0" />
  <row Id="22092" PostHistoryTypeId="2" PostId="13371" RevisionGUID="bfd868de-62fe-410f-a8e4-38f99f65803d" CreationDate="2012-04-04T00:56:00.283" UserId="1072" Text="@shermanonline&#xD;&#xA;&#xD;&#xA;See you in the twitter verse!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22093" PostHistoryTypeId="16" PostId="13371" RevisionGUID="bfd868de-62fe-410f-a8e4-38f99f65803d" CreationDate="2012-04-04T00:56:00.283" UserId="-1" />
  <row Id="22094" PostHistoryTypeId="2" PostId="13372" RevisionGUID="ec17eba0-ddad-4cbf-8eb1-9451184b9c27" CreationDate="2012-04-04T01:28:04.787" UserId="3741" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I'm working on a sound experience project in which visitors to a space can quickly scan the sound of its rooms. People would interact with a gestural interface at the doorway, which would have a map of the floor plan. Hovering over a room on the map would trigger a live audio stream of that room. &#xD;&#xA;&#xD;&#xA;Each room will have a microphone connected to a MacMini, via a mic pre and an audio interface. The mini will stream the audio to an IP or URL via software. The destination, or the device that uses these streams, is another Mini, running a MaxMSP patch which reads input from the gestural interface and uses these as a large switch to decide which audio stream to play through its speaker system.&#xD;&#xA;&#xD;&#xA;Privacy of the audio streams is very important. I cannot use a streaming system that broadcasts publicly, like ShoutCast. (It may have a private option, not sure). In addition, for privacy reasons I will transform the audio so conversations are not intelligible. &#xD;&#xA;&#xD;&#xA;My goal is to give people a sense for what each room/zone sounds like, and so what is important is relativity, and not necessarily accurate representation. I'd like to capture a rich frequency range and people moving through the space, so I may bump up to stereo mic's.&#xD;&#xA;&#xD;&#xA;All the gestural stuff is not relevant here, though a couple of questions on mic'ing and streaming: &#xD;&#xA;&#xD;&#xA;- What is the best way to stream the sound? I did some research on IceCast, Jack OSX, MuSE, Quicktime Broadcaster. Any recommendations? Latency is not super important. &#xD;&#xA;&#xD;&#xA;- If I have stereo setup for each room, is there a way I can record 2 channels with the built in connections on a Mac Mini, without a dedicated audio interface? If not, what is a good solution that is cheap ($40-70?) but has good quality?  &#xD;&#xA;&#xD;&#xA;- What would be good placement for a diverse range of zones/rooms. As of now, the equipment I have to test with is one shotgun mic, one Rode NT4A Stereo, a Yeti, and possibly a tabletop setup with a 57. How much are my mic pre's going to affect the sound quality? I have one Tube Amp (crap?) and a MOTU Ultralight, but will need a couple more.&#xD;&#xA;&#xD;&#xA;Also, if you know any other projects like this, please let me know! &#xD;&#xA;&#xD;&#xA;Thoughts much appreciated,&#xD;&#xA;Steven&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22095" PostHistoryTypeId="1" PostId="13372" RevisionGUID="ec17eba0-ddad-4cbf-8eb1-9451184b9c27" CreationDate="2012-04-04T01:28:04.787" UserId="3741" Text="Mapping a Space Through Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="22096" PostHistoryTypeId="3" PostId="13372" RevisionGUID="ec17eba0-ddad-4cbf-8eb1-9451184b9c27" CreationDate="2012-04-04T01:28:04.787" UserId="3741" Text="&lt;microphone-technique&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22097" PostHistoryTypeId="5" PostId="13372" RevisionGUID="d17b2cf8-8c57-4d5e-b157-786bacbed1cc" CreationDate="2012-04-04T01:37:54.937" UserId="3741" Comment="added 574 characters in body" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I'm working on a sound experience project in which visitors to a space can quickly scan the sound of its rooms. People would interact with a gestural interface at the doorway, which would have a map of the floor plan. Hovering over a room on the map would trigger a live audio stream of that room. &#xD;&#xA;&#xD;&#xA;Each room will have a microphone connected to a MacMini, via a mic pre, an audio interface and a wired LAN connection. The mini will stream the audio to an IP or URL via software. The destination, or the device that uses these streams, is another Mini, running a MaxMSP patch which reads input from the gestural interface and uses these as a large switch to decide which audio stream to play through its speaker system. (The stream corresponding to the room selected)&#xD;&#xA;&#xD;&#xA;Privacy of the audio streams is very important. I cannot use a streaming system that broadcasts publicly, like ShoutCast. (It may have a private option, not sure). In addition, for privacy and to avoid identification of any individuals and the contents of their conversations, I will transform the audio so conversations are unintelligible. Ideally, this would be a visible, hardware device which also signals its purpose (to mask the audio) so that people in the space are not freaked out that they are being recorded.&#xD;&#xA;&#xD;&#xA;My goal is to give people a sense for what each room/zone sounds like, and so what is important is relativity, and not necessarily accurate representation. I'd like to capture a rich frequency range and people moving through the space, so I may bump up to stereo mic's.&#xD;&#xA;&#xD;&#xA;All the gestural stuff is not relevant here, though a couple of questions on mic'ing and streaming: &#xD;&#xA;&#xD;&#xA;- What is the best way to stream live audio? I did some research on IceCast, Jack OSX, MuSE, Quicktime Broadcaster. Any recommendations? Latency is not super important. &#xD;&#xA;&#xD;&#xA;- If I have stereo mic setup for each room (whether it's from 2 separate mics in an X pattern, or through one stereo mic) is there a way I can record 2 channels with the built in connections on a Mac Mini, without a dedicated audio interface? If not, what is a good solution that is cheap ($40-70?) but has good quality?  &#xD;&#xA;&#xD;&#xA;- What would be good placement for a diverse range of zones/rooms. As of now, the equipment I have to test with is one shotgun mic, one Rode NT4A Stereo, a Yeti, and possibly a tabletop setup with a 57. How much are my mic pre's going to affect the sound quality? I have one Tube Amp (crap?) and a MOTU Ultralight, but will need a couple more.&#xD;&#xA;&#xD;&#xA;- Lastly, can you think of good leads for abstracting the audio so it's unintelligible? I was thinking maybe stutter edit to reorder snippets of sound.&#xD;&#xA;&#xD;&#xA;Also, if you know any other similar projects like this, please let me know! &#xD;&#xA;&#xD;&#xA;Thoughts much appreciated,&#xD;&#xA;Steven&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22098" PostHistoryTypeId="2" PostId="13373" RevisionGUID="7b2f9d25-b171-4ae6-b21d-25ac884f3b86" CreationDate="2012-04-04T01:45:41.003" UserId="6512" Text="I've had mine for a while (almost three years, now), and I noticed I had that problem about two years ago. I chalked it up to wear (and it might well be), but it's good to know that it's an occasional problem with the H4n." ContentLicense="CC BY-SA 3.0" />
  <row Id="22099" PostHistoryTypeId="2" PostId="13374" RevisionGUID="5c071be4-1c9e-4ea7-9bcb-56357599982d" CreationDate="2012-04-04T02:57:59.307" UserId="3743" Text="Instead of streaming audio, I would simply recorded it and have it delivered to the other minis as an audiofile using applescript. You could also use an PHP database to ease the process.&#xD;&#xA;&#xD;&#xA;You will not be able to use the audio inputs on your minis without preamps. Considering that you will be toying with the voice, I'd say the quality of the mics and preamps are not that important. The preamps' noise and mics' self noise will definitely have an impact though.&#xD;&#xA;&#xD;&#xA;I don't know if you really need to use stereo micing though. One omni, hanging in the center of the room might be enough. And you will definitaly have to use condeser mics.&#xD;&#xA;&#xD;&#xA;As for abstracting the audio, spectral smearing and granular playback might do the trick. Then again, delay with hi fedback fed into a long reverb might do it too… Depends on what you're after.&#xD;&#xA;&#xD;&#xA;hth" ContentLicense="CC BY-SA 3.0" />
  <row Id="22100" PostHistoryTypeId="2" PostId="13375" RevisionGUID="3038f9ad-bb31-4b63-b12f-142a2e3dfb7e" CreationDate="2012-04-04T05:20:16.210" UserId="6524" Text="After I got my H4n the next investment for me and for quite a few beginners was the Rode NTG-2, cause of it's quality and affordability, recently I got myself a Sound Devices MixPre-D Preamp which has gotten my recordings to have a nice low noise floor from using I guess you can call pro-sumer products. Looking back on it, I'm pretty happy with going for the NTG-2 but feel sort of sad for missing out on some of Audio Technica's stuff, their close to the same price point with some really nice high directional mics like the AT8035, which could come in handy when recording in an industrial place since all the machinery around can be so loud and cause problems when trying to focus on one particular sound. Try and think in long terms of how your going to use the mic your interested in, I think the NTG-2 works well since it's directional but not to the extreme which in some cases can be a good thing. Check this little [video][1] out for some inspiration if you haven't seen it before. Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/iwxWwQi7HGY" ContentLicense="CC BY-SA 3.0" />
  <row Id="22101" PostHistoryTypeId="2" PostId="13376" RevisionGUID="2997dea8-bbeb-4734-8367-b5e0a555d593" CreationDate="2012-04-04T05:41:23.783" UserId="6435" Text="Christian van Caine's point above about audience expectations is well taken. It goes to director expectations as well: David Yewdall talks in his book about designing the monster vocals for &quot;The Thing,&quot; and tells (I'm paraphrasing here) how he was looking forward to doing something new and unique; i.e. not the same old walrus roars and pig squeals etc. that every other big monster was made of. And he came up with some great, unique sounds...which the director axed in favor of walrus roars and pig squeals, because that's apparently what a big monster we've never seen in film before *must* sound like! " ContentLicense="CC BY-SA 3.0" />
  <row Id="22102" PostHistoryTypeId="2" PostId="13377" RevisionGUID="c32d4d30-0161-45ac-a0f9-424c23db1ef0" CreationDate="2012-04-04T05:59:38.660" UserId="1178" Text="Does anyone know where to buy these things in library form legally?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22103" PostHistoryTypeId="1" PostId="13377" RevisionGUID="c32d4d30-0161-45ac-a0f9-424c23db1ef0" CreationDate="2012-04-04T05:59:38.660" UserId="1178" Text="8bit old school nintendo sound FX" ContentLicense="CC BY-SA 3.0" />
  <row Id="22104" PostHistoryTypeId="3" PostId="13377" RevisionGUID="c32d4d30-0161-45ac-a0f9-424c23db1ef0" CreationDate="2012-04-04T05:59:38.660" UserId="1178" Text="&lt;game&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22105" PostHistoryTypeId="2" PostId="13378" RevisionGUID="37c4fb91-248b-4bb8-a6c1-65f8b2c8b391" CreationDate="2012-04-04T06:52:24.200" UserId="1225" Text="It would be better to create them by yourself. Download FamiTracker, spend about 2-3 hours on reading the tutorial and studying examples, then voila - you get a handful of NES sounds. :)&#xD;&#xA;&#xD;&#xA;Also pay some attention to the YMvst plugin." ContentLicense="CC BY-SA 3.0" />
  <row Id="22106" PostHistoryTypeId="2" PostId="13379" RevisionGUID="b372dbec-9769-488d-a4bb-5169f0a0ea89" CreationDate="2012-04-04T10:47:54.983" UserId="3212" Text="Chipsounds is fantastic and very user friendly. You can create some very authentic sounds using the presets.&#xD;&#xA;&#xD;&#xA;http://www.plogue.com/products/chipsounds/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22107" PostHistoryTypeId="2" PostId="13380" RevisionGUID="3d75851c-ec12-4928-acd7-186e8beaa199" CreationDate="2012-04-04T12:53:34.743" UserId="3649" Text="Hello all you social sound designers out there...&#xD;&#xA;&#xD;&#xA;I am going to study Film &amp; Moving Image Production this September at University.&#xD;&#xA;&#xD;&#xA;I am already looking forward to what I want to do with the qualification after I have completed the course, as I am a mature student.&#xD;&#xA;&#xD;&#xA;Can anyone advise on any Film Sound Design MA/MSc Courses that they recommend throughout Europe?&#xD;&#xA;&#xD;&#xA;I have already seen the course available at NFTS here in the UK and was wondering if that is the best possible course I could do... they have Walter Murch and Chris Watson visit and do guest lectures/tuition.&#xD;&#xA;&#xD;&#xA;I just want to know whats out there really, there are so many things that pop up in a google search that I don't know where to begin looking!&#xD;&#xA;&#xD;&#xA;Thanks in advance to anyone who can help or suggest where to look.&#xD;&#xA;&#xD;&#xA;I know its not a good idea to get ahead of myself, but I do want to know where I am going as it drives me forward through things like Uni with motivation do get the work done.&#xD;&#xA;&#xD;&#xA;- Zimon" ContentLicense="CC BY-SA 3.0" />
  <row Id="22108" PostHistoryTypeId="1" PostId="13380" RevisionGUID="3d75851c-ec12-4928-acd7-186e8beaa199" CreationDate="2012-04-04T12:53:34.743" UserId="3649" Text="The best European Sound Design Courses at Postgraduate level?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22109" PostHistoryTypeId="3" PostId="13380" RevisionGUID="3d75851c-ec12-4928-acd7-186e8beaa199" CreationDate="2012-04-04T12:53:34.743" UserId="3649" Text="&lt;design&gt;&lt;studies&gt;&lt;europe&gt;&lt;course&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22110" PostHistoryTypeId="2" PostId="13381" RevisionGUID="e700eb8f-a014-4fd1-973d-669ba817c925" CreationDate="2012-04-04T14:05:13.203" UserId="1216" Text="Hi Zimon,&#xD;&#xA;&#xD;&#xA;Great that you're starting a film course at the university. Your question needs a little more explanation though. Do you already have practical field experience? What do you want to do during your Post graduate study? &#xD;&#xA;I've 'used' my Post graduate course to develop my sound design as well as my conceptual skills on project level. Meaning I initiated projects during my course that allowed me to be two things at once, a sound designer and a director. They were mostly radioplays/theatreplays and installations. This was all based on my MA course at the Utrecht School of Arts and for me a natural evolution. A school I can totally recommend btw.&#xD;&#xA;&#xD;&#xA;Where do you come from and where do want to go? &#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;The Netherlands&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22111" PostHistoryTypeId="2" PostId="13382" RevisionGUID="444241d9-c506-4e36-b71d-5f53cef69823" CreationDate="2012-04-04T14:32:54.557" UserId="238" Text="Some great answers so far. As many have mentioned, the answer to your question can go very deep. If you are interested in finding out more about some established sound designers' influences and decision making, there are many 'making of' shorts that focus on a production's sound design. Check out [Designing Sound TV][1] and the [Soundworks Collections][2] to start with. &#xD;&#xA;&#xD;&#xA;For an interesting insight into developing sounds for *things that do not exist*, check out the Soundworks Collection [the Sound of The Lost Thing][3].&#xD;&#xA;&#xD;&#xA;[vimeo]23189403[/vimeo] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.tv/&#xD;&#xA;  [2]: http://soundworkscollection.com/&#xD;&#xA;  [3]: http://soundworkscollection.com/thelostthing" ContentLicense="CC BY-SA 3.0" />
  <row Id="22112" PostHistoryTypeId="2" PostId="13383" RevisionGUID="77365368-d5ee-493b-a299-6c780c28353a" CreationDate="2012-04-04T15:47:18.923" UserId="264" Text="http://www.drpetter.se/project_sfxr.html&#xD;&#xA;&#xD;&#xA;sfxr is a wonderful tool. It was created in 2007 for use in game jams where the creators didn't have time to worry about searching for sounds. It's highly tweakable, but at its core, in my opinion, is the &quot;randomize&quot; button. After a few clicks, you are bound to land on an interesting new sound that fits your needs. It even has categorized generators to randomly generate anything from pickup/coin sounds to explosions to hits. And it all has that 8bit sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="22113" PostHistoryTypeId="5" PostId="13383" RevisionGUID="17bf237a-9b74-45f9-b33a-6e3b7e149e40" CreationDate="2012-04-04T15:57:59.680" UserId="264" Comment="added 115 characters in body" Text="http://www.drpetter.se/project_sfxr.html&#xD;&#xA;&#xD;&#xA;sfxr is a wonderful tool. It was created in 2007 for use in game jams where the creators didn't have time to worry about searching for sounds. It's highly tweakable, but at its core, in my opinion, is the &quot;randomize&quot; button. After a few clicks, you are bound to land on an interesting new sound that fits your needs. It even has categorized generators to randomly generate anything from pickup/coin sounds to explosions to hits. And it all has that 8bit sound.&#xD;&#xA;&#xD;&#xA;EDIT: I forgot to mention that it also has a &quot;mutate&quot; button to slightly, but again randomly, alter the sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22114" PostHistoryTypeId="2" PostId="13384" RevisionGUID="c64be205-c213-4b41-9fd0-85dc151a09c7" CreationDate="2012-04-04T16:33:54.757" UserId="3649" Text="I am studying at University this summer, but could really do with some working experience in sound design for an indie film. I am based in the UK and am willing to offer my services for free, I just don't know how to go about finding any work...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;ANy ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22115" PostHistoryTypeId="1" PostId="13384" RevisionGUID="c64be205-c213-4b41-9fd0-85dc151a09c7" CreationDate="2012-04-04T16:33:54.757" UserId="3649" Text="How could I go about getting some sound design work on an indie film this summer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22116" PostHistoryTypeId="3" PostId="13384" RevisionGUID="c64be205-c213-4b41-9fd0-85dc151a09c7" CreationDate="2012-04-04T16:33:54.757" UserId="3649" Text="&lt;work&gt;&lt;finding-work&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22117" PostHistoryTypeId="2" PostId="13385" RevisionGUID="acc1b97a-a7c0-457e-8ad4-3dc95a29ff78" CreationDate="2012-04-04T16:45:11.240" UserId="3214" Text="I would suggest looking on forum's and websites for Indie films and offer your services to people making the films. Or websites like Mandy- a job posting website- you often get people looking for voluntary sound designers on there." ContentLicense="CC BY-SA 3.0" />
  <row Id="22118" PostHistoryTypeId="2" PostId="13386" RevisionGUID="321bfd89-0db6-4f66-a63c-0cd8bb803a48" CreationDate="2012-04-04T17:26:02.597" UserId="310" Text="I also suggesting to be proactive - no crying on forums :)&#xD;&#xA;&#xD;&#xA;Look at twitter, use social networks, try to advertise on boards in clubs etc. &#xD;&#xA;&#xD;&#xA;Of course it is long term run but who said that Life is easy? &#xD;&#xA;&#xD;&#xA;Try to be more educated - there is a lot of blogs around with many suggestions. If you know about any company which doing sound design why you do not send them CV with examples of your work? &#xD;&#xA;&#xD;&#xA;Wish you good luck!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22119" PostHistoryTypeId="2" PostId="13387" RevisionGUID="da56d35a-7bc4-4ed7-b77c-59468bca63c9" CreationDate="2012-04-04T20:26:59.267" UserId="3688" Text="I know there's professional grade noise damping material but if I'm on a budget, what other options are there? I've heard of denim, roofing shingles and just cloth in general. But what other options are there for the budget foley room?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22120" PostHistoryTypeId="1" PostId="13387" RevisionGUID="da56d35a-7bc4-4ed7-b77c-59468bca63c9" CreationDate="2012-04-04T20:26:59.267" UserId="3688" Text="inexpensive soundproofing material" ContentLicense="CC BY-SA 3.0" />
  <row Id="22121" PostHistoryTypeId="3" PostId="13387" RevisionGUID="da56d35a-7bc4-4ed7-b77c-59468bca63c9" CreationDate="2012-04-04T20:26:59.267" UserId="3688" Text="&lt;noise-reduction&gt;&lt;noise&gt;&lt;damping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22122" PostHistoryTypeId="2" PostId="13388" RevisionGUID="df3009e2-11db-4d8e-b158-5dba432ddff7" CreationDate="2012-04-04T21:02:08.887" UserId="3299" Text="Rockwool is the most common budget acoustic dampening. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22123" PostHistoryTypeId="2" PostId="13389" RevisionGUID="d22d5646-01a9-4160-9be1-ff3c48981da8" CreationDate="2012-04-04T21:05:02.560" UserId="264" Text="If you have 70 dollars to spare, you can get 6 2' x 4' uncovered panels. These are huge, and it's a lot of them. All that's left for you to do is wrap them in cloth and frame them. The difference between this option and a 20-30 dollar solution is far more than the 50 dollars you might save.&#xD;&#xA;&#xD;&#xA;The following is what I purchased for my studio:&#xD;&#xA;http://www.atsacoustics.com/item--Roxul-Rockboard-60-Case-of-6--RB60.html&#xD;&#xA;&#xD;&#xA;Make sure you read up on what the needs will be for your own room. You may need a less or more dense fiber.&#xD;&#xA;&#xD;&#xA;http://www.atsacoustics.com/cat--DIY-Acoustic-Materials--102.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="22124" PostHistoryTypeId="2" PostId="13390" RevisionGUID="8cb5d7c4-4574-4f5b-afdd-54a34ff3a7a2" CreationDate="2012-04-04T21:35:11.713" UserId="3746" Text="There is a tutorial article that helps explain all the basic functions of compressors, what they do, how to use them and other helpful hints on compression at:&#xD;&#xA;&#xD;&#xA;http://rocksuresoundz.com/2012/03/12/understanding-compressors/&#xD;&#xA;&#xD;&#xA;It's worth reading if you would like to understand compressors a bit better. IT's written in easy to understand language too." ContentLicense="CC BY-SA 3.0" />
  <row Id="22125" PostHistoryTypeId="2" PostId="13391" RevisionGUID="5ba0003a-2407-4e51-b782-76cac60d3e76" CreationDate="2012-04-04T21:47:33.457" UserId="3746" Text="Using ones imagination and thinking what something would sound like to you and then recreating it like what you hear in your head is a good place to start. Like for me when I was a kid I always imagined that a Teradactyl would sound like a Heron or a shag (two birds found near water). They are raucous sounds, and since that's how I imagined those dinosaurs would sound, when I create flying dinosaur sfx I use heron or shag sounds as the basis for this and then process then to get the sound that is believable ( at least to me anyway).&#xD;&#xA;It pays to always have an ear out for possible sounds that could be used for various sound effects. Sometimes the most unexpected things can work. For example, recently I accidentally got two pieces of equipment clocking at different sample rates. The result was an undulating hissing sound mixed with a light buzzing coming from my monitor speakers. Before rectifying the problem I grabbed my portable recorder and a condensor mic and recorded the sound. Later I imported the sounds in Sound Forge and by using dopplers and reverbs I created a small library of space ship sounds coming and going left to right, right to left etc. A happy accident that worked really well." ContentLicense="CC BY-SA 3.0" />
  <row Id="22126" PostHistoryTypeId="2" PostId="13392" RevisionGUID="921b177f-f666-473a-831e-165947833ee2" CreationDate="2012-04-04T21:57:26.457" UserId="3746" Text="A shotgun mic as has been mentioned is a good idea. Great for spot recording, particularly outdoors. Not always the best option indoors where there are likely to be echoes though, which shotguns can often reproduce in a rather unnatural sounding way. Indoors you may be better using a small diaphram cardioid condensor mic. Using a pair of these mounted on a bar and un an x-y pattern can yield good stereo results too. Some examples of quality shotgun mirophones are: Sennheiser MKH416, Rode NTG-3, AKG C568EB, Sanken CS-2, Audio Technica BP 4071.&#xD;&#xA;Affordable small diaphram condensor mics that you can but as matched pairs include Octava MK-012, which has changeable capsules with different polar patterns. I also like the old AKG C451EB mics with different capsules that screw on/off including cardioid (CK-1), omni (CK-2) and short shotgun (CK-8). OUt of production now, but they are nice microphones.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22127" PostHistoryTypeId="2" PostId="13393" RevisionGUID="c8219f5e-f9cf-4a46-b182-227ab15e05f0" CreationDate="2012-04-04T22:03:54.257" UserId="3746" Text="I use the low rumbling of thunder recordings as a basis for earthquakes and add sliding doors pitch shifted down and other things to it as well. A roll of carpet dragged across the floor and pitch shifted down is another option that can work." ContentLicense="CC BY-SA 3.0" />
  <row Id="22128" PostHistoryTypeId="2" PostId="13394" RevisionGUID="46310f31-1e22-4a41-9d52-1f01788d06d3" CreationDate="2012-04-04T22:11:24.350" UserId="3746" Text="A tutorial at  http://rocksuresoundz.com/2012/03/21/microphones-different-types/  covers a lot of information on different categories of microphones. THings like what they are useful for, polar patterns, powering condensor mics etc. It deals with condensors large and small, pzm, dynamics, ribbons, lavaliers and a bunch of other stuff. It doesn't go into recommendations of different brands and models, but covers the basics to help someone figure out what type of mic is likely to be best for different sources and purposes. HOpe this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="22130" PostHistoryTypeId="2" PostId="13396" RevisionGUID="dd7cf216-6fa1-4f74-9c6b-ef9fd00c6431" CreationDate="2012-04-04T22:22:53.303" UserId="3746" Text="Have a look at the sounds at this link. They are downloadable sfx. You will have to search through a bit to find exactly what you are looking for, but chances are you will find a number of useful vehicle sound effects there. http://rocksuresoundz.com/store/transport/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22131" PostHistoryTypeId="2" PostId="13397" RevisionGUID="92614b14-3345-43b0-9791-3426f7ead3b5" CreationDate="2012-04-04T22:33:41.910" UserId="3746" Text="Quite a number of footsteps samples on different surfaces can be found at http://rocksuresoundz.com/store/foley/footsteps/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22132" PostHistoryTypeId="2" PostId="13398" RevisionGUID="1323ffc0-1599-4f21-85ee-d43f23119e53" CreationDate="2012-04-04T22:42:03.920" UserId="3746" Text="It is pretty difficult to isolate sounds in a crowded soundscape once they have been recorded without making them sound unnatural. The best solution really is to get the sounds isolated when you are recording them. Using shotgun mics,getting close etc where possible. Otherwise, record your basic sound track and then add in sound effects later, blending them into the background. For example, record a street scene an dthen mix in an ambulance afterwards." ContentLicense="CC BY-SA 3.0" />
  <row Id="22133" PostHistoryTypeId="2" PostId="13399" RevisionGUID="b4f79aa2-79d3-4b24-a9d1-3fe1ed2e2917" CreationDate="2012-04-04T23:56:10.243" UserId="455" Text="I accidentally pitch shifted a large audience applause recording in sound miner and it sounded pretty cool." ContentLicense="CC BY-SA 3.0" />
  <row Id="22134" PostHistoryTypeId="2" PostId="13400" RevisionGUID="02392098-9acd-4827-afb3-5707c046a7a6" CreationDate="2012-04-05T02:36:03.453" UserId="28" Text="Puremagnetik has a super budget option ($12), for Logic, Live or Kontakt. [Punchpak][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://puremagnetik.com/index.php?option=com_content&amp;task=view&amp;id=85&amp;Itemid=50" ContentLicense="CC BY-SA 3.0" />
  <row Id="22139" PostHistoryTypeId="2" PostId="13403" RevisionGUID="1a0289e9-0e13-43d6-bb74-73c17932c1b2" CreationDate="2012-04-05T04:39:11.097" UserDisplayName="user80" Text="Try using a combination of sheets of fibreglass and Rockwool." ContentLicense="CC BY-SA 3.0" />
  <row Id="22140" PostHistoryTypeId="2" PostId="13404" RevisionGUID="8b950a84-8ed1-4db4-86e1-621b99473dd2" CreationDate="2012-04-05T05:22:21.437" UserId="6487" Text="Depending on your delivery specs and subject matter,  I have also on occasion add some subtle divergence to the left and right speakers.  It helps with that Voice of God feel. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22141" PostHistoryTypeId="2" PostId="13405" RevisionGUID="46e8a0e0-dfc5-4c29-b508-6ecbc4456e90" CreationDate="2012-04-05T05:34:09.160" UserId="3567" Text="A lot of people underestimate the power of Linkedin. But if you build a solid profile, with links to portfolio and website you only have to find the right people in there. Joining specialized groups and taking part in their discussions is usually the easiest way." ContentLicense="CC BY-SA 3.0" />
  <row Id="22142" PostHistoryTypeId="2" PostId="13406" RevisionGUID="169fa200-94c8-40c5-8c93-033d2d83464f" CreationDate="2012-04-05T06:05:46.597" UserId="1117" Text="try to Identify the screen and media or film courses that the universities in your area provide and try and hook up with some of the film makers there.&#xD;&#xA;&#xD;&#xA;i know the schools in Melbourne all have crewing nights that are open to the public where the film makers pitch their ideas and let the audience know what roles they are trying to fill.&#xD;&#xA;usually its for 3rd year or above like masters films too, so they are often very high quality films." ContentLicense="CC BY-SA 3.0" />
  <row Id="22143" PostHistoryTypeId="2" PostId="13407" RevisionGUID="e9419efd-16d3-49d0-868d-f307b12f1fd0" CreationDate="2012-04-05T08:54:34.173" UserId="62" Text="I'll second Iain's comment. I wanted to save a few bob by making my own panels for my studio. They're not tuned to any frequencies as I simply wanted to deaden the reverb in my 4m2 room. Happily turned out really well and my work translates rather splendidly to larger &quot;proper&quot; mix studios.&#xD;&#xA;&#xD;&#xA;http://ianpalmersound.com/2011/06/06/d-i-y/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22144" PostHistoryTypeId="2" PostId="13408" RevisionGUID="661a5dbc-7bd7-4162-8805-3f8c81d2b862" CreationDate="2012-04-05T10:32:30.270" UserId="3519" Text="I would recomend rockwool panels wich you can put in a wood frame covered with fabric. It's not very expensive, it's modular and works quite well. I have a PDF tutorial where you can see how to make them, but it is in spanish. If you are interested I can translate ir for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="22145" PostHistoryTypeId="5" PostId="13389" RevisionGUID="c6bb9963-c92b-4263-b24c-ec1539073e68" CreationDate="2012-04-05T14:19:16.083" UserId="264" Comment="added 9 characters in body" Text="If you have 70 dollars to spare, you can get 6 2' x 4' uncovered Rockwool panels. These are huge, and it's a lot of them. All that's left for you to do is wrap them in cloth and frame them. The difference between this option and a 20-30 dollar solution is far more than the 50 dollars you might save.&#xD;&#xA;&#xD;&#xA;The following is what I purchased for my studio:&#xD;&#xA;http://www.atsacoustics.com/item--Roxul-Rockboard-60-Case-of-6--RB60.html&#xD;&#xA;&#xD;&#xA;Make sure you read up on what the needs will be for your own room. You may need a less or more dense fiber.&#xD;&#xA;&#xD;&#xA;http://www.atsacoustics.com/cat--DIY-Acoustic-Materials--102.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="22146" PostHistoryTypeId="2" PostId="13409" RevisionGUID="f2542f96-e5b9-462f-b3ba-d9b06b98b9e5" CreationDate="2012-04-05T20:36:25.853" UserId="3750" Text="I'm working on a project for a music video where we're attempting to record video with a sped up version of the song, and then slowing down the video to match the original recording. &#xD;&#xA;&#xD;&#xA;anybody have any experience with this?  i'm looking for insight on how much to adjust the speed of the edited song to match up with the change in frame rate or time code.  &#xD;&#xA;&#xD;&#xA;[take a look at weezer's 'undone' video for an example.][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/LHQqqM5sr7g" ContentLicense="CC BY-SA 3.0" />
  <row Id="22147" PostHistoryTypeId="1" PostId="13409" RevisionGUID="f2542f96-e5b9-462f-b3ba-d9b06b98b9e5" CreationDate="2012-04-05T20:36:25.853" UserId="3750" Text="Click track prep for music video" ContentLicense="CC BY-SA 3.0" />
  <row Id="22148" PostHistoryTypeId="3" PostId="13409" RevisionGUID="f2542f96-e5b9-462f-b3ba-d9b06b98b9e5" CreationDate="2012-04-05T20:36:25.853" UserId="3750" Text="&lt;tempo&gt;&lt;track&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22149" PostHistoryTypeId="2" PostId="13410" RevisionGUID="f0ff2f0c-2c48-4382-a8a3-7178da1dfaa9" CreationDate="2012-04-05T21:28:01.797" UserId="3746" Text="Cool. It would be nice to have the AKG C568 and also mics from Beyerdynamic added to the list though" ContentLicense="CC BY-SA 3.0" />
  <row Id="22150" PostHistoryTypeId="2" PostId="13411" RevisionGUID="23a4662b-d0c7-4048-ab72-405f12d229fc" CreationDate="2012-04-05T21:49:15.633" UserDisplayName="user49" Text="Be very clear about whether you are &#xD;&#xA;&#xD;&#xA;- isolating the foley room from outside noise&#xD;&#xA;&#xD;&#xA;or&#xD;&#xA;&#xD;&#xA;- absorbing reverb/acoustics&#xD;&#xA;&#xD;&#xA;They are different problems with different solutions" ContentLicense="CC BY-SA 3.0" />
  <row Id="22151" PostHistoryTypeId="2" PostId="13412" RevisionGUID="915ef256-65f1-4806-9521-ef9995a295b3" CreationDate="2012-04-05T23:06:53.083" UserId="3649" Text="I haven't personally had any experience with this but it sounds like something one of my lecturers from the easy rollers talked about what they did in the film Lock Stock &amp; Two Smoking Barrels. check it out on youtube and contact them they might be able to help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22152" PostHistoryTypeId="2" PostId="13413" RevisionGUID="86e1a0f8-434b-4634-a1f2-8f11a7f1ae0c" CreationDate="2012-04-06T02:15:34.183" UserId="3751" Text="Does the zoom h4n record all external mics at 44.1&#xD;&#xA;&#xD;&#xA;When we play back our videos on mac's the internal speakers drop the miked sound recorded on zoom h4n.  Headphones or ear plugs fixes this problem?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22153" PostHistoryTypeId="1" PostId="13413" RevisionGUID="86e1a0f8-434b-4634-a1f2-8f11a7f1ae0c" CreationDate="2012-04-06T02:15:34.183" UserId="3751" Text="Zoom playback on mac internal speakers" ContentLicense="CC BY-SA 3.0" />
  <row Id="22154" PostHistoryTypeId="3" PostId="13413" RevisionGUID="86e1a0f8-434b-4634-a1f2-8f11a7f1ae0c" CreationDate="2012-04-06T02:15:34.183" UserId="3751" Text="&lt;zoom&gt;&lt;zoom-h4n&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22155" PostHistoryTypeId="2" PostId="13414" RevisionGUID="d1a23cfd-b7ff-4fda-baa0-b655cc7ae6ec" CreationDate="2012-04-06T02:42:25.923" UserId="194" Text="anyone know a good ipad based script reader?&#xD;&#xA;&#xD;&#xA;Ideally it would be able to open a wide variety of formats (.doc, docx, excel, pdf, etc) and would be able to allow the talent to scribble, highlight, make notes etc.  stylus use would be ok.&#xD;&#xA;&#xD;&#xA;I'd also like navigation to be obvious and simple, so that there would be little to no instruction to people unfamiliar to whatever program it is.  &#xD;&#xA;&#xD;&#xA;any recommendations?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22156" PostHistoryTypeId="1" PostId="13414" RevisionGUID="d1a23cfd-b7ff-4fda-baa0-b655cc7ae6ec" CreationDate="2012-04-06T02:42:25.923" UserId="194" Text="ipad programs for replacing paper scripts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22157" PostHistoryTypeId="3" PostId="13414" RevisionGUID="d1a23cfd-b7ff-4fda-baa0-b655cc7ae6ec" CreationDate="2012-04-06T02:42:25.923" UserId="194" Text="&lt;ipad&gt;&lt;script&gt;&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22158" PostHistoryTypeId="2" PostId="13415" RevisionGUID="d90c0908-03ba-4dbc-9628-eed4d0261a43" CreationDate="2012-04-06T04:32:51.837" UserId="6435" Text="It doesn't fit all your criteria, but I use iAnnotatePDF. I can import a script in pdf format and write on it, drop markers and notes, highlight passages. I don't think it's completely ideal but it does work fairly well for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="22159" PostHistoryTypeId="2" PostId="13416" RevisionGUID="8137fcfe-53c1-4564-82bb-8183206773aa" CreationDate="2012-04-06T05:40:30.900" UserId="3752" Text="I immediately thought about [Docs To Go][1]. It fits most of your criterias. Don't know about scribbling though.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dataviz.com/DTG_iphone.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="22160" PostHistoryTypeId="2" PostId="13417" RevisionGUID="592ffe96-af47-4169-9cb8-5d3c89f08fd3" CreationDate="2012-04-06T06:04:32.213" UserId="6460" Text="Definitely look at GoodReader for iPad. It's a fantastic app for reading most major formats, including doc and pdf. Moreover, it allows you to circle, highlight, annotate and draw on the documents on a separate layer, and in most standard colors. I work a lot in theater and use it all of the time to take sound notes during tech rehearsals.&#xD;&#xA;&#xD;&#xA;It costs $4.99, but it's worth it. &#xD;&#xA;&#xD;&#xA;http://itunes.apple.com/us/app/goodreader-for-ipad/id363448914?mt=8&#xD;&#xA;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="22161" PostHistoryTypeId="5" PostId="13037" RevisionGUID="49587e88-e5b7-4705-a164-7aa061a7c250" CreationDate="2012-04-06T10:45:15.420" UserId="3299" Comment="added 2 characters in body" Text="I was in this position last year. It was a toss up between the PMD-661, the FR LE2 and the Sony PCM D50. &#xD;&#xA;&#xD;&#xA;I ended up going with the PMD-661 due to it's portability, good build quality, the brilliant quality screen, and the well regarded sound quality.&#xD;&#xA;&#xD;&#xA;I got lucky and found someone selling an Oade Supermodded version second hand and in perfect condition, so the external mic/line pre-amps are super clean. The on board mics aren't fantastic, but are certainly usable in a relatively loud environment. Street ambiance etc. is fine, but *clean* natural ambiance you can forget about. &#xD;&#xA;&#xD;&#xA;I've recorded some natural ambiance on it using an NT-4 and it did well, though the mic wasn't the best for the job. I've yet to try some high quality, sensitive mics with it for nature recording, but I think it will do very well.&#xD;&#xA;&#xD;&#xA;I just love the readability of the screen and the large transport buttons, they make it very easy to operate even if it's stuck in a bag. Also the S/PDIF in and 1/8&quot; line in are nice additions, as well as the RCA out. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22162" PostHistoryTypeId="2" PostId="13418" RevisionGUID="4ee3614e-a89f-4774-90dc-1cd4a7108a9b" CreationDate="2012-04-06T13:02:41.467" UserId="3746" Text="A couple of points I would like to add here:&#xD;&#xA;1) the Marantz PMD661..to the person who said their one twice hadn't turned on, and needed to wait a couple of hours. Very occasionally mine does that too, however, rather than wait I only need to take the batteries out momentarily and put them back in and it works fine immediately. TRy that next time you have that problem.&#xD;&#xA;&#xD;&#xA;2) When thinking about your needs for microphones etc, and techniques for nature recording, maybe have a read of this tutorial article. It has some tips on the things to look for, and what works in different field recording situations.&#xD;&#xA;&#xD;&#xA;http://rocksuresoundz.com/2012/04/04/recording-nature-sounds/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22163" PostHistoryTypeId="2" PostId="13419" RevisionGUID="4b75db21-f166-4f60-8e09-5b56de749945" CreationDate="2012-04-06T15:15:45.503" UserId="714" Text="Use air display to use your ipad as a third monitor and just run word/excel or whatever on your pc/mac.&#xD;&#xA;&#xD;&#xA;http://avatron.com/apps/air-display&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22164" PostHistoryTypeId="2" PostId="13420" RevisionGUID="d27fdb5c-c5ff-482e-aac5-4dffa438eef6" CreationDate="2012-04-06T16:01:43.623" UserId="29" Text="If you need something that can be edited and changed on the fly, look into [Fountain][1]. Not great for all on set, oriented towards writing, but it uses markdown-style annotations to store scripts in raw text for maximum compatibility.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://fountain.io/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22165" PostHistoryTypeId="2" PostId="13421" RevisionGUID="42f2bffd-3b5f-4a3b-ab44-507e1b7ec50d" CreationDate="2012-04-06T17:33:48.547" UserId="3754" Text="Hello, I have a question concerning frame rates for digital movie files.&#xD;&#xA;&#xD;&#xA;I am working on a sound design for a New York based project, ( me being UK ). I know PAL and NTSC have different frame rates, but does that apply to a .mov file as well?&#xD;&#xA;&#xD;&#xA;Basically, if I design a sound track to the digital movie file I am sent, and I send it back when done, can I be assured it'll sync up at their end, or will it go through a change when on a US mac compared to my UK mac?&#xD;&#xA;&#xD;&#xA;I've always imported videos into Pro Tools without ever considering what would happen with a US based video file!!!&#xD;&#xA;&#xD;&#xA;Any help would be great, I really don't understand movie stuff!&#xD;&#xA;&#xD;&#xA;thanks, &#xD;&#xA;&#xD;&#xA;Fred" ContentLicense="CC BY-SA 3.0" />
  <row Id="22166" PostHistoryTypeId="1" PostId="13421" RevisionGUID="42f2bffd-3b5f-4a3b-ab44-507e1b7ec50d" CreationDate="2012-04-06T17:33:48.547" UserId="3754" Text="Digital Movies and Frame Rates" ContentLicense="CC BY-SA 3.0" />
  <row Id="22167" PostHistoryTypeId="3" PostId="13421" RevisionGUID="42f2bffd-3b5f-4a3b-ab44-507e1b7ec50d" CreationDate="2012-04-06T17:33:48.547" UserId="3754" Text="&lt;frame-rate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22168" PostHistoryTypeId="2" PostId="13422" RevisionGUID="0dacca50-6ef8-4cb5-9673-84af69b592de" CreationDate="2012-04-06T17:44:58.193" UserId="432" Text="Yes, it matters. When you import the quicktime into your session, the video track should indicate what the frame rate is (right underneath the track name). *[You could also check the file's info/properties to find out.]*&#xD;&#xA;&#xD;&#xA;Make sure your Pro Tools session is set to match the mov's frame rate in the Session Setup window (CMD+2 on the numeric keypad), and you should be good. *[Note: for HD frame rates (i.e. 59.94 or 50) you'll be using the SD equivalent (29.97 or 25 respectively).]*" ContentLicense="CC BY-SA 3.0" />
  <row Id="22169" PostHistoryTypeId="2" PostId="13423" RevisionGUID="b78674c6-57d7-4f0d-8ae9-415cd45e4b81" CreationDate="2012-04-06T18:19:21.127" UserId="264" Text="So this is a little confusing, but I'll take a stab at it...&#xD;&#xA;&#xD;&#xA;What program are you playing the files in? If your audio files were recorded with more than 2 channels, there is a chance that the audio you recorded is not on tracks 1 and/or 2, in which case some programs won't play it back (I have experienced this issue with Quicktime). Load it into an editor like Audition, Audacity, or FCP to check if there are &quot;hidden&quot; tracks.&#xD;&#xA;&#xD;&#xA;Seeing that the h4n can record 4 channels, this could be your issue. However, the headphone thing confuses me because as far as I know there shouldn't be a difference. I guess a simple debugging question I have for you is: do the internal speakers play any other sounds, like iTunes?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22170" PostHistoryTypeId="2" PostId="13424" RevisionGUID="6b99fc59-6803-41c1-b3c8-a1c98d5b866e" CreationDate="2012-04-06T19:43:08.650" UserId="264" Text="If you are going to be slowing down the video by 2x, you speed up the click track/music by 2x.&#xD;&#xA;&#xD;&#xA;So let's say the video is shot at 60 fps, then it's slowed down to 30 fps. Since the final framerate is 30fps, that's also what the music will be synced to at normal speed. Let's say the music is 120 bpm normally. It's rate has a 1:1 relationship with the music video's final framerate, in this case a clean 30 fps. So if you are shooting at 60 fps: 30/60 = 0.5&#xD;&#xA;&#xD;&#xA;That's the ratio, so to get the bpm you want to use when shooting, just divide your starting bpm (120) by the ratio. 120/ 0.5 = 240&#xD;&#xA;&#xD;&#xA;If your final framerate is 29.97, but you are shooting at 60 fps: 29.97 / 60  = .4995&#xD;&#xA;So with a 120 bpm track: 120 / .4995 = 240.24024&#xD;&#xA;&#xD;&#xA;It's a linear relationship. You just need to know A) The original framerate B) The final framerate C) The original bpm" ContentLicense="CC BY-SA 3.0" />
  <row Id="22171" PostHistoryTypeId="5" PostId="13424" RevisionGUID="39c7eed5-4241-4780-a315-428aab3864ae" CreationDate="2012-04-06T21:03:08.400" UserId="264" Comment="Clarifying and better formatting a comment.; added 2 characters in body" Text="If you are going to be slowing down the video by 2x, you speed up the click track/music by 2x.&#xD;&#xA;&#xD;&#xA;So let's say the video is shot at 60 fps, then it's slowed down to 30 fps. Since the final framerate is 30fps, that's also what the music will be synced to at normal speed. Let's say the music is 120 bpm normally. It's rate has a 1:1 relationship with the music video's final framerate, in this case a clean 30 fps. So if you are shooting at 60 fps: 30/60 = 0.5&#xD;&#xA;&#xD;&#xA;That's the ratio, so to get the bpm you want to use when shooting, just divide your starting bpm (120) by the ratio. 120/ 0.5 = 240&#xD;&#xA;&#xD;&#xA;If your final framerate is 29.97, but you are shooting at 60 fps: 29.97 / 60  = .4995&#xD;&#xA;So with a 120 bpm track: 120 / .4995 = 240.24024&#xD;&#xA;&#xD;&#xA;It's a linear relationship. You just need to know A) The original framerate B) The final framerate C) The original bpm&#xD;&#xA;&#xD;&#xA;EDIT: From the comments&#xD;&#xA;&#xD;&#xA;[new bpm] / [old bpm] = [original framerate] / [final framerate]&#xD;&#xA;&#xD;&#xA; Solve for [new bpm]&#xD;&#xA;&#xD;&#xA; a / b = c / d&#xD;&#xA;&#xD;&#xA; a = bc / d&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22172" PostHistoryTypeId="2" PostId="13425" RevisionGUID="d35d57e9-087d-43cd-9707-0400a95de6e9" CreationDate="2012-04-06T22:07:09.713" UserId="253" Text="Ok, so this is what i believe to be the case. I've actually been seriously questioning myself about this, but i can't think of anything solid enough to change my mind:&#xD;&#xA;&#xD;&#xA;For basic sound post, frame rates don't really matter. If they send you a session with burnt in timecode, you really should match your session's frame rate to that of the video so your session TC matches the burnt-in. Apart from that, the only thing that should make you think about session frame rates is when you're linking up with other machines, especially video decks.&#xD;&#xA;&#xD;&#xA;Here's why i believe this: Sound doesn't have frames. It has sample rates, but that can only affect the length of your audio if you transfer it from one SR to another without compensating for speed (pitch and length). In Pro Tools, this compensation is automatic. When you bring in your movie file, Pro Tools will play it at the correct speed, regardless of the session frame rate. To do otherwise would take some hefty processing power, and give you a jerky, stuttered image (i'm pretty sure). Pro Tools uses Quicktime to play video, and Quicktime will know at which speed to play the video. You can set your session to any frame rate and all it will affect is the TC ruler and output TC - never the actual speed of the session.&#xD;&#xA;&#xD;&#xA;Of course, it's always a good idea to use 2 pip/end sync pips, to make the audio lay back easy and verifiable. Sorry if i'm not that clear, it's a friday afternoon thing. And like i said, if i'm wrong, i would be grateful to be pointed in the right direction.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22173" PostHistoryTypeId="2" PostId="13426" RevisionGUID="584a266e-3ca6-4c51-b6f5-9fe5b7c8a571" CreationDate="2012-04-06T22:14:16.590" UserId="118" Text="Currently testing iAnnotate and GoodReader with a view to going paperless in the ADR theatre; will keep you posted on my findings, Rene." ContentLicense="CC BY-SA 3.0" />
  <row Id="22175" PostHistoryTypeId="5" PostId="13424" RevisionGUID="e7611feb-7530-4c87-8408-58e4b069b619" CreationDate="2012-04-07T04:50:59.530" UserId="264" Comment="added 4 characters in body" Text="If you are going to be slowing down the video by 2x, you speed up the click track/music by 2x.&#xD;&#xA;&#xD;&#xA;So let's say the video is shot at 60 fps, then it's slowed down to 30 fps. Since the final framerate is 30fps, that's also what the music will be synced to at normal speed. Let's say the music is 120 bpm normally. It's rate has a 1:1 relationship with the music video's final framerate, in this case a clean 30 fps. So if you are shooting at 60 fps: 30/60 = 0.5&#xD;&#xA;&#xD;&#xA;That's the ratio, so to get the bpm you want to use when shooting, just divide your starting bpm (120) by the ratio. 120/ 0.5 = 240&#xD;&#xA;&#xD;&#xA;If your final framerate is 29.97, but you are shooting at 60 fps: 29.97 / 60  = .4995&#xD;&#xA;So with a 120 bpm track: 120 / .4995 = 240.24024&#xD;&#xA;&#xD;&#xA;It's a linear relationship. You just need to know A) The original framerate B) The final framerate C) The original bpm&#xD;&#xA;&#xD;&#xA;**EDIT: From the comments**&#xD;&#xA;&#xD;&#xA;[new bpm] / [old bpm] = [original framerate] / [final framerate]&#xD;&#xA;&#xD;&#xA; Solve for [new bpm]&#xD;&#xA;&#xD;&#xA; a / b = c / d&#xD;&#xA;&#xD;&#xA; a = bc / d&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22176" PostHistoryTypeId="2" PostId="13427" RevisionGUID="b5e80f80-e83c-49ac-8df7-8aec255d3b56" CreationDate="2012-04-07T10:08:28.540" UserId="1106" Text="We just did this for my bands music video - we filmed at 50fps and slowed it down to 30fps. it might be worth considering how tricky the song will be to play at 1.6 or 2 times the speed- we were rather struggling at 1.6! The end results are really great though, gives a very serene glossy look to everything :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22177" PostHistoryTypeId="2" PostId="13428" RevisionGUID="119c4263-07bd-418c-a6e8-e59ed20a4927" CreationDate="2012-04-07T13:04:45.137" UserId="3629" Text="Very good advice here. I'd use one of these listed above for spot FX recording out and about and the inbuilt stereo mics on the Zoom for 'ambient' recording. The shotgun mic indoors is a bit of a problem and may sound a bit odd if there is a lot of reflected sound. The large cardiod condensor is also a good option as suggested, if you were recording at home/ in a studio. I would use (on a budget) a really low noise microphone (Rode NT1a)- you generally would be able to record even the quietest sounds with the gain cracked up on your zoom quite cleanly. http://www.rodemic.com/mics/nt1-a&#xD;&#xA;&#xD;&#xA;Decent headphone monitoring is a must however - being the thing that directs where you point any mic. In my view, no mic set up can be used properly unless you can be guided to that sweet spot by simply listening out for it. I like my beyer dt770 pro- simply because its what i'm used to.  Get to know your headphones well. &#xD;&#xA;&#xD;&#xA;Hope this helps. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22178" PostHistoryTypeId="2" PostId="13429" RevisionGUID="8b7c0897-4c3c-4d0b-b545-c08da2b252fc" CreationDate="2012-04-07T14:12:56.183" UserId="6462" Text="For a stereo setup I just recently purchased a pair of Line Audio CM3 miniature condenser microphones. They are incredible, very small, hand made in Sweden and only cost me €230 for the pair. The noise floor is comparable to microphone 3 or 4 times the price and the sound quality far exceeded my expectations. Plus, Roger, the guy who makes them personnaly responds to questions and is extremely nice.&#xD;&#xA;Highly recommended!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22179" PostHistoryTypeId="2" PostId="13430" RevisionGUID="307a115a-1a21-47ed-a398-0c9c3cd0398c" CreationDate="2012-04-07T14:40:19.140" UserId="3230" Text="Putting the final touches on a 2-hour documentary project - complete sound re-design, nat sound, variant dialog, and a primarily orchestral score....etc, etc.&#xD;&#xA;&#xD;&#xA;I will admit, this is one of my first full post-mixes.   I'm a rookie, but I'm shooting for that Rookie of the Year spot!&#xD;&#xA;&#xD;&#xA;Is there a standard reference or target level for the music alone?   Dialog is RMS/Peak bout -27/-9 on an LEQ(a) meter, and from what I've seen thus far....I should be shooting for -23/-6 or -9 on the full mix. (Yes?)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The fx stem is fairly irrelevant in this case, as far as the over level goes.  It's fairly sparse.&#xD;&#xA;&#xD;&#xA;Any insight or links to further reading on &quot;levels&quot; in general would be appreciated!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22180" PostHistoryTypeId="1" PostId="13430" RevisionGUID="307a115a-1a21-47ed-a398-0c9c3cd0398c" CreationDate="2012-04-07T14:40:19.140" UserId="3230" Text="Target Level for Bed Music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22181" PostHistoryTypeId="3" PostId="13430" RevisionGUID="307a115a-1a21-47ed-a398-0c9c3cd0398c" CreationDate="2012-04-07T14:40:19.140" UserId="3230" Text="&lt;levels&gt;&lt;music&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22182" PostHistoryTypeId="2" PostId="13431" RevisionGUID="d797f2b0-62d8-4364-86f3-7df0ac0965c6" CreationDate="2012-04-07T16:13:31.407" UserId="1228" Text="To me, it's one of those subjective things in the mix.  You're dialogue level sounds appropriate (equal to -27dB on a DOlby LM100 for LEQ(a) ), but for music, in my opinion you sort of have to ride it against dialogue to what feels right, especially since the dynamics of music are always changed compared to dialogue.  It should probably be nice and full, but not drown out the dialogue.  Again though, all depends upon what the music itself is doing at any given time and that to my knowledge there isn't a 'correct' answer to the question aside from 'don't drown your dialogue'." ContentLicense="CC BY-SA 3.0" />
  <row Id="22183" PostHistoryTypeId="2" PostId="13432" RevisionGUID="935622fb-d50b-4abe-9c01-96d05d608040" CreationDate="2012-04-07T16:51:24.653" UserId="3649" Text="Hello all you social sound designers out there.&#xD;&#xA;&#xD;&#xA;Another question from me:&#xD;&#xA;&#xD;&#xA;I have £200 to spend on a new DAW.&#xD;&#xA;&#xD;&#xA;Logic 9 as an app is available for £140 from the app store, whilst Pro Tools 10 is just under £200 from an online education discount store.&#xD;&#xA;&#xD;&#xA;I want to use whatever DAW i get for sound design for the moving image mainly, but also for music composition &amp; music Mixing.&#xD;&#xA;&#xD;&#xA;I am already used to Logic Pro 9 as I used logic since version 7. The thing is, I would kind of like to experiment with a new DAW, but am not sure if Pro Tools is worth the investment in time and money. &#xD;&#xA;&#xD;&#xA;Are any of you users of both DAWs and have any of you experienced moving from Logic to Pro Tools in the past? what are your suggestions? thanks in advance..." ContentLicense="CC BY-SA 3.0" />
  <row Id="22184" PostHistoryTypeId="1" PostId="13432" RevisionGUID="935622fb-d50b-4abe-9c01-96d05d608040" CreationDate="2012-04-07T16:51:24.653" UserId="3649" Text="Logic 9 vs Pro Tools 10" ContentLicense="CC BY-SA 3.0" />
  <row Id="22185" PostHistoryTypeId="3" PostId="13432" RevisionGUID="935622fb-d50b-4abe-9c01-96d05d608040" CreationDate="2012-04-07T16:51:24.653" UserId="3649" Text="&lt;software&gt;&lt;pro&gt;&lt;tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22186" PostHistoryTypeId="2" PostId="13433" RevisionGUID="3146b4e2-6f40-495d-b62e-211ceb767bc0" CreationDate="2012-04-07T16:52:26.263" UserId="3740" Text="The Zoom H4n is able to record its external mics on other formats.&#xD;&#xA;On the Stereo mode, you can record at all the available recording formats. &#xD;&#xA;On the 4-channel mode, you only have 4 options which are 44.1/16, 44.1/24, 48/16 and 48/24.&#xD;&#xA;If you need to record higher than 44.1, do note that you need to be off the Stamina mode as this mode only allows record and playback at the lowest sample rate of 44.1/16 in mp3 format.&#xD;&#xA;&#xD;&#xA;It would be good if you can elaborate on what you mean when you say 'When we play back our videos on mac's the internal speakers drop the miked sound recorded on zoom h4n.'&#xD;&#xA;&#xD;&#xA;Do you mean the volume decreases? or the frame rate? or something else?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22187" PostHistoryTypeId="2" PostId="13434" RevisionGUID="36c80d17-774e-4858-87f4-2c21ce2bd669" CreationDate="2012-04-07T17:01:36.240" UserId="3740" Text="Mandy.com would be your best bet bro." ContentLicense="CC BY-SA 3.0" />
  <row Id="22188" PostHistoryTypeId="2" PostId="13435" RevisionGUID="b1dc1437-a3ff-4f42-97a7-b33ea708f742" CreationDate="2012-04-07T17:06:14.197" UserId="63" Text="When i face a problem like this one what i normaly do is to analyse the &quot;mechanics&quot; of the object (animations help a lot), its size, its elements (metal,flesh,scales,etc etc), how these elements connect with each other, the behaviour of the object and i mix in a lot of fantasy if i go to dead ends. Trial and error goes there then. &#xD;&#xA;&#xD;&#xA;But to answer broke down questions: &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;*1.Do real life physics and biology/anatomy of a creature play a part in sound design?*&#xD;&#xA;&#xD;&#xA;Depents on the project! Except extreme situations though I always try to maintain this relativity cause its &quot;how people are used to hear things&quot; and giving a robot for example, a totaly un-physical sound will make it sound bad cause people &quot;know how a robot sounds&quot; by habit. &#xD;&#xA;&#xD;&#xA;*2.Or do sound designers just record sounds that are relevant, or if it sounds great, and layer it with other sounds to produce 'that sound'?*&#xD;&#xA;&#xD;&#xA;...this is one part of a bigger process! Here though come the matter of personal opinion and taste. Some people prefer minimalism, others multiple layers etc. you have to find your own style!&#xD;&#xA;&#xD;&#xA;*3.I remember reading somewhere, where the interviewee said that sound design is essentially used to complement the movie, to the point where it is exaggerated to bring out or match the genre of the film. In this case, how do sound designers balance realism and 'creative licensing' (if this is the term called)?*&#xD;&#xA;&#xD;&#xA;Also here, different movie styles require different approaches. You can't do the same on a &quot;thriller&quot; and a &quot;comedy&quot;. Research and experience is required on this matter!&#xD;&#xA;&#xD;&#xA;...just my 2 cents!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22189" PostHistoryTypeId="5" PostId="13430" RevisionGUID="ce49c464-1734-44c2-a816-61ef09706026" CreationDate="2012-04-07T18:41:50.493" UserId="3230" Comment="added 1 characters in body" Text="Putting the final touches on a 2-hour documentary project - complete sound re-design, nat sound, variant dialog, and a primarily orchestral score....etc, etc.&#xD;&#xA;&#xD;&#xA;I will admit, this is one of my first full post-mixes.   I'm a rookie, but I'm shooting for that Rookie of the Year spot!&#xD;&#xA;&#xD;&#xA;Is there a standard reference or target level for the music alone?   Dialog RMS/Peak is about -27/-9 on an LEQ(a) meter, and from what I've seen thus far....I should be shooting for -23/-6 or -9 on the full mix. (Yes?)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The fx stem is fairly irrelevant in this case, as far as the over level goes.  It's fairly sparse.&#xD;&#xA;&#xD;&#xA;Any insight or links to further reading on &quot;levels&quot; in general would be appreciated!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22190" PostHistoryTypeId="2" PostId="13436" RevisionGUID="5a25da0d-b0a3-4e29-9d84-cedd121b7588" CreationDate="2012-04-07T19:12:39.420" UserId="253" Text="I agree with Stavro, it's totally subjective. Get your dialogue to sit at the right average level, then mix the music around it. Numbers won't help you much, as different instruments will interact differently with voice. A lower instrument like a bass drum might need to be boosted where a trumpet, or other mid horn, would need to be cut. &#xD;&#xA;&#xD;&#xA;Also, bear in mind that home tv sound systems tend to boost vocal frequencies a little (in my experience), so music may appear lower than how you mixed it. As long as it's not fighting the dialogue, feel free to really push it." ContentLicense="CC BY-SA 3.0" />
  <row Id="22191" PostHistoryTypeId="2" PostId="13437" RevisionGUID="352a1b4f-8111-4977-8cc7-bd6ee7d84219" CreationDate="2012-04-07T22:51:19.557" UserId="390" Text="If you're familiar with logic. I say stay with Logic. I use Pro Tools 8 currently mostly for music and editing audiobooks. I have done some film editing as well. However, I had to purchase something in order for it to read OMF files. As I understand it, Logic already has this feature as default.  All DAWs perform the same function with variations on how they achieve the same result. As a Non-logic user... I highly recommend Logic.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="22192" PostHistoryTypeId="2" PostId="13438" RevisionGUID="062a147e-ba40-4238-b018-003aab18f5d5" CreationDate="2012-04-07T23:34:44.117" UserId="3755" Text="I'm a university student and im just about to finish my last year of university. There were no parts of my course dedicated sound design for computer games so im am new to this field. I currantly have a pro tools 9 running in my home studio. I was wondering if some of you guy could answer a couple of questions:&#xD;&#xA;&#xD;&#xA;What programs would i need to purchase to be able to put sound onto a game?&#xD;&#xA;Can anybody give me a few tips or link me to online tutorials?&#xD;&#xA;Is there a way i could download a level from a game so i can to be able to test my sounds?&#xD;&#xA;Is there a specific genre of game that woud be best to start working on for my first time designing interactive audio? " ContentLicense="CC BY-SA 3.0" />
  <row Id="22193" PostHistoryTypeId="1" PostId="13438" RevisionGUID="062a147e-ba40-4238-b018-003aab18f5d5" CreationDate="2012-04-07T23:34:44.117" UserId="3755" Text="Advice on how to start designing sound for games?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22194" PostHistoryTypeId="3" PostId="13438" RevisionGUID="062a147e-ba40-4238-b018-003aab18f5d5" CreationDate="2012-04-07T23:34:44.117" UserId="3755" Text="&lt;video-games&gt;&lt;sound-design&gt;&lt;game&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22195" PostHistoryTypeId="2" PostId="13439" RevisionGUID="04db288f-7e8e-4834-85db-de40bba36cad" CreationDate="2012-04-07T23:52:39.000" UserId="3522" Text="I would agree that both systems have their own unique benefits and downsides.  Stick with what you are comfortable with. Personally, I've used both logic and protools for about 4 - 5 years. For mixing, editing and other general sound design tasks, I feel pro tools is better but in terms of musical composition, midi editing and sequencing, logic is the winner. &#xD;&#xA;&#xD;&#xA;It's also worth saying that I recently upgraded to Pro Tools 10 using an educational discount for £199 including postage and an iLok key along with 4 years free upgrades. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22196" PostHistoryTypeId="5" PostId="13436" RevisionGUID="ca55d416-e89f-4005-a158-01ef025384e5" CreationDate="2012-04-08T00:45:31.430" UserId="253" Comment="added 8 characters in body" Text="I agree with Stavro, it's totally subjective. Get your dialogue to sit at the right average level, then mix the music around it. Numbers won't help you much, as different instruments will interact differently with voice. A lower pitched instrument like a bass drum might need to be boosted where a trumpet, or other mid horn, would need to be cut. &#xD;&#xA;&#xD;&#xA;Also, bear in mind that home tv sound systems tend to boost vocal frequencies a little (in my experience), so music may appear lower than how you mixed it. As long as it's not fighting the dialogue, feel free to really push it." ContentLicense="CC BY-SA 3.0" />
  <row Id="22197" PostHistoryTypeId="2" PostId="13440" RevisionGUID="63cea9b0-42f7-44fd-b172-dc95c5ef351f" CreationDate="2012-04-08T02:36:59.343" UserId="1228" Text="&gt; The location recordist did a good job&#xD;&#xA;&gt; and the two sounds are balanced&#xD;&#xA;&gt; nicely. I like it (sfx editor)&#xD;&#xA;&#xD;&#xA;In my opinion, herein lies the root of the problem - particularly the last sentence.&#xD;&#xA;&#xD;&#xA;M&amp;Es are oddly enough a great example of instant karma - race through your edits and the M&amp;E is likely going to take a lot of time to build.  Take time and properly build your tracks strategically up front, the M&amp;E is going to be a breeze.  in a perfect world, we would all take our time up front.  But we're not in that perfect world, and budget/time constraints sometimes result in needing to brute-forcing our way through an M&amp;E. &#xD;&#xA;&#xD;&#xA;That being said, as sound effects editors and foley artists/mixers/editors, we're obligated to do wall-to-wall coverage on everything.  No matter how cool or full-bodied something may sound in production (and 9 times out of 10 the PFX is lacking in some way and at least needs to be sweetened), especially if there's an overlap, when I cut sound effects I always give the stage my own version of a full build (or if it's something Foley covers, they do full coverage) - that way it plays in the mix, and subsequently, it will match for the M&amp;E (or if it was mixed against the cool PFX overlapping dialogue, it sounds incredibly close for a match in the M&amp;E when the PFX blend goes away).&#xD;&#xA;&#xD;&#xA;From a dialogue side, this is one of the main reasons I'm quite anal about cleaning out ticks, pops, etc, splitting out all free-and-clear PFX, and addressing all overlaps with clean alt takes or ADR if necessary - getting the dialogue track as clean as possible up front, so that you can more or less mute it for the M&amp;E over 50% of the work is already done.  Failing the ability to eradicate the overlap issue, I make sure sound effects and/or Foley coverage takes care of that section too, knowing we're going to have to blend any residual PFX with the cut FX version for a blend.&#xD;&#xA;&#xD;&#xA;As Just in pointed out, there can be issues of legality with residual dialogue, and this is can be why QC houses are strict.  And I actually have a colleague who hand an M&amp;E bounce one time in Germany for that EXACT reason - even though he couldn't figure out what English they were hearing.  Either way, it had to be re-filled.  Usually QC houses will never want any sort of breath, grunt, moan, or other non-linguistic vocalization present - and they expect every little single detail (down to the hand pats) to match - this part is exactly why I get my dialogue tracks as clean as possible.  The less oddities there are sitting in the dialogue track, the less there is which has to be filled/re-built/remixed for a sync match.  And by having full coverage on your FX and Foley, then you can find what you need by playing the faders.&#xD;&#xA;&#xD;&#xA;And again Justin is correct, backfilling is a must - but hopefully by properly preparing the dialogue track, most of the work's already done for you (and even more so if the dialogue premix turned out really clean and the dailies were clean too)&#xD;&#xA;&#xD;&#xA;It can be nice to provide an Optional track for Group ADR and related cut FX elements (e.g. dispatch radio edits, callouts edited to blend with the BG, speaker pages like Hospitals, etc).  That way its not part of the M&amp;E itself, but when the M&amp;E gets remixed with the overdub, they have the option if they want it - especially for something like radios which play so low they're more of texture, but nonetheless, if it has English, it will need to be maintained separately otherwise it will likely bounce QC and be problematic down the road - the Optional track is great for this kind of thing.&#xD;&#xA;&#xD;&#xA;Hope this helps!  M&amp;Es can be a very strict and disciplined process to learn, but it's a fantastic opportunity to learn how to think '2-steps-ahead' about organization and editorial to result in a smooth printmastering process." ContentLicense="CC BY-SA 3.0" />
  <row Id="22198" PostHistoryTypeId="5" PostId="13440" RevisionGUID="2bd6888b-7ee1-432e-b8d8-ec428f5bbcdb" CreationDate="2012-04-08T02:44:11.130" UserId="1228" Comment="deleted 1 characters in body; deleted 1 characters in body" Text="&gt; The location recordist did a good job&#xD;&#xA;&gt; and the two sounds are balanced&#xD;&#xA;&gt; nicely. I like it (sfx editor)&#xD;&#xA;&#xD;&#xA;In my opinion, herein lies the root of the problem - particularly the last sentence.&#xD;&#xA;&#xD;&#xA;M&amp;Es are oddly enough a great example of instant karma - race through your edits and the M&amp;E is likely going to take a lot of time to build.  Take time and properly build your tracks strategically up front, the M&amp;E is going to be a breeze.  in a perfect world, we would all take our time up front.  But we're not in that perfect world, and budget/time constraints sometimes result in needing to brute-forcing our way through an M&amp;E. &#xD;&#xA;&#xD;&#xA;That being said, as sound effects editors and foley artists/mixers/editors, we're obligated to do wall-to-wall coverage on everything.  No matter how cool or full-bodied something may sound in production (and 9 times out of 10 the PFX is lacking in some way and at least needs to be sweetened), especially if there's an overlap, when I cut sound effects I always give the stage my own version of a full build (or if it's something Foley covers, they do full coverage) - that way it plays in the mix, and subsequently, it will match for the M&amp;E (or if it was mixed against the cool PFX overlapping dialogue, it sounds incredibly close for a match in the M&amp;E when the PFX blend goes away).&#xD;&#xA;&#xD;&#xA;From a dialogue side, this is one of the main reasons I'm quite anal about cleaning out ticks, pops, etc, splitting out all free-and-clear PFX, and addressing all overlaps with clean alt takes or ADR if necessary - getting the dialogue track as clean as possible up front, so that you can more or less mute it for the M&amp;E over 50% of the work is already done.  Failing the ability to eradicate the overlap issue, I make sure sound effects and/or Foley coverage takes care of that section too, knowing we're going to have to blend any residual PFX with the cut FX version for a blend.&#xD;&#xA;&#xD;&#xA;As Justin pointed out, there can be issues of legality with residual dialogue, and this is can be why QC houses are strict.  And I actually KNOW a colleague who had an M&amp;E bounce one time in Germany for that EXACT reason - even though he couldn't figure out what English they were hearing.  Either way, it had to be re-filled.  Usually QC houses will never want any sort of breath, grunt, moan, or other non-linguistic vocalization present - and they expect every little single detail (down to the hand pats) to match - this part is exactly why I get my dialogue tracks as clean as possible.  The less oddities there are sitting in the dialogue track, the less there is which has to be filled/re-built/remixed for a sync match.  And by having full coverage on your FX and Foley, then you can find what you need by playing the faders.&#xD;&#xA;&#xD;&#xA;And again Justin is correct, backfilling is a must - but hopefully by properly preparing the dialogue track, most of the work's already done for you (and even more so if the dialogue premix turned out really clean and the dailies were clean too)&#xD;&#xA;&#xD;&#xA;It can be nice to provide an Optional track for Group ADR and related cut FX elements (e.g. dispatch radio edits, callouts edited to blend with the BG, speaker pages like Hospitals, etc).  That way its not part of the M&amp;E itself, but when the M&amp;E gets remixed with the overdub, they have the option if they want it - especially for something like radios which play so low they're more of texture, but nonetheless, if it has English, it will need to be maintained separately otherwise it will likely bounce QC and be problematic down the road - the Optional track is great for this kind of thing.&#xD;&#xA;&#xD;&#xA;Hope this helps!  M&amp;Es can be a very strict and disciplined process to learn, but it's a fantastic opportunity to learn how to think '2-steps-ahead' about organization and editorial to result in a smooth printmastering process." ContentLicense="CC BY-SA 3.0" />
  <row Id="22199" PostHistoryTypeId="2" PostId="13441" RevisionGUID="e8b3b5b6-d07b-4851-8c29-bde1ed095f7d" CreationDate="2012-04-08T04:55:15.153" UserId="270" Text="I dont think there's any specific genre that is suitable for beginners, just do whatever interests you most!&#xD;&#xA;&#xD;&#xA;To create sound for games you can use whatever software you want, putting sound into a game depends on the tools the game developer is using.  Some game developers use audio middleware, such as Wwise or FMOD, to help implement sound.  Middleware is designed to make it easy to prepare sound to be played back in a game, so that sound designers need relatively little help from coders to implement audio.&#xD;&#xA;&#xD;&#xA;You should be able to download and teach yourself to use Wwise free - http://www.audiokinetic.com/en/home&#xD;&#xA;&#xD;&#xA;There are a ton of tutorial videos - http://www.youtube.com/playlist?list=PL11C806BBAAF252CA&amp;feature=plcp&#xD;&#xA;&#xD;&#xA;Wwise has a basic FPS game that you can test your own sounds in.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22200" PostHistoryTypeId="2" PostId="13442" RevisionGUID="0aaf091b-c1a5-4e53-ade2-b5c22402fb5f" CreationDate="2012-04-08T05:45:56.290" UserId="577" Text="What worked for me was finding some people who were learning to make games. Odds are they're just using stock sound files or music, so offer to make some noise for them and they'll fill you in on whatever they need. In short, learn with other people if you can.&#xD;&#xA;&#xD;&#xA;After doing some little games this way myself, just handing over mp3s, I'm starting to look in to middleware, but that requires the coders to do some homework too. Besides, focusing on creating and editing good sounds is pretty key, so maybe do that for a bit before you worry about wwise or fmod, etc.&#xD;&#xA;&#xD;&#xA;Kind of in the same boat, this is just what's working for me now.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22201" PostHistoryTypeId="5" PostId="13440" RevisionGUID="83b4b534-0875-4582-8c50-295039536312" CreationDate="2012-04-08T06:22:25.240" UserId="1228" Comment="edited body" Text="&gt; The location recordist did a good job&#xD;&#xA;&gt; and the two sounds are balanced&#xD;&#xA;&gt; nicely. I like it (sfx editor)&#xD;&#xA;&#xD;&#xA;In my opinion, herein lies the root of the problem - particularly the last sentence.&#xD;&#xA;&#xD;&#xA;M&amp;Es are oddly enough a great example of instant karma - race through your edits and the M&amp;E is likely going to take a lot of time to build.  Take time and properly build your tracks strategically up front, the M&amp;E is going to be a breeze.  in a perfect world, we would all take our time up front.  But we're not in that perfect world, and budget/time constraints sometimes result in needing to brute-forcing our way through an M&amp;E. &#xD;&#xA;&#xD;&#xA;That being said, as sound effects editors and foley artists/mixers/editors, we're obligated to do wall-to-wall coverage on everything.  No matter how cool or full-bodied something may sound in production (and 9 times out of 10 the PFX is lacking in some way and at least needs to be sweetened), especially if there's an overlap, when I cut sound effects I always give the stage my own version of a full build (or if it's something Foley covers, they do full coverage) - that way it plays in the mix, and subsequently, it will match for the M&amp;E (or if it was mixed against the cool PFX overlapping dialogue, it sounds incredibly close for a match in the M&amp;E when the PFX blend goes away).&#xD;&#xA;&#xD;&#xA;From a dialogue side, this is one of the main reasons I'm quite anal about cleaning out ticks, pops, etc, splitting out all free-and-clear PFX, and addressing all overlaps with clean alt takes or ADR if necessary - getting the dialogue track as clean as possible up front, so that you can more or less mute it for the M&amp;E over 50% of the work is already done.  Failing the ability to eradicate the overlap issue, I make sure sound effects and/or Foley coverage takes care of that section too, knowing we're going to have to blend any residual PFX with the cut FX version for a blend.&#xD;&#xA;&#xD;&#xA;As Justin pointed out, there can be issues of legality with residual dialogue, and this is can be why QC houses are strict.  And I actually know a colleague who had an M&amp;E bounce one time in Germany for that EXACT reason - even though he couldn't figure out what English they were hearing.  Either way, it had to be re-filled.  Usually QC houses will never want any sort of breath, grunt, moan, or other non-linguistic vocalization present - and they expect every little single detail (down to the hand pats) to match - this part is exactly why I get my dialogue tracks as clean as possible.  The less oddities there are sitting in the dialogue track, the less there is which has to be filled/re-built/remixed for a sync match.  And by having full coverage on your FX and Foley, then you can find what you need by playing the faders.&#xD;&#xA;&#xD;&#xA;And again Justin is correct, backfilling is a must - but hopefully by properly preparing the dialogue track, most of the work's already done for you (and even more so if the dialogue premix turned out really clean and the dailies were clean too)&#xD;&#xA;&#xD;&#xA;It can be nice to provide an Optional track for Group ADR and related cut FX elements (e.g. dispatch radio edits, callouts edited to blend with the BG, speaker pages like Hospitals, etc).  That way its not part of the M&amp;E itself, but when the M&amp;E gets remixed with the overdub, they have the option if they want it - especially for something like radios which play so low they're more of texture, but nonetheless, if it has English, it will need to be maintained separately otherwise it will likely bounce QC and be problematic down the road - the Optional track is great for this kind of thing.&#xD;&#xA;&#xD;&#xA;Hope this helps!  M&amp;Es can be a very strict and disciplined process to learn, but it's a fantastic opportunity to learn how to think '2-steps-ahead' about organization and editorial to result in a smooth printmastering process." ContentLicense="CC BY-SA 3.0" />
  <row Id="22202" PostHistoryTypeId="2" PostId="13443" RevisionGUID="ccb0cd3e-db57-44aa-b21e-92450b16e8af" CreationDate="2012-04-08T10:36:26.787" UserId="3649" Text="try ModDB or Indie DB for starters finding other people making games you can make sounds for them and have someone else implement them into the games. :) good luck I wanted to do it but now am sticking to film." ContentLicense="CC BY-SA 3.0" />
  <row Id="22203" PostHistoryTypeId="2" PostId="13444" RevisionGUID="8e606ead-b0c4-4672-8a5e-d94db3a0d763" CreationDate="2012-04-08T10:48:18.517" UserId="3752" Text="Hey Michael!&#xD;&#xA;&#xD;&#xA;For learning by yourself I suggest you use either [Unreal Development Kit][1] or [Unity 3D][2]. They're both free and quite easy to get into. When I teach at Stockholm University I let my students replace the sfx in one of the UDK levels. It takes me about four hours to teach them the basics of the User Interface and implementation of audio. This is a great link for UDK:&#xD;&#xA;&#xD;&#xA;http://udn.epicgames.com/Three/VideoTutorials.html&#xD;&#xA;&#xD;&#xA;If you look at the ten first videos of &quot;User Interface&quot; and the six &quot;Sounds&quot; videos you're good to go. Just choose any level to mess around with.&#xD;&#xA;&#xD;&#xA;I recently launched a site that aims at providing resources for people like you. Incoming shameless self promotion:&#xD;&#xA;&#xD;&#xA;http://www.creatingsound.com&#xD;&#xA;&#xD;&#xA;I hope you'll find something of interest there. Under &quot;Free Sound Effects&quot; you'll have enough assets to get you started.&#xD;&#xA;&#xD;&#xA;When you've passed the first learning stage it's time to take your skills to the test. If you don't know anybody that makes games check the game dev forums. There's always someone looking to hook up with sound designers. Here's a simple rule: If they do it for free, you can do it for free. If they get payed, you get payed. You CAN of course work for free even though they get payed to get the experience but try to avoid it as much as possible.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;//Henrik&#xD;&#xA;&#xD;&#xA;  [1]: http://udk.com/&#xD;&#xA;  [2]: http://unity3d.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22204" PostHistoryTypeId="5" PostId="13443" RevisionGUID="6275f0b3-041c-4b40-97fc-14448959cb7a" CreationDate="2012-04-08T13:31:55.117" UserId="3649" Comment="added 83 characters in body" Text="try ModDB or Indie DB for starters finding other people making games you can make sounds for them and have someone else implement them into the games. :) good luck I wanted to do it but now am sticking to film.&#xD;&#xA;&#xD;&#xA;ALSO:&#xD;&#xA;&#xD;&#xA;check out the books GAME AUDIO TUTORIAL &amp; COMPLETE GUIDE TO GAME AUDIO" ContentLicense="CC BY-SA 3.0" />
  <row Id="22205" PostHistoryTypeId="2" PostId="13445" RevisionGUID="f0fc46a3-455e-4c39-a8f9-263074d0bc7f" CreationDate="2012-04-08T13:40:58.593" UserId="542" Text="I've been a Logic 8 user since it came out and recently switched to Pro Tools 10. &#xD;&#xA;&#xD;&#xA;I rarely use it for music production but rather for post stuff. For music production Logic is just fine and maybe a bit more comfortable than Pro Tools is. &#xD;&#xA;&#xD;&#xA;But as soon as you want to do some kind of post stuff: get Pro Tools.&#xD;&#xA;&#xD;&#xA;Even though I'm still a novice when it comes to PT my editing has become way faster and it's way more comfortable than Logic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For example: Logic can import OMFs in theorie, but most of the time it just won't work. PT on the other hand imports every OMF I tried so far. &#xD;&#xA;Another example: Logic let's you choose the type of crossfade...in theorie :) In reality it either crashes or doesn't change the fadetype.&#xD;&#xA;&#xD;&#xA;**So to sum it up**: Logic does offer a lot for the price and is a good start. But sooner or later you'l have to invest in a second DAW. If you still have a usuable version of Logic you should use that version and invest in another DAW...for example PT :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22206" PostHistoryTypeId="2" PostId="13446" RevisionGUID="2fbce5df-4882-4955-94ac-995bc6908173" CreationDate="2012-04-08T14:04:57.457" UserId="3756" Text="Hello-&#xD;&#xA;I'm a sound design/post production student and my old dell laptop is literally on its last legs. Could anyone recommend me a good laptop that would work well with pro tools, logic etc and has a decent graphics card? This is bearing in mind that I currently have pro tools 8 which the new macs apparently don't support and I can't afford an upgrade and a new laptop.&#xD;&#xA;Thank you :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22207" PostHistoryTypeId="1" PostId="13446" RevisionGUID="2fbce5df-4882-4955-94ac-995bc6908173" CreationDate="2012-04-08T14:04:57.457" UserId="3756" Text="Which laptop is best" ContentLicense="CC BY-SA 3.0" />
  <row Id="22208" PostHistoryTypeId="3" PostId="13446" RevisionGUID="2fbce5df-4882-4955-94ac-995bc6908173" CreationDate="2012-04-08T14:04:57.457" UserId="3756" Text="&lt;laptop&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22209" PostHistoryTypeId="2" PostId="13447" RevisionGUID="ebead248-54c9-48b7-8bf7-03f5792e60ed" CreationDate="2012-04-08T16:14:56.587" UserId="3299" Text="I haven't heard before of any Mac issues with Pro Tools 8, so you shouldn't have to worry about an upgrade. &#xD;&#xA;&#xD;&#xA;I bought myself a the 17&quot; MacBook Pro in 2010 as my first audio workstation. It's still going strong with Pro Tools 10. I can usually run sessions between 30 - 40 tracks with plugins without too much hassle. I went with the standard 4 gigs of RAM, so I still have room to expand. &#xD;&#xA;&#xD;&#xA;The graphics card is only ok (NVIDIA GeForce GT 330M), it's fine for video. Not much use for modern games.&#xD;&#xA;&#xD;&#xA;I was a PC user before, but feel very at home using the Mac now. Though I would consider a custom PC desktop in future." ContentLicense="CC BY-SA 3.0" />
  <row Id="22210" PostHistoryTypeId="5" PostId="13163" RevisionGUID="2fec8d8a-db04-42a5-b4ec-008987159020" CreationDate="2012-04-08T16:20:30.027" UserId="1216" Comment="added 72 characters in body" Text="Hi,&#xD;&#xA;&#xD;&#xA;Recently I've worked on a D-control ES, which was a real treat. Beautifull and thoughtfull design. Especially the embedded keyboard. trackball and screen arm swing are really great.&#xD;&#xA;Ever since working on it I miss the trackball especially. Normally I use a Wacom Bamboo, but sometimes in PT it's just not the right thing for the job. Specially scrolling through sessions was such a breeze with the trackball in the D-Control. The inertia, because of the weight of the ball, works magic. Just give it a jank and stop it where you need to be.&#xD;&#xA;&#xD;&#xA;Anyway, is there something comparable on the market, since I can't afford the real deal :)&#xD;&#xA;&#xD;&#xA;Thanks for any suggestions!&#xD;&#xA;&#xD;&#xA;Update: bought the kensington expert mouse, so far so good! Thanks!!&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="22211" PostHistoryTypeId="2" PostId="13448" RevisionGUID="8dda3679-434c-47c4-8cf9-57dad9053853" CreationDate="2012-04-08T16:57:50.087" UserId="3522" Text="I think the benefit of macs is the OS, It's a bit more audio world friendly. Going with a windows laptop will get you roughly the same specs of a new macbook for a lot less money but with the potential for compatibility issues (correct me if I'm wrong, haven't used windows for audio work in yonks). I went for a 15&quot; macbook pro back in 2011 and upgraded to 8gb of ram and also installed windows on it via bootcamp. I'm a student so it was financially crippling... but worth it.&#xD;&#xA;&#xD;&#xA; I'm running protools 10 now but I was running 8 up until a few weeks ago, didn't have any compatibility issues what so ever. &#xD;&#xA;&#xD;&#xA;Remember you get the educational discount on mac computers and lots of cashback sites (quidco etc) offer cashback on apple purchases, at least they do in the UK, so you can probably get a few extra quid off it that way." ContentLicense="CC BY-SA 3.0" />
  <row Id="22212" PostHistoryTypeId="2" PostId="13449" RevisionGUID="a201a389-3620-4322-b147-fd52c64d1e68" CreationDate="2012-04-08T17:53:01.430" UserId="390" Text="I just completed editing my first professionally produced audiobook. It was about 130,000 words and I completed the project and submitted it on the deadline at 6 weeks. In my own personal post-mortem review, I felt that there were areas I could improve in streamlining the editing process in Pro Tools. For example, I could minimize temporary burnouts by scheduling mini breaks and shorter production goals. Instead of editing until my legs fall asleep and my ears fall of my head, I should consider editing for 30 minutes and take a 5 minute break.  Ultimately, I want to be able to work efficiently enough to juggle 2 or more editing projects in a 6 week period (if possible). To be honest, I don't see myself taking on more than 2 big audiobooks in the same 6 week period. &#xD;&#xA;&#xD;&#xA;So, with that said, how do you pace yourself when editing an audiobook? " ContentLicense="CC BY-SA 3.0" />
  <row Id="22213" PostHistoryTypeId="1" PostId="13449" RevisionGUID="a201a389-3620-4322-b147-fd52c64d1e68" CreationDate="2012-04-08T17:53:01.430" UserId="390" Text="How fast are you editing an Audiobook?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22214" PostHistoryTypeId="3" PostId="13449" RevisionGUID="a201a389-3620-4322-b147-fd52c64d1e68" CreationDate="2012-04-08T17:53:01.430" UserId="390" Text="&lt;audiobook&gt;&lt;editing&gt;&lt;speed&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22215" PostHistoryTypeId="2" PostId="13450" RevisionGUID="92c5e823-94d4-46c8-8f05-615154ce29c5" CreationDate="2012-04-08T18:06:14.847" UserId="533" Text="First question to ask is do you already have a DAW. If it is Logic 8, then you might not need Logic 9 if you can get something else. IMHO its not that big a difference.&#xD;&#xA;&#xD;&#xA;I have been using both Logic and Pro Tools for quite some time now and they are really two different pieces of software to me. For music composition, it is hands down Logic for me. MIDI is better(Pro Tools is catching up on this), freeze tracks is crucial for big compositions, performance is slightly better with virtual instruments, and multi-timbral instruments like Kontakt makes so much more sense in Logic than Pro Tools. Bouncing multiple tracks for a mixdown is a dream in Logic but a nightmare in Pro Tools. Real time bounce in Pro Tools just doesn't help with bouncing all your MIDI tracks to audio.&#xD;&#xA;&#xD;&#xA;Pro Tools on the other hand is king in audio editing and processing. Having multiple Audiosuites open are great for sound design, audio editing is easier to do precise edits, hotkeys are amazing(crucial for being a serious sound editor), OMF import and syncing to video is simpler. Basically, its a powerhouse for post-production. The plugins that come with Pro Tools isn't as comprehensive as Logic especially when it comes to instruments but the audio processing stuff are good. You will need to supplement it with some third party plugins eventually like a convolution reverb, doppler, etc. But only if you need them. Logic too doesn't come with everything.&#xD;&#xA;&#xD;&#xA;If you already have Logic 8, just go ahead and get Pro Tools 10. With the education discount and 4 years of upgrades, its the best version of Pro Tools ever. The iLok will be justified once you start getting into buying more plugins as the big names like SoundToys, SPL, EastWest, etc also use it. Having an iLok isn't that bad when compared to the days of carrying an MBox around.&#xD;&#xA;&#xD;&#xA;If you are just looking around for another DAW, do take a look at Reaper. I like it for working with MIDI, it comes with an amazing set of plugins and it really cheap. It better suited to music composition and music mixing rather than post production sound. But I like it because it is extremely lightweight but extremely flexible. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22216" PostHistoryTypeId="2" PostId="13451" RevisionGUID="58766d89-1764-4bdd-8b6c-b30e57e570a9" CreationDate="2012-04-08T18:29:27.817" UserId="533" Text="I have seen some cases of Jack being used successfully so it seems like a good shot to me.&#xD;&#xA;&#xD;&#xA;You really need a pre to bump up the gain. I don't see the need for stereo miking unless you really need the stereo information. I would go with an omni-directional mic in the center of the room. Depending on the acoustics of the room, you might end up with too much room sound and not enough clear speech. This would affect the output of the processed audio. Test with different placements of different mics to find the best solution before getting more gear. &#xD;&#xA;&#xD;&#xA;For processing the audio, I usually use a granulator like KTGranulator or the [Michael Norris Spectral Plugins][1]. These two will make all speech unintelligible. For more extremely sounding ones, you can add a Destroy FX or two. A combination of these plugins will give you a wide selection of sounds.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.michaelnorris.info/software/soundmagic-spectral.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="22217" PostHistoryTypeId="2" PostId="13452" RevisionGUID="99db7348-a24c-46e4-96ea-39429cb9f309" CreationDate="2012-04-08T20:31:14.433" UserId="37" Text="Yet another way to categorise them: Are you going to work with recorded or generated sounds. Are you going to be editing waveforms or editing MIDI? &#xD;&#xA;&#xD;&#xA;Pro Tools is the industry standard for sound to picture, in the traditional sense of &quot;tracks and stems of categories of elements&quot;. The only other name in the field is Nuendo (a steep cost of entry). PT is also well suited to working with recorded material in terms of wave files so when it comes to tracking rock bands, it's been there for ages too. But for producing MIDI-based music, Logic has the upper hand between the two (Avid have Sibelius on that front) with a massive collection of samples and incredible software synths. And Logic's individual waveform editing/management is dismal.&#xD;&#xA;&#xD;&#xA;Most of us, I think, we end up with two DAWs (or more). I have Logic for music and Pro Tools for anything to do with sound editing. Then again, for more designed sounds, I reach for Logic again. And for serious work to picture, Pro Tools it is. I have a love&amp;hate relationship with both DAWs, and unfortunately no change is in sight. On the positive side, Pro Tools is a lot less up its own arse than it used to be. On the negative, Logic seems to be losing touch with the idea of being a stable and (above all and excuse the pun) &quot;logical&quot; app, so there's a certain anticipation towards Logic X. &#xD;&#xA;&#xD;&#xA;Finally, Komplete. I've done a lot of work with Komplete 4, which I then upgraded to 6, purely because of NI's upgrade drive/campaign. 7 can last you until you use it to earn for 8 or who knows, 9. Same with Logic vs Pro Tools. Spend wisely. Oh, finally, some clients wait to hear &quot;I use Pro Tools&quot; come out of your mouth before they give you work. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22218" PostHistoryTypeId="2" PostId="13453" RevisionGUID="beba1105-318f-4530-9a35-7e52928573ec" CreationDate="2012-04-08T20:44:43.420" UserId="37" Text="Macbook Pro, as long as you don't read Apple's community forums, which will have you thinking Mac users deal with technical issues by way of weird rituals and shamanism.&#xD;&#xA;&#xD;&#xA;I've said it before - PCs do tend to end up more specialised because of drivers/registry/DLL conflicts, whereas the Mac platform is a bit more neutral to the kind of software you load it with. It's to do with software architecture, the hardware is often equivalent. Actually, hardware on PCs is &lt;del&gt;better&lt;/del&gt; more powerful. Mac software, especially the OS, tends to remind you of itself less often.&#xD;&#xA;&#xD;&#xA;To base your decision on having to support PT8 is looking backward, not forward. A mistake.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22220" PostHistoryTypeId="2" PostId="13455" RevisionGUID="d32d3aea-25c2-4ff0-a90b-ea838d11d444" CreationDate="2012-04-09T00:10:31.447" UserId="1117" Text="seen as you want to use logic, that narrows it down to a mac.&#xD;&#xA;&#xD;&#xA;goodluck" ContentLicense="CC BY-SA 3.0" />
  <row Id="22221" PostHistoryTypeId="2" PostId="13456" RevisionGUID="5fd2b9e4-c43a-4690-8492-f4d4eaef13c1" CreationDate="2012-04-09T05:40:20.357" UserId="3567" Text="Well, first of all you can drop Pro Tools and start using a linear editing software. I have been using Adobe Audition since it was called Cool Edit, and I never had an issue with it. &#xD;&#xA;&#xD;&#xA;Secondly, try to use as much single key shortcuts as possible, so that you minimize the number of actions required for a process. &#xD;&#xA;&#xD;&#xA;Thirdly, get a cat. It won't let you work for lengthy periods of time, as it constantly needs attention, food, milk, or just wants to annoy you." ContentLicense="CC BY-SA 3.0" />
  <row Id="22222" PostHistoryTypeId="2" PostId="13457" RevisionGUID="ad26ab29-9735-4ec4-a127-afb001ee7a0a" CreationDate="2012-04-09T06:47:10.197" UserId="1228" Text="While I haven't specifically done Audiobook editing, I have edited VO and Narration (close cousins to Audiobook).  And the closest comparison I can draw is dialogue editorial.&#xD;&#xA;&#xD;&#xA;here's a post which may help:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/13115/looking-for-some-help-on-dialogue-editing/13159#13159&#xD;&#xA;&#xD;&#xA;First, I respectfully disagree with George on the decision to go away from a NLE like ProTools.  I can't even fathom how painful dialogue (and dialogue-related) editorial would be if I couldn't chop, splice, arrange, and nudge around my material in a sort of 'sandbox' of tracks with flexible regions of sound.  Especially because many times we're working on sub-frame scales to do triage work and stealing phonetic pieces here and a consonant or vowel there to make correction, chopping out a pop here or smoother over the lip smack there.&#xD;&#xA;&#xD;&#xA;When I cut dialogue, I prefer to take the 3-pass approach noted above in the link.  Above all else it helps me stay on schedule and devote equal amounts of time to the dialogue - and it prevents the psychological 'writers block' from occurring where the editing feels like its' never ending - making it through to the end once provides a sigh of relief, and comfort that you can easily do it again on the next pass and it eventually won't feel daunting as though you're never going to reach it.  During the first two passes, I have a rule which may help you.  When I roll up upon a challenging place which needs work to massage it into place, I'll allow myself 2 minutes to fix it - if I can't make it happen in those 2 minutes, I'll drop a marker and move on, wherein I'll take another stab at it on the next pass.  Funny enough too, coming back to it later with fresh ears and clear mind can make it really easy to solve.  I've personally had some situations where I spent a lot of time trying to make a scene work, gave up and moved on.  I can back the following week during my next pass, and banged out the scene in a matter of minutes.&#xD;&#xA;&#xD;&#xA;I do agree with George about shortcuts though, learn your shortcuts.  The essentials for dialogue in my opinion are hotkeys for trimming, duplicating, snapping regions (front and tail snapping), selections, nudging, nudge value changes - amongst some others.&#xD;&#xA;&#xD;&#xA;Aside from that, a lot of it just takes repetitive practice.  My first dialogue edits for 90 minute material probably took me six weeks too.  But through a lot of repetition and developing a workflow which works for me, I've got it down to banging out a solid, detailed dialogue edit of equivalent duration in about 2-3 weeks tops (and on some brutally-fast occasions, 1-2 weeks - but I don't recommend that, and in those cases usually 'pass 2' from that link gets sacrificed for all but the most egregious problems).&#xD;&#xA;&#xD;&#xA;Frequent breaks help too.  A 5 min break every hour or two is what works for me.  Sand up, stretch, make any phone calls you need to make, go grab the mail, go for a walk, a bathroom break - just something to clear your head for a few moments and ground yourself again.  For me this is especially critical when undergoing 'pass 2' because of how micro-detailed and grueling of a process it can feel.&#xD;&#xA;&#xD;&#xA;With time and persistence, you will get faster and more proficient at it than you probably feel right now.  Unfortunately dialogue/voice editorial is one of those skills which can't be rushed but in due time, you will see results and reap the rewards of 'paying your dues' from within the trenches of repetition." ContentLicense="CC BY-SA 3.0" />
  <row Id="22224" PostHistoryTypeId="2" PostId="13459" RevisionGUID="e1bb34e7-7fed-4749-b0e3-410f7e9b7066" CreationDate="2012-04-09T11:01:59.693" UserId="244" Text="Hi, ive been recording sound for a tv show recently. I record the sound separately to the camera using  portable recorder and a couple lapel (wireless) mics... Checking that on the camera their samples rates are: 48/16 and 24fps. So naturally, i adjust my own rates accordingly to match... &#xD;&#xA;However, later in post when syncing.. if there is a visual cut of more than approx. 40mins it seems to fall out... &#xD;&#xA;Can anyone give us a heads up on why, and what you could suggest to avoid this problem??&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22225" PostHistoryTypeId="1" PostId="13459" RevisionGUID="e1bb34e7-7fed-4749-b0e3-410f7e9b7066" CreationDate="2012-04-09T11:01:59.693" UserId="244" Text="Sync Issues and sample/bit rates" ContentLicense="CC BY-SA 3.0" />
  <row Id="22226" PostHistoryTypeId="3" PostId="13459" RevisionGUID="e1bb34e7-7fed-4749-b0e3-410f7e9b7066" CreationDate="2012-04-09T11:01:59.693" UserId="244" Text="&lt;sync&gt;&lt;sample-rate&gt;&lt;bit-depth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22227" PostHistoryTypeId="2" PostId="13460" RevisionGUID="53853972-328d-423e-a34d-44b5c92ef807" CreationDate="2012-04-09T12:00:06.997" UserId="432" Text="There are any number of things that could be contributing to it, but the most likely culprit is the frame rate...24 is a freakin' minefield! The biggest issue with 24fps, is that there are multiple formats: true 24, 24P, 24PsF, and 23.976 (sometimes abbreviated as 23.98). It's important to note that these are all slightly different...they are not interchangeable. Some cameras will label 23.976 as &quot;24&quot; or &quot;24P,&quot; even though they aren't technically running in either of those formats (you'd need to check the manual to confirm the actual frame rate). So, that's my first guess...despite your efforts to avoid it, you've probably got a mismatch in frame rates.&#xD;&#xA;&#xD;&#xA;Another possibility is the edit software (specifically Final Cut Pro). We've run into a particular issue here at work with FCP7 where it rewrites the header information of the audio files on import. This causes the audio to run at the incorrect rate (whether it runs faster or shorter seems to be a coin toss). The only way we've found to fix this issue (when it happens) is to delete the offending audio files from the system (remember the header file has already been rewritten, it's buggered for all time), trash all of the preferences for FCP, then re-copy and import the audio files into the project.&#xD;&#xA;&#xD;&#xA;That's all I can think of at the moment. If you have a clap stick (or something similar to stand in for one), using it at the head and tail of a scene can at least give you an additional option for fixing during edit (time compression/expansion to get it to match).&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="22228" PostHistoryTypeId="2" PostId="13461" RevisionGUID="6e23df61-47ba-4e63-955e-427a412e46a4" CreationDate="2012-04-09T16:16:41.433" UserId="1228" Text="To extrapolate upon Shaun's solid answer, have you checked for pulldown?  A skew of that much within that duration time has me guessing theres either an 0.10$ pullup/pulldown which needs to be corrected for.  Hit CRLT+2 in PT and check the bottom section for Pullup/Pulldown and see if any of the NTSC presets (+/- 0.10%) seem to fix the problem, at least virtually within PT." ContentLicense="CC BY-SA 3.0" />
  <row Id="22229" PostHistoryTypeId="2" PostId="13462" RevisionGUID="03f13d87-9d3a-41d6-a087-6898334d695d" CreationDate="2012-04-09T19:58:57.763" UserId="3730" Text="If the ticks are quite high pitched and regular then the prob could be the antenna connection issues and probably on the transmitter side. Check the shielding is properly connected , maybe resolder to be sure" ContentLicense="CC BY-SA 3.0" />
  <row Id="22230" PostHistoryTypeId="2" PostId="13463" RevisionGUID="fc83d0f2-f285-45b3-af6a-0b4ea5e8db54" CreationDate="2012-04-09T20:40:13.347" UserId="3145" Text="http://soundcloud.com/william-hooper-1/wind-down-and-up&#xD;&#xA;&#xD;&#xA;Here's an effect I would like to re-create. It doesn't sound like a pitch down as much as a synth effect.  Is this done with software, synth software like Alchemy, or synth hardware?  This kind of effect is probably sound design 101.  Where would I start?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22231" PostHistoryTypeId="1" PostId="13463" RevisionGUID="fc83d0f2-f285-45b3-af6a-0b4ea5e8db54" CreationDate="2012-04-09T20:40:13.347" UserId="3145" Text="Slow motion, pitch down, machine off and wind down effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="22232" PostHistoryTypeId="3" PostId="13463" RevisionGUID="fc83d0f2-f285-45b3-af6a-0b4ea5e8db54" CreationDate="2012-04-09T20:40:13.347" UserId="3145" Text="&lt;pitch-shifting&gt;&lt;slow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22233" PostHistoryTypeId="2" PostId="13464" RevisionGUID="1ee33193-277c-4557-9ff9-11213daeaee0" CreationDate="2012-04-09T21:41:24.407" UserId="3214" Text="Hi,&#xD;&#xA;&#xD;&#xA;I could well be wrong, but it sounds like this sound is created by a couple of synthesisers.&#xD;&#xA;There is the initial impact, followed by a wave lowering in pitch with the lfo slowing down.&#xD;&#xA;Then there is a choir style pad coming in and raising in volume at the end and the wind style one too.&#xD;&#xA;I would go about this using plugin synthesisers and layer it up- not used alchemy before but should be able to do it quite nicely in the ES2 in Logic or something similar.&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="22234" PostHistoryTypeId="2" PostId="13465" RevisionGUID="001dab1c-9183-473e-97bb-1c8ecfcbf70c" CreationDate="2012-04-10T03:51:38.987" UserId="3223" Text="Heading to Saudi Arabia later this week for a doc. Should have several days off in which I plan to do as much field recording as possible. Any thoughts regarding what to record/specific requests?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22235" PostHistoryTypeId="1" PostId="13465" RevisionGUID="001dab1c-9183-473e-97bb-1c8ecfcbf70c" CreationDate="2012-04-10T03:51:38.987" UserId="3223" Text="Middle Eastern Atmos" ContentLicense="CC BY-SA 3.0" />
  <row Id="22236" PostHistoryTypeId="3" PostId="13465" RevisionGUID="001dab1c-9183-473e-97bb-1c8ecfcbf70c" CreationDate="2012-04-10T03:51:38.987" UserId="3223" Text="&lt;field-recording&gt;&lt;ambience&gt;&lt;atmosphere&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22237" PostHistoryTypeId="2" PostId="13466" RevisionGUID="82f4049b-2862-42b9-bbe5-d158c0622132" CreationDate="2012-04-10T05:08:50.357" UserId="6435" Text="Desert ambiences and open-air markets spring to mind. I have a friend who grew up there; let me ask her what else to go after." ContentLicense="CC BY-SA 3.0" />
  <row Id="22238" PostHistoryTypeId="2" PostId="13467" RevisionGUID="1930d142-5513-48d3-864c-62548aaf2250" CreationDate="2012-04-10T05:33:52.330" UserId="61" Text="Such a great opportunity! I encourage you to record the everyday hustle and bustle of life…you probably won't need to travel too far to find really interesting material. Try settling in somewhere for a couple of hours; once people forget you are standing around with a microphone they will return to their normal behaviors, much like nature recording.&#xD;&#xA;&#xD;&#xA;And please consider posting your treasure trove so we can all enjoy it! Be safe - " ContentLicense="CC BY-SA 3.0" />
  <row Id="22239" PostHistoryTypeId="2" PostId="13468" RevisionGUID="d3fd1369-7a19-42de-b27a-d48d66e46187" CreationDate="2012-04-10T05:34:51.153" UserId="842" Text="That particular effect is quite simple to do. As I don't know you (that I know of), I'm gonna assume you see the initial hit as a part of the sound your looking for, but not the choir at the end. That hit is part of the soundbanks of my Roland SPD-20 drumpad-set actually. Don't know what it's named as I don't know where my manual is and the settings is made by simple numbers, not names, but it's probably incorporated in many of Roland's late 90's/early 2K's units. As for the falling sound, I've made similar ones with my Ensoniq SQ-80 synth. It's not easy to say exactly what waveform it is, but my best guess is it might be a single wave, IE both the positive and negative cycle, from a denser part of an orchestra. Possibly an orchestral hit. It is then simply pitch-bended, and that can be made easily with both hardware and software, with a delayed LFO controlling volume.&#xD;&#xA;&#xD;&#xA;THE HARD BUT PURELY SYNTH WAY:&#xD;&#xA;LFO means Low Frequency Oscillator, and is quite simply not a sound, it's a controller used for practically anything you want to make wobble one way or another. In this case it sounds like a sine-wave controlled by two other controllers; an envelope (controlling speed of Attack and Decay, as well as level of sustained signal) on Volume set to give a delayed Tremolo-effect, and a bender for frequency.&#xD;&#xA;&#xD;&#xA;THE EASY BUT EDIT-BASED WAY: And also the one I'd bet a dollar these guys actually used for the falling sound: Take said ochesta-wave, give it a delayed LFO with fixed frequency. Record a sustained note for as long as you need. Import the sound in any audio editor able to pitch by envelope, and draw/pull the shape you want. Done! :-)&#xD;&#xA;&#xD;&#xA;It also sounds like having a bitcrusher on it, but as I have no clue where the original came from it might just be this version." ContentLicense="CC BY-SA 3.0" />
  <row Id="22240" PostHistoryTypeId="5" PostId="13468" RevisionGUID="087d1ed4-8582-4833-8ff8-afe18cb9df1a" CreationDate="2012-04-10T08:49:33.137" UserId="842" Comment="added 346 characters in body" Text="That particular effect is quite simple to do. As I don't know you (that I know of), I'm gonna assume you see the initial hit as a part of the sound your looking for, but not the choir at the end. That hit is part of the soundbanks of my Roland SPD-20 drumpad-set actually. Don't know what it's named as I don't know where my manual is and the settings is made by simple numbers, not names, but it's probably incorporated in many of Roland's late 90's/early 2K's units. As for the falling sound, I've made similar ones with my Ensoniq SQ-80 synth. It's not easy to say exactly what waveform it is, but my best guess is it might be a single wave, IE both the positive and negative cycle, from a denser part of an orchestra. Possibly an orchestral hit. It is then simply pitch-bended, and that can be made easily with both hardware and software, with a delayed LFO controlling volume.&#xD;&#xA;&#xD;&#xA;THE HARD BUT PURELY SYNTH WAY:&#xD;&#xA;LFO means Low Frequency Oscillator, and is quite simply not a sound, it's a controller used for practically anything you want to make wobble one way or another. In this case it sounds like a sine-wave controlled by two other controllers; an envelope (controlling speed of Attack and Decay, as well as level of sustained signal) on Volume set to give a delayed Tremolo-effect, and a bender for frequency. The advantage with this way is that you have full control over it and can tune it very precisely for what it's intended for.&#xD;&#xA;&#xD;&#xA;THE EASY BUT EDIT-BASED WAY: And also the one I'd bet a dollar these guys actually used for the falling sound: Take said ochesta-wave, give it a delayed LFO with fixed frequency. Record a sustained note for as long as you need. Import the sound in any audio editor able to pitch by envelope and without time compensation, and draw/pull the shape you want. Done! :-) This way is much faster, but once processed it can't be changed back again. Of course you can use realtime pitchshifters for the pitch-effect, but they'll not affect the speed of the wobble.&#xD;&#xA;&#xD;&#xA;It also sounds like having a bitcrusher on it, but as I have no clue where the original came from it might just be this version." ContentLicense="CC BY-SA 3.0" />
  <row Id="22241" PostHistoryTypeId="6" PostId="6557" RevisionGUID="4ca12698-decf-4d37-b155-5046f5be91e1" CreationDate="2012-04-10T10:08:49.063" UserDisplayName="user80" Comment="Added tag" Text="&lt;boom-operator&gt;&lt;edirol&gt;&lt;production-sound&gt;&lt;r-44&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22242" PostHistoryTypeId="2" PostId="13469" RevisionGUID="5049a191-6f58-4807-bfe6-a9a5a55a9769" CreationDate="2012-04-10T10:15:23.950" UserDisplayName="user80" Text="I am thinking about upgrading the preamps in my Edirol R-44 as I really like the recorder, but find the mic preamps a little noisy.&#xD;&#xA;&#xD;&#xA;If you have modified yours, which mod did you go for and how successful do you think it is?  Is it quieter and has it it changed the tonal balance?&#xD;&#xA;&#xD;&#xA;Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="22243" PostHistoryTypeId="1" PostId="13469" RevisionGUID="5049a191-6f58-4807-bfe6-a9a5a55a9769" CreationDate="2012-04-10T10:15:23.950" UserDisplayName="user80" Text="Edirol R-44 mic preamp mods" ContentLicense="CC BY-SA 3.0" />
  <row Id="22244" PostHistoryTypeId="3" PostId="13469" RevisionGUID="5049a191-6f58-4807-bfe6-a9a5a55a9769" CreationDate="2012-04-10T10:15:23.950" UserDisplayName="user80" Text="&lt;edirol&gt;&lt;r-44&gt;&lt;pre-amp&gt;&lt;modification&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22245" PostHistoryTypeId="5" PostId="13469" RevisionGUID="6ca52202-bfd9-40af-a993-db78a9834a71" CreationDate="2012-04-10T10:25:43.447" UserDisplayName="user80" Comment="added 83 characters in body" Text="I am thinking about upgrading the preamps in my Edirol R-44 as I really like the recorder, but find the mic preamps a little noisy.&#xD;&#xA;&#xD;&#xA;If you have modified yours, which mod did you go for and how successful do you think it is?  Is it quieter and has it it changed the tonal balance?&#xD;&#xA;&#xD;&#xA;I am also considering 4 Sound Devices MP-1s, which is probably the best option.&#xD;&#xA;&#xD;&#xA;Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="22246" PostHistoryTypeId="2" PostId="13470" RevisionGUID="b3f92a1b-d91e-47f3-8b14-456c030786c7" CreationDate="2012-04-10T11:12:03.517" UserId="6462" Text="Probably better to go for 2 mixpre's or mixpre D's than 4 MP1's! Much less to carry about and less batteries!! A mixpre weighs about the same as an MP1!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22247" PostHistoryTypeId="5" PostId="13466" RevisionGUID="57a2f4f3-ac77-44e5-b5af-c8aef268adab" CreationDate="2012-04-10T15:23:21.800" UserId="6435" Comment="added information" Text="Desert ambiences and open-air markets spring to mind. I have a friend who grew up there; let me ask her what else to go after.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Addendum: @Rob - She says, &#xD;&#xA;&#xD;&#xA;&quot;We went to a small city called Al-Khobar all the time to go shopping, and there's some hustle &amp; bustle of cars, buses, people walking &amp; talking, etc. Except for the language, though, it's&#xD;&#xA;not much different from other cities. That is, until prayer time. Almost&#xD;&#xA;all mosques have speakers that broadcast the prayer calls outside so that&#xD;&#xA;folks can pray wherever they are. That's pretty cool. You can't miss it&#xD;&#xA;because all the stores close for about 15 minutes.&#xD;&#xA;&#xD;&#xA;My favorite place was Hofuf, which was a small village near an old fort,&#xD;&#xA;and it had a couple of markets, including the camel market and the folks&#xD;&#xA;who make pottery. The camel market is full of great sounds, as you can imagine. I'm sure there&#xD;&#xA;are several in the kingdom.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22248" PostHistoryTypeId="2" PostId="13471" RevisionGUID="e13d1d33-28a2-4afb-b07c-cde939304114" CreationDate="2012-04-10T18:24:35.567" UserId="6462" Text="I'm going to be slated by people on here for what i'm about to say! But here goes!&#xD;&#xA;&#xD;&#xA;Anyone even considering using the H4N as a production sound recorder should not do production sound. It's impractical, does not sound good, badly built and generally just not a nice piece of kit to use. It's a backup/emergency recorder not a primary recorder at all.&#xD;&#xA;&#xD;&#xA;If you are seriously considering doing production sound, take my advice and DO NOT go down this route, you will not be taken seriously if you turn up on set with a Zoom and an ME66.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22249" PostHistoryTypeId="2" PostId="13472" RevisionGUID="c00f78db-767d-4cae-9c7a-9de136ced8e7" CreationDate="2012-04-10T19:20:27.733" UserId="6462" Text="I'm visiting Dubai for a vacation next week and want to also do a little field recording. Has anyone any suggestions of good places to record, interesting markets etc. I'm intending to go to the top of the Burj Kalifah (tallest building on earth) and hope to record something up there, don't know if there will be any thing but there might be some interesting sounds at 700m!!&#xD;&#xA;Would be great to hear of any suggestions?&#xD;&#xA;&#xD;&#xA;I'm just taking my D50 as don't want to take too much equipment." ContentLicense="CC BY-SA 3.0" />
  <row Id="22250" PostHistoryTypeId="1" PostId="13472" RevisionGUID="c00f78db-767d-4cae-9c7a-9de136ced8e7" CreationDate="2012-04-10T19:20:27.733" UserId="6462" Text="What to record in Dubai?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22251" PostHistoryTypeId="3" PostId="13472" RevisionGUID="c00f78db-767d-4cae-9c7a-9de136ced8e7" CreationDate="2012-04-10T19:20:27.733" UserId="6462" Text="&lt;field-recording&gt;&lt;portable-recorder&gt;&lt;pcm-d50&gt;&lt;sony-pcm-d50&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22252" PostHistoryTypeId="2" PostId="13473" RevisionGUID="e8d0eb0a-aa91-4d70-b6e2-d27554d0c19d" CreationDate="2012-04-10T20:23:51.960" UserId="432" Text="The monorail/transit system is widely underused, and could help you collect some clean transit sounds. The gold or spice souqs aren't bad to visit for general outdoor crowd ambiences, but I don't remember when they're busiest. The spice souq is also right by a canal/river, usually with some decent activity (boats, people loading/unloading gear, and call to prayers that happen at multiple nearby mosques that create an interesting ambience all their own). Plenty of beaches to collect surf sounds as well. You may also want to look into if there are any horse races going on while you're there...interesting sounds from the spectators' perspective." ContentLicense="CC BY-SA 3.0" />
  <row Id="22253" PostHistoryTypeId="5" PostId="12959" RevisionGUID="6025370e-f343-4267-b9bc-cc3b4c4c73e6" CreationDate="2012-04-10T20:50:06.130" UserId="845" Comment="edited body" Text="I tend to think more in terms of textures, i.e. soft, hard, rough, smooth, shakey, clear, foggy, gritty, silky.&#xD;&#xA;&#xD;&#xA;Once you know how you want your sounds to move, it's much easier to start putting together a coherent collection of sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="22254" PostHistoryTypeId="2" PostId="13474" RevisionGUID="c4d468ba-05cd-4f71-9a2f-58a98ab4aa85" CreationDate="2012-04-11T01:07:21.807" UserId="3363" Text="Hi there. It's true about not being taken seriously on a professionally-crewed (to some degree at least) multi-mic shoot with a Zoom, however it seems to me that people on this thread and site are not considering its use in that context anyway. &#xD;&#xA;&#xD;&#xA;On the other hand, I've worked on shorts and corporate things where a Zoom was used, and (although I am stating the obvious here) the only issues for me were the competency of the recordist / boom operator, as opposed to the Zoom's inherent qualities. In context, let's be honest, it's far worse to have bad coverage and badly miked dialog than anything audible in the Zoom's circuitry. However, SC Audio is right again - the Zoom is only a first step for an aspiring production recorder, and as soon as budget permits should be relegated to a secondary / off-set recording role.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="22255" PostHistoryTypeId="5" PostId="13474" RevisionGUID="2fe3d2be-510c-4225-ac30-5a41103d0812" CreationDate="2012-04-11T06:00:13.357" UserId="3363" Comment="added 228 characters in body" Text="Hi there. It's true about not being taken seriously on a professionally-crewed (to some degree at least) multi-mic shoot with a Zoom, however it seems to me that people on this thread and site are not considering its use in that context anyway. &#xD;&#xA;&#xD;&#xA;On the other hand, I've worked on shorts and corporate things where a Zoom was used, and (although I am stating the obvious here) the only issues for me were in the work of the sound recordist / boom operator, as opposed to the Zoom's inherent qualities. In context, let's be honest, it's far worse to have bad coverage and badly miked dialog than anything audible in the Zoom's circuitry. In the end it is the quality of the recording decisions that ends up counting to the post audio person. However, SC Audio is right again - the Zoom is a first step for an aspiring production recorder, and as soon as budget permits would mostly be relegated to a secondary / off-set recording role (plus there are some noise issues when combining some mics together with the Zoom, but these can mostly be worked around). " ContentLicense="CC BY-SA 3.0" />
  <row Id="22256" PostHistoryTypeId="2" PostId="13475" RevisionGUID="53c7c994-77d3-468a-b472-97841bbc9cab" CreationDate="2012-04-11T07:56:10.400" UserId="6524" Text="Hey nice to know your heading where I lived my whole life (It sucks though you'll see..). If your out for crowds you can check out Karama Near The Fish Market or a huge shopping mall called Dragon Mart, I haven't been to these places in a while but when I used to it was almost always crowded in the evenings. Be sure to get some stuff specific to Dubai like in the Metro (You can't chew gum or fall asleep in there, it's stupid but trust me my brother almost got in trouble for dosing off one time.) If your going to be heading to the Burj Khalifa* you should also check out some fountain show the mall beside it called Dubai Mall has. It's similar to the thing in Vegas (It's made by the same people apparently), you can get more crowds there, but I'm not quite sure about the timings. If you go on a desert safari which I'd recommend it's really fun, if you stay little evening they have belly dancers and arab music performances, ask them if their live players just to be sure. Anyway have fun, hope this isn't a messy post I'm just spitting out ideas off the top of my head. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22257" PostHistoryTypeId="5" PostId="13475" RevisionGUID="4cb37c6c-318c-47f7-8bec-303c90e695bf" CreationDate="2012-04-11T08:03:40.280" UserId="6524" Comment="added 12 characters in body" Text="Hey nice to know your heading where I lived my whole life (It sucks though you'll see..). If your out for crowds you can check out Karama Near The Fish Market or a huge shopping mall called Dragon Mart, I haven't been to these places in a while but when I used to it was almost always crowded in the evenings. Be sure to get some stuff specific to Dubai like in the Metro (You can't chew gum or fall asleep in there, it's stupid but trust me my brother almost got in trouble for dosing off one time.) If your going to be heading to the Burj Khalifa* you should also check out some fountain show the mall beside it called Dubai Mall has. It's similar to the thing in Vegas (It's made by the same people apparently), you can get more crowds there, but I'm not quite sure about the timings. If you go on a desert safari which I'd recommend it's really fun, if you stay till the evening they have belly dancers and middle eastern music performances, ask them if their live players just to be sure. Anyway have fun, hope this isn't a messy post I'm just spitting out ideas off the top of my head. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22258" PostHistoryTypeId="2" PostId="13476" RevisionGUID="9d21281d-d886-4d39-9b8e-ae14a17f2ca6" CreationDate="2012-04-11T08:36:00.077" UserId="961" Text="Hi&#xD;&#xA;Finlay I've bought another dynaudio bm5a and put it in front of me, as my new center monitor, a first step in the changing my stereo room into a 5.1 environment.&#xD;&#xA;&#xD;&#xA;I have digi 003, protools 10, and complete production toolkit.&#xD;&#xA;The new center monitor is plugged on out 3, in the digi 003.&#xD;&#xA;&#xD;&#xA;Only problem is, i can not find a decent way to calibrate all of my monitors now, because the main volume out knob doesn't effect the output 3, and so its so loud, and i have this wired feeling that i no longer can trust my ears in &quot;knowing&quot; the room, and how it will react on other stages.&#xD;&#xA;&#xD;&#xA;does anyone knows how to calibrate (with out an spl meter, and without surround controller) my room, so I'll have my confidence back, and could easily bounce LCR waves to DCP low budget films I'm editing.&#xD;&#xA;&#xD;&#xA;thanks a million&#xD;&#xA;&#xD;&#xA;n&#xD;&#xA;.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="22259" PostHistoryTypeId="1" PostId="13476" RevisionGUID="9d21281d-d886-4d39-9b8e-ae14a17f2ca6" CreationDate="2012-04-11T08:36:00.077" UserId="961" Text="surround set up with digi 003." ContentLicense="CC BY-SA 3.0" />
  <row Id="22260" PostHistoryTypeId="3" PostId="13476" RevisionGUID="9d21281d-d886-4d39-9b8e-ae14a17f2ca6" CreationDate="2012-04-11T08:36:00.077" UserId="961" Text="&lt;5.1&gt;&lt;surround-sound&gt;&lt;digidesign&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22261" PostHistoryTypeId="2" PostId="13477" RevisionGUID="b468035b-84fd-4dba-a42c-22bfd362c0c3" CreationDate="2012-04-11T11:28:46.517" UserId="3212" Text="Hi,&#xD;&#xA;&#xD;&#xA;I've been having problems with my clip mics for a little while. I use the &lt;a href=&quot;http://www.audio-technica.com/cms/wls_systems/89aff02a96d55e38/index.html&quot;&gt;Audio Technica ATW- T1801&lt;/a&gt; mics and seem to have a lot of problems with noise. The noise floor is higher than I would like anyway but intermittently I get a kind of &quot;pumping&quot; noise when any speech is delivered. This doesn't happen all the time which makes it even more of a pain.&#xD;&#xA;&#xD;&#xA;&lt;a href=&quot;http://audioboo.fm/boos/750487-noisy-clip-mic&quot;&gt;Here's an audio example&lt;/a&gt;&#xD;&#xA;&#xD;&#xA;Does anyone know if this is interference? maybe something wrong with the receiver? or maybe just old/bad mics? I'm not always here when the recording is happening so there could be an amount of user error in there as well!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22262" PostHistoryTypeId="1" PostId="13477" RevisionGUID="b468035b-84fd-4dba-a42c-22bfd362c0c3" CreationDate="2012-04-11T11:28:46.517" UserId="3212" Text="Overly noisy Clip-Mics" ContentLicense="CC BY-SA 3.0" />
  <row Id="22263" PostHistoryTypeId="3" PostId="13477" RevisionGUID="b468035b-84fd-4dba-a42c-22bfd362c0c3" CreationDate="2012-04-11T11:28:46.517" UserId="3212" Text="&lt;lavalier&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22264" PostHistoryTypeId="5" PostId="13477" RevisionGUID="ed0c8b48-1176-4ab9-8784-d449dea0f073" CreationDate="2012-04-11T11:50:02.370" UserId="3212" Comment="added 46 characters in body" Text="Hi,&#xD;&#xA;&#xD;&#xA;I've been having problems with my clip mics for a little while. I use the &lt;a href=&quot;http://www.audio-technica.com/cms/wls_systems/89aff02a96d55e38/index.html&quot;&gt;Audio Technica ATW- T1801&lt;/a&gt; mics and seem to have a lot of problems with noise. The noise floor is higher than I would like anyway but intermittently I get a kind of &quot;pumping&quot; noise when any speech is delivered. This doesn't happen all the time which makes it even more of a pain.&#xD;&#xA;&#xD;&#xA;&lt;a href=&quot;http://audioboo.fm/boos/750487-noisy-clip-mic&quot;&gt;Here's an audio example&lt;/a&gt;&#xD;&#xA;&#xD;&#xA;[audioboo]750487-noisy-clip-mic[/audioboo]&#xD;&#xA;&#xD;&#xA;Does anyone know if this is interference? maybe something wrong with the receiver? or maybe just old/bad mics? I'm not always here when the recording is happening so there could be an amount of user error in there as well!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22265" PostHistoryTypeId="2" PostId="13478" RevisionGUID="221fca61-88bf-4fcd-86b2-04016ddffb26" CreationDate="2012-04-11T11:51:17.140" UserDisplayName="user80" Text="Do you have an iPhone or Android?  If you do you can download a free SPL meter and then group the outputs once you have calibrated the speakers.&#xD;&#xA;&#xD;&#xA;The SPL does not need to accurately calibrated it only needs to be consistent." ContentLicense="CC BY-SA 3.0" />
  <row Id="22266" PostHistoryTypeId="2" PostId="13479" RevisionGUID="e20bfc44-7a8b-46ff-b17a-51097ec5ab48" CreationDate="2012-04-11T11:52:01.823" UserId="432" Text="Calibrating without and SPL meter is not calibrating...period.&#xD;&#xA;&#xD;&#xA;You're a bit out of luck with the 003 in terms of controlling the other outputs, as well. You will definitely need some sort of surround controller; preferably one that has bass management built in. It may seem like a moot point if you don't have a sub-woofer, but you'll need a sub-woofer eventually...and without bass management, the low end of your monitors will be less predictable outside of your room.&#xD;&#xA;&#xD;&#xA;The only thing you can do at the moment to control volume level on all three is use an LCR master fader. It doesn't look like the BM5A's have a trim pot (which makes truly calibrating them without some sort of controller practically impossible). So, you'll need to set the monitor knob on the 003 to max (to match the output of the center channel. Then use your master fader to hit your desired SPL." ContentLicense="CC BY-SA 3.0" />
  <row Id="22267" PostHistoryTypeId="2" PostId="13480" RevisionGUID="702ced34-b9a8-4770-9f25-3a4d977f9dbf" CreationDate="2012-04-11T14:59:45.420" UserId="1055" Text="hello all,&#xD;&#xA;&#xD;&#xA;thinking about buying some backup mics, for more dangerous situations, and other experiments...i have two options either matched pair of rodes nt5, or oktavas mk012...i'm a little bit on aktava side, because oktava set has 6 capsules, but i need better sounding mics, and i never used any of these :)&#xD;&#xA;&#xD;&#xA;thank you for your help ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22268" PostHistoryTypeId="1" PostId="13480" RevisionGUID="702ced34-b9a8-4770-9f25-3a4d977f9dbf" CreationDate="2012-04-11T14:59:45.420" UserId="1055" Text="cheap backup mic's, rode nt5 or oktavas mk012?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22269" PostHistoryTypeId="3" PostId="13480" RevisionGUID="702ced34-b9a8-4770-9f25-3a4d977f9dbf" CreationDate="2012-04-11T14:59:45.420" UserId="1055" Text="&lt;backups&gt;&lt;microphone&gt;&lt;cheap&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22270" PostHistoryTypeId="2" PostId="13481" RevisionGUID="f4be612c-54c3-4efa-8a04-d40ae04bd91c" CreationDate="2012-04-11T15:31:24.790" UserId="182" Text="There are various topics discussing the Rode NT5 on gearslutz:&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/high-end/21089-rode-nt5-condensor-mics.html&#xD;&#xA;http://www.gearslutz.com/board/low-end-theory/717420-at4041-mk012-rode-nt5-overheads-guitar.html&#xD;&#xA;http://www.gearslutz.com/board/high-end/16018-rode-nt5.html&#xD;&#xA;&#xD;&#xA;The discussion going on in these topics should be taken with a grain of salt because you don't know how biased or knowledgeable someone might be, but there are a few example recordings (some even comparing it to the oktavas) buried amidst the brand-bashing and -praising.&#xD;&#xA;&#xD;&#xA;As always, the best thing you can do is to try them out :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22271" PostHistoryTypeId="2" PostId="13482" RevisionGUID="300ea7d7-b7fc-423d-9054-610802fd4134" CreationDate="2012-04-11T17:03:31.333" UserId="6462" Text="Check out the Line Audio CM3 mics. They are incredible.&#xD;&#xA;[link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.lineaudio.se/linemic.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="22272" PostHistoryTypeId="5" PostId="13478" RevisionGUID="0df45a5d-d1c5-4220-8797-2ca133e14d84" CreationDate="2012-04-11T17:13:46.920" UserDisplayName="user80" Comment="added 501 characters in body" Text="Do you have an iPhone or Android?  If you do you can download a free SPL meter and then group the outputs once you have calibrated the speakers.&#xD;&#xA;&#xD;&#xA;The SPL does not need to accurately calibrated it only needs to be consistent.&#xD;&#xA;&#xD;&#xA;If you are careful you can also use the 003 to calibrate the speaker levels.&#xD;&#xA;&#xD;&#xA;Generate sine waves at different frequencies and then replay them through the loudspeakers separately.  Use the same mic and preamp/channel to record each speaker and then use the Gain in AudioSuite to establish the RMS and peak levels.  With a lot of patience you will be able to match the levels on all three loudspeakers as well as be confident about the frequency range and balance.&#xD;&#xA;&#xD;&#xA;Let us know how you get on." ContentLicense="CC BY-SA 3.0" />
  <row Id="22273" PostHistoryTypeId="2" PostId="13483" RevisionGUID="5bfa0576-dded-47f8-a496-67fbbb424aba" CreationDate="2012-04-11T20:37:33.733" UserId="587" Text="I have no idea of this exists. But if it doesnt, it should.&#xD;&#xA;&#xD;&#xA;Sometimes I want to double check audio in .upk package files that I make within the Unreal Editor. The ability to see the audio files and their respective cue files would be awesome.&#xD;&#xA;&#xD;&#xA;Additionally, it would be awesome to preview cues that are in .upk files without having to open up the engine editor.&#xD;&#xA;&#xD;&#xA;The benefits of this would be obvious:&#xD;&#xA;&#xD;&#xA; - No UDK loading time&#xD;&#xA; - No loading UPKs into the Content Browser / Project&#xD;&#xA; - Quality Check audio packages quickly&#xD;&#xA; - Quality Check cue DSP charts quickly&#xD;&#xA;&#xD;&#xA;Anyone know if this is possible?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;---" ContentLicense="CC BY-SA 3.0" />
  <row Id="22274" PostHistoryTypeId="1" PostId="13483" RevisionGUID="5bfa0576-dded-47f8-a496-67fbbb424aba" CreationDate="2012-04-11T20:37:33.733" UserId="587" Text="Previewing Audio .UPKs" ContentLicense="CC BY-SA 3.0" />
  <row Id="22275" PostHistoryTypeId="3" PostId="13483" RevisionGUID="5bfa0576-dded-47f8-a496-67fbbb424aba" CreationDate="2012-04-11T20:37:33.733" UserId="587" Text="&lt;gameaudio&gt;&lt;udk&gt;&lt;qc&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22276" PostHistoryTypeId="2" PostId="13484" RevisionGUID="218a2b22-d077-4456-8ee9-603debde68c3" CreationDate="2012-04-11T21:09:42.813" UserId="3730" Text="Is there any true advantage of mixing a feature film nowadays in stereo as apposed to the more standard 5.1 format ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22277" PostHistoryTypeId="1" PostId="13484" RevisionGUID="218a2b22-d077-4456-8ee9-603debde68c3" CreationDate="2012-04-11T21:09:42.813" UserId="3730" Text="Why mix a feature film in stereo and not 5.1 ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22278" PostHistoryTypeId="3" PostId="13484" RevisionGUID="218a2b22-d077-4456-8ee9-603debde68c3" CreationDate="2012-04-11T21:09:42.813" UserId="3730" Text="&lt;stereo&gt;&lt;5.1&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22279" PostHistoryTypeId="2" PostId="13485" RevisionGUID="3bebb324-0ef6-4bef-8065-c1ca92e0a909" CreationDate="2012-04-11T21:40:34.883" UserId="527" Text="Cost would be the only motivating factor I would think.  It takes more editing for a 5.1 sound track. Also building/renting space for a 5.1 mix is also much more expensive. &#xD;&#xA;&#xD;&#xA;To have the option for 5.1 and choosing to go Stereo seems silly to me.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="22280" PostHistoryTypeId="2" PostId="13486" RevisionGUID="2b9c86c5-412a-45c4-a9f5-5d8961490cb6" CreationDate="2012-04-11T21:56:59.820" UserId="3299" Text="Some conceptual reasons have been expressed by Walter Murch and Michel Chion: mono/stereo centre the viewer's focus on the screen and diegetic world, further supporting the suspension of disbelief.&#xD;&#xA;&#xD;&#xA;Having sounds emanating from the physical theatre space can draw the audience's attention the fact that they are in a cinema and divides their attention between the film and the space. It's a concept similar to Brecht's alienation of the audience." ContentLicense="CC BY-SA 3.0" />
  <row Id="22281" PostHistoryTypeId="2" PostId="13487" RevisionGUID="d72f3c39-9b07-4f56-aa9b-2de6d4542e62" CreationDate="2012-04-11T21:58:26.133" UserId="3730" Text="Cost could be a factor but are there any audio benefits? Will a stereo mix play correctly in theatres?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22282" PostHistoryTypeId="2" PostId="13488" RevisionGUID="401d5960-fb1a-41c0-ad2d-301279f0fdbb" CreationDate="2012-04-11T22:38:16.463" UserId="3746" Text="A matched pair of the Oktava MK-012 is a good buy. These mics sound far better than the price tag would suggest. They are a little on the &quot;dark&quot; side, but well worth owning a pair of these. I have recorded outside sfx with these......fireworks, crowds etc, as well as music in the studio on guitars and other instruments. &#xD;&#xA;Michael Joly at oktavamod.com apparently does mods on them that makes them sound even better, though I haven't tried his modded mics myself. There seems to be plenty of good feedback around regarding the mics he has done." ContentLicense="CC BY-SA 3.0" />
  <row Id="22283" PostHistoryTypeId="2" PostId="13489" RevisionGUID="c2e5058c-7051-4f27-97af-2601a00d96f9" CreationDate="2012-04-11T22:57:30.960" UserId="46" Text="Best bet is to do a proper 5.1 mix. Theatrical equipment will often treat stereo mixes as if they were LtRt encoded - not the best recipe for predictability. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22284" PostHistoryTypeId="2" PostId="13490" RevisionGUID="50ac62ea-778d-4f68-9790-c02156f25377" CreationDate="2012-04-11T23:02:23.043" UserId="3286" Text="It's a lot like asking why movies are still made in 2D. The number one reason is adoptibility. A small percentage of the public actually owns a 5.1 system. So you need to make stereo. It's the same reason we don't have SACD or DVD-A anymore. The public doesn't accept it as a necessity. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22285" PostHistoryTypeId="2" PostId="13491" RevisionGUID="abe53f46-f84c-4e81-a807-effe70ecd91e" CreationDate="2012-04-11T23:21:47.010" UserId="6407" Text="Cost. Money. Cash. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22287" PostHistoryTypeId="2" PostId="13493" RevisionGUID="4464c022-cca9-4f12-a647-d4844f89003c" CreationDate="2012-04-11T23:29:23.343" UserId="1303" Text="Anyone with experience recording onboard trains, more specifically steam engines, care to share their advice and or stories?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22288" PostHistoryTypeId="1" PostId="13493" RevisionGUID="4464c022-cca9-4f12-a647-d4844f89003c" CreationDate="2012-04-11T23:29:23.343" UserId="1303" Text="Steam train onboard recording advice" ContentLicense="CC BY-SA 3.0" />
  <row Id="22289" PostHistoryTypeId="3" PostId="13493" RevisionGUID="4464c022-cca9-4f12-a647-d4844f89003c" CreationDate="2012-04-11T23:29:23.343" UserId="1303" Text="&lt;field-recording&gt;&lt;vehicles&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22292" PostHistoryTypeId="2" PostId="13494" RevisionGUID="d558fa2f-6421-40e8-ba03-64142b2b12db" CreationDate="2012-04-11T23:55:39.697" UserId="432" Text="A lot of people are mentioning cost and overlooking the concept of aesthetic choice (props to Brendan Rehill for mentioning it). Multichannel surround isn't necessarily the best choice for all theatrically distributed films. Documentaries are a prime example. Yes, you can mix a documentary in surround (and some/many do), but few suffer aesthetically in 2 (or 2.1) channel stereo.&#xD;&#xA;&#xD;&#xA;There can also be a personal choice involved. I remember hearing somewhere that all of Woody Allen's films are still done in mono. That's how he wants them. That's not a cop-out, just his personal stylistic choice.&#xD;&#xA;&#xD;&#xA;It can't be denied that cost is part of the equation, but ultimately the sound in a film has to support the narrative. Surround simply for the sake of surround is misdirection of effort. If it becomes apparent that use of surround does little to support the film, wouldn't it be better to apply more effort in areas that would have more impact? Stereo might be the better choice in that scenario.&#xD;&#xA;&#xD;&#xA;Apocalypse Now is an excellent example of a film that finds a middle ground. In the most basic sense, it is a surround film...but that is only a generalization. The film freqeuently drops the surrounds or pulls all the way down to mono to meet the needs of specific scenes...creating focus or immersion to add depth to the narrative.&#xD;&#xA;&#xD;&#xA;It's like that old adage, &quot;Just because you can, doesn't mean you should.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22294" PostHistoryTypeId="2" PostId="13495" RevisionGUID="11d1ebde-a1d2-4f46-bb0e-94d2e0ccf47f" CreationDate="2012-04-12T01:22:15.087" UserId="2906" Text="Weird stuff... so the video editor, working with FCP on Mac exported an .mp4 @ 25 fps (true -- I even saw the stream info) and sent it to me. Even before I opened the file (PC) I went to its properties and it said 15 fps. I opened it on another PC and it was the same 15. I imported it to Cubase and there were the 15 fps. &#xD;&#xA;&#xD;&#xA;As if it's not weird enough, the lentgh of the file labeled @ 15 fps is still the same 8m14s as has the &quot;original&quot; at 25 fps.&#xD;&#xA;Imported at Cubase, the playback is actually fine, but the thumbnail cachet generated in the timelime stretches until around 13 minutes, although the playback stops at the correct end of the video at 8m14s.&#xD;&#xA;&#xD;&#xA;Any thoughts on what is happening here? Thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="22295" PostHistoryTypeId="1" PostId="13495" RevisionGUID="11d1ebde-a1d2-4f46-bb0e-94d2e0ccf47f" CreationDate="2012-04-12T01:22:15.087" UserId="2906" Text="25 fps to 15 fps? What?!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22296" PostHistoryTypeId="3" PostId="13495" RevisionGUID="11d1ebde-a1d2-4f46-bb0e-94d2e0ccf47f" CreationDate="2012-04-12T01:22:15.087" UserId="2906" Text="&lt;fps&gt;&lt;frame-rate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22297" PostHistoryTypeId="5" PostId="13495" RevisionGUID="fdcad4a1-4999-4dc0-8bfa-2673551334b4" CreationDate="2012-04-12T01:42:57.797" UserId="2906" Comment="improved formatting" Text="Weird stuff... so the video editor, working with FCP on Mac exported an .mp4 @ 25 fps (true -- I even saw the stream info) and sent it to me. Even before I opened the file (PC) I went to its properties and it said 15.48 fps. I opened it on another PC and it was the same 15. I imported it to Cubase and there were the 15 fps.  &#xD;&#xA;&#xD;&#xA;As if it's not weird enough, the lentgh of the file labeled @ 15 fps is still the same 8m14s as has the &quot;original&quot; at 25 fps... at the file properties..&#xD;&#xA;Imported at Cubase, the playback is actually FINE, but the thumbnail cachet generated in the timelime stretches until around 13 minutes, although the video playback stops at the correct end of the video at 8m14s. So I checked out the box dialogue of video import and it appeared 13m19s of lenthg!! &#xD;&#xA;&#xD;&#xA;I also noticed that the number of frames are very approximate of what should be the 8m14s @ 25 fps (494 secs * 25 fps = 12350), whereas the &quot;15.48 fps&quot; has 12359.&#xD;&#xA;&#xD;&#xA;Sent the file back again to the video editor and it was nice and neat @ 25 fps!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any thoughts on what is happening here? Thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="22298" PostHistoryTypeId="2" PostId="13496" RevisionGUID="31f56e5f-50bf-4b84-8c4f-cf427820e86b" CreationDate="2012-04-12T01:52:10.400" UserId="3762" Text="My 2 cents,&#xD;&#xA;&#xD;&#xA;I agree with Shaun that it all comes down to the choice of the filmmaker. I much rather like the idea of shifting focus as part of storytelling than to just plop the viewer in the middle of every environment in the film by way of surround audio. It also doesn't always serve the story.&#xD;&#xA;&#xD;&#xA;I myself as a viewer can't count how many times I have sat in a theater and have been pulled out of the film by a sound bursting from the surrounds. My focus is shifts from the screen as I turn my head looking for the source sound. After a second I realize its part of the film but by then all dramatic tension and suspension of disbelief has been broken.&#xD;&#xA;&#xD;&#xA;One clear example of creative use of surrounds would be &quot;Black Swan&quot;. There are moments in that film where the focus shifts in between characters and you have dialog being delivered from the back of the theater. In my opinion this choice allowed the viewer the sense of being being with the main character in the middle of this world that threatens to close in on us. This technique is used extensively in this film to the point where we accept these sounds as part of the experience and the suspension of disbelief remains intact. &#xD;&#xA;&#xD;&#xA;It certainly isn't a given that film sound should always utilize the maximum allowable playback options simply because they are there. Film making as we know it, (in the U.S.), emerged from the assembly line mentality of Hollywood in the late 60's because filmmakers wanted to make bold new films and had to break away from tried and true conventions to make them. Yet today it seems that we have once again slipped back into complacency with the tried and true methods of today being things like CGI and surround formats. I for one would like to see more films deviate from the norm.&#xD;&#xA;&#xD;&#xA;Good story, believable acting, good direction: these are the things that should pull the viewer in and immerse them in the film, not technological gimmicks." ContentLicense="CC BY-SA 3.0" />
  <row Id="22299" PostHistoryTypeId="5" PostId="13495" RevisionGUID="16476f85-69a6-45b2-b02e-3c7983955137" CreationDate="2012-04-12T01:52:53.903" UserId="2906" Comment="fixed grammar" Text="Weird stuff... so the video editor, working with FCP on Mac exported a .mp4 @ 25 fps (true -- I even saw the stream info) and sent it to me. Even before I opened the file (PC) I went to its properties and it said 15.48 fps. I opened it on another PC and it was the same 15. I imported it to Cubase and there were the 15 fps.  &#xD;&#xA;&#xD;&#xA;As if it's not weird enough, the lentgh of the file labeled @ 15 fps is still the same 8m14s as has the &quot;original&quot; at 25 fps... at the file properties..&#xD;&#xA;Imported at Cubase, the playback is actually FINE, but the thumbnail cachet generated in the timelime stretches until around 13 minutes, although the video playback stops at the correct end of the video at 8m14s. So I checked out the box dialogue of video import and it appeared 13m19s of lenthg!! &#xD;&#xA;&#xD;&#xA;I also noticed that the number of frames are very approximate of what should be the 8m14s @ 25 fps (494 secs * 25 fps = 12350), whereas the &quot;15.48 fps&quot; has 12359.&#xD;&#xA;&#xD;&#xA;Sent the file back again to the video editor and it was nice and neat @ 25 fps!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any thoughts on what is happening here? Thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="22300" PostHistoryTypeId="2" PostId="13497" RevisionGUID="9782e32f-16b5-4416-bdb4-a1066534cf33" CreationDate="2012-04-12T02:15:03.050" UserId="3763" Text="Hi there, I'm a film student coming to the end of my course and have tinkered with sound design a little, although my course doesn't really address it as much I would have hoped.  I have access to a copy of Nuendo 4 on a PC and that's pretty much it.&#xD;&#xA;&#xD;&#xA;Can anyone please recommend anywhere on line that I can begin looking into the basic's?&#xD;&#xA;&#xD;&#xA;Also is Nuendo worth learning? I'm a PC user (I have and do use Mac's, I just prefer a PC)... aside form messing around with the programme myself is there an on-line research of tutorials specifically designed with film post in mind and not just music production as I keep coming across?&#xD;&#xA;&#xD;&#xA;Finally within a modest budget suggestions on cheaply building a home set up, what basic to pick up or on-line examples?&#xD;&#xA;&#xD;&#xA;Realise this is a lot to ask, &#xD;&#xA;&#xD;&#xA;Many thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22301" PostHistoryTypeId="1" PostId="13497" RevisionGUID="9782e32f-16b5-4416-bdb4-a1066534cf33" CreationDate="2012-04-12T02:15:03.050" UserId="3763" Text="Film Post Sound Design Newbie needs help" ContentLicense="CC BY-SA 3.0" />
  <row Id="22302" PostHistoryTypeId="3" PostId="13497" RevisionGUID="9782e32f-16b5-4416-bdb4-a1066534cf33" CreationDate="2012-04-12T02:15:03.050" UserId="3763" Text="&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22303" PostHistoryTypeId="2" PostId="13498" RevisionGUID="84077fba-a24b-441f-a5d2-e1cf39958870" CreationDate="2012-04-12T04:32:14.590" UserId="1117" Text="hit up your school library and borrow all the post sound books they have.&#xD;&#xA;they can be expensive once you finish school and don't have free access to them anymore" ContentLicense="CC BY-SA 3.0" />
  <row Id="22304" PostHistoryTypeId="2" PostId="13499" RevisionGUID="65b61a5a-665f-4aa4-8817-ef32c8dd907a" CreationDate="2012-04-12T04:38:05.993" UserId="3567" Text="I cannot answer all of your questions, but I will try to do so with some of them.&#xD;&#xA;&#xD;&#xA;First of all, Nuendo is a pretty good tool. It is somewhat more complex and difficult to learn than, say, Ableton Live, but in the end it is not that important what you use, as long as you use it well. I prefer PCs as well, and I found out that Ableton Live is the best DAW for PCs out there. But if you have access to Nuendo then by all means go ahead and learn to use it. Someday it will come in handy. And it will make learning another DAW easier for you, as they all run on similar principles.&#xD;&#xA;&#xD;&#xA;As for tutorials, if you don't have much money to spend at this point the best solution is to check your school library, as Jamie pointed out. Otherwise just go to Amazon and look for some film post books. &#xD;&#xA;&#xD;&#xA;Good luck with your endeavors. Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="22305" PostHistoryTypeId="5" PostId="13499" RevisionGUID="c99a177f-cbd4-4204-a16e-337a53f6d789" CreationDate="2012-04-12T04:47:15.097" UserId="3567" Comment="added 272 characters in body" Text="I cannot answer all of your questions, but I will try to do so with some of them.&#xD;&#xA;&#xD;&#xA;First of all, Nuendo is a pretty good tool. It is somewhat more complex and difficult to learn than, say, Ableton Live, but in the end it is not that important what you use, as long as you use it well. I prefer PCs as well, and I found out that Ableton Live is the best DAW for PCs out there. But if you have access to Nuendo then by all means go ahead and learn to use it. Someday it will come in handy. And it will make learning another DAW easier for you, as they all run on similar principles.&#xD;&#xA;&#xD;&#xA;As for tutorials, if you don't have much money to spend at this point the best solution is to check your school library, as Jamie pointed out. Otherwise just go to Amazon and look for some film post books. &#xD;&#xA;&#xD;&#xA;Regarding your setup, you can get a decent audio interface and a pair of near field monitors. If you're on a budget, M-audio makes really cheap interfaces called Fast Track Pro or Ultra. For the monitors you can get a pair of Adam, KRK or M-Audio ones at great prices.&#xD;&#xA;&#xD;&#xA;Good luck with your endeavors. Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="22306" PostHistoryTypeId="2" PostId="13500" RevisionGUID="eee6052a-6db3-4f1e-a67f-047c55f790a8" CreationDate="2012-04-12T04:57:04.773" UserDisplayName="user49" Text="Did you get 25fps burnt in timecode? If you had then you could put it in a 25fps timeline &amp; step through it 1 frame at a time &amp; prove if it is right/wrong...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Working on anything in post production there are reasons for certain approaches eg I never accept a video to work to unless it has&#xD;&#xA;- burnt in timecode&#xD;&#xA;- SMPTE leader with 2 pop&#xD;&#xA;- tail 2 pop&#xD;&#xA;&#xD;&#xA;With these you can prove whether the LFOA is correct, whether the video is the correct speed &amp; the burnt in timecode is correct...&#xD;&#xA;&#xD;&#xA;As said elsewhere plenty of times mp4 is not a video format to do post work to - it uses interframe compression &amp; you need a format with discrete frames eg photoJPG or DV" ContentLicense="CC BY-SA 3.0" />
  <row Id="22307" PostHistoryTypeId="2" PostId="13501" RevisionGUID="f62cc3c4-8ccf-4317-990a-4eb85dd4ba5b" CreationDate="2012-04-12T07:29:07.473" UserId="2504" Text="Hey guys I don't know if anyone here can help me, I have been contacted to create a sound that is going to chase snakes away, it isn't in the film industry, they want to be able to play it in a field to chase the snakes away, I have read that snakes pick up vibrations at a low frequency which would chase them away. I was just asking this question wondering if you guys has any ideas on how to create a sound like this? " ContentLicense="CC BY-SA 3.0" />
  <row Id="22308" PostHistoryTypeId="1" PostId="13501" RevisionGUID="f62cc3c4-8ccf-4317-990a-4eb85dd4ba5b" CreationDate="2012-04-12T07:29:07.473" UserId="2504" Text="Low  frequency snake repellant" ContentLicense="CC BY-SA 3.0" />
  <row Id="22309" PostHistoryTypeId="3" PostId="13501" RevisionGUID="f62cc3c4-8ccf-4317-990a-4eb85dd4ba5b" CreationDate="2012-04-12T07:29:07.473" UserId="2504" Text="&lt;lowend&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22310" PostHistoryTypeId="2" PostId="13502" RevisionGUID="b16155ae-38fd-43bd-b6a3-1f509a431e3f" CreationDate="2012-04-12T08:15:06.640" UserId="37" Text="The golden mantra: &quot;FCP does that&quot;.&#xD;&#xA;Try importing the project in a new project, then exporting your video again. &#xD;&#xA;Quicktime's container header is incredibly flexible and there's maths in there and very often (especially with FPS other than 29.97) FCP gets things wrong in that area, then Quicktime has to guess. &#xD;&#xA;&#xD;&#xA;If you're brave enough to see the guts of the video and do some maths, grab an utility called [Dumpster][1], and, while you wait for your editor to give you a new video, look at the numbers:&#xD;&#xA;&#xD;&#xA;In the movie header &quot;mvhd&quot;, look at *timeScale*, then in the video track header look at *timeScale* and *duration*. Best if the two tracks have the same values. Then look at the *duration* values for the movie header (&quot;mvhd&quot;) and video track header (&quot;trak &gt; mdia &gt; mdhd&quot;). Divide *duration* by *timeScale* and you should get number of  seconds.&#xD;&#xA;&#xD;&#xA;To get the framerate of the video track, see &quot;trak &gt; mdia &gt; minf &gt; stts&quot;. Dividing the video track *timeScale* by *sampDur* should get you the frame rate. One of those values is wrong. The Quicktime player corrects it before showing you the video (based on some common sense, assumptions, and knowledge about the shortcomings of FCP). I assume not the same happens with the Quicktime or QTKit libraries which other software use to import and play the video.&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;Now for the kicker: You can click to edit these values, then press Cmd+S. Backup your file.&#xD;&#xA;&#xD;&#xA; - 25 FPS at *timeBase* of 600 - *sampDur* should be 24&#xD;&#xA; - 25 FPS at *timeBase* of 30000 - *sampDur* should be 1200&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://idisk.me.com/jrwalker4-Public/Dumpster.dmg&#xD;&#xA;  [2]: http://i42.tinypic.com/66i0qg.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="22312" PostHistoryTypeId="2" PostId="13504" RevisionGUID="b19da39d-2402-4732-bc0b-a283453766cd" CreationDate="2012-04-12T09:57:58.590" UserId="6499" Text="Recently I have found myself in somewhat of a plateau in reguards to my sound design abilities.  It seems I have hit a little wall with creative implementation, propelling story, and believability in general.  &#xD;&#xA;&#xD;&#xA;I have this idea that I got from a book, The Art of Learning by Josh Waitzkin.  Josh Waitzkin is a World Class Chess Champion, the movie Searching for Bobby Fisher was about him as a kid.  Well once the movie came out he ended up leaving the competitive chess scene and picked up Tai Chi Chun, in which he then became a World Champion in that.  The book is an autobiography in which he analyzes his methods for learning.   Highly recommend this book, it is a quick read.&#xD;&#xA;&#xD;&#xA;Anyways, one thing he mentions is going back to the basics to propell your high end skillset.  It directly applies to competitive fighting in which he would go over the basic forms until they were so ingrained in his muscle memory that they ceased to be a conscious thought process and instead became a subconscious, an instinct.  He found that when he reached a plateau, he would work with the basics and then after much practice on the basics, he returned to high level fights, his skillset had increased dramatically.&#xD;&#xA;&#xD;&#xA;So this is what I am doing.  The basics of Sound Design/Editing.&#xD;&#xA;&#xD;&#xA;This has been hard to try and figure out what the basics neccessarily are.  I am ignoring basic editing skills as in cuts and crossfades but have decided to work on individual plugin basics. My plan for this practice is to completely remove the creative utilization of these plugins and instead focus on implementation of reproduction.&#xD;&#xA;&#xD;&#xA;Here is what I mean and where SSD could lend a hand.  I have chosen to work with reverb as my  first plugin, basic ole D-Verb.  Yes there are other better reverbs, but the purpose of this is to use a basic plugin, that almost everyone has, and work with only that.  If someone has another plugin that is free that could be used I am all ears for it.&#xD;&#xA;&#xD;&#xA;What I am looking for is a set of files files, 1 being dry source sound, and the 2nd being&#xD;&#xA;end product using Dverb, and lastly a listing of the settings used.  My thought process is to try and match the sound/settings of the 2nd file using the dry source material.&#xD;&#xA;&#xD;&#xA;I believe it will help out a few things, first being a better understanding of reverbs, two, it will excercise my critical listening, and 3 it will start a foundation in which I can figure out how to start implementing more complex and realistic reverbs when an impulse is not present, like creating an alley with multiple brick walls, moving from large rooms into small during a scene etc.&#xD;&#xA;&#xD;&#xA;I am posting here so that hopefully some of the more experienced could grab something dry, throw some simple reverb on it and print it along with listing the settings, and then maybe over time build up into more complex situations.  That way I have something to replicate that I did not originally create. I also invite anyone else who feels like participating in this to please join in.  &#xD;&#xA;&#xD;&#xA;I am currently editing a handful of different projects, my time is limited, so I  am trying to have small simple practice sessions where a little bit of time per day/week practicing on it.  The more time I end up having free, the more I will work with.   I believe doing something like this, a little regimented non creative practice, while a little boring,  will pay off down the road.  &#xD;&#xA;&#xD;&#xA;Let me know if you all have any ideas of a better way to approach this and maybe what the next &quot;basic&quot; thing to work on should be. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks in advance&#xD;&#xA;&#xD;&#xA;Mike G&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22313" PostHistoryTypeId="1" PostId="13504" RevisionGUID="b19da39d-2402-4732-bc0b-a283453766cd" CreationDate="2012-04-12T09:57:58.590" UserId="6499" Text="The dreaded skill plateau..." ContentLicense="CC BY-SA 3.0" />
  <row Id="22314" PostHistoryTypeId="3" PostId="13504" RevisionGUID="b19da39d-2402-4732-bc0b-a283453766cd" CreationDate="2012-04-12T09:57:58.590" UserId="6499" Text="&lt;learning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22315" PostHistoryTypeId="2" PostId="13505" RevisionGUID="c60e2373-9f01-4aa0-8c74-a1a3b757597c" CreationDate="2012-04-12T10:02:40.467" UserId="6432" Text="Perhaps some voice clips of Samuel L. Jackson with aircraft engine noise in the background?&#xD;&#xA;&#xD;&#xA;Sorry, couldn't [resist][1].&#xD;&#xA;&#xD;&#xA;I'm not sure if they actually work, but there are lots of ultrasonic animal deterrent products (on the other end of the frequency spectrum). Google &quot;ultrasonic snake repeller&quot;.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0417148/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22316" PostHistoryTypeId="2" PostId="13506" RevisionGUID="404ebb7d-02e9-4ae2-b953-fd752d0a72b7" CreationDate="2012-04-12T10:29:16.277" UserId="3730" Text="Txs allot to all the contributors  &quot; DIE ,Shaun Farley , Chris Bishop , nicol , Chris Davis and Brendan Rehill for your great insight . &#xD;&#xA;Mixing film i believe is about choice and no true harden rules &quot;except delivery specs&quot; &#xD;&#xA;&#xD;&#xA;Im busy with 2 movies at the moment , 1 action which will be done in 5.1 the other comedy in dolby stereo . think the expansion to 5.1 in the comedy will be distracting to the script.&#xD;&#xA;&#xD;&#xA;I love Brendan Rehill insight and have started doing some reading regarding his thoughts. &#xD;&#xA;More knowledge more growth i say..txs all&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22317" PostHistoryTypeId="2" PostId="13507" RevisionGUID="1a6010b9-aa04-453d-b471-58ac5f31ac30" CreationDate="2012-04-12T11:04:20.497" UserId="3754" Text="Im very much a noob myself, but I really cannot praise enough my Beyer 770Pros. I can wear them for HOURS comfortably, then are built well, great for foley and location work. And from experience, I think a great pair of headphones is better than an OK pair of speakers in an ok room.&#xD;&#xA;&#xD;&#xA;I have lots of other ideas for DAWs and kit, but I think headphones are essential." ContentLicense="CC BY-SA 3.0" />
  <row Id="22318" PostHistoryTypeId="2" PostId="13508" RevisionGUID="f802e151-0a66-43fe-8089-9950dddb35d8" CreationDate="2012-04-12T11:50:39.050" UserId="432" Text="Never heard of this personally, but it sounds like your talking about sounds way down in the frequency spectrum. Is your client aware of the size and number of sub-woofers they might have to lug around to pull this off (and the power needs of that kind of array)? Not to mention the need to test those sounds out in a controlled environment." ContentLicense="CC BY-SA 3.0" />
  <row Id="22319" PostHistoryTypeId="2" PostId="13509" RevisionGUID="738b3b24-ddcc-422b-bed6-5a22b9c2946a" CreationDate="2012-04-12T12:22:07.073" UserId="3587" Text="I've never heard about something like this, so I can't help you directly. But if you have never done anything like this, I can't see how your client can expect you to figure it out on your own. Try calling your local university and ask to speak with a biologist. Or ask your your client where thy got the idea from - whoever told them about it hopefully know more about it. Also, wherever you read about the low frequencies it should have a source you can track down and read for yourself. If you have a starting point, it shouldn't be impossible to get a hold of somebody who knows about it." ContentLicense="CC BY-SA 3.0" />
  <row Id="22320" PostHistoryTypeId="2" PostId="13510" RevisionGUID="de1a324c-cfe1-4e14-ad44-ceb5132f5017" CreationDate="2012-04-12T15:04:36.417" UserId="709" Text="This is a great discussion.&#xD;&#xA;&#xD;&#xA;Last year I finished up a walk-and-talk feature, a la Before Sunrise.  While meeting with the director, he was pretty sure he only wanted a stereo mix of the film - there was no distribution deal, no theatrical run set up at that point, and in the interest of keeping budgets (both financial and time) low and tight, we agreed that perhaps this was the best course of action.  Additionally, there was little to no hard action where the sound design would totally benefit from the surround field.  &#xD;&#xA;&#xD;&#xA;Film was completed, sold out at Tribeca (stereo theatrical mix), started gaining interest.  Distro deal locked.  Studio wanted a 5.1 mix for distribution and theatrical runs.&#xD;&#xA;&#xD;&#xA;O_o&#xD;&#xA;&#xD;&#xA;Even if there is money for the studio to pay for the 5.1 mix, it can be very complicated to find the time and scheduling needed to fulfill a request with what are usually tight turnarounds like this, especially in a facility.  Add to that the need to go through QC, etc. - remixing can be an extremely time consuming and costly process to everyone involved. &#xD;&#xA;&#xD;&#xA;I have been pushing my film clients to at least time budget for a 5.1 workflow in the case that a distro deal is secured.  I will deliver the LtRt as a viable stereo mix, but have the 5.1 at the ready should it need to be broken out.&#xD;&#xA;&#xD;&#xA;Just keep in mind that it's not always up to the filmmaker what the final deliverables will be, and it is not always a creative decision.  I think the director could have argued for the stereo mix and held his ground, but the studio saw the benefit of having a 5.1 mix and pushed for it.&#xD;&#xA;&#xD;&#xA;Cheers all!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22321" PostHistoryTypeId="2" PostId="13511" RevisionGUID="b6ac46c9-d28d-446d-99f9-54dbee02fbff" CreationDate="2012-04-12T15:22:50.107" UserId="1246" Text="Biggest problem in theaters with stereo sound is that things that are panned to center come right only to audience sitting in the center axis of the room. Others will loose phantom center effect as they sit closer to left or right speakers. The result is that audio center is panned from center closer to the side where one sits in the room.&#xD;&#xA;&#xD;&#xA;If surround channels are the problem and for some reason you don't want to use them, then don't. But there is no reason NOT to use front center speaker. This way things that belong to the center stay there no matter where listeners sit on the room.&#xD;&#xA;&#xD;&#xA;Bye / Tumppi" ContentLicense="CC BY-SA 3.0" />
  <row Id="22322" PostHistoryTypeId="2" PostId="13512" RevisionGUID="b9978c2a-6263-411c-a428-f97da084d13e" CreationDate="2012-04-12T15:36:22.193" UserId="3567" Text="Well, I'm not one of the more experienced, but I wanted to congratulate you on this terrific idea. I think we take everything we know for granted too often, and we may have learnt things that aren't quite correct. And I am talkking about the self taught people such as myself, who learnt sound design by trial and error. &#xD;&#xA;&#xD;&#xA;Anyway, I will try this approach of going back to the basics myself, once I get some spare time. I was already aware of the fact that it is really easy to use a host of plugins to obtain a desired effect, but at times I would find myself presented with so many choices that I simply don't know what to pick, or don't hear the differences in sound right away..&#xD;&#xA;&#xD;&#xA;So congratulations again, and thank you for spreading the word about The Art of Learning." ContentLicense="CC BY-SA 3.0" />
  <row Id="22323" PostHistoryTypeId="2" PostId="13513" RevisionGUID="02b3734d-ac22-4e07-814b-748a8c4c4425" CreationDate="2012-04-12T15:55:16.290" UserId="264" Text="Two more ideas:&#xD;&#xA;&#xD;&#xA;Clean up short clips, like noisy location sound (planes, ACs, etc.) **No Izotope Rx** :)  That should help brush up EQ skills&#xD;&#xA;&#xD;&#xA;Also, effect recreation. e.g. recreating a unique sound effect from a film/show/game that you like. It's a bit more like a compound skill, but it would improve listening skills and expand your creativity in a focused manner." ContentLicense="CC BY-SA 3.0" />
  <row Id="22324" PostHistoryTypeId="5" PostId="13513" RevisionGUID="81a8f423-d251-4eea-8643-2e35b7ebc521" CreationDate="2012-04-12T16:12:54.880" UserId="264" Comment="added 195 characters in body" Text="Two more ideas:&#xD;&#xA;&#xD;&#xA;Clean up short clips, like noisy location sound (planes, ACs, etc.) **No Izotope Rx** :)  That should help brush up EQ skills&#xD;&#xA;&#xD;&#xA;Also, effect recreation. e.g. recreating a unique sound effect from a film/show/game that you like. It's a bit more like a compound skill, but it would improve listening skills and expand your creativity in a focused manner.&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;For a more objective EQ workout, instead of cleaning up noisy clips, one could take your approach to Dverb (dry clip, wet clip, list of settings) and do the same with 4 or 7-band EQ." ContentLicense="CC BY-SA 3.0" />
  <row Id="22326" PostHistoryTypeId="2" PostId="13515" RevisionGUID="88dd3804-111b-4bea-8170-ffc0eb1a6e18" CreationDate="2012-04-12T16:40:05.010" UserId="264" Text="I just downloaded and played a few rounds of it yesterday. I noticed and liked the rushing wind; it's really what creates the sense of speed when skiing. I wish it was more prominent though. Also, it sounded a bit flappy like there was cloth, which I thought confusing given the context (as far as I know my avatar's covered in metal :P ). I'll offer more critique as I play. Good job!&#xD;&#xA;&#xD;&#xA;EDIT: Also, the sliding sounds are well designed and smoothly implemented. Me likey." ContentLicense="CC BY-SA 3.0" />
  <row Id="22327" PostHistoryTypeId="2" PostId="13516" RevisionGUID="07fd2ce7-3e44-45e5-9dde-d9dbbab1911f" CreationDate="2012-04-12T19:01:43.817" UserId="3248" Text="Just checking to see if anyone has some tricks to implementing chiptune style sfx's in FMOD up their sleeves?&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;&#xD;&#xA;Eric" ContentLicense="CC BY-SA 3.0" />
  <row Id="22328" PostHistoryTypeId="1" PostId="13516" RevisionGUID="07fd2ce7-3e44-45e5-9dde-d9dbbab1911f" CreationDate="2012-04-12T19:01:43.817" UserId="3248" Text="Implementing Chiptune SFX's in FMOD" ContentLicense="CC BY-SA 3.0" />
  <row Id="22329" PostHistoryTypeId="3" PostId="13516" RevisionGUID="07fd2ce7-3e44-45e5-9dde-d9dbbab1911f" CreationDate="2012-04-12T19:01:43.817" UserId="3248" Text="&lt;fmod&gt;&lt;chipsound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22330" PostHistoryTypeId="2" PostId="13517" RevisionGUID="538656d9-f7d1-44d7-909e-c959f98bf70b" CreationDate="2012-04-12T19:44:12.303" UserId="3752" Text="Hey Eric!&#xD;&#xA;&#xD;&#xA;I answered your #gameaudio tweet with a link to [Stephan Schutze][1]. But if I understand you correctly after Miles B question then you don't want to implement pre-made 8-bit sfx, you wonder if FMOD can create them for you?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.stephanschutze.com/fmod-101.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="22331" PostHistoryTypeId="2" PostId="13518" RevisionGUID="eb45c14f-d2de-4c8a-ad6d-567d02e6fc20" CreationDate="2012-04-12T20:52:52.753" UserId="3765" Text="So after a few days of research around different forums - Christopher pretty much laid out how my setup will be.&#xD;&#xA;&#xD;&#xA;1) mkh 416's T - XLR - barrel converter (Rode PG2 and softie dead cat)&#xD;&#xA;2) USBpre 2 (wish it had 12v out) - powered by iSound Portable Power Max&#xD;&#xA;3) S/Pdif out&#xD;&#xA;4) Tascam DR-100 MR2 S/Pdif in&#xD;&#xA;5) 96k 24 bit&#xD;&#xA;&#xD;&#xA;this setup (without mics) is about $1k - i can't seem to find a USBpre 2 used anywhere so that's at least 650 bucks. the power supply like 50 and the tascam you can't really find used either so that's about 275-300 bucks.&#xD;&#xA;&#xD;&#xA;I'm still saving to buy the SD but this setup is significantly less than the 702 ($1800) and if push comes to shove you can always just record with the tascam if you want to go super light weight.&#xD;&#xA;&#xD;&#xA;all Sound Devices really had to do was put an SD card slot in the back of the USBpre 2 to make it a recorder, but that would beat the purpose of selling the 7 series I guess.&#xD;&#xA;&#xD;&#xA;does anyone have any comparisons between recording straight to your bit bucket vs using the SD as a pre/AD converter? " ContentLicense="CC BY-SA 3.0" />
  <row Id="22332" PostHistoryTypeId="2" PostId="13519" RevisionGUID="19e819cb-fcc1-4f82-9939-2d2eb62ec84c" CreationDate="2012-04-12T23:47:21.230" UserId="6411" Text="Have you seen these?&#xD;&#xA;&#xD;&#xA;http://sepulchra.com/blog/?p=1785&#xD;&#xA;&#xD;&#xA;http://sepulchra.com/blog/?p=1749&#xD;&#xA;&#xD;&#xA;http://sepulchra.com/blog/?p=1760" ContentLicense="CC BY-SA 3.0" />
  <row Id="22333" PostHistoryTypeId="2" PostId="13520" RevisionGUID="126547b6-3d62-4784-ac95-1939a371c093" CreationDate="2012-04-13T00:59:25.443" UserId="132" Text="I'd try and find the original mix pres. It is far superior to the mix pre-D. It is just a much warmer unit." ContentLicense="CC BY-SA 3.0" />
  <row Id="22339" PostHistoryTypeId="2" PostId="13524" RevisionGUID="0469c3f8-6d6c-4f98-8265-c230b737f74a" CreationDate="2012-04-13T04:09:40.470" UserId="390" Text="The call to prayer would be interesting!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22340" PostHistoryTypeId="5" PostId="13493" RevisionGUID="bf54edd0-5880-4a5a-bf67-5d586370fa19" CreationDate="2012-04-13T05:15:18.700" UserId="1303" Comment="added 44 characters in body" Text="Anyone with experience recording onboard trains, more specifically steam engines, care to share their advice and or stories? I might get a chance to record on one soon." ContentLicense="CC BY-SA 3.0" />
  <row Id="22341" PostHistoryTypeId="2" PostId="13525" RevisionGUID="e80d3da1-ae3a-4b14-8ef6-f73444b343cf" CreationDate="2012-04-13T08:25:07.740" UserId="3766" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;I'm working on the sound design for an animation and I need to create the sound of fairy dust. Visually think magic wand, or the sparkles that surround Tinkerbell. Light and magical and darting around.&#xD;&#xA;&#xD;&#xA;I'm thinking the sounds needs to be light, high frequency and glistening, maybe chime like but not too musical. I have been recording bells and Glockenspiel with various processing but its not quite getting there.&#xD;&#xA;&#xD;&#xA;Have any of you had any experience creating sounds for fairy dust or magical sparkles? Would be great to hear some techniques on how you have achieved this abstract sound.&#xD;&#xA;&#xD;&#xA;Many thanks,&#xD;&#xA;&#xD;&#xA;Tom&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22342" PostHistoryTypeId="1" PostId="13525" RevisionGUID="e80d3da1-ae3a-4b14-8ef6-f73444b343cf" CreationDate="2012-04-13T08:25:07.740" UserId="3766" Text="Creating fairy Dust sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="22343" PostHistoryTypeId="3" PostId="13525" RevisionGUID="e80d3da1-ae3a-4b14-8ef6-f73444b343cf" CreationDate="2012-04-13T08:25:07.740" UserId="3766" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22344" PostHistoryTypeId="2" PostId="13526" RevisionGUID="dc76737c-4ca8-44d0-adc7-c09b9e464109" CreationDate="2012-04-13T08:57:49.870" UserId="6432" Text="Have you tried the Bell Tree? It's definitely the staple for that type of sound. Check out the samples [here][1]. It is a bit of a cliché, but you can always process it more to make it more unique. &#xD;&#xA;&#xD;&#xA;Perhaps also think about other layers to go with it. This depends very much on how it looks visually, is it real world (like smoke or something) or is it CGI particle type effects? &#xD;&#xA;&#xD;&#xA;Sometimes it helps to start with lots of very small sounds and find ways of triggering them at different rates, with a bit of randomness. This can be a bit difficult with traditional sequencers, but is much easier in something like Max/msp or PD. Because they're not linear you don't have to paste loads of individual sounds onto a timeline, just set up the patch and adjust the settings. I've probably got a few patches around if you're interested.&#xD;&#xA;&#xD;&#xA;Banks of tuned resonant filters can also add that bell like resonance to otherwise non-tuned sounds.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;  [1]: http://www.compositiontoday.com/sound_bank/percussion/bell_tree.asp" ContentLicense="CC BY-SA 3.0" />
  <row Id="22346" PostHistoryTypeId="2" PostId="13527" RevisionGUID="e595d176-2f08-40ec-a1b8-393095514a94" CreationDate="2012-04-13T11:11:43.317" UserId="62" Text="I like Mark's answer, seconded. Done this sound numerous times. There's a lot of freedom but I've found most people like something sparkly, often some processed bell tree works." ContentLicense="CC BY-SA 3.0" />
  <row Id="22347" PostHistoryTypeId="2" PostId="13528" RevisionGUID="7a661fe8-fc1a-4446-95f7-15a44ff00813" CreationDate="2012-04-13T11:13:07.843" UserId="3769" Text="Bell tree with a white noise swoosh. Resonant filter the whole sound to give it movement. Also some kind of envelope to give the sound some impact if it's coming from a wand or something." ContentLicense="CC BY-SA 3.0" />
  <row Id="22348" PostHistoryTypeId="2" PostId="13529" RevisionGUID="618554cf-1148-4900-96d3-55462ac2bd3d" CreationDate="2012-04-13T14:11:59.347" UserId="3289" Text="You can always use matchstick striking sounds instead of white noise. They have their own dynamics, and i find them very easy to use on abstract sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="22349" PostHistoryTypeId="2" PostId="13530" RevisionGUID="fe2ec145-e016-4552-be8f-e7ae3cdd1fa2" CreationDate="2012-04-13T14:49:40.053" UserId="253" Text="I'm feeling the same plateau, and this is a great idea. I'll have to check out that book.&#xD;&#xA;&#xD;&#xA;Also, IMHO, D-Verb is actually pretty good for sound post. I think it gets vilified by music people because it's not very beautiful, but i always use it for basic rooms. It's light on the DSP too, which is great when you have a big fat mix session.&#xD;&#xA;&#xD;&#xA;Do you have a convolution reverb? I think a good idea would be to take IRs of common rooms (like bathrooms, cars, various exteriors, small bedrooms, etc.), print it to some dialogue, and then replicate it with D-Verb. I've got IR-1, so hit me up if you'd like me to print for you (once i find the IRs!).&#xD;&#xA;&#xD;&#xA;Something else that might be useful is eq matching. Take a line that was recorded with both boom and lav, and match the lav to the boom - eq and reverb. I know this is stuff that we do often, but whenever i do it, it's under a tight deadline and usually ends up being &quot;good enough&quot;.&#xD;&#xA;&#xD;&#xA;Well, i'm inspired. Great question!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22350" PostHistoryTypeId="5" PostId="12630" RevisionGUID="a8e61fd2-5b69-4c3b-b919-de92c450b80f" CreationDate="2012-04-13T15:12:44.120" UserId="6519" Comment="update; added 4 characters in body" Text="I made shotgun microphone comparison table which can be useful before buying.&#xD;&#xA;I try to update it continuously.&#xD;&#xA;&#xD;&#xA;[Shotgun microphones comparison][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://membrans.hu/index.php?option=com_content&amp;view=article&amp;id=23&amp;Itemid=2&#xD;&#xA;&#xD;&#xA;**New Update 2012-04-13**" ContentLicense="CC BY-SA 3.0" />
  <row Id="22351" PostHistoryTypeId="2" PostId="13531" RevisionGUID="3be9e0c8-2b67-4d18-b192-53d136ea7df8" CreationDate="2012-04-13T15:25:23.960" UserId="3752" Text="In a few weeks I will conduct a one week course in sound design. The students are graphic/game designers and the aim is for them to get a basic understanding about what sound design is and how it works.&#xD;&#xA;&#xD;&#xA;This is the second time around and last year it worked great except for one thing, the video software. One of their assignments is to design the sounds to a video. Both the sounds and video are given to them for the purpose of learning how to work with limited assets. The software we used was Sony Vegas. I hadn't used it before but it didn't take me too long to learn the basics. Enough to teach and support it.&#xD;&#xA;&#xD;&#xA;A few hours after the students started editing the program started crashing. Not for everyone but the ones that had the problem didn't get rid of it. A few days in to the course 1/3 of the projects crashed every 5 minutes or so.&#xD;&#xA;&#xD;&#xA;They were told to submit the result with only the .veg files since I had the source files myself. Same problem there. About 1/3 of the projects crashed and I spent too long trying to solve it. In the end some of the students were given grades based on what I'd seen them do, not the result itself.&#xD;&#xA;&#xD;&#xA;My question is, what software would you recommend (free/trials/demos) for such a project? I'm thinking about using Adobe Soundbooth since I think they have the Adobe Collection installed. I would prefer Pro Tools or Cubase since they are the ones I'm used to but it's not viable for a school with limited funding to invest in them for one week usage each year.&#xD;&#xA;&#xD;&#xA;Any ideas greatly appreciated!&#xD;&#xA;&#xD;&#xA;//Henrik" ContentLicense="CC BY-SA 3.0" />
  <row Id="22352" PostHistoryTypeId="1" PostId="13531" RevisionGUID="3be9e0c8-2b67-4d18-b192-53d136ea7df8" CreationDate="2012-04-13T15:25:23.960" UserId="3752" Text="Stable video editing software" ContentLicense="CC BY-SA 3.0" />
  <row Id="22353" PostHistoryTypeId="3" PostId="13531" RevisionGUID="3be9e0c8-2b67-4d18-b192-53d136ea7df8" CreationDate="2012-04-13T15:25:23.960" UserId="3752" Text="&lt;sound-design&gt;&lt;software&gt;&lt;student&gt;&lt;video-games&gt;&lt;video&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22359" PostHistoryTypeId="2" PostId="13533" RevisionGUID="eaf136c8-0360-45df-90fd-3a69c65b888e" CreationDate="2012-04-13T17:12:15.160" UserId="6432" Text="Perhaps they can edit their video with Adobe Premiere and then use [Ardour][1] for the audio editing. It's open source and runs on Mac or Linux. You would then have the advantage of not having to spend any money and the students could all own the software and use it after they graduate.&#xD;&#xA;&#xD;&#xA;It really depends on whether there is any sync sound you need to export from Premiere as Ardour has no OMF/AAF import (last time I checked)&#xD;&#xA;&#xD;&#xA;Any more experienced Ardour users care to comment? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ardour.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22360" PostHistoryTypeId="2" PostId="13534" RevisionGUID="ffd44627-5a15-42da-ab76-3b7d5c5c6fc4" CreationDate="2012-04-14T02:17:32.437" UserId="3771" Text="I agree Adobe Premiere should do just fine or maybe Imovie?? As for Audio editing reaper is really cheap and I've heard great things about it." ContentLicense="CC BY-SA 3.0" />
  <row Id="22361" PostHistoryTypeId="2" PostId="13535" RevisionGUID="15002b35-ad3a-4521-bd84-741a1b4c98f5" CreationDate="2012-04-14T06:25:11.693" UserId="3772" Text="Without a shadow of doubt you should be using AVID MEDIA COMPOSER and/or Pro Tools. There's no contest at all." ContentLicense="CC BY-SA 3.0" />
  <row Id="22362" PostHistoryTypeId="2" PostId="13536" RevisionGUID="31b79e3b-32cd-4415-9b56-e16ea52dd18b" CreationDate="2012-04-14T10:42:23.930" UserId="3773" Text="I guess this is the kind of project, where practicality through trail n error rules.&#xD;&#xA;&#xD;&#xA;I think u need to have a snake first to start playing it different types of sounds at different intervals of time. Best way to test this out would be , when the snake is in its nocturnal sleep. As you know, most of the poisonous snakes are nocturnal. Meaning their senses like hearing &amp; smelling is at its wake state. So when the snake generally sleeps in the daylight, would be the best time to start your experiment.&#xD;&#xA;&#xD;&#xA;I suppose u would take at least 2 months to derive to an result. Making charts of the LF waves your passing through to see the reaction in a snake . Frankly speaking . im not even sure if they repel from LF sounds. From my understanding its a break through if you will be able to find a LF wave which will can repel snakes. Try to make patterns of LF. Various patterns having constant amplitudes. I mentioned constant amplitude because, Ultrasonic waves which many mammals, animals, reptiles repel from are of constant amplitute. Constantly giving constant amplitude of one frequency can be quite irritating for any living being, im sure u agree with that.&#xD;&#xA;&#xD;&#xA;So good luck, try using sub-sonic woofers. And try out loads of test patterns on tat sleeping snake! &#xD;&#xA;&#xD;&#xA;Stephen J&#xD;&#xA;Acoustic Research Engineer" ContentLicense="CC BY-SA 3.0" />
  <row Id="22363" PostHistoryTypeId="2" PostId="13537" RevisionGUID="e096924b-517b-4eb6-96e8-a076be726db8" CreationDate="2012-04-14T15:21:31.410" UserId="3230" Text="Just curious who has had success recording the sound(s) of tuning an old-style radio.  What did you use for a subject?  for recorder?  What was your technique?&#xD;&#xA;&#xD;&#xA;How did you isolate the tuning sounds of the radio and avoid recording any broadcast content?&#xD;&#xA;&#xD;&#xA;Did you like the result?  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22364" PostHistoryTypeId="1" PostId="13537" RevisionGUID="e096924b-517b-4eb6-96e8-a076be726db8" CreationDate="2012-04-14T15:21:31.410" UserId="3230" Text="Radio Ready:  Care to share?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22365" PostHistoryTypeId="3" PostId="13537" RevisionGUID="e096924b-517b-4eb6-96e8-a076be726db8" CreationDate="2012-04-14T15:21:31.410" UserId="3230" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22366" PostHistoryTypeId="2" PostId="13538" RevisionGUID="9ca628d7-933b-4821-a319-12b34a81c31c" CreationDate="2012-04-14T15:35:42.953" UserId="6432" Text="How many rooms are there, and how far away are they? It seems unnecessary to send audio over LAN when you could just lay XLR cables and have it going to an audio interface on the main computer. Not to mention sound quality. Interfaces with lots of inputs are also cheaper than many computers." ContentLicense="CC BY-SA 3.0" />
  <row Id="22367" PostHistoryTypeId="2" PostId="13539" RevisionGUID="b8cd563a-d858-4ce8-9ef1-13381a05ef2d" CreationDate="2012-04-14T17:22:52.890" UserId="6435" Text="I recently did a bunch of recordings of an old Silvertone AM/FM radio as well as a shortwave radio I had lying around. I used a Sennheiser 416 on the shortwave as well as a feed from the headphone jack; on the Silvertone I used a U87. I recorded into ProTools at 96k through a George Massenburg mic pre. With both radios, my technique was to do slow and quick sweeps through the frequencies, and then find interesting bits of static/noise/whatever and record 30 or so seconds of them without touching the dial. If I happened to land on a station where I heard stuff I didn't have the rights to use, I just figured I'd edit that out. And then I'd go back on the dial and flip past the station quickly to get the blip of a station starting to come in without there being any recognizable information there. With the shortwave radio, I didn't have the long antenna connected; I don't think I was able to tune in any actual stations! Maybe I'll do it again with the antenna on and see how different it is.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22368" PostHistoryTypeId="5" PostId="13531" RevisionGUID="addf2e4f-453f-462f-a33e-19154479f52c" CreationDate="2012-04-14T18:03:26.543" UserId="3752" Comment="added 293 characters in body; edited title" Text="In a few weeks I will conduct a one week course in sound design. The students are graphic/game designers and the aim is for them to get a basic understanding about what sound design is and how it works.&#xD;&#xA;&#xD;&#xA;This is the second time around and last year it worked great except for one thing, the video software. One of their assignments is to design the sounds to a video. Both the sounds and video are given to them for the purpose of learning how to work with limited assets. The software we used was Sony Vegas. I hadn't used it before but it didn't take me too long to learn the basics. Enough to teach and support it.&#xD;&#xA;&#xD;&#xA;A few hours after the students started editing the program started crashing. Not for everyone but the ones that had the problem didn't get rid of it. A few days in to the course 1/3 of the projects crashed every 5 minutes or so.&#xD;&#xA;&#xD;&#xA;They were told to submit the result with only the .veg files since I had the source files myself. Same problem there. About 1/3 of the projects crashed and I spent too long trying to solve it. In the end some of the students were given grades based on what I'd seen them do, not the result itself.&#xD;&#xA;&#xD;&#xA;My question is, what software would you recommend (free/trials/demos) for such a project? I'm thinking about using Adobe Soundbooth since I think they have the Adobe Collection installed. I would prefer Pro Tools or Cubase since they are the ones I'm used to but it's not viable for a school with limited funding to invest in them for one week usage each year.&#xD;&#xA;&#xD;&#xA;Any ideas greatly appreciated!&#xD;&#xA;&#xD;&#xA;**EDIT: Let's make it clear so there's no misunderstandings. I might have been vague.**&#xD;&#xA;&#xD;&#xA;1. The platform is PC.&#xD;&#xA;2. The students will not edit the video at all, it is pre-rendered. They will only sync audio to the video in real time. So it has to be one software, not two different ones.&#xD;&#xA;&#xD;&#xA;//Henrik" ContentLicense="CC BY-SA 3.0" />
  <row Id="22369" PostHistoryTypeId="4" PostId="13531" RevisionGUID="addf2e4f-453f-462f-a33e-19154479f52c" CreationDate="2012-04-14T18:03:26.543" UserId="3752" Comment="added 293 characters in body; edited title" Text="Stable audio/video editing software" ContentLicense="CC BY-SA 3.0" />
  <row Id="22371" PostHistoryTypeId="2" PostId="13541" RevisionGUID="2e28267b-d126-4071-a593-4b09169c0a84" CreationDate="2012-04-15T02:31:24.267" UserDisplayName="user49" Text="I bought an ex-rental 744, rather than a second 722 (I prefer a hard drive to CF cards) and when I got it it was a little tired but I asked for a 3month warranty and it prove to be totally reliable, so if you do buy second hand ask for a short term warranty of some kind, just incase something becomes apparent in the first few weeks of owning it....&#xD;&#xA;&#xD;&#xA;One of the reasons I own Sound Devices is they make recorders that can be serviced. For example I accidentally blew the firewire port in my 744 and had to return it to Sound Devices for repair. While it was there I also got them to replace the 40GB drive with a 160GB and they did all this in 3 weeks, including shipping from NZ&gt;USA&gt;NZ... But what really impressed me was that they checked every aspect of the 744 and did a bunch of service work eg replaced a button, did a few mods that newer machines have etc... And when it was returned there was document listing all the fixes and to me it felt like a new 744!!!&#xD;&#xA;&#xD;&#xA;And one thing the 744 has over the 788 is 192kHz recording! I'd love a 788 and I'll start saving for one the day they support 192kHz&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;ps my main uses for the extra record tracks have been&#xD;&#xA;- onboard vehicle recording (engine mic, exhaust mic, stereo interior)&#xD;&#xA;- ambience recording in quad (or 5.0 with 722 C.Linked)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22372" PostHistoryTypeId="2" PostId="13542" RevisionGUID="40499be5-e3c2-477c-9e1f-d0b27d0898b1" CreationDate="2012-04-15T02:48:09.147" UserId="3532" Text="744 isn't as great of a mixer for all of it's channels and only 2 channels are discrete.  I was going for a 744 until i found that note out though as my production has increased the need for more than 2 channels from the 702 that I own has become more and more apparent&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22373" PostHistoryTypeId="2" PostId="13543" RevisionGUID="f9ed02f1-b38c-4b81-ac83-9326769625ad" CreationDate="2012-04-15T02:54:02.620" UserId="3532" Text="Theres an absynth effect called Atherizer that makes sparkly sounds. I highly suggest.  Also GRM tools has a combfilter plug that works towards the sparklies.  Working with granulator plugins might prove sparkley" ContentLicense="CC BY-SA 3.0" />
  <row Id="22374" PostHistoryTypeId="2" PostId="13544" RevisionGUID="663ca595-1337-4e90-8a25-d4ec9b654156" CreationDate="2012-04-15T11:00:38.460" UserId="3179" Text="Soundbooth should be totally fine. Although, I would suggest Reaper as the alternative to the Adobe software. The trial is non-expiring and they also have a discounted license of $60 for educational organizations. Reaper might be a bit more involved in terms of working with audio, but if you can cover the basic usage to the students, then it should be fine to grasp quickly enough. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22375" PostHistoryTypeId="2" PostId="13545" RevisionGUID="18d446de-0e77-4995-a668-54164c27e0d6" CreationDate="2012-04-15T11:22:25.523" UserId="6432" Text="I'm curious as to whether systems like the attractively priced [JBL MSC1][1] are useful in home studio situations. Although I don't do any serious mixing at home I do spend lots of time editing there, and would like it to be as balanced a possible. I can't do any serious modifications to the room as it's rented accommodation, but might be tempted to try a system like this out.&#xD;&#xA;&#xD;&#xA;Anyone had any experience with this, or have any thoughts on room correction generally?&#xD;&#xA;&#xD;&#xA;My monitors are Genelec 1030A's. I've also been tempted to add a sub to these recently.&#xD;&#xA;&#xD;&#xA;Worth checking out the videos here:&#xD;&#xA;http://www.jblpro.com/MSC1/MSC1_Video.html&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jblpro.com/MSC1/MSC1_Overview.html&#xD;&#xA;  [2]: http://www.jblpro.com/MSC1/images/MSC1_Overview_12.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="22376" PostHistoryTypeId="1" PostId="13545" RevisionGUID="18d446de-0e77-4995-a668-54164c27e0d6" CreationDate="2012-04-15T11:22:25.523" UserId="6432" Text="Room correction systems for home studios?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22377" PostHistoryTypeId="3" PostId="13545" RevisionGUID="18d446de-0e77-4995-a668-54164c27e0d6" CreationDate="2012-04-15T11:22:25.523" UserId="6432" Text="&lt;room&gt;&lt;monitor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22378" PostHistoryTypeId="2" PostId="13546" RevisionGUID="f6db5225-dcb8-42d1-923a-dab08b9951b4" CreationDate="2012-04-15T13:13:54.843" UserId="542" Text="I never tried these romm correction hardware stuff, but I don't think that they do more than simply applying some kind of EQ to it. So it doesn't actually dampens certain frequencies but simply lowers them. &#xD;&#xA;Of course this will work for minor problems, but I think you should invest in some acoustic treatment (which can be removed easily) rather than spending money on these romm correction hardware.&#xD;&#xA;&#xD;&#xA;**But as I said before: I never actually used one of these, so I may be totally wrong about this product.** &#xD;&#xA;&#xD;&#xA;Have you already measured your room ? &#xD;&#xA;&lt;a href=&quot;http://www.hometheatershack.com/roomeq/&quot;&gt;Room EQ Wizard&lt;/a&gt; is for free, you only need a cheap measurement microphone (40-50€) and you are good to go." ContentLicense="CC BY-SA 3.0" />
  <row Id="22380" PostHistoryTypeId="2" PostId="13547" RevisionGUID="c63b5f8d-dd72-4285-8ede-0617245de394" CreationDate="2012-04-15T18:16:53.047" UserId="6487" Text="Crystallizer does a great job. I would start by processing ice in a glass, glass debris, or a bell tree and then chop off the attack and doppler it or futz with the spacial feeling in Enigma.  You can then layer and blend it with some sand blowing in the wind or wind buffets. &#xD;&#xA;&#xD;&#xA;I did something similar for Science Channel's cube logo animation when the cube breaks into a bunch of little cubes and then sucks back into the big orange cube.  I used ice cubes and wood blocks through the same process.  I also put in some blocks that were graphic specific and threw them through the doppler anomaly setting and reversed them when needed. It was kind of a washy high end sound.  I bet using glass debris or a bell tree as the source material would result in fairy dust." ContentLicense="CC BY-SA 3.0" />
  <row Id="22381" PostHistoryTypeId="2" PostId="13548" RevisionGUID="82eddbb3-7ace-449b-8876-197434c42eb9" CreationDate="2012-04-15T18:26:13.757" UserId="6487" Text="I finished all my required classes and paperwork in order to be rostered on the MPEG 700 as a Y-1 and then got a call for a union gig on lot.  However, it appears this lot and gig are NABET, not MPEG.  &#xD;&#xA;&#xD;&#xA;In DC, I was briefly an IATSE member so I could work on a video for the Airline Pilots Union.  They didn't care if I was a member of their union. I just had to be a member of a union. Is this how is works out here or do I seriously have to go through the whole process again for NABET and pay separate dues?  &#xD;&#xA;&#xD;&#xA;I mean, I will....and I am stoked to have a union gig for a bit. But, it would be nice not to have to go through a whole process again....&#xD;&#xA;&#xD;&#xA;Has anyone else had this experience?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="22382" PostHistoryTypeId="1" PostId="13548" RevisionGUID="82eddbb3-7ace-449b-8876-197434c42eb9" CreationDate="2012-04-15T18:26:13.757" UserId="6487" Text="Unions? NABET verses MPEG" ContentLicense="CC BY-SA 3.0" />
  <row Id="22383" PostHistoryTypeId="3" PostId="13548" RevisionGUID="82eddbb3-7ace-449b-8876-197434c42eb9" CreationDate="2012-04-15T18:26:13.757" UserId="6487" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22384" PostHistoryTypeId="2" PostId="13549" RevisionGUID="f0f786a6-9b11-4892-9c89-9856dcc7a992" CreationDate="2012-04-15T18:34:01.967" UserId="6487" Text="I am encountering more and more 2 and 3 man dub stages in LA whereas all stages were one man stages in DC.  I have been mixing for over a decade but am certain I will have a mix team experience really soon.  (I am excited to work with a partner!)  &#xD;&#xA;&#xD;&#xA;Does anyone have any experience making this jump from a 1 man mixing setup to a 2 man mix setup with a dubber?  Do you have an advice on anything I should read up on or do before jumping in? The whole PEC switch thing is a bit new but makes since conceptually. &#xD;&#xA;&#xD;&#xA;Have you been part of a team and have a list of annoying behavior or favorable behavior I should take note of?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22385" PostHistoryTypeId="1" PostId="13549" RevisionGUID="f0f786a6-9b11-4892-9c89-9856dcc7a992" CreationDate="2012-04-15T18:34:01.967" UserId="6487" Text="2 Man Verses 1 Man Dub Stages" ContentLicense="CC BY-SA 3.0" />
  <row Id="22386" PostHistoryTypeId="3" PostId="13549" RevisionGUID="f0f786a6-9b11-4892-9c89-9856dcc7a992" CreationDate="2012-04-15T18:34:01.967" UserId="6487" Text="&lt;dub&gt;&lt;dubbing-stage&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22387" PostHistoryTypeId="2" PostId="13550" RevisionGUID="b0614174-93d4-4bb8-a4e9-dd4b32eedf52" CreationDate="2012-04-15T19:28:45.930" UserId="3179" Text="On a deadline or not, what do you do when you hit a wall trying to realize a certain sound effect, but can't find the material nor edit/process it for the right end result? &#xD;&#xA;&#xD;&#xA;Outsource, go with the second best sound or just keep pushing until you nail it?&#xD;&#xA;&#xD;&#xA;Or is this kind of struggling just for amateurs and beginners with no access to sound libraries that cover everything and optimal sound sources and recording conditions :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22388" PostHistoryTypeId="1" PostId="13550" RevisionGUID="b0614174-93d4-4bb8-a4e9-dd4b32eedf52" CreationDate="2012-04-15T19:28:45.930" UserId="3179" Text="What do you do when you can't realize a certain SFX?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22389" PostHistoryTypeId="3" PostId="13550" RevisionGUID="b0614174-93d4-4bb8-a4e9-dd4b32eedf52" CreationDate="2012-04-15T19:28:45.930" UserId="3179" Text="&lt;sfx&gt;&lt;block&gt;&lt;problem&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22390" PostHistoryTypeId="2" PostId="13551" RevisionGUID="4f0ca319-b443-4a2e-8db2-c6758f13dc01" CreationDate="2012-04-15T19:39:06.843" UserId="6487" Text="I ask advice of my friends, sometimes I buy new source material to work with or plug-ins to process with...but, essentially, I just keep plugging until I find it. This is the fun experimental part of sound.  Sometimes you find the sound you had imagined is not even as good as a completely different sound you created while struggling." ContentLicense="CC BY-SA 3.0" />
  <row Id="22391" PostHistoryTypeId="2" PostId="13552" RevisionGUID="6419d4d6-33f2-4eea-8eda-1fd5c8f3c036" CreationDate="2012-04-15T19:47:45.680" UserId="6487" Text="I toured a facility recently and saw a number of abbreviated side workstations connected to one man mixing suites with a mysterious red button cabled box.  I asked my tour guide if it  was the mixer chair ejection button.  The tour guide said that it was for the &quot;laugh man.&quot;  He said that a laugh man comes in and sweetens production laugh tracks for sitcoms with a collection of SFX he carries with him that contains incredible variations of crowd reactions without identifiable language. (Thus, it can also be used as the M&amp;E laugh track as well.) He says they take about an 1.5 hours to sweeten a 30 minute show and then they are done.&#xD;&#xA;&#xD;&#xA;I would have assumed the laugh track would have been created in editorial by the sound editor.  I have certainly been charged with that mission before.&#xD;&#xA;&#xD;&#xA;Have you ever been a laugh man? Where does one get this mysterious ubiquitous walla? How do you use that red button. Tell me more." ContentLicense="CC BY-SA 3.0" />
  <row Id="22392" PostHistoryTypeId="1" PostId="13552" RevisionGUID="6419d4d6-33f2-4eea-8eda-1fd5c8f3c036" CreationDate="2012-04-15T19:47:45.680" UserId="6487" Text="Have you ever been a laugh man?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22393" PostHistoryTypeId="3" PostId="13552" RevisionGUID="6419d4d6-33f2-4eea-8eda-1fd5c8f3c036" CreationDate="2012-04-15T19:47:45.680" UserId="6487" Text="&lt;laughter&gt;&lt;sitcom&gt;&lt;television&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22394" PostHistoryTypeId="2" PostId="13553" RevisionGUID="b50b87b6-1613-4834-9ca7-67c1b0b80418" CreationDate="2012-04-15T21:28:53.577" UserId="166" Text="Well, that depends on the client. Is the client happy with what you consider 'second best'? If so, make the deadline and quit struggling. Repeatedly missing deadlines even if your work is amazing and perfect won't win you much more work. &#xD;&#xA;&#xD;&#xA;Does this happen often? Maybe you need to re-consider your process and spring for some gear or SFX packs that will ease the way. Yes, stuff is expensive, but time is money, especially if you are working for a set fee. If it takes you two hours to build a cue that you could do in 20 minutes with the right tools, then streamlining the process means that you could take on more clients and the extra gear pays for itself ;)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22395" PostHistoryTypeId="2" PostId="13554" RevisionGUID="6fe1cfdc-e7f7-4429-91e9-f12512aaa7cf" CreationDate="2012-04-15T21:30:29.937" UserId="6411" Text="Typically, I'll drop a marker and keep moving forward. On most projects that I'm on I don't have the luxury of spending hours on a specific sequence, let alone a particular effect. If it's not coming to me fluidly at that moment, I keep making progress on the rest of the project. Eventually something, a clip down the timeline, a phone call, a daydream, whatever, triggers  my subconscious to go, &quot;Hey, you know that part you skipped, have you tried *this*?&quot;&#xD;&#xA;&#xD;&#xA;If I simply don't have the material I need for it, then I try and think laterally. What do I have in terms of a matching frequency and timbre? What's it's character: Is it an aggressive or soothing sound that I'm looking for? What do I have that fits into those slots? If that still doesn't work, then I look into either buying a sample (because I need it **now**) or I setup to record it." ContentLicense="CC BY-SA 3.0" />
  <row Id="22396" PostHistoryTypeId="5" PostId="13545" RevisionGUID="fccead7a-ea44-44c1-bf94-ca45bf9f6f5a" CreationDate="2012-04-15T22:55:45.817" UserId="6432" Comment="added 370 characters in body" Text="I'm curious as to whether systems like the attractively priced [JBL MSC1][1] are useful in home studio situations. Although I don't do any serious mixing at home I do spend lots of time editing there, and would like it to be as balanced a possible. I can't do any serious modifications to the room as it's rented accommodation, but might be tempted to try a system like this out.&#xD;&#xA;&#xD;&#xA;Anyone had any experience with this, or have any thoughts on room correction generally?&#xD;&#xA;&#xD;&#xA;My monitors are Genelec 1030A's. I've also been tempted to add a sub to these recently.&#xD;&#xA;&#xD;&#xA;Worth checking out the videos here:&#xD;&#xA;http://www.jblpro.com/MSC1/MSC1_Video.html&#xD;&#xA;&#xD;&#xA;EDIT: I was just thinking about this a bit more, and I got to thinking about other spaces like makeshift galleries and temporary cinema spaces. I often visit these kind of rooms and think that just a small amount of eq would really help the overall sound. £200-£300 is not much extra if you've already spent £1000 on speakers. Is this underused technology, and how cost effective is it?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jblpro.com/MSC1/MSC1_Overview.html&#xD;&#xA;  [2]: http://www.jblpro.com/MSC1/images/MSC1_Overview_12.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="22397" PostHistoryTypeId="2" PostId="13555" RevisionGUID="bcc6b0a3-3fe6-4d30-ba42-a778065448c2" CreationDate="2012-04-15T23:16:53.980" UserId="3754" Text="As mentioned above, I avoid and come back later. Sometimes you're clutching at something so hard you don't realise it's slipping through your fingers. Go away and tackle it later. Normally it will just 'click' with time. And if time has gone and it needs to be submitted, I go with what I've got. I guarantee what's sub par to you, is fine for your client. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22398" PostHistoryTypeId="2" PostId="13556" RevisionGUID="64bddc2c-94fa-4c49-9e46-ca255eeab927" CreationDate="2012-04-16T01:47:44.760" UserId="3777" Text="Spanner is a new AAX plugin from maggot which does the kind of thing you are asking.&#xD;&#xA;www.maagot.co.nz/software/spanner.shtml" ContentLicense="CC BY-SA 3.0" />
  <row Id="22399" PostHistoryTypeId="5" PostId="13549" RevisionGUID="8ed56677-1d18-4d4f-8203-d6535c40207a" CreationDate="2012-04-16T01:48:55.377" UserId="6411" Comment="Spelling" Text="I am encountering more and more 2 and 3 man dub stages in LA whereas all stages were one man stages in DC.  I have been mixing for over a decade but am certain I will have a mix team experience really soon.  (I am excited to work with a partner!)  &#xD;&#xA;&#xD;&#xA;Does anyone have any experience making this jump from a 1 man mixing setup to a 2 man mix setup with a dubber?  Do you have an advice on anything I should read up on or do before jumping in? The whole PEC switch thing is a bit new but makes sense conceptually. &#xD;&#xA;&#xD;&#xA;Have you been part of a team and have a list of annoying behavior or favorable behavior I should take note of?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22400" PostHistoryTypeId="4" PostId="13549" RevisionGUID="8ed56677-1d18-4d4f-8203-d6535c40207a" CreationDate="2012-04-16T01:48:55.377" UserId="6411" Comment="Spelling" Text="2 Man Versus 1 Man Dub Stages" ContentLicense="CC BY-SA 3.0" />
  <row Id="22401" PostHistoryTypeId="5" PostId="13545" RevisionGUID="915fdf07-b049-48c3-9196-3fa1705ab99d" CreationDate="2012-04-16T11:03:18.737" UserId="6432" Comment="re-added picture" Text="I'm curious as to whether systems like the attractively priced [JBL MSC1][1] are useful in home studio situations. Although I don't do any serious mixing at home I do spend lots of time editing there, and would like it to be as balanced a possible. I can't do any serious modifications to the room as it's rented accommodation, but might be tempted to try a system like this out.&#xD;&#xA;&#xD;&#xA;Anyone had any experience with this, or have any thoughts on room correction generally?&#xD;&#xA;&#xD;&#xA;My monitors are Genelec 1030A's. I've also been tempted to add a sub to these recently.&#xD;&#xA;&#xD;&#xA;Worth checking out the videos here:&#xD;&#xA;http://www.jblpro.com/MSC1/MSC1_Video.html&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;EDIT: I was just thinking about this a bit more, and I got to thinking about other spaces like makeshift galleries and temporary cinema spaces. I often visit these kind of rooms and think that just a small amount of eq would really help the overall sound. £200-£300 is not much extra if you've already spent £1000 on speakers. Is this underused technology, and how cost effective is it?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jblpro.com/MSC1/MSC1_Overview.html&#xD;&#xA;  [2]: http://mixdownmag.com.au/wp-content/uploads/2012/01/MSC1-angle-clear.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="22402" PostHistoryTypeId="2" PostId="13557" RevisionGUID="5ba16510-e1f9-42cb-94f0-96d21d7780a8" CreationDate="2012-04-16T13:59:10.000" UserId="941" Text="Cakewalks Sonar X1 Producer comes with a 30 day free trial and I have been a user of Sonar for about 18 years without any hassles.&#xD;&#xA;&#xD;&#xA;Any video editing I do is in Premiere but all sound design for my projects is in Sonar." ContentLicense="CC BY-SA 3.0" />
  <row Id="22403" PostHistoryTypeId="2" PostId="13558" RevisionGUID="27bb5644-d51b-4738-8509-ea9d495bc419" CreationDate="2012-04-16T14:02:25.033" UserId="3778" Text="I’m using Protools 8 with DV Toolkit 2.&#xD;&#xA;If I upgrade to Protools 10 do I need a DV toolkit as well or is everything included?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22404" PostHistoryTypeId="1" PostId="13558" RevisionGUID="27bb5644-d51b-4738-8509-ea9d495bc419" CreationDate="2012-04-16T14:02:25.033" UserId="3778" Text="Protools- Dv toolkit2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22405" PostHistoryTypeId="3" PostId="13558" RevisionGUID="27bb5644-d51b-4738-8509-ea9d495bc419" CreationDate="2012-04-16T14:02:25.033" UserId="3778" Text="&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22406" PostHistoryTypeId="2" PostId="13559" RevisionGUID="506a5d9c-2e19-4862-ae39-983346402cf8" CreationDate="2012-04-16T14:10:36.337" UserId="432" Text="There is no DV Toolkit anymore...most of the functionality from it has been incorporated into 10 already. There is only the Complete Production Toolkit now, which you can update to from DVTK2. If you upgrade, CPTK costs $800 instead of $2000. I'd suggest you [take a look at what the CPTK provides][1], then decide if you need that extra functionality or not.&#xD;&#xA;&#xD;&#xA;[This page][2] might actually provide more useful information, now that I think about it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://shop.avid.com/store/product.do?product=307048795257792&#xD;&#xA;  [2]: http://www.avid.com/US/products/Complete-Production-Toolkit/features" ContentLicense="CC BY-SA 3.0" />
  <row Id="22407" PostHistoryTypeId="2" PostId="13560" RevisionGUID="8c6e0801-3372-4ede-b1a2-dfd35d9f9a79" CreationDate="2012-04-16T15:03:15.940" UserId="730" Text="I have had the 702 for a few years now and I LOVE IT!  It works great, is durable, and most of all the audio quality is fantastic!  Any Sound Devices recorder you get is going to be awesome." ContentLicense="CC BY-SA 3.0" />
  <row Id="22408" PostHistoryTypeId="2" PostId="13561" RevisionGUID="b17575e3-b070-43db-8011-f4215d49da50" CreationDate="2012-04-16T15:40:35.250" UserId="2906" Text="Hi everyone!&#xD;&#xA;&#xD;&#xA;So, I've been reading this amazing book my Michel Chion, &quot;Audiovision&quot; in which the author considers that the time domain prevails in sound, most specifically within sound fragments, whereas the spatial dimension doesn't seem to exist at all.&#xD;&#xA;The visual examples mentioned are **1)** someone observing the whole of a scenario, to a detail of that scenario and **2)** someone observing something that turns to be his focus of attention. Trying to achieve some like this with sound would result only in a time flow.&#xD;&#xA;&#xD;&#xA;I'd love to know what all sound designers out there think about this and if someone thinks there is a way of somehow carrying spatial dimension through sound.&#xD;&#xA;&#xD;&#xA;About example **1** I thought to myself if the character is observing, for example, a room full of random objects and he starts to focus his attention, let's say, to a ticking watch on the other side of the room. If the sound of the ticking starts to be heard when the character notices it and starts to pay attention, being that sound balanced between the room space, character and/ or audience P.O.V., would these sound fragments carry somewhat spatial information? I'm guessing it does, although the time domain would always be there.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="22409" PostHistoryTypeId="1" PostId="13561" RevisionGUID="b17575e3-b070-43db-8011-f4215d49da50" CreationDate="2012-04-16T15:40:35.250" UserId="2906" Text="Sound vs. Space" ContentLicense="CC BY-SA 3.0" />
  <row Id="22410" PostHistoryTypeId="3" PostId="13561" RevisionGUID="b17575e3-b070-43db-8011-f4215d49da50" CreationDate="2012-04-16T15:40:35.250" UserId="2906" Text="&lt;time&gt;&lt;domain&gt;&lt;space&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22411" PostHistoryTypeId="2" PostId="13562" RevisionGUID="a4aca0b3-9c50-4fe4-b7fd-6ff5179fed96" CreationDate="2012-04-16T16:39:15.597" UserId="3179" Text="What is the greatest or latest? Been going through some vintage recordings that lack high frequencies and was looking to excite them, when asking this question popped to my mind. I use software, but if there's staple hardware or something that you've found to work, then would be interesting to hear experiences about those as well.&#xD;&#xA;&#xD;&#xA;Lets keep this question strictly about &quot;exciters&quot; or specific distortion plug-ins/hardware, free of other techniques for adding high frequency content (EQ, reverb ERs, layering etc.)." ContentLicense="CC BY-SA 3.0" />
  <row Id="22412" PostHistoryTypeId="1" PostId="13562" RevisionGUID="a4aca0b3-9c50-4fe4-b7fd-6ff5179fed96" CreationDate="2012-04-16T16:39:15.597" UserId="3179" Text="Harmonic Exciters" ContentLicense="CC BY-SA 3.0" />
  <row Id="22413" PostHistoryTypeId="3" PostId="13562" RevisionGUID="a4aca0b3-9c50-4fe4-b7fd-6ff5179fed96" CreationDate="2012-04-16T16:39:15.597" UserId="3179" Text="&lt;software&gt;&lt;hardware&gt;&lt;high-frequency&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22414" PostHistoryTypeId="5" PostId="13562" RevisionGUID="57bfbc53-32ed-4972-98b3-6b122ecd63c9" CreationDate="2012-04-16T16:45:02.987" UserId="3179" Comment="added 16 characters in body" Text="What is the greatest or latest? Been going through some vintage recordings that lack high frequencies and was looking to excite them, when asking this question popped to my mind. I use software, but if there's staple hardware or something that you've found to work, then would be interesting to hear experiences about those as well.&#xD;&#xA;&#xD;&#xA;Lets keep this question strictly about &quot;exciters&quot; or specific distortion plug-ins/hardware, free of other techniques for adding high frequency content (EQ, MB compression, reverb ERs, layering etc.)." ContentLicense="CC BY-SA 3.0" />
  <row Id="22415" PostHistoryTypeId="2" PostId="13563" RevisionGUID="5cc766e6-b08a-461a-b960-5fdd2386a56f" CreationDate="2012-04-16T16:55:09.720" UserId="221" Text="If you don't need Surround tracks then DV Tool Kit becomes redundant. If you do need surround then take the upgrade option from DV Toolkit to Complete Production Toolkit for $800. But with PT10 you no longer need DigTranslator, you will get the Timecode ruler - ie the things you paid for when you got DV Toolkit. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22416" PostHistoryTypeId="2" PostId="13564" RevisionGUID="d332d3fa-2e65-499a-9237-4e950c14f556" CreationDate="2012-04-16T19:11:15.967" UserId="444" Text="I'd recomend BBE Sonic Maximizers.  I've used their plug-ins for some time now, and have always been happy with the result.  They have a few different hardware models as well.  You'd have to check which would be best for you.  If I had the budget, their gear would be in my rack.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="22417" PostHistoryTypeId="2" PostId="13565" RevisionGUID="79639e2b-3485-43b5-9890-23581beaf19d" CreationDate="2012-04-16T19:33:56.797" UserId="3730" Text="To add mystery to your quest , once the laugh man has come and gone and the mix is done .. the tone guy is called in. He too comes with a box BUT his is filled with tone. Generally they have various tones in their box and skillfully applies his expertize to the master. and just like that before your can say dolby on ,, he is gone !" ContentLicense="CC BY-SA 3.0" />
  <row Id="22418" PostHistoryTypeId="2" PostId="13566" RevisionGUID="776af78c-330e-42d4-8378-65fadb3f5f34" CreationDate="2012-04-16T19:56:01.157" UserId="3730" Text="Hi all &#xD;&#xA;Im running Protools HD on Mac and would like some feedback as to what in your opinion is the best voice mastering plug in for feature films.&#xD;&#xA;I have used Ozone 4 and their center voice preset can be slightly harsh at times. Need to add a bit of warmth to the voice track. Location mics were a range of sony lapels and 416 boom. the audio is clean , clinical but no analogue dolby warmth . any suggestions ?&#xD;&#xA;&#xD;&#xA;Mark" ContentLicense="CC BY-SA 3.0" />
  <row Id="22419" PostHistoryTypeId="1" PostId="13566" RevisionGUID="776af78c-330e-42d4-8378-65fadb3f5f34" CreationDate="2012-04-16T19:56:01.157" UserId="3730" Text="Best Voice track mastering software ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22420" PostHistoryTypeId="3" PostId="13566" RevisionGUID="776af78c-330e-42d4-8378-65fadb3f5f34" CreationDate="2012-04-16T19:56:01.157" UserId="3730" Text="&lt;pro-tools&gt;&lt;software&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22421" PostHistoryTypeId="2" PostId="13567" RevisionGUID="1f36e6ca-1287-464b-b8a1-8d0d374f5bb0" CreationDate="2012-04-16T20:27:33.303" UserId="1145" Text="Have a look at [this][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.kushaudio.com/kush/clariphonic/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="22422" PostHistoryTypeId="2" PostId="13568" RevisionGUID="f7a4c890-5755-4f7f-a96b-930b92cbab0e" CreationDate="2012-04-16T20:33:15.830" UserId="444" Text="If you want to stick within the izotope family, look at Necter.  It has more features specifically for processing vocals and dialogue, where as ozone is more designed for general mastering." ContentLicense="CC BY-SA 3.0" />
  <row Id="22423" PostHistoryTypeId="2" PostId="13569" RevisionGUID="17d0cf04-eb0b-43bd-9067-3659fc7e0abf" CreationDate="2012-04-16T20:37:51.893" UserId="693" Text="Typically, each mixer is going to handle a different element (ie DX, SFX, MX). There's a bit of give and take for elements to shine or whatever. It's usually a good working situation because you have the ears and experience of a fellow mixer there to keep you in check and keep each other from making bad mix choices or a shared tip on how to deal with X situation or whatever.&#xD;&#xA;&#xD;&#xA;I wouldn't sweat it if I were you. Just don't drink too much coffee. Either you'll end up talking too much or in the bathroom a lot.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22424" PostHistoryTypeId="2" PostId="13570" RevisionGUID="dd401e86-ed8e-499a-9f3f-4a81b43f1834" CreationDate="2012-04-16T21:19:14.283" UserId="253" Text="Your interpretations of the examples make sense to me. I think sound can carry spatial information (we can usually tell where a sound comes from, and in what kind of space it is), and vision can carry time information (all movement indicates time).&#xD;&#xA;&#xD;&#xA;But i think the way we use our senses is the cause of the bias that Chion speaks of. For example, if we hear a sound, we instinctively want to gather more spatial information with our eyes. Maybe our ears tell us that the clock is a grandfather clock, is to our right, and is in a medium sized, tiled room - but our eyes will tell us exactly what the clock looks like, the colour of the floor, what's beside and above the clock, and countless other details that our ears have no way of perceiving.&#xD;&#xA;&#xD;&#xA;Our ears, on the other hand, are so much more sensitive to rhythm. Maybe because we spend our entire lives with our heart beating down there in our chest. If the clock was even slightly fast or irregular, our ears would pick it up straight away; i don't think our eyes would. And without our ears, maybe we wouldn't even realise it was there in the first place.&#xD;&#xA;&#xD;&#xA;So i guess it's our body using the best tools for the job. But yeah, i would say that panning, eq and reverb are definitely forms of spatial information. Great topic! I think psychoacoustics is so relevant to what we do.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22425" PostHistoryTypeId="2" PostId="13571" RevisionGUID="b42de846-c785-4306-8461-9c32d4af9327" CreationDate="2012-04-16T21:25:44.907" UserId="6432" Text="I liked the exciter in Izotope Ozone when I was using it. Would like to find a replacement actually.&#xD;&#xA;&#xD;&#xA;Anyone rate One Knob Brighter?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22426" PostHistoryTypeId="2" PostId="13572" RevisionGUID="42e43481-f4d1-4fd8-a7a4-92c6de95b3ee" CreationDate="2012-04-16T21:41:14.003" UserId="3179" Text="Here's what I've been using lately: http://www.crysonic.com/spectralivenxt.html&#xD;&#xA;&#xD;&#xA;I believe it's the most customizable one in the market (64 combinations of algorithms!). Quite precise as well with 11 frequency bands, but I'm not sure what to think about the processing quality. With tweaking it &quot;works&quot;, but then again it somehow doesn't feel like it can sound as good as for example Ozone's exciter. Haven't used it much yet and definitely not gone through all the combinations, so it might just be that I'm not very fluent with it yet :)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22427" PostHistoryTypeId="2" PostId="13573" RevisionGUID="d520ef00-31e3-44ee-a617-f77f76e7465e" CreationDate="2012-04-17T03:18:41.733" UserId="3093" Text="*Question*&#xD;&#xA;Do you guys ever merge libraries? like... do you have a folder called &quot;foley&quot; and there you have foley from every library you own? &#xD;&#xA;&#xD;&#xA;Or is it divided by libraries and then each library under their own category ie foley?&#xD;&#xA;&#xD;&#xA;....that lead me to an unexpected question: Do you ever RE-organize libraries you buy so that they fit your &quot;personal system&quot; as mentioned by @Selcuk?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22428" PostHistoryTypeId="2" PostId="13574" RevisionGUID="7dbc8df7-e630-467e-8274-29f57d831491" CreationDate="2012-04-17T09:59:19.387" UserId="961" Text="Thanks a bunch guys. i really love this place. been so lonley in my studio ( knowledge wise..)&#xD;&#xA;&#xD;&#xA;did some research and found this one :&#xD;&#xA;&#xD;&#xA;http://www.smproaudio.com/index.php/en/products/monitor-controllers/mpatch-51&#xD;&#xA;&#xD;&#xA;bought it from b&amp;h in 400$ instead of this one :&#xD;&#xA;&#xD;&#xA;http://spl.info/hardware/monitor-controller/surround-monitor-controller/kurzbeschreibung.html&#xD;&#xA;&#xD;&#xA;which cost 900$..&#xD;&#xA;&#xD;&#xA;also bought this d-sub cable :(90$)&#xD;&#xA;&#xD;&#xA;http://www.sydec.be/App/Content/?ID=a406f87c-6d97-4827-948a-f2160d02647e&#xD;&#xA;&#xD;&#xA;to connect the digi 003 to the controller.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thats it. hope it'll sound good.  next stop is - buying another 2 bm5a and hang them behind me.&#xD;&#xA;&#xD;&#xA;Is anybody knows if i could use another type of monitors for st. suround?&#xD;&#xA;&#xD;&#xA;like these :&#xD;&#xA;&#xD;&#xA;http://www.jblpro.com/catalog/General/Product.aspx?PId=277&amp;MId=1&#xD;&#xA;&#xD;&#xA;http://www.bhphotovideo.com/c/product/638082-REG/JBL_8320_8320_Compact_Cinema_Surround.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;having 3 dynaudio bm5a as LCR and two JBL for L/R  R/R , is that make any sence at all?&#xD;&#xA;&#xD;&#xA;thanks again&#xD;&#xA;&#xD;&#xA;n.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22429" PostHistoryTypeId="2" PostId="13575" RevisionGUID="72e30fdc-e650-4ae0-8180-081fde4cc91e" CreationDate="2012-04-17T10:57:26.473" UserId="593" Text="It's worth noting that you loose the DVTK2 ability to perform automation snapshots and in order to unlock that in 10 you need CPTK." ContentLicense="CC BY-SA 3.0" />
  <row Id="22430" PostHistoryTypeId="2" PostId="13576" RevisionGUID="e2332583-da93-42e0-b08b-c0ac229c52f2" CreationDate="2012-04-17T12:56:39.687" UserId="6432" Text="It's a year since this thread was started, I'm curious... how did you get on, and what did you make?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22431" PostHistoryTypeId="5" PostId="13576" RevisionGUID="fb40453f-82a9-4f79-93ea-af9348885738" CreationDate="2012-04-17T13:16:58.540" UserId="6432" Comment="added 23 characters in body" Text="It's a year since this thread was started, I'm curious... how did you get on, and did you make anything that you still use?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22432" PostHistoryTypeId="2" PostId="13577" RevisionGUID="e06aaf1d-cf40-44dc-bd15-08f1ce5fcae8" CreationDate="2012-04-17T14:01:47.497" UserId="3780" Text="Thanks for the tips guys. Really great advice.&#xD;&#xA;&#xD;&#xA;I have had fun experimenting with some of these techniques and have managed to create some pretty cool fairy dust.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Tom" ContentLicense="CC BY-SA 3.0" />
  <row Id="22433" PostHistoryTypeId="2" PostId="13578" RevisionGUID="01c5d4c7-48ac-44b1-ab7f-c4bbc859e949" CreationDate="2012-04-17T15:45:51.007" UserId="418" Text="I have some strong feelings on this topic, so apologies in advance for the longish post. &#xD;&#xA;&#xD;&#xA;Here's how I organize my audio files: I don't! Before you throw up, let me explain…&#xD;&#xA;&#xD;&#xA;What I mean is that I don't sort, file or otherwise organize my audio files into folders in my operating system. Not at all. My entire working sound library is nothing more than several bazillion files living inside one single folder on my computer, I barely even give them names any more. Most still have the default generic name from whatever device or application they spawned from. &quot;file0483.wav&quot;, &quot;Reaktor52-28983.wav&quot;&#xD;&#xA;&#xD;&#xA;Heh, I bet there are a lot of people who are getting increasingly agitated by this. Contrary to how it may sound, I am actually a hyper-organized person, and I do have a great organization system in place. But over many years of using and designing custom media databases, I came to understand that audio has many inherent qualities which prevent it from being organized in the same way as, say, text files. Here's why…&#xD;&#xA;&#xD;&#xA;**Audio is too alive**&#xD;&#xA;There are several good reasons, but the biggie is: Audio is not always one dimensional. What good is your &quot;Nature/Animals/Jungle/Birds/Parrots/Macaw_Rainforest_Morning_Take_15.aiff&quot; filing convention, when that file also clearly has the sounds of 20 other types of birds, a fan boat, some chainsaws, a bunch of tourist chatter, and a thunderstorm in the background? A really awesome thunderstorm. &#xD;&#xA;&#xD;&#xA;Why force yourself to make boring administrative decisions about where a file lives on your computer, a decision which may inevitably hinder its usefulness later, depending on where you decide it should go at that moment? Your computer doesn't know what that file is. It doesn't care how awesome the thunderstorm is. It's just a file. &#xD;&#xA;&#xD;&#xA;**It's creatively restrictive**&#xD;&#xA;In a pinch, after 14 cups of coffee, you've decided that the cool synthy stabby thingy file should live in your &quot;Instruments/Synth/Analog/Leads/&quot; folder. Great. But I think we all know that any one of us could take that little bloop sound and transform it into an epic pad or soundscape, or a bass, or a whatever. Point is, organizing the actual files themselves does little more than limit your use of them. &#xD;&#xA;&#xD;&#xA;It's an artistic hindrance. You are an artist, but there is absolutely nothing creative or artistic about naming, sorting and moving around files. You are forcing your brain to bounce back and forth between left and right function, thusly sucking the creative energy out of yourself and eating away at your day.&#xD;&#xA;&#xD;&#xA;**Tag, in context**&#xD;&#xA;Sure, there are plenty of sound files that are just_one_thing, but your system should be flexible enough to accomodate ALL situations. Giving one file one name and sticking it in one folder forever isn't flexible. What is flexible? Tags. A file can only have one name, but it can have as many tags as your heart desires. Tags are clickable, searchable, quick to apply, short, sweet, are based on creative usage, require no typing, the list goes on. File and folder names are long, tedious, manually typed, manually sorted, and prone to human error. &#xD;&#xA;&#xD;&#xA;Believe it or not, there is nothing more flexible than a single folder with a million files in it. As long as you use tags, and apply those tags in a creative context. What I mean is, applying simple and meaningful tags to your audio files WHILE YOU ARE USING THEM creatively. &lt; This is important. There is nothing more lame or prone to bad decisions than an all-night file organization session. Instead, apply tags to files while in use, while the juice is flowing. Clicking on a handful of tags while you are doing some real work takes a few seconds, and will result in far more meaningful context than at 3am when you are playing file clerk. &#xD;&#xA;&#xD;&#xA;**Portability**&#xD;&#xA;It doesn't matter what tools you use. Soundminer, Snapper, Monkey, the plain old Finder, iTunes. Makes no difference. I've used every pro audio database out there, and designed several custom ones of my own and for others. My tool of choice these days is AudioFinder. It's a little on the ugly side, a bit bloated, but auditioning and searching are fast, and it has some editing and batching functionality that I've grown to enjoy using. It also has an excellent tagging system, and it applies those tags to the files in OS X as Spotlight comments. That means I can take that big fat folder anywhere, and with a few scripts I can get my entire tag system into any piece of software I choose and move on with my life. &#xD;&#xA;&#xD;&#xA;Don't get me wrong. If I need to deliver files to anyone else on earth, I will name them and put them into a nice folder for people. Hell, I make sound libraries for a living. Those final products are neatly named, given metadata, etc. But during the time leading up to that final product, I am focused 100% on creative output. That is largely made possible by the low administrative overhead of my system. My non-system system, which happens to be orders of magnitude more productive than any other method I've seen or used. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It takes a lot of fortitude to cut the cord and just go for it. But once you do, it's really quite liberating, and is really much more conducive to creative work. I've helped others transition from some really massive directory-based systems over to this way of working and they've all said the same thing. They all love it.&#xD;&#xA;&#xD;&#xA;You are an artist. Do whatever you can to keep your brain in creative thinking territory. Organizing files is the antithesis of that. Just my 2 cents. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22434" PostHistoryTypeId="2" PostId="13579" RevisionGUID="d5b12c92-31b1-4371-adef-dbf4653f6726" CreationDate="2012-04-17T16:08:00.363" UserId="3420" Text="Hey everyone, &#xD;&#xA;&#xD;&#xA;Currently reading Audio Post Production for Television and Film by Hilary Wyatt (good read!)&#xD;&#xA;&#xD;&#xA;Anywho. . I recently did the sound for a film over here in Belfast. The original sound I got was hideous, messy, gruesome, and the film was nearly scrapped. I went to work on it and made it respectable enough that the local board actually funded the project so I was chuffed. (put a few clips on my website).&#xD;&#xA;&#xD;&#xA;However, although it sounded respectable. . .I'm reading this book and they're talking about Television and Film being in 48kHz (I used 44.1kHz), they're saying that the sound should have an operating level of -20dB. I'm going to be honest - I imported the guys film to Pro Tools. Imported the original sounds. . .and then operated BY EAR on fixing the film. When I completed the audio for each scene I exported the tracks (audio only - up to 20 tracks per scene) as an AIFF file (in 44.1kHz) and then sent that file to the director to line up and secure to the &#xD;&#xA;image.&#xD;&#xA;&#xD;&#xA;Even though the film sounded well - should I have done things way differently as it says in this book? &#xD;&#xA;&#xD;&#xA;I fear that if I don't go by the things in this book (which seem to be universal standards) then I'll struggle to get a job in future.&#xD;&#xA;&#xD;&#xA;What would you have done differently?&#xD;&#xA;&#xD;&#xA;Is Pro Tools set to SMPTE Clock by default (as they say to use this also).&#xD;&#xA;&#xD;&#xA;I'll work in 48kHz from now on (even though most of my sound recordings have been done in 44.1) but I'm not sure what this &quot;-20dB&quot; starting point is.&#xD;&#xA;&#xD;&#xA;Can someone explain ?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;Aaron." ContentLicense="CC BY-SA 3.0" />
  <row Id="22435" PostHistoryTypeId="1" PostId="13579" RevisionGUID="d5b12c92-31b1-4371-adef-dbf4653f6726" CreationDate="2012-04-17T16:08:00.363" UserId="3420" Text="Question about Timecodes, and Final Exports!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22436" PostHistoryTypeId="3" PostId="13579" RevisionGUID="d5b12c92-31b1-4371-adef-dbf4653f6726" CreationDate="2012-04-17T16:08:00.363" UserId="3420" Text="&lt;timecode&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22437" PostHistoryTypeId="2" PostId="13580" RevisionGUID="cb47ddab-12ad-440a-a359-74ce05c71feb" CreationDate="2012-04-17T16:15:14.207" UserId="234" Text="Traditionally, the Dialog(DX) mixer runs the show and is sometimes known as the &quot;lead mixer&quot;. The FX mixer is usually to HIS left, and the music mixer to HIS right. On 2 man crews, the DX mixer often mixes the music as well. The FX mixers job is to support the DX mixer during his passes, then the DX mixer will do the same for the FX mixer during the FX passes. The same basic principles that apply to any team situation apply here... basically, don't be a @#%^!!, respect your fellow team members, and treat others as you'd like to be treated. Often mixing teams stay together for long periods of time, because they can reach a level of understanding that goes beyond words, and simply KNOW what the other needs at any point. BTW, if you REALLY want to improve your mixing skills, working under a more experienced mixer is an EXCELLENT way to do that. I learned more on my first dubstage, then I did in five years of experience previous.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22438" PostHistoryTypeId="2" PostId="13581" RevisionGUID="73448c09-f906-41b3-986a-6c012becf6dd" CreationDate="2012-04-17T17:57:08.177" UserId="432" Text="You actually should be mixing by ear (though broadcast television has a few other hoops to jump through, but let's keep things simple for now). -20dB is a only a reference level (peak, not RMS) for the in system playback level of pink noise, and pink noise is used to calibrate both electrical levels on inputs and outputs of audio gear and listening level for your speakers. [See this post][1] for an explanation on how to calibrate your monitors. If you want to learn how it's used for electrical calibration, [you can check out this one][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynamicinterference.com/blog/2010/09/quick-and-dirty-monitor-calibration/&#xD;&#xA;  [2]: http://www.dynamicinterference.com/blog/2011/02/electrically-calibrating-your-io/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22439" PostHistoryTypeId="5" PostId="13564" RevisionGUID="975ab374-0407-4fcd-8552-9f01ef12317b" CreationDate="2012-04-17T23:41:06.757" UserId="444" Comment="improved content" Text="I'd recomend BBE Sonic Maximizers.  I've used their plug-ins for some time now, and have always been happy with the result.  They have a few different hardware models as well.  You'd have to check which would be best for you.  If I had the budget, their gear would be in my rack.  &#xD;&#xA;&#xD;&#xA;Edit: To be more specific about your needs, you might want to look at the D82 Sonic Maximizer, or the H82 Harmonic Maximizer plug-in.  If you're looking at hardware the 482i, or the 382i may be best for your needs." ContentLicense="CC BY-SA 3.0" />
  <row Id="22440" PostHistoryTypeId="2" PostId="13582" RevisionGUID="2d546709-e194-424d-8d90-1bb1af27561f" CreationDate="2012-04-18T01:46:25.167" UserId="863" Text="hey Aaron don't worry too much about going by the book.&#xD;&#xA;&#xD;&#xA;Calibrate your speakers like Shaun has said and mix to ear for now. When it comes to TV you'll have to meet regulations such as peaks and nowadays dealing with loudness metering. I generally mix to peak 6PPM (-10db) or Loudness -23LKFS and 5PPM peak, this is just what I'm used to at work.&#xD;&#xA;&#xD;&#xA;Alot of commercial and professional video cameras used for TV use 48khz for sound. It's vital to record your sound at 48khz if you are using a separate recorder. It will go out of sync if you use 44.1khz.&#xD;&#xA;&#xD;&#xA;You would use a higher sampling rate such as 96khz or 192khz if you were recording foley, spot sound effects. This is so that there is more sampling information in the recording if you needed to manipulate it, stretch it, etc. It will turn out better.&#xD;&#xA;&#xD;&#xA;I'm sure you can change the clock set up in Pro tools as it changes country to country from EBU to SMPTE." ContentLicense="CC BY-SA 3.0" />
  <row Id="22441" PostHistoryTypeId="2" PostId="13583" RevisionGUID="734e660d-1998-4b2c-8892-067745ed17b9" CreationDate="2012-04-18T10:56:01.987" UserId="3534" Text="First of all, sorry if my english is sometimes bad but like theodorejordan, I really feel inspired by this thread.&#xD;&#xA;For a long time, I’ve tried to create many templates of organization for my sound library, but I always got some troubles sometimes when I want to quickly search a sound. Then I’ve finding inspiration in Ric Viers’s book «The Sound Effects Bible» to create rules I use since more than 1 year now.&#xD;&#xA;&#xD;&#xA;**My hd organisation:** I have one dedicated HD on my mac pro for my sounds with only 3 folders on the root:&#xD;&#xA;RAW : once I’ve work on my raw, I delete them to don’t waste space. Before, i used to keep them but I realize I’ll never come back on it. It’s brutal but I assume. The names of my raw are directly created on my Nagra when I go in a recording session (Name, Take, Date, Comments)&#xD;&#xA;&#xD;&#xA;PERSONNAL SOUND LIBRARY / no subfolders, with all my sounds (I’ll explain later why)&#xD;&#xA;&#xD;&#xA;SOUND LIBRARY I BOUGHT / with all the subfolders of the different library. I don’t want to waste my time to reorganize them.&#xD;&#xA;One backup on an external hd and one backup on my serv (never enough safe)&#xD;&#xA;&#xD;&#xA;**Filenames :** that maybe looks useless at first but I’m writing the names in capital letters only. My goal is to be readable when I have to work fast and that helps me a lot. Maximum 31 characters (it’s the mac filename limit, if I have to give more informations, I’ll put them in soundminer). All my files have the same name structure: CATEGORY NOUN VERB DESCRIPTION LISTNUMBER.wav&#xD;&#xA;Put too much category or subcategory names makes me feel lost.&#xD;&#xA;All my files have one unique sound. I mean, if I record 3 sounds of matches in one take, after I’ll seperate them in 3 files, not like some professional libraries who contain 10 sounds of the same source in one file. I’m lazy, I’ll just listen the first one.&#xD;&#xA;I put them in one folder. I remember the categories I’ve used to name my files, so if I’m looking for a specific sound, I open my folder and I directly go to the first letter of my category (no need to spotlight). My goal is still to work faster as possible.&#xD;&#xA;*For non-english speakers (...like me):* I always name my sounds in english, not in french. I use to work sometimes with international companies, so it’s better if I give my sounds to someone, that people directly can understand what is that sound.&#xD;&#xA;&#xD;&#xA;With this method I really surprise myself to use Soundminer, just in some rare occasions, like when I need sounds from other libraries or when I need a really specific sound that I didn’t enough comment on the filename, but enough in the metadata." ContentLicense="CC BY-SA 3.0" />
  <row Id="22442" PostHistoryTypeId="2" PostId="13584" RevisionGUID="e6b91397-b56b-427e-9b64-908ffcff0b73" CreationDate="2012-04-18T11:58:49.953" UserId="2521" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I am needing one of you to evaluate my first effort of a radio drama I produced for my honours project.  All it will require is for you to listen to it, take notes during listening, and then filling out a questionnaire for a further 15 minutes.  It is 60 minutes long, which I know is a long time for some of you busy folk, but I am really interested in building a career in radio dramas and I would like someone with experience help me evaluate my work.&#xD;&#xA;&#xD;&#xA;Let me know if you're willing to help&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Richard Laing" ContentLicense="CC BY-SA 3.0" />
  <row Id="22443" PostHistoryTypeId="1" PostId="13584" RevisionGUID="e6b91397-b56b-427e-9b64-908ffcff0b73" CreationDate="2012-04-18T11:58:49.953" UserId="2521" Text="Radio Drama Evaluation" ContentLicense="CC BY-SA 3.0" />
  <row Id="22444" PostHistoryTypeId="3" PostId="13584" RevisionGUID="e6b91397-b56b-427e-9b64-908ffcff0b73" CreationDate="2012-04-18T11:58:49.953" UserId="2521" Text="&lt;radio&gt;&lt;drama&gt;&lt;evaluation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22445" PostHistoryTypeId="2" PostId="13585" RevisionGUID="6cb11759-ce8d-482d-8422-7902eb95c7c4" CreationDate="2012-04-18T12:43:31.413" UserId="3782" Text="I will soon be in the market for a new pc to run protools 10.&#xD;&#xA;Is there any good companies in the UK that build a PC for protools?&#xD;&#xA;Using the correct motherboard for PT and quiet power supply /tower etc.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22446" PostHistoryTypeId="1" PostId="13585" RevisionGUID="6cb11759-ce8d-482d-8422-7902eb95c7c4" CreationDate="2012-04-18T12:43:31.413" UserId="3782" Text="PC builder for PT" ContentLicense="CC BY-SA 3.0" />
  <row Id="22447" PostHistoryTypeId="3" PostId="13585" RevisionGUID="6cb11759-ce8d-482d-8422-7902eb95c7c4" CreationDate="2012-04-18T12:43:31.413" UserId="3782" Text="&lt;equipment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22448" PostHistoryTypeId="2" PostId="13586" RevisionGUID="3c1ca461-b9be-4ad9-ab08-f4f646d9ffc0" CreationDate="2012-04-18T13:51:42.560" UserId="3179" Text="http://3xs.scan.co.uk/Category.asp?SystemMasterCategoryID=2" ContentLicense="CC BY-SA 3.0" />
  <row Id="22449" PostHistoryTypeId="2" PostId="13587" RevisionGUID="3ade041e-ec01-49c9-a023-b5c9900d566d" CreationDate="2012-04-18T13:58:11.257" UserId="373" Text="A door mat (those brown ones with the thick brush like texture), with a smattering of quarter inch tape on." ContentLicense="CC BY-SA 3.0" />
  <row Id="22450" PostHistoryTypeId="2" PostId="13588" RevisionGUID="ed37cbfb-c5eb-42cb-87e9-c009e37823e0" CreationDate="2012-04-18T14:33:31.877" UserId="3345" Text="I currently use IK Multimedia ARC and have used the Genelec DSP system as well. Both are very useful in already treated rooms. Neither of these however will help with time domain issues such as comb filtering, this effects stereo imaging. Also room nodes create frequency anomalies due to waves reflecting off walls and becoming in phase and thus getting louder.&#xD;&#xA;&#xD;&#xA;Often with small rooms there is a sweet spot where the lower frequencies are fairly level , using room correction can further improve that spot, but they are less effective over a larger area. That is they do not correct the whole room but a certain point.(Usually your mixing point) As has already been stated acoustic treatment must be your first port of call this will reduce the time domain issues and possibly room nodes. REQ Wizard will be very useful to find out what that is in your case.&#xD;&#xA;&#xD;&#xA;Sound on Sound run a monthly studio makeover and these are available online at www.soundonsound.com. Often these are rented accommodation and vary in size.&#xD;&#xA;&#xD;&#xA;Here is a special article on room treatment&#xD;&#xA;&#xD;&#xA;http://www.soundonsound.com/sos/feb06/articles/studiosos.htm&#xD;&#xA;&#xD;&#xA;If you are DIY inclined you can make some very cost effective treatment and there are lots of tutorials online. I followed some of these and they have massively improved my mixing space wich is very small. I also live in rented accommodation and none of my treatment is fixed to the walls. &#xD;&#xA;&#xD;&#xA;To put it in reverse room correction is of hardly any value without acoustic treatment.&#xD;&#xA;&#xD;&#xA;Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="22451" PostHistoryTypeId="2" PostId="13589" RevisionGUID="4bbf9e4a-6750-44dd-b4aa-d2eab44fcfc6" CreationDate="2012-04-18T16:36:24.173" UserId="2186" Text="On The Hunger Games, they went [outside with and iPad][1]&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/thehungergames" ContentLicense="CC BY-SA 3.0" />
  <row Id="22452" PostHistoryTypeId="2" PostId="13590" RevisionGUID="efb573d7-64ef-4a8d-8bac-77bf9e13886d" CreationDate="2012-04-18T20:00:11.173" UserId="264" Text="Metrics are important here. Go back and look at how many hours you put into the project, then put a value on those hours. The total is what you want to make back to &quot;break even&quot;.&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/796/indie-feature-production-and-post-production-audio-budgets&#xD;&#xA;&#xD;&#xA;^ The answers contained here are very helpful when it comes to pricing your hours for small projects.&#xD;&#xA;&#xD;&#xA;Once you've done this, find out what the minimum number of shows will be, and how large they might be, and how much risk you are willing to take. Between these three variables, you ought to be able to figure out whether you should do it by percentage or a fixed rate, and how much.&#xD;&#xA;&#xD;&#xA;EDIT: Oops, just noticed how old this question is. Ah well. Hope it went well for you! :]" ContentLicense="CC BY-SA 3.0" />
  <row Id="22453" PostHistoryTypeId="2" PostId="13591" RevisionGUID="610ea449-3779-4e77-b55c-1057f38a5efb" CreationDate="2012-04-18T20:07:32.120" UserId="3093" Text="A link to your work could raise some interest ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22454" PostHistoryTypeId="2" PostId="13592" RevisionGUID="2c3252dc-c076-4191-822a-e93fd4fc4a78" CreationDate="2012-04-18T22:59:05.820" UserId="3746" Text="I see tape has already been mentioned. Even old cassette tape can do a passable job,though not as good as wider 1/4&quot; tape. Another thing to try is to actually record on real grass, but use your hand on the grass rubbing in different ways and lengths to generate different or &quot;non identical&quot; footsteps. Get the mic in close to the ground so you avoid introducing other background noises.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22455" PostHistoryTypeId="2" PostId="13593" RevisionGUID="e806394d-bcf9-4746-bb24-89a3d04a4fe6" CreationDate="2012-04-19T02:47:49.327" UserId="3783" Text="link it up and I'll give it a listen&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22456" PostHistoryTypeId="2" PostId="13594" RevisionGUID="7112fedf-b7c5-4579-8a11-cbdce02a7614" CreationDate="2012-04-19T06:08:31.163" UserId="3784" Text="Hey guys, I really wanna upgrade my Mac, but am really looking into just building a more powerful rig for cheap (cheaper)..I just want to use it as a protools machine. I've built PCs in the past but more for gaming and not for audio. Just wondering if anyone has gone this rout to run protools on, and if it's worth the headache. I just want a really beefy system that I can modify and upgrade if need be. If anyone has specs I can refer to, and tell me if it's a good rout or to just buy a new Mac (which would be alot more money but less of a headache of coarse) id appreciate the input!&#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="22457" PostHistoryTypeId="1" PostId="13594" RevisionGUID="7112fedf-b7c5-4579-8a11-cbdce02a7614" CreationDate="2012-04-19T06:08:31.163" UserId="3784" Text="Hackintosh for an HD rig." ContentLicense="CC BY-SA 3.0" />
  <row Id="22458" PostHistoryTypeId="3" PostId="13594" RevisionGUID="7112fedf-b7c5-4579-8a11-cbdce02a7614" CreationDate="2012-04-19T06:08:31.163" UserId="3784" Text="&lt;pro-tools&gt;&lt;machine&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22459" PostHistoryTypeId="2" PostId="13595" RevisionGUID="124818be-43fb-4439-b5ec-171ed9430448" CreationDate="2012-04-19T06:33:13.010" UserId="219" Text="Digital Village (dv247.com) does this: http://www.dv247.com/synergy/buy/. Never seen one, can't vouch for it but I'd hope they know what they're doing...&#xD;&#xA;&#xD;&#xA;Hope that helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22460" PostHistoryTypeId="2" PostId="13596" RevisionGUID="18dbc52d-8bee-4098-82ac-eed5d30eb70d" CreationDate="2012-04-19T08:01:30.133" UserId="3213" Text="I never tried the hackintosh project, but in my opinion right now is the worst time to buy a new mac (i guess you're talking about the mac pro). Because the actual mac pro (i use it since 2 years for my pt hd3 system) is not new (and loud), and nobody knows if or when Apple will release new mac pro's.&#xD;&#xA;&#xD;&#xA;I'm also really interested in the experiences of Pro Tools HD Hackintosh Users." ContentLicense="CC BY-SA 3.0" />
  <row Id="22461" PostHistoryTypeId="2" PostId="13597" RevisionGUID="59415167-3320-476c-b1a3-fb765e2798d5" CreationDate="2012-04-19T09:44:03.087" UserId="261" Text="Hey Richard,&#xD;&#xA;&#xD;&#xA;I'm a big fan of Radio Documentary and drama. I'd be glad to help&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 3.0" />
  <row Id="22462" PostHistoryTypeId="2" PostId="13598" RevisionGUID="f92690b4-bc7a-47f6-a55b-55c1203753f0" CreationDate="2012-04-19T10:49:44.217" UserId="6432" Text="That's a lot of variables you would be playing with. You've got to get Mac OS and Protools running without any official support (which you pay for in the cost of the software). Probably the biggest issue is that if you do get it working with Protools 10, you never know what's going to happen at 11. You might get stuck until you can afford another computer.&#xD;&#xA;&#xD;&#xA;I think this depends on whether you want this as a challenge or not. Weigh up the time and cost benefits. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22463" PostHistoryTypeId="2" PostId="13599" RevisionGUID="b790f07f-e81c-4fe8-abe4-9709bad84025" CreationDate="2012-04-19T12:06:36.683" UserId="3179" Text="For a hackintosh, you're looking at using EFiX (http://www.art-studios.net/) anyways. They have strict specifications regarding the supported and tested hardware. I would expect them to be very stable, if you go with the tested configurations, but if you face problems, it can be difficult to find help.&#xD;&#xA;&#xD;&#xA;If you have the time to risk that you may have to do a bit of troubleshooting, then go ahead. Otherwise I'd stay with something that's proved to work and for which you can easily find support, if/when you run into problems." ContentLicense="CC BY-SA 3.0" />
  <row Id="22464" PostHistoryTypeId="2" PostId="13600" RevisionGUID="8ec1c095-341d-418b-9fb1-28bd4859ad82" CreationDate="2012-04-19T12:13:18.357" UserId="863" Text="In the past I've worked using a MASTER FADER and bounced out using the bounce option. but I've been made aware recently of not using a master fader at all and utilising sends (such as M+E, Dialogue) and then sending them to tracks which I arm to record.&#xD;&#xA;&#xD;&#xA;Is this a pretty standard practice? Any extra tips?&#xD;&#xA;&#xD;&#xA;At the moment I'm working on a short film with a ton of tracks, I'm running a room reverb for effects which these tracks send to, then this reverb sends to a (premix) AUX which then sends to a new TRACK which I've labeled full mix. I've also set the outputs from the tracks to go straight to the premix as well. Ultimately my premix SEND/AUX is now my masterfader! Is this correct? :o Taken me a while and some help from a colleague to get my head around it.&#xD;&#xA;&#xD;&#xA;What does everyone else do? hope this wasn't too confusing." ContentLicense="CC BY-SA 3.0" />
  <row Id="22465" PostHistoryTypeId="1" PostId="13600" RevisionGUID="8ec1c095-341d-418b-9fb1-28bd4859ad82" CreationDate="2012-04-19T12:13:18.357" UserId="863" Text="What is your pro tools session set up?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22466" PostHistoryTypeId="3" PostId="13600" RevisionGUID="8ec1c095-341d-418b-9fb1-28bd4859ad82" CreationDate="2012-04-19T12:13:18.357" UserId="863" Text="&lt;pro-tools&gt;&lt;session&gt;&lt;bounce&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22467" PostHistoryTypeId="5" PostId="13599" RevisionGUID="8bc2b6f1-1537-41df-a983-30aebf8ef5eb" CreationDate="2012-04-19T12:13:51.890" UserId="3179" Comment="added 161 characters in body; added 199 characters in body" Text="For a hackintosh, you're looking at using EFiX (http://www.art-studios.net/) anyways. They have specifications regarding the supported and tested hardware. I would expect them to be very stable, if you go with the tested configurations, but if you face problems, it can be difficult to find help.&#xD;&#xA;&#xD;&#xA;If you have the time to risk that you may have to do a bit of troubleshooting, then go ahead. Otherwise I'd stay with something that's proved to work and for which you can easily find support, if/when you run into problems.&#xD;&#xA;&#xD;&#xA;Addition: In terms of upgrading software, I think the EFiX can be prone to breaking. Or at least I recall that they used to post their own patches for OSX releases.&#xD;&#xA;&#xD;&#xA;Is running PT on Windows really that horrible that I've heard some people groan? I would expect that a cross-platform software developer would ensure good operation on all platforms they support." ContentLicense="CC BY-SA 3.0" />
  <row Id="22468" PostHistoryTypeId="2" PostId="13601" RevisionGUID="efc19a13-14f7-41d1-8d59-4b27edd4e78c" CreationDate="2012-04-19T12:13:55.500" UserId="166" Text="For re-mounts and tours (same company) I charge 50% of the original fee. If another theatre wants to buy the sound design for their production, I negotiate by taking their venue size and multiplying it by the length of their run. I compare it to the same figure from the original production then calculate the percent difference, and apply it to the fee. It works for me. I'd be interested to hear how it turned out for Gilly." ContentLicense="CC BY-SA 3.0" />
  <row Id="22469" PostHistoryTypeId="2" PostId="13602" RevisionGUID="8b59a9ab-3553-4268-846a-961e9ba44823" CreationDate="2012-04-19T13:43:56.447" UserId="37" Text="I've tried it, using recommended hardware.&#xD;&#xA;&#xD;&#xA;You will spend more time supporting that machine than you now think.&#xD;&#xA;&#xD;&#xA;if it's earning you money, spend money, not time?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22470" PostHistoryTypeId="2" PostId="13603" RevisionGUID="0b156fc3-fa0b-44d8-8a9a-fcd815f4f1dc" CreationDate="2012-04-19T15:08:06.727" UserId="3230" Text="Here's a fantastic tutorial on the full (small-scale) post-production workflow in Pro Tools.   Steps 1-4 don't have much to do with your question, but I think you'll find Steps 5-7 to be extremely appropriate.&#xD;&#xA;&#xD;&#xA;[http://audio.tutsplus.com/tutorials/production/pro-tools-omfs-and-the-audio-post-workflow/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audio.tutsplus.com/tutorials/production/pro-tools-omfs-and-the-audio-post-workflow/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22471" PostHistoryTypeId="2" PostId="13604" RevisionGUID="9ed65384-77a3-4082-9902-c46eb7637ac5" CreationDate="2012-04-19T15:31:45.093" UserId="3784" Text="Thanks for the info, yeah I guess for stability and peace of mind I should go with a new Mac pro, is it worth getting a used one and upgrading it? Or should I just commit and get a fresh one? Thanks for the answers fellas." ContentLicense="CC BY-SA 3.0" />
  <row Id="22472" PostHistoryTypeId="2" PostId="13605" RevisionGUID="edc26a08-3064-4c05-8c49-62f950b1efcd" CreationDate="2012-04-19T15:32:22.997" UserId="432" Text="Internal bounces can be very useful. For one thing, if you notice something amiss in the course of listening during the bounce, you can: stop, make the correction, back up only a little, then pickup the bounce from just before the problem point. A little cross-fade followed by some region consolidation gives you the the nice single file per channel you need.&#xD;&#xA;&#xD;&#xA;Where they really shine though, is if you need to output more than one version of a mix. I typically set up a, admittedly somewhat complex, system of aux sends to what will be my final layback tracks. It affords me the ability to mix a M&amp;E/MDE simultaneously with the Complete Main. It's simple to switch back and forth to make sure things are behaving correctly, and the M&amp;E/MDE tracks require little attention to begin with during the process. When I'm ready to output, I can bounce all versions of the mix simultaneously.&#xD;&#xA;&#xD;&#xA;It's important to note the difference between Master Faders and Aux tracks in Pro Tools (if you're going to use an Aux as a &quot;Pseudo-Master&quot;). Remember that Master Faders are the only tracks where the Inserts are post-fader. So, if you set up an Aux as a Pseudo-Master, remember that any volume tweaks will occur **after** that &quot;final&quot; bus processing. It's sometimes useful to have a pair of Auxes daisy-chained; to separate final volume tweaks and master processing." ContentLicense="CC BY-SA 3.0" />
  <row Id="22473" PostHistoryTypeId="2" PostId="13606" RevisionGUID="c5b1498a-748d-44ed-9a3d-108f03d02b24" CreationDate="2012-04-19T16:02:29.910" UserId="298" Text="HI everyone!&#xD;&#xA;&#xD;&#xA;Im confused, is it a proper practice to insert a test tone like pink noise -18db before the soundtrack when delivering final sound design wav to the director?&#xD;&#xA;Also couldnt find the information about inserting count-off beeps for synchronisation. Could you shed some light on it please?&#xD;&#xA;&#xD;&#xA;Merci" ContentLicense="CC BY-SA 3.0" />
  <row Id="22474" PostHistoryTypeId="1" PostId="13606" RevisionGUID="c5b1498a-748d-44ed-9a3d-108f03d02b24" CreationDate="2012-04-19T16:02:29.910" UserId="298" Text="Test tone in the final film soundtrack file" ContentLicense="CC BY-SA 3.0" />
  <row Id="22475" PostHistoryTypeId="3" PostId="13606" RevisionGUID="c5b1498a-748d-44ed-9a3d-108f03d02b24" CreationDate="2012-04-19T16:02:29.910" UserId="298" Text="&lt;test&gt;&lt;tone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22476" PostHistoryTypeId="2" PostId="13607" RevisionGUID="10cf2773-ce02-4df1-aa10-8d7a3dc5d343" CreationDate="2012-04-19T16:32:10.980" UserId="182" Text="I have created a working hackintosh and I briefly worked with it, but setting it up and getting it working cost me lots and lots of time. I mean days and days, with kernel panics, editing of configuration files, endless reading on forums and a lot of looking at my system while it was rebooting (granted, I didn't pick recommended hardware, just hardware that others have had success with).&#xD;&#xA;&#xD;&#xA;And even then, it wasn't 100% stable, which means unexpected crashes and kernel panics every now and then. Plus every update of a driver, a program or the OS has the potential to make the system so unstable you'd have to reinstall everything.&#xD;&#xA;&#xD;&#xA;This could be a challenge, and it could be fun. But if anything depends on your ability to actually be productive with that machine, I'd strongly recommend against it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;On the other hand, as pointed out by @Nils, this is the worst time to buy a new Mac Pro. The hardware is from mid-2010 but still with unchanged prices, and the future of the entire Mac Pro line is unsure.&#xD;&#xA;The best value for money might be a used, previous generation Mac Pro." ContentLicense="CC BY-SA 3.0" />
  <row Id="22477" PostHistoryTypeId="2" PostId="13608" RevisionGUID="31b93645-7ff0-40fe-ae26-daf699195580" CreationDate="2012-04-19T17:04:27.507" UserId="3786" Text="I am setting up a website which plays recordings of lectures to professionals in the building industry. I have purchased a video camera and a sennheiser wireless microphone EW100. I needed a lapel microphone and bought new one which cost around 20 uk pounds ($30) from ebay. The quality is good but there is still a slight hiss of background noise. I have looked at the next level up in cost and see second hand sennheiser lapel microphones for about 70 uk pounds ($100) and new ones from £150 uk pounds ($220) upwards. I fed the sound into my macbook pro which has the standard soundcard. I am not sure if the sennheiser lapel mic is worth the extra money or how important the soundcard is.&#xD;&#xA;I would spend another 200-300 uk pounds ($300-$450) but am not sure if it would make a difference.&#xD;&#xA;Can anyone comment?&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="22478" PostHistoryTypeId="1" PostId="13608" RevisionGUID="31b93645-7ff0-40fe-ae26-daf699195580" CreationDate="2012-04-19T17:04:27.507" UserId="3786" Text="lapel microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="22479" PostHistoryTypeId="3" PostId="13608" RevisionGUID="31b93645-7ff0-40fe-ae26-daf699195580" CreationDate="2012-04-19T17:04:27.507" UserId="3786" Text="&lt;sennheiser&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22480" PostHistoryTypeId="2" PostId="13609" RevisionGUID="ff8c40df-cd09-4e67-95f3-4e0f079dfdce" CreationDate="2012-04-19T18:06:38.870" UserId="542" Text="While watching a DVD I realized that in certain scenes there was some very annoying high frequency hiss. &#xD;&#xA;Logic's analyser told me, that they were at about 14kHz and 16,4kHz.&#xD;&#xA;&#xD;&#xA;Since this is not the first DVD that has this kind of hiss I wonder if it is some error that happend while getting the film onto DVD or some other kind of error.&#xD;&#xA;&#xD;&#xA;Does anybody of you have a clue? " ContentLicense="CC BY-SA 3.0" />
  <row Id="22481" PostHistoryTypeId="1" PostId="13609" RevisionGUID="ff8c40df-cd09-4e67-95f3-4e0f079dfdce" CreationDate="2012-04-19T18:06:38.870" UserId="542" Text="High frequency hiss in several movies" ContentLicense="CC BY-SA 3.0" />
  <row Id="22482" PostHistoryTypeId="3" PostId="13609" RevisionGUID="ff8c40df-cd09-4e67-95f3-4e0f079dfdce" CreationDate="2012-04-19T18:06:38.870" UserId="542" Text="&lt;hiss&gt;&lt;mix&gt;&lt;dvd&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22483" PostHistoryTypeId="2" PostId="13610" RevisionGUID="7d22ef87-84af-4d3f-a709-a939dc7e4805" CreationDate="2012-04-19T18:46:32.883" UserId="3754" Text="i work in theatre as a Sound #3 so I know a fair bit about lapels. But in theatre we position the mics in hair and over ears, which provides good levels, but will not be best for a lectuer. So assuming you're running in a lapel position on a jacket, then gain will be your enemy.&#xD;&#xA;&#xD;&#xA;Sennheiser make the MKE which is a really good mic, however the red dot is a brilliant model, which is sadly discontinued. But if you can find one online, go for it. I've only used them as a 3pin lemo model, but retermination shouldn't be a problem if you're good at soldering. And dont worry about buying a pink/beige mic. They can be coloured black very easily if you want them to blend better on clothes. Just don't use a sharpie as they go purple over time. The benefit of the MKE series, if they are supplied with different 'caps' which can be used to attenuate the sound to make up for position. I really think this mic will help alot with hiss, as they are really smooth and cope well under stress.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The DPA 4060 is another great mic, and likewise Im certain a retermination will work if you need them in the mini jack format.&#xD;&#xA;&#xD;&#xA;Ask around local theatres. We had a stock of at least 20 microphones which we couldn't use due to them once sweating out, cables being frayed or being painted black when we need beige. Im certain a sound department would happily sell you their used stock. They just cant use them because they are too unreliable for a live theatrical show. But for a lecture, they should be absolutely fine." ContentLicense="CC BY-SA 3.0" />
  <row Id="22485" PostHistoryTypeId="2" PostId="13612" RevisionGUID="90a8b247-6825-4fce-89f3-ece872d486d7" CreationDate="2012-04-19T21:15:11.667" UserId="3093" Text="Hmmmm... what was the DVD about? I mean, concerts? films?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22486" PostHistoryTypeId="2" PostId="13613" RevisionGUID="b6243bd4-f2b7-4249-b7ae-e74bc944fdd9" CreationDate="2012-04-19T23:01:03.200" UserId="1228" Text="It's highly possible the tone wasn't detectable on the stage if it was large enough to be running an X-Curve.  And thus if the film wasn't re-mixed for DVD/BluRay as they normally are, it's possible that tone which was always present is now audible in a near-field/mid-field home theater environment.  Don't know this for a fact, could be a possibility though." ContentLicense="CC BY-SA 3.0" />
  <row Id="22487" PostHistoryTypeId="2" PostId="13614" RevisionGUID="7cc314f2-50c8-4941-b8bf-40ee58a03f54" CreationDate="2012-04-19T23:14:00.023" UserId="3093" Text="It was just for reference :), I don't think that is the explanation either. However, it's useful to know it is a feature film.... Films are usually mixed in environments similar to those of a movie theatre; **if I am not wrong**, speakers in theaters usually don't go up very high in the frequency spectrum, they are quite dull, so it very probable that the hiss that you can hear in those frequencies wasn't very, or maybe at all audible in the mixing stage, so maybe they didn't re-mixed it for the DVD release and that's why you get some hiss, specially if you are listening in some -pretty good- quality monitors. &#xD;&#xA;&#xD;&#xA;I hope that my knowledge is pretty accurate, and that this helps :)." ContentLicense="CC BY-SA 3.0" />
  <row Id="22488" PostHistoryTypeId="2" PostId="13615" RevisionGUID="c91df142-2bc7-48e2-9662-89153c9e77a6" CreationDate="2012-04-19T23:24:09.170" UserId="3520" Text="Have you not received any Delivery Specs?  Ask for them if you have not.  They should clue you in on whether or not a test tone is required.  If it's just for the Mixer to import into his session then you may not need any.  I work in TV and I know that all of our deliverables (Mix Stems) go out to the networks/production companies with either 1 full minute of 1k tone at -20db (00:58:30:00 - 00:59:30:00), half a minute of the same (00:59:00:00 - 00:59:30:00), or occasionally no tones at all.  It's all dependent on the project or network specs and I can only assume film specs would vary in the same manner.  Get the specs and clear any confusion.&#xD;&#xA;&#xD;&#xA;As far as count-off beeps go, there is usually only one, the 2-Pop.  Another 1K tone for 1 full frame exactly 2 seconds before the hour mark (00:59:58:00 - 00:59:58:01) or whatever time your project starts.  There's typically a visual countdown on the film/tape, as well, so make sure your 2-Pop is synced with the 2.&#xD;&#xA;&#xD;&#xA;Good Luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="22489" PostHistoryTypeId="2" PostId="13616" RevisionGUID="8147e57c-07eb-4736-aee3-f066d8e1cf99" CreationDate="2012-04-19T23:25:04.577" UserId="3286" Text="It's absolutely worth it...and then some.&#xD;&#xA;&#xD;&#xA;It does depend a lot on how savvy you are with tech and computers, admittedly.  But DO NOT use EFIX.  EFIX uses the same base software modifications that TonyMac does, but they put it in an easy-to-use USB dongle that plugs straight into your motherboard.  There was a huge hullabaloo here a while back about them selling software that is already free.&#xD;&#xA;&#xD;&#xA;That, and it's &quot;proprietary&quot;, so you can't update your computer if EFIX doesn't put out an update.  I did it with the TonyMac method and never looked back. When the OS comes out with a point update, hit the forums and look for the official TonyMac announcement in the blog about how to safely upgrade.&#xD;&#xA;&#xD;&#xA;I built my computer using the then-new Sandy Bridge CPU.  It was so new, I was one of the &quot;pioneers&quot; trying to figure out the workarounds to get it to work (I bought the chip the day it was released).  It was Hell.  But that's because nobody knew how to work it.  Now, you can skip that, as people have done the legwork for you.&#xD;&#xA;&#xD;&#xA;My suggestion?  Use [Custom Beast][1].  You buy the hardware, tell them what you have, and they build you a custom installer for that hardware specifically.  Or check the [CustoMacs][2] for directions on how to build a Mac-equivalent Hackintosh.  Want a Mac Mini? They have it listed.  And part-for-part, the price difference will astonish you.  At the base level Mac Pro you may save only a couple hundred by building it yourself, but if you want a higher-end Mac Pro, the savings of building it yourself becoming exponential.  I built a $3000 mac for $1200.  I used the extra cash to buy 3 monitors and an awesome 6-screen-capable graphics card.&#xD;&#xA;&#xD;&#xA;Two screens horizontal for the PT Mix Window, two screens vertical for the Timeline, and one monster screen for the video.  Do that on a standard Mac Pro...&#xD;&#xA;&#xD;&#xA;And you can overclock and watercool a Hackintosh, so you can have a blazing-fast CPU for the most demanding sessions, and your water cooling makes your tower so quiet, you can leave it in the same room that you edit in.  Do that on a standard Mac Pro...&#xD;&#xA;&#xD;&#xA;Is it a lot of time spent? Depends.  Possibly.  Will you enjoy every moment of the result? YES! I slaved over my Workstation for 3 weeks trying to work out on the bugs on the new SandyBridge processor.  But if I'd started building this thing just today, there are so many tutorials on how to do it, it would have taken me a day.&#xD;&#xA;&#xD;&#xA;If you'd like help, I'd love to give you any advice or pointers on this.  I'm a huge Hackintosh proponent (obviously).&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tonymacx86.com/custombeast.php&#xD;&#xA;  [2]: http://tonymacx86.blogspot.com/search/label/CustoMac" ContentLicense="CC BY-SA 3.0" />
  <row Id="22490" PostHistoryTypeId="2" PostId="13617" RevisionGUID="bf9b284e-e520-412b-a7b1-d50635e560d5" CreationDate="2012-04-19T23:26:39.030" UserId="3093" Text="Could help..&#xD;&#xA;&#xD;&#xA;http://www.sweetwater.com/shop/live-sound/microphones/wireless_buying-guide.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="22491" PostHistoryTypeId="2" PostId="13618" RevisionGUID="f0ca01e9-175d-4026-b3f1-d8b1b07fab1f" CreationDate="2012-04-19T23:35:49.993" UserId="3286" Text="Was the hiss noticeable during the louder parts, too?  Or just soft parts.  Could be a result of improper dither.  Compressing audio for DVD, you have to dither down to 12 or 16 bit, which can cause an audible hiss in the lower levels.  Just a thought.  My guess is residual tape hiss if it's an older film that's been put to DVD without re-mastering (as was mentioned) if not that." ContentLicense="CC BY-SA 3.0" />
  <row Id="22492" PostHistoryTypeId="2" PostId="13619" RevisionGUID="a904271e-bf59-4592-9892-ce78d838c238" CreationDate="2012-04-19T23:53:34.990" UserId="3275" Text="Does it sound anything like HMI lighting? I hear that now and again. But I suppose that's more of a whine.&#xD;&#xA;&#xD;&#xA;Recently I just watched a DVD with EXTREME hiss in some scenes coming from the center channel whenever dialogue was present. It was clearly being expanded downward between lines. Let's just say this film was about clocks and orphans. Anybody else notice this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22493" PostHistoryTypeId="2" PostId="13620" RevisionGUID="6aa9838d-ffda-4303-a2bb-c1be7b0b60db" CreationDate="2012-04-20T00:34:12.770" UserId="3788" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;I'm preparing deliverables for a feature film.  The distributor has asked for 3 separate stereo tracks to be used for creating a 5.1 surround mix.&#xD;&#xA;&#xD;&#xA;I have access to the original full stereo mix, including all stems.&#xD;&#xA;&#xD;&#xA;I have already created a full stereo mix and also a separated filled M &amp; E mix for foreign.&#xD;&#xA;&#xD;&#xA;Now I need to create 1) stereo dialogue only track 2) Stereo Music only track and 3) Stereo Sound Fx only track.&#xD;&#xA;&#xD;&#xA;Seems straightforward enough.  But I haven't done this before.  I am wondering how to properly prepare the tracks, particularly the Dialogue only track.  I imagine it should have subtle fades before and after each line of dialogue so that it will blend as seamlessly as possible with the Sound Effects only track (which currently contains all the ambience as well with fills where dialogue was pulled)&#xD;&#xA;&#xD;&#xA;There are certain effects that I'm not sure belong on the Dialogue track, such as screams which would be hard to re-create in a dub session.  Is Dialogue only in these situations really just dialogue?  Or should the dialogue only track contain as much as possible generated by the human mouth?  I.e. -- Heavy breathing, grunts, groans, various non-dialogue, non-voice specific.&#xD;&#xA;&#xD;&#xA;For those of you who have prepared and designed separate sound tracks like this in preparation for a 5.1 surround mix, any other suggestions or ideas about preparing each track would be greatly appreciated.  &#xD;&#xA;&#xD;&#xA;For example, when Dialogue Only track is brought in and ambience is in the background of the original dialogue, is it best to pull the ambience on the Sound Effects Only track down to blend them more seamlessly with the dialogue track as would be done in a combined M &amp; E stereo mix?  Or do you leave the ambience constant on the Sound Effects tracks because surround makes these fades more noticeable?&#xD;&#xA;&#xD;&#xA;Finally, for those of you who have followed the process to creating the completed 5.1 surround mix, in general terms please tell me based on your experience what matters most for each step.  As an example, perhaps how much of each track (D, E, M) you send to each specific speaker in terms of a percent for each, if any.&#xD;&#xA;&#xD;&#xA;All suggestions for the prep and reasons for each will be much appreciated.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Mike" ContentLicense="CC BY-SA 3.0" />
  <row Id="22494" PostHistoryTypeId="1" PostId="13620" RevisionGUID="6aa9838d-ffda-4303-a2bb-c1be7b0b60db" CreationDate="2012-04-20T00:34:12.770" UserId="3788" Text="Best Practices -- Preparing D E &amp; M tracks for Surround?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22495" PostHistoryTypeId="3" PostId="13620" RevisionGUID="6aa9838d-ffda-4303-a2bb-c1be7b0b60db" CreationDate="2012-04-20T00:34:12.770" UserId="3788" Text="&lt;5.1&gt;&lt;surround-sound&gt;&lt;dialogue&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22496" PostHistoryTypeId="2" PostId="13621" RevisionGUID="268ed433-54ce-405d-9c05-b031ac73b21a" CreationDate="2012-04-20T00:42:10.670" UserId="3789" Text="Maybe it's your decoder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22498" PostHistoryTypeId="2" PostId="13623" RevisionGUID="bd3af255-9b8d-4d01-a8ae-c5046c3f1158" CreationDate="2012-04-20T07:11:06.407" UserId="1241" Text="Perhaps looking at kookaburra recordings could provide some clues?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22499" PostHistoryTypeId="2" PostId="13624" RevisionGUID="5b2c538c-3144-4b11-b229-ae9278a3b1cd" CreationDate="2012-04-20T07:23:45.650" UserId="1241" Text="Well, it's not exactly a trick, but it could be useful: If you create pregenerated segments of a chiptune, you could use FMOD's interactive music system to stitch them together in different ways at run-time based on in-game events. You could even do this down to the note-by-note level, but I suspect that that would be much more labour than it would be worth.&#xD;&#xA;&#xD;&#xA;Alternatively, you could concievably generate your chiptunes programatically as part of your game and feed them to FMOD as programmer sounds, but that would require some very strong programmer-fu." ContentLicense="CC BY-SA 3.0" />
  <row Id="22500" PostHistoryTypeId="5" PostId="11551" RevisionGUID="4b0d0562-83a1-458b-9cf4-e1517aae081a" CreationDate="2012-04-20T08:20:41.667" UserId="3213" Comment="Improved summary" Text="Maybe this helps you (there are links to many black friday offers, but german): http://mixingroom.de/musiksoftware-musikprogramme-aller-art-um-bis-zu-70-prozent-reduziert/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22501" PostHistoryTypeId="2" PostId="13625" RevisionGUID="b224d16b-8ffd-4f7f-b80b-693c7357c73b" CreationDate="2012-04-20T13:38:37.317" UserId="3179" Text="A new EQ/exciter plug-in from SoundMagic:&#xD;&#xA;&#xD;&#xA;http://www.supremepiano.com/product/harmonic.html&#xD;&#xA;&#xD;&#xA;http://www.kvraudio.com/news/18802" ContentLicense="CC BY-SA 3.0" />
  <row Id="22502" PostHistoryTypeId="2" PostId="13626" RevisionGUID="3f7a8535-d2d7-43dd-bec5-3a3ed6195744" CreationDate="2012-04-20T14:41:19.600" UserId="3792" Text="I recorded some grass footsteps recently for a game I'm working on.  What ended up working well was a mixture of dried pine needles (totally random - was recording outside and there were a LOT laying around from throwing out an old christmas tree) as well as some real grass.  Ended up sounding great.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22503" PostHistoryTypeId="2" PostId="13627" RevisionGUID="533fee38-f942-4768-85e3-e420cb941456" CreationDate="2012-04-20T15:26:34.433" UserId="1153" Text="*Sorry if this is a little off topic...*&#xD;&#xA;&#xD;&#xA;**Does anyone in the UK know of or attend any Sonic Art and/or Electronic music festivals?&lt;br&gt; I've heard of a few myself but am looking to experience more.**&#xD;&#xA;&#xD;&#xA;I know it's slightly off topic, however for me personally I always find sonic art and electronic music (*leaning more towards IDM, Glitch etc.*) greatly influences and inspires my sound design - This is particularly the case with my latest project utilising a merger of the two and sound design, which compliment the piece well.&#xD;&#xA;&#xD;&#xA;I thought it would be of interest to a number of people so I'll update this post as I find more festivals/performances etc. It would be cool to hear about live laptop ensembles as well. Also, I don't know if people would prefer for it to be a community wiki page? Just let me know and I'll change it :)&#xD;&#xA;&#xD;&#xA;I've asked a related question before if you're interested: http://socialsounddesign.com/questions/9328/music-makers-do-you-find-your-sound-design-skills-influence-your-compositions&#xD;&#xA;&lt;br&gt;&lt;br&gt;&lt;br&gt;&#xD;&#xA;**LIST OF UK FESTIVALS:** - *in progress*&#xD;&#xA;&#xD;&#xA;Sonic Art / Electronic Music / Lectures - http://noisefloor.co.uk&lt;br&gt;&#xD;&#xA;Electronic Music  - http://www.blocweekend.com/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22504" PostHistoryTypeId="1" PostId="13627" RevisionGUID="533fee38-f942-4768-85e3-e420cb941456" CreationDate="2012-04-20T15:26:34.433" UserId="1153" Text="UK Sonic Art / Electronic Music Festivals" ContentLicense="CC BY-SA 3.0" />
  <row Id="22505" PostHistoryTypeId="3" PostId="13627" RevisionGUID="533fee38-f942-4768-85e3-e420cb941456" CreationDate="2012-04-20T15:26:34.433" UserId="1153" Text="&lt;sound-art&gt;&lt;music&gt;&lt;uk&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22506" PostHistoryTypeId="2" PostId="13628" RevisionGUID="2c717e0a-367d-4235-9b13-2501b69811c0" CreationDate="2012-04-20T16:28:58.967" UserId="3239" Text="Two off the top of my head: Beam Festival, at Brunel University (http://www.beamfestival.com/), and AudioGraft, in Oxford (http://www.audiograft.com/). I used to know someone who ran an electronica/sound-art festival called 'Sonic boom' in Coventry, but I don't think that's still going on. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22507" PostHistoryTypeId="5" PostId="13627" RevisionGUID="963e27df-03d0-411c-b5fb-b8aab37a32e0" CreationDate="2012-04-20T17:30:32.340" UserId="1153" Comment="added 208 characters in body" Text="*Sorry if this is a little off topic...*&#xD;&#xA;&#xD;&#xA;**Does anyone in the UK know of or attend any Sonic Art and/or Electronic music festivals?&lt;br&gt; I've heard of a few myself but am looking to experience more.**&#xD;&#xA;&#xD;&#xA;I know it's slightly off topic, however for me personally I always find sonic art and electronic music (*leaning more towards IDM, Glitch etc.*) greatly influences and inspires my sound design - This is particularly the case with my latest project utilising a merger of the two and sound design, which compliment the piece well.&#xD;&#xA;&#xD;&#xA;I thought it would be of interest to a number of people so I'll update this post as I find more festivals/performances etc. It would be cool to hear about live laptop ensembles as well. Also, I don't know if people would prefer for it to be a community wiki page? Just let me know and I'll change it :)&#xD;&#xA;&#xD;&#xA;I've asked a related question before if you're interested: http://socialsounddesign.com/questions/9328/music-makers-do-you-find-your-sound-design-skills-influence-your-compositions&#xD;&#xA;&lt;br&gt;&lt;br&gt;&lt;br&gt;&#xD;&#xA;**LIST OF UK FESTIVALS:** - *in progress*&#xD;&#xA;&#xD;&#xA;Sound Art / Experimental Electronic Music  - http://www.audiograft.com/&lt;br&gt;&#xD;&#xA;Experimental Electronic Music / Workshops / Installations - http://www.beamfestival.com/&lt;br&gt;&#xD;&#xA;Sonic Art / Experimental Electronic Music / Lectures / Installations - http://noisefloor.co.uk&lt;br&gt;&lt;br&gt;&#xD;&#xA;Electronic Music  - http://www.blocweekend.com/&lt;br&gt;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22508" PostHistoryTypeId="2" PostId="13629" RevisionGUID="ade610ba-4311-4bab-8228-977e68a0425d" CreationDate="2012-04-21T13:55:07.057" UserId="3793" Text="http://soundcloud.com/paulbannister/river-recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="22509" PostHistoryTypeId="2" PostId="13630" RevisionGUID="d8e48e68-1c71-4d65-a286-9faab1f17910" CreationDate="2012-04-21T18:32:04.950" UserId="3730" Text="To get back with my own answers , using sonic BBE harmonic exciter as a first stage on the voice tracks followed by down mixing again using Izotope Nectar gives an incredible clarity and warmth to the voice track. Thanks for the heads up on Nectar Auddity " ContentLicense="CC BY-SA 3.0" />
  <row Id="22510" PostHistoryTypeId="2" PostId="13631" RevisionGUID="3f5c78b5-2b95-4055-bc09-e74e7a0a8f59" CreationDate="2012-04-21T18:53:51.500" UserId="3730" Text="So what do you as an engineer in mixing recording track laying etc find extremely annoying.?.&#xD;&#xA;&#xD;&#xA;For me : If ive been working on a film for a few weeks and nearing the end with the director and some little snot (usually clueless but to his world) comes in from the production team to watch some of what the movie is like and starts to through his 10cents around. &quot;oh dont you think it would be better if you did this ...  &quot; Maybe you could try this or less of that!!! &#xD;&#xA;&#xD;&#xA;Hours of work then just to show him /her that they should rather shut their mouths and leave it to directors , producers and engineers . &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22511" PostHistoryTypeId="1" PostId="13631" RevisionGUID="3f5c78b5-2b95-4055-bc09-e74e7a0a8f59" CreationDate="2012-04-21T18:53:51.500" UserId="3730" Text="Here's a light hearted question.. but comes with irritating answers lol" ContentLicense="CC BY-SA 3.0" />
  <row Id="22512" PostHistoryTypeId="3" PostId="13631" RevisionGUID="3f5c78b5-2b95-4055-bc09-e74e7a0a8f59" CreationDate="2012-04-21T18:53:51.500" UserId="3730" Text="&lt;annoying&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22513" PostHistoryTypeId="2" PostId="13632" RevisionGUID="f512adba-c1c4-475a-bda3-e62fab881d11" CreationDate="2012-04-21T21:55:04.407" UserId="6411" Text="It's a little nit-picky, but I tend to leave all my tracks in touch/latch with everything enabled in the automation window. So when I'm working down the chain from someone who has turned off all the automation enables except for &quot;mute&quot; or &quot;send pan&quot; and it takes that extra 15 seconds of &quot;what the ----? Did my control surface lose connection? Is the track not armed? Is the volume automation enabl... Ah-ha&quot; I just don't get it." ContentLicense="CC BY-SA 3.0" />
  <row Id="22514" PostHistoryTypeId="2" PostId="13633" RevisionGUID="cf9c696c-b5c5-48f2-94e0-a1f9a4bbdd4e" CreationDate="2012-04-22T00:24:20.797" UserId="3789" Text="I agree with Bourne... that is very annoying: when they ask the opinion of someone completely clueless.&#xD;&#xA;&#xD;&#xA;To me the most annoying is the lack of time. They want it perfect, and give you 1/10 of the time needed to make it right. Then they judge your work based on that...&#xD;&#xA;&#xD;&#xA;I worked in some TV series 2 years ago, and I had 48 hours to produce/compose the music for 1 entire 40 min. show, produce the FX, dialog edit, and mixing. We were a team of 2... those were the worst 2 months of my entire life.&#xD;&#xA;&#xD;&#xA;It was even worse, after delivering the audio they put some girl that did the WORST possible mastering you can imagine." ContentLicense="CC BY-SA 3.0" />
  <row Id="22515" PostHistoryTypeId="2" PostId="13634" RevisionGUID="b21e74a8-b99f-419a-bcb1-6999495ce326" CreationDate="2012-04-22T02:04:26.427" UserId="253" Text="Haha, this is a dangerous question. A few of mine:&#xD;&#xA;&#xD;&#xA;- When Pro Tools randomly switches back to latch solo. I don't know if it's something that's fixed in PT10, but i hate latch solo! That's what shift is for!&#xD;&#xA;&#xD;&#xA;- When there's some uncleanable noise over a line...and the actor delivered it completely differently in every other take (and ADR isn't a possibility).&#xD;&#xA;&#xD;&#xA;- A recent one of mine is popping in VO. I don't know if it's because i've been doing a crazy amount of VO/dubbing recently, but i'm even starting to hear people pop in real life...&#xD;&#xA;&#xD;&#xA;Of course, we're all cool about everything that annoys us, right?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22516" PostHistoryTypeId="2" PostId="13635" RevisionGUID="34c3645e-09d3-4554-8715-8eccbb804780" CreationDate="2012-04-22T03:11:15.193" UserId="6499" Text="A dub stage here in town that mixed a short I designed delivered the stems and printmaster with vocal idents at the head of each track, these idents specified the stem and speaker assignment, that was then followed by 30 seconds of 1k tone at -20dbfs, 30 seconds of pink noise @ -20dbfs, and then a sine sweep from 20-20k at -20 dbfs, then I believe at 00:59:58:01 was the 2 pop which was sample accurate, FFOP starting right at 01:00:00:00, a tail pop on the immediate frame after LFOP  That how he delivered it and I assume is how all of the films from his stage end up.  I started doing that if no delivery specs have been passed on.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22517" PostHistoryTypeId="2" PostId="13636" RevisionGUID="bd21e315-4e7f-425a-b700-050a4c1b0d95" CreationDate="2012-04-22T03:14:29.023" UserId="6499" Text="To all those interested in something like this, I am finishing up a project in nuendo, following that I am back working in pro tools so I am going to make a handful of different practice sets using reverb, and varying the number of settings modified.  First set probably just starting with reverb time and mix, another set using a few more settings, and the final set having all of the settings adjusted and modified.&#xD;&#xA;&#xD;&#xA;Ill post links to all of it and places to get the files once I have dont that, probably some time next week.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22518" PostHistoryTypeId="2" PostId="13637" RevisionGUID="9b15fca4-0e5e-4fd7-93a0-6d325092d7dd" CreationDate="2012-04-22T03:56:39.957" UserId="2906" Text="I'm a little late here but I noticed this...&#xD;&#xA;One of my cats goes completely insane about The X-Files theme. She intriguingly smelled the computer or tv, depending on which one was playing. Later I found out she goes nuts with human whistling and comes running to my lap as a dog every time I whistle and meows if I don't stop. She does react to baby cry and all sorts of high frequency sounds that seem to fall between whistling and crying (being kittens or human babies). Strange enough, I have other cats that don't give a damn about those. Could it be because the first cat was the only one that had kittens? Since then, she went more sound sensitive. Does a cat life experience also changes the importance on the type of sounds to which it is more alert? It seems like it does." ContentLicense="CC BY-SA 3.0" />
  <row Id="22519" PostHistoryTypeId="2" PostId="13638" RevisionGUID="0102dbbe-da2e-43b0-be44-69d9b6b2c44f" CreationDate="2012-04-22T06:44:24.137" UserId="1228" Text="As the title states, I'm curious what sound effects edit has truly stumped you before, at least in the sense of having to spend time to create from scratch.  Ironically it' seems to me to be most simple of real-life things that can be bane of one's existence.&#xD;&#xA;&#xD;&#xA;The kind of sound situation I speak of is one where you roll up upon it while cutting, do a library search and realize you don't have anything relating to or being the actual recording it - there's a deadline looming with no time to record it yourself, no usable PFX of it to build off of, can't rely upon the Foley dept for covering it or fully realizing the sound in which said situation it needs to fully sell it, no time to research buying another library or even the time sampling online options like Sounddogs et al.  The kind if situation where it's just you, your library in front of you, a little elbow grease and some magic and luck.&#xD;&#xA;&#xD;&#xA;What sound effect edit has had you the most stumped (even if you managed to create it after a bit of effort)?&#xD;&#xA;&#xD;&#xA;Recently for me it was the sound of a tree stump (ironically) being kicked - it was a makeshift stump which was essentially a 2 foot tall, 1 foot diameter midsection slice from a tree set on the ground.  The actor pulls out an axe stuck in it then kicks it closeup and it tumbles head over heels in the dirt and leaves and rests in the dirt.  The entire procedure lasts a mere second - the equivalent amount of time of hearing a bodyfall essentially.   Now the leaves and dirt were quite easy to toss in there.  But the stump, seriously, had me stumped for some time.  It was tough to create that muted high frequency wood hit reminiscent of solid wood (think of the sound when you knock on a tree), but have enough hollowness and thumpiness to carry the weight of wood - but a dense &quot;thocky&quot; hollow, not like the thin hollow sound of a door being kicked, and not small or chunky like small wood pieces being dropped.  Such a particularly-targeted frequency content.  Needless to say the final sound was arrived at after a little elbow grease so it was a happy ending, but boy was it tricky to pull that one out of the bag - even to find the right source elements.&#xD;&#xA;&#xD;&#xA;I'd love to hear what's had you stumped the most, regardless of how ornate or or simply literal of a situation it was." ContentLicense="CC BY-SA 3.0" />
  <row Id="22520" PostHistoryTypeId="1" PostId="13638" RevisionGUID="0102dbbe-da2e-43b0-be44-69d9b6b2c44f" CreationDate="2012-04-22T06:44:24.137" UserId="1228" Text="What sound effects edit 'sound creation' has stumped you like no other?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22521" PostHistoryTypeId="3" PostId="13638" RevisionGUID="0102dbbe-da2e-43b0-be44-69d9b6b2c44f" CreationDate="2012-04-22T06:44:24.137" UserId="1228" Text="&lt;sound-effects&gt;&lt;sound-design&gt;&lt;sound-editing&gt;&lt;library&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22522" PostHistoryTypeId="2" PostId="13639" RevisionGUID="6dc70390-948e-4ba4-a361-ef6713b7a69c" CreationDate="2012-04-22T09:03:28.330" UserId="3093" Text="So..what did you end up buying @Adrian???? I'm pretty intrigued :P" ContentLicense="CC BY-SA 3.0" />
  <row Id="22523" PostHistoryTypeId="2" PostId="13640" RevisionGUID="9ba9acf1-3e3b-4b78-bebc-ead45b7568a5" CreationDate="2012-04-22T20:03:23.597" UserId="3587" Text="I'm relatively new to sfx editing, so I've had a lot of stumps in recent times. The worst was probably the sound of a tree landing on the groun after being cut down (those pesky tree sounds huh!). I had recorded a lot of material, like creaking, rustling of leaves and branches breaking, but that heavy &quot;whomph&quot; as the tree struck the ground had me stumped for a long time. I couldn't use any of the impact sounds I had, they were all too sharp and punchy, and I couldn't use rustling and creaking alone. Eventually I managed to approach the effect by layering various pitched down impact sounds, and fiddling with their attacks, but I was never very happy with the sound.&#xD;&#xA;A few weeks past the deadline, I got a new library, which happened to contain a recording of a tree falling - with the excact &quot;whomph&quot; I had been looking for. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22524" PostHistoryTypeId="2" PostId="13641" RevisionGUID="03a3e418-8862-4287-82a1-60b6fcb9b5e8" CreationDate="2012-04-22T20:21:28.593" UserId="3730" Text="Doing a series of commercial ads for survivor , they by this im referring to the agency ( agency team of blue haired , bad dressed , cell phone glued freaks ) wanted the following within their ads&#xD;&#xA;&#xD;&#xA; Ad 1 : Sound of piranhas eating meat of a man's left leg.&#xD;&#xA; Ad 2 : Sounds of a a python slowly crushing a human arm&#xD;&#xA; Ad 3 : A squawk of a parrot that has just been frighten by the sight of a big spider. oh and we need to hear the spider move like its menacing &#xD;&#xA; Ad 4 : The sounds of the amazon jungle but without birds.&#xD;&#xA; and last but not least&#xD;&#xA; Ad 5 : water dropping into a pool of water in a cave , but the water droplets must sound dirty.&#xD;&#xA;&#xD;&#xA;I sht you not. after two days of relentless efforts i was stumped. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22525" PostHistoryTypeId="2" PostId="13642" RevisionGUID="064593a2-21db-4197-9cb2-087185e3e022" CreationDate="2012-04-22T22:11:09.117" UserId="3093" Text="Hi guys, it's a quick question. I am just wondering... I have an presonus audiobox 22vsl, just 2 outputs. In case I wanted to setup a 5.1 system, do I need at least 5 outputs from my interface? &#xD;&#xA;&#xD;&#xA;Or is there some kind of device that would help me in this situation (having only 2 outputs)?&#xD;&#xA;&#xD;&#xA;thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="22526" PostHistoryTypeId="1" PostId="13642" RevisionGUID="064593a2-21db-4197-9cb2-087185e3e022" CreationDate="2012-04-22T22:11:09.117" UserId="3093" Text="What do I need to setup a 5.1 system?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22527" PostHistoryTypeId="3" PostId="13642" RevisionGUID="064593a2-21db-4197-9cb2-087185e3e022" CreationDate="2012-04-22T22:11:09.117" UserId="3093" Text="&lt;5.1&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22528" PostHistoryTypeId="2" PostId="13643" RevisionGUID="4abaa32c-fa0c-4ade-b4d0-b2356e9b7dec" CreationDate="2012-04-22T23:05:53.440" UserId="589" Text="No, sorry. You will need at least 6 outputs for a 5.1 system. One for every channel. I don't see any other way. But even if there was a devise I don't think it would be cheaper than just buying a sound card with 6 outputs.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="22529" PostHistoryTypeId="2" PostId="13644" RevisionGUID="a1ac7507-8dee-4910-b1ff-fab071970d11" CreationDate="2012-04-23T00:39:12.543" UserId="3093" Text="This is related to &quot;Mac Users: What Type Do You Use&quot;, but I am going deeper in details about your cpu. I am looking at buying a new computer, probably a mac mini or an iMac, but I've been going around about the cpu, **so it would be nice to know which are you using and how does it run :).**  &#xD;&#xA;&#xD;&#xA;For Pro Tools users:  Do you guys think that pro tools would benefit more from a faster clock speed processor, or more cores?  Cause that's a thing I don't decide on yet.. would you take a faster speed dual core -say... 2.7, i7-, or a lower speed but more cores - 2.0, quad core i7- ??&#xD;&#xA;&#xD;&#xA;I am curious about **mac users**, but anyone can answer no matter your OS, since it could help other's in our community.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22530" PostHistoryTypeId="1" PostId="13644" RevisionGUID="a1ac7507-8dee-4910-b1ff-fab071970d11" CreationDate="2012-04-23T00:39:12.543" UserId="3093" Text="How many cores in your processor? Clock speed? i5-i7?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22531" PostHistoryTypeId="3" PostId="13644" RevisionGUID="a1ac7507-8dee-4910-b1ff-fab071970d11" CreationDate="2012-04-23T00:39:12.543" UserId="3093" Text="&lt;computer&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22532" PostHistoryTypeId="5" PostId="13642" RevisionGUID="fea85020-5e62-4857-a18c-ae03d82abac7" CreationDate="2012-04-23T00:43:51.407" UserId="3093" Comment="edited body" Text="Hi guys, it's a quick question. I am just wondering... I have an presonus audiobox 22vsl, just 2 outputs. In case I wanted to setup a 5.1 system, do I need at least 6 outputs from my interface? &#xD;&#xA;&#xD;&#xA;Or is there some kind of device that would help me in this situation (having only 2 outputs)?&#xD;&#xA;&#xD;&#xA;thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="22533" PostHistoryTypeId="5" PostId="13644" RevisionGUID="4bf2d5ed-0bcb-4f32-9763-4ccf1d8db00e" CreationDate="2012-04-23T00:50:39.147" UserId="3093" Comment="Added my cpu info." Text="This is related to &quot;Mac Users: What Type Do You Use&quot;, but I am going deeper in details about your cpu. I am looking at buying a new computer, probably a mac mini or an iMac, but I've been going around about the cpu, **so it would be nice to know which are you using and how does it run :).**  &#xD;&#xA;&#xD;&#xA;For Pro Tools users:  Do you guys think that pro tools would benefit more from a faster clock speed processor, or more cores?  Cause that's a thing I don't decide on yet.. would you take a faster speed dual core -say... 2.7, i7-, or a lower speed but more cores - 2.0, quad core i7- ??&#xD;&#xA;&#xD;&#xA;I am curious about **mac users**, but anyone can answer no matter your OS, since it could help other's in our community.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;To kick off, I currently have a MacBook 2009 (white one),   **2.4 GHz Intel Core 2 Duo. 2GB Ram.**  It doesn't run that good with pro tools, sometimes recording for example 2 tracks, an audio and a midi one, it will stop recording like at 6 minutes of continuos recording. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22534" PostHistoryTypeId="2" PostId="13645" RevisionGUID="14e69a33-8080-42dd-9538-c57d80f2c0ae" CreationDate="2012-04-23T01:07:33.033" UserId="1228" Text="I still run a Q6600 Core 2 Quad 2.4Ghz on Win 7, fanless heatsink.   Seems to run just fine for large-format feature work, CPU load during mix (with bussing and RTAS plugins) tops out at maybe 35% usage.  Than again I don't devote all 4 cores to PT - was somewhat finicky when I did, but since changing that, it runs just fine.  And I run picture/audio from different drives to maintain optimal bandwidth." ContentLicense="CC BY-SA 3.0" />
  <row Id="22535" PostHistoryTypeId="2" PostId="13646" RevisionGUID="a273d57a-b793-48be-a027-6525c02a0bd6" CreationDate="2012-04-23T01:27:14.350" UserId="3179" Text="Buy the fastest (biggest combined processing power i.e. cores * clocks) computer that you can afford. It's probably the most important investment regarding audio production that you'll make and you'll regret when running out of CPU power forces you to bounce/freeze tracks. Most modern audio software are multi-threaded.&#xD;&#xA;&#xD;&#xA;Don't forget to spend on the hard disks as well. Pick SSD if you fancy real speed." ContentLicense="CC BY-SA 3.0" />
  <row Id="22536" PostHistoryTypeId="2" PostId="13647" RevisionGUID="2088e371-f273-416b-85e7-8b4821c8bef3" CreationDate="2012-04-23T06:00:45.740" UserId="3752" Text="I recorded about 20 minutes of material. While my friends were celebrating at midnight I had gone out on a field about 150 metres to get away from the voices. Here's about 01:20:&#xD;&#xA;&#xD;&#xA; - [Fireworks Ambience][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;When I got back to my friends there was a family shooting rockets from a parking lot. I got close and this is one of the many:&#xD;&#xA;&#xD;&#xA; - [Single Rocket Launch][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audiojungle.net/item/fireworks-ambience/1265385?ref=Reachground&#xD;&#xA;  [2]: http://audiojungle.net/item/fireworks-single-rocket-launch/1217652?ref=Reachground" ContentLicense="CC BY-SA 3.0" />
  <row Id="22537" PostHistoryTypeId="2" PostId="13648" RevisionGUID="9c951f60-84e2-4bcf-beb3-c9079838bcdf" CreationDate="2012-04-23T06:53:50.857" UserId="37" Text=" - CPU affects plugins &amp; virtual synths. more cores = better.&#xD;&#xA; - Hard drive affects the number of tracks and clips&#xD;&#xA; - Memory affects how often the hard drive has to do something else.&#xD;&#xA;&#xD;&#xA;i5 with 8GB ram here. the hard drive has fast become the bottleneck of the system.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22538" PostHistoryTypeId="2" PostId="13649" RevisionGUID="5bb839ce-1e2f-43ac-bce1-a9da890fa35d" CreationDate="2012-04-23T08:08:12.453" UserId="221" Text="If you want to be able to mix in surround, your interface will need 6 outputs for 5.1 and you will need the appropriate monitors, ideally 5 spakers that are all the same but you can get away with the centre and surround speakers being a smaller box as long as they come from the same family.&#xD;&#xA;&#xD;&#xA;If you are just track laying and don't need to monitor in surround then you can use the downmix plug-in that now comes with Pro Tools 10 but you will hear everything in stereo." ContentLicense="CC BY-SA 3.0" />
  <row Id="22539" PostHistoryTypeId="2" PostId="13650" RevisionGUID="e8abab3d-f6ad-40f5-b96c-4e952c4dd272" CreationDate="2012-04-23T08:16:55.113" UserId="221" Text="Create aux sub group tracks for each of the stems you need like dialog, music fxs etc, then set up record tracks off those so when you lay off the programme you can create all the stems, the full mix and the M&amp;E mix in one pass. &#xD;&#xA;&#xD;&#xA;The principles are the same fro surround with downmixes to create stereo versions as well.&#xD;&#xA;&#xD;&#xA;Spend some time building a template session so you only need to build the mixer once, then for each project start with the template and modify it to suit the specific project.&#xD;&#xA;&#xD;&#xA;I would put all dialog related content including non vocal content on the dialog track. After all the screams etc won't match because the dub with be a different actor." ContentLicense="CC BY-SA 3.0" />
  <row Id="22540" PostHistoryTypeId="2" PostId="13651" RevisionGUID="19881289-d1cc-40be-a418-666095440e6c" CreationDate="2012-04-23T08:32:36.690" UserId="6432" Text="It's worth posting the full name and speed of the processor to look up the [benchmarks][1]. Apple don't seem to make this info very easy to find but it's really important. If you check the benchmark chart I just linked to you will see that there are some i3 processors that are faster than i7's. Go by the benchmarks, not the name.&#xD;&#xA;&#xD;&#xA;Generally, whether a program runs better on more cores depends on how the program was written. It's the host software that spreads the cost of plugins over multiple cores (not the plugins themselves). So it also depends on which version of pro tools you are running.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cpubenchmark.net/high_end_cpus.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="22541" PostHistoryTypeId="5" PostId="13651" RevisionGUID="719564a9-7efd-407c-a75f-8ffaffbf9eae" CreationDate="2012-04-23T08:44:07.733" UserId="6432" Comment="added 88 characters in body" Text="It's worth posting the full name and speed of the processor to look up the [benchmarks][1]. Apple don't seem to make this info very easy to find but it's really important. If you check the benchmark chart I just linked to you will see that there are some i3 processors that are faster than i7's. In the real world it's not as simple as higher benchmark = will run everything faster, but it gives you a pretty good idea.&#xD;&#xA;&#xD;&#xA;Generally, whether a program runs better on more cores depends on how the program was written. It's the host software that spreads the cost of plugins over multiple cores (not the plugins themselves). So it also depends on which version of pro tools you are running.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cpubenchmark.net/high_end_cpus.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="22542" PostHistoryTypeId="5" PostId="13651" RevisionGUID="7728608a-d801-4677-bc8d-aad3689e053a" CreationDate="2012-04-23T10:13:30.383" UserId="6432" Comment="added 226 characters in body" Text="It's worth posting the full name and speed of the processor to look up the [benchmarks][1]. Apple don't seem to make this info very easy to find but it's really important. If you check the benchmark chart I just linked to you will see that there are some i3 processors that are faster than i7's. In the real world it's not as simple as higher benchmark = will run everything faster, but it gives you a pretty good idea.&#xD;&#xA;&#xD;&#xA;Generally, whether a program runs better on more cores depends on how the program was written. It's the host software that spreads the cost of plugins over multiple cores (not the plugins themselves). So it also depends on which version of pro tools you are running.&#xD;&#xA;&#xD;&#xA;Just a curious 'did you know' point, actually all processors which are the same generation and architecture are actually, physically the same. They only become a 2.4 or a 2.7 after testing to determine how fast they are.  &#xD;&#xA;&#xD;&#xA;  [1]: http://www.cpubenchmark.net/high_end_cpus.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="22543" PostHistoryTypeId="2" PostId="13652" RevisionGUID="1e3adf44-6b07-432a-bc53-a3c68daeaa3a" CreationDate="2012-04-23T10:41:05.753" UserId="1216" Text="Hi,&#xD;&#xA;I run a i5 750 2.67GHz four core in my iMac with 8GB.&#xD;&#xA;http://www.cpubenchmark.net/cpu.php?cpu=Intel+Core+i5+750+%40+2.67GHz&#xD;&#xA;&#xD;&#xA;Protools 9(no CPTK) is running great, but as stated by Mviljamaa, an SSD would be a great addition (booting times!).&#xD;&#xA;I run project audio and video of a FW800 G-Mini 500 gig drive. This works better than using internal HD, which is also stated by AVID of course.&#xD;&#xA;&#xD;&#xA;I've never ran benchmarks in PT but would be willing to, if anyone knows a accurate way to test it.&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="22544" PostHistoryTypeId="2" PostId="13653" RevisionGUID="bbc2ff4f-741d-473c-8591-1778b772b4b0" CreationDate="2012-04-23T11:02:14.693" UserId="1246" Text="Or maybe it's all about the original location sound recording :)&#xD;&#xA;There is so much needed to be done while shooting. Muting HMIs, Camera noise, HD noise of RED and such, killing reverbs etc... And sometimes location recording team don't get the chance to do their job properly, unfortunately.&#xD;&#xA;And maybe those productions don't appreciate clean dialog so much that they'd ADR such problematic scenes...&#xD;&#xA;&#xD;&#xA;Bye / Tumppi" ContentLicense="CC BY-SA 3.0" />
  <row Id="22545" PostHistoryTypeId="2" PostId="13654" RevisionGUID="2d33fcc5-129a-4a99-bf33-2c3337c7d00d" CreationDate="2012-04-23T11:25:21.093" UserId="3797" Text="Hi,&#xD;&#xA;&#xD;&#xA;I've got a reasonable amount of experience when it comes to scheduling sound design work for games and i've doen a few short indie films which didn't really have a schedule to speak off.&#xD;&#xA;&#xD;&#xA;However I'm thinking of pitching for some local TV animation work and was wondering what the established expectations where for scheduling per minute? Obviously this varies hugely depending on content.&#xD;&#xA;&#xD;&#xA;I've had a look through some of the previous posts and found some responses for film post-production schedules and I would be interested to know the differences for TV.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22546" PostHistoryTypeId="1" PostId="13654" RevisionGUID="2d33fcc5-129a-4a99-bf33-2c3337c7d00d" CreationDate="2012-04-23T11:25:21.093" UserId="3797" Text="Scheduling sound edit/dubbing for TV animation" ContentLicense="CC BY-SA 3.0" />
  <row Id="22547" PostHistoryTypeId="3" PostId="13654" RevisionGUID="2d33fcc5-129a-4a99-bf33-2c3337c7d00d" CreationDate="2012-04-23T11:25:21.093" UserId="3797" Text="&lt;dubbing&gt;&lt;animation&gt;&lt;mixing&gt;&lt;sound-editing&gt;&lt;schedule&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22548" PostHistoryTypeId="2" PostId="13655" RevisionGUID="ec59f6c5-125f-41fd-9c5a-cf1c3f7bca32" CreationDate="2012-04-23T17:46:59.860" UserId="234" Text="While I like 6 days per half hour show (3 for FX, 1 for Dialog edit and 2 for Mix, assuming Dialog is already recorded), the simple truth is there are no established guidelines. The producers will probably have a certain time frame and budget to work with, and basically you'll need to decide whether or not you can do the gig inside those parameters. If you've done a few games you probably have a fairly accurate guess of how fast you can work - especially in regards to sound design and edit. Figure out how long you think it would take, add a healthy precentage (25-50%) for the &quot;client factor&quot; -how much depends on how much hand holding you think the client may need. And then figure out your rate per day/hour whatever and that's a good starting point. From there, decide whether or not the offer they have on the table is workable." ContentLicense="CC BY-SA 3.0" />
  <row Id="22549" PostHistoryTypeId="2" PostId="13656" RevisionGUID="8d381d13-0a89-45bd-968e-95858c453421" CreationDate="2012-04-23T19:30:20.947" UserId="3798" Text="I made a mistake when i trying to make a recording with my Zoom H4n Handy Recorder. I wanted to make a recording with the mics own recorder, but I'm confused and ended up selecting entries 1 and 2, without a external mic. the recorder generated files, which at first seem muted. I lost my record, or can I recover them?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22550" PostHistoryTypeId="1" PostId="13656" RevisionGUID="8d381d13-0a89-45bd-968e-95858c453421" CreationDate="2012-04-23T19:30:20.947" UserId="3798" Text="about a mistake made when i was recording with H4n Zoom Recorder" ContentLicense="CC BY-SA 3.0" />
  <row Id="22551" PostHistoryTypeId="3" PostId="13656" RevisionGUID="8d381d13-0a89-45bd-968e-95858c453421" CreationDate="2012-04-23T19:30:20.947" UserId="3798" Text="&lt;zoom-h4n&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22552" PostHistoryTypeId="2" PostId="13657" RevisionGUID="ad5adc21-5423-44e6-9e41-a0218f15330b" CreationDate="2012-04-23T19:47:20.383" UserId="3179" Text="If those are the only files it created and you hear nothing, then it didn't record anything. You can double check the files by opening them in an audio editor such as Audacity to determine that they really are empty (you don't see any kind of waveform)." ContentLicense="CC BY-SA 3.0" />
  <row Id="22553" PostHistoryTypeId="2" PostId="13658" RevisionGUID="1e69b886-9498-43c4-a9a0-92170c046a2b" CreationDate="2012-04-23T20:16:49.913" UserId="455" Text="Entries 1 and 2 are the xlr inputs at the bottom of the recorder.  I have the zoom h4 which can only record via the built in mics or the xlr inputs.  I understand that you can record all four channels (the 2 xlr inputs as well as the built in mics) so maybe you did that?  I hope!  Otherwise you didn't record anything." ContentLicense="CC BY-SA 3.0" />
  <row Id="22554" PostHistoryTypeId="2" PostId="13659" RevisionGUID="e68902f4-8231-4745-9c74-b0c59f17fcd1" CreationDate="2012-04-23T20:25:09.060" UserId="7642" Text="Interesting concept, but is it a system for Hollywood blockbusters and 3D films or a system that most cinema owners will see as a &quot;must have&quot; to keep or hopefully even gain visitors?&#xD;&#xA;&#xD;&#xA;http://vimeo.com/40699179&#xD;&#xA;http://soundworkscollection.com/atmos&#xD;&#xA;http://www.dolby.com/us/en/professional/technology/cinema/dolby-atmos.html&#xD;&#xA;&#xD;&#xA;Still quite scarce of technical details, mostly sales jargon imho.&#xD;&#xA;Looks like a combination of automatic matrixing together with specific signal streams tha can have realtime metadata controlling its playback position.&#xD;&#xA;Still need more info, will call Dolby when I have some spare time.&#xD;&#xA;&#xD;&#xA;If anyone else has got more specific knowledge plese inform us.&#xD;&#xA;&#xD;&#xA;Main question is: FLIP or FLOP?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22555" PostHistoryTypeId="1" PostId="13659" RevisionGUID="e68902f4-8231-4745-9c74-b0c59f17fcd1" CreationDate="2012-04-23T20:25:09.060" UserId="7642" Text="Dolby Atmos announced" ContentLicense="CC BY-SA 3.0" />
  <row Id="22556" PostHistoryTypeId="3" PostId="13659" RevisionGUID="e68902f4-8231-4745-9c74-b0c59f17fcd1" CreationDate="2012-04-23T20:25:09.060" UserId="7642" Text="&lt;dolby&gt;&lt;atmos&gt;&lt;surround-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22557" PostHistoryTypeId="2" PostId="13660" RevisionGUID="1ee8491b-4d83-49af-b25f-ba75e9ff244e" CreationDate="2012-04-23T20:49:32.433" UserId="930" Text="There's a white paper here on the topic for more technical details: http://www.dolby.com/uploadedFiles/Assets/US/Doc/Professional/Dolby-Atmos-Next-Generation-Audio-for-Cinema.pdf&#xD;&#xA;&#xD;&#xA;My personal opinion? I think it will flop, at least to start with (although I hope it doesn't). I mean, most cinemas can't (or won't - you decide) even get 5.1 running correctly, let alone up to 64.1. The large cinema chains (at least here in the UK) seem to have a &quot;If it's broke, and no one can tell - no need to fix it&quot; kind of mentality which leads me to believe that the value they attribute to sound is low. To be honest, I don't exactly blame them. They're a business and if their consumers don't notice, then why spend the money?&#xD;&#xA;&#xD;&#xA;I think Dolby Atmos is a great idea, and I think it's good for Dolby to keep advancing the technology behind cinema audio. However, I feel that their money/time would be spent better trying to get cinemas to correctly play back what we've currently got. The amount of times I've been to a cinema with sub-par audio is astonishing and a true evolution of cinema sound would be standardizing the quality of audio playback in cinemas, rather than the introduction of new playback systems (which probably won't be set up correctly anyway!)&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="22558" PostHistoryTypeId="2" PostId="13661" RevisionGUID="3058e2e0-a69a-4d65-8f2e-5c599e24f252" CreationDate="2012-04-23T21:17:46.977" UserId="455" Text="I'm looking into buying a contact mic for various sfx recording.  I've noticed that the AKG c411 is a popular choice, but I see the frequency response only goes up to 18khz.  Will this be a potential problem when pitch shifting?  Is this normal for contact mics?  What other options would you guys recommend looking at?&#xD;&#xA;&#xD;&#xA;For an idea, I want to attach a contact mic to several golf club heads and record hits, so durability is one of my priorities." ContentLicense="CC BY-SA 3.0" />
  <row Id="22559" PostHistoryTypeId="1" PostId="13661" RevisionGUID="3058e2e0-a69a-4d65-8f2e-5c599e24f252" CreationDate="2012-04-23T21:17:46.977" UserId="455" Text="Contact microphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="22560" PostHistoryTypeId="3" PostId="13661" RevisionGUID="3058e2e0-a69a-4d65-8f2e-5c599e24f252" CreationDate="2012-04-23T21:17:46.977" UserId="455" Text="&lt;contact-mic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22561" PostHistoryTypeId="2" PostId="13662" RevisionGUID="8d6aee14-0f3d-4ac8-8a4a-fa60ec0c795a" CreationDate="2012-04-23T22:13:00.217" UserId="3746" Text="I am interested to know your reasoning behind wanting to use contact mics for recording things like golf club hits rather than using more conventionl microphones? Is it for convenience sake, or so that you don't pick up any other background sound? I haven't tried using contact a mic for this, but I suspect that on it's own it won't sound as natural (unless perhaps mixed with another mic?) as recording with a condensor mic for example.&#xD;&#xA;As for 18KHz being the upper limit, I would not expect that to be a problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="22562" PostHistoryTypeId="2" PostId="13663" RevisionGUID="83617bd0-a598-4ccd-a1b9-6f1a71514c77" CreationDate="2012-04-23T22:23:17.003" UserId="3746" Text="Interesting thread. A 1K test tone is more the norm than pink noise though I suspect. Also, depending on where you live it may vary, being either -18 or -20dbfs. Definitely cool to read other people's ideas on this whole thing and what different network requirements are." ContentLicense="CC BY-SA 3.0" />
  <row Id="22563" PostHistoryTypeId="2" PostId="13664" RevisionGUID="f6f527b6-c21d-478f-9756-2b261cf30ec6" CreationDate="2012-04-23T22:44:44.960" UserId="315" Text="Most contact mic recordings I've made (or heard) have very little information, if any, going on at 18kHz. Attached to many materials like metal, wood, or glass, you'd be lucky to get a ton ofinformation above 5kHz in a recording. &#xD;&#xA;&#xD;&#xA;If you are looking at doing some extreme pitch shifting, you are better off using a high-frequency response condenser mic, or a contact mic along side a condenser mic. Of course, contact mics by there very nature, can make objects sound larger without any pitch shifting.&#xD;&#xA;&#xD;&#xA;If you're going to record a golf club hitting a ball. I'd suggesting mounting the mic not on the head, but further down the shaft of the club. It will give the vibrations in the club further distance to travel...making for a more interesting recording.&#xD;&#xA;&#xD;&#xA;Some other options to consider:&#xD;&#xA;&#xD;&#xA; - Barcus Berry Planar Wave&#xD;&#xA; - Trance Audio Inducer&#xD;&#xA; - Schertler&#xD;&#xA; - Cold Gold&#xD;&#xA; - C-Ducer&#xD;&#xA; - Building Your Own PZM (it's not that difficult if you're handy with electronics)&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="22564" PostHistoryTypeId="5" PostId="13664" RevisionGUID="c837b3af-39d6-4ea9-97e4-16a2c6b2389d" CreationDate="2012-04-23T22:50:44.527" UserId="315" Comment="added 1 characters in body" Text="Most contact mic recordings I've made (or heard) have very little information, if any, going on at 18kHz. Attached to many materials like metal, wood, or glass, you'd be lucky to get a ton of information above 5kHz in a recording. &#xD;&#xA;&#xD;&#xA;If you are looking at doing some extreme pitch shifting, you are better off using a high-frequency response condenser mic, or a contact mic along side a condenser mic. Of course, contact mics by there very nature, can make objects sound larger without any pitch shifting.&#xD;&#xA;&#xD;&#xA;If you're going to record a golf club hitting a ball. I'd suggesting mounting the mic not on the head, but further down the shaft of the club. It will give the vibrations in the club further distance to travel...making for a more interesting recording.&#xD;&#xA;&#xD;&#xA;Some other options to consider:&#xD;&#xA;&#xD;&#xA; - Barcus Berry Planar Wave&#xD;&#xA; - Trance Audio Inducer&#xD;&#xA; - Schertler&#xD;&#xA; - Cold Gold&#xD;&#xA; - C-Ducer&#xD;&#xA; - Building Your Own PZM (it's not that difficult if you're handy with electronics)&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="22565" PostHistoryTypeId="2" PostId="13665" RevisionGUID="27e63946-7179-4a60-bc3c-f2d5d0196d12" CreationDate="2012-04-24T01:10:25.570" UserId="3145" Text="I'm cleaning old optical tracks that have varying amounts of pops. The pops could have resulted from splices or dust on the print.  What are the best Pro Tools plug-ins to remove this type of instantaneous pop? They tend to have the same waveform signature, tornado next to a mountain or some similar variation.  Are there some other stand alone applications that could do the job?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22566" PostHistoryTypeId="1" PostId="13665" RevisionGUID="27e63946-7179-4a60-bc3c-f2d5d0196d12" CreationDate="2012-04-24T01:10:25.570" UserId="3145" Text="Removal of Pops From Old Optical Tracks" ContentLicense="CC BY-SA 3.0" />
  <row Id="22567" PostHistoryTypeId="3" PostId="13665" RevisionGUID="27e63946-7179-4a60-bc3c-f2d5d0196d12" CreationDate="2012-04-24T01:10:25.570" UserId="3145" Text="&lt;noise-reduction&gt;&lt;snap-crackle-pop&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22568" PostHistoryTypeId="2" PostId="13666" RevisionGUID="a96eb414-e0c1-4052-9205-8a6a550e77e3" CreationDate="2012-04-24T01:28:01.803" UserId="3179" Text="iZotope RX 2, no doubt." ContentLicense="CC BY-SA 3.0" />
  <row Id="22569" PostHistoryTypeId="2" PostId="13667" RevisionGUID="7d6014fe-5d30-49a5-8d7c-a52be9540ef6" CreationDate="2012-04-24T02:51:52.633" UserId="194" Text="I'm a fan of the [Jez Riley French contact mics][1].  &#xD;&#xA;&#xD;&#xA;Here's a [blog post][2] I did recording some guy wires with them - epic!&#xD;&#xA;&#xD;&#xA;Here's [Tim Prebble's excellent tutorial][3] on contact mics.&#xD;&#xA;&#xD;&#xA;remember to match impedance or you'll lose all of your low end.  enjoy.&#xD;&#xA;&#xD;&#xA;  [1]: http://hydrophones.blogspot.com/&#xD;&#xA;  [2]: http://thesoundmyheadmakes.blogspot.com/2012/03/contact-mics-and-guy-wires.html&#xD;&#xA;  [3]: http://www.musicofsound.co.nz/blog/the-first-rule-of-contact-mic-club" ContentLicense="CC BY-SA 3.0" />
  <row Id="22570" PostHistoryTypeId="2" PostId="13668" RevisionGUID="a9135762-022e-4d4d-b464-be6fe5ce8b44" CreationDate="2012-04-24T03:44:40.823" UserId="6435" Text="Back when I was restoring old-time radio shows, we had a saying: &quot;sometimes the quickest and most effective noise reduction technique is ripple-delete.&quot; If it's an &quot;instantaneous&quot; sound, maybe you can just cut it out..." ContentLicense="CC BY-SA 3.0" />
  <row Id="22575" PostHistoryTypeId="2" PostId="13670" RevisionGUID="ece23312-ea30-4008-b218-b2ca69cefb98" CreationDate="2012-04-24T05:33:00.253" UserId="3275" Text="This is why you need to monitor with headphones while recording. Otherwise, it's like taking a picture without using the viewfinder..." ContentLicense="CC BY-SA 3.0" />
  <row Id="22576" PostHistoryTypeId="5" PostId="13660" RevisionGUID="5e32e386-76fc-4d37-a719-f476dbf45c8d" CreationDate="2012-04-24T05:54:19.703" UserId="930" Comment="added 3 characters in body" Text="There's a white paper here on the topic for more technical details: http://www.dolby.com/uploadedFiles/Assets/US/Doc/Professional/Dolby-Atmos-Next-Generation-Audio-for-Cinema.pdf&#xD;&#xA;&#xD;&#xA;My personal opinion? I think it will flop, at least to start with (although I hope it doesn't). I mean, most cinemas can't (or won't - you decide) even get 5.1 running correctly, let alone up to 64.1. The large cinema chains (at least here in the UK) seem to have a &quot;If it's broke, and no one can tell - no need to fix it&quot; kind of mentality which leads me to believe that the value they attribute to sound is low. To be honest, I don't exactly blame them. They're a business and if their consumers don't notice, then why spend the money?&#xD;&#xA;&#xD;&#xA;I think Dolby Atmos is a great idea, and I think it's good for Dolby to keep advancing the technology behind cinematic audio. However, I feel that their money/time would be spent better trying to get cinemas to correctly play back what we've currently got. The amount of times I've been to a cinema with sub-par audio is astonishing and a true evolution of cinema sound would be standardizing the quality of audio playback in cinemas, rather than the introduction of new playback systems (which probably won't be set up correctly anyway!)&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="22577" PostHistoryTypeId="2" PostId="13671" RevisionGUID="1751c1eb-696b-4902-b104-d859d7bdd6dd" CreationDate="2012-04-24T06:22:28.537" UserId="1246" Text="Of course this won't happen like: &quot;Great! Now we have Dolby Atmos in all theaters. And it is working 100% everywhere&quot;. &#xD;&#xA;But I really hope this will happen. It is great that Dolby is pushing audio industry ahead.&#xD;&#xA;We will never have a situation where all theaters are correctly working and calibrated. But that is not a reason to stop.&#xD;&#xA;&#xD;&#xA;I've been waiting a long time to get overhead monitors. And this system goes even beyond that. Absolutely great. Just hope that the cost of this system won't be too high so it won't kill itself.&#xD;&#xA;&#xD;&#xA;Bye / Tumppi" ContentLicense="CC BY-SA 3.0" />
  <row Id="22578" PostHistoryTypeId="2" PostId="13672" RevisionGUID="23661be6-b6a3-4f27-b343-ff71539079bf" CreationDate="2012-04-24T09:52:58.420" UserId="6432" Text="Have you tried ripping the DVD to see if it's actually on the disc? This would be the best way to determine if it's your equipment or not." ContentLicense="CC BY-SA 3.0" />
  <row Id="22579" PostHistoryTypeId="2" PostId="13673" RevisionGUID="83cd586f-118f-44a8-86e6-bdcc5af5079b" CreationDate="2012-04-24T09:56:16.173" UserId="1216" Text="Hi All,&#xD;&#xA;&#xD;&#xA;I already own a SQN4S-II with a PCM-D50, but would love to record 4 track.&#xD;&#xA;Right now I'm in the position of buying a second hand 744 for a reasonable price, including a MixPre and a CL1+MiniKeyboard. &#xD;&#xA;&#xD;&#xA;I was only looking for a 744t, so I was wondering if the MixPre is the best match for the SD? It's smaller and is from the same company, but wouldn't my SQN4 suffice?&#xD;&#xA;On the other hand, I could always sell the MixPre.&#xD;&#xA;&#xD;&#xA;@Tim Prebble: you combine a 302 with your 744, does this have advantages I'm not aware of?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22580" PostHistoryTypeId="1" PostId="13673" RevisionGUID="83cd586f-118f-44a8-86e6-bdcc5af5079b" CreationDate="2012-04-24T09:56:16.173" UserId="1216" Text="Buying advice: 744t with a mixpre or SQN4S-II ? " ContentLicense="CC BY-SA 3.0" />
  <row Id="22581" PostHistoryTypeId="3" PostId="13673" RevisionGUID="83cd586f-118f-44a8-86e6-bdcc5af5079b" CreationDate="2012-04-24T09:56:16.173" UserId="1216" Text="&lt;sound-devices&gt;&lt;purchase-advice&gt;&lt;744t&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22582" PostHistoryTypeId="2" PostId="13674" RevisionGUID="98343f52-b576-4725-ac3d-c5abe8fb9ca3" CreationDate="2012-04-24T10:17:12.937" UserId="1153" Text="I'm assuming you were using the Stereo mode - so only recording two channels at a time - which unfortunately means amador if the external XLR inputs were selected and no mics connected then the recording will be blank. There will be no way to recover it as there was no actual audio inputs and therefore no signal recorded onto the file. &#xD;&#xA;&#xD;&#xA;Headphones are definitely a must, even if they're just cheap ear buds so you can atleast check on some level what is being captured by the recorder.&#xD;&#xA;&#xD;&#xA;If you forget the headphones or for whatever reason don't have any or access to any, the H4n does have a speaker so you could always make a brief test recording then play it back via the internal speaker (situation allowing) just so you have some ability to post monitor the recording.&#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22583" PostHistoryTypeId="4" PostId="13673" RevisionGUID="6d912b6d-9a5d-4547-a5ca-b78a572da7cb" CreationDate="2012-04-24T10:39:37.970" UserId="1216" Comment="edited title" Text="Buying advice: 744t with a mixpre or a SQN4S-II as extra pre-amp ? " ContentLicense="CC BY-SA 3.0" />
  <row Id="22584" PostHistoryTypeId="2" PostId="13675" RevisionGUID="7d9c25ac-c993-41bc-92d4-a0af47a14c92" CreationDate="2012-04-24T11:18:17.950" UserId="3214" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm on a bit of a time constraint and really need the sound of a tv screen cracking- not from an impact hit but more similar to if it was under extreme heat or cold.&#xD;&#xA;&#xD;&#xA;Haven't been able to find anything at all- do you have something that might be able to help?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22585" PostHistoryTypeId="1" PostId="13675" RevisionGUID="7d9c25ac-c993-41bc-92d4-a0af47a14c92" CreationDate="2012-04-24T11:18:17.950" UserId="3214" Text="Request: Glass Cracking." ContentLicense="CC BY-SA 3.0" />
  <row Id="22586" PostHistoryTypeId="3" PostId="13675" RevisionGUID="7d9c25ac-c993-41bc-92d4-a0af47a14c92" CreationDate="2012-04-24T11:18:17.950" UserId="3214" Text="&lt;glass&gt;&lt;cracking&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22587" PostHistoryTypeId="2" PostId="13676" RevisionGUID="954301ce-a7b4-4886-ad84-60ccfbbbe78c" CreationDate="2012-04-24T11:41:50.300" UserId="793" Text="If you have time enough to freeze water in an ice cube tray, slowly cracking that might help you to the noise you are after. &#xD;&#xA;&#xD;&#xA;Failing that buy online somewhere like soundsnap, sounddogs, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="22588" PostHistoryTypeId="2" PostId="13677" RevisionGUID="330cda23-dca9-4e57-9eca-daaa6bd21dd1" CreationDate="2012-04-24T11:45:21.213" UserId="793" Text="iZotope RX 2, Wave Arts Master Restoration, or (if you have the budget) CEDAR CT16." ContentLicense="CC BY-SA 3.0" />
  <row Id="22589" PostHistoryTypeId="2" PostId="13678" RevisionGUID="4aef10cd-b972-4cfe-9862-c2b9b2ea629c" CreationDate="2012-04-24T11:59:06.597" UserId="3754" Text="Ive found that really close miking an empty egg shell can provide the crack 'attack' sound, and maybe mixing in some other glass sounds? Not perfect, but if you're stuck, good place to start." ContentLicense="CC BY-SA 3.0" />
  <row Id="22590" PostHistoryTypeId="2" PostId="13679" RevisionGUID="521325a6-9548-406d-bee6-fd47c7f42153" CreationDate="2012-04-24T12:26:00.897" UserId="62" Text="I'm quite surprised about the overhead speaker part actually. Partly as humans don't do up and down directional hearing very well at all and also because I heard Dolby had experimented with it over 10 years ago and didn't get very good feedback on the results.&#xD;&#xA;&#xD;&#xA;I agree with Fred that I'd rather they put more effort to ensuring cinemas replay the audio better in its current form. In fact I'd go a step further and say that I wish cinemas would start employing more well-trained projectionists and not have so much automation in the projection room." ContentLicense="CC BY-SA 3.0" />
  <row Id="22591" PostHistoryTypeId="2" PostId="13680" RevisionGUID="1e6d5c9f-2560-4fdf-a298-6bb6874b3451" CreationDate="2012-04-24T12:30:25.830" UserId="62" Text="I've done a lot of work in animation. As a rough guide I would say that a 12 minute episode (assuming a common delivery of 52x12 min episodes) that you would need 3 days tracklay and 1/2 day to mix. That's also presuming a fairly involved tracklay with little foley and most sounds from libraries.&#xD;&#xA;&#xD;&#xA;Make sure that you budget time to create all the delivery stems (M&amp;Es etc) and even possible international conversions (PAL - NTSC - 24p).&#xD;&#xA;&#xD;&#xA;Donal - please feel free to email me if you want to chat about any specifics. Done a lot of this sort of work in Ireland/UK. ianjpalmer (at) yahoo.co.uk" ContentLicense="CC BY-SA 3.0" />
  <row Id="22592" PostHistoryTypeId="2" PostId="13681" RevisionGUID="f871e086-8544-4094-8fad-304e48cd1321" CreationDate="2012-04-24T14:34:24.057" UserId="3444" Text="I've noticed this as well in certain films, big and small budget. Generally seems to only happen when dialogue is played, which leads me to believe it is from the location sound. I've even once noticed it only for one actors dialogue. Seems like it would be easy to filter out with a narrow band eq or a noise remover plugin. Then again if your hearing doesn't exceed 12K, you're not getting that information." ContentLicense="CC BY-SA 3.0" />
  <row Id="22593" PostHistoryTypeId="2" PostId="13682" RevisionGUID="b6681e06-d16b-4e44-b939-491c4dfc7e65" CreationDate="2012-04-24T15:07:09.260" UserId="6519" Text="Hi Dominic, check my sounds.&#xD;&#xA;I Think helpful.&#xD;&#xA;&#xD;&#xA;[Glass sounds][1]&#xD;&#xA;&#xD;&#xA;[Ice creak][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pond5.com/sound-effects/1/membrans-glass.html&#xD;&#xA;  [2]: http://www.pond5.com/sound-effects/1/membrans-ice-creak.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="22594" PostHistoryTypeId="5" PostId="13664" RevisionGUID="b4484528-1de3-48d4-849b-2b002645fd4d" CreationDate="2012-04-24T16:42:36.967" UserId="315" Comment="added 2 characters in body" Text="Most contact mic recordings I've made (or heard) have very little information, if any, going on at 18kHz. Attached to many materials like metal, wood, or glass, you'd be lucky to get a ton of information above 5kHz in a recording. &#xD;&#xA;&#xD;&#xA;If you are looking at doing some extreme pitch shifting, you are better off using a high-frequency response condenser mic, or a contact mic along side a condenser mic. Of course, contact mics by there very nature, can make objects sound larger without any pitch shifting.&#xD;&#xA;&#xD;&#xA;If you're going to record a golf club hitting a ball. I'd suggesting mounting the mic not on the head, but further down the shaft of the club. It will give the vibrations in the club further distance to travel...making for a more interesting recording.&#xD;&#xA;&#xD;&#xA;Some other options to consider:&#xD;&#xA;&#xD;&#xA; - Barcus Berry Planar Wave&#xD;&#xA; - Trance Audio Inducer&#xD;&#xA; - Schertler&#xD;&#xA; - Cold Gold&#xD;&#xA; - C-Ducer&#xD;&#xA; - Building Your Own piezo (it's not that difficult if you're handy with electronics)&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="22595" PostHistoryTypeId="2" PostId="13683" RevisionGUID="15974d60-b142-47b2-a907-bb9a237a6934" CreationDate="2012-04-24T16:55:53.213" UserId="3802" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I hope someone can help.&#xD;&#xA;&#xD;&#xA;I have been kindly given a sound effects library containing 20,000 plus sounds.&#xD;&#xA;&#xD;&#xA;The thing is, the sounds are indexed by reference of numbers; rather than naming each sound.&#xD;&#xA;&#xD;&#xA;I have made enquiries about how best to access these sounds without having to actually play each sound effect to find out what they are.&#xD;&#xA;&#xD;&#xA;It has been mentioned that there is some sort of database software out there that would organise and name the individual sound effects allowing easy access to each sound, but no one seems to recall the name of the software.&#xD;&#xA;&#xD;&#xA;Can any body help with any pointers please.&#xD;&#xA;&#xD;&#xA;Many thanks in advance.&#xD;&#xA;&#xD;&#xA;Asteriks" ContentLicense="CC BY-SA 3.0" />
  <row Id="22596" PostHistoryTypeId="1" PostId="13683" RevisionGUID="15974d60-b142-47b2-a907-bb9a237a6934" CreationDate="2012-04-24T16:55:53.213" UserId="3802" Text="Sound Library Management" ContentLicense="CC BY-SA 3.0" />
  <row Id="22597" PostHistoryTypeId="3" PostId="13683" RevisionGUID="15974d60-b142-47b2-a907-bb9a237a6934" CreationDate="2012-04-24T16:55:53.213" UserId="3802" Text="&lt;effects&gt;&lt;library&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22598" PostHistoryTypeId="2" PostId="13684" RevisionGUID="76e0b8ed-759e-4bf9-bb35-92b28363b8a2" CreationDate="2012-04-24T18:06:17.657" UserId="2906" Text="have you thought about doing one yourself? It's so easy and inexpensive! http://maaheli.ee/main/archives/932" ContentLicense="CC BY-SA 3.0" />
  <row Id="22599" PostHistoryTypeId="2" PostId="13685" RevisionGUID="b725fb94-ff50-43c0-8cda-7b9b048ab83c" CreationDate="2012-04-24T21:27:25.167" UserId="3803" Text="hello,&#xD;&#xA;&#xD;&#xA;im looking to use a vocoder to create a monster/demonic vocal. I have sampled the sound of a roaring fire and im looking to place a vocoder on the track, modulating it with my voice so the vocal articulates the fire sample, much in the same vein as this video : http://www.youtube.com/watch?v=d1Z_Rop_iGk&#xD;&#xA;&#xD;&#xA;Now im using Logic and Ableton. I know how to set it up, but im having difficulty minimising the filtered vocoding effect. It sounds like its being played underwater and doesnt sound clean and i was wondering if anyone has any advice? &#xD;&#xA;&#xD;&#xA;many thanks&#xD;&#xA;&#xD;&#xA;Tom&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22600" PostHistoryTypeId="1" PostId="13685" RevisionGUID="b725fb94-ff50-43c0-8cda-7b9b048ab83c" CreationDate="2012-04-24T21:27:25.167" UserId="3803" Text="Vocoder-Modulating carrier without vocoding it" ContentLicense="CC BY-SA 3.0" />
  <row Id="22601" PostHistoryTypeId="3" PostId="13685" RevisionGUID="b725fb94-ff50-43c0-8cda-7b9b048ab83c" CreationDate="2012-04-24T21:27:25.167" UserId="3803" Text="&lt;vocoder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22602" PostHistoryTypeId="2" PostId="13686" RevisionGUID="df5fde1b-f420-414e-af70-946bd7cb2bdc" CreationDate="2012-04-24T22:42:55.540" UserId="3230" Text="Curious....  I am about to start a project for a remote client (I'm in Minneapolis, they're in California).  This, admittedly, is one of my first contracts that will have no &quot;personal&quot; contact.  All communication, data management, file transfers, submissions, etc, will be through the cloud.&#xD;&#xA;&#xD;&#xA;What are some of the best ways to share and exchange &quot;status&quot; mixes with such a remote client?  I'm familiar with some....private SoundCloud links, Dropbox, etc...  What do you use? Why do you like it?&#xD;&#xA;&#xD;&#xA;Additionally, what do you do to protect your work?  Obviously, you wouldn't send a full rez deliverable until any back-end is paid....I plan to send them mp3s or some other means of a &quot;hearable&quot; but unusable mix.  (The client can hear everything well enough to approve or revise, but can't necessarily put it to use ....until I'm paid and I send them the final product.)  I have brainstormed on using alternate methods to protect these &quot;status&quot; mixes (like inserting a sample-length beep every 20 seconds and the like), but I would love to hear what each of you actually do?  What is practical for your workflow?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If it helps, the project is a 30 minute documentary.  Deliverable is a single, full-length stereo mix of original music." ContentLicense="CC BY-SA 3.0" />
  <row Id="22603" PostHistoryTypeId="1" PostId="13686" RevisionGUID="df5fde1b-f420-414e-af70-946bd7cb2bdc" CreationDate="2012-04-24T22:42:55.540" UserId="3230" Text="Workflow for exchanging &quot;temp mixes&quot; remotely." ContentLicense="CC BY-SA 3.0" />
  <row Id="22604" PostHistoryTypeId="3" PostId="13686" RevisionGUID="df5fde1b-f420-414e-af70-946bd7cb2bdc" CreationDate="2012-04-24T22:42:55.540" UserId="3230" Text="&lt;music&gt;&lt;workflow&gt;&lt;remote&gt;&lt;clients&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22605" PostHistoryTypeId="2" PostId="13687" RevisionGUID="ae9f5d55-b1cf-4aea-befb-dd5291896a0c" CreationDate="2012-04-24T22:48:52.197" UserId="6432" Text="Hi Tom,&#xD;&#xA;&#xD;&#xA;Remember that vocoders work in the frequency domain. What you are doing is passing one sound through the spectral envelope of another. If you like, think of the carrier spectrum as a sieve which the modulator passes through. If you try to pass a sound which is only low frequency energy through one which is only high frequency energy, then you get nothing. EQ the result can't help because there is nothing there to boost. &#xD;&#xA;&#xD;&#xA;Part of the problem is that the sound which you have picked probably does not have many frequencies which match your voice, but also the dominant frequencies in fires are like noise - no strong, continuous partials, and this is adding to the problem. &#xD;&#xA;&#xD;&#xA;It's worth playing around with pitch-shifting and equalising both signals so they work together, but probably you need to pick another sound. Have you tried animal type sound like in the video?&#xD;&#xA;&#xD;&#xA;Mark" ContentLicense="CC BY-SA 3.0" />
  <row Id="22606" PostHistoryTypeId="2" PostId="13688" RevisionGUID="4164f966-b129-4015-8f0b-a573329d08fa" CreationDate="2012-04-25T03:54:19.157" UserId="6499" Text="Umm yeah, So I watched this video which was linked from JW sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=yitJOeFkscc&amp;feature=player_embedded&#xD;&#xA;&#xD;&#xA;Very New, Just came out.  But um Wow.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22607" PostHistoryTypeId="1" PostId="13688" RevisionGUID="4164f966-b129-4015-8f0b-a573329d08fa" CreationDate="2012-04-25T03:54:19.157" UserId="6499" Text="De-Reverberator" ContentLicense="CC BY-SA 3.0" />
  <row Id="22608" PostHistoryTypeId="3" PostId="13688" RevisionGUID="4164f966-b129-4015-8f0b-a573329d08fa" CreationDate="2012-04-25T03:54:19.157" UserId="6499" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22609" PostHistoryTypeId="2" PostId="13689" RevisionGUID="d48db68c-fc59-4ee0-8dd6-994eb38302f0" CreationDate="2012-04-25T04:54:06.063" UserId="1246" Text="Wow.. indeed...&#xD;&#xA;&#xD;&#xA;Bye / Tumppi" ContentLicense="CC BY-SA 3.0" />
  <row Id="22610" PostHistoryTypeId="2" PostId="13690" RevisionGUID="fa5904ff-8b00-4d3a-83c2-29caac57d71d" CreationDate="2012-04-25T06:12:30.590" UserId="18" Text="This topic has been discussed before.  Search the site and you should find discussions about various database apps." ContentLicense="CC BY-SA 3.0" />
  <row Id="22611" PostHistoryTypeId="2" PostId="13691" RevisionGUID="bfff44b6-7d58-43a1-860a-96de7b515a58" CreationDate="2012-04-25T07:52:50.580" UserId="1145" Text="AAX version please" ContentLicense="CC BY-SA 3.0" />
  <row Id="22612" PostHistoryTypeId="2" PostId="13692" RevisionGUID="9210cc8a-ecef-4c0c-b523-97cf38422ddb" CreationDate="2012-04-25T07:56:58.040" UserId="221" Text="With no personal contact are you confident they are legit and will pay you? You could end up doing loads of work and they don't pay you. Although we can put safeguards in place this business is about personal relationships and trust.  So I would make sure you have safeguards in place, get contracts signed, do some research into the company and make sure they don't have a trail of bad debt etc.&#xD;&#xA;&#xD;&#xA;As to the practical side of your question.&#xD;&#xA;&#xD;&#xA;You can use Dropbox for dropping approval mixes and yes you can use mp3s, but be aware that some of the balance and image detail won't be the same in an mp3. I haven't heard of people using spoilers, but simple tone spoilers can be easily EQed out anyway. I would suggest if you feel you need to use spoilers then you need to ask yourself if you really want to work with this outfit.&#xD;&#xA;&#xD;&#xA;Another option for sharing content is Gobbler, you can get the client to sign up for a free account and then you can share mixes etc via the Gobbler network securely because both parties have to have accounts and sign in.  You can use Gobbler like Dropbox with public links but that isn't so secure." ContentLicense="CC BY-SA 3.0" />
  <row Id="22613" PostHistoryTypeId="2" PostId="13693" RevisionGUID="cf3999c6-aa44-49dd-bbb9-5f51f7b3551e" CreationDate="2012-04-25T08:30:24.697" UserId="3162" Text="&#xD;&#xA;Hey,&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It is devinitely either:&#xD;&#xA;&#xD;&#xA;- week RF transmission =&gt; change freq and try again&#xD;&#xA;&#xD;&#xA;- low batteries (seriously) =&gt; change :-)&#xD;&#xA;&#xD;&#xA;Each system behaves differently. So what hardware do You use?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22614" PostHistoryTypeId="2" PostId="13694" RevisionGUID="50cbf6ad-7069-4270-b08c-ad567be6ce02" CreationDate="2012-04-25T09:09:23.163" UserId="3519" Text="I have been trying the demo version and it's quite amazing.&#xD;&#xA; &#xD;&#xA;You need to play around with the controls to get a natural dry sound but sometimes sounds like magic.&#xD;&#xA;&#xD;&#xA;Next week I have to work in a quite reverberated scene where I'm going to put it to test.&#xD;&#xA;We'll see!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22615" PostHistoryTypeId="2" PostId="13695" RevisionGUID="a1a1e4dc-084b-4728-b3d7-c603130d1aa3" CreationDate="2012-04-25T09:35:56.627" UserId="6432" Text="Looks fantastic.&#xD;&#xA;&#xD;&#xA;Shame the full price is going to be €399. There's been a bit of a precedent set that plugins aimed at post are very expensive. It's unfortunate. &#xD;&#xA;&#xD;&#xA;Would they sell twice as many at €199? Maybe.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22616" PostHistoryTypeId="2" PostId="13696" RevisionGUID="f9e3c267-d924-4b6c-ade5-bd0c10420146" CreationDate="2012-04-25T09:56:22.453" UserId="3804" Text="thanks for the reply. I have tried using animal sounds, now with waves morphoder.Now morphoder appears to be perfect as it offers a mixer section allowing me to bypass the filter and morph the carrier and modifier signal, however the morphoder's sidechain input doesnt seem to act like a traditional sidechain (i.e, the signal for carrier is heard even when modifier isnt playing) " ContentLicense="CC BY-SA 3.0" />
  <row Id="22617" PostHistoryTypeId="2" PostId="13697" RevisionGUID="ac732c44-d605-4652-bfab-8af42321e31d" CreationDate="2012-04-25T10:29:17.420" UserId="6407" Text="Looks unbelievable! Pricey, but there is nothing else like it no?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22618" PostHistoryTypeId="2" PostId="13698" RevisionGUID="b9c82917-8803-4681-9b30-c1b0edc6e5ba" CreationDate="2012-04-25T11:34:58.183" UserId="3805" Text="What’s the best way to keep your DAW separate to your internet/ email PC etc.&#xD;&#xA;I want to keep it completely off the DAW but how do I do software updates and more importantly &#xD;&#xA;what’s the best way to receive files like OMF’S and send files to clients between your DAW and internet connected PC?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22619" PostHistoryTypeId="1" PostId="13698" RevisionGUID="b9c82917-8803-4681-9b30-c1b0edc6e5ba" CreationDate="2012-04-25T11:34:58.183" UserId="3805" Text="Keeping DAW separate to your internet PC" ContentLicense="CC BY-SA 3.0" />
  <row Id="22620" PostHistoryTypeId="3" PostId="13698" RevisionGUID="b9c82917-8803-4681-9b30-c1b0edc6e5ba" CreationDate="2012-04-25T11:34:58.183" UserId="3805" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22621" PostHistoryTypeId="2" PostId="13699" RevisionGUID="6b7054bd-c405-461b-b302-f85f9ca7f43a" CreationDate="2012-04-25T11:51:43.810" UserId="432" Text="Mike mentions some good options for you, as well as giving you some good things to watch out for on the financial/legal side. Getting them to pay a deposit might be a good idea.&#xD;&#xA;&#xD;&#xA;I've worked this way with a few trusted clients with increasing regularity. Typically, I'll upload review mixes to my webpage server and provide a password protected download link. So, that's not **that** far out from the Gobbler/Dropbox work-flow. The only thing I'll add is that it's important to have some real-time contact when reviewing notes. Getting an e-mail from your client with a list of change requests is helpful (easy to keep track of what you need to fix), but getting them on the phone or Skype is as well is extremely important. Talk over their notes (and yours, if you've identified other elements yourself) to make sure that you're both on the same page. It's not as fast as having the person in the room with you, but it will reduce the number of revisions you have to do and speed up the post-process as a whole." ContentLicense="CC BY-SA 3.0" />
  <row Id="22622" PostHistoryTypeId="2" PostId="13700" RevisionGUID="5dca8f44-af78-42fd-9b69-50ba81c45fc1" CreationDate="2012-04-25T11:58:25.017" UserId="432" Text="This isn't the first product to do this on the market. Check out [De-Verb by SPL][1]. User interface is far more minimalist, and it probably has less in the way of fine tuning controls...but it's significantly cheaper.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://spl.info/software/microplugs/de-verb.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="22623" PostHistoryTypeId="2" PostId="13701" RevisionGUID="60101411-2f85-472e-95d6-c013bbe21b7e" CreationDate="2012-04-25T13:16:00.763" UserId="3213" Text="There is no productive way to keep the DAW away from internet.&#xD;&#xA;&#xD;&#xA;I have 2 OS installed, both on a separate harddrive: 1 for Audio and 1 for everything else. But both systems are connected to the internet. The Audio system only by activating WLAN, but it is connected (and has to be).&#xD;&#xA;&#xD;&#xA;By the way, i use Mac OS X and Carbon Copy Cloner, in case of software trouble it just needs 28 minutes to a fresh installed, perfectly running Audio System (but it takes some time to keep the images updated and tested)." ContentLicense="CC BY-SA 3.0" />
  <row Id="22624" PostHistoryTypeId="2" PostId="13702" RevisionGUID="56f26c24-c04e-4f3b-ae61-b3686119491e" CreationDate="2012-04-25T13:30:02.917" UserId="208" Text="Hi all&#xD;&#xA;Had to learn it the hard way yesterday.&#xD;&#xA;Ready to record, and the 702, just wouldnt power up. Had a fresh batt in it.&#xD;&#xA;Went home put in the ac, pulled the ac, and everything works again, even when power back on and off several times.&#xD;&#xA;Today i tried to reproduce the problem, and only needed 1 try. Same problem again, and same way of treating it.&#xD;&#xA;&#xD;&#xA;Any os you know what this could be or, have heard of it before?&#xD;&#xA;The dealer told me I should put away somewhere in the region of $300-400 to get it checked.&#xD;&#xA;&#xD;&#xA;Thanks alot.&#xD;&#xA;&#xD;&#xA;Best wishes&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="22625" PostHistoryTypeId="1" PostId="13702" RevisionGUID="56f26c24-c04e-4f3b-ae61-b3686119491e" CreationDate="2012-04-25T13:30:02.917" UserId="208" Text="sounddevices 702, power up problems" ContentLicense="CC BY-SA 3.0" />
  <row Id="22626" PostHistoryTypeId="3" PostId="13702" RevisionGUID="56f26c24-c04e-4f3b-ae61-b3686119491e" CreationDate="2012-04-25T13:30:02.917" UserId="208" Text="&lt;702&gt;&lt;powering&gt;&lt;problem&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22627" PostHistoryTypeId="2" PostId="13703" RevisionGUID="d759fa29-1042-49a6-93f7-b91d77d3e335" CreationDate="2012-04-25T15:11:54.870" UserId="234" Text="Also try using the fire as an impulse in your favourite Convolution Reverb (Space Designer in Logic can do this)... by playing with the Decay, EQ and mix settings you may get closer to what you're looking for." ContentLicense="CC BY-SA 3.0" />
  <row Id="22628" PostHistoryTypeId="2" PostId="13704" RevisionGUID="f25a2d12-09bd-4961-bb36-20dd345e443e" CreationDate="2012-04-25T16:29:12.277" UserId="6460" Text="One thing to consider is whether the listener needs to hear fire or needs to THINK that he/she is hearing fire. My suggestion is to build a complexly layered sound that is reminiscent of a roaring blaze (perhaps a sample of a forest fire or a molten steel mill), and add something with a voice-like tone to it as Mark said. Vocode THAT combination. Once that's done, instead of using a vocoder on the crackling flame effect, use a gate and send the voice track into the sidechain of the gate. The end result, with a little TLC, should be a well-vocoded roar with a crackling element that pumps up and down along with the voice.&#xD;&#xA;&#xD;&#xA;Happy mixing!&#xD;&#xA;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="22629" PostHistoryTypeId="2" PostId="13705" RevisionGUID="3ba66755-93b4-490a-aa91-5fb25cd7d646" CreationDate="2012-04-25T16:55:27.093" UserId="565" Text="I had the same issue with our 722 last year.  After sending it back to Sound Devices, this is what they found:&#xD;&#xA;&#xD;&#xA;*&quot;The technician working on this unit has determined the fault lies in a A Ball Grid Array FPGA. Sound Devices does not have the facilities to reliably replace this component. I have confirmed the fault.&#xD;&#xA;Cooling this component allowed the unit to power up. The unit remained operational over the weekend and has now powered on after being powered down for three days.&#xD;&#xA;As this was not a technical repair, we must assume the fault may return at some time in the future. This leads me to recommend the option of replacing the main board set with a new production set. The new set carries a one year warranty against manufacture defect.&#xD;&#xA;Additional replacement of the CH1 input XLR connector (insert pushed in, separated from the body) and Headphone Volume Potentiometer  (left side scratchy) are recommended.&#xD;&#xA;As the unit requires hardware updates to bring it to the V2.0 level, these updates will be applied at no charge and flat rate labor charge will not apply.&#xD;&#xA;Should you choose not to proceed with installation of the new boards set, we can, if you wish, continue with the updates and XLR and HP pot repairs with parts charges only.  Or we can return the recorder in its current state.&#xD;&#xA;Of course the unit would not be warranted for the FPGA issue should it arise again.&quot;&#xD;&#xA;PN 1605 - 722 Tested PCB Assembly US$836.42&#xD;&#xA;PN 113 - XLRF connector US$3.84&#xD;&#xA;PN 3425 - Potentiometer US$0.96*&#xD;&#xA;&#xD;&#xA;We decided to have it repaired. &#xD;&#xA;&#xD;&#xA;Now I'm not sure that this is the problem that you are facing, but just letting you know what you could potentially be in for." ContentLicense="CC BY-SA 3.0" />
  <row Id="22630" PostHistoryTypeId="5" PostId="13705" RevisionGUID="656c4621-7ff3-4349-abf6-673e2728ed17" CreationDate="2012-04-25T17:05:35.237" UserId="565" Comment="added 4 characters in body" Text="I had the same issue with our 722 last year.  After sending it back to Sound Devices, this is what they found:&#xD;&#xA;&#xD;&#xA;*&quot;The technician working on this unit has determined the fault lies in a A Ball Grid Array FPGA. Sound Devices does not have the facilities to reliably replace this component. I have confirmed the fault.&#xD;&#xA;Cooling this component allowed the unit to power up. The unit remained operational over the weekend and has now powered on after being powered down for three days.&#xD;&#xA;As this was not a technical repair, we must assume the fault may return at some time in the future. This leads me to recommend the option of replacing the main board set with a new production set. The new set carries a one year warranty against manufacture defect.&#xD;&#xA;Additional replacement of the CH1 input XLR connector (insert pushed in, separated from the body) and Headphone Volume Potentiometer  (left side scratchy) are recommended.&#xD;&#xA;As the unit requires hardware updates to bring it to the V2.0 level, these updates will be applied at no charge and flat rate labor charge will not apply.&#xD;&#xA;Should you choose not to proceed with installation of the new boards set, we can, if you wish, continue with the updates and XLR and HP pot repairs with parts charges only.  Or we can return the recorder in its current state.&#xD;&#xA;Of course the unit would not be warranted for the FPGA issue should it arise again.&quot;&#xD;&#xA;**PN 1605 - 722 Tested PCB Assembly US$836.42&#xD;&#xA;PN 113 - XLRF connector US$3.84&#xD;&#xA;PN 3425 - Potentiometer US$0.96***&#xD;&#xA;&#xD;&#xA;We decided to have it repaired. &#xD;&#xA;&#xD;&#xA;Now I'm not sure that this is the problem that you are facing, but just letting you know what you could potentially be in for." ContentLicense="CC BY-SA 3.0" />
  <row Id="22631" PostHistoryTypeId="2" PostId="13706" RevisionGUID="d66a7326-7ad7-46a8-b1e5-2b5c57673f2c" CreationDate="2012-04-25T17:37:04.693" UserId="6460" Text="The pumping that you hear is probably the &quot;Squelch&quot; function engaging in the wireless system. This is basically a noise gate for RF transmission that cuts out the signal every time the signal gets too weak. The system could also have a built-in audio noise gate that is causing the noise to pump. Like Larry said, a better RF signal will help. &#xD;&#xA;&#xD;&#xA;If you have the ability, you might try to connect the mic directly to the camera and bypass the wireless system to test if the mic is adding significantly to the noise.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="22632" PostHistoryTypeId="2" PostId="13707" RevisionGUID="068f27e0-df36-4915-adac-e9c54a33954c" CreationDate="2012-04-25T21:47:32.887" UserId="3162" Text="matt, totally true,&#xD;&#xA;but&#xD;&#xA;&#xD;&#xA;squelch can sound differently especially on sennheiser systems.&#xD;&#xA;there might have been interference due to very close freq usage of a different system.&#xD;&#xA;or&#xD;&#xA;if it was an audio ltd. system, then it was the low battery....&#xD;&#xA;&#xD;&#xA;So what system was it, disco king?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22633" PostHistoryTypeId="2" PostId="13708" RevisionGUID="9f0052be-64ec-42ca-9ea1-4cf2076f4e5f" CreationDate="2012-04-25T22:59:55.430" UserId="3444" Text="Both my work and home DAW's are connected to the internet and have had zero issues, to be honest it speeds up my workflow. If I need an update or a specific application, plugin, etc I just download and install. As Nils points out I think the important part is backing up all your work and constantly mirroring your OS to insure no time lost if something does happen. Good luck! " ContentLicense="CC BY-SA 3.0" />
  <row Id="22634" PostHistoryTypeId="2" PostId="13709" RevisionGUID="6dcc5c3e-7c1f-4b9c-b481-e935adfb3715" CreationDate="2012-04-26T06:18:21.857" UserId="3093" Text="Well..you can just keep airport -or similar in other OS- deactivated and activate it when you believe its time for an update?. Safer yet, you could keep airport forever off, and utilize an ethernet cable to connect, again, only when you believe necessary.&#xD;&#xA;&#xD;&#xA;You can also connect both computers with an ethernet cable, and they can share files between them.&#xD;&#xA;&#xD;&#xA;Usb?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22635" PostHistoryTypeId="2" PostId="13710" RevisionGUID="b58d774d-dfb7-467a-ae3d-db6fae8a7a77" CreationDate="2012-04-26T06:27:35.123" UserId="3093" Text="Answers before mine are awesome! anyways, after reading them I thought of something... you could upload the scene to a vimeo account, make the video private and &quot;invite&quot; or somthing similar your client, so he/she can see the video. If I am not wrong, you can't download videos from vimeo, so they would have no way of actually managing your data until they pay you, and then you can send them the tracks! Just a thought, never done this so I don't know how would it work.&#xD;&#xA;&#xD;&#xA;PS: if you don't mind, keep us informed how your project goes later on:)! and how you managed the long-distance relationship. It would be greatly appreciated!&#xD;&#xA;&#xD;&#xA;Salut" ContentLicense="CC BY-SA 3.0" />
  <row Id="22636" PostHistoryTypeId="2" PostId="13711" RevisionGUID="a3dfbe77-32bc-4ac9-b90d-6875211ec3bc" CreationDate="2012-04-26T06:31:08.490" UserId="3093" Text="http://socialsounddesign.com/questions/7043/the-specifics-of-meta-data&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22637" PostHistoryTypeId="2" PostId="13712" RevisionGUID="3d95f14a-2a2c-48dd-8bb3-afa24b2c32be" CreationDate="2012-04-26T08:15:03.763" UserId="3804" Text="thanks for all the advice, its coming along nicely, i'll post the finished clips when they're done. &#xD;&#xA;&#xD;&#xA;One more question. The gating effect is brilliant, but is there a wya of having the flames work as an reverse de esser. I.e they are only audible for sibilant sounds? IS it simply using an eq before the noise gate to cancel out unrelated frequencies?&#xD;&#xA;&#xD;&#xA;Tom" ContentLicense="CC BY-SA 3.0" />
  <row Id="22638" PostHistoryTypeId="2" PostId="13713" RevisionGUID="3227fb01-d4d2-4355-a583-57357f066a1e" CreationDate="2012-04-26T08:25:42.867" UserId="3162" Text="&#xD;&#xA;&#xD;&#xA;Happened to me due to faulty contacts of battery or the 702´s battery connection.&#xD;&#xA;Even when it works for sometimes...&#xD;&#xA;Try different packs.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22643" PostHistoryTypeId="2" PostId="13716" RevisionGUID="ec2f07af-4543-4347-aa91-636d7305a21f" CreationDate="2012-04-26T14:49:45.063" UserId="593" Text="It's a matter of taste really both aesthetically and intellectually as well as the types of recording setups you plan to use. Using the awesome SQN preamps is absolutely fine. However one advantage with the MixPre is that its preamps matches the ones on the 744t's ch 1 and 2. Say that you want to record a nice quad ambiance with 4 identical mics, then ch 3 and 4 will likely have a differently &quot;coloured&quot; sound (frequency nuances + hiss level) compared to ch 1 and 2.&#xD;&#xA;&#xD;&#xA;So in short - without going into different mic types and positioning you should try the setups out with your ears and choose which you like most. And if budget allows it a MixPre is never a bad thing to have laying around it could be used as a new front end to the D50, which is a sweet portable stealth setup." ContentLicense="CC BY-SA 3.0" />
  <row Id="22644" PostHistoryTypeId="2" PostId="13717" RevisionGUID="ad3da9b8-4294-439f-94a2-305d7a1817c6" CreationDate="2012-04-26T17:55:42.977" UserId="6432" Text="I'm curious as to how scientific your understanding of acoustics is and how often you draw on this knowledge when designing sounds, editing or mixing. What do you get your calculator out for, and what do you leave down to artistic license?  Did anyone here study acoustics and then go on to become sound designers?&#xD;&#xA;&#xD;&#xA;I've been reading Andy Farnell's book [Designing Sound][1] for some time now, and find his analysis of how and why different sounds are produced is proving to be as fascinating as the PD patches. Does anyone know of any other good resources on acoustics which are easy to digest (ie, more about general principles rather than serious maths).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://aspress.co.uk/ds/about_book.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="22645" PostHistoryTypeId="1" PostId="13717" RevisionGUID="ad3da9b8-4294-439f-94a2-305d7a1817c6" CreationDate="2012-04-26T17:55:42.977" UserId="6432" Text="How good is your knowledge of acoustics, and how does this affect your sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22646" PostHistoryTypeId="3" PostId="13717" RevisionGUID="ad3da9b8-4294-439f-94a2-305d7a1817c6" CreationDate="2012-04-26T17:55:42.977" UserId="6432" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22648" PostHistoryTypeId="2" PostId="13719" RevisionGUID="7b1af389-c9b4-479c-8d29-55534fd3bdd7" CreationDate="2012-04-26T19:12:14.623" UserId="3752" Text="I'm happy to tell you that I talked to Cockos and got a Reaper classroom licenses for the sound design course. Just minutes ago I connected the school with Cockos to finish the deal. I might be back to recap the result.&#xD;&#xA;&#xD;&#xA;Thanks again to everyone that responded with suggestions!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22649" PostHistoryTypeId="2" PostId="13720" RevisionGUID="6b862cb4-ab55-4a5f-b317-b8980b7918dc" CreationDate="2012-04-26T19:15:15.590" UserId="3532" Text="I think the knowledge of acoustics is something that grows with me every day just through listening to the world.  Of course if I didn't know the basics then it would mean I'm not a sound engineer." ContentLicense="CC BY-SA 3.0" />
  <row Id="22651" PostHistoryTypeId="6" PostId="13531" RevisionGUID="7a2b84cc-b3a4-4b81-b138-56e8b17ad05c" CreationDate="2012-04-26T20:32:52.920" UserId="3752" Comment="edited tags; edited tags" Text="&lt;video-games&gt;&lt;software&gt;&lt;student&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22652" PostHistoryTypeId="2" PostId="13721" RevisionGUID="0d2fcb1d-c24d-4e17-8988-4fa7598fc516" CreationDate="2012-04-26T22:53:19.583" UserId="132" Text="The pre-amps on the mix-pre are close, but they are not the same. I actually prefer them to the 7-Series recorders. They feature lundahl input transformers and the mix-pre also has an optical limiter which is quite nice. I can't say that I'm a huge fan of the 7-series limiters. They do the job, but the mix-pre's limiter is quite warm adds a mid-range creamy-ness to things. I don't think you'll run into any hiss issues with the mix-pre, it is also a damn quiet unit. And don't confuse the mix-pre and mix-pre-d. The mix-pre-d is a totally different unit and not an improvement in my opinion.&#xD;&#xA;&#xD;&#xA;I would say play around with the tools you have. All of them will come in handy. I would also not sell the mix-pre. It is a great compact unit that sadly has been discontinued. In its place is something inferior.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22653" PostHistoryTypeId="2" PostId="13722" RevisionGUID="707ac75e-9414-4525-b5cb-b574f6be3955" CreationDate="2012-04-27T00:03:09.417" UserId="3809" Text="*Sonic Experience: A Guide to Everyday Sounds* by Jean-Francois Augoyard and Henri Torgue is an excellent book that explains many sonic experiences and acoustic phenomena by going into the philosophy, aesthetics, cultural context, and psychoacoustics of sound without going into too much detail about the physics or math. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22654" PostHistoryTypeId="2" PostId="13723" RevisionGUID="86cfc99d-121a-4230-ae95-5096d63dfecf" CreationDate="2012-04-27T16:57:25.837" UserId="1106" Text="Excellent job! I've been playing a fair bit of tribes and the sound is perfect. How did you go about creating the laser gun sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22655" PostHistoryTypeId="2" PostId="13724" RevisionGUID="4c287f41-3e8b-4d61-89e7-b74dc898b8ce" CreationDate="2012-04-27T18:05:04.893" UserId="1011" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I'm considering recording US election sound effects this fall.  I heard that there were some great reactions after the 2008 elections and would love to record those sort of sounds.&#xD;&#xA;&#xD;&#xA;I want to capture the general experience via sound before, during and after the election.&#xD;&#xA;&#xD;&#xA;My idea is to record at polling stations and galas, catch chatter, reactions afterwards, etc.  Basically the spirit and the hopes and disappointments.&#xD;&#xA;&#xD;&#xA;Since I'm not American, I'm wondering if any of you have suggestions.&#xD;&#xA;&#xD;&#xA;Beyond crowds, reactions, etc., any ideas what to record?&#xD;&#xA;&#xD;&#xA;Where should I be?  Outside the White House?  Are there particular Democratic or Republican strongholds?  Is it best to hang around the Democratic or Republican headquarters in Washington?  Since we don't know who will win I'm thinking the best location would have potential for both Republican and Democratic enthusiastic crowds.&#xD;&#xA;&#xD;&#xA;I'm open to travelling anywhere in the US, so location doesn't matter.&#xD;&#xA;&#xD;&#xA;Any ideas or suggestions are appreciated.&#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;&#xD;&#xA;Paul Virostek" ContentLicense="CC BY-SA 3.0" />
  <row Id="22656" PostHistoryTypeId="1" PostId="13724" RevisionGUID="4c287f41-3e8b-4d61-89e7-b74dc898b8ce" CreationDate="2012-04-27T18:05:04.893" UserId="1011" Text="Recording US election sound effects - suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22657" PostHistoryTypeId="3" PostId="13724" RevisionGUID="4c287f41-3e8b-4d61-89e7-b74dc898b8ce" CreationDate="2012-04-27T18:05:04.893" UserId="1011" Text="&lt;field-recording&gt;&lt;suggestions&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22658" PostHistoryTypeId="2" PostId="13725" RevisionGUID="b58d257b-bd8c-48b2-a3cd-413d2bc6d111" CreationDate="2012-04-27T18:48:36.037" UserId="432" Text="I think what you're going to find is that most Americans generally dislike everything leading up to the elections. Posturing for the Republican nomination has been going on in a very media-loud way for well over a year now, and most of us are sick of it. Your best bet is going to be finding people who are still invested in/enthusiastic about the elections. That means your only hope is getting in with groups who are actively campaigning for one party or the other. The next big events are the RNC and DNC (Republican and Democrat national conventions). Those are going to be the &quot;kick-off&quot; parties. I don't know what will be happening at the White House on the day of the elections (which is sad considering I live a mere 11 miles away from it), but I'm sure something will happen (general public, maybe protests, etc...probably nothing official). You're on the right track with the galas. At polling stations, you may find people campaigning for one side or the other (or both)...most other people will probably be interested in just getting in and back out. Those volunteer and paid campaign groups are probably going to be your best options for getting reactions out of people.&#xD;&#xA;&#xD;&#xA;If you do come to the DC area though, let me know." ContentLicense="CC BY-SA 3.0" />
  <row Id="22659" PostHistoryTypeId="2" PostId="13726" RevisionGUID="adb78aa1-fe7a-4ab6-8c05-f29f51dc13d9" CreationDate="2012-04-27T21:22:49.800" UserId="3238" Text="I did a year of acoustical consulting (architectural / noise control) before going back the more creative sound design route.  The first book my old boss had me read was [M. David Egan's Architectural Acoustics][1].  Very easy to read, with good practical principles and illustrations, also some cultural case studies.  Obviously geared toward architectural use, but even the construction details in there are fascinating if you haven't considered how to build a sound isolating wall before...&#xD;&#xA;&#xD;&#xA;Other than how to deal with clients, the acoustical consulting bit really helps me think about spaces and physical relationships, particularly when using convolution reverbs or designing for unique acoustical situations.  Most importantly it reinforced to me how subjective sound is, that there are really no hard and fast rules, which is something I always like to keep in the back of my mind while working.  Does an impulse labeled &quot;City Street&quot; really sound like a city street?  Does it work in this particular context?  Does simply adding the sound of a car horn into the mix convey that aural message better than any fancy plug-in I could ever find?&#xD;&#xA;&#xD;&#xA;I have done some experimentation using custom IRs and EQs based off of actual acoustic transmission and insertion loss data (Architectural Acoustics has some nice general data), and of course found that again everything is subjective.  Some do provide a good starting point, I find my collection of &quot;hollow door&quot; and &quot;inverse phon&quot; EQ curve presets do help give a nice sense of distance to a sound, though best when mixed with other effects.  It always boils down to artistic license in the end.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Architectural-Acoustics-Ross-Publishing-Classics/dp/1932159789" ContentLicense="CC BY-SA 3.0" />
  <row Id="22660" PostHistoryTypeId="2" PostId="13727" RevisionGUID="1cf32b82-e6b2-48c2-8a06-5b87022d03c9" CreationDate="2012-04-27T21:54:45.963" UserId="3238" Text="I'm doing a lot of online work, and also use a mix of collaboration/protection methods, including DropBox, SoundCloud, and personal watermarking.  As others have mentioned if you're dealing with a trusted client and/or have partial or escrow payments it's less of a concern protection wise.  &#xD;&#xA;&#xD;&#xA;I'm a big fan of using SoundCloud for sharing drafts and getting feedback -- it's secure (no/optional downloads, private links) and automatically converts your files to standard MP3 (could be a pro or con I suppose) in case you're worried about them hijacking the audio stream.  My clients and I also really like the comment feature, it allows them to easily make timed notes when they listen through so you can get feedback in context (as opposed to a long list of &quot;...if you listen to the part at 1:31.53 seconds...&quot;.  Saves everyone time and effort, and it's kind of fun!&#xD;&#xA;&#xD;&#xA;Otherwise DropBox for sharing and syncing... although now that Google Drive is available..." ContentLicense="CC BY-SA 3.0" />
  <row Id="22661" PostHistoryTypeId="2" PostId="13728" RevisionGUID="9ac64b9a-f627-4b66-a010-1130039913f3" CreationDate="2012-04-28T02:38:23.927" UserId="670" Text="I just updated to PT 10.1.2 and now all my AIR plugins are gone. Has this happened to anyone? And how I can get them back? Many thanks!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22662" PostHistoryTypeId="1" PostId="13728" RevisionGUID="9ac64b9a-f627-4b66-a010-1130039913f3" CreationDate="2012-04-28T02:38:23.927" UserId="670" Text="AIR plugins are missing" ContentLicense="CC BY-SA 3.0" />
  <row Id="22663" PostHistoryTypeId="3" PostId="13728" RevisionGUID="9ac64b9a-f627-4b66-a010-1130039913f3" CreationDate="2012-04-28T02:38:23.927" UserId="670" Text="&lt;air&gt;&lt;plugins&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22664" PostHistoryTypeId="2" PostId="13729" RevisionGUID="4e951c5b-7131-4aa4-ab4c-57fb72abd121" CreationDate="2012-04-28T09:56:25.143" UserId="3801" Text="I have huge desire creation of mediative music as such style probably here not to pick up, but more or less the close at what I aim, this creativity of Kip Mazuy, Christopher Lloyd Clarke (that that like Brainwave, alpha wave, delta wave, binaural sounds) and many other composers known in the circles, but I couldn't find a material in this style, on a YouTube, in the main video about bouhm bouhm bouhm and other modern bit &quot;art&quot;. That do we have, we have MBP with LogicPro, which that already I know, but not how it would be desirable, can you give that to advise in this direction what to esteem or to whom to address? &#xD;&#xA;Sorry for my bad english))" ContentLicense="CC BY-SA 3.0" />
  <row Id="22665" PostHistoryTypeId="1" PostId="13729" RevisionGUID="4e951c5b-7131-4aa4-ab4c-57fb72abd121" CreationDate="2012-04-28T09:56:25.143" UserId="3801" Text="How to create Hemi sync, mediative music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22666" PostHistoryTypeId="3" PostId="13729" RevisionGUID="4e951c5b-7131-4aa4-ab4c-57fb72abd121" CreationDate="2012-04-28T09:56:25.143" UserId="3801" Text="&lt;binaural&gt;&lt;logic&gt;&lt;pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22667" PostHistoryTypeId="2" PostId="13730" RevisionGUID="e09c4fb8-e610-4160-b854-0f465e91ccdb" CreationDate="2012-04-28T10:39:30.160" UserId="1185" Text="I find a good understanding of acoustic principles a vital aspect for sound design, especially when it comes to setting sounds in different environments - difficult to do well unless you understand how sound waves move and interact.  I recommend [Master Handbook of Acoustics][1] to my students.  Quit scientific, but gives some great descriptions of the principles.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Master-Handbook-Acoustics-Alton-Everest/dp/0071603328/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1335609473&amp;sr=1-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22668" PostHistoryTypeId="2" PostId="13731" RevisionGUID="e0031a3a-479c-4e15-8224-3ad5bb389a96" CreationDate="2012-04-28T13:57:15.747" UserId="3811" Text="Hi,&#xD;&#xA;I'm currently building my field recording/wildlife rig. I have a matched pair of B&amp;K4006s and wonder if anyone has experience of using these in the field. Should I hold on to them or sell them and replace with something else?&#xD;&#xA;My current arsenal includes:&#xD;&#xA;&#xD;&#xA;Sennheiser 416 and ME66 with K-6.&#xD;&#xA;Telinga parabola with stereo dat mic.&#xD;&#xA;Matched pair of AKG 414s.&#xD;&#xA;Microtech Gefell UMT70S.&#xD;&#xA;Rode Classic.&#xD;&#xA;&#xD;&#xA;Any advice would be gratefully received!&#xD;&#xA;Thanks&#xD;&#xA;Phil." ContentLicense="CC BY-SA 3.0" />
  <row Id="22669" PostHistoryTypeId="1" PostId="13731" RevisionGUID="e0031a3a-479c-4e15-8224-3ad5bb389a96" CreationDate="2012-04-28T13:57:15.747" UserId="3811" Text="B&amp;K 4006s in field recording.." ContentLicense="CC BY-SA 3.0" />
  <row Id="22670" PostHistoryTypeId="3" PostId="13731" RevisionGUID="e0031a3a-479c-4e15-8224-3ad5bb389a96" CreationDate="2012-04-28T13:57:15.747" UserId="3811" Text="&lt;microphone&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22671" PostHistoryTypeId="2" PostId="13732" RevisionGUID="c7f8f192-3cf8-4e3d-b856-2f7ccad5aab8" CreationDate="2012-04-28T16:47:56.440" UserId="298" Text="I've done an esotheric meditative music project in the past using Gnaural free brainwave generator with Omnisphere. Frequency of a binaural beats was selected in the respect to a desired effect (hence you need to dig the basics of brainwaves and corresponding sounds) + all other sounds were chosen in order to stimulate targeted state. Each track consisted of nature elements like fire, water wind etc, strings and harp for heart stimulation and low bass rumble for meditation state (something like throat singing). I'd suggest to make a plan what you want to achieve, then research which way sonically you could do that. Logic is powerful and once you know what you want its easy to make using factory tools and maybe some freeware.&#xD;&#xA;&#xD;&#xA;As for some examples - check out David Parsons" ContentLicense="CC BY-SA 3.0" />
  <row Id="22672" PostHistoryTypeId="2" PostId="13733" RevisionGUID="86f11f0f-5f1e-4eba-a71a-01a83cf39d2e" CreationDate="2012-04-28T19:13:52.097" UserDisplayName="user80" Text="I would hang on to the 4006s as they are excellent mics and ideally suited for atmos recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="22673" PostHistoryTypeId="2" PostId="13734" RevisionGUID="01502d8b-c3d9-45b1-9a4f-55e62020c39f" CreationDate="2012-04-28T22:30:49.563" UserId="6411" Text="This may be a very basic question, but in regards to game sound, I understand there's a &quot;sound manifest&quot; file that is to be delivered for different sequences. To me it sounds like simply a list of all the assets that are used for a particular level or stage. New bad guys, new weapons, new world = new sounds. Am I correct in this? If so, is the manifest simply a .txt file that lists these sound files and their file path location, or is it something that's written in code in order to load these files into the sound engine?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22674" PostHistoryTypeId="1" PostId="13734" RevisionGUID="01502d8b-c3d9-45b1-9a4f-55e62020c39f" CreationDate="2012-04-28T22:30:49.563" UserId="6411" Text="What is a sound manifest?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22675" PostHistoryTypeId="3" PostId="13734" RevisionGUID="01502d8b-c3d9-45b1-9a4f-55e62020c39f" CreationDate="2012-04-28T22:30:49.563" UserId="6411" Text="&lt;gameaudio&gt;&lt;procedure&gt;&lt;deliveries&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22676" PostHistoryTypeId="2" PostId="13735" RevisionGUID="3bfe5d1b-525a-4ef5-8307-e532a64d6931" CreationDate="2012-04-28T23:14:16.460" UserId="654" Text="The Source elements products are great - source live for streaming high quality sound from your studio to a producers machine that they can open in either itunes or windows MP.&#xD;&#xA;Their source zip product is a steal if you are collaborating with someone elses studio rather than sending draft mixes/approvals.&#xD;&#xA;Lastly, the main way big studios collab for remote approvals is with Cinesync. Its a bit costly, but pass on the fee to your clients like any of these technologies, if the client wants your skills they should be paying for it. None of them are break the bank expensive." ContentLicense="CC BY-SA 3.0" />
  <row Id="22677" PostHistoryTypeId="2" PostId="13736" RevisionGUID="6b2cb151-3625-4bd9-a9f8-d4e474beab41" CreationDate="2012-04-29T07:02:51.057" UserId="465" Text="I'm editing sound effects and foley for a short film.  The main character is on roller skates the entire time, and several other characters are on roller blades...&#xD;&#xA;&#xD;&#xA;I'm struggling to find a way to edit sounds in to place to match the action on screen.  So far, we have recorded sounds (not in sync to picture) and have tried to edit them in. &#xD;&#xA;&#xD;&#xA;(We recorded using a shotgun on a boom pole, a shotgun on a mic stand, and lav mics on each skate)&#xD;&#xA;&#xD;&#xA; Does anybody have any similar experiences? Any tips to share? tips about recording... Editing... whatever...&#xD;&#xA;&#xD;&#xA;After watching the SoundWorks feature for The Hunger Games, an idea I had was to try and record in sync while watching on an iPad or some way. Any tips on this?..&#xD;&#xA;&#xD;&#xA;Thanks All" ContentLicense="CC BY-SA 3.0" />
  <row Id="22678" PostHistoryTypeId="1" PostId="13736" RevisionGUID="6b2cb151-3625-4bd9-a9f8-d4e474beab41" CreationDate="2012-04-29T07:02:51.057" UserId="465" Text="Roller Skate and Roller Blade Foley" ContentLicense="CC BY-SA 3.0" />
  <row Id="22679" PostHistoryTypeId="3" PostId="13736" RevisionGUID="6b2cb151-3625-4bd9-a9f8-d4e474beab41" CreationDate="2012-04-29T07:02:51.057" UserId="465" Text="&lt;foley&gt;&lt;field-recording&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22680" PostHistoryTypeId="2" PostId="13737" RevisionGUID="7ee609bb-b2f6-41bf-b34f-1c44c2242efe" CreationDate="2012-04-29T10:37:22.300" UserId="6519" Text="Try this:[“Fireworks” and “Skateboard” of Chuck Russom FX][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/07/fireworks-and-skateboard-two-new-sfx-libraries-of-chuck-russom-fx-with-exclusive-qa/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22681" PostHistoryTypeId="2" PostId="13738" RevisionGUID="829f1978-b670-47f4-9f17-0df6dfdc7462" CreationDate="2012-04-29T12:42:19.400" UserId="298" Text="Good day everybody!&#xD;&#xA;&#xD;&#xA;As an aspiring sound designer I use to do my sound design based on different sound libraries mostly. I would say 70% of stock effects, 15% my own sounds(sampled, recorded, synthesized) and 15% of effect plugins on the top and it all layed in hundreds of layers. I thoroughly enjoy this process.&#xD;&#xA;Neither I have those mics nor the access to locations that those big guys use to record their sounds, so I wont be able to source my own sounds in the near future.&#xD;&#xA;&#xD;&#xA;I would like to ask your opinion on a few moments: &#xD;&#xA;&#xD;&#xA;1) Professional side.  Some clients are genuinely concerned whether the sounds designer uses are his own custom created samples. Some are not and judge by the result.&#xD;&#xA;&#xD;&#xA;What share of both do you use for professional work and how each variant affects your salary, job application and all sides of a business?&#xD;&#xA;&#xD;&#xA;2) What is your personal opinion towards using custom sounds or stock sounds?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="22682" PostHistoryTypeId="1" PostId="13738" RevisionGUID="829f1978-b670-47f4-9f17-0df6dfdc7462" CreationDate="2012-04-29T12:42:19.400" UserId="298" Text="Sound design with stock effect libraries or custom?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22683" PostHistoryTypeId="3" PostId="13738" RevisionGUID="829f1978-b670-47f4-9f17-0df6dfdc7462" CreationDate="2012-04-29T12:42:19.400" UserId="298" Text="&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22684" PostHistoryTypeId="2" PostId="13739" RevisionGUID="a23d4785-8a8e-40ac-80fb-7696116ef3c5" CreationDate="2012-04-29T13:05:56.387" UserId="3299" Text="I asked a similar question here and there was a good link to a Nagra article involving the B&amp;Ks: [LINK][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/13247/bk-4006s-for-field-recording&#xD;&#xA;&#xD;&#xA;I used a pair for some nature recording recently, through a Sound Devices 442. There was wonderful clarity to them when I did some general forest ambience gathering. Really captured the tone of birdsong well. &#xD;&#xA;&#xD;&#xA;I found using them in exceptionally quiet areas would uncover their self noise a bit though. But a minor trade off." ContentLicense="CC BY-SA 3.0" />
  <row Id="22685" PostHistoryTypeId="2" PostId="13740" RevisionGUID="abafd948-b9fc-4c4c-bc12-a8f9bcd6a3b9" CreationDate="2012-04-29T13:09:27.060" UserId="3299" Text="10.1.3 has been released as there were complaints of some major bugs with 10.1.2. Try downloading and installing that instead. &#xD;&#xA;&#xD;&#xA;When you're installing there is a screen with the option to choose what elements to install. There's an option for the plug-ins, so make sure it's ticked." ContentLicense="CC BY-SA 3.0" />
  <row Id="22686" PostHistoryTypeId="2" PostId="13741" RevisionGUID="71071a15-422d-4877-840b-b20c2bec6edb" CreationDate="2012-04-29T13:50:41.390" UserId="132" Text="I would try them with a jecklin disc. I bet you would get some nice results with ambiences and that setup." ContentLicense="CC BY-SA 3.0" />
  <row Id="22687" PostHistoryTypeId="2" PostId="13742" RevisionGUID="1b0988ba-9cf5-4a12-aa1b-8e9329919687" CreationDate="2012-04-29T14:08:34.077" UserId="3179" Text="If your own sound works better than a library sound, then use it. If the library sound works better than your sound, then use it.&#xD;&#xA;&#xD;&#xA;What matters is the whole composition and how it works, not that much individual sounds.&#xD;&#xA;&#xD;&#xA;I would still try to avoid using commonly used library sounds as very exposed sounds in the mix or relying too much on library sounds &quot;as they are&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="22688" PostHistoryTypeId="5" PostId="13742" RevisionGUID="6813475a-70ec-42e7-aad1-8a3ab4518f91" CreationDate="2012-04-29T14:25:11.483" UserId="3179" Comment="added 145 characters in body" Text="If your own sound works better than a library sound, then use it. If the library sound works better than your sound, then use it.&#xD;&#xA;&#xD;&#xA;What matters is the whole composition and how it works, not that much individual sounds.&#xD;&#xA;&#xD;&#xA;I would still try to avoid using commonly used library sounds as very exposed sounds in the mix or relying too much on library sounds &quot;as they are&quot;.&#xD;&#xA;&#xD;&#xA;And yes, there are many sounds that you just cannot record or create, because that exact sound has been recorded or designed by someone else." ContentLicense="CC BY-SA 3.0" />
  <row Id="22689" PostHistoryTypeId="2" PostId="13743" RevisionGUID="6860c733-0594-4cdb-a76c-a901847aced6" CreationDate="2012-04-29T15:19:39.593" UserId="3093" Text="Editing: I believe I had an experience that we can consider pretty similar; in my case, I had to sync sound to a film, specifically in a car chase scene, where I had to place the sound of the engines throughout all the scene, and the tough thing is that I was really limited, I had to utilize only 2 recordings from a library. The speed had to match the one on the picture, so it was pretty hard to search in this 2 recordings for instances where it sounded perfect with the picture....what I could recommend is using a lot of pitch shifting, I did it by applying  &quot;varispeed&quot; in pro tools, so I could manage the original sound of the recorded engine and varispeed-it so that it would match what I needed. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22690" PostHistoryTypeId="2" PostId="13744" RevisionGUID="0025d73d-316f-4f54-8d27-005c5139e6b2" CreationDate="2012-04-29T17:36:50.823" UserId="3587" Text="Does anybody know of free training material for sound effects and foley? What I'm thinking of is a movie clip in a proper format for editing, with a separate music track and vocal track provided as audio files. Preferably something very varied with different types of sounds and such.&#xD;&#xA;&#xD;&#xA;I've tried redoing sequences from movies by muting and using the released soundtrack to fill in the music, but I really miss having the voices to work with too.&#xD;&#xA;&#xD;&#xA;Suggestions for movie scenes with little or no dialogue that would be suitable for the purpose are appreciated too." ContentLicense="CC BY-SA 3.0" />
  <row Id="22691" PostHistoryTypeId="1" PostId="13744" RevisionGUID="0025d73d-316f-4f54-8d27-005c5139e6b2" CreationDate="2012-04-29T17:36:50.823" UserId="3587" Text="Training material for sound effects editing / foley" ContentLicense="CC BY-SA 3.0" />
  <row Id="22692" PostHistoryTypeId="3" PostId="13744" RevisionGUID="0025d73d-316f-4f54-8d27-005c5139e6b2" CreationDate="2012-04-29T17:36:50.823" UserId="3587" Text="&lt;training&gt;&lt;practice&gt;&lt;foley&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22693" PostHistoryTypeId="2" PostId="13745" RevisionGUID="b544e93b-bc05-46a2-82f8-3103d3dd9559" CreationDate="2012-04-29T17:42:48.247" UserId="3812" Text="I'm a camera P.A. on set, lots of walking around and standing, and I've been having similar issues with me feet. I noticed damn near everyone on the set wears either Merrell's or New Balance, including the Boom Operators. And I couldn't find a pair of New Balance in my size so I bought a pair of Merrel's, and they are so comfortable its amazing. I went to Zappo's and bought a pair of New Balance though, because I want to be able to switch out my shoes. The Merrell's are kind of warm, and they're midsize, I wanted the more breathable lightweight Merrell's, but again nothing in my size. But I wasn't going to go another day with my feet kiling me like that so I got the midsize pair. And I haven't heard any kind of squeaking or noise when I walk either." ContentLicense="CC BY-SA 3.0" />
  <row Id="22694" PostHistoryTypeId="5" PostId="13738" RevisionGUID="d71e3620-cc94-4ee7-8d05-2f8f79575fda" CreationDate="2012-04-29T18:59:55.543" UserId="298" Comment="spelling" Text="Good day everybody!&#xD;&#xA;&#xD;&#xA;As an aspiring sound designer I used to do my sound design based on different sound libraries mostly. I would say 70% of stock effects, 15% my own sounds(sampled, recorded, synthesized) and 15% of effect plugins on the top and it all layed in hundreds of layers. I thoroughly enjoy this process.&#xD;&#xA;Neither I have those mics nor the access to locations that those big guys use to record their sounds, so I wont be able to source my own sounds in the near future.&#xD;&#xA;&#xD;&#xA;I would like to ask your opinion on a few moments: &#xD;&#xA;&#xD;&#xA;1) Professional side.  Some clients are genuinely concerned whether the sounds designer uses are his own custom created samples. Some are not and judge by the result.&#xD;&#xA;&#xD;&#xA;What share of both do you use for professional work and how each variant affects your salary, job application and all sides of a business?&#xD;&#xA;&#xD;&#xA;2) What is your personal opinion towards using custom sounds or stock sounds?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="22695" PostHistoryTypeId="2" PostId="13746" RevisionGUID="835b6339-82c6-4092-8df9-4e9a1c6cf7be" CreationDate="2012-04-29T20:18:40.143" UserId="3813" Text="I realize this is an old thread, but perhaps I can add to the discussion.&#xD;&#xA;&#xD;&#xA;To properly understand how greater sampling rates works, an understanding of how analog to digital conversion works is necessary.  Fundamentally, when you record something (at least these days on &quot;Digital&quot; Recording Equipment) what you are doing is making a sound (Analog and Audible) and capturing a picture of it if you will, using a bunch of 1's and 0's.  Analog sounds (like made by your instruments or voice) can be simplified for our understanding as sine waves at different frequencies, and they usually occur in combinations of frequencies and magnitudes (volumes).&#xD;&#xA;&#xD;&#xA;Now, Sine waves are measured in cycles per second.  A sine wave has peaks with respect to a certain reference point on the positive side and negative side of the reference (see picture at http://en.wikipedia.org/wiki/File:Waveforms.svg).  So when the wave starts at the middle, goes up and then down, and then back to the middle, that is one cycle.  The measurement of cycles per second is called Hertz or Hz.  The lower the Hz, the deeper the sound (bass), the higher the Hz, the higher the sound (treble).  That is a simplified way to think of it.  The Human ear generally cannot pick-up frequencies above the 22,000 or 22KHz threshold, so for our intents and purposes, anything above that does not need to be captured in the recording.&#xD;&#xA;&#xD;&#xA;Okay, so now I've just regurgitated a bunch of scientific mumbo-jumbo about frequencies and Hertz and the like, but how does that relate to the 192 KHz sampling frequency?&#xD;&#xA;&#xD;&#xA;Here is why this is important.  A sampling rate is quite simply, the rate at which a &quot;sample&quot; of the incoming signal (audio) is taken and &quot;recorded&quot; or represented with a series of 1's and 0's.  So what does that mean? In the picture of the sine wave in the link above, imagine the wave form from the first middle starting point to the second middle crossing point (where it crosses middle on the upswing) occurs over the course of one second, if you sampled that waveform at 4Hz, or 4 times in one second, you would have a reasonable, but rather choppy representation of that wave form.  If you increased the sampling rate, you would have more samples at shorter time intervals, which means a more accurate picture of the original waveform you are trying to capture.  See the following link for an example http://artsites.ucsc.edu/ems/music/tech_background/TE-16/teces_164.gif  as you can see in the picture, the waveform becomes smoother as the sampling rate increases (which means the nuances of how the audio sounds is much closer to the real deal then if the sampling rate were lower).  Someone in a previous post said that you can &quot;perfectly&quot; represent a sine wave using just 2 samples.  This is not true as stated, however you can reasonably represent a sine wave but it all depends on the frequency you are trying to capture and your sampling rate.&#xD;&#xA;&#xD;&#xA;The commonly used sampling rate for audio has been for the most part 44.1 KHz, which is twice the 22.5 KHz that is at the top range of audible frequencies for humans.  The reason for it being twice the amount is due to something developed by Nyquist-Shannon.  Feel free to do your own research on that, but essentially, the 2x sampling frequency is to stop distortions to the signal waveform from occurring.  Using a 44.1 KHz sampling rate will quite reasonably represent frequencies up to 22.5 KHz without Aliasing (a type of distortion) occurring.  I won't go into Aliasing as thats another couple of pages I just don't have the desire to get into now. Just know that aliasing is bad!&#xD;&#xA;&#xD;&#xA;In short the 192 KHz sampling rate will help in capturing frequencies above the 22.5 KHz range, but those are not particularly useful as we generally cannot hear them anyways :)  The increased sample rate captures the audio with a way better resolution that represents the original audio much more accurately (or warmly for lack of better words).  It's kind of like Digital Cameras, if you had the exact same cameras side by side, but one camera had the capability of 2.1 Mega-Pixels, and the other one had 5.1 Mega-Pixels, and they took the same picture, the 5.1 Mega pixel would capture more in-depth detail and if zoomed in on the screen when looking at it after, the 5.1 or &quot;higher resolution&quot; picture would prove to be better.  This is much the same principle, as the increased sampling rate is increasing the resolution of the recording.  Essentially higher sampling rate in recording = better quality of recording, but this means larger files on the back end requiring more hard drive space, and more Memory for processing the file prior to saving.  This does not address however the audio playback of said file, which is another &quot;long&quot; post that again I just don't want to do right now.  Ugh, I'm such a geek... :)&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;Fred" ContentLicense="CC BY-SA 3.0" />
  <row Id="22696" PostHistoryTypeId="5" PostId="13730" RevisionGUID="db826825-d19d-4d26-b9d7-cfd71c554345" CreationDate="2012-04-29T21:37:14.297" UserId="1185" Comment="added 15 characters in body" Text="I find a good understanding of acoustic principles a vital aspect for sound design, especially when it comes to setting sounds in different environments - difficult to do well unless you understand how sound waves move and interact with obstacles.  I recommend [Master Handbook of Acoustics][1] to my students.  Quit scientific, but gives some great descriptions of the principles.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Master-Handbook-Acoustics-Alton-Everest/dp/0071603328/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1335609473&amp;sr=1-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="22697" PostHistoryTypeId="2" PostId="13747" RevisionGUID="a0bd5cd1-5289-4c0a-bf16-a82551952f90" CreationDate="2012-04-30T00:05:39.077" UserId="3008" Text="The first movie that came to my mind is &quot;Le Dernier Combat&quot; directed by Luc Besson. It's a &quot;mute&quot; film, there are only like 2 words or something like that throughout the entire film. It's really good and there are many scenes that fit your description http://www.imdb.com/title/tt0085426/ . You could also look out for short films or short animated films (like Pixar short films) that normally they don´t have many dialogues (here's an example, I did a Sound Design re-make for &quot;Lifted&quot; a Pixar short film http://youtu.be/thPuWNGx214 ) or you could just re-make any scene of your favorite movies, even if they have Dialogue, and practice ADR also!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22698" PostHistoryTypeId="2" PostId="13748" RevisionGUID="ba61f915-e827-4691-a172-894b4311e982" CreationDate="2012-04-30T00:58:54.417" UserId="6460" Text="For recording, I would recommend building a large library yourself. It's a lot of meticulous planning and time, but it pays to have an overstock of sound options later on. Watch the movie and make a list of the types of movement and surfaces that the rollerblades cross. For instance:&#xD;&#xA;&#xD;&#xA;[coasting, slow, brick road] ... [pushing, lazy, sandy asphault] ... [braking, light, concrete]&#xD;&#xA;&#xD;&#xA;You get the picture. Record everything on your list from the multiple perspectives that you mentioned above and you'll have a very comprehensive cache to pull from for the editing stage.&#xD;&#xA;If you add microphones, to use models that give you different tonal options so that you can pick and choose later on.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="22699" PostHistoryTypeId="2" PostId="13749" RevisionGUID="337419ee-a86d-4246-9f51-bc6628cf700d" CreationDate="2012-04-30T04:40:59.310" UserId="3752" Text="Before getting into the business I read a lot about the pride of using your own sounds. But I think that was comments by people with big budgets and years of experience. Many of the projects I've worked on has a limited budget and limited time.&#xD;&#xA;&#xD;&#xA;I guess by stock you don't actually mean that as in Audiojungle, Pond5 and Audiomicro but more Sound Ideas, Hollywood Edge and other libraries.&#xD;&#xA;&#xD;&#xA;It also depends on how your recorded material looks. If you have 5TB of audio nicely structured with metadata then surely you would use it. If you don't, then you'd have to start recording in the beginning of every project.&#xD;&#xA;&#xD;&#xA;I find myself getting more and more of my own recorded material in the productions. But to be fair it's only about 5-10% so far. The rest are library effects that I've somehow manipulated. I will even be honest enough to say that sometimes when the crunch has its worst hold on me I'm just happy if something works out of the box." ContentLicense="CC BY-SA 3.0" />
  <row Id="22700" PostHistoryTypeId="2" PostId="13750" RevisionGUID="c7e10075-485b-497f-9e12-7410f19468cc" CreationDate="2012-04-30T05:04:52.297" UserId="407" Text="I agree with @Mviljamaa the end result is more important than process. To quote Mr B. Minto from DICE &quot;if it sounds good it is good&quot;. Having said that there is also the practical reality of time and budget, and expected quality. for Example when working on AAA gaming projects the expectation is to have something exciting and new sounding, so budgetting time and money for original recordings can often push the bar that little bit higher than using stock effects.&#xD;&#xA;&#xD;&#xA;Having said that my 2 most recent projects, Death Rally for iOS - 2 weeks audio time, no budget - used exclusively libraries and a couple of favors from friends. Alan Wake American Nightmare for XBLA - a few months audio time and a small budget - uses almost exclusively library effects some brought for the project which were carefully choose as the best bang for the buck Libraries to get the job done. Both of these games have received quite a bit of positive attention for the audio, more than any AAA project I've done - go figure...&#xD;&#xA;&#xD;&#xA;So the conclusion to this rambling is - it's how you use the sounds you've got rather than how you got the sounds you use ..." ContentLicense="CC BY-SA 3.0" />
  <row Id="22701" PostHistoryTypeId="2" PostId="13751" RevisionGUID="7a2d1655-7d2f-4187-81c0-360908d50038" CreationDate="2012-04-30T10:32:52.667" UserId="6432" Text="+1 for Matt Glenn's answer. Build up a construction kit of sounds. &#xD;&#xA;&#xD;&#xA;I think perhaps the most useful (or flexible) perspective is on board with the skater. The lavs on the skates might be too close though (unless there are some close-ups). I'd try shotgun just below waist level, held by the skater, angled diagonally down at the skates, perhaps on a short boom. This should be flexible enough to sit in the mix of most scenes. Just be careful!&#xD;&#xA;&#xD;&#xA;Really intricate editing is the call for stuff like this. If you X-fade between sounds at points with sharp transients this helps to cover up the edits. Carefully trimming and naming the recorded material also really helps - being able to grab the right sound quickly and easily really helps to keep the edits flowing smoothly." ContentLicense="CC BY-SA 3.0" />
  <row Id="22702" PostHistoryTypeId="5" PostId="13751" RevisionGUID="474f413f-9219-4d81-8d03-eaa92eea6e5a" CreationDate="2012-04-30T10:45:15.947" UserId="6432" Comment="added 15 characters in body" Text="+1 for Matt Glenn's answer. Build up a construction kit of sounds. &#xD;&#xA;&#xD;&#xA;I think perhaps the most useful (or flexible) perspective is on board with the skater. The lavs on the skates might be too close though (unless there are some close-ups). I'd try shotgun just below waist level, held by the skater, angled diagonally down at the skates, perhaps on a short boom. This should be flexible enough to sit in the mix of most scenes. Just be careful!&#xD;&#xA;&#xD;&#xA;Really intricate editing is the call for stuff like this. If you X-fade between sounds at points with sharp transients (impacts etc) this helps to cover up the edits. Carefully trimming and naming the recorded material also really helps - being able to grab the right sound quickly and easily really helps to keep the edits flowing smoothly. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22703" PostHistoryTypeId="2" PostId="13752" RevisionGUID="c5ea67ea-bb14-4ab7-9dc1-7c03a2a19aa7" CreationDate="2012-04-30T15:22:51.163" UserId="3296" Text="I love making and recording sounds. I will always start a project with a list of things I might record. For me the recording process and getting creative in what materials to use is a lot of fun! &#xD;&#xA;&#xD;&#xA;I don't have a problem with using sound libraries and often use them myself. But if you want to be a better sound designer then I would advise taking more control over the process. The more input you give a project the more it will sound like your own. &#xD;&#xA;&#xD;&#xA;And as mentioned already, it's far more rewarding completing something where you've had such direct control over the material used.&#xD;&#xA;&#xD;&#xA;It's definitely not something you should assume only comes with big budgets. Recording and experimenting with sounds is fun and relatively cheap. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22705" PostHistoryTypeId="2" PostId="13754" RevisionGUID="d012a958-25d0-4dec-8a5e-95b83dc7c492" CreationDate="2012-04-30T16:23:28.103" UserId="3587" Text="Before you spend took much time on binural beats, you should take a listen to this:&#xD;&#xA;[skeptoid.com/episodes/4147][1]&#xD;&#xA;Click &quot;listen&quot; under the headline to get the podcast version.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://skeptoid.com/episodes/4147" ContentLicense="CC BY-SA 3.0" />
  <row Id="22706" PostHistoryTypeId="2" PostId="13755" RevisionGUID="21dd6839-794f-4228-b23f-39da0f7d989a" CreationDate="2012-04-30T17:48:07.103" UserId="3811" Text="Hello again, &#xD;&#xA;Thank you for the help with the B&amp;K 4006s.&#xD;&#xA;While I'm at it.. I wonder if anyone has used a matched pair of 414s in the field for nature recording and if so .. what basket/mounts would be best to use with them? &#xD;&#xA;&#xD;&#xA;Thanks &#xD;&#xA;Phil." ContentLicense="CC BY-SA 3.0" />
  <row Id="22707" PostHistoryTypeId="1" PostId="13755" RevisionGUID="21dd6839-794f-4228-b23f-39da0f7d989a" CreationDate="2012-04-30T17:48:07.103" UserId="3811" Text="AKG 414s in field recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="22708" PostHistoryTypeId="3" PostId="13755" RevisionGUID="21dd6839-794f-4228-b23f-39da0f7d989a" CreationDate="2012-04-30T17:48:07.103" UserId="3811" Text="&lt;microphone&gt;&lt;field-recording&gt;&lt;nature-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22709" PostHistoryTypeId="2" PostId="13756" RevisionGUID="4b020449-5614-49dc-824a-36b571cea94d" CreationDate="2012-04-30T19:15:34.050" UserId="3800" Text="I'm looking to buy a semi-pro field recorder. I've done some research and the LE arguably seems to be one of the best in this price range, good pre-amps for the money. The headphone output seems to be pretty noisy though. I however could not find any good reviews on the FR-2 and remain with some questions.&#xD;&#xA;&#xD;&#xA;I was wondering how the LE compares to his big brother, the FR-2. Does the FR-2 have better amps and headphone out than the LE or does it just pack more features? I'm torn between going with a brand new LE or stretching the budget a bit and go with a second hand FR-2. &#xD;&#xA;&#xD;&#xA;Thank you,&#xD;&#xA;Martin" ContentLicense="CC BY-SA 3.0" />
  <row Id="22710" PostHistoryTypeId="1" PostId="13756" RevisionGUID="4b020449-5614-49dc-824a-36b571cea94d" CreationDate="2012-04-30T19:15:34.050" UserId="3800" Text="Fostex FR-2 vs FR-2 LE" ContentLicense="CC BY-SA 3.0" />
  <row Id="22711" PostHistoryTypeId="3" PostId="13756" RevisionGUID="4b020449-5614-49dc-824a-36b571cea94d" CreationDate="2012-04-30T19:15:34.050" UserId="3800" Text="&lt;portable-recorder&gt;&lt;field-recorder&gt;&lt;fostex&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22712" PostHistoryTypeId="2" PostId="13757" RevisionGUID="804fae17-a970-44fd-b878-3cdad1c98d89" CreationDate="2012-04-30T19:41:28.323" UserDisplayName="user49" Text="It really depends on the specific sound in question, since for some props or vehicles it may simply not be possible/affordable to access them to record, &amp; library use is the only option.... It also depends how prominent the sound is in context eg if it is a signature sound for a scene then I would definitely aspire for it to be unique. (I saw a plugin the other day that described itself as a 'go-to for signature sounds' - not on my planet!!!)&#xD;&#xA;&#xD;&#xA;But one factor in this is that (in my experience) very, very rarely does any sound effect in a film actually consist of a single sound - careful layering &amp; editing are required for everything, even the apparently simplest of sounds. So it also really depends *how* you use library sounds... &#xD;&#xA;&#xD;&#xA;There is also a lot to be said for getting a temp version of FX created, using whatever is at hand/available and then assessing your record list and prioritising. If time &amp; budget allows then you record everything, but that still may not result in the best outcome. Commercial libraries, your own personal library and new recordings are all resources that it is your job to make the best use of....&#xD;&#xA;&#xD;&#xA;FWIW the ambiences for a film THE ORATOR I did last year were the closest I got to 100% new recordings. I did 2 seperate recording trips to Samoa for it, and at the ambience predub the source material was 95% new recordings.... Editing those ambiences was also far easier than having to wade through my library trying to find elements to recreate locations. Sometimes recording the real thing is a time saver later in the process..." ContentLicense="CC BY-SA 3.0" />
  <row Id="22713" PostHistoryTypeId="2" PostId="13758" RevisionGUID="b00a931b-d072-4ad1-b213-f7b93abd26a5" CreationDate="2012-04-30T22:29:01.713" UserId="3746" Text="A pair of 414's would be a slighly unusual thing to use in outdoors nature recording. It is more usual to use small diaphram condensor mics, as they tend to have a more neutral (less flattering) response than large diaphram mics. Trying to protect them from wind could also be quite a problem due to the size and shape of them as they won't fit into blimps that I know of. You would certainly want them shock mounted, but trying to keep wind out on all but the most calm days would be hard unless you come up with a good custom solution." ContentLicense="CC BY-SA 3.0" />
  <row Id="22714" PostHistoryTypeId="2" PostId="13759" RevisionGUID="2e21a54d-343e-4ff5-829d-21298acccb55" CreationDate="2012-04-30T22:41:06.923" UserId="589" Text="I am not quite sure what the purpose of overhead monitors might be. There is not much use for this, other than an occasional effect here and there in some films. But for such a small effect such a big and expensive system, I don't see that becoming a big success. But I hope I am wrong. &#xD;&#xA;&#xD;&#xA;Cinemas are predominantly a business. And I agree with Fred, sound has low priorities. I find it hard to find a commercial cinema that even has a decent 5.1 system. The audience does not seem to care a lot about the sound. I just had a revelation about this a few month ago. I went to see a film in a cinema that usually has a good sound system. Well the centre speaker was broke. So they used the right speaker as centre and panned the signal from the right speaker to the left speaker. So you had the stereo signal mono down mixed coming from the left and all the centre signal coming from the right. Plus of course noises coming from the surround speakers that where now totally unrelated to the front speakers. Of course it sounded horrible, but no one other than me even seem to have noticed that there was something wrong with the sound. &#xD;&#xA;&#xD;&#xA;I complaint to the cinema and got a very polite answer from them. But two month later I was in that cinema again, thinking that they must had mixed by then, but it wasn't fixed. Their calculation seems to be that 99% of people do not realise the difference between mono and 5.1. And as sad as it is, but they are probably right with this calculation. At least actively, 99% will not realise that there is something wrong with the sound. Of course the film experience will be worse, but they will just blame that on the film. So who is going to care about Dolby Atmo? " ContentLicense="CC BY-SA 3.0" />
  <row Id="22715" PostHistoryTypeId="2" PostId="13760" RevisionGUID="cd94451c-81ba-4546-8da3-954bde9622e1" CreationDate="2012-04-30T22:45:36.433" UserId="3746" Text="There are a bunch of cartoon sound effects found at http://rocksuresoundz.com/store/cartoon/&#xD;&#xA;&#xD;&#xA;As mentioned by others here, it can also be fun creating and recording some of your own &quot;unique&quot; sound effects. With a bit of imagination many common items round the home can be maniputed to create interesting effects. Dropping a bunch of pots and pans on the floor to create various crashes and clatters, or pitch shifting and/or time expansion of various springs are a couple of possible examples. Manipulating Balloons can also produce intersting sounds. Speeding up of some sounds and changing their pitches can do interesting things to them" ContentLicense="CC BY-SA 3.0" />
  <row Id="22716" PostHistoryTypeId="2" PostId="13761" RevisionGUID="13d248b7-a82f-41a6-9db9-81aae9b4b9f5" CreationDate="2012-05-01T00:02:01.850" UserId="3815" Text="+1 for both what Matt and Mark said&#xD;&#xA;&#xD;&#xA;I've worked on quite a few low-budget shorts in the past few years, so situations where I have to run outside with a Zoom and a crappy shotgun mic to record ghetto foley pop up waaaaay more than I'd like them to.&#xD;&#xA;&#xD;&#xA;As far as how I work, it is much easier for me to record and chop up my un-synced foley so that it corresponds to specific sonic elements in a given action rather than trying to sync an entire recording by making awkward edits all over the place.&#xD;&#xA;&#xD;&#xA;Take this example; if you're recording or cutting foley for someone smoking a cigarette, you'd actually have something like 5 elements to record and place:&#xD;&#xA;&#xD;&#xA;- mouth closing on cigarette&#xD;&#xA;- cigarette sizzling&#xD;&#xA;- lips smacking as cigarette is withdrawn from the mouth&#xD;&#xA;- inhale&#xD;&#xA;- exhale&#xD;&#xA;&#xD;&#xA;These would be placed separately and crossfaded into each other (if it's even necessary).&#xD;&#xA;&#xD;&#xA;So, for skating, I'd assume it would go something like this:&#xD;&#xA;&#xD;&#xA;- pushoff from stop&#xD;&#xA;- coast&#xD;&#xA;- skate coming back down and contacting the ground&#xD;&#xA;- pushoff while moving&#xD;&#xA;- coast&#xD;&#xA;- skate down&#xD;&#xA;- repeat...&#xD;&#xA;- brake and stop&#xD;&#xA;&#xD;&#xA;So, record some push-offs from a stop, some skating at different speeds, some steady coasting (down a hill?), some turning, and then some stopping, some skate downs, etc.  This will probably take a long while, but by the end of it you should be able to chop it up and cut it back together into something convincing.  Also, recording too much material is definitely better than not recording enough, so don't get lazy!&#xD;&#xA;&#xD;&#xA;One more thing: MAKE SURE you record plenty of tone at the location where you're recording the skating.  Good tone that matches up with whatever is going on behind your recordings is crucial for hiding edits.  This is especially true if you're outside.&#xD;&#xA;&#xD;&#xA;Good luck, and hit me up if you need any clarification.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22720" PostHistoryTypeId="2" PostId="13763" RevisionGUID="2a8c61c6-0e8f-463b-8aaa-50dd1142f3db" CreationDate="2012-05-01T02:03:23.447" UserId="1129" Text="I have used a 414 set to figure 8 as the S in a M/S rig with some success." ContentLicense="CC BY-SA 3.0" />
  <row Id="22721" PostHistoryTypeId="2" PostId="13764" RevisionGUID="e3c4879a-4a81-430e-8c3a-096d2bf35c6a" CreationDate="2012-05-01T07:17:52.850" UserId="587" Text="In Pro Tools, you have the ability to drop a high-lit regions' selected duration down to the next track by pressing the ; key.&#xD;&#xA;&#xD;&#xA;This moves the selected duration that matches the region you had selected, down to the track below it. Allowing you to trim the region the selection falls on to the same duration of the region above with a simple keystroke shortcut, B. The opposite shortcut key is defaulted to the letter P - to go up a track to select the same amount of time.&#xD;&#xA;&#xD;&#xA;Is there a matching set of shortcuts in Nuendo? I haven't been able to find this within the program, nor on the internet. Any ideas?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22722" PostHistoryTypeId="1" PostId="13764" RevisionGUID="e3c4879a-4a81-430e-8c3a-096d2bf35c6a" CreationDate="2012-05-01T07:17:52.850" UserId="587" Text="Nuendo Shortcut Question" ContentLicense="CC BY-SA 3.0" />
  <row Id="22723" PostHistoryTypeId="3" PostId="13764" RevisionGUID="e3c4879a-4a81-430e-8c3a-096d2bf35c6a" CreationDate="2012-05-01T07:17:52.850" UserId="587" Text="&lt;nuendo&gt;&lt;shortcut&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22724" PostHistoryTypeId="2" PostId="13765" RevisionGUID="52b008d9-cca6-48d1-9126-6a1df31a8751" CreationDate="2012-05-01T11:23:54.267" UserId="7642" Text="Very easy and can be done in several modes/ways.&#xD;&#xA;&#xD;&#xA;if you have set a range with the range tool just hit the KC assigned to the [Navigate&gt;Down command] (I use the arrow down key).&#xD;&#xA;&#xD;&#xA;For other editing methods you can just hit the KC for the [Locators to selection] command (P in my case), this enables you to assign your selected range to your L/R locators thus enabling a bunch of alternate ways to deal with your material. You can even have the preference option [Cycle follows range selection] activated if you like to thus never having to press [P] manually (although this continually moves your locators and you might not like that, I don't).&#xD;&#xA;&#xD;&#xA;Personally I rarely use the range tool, I tend to work mainly with the select tool and the locators. So I almost never rely on using a selected range in the way you described. Just my personal style of working.&#xD;&#xA;&#xD;&#xA;One OT comment, a very important aspect when using a specific DAW is to not try to emulate an existing working style on another product. It just wont be as effective as learning the program on its own merits." ContentLicense="CC BY-SA 3.0" />
  <row Id="22725" PostHistoryTypeId="2" PostId="13766" RevisionGUID="445e3452-ef28-46b3-a8b5-182409547a2e" CreationDate="2012-05-01T12:06:39.303" UserId="407" Text="you can fit a 7.5v RC battery in the battery compartment of the LE which extends battery life by a few hours over 4xAA. You can attach the same battery to the FR2, and if I am not mistaken it has to be strapped to the side of the machine. As mentioned the LE has no time code and the headphone amp is quite noisy, and the build quality isn't as good as the FR2, but the recording quality is really good and that is where it counts. As a side note - at work we have a DR80 (also a very fine machine), but IMO the LE out preforms it in terms of quality and ease of use." ContentLicense="CC BY-SA 3.0" />
  <row Id="22726" PostHistoryTypeId="2" PostId="13767" RevisionGUID="65191468-f406-4896-bbfc-e8d51fe1bb7a" CreationDate="2012-05-01T12:52:46.200" UserId="6432" Text="I've got a bunch of sounds which are only described in the Metadata of the file. Actual file names are mostly just numbers - S0100583449.wav or similar. Searching through this part of the library is fine, but when I copy them to my work folder and import them into protools it's pretty confusing. &#xD;&#xA;&#xD;&#xA;Is there an easy way to work with these?&#xD;&#xA;&#xD;&#xA;I'm on PT8, working on Windows 7.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22727" PostHistoryTypeId="1" PostId="13767" RevisionGUID="65191468-f406-4896-bbfc-e8d51fe1bb7a" CreationDate="2012-05-01T12:52:46.200" UserId="6432" Text="WAVs described only in Metadata - Easy Pro-Tools workflow?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22728" PostHistoryTypeId="3" PostId="13767" RevisionGUID="65191468-f406-4896-bbfc-e8d51fe1bb7a" CreationDate="2012-05-01T12:52:46.200" UserId="6432" Text="&lt;metadata&gt;&lt;pro-tools&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22729" PostHistoryTypeId="2" PostId="13768" RevisionGUID="2e5aae02-058e-4f14-8f22-a78df8b43b3c" CreationDate="2012-05-01T13:31:33.080" UserId="3817" Text="The Software License Agreement for Mac OS X 10.7.3 suggests that it is legally not OK to us the System Voices for anything else than your personal, non-commercial use:&#xD;&#xA;&#xD;&#xA;&quot;G. Voices. Subject to the terms and conditions of this License, you may use the system voices included in the Apple Software (“System Voices”) (i) while running the Apple Software and (ii) to create your own original content and projects for your personal, non-commercial use. No other use of the System Voices is permitted by this License, including but not limited to the use, reproduction, display, performance, recording, publishing or redistribution of any of the System Voices in a profit, non-profit, public sharing or commercial context.&quot;&#xD;&#xA;&#xD;&#xA;See http://www.apple.com/legal/sla/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22730" PostHistoryTypeId="5" PostId="13768" RevisionGUID="7254f720-9569-44e8-b23a-b2e4b0ca7051" CreationDate="2012-05-01T13:40:59.213" UserId="3817" Comment="edited body" Text="The Software License Agreement for Mac OS X 10.7.3 suggests that it is legally NOT OK to us the System Voices for anything else than your personal, non-commercial use:&#xD;&#xA;&#xD;&#xA;&quot;G. Voices. Subject to the terms and conditions of this License, you may use the system voices included in the Apple Software (“System Voices”) (i) while running the Apple Software and (ii) to create your own original content and projects for your personal, non-commercial use. No other use of the System Voices is permitted by this License, including but not limited to the use, reproduction, display, performance, recording, publishing or redistribution of any of the System Voices in a profit, non-profit, public sharing or commercial context.&quot;&#xD;&#xA;&#xD;&#xA;See http://www.apple.com/legal/sla/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22731" PostHistoryTypeId="2" PostId="13769" RevisionGUID="d95a7193-f764-4d39-b15a-0a6012b953b5" CreationDate="2012-05-01T13:48:49.167" UserId="3818" Text="Hi All&#xD;&#xA;&#xD;&#xA;I am new here and apologise if this has bee asked before, but I was wondering the following.&#xD;&#xA;&#xD;&#xA;How big would you have a music file in size?&#xD;&#xA;&#xD;&#xA;What MP3 settings would use to achieve this? &#xD;&#xA;&#xD;&#xA;What length in minutes would you envisage each song/music section to be? &#xD;&#xA;&#xD;&#xA;I have a 12-minute file and at the moment is at 4.7mb but I would like it as small as possible. I was thinking of cutting it up into sections and getting the person that is coding it to loop the parts but mp3's I don't think like that!!!!&#xD;&#xA;&#xD;&#xA;Any help would be fantastic &#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22732" PostHistoryTypeId="1" PostId="13769" RevisionGUID="d95a7193-f764-4d39-b15a-0a6012b953b5" CreationDate="2012-05-01T13:48:49.167" UserId="3818" Text="What file size for online Games?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22733" PostHistoryTypeId="3" PostId="13769" RevisionGUID="d95a7193-f764-4d39-b15a-0a6012b953b5" CreationDate="2012-05-01T13:48:49.167" UserId="3818" Text="&lt;filesize&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22734" PostHistoryTypeId="2" PostId="13770" RevisionGUID="31976431-4777-4588-a836-3f63be697dee" CreationDate="2012-05-01T14:17:17.360" UserId="6432" Text="Ask the programmer. They will be able to tell you for sure, everyone here can only speculate. Max size, file type, compression etc is hugely variable." ContentLicense="CC BY-SA 3.0" />
  <row Id="22735" PostHistoryTypeId="5" PostId="13770" RevisionGUID="e4040c0a-0ca4-4d72-b4e2-8929ba83fdfc" CreationDate="2012-05-01T14:48:57.707" UserId="6432" Comment="Trying to be nicer : )" Text="Ask the programmer. They will be able to tell you for sure, everyone here can only speculate. Don't feel like you're bothering them, it's a completely reasonable thing to ask.&#xD;&#xA;&#xD;&#xA;Max size, file type, compression can be hugely variable. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22736" PostHistoryTypeId="2" PostId="13771" RevisionGUID="db339e12-c577-42ae-b792-674723697013" CreationDate="2012-05-01T15:54:47.363" UserId="6519" Text="Reverb removing for [Zynaptiq UNVEIL][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?list=PL375247B453A04C46&amp;feature=player_embedded&amp;v=9d0IYPMrZds#!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22738" PostHistoryTypeId="2" PostId="13773" RevisionGUID="c41772da-8046-46ad-89f1-eb0a03a7d018" CreationDate="2012-05-01T17:20:45.883" UserId="1159" Text="I've always been pleasantly surprised with what de-verb can do. You can still use it do much and screw things up but it's been a life saver a few times. There are times when tools that just do one thing are great." ContentLicense="CC BY-SA 3.0" />
  <row Id="22739" PostHistoryTypeId="2" PostId="13774" RevisionGUID="e130dd29-2cf3-430d-b6ea-6566952c1fd6" CreationDate="2012-05-01T17:25:23.583" UserId="1159" Text="It really really varies. And your programmer is going to be the one to answer it. Every game on a different platform is going to be different.&#xD;&#xA;&#xD;&#xA;It used to be audio would get 10% of resources (RAM, disk space, CPU...) but even that changes and has never been constant.&#xD;&#xA;&#xD;&#xA;And yes, MP3 does not like to loop. It pads files to fit the block size it needs which is just enough to cause ticks. Ogg does not have the same problems and might be a more viable option if you need to loop music seamlessly." ContentLicense="CC BY-SA 3.0" />
  <row Id="22740" PostHistoryTypeId="2" PostId="13775" RevisionGUID="9ce3b726-4d85-427a-af6a-aeb4230109b8" CreationDate="2012-05-01T21:20:32.273" UserId="238" Text="As an affordable option you could try [Bitspeek][1]. It's only $29 (about €20) and it's a pretty flexible plugin.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soniccharge.com/bitspeek" ContentLicense="CC BY-SA 3.0" />
  <row Id="22741" PostHistoryTypeId="5" PostId="13767" RevisionGUID="480bee92-608e-4474-810f-25eedb5139b7" CreationDate="2012-05-01T23:02:42.390" UserId="6432" Comment="added 8 characters in body; edited title" Text="I've got a bunch of sounds which only have descriptions in the Metadata of the file. The actual file names are mostly just numbers - S0100583449.wav or similar. Searching through this part of the library is fine, but when I copy them to my work folder and import them into protools it's pretty confusing. &#xD;&#xA;&#xD;&#xA;Is there an easy way to work with these?&#xD;&#xA;&#xD;&#xA;I'm on PT8, working on Windows 7.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22742" PostHistoryTypeId="4" PostId="13767" RevisionGUID="480bee92-608e-4474-810f-25eedb5139b7" CreationDate="2012-05-01T23:02:42.390" UserId="6432" Comment="added 8 characters in body; edited title" Text="Soundfile descriptions are only in the Metadata  - Is there an easy way of working with these?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22743" PostHistoryTypeId="2" PostId="13776" RevisionGUID="f1676b24-464a-446d-ba37-84eaecfe2534" CreationDate="2012-05-02T01:01:48.053" UserId="1159" Text="I've never been asked for a sound manifest before. I've certainly created asset lists that encompass what you're thinking the manifest is. Have you been asked for this by name from a specific company? It could just be the term they use.&#xD;&#xA;&#xD;&#xA;In the big picture game audio is still very young and there's areas where terms differ greatly between companies." ContentLicense="CC BY-SA 3.0" />
  <row Id="22744" PostHistoryTypeId="2" PostId="13777" RevisionGUID="f072454b-61f4-4ead-af5f-f1b012ce0b1b" CreationDate="2012-05-02T03:04:34.007" UserId="1294" Text="Hello Audio Professionals,&#xD;&#xA;&#xD;&#xA;I have a task to create some Monster Worm Sounds - Like a big Monsterous Worm Screaming, attacking, getting hurt, grunts etc...&#xD;&#xA;&#xD;&#xA;Kindly let me know if there are any cool ideas for field recording &amp; creating such sounds&#xD;&#xA;&#xD;&#xA;Best Regards,&#xD;&#xA;&#xD;&#xA;Bala." ContentLicense="CC BY-SA 3.0" />
  <row Id="22745" PostHistoryTypeId="1" PostId="13777" RevisionGUID="f072454b-61f4-4ead-af5f-f1b012ce0b1b" CreationDate="2012-05-02T03:04:34.007" UserId="1294" Text="Monster Worm Sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="22746" PostHistoryTypeId="3" PostId="13777" RevisionGUID="f072454b-61f4-4ead-af5f-f1b012ce0b1b" CreationDate="2012-05-02T03:04:34.007" UserId="1294" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22748" PostHistoryTypeId="2" PostId="13779" RevisionGUID="3c552956-e7f4-455e-94f1-5bf99543579d" CreationDate="2012-05-02T06:11:08.703" UserId="3249" Text="Hi all, I currently work on a TV project (sitcom), which is being shooted in big TV studio. They built some family house rooms there. But basically the studio is very big - 20m width, 60m length, 15m height and rooms don't have any ceiling (of course - due to lighting) and they don't have one or two walls either. &lt;br&gt;&lt;br&gt;&#xD;&#xA;As you can imagine there is a lot of reverbation on the dialog, which is more than inadequate to what you see on TV later. &lt;br&gt;&lt;br&gt;&#xD;&#xA;Do you have some skills with treating this reverb in similar location?&lt;br&gt;&#xD;&#xA;I was thinking of placing some rock wool material there, but cannot imagine how much and where to put them for such a big space.&lt;br&gt;&#xD;&#xA;Thanks for any ideas ;-)&lt;br&gt;&lt;br&gt;&#xD;&#xA;&lt;i&gt;Sorry for my english :-O&lt;/i&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22749" PostHistoryTypeId="1" PostId="13779" RevisionGUID="3c552956-e7f4-455e-94f1-5bf99543579d" CreationDate="2012-05-02T06:11:08.703" UserId="3249" Text="TV studio set reverbation treatment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22750" PostHistoryTypeId="3" PostId="13779" RevisionGUID="3c552956-e7f4-455e-94f1-5bf99543579d" CreationDate="2012-05-02T06:11:08.703" UserId="3249" Text="&lt;recording&gt;&lt;reverb&gt;&lt;acoustics&gt;&lt;room-treatment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22751" PostHistoryTypeId="2" PostId="13780" RevisionGUID="76192a5a-9485-4fb5-a364-6033e76912d2" CreationDate="2012-05-02T07:29:29.717" UserId="238" Text="I live in Paris, which can be a very noisy city. But Sundays really are the day of rest here, so the city becomes very quiet. The quietest time is early Sunday morning. What also helps in this city are the tall buildings which often act as sound barriers. Just to show what I mean, this recording was taken about 100 meters from a very busy main road (Boulevard Richard Lenoir in the 11th arrondissement), yet the traffic can barely be heard. &#xD;&#xA;&#xD;&#xA;[soundcloud]colin-hunter/paris-can-be-very-quiet[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="22752" PostHistoryTypeId="2" PostId="13781" RevisionGUID="e4083b0b-5347-4c75-8f03-515595390dc2" CreationDate="2012-05-02T07:30:58.573" UserId="202" Text="In the end, I used the ADR recordings, and processed heavily to make it robotic/metallic.&#xD;&#xA;Thanks for all the answers, and for that plugin: I'll check it out, seems a lot of fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22753" PostHistoryTypeId="2" PostId="13782" RevisionGUID="6831357c-be7b-4faa-a14e-51b04db5bbf2" CreationDate="2012-05-02T07:33:43.237" UserId="3249" Text="My personal solution: I wrote a small script to rename wave files using metadata description. Unfortunately its in Perl and hard coded for my special case. But I believe there are some metadata tools on the internet.&lt;br&gt;&#xD;&#xA;You are right - working with names like S0100583449 in clip list sucks." ContentLicense="CC BY-SA 3.0" />
  <row Id="22754" PostHistoryTypeId="2" PostId="13783" RevisionGUID="c7aa3221-fbcc-4a14-a8bb-039d6a989888" CreationDate="2012-05-02T08:29:42.810" UserId="654" Text="Those descriptions should be visible in the comments field in the workspace browser (in your windows menu) Just search in there for stuff rather than searching by file name." ContentLicense="CC BY-SA 3.0" />
  <row Id="22758" PostHistoryTypeId="2" PostId="13785" RevisionGUID="e37c7aa2-28c2-4a95-9fd5-393c02702119" CreationDate="2012-05-02T09:56:16.540" UserId="3519" Text="I have written about this question in my blog.&#xD;&#xA;I appreciate your opinions.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://javierzumer.com/en/test-niveles-de-ganancia/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22759" PostHistoryTypeId="1" PostId="13785" RevisionGUID="e37c7aa2-28c2-4a95-9fd5-393c02702119" CreationDate="2012-05-02T09:56:16.540" UserId="3519" Text="Does the Signal/Noise ratio keeps constant as you rise the gain?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="22760" PostHistoryTypeId="3" PostId="13785" RevisionGUID="e37c7aa2-28c2-4a95-9fd5-393c02702119" CreationDate="2012-05-02T09:56:16.540" UserId="3519" Text="&lt;gain&gt;&lt;recording&gt;&lt;pre-amp&gt;&lt;preamp&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22761" PostHistoryTypeId="2" PostId="13786" RevisionGUID="5ee0048f-0c38-4319-8415-9b98926e0f10" CreationDate="2012-05-02T10:24:38.693" UserId="3587" Text="2-3 am sunday morning is by far the quietest in Denmark where I live. But it becomes extreme when there's snow.&#xD;&#xA;Showing at 2-3 am sunday morning? I've never heard so much nothing." ContentLicense="CC BY-SA 3.0" />
  <row Id="22762" PostHistoryTypeId="2" PostId="13787" RevisionGUID="66be657c-ebc3-478c-bb38-a507198a2526" CreationDate="2012-05-02T11:14:29.373" UserId="6600" Text="Hey Bala,&#xD;&#xA;&#xD;&#xA;You might want to check out this clip from the game Darksiders.  It's basically a boss fight with a giant worm thing and might give you some inspiration (you have to skip to about 2.20 to get to the relevant bit):&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=JQqpMhg9YlA&amp;feature=related&#xD;&#xA;&#xD;&#xA;I guess because worms don't actually do much screaming and shouting you have a bit of a carte blanche to make the vocalisation sound however you want.  The above clip isn't anything revolutionary in terms of monster sounds but it's sonically solid and the earthy rumbling is definitely something to consider.  Are worms blind?  I don't know but maybe it could be more of a psychic/echolocation thing like a bat?!&#xD;&#xA;&#xD;&#xA;Hope it helps!&#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="22763" PostHistoryTypeId="2" PostId="13788" RevisionGUID="8067a1c3-d9e1-47bb-9d0a-9d74752643f5" CreationDate="2012-05-02T12:32:15.943" UserId="1129" Text="In the analogue world, the &quot;gain knob&quot; at the top of your console is often actually an attenuator, rather than an amplifier.  The mic pre boosts the signal by a fixed level, and the  gain knob actually reduces that level as the knob is moved to the left.  Add to that the fact that the preamp is probably the cleanest sounding amplifier circuit in your signal chain: introducing the least amount of noise.&#xD;&#xA;&#xD;&#xA;Therefore, for the highest SNR, the best practice is to get your gain up as high as you can right there at the pre.  Set it so that you have just a little headroom before clipping, and you'll have the highest SNR you can achieve." ContentLicense="CC BY-SA 3.0" />
  <row Id="22764" PostHistoryTypeId="2" PostId="13789" RevisionGUID="658f84c9-a174-4429-b345-7c5135575e1e" CreationDate="2012-05-02T12:33:18.170" UserId="6420" Text="&#xD;&#xA;You might wanna think about adding some sounds to emphasise the danger element of the worm. Worms don't generally produce a sense of fear when confronted with them (although I'm sure a giant monster one might!), but something like a snake which is kind of similar in shape has a definite fear factor associated! &#xD;&#xA;&#xD;&#xA;Maybe trying something like a hiss or rattle type sound could help with that. I remember in the new War of The Worlds film those tentacle/probe things had a sound like a rattle snake which helped add the sense of danger about them. &#xD;&#xA;&#xD;&#xA;Perhaps layering in those types of sounds with some heavy whoosh sounds could be useful for the attacking element. Not sure how your worm in question moves about but something like a punch bag being dragged along a rubble/gravel type surface and pitched down might help add some more body and menace to it.&#xD;&#xA;&#xD;&#xA;Hope that helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22765" PostHistoryTypeId="2" PostId="13790" RevisionGUID="d7351081-b27c-43d9-81c9-4e66c553102f" CreationDate="2012-05-02T13:59:41.653" UserId="298" Text="A quick one - Ive done some sound re-designs with videos shamelessly ripped from the internet, and been suggested to keep some of them for my student portfolio (because they are good enough).&#xD;&#xA;&#xD;&#xA;Im afraid there inevitably should be some legal issues. if i put a line 'For demonstration purpose only' could that be an excuse?&#xD;&#xA;&#xD;&#xA;Can someone advice me on this situation please?&#xD;&#xA;&#xD;&#xA;Thanks " ContentLicense="CC BY-SA 3.0" />
  <row Id="22766" PostHistoryTypeId="1" PostId="13790" RevisionGUID="d7351081-b27c-43d9-81c9-4e66c553102f" CreationDate="2012-05-02T13:59:41.653" UserId="298" Text="re-designed commercials for student portfolio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22767" PostHistoryTypeId="3" PostId="13790" RevisionGUID="d7351081-b27c-43d9-81c9-4e66c553102f" CreationDate="2012-05-02T13:59:41.653" UserId="298" Text="&lt;copyright&gt;&lt;showreel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22768" PostHistoryTypeId="2" PostId="13791" RevisionGUID="428b18ad-f2a0-4397-ad70-cf29b05a0d54" CreationDate="2012-05-02T15:15:17.283" UserId="407" Text="I've never come across this before - and have never had to deliver a list of sound effects for a scene. I do have assets list and list of potential assets to be used in a scene, but this is more for a internal audio communication than anything that needs delivering anywhere.&#xD;&#xA;One thing that does spring to mind it could be something a publisher would request as part of the console certification process. It is not required for the cert. process itself, but i seem to remember having to do something like this at some stage years ago." ContentLicense="CC BY-SA 3.0" />
  <row Id="22769" PostHistoryTypeId="2" PostId="13792" RevisionGUID="d0d9a4ec-f6dc-4c87-bad5-7b9921bc5744" CreationDate="2012-05-02T15:26:43.530" UserId="3752" Text="I have no idea &lt;- Best answer" ContentLicense="CC BY-SA 3.0" />
  <row Id="22770" PostHistoryTypeId="2" PostId="13793" RevisionGUID="595fbd13-cc29-486d-b265-0769caed2d3f" CreationDate="2012-05-02T19:48:42.793" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;I've checked almost all the binaural questions, but please excuse me if it has already been answered. I normally record fake-binaural with my DPA4060's sticking out of my headphones (DT770). I'm wondering how one monitors the levels/audio when recording in-ear binaural.&#xD;&#xA;Do you check levels beforehand and assume everything will be fine as long as it's not too loud? Or are there binaural mic's out there with small earphones in them, that allow soft monitoring levels?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22771" PostHistoryTypeId="1" PostId="13793" RevisionGUID="595fbd13-cc29-486d-b265-0769caed2d3f" CreationDate="2012-05-02T19:48:42.793" UserId="1216" Text="Monitoring In Ear Binaural Recording " ContentLicense="CC BY-SA 3.0" />
  <row Id="22772" PostHistoryTypeId="3" PostId="13793" RevisionGUID="595fbd13-cc29-486d-b265-0769caed2d3f" CreationDate="2012-05-02T19:48:42.793" UserId="1216" Text="&lt;binaural&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22773" PostHistoryTypeId="2" PostId="13794" RevisionGUID="34c34250-70ff-4d08-b05e-217cc8a74fc6" CreationDate="2012-05-02T20:22:51.920" UserId="3285" Text="I did this also for my portfolio, just put this : &quot;All of the clips are the property of their respective publishers and distributors (Ubisoft, Eidos, E.A., whatever...), and are used here only for demonstration purposes&quot; at the beginning of the video and in the description.&#xD;&#xA;I never had a problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="22774" PostHistoryTypeId="2" PostId="13795" RevisionGUID="13c24b57-54cc-454c-902b-91260f02ce14" CreationDate="2012-05-02T20:26:39.247" UserId="6462" Text="I think these are exactly what you are looking for:&#xD;&#xA;[Roland Cs-10EM][1]&#xD;&#xA;Might get a pair myself!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pinknoise-systems.co.uk/roland-cs10em-binaural-inear-headphones-p-564.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="22775" PostHistoryTypeId="2" PostId="13796" RevisionGUID="02cf9279-bf88-444b-bc49-b1343d0b7d6b" CreationDate="2012-05-02T21:04:40.343" UserId="238" Text="I've had a pair of in-ear binaural mics for a few months now (Soundman OKM II) and not being able to monitor has been one of the main drawbacks. However, I think the positives definitely outweigh the negatives. I generally record *blind* and have often had moments where I thought I'd recorded something amazing only to find out later that the recording had been ruined by wind noise (another drawback to in-ear binaurals) or some other unwanted factor. It took me quite some time before I got to know at what level I should be recording at and when I should apply a -20dB cut, but once over that little learning curve I have rarely had problems with the recordings I've made. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22776" PostHistoryTypeId="2" PostId="13797" RevisionGUID="8cb6fd71-7f23-4026-98c3-93079791f1a9" CreationDate="2012-05-02T21:56:37.730" UserId="18" Text="Be sure that you are clear that you did not do the original work and that you are using these &quot;re-works&quot; only as a demonstration of your skills.  You don't want to appear to potential employers that you are trying to claim ownership over the original work.&#xD;&#xA;&#xD;&#xA;If the owner of the video has a problem with you using their work, they will probably just sent you a notice to stop using it.  If you stop, you'll be fine.  I doubt you will have any problems." ContentLicense="CC BY-SA 3.0" />
  <row Id="22780" PostHistoryTypeId="2" PostId="13799" RevisionGUID="0d30b4eb-59f7-4198-998e-dbca1f53233a" CreationDate="2012-05-03T02:28:41.020" UserId="527" Text="Having just spent some time with Izotope's new Iris synth AND having been an Alchemy user, I ask you this:&#xD;&#xA;&#xD;&#xA;Which do you, upon first glance, prefer? &#xD;&#xA;&#xD;&#xA;I have to say Alchemy.  It just seems to have MUCH more control over pitch, time and modulation and control. What Iris does have going for it is that it is SOLID. I have a really tough time overloading it, the interface is smooth and zippy. Alchemy is clunkier, but has many more options. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;These are my thoughts... what are yours?&#xD;&#xA;&#xD;&#xA;Much Love,&#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="22781" PostHistoryTypeId="1" PostId="13799" RevisionGUID="0d30b4eb-59f7-4198-998e-dbca1f53233a" CreationDate="2012-05-03T02:28:41.020" UserId="527" Text="Izotope's  Iris vs Camel Audio's Alchemy - Initial reactions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22782" PostHistoryTypeId="3" PostId="13799" RevisionGUID="0d30b4eb-59f7-4198-998e-dbca1f53233a" CreationDate="2012-05-03T02:28:41.020" UserId="527" Text="&lt;izotope&gt;&lt;new&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22787" PostHistoryTypeId="2" PostId="13801" RevisionGUID="3095de86-8342-46ed-83f4-2bd198346e68" CreationDate="2012-05-03T09:37:55.223" UserId="3797" Text="You could try http://www.stephanschutze.com/ which has a rather large selection of vehicle sounds if your in need of some fresh material." ContentLicense="CC BY-SA 3.0" />
  <row Id="22788" PostHistoryTypeId="2" PostId="13802" RevisionGUID="7d090788-378a-4e08-bade-f1c0572baa0c" CreationDate="2012-05-03T11:35:16.317" UserId="3752" Text="Did you try HartFX? They have both a [Racing Library][1] and a smaller free [Yamaha R1 library][2].&#xD;&#xA;&#xD;&#xA;As an addition, [David Nichols][3] has a [Kickstarter project going][4]:&#xD;&#xA;&#xD;&#xA;I'm always on the lookout for new high quality independent libraries. Tbh I can't think of a single independent library with boat sounds. At least not organized with metadata and at least 96/24. I'll keep a lookout for you though.&#xD;&#xA;&#xD;&#xA;I also now realized you're a fellow countryman. Inc hidden message in strange language:&#xD;&#xA;&#xD;&#xA;Lycka till. Säg gärna till om du hittar något.&#xD;&#xA;&#xD;&#xA;  [1]: http://hartfx.net/libraries/my-hart-is-racing/&#xD;&#xA;  [2]: http://hartfx.net/libraries/hart-pounding-r1-mini-library/&#xD;&#xA;  [3]: http://www.tracktimeaudio.com&#xD;&#xA;  [4]: http://www.kickstarter.com/projects/69968530/record-audio-of-a-car-via-dyno-for-use-in-racing-v" ContentLicense="CC BY-SA 3.0" />
  <row Id="22789" PostHistoryTypeId="2" PostId="13803" RevisionGUID="983db708-c37c-478d-865b-65edd990ac83" CreationDate="2012-05-03T12:03:55.990" UserId="3797" Text="I read in the Sound Effects Bible by Ric Viers that working in a darkened room increases your sensitivity to sound.&#xD;&#xA;&#xD;&#xA;It's quite likely that in a critical listening environment such as an ADR/Dubbing stage that there would be some benefit taking advantage of that phenomenon.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22790" PostHistoryTypeId="2" PostId="13804" RevisionGUID="9006d0f7-fe62-4b21-81d2-924121327b5a" CreationDate="2012-05-03T15:05:08.440" UserId="397" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;So, I'm working on a short where a scene takes place in the Russian countryside during spring. and I'm having some trouble finding that. Could anyone help me out? Or recommend a site to purchase some? &#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;Marco " ContentLicense="CC BY-SA 3.0" />
  <row Id="22791" PostHistoryTypeId="1" PostId="13804" RevisionGUID="9006d0f7-fe62-4b21-81d2-924121327b5a" CreationDate="2012-05-03T15:05:08.440" UserId="397" Text="SFX Request: Russian Landscape" ContentLicense="CC BY-SA 3.0" />
  <row Id="22792" PostHistoryTypeId="3" PostId="13804" RevisionGUID="9006d0f7-fe62-4b21-81d2-924121327b5a" CreationDate="2012-05-03T15:05:08.440" UserId="397" Text="&lt;sfx&gt;&lt;request&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22793" PostHistoryTypeId="2" PostId="13805" RevisionGUID="33b94664-21af-4575-83dc-3e30152384d3" CreationDate="2012-05-03T15:37:38.533" UserId="3238" Text="Digitally speaking, the SNR should remain the same when you simply increase level.  The SNR in the digital world is the same as the SQNR (Signal to Quantization Noise Ratio), which is determined by your bit depth.  16-bits gives you 96 dB SQNR (ideal case, assuming your signal is captured at maximum level before clipping), so if you captured some quiet audio at say around -30 dBFS, and normalized the audio file to 0 dBFS, your digital noise floor would also increase by 30 to -66 dBFS.  That's why with quiet or unpredictable recordings, using 24-bit gives you more leeway to boost levels in post without worrying about your quantization noise.  In the previous example with 24-bit your SQNR would still be less than -100 dBFS after normalization.&#xD;&#xA;&#xD;&#xA;Of course if your audio signal has captured a higher level of analog noise (i.e. background ambient noise or circuitry noise), that will take precedence over the quantization noise, but once digital should still increase linearly as you boost amplitude.  Hence as @TheFaderJockey says get your analog signal hottest at the preamp gain to minimize noise ahead of digitization." ContentLicense="CC BY-SA 3.0" />
  <row Id="22794" PostHistoryTypeId="5" PostId="13790" RevisionGUID="b6a8286b-bba7-4869-8cd3-5ac64f5a01e8" CreationDate="2012-05-03T16:09:10.330" UserId="298" Comment="deleted 31 characters in body" Text="A quick one - Ive done some sound re-designs with videos shamelessly ripped from the internet, and been suggested to keep some of them for my student portfolio.&#xD;&#xA;&#xD;&#xA;Im afraid there inevitably should be some legal issues. if i put a line 'For demonstration purpose only' could that be an excuse?&#xD;&#xA;&#xD;&#xA;Can someone advice me on this situation please?&#xD;&#xA;&#xD;&#xA;Thanks " ContentLicense="CC BY-SA 3.0" />
  <row Id="22795" PostHistoryTypeId="2" PostId="13806" RevisionGUID="6f87d1ec-358c-4158-9cc5-c2a19952e94c" CreationDate="2012-05-03T17:03:09.743" UserId="6462" Text="Hi. What kind of things are you looking for? While I don't live in Russia I am in Estonia, next door, and Estonia has lot's of wide open spaces with no traffic, airplane or human sounds. If there is something specific you want maybe I can get it for you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22796" PostHistoryTypeId="2" PostId="13807" RevisionGUID="6b3e5176-5547-432f-822e-571a89a64c83" CreationDate="2012-05-03T17:38:42.263" UserId="407" Text="Russia is pretty huge, what part of Russia are you after? I'm in finland that is also just next door but a bit further north, so if there is something specific I could help or might even have it already.&#xD;&#xA;Alternatively check out this guy http://www.kaamossound.com/ he lives further north than me and has an extensive collection of local recordings." ContentLicense="CC BY-SA 3.0" />
  <row Id="22797" PostHistoryTypeId="2" PostId="13808" RevisionGUID="56eeb15d-5fd5-4427-8681-ef05bbbc23cb" CreationDate="2012-05-03T22:35:06.127" UserId="3145" Text="Unless you're cutting an instructional film for ornithologists don't worry about the species.  This is your scene.  What kind of birds do you want to hear?  What sounds would enhance the feeling the movie cries out for?  This is where the sound editor earns his money.  Create a sound environment that dramatically does it for you and the audience will be drawn into it. If the director doesn't like he'll make you change it, but generally they turn to you and say, &quot;Wow, very good!&quot; If it's an African bird or Texas bird it doesn't matter.  Go for the drama." ContentLicense="CC BY-SA 3.0" />
  <row Id="22798" PostHistoryTypeId="12" PostId="13808" RevisionGUID="51cb5df5-673b-46a8-af1f-5c9b81f0e5ad" CreationDate="2012-05-03T22:36:04.067" UserId="3145" Text="[{&quot;Id&quot;:3145,&quot;DisplayName&quot;:&quot;william3&quot;}]" />
  <row Id="22799" PostHistoryTypeId="13" PostId="13808" RevisionGUID="c811e2ea-d3b3-4ac9-a385-b488a54d39e0" CreationDate="2012-05-03T22:36:18.503" UserId="3145" Text="[{&quot;Id&quot;:3145,&quot;DisplayName&quot;:&quot;william3&quot;}]" />
  <row Id="22800" PostHistoryTypeId="2" PostId="13809" RevisionGUID="94875fab-05fb-41bc-9825-e6cb8a92fe33" CreationDate="2012-05-04T00:18:58.517" UserId="1303" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;I am in the market for a pair of compact omnis for BG recording. I am looking specifically at the DPA 2006c or Sennheiser 8020. The 8020 set is about 600 more than the dpa's though, you're getting better frequency response and lower self-noise with that money. What do you choose?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22801" PostHistoryTypeId="1" PostId="13809" RevisionGUID="94875fab-05fb-41bc-9825-e6cb8a92fe33" CreationDate="2012-05-04T00:18:58.517" UserId="1303" Text="dpa 2006c or senn 8020?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22802" PostHistoryTypeId="3" PostId="13809" RevisionGUID="94875fab-05fb-41bc-9825-e6cb8a92fe33" CreationDate="2012-05-04T00:18:58.517" UserId="1303" Text="&lt;field-recording&gt;&lt;omni&gt;&lt;ambiance&gt;&lt;background&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22803" PostHistoryTypeId="2" PostId="13810" RevisionGUID="6d3db4c9-448f-47a9-ba9c-83fb28f474f5" CreationDate="2012-05-04T00:49:05.283" UserId="2796" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;So i shot a short film where one scene happens in the boot of a car. The actor was directed through a iphone earpiece but unfortunately the level was set too high, it bleeds into the recording quite obviously at times. Ive tried pretty much everything i can think of to get it out, eqs, izotope, x-noise etc but i never get it right. ive got the original directors take and tried to match it excactly to the bleed, even re-recorded it through the same earpiece and tried to use phase cancellation, but it just doesnt go away, not even dent a little bit (maybe im not doing it right) &#xD;&#xA;Any ideas on what i could do? and since i dont use phase cancellation a whole lot, i might be doing something wrong.. &#xD;&#xA;&#xD;&#xA;-g" ContentLicense="CC BY-SA 3.0" />
  <row Id="22804" PostHistoryTypeId="1" PostId="13810" RevisionGUID="6d3db4c9-448f-47a9-ba9c-83fb28f474f5" CreationDate="2012-05-04T00:49:05.283" UserId="2796" Text="Phase Cancellation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22805" PostHistoryTypeId="3" PostId="13810" RevisionGUID="6d3db4c9-448f-47a9-ba9c-83fb28f474f5" CreationDate="2012-05-04T00:49:05.283" UserId="2796" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22806" PostHistoryTypeId="2" PostId="13811" RevisionGUID="52fcca57-d3c7-4701-9a07-3ee103613a28" CreationDate="2012-05-04T01:14:38.150" UserId="3285" Text="Hello,&#xD;&#xA;&#xD;&#xA;Next year, I will teach the basics of sound design in Protools, how to create a good template, how to use plugins, create sound effects, ambiences, etc...&#xD;&#xA;&#xD;&#xA;I thought to give them (students) trailers to add sound, make partnerships with schools in video games.&#xD;&#xA;&#xD;&#xA;Do you have any other ideas to share that would be interesting for them ?&#xD;&#xA;&#xD;&#xA;Thank you in advance !&#xD;&#xA;&#xD;&#xA;Best regards." ContentLicense="CC BY-SA 3.0" />
  <row Id="22807" PostHistoryTypeId="1" PostId="13811" RevisionGUID="52fcca57-d3c7-4701-9a07-3ee103613a28" CreationDate="2012-05-04T01:14:38.150" UserId="3285" Text="if you were a teacher in sound design..." ContentLicense="CC BY-SA 3.0" />
  <row Id="22808" PostHistoryTypeId="3" PostId="13811" RevisionGUID="52fcca57-d3c7-4701-9a07-3ee103613a28" CreationDate="2012-05-04T01:14:38.150" UserId="3285" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22809" PostHistoryTypeId="2" PostId="13812" RevisionGUID="01645cbe-e79e-4bd8-a089-8f3551d49503" CreationDate="2012-05-04T01:18:03.407" UserId="2368" Text="So i've been trying for nearly a year to gain any kind of internship, work experience, runner position, within the audio post area and have had no success. I'm thinking of trying to go freelance but don't really know where to start or how I would market myself to gain any paying clients. Just wondering if anyone else has been in this same position and how they started out? &#xD;&#xA;&#xD;&#xA;Thanks " ContentLicense="CC BY-SA 3.0" />
  <row Id="22810" PostHistoryTypeId="1" PostId="13812" RevisionGUID="01645cbe-e79e-4bd8-a089-8f3551d49503" CreationDate="2012-05-04T01:18:03.407" UserId="2368" Text="Working freelance " ContentLicense="CC BY-SA 3.0" />
  <row Id="22811" PostHistoryTypeId="3" PostId="13812" RevisionGUID="01645cbe-e79e-4bd8-a089-8f3551d49503" CreationDate="2012-05-04T01:18:03.407" UserId="2368" Text="&lt;freelance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22812" PostHistoryTypeId="5" PostId="13797" RevisionGUID="21559713-ea59-4abb-b492-8a151a7c4507" CreationDate="2012-05-04T02:38:13.853" UserId="18" Comment="edited body" Text="Be sure that you are clear that you did not do the original work and that you are using these &quot;re-works&quot; only as a demonstration of your skills.  You don't want to appear to potential employers that you are trying to claim ownership over the original work.&#xD;&#xA;&#xD;&#xA;If the owner of the video has a problem with you using their work, they will probably just send you a notice to stop using it.  If you stop, you'll be fine.  I doubt you will have any problems." ContentLicense="CC BY-SA 3.0" />
  <row Id="22813" PostHistoryTypeId="2" PostId="13813" RevisionGUID="56106288-83d2-4971-a633-fb1ad93103e0" CreationDate="2012-05-04T11:04:42.280" UserId="1185" Text="That very much depends on the academic level of the course and the exact subject area being covered.  Can you clarify?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22814" PostHistoryTypeId="2" PostId="13814" RevisionGUID="1ee59acc-1072-4408-a1c8-d517bb612967" CreationDate="2012-05-04T11:34:46.300" UserId="589" Text="Phase Cancellation only work if the signal is EXACTLY the same. So the director speaking it in again won't help, because he can't repeat it exactly like it was. But here you need to have the phase at the position where the mic was. The phase of the signal arriving at the mic is obviously also shaped by the boot and the actors body. So if you had an original recording of the director speaking, you could try to get the actor in the same boot again and the mic into the same position and then just re-record the directors voices through the iphone earpiece. Then you have a chance of it working. &#xD;&#xA;&#xD;&#xA;Realistically this is a case for ADR. I may be wrong, but I don't see any other way out of it. Noise reduction plug ins are always designed to keep the voices in and filter out noise. If the noise itself is a voice you have a problem. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22815" PostHistoryTypeId="2" PostId="13815" RevisionGUID="e509559b-9374-4fe9-b3a7-93f96b7360c6" CreationDate="2012-05-04T13:01:49.990" UserId="3823" Text="Yes, many of us have. Unfortunately, you don't really decide to go freelance. It happens when you build up a client list (most of the time). &#xD;&#xA;&#xD;&#xA;Welcome to the great catch 22 of audio production.  :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22816" PostHistoryTypeId="2" PostId="13816" RevisionGUID="f3f3ce62-5a50-4049-a8a7-e531133b7aa3" CreationDate="2012-05-04T14:10:49.623" UserId="3567" Text="You can start by getting a network identity. Stuff like a cool name/brand, logo, professional website can only help. &#xD;&#xA;&#xD;&#xA;Once that's done you can start researching your market and emailing possible clients. It's a lot of work and for a few months (or years?) won't pay off, but if you keep at it it will eventually start working for you.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22817" PostHistoryTypeId="2" PostId="13817" RevisionGUID="72f7cf16-f2b2-4d37-85df-af0cf924d5a6" CreationDate="2012-05-04T14:22:33.560" UserId="3285" Text="It is a specialized training course for students in sound design for video game who have good knowledges in sound. &#xD;&#xA;They've already done two years of study before in music composition, sound recording and mixing. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22818" PostHistoryTypeId="2" PostId="13818" RevisionGUID="bfc56e7d-f883-48ed-99f3-d8ccc999944b" CreationDate="2012-05-04T14:58:13.173" UserId="3752" Text="Foley, implementation (UDK/Unity3d/Other), field recording.&#xD;&#xA;&#xD;&#xA;Starting a course on monday with game design/grahics students. They're beginners though so my plans won't apply to yours :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22819" PostHistoryTypeId="2" PostId="13819" RevisionGUID="5a42cd61-592f-411e-870d-e2b8dbdce59f" CreationDate="2012-05-04T15:22:16.960" UserId="253" Text="Sound 1844 hit the nail on the head. Phase cancellation isn't really an option because the phase-inverted signal has to match up exactly, almost to the sample. The world is chaotic; nothing ever happens the same way twice, at least not to the degree that phase cancellation requires. &#xD;&#xA;&#xD;&#xA;What kind of vocalisations/dialogue does your actor have? If he's talking, you might be able to get away with cutting tight around his dialogue - his voice might psychoacoustically mask the director, but that depends on how loud your bleed is. If your actor is just breathing or groaning, you might be able to use izotope RX spectral repair to minimise the director through the earbud (you'll be able to better isolate the high-end earbud bleed against smooth sounds like breaths and groans).&#xD;&#xA;&#xD;&#xA;ADR will be your highest quality fix, though." ContentLicense="CC BY-SA 3.0" />
  <row Id="22821" PostHistoryTypeId="2" PostId="13821" RevisionGUID="feb83e84-9a0d-40c8-9b64-fd16ee64a32d" CreationDate="2012-05-04T17:22:13.173" UserId="3825" Text="The internship allowed me to later be a freelancer. In Germany, internships are paid and  you're never making coffee unless you want one. My internship was very hands-on. Oh, and I bugged the hell out of the guy to give me the internship after I was an intern in a different area at the same company. Maybe you could be more creative regarding your application into these internships. For example, take something they did, and try to make it better, then send it to the right person and ask for a cup of coffee to talk about it." ContentLicense="CC BY-SA 3.0" />
  <row Id="22825" PostHistoryTypeId="2" PostId="13823" RevisionGUID="86270ff2-3fa9-4b64-b161-99bdd597e1fa" CreationDate="2012-05-04T17:29:43.307" UserId="3825" Text="Yep, ADR, Foley, and Trunk atmo. ORR, use this f-up and cover it up with music...then you have a VERY sufficating scene! The audience would be dying with the character because they can't hear what they expect to hear." ContentLicense="CC BY-SA 3.0" />
  <row Id="22826" PostHistoryTypeId="2" PostId="13824" RevisionGUID="c266648a-7a98-402c-8693-bba976c47751" CreationDate="2012-05-04T17:35:07.467" UserId="3104" Text="Networking is one of the most important things that I've learned by doing freelance work for the past two years. Word gets around and if you're good at a particular thing, find a way to market yourself around that skill set. Another big thing is to always act professionally, no matter what the job entails. Once people get to see that you're serious and you mean business, your name will come up more often than others and you'll find yourself having no problem finding work.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="22827" PostHistoryTypeId="2" PostId="13825" RevisionGUID="350d69a6-71a0-44aa-8fe9-b29080da7832" CreationDate="2012-05-04T17:40:02.207" UserId="3825" Text="Use lapels? Or in post, use Waves RVox plugin (sometimes it's too clean and missing a human quality), but be sure to keep all movements in separate tracks. Können wir auf Deutsch sprechen?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22828" PostHistoryTypeId="2" PostId="13826" RevisionGUID="361c628b-8f68-4aca-b88a-a5ae354b38ba" CreationDate="2012-05-04T17:43:19.430" UserId="3825" Text="Nothing beats a deck of playing cards being flipped through, then feed it through an interesting effect chain or sampler." ContentLicense="CC BY-SA 3.0" />
  <row Id="22829" PostHistoryTypeId="2" PostId="13827" RevisionGUID="82ac1bce-ea11-4814-8796-0a61bfccf948" CreationDate="2012-05-04T17:46:34.217" UserId="3825" Text="What about Sky? You're in England, right?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22830" PostHistoryTypeId="2" PostId="13828" RevisionGUID="44d12ee0-8df4-498d-a45a-94914c66309a" CreationDate="2012-05-04T17:50:12.000" UserId="6460" Text="I personally wouldn't choose a pair of 414s when doing nature recording. The sound does tend to be more colored, as rockit said. Also, the 414s have those pesky electronic switches, which can be finicky and easy to accidentally change in a field situation.&#xD;&#xA;&#xD;&#xA;If you do go with them, though, I made the wonderful discovery that sliding a [Rode Deadcat][1] over top of a large-diaphragm condenser does a remarkably good job at wind control. My setup for very soft B/G recording is my pair of Shure KSM44s in omni (not the most neutral, but you can't beat a signal-to-noise ratio of 88dB). The Deadcat fits right over it snugly and controls everything but the strongest wind gusts. The 414s have a slightly smaller body size, but with a little modification you could get the deadcats to fit snugly. And at $40 each, they're a steal in the realm of wind protection.&#xD;&#xA;&#xD;&#xA;Best of luck!&#xD;&#xA;~Matt&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/392861-REG/Rode_DEAD_CAT_Dead_Cat_Wind_Muff.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="22831" PostHistoryTypeId="2" PostId="13829" RevisionGUID="4812effc-f7ba-4b80-ad8d-33bbb1be3e14" CreationDate="2012-05-04T17:52:15.457" UserId="3825" Text="I was told by Nigel Holland, if you're using someone else's library, you're not a sound designer, you're a sound editor. It's that easy. Go get a Pcm-D50 or zoom and have fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22832" PostHistoryTypeId="2" PostId="13830" RevisionGUID="550b9330-6177-4c05-844f-70dedff6e7d7" CreationDate="2012-05-04T18:01:31.170" UserId="3825" Text="Get a contract before you work. Become a member of ASCAP to protect you. I'm never paid before the job is finished. I deliver everything with wetransfer.com or a free ftp site like www.mydrive.ch" ContentLicense="CC BY-SA 3.0" />
  <row Id="22835" PostHistoryTypeId="2" PostId="13832" RevisionGUID="a5a95379-befa-45bf-958d-4d4522d50b08" CreationDate="2012-05-05T00:11:55.453" UserId="2796" Text="Thanks for your good answers, Ive got the original track of the director speaking and tried re-recording it through the same earpiece, matching it up perfectly but nothing changes. I guess it is because of what you guys been saying, that everything has to be EXACTLY the same, almost to the sample for it to work. I think i might look into other  Ive got the actor to redo his whole performance in ADR which matches up pretty good, but it looks like i need to record the car again because the shot is a one shot performance while driving... this should be an interesting experience! cheers though, i think ill stop trying to use phase cancellation and focus on sorting the problem somehow differently  " ContentLicense="CC BY-SA 3.0" />
  <row Id="22836" PostHistoryTypeId="2" PostId="13833" RevisionGUID="12dc14e1-b824-4235-9450-4c162047150d" CreationDate="2012-05-05T04:44:08.807" UserId="3827" Text="I have Googled this for a while to no avail.  I just install Protools 10.1.2 on an iMac running OS X 10.7.3.  I have a 002r connected.  The 002 appears in the Audio MIDI setup window but apparently with no I/O.  Consequently, when I try to create I/O paths, the 002 doesn't appear.  I have installed the 002/003 drivers a couple of times.  The 002 does appear as a device in the Sound Preferences window but selecting it doesn't make the system sounds come through the 002, actually its just crashed the Prefs window a couple of times.  This is super buggy and I'm already having regrets.  Has anyone else got a 002r working with a similar setup?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22837" PostHistoryTypeId="1" PostId="13833" RevisionGUID="12dc14e1-b824-4235-9450-4c162047150d" CreationDate="2012-05-05T04:44:08.807" UserId="3827" Text="Protools 10 on OS X 10.7.3 does not recognize 002r" ContentLicense="CC BY-SA 3.0" />
  <row Id="22838" PostHistoryTypeId="3" PostId="13833" RevisionGUID="12dc14e1-b824-4235-9450-4c162047150d" CreationDate="2012-05-05T04:44:08.807" UserId="3827" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22839" PostHistoryTypeId="2" PostId="13834" RevisionGUID="bc50755b-a073-4d67-89d9-9340ae97bb9c" CreationDate="2012-05-05T07:07:26.403" UserId="81" Text="In my case, the choice between creating/using original, custom made sounds and using stock FX is always made by the **budget** of the project.&#xD;&#xA;&#xD;&#xA; Some directors are not only concerned about originality, but also the copyrights though most of the stock FX are royalty free. That's why when I'm giving a quote, I give a lot details about the recording&amp;editing process besides royalties. I explain how this reflects to end-price and finally leave the choice to them. &#xD;&#xA;&#xD;&#xA;Nowadays, even if you don't have any gear, you still can rent them, so anything is possible with enough budget.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22840" PostHistoryTypeId="2" PostId="13835" RevisionGUID="855a4304-203f-409e-85b1-6b2dd5621774" CreationDate="2012-05-05T07:22:48.293" UserId="81" Text="It is not right to generalize but here is &quot;my&quot; submerging/emerging formula which consists of 3 stages:&#xD;&#xA;&#xD;&#xA; **Submerge:** Bubbles, crackles, splashes, hi-pass filtered explosions&#xD;&#xA;   &#xD;&#xA;   **Underwater** Everything heavily low-pass filtered, time-warped&#xD;&#xA;   bubbles for underwater movements,&#xD;&#xA;   sonar-feel effects to enhance&#xD;&#xA;   ambience&#xD;&#xA;   &#xD;&#xA;   **Emerge:** Automate low pass filter to be normal at the moment of&#xD;&#xA;   emerging, add heavy inhaling, support&#xD;&#xA;   with a splash.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="22841" PostHistoryTypeId="6" PostId="13812" RevisionGUID="6226e1e4-a0c3-4c50-852e-420b3f419b44" CreationDate="2012-05-05T07:27:08.130" UserId="81" Comment="edited tags" Text="&lt;freelance&gt;&lt;networking&gt;&lt;marketing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22842" PostHistoryTypeId="2" PostId="13836" RevisionGUID="87ff2f9c-15ae-4204-ba0b-2205b3e60e19" CreationDate="2012-05-05T07:27:14.587" UserId="3238" Text="Sorry folks, can I just be picky here and point out that you're really talking about polarity inversion here, not phase cancellation.  They are really two separate audio phenomena.  When I hear &quot;phase cancellation&quot; I think comb filtering, timing/distance issues, and multiple signal interference.  Polarity inversion is simply multiplying an audio signal by -1, which I assume is what you're attempting to do to cancel out the unwanted audio.  While phase cancellation occurs naturally in everyday sound propagation, polarity inversion does not -- unless that is you are naturally terrible at wiring cables ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22843" PostHistoryTypeId="2" PostId="13837" RevisionGUID="9e044128-ec6b-460a-8175-d5887aae0e81" CreationDate="2012-05-05T08:35:31.223" UserId="3828" Text="Covering it up with music is THE sound designer's joke." ContentLicense="CC BY-SA 3.0" />
  <row Id="22844" PostHistoryTypeId="2" PostId="13838" RevisionGUID="c4e33b15-3db4-4fa6-b1d4-560e772a5d97" CreationDate="2012-05-05T08:51:55.157" UserId="3828" Text="Yes, but Hollywood Edge &quot;touched it&quot; first. I guess I'm simply talking about the pride of making something only you could make. That's what makes Sound Designers artists of a sort.&#xD;&#xA;I use libraries all the time, but I also record...then my own library is recycled." ContentLicense="CC BY-SA 3.0" />
  <row Id="22850" PostHistoryTypeId="2" PostId="13841" RevisionGUID="124c6093-f87d-4813-b544-cdfe13a94082" CreationDate="2012-05-07T03:41:50.733" UserId="3008" Text="Hi! I was invited to talk about Sound Design in a film festival (focused in cinematography). This is the first time I will be giving a conference like that, and I would like to ask you for some help. Does anybody have any ideas, tips, advice? I believe the assistants won't know much about the technical stuff about sound design, and I really think they won't care, so I would like to have a more &quot;conceptual&quot; approach to sound design, and I would like to show some examples (movie scenes, soundscapes, etc) Any ideas or thoughts? Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22851" PostHistoryTypeId="1" PostId="13841" RevisionGUID="124c6093-f87d-4813-b544-cdfe13a94082" CreationDate="2012-05-07T03:41:50.733" UserId="3008" Text="Sound Design &quot;conference&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22852" PostHistoryTypeId="3" PostId="13841" RevisionGUID="124c6093-f87d-4813-b544-cdfe13a94082" CreationDate="2012-05-07T03:41:50.733" UserId="3008" Text="&lt;conference&gt;&lt;theory&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22853" PostHistoryTypeId="4" PostId="13841" RevisionGUID="bd03211c-b031-436c-b1a1-01790240b640" CreationDate="2012-05-07T05:31:45.127" UserId="3008" Comment="edited title" Text="Sound Design Lecture" ContentLicense="CC BY-SA 3.0" />
  <row Id="22854" PostHistoryTypeId="2" PostId="13842" RevisionGUID="52e7416b-b057-4b37-813b-592dbf914a2b" CreationDate="2012-05-07T05:49:15.583" UserId="1225" Text="Hello there, i live in Russia and made some recordings of city/town ambiences which i can share. Specify please, what kind of ambience you need?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22855" PostHistoryTypeId="2" PostId="13843" RevisionGUID="0e22ae3e-c3ae-41f1-90d9-1bb16f8a8b6a" CreationDate="2012-05-07T07:02:40.220" UserId="3833" Text="How about this plugin http://www.youtube.com/watch?v=yitJOeFkscc&amp;sns=em" ContentLicense="CC BY-SA 3.0" />
  <row Id="22856" PostHistoryTypeId="2" PostId="13844" RevisionGUID="ac8f6358-6a4a-4933-8239-222af3ca55da" CreationDate="2012-05-07T08:24:48.750" UserId="3162" Text="&#xD;&#xA;There exist acoustic sails you can install/ hang from the ceiling. so light comes through.&#xD;&#xA;&#xD;&#xA;You can use some molton fabric to make some kind of walls.&#xD;&#xA;Just put them on special sliders etc. like you put your curtains on. So you can move the fabric to every&#xD;&#xA;shooting position/ direction.&#xD;&#xA;&#xD;&#xA;If not possible to install just use tripods/ stands with crokos from the lighting department to &quot;narrow&quot; the room.&#xD;&#xA;&#xD;&#xA;Use carpets or molton as carpets.&#xD;&#xA;&#xD;&#xA;another idea ist to build things like this:&#xD;&#xA;http://realtraps.com/p_gobo.htm&#xD;&#xA;But for the insulation don´t buy rockwool- &#xD;&#xA;it´s to itching when a lot of air movement occurs.&#xD;&#xA;Use basotect instead. &#xD;&#xA;Or hemp wool :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22857" PostHistoryTypeId="2" PostId="13845" RevisionGUID="f3a6790b-23b4-470e-8e1f-ef5171f844a0" CreationDate="2012-05-07T09:37:06.657" UserId="1246" Text="It is not that simple. You can just edit stuff from FX libraries, or you can use those as only raw material that you use to sculpt sounds or parts of sounds you need. It is not that black and white.&#xD;&#xA;&#xD;&#xA;Bye / Tumppi" ContentLicense="CC BY-SA 3.0" />
  <row Id="22858" PostHistoryTypeId="12" PostId="13845" RevisionGUID="4eeb7736-0b9c-4709-934c-449928550955" CreationDate="2012-05-07T09:37:33.237" UserId="1246" Text="[{&quot;Id&quot;:1246,&quot;DisplayName&quot;:&quot;Tumppi&quot;}]" />
  <row Id="22859" PostHistoryTypeId="13" PostId="13845" RevisionGUID="67e497ab-480a-4e98-880d-b55b38890e3a" CreationDate="2012-05-07T09:38:01.707" UserId="1246" Text="[{&quot;Id&quot;:1246,&quot;DisplayName&quot;:&quot;Tumppi&quot;}]" />
  <row Id="22860" PostHistoryTypeId="2" PostId="13846" RevisionGUID="cc9de5ea-721a-4830-bb9c-eba3c3b6b4cb" CreationDate="2012-05-07T11:22:42.980" UserDisplayName="user6513" Text="I think it's always good to talk about the intention of sound and how the designer went about it. It's great to pull references from the Hollywood sound design superstars, but why not talk about your own work and how you go about your practice. It'll give them a first hand explanation of sound design, and it'll also be a great calling card for you.&#xD;&#xA;&#xD;&#xA;Some Hollywood Examples&#xD;&#xA;- Ben Burt using a slinky to create whooshes for his sci-fi films.&#xD;&#xA;- Ren Kylce talks about how he went about recording the New York ambience for the scene where Morgan Freeman goes to bed before the starting credits of Seven.&#xD;&#xA;- Richard King seems to get a featurette about the work in his films.&#xD;&#xA;- Raging Bull, Jurassic Park and Saving Private Ryan have very good writeups and documentaries about their sound design.&#xD;&#xA;- Directors Terence Malik and Robert Altman place great emphasis on sound in their films.&#xD;&#xA;- I even thought the Muppets was an excellent example of how Foley and sfx blurred the lines of 'reality' for the audience.&#xD;&#xA;&#xD;&#xA;I love talking about films and their sound design, so pop me an email if you need more examples or something more specific." ContentLicense="CC BY-SA 3.0" />
  <row Id="22861" PostHistoryTypeId="5" PostId="13766" RevisionGUID="ed7314da-d904-4bf1-9550-db621f9fc95f" CreationDate="2012-05-07T14:34:39.080" UserId="407" Comment="added 1 characters in body" Text="you can fit a 7.5v RC battery in the battery compartment of the LE which extends battery life by a few hours over 4xAA. You can attach the same battery to the FR2, and if I am not mistaken it has to be strapped to the side of the machine. As mentioned the LE has no time code and the headphone amp is quite noisy, and the build quality isn't as good as the FR2, but the recording quality is really good and that is where it counts. As a side note - at work we have a DR680 (also a very fine machine), but IMO the LE out preforms it in terms of quality and ease of use." ContentLicense="CC BY-SA 3.0" />
  <row Id="22862" PostHistoryTypeId="2" PostId="13847" RevisionGUID="20a5fd8d-3ca0-4282-b118-e5185edff605" CreationDate="2012-05-07T14:54:45.747" UserId="6499" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I have been having trouble when backing up and copy my SFX Libraries that I have purchased from 1 drive to another.  The error I get is that I need permission to perform this action, You require permission from Administrators to make changes to this file.&#xD;&#xA;&#xD;&#xA;I have administrative permissions on my system and am just kind of lost now. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22863" PostHistoryTypeId="1" PostId="13847" RevisionGUID="20a5fd8d-3ca0-4282-b118-e5185edff605" CreationDate="2012-05-07T14:54:45.747" UserId="6499" Text="Permissions in Windows 7 With SFX Libraries" ContentLicense="CC BY-SA 3.0" />
  <row Id="22864" PostHistoryTypeId="3" PostId="13847" RevisionGUID="20a5fd8d-3ca0-4282-b118-e5185edff605" CreationDate="2012-05-07T14:54:45.747" UserId="6499" Text="&lt;sfx&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22865" PostHistoryTypeId="2" PostId="13848" RevisionGUID="9bcc4292-3220-4b37-98cd-6ea7eb317bc3" CreationDate="2012-05-07T16:17:07.747" UserId="432" Text="That sometimes happens in Windows with files from OSX; usually ones that have been compressed on a Mac and later extracted on a PC. Go to the highest level parent folder you can (but one that is still green in the explorer), right-click that folder and select properties. Somewhere in the properties dialog, you should be able to find a selection that has to do with encryption (that's what the green filenames mean). Un-encrypt the folder and allow it to apply changes to all files and subfolders. That should take care of your problem.&#xD;&#xA;&#xD;&#xA;**Edit:**&#xD;&#xA;&#xD;&#xA;Just remembered that the encryption attribute is under the &quot;Advanced&quot; settings within properties. So, look there." ContentLicense="CC BY-SA 3.0" />
  <row Id="22866" PostHistoryTypeId="2" PostId="13849" RevisionGUID="57719e27-d05f-4af9-87fb-ebca5854d531" CreationDate="2012-05-07T16:21:49.910" UserId="3835" Text="Good Afternoon,&#xD;&#xA;&#xD;&#xA;Just signed up as I'm on a quest to start being more active in the sound design community. I am looking for indy/mod teams to work with on film/animation/games. I am wondering whether you know any websites where communities hang out or work may be going? I have signed up to vimeo and contacted some animators and makers directly but if anyone knows of any 'message board' type websites where adverts may be that would be really helpful.&#xD;&#xA;&#xD;&#xA;Glad to be part of the site.&#xD;&#xA;&#xD;&#xA;Thank you&#xD;&#xA;&#xD;&#xA;Danny" ContentLicense="CC BY-SA 3.0" />
  <row Id="22867" PostHistoryTypeId="1" PostId="13849" RevisionGUID="57719e27-d05f-4af9-87fb-ebca5854d531" CreationDate="2012-05-07T16:21:49.910" UserId="3835" Text="Free-services.. Un-paid creative work" ContentLicense="CC BY-SA 3.0" />
  <row Id="22868" PostHistoryTypeId="3" PostId="13849" RevisionGUID="57719e27-d05f-4af9-87fb-ebca5854d531" CreationDate="2012-05-07T16:21:49.910" UserId="3835" Text="&lt;sound-design&gt;&lt;work&gt;&lt;networking&gt;&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22869" PostHistoryTypeId="2" PostId="13850" RevisionGUID="c57323aa-48a4-4f4e-b8d8-c5f7c13151fc" CreationDate="2012-05-07T16:40:17.710" UserId="3835" Text="I am doing the same thing so I'm glad you asked first. I presumed it would be alright as long as you did what the guys above said. If anything you are helping to promote the product / video" ContentLicense="CC BY-SA 3.0" />
  <row Id="22870" PostHistoryTypeId="2" PostId="13851" RevisionGUID="e8db4f9a-f763-4d1a-99ce-5ed9eb0ec762" CreationDate="2012-05-07T16:53:01.790" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;I've recently finished a theatre-mix, which I delivered as a stereo wav-file at 48 kHz/24bit. The film was shot on a RED at 4K 25 fps.&#xD;&#xA;Protools was also at 48 khz/25fps and everything was fine in the studio during playback and recording. Today the director had a test viewing at a local cinema and unfortunately everything sound pitched down.&#xD;&#xA;&#xD;&#xA;At the postcompany, responsible for creating the MXF files, they've checked framerates etc and everything is runs fine at their end. I must admit I don't have any experienced with Digital Cinema Package (DCP) and MXF-files. First thing I checked was the framerate and samplerate, which are fine also. &#xD;&#xA;&#xD;&#xA;We are a bit clueless.. What could be the problem? Could it be an issue at the cinema?&#xD;&#xA;&#xD;&#xA;Any help is much appreciated!&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="22871" PostHistoryTypeId="1" PostId="13851" RevisionGUID="e8db4f9a-f763-4d1a-99ce-5ed9eb0ec762" CreationDate="2012-05-07T16:53:01.790" UserId="1216" Text="DCP/MXF Projection issues: Sound is pitched down" ContentLicense="CC BY-SA 3.0" />
  <row Id="22872" PostHistoryTypeId="3" PostId="13851" RevisionGUID="e8db4f9a-f763-4d1a-99ce-5ed9eb0ec762" CreationDate="2012-05-07T16:53:01.790" UserId="1216" Text="&lt;dcp&gt;&lt;pitch-issue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22873" PostHistoryTypeId="2" PostId="13852" RevisionGUID="0858685b-6738-46c5-8e1f-574688ab6ece" CreationDate="2012-05-07T17:03:42.533" UserId="1228" Text="I ran into something like this with MacDrive.  In older versions of MacDrive (version 8, on WinXP) SD2 files could be moved around just fine even to NTFS drives, no issue with permissions either.  Then I upgraded to Win 7 with MacDrive8, discovered that in this case if I even so much as TOUCHED an SD2 file to do anything other than reading the file, the resource fork would become destroyed and the file useless, but there were still no permission issues.&#xD;&#xA;&#xD;&#xA;Then I upgraded the MacDrive 9, the problem persisted and after some pleading they give me a registry update to test out.  I ran it, and the Sd2 problem was solved, they could be moved anywhere and the resource fork was fine.  But then sometimes I would run into a permissions problem when copying files from one drive to another - this was new.  After some troubleshooting with them we discovered that when the Sd2 fix was applied, it disabled Zone management (e.g. handling files which are flagged as originating from somewhere outside of your computer drive, hence permissions management problems).  They sent me a registry fix to un-toggle it again, and the Sd2s were problematic but the permissions fixed.  So in the end they provided a set of registry 'toggles' to allow me to switch between the modes as needed, between needing SD2s to function correctly versus having no permissions issue.  It was only some files that kicked permissions issues, and going into the Properties and clicking 'Unblock' would fix it from even happening whether the fix was applied or not.  The catch is though that there doesn't appear to be a folder-level/batch Unblock control so you either need to have Zone management function properly or hand-find every single file which needs to be unblocked.  Hoping to get these SD2 converted then be able to re-enable the Zone management so permissions are never an issue.  Until then, I have to toggle between the two MacDrive modes.  If you have MacDrive and suspect this could be a cause after seeing if Shaun's comment does anything to fix it, I'd be happy to send the registry toggles you're way to give it a shot (they're for v9).  Based on what you provided for info, I'll bet Shaun's answer is the one the go by.&#xD;&#xA;&#xD;&#xA;Just my 2 cents though given that this is the only permissions issues I've run into on Win 7.  Can't say I've ever seen green filenames so my comment may not even apply." ContentLicense="CC BY-SA 3.0" />
  <row Id="22874" PostHistoryTypeId="5" PostId="13848" RevisionGUID="51ea3ff7-4ee7-4633-9529-fc0d399e5b46" CreationDate="2012-05-07T17:33:28.587" UserId="432" Comment="added 25 characters in body" Text="That sometimes happens in Windows with files from OSX; usually ones that have been compressed on a Mac and later extracted on a PC. Go to the highest level parent folder you can (but one that is still green in the explorer), right-click that folder and select properties. Somewhere in the properties dialog, you should be able to find a selection that has to do with encryption (that's what the green filenames mean). Un-encrypt the folder and allow it to apply changes to all files and subfolders. That should take care of your problem.&#xD;&#xA;&#xD;&#xA;**Edit:**&#xD;&#xA;&#xD;&#xA;Just remembered that the encryption attribute is in the &quot;Advanced&quot; menu under the &quot;General&quot; tab in within file properties. So, look there." ContentLicense="CC BY-SA 3.0" />
  <row Id="22875" PostHistoryTypeId="2" PostId="13853" RevisionGUID="bdcebcbb-d74e-4ba6-bb82-9e99a8c99d7b" CreationDate="2012-05-07T17:45:34.360" UserId="730" Text="For me, it was the Spinfusor sounds in Tribes: Ascend.  I must have gone through 30+ different revisions for the spinfusors before finding something that made everyone happy.  The Spinfusor is the iconic disc launcher weapon in Tribes, so I had no room for error." ContentLicense="CC BY-SA 3.0" />
  <row Id="22876" PostHistoryTypeId="2" PostId="13854" RevisionGUID="d523bbb5-5472-491f-97cc-f9e4d6e36aab" CreationDate="2012-05-07T18:16:21.367" UserId="6432" Text="Hi Manuel,&#xD;&#xA;&#xD;&#xA;Perhaps this depends on how experienced you expect your audience to be, but as the conference is focused on cinematography, your approach could be trying to engage your audience with ideas which cross over to their practice. I've often thought that if I ever need to speak in front of a group of directors about sound design I'd base my talk on [Designing a movie for sound][1] by Randy Thom. Getting them excited about sound, and how considering it can potentially enhance their own work (and the film as a whole) would be a big achievement.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://filmsound.org/articles/designing_for_sound.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="22877" PostHistoryTypeId="2" PostId="13855" RevisionGUID="419eddc4-253a-4b9c-a7e0-a6060390c126" CreationDate="2012-05-07T18:21:55.840" UserId="6460" Text="I think this is a fantastic venture and it makes me think of a challenge project I recently completed that's meant to build up recording, editing and design skills. It was dubbed &quot;Guerilla Sound&quot; and the terms were this:&#xD;&#xA;&#xD;&#xA;Have someone else (preferably someone who can understand what you are trying to do) find a very engaging photograph, something with a clear tone —— for instance, a painting by Monet or a photograph from the great depression. The more interesting the photo, the more interesting the project. Your goal is to design a soundscape that you feel is evokative of the elements in the picture. You are allowed only a simple stereo field recorder and a laptop (we were actually forced to use the mic on an iPhone or iPod). When editing, you are allowed only 2 EQs and 1 reverb —— no auxes, but you can use a master fader. Basic processing like gain changes and time/pitch shifts are ok, but nothing more. &#xD;&#xA;&#xD;&#xA;And the biggest rule of all: You have 10 minutes to study the photo, then from the first moment you pick up the recorder to the bounce of the final mix, you must not exceed 2 hours of work. &#xD;&#xA;&#xD;&#xA;This challenged me to harken back to the very bare necessities of sound design —— kind of an homage to the early &quot;musique concréte&quot; style if Pierre Schaeffer and the like. Of course, Shaeffer didn't use an iDevice... but that part of the rules is totally up to you ;).&#xD;&#xA;&#xD;&#xA;I love your ideas, I hope this gives you another springboard.&#xD;&#xA;&#xD;&#xA;Best!&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="22878" PostHistoryTypeId="2" PostId="13856" RevisionGUID="b12c6a47-5fea-403b-b228-f560ff460918" CreationDate="2012-05-07T18:32:22.133" UserId="6460" Text="I agree with Mark, I think this is a great opportunity to speak directly to the cinematographers and talk about how sound can help and affect *their* work. A lot of directors and DPs that I have worked with have heard the &quot;sound is 50-80% of the final film&quot; quote, but they don't know what that really means. Therefore, I would say a good starting place is to talk about the communication in pre-production and production that it takes to get a good sounding movie in post, and the opportunities that can arise when the sound team has a voice during storyboarding. &#xD;&#xA;&#xD;&#xA;Best of luck!&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="22879" PostHistoryTypeId="2" PostId="13857" RevisionGUID="d2536ad2-6891-4958-b681-b0c7248506a0" CreationDate="2012-05-07T18:56:45.410" UserId="3835" Text="Don't know if you have the time and money to grab it but Micheal Chion's 'Audio-Vision' is brilliant. I read it in my first year of uni and it explains the relationship between what we see and hear in a descriptive, interesting and easy to follow way. It also goes into the diagetic, non-diagetic paradigm and how this relates to the Mise-en-scène.&#xD;&#xA;&#xD;&#xA;£7.80 from amazon.&#xD;&#xA;&#xD;&#xA;http://www.amazon.co.uk/gp/offer-listing/0231078994/ref=sr_1_1_olp?ie=UTF8&amp;qid=1336416958&amp;sr=8-1&amp;condition=used" ContentLicense="CC BY-SA 3.0" />
  <row Id="22881" PostHistoryTypeId="2" PostId="13859" RevisionGUID="284dc6c0-70a7-4c1f-9823-bbe9f80a1b1a" CreationDate="2012-05-07T21:03:40.870" UserId="3145" Text="If it sounds like a 4% difference it's possibly running at NTSC speed.  If it's more in the .1% range that could be film speed rather than PAL speed.  Here are some resample rates to help:&#xD;&#xA;&#xD;&#xA;50,050 - 01% Up, 4.1667% Up (NTSC to PAL, film-style)&#xD;&#xA;50,000 - 4.1667% Up (Film to PAL)&#xD;&#xA;48,048 - 0.1% Up (NTSC to Film)&#xD;&#xA;47,952 - 0.1% Down (Film to NTSC)&#xD;&#xA;46,080 - 4% Down (PAL to Film)&#xD;&#xA;46,034 - 4% Down, 01% Down (PAL to NTSC, film-style)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22882" PostHistoryTypeId="2" PostId="13860" RevisionGUID="de5487f8-269e-4da0-9c75-426104d40472" CreationDate="2012-05-07T21:25:14.087" UserId="3837" Text="I recently purchased a Zoom H4N. I imported a wav file that was sent to my PC, and imported it into my H4N. I set up an external mic and can hear the track playing as I test the vocal. When I press record, the backing track goes off and I hear only my exterior mic. Maybe not to clear. It's all new. Just wanted to lay a vocal, no effect, to send to him for mixing. Can someone help me?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22883" PostHistoryTypeId="1" PostId="13860" RevisionGUID="de5487f8-269e-4da0-9c75-426104d40472" CreationDate="2012-05-07T21:25:14.087" UserId="3837" Text="Recording vocal over base track?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22884" PostHistoryTypeId="3" PostId="13860" RevisionGUID="de5487f8-269e-4da0-9c75-426104d40472" CreationDate="2012-05-07T21:25:14.087" UserId="3837" Text="&lt;zoom&gt;&lt;zoom-h4n&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22885" PostHistoryTypeId="2" PostId="13861" RevisionGUID="9af01dd8-f0eb-4b34-8a1e-39fd74f43a18" CreationDate="2012-05-07T22:08:23.463" UserId="3336" Text="I've used both and own the LE... There is actually quite a big difference in the quality of the pre-amps between the LE and FR2, not sure why but the FR-2 pre's are much cleaner. Not so great if you want to record quiet ambience. The LE is still a good buy, I tend to line level out from my sound devices 302 so bypassing the hiss. Battery life could be better but well worth investing in a decent battery as discussed above. Simple to use and reliable.... " ContentLicense="CC BY-SA 3.0" />
  <row Id="22886" PostHistoryTypeId="2" PostId="13862" RevisionGUID="a4761b58-fa87-4e07-a84b-eae125fbe39f" CreationDate="2012-05-08T00:29:11.643" UserId="3811" Text="I have taken the plunge and bought a sound devices 788T with SSD and CL8.&#xD;&#xA;Also a M/S rig consisting of Senn. MKH40/30 combination.&#xD;&#xA;I would love any hints or tips re cabling, bags, tripods, stands.. etc.. all the wee things I dont want to discover I've left out when I arrive at the first port of call!  &#xD;&#xA;Here is the rig as it stands.  &#xD;&#xA;SD788T SSD with CL8  &#xD;&#xA;BK 4006 omnis x2  &#xD;&#xA;Telinga Parabola with stereo dat mic.  &#xD;&#xA;Sennheiser 416 and ME66  &#xD;&#xA;Sennheiser MKH 40/30  &#xD;&#xA;JRF hydrophones C series x2  &#xD;&#xA;JRF Contact mics C series x2  &#xD;&#xA;Various necessary Rycote baskets, windgags and softies..Carbon Boom.  &#xD;&#xA;Manfrotto and gitzo carbon tripods.  &#xD;&#xA;&#xD;&#xA;If there's any hints and tips anyone can give or any glaring ommissions.. please let me know.  &#xD;&#xA;I'm stepping into unfamiliar territory.. the great outdoors. How do I keep the gear dry  etc..? quiet clothing? any favourites? backpacks.. audio bags.. all hints and tips gratefully received.  &#xD;&#xA;Many thanks,   &#xD;&#xA;&#xD;&#xA;Phil." ContentLicense="CC BY-SA 3.0" />
  <row Id="22887" PostHistoryTypeId="1" PostId="13862" RevisionGUID="a4761b58-fa87-4e07-a84b-eae125fbe39f" CreationDate="2012-05-08T00:29:11.643" UserId="3811" Text="Field hints and tips?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22888" PostHistoryTypeId="3" PostId="13862" RevisionGUID="a4761b58-fa87-4e07-a84b-eae125fbe39f" CreationDate="2012-05-08T00:29:11.643" UserId="3811" Text="&lt;field-recording&gt;&lt;sound-design&gt;&lt;equipment&gt;&lt;nature-recording&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22889" PostHistoryTypeId="16" PostId="13862" RevisionGUID="a4761b58-fa87-4e07-a84b-eae125fbe39f" CreationDate="2012-05-08T00:31:28.003" UserId="3811" />
  <row Id="22890" PostHistoryTypeId="2" PostId="13863" RevisionGUID="cb864751-6445-4f91-9d3b-fd44ee6d26a2" CreationDate="2012-05-08T01:13:45.117" UserId="863" Text="You can't do what you want to do with an h4n. Hook it up to your computer and run it as a soundcard and use some multi-tracking software." ContentLicense="CC BY-SA 3.0" />
  <row Id="22891" PostHistoryTypeId="2" PostId="13864" RevisionGUID="913e8863-801b-4398-8595-d765bff92a47" CreationDate="2012-05-08T01:50:15.010" UserId="654" Text="AFAIK DCP spec is to run at 24fps - I dont think you can author a 25fps DCP. I've done a few and they all had to be made to 24fps which would explain the slow down." ContentLicense="CC BY-SA 3.0" />
  <row Id="22892" PostHistoryTypeId="2" PostId="13865" RevisionGUID="2758f23f-4224-4d8f-8977-f5d34e36f481" CreationDate="2012-05-08T02:15:00.797" UserId="3839" Text="I really love the Ozone 5 exciter. I use it all the time. The different harmonic order algorithms you can chose are all different and useful and the overall sound quality is a definite upgrade from Ozone 4. Im not a fan of OneKnob's Brighter myself (though I love Phatter, pretty useful!).&#xD;&#xA;&#xD;&#xA;Also, thought its an EQ, the Waves SSL EQ is great for adding air around 15k and may help in certain cases. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22893" PostHistoryTypeId="2" PostId="13866" RevisionGUID="387fe010-7afe-411e-b4d7-13ff35345e15" CreationDate="2012-05-08T07:56:09.150" UserId="596" Text="hello,&#xD;&#xA;&#xD;&#xA;this must have been asked before though i couldn't find any related question titles via search. i'm looking for recommendation for a resource (library / website) where i could find composed music to be used as a background track within a corporate/advertisement video. i'm designing the sound effects and don't have enough time and budget to also compose a background track from scratch... therefore am looking for a way to pull it off as fast as i can.  &#xD;&#xA;&#xD;&#xA;please advise!&#xD;&#xA;&#xD;&#xA;thanks,&#xD;&#xA;K&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22894" PostHistoryTypeId="1" PostId="13866" RevisionGUID="387fe010-7afe-411e-b4d7-13ff35345e15" CreationDate="2012-05-08T07:56:09.150" UserId="596" Text="background music for corporate video" ContentLicense="CC BY-SA 3.0" />
  <row Id="22895" PostHistoryTypeId="3" PostId="13866" RevisionGUID="387fe010-7afe-411e-b4d7-13ff35345e15" CreationDate="2012-05-08T07:56:09.150" UserId="596" Text="&lt;background&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22896" PostHistoryTypeId="2" PostId="13867" RevisionGUID="9bfcac17-5c34-459d-bf2d-704aacda3f07" CreationDate="2012-05-08T08:27:37.310" UserId="1225" Text="Music stocks, i guess. Audiojungle.com, Productiontrax.com etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="22898" PostHistoryTypeId="2" PostId="13869" RevisionGUID="1aa90267-6186-4b38-a135-1ec6e9180d6f" CreationDate="2012-05-08T11:37:22.783" UserId="432" Text="Obviously, you're gonna need some cables to use all that stuff. ;)&#xD;&#xA;&#xD;&#xA;I would suggest looking into decent bag for your recorder. I'm very fond of [Petrol bags][1] myself. I'd also suggest grabbing a few extra NP-type camcorder batteries and two chargers to carry around with you. The last thing you want is to run out of power. If you've got the chargers with you, you can start recharging a battery as soon as you swap it out.&#xD;&#xA;&#xD;&#xA;Another useful item to have is a bunch of [velcro straps][2] for cable management.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.petrolbags.com/Sound-Bags&#xD;&#xA;  [2]: http://www.homedepot.com/h_d1/N-5yc1v/R-202261940/h_d2/ProductDisplay?catalogId=10053&amp;langId=-1&amp;keyword=velcro&amp;storeId=10051" ContentLicense="CC BY-SA 3.0" />
  <row Id="22899" PostHistoryTypeId="16" PostId="13869" RevisionGUID="1aa90267-6186-4b38-a135-1ec6e9180d6f" CreationDate="2012-05-08T11:37:22.783" UserId="-1" />
  <row Id="22900" PostHistoryTypeId="2" PostId="13870" RevisionGUID="5369d9e7-0918-4759-844b-51f9429b51ad" CreationDate="2012-05-08T11:44:06.853" UserId="432" Text="I'm going to echo people on the pull/up pull/down idea. A producer I was recently working with was trying to decide whether to convert his PAL project to 24 for the DCP. After talking with the company that would be converting to DCP for him, he found out that only about 80% of the projectors out there can play 25fps. So, he went with 24. That meant we had to make the necessary pull-down and post process pitch correction before handing it over for the DCP.&#xD;&#xA;&#xD;&#xA;If you delivered for a project at a rate of 25fps, it's possible the DCP house did the pull-down without a pitch correction. I suppose it's also possible that you've got a 25fps DCP that's simply being played back at the wrong speed by a projector that falls into the 20% that can't handle it." ContentLicense="CC BY-SA 3.0" />
  <row Id="22901" PostHistoryTypeId="2" PostId="13871" RevisionGUID="73405ad3-02a0-4770-ae07-01bc61870bb9" CreationDate="2012-05-08T12:14:55.687" UserId="3746" Text="Try this site&#xD;&#xA;http://rocksuresoundz.com &#xD;&#xA;&#xD;&#xA;I am one of the main contributors to music on the site. It's not as large as some of the other libraries out there, but there still plenty of different styles and songs available." ContentLicense="CC BY-SA 3.0" />
  <row Id="22902" PostHistoryTypeId="5" PostId="13851" RevisionGUID="a6c8cba5-2bf4-4aab-b210-00483c7bf007" CreationDate="2012-05-08T14:58:19.313" UserId="1216" Comment="updated to current situation" Text="Hi,&#xD;&#xA;&#xD;&#xA;I've recently finished a theatre-mix, which I delivered as a stereo wav-file at 48 kHz/24bit. The film was shot on a RED at 4K 25 fps.&#xD;&#xA;Protools was also at 48 khz/25fps and everything was fine in the studio during playback and recording. Today the director had a test viewing at a local cinema and unfortunately everything sound pitched down.&#xD;&#xA;&#xD;&#xA;At the postcompany, responsible for creating the MXF files, they've checked framerates etc and everything is runs fine at their end. I must admit I don't have any experienced with Digital Cinema Package (DCP) and MXF-files. First thing I checked was the framerate and samplerate, which are fine also. &#xD;&#xA;&#xD;&#xA;We are a bit clueless.. What could be the problem? Could it be an issue at the cinema?&#xD;&#xA;&#xD;&#xA;UPDATE: first of all thanks all for the responses, great to hear from you!&#xD;&#xA;The DCP house has checked the soundtrack again today and described it differently than the director (to add to the confusion :) But the projector at the venue is able to play 25fps files, so that's not the issue. The dcp house is researching the issue further, so for now there is not a lot I can do. I have told them that I can provide a pitched version for 24fps playback if necessary. So thanks for those tips guys, really appreciate it!&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="22903" PostHistoryTypeId="2" PostId="13872" RevisionGUID="247ee352-6379-4c5c-b88a-3ce1d4a6589b" CreationDate="2012-05-08T15:34:59.340" UserId="285" Text="These two threads will provide you with a lot of great ideas.  All the stuff you might need but won't find in an audio shop.&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/8017/what-non-standard-gear-is-an-important-part-of-your-kit&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/252/what-are-the-small-bits-in-your-field-recording-bag" ContentLicense="CC BY-SA 3.0" />
  <row Id="22904" PostHistoryTypeId="16" PostId="13872" RevisionGUID="247ee352-6379-4c5c-b88a-3ce1d4a6589b" CreationDate="2012-05-08T15:34:59.340" UserId="-1" />
  <row Id="22905" PostHistoryTypeId="2" PostId="13873" RevisionGUID="5fbe3ec0-cd24-4077-8c2a-9a567dd6371c" CreationDate="2012-05-08T15:46:20.087" UserId="3280" Text="I realize that this question is almost a year old, but in case you weren't aware..  soundplusdesign recently released a free desktop app called [phonolapse][1] that does exactly this kind of time-lapse recording. It records slices of audio and compiles them into an audio file.  You can control both the length of the slices and the intervals between recording.  I haven't played around with it yet, but it looks pretty cool. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundplusdesign.com/?p=5059" ContentLicense="CC BY-SA 3.0" />
  <row Id="22906" PostHistoryTypeId="2" PostId="13874" RevisionGUID="1cc0ae53-427b-4217-8227-e4ac85d78994" CreationDate="2012-05-08T20:10:52.860" UserId="189" Text="Hey There.&#xD;&#xA;Try this site : http://www.smartsound.com/&#xD;&#xA;There are some good options there.&#xD;&#xA;M" ContentLicense="CC BY-SA 3.0" />
  <row Id="22907" PostHistoryTypeId="2" PostId="13875" RevisionGUID="75ef8ab0-e2da-4d74-ac76-a78cd57ddc5b" CreationDate="2012-05-08T21:04:14.653" UserId="1278" Text="You need to time-stretch your final audio (I use Waves SoundShifter) by 4% in order to match the picture. If you leave it to the DCP production house, they will either slow it down (pitching it down as well) - as in your case, or worse - leave the audio at 25fps and everything will be out of sync. I have converted a fair amount of shows to DCP originally shot at 25fps. Everything had to be time-stretched to 24fps. While in theory the DCP spec supports 25fps, none of the cinemas I know are capable of handling it. So it has to be 24fps, unless you are specifically asked for another framerate (such as 25fps)." ContentLicense="CC BY-SA 3.0" />
  <row Id="22908" PostHistoryTypeId="2" PostId="13876" RevisionGUID="6658dc09-1a78-4ec0-8ca8-a7d316a4e8a0" CreationDate="2012-05-08T22:27:35.433" UserId="3840" Text="Only just come across these questions but heres what I have found:&#xD;&#xA;&#xD;&#xA;I have used a NTG3 with phantom 48v from a H4N. Works great.&#xD;&#xA;Then used a NTG2 with battery and/or phantom 48v and found the levels very low. Had to normalise in audacity etc. Not good.&#xD;&#xA;&#xD;&#xA;Mono-Mix is used to record mono (dialogue).  It makes the Zoom record the same on both channels so when you load it up into Audacity you will see the 2 stereo channels.  But the recording is the same on both - so delete one and hey presto, your mono dialogue that your post-processing sound guru will love you dearly for.&#xD;&#xA;&#xD;&#xA;My issue still stands though - the recording is low - even with rec levels maxed out. Very surprised at this. Therefore am doing some research into pre-amps e.g. Sound Devices MixPre and Sound Devices MM1.  However, am taking the whole set up to some people much more experienced than I tomorrow so maybe it might be my set up thats wrong on the Zoom. I will soon know!&#xD;&#xA;&#xD;&#xA;But it so far looks like a portable pre-amp is on the cards - or a NTG3 :(&#xD;&#xA;&#xD;&#xA;Thanks for listening :)&#xD;&#xA;Doug.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22909" PostHistoryTypeId="2" PostId="13877" RevisionGUID="464be0e0-597b-4176-94f2-0b4a941f19bf" CreationDate="2012-05-09T03:53:27.187" UserId="6435" Text="extrememusic.com, audiosparx.com, jinglepunks.com..." ContentLicense="CC BY-SA 3.0" />
  <row Id="22910" PostHistoryTypeId="2" PostId="13878" RevisionGUID="c63a43fc-88c3-4d66-8210-3fbf5e16a7d9" CreationDate="2012-05-09T06:51:28.267" UserId="3093" Text="Hello everyone!, this friday I will have my new mac mini server with me. My question is relating its 2 hard drives;how should I manage data? **Should I install the OS in both of them?** ***what should I place in the second hard drive?*** I know having a separate hard drive for your audio utilizations is better, but how? I mean, **should I place plugins, daws, samples,etc. or what in it?** &#xD;&#xA;Thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="22911" PostHistoryTypeId="1" PostId="13878" RevisionGUID="c63a43fc-88c3-4d66-8210-3fbf5e16a7d9" CreationDate="2012-05-09T06:51:28.267" UserId="3093" Text="Computer with 2 Hard Drives" ContentLicense="CC BY-SA 3.0" />
  <row Id="22912" PostHistoryTypeId="3" PostId="13878" RevisionGUID="c63a43fc-88c3-4d66-8210-3fbf5e16a7d9" CreationDate="2012-05-09T06:51:28.267" UserId="3093" Text="&lt;organization&gt;&lt;computer&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22913" PostHistoryTypeId="2" PostId="13879" RevisionGUID="ebb8deb2-46b5-4927-99c2-e51e35df465e" CreationDate="2012-05-09T07:11:51.453" UserId="1055" Text="you can check my older tunes, if something fits your video, hit me up on soundcloud or here, will give it away for free ;)&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/formatnone" ContentLicense="CC BY-SA 3.0" />
  <row Id="22914" PostHistoryTypeId="2" PostId="13880" RevisionGUID="a50fa559-1690-4dbf-90c5-50dced88a025" CreationDate="2012-05-09T07:27:25.717" UserId="221" Text="Drive 1 - Put the OS, all applications, plug-ins etc&#xD;&#xA;&#xD;&#xA;Drive 2 - All media, so projects, samples, audio content etc.&#xD;&#xA;&#xD;&#xA;The basic rule is that the operating system and applications should be on a drive together and you shouldn't put any media on that drive. S all projects, samples etc on the second and subsequent drives.&#xD;&#xA;&#xD;&#xA;Hope that helps,&#xD;&#xA;&#xD;&#xA;Mike." ContentLicense="CC BY-SA 3.0" />
  <row Id="22915" PostHistoryTypeId="2" PostId="13881" RevisionGUID="efd34811-9d06-457d-87a2-c67e5fdcb4b9" CreationDate="2012-05-09T08:22:54.167" UserDisplayName="user49" Text="Depends what you're using it for? &#xD;&#xA;&#xD;&#xA;if working to video I would split it&#xD;&#xA;&#xD;&#xA;Drive 1 - OS/apps &amp; video&#xD;&#xA;&#xD;&#xA;Drive 2 - all audio&#xD;&#xA;&#xD;&#xA;this way if say you're running a big session &amp; working to picture, the data throughput/workload when you hit play is spread between drives...  works for me&#xD;&#xA;(my assistants PT10 station is mac mini server quad with 2 internal drives)&#xD;&#xA;&#xD;&#xA;But if you aren't working to picture/video then you'd reassess what demands are being put on the drives for real time playback.... eg streaming sample libraries vs audio tracks&#xD;&#xA;&#xD;&#xA;FWIW I have always run QTs (720p or 1080p PhotoJPG) off the same drive as the OS &amp; apps" ContentLicense="CC BY-SA 3.0" />
  <row Id="22916" PostHistoryTypeId="2" PostId="13882" RevisionGUID="fbbbf724-0a77-4900-99ce-62646693f901" CreationDate="2012-05-09T09:15:44.323" UserId="3179" Text="http://www.wreckamovie.com/&#xD;&#xA;&#xD;&#xA;http://www.moddb.com/forum/board/recruiting-resumes" ContentLicense="CC BY-SA 3.0" />
  <row Id="22917" PostHistoryTypeId="2" PostId="13883" RevisionGUID="bc7a2851-ed33-44d4-940c-2390e07e7670" CreationDate="2012-05-09T15:02:02.450" UserId="3420" Text="Hey everyone, &#xD;&#xA;&#xD;&#xA;I have a really simple question: With an SM57 how would you go about recording bangs, and slams, and rubble falling.&#xD;&#xA;&#xD;&#xA;I ALWAYS peak. Is it a case of simple doing tests. . .setting the level so that it goes as close to the peak as possible. . And then recording it? If you do a test recording of a series of sounds do you always turn up the gain as high as possible so that it goes way close to the peak? Or do you always make sure it stays green in the levels then adjust volume in post? I never know whether recordings should have a majority of their sound in the green mid, or the high orange?&#xD;&#xA;&#xD;&#xA;It never seems to be loud enough for my liking!&#xD;&#xA;&#xD;&#xA;Any tips?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22918" PostHistoryTypeId="1" PostId="13883" RevisionGUID="bc7a2851-ed33-44d4-940c-2390e07e7670" CreationDate="2012-05-09T15:02:02.450" UserId="3420" Text="Recording &quot;Bangs&quot; etc" ContentLicense="CC BY-SA 3.0" />
  <row Id="22919" PostHistoryTypeId="3" PostId="13883" RevisionGUID="bc7a2851-ed33-44d4-940c-2390e07e7670" CreationDate="2012-05-09T15:02:02.450" UserId="3420" Text="&lt;foley&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22920" PostHistoryTypeId="2" PostId="13884" RevisionGUID="1c112f86-025a-4cb9-87e4-3d361a85f4fc" CreationDate="2012-05-09T16:45:47.497" UserId="6460" Text="It would help to know what kinds of bangs you are recording. Are these intended to be big metal clangs? Low-frequency impacts? Car crashes? What recording device are you using? Are you hearing the clipping or just seeing it on the meters?&#xD;&#xA;&#xD;&#xA;In most cases, the key ingredients to a powerful and believable impact recording are multiple perspectives (layers), spatialization, and proper use of compression/limiting. This is all very possible to do with a single SM57, it will just take a little editing in a DAW afterward. Try recording each sound from a few different perspectives, such as: extreme closeup, a couple feet away, underneath, from above, from across the room, from around the corner, and from the next room over. &#xD;&#xA;&#xD;&#xA;Much like recording gunshots, if you only use the closeup recording then you will only get the sharp crack of the impact —— and by the time you bring the gain up enough to catch the decay of the sound, you'd be well into clipping-land. By layering the crack of the close perspectives with the body and decay of the distant ones, you get a well-rounded impact sound with perceived size. Adding a little limiting to the whole mix can add in some punch and bring the average level up, as well.&#xD;&#xA;&#xD;&#xA;And a word on clipping: it isn't always the worst thing in the world. With a sound like a metallic bang, it's very likely that the initial transient will clip the input, but it's often so quick that you do not perceive the distortion when you listen back. Only when the sound audibly clips for more than a few milliseconds does it become a real issue. In the end, use your ears and don't worry about red warning lights.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22924" PostHistoryTypeId="2" PostId="13886" RevisionGUID="da49c20f-4c78-47e4-99ce-3356bbaabce7" CreationDate="2012-05-09T17:56:29.697" UserId="3740" Text="Hi all,&#xD;&#xA;&#xD;&#xA;Im doing the sound design for a short film that primarily involves fighting. I'm looking to buy a sound effects pack like this, http://arrowheadaudiosfx.com/AAS-004.html. Except that im looking for more of a compilation of 'fighting impact' sounds, like a punch or kick to the gut kinda thing. So im looking for more of a pack/compilation rather than those single sounds. Does anyone have a recommendation? &#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22925" PostHistoryTypeId="1" PostId="13886" RevisionGUID="da49c20f-4c78-47e4-99ce-3356bbaabce7" CreationDate="2012-05-09T17:56:29.697" UserId="3740" Text="Looking to buy a sound effects pack (hand-to-hand combat impact sounds)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22926" PostHistoryTypeId="3" PostId="13886" RevisionGUID="da49c20f-4c78-47e4-99ce-3356bbaabce7" CreationDate="2012-05-09T17:56:29.697" UserId="3740" Text="&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22927" PostHistoryTypeId="2" PostId="13887" RevisionGUID="44762e69-6cfe-41d2-8d7c-fcfaa5d00796" CreationDate="2012-05-09T18:55:13.330" UserId="3649" Text="Hello again everyone.&#xD;&#xA;&#xD;&#xA;So, I was recently re viewing Ben Burtt's Sound Design Special Features on the Wall E DVD and noticed he used a digital pen pad to manipulate some digital audio. &#xD;&#xA;&#xD;&#xA;I am highly interested in anything related to Ben Burtt and how he operates, and this controller seems highly intriguing.&#xD;&#xA;&#xD;&#xA;I wondered if it is some sort of ribbon controller?&#xD;&#xA;&#xD;&#xA;Like a touch sensitive pad with the pen just being assigned to control whatever parameters you set it too, or is it more than this?&#xD;&#xA;&#xD;&#xA;can anyone shed some light on the subject?&#xD;&#xA;&#xD;&#xA;Thanks to all.&#xD;&#xA;&#xD;&#xA;- Simon." ContentLicense="CC BY-SA 3.0" />
  <row Id="22928" PostHistoryTypeId="1" PostId="13887" RevisionGUID="44762e69-6cfe-41d2-8d7c-fcfaa5d00796" CreationDate="2012-05-09T18:55:13.330" UserId="3649" Text="Wall E Special Features - What is that pen pad controller Ben Burtt Uses?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22929" PostHistoryTypeId="3" PostId="13887" RevisionGUID="44762e69-6cfe-41d2-8d7c-fcfaa5d00796" CreationDate="2012-05-09T18:55:13.330" UserId="3649" Text="&lt;sound-design&gt;&lt;gear&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22930" PostHistoryTypeId="2" PostId="13888" RevisionGUID="2086557f-6851-4e05-b9f1-9aa0992ef4f9" CreationDate="2012-05-09T19:01:49.603" UserId="3754" Text="im no expert, but I believe any sketching pad, like wacom tablets, can be assigned to control midi parameters, on an X/Y basis. So it could have surround/plug in controlling uses?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22931" PostHistoryTypeId="2" PostId="13889" RevisionGUID="fbb85732-64e5-4b37-b0e9-b5f3518d599c" CreationDate="2012-05-09T19:10:29.073" UserId="182" Text="It is a Wacom Tablet that is connected to a [Kyma System][1], a freely programmable, modular sound design environment.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.symbolicsound.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22932" PostHistoryTypeId="2" PostId="13890" RevisionGUID="b9095f9c-b9bf-454f-bcbb-46f686fc188d" CreationDate="2012-05-09T19:23:25.540" UserId="3567" Text="Even if you get a really awesome sound effects pack, I wouldn't recommend using them as they come. You should try layering different and apparently unrelated sounds to get just the right sound effects. That said, it doesn't make a great difference what you use as starting point." ContentLicense="CC BY-SA 3.0" />
  <row Id="22933" PostHistoryTypeId="5" PostId="13889" RevisionGUID="cd98e2da-fcb5-4ceb-b211-dd2e9d9d68ac" CreationDate="2012-05-09T19:26:05.273" UserId="182" Comment="added 335 characters in body; added 4 characters in body" Text="It is a Wacom Tablet that is connected to a [Kyma System][1], a freely programmable, modular sound design environment. So he uses it as an XY pad, but because the tablet also registers pressure and the angle (tilt) of the pen, it can control more than two parameters at once.&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;See it in action from 6:25:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?feature=player_detailpage&amp;v=eySh8FOUphM#t=385s&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.symbolicsound.com/&#xD;&#xA;  [2]: http://s13.postimage.org/5ldn8ulgn/kyma.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="22936" PostHistoryTypeId="2" PostId="13891" RevisionGUID="2eeec09d-2b46-4bdd-a4a2-b4212fae2ab7" CreationDate="2012-05-09T21:38:13.123" UserId="844" Text="http://hissandaroar.com/sd001-vegetable-violence/&#xD;&#xA;&#xD;&#xA;http://hissandaroar.com/sd002-swishes/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22937" PostHistoryTypeId="2" PostId="13892" RevisionGUID="97faa32c-811f-4874-975a-9e749352f0d9" CreationDate="2012-05-10T05:45:02.153" UserId="61" Text="To offer an alternative viewpoint on what @Matt Glenn has said, I challenge you to use EQ, spatialization and compression/limiting INCORRECTLY in post processing - many times you need to push the envelope (or completely destroy it) in order to achieve the sound you are hearing in your head. Liberal use of distortion plugs, overlimiting and other red LED-inducing tools could be your friend.&#xD;&#xA;&#xD;&#xA;Regarding your levels during recording, I also feel that staying away from too many peaks is a good and safe practice, but with certain types of material (gunshots, metal impacts, chains, etc) it's almost inevitable that you will encounter transient peaks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22938" PostHistoryTypeId="2" PostId="13893" RevisionGUID="1a094e3f-56e3-4d23-8eab-047b269e46a7" CreationDate="2012-05-10T10:11:26.717" UserId="6462" Text="I've now added some sounds I recorded to my SoundCloud account:&#xD;&#xA;[Sounds from Dubai - April 2012][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://snd.sc/IEyVZh" ContentLicense="CC BY-SA 3.0" />
  <row Id="22939" PostHistoryTypeId="2" PostId="13894" RevisionGUID="5b47de2e-2f13-4303-bbc2-714a46dd56fb" CreationDate="2012-05-10T14:42:09.283" UserId="3814" Text="I'm a musician/engineer and have not used pro tools in ten years, I'm now researching cheap ways to get up and running at home, and need advice on MP9 vs. Pro Tools SE, and how to get bang for my buck in the computer Department as well. I'm fairly well retarded with computers, and want to keep it simple and effective; a dedicated computer, only running pro tools.&#xD;&#xA;Any perspective would be greatly appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="22940" PostHistoryTypeId="1" PostId="13894" RevisionGUID="5b47de2e-2f13-4303-bbc2-714a46dd56fb" CreationDate="2012-05-10T14:42:09.283" UserId="3814" Text="Getting back into Pro Tools, Advice?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22941" PostHistoryTypeId="3" PostId="13894" RevisionGUID="5b47de2e-2f13-4303-bbc2-714a46dd56fb" CreationDate="2012-05-10T14:42:09.283" UserId="3814" Text="&lt;pro-tools&gt;&lt;musician&gt;&lt;mac&gt;&lt;interface&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22942" PostHistoryTypeId="2" PostId="13895" RevisionGUID="73fa78a6-b708-4810-9f97-4696bd194c05" CreationDate="2012-05-10T19:36:03.620" UserId="3286" Text="Just to echo, here's my desktop rig:&#xD;&#xA;&#xD;&#xA;Drive 1 (120GB SSD) - OS, Applications, Plugins&#xD;&#xA;&#xD;&#xA;Drive 2 (1.5 TB) - Personal documents, music, videos, *client information*&#xD;&#xA;&#xD;&#xA;Drive 3 (1 TB) - Pro Tools Audio *only*&#xD;&#xA;&#xD;&#xA;Drive 4 (1 TB) - Video for Pro Tools *only* (all in DV25 format, using DVCPRO codec)&#xD;&#xA;&#xD;&#xA;Drive 5 (1 TB) - Sound FX Library (all linked to SoundMiner)&#xD;&#xA;&#xD;&#xA;I also have another drive I use for Final Cut capture scratch...&#xD;&#xA;&#xD;&#xA;For a mini, I'd look at putting your OS and apps on the main drive and putting all PT audio on the other one.  Then I'd really suggest looking into separate drives later to run your video files and maybe a sound fx library, if you do post work." ContentLicense="CC BY-SA 3.0" />
  <row Id="22943" PostHistoryTypeId="5" PostId="13891" RevisionGUID="6299d423-14b0-4d87-a8c8-a5c540a33d8e" CreationDate="2012-05-10T19:56:13.970" UserId="844" Comment="added 24 characters in body" Text="http://hissandaroar.com/sd001-vegetable-violence/&#xD;&#xA;&#xD;&#xA;http://hissandaroar.com/sd002-swishes/&#xD;&#xA;&#xD;&#xA; created by Tim Prebble " ContentLicense="CC BY-SA 3.0" />
  <row Id="22944" PostHistoryTypeId="2" PostId="13896" RevisionGUID="034b45c0-95ea-484b-9fbe-004a02f2acd4" CreationDate="2012-05-10T23:49:09.213" UserId="3798" Text="thank you guys! i really lost my recording... but you all helped me a lot" ContentLicense="CC BY-SA 3.0" />
  <row Id="22945" PostHistoryTypeId="2" PostId="13897" RevisionGUID="4efa28e3-f12d-4821-8c06-db5ab2bb85c7" CreationDate="2012-05-11T00:20:23.327" UserId="3420" Text="Thanks guys! Even when I put an sm57 next to a drawer and slam it it'll always peak unless I turn the gain right down. &#xD;&#xA;&#xD;&#xA;Then in post If I increase the volume - ill get a lot of noise :(&#xD;&#xA;&#xD;&#xA;Do you turn your gain down a lot for loud impulses - much lower than you would for ....say.....some cloth rustling for example. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22946" PostHistoryTypeId="2" PostId="13898" RevisionGUID="452b790a-18a9-4e56-b732-7c19cf7a0f09" CreationDate="2012-05-11T02:38:00.463" UserId="3676" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I've struggled with this for years.  How do you all go about eq'ing and mixing a bass line in a heavy beats stlye track and make it sound good/tough coming through laptop speakers.  I'm aware that the frequency response of the speakers will remove the low frequencies, but in my case when I check the mix from headphones/monitors to laptop speakers my bass line is barely audible. It always disappoints me that I can no longer hear what note is being played.&#xD;&#xA;&#xD;&#xA;Is there there a mixing trick for this? I've often wondered if people layer in a mid to high version of the bass line so that it pokes through the mix.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="22947" PostHistoryTypeId="1" PostId="13898" RevisionGUID="452b790a-18a9-4e56-b732-7c19cf7a0f09" CreationDate="2012-05-11T02:38:00.463" UserId="3676" Text="Why does my bassline disappear in mix?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22948" PostHistoryTypeId="3" PostId="13898" RevisionGUID="452b790a-18a9-4e56-b732-7c19cf7a0f09" CreationDate="2012-05-11T02:38:00.463" UserId="3676" Text="&lt;mix&gt;&lt;eq&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22949" PostHistoryTypeId="2" PostId="13899" RevisionGUID="edf1001f-8733-431d-b184-3d6ee8a45684" CreationDate="2012-05-11T06:44:51.000" UserId="1178" Text="Just make sure you have reserved appropriate space for the bass in the mix and your bass actually has some mid / hi frequencies as well. I usually have 2-3 different layers of bass in my tracks, sub, mid and / or his. I then mix all of these layers into additional sum bus, thus giving me more control how the bass sound actually sounds. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22950" PostHistoryTypeId="2" PostId="13900" RevisionGUID="489ca98c-b6a4-4b8b-a7d4-fd0b9f91f51a" CreationDate="2012-05-11T07:22:17.340" UserId="1228" Text="As a quick answer, have you tried investigating MaxxBass/RBass and/or LoAir?  They operate off of different principals but that's a way to introduce to low end punch which tends to read.  I'm sure there's other plugins like it as well - those ones just come to mind though because I work with them." ContentLicense="CC BY-SA 3.0" />
  <row Id="22951" PostHistoryTypeId="2" PostId="13901" RevisionGUID="67133115-7d18-4e67-b2b7-0e05356f4adf" CreationDate="2012-05-11T08:41:51.757" UserDisplayName="user80" Text="If you use a harmonic generator you can introduce additional harmonics of the low notes, which will allow the notes to cut through a bit more.  The listener will hear phantom notes or difference tones, even though the laptop was not capable of reproducing the low frequencies.  You will obviously need to tune the harmonic generator and use appropriate EQ, it is not an on/off effect. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22952" PostHistoryTypeId="2" PostId="13902" RevisionGUID="4753fb62-4cca-42eb-8e26-b84256cac418" CreationDate="2012-05-11T10:17:12.817" UserId="6420" Text="&#xD;&#xA;Lots of great stuff already mentioned, but I'd also recommend checking Bobby Owsinski's blog too.&#xD;&#xA;&#xD;&#xA;Saw a recent blog post that you might find useful..&#xD;&#xA;http://bobbyowsinski.blogspot.co.uk/2012/04/5-tips-for-balancing-bass-and-drum-mix.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="22953" PostHistoryTypeId="2" PostId="13903" RevisionGUID="00cf2318-1ad2-45f0-948e-ab0905c97326" CreationDate="2012-05-11T13:07:28.600" UserId="37" Text="Whack an analog distortion thing on it, VintageWarmer maybe? Very little, very subtle. Also play with EQ, boosting frequencies that are -not- bass at all. Your brain will then reconstruct things in its own wonderful way." ContentLicense="CC BY-SA 3.0" />
  <row Id="22954" PostHistoryTypeId="2" PostId="13904" RevisionGUID="bbf4b1ea-5a62-42a9-9bdb-93474dd24808" CreationDate="2012-05-11T13:40:30.100" UserId="863" Text="mix out the Eq's that clash. You don't want much sitting in there in the same EQ range affecting your bass. Try some Side-chain compression as well with the bass drum to make it punch through a mix. &#xD;&#xA;&#xD;&#xA;What kind of music is it anyway?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22955" PostHistoryTypeId="5" PostId="9128" RevisionGUID="a6797a5f-7f08-4977-9c16-bfe6c076ac8f" CreationDate="2012-05-11T15:48:32.847" UserId="1185" Comment="added 2 characters in body" Text="If you install the CoreAudio SDK (assuming you're on a Mac) you get a host called &quot;AU Lab&quot;.  Find it at /Developer/Applications/Audio.  This is the most lightweight host you'll find that we AU developers use for testing the AUs without the hassle of starting Logic." ContentLicense="CC BY-SA 3.0" />
  <row Id="22956" PostHistoryTypeId="2" PostId="13905" RevisionGUID="908fc720-9f70-4880-9dbd-a8c71b25aa88" CreationDate="2012-05-11T16:13:16.107" UserId="533" Text="I'm an avid Pro Tools user but haven't really compared those two options. I believe Pro Tools SE only comes with Avid/M-Audio bundled hardware so if you are getting those hardware, you can try it out first before knowing to buy M-Powered. &#xD;&#xA;&#xD;&#xA;I'm not sure what else you are looking for with regards to advice so some specifics would be useful.&#xD;&#xA;&#xD;&#xA;If you want cheap, you can try out Presonus' [Studio One Free][1] as an alternative. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://studioone.presonus.com/free/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22957" PostHistoryTypeId="2" PostId="13906" RevisionGUID="f9ebfef8-6b1c-40eb-afb8-8eee92f0590d" CreationDate="2012-05-11T18:11:42.033" UserId="1159" Text="I use Sample Manager in that way lots of times. It's a really good batch processor." ContentLicense="CC BY-SA 3.0" />
  <row Id="22958" PostHistoryTypeId="2" PostId="13907" RevisionGUID="08873ab5-b86d-44ee-af33-1a6c40f9ae59" CreationDate="2012-05-11T18:17:41.837" UserId="3844" Text="MetadataTouch can also do it." ContentLicense="CC BY-SA 3.0" />
  <row Id="22959" PostHistoryTypeId="2" PostId="13908" RevisionGUID="4d333a0d-922f-4686-8fbb-8a4cef820c3a" CreationDate="2012-05-11T20:25:10.973" UserId="3845" Text="Ive been asked to spec mics and sound for a outdoor mini theatre production.&#xD;&#xA;Involving 2 performers in a booth (think punch &amp; judy lifeseze). &#xD;&#xA;Theywant to mic voices and add incidental underscore to speakers fixed to side or top of 2.5m x 1m booth (audiences 50-250). without an enginner on the mix or FOH... ahhh!&#xD;&#xA;&#xD;&#xA;Any suggesttions greatly appreciated.&#xD;&#xA;I'm thinking:&#xD;&#xA;- Belt pack radios with either slim hedset mics or cardiod lavaliers, fitted into their masks (2 peice mask with clear mouth area).&#xD;&#xA;Problem is they duck up/down in the booth, ruff around play fight etc, hang in/out of booth.&#xD;&#xA;&#xD;&#xA;Fixed mics seem impossible as the gain b4 feedback gunna be a constant issue so close to speakers, would have to be concealed aestheticallY and they twist and wrestle about alot so on/off axis..&#xD;&#xA;&#xD;&#xA;Any suggestions?? and or recomended mics?" ContentLicense="CC BY-SA 3.0" />
  <row Id="22960" PostHistoryTypeId="1" PostId="13908" RevisionGUID="4d333a0d-922f-4686-8fbb-8a4cef820c3a" CreationDate="2012-05-11T20:25:10.973" UserId="3845" Text="Live micing mare! 2 performers, ina tight booth, outdoors, 2ft from speakers, no engineer" ContentLicense="CC BY-SA 3.0" />
  <row Id="22961" PostHistoryTypeId="3" PostId="13908" RevisionGUID="4d333a0d-922f-4686-8fbb-8a4cef820c3a" CreationDate="2012-05-11T20:25:10.973" UserId="3845" Text="&lt;feedback&gt;&lt;radio&gt;&lt;microphone&gt;&lt;performance&gt;&lt;lavalier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22962" PostHistoryTypeId="2" PostId="13909" RevisionGUID="bae2de25-dd9a-432c-8443-bc333c3cb290" CreationDate="2012-05-11T23:29:11.903" UserId="863" Text="worked with puppeteers including the amazing Kevin clash and they use headbands with a wired lapel mic attached pointing towards the mouth. This is also the technique used for the actors in Where the Wild things are. Rather than ADR it straight to mic they acted it all out.&#xD;&#xA;&#xD;&#xA;Could be worth a try and that way you can use quite a directional microphone without it beng affected by head/mouth position." ContentLicense="CC BY-SA 3.0" />
  <row Id="22963" PostHistoryTypeId="2" PostId="13910" RevisionGUID="139fe4b6-0ed3-4cb8-a92b-b83aad9a2c72" CreationDate="2012-05-11T23:31:06.393" UserId="3525" Text="Anybody know of any great sound Fx packs that are great for designing sound for film trailers. Like rises, impacts, and stingers, etc. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22964" PostHistoryTypeId="1" PostId="13910" RevisionGUID="139fe4b6-0ed3-4cb8-a92b-b83aad9a2c72" CreationDate="2012-05-11T23:31:06.393" UserId="3525" Text="Trying to find a great sound FX pack that aims at Trailers" ContentLicense="CC BY-SA 3.0" />
  <row Id="22965" PostHistoryTypeId="3" PostId="13910" RevisionGUID="139fe4b6-0ed3-4cb8-a92b-b83aad9a2c72" CreationDate="2012-05-11T23:31:06.393" UserId="3525" Text="&lt;sound-effects&gt;&lt;sound-libraries&gt;&lt;sound-design&gt;&lt;trailer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22966" PostHistoryTypeId="2" PostId="13911" RevisionGUID="54daa4d9-3acd-4ea5-84c8-79ab71dcd615" CreationDate="2012-05-11T23:43:17.527" UserId="670" Text="The BOOM Cinematic Trailer Construction Kit is great for what you're looking for. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22967" PostHistoryTypeId="2" PostId="13912" RevisionGUID="ed5c53c9-822f-41e3-b274-562689aedd51" CreationDate="2012-05-11T23:46:30.140" UserId="3525" Text="I keep procrastinating on buying that! haha is it worth it I really would love to talk to someone who used it. The one effect I have been trying to find is that steady rise where it sounds like strings being stretched out or a screaming crescendo" ContentLicense="CC BY-SA 3.0" />
  <row Id="22968" PostHistoryTypeId="2" PostId="13913" RevisionGUID="8b372fd3-a71d-4913-97d6-a6fa02e41f5d" CreationDate="2012-05-12T03:34:25.413" UserId="1129" Text="This is very doable.  Here are some options:&#xD;&#xA;Wired Lavaliere (less expensive, movement restrictive but they are in a box anyway) &#xD;&#xA;Wireless Lavaliere (more expensive, more maintenance required, lots of freedom of movement) &#xD;&#xA;&#xD;&#xA;Mount them in their hair above the mask, or near the edge of the mask by the mouth.&#xD;&#xA;Omnis will give you a more natural sound, but a cardioid will give you a bit more gain.&#xD;&#xA;Think DPA, Countryman B3, B6, something like that.&#xD;&#xA;&#xD;&#xA;An earset would give you great gain, if you can work it around the mask and the aesthetics aren't ruined by the boom.  Countryman E6, or use your favorite lavaliere with some floral wire to make your own.&#xD;&#xA;&#xD;&#xA;A small mixer in the box with the performers would let them control levels and trigger fx.  Add to that a pair of powered speakers and you should be good to go.&#xD;&#xA;&#xD;&#xA;Even with omnis you should get a decent amount of gain if you have room to play around with the speaker placement.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="22969" PostHistoryTypeId="2" PostId="13914" RevisionGUID="23995555-9896-48f0-9d25-7bb58bd34db5" CreationDate="2012-05-12T03:42:47.247" UserId="1129" Text="magnatune.com&#xD;&#xA;freeplaymusic.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="22970" PostHistoryTypeId="2" PostId="13915" RevisionGUID="84c063e8-66a2-412c-a27e-27977fd701a1" CreationDate="2012-05-12T05:25:22.133" UserId="3238" Text="As to why you should separate your OS/Apps and audio drive, it's mainly due to read/write speed and disk seek time.  Your hard drives can only read data from one physical location at a time (less the case with SSD), so if everything is on one drive your computer will have a harder time jumping back and forth on disk reading data for apps and OS processes while also trying to stream audio.  Separating out audio to another disk means the computer can handle audio from one HD (which takes a good deal of HD resources) while apps and OS related data can be read from the other without tying up audio read/write. &#xD;&#xA;&#xD;&#xA;Of course CPU and RAM will also limit overall performance, but this will help avoid your HD being the weak link.  Best to make sure your audio scratch drive is also as fast as possible, i.e. 7200 rpm, with a decent cache size.&#xD;&#xA;&#xD;&#xA;The secondary reason as most people are aware is that audio of course takes up lots of disk space, so a dedicated drive will afford you as much storage room as possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="22971" PostHistoryTypeId="2" PostId="13916" RevisionGUID="a0fe9b74-db9f-43c9-816e-58cc4ad48a59" CreationDate="2012-05-12T17:14:30.983" UserId="1294" Text="Hello Again,&#xD;&#xA;&#xD;&#xA;I have a task were i have to create a &quot;Magical Shield Sound&quot;. The animation here is @ slow motion. &#xD;&#xA;&#xD;&#xA;So if any ideas kindly share it.&#xD;&#xA;&#xD;&#xA;Cheers!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="22972" PostHistoryTypeId="1" PostId="13916" RevisionGUID="a0fe9b74-db9f-43c9-816e-58cc4ad48a59" CreationDate="2012-05-12T17:14:30.983" UserId="1294" Text="Magical Shield Sound in Slow Motion" ContentLicense="CC BY-SA 3.0" />
  <row Id="22973" PostHistoryTypeId="3" PostId="13916" RevisionGUID="a0fe9b74-db9f-43c9-816e-58cc4ad48a59" CreationDate="2012-05-12T17:14:30.983" UserId="1294" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22974" PostHistoryTypeId="2" PostId="13917" RevisionGUID="9793abfa-b81b-4c76-b5d0-70544bae24ef" CreationDate="2012-05-12T21:47:35.430" UserId="3444" Text="A classic is the Sound Designer Tool Kit 1 &amp; 2. Pretty standard and signature stuff for trailers." ContentLicense="CC BY-SA 3.0" />
  <row Id="22975" PostHistoryTypeId="2" PostId="13918" RevisionGUID="7937e2eb-081f-454a-a5d7-4dd652c2f2e8" CreationDate="2012-05-13T00:23:46.713" UserId="3846" Text="Maybe a chinese Gong layered with electrical discharges with lots of reverb .&#xD;&#xA;Try to add a long swoosh with a long tail and sync the peak of that swoosh with the Gong.&#xD;&#xA;&#xD;&#xA;cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="22976" PostHistoryTypeId="2" PostId="13919" RevisionGUID="82d38181-74c2-453a-af4e-6fb848901a5f" CreationDate="2012-05-13T00:59:17.263" UserId="3784" Text="I use booms trailers construction kit daily. The cinematic metals is also very useful" ContentLicense="CC BY-SA 3.0" />
  <row Id="22977" PostHistoryTypeId="2" PostId="13920" RevisionGUID="a6b94cc6-d866-4940-aefb-1f74938f7e48" CreationDate="2012-05-13T11:27:28.467" UserId="1105" Text="Dear sound Designers,&#xD;&#xA;I need to know if exist a way, using softwares like soundminers, basehead or similiar, to spot a region outside pro tools and drag it at the beginning or at the end of an audio file storaged in a network hard disk.&#xD;&#xA;I need the opposite feature of spotting audio into a daw because my need is to update files with new regions recorded and do that on the fly!&#xD;&#xA;Thanks for the answers,&#xD;&#xA;Bye&#xD;&#xA;Giorgio" ContentLicense="CC BY-SA 3.0" />
  <row Id="22978" PostHistoryTypeId="1" PostId="13920" RevisionGUID="a6b94cc6-d866-4940-aefb-1f74938f7e48" CreationDate="2012-05-13T11:27:28.467" UserId="1105" Text="Spottin outside ProTools" ContentLicense="CC BY-SA 3.0" />
  <row Id="22979" PostHistoryTypeId="3" PostId="13920" RevisionGUID="a6b94cc6-d866-4940-aefb-1f74938f7e48" CreationDate="2012-05-13T11:27:28.467" UserId="1105" Text="&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22980" PostHistoryTypeId="2" PostId="13921" RevisionGUID="b19525f7-73e4-4e3d-ba61-003b2f6dfec1" CreationDate="2012-05-13T13:19:01.453" UserId="407" Text="I haven't got the cinematic trailer construction kit but Cinematic metal, Creatures and Wildcats get used often, both the designed and the constructions kits. I guess as mentioned already here Cinematic trailer construction kit is what your looking for. +1 for Boom Library :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="22981" PostHistoryTypeId="2" PostId="13922" RevisionGUID="f77453da-085c-4df7-a7c9-38671ce1d04b" CreationDate="2012-05-13T16:11:42.740" UserId="1225" Text="Add &quot;The Great Whoosh&quot; from Sound Ideas. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22982" PostHistoryTypeId="2" PostId="13923" RevisionGUID="02f771e6-7150-4b92-a779-ce172d46caf2" CreationDate="2012-05-13T16:38:59.817" UserId="3848" Text="Try MusicRevolution.com https://www.musicrevolution.com , an innovative online marketplace for royalty-free music. The MusicRevolution.com production music library has over 17,000 tracks of affordable, high-quality royalty-free production music suitable for film, video, TV, radio, website, games, background music, legal music for YouTube, on hold music and other business music applications. I am the co-founder. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22983" PostHistoryTypeId="2" PostId="13924" RevisionGUID="46e1f6c0-9b77-48f7-a6dc-4d2beb80abbe" CreationDate="2012-05-13T17:39:37.323" UserId="6519" Text="What do you think about these types?&#xD;&#xA;Right for field recording?&#xD;&#xA;&#xD;&#xA;[Sony MDR7510 &amp; MDR7520][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://pro.sony.com/bbsc/productComparisonChart.do?URL=/bbsc/ssr/cat-audio/cat-headphones/&amp;models=MDR7510,MDR7520" ContentLicense="CC BY-SA 3.0" />
  <row Id="22984" PostHistoryTypeId="2" PostId="13925" RevisionGUID="51096e4a-a4ab-4e92-a5c8-8a47b84cc099" CreationDate="2012-05-13T17:42:43.310" UserId="61" Text="Let's see…based on the information you've provided I would use either a reversed dog bark, a filtered wave crash, or the sound of Saturn's rings as recorded by a deep space probe.&#xD;&#xA;&#xD;&#xA;(That was sarcasm.)&#xD;&#xA;&#xD;&#xA;If you want the sound design community to help you with ideas, you NEED TO PROVIDE MORE INFORMATION." ContentLicense="CC BY-SA 3.0" />
  <row Id="22985" PostHistoryTypeId="2" PostId="13926" RevisionGUID="40be2a18-e52b-41ec-9caf-b4b8f6ecafa2" CreationDate="2012-05-13T18:30:18.427" UserId="6499" Text="I use Remote Audio HN-7506 High Noise Headset (HN7506)&#xD;&#xA;http://www.trewaudio.com/store/product.php?productid=255&#xD;&#xA;&#xD;&#xA;I use these for pretty much anything in the field as they isolate really well.  they have the same drivers as 7506's but they offer around 30 - 45 db of protection from outside noises. &#xD;&#xA;&#xD;&#xA;Shure SRH 840's for anything in the studio.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="22986" PostHistoryTypeId="2" PostId="13927" RevisionGUID="7b2b36ed-5ceb-4063-afda-726bc6f74765" CreationDate="2012-05-13T21:58:01.257" UserId="3850" Text="Phil,&#xD;&#xA;&#xD;&#xA;Seems like you've been well advised on the equipment choice &#xD;&#xA;&#xD;&#xA;The only things I would add are:&#xD;&#xA;&#xD;&#xA;Headphones e.g. Sennheiser HD25&#xD;&#xA;&#xD;&#xA;And backup gear : &#xD;&#xA;&#xD;&#xA;I run 2x SD702s which can be sync'd or run independently - perhaps a small recorder like a Olympus LS-100 would do as a fall back.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;A spare pair of headphones or at least ipod earbuds.&#xD;&#xA;&#xD;&#xA;An AC + 12V car charger for the SD's NP batteries - I normally use two of these as they are smaller than the SD PSU&#xD;&#xA;&#xD;&#xA;I'm not sure if Tiso sells them but I found some rubber coated formable cable tidies that are great for holding cables bundles or to stop cables flapping against the tripod - [gear ties][1]&#xD;&#xA;&#xD;&#xA;There is also a knowledgable bunch of people on the [Yahoo Nature recordists group][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.niteize.com/collections/gear-tie&#xD;&#xA;  [2]: http://tech.groups.yahoo.com/group/naturerecordists/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22987" PostHistoryTypeId="16" PostId="13927" RevisionGUID="7b2b36ed-5ceb-4063-afda-726bc6f74765" CreationDate="2012-05-13T21:58:01.257" UserId="-1" />
  <row Id="22988" PostHistoryTypeId="2" PostId="13928" RevisionGUID="46ee4660-d187-4e03-b278-b2492fcc3d37" CreationDate="2012-05-13T22:06:38.087" UserId="3823" Text="I use &quot;Audiofinder&quot;. Its an amazing librarian / processing tool, and it spots to Pro Tools. Give the demo a trial. &#xD;&#xA;&#xD;&#xA;http://www.icedaudio.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="22989" PostHistoryTypeId="2" PostId="13929" RevisionGUID="3df4cde3-4858-4162-aa94-35a749e4eb68" CreationDate="2012-05-13T23:03:16.090" UserId="429" Text="Sorry but I don't think this is possible. You can drag regions from the timeline or region bin to the structure sampler an avid / digi virtual instrument plugin. That's the only time I've seen dragging anything from pro tools to another application. Are you ware that you can export regions from pro tools as audio files ?? " ContentLicense="CC BY-SA 3.0" />
  <row Id="22990" PostHistoryTypeId="2" PostId="13930" RevisionGUID="6e039c0a-8290-4d42-a64f-1a5e04f3fde9" CreationDate="2012-05-13T23:41:15.050" UserId="3851" Text="http://www.jewelbeat.com/. Over 35,000 tracks and the best part about it is that it is only 99 cents a track. " ContentLicense="CC BY-SA 3.0" />
  <row Id="22991" PostHistoryTypeId="2" PostId="13931" RevisionGUID="f70d0dde-5886-4b62-819c-a3a8630050b7" CreationDate="2012-05-14T00:56:57.573" UserId="3849" Text="Hi, I live in Russia and i have some countryside recordings (late spring). If you still need these sounds i'll upload'em for you.&#xD;&#xA;for my field recordings I use Korg MR-1000 and Rode NT-4." ContentLicense="CC BY-SA 3.0" />
  <row Id="22993" PostHistoryTypeId="2" PostId="13933" RevisionGUID="9fa1b995-1344-4a8b-bff9-72bf519f56a9" CreationDate="2012-05-14T12:16:18.610" UserId="6420" Text="Not quite sure I entiiirely understand what you're asking. But, if you're looking to add some audio to the start/end of a bunch of already recorded audio files then perhaps using some kind of audio editor with batch processing might be worth looking at?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22994" PostHistoryTypeId="2" PostId="13934" RevisionGUID="be3ce639-595b-428b-a5db-116b136ee831" CreationDate="2012-05-14T12:51:40.567" UserId="3818" Text="&#xD;&#xA;Hi All&#xD;&#xA;&#xD;&#xA;I was wondering what, or if, there is a programme on osx I can use (free would be a plus) that will let me export audio files with looping sections. &#xD;&#xA;&#xD;&#xA;I.e. A wav that will end at one point if it is repeatedly triggered and will end at another point when it is left to play out. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any help would be appreciated, thanks so much  &#xD;&#xA;&#xD;&#xA;M" ContentLicense="CC BY-SA 3.0" />
  <row Id="22995" PostHistoryTypeId="1" PostId="13934" RevisionGUID="be3ce639-595b-428b-a5db-116b136ee831" CreationDate="2012-05-14T12:51:40.567" UserId="3818" Text="Loop and release sections on Wavs" ContentLicense="CC BY-SA 3.0" />
  <row Id="22996" PostHistoryTypeId="3" PostId="13934" RevisionGUID="be3ce639-595b-428b-a5db-116b136ee831" CreationDate="2012-05-14T12:51:40.567" UserId="3818" Text="&lt;looping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="22997" PostHistoryTypeId="2" PostId="13935" RevisionGUID="eedc194d-b8b3-4f3d-bdf7-d9c8f11f6ea5" CreationDate="2012-05-14T14:19:24.317" UserId="238" Text="There are many audio editing software that allow loop markers to be saved. This information is saved in the .wav info chink, and will be readable by various other pieces of software or hardware samplers. On OSX, Bias Peak is one I know has this function. I'm not aware of any free audio editors that have the capacity to export loop markers." ContentLicense="CC BY-SA 3.0" />
  <row Id="22998" PostHistoryTypeId="2" PostId="13936" RevisionGUID="5b626b1e-789a-4bb5-b04f-9b5fbedc21d7" CreationDate="2012-05-14T17:18:05.423" UserId="3752" Text="I bought my **Audio Technica ATH-M50** to be able to work at a clients office without being disturbed by chatter. I love the design but they have too much bass. At times I forget about it and lower the bass in some fx. Usually I remember but at one point a client pointed it out and I had to go through 10 sounds ^^&#xD;&#xA;&#xD;&#xA;I've had my **AKG K240** for as long as I can remember (born with them). They've been through a lot but never gave me any trouble. The only problem I can think of is the long chord that always gets stuck under my chair. Other than that I love them. That's one more point for the ATH-M50, got to love the twisted chord.&#xD;&#xA;&#xD;&#xA;I did try the AKG K-272 which at least had a nice touch with the velvet earpads. Can't say anything about the audio quality though." ContentLicense="CC BY-SA 3.0" />
  <row Id="23004" PostHistoryTypeId="2" PostId="13938" RevisionGUID="0c00eb85-f6fe-46f6-8fac-297064b045d2" CreationDate="2012-05-15T01:57:49.240" UserId="6499" Text="This last project I have done in Nuendo for its built in surround capabilities.  What I cannot figure out for the life of me is how to properly export a Mixdown and all the stems.&#xD;&#xA;&#xD;&#xA;I know how to export it, but I cannot figure out how to send tone and 2 pops to the stems, and not have the stems send it all to the Printmaster.  In pro tools it is simple, I just mute the stems at the time of the tone and 2 pop and the stems will record their input without it being effected by the output side.  Am I missing something?&#xD;&#xA;&#xD;&#xA;I have a separate set of tracks that I am using to send tone/2pop to the PrintMaster.  I want to have 1k @ -20 on all the stems and print, but if the stems are summing to the print, I no longer get the -20 but the sum of all the stems at -20.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23005" PostHistoryTypeId="1" PostId="13938" RevisionGUID="0c00eb85-f6fe-46f6-8fac-297064b045d2" CreationDate="2012-05-15T01:57:49.240" UserId="6499" Text="Nuendo and Printing Stems with Tone Bleeps" ContentLicense="CC BY-SA 3.0" />
  <row Id="23006" PostHistoryTypeId="3" PostId="13938" RevisionGUID="0c00eb85-f6fe-46f6-8fac-297064b045d2" CreationDate="2012-05-15T01:57:49.240" UserId="6499" Text="&lt;stems&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23007" PostHistoryTypeId="2" PostId="13939" RevisionGUID="1537dc05-aa80-46de-82d4-485675678a06" CreationDate="2012-05-15T07:00:41.670" UserId="7642" Text="What level the pops come at isn't that important imho as long as it isn't distorting.&#xD;&#xA;Also for the stems and master to be correct, it shouldnt be the same, when adding all the stems it should logically increase in level as the master should be all the stems mixed together.&#xD;&#xA;&#xD;&#xA;But if you really want to it gets a little bit more complicated than it should have been.&#xD;&#xA;&#xD;&#xA;In Nuendo you **should** be able to use the direct routing to do just this, easily. Unfortunately because of a design error when dectivating the first existing routing switch on the group it will no longer export the audio at all during that time. So to do this you'll have to add one extra mix bus for the final mix where you route all your stems to, and then do the switching there. (As long as the first routing switch is still active it will work fine.&#xD;&#xA;&#xD;&#xA;OR you could do the easy fix and just automate the level of the main out fader to get the correct level. That's what I would do." ContentLicense="CC BY-SA 3.0" />
  <row Id="23009" PostHistoryTypeId="2" PostId="13940" RevisionGUID="212a506a-fb12-4b16-8dec-b22461427375" CreationDate="2012-05-15T13:42:04.723" UserId="3649" Text="I have been tasked to capture the sound of various vehicles racing past me at high speed on a circuit. &#xD;&#xA;&#xD;&#xA;My question is, what sort of microphone would you all recommend for the job?&#xD;&#xA;&#xD;&#xA;At the moment all I have is an original Zoom H4 with a rycote windshield.&#xD;&#xA;&#xD;&#xA;I have been looking into purchasing a sound devices location recorder for a while now. But I do not know what mic set up would be best suited to this task...&#xD;&#xA;&#xD;&#xA;Its a big project with many recordings required, so I don't mind investing a lot of money into getting a decent semi pro/pro set up, specifically suited to this task.&#xD;&#xA;&#xD;&#xA;any help is greatly appreciated. &#xD;&#xA;&#xD;&#xA;I guess I need something directional to record the sounds of the vehicles and eliminate unwanted ambience/crowd noise at race events etc. But it also needs to handle high SPL I think... please correct me if Im wrong in thinking this any guidance is greatly appreciated.&#xD;&#xA;&#xD;&#xA;- Si" ContentLicense="CC BY-SA 3.0" />
  <row Id="23010" PostHistoryTypeId="1" PostId="13940" RevisionGUID="212a506a-fb12-4b16-8dec-b22461427375" CreationDate="2012-05-15T13:42:04.723" UserId="3649" Text="Recording Vehicles passing at high speed: which type of microphone 4 the job?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23011" PostHistoryTypeId="3" PostId="13940" RevisionGUID="212a506a-fb12-4b16-8dec-b22461427375" CreationDate="2012-05-15T13:42:04.723" UserId="3649" Text="&lt;field-recording&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23013" PostHistoryTypeId="2" PostId="13942" RevisionGUID="a3bc1ba8-139d-402b-9acf-20a7a9fd6742" CreationDate="2012-05-15T15:53:46.470" UserId="61" Text="http://designingsound.org/2010/02/charles-deenen-special-car-recording-guide/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23014" PostHistoryTypeId="2" PostId="13943" RevisionGUID="a4888806-8ba6-4087-a0d6-419d297c380d" CreationDate="2012-05-15T18:41:55.450" UserId="261" Text="Ok, &#xD;&#xA;&#xD;&#xA;So I'm assisting a feature film dub and while attempting to setup the tommorow's actor's template, we experienced a DAE error, whereafter PT9 HD froze...&#xD;&#xA;&#xD;&#xA;After a  Force-Quit, we restarted, and we got &#xD;&#xA;'Unable to find an Audio Interface attached to the first HD card. Please check power and digilink cables. Click OK to rescan'&#xD;&#xA;&#xD;&#xA;We're running Mac Pro 2.8GHz Quad-core with HD 9 + HD Accel Card.&#xD;&#xA;&#xD;&#xA;I've been through the DUC and everyone seems to suggest the usual: Deleting Prefs, Restarting, Using a different Interface etc.&#xD;&#xA;Nothing works.....yet&#xD;&#xA;&#xD;&#xA;Anyone? It looks like everyone wants to go home and cry now, but we're getting the first talent in at 9:30 and we're nowhere at the moment.&#xD;&#xA;&#xD;&#xA;And the crazy thing was we were in the middle of final checks...&#xD;&#xA;&#xD;&#xA;Anybody?&#xD;&#xA;&#xD;&#xA;It's now 20:40 in Zürich on May 15.&#xD;&#xA;&#xD;&#xA;contact AT kurthuman DOT com" ContentLicense="CC BY-SA 3.0" />
  <row Id="23015" PostHistoryTypeId="1" PostId="13943" RevisionGUID="a4888806-8ba6-4087-a0d6-419d297c380d" CreationDate="2012-05-15T18:41:55.450" UserId="261" Text="Unable to find an Audio Interface attached to the first HD card. Please check power and digilink cables. Click OK to rescan" ContentLicense="CC BY-SA 3.0" />
  <row Id="23016" PostHistoryTypeId="3" PostId="13943" RevisionGUID="a4888806-8ba6-4087-a0d6-419d297c380d" CreationDate="2012-05-15T18:41:55.450" UserId="261" Text="&lt;protools9&gt;&lt;dialogue-recording&gt;&lt;dubbing-stage&gt;&lt;dubbing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23017" PostHistoryTypeId="16" PostId="13943" RevisionGUID="a4888806-8ba6-4087-a0d6-419d297c380d" CreationDate="2012-05-15T18:41:55.450" UserId="261" />
  <row Id="23018" PostHistoryTypeId="2" PostId="13944" RevisionGUID="983d2600-3c5f-43d1-bf72-942bf6336883" CreationDate="2012-05-15T18:56:25.503" UserId="6519" Text="[Location Sound Effects Recording][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=Eb_7SHmMy_E&amp;feature=relmfu" ContentLicense="CC BY-SA 3.0" />
  <row Id="23019" PostHistoryTypeId="2" PostId="13945" RevisionGUID="a7b84d53-d8bc-412b-9330-ce0b5a6885ec" CreationDate="2012-05-15T20:21:10.043" UserId="3854" Text="Absolutely yes. I've been testing for half a decade now, the past two years of which have been exclusively audio testing. About 18 months ago I started work as an embedded tester working side-by-side with the audio team at my studio. I got hooked up with a private office and a nice 5.1 system, wedged right in between five audio devs and the audio project manager. They include me in meetings and weigh QA opinions and perspective into their decisions. &#xD;&#xA;&#xD;&#xA;Granted, I got damn lucky. Before I started testing audio exclusively, I managed to snag an internal temp position helping with audio design and voice implementation near the end of the production cycle. That helped a lot, both the experience as a developer and learning the tools. Since then, the studio (and industry) has moved from XACT to Wwise, but I've learned the latter thoroughly just from testing and picking up tricks from the sound guys themselves.&#xD;&#xA;&#xD;&#xA;Now, I'm still an audio tester, but I did apply recently for an audio design job here at the studio. I was turned down because we're in the middle of a project and understaffed already, so they needed an experienced veteran to drop right in and hit the ground running. I'll definitely apply again once things slow down, but in the meantime, the audio team has offered to help me learn more of what I need to know to get the job eventually and boost up my portfolio in the process.&#xD;&#xA;&#xD;&#xA;I'd definitely recommend trying to find a studio tester job rather than work for publisher QA... the pub guys are often generalized, worked into the ground, and never get a chance to move to full-time or even specialize in a specific field when they're on a project. Studio QA, on the other hand, are often fewer and more focused on their individual areas of expertise. Jump in, express an interest in audio testing, and boom. It'll happen before you even realize it.&#xD;&#xA;&#xD;&#xA;Good luck to you! " ContentLicense="CC BY-SA 3.0" />
  <row Id="23020" PostHistoryTypeId="2" PostId="13946" RevisionGUID="ab2a2b62-e185-4e91-a080-53831813c97d" CreationDate="2012-05-15T21:10:27.580" UserId="6499" Text="I have just finished my first surround mix and after supplying the 6 channels for a DCP creation I was asked to create ac3 files to use on a dvd.  Nuendo 5.5 does not offer this as an export option.  From research it looks like I need pretty expensive software for that,  anyone have any price friendly or free options that could work,  I would really hate to just supply a stereo mix because that is the only thing that the dvd creation software I think will allow without already encoded audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="23021" PostHistoryTypeId="1" PostId="13946" RevisionGUID="ab2a2b62-e185-4e91-a080-53831813c97d" CreationDate="2012-05-15T21:10:27.580" UserId="6499" Text="ac3 encoders any free or poor man priced ones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23022" PostHistoryTypeId="3" PostId="13946" RevisionGUID="ab2a2b62-e185-4e91-a080-53831813c97d" CreationDate="2012-05-15T21:10:27.580" UserId="6499" Text="&lt;ac3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23023" PostHistoryTypeId="2" PostId="13947" RevisionGUID="ed6c28a8-f4c0-4381-9774-b7395d44d1c5" CreationDate="2012-05-16T00:24:25.260" UserId="3286" Text="Compressor can output an ac3 (stereo or up to 7.1) for $50, which I think is absolutely worth it.  Much cheaper than Dolby Media Encoder SE ($595)." ContentLicense="CC BY-SA 3.0" />
  <row Id="23024" PostHistoryTypeId="2" PostId="13948" RevisionGUID="289304ee-17ad-4fef-916c-cde2b3f488ed" CreationDate="2012-05-16T00:46:01.667" UserId="3286" Text="So I'm on a mac.  And I love Bento.  But then I thought, &quot;Wouldn't it be great if there was software for project management specific to film?!&quot;&#xD;&#xA;&#xD;&#xA;Then I thought of coming here.  So...is there any film-specific project management software a la Bento?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23025" PostHistoryTypeId="1" PostId="13948" RevisionGUID="289304ee-17ad-4fef-916c-cde2b3f488ed" CreationDate="2012-05-16T00:46:01.667" UserId="3286" Text="Project Management Software" ContentLicense="CC BY-SA 3.0" />
  <row Id="23026" PostHistoryTypeId="3" PostId="13948" RevisionGUID="289304ee-17ad-4fef-916c-cde2b3f488ed" CreationDate="2012-05-16T00:46:01.667" UserId="3286" Text="&lt;project-management&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23027" PostHistoryTypeId="2" PostId="13949" RevisionGUID="efb32282-f048-401d-9e8e-a69b637932ce" CreationDate="2012-05-16T00:46:32.820" UserId="3519" Text="Hi. The other day I was doing location sound in a short film.&#xD;&#xA;&#xD;&#xA;In one indoor scene one of the actors was smoking. It was a close shot so was booming quite near.&#xD;&#xA;&#xD;&#xA;I was just wondering if smoke can damage mics (or other gear) since some recording studios that I know doesn't allow smoking to protect the equipments. Maybe it's only dangerous for long periods of time?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;PS: The mic was an Oktava MK-012" ContentLicense="CC BY-SA 3.0" />
  <row Id="23028" PostHistoryTypeId="1" PostId="13949" RevisionGUID="efb32282-f048-401d-9e8e-a69b637932ce" CreationDate="2012-05-16T00:46:32.820" UserId="3519" Text="Cigarette smoke and mics" ContentLicense="CC BY-SA 3.0" />
  <row Id="23029" PostHistoryTypeId="3" PostId="13949" RevisionGUID="efb32282-f048-401d-9e8e-a69b637932ce" CreationDate="2012-05-16T00:46:32.820" UserId="3519" Text="&lt;microphone&gt;&lt;damage&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23030" PostHistoryTypeId="2" PostId="13950" RevisionGUID="6dbb6a46-de71-475b-a26c-cde65eb1c288" CreationDate="2012-05-16T03:35:05.593" UserId="3286" Text="I was once told that you always need ambience in your films. Makes perfect sense anyway, right? If there isn't any ambience, the audience doesn't feel like they're in the environment and all. &#xD;&#xA;&#xD;&#xA;Then I noticed Family Guy. Made me start to think. Do all shows use ambience? Because Family Guy sure doesn't. Unless it's so subtle that I don't notice it. &#xD;&#xA;&#xD;&#xA;Thoughts? How does a show like that get away without room tone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23031" PostHistoryTypeId="1" PostId="13950" RevisionGUID="6dbb6a46-de71-475b-a26c-cde65eb1c288" CreationDate="2012-05-16T03:35:05.593" UserId="3286" Text="About Backgrounds..." ContentLicense="CC BY-SA 3.0" />
  <row Id="23032" PostHistoryTypeId="3" PostId="13950" RevisionGUID="6dbb6a46-de71-475b-a26c-cde65eb1c288" CreationDate="2012-05-16T03:35:05.593" UserId="3286" Text="&lt;post-production&gt;&lt;ambience&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23033" PostHistoryTypeId="2" PostId="13951" RevisionGUID="425a6b21-26f6-42c5-8d91-158359370c0a" CreationDate="2012-05-16T04:07:05.307" UserId="3825" Text="Yep, the Mac OSX Application &quot;Compressor&quot; is fantastic for ac3 encoding. Hoping you have a mac." ContentLicense="CC BY-SA 3.0" />
  <row Id="23034" PostHistoryTypeId="2" PostId="13952" RevisionGUID="797465de-fed6-4683-bd30-765d835f03ca" CreationDate="2012-05-16T04:37:33.410" UserId="3815" Text="It's definitely not good fir the mic, but it's only really harmful if the mic is constantly kept in a smokey environment." ContentLicense="CC BY-SA 3.0" />
  <row Id="23035" PostHistoryTypeId="2" PostId="13953" RevisionGUID="96bf408e-a8fa-429b-b1ab-42ad59833383" CreationDate="2012-05-16T05:33:00.690" UserId="1228" Text="These may be of interest to you:&#xD;&#xA;&#xD;&#xA;http://www.stavrosound.com/blog/wordpress/2011/08/backgrounds-part-i-we-create-the-world-for-ourselves/&#xD;&#xA;&#xD;&#xA;http://www.stavrosound.com/blog/wordpress/2011/12/backgrounds-part-ii-analyse-this-no-really-analyze-it/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There's two schools of BGz in my opinion. The school of thought where they are there for presence and smoothing over as a technicality, and the school of thought where they are the expressive glue holding the film together and responsibly for breathing life 'off the page'.  Neither are wrong or right, just different points of view on BGz.  Personally, I'm in the latter school.&#xD;&#xA;&#xD;&#xA;In the mix, BGz tend to play very low except for a few circumstances where it can pop through without fighting against other sound elements (Jurassic Park and Contact are a great example of this - the BGz are very lush and full of depth and character, and there's many moments where they are allowed to breath with no dialogue or music going on).  That's another reason I like to support the idea of being appropriately bold and expressive with BGz, since this may be the only 'saving grave' to really allow it to pop through a mix tastefully when everything else is going on." ContentLicense="CC BY-SA 3.0" />
  <row Id="23036" PostHistoryTypeId="5" PostId="13953" RevisionGUID="33b36d8e-8860-4f89-8fad-0aba2a59075b" CreationDate="2012-05-16T05:38:57.587" UserId="1228" Comment="added 619 characters in body" Text="These may be of interest to you:&#xD;&#xA;&#xD;&#xA;http://www.stavrosound.com/blog/wordpress/2011/08/backgrounds-part-i-we-create-the-world-for-ourselves/&#xD;&#xA;&#xD;&#xA;http://www.stavrosound.com/blog/wordpress/2011/12/backgrounds-part-ii-analyse-this-no-really-analyze-it/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There's two schools of BGz in my opinion. The school of thought where they are there for presence and smoothing over as a technicality, and the school of thought where they are the expressive glue holding the film together and responsibly for breathing life 'off the page'.  Neither are wrong or right, just different points of view on BGz.  Personally, I'm in the latter school.&#xD;&#xA;&#xD;&#xA;In the mix, BGz tend to play very low except for a few circumstances where it can pop through without fighting against other sound elements (Jurassic Park and Contact are a great example of this - the BGz are very lush and full of depth and character, and there's many moments where they are allowed to breath with no dialogue or music going on).  That's another reason I like to support the idea of being appropriately bold and expressive with BGz, since this may be the only 'saving grave' to really allow it to pop through a mix tastefully when everything else is going on.&#xD;&#xA;&#xD;&#xA;For Family Guy, I'm pretty sure sure there's a BGz pass but it likely plays very low, and I'll bet the way it's played as an aesthetic choice.  Nothing like the funny 'crickets' awkwardness moments when we hear the birds chirp over the house or the zip zip buzzing of the Drunken Clam sign.  With VO too, the recordings are going to be clean, so you don't have to worry about smoothing over and masking dialogue issues with BGz (as we sometimes do using mono airs/winds/roomtones to help backfill trouble), so in a case like this show, you can get away with being quite stark and it doesnt affect the final product." ContentLicense="CC BY-SA 3.0" />
  <row Id="23037" PostHistoryTypeId="5" PostId="13953" RevisionGUID="452e6dac-a515-4d21-bab1-55acf6b9175c" CreationDate="2012-05-16T06:08:48.340" UserId="1228" Comment="added 211 characters in body" Text="These may be of interest to you:&#xD;&#xA;&#xD;&#xA;http://www.stavrosound.com/blog/wordpress/2011/08/backgrounds-part-i-we-create-the-world-for-ourselves/&#xD;&#xA;&#xD;&#xA;http://www.stavrosound.com/blog/wordpress/2011/12/backgrounds-part-ii-analyse-this-no-really-analyze-it/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There's two schools of BGz in my opinion. The school of thought where they are there for presence and smoothing over as a technicality, and the school of thought where they are the expressive glue holding the film together and responsibly for breathing life 'off the page'.  Neither are wrong or right, just different points of view on BGz.  Personally, I'm in the latter school.&#xD;&#xA;&#xD;&#xA;In the mix, BGz tend to play very low except for a few circumstances where it can pop through without fighting against other sound elements (Jurassic Park and Contact are a great example of this - the BGz are very lush and full of depth and character, and there's many moments where they are allowed to breath with no dialogue or music going on).  That's another reason I like to support the idea of being appropriately bold and expressive with BGz, since this may be the only 'saving grave' to really allow it to pop through a mix tastefully when everything else is going on.&#xD;&#xA;&#xD;&#xA;But the ability to do this comes down to time and budget, so many times it's finding a happy medium and picking your moments to go big, and knowing where you can go simple.&#xD;&#xA;&#xD;&#xA;For Family Guy, I'm pretty sure sure there's a BGz pass (given that Todd-AO does the post) but it likely plays very low, and I'll bet the way it's played as an aesthetic choice.  Nothing like the funny 'crickets' awkwardness moments when we hear the birds chirp over the house or the zip zip buzzing of the Drunken Clam sign.  With VO too, the recordings are going to be clean, so you don't have to worry about smoothing over and masking dialogue issues with BGz (as we sometimes do using mono airs/winds/roomtones to help backfill trouble), so in a case like this show, you can get away with being quite stark and it doesnt affect the final product." ContentLicense="CC BY-SA 3.0" />
  <row Id="23038" PostHistoryTypeId="2" PostId="13954" RevisionGUID="6fd01cab-905b-4a7b-b118-ae18c3a6bf10" CreationDate="2012-05-16T06:36:35.383" UserId="3213" Text="Did you try to change the pci slot of the hd-card?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23039" PostHistoryTypeId="16" PostId="13954" RevisionGUID="6fd01cab-905b-4a7b-b118-ae18c3a6bf10" CreationDate="2012-05-16T06:36:35.383" UserId="-1" />
  <row Id="23040" PostHistoryTypeId="2" PostId="13955" RevisionGUID="881f77cb-615d-49c4-8f9b-8781195d3834" CreationDate="2012-05-16T07:00:15.633" UserId="3093" Text="Some time ago I did a video with a friend where we recorded a guy with a black-dark background  where only the cigarette had some light, and wanted to record the sound of the cigar. I utilized a StudioProjects B1 condenser mic and, I mean, it was CLOSE, like, when we heard it, you could really listen to every tiny piece of tobacco being burnt. The cigar was no more than 5 centimeters from the capsule. &#xD;&#xA;Naturally, I got really scared haha, felt like it was going to get ruined (but it was one of my first recordings so I did not thought about the danger of my mic getting ruined). I did used the windscreen (foam) it came with. &#xD;&#xA;&#xD;&#xA;  Nothing wrong happened. Though, like sumdimsum said, I don't think it must be any good for it, but mine did not suffered at all :).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23041" PostHistoryTypeId="2" PostId="13956" RevisionGUID="dd99bc43-b537-4eda-a6e5-1cf4a5ff5933" CreationDate="2012-05-16T07:34:44.890" UserId="842" Text="There's a humongous risk of screwing your mics up with cigarette smoke. The smoke contains, among other things, tar, and the tar sticks to the membrane and kills the highs.&#xD;&#xA;However, that doesn't mean you cant record tobacco or in a smokey joint, it just means you have to be careful. All you have to care for is using some kind of protection (a rubber's not a good idea here ;-)), a regular foam mic-muff'll do just fine, and make sure noone really blows the smoke right into the mic.&#xD;&#xA;&#xD;&#xA;Do it once or just a few times, and chances are you will now really notice much difference, depending on just how traind in listening you are. You will, however, probably notice it'll get harder and harder to mix the material as you want to though. But don't let that fool you, over time, all the small and tiny amounts of crap and filth that'll build up on the membrane will eventually have a tremendous impact on it, making it downright bad. Of course it's next to impossible to completely prevent deterioration and build-ups in the mike, but by being aware of what's harmful for it and protecting it from that as far as possible, you can maintain full audio quality for a very very long time :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23042" PostHistoryTypeId="2" PostId="13957" RevisionGUID="492c20f8-7aba-4d62-b804-1a56fffc8fdf" CreationDate="2012-05-16T10:58:48.170" UserId="310" Text="I don't think that there is &quot;film-specific&quot; tool.&#xD;&#xA;&#xD;&#xA;**What is your exact expectation from this tool?**&#xD;&#xA;&#xD;&#xA;**Have you ever do project management before?**&#xD;&#xA;&#xD;&#xA;You don't need tool you need know-how about specific workflow(s) - in your case how film works if you don't know how much time you need for each stage of film making you can have best sw on planet but will be useless....&#xD;&#xA;&#xD;&#xA;PM is not about tools is about mastering processes and estimations :)&#xD;&#xA;&#xD;&#xA;Use what you like - in your case Bento, or take a look on 37signal family of products - base camp in your case." ContentLicense="CC BY-SA 3.0" />
  <row Id="23043" PostHistoryTypeId="2" PostId="13958" RevisionGUID="fdb34596-b873-4145-a345-83288354bf8a" CreationDate="2012-05-16T16:58:15.803" UserId="1067" Text="I have a pair of DPA 2006Cs and am reasonably happy with them, but they're not as versatile as I'd hoped. For recording of distant sound sources they might benefit from the more pronounced high-frequency rise you get with a Neumann KM183, but this isn't really a problem.&#xD;&#xA;&#xD;&#xA;But be warned if you're looking to make field recordings in very quiet surroundings, like wilderness areas, mountain, moorland etc. DPA claim an A-weighted self-noise of 16dB, but also note a maximum level of 18dBA. I found it intrusive recently when recording in the Scottish Highlands, to the point that I only used the recordings made with an AT BP4025 single-point stereo mic taken along as backup.&#xD;&#xA;&#xD;&#xA;This soundmap I put together uses a headworn pair of DPA 2006Cs for nearly all of its recordings made in and around London:&#xD;&#xA;&#xD;&#xA;[London Sound Survey waterways soundmap][1]&#xD;&#xA;&#xD;&#xA;If you can afford the Sennheisers, why not go for them instead? I would have done so if I'd had the money, not getting them was maybe a false economy. Otherwise the Neumann KM183 might be worth considering. It's just under 11cm long, which is fairly compact.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;Ian&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundsurvey.org.uk/index.php/survey/waterways/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23044" PostHistoryTypeId="5" PostId="13958" RevisionGUID="a71ecb5a-f344-46f9-94d9-261c2c5097b4" CreationDate="2012-05-16T17:08:50.580" UserId="1067" Comment="deleted 164 characters in body" Text="I have a pair of DPA 2006Cs and am reasonably happy with them, but they're not quite as versatile as I'd hoped.&#xD;&#xA;&#xD;&#xA;Be warned if you're looking to make field recordings in very quiet surroundings, like wilderness areas, mountain, moorland etc. DPA claim an A-weighted self-noise of 16dB, but also note a maximum level of 18dBA. I found it intrusive recently when recording in the Scottish Highlands, to the point that I only used the recordings made with an AT BP4025 single-point stereo mic taken along as backup.&#xD;&#xA;&#xD;&#xA;This soundmap I put together uses a headworn pair of DPA 2006Cs for nearly all of its recordings made in and around London:&#xD;&#xA;&#xD;&#xA;[London Sound Survey waterways soundmap][1]&#xD;&#xA;&#xD;&#xA;If you can afford the Sennheisers, why not go for them instead? I would have done so if I'd had the money, not getting them was maybe a false economy. Otherwise the Neumann KM183 might be worth considering. It's just under 11cm long, which is fairly compact.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;Ian&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundsurvey.org.uk/index.php/survey/waterways/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23045" PostHistoryTypeId="2" PostId="13959" RevisionGUID="c345ec70-087d-40f1-9ff5-bd7f138ec0b1" CreationDate="2012-05-16T17:33:57.323" UserId="730" Text="Hey everyone!&#xD;&#xA;&#xD;&#xA;While working on Tribes: Ascend I wanted to have as many unique recordings and sounds as possible for the game.  As i'm sure any sound designer would obviously want.  However the approach that I took to it was not just go out and record a bunch of sounds and process them.  I wanted to start at the very root of sound.  I would use a signal generator in ProTools to generate the frequencies that I wanted for a particular sound, layer them and then print them to a new stem.  So it is now 1 track and not 5 for example.  If it was only 1 or 2 layers though I would not print it, so I could have more processing options for each individual frequency.  After that I began to process the sounds using various plug-ins such as GRM tools (which I used for 90% of my sounds on tribes).  Eventually though I was always able to get the same end results in my sounds that I could get from programming a synth patch.  Yea it might have taken more time to do this, and the general public is not going to know the difference, but it felt 100 times more satisfying knowing that I could truly sound design from scratch.  &#xD;&#xA;&#xD;&#xA;The reason why I am writing about this is because I am wondering how many other people use methods like this.  If you have not tried this method I think you should give it a shot.  If anything its amazing ear training, because you get so used to the raw frequencies, and once everything is layered you know exactly what is in your sounds.  &#xD;&#xA;&#xD;&#xA;If anyone else uses odd methods like this for sound design I would love to hear about your process!&#xD;&#xA;&#xD;&#xA;-Benjie Freund" ContentLicense="CC BY-SA 3.0" />
  <row Id="23046" PostHistoryTypeId="1" PostId="13959" RevisionGUID="c345ec70-087d-40f1-9ff5-bd7f138ec0b1" CreationDate="2012-05-16T17:33:57.323" UserId="730" Text="Sound Design on Tribes: Ascend with ProTools signal generator." ContentLicense="CC BY-SA 3.0" />
  <row Id="23047" PostHistoryTypeId="3" PostId="13959" RevisionGUID="c345ec70-087d-40f1-9ff5-bd7f138ec0b1" CreationDate="2012-05-16T17:33:57.323" UserId="730" Text="&lt;sound-design&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23048" PostHistoryTypeId="2" PostId="13960" RevisionGUID="7aa1f0b7-1a6b-4887-9273-67ec0789bbb2" CreationDate="2012-05-16T18:43:17.470" UserId="2906" Text="Hey everyone!&#xD;&#xA;&#xD;&#xA;I'm soon recording some crowds for a game, for battlefield and running scenes happening outdoors. &#xD;&#xA;Any advice on how should I do it, regarding mic setup and placement, post and etc? I have available a studio stoned-room and a dryer one. &#xD;&#xA;&#xD;&#xA;Thank you very much!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23049" PostHistoryTypeId="1" PostId="13960" RevisionGUID="7aa1f0b7-1a6b-4887-9273-67ec0789bbb2" CreationDate="2012-05-16T18:43:17.470" UserId="2906" Text="Recording Crows for Game" ContentLicense="CC BY-SA 3.0" />
  <row Id="23050" PostHistoryTypeId="3" PostId="13960" RevisionGUID="7aa1f0b7-1a6b-4887-9273-67ec0789bbb2" CreationDate="2012-05-16T18:43:17.470" UserId="2906" Text="&lt;game&gt;&lt;crowd&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23051" PostHistoryTypeId="2" PostId="13961" RevisionGUID="92e8f515-ef1d-4c24-9e35-41f42ce42b44" CreationDate="2012-05-16T19:02:55.347" UserId="3754" Text="just to confirm, it's CROWDS not crows right?&#xD;&#xA;&#xD;&#xA;What period is it? And are they angry? I'm sure you could layer small groups of people say 5, and build it up, to create large crowds, people in foreground and background. And there are battle re-inactments around the world if you're super dedicated." ContentLicense="CC BY-SA 3.0" />
  <row Id="23052" PostHistoryTypeId="4" PostId="13960" RevisionGUID="88b668d7-3c60-457c-954a-197393006e70" CreationDate="2012-05-16T20:15:28.623" UserId="6411" Comment="Typo in title- crows/crowds" Text="Recording Crowds for Game" ContentLicense="CC BY-SA 3.0" />
  <row Id="23053" PostHistoryTypeId="2" PostId="13962" RevisionGUID="cc3bffb6-8a66-4720-8049-77c33f9b962f" CreationDate="2012-05-16T21:00:02.297" UserId="1216" Text="Hi Melissa,&#xD;&#xA;&#xD;&#xA;I've once recorded a crowd for a similar battlefield situation. I had 15 men in a 15m by 5m relatively dry sounding studio. I recorded everything with 2 mic setups. A. xy B. spaced omni. Placement of the men and mic's was along the long wall, i don't remember exact distances.  &#xD;&#xA;I actually layered these recorded 3 times to get this big attack feel to it, with all men screaming their lungs out. It was great to do, just take care to bring a lot of water for the voices. And maybe get someone to do the engineering so you can direct the sessions.&#xD;&#xA;&#xD;&#xA;Good luck and most of all have fun!&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="23055" PostHistoryTypeId="2" PostId="13964" RevisionGUID="81a2a035-58db-4086-b568-7897891e62de" CreationDate="2012-05-17T03:44:39.003" UserId="6460" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I am curious if anyone here has experience configuring and tuning a speaker system in a movie theater for 5.1/7.1 playback. My recent projects have given me a lot of new experience with loudspeaker management and tuning for live theater, and now I am curious how a cinema would typically handle this. For instance, do the surround channels in 5.1 get sent evenly throughout the speakers on the side walls and the rear? I feel like this would be great info to have when checking a film mix.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="23056" PostHistoryTypeId="1" PostId="13964" RevisionGUID="81a2a035-58db-4086-b568-7897891e62de" CreationDate="2012-05-17T03:44:39.003" UserId="6460" Text="Matrixing and Tuning of Speakers in Movie Theaters" ContentLicense="CC BY-SA 3.0" />
  <row Id="23057" PostHistoryTypeId="3" PostId="13964" RevisionGUID="81a2a035-58db-4086-b568-7897891e62de" CreationDate="2012-05-17T03:44:39.003" UserId="6460" Text="&lt;cinema&gt;&lt;loudspeakers&gt;&lt;5.1&gt;&lt;7.1&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23058" PostHistoryTypeId="2" PostId="13965" RevisionGUID="3c150ee3-d8a6-48dd-8e97-92b645678aff" CreationDate="2012-05-17T04:57:19.337" UserId="6435" Text="I recently recorded a bunch of battle cries for a production of &quot;Richard III&quot;  with an Audio-Technica BP4025 into a Sound Devices 722 at 24/96k (in case of pitch shifting). I was in the theater space where the play was being put up, which was a large black-box space that was a little live but not horrible. I set the mic up about 10 feet in front of the 15 actors, who were standing in the center of the room. I recorded passes of constant screams, but also short yells, which when put together made for a more dynamic sound than just the constant scream by itself.&#xD;&#xA;&#xD;&#xA;Prior to that, I'd been using a big group scream I built in 1998 out of several takes of 5 guys around a stereo pair of 414s (through a Mackie board to DAT) in a moderately dead tracking room at a music studio. I must have used the &quot;Big Skreem&quot; build on a couple of dozen projects since then." ContentLicense="CC BY-SA 3.0" />
  <row Id="23059" PostHistoryTypeId="2" PostId="13966" RevisionGUID="ca7fc5a1-2ca6-4c25-b1b1-c17a4ae43c51" CreationDate="2012-05-17T05:30:16.523" UserId="3286" Text="Haven't set one up myself, but I know a lot about 'em!&#xD;&#xA;&#xD;&#xA;It's a rather broad question, really.  But to answer your specific request, the surround speakers are often set in an array in order to broaden the sweet spot for the audience. As such, the speakers closest to the front on each side are typically at a lower level than the speakers at the furthest rear.  This allows for a smoother transition from front to back in panned fx and whatnot.&#xD;&#xA;&#xD;&#xA;When mixing on a dub stage, the size of the room is often the same as the final listening environment: the movie theater.  So if you mix on a dub stage, you're almost guaranteed to have great translation.  But if you mix at home in 5.1 or 7.1, you're typically in a smaller room, and thus don't need to worry about surround arrays.  But this translates rather well too, assuming your room is tuned and balanced within itself.  The arrays can have a smearing effect, or make it harder to localize a source sound in a specific surround speaker, but it's either that, or have only one person in the audience who can hear the mix as it was originally intended.  Better to have the full audience at 90% translation than just one person at 100%, in all actuality.  (Those percentages were just guesses, btw)." ContentLicense="CC BY-SA 3.0" />
  <row Id="23060" PostHistoryTypeId="2" PostId="13967" RevisionGUID="c52f6c90-21c9-4199-a29e-4e60d2d09664" CreationDate="2012-05-17T07:57:55.680" UserDisplayName="user80" Text="It is not just the tar that you need to worry about, there are other particulates that clog the grill and membrane.  The only solutions are a pop filter and regular maintenance.    " ContentLicense="CC BY-SA 3.0" />
  <row Id="23061" PostHistoryTypeId="5" PostId="13851" RevisionGUID="10b0d1fe-33d6-42b3-b04c-6a5b851f99b1" CreationDate="2012-05-17T08:33:03.837" UserId="1216" Comment="added final update" Text="Hi,&#xD;&#xA;&#xD;&#xA;I've recently finished a theatre-mix, which I delivered as a stereo wav-file at 48 kHz/24bit. The film was shot on a RED at 4K 25 fps.&#xD;&#xA;Protools was also at 48 khz/25fps and everything was fine in the studio during playback and recording. Today the director had a test viewing at a local cinema and unfortunately everything sound pitched down.&#xD;&#xA;&#xD;&#xA;At the postcompany, responsible for creating the MXF files, they've checked framerates etc and everything is runs fine at their end. I must admit I don't have any experienced with Digital Cinema Package (DCP) and MXF-files. First thing I checked was the framerate and samplerate, which are fine also. &#xD;&#xA;&#xD;&#xA;We are a bit clueless.. What could be the problem? Could it be an issue at the cinema?&#xD;&#xA;&#xD;&#xA;UPDATE: first of all thanks all for the responses, great to hear from you!&#xD;&#xA;The DCP house has checked the soundtrack again today and described it differently than the director (to add to the confusion :) But the projector at the venue is able to play 25fps files, so that's not the issue. The dcp house is researching the issue further, so for now there is not a lot I can do. I have told them that I can provide a pitched version for 24fps playback if necessary. So thanks for those tips guys, really appreciate it!&#xD;&#xA;&#xD;&#xA;UPDATE 2: checked the new DCP file and everything was fine. except for a terribly loud hum (50Hz) in the actual screening room. technician didn't hear it but dared to guarantee that it was not a problem. yeah right. how i'd love to know how cinema routing/setup worked... i've been dissapointed so many times already :) oh and it turns out the post company made a mistake somewhere between splitting channels and rendering the audio for the mxf. &#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="23062" PostHistoryTypeId="5" PostId="11478" RevisionGUID="c5ecc622-55e3-40f7-a807-f4b9031ed710" CreationDate="2012-05-17T08:39:36.467" UserId="1216" Comment="Updated after premiere" Text="&#xD;&#xA;hi everyone,&#xD;&#xA;&#xD;&#xA;i am currently preparing the audio post process for a (low budget) documentary. &#xD;&#xA;the doc isn't finished and still needs a lot of work, but i was eager to see and hear some footage.&#xD;&#xA;the director and had a screening (on her laptop(speakers)) and talked about the sound and her&#xD;&#xA;ideas, so far so good... well i also asked for the omf and am now listening through the material in my studio.  &#xD;&#xA;&#xD;&#xA;my first conclusion is that it's pretty bad soundwise. the director filmed everything herself, but is not&#xD;&#xA;at all audio savy out of the 18 minutes, at least 6 minutes of the audio is distorted, not very badly, &#xD;&#xA;but defenitely noticeable in about 30% of the peaks per region. &#xD;&#xA;&#xD;&#xA;the soundtrack consists mainly of an interview with one subject, over the course of three days. &#xD;&#xA;everything was recorded using lavelier mic (and transmitter) direct to DVcamera. the other part of &#xD;&#xA;the soundtrack is ambience and city sounds. everything is mono and there are no alternate takes &#xD;&#xA;available. some DV tapes have ok sound, others are distorted.&#xD;&#xA;&#xD;&#xA;to get a feel of how to approach this little monster i decided to do some tests. i've started declipping &#xD;&#xA;with izotope rx to get an idea of how bad it is and must say i'm quite pleased with the results so far. &#xD;&#xA;but i'm still wondering how and where to start when i get the locked picture and omf.&#xD;&#xA;&#xD;&#xA;normally i don't get audiorecordings this bad and restoring bad takes is only a small part of the job.&#xD;&#xA;i start with dialogue editing: cleaning up the tracks (ticks, clicks, pops etc) and a few passes have &#xD;&#xA;them leveled out evenly. (this is overtly simplified ofcourse) but now i face the challenge of having a &#xD;&#xA;lot of clipped audio and some reasonably good audio. cleaning up dialogue within the clipped regions &#xD;&#xA;is not an option, everything is to loud and if i bring down the volume i'm still left with a audio image &#xD;&#xA;full of clipped peaks, distorting my vision/hearing.&#xD;&#xA;&#xD;&#xA;i managed to boil it down into two options:&#xD;&#xA;&#xD;&#xA;a. start first with the reasonably good audio takes, cleaning them up and getting a feel for the dialogue &#xD;&#xA;flow (and it's levels) and then work your way down to the bad parts&#xD;&#xA;&#xD;&#xA;b. start with the bad parts and use ie. izotope to declip the regions first* and then start the cleaning &#xD;&#xA;up of all the dialogue in one pass and go from there.&#xD;&#xA;&#xD;&#xA;*i mainly ask this because i don't know how much izotope (in my case) changes in the audio&#xD;&#xA;besides extrapolating the headroom, is the rest of the audio left 'untouched'? i don't think so,&#xD;&#xA;but will it matter with audio in this saturated state?&#xD;&#xA;&#xD;&#xA;am i still thinking straight? what would be your approach to this? &#xD;&#xA;&#xD;&#xA;any help would be greatly appreciated!&#xD;&#xA;&#xD;&#xA;greetings,&#xD;&#xA;&#xD;&#xA;arnoud &#xD;&#xA;&#xD;&#xA;UPDATE: well the documentary premiered a few weeks ago and the director (and me) are very pleased with the results. in the end it didn't take as much time as thought necessary. the clipping was fixed very well with RX2, I love it! There was only 1 sentence that sounded a bit ugly but no one actually noticed, so that's good to know. The doc is being well received and as a result will be screening around Europe on several festivals, so I am quite happy! Thanks again for all the advice. If you want to I could post some examples (soundclips)." ContentLicense="CC BY-SA 3.0" />
  <row Id="23063" PostHistoryTypeId="2" PostId="13968" RevisionGUID="330ecfb9-11b7-4192-8639-843fc44ac8f6" CreationDate="2012-05-17T09:25:22.353" UserId="1049" Text="Hi all.&#xD;&#xA;&#xD;&#xA;I've been asked by a friend for some advice on how to go about recording the audio for an event he's filming. I don't have much experience with events recording and am still a little green when it comes to suggestions for models of mic; I have some ideas on what to suggest but need some help filling in the details etc, please, and some feedback on my ideas!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The event is a publishing conference that runs over two days. The client wants both days to be filmed and edited down in to 5x 10min videos. It’s taking place in a church/town hall which generates a lot of reverb. There will be a number of people speaking throughout the day as well as questions from the audience. From what I've been told, is sounds like some of the speakers, when not being the main speaker, may be sat on-stage to one side and potentially interact with the the person currently leading the event.&#xD;&#xA;&#xD;&#xA;I've been informed money is &quot;no object really&quot;, but naturally it would be good to keep costs down. My friends has some of his own gear but will be renting anything else they need. &#xD;&#xA;&#xD;&#xA;My thoughts were to, ideally, boom the audience (with Rode NTG2s, my friend has one of these already), maybe using multiple mics and operators if it's a large turnout; a short delay whilst an operator gets into position before someone asks a question shouldn't really be an issue, especially if it's all going to be edited down in the end.   &#xD;&#xA;&#xD;&#xA;A decent hyper-cardiod patterned mic should do for the main speaker, in a fixed location on the stage. I was thinking it would be a good idea to lapel-mic all the speakers, too, so that any interaction from those sitting to the side could be captured too.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Can anyone suggest and (other) models of mic to use and any other advice on how this event should be captured?**&#xD;&#xA;&#xD;&#xA;Thanks in advance! " ContentLicense="CC BY-SA 3.0" />
  <row Id="23064" PostHistoryTypeId="1" PostId="13968" RevisionGUID="330ecfb9-11b7-4192-8639-843fc44ac8f6" CreationDate="2012-05-17T09:25:22.353" UserId="1049" Text="Advice on Recording a Conference" ContentLicense="CC BY-SA 3.0" />
  <row Id="23065" PostHistoryTypeId="3" PostId="13968" RevisionGUID="330ecfb9-11b7-4192-8639-843fc44ac8f6" CreationDate="2012-05-17T09:25:22.353" UserId="1049" Text="&lt;conference&gt;&lt;microphone-positioning&gt;&lt;microphone&gt;&lt;microphone-technique&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23066" PostHistoryTypeId="2" PostId="13969" RevisionGUID="f317f252-adc7-49e8-a183-7c7ce6da2736" CreationDate="2012-05-17T11:30:32.327" UserId="3243" Text="Would you know if there's going to be a PA system in the venue for the event? If so, then getting a feed from it would save you from having to mic people.&#xD;&#xA;&#xD;&#xA;And also, I don't think you'd want to have a boom flying around throughout the whole event." ContentLicense="CC BY-SA 3.0" />
  <row Id="23067" PostHistoryTypeId="2" PostId="13970" RevisionGUID="4b0bf03f-7041-486c-8d0a-1208f35f4c6b" CreationDate="2012-05-17T12:33:08.407" UserId="6462" Text="Definitely find out if there is a PA system or perhaps an event company is providing the amplification and other services. If there is then, as soundspeed mentioned, just take a feed from the mixer.&#xD;&#xA;I also agree that a boom is not a good idea for the audience, would be much better to have 1 or 2 radio handhelds that can be passed around, if you do this make sure to place some bright different coloured electrical tape on the mics so you know which one is being used. But if there is a PA then that operator will be taking care of that anyway.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="23068" PostHistoryTypeId="2" PostId="13971" RevisionGUID="26c169c5-bd32-453f-980c-47114166288b" CreationDate="2012-05-17T13:55:39.573" UserId="6566" Text="I had a similar problem many years ago. I finally swapped out the Digilink cable and the problem went away." ContentLicense="CC BY-SA 3.0" />
  <row Id="23069" PostHistoryTypeId="16" PostId="13971" RevisionGUID="26c169c5-bd32-453f-980c-47114166288b" CreationDate="2012-05-17T13:55:39.573" UserId="-1" />
  <row Id="23071" PostHistoryTypeId="2" PostId="13972" RevisionGUID="2730b74a-5ae7-44e8-9177-20241f407c8f" CreationDate="2012-05-17T16:52:46.763" UserId="3754" Text="if there's a lecturn, a simple gooseneck would capture your vocals" ContentLicense="CC BY-SA 3.0" />
  <row Id="23072" PostHistoryTypeId="2" PostId="13973" RevisionGUID="27df0cff-5071-4a85-8175-ac3fbe679e92" CreationDate="2012-05-17T18:10:09.680" UserDisplayName="user80" Text="If there is a PA use a line splitter before everything is sent to the desk.&#xD;&#xA;&#xD;&#xA;http://www.canford.co.uk/Products/20-375_EMO-E375-LINE-SPLITTER-6-channel-3-way-3U-rackmount&#xD;&#xA;&#xD;&#xA;Make sure that you warn the PA company, and that that you bring extra XLR cables." ContentLicense="CC BY-SA 3.0" />
  <row Id="23073" PostHistoryTypeId="5" PostId="13973" RevisionGUID="88f21041-a30d-4b39-94c7-946f22f43f7a" CreationDate="2012-05-17T18:49:06.113" UserDisplayName="user80" Comment="added 22 characters in body" Text="If there is a PA use a line splitter to take a feed from every mic before it is sent to the desk.&#xD;&#xA;&#xD;&#xA;http://www.canford.co.uk/Products/20-375_EMO-E375-LINE-SPLITTER-6-channel-3-way-3U-rackmount&#xD;&#xA;&#xD;&#xA;Make sure that you warn the PA company, and that that you bring extra XLR cables." ContentLicense="CC BY-SA 3.0" />
  <row Id="23074" PostHistoryTypeId="2" PostId="13974" RevisionGUID="40cac748-edc6-46b2-b4da-609c116a1158" CreationDate="2012-05-17T19:31:05.923" UserId="3093" Text="I do support the idea of taking a feed from the PA system, but -just guessing- there is always going to be some people that won't wait for the microphone to be on their hands to ask their own question, some may yell?  Maybe they ask an improvised but important question without the mic. I do encourage you to record from the PA, as well as recording the audience, but you will need several mics though. As mentioned above, a boom should not be your best choice, if someone is totally of axis you are pretty much screwed, compared to that of using maybe just a cardioid-condenser mic? " ContentLicense="CC BY-SA 3.0" />
  <row Id="23075" PostHistoryTypeId="2" PostId="13975" RevisionGUID="e87ef475-60ab-4560-bad5-c05f38628f55" CreationDate="2012-05-17T19:41:51.443" UserId="3859" Text="@Stavrosound totally nailed it. Our post team at Todd-AO does cover everything, BGs included, and they are treated as described for the reasons mentioned. I wasn't sure they existed either until I asked the supervising sound editor. Two additional notes:&#xD;&#xA;&#xD;&#xA;First, it's a cartoon, so our ears (and eyes) accept a ton of things which we might not in live-action.&#xD;&#xA;&#xD;&#xA;Second: in the Seth MacFarlane aesthetic, the joke comes first, dialogue second, and everything else needs to not get in the way. So BGs are mixed super-low, footsteps and other hard SFX are often dropped entirely, and things like MX and car-bys that might normally have a long lead-in or tail are cut very close. Comedy and dialogue are the focus and the approach to mixing represents Seth's desire to avoid any possible distractions from that focus.&#xD;&#xA;&#xD;&#xA;So yes, BGs are covered, but I imagine you won't want to mix them like on our shows unless you're doing something in the same style." ContentLicense="CC BY-SA 3.0" />
  <row Id="23077" PostHistoryTypeId="2" PostId="13976" RevisionGUID="658b167e-80d2-463c-9fdb-869499ae51d9" CreationDate="2012-05-17T20:11:06.403" UserId="3859" Text="Some of these are more relevant if you're regularly involved with a show and not so much if you're a contracted remote studio, but here goes:&#xD;&#xA;&#xD;&#xA;Consider the nature of the show and decide whether a round-table approach is better than one actor at a time. It presents greater technical problems but can lead to more natural dialogue and some great moments of inspiration, and it can take less time if you have good actors.&#xD;&#xA;&#xD;&#xA;Even if you're recording one actor at a time, some heartfelt conversations or fast-paced comedic exchanges will be much better with two actors recording together. If you have the facilities and the power to influence this decision it's worth considering. Then, set the actors up several feet apart, angled at least slightly toward each other if possible, so they have a clear line of sight to one another. (Conveniently, this also places each actor further off-axis of the other actor's mic.)&#xD;&#xA;&#xD;&#xA;Many times an actor will read something that will need to be mimicked or matched by another actor—have a system for marking these references to make them easy to find later.&#xD;&#xA;&#xD;&#xA;Record in a very dead room and keep actors close to the mic. Shows like Seth MacFarlane's, and The Simpsons, have dialogue that can be faster, punchier, and more energetic because it's so clean and dry.&#xD;&#xA;&#xD;&#xA;I love our Neumann TLM-193s not just because they are crisp and clear without being grating, and not just because they sound great on almost everyone, but because of the extremely high SPL rating. People can scream into them without backing off the mic. Just ride the gain or fader as appropriate and have your script super prepare you for really loud lines. (Or mark them in advance.)&#xD;&#xA;&#xD;&#xA;If have to do a dual-mic setup to catch loud lines or for other reasons, make sure they're the same kind of mic so the dialogue from both sources will match.&#xD;&#xA;&#xD;&#xA;In general record everything as dry and dead as possible, and if your noise floor is low enough, with little or compression. This allows for flexibility later but also helps prevent overmodulation on those sudden loud lines that lurk throughout an animated script.&#xD;&#xA;&#xD;&#xA;In general animation has less visual expression than live action (no subtle visual cues that help us understand the story and the characters' emotions and personalities). So pick a mic, pre, compressor, etc. that preserve the full energy of a person's voice without accentuating anything to an annoying degree. Again... I love the TLM-193.&#xD;&#xA;&#xD;&#xA;Learn to take your own notes while you record, especially if you'll be the one cutting it. But of course if you have trouble keeping up at any point, never sacrifice the quality of the sound for something like note-taking.&#xD;&#xA;&#xD;&#xA;If you can have a talkback speaker in the tracking room, this will allow for inexperienced voice actors to not have to wear headphones. Stage and screen actors with minimal V.O. experience can get really weird with the cans on, and you may get a more natural and energetic delivery if they're not getting the sound of their own voice pumped into their ears." ContentLicense="CC BY-SA 3.0" />
  <row Id="23078" PostHistoryTypeId="16" PostId="13976" RevisionGUID="658b167e-80d2-463c-9fdb-869499ae51d9" CreationDate="2012-05-17T20:11:06.403" UserId="-1" />
  <row Id="23079" PostHistoryTypeId="2" PostId="13977" RevisionGUID="02df4b42-fe74-4d3b-a506-562eb7cb7ba9" CreationDate="2012-05-17T20:36:03.080" UserId="3859" Text="Obviously for the benefit of others with the same problem, since this was 18 months ago... (Hope you managed to make a difference, by the way!)&#xD;&#xA;&#xD;&#xA;The Cedar is really amazing and might help.&#xD;&#xA;&#xD;&#xA;If it's at all a harsh-sounding distortion and you're there with a Cedar anyways, you might try de-crackling and see what happens.&#xD;&#xA;&#xD;&#xA;Using an expander might do something for you but I suspect not.&#xD;&#xA;&#xD;&#xA;Used in combination with another successful approach, you might help the quality at least a little with some eq, because whatever frequencies are emphasized by the mic and pre-amp, when gained up too far, tend to splatter all over and really dominate when squashed. You may also find that the crackle of the distortion lives predominantly in one frequency range and you can knock it down a little with eq. (Or try the C4 in this capacity.)&#xD;&#xA;&#xD;&#xA;Desperation move: try blending a little of the lav mic in with the boom for clarity. You can experiment... maybe band-pass the lav's signal severely so you're left with mostly consonant sounds and sibilance, and see if you can blend this in to help make the boom audio more intelligible in the quieter spots." ContentLicense="CC BY-SA 3.0" />
  <row Id="23080" PostHistoryTypeId="2" PostId="13978" RevisionGUID="8d9669ce-15c5-4585-b2ac-66123baf151d" CreationDate="2012-05-17T20:41:47.350" UserId="3859" Text="If you're not too attached to ProTools, you could even look at free software like Audacity.&#xD;&#xA;&#xD;&#xA;And if you want some tutorials to guide you through ProTools features and techniques, you might take a look at http://www.lynda.com/ . I believe they've got a bunch of videos there and I've heard good things." ContentLicense="CC BY-SA 3.0" />
  <row Id="23081" PostHistoryTypeId="2" PostId="13979" RevisionGUID="83cf721b-b304-4c65-8729-882cf7893442" CreationDate="2012-05-17T20:48:01.840" UserId="3859" Text="Consider introducing them to typical workflows and letting them assume roles within that workflow for each project. On one project someone could play producer, or &quot;game designer,&quot; or sound supervisor. You know... people making the creative decisions, people supervising the work, people setting schedules and deadlines and such. I think it will help demystify the process and prepare them for how professionals work, and prepare them for the importance of things like teamwork and communication." ContentLicense="CC BY-SA 3.0" />
  <row Id="23082" PostHistoryTypeId="2" PostId="13980" RevisionGUID="935ed081-fd11-45b1-a510-7425ef719e6f" CreationDate="2012-05-17T21:21:14.473" UserId="3859" Text="This is super-old news, but there's a really superb book from Mix called &quot;Sound for Picture&quot; that's full of articles and interviews. It covers all elements of sound from a bunch of enormous films and the biggest names in the industry. A really inspiring read that has a bunch of tips and tricks as well. My copy is from 2000, so it still contains a lot of pre-ProTools stuff, but that sure doesn't make it useless.&#xD;&#xA;&#xD;&#xA;Fantastic book.&#xD;&#xA;&#xD;&#xA;Otherwise, I think @Tim Prebble is right... sit with a mixer! Combine that with a lot of listening to soundtracks and some good reading and, for me, that's the magic cocktail." ContentLicense="CC BY-SA 3.0" />
  <row Id="23083" PostHistoryTypeId="2" PostId="13981" RevisionGUID="a736ce5c-46ac-40ee-aa5b-6500d16d5a06" CreationDate="2012-05-17T21:28:09.587" UserId="3859" Text="Professionally I spend most of my time recording and editing, and only get to mix small projects &quot;in-the-box&quot; on the side. I just got—and am now deeply in love with—a PreSonus FaderPort, which uses the Mackie HUI protocol to control ProTools. It has a transport section, some other useful buttons, and a motorized fader that's quite good for the meager $129 I paid.&#xD;&#xA;&#xD;&#xA;This is serving a dual purpose for me. One, I'd like to get better at out-of-the-box mixing myself, and I'm starting to get used to working with motorized faders again. Two, it's actually helping me work faster—specifically, I can do volume work in a fraction of the time it takes to draw a bunch of break points, check my work, fix it, check again, etc.&#xD;&#xA;&#xD;&#xA;So in a broader analysis, yes, I would recommend getting a small motorized-fader control surface and forcing yourself to learn it and use it on your projects. That's a good start." ContentLicense="CC BY-SA 3.0" />
  <row Id="23084" PostHistoryTypeId="2" PostId="13982" RevisionGUID="3b7fccc8-6dd0-4454-8151-b02de99a012f" CreationDate="2012-05-17T21:53:35.327" UserId="3104" Text="Do people prefer using effects processing in a DAW, via Plug-Ins or outboard gear to have more hands on control for Post-Production?&#xD;&#xA;&#xD;&#xA;I do everything in the box because I've barely started working and haven't had any money to put into any major gear.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23085" PostHistoryTypeId="1" PostId="13982" RevisionGUID="3b7fccc8-6dd0-4454-8151-b02de99a012f" CreationDate="2012-05-17T21:53:35.327" UserId="3104" Text="Hardware or Software effects for Post-Production?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23086" PostHistoryTypeId="3" PostId="13982" RevisionGUID="3b7fccc8-6dd0-4454-8151-b02de99a012f" CreationDate="2012-05-17T21:53:35.327" UserId="3104" Text="&lt;gear&gt;&lt;daw&gt;&lt;effects&gt;&lt;processing&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23087" PostHistoryTypeId="2" PostId="13983" RevisionGUID="da94fed3-2caa-4fed-9720-8d21973f640e" CreationDate="2012-05-17T22:09:31.510" UserId="3859" Text="In the studio recording voices for animation I'm aiming for around -10 or a bit lower. One important factor is knowing the actor and the script. If the script calls for sudden yelling or it's a very emotional moment, I am a bit lower. The same if I'm not familiar with an actor, or if I know it's an actor who's really all over the place. But when Seth MacFarlane steps in the booth, for example, knowing the characters and the script makes the levels very predictable, and I can safely aim for about -6 to -8 and get a particularly clean, hot recording.&#xD;&#xA;&#xD;&#xA;I also aggressively ride the gain or fader as appropriate—in animation especially there is no set-it-and-forget-it." ContentLicense="CC BY-SA 3.0" />
  <row Id="23088" PostHistoryTypeId="2" PostId="13984" RevisionGUID="970ea655-f940-41d5-9115-e63065d90138" CreationDate="2012-05-17T22:41:18.003" UserId="3286" Text="For post-production, I'm not aware of any hardware device that can do what the software equivalent can't, with the exception of noise reduction hardware, such as CEDAR.  That, and perhaps 5.1 processors, like the TCE Reverb 4000.&#xD;&#xA;&#xD;&#xA;But after speaking with [Doug Jackson][1] a couple weeks ago about this, he showed that the TCE reverbs on the dub stages he works on are just for looks.  Even those are in-the-box these days.&#xD;&#xA;&#xD;&#xA;In all reality, the reason outboard gear is still used today in the digital age is because analog hardware provides a certain tone and nuance to the signal applied to it that software plugins can't accomplish.  This is great in music, where you have one stimulus (sound) and you're likely to listen to it a lot of times (because it's relatively short).  But in film, the nuance added by a compressor such as the Destressor is often lost in the mix, and so is not really beneficial.&#xD;&#xA;&#xD;&#xA;But this is from my own experience in mixing for film.  I'd love to hear if any post-production folks use external gear in their mixes.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/name/nm0413466/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23089" PostHistoryTypeId="2" PostId="13985" RevisionGUID="ee82a357-5438-4e72-b5c3-1ba81b2e74f7" CreationDate="2012-05-18T02:15:52.370" UserId="3196" Text="guys, we r making a film as a part of our college project. It will be a 10 mins short film and my director wants to build up the feeling  of **absence** in the whole story.could anybody help me with some ideas as to how i should go about it." ContentLicense="CC BY-SA 3.0" />
  <row Id="23090" PostHistoryTypeId="1" PostId="13985" RevisionGUID="ee82a357-5438-4e72-b5c3-1ba81b2e74f7" CreationDate="2012-05-18T02:15:52.370" UserId="3196" Text="how to build absence in a film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23091" PostHistoryTypeId="3" PostId="13985" RevisionGUID="ee82a357-5438-4e72-b5c3-1ba81b2e74f7" CreationDate="2012-05-18T02:15:52.370" UserId="3196" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23092" PostHistoryTypeId="2" PostId="13986" RevisionGUID="43ce0c4d-59df-46a9-b680-52b41f8479f4" CreationDate="2012-05-18T02:32:04.937" UserId="1129" Text="Absence is hard to convey in an additive medium like sound.  It helps to identify what it is that is not present.  You can emphasize ideas like loneliness, emptiness, and sparseness through subtle atmospheres and the like, but actual absence is more difficult to convey without a contrast.&#xD;&#xA;&#xD;&#xA;If there is a single moment you want to punch, then create a noise or atmospheric bed, keep it low and subtle throughout, so that you can remove it at just the right moment.  The audience is suddenly aware that something is missing, even if they can't put a finger on what it is.&#xD;&#xA;&#xD;&#xA;It also might be interesting to leave out some foley sounds, that might make for an interesting experience; assuming the thing that you don't foley is prominent enough and the message is pointed enough.&#xD;&#xA;&#xD;&#xA;In all seriousness, your director needs to articulate his vision a little bit clearer.  You can't really pull off &quot;absence&quot; for an entire ten minutes.  You need to figure out how the story flows, where the high and low points are, then you can figure out the best way to support the flow of those ideas with sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="23093" PostHistoryTypeId="5" PostId="13985" RevisionGUID="f5714cb6-d1b4-45ab-a562-d4ab03158ecb" CreationDate="2012-05-18T02:41:09.780" UserId="3196" Comment="added 107 characters in body" Text="guys, we r making a film as a part of our college project. It will be a 10 mins short film and my director wants to build up the feeling  of **absence** in the whole story.could anybody help me with some ideas as to how i should go about it.&#xD;&#xA;&#xD;&#xA;also, it would be of great help if you could suggest some films (feature length or short) for reference" ContentLicense="CC BY-SA 3.0" />
  <row Id="23098" PostHistoryTypeId="2" PostId="13988" RevisionGUID="bae9bcaa-6f12-40ef-a76d-ddb168531d8a" CreationDate="2012-05-18T04:27:50.547" UserId="3861" Text="I use [trello][1] for allowing the customer to rank what he wants to hear next. And i force the customer to move cards to different stages when he believes that the track is ready. I also share a soundcloud set with him so that all of the tracks are there easily for him to grab when updates are ready. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://trello.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="23099" PostHistoryTypeId="2" PostId="13989" RevisionGUID="81f58664-e70b-4c23-86ba-2d4a4c10e28d" CreationDate="2012-05-18T04:59:47.787" UserId="407" Text="have you considered recording the crowd outside? This naturally depends on your requirements for the game and what you are looking for - one of the advantages of recording outside you will be able to multi mic at long distances and you'll also get authentic environment reverb to boot. Down sides are or course the control and the background noise - the sound of airplanes in Roman times is probably not what your looking for :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23100" PostHistoryTypeId="2" PostId="13990" RevisionGUID="27e664cf-d36c-4581-ba91-a9f6e02c5b60" CreationDate="2012-05-18T07:58:08.433" UserId="3238" Text="Wave Editor and Loop Editor by Audiofile Engineering is the best audio editor and loop tool for the Mac that I'm aware of:  http://www.audiofile-engineering.com/waveeditor  &#xD;&#xA;&#xD;&#xA;I would go so far as to call it the SoundForge of Mac OS.  It's also very reasonably priced (Loop Editor $49.99, and Wave Editor on sale currently at $69.99), and you can download a 15-day full featured demo I believe.  I also couldn't live without their Sample Manager software.  All of them handle audio file markers -- Wave Editor can add loops points too, but Loop Editor gives some extra functionality that comes in handy, like a zero-cross view.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23101" PostHistoryTypeId="2" PostId="13991" RevisionGUID="508c7381-860d-42f9-8b8e-5272d8b30803" CreationDate="2012-05-18T08:03:30.540" UserDisplayName="sdfhte" Text="Bien s\x{00fb}r, il existe de &lt;a href=&quot;http://www.saclongchamp-solde.com&quot;&gt;longchamp&lt;/a&gt; nombreuses autres tendances de maillots de bain: maillots de bain imprimés fleuris, couleurs fluos, froufrous.Sac simple &lt;a href=&quot;http://www.saclongchamp-solde.com&quot;&gt;Sacs Longchamp&lt;/a&gt; accessoire semble être très proche dune femme.That'ring developing the best final choice of terminate " ContentLicense="CC BY-SA 3.0" />
  <row Id="23106" PostHistoryTypeId="2" PostId="13994" RevisionGUID="0caffd7a-2ca7-4e59-99d8-99267771f48d" CreationDate="2012-05-18T13:29:03.977" UserId="2502" Text="for many reasons i would suggest not bouncing but busing and printing inside the pt session." ContentLicense="CC BY-SA 3.0" />
  <row Id="23107" PostHistoryTypeId="2" PostId="13995" RevisionGUID="b527a5c0-c9ec-4778-8fd7-3cb7f472055d" CreationDate="2012-05-18T15:29:55.513" UserDisplayName="user80" Text="I use Sugarsync a lot and the client has access to the temp mixes as wavs.  The Pro Tools sessions are also on Sugarsync, so that I can work on projects at home or at work, which has been really useful for minor last minute changes.  Fortunately payment has never been an issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="23108" PostHistoryTypeId="2" PostId="13996" RevisionGUID="18e79117-7a8e-4c27-b966-58146d8bca1b" CreationDate="2012-05-18T16:17:21.057" UserId="37" Text=" - bring in industry people. they are incredible storytellers and their stories are real.&#xD;&#xA; - field recording. especially hydrophones, dishes, also covert binaural recording - loads of fun and can be done indoors and outdoors. &#xD;&#xA; - foley sessions - as much fun as field recording. try organising a live foley session - it's very hard and very rewarding. tons of silent films out there are suitable for this.&#xD;&#xA; - guerilla sound editing - take the standard tools away from their hands and give them something unexpected. test how much of that is skill or just memorising. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23109" PostHistoryTypeId="2" PostId="13997" RevisionGUID="d4bc7a73-f7ef-4f4d-9649-a2faf938b216" CreationDate="2012-05-18T18:31:30.083" UserId="432" Text="Hey folks. I'm trying to compile a list of videos/series that are produced exclusively for the web that actually have staff dedicated to sound. They don't necessarily have to be fictional or narrative.&#xD;&#xA;&#xD;&#xA;Here are some examples:&#xD;&#xA;&#xD;&#xA; - Soundworks Collection&#xD;&#xA; - The recent Prometheus viral videos&#xD;&#xA; - Old Spice web shorts&#xD;&#xA;&#xD;&#xA;I'm not really looking for one-offs, I'd prefer &quot;series&quot; videos. If you can think of any, I'd appreciate it. *[I'd doubly appreciate it if you know the names of any sound staffers associated with them too.]*&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="23110" PostHistoryTypeId="1" PostId="13997" RevisionGUID="d4bc7a73-f7ef-4f4d-9649-a2faf938b216" CreationDate="2012-05-18T18:31:30.083" UserId="432" Text="Looking for Web Series With Sound Staff" ContentLicense="CC BY-SA 3.0" />
  <row Id="23111" PostHistoryTypeId="3" PostId="13997" RevisionGUID="d4bc7a73-f7ef-4f4d-9649-a2faf938b216" CreationDate="2012-05-18T18:31:30.083" UserId="432" Text="&lt;mixing&gt;&lt;web&gt;&lt;distribution&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23112" PostHistoryTypeId="2" PostId="13998" RevisionGUID="d6de663a-567f-4f1e-954c-76ea3a0333bd" CreationDate="2012-05-18T18:48:00.033" UserId="234" Text="Absence of what is the question? Absence of a person? Of a specific thing? Life? To create the  absence of something, you need to have had or expect that something in the first place. For example if I was working on a piece where the director wanted an absence of humanity, I might use very quiet wind samples or an empty field against a location that would normally be very noisy, like a city shot. Basically between you and the director I would come up with a list of sounds that SHOULD be there - specific to whatever is absent, but WON'T thereby creating a sense of absence because they're missing. It may help to establish the sound of the thing in a previous scene, before taking it away - again based on discussions with the director.&#xD;&#xA;&#xD;&#xA;Here's an example of a project I did: http://blip.tv/ottawa-horror/nightmare-1666924. (It won an Accolade &quot;Best of Show&quot; for Sound, so I don't feel I'm being to self-serving here, plus there are no legal issues sharing it!)&#xD;&#xA;&#xD;&#xA;It's essentially a character in a nightmare, so we created an absence of &quot;reality&quot;. For example the lack of any foley is intentional - it's absence makes you feel &quot;wrong&quot; - he SHOULD be making noise. At around the 5:00 mark, you'll notice that the city is completely devoid of any &quot;human&quot; atmospheres - no cars, trucks, or city sounds, just the wind and the weird voices. We purposely took things out to give the audience a subjective sense of &quot;dream&quot;.&#xD;&#xA;&#xD;&#xA;To sum up, for something to be &quot;absent&quot; in needs to have been &quot;present&quot; either in the movie or in the audiences perceptions.&#xD;&#xA;&#xD;&#xA;And as FaderJockey said, this is something you REALLY need to discuss with your Director to make sure it matches his/her vision of the film." ContentLicense="CC BY-SA 3.0" />
  <row Id="23113" PostHistoryTypeId="2" PostId="13999" RevisionGUID="2d9e3672-0c7b-4ada-a4db-1bc377011e68" CreationDate="2012-05-18T21:54:51.133" UserId="3866" Text="Done! Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23114" PostHistoryTypeId="2" PostId="14000" RevisionGUID="6a8b07ec-8683-40a1-9200-0662650e361f" CreationDate="2012-05-18T22:32:07.257" UserId="1106" Text="Hey matey Im the sound guy from the Corridor Digital YouTube series Sync. I basically do everything apart from the music and recording on set! What's this list for or about?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23115" PostHistoryTypeId="2" PostId="14001" RevisionGUID="61d500c1-3d5b-456a-8f5a-221b0fa236af" CreationDate="2012-05-18T22:55:55.190" UserId="3746" Text="I would just like to add to what other's have already said: that once you have declipped things, I find using EQ, SPL Transient Designer and Waves C4 to help shape the tone can make things sound a bit more natural." ContentLicense="CC BY-SA 3.0" />
  <row Id="23116" PostHistoryTypeId="2" PostId="14002" RevisionGUID="6578a5bc-2710-4d13-928d-8d7e63b5197e" CreationDate="2012-05-19T01:35:37.780" UserId="37" Text="other sounds start cutting through in the absence of a person or thing. what can you think of in this particular case?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23117" PostHistoryTypeId="2" PostId="14003" RevisionGUID="5bdb7f82-e191-4471-b35c-0889057169f5" CreationDate="2012-05-19T07:27:53.403" UserId="6435" Text="I mix a series of online videos for a large computer vendor. Don't know if that counts." ContentLicense="CC BY-SA 3.0" />
  <row Id="23118" PostHistoryTypeId="2" PostId="14004" RevisionGUID="35d1e8d4-a1f2-48c8-96ef-cdc918d494ca" CreationDate="2012-05-19T09:07:49.943" UserId="396" Text="I've done a few web series, mainly just with music and dia though, no sound design to speak of. Let me know if that's of interest.." ContentLicense="CC BY-SA 3.0" />
  <row Id="23119" PostHistoryTypeId="2" PostId="14005" RevisionGUID="e9c30b21-fad5-4379-b9d2-1d139e58c438" CreationDate="2012-05-19T12:06:32.267" UserId="3740" Text="Hi guys, what would the typical levels of SFX be in a say, an action movie that involves hand-to-hand combat? I'm currently doing the sound effects in cubase and i'm a little confused on the subject of metering. I've two kinds of metering, one is Waves's Dorrough and the other is PAZ metering. SO besides the obvious notion that my sound should not clip, i would like to know what your thoughts are on what the levels should be for the following:&#xD;&#xA;&#xD;&#xA;1. Dialogue &#xD;&#xA;2. Environmental Sounds / Ambience&#xD;&#xA;3. Foley (Clothes rustling)&#xD;&#xA;4. Footsteps&#xD;&#xA;5. Impact sounds (punches, kicks)&#xD;&#xA;&#xD;&#xA;Much thanks guys." ContentLicense="CC BY-SA 3.0" />
  <row Id="23120" PostHistoryTypeId="1" PostId="14005" RevisionGUID="e9c30b21-fad5-4379-b9d2-1d139e58c438" CreationDate="2012-05-19T12:06:32.267" UserId="3740" Text="Metering levels for sound effects" ContentLicense="CC BY-SA 3.0" />
  <row Id="23121" PostHistoryTypeId="3" PostId="14005" RevisionGUID="e9c30b21-fad5-4379-b9d2-1d139e58c438" CreationDate="2012-05-19T12:06:32.267" UserId="3740" Text="&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23122" PostHistoryTypeId="2" PostId="14006" RevisionGUID="4e0e65d1-8dce-4260-b7ae-38a6f22e371a" CreationDate="2012-05-19T15:07:05.387" UserId="432" Text="That's not really how editing and mixing works. Everything that goes into an audio track needs to support the narrative, the characterization of the central figures, of the mood in that scene, and the persepctive the director wants in focus. There are no prescriptions that says, &quot;This sound plays at this level.&quot; It's a process of decision making that affects aesthetic and interpretation of the piece." ContentLicense="CC BY-SA 3.0" />
  <row Id="23123" PostHistoryTypeId="2" PostId="14007" RevisionGUID="1f4fc7cd-84d8-4b7e-ad9c-4728bbf8954e" CreationDate="2012-05-19T19:00:49.307" UserId="125" Text="Hy everyone.&#xD;&#xA;&#xD;&#xA;Im work on a film wich 2 characters killing people in 2 short scene.&#xD;&#xA;One with a hammer (he always beat first to the head), the other with a chainsaw (he just cut the bodys).:)&#xD;&#xA;&#xD;&#xA;The bloody parts happens always offscreen(we just see the splashing blood), so im very free to build the sound dramaturgy.&#xD;&#xA;&#xD;&#xA;This is my first real sound design, and im relay want to record everything for this 2 scene, so i would very happy with the proposals.:)&#xD;&#xA;What next? buy some coconut, fruit, vegtables and meat?:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23124" PostHistoryTypeId="1" PostId="14007" RevisionGUID="1f4fc7cd-84d8-4b7e-ad9c-4728bbf8954e" CreationDate="2012-05-19T19:00:49.307" UserId="125" Text="Sounds for killing people (chainsaw and hammer)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23125" PostHistoryTypeId="3" PostId="14007" RevisionGUID="1f4fc7cd-84d8-4b7e-ad9c-4728bbf8954e" CreationDate="2012-05-19T19:00:49.307" UserId="125" Text="&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23126" PostHistoryTypeId="2" PostId="14008" RevisionGUID="30963c51-7e20-4b70-8ab3-04366f6d08ea" CreationDate="2012-05-19T20:39:28.303" UserId="1185" Text="A steak and a hammer should give you what you want and as long as you use clean implements you'll have something for your tea afterwards  ;-)&#xD;&#xA;&#xD;&#xA;The inside of a watermellon also works well for some nice squishy sounds that you can layer up.&#xD;&#xA;&#xD;&#xA;Not sure you'd hear much cutting sound over a chainsaw.&#xD;&#xA;&#xD;&#xA;Have fun.&#xD;&#xA;&#xD;&#xA;PS.  Watch your mic placements as you don't want your expensive kit getting covered in goo!!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23127" PostHistoryTypeId="2" PostId="14009" RevisionGUID="68767413-96af-4514-9ef0-5357949ce661" CreationDate="2012-05-19T21:00:18.383" UserId="6411" Text="There are a number of series that are Hulu exclusives. Definitely check them out." ContentLicense="CC BY-SA 3.0" />
  <row Id="23128" PostHistoryTypeId="2" PostId="14010" RevisionGUID="c746db2f-ae56-4989-bf67-72a3e45112d2" CreationDate="2012-05-19T21:32:05.343" UserId="1228" Text="Tomatoes work great, they have just the right acidity for queezy squelchy sounds, grapefruit as well.  Using a towel to create wrapped squishes adds a nice weight to them too.  I'll admit that despite the scale of gore activity in a scene, I keep coming back to that tomato workup.&#xD;&#xA;&#xD;&#xA;As the saying goes, we call horror films &quot;produce films&quot; ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23129" PostHistoryTypeId="2" PostId="14011" RevisionGUID="905d99b5-4a97-4989-9090-04437e5a1b3b" CreationDate="2012-05-20T00:45:14.573" UserId="793" Text="I sometimes use the noise settings on Signal Generator along with slowly modulated low-pass filters and reverb as an element for room-tone (it's particularly effective for spaceship ambience if you are working on sci-fi)." ContentLicense="CC BY-SA 3.0" />
  <row Id="23130" PostHistoryTypeId="2" PostId="14012" RevisionGUID="ed208e3d-1695-45b5-9eaf-8b46f34de55a" CreationDate="2012-05-20T02:02:51.310" UserId="6669" Text="Just wanted to say that that is pretty fucking hardcore. Bravo." ContentLicense="CC BY-SA 3.0" />
  <row Id="23131" PostHistoryTypeId="5" PostId="14006" RevisionGUID="98c5ab71-84e3-4b2e-b7e8-89e4e24bd0f9" CreationDate="2012-05-20T03:14:06.833" UserId="432" Comment="grammar; added 4 characters in body" Text="That's not really how editing and mixing works. Everything that goes into an audio track needs to support the narrative, the characterization of the central figures, the mood in that scene, and the persepctive the director wants in focus. There is no prescriptions that says, &quot;This sound plays at this level.&quot; It's a process of decision making that affects the aesthetics and interpretation of the piece." ContentLicense="CC BY-SA 3.0" />
  <row Id="23132" PostHistoryTypeId="2" PostId="14013" RevisionGUID="98732cd0-1d47-4362-928e-3cee06f96c23" CreationDate="2012-05-20T03:39:04.443" UserId="531" Text="I've been working a documentary web series for [mashable.com][1] for the last month and a half. &#xD;&#xA;It's a 3-5 minute episodic series about the tech start up in San Francisco. &#xD;&#xA;&#xD;&#xA;Production and post production sound handled by me. &#xD;&#xA;Enjoy &#xD;&#xA;&#xD;&#xA;  [1]: http://mashable.com/2012/05/16/vungle-ios-developer/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23133" PostHistoryTypeId="2" PostId="14014" RevisionGUID="1647c037-baf0-43a0-a87f-a455dd7bf692" CreationDate="2012-05-20T06:10:13.580" UserId="1246" Text="First of all your monitoring system must be calibrated correctly. &#xD;&#xA;http://www.surroundassociates.com/spkrcal.html&#xD;&#xA;&#xD;&#xA;http://www.dolby.com/uploadedFiles/zz-_Shared_Assets/English_PDFs/Professional/L.mn.0002.5.1guide.pdf&#xD;&#xA;&#xD;&#xA;And then mix to the taste.&#xD;&#xA;&#xD;&#xA;As for dialog level I usually mix so that it hits -12dBfs. But even there it is not all the time. Whispers are softer, shouting is louder etc obviously.&#xD;&#xA;&#xD;&#xA;Things to consider when mixing:&#xD;&#xA;The frequency of sounds used on tracks. Don't use too many sound that hit the same frequency bands. Your mix will get muddy.&#xD;&#xA;And everything that Shaun wrote.&#xD;&#xA;Also you have music (probably). If music underlines hits on screen then maybe you can skip them to avoid overlapping...&#xD;&#xA;&#xD;&#xA;O boy... This area is too big to try to narrow it down to few lines.&#xD;&#xA;&#xD;&#xA;Just listen reference movies and learn from there :)&#xD;&#xA;&#xD;&#xA;Bye / Tumppi" ContentLicense="CC BY-SA 3.0" />
  <row Id="23134" PostHistoryTypeId="5" PostId="14013" RevisionGUID="068400a5-0be9-4b63-9d63-05c5fcece2be" CreationDate="2012-05-20T06:54:00.043" UserId="531" Comment="deleted 2 characters in body" Text="I've been working a documentary web series for [mashable.com][1] for the last month and a half. &#xD;&#xA;It's a 3-5 minute episodic series about a tech start up in San Francisco. &#xD;&#xA;&#xD;&#xA;Production and post production sound handled by me. &#xD;&#xA;Enjoy &#xD;&#xA;&#xD;&#xA;  [1]: http://mashable.com/2012/05/16/vungle-ios-developer/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23135" PostHistoryTypeId="5" PostId="13957" RevisionGUID="7d44615b-255e-4581-b151-5c7fcae15384" CreationDate="2012-05-20T07:05:23.470" UserId="310" Comment="Changed answer. Added founded project management tool." Text="OK, I was wrong. Take a look at this tool: http://www.audiostudiomanager.com/ looks like good starting point.&#xD;&#xA;&#xD;&#xA;If you need more &quot;general&quot; tool for project management I am recommending you 37signals Basecamp - simple but effective." ContentLicense="CC BY-SA 3.0" />
  <row Id="23136" PostHistoryTypeId="2" PostId="14015" RevisionGUID="d99352b9-cd3a-40a7-a857-185612c487d4" CreationDate="2012-05-20T12:57:09.607" UserId="37" Text="=&gt; http://en.wikipedia.org/wiki/Dialnorm&#xD;&#xA;=&gt; http://www.gearslutz.com/board/post-production-forum/419198-k-system-dialog-levels.html&#xD;&#xA;&#xD;&#xA;The gist is: you establish a good level for dialogue. Then mix everything around it, so that dialogue is intelligible but also the mix is as dynamic as you want. You might want it more dynamic for film, and less dynamic for, say, a TV programme. But to get a good feel for dynamics you need the calibrated room or incredibly good knowledge of your equipment, and ears, and typical listening levels, or both for fast track. &#xD;&#xA;&#xD;&#xA;Huge area and any answer would be oversimplifying. &#xD;&#xA;&#xD;&#xA;Better learn your meters by heart if you're asking this kind of question?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23137" PostHistoryTypeId="2" PostId="14016" RevisionGUID="bf9e330a-bf5b-4aed-9b8c-375fd41d362b" CreationDate="2012-05-21T04:54:17.123" UserId="517" Text="Hi Shaun,&#xD;&#xA;&#xD;&#xA;I'm currently sound editing and mixing for the Rocket Jump/YouTube web series VGHS. So far two episodes have been released and there are another 8 episodes that will be released weekly." ContentLicense="CC BY-SA 3.0" />
  <row Id="23138" PostHistoryTypeId="2" PostId="14017" RevisionGUID="010361fb-b3de-4531-ab98-6f96dac4cc3c" CreationDate="2012-05-21T08:10:46.200" UserId="62" Text="I know we talked about it the other day, adding the one I did recently. We've 2 episodes so far and after a successful Kickstarter campaign there should be more episodes come the autumn.&#xD;&#xA;&#xD;&#xA;The Clandestine - https://vimeo.com/channels/clandestine" ContentLicense="CC BY-SA 3.0" />
  <row Id="23139" PostHistoryTypeId="2" PostId="14018" RevisionGUID="9956656c-677a-4ab1-8bad-6c2635c2bb85" CreationDate="2012-05-21T12:45:51.690" UserId="3835" Text="I had to write a track for a coursework hand=in using nothing but the sig gen, click track and native processors. After 3 weeks of intense processing i managed to create a whole IDM track from scratch. You're right, it is very rewarding and working with pure frequency allows so much control. Well done man." ContentLicense="CC BY-SA 3.0" />
  <row Id="23140" PostHistoryTypeId="2" PostId="14019" RevisionGUID="65db2af9-1f33-43b3-b4a3-e0b381182a22" CreationDate="2012-05-21T19:10:45.407" UserId="643" Text="I'm looking for quotes by famous filmakers about the importance of good audio in film.  I've seen the David Lynch one:  &#xD;&#xA;&#xD;&#xA;&quot;Films are 50 percent visual and 50 percent sound. Sometimes sound even overplays the visual.&quot; &#xD;&#xA;&#xD;&#xA;And Danny Boyle:&#xD;&#xA;&#xD;&#xA;&quot;The first movie we made, when we made Shallow Grave, we had this discussion, because we had a million pounds and we were all just working out how to spend it. I said to them, we talked about, why was it, when were looking at movies in Britain, the British movies looked shit, and the American movies looked great, even if they weren’t great movies, they looked great. Why is it? And it was sound. American movies know you spend money on sound. Just because you can’t see it doesn’t mean you shouldn’t spend money on it. We ring-fenced money for Shallow Grave, proper money. Because we ran out of money, of course, for everything else. But we didn’t spend the sound money. And that was one of the reasons the film was a success and looked like it supposedly revitalized the British film industry. It’s only because we spent a lot of money on sound! [laughs] We dealt with it properly rather than threw it away, y’know.&quot; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Anybody know of any others?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="23141" PostHistoryTypeId="1" PostId="14019" RevisionGUID="65db2af9-1f33-43b3-b4a3-e0b381182a22" CreationDate="2012-05-21T19:10:45.407" UserId="643" Text="Importance of sound quotes" ContentLicense="CC BY-SA 3.0" />
  <row Id="23142" PostHistoryTypeId="3" PostId="14019" RevisionGUID="65db2af9-1f33-43b3-b4a3-e0b381182a22" CreationDate="2012-05-21T19:10:45.407" UserId="643" Text="&lt;film&gt;&lt;directors&gt;&lt;quote&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23143" PostHistoryTypeId="2" PostId="14020" RevisionGUID="66352691-5ca4-4651-93a2-ee2912f991e8" CreationDate="2012-05-21T19:36:09.237" UserId="3854" Text="The best way to create an obvious lack of sound, from what I've seen work, is best done before and after the period of absence rather than during. Build up to something, and instead of a big epic payoff, pitch down and fade to silence in a quarter second or so.&#xD;&#xA;&#xD;&#xA;Someone mentioned just a little bit of foley, that could be good too. If it's a war/battle scene in a big empty snowy field, just have footsteps and slow breathing on the focus character. Maybe even a little LPF on the footsteps to even make what sound that's actually there a little distant.&#xD;&#xA;&#xD;&#xA;Just my two bits." ContentLicense="CC BY-SA 3.0" />
  <row Id="23147" PostHistoryTypeId="2" PostId="14022" RevisionGUID="ad1f5d26-26bd-4837-bd4c-4bd5a0a5129c" CreationDate="2012-05-22T06:39:05.497" UserId="6499" Text="I am curious to what everyones backup methods /archiving methods are for projects.  I have had a scare or two recently involving data.  I had things backed up, but my organization and method of back ups made it very time consuming to go through and find everything.  I am trying a new type of setup which is as follows.  I am a windows user, I have 5 Internal Hard drives.&#xD;&#xA;&#xD;&#xA;**Main drive** &#xD;&#xA;&#xD;&#xA; - Boot Drive is a 80gb SSD where my OS&#xD;&#xA;   and Pro tools and other key programs&#xD;&#xA;   run.&#xD;&#xA;&#xD;&#xA;**Programs/Documents Drive 600g** &#xD;&#xA;&#xD;&#xA; - Run my extra programs and keep my&#xD;&#xA;   documents.&#xD;&#xA;&#xD;&#xA;**Projects 1 TB**&#xD;&#xA; -  This is where my pro tools projects are located inclusive of everything except  video for the project.  I usually drop that onto the programs/documents drive&#xD;&#xA;&#xD;&#xA;**Media**&#xD;&#xA;&#xD;&#xA; - Where my sound fx library sits.  Both&#xD;&#xA;   my personal recorded library and the&#xD;&#xA;   libraries I own.  I backup my&#xD;&#xA;   personal SFX using crashplan to the&#xD;&#xA;   cloud.&#xD;&#xA;&#xD;&#xA;**Hot Swap Sata Bay 1TB**&#xD;&#xA;I use this drive as my backup/archive bay.  Basically I keep my Projects Drive Mirrored to this using different methods, none are really seamless and automatic, I manually copy some, have used robocopy utilities, and am currently doing a copy using a program called BART.  This drive is basically called ARCHIVE_001...002...003 etc.&#xD;&#xA;&#xD;&#xA;Once Projects finish, I have exact copies of everything on that archive drive, I make DVDs of the stems and prints, and the client gets copies of it also.  Then Every so often, I remove the completed projects from my projects drive and fill up the archive drive, pull it out and put in a fresh HDD and start all over.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;This method is pretty flawed, but it is at least something.  I have been researching some forms of server based backup or NAS backups.  I am liking this idea as it offers large ability to expand, and older rackmount servers for sata raid data backup are pretty cheap on ebay.  &#xD;&#xA;&#xD;&#xA;I have also thought of the idea of using something like a drobo , but I really am not fond of the idea of another usb hardrive enclosure laying around.  &#xD;&#xA;&#xD;&#xA;The backup programs I have seen, seem to make their own image files, and that is not what I am looking for, just want an identical mirror, I guess Raid 1, but I want to just be able to have one of those drives and it just work rather than a rebuild process when 1 drive is gone.  Maybe I am missing something, but I am curious as to what everyones process is from Drive Management (Physical) to the software used to automate the process and allow you to sleep at night.&#xD;&#xA;&#xD;&#xA;MG&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23148" PostHistoryTypeId="1" PostId="14022" RevisionGUID="ad1f5d26-26bd-4837-bd4c-4bd5a0a5129c" CreationDate="2012-05-22T06:39:05.497" UserId="6499" Text="Backups/Redundancy with projects" ContentLicense="CC BY-SA 3.0" />
  <row Id="23149" PostHistoryTypeId="3" PostId="14022" RevisionGUID="ad1f5d26-26bd-4837-bd4c-4bd5a0a5129c" CreationDate="2012-05-22T06:39:05.497" UserId="6499" Text="&lt;backups&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23150" PostHistoryTypeId="2" PostId="14023" RevisionGUID="fb46f9ce-fd7a-4537-b4e4-191b98b0c409" CreationDate="2012-05-22T08:51:37.710" UserId="432" Text="Since you're a Windows user, you may want to look into a free Microsoft program called [SyncToy][1]. I use it for differential backups of my project and effects drive. Other than that, I just keep the standard Windows based backups of personal files (bookmarks, settings, etc.) on a separate drive. I've found that, when necessary, a clean install typically works better than restoring from a system image (at least with an SSD as my main OS drive). It wouldn't be a bad idea to keep a fresh install on a separate drive, that way you could just swap it out if you run into an issue, and save reinstalling your files until a given project is over.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.microsoft.com/en-us/download/details.aspx?id=15155" ContentLicense="CC BY-SA 3.0" />
  <row Id="23151" PostHistoryTypeId="2" PostId="14024" RevisionGUID="f736f573-b1de-4201-b0a5-51f0cc791202" CreationDate="2012-05-22T12:12:43.803" UserId="605" Text="i swear by Allway Sync http://allwaysync.com/&#xD;&#xA;to the point where i boot into windows to do my backups (haven't found anything as good- or cheap for mac)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23152" PostHistoryTypeId="2" PostId="14025" RevisionGUID="1eb6a95f-2212-4109-bb17-bb9dae788f28" CreationDate="2012-05-22T13:11:12.300" UserId="3871" Text="Hello,&#xD;&#xA;&#xD;&#xA;Totally hypothetical question:&#xD;&#xA;&#xD;&#xA;A wealthy man approaches asks you to design the optimal microphone solution for an in-car hands-free calling system.  &#xD;&#xA;&#xD;&#xA;He has three goals:&#xD;&#xA;A: eliminate background noise&#xD;&#xA;B: eliminate feedback&#xD;&#xA;C: optimize voice quality&#xD;&#xA;&#xD;&#xA;He has only three constraints:&#xD;&#xA;A: the solution must use fewer than two microphones&#xD;&#xA;B: it must plug into the 'mic-in' on the hands-free system using a 3.5 MM male connector&#xD;&#xA;C: you can not adjust the audio-out&#xD;&#xA;C: the solution must not be visually intrusive (he welcomes your interpretation of 'intrusive')&#xD;&#xA;&#xD;&#xA;The wealthy man provides you with all the money, time, expertise, and equipment you require?&#xD;&#xA;&#xD;&#xA;What would you build?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23153" PostHistoryTypeId="1" PostId="14025" RevisionGUID="1eb6a95f-2212-4109-bb17-bb9dae788f28" CreationDate="2012-05-22T13:11:12.300" UserId="3871" Text="Hypothetical Question: In-Car Hands Free Microphone - Unlimited Budget - What Would You Do?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23154" PostHistoryTypeId="3" PostId="14025" RevisionGUID="1eb6a95f-2212-4109-bb17-bb9dae788f28" CreationDate="2012-05-22T13:11:12.300" UserId="3871" Text="&lt;cars&gt;&lt;vehicles&gt;&lt;noise-reduction&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23155" PostHistoryTypeId="2" PostId="14026" RevisionGUID="8ad3a33d-91c4-4c78-8caa-a010e0c57f4f" CreationDate="2012-05-22T13:13:12.547" UserId="3872" Text="OMF query,&#xD;&#xA;I received an OMF, quicktime video file and audio guide track.&#xD;&#xA;The omf and the guide track have a 2pop.&#xD;&#xA;When I imported in the video file and the guidetrack I noticed that the one frame of flash on the video file happens 2 frames before the guide track 2 pop.&#xD;&#xA;Should I sync my omf 2pop to the video flash or try sync to the guide track 2 pop.&#xD;&#xA;Secondly what might cause the video editor to have a 2 frame difference between the video and guide track?&#xD;&#xA;He has gone on holidays so I can’t ask them for a few days.&#xD;&#xA;Using PAL standard I notice that the frame rate I was given was 29.97. When I change to this in setup it corrects by a part of a frame but I am still 2 frames out.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23156" PostHistoryTypeId="1" PostId="14026" RevisionGUID="8ad3a33d-91c4-4c78-8caa-a010e0c57f4f" CreationDate="2012-05-22T13:13:12.547" UserId="3872" Text="OMF - video sync query" ContentLicense="CC BY-SA 3.0" />
  <row Id="23157" PostHistoryTypeId="3" PostId="14026" RevisionGUID="8ad3a33d-91c4-4c78-8caa-a010e0c57f4f" CreationDate="2012-05-22T13:13:12.547" UserId="3872" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23158" PostHistoryTypeId="2" PostId="14027" RevisionGUID="874e1ca0-1750-47de-bbc3-1f0691ed4e24" CreationDate="2012-05-22T13:54:06.007" UserId="3280" Text="Walter Murch is always a good source of 'sound in film' quotes.  Here's one, answering the question: 'Has sound in film led us to hear the world differently?' from [this interview][1].&#xD;&#xA;&#xD;&#xA;Murch: &quot;In the same way that painting, or looking at paintings, makes you see the world in a different way, listening to interestingly arranged sounds makes you hear differently.&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www2.yk.psu.edu/~jmj3/murchfq.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="23159" PostHistoryTypeId="2" PostId="14028" RevisionGUID="2e93267c-ddaf-4f4e-9614-bdc2ae670033" CreationDate="2012-05-22T14:05:51.233" UserId="2502" Text="I'd keep the omf two pop and audio where it is and shift the video two frames to it. That way you do not create any sync issue. If he gets a file back that is off, then it's on him to figure out what he did because you moved nothing and simply worked off the omf given. Your omf should be accurate to his video timeline. It's more likely there is an issue with either the quicktime or guide track. When delivering the mix, bring the discrepancy to his attention so that he is aware to check sync and indicate to him that you simply left the omf timeline alone not to complicate matters.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="23160" PostHistoryTypeId="5" PostId="13934" RevisionGUID="c88b171c-fb4a-4fcc-8799-81cd7bd3638f" CreationDate="2012-05-22T15:41:58.717" UserId="238" Comment="added tags" Text="Hi All&#xD;&#xA;&#xD;&#xA;I was wondering what, or if, there is a programme on osx I can use (free would be a plus) that will let me export audio files with looping sections. &#xD;&#xA;&#xD;&#xA;I.e. A wav that will end at one point if it is repeatedly triggered and will end at another point when it is left to play out. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any help would be appreciated, thanks so much  &#xD;&#xA;&#xD;&#xA;M" ContentLicense="CC BY-SA 3.0" />
  <row Id="23161" PostHistoryTypeId="6" PostId="13934" RevisionGUID="c88b171c-fb4a-4fcc-8799-81cd7bd3638f" CreationDate="2012-05-22T15:41:58.717" UserId="238" Comment="added tags" Text="&lt;looping&gt;&lt;wav&gt;&lt;wave-editor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23162" PostHistoryTypeId="2" PostId="14029" RevisionGUID="e50a069a-2043-4f91-b55a-bfc1bddf1893" CreationDate="2012-05-22T16:24:43.567" UserId="3104" Text="I'm working on a feature film in Pro Tools 8 LE on my Macbook. There's a scene in where I'm automating a reverb plug-in on my dialog aux, due to the characters going in different rooms down a long hallway, in one single take. About halfway, my automation stops reading correctly and when I go back earlier in the scene after it stops reading, all of the parameters for the plug are all wonky. It's only until I go to a different point in the timeline or just relaunch the session, where everything is okay until it gets to the same point. What is causing this and what should I do?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23163" PostHistoryTypeId="1" PostId="14029" RevisionGUID="e50a069a-2043-4f91-b55a-bfc1bddf1893" CreationDate="2012-05-22T16:24:43.567" UserId="3104" Text="Automation Stops reading properly in Pro Tools LE. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23164" PostHistoryTypeId="3" PostId="14029" RevisionGUID="e50a069a-2043-4f91-b55a-bfc1bddf1893" CreationDate="2012-05-22T16:24:43.567" UserId="3104" Text="&lt;automation&gt;&lt;plugin&gt;&lt;pro-tools&gt;&lt;post-production&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23165" PostHistoryTypeId="2" PostId="14030" RevisionGUID="fbfe89c4-a69f-4f4e-8b58-57f20df271f3" CreationDate="2012-05-22T20:19:16.407" UserId="6669" Text="Shot in the dark, are you using D-Verb? I've ran into this many times and eventually just stopped using the plug because of it. It's a known bug that sadly seems to have been around a long time. I'm pretty sure it's switching either the algorithm or the size that screws things up.&#xD;&#xA;&#xD;&#xA;Find another reverb you love and don't look back IMO.&#xD;&#xA;&#xD;&#xA;http://duc.avid.com/showthread.php?t=306998" ContentLicense="CC BY-SA 3.0" />
  <row Id="23166" PostHistoryTypeId="5" PostId="14030" RevisionGUID="e03398d5-0e49-44e5-967f-d768f41dbf9a" CreationDate="2012-05-22T20:41:31.420" UserId="6669" Comment="added 45 characters in body" Text="Shot in the dark, are you using D-Verb? I've ran into this many times and eventually just stopped using the plug because of it. It's a known bug that sadly seems to have been around a long time. I'm pretty sure it's switching either the algorithm or the size that screws things up.&#xD;&#xA;&#xD;&#xA;Find another reverb you love and don't look back IMO.&#xD;&#xA;&#xD;&#xA;http://duc.avid.com/showthread.php?t=306998&#xD;&#xA;http://duc.avid.com/showthread.php?t=200883" ContentLicense="CC BY-SA 3.0" />
  <row Id="23167" PostHistoryTypeId="5" PostId="13644" RevisionGUID="5814bfb9-b4d8-4d5c-8ab1-1e110c21ee50" CreationDate="2012-05-22T21:09:25.317" UserId="3093" Comment="added 435 characters in body" Text="This is related to &quot;Mac Users: What Type Do You Use&quot;, but I am going deeper in details about your cpu. I am looking at buying a new computer, probably a mac mini or an iMac, but I've been going around about the cpu, **so it would be nice to know which are you using and how does it run :).**  &#xD;&#xA;&#xD;&#xA;For Pro Tools users:  Do you guys think that pro tools would benefit more from a faster clock speed processor, or more cores?  Cause that's a thing I don't decide on yet.. would you take a faster speed dual core -say... 2.7, i7-, or a lower speed but more cores - 2.0, quad core i7- ??&#xD;&#xA;&#xD;&#xA;I am curious about **mac users**, but anyone can answer no matter your OS, since it could help other's in our community.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;To kick off, I currently have a MacBook 2009 (white one),   **2.4 GHz Intel Core 2 Duo. 2GB Ram.**  It doesn't run that good with pro tools, sometimes recording for example 2 tracks, an audio and a midi one, it will stop recording like at 6 minutes of continuos recording. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**EDIT**&#xD;&#xA;&#xD;&#xA;-I just finished setting up my new computer 2 days ago, its working amazingly well. Its a **mac mini server, quad-core i7 2.0, with 2 500GB HDrives-7200rpm, 4Ram.**&#xD;&#xA;I had a tough time though; I currently use Pro tools 9, don't have the chance of moving to 10 yet, but Lion OS doesn't support it, so I had to perform a &quot;downgrade&quot; to snow leopard, which was very stressful but it all worked out pretty good. &#xD;&#xA;Cheers!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23168" PostHistoryTypeId="2" PostId="14031" RevisionGUID="358884eb-276b-464c-afe9-3f53bdef34bf" CreationDate="2012-05-22T22:26:12.937" UserId="3839" Text="Hey guys, so this is my first question on here ever. I was curious what some people's workflows are for dealing with an changing cut on a movie when you have already nearly completed the sound track. Is there a well-known best method? Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="23169" PostHistoryTypeId="1" PostId="14031" RevisionGUID="358884eb-276b-464c-afe9-3f53bdef34bf" CreationDate="2012-05-22T22:26:12.937" UserId="3839" Text="Edit Changes for a Feature-Length" ContentLicense="CC BY-SA 3.0" />
  <row Id="23170" PostHistoryTypeId="3" PostId="14031" RevisionGUID="358884eb-276b-464c-afe9-3f53bdef34bf" CreationDate="2012-05-22T22:26:12.937" UserId="3839" Text="&lt;editing&gt;&lt;features&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23171" PostHistoryTypeId="5" PostId="13644" RevisionGUID="d468edd3-d501-4619-8a31-f2ced6d7cacc" CreationDate="2012-05-22T23:24:29.520" UserId="6411" Comment="added link to referenced question" Text="This is related to &quot;[Mac Users: What Type Do You Use][1]&quot;, but I am going deeper in details about your cpu. I am looking at buying a new computer, probably a mac mini or an iMac, but I've been going around about the cpu, **so it would be nice to know which are you using and how does it run :).**  &#xD;&#xA;&#xD;&#xA;For Pro Tools users:  Do you guys think that pro tools would benefit more from a faster clock speed processor, or more cores?  Cause that's a thing I don't decide on yet.. would you take a faster speed dual core -say... 2.7, i7-, or a lower speed but more cores - 2.0, quad core i7- ??&#xD;&#xA;&#xD;&#xA;I am curious about **mac users**, but anyone can answer no matter your OS, since it could help other's in our community.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;To kick off, I currently have a MacBook 2009 (white one),   **2.4 GHz Intel Core 2 Duo. 2GB Ram.**  It doesn't run that well with pro tools, sometimes recording for example 2 tracks, an audio and a midi one, it will stop recording like at 6 minutes of continuos recording. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**EDIT**&#xD;&#xA;&#xD;&#xA;-I just finished setting up my new computer 2 days ago, its working amazingly well. Its a **mac mini server, quad-core i7 2.0, with 2 500GB HDrives-7200rpm, 4Ram.**&#xD;&#xA;I had a tough time though; I currently use Pro tools 9, don't have the chance of moving to 10 yet, but Lion OS doesn't support it, so I had to perform a &quot;downgrade&quot; to snow leopard, which was very stressful but it all worked out pretty good. &#xD;&#xA;Cheers!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/4781/mac-users-what-type-do-you-use" ContentLicense="CC BY-SA 3.0" />
  <row Id="23172" PostHistoryTypeId="2" PostId="14032" RevisionGUID="7c18d980-05a7-4bd9-97ea-0cdba4d76217" CreationDate="2012-05-22T23:28:24.257" UserId="3874" Text="Not sure if you're looking for web series with good sound, or for a web series on sound, but if the former, then check out the series I worked on.&#xD;&#xA;http://www.divinetheseries.com/&#xD;&#xA;I was the sound designer and re-recording mixer. The series won an Indie Intertube Award for Best Sound Design.&#xD;&#xA;Cheers.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23173" PostHistoryTypeId="2" PostId="14033" RevisionGUID="5064953e-0f44-4239-b710-c76cb807c697" CreationDate="2012-05-23T02:39:25.453" UserId="429" Text="I am a huge bento fan and have used it as sort of an internal project / asset management tool for games. I wish there was something cross platform + web-based clients could hook into and view / edit records. Not sure about a film specific tool or workflow. Great thread .. I'm interested in hearing what others might have to say." ContentLicense="CC BY-SA 3.0" />
  <row Id="23174" PostHistoryTypeId="2" PostId="14034" RevisionGUID="b89a1654-0eb8-4c0c-8b08-92519efd0c14" CreationDate="2012-05-23T02:43:18.880" UserId="429" Text="check out twistedwave for mac" ContentLicense="CC BY-SA 3.0" />
  <row Id="23175" PostHistoryTypeId="2" PostId="14035" RevisionGUID="d0a45c86-c3f5-4fad-b268-b38b29fe7dfa" CreationDate="2012-05-23T07:19:42.083" UserId="37" Text="Don't forget the new major player on the mac - adobe audition, once known as cooledit/coolpro.&#xD;&#xA;&#xD;&#xA;Support and implementation for these markers and how they are interpreted varies from software to software and if you're working with an SDK that too would be specific about the kind of markers it expects to see. I think that's as much standardised as these things get........ :/ Definitely check out the trial versions before you commit to a specific product.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23176" PostHistoryTypeId="2" PostId="14036" RevisionGUID="0d60bd32-e959-49af-9ba4-9a055c38461c" CreationDate="2012-05-23T07:34:17.727" UserId="1228" Text="Ah, the dreaded conform.  There'a a variety ways to do this, on a variety of budget levels and time turn around situations.  Software packages out there like Virtual Katy  and Conformalizer work by comparing EDLs or working with Change Notes.  While they can work very well as I've heard, I wouldn't be too surprised if you still have to massage all the final conform edits back into a natural state since I believe they make the edits a brute-force way.  Despite them apparently (again, haven't used them myself) being quite robust, they aren't cheap and you have to likely cross your fingers that the EDLs are prepared correctly and are of the correct 'start' and 'destination' pix versions or else you'll end up with nasty surprises.&#xD;&#xA;&#xD;&#xA;I have normally just done what could be called a 'blind conform', wherein I request new pix, OMF, and guide - and I play down the reel, watching for changes and also referencing the guide's visual differential between the old and new versions to make global edit shifts as I go along, eventually massaging the reel to match new picture.  I prefer this method because it allows me to evaluate everything I come across rather than potentially having a software conformer blow out something that I may in fact need or want to re-evaluate and re-edit.  Also as I go along, I carry the conform editing I'm doing to the original pix video track as well (not just the audio tracks), that way I can spot check as I go through the reel as a quick A/B test against new pix to make sure I'm seeing identical frames (e.g. the conform is syncing up).  Once you get the hang of this method it goes pretty quick, albeit not necessarily as quick as software conformers - but than again, the time saved with the software might possibly be added back in again for the time needed to check all these brute-forced conform point and massaging those edits back into a natural state.&#xD;&#xA;&#xD;&#xA;I can't say for sure which is the best method, there probably isn't a 'best' method - to each their own, as long as it gets you from point A to point B in a reasonably short amount of time.  Personally the blind method has worked for me for years, and I'm willing to save that a little cash and time dealing with EDLs for the small additional time sacrifice of doing it manually.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23177" PostHistoryTypeId="2" PostId="14037" RevisionGUID="1b8e9ceb-2d4e-403f-9e9b-92052e7018a5" CreationDate="2012-05-23T07:44:56.643" UserId="6420" Text="I would also highly recommend checking out the new extended interview with Mike Wabro on the Pro Tools Expert blog. Download the podcast. Some great insight into conforming and re-conforming in it. Speaks highly of new Ediload software too. Definitely worth taking the time out to listen!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23178" PostHistoryTypeId="2" PostId="14038" RevisionGUID="3bce8d74-034c-4423-bd64-286065abe0d4" CreationDate="2012-05-23T08:22:57.043" UserId="221" Text="@Andy Lewis Thanks for the plug on my interview with Mike Wabro. It would be fair to say that we largely cover the are of conforming - ie the proces of taking a guide edit and imposing it on the raw multi-track audio. @Stavrosound What you are asking about is about re-conforming (the process of making changes to a existing Pro Tools session because there has been a change in the picture edit) and I have just written a [post on Pro Tools Expert][1] about the software that you can use for conforming and re-conforming. &#xD;&#xA;&#xD;&#xA;I hope that helps,&#xD;&#xA;&#xD;&#xA;Mike.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pro-tools-expert.com/home-page/2012/5/23/the-question-of-conforming-with-pro-tools.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="23179" PostHistoryTypeId="5" PostId="14036" RevisionGUID="12339b0f-4931-4bec-9351-f1f4ff832543" CreationDate="2012-05-23T09:13:10.930" UserId="1228" Comment="added 3 characters in body" Text="Ah, the dreaded re-conform.  There'a a variety ways to do this, on a variety of budget levels and time turn around situations.  Software packages out there like Virtual Katy  and Conformalizer work by comparing EDLs or working with Change Notes.  While they can work very well as I've heard, I wouldn't be too surprised if you still have to massage all the final conform edits back into a natural state since I believe they make the edits a brute-force way.  Despite them apparently (again, haven't used them myself) being quite robust, they aren't cheap and you have to likely cross your fingers that the EDLs are prepared correctly and are of the correct 'start' and 'destination' pix versions or else you'll end up with nasty surprises.&#xD;&#xA;&#xD;&#xA;I have normally just done what could be called a 'blind conform', wherein I request new pix, OMF, and guide - and I play down the reel, watching for changes and also referencing the guide's visual differential between the old and new versions to make global edit shifts as I go along, eventually massaging the reel to match new picture.  I prefer this method because it allows me to evaluate everything I come across rather than potentially having a software conformer blow out something that I may in fact need or want to re-evaluate and re-edit.  Also as I go along, I carry the conform editing I'm doing to the original pix video track as well (not just the audio tracks), that way I can spot check as I go through the reel as a quick A/B test against new pix to make sure I'm seeing identical frames (e.g. the conform is syncing up).  Once you get the hang of this method it goes pretty quick, albeit not necessarily as quick as software conformers - but than again, the time saved with the software might possibly be added back in again for the time needed to check all these brute-forced conform point and massaging those edits back into a natural state.&#xD;&#xA;&#xD;&#xA;I can't say for sure which is the best method, there probably isn't a 'best' method - to each their own, as long as it gets you from point A to point B in a reasonably short amount of time.  Personally the blind method has worked for me for years, and I'm willing to save that a little cash and time dealing with EDLs for the small additional time sacrifice of doing it manually.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23180" PostHistoryTypeId="6" PostId="14031" RevisionGUID="da27e28b-c1a2-4bec-ad1b-37315798b5a8" CreationDate="2012-05-23T09:30:12.067" UserId="1228" Comment="edited tags" Text="&lt;editing&gt;&lt;features&gt;&lt;sound-editing&gt;&lt;re-conforming&gt;&lt;conform&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23181" PostHistoryTypeId="2" PostId="14039" RevisionGUID="3416f527-dbbb-4831-90f0-9058e94e0313" CreationDate="2012-05-23T13:33:50.100" UserId="3876" Text="Hi,&#xD;&#xA;First post ! &#xD;&#xA;&#xD;&#xA;I think Adobe Audition appears to become the new standard for editing on Mac Os. I'm using it and it's really cool.&#xD;&#xA;You can try it during 30 days :&#xD;&#xA;http://www.adobe.com/cfusion/tdrc/index.cfm?product=audition&#xD;&#xA;&#xD;&#xA;Enjoy." ContentLicense="CC BY-SA 3.0" />
  <row Id="23182" PostHistoryTypeId="2" PostId="14040" RevisionGUID="50166a2d-d3a4-48ca-a44c-33d0254bbf2e" CreationDate="2012-05-23T13:40:41.247" UserId="3877" Text="Hello there!&#xD;&#xA;To answer to your question about the definition of Stem: &#xD;&#xA;&#xD;&#xA;Stem is the separated track of a full mix in both music and post production purpose.&#xD;&#xA; &#xD;&#xA;When it comes to post production for film, a full mix contains, Vo/Dialogue - FX - Music. &#xD;&#xA;in some cases the client want to have only the Dialogue track. In order to do that we would have to bounce down only the  Dialogue tracks in one stereo/mono file with all the volume and fx processing from our existing mix...&#xD;&#xA;&#xD;&#xA;Now, this process called Stem. in this case &quot;A Dialogue STEM&quot;...&#xD;&#xA;&#xD;&#xA;Same process is also done with FX and music tracks as a separate and individual bounces.&#xD;&#xA;&#xD;&#xA;Hope you understand my way of explaining this... :-) " ContentLicense="CC BY-SA 3.0" />
  <row Id="23183" PostHistoryTypeId="5" PostId="14040" RevisionGUID="046cc6b4-5e05-4a26-bf08-08c2cee56682" CreationDate="2012-05-23T13:58:41.817" UserId="3877" Comment="added 190 characters in body" Text="Hello there!&#xD;&#xA;To answer to your question about the definition of Stem: &#xD;&#xA;&#xD;&#xA;Stem is the separated track of a full mix in both music and post production purpose.&#xD;&#xA; &#xD;&#xA;When it comes to post production for film, a full mix contains, Vo/Dialogue - FX - Music. &#xD;&#xA;in some cases we want to free up our session from all the processing and volume changes that we have done to the Dialogue track. &#xD;&#xA;&#xD;&#xA;In order to do that we would have to bounce down only the  Dialogue tracks in one stereo/mono file with all the volume and fx processing from our existing mix...&#xD;&#xA;&#xD;&#xA;Now, this process called Stem. in this case &quot;A Dialogue STEM&quot;...&#xD;&#xA;&#xD;&#xA;Same process is also done with FX and music or (any group of tracks) as a separate  individual bounces.&#xD;&#xA;&#xD;&#xA;Hope you understand my way of explaining this... :-) &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For more info:&#xD;&#xA;&#xD;&#xA;http://www.ehow.com/video_4992934_movie-design_-file-management-organization.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="23184" PostHistoryTypeId="2" PostId="14041" RevisionGUID="e37db73f-ad7e-439a-ba37-2e54122a48d6" CreationDate="2012-05-23T14:00:37.687" UserId="1246" Text="Ain't it like a part of something. &#xD;&#xA;In music you can have the violins stem, bass stem, woodwind stem etc. &#xD;&#xA;So in film industry it means a part of the whole mix, like dialog stem, effects stem and music stem...&#xD;&#xA;&#xD;&#xA;Just guessing tho as I'm not a native English speaker:) &#xD;&#xA;But here in Finland anyways we use the word stem like I described above&#xD;&#xA;Bye / Tumppi " ContentLicense="CC BY-SA 3.0" />
  <row Id="23185" PostHistoryTypeId="5" PostId="14038" RevisionGUID="36badb31-e7b6-40c2-a5b8-422b5ec36337" CreationDate="2012-05-23T14:04:10.313" UserId="238" Comment="spelling" Text="@Andy Lewis Thanks for the plug on my interview with Mike Wabro. It would be fair to say that we largely cover the art of conforming - ie the proces of taking a guide edit and imposing it on the raw multi-track audio. @Stavrosound What you are asking about is about re-conforming (the process of making changes to a existing Pro Tools session because there has been a change in the picture edit) and I have just written a [post on Pro Tools Expert][1] about the software that you can use for conforming and re-conforming. &#xD;&#xA;&#xD;&#xA;I hope that helps,&#xD;&#xA;&#xD;&#xA;Mike.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pro-tools-expert.com/home-page/2012/5/23/the-question-of-conforming-with-pro-tools.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="23186" PostHistoryTypeId="2" PostId="14042" RevisionGUID="02a0da49-c9c4-4270-860a-1be9faffaa3a" CreationDate="2012-05-23T14:31:19.370" UserId="3835" Text="I always presumed it was metaphorical. Like the plant explanation above" ContentLicense="CC BY-SA 3.0" />
  <row Id="23187" PostHistoryTypeId="2" PostId="14043" RevisionGUID="0d78603b-0f81-44fc-992e-e52f8a03b827" CreationDate="2012-05-23T18:06:31.437" UserId="6499" Text="From what I have found online, it seems there is a permissions problem with .zip files created using Mac OS and then unzipped using the built in windows zip utility.  When you unzip them, all the files from within the Mac OS zip extract with errors in their permissions no matter what settings you modify after the fact.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23188" PostHistoryTypeId="2" PostId="14044" RevisionGUID="06e3d709-cd13-46ba-85e7-5b3ec8f976e0" CreationDate="2012-05-23T20:02:05.243" UserId="3878" Text="Unsure about a frame rate issue.&#xD;&#xA;I’m working in Europe using PAL.&#xD;&#xA;I get a lot of quicktime video files (inc guide track) that have a frame rate of 29.97.&#xD;&#xA;This is not NTSC.&#xD;&#xA;I don’t use an external monitor. I set the frame rate to 29.97 in the setup page in Protools. It will show red if I don’t match to the same rate.&#xD;&#xA;I have a few questions. If I don’t use an external firewire monitor does it matter whether I change this frame rate rate or not.&#xD;&#xA;When I send the bounced master track back to the video editor does he not have to play the final video for broadcast at 25fps.&#xD;&#xA;Would this not cause a mis match.&#xD;&#xA;I’m confused as my audio matches the omf that the video editor sent but she says that it is out of sync with their picture.&#xD;&#xA;Anyone have any ideas?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23189" PostHistoryTypeId="1" PostId="14044" RevisionGUID="06e3d709-cd13-46ba-85e7-5b3ec8f976e0" CreationDate="2012-05-23T20:02:05.243" UserId="3878" Text="Frame rate issue-pro tools" ContentLicense="CC BY-SA 3.0" />
  <row Id="23190" PostHistoryTypeId="3" PostId="14044" RevisionGUID="06e3d709-cd13-46ba-85e7-5b3ec8f976e0" CreationDate="2012-05-23T20:02:05.243" UserId="3878" Text="&lt;post-production&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23191" PostHistoryTypeId="2" PostId="14045" RevisionGUID="8c2394f5-5880-457d-8283-83e7a4879680" CreationDate="2012-05-23T20:13:35.380" UserId="891" Text="I find it tricky to judge those things without having a proper source. So anything is possible.&#xD;&#xA;But from all the versions so far the plant analogy seems to convince me most.&#xD;&#xA;&#xD;&#xA;I'm not a English native speaker so I had an explanation of myself until now.&#xD;&#xA;I find that definitions of the term stem get more and more varieties. For me the stems are the separated elements that if combined at unity gain will result in the final mix. (in an ideal world, without final touches during the printmastering)&#xD;&#xA;So the term for me refers to the elements (dx,mx,fx,...) the mix ***stems from*** in the sense of originates from.&#xD;&#xA;&#xD;&#xA;Sure the term is used in earlier stages of the production process. Which is why personally I would either refer to production stems or (my preference) make a distinction between stems, mixdowns, bounces, subgroups and predubs or whatever you want to name it.&#xD;&#xA;&#xD;&#xA;just my two stems" ContentLicense="CC BY-SA 3.0" />
  <row Id="23192" PostHistoryTypeId="2" PostId="14046" RevisionGUID="c8e05a2b-5e68-4555-b3f6-e2c799f80391" CreationDate="2012-05-24T04:21:47.883" UserId="3880" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I was wondering if anyone can help me to choose a lavalier mic that will work the best in  a hidden camera indie project.&#xD;&#xA;&#xD;&#xA;Basically the project is to record the genuine reaction of a girl that is approached by a possible suitor. &#xD;&#xA;&#xD;&#xA;The man will be micd up and the mic will be hidden.  Does anyone have any recommendations as to which kind of lavalier style mic to use to capture the woman's voice as clearly as possible from his mic? The interactions will be happening outside, in bars and restaurants, indoors, basically everywhere.&#xD;&#xA;&#xD;&#xA;The sound quality does not have to be anything of production quality. This is a non income generating indie project.  &#xD;&#xA;&#xD;&#xA;I will be using the zoom H1 to record the audio and am hoping to accomplish this on a tight budget.&#xD;&#xA;&#xD;&#xA;Thank you all, &#xD;&#xA;I look forward to your advice." ContentLicense="CC BY-SA 3.0" />
  <row Id="23193" PostHistoryTypeId="1" PostId="14046" RevisionGUID="c8e05a2b-5e68-4555-b3f6-e2c799f80391" CreationDate="2012-05-24T04:21:47.883" UserId="3880" Text="Which lav mic would work best on a hidden camera project?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23194" PostHistoryTypeId="3" PostId="14046" RevisionGUID="c8e05a2b-5e68-4555-b3f6-e2c799f80391" CreationDate="2012-05-24T04:21:47.883" UserId="3880" Text="&lt;video&gt;&lt;microphone&gt;&lt;lavalier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23195" PostHistoryTypeId="2" PostId="14047" RevisionGUID="3e9c8a33-5b93-49a5-9d81-ceaf3cf13d23" CreationDate="2012-05-24T07:23:41.643" UserId="6462" Text="Hey&#xD;&#xA;Take a look at the [Rode PinMic][1]&#xD;&#xA;It's designed to be put through a button hole and it's really small and discreet, you could hide it using some light coloured material to match the actors costume.&#xD;&#xA;&#xD;&#xA;I use the Rode Lavs all the time and love them, they are also reasonably priced, you should be able to plug them directly into the H1 but you need to also get this adapter [Rode Micon-2][2]&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/mics/pinmic&#xD;&#xA;  [2]: http://www.rodemic.com/accessories/micon-2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23196" PostHistoryTypeId="2" PostId="14048" RevisionGUID="4e736482-60e9-49fd-9f70-7eb3b9259f89" CreationDate="2012-05-24T10:14:52.017" UserId="62" Text="29.97 is NTSC. A lot of editing programmes seem to set themselves to NTSC as a default and sadly a lot of editors don't seem to realise or notice this." ContentLicense="CC BY-SA 3.0" />
  <row Id="23197" PostHistoryTypeId="2" PostId="14049" RevisionGUID="1d3d40db-5f90-420f-bb47-086bf1097a31" CreationDate="2012-05-24T11:07:27.917" UserId="3138" Text="I have to do a 2 minute piece putting audio to a constant evolving particle swarm that moves from small to large and rotates. I believe the best way forward is to perform this via some form of synth/sampler i.e. Kontakt/Alchemy&#xD;&#xA;&#xD;&#xA;Does anyone have some tips or advice?&#xD;&#xA;&#xD;&#xA;Regards,&#xD;&#xA;&#xD;&#xA;A" ContentLicense="CC BY-SA 3.0" />
  <row Id="23198" PostHistoryTypeId="1" PostId="14049" RevisionGUID="1d3d40db-5f90-420f-bb47-086bf1097a31" CreationDate="2012-05-24T11:07:27.917" UserId="3138" Text="Particle Swarm performance" ContentLicense="CC BY-SA 3.0" />
  <row Id="23199" PostHistoryTypeId="3" PostId="14049" RevisionGUID="1d3d40db-5f90-420f-bb47-086bf1097a31" CreationDate="2012-05-24T11:07:27.917" UserId="3138" Text="&lt;granular-synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23200" PostHistoryTypeId="2" PostId="14050" RevisionGUID="d759e1ff-a06c-4586-8dfa-0d5ac422cce0" CreationDate="2012-05-24T14:49:04.940" UserId="432" Text="If you're working with an NTSC reference video for a program that's supposed to be in PAL, you're going to run into problem...i.e. that sync issue you mentioned. The first thing you should do is check with the editor to confirm what the program's final format is supposed to be. If it's truly PAL, and they sent you an NTSC file (which 29.97 is), then they need to send you a video, AND OMF, with the correct frame rate. If, as Ian suggested, their timeline is set to the incorrect frame-rate, there are potentially larger problems waiting to happen on the back end of the project. Get that workflow sorted out before a ton of confusion hits!&#xD;&#xA;&#xD;&#xA;As to the frame-rate setting...yes, it matters. Depending on the audio format you output, there may be a frame-rate stamp in the metadata of the file. The video editing software will notice this, and it will affect the playback rate of the file. Unfortunately, 1 second real-time does not always equal one-second in video time...especially in NTSC. Get everyone on the same frame-rate: editing software timeline, reference video and OMF, and DAW session. This will prevent sync drift (non-matching start and end points) and slippy internal sync (timing differences between audio and video elements, even though start and end points match).&#xD;&#xA;&#xD;&#xA;*Note: If the editor is using Final Cut, there are some other potential problem points that I can explain. It may be unnecessary though. Start with the frame-rate problem and see if that takes care of things.*" ContentLicense="CC BY-SA 3.0" />
  <row Id="23201" PostHistoryTypeId="2" PostId="14051" RevisionGUID="4ddad85a-43ab-49f3-a3a4-0f5b6ea531dd" CreationDate="2012-05-24T15:07:13.903" UserId="238" Text="Firstly, I would suggest giving a more detailed explanation as to your needs. Will you be performing this yourself or is this more along the lines of installation art? Will it be interactive and thus, non-linear or will it be a linear piece? What is your time-scale / deadline?&#xD;&#xA;&#xD;&#xA;Max MSP is a tool often used by sonic artists that offers enormous flexibility. However, it takes quite an effort to learn how to use it. That said, it is fully supported by an almost infinite number of tutorials and downloadable patches. If I correctly understood your description, you might want to look into granular synthesis. &#xD;&#xA;&#xD;&#xA;For an idea of what can be done in Max MSP, check out Andrew Spitz's [Sound Doodle][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundplusdesign.com/?p=2607" ContentLicense="CC BY-SA 3.0" />
  <row Id="23202" PostHistoryTypeId="2" PostId="14052" RevisionGUID="5a0d4cd9-d4aa-465a-a8fa-c39a9fa320ea" CreationDate="2012-05-24T15:42:25.817" UserId="3784" Text="I agree, check out sound doodle, very cool granular synth. Also maybe for another layer check out the synth called the swarm. It's a replica stand alone instrument based off the swarmatron, which gave the social network it's tone and made you feel on edge. It has a bank of 8 sawtooth oscillators, which the first oscillator is controlled by a base pitch slider and then the span knob controls the relationship of the other oscillators to the first one to give you some really cool tones. It's free on a few sites." ContentLicense="CC BY-SA 3.0" />
  <row Id="23203" PostHistoryTypeId="2" PostId="14053" RevisionGUID="e3c634d1-7fe5-4ad0-8a0c-c4f8f5659b29" CreationDate="2012-05-24T16:47:11.737" UserId="3881" Text="I think the phenomenon is called &quot;tinnitus&quot;, when your ear is ringing because of an exceptionally loud sound, or imbedded ear damage. Where can I get that sound? Is it different for each person? I've heard it before, when a flashbang grenade is used in a first person shooter, the flash is accompanied with a ringing that I want to emulate..." ContentLicense="CC BY-SA 3.0" />
  <row Id="23204" PostHistoryTypeId="1" PostId="14053" RevisionGUID="e3c634d1-7fe5-4ad0-8a0c-c4f8f5659b29" CreationDate="2012-05-24T16:47:11.737" UserId="3881" Text="Frequency of the Ringing Ear" ContentLicense="CC BY-SA 3.0" />
  <row Id="23205" PostHistoryTypeId="3" PostId="14053" RevisionGUID="e3c634d1-7fe5-4ad0-8a0c-c4f8f5659b29" CreationDate="2012-05-24T16:47:11.737" UserId="3881" Text="&lt;hearing-damage&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23206" PostHistoryTypeId="2" PostId="14054" RevisionGUID="14f0e575-9e2f-4930-8a26-bb534a0441ae" CreationDate="2012-05-24T17:28:35.177" UserId="2368" Text="I created a similar effect when I recorded some feedback by accident. I actually used it later on for a short film. It can be heard in the second clip right at the end here - &#xD;&#xA;&#xD;&#xA;https://vimeo.com/41311896&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23207" PostHistoryTypeId="2" PostId="14055" RevisionGUID="d6ff525a-9875-4092-95de-99b15f747837" CreationDate="2012-05-24T17:31:38.833" UserId="3839" Text="Try messing around with some basic sine/saw/triangle wave generator between 1 and 3 khz or so. Play around with the harmonics. To add movement to it, you can try automating some very light reverb in it or playing with the phase as well. If you automate some light saturation or resonance in it, it could make it sound more painful." ContentLicense="CC BY-SA 3.0" />
  <row Id="23208" PostHistoryTypeId="2" PostId="14056" RevisionGUID="dfbddb52-045c-4894-8740-2600ceb953db" CreationDate="2012-05-24T18:06:32.627" UserId="1199" Text="I've found mixing in a bit of pink noise, tightly band limited (to taste) around the 'ring' frequency, can add to the realism. &#xD;&#xA;&#xD;&#xA;I've used this in an 'ear recovery' scene by slowing blending in this 'hiss' volume while simultaneously widening the band limit - then dissolving that into a bit of diffuse reverb as the scene's location ambience recovers...&#xD;&#xA;&#xD;&#xA;r&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23209" PostHistoryTypeId="2" PostId="14057" RevisionGUID="88388f85-94cf-4165-9c3e-bb9ae6861513" CreationDate="2012-05-24T21:26:10.103" UserDisplayName="user80" Text="Tinnitus is different for everyone, the frequencies are dependent on which stereocilia or hair cells are damaged in your cochlea.  The closer the cilia damage is to the oval window where the cochlea is attached to the stapes the higher the tinnitus frequency.&#xD;&#xA;&#xD;&#xA;Some people experience multiple frequencies and can even have different frequencies in each ear.  If you want to recreate, it then the best place to start is with pure sine waves and add a small amount of white noise. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23210" PostHistoryTypeId="2" PostId="14058" RevisionGUID="8deaa33a-de0b-4cd1-ad2f-637044fd7a42" CreationDate="2012-05-24T21:52:23.407" UserId="3138" Text="Thanks your thoughts Colin and Sonic. Its for a video clip on language and how words and how there context change. I don't have the timeframe to learn Max but have downloaded Doodle and will have a play with that.&#xD;&#xA;&#xD;&#xA;Thanks again&#xD;&#xA;&#xD;&#xA;A" ContentLicense="CC BY-SA 3.0" />
  <row Id="23211" PostHistoryTypeId="2" PostId="14059" RevisionGUID="7aed9d1d-190c-4304-993c-f1a6697f6b12" CreationDate="2012-05-24T23:21:56.227" UserId="3882" Text="Hi!&#xD;&#xA;&#xD;&#xA;I am a recent college graduate in electrical engineering with a concentration in audio engineering. I have been sound designing and composing for a while now and thus ready to apply for internships. I already applied for 30+ firms but barely got answers. Knowing that those firms get swamped with applications I thought having a strong portfolio might put me in a better position. My portfolio page shows some of my recent work but I cannot objectively judge it anymore. I therefore wanted ask you if you guys could provide me with some feedback:&#xD;&#xA;&#xD;&#xA;[Portfolio][1]&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Fabian&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fabianluttenberger.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="23212" PostHistoryTypeId="1" PostId="14059" RevisionGUID="7aed9d1d-190c-4304-993c-f1a6697f6b12" CreationDate="2012-05-24T23:21:56.227" UserId="3882" Text="Feedback for portfolio" ContentLicense="CC BY-SA 3.0" />
  <row Id="23213" PostHistoryTypeId="3" PostId="14059" RevisionGUID="7aed9d1d-190c-4304-993c-f1a6697f6b12" CreationDate="2012-05-24T23:21:56.227" UserId="3882" Text="&lt;internships&gt;&lt;jobs&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23214" PostHistoryTypeId="2" PostId="14060" RevisionGUID="fbd7cf86-3f32-4fe8-b257-5356e9a7c496" CreationDate="2012-05-25T00:00:41.117" UserId="3883" Text="I'd get DPA to do the work. Their lav's are amazing,as are their headsets. I'm sure they can make it noise cancel." ContentLicense="CC BY-SA 3.0" />
  <row Id="23215" PostHistoryTypeId="2" PostId="14061" RevisionGUID="7474997e-10a2-45cd-a396-5dbe5077d4b5" CreationDate="2012-05-25T04:02:46.913" UserId="3286" Text="So I have a post template I work with all the time. Some DX tracks (all mono), some FX tracks (half mono and half stereo) some FO tracks (all mono), and some MX tracks (all stereo).&#xD;&#xA;&#xD;&#xA;Through complicated bussing, I have each track going into a submix bus, which then outputs to an audio print track for bouncing stems (along with the main comp).&#xD;&#xA;&#xD;&#xA;Thing is, my DX stems are mono through and through.  Is this right?  When you deliver stems, you typically deliver them as [DX, FX, MX, M&amp;E].  FX, MX, M&amp;E are all stereo stems...but should the DX stem be stereo as well?&#xD;&#xA;&#xD;&#xA;I've always been told to bounce the DX stem mono, but then how does it play out if you add reverb to the dialogue to match the scene?  Doesn't work, right?  So I need stereo DX stems?&#xD;&#xA;&#xD;&#xA;Thanks for the help in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23216" PostHistoryTypeId="1" PostId="14061" RevisionGUID="7474997e-10a2-45cd-a396-5dbe5077d4b5" CreationDate="2012-05-25T04:02:46.913" UserId="3286" Text="DX Stems - Mono or Stereo?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23217" PostHistoryTypeId="3" PostId="14061" RevisionGUID="7474997e-10a2-45cd-a396-5dbe5077d4b5" CreationDate="2012-05-25T04:02:46.913" UserId="3286" Text="&lt;post-production&gt;&lt;dialogue&gt;&lt;stems&gt;&lt;mono&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23218" PostHistoryTypeId="2" PostId="14062" RevisionGUID="6a2ffdfd-4ef6-4e1a-a0bf-2f77286cecaa" CreationDate="2012-05-25T04:32:15.153" UserId="1228" Text="usually for stems the channel denomination should equal your other stems, or at least be LCR or 5.0.  In the case of working in a stereo environment, I'd recommend going with stereo.&#xD;&#xA;&#xD;&#xA;For one, dialogue does have to be panned sometimes - whether for creative purposes, or in rare cases to fix a story issue that's hard to see visual because of how its edited and shot (such as panning someone toward the left as they run out the building while panning someone in from the right as they're chasing them).  To do this you'll want your DX sidechain to be multi-channel the whole way through even though 99% of the time it's going to sit hard center.  All it takes is that 1%-of-the-time situation where you need to pan something and you'll end up kicking yourself because it won't let you pan or run a multi-channel plugin since you set your whole signal path up as mono (e.g. if you patch an audio track or Aux, in this case our mono DX sidechain, into an Aux stem submaster and/or into a print track for Input monitoring and THOSE are mono, PT WILL NOT let you pan anywhere else within the signal chain leading up to that final print track).  It's confusing to try and write out, but basically you'll have your shoelaces tied to each other even before you've started the race, and only realize the problem well along the way once you've already written automation and made mix decisions - unlacing all that can be a nightmare, if not costly.  &#xD;&#xA;&#xD;&#xA;Also, Stems are what play back at unity gain as-is to create your Printmaster, so everything should be printed into your stems in final form already, including reverbs and delays and such.  So that another reason to use multi-channel DX stems, otherwise all of your verbs are mono.&#xD;&#xA;&#xD;&#xA;Thirdly, I don't like dealing with the &quot;if it's in phase, the energy is +3dB/-3dB&quot; math.  With stems, since those feed 1:1 to the Printmaster and also serve as the archival media 'snapshot' of the final mix, I want whatever is printed in my stems to be EXACTLY how its going to read on the meters, dB per dB - not having some mono track where it relies upon PT to figure out on the fly that each channel of the stereo monitoring bus with have the dialogue distributed between each channel@ a -3dB attenuation of the mono track.  Doing that means there's a 3dB discrepancy you have to keep in your head, especially if those Stems have to used for something down the road (such as working in a higher-order number of channels and doing a fold down, for example).  If all the stem channel amounts are matching with none of this &quot;on the fly&quot; math such as dealing with a phantom center, you don't need to guess what the meters are saying and work backwards and hope something isn't clipping when maybe it is etc.  What you see on the meters, for each channel, of each stem, is EXACTLY the sound energy which exists, hard-written, to each of those channels, dB per dB.  Personally, I like that piece of mind knowing that everything is accounted for :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23219" PostHistoryTypeId="5" PostId="14062" RevisionGUID="eeb88a9d-e172-4165-a92e-76a151c6e880" CreationDate="2012-05-25T04:51:37.277" UserId="1228" Comment="added 31 characters in body" Text="My personal take on it is that usually for stems the channel denomination should equal your other stems, or at least be LCR or 5.0.  In the case of working in a stereo environment, I'd recommend going with stereo.&#xD;&#xA;&#xD;&#xA;For one, dialogue does have to be panned sometimes - whether for creative purposes, or in rare cases to fix a story issue that's hard to see visual because of how its edited and shot (such as panning someone toward the left as they run out the building while panning someone in from the right as they're chasing them).  To do this you'll want your DX sidechain to be multi-channel the whole way through even though 99% of the time it's going to sit hard center.  All it takes is that 1%-of-the-time situation where you need to pan something and you'll end up kicking yourself because it won't let you pan or run a multi-channel plugin since you set your whole signal path up as mono (e.g. if you patch an audio track or Aux, in this case our mono DX sidechain, into an Aux stem submaster and/or into a print track for Input monitoring and THOSE are mono, PT WILL NOT let you pan anywhere else within the signal chain leading up to that final print track).  It's confusing to try and write out, but basically you'll have your shoelaces tied to each other even before you've started the race, and only realize the problem well along the way once you've already written automation and made mix decisions - unlacing all that can be a nightmare, if not costly.  &#xD;&#xA;&#xD;&#xA;Also, Stems are what play back at unity gain as-is to create your Printmaster, so everything should be printed into your stems in final form already, including reverbs and delays and such.  So that another reason to use multi-channel DX stems, otherwise all of your verbs are mono.&#xD;&#xA;&#xD;&#xA;Thirdly, I don't like dealing with the &quot;if it's in phase, the energy is +3dB/-3dB&quot; math.  With stems, since those feed 1:1 to the Printmaster and also serve as the archival media 'snapshot' of the final mix, I want whatever is printed in my stems to be EXACTLY how its going to read on the meters, dB per dB - not having some mono track where it relies upon PT to figure out on the fly that each channel of the stereo monitoring bus with have the dialogue distributed between each channel@ a -3dB attenuation of the mono track.  Doing that means there's a 3dB discrepancy you have to keep in your head, especially if those Stems have to used for something down the road (such as working in a higher-order number of channels and doing a fold down, for example).  If all the stem channel amounts are matching with none of this &quot;on the fly&quot; math such as dealing with a phantom center, you don't need to guess what the meters are saying and work backwards and hope something isn't clipping when maybe it is etc.  What you see on the meters, for each channel, of each stem, is EXACTLY the sound energy which exists, hard-written, to each of those channels, dB per dB.  Personally, I like that piece of mind knowing that everything is accounted for :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23220" PostHistoryTypeId="2" PostId="14063" RevisionGUID="52597cec-9ed0-44fa-b8d1-aef9bca64857" CreationDate="2012-05-25T05:01:01.150" UserId="3884" Text="I have two balanced outs of an interface I want to use as L and R channels on a pair of headphones.  I know the single stereo jack won't carry a balanced signal to the headphones, but I want to make sure I don't damage any of the equipment or get weird effects; I am a bit paranoid after reading about monoing stereo signals: http://www.rane.com/note109.html&#xD;&#xA;&#xD;&#xA;Can I just wire sig+ and sig- from each channel to respective lead on the headphone jack?  Do I need any resistors anywhere?&#xD;&#xA;&#xD;&#xA;Thanks for your help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23221" PostHistoryTypeId="1" PostId="14063" RevisionGUID="52597cec-9ed0-44fa-b8d1-aef9bca64857" CreationDate="2012-05-25T05:01:01.150" UserId="3884" Text="Combining two balanced mono outputs to seperate channels of a single stereo jack." ContentLicense="CC BY-SA 3.0" />
  <row Id="23222" PostHistoryTypeId="3" PostId="14063" RevisionGUID="52597cec-9ed0-44fa-b8d1-aef9bca64857" CreationDate="2012-05-25T05:01:01.150" UserId="3884" Text="&lt;stereo&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23223" PostHistoryTypeId="2" PostId="14064" RevisionGUID="0ef18b9c-e7dd-417a-aa4e-c74b49b2ded0" CreationDate="2012-05-25T06:32:12.560" UserId="3875" Text="@Kyle Yeah, exactly signal generator/sine wave, but don't forget what you can do with all the other sound in picture or in the mix. Having the right sound has a lot to do with context. For example, a cut-off filter on ambiences to focus attention to the 1st person, atmo reverb up and direct low, and the classic muffled heart beat and muffled breathing (record through a stethoscope). &#xD;&#xA;&#xD;&#xA;I have personal experience with it, and it is a wash of a few harmonics, centered around A. It gets louder and softer, depending on if I concentrate on it or not.&#xD;&#xA;&#xD;&#xA;Sounds cool, keep us posted!&#xD;&#xA;&#xD;&#xA;Whoosh goes the dynamite,&#xD;&#xA;Petr" ContentLicense="CC BY-SA 3.0" />
  <row Id="23224" PostHistoryTypeId="2" PostId="14065" RevisionGUID="1b092b8f-60ab-4608-975a-334d104a0912" CreationDate="2012-05-25T06:45:52.600" UserId="221" Text="The first problem is that the balanced outputs won't provide enough signal to drive a pair of headphones unless they are 400 ohms or so. But most headphones these days are somewhere between 32 and 80 ohms and the balanced output will struggle to feed them properly.&#xD;&#xA;&#xD;&#xA;As to how best to combine them to feed a pair of headphones it depends how the output circuitry is configured. &#xD;&#xA;&#xD;&#xA;**Option 1**&#xD;&#xA;Take the +ve from each output and wire to the tip and ring of the headphone socket. Then take the screen from the output and wire to the sleeve of the headphones so you leave the -ve unconnected.&#xD;&#xA;&#xD;&#xA;**Option 2**&#xD;&#xA;Do as option 1 but take the -ve of both outputs and add to the sleeve of the headphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="23225" PostHistoryTypeId="2" PostId="14066" RevisionGUID="430370c1-35b3-4374-aa74-af871242cb56" CreationDate="2012-05-25T07:15:10.240" UserId="3875" Text="Servus @Fabian,&#xD;&#xA;Du bist in die &quot;andere LA&quot;, oder?&#xD;&#xA;In Louisiana gibt's ein Audio Post house...die haben an Contagion gearbeitet, Swelltone Labs. Ask them specific related questions, don't ask for work but for coffee, and keep emailing every month.&#xD;&#xA;&#xD;&#xA;The second thing is, meet more directors than audio post houses, the directors will come back when they actually have a budget years later...&#xD;&#xA;&#xD;&#xA;Or, even better, your degree in EE will not hurt your unsolicited applications at BMW Munich sound design, or Audi sound design in Ingolstadt. Bist du fit in Max/MSP?&#xD;&#xA;&#xD;&#xA;Good luck, it's a jungle out there! &#xD;&#xA;mit freundlichen Grüßen,&#xD;&#xA;Petr&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="23226" PostHistoryTypeId="5" PostId="14015" RevisionGUID="ebb58494-a0d9-44fe-a693-6a676d6e147e" CreationDate="2012-05-25T07:59:33.680" UserId="37" Comment="added 133 characters in body" Text="=&gt; http://en.wikipedia.org/wiki/Dialnorm&#xD;&#xA;=&gt; http://www.gearslutz.com/board/post-production-forum/419198-k-system-dialog-levels.html&#xD;&#xA;&#xD;&#xA;The gist is: you establish a good level for dialogue. Then mix everything around it, so that dialogue is intelligible but also the mix is as dynamic as you want. You might want it more dynamic for film, and less dynamic for, say, a TV programme. But to get a good feel for dynamics you need the calibrated room or incredibly good knowledge of your equipment, and ears, and typical listening levels, or both for fast track. &#xD;&#xA;&#xD;&#xA;Huge area and any answer would be oversimplifying. &#xD;&#xA;&#xD;&#xA;Better learn your meters by heart if you're asking this kind of question?&#xD;&#xA;&#xD;&#xA;p.s. in the UK: http://www.pro-tools-expert.com/home-page/2012/5/25/dpp-release-tech-standards-workflows-for-uk-broadcasters.html&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23227" PostHistoryTypeId="2" PostId="14067" RevisionGUID="868f3b6e-47fa-4982-a538-346d07618e15" CreationDate="2012-05-25T08:08:47.180" UserId="6411" Text="While I agree with @Stavrosound, if you're talking tv it depends on what your deliverables sheet dictates. Different networks, even different departments in the same network, request different formats of stems as final deliverables. &#xD;&#xA;&#xD;&#xA;If you're using a single master template for all your work, I'd bus my dialog in stereo (or lcr) for panning, verb, delay, etc. with an additional bus(ses) as a mono downmix of that stem for when a mono stem is requested. Otherwise I'd just make client specific templates accordingly so you're streamlining your system resources and not having to search at the end of every project which client this is and what their deliverable requirements are." ContentLicense="CC BY-SA 3.0" />
  <row Id="23228" PostHistoryTypeId="5" PostId="14057" RevisionGUID="077c29bf-cb15-41c6-ac9c-206ea275d299" CreationDate="2012-05-25T14:53:26.723" UserDisplayName="user80" Comment="edited body" Text="Tinnitus is different for everyone, the frequencies are dependent on which stereocilia or hair cells are damaged in your cochlea.  The closer the cilia damage is to the oval window where the cochlea is attached to the stapes the higher the tinnitus frequency.&#xD;&#xA;&#xD;&#xA;Some people experience multiple frequencies and can even have different frequencies in each ear.  If you want to recreate it, then the best place to start is with pure sine waves and add a small amount of white noise. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23229" PostHistoryTypeId="2" PostId="14068" RevisionGUID="0697127d-1887-4e78-996d-9f49987deccb" CreationDate="2012-05-25T15:25:11.107" UserId="3228" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'd just like to point out that [Sampleism][1] doesn't charge a fee. The basic account is free, instantly available and pays royalties at 50% for non-exclusivity...&#xD;&#xA;&#xD;&#xA; [1]: http://www.sampleism.com&#xD;&#xA;&#xD;&#xA;There are additional subscriptions you can choose if you desire which will pay out higher royalties but our entry level account is free and always will be....&#xD;&#xA;&#xD;&#xA;Cheers," ContentLicense="CC BY-SA 3.0" />
  <row Id="23230" PostHistoryTypeId="2" PostId="14069" RevisionGUID="71ac7542-163a-4c91-a1c1-3dc8b2492649" CreationDate="2012-05-25T15:49:44.657" UserId="3238" Text="The safest, simplest, and most flexible option would simply be to get an inexpensive headphone amp that takes line level audio inputs.  I also always tend to consider the soldering solution first, but often realize it's ultimately more pain than gain." ContentLicense="CC BY-SA 3.0" />
  <row Id="23231" PostHistoryTypeId="2" PostId="14070" RevisionGUID="adb536bc-9b83-46e4-806c-f7026ff202bf" CreationDate="2012-05-25T17:54:23.093" UserDisplayName="user80" Text="Don't waste your time, you will need a headphone amp as the line level signals will be too quiet.  Prices range from £20 well into the £100s." ContentLicense="CC BY-SA 3.0" />
  <row Id="23232" PostHistoryTypeId="2" PostId="14071" RevisionGUID="4f87c301-7643-4614-bba4-686186a4f6f2" CreationDate="2012-05-25T17:58:40.510" UserDisplayName="user80" Text="Stereo so that dialogue can be panned separately when needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="23233" PostHistoryTypeId="2" PostId="14072" RevisionGUID="9d5a2abb-6630-42e3-877a-14dd1411fe99" CreationDate="2012-05-25T18:10:33.593" UserId="730" Text="Hey everyone!&#xD;&#xA;&#xD;&#xA;I think it would be cool to hear about some foley sessions that people have done that involved recording very odd things to get a desired sounds.&#xD;&#xA;&#xD;&#xA;For example, I did a foley session with a friend of mine a few years ago when I was working on sound for my mobile game Aries Revenge.  We took 2 plastic bags and wrapped them tight around the end of a stick.  We then lit the bags on fire.  If you hold your mic about half way between the bags of fire and the ground you will hear a &quot;Zipppp&quot; sound from the melted bits of plastic falling off the stick to the ground.  I ended up using that sound as the foundation for the main laser weapons fire sound for Aries Revenge.&#xD;&#xA;&#xD;&#xA;www.AriesRevenge.com&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23234" PostHistoryTypeId="1" PostId="14072" RevisionGUID="9d5a2abb-6630-42e3-877a-14dd1411fe99" CreationDate="2012-05-25T18:10:33.593" UserId="730" Text="Awesome things to record that you would not normally think about." ContentLicense="CC BY-SA 3.0" />
  <row Id="23235" PostHistoryTypeId="3" PostId="14072" RevisionGUID="9d5a2abb-6630-42e3-877a-14dd1411fe99" CreationDate="2012-05-25T18:10:33.593" UserId="730" Text="&lt;foley&gt;&lt;sound-design&gt;&lt;video&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23236" PostHistoryTypeId="2" PostId="14073" RevisionGUID="bb01c1d2-c3cb-448e-9d60-fdfe8c27ad32" CreationDate="2012-05-25T21:03:39.637" UserId="6519" Text="Car tyre &amp; surfaces recording without engine sound.&#xD;&#xA;I want to record different surfaces in average speed (Gravel, tarmac, mud, water, sand,  etc...).&#xD;&#xA;Any ideas ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23237" PostHistoryTypeId="1" PostId="14073" RevisionGUID="bb01c1d2-c3cb-448e-9d60-fdfe8c27ad32" CreationDate="2012-05-25T21:03:39.637" UserId="6519" Text="Car tyre &amp; surface recording without engine sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="23238" PostHistoryTypeId="3" PostId="14073" RevisionGUID="bb01c1d2-c3cb-448e-9d60-fdfe8c27ad32" CreationDate="2012-05-25T21:03:39.637" UserId="6519" Text="&lt;car&gt;&lt;tyre&gt;&lt;surfaces&gt;&lt;engine&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23239" PostHistoryTypeId="2" PostId="14074" RevisionGUID="648acd5b-2ff4-411c-adab-79635bab186c" CreationDate="2012-05-25T21:26:55.260" UserId="1185" Text="My immediate answer would be to try and get access to an electric car - no engine noise and you can run them at fair speeds these days." ContentLicense="CC BY-SA 3.0" />
  <row Id="23240" PostHistoryTypeId="2" PostId="14075" RevisionGUID="4c4d46b9-21e0-4cbb-b916-fe5d2d0f07b7" CreationDate="2012-05-25T22:03:21.843" UserId="3839" Text="Unfortunately, the H4n has no line input. So to properly get signal from line level in, you do have to attenuate the signal by about 30dB. The problem is, then youll be using the H4n's preamps to bring that signal back up. There is no high quality way to do this. I believe the H2 has line input from an 1/8&quot; trs. The Sony d50 also has a line input that would accept a tape out from your MixPre. Though the d50 is $450-$500." ContentLicense="CC BY-SA 3.0" />
  <row Id="23241" PostHistoryTypeId="2" PostId="14076" RevisionGUID="9986037f-f4d9-45a8-baf6-82745d5646df" CreationDate="2012-05-25T22:31:49.580" UserDisplayName="user49" Text="A few suggestions:&#xD;&#xA;&#xD;&#xA;- find a downhill slope, so you can get up to speed, kill the motor and record steady state onboard sounds&#xD;&#xA;&#xD;&#xA;- up &amp; stops are ok, just get up to speed &amp; turn off the motor&#xD;&#xA;&#xD;&#xA;- aways are trickier, again a steep downhill slope may be the best way, even if you have to back up, get started a bit, kill the motor then slowly roll past recorders as gather speed from the slope&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;One thing to be aware of: some vehicles, mine included, have power steering &amp; power assisted brakes. So when you turn off the motor your ability to steer and to stop is diminished. You will want a confident careful driver who is aware of this &amp; does some tests before pulling up close to a recordist. Safety first!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23242" PostHistoryTypeId="2" PostId="14077" RevisionGUID="06644f37-e4d0-42f9-ae7c-7e093f171fa5" CreationDate="2012-05-26T00:56:15.543" UserId="429" Text="I also recommend against using this combo of equipment ( zoom H4n + ntg2 + MM1 ) the results sound bad and yes I have tried this exact setup. the fault is the mic/line input on the zoom but the NTG-2 is also junk. My advice is don't waste your money on an external mic pre to try and improve this setup. Keep the zoom for convenience and portablilty then just save up for better quality shotgun/pre/recorder. Ditch the NTG-2 " ContentLicense="CC BY-SA 3.0" />
  <row Id="23243" PostHistoryTypeId="2" PostId="14078" RevisionGUID="f6ce0aee-ff74-44c3-a364-de98f2875551" CreationDate="2012-05-26T06:27:34.110" UserId="3885" Text="To make a SSB signal look at this chip. http://web.mit.edu/6.301/www/LM1496.pdf Have a good read... Mark ZL2WHO." ContentLicense="CC BY-SA 3.0" />
  <row Id="23244" PostHistoryTypeId="2" PostId="14079" RevisionGUID="a51f478c-faf3-4f50-9b9c-ad59b08dd3ae" CreationDate="2012-05-26T14:31:16.013" UserId="3886" Text="I have a client who wishes to purchase an MP or SE version of Pro Tools to do basic scratch recordings at home. However due to here workflow it is critical that she has strip silence available to her. Is strip silence included in all Pro Tools Versions (SE &amp; MP)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23245" PostHistoryTypeId="1" PostId="14079" RevisionGUID="a51f478c-faf3-4f50-9b9c-ad59b08dd3ae" CreationDate="2012-05-26T14:31:16.013" UserId="3886" Text="Is Strip Silence availible in all versions of Pro Tools including MP &amp; SE" ContentLicense="CC BY-SA 3.0" />
  <row Id="23246" PostHistoryTypeId="3" PostId="14079" RevisionGUID="a51f478c-faf3-4f50-9b9c-ad59b08dd3ae" CreationDate="2012-05-26T14:31:16.013" UserId="3886" Text="&lt;pro-tools&gt;&lt;strip-silence&gt;&lt;clients&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23247" PostHistoryTypeId="2" PostId="14080" RevisionGUID="4318374b-5d45-4455-a5e7-e823e95aefdc" CreationDate="2012-05-26T18:24:09.263" UserId="3286" Text="Another question:&#xD;&#xA;&#xD;&#xA;When I mix films in stereo, I mix for dynamic range at 78dB SPL.  This means I have my setup calibrated, I mix the dialogue until it's comfortable, then I mix everything else around it to match.  In some action films, the explosions peak pretty high (say, -2) while my dialogue sits lower (say, -10).  But in more dialogue-based films, I don't have those transients, so my peak level of the whole mix might be at -6.&#xD;&#xA;&#xD;&#xA;Question I have is, when all is said and done, should I compensate for the -6 peak by normalizing the level?&#xD;&#xA;&#xD;&#xA;I hate the world &quot;normalize&quot; with a passion, but it does seem logical in this case.  Having said that, I presume that this is what the &quot;dialnorm&quot; spec is for, right?  Is this why we don't normalize our final film mixes?&#xD;&#xA;&#xD;&#xA;Thanks for everything!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23248" PostHistoryTypeId="1" PostId="14080" RevisionGUID="4318374b-5d45-4455-a5e7-e823e95aefdc" CreationDate="2012-05-26T18:24:09.263" UserId="3286" Text="Normalizing Your Final Mix?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23249" PostHistoryTypeId="3" PostId="14080" RevisionGUID="4318374b-5d45-4455-a5e7-e823e95aefdc" CreationDate="2012-05-26T18:24:09.263" UserId="3286" Text="&lt;post-production&gt;&lt;dialnorm&gt;&lt;normalize&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23250" PostHistoryTypeId="2" PostId="14081" RevisionGUID="9b63a08a-bab8-4293-94ed-1ebfd6e932c8" CreationDate="2012-05-26T18:33:07.757" UserId="670" Text="I'm working on a scene where the referee of a basketball game comes back in the locker room after the game has ended, and he's supposed to be hearing crowd boo's in his head, because he made a terrible call during the game that's eating him up. The problem is when I throw a hpf and reverb on it, it just sounds like it's coming from the gymnasium. I've tried putting a reversed version of the boo's under the hpf one and it sounds a little too eerie for the scene. &#xD;&#xA;&#xD;&#xA;Any suggestions would be much appreciated. Thanks all!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23251" PostHistoryTypeId="1" PostId="14081" RevisionGUID="9b63a08a-bab8-4293-94ed-1ebfd6e932c8" CreationDate="2012-05-26T18:33:07.757" UserId="670" Text="The sound of voices in your head" ContentLicense="CC BY-SA 3.0" />
  <row Id="23252" PostHistoryTypeId="3" PostId="14081" RevisionGUID="9b63a08a-bab8-4293-94ed-1ebfd6e932c8" CreationDate="2012-05-26T18:33:07.757" UserId="670" Text="&lt;head&gt;&lt;voices&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23253" PostHistoryTypeId="2" PostId="14082" RevisionGUID="a49d752c-c44d-4f8d-84ce-e0cef94e7f87" CreationDate="2012-05-26T19:41:50.420" UserId="3567" Text="Try ayering the voices at different speeds. Plus delay, and some reverb. Something like the fourth sound effect in here: http://soundcloud.com/george-v/v-dusk-falling-sfx" ContentLicense="CC BY-SA 3.0" />
  <row Id="23254" PostHistoryTypeId="2" PostId="14083" RevisionGUID="970bdcee-da2f-4938-a607-c41cfabbb6e7" CreationDate="2012-05-26T19:46:59.547" UserDisplayName="user914" Text="Perhaps it's more about the moment where you place the voices.&#xD;&#xA;If they start on a close up of the referee. You'll get the connection much better.&#xD;&#xA;If you have a cut out to a wide shot the voices could be dropped totally.&#xD;&#xA;This could result in a nice inside/outside of his head feeling.&#xD;&#xA;&#xD;&#xA;Is he somehow reacting to the voices?&#xD;&#xA;&#xD;&#xA;Also a subtle drone might help. Just to mark that it's an unusual situation and not a sound from outside the room." ContentLicense="CC BY-SA 3.0" />
  <row Id="23255" PostHistoryTypeId="2" PostId="14084" RevisionGUID="b3bce27e-2f6f-4714-82b7-ebfdc9e3a1b2" CreationDate="2012-05-26T20:00:43.603" UserId="3286" Text="Survey says!...&#xD;&#xA;&#xD;&#xA;YES&#xD;&#xA;&#xD;&#xA;I have used both, and it is there.&#xD;&#xA;&#xD;&#xA;Good ol' Command+U" ContentLicense="CC BY-SA 3.0" />
  <row Id="23256" PostHistoryTypeId="2" PostId="14085" RevisionGUID="c2e5c759-2ec2-4364-bdbe-11c76dcc2b1b" CreationDate="2012-05-26T22:25:16.413" UserId="476" Text="Hey Shaun,&#xD;&#xA;&#xD;&#xA;I've just finished Sound Design and mix for 7 part web series Event Zero.&#xD;&#xA;&#xD;&#xA;Episode 1 is up and can be viewed here:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=PatL5k6oQ74&#xD;&#xA;&#xD;&#xA;Other episodes will be released in less than 2 weeks.&#xD;&#xA;&#xD;&#xA;If you have any questions or need help feel free to contact me&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Sasha&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23257" PostHistoryTypeId="2" PostId="14086" RevisionGUID="f36be1df-db6d-423a-be36-5c709d06629e" CreationDate="2012-05-27T00:57:43.333" UserId="3887" Text="Hey,&#xD;&#xA;You should check out Diego Stocco´s stuff:&#xD;&#xA;http://www.youtube.com/watch?v=bhQntkY1Ank&#xD;&#xA;&#xD;&#xA;He has alot of videos online,showcasing his methods....very inspiring!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23258" PostHistoryTypeId="2" PostId="14087" RevisionGUID="757a7258-6e59-49e7-85ae-f27ceccaadd1" CreationDate="2012-05-27T01:58:14.267" UserId="253" Text="You're right, that's what dialnorm is for; to try to create a standard for average dialogue level (dialogue being king and all). Having Dolby Media Meter helps a lot, but your ears should do a fine job too.&#xD;&#xA;&#xD;&#xA;I would avoid boosting dialogue in the absence of loud FX. Just because you have the headroom doesn't mean you need to use it. If i'm understanding the question correctly, i'd say it wouldn't make sense for dialogue in one film to be as loud as explosions in another; i think it's ideal to have a consistent dialogue level (depending on whether it's mixed for TV/film/web) across all your mixes." ContentLicense="CC BY-SA 3.0" />
  <row Id="23259" PostHistoryTypeId="2" PostId="14088" RevisionGUID="c49a4f49-0326-47e4-b1bf-3d02875791df" CreationDate="2012-05-27T02:06:52.073" UserId="253" Text="That's a tough one! I think Jascha is spot on about the placement of the voices. It's hard to project someone's headspace or POV when we're not close to them visually. A quiet long or mid shot, followed by a close up where the sound of the crowd booing creeps in, in time with some kind of reaction from the ref, would go a long way towards making it work. That all depends on how it was shot or cut, but maybe you could talk to the director about adjusting the cut if it's working against you.&#xD;&#xA;&#xD;&#xA;Aside from that, i'd say try using a drastically different reverb from whatever's been heard in the stadium. Maybe throw in some delay or big early reflections?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23260" PostHistoryTypeId="5" PostId="14067" RevisionGUID="ddcd46b3-4ebb-4beb-b221-53b3b10fae08" CreationDate="2012-05-27T03:12:06.533" UserId="6411" Comment="added 4 characters in body" Text="While I agree with @Stavrosound, if you're talking tv **it depends** on what your deliverables sheet dictates. Different networks, even different departments in the same network, request different formats of stems as final deliverables. &#xD;&#xA;&#xD;&#xA;If you're using a single master template for all your work, I'd bus my dialog in stereo (or lcr) for panning, verb, delay, etc. with an additional bus(ses) as a mono downmix of that stem for when a mono stem is requested. Otherwise I'd just make client specific templates accordingly so you're streamlining your system resources and not having to search at the end of every project which client this is and what their deliverable requirements are." ContentLicense="CC BY-SA 3.0" />
  <row Id="23261" PostHistoryTypeId="2" PostId="14089" RevisionGUID="5955e266-ba05-40f9-904e-a1ad277b487c" CreationDate="2012-05-27T04:37:20.583" UserId="194" Text="I used a box of fruity pebbles and a wood plank to make a scifi grain sound for a logo design last week.  good times!&#xD;&#xA;&#xD;&#xA;I think I'm going to do a mentos-diet coke record session sometime in the future as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="23262" PostHistoryTypeId="2" PostId="14090" RevisionGUID="2b15fa33-2354-45a8-b9ed-81c627ba6b97" CreationDate="2012-05-27T04:38:59.980" UserId="3888" Text="&#xD;&#xA;who are the best manufacturers of dubbing stages.&#xD;&#xA;&#xD;&#xA;please introduce me the brands which are the leaders in this industry.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23263" PostHistoryTypeId="1" PostId="14090" RevisionGUID="2b15fa33-2354-45a8-b9ed-81c627ba6b97" CreationDate="2012-05-27T04:38:59.980" UserId="3888" Text="how to buy a film dubbing stage" ContentLicense="CC BY-SA 3.0" />
  <row Id="23264" PostHistoryTypeId="3" PostId="14090" RevisionGUID="2b15fa33-2354-45a8-b9ed-81c627ba6b97" CreationDate="2012-05-27T04:38:59.980" UserId="3888" Text="&lt;dubbing-stage&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23265" PostHistoryTypeId="2" PostId="14091" RevisionGUID="7d9048b1-64c1-4f5f-8b2a-0baaf7f26308" CreationDate="2012-05-27T06:42:21.213" UserId="730" Text="Awesoome!  I will try and get some soundcloud links going with a few recordings i got.  A few more are from Tribes: Ascend..The Thumper weapon sound is a Pringles can 'popping the top', and the inventory station sound is this rusted automatic door at the Mall of Georgia.  The vehicle squish sound is one of our level designers KP crushing an orange in his hand.  &#xD;&#xA;&#xD;&#xA;I think its amazing the things you can hear through a mic that you would not hear otherwise.  If you ever want a really low tone droning sound find a large gutter pipe going down a building (a mall is where i tried it at) and put a mic inside the bottom opening." ContentLicense="CC BY-SA 3.0" />
  <row Id="23266" PostHistoryTypeId="2" PostId="14092" RevisionGUID="2924389d-7809-47bd-80fc-04bc857bb087" CreationDate="2012-05-27T10:01:15.657" UserId="6420" Text="I found by quickly running the back of the fingers together (or more so the fleshy middle joint section below the nail) in a fast up/down movement made for a pretty cool insect flight sound when pitched up and octave. Perform a few 'pass bys' at the microphone for added variety! " ContentLicense="CC BY-SA 3.0" />
  <row Id="23267" PostHistoryTypeId="2" PostId="14093" RevisionGUID="085e08ca-341c-4d97-8c41-21797d21d759" CreationDate="2012-05-27T10:23:26.673" UserId="407" Text="Just spent the morning recording 'stuff' being shot with a slingshot which as well as being greatly satisfying also yielded some interesting sounds and got me thinking about what else to shoot with a sling shot ... e.g. box of cornflakes, water melon or frozen chicken (a live one would be interesting but morally wrong).&#xD;&#xA;Another thing on the list to record atm is an analogue telephone exchange they make the best metallic clicking noises." ContentLicense="CC BY-SA 3.0" />
  <row Id="23268" PostHistoryTypeId="2" PostId="14094" RevisionGUID="fbd813ad-783f-4269-9f93-b5b9c24e15e0" CreationDate="2012-05-27T12:11:40.473" UserId="2906" Text="Haven't tried myself yet but I wonder how it would be like if you tape a contact mic to your stomach and record those noises, even though you have to pressure the mic in order to get response. &#xD;&#xA;Also, if you bury a hydro mic in the ground and jump over it you get great lower sounds. &#xD;&#xA;Great suggestions above! Nice topic! " ContentLicense="CC BY-SA 3.0" />
  <row Id="23270" PostHistoryTypeId="2" PostId="14096" RevisionGUID="e47d6964-1e09-4a5e-a7d0-cff007c4aae7" CreationDate="2012-05-27T12:52:26.457" UserDisplayName="user80" Text="Try making the crowd as dry as possible, and make it mono, with a bass boost simulating the proximity effect and up a presence boost between 2 - 4 kHz.  The main thing is to make it sound like he is really close to the crowd, and that the crowd does not exist in a real world environment like a sports hall, the crowd should only exist inside his head." ContentLicense="CC BY-SA 3.0" />
  <row Id="23271" PostHistoryTypeId="2" PostId="14097" RevisionGUID="f52c889b-bcd9-42ba-ab96-8e6c2679172a" CreationDate="2012-05-27T23:12:54.263" UserId="6411" Text="Cutting it accordingly is the first step, but defining the difference between his head space and the locker room in the mix is important as well.&#xD;&#xA;&#xD;&#xA;How about adding a slight tinnitus ring, along with labored breathing, some basketball shoe squeaks, a few ball dribbles and a ref whistle to the crowd so that it's less discernible as simple crowd &quot;boos&quot;. Maybe bit reduce the whole thing, add a slight bit of distortion so it comes more closely to migraine inducing noise rather than a flashback or memory? With multiple cut aways you could increase the tinnitus ring and focus on different aspects of the &quot;bad call&quot; while increasing the distortion/bit reduction until he finally snaps with the guilt. Assuming he does, of course.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23272" PostHistoryTypeId="2" PostId="14098" RevisionGUID="bdf44151-9b0b-4558-aef1-b0b26ec15c15" CreationDate="2012-05-28T01:12:01.913" UserId="3784" Text="Metals on dry ice is my favorite especially big knives" ContentLicense="CC BY-SA 3.0" />
  <row Id="23273" PostHistoryTypeId="2" PostId="14099" RevisionGUID="9e2c4c88-f32b-4b62-91fa-8edf9808a85a" CreationDate="2012-05-28T04:54:22.157" UserId="6524" Text="I'd like to hear more stuff like [this][1], so many tiny things in the world that we've never heard before.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sonic-terrain.com/2012/03/how-loud-is-a-slithering-snail/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23274" PostHistoryTypeId="2" PostId="14100" RevisionGUID="c1dda0c6-5353-41d5-a92d-5b03ba67bb62" CreationDate="2012-05-28T08:25:08.233" UserDisplayName="user49" Text="I might be wrong but I'd be guessing most people who want to 'buy' a dubbing stage spend many, many months (&amp; maybe even years) researching &amp; taking advice from the people who will actually be operating their dub stage ie **very experienced re-recording mixers**&#xD;&#xA;You're talking about a multi-million dollar investment, which isn't the kind of thing left to the random advice from strangers on online forums....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23275" PostHistoryTypeId="2" PostId="14101" RevisionGUID="80936da3-575d-470a-abeb-7a304a992b45" CreationDate="2012-05-28T08:44:23.757" UserId="243" Text="hi again nother quick one, I hope you guys can help, I know there is a formula to calculate the bands ranges of an eq on a mixer, the first few are each doubled i.e&#xD;&#xA;20&#xD;&#xA;25&#xD;&#xA;31.5&#xD;&#xA;40&#xD;&#xA;50&#xD;&#xA;63&#xD;&#xA;80&#xD;&#xA;100&#xD;&#xA;125 &#xD;&#xA;160&#xD;&#xA;200&#xD;&#xA;250&#xD;&#xA;315&#xD;&#xA;400Hz etc I would like to know how it is calculated. For instance when does it change from double ranges to decade ranges?&#xD;&#xA;&#xD;&#xA;Alternatively could some kind should give me a list of frequency ranges on a 10 band equalizer and then a 31 band equalizer and I can work it out? &#xD;&#xA;&#xD;&#xA;look forward to your reply stay gold" ContentLicense="CC BY-SA 3.0" />
  <row Id="23276" PostHistoryTypeId="1" PostId="14101" RevisionGUID="80936da3-575d-470a-abeb-7a304a992b45" CreationDate="2012-05-28T08:44:23.757" UserId="243" Text="the formula for 10 and 31 multi band eq frequency ranges " ContentLicense="CC BY-SA 3.0" />
  <row Id="23277" PostHistoryTypeId="3" PostId="14101" RevisionGUID="80936da3-575d-470a-abeb-7a304a992b45" CreationDate="2012-05-28T08:44:23.757" UserId="243" Text="&lt;equalization&gt;&lt;frequency&gt;&lt;multiband&gt;&lt;techniques&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23278" PostHistoryTypeId="2" PostId="14102" RevisionGUID="9748d338-aa10-4b43-9302-968c6d89e5a5" CreationDate="2012-05-28T09:00:45.080" UserId="1185" Text="An octave is a 2:1 ratio between frequencies (doubling).  I think you'll find that a 10-band EQ uses bands (frequencies) an octave apart.  A 31-band EQ uses bands that are 1/3 of an octave apart.  This is a standardized form that was specified by ISO (International Standards Organisation)." ContentLicense="CC BY-SA 3.0" />
  <row Id="23279" PostHistoryTypeId="2" PostId="14103" RevisionGUID="1f7422ae-a82c-459d-ba74-e52c5ac09a79" CreationDate="2012-05-28T10:16:00.560" UserId="6432" Text="+1 for Jurgen's mentioning of the Hilbert~ object in PD. That object is also in Max/msp.&#xD;&#xA;&#xD;&#xA;I think PD or Max are pretty good environments for exploring this type of idea. Most of the objects have pretty good examples as help files. For example in Max you get given this for Hilbert~&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;You can then use this with any audio file you like, tinker with the modulating frequency and turn the sidebands on or off. You can then record the output.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freeimagehosting.net/p5kwq" ContentLicense="CC BY-SA 3.0" />
  <row Id="23280" PostHistoryTypeId="5" PostId="14103" RevisionGUID="9ff5cddf-6ebf-40d4-9b9e-970d82ee7f06" CreationDate="2012-05-28T10:24:43.850" UserId="6432" Comment="Got picture in.. at last!; added 1 characters in body" Text="+1 for Jurgen's mentioning of the Hilbert~ object in PD. That object is also in Max/msp.&#xD;&#xA;&#xD;&#xA;I think PD or Max are pretty good environments for exploring this type of thing. Most of the objects have pretty good examples as help files. For example in Max you get given this for Hilbert~&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;You can then use this with any audio file you like, tinker with the modulating frequency and turn the sidebands on or off. You can then record the output.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://s16.postimage.org/5n4wjvp79/Hilbert.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="23281" PostHistoryTypeId="2" PostId="14104" RevisionGUID="ad461c50-c4bd-4511-a754-1c42fddb9b03" CreationDate="2012-05-28T10:25:47.457" UserId="3891" Text="I had a similar situation to yours. What worked out was to pull out everything you'd expect to hear in the shot (footsteps, ambience, clothes rustle) and only leave a filtered crowd, his breath and his heartbeat, kinda like his inner perspective. &#xD;&#xA;Cliché I know, but it worked spot on. At least on our shot.&#xD;&#xA;I also rolled out some top, which helped it sound more in his head.&#xD;&#xA;&#xD;&#xA;Hope it helps..." ContentLicense="CC BY-SA 3.0" />
  <row Id="23282" PostHistoryTypeId="2" PostId="14105" RevisionGUID="01d70117-892c-45ab-9d96-32631a111a52" CreationDate="2012-05-28T10:59:36.647" UserId="3891" Text="Forget about your portfolio. And don't just apply. Go out there and bother a couple of studios you really want to work in every single day until they give up and accept you as an intern. Once your foot is in the door it's much easier to stay in. Don't just call, show up. It's much harder for them to get rid of you this way. They'll start by letting you sit in on a couple of sessions, and if you play your cards right, you're in for the long run.&#xD;&#xA;&#xD;&#xA;I got my first job through persistence, and every other intern that ended up working under my wing got in this way. Thought behind it being is if your persistent enough to persuade the employer to give you the job, your good enough to get any task done. Just one other piece of advice. Your opinion only starts to matter once trust has been established. Listen, don't talk.&#xD;&#xA;&#xD;&#xA;Also, if you have a background in electrical engineering, it's always a plus for the studio. You can probably fix stuff without the studio having any downtime.&#xD;&#xA;&#xD;&#xA;I hope you get your dreamjob." ContentLicense="CC BY-SA 3.0" />
  <row Id="23283" PostHistoryTypeId="2" PostId="14106" RevisionGUID="215760d7-6d9d-41ad-b4ba-84d6a273bed9" CreationDate="2012-05-28T14:13:23.657" UserId="3891" Text="http://philipnewell.net/&#xD;&#xA;&#xD;&#xA;http://www.munro.co.uk/&#xD;&#xA;&#xD;&#xA;These guys design great rooms. I've been in a couple of their stages and they're pretty good.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23284" PostHistoryTypeId="2" PostId="14107" RevisionGUID="2971e7d7-460b-4f8f-89ae-2bb4f9fbe751" CreationDate="2012-05-28T18:33:06.380" UserId="726" Text="I can vouch for Munro - I think they kitted out dubbing stage at NFTS, they did a great job" ContentLicense="CC BY-SA 3.0" />
  <row Id="23285" PostHistoryTypeId="2" PostId="14108" RevisionGUID="883db23a-e07f-496b-8106-4ccfe3d27f4e" CreationDate="2012-05-28T19:58:05.917" UserId="235" Text="I'll be doing audio post for season 2 of JourneyQuest - www.journey-quest.com&#xD;&#xA;It's a fantasy comedy.  Really funny and engaging.  I highly recommend it. And season 2 will star Fran Kranz from Dollhouse and Cabin In The Woods.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23286" PostHistoryTypeId="2" PostId="14109" RevisionGUID="d58802ca-af87-4547-91b4-dc284c446640" CreationDate="2012-05-29T06:10:04.713" UserId="3894" Text="I'm looking to run a Schoeps M/S rig into a Sound Devices 702. I know the preferred way is to go full CCM, but I already have one CMBI + MK2 and want to pick up an MK8 or CCM8 and run M/S. My application is field recordings, nature, SFX and acoustic music. I want to achieve a wide, ambient stereo field. &#xD;&#xA;&#xD;&#xA;Can I run a CMBI/MK2 with a CCM8 in a Rycote Mono Extended Ballgag with the special stereo suspension clips? The diameters of the CMBI and CCM are the same, so I figure the stereo suspension option should work. The CMBI is a bit shorter than the CMC, so I'm thinking that pairing it with the CCM will further limit handling noise in the smaller blimp. &#xD;&#xA;&#xD;&#xA;I know this is a weird setup. But I already own the CMBI/MK2 and would prefer to extend by it adding one mic (figure 8) rather than starting from starch. This, unless you think that there are good reasons to either unload my CMBI/MK2 and build a full CCM rig. &#xD;&#xA;&#xD;&#xA;The other option, of course, is the go with a CMC/MK8 to run with the CMBI/MK2. This is a slightly cheaper option and does give me the modular flexibility of the MK line." ContentLicense="CC BY-SA 3.0" />
  <row Id="23287" PostHistoryTypeId="1" PostId="14109" RevisionGUID="d58802ca-af87-4547-91b4-dc284c446640" CreationDate="2012-05-29T06:10:04.713" UserId="3894" Text="Completing a Schoeps M/S Rig: CMBI + CCM or CMC (and wind projection?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23288" PostHistoryTypeId="3" PostId="14109" RevisionGUID="d58802ca-af87-4547-91b4-dc284c446640" CreationDate="2012-05-29T06:10:04.713" UserId="3894" Text="&lt;schoeps&gt;&lt;ms&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23289" PostHistoryTypeId="2" PostId="14110" RevisionGUID="7a2ad657-f38f-4d42-83fb-faef7b7b2d11" CreationDate="2012-05-29T06:18:24.683" UserId="7642" Text="Any suggestions would have to be based on budget and location.&#xD;&#xA;Building a dub stage is not a job done via the Internet. The accousticcian will have to be on site a number of times.&#xD;&#xA;The budget will limit your choice of designers if you have to choose locally or if you can afford to choose globally.&#xD;&#xA;Ive been arund building two stages. It's not easy nor cheap." ContentLicense="CC BY-SA 3.0" />
  <row Id="23290" PostHistoryTypeId="2" PostId="14111" RevisionGUID="e5a766c5-ba22-4a21-9c44-2d016e53af72" CreationDate="2012-05-29T09:09:23.223" UserId="6432" Text="Yes, they double in frequency for each step. Seems like 10band eq's tend to start at 32hz and double through to 16k&#xD;&#xA;&#xD;&#xA;Like this:&#xD;&#xA;&#xD;&#xA;![alt text][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It's also nice to have a chart like this to put it in perspective:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;If you can't make that out here is the [link][3] . So actually those frequencies are between B and C for most octaves.&#xD;&#xA;&#xD;&#xA;If you do an image search for 31 band eq you will find a load of pictures of hardware eq's with the frequency bands marked on them.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.scmsinc.com/uploads/ecomm/eq210colora.jpg&#xD;&#xA;  [2]: http://www.beantownboogiedown.com/storage/Hertz-Chart.png?__SQUARESPACE_CACHEVERSION=1260244426517&#xD;&#xA;  [3]: http://www.beantownboogiedown.com/storage/Hertz-Chart.png?__SQUARESPACE_CACHEVERSION=1260244426517" ContentLicense="CC BY-SA 3.0" />
  <row Id="23291" PostHistoryTypeId="6" PostId="14109" RevisionGUID="e48c7087-c3d4-4a39-b5a1-099032b2cac9" CreationDate="2012-05-29T09:47:13.100" UserId="3894" Comment="edited tags" Text="&lt;schoeps&gt;&lt;mid-side&gt;&lt;wind-protection&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23292" PostHistoryTypeId="2" PostId="14112" RevisionGUID="001a7863-b970-443f-879b-a20cc2034be5" CreationDate="2012-05-29T11:52:27.087" UserId="432" Text="Well, you could...but you're not going to get the results you want with a MK2 capsule (omni). If you sum an omni pattern and a figure-8 pattern mic, you're result is going to be a cardioid pattern on-axis with one of the lobes of the figure-8. In the very least, you're going to need to buy a cardiod (MK4) capsule.&#xD;&#xA;&#xD;&#xA;[I did a post not too long ago][1] on why trying to derive stereo signals from an omni/figure-8 M/S combo isn't a good idea. You may want to take a look at it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynamicinterference.com/blog/2012/01/ms-recording-replace-the-cardioid-with-an-omni/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23293" PostHistoryTypeId="5" PostId="14109" RevisionGUID="d5577760-e281-4144-8b1a-16339f5be7f7" CreationDate="2012-05-29T16:44:59.293" UserId="3894" Comment="deleted 7 characters in body; edited title" Text="I'm looking to run a Schoeps M/S rig into a Sound Devices 702. I know the preferred way is to go full CCM, but I already have one CMBI + MK2 and want to pick up an MK8 or CCM8 and run M/S. My application is field recordings, nature, SFX and acoustic music. I want to achieve a wide, ambient stereo field. &#xD;&#xA;&#xD;&#xA;Can I run a CMBI/MK2 with a CCM8 in a Rycote Mono Extended Ballgag with the special stereo suspension clips? The diameters of the CMBI and CCM are the same, so I figure the stereo suspension option should work. The CMBI is a bit shorter than the CMC, so I'm thinking that pairing it with the CCM will further limit handling noise in the smaller blimp. &#xD;&#xA;&#xD;&#xA;I know this is a weird setup. But I already own the CMBI/MK2 and would prefer to extend by it adding one mic (figure 8) rather than starting from starch. This, unless you think that there are good reasons to unload my CMBI/MK2 and build a full CCM rig. &#xD;&#xA;&#xD;&#xA;The other option, of course, is the go with a CMC/MK8 to run with the CMBI/MK2. This is a slightly cheaper option and does give me the modular flexibility of the MK line." ContentLicense="CC BY-SA 3.0" />
  <row Id="23294" PostHistoryTypeId="4" PostId="14109" RevisionGUID="d5577760-e281-4144-8b1a-16339f5be7f7" CreationDate="2012-05-29T16:44:59.293" UserId="3894" Comment="deleted 7 characters in body; edited title" Text="Completing a Schoeps M/S Rig: CMBI + CCM or CMC (and wind protection?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23295" PostHistoryTypeId="2" PostId="14113" RevisionGUID="5be950ed-c50d-4607-832a-5dbfdb5bb64e" CreationDate="2012-05-29T16:53:32.817" UserId="315" Text="A Schoeps MS pair (MK capsules with bodies) won't fit inside a mono extended ballgag unless you buy the super expensive active cables ($557 US each last I checked). There are custom Rycote solutions, but the recommended Rycote kit is the AE stereo one, which is about the size of a small watermelon. I was able to jam my MK41/8 pair into a mono size 2, but that took some custom parts and a bit of jerry-rigging.&#xD;&#xA;&#xD;&#xA;An MK 41, MK4, or even the MK21 wide cardiod would work well in MS. I doubt you'd get very good localization with an MK2 Omni in the center." ContentLicense="CC BY-SA 3.0" />
  <row Id="23296" PostHistoryTypeId="2" PostId="14114" RevisionGUID="ef676168-12bd-4b85-aeb8-736b60b65297" CreationDate="2012-05-29T20:39:56.287" UserId="2502" Text="to your question, some useful sampler based fx libraries may include:&#xD;&#xA;&#xD;&#xA;footsteps (obvious choice)&#xD;&#xA;&#xD;&#xA;impact sweeteners, debris &#xD;&#xA;&#xD;&#xA;gun shots and sweetening layers, gun handling&#xD;&#xA;&#xD;&#xA;gadgetry and small servo patches&#xD;&#xA;&#xD;&#xA;data/text on screen / typing / hi tech graphic fx&#xD;&#xA;&#xD;&#xA;a nice instrument with effects and layers to easily create basic swooshes, transitions with the keyboard instead of spotting and editing library sounds.&#xD;&#xA; &#xD;&#xA;rene and i's library have a few built for kontakt:&#xD;&#xA;www.echocollectivefx.com&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23297" PostHistoryTypeId="2" PostId="14115" RevisionGUID="a0385f21-c799-402b-8cf7-eeea544ca2fb" CreationDate="2012-05-29T21:00:33.263" UserId="3532" Text="Seasonal winds&#xD;&#xA;Emotional winds&#xD;&#xA;Mechanical winds&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23298" PostHistoryTypeId="2" PostId="14116" RevisionGUID="20e18168-f435-48d7-bc86-2ad67d844eb1" CreationDate="2012-05-29T22:33:57.810" UserId="6600" Text="I once tried (very nervously) putting my zoom H2 in a plastic tupperware box and holding it in a bath of water.  You can get a pretty convincing underwater ambience, and also if you run the taps at the same time and place the box in various positions around the bath - even under the taps - you can get some good watery rumbles.  Word of warning; check the box is watertight first and if you're going record under the taps set the gain fairly low!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23299" PostHistoryTypeId="2" PostId="14117" RevisionGUID="0193a1fe-b2c6-40e4-9d64-7e4a3aa64051" CreationDate="2012-05-30T00:48:29.620" UserId="6432" Text="Actually, these days it's often hearing too much. &#xD;&#xA;&#xD;&#xA;Sometimes it seems that current sound design follows the idea of 'everything must make a sound', even if in reality it really doesn't make a sound. For example, the other day I was watching an action film, one of the current big franchises. The main character unplugged a security camera, like a little 12v thing and it made the sound of power station being switched off....&#xD;&#xA;&#xD;&#xA;Why? It was totally unnecessary. &#xD;&#xA;&#xD;&#xA;Just because we've got enough tracks for everything to make sound it doesn't mean everything should.&#xD;&#xA;&#xD;&#xA;End rant." ContentLicense="CC BY-SA 3.0" />
  <row Id="23300" PostHistoryTypeId="2" PostId="14118" RevisionGUID="13565b9b-f7f6-453e-a7c1-c586b3941b5c" CreationDate="2012-05-30T02:14:51.720" UserId="527" Text="So I just saw a commercial for Fed Ex.  It takes place in the woods with a fairytale theme.  All the squirrels and frogs are CG animated and singing. It is one of the better commercials I have seen that features the sound design and story. &#xD;&#xA;&#xD;&#xA;I saw this commercial a few months ago and was very impressed by the sound design. I just saw it again and ALL of the sound effects are gone.  There are moments when thing literally &quot;pop&quot; from fantasy into their real life counter parts.  Nice magical shimmers.  All gone in the version I just saw.&#xD;&#xA;&#xD;&#xA;Has anyone noticed or experienced their material being subtracted in this way? It was quite shocking to see this. Here is the ad I am refereing to.&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=C6_4wfEmPpc][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=C6_4wfEmPpc" ContentLicense="CC BY-SA 3.0" />
  <row Id="23301" PostHistoryTypeId="1" PostId="14118" RevisionGUID="13565b9b-f7f6-453e-a7c1-c586b3941b5c" CreationDate="2012-05-30T02:14:51.720" UserId="527" Text="Commercial being broadcast without FX stem, has anyone else seen this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23302" PostHistoryTypeId="3" PostId="14118" RevisionGUID="13565b9b-f7f6-453e-a7c1-c586b3941b5c" CreationDate="2012-05-30T02:14:51.720" UserId="527" Text="&lt;thoughts&gt;&lt;experiences&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23303" PostHistoryTypeId="2" PostId="14119" RevisionGUID="7f9d411b-ce1e-4753-9f03-a4aceca52501" CreationDate="2012-05-30T04:17:08.157" UserId="3895" Text="Hi  Everyone!&#xD;&#xA;&#xD;&#xA;I would like to know how many days are usually spend on a 45 minute chapter of an action television series??. I know it depends on producers and budgets but still... it would be interesting to have some references about time!&#xD;&#xA;&#xD;&#xA;Right now we are 5 people working on the project and the producers have established that the chapters should be finished in two days. one for editing, and the other for mixing. We are doing our best to make it but is almost imposible to make a decent job and get to the quality that the producers expect with this amount of time. &#xD;&#xA;&#xD;&#xA;So, i´m really interested in knowing different schedules on different types of projects that you have worked on.&#xD;&#xA;&#xD;&#xA;THANKS !" ContentLicense="CC BY-SA 3.0" />
  <row Id="23304" PostHistoryTypeId="1" PostId="14119" RevisionGUID="7f9d411b-ce1e-4753-9f03-a4aceca52501" CreationDate="2012-05-30T04:17:08.157" UserId="3895" Text="Television Postproduction schedules" ContentLicense="CC BY-SA 3.0" />
  <row Id="23305" PostHistoryTypeId="3" PostId="14119" RevisionGUID="7f9d411b-ce1e-4753-9f03-a4aceca52501" CreationDate="2012-05-30T04:17:08.157" UserId="3895" Text="&lt;television&gt;&lt;post-production&gt;&lt;scheduling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23306" PostHistoryTypeId="2" PostId="14120" RevisionGUID="d169b3ae-d4f8-49c5-a223-6c1c62e5d095" CreationDate="2012-05-30T05:35:53.513" UserId="1228" Text="I'm assuming that you mean post production sound turnaround for TV, in which case Primetime scripted dramas of 45 min in length have about a 5-6 day sound editorial turnaround (6 days assuming you're working on a Saturday).  Followed up by 2 days of stage time for the mix (about 8-10 hours per day, maybe up to 12 hours per day).  I know of at least two shows which follow this protocol and I gather many others do too, if they're fortunate to have that much time.&#xD;&#xA;&#xD;&#xA;Even 5-6 days of editorial though is fast and furious.  Mix, well, I'm surprised they can make it happen in two days but they can." ContentLicense="CC BY-SA 3.0" />
  <row Id="23308" PostHistoryTypeId="2" PostId="14122" RevisionGUID="36edd189-4aba-40d9-a763-571ebe560ec0" CreationDate="2012-05-30T06:37:41.383" UserId="208" Text="Hi all&#xD;&#xA;How many of you are using portable pres like the sounddevices units, or a portable mixer, before entering your recorder, and recording sfx?&#xD;&#xA;Whats the pros and cons, if any?&#xD;&#xA;Having a sd 702 myself, but not using a frontend pre, yet.&#xD;&#xA;&#xD;&#xA;Best wishes&#xD;&#xA;&#xD;&#xA;Mikkel&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23309" PostHistoryTypeId="1" PostId="14122" RevisionGUID="36edd189-4aba-40d9-a763-571ebe560ec0" CreationDate="2012-05-30T06:37:41.383" UserId="208" Text="using portable pres or a mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="23310" PostHistoryTypeId="3" PostId="14122" RevisionGUID="36edd189-4aba-40d9-a763-571ebe560ec0" CreationDate="2012-05-30T06:37:41.383" UserId="208" Text="&lt;sfx&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23311" PostHistoryTypeId="2" PostId="14123" RevisionGUID="7df034e8-24ca-4eca-86fa-434b81b99d0d" CreationDate="2012-05-30T08:24:46.490" UserDisplayName="user80" Text="I use four Sound Devices mp-1s in front of an Edirol R-44 and I really like it.  I set the mic pres once and then fine tune on the Edirol as needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="23312" PostHistoryTypeId="2" PostId="14124" RevisionGUID="803358f0-d03a-442e-9eb2-e7292d1fadf5" CreationDate="2012-05-30T11:17:56.830" UserId="3823" Text="I wouldn't see any need for a front end Pre if you already have a 702. Those built in Pre-Amps are amazing as they are!&#xD;&#xA;&#xD;&#xA;The MP-1 is a fantastic little pre though, and I can see how it would improve the R-44 sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="23313" PostHistoryTypeId="2" PostId="14125" RevisionGUID="9da65e3a-7c87-48cf-9fb5-b23b35474eae" CreationDate="2012-05-30T11:36:23.280" UserId="1049" Text="Besides the obvious Wilhelm Scream, there are several other overused library samples and loops that particularly ruin things for me. Strangely I seem to have first heard a lot of them them used in copmuter games or music.&#xD;&#xA;&#xD;&#xA;For example, several of kids laughing: these samples were used throughout the Theme Park computer game series, used in countless documentaries and even used in Star Wars Ep.1 as some kids run past the pod racer Anakin is working on. &#xD;&#xA;&#xD;&#xA;There's the sound of a (tropical?) bird that I hear again on a lot of documentaries etc. I first heard it in Age of Empires 1 computer game and whenever I hear it I just think of that!&#xD;&#xA;&#xD;&#xA;There are some other ones, door opening/closing creaks, and a drum loop that I've heard used in 4 songs by different bands I like, and seems to be used in theme music for several TV programmes. I even have the drum sample that the Cake Boss theme tune uses in my own collection!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23314" PostHistoryTypeId="5" PostId="14125" RevisionGUID="014d150a-9986-4c03-8932-6ff55edaa2c1" CreationDate="2012-05-30T12:00:38.690" UserId="1049" Comment="edited body" Text="Besides the obvious Wilhelm Scream, there are several other overused library samples and loops that particularly ruin things for me. Strangely I seem to have first heard a lot of them them used in computer games or music.&#xD;&#xA;&#xD;&#xA;For example, several of kids laughing: these samples were used throughout the Theme Park computer game series, used in countless documentaries and even used in Star Wars Ep.1 as some kids run past the pod racer Anakin is working on. &#xD;&#xA;&#xD;&#xA;There's the sound of a (tropical?) bird that I hear again on a lot of documentaries etc. I first heard it in Age of Empires 1 computer game and whenever I hear it I just think of that!&#xD;&#xA;&#xD;&#xA;There are some other ones, door opening/closing creaks, and a drum loop that I've heard used in 4 songs by different bands I like, and seems to be used in theme music for several TV programmes. I even have the drum sample that the Cake Boss theme tune uses in my own collection!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23316" PostHistoryTypeId="2" PostId="14127" RevisionGUID="f9861b23-f863-4f24-9db7-5a547c6d0d84" CreationDate="2012-05-30T13:39:10.807" UserDisplayName="user80" Text="Anything out of sync." ContentLicense="CC BY-SA 3.0" />
  <row Id="23317" PostHistoryTypeId="2" PostId="14128" RevisionGUID="24dda6a9-5038-4bb5-88b4-b1d68a75f1d0" CreationDate="2012-05-30T13:43:17.440" UserId="3286" Text="Do you happen to know of a link to a version *with* the FX in there?  I can see what you're saying about the missing FX, and I'd say it's purely an aesthetic choice.  With the bushes and flying pixies and animals moving...the mix would get very cluttered...there's so much going on!  Somebody higher up may have just heard it and thought &quot;Too much, too confusing, cut it back.&quot;  Happens all the time in mixing for film and television.  In fact, it's usually the FX that get cut to make room for the MX.  Why? Not sure.  But music drives the story, and with such a friggin' cute song as that one, it kinda doesn't surprise me." ContentLicense="CC BY-SA 3.0" />
  <row Id="23318" PostHistoryTypeId="5" PostId="14125" RevisionGUID="120971f6-1f96-4ae7-bf6b-a821fd5e4661" CreationDate="2012-05-30T14:23:53.753" UserId="1049" Comment="added 10 characters in body" Text="Besides the obvious Wilhelm Scream, there are several other overused library samples and loops that particularly ruin things for me. Strangely I seem to have first heard a lot of them them used in computer games or music.&#xD;&#xA;&#xD;&#xA;For example, several of kids laughing: these samples were used throughout the Rollercoaster Tycoon computer game series, used in countless documentaries and even used in Star Wars Ep.1 as some kids run past the pod racer Anakin is working on. &#xD;&#xA;&#xD;&#xA;There's the sound of a (tropical?) bird that I hear again on a lot of documentaries etc. I first heard it in Age of Empires 1 computer game and whenever I hear it I just think of that!&#xD;&#xA;&#xD;&#xA;There are some other ones, door opening/closing creaks, and a drum loop that I've heard used in 4 songs by different bands I like, and seems to be used in theme music for several TV programmes. I even have the drum sample that the Cake Boss theme tune uses in my own collection!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23319" PostHistoryTypeId="2" PostId="14129" RevisionGUID="753f8701-ce86-4d47-a1d1-501aaf1e313f" CreationDate="2012-05-30T15:52:02.050" UserDisplayName="user6513" Text="I've just gotten a SD Mixpre-D in front of my Sony M10. Put it together for SFX &amp; ambience recording, though I haven't used it extensively, so far seems like a great portable combination for me.&#xD;&#xA;&#xD;&#xA;The biggest pro is the ability to record with proper mics. You can't go wrong with a SD pre-amp.&#xD;&#xA;&#xD;&#xA;The con is me feeling like developing it to a full sound kit with more gear (i.e wireless sets)." ContentLicense="CC BY-SA 3.0" />
  <row Id="23320" PostHistoryTypeId="2" PostId="14130" RevisionGUID="9a7e45da-d187-4fb0-9f5d-dfa71cf3301f" CreationDate="2012-05-30T17:09:53.603" UserId="2502" Text="this is probably one of those age old situations where the post audio team did a bang up job on sound design and the client axed it saying it was too much. had they not done any sound design and left it music and dialog, the client would have complained and asked for sound design and it would have stuck in the mix. :)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23321" PostHistoryTypeId="2" PostId="14131" RevisionGUID="467144d0-f509-44e4-84d6-d2056e375ba5" CreationDate="2012-05-30T17:16:24.373" UserId="730" Text="I usually reverse the audio, audiosuite some reverb and then revers the audio back to get this 'reverse reverb' ghostly sound.  Hope this helps! GL!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23322" PostHistoryTypeId="2" PostId="14132" RevisionGUID="9b95d5d9-0752-4ccc-8245-ad47521b49a1" CreationDate="2012-05-30T20:43:23.720" UserId="3688" Text="I'm mixing a scene that takes place inside of a movie theater - a heavily sound proofed one.&#xD;&#xA;&#xD;&#xA;It's hard to describe the acoustic properties of an environment like that, but I am sure we've all been in one. Everything is much more audible due to the lack of noise pollution and there's a sense of &quot;tightness&quot; in the air around your head. Muffled, etc.&#xD;&#xA;&#xD;&#xA;I was thinking of narrowing the stereo field a lot and possibly rolling off a lot of the lows since that tends to be absorbed by materials padding the walls of movie theaters. &#xD;&#xA;&#xD;&#xA;Any other thoughts or ideas on how to make this sound good?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23323" PostHistoryTypeId="1" PostId="14132" RevisionGUID="9b95d5d9-0752-4ccc-8245-ad47521b49a1" CreationDate="2012-05-30T20:43:23.720" UserId="3688" Text="mixing tips for a scene inside of a movie theater" ContentLicense="CC BY-SA 3.0" />
  <row Id="23324" PostHistoryTypeId="3" PostId="14132" RevisionGUID="9b95d5d9-0752-4ccc-8245-ad47521b49a1" CreationDate="2012-05-30T20:43:23.720" UserId="3688" Text="&lt;theater&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23325" PostHistoryTypeId="2" PostId="14133" RevisionGUID="0919cef2-cd95-4d8e-ab4b-9d0065ab50db" CreationDate="2012-05-30T20:52:20.337" UserId="315" Text="I worked on a 45 minute primetime drama for two seasons. Usually the cycle was a week for a crew of about 5-6 like yours. 2 days is unreasonable unless they are willing to pay through the nose, or want a bad sounding track without foley and ADR. &#xD;&#xA;&#xD;&#xA;It was quite a grind, but fun and like completing a half a movie in a week. I learned a lot. &#xD;&#xA;&#xD;&#xA;It broke out roughly like this:&#xD;&#xA;&#xD;&#xA;Day One: Delivery of sound rolls, omf, and final cut from picture department. Digitizing of production sound and building a production sound assembly for the dialog editors. Delivery of picture to sfx editor, foley, and dialog editor for spotting.&#xD;&#xA;&#xD;&#xA;Day Two: Dialog and SFX edit. Foley is working. Potential delivery of a picture change and conforming. ADR/loop group is scheduled.&#xD;&#xA;&#xD;&#xA;Day Three: Dialog and SFX edit. ADR/loop group is recorded. Foley is working.&#xD;&#xA;&#xD;&#xA;Day Four: Foley is delivered and cut. ADR/loop group is cut. SFX cutting is finished. Music is delivered. Elements are combined and a session is built for the mix stage. &#xD;&#xA;&#xD;&#xA;Day Five: Mixing.&#xD;&#xA;&#xD;&#xA;Day Six: AM mixing, then a review. Mix/sfx notes are addressed.&#xD;&#xA;&#xD;&#xA;Day Seven: Potential last minute mixing/sfx tweaks, final review and print-mastering, delivery to network.&#xD;&#xA;&#xD;&#xA;Day Eight: It starts all over again until the last episode is done and then we drink a lot of beers.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23326" PostHistoryTypeId="5" PostId="14133" RevisionGUID="0b924f09-3d6c-4c42-9fd6-fa4a02d298c8" CreationDate="2012-05-30T21:00:00.950" UserId="315" Comment="deleted 5 characters in body" Text="I worked on a 45 minute primetime drama for awhile. Usually the cycle was a week for a crew of about 5-6 like yours. 2 days is unreasonable unless they are willing to pay through the nose, or want a bad sounding track without foley and ADR. &#xD;&#xA;&#xD;&#xA;It was quite a grind, but fun and like completing a half a movie in a week. I learned a lot. &#xD;&#xA;&#xD;&#xA;It broke out roughly like this:&#xD;&#xA;&#xD;&#xA;Day One: Delivery of sound rolls, omf, and final cut from picture department. Digitizing of production sound and building a production sound assembly for the dialog editors. Delivery of picture to sfx editor, foley, and dialog editor for spotting.&#xD;&#xA;&#xD;&#xA;Day Two: Dialog and SFX edit. Foley is working. Potential delivery of a picture change and conforming. ADR/loop group is scheduled.&#xD;&#xA;&#xD;&#xA;Day Three: Dialog and SFX edit. ADR/loop group is recorded. Foley is working.&#xD;&#xA;&#xD;&#xA;Day Four: Foley is delivered and cut. ADR/loop group is cut. SFX cutting is finished. Music is delivered. Elements are combined and a session is built for the mix stage. &#xD;&#xA;&#xD;&#xA;Day Five: Mixing.&#xD;&#xA;&#xD;&#xA;Day Six: AM mixing, then a review. Mix/sfx notes are addressed.&#xD;&#xA;&#xD;&#xA;Day Seven: Potential last minute mixing/sfx tweaks, final review and print-mastering, delivery to network.&#xD;&#xA;&#xD;&#xA;Day Eight: It starts all over again until the last episode is done and then we drink a lot of beers.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23327" PostHistoryTypeId="2" PostId="14134" RevisionGUID="70cddacd-3c90-44c0-a321-399191b5b406" CreationDate="2012-05-30T21:16:08.073" UserId="1049" Text="I'm working on a little personal project in which I'm attempting to use 100% my own recordings and designed sounds, trying out new techniques and getting a bit creative etc. At the moment I'm attempting to create some general ambient sounds for a meadow environment, such as insects buzzing around, crickets chirping etc.  &#xD;&#xA;&#xD;&#xA;I live in London and I'm a little restricted in where I can go to record at the moment so was wondering if anyone had suggestions on how to create convincing insect sounds and meadow ambiances via Foley and some sound synthesis etc?! &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23328" PostHistoryTypeId="1" PostId="14134" RevisionGUID="70cddacd-3c90-44c0-a321-399191b5b406" CreationDate="2012-05-30T21:16:08.073" UserId="1049" Text="Creating insect and meadow ambient noises without recording insects or meadow abients?!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23329" PostHistoryTypeId="3" PostId="14134" RevisionGUID="70cddacd-3c90-44c0-a321-399191b5b406" CreationDate="2012-05-30T21:16:08.073" UserId="1049" Text="&lt;insects&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23330" PostHistoryTypeId="2" PostId="14135" RevisionGUID="c5e2a706-763f-43db-b543-c35a8e9393ef" CreationDate="2012-05-30T21:57:05.590" UserId="253" Text="Sounds interesting!&#xD;&#xA;&#xD;&#xA;I would definitely agree with narrowing the stereo field. When i'm mixing indoor scenes i usually have my atmos panned to 50 at the widest, with at least one of my layers close to centre. Not that there's any rule, i just like the way this contrasts with exterior scenes.&#xD;&#xA;&#xD;&#xA;I wouldn't recommend rolling off any lows. The acoustic treatment absorbs reflections, not direct sound. &#xD;&#xA;&#xD;&#xA;So it sounds like you'll have a really quiet environment. One way you can play up &quot;silence&quot; is through &quot;synonyms of silence&quot;. That is, small details that you wouldn't hear in an area with a higher noise floor. Maybe add someone coughing out in the foyer, or pay extra attention to your characters' feet and moves in your foley.&#xD;&#xA;&#xD;&#xA;I have a feeling that it may be difficult to walk the line between sounding acoustically dead and sounding fake or 2 dimensional (if you use absolutely no reverb). You may have to use a little reverb, or if there are any loud moments you could use some muffled slap.&#xD;&#xA;&#xD;&#xA;Best of luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23331" PostHistoryTypeId="2" PostId="14136" RevisionGUID="e0d57c76-f6b7-49bc-b904-f095bb85e525" CreationDate="2012-05-31T00:32:06.420" UserId="3248" Text="This might be a bit of a beginners question but I was wondering if there was any benefit to working in Pro Tools at 96k 24bit when all your sounds will be bounced out and used at 44k 16bit ? &#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Eric" ContentLicense="CC BY-SA 3.0" />
  <row Id="23332" PostHistoryTypeId="1" PostId="14136" RevisionGUID="e0d57c76-f6b7-49bc-b904-f095bb85e525" CreationDate="2012-05-31T00:32:06.420" UserId="3248" Text="Working in 96k 24bit, mixing down to 44k 16bit" ContentLicense="CC BY-SA 3.0" />
  <row Id="23333" PostHistoryTypeId="3" PostId="14136" RevisionGUID="e0d57c76-f6b7-49bc-b904-f095bb85e525" CreationDate="2012-05-31T00:32:06.420" UserId="3248" Text="&lt;pro-tools&gt;&lt;bit-depth&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23335" PostHistoryTypeId="2" PostId="14137" RevisionGUID="32954661-0b48-4e7c-9af7-9476dad82da0" CreationDate="2012-05-31T01:08:34.783" UserId="3839" Text="Having a session in a higher bit rate will allow a larger dynamic range, allowing you to get away with more gain staging with less chance of clipping in your channel. Higher samples rates in your session allow you to time stretch your sounds while retaining more high end frequencies (as the ones that are in audible then roll down into the audible range). You should always work in 24 bit when possible. 96k isn't necessary usually unless doing some sound design. Regardless, it is standard now to work in 48k no matter what you're working on and it is very easy to down-convert. I always work in 24-48 and 96 when I edit sfx, do sound design, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="23336" PostHistoryTypeId="2" PostId="14138" RevisionGUID="7dd267ed-2c72-484a-a00e-3e1340c7a607" CreationDate="2012-05-31T02:42:10.920" UserId="3093" Text="Hello everyone :).&#xD;&#xA;Inspired from the way painters,am, paint (haha), what is your favorite way of using your palette(s)? I mean, painters have their colors right to their sides, where they see them and pick them on and so on, so I wondered how some of you organize your sounds so that it is comfortable for you to use them in a session. &#xD;&#xA;&#xD;&#xA;This is more a question about organization, 'cause I guess someone might want to post saying that they have their sound palette in their heads, which I am not denying, but I refer to how it looks.  Do you just go on and search for the sounds every time?&#xD;&#xA;&#xD;&#xA;Lets say you have a battle field scene, I guess you are pretty certain that you will use a lot of similar samples, so would you import many of those and place them in a separate track that would be practically your &quot;palette&quot;? do you leave it in sound miner or so? &#xD;&#xA;&#xD;&#xA;I do the track thing, I place many of the sounds which I might use so that I don't have to constantly import them, but it sometimes gets a little bit messy. &#xD;&#xA;&#xD;&#xA;Thank you SSD " ContentLicense="CC BY-SA 3.0" />
  <row Id="23337" PostHistoryTypeId="1" PostId="14138" RevisionGUID="7dd267ed-2c72-484a-a00e-3e1340c7a607" CreationDate="2012-05-31T02:42:10.920" UserId="3093" Text="Sound &quot;Palettes&quot;: organization?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23338" PostHistoryTypeId="3" PostId="14138" RevisionGUID="7dd267ed-2c72-484a-a00e-3e1340c7a607" CreationDate="2012-05-31T02:42:10.920" UserId="3093" Text="&lt;organization&gt;&lt;workflow&gt;&lt;session-organization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23339" PostHistoryTypeId="2" PostId="14139" RevisionGUID="5fc89670-ed12-4b8b-8fa9-03fdcce3221f" CreationDate="2012-05-31T02:45:55.440" UserId="28" Text="I created a sound design for a theatre production of Waiting for Godot using primarily feedback chirps from a delay pedal (Line 6 DL4) - and then doing some creative cropping, panning and amplitude envelops." ContentLicense="CC BY-SA 3.0" />
  <row Id="23340" PostHistoryTypeId="2" PostId="14140" RevisionGUID="84498dbe-b38b-4519-9f3e-5327a2fab1e1" CreationDate="2012-05-31T07:22:20.150" UserDisplayName="user80" Text="96k means that if you are pitch shifting anything the effect sounds more natural.  24 bit means that there is less chance of clipping when are recording.  48k 24bit is the norm just now for video work, and 44.1kHz 16bit is the norm for audio only work." ContentLicense="CC BY-SA 3.0" />
  <row Id="23341" PostHistoryTypeId="2" PostId="14141" RevisionGUID="05002e47-5b3a-42b1-94eb-ec7f96a6e5ff" CreationDate="2012-05-31T08:17:21.397" UserId="61" Text="I would begin by analyzing what individual sounds or events make up the composition of a meadow (and since not all meadows are created equal, the following categories are subject to change):&#xD;&#xA;&#xD;&#xA; - **Wind blowing through high tree canopies, tall grasses or bushes**&#xD;&#xA;&#xD;&#xA;Although this sound could be created using synthesizers, it may be more fun to create it using real props and microphones. To make wind sounds, you need a source of forced air and a surface to blow on or over; it could be your own breath, a quiet fan, or an inflated air mattress (shout out to @Utopia) blowing through some leaves from your yard. Experiment with different surface and air sources.&#xD;&#xA;&#xD;&#xA; - **Insects**&#xD;&#xA;&#xD;&#xA;A little harder but still achievable. Most insects emit a scratchy, tonal sound, such as crickets, grasshoppers and cicadas. To mimic these creatures you may want to investigate small percussion instruments such as shakers, rainsticks, castanets and washboards. Create a large variety of tiny fragments of sound and then begin the layering process. With smart use of EQ, outdoor reverb and spatial panning this could turn out quite well.&#xD;&#xA;&#xD;&#xA; - **Birds**&#xD;&#xA;&#xD;&#xA;Perhaps the toughest of all to fake! In the case of a meadow, many birds would be vocalizing melodic songs while others may be squabbling over food or territory (think crows!). You could try whistling a few melodies into your recorder and manipulating from there. &#xD;&#xA;&#xD;&#xA;Best of luck! Sounds like an incredible project! &#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23342" PostHistoryTypeId="2" PostId="14142" RevisionGUID="7c9adcf2-14b9-4e16-865e-d01019294683" CreationDate="2012-05-31T08:47:53.200" UserId="6432" Text="There are some great bit in Designing Sound which go into detail of how to synthesise birds and insects. You could check out the PD patches [here][1] (for the insects), but the book contains all the interesting stuff, like the design strategy etc. Well worth a read, but it's a very deep subject. You may find yourself becoming a synthesist instead of a sound designer!&#xD;&#xA;&#xD;&#xA;I think a really key part of your project is going to be mixing the individual elements together. One of the key factors of why a meadow sounds as it does is the sheer number and spread of sound sources. It's like a vast number of tiny sounds and interactions. Expect to do lots of filtering, panning etc to get it sounding right. Perhaps assemble your sounds and then duplicate, offset and submix in layers away from the listener.&#xD;&#xA;&#xD;&#xA;  [1]: http://mitpress.mit.edu/designingsound/insects.asp" ContentLicense="CC BY-SA 3.0" />
  <row Id="23343" PostHistoryTypeId="2" PostId="14143" RevisionGUID="d39562f1-2159-4a41-9692-cff276398b3f" CreationDate="2012-05-31T08:50:14.127" UserId="587" Text="You have recorded chants, yells, and other phrases with a 50 or so odd group of people - how would you make it sound like thousands?&#xD;&#xA;&#xD;&#xA;You have the whole stereo field to play with.&#xD;&#xA;&#xD;&#xA;You could use any plug-in.&#xD;&#xA;&#xD;&#xA;Theres only so much you can do by layering the same material - how would you use DSP to create a larger arena from out of a small group of people? (Other than the obvious worldizing reverb)&#xD;&#xA;&#xD;&#xA;My attempts consisted of pitching duplicate layers to mix, shifting a left channel slightly off time with the right, using stereo wideners on specific layers, and using delays to either add more character to the reverb or to smear others into a layer of a slightly unintelligible element.&#xD;&#xA;&#xD;&#xA;Thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23344" PostHistoryTypeId="1" PostId="14143" RevisionGUID="d39562f1-2159-4a41-9692-cff276398b3f" CreationDate="2012-05-31T08:50:14.127" UserId="587" Text="Processing Crowds" ContentLicense="CC BY-SA 3.0" />
  <row Id="23345" PostHistoryTypeId="3" PostId="14143" RevisionGUID="d39562f1-2159-4a41-9692-cff276398b3f" CreationDate="2012-05-31T08:50:14.127" UserId="587" Text="&lt;sound-design&gt;&lt;crowd&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23346" PostHistoryTypeId="2" PostId="14144" RevisionGUID="6598f1ca-81ea-47ae-8d51-7af7d80d35f9" CreationDate="2012-05-31T08:59:15.553" UserId="1228" Text="For me, I grab as I need, because I usually never know what exact sounds I need until I get to that specific edit, where I sometimes start with my go-to 'selects' and from there try some thing on the wall and see what sticks, sometimes going back for more elements.  For me it's a process of discovery and exploration with each edit.&#xD;&#xA;&#xD;&#xA;However, many times I'll run across something $$ not for what I'm working on, but for something else I know that needs to be cut later - so I'll snag the sound, drop it in the general location of where it's going to edited, and mute the region.  If it's a $$ sounds but I don't quite know where I want to use it yet, aside from knowing I want to use it, I'll drop it in the dead space between reel breaks." ContentLicense="CC BY-SA 3.0" />
  <row Id="23347" PostHistoryTypeId="2" PostId="14145" RevisionGUID="a54bb082-9f87-4ca2-b007-55066ea440df" CreationDate="2012-05-31T09:26:18.120" UserId="37" Text="Erm, there's a wonderful dawn chorus going on every morning right this time of the year, in London. They start early, around 4am, and there are hardly any cars at that time. And if you catch the very start, before it turns into a watery mush of birdsong there are beautiful single calls.&#xD;&#xA;&#xD;&#xA;For insects, look at the sound of a cricket in a wave and spectral editor. That should give you lots of inspiration. They make simple sounds, and so should be easy to reproduce, just catch the right frequencies and modulation.&#xD;&#xA;&#xD;&#xA;I tend to think with open space restrictions so I find wind(s) the hardest. Similar with spatialisation, maybe some subtle convolution verbs..&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23348" PostHistoryTypeId="2" PostId="14146" RevisionGUID="68681360-d605-4d64-ae3f-e2e929505e5e" CreationDate="2012-05-31T10:02:25.890" UserId="221" Text="I find a general crowd track of the size &amp; type I need, say 200 happy people, provides the bed into which I can sit my specific crowd lines. So go and find a generic sound sound effect of the right size and type and use that as your basis. &#xD;&#xA;&#xD;&#xA;Alternatively you could try the new Revoice Pro plugin from SynchroArts. It has a doubler feature that might work in this context. There is a time limited demo available so you could try it out without spending any money." ContentLicense="CC BY-SA 3.0" />
  <row Id="23349" PostHistoryTypeId="2" PostId="14147" RevisionGUID="edd1568c-946b-4f17-b0ee-db1ba61a5dab" CreationDate="2012-05-31T11:36:44.360" UserId="3866" Text="Hey All,&#xD;&#xA;&#xD;&#xA;Next week we will be beginning tracklaying for a new series called Strippers. Unfortunately  this has nothing to do with women taking their clothes off but actually cars being stripped and tuned.&#xD;&#xA;&#xD;&#xA;I need to source some accurate sound effects for specific cars taking into consideration auto and manual gearboxes. Could anyone recommend a good source for these? Below is a list of the cars. &#xD;&#xA;&#xD;&#xA;1996 Mitsubishi Evo 4&#xD;&#xA;2002 Subaru Impreza WRX STI&#xD;&#xA;&#xD;&#xA;2001 Mini Cooper manual&#xD;&#xA;1985 Austin Mini 1000 manual&#xD;&#xA;&#xD;&#xA;1989 Land Rover 2.5 Diesel manual&#xD;&#xA;1989 Mitsubishi Shogun/Pajero 2.5 Turbo Diesel automatic&#xD;&#xA;&#xD;&#xA;1984 Porsche 944 2.5 manual&#xD;&#xA;1998 Alfa Romeo 2.0 twin spark petrol manual&#xD;&#xA;&#xD;&#xA;1976 MGB GT 1.8 manual&#xD;&#xA;1991 Mazda MX5 1.6 manual (Eunos Roadster)&#xD;&#xA;&#xD;&#xA;1986 VW Transporter T25 1.9 petrol manual (water cooled)&#xD;&#xA;1975 VW Beetle 1303 manual&#xD;&#xA;&#xD;&#xA;1987 VW Golf GTI 16V&#xD;&#xA;1987 Ford Escort XR3i (1.6i) Cabriolet manual&#xD;&#xA;&#xD;&#xA;1997 Audi A8 2.8 petrol auto&#xD;&#xA;1999 Jaguar XJR V8 Supercharged&#xD;&#xA;&#xD;&#xA;1984 Corvette 5.7 V8 auto&#xD;&#xA;1993 Ford Thunderbird 3.8 V6 Supercharged auto&#xD;&#xA;&#xD;&#xA;Rolls Royce Silver Shadow – Mid 1970s&#xD;&#xA;Jaguar XJ6 – mid 1980s&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23350" PostHistoryTypeId="1" PostId="14147" RevisionGUID="edd1568c-946b-4f17-b0ee-db1ba61a5dab" CreationDate="2012-05-31T11:36:44.360" UserId="3866" Text="SFX For Strippers" ContentLicense="CC BY-SA 3.0" />
  <row Id="23351" PostHistoryTypeId="3" PostId="14147" RevisionGUID="edd1568c-946b-4f17-b0ee-db1ba61a5dab" CreationDate="2012-05-31T11:36:44.360" UserId="3866" Text="&lt;cars&gt;&lt;engine&gt;&lt;sfx&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23352" PostHistoryTypeId="2" PostId="14148" RevisionGUID="5e7b3918-df41-4bb5-836a-5d572303f0af" CreationDate="2012-05-31T11:53:04.390" UserId="432" Text="Pink noise.&#xD;&#xA;&#xD;&#xA;I know it sounds a little crazy, but it can work. I had a really short turn around on a project recently, and didn't have time to mess with layering up more than 3 or 4 crowd recordings. I just didn't have time to search for and audition more recordings. I started thinking about my own experiences and remembered how noise-like the crowd can be under the more present sounds of the groups immediately surrounding you. I dropped some pink noise on a new track, with some EQ (high and low pass filters, and some gentle shaping in between), and it really sold it for me. It may not work in every situation, but it did allow me to get on with the rest of the project." ContentLicense="CC BY-SA 3.0" />
  <row Id="23353" PostHistoryTypeId="2" PostId="14149" RevisionGUID="e10d833f-85c8-42f4-a91b-e086e22770fb" CreationDate="2012-05-31T12:25:39.047" UserId="6420" Text="For birds you could try something from scratch like recording the sound of various short blows on a whistle then using something like Melodyne to take the performance and make various melodies by shifting the pitching and formants to try and come up with something new and unique. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23354" PostHistoryTypeId="2" PostId="14150" RevisionGUID="30e53fa6-ebc9-4a28-877f-d97ce51b5162" CreationDate="2012-05-31T16:00:35.273" UserId="3896" Text="Hi there, this is my first attempt at making audio recordings for an Oral History project.  I've been using the Marantz PMD internal mic up to this point, but just bought an external mic, the Rode NTG-2 for better sound quality.&#xD;&#xA;&#xD;&#xA;What are the ideal presets for using this microphone?  I have it set to Line/Mic, at 44.1 Khz, recording in Stereo.&#xD;&#xA;&#xD;&#xA;Only the Left side is active when I record, and the Right seems not to move.  Also, I find I have to crank up the recording level to 6 or 7, but then get a high pitched noise.&#xD;&#xA;&#xD;&#xA;Any advice??&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="23355" PostHistoryTypeId="1" PostId="14150" RevisionGUID="30e53fa6-ebc9-4a28-877f-d97ce51b5162" CreationDate="2012-05-31T16:00:35.273" UserId="3896" Text="Using a Rode NTG-2 Shotgun with a Marantz PMD 661" ContentLicense="CC BY-SA 3.0" />
  <row Id="23356" PostHistoryTypeId="3" PostId="14150" RevisionGUID="30e53fa6-ebc9-4a28-877f-d97ce51b5162" CreationDate="2012-05-31T16:00:35.273" UserId="3896" Text="&lt;marantz&gt;&lt;shotgun&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23357" PostHistoryTypeId="2" PostId="14151" RevisionGUID="ac9b231d-c66b-43e5-95c6-641c2f8bd4ab" CreationDate="2012-05-31T17:28:14.180" UserId="3525" Text="It all depends on what you are recording too. If the program your using supports higher sample rates than go right ahead and also increase the bit depth. This will give you more head room just in case you need it. Also whatever you're recording too may have two inputs thus sending the input you're recording to to the left side. Look for something in the options like a mono link. Either way you should be able to pan that recorded audio to the center in even the most basic digital audio workstations. Since you are using a condenser microphone you must look for the phantom power switch as well. Without the 48v power your mic won't have enough electrical charge to power. By cranking up the mic level you're probably hearing a hissing sound due  to a cheaper audio recorder or pre amp in whatever your recording too. Hope this helps somewhat. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23358" PostHistoryTypeId="2" PostId="14152" RevisionGUID="84752665-25e7-4a02-82f8-04ba192fcb24" CreationDate="2012-05-31T17:30:54.447" UserId="3525" Text="Sorry I didn't see the Marantz recorder haha but yeah look around in your options for phantom power to power the mic. Some kind of button that lets you create a mono link between the inputs. And due to the fact you have a cheap recorder you won't be able to escaped the hissing sound. I have an H4n and that still hisses. So do the best you can with what you got. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23359" PostHistoryTypeId="2" PostId="14153" RevisionGUID="b51be040-5986-419c-ada9-a1bd18bbcfcf" CreationDate="2012-05-31T18:05:09.553" UserId="3897" Text="I don't think anybody here is using a H4N for high stakes audio. It does a perfectly good job for low-budget short films and student projects. Of course, if there's serious money on the line, then use professional equipment. It's obvious. Don't believe the above poster and think you have to shell out mega-bucks for top of the line equipment if you're doing something that's creative and experimental...it will carry the day. Besides, half the people on a film set don't have the first idea as to what proper sound equipment is anyway. If you're using one of these, you'll have at most two sound people. So your boom-op is going to laugh at you? Like anyone gives a shit when someone's mother is dishing out at the kraft table. Best sound and functionality for the money, which isn't a lot. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23360" PostHistoryTypeId="2" PostId="14154" RevisionGUID="20c797d2-07bc-4488-8545-646dfee010dd" CreationDate="2012-05-31T18:07:09.010" UserDisplayName="user80" Text="Switch the Marantz to mono and make sure that phantom power is switched on.  If you are recording for video use 48kHz 24 bit, and if you are doing an audio only project use 44.1kHz 24 bit." ContentLicense="CC BY-SA 3.0" />
  <row Id="23361" PostHistoryTypeId="5" PostId="14140" RevisionGUID="687e171f-bdaa-435e-a475-3cc873b555ff" CreationDate="2012-05-31T18:08:20.403" UserDisplayName="user80" Comment="added 8 characters in body" Text="96k means that if you are pitch shifting anything the effect sounds more natural.  24 bit means that there is less chance of clipping when you are recording.  48k 24bit is the norm just now for video work, and 44.1kHz 16bit is the norm for audio only projects." ContentLicense="CC BY-SA 3.0" />
  <row Id="23362" PostHistoryTypeId="2" PostId="14155" RevisionGUID="f7c991b4-8e45-4fde-84fc-b166a3d70158" CreationDate="2012-05-31T18:16:49.530" UserId="3286" Text="I have this exact rig, m'friend.  And personally, I hate the pre's on the 661.  &#xD;&#xA;&#xD;&#xA;But yeah, your NTG-2 can be SELF-POWERED via AA batteries.  I always run my NTG-2 off of battery power, as it's often much cleaner.  (At least, I did until I bought an external mixer with great pre's.)  DON'T USE PHANTOM.  That way, you can turn your gain up with far less noise.  But yeah, unless disk space is an issue, I'd always record at the highest setting allowed, 48k/24bit.  It doesn't hurt otherwise.&#xD;&#xA;&#xD;&#xA;You will want to make sure the Marantz is in dual-mono mode, but it doesn't really matter in the end.  It depends on how you're editing it.  But either you get 1 channel with audio and one without, or you get 2 channels with the same audio...either way, you're still getting 2 channels.  But for monitoring's sake, it's often best to record dual mono, as you can trash the duplicate mono channel in post." ContentLicense="CC BY-SA 3.0" />
  <row Id="23363" PostHistoryTypeId="2" PostId="14156" RevisionGUID="3ce13980-fd71-4f21-b05c-36ed67c3f896" CreationDate="2012-05-31T19:29:54.940" UserId="6519" Text="I use Marantz PMD661 with Rode NTG-2, NT4 &amp; NT2000.&#xD;&#xA;My preset (NTG-2) : Mono, Phantom On, 96khz, 24bit.&#xD;&#xA;[Check this][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org/people/joshfeed/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23364" PostHistoryTypeId="2" PostId="14157" RevisionGUID="d1e30e29-ae0c-4486-861c-805dfc952a10" CreationDate="2012-05-31T19:31:12.530" UserId="238" Text="Very interesting question! From way back to my beginnings in music production to my current work in TV/film, I have always found the creative process easier if I had my &quot;palette&quot; already prepared with an armory of relevant sounds ready to be used before I attack any arrangement. I find nothing more frustrating than searching for &quot;that perfect fx&quot; whilst in the middle of a creative flow. When you pre-prepare your material things seem to flow more easily.&#xD;&#xA;&#xD;&#xA;However, on the flip side, I've also had some of my best results when I've been forced think a little bit outside of the box and come up with something different on the spur of the moment. I'm not gonna lie and pretend I'm some kind of creative genius. Most often the good results of these kind of moments occur by complete accident. But accident or not, the result is often very pleasing. I really believe that spontaneity can be a great creative tool and can genuinely make the difference between a good piece of work and a great piece of work! " ContentLicense="CC BY-SA 3.0" />
  <row Id="23365" PostHistoryTypeId="2" PostId="14158" RevisionGUID="689e6c8e-8175-4fe7-a529-68c5ad1c845d" CreationDate="2012-05-31T19:33:51.020" UserId="1303" Text="I plan on doing some southwestern US desert recordings this summer, was wondering if you'd share your favorite places to record in that region for &quot;wild-west&quot; &quot;desert-y&quot; ambiances? (anywhere in CA, NV, UT, CO, NM, or AZ) Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23366" PostHistoryTypeId="1" PostId="14158" RevisionGUID="689e6c8e-8175-4fe7-a529-68c5ad1c845d" CreationDate="2012-05-31T19:33:51.020" UserId="1303" Text="Favorite SW USA desert recording locals?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23367" PostHistoryTypeId="3" PostId="14158" RevisionGUID="689e6c8e-8175-4fe7-a529-68c5ad1c845d" CreationDate="2012-05-31T19:33:51.020" UserId="1303" Text="&lt;field-recording&gt;&lt;desert&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23368" PostHistoryTypeId="2" PostId="14159" RevisionGUID="0755ceea-c286-4b93-8b4d-955dbb1646b2" CreationDate="2012-05-31T22:55:16.953" UserId="3898" Text="I use a zoom h1 most of the time because I can carry it everywhere and it fits perfectly in the rode videomic pro dead catwhich  covers the whole recorder and no one can tell what's in it, I also bought two plant mic baggies, search eBay for those, they're basically zippered linen fabric cases not designed to protect but to conceal, they fit the H1 and there's a larger for the h4n and you can just leave in the bags recording incognito, on a desk table outide etc, lots of tiny holes in the bags being linen, great stealth, check eBay for &quot;plant mic baggie&quot; for zoom h1, i have both the h1 and h4n about 12 bucks but perfect or discreet recordings." ContentLicense="CC BY-SA 3.0" />
  <row Id="23369" PostHistoryTypeId="2" PostId="14160" RevisionGUID="271f96b7-5a27-492f-a11d-9135525bb604" CreationDate="2012-05-31T23:21:56.443" UserId="842" Text="In my opinion, working with 96KHz in a project intended for 48KHz is minimizing the risk of audible degradation while mixing several sources together, as well as when using effects.&#xD;&#xA;There are actually some programs that handle higher frequencies worse then lower ones, but that's very rare. What on the other hand is very important is that you use a really good converter when down-sampeling it, or everything you gain by using the higher setting will get lost, and perhaps then some...&#xD;&#xA;&#xD;&#xA;Higher bitrates are practically always a win situation, but sample rates can be a little tricky if you're unsure about your monitoring. It's important to use your ears and pay close attention to what happens when you experiments." ContentLicense="CC BY-SA 3.0" />
  <row Id="23370" PostHistoryTypeId="2" PostId="14161" RevisionGUID="505c648a-faea-4e86-800e-53cde5bf2ed0" CreationDate="2012-05-31T23:49:47.553" UserId="3866" Text="I bought a carry case for my Roland R26. Its perfect as you can wear it over your shoulder and the case opens up to expose the screen and mics so you can still record while wearing it. Maybe Zoom make something similar?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23371" PostHistoryTypeId="2" PostId="14162" RevisionGUID="8a98cf9e-7c14-4828-8a16-91cf383e2611" CreationDate="2012-06-01T06:41:16.183" UserDisplayName="user80" Text="I have my Zoom H2 with me all the time, I keep it in a small padded pouch attached to one of the straps on my rucksack." ContentLicense="CC BY-SA 3.0" />
  <row Id="23372" PostHistoryTypeId="2" PostId="14163" RevisionGUID="c15487d0-af55-4c61-8e25-053a24e7819f" CreationDate="2012-06-01T09:39:27.017" UserId="3777" Text="remetacator.&#xD;&#xA;does bulk as well" ContentLicense="CC BY-SA 3.0" />
  <row Id="23373" PostHistoryTypeId="2" PostId="14164" RevisionGUID="68ff9899-3a13-4b20-b647-f505cae11524" CreationDate="2012-06-01T10:46:55.277" UserId="2778" Text="Hey guys. I had a query about which one's better. performance wise, battery wise, and frequency range wise. I have boiled down to these two and i am really confused as to which one to go for. Also could any of you suggest any better portable recorders in the range of $300- $500? &#xD;&#xA;Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="23374" PostHistoryTypeId="1" PostId="14164" RevisionGUID="68ff9899-3a13-4b20-b647-f505cae11524" CreationDate="2012-06-01T10:46:55.277" UserId="2778" Text="TASCAM DR-100 MKII Vs DR-40??" ContentLicense="CC BY-SA 3.0" />
  <row Id="23375" PostHistoryTypeId="3" PostId="14164" RevisionGUID="68ff9899-3a13-4b20-b647-f505cae11524" CreationDate="2012-06-01T10:46:55.277" UserId="2778" Text="&lt;portable-recorder&gt;&lt;tascam&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23376" PostHistoryTypeId="2" PostId="14165" RevisionGUID="0bdd6fd3-4806-4ceb-bebf-cececc60e19e" CreationDate="2012-06-01T13:11:38.303" UserId="1153" Text="The one that's been annoying me two-fold lately, is the 'gun cock' sound.&#xD;&#xA;&#xD;&#xA;Firstly, when two clearly different weapons have the same cocking sound e.g. assualt rifle and a handgun. &#xD;&#xA;&#xD;&#xA;Secondly, when a character simply raises a weapon and all of a sudden the cocking sound appears. I understand the reasoning for this in regards to story telling purposes but sometimes it just really pulls me out of the scene. I'm not saying rasing a weapon doesn't make a sound, but I'm pretty sure most guns don't automatically cock when raised from 180 degrees to 90 degrees...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23377" PostHistoryTypeId="2" PostId="14166" RevisionGUID="b6bdada2-870a-4ea5-bbdf-79faab7be85c" CreationDate="2012-06-01T14:31:32.143" UserId="3286" Text="Well I was born and raised in SE NM (Artesia, NM), and currently live in Denver.  If you want desert recordings, I'd actually suggest you find somewhere windy, which I know SE NM has certain times of the year.  There are tons of ranches, trains, old-timey folk down in that area.  Also, look at Ruidoso, NM or Lincoln, NM (home of Billy the Kid) for very small, mountain towns.  White Sands is a great choice for anybody, as you can capture the gritty dirt of the sand dunes, and for the American Indian side of things, check out Santa Fe and the surrounding smaller towns.  There are reservations in the NW corner of NM that could suit those needs.&#xD;&#xA;&#xD;&#xA;These are just my personal experiences.  Ideally, check the weather for the state a day ahead of time, find the windiest location, and go there.  It can be a 6-hour drive from top-to-bottom, but definitely still within a one-day jaunt for sound recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="23378" PostHistoryTypeId="2" PostId="14167" RevisionGUID="68b84b32-855c-446e-8f27-efcd60df76a0" CreationDate="2012-06-01T14:45:37.077" UserId="1129" Text="Since hiss is your issue, I'd venture a bet that you've got a noisy mic preamp in your signal chain.  It sounds like you are feeding your audio directly into your MacBook's sound card.  That's most likely the source of your problem.  Most consumer level sound cards are noisy as hell.&#xD;&#xA;&#xD;&#xA;Make sure your wireless receiver is outputting line level audio, if possible, in order to give you the best signal-to-noise ratio.&#xD;&#xA;&#xD;&#xA;I would highly recommend purchasing a decent USB or Firewire audio interface (Focusrite makes some good and not-too-expensive models.)  That will probably deliver the best jump in quality for your money. You would have to use the XLR cable for your portable receiver, or adapt the 3.5mm to 1/4&quot; TRS in order to plug into the audio interface, but that should be your best bet quality-wise.&#xD;&#xA;&#xD;&#xA;If you have access to a decent mixer that sounds clean, you can double-check that your hiss isn't coming from the wireless system by plugging it into the mixer and listening that way, but I would bet that the majority of your noise is coming from your sound card.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23379" PostHistoryTypeId="2" PostId="14168" RevisionGUID="41b452f9-ac03-4ebe-9f52-5c842a205421" CreationDate="2012-06-01T17:38:21.640" UserId="3866" Text="I've just got a Roland R-26 mainly for recording foley and so far I've not been disappointed. It comes with 2 directional and 2 omni-direction mics built in. Jigsaw are currently doing a deal where you get the carry case and dead kitten worth £75 included in the price (£386). &#xD;&#xA;&#xD;&#xA;It records in mp3 or WAV, up to 96 KHz, 24-bit. It also has 2 analog ins for additional mics (XLR or jack) and another mini-jack on the side for another mic. Files save onto an SD card and you could even use this an an interface for you pc/mac. Check out the link below!&#xD;&#xA;&#xD;&#xA;http://www.jigsaw24.com/product-details/x952aae/roland-r-26-usb-portable-recorder-and-carry-case-bundle" ContentLicense="CC BY-SA 3.0" />
  <row Id="23380" PostHistoryTypeId="2" PostId="14169" RevisionGUID="4a6b7c29-da94-4642-8d91-6851908a8955" CreationDate="2012-06-01T18:26:08.400" UserId="3901" Text="I am having trouble finding an adapter, which I wouldn't think would have to be very large, that has two 1/8&quot; male jacks, would sum each of them to mono, then send each one to a different channel of a 1/8&quot; female jack.  Any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23381" PostHistoryTypeId="1" PostId="14169" RevisionGUID="4a6b7c29-da94-4642-8d91-6851908a8955" CreationDate="2012-06-01T18:26:08.400" UserId="3901" Text="Adapter to sum 2 stereo signals each to mono and send each to a different ear of a standard stereo headset" ContentLicense="CC BY-SA 3.0" />
  <row Id="23382" PostHistoryTypeId="3" PostId="14169" RevisionGUID="4a6b7c29-da94-4642-8d91-6851908a8955" CreationDate="2012-06-01T18:26:08.400" UserId="3901" Text="&lt;y-cable&gt;&lt;stereo&gt;&lt;monitor&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23383" PostHistoryTypeId="2" PostId="14170" RevisionGUID="3208c6a9-9d32-41b2-9a77-a838c7977939" CreationDate="2012-06-01T18:46:32.400" UserId="7642" Text="Boom has just made more cars available.&#xD;&#xA;Anyone got it yet?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23384" PostHistoryTypeId="2" PostId="14171" RevisionGUID="3a766744-c508-4b78-a13a-04e79e3107a4" CreationDate="2012-06-01T19:49:15.103" UserId="3286" Text="You need to be a bit more specific in your question.  Are these stereo plugs that you're converting to mono plugs, or do you need mono signal through stereo plugs on both ends?&#xD;&#xA;&#xD;&#xA;Are you talking about starting off with two 1/8&quot; *stereo* male plugs and converting each plug into an 1/8&quot; *mono* male plug?&#xD;&#xA;&#xD;&#xA;You just need to build a cable that goes from 1/8&quot; TRS to 1/8&quot; TS.  Solder sleeve-to-sleeve, and then solder tip &amp; ring both to tip.&#xD;&#xA;&#xD;&#xA;Or are you talking about starting off with two 1/8&quot; *stereo* male plugs, converting each plug into a mono signal, but still ending with a 1/8&quot; *stereo* plug on the other side?&#xD;&#xA;&#xD;&#xA;In that case, it's a bit more tricky." ContentLicense="CC BY-SA 3.0" />
  <row Id="23385" PostHistoryTypeId="2" PostId="14172" RevisionGUID="8515368e-7757-42ea-8eb7-0efcf1b6605a" CreationDate="2012-06-01T19:50:07.903" UserId="7642" Text="trying to find Sounds from old bike dynamos.&#xD;&#xA;I have found a few but need more and better variation.&#xD;&#xA;Director can spot fakes easily...&#xD;&#xA;&#xD;&#xA;Would be very happy to know where to find some" ContentLicense="CC BY-SA 3.0" />
  <row Id="23386" PostHistoryTypeId="1" PostId="14172" RevisionGUID="8515368e-7757-42ea-8eb7-0efcf1b6605a" CreationDate="2012-06-01T19:50:07.903" UserId="7642" Text="Im trying to find Sounds from old bike dynamos" ContentLicense="CC BY-SA 3.0" />
  <row Id="23387" PostHistoryTypeId="3" PostId="14172" RevisionGUID="8515368e-7757-42ea-8eb7-0efcf1b6605a" CreationDate="2012-06-01T19:50:07.903" UserId="7642" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23388" PostHistoryTypeId="2" PostId="14173" RevisionGUID="f6300a5e-ec70-434f-a2c3-a00527c35034" CreationDate="2012-06-01T20:13:25.473" UserId="3078" Text="Have you tried Freesound? If I had one rigged up just now I could record it for you, but sadly it is in pieces..." ContentLicense="CC BY-SA 3.0" />
  <row Id="23389" PostHistoryTypeId="2" PostId="14174" RevisionGUID="77b8a08e-dc1a-4c74-ba86-d7ec9da32a4b" CreationDate="2012-06-01T20:27:43.243" UserId="3902" Text="Greetings: &#xD;&#xA;Please allow me to introduce myself. My name is Rebekah Kanduth and I work at the Las Vegas Academy of International Studies, Performing and Visual Arts. I know this is out of the blue, but I was wondering if you or any members of this forum would like to respond to a statement made to one of my stage management students that stage managers are not artists but rather only service persons who have no artistic value in the mounting of and calling of a show. The argument was that stage managers are told what to do and therefore have no artistic contributions to productions. They were told that the stage manager is not an artist and should not ever think of themselves as such. I would like to present them with a few different views on this subject and am hoping that you or some individuals in your organization may be able to assist me in responding to them. Thank you in advance for your time. &#xD;&#xA;Rebekah Kanduth&#xD;&#xA;rebekahsoong@hotmail.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="23390" PostHistoryTypeId="1" PostId="14174" RevisionGUID="77b8a08e-dc1a-4c74-ba86-d7ec9da32a4b" CreationDate="2012-06-01T20:27:43.243" UserId="3902" Text="an off stage question" ContentLicense="CC BY-SA 3.0" />
  <row Id="23391" PostHistoryTypeId="3" PostId="14174" RevisionGUID="77b8a08e-dc1a-4c74-ba86-d7ec9da32a4b" CreationDate="2012-06-01T20:27:43.243" UserId="3902" Text="&lt;stage&gt;&lt;time-management&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23392" PostHistoryTypeId="2" PostId="14175" RevisionGUID="d4075e4a-fea2-46b7-9d8f-83d3634cba3c" CreationDate="2012-06-01T20:42:56.240" UserId="253" Text="Those kinds of statements make my blood boil a little. Whether a position is &quot;artistic&quot; or not can be argued back and forth. Is an actor less artistic because they read a script someone else has written, and the director tells them what to do? Is the director less artistic because they're just telling others what to do? Is the playwright less artistic because they're not dictating the way the play is performed?&#xD;&#xA;&#xD;&#xA;IMHO, film and performing arts are collaborative art forms, where those kinds of condescending attitudes are immature and petty, not to mention destructive. In film, (and in my experience) positions like sound design or editing are labeled &quot;crafts&quot;, rather than &quot;arts&quot;. I don't think these distinctions matter at all because of the collaborative nature of the artform. You can tell a stage manager they're not part of the creative process all you want, but try running a play without one. It will fall apart like papier mache sculpture in the rain.&#xD;&#xA;&#xD;&#xA;Interestingly, when you work with someone who's a master of their art (or craft?), they always seem to pay the appropriate respect to everyone they work with." ContentLicense="CC BY-SA 3.0" />
  <row Id="23393" PostHistoryTypeId="2" PostId="14176" RevisionGUID="9d10e40c-44b0-44d7-870e-2b99512c3a70" CreationDate="2012-06-01T22:54:05.247" UserId="6435" Text="Rebekah, if you've ever worked through tech week with a really excellent stage manager to get timings right across all design disciplines, to find the groove where the SM reacts in real time to the actors' cues, and gives his/her cues to the ops just when they need to happen in order to make the show really soar, then you know beyond a shadow of a doubt that the SM's job is as much a performance as the actors', and the SM is *absolutely* one of the artists on the show.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23394" PostHistoryTypeId="2" PostId="14177" RevisionGUID="cf3817d7-c22b-47b8-9b30-d973058f3ee2" CreationDate="2012-06-02T04:28:38.947" UserId="1129" Text="Truly, it depends on your definition of &quot;artistic.&quot;&#xD;&#xA;I've worked professionally both as a stage manager and a designer, so I have seen both sides of this situation.&#xD;&#xA;&#xD;&#xA;It is not the stage manager's place to exert creative influence over a production.  Rather, it is their primary duty to make sure that the director and designer's concepts are executed effectively and consistently.  With that in mind, it can be argued that the stage manager does not make an artistic contribution to the show.  In an educational environment, it could be important to make that distinction clear in order to reinforce to the student stage managers that they should not make changes to the creative content of the show without the directive or at least the approval of the director and designers involved.&#xD;&#xA;&#xD;&#xA;That distinction should not, however, serve to limit the importance of the SM's contribution to the show.  It is indeed a performance in-and-of itself.  A well-called show, where the cueing is tight, is a beauty to behold.  Conversely, a poor stage manager can sink an otherwise well designed and implemented production.  A keen sense of flow and timing is key, as is a cool head and a clear mind.  The SM is the linchpin of the production; the pivot about which the story spins.  &#xD;&#xA;&#xD;&#xA;The SM's role is not to &quot;create art&quot; but to &quot;facilitate art.&quot;  That does not make them any less creative a person, or their contributions any less valuable.  Even though we say that there is an &quot;art&quot; to good tight cueing, and that there is an &quot;art&quot; to managing the varying temperaments of designers, directors, and actors; in truth those are highly developed skills." ContentLicense="CC BY-SA 3.0" />
  <row Id="23395" PostHistoryTypeId="2" PostId="14178" RevisionGUID="2151f608-a6f6-47b1-b50d-f87c01e6e7c7" CreationDate="2012-06-02T04:34:33.463" UserId="1129" Text="Sounds like a custom-build job.&#xD;&#xA;&#xD;&#xA;Let's call one 3.5mm plug &quot;LEFT&quot; since it is going to the left ear.  We'll call the other one &quot;RIGHT.&quot;&#xD;&#xA;&#xD;&#xA;Solder the TIP and RING of the LEFT plug (male) to the TIP of the 3.5mm jack (female).&#xD;&#xA;Solder the TIP and RING of the RIGHT plug to the RING of the jack.&#xD;&#xA;SOLDER the SLEEVE of both the LEFT and RIGHT plugs to the SLEEVE of the jack.&#xD;&#xA;&#xD;&#xA;Bob's you uncle.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23396" PostHistoryTypeId="2" PostId="14179" RevisionGUID="2eeecedb-4656-4db8-9270-696996797343" CreationDate="2012-06-02T06:36:27.947" UserId="238" Text="Thought I'd just send out a request to any UK-based SSDs who might be thinking of recording the atmosphere of the Queen's Jubilee Celebrations this weekend. From what I've heard, there'll be street parties all over the country so it seems to be a good opportunity to capture some nice ambiances of an historic moment.&#xD;&#xA;&#xD;&#xA;Please feel free to share your recordings in this thread! &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23397" PostHistoryTypeId="1" PostId="14179" RevisionGUID="2eeecedb-4656-4db8-9270-696996797343" CreationDate="2012-06-02T06:36:27.947" UserId="238" Text="Queen's Jubilee Celebrations" ContentLicense="CC BY-SA 3.0" />
  <row Id="23398" PostHistoryTypeId="3" PostId="14179" RevisionGUID="2eeecedb-4656-4db8-9270-696996797343" CreationDate="2012-06-02T06:36:27.947" UserId="238" Text="&lt;field-recording&gt;&lt;uk&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23399" PostHistoryTypeId="5" PostId="14179" RevisionGUID="8224d2cb-2157-4b3e-9c73-d90b1c394c17" CreationDate="2012-06-02T08:21:41.323" UserId="238" Comment="added link" Text="Thought I'd just send out a request to any UK-based SSDs who might be thinking of recording the atmosphere of the Queen's Jubilee Celebrations this weekend. From what I've heard, there'll be street parties all over the country as well as the [Thames Pageant][1], so it seems to be a good opportunity to capture some nice ambiances of an historic moment.&#xD;&#xA;&#xD;&#xA;Please feel free to share your recordings in this thread! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.visitlondon.com/events/detail/22357258-thames-diamond-jubilee-pageant" ContentLicense="CC BY-SA 3.0" />
  <row Id="23400" PostHistoryTypeId="2" PostId="14180" RevisionGUID="98aceba1-6547-4cf2-8b38-564eab86bc08" CreationDate="2012-06-02T09:49:58.263" UserId="1153" Text="I'm attending a street party though the weather outlook isn't good so we may just end up with some British rain ambience and soggy bunting...&#xD;&#xA;&#xD;&#xA;I'll give it a shot though and see what I get! Hopefully there won't be music playing too much so I get some decent and usable recordings :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23401" PostHistoryTypeId="2" PostId="14181" RevisionGUID="78c845e0-0331-40f7-bf7f-b11f1d45ba97" CreationDate="2012-06-02T12:14:48.980" UserId="1049" Text="I have the Tascam DR-100 MKII and it's brilliant. The inbuilt mics are surprisingly good, the SNR is impressive. Battery-life of the rechargeable battery seems pretty decent, I haven't tested it out fully yet or tried it with phantom power on, but so far so good. The build quality is superb; sturdy metal casing, the buttons and wheel feel nice. It even comes with a wireless remote! " ContentLicense="CC BY-SA 3.0" />
  <row Id="23402" PostHistoryTypeId="2" PostId="14182" RevisionGUID="32cb6c25-9a59-44aa-a028-d8f70ffecc09" CreationDate="2012-06-02T13:47:55.213" UserId="801" Text="What is Quantumcomputing going to mean for Digital Audio/Music?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23403" PostHistoryTypeId="1" PostId="14182" RevisionGUID="32cb6c25-9a59-44aa-a028-d8f70ffecc09" CreationDate="2012-06-02T13:47:55.213" UserId="801" Text="What is Quantumcomputing going to mean for Digital Audio/Music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23404" PostHistoryTypeId="3" PostId="14182" RevisionGUID="32cb6c25-9a59-44aa-a028-d8f70ffecc09" CreationDate="2012-06-02T13:47:55.213" UserId="801" Text="&lt;digital-technology&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23405" PostHistoryTypeId="2" PostId="14183" RevisionGUID="24d5d4d0-2966-4335-a839-c546f9f4a43b" CreationDate="2012-06-02T13:52:06.377" UserId="609" Text="I'm surprised the Apple Logic/Soundtrack 'Alarm' hasn't come up yet.  That one has always driven me crazy.  When the iPhone/Pad came out and included that sound as one if it's few sound effects, I thought it would disappear from movies, TV and commercials.  Nope.  &#xD;&#xA;&#xD;&#xA;It gives me this uncontrollable urge to mock the TV.  I have to mimic the sound back at the television in the most ugly and abrasive way I can with my voice.  &#xD;&#xA;&#xD;&#xA;Every once in awhile I'll hear it pitched up or down or treated in some way.  You'd think that would make it better or alleviate some of the gut-hurt.  But somehow, it just makes it worse." ContentLicense="CC BY-SA 3.0" />
  <row Id="23406" PostHistoryTypeId="2" PostId="14184" RevisionGUID="d12f1b09-bb85-4638-8e5c-4798c664479f" CreationDate="2012-06-02T13:52:50.353" UserId="1237" Text="Hi!&#xD;&#xA;&#xD;&#xA;Does somebody know, are there any realtime plugins that can control pitch shift without any time correction? I mean “real” pitch shift when you resample audio or like pitch shifting in analog tapes. &#xD;&#xA;&#xD;&#xA;For example there is such a thing in Kontakt (“tune” parameter) and it is a great effect especially when you use Kontakt as plugin in your DAW. But I think using Kontakt only for aforementioned purpose a little bit wastefully.&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23407" PostHistoryTypeId="1" PostId="14184" RevisionGUID="d12f1b09-bb85-4638-8e5c-4798c664479f" CreationDate="2012-06-02T13:52:50.353" UserId="1237" Text="Realtime pith shift (re-sample) plugin (without correcting/preserving time)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23408" PostHistoryTypeId="3" PostId="14184" RevisionGUID="d12f1b09-bb85-4638-8e5c-4798c664479f" CreationDate="2012-06-02T13:52:50.353" UserId="1237" Text="&lt;realtime&gt;&lt;pitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23409" PostHistoryTypeId="5" PostId="14125" RevisionGUID="9e895dd0-6a79-47b1-87c0-a79a361265a6" CreationDate="2012-06-02T14:54:23.490" UserId="1049" Comment="added 116 characters in body" Text="Besides the obvious Wilhelm Scream, there are several other overused library samples and loops that particularly ruin things for me. Strangely I seem to have first heard a lot of them them used in computer games or music.&#xD;&#xA;&#xD;&#xA;For example, several of kids laughing: these samples were used throughout the Rollercoaster Tycoon computer game series, used in countless documentaries and even used in Star Wars Ep.1 as some kids run past the pod racer Anakin is working on. &#xD;&#xA;&#xD;&#xA;There's the sound of a (tropical?) bird that I hear again on a lot of documentaries etc. I first heard it in Age of Empires 1 computer game and whenever I hear it I just think of that!&#xD;&#xA;&#xD;&#xA;There are some other ones, door opening/closing creaks, and a drum loop that I've heard used in 4 songs by different bands I like, and seems to be used in theme music for several TV programmes. I even have the drum sample that the Cake Boss theme tune uses in my own collection!  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**EDIT: I've just been able to listen to the Loon sound and that's the bird noise I was referring to above!!**" ContentLicense="CC BY-SA 3.0" />
  <row Id="23411" PostHistoryTypeId="2" PostId="14186" RevisionGUID="6659f0c2-1ebf-46e9-81ab-072bb38228c4" CreationDate="2012-06-02T17:19:28.483" UserId="37" Text="You're talking about a sampler. Anything else (an effect plugin) will eventually require an infinite amount of memory as you fill up its buffers faster than you can empty them. Then there's the problem with knowing when to start playing slowly.&#xD;&#xA;&#xD;&#xA;Look for the varispeed elastic track modes on your DAW. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23412" PostHistoryTypeId="2" PostId="14187" RevisionGUID="bc015a15-0291-49c6-ba40-245dd6b99aa1" CreationDate="2012-06-02T19:03:35.870" UserId="3904" Text="Have you tried that?&#xD;&#xA;http://www.littleendian.com/overview/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23413" PostHistoryTypeId="2" PostId="14188" RevisionGUID="935b87f4-8ab6-418d-be89-4a0e2bbd5b2e" CreationDate="2012-06-02T23:18:42.037" UserId="3906" Text="Hi, &#xD;&#xA;&#xD;&#xA;New here and need some suggestions. &#xD;&#xA;&#xD;&#xA;I'm beginning work on an audio production in which the main character has been shrunken down to a centimeter or two in his house. What kind of room tone could I use here? The idea would be much like in Honey I Shrunk The kids in that the rug and things that sit on the floor create a new dangerous environment or obstacles at least. &#xD;&#xA;&#xD;&#xA;Would normal room tone suffice? The character will be climbing up a very leafy houseplant so the majority of the scenes would have the character in sort of a jungle type environment. Only problem is, I can't use actual forest sounds fx ambience tones because those usually incorporate birds and animals to help set that ambience. Need some suggestions or ideas please!&#xD;&#xA;&#xD;&#xA;Tom" ContentLicense="CC BY-SA 3.0" />
  <row Id="23414" PostHistoryTypeId="1" PostId="14188" RevisionGUID="935b87f4-8ab6-418d-be89-4a0e2bbd5b2e" CreationDate="2012-06-02T23:18:42.037" UserId="3906" Text="Room tone/atmosphere from the point of view of a shrunken person" ContentLicense="CC BY-SA 3.0" />
  <row Id="23415" PostHistoryTypeId="3" PostId="14188" RevisionGUID="935b87f4-8ab6-418d-be89-4a0e2bbd5b2e" CreationDate="2012-06-02T23:18:42.037" UserId="3906" Text="&lt;room-treatment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23416" PostHistoryTypeId="2" PostId="14189" RevisionGUID="8ea0570b-7673-4437-89d1-b0d16c8b9afe" CreationDate="2012-06-02T23:32:13.433" UserId="1228" Text="Welcome!  It might be cool to pitch your tones down a little bit (not too far though) and heighten the subtle air/wind textures inside the room rather than just roomtone - Since for being physically smaller, the 'moving air' in the room is larger in proportion to regular size." ContentLicense="CC BY-SA 3.0" />
  <row Id="23417" PostHistoryTypeId="2" PostId="14190" RevisionGUID="d870865a-39ed-4119-8da0-b3c138895f93" CreationDate="2012-06-03T01:58:05.370" UserId="6524" Text="Apart from the regular cliche's and other common sounds, [this one][1] that I posted about seems to get my attention lately mainly in video games but isn't too big of a deal.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/12895/reused-metal-groan-in-video-games" ContentLicense="CC BY-SA 3.0" />
  <row Id="23418" PostHistoryTypeId="2" PostId="14191" RevisionGUID="5a21a6ea-aaf2-4410-81db-ef323c463dae" CreationDate="2012-06-03T09:57:00.490" UserId="930" Text="I'm in the same boat as Alan (geddit?) - was going to try and record some atmos but the weather forecast predicts rain all day. I'll keep my handheld on me just incase the weather lightens up though.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="23419" PostHistoryTypeId="2" PostId="14192" RevisionGUID="df75f49e-761f-4f20-9f81-3878ad3a995f" CreationDate="2012-06-03T14:19:09.263" UserId="3907" Text="I'm currently the sound designer of a short movie which has a scene where a girl gets hit by a car while the car is doing donuts around her. Meaning that the car goes fairy slow. &#xD;&#xA;&#xD;&#xA;Any ideas on how I can create a realistic sound of her being run over/hit by the car? Any experience of what works and what doesn't.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23420" PostHistoryTypeId="1" PostId="14192" RevisionGUID="df75f49e-761f-4f20-9f81-3878ad3a995f" CreationDate="2012-06-03T14:19:09.263" UserId="3907" Text="Getting hit by a car" ContentLicense="CC BY-SA 3.0" />
  <row Id="23421" PostHistoryTypeId="3" PostId="14192" RevisionGUID="df75f49e-761f-4f20-9f81-3878ad3a995f" CreationDate="2012-06-03T14:19:09.263" UserId="3907" Text="&lt;crashing&gt;&lt;car&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23422" PostHistoryTypeId="2" PostId="14193" RevisionGUID="2d915e1e-bb3a-41da-8719-e229eeba754a" CreationDate="2012-06-03T16:42:38.133" UserId="3179" Text="Isn't a body or large object hit to a some kind of a surface quite obvious? Authentic thud would likely come from some kind of a light metal surface, but something usable could very well come from something else as well.&#xD;&#xA;&#xD;&#xA;However, there are other sounds that contribute and would likely timed very closely to the actual hit. The car brakes, reactions of bystanders, if there are any, and the reaction of the girl. Unless there's a reason for these sounds not to be there, or they aren't there to start with. So the thud might just be one of the sounds in the combination that gives the right impression." ContentLicense="CC BY-SA 3.0" />
  <row Id="23423" PostHistoryTypeId="2" PostId="14194" RevisionGUID="be6e485d-bb5b-4244-9ae5-b4d40e3839fa" CreationDate="2012-06-03T17:05:07.713" UserId="1049" Text="Ideally, just find an old car and fall against or roll across the bonnet (hood) whilst it's stationary, should give quite a good sound as a basis! If that's out of the question though, see if you can find a metal tray, like a tea tray or something. Bash that against your knee, then pitch down the sound a little bit." ContentLicense="CC BY-SA 3.0" />
  <row Id="23424" PostHistoryTypeId="5" PostId="14193" RevisionGUID="eb6dc256-7d1f-4865-9fd8-50588b6693ef" CreationDate="2012-06-03T17:26:43.220" UserId="3179" Comment="added 3 characters in body" Text="Isn't a body or large object hit to a some kind of a surface quite obvious? Authentic thud would likely come from some kind of a light metal surface, but something usable could very well come from something else as well.&#xD;&#xA;&#xD;&#xA;However, there are other sounds that contribute and would likely be timed very closely to the actual hit. The car brakes, reactions of bystanders, if there are any, and the reaction of the girl. Unless there's a reason for these sounds not to be there, or they aren't there to start with. So the thud might just be one of the sounds in the combination that gives the right impression." ContentLicense="CC BY-SA 3.0" />
  <row Id="23425" PostHistoryTypeId="2" PostId="14195" RevisionGUID="2fad483b-1d4f-4c31-962d-e89a4e928500" CreationDate="2012-06-03T18:46:25.667" UserId="3835" Text="I would definitely make the impact movements ultra realistic. Everything needs to sound huge! Lots of layers and good use of reverb.. Definitely use pitch effectively too like mentioned above. Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="23426" PostHistoryTypeId="5" PostId="3297" RevisionGUID="0a832b8d-d197-458a-beb1-22a9a3513e4a" CreationDate="2012-06-03T22:33:24.167" UserId="29" Comment="mispelling!" Text="Hah, what a setup, Matt! You rock. :-p&#xD;&#xA;&#xD;&#xA;Jay, I bought my Oktava directly from Michael at OktavaMod.com. I think the mic's omni and cardioid capsule have a wonderful, warm, fairly true sound, but the high frequency attenuation *really* is audible in the cardioid and the hypercardioid capsules - I think the directional capsules are great for dialog or if you like your dialog EQ'd by your mic, which can work for certain voices. The omni capsules sounds the most transparent and, heck, you get ANY mic close enough to a source and it'll be directional. Of course, all Oktavas are extremely susceptible to heavy handling noise. Shock mount 'em at all times, even on mic stands.&#xD;&#xA;&#xD;&#xA;But I still feel like the self-noise isn't great, even with Michael's work. I use 'em for &quot;stunt mics&quot; and loud-source material where a small condenser mic is the right thing. If multi-capsule mics are your thing and you're on a budget, I'd argue that you should only use modded Oktavas, and Michael (and his wife) are absolute joys to deal with. If you don't need multi-capsule mics, then for the price, brands like Rode repesent a far better value, in my opinion.&#xD;&#xA;&#xD;&#xA;They're cool tools to have if your needs fit the niches they fill. Personally, I reach for mine infrequently, but everyone's usage and needs will vary, and it wasn't a huge investment to put one in the bag o' tricks for when they make sense.&#xD;&#xA;&#xD;&#xA;(Side note: I also was on a thread over at Gearslutz that I can't find now that had a guy named Zack who got a stock Oktava mid-side rig going. For hot sources it'd be fine, but for ambience recording, it wouldn't be my choice.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23427" PostHistoryTypeId="2" PostId="14196" RevisionGUID="e4b32129-5655-4242-b0fa-3807c5bc7352" CreationDate="2012-06-03T22:38:01.297" UserId="29" Text="Skarik's suggestion is a great starting point! While you say the car is moving fairly slow, depending on the director and how you approach sound design, think about the emotional impact of the event, and whether this is a turning point in the story, and let that influence your approach. You might want to sweeten the impact with more low-end &quot;meat,&quot; go really &quot;hyper-real&quot; or descriptive in lots of little layers (hood, clothing, zippers against metal, broken bones, etc.), or even be minimal and super-understated/barely-audible based on if there can be a nice transition from car noise to post-event silence, all being dependent on the picture edit, of course. Where the camera PoV is at the time of impact should also determine which approach will &quot;sell&quot; for the listener while carrying the story forward." ContentLicense="CC BY-SA 3.0" />
  <row Id="23428" PostHistoryTypeId="2" PostId="14197" RevisionGUID="0afc3410-7497-4b4c-a19a-12449520e6e1" CreationDate="2012-06-03T22:44:36.567" UserId="29" Text="Especially if you can get to their inner reaches via trails during the weekdays, I've had great experiences in Anza Borrego State Desert Park, Death Valley, and Joshua Tree National Park, all in California. You'll find everything from mine shafts to ghost towns to oases to sculpted rocks and ancient stunted trees. Also recommended is the richly-varied Coconino National Forest and the Saguaro-studded Tonto National Forest, both in Arizona." ContentLicense="CC BY-SA 3.0" />
  <row Id="23429" PostHistoryTypeId="2" PostId="14198" RevisionGUID="3ace99fb-77ef-4f14-ab4c-84ac18e2224c" CreationDate="2012-06-04T01:35:32.540" UserId="587" Text="1. If you could have 2 mics to record strings - anything from cello to violin to acoustic guitar - what would they be?&#xD;&#xA;&#xD;&#xA;2. In my opinion, I would probably go with a combination of small diaphragm and large diaphragm condenser mics. Maybe an earthworks QTC40 and a NU87. However these are quite expensive. Any ideas for substitutions?&#xD;&#xA;&#xD;&#xA;3. Ive seen a lot of stringed instrument body-mounted choices like the bartlett mics - what do you all think of these?&#xD;&#xA;&#xD;&#xA;SSD rocks socks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23430" PostHistoryTypeId="1" PostId="14198" RevisionGUID="3ace99fb-77ef-4f14-ab4c-84ac18e2224c" CreationDate="2012-06-04T01:35:32.540" UserId="587" Text="Stringed Instrument Mics" ContentLicense="CC BY-SA 3.0" />
  <row Id="23431" PostHistoryTypeId="3" PostId="14198" RevisionGUID="3ace99fb-77ef-4f14-ab4c-84ac18e2224c" CreationDate="2012-06-04T01:35:32.540" UserId="587" Text="&lt;strings&gt;&lt;recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23432" PostHistoryTypeId="2" PostId="14199" RevisionGUID="d8f5364e-b534-45c4-b646-ea8b91336a20" CreationDate="2012-06-04T07:00:30.937" UserId="221" Text="AKG414 and AKG460 if money wasn't a problem.&#xD;&#xA;&#xD;&#xA;Otherwise the SE Electronics SE2200A and the SE1A and that is from personal experience of owning and using them for these exact applications.&#xD;&#xA;&#xD;&#xA;For recordings don't use body mounted mics. When was the last time you listened to a stringed instrument that close? The sound needs space to work properly. The body mounted mics are a necessary evil in loud live sound situations.&#xD;&#xA;&#xD;&#xA;Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="23433" PostHistoryTypeId="2" PostId="14200" RevisionGUID="d71684c4-dc9a-4d16-a0b0-7a9174486dfd" CreationDate="2012-06-04T09:08:46.210" UserId="3784" Text="http://serato.com/pitchntime-pro&#xD;&#xA;&#xD;&#xA;^^^^^^This will do exactly what your looking for, I literally use this plugin everyday. Its really easy to use and you'll get the results you want instantly. I highly recommend pitch n time pro." ContentLicense="CC BY-SA 3.0" />
  <row Id="23434" PostHistoryTypeId="2" PostId="14201" RevisionGUID="1bb3a950-259b-4842-94a6-aaae2396c795" CreationDate="2012-06-04T15:22:46.910" UserId="3903" Text="                                                                     &#xD;&#xA;                                                                     &#xD;&#xA;                                                                     &#xD;&#xA;                                             &#xD;&#xA;Hello my fellow social sound designers. Though this is my first post on this forum ,i have been an avid reader of this forum. &#xD;&#xA;&#xD;&#xA; I will be shooting a feature film in a couple of days. I will be recording on a Zaxcom deva 5.8.&#xD;&#xA;&#xD;&#xA;Now my querry is which boom mics should i go for ? &#xD;&#xA;Basically i am planning on using sennhieser 418 as my stereo mic for ambiences etc. &#xD;&#xA;&#xD;&#xA;My main question is - Should i use the sennhieser MKH 60 or the MKH 70 as my main boom mic ????&#xD;&#xA;&#xD;&#xA;Also pls suggest any other mics that you feel i could use on my shoot. &#xD;&#xA;&#xD;&#xA;I will be shooting indoor as well as outdoor in the open fields ..&#xD;&#xA;&#xD;&#xA;Thanx in advance .. Waiting for ur advice&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23435" PostHistoryTypeId="1" PostId="14201" RevisionGUID="1bb3a950-259b-4842-94a6-aaae2396c795" CreationDate="2012-06-04T15:22:46.910" UserId="3903" Text="Pls Suggest Which Boom mike ??? MKH 60 or MKH 70 .. N E other suggestions ???" ContentLicense="CC BY-SA 3.0" />
  <row Id="23436" PostHistoryTypeId="3" PostId="14201" RevisionGUID="1bb3a950-259b-4842-94a6-aaae2396c795" CreationDate="2012-06-04T15:22:46.910" UserId="3903" Text="&lt;boom&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23437" PostHistoryTypeId="2" PostId="14202" RevisionGUID="3be5e543-99ec-4543-8977-2a6e88332f22" CreationDate="2012-06-04T15:37:52.770" UserId="1216" Text="Hi Stringer,&#xD;&#xA;&#xD;&#xA;I would use the mkh60 for outdoor scenes. The 70 is maybe a bit overkill, it ofcourse depends on how close you can get to your actor(s) and weather conditions. &#xD;&#xA;If you're already using the 418 then the 60 is a nice match, since to sound a like. The 418 is a bit noisier then the 60 but still sounds good.&#xD;&#xA;&#xD;&#xA;Other well used mic's are the schoeps cmit5u http://www.schoeps.de/en/products/cmit5u and also the 416 (but i don't like the off axis sound of the latter). The schoeps is supposed to sound great even of axis.&#xD;&#xA;&#xD;&#xA;Just out of curiousity, what kind of wind protection will you be using? &#xD;&#xA;&#xD;&#xA;Good luck! &#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="23438" PostHistoryTypeId="2" PostId="14203" RevisionGUID="20de283e-6a32-47f6-96a3-35487bc0ec87" CreationDate="2012-06-04T19:31:27.733" UserId="3911" Text="cau you please point me to some interesting sound design stuff, to get some inspiration. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23439" PostHistoryTypeId="1" PostId="14203" RevisionGUID="20de283e-6a32-47f6-96a3-35487bc0ec87" CreationDate="2012-06-04T19:31:27.733" UserId="3911" Text="short sound stories/art/sound design pieces (no picture)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23440" PostHistoryTypeId="3" PostId="14203" RevisionGUID="20de283e-6a32-47f6-96a3-35487bc0ec87" CreationDate="2012-06-04T19:31:27.733" UserId="3911" Text="&lt;sound-design&gt;&lt;art&gt;&lt;stories&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23441" PostHistoryTypeId="2" PostId="14204" RevisionGUID="12676a65-8ede-4a14-ac00-40c80b4d9231" CreationDate="2012-06-04T19:36:35.953" UserId="315" Text="Great recommendations above. My only advice, based on my CA desert recording experiences, is to check the flight patterns of major airports and military bases before deciding on locations. You can find several flight traffic maps online. &#xD;&#xA;&#xD;&#xA;I was camping in Joshua Tree once and woke up early in the morning to get some ambiences free of any campers or park traffic; only to find that we were camping in the flight path to the Palm Springs airport. It was a major bummer having to wait between takes for airplane noise to clear out." ContentLicense="CC BY-SA 3.0" />
  <row Id="23446" PostHistoryTypeId="2" PostId="14207" RevisionGUID="a01636fe-3e15-47c7-ae0a-be8268cfada2" CreationDate="2012-06-05T04:34:24.723" UserId="3914" Text="Hi.&#xD;&#xA;I'm a multi-media artist who is passionate about integrating sound art. Self taught sound mixer.&#xD;&#xA;I'm getting more and more into sound art and would like some leads..in terms of what type of courses I could be or should be taking to further my knowledge as far as installation goes. Should I be taking a sound design course or sound engineering course? &#xD;&#xA;I recently had an exhibition which required continual charging of a limited number of mp3 players so that people could experience the work...not the most practicle. Are there any online courses out there?&#xD;&#xA;Much of my work requires headphone use, mobility (being able to walk around with the sound), or lying down. Thanks.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23447" PostHistoryTypeId="1" PostId="14207" RevisionGUID="a01636fe-3e15-47c7-ae0a-be8268cfada2" CreationDate="2012-06-05T04:34:24.723" UserId="3914" Text="Courses for knowledge on Sound and Installation" ContentLicense="CC BY-SA 3.0" />
  <row Id="23448" PostHistoryTypeId="3" PostId="14207" RevisionGUID="a01636fe-3e15-47c7-ae0a-be8268cfada2" CreationDate="2012-06-05T04:34:24.723" UserId="3914" Text="&lt;sound-installations&gt;&lt;art&gt;&lt;artist&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23449" PostHistoryTypeId="2" PostId="14208" RevisionGUID="04e2f078-c396-46e6-9389-f8a7c244bc9d" CreationDate="2012-06-05T06:54:18.057" UserId="238" Text="Hi Erin,&#xD;&#xA;&#xD;&#xA;Welcome to SSD. There are a number of Sonic Art/sound design programmes that may be of interest to you, ranging from undergraduate to PHD level. You just need to do some research online and read the course structures to see if they meet your needs. A course such as this requires significant investment, both financially and in terms of time. You really need to decide yourself whether the course would be worth investing in.&#xD;&#xA;&#xD;&#xA;If you are already exhibiting work you may find it more useful to develop your knowledge not through a traditional educational route but via your own research and practice. Forums such as this one can be an amazing source of useful information. I would also suggest working on your social network. Try to get in touch with other sonic artists. Show an interest in their work and ask questions on how they achieved their installations. Most people are happy to answer an email when someone shows an interest in their work.&#xD;&#xA;&#xD;&#xA;This is a dilemna that many people face. If you have a look on the ***Related*** sidebar, you'll find a number of discussions on this subject. There's no simple answer. You need to research your options and decide on which one will take you in the right direction.&#xD;&#xA;&#xD;&#xA;Good luck! " ContentLicense="CC BY-SA 3.0" />
  <row Id="23450" PostHistoryTypeId="2" PostId="14209" RevisionGUID="d559e6be-70b3-4ace-a98c-46fa66892577" CreationDate="2012-06-05T07:24:07.407" UserId="6462" Text="For booming I would definitely recommend the MKH60 over the MKH70, I think you would struggle to boom with an MKH70 on the end, it is possible but you'll have less manoeuvrability.&#xD;&#xA;&#xD;&#xA;I haven't used the CMIT5 that Armoud mentioned but I've heard good things about it." ContentLicense="CC BY-SA 3.0" />
  <row Id="23451" PostHistoryTypeId="2" PostId="14210" RevisionGUID="5cc760f8-733c-4776-b346-c1af99122adf" CreationDate="2012-06-05T08:05:30.457" UserId="3784" Text="http://www.youtube.com/watch?v=IUDTlvagjJA&#xD;&#xA;&#xD;&#xA;use headphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="23452" PostHistoryTypeId="2" PostId="14211" RevisionGUID="ba1ac42a-566c-48fa-9508-736894bfbbf8" CreationDate="2012-06-05T09:50:37.640" UserId="3915" Text="I recently started doing sound mixes for tv programmes and I can’t seem to get the programme level as loud as the surrounding audio i.e continuity announcer, ads etc.&#xD;&#xA;My settings:  if I take the narrator, I adjust the volume gain until  the narrator  peaks between 4 and 6 PPM (4PPM IS -18DBFS).&#xD;&#xA;I insert the protools audio suite vocal compressor across the dialogue buss with the following settings. ratio 2.5:1/ threshold -14 / gain 4.2 /knee 10db and attack 1.2ms.&#xD;&#xA;I then apply a L2007 mastering limiter across the master mix , max output -10db and threshold -11.5db.&#xD;&#xA;If I reduce the threshold on the limiter the sound seems to get overly squashed. The surrounding audio on the tv channel seems to have a better dynamic range with out a loss in volume.&#xD;&#xA;From these settings would anyone have an idea of what I might do to improve on the volume issue?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23453" PostHistoryTypeId="1" PostId="14211" RevisionGUID="ba1ac42a-566c-48fa-9508-736894bfbbf8" CreationDate="2012-06-05T09:50:37.640" UserId="3915" Text="tv production volume level" ContentLicense="CC BY-SA 3.0" />
  <row Id="23454" PostHistoryTypeId="3" PostId="14211" RevisionGUID="ba1ac42a-566c-48fa-9508-736894bfbbf8" CreationDate="2012-06-05T09:50:37.640" UserId="3915" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23455" PostHistoryTypeId="2" PostId="14212" RevisionGUID="7ee7b5af-22b3-44d0-93c7-9dcbb084b06b" CreationDate="2012-06-05T11:31:25.270" UserId="2" Text="A while back I came across this amazing Mac app that let me search for music by hovering my mouse over clusters of spatially organized files. As you hover, you'd hear snippets of the music (long enough to know what's playing). &#xD;&#xA;&#xD;&#xA;I can't remember what the name is... Anyone know? &#xD;&#xA;&#xD;&#xA;While I'm at it, do you know of any interesting apps that let you explore/search your music/sounds on your computer? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23456" PostHistoryTypeId="1" PostId="14212" RevisionGUID="7ee7b5af-22b3-44d0-93c7-9dcbb084b06b" CreationDate="2012-06-05T11:31:25.270" UserId="2" Text="A desktop app that lets me search for music (in an interesting way)?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23457" PostHistoryTypeId="3" PostId="14212" RevisionGUID="7ee7b5af-22b3-44d0-93c7-9dcbb084b06b" CreationDate="2012-06-05T11:31:25.270" UserId="2" Text="&lt;search&gt;&lt;music&gt;&lt;exploration&gt;&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23458" PostHistoryTypeId="2" PostId="14213" RevisionGUID="b2fd4eae-5316-46d3-ac93-9fe9e4a8c6ed" CreationDate="2012-06-05T12:21:46.317" UserId="407" Text="There is [sound torch][1] it sounds like the same app that you describing but this one runs on windows only. sound torch works nicely but it takes an age to create the database for searching.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundtorch.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23460" PostHistoryTypeId="2" PostId="14215" RevisionGUID="f54dcc59-103a-40ce-83d4-ff430dec3a13" CreationDate="2012-06-05T13:20:28.730" UserId="809" Text="Hey there.&#xD;&#xA;Anyone based in S Africa, or have good recordings from there they'd be willing to trade?&#xD;&#xA;Working on a show based there - could do with some more specific recordings - preferably  crowd bgd street chatter, towns, kids or any rural ambiences specific to S Africa - jo'Berg/Capetown or anywhere really.&#xD;&#xA;&#xD;&#xA;Please let me know, I have UK/London specific recordings i could trade.&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="23461" PostHistoryTypeId="1" PostId="14215" RevisionGUID="f54dcc59-103a-40ce-83d4-ff430dec3a13" CreationDate="2012-06-05T13:20:28.730" UserId="809" Text="South African Sound FX?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23462" PostHistoryTypeId="3" PostId="14215" RevisionGUID="f54dcc59-103a-40ce-83d4-ff430dec3a13" CreationDate="2012-06-05T13:20:28.730" UserId="809" Text="&lt;recording&gt;&lt;sound-effects&gt;&lt;south&gt;&lt;south-africa&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23463" PostHistoryTypeId="2" PostId="14216" RevisionGUID="172b5603-9677-4208-80a7-be26e59ad96f" CreationDate="2012-06-05T15:07:10.833" UserId="243" Text="Why is a pre fade aux used for monitoring and a post fade aux for effects?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23464" PostHistoryTypeId="1" PostId="14216" RevisionGUID="172b5603-9677-4208-80a7-be26e59ad96f" CreationDate="2012-06-05T15:07:10.833" UserId="243" Text="difference between pre and post fade" ContentLicense="CC BY-SA 3.0" />
  <row Id="23465" PostHistoryTypeId="3" PostId="14216" RevisionGUID="172b5603-9677-4208-80a7-be26e59ad96f" CreationDate="2012-06-05T15:07:10.833" UserId="243" Text="&lt;pre&gt;&lt;post-production&gt;&lt;fader&gt;&lt;mixer&gt;&lt;use-of&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23466" PostHistoryTypeId="2" PostId="14217" RevisionGUID="3596a644-7e98-4b4e-8a47-c4a06cf74186" CreationDate="2012-06-05T15:55:08.630" UserId="234" Text="A PRE Fader aux is sent out BEFORE the volume fader (and usually the mute)... so any volume changes made on the fader are not reflected in the send. When monitoring, this means you can have a different mix going to the Monitors then the Mains... for example VO talent might want a guide track in the headphones to help with timing, but you don't want to hear that in the control room because it would make it difficult to asses the quality of the recording. Cue Beeps, and various music feeds would be the same principal - the talent might want to hear more or less of them than the folks in the control room. Another use in Post would be to route a track to more than one location- for example for undipped stems, or for specific processing in a Dialog chain.&#xD;&#xA;&#xD;&#xA;POST fader sends are sent out AFTER the volume fader, so volume changes are reflected in this send. Normally Reverb sends, for example, are set up this way so that as the volume of the sound goes down, so does the Reverb. If you used a Pre Fader send, then as you turned down the track, the reverb level would remain constant, essentially changing your wet/dry mix - this is sometime useful as an effect, but not normally what you would want." ContentLicense="CC BY-SA 3.0" />
  <row Id="23467" PostHistoryTypeId="2" PostId="14218" RevisionGUID="3a54d189-9e85-437a-9c3d-f7bc770bd657" CreationDate="2012-06-05T16:43:15.200" UserId="3243" Text="Each of those microphones have their own purpose.&#xD;&#xA;&#xD;&#xA;The 70 having a narrower pickup pattern and further reach means it's great if you need to reject a lot of sound from the environment and it is also wonderful for wide shots or when you can't get your mic close enough due to camera angles, lighting, etc. I almost always go for the 70 for exteriors because directors and producers always pick the best sounding and quietest locations to shoot in because they care about sound so much. {bitter sarcasm}&#xD;&#xA;&#xD;&#xA;The 60 on the other hand has a wider pickup pattern so it is much friendlier to your boom op. It is also much shorter than the 70 so I would prefer it for interiors. And although both of them are shotguns, the 70 suffers a bit more from the interference-tube-refection-in-interiors-muddiness-effect (I don't know the term for it). So I wouldn't use the 70 for interiors." ContentLicense="CC BY-SA 3.0" />
  <row Id="23468" PostHistoryTypeId="2" PostId="14219" RevisionGUID="b4047d81-8a18-46b5-976f-6a306a9c8d43" CreationDate="2012-06-05T19:36:25.283" UserId="3238" Text="I would agree and think all sounds should definitely go bigger and lower as well.  An air conditioner unit to us normal sized folks would probably seem like a huge wind turbine to mini people.  I think the pitching is certainly a great way to start, but also look at mixing in and manipulating other &quot;relative&quot; sounds, like a pitched down jet engine or windmill or the like.&#xD;&#xA;&#xD;&#xA;Although I don't know how much I'd focus on the room tone as much as some other sound elements that would probably convey the miniaturization much better to an audience.  Particularly if music will be involved.&#xD;&#xA;&#xD;&#xA;Also think about the movement of the plant leaves, which wouldn't sound like a typical plant rustle, but probably a huge canvas sheet or some heavier material.  And the waxy surface of the plant leaves might even be have a heavy plasticy feel at that scale.&#xD;&#xA;&#xD;&#xA;Keep us posted on the final design!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23469" PostHistoryTypeId="2" PostId="14220" RevisionGUID="132c60f6-bb15-46ce-8a80-da344e063515" CreationDate="2012-06-05T20:19:05.573" UserId="3916" Text="I have a client who records at her house and comes into the studio to tweak and mix.  She had some monitors that were far less than serious, not worth mentioning a name.  I recommended she look into some decent monitors. She got entered into a giveaway drawing as a promotion for these monitors and won.  The next time I visited her studio we worked extensively with these monitors and I was awed when she told me they were $300/pr. And these she won!&#xD;&#xA;&#xD;&#xA;I ordered a pair the next day. I'd say that out of all the monitors I've owned over the years (many) these are the best value bar none.  I would expect to pay nearly twice the price for this quality. &#xD;&#xA;&#xD;&#xA;I've been a stickler for good clear full midrange and tight imaging. After using these for the past few months I've learned that I can trust them without much cross-referencing. &#xD;&#xA;&#xD;&#xA;I should get another pair though as I keep taking these out of the studio and into the living room to listen to my favorite movies and shows. My living room is a larger room so I added a small subwoofer and the system delivers a roomful of ear candy. Sterling!&#xD;&#xA;&#xD;&#xA;No reservations!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23470" PostHistoryTypeId="2" PostId="14221" RevisionGUID="7827b2ba-84b0-47da-9f06-9cc242b2ca96" CreationDate="2012-06-05T21:08:50.213" UserId="29" Text="I did a writeup last year on my system and strategy [here][1]; first part describing an overview of hard drives and their usage can be seen [here][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisejockey.net/blog/2011/07/21/the-noise-jockey-data-storage-guide-part-two-my-strategy/&#xD;&#xA;  [2]: http://www.noisejockey.net/blog/2011/07/14/the-noise-jockey-data-storage-guide-part-one-hard-drives/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23471" PostHistoryTypeId="2" PostId="14222" RevisionGUID="22e1cc7e-cefd-4248-86d7-0c4f5956d342" CreationDate="2012-06-06T01:12:33.540" UserId="1303" Text="I'd liked to get input on the Grace Design Spacebar SB-30 for potential use in a compact spaced omni nature recording rig? Is 30cm too close together for a good spaced image? Can you angle the omni's outward? Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23472" PostHistoryTypeId="1" PostId="14222" RevisionGUID="22e1cc7e-cefd-4248-86d7-0c4f5956d342" CreationDate="2012-06-06T01:12:33.540" UserId="1303" Text="Grace Design Spacebar SB-30" ContentLicense="CC BY-SA 3.0" />
  <row Id="23473" PostHistoryTypeId="3" PostId="14222" RevisionGUID="22e1cc7e-cefd-4248-86d7-0c4f5956d342" CreationDate="2012-06-06T01:12:33.540" UserId="1303" Text="&lt;omni&gt;&lt;stereo&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23474" PostHistoryTypeId="2" PostId="14223" RevisionGUID="d31685e5-327e-46ed-854e-5c91343ca84f" CreationDate="2012-06-06T01:45:04.817" UserId="315" Text="I think you'll find 30cm spaced omnis will provide too narrow an image for nature recording. Placing the omnis at an angle will do very little (if anything) to widen the image, since by very nature, omnis aren't directional. The larger 66cm spacebar would work better for this application, but even then, you're probably better off mounting the mics on separate stands for greater control of the stereo width. The only way to work with Omnis in a more compact setup would be to use a Jecklin Disc.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23475" PostHistoryTypeId="2" PostId="14224" RevisionGUID="808591d7-1c04-4504-87e0-797a21264018" CreationDate="2012-06-06T02:49:13.603" UserId="1129" Text="+1 to Sonsey's explanation of Pre and Post-fade sends. &#xD;&#xA;&#xD;&#xA;However, I'd add that you don't ALWAYS send monitor mixes prefade, either.&#xD;&#xA;&#xD;&#xA;I have a large vocal ensemble that I mix regularly, whose monitors sends I almost always send POST-fader.  Why?  Because I want them to hear in their monitors the same mix that the house is hearing, so that they can more accurately adjust and balance between each other.  I also want their monitors to fade up and out with the house mix (for a variety of reasons).&#xD;&#xA;&#xD;&#xA;The key take-away here should be that there are no hard and fast rules.  Learn what your tools do, and then choose the best one available to accomplish the job at hand.  &#xD;&#xA;&#xD;&#xA;If you are clear on what PRE and POST-fader sends do, how they differ, and the relative tradeoffs you have to deal with when using them, you can make an intelligent decision to use either one based on your needs at that specific time." ContentLicense="CC BY-SA 3.0" />
  <row Id="23476" PostHistoryTypeId="2" PostId="14225" RevisionGUID="8071a2e7-1fef-4807-b1e8-31b77a80fa29" CreationDate="2012-06-06T03:05:19.050" UserId="1129" Text="Hi to all you field recordists out there:&#xD;&#xA;&#xD;&#xA;What sort of post-recording processing do you normally do on your recorded material.  Specifically stuff you plan to put into your library and use down-the-road.&#xD;&#xA;&#xD;&#xA;Do you employ minimal processing?  Simply trim, maybe a high-pass filter, and bob's your uncle?  Or do you prefer a little more in-depth EQing, or even some dynamic processing?&#xD;&#xA;&#xD;&#xA;I'd love to know the difference between people's processes out there." ContentLicense="CC BY-SA 3.0" />
  <row Id="23477" PostHistoryTypeId="1" PostId="14225" RevisionGUID="8071a2e7-1fef-4807-b1e8-31b77a80fa29" CreationDate="2012-06-06T03:05:19.050" UserId="1129" Text="Field Recordists: What is your post workflow?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23478" PostHistoryTypeId="3" PostId="14225" RevisionGUID="8071a2e7-1fef-4807-b1e8-31b77a80fa29" CreationDate="2012-06-06T03:05:19.050" UserId="1129" Text="&lt;field-recording&gt;&lt;recording&gt;&lt;processing&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23479" PostHistoryTypeId="2" PostId="14226" RevisionGUID="d4a37ef6-37bc-49d1-9c6c-e77ae672d630" CreationDate="2012-06-06T03:45:48.340" UserId="18" Text="If the recordings need EQ, dynamics, and noise reduction, then I apply it.  I'm not afraid to process my stuff.  I want the sounds in my library mastered and ready to go.  Guns are pretty much the only thing I treat differently, based on the way I work with gun sounds, I prefer the source completely raw." ContentLicense="CC BY-SA 3.0" />
  <row Id="23480" PostHistoryTypeId="2" PostId="14227" RevisionGUID="243b03d9-28a0-4a1a-bcc1-68742ad59e1f" CreationDate="2012-06-06T03:52:13.367" UserId="18" Text="Here the setup in my Mac Pro:&#xD;&#xA;&#xD;&#xA;System Drive (apps and system data).  Backed up to my local NAS using Time Machine.&#xD;&#xA;&#xD;&#xA;Audio Drive (current projects).  Sync'd to the cloud (Sugar Sync)&#xD;&#xA;&#xD;&#xA;Library (2) 2 TB drives (4TB Raid).  Two sets of back ups.  Using (2) 2 TB for each set (not raid).  Both backups kept offsite at separate locations (I can retrieve either backup quickly).  I use an external drive dock and sync data to these drives using Chronosync." ContentLicense="CC BY-SA 3.0" />
  <row Id="23481" PostHistoryTypeId="2" PostId="14228" RevisionGUID="e773eff5-917d-4004-8583-01833cb55c6d" CreationDate="2012-06-06T07:25:39.373" UserId="221" Text="The simple answer is you won't unless you are prepared to squash the life out of your programme. The key issue here is that the PPM is not an indicator of loudness, it is designed to tell you where the peaks are which was crucial in an analog world. However the ads are processed very heavily so that my ad is louder and any other ad and the poor viewer has to dive for the remote. We are slowly moving over from normalising to peak level, which is what we do now, usually PPM 6 in the UK and across to normalising to loudness -23 in the Europe and -24 in the US. Take a look at my Loudness overview post on [Pro Tools Expert][1]&#xD;&#xA;&#xD;&#xA;As to your workflow, I usually put a mild compressor on the dialog buss and allow up to 6dB of gain reduction, but I put a different comp on the narrator  which is more severe. This helps the narrator to sit over music and also has the effect of making the narrator sound more authoritative.&#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pro-tools-expert.com/home-page/2012/5/5/an-overview-on-loudness-in-audio-post-production-and-pro-too.html " ContentLicense="CC BY-SA 3.0" />
  <row Id="23482" PostHistoryTypeId="2" PostId="14229" RevisionGUID="78f38086-d0ef-4e9a-a10a-ca032ec10503" CreationDate="2012-06-06T07:26:40.520" UserId="238" Text="I usually apply minimal processing (fade in, fade out and perhaps a little gain adjustment) as I like to keep the recording as intact as possible. This original file is then stored in my library, then I'll make a copy of the file for the project I'm working on, where further edits will be made. This process ensures I always have a backup of my original recording. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23483" PostHistoryTypeId="5" PostId="14229" RevisionGUID="3f14466b-e0fe-4b50-9174-25abb98e8f10" CreationDate="2012-06-06T07:36:30.170" UserId="238" Comment="edit" Text="I usually apply minimal processing (fade in, fade out and perhaps a little gain adjustment) but no EQ processing, as I like to keep the recording as close to the original as possible. However, if there is an obvious edit needed (eg. removing a short unwanted noise in an ambiance recording) I'll do it to this version. I'll store this file in my library, then I'll make a copy for the project I'm working on, where further edits will be made. This process ensures I always have a backup of my original recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="23484" PostHistoryTypeId="2" PostId="14230" RevisionGUID="52562224-683c-4362-a051-92a35ad2768d" CreationDate="2012-06-06T07:51:24.673" UserId="3159" Text="I ALWAYS keep an original in it's original state. Out of caution or principal? Probably both. More often than not, it's just a straight 'top and tail'. EQ if absolutely necessary and, even then, I'll save that as a copy. This works for me as it suits the way I like to use my recordings." ContentLicense="CC BY-SA 3.0" />
  <row Id="23485" PostHistoryTypeId="2" PostId="14231" RevisionGUID="da384893-ca7b-4726-b480-9a553e97d23f" CreationDate="2012-06-06T10:07:09.777" UserId="1178" Text="I think we store our recordings in dedicated raw, cleaned and post-processed file folders." ContentLicense="CC BY-SA 3.0" />
  <row Id="23486" PostHistoryTypeId="2" PostId="14232" RevisionGUID="c72329c4-8864-48d3-b7be-7972c21f10b2" CreationDate="2012-06-06T10:34:47.290" UserId="3289" Text="I just read that Satellite View of Google Maps is extremely useful when you're searching for unique recording places." ContentLicense="CC BY-SA 3.0" />
  <row Id="23487" PostHistoryTypeId="2" PostId="14233" RevisionGUID="0d96bf3c-17c5-4c83-b662-22205af33d55" CreationDate="2012-06-06T10:45:42.960" UserId="3746" Text="I am interested to know what sort of release times people are using on compressors and limiters to avoid pumping or pulsing on programme material while still maintaining adequate compression levels to keep the volume up ( without sounding unnaturally squashed)." ContentLicense="CC BY-SA 3.0" />
  <row Id="23488" PostHistoryTypeId="2" PostId="14234" RevisionGUID="721bd83a-b205-45e7-bcdb-09ab12a2b382" CreationDate="2012-06-06T11:13:28.870" UserId="3137" Text="Hey man, My name is Nicols Williams. I'm based in South Africa. I have a few recordings but need to make some more soon anyway. So if you could perhaps be a bit more specific with the sounds you need I can make them more accurate ;) my email address is nclswilliams@gmail.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="23489" PostHistoryTypeId="2" PostId="14235" RevisionGUID="d0369c23-9b54-4d14-9cae-eb741cc60e6e" CreationDate="2012-06-06T11:22:27.123" UserId="3137" Text="I would suggest the MKH 60 or the schoeps CMIT5, the mkh 60 is the industry standard for features, and would pick up less reverb indoors than the 70. Although I do hear the the CMIT5 sounds beautiful indoors as well. The 70 would be best if there are a lot of outdoor shots, at greater distance from the talent.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23490" PostHistoryTypeId="2" PostId="14236" RevisionGUID="d5a3b0a5-fe71-4881-a446-481fccd37127" CreationDate="2012-06-06T12:34:41.747" UserId="3137" Text="If you have a DAW you can download a noise reduction plug, like izotope RX and remove the hiss quickly in post before you upload the vids, doesn't take long.But always best to remove noise at the source, when possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="23491" PostHistoryTypeId="2" PostId="14237" RevisionGUID="57d03e65-f620-44f0-8c5b-c66a0b099dbf" CreationDate="2012-06-06T13:32:34.453" UserId="3918" Text="Could some one post a link where one can find an introduction to the sound desing?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23492" PostHistoryTypeId="1" PostId="14237" RevisionGUID="57d03e65-f620-44f0-8c5b-c66a0b099dbf" CreationDate="2012-06-06T13:32:34.453" UserId="3918" Text="Introduction to the sound desing" ContentLicense="CC BY-SA 3.0" />
  <row Id="23493" PostHistoryTypeId="3" PostId="14237" RevisionGUID="57d03e65-f620-44f0-8c5b-c66a0b099dbf" CreationDate="2012-06-06T13:32:34.453" UserId="3918" Text="&lt;recommendations&gt;&lt;education&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23494" PostHistoryTypeId="2" PostId="14238" RevisionGUID="98bc5e72-06ff-4ce0-820e-ddbbd4856955" CreationDate="2012-06-06T14:43:02.463" UserId="310" Text="http://www.soundeffectsbible.com/ Book is excelent choice." ContentLicense="CC BY-SA 3.0" />
  <row Id="23498" PostHistoryTypeId="2" PostId="14240" RevisionGUID="2e7ad1fa-1b5c-455d-bc04-32c3e2373330" CreationDate="2012-06-06T18:20:50.227" UserId="1185" Text="Sound Design by David Sonnenschein is also a good choice: [http://books.google.co.uk/books?id=iGt70tqyWGwC&amp;printsec=frontcover&amp;dq=sound+design&amp;hl=en&amp;sa=X&amp;ei=vZ7PT7-BHOrD0QX-ytHJCw&amp;ved=0CDwQ6AEwAA#v=onepage&amp;q=sound%20design&amp;f=false][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://books.google.co.uk/books?id=iGt70tqyWGwC&amp;printsec=frontcover&amp;dq=sound+design&amp;hl=en&amp;sa=X&amp;ei=vZ7PT7-BHOrD0QX-ytHJCw&amp;ved=0CDwQ6AEwAA#v=onepage&amp;q=sound%20design&amp;f=false" ContentLicense="CC BY-SA 3.0" />
  <row Id="23500" PostHistoryTypeId="2" PostId="14241" RevisionGUID="348a4a5c-f5c0-47e9-a2aa-333e79c7c131" CreationDate="2012-06-06T19:35:15.770" UserId="3835" Text="Does anyone know if it's possible to integrate the question feed from SSD homepage into my Igoogle home page? I was just thinking of making SSD my home page but if the above can be done that would be awesome." ContentLicense="CC BY-SA 3.0" />
  <row Id="23501" PostHistoryTypeId="1" PostId="14241" RevisionGUID="348a4a5c-f5c0-47e9-a2aa-333e79c7c131" CreationDate="2012-06-06T19:35:15.770" UserId="3835" Text="Social Sound Design RSS Feed" ContentLicense="CC BY-SA 3.0" />
  <row Id="23502" PostHistoryTypeId="3" PostId="14241" RevisionGUID="348a4a5c-f5c0-47e9-a2aa-333e79c7c131" CreationDate="2012-06-06T19:35:15.770" UserId="3835" Text="&lt;internet&gt;&lt;ssd&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23503" PostHistoryTypeId="2" PostId="14242" RevisionGUID="bbee22e0-ba06-458a-b9d9-24c00e1649a7" CreationDate="2012-06-06T19:36:18.557" UserId="3919" Text="Just a quick one i'm after a cheap tape recorder which can record faster than normal. Is anyone familiar with a device that can do this ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23504" PostHistoryTypeId="1" PostId="14242" RevisionGUID="bbee22e0-ba06-458a-b9d9-24c00e1649a7" CreationDate="2012-06-06T19:36:18.557" UserId="3919" Text="Hello everyone please help " ContentLicense="CC BY-SA 3.0" />
  <row Id="23505" PostHistoryTypeId="3" PostId="14242" RevisionGUID="bbee22e0-ba06-458a-b9d9-24c00e1649a7" CreationDate="2012-06-06T19:36:18.557" UserId="3919" Text="&lt;tape&gt;&lt;recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23506" PostHistoryTypeId="2" PostId="14243" RevisionGUID="678a8d35-9728-4c19-8439-7ae121e06ca1" CreationDate="2012-06-06T19:43:22.743" UserId="3919" Text="What can you guys suggest for cheap sound insulation? I do a lot of mixing in my room and hope  to be recording some spot FX.My room is small and hard walled. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;All the best &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Daniel " ContentLicense="CC BY-SA 3.0" />
  <row Id="23507" PostHistoryTypeId="1" PostId="14243" RevisionGUID="678a8d35-9728-4c19-8439-7ae121e06ca1" CreationDate="2012-06-06T19:43:22.743" UserId="3919" Text="Sound insulation " ContentLicense="CC BY-SA 3.0" />
  <row Id="23508" PostHistoryTypeId="3" PostId="14243" RevisionGUID="678a8d35-9728-4c19-8439-7ae121e06ca1" CreationDate="2012-06-06T19:43:22.743" UserId="3919" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23509" PostHistoryTypeId="2" PostId="14244" RevisionGUID="4eaf2011-6855-48dc-b3ba-a43bc0b1e6d7" CreationDate="2012-06-06T20:25:06.747" UserDisplayName="user80" Text="Rock wool covered with cloth works well.  But you don't want to just make the room dead or you will find that you mix everything a bit too live to compensate." ContentLicense="CC BY-SA 3.0" />
  <row Id="23510" PostHistoryTypeId="2" PostId="14245" RevisionGUID="f76aa029-b8a7-4b96-aa4b-39d0dae199ef" CreationDate="2012-06-06T20:56:33.867" UserId="3754" Text="Are you trying to deaden the room acoustically, or reduce external sounds from outside?&#xD;&#xA;&#xD;&#xA;In terms of reducing exterior sounds, 2 materials of different density will provide a good start, as the above answer said.&#xD;&#xA;&#xD;&#xA;Also consider the sounds you are recording, and whether you can use dynamic mics which will pick up less room 'sound' and more direct sound. And make sure you record/mix from the right position, to avoid the problems with small boxy rooms and standing waves/bass problems/muddy imaging etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="23511" PostHistoryTypeId="2" PostId="14246" RevisionGUID="5b01def8-2656-40b4-b88e-0b93f6dcfdf4" CreationDate="2012-06-06T21:02:22.667" UserId="3835" Text="What do you mean can record faster than normal? I believe you may mean can playback at a faster rate. I'm not sure of any analogue gear that can do this accurately, although I'm sure there are loads of tape players that will or can be circuit bent. Is it not something you can do digitally?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23512" PostHistoryTypeId="2" PostId="14247" RevisionGUID="945ddd81-2db4-446f-8ea1-3d643f2e31e2" CreationDate="2012-06-06T21:34:47.160" UserId="238" Text="[RSS question feed is here.][1] Otherwise just use the SSD home address and paste this into your RSS reader.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://feeds.feedburner.com/SocialSoundDesign" ContentLicense="CC BY-SA 3.0" />
  <row Id="23513" PostHistoryTypeId="2" PostId="14248" RevisionGUID="dfbc8d41-bf07-4fce-b738-79c1a8822c7e" CreationDate="2012-06-07T09:45:26.093" UserId="3921" Text="Designing sound is a good site with lots of interesting articles and videos:- &#xD;&#xA;&#xD;&#xA;http://designingsound.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23514" PostHistoryTypeId="5" PostId="14238" RevisionGUID="22504d39-ecf7-447e-a8af-9741549db25a" CreationDate="2012-06-07T12:06:16.283" UserId="310" Comment="Fixed typo" Text="http://www.soundeffectsbible.com/ Book is excellent choice." ContentLicense="CC BY-SA 3.0" />
  <row Id="23516" PostHistoryTypeId="2" PostId="14250" RevisionGUID="91fd3a34-7507-4f24-831e-c7a3d4e95cbc" CreationDate="2012-06-07T14:19:51.713" UserId="3835" Text="Maybe there are some phases tricks going on. that could explain the frequencies notches? Regardless, seems like a gimmick to me. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23517" PostHistoryTypeId="2" PostId="14251" RevisionGUID="17b0dd15-1132-48e8-9e2c-1abab1c72d06" CreationDate="2012-06-07T16:12:05.140" UserId="3238" Text="As far as treating the room for interior acoustics/reflections, I also second fabric wrapped mineral wool.  Just did this for my own bedroom studio, used this product from Lowes:&#xD;&#xA;&#xD;&#xA;http://www.lowes.com/pd_89017-1278-RXSS323_4294769460_4294937087_?productId=3285120&amp;&#xD;&#xA;&#xD;&#xA;The eight 2'x4' batts go a long way.  They are thicker than the traditional 1&quot; or 2&quot; thick fiberglass traditionally used in acoustic wall panels (which you can also get in panels from your local insulation supplier), but a quick frame made from 4-inch 3/8&quot; thick craftboard (pine), fabric to wrap it, and a staple gun, makes for some nice lightweight panels.  It's really easy to cut with a serrated bread knife.  You could use masonite on the back of the panels for a complete finish, but I opted for 1/16&quot; thick cardboard/illustration board (kind of like matte board) instead for less weight.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Another option away from fiberglass these days is the recycled bluejean insulation material.  This stuff is so touch friendly that you don't even need to wrap it if you don't want:&#xD;&#xA;&#xD;&#xA;http://www.homedepot.com/Building-Materials-Insulation-Fiberglass-Free/h_d1/N-5yc1vZbvev/R-202710055/h_d2/ProductDisplay?catalogId=10053&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://photos-1.dropbox.com/i/l/IE215OD2vew2AUjNwLGAMAYdfsIOukPIBqbPJYwA20U/18465724/1339174800/5e9a2e0/DIYAcousticPanels.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="23518" PostHistoryTypeId="5" PostId="14251" RevisionGUID="5e8acd35-970b-4bbc-ad15-ce03ebc2ad28" CreationDate="2012-06-07T16:22:13.960" UserId="3238" Comment="added 9 characters in body" Text="As far as treating the room for interior acoustics/reflections, I also second fabric wrapped mineral wool.  Just did this for my own bedroom studio, used this product from Lowes:&#xD;&#xA;&#xD;&#xA;http://www.lowes.com/pd_89017-1278-RXSS323_4294769460_4294937087_?productId=3285120&amp;&#xD;&#xA;&#xD;&#xA;The eight 2'x4' batts go a long way.  They are thicker than the traditional 1&quot; or 2&quot; thick fiberglass traditionally used in acoustic wall panels (which you can also get in panels from your local insulation supplier), but a quick frame made from 4-by (3.5 inch) 3/8&quot; thick craftboard (pine), fabric to wrap it, and a staple gun, makes for some nice lightweight panels.  It's really easy to cut with a serrated bread knife.  You could use masonite on the back of the panels for a complete finish, but I opted for 1/16&quot; thick cardboard/illustration board (kind of like matte board) instead for less weight.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Another option away from fiberglass these days is the recycled bluejean insulation material.  This stuff is so touch friendly that you don't even need to wrap it if you don't want:&#xD;&#xA;&#xD;&#xA;http://www.homedepot.com/Building-Materials-Insulation-Fiberglass-Free/h_d1/N-5yc1vZbvev/R-202710055/h_d2/ProductDisplay?catalogId=10053&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://photos-1.dropbox.com/i/l/IE215OD2vew2AUjNwLGAMAYdfsIOukPIBqbPJYwA20U/18465724/1339174800/5e9a2e0/DIYAcousticPanels.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="23522" PostHistoryTypeId="2" PostId="14253" RevisionGUID="f74839ed-ce9a-42db-9a8c-ea07711840d2" CreationDate="2012-06-07T19:15:04.903" UserId="208" Text="Hi all&#xD;&#xA;&#xD;&#xA;Going to record alot of small metallic stuff in the coming weeks, and thought about which mic would fit the job best.&#xD;&#xA;These are all small metal buttons, metal switches,  metal clings/clangs.&#xD;&#xA;&#xD;&#xA;Would a ribbon mic (which I havent got) do this nicely, or should I choose another kind of mic?&#xD;&#xA;&#xD;&#xA;Thanks alot.&#xD;&#xA;&#xD;&#xA;Best wishes&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Mikkel&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23523" PostHistoryTypeId="1" PostId="14253" RevisionGUID="f74839ed-ce9a-42db-9a8c-ea07711840d2" CreationDate="2012-06-07T19:15:04.903" UserId="208" Text="Which Mic to use for recording small metallic buttons etc ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23524" PostHistoryTypeId="3" PostId="14253" RevisionGUID="f74839ed-ce9a-42db-9a8c-ea07711840d2" CreationDate="2012-06-07T19:15:04.903" UserId="208" Text="&lt;metal&gt;&lt;microphone&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23525" PostHistoryTypeId="2" PostId="14254" RevisionGUID="609f436f-866f-4c33-ade1-99ac03d0a222" CreationDate="2012-06-07T20:34:48.647" UserId="37" Text="have you been through this? &#xD;&#xA;&#xD;&#xA;http://www.hometracked.com/2007/08/02/transient-reponse-and-microphone-selection/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23526" PostHistoryTypeId="2" PostId="14255" RevisionGUID="e0c9f907-ecf0-42d7-82a0-6b30863990ab" CreationDate="2012-06-07T21:00:09.390" UserId="1228" Text="As I side note (quasi-related), if it's of any help, I've found that having some distance between the mic and the source for things like buttons and switches help - it seems that the proximity effect causes it to sound unnatural and hard to 'undo' in Post, but even so much as 1-2 feet of added distance helps it have a natural sound by letting the sounds it generates to 'breathe' within the air.&#xD;&#xA;&#xD;&#xA;So on that note, probably a large diaphragm condenser is what you want rather than a shotgun-type mic so that you maintain optimum S/N wile still allowing you some leverage on mic placement/distance.  They tend to have a much lower self noisefloor and I've captured some great small sounds with one before (like Blackberry keys), and I was able to boost the recording quite a bit in post to master it hot and there was still virtually no detectable noisefloor.  Granted, this also matters what type of preamp you're running the mic into as well - in this case it was an mBox2.  Not the best preamp out there, but miles beyond my Zoom H4n in my opinion.&#xD;&#xA;&#xD;&#xA;This is only my personal experience though, not a definitive answer - and there's likely many valid solutions too.  I've just personally had good luck recording 'small things' using large-diaphragm condensers - things like the C414, U87, NT1A, et al.  There's an Octava large diapgrahm too which is quite good from my recollection of using it, I just can't recall which it was, it had a round tubish shape like the C4000." ContentLicense="CC BY-SA 3.0" />
  <row Id="23527" PostHistoryTypeId="2" PostId="14256" RevisionGUID="4df7b5fd-b03c-4de6-8d90-8222f7cdc99d" CreationDate="2012-06-07T21:25:32.577" UserId="18" Text="A ribbon is going to give you a &quot;warmer&quot; more &quot;smeared&quot; sound on metal stuff than a condenser will usually give you.  If that's what you're going for, then give it a shot.&#xD;&#xA;&#xD;&#xA;I tend to prefer &quot;faster&quot; mics that work well on transient material when I'm recording metal.  My Sennheiser mkh800's are my favorite metal mics.  I have recorded gun foley, which is very metallic, with a mix of an AEA ribbon and the MKH800.  The ribbon gave a nice &quot;warm&quot; color with mixed will with the &quot;sharp&quot; mkh800, the mix of the 2 mics gave a nice fat sound.&#xD;&#xA;&#xD;&#xA;It's all preference really, a ribbon should work, it just depends what type of sound you are looking for." ContentLicense="CC BY-SA 3.0" />
  <row Id="23528" PostHistoryTypeId="2" PostId="14257" RevisionGUID="c987ce30-4c5f-4f9f-a9d6-bae0c249f7d7" CreationDate="2012-06-07T23:08:55.130" UserId="3754" Text="get a nice schoeps for the body of the sound, and make yourself up a piezo from maplin as a contact for the real close sounds. Should balance quite nicely :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23529" PostHistoryTypeId="2" PostId="14258" RevisionGUID="a75e8584-71aa-4c59-a7ef-d6e4dd134db0" CreationDate="2012-06-08T04:53:43.713" UserId="3922" Text="I found a 12 pack of Rock Wool on crags list for 100.00 US yesterday.... The room sound is probably reflecting from the walls.... I would suggest hanging blankets on the walls rather than covering the floor... A big Sofa or Chair in the room will help with Bass reflection... But you need to cover the walls to reduce reflections in the higher frequency.... " ContentLicense="CC BY-SA 3.0" />
  <row Id="23530" PostHistoryTypeId="2" PostId="14259" RevisionGUID="177b6692-5fd7-4ec4-a06f-042ef941d7d1" CreationDate="2012-06-08T06:51:12.937" UserId="7642" Text="Using a 416 for foley often works well in a treated foley studio, but is not a good choice in other interior situations. The coloration from the tube and the remaining rear lobe pickup sounds awful. &#xD;&#xA;I'd suggest using another low noise mic, not a shotgun.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23531" PostHistoryTypeId="2" PostId="14260" RevisionGUID="07949b4d-e655-402d-a225-37e3b8f7a03c" CreationDate="2012-06-08T07:35:42.610" UserId="208" Text="Thanks to all of you. Great reading and thinking ahead:)&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="23532" PostHistoryTypeId="2" PostId="14261" RevisionGUID="e56477ba-8e7d-4888-987b-74f31bf87fdd" CreationDate="2012-06-08T10:23:29.460" UserDisplayName="user80" Text="Lav mic mounted in sun visor, PZM/PCC mounted on windscreen.  Subtract out of phase output from PZM/PCC from lav (direct sound) to partially phase cancel indirect sound within car.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="23533" PostHistoryTypeId="2" PostId="14262" RevisionGUID="6c1364f8-f230-439e-ba63-f67790500ba3" CreationDate="2012-06-08T11:52:30.077" UserId="842" Text="For these things a ribbon would, quite frankly, be my last choice. Don't get me wrong, ribbons have a very musical and soft sound excellent for many instruments and voices, but they sound nothing like natural, and in sound for movies and games the illusion of naturality is very important to keep the viewers in the story. And they're also extremely fragile.&#xD;&#xA;&#xD;&#xA;For these things I almost always use Sennheiser MKH40's, DPA 4011's, a Shure SM-57, or Sennheiser MKH 416.&#xD;&#xA;The sound of a button is often very harsh and with the spring inside way to loud if mike'd too close, as well as we are used to hear these kind of sounds with quite some room, so I recommend recording it right before the border of the proxi-effect for an as natural sound as possible. To be frank, though I do agree with previous speakers about the proxi in these kind of sounds being annoying, it's more to make sure the sound isn't too wide :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23535" PostHistoryTypeId="2" PostId="14264" RevisionGUID="4abb0ae4-716f-4d95-86c4-038fe4c98912" CreationDate="2012-06-08T12:00:42.817" UserId="842" Text="I actually prefer the MKH 416! It's older, have a higher noise-floor, very colored sides and rear lobe, and are much harder to work with, but in my opinion sounds absolutely great for outdoor use! It was originally made in time time where recording technology had a pretty hard time with the highs, so it will need a trimming in the treble in post, but in my opinion the shape of the rest of the sound makes it all worth it :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23536" PostHistoryTypeId="2" PostId="14265" RevisionGUID="33aba214-8428-4453-9cb2-fa35ec5bb966" CreationDate="2012-06-08T13:41:27.037" UserId="3093" Text="if you are using Safarie, the RSS icon will appear in the search bar (where you type the web adresses), just click it :o ! haha I actually read your question from my google reader ;)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23537" PostHistoryTypeId="2" PostId="14266" RevisionGUID="aadd2326-654c-4375-9d83-dbca868ce337" CreationDate="2012-06-08T14:15:03.933" UserId="3926" Text="Hello all! As the title says, I am an up and coming sound designer. A composer by trade, I know that sound effects design is a beast all it's own, and I have been ... side-railed, in a couple of projects, to compose as well as sound design. All I have to use as far as a DAW and microphone is a:&#xD;&#xA;&#xD;&#xA;[Blue Yeti Microphone][1]&#xD;&#xA;[1]: http://www.bhphotovideo.com/bnh/controller/home?sku=857749&amp;Q=&amp;O=&amp;is=REG&amp;A=details&#xD;&#xA;&#xD;&#xA;and Fruity Loops 10.&#xD;&#xA;&#xD;&#xA;Aside from my near clueless knowledge of where to start to begin finding useable sounds to put into a game (I was bent on studying various sounds and figuring out what they are comprised of and going from there), do I have a chance of producing something of even intermediate quality with what I have in my &quot;arsenal&quot;? " ContentLicense="CC BY-SA 3.0" />
  <row Id="23538" PostHistoryTypeId="1" PostId="14266" RevisionGUID="aadd2326-654c-4375-9d83-dbca868ce337" CreationDate="2012-06-08T14:15:03.933" UserId="3926" Text="Novice Sound Designer Needs Help" ContentLicense="CC BY-SA 3.0" />
  <row Id="23539" PostHistoryTypeId="3" PostId="14266" RevisionGUID="aadd2326-654c-4375-9d83-dbca868ce337" CreationDate="2012-06-08T14:15:03.933" UserId="3926" Text="&lt;beginner&gt;&lt;design&gt;&lt;daw&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23540" PostHistoryTypeId="2" PostId="14267" RevisionGUID="8bcaa399-f4e0-4123-8938-46ad79c7ca9a" CreationDate="2012-06-08T14:43:16.100" UserId="6432" Text="Sound design is not something you can learn overnight, and it's far more than just sourcing sound recordings. Perhaps you should work with a sound designer on these projects and ask them to let you in on a bit of the process so you can learn in small steps.&#xD;&#xA;&#xD;&#xA;You might even find someone to help here...." ContentLicense="CC BY-SA 3.0" />
  <row Id="23541" PostHistoryTypeId="2" PostId="14268" RevisionGUID="f1178745-e083-46be-a5f6-e1a983f76f3d" CreationDate="2012-06-08T17:45:17.537" UserId="234" Text="To answer your last question... &quot; do I have a chance of producing something of even intermediate quality with what I have in my &quot;arsenal&quot;?&quot;, the answer is yes...Sound Design really only requires three things... two ears and a brain, and I'm going to assume that the fact that you are here and asking these questions puts you in possession of all three! :)&#xD;&#xA;&#xD;&#xA;Simply put, sound design is NOT having a thousand plug ins, and every mic known to man, it's a mindset, and a CRAFT. Tools can make the craft easier, but they are NOT the craft themselves. As I often remind my interns, students, etc Sound Design for Film existed long before Ben Burt et al brought it to public attention - the squeaky fan belt that was recorded to make the scream of the giant Ants in &quot;Them&quot; is one of my favourite examples. All that the earliest sound designers (dating back to radio and even theatre) had were their minds, hands and ears, and a willingness to put them to use. &#xD;&#xA;&#xD;&#xA;So to follow up on Mark's answer, ask/lurk around here (do try and be a little more specific than &quot;how do I design sound?&quot;), check out resources  like designingsound.org, and filmsound.org, read everything you can get your hands on - I will recommend Yewdalls &quot;The Practical Art of Motion Picture Sound&quot; to start - a quick search here will yield a years worth of good material at least. Check out the extra features on DVD's and BluRay's and open your mind. While it's not learned overnight, like all crafts it CAN be learned through persistance and dedication. One thing that we DO have that those designers of old didn't is the wealth of easily available knowledge.&#xD;&#xA;&#xD;&#xA;And above all else, have fun! Good Luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="23542" PostHistoryTypeId="2" PostId="14269" RevisionGUID="5aac1981-5c86-438c-90e8-43c4e832ffbd" CreationDate="2012-06-08T20:51:33.333" UserId="3179" Text="Sound design by itself is not different from composing music, it just works on a different level and operates on a different set of processes, rules and theory. Generally it may also focus on different types of sounds (&quot;musical sounds&quot; vs. basically any type of sound that fits for the purpose). But in a musical context or as well in a media context those two are interchangeable, i.e. there's not just (or at least I think there shouldn't be) &quot;music composition&quot; or &quot;sound design&quot;, but rather just an entity, which comprises of elements of both and involves both ways of thinking. Sound is music and music is sound, IMO.&#xD;&#xA;&#xD;&#xA;Because the two are interchangeable, the term &quot;sound design&quot; also means very different things depending on in which context you're viewing it. It might be sound design of a single sound element or sound design in the context of the entire soundtrack. And sound design is practiced on all levels. You might work on sound design of a single sound or you might work on an entire piece of sound design (which involves dialogue/music/SFX).&#xD;&#xA;&#xD;&#xA;Basically you don't need some &quot;special tools&quot; begin with, because sound design technically is just editing, processing (when needed), mixing and placing sounds on a timeline (in linear media). The tools are just sound shapers and the majority of sounds start from recorded sources, either self-recorded or sourced from sound libraries, rather than coming out of a plug-in.&#xD;&#xA;&#xD;&#xA;I suggest reading a book or two about the aesthetics of &quot;sound design&quot; (in the context of an entire soundtrack) to get a better idea of how it works in a visual context (e.g. films) and what's its purpose. Or rolling to a course or trying to get someone to mentor you about the topic (forums are pretty good for this). Then practicing on creating sound overlays for videos/games/something or actual projects and maybe trying out different approaches to see how they affect how the visuals and/or story are perceived. Then it's pretty much learning by doing basically.&#xD;&#xA;&#xD;&#xA;Finding/creating specific or suitable sounds can be difficult sometimes, but there's nothing magical in the process itself (apart from maybe highly &quot;inventive&quot; sounds or inventive usage of sound). Offline or online sound libraries, preferably a recording setup to record things that you cannot or don't want to get from libraries, a DAW/audio editor with some plug-ins (FL Studio has a brilliant stock plug-in set) and a vision about what you need to create and off you'll go." ContentLicense="CC BY-SA 3.0" />
  <row Id="23543" PostHistoryTypeId="5" PostId="14269" RevisionGUID="f3e7f03a-cc90-4eb1-bca5-a9d23ee8b68c" CreationDate="2012-06-08T20:59:56.093" UserId="3179" Comment="added 167 characters in body; deleted 13 characters in body; added 33 characters in body" Text="Sound design by itself is not different from composing music, it just works on a different level and operates on a different set of processes, rules and theory. Generally it may also focus on different types of sounds (&quot;musical sounds&quot; vs. basically any type of sound that fits for the purpose). But in a musical context or as well in a media context those two are interchangeable, i.e. there's not just (or at least I think there shouldn't be) &quot;music composition&quot; or &quot;sound design&quot;, but rather just an entity, which comprises of elements of both and involves both ways of thinking. Sound is music and music is sound, IMO.&#xD;&#xA;&#xD;&#xA;Because the two are interchangeable, the term &quot;sound design&quot; also means very different things depending on in which context you're viewing it. It might be sound design of a single sound element or sound design in the context of the entire soundtrack. And sound design is practiced on all levels. You might work on sound design of a single sound or you might work on an entire piece of sound design (which involves dialogue/music/SFX).&#xD;&#xA;&#xD;&#xA;Basically you don't need some &quot;special tools&quot; begin with, because sound design technically is just editing, processing (when needed), mixing and placing sounds on a timeline (in linear media). The tools are just sound shapers and the majority of sounds start from recorded sources, either self-recorded or sourced from sound libraries, rather than coming out of a plug-in.&#xD;&#xA;&#xD;&#xA;I suggest reading a book or two about the aesthetics of &quot;sound design&quot; (in the context of an entire soundtrack, e.g. &quot;Sound Design&quot; by D. Sonnenschein [regarding film sound], &quot;From the Shadows of Film Sound&quot; by R. Bridgett [regarding games from the perspective of film sound] or maybe M. Chion's &quot;Audio-Vision&quot;) to get a better idea of how it works in a visual context and what's its purpose. Or rolling to a course or trying to get someone to mentor you about the topic (forums are pretty good for this). Then practicing on creating sound overlays for videos/games/something or actual projects and maybe trying out different approaches to see how they affect how the visuals and/or story are perceived. Then it's pretty much learning by doing basically.&#xD;&#xA;&#xD;&#xA;Finding/creating specific or suitable sounds can be difficult sometimes, but there's nothing magical in the process itself (apart from maybe highly &quot;inventive&quot; sounds or inventive usage of sound). Offline or online sound libraries, preferably a recording setup to record things that you cannot or don't want to get from libraries, a DAW/audio editor with some plug-ins (FL Studio has a brilliant stock plug-in set) and a vision about what you need to create and off you'll go." ContentLicense="CC BY-SA 3.0" />
  <row Id="23544" PostHistoryTypeId="5" PostId="14269" RevisionGUID="457f48e9-18cd-41ca-b0f9-f3637dee8691" CreationDate="2012-06-08T21:06:18.437" UserId="3179" Comment="added 3 characters in body; added 4 characters in body" Text="Sound design by itself is not different from composing music, it just works on a different level and operates on a different set of processes, rules and theory. Generally it may also focus on different types of sounds (&quot;musical sounds&quot; vs. basically any type of sound that fits for the purpose). But in a musical context or as well in a media context those two are interchangeable, i.e. there's not just (or at least I think there shouldn't be) &quot;music composition&quot; or &quot;sound design&quot;, but rather just an entity, which comprises of elements of both and involves both ways of thinking. Sound is music and music is sound, IMO.&#xD;&#xA;&#xD;&#xA;Because the two are interchangeable, the term &quot;sound design&quot; also means very different things depending on in which context you're viewing it. It might be sound design of a single sound element or sound design in the context of the entire soundtrack. And sound design is practiced on all levels. You might work on sound design of a single sound or you might work on an entire piece of sound design (which involves dialogue/music/SFX).&#xD;&#xA;&#xD;&#xA;Basically you don't need some &quot;special tools&quot; to begin with, because sound design technically is just editing, processing (when needed), mixing and placing sounds on a timeline (in linear media). The tools are just sound shapers and the majority of sounds start from recorded sources, either self-recorded or sourced from sound libraries, rather than coming out of a plug-in.&#xD;&#xA;&#xD;&#xA;I suggest reading a book or two about the aesthetics of &quot;sound design&quot; (in the context of an entire soundtrack, e.g. &quot;Sound Design&quot; by D. Sonnenschein [regarding film sound], &quot;From the Shadows of Film Sound&quot; by R. Bridgett [regarding games from the perspective of film sound] or maybe M. Chion's &quot;Audio-Vision&quot;) to get a better idea of how it works in a visual context and what's its purpose. Or rolling to a course or trying to get someone to mentor you regarding the topic (forums are pretty good for this). Then practicing on creating sound overlays for videos/games/something or actual projects and maybe trying out different approaches to see how they affect how the visuals and/or story are perceived. Then it's pretty much learning by doing basically.&#xD;&#xA;&#xD;&#xA;Finding/creating specific or suitable sounds can be difficult sometimes, but there's nothing magical in the process itself (apart from maybe highly &quot;inventive&quot; sounds or inventive usage of sound). Offline or online sound libraries, preferably a recording setup to record things that you cannot or don't want to get from libraries, a DAW/audio editor with some plug-ins (FL Studio has a brilliant stock plug-in set) and a vision about what you need to create and off you'll go." ContentLicense="CC BY-SA 3.0" />
  <row Id="23545" PostHistoryTypeId="2" PostId="14270" RevisionGUID="61a7b865-5c9c-4418-9488-cc1be8fc8995" CreationDate="2012-06-08T21:32:12.877" UserId="3927" Text="Hi everyone &#xD;&#xA;Just use a iPad! It's good for a lot of things and there is no noise you can flip page to page without any noise what so ever.It has so many applications and you can buy a holding stand for it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23546" PostHistoryTypeId="5" PostId="14269" RevisionGUID="25720271-85ec-4728-966a-8c730518b3db" CreationDate="2012-06-08T21:52:22.233" UserId="3179" Comment="added 2 characters in body" Text="Sound design by itself is not different from composing music, it just works on a different level and operates on a different set of processes, rules and theory. Generally it may also focus on different types of sounds (&quot;musical sounds&quot; vs. basically any type of sound that fits for the purpose). But in a musical context or as well in a media context those two are interchangeable, i.e. there's not just (or at least I think there shouldn't be) &quot;music composition&quot; or &quot;sound design&quot;, but rather just an entity, which comprises of elements of both and involves both ways of thinking. Sound is music and music is sound, IMO.&#xD;&#xA;&#xD;&#xA;Because the two are interchangeable, the term &quot;sound design&quot; also means very different things depending on in which context you're viewing it. It might be sound design of a single sound element or sound design in the context of the entire soundtrack. And sound design is practiced on all levels. You might work on sound design of a single sound or you might work on an entire piece of sound design (which involves dialogue/music/SFX).&#xD;&#xA;&#xD;&#xA;Basically you don't need some &quot;special tools&quot; to begin with, because sound design technically is just editing, processing (when needed), mixing and placing sounds on a timeline (in linear media). The tools are just sound shapers and the majority of sounds start from recorded sources, either self-recorded or sourced from sound libraries, rather than coming out of a plug-in.&#xD;&#xA;&#xD;&#xA;I suggest reading a book or two about the aesthetics of &quot;sound design&quot; (in the context of an entire soundtrack, e.g. &quot;Sound Design&quot; by D. Sonnenschein [regarding film sound], &quot;From the Shadows of Film Sound&quot; by R. Bridgett [regarding games from the perspective of film sound] or maybe M. Chion's &quot;Audio-Vision&quot;) to get a better idea of how it works in a visual context and what's its purpose. Or enrolling in a course or trying to get someone to mentor you regarding the topic (forums are pretty good for this). Then practicing on creating sound overlays for videos/games/something or actual projects and maybe trying out different approaches to see how they affect how the visuals and/or story are perceived. Then it's pretty much learning by doing basically.&#xD;&#xA;&#xD;&#xA;Finding/creating specific or suitable sounds can be difficult sometimes, but there's nothing magical in the process itself (apart from maybe highly &quot;inventive&quot; sounds or inventive usage of sound). Offline or online sound libraries, preferably a recording setup to record things that you cannot or don't want to get from libraries, a DAW/audio editor with some plug-ins (FL Studio has a brilliant stock plug-in set) and a vision about what you need to create and off you'll go." ContentLicense="CC BY-SA 3.0" />
  <row Id="23547" PostHistoryTypeId="2" PostId="14271" RevisionGUID="667cd613-9881-4946-b4ff-c68dedad5c3c" CreationDate="2012-06-08T23:00:51.977" UserId="3746" Text="LDC's are generally more flattering rather than flat. I would prefer to use a small diaphram condensor rather than an LDC for this as they generally tend to have a flatter response. SDC's I have used for this sort of thing include Oktava MK-012, AKG C451EB with CK1 or CK8 capsules, Shure sm81, Rode NT3. All of them have worked fine with perhaps the sm81 being the most neutral sounding of them.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23548" PostHistoryTypeId="2" PostId="14272" RevisionGUID="cf9934d5-08dd-427c-8dea-7c69ff98876e" CreationDate="2012-06-09T05:17:44.697" UserId="6524" Text="People say this a lot but listen (analyse) to the different mediums where sound design is used. I'm no expert but when I'm listening I ask myself why that sound is used as pretty much everything you hear was a conscious choice, I always try to keep that in mind. Also many sounds sound alike, think about what you think it sounds like and how you would create it not only to kind of deconstruct the elements used to create it but you can also get behind the emotion it's trying to convey to tell the story which is the main goal of sound design. Find the overused/cliche tricks used and take advantage of them but in a way that it seems new and not forced, take camera angles for example they say when you look at a character from a low angle their supposed to be weaker and smaller but when seen in a high angle they are more dominant and stronger than the other, what would be the sonic equivalent to that? How can you make a listener distinguish the difference between a good guy and bad guy?.&#xD;&#xA;&#xD;&#xA;A lot of thought is put into a good &quot;designed&quot; soundtrack, when I was starting out like most people I thought it's just about creating cool sounds and plugins used to process them until I did my research. Hope this is helpful, good luck.    " ContentLicense="CC BY-SA 3.0" />
  <row Id="23550" PostHistoryTypeId="2" PostId="14274" RevisionGUID="8e47fd3b-c0c3-4f15-aa66-4e9343480420" CreationDate="2012-06-09T12:29:13.717" UserId="3418" Text="Hello there,&#xD;&#xA;&#xD;&#xA;I am going to shoot a movie next week that few of the scene is someone riding a skateboard, there are too many options in my head how to approach this and I would really appreciate any advice.&#xD;&#xA;&#xD;&#xA;I know that a lot can be done in the post-production stage but I’d really like to capture as much as possible on location to be able to use it in the post stage.&#xD;&#xA;&#xD;&#xA;I will have for the shoot a Sennheiser MKH416, I will use it to follow the movement of the rider, I also want to rent a stereo microphone to capture the ambience of the location and maybe use it instead of the Sennheiser MKH416.&#xD;&#xA;&#xD;&#xA;I am able to rent any of the following:&#xD;&#xA;&#xD;&#xA;1.	Sennheiser MKH418 (Stereo shotgun)&#xD;&#xA;2.	Sanken CSS5 (Stereo shotgun)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any advice on how to approach this recording and which of the microphone I should rent would be much appreciated.&#xD;&#xA;&#xD;&#xA;Thank,&#xD;&#xA;&#xD;&#xA;Itamar&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23551" PostHistoryTypeId="1" PostId="14274" RevisionGUID="8e47fd3b-c0c3-4f15-aa66-4e9343480420" CreationDate="2012-06-09T12:29:13.717" UserId="3418" Text="Location recording of skateboard" ContentLicense="CC BY-SA 3.0" />
  <row Id="23552" PostHistoryTypeId="3" PostId="14274" RevisionGUID="8e47fd3b-c0c3-4f15-aa66-4e9343480420" CreationDate="2012-06-09T12:29:13.717" UserId="3418" Text="&lt;location&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23553" PostHistoryTypeId="2" PostId="14275" RevisionGUID="a97fff4f-aa66-473b-9fab-b4a4e2a679a6" CreationDate="2012-06-09T17:30:12.907" UserId="3903" Text="Well thanx a lot to everyone for helping me out ..&#xD;&#xA;&#xD;&#xA;After reading all the answers i have come to the conclusion on the boom mics that i will be working with &#xD;&#xA;1) 418 s for stereo ambiences  &#xD;&#xA;2) mkh 60 as my main boom. &#xD;&#xA;&#xD;&#xA;Now one more doubt in my head is-&#xD;&#xA;&#xD;&#xA;I have heard tat i can use the mkh 60 30 as a stero mic also , is tat right &#xD;&#xA;&#xD;&#xA;Also can i just use the 60 part of the mic for mono sounds like dialog ??? &#xD;&#xA;&#xD;&#xA;Oh and yes i have worked with the cmit5 also , one of most favourite mics for indoor scenes , but i seems a bit out Of budget for this production. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23554" PostHistoryTypeId="2" PostId="14276" RevisionGUID="6f4fc160-44c7-4bfd-9c12-fda35f9c9913" CreationDate="2012-06-09T19:17:39.777" UserId="3754" Text="no one answered, but I think use a dynamic first. Your skateboarder is gonna want a few practise runs, so go with them when cameras not running and record up close with a 57. This will catch the loud grindy sounds up close.&#xD;&#xA;&#xD;&#xA;Then you can do the boom recording with your rifle probably the senny, you'll catch a more delicate sound. And then you can composite a decent sound together, and be able to balance a wider neutral sound with some more intense grindy up close sound.&#xD;&#xA;&#xD;&#xA;That's just me though :)&#xD;&#xA;&#xD;&#xA;I guess it's just..the skateboard up close will kick up lots of sound. A condenser will just be very noisey, almost white noisey. I reckon dynamic for some edge, and your rifle for a more natural perspective." ContentLicense="CC BY-SA 3.0" />
  <row Id="23555" PostHistoryTypeId="2" PostId="14277" RevisionGUID="0014871c-b916-4231-8e58-3bd045ebc952" CreationDate="2012-06-09T21:34:56.623" UserId="238" Text="You might want to have a look at [this article][1] about Chuck Russom's recording sessions for his Skateboard HD library. It may also be worth getting in touch with Chuck to find out a bit more from the man himself. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/07/fireworks-and-skateboard-two-new-sfx-libraries-of-chuck-russom-fx-with-exclusive-qa/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23556" PostHistoryTypeId="2" PostId="14278" RevisionGUID="ccf853ec-9ccc-4958-b475-f66eba06f755" CreationDate="2012-06-10T07:56:34.443" UserDisplayName="user80" Text="Get the skateboarder to wear a wireless omni-directional lav in their trousers just above the ankle.  You will pick up some great sounds, and all of them will be in sync." ContentLicense="CC BY-SA 3.0" />
  <row Id="23557" PostHistoryTypeId="2" PostId="14279" RevisionGUID="641ed410-7b0c-4353-b4d5-766de8376731" CreationDate="2012-06-10T10:45:54.607" UserId="3931" Text="My Zoom H4n has also developed a rattle, but it appears to be coming from the cover to one of the mics which is ever-so-slightly loose. My fix has been to wedge a small rolled-up piece of gaffer tape between the two mics (where they cross over) with just enough pressure to hold the cover in place. It appears to work quite well." ContentLicense="CC BY-SA 3.0" />
  <row Id="23558" PostHistoryTypeId="2" PostId="14280" RevisionGUID="50b2e4fc-235d-4d85-b113-4bd11d6e6c97" CreationDate="2012-06-10T13:26:53.693" UserId="6432" Text="Hi Itamar,&#xD;&#xA;&#xD;&#xA;I don't think you need to over complicate this, but there are a few questions you need to ask yourself. &#xD;&#xA;&#xD;&#xA;- Which recorder are you using? How many tracks does it record? Ideally you will use both mics, but you need a 4-track recorder.&#xD;&#xA;&#xD;&#xA;- Can you also get boom poles, rycotes and stands for all of these?&#xD;&#xA;&#xD;&#xA;- What shots is the DOP using, and how does this affect your recording? ie can you get a boom close to the action for each shot? Best to get in touch and find out if you can.&#xD;&#xA;&#xD;&#xA;Generally though, unless there are any really wide shots you should be ok doing a basic boom job on this. Skateboarding is pretty loud, so don't worry too much.&#xD;&#xA;&#xD;&#xA;If there are any long/wide shots you could experiment with the technique Iain describes, but also consider asking for a re-take for sound and get the boarder to repeat the move (if it's to too difficult) you can then present these to the sound editor to cut into place. Any extra recording you can provide are an added bonus, maybe try to get some long sections of just rolling - medium close to the wheels. I imagine these quieter sounds get a bit lost amongst the clatter of the impact type sounds which are quite sharp, so extra recordings might prove useful.&#xD;&#xA;&#xD;&#xA;If you can use a 4-track use one mic for boom and another as a static ambiance mic. If not, just do a normal boom job and record ambiance as wild-track.&#xD;&#xA;&#xD;&#xA;Good luck,&#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23559" PostHistoryTypeId="2" PostId="14281" RevisionGUID="376c97ea-06fe-480e-aad2-6ddf830e467c" CreationDate="2012-06-10T20:26:52.220" UserId="3934" Text="Hi to all,&#xD;&#xA;what is the best workflow to prepare pro tools session for videogame localization recordings?&#xD;&#xA;I need to import and spot in one pro tools tracks a massive number of files. Thaey should be sorted in a precise order described in an MS Excel cell.&#xD;&#xA;Any suggestion?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23560" PostHistoryTypeId="1" PostId="14281" RevisionGUID="376c97ea-06fe-480e-aad2-6ddf830e467c" CreationDate="2012-06-10T20:26:52.220" UserId="3934" Text="best workflow for videogame localization" ContentLicense="CC BY-SA 3.0" />
  <row Id="23561" PostHistoryTypeId="3" PostId="14281" RevisionGUID="376c97ea-06fe-480e-aad2-6ddf830e467c" CreationDate="2012-06-10T20:26:52.220" UserId="3934" Text="&lt;video-games&gt;&lt;gameaudio&gt;&lt;pro-tools&gt;&lt;post-production&gt;&lt;spotting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23562" PostHistoryTypeId="2" PostId="14282" RevisionGUID="d638717e-29a6-4176-8387-ab7666b93236" CreationDate="2012-06-10T21:10:05.277" UserId="3935" Text="The example that comes to my mind is the scene from the bollywood movie Mera Naam Joker {my name is joker} where the prtagonist receives the news of his mother's death while the audience claps and cheers in the background.:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23563" PostHistoryTypeId="2" PostId="14283" RevisionGUID="b953f818-7f2e-44df-8916-9b7693f3c44a" CreationDate="2012-06-11T01:53:55.757" UserId="3936" Text="I keep getting this message when I try to start Protools...&#xD;&#xA;&#xD;&#xA;&quot;Protools could not initialize current playback device. Please make sure the device has been configured correctly&quot;.&#xD;&#xA;I can't understand why it now has trouble identifying my my mbox 2. Logic can see it, reason as well.&#xD;&#xA;Any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23564" PostHistoryTypeId="1" PostId="14283" RevisionGUID="b953f818-7f2e-44df-8916-9b7693f3c44a" CreationDate="2012-06-11T01:53:55.757" UserId="3936" Text="Playback device problems" ContentLicense="CC BY-SA 3.0" />
  <row Id="23565" PostHistoryTypeId="3" PostId="14283" RevisionGUID="b953f818-7f2e-44df-8916-9b7693f3c44a" CreationDate="2012-06-11T01:53:55.757" UserId="3936" Text="&lt;playback&gt;&lt;sound-devices&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23566" PostHistoryTypeId="6" PostId="14283" RevisionGUID="881e33a1-b62d-49c9-88a6-0b23c979f289" CreationDate="2012-06-11T02:01:26.797" UserId="1228" Comment="edited tags; edited tags; edited tags" Text="&lt;playback&gt;&lt;pro-tools&gt;&lt;hardware&gt;&lt;mbox-2&gt;&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23567" PostHistoryTypeId="2" PostId="14284" RevisionGUID="29069a65-1b9b-4a7d-af9f-a1f3e2237d62" CreationDate="2012-06-11T04:31:50.757" UserId="194" Text="are the files already named, and the new ones you'll record will match them?  &#xD;&#xA;&#xD;&#xA;If so, I'd suggest adding a sorting prefix before importing them into protools.  something that if you sort alphabetically they'll all line up into the way you plan to record the new lines.&#xD;&#xA;&#xD;&#xA;You may want to break slightly away from the &quot;single track&quot; thing if your workflow will allow it as well.  Maybe do a track per major character or one per level.  It'll help with organization.&#xD;&#xA;&#xD;&#xA;Once your ref files are properly named, you can import them into PT, sort the bin alphabetically, set the drag property to &quot;left to right&quot;, and drag them into a track.&#xD;&#xA;&#xD;&#xA;From there I'd strongly suggest investing in quickeys, as the scripting functions there will help tremendously when dealing with thousands of files in a single session.&#xD;&#xA;&#xD;&#xA;One trick that quickeys can do would be to automate a loop that'll add x amount of time between each region - say 5 seconds.  Just copy 5 seconds of silence, put PT in shuffle mode, then create a quickeys loop that goes: pause 0.5 sec, paste, tab, tab.&#xD;&#xA;&#xD;&#xA;Now you have every file on your timeline, properly named and with 5 seconds between each line.  If you end up needing to find any given line on your timeline then command+f, type the name, click the file in the region bin, and hit the left arrow key to center up the region you selected in front of you.&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;of course, this is making a ton of assumptions about your workflow but given the information you provided that's where I'd start." ContentLicense="CC BY-SA 3.0" />
  <row Id="23568" PostHistoryTypeId="2" PostId="14285" RevisionGUID="4e73a942-d222-41d2-b884-6a769bc66818" CreationDate="2012-06-11T06:10:53.053" UserId="3937" Text="Have you done any recent updates?  Also, what OS and version of Pro Tools are you running?  I've encountered this problem in a variety of ways.  Sometimes I've even gotten this error after a flash drive pulled out without ejecting.  When this happens in OSX 10.6.x, it causes permissions errors that severely affect Pro Tools 8. Disk Repair usually will do the trick for that.  Also, the MBox2's require newer drivers, so if you haven't updated the drivers, you might also try that. The first thing I usually will try is a computer restart.  I'm assuming you probably tried that (and probably some other stuff as well).  Also, if you get totally stuck go to the DUC (avid.duc.com).  Search your error and chances are, you'll find an answer--most likely from Avid.&#xD;&#xA;&#xD;&#xA;Hope that helps a little." ContentLicense="CC BY-SA 3.0" />
  <row Id="23569" PostHistoryTypeId="2" PostId="14286" RevisionGUID="ea548703-f864-4832-ad91-b82088218040" CreationDate="2012-06-11T10:30:57.907" UserId="3943" Text="hi, just new here&#xD;&#xA;looking for this template so I dont forget PTs shortcuts, will be usefull when I do freelance work in PT studios&#xD;&#xA;&#xD;&#xA;there are posts in forums directing to such a file on a site called nuendo.post, but the site is down&#xD;&#xA;&#xD;&#xA;does anybody have this file? " ContentLicense="CC BY-SA 3.0" />
  <row Id="23570" PostHistoryTypeId="1" PostId="14286" RevisionGUID="ea548703-f864-4832-ad91-b82088218040" CreationDate="2012-06-11T10:30:57.907" UserId="3943" Text="protools shortcuts template for nuendo" ContentLicense="CC BY-SA 3.0" />
  <row Id="23571" PostHistoryTypeId="3" PostId="14286" RevisionGUID="ea548703-f864-4832-ad91-b82088218040" CreationDate="2012-06-11T10:30:57.907" UserId="3943" Text="&lt;pro-tools&gt;&lt;nuendo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23572" PostHistoryTypeId="2" PostId="14287" RevisionGUID="a22d1ac0-84ee-4f9d-aec1-90eccae6d0df" CreationDate="2012-06-11T10:51:38.623" UserId="1246" Text="Just learn both. &#xD;&#xA;Ain't that hard anyway. When I was new to Nuendo I tried to mimic the behavior of PT in Nuendo. Was waste of time. Didn't fully learn to use Nuendo as its full potential. &#xD;&#xA;&#xD;&#xA;After trashing my self made PT key commands set I really learned Nuendo.&#xD;&#xA;And I still remember every key command I need in PT also even tho I don't use it that much nowadays. &#xD;&#xA;&#xD;&#xA;Just write down the most important PT key commands to you and you'll soon remember the rest when sitting again in front of PT.&#xD;&#xA;Bye / Tumppi" ContentLicense="CC BY-SA 3.0" />
  <row Id="23573" PostHistoryTypeId="2" PostId="14288" RevisionGUID="0baa48ef-8b9e-4078-a517-aee8a5f22d3a" CreationDate="2012-06-11T11:18:17.560" UserId="1178" Text="change the excel script order in such way that the file name cells are in alphabetical order. make and extra cell that has numeric digits from 01 or 001 to xx or xxx and rename them accordingly. work with these numeric audio files the whole way through the pt pipe and after you´ve done you biz with the files, convert cells into text file and use rename program to switch those file names back to the ones you had in the excel document. I´ve done it with a batch of 5000+ files and works 100% sure, you´ll never typo a file name again and your client will be happy :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23574" PostHistoryTypeId="2" PostId="14289" RevisionGUID="245619a6-4eb9-41ef-a3bf-538adb9abc3a" CreationDate="2012-06-11T14:42:20.743" UserId="729" Text="I'm doing the sound design for an adaptation of a Sherlock Homes novella this summer. The venue is outdoors, a raised stage in a field. The play has a number of gunshots, and Production has some reservations about the idea of firing blanks with unsuspecting people possibly walking by. There's always the option of pre-recorded shots, but we'd also like to pursue a live solution.&#xD;&#xA;&#xD;&#xA;Have any of you guys had success with something similar?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23575" PostHistoryTypeId="1" PostId="14289" RevisionGUID="245619a6-4eb9-41ef-a3bf-538adb9abc3a" CreationDate="2012-06-11T14:42:20.743" UserId="729" Text="Live &quot;gunshot&quot; sound- cant use blanks- ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23576" PostHistoryTypeId="3" PostId="14289" RevisionGUID="245619a6-4eb9-41ef-a3bf-538adb9abc3a" CreationDate="2012-06-11T14:42:20.743" UserId="729" Text="&lt;sound-effects&gt;&lt;sound-design&gt;&lt;live-sound&gt;&lt;gunshot&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23577" PostHistoryTypeId="2" PostId="14290" RevisionGUID="0677db54-441a-486a-97ac-36955b95b1e0" CreationDate="2012-06-11T17:28:36.543" UserId="37" Text="http://www.ivsnd.com/2010/06/creating-a-machine-gun-sound-from-everyday-objects/&#xD;&#xA;&#xD;&#xA;+&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Vvadh6YM-RQ&#xD;&#xA;&#xD;&#xA;:)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23578" PostHistoryTypeId="5" PostId="14272" RevisionGUID="8b7b960f-d186-4ead-bf3e-2362b7e2fa9c" CreationDate="2012-06-12T05:34:22.640" UserId="6524" Comment="edited body" Text="People say this a lot but listen (analyse) to the different mediums where sound design is used. I'm no expert but when I'm listening I ask myself why that sound is used as pretty much everything you hear was a conscious choice, I always try to keep that in mind. Also many sounds sound alike, think about what you think it sounds like and how you would create it not only to kind of deconstruct the elements used to create it but you can also get behind the emotion it's trying to convey to tell the story which is the main goal of sound design. Find the overused/cliche tricks used and take advantage of them but in a way that it seems new and not forced, take camera angles for example they say when you look at a character from a high angle their supposed to be weaker and smaller but when seen in a low angle they are more dominant and stronger than the other, what would be the sonic equivalent to that? How can you make a listener distinguish the difference between a good guy and bad guy?.&#xD;&#xA;&#xD;&#xA;A lot of thought is put into a good &quot;designed&quot; soundtrack, when I was starting out like most people I thought it's just about creating cool sounds and plugins used to process them until I did my research. Hope this is helpful, good luck.    " ContentLicense="CC BY-SA 3.0" />
  <row Id="23579" PostHistoryTypeId="2" PostId="14291" RevisionGUID="1962ca9f-9b21-4b5a-88b6-43563b3ef1e4" CreationDate="2012-06-12T06:22:46.647" UserId="7642" Text="As its not really possible to work in exactly the same way in PT and Nuendo, it really isn't that helpful.&#xD;&#xA;We actually started out trying to. But our layout has since evolved into its own system. Some parts are still loosely based on the PT keyset like zoom, top/tail, crossfade and the simple drop marker. It makes it easier for first timers.&#xD;&#xA;&#xD;&#xA;Otoh I never found the cubendo default layout to be very helpful in post. &#xD;&#xA;The more intuitive and logical you can make the reasoning behind how you set the keyboard up the easier it will be to remember.&#xD;&#xA;Make sure all your favourite editing and mixing commands are easily accessible. Read through ALL the available key commands from time to time. You WILL find new clever ways to deal with complex situations easier and faster. Don't overlook the power of macros and the project logical editor. It can do magic stuff :)." ContentLicense="CC BY-SA 3.0" />
  <row Id="23581" PostHistoryTypeId="2" PostId="14293" RevisionGUID="c48d2f79-55a7-4d9a-810e-cb752d0b55d3" CreationDate="2012-06-12T12:27:09.493" UserId="3959" Text="Hi,&#xD;&#xA;I have a very good stereo setup (K&amp;H 0300) and another pair of decent speakers (Event TR6) sitting around.&#xD;&#xA;I would love to keep using those speakers and combine them to a Frankenstein Surround system.&#xD;&#xA;Will i have something that i can get away with for premixing / sound designing in surround?&#xD;&#xA;How would i calibrate this setup, since the speakers will have different specs... &#xD;&#xA;My sub is a 200$  and i would use a third speaker from another manufacturer for the centre.&#xD;&#xA;&#xD;&#xA;Reading this now, it looks pretty hopeless, and i suppose i will just have have to wait until i have the cash to do an all K&amp;H thing... but their sub alone cost 1.5K $....and i would need 3x 2K $ speakers for rears and center -  ouch.&#xD;&#xA;&#xD;&#xA;What do the experts say? Is there a way to turn my frankenstein into something usable?&#xD;&#xA;Again: premix only..." ContentLicense="CC BY-SA 3.0" />
  <row Id="23582" PostHistoryTypeId="1" PostId="14293" RevisionGUID="c48d2f79-55a7-4d9a-810e-cb752d0b55d3" CreationDate="2012-06-12T12:27:09.493" UserId="3959" Text="surround setup / combining different speakers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23583" PostHistoryTypeId="3" PostId="14293" RevisionGUID="c48d2f79-55a7-4d9a-810e-cb752d0b55d3" CreationDate="2012-06-12T12:27:09.493" UserId="3959" Text="&lt;surround-sound&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23584" PostHistoryTypeId="2" PostId="14294" RevisionGUID="ccafc8b4-7682-4e3a-a01b-2fb044bd20f1" CreationDate="2012-06-12T14:08:04.210" UserId="2502" Text="I like the H4N for what it is but as a guitar player I have always known Zoom products to be cheaply constructed. No surprise there. I was reluctant to get on board with it because of Zoom's dismal reputation in the guitar processor market." ContentLicense="CC BY-SA 3.0" />
  <row Id="23585" PostHistoryTypeId="12" PostId="14294" RevisionGUID="91846b9f-60ee-4fa2-bf61-0bc5ee3e614e" CreationDate="2012-06-12T14:08:39.400" UserId="2502" Text="[{&quot;Id&quot;:2502,&quot;DisplayName&quot;:&quot;Brad Dale&quot;}]" />
  <row Id="23586" PostHistoryTypeId="13" PostId="14294" RevisionGUID="5a185578-b4c2-4aa5-ac8e-e5a60e282ae4" CreationDate="2012-06-12T14:09:07.697" UserId="2502" Text="[{&quot;Id&quot;:2502,&quot;DisplayName&quot;:&quot;Brad Dale&quot;}]" />
  <row Id="23587" PostHistoryTypeId="2" PostId="14295" RevisionGUID="d175d572-d858-4233-a1e2-9e6487eb04d9" CreationDate="2012-06-12T15:41:39.317" UserDisplayName="user80" Text="It will be usable but not very accurate, it is not just EQ but also ballistics, the different brands will have slight timing differences across the frequency range." ContentLicense="CC BY-SA 3.0" />
  <row Id="23589" PostHistoryTypeId="2" PostId="14296" RevisionGUID="df521a42-fad0-4975-91e2-853f5346de28" CreationDate="2012-06-12T20:01:38.077" UserId="6499" Text="I do believe in the keybindings section of nuendo there is a &quot;protools&quot; preset, but I have found that they do not really transfer well and you just end up lost trying to use pro tools key bindings in nuendo.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23590" PostHistoryTypeId="2" PostId="14297" RevisionGUID="0fe2c0be-1b5f-43d2-a83d-9e8f7c02b1d5" CreationDate="2012-06-12T22:35:23.440" UserId="3248" Text="Does anyone know what the standard format of a sound effect asset delivery is for a mobile phone game? Is it better to deliver stereo sounds or mono? &#xD;&#xA;&#xD;&#xA;Does it all depend on the device and software being used so therefore there is no standard??&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;-E&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23591" PostHistoryTypeId="1" PostId="14297" RevisionGUID="0fe2c0be-1b5f-43d2-a83d-9e8f7c02b1d5" CreationDate="2012-06-12T22:35:23.440" UserId="3248" Text="Mobile Game Sound Effect Delivery; Mono or Stereo? " ContentLicense="CC BY-SA 3.0" />
  <row Id="23592" PostHistoryTypeId="3" PostId="14297" RevisionGUID="0fe2c0be-1b5f-43d2-a83d-9e8f7c02b1d5" CreationDate="2012-06-12T22:35:23.440" UserId="3248" Text="&lt;sound-design&gt;&lt;mobile-phone&gt;&lt;mono&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23593" PostHistoryTypeId="2" PostId="14298" RevisionGUID="be4f79e0-83d9-4cda-971c-cba2373d6924" CreationDate="2012-06-12T23:29:06.923" UserId="3285" Text="it depends on the type of phone but generally, the music and ambiences are in stereo and shots are in mono.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23594" PostHistoryTypeId="2" PostId="14299" RevisionGUID="690e42fa-64ba-4ecf-9edd-96725d621394" CreationDate="2012-06-13T00:55:12.967" UserId="1159" Text="Depends on what the developer wants. Some times size is more important then stereo image. It will probably change project to project." ContentLicense="CC BY-SA 3.0" />
  <row Id="23596" PostHistoryTypeId="2" PostId="14301" RevisionGUID="5c21a365-24e2-4222-b818-417b821d6348" CreationDate="2012-06-13T01:40:01.477" UserId="3179" Text="The one that sounds the best. Generally it's stereo, but it depends on the sound, context, mix and playback device(s). As pointed below, music and ambiences are almost always stereo, but in terms of SFX and dialogue it's more of a matter of taste and depends on the processes that have been applied as well (e.g. a stereo reverb). If the playback device is mono then stereo is worthless and likely sounds bad because of the phasing that results from downmixing the channels, unless the file and/or the mix is assured to be closely phase coherent / &quot;mono-compatible&quot;. Note that on mobile devices people may be using the internal speaker(s) (likely a mono speaker) or headphones (stereo), so you need to strike a balance between for which playback you'll optimize more or whether you want to optimize for both. Reference monitoring is important.&#xD;&#xA;&#xD;&#xA;The game engine may also affect the choice of channel counts in particular sounds (e.g. 3D positional audio works only with mono files AFAIK). Or there may be other specific restrictions, see the documentation. &#xD;&#xA;&#xD;&#xA;And you may need to produce mono files just for the sake of getting a smaller file size, if you might end up using too much space.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23597" PostHistoryTypeId="5" PostId="14301" RevisionGUID="d6e476c7-1786-47dc-9318-94b66ad45c45" CreationDate="2012-06-13T01:50:42.083" UserId="3179" Comment="added 23 characters in body" Text="The one that sounds the best. Generally it's stereo, but it depends on the sound, context, mix and playback device(s). As pointed out below, music and ambiences are almost always stereo, but in terms of SFX and dialogue it's more of a matter of taste and depends on the processes that have been applied as well (e.g. a stereo reverb). If the playback device is mono then playing back stereo audio is worthless and likely sounds bad because of the phasing that results from downmixing the channels, unless the file and/or the mix is assured to be closely phase coherent / &quot;mono-compatible&quot;. Note that on mobile devices people may be using the internal speaker(s) (likely a mono speaker) or headphones (stereo), so you need to strike a balance between for which playback you'll optimize more or whether you want to optimize for both. Reference monitoring is important.&#xD;&#xA;&#xD;&#xA;The game engine may also affect the choice of channel counts in particular sounds (e.g. 3D positional audio works only with mono files AFAIK). Or there may be other specific restrictions, see the documentation. &#xD;&#xA;&#xD;&#xA;And you may need to produce mono files just for the sake of getting a smaller file size, if you might end up using too much space.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23598" PostHistoryTypeId="2" PostId="14302" RevisionGUID="9a035e6c-21b1-4ca3-84d5-2fcadb090494" CreationDate="2012-06-13T07:30:29.570" UserDisplayName="user49" Text="There is a big difference between the two tasks you mention ie sound editing/design vs  remixing - the former you will be premixing in another (calibrated) studio, the latter requires a well configured, spec'd and aligned mix room.&#xD;&#xA;&#xD;&#xA;So for sound editing, go for it! But read up on speaker line up on the DUC thread - get an SPL meter &amp; line up your speakers so that while they may not be perfectly matched, they will still be level balanced (&amp; definitely better than eg no surrounds!)&#xD;&#xA;http://duc.avid.com/showthread.php?t=87830&#xD;&#xA;&#xD;&#xA;But for premixing? Personally I would not want to be making critical balance decisions in a room without it being fully specc'd...." ContentLicense="CC BY-SA 3.0" />
  <row Id="23599" PostHistoryTypeId="2" PostId="14303" RevisionGUID="31e444e1-7dba-4c6f-acd4-9e15ad12cbba" CreationDate="2012-06-13T07:37:01.320" UserId="2778" Text="In Full Metal Jacket .. the Surfin' Bird Song .. [link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=WehoPJtnH30" ContentLicense="CC BY-SA 3.0" />
  <row Id="23600" PostHistoryTypeId="12" PostId="14303" RevisionGUID="256765df-de75-4efa-a60f-9e0a26206cb2" CreationDate="2012-06-13T07:37:21.663" UserId="2778" Text="[{&quot;Id&quot;:2778,&quot;DisplayName&quot;:&quot;thesoundguy&quot;}]" />
  <row Id="23601" PostHistoryTypeId="13" PostId="14303" RevisionGUID="7de6bf9f-e61f-49dd-9f3e-3f3c3c9cfee6" CreationDate="2012-06-13T07:37:46.520" UserId="2778" Text="[{&quot;Id&quot;:2778,&quot;DisplayName&quot;:&quot;thesoundguy&quot;}]" />
  <row Id="23602" PostHistoryTypeId="2" PostId="14304" RevisionGUID="b75fddee-2983-40dd-ab0d-dacd7f1aa3dd" CreationDate="2012-06-13T10:43:31.843" UserId="208" Text="Hi all&#xD;&#xA;&#xD;&#xA;Im wondering if there is copyright on sounds coming from different machines. This could be sounds like the buzz coming from a certain Philips shaver, the tapping on an mac keyboard, the flip of a switch in a BMW. The list goes on:)&#xD;&#xA;Am I allowed to record these sort of signature sounds (which has been designed in some way), and resell them?&#xD;&#xA;Also am I allowed to call them by their name in the tracklist?&#xD;&#xA;&#xD;&#xA;Thanks alot&#xD;&#xA;Best wishes&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="23603" PostHistoryTypeId="1" PostId="14304" RevisionGUID="b75fddee-2983-40dd-ab0d-dacd7f1aa3dd" CreationDate="2012-06-13T10:43:31.843" UserId="208" Text="copyright on mechanical sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="23604" PostHistoryTypeId="3" PostId="14304" RevisionGUID="b75fddee-2983-40dd-ab0d-dacd7f1aa3dd" CreationDate="2012-06-13T10:43:31.843" UserId="208" Text="&lt;copyright&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23605" PostHistoryTypeId="2" PostId="14305" RevisionGUID="862f3d6c-f31d-4f27-b81b-01c86bdd3d59" CreationDate="2012-06-13T11:06:56.180" UserId="202" Text="I use some time, almost always with the &quot;Link timeline and edit selection&quot; activated.&#xD;&#xA;&#xD;&#xA;One great feature of Dynamic Transport is that if you grab and drag the little blue triangle in the ruler, all the automation update while you scrubbing the triangle, both forward and backward. This is great because you can see what the automation is doing while following the picture. It is really useful with pan." ContentLicense="CC BY-SA 3.0" />
  <row Id="23606" PostHistoryTypeId="2" PostId="14306" RevisionGUID="9e249a32-ecf0-4409-b4de-8a7a630ffca6" CreationDate="2012-06-13T11:18:41.220" UserId="1185" Text="I'm currently doing some pedagogic research into portfolio systems for our undergranduate sound students.  For this I am considering the portfolio more as an academic &quot;workspace&quot;, rather than a &quot;showcase&quot; ([http://electronicportfolios.org/balance/balancingarticle2.pdf][1]).  With this in mind I am now starting to ask the question &quot;what features do sound design students require in a portfolio?&quot;  Although I have lots of current students I will be asking this question to, as they are still in the academic &quot;process&quot; they may not have had time to reflect what they really require.  Considering this I thought it would be worth asking the question here as well.  These are the normal academic elements that portfolios try to foster:&#xD;&#xA;&#xD;&#xA; - Planning and setting goals&#xD;&#xA; - Capturing and storing evidence&#xD;&#xA; - Collaboration&#xD;&#xA; - Giving and receiving feedback (formative)&#xD;&#xA; - Reflections&#xD;&#xA; - Presenting to an audience&#xD;&#xA;&#xD;&#xA;So as real sound designers, when you were students and/or learning your craft, how important were these?  Is there anything not covered here?  Are there any additional things that creating a sound design portfolio gives?  Are there any specific features that a sound design ePortfolio needs to posses?  &#xD;&#xA;&#xD;&#xA;Thanks for any input you can give.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://electronicportfolios.org/balance/balancingarticle2.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="23607" PostHistoryTypeId="1" PostId="14306" RevisionGUID="9e249a32-ecf0-4409-b4de-8a7a630ffca6" CreationDate="2012-06-13T11:18:41.220" UserId="1185" Text="ePortfolios For Sound Design Students" ContentLicense="CC BY-SA 3.0" />
  <row Id="23608" PostHistoryTypeId="3" PostId="14306" RevisionGUID="9e249a32-ecf0-4409-b4de-8a7a630ffca6" CreationDate="2012-06-13T11:18:41.220" UserId="1185" Text="&lt;sound-design&gt;&lt;portfolio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23609" PostHistoryTypeId="16" PostId="14306" RevisionGUID="9e249a32-ecf0-4409-b4de-8a7a630ffca6" CreationDate="2012-06-13T11:18:41.220" UserId="1185" />
  <row Id="23610" PostHistoryTypeId="5" PostId="13997" RevisionGUID="5c863e0c-51e7-4199-a118-9f896fdc7e93" CreationDate="2012-06-13T11:52:40.643" UserId="432" Comment="added 558 characters in body; edited tags" Text="Hey folks. I'm trying to compile a list of videos/series that are produced exclusively for the web that actually have staff dedicated to sound. They don't necessarily have to be fictional or narrative.&#xD;&#xA;&#xD;&#xA;Here are some examples:&#xD;&#xA;&#xD;&#xA; - Soundworks Collection&#xD;&#xA; - The recent Prometheus viral videos&#xD;&#xA; - Old Spice web shorts&#xD;&#xA;&#xD;&#xA;I'm not really looking for one-offs, I'd prefer &quot;series&quot; videos. If you can think of any, I'd appreciate it. *[I'd doubly appreciate it if you know the names of any sound staffers associated with them too.]*&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;**Update:**&#xD;&#xA;&#xD;&#xA;**Thanks to everyone who responded. I was working on putting together a virtual panel discussion to talk about mixing for web. (If you haven't noticed yet, [the details were just posted to Designing Sound][1] last night). Please don't feel slighted if I didn't contact you to be on the panel. Reception for the idea was very positive, and there are limited presenter connections for the web-conferencing service. Hope to see you in the discussion.**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2012/06/film-sound-discussion-group-mixing-for-web/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23611" PostHistoryTypeId="6" PostId="13997" RevisionGUID="5c863e0c-51e7-4199-a118-9f896fdc7e93" CreationDate="2012-06-13T11:52:40.643" UserId="432" Comment="added 558 characters in body; edited tags" Text="&lt;mixing&gt;&lt;web&gt;&lt;distribution&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23612" PostHistoryTypeId="6" PostId="14306" RevisionGUID="914c3216-4a99-4980-839f-f5769ac2d3cd" CreationDate="2012-06-13T11:54:25.487" UserId="1185" Comment="edited tags" Text="&lt;sound-design&gt;&lt;portfolio&gt;&lt;education&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23613" PostHistoryTypeId="2" PostId="14307" RevisionGUID="6bf7e550-405c-49b0-9f98-c9f6e218c21e" CreationDate="2012-06-13T16:49:50.427" UserId="3966" Text="I know [soundminer][1] lets you edit the metadata right there and then save it to the file, but it would be a lot of copy and pasting.  Also I'm not sure you have access to soundminer, and its pretty damn expensive.  &#xD;&#xA;&#xD;&#xA;&quot;[A Better Finder Rename][2]&quot; is an awesome batch renamer, but I'm not sure how well it handles .wav files, but it definitely does give you access to metadata.  You might find a way to do it through that.&#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://store.soundminer.com/&#xD;&#xA;  [2]: http://www.publicspace.net/ABetterFinderRename/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="23614" PostHistoryTypeId="2" PostId="14308" RevisionGUID="85fdb2b2-b506-49d9-8e35-bb5d8769a5b4" CreationDate="2012-06-13T17:04:02.473" UserId="3966" Text="http://shownd.com/ - Free&#xD;&#xA;&#xD;&#xA;[Vimeo][1] - Free&#xD;&#xA;&#xD;&#xA;[Soundcloud][2] - Free&#xD;&#xA;&#xD;&#xA;Not sure if these are really what you are looking for.  I just made my own website when I was in school and had links to clips on vimeo.&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/&#xD;&#xA;  [2]: http://soundcloud.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23615" PostHistoryTypeId="16" PostId="14308" RevisionGUID="85fdb2b2-b506-49d9-8e35-bb5d8769a5b4" CreationDate="2012-06-13T17:04:02.473" UserId="-1" />
  <row Id="23616" PostHistoryTypeId="2" PostId="14309" RevisionGUID="ffca17fa-534c-4f64-93ca-c5efd79a902e" CreationDate="2012-06-13T20:13:54.290" UserDisplayName="user49" Text="Maybe check sounddogs etc and see if they have? If so then yes is likely answer, but an IP lawyer would be the only real way to know for sure..." ContentLicense="CC BY-SA 3.0" />
  <row Id="23617" PostHistoryTypeId="2" PostId="14310" RevisionGUID="8651329e-615a-422a-8d77-fa552b29324c" CreationDate="2012-06-13T22:58:49.397" UserId="6524" Text="I really like this bit in Road To Perdition, the music is contrapuntal I guess but builds tension and at the end of shootout makes it kind of comical.&#xD;&#xA;&#xD;&#xA;[youtube]nPWRoCkmaQU[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="23618" PostHistoryTypeId="2" PostId="14311" RevisionGUID="8847e897-4697-48e2-b7d3-12eec3d45e2e" CreationDate="2012-06-13T23:00:43.550" UserId="3866" Text="At work we used to use SoundHound to search for sfx as it can read metadata. Then SoundHound would import the files directly into Pro Tools naming them whatever their name is in the metadata. Then we would then export it from Pro Tools as a WAV. Sound long-winded but actually just takes a minute or two depending on how many files you need to change." ContentLicense="CC BY-SA 3.0" />
  <row Id="23619" PostHistoryTypeId="2" PostId="14312" RevisionGUID="bba5b992-980d-4e68-86c6-fa26a2f203ff" CreationDate="2012-06-13T23:58:14.307" UserId="1072" Text="Weve worked on a couple, heres a recent one http://www.modelminorityshow.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23620" PostHistoryTypeId="2" PostId="14313" RevisionGUID="ce938ec3-2e94-4be3-9b1e-e61147fc83a4" CreationDate="2012-06-14T06:09:56.050" UserId="842" Text="As far as I understand it the copyright applies more or less only for electronically, and preferably (but not exclusively) musical, designed sound. Like the ringtones from polyphonic/PCM-cellphones to name one thing. When it comes to Zippo's, Cadillac doors, Harley-motors, the buttons on a Nintendo NES, et cetera, it is, still as far as I know, like taking a photograph or filming. You don't need an permission from Mercedes to use their cars in movies. :-)&#xD;&#xA;&#xD;&#xA;They might however get well pissed if the name shows in unfavorable scenes. Shouldn't be a problem with sound though." ContentLicense="CC BY-SA 3.0" />
  <row Id="23621" PostHistoryTypeId="5" PostId="14313" RevisionGUID="521c09f1-2495-4fb9-9a17-4d452b643612" CreationDate="2012-06-14T06:14:56.163" UserId="842" Comment="added 398 characters in body" Text="As far as I understand it the copyright applies more or less only for electronically, and preferably (but not exclusively) musical, designed sound. Like the ringtones from polyphonic/PCM-cellphones to name one thing. When it comes to Zippo's, Cadillac doors, Harley-motors, the buttons on a Nintendo NES, et cetera, it is, still as far as I know, like taking a photograph or filming. You don't need an permission from Mercedes to use their cars in movies. :-)&#xD;&#xA;&#xD;&#xA;They might however get well pissed if the name shows in unfavorable scenes. Shouldn't be a problem with sound though.&#xD;&#xA;&#xD;&#xA;You rarely see brand-names when buying sound effects, but frankly I think it's more because they don't wanna tip off competitors! When it comes to vehicles, I think pretty much all my bought sound effects are named by brand and model, and actually in many cases even year of make or revision. In my Steinberg Nuendo Sound-collection every single sound is named by exactly where it came from :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23622" PostHistoryTypeId="2" PostId="14314" RevisionGUID="43a56129-a885-4f0f-8d5e-a5cd2335cb6c" CreationDate="2012-06-14T07:48:11.313" UserId="842" Text="Though I use mainly software plugins it's actually more because my mixes rarely has less than 400 tracks, and even trying to buy well over 400 compressors would seriously kill me. Or my wallet, whichever comes first. All convolution-reverbs are also software, as most I've used about 20 in the same reel (Some otherwise good Altiverb impulses have the annoying habit of not being true stereo, even less surround), a serious wallet-devastator had it been hardware.&#xD;&#xA;&#xD;&#xA;If I find a nice hardware effect or processor I like, I use it. Not because I have to, but because I want to; as an art-form, much of a sound designer's personal sound is actually based in things like that. But there are things I simply can't find being good enough in software at all, like tube-coloration, amplifier effects, analogue reverbs and delays (have a few spring-reverbs and a disc-echo), bitcrushers, and many other things. I these cases I see no alternative as the software equivalents simply doesn't deliver.&#xD;&#xA;&#xD;&#xA;Among the hardware I use regularly are my already mentioned spring reverbs and disc-echo (true grit. Love it.), my Boss SE-50 (adds a nice muddy texture suitable for lofi and thickening backgrounds), SSL-compressors (beats the living daylights out of practically every other compressor I've ever heard! Including the Manley!!), Behringer compressors (can make a very interesting pumping effect, and gives color), analogue synthesizers (the filters are absolutely orgastic), an Amiga 600 &amp; two 500's (bitcrushing and sampling), a Commodore 64 breadbox model (kick-ass real-time programmable filters with bite!), several different guitar-amps, mostly solid state (I can't afford a purely tube-based amp right now), as well as a collection of tape-players, reel-to-reel, dictaphones, wax-players, VCR's and such. And a lot of smaller effects not really worth mentioning here right now as the list already got a little long :-)&#xD;&#xA;&#xD;&#xA;It's also very easy in comparison to circuit-bend most hardware and machines, whereas a software plug can be virtually impossible to modify at all. Of course most of my hardware effects and processors is something that must be used very carefully, but after all it's in the small details the whole gets its shine :-)&#xD;&#xA;&#xD;&#xA;There are no right or wrong here. You do what you consider best for the project and to reach your and the director's personal vision. For me, I work absolutely best with my fingers on sliders and controllers (almost said knobs, but for an Englishman that might come out wrong ;-)). Of course I do have controllers for Nuendo, but it's still not as intuitive as just reaching for the effect/processor of choice. Also, any kind of lag and stutter generally really frustrates me to no end. Not as big a problem today as it once was, but it's still there." ContentLicense="CC BY-SA 3.0" />
  <row Id="23623" PostHistoryTypeId="2" PostId="14315" RevisionGUID="fea8a256-e9a2-4e63-b02f-e2cffc326265" CreationDate="2012-06-14T10:19:24.300" UserId="310" Text="I mostly agree with ***Chris Bishop*** answer. &#xD;&#xA;&#xD;&#xA;I would like to add that External hardware units are in general great for take-out some CPU demands - especially mentioned TC Reverbs (or TC Electronic System 6000) are great because they have no impact on CPU :)&#xD;&#xA;&#xD;&#xA;Today is &quot;relatively easy&quot; to model non-linear behavior such as saturation and others. Companies like UAD, WAVES or Slate Digital do their jobs very well. It's no needs for &quot;analog gear fetish&quot; :) &#xD;&#xA;&#xD;&#xA;Another benefit of plug-ins is that you have ability use unlimited instances of one plugin depending on your CPU power :) which is impossible with HW units.&#xD;&#xA;&#xD;&#xA;But as ***Christian van Caine*** mentioned there is no right answer - use what you like and what helps you to be better or efficient." ContentLicense="CC BY-SA 3.0" />
  <row Id="23624" PostHistoryTypeId="2" PostId="14316" RevisionGUID="46f4ce95-fb9f-4720-800c-1faea79b1d79" CreationDate="2012-06-14T13:33:37.280" UserId="3967" Text="Hi&#xD;&#xA;&#xD;&#xA;im struggling to come up with ideas as of what to do for my dissertation. i want it to be around the sound area of film, game or TV. Ideally not around music composition etc. stuff like foley &amp; SFX&#xD;&#xA;&#xD;&#xA;its got to be 5000 words and include a practical project (e.g make a website, build a microphone)&#xD;&#xA;&#xD;&#xA;was hoping some of you could shoot some ideas at me. ive come up with a couple of ROUGH ideas myself but cant think of how to base a practical project around them&#xD;&#xA;&#xD;&#xA;the advances of sound used in modern day sci fi films&#xD;&#xA;&#xD;&#xA;audience perception of sound design in film (can they identify what sounds are real and what are unreal)&#xD;&#xA;&#xD;&#xA;obviously these arent proper titles....&#xD;&#xA;&#xD;&#xA;my lecturer isnt helping much, so if any of you know how i could expand these ideas, or have any other ones, please help me!!&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23625" PostHistoryTypeId="1" PostId="14316" RevisionGUID="46f4ce95-fb9f-4720-800c-1faea79b1d79" CreationDate="2012-06-14T13:33:37.280" UserId="3967" Text="Dissertation ideas!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23626" PostHistoryTypeId="3" PostId="14316" RevisionGUID="46f4ce95-fb9f-4720-800c-1faea79b1d79" CreationDate="2012-06-14T13:33:37.280" UserId="3967" Text="&lt;post-production&gt;&lt;dissertation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23627" PostHistoryTypeId="2" PostId="14317" RevisionGUID="eae7659a-3e7a-43d8-b1cd-ba54b507aa52" CreationDate="2012-06-14T13:57:38.870" UserId="3196" Text="guys.. there's this film i am working on where the whole story is set on a 2nd floor apartment in a city..since the film would be shot in a set, i'll have to lay ambience tracks from the scratch..i would like to know that for recording ambiences for the story should i record from 2nd floor apartments of  the real location to get the perspective or is it advisable to record  it from the streets and then EQ it..or do stuffs  like that.. please help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23628" PostHistoryTypeId="1" PostId="14317" RevisionGUID="eae7659a-3e7a-43d8-b1cd-ba54b507aa52" CreationDate="2012-06-14T13:57:38.870" UserId="3196" Text="recording ambience with perspective" ContentLicense="CC BY-SA 3.0" />
  <row Id="23629" PostHistoryTypeId="3" PostId="14317" RevisionGUID="eae7659a-3e7a-43d8-b1cd-ba54b507aa52" CreationDate="2012-06-14T13:57:38.870" UserId="3196" Text="&lt;ambience&gt;&lt;perspective&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23630" PostHistoryTypeId="2" PostId="14318" RevisionGUID="4304e7d0-b7d0-4af6-a26e-19b986155a5b" CreationDate="2012-06-14T14:11:27.910" UserId="842" Text="Hm, interesting question! I'd probably keep roomtone and amb pretty much like normal, possibly with a little sweetening on something heavier for the mere feeling, but really put all power on the other sounds. Logically,everything we'd hear would be extremely trebely and thin, not like in pitched, but like in a really terrible EQ:ing. I for one would hate to see a movie like that though, seriously painful to the ears, so I'd go not for a feeling of being small, but a feeling of everything else is absolutely ridiculously large.&#xD;&#xA;&#xD;&#xA;Hard to say how exactly I'd approach it. It's not uncommon for the expected way to show to be not working as well as one'd had though at first when actually doing it, but right now I think my choice would be to replace EVERYTHING with new sounds reminding of the original, but really being composites having absolutely nothing in common with what it's supposed to sound like. I don't really like pitchshifting the original for these kind of things, it tends to sound cheap and unconvincing, I would rather design the sounds to mimic something completely different though related. Dropping a pen? Mimic dropping a Redwood-log. Eating an apple? Mimic taking a huge bite out of Earth had it also contained gristle.&#xD;&#xA;&#xD;&#xA;This is a job in which you'll actually have a tremendous freedom to do that you wanna do!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23631" PostHistoryTypeId="2" PostId="14319" RevisionGUID="5b8b457a-e2a1-4298-964a-d72309c8af6c" CreationDate="2012-06-14T14:13:24.417" UserId="3179" Text="I think those mentioned are already very large topics and there's a slight danger of subjectivism (unless you focus the dissertation just around the sound piece that you produce yourself). For example, is &quot;the advances of sound used in modern day sci-fi films&quot; supposed to focus on artistic or technical advances? And how is artistic advancement defined then? I would narrow the topic considerably, because one could really write a book about either of those topics.&#xD;&#xA;&#xD;&#xA;&quot;Audience perception of sound design in film&quot; is a good topic, but I think research on that area has been done to death long ago. You should also narrow it down to a specific film style or a specific group of film goers for example, because the topic is otherwise too large. For this topic you could find a lot of sources and conduct a modern questionnaire to test those hypotheses in the genre and in the specific group of people you've chosen.&#xD;&#xA;&#xD;&#xA;Any area, medium, style or technique you're particularly interested in film/TV/game sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23632" PostHistoryTypeId="2" PostId="14320" RevisionGUID="71640cd6-c2b2-4639-829e-333eb5f56d75" CreationDate="2012-06-14T14:28:57.207" UserId="842" Text="I fried a piece of wholegrain bread dipped in lemonade together with a tomato till they burnt to the pan so hard it was nothing more than coal in it! Gave me some seriously nice squeaks and hisses :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23633" PostHistoryTypeId="2" PostId="14321" RevisionGUID="48387e57-c097-4b8b-acf6-860c3c8a6cb2" CreationDate="2012-06-14T15:07:16.847" UserId="842" Text="It's impossible to tell whether it's on the second floor or the 202:nd floor. Many apartments are pretty well soundproofed nowadays, so having traffic sound might very well disturb the viewers if used too much, or in some cases, at all. A city is pretty noisy though, so I'd put a lot of amb with really rich noises on it. Fans and such is a good sweetener!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23634" PostHistoryTypeId="2" PostId="14322" RevisionGUID="7258fd99-e17e-42ba-a76a-9a9446f88119" CreationDate="2012-06-14T16:10:10.783" UserId="253" Text="What i love about atmos is that you can build the world of the film. Ask yourself a few things:&#xD;&#xA;&#xD;&#xA;- What kind of neighbourhood/building is the apartment in? Is it near an expressway? In a bad part of town?&#xD;&#xA;&#xD;&#xA;- Is it a high quality, well sound proofed place? Is it cheap with poor insulation?&#xD;&#xA;&#xD;&#xA;- What kind of neighbours do they have? Is it in a large complex with many families? Is it predominantly single, young people?&#xD;&#xA;&#xD;&#xA;All of these things can give you ideas and influence your choices. Sound design is at its best when influenced by a vast number of tiny decisions like these.&#xD;&#xA;&#xD;&#xA;As for recording, don't let yourself be tied to &quot;what it would sound like in real life&quot;. Films are caricatures of reality, however subtle. By all means, go to some 2nd floor apartments and record ambience; try 1st floors too, try 10th floors. You never know what's going to inspire you, or what's going to fit perfectly." ContentLicense="CC BY-SA 3.0" />
  <row Id="23635" PostHistoryTypeId="2" PostId="14323" RevisionGUID="07d02c10-2739-4d65-be5b-304f8aceb1aa" CreationDate="2012-06-14T16:18:18.953" UserId="1067" Text="If you were shrunk that small I reckon draughts and air currents would be very noticeable, maybe even a problem.&#xD;&#xA;&#xD;&#xA;Perhaps you could make subtle use of wind sounds to create a sense of the vastness of the surroundings relative to the size of the character.&#xD;&#xA;&#xD;&#xA;e2A: Stavrosound got there first with that suggestion!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23636" PostHistoryTypeId="2" PostId="14324" RevisionGUID="07c0e353-5c1b-4ae1-8fec-36c0af51b045" CreationDate="2012-06-14T16:21:16.303" UserId="238" Text="The subject of my dissertation was *The Use of Sound Effects and Stylised Ambiences in Filmmaking* which turned out to be a really fascinating focus of study. It was, however, a huge can of worms that I could only touch on in the required word count. I think the most important thing is to find a subject that you are passionate about and one that will have enough background material to support your writings. I'm not sure if things have changed much but when I did my dissertation it was all about your references, so bare this in mind when choosing what to write about. &#xD;&#xA;&#xD;&#xA;At the time, my work method was to initially brainstorm all the ideas I could think of that were related to what I wanted to study. After a few sessions of refinement I had a clearer idea of the general subject. I then set about trying to plan how I could translate these ideas into different chapters and to get a general structure worked out. Once this was decided, I began writing, but not at all in order. If I remember correctly, I began writing a chapter which turned out to be the fourth or fifth in the final dissertation, then I did the third, then the last and so on. It was only really in the last couple of months that I began working all of the chapters together to form one piece. &#xD;&#xA;&#xD;&#xA;It might not necessarily be the way you would approach it, but it's worth baring in mind that although the final piece will be a linear writing, your methodology doesn't have to follow this. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23637" PostHistoryTypeId="2" PostId="14325" RevisionGUID="c6d94e9b-70c2-499e-82fa-b1cbcaf0b8a6" CreationDate="2012-06-14T16:26:57.700" UserId="1067" Text="You won't be infringing copyright, because names and titles can't be copyrighted, but you could face legal action over trademark infringement.&#xD;&#xA;&#xD;&#xA;The exception is when a brand name or trademark is so entrenched and widespread that it becomes a generic term, hoover being the most familiar example.&#xD;&#xA;&#xD;&#xA;If you want to stay on safe ground, then you're better off avoiding brand names when giving your recordings titles, I'd have thought." ContentLicense="CC BY-SA 3.0" />
  <row Id="23638" PostHistoryTypeId="2" PostId="14326" RevisionGUID="3280f270-ade9-4a96-823a-ccea5918a99f" CreationDate="2012-06-14T16:50:11.383" UserDisplayName="user49" Text="As far as recording goes I would do both - try the actual 2nd floor perspective, with window open and closed, but also record from ground floor so you can experiment&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23639" PostHistoryTypeId="2" PostId="14327" RevisionGUID="d7c1f7dc-1c93-419e-a69c-99f69fbbfaca" CreationDate="2012-06-14T18:16:03.867" UserId="2778" Text="Nice question. you can do both or either of them depending on what works the best. if you can make the audience feel the same way as the protagonist is by recording it from the 2nd floor of some building, then great go ahead use that sound. Same applies for the sounds you'd record from the streets and eq them later. I'd recommend you record both ways and sit with the director or mabbe a group of people and show them that scene and ask them which one they thought tells the story more effectively. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23640" PostHistoryTypeId="2" PostId="14328" RevisionGUID="33a47bcb-52f1-462c-a730-33207f5b8212" CreationDate="2012-06-14T18:54:48.630" UserId="2778" Text="Hey guys. I am currently working on a film. Its still in its pre-production stage. There's a scene in which the protagonist is in an empty room, which HE thinks is HEAVEN. The script mentions that the room has a particular tone to it which is obviously diffrent from that in a normal room. The first sound that came to my head was a drone sound. I also tried layering the sound of the drone and the Didgeridoo and  play around with the pitch. Also tried worldizing it by taking it out in a large empty basement and re- record it to get the natural reverb to it.&#xD;&#xA;So my question here is are there any more suggestions i could get from you all? May be some other approach i might use to get the right sound?&#xD;&#xA;Thank You." ContentLicense="CC BY-SA 3.0" />
  <row Id="23641" PostHistoryTypeId="1" PostId="14328" RevisionGUID="33a47bcb-52f1-462c-a730-33207f5b8212" CreationDate="2012-06-14T18:54:48.630" UserId="2778" Text="SOUND OF HEAVEN" ContentLicense="CC BY-SA 3.0" />
  <row Id="23642" PostHistoryTypeId="3" PostId="14328" RevisionGUID="33a47bcb-52f1-462c-a730-33207f5b8212" CreationDate="2012-06-14T18:54:48.630" UserId="2778" Text="&lt;sound-design&gt;&lt;worldizing&gt;&lt;mixing&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23644" PostHistoryTypeId="2" PostId="14330" RevisionGUID="7f050ad2-759b-4546-b7d5-f1225009f2c2" CreationDate="2012-06-14T20:27:14.297" UserId="37" Text="with sound, the copyright is on the recording, and so if it's a device making a sound and you record it, i don't think there's a copyright issue, unless the device is playing a pre-recorded (or otherwise predefined) sound. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23645" PostHistoryTypeId="2" PostId="14331" RevisionGUID="bbfbd3ef-4652-41ea-845b-8c1c820da39f" CreationDate="2012-06-15T11:21:28.250" UserId="208" Text="Since its something in his head, I would start by trying going in the completely other direction, then big.&#xD;&#xA;You could try an approach with a deadening treatment to the voice and objects surrounding him. (Like how a voice sounds like in an anechoic chamber).&#xD;&#xA;&#xD;&#xA;Sounds fun.&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="23646" PostHistoryTypeId="2" PostId="14332" RevisionGUID="d702865f-ddf5-4c2d-89cb-49e1e709aa98" CreationDate="2012-06-15T11:43:01.667" UserId="1067" Text="A good afterlife sound would be like the high-pitched, whining noise that you sometimes hear made by the plumbing in old houses, flophouse-type hotels etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="23647" PostHistoryTypeId="2" PostId="14333" RevisionGUID="d1ff5c5d-eb65-49e5-bd65-ef420a5a5a92" CreationDate="2012-06-15T13:22:08.717" UserId="37" Text="what does your character consider to be &quot;heaven&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23652" PostHistoryTypeId="2" PostId="14335" RevisionGUID="c554bb28-0484-4047-9f43-8e1f4e515aa9" CreationDate="2012-06-15T15:22:46.577" UserId="3145" Text="I'm conforming and repairing a foreign language version of a classic 1941 film.  Among it's many problems is an inaudible high frequency tone that screeches when I scrub. Obviously slowing makes it audible.  I'm working in Pro Tools.  The source is, of course, mag.  You can see the high frequency saw tooth tone when you zoom in.  Some mistake must have been made somewhere in the recording or transfer process. Is this bias and how did it get there? What causes this and should I try to remove it?  I have iZotope I can afflict on it if the consensus thinks it should be removed.  Thanks for the help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23653" PostHistoryTypeId="1" PostId="14335" RevisionGUID="c554bb28-0484-4047-9f43-8e1f4e515aa9" CreationDate="2012-06-15T15:22:46.577" UserId="3145" Text="Bias Tone in Old Film Audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="23654" PostHistoryTypeId="3" PostId="14335" RevisionGUID="c554bb28-0484-4047-9f43-8e1f4e515aa9" CreationDate="2012-06-15T15:22:46.577" UserId="3145" Text="&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23655" PostHistoryTypeId="2" PostId="14336" RevisionGUID="82b64e42-6d5c-4dad-b79c-faaa888e3bf1" CreationDate="2012-06-15T17:50:36.697" UserId="315" Text="This is a perfect opportunity to get inside your protagonists head and use sound to tell the story more effectively. I imagine we all have a different perception of what heaven sounds like...why not try to nail your protagonists POV. This was well done in the movie Contact for example.&#xD;&#xA;&#xD;&#xA;My perception of the sound of heaven might include a collage of my favorite music, the sound of my wife's voice, the ambience from my favorite geographic spots on Earth, my mother singing etc.. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23656" PostHistoryTypeId="2" PostId="14337" RevisionGUID="e4170660-d511-4677-8748-00f1c0f51b27" CreationDate="2012-06-15T21:02:04.037" UserId="3839" Text="Well if it is inaudible, unless you plan on pitch shifting the audio down, it sounds like it doesnt need to be removed? &#xD;&#xA;&#xD;&#xA;It is probably there because when it was transferred to mag, it may have transcoded frequencies from the mag above the our audible range and when you scrub, your pitching it down in varispeed which would cause it to fold down higher frequencies into the audible spectrum. &#xD;&#xA;&#xD;&#xA;But if you do want to remove it, why not just use iZotope spectral repair and do a vertical attenuation on a 4096 window?&#xD;&#xA;&#xD;&#xA;Not sure if that helps at all.." ContentLicense="CC BY-SA 3.0" />
  <row Id="23657" PostHistoryTypeId="2" PostId="14338" RevisionGUID="317211ac-ef2c-4dff-98c7-0d3ad9e22315" CreationDate="2012-06-15T22:08:40.303" UserId="1228" Text="Try doing a varispeed on a section of the file, slowing it down by 50%.  Then run that through spectral analysis to find the pitch of the tone (or sweep it with an EQ).  Then, simply notch out the actual tone (existing at 2x that frequency) from the original 100% speed.  If everything's within the 48k domain you should be fine since your within the Nyquist limits that all major EQs tend to cover.  If you're in the 96k domain and beyond, you may have to rely on something like iZotope to filter it out since EQ plugin's don't go beyond the frequencies excited within the 44.1/48k range, at least any of the ones I've worked with.  Or, cut the speed in half, do the notch, and 'un-do' the varispeed.  I'd consider that more of a last resort though since the double varispeed may have affects on the integrity of the source." ContentLicense="CC BY-SA 3.0" />
  <row Id="23658" PostHistoryTypeId="2" PostId="14339" RevisionGUID="c5b233c1-8216-4687-8d65-70ef5f52b3ac" CreationDate="2012-06-16T01:16:35.047" UserId="6460" Text="I agree with the above, and would also add that you should factor in the room as well. If you treated your room to sound ideal with the stereo K&amp;H setup, you would need to further treat it to optimize the sound with three more O300 cabinets——which, of course, means an even lighter wallet.&#xD;&#xA;&#xD;&#xA;I would agree with your idea of buying 5 medium-quality speakers and a sub and using it as a separate system. It would provide a nice opportunity to compare your stereo mixes on a lower-quality set of loudspeakers, as well.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="23659" PostHistoryTypeId="2" PostId="14340" RevisionGUID="01c319e2-5393-4d86-b0fb-9c7ed056ad00" CreationDate="2012-06-17T01:04:37.623" UserId="1129" Text="I don't have a car library, but I have a couple of tracks of a ratty Jeep here:&#xD;&#xA;http://soundcloud.com/thefaderjockey/sets/sick-jeep&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23660" PostHistoryTypeId="2" PostId="14341" RevisionGUID="98480b83-5f5d-40d5-99c5-39a207e0e8cb" CreationDate="2012-06-17T06:29:58.420" UserId="3972" Text="Sitting with an experienced mixer, is the best way to learn.&#xD;&#xA;I am a re-recording mixer, and had been mixing for a couple of years solo.&#xD;&#xA;I was hired by another studio, and the first year I wasters, I was teamed up o mix SFx with a Diakog mixer. I leant that year how little I knew about mixing dialog properly. And it was an invaluable year. What I learnt by mixing with the experienced mixer, helped me enormously when I moved to LA." ContentLicense="CC BY-SA 3.0" />
  <row Id="23661" PostHistoryTypeId="2" PostId="14342" RevisionGUID="0e76057f-4eab-42f5-86a2-b78a2889ca09" CreationDate="2012-06-17T07:19:13.350" UserId="2778" Text="127 hours. the scene where he chops off his hand. That was pretty disturbing." ContentLicense="CC BY-SA 3.0" />
  <row Id="23662" PostHistoryTypeId="2" PostId="14343" RevisionGUID="8d995d5e-6c83-45d1-a43b-b7dc88df78a5" CreationDate="2012-06-17T08:42:47.997" UserId="6524" Text="The Devil's Rejects from Rob Zombie, I was 12 when I first watched it and I remember I was pretty disturbed after watching the stuff the characters do to those people in the motel." ContentLicense="CC BY-SA 3.0" />
  <row Id="23663" PostHistoryTypeId="2" PostId="14344" RevisionGUID="9db5cffd-05fe-4d3a-b668-052c67cdc3ba" CreationDate="2012-06-17T08:50:19.297" UserId="455" Text="No one mentioned the train crash from Super 8?  I almost had to leave the theater because of the intensity. By far the most uncomfortable I've ever been while watching a movie. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23664" PostHistoryTypeId="2" PostId="14345" RevisionGUID="8d3ea41e-b742-4f67-9d96-653f4b008375" CreationDate="2012-06-17T10:58:53.670" UserId="3973" Text="Avid has always been slow to support new iterations of the Mac OS ... It got even worse when they threw their lot in with Windows and predicted the Mac's demise. Now the Mac has survived and is thriving it's almost like they do it out of spite. Even a minor OS increment may take 6 months to a year to receive qualification as a supported configuration.&#xD;&#xA;&#xD;&#xA;There are bugs riddled through PT that have existed on Mac since PT 6.5 and they are still there.&#xD;&#xA;&#xD;&#xA;ie. The importing files field does not accept the spacebar as a valid input - this got worse when support for the letters &quot;p&quot; and &quot;s&quot; were also inexplicably dropped in PT 9.0 - that issue has been resolved, but the spacebar issue remains to this day. (June 2012)&#xD;&#xA;&#xD;&#xA;AVID need a rocket up their arse." ContentLicense="CC BY-SA 3.0" />
  <row Id="23665" PostHistoryTypeId="2" PostId="14346" RevisionGUID="137c2f90-7a17-4106-8b2a-e4229f9f0a47" CreationDate="2012-06-18T00:37:03.403" UserId="3975" Text="I am doing some sound design for an animation and it has camera angles that are very close to flaming arrows shooting past.  I have made a base sort of sound using a coat hanger swishing through the air, but I need something with more impact that whistles through the air.&#xD;&#xA;&#xD;&#xA;My question, how can I make that whistling arrow sound you hear in films? " ContentLicense="CC BY-SA 3.0" />
  <row Id="23666" PostHistoryTypeId="1" PostId="14346" RevisionGUID="137c2f90-7a17-4106-8b2a-e4229f9f0a47" CreationDate="2012-06-18T00:37:03.403" UserId="3975" Text="Whistling arrow through the air" ContentLicense="CC BY-SA 3.0" />
  <row Id="23667" PostHistoryTypeId="3" PostId="14346" RevisionGUID="137c2f90-7a17-4106-8b2a-e4229f9f0a47" CreationDate="2012-06-18T00:37:03.403" UserId="3975" Text="&lt;whistling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23668" PostHistoryTypeId="2" PostId="14347" RevisionGUID="30b20467-1769-451a-9e95-f90400766e66" CreationDate="2012-06-18T01:54:13.623" UserId="194" Text="find a large quiet place to record.  warehouses are ok if the ext traffic noise is low enough.  protect anything that could be damaged from a flying projectile before you begin.&#xD;&#xA;&#xD;&#xA;grab something a bunch of props to swing.  Things like rack panels with holes, small pipes with holes, certain musical instruments (chimes, flutes, etc) and even light helmets with holes will do.  Odd shapes flutter, holes whistle.  Simple shapes sound boring.&#xD;&#xA;&#xD;&#xA;The weight will help you get it up to speed and the holes will create the whistling. &#xD;&#xA;&#xD;&#xA;Attach each prop to a long piece of nylon string (nylon is very strong).  when you tie knots, tie in one direction and then the other - this will prevent the knots from untying.&#xD;&#xA;&#xD;&#xA;Record  the whoosh bys as you spin each prop past with the string at full extension.  Try for big hard individual whooshes as opposed to fast spins.  &#xD;&#xA;&#xD;&#xA;be sure to have your shoes off so you don't record your foot movement.  &#xD;&#xA;&#xD;&#xA;Use gloves to protect your hands from string friction.&#xD;&#xA;&#xD;&#xA;protect your mics and your rig.  &#xD;&#xA;&#xD;&#xA;some izotope RX or multiband expansion in post will help with cleanup of the recorded files.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23669" PostHistoryTypeId="5" PostId="14347" RevisionGUID="d09ac67e-1087-43bb-8aab-63f11313d4dd" CreationDate="2012-06-18T02:52:39.497" UserId="194" Comment="deleted 10 characters in body" Text="find a large quiet place to record.  warehouses are ok if the ext traffic noise is low enough.  protect anything that could be damaged from a flying projectile before you begin.&#xD;&#xA;&#xD;&#xA;grab a bunch of props to swing.  Things like rack panels with holes, small pipes with holes, certain musical instruments (chimes, flutes, etc) and even light helmets with holes will do.  Odd shapes flutter, holes whistle.  Simple shapes sound boring.&#xD;&#xA;&#xD;&#xA;The weight will help you get it up to speed and the holes will create the whistling. &#xD;&#xA;&#xD;&#xA;Attach each prop to a long piece of nylon string (nylon is very strong).  when you tie knots, tie in one direction and then the other - this will prevent the knots from untying.&#xD;&#xA;&#xD;&#xA;Record  the whoosh bys as you spin each prop past with the string at full extension.  Try for big hard individual whooshes as opposed to fast spins.  &#xD;&#xA;&#xD;&#xA;be sure to have your shoes off so you don't record your foot movement.  &#xD;&#xA;&#xD;&#xA;Use gloves to protect your hands from string friction.&#xD;&#xA;&#xD;&#xA;protect your mics and your rig.  &#xD;&#xA;&#xD;&#xA;some izotope RX or multiband expansion in post will help with cleanup of the recorded files.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23670" PostHistoryTypeId="2" PostId="14348" RevisionGUID="c8266816-a74f-473e-ae46-bc19bafbaf87" CreationDate="2012-06-18T07:39:02.583" UserId="40" Text="While I don't know the exact recipe he used, David Farmer came up with some pretty cool stuff for LOTR by attaching different items to real arrows to make them whistle.&#xD;&#xA;&#xD;&#xA;Examples:&#xD;&#xA;&#xD;&#xA;http://designingsound.tv/david-farmer-recording-arrows/&#xD;&#xA;&#xD;&#xA;http://designingsound.tv/david-farmer-crossbow-recording/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I would imagine with the right amounts of plastic / paper / foil, you could make some cool sounds.&#xD;&#xA;&#xD;&#xA;If you don't have access to a bow, you could try attaching something similar to the end of a chain or something (maybe a rope, but the rope itself would make a whoosh) and swing it above your head.&#xD;&#xA;&#xD;&#xA;I know it's not a direct answer, but hopefully some inspiration?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23671" PostHistoryTypeId="2" PostId="14349" RevisionGUID="490f404e-dc57-408b-a102-85692b91b93e" CreationDate="2012-06-18T08:06:26.943" UserId="1185" Text="As I've not had much response from my original post I have tried to expand my thoughts in a couple of blog posts:&#xD;&#xA;&#xD;&#xA;[http://sound-sculpting.blogspot.co.uk/2012/06/what-is-portfolio.html][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[http://sound-sculpting.blogspot.co.uk/2012/06/sound-design-portfolios.html][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sound-sculpting.blogspot.co.uk/2012/06/what-is-portfolio.html&#xD;&#xA;  [2]: http://sound-sculpting.blogspot.co.uk/2012/06/sound-design-portfolios.html&#xD;&#xA;&#xD;&#xA;As I've said these are just my thought so I'm keen to know what you think. Is there anything not covered here? Are there any additional things that creating a sound design portfolio gives? Are there any specific features that a sound design ePortfolio needs to posses?&#xD;&#xA;&#xD;&#xA;Thanks for any further input. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23672" PostHistoryTypeId="16" PostId="14349" RevisionGUID="490f404e-dc57-408b-a102-85692b91b93e" CreationDate="2012-06-18T08:06:26.943" UserId="-1" />
  <row Id="23673" PostHistoryTypeId="2" PostId="14350" RevisionGUID="81cdbb68-c29a-4bee-89c1-eca01a5cc00d" CreationDate="2012-06-18T10:46:46.410" UserDisplayName="user80" Text="I have just finished reading *Mouth Sounds* by Fred Newman, and was wondering if anyone had any experience working with someone expert in sound effect vocalisation?&#xD;&#xA;&#xD;&#xA;How common is it to use sound effect vocalisations, and how successful did you find you find the vocalised sound effects?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23674" PostHistoryTypeId="1" PostId="14350" RevisionGUID="81cdbb68-c29a-4bee-89c1-eca01a5cc00d" CreationDate="2012-06-18T10:46:46.410" UserDisplayName="user80" Text="Sound effect vocalisations" ContentLicense="CC BY-SA 3.0" />
  <row Id="23675" PostHistoryTypeId="3" PostId="14350" RevisionGUID="81cdbb68-c29a-4bee-89c1-eca01a5cc00d" CreationDate="2012-06-18T10:46:46.410" UserDisplayName="user80" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23676" PostHistoryTypeId="2" PostId="14351" RevisionGUID="51b21a3d-e431-4f8d-b2d1-492cfd3640fe" CreationDate="2012-06-18T11:53:57.563" UserId="3975" Text="I agree with Skarik, I also use the Tascam and its great.  The built-in mics are better then I expected, I have used it for all manner of recording and I have not been disappointed.  You also get the flexibility to hook up your own mics as well.&#xD;&#xA;&#xD;&#xA;Only draw back for me is you can't record using the built-in mics at the same time as an external mic.  In my opinion that would have been great so you can record multiple responses to a sound without having to do another take." ContentLicense="CC BY-SA 3.0" />
  <row Id="23677" PostHistoryTypeId="2" PostId="14352" RevisionGUID="7cfa8100-8853-4379-ae48-ac9123299ca1" CreationDate="2012-06-18T12:02:43.823" UserId="3093" Text="I own a DR-40 and it rocks. I can't do it right now, but I will post some links with recordings from it. Battery lasts a lot, I've actually utilized with a co-worker and he owns de Zoom H4n, and we have both reached the conclusion that the DR-40 is better, performance wise; sound quality wise should be more of a subjective answer which I would rather leave to your own, but I will come back with the links to it!&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23685" PostHistoryTypeId="2" PostId="14354" RevisionGUID="d71e966a-b2a0-41aa-bf5d-bb7ec925635c" CreationDate="2012-06-18T15:40:09.553" UserId="1145" Text="Difficult to test this, so whats your experience with it?&#xD;&#xA;Does the mic sound good and is it quiet, or is it better to use a MKH mic with the telinga parabol? Also, I dont see the reason for a stereo mic in this setup. I might have missed something, so please enlighten me." ContentLicense="CC BY-SA 3.0" />
  <row Id="23686" PostHistoryTypeId="1" PostId="14354" RevisionGUID="d71e966a-b2a0-41aa-bf5d-bb7ec925635c" CreationDate="2012-06-18T15:40:09.553" UserId="1145" Text="Anyone using the Telinga parabolic mic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23687" PostHistoryTypeId="3" PostId="14354" RevisionGUID="d71e966a-b2a0-41aa-bf5d-bb7ec925635c" CreationDate="2012-06-18T15:40:09.553" UserId="1145" Text="&lt;field&gt;&lt;field-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23688" PostHistoryTypeId="2" PostId="14355" RevisionGUID="61ac7239-d4a5-4ba1-9461-f911f756713d" CreationDate="2012-06-18T16:58:12.123" UserId="6462" Text="Check out [Tim Prebble's][1] blog at http://www.musicofsound.co.nz/blog/&#xD;&#xA;He uses one and has some blog posts and examples.&#xD;&#xA;Hope it helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/users/49/tim-prebble" ContentLicense="CC BY-SA 3.0" />
  <row Id="23690" PostHistoryTypeId="2" PostId="14357" RevisionGUID="d61fc2fd-dd91-48a3-8409-2e6773e6f861" CreationDate="2012-06-18T18:10:32.810" UserId="3977" Text="I am a film editing student and I have never worked with a specialist sound designer before. I want to know about the relationship between a picture editor and a sound designer. In other words, I would like to know what is the workflow of picture and audio post production like. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23691" PostHistoryTypeId="1" PostId="14357" RevisionGUID="d61fc2fd-dd91-48a3-8409-2e6773e6f861" CreationDate="2012-06-18T18:10:32.810" UserId="3977" Text="Picture editor- sound designer relationship/ workflow" ContentLicense="CC BY-SA 3.0" />
  <row Id="23692" PostHistoryTypeId="3" PostId="14357" RevisionGUID="d61fc2fd-dd91-48a3-8409-2e6773e6f861" CreationDate="2012-06-18T18:10:32.810" UserId="3977" Text="&lt;picture-editor&gt;&lt;sound-designer&gt;&lt;relationship&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23693" PostHistoryTypeId="2" PostId="14358" RevisionGUID="f3c9309f-816c-4e57-97cd-724d3c457801" CreationDate="2012-06-18T18:55:29.247" UserId="3179" Text="I think it's interesting to make the distinction between an academic portfolio and a professional portfolio. I see that the latter tends to usually focus purely on *the product* whereas in an academic learning environment I understand that it's more important to focus on *the processes*, because those are what are being taught. In art disciplines it however becomes a bit confusing, because there aren't necessarily right or wrong ways in doing things and *the product* is what generally matters in the professional world. So one might question the need for presenting anything else than *the product*. And one might question the reason for an academic portfolio to be something else than what's used in the professonal world. &#xD;&#xA;&#xD;&#xA;I would, however, like to see more of the academic style portfolios in the professional world, because focusing only on the product really only tells what you ended up with, not how you did it and how you work. I think opening up the process becomes very important when collaborating with other people, because it demonstrates that you're able to communicate about your work and can systematically plan the work process (very important when working with others and in larger projects). I think it also clearly adds to the credibility of the person in the professional world when he/she demonstrates the ablility to break down the process and reason his/her intentions and talk about best approaches and practices. And I don't believe there's simply much need to &quot;hide&quot; anything, it just isn't the point, especially when working with &quot;non-audio artist&quot; clients or other artists. And good communication skills (written and verbal) are always valued and a good way to demonstrate those is to write and/or speak about the work. I would see more process-describing portfolios advantegous for standing out from the crowd when most of the portfolios only showcase products and I think employers and other artists could be increasingly interested in people that demonstrate good work-ethics, methods and communication skills rather than are just &quot;able to get stuff done&quot;.&#xD;&#xA;&#xD;&#xA;I, however, am not sure how to go in combining those two types of portfolios (product- and process-oriented) in a concise way. Many people seem to keep personal blogs to describe more of the processes and then have a simpler portfolio (e.g. a video demoreel) that simply shows the products. As you know, the intention is to keep the product-portfolio simple enough so that it's fast to view. I don't see some kind of hybrid approach bad though, because I think there are advantages in process-oriented portfolios in the professional world, when kept reasonable, as described above.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23694" PostHistoryTypeId="16" PostId="14358" RevisionGUID="f3c9309f-816c-4e57-97cd-724d3c457801" CreationDate="2012-06-18T18:55:29.247" UserId="-1" />
  <row Id="23695" PostHistoryTypeId="5" PostId="14358" RevisionGUID="e77b22a8-f2a2-4769-b1cc-3d4d997a74e8" CreationDate="2012-06-18T19:02:34.797" UserId="3179" Comment="added 10 characters in body; added 17 characters in body" Text="I think it's interesting to make the distinction between an academic portfolio and a professional portfolio. I see that the latter tends to usually focus purely on *the product* whereas in an academic learning environment I understand that it's more important to focus on *the processes*, because those are what are being taught. In art disciplines it however becomes a bit confusing, because there aren't necessarily right or wrong ways in doing things and *the product* is what generally matters in the professional world. So one might question the need for presenting anything else than *the product*. And one might question the reason for an academic portfolio to be something else than what's used in the professonal world. &#xD;&#xA;&#xD;&#xA;I would, however, like to see more of the academic style portfolios in the professional world, because focusing only on the product really only tells what you ended up with, not how you did it and how you work. I think opening up the process becomes very important when collaborating with other people, because it demonstrates that you're able to communicate about your work and can systematically plan the work process (very important when working with others and in larger projects). I think it also clearly adds to the credibility of the person in the professional world when he/she demonstrates the ablility to break down the process and reason his/her intentions and talk about best approaches and practices. And I don't believe there's simply much need to &quot;hide&quot; anything, it just isn't the point, especially when working with &quot;non-audio artist&quot; clients or other artists. And good communication skills (written and verbal) are always valued and a good way to demonstrate those is to write and/or speak about the work. I would see more process-describing portfolios advantegous for standing out from the crowd when most of the portfolios only showcase products and I think employers and other artists could be increasingly interested in people that demonstrate good work-ethics, versatility with different methods and communication skills rather than are just &quot;able to get stuff done&quot;.&#xD;&#xA;&#xD;&#xA;I, however, am not sure how to go in combining those two types of portfolios (product- and process-oriented) in a concise way. Many people seem to keep personal blogs to describe more of the processes and then have a simpler portfolio (e.g. a video demoreel) that simply shows the products. As you know, the intention is to keep the product-portfolio simple enough so that it's fast to view. I don't see some kind of hybrid approach bad though, because I think there are advantages in process-oriented portfolios in the professional world, when kept reasonable, as described above.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23696" PostHistoryTypeId="5" PostId="14350" RevisionGUID="01ef5234-1623-4a37-a06d-8e5abffe23e2" CreationDate="2012-06-18T19:08:37.827" UserDisplayName="user80" Comment="deleted 9 characters in body" Text="I have just finished reading *Mouth Sounds* by Fred Newman, and was wondering if anyone had any experience working with someone expert in sound effect vocalisation?&#xD;&#xA;&#xD;&#xA;How common is it to use sound effect vocalisations, and how successful did you find the vocalised sound effects?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23697" PostHistoryTypeId="5" PostId="14358" RevisionGUID="e9eed512-9c16-41bb-8e89-6690d1081f82" CreationDate="2012-06-18T19:25:27.483" UserId="3179" Comment="added 5 characters in body" Text="I think it's interesting to make the distinction between an academic portfolio and a professional portfolio. I see that the latter tends to usually focus purely on *the product* whereas in an academic learning environment I understand that it's more important to focus on *the processes*, because those are what are being taught. In art disciplines it however becomes a bit confusing, because there aren't necessarily right or wrong ways in doing things and *the product* is what generally matters in the professional world. So one might question the need for presenting anything else than *the product*. And one might question the reason for an academic portfolio to be something else than what's used in the professonal world. &#xD;&#xA;&#xD;&#xA;I would, however, like to see more of the academic style portfolios in the professional world, because focusing only on the product really only tells what you ended up with, not how you did it and how you work. I think opening up the process becomes very important when collaborating with other people, because it demonstrates that you're able to communicate about your work and can systematically plan the work process (very important when working with others and in larger projects). I think it also clearly adds to the credibility of the person in the professional world when he/she demonstrates the ablility to break down the process and reason his/her intentions and talk about best approaches and practices. And I don't believe there's simply much need to &quot;hide&quot; anything, it just isn't the point, especially when working with &quot;non-audio artist&quot; clients or other artists. And good communication skills (written and verbal) are always valued and a good way to demonstrate those is to write and/or speak about the work. I would see more process-describing portfolios advantegous for standing out from the crowd when most of the portfolios only showcase products and I think employers and other artists could be increasingly interested in people that demonstrate good work-ethics, versatility with different methods and good communication skills rather than are just &quot;able to get stuff done&quot;.&#xD;&#xA;&#xD;&#xA;I, however, am not sure how to go in combining those two types of portfolios (product- and process-oriented) in a concise way. Many people seem to keep personal blogs to describe more of the processes and then have a simpler portfolio (e.g. a video demoreel) that simply shows the products. As you know, the intention is to keep the product-portfolio simple enough so that it's fast to view. I don't see some kind of hybrid approach bad though, because I think there are advantages in process-oriented portfolios in the professional world, when kept reasonable, as described above.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23698" PostHistoryTypeId="2" PostId="14359" RevisionGUID="8b5681a9-ac8c-4323-a0ec-e1693bd6ad03" CreationDate="2012-06-18T21:00:21.283" UserId="432" Text="No experience working with an expert (which makes me think of Michael Winslow), but I'll occasionally record myself if I can generate the specific character of sound I'm looking for. I find that vocalized sound effects can be extremely useful as a base layer in designed effects.&#xD;&#xA;&#xD;&#xA;One of the competitions that ran when I was still hosting the Sound Design Challenge was the creation of creature vocal effects using only the human voice as elements (processing was allowed, but no layering of animal/mechanical/other sounds). There were a lot of unique entries. You can listen to [the finalists here][1], or listen to [all of the entries here][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynamicinterference.com/blog/2011/02/the-alpha-yetis-sdc006-finalists/&#xD;&#xA;  [2]: http://www.dynamicinterference.com/blog/2011/01/entries-for-sdc006/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23699" PostHistoryTypeId="2" PostId="14360" RevisionGUID="33c0a112-1925-4c12-8c62-f696cb4af677" CreationDate="2012-06-19T00:00:13.443" UserId="1303" Text="Totally random, does anyone plan to record the 17 year cicadas in Virginia/West Virginia this summer?&#xD;&#xA;&#xD;&#xA;http://www.cicadamania.com/cicadas/category/brood-i/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23700" PostHistoryTypeId="1" PostId="14360" RevisionGUID="33c0a112-1925-4c12-8c62-f696cb4af677" CreationDate="2012-06-19T00:00:13.443" UserId="1303" Text="Recording the 17 year cicadas in Virginia" ContentLicense="CC BY-SA 3.0" />
  <row Id="23701" PostHistoryTypeId="3" PostId="14360" RevisionGUID="33c0a112-1925-4c12-8c62-f696cb4af677" CreationDate="2012-06-19T00:00:13.443" UserId="1303" Text="&lt;field-recording&gt;&lt;insects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23703" PostHistoryTypeId="2" PostId="14361" RevisionGUID="c1dca846-9c90-43b4-872f-0372cafae8d6" CreationDate="2012-06-19T10:15:57.077" UserId="3975" Text="Yeah I did something similar with making an ambient wind track for game generating some brown noise and then EQ's to create a wind tunnel effect.  However your on some next level of hardcore lol.  &#xD;&#xA;&#xD;&#xA;It would be really interesting in hearing a sound you make using the above method if your able to share :)." ContentLicense="CC BY-SA 3.0" />
  <row Id="23705" PostHistoryTypeId="2" PostId="14363" RevisionGUID="7426da23-3c1c-47ae-8041-7a16fc6e26a0" CreationDate="2012-06-19T14:19:24.857" UserId="6407" Text="Hello,&#xD;&#xA;&#xD;&#xA;Basic question. Was sound engineering in a school hall/food mess and the acoustics were something horrible. Reflection city, which resulted in an extremely muffled (especially the low-end) and reverby mess. &#xD;&#xA;&#xD;&#xA;Now I know with time/money I could have treated the room with materials to hand but this was a quick job with little time and little care for audio quality.&#xD;&#xA;&#xD;&#xA;My question is, does anyone have any quick tips for getting the best out of a bad acoustic situation? I lowered the bass eq a little but missed it for only a little bit of extra clarity. Was there much else I could do to get a better sound? (WITHOUT TREATMENT!)&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;N " ContentLicense="CC BY-SA 3.0" />
  <row Id="23706" PostHistoryTypeId="1" PostId="14363" RevisionGUID="7426da23-3c1c-47ae-8041-7a16fc6e26a0" CreationDate="2012-06-19T14:19:24.857" UserId="6407" Text="How to deal with a reverby room..." ContentLicense="CC BY-SA 3.0" />
  <row Id="23707" PostHistoryTypeId="3" PostId="14363" RevisionGUID="7426da23-3c1c-47ae-8041-7a16fc6e26a0" CreationDate="2012-06-19T14:19:24.857" UserId="6407" Text="&lt;live-sound&gt;&lt;live&gt;&lt;acoustics&gt;&lt;room&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23708" PostHistoryTypeId="2" PostId="14364" RevisionGUID="0a00f933-c391-4a3d-af41-58288316263f" CreationDate="2012-06-19T14:53:09.323" UserId="6432" Text="It's worth going into a bit more detail about the setup. From what you've said I presume it was a PA system and people speaking, right?&#xD;&#xA;&#xD;&#xA;In makeshift situations like these I think the important things are:&#xD;&#xA;&#xD;&#xA;- Use a cardoid/hypercardoid mic. If it's a lectern situation miniature shotguns like the akg c474 are good for this sort of thing&#xD;&#xA;- Get your speaker close to the microphone, make sure they are aware they need to stay in front of the mic, not turn their head too much etc&#xD;&#xA;- Get the PA speakers as close to the audience as you can, the less volume you need the better. You want the audience to be getting as much direct sound from the speakers as possible, not the sound reflecting from the walls of the room. If you have multiple speakers (more than 2) distribute them around the audience so everyone is roughly the same distance from a speaker.&#xD;&#xA;- Use a parametric EQ to tightly notch out the frequencies which the room naturally resonates at. &#xD;&#xA;- Roll off the lows as you already have. &#xD;&#xA;&#xD;&#xA;That's about it as far as I know... without spending loads of money!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23709" PostHistoryTypeId="5" PostId="14364" RevisionGUID="e06418c1-9375-4018-8928-1e5a7c736bd8" CreationDate="2012-06-19T15:03:36.627" UserId="6432" Comment="added 8 characters in body" Text="It's perhaps worth going into a bit more detail about the setup. From what you've said I presume it was a PA system and people speaking, right?&#xD;&#xA;&#xD;&#xA;In makeshift situations like these I think the important things are:&#xD;&#xA;&#xD;&#xA;- Use a cardoid/hypercardoid mic. If it's a lectern situation miniature shotguns like the akg c474 are good for this sort of thing&#xD;&#xA;- Get your speaker close to the microphone, make sure they are aware they need to stay in front of the mic, not turn their head too much etc&#xD;&#xA;- Get the PA speakers as close to the audience as you can, the less volume you need the better. You want the audience to be getting as much direct sound from the speakers as possible, not the sound reflecting from the walls of the room. If you have multiple speakers (more than 2) distribute them around the audience so everyone is roughly the same distance from a speaker.&#xD;&#xA;- Use a parametric EQ to tightly notch out the frequencies which the room naturally resonates at. &#xD;&#xA;- Roll off the lows as you already have. &#xD;&#xA;&#xD;&#xA;That's about it as far as I know... without spending loads of money!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23710" PostHistoryTypeId="2" PostId="14365" RevisionGUID="d8d64960-5365-4ebe-b8fa-295acd42cc3b" CreationDate="2012-06-19T15:07:19.660" UserId="2186" Text="Someone here mentioned they set plastic bags on fire and recorded the dripping plastic rushing by the mic. I don't remember how he said it sounded, but it might be suitable for the flames. Robin Hood (2010) used bees for a large arrow volley. I don't remember where I saw it. Might have been soundworkscollection.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="23711" PostHistoryTypeId="2" PostId="14366" RevisionGUID="4a62a90b-da3d-4cd6-a6e3-96a29467b8e4" CreationDate="2012-06-19T17:14:51.883" UserId="730" Text="Just go to www.tribesascend.com and download the game.  Its free to play.  All projectile loops you hear fly by you were made with this technique.  Or you can go to youtube.com and look up some tribes ascend videos." ContentLicense="CC BY-SA 3.0" />
  <row Id="23712" PostHistoryTypeId="2" PostId="14367" RevisionGUID="5701200a-fcb9-46de-b399-6bac5f6ce831" CreationDate="2012-06-19T23:38:24.987" UserId="6432" Text="Having just looked this up, I would definitely like to but the journey from London is a bit too long for me!&#xD;&#xA;&#xD;&#xA;I just listened to the stuff here:&#xD;&#xA;&#xD;&#xA;http://www.bbc.co.uk/nature/life/Magicicada&#xD;&#xA;&#xD;&#xA;&quot;So both both the 13 and 17 year cicadas have cycles that are prime numbers, this makes it difficult for predators to time their own population increases to match what the cicadas are up to&quot;&#xD;&#xA;&#xD;&#xA;That's some pretty amazing evolution.&#xD;&#xA;&#xD;&#xA;Be nice to hear some recordings if you get any.&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23713" PostHistoryTypeId="2" PostId="14368" RevisionGUID="6f8db056-159e-426e-bdfc-903c67fea267" CreationDate="2012-06-20T00:37:59.220" UserId="6411" Text="Since I left the state, I nominate @Shaun Farley. ;^P" ContentLicense="CC BY-SA 3.0" />
  <row Id="23714" PostHistoryTypeId="16" PostId="14368" RevisionGUID="6f8db056-159e-426e-bdfc-903c67fea267" CreationDate="2012-06-20T00:37:59.220" UserId="6411" />
  <row Id="23715" PostHistoryTypeId="2" PostId="14369" RevisionGUID="7c4a5c7a-ac7f-4462-9987-e75c6c283968" CreationDate="2012-06-20T01:00:53.143" UserId="3979" Text="You mention that he &quot;thinks&quot; it's heaven. I haven't read the script, but if's its not, you could do a blend between reality and dream. Part beautiful, or what he'd think is heaven, with a hint of truth in the distance.&#xD;&#xA;&#xD;&#xA;A fairly extreme TEST could be a large walk in refrigerator. One with a fairly quiet motor / AC, but with that cold 'wispy' air sound.. Pitch it up high and maybe dull the attack, with verb. This has made some interesting sounds for me personally. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23718" PostHistoryTypeId="2" PostId="14371" RevisionGUID="addef456-59f3-4a22-83e9-61594a0299a8" CreationDate="2012-06-20T10:18:21.850" UserId="3975" Text="I believe Pixar have used a product called shotgun which is fairly neat, although quite an intense learning curve.  Trello is also good, its quite general though but very flexible!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23719" PostHistoryTypeId="2" PostId="14372" RevisionGUID="c7869586-4869-4268-97ed-b9d045651105" CreationDate="2012-06-20T11:49:15.750" UserId="3981" Text="&#xD;&#xA;i keep the original wav without modification in folders like /[placename]/[detail][date]/.../[elaborated file name with date]&#xD;&#xA;&#xD;&#xA;for distribution per email or websites, i create a 320kbit mp3, optionally trimmed, faded in/out, +/- gain, high pass. (sometimes i have to use a clip fix... ;-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23720" PostHistoryTypeId="2" PostId="14373" RevisionGUID="eb9656c7-c932-49a8-9e4a-7fcbbc60c2c6" CreationDate="2012-06-20T15:07:44.537" UserId="2778" Text="Hey guys. I have been using Nuendo ever since i entered this field and now with time, i am moving to protools. This might sound a bit immature, but i have no idea about how to start up? Which imac/ mac book pro should i buy? which protools version is the best? What all hardware do you require to make it run smoothly? How can i get myself going on protools. I know these are all basic things i should be knowing, but its the first time i'l be working on a mac. &#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="23721" PostHistoryTypeId="1" PostId="14373" RevisionGUID="eb9656c7-c932-49a8-9e4a-7fcbbc60c2c6" CreationDate="2012-06-20T15:07:44.537" UserId="2778" Text="Starting from scratch." ContentLicense="CC BY-SA 3.0" />
  <row Id="23722" PostHistoryTypeId="3" PostId="14373" RevisionGUID="eb9656c7-c932-49a8-9e4a-7fcbbc60c2c6" CreationDate="2012-06-20T15:07:44.537" UserId="2778" Text="&lt;beginner&gt;&lt;newbie&gt;&lt;pro-tools&gt;&lt;starter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23723" PostHistoryTypeId="2" PostId="14374" RevisionGUID="f4d7d9f8-b643-4b77-88f8-40ac33667bb5" CreationDate="2012-06-20T16:21:20.090" UserDisplayName="user80" Text="First decide whether you want a desktop or a laptop.&#xD;&#xA;&#xD;&#xA;After that just purchase the model you can afford, all of the current iMacs and Macbook Pros will run Pro Tools 10.&#xD;&#xA;&#xD;&#xA;I run Pro Tools 10 on a 2.3 GHz i5 MacBook Pro and the software runs really smoothly.  I also use PT on a 4 year old iMac as well as a 6 year old Mac Pro, I even have PT running on a 5 year old Macbook.&#xD;&#xA;&#xD;&#xA;After that you will need an iLock, and that's all you need to get started.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23724" PostHistoryTypeId="5" PostId="14374" RevisionGUID="516f0d77-07f7-4cf3-8249-0a373bffd879" CreationDate="2012-06-20T16:52:29.993" UserDisplayName="user80" Comment="deleted 1 characters in body" Text="First decide whether you want a desktop or a laptop.&#xD;&#xA;&#xD;&#xA;After that just purchase the model you can afford, all of the current iMacs and MacBook Pros will run Pro Tools 10.&#xD;&#xA;&#xD;&#xA;I run Pro Tools 10 on a 2.3 GHz i5 MacBook Pro and the software runs really smoothly.  I also use PT on a 4 year old iMac as well as a 6 year old Mac Pro, I even have PT running on a 5 year old MacBook.&#xD;&#xA;&#xD;&#xA;After that you will need an iLok, and that's all you need to get started.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23725" PostHistoryTypeId="2" PostId="14375" RevisionGUID="bc55a2d5-3720-41ff-9959-b5d7e441f666" CreationDate="2012-06-20T18:01:30.380" UserId="3982" Text="The cost or anything does not matter, just want to know 5 best and most used of Boom mics, Lapel mics and HDD based recorders" ContentLicense="CC BY-SA 3.0" />
  <row Id="23726" PostHistoryTypeId="1" PostId="14375" RevisionGUID="bc55a2d5-3720-41ff-9959-b5d7e441f666" CreationDate="2012-06-20T18:01:30.380" UserId="3982" Text="5 most popular Boom mics, Lapel mics and HDD based recorders?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23727" PostHistoryTypeId="3" PostId="14375" RevisionGUID="bc55a2d5-3720-41ff-9959-b5d7e441f666" CreationDate="2012-06-20T18:01:30.380" UserId="3982" Text="&lt;boom&gt;&lt;lapel&gt;&lt;shotgun&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23731" PostHistoryTypeId="2" PostId="14377" RevisionGUID="2fba048b-f81b-40af-9bbc-63225d00cc08" CreationDate="2012-06-20T20:00:46.370" UserId="3444" Text="I cut and clean, for an immediate usable sound. Meaning de-noise, eq, sometimes light compression. If the sound requires more aggressive eq to smooth out freqs or noise, I don't hesitate. Whatever captures the essence of the sound. &#xD;&#xA;&#xD;&#xA;When time permits and a sound inspires, I'll tweak / processe it and create a new version(s) that will also be added in a different category. &#xD;&#xA;&#xD;&#xA;Ex. Wind_Aggressive_01&#xD;&#xA;Super_Duper_Whoosh_01" ContentLicense="CC BY-SA 3.0" />
  <row Id="23732" PostHistoryTypeId="2" PostId="14378" RevisionGUID="43c7320b-db10-4626-97cd-dd62f9b323a1" CreationDate="2012-06-20T22:04:05.947" UserId="3816" Text="Sup peps,&#xD;&#xA;&#xD;&#xA;Just wanted to discuss the use to templates in an everyday workflow and the pros and cons of working in such a manor...&#xD;&#xA;&#xD;&#xA;I have recently discovered that its very easy (not to mention fun) building a template for say 5.1 dialogue editing/mixing.. But once I started it, I got sucked into trying to make it water tight so it could be &quot;The Last Template I Would Ever Need&quot;. Like a Swiss army template. However it struck me that of coarse its an unachievable task as every project will be different with different needs and specifications... so how deep do you guys make your templates before you step back and say &quot;this will do!&quot;? Does anyone feel like they have a water tight template or do you prefer to just build your sessions from the scratch? Tem" ContentLicense="CC BY-SA 3.0" />
  <row Id="23733" PostHistoryTypeId="1" PostId="14378" RevisionGUID="43c7320b-db10-4626-97cd-dd62f9b323a1" CreationDate="2012-06-20T22:04:05.947" UserId="3816" Text="Water Tight Templates?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23734" PostHistoryTypeId="3" PostId="14378" RevisionGUID="43c7320b-db10-4626-97cd-dd62f9b323a1" CreationDate="2012-06-20T22:04:05.947" UserId="3816" Text="&lt;templates&gt;&lt;pro&gt;&lt;pro-tools&gt;&lt;mixing&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23738" PostHistoryTypeId="2" PostId="14380" RevisionGUID="07f3c454-fb4a-45f5-bc20-53da652305e1" CreationDate="2012-06-21T00:50:56.557" UserId="3444" Text="Good question! I have a folder containing all of my templates. They're often updated as I discover more efficient ways of doing things. My workflow is a constant evolution, so water doesn't work for me. &#xD;&#xA;&#xD;&#xA;If for example I have a Mix_Surround template and need to do a stereo mix, I simply duplicate it, adapt it to a stereo mix and save at as Mix_Stereo. I'm now ready to work and have a new template ready for the next time. &#xD;&#xA;&#xD;&#xA;There is no harm in having 5,10 + specific templates. In the long run you save yourself time. As your workflow changes and you discover tricks you'll want to incorporate them.&#xD;&#xA;&#xD;&#xA;Happy templating!&#xD;&#xA;&#xD;&#xA;Alex" ContentLicense="CC BY-SA 3.0" />
  <row Id="23739" PostHistoryTypeId="2" PostId="14381" RevisionGUID="7ce423a9-aabf-4c0f-8ae9-5e1104a89f00" CreationDate="2012-06-21T03:33:04.120" UserId="194" Text="everything I record goes into Izotope RX2 for inspection.&#xD;&#xA;&#xD;&#xA;weird bumps, hits, birds etc are all removed with spectral repair.  &#xD;&#xA;&#xD;&#xA;sometimes I'll do some subtractive eq, sometimes I'll do so pretty radically (ex, if I caught a door chime or whatever that has no tones under 400hz, I'll just chop everything off underneath that.&#xD;&#xA;&#xD;&#xA;sometimes I'll use the RX denoise algorithm on the tonal only (not affecting any broadband noise) setting to get rid of weird motors and drones that aren't part of my recording target.  Works well for city hum too.  The tonal setting leaves no audible artifacts and is very surgical.&#xD;&#xA;&#xD;&#xA;Sometimes I'll gain stuff up.&#xD;&#xA;&#xD;&#xA;slates are chopped off, and sections are exported into individual files if needed.&#xD;&#xA;&#xD;&#xA;Once the files are clean, I scan them into a temp soundminer database.  From there I rebuild the waveforms, add all of the metadata and photos, and them embed it all into the bwav header.&#xD;&#xA;&#xD;&#xA;from there the cleaned and tagged files are moved into a proper folder on our main sfx server.  They're then re-scanned into our main sfx database, which is distributed to the rest of the crew.&#xD;&#xA;&#xD;&#xA;The I'll send out an email generalizing the new sounds that are in the library." ContentLicense="CC BY-SA 3.0" />
  <row Id="23743" PostHistoryTypeId="2" PostId="14383" RevisionGUID="fdb1f56c-94b4-4d71-889d-36d8a2812efe" CreationDate="2012-06-21T05:02:25.697" UserId="6435" Text="I was talking to a studio owner friend a few weeks back and he said they'd been tweaking their 5.1 template for four months and it still wasn't just right. I'm still tweaking my templates as well. So don't beat yourself up too much." ContentLicense="CC BY-SA 3.0" />
  <row Id="23744" PostHistoryTypeId="2" PostId="14384" RevisionGUID="1336b16d-a08d-43fc-9786-2ece84f09319" CreationDate="2012-06-21T05:48:12.067" UserId="1228" Text="Templates is the only way I work - ensures efficiency and reliability.  I honestly can't begin to think of not working with them, especially for large feature film layouts.  I have various templates (DX, ADR, Foley, FX, BGz, Sub/Stem/PM layouts, etc), and some templates from studios I've worked with where the mixer has provided what they like to use and expect to see in a stage delivery - so on shows with those studios, I use their provided templates.  When I crew up with other people on a show I'm supervising, I give out a template to my editors which I'd like for them to use on the show.  Usually all these templates are just tracks, coloring, and naming - in some template cases, additionally bussing and and aux assignments are part of it.  Everything else though remains blank.  For plugins, I just know my go-to's and have made presets of them for certain things so I can quickly build a signal chain on the fly and tweak from there.&#xD;&#xA;&#xD;&#xA;You're right, every scenario is different.  Yet in my experience, I've found the variety to be not very much (at least for doing post sound), and in many cases you can easily conform a shows needs to fit within one of a few templates.&#xD;&#xA;&#xD;&#xA;On some cases I'll tweak a copy of the layout I make to use for a show, because you may have a show where for instance your BG layout it fine, but there's so much water/beach in the film, it's nice to have a dedicated 8 tracks for waves (versus water/ocean tones).  In these kinds of cases, I make a tweak o the layout only for the specific show in question.  But I always begin from a set of core templates and extrapolate from there if and when necessary - usually everything fits within the original template construct in my experience." ContentLicense="CC BY-SA 3.0" />
  <row Id="23749" PostHistoryTypeId="2" PostId="14386" RevisionGUID="cc7feec1-62aa-49db-a5d7-3a6067b6fd4d" CreationDate="2012-06-21T06:43:59.863" UserId="6499" Text="Trying to get some ideas on how to recreate the sound that comes out of those cheap motion led waterfalls, I have raw audio of waterfalls I have recorded, and some bird song to throw in there, but there is just a certain level of low quality :) that those do to the sound, kind of warbly or something.  Any ideas?  It is to play in the background of a couple of scenes and to be brought out at a few times to make a joke happen.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23750" PostHistoryTypeId="1" PostId="14386" RevisionGUID="cc7feec1-62aa-49db-a5d7-3a6067b6fd4d" CreationDate="2012-06-21T06:43:59.863" UserId="6499" Text="Motion Waterfall sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="23751" PostHistoryTypeId="3" PostId="14386" RevisionGUID="cc7feec1-62aa-49db-a5d7-3a6067b6fd4d" CreationDate="2012-06-21T06:43:59.863" UserId="6499" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23752" PostHistoryTypeId="2" PostId="14387" RevisionGUID="20322fe2-62a1-4f5b-b549-63818d0f812e" CreationDate="2012-06-21T08:00:07.923" UserId="1049" Text="I've ended up getting some great results from recording a spinning bike wheel and using it in short bursts with some pitch shifting and EQing to get a cicada-like sound. I've also used a pitch-shifted electric shaver as a mosquito buzz! Still got a few more things to try out, thanks again people for your suggestions they've been great help and inspiration!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23753" PostHistoryTypeId="2" PostId="14388" RevisionGUID="184e22d6-a011-47bf-8b4a-ac4f813be2d7" CreationDate="2012-06-21T08:11:47.353" UserId="1049" Text="I tend to keep two types: completely raw recordings, and/or cleaned recordings. &#xD;&#xA;&#xD;&#xA;It depends on what the full recording contained as to whether I'll keep the entire raw; if I've captured some potentially useful sounds that weren't the main subject of the recording then I'll file them away in folders that describe the general recording session content. Otherwise I'll cut the file down to the captured noise of interest and store that as a raw.   &#xD;&#xA;&#xD;&#xA;My 'cleaning' usually involves some slight EQ and hiss/noise reduction, which tidies them up nicely. Recently the places I've been recording have unfortunately been closer to motorways/main roads than I'd have liked so the above 'cleaning' is vital to remove traffic drone. It's these cleaned files that I'll file away in my 'actual' library for more regular use." ContentLicense="CC BY-SA 3.0" />
  <row Id="23754" PostHistoryTypeId="2" PostId="14389" RevisionGUID="51b03ab1-cadb-4d84-9d6b-5b374b6740be" CreationDate="2012-06-21T08:17:03.983" UserId="1049" Text="If you've got a bit more cash to spend, I seriously advise looking into getting the [reFX Nexus 2][1] plugin with the SID expansion.&#xD;&#xA;&#xD;&#xA;If you like making electronic music then the Nexus 2 is an amazing plugin to have generally, and well worth the money.&#xD;&#xA;&#xD;&#xA;[Have a listen here for a demo of the SID extension.][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://refx.com/products/nexus/summary/&#xD;&#xA;  [2]: http://cdn.refxstatic.com/mp3/nexus/exp_SID.mp3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23755" PostHistoryTypeId="2" PostId="14390" RevisionGUID="964accbb-5e60-4073-b0a3-55c402280876" CreationDate="2012-06-21T08:50:26.540" UserId="1216" Text="Hey,&#xD;&#xA;&#xD;&#xA;Nice little experiment! Most of these kinds of devices have very low quality soundchips in them. So my advice would be to tweak the typical quality parameters like bit reduction and samplerate and create combfilters or slowly flanging it. But keep it a steady sound, because the samples are very short in those tiny chips.&#xD;&#xA;&#xD;&#xA;Have fun&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23756" PostHistoryTypeId="5" PostId="1386" RevisionGUID="c5548e21-98f8-4855-bb1d-c81c03db4fc7" CreationDate="2012-06-21T09:14:56.297" UserId="37" Comment="updated image href" Text="**you stand 3% chance of powering it via USB.** &#xD;&#xA;&#xD;&#xA;if that works, the unit can be somewhat likely fixed...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;about this false economy thing, time and effort into account, you might be better off just shelling out for a new one.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;very little online in terms of pcb photos , but from what i see as pcb design approach, your best bet is there -is- an element that was hopefully fried instead of the main IC in there..&#xD;&#xA;&#xD;&#xA;p.s. i would most definitely salvage these babies.&#xD;&#xA;![zoom mics][1]&#xD;&#xA;&#xD;&#xA;  [1]: http://www.radio.uqam.ca/ambisonic/images/h2_02.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="23758" PostHistoryTypeId="2" PostId="14392" RevisionGUID="fb31a032-598d-49d7-8bb9-e3aefbef030c" CreationDate="2012-06-21T10:41:20.810" UserId="238" Text="You could try worldizing your waterfall/birdsong soundscape using some kind of low-fi recording/playback device. There are many cheap toy recorders out there which might just do the trick. You could also try re-recording the playback from a mobile phone. &#xD;&#xA;&#xD;&#xA;Toy recorder example - www.amazon.com/gp/aw/d/B0015Z6B34&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23759" PostHistoryTypeId="2" PostId="14393" RevisionGUID="1d6bbaeb-d2aa-44ee-af22-d23f1d7abd16" CreationDate="2012-06-21T15:11:33.457" UserId="6499" Text="So after some goofing around and using http://www.youtube.com/watch?v=WXptp7ZUeIk as a rough reference.  This is what I came up with last night.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/the-verlotta-project/sets/waterfall-phototest&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The &quot;dry&quot; version is of the water pre speaker effecting and the wet version being post effects.&#xD;&#xA;&#xD;&#xA;Have not added any reverb to this because that will happen later down the line.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I think the wet version accents the birdsong a bit to much.  I arrived at this by some eq, running it through noise reduction filters to introduce some artifacting, and then goofing in speakerphone.  &#xD;&#xA;Is there another way to introduce the noise reduction filter artifacts without actually running it through them?&#xD;&#xA;&#xD;&#xA;I want to worldize it instead of speakerphone, but my home is really noisy as a recording enviroment unfortunantly.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23760" PostHistoryTypeId="2" PostId="14394" RevisionGUID="57816c28-d7a6-4aa3-880e-7a7ad6210263" CreationDate="2012-06-21T15:41:21.543" UserId="339" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;I find myself once again asking for your help with a project.&#xD;&#xA;Currently, I'm editing sound fx for a feature film, and there's a rather large scene (8 or 9 minutes aprox) taking place in a house party. The catch is, the house is in the middle of nowhere. My problem doesn't comes from traffic filtering or anything, but instead with the lack of reverb from the walls.&#xD;&#xA;This garden is open to the wild, so, no walls at all. I've yet to find a garden party ambience where there isn't added reverb from adjacent walls.&#xD;&#xA;On top of it, there isn't much people at the party, so I believe that maybe a crowd of 10 would be perfect, given that that same crowd of 10 will be in front stereo, center channel (another take) and surround stereo (yet another take).&#xD;&#xA;&#xD;&#xA;So, to make things clear...Do you guys have this kind of ambience lying around in your libraries? And if so, could you spare a busy worker with some of that tracks? Smaller crowds are welcome too!&#xD;&#xA;&#xD;&#xA;I should add that we have nor the time or money to call a group walla recording for this.&#xD;&#xA;&#xD;&#xA;Thanks again!&#xD;&#xA;&#xD;&#xA;Gon.-" ContentLicense="CC BY-SA 3.0" />
  <row Id="23761" PostHistoryTypeId="1" PostId="14394" RevisionGUID="57816c28-d7a6-4aa3-880e-7a7ad6210263" CreationDate="2012-06-21T15:41:21.543" UserId="339" Text="Outdoor Crowd Party Walla request" ContentLicense="CC BY-SA 3.0" />
  <row Id="23762" PostHistoryTypeId="3" PostId="14394" RevisionGUID="57816c28-d7a6-4aa3-880e-7a7ad6210263" CreationDate="2012-06-21T15:41:21.543" UserId="339" Text="&lt;crowd&gt;&lt;walla&gt;&lt;request&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23763" PostHistoryTypeId="2" PostId="14395" RevisionGUID="908cd43f-f18d-413a-ac1c-6424b83bb20f" CreationDate="2012-06-21T17:17:28.973" UserId="6519" Text="[**Cosmic boys - icecream VST**][1]&#xD;&#xA;&#xD;&#xA; 8-bit, Chip-style, Mono/Poly synthesizer.&#xD;&#xA;&#xD;&#xA;**Features:**&#xD;&#xA;&#xD;&#xA;    Dual Oscillators.&#xD;&#xA;    4 Octave per OSC.&#xD;&#xA;    Osc2 Fine tune.&#xD;&#xA;    Step Sequencer Pitch/Filter.&#xD;&#xA;    Bitcrusher 8-bit, 16-bit, 24-bit, 32-bit.&#xD;&#xA;    Filter Section.&#xD;&#xA;    Amp/Filter ADSR.&#xD;&#xA;    Harmonics Switch.&#xD;&#xA;    Reverb/Delay.&#xD;&#xA;    X/Y Pad.&#xD;&#xA;    Glide and Glide Rate.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.kvraudio.com/product/icecream_by_cosmic_boys" ContentLicense="CC BY-SA 3.0" />
  <row Id="23764" PostHistoryTypeId="2" PostId="14396" RevisionGUID="45c0cace-6f87-48c9-971f-4d10d620781b" CreationDate="2012-06-21T22:18:14.240" UserId="3444" Text="Having access to someone like that would certainly be a privilege! Like Shawn, I tend to us my voice as a base layer especially when creating actual creature sounds or animals. I may eventually omit them from the final mix, but to get the initial intensity, tone and direction it's much easier for me this way. I then gather material and build layers until I feel it's sitting right.&#xD;&#xA;&#xD;&#xA;If the project would call for a pro, or a pro can provide the sound you're looking for, i'd definitely push in that direction ;)&#xD;&#xA;&#xD;&#xA;Alex   " ContentLicense="CC BY-SA 3.0" />
  <row Id="23765" PostHistoryTypeId="2" PostId="14397" RevisionGUID="d82aeb4f-a611-46eb-b65b-5c351b23b29f" CreationDate="2012-06-22T07:17:31.587" UserId="6524" Text="I've only been able to experiment recording IR's in big reverberant places with balloon pops, I'm curious how you would go about recording some in places where a balloon can't be used like in a vacuum cleaner tube. I don't have access to use a starter pistol or studio monitors, so what other options are available that you guy's recommend I should try out?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23766" PostHistoryTypeId="1" PostId="14397" RevisionGUID="d82aeb4f-a611-46eb-b65b-5c351b23b29f" CreationDate="2012-06-22T07:17:31.587" UserId="6524" Text="How Do You Record Impulse Responses in Small Places?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23767" PostHistoryTypeId="3" PostId="14397" RevisionGUID="d82aeb4f-a611-46eb-b65b-5c351b23b29f" CreationDate="2012-06-22T07:17:31.587" UserId="6524" Text="&lt;convolution&gt;&lt;reverb&gt;&lt;impulse&gt;&lt;response&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23768" PostHistoryTypeId="2" PostId="14398" RevisionGUID="290a71d5-b201-4ec6-a157-38c2dac65954" CreationDate="2012-06-22T09:03:22.910" UserId="1216" Text="Hi Gon, &#xD;&#xA;First of all, I think it would help to let us know which language the people are talking. Furthermore, if there's such a small group of people, is it really necessary to make it sound like a typical party? I tend to talk much softer when a party is quieter.   &#xD;&#xA;People behave differently in smaller groups, lower volume, lower pitch. It's not just reverb that will kill the soundtrack, also the 'tone of voice' is very important.  &#xD;&#xA; &#xD;&#xA;Also how much nature sounds can you use to mimic the surroundings and still make it sound like a party? What type of film is it? Arthouse or thriller? And what type of mood should the scene have. Did the sound supervisor or the director give you more information on that?&#xD;&#xA;&#xD;&#xA;Also, check out other films with the same setting/mood, analyse their approach and maybe this will help you out.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23769" PostHistoryTypeId="2" PostId="14399" RevisionGUID="b5bdbacc-204c-4039-a4c3-3efc7fe79b75" CreationDate="2012-06-22T11:26:26.403" UserId="857" Text="Hello group! May be one of you has once already heard this intense buzzing sound coming from this bridge. I hope you like the audiovisual stuff I posted in FB. http://www.facebook.com/yoursounds On SoundCloud you may listen as well. Regards, Eckhard Kuchenbecker" ContentLicense="CC BY-SA 3.0" />
  <row Id="23770" PostHistoryTypeId="1" PostId="14399" RevisionGUID="b5bdbacc-204c-4039-a4c3-3efc7fe79b75" CreationDate="2012-06-22T11:26:26.403" UserId="857" Text="Fascinating! The buzzing bridge in Lisbon" ContentLicense="CC BY-SA 3.0" />
  <row Id="23771" PostHistoryTypeId="3" PostId="14399" RevisionGUID="b5bdbacc-204c-4039-a4c3-3efc7fe79b75" CreationDate="2012-06-22T11:26:26.403" UserId="857" Text="&lt;field-recording&gt;&lt;city&gt;&lt;traffic&gt;&lt;documentation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23772" PostHistoryTypeId="2" PostId="14400" RevisionGUID="b55023dd-9551-4660-8266-285e944744fc" CreationDate="2012-06-22T12:11:17.750" UserId="1216" Text="Hi All,&#xD;&#xA;&#xD;&#xA;I know this is an old thread but I wanted to give my solution to the same problem Steve had.&#xD;&#xA;Yesterday I bought the CloudFTP by Hyperdrive, a simple wifi basestation with 1 USB input.   &#xD;&#xA;It has a battery and I use it to attach my recorders and backup to my iPad over Wifi. And using Goodreader I can backup the same file to an external harddrive. It works like a charm and it's not as expensive as any of the other solutions I've read here (and no I'm not affiliated with hyperdrive in any way).&#xD;&#xA;&#xD;&#xA;I hope someone else can make good use of it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23773" PostHistoryTypeId="2" PostId="14401" RevisionGUID="570b1f94-57e7-4990-927e-23f060afa23b" CreationDate="2012-06-22T17:05:12.287" UserId="1049" Text="Hi all. This isn't so much of a specific question, but more of a general discussion about a topic...&#xD;&#xA;&#xD;&#xA;I've recently started to read a little about Procedural Audio in game design, after seeing an article about AudioGaming tools on Designing Sound. I intially mis-interpreted the term and thought it meant procedural as in 'proceeding' or 'evolving', but it's actually as in 'procedure'; from my understanding it's a way of randomly generating/synthesising 'realistic' sounds (rather than random mish-mash of sounds etc.) using a collection of low-budget (in processing/memory terms) algorithms. &#xD;&#xA;&#xD;&#xA;Examples I've heard of so far are for the creation of things like weather or energy weapons where the sounds heard either evolve uniquely over time for a continuous ambient effect such as the sound of rain, or vary slightly each time they're created, such as when firing a pulse rifle, and so on.&#xD;&#xA;&#xD;&#xA;When implemented well using such techniques and tools can result in a much more natural and diverse 'sound' to a game, where many effects will never be quite the same, which in many cases can be far better than a sound engine firing off a randomly selected sample from a (finite) bank and slightly altering it's pitch and gain.&#xD;&#xA;&#xD;&#xA;Of course the use of such tools seems to be restricted by how well certain types of sound can be (realistically) synthesised, and memory and processing power consumption.&#xD;&#xA;&#xD;&#xA;Does anyone here use procedural tools such as those by AudioGaming in game sound design, or indeed other applications? What kind of things have you used them for, and how do you go about implementing them into the game/sound engine etc? " ContentLicense="CC BY-SA 3.0" />
  <row Id="23774" PostHistoryTypeId="1" PostId="14401" RevisionGUID="570b1f94-57e7-4990-927e-23f060afa23b" CreationDate="2012-06-22T17:05:12.287" UserId="1049" Text="Procedural Audio (in Game Sound Design)? - General Discussion" ContentLicense="CC BY-SA 3.0" />
  <row Id="23775" PostHistoryTypeId="3" PostId="14401" RevisionGUID="570b1f94-57e7-4990-927e-23f060afa23b" CreationDate="2012-06-22T17:05:12.287" UserId="1049" Text="&lt;gameaudio&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23776" PostHistoryTypeId="5" PostId="14401" RevisionGUID="8d4037e3-1a19-46bc-bd55-596a2d6f2922" CreationDate="2012-06-22T17:16:23.530" UserId="1049" Comment="added 65 characters in body" Text="Hi all. This isn't so much of a specific question, but more of a general discussion about a topic...&#xD;&#xA;&#xD;&#xA;I've recently started to read a little about Procedural Audio in game design, after seeing an article about AudioGaming tools on Designing Sound. I intially mis-interpreted the term and thought it meant procedural as in 'proceeding' or 'evolving', but it's actually as in 'procedure'; from my understanding it's a way of randomly generating/synthesising 'realistic' sounds (rather than random mish-mash of sounds etc.) using a collection of low-budget (in processing/memory terms) algorithms.&#xD;&#xA;&#xD;&#xA;Examples I've heard of so far are for the creation of things like weather or energy weapons where the sounds heard either evolve uniquely over time for a continuous ambient effect such as the sound of rain, or vary slightly each time they're created, such as when firing a pulse rifle, and so on.&#xD;&#xA;&#xD;&#xA;When implemented well using such techniques and tools can result in a much more natural and diverse 'sound' to a game, where many effects will never be quite the same, which in many cases can be far better than a sound engine firing off a randomly selected sample from a (finite) bank and slightly altering it's pitch and gain.&#xD;&#xA;&#xD;&#xA;Of course the use of such tools seems to be restricted by how well certain types of sound can be (realistically) synthesised, and memory and processing power consumption.&#xD;&#xA;&#xD;&#xA;Does anyone here use procedural tools such as those by AudioGaming in game sound design, or indeed other applications? What kind of things have you used them for, and how do you go about implementing them into the game/sound engine etc? And please feel free to correct me if I've misunderstood anything!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23777" PostHistoryTypeId="2" PostId="14402" RevisionGUID="7aba5bec-7abb-451b-afa4-462351ce208e" CreationDate="2012-06-22T17:44:14.560" UserId="3987" Text="If you are interested in procedural audio, take some time to peruse Andy Farnell's website:&#xD;&#xA;&#xD;&#xA;[http://obiwannabe.co.uk][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://obiwannabe.co.uk&#xD;&#xA;&#xD;&#xA;One of the best resources on the net.  His book &quot;Designing Sound&quot; is also fantastic." ContentLicense="CC BY-SA 3.0" />
  <row Id="23778" PostHistoryTypeId="2" PostId="14403" RevisionGUID="9b074780-d7f3-4ec4-bd1d-54e43bd69a25" CreationDate="2012-06-22T17:48:16.927" UserId="3988" Text="I have impulsed a number of ways. Balloon pops, belt snaps and tone sweeps through speakers.&#xD;&#xA;I like the speaker sweeps the best. Sound Forge comes with acoustic mirror and you can find the tone sweeps on their site. Acoustic mirror can deconvolve after you record the sweep.&#xD;&#xA;Voxengo deconvoler is another great one that you can even batch process. It can also generate the tone sweeps.&#xD;&#xA;&#xD;&#xA;For small items I have used a car coax speaker or headphone. I suppose you could record a click and use that instead of tone sweeping. That would be that fastest way. Just make a square wave full scale for about 5 milliseconds and leave a second of space at the end.&#xD;&#xA;What I do is put a mic (typically omni to get the full range) in one end of a vacuum tube and the other a headphone\speaker. Record the tone sweep and then deconvolve. &#xD;&#xA;Since mics are small you can put the mic in whatever you want and have a regular speaker fire at it. Works fine.&#xD;&#xA;&#xD;&#xA;BTW&#xD;&#xA;What I have heard with the balloon pops is a strange response because the air is imploding then exploding. The tone sweeps have a more true response. &#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA;Drew &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23779" PostHistoryTypeId="2" PostId="14404" RevisionGUID="ff81c4c3-9391-41f0-a611-f2dee271981f" CreationDate="2012-06-22T18:49:36.623" UserId="730" Text="Lets keep this going guys, I would love to hear some more odd recording sessions that people have had." ContentLicense="CC BY-SA 3.0" />
  <row Id="23780" PostHistoryTypeId="2" PostId="14405" RevisionGUID="d570291f-60b0-4925-9ed1-ea5eb9237169" CreationDate="2012-06-22T19:36:54.540" UserId="3989" Text="Hi everyone, &#xD;&#xA;For my Masters final project I am creating a sample pack of car sounds. I've been making test recordings and taking advice wherever I  can get it - there are some very friendly and helpful people about!&#xD;&#xA;As part of the project I've put together a Market research survey to find out what people want and expect from a sample library.&#xD;&#xA;&#xD;&#xA;I wondered if you guys might have the time (5 mins) to help me with my survey. To thank you for your help I am planning on holding a draw to win the sample pack once it has been completed.&#xD;&#xA;&#xD;&#xA;Here's the link: http://tinyurl.com/sfxsurvey&#xD;&#xA;&#xD;&#xA;Your help is much appreciated. Thanks in advance everyone!&#xD;&#xA;Rich." ContentLicense="CC BY-SA 3.0" />
  <row Id="23781" PostHistoryTypeId="1" PostId="14405" RevisionGUID="d570291f-60b0-4925-9ed1-ea5eb9237169" CreationDate="2012-06-22T19:36:54.540" UserId="3989" Text="I'm creating a sound effects pack..." ContentLicense="CC BY-SA 3.0" />
  <row Id="23782" PostHistoryTypeId="3" PostId="14405" RevisionGUID="d570291f-60b0-4925-9ed1-ea5eb9237169" CreationDate="2012-06-22T19:36:54.540" UserId="3989" Text="&lt;sound-effects&gt;&lt;sound-libraries&gt;&lt;sound-effects-recording&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23783" PostHistoryTypeId="2" PostId="14406" RevisionGUID="ce989af2-97c3-4357-8700-d9e5a70f678e" CreationDate="2012-06-22T21:47:28.210" UserId="3754" Text="Getting a lav mic and dropping it down a scaffold tube, you can get some very cool windy tubey noises which sound cool :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23784" PostHistoryTypeId="2" PostId="14407" RevisionGUID="85945e91-9231-4634-9422-e2e3cc9fde01" CreationDate="2012-06-22T21:54:16.227" UserId="3179" Text="It's a growing field of research and there's clearly much interest into procedural audio, because of its interactive/dynamic and synthesized nature. I wouldn't speak out about the use of computational resources, because P.A. hasn't seen much real-world use yet. In some contexts it's seen efficient compared to audio samples in terms of computational resources (and the sound model's accuracy and usage of resources can be tweaked). And there's an increasing amount of computational power available in multi-core CPUs.&#xD;&#xA;&#xD;&#xA;In terms of integration, there are barely other tools than APIs. AudioGaming is working on the front line in integrating pre-packaged P.A. solutions to existing and commonly used audio middleware so they can be utilized by audio content creators with ease. If you're familiar with Pure Data, there's also Libpd (http://libpd.cc/), which enables the use of Pd as an &quot;audio engine&quot; and real-time synthesizer in small games/apps.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23785" PostHistoryTypeId="5" PostId="14407" RevisionGUID="d5146510-9cbd-4006-a018-65d3e0b85b04" CreationDate="2012-06-22T22:11:33.897" UserId="3179" Comment="added 343 characters in body; added 95 characters in body; added 11 characters in body" Text="It's a growing field of research and there's clearly much interest into procedural audio, because of its interactive/dynamic and synthesized nature. P.A. is mainly proposed to be a great solution for anything that's repetitive and for creating common &quot;boilerplate&quot; sounds such as footsteps and ambient noises that consume time, which the busy audio designer could use for more important sounds. But as Andy Farnell demonstrates in his book &quot;Designing Sound&quot; and on [his site][1], sound synthesis can be quite versatile. &#xD;&#xA;&#xD;&#xA;I wouldn't speak out about the use of computational resources, because P.A. hasn't seen much real-world use yet. In some contexts it's seen efficient compared to audio samples in terms of computational resources (and the sound model's accuracy and usage of resources can be tweaked). And there's an increasing amount of computational power available in multi-core CPUs.&#xD;&#xA;&#xD;&#xA;In terms of integration, there are barely other tools than APIs. AudioGaming is working on the front line in integrating pre-packaged P.A. solutions to existing and commonly used audio middleware so they can be utilized by audio content creators with ease. If you're familiar with Pure Data, there's also Libpd (http://libpd.cc/), which enables the use of Pd as an &quot;audio engine&quot; and real-time synthesizer in small games/apps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://obiwannabe.co.uk/html/sound-design/sound-design-audio.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="23786" PostHistoryTypeId="5" PostId="14407" RevisionGUID="e8026ca3-cf96-486e-9195-c13e9c6ea0b7" CreationDate="2012-06-23T06:00:58.133" UserId="3179" Comment="added 233 characters in body; added 31 characters in body" Text="It's a growing field of research and there's clearly much interest into procedural audio, because of its interactive/dynamic and synthesized nature. P.A. is mainly proposed to be a great solution for anything that's repetitive and for creating common &quot;boilerplate&quot; sounds such as footsteps and ambient noises that consume time, which the busy audio designer could use for more important sounds. But as Andy Farnell demonstrates in his book &quot;Designing Sound&quot; and on [his site][1], sound synthesis can be quite versatile. &#xD;&#xA;&#xD;&#xA;I wouldn't speak out about the use of computational resources, because P.A. hasn't seen much real-world use yet. In some contexts it's seen efficient compared to audio samples in terms of computational resources (and the sound model's accuracy and usage of resources can be tweaked). And there's an increasing amount of computational power available in multi-core CPUs.&#xD;&#xA;&#xD;&#xA;In terms of integration, there are barely other tools than APIs. AudioGaming is working on the front line in integrating pre-packaged P.A. solutions to existing and commonly used audio middleware so they can be utilized by audio content creators with ease. If you're familiar with Pure Data, there's also Libpd ([http://libpd.cc/][2]), which enables the use of Pd as an &quot;audio engine&quot; and real-time synthesizer in small games/apps.&#xD;&#xA;&#xD;&#xA;There's a &quot;Procedural Audio Interest Group&quot; here: [http://www.procedural-audio.com/][3] and forums [http://www.procedural-audio.com/forum/][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://obiwannabe.co.uk/html/sound-design/sound-design-audio.html&#xD;&#xA;  [2]: http://libpd.cc/&#xD;&#xA;  [3]: http://www.procedural-audio.com/&#xD;&#xA;  [4]: http://www.procedural-audio.com/forum/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23787" PostHistoryTypeId="5" PostId="14407" RevisionGUID="9b2298fe-f135-4198-ab3d-10fe31b5e45f" CreationDate="2012-06-23T06:56:33.953" UserId="3179" Comment="added 92 characters in body; added 8 characters in body" Text="It's a growing field of research and there's clearly much interest into procedural audio, because of its interactive/dynamic and synthesized nature. P.A. is mainly proposed to be a great solution for anything that's repetitive and for creating common &quot;boilerplate&quot; sounds such as footsteps and ambient noises that consume time, which the busy audio designer could use for more important sounds. But as Andy Farnell demonstrates in his book &quot;Designing Sound&quot; and on [his site][1], sound synthesis can be quite versatile. &#xD;&#xA;&#xD;&#xA;I wouldn't speak out about the use of computational resources, because P.A. hasn't seen much real-world use yet. In some contexts it's seen efficient compared to audio samples in terms of computational resources, because P.A. doesn't consume as much memory and code doesn't need much storage space. The sound model's accuracy and usage of computational resources can also be tweaked. And there's an increasing amount of computational power available in multi-core CPUs.&#xD;&#xA;&#xD;&#xA;In terms of integration, there are barely other tools than APIs. AudioGaming is working on the front line in integrating pre-packaged P.A. solutions to existing and commonly used audio middleware so they can be utilized by audio content creators with ease. If you're familiar with Pure Data, there's also Libpd ([http://libpd.cc/][2]), which enables the use of Pd as an &quot;audio engine&quot; and real-time synthesizer in small games/apps.&#xD;&#xA;&#xD;&#xA;There's a &quot;Procedural Audio Interest Group&quot; here: [http://www.procedural-audio.com/][3] and forums [http://www.procedural-audio.com/forum/][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://obiwannabe.co.uk/html/sound-design/sound-design-audio.html&#xD;&#xA;  [2]: http://libpd.cc/&#xD;&#xA;  [3]: http://www.procedural-audio.com/&#xD;&#xA;  [4]: http://www.procedural-audio.com/forum/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23788" PostHistoryTypeId="5" PostId="14407" RevisionGUID="6865e878-0c27-49a9-b526-8f297dac5bde" CreationDate="2012-06-23T08:42:28.567" UserId="3179" Comment="added 95 characters in body" Text="It's a growing field of research and there's clearly much interest into procedural audio, because of its interactive/dynamic and synthesized nature. P.A. is mainly proposed to be a great solution for anything that's repetitive and for creating common &quot;boilerplate&quot; sounds such as footsteps and ambient noises that consume time, which the busy audio designer could use for more important sounds. But as Andy Farnell demonstrates in his book &quot;Designing Sound&quot; and on [his site][1], and as numerous [papers][2] describe, sound synthesis can be quite versatile. &#xD;&#xA;&#xD;&#xA;I wouldn't speak out about the use of computational resources, because P.A. hasn't seen much real-world use yet. In some contexts it's seen efficient compared to audio samples in terms of computational resources, because P.A. doesn't consume as much memory and code doesn't need much storage space. The sound model's accuracy and usage of computational resources can also be tweaked. And there's an increasing amount of computational power available in multi-core processors.&#xD;&#xA;&#xD;&#xA;In terms of integration, there are barely other tools than APIs. AudioGaming is working on the front line in integrating pre-packaged P.A. solutions to existing and commonly used audio middleware so they can be utilized by audio content creators with ease. If you're familiar with Pure Data, there's also Libpd ([http://libpd.cc/][3]), which enables the use of Pd as an &quot;audio engine&quot; and real-time synthesizer in small games/apps.&#xD;&#xA;&#xD;&#xA;There's a &quot;Procedural Audio Interest Group&quot; here: [http://www.procedural-audio.com/][4] and forums [http://www.procedural-audio.com/forum/][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://obiwannabe.co.uk/html/sound-design/sound-design-audio.html&#xD;&#xA;  [2]: http://www.procedural-audio.com/papers.htm&#xD;&#xA;  [3]: http://libpd.cc/&#xD;&#xA;  [4]: http://www.procedural-audio.com/&#xD;&#xA;  [5]: http://www.procedural-audio.com/forum/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23791" PostHistoryTypeId="2" PostId="14410" RevisionGUID="75406a27-ebde-4ab7-bd91-0d76f319fdb7" CreationDate="2012-06-23T20:22:44.843" UserId="3979" Text="It doesn't explain much, but the Prometheus special features on soundworkscollection.com talks a bit about the IP's made for the space helmets to make the ADR more fluent and easier. It shows a pic of the setup within the helmet (press pause). You'll see two mics at about 90 degrees and they used tone sweeps from a small speaker.&#xD;&#xA;The practice of creating IP's still completely baffles me...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23792" PostHistoryTypeId="2" PostId="14411" RevisionGUID="06f4d3a6-52ed-4d2d-9948-a2c8be51afa0" CreationDate="2012-06-24T00:04:57.167" UserId="3979" Text="This may be a really stupid question, but here goes....&#xD;&#xA;&#xD;&#xA;I'm fairly new to sound design for film. That is films that are going to be in theaters. I'm a little confused as to the relationship between the sound designer, and the re-mixer.&#xD;&#xA;&#xD;&#xA;Does anyone design sounds in 5.1 ?? Or is it always in stereo?&#xD;&#xA;&#xD;&#xA;I was working on a film where the camera does a transition between scenes that starts above water, dives in, crawls through a 'water maze' and comes out in a  swimming pool. I created a really cool pallet of sounds where there are some different sounds in the surround speakers than the front speakers that change and so on, plus used a phasing technique / automation to give the water a real sense of movement. It sounds great, but when you smash it to stereo it doesn't come across. I asked sound designer David Sonnenschein a similar question about different sounds and techniques and he said to be open to the possibility that the mixer will do a better job than me, and to use his strengths (which I agree with).&#xD;&#xA;&#xD;&#xA;Is it mainly about giving all the sounds on separate tracks over to the re-mixer, and have good communication with him about your ideas and how he can make them better?&#xD;&#xA;&#xD;&#xA;Also - if some of you are making sounds in 5.1 are you printing the LFE for the re-mixer? Do you label each clip with a name, and where-ish it should be? (i.e. : front, rear, lfe, sides, etc)&#xD;&#xA;&#xD;&#xA;Sorry for the long winded inquiry. I'm obviously a little confused and most books / articles I've read haven't touched on this part of the process. THANKS!!! " ContentLicense="CC BY-SA 3.0" />
  <row Id="23793" PostHistoryTypeId="1" PostId="14411" RevisionGUID="06f4d3a6-52ed-4d2d-9948-a2c8be51afa0" CreationDate="2012-06-24T00:04:57.167" UserId="3979" Text="Sound Design &amp; 5.1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23794" PostHistoryTypeId="3" PostId="14411" RevisionGUID="06f4d3a6-52ed-4d2d-9948-a2c8be51afa0" CreationDate="2012-06-24T00:04:57.167" UserId="3979" Text="&lt;5.1&gt;&lt;workflow&gt;&lt;production-mixing&gt;&lt;relationship&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23795" PostHistoryTypeId="2" PostId="14412" RevisionGUID="130ac7af-36fa-4b88-82c7-cf1d854a87e4" CreationDate="2012-06-24T02:15:49.110" UserId="3990" Text="hi everyone, really enjoying the social sound experience.&#xD;&#xA;just to let you all know, i operate  a professional ambience recording recording service specifically catering to designers/editors who need authentic Australian ambiences. it's called Sonic *Australis*.&#xD;&#xA;any suggestions, needs or thoughts on this service are happily fielded. &#xD;&#xA;looking forward to being of service to you.&#xD;&#xA;all the best, kingsley" ContentLicense="CC BY-SA 3.0" />
  <row Id="23796" PostHistoryTypeId="1" PostId="14412" RevisionGUID="130ac7af-36fa-4b88-82c7-cf1d854a87e4" CreationDate="2012-06-24T02:15:49.110" UserId="3990" Text="Anyone needing Australian Ambiences?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23797" PostHistoryTypeId="3" PostId="14412" RevisionGUID="130ac7af-36fa-4b88-82c7-cf1d854a87e4" CreationDate="2012-06-24T02:15:49.110" UserId="3990" Text="&lt;australia&gt;&lt;ambience&gt;&lt;sonic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23799" PostHistoryTypeId="2" PostId="14414" RevisionGUID="55d67756-1b39-49ae-92fe-7fe0232439ae" CreationDate="2012-06-24T19:52:00.997" UserId="3894" Text="I know it's not advisable to keep microphones in suspension systems that use rubber bands; the bands stretch and need to to replaced.&#xD;&#xA;&#xD;&#xA;But what about storing microphones in the Rycote Kits with the newer Lyre suspension? It's plastic and seems very sturdy and less prone to damage. &#xD;&#xA;&#xD;&#xA;I'm thinking of keeping my mics in the blimp, as I'll be using them at least 4 times a week this summer. It seems like taking the mics in and out of the kit each time would not only be tedious but unnecessary and would increase the risk of scratching the mics' bodies. &#xD;&#xA;&#xD;&#xA;As a side note, I just got the Rycote AE Windscreen Kit to run Schoeps MS. It's a terrific kit, especially with the connbox. It's also smaller than I was expecting. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23800" PostHistoryTypeId="1" PostId="14414" RevisionGUID="55d67756-1b39-49ae-92fe-7fe0232439ae" CreationDate="2012-06-24T19:52:00.997" UserId="3894" Text="Storing Microphones in Rycote Blimp with Lyre Suspension " ContentLicense="CC BY-SA 3.0" />
  <row Id="23801" PostHistoryTypeId="3" PostId="14414" RevisionGUID="55d67756-1b39-49ae-92fe-7fe0232439ae" CreationDate="2012-06-24T19:52:00.997" UserId="3894" Text="&lt;rycote&gt;&lt;storage&gt;&lt;windscreens&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23802" PostHistoryTypeId="2" PostId="14415" RevisionGUID="e7965386-5483-4a2d-ba80-e12ef5c83699" CreationDate="2012-06-24T20:15:08.530" UserId="6462" Text="Hey. Great question, actually it's something i've been thinking about for a while as well.&#xD;&#xA;I'm beginning to think about removing the mic from the windscreen at the end of the day's shooting. My mic (Rode NTG3) came with a great tube to store the mic. The standard lyres that came with my windjammer have already become quite slack and I think that's due to keeping the mic in them all the time. I've just upgraded to the stronger (Grey) Lyres and they are much better.&#xD;&#xA;I think that removing the mic and storing it well will ultimately extend the life of both the mic and the windshield." ContentLicense="CC BY-SA 3.0" />
  <row Id="23803" PostHistoryTypeId="2" PostId="14416" RevisionGUID="8f054c7b-a22e-41b9-9ef2-e756ed8b3e6b" CreationDate="2012-06-24T23:44:46.323" UserId="3145" Text="You need a decent website and establish your presence (no pun intended) with Google.  I did a search for &quot;Australian backgrounds&quot;, &quot;Austrian backgrounds sound&quot;, and &quot;Australian sound effects&quot; and your name never came up.  If I was looking for authentic Australian effects Google would be step one. Right now I would think Sounddogs was the only source. I think there's a market for what you have, just get your name on the search engines. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23804" PostHistoryTypeId="2" PostId="14417" RevisionGUID="3d3c33f9-2a37-4803-a478-4c7b72597e97" CreationDate="2012-06-24T23:52:16.007" UserId="842" Text="I practically never remove my MKH40 from the Rycote-zeppelin while not on location, and there mostly only to replace it with a 416, and so far, two years with this configuration, it hasn't slacked even a little.&#xD;&#xA;&#xD;&#xA;With the 416 though, I'm not as sure. It's pretty heavy, so I don't really dare keeping it there indefinitely, I normally keeps it in its case when not using it for extended period of time. I might be wrong, but my impression is that it's much better to try and keep the Rycote Lyre-zeppelin upright when not using it and it contains a heavy mic like the 416, when I bought it I kept in under close observation for these kind of things, and it seemed keeping it on the side with the 416 in it gave it a slight warp, though it quickly returned to its original position again (it's memory-plastic), whereas when kept upright not much happened at all. It's much less mobile vertically than horizontally, mind you. But as I said, stuffed with a MKH40 or similarily light mic it hasn't warped even in the slightest :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23805" PostHistoryTypeId="2" PostId="14418" RevisionGUID="abe8f14f-f35d-4d5e-8e08-05ce7da163d0" CreationDate="2012-06-25T00:25:08.767" UserId="842" Text="I actually often design sounds in 5 channels, in rare cases 5.1, but you must be absolutely positively certain why when doing it. Most sounds I actually do in mono, and others in stereo, always adapted to what works best for the project, both in style and, for exaple if there are to be any reverb or general processing.&#xD;&#xA;&#xD;&#xA;How I do it depends on the sound. Say for example that I'm making a gunshot, then I might have a slap-back in the rear speakers. Here it's very important to give the mixer the possibility to affect the balance between front and rear. In another project the lead fell down a steel construct and landed in a huge pile of garbage. Here the crap and broken glass surrounded the viewers like it was the lead itself, so I didn't do a mixdown at all as to fit it perfectly in the rest of the mix. In yet another kind of setting I had to make a chase-scene with a demented rapist killer hunting a girld through the woods. Here everything is completely split up in sub-stems completely free to pan independently all over the sound-filed.&#xD;&#xA;&#xD;&#xA;But as I said, in many cases mono is absolutely king. The more channels you use, the less control you have over it in mix (equals a pissed-off mixer), and simple acoustics and delay-effects might very well be all the width a sound needs to fit nice and well in a mix. A rule of thumb; never do ANYTHING you don't really NEED to do because there are no other ways, always keep it as simple as possible. On the other side, never chicken out on a complicated method either if it seems it's the best way to make the sound much better and you have the time. When doing things complicated, try your best to let the sound stay in separate parts, so they can be tweaked in mix. Learn to develop your judgment, and always consult the mix-technician whenever in doubt.&#xD;&#xA;&#xD;&#xA;When it comes to LFE and labeling, different people have different approaches to this. I always label spatial channels with where they're supposed to come from. Frankly I can see no reason why not to. When it comes to LFE, you probably deliver in either AAF, OMF, or Pro Tools/Nuendo/Pyramix native format anyway, so keep the LFE separated for each effect actually using it, but keep it strictly in sync. Chances are pretty great the mixer will ditch pretty much of it anyway depending on how generous you've been with it. Bass, especially sub-bass (below 80Hz), is one of the hardest things to get absolutely right." ContentLicense="CC BY-SA 3.0" />
  <row Id="23806" PostHistoryTypeId="2" PostId="14419" RevisionGUID="8b10053d-fd17-4672-938d-a3b4f586de62" CreationDate="2012-06-25T00:53:25.710" UserId="1228" Text="I agree with Christian too.  As a short and direct answer, I may work in a stero or 5.1 environment, but I always cut my elements as mono or stereo and give them a virtual premix (e.g. leveling, panning).  Let the stage care of the rest.&#xD;&#xA;&#xD;&#xA;If I have to crash down my edits for certain technical reasons, I'll crash them down strategically for what's intended to be in the front or rear (in this case it doesn't matter so much where its exactly going to sit or get dynamically panned, but more or less something will either sit in a front or in the rear), and label it as such, such as:&#xD;&#xA;&#xD;&#xA; - Whooshes - Front&#xD;&#xA; - Whooshes - Rear&#xD;&#xA; - Booms - Front&#xD;&#xA; - Booms - Rear&#xD;&#xA;&#xD;&#xA;etc.&#xD;&#xA;&#xD;&#xA;Then on the region group name all add something like ** PAN TO REAR!!!! **&#xD;&#xA;&#xD;&#xA;Usually though crashing things down doesn't happen so often in my experience with design work, as opposed to Hard FX.  So in that case it's just working with mono and stereos, trying to premix them as best I can and let the stage take over to make the final call." ContentLicense="CC BY-SA 3.0" />
  <row Id="23807" PostHistoryTypeId="5" PostId="14419" RevisionGUID="95052806-1177-4534-b22a-e28f82867a76" CreationDate="2012-06-25T00:58:36.777" UserId="1228" Comment="added 852 characters in body" Text="I agree with Christian too.  As a short and direct answer, I may work in a stero or 5.1 environment, but I always cut my elements as mono or stereo and give them a virtual premix (e.g. leveling, panning).  Let the stage care of the rest.&#xD;&#xA;&#xD;&#xA;If I have to crash down my edits for certain technical reasons, I'll crash them down strategically for what's intended to be in the front or rear (in this case it doesn't matter so much where its exactly going to sit or get dynamically panned, but more or less something will either sit in a front or in the rear), and label it as such, such as:&#xD;&#xA;&#xD;&#xA; - Whooshes - Front&#xD;&#xA; - Whooshes - Rear&#xD;&#xA; - Booms - Front&#xD;&#xA; - Booms - Rear&#xD;&#xA;&#xD;&#xA;etc.&#xD;&#xA;&#xD;&#xA;Then on the region group name all add something like ** PAN TO REAR!!!! **&#xD;&#xA;&#xD;&#xA;Usually though crashing things down doesn't happen so often in my experience with design work, as opposed to Hard FX.  So in that case it's just working with mono and stereos, trying to premix them as best I can and let the stage take over to make the final call.&#xD;&#xA;&#xD;&#xA;For LFE, I create a dedicated channel (or 2) for LFE only - If anything from hard FX or design has low end which I specifically want to be featured on the LFE channel, I'll duplicate that sound to the LFE track and drop it by 10dB (to account for the Dolby spec and not blow the stage's sub).  Sometimes though will be only a FX edit dedicated to LFE, in which I don't have to duplicate and such.  This is a case by case scenario depending upon whether an FX is LFE_only, or a full frequency FX has extra LFE content I want to send.  That way the mixer can easily patch that entire channel in and they're ready to roll for the entire show without having to play with a bunch of sends - if they want to pepper in addition LFE content beyond the hard LFE material, they could always route additional low end content from the main FX tracks as needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="23808" PostHistoryTypeId="2" PostId="14420" RevisionGUID="b8b36530-8992-43a7-8787-ecacd1c26c47" CreationDate="2012-06-25T05:08:41.397" UserId="3991" Text="Hello all! I'm working on a film set in Iraq. I've done some research but I'm having a hard time finding out what the natural environment would sound like realistically in regards to animal and insect life. I know what the desert sounds like here - but i imagine it may be quite different there. Is it quiet with few insects at night, or is it deafening, is the day quiet because animals and insects are avoiding the sun or is it full of life? (that sort of thing).&#xD;&#xA;&#xD;&#xA;If anyone has any experience or thoughts, I would greatly appreciate the knowledge - thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23809" PostHistoryTypeId="1" PostId="14420" RevisionGUID="b8b36530-8992-43a7-8787-ecacd1c26c47" CreationDate="2012-06-25T05:08:41.397" UserId="3991" Text="Sounds of Iraq - natural environment" ContentLicense="CC BY-SA 3.0" />
  <row Id="23810" PostHistoryTypeId="3" PostId="14420" RevisionGUID="b8b36530-8992-43a7-8787-ecacd1c26c47" CreationDate="2012-06-25T05:08:41.397" UserId="3991" Text="&lt;background&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23811" PostHistoryTypeId="2" PostId="14421" RevisionGUID="9b22e579-9fab-479c-bc12-9bf6ba5b1cea" CreationDate="2012-06-25T06:07:13.190" UserId="1228" Text="While I have never been before so I don't know first-hand, this may be helpful as a very general jumping-off point:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/List_of_birds_of_Iraq&#xD;&#xA;&#xD;&#xA;And then cross-reference that against this for some samples (ideas): http://www.allaboutbirds.org/guide/search&#xD;&#xA;&#xD;&#xA;I don't know for sure regarding insects, so hopefully somebody can chime in with more experience.  It may be good to check out some films and/or documentaries set out in this locales just to get some cinematic perspective (in terms of how others have played these geographic locations before).  If I were to tage an educated guess though, a large majority of the racket of birds/insects would be in the morning when they wake up and are hungry (morning, like 5AM-8AM), in around bodies of water.  I guess that outside of it, the activity would be relatively sparse.  Again I could be wrong, I'm just going of my desert experiences.&#xD;&#xA;&#xD;&#xA;My guess though, like with many desert soundscapes, is that at the end of the day its going to be all about the wind choices and textures and how you use them contextually." ContentLicense="CC BY-SA 3.0" />
  <row Id="23814" PostHistoryTypeId="2" PostId="14424" RevisionGUID="d09557de-1c29-4c84-acef-2a1451fe3ab9" CreationDate="2012-06-25T11:46:25.043" UserId="3994" Text="There is great info in Dialogue Editing for Motion Pictures" ContentLicense="CC BY-SA 3.0" />
  <row Id="23816" PostHistoryTypeId="2" PostId="14425" RevisionGUID="0bfdd096-26f0-45ef-a2fa-310f9b5e3d1b" CreationDate="2012-06-25T15:16:00.703" UserId="3995" Text="Hi i want to buy my first portable recorder for making SFX and field recording. I'm thinking to get Marantz PMD-661 with Sound Devices MixPre or go with a Tascam HD-P2 instead (without MixPre)  &#xD;&#xA;&#xD;&#xA;So has anyone got experience with these recorders and MixPre? To have the least noise possible when recording is the most important thing for me, so i want to choose really good preamp. So that's the issue.&#xD;&#xA;&#xD;&#xA;It would be nice if i could hear another options also.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23817" PostHistoryTypeId="1" PostId="14425" RevisionGUID="0bfdd096-26f0-45ef-a2fa-310f9b5e3d1b" CreationDate="2012-06-25T15:16:00.703" UserId="3995" Text="Marantz PMD-661 &amp; SD MixPre or Tascam HD-P2" ContentLicense="CC BY-SA 3.0" />
  <row Id="23818" PostHistoryTypeId="3" PostId="14425" RevisionGUID="0bfdd096-26f0-45ef-a2fa-310f9b5e3d1b" CreationDate="2012-06-25T15:16:00.703" UserId="3995" Text="&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23820" PostHistoryTypeId="6" PostId="14072" RevisionGUID="1e8668f8-e66a-4846-a2f1-f7100fa30d34" CreationDate="2012-06-25T17:57:40.930" UserId="730" Comment="edited tags" Text="&lt;sound-effects-recording&gt;&lt;foley&gt;&lt;sound-design&gt;&lt;odd-recordings&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23821" PostHistoryTypeId="2" PostId="14427" RevisionGUID="73fd295f-0184-4adc-9670-2b290531bcf6" CreationDate="2012-06-25T18:31:55.027" UserId="3285" Text="Hello,&#xD;&#xA;&#xD;&#xA;I have been proposed to editing of voices for a video game (on protools), knowing that I come from the cinema, the timing and amount of files are not the same, do you have any advice or working methods ?&#xD;&#xA;And what kind of plugins do you use ?&#xD;&#xA;&#xD;&#xA;Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="23822" PostHistoryTypeId="1" PostId="14427" RevisionGUID="73fd295f-0184-4adc-9670-2b290531bcf6" CreationDate="2012-06-25T18:31:55.027" UserId="3285" Text="Editing voices in video game" ContentLicense="CC BY-SA 3.0" />
  <row Id="23823" PostHistoryTypeId="3" PostId="14427" RevisionGUID="73fd295f-0184-4adc-9670-2b290531bcf6" CreationDate="2012-06-25T18:31:55.027" UserId="3285" Text="&lt;editing&gt;&lt;voice&gt;&lt;video&gt;&lt;game&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23824" PostHistoryTypeId="2" PostId="14428" RevisionGUID="cecbc1e5-05d2-4686-9d45-03a59115003b" CreationDate="2012-06-25T18:40:14.713" UserId="3998" Text="Hey guys! I am in my final term at Vancouver Film School and working on my final piece. With that I am trying to find good sounds for tiny and big animal footsteps.&#xD;&#xA;I've currently used the &quot;Rode NTG3&quot; shotgun with no backup room mic.&#xD;&#xA;&#xD;&#xA;You can see the video I am doing here:&#xD;&#xA;http://vimeo.com/41205967&#xD;&#xA;&#xD;&#xA;My question is as follows: &#xD;&#xA;1) Are there any specific mics that will work better for small tinny/sounds? Usually just become tinny/spiky and not very nice in a final mix *(We use mostly ME66, Rode NTG3 etc)*&#xD;&#xA;2) Good things to use for bigger sounding steps for i.e bears?&#xD;&#xA;3) Should I do perspective changes while recording with 2x mics, or tweak that in post with verb and just volume/eq? *(I used 2 plungers on a small cloth piece on top of a dirt pit (make sound less sharp and more natural))*&#xD;&#xA;&#xD;&#xA;Should animals have any &quot;cloth&quot; movement? If so, any suggestions for what sounds furry?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any suggestions would be well appreciated!&#xD;&#xA;Thanks!&#xD;&#xA;J" ContentLicense="CC BY-SA 3.0" />
  <row Id="23825" PostHistoryTypeId="1" PostId="14428" RevisionGUID="cecbc1e5-05d2-4686-9d45-03a59115003b" CreationDate="2012-06-25T18:40:14.713" UserId="3998" Text="Animal Fox, bear, mouse footsteps and &quot;cloth&quot; recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="23826" PostHistoryTypeId="3" PostId="14428" RevisionGUID="cecbc1e5-05d2-4686-9d45-03a59115003b" CreationDate="2012-06-25T18:40:14.713" UserId="3998" Text="&lt;foley&gt;&lt;recording&gt;&lt;tips&gt;&lt;tricks&gt;&lt;footsteps&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23827" PostHistoryTypeId="2" PostId="14429" RevisionGUID="d057de37-4cc1-4eae-9996-f656dcc04f70" CreationDate="2012-06-25T19:10:18.357" UserId="3997" Text="Hi, AudioGaming developer here (which by the way is French, so please forgive my poor english skills) !&#xD;&#xA;&#xD;&#xA;PA has been an ignored tool for a very long time, and because of that we sometimes have to struggle a bit against long-established habits, creation pipelines and existing content. But it really just is one more tool, not really designed to replace everything at once but to expand possibilities.&#xD;&#xA;&#xD;&#xA;As mentioned earlier, Andy Farnell is currently one of the key people for this topic, as is [Nicolas Fournel][1] who maintains procedural-audio.com&#xD;&#xA;&#xD;&#xA;As you wrote it, one of the most proeminent problem with PA is computational resources ; not really because of the required horsepower : modern hardware could handle most cases perfectly if there was no display...but mostly because of what the audio part gets usually allocated - for most common PC/consoles games it is below 5% CPU. Displaying shiny things just eat too much, and audio is always the first domain being crippled.&#xD;&#xA;&#xD;&#xA;That being said, this is currently changing because available CPU power increases way faster than available memory size - memory is expensive, low latence memory even more.&#xD;&#xA;For instance Microsoft demonstrated a few interesting methods in their commercial game [Crackdown 2][2], and last year Wwise released SoundSeed, a &quot;whooosh&quot; sounds tool - AudioWind being OF COURSE way better, as you could expect !&#xD;&#xA;&#xD;&#xA;As for PureData, this is a great prototyping tool - Andy Farnell's works rely mostly on it and his patches are [freely available][3].&#xD;&#xA;However I don't really believe it to be suitable for real, in-game usage - especially on console. As Amaury stated in the Designingsound.com interview, we use it a lot for quick sketches ; but we had to develop our own optimised tool suite to easily target different platforms/architectures/needs...&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2012/06/procedural-audio-an-interview-with-nicolas-fournel/&#xD;&#xA;  [2]: http://dl.acm.org/citation.cfm?id=1944755&#xD;&#xA;  [3]: http://mitpress.mit.edu/designingsound/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23828" PostHistoryTypeId="2" PostId="14430" RevisionGUID="09a16371-9bf7-4cad-86de-4d34c1e04014" CreationDate="2012-06-25T19:10:28.083" UserId="6462" Text="I would go with the Marantz PMD-661 and MixPre over the Tascam. The HD-P2 is nice but the preamps are not that clean and it eats through batteries. The benefit of the 661 and Mix pre is that it's a modular system, so you can use the 661 standalone if you want and the MixPre can be used as the front end of other equipment. You get excellent Sound Devices preamps and if you go for the MixPre-D then (i think) you can go digitally into the 661." ContentLicense="CC BY-SA 3.0" />
  <row Id="23835" PostHistoryTypeId="2" PostId="14433" RevisionGUID="581b984e-e512-434e-8590-6a1282f2bf3e" CreationDate="2012-06-25T19:48:43.763" UserId="1153" Text="Hey NAS,&#xD;&#xA;&#xD;&#xA;For a first project I thought this was pretty good! The main thing that stood out for me that needs work is the use of ambience: I felt this should have been applied more so, particularly in the second half of the video. It worked fine without ambience up until 00:41 where Liam Neeson is in the snow at which point you bring it in. I felt from then on though you should have kept the ambiences (albeit at a lower vol level than the ice winds) as after having it in it then becomes very obvious without it in the mix. Having it there would help bring the audience in and increase the intensity of the heighten scenes towards the end of the clip.&#xD;&#xA;&#xD;&#xA;Hope that helps, once again though good job!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23836" PostHistoryTypeId="2" PostId="14434" RevisionGUID="0b207eee-5719-4256-a578-2e41a85b3ac9" CreationDate="2012-06-25T19:51:19.390" UserId="180" Text="Marantz all the way. I have both, and even though the TASCAM specs out with better/ more features, it spends time collecting dust in my closet... when it's not in the shop getting repaired.&#xD;&#xA;&#xD;&#xA;I got my modded PMD-661 through OADE brothers, http://www.oade.com/ and highly -- HIGHLY -- recommend checking them out before buying one off the shelf. It's super quiet and has a nice, clean, detailed sound. Not only that, but you'll save some money from not buying the Mix Pre (I know... I know...) and can spend more on a nice mic.&#xD;&#xA;&#xD;&#xA;-andy" ContentLicense="CC BY-SA 3.0" />
  <row Id="23837" PostHistoryTypeId="2" PostId="14435" RevisionGUID="3a4ad76d-6bdf-4cef-a4b0-00143f3a6a36" CreationDate="2012-06-25T20:28:28.280" UserId="3995" Text="Thanks guys, for now, PMD-661 and MixPre-D combination looks better. &#xD;&#xA;&#xD;&#xA;@Andy, your advice seems good for saving some money to get mic as you said but i live outside the USA right now, and i had some problems with Fedex, so OADE brothers is not a good alternative in that situation.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23838" PostHistoryTypeId="2" PostId="14436" RevisionGUID="3c35593f-52f1-409f-8656-7a89275f8447" CreationDate="2012-06-25T20:34:47.837" UserId="3999" Text="  What companies do you recommend? Where have people had good experiences? Going to start making cold calls. Is this a good idea? Thanks for your help." ContentLicense="CC BY-SA 3.0" />
  <row Id="23839" PostHistoryTypeId="1" PostId="14436" RevisionGUID="3c35593f-52f1-409f-8656-7a89275f8447" CreationDate="2012-06-25T20:34:47.837" UserId="3999" Text="Internship in New York City" ContentLicense="CC BY-SA 3.0" />
  <row Id="23840" PostHistoryTypeId="3" PostId="14436" RevisionGUID="3c35593f-52f1-409f-8656-7a89275f8447" CreationDate="2012-06-25T20:34:47.837" UserId="3999" Text="&lt;new&gt;&lt;york&gt;&lt;city&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23841" PostHistoryTypeId="2" PostId="14437" RevisionGUID="3b261de3-474c-4515-b5ca-feef966c34c5" CreationDate="2012-06-25T20:37:22.520" UserId="3995" Text="By the way, for saving some money i'm thinking also Shure FP24 for Marantz PMD-661 instead of MixPre-D. What's your opinion about that? Is there a big difference between MixPre and FP24? " ContentLicense="CC BY-SA 3.0" />
  <row Id="23842" PostHistoryTypeId="2" PostId="14438" RevisionGUID="e05b5b58-a446-4098-bf93-b0c66ceadb50" CreationDate="2012-06-25T20:55:11.367" UserId="3444" Text="What is you mandate, to simply edit, tops and tails or do you also need to rename or master the files? Your workflow will change considerably considering what you need to do :) If you're steering clear of levels you may also want to consider a stereo editor, much faster to fly through files with key commands. Pro Tools is great if you need to do multiple tasks, which require automation and a way to layer your history.&#xD;&#xA;&#xD;&#xA;As far as plug-ins goes nothing really comes to mind for editing, you'll need to become familiar with your trim selection and fade key commands though ;P&#xD;&#xA;&#xD;&#xA;Let me know if you have any additional questions regarding this!&#xD;&#xA;&#xD;&#xA;Alex" ContentLicense="CC BY-SA 3.0" />
  <row Id="23843" PostHistoryTypeId="2" PostId="14439" RevisionGUID="36815101-0f72-429c-81f8-d06a260ff18c" CreationDate="2012-06-25T21:10:22.470" UserId="221" Text="I use a PMD670 with a MixPre, its a stunning combo, I use for both drama and documentary recording as well as sound effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="23844" PostHistoryTypeId="2" PostId="14440" RevisionGUID="bb60af9e-30b6-43e1-b7b8-013affcaee44" CreationDate="2012-06-25T21:14:40.000" UserId="6462" Text="The OADE upgrade is always an option, but only if you are in the US as the postage and import duty cost to Europe will be pretty high.&#xD;&#xA;As for the Shure preamp, i've heard some things about it but never used it myself. If it's a choice between that and the SD MixPre then the MixPre wins hands down, i've been using SD equipment for a long time now and I love how their preamps sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="23845" PostHistoryTypeId="2" PostId="14441" RevisionGUID="28222642-dffb-4725-87ad-34f97fa14cea" CreationDate="2012-06-25T21:26:04.937" UserId="6411" Text="So I see there's a slew of questions about the logistics of backing up, but as Hudzee cases start stacking up, I'm interested in how you keep track of what's on each drive.&#xD;&#xA;&#xD;&#xA;I have been manually creating an excel spreadsheet for years and while it's good to have that connection with it, it's tedious and time consuming. I'm thinking there's got to be a better way. Is there a backup utility that keeps and outputs a log?  Is there an app that can scan a drive and create a database based on the existing files? Since my file structure is Client &gt;Project &gt;Session File, it'd be awesome if there's an automated way to extract all that info along with the creation and last modified dates from the Session File and create a new database file that I can append with notes.&#xD;&#xA;&#xD;&#xA;What do you g(uys + als) know? Lay some knowledge on me. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23846" PostHistoryTypeId="1" PostId="14441" RevisionGUID="28222642-dffb-4725-87ad-34f97fa14cea" CreationDate="2012-06-25T21:26:04.937" UserId="6411" Text="Keeping track of backups" ContentLicense="CC BY-SA 3.0" />
  <row Id="23847" PostHistoryTypeId="3" PostId="14441" RevisionGUID="28222642-dffb-4725-87ad-34f97fa14cea" CreationDate="2012-06-25T21:26:04.937" UserId="6411" Text="&lt;backups&gt;&lt;database&gt;&lt;best-practice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23848" PostHistoryTypeId="2" PostId="14442" RevisionGUID="d1dce0cd-e261-4d67-a753-c4b5886ccad6" CreationDate="2012-06-25T21:28:07.280" UserId="3444" Text="Sounds like a fun project! First off Stavro offered some good links and advise. It's a good thing you're researching this, environments is so crucial. Nailing the right sound isn't always obvious. Every area of the world has it's own &quot;typical&quot; insect and bird sounds. I've travelled throughout the Sahara desert and it was one of the quietest outdoor areas i've ever heard. The occasional camel or bird in the distant. &#xD;&#xA;&#xD;&#xA;I would also suggest using movies like Jarhead, Hurt Locker, etc for references. &#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;Alex&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23849" PostHistoryTypeId="2" PostId="14443" RevisionGUID="690b234e-2b09-4ae7-8913-3a70e31560e4" CreationDate="2012-06-25T22:25:57.130" UserId="253" Text="I think Nutmeg Post and Gramercy Post take in a lot of interns, so they'd be good places to try. If you want to shoot for the top (and why not?), you should also try C5 and Sound One. Also, off the top of my head, you could try Soundtrack NY. &#xD;&#xA;&#xD;&#xA;And, if you're turned down, it's a good idea to politely ask if they can recommend anyone else for you to contact. That way, it's more of a lukewarm call because you can say &quot;XXX at XXX Studio told me i should talk to you&quot;.&#xD;&#xA;&#xD;&#xA;Best of luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23850" PostHistoryTypeId="2" PostId="14444" RevisionGUID="99e772cd-48f9-4835-8cbd-704d14e91a29" CreationDate="2012-06-25T22:51:04.440" UserId="3975" Text="Hey Guys&#xD;&#xA;&#xD;&#xA;Been working on re-creating some sound design to an animation for practise and feel like I am at a good point to get some feedback from people.  If you get a chance, its just over 1 minute long, have a watch/listen and let me know what you think.  &#xD;&#xA;&#xD;&#xA;The deflecting arrow scene I feel needs work and is the weakest point.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=BuQg7R4nxtQ&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23851" PostHistoryTypeId="1" PostId="14444" RevisionGUID="99e772cd-48f9-4835-8cbd-704d14e91a29" CreationDate="2012-06-25T22:51:04.440" UserId="3975" Text="Cinematic Sound Design Project" ContentLicense="CC BY-SA 3.0" />
  <row Id="23852" PostHistoryTypeId="3" PostId="14444" RevisionGUID="99e772cd-48f9-4835-8cbd-704d14e91a29" CreationDate="2012-06-25T22:51:04.440" UserId="3975" Text="&lt;portfolio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23853" PostHistoryTypeId="2" PostId="14445" RevisionGUID="acb27e80-5e30-4371-a7a3-4a1b63de8123" CreationDate="2012-06-25T23:16:40.727" UserId="3979" Text="I agree with georgi.m. As far as sound goes, I believe that once you record it it's yours. Otherwise you'd already have lawsuits all over the place. Unless it's an iconic sound (maybe like a mac computer booting up), or melody. Then you may have problems, or if you use someone else's recording of the same sound (to a percentage degree) like Geori.m mentioned. VERY interesting questions though...." ContentLicense="CC BY-SA 3.0" />
  <row Id="23854" PostHistoryTypeId="5" PostId="14444" RevisionGUID="4dee2d9a-7257-4065-b127-c3b7b72e96d8" CreationDate="2012-06-25T23:16:54.670" UserId="3975" Comment="Wrong link!!!!" Text="Hey Guys&#xD;&#xA;&#xD;&#xA;Been working on re-creating some sound design to an animation for practise and feel like I am at a good point to get some feedback from people.  If you get a chance, its just over 1 minute long, have a watch/listen and let me know what you think.  &#xD;&#xA;&#xD;&#xA;The deflecting arrow scene I feel needs work and is the weakest point.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=5CodXfC7iK4&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23855" PostHistoryTypeId="2" PostId="14446" RevisionGUID="14c09c45-90fb-4117-ae05-f913a21e5c9c" CreationDate="2012-06-26T04:23:24.383" UserId="29" Text="Everyone's approach to this is gonna be different, but here's my personal ultra-low tech approach, certainly not pretending it's the best.&#xD;&#xA;&#xD;&#xA;First of all, every project gets its own HD. Every project has a three-letter code (for reference, billing, etc.) - OK, three letters plus a digit if it's a long-term account/client. Every project has an IDENTICAL high-level directory structure, standardized from years of experience (e.g.: Invoices, Contracts, ReferenceFromClient, Assets, Sketches, PictureCuts, Sound, etc., with many subfolders below each). This way, I know where to look across every project for a file of type *[foo]*. Every hard drive sits with a huge three-letter code and a year on the spine of its Hudzee, visible from across the room; my archive search engine is my eyeball. I keep zero paperwork beyond those three characters for the project code. I laser-print little paper labels with specific project start/end dates and a more detailed subtitle of what the project actually was. If I'm especially liking specific sounds for a specific project, I'll enter that 3-letter code as metadata into SoundMiner, to make future searching for specific assets or elements much easier.&#xD;&#xA;&#xD;&#xA;Secondly, my daily/weekly backups (onsite) and monthly (offsite) backups are just mirrors of my working drives, so again, no paperwork or records kept there." ContentLicense="CC BY-SA 3.0" />
  <row Id="23856" PostHistoryTypeId="2" PostId="14447" RevisionGUID="b33c9836-119b-4d28-989d-59d0e630ddb4" CreationDate="2012-06-26T06:31:03.917" UserId="202" Text="Did you try gobbler? It can backup your sessions online, but what might interest you is that it scans your drives for projects and make a database, that is searchable without the connecting the original drives. It even lists all the media in your Audio Files folder.&#xD;&#xA;And supports not only PT projects, but a growing list of DAWs and other software." ContentLicense="CC BY-SA 3.0" />
  <row Id="23857" PostHistoryTypeId="2" PostId="14448" RevisionGUID="2af39fc2-cc8e-482b-81cb-a5aad727b412" CreationDate="2012-06-26T07:05:14.690" UserId="407" Text="I agree with @Alexander Saba that there are a few factors that need to be considered before deciding on the how to tackle the files. Quantity of files is a major factor here, also the playback behavior, e.g. whether they are randomly fired in the game or if there is a sequencial order to the dialogue. Another factor, is the quality and consistency the original recordings, sometimes the dialogue has been recorded with months apart sometimes in different studios and are supposed to sit back to back in game. Other things to consider is how much processing is being done in engine in what you need to add into the file yourself. OK having said all that here is my 2 cents.&#xD;&#xA;&#xD;&#xA;If there are not so many files, the dialogue needs to fit in a narrative flow, there is a lot of detailed editing work/plugin work or you have just the raw recordings, Pro Tools and just bite the bullet with the amount time it takes to render them out at the end.&#xD;&#xA;&#xD;&#xA;If you have thousands of files which have been basically edited and named but need leveling and basic trimming I use Izotope RX2 advanced (I used to use sound forge but prefer the sound of RX). I personally don't batch unless I am really 100% confident of the results, I prefer to listen and edit each file individually - this takes a lot more time but also means that your not going to get any embarrassing bad edits into the game." ContentLicense="CC BY-SA 3.0" />
  <row Id="23858" PostHistoryTypeId="5" PostId="14448" RevisionGUID="47875773-075d-40c4-9b1f-700628154412" CreationDate="2012-06-26T10:22:04.947" UserId="407" Comment="added 3 characters in body" Text="I agree with @Alexander Saba that there are a few factors that need to be considered before deciding on the how to tackle the files. Quantity of files is a major factor here, also the playback behavior, e.g. whether they are randomly fired in the game or if there is a sequencial order to the dialogue. Another factor, is the quality and consistency the original recordings, sometimes the dialogue has been recorded with months apart sometimes in different studios and are supposed to sit back to back in game. Other things to consider is how much processing is being done in engine in what you need to add into the file yourself. OK having said all that here is my 2 cents.&#xD;&#xA;&#xD;&#xA;If there are not so many files, the dialogue needs to fit in a narrative flow, there is a lot of detailed editing work/plugin work or you have just the raw recordings use Pro Tools and just bite the bullet with the amount time it takes to render them out at the end.&#xD;&#xA;&#xD;&#xA;If you have thousands of files which have been basically edited and named but need leveling and basic trimming I use Izotope RX2 advanced (I used to use sound forge but prefer the sound of RX). I personally don't batch unless I am really 100% confident of the results, I prefer to listen and edit each file individually - this takes a lot more time but also means that your not going to get any embarrassing bad edits into the game." ContentLicense="CC BY-SA 3.0" />
  <row Id="23859" PostHistoryTypeId="2" PostId="14449" RevisionGUID="b85d98ae-0c36-403b-9dc4-91ff3dde347a" CreationDate="2012-06-26T11:01:01.743" UserDisplayName="user80" Text="I am very happy with our PMD661, and our old PMD660 (the previous model) have never broken down.  I also use SD pre-amps as front ends for an R-44 as well as the PMD661 and find that they make an ideal combination." ContentLicense="CC BY-SA 3.0" />
  <row Id="23860" PostHistoryTypeId="2" PostId="14450" RevisionGUID="3b98c60c-657b-490b-beb1-c7abc17919b0" CreationDate="2012-06-26T12:43:12.127" UserId="3967" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;just finishing off my degree, and want to do my dissertation on audience perception of real and unreal sound in film. But need to find a way to measure it using a practical project.&#xD;&#xA;&#xD;&#xA;any ideas?&#xD;&#xA;&#xD;&#xA;i was thinking of making a short film and have the viewer fill out a survey to see what sounds they believed were enhanced, replaced or put in during post.&#xD;&#xA;i dont feel this will be accurate though, as the viewer will be aware of the task in hand and, will consciously listen to all the sounds in the clip" ContentLicense="CC BY-SA 3.0" />
  <row Id="23861" PostHistoryTypeId="1" PostId="14450" RevisionGUID="3b98c60c-657b-490b-beb1-c7abc17919b0" CreationDate="2012-06-26T12:43:12.127" UserId="3967" Text="dissertation help. perception of sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="23862" PostHistoryTypeId="3" PostId="14450" RevisionGUID="3b98c60c-657b-490b-beb1-c7abc17919b0" CreationDate="2012-06-26T12:43:12.127" UserId="3967" Text="&lt;dissertation&gt;&lt;film-sound-design&gt;&lt;perception&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23863" PostHistoryTypeId="5" PostId="14447" RevisionGUID="67b4fa4f-139d-42b3-b14c-f9d88ddf8172" CreationDate="2012-06-26T12:50:31.047" UserId="202" Comment="Fixed grammar" Text="Did you try gobbler? It can backup your sessions online, but what might interest you is that Gobbler can scan your drives for projects and make a database; this is searchable without the original drives connected. It even lists all the media in your Audio Files folder.&#xD;&#xA;And supports not only PT projects, but a growing list of DAWs and other software." ContentLicense="CC BY-SA 3.0" />
  <row Id="23864" PostHistoryTypeId="2" PostId="14451" RevisionGUID="ca25c9ff-811f-4ba0-93c6-c77b7fc01732" CreationDate="2012-06-26T13:29:50.777" UserId="993" Text="Youtube is a great starting place for reference material for just about anything. I've found a few useful bird-centric clips from Iraq in amongst the many war-centric videos.&#xD;&#xA;&#xD;&#xA;Bird chatter in a park:&#xD;&#xA;http://www.youtube.com/watch?v=b0j_FTTLGnU&#xD;&#xA;&#xD;&#xA;Different birds chirping away in a tree:&#xD;&#xA;http://www.youtube.com/watch?v=Hz_aojQVFnQ&#xD;&#xA;&#xD;&#xA;Collection of photos and names of birds found in Iraq:&#xD;&#xA;http://www.youtube.com/watch?v=RvrpncLi8w4&#xD;&#xA;&#xD;&#xA;Harsh sounds of birds for sale in a market:&#xD;&#xA;http://www.youtube.com/watch?v=RKZ81gNnmUg" ContentLicense="CC BY-SA 3.0" />
  <row Id="23865" PostHistoryTypeId="2" PostId="14452" RevisionGUID="be32dbfd-63ec-4425-83fa-dc5188236c72" CreationDate="2012-06-26T13:52:02.147" UserId="194" Text="we use Retrospect.  It manages its own database across all of our backup media, so when it comes time to restore something we just search the database for the year and backup set and then grab the media that the software requests." ContentLicense="CC BY-SA 3.0" />
  <row Id="23866" PostHistoryTypeId="2" PostId="14453" RevisionGUID="9221f850-ac15-4e7e-8307-72d325bef32d" CreationDate="2012-06-26T14:15:22.203" UserId="842" Text="Um, it doesn't really matter if a sound is real or not in a movie, actually very few of them are. Generally, if the audience actually thinks of a sound as a sound effect, no matter how good it might be otherwise, it has failed. &#xD;&#xA;&#xD;&#xA;Take for example light-sabers. We all know they're fictional, with absolutely no base in reality whatsoever. Still we all now for a fact that they sound huuuuummmmmmm-SQULASCH-hummmmmm. That's because it's so well adapted to the application that the gut-feeling overrides the intellect. Of course we all still know it's not real, but it COULD be location-sound!&#xD;&#xA;&#xD;&#xA;On the other hand, a sound recorded on location, with the actual source and all, might very well sound incredibly fake as well. The looks right, it works just fins, but it doesn't sound convincing. These things happen all the time, though the most common way of treating it (at least for me) is to sweeten it, sometimes we just remove it and replace it completely." ContentLicense="CC BY-SA 3.0" />
  <row Id="23867" PostHistoryTypeId="2" PostId="14454" RevisionGUID="a0e7bad2-6585-476b-8d60-f16f3381f0aa" CreationDate="2012-06-26T16:27:41.527" UserId="4000" Text="If you end up using Qlab, and want to ad an interactive element to your show, try an ICubeX digitizer and some sensors:&#xD;&#xA;&#xD;&#xA;  http://infusionsystems.com/catalog/info_pages.php?pages_id=237&#xD;&#xA;&#xD;&#xA;  It might help you find something new and interesting to do with sound design. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23868" PostHistoryTypeId="2" PostId="14455" RevisionGUID="bfb0d4b5-4116-491c-ab2a-04c29990918a" CreationDate="2012-06-26T17:26:18.823" UserId="6460" Text="If I may be devil's advocate for a moment: Why, in your opinion, is the difference between real and unreal sound important? Answering this question will probably help you figure out the best way to proceed. &#xD;&#xA;&#xD;&#xA;It would also help us if you define 'real' and 'unreal' as you intend. &#xD;&#xA;&#xD;&#xA;I think you're right about the effectiveness of the survey. To have an audience guess the 'reality' of a sound is pulling them out of the experience of the film and asking them to analyze the minute parts of more-significant whole. The vast majority of movie watchers have no idea how filmmaking really works anyway, let alone how sound contributes to it. They don't go to the theater to break down the structure of the cinematic process — they go to be taken into a completely different world. If the sonic and visual aspects of the film work well together, they don't need to ask what's real and what's not: it's all part of a story.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="23869" PostHistoryTypeId="2" PostId="14456" RevisionGUID="ac3c0987-1828-41c2-90c4-1b4c5eaf7a96" CreationDate="2012-06-26T19:44:48.297" UserId="238" Text="It's hard to suggest ideas for a supporting project without understanding more about what you intend to achieve from the dissertation. But in terms of perception, I would suggest having a look at journals such as *[Music Perception][1]* or *[Psychomusicology][2]*. I'm not sure where you're based, but they can usually be found in a good library (i.e. The main research library of a big city, not so much your local library). Although these deal principally with music, you can draw from the studies that are made and perhaps design a similar one based on film sound. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ucpressjournals.com/journal.php?j=mp&#xD;&#xA;  [2]: http://www.upei.ca/~musicog/psychomusicology/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="23870" PostHistoryTypeId="2" PostId="14457" RevisionGUID="6b02a27b-e9c0-4c89-bdd2-4e7772cb9f43" CreationDate="2012-06-26T19:56:25.993" UserId="238" Text="1) Try [this question][1] or [this question][2] to see what people have already discussed in terms of mic choice for quiet sounds. &#xD;&#xA;&#xD;&#xA;2) For the bigger sounds you'll find that using multiple layers will get the results you want. Experiment with what you think might sound right - often the best results come from mistakes! &#xD;&#xA;&#xD;&#xA;3) Not quite I fully understand what you mean here. Record what you need to record as cleanly as possible and, if you can, with multiple takes from different angles. Even better, if you can record multiple discrete channels with different mics this will give you more ammunition to play with later. &#xD;&#xA;&#xD;&#xA;4) Regarding should animals have cloth movement, this depends entirely on whether you feel it will add to the soundtrack you are designing. Unfortunately, as with many choices we have to make in a creative process, there is not a clear yes or no answer to the question.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/465/best-budget-microphone-to-record-foley&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/220/how-to-capture-very-low-volume-sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="23871" PostHistoryTypeId="2" PostId="14458" RevisionGUID="9356a288-3de8-474e-a64c-8b6c832e0505" CreationDate="2012-06-26T20:57:55.890" UserId="1216" Text="Well, i think your question is already thoroughly answerred, but i wanted to add that i use http://diskcatalogmaker.com/   &#xD;&#xA;It's a simple app that makes an index of your HD's and you can manage them. So backup is really easy. It's not perfect for your scenario maybe, gobbler is much close (and i love it!). &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23873" PostHistoryTypeId="2" PostId="14460" RevisionGUID="86ae20f5-c916-4a68-b91f-7b44c2f7a1b2" CreationDate="2012-06-26T23:29:29.990" UserId="6411" Text="For all you LA SSD'ers (or those visiting town), the LA Sound Group is having a meeting on Thursday 6/28 with guest speaker Ann Scibelli. You may recognize her from [her appearances on designingsound.org and soundworkscollection.com][2], or just from her [awesome body of work][1].&#xD;&#xA;&#xD;&#xA;If you're going to be near Santa Monica with nothing to do Thursday night, now you've got something to put on your calendar. RSVP [here][3], otherwise '[Like Us' on Facebook][4] to get the notifications of future meetings.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/name/nm0778439/&#xD;&#xA;  [2]: http://designingsound.org/tag/ann-scibelli/&#xD;&#xA;  [3]: http://lasoundgroup.com&#xD;&#xA;  [4]: https://www.facebook.com/pages/LA-Sound-Group/201592673251316" ContentLicense="CC BY-SA 3.0" />
  <row Id="23874" PostHistoryTypeId="1" PostId="14460" RevisionGUID="86ae20f5-c916-4a68-b91f-7b44c2f7a1b2" CreationDate="2012-06-26T23:29:29.990" UserId="6411" Text="LA Sound Group June '12" ContentLicense="CC BY-SA 3.0" />
  <row Id="23875" PostHistoryTypeId="3" PostId="14460" RevisionGUID="86ae20f5-c916-4a68-b91f-7b44c2f7a1b2" CreationDate="2012-06-26T23:29:29.990" UserId="6411" Text="&lt;social&gt;&lt;networking&gt;&lt;learning&gt;&lt;meet-up&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23876" PostHistoryTypeId="16" PostId="14460" RevisionGUID="86ae20f5-c916-4a68-b91f-7b44c2f7a1b2" CreationDate="2012-06-26T23:29:29.990" UserId="6411" />
  <row Id="23877" PostHistoryTypeId="2" PostId="14461" RevisionGUID="ff2e0752-68d8-4887-892e-ec613fdce423" CreationDate="2012-06-27T03:38:24.590" UserId="6460" Text="I have found that peeling apart a bell pepper with your bare hands yields nice fleshy guts sound. It also yields quite a mess too... ;). Here's a sample:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/mattrglenn/destroying-a-green-pepper&#xD;&#xA;&#xD;&#xA;For those of you who live in a house, I also would highly recommend recording your hot water pipes from the basement. Play with the shower/bath/sink. I lucked out and lived a year of college in a house that was less-than-adequately serviced, so when I turned my shower on my pipes sounded like a Transformers attack:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/mattrglenn/water-pipes-from-basement" ContentLicense="CC BY-SA 3.0" />
  <row Id="23878" PostHistoryTypeId="2" PostId="14462" RevisionGUID="6c4e17c3-8322-4342-a8fc-ed8ea70fa491" CreationDate="2012-06-27T13:20:01.777" UserId="4001" Text="&#xD;&#xA;Dont know if this is a stupid question but, my band mate has been putting down some guitar tracks, in most cases dual guitar parts, on Pro Tools (Version 10 0r 11 as he tells me.)and wants to export them separately.Now, He says that the only way he can do this on his PC is to wait for the track to play through in real time every time he wants to export a region therefore making this long and laborious. Is there something he's missing? I don't seem to have this problem on my Mac.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="23879" PostHistoryTypeId="1" PostId="14462" RevisionGUID="6c4e17c3-8322-4342-a8fc-ed8ea70fa491" CreationDate="2012-06-27T13:20:01.777" UserId="4001" Text="PC Pro Tools exporting regions" ContentLicense="CC BY-SA 3.0" />
  <row Id="23880" PostHistoryTypeId="3" PostId="14462" RevisionGUID="6c4e17c3-8322-4342-a8fc-ed8ea70fa491" CreationDate="2012-06-27T13:20:01.777" UserId="4001" Text="&lt;exporting&gt;&lt;regions&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23881" PostHistoryTypeId="2" PostId="14463" RevisionGUID="ac3124b7-f68f-41d3-9bf5-be287825a122" CreationDate="2012-06-27T13:29:05.357" UserId="432" Text="You can use the function &quot;Consolidate Selection,&quot; and it will create new files in your Audio folder with whatever was selected at the time (file name will default to a derivative of the track name). Any fades/crossfades will be rendered into the new files; so make sure you want them there. Selections that span multiple tracks will create a new file for each track. This is faster than real-time." ContentLicense="CC BY-SA 3.0" />
  <row Id="23882" PostHistoryTypeId="2" PostId="14464" RevisionGUID="43fa48db-9ab4-434f-83a9-869d64cc7db9" CreationDate="2012-06-27T14:55:33.353" UserId="542" Text="I know: using a violin bow ain't something new, but when I bowed the ironing board of my flatmate some real nice sounds came out of it:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/michaelmanzke/gestrichenes-b-gelbrett&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;and one thing I still want to build and record is the &quot;jam jar jet&quot;&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=ARjqjRb52vA&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23883" PostHistoryTypeId="2" PostId="14465" RevisionGUID="6f30f0a8-aa9d-48ac-97dc-a3c2b7fac120" CreationDate="2012-06-27T15:54:24.767" UserId="3316" Text="So I exported the usual wave files straight from Pro Tools for a game, and the implementation pipeline programmer just came back and said they can't be wav, they actually have to be .adspcm   Which I guess is a form of PCM which the wav should be. &#xD;&#xA;&#xD;&#xA;Can anyone shed any light on the situation? &#xD;&#xA;&#xD;&#xA;Thanks guys  this one a strange one for me" ContentLicense="CC BY-SA 3.0" />
  <row Id="23884" PostHistoryTypeId="1" PostId="14465" RevisionGUID="6f30f0a8-aa9d-48ac-97dc-a3c2b7fac120" CreationDate="2012-06-27T15:54:24.767" UserId="3316" Text="Wav ADSPCM asset for game" ContentLicense="CC BY-SA 3.0" />
  <row Id="23885" PostHistoryTypeId="3" PostId="14465" RevisionGUID="6f30f0a8-aa9d-48ac-97dc-a3c2b7fac120" CreationDate="2012-06-27T15:54:24.767" UserId="3316" Text="&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23886" PostHistoryTypeId="2" PostId="14466" RevisionGUID="bb76e9f1-7e52-47f3-9c6c-d2b97fbe43ae" CreationDate="2012-06-27T16:38:44.643" UserId="194" Text="I know that michael raphael uses a cooper mixer in front of his SD recorder for the pres.  &#xD;&#xA;&#xD;&#xA;My view is that if you have a handheld and are using the internal mics, then a mixer front end runs counter to the portability/size/weight/stealth/ease form factor of those things.  &#xD;&#xA;&#xD;&#xA;If you're using external mics and stands, then having a proper front end seems like the appropriate thing to do regardless of your recorder.  &#xD;&#xA;&#xD;&#xA;with the 702 specifically, I'd only feel a need for a diff front end if I wanted more monitoring and routing capabilities in the field.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23887" PostHistoryTypeId="2" PostId="14467" RevisionGUID="66b6eb12-b599-4711-bc6a-9d881952af74" CreationDate="2012-06-27T16:40:12.833" UserId="3444" Text="Never heard of ADSPCM, but have heard of ADPCM. If that's the one you're referring to, it's a compressed (4bit) version of PCM. It's usually used for voice in phone systems because of the low frequency range.&#xD;&#xA;&#xD;&#xA;Good explanation here:&#xD;&#xA;&#xD;&#xA;http://support.microsoft.com/kb/89879&#xD;&#xA;&#xD;&#xA;best,&#xD;&#xA;&#xD;&#xA;Alex" ContentLicense="CC BY-SA 3.0" />
  <row Id="23888" PostHistoryTypeId="2" PostId="14468" RevisionGUID="5182435c-16cb-4006-9b6d-ba4bc6ead595" CreationDate="2012-06-27T16:51:49.623" UserId="253" Text="Just skimming through the responses, i had an idea. Why don't you flip your thesis? You could explore how perception is the only thing that matters, and that the source of the sound doesn't matter at all.&#xD;&#xA;&#xD;&#xA;For example, you could fabricate an effect from some other source, but make it emotionally realistic (ie. fitting the drama, and the world of the film). An example could be something as simple as a door slam made from a processed cannon and 2 pieces of wood slapping together.&#xD;&#xA;&#xD;&#xA;On the other hand, you could use an effect that is a literal recording of what you're seeing on screen. Some doors have pretty lame slams in &quot;reality&quot;. The door thing is just an example. It's also important not to deliberately cripple either side of the experiment - make both as effective as you can; just use physically real sources for one, and emotionally real sources for the other.&#xD;&#xA;&#xD;&#xA;Then you could see which ones stand out to the audience as &quot;wrong&quot;, in an effort see whether emotional realism is the most important thing, rather than sound sources. The tricky thing is managing your feedback. I find that it's not useful for non-sound people to focus on listening; if you tell someone to listen for something, it's easy for them to convince themselves they're hearing it. Maybe you could make your sequence short and concise, and then ask them questions about it after the fact.&#xD;&#xA;&#xD;&#xA;Anyway, i hope there's something helpful in there. Just something that occurred to me. Best of luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23889" PostHistoryTypeId="2" PostId="14469" RevisionGUID="2dddc798-9e96-4a8e-ac67-3773b5c44b60" CreationDate="2012-06-27T17:44:48.163" UserId="730" Text="very cool!  I love the green pepper recordings.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23890" PostHistoryTypeId="2" PostId="14470" RevisionGUID="b2b92e74-cb74-4378-b297-475929922a88" CreationDate="2012-06-27T22:58:48.340" UserId="3545" Text="Hi,&#xD;&#xA;&#xD;&#xA;Here's the final version of 2 Kontakt 3.02, Kontakt 4.2.4 (with GUI) and EXS24 footsteps patches. You need full retail Kontakt version.&#xD;&#xA;&#xD;&#xA;[Dowload here for free][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.signo-sfx-instruments.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="23891" PostHistoryTypeId="5" PostId="14457" RevisionGUID="05abc1a4-62fc-408c-a1fb-d18793288e3b" CreationDate="2012-06-28T06:25:59.587" UserId="238" Comment="added 5 characters in body" Text="1) Try [this question][1] or [this question][2] to see what people have already discussed in terms of mic choice for quiet sounds. &#xD;&#xA;&#xD;&#xA;2) For the bigger sounds you'll find that using multiple layers will get the results you want. Experiment with what you think might sound right - often the best results come from mistakes! &#xD;&#xA;&#xD;&#xA;3) Not quite sure I fully understand what you mean here. Record what you need to record as cleanly as possible and, if you can, with multiple takes from different angles. Even better, if you can record multiple discrete channels with different mics this will give you more ammunition to play with later. &#xD;&#xA;&#xD;&#xA;4) Regarding should animals have cloth movement, this depends entirely on whether you feel it will add to the soundtrack you are designing. Unfortunately, as with many choices we have to make in a creative process, there is not a clear yes or no answer to the question.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/465/best-budget-microphone-to-record-foley&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/220/how-to-capture-very-low-volume-sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="23892" PostHistoryTypeId="2" PostId="14471" RevisionGUID="6bfec5bf-8dd6-4d80-879e-0f36c0eadb25" CreationDate="2012-06-28T08:14:15.840" UserId="402" Text="ADPCM is used quite regularly in games, although it's usually applied in-engine not on the source file.&#xD;&#xA;&#xD;&#xA;That said its a little unusual for this form of compression to be used on all sound files.&#xD;&#xA;&#xD;&#xA;I'd check with the programmer on what engine/toolset you're using and do a little digging yourself.&#xD;&#xA;&#xD;&#xA;-A" ContentLicense="CC BY-SA 3.0" />
  <row Id="23896" PostHistoryTypeId="2" PostId="14473" RevisionGUID="975e2764-9cd1-4498-93b1-ba07aaf84091" CreationDate="2012-06-28T19:55:20.387" UserId="3245" Text="Tasked with creating sounds for various states of an object in a flash game. The &quot;idle&quot;, triggered upon mouseover, causes the object (a magic lamp) to merely hover. A simple, half-second, once up / once down, hovering motion. I'm drawing a blank on what to do for that. If it was a scifi object hovering, I'd have a couple ideas, but hovering in general makes me think &quot;silence.&quot; I might simply make a design decision and not create a sound, but assuming I do make one, I'd love suggestions for what would be good. A small musical cue, maybe?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23897" PostHistoryTypeId="1" PostId="14473" RevisionGUID="975e2764-9cd1-4498-93b1-ba07aaf84091" CreationDate="2012-06-28T19:55:20.387" UserId="3245" Text="Any ideas for making sound for a hovering object?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23898" PostHistoryTypeId="3" PostId="14473" RevisionGUID="975e2764-9cd1-4498-93b1-ba07aaf84091" CreationDate="2012-06-28T19:55:20.387" UserId="3245" Text="&lt;magical&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23899" PostHistoryTypeId="2" PostId="14474" RevisionGUID="9f2d6334-7183-48fa-a7c4-e36041a207bf" CreationDate="2012-06-28T20:55:19.473" UserId="3933" Text="I would try some &quot;whoosh&quot; sounds, like playing a sword fight with an open PVC pipe. then altering the speed and pitch to something more 'natural' and maybe creating a loop from it.&#xD;&#xA;&#xD;&#xA;It does not need to be loud in the mix, a little subtlety to it should do the trick... I imagine." ContentLicense="CC BY-SA 3.0" />
  <row Id="23900" PostHistoryTypeId="2" PostId="14475" RevisionGUID="3878b8aa-0120-4c5d-8e29-9c177b0b7727" CreationDate="2012-06-29T04:33:27.497" UserId="3680" Text="I use Sound Forge 9 quite a lot for initial recording of disc and analog tape transfers--it is easy to set up, and can use ASIO drivers compatible with my Digi 002R interface.  It is OK for general editing, but if you need good crossfade capabilities for editing music, Pro Tools is a better choice.  &#xD;&#xA;&#xD;&#xA;As Daan Hendriks noted, Sound Forge has suffered from feature bloat with increasing revisions, and Sony has not been good about fixing bugs.  Still, it is a very useful program, fast to use, and will accept a wide range of third-party plug-ins." ContentLicense="CC BY-SA 3.0" />
  <row Id="23901" PostHistoryTypeId="2" PostId="14476" RevisionGUID="f741baf2-0e65-4e25-996c-8e17a8cdc0a3" CreationDate="2012-06-29T04:58:18.703" UserId="3680" Text="I have no experience with the PMD661, but I do own the Tascam HD-P2. Leaving aside the mic pre-amps (which are OK but nothing special), the HD-P2 is a very good sounding machine.  It does go through AA batteries at a good clip, but can also be used with external battery supplies, which can be rechargeable.  I usually use the HD-P2 in the field with an external mixer of some sort, which allows for using a second recorder for redundancy.&#xD;&#xA;&#xD;&#xA;The HD-P2 is not known for being reliable--I have sent mine back to the factory for repair one time, and I know of other people who have had problems with theirs.  This is unfortunate when you consider that this a flash recorder with no moving transport parts.  One suspects that the overall build quality is lacking.  My solution is to always have a backup recorder of some sort along, and to use other recorders on jobs where I do not need the sound quality and features of the HD-P2." ContentLicense="CC BY-SA 3.0" />
  <row Id="23902" PostHistoryTypeId="2" PostId="14477" RevisionGUID="64dd705e-d6e5-45c7-8b9d-063c5c653bda" CreationDate="2012-06-29T05:18:18.240" UserId="3680" Text="Regarding Jake's level question: it is my understanding that the film sound SPL spec of 85dB applies to large mixing stages and large theaters.  It is generally understood that in smaller rooms (like small post rooms), lower monitor levels are needed--for example, the TV standard for small rooms (ATSC recommendation) is 76 dB (C weighted-slow meter response for -20 dB pink noise over two octaves centered on 1 kHz).  It has to do with the psychoacoustics of human hearing in large versus small rooms.  &#xD;&#xA;&#xD;&#xA;It is not a dumb question by the way.  Knowing how to properly calibrate playback levels can be a big factor in having your work translate properly to different venues.  One very interesting document to peruse in this area is &quot;A/85 – Techniques for Establishing and Maintaining Audio Loudness for Digital Television&quot; (http://www.atsc.org/cms/index.php/standards/recommended-practices/185-a85-techniques-for-establishing-and-maintaining-audio-loudness-for-digital-television) which has a section with recommendations for setting up monitoring systems." ContentLicense="CC BY-SA 3.0" />
  <row Id="23903" PostHistoryTypeId="2" PostId="14478" RevisionGUID="840816e9-1d41-49fa-8799-e4157f5a8d19" CreationDate="2012-06-29T05:33:04.343" UserId="3179" Text="Dylan Menzies has done pretty interesting work in the domain as well:&#xD;&#xA;&#xD;&#xA;Phya&#xD;&#xA;&#xD;&#xA;[http://www.tech.dmu.ac.uk/~dylan/z/phya/index.html][1]&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tech.dmu.ac.uk/~dylan/z/phya/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="23904" PostHistoryTypeId="2" PostId="14479" RevisionGUID="0adf2c0d-e676-4d25-b324-c6e1050efb0e" CreationDate="2012-06-29T05:36:06.617" UserId="3680" Text="I did a couple of recordings with Zero Boy, who is known as a live performer who uses vocalized sound effects.  The project involved sections of James Joyce's Ulysses, which ZB read and provided sound effects for.  As the point was what he brought as an artist to the reading, I did not modify any of his sounds, though I did layer them (he provide various elements for me to layer) and mix them appropriately.  The recording was done in a voiceover studio with a U87 to Pro Tools.  &#xD;&#xA;&#xD;&#xA;Based on this experience, I would say that vocalized effects are their own category and will not sound the same as typical FX recorded in the field.  This may or may not be appropriate, depending on the project." ContentLicense="CC BY-SA 3.0" />
  <row Id="23905" PostHistoryTypeId="2" PostId="14480" RevisionGUID="e4a3de26-dd61-45bb-aeb4-46ddd6ca94de" CreationDate="2012-06-29T06:20:28.223" UserId="3680" Text="The AKG C414 B-ULS is a good choice, due to the lack of a presence peak in the treble response--it's a very neutral sounding mike that way, and so will work well on a variety of instruments.  Mikes with treble presence peaks may sound nice on some instruments and not so good on others.  &#xD;&#xA;&#xD;&#xA;Budget choice: the AKG C1000-S can sound good on strings if you use the super-cardioid adapter, which tends to flatten out the top end response. (Without the adapter--in cardioid mode--the C1000-S sounds rather bright, which can be a problem with some string instruments.)&#xD;&#xA;&#xD;&#xA;Regarding instrument-mounted mikes, I have often used a Countryman Isomax cardioid lavalier mike for recording jazz acoustic bass, clipping the mike to the low &quot;E&quot; string, just below the bridge.  This particular setup sounds quite natural and gives me more isolation than standard mikes on stands.  If I don't need the isolation, the Neumann U87 (or U67 if it's available) sounds great on acoustic bass.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="23906" PostHistoryTypeId="2" PostId="14481" RevisionGUID="f66f2f4b-55ed-484e-b825-6acf0dd4abc3" CreationDate="2012-06-29T06:31:52.660" UserId="3680" Text="The Shure VP-88 is a good example of a stereo mid-side microphone that is useful in field recording.  It is OK indoors for recording music too, though I don't care for the treble presence peak of the side element.  It is a well thought-out mike for field use, as Shure offers shock mounts and windscreen accessories suitable for pro level use, and the VP-88 can run off an internal battery (no phantom power needed)." ContentLicense="CC BY-SA 3.0" />
  <row Id="23907" PostHistoryTypeId="2" PostId="14482" RevisionGUID="4beb714d-4a43-46bd-b602-ca46ed00373a" CreationDate="2012-06-29T06:43:11.457" UserId="3680" Text="I have used the Electrovoice RE-11 for recording home-made Brazilian percussion instruments.  (The current RE-16 is very similar.)  Part of why it worked well is because the RE-11 is one of EV's &quot;variable D&quot; mikes, that has very little proximity effect when used close to a source.  This helps to avoid problems in the low end when recording unconventional instruments that may have weird bass resonances, etc.&#xD;&#xA;&#xD;&#xA;If the acoustical situation will allow it, using omni pattern mikes addresses the same problem, as omni's do not have proximity bass boost." ContentLicense="CC BY-SA 3.0" />
  <row Id="23911" PostHistoryTypeId="2" PostId="14484" RevisionGUID="7527de38-a2ac-4176-9d0a-2e4a5a634ca6" CreationDate="2012-06-29T11:30:36.923" UserDisplayName="user80" Text="DPA 4006s  for studio work, for live work I use AT831b as they are more discrete. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23912" PostHistoryTypeId="5" PostId="12234" RevisionGUID="7ea19153-590a-4063-928d-07dc4ae6c179" CreationDate="2012-06-29T11:48:59.383" UserId="432" Comment="added discussion of Neumann RSM-191" Text="I'd say this is more dependent upon your application than, &quot;this pair of mics in any situation.&quot;&#xD;&#xA;&#xD;&#xA;I have a Sennheiser MKH-30/40 pair at home myself for use out in the field (one day, I'll buy a Schoeps pair as well). I'll frequently pull out a Neumann TLM-103/170R pair at work when we're recording in our live room . As far as LDCs with selectable patterns...we have a pair of U87's, but their noise floor can be a little high for M/S purposes. Good for louder sources that don't need a ton of gain, but not my first choice. An alternative to the U87's, that I find more useful/fits a broader set of applications, is a pair of Audio-Technica AT4050's (a highly underrated mic, in my opinion).&#xD;&#xA;&#xD;&#xA;**Update:**&#xD;&#xA;&#xD;&#xA;So, I've added a Neumann RSM-191 to my collection, and it's an awesome mic. Probably not worth it if you can't find a used one to purchase (which I did). It and the Sennheiser pair remain my go to M/S rigs. And I typically decide based on the recording situation. The RSM-191 is noisier than the Sennheiser pair, but has a tone I prefer. So, if it's quiet stuff...Sennheiser. In a louder environment...Neumann." ContentLicense="CC BY-SA 3.0" />
  <row Id="23914" PostHistoryTypeId="2" PostId="14486" RevisionGUID="1279c1c4-2818-443d-acf6-5dedd2e2e9c8" CreationDate="2012-06-29T14:59:07.117" UserId="4000" Text="Is the problem that pre-recorded gunshots will sound too canned? Or is it that it will be too hard to synchronize them with the action going on onstage?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23915" PostHistoryTypeId="2" PostId="14487" RevisionGUID="d609a576-eeab-49b2-8967-ec4d493c65f4" CreationDate="2012-06-29T16:52:36.200" UserId="6519" Text="I use M/S setup [Rode NT2000][1] (Figure 8 Mode) &amp; [Rode NTG2][2] (Shotgun Mic).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/mics/nt2000&#xD;&#xA;  [2]: http://www.rodemic.com/mics/ntg-2&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23916" PostHistoryTypeId="2" PostId="14488" RevisionGUID="84cccb84-5321-48e1-ab85-40aa6a59dfc4" CreationDate="2012-06-29T17:32:36.783" UserId="1159" Text="I'd go with a stereo pair of small condensers. Certainly can do some nice stuff with a small and a large as well but if I only had 2 a matched pair it would be.&#xD;&#xA;&#xD;&#xA;If money's not a concern I'd got with a pair of vintage Neumann KM84's. Always liked them when I had access to them.&#xD;&#xA;&#xD;&#xA;With some many choices on the low end I'm not sure what to go with. Lots of great small condensers out there." ContentLicense="CC BY-SA 3.0" />
  <row Id="23917" PostHistoryTypeId="2" PostId="14489" RevisionGUID="6374c095-8388-4feb-9a85-bbac5725c3e0" CreationDate="2012-06-29T20:10:42.300" UserId="3784" Text="Ya I imagine if its a magic lamp keep it as subtle and light as possible. It could have musicality to it but it doesn't have to be a music cue per-say " ContentLicense="CC BY-SA 3.0" />
  <row Id="23919" PostHistoryTypeId="2" PostId="14491" RevisionGUID="3d3ce854-6a19-4b0e-9462-bad384f79890" CreationDate="2012-06-30T04:38:15.240" UserId="1228" Text="You could try playing with the Antares THROAT Evo and/or any pitch program which allows you to alter the Formant (not just the pitch).  It's going to still come down to the VO artist or baby though, because of the very particular cadences and expression of phonetics for a baby is going to sound different than a fluent adult speaker - in that no amount of DSP will alter the voice in that sense, but if you can get a close voice with the right types of cadences and articulations (such as the VO artist you worked with), then altering the formant or playing with throat modelling like with the Antares tool could be just that last 10% you need to make it fully convincing.&#xD;&#xA;&#xD;&#xA;Libraries can help too, although I find them difficult because most don't have enough variety.  In once recent instance we had a baby for a full 6 reel show which needed a presence throughout every so often since it didn't vocalize often in production and and we were ADRing it.  Finding both enough articulations and enough of them recorded similarly and sounding like the same voice was not an easy task, so this is where I find the downfall to be with SFX babies sometimes.  The content is usually great, it's just that the quantity kinda lacks.&#xD;&#xA;&#xD;&#xA;I realize the project is probably done now since this is really late to the original post, but more of an FYI/response to the question in general." ContentLicense="CC BY-SA 3.0" />
  <row Id="23920" PostHistoryTypeId="2" PostId="14492" RevisionGUID="4c9d44a5-4dcc-496f-a4a1-5dce1561f178" CreationDate="2012-06-30T09:12:07.210" UserId="3641" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I have no experience in audio for games but would like to start engaging with it. Up to now I have worked only with different DAWs and sound manipulation software (i.e. Cecilia). &#xD;&#xA;&#xD;&#xA;Please suggest me any software for game audio (if one needs any) as well as important readings, resources etc. related to the field of sound design for audio. My intention is to create a small prototype in collaboration with a friend of mine who is also a newbie in game development.  &#xD;&#xA;&#xD;&#xA;thank you very much,&#xD;&#xA;&#xD;&#xA;panjethro " ContentLicense="CC BY-SA 3.0" />
  <row Id="23921" PostHistoryTypeId="1" PostId="14492" RevisionGUID="4c9d44a5-4dcc-496f-a4a1-5dce1561f178" CreationDate="2012-06-30T09:12:07.210" UserId="3641" Text="Audio for games" ContentLicense="CC BY-SA 3.0" />
  <row Id="23922" PostHistoryTypeId="3" PostId="14492" RevisionGUID="4c9d44a5-4dcc-496f-a4a1-5dce1561f178" CreationDate="2012-06-30T09:12:07.210" UserId="3641" Text="&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23923" PostHistoryTypeId="2" PostId="14493" RevisionGUID="215bba38-4c1b-4d49-b9a2-f13da590c45f" CreationDate="2012-06-30T09:24:59.207" UserId="1393" Text="I've had good luck with two large diaphragm condensers (one dark, one bright) on 12th fret &amp; Bridge of guitar. If we're not sure what we want the guitar to sound like I'll throw a pickup on the guitar and run it through Waves GTR later.&#xD;&#xA;&#xD;&#xA;I've done an stand up bass once, we took a direct signal and threw a U87 on it." ContentLicense="CC BY-SA 3.0" />
  <row Id="23924" PostHistoryTypeId="2" PostId="14494" RevisionGUID="d2d63357-2782-4273-9580-931f5c7c0c2e" CreationDate="2012-06-30T10:40:02.527" UserId="6524" Text="You can get [FMOD][1] or [Wwise][2] for free and use their free tutorial's on YouTube, [here's][3] the ones I've watched for FMOD which are great. Another great resource would be to get [The Game Audio Tutorial][4] Book which covers [UDK][5] which is also a free software. Another good book would be The Complete Guide To Game Audio by Aaron Marks, I would recommend getting it once you feel confident enough to start finding work in this field since it has a lot of helpful information on the business side of things.&#xD;&#xA;&#xD;&#xA;More Resources:&#xD;&#xA;&#xD;&#xA;[The Game Audio Podcast][6]&#xD;&#xA;&#xD;&#xA;[Gamasutra (Audio Section)][7]&#xD;&#xA;&#xD;&#xA;[Game Audio Relevance][8]&#xD;&#xA;&#xD;&#xA;[Game Sound Design][9]&#xD;&#xA;&#xD;&#xA;[School of Video Game Audio][10]&#xD;&#xA;&#xD;&#xA;I'm fairly new to this field as well, I just want to learn it as an extra skill. Good luck to you :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://fmod.org&#xD;&#xA;  [2]: http://www.audiokinetic.com/en/products/208-wwise/&#xD;&#xA;  [3]: http://www.youtube.com/playlist?list=PL853E2ED1550864C5&#xD;&#xA;  [4]: http://www.thegameaudiotutorial.com/&#xD;&#xA;  [5]: http://udk.com&#xD;&#xA;  [6]: http://www.gameaudiopodcast.com/&#xD;&#xA;  [7]: http://gamasutra.com/category/audio/&#xD;&#xA;  [8]: http://gameaudiorelevance.iasig.org/&#xD;&#xA;  [9]: http://www.gamesounddesign.com/&#xD;&#xA;  [10]: http://school.videogameaudio.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23925" PostHistoryTypeId="5" PostId="14494" RevisionGUID="439404a7-7274-4b9b-bb8d-e6e0551006a4" CreationDate="2012-06-30T10:45:52.107" UserId="6524" Comment="added 91 characters in body" Text="You can get [FMOD][1] or [Wwise][2] for free and use their free tutorial's on YouTube, [here's][3] the ones I've watched for FMOD which are great. Another great resource would be to get [The Game Audio Tutorial][4] Book which covers [UDK][5] which is also a free software. Another good book would be The Complete Guide To Game Audio by Aaron Marks, I would recommend getting it once you feel confident enough to start finding work in this field since it has a lot of helpful information on the business side of things.&#xD;&#xA;&#xD;&#xA;More Resources:&#xD;&#xA;&#xD;&#xA;[The Game Audio Podcast][6]&#xD;&#xA;&#xD;&#xA;[Stephan Schutze's Tutorials][7]&#xD;&#xA;&#xD;&#xA;[Gamasutra (Audio Section)][8]&#xD;&#xA;&#xD;&#xA;[Game Audio Relevance][9]&#xD;&#xA;&#xD;&#xA;[Game Sound Design][10]&#xD;&#xA;&#xD;&#xA;[School of Video Game Audio][11]&#xD;&#xA;&#xD;&#xA;I'm fairly new to this field as well, I just want to learn it as an extra skill. Good luck to you :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://fmod.org&#xD;&#xA;  [2]: http://www.audiokinetic.com/en/products/208-wwise/&#xD;&#xA;  [3]: http://www.youtube.com/playlist?list=PL853E2ED1550864C5&#xD;&#xA;  [4]: http://www.thegameaudiotutorial.com/&#xD;&#xA;  [5]: http://udk.com&#xD;&#xA;  [6]: http://www.gameaudiopodcast.com/&#xD;&#xA;  [7]: http://www.stephanschutze.com/tutorials.html&#xD;&#xA;  [8]: http://gamasutra.com/category/audio/&#xD;&#xA;  [9]: http://gameaudiorelevance.iasig.org/&#xD;&#xA;  [10]: http://www.gamesounddesign.com/&#xD;&#xA;  [11]: http://school.videogameaudio.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23926" PostHistoryTypeId="2" PostId="14495" RevisionGUID="646aec38-900a-471a-9bf0-813414972a63" CreationDate="2012-06-30T21:40:48.267" UserId="4003" Text="hi everyone, &#xD;&#xA;&#xD;&#xA;i'm currently looking to do some field recording for an independent film. so far, we've been doing overdubs exclusively, but it's proving to be a very time consuming process.&#xD;&#xA;&#xD;&#xA;i'm pretty convinced that a shotgun microphone is the best answer (better than lavaliers) and i've been looking at the sennheiser me66/k6 and the sennheiser mkh416. &#xD;&#xA;&#xD;&#xA;i know that the consensus is that the 416 is superior, but how big of a difference is this really? from what i can tell, the 416 still needs to be positioned quite close to the sound source to capture clean sound, and reducing wind noise mostly relies on the windshield.&#xD;&#xA;&#xD;&#xA;all things equal, will the 416 really achieve better results than the me66?&#xD;&#xA;&#xD;&#xA;thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23927" PostHistoryTypeId="1" PostId="14495" RevisionGUID="646aec38-900a-471a-9bf0-813414972a63" CreationDate="2012-06-30T21:40:48.267" UserId="4003" Text="Sennheiser MKH-416 vs. ME66" ContentLicense="CC BY-SA 3.0" />
  <row Id="23928" PostHistoryTypeId="3" PostId="14495" RevisionGUID="646aec38-900a-471a-9bf0-813414972a63" CreationDate="2012-06-30T21:40:48.267" UserId="4003" Text="&lt;sennheiser&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23929" PostHistoryTypeId="2" PostId="14496" RevisionGUID="4a330b11-46e6-4c07-ba9f-1e4227c7f1d1" CreationDate="2012-06-30T23:05:11.733" UserId="18" Text="15 years ago, I had the same dilemma; the more expensive 416 vs the less expensive me66.  I bought the 416, and to this day I still use it and it is one of my favorite mics.  I feel, had I bought the me66, I would have upgraded by now.  But still, having any mic is better than having no mic.&#xD;&#xA;&#xD;&#xA;To answer some of your specific questions:&#xD;&#xA;&#xD;&#xA;Will the 416 help you achieve better results?  That depends on your skills and if the mic you select is the right mic for the source(s) you are recording.  Better quality gear will be more important once your recording skills are honed.  A beginner with little to no recording knowledge can spend $10K in gear and might still get results that can't compete with an experienced recordist using a Zoom handheld.  &#xD;&#xA;&#xD;&#xA;Does the 416 need to be close to the source to capture clean sound?  I'm not sure where you got this info from.  The 416, like any mic, will require knowledge and understanding of proper mic placement.  If you are recording quiet sources, then yes, then any mic will need to be close to the source to minimize background noise.  Other sources will require different mic positions.  Understanding of mic technique is more important than mic selection.&#xD;&#xA;&#xD;&#xA;You will need a windshield with any condenser mic that you hope to use outdoors.  I don't find the 416 any worse in wind conditions than other mics I own.  But then again, I always have my mics in windshields outdoors.&#xD;&#xA;&#xD;&#xA;If you are serious about recording and feel you will be doing it for many years, I always recommend to invest as much money as you can in your mics.  It's cheaper than selling a mic later to upgrade.  Try to buy your mics on eBay, you can get often get a 416 for a great deal.  At the same time, don't go in to debt buying gear, unless you are assured return on that investment (ie; the gear gets you more paying work)." ContentLicense="CC BY-SA 3.0" />
  <row Id="23930" PostHistoryTypeId="2" PostId="14497" RevisionGUID="154947ed-0f75-475b-8794-a030cdb2358a" CreationDate="2012-07-01T00:30:54.367" UserId="4003" Text="thanks for the quick response! &#xD;&#xA;&#xD;&#xA;yes, as you may have guessed, i'm relatively new to the world of sound engineering... but i'm trying to learn, despite the fact that it has definitely made me bang my head against the wall more times than i care to count!&#xD;&#xA;&#xD;&#xA;perhaps i was being a bit unclear earlier, but what i was referring to was the range of the shotgun mics. from what i've seen, they generally need to be within two feet of the speaker (when filming outdoors), no matter how expensive your microphone is. is this information accurate?&#xD;&#xA;&#xD;&#xA;looking at this, i'm concerned that it won't work well with wideshots because it'll have to be close and will appear on-screen. was i wrong to dismiss the use of lavaliers? are they a must have? if so, are there any recommendations?&#xD;&#xA;&#xD;&#xA;thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23931" PostHistoryTypeId="2" PostId="14498" RevisionGUID="86175ce8-d0b0-419c-aceb-0776b9044428" CreationDate="2012-07-01T07:31:53.740" UserId="587" Text="There are quite a few game audio geeks on this forum - feel free to give us a shout any time!&#xD;&#xA;&#xD;&#xA;I know past discussions have included Unreal, Fmod, Wwise, and FMOD. Theres a pretty good backlog of forum posts you can read as well.&#xD;&#xA;&#xD;&#xA;- C3" ContentLicense="CC BY-SA 3.0" />
  <row Id="23932" PostHistoryTypeId="2" PostId="14499" RevisionGUID="2f9d32aa-0876-4c3e-9e41-1289631adbaf" CreationDate="2012-07-01T10:11:49.657" UserId="3975" Text="The best resource I have found is The Game Audio Tutorial.  Its a book that comes with some SFX's for you to get to grips with and also has a tutorial level that the book walks you though with exercise levels.  It uses UDK as the engine to work with but the knowledge it gives is very transferable and will put you in the right mind set for other engines that you may wish to use.&#xD;&#xA;&#xD;&#xA;http://www.amazon.co.uk/The-Game-Audio-Tutorial-Interactive/dp/0240817265&#xD;&#xA;&#xD;&#xA;Fmod and Wwise are awesome as well to learn but the advantage of learning in UDK is that you will get an understanding of the graphical/animation/design elements of games which is quite important." ContentLicense="CC BY-SA 3.0" />
  <row Id="23933" PostHistoryTypeId="2" PostId="14500" RevisionGUID="61327453-3f8e-45e4-bc7f-c0bfbbfaa304" CreationDate="2012-07-01T11:23:47.290" UserId="3997" Text="The Game Audio Tutorial is indeed a great resource, but its biggest advantage is its biggest disadvatange: it really is UDK-focused.&#xD;&#xA;That's OK because UDK is a complete, important and really good tool, but it has its own audio system, unrelated to anything and clearly less a priority for Epic than almost all graphic features.&#xD;&#xA;Note that the tutorial level detailed in the book is [freely available for anyone][1], if you just want to have a look at it.&#xD;&#xA;&#xD;&#xA;If you want to get a good grip on a complete game engine anyway I think you should rather look for:&#xD;&#xA;&#xD;&#xA; - [Unity][2] which is easier to learn, use, has a huge user base and documentation available everywhere&#xD;&#xA; - or the [CryEngine 3][3] which rely for its audio part on Fmod, one of the &quot;standard&quot; audio tool in game industry (see below)&#xD;&#xA;&#xD;&#xA;All of the precited tools are free to try anyway.&#xD;&#xA;&#xD;&#xA;Or, as stated above by Stephen Saldanha, you can try one of the game engine-agnostic audio tool, Fmod or Wwise. Both of them are currently in use for a lot of AAA titles and for a few indie ones.&#xD;&#xA;&#xD;&#xA; - Fmod is the &quot;programer-oriented&quot; one, with a really nice programming interface (which makes it easy to integrate in game or learn how to program audio software).&#xD;&#xA; - Wwise is the &quot;sound designer-oriented&quot; one, with a nice (although messy) UI.&#xD;&#xA;&#xD;&#xA;Both are them might be described as &quot;easy to understand, hard to master&quot;; these are huge machinery entirely dedicated to audio, which will prevent you from being distracted by anything else (as it might be the case with UDK, CE3 etc.) but will have to be integrated into a game if you want to create a working prototype.&#xD;&#xA;&#xD;&#xA;I am more on the audio programmer side but I have worked with all these tools, both on the sound design and programing/game integration parts.&#xD;&#xA;&#xD;&#xA;I think that Unity is the definitive great choice for beginners; the audio part is a bit less sophisticated than the others but getting started on it is no more than a few hours work.&#xD;&#xA;&#xD;&#xA;If you really think you can discipline yourself enough for it, you could try the CE3 + Fmod combo; I think that these are the most powerful and modern tools - but that does not means at all the best nor the most widely used.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.thegameaudiotutorial.com/downloads.html&#xD;&#xA;  [2]: http://unity3d.com/unity/download/&#xD;&#xA;  [3]: http://www.crydev.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23934" PostHistoryTypeId="5" PostId="14500" RevisionGUID="9b56961c-a461-4554-96f8-35ccf1db52e8" CreationDate="2012-07-01T11:29:51.540" UserId="3997" Comment="added 191 characters in body; added 2 characters in body" Text="The Game Audio Tutorial is indeed a great resource, but its biggest advantage is its biggest disadvantage: it really is UDK-focused.&#xD;&#xA;That's OK because UDK is a complete, important and really good tool, but it has its own audio system, unrelated to anything and clearly less a priority for Epic than almost all graphic features.&#xD;&#xA;&#xD;&#xA;Note that the tutorial level detailed in the book is [freely available for anyone][1], if you just want to have a look at it.&#xD;&#xA;&#xD;&#xA;If you want to get a good grip on a complete game engine anyway I think you should rather look for:&#xD;&#xA;&#xD;&#xA; - [Unity][2] which is easier to learn, use, has a huge user base and documentation available everywhere&#xD;&#xA; - or the [CryEngine 3][3] which rely for its audio part on Fmod, one of the &quot;standard&quot; audio tool in game industry (see below)&#xD;&#xA;&#xD;&#xA;All of the precited tools are free to try anyway.&#xD;&#xA;&#xD;&#xA;Or, as stated above by Stephen Saldanha, you can try one of the game engine-agnostic audio tool, Fmod or Wwise. Both of them are currently in use for a lot of AAA titles and for a few indie ones.&#xD;&#xA;&#xD;&#xA; - Fmod is the &quot;programmer-oriented&quot; one, with a really nice programming interface (which makes it easy to integrate in game or learn how to program audio software).&#xD;&#xA; - Wwise is the &quot;sound designer-oriented&quot; one, with a nice (although messy) UI.&#xD;&#xA;&#xD;&#xA;Both are them might be described as &quot;easy to understand, hard to master&quot;; these are huge machinery entirely dedicated to audio, which will prevent you from being distracted by anything else (as it might be the case with UDK, CE3 etc.) but will have to be integrated into a game if you want to create a working prototype.&#xD;&#xA;&#xD;&#xA;I am more on the audio programmer side but I have worked with all these tools, both on the sound design and programming/game integration parts. I know a few complete beginners, non-programmer which have tried all of these tools too...and, well:&#xD;&#xA;&#xD;&#xA; - I think that Unity is the definitive great choice for beginners; the audio part is a bit less sophisticated than the others but getting started on it is no more than a few hours work.&#xD;&#xA; - If you really think you can discipline yourself enough for it, you could try the CE3 + Fmod combo; I think that these are the most powerful and modern tools - but that does not means at all the best nor the most widely used.&#xD;&#xA;&#xD;&#xA;Good luck anyway, and do not hesitate to ask if you have any further questions !&#xD;&#xA;&#xD;&#xA;  [1]: http://www.thegameaudiotutorial.com/downloads.html&#xD;&#xA;  [2]: http://unity3d.com/unity/download/&#xD;&#xA;  [3]: http://www.crydev.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23935" PostHistoryTypeId="5" PostId="14500" RevisionGUID="d844d413-3a28-4773-8895-ec9e9dd1f131" CreationDate="2012-07-01T11:36:14.663" UserId="3997" Comment="added 372 characters in body; added 75 characters in body; deleted 1 characters in body" Text="The Game Audio Tutorial is indeed a great resource, but its biggest advantage is its biggest disadvantage: it really is UDK-focused.&#xD;&#xA;That's OK because UDK is a complete, important and really good tool, but it has its own audio system, unrelated to anything and clearly less a priority for Epic than almost all graphic features.&#xD;&#xA;&#xD;&#xA;Note that the tutorial level detailed in the book is [freely available for anyone][1], if you just want to have a look at it.&#xD;&#xA;&#xD;&#xA;If you want to get a good grip on a complete game engine anyway I think you should rather look for:&#xD;&#xA;&#xD;&#xA; - [Unity][2] which is easier to learn, use, has a huge user base and documentation available everywhere&#xD;&#xA; - or the [CryEngine 3][3] which rely for its audio part on Fmod, one of the &quot;standard&quot; audio tool in game industry (see below)&#xD;&#xA;&#xD;&#xA;All of the precited tools are free to try anyway.&#xD;&#xA;&#xD;&#xA;Or, as stated above by Stephen Saldanha, you can try one of the game engine-agnostic audio tool, Fmod or Wwise. Both of them are currently in use for a lot of AAA titles and for a few indie ones.&#xD;&#xA;&#xD;&#xA;They're made of an UI part - a simplified DAW where you associate sounds with &quot;events&quot; to trig in-game (for instance a creaking sound when opening a door, etc.) - and a code part which allows you to call created events when things happens in your game. Integration into some game engine like CE3 allows to do all of that without having to write a single line of code.&#xD;&#xA;&#xD;&#xA; - Fmod is the &quot;programmer-oriented&quot; one, with a really nice programming interface (which makes it easy to integrate in game or learn how to program audio software) and a simple UI.&#xD;&#xA; - Wwise is the &quot;sound designer-oriented&quot; one, with a nice (although messy) UI and - that's my opinion - a terrible programming interface.&#xD;&#xA;&#xD;&#xA;Both are them might be described as &quot;easy to understand, hard to master&quot;; these are huge machinery entirely dedicated to audio, which will prevent you from being distracted by anything else (as it might be the case with UDK, CE3 etc.) but will have to be integrated into a game if you want to create a working prototype.&#xD;&#xA;&#xD;&#xA;I am more on the audio programmer side but I have worked with all these tools, both on the sound design and programming/game integration parts. I know a few complete beginners, non-programmer which have tried all of these tools too...and, well:&#xD;&#xA;&#xD;&#xA; - I think that Unity is the definitive great choice for beginners; the audio part is a bit less sophisticated than the others but getting started on it is no more than a few hours work.&#xD;&#xA; - If you really think you can discipline yourself enough for it, you could try the CE3 + Fmod combo; I think that these are the most powerful and modern tools - but that does not means at all the best nor the most widely used.&#xD;&#xA;&#xD;&#xA;Good luck anyway, and do not hesitate to ask if you have any further questions !&#xD;&#xA;&#xD;&#xA;  [1]: http://www.thegameaudiotutorial.com/downloads.html&#xD;&#xA;  [2]: http://unity3d.com/unity/download/&#xD;&#xA;  [3]: http://www.crydev.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23936" PostHistoryTypeId="2" PostId="14501" RevisionGUID="58b290a7-454f-48af-9960-f4b2c558185c" CreationDate="2012-07-01T18:57:32.770" UserId="429" Text="if you want to &quot;create a small prototype in collaboration with a friend&quot; Unity is your best. The UDK game audio tutorial book is also excellent however its very specific to UDK and the supporting audio systems. If you used Unity you would learn more general skills related to game development and it would provide a more flexible solution for creating your own prototype." ContentLicense="CC BY-SA 3.0" />
  <row Id="23937" PostHistoryTypeId="2" PostId="14502" RevisionGUID="2078c88f-091f-4dd4-b4c0-758e942d410a" CreationDate="2012-07-01T18:58:08.013" UserId="1049" Text="Lots of good advise already given in this thread. Please note though that whilst Wwise is commonly used and integrated in UDK-created games, and you can download the general software to try out for free, as far as I'm aware you won't be able to implement it into UDK to use to create a prototype without paying for licensing. I'm not sure if it's the same case with FMOD." ContentLicense="CC BY-SA 3.0" />
  <row Id="23938" PostHistoryTypeId="2" PostId="14503" RevisionGUID="3fb7dd61-cc8a-4076-949e-662ea684a622" CreationDate="2012-07-01T19:51:43.303" UserId="1199" Text="For the 'hovering': maybe try adding just a touch of low end wave beating? Just enough to 'feel' it rather than being obviously machine-like (like a UFO).&#xD;&#xA;&#xD;&#xA;Two low freq waveforms [sine, square, miss-matched?] slightly out of sync to create a slow oscillation.&#xD;&#xA;&#xD;&#xA;The oscillation beat could than be ramped-up or down, by increasing/decreasing this difference in oscillation freq. [creating faster/slower 'beats'] to help with the illusion of rising/falling - as an addition to the whooshes or chimes effect?   &#xD;&#xA;&#xD;&#xA;r" ContentLicense="CC BY-SA 3.0" />
  <row Id="23939" PostHistoryTypeId="2" PostId="14504" RevisionGUID="f0d7fe41-12db-4317-ba6e-d552e2e9382d" CreationDate="2012-07-01T20:19:40.287" UserId="726" Text="Hi&#xD;&#xA;&#xD;&#xA;When recording dialogue the shotgun mic (416/ME66/etc) needs to be as close to the speaker as possible, without getting into frame. With wide shots, you can attempt to use the boom, and possibly use as a guide track (or as &quot;perspective&quot;) with the picture editor grabbing the audio from tight shots to use, or you can use lav mics to capture useable dialogue.&#xD;&#xA;&#xD;&#xA;Hope this helps!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23940" PostHistoryTypeId="2" PostId="14505" RevisionGUID="cb3a067f-396f-4b64-a4eb-1a933d643659" CreationDate="2012-07-02T00:20:03.310" UserId="842" Text="I really agree with Chuck, but to give my personal opinion: I hate ME-66 and love the 416. The ME-66 has a rather thin and phased out strange sound in room temperature, but actually work a little better in cold. 416 on the other hand is heavily modeled to enhance the intelligibility of most human voices outdoors and with a roll-off in the bass. It does work indoors as well, though it gets a LOT harder to work with in smaller to medium rooms. On stages though it's absolute awesome-sauce!&#xD;&#xA;&#xD;&#xA;Once, I figured the K6 (with the ME-66 capsule) pretty okay. It did cost around 6000sek (about 900$), and the 416 about 20.000sek (around 2900$), so at the time it was actually pretty cheap. Now a 416 costs roughly twice as much as a K6 with ME-66, and for that kind'a cash I think it's pretty bad.&#xD;&#xA;&#xD;&#xA;When it comes to wind, as Chuck said, ALL condenser-mics need protection, but as such, it's the absolutely most wind-insensitive shotgun I've worked with so far!&#xD;&#xA;&#xD;&#xA;About trying to get as close as possible, I second CHuck once again, adding that getting too close makes the sound very unnatural. Trust your ears." ContentLicense="CC BY-SA 3.0" />
  <row Id="23941" PostHistoryTypeId="2" PostId="14506" RevisionGUID="2ace0f15-55bc-4705-80dd-c0e19f0c4ec9" CreationDate="2012-07-02T06:37:00.937" UserId="4005" Text="Hi! I'd like to start thread to share some secrets on how to create nice whooshes, everyone has their own technics and methods so how do you make fresh, new whoshes???" ContentLicense="CC BY-SA 3.0" />
  <row Id="23942" PostHistoryTypeId="1" PostId="14506" RevisionGUID="2ace0f15-55bc-4705-80dd-c0e19f0c4ec9" CreationDate="2012-07-02T06:37:00.937" UserId="4005" Text="How to make nice whooshes??" ContentLicense="CC BY-SA 3.0" />
  <row Id="23943" PostHistoryTypeId="3" PostId="14506" RevisionGUID="2ace0f15-55bc-4705-80dd-c0e19f0c4ec9" CreationDate="2012-07-02T06:37:00.937" UserId="4005" Text="&lt;whooshes&gt;&lt;sfx&gt;&lt;sound-design&gt;&lt;editing&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23944" PostHistoryTypeId="2" PostId="14507" RevisionGUID="afae4898-ad32-4f08-a527-96de1643a367" CreationDate="2012-07-02T07:26:52.510" UserId="720" Text="I like a mic well shielded, and using different sizes of wooden chopping boards. Moving perpendicular to their large surface area." ContentLicense="CC BY-SA 3.0" />
  <row Id="23945" PostHistoryTypeId="2" PostId="14508" RevisionGUID="bf0817d5-4327-47fc-859e-94089bc70c19" CreationDate="2012-07-02T08:29:27.803" UserId="1185" Text="The human voice is one of the most versatile synthesizers going and I've recorded many whooshes that can be used as base sounds and then layered with other sound textures." ContentLicense="CC BY-SA 3.0" />
  <row Id="23946" PostHistoryTypeId="2" PostId="14509" RevisionGUID="d3a27840-3763-44e8-8fda-f54d7f170a5f" CreationDate="2012-07-02T08:58:12.550" UserId="3797" Text="I like to take some interesting ambiences and pass them through a short doppler effect. &#xD;&#xA;&#xD;&#xA;You can generate a lot of varied material rather quickly and have precise control over the length.&#xD;&#xA;&#xD;&#xA;It works great with natural elements such as wind but I've had some surprisingly good results with machinery, there is quite a large opportunity for experimentation with some of your tired out sound library." ContentLicense="CC BY-SA 3.0" />
  <row Id="23947" PostHistoryTypeId="2" PostId="14510" RevisionGUID="49d2c624-0669-4df0-9341-1ea5af3ec32c" CreationDate="2012-07-02T10:46:48.297" UserDisplayName="user80" Text="Add a little more doppler effect by loading the sound into a sampler and then pitch bending." ContentLicense="CC BY-SA 3.0" />
  <row Id="23948" PostHistoryTypeId="2" PostId="14511" RevisionGUID="7ed11b97-0974-4ade-a06e-a211eb7a3a4c" CreationDate="2012-07-02T12:23:49.840" UserDisplayName="user80" Text="I suggest bursting an inflated balloon, as long as the audience don't see you doing it, it can be surprisingly effective.  The larger the balloon the bigger the gun shot." ContentLicense="CC BY-SA 3.0" />
  <row Id="23949" PostHistoryTypeId="2" PostId="14512" RevisionGUID="a70e33f3-bd6c-43cb-9767-f7b2fb418e2f" CreationDate="2012-07-02T13:55:37.367" UserId="4006" Text="I teach game sound at a University, and I can highly recommend &quot;Thegameaudiotutorial&quot; book. It takes you through actual examples of every aspect of implementation and is based on the most popular third party game engine in the world. &#xD;&#xA;&#xD;&#xA;Unity is great for smaller titles and has a strong user base as well. Its has far less audio functionality than Unreal (UDK) but there is a lot that you can do with it. &#xD;&#xA;&#xD;&#xA;Middleware tools like FMOD and Wwise are powerful and important parts of the production pipeline, but I see far less wisdom in concentrating on something that you cant really integrate to any high level without the actual license and source code. &#xD;&#xA;&#xD;&#xA;&quot;TheGameAudioTutorial&quot; comes with an audio library, countless step by step tutorials and video demonstrations as well. It has a scripted music racer game and more info than you could probably digest without killing yourself. I have read almost every book and learning system out there, and nothing even comes close to giving practical information about how to make game sound work. &#xD;&#xA;&#xD;&#xA;Good luck! " ContentLicense="CC BY-SA 3.0" />
  <row Id="23950" PostHistoryTypeId="2" PostId="14513" RevisionGUID="4d57405a-5d23-4d56-ad91-655de462a427" CreationDate="2012-07-02T17:28:48.583" UserId="4007" Text="I second the use of the breath. The way I do it is just take a dynamic mic (as it doesn't pick out ambient noises if you don't have an expensive studio) and breath in it in various intensities. On the audio track I have Native Instruments Absynth as effect processor and just by tweaking the presets you can get really crazy (and quality) swooshes, but obviously by studying the patches you notice it's just a matter of layering reverbs and delays and trying a variety of settings so you can do it very well without the software, just using whatever FX you have ." ContentLicense="CC BY-SA 3.0" />
  <row Id="23951" PostHistoryTypeId="2" PostId="14514" RevisionGUID="1cb554f9-f279-4745-9256-4f58b5e0f145" CreationDate="2012-07-02T18:47:07.033" UserId="730" Text="Hey guys.  I did a fruits and veggies recording session yesterday with my buddy Chris Nicholson.  I figured I would share some pictures with you all.  It got very messy very fast.  I am still editing all the recordings, but they will be available for purchase on my website in the next day or so.  getsoundeffects.com&#xD;&#xA;&#xD;&#xA;http://www.facebook.com/media/set/?set=a.399945423396148.88072.329833437074014&amp;type=1" ContentLicense="CC BY-SA 3.0" />
  <row Id="23952" PostHistoryTypeId="2" PostId="14515" RevisionGUID="a1a1944d-c019-4985-a40e-3823acfdda93" CreationDate="2012-07-02T22:00:07.683" UserId="3979" Text="Ok, I think I'm going out on a limb here and creating a huge debate. But this topic deserves to be debated. For those of you who haven't heard or investigated Dolby's new Atmos system, please see links at the bottom of my question.&#xD;&#xA;&#xD;&#xA;Understandably Atmos technology may not alter the way we create, or even deliver our sounds to the mix stage. However I believe this technology provides a limitless creative landscape for the potential of what our sounds can become. And yes, more textures could be added.&#xD;&#xA;For instance, the 'helicopter flying over head' example could mean not only creating the sound for the vehicle itself, but it also leaves space to create more detailed imaging such as air movement, more detailed doppler effect, etc. Not to mention a more immersive environments, and sound in general.&#xD;&#xA;&#xD;&#xA;So why do so many think this technology will flop? I agree that most people (consumers) don't know specifics about sound. And there have been a billion cases in which a theater had a blown speaker(s) and no one noticed. But honestly with 5.1 and the way it's setup, how could they? I think they'd notice if the film was in Stereo. But with 5.1 you may as well block off the room into 5 sections that blend. Atmos changes all that, and converts existing (under qualified)theater systems into much more accurate and capable ones, even without adding additional systems. I believe it has the ability to change film standards, and those of the movie goers. What common movie goer would now go to a movie theater that played their films in Stereo, after experiencing 5.1? And who then 5.1 once experiencing Atmos? (besides the extra $2.50 Atmos theaters add to their ticket price)&#xD;&#xA;&#xD;&#xA;I'm in no way bias, or set in my opinion. I'm simply EXCITED over these possibilities. Aren't you? If not, please share with me your opinion.&#xD;&#xA;&#xD;&#xA;Thanks guys!! I'm new to this site and I can't tell you how incredible I think it is, and how much I appreciate all your input and help. &#xD;&#xA;&#xD;&#xA;VIDEOS : &#xD;&#xA;Intro to Dolby Atmos : &#xD;&#xA;http://soundworkscollection.com/atmos&#xD;&#xA;&#xD;&#xA;Brave is the first film to implement Atmos Technology.&#xD;&#xA;Brave Special Features, Gary Rydstrom talks about mixing Brave with Atmos : &#xD;&#xA;http://soundworkscollection.com/brave&#xD;&#xA;&#xD;&#xA;DOCUMENTS : &#xD;&#xA;&gt;&gt; This document pertains to how to literally setup your theater for Atmos, &#xD;&#xA;&#xD;&#xA;http://www.dolby.com/uploadedFiles/Assets/US/Doc/Professional/Dolby-Atmos-Cinema-Technical-Guidelines.pdf&#xD;&#xA;&#xD;&#xA;&gt;&gt; This pertains to the Vision of Atmos. What it does and also how it applies the film makers, as well as the audience.&#xD;&#xA;&#xD;&#xA;http://www.dolby.com/uploadedFiles/Assets/US/Doc/Professional/Dolby-Atmos-Next-Generation-Audio-for-Cinema.pdf&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23953" PostHistoryTypeId="1" PostId="14515" RevisionGUID="a1a1944d-c019-4985-a40e-3823acfdda93" CreationDate="2012-07-02T22:00:07.683" UserId="3979" Text="Dolby Atmos and the World of Sound Design." ContentLicense="CC BY-SA 3.0" />
  <row Id="23954" PostHistoryTypeId="3" PostId="14515" RevisionGUID="a1a1944d-c019-4985-a40e-3823acfdda93" CreationDate="2012-07-02T22:00:07.683" UserId="3979" Text="&lt;dolby&gt;&lt;atmos&gt;&lt;theater&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23955" PostHistoryTypeId="2" PostId="14516" RevisionGUID="ceed5014-a9b3-41c1-9dc6-3817e2fc9795" CreationDate="2012-07-02T22:40:30.870" UserId="542" Text="As far as I understood the concept of Dolby Atmos, my main concern is that every cinema will tend to sound different according to their amount of speakers and how they are set up.&#xD;&#xA;&#xD;&#xA;7.1 is absolutely enough in my opinion, on the other hand I am not a professional mixer. But sound seems to have less self-convidence since 3d is back (again).&#xD;&#xA;&#xD;&#xA;But so far I didn't dive into that topic, so maybe you can proove me wrong." ContentLicense="CC BY-SA 3.0" />
  <row Id="23956" PostHistoryTypeId="2" PostId="14517" RevisionGUID="427a3f3e-7ec0-48f3-9518-75b8c4755c84" CreationDate="2012-07-03T03:00:23.703" UserId="1129" Text="An AKG 414 and an Earthworks SR40.  With the selectable pattern on the 414 you get a lot of flexibility and you can even use it to record two instrumentalists (guitar, violin) by setting it to figure 8 and placing it between them.  (Worked great on a recent gypsy swing show.)&#xD;&#xA;&#xD;&#xA;The Earthworks pencil condenser gets in places that the 414 can't, and is a phenomenal sounding mic on strings.  Better isolation than the QTC40 if you find yourself working a live gig, but definitely go with the omni if you are doing strict studio work." ContentLicense="CC BY-SA 3.0" />
  <row Id="23957" PostHistoryTypeId="2" PostId="14518" RevisionGUID="b8398de9-3c8c-45f2-a431-5b381985b620" CreationDate="2012-07-03T07:25:55.170" UserDisplayName="user49" Text="&quot;But better none the less&quot;&#xD;&#xA;&#xD;&#xA;why do you believe this? Are you a salesman for Dolby or something?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Lets face it, it really wont make any difference at all to most of the films I see &amp; hear, because like 3D its a platform that is aimed at big budget Hollywood tent pole movies&#xD;&#xA;&#xD;&#xA;Just how much of an emotional drama needs to come from the ceiling or via discreet surrounds?&#xD;&#xA;&#xD;&#xA;imho 95% of the emotional content is in LCR.... " ContentLicense="CC BY-SA 3.0" />
  <row Id="23958" PostHistoryTypeId="2" PostId="14519" RevisionGUID="2fa61a73-c343-47fc-be7d-f9df83656db0" CreationDate="2012-07-03T08:45:16.920" UserId="1185" Text="As Tim points out, this is very much aimed at the Hollywood Blockbuster market.  For me the interesting aspect for this market is not emotion per se (although it may lead to greater emotional involvement), but immersion.  IMO anything that can lead to &quot;more&quot; suspension of disbelief is a good thing.  Having said that I've not heard an atoms system so for me the jury is still out on how believable it is, but I am open to the possibilities and looking forward to getting my hands on it." ContentLicense="CC BY-SA 3.0" />
  <row Id="23959" PostHistoryTypeId="2" PostId="14520" RevisionGUID="a76acfec-3210-48c1-bbcb-4a87b769637d" CreationDate="2012-07-03T09:12:48.610" UserId="6432" Text="I'm interested to hear it out of curiosity, but I can't say that surround sound is an important thing for me in the cinema. If I hear stuff coming from the surrounds more than the screen it often takes me out of the film, and as Atmos allows you to route sounds to individual surrounds we might be getting more of that.&#xD;&#xA;&#xD;&#xA;There is another set of optional speakers behind the screen, so you can have L LC C RC R - curious as to whether this will allow more accurate L&lt;&gt;R panning. &#xD;&#xA;&#xD;&#xA;I'm also interested to know if Dolby tried out a set of raised speakers behind the screen - like upper left and upper right. I like the idea of designing atmos into upper and lower stems, but still having it come from behind the picture. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23960" PostHistoryTypeId="2" PostId="14521" RevisionGUID="b79e270e-3b2b-4561-9b87-c154c99bccf3" CreationDate="2012-07-03T09:41:25.417" UserId="3529" Text="For THE sound  of bicycle wheels I used the end loops of vinyl records! Worked well to get the feeling of an old bicycle." ContentLicense="CC BY-SA 3.0" />
  <row Id="23961" PostHistoryTypeId="2" PostId="14522" RevisionGUID="9ea3b8ae-a1ed-48c2-acdd-8c97f82c6de3" CreationDate="2012-07-03T10:42:13.157" UserId="3223" Text="I've always enjoyed coaxing unusual sounds out of an electric guitar and then experimenting with processing afterwards. Lots of great/usual tones can be generated by scraping a live TRS cable along the strings and pickups. I've used such recordings for everything from faulty electronics and lights to sci-fi atmospheres. Lots of fun to play around with. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23962" PostHistoryTypeId="5" PostId="14520" RevisionGUID="fa9f0b16-6f69-487e-b614-782920a09c61" CreationDate="2012-07-03T10:57:14.567" UserId="6432" Comment="added 50 characters in body" Text="I'm interested to hear it out of curiosity, but I can't say that surround sound is an important thing for me in the cinema. If I hear stuff coming from the surrounds more than the screen it often takes me out of the film, and as Atmos allows you to route sounds to individual surrounds we might be getting more of that.&#xD;&#xA;&#xD;&#xA;There is another set of optional speakers behind the screen, so you can have L LC C RC R - curious as to how these are used, and whether this will allow more accurate L&lt;&gt;R panning. &#xD;&#xA;&#xD;&#xA;On a side note, I'd be interested to know if Dolby tried out a set of raised speakers behind the screen - like upper left and upper right. I like the idea of designing sounds like atmos into upper and lower stems, but still having it come from behind the picture. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23963" PostHistoryTypeId="2" PostId="14523" RevisionGUID="4f0fd683-68ba-4499-9d1f-25cd67831c8b" CreationDate="2012-07-03T10:59:06.660" UserId="3179" Text="You need to view the course curriculum to define whether something is suitable. These types of courses however often go under some kind of &quot;sound design&quot; title rather than &quot;sound production&quot;/&quot;recording arts&quot;/&quot;audio engineering&quot;, which are more about recording and sound/music production.&#xD;&#xA;&#xD;&#xA;A few examples of the courses you would be looking for in Europe include MSc Sound Design at University of Edinburgh and MA Sound in New Media at Aalto University in Helsinki, but there are likely many more.&#xD;&#xA;&#xD;&#xA;More important than the actual practical/teaching content of these types of programs is the people that you meet, because the courses involve multidisciplinary work and there are people that are into the same stuff as you, which can spin off some interesting cooperation and projects. The practical stuff can be learnt by just doing it and through self-study." ContentLicense="CC BY-SA 3.0" />
  <row Id="23964" PostHistoryTypeId="5" PostId="14523" RevisionGUID="f9929ea9-a108-4c10-b5c2-b99b1d8822d6" CreationDate="2012-07-03T11:10:59.143" UserId="3179" Comment="added 59 characters in body; added 14 characters in body; added 11 characters in body" Text="You need to view the course curriculum to define whether something is suitable. These types of courses however often go under some kind of &quot;sound design&quot; or &quot;media&quot; title rather than &quot;sound production&quot;/&quot;recording arts&quot;/&quot;audio engineering&quot;, which are more about recording and sound/music production.&#xD;&#xA;&#xD;&#xA;A few examples of the courses you would be looking for in Europe include MSc Sound Design at University of Edinburgh and MA Sound in New Media at Aalto University in Helsinki, but there are likely many more.&#xD;&#xA;&#xD;&#xA;More important than the actual practical/teaching content of these types of programs is the people that you meet, because the courses involve multidisciplinary work and there are people that are into the same stuff as you, which can spin off some interesting cooperation and projects. Of course you also get to use the school's facilities and equipment, but the practical stuff can be learnt by just doing it and through self-study." ContentLicense="CC BY-SA 3.0" />
  <row Id="23965" PostHistoryTypeId="5" PostId="14520" RevisionGUID="830884ea-fde8-4c1e-aae1-d6c3771ee73c" CreationDate="2012-07-03T11:12:49.063" UserId="6432" Comment="more thoughts" Text="I'm interested to hear it out of curiosity, but I can't say that surround sound is an important thing for me in the cinema. If I hear stuff coming from the surrounds more than the screen it often takes me out of the film, and as Atmos allows you to route sounds to individual surrounds we might be getting more of that. &#xD;&#xA;&#xD;&#xA;Having said that, perhaps having more speakers will allow more subtle use of surround. With 5.1 theaters I hate it if I'm sitting off to the side and the nearest surround feels too loud. Maybe with atmos sounds can be more evenly spread out between the speakers avoiding that problem?&#xD;&#xA;&#xD;&#xA;There is another set of optional speakers behind the screen, so you can have L LC C RC R - curious as to how these are used, and whether this will allow more accurate L&lt;&gt;R panning. &#xD;&#xA;&#xD;&#xA;On a side note, I'd be interested to know if Dolby tried out a set of raised speakers behind the screen - like upper left and upper right. I like the idea of designing sounds like atmos into upper and lower stems, but still having it come from behind the picture. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23966" PostHistoryTypeId="5" PostId="14523" RevisionGUID="3c6618bb-592c-4476-94a1-c64d6c67b8a2" CreationDate="2012-07-03T11:24:20.720" UserId="3179" Comment="added 24 characters in body; added 22 characters in body" Text="You need to view the course curriculum to define whether something is suitable. These types of courses however often go under some kind of &quot;sound design&quot; or &quot;media&quot; title rather than &quot;sound production&quot;/&quot;recording arts&quot;/&quot;audio engineering&quot;, which are mainly about recording and sound/music production in a studio (and maybe concert) environment.&#xD;&#xA;&#xD;&#xA;A few examples of the courses you would be looking for in Europe include MSc Sound Design at University of Edinburgh and MA Sound in New Media at Aalto University in Helsinki, but there are likely many more.&#xD;&#xA;&#xD;&#xA;More important than the actual practical/teaching content of these types of programs is the people that you meet, because the courses involve multidisciplinary work and there are people that are into the same stuff as you, which can spin off some interesting cooperation and projects. Of course you also get to use the school's facilities and equipment, but the practical stuff can be learnt by just doing it and through self-study." ContentLicense="CC BY-SA 3.0" />
  <row Id="23967" PostHistoryTypeId="2" PostId="14524" RevisionGUID="938a2048-0a2f-413d-8a11-513bad75fb1d" CreationDate="2012-07-03T18:18:36.687" UserId="730" Text="Finished my Fruits and Vegetables Collection.  Check it out! :)&#xD;&#xA;&#xD;&#xA;https://getsoundeffects.com/#/products-page/sound-bundles/fruits-vegetables-collection/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23968" PostHistoryTypeId="2" PostId="14525" RevisionGUID="e87e623b-09e7-43da-a9b1-191db4434011" CreationDate="2012-07-03T19:24:59.120" UserId="315" Text="Having worked on a project mixed in Dolby Atmos, here’s my 2 cents for what it’s worth. And no, I don’t work for Dolby.&#xD;&#xA;&#xD;&#xA;First, please go give Atmos a listen before you pass judgement. It is quite a promising and exciting technology, designed not to become obsolete in the next few years. While it does provide the opportunity to use the surrounds and ceiling in flashy and distracting ways, the best designers, editors, and mixers will use these new tools to heighten the storytelling and immersive experience. We as story conscious sound folk should welcome new tools, more creative mixing options, and better sounding theaters. Dolby is leading this push. As long as we use these powerful tools to serve the narrative, then by no means are they a gimmick.&#xD;&#xA;&#xD;&#xA;A couple observations from my very, very limited Atmos experience:&#xD;&#xA;&#xD;&#xA; - For those of you that find over use of surround distracting, keep in mind that the technology is about more than just providing a mixer with greater ability to swirl sound around the audience (although that certainly can be done to great effect). There are 5 discreet speakers across the screen: Left, Center Left, Center, Center Right, and Right, allowing better localization/panning across the front of the theater. It is also possible to pan sounds to the first wall speaker on the left and right of the screen, making panning across the front of the theater wider and more dramatic. Off screen action sounds great in these speakers, and placing things there still keeps the audience anchored to the screen.&#xD;&#xA;&#xD;&#xA; - The ceiling can be used to great&#xD;&#xA;   effect, and not just for blockbuster&#xD;&#xA;   helicopter approaches and flying&#xD;&#xA;   robots (although I imagine that would&#xD;&#xA;   sound awesome). In Brave, rain is&#xD;&#xA;   panned to the ceiling for example. It&#xD;&#xA;   sounds amazing.&#xD;&#xA;&#xD;&#xA; - It is possible to pull the music slightly off of the screen out of the LR, allowing for the potential for better separation of score and effects. This is already being done in 7.1 to great effect. The surrounds in an Atmos theater are also full range, and not the weak surrounds we are often forced to listen to.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I know that many theaters still have problems playing 5.1, much less 7.1 correctly; but I, for one, hope that Atmos takes off. Maybe then, with improved sound systems in most theaters, at least we will get better sounding playback of standard 5.1 mixes. And, at best, a new format with tons of potential.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23969" PostHistoryTypeId="2" PostId="14526" RevisionGUID="ba9d3edd-4494-4153-b48b-e80da82d1b10" CreationDate="2012-07-03T20:37:36.347" UserId="3979" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I'm looking to add a good Boundary / PZM mic to my mic collection for sound design. What are some good brands / models to consider for sound design purposes??&#xD;&#xA;&#xD;&#xA;Thanks!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23970" PostHistoryTypeId="1" PostId="14526" RevisionGUID="ba9d3edd-4494-4153-b48b-e80da82d1b10" CreationDate="2012-07-03T20:37:36.347" UserId="3979" Text="Good PZM / boundary Mics for Sound Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23971" PostHistoryTypeId="3" PostId="14526" RevisionGUID="ba9d3edd-4494-4153-b48b-e80da82d1b10" CreationDate="2012-07-03T20:37:36.347" UserId="3979" Text="&lt;pzm&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23972" PostHistoryTypeId="2" PostId="14527" RevisionGUID="52707817-fdb5-44cd-94ca-bd6779cf850f" CreationDate="2012-07-03T20:49:24.077" UserId="3754" Text="I have got a Tascam DR100. I don't want to shell out more for the charger. Now, it says you can charge via USB and a laptop, which is fair enough. CAN I use my Apple USB charging plug, connect the USB and just charge it that way, with the right size cable? &#xD;&#xA;&#xD;&#xA;Will it charge like it is just plugged into a laptop, or will it melt and fuck my device!!?&#xD;&#xA;&#xD;&#xA;A quick google search hasn't really cleared it up. Any advice?" ContentLicense="CC BY-SA 3.0" />
  <row Id="23973" PostHistoryTypeId="1" PostId="14527" RevisionGUID="52707817-fdb5-44cd-94ca-bd6779cf850f" CreationDate="2012-07-03T20:49:24.077" UserId="3754" Text="Tascam DR100 iPod USB Charging" ContentLicense="CC BY-SA 3.0" />
  <row Id="23974" PostHistoryTypeId="3" PostId="14527" RevisionGUID="52707817-fdb5-44cd-94ca-bd6779cf850f" CreationDate="2012-07-03T20:49:24.077" UserId="3754" Text="&lt;tascam&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23975" PostHistoryTypeId="5" PostId="14525" RevisionGUID="8ad4369b-1e9c-4b79-a80d-7e5531237497" CreationDate="2012-07-03T21:29:37.073" UserId="315" Comment="edited body" Text="Having worked on a project mixed in Dolby Atmos, here’s my 2 cents for what it’s worth. And no, I don’t work for Dolby.&#xD;&#xA;&#xD;&#xA;First, please go give Atmos a listen before you pass judgement. It is quite a promising and exciting technology, designed not to become obsolete in the next few years. While it does provide the opportunity to use the surrounds and ceiling in flashy and distracting ways, the best designers, editors, and mixers will use these new tools to heighten the storytelling and immersive experience. We as story conscious sound folk should welcome new tools, more creative mixing options, and better sounding theaters. Dolby is leading this push. As long as we use these powerful tools to serve the narrative, then by no means are they a gimmick.&#xD;&#xA;&#xD;&#xA;A couple observations from my very, very limited Atmos experience:&#xD;&#xA;&#xD;&#xA; - For those of you that find over use of surround distracting, keep in mind that the technology is about more than just providing a mixer with greater ability to swirl sound around the audience (although that certainly can be done to great effect). There are 5 discreet speakers across the screen: Left, Center Left, Center, Center Right, and Right, allowing better localization/panning across the front of the theater. It is also possible to pan sounds to the first wall speaker on the left and right of the screen, making panning across the front of the theater wider and more dramatic. Off screen action sounds great in these speakers, and placing things there still keeps the audience anchored to the screen.&#xD;&#xA;&#xD;&#xA; - The ceiling can be used to great&#xD;&#xA;   effect, and not just for blockbuster&#xD;&#xA;   helicopter approaches and flying&#xD;&#xA;   robots (although I imagine that would&#xD;&#xA;   sound awesome). In Brave, rain is&#xD;&#xA;   panned to the ceiling for example. It&#xD;&#xA;   sounds amazing.&#xD;&#xA;&#xD;&#xA; - It is possible to pull the music slightly off of the screen out of the LR, allowing for the potential for better separation of score and effects. This is already being done in 7.1 to great effect. The surrounds in an Atmos theater are also full range, and not the weak surrounds we are often forced to listen to.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I know that many theaters still have problems playing 5.1, much less 7.1 correctly; but I, for one, hope that Atmos takes off. Maybe then, with improved sound systems in most theaters, at least we will get better sounding playback of standard 5.1 mixes; and, at best, a new format with tons of potential.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23976" PostHistoryTypeId="2" PostId="14528" RevisionGUID="445a1656-41f5-45ac-9df2-cfdf8e1b673d" CreationDate="2012-07-03T22:25:20.570" UserId="6411" Text="Following the massive storm that knocked out power to many areas on the East Coast, I'm just wondering if anyone is taking advantage of the lack of air conditioners humming and grabbing some nice residential BGs or other sounds. From the way my friends are facebooking, it sounds like entire neighborhoods are ghost towns." ContentLicense="CC BY-SA 3.0" />
  <row Id="23977" PostHistoryTypeId="1" PostId="14528" RevisionGUID="445a1656-41f5-45ac-9df2-cfdf8e1b673d" CreationDate="2012-07-03T22:25:20.570" UserId="6411" Text="DC Power Outages" ContentLicense="CC BY-SA 3.0" />
  <row Id="23978" PostHistoryTypeId="3" PostId="14528" RevisionGUID="445a1656-41f5-45ac-9df2-cfdf8e1b673d" CreationDate="2012-07-03T22:25:20.570" UserId="6411" Text="&lt;opportunity&gt;&lt;nature-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23979" PostHistoryTypeId="2" PostId="14529" RevisionGUID="55c15add-4866-4318-bad4-1c71fcd24a09" CreationDate="2012-07-03T23:45:24.543" UserId="1129" Text="Well, I'm a live sound guy, not a recordist (although I dabble).&#xD;&#xA;&#xD;&#xA;I like the Crown PZM for applications where you need an omni PZM.&#xD;&#xA;&#xD;&#xA;I have a set of Crown PCC 160s for cardioid boundary mics.  THE standard foot mic in live applications.  However, I have heard that Bartlett Mics make very good boundary mics that sound much better than the old PCC160.&#xD;&#xA;&#xD;&#xA;Check out their recording boundary mics, in particular.  bartlettmics.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="23980" PostHistoryTypeId="2" PostId="14530" RevisionGUID="0855047f-ce70-4fba-865d-6377d37b34e3" CreationDate="2012-07-03T23:57:40.563" UserId="194" Text="+1 for the crown PZM.  Its my new secret vehicle recording weapon." ContentLicense="CC BY-SA 3.0" />
  <row Id="23981" PostHistoryTypeId="2" PostId="14531" RevisionGUID="08d0f5b4-9906-429a-820b-ca9f49e05f51" CreationDate="2012-07-04T02:26:37.570" UserId="1129" Text="The voltage on the Apple charger is USB spec:  5V.  &#xD;&#xA;Where the apple chargers differ from USB spec is in the current available.  Most current generation Apple USB chargers can provide 1A (1000mA) of current, double the 500mA that is the USB standard.  This is why high current Apple devices like the iPad won't charge over USB when connected to the computer.  It needs a full 1A of current.&#xD;&#xA;&#xD;&#xA;However, for your application it should be fine, since your Apple charger will provide plenty of current necessary to charge the DR100." ContentLicense="CC BY-SA 3.0" />
  <row Id="23982" PostHistoryTypeId="2" PostId="14532" RevisionGUID="4c206321-90f5-4719-924d-c1245b6e19bb" CreationDate="2012-07-04T07:00:55.617" UserId="3371" Text="Works fine for me. I have also used some cheap universal charger with no problems." ContentLicense="CC BY-SA 3.0" />
  <row Id="23983" PostHistoryTypeId="2" PostId="14533" RevisionGUID="decde102-0564-4035-8a54-049c8f1ef6b8" CreationDate="2012-07-04T08:41:56.560" UserId="4009" Text="I've used divergence to good effect on feature documentaries.   The narration can be diverged slightly across LCR (30% maybe) to give it a different soundfield to centre channel only dialogue and interviews.   It's particularly useful in sports documentarie, where the archive material may have a commentary on it which needs to be heard, but still to feel distinct from the main narration.&#xD;&#xA;&#xD;&#xA;I does affect the subjective balance of the the LtRt and M downmixes, so I have an LtRt monitor path that I can switch to for comparison during the mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="23986" PostHistoryTypeId="2" PostId="14536" RevisionGUID="e66d050b-d9d8-40c9-ade0-a59b09300a4b" CreationDate="2012-07-04T23:44:01.397" UserId="4010" Text="I was wondering, if anybody knows if this audio clip is processed with delay, resonators, or is it something like altiverb ADR kinda effect, that's also been used in many sci-fi genre type of media eg. game industry...etc...I keep hearing it on many dialogs especially helmet wearing characters eg. Judge Dredd or cyborg characters etc...I think its waves metal flanger, but can't really nail it down as good as the other professional sound designers...[link to the sample][1] Any insight is appreciated &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/user9264139/scifi-voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="23987" PostHistoryTypeId="1" PostId="14536" RevisionGUID="e66d050b-d9d8-40c9-ade0-a59b09300a4b" CreationDate="2012-07-04T23:44:01.397" UserId="4010" Text="inside a metal helmet like resonating SciFi Voice FX" ContentLicense="CC BY-SA 3.0" />
  <row Id="23988" PostHistoryTypeId="3" PostId="14536" RevisionGUID="e66d050b-d9d8-40c9-ade0-a59b09300a4b" CreationDate="2012-07-04T23:44:01.397" UserId="4010" Text="&lt;metal&gt;&lt;scifi&gt;&lt;voice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23989" PostHistoryTypeId="2" PostId="14537" RevisionGUID="6bba2f81-5b74-4d13-ab60-5c12d10f4f2e" CreationDate="2012-07-05T01:21:58.683" UserId="6669" Text="I experimented to get this kind of an effect on a job app, and my reference point were some of the voiceovers in DotA 2 -- I love how well some of them are &quot;worldized&quot; to sound like they're coming from within a suit of armor. Here's a great example: http://www.youtube.com/watch?v=Yj-F3aI6m-g&#xD;&#xA;&#xD;&#xA;Closest I got to this effect, after some experimentation (including a failed worldizing attempt through an overturned stock pot) was to use a clanging pot sample as an impulse response. I treated my voice with a little EQ, Compression, and some envelope-following stuff in Filter Freak before sending it through.&#xD;&#xA;&#xD;&#xA;Here's how it turned out (you're interested in the 3rd / 5th sounds), plus some extra experimentation with a vocoder and using a Massive patch as modulator. I had a pretty tough time maintaining intelligibility without having the original, unmodified voice peek through.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/lucafusi/robot-voice-experimentation&#xD;&#xA;&#xD;&#xA;Actually that reminds me -- intelligibility is KEY. So even though you want your voice to sound super worldized and cool, remember to make it really really easy to understand." ContentLicense="CC BY-SA 3.0" />
  <row Id="23990" PostHistoryTypeId="2" PostId="14538" RevisionGUID="09d6192b-4102-4394-9003-b9eff1955f45" CreationDate="2012-07-05T06:58:09.740" UserId="842" Text="The sound has not much more than a high-pass filter set somewhere above 200Hz, going to a phaser or flanger with very fast modulation and pretty much feedback!" ContentLicense="CC BY-SA 3.0" />
  <row Id="23991" PostHistoryTypeId="5" PostId="14538" RevisionGUID="c95bc4d8-fe46-4076-9ad3-b387c8ccf80c" CreationDate="2012-07-05T07:07:18.027" UserId="842" Comment="added 1 characters in body; added 2 characters in body" Text="That sound has not much more than a high-pass filter set somewhere above 200Hz, going to a phaser or flanger with very fast modulation and pretty much feedback!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23992" PostHistoryTypeId="2" PostId="14539" RevisionGUID="69e8f712-c8c8-483d-a10d-b3163430a040" CreationDate="2012-07-05T07:17:52.957" UserId="793" Text="When I do it I tend to just use a short delay with a moderately high feedback and a little filtering on the top end to stop it ringing too much. You could use an EQ in the feedback loop (if that's something you can do easily) to make a couple of frequencies ring more." ContentLicense="CC BY-SA 3.0" />
  <row Id="23993" PostHistoryTypeId="5" PostId="14537" RevisionGUID="bb3e46b5-58a4-4fae-9b11-8d369727b9e1" CreationDate="2012-07-05T07:39:33.103" UserId="6669" Comment="Removed some bad use of &quot;worldizing,&quot; clarity edits" Text="I experimented to get this kind of an effect on a job app, and my reference point were some of the voiceovers in DotA 2 -- I love how well some of them are tuned to sound like they're coming from within a suit of armor. Here's a great example: http://www.youtube.com/watch?v=Yj-F3aI6m-g&#xD;&#xA;&#xD;&#xA;Closest I got to this effect, after some experimentation (including a failed worldizing attempt through an overturned stock pot) was to use a clanging pot sample as an impulse response. I treated my voice with a little EQ, Compression, and some envelope-following stuff in Filter Freak before sending it through.&#xD;&#xA;&#xD;&#xA;Here's how it turned out (you're interested in the 3rd / 5th sounds), plus some extra experimentation with a vocoder and using a Massive patch as modulator. I had a pretty tough time maintaining intelligibility without having the original, unmodified voice peek through.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/lucafusi/robot-voice-experimentation&#xD;&#xA;&#xD;&#xA;Actually that reminds me -- intelligibility is KEY with V.O. Whatever you do to make it sound real, make sure that you can still understand what's being said above all else." ContentLicense="CC BY-SA 3.0" />
  <row Id="23994" PostHistoryTypeId="5" PostId="14429" RevisionGUID="a6ceebaf-86be-40fa-9a64-23af8ebe4d5f" CreationDate="2012-07-05T08:34:03.767" UserId="3997" Comment="added 1 characters in body" Text="Hi, AudioGaming developer here (which by the way is French, so please forgive my poor english skills) !&#xD;&#xA;&#xD;&#xA;PA has been an ignored tool for a very long time, and because of that we sometimes have to struggle a bit against long-established habits, creation pipelines and existing content. But it really just is one more tool, not really designed to replace everything at once but to expand possibilities.&#xD;&#xA;&#xD;&#xA;As mentioned earlier, Andy Farnell is currently one of the key people for this topic, as is [Nicolas Fournel][1] who maintains procedural-audio.com&#xD;&#xA;&#xD;&#xA;As you wrote it, one of the most proeminent problem with PA is computational resources ; not really because of the required horsepower : modern hardware could handle most cases perfectly if there was no display...but mostly because of what the audio part gets usually allocated - for most common PC/consoles games it is below 5% CPU. Displaying shiny things just eat too much, and audio is always the first domain being crippled.&#xD;&#xA;&#xD;&#xA;That being said, this is currently changing because available CPU power increases way faster than available memory size - memory is expensive, low latence memory even more.&#xD;&#xA;For instance Microsoft demonstrated a few interesting methods in their commercial game [Crackdown 2][2], and last year Wwise released SoundSeed, a &quot;whooosh&quot; sounds tool - AudioWind being OF COURSE way better, as you could expect ;)&#xD;&#xA;&#xD;&#xA;As for PureData, this is a great prototyping tool - Andy Farnell's works rely mostly on it and his patches are [freely available][3].&#xD;&#xA;However I don't really believe it to be suitable for real, in-game usage - especially on console. As Amaury stated in the Designingsound.com interview, we use it a lot for quick sketches ; but we had to develop our own optimised tool suite to easily target different platforms/architectures/needs...&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2012/06/procedural-audio-an-interview-with-nicolas-fournel/&#xD;&#xA;  [2]: http://dl.acm.org/citation.cfm?id=1944755&#xD;&#xA;  [3]: http://mitpress.mit.edu/designingsound/" ContentLicense="CC BY-SA 3.0" />
  <row Id="23995" PostHistoryTypeId="2" PostId="14540" RevisionGUID="2cb6ce2a-c1ee-4dd8-836e-5b18909d6499" CreationDate="2012-07-05T13:20:16.977" UserId="6432" Text="I've been thinking for a while now about trying to make some really long recordings. &#xD;&#xA;&#xD;&#xA;I got involved in a film project about honeybees some time ago, and as part of it I would really like to record the sounds and vibrations inside a bee hive. I'm also interested in the changes in these sounds over long periods of time - the colonies develop over the seasons from nearly dormant in the winter to tens of thousands of bees in the summer. This got me thinking about how amazing it would be to make a continuous recording of a whole year cycle of a bee colony. Imagine the spectrogram.&#xD;&#xA;&#xD;&#xA;Now the beekeepers in question are not necessarily interested in opening up the hives to extract honey, so there's potential for the recording to have no human intervention. But the question of how to do it is a difficult one. I'd really like to have at least two mics in the hive, and I'd like to record uncompressed. A quick calculation of Stereo 48k 24bit for one year is 8.2 terabytes. In a way, I'd rather not rely on a computer for this but can't think of any other way. It's possible to build a RAID array of that size (with redundancy) and you could have a UPS system in case of power cuts, but I still don't like the idea of trusting a regular computer to this. The other question is some kind of recording software to write the files, it would need to automatically write and name files to fit them into the maximum file size for the OS. &#xD;&#xA;&#xD;&#xA;Other questions are where and how to mount microphones?  I'm thinking miniature omni lav mics, but the hive might need to be designed specially for these as the bees fill the entire hive with comb and encase foreign objects in wax! Another option is contact mics on the hive itself - that's actually quite an interesting route as the bees communicate in vibration across the comb itself. &#xD;&#xA;&#xD;&#xA;I could visit the site every month to check it's still running, but it would need to be self sufficient between these.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So this is project is really still in the ideas phase, but I'd welcome any thoughts or suggestions. &#xD;&#xA;&#xD;&#xA;Questions are:&#xD;&#xA;&#xD;&#xA;Do you know of any tested techniques for making recordings of this length, or have any other ideas on how it might be done?&#xD;&#xA;&#xD;&#xA;Is there any equipment designed specifically for this?&#xD;&#xA;&#xD;&#xA;Has this been done before?&#xD;&#xA;&#xD;&#xA;or anything else you think is interesting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;ps. I think they record the Longplayer installation continuously, so that's on my list to investigate already. " ContentLicense="CC BY-SA 3.0" />
  <row Id="23996" PostHistoryTypeId="1" PostId="14540" RevisionGUID="2cb6ce2a-c1ee-4dd8-836e-5b18909d6499" CreationDate="2012-07-05T13:20:16.977" UserId="6432" Text="How to make very long recordings (of bees)" ContentLicense="CC BY-SA 3.0" />
  <row Id="23997" PostHistoryTypeId="3" PostId="14540" RevisionGUID="2cb6ce2a-c1ee-4dd8-836e-5b18909d6499" CreationDate="2012-07-05T13:20:16.977" UserId="6432" Text="&lt;nature-recording&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="23998" PostHistoryTypeId="2" PostId="14541" RevisionGUID="ed088e84-554a-4532-8fc8-af86ea62eb60" CreationDate="2012-07-05T15:04:57.437" UserId="4010" Text=" I second, fire as an impulse in your favourite Convolution Reverb also do this take your voice and run it against zplanes pitch tool and add layers of your voice on different octaves...the logic behind this is you adding more signal to your modulator, thus giving you more control over the carrier sound that provides necessary timbre towards the goal sound...so your carrier sound adds more partials to the over all sound..." ContentLicense="CC BY-SA 3.0" />
  <row Id="23999" PostHistoryTypeId="2" PostId="14542" RevisionGUID="7144a35a-afc6-424b-8aa9-d01c97ae2701" CreationDate="2012-07-05T16:13:21.213" UserId="238" Text="If you have Logic, there's a useful plugin called *Vocal Transformer*. Use this in collaboration with a high-pass filter and experiment with adding a light touch of reverb and delay and you should get somewhere near to what you're after.&#xD;&#xA;&#xD;&#xA;It's also worth bearing in mind that the performance of the V.O. artist is very, very important! " ContentLicense="CC BY-SA 3.0" />
  <row Id="24000" PostHistoryTypeId="2" PostId="14543" RevisionGUID="eb566260-4ff5-418e-970b-effa9b4cd582" CreationDate="2012-07-05T18:04:51.723" UserId="4010" Text="Here is a sample [http://soundcloud.com/user8930308/fx-scifi-voice][1] with more obvious effect processing...The whole thing sounds like a water tank IR...but I still couldn't get it down...the abletons resonators kinda get the timbre but nothing like the sample example which sounds more pleasant/clean and maintains intelligibility...and obviously is the media industries standard sound... &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/user8930308/fx-scifi-voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="24001" PostHistoryTypeId="2" PostId="14544" RevisionGUID="f8257882-20f9-4f9f-b82d-fed713bd21fb" CreationDate="2012-07-05T19:21:43.790" UserId="730" Text="Hey everyone!&#xD;&#xA;&#xD;&#xA;I am in the process of recording and designing more content for my sound effect website and I would like to know what the public looks for when purchasing sounds.  The website is www.getsoundeffects.com  (The site is still in a soft launch beta state, so some of my content is not listed yet).&#xD;&#xA;&#xD;&#xA;Having said that, I would like to hear some requests of what people would like to see in a SFX pack.&#xD;&#xA;&#xD;&#xA;What things do you really like to see, or look for when purchasing a SFX pack? &#xD;&#xA;&#xD;&#xA;What SFX would you like to see more of?  &#xD;&#xA;&#xD;&#xA;What SFX have you always wanted to purchase but can never seem to find the sound pack anywhere?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24002" PostHistoryTypeId="1" PostId="14544" RevisionGUID="f8257882-20f9-4f9f-b82d-fed713bd21fb" CreationDate="2012-07-05T19:21:43.790" UserId="730" Text="What SFX packs would you like to see sold?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24003" PostHistoryTypeId="3" PostId="14544" RevisionGUID="f8257882-20f9-4f9f-b82d-fed713bd21fb" CreationDate="2012-07-05T19:21:43.790" UserId="730" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24004" PostHistoryTypeId="2" PostId="14545" RevisionGUID="3e114bff-1e52-4adb-aa06-4314087effdf" CreationDate="2012-07-05T22:18:20.417" UserDisplayName="user49" Text="sounds I've never heard before" ContentLicense="CC BY-SA 3.0" />
  <row Id="24007" PostHistoryTypeId="2" PostId="14548" RevisionGUID="10b4ec8d-756e-45ee-829f-2988122d2a4a" CreationDate="2012-07-06T02:11:37.357" UserId="6460" Text="Offsetting the divergence can also help with automating pan moves by hand. Especially when using knobs instead of a joystick, where you have separate controls for FRONT/REAR and LEFT/RIGHT, sweeping a cue across the surrounds can be a pain. Setting the divergence could allow you to automate an airplane passing from the surrounds to the center using only the F/R knob. I have used this method with the Pro Tools panner specifically, I'm not sure if it's equally useful in other DAWs and consoles.&#xD;&#xA;Cheers,&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="24009" PostHistoryTypeId="2" PostId="14549" RevisionGUID="7f9f5236-63a4-42cb-b3dd-4a2cc5459348" CreationDate="2012-07-06T11:31:32.607" UserId="1294" Text="Hi Guys,&#xD;&#xA;&#xD;&#xA;Im looking for a backpack while field recording, So this is my setup - Rode Blimp, NTG3, &#xD;&#xA;SD MixPreD &amp; Zoom H4n + I carry a Nikon D3100 with a 50mm, 18-55mm &amp; a 70-300mm lens.&#xD;&#xA;&#xD;&#xA;Any ideas for a backpack that would fits these stuff?&#xD;&#xA;&#xD;&#xA;Kindly let me know if any use backpacks in the field.&#xD;&#xA;&#xD;&#xA;Cheers!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24010" PostHistoryTypeId="1" PostId="14549" RevisionGUID="7f9f5236-63a4-42cb-b3dd-4a2cc5459348" CreationDate="2012-07-06T11:31:32.607" UserId="1294" Text="Backpacks for Field Recording " ContentLicense="CC BY-SA 3.0" />
  <row Id="24011" PostHistoryTypeId="3" PostId="14549" RevisionGUID="7f9f5236-63a4-42cb-b3dd-4a2cc5459348" CreationDate="2012-07-06T11:31:32.607" UserId="1294" Text="&lt;kit-bag&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24012" PostHistoryTypeId="2" PostId="14550" RevisionGUID="c492bc4a-3c5b-4f4c-a718-ec5064804449" CreationDate="2012-07-06T12:48:52.813" UserId="432" Text="You may want to look into the backpacks that are designed to carry still/DSLR cameras. Many of them are configurable and could potentially hold all the gear you're talking about. Can't think of any brands other than [CineBags][1] at the moment&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cinebags.com/hdpackpack.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="24013" PostHistoryTypeId="2" PostId="14551" RevisionGUID="16edbd62-cf81-4019-b111-ab3cfb4143c0" CreationDate="2012-07-06T15:02:25.740" UserId="4014" Text="Interesting question: you may get more answers though if you ask it on the Nature Recordists board.......&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24014" PostHistoryTypeId="2" PostId="14552" RevisionGUID="233dcf89-0f98-44fc-9dc4-01307d286010" CreationDate="2012-07-06T16:30:09.407" UserId="6411" Text="This is an awesome idea! &#xD;&#xA;&#xD;&#xA;While I don't know of another project with a similar goal, I believe it was @Jay who turned me on to this [live stream of underwater sounds of the Antarctic Ocean][1]. It doesn't address your question directly, but it does make me think of a few ideas.&#xD;&#xA;&#xD;&#xA;Perhaps instead of a lav or contact mic, you look into a hydrophone such as the [H2a from Aquarian Audio][2]? I've read much about their rugged usefulness on this and other boards and have heard of people freezing them in ice, [burying them in the mud][3], and cramming them into cracks of trees while chopping them down. It might sound really awesome encased in wax! Plus, you don't have to worry about the bees, honey, or wax gumming up the works. Aquarian also has a custom shop if you find their stock mics aren't robust enough.&#xD;&#xA;&#xD;&#xA;Another thing to consider if you do go the computer route might be a remote access app so you can log in remotely and check if a trip to the site is necessary between scheduled visits. This of course depends on where your hive is located. But if you have the net access, it may be beneficial.&#xD;&#xA;&#xD;&#xA;Also, just as in the Antarctic project, a simple live stream would be nice. It would allow you to listen in over the course of the project to determine how your mic placement is working out, and you could post the stream so we can all listen to busy bees while we work. ;)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.awi.de/en/news/background/palaoa_what_does_the_southern_ocean_sound_like/livestream/&#xD;&#xA;  [2]: http://www.aquarianaudio.com/hydrophones/stock.html&#xD;&#xA;  [3]: http://soundcloud.com/richarddevine/hydrophone-lav-recording-of-1000-maggots-in-sticky-wet-mud" ContentLicense="CC BY-SA 3.0" />
  <row Id="24015" PostHistoryTypeId="2" PostId="14553" RevisionGUID="a6fdc90f-e993-4af7-9a88-819392e40e34" CreationDate="2012-07-06T16:35:57.870" UserId="3914" Text="Hi @Andrew...I live in Cape Town. Would be up for a trade as well.&#xD;&#xA;I use an H2 Zoom recorder. Let me know if you need anymore sounds. Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="24016" PostHistoryTypeId="2" PostId="14554" RevisionGUID="1b5396d9-71d5-4cb8-ab6e-0d2505af2cb7" CreationDate="2012-07-06T16:40:07.930" UserId="432" Text="It might be possible to code something in Max/MSP or PureData that could handle the recording side for you on an always on computer. It would definitely take a bit of work, but you could set something to have the program run a cycle of [start and stop recording file on the hour]. It wouldn't be that hard to set up the file naming (also automatically handled by your coding) to be based on the date and time of the recordings either. Neither programs require a lot of overhead to run, so you could conceivably pull this off on a reasonably priced laptop or desktop." ContentLicense="CC BY-SA 3.0" />
  <row Id="24017" PostHistoryTypeId="2" PostId="14555" RevisionGUID="ee75aea3-c407-4de4-b905-b93be2127860" CreationDate="2012-07-06T17:41:01.473" UserId="6460" Text="The [Sound Devices 700 series recorders][1] allow you to record directly to a hard drive via firewire. I own one myself and I can tell you that they're reliable as clockwork. Get a big enough hard drive and you could feasibly keep up with the amount of data you need. I had to check to see if wav files are still limited to 2GB, but [according to Sound Devices][2] the maximum file size is actually 2TB with their formatting. At stereo 24b/48k, you'd only have to restart the recording 4 times to get a year's recording time... dang. &#xD;&#xA;&#xD;&#xA;This is a really cool idea! I can't wait to hear what you capture.&#xD;&#xA;~Matt&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sounddevices.com/products/audio_recorders/&#xD;&#xA;  [2]: http://www.sounddevices.com/notes/recorders/max-file-size/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24018" PostHistoryTypeId="2" PostId="14556" RevisionGUID="43ffe3a0-9c91-4ff7-a35d-65eab956bfd6" CreationDate="2012-07-06T18:58:16.363" UserId="930" Text="I guess another thing to think about is the editing or even using the file. Is there actually an editor that can open .wavs that are a year long? I think Pro Tools caps (or at least it used to) at 11 and a half hours or something similar. I'm not sure what other editor's limits are though.&#xD;&#xA;&#xD;&#xA;There might even be a way to edit large files without actually opening them in a timeline, although I&quot;m not familiar with it if there is.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="24019" PostHistoryTypeId="2" PostId="14557" RevisionGUID="ab881e2c-efc7-4c2f-bd97-8164cf188747" CreationDate="2012-07-06T18:59:27.170" UserId="1145" Text="I want to get [this one][1].&#xD;&#xA;Might be a bit expensive, but it's great for hiking and the AW 600 should be big enough for the rather huge Røde blimp and your other gear?&#xD;&#xA;It can also fit a tripod, boompole or something on the outside.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://products.lowepro.com/product/Pro-Trekker%20600%20AW,2167.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="24020" PostHistoryTypeId="2" PostId="14558" RevisionGUID="525fe3cf-9600-45d3-ac07-c491797c54fb" CreationDate="2012-07-06T20:13:38.113" UserId="4015" Text="I discovered this site through a friend who is into sound design. I love the Question/Answer format of this site.  It acts a lot like a forum, but the better answers are easier to find and view, unlike having to search through a convoluted forum post that can often be filled with trolls and crap answers.  &#xD;&#xA;&#xD;&#xA;My question is: Is there a site(s) that mirrors this format for film, film design, visual effects, etc? Either a sister site to this site, or a different site altogether, I would just love to have a strong resource for film and visual effects/compositing/editing. &#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24021" PostHistoryTypeId="1" PostId="14558" RevisionGUID="525fe3cf-9600-45d3-ac07-c491797c54fb" CreationDate="2012-07-06T20:13:38.113" UserId="4015" Text="Is there a similar site to this for moviemaking, film design, visual effects, etc?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24022" PostHistoryTypeId="3" PostId="14558" RevisionGUID="525fe3cf-9600-45d3-ac07-c491797c54fb" CreationDate="2012-07-06T20:13:38.113" UserId="4015" Text="&lt;movies&gt;&lt;film&gt;&lt;moviemaking&gt;&lt;visuals&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24026" PostHistoryTypeId="2" PostId="14560" RevisionGUID="85ae9a2a-c916-455e-a3af-098e9d779405" CreationDate="2012-07-06T22:32:15.077" UserId="6487" Text="I would rock a Eucon System 5 MC front ending a supped up ProTools rig.  I miss that system from Discovery Channel Headquarters." ContentLicense="CC BY-SA 3.0" />
  <row Id="24027" PostHistoryTypeId="2" PostId="14561" RevisionGUID="c7dce409-fc38-4067-8856-69bcdb56c9f2" CreationDate="2012-07-07T06:32:47.440" UserId="4016" Text="This is an amazing topic. Haha I'm glad people actually appreciate this as much as I do! " ContentLicense="CC BY-SA 3.0" />
  <row Id="24028" PostHistoryTypeId="16" PostId="14561" RevisionGUID="c7dce409-fc38-4067-8856-69bcdb56c9f2" CreationDate="2012-07-07T06:32:47.440" UserId="-1" />
  <row Id="24029" PostHistoryTypeId="2" PostId="14562" RevisionGUID="a3fa14e0-f005-46e4-953e-a1f89e386a6a" CreationDate="2012-07-07T09:21:57.470" UserId="654" Text="I think it depends on the politics of your dubstage and the geography I think.&#xD;&#xA;&#xD;&#xA;If you want purely a mixer and the guys driving it are just there to mix and not edit then a Dcontrol is a good affordable investment. If you want to fluidly move from mixing to editing and back again a DCommand can be set up more ergonomically - a keyboard in front of the sweet spot (transport/eq/dyn/custom groups) rather than to one side like the uncomfortable dcontrol. It's nice to have dedicated buttons for custom groups on the dcontrol and a few shortcut keys that are missed on the dcommand but I still prefer a 40 fader dcommand over a 16 fader dcontrol.&#xD;&#xA;&#xD;&#xA;More importantly ICON is a locked in digi protocol but eucon is more open, as in a eucon enabled console will work with things other than protools or a mix of protools and pyramix or nuendo etc. Given the vibe of Avid this last week and their rather radical annexing of their consumer business it may be a safer bet to stay on a more open platform.&#xD;&#xA;&#xD;&#xA;That leads you to a Euphonix system 5. Eucon development is putting most ICON features onto the System 5 at a rapid pace, mixed with a best of breed digital audio engine and MUCH nicer hardware engineering than an ICON (better meters, faders, pots, just feels more solid).&#xD;&#xA;The ability to mix PT channels and Euphonix mixing engine channels together on a surface just makes for a killer mixing environment. Lovely downmixers and deliverable workflow as well - better monitoring than an ICON, bass mgt etc.&#xD;&#xA;Id also be concerned about a Neve product as Ive heard several guys in LA swear getting spare parts or servicing them is like blood from a stone (bought out by Tom Misner of SAE fame, now that's a reputable business...), and Harrison - really? It locks you into the Mixer+dubber workflow where picture changes are a nightmare of conforming desk automation outside your DAW doesnt it?  In this economy ravaged business you'd want to work faster than that wouldn't you?&#xD;&#xA;2c from an ex console sales dude returned mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="24030" PostHistoryTypeId="5" PostId="14562" RevisionGUID="41e46d15-95d3-43e9-9e43-ac9499602e5c" CreationDate="2012-07-07T11:19:09.977" UserId="654" Comment="added 16 characters in body" Text="I think it depends on the politics of your dubstage and the geography/local industry roles.&#xD;&#xA;&#xD;&#xA;If you want purely a mixer and the guys driving it are just there to mix and not edit then a Dcontrol is a good affordable investment. If you want to fluidly move from mixing to editing and back again a DCommand can be set up more ergonomically - a keyboard in front of the sweet spot (transport/eq/dyn/custom groups) rather than to one side like the less ideal dcontrol. It's nice to have dedicated buttons for custom groups on the dcontrol and a few shortcut keys that are missed on the dcommand but I would still prefer a 40 fader dcommand over a 16 fader dcontrol.&#xD;&#xA;&#xD;&#xA;More importantly ICON is a locked in digi protocol but eucon is more open, as in a eucon enabled console will work with things other than protools or a mix of protools and pyramix or nuendo etc. Given the vibe of Avid this last week and their rather radical annexing of their consumer business it may be a safer bet to stay on a more open platform.&#xD;&#xA;&#xD;&#xA;That leads you to a Euphonix system 5. Eucon development is putting most ICON features onto the System 5 at a rapid pace, mixed with a best of breed digital audio engine and MUCH nicer hardware engineering than an ICON (better meters, faders, pots, just feels more solid).&#xD;&#xA;The ability to mix PT channels and Euphonix mixing engine channels together on a surface just makes for a killer mixing environment. Lovely downmixers and deliverable workflow as well - better monitoring than an ICON, bass mgt etc.&#xD;&#xA;Id also be concerned about a Neve product as Ive heard several guys in LA swear getting spare parts or servicing them is like blood from a stone (bought out by Tom Misner of SAE fame, now that's a reputable business...), and Harrison - really? It locks you into the Mixer+dubber workflow where picture changes are a nightmare of conforming desk automation outside your DAW doesnt it?  In this economy ravaged business you'd want to work faster than that wouldn't you?&#xD;&#xA;2c from an ex console sales dude returned mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="24034" PostHistoryTypeId="2" PostId="14564" RevisionGUID="13495939-5409-4348-b0fc-b1f65a428b45" CreationDate="2012-07-07T13:02:15.800" UserId="4017" Text="Hi to all sound designers, first time I post on Social Sound Design but I've always found all of your comments here extremely valuable and I very much respect your judgment on all things audio. &#xD;&#xA;&#xD;&#xA;I've been freelancing as a sound designer and audio editor for just over a year now, working on some shorts, promos, documentary and recently a feature film. I'm also working as a runner for an audio post-production facility. I have found myself in this position thanks to my passion and determination but now due to my damaged hearing I'm re-considering my career path. &#xD;&#xA;&#xD;&#xA;Working with audio in post is really what I enjoy the most and I've always wanted to be a re-recording mixer. Since I can remember my hearing has not been great and testing it 6 months ago I realised to my shock that I cannot pick up anything above 11 Khz. My hearing has probably been like this since I was a small kid and I'm very much use to it, I find I've trained my ear over the years to discern very well under 11 Khz (probably due my lack of HF). &#xD;&#xA;&#xD;&#xA;But now I realise that this is far from ideal to be working in post with audio, I would like your opinion on this, am I realistically wasting my time? Do you think the damage will stop me from progressing in the audio professional environment? I have not mentioned any of this to the people and engineers at work for the obvious reason. It's something that's really bugging me and as you can imagine it brings me down sometimes but hey I'd rather know from professionals like you what you think about it. &#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24035" PostHistoryTypeId="1" PostId="14564" RevisionGUID="13495939-5409-4348-b0fc-b1f65a428b45" CreationDate="2012-07-07T13:02:15.800" UserId="4017" Text="Hearing loss above 11 Khz" ContentLicense="CC BY-SA 3.0" />
  <row Id="24036" PostHistoryTypeId="3" PostId="14564" RevisionGUID="13495939-5409-4348-b0fc-b1f65a428b45" CreationDate="2012-07-07T13:02:15.800" UserId="4017" Text="&lt;hearing-damage&gt;&lt;high-frequency&gt;&lt;career&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24037" PostHistoryTypeId="2" PostId="14565" RevisionGUID="af970517-e8da-44cf-b8d7-04665621c50a" CreationDate="2012-07-07T13:45:05.910" UserId="3179" Text="The only way it could affect is that you're hearing a different frequency balance than those that hear over 11kHz all the way to somewhere around 15-16kHz. Lack of hearing the &quot;air&quot; (10kHz+ frequencies) could affect the perception of &quot;dark&quot; and &quot;bright&quot; slightly. And you could miss excessive noise buildup from mics and gear in the high frequencies, although this can be spotted with a spectrum analyzer and is only an occasional problem.&#xD;&#xA;&#xD;&#xA;But if no-one mentions about the mix balance feeling somewhat off or there being some excessive high-frequency noise, then it surely doesn't matter and you can work just as well as someone hearing to 15-16kHz? The main thing mixers should be concerned is to do their job so that the audience doesn't notice anything being &quot;off&quot; or wrong and can focus on the content. When no-one complains, you've done your job well enough." ContentLicense="CC BY-SA 3.0" />
  <row Id="24038" PostHistoryTypeId="5" PostId="14565" RevisionGUID="ee9fc176-e29d-48c1-bda3-9c832562d7d9" CreationDate="2012-07-07T15:12:43.793" UserId="3179" Comment="added 14 characters in body; added 7 characters in body" Text="I think the only way it could affect mixing is that you're hearing a different frequency balance than those that hear over 11kHz all the way to somewhere around 15-16kHz. Lack of hearing the &quot;air&quot; (10kHz+ frequencies) could affect the perception of &quot;dark&quot; and &quot;bright&quot; slightly. And you could miss excessive noise buildup from mics and gear in the high frequencies, although this can be spotted with a spectrum analyzer and is only an occasional problem.&#xD;&#xA;&#xD;&#xA;But if no-one mentions about the mix balance feeling somewhat off or there being some excessive high-frequency noise, then it surely doesn't matter and you can work just as well as someone hearing to 15-16kHz? The main thing mixers should be concerned about is to do their job so that the audience doesn't notice anything being &quot;off&quot; or wrong and can focus on the content. When no-one complains, you've done your job well enough." ContentLicense="CC BY-SA 3.0" />
  <row Id="24039" PostHistoryTypeId="2" PostId="14566" RevisionGUID="4c588da1-82ca-4278-ad73-e382d0c78f29" CreationDate="2012-07-07T15:35:46.270" UserId="1185" Text="I read your post a couple of hours ago and have been thinking about it since.  If your employer and or colleagues are not complaining about the balance of your mixes it does not sound like you have a problem.  Everyone is going to hear it slightly differently for a number of perceptual and physical factors and all you can do is mix it as you hear it.&#xD;&#xA;&#xD;&#xA;Assuming that you tested yourself with a sine tone (?) also remember that this is only a test of how you hear a tone of a single frequency, not how you hear multiple frequencies all working together.  Also remember that your hearing range will reduce with age.  I know mine is low, 13-14K, when compared to my students, some of whom claim to be able to hear well beyond 20K!!!  It does not make there mixes better than mine or stop me from evaluating theirs.&#xD;&#xA;&#xD;&#xA;Anyway I hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="24041" PostHistoryTypeId="2" PostId="14568" RevisionGUID="41654914-8058-4412-8a1a-3a7aebcbb733" CreationDate="2012-07-07T17:42:50.940" UserId="418" Text="Been using both since they were each released, respectively. For some context, I am mostly a virtual instrument designer by trade. I also do a lot of sound libraries and ambient soundscape stuff. I'm designing instrument libraries for both Alchemy and Iris right now. &#xD;&#xA;&#xD;&#xA;Alchemy has been where I spend about 90% of my day for general sound manipulation, it was kind of a dream come true for the kind of work I do. As I spend more and more time with Iris lately, I am seeing that they are filling two fairly distinct needs for me. I'm not seeing much overlap between them, at least not as far as how I'm using them. &#xD;&#xA;&#xD;&#xA;I think it's fair to say that Alchemy is vastly more powerful, for lack of a better term. It just does a whole lot more stuff. Insane modulation capabilities, more synthesis/sampler types, more filters, more effects, more everything. On the other hand, Iris only does one thing, it just happens to do it really, really well.&#xD;&#xA;&#xD;&#xA;The only major functional thing they have in common is that they both do spectral synthesis. And, in my opinion, doing spectral synthesis in Iris is just a better experience. It's more responsive, sounds superior, is faster, and just overall… better. The spectral features of Alchemy have always been a weak point for it, and I tend to avoid using them. It's a bit fiddly to deal with, very CPU hungry, and the sonic results aren't always so hot. That said, it's still capable of crazy good spectral stuff, due to the sheer overall power and feature set of Alchemy as a whole. But talking purely about spectral synthesis, I think Iris is better. &#xD;&#xA;&#xD;&#xA;Spectral aside, nothing holds a candle to Alchemy in terms of granular synthesis and sound manipulation. It's a powerhouse and a workhorse for me. Bang for buck goes to Alchemy, hands-down. If you need to only do spectral synthesis, can't go wrong with Iris.&#xD;&#xA;&#xD;&#xA;Hope that helps. A little time with the demos of each should give you a better idea.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24042" PostHistoryTypeId="2" PostId="14569" RevisionGUID="d3506ebe-f874-4983-a405-a3eee001c479" CreationDate="2012-07-07T17:48:49.547" UserId="418" Text="I'm a huge Crumpler fan. The bags are basically indestructible, weather-proof, super comfortable, designed to safely house electronics, and they actually look good. And how can you not love a company who will give you a $200 backpack in exchange for a case of good beer? They do an annual Beer for Bags event at their stores.  &#xD;&#xA;&#xD;&#xA;I dropped one from a tree about 20 feet up directly into a disgusting swamp, and nothing got wet. It did take a trip through the washing machine to get the stink out of the bag, which didn't damage the bag at all either. Solid stuff. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24043" PostHistoryTypeId="2" PostId="14570" RevisionGUID="2123d127-d58f-47fc-ac2e-7a7031a21486" CreationDate="2012-07-07T19:38:27.817" UserId="4003" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;So, I recently obtained a Sennheiser MKH416 and have done a bit of testing with it using the Zoom H4n. It seems to record very well when up close, but I have to raise the recording level quite a bit when afar. &#xD;&#xA;&#xD;&#xA;When I do so, I get this hiss/white noise kind of thing going on in the background.. What would be the best way to deal with this problem? Should I keep the gain high and try to eliminate the hiss in post, or should I decrease gain to record and raise the volume in post?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24044" PostHistoryTypeId="1" PostId="14570" RevisionGUID="2123d127-d58f-47fc-ac2e-7a7031a21486" CreationDate="2012-07-07T19:38:27.817" UserId="4003" Text="Recording and Gain Levels" ContentLicense="CC BY-SA 3.0" />
  <row Id="24045" PostHistoryTypeId="3" PostId="14570" RevisionGUID="2123d127-d58f-47fc-ac2e-7a7031a21486" CreationDate="2012-07-07T19:38:27.817" UserId="4003" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24046" PostHistoryTypeId="2" PostId="14571" RevisionGUID="39991615-3567-41b6-8ad7-83bf37698d14" CreationDate="2012-07-07T19:44:04.987" UserId="1107" Text="I always liked the Mountainsmith camera line: http://www.mountainsmith.com/products.asp?categoryId=13&#xD;&#xA;&#xD;&#xA;Currently I am using their Kit Cube insert inside of an REI Quantum Daypack (http://www.rei.com/product/809171/rei-quantum-daypack) to carry audio, video and camera gear, and it works fantastic.  May not carry your blimp, but everything else will fit nice and snug and padded...plus a laptop too!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24047" PostHistoryTypeId="2" PostId="14572" RevisionGUID="67047a3f-50a1-47c2-814c-6163e8246b2f" CreationDate="2012-07-07T21:09:08.493" UserId="1228" Text="When I've used the H4n with an external mic, I find that an input setting of about 35-40 is best (since anything beyond this the noise get's exponentially louder and the S/N exponentially smaller.  For loud things like a Union Pac freight train by close up, I'll record more at 20-25 input level.  That seems to still give enough hedroom to properly limit/compress in post without too much of a noise issue.  The problem is if you turn the gain too high, you'll start clipping or hitting an internal limiter, which will mean that at some point you will actually be reducing your S/N.  The 35-40 area seems to be the sweet spot in my experience where you get the most bang for buck in terms of S/N and signal robustness.&#xD;&#xA;&#xD;&#xA;But it could also be a P48 issue.  As I recall the 416's only power source is P48 (unlike an NT4 I own which can also run an internal 9v battery for its own power source).  I've noticed the P48 to be weak on the H4n in my experience, and it drains the battery really fast when I've tried it.  So in that case, even though maybe you're feeding P48 to the 416 and it's actually 'working', it may be underpowered, which could essentially lower your S/N and sensitivity range compared to using a robust P48 source like a Sound Devices or FR2 for example, even though the mic still powers on." ContentLicense="CC BY-SA 3.0" />
  <row Id="24048" PostHistoryTypeId="5" PostId="14572" RevisionGUID="c6bfaac4-189a-41c7-86d7-9ac8e6e8114b" CreationDate="2012-07-07T21:16:53.517" UserId="1228" Comment="added 1082 characters in body" Text="When I've used the H4n with an external mic, I find that an input setting of about 35-40 is best (since anything beyond this the noise get's exponentially louder and the S/N exponentially smaller.  For loud things like a Union Pac freight train by close up, I'll record more at 20-25 input level.  That seems to still give enough hedroom to properly limit/compress in post without too much of a noise issue.  The problem is if you turn the gain too high, you'll start clipping or hitting an internal limiter, which will mean that at some point you will actually be reducing your S/N.  The 35-40 area seems to be the sweet spot in my experience where you get the most bang for buck in terms of S/N and signal robustness.&#xD;&#xA;&#xD;&#xA;But it could also be a P48 issue.  As I recall the 416's only power source is P48 (unlike an NT4 I own which can also run an internal 9v battery for its own power source).  I've noticed the P48 to be weak on the H4n in my experience, and it drains the battery really fast when I've tried it.  So in that case, even though maybe you're feeding P48 to the 416 and it's actually 'working', it may be underpowered, which could essentially lower your S/N and sensitivity range compared to using a robust P48 source like a Sound Devices or FR2 for example, even though the mic still powers on.&#xD;&#xA;&#xD;&#xA;My personal thought is to adjust your signal chain during recording to maximize your dynamic range while finding a nice balance for minimal noise (for a signal chain item like the H4n it's more straightforward than say, a chain of 3 gain stages from mic to recording medium) - and then in post do the rest since you have non-destructive control.  Whereas out in the field, if you screw up the signal by recording way too low or way too hot, it's already toast.  A DAW will introduce such an acutely minimal amount of noisefloor that adjusting the gain in post, especially if you recorded in 24-bit, won't be an issue.  That's my personal suggestion.&#xD;&#xA;&#xD;&#xA;Noise is relative too.  If you master a Foley sound really hot for instance, sure, there may be some noise even on the best of preamp.  But if you know the editors always going to drop that sound by something like 20dB when they use it in their edit, that noisefloor all but disappears.  not that you don't want to worry about noise, but also consider the relative context of the noise issue to the overall sound in question." ContentLicense="CC BY-SA 3.0" />
  <row Id="24049" PostHistoryTypeId="2" PostId="14573" RevisionGUID="2d19adc9-6b4d-468e-9cda-f4b5487fde0f" CreationDate="2012-07-07T21:17:19.203" UserId="1035" Text="Something I noticed when I witnessed a minor accident - one car bumping into another at ~30 mph. It's more plastic sounding than you might think. Point being, something to be said for a more hollow thump in there, especially if you consider that the sound of something hitting the hood isn't quite one thing hitting a solid car, but one thing hitting an object with a complex, enclosed space inside of it (it resonates). Also, keep it kind of simple. Better to find/design the precisely needed sound than to have entirely too many layers - that can kind of cheapen the moment. &#xD;&#xA;&#xD;&#xA; It kind of depends on if it's happening on screen or off screen. I did one film where there was an off screen car accident (lolcopout) and what helped for me was visualizing and kind of storyboarding the -precise- sequence of what happened. Because I'm kind of sick and twisted, I ended the sequence with someone being flung out a window. The result of this was I added a more dull sounding thump that could be body against hood. When I showed the director, she actually recoiled a bit and when I asked her what was wrong, she confided in me that it brought her back to an actual car accident that she was in." ContentLicense="CC BY-SA 3.0" />
  <row Id="24050" PostHistoryTypeId="2" PostId="14574" RevisionGUID="5bd599d0-8567-4bff-b3ad-76fb21afb49d" CreationDate="2012-07-07T21:22:26.130" UserId="1035" Text="I have very limited stage experience, but I can definitely relate this to the film field. As I've begun working more and more in film, and meeting more people in the industry, I find myself being called a &quot;technical&quot; a lot. Same with visual fx people.&#xD;&#xA;&#xD;&#xA;I guess what bothers me is that when they say that, it puts us on par, in my mind, with lab techs and engineers - bringing to mind connotations of a person that operates equipment and contributes nothing creatively.&#xD;&#xA;&#xD;&#xA;Yet meanwhile, a producer (who very well could have been the one that only secured craft services) is considered a creative? And, correct me if I'm wrong here, but wouldn't they be receiving residuals?&#xD;&#xA;&#xD;&#xA;That point I'm not certain of. But it has occurred to me that some actors I know had small parts on an episode or two of a popular series - and they occasionally receive checks in the mail. Good on them, of course, but they're receiving that stuff for one day's work. I'm not against being paid, but when you consider that the people in post and the &quot;technicals&quot; in production probably spent wayyy more hours...seems kind of backwards." ContentLicense="CC BY-SA 3.0" />
  <row Id="24051" PostHistoryTypeId="2" PostId="14575" RevisionGUID="311ffc5b-3493-4c80-b36f-89f4b29a4d0e" CreationDate="2012-07-07T21:32:54.043" UserId="1035" Text="I skimmed and don't think these were mentioned yet, so:&#xD;&#xA;&#xD;&#xA; - A BB inside an inflated balloon. Classic trick that I think animation sound guys came up with way back when.&#xD;&#xA; - Sounds through tubes. This can either be done as a way of changing the microphone's perspective, or as a re-recording &quot;worldizing&quot; method. If you're able to isolate the way that a mic is picking up a sound and channel it through something like a PVC pipe or a vacuum attachment, and then record different things, it sounds pretty cool. I think that's how the land speeder sound effect was created in Star Wars. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24052" PostHistoryTypeId="2" PostId="14576" RevisionGUID="3d64c34a-28a1-4112-952e-9a04c149349f" CreationDate="2012-07-08T01:59:46.060" UserId="3223" Text="I recently worked on a film with a similar moment - A fight scene which ended in the lead being thrown onto a car hood/windshield. A second what Skarik mentioned - recording actual bodyfalls onto a real hood provide a great launch pad from which to add a variety of layers. For me, I ended up going with a combination of some low frequency elements (various thuds/impacts/etc), along with some recordings I captured of smashing different objects against a metal trashcan. Its really the balance of the individual sweeteners that helped to sell the sound along with the picture. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24053" PostHistoryTypeId="2" PostId="14577" RevisionGUID="ca091b66-2f9b-4c40-b416-ca34bebbc1e3" CreationDate="2012-07-08T10:42:48.193" UserId="3776" Text="Hi all,&#xD;&#xA;&#xD;&#xA;Being my first question here I would like to introduce myself. I am Nikhil Varma.&#xD;&#xA;&#xD;&#xA;I am planning to buy a Stereo Extended Ball gag for the Sennheiser 8040 Stereo set. By looking at the dimensions of the Stereo extended ball gag it seems that fitting both the microphones with their XLR modules while positioned XY at 120 deg would be quite difficult. It seems that most people don't use the XLR modules but instead use the Sennheiser remote cables. Now my questions are:&#xD;&#xA;&#xD;&#xA;1) Is it possible to fit the microphones in the windshield with their XLR modules in an XY position at 120 deg? Has anyone tried&#xD;&#xA;&#xD;&#xA;2) If not, Is there a product like a Stereo Extended MZL suspension where the two short remote cables go into the Connbox and comes out as a 5 pin XLR? (In fact, I should mail this to Rycote, but still)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="24054" PostHistoryTypeId="1" PostId="14577" RevisionGUID="ca091b66-2f9b-4c40-b416-ca34bebbc1e3" CreationDate="2012-07-08T10:42:48.193" UserId="3776" Text="Stereo Extended Ball Gag setup" ContentLicense="CC BY-SA 3.0" />
  <row Id="24055" PostHistoryTypeId="3" PostId="14577" RevisionGUID="ca091b66-2f9b-4c40-b416-ca34bebbc1e3" CreationDate="2012-07-08T10:42:48.193" UserId="3776" Text="&lt;rycote&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24056" PostHistoryTypeId="2" PostId="14578" RevisionGUID="b1b9e834-58a0-432a-b683-1b79c09824d8" CreationDate="2012-07-08T11:02:46.607" UserId="3159" Text="You might also want to look at the Tamrac Expedition 8. It's designed primarily as a camera bag for multiple long, heavy lenses etc. I carry a rode blimp inside it with a plethora of other things (along with a boompole on the outside and also a tripod inside too) it's built like a tank, extremely well made, waterproof and, even when heavy, feels fine to carry over long distances. It's a big bag though and somewhat expensive. Apart from the AW 600 mentioned in a previous post, it was the only real option I found that fitted the rode blimp and all my other gear. It's not cheap but there are second-hand options around if you're willing to hunt around." ContentLicense="CC BY-SA 3.0" />
  <row Id="24057" PostHistoryTypeId="5" PostId="14578" RevisionGUID="24c16454-3d9c-4150-8c96-283f85e29d6d" CreationDate="2012-07-08T11:43:47.390" UserId="3159" Comment="added 35 characters in body" Text="You might also want to look at the Tamrac Expedition 8. http://www.tamrac.com/5588.htm &#xD;&#xA;&#xD;&#xA;It's designed primarily as a camera bag for multiple long, heavy lenses etc. I carry a rode blimp inside it with a plethora of other things (along with a boompole on the outside and also a tripod inside too) it's built like a tank, extremely well made, waterproof and, even when heavy, feels fine to carry over long distances. It's a big bag though and somewhat expensive. Apart from the AW 600 mentioned in a previous post, it was the only real option I found that fitted the rode blimp and all my other gear. It's not cheap but there are second-hand options around if you're willing to hunt around." ContentLicense="CC BY-SA 3.0" />
  <row Id="24058" PostHistoryTypeId="2" PostId="14579" RevisionGUID="676e5167-5ebf-4b56-a735-955caaf295dd" CreationDate="2012-07-08T11:58:02.247" UserId="4018" Text="I have found the zoom hn4 \tascam in  battery operation lasts around 20 minutes ,and is completely useless and expensive!  , you have to plug into mains but that can cause earth hums if all the gear is in a loop ie : mic into zoom , zoom into 5d  . I get great results with a decent mic plugged into a pre mixer like sound devices then straight into 5d , ( i realise the sound devices is around £500 , but it's brilliant! ) note : put the mixer slate on and pull back the manual level in the 5d three notches back from o db  then peak your voice recordings at  around 0 db on the mixer ,always re slate and check in the 5d manual recording page before every take , the little lead going into the 5 d can dis lodge so very very easily  , also take an output of the mixer into the zoom/tascam for backup sound. I think the 5d mk11 and external devices are no good for run and gun shoots but great for setup interviews where you have plenty of time to check things back etc..the 5d image quality is still the best out there I reckon before you start going Arri and Scarlet etc...&#xD;&#xA;&#xD;&#xA;www.walkthroughfilms.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="24059" PostHistoryTypeId="2" PostId="14580" RevisionGUID="1c09f499-e84b-400b-b095-bb56878a5cdd" CreationDate="2012-07-08T14:05:04.240" UserId="3587" Text="I'm working on the sound design for an abstract 3D animation, and I'm trying to go for the same style as this: http://www.youtube.com/watch?v=TG3Y-eCste4&#xD;&#xA;&#xD;&#xA;I love the blend between organic and electronic sounds, but I'm having a hard time achieving it. When I use recordings/foley, the sounds are too &quot;realistic&quot;, and when I mess around with a synthesizer, the sounds are too electronic and harsh. Even when I mix the electronic sound effects with the recordings, they still contrast too much, and it's clear what was recorded and what was synthesized.&#xD;&#xA;&#xD;&#xA;Any ideas or tips? Suggestions for tools and techniques that could be useful? I'm not a romantic about necessarily doing everything myself, from scratch - so recommendations for sound libraries would be appreciated as well. &#xD;&#xA;&#xD;&#xA;Also I'm relatively new to sound design, so don't hesitate to come with suggestions that might sound obvious :-)&#xD;&#xA;&#xD;&#xA;*Edit: Bonus question - how do I embed youtube videos?*" ContentLicense="CC BY-SA 3.0" />
  <row Id="24060" PostHistoryTypeId="1" PostId="14580" RevisionGUID="1c09f499-e84b-400b-b095-bb56878a5cdd" CreationDate="2012-07-08T14:05:04.240" UserId="3587" Text="Making electronic sounds organic" ContentLicense="CC BY-SA 3.0" />
  <row Id="24061" PostHistoryTypeId="3" PostId="14580" RevisionGUID="1c09f499-e84b-400b-b095-bb56878a5cdd" CreationDate="2012-07-08T14:05:04.240" UserId="3587" Text="&lt;electronic&gt;&lt;synthesizer&gt;&lt;organic&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24062" PostHistoryTypeId="5" PostId="14540" RevisionGUID="96afdb90-8d87-474f-9357-418f03c8cd52" CreationDate="2012-07-08T14:08:05.987" UserId="6432" Comment="added 3440 characters in body" Text="I've been thinking for a while now about trying to make some really long recordings. &#xD;&#xA;&#xD;&#xA;I got involved in a film project about honeybees some time ago, and as part of it I would really like to record the sounds and vibrations inside a bee hive. I'm also interested in the changes in these sounds over long periods of time - the colonies develop over the seasons from nearly dormant in the winter to tens of thousands of bees in the summer. This got me thinking about how amazing it would be to make a continuous recording of a whole year cycle of a bee colony. Imagine the spectrogram.&#xD;&#xA;&#xD;&#xA;Now the beekeepers in question are not necessarily interested in opening up the hives to extract honey, so there's potential for the recording to have no human intervention. But the question of how to do it is a difficult one. I'd really like to have at least two mics in the hive, and I'd like to record uncompressed. A quick calculation of Stereo 48k 24bit for one year is 8.2 terabytes. In a way, I'd rather not rely on a computer for this but can't think of any other way. It's possible to build a RAID array of that size (with redundancy) and you could have a UPS system in case of power cuts, but I still don't like the idea of trusting a regular computer to this. The other question is some kind of recording software to write the files, it would need to automatically write and name files to fit them into the maximum file size for the OS. &#xD;&#xA;&#xD;&#xA;Other questions are where and how to mount microphones?  I'm thinking miniature omni lav mics, but the hive might need to be designed specially for these as the bees fill the entire hive with comb and encase foreign objects in wax! Another option is contact mics on the hive itself - that's actually quite an interesting route as the bees communicate in vibration across the comb itself. &#xD;&#xA;&#xD;&#xA;I could visit the site every month to check it's still running, but it would need to be self sufficient between these.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So this is project is really still in the ideas phase, but I'd welcome any thoughts or suggestions. &#xD;&#xA;&#xD;&#xA;Questions are:&#xD;&#xA;&#xD;&#xA;Do you know of any tested techniques for making recordings of this length, or have any other ideas on how it might be done?&#xD;&#xA;&#xD;&#xA;Is there any equipment designed specifically for this?&#xD;&#xA;&#xD;&#xA;Has this been done before?&#xD;&#xA;&#xD;&#xA;or anything else you think is interesting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;ps. I think they record the Longplayer installation continuously, so that's on my list to investigate already. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Edit 08/07/12**&#xD;&#xA;&#xD;&#xA;Thanks for the responses and interest. I think it's clear that I need to do some more research around this, and as it's such a commitment in terms of time it's worth getting right. I'm also wondering whether if done correctly this could also have scientific value, so I'm going to try and investigate that further. Similarly, options for mics etc need to be talked through with the beekeepers to find out what's acceptable for the bees.&#xD;&#xA;&#xD;&#xA;The recording device is a separate and interesting issue though, as there seems to be no dedicated low cost option. Matt Glenn's suggestion of using a Sound Devices recorder is probably the most solid idea, but I don't think this project will have the funds for that solution. But forgetting my particular problem with the bees for a moment, I've been wondering what the reason is for? Are people not making long recordings because there's no call for them, or are they not doing it because the tool required is not easily to hand? Would the device inspire the use? &#xD;&#xA;&#xD;&#xA;I like the idea of a device being designed to do this which you can build yourself from off the shelf parts that is relatively cheap and adaptable. I think it could potentially make a good open source project. I've also been looking for a reason to get involved with the Raspberry Pi for a while now and this could be it. &#xD;&#xA;&#xD;&#xA;So breaking this down into components of a system, at the core would be a flexible recording system controlled by editable/configurable open source software. The spec could be something like this:&#xD;&#xA;&#xD;&#xA; - Raspberry Pi running a minimal Linux distro on SD&#xD;&#xA; - Custom PD patch for control and recording&#xD;&#xA; - USB hub&#xD;&#xA; - 2tb HDD (Raid1 over USB?)&#xD;&#xA; - Basic USB audio interface&#xD;&#xA; - Set of preamps for microphones&#xD;&#xA; - LAN or USB 3g modem for streaming and/or remote desktop/control&#xD;&#xA; - Power supply&#xD;&#xA; - 4-5&quot; touchscreen for display/input&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Now, I'm not 100% sure about this, but with careful choices I think you could power that from a battery and you could charge the battery with a solar panel. Build this into a case and you have a system which can be installed and left to run independently. Build a weatherproof case and you can leave it anywhere (although I'm not sure about protecting the mics from rain.. any ideas?). By adapting the casing and mic setup you could then create different designs for different purposes, for example you could add a parabolic dish for focused recording of one point or add two hydrophones and record a whole season in a pond or even build it all inside a binaural head... &#xD;&#xA;&#xD;&#xA;If you're using PD for this there's also potential for expanding the system to take input and respond to external factors. Add an arduino talking to PD and you can use sensors to detect rain, temperature and sunlight, move parts of the system (like mic positioning) with servos or other motors for example. Even record other data as text. Think recording robot. &#xD;&#xA;&#xD;&#xA;I can't say that I think I can do this myself – my knowledge of electronics for one is pretty basic, but it could be a community project run from a Wiki which anyone could contribute to. Perhaps of interest to design students as well as sound recordists. The Wiki could suggest tested parts and configurations, provide install guides and software etc.&#xD;&#xA;&#xD;&#xA;Well I'd love to hear your thoughts on this. Is it possible? useful? Do you see any serious problems? solutions? Would you contribute?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24063" PostHistoryTypeId="5" PostId="14540" RevisionGUID="7adecd14-503e-40a7-8c7f-3a327aaa4439" CreationDate="2012-07-08T16:55:14.147" UserId="6432" Comment="added 80 characters in body" Text="I've been thinking for a while now about trying to make some really long recordings. &#xD;&#xA;&#xD;&#xA;I got involved in a film project about honeybees some time ago, and as part of it I would really like to record the sounds and vibrations inside a bee hive. I'm also interested in the changes in these sounds over long periods of time - the colonies develop over the seasons from nearly dormant in the winter to tens of thousands of bees in the summer. This got me thinking about how amazing it would be to make a continuous recording of a whole year cycle of a bee colony. Imagine the spectrogram.&#xD;&#xA;&#xD;&#xA;Now the beekeepers in question are not necessarily interested in opening up the hives to extract honey, so there's potential for the recording to have no human intervention. But the question of how to do it is a difficult one. I'd really like to have at least two mics in the hive, and I'd like to record uncompressed. A quick calculation of Stereo 48k 24bit for one year is 8.2 terabytes. In a way, I'd rather not rely on a computer for this but can't think of any other way. It's possible to build a RAID array of that size (with redundancy) and you could have a UPS system in case of power cuts, but I still don't like the idea of trusting a regular computer to this. The other question is some kind of recording software to write the files, it would need to automatically write and name files to fit them into the maximum file size for the OS. &#xD;&#xA;&#xD;&#xA;Other questions are where and how to mount microphones?  I'm thinking miniature omni lav mics, but the hive might need to be designed specially for these as the bees fill the entire hive with comb and encase foreign objects in wax! Another option is contact mics on the hive itself - that's actually quite an interesting route as the bees communicate in vibration across the comb itself. &#xD;&#xA;&#xD;&#xA;I could visit the site every month to check it's still running, but it would need to be self sufficient between these.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So this is project is really still in the ideas phase, but I'd welcome any thoughts or suggestions. &#xD;&#xA;&#xD;&#xA;Questions are:&#xD;&#xA;&#xD;&#xA;Do you know of any tested techniques for making recordings of this length, or have any other ideas on how it might be done?&#xD;&#xA;&#xD;&#xA;Is there any equipment designed specifically for this?&#xD;&#xA;&#xD;&#xA;Has this been done before?&#xD;&#xA;&#xD;&#xA;or anything else you think is interesting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;ps. I think they record the Longplayer installation continuously, so that's on my list to investigate already. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Edit 08/07/12**&#xD;&#xA;&#xD;&#xA;Thanks for the responses and interest. I think it's clear that I need to do some more research around this, and as it's such a commitment in terms of time it's worth getting right. I'm also wondering whether if done correctly this could also have scientific value, so I'm going to try and investigate that further. Similarly, options for mics etc need to be talked through with the beekeepers to find out what's acceptable for the bees.&#xD;&#xA;&#xD;&#xA;The recording device is a separate and interesting issue though, as there seems to be no dedicated low cost option. Matt Glenn's suggestion of using a Sound Devices recorder is probably the most solid idea, but I don't think this project will have the funds for that solution. But forgetting my particular problem with the bees for a moment, I've been wondering what the reason is for? Are people not making long recordings because there's no call for them, or are they not doing it because the tool required is not easily to hand? Would the device inspire the use? &#xD;&#xA;&#xD;&#xA;I like the idea of a device being designed to do this which you can build yourself from off the shelf parts that is relatively cheap and adaptable. I think it could potentially make a good open source project. I've also been looking for a reason to get involved with the Raspberry Pi for a while now and this could be it. &#xD;&#xA;&#xD;&#xA;So breaking this down into components of a system, at the core would be a flexible recording system controlled by editable/configurable open source software. The spec could be something like this:&#xD;&#xA;&#xD;&#xA; - Raspberry Pi running a minimal Linux distro on SD&#xD;&#xA; - Custom PD patch for control and recording&#xD;&#xA; - USB hub&#xD;&#xA; - 2tb HDD (Raid1 over USB?)&#xD;&#xA; - Basic USB audio interface&#xD;&#xA; - Set of preamps for microphones&#xD;&#xA; - LAN or USB 3g modem for streaming and/or remote desktop/control&#xD;&#xA; - Power supply&#xD;&#xA; - 4-5&quot; touchscreen for display/input&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Now, I'm not 100% sure about this, but with careful choices I think you could power that from a battery and you could charge the battery with a solar panel. Build this into a case and you have a system which can be installed and left to run independently. Build a weatherproof case and you can leave it anywhere (although I'm not sure about protecting the mics from rain.. any ideas?). By adapting the casing and mic setup you could then create different designs for different purposes, for example you could add a parabolic dish for focused recording of one point or add two hydrophones and record a whole season in a pond or even build it all inside a binaural head... &#xD;&#xA;&#xD;&#xA;If you're using PD for this there's also potential for expanding the system to take input and respond to external factors. Add an arduino talking to PD and you can use sensors to detect rain, temperature and sunlight, move parts of the system (like mic positioning) with servos or other motors for example. Even record other data as text. Think recording robot. &#xD;&#xA;&#xD;&#xA;I can't say that I think I can do this myself – I've had some experience with Linux, PD and some basic Arduino interfacing, but my knowledge of electronics is pretty basic for one. But it could be a community project run from a Wiki which anyone could contribute to. Perhaps of interest to design students as well as sound recordists. The Wiki could suggest tested parts and configurations, provide install guides and software etc.&#xD;&#xA;&#xD;&#xA;Well I'd love to hear your thoughts on this. Is it possible? useful? Do you see any serious problems? solutions? Would you contribute?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24064" PostHistoryTypeId="2" PostId="14581" RevisionGUID="4c7c2e89-3b29-4149-9163-c52f49ceb39f" CreationDate="2012-07-08T17:41:18.287" UserId="194" Text="Its an interesting question that I think can be better addressed if you define your goals a little in a little more detail.&#xD;&#xA;&#xD;&#xA;for example - what's the end use of the recordings going to be?  &#xD;&#xA;&#xD;&#xA;if its primarily to generate a spectrogram I'd suggest going mono instead of stereo to save on disk space.&#xD;&#xA;&#xD;&#xA;if it's for listening, then in what context?  as a long form installation art piece?  Even then you'll have to do some dramatic editing and/or compression I think.  I like the idea of a livestream as a way to distribute for listening purposes though.&#xD;&#xA;&#xD;&#xA;if it's for manipulation, then is there a reason to record the months of inactivity during the winter season?  Why not start near the end of winter and end once they're all back in hibernation?&#xD;&#xA;&#xD;&#xA;fwiw, I've developed a method of sonic timelapse that uses scripts and a combination of edits, time compression and overlaps and gets pretty high quality results (far better than time compression or editing alone).  I'd imagine such a thing could be adapted to your project so that the entire year could be experienced in a matter of hours.&#xD;&#xA;&#xD;&#xA;Actually, this project is begging to be timelapsed now that I think of it.  If you had a webcam or gopro clicking say 3-8 pix per day you could probably blend that with a sped up recording to truly get the effect of change that you seem to be looking for.&#xD;&#xA;&#xD;&#xA;just spitballing here.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24065" PostHistoryTypeId="2" PostId="14582" RevisionGUID="743470e0-de05-4703-ade2-0b4ef1f6fd0f" CreationDate="2012-07-08T18:13:13.900" UserId="6460" Text="Nikhil,&#xD;&#xA;&#xD;&#xA;You might try the [Rycote Baby Ball Gag][1] windscreens. These are individual mini-blimp attachments for smaller-diaphragm condensers. It fits only over the front of the mic (making it useless for shotguns), but if you bought one for each 8040 then you could position the two mics however you see fit using a stereo bar. Rycote also sells a [windjammer][2] to go with the baby ball gag. &#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;~Matt&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/322363-REG/Rycote_011001_Baby_Ball_Gag_Windshield.html&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/product/322367-REG/Rycote_021801_Windjammer_for_Baby_Ball.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="24066" PostHistoryTypeId="2" PostId="14583" RevisionGUID="1be5c330-8e0a-4135-ad7d-0b4c54992b58" CreationDate="2012-07-08T18:40:52.990" UserId="3979" Text="Izotope's 'Iris' or Camel Audio's 'Alchemy' is the answer. Check them out on Youtube. I had a director that wanted an 'Organic' score from real sounds (it took place it the woods). Not too orchestral, not too synth, not too blunt (like obvious pitched elephants). Iris was the answer for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="24067" PostHistoryTypeId="2" PostId="14584" RevisionGUID="034fd6eb-7b5c-4a91-8e18-655b11cc1db5" CreationDate="2012-07-08T20:00:16.707" UserId="3179" Text="Picking recordings that have an electronic quality to them or modifying them to have an electronic quality to them. Pitch shifting already does a lot and makes the sound something very different, as does using different types of effects (e.g. delay-based, automated), as does sampling &quot;odd&quot; parts out of the recording e.g. around transients or after them or from low-amplitude parts / tails, in general from parts of the sound that sound different or strange when played on their own.&#xD;&#xA;&#xD;&#xA;Taking those small good bits in recordings and processing them again and again in different ways, pitching/timestretching/reversing, rendering the results, finding new good parts to sample, rinsing and continued processing, combining good stuff together to create composite sounds. Goes by the term &quot;resampling&quot;.&#xD;&#xA;&#xD;&#xA;Add to this using sample-based synthesis techniques (granular synthesis, spectral filtering...). Samplers. Multi-effect units (e.g. those &quot;glitch&quot; effects). Random parameter automation. FM synthesis can sound very organic (especially after resampling it), as can obviously any kind of physical modelling synthesis (perhaps with some parameter abusing or resampling).&#xD;&#xA;&#xD;&#xA;It's mostly trial and error (and maybe some experience in the long term)." ContentLicense="CC BY-SA 3.0" />
  <row Id="24068" PostHistoryTypeId="5" PostId="14584" RevisionGUID="c581ee62-267f-4d94-bff1-8b29cfcbf444" CreationDate="2012-07-08T20:05:42.503" UserId="3179" Comment="added 154 characters in body" Text="Picking recordings that have an electronic quality to them or modifying them to have an electronic quality to them. Pitch shifting already does a lot and makes the sound something very different, as does using different types of effects (e.g. delay-based, automated), as does sampling &quot;odd&quot; parts out of the recording e.g. around transients or after them or from low-amplitude parts / tails, in general from parts of the sound that sound different or strange when played on their own.&#xD;&#xA;&#xD;&#xA;Taking those small good bits in recordings and processing them again and again in different ways, pitching/timestretching/reversing, rendering the results, finding new good parts to sample, rinsing and continued processing, combining good stuff together to create composite sounds. Goes by the term &quot;resampling&quot;.&#xD;&#xA;&#xD;&#xA;Add to this using sample-based synthesis techniques (granular synthesis, spectral filtering...). Samplers. Multi-effect units (e.g. those &quot;glitch&quot; effects). Random parameter automation. FM synthesis can sound very organic (especially after resampling it), as can obviously any kind of physical modelling synthesis (perhaps with some parameter abusing or resampling).&#xD;&#xA;&#xD;&#xA;It's mostly trial and error (and maybe some experience in the long term). Probably the most difficult thing is recognizing &quot;the good bits&quot; and then having some idea of how to either combine or modify them &quot;in a meaningful way&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="24069" PostHistoryTypeId="5" PostId="14584" RevisionGUID="6bff7931-3ddf-48e5-b565-654ec5d79941" CreationDate="2012-07-08T20:17:05.800" UserId="3179" Comment="added 38 characters in body" Text="Picking recordings that have an electronic quality to them or modifying them to have an electronic quality to them. Pitch shifting already does a lot and makes the sound something very different, as does using different types of effects (e.g. delay-based, automated), as does sampling &quot;odd&quot; parts out of the recording e.g. around transients or after them or from low-amplitude parts / tails, in general from parts of the sound that sound different or strange when played on their own.&#xD;&#xA;&#xD;&#xA;Taking those small good bits in recordings and processing them again and again in different ways, pitching/timestretching/reversing, rendering the results, finding new good parts to sample, rinsing and continued processing, combining good stuff together to create composite sounds. Goes by the term &quot;resampling&quot;.&#xD;&#xA;&#xD;&#xA;Add to this using sample-based synthesis techniques (granular synthesis, spectral filtering...). Samplers. Convolution (very cool) and vocoding. Multi-effect units (e.g. those &quot;glitch&quot; effects). Random parameter automation. FM synthesis can sound very organic (especially after resampling it), as can obviously any kind of physical modelling synthesis (perhaps with some parameter abusing or resampling).&#xD;&#xA;&#xD;&#xA;It's mostly trial and error (and maybe some experience in the long term). Probably the most difficult thing is recognizing &quot;the good bits&quot; and then having some idea of how to either combine or modify them &quot;in a meaningful way&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="24070" PostHistoryTypeId="2" PostId="14585" RevisionGUID="46e4338f-2b68-44cf-8f6f-d65febcb7b01" CreationDate="2012-07-08T20:33:23.533" UserId="1107" Text="Hello Nikhil,&#xD;&#xA;&#xD;&#xA;I own a pair of MKH8040s that live in an extended stereo ball gag and can tell you definitively that they will not fit inside with the XLR modules attached (especially at 120); you absolutely have to use the remote MZL cables.&#xD;&#xA;&#xD;&#xA;![Rycote Extended Ball Gag with MKH8040s in 90 config][1]&#xD;&#xA;&#xD;&#xA;However, Rycote seem to be teasing that a stereo connbox will soon be available with MZL tails through some recent posts to their facebook page.  I suggest that you contact them directly and find out what their plans are.&#xD;&#xA;&#xD;&#xA;If you do find anything, please post back!  We'd all love to hear it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noisekitchen.com/pics/Rycote_Stereo_Extended.JPG" ContentLicense="CC BY-SA 3.0" />
  <row Id="24071" PostHistoryTypeId="2" PostId="14586" RevisionGUID="73f944f1-48d1-4fcc-94cb-5f2c8489d970" CreationDate="2012-07-09T00:56:30.937" UserDisplayName="user49" Text="I like and own a few different LowePro backpack bags &amp; especially like the AW models that have a rain cover built in to the base of them...&#xD;&#xA;&#xD;&#xA;http://www.lowepro.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="24072" PostHistoryTypeId="2" PostId="14587" RevisionGUID="ccd4299a-da50-4659-a50b-8684491e2461" CreationDate="2012-07-09T06:14:02.377" UserId="3315" Text="The hissy sound comes from the h4n built in preamps. If you want more gain riding, you have to get better preamps :)&#xD;&#xA;&#xD;&#xA;As stavrosound says, you have to run the h4n on a really low input gain to get a clean and noise free signal, but that won't work on calm and silent sound fx stuff. &#xD;&#xA;I've testet a lot with my h4n, but i din't get a clean signal from my preamps, even with the built in battery from my nt4 and deactivated phantom power.&#xD;&#xA;&#xD;&#xA;After long research and experimenting, i deckded, to by a new recorder for sound fx and better quality recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="24073" PostHistoryTypeId="2" PostId="14588" RevisionGUID="062b11a0-d466-4ae3-b093-9f81340b5983" CreationDate="2012-07-09T07:24:39.307" UserId="1228" Text="Noise Generator has 3 fantastic sets, a smidge pricy but very fresh-sounding material.  The Designer Sound Library has some great fresh material too.  Both are on Sound Ideas site.  I have a free sample pack that Boom offered up a while back for this Cinematic Trailers set and it's pretty good stuff from the samples I heard.&#xD;&#xA;&#xD;&#xA;I personally like to seek out fresh stuff, only because I feel like I have a stomach ache every time I hear that same Koto drum (the one with the echo) or that same vocal whoosh scream with the anvil-like sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="24074" PostHistoryTypeId="2" PostId="14589" RevisionGUID="9cc97f36-b689-40a0-9b94-2df9803c3e37" CreationDate="2012-07-09T08:48:44.290" UserId="1228" Text="While I take no credit for doing it, an old friend of mine submerged one in his bathtub and fired off a bottle rocket.  Him, the mic, and the bathtub/apartment survived." ContentLicense="CC BY-SA 3.0" />
  <row Id="24075" PostHistoryTypeId="2" PostId="14590" RevisionGUID="471565a6-52ba-4799-b95d-78d6ecb248b2" CreationDate="2012-07-09T11:25:58.493" UserId="4025" Text="For both quality and content I am fairly addicted to (1) This week in Tech with Leo Laporte and his panels and (2) the No Agenda Show with Adam Curry (mtv) and John C Dvorak. Both shows are heavily researched and the quality is better than 99.9% of everything else out there&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24076" PostHistoryTypeId="2" PostId="14591" RevisionGUID="9eadfc98-7d4d-4096-8652-f49ec9add4c9" CreationDate="2012-07-09T12:52:28.663" UserId="261" Text="[Radiolab][1] from WNYC is really good...from the way the hosts sound right across content, music, sound design.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.radiolab.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24077" PostHistoryTypeId="2" PostId="14592" RevisionGUID="0cd270ab-80e1-4ba3-8e87-fd39c000aaff" CreationDate="2012-07-09T14:41:23.590" UserId="6432" Text="I sometimes listen to [podcasts][1] from Resonance FM. It's an arts based radio station in London. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://podcasts.resonancefm.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24078" PostHistoryTypeId="2" PostId="14593" RevisionGUID="54b5b943-ed98-4200-ad5c-6228e897064d" CreationDate="2012-07-09T14:49:33.470" UserId="2186" Text="[Freakonomics][1] is great. Very interesting content. I also like Radiolab.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://freakonomics.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="24079" PostHistoryTypeId="2" PostId="14594" RevisionGUID="b0459b2c-5334-48b9-94fd-ff4bf3418365" CreationDate="2012-07-09T17:34:41.343" UserId="3933" Text="Top Score with Emily Reese is probably the best quality podcast I listen to, most of the others are generally just talk based and are created with &quot;quickness&quot; and content. &#xD;&#xA;&#xD;&#xA;Quite a few of them I listen to aren't even mixed, they are just edited... which makes some sense when they are churning out an hour long podcast a week as a hobby and I'm usually just going to listen to it in my car." ContentLicense="CC BY-SA 3.0" />
  <row Id="24080" PostHistoryTypeId="2" PostId="14595" RevisionGUID="65c0dfa0-f5c6-4d63-8b03-37e1c0514106" CreationDate="2012-07-09T18:55:42.567" UserId="517" Text="Hello everyone.&#xD;&#xA;&#xD;&#xA;Last night I recorded an impulse response of my building's parking garage with fairly decent results. After importing into Altiverb 7, I couldn't figure out how to add photos or other metadata to the user created IR. Also, I recorded the sine sweep at a couple of different distances from the speaker, so I'd like to combine the two impulse responses into a single user entry, similar to the pre-loaded Altiverb responses that have different mic options.&#xD;&#xA;&#xD;&#xA;Has anyone been able to do this? &#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Paul" ContentLicense="CC BY-SA 3.0" />
  <row Id="24081" PostHistoryTypeId="1" PostId="14595" RevisionGUID="65c0dfa0-f5c6-4d63-8b03-37e1c0514106" CreationDate="2012-07-09T18:55:42.567" UserId="517" Text="Add Metadata To Impulse Responses" ContentLicense="CC BY-SA 3.0" />
  <row Id="24082" PostHistoryTypeId="3" PostId="14595" RevisionGUID="65c0dfa0-f5c6-4d63-8b03-37e1c0514106" CreationDate="2012-07-09T18:55:42.567" UserId="517" Text="&lt;impulse&gt;&lt;response&gt;&lt;metadata&gt;&lt;altiverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24083" PostHistoryTypeId="2" PostId="14596" RevisionGUID="44ec934d-61fc-48df-82f0-c015daaeb66e" CreationDate="2012-07-09T19:34:51.590" UserId="4028" Text="Anyone familiar with this technique??? &#xD;&#xA;http://designingsound.org/2010/02/charles-deenen-special-100-whooshes-in-2-minutes/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24084" PostHistoryTypeId="2" PostId="14597" RevisionGUID="9ecf1a19-6440-4d37-a51b-a62004c8e982" CreationDate="2012-07-09T19:35:00.907" UserId="1129" Text="TWiT, referenced above, is a very well-produced and good sounding podcast.&#xD;&#xA;&#xD;&#xA;For good sound design, check out Cayenne Chris Conroy's podcast at TekDiff.com  &#xD;&#xA;It alternates between a sketch comedy show (called Tekdiff and a sequential narrative show called The Account).  Both are well designed, although sometimes the mastering is a bit off." ContentLicense="CC BY-SA 3.0" />
  <row Id="24085" PostHistoryTypeId="2" PostId="14598" RevisionGUID="abb63d21-872c-4b42-bf84-2c253668ce6c" CreationDate="2012-07-09T20:11:28.920" UserId="234" Text="Still one of my standbys - I heard Frank Serafine mention something similar in an interview when I was just getting interested in film sound - Take any good percussive sound with a decent tail (say a metal hit), reverse it and then either add reverb for a new tail, or crossfade it with the original tail... Voila!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24086" PostHistoryTypeId="2" PostId="14599" RevisionGUID="7b2e37f4-8ad7-4444-b658-a7ecc08791fd" CreationDate="2012-07-09T20:39:02.297" UserId="234" Text="Do NOT run the 416 at 24V phantom power... the mic is designed to take proper 48V. Not that there will be any damage to the mic that I'm aware of, but it does significantly impact both the sound and noise floor of most good condensers - including the 416 and the Rodes. I prefer actually using my trusty, if somewhat beat up FP33 mixer before going to the Zoom, but I've gotten decent results going into the H4N directly for less quiet stuff. The preamps are not up to recording really quiet bg's, but for a lot of stuff, they work just fine - again provided that you're at 48V. And of course the tradeoff... 48V will eat AA batteries for breakfast. Expect no more than about 90  min of battery life, less if you're in cold conditions. (I once did sound for an indie film shot outside in the Canadian winter. I was getting about half an hour to a set of batteries!)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24087" PostHistoryTypeId="2" PostId="14600" RevisionGUID="58097cd6-9cd7-4658-be6e-6a61468a2cec" CreationDate="2012-07-09T20:41:05.227" UserId="6420" Text="Take a directional mic and record some interesting sound source by whipping it by quickly so that you get your own doppler effect/whoosh. Worked pretty well for Ben Burtt too ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24088" PostHistoryTypeId="2" PostId="14601" RevisionGUID="c9b5414e-8d49-4221-8712-a7c638e93acd" CreationDate="2012-07-09T20:52:42.173" UserId="4029" Text="If the artist has a bandcamp page then that is the best way." ContentLicense="CC BY-SA 3.0" />
  <row Id="24089" PostHistoryTypeId="2" PostId="14602" RevisionGUID="e2cce606-21d3-4670-b39e-d378a15c1593" CreationDate="2012-07-10T03:42:19.023" UserId="4010" Text="I came close to that metallic helmet sound by using a &quot;dry ice on metal&quot; sample as an ir impulse with SIR2...adjusting sample offset and amplitude length of SIR2...the whole thing make sense since in the productions such as transformers they've been using lots of dry ice samples, I wouldn't be surprised if they have ADR'd their dialogs with this method...the timbre of the metallic reverb sound similar to dry ice on a metal...any more thoughts on this will be very interesting.&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24090" PostHistoryTypeId="2" PostId="14603" RevisionGUID="e76fee85-2a13-4276-9f22-5357d335c4a5" CreationDate="2012-07-10T09:09:07.017" UserId="517" Text="I tried putting the hydrophone inside a balloon filled with water to get interesting impacts, jiggles, etc., but unfortunately I couldn't figure out a way to avoid cable vibration/noise emanating from where it touched the tied neck of the balloon. Made some interesting sound though." ContentLicense="CC BY-SA 3.0" />
  <row Id="24091" PostHistoryTypeId="2" PostId="14604" RevisionGUID="2d035c5c-4b2e-4a55-91d2-2fafdeca8542" CreationDate="2012-07-10T14:17:47.200" UserId="2186" Text="CDs are nice, and taping over the hole and changing the angle will create different whistling sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="24092" PostHistoryTypeId="2" PostId="14605" RevisionGUID="fcecc8a0-dbf6-4f9a-aef2-fe0fd25df0a9" CreationDate="2012-07-10T14:49:46.683" UserId="3346" Text="I'm using this nice little device now since half a year and i'm really pleased with the quality. I did also a lot of research and i found a comparision between the sd preamps and the ones from the dr680 and there seems  not to be the big difference. I mainly use it with rode mics (ntg3 and nt4) for sound fx and ambience Recording. I run it with an external battery adapter with sony camcorder batteries and they work a full day without any issues. The only thing, what is disturbing is the metering section of this device. You can't get propper visualisations because there are No numbers and only a -12 db Line, which is shown. I miss a better metering visualisation. If that would be done, i think there wouldn't be a reason to switch to a sd recorder or something similar. &#xD;&#xA;&#xD;&#xA;Go and get it. I don't thinks, there's something better on the market fot that price. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24093" PostHistoryTypeId="5" PostId="14605" RevisionGUID="28736e1a-b80c-4f1f-ae9d-fcb3ee35c567" CreationDate="2012-07-10T15:14:20.370" UserId="3346" Comment="added 229 characters in body" Text="I'm using this nice little device now since half a year and i'm really pleased with the quality. I did also a lot of research and i found a comparision between the sd preamps and the ones from the dr680 and there seems  not to be the big difference. I mainly use it with rode mics (ntg3 and nt4) for sound fx and ambience Recording. I run it with an external battery adapter with sony camcorder batteries and they work a full day without any issues. The only thing, what is disturbing is the metering section of this device. You can't get propper visualisations because there are No numbers and only a -12 db Line, which is shown. I miss a better metering visualisation. If that would be done, i think there wouldn't be a reason to switch to a sd recorder or something similar. &#xD;&#xA;&#xD;&#xA;Go and get it. I don't thinks, there's something better on the market fot that price. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Check out my soundblog with a lots of recordings made with the tascam dr680&#xD;&#xA;Www.klang-manufaktur.de/aktuelles&#xD;&#xA;&#xD;&#xA;Also check out my sound fx library at www.thesoundcatcher.com &#xD;&#xA;It was all recorded with the Tascam dr680&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24094" PostHistoryTypeId="2" PostId="14606" RevisionGUID="bea83f0d-a654-4017-a2fd-b7f5ddd8b8fb" CreationDate="2012-07-10T15:15:49.397" UserId="1225" Text="You can discuss scenes where sound can be more descriptive than picture, for example. I highly recommend to read this book, at least the first chapters.&#xD;&#xA;http://www.amazon.co.uk/Sound-Design-Expressive-Effects-Cinema/dp/0941188264" ContentLicense="CC BY-SA 3.0" />
  <row Id="24095" PostHistoryTypeId="2" PostId="14607" RevisionGUID="b4d04dcd-f063-4426-b41b-eebdf310034a" CreationDate="2012-07-10T21:09:46.443" UserId="1228" Text="I'm a little confused by how you phrased the question, but can't you just pop all your edit tracks and only unmute one track's pops for each 'stem' groups (e.g. unmute pop on DX A, FX 1, MX 1, etc).  That way you're not doing any weird sends to your submaster and stem prints because of how your audio is already bussed - wherever your edit tracks are going, the pops will follow.  Then once the stems are printed with their set of pops from the edit tracks, I send those stem prints directly to a printmaster track and pull down the volume on 2 of the three stems at their head and tail pops (since I know they're time-aligned already) so that the final printmaster pops are -20.&#xD;&#xA;&#xD;&#xA;Usually stages want all the edit tracks popped anyways (at least visually by having muted pops).  Then when it's time to feed the tracks for printmastering they just unmute the pops which need to be unmuted so that each stem and subsequently the printmaster receives the pops - doing this also helps for troubleshooting to determine latency and other such issues if the pops are misaligned or have gain anomalies on the receiving end of the signal chain when they hit the print.&#xD;&#xA;&#xD;&#xA;Trying to feed pops direct from some other isolated location (e.g. not from the edit tracks themselves), as it sounds like you may be trying to do, would defeat the purpose of the pops in my opinion as they are a kind of bible the whole way through the mix process to ensure everything is correctly dialed in.&#xD;&#xA;&#xD;&#xA;I guess the way I'm reading about your method from the question sounds much more convoluted than it has to be unless I'm totally missing a key piece of information.&#xD;&#xA;&#xD;&#xA;In a nutshell my workflow is:&#xD;&#xA;&#xD;&#xA; - Edit Track (ex: FX 1) pop unmuted --&gt; FX Submaster ---&gt; FX Stem (where it gets printed)&#xD;&#xA; - FX Stem (printed pop) ---&gt; Printmaster (where it gets printed again)&#xD;&#xA;&#xD;&#xA;The one caveat to the final step is that since DM&amp;E all have a printed pop, when I feed those Stems to the printmaster as a seperate recording pass, I automate the volume down on the pops for the M&amp;E stems so they don't sum into the Printmaster, but the pops still live the the printed Stem tracks.&#xD;&#xA;&#xD;&#xA;Maybe you're trying to do your stems and Printmasters at once and that's what I'm missing?  I usually do them as a separate passes both for QC and because, at least with ProTools, I recall there's some documented weirdness on signal degradation when recording multiple bussed tracks in a daisy-chain config at the same time.  I don't know exactly how Nuendo works, but if you can print to a track via bussing, I'd recommend that over using an export feature.  Printmastering is too critical to be left to an auto-pilot export function in my opinion.&#xD;&#xA;&#xD;&#xA;Sorry for the fragmented response, I guess I'm just not following your core question clearly." ContentLicense="CC BY-SA 3.0" />
  <row Id="24096" PostHistoryTypeId="5" PostId="14607" RevisionGUID="faf5edd4-bd3d-4abf-9ac8-8d6918ef59d8" CreationDate="2012-07-10T21:17:45.667" UserId="1228" Comment="added 351 characters in body" Text="I'm a little confused by how you phrased the question, but can't you just pop all your edit tracks and only unmute one track's pops for each 'stem' groups (e.g. unmute pop on DX A, FX 1, MX 1, etc).  That way you're not doing any weird sends to your submaster and stem prints because of how your audio is already bussed - wherever your edit tracks are going, the pops will follow.  Then once the stems are printed with their set of pops from the edit tracks, I send those stem prints directly to a printmaster track and pull down the volume on 2 of the three stems at their head and tail pops (since I know they're time-aligned already) so that the final printmaster pops are -20.&#xD;&#xA;&#xD;&#xA;Usually stages want all the edit tracks popped anyways (at least visually by having muted pops).  Then when it's time to feed the tracks for printmastering they just unmute the pops which need to be unmuted so that each stem and subsequently the printmaster receives the pops - doing this also helps for troubleshooting to determine latency and other such issues if the pops are misaligned or have gain anomalies on the receiving end of the signal chain when they hit the print.&#xD;&#xA;&#xD;&#xA;Trying to feed pops direct from some other isolated location (e.g. not from the edit tracks themselves), as it sounds like you may be trying to do, would defeat the purpose of the pops in my opinion as they are a kind of bible the whole way through the mix process to ensure everything is correctly dialed in.&#xD;&#xA;&#xD;&#xA;I guess the way I'm reading about your method from the question sounds much more convoluted than it has to be unless I'm totally missing a key piece of information.&#xD;&#xA;&#xD;&#xA;In a nutshell my workflow is:&#xD;&#xA;&#xD;&#xA; - Edit Track (ex: FX 1) pop unmuted --&gt; FX Submaster ---&gt; FX Stem (where it gets printed)&#xD;&#xA; - FX Stem (printed pop) ---&gt; Printmaster (where it gets printed again)&#xD;&#xA;&#xD;&#xA;The one caveat to the final step is that since DM&amp;E all have a printed pop, when I feed those Stems to the printmaster as a seperate recording pass, I automate the volume down on the pops for the M&amp;E stems so they don't sum into the Printmaster, but the pops still live the the printed Stem tracks.&#xD;&#xA;&#xD;&#xA;Maybe you're trying to do your stems and Printmasters at once and that's what I'm missing?  I usually do them as a separate passes both for QC and because, at least with ProTools, I recall there's some documented weirdness on signal degradation when recording multiple bussed tracks in a daisy-chain config at the same time.  I don't know exactly how Nuendo works, but if you can print to a track via bussing, I'd recommend that over using an export feature.  Printmastering is too critical to be left to an auto-pilot export function in my opinion.&#xD;&#xA;&#xD;&#xA;If you're doing all stems and printmasters at the same time and you you could try to just flip phase on one of the stem pops - that way your summing to the printmaster would be -20+3-3= -20 instead of -20+3+3 = -15.  But I believe the edit track method is more desirable method because of the troubleshooting abilities it allows for along the way.&#xD;&#xA;&#xD;&#xA;Sorry for the fragmented response, I guess I'm just not following your core question clearly." ContentLicense="CC BY-SA 3.0" />
  <row Id="24097" PostHistoryTypeId="2" PostId="14608" RevisionGUID="0cbeb04c-63c1-477a-868f-0db4df2b1ec9" CreationDate="2012-07-10T22:30:09.800" UserId="3979" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;I'm very interested in getting into recording my own IP's, mashing sounds, collecting pro IP libraries, etc.&#xD;&#xA;&#xD;&#xA;I'm wondering which softwares you guys think are the best?&#xD;&#xA;&#xD;&#xA;- Altiverb&#xD;&#xA;- SIR2&#xD;&#xA;- etc ?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Are there some less expensive ones that still produce good results, if I want to get started but can't afford Altiverb off the bat??&#xD;&#xA;&#xD;&#xA;Thanks!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24098" PostHistoryTypeId="1" PostId="14608" RevisionGUID="0cbeb04c-63c1-477a-868f-0db4df2b1ec9" CreationDate="2012-07-10T22:30:09.800" UserId="3979" Text="Convolution Verbs &amp; IP Softwares" ContentLicense="CC BY-SA 3.0" />
  <row Id="24099" PostHistoryTypeId="3" PostId="14608" RevisionGUID="0cbeb04c-63c1-477a-868f-0db4df2b1ec9" CreationDate="2012-07-10T22:30:09.800" UserId="3979" Text="&lt;impulse-response&gt;&lt;convolution-reverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24100" PostHistoryTypeId="2" PostId="14609" RevisionGUID="fd790a25-61ee-45de-b4fa-95a417ce2a8b" CreationDate="2012-07-10T22:44:33.233" UserId="3979" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I guess I'm a little confused about the use of Normalization in Field and FX recordings. I just read Rick Viers book &quot;The Sound FX Bible&quot; and he briefly mentions the use of Normalization when editing your new recordings.&#xD;&#xA;&#xD;&#xA;This makes sense because as you're searching through your library, if all your sounds are around the same level you don't have super quiet sounds that you turn up the volume for, then a really loud sound that blast you away right after.&#xD;&#xA;&#xD;&#xA;My question is what is Normalization really? Is it simply a gain adjustment that sets your peaks at a predetermined level?&#xD;&#xA;&#xD;&#xA;And when I do normalize a recording i generally get 1,000 times more noise and hiss in the recording. Am I doing something horribly wrong?? Am I misunderstanding the process?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24101" PostHistoryTypeId="1" PostId="14609" RevisionGUID="fd790a25-61ee-45de-b4fa-95a417ce2a8b" CreationDate="2012-07-10T22:44:33.233" UserId="3979" Text="Normalization in Field Recording and Sound Design." ContentLicense="CC BY-SA 3.0" />
  <row Id="24102" PostHistoryTypeId="3" PostId="14609" RevisionGUID="fd790a25-61ee-45de-b4fa-95a417ce2a8b" CreationDate="2012-07-10T22:44:33.233" UserId="3979" Text="&lt;field-recording&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24103" PostHistoryTypeId="2" PostId="14610" RevisionGUID="aa1c1ff8-700a-4c42-b0f3-1c49556b7740" CreationDate="2012-07-10T23:28:45.253" UserId="6411" Text="Sounds like your problem is the signal to noise ratio in your field recordings.&#xD;&#xA;&#xD;&#xA;[Normalization][1] is the process of scanning your file for the highest value (peak or RMS, depending on your selection) and assigning it to the new value that you have determined. In turn, the same increase is applied to the rest of your file. So for example, if you have a door slam that peaks at -10dB, and you normalize that file to -2.0dB, every sound in that file will increase by 8dB, including your noise floor. Not such a massive deal breaker if your peak is at -10dB and your noise floor lies down in the -60's, -50's. But if your peak is hovering around -30, -20? That's a big jump in perceivable difference, both in signal and noise.&#xD;&#xA;&#xD;&#xA;As a concept, I understand Ric's position. I have suffered from being blasted by gunshots after auditioning quiet countryside winds. But in practice, I disagree with his stance. I don't want my gunshots to be as quiet as a countryside wind, nor do I want my wind as loud as  a gunshot. &#xD;&#xA;&#xD;&#xA;It's been a while since I read my &quot;Bible&quot; but in re-reading your post and thinking about the logic behind it, perhaps his intent was to normalize similar sounds *from an individual recording session*. So, for example, if I do 3 sessions of a blender, a toaster, and handling flatware, I could see the wisdom in normalizing all my blender recordings similarly, all my toaster recordings similarly, all my flatware recordings similarly... but I digress.&#xD;&#xA;&#xD;&#xA;The main concept (one that we're all constantly chasing) is to have sufficient enough recording levels and mic placement so that you don't need to normalize your recordings after the fact.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Audio_normalization" ContentLicense="CC BY-SA 3.0" />
  <row Id="24104" PostHistoryTypeId="2" PostId="14611" RevisionGUID="20584714-03aa-4070-8f0a-433e0dba29d9" CreationDate="2012-07-10T23:30:43.707" UserId="315" Text="Wiki explains normalization [here][1].&#xD;&#xA;&#xD;&#xA;I'm not a big fan of normalizing while mastering sfx. I find a lot of commercial sfx libraries are mastered way too hot, especially when I am previewing them in a room calibrated at 79db or 85 db reference level (standard listening levels for TV and Film mixing). There's this belief amongst some that louder sfx are more professional sounding. I'd prefer to hear sounds closer to the level you'd hear them in the real world.&#xD;&#xA;&#xD;&#xA;It makes sense for a huge explosion to be peaking out at 0dBfs, but not a floor creak or rustling leaves. If a subtle sfx is mastered too hot, you usually end up pushing it down at least 20db in the mix anyway. And yes, normalizing quieter sounds will bring up the ambient noise floor, preamp hiss, and mic noise in a recording.&#xD;&#xA;&#xD;&#xA;I prefer to master my sfx in a calibrated room. Loud sounds, bangs, explosions, large impacts etc. often will hit a little limiting and peak out around 0dBfs, but other subtle sounds I will master at half that level or less. Think about how your sounds will play in a mix, and what level they are in the real world. There's no need to bring up quiet sounds to the level of louder ones, especially when you'll end up pushing them down again anyway. When was the last time you heard rustling leaves as loud as a jet engine? I recommend building some natural dynamics into your library if you can.&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Audio_normalization" ContentLicense="CC BY-SA 3.0" />
  <row Id="24105" PostHistoryTypeId="5" PostId="14611" RevisionGUID="e1709f4a-ce18-458a-a6b7-2aeda645ef09" CreationDate="2012-07-11T01:03:12.953" UserId="315" Comment="deleted 14 characters in body; added 12 characters in body; edited body" Text="Wiki explains normalization [here][1].&#xD;&#xA;&#xD;&#xA;I'm not a big fan of normalizing while mastering sfx. I find a lot of commercial sfx libraries are mastered way too hot, especially when I am previewing them in a room calibrated at 79db or 85 db reference level (standard listening levels for TV and Film mixing). There's this belief amongst some that louder sfx are more professional sounding. I'd prefer to hear sounds closer to the level you'd hear them in the real world.&#xD;&#xA;&#xD;&#xA;It makes sense for a huge explosion to be peaking out around 0dBfs, but not a floor creak or rustling leaves. If a subtle sfx is mastered too hot, you usually end up pushing it down in the mix anyway. And yes, normalizing quieter sounds will bring up the ambient noise floor, preamp hiss, and mic noise in a recording.&#xD;&#xA;&#xD;&#xA;I prefer to master my sfx in a calibrated room. Loud sounds, bangs, explosions, large impacts etc. often will hit a little limiting and peak out a little under 0dBfs, but other subtle sounds I will master at half that level or less. Think about how your sounds will play in a mix, and what level they are in the real world. There's no need to bring up quiet sounds to the level of louder ones, especially when you'll end up pushing them down again anyway. When was the last time you heard rustling leaves as loud as a jet engine? I recommend building some natural dynamics into your library if you can.&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Audio_normalization" ContentLicense="CC BY-SA 3.0" />
  <row Id="24106" PostHistoryTypeId="2" PostId="14612" RevisionGUID="b1a76cde-99de-49e1-8754-c1fd71ddb15e" CreationDate="2012-07-11T01:15:49.530" UserId="842" Text="For me, the only ones I've tried that I like is Audioease Altiverb and Steinberg REVerence. Altiverb has a little more emphasis on the lower mid, and REVerence the higher.&#xD;&#xA;&#xD;&#xA;Waves was WAY to sharp for me, and seemed to lack a little in resolution, and the SIR-verbs generally sounded too much like a cheap Behringer pedal for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="24107" PostHistoryTypeId="2" PostId="14613" RevisionGUID="f9828ea8-ba30-498e-bc07-fc2470a9c901" CreationDate="2012-07-11T06:14:22.593" UserId="4053" Text="Neat to see you guys found my setup already, but I can add a bit to the discussion. I began working standing back in 2000. I'd been working up at Skywalker Sound, had seen Beau Borders' standing workstation, and thought it was an excellent idea. Since my job at LucasArts included both sound design and studio maintenance work, I was constantly sitting down for very short periods to setup a batch process, then running down the hall to continue a task in the recording studio. It was quite tiresome, all the sitting and standing and sitting and standing. So I asked to raise my workstation and was told to go buy cinder blocks!&#xD;&#xA;&#xD;&#xA;Once I'd raised everything up, it was clear that the arrangement suited me considerably and was going to continue long after I departed that job. &#xD;&#xA;&#xD;&#xA;On exiting Lucas, I needed to find a standing workstation for my home studio and it was no easy task at that time. I visited nearly two dozen furniture stores before giving up. Then I lucked out and found the HON model I have been using since 2001. It had been unsellable at the shop I discovered it in and they gave me a huge discount to take it off their hands. I also ordered a tall drafting chair so I could easily alternate between sitting and standing at any time.&#xD;&#xA;&#xD;&#xA;The next problem was speaker height. While working in a tiny space I was able to get along with cheap wall-mount TV stands from Home Depot, but they make acoustics quite difficult to tune; the low frequencies load up considerably at the wall when the speakers are so near the sheetrock. When I built my current space, I decided to invest in custom stands. I felt that Sound Anchors made very sturdy stands (especially for earthquake prone San Francisco) and contacted them about getting tall stands built. At that time (2004), they charged me for a stand + $2 per inch of additional height. I added about 20 inches to the standard height, so the 5 stands were definitely not inexpensive.&#xD;&#xA;&#xD;&#xA;The nice thing about the arrangement is that the acoustics can be tuned for one position, but I can sit or stand to be in that position. (A footstool is highly recommended for the seated position, BTW.)&#xD;&#xA;&#xD;&#xA;I was initially concerned about getting my clients (who sit behind me) to an elevated height, too. But the reality is that a 12' x 13' room is going to have drastic bass holes regardless of whether my clients are on tall chairs or not. I also found that clients rarely wanted to sit tall and it would also necessitate a tall desk for them, which I really don't have room for. The trade off ends up being that they trust my ears 99.999% of the time. Which is as it should be. :-) And if they're really concerned, they can come put their head in the listening position.&#xD;&#xA;&#xD;&#xA;Another unanticipated issue is the fact that many people are a different height than me. I first noticed this when a couple friends from THX came by to see my new space. They both towered over me, as I'm 5'8&quot; and they were at least 6' tall. That issue can be resolved easily, though: they just need to sit and not stand. It really hasn't been an issue, but it should be considered if your workstation will be utilized by a variety of people.&#xD;&#xA;&#xD;&#xA;All told, I still love having a standing workstation and have no intention of altering it anytime soon. Is not for everyone, but I absolutely love it!&#xD;&#xA;&#xD;&#xA;Jory" ContentLicense="CC BY-SA 3.0" />
  <row Id="24108" PostHistoryTypeId="2" PostId="14614" RevisionGUID="3c63760e-e830-4df3-bcd9-3394b28601bc" CreationDate="2012-07-11T09:27:08.443" UserId="4053" Text="I'm not a fan of normalization at all.  In theory, it could be a useful tool, but I've yet to find a situation where it was truly useful.  When you normalize files, you merely take the loudest sound and adjust the overall amplitude of the file to make that loudest sound match the dB level (or percentage) you specified.  The result is a ton of files that have levels all over the map.  All your soft sounds are now very, very loud, and all the loud sounds are very, very soft.&#xD;&#xA;&#xD;&#xA;You're better off performing a batch gain change across a bin of files, engaging a brick wall limiter for anything that is going to exceed -0.1 dBFS." ContentLicense="CC BY-SA 3.0" />
  <row Id="24109" PostHistoryTypeId="2" PostId="14615" RevisionGUID="fc2db5f7-97b7-4507-9424-7cfbb4ceaf7b" CreationDate="2012-07-11T09:31:26.213" UserId="4053" Text="Just two days ago Jean-Edouard Miclot posted this item in another forum:&#xD;&#xA;&#xD;&#xA;&gt; Hey guys, I finally found some time to&#xD;&#xA;&gt; implement Charles's technique in Kyma.&#xD;&#xA;&gt; I made the tools available for&#xD;&#xA;&gt; download should you want to experiment&#xD;&#xA;&gt; with it and maybe expend its&#xD;&#xA;&gt; features... &#xD;&#xA;&gt; &#xD;&#xA;&gt; Here's the link:&#xD;&#xA;&gt; [http://jedsound.com/blog/?page_id=1020][1]&#xD;&#xA;&gt; &#xD;&#xA;&gt; Thank you, Jean-Edouard Miclot&#xD;&#xA;&#xD;&#xA;Perhaps that'll give you some ideas of how to create whooshes.&#xD;&#xA;&#xD;&#xA;  [1]: http://jedsound.com/blog/?page_id=1020" ContentLicense="CC BY-SA 3.0" />
  <row Id="24110" PostHistoryTypeId="2" PostId="14616" RevisionGUID="c63e77d0-5118-4c37-98c3-dca3f245cadb" CreationDate="2012-07-11T14:38:48.680" UserId="4057" Text="If you are going to use normalization, only use it for searching/indexing and locating a particular sound. Do not normalize the original or raw material. The main reason for this is that once you normalize the audio, you burn in all the sampling artifacts, noise and harmonic distortion that goes on at the low end of the bit-resolution spectrum. Adding digital gain to this stuff simply makes all the noise louder - along with your desired signal. &#xD;&#xA;&#xD;&#xA;If you are recording very quiet effects, simply ride the analogue input gain to get as much signal to noise ratio as possible during the initial recording phase. That way, you can make the effect quieter when you use it in post and you don't have to deal with all the nasty sampling artifacts.&#xD;&#xA;&#xD;&#xA;Recording with more gain and attenuating in post is fine, but not the other way around." ContentLicense="CC BY-SA 3.0" />
  <row Id="24111" PostHistoryTypeId="2" PostId="14617" RevisionGUID="3a7c01eb-d659-44b6-86d4-83cae6022519" CreationDate="2012-07-11T17:47:24.140" UserId="4053" Text="I tend to agree with @Bit Depth's comment.  If your clients aren't having a problem, perhaps everything is fine.  What you might choose to do at some point is ask some pros whose ears you trust implicitly to give you some spectral and mix balance feedback to see if they notice any issues.&#xD;&#xA;&#xD;&#xA;In general, you are probably fine to do many kinds to audio tasks.  Mastering might be a job you opt to leave to someone with better hearing range, but if you ever start to believe you're truly stuck, you do have options.  For example, you can always continue working as a dialogue editor, as you seldom would encounter anything that high in frequency.  Plus, someone else could be mastering the edited dialogue.&#xD;&#xA;&#xD;&#xA;In short, I think you've got plenty of professional options without giving up your dreams just yet." ContentLicense="CC BY-SA 3.0" />
  <row Id="24112" PostHistoryTypeId="2" PostId="14618" RevisionGUID="f7089211-9e48-4a13-bf75-a1e126626ae6" CreationDate="2012-07-11T18:38:06.727" UserId="2186" Text="[Here][1] is an article from Sound on Sound on the difference between convolution reverbs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/jun06/articles/qa0606_1.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="24113" PostHistoryTypeId="2" PostId="14619" RevisionGUID="8a40ad51-4d37-4675-b094-5b531281a6a2" CreationDate="2012-07-11T19:36:50.670" UserId="1199" Text="Be sure that your audiologist actually tests with signal frequencies that high. &#xD;&#xA;&#xD;&#xA;All the 'standard' hearing tests I've had here in the states — including those from the House Ear Institute testing at NAMM shows — only test to **8k** ! &#xD;&#xA;&#xD;&#xA;very disappointing to say the least...&#xD;&#xA;&#xD;&#xA;r" ContentLicense="CC BY-SA 3.0" />
  <row Id="24114" PostHistoryTypeId="2" PostId="14620" RevisionGUID="18848273-f529-4267-ae9b-1896f6bb6269" CreationDate="2012-07-11T22:02:48.697" UserId="662" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I use a combination of Reaper and Izotope RX to clean some audio tracks of a bunch of video clips. I need both the the spectral tools of izotope of and the multitrack sequencing and the video decoding of reaper to make a achieve my work.&#xD;&#xA;&#xD;&#xA;However I can't find an efficient way to work with these 2 tools at the same time. The Spectral Repair vst plug-in is not supported by Reaper, so I configured Izotope RX as the main external editor to always keep a hand on restoration tools from my session. But There are two flaws handling things this way. First.I can't track the Reaper cursor position in the file I open for edition. I have to manually seek in Izotope RX where is the region I want to deal with. Second, I can't have any video feedback when I am working in Izotope RX. Sometimes I prefer to keep working in the RX editor where there is a large amount of audio to fix, but without the video  playback sync to my audio I feel uncomfortable.&#xD;&#xA;&#xD;&#xA;How do you guys usually handle this kind of work?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24115" PostHistoryTypeId="1" PostId="14620" RevisionGUID="18848273-f529-4267-ae9b-1896f6bb6269" CreationDate="2012-07-11T22:02:48.697" UserId="662" Text="Reaper and iZotope RX --&gt; workflow issue" ContentLicense="CC BY-SA 3.0" />
  <row Id="24116" PostHistoryTypeId="3" PostId="14620" RevisionGUID="18848273-f529-4267-ae9b-1896f6bb6269" CreationDate="2012-07-11T22:02:48.697" UserId="662" Text="&lt;reaper&gt;&lt;izotope&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24117" PostHistoryTypeId="5" PostId="14491" RevisionGUID="b078fd53-5ba2-4a6f-9bd0-f516f8d5565e" CreationDate="2012-07-11T22:53:37.390" UserId="1228" Comment="added 3 characters in body" Text="You could try playing with the Antares THROAT Evo and/or any pitch program which allows you to alter the Formant (not just the pitch).  It's going to still come down to the VO artist or baby though, because of the very particular cadences and expression of phonetics for a baby is going to sound different than a fluent adult speaker - in that no amount of DSP will alter the voice in that sense, but if you can get a close voice with the right types of cadences and articulations (such as the VO artist you worked with), then altering the formant or playing with throat modelling like with the Antares tool could be just that last 10% you need to make it fully convincing.&#xD;&#xA;&#xD;&#xA;Libraries can help too, although I find them difficult because most don't have enough variety.  In once recent instance we had a baby for a full 6 reel show which needed a presence throughout every so often since it didn't vocalize often in production and and we weren't ADRing it.  Finding both enough articulations and enough of them recorded similarly and sounding like the same voice was not an easy task, so this is where I find the downfall to be with SFX babies sometimes.  The content is usually great, it's just that the quantity kinda lacks.&#xD;&#xA;&#xD;&#xA;I realize the project is probably done now since this is really late to the original post, but more of an FYI/response to the question in general." ContentLicense="CC BY-SA 3.0" />
  <row Id="24118" PostHistoryTypeId="2" PostId="14621" RevisionGUID="41b07984-5071-4553-8b4b-3be71572f7c8" CreationDate="2012-07-12T00:49:18.907" UserId="4057" Text="Don't want to bag reaper as it is a good DAW and I use it often, however my main DAW is Sequoia. I use Izotope for mastering, but not the RX package. If you can afford RX, you might find in investigating one of the other DAW packages that it supports the workflow you require." ContentLicense="CC BY-SA 3.0" />
  <row Id="24119" PostHistoryTypeId="2" PostId="14622" RevisionGUID="c26d6f73-59fc-4d04-ae81-243f8d4de169" CreationDate="2012-07-12T00:54:18.740" UserId="4057" Text="The answer to this question is never to simply go out and buy another product. The recording and mixing technique you use that will be the answer. Remember that sound designers were designing organic sounds way before Izotope or Camel Audio came into being. In order to make sounds &quot;sound&quot; organic you need to look at leveraging or modulating your 'electronic' sounds with organic sounds, atmospheres and rhythms. These are sounds that simply cannot be replicated electronically so you have to go out and find them. Pick sound sources that are made by life - this is the best way to get an organic feel to your work." ContentLicense="CC BY-SA 3.0" />
  <row Id="24120" PostHistoryTypeId="2" PostId="14623" RevisionGUID="e2e2c61e-f493-4838-9fb9-75cc07831437" CreationDate="2012-07-12T01:58:48.750" UserId="4057" Text="One thing is for sure - the formatting on SD disks is FAT32, meaning that the maximum filesize is going to be just under 4GB. SD does - however - do a good job of concatenating recordings across a number of files. I think the space constraint is more to do with the size of the volume than the size of the individual files. With a long, continuous recording, I would expect to find multiple files that will concatenate together on a timeline to produce the original continuous recording.&#xD;&#xA;&#xD;&#xA;I think that another thing you should consider is that you should do some test recordings to determine spectrum first. You state that you're going to record at 48kHz/24bit but this may or may not cover the complete spectral range being emitted. For instance we generally record at 48kHz because of the range of human hearing however a lot of the sound sources we are dealing with emit sounds at higher frequencies than humans can hear. Determine whether you need to record at 48kHz or a higher sampling rate - then determine the impact on the storage space requirement.&#xD;&#xA;&#xD;&#xA;I would also recommend separating the recording device from the microphones using a remote preamp and converter. This will have an impact on the powering source, but getting the recording device itself into a space where you can easily monitor and maintain it would be a consideration. There are many remote preamps and converters that will support connection either by fibre optic or UTP cable.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24125" PostHistoryTypeId="2" PostId="14625" RevisionGUID="2431f4e5-87e3-4b97-ac8f-e1609f8bf327" CreationDate="2012-07-12T06:40:31.103" UserId="1152" Text="When I need to do spectral repair I separate that section of audio, use my special key-command, it makes a copy of that section as a new file, and opens it in RX standalone. &#xD;&#xA;&#xD;&#xA;The trick is to make RX your default external editor. Then in the mouse modifiers section setup 'open item copy in external editor'. I think mine is control+option+command+double-click.&#xD;&#xA;&#xD;&#xA;From your description it sounds like you're opening the whole original file rather than just the portion that needs repair.&#xD;&#xA;&#xD;&#xA;I don't work with video though so I can't help you there. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24126" PostHistoryTypeId="2" PostId="14626" RevisionGUID="ba118b0f-e8b7-4c2f-8f93-108da13cf7fc" CreationDate="2012-07-12T06:53:04.150" UserId="180" Text="There are at least two cross-platform/ multi-format options that I've been particularly happy with:&#xD;&#xA;&#xD;&#xA;Liquidsonics Reverberate - £50/ $75 - http://www.liquidsonics.com/home.htm&#xD;&#xA;&#xD;&#xA;Meldaproduction MMultibandConvolution - €21/ $25 - http://www.meldaproduction.com/mcreativebundle/mmultibandconvolution.php&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And if you're a Mac user, there's always Logic Pro ($199, Mac App Store) and Space Designer -- I'm not a Logic user (in fact, I rather loather having to use it... but that's another discussion) but I've long loved Space Designer and place a much higher value on it than TLSpace, Alitverb or IR. The only issue is jumping through hoops to be able to use Space Designer in other applications. Please, Apple make Audio Unit versions of Logic Plugins. (Or make Logic useable. Either one.)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24127" PostHistoryTypeId="2" PostId="14627" RevisionGUID="1758d87d-c740-4fc3-a4b4-d754fe5f6dd8" CreationDate="2012-07-12T07:23:14.863" UserId="4059" Text="Hi all&#xD;&#xA;&#xD;&#xA;I have protools 9 HD running on Snow leopard. It has worked fine for almost 8 months and within the past week I have had trouble starting it up as it freezes on the loading window then is not responding. i have repaired my disk permissions, updated my ilok drivers, updated my mBox drivers, uninstalled, reinstalled and i have the same problem. I then decided to load my Pro Tools 8 again and it refused to load that as well any suggestions? any help? " ContentLicense="CC BY-SA 3.0" />
  <row Id="24128" PostHistoryTypeId="1" PostId="14627" RevisionGUID="1758d87d-c740-4fc3-a4b4-d754fe5f6dd8" CreationDate="2012-07-12T07:23:14.863" UserId="4059" Text="Pro Tools 9 Crashing " ContentLicense="CC BY-SA 3.0" />
  <row Id="24129" PostHistoryTypeId="3" PostId="14627" RevisionGUID="1758d87d-c740-4fc3-a4b4-d754fe5f6dd8" CreationDate="2012-07-12T07:23:14.863" UserId="4059" Text="&lt;pro&gt;&lt;tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24130" PostHistoryTypeId="2" PostId="14628" RevisionGUID="35bc00d5-094f-478a-ab40-0c7e1238a082" CreationDate="2012-07-12T08:26:53.763" UserId="1228" Text="Have you recently installed OS updates of any sort?  Given how PT has to be basically re-written to fix for each new Mac OS major release, I wouldn't be surprised if a hotfix got installed and it tripped it up (maybe some hotfix Avid advises to avoid), especially if one day after working fine it's stopped indefinitely and older versions don't work either.&#xD;&#xA;&#xD;&#xA;Where does it stop loading it (e.g. a certain plugin, the DAE, etc)?  Did it kick back some sort of system error message?  If so, what did it say specifically?  Did PT crash, freeze, did the OS kernel panic, or did PT just sort of stop responding?  Are any and all lights on the hardware function properly to indicate that your device is being detected by the system?  Is your firmware up to date?  What version of 9 are running, and what version of 8 were you trying (each minor version of PT has it's own quarks in terms of compatibilities with the OS and hardware firmware)?  Have you checked the Avid docs for these particular versions of 8 and 9 top see if there was anything special to take note of (one such case I believe being that during one of the minor 8.0.x updates, it required all Digi unit firmware updated to a 9.x firmware)?&#xD;&#xA;&#xD;&#xA;Unfortunately to be any more specific, further details would be greatly appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="24131" PostHistoryTypeId="2" PostId="14629" RevisionGUID="1a0d9471-7218-4330-b044-bfa1d3b645b4" CreationDate="2012-07-12T10:49:51.157" UserId="6432" Text="[Bazza's bazaar][1], mostly for UK based gear&#xD;&#xA;&#xD;&#xA;Also [Mike's film sound][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bblist.co.uk/index.php&#xD;&#xA;  [2]: http://www.mikesfilmsound.com/used_equipment.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="24132" PostHistoryTypeId="2" PostId="14630" RevisionGUID="a2c00df4-fa80-45d5-8b83-a7fd1beb7d2e" CreationDate="2012-07-12T11:56:21.253" UserId="3420" Text="Best bet is probably to do the above, trash preferences etc (the usual) and failing that ask on the AVID Pro Tools support forums as they're a more technical forum and less about sound design where as this is the opposite. They'll be able to get you sorted for definite i'm sure :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24133" PostHistoryTypeId="5" PostId="14630" RevisionGUID="a82d5b07-a0d6-4250-827d-472341b0e761" CreationDate="2012-07-12T12:06:16.693" UserId="3420" Comment="added 80 characters in body" Text="Best bet is probably to do the above, trash preferences etc (the usual) and failing that ask on the AVID Pro Tools support forums as they're a more technical forum and less about sound design where as this is the opposite. They'll be able to get you sorted for definite i'm sure :)&#xD;&#xA;&#xD;&#xA;http://duc.avid.com/forumdisplay.php?s=f8813aed26a07f99959ff66a38d6cab6&amp;f=84" ContentLicense="CC BY-SA 3.0" />
  <row Id="24134" PostHistoryTypeId="2" PostId="14631" RevisionGUID="b176a32f-1870-45e8-a7db-3896e6af859d" CreationDate="2012-07-12T23:27:48.600" UserId="4060" Text="This is an AWESOME idea - both the long recording of just bees, and even more so the construction of a device to make long recordings of anything and everything else.&#xD;&#xA;&#xD;&#xA;I don't think I have much to add in terms of hardware/software (PD would definitely be the way I'd go with this - not sure about the hardware, though), but I think a really interesting application for such a 'long recording device' would be for acoustic ecology/soundscape studies. I liked the suggestion somewhere above about collecting the 'cycles of the planet' over a year, but what I think would be really interesting would be to monitor the changes in those yearly cycles over an even longer period, and so, map out broader changes in the soundscape of a particular location. (eg. imagine how interesting it would be compare the variations in the soundscape of, say, central London over the course of the last 25 or even 50 years). It would be even more interesting to also be able to compare the variations of different locations around the planet. &#xD;&#xA;&#xD;&#xA;Of course, this sort of thing would be ambitious: you'd want a device that records pretty much indefinitely and requires minimal maintenance (the solar-power idea is great), and a community of operators. Though I wonder whether it might be of interest to Universities, libraries, etc. Or it could form some kind of broader community-led project into the planet's changing soundscapes...&#xD;&#xA;&#xD;&#xA;I'd be on for developing such a device, anyway! Sounds fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24135" PostHistoryTypeId="2" PostId="14632" RevisionGUID="daff81d5-0924-4539-8c20-66fc7cce6b36" CreationDate="2012-07-13T05:08:14.757" UserId="4061" Text="Most of the time i´m &quot;normalizing&quot; my sound fx somewhere around -6dB and ambiences and stuff around -12, -18dB.But it depends on the stuff i recorded. If it is tooo quiet, like, let´s say....an empty room, normalizing will really increase the noise too much." ContentLicense="CC BY-SA 3.0" />
  <row Id="24136" PostHistoryTypeId="2" PostId="14633" RevisionGUID="9dfd94de-d7a9-4c7c-b0dc-d837a9711a59" CreationDate="2012-07-13T06:35:37.133" UserId="654" Text="There's 3 years of post specific PT tutorials on my blog free of charge at www.protoolsprofessional.com&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24137" PostHistoryTypeId="2" PostId="14634" RevisionGUID="d0204c16-7628-484b-b408-d3397f7fd047" CreationDate="2012-07-13T06:42:16.010" UserId="3238" Text="Since this project is so ambitious, I thought I'd share some ambitious ideas to go along with it.  &#xD;&#xA;&#xD;&#xA;I have only heard about them myself, and someone briefly mentioned them here, but I wonder if fiber optic mics would be useful in this scenario.  They're essentially immune to noise and interference, robust, resistant to environmental changes in heat and moisture, and can go a realllly long distance (like, kilometers).  You could set them in the bee hive and have your recorder back at the house (assuming there's a building around).  That would take care of the need for a complicated and potentially sketchy weatherproof enclosure, solar powered this and that.  &#xD;&#xA;&#xD;&#xA;http://www.optoacoustics.com/industrial/optimic-microphones#general&#xD;&#xA;&#xD;&#xA;This way you could also even have your recording computer connected easily to the internet, and set up an automated script to offload daily recordings to an FTP server, for remote access as well as to conserve local drive space, so you wouldn't need a massive disk on site.  &#xD;&#xA;&#xD;&#xA;I also second the idea of the audio time lapse as a means of presentation.  I think it could make an interesting piece of visual art, however ironic that may be.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24138" PostHistoryTypeId="2" PostId="14635" RevisionGUID="b61a9f1b-c5b7-4e3c-bef6-8c1d43449b76" CreationDate="2012-07-13T08:04:52.270" UserId="3282" Text="Dear SSD,&#xD;&#xA;for the purpose of an instructional video about analog synthesis, I am looking for musical examples that make use of analog substractive synthesis in an iconic way. &#xD;&#xA;JM Jarre, Kraftwerk, Messiaen, Herbie Hancock, Pink Floyd, Lady Gaga... Such artists are in my list but I count on your collective brain to help me expand it ! All musical styles welcome.&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="24139" PostHistoryTypeId="1" PostId="14635" RevisionGUID="b61a9f1b-c5b7-4e3c-bef6-8c1d43449b76" CreationDate="2012-07-13T08:04:52.270" UserId="3282" Text="Emblematic analog synth sounds/artists in music production ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24140" PostHistoryTypeId="3" PostId="14635" RevisionGUID="b61a9f1b-c5b7-4e3c-bef6-8c1d43449b76" CreationDate="2012-07-13T08:04:52.270" UserId="3282" Text="&lt;analog&gt;&lt;synthesis&gt;&lt;artist&gt;&lt;references&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24141" PostHistoryTypeId="2" PostId="14636" RevisionGUID="cbc831a0-37e8-4834-b2d3-203b3fb93af6" CreationDate="2012-07-13T08:22:04.127" UserId="3984" Text="Hey, I just bought the H4n. I know it's not professional but i could not afford anything else. Is the first one i have and should do the job... &#xD;&#xA;&#xD;&#xA;Stavrosound said that he found the sweet spot on the preamps at 35-40 using external mics. Since I don't have any yet and all i want to record is atmospheres using the XY that zoom has I would like to know where the sweet spot is. A good ratio S/N. &#xD;&#xA;&#xD;&#xA;How hot should I do my recordings? As I said is basically ambient but I don't have a clue what would be a good level.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="24142" PostHistoryTypeId="2" PostId="14637" RevisionGUID="b73a56ae-038e-421a-ae38-bf0864eb31b4" CreationDate="2012-07-13T08:50:12.180" UserId="3371" Text="Tomlison Holman - Sound for Film and Television, is good book too. Includes stuff from shooting to post." ContentLicense="CC BY-SA 3.0" />
  <row Id="24143" PostHistoryTypeId="2" PostId="14638" RevisionGUID="a3024de0-fdeb-4ec8-8e54-b95ba2328da0" CreationDate="2012-07-13T15:01:19.543" UserId="2502" Text="despite the obvious fun you could have just panning over groups of sounds to create, it seems like it could be a fresh approach to finding the right one off sounds (kicks, snares) when writing electronic music.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24144" PostHistoryTypeId="2" PostId="14639" RevisionGUID="9f41d52e-78d6-4210-9bce-2a1031f5c3a4" CreationDate="2012-07-13T16:39:15.410" UserId="7811" Text="You can cross Lady Gaga off your list! Utter sheep and nothing original.  And Messiaen didn't use substractive synthesis.&#xD;&#xA;&#xD;&#xA;The obvious ones are:&#xD;&#xA;&#xD;&#xA;- Walter/Wendy Carlos (Switched on Bach)&#xD;&#xA;- Vangelis (highest profile being Chariots of Fire &amp; Blade Runner soundtracks)&#xD;&#xA;- Stevie Wonder, esp his collaborations with TONTO&#xD;&#xA;- ELP (Lucky Man)&#xD;&#xA;- The Beatles (Here Comes The Sun)&#xD;&#xA;- Erasure's &quot;Chorus&quot; and Depeche Mode's &quot;Violator&quot; are both benchmark classics.&#xD;&#xA;- If you *are* considering Messiaen then you should also throw in The Beach Boys (Good Vibrations) and Joe Meek/The Tornados &quot;Telstar&quot;, but none of these are strictly subtractive synthesis.&#xD;&#xA;&#xD;&#xA;There's obviously a LOT more.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24145" PostHistoryTypeId="2" PostId="14640" RevisionGUID="bf11d17a-78dc-4a26-8e6b-ac6acb2b8041" CreationDate="2012-07-13T19:25:05.317" UserId="842" Text="In the Industrial and EBM-scene we have DAF and Nitzer Ebb being very iconic having a sound based in pretty pure analogue synthesis. Though also avid users of the Emulator line of samplers, Front 242 too are known to us a lot of  subtractive synthesis in a pretty unique way, though it's quite frankly a mixture between analoge waveforms and PCM-wave-based. And of course the samples :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24146" PostHistoryTypeId="2" PostId="14641" RevisionGUID="d0da896c-f293-4e87-8455-8d05aca6221f" CreationDate="2012-07-14T02:41:57.900" UserId="6411" Text="After years of kludging through PT's Workspace to spot effects I finally broke down and got Soundminer v4Pro. Whoa. Nellie. Fast searches, spotting as a region, the pitch slider, the VST rack, re-recording it all through Re-Wire... I shudder to think of all the time I've wasted before.&#xD;&#xA;&#xD;&#xA;It seems intuitive enough, but I'm certain that there's clever little tips and shortcuts that would be beneficial to know. I was just poking around here I found that [complex boolean searches][1] are awesome, as well as the [Same Folder][2] button.&#xD;&#xA;&#xD;&#xA;But what little metadata hacks have you found to speed up your workflow? How do you break down your databases to speed up searches? I know, I know... I still have to RTFM, but I thought I'd give the opportunity for you to be On-The-Spot Super-Geniuses.&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/4477/sfx-library-codewords/9270#9270&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/4477/sfx-library-codewords/4482#4482" ContentLicense="CC BY-SA 3.0" />
  <row Id="24147" PostHistoryTypeId="1" PostId="14641" RevisionGUID="d0da896c-f293-4e87-8455-8d05aca6221f" CreationDate="2012-07-14T02:41:57.900" UserId="6411" Text="Soundminer tips/shortcuts/workflow ideas" ContentLicense="CC BY-SA 3.0" />
  <row Id="24148" PostHistoryTypeId="3" PostId="14641" RevisionGUID="d0da896c-f293-4e87-8455-8d05aca6221f" CreationDate="2012-07-14T02:41:57.900" UserId="6411" Text="&lt;soundminer&gt;&lt;workflow&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24149" PostHistoryTypeId="2" PostId="14642" RevisionGUID="d86e67dd-ea25-4f00-a5aa-6ead8f1b1b9a" CreationDate="2012-07-14T15:25:20.373" UserId="194" Text="I heart soundminer.&#xD;&#xA;&#xD;&#xA;My general sm workflows:&#xD;&#xA;&#xD;&#xA; - create an &quot;import&quot; database that you use for tagging sounds with metadata before adding them to your libraries.  Quarantining new sounds and manipulating them outside of your massive databases is quicker and cleaner than putting them into your big database and adding metadata there.  The reason is because databases *can* become corrupt if you throw too much at them too quickly, and you'll be manipulating quite a bit as you add sounds to your libraries.  Once your metadata is finished, right click and embed to selected.  this prints the metadata to the bwav header.  Now move the files into their final location and scan them into your main sfx database.  all of the metadata comes with!&#xD;&#xA;&#xD;&#xA; - don't forget that you can UNDO metadata changes.  very handy!&#xD;&#xA;&#xD;&#xA; - you can use soundminer to detect and correct &quot;dirty&quot; files - that is files that have database metadata that is different from what is stored in the bwav header. &#xD;&#xA;&#xD;&#xA; - the admin window is your friend.  from there you can do things like copy the filename to the description field, strip out the .wav at the end, and then append or prepend a bunch of tags to a group of files.&#xD;&#xA;&#xD;&#xA; - select a group of files and then right click on the description field.  the drop down menu has a find and replace option.  handy for big metadata edits.  &#xD;&#xA;&#xD;&#xA; - always take and embed photos&#xD;&#xA;&#xD;&#xA; - your databases live in the following directory: user/library/application support/soundminer.  OSX lion (un)helpfully hides that library folder.  type this in the terminal to unhide it: **chflags nohidden ~/Library/**&#xD;&#xA;&#xD;&#xA; - back up your databases in triplicate please.  one onsite, one offsite, a bwav header burn in each file.  If you have something like sugarsync or dropbox going, you can just have those services auto sync your sm databases folder&#xD;&#xA;&#xD;&#xA; - sm is a good file renamer.  throw the sounds into a temp database, then use either the admin window or the right click find and replace on the &quot;filename&quot; field.  presto!  also, this is the only file renamer that has an &quot;undo&quot; function that I'm aware of.&#xD;&#xA;&#xD;&#xA; - when doing music supervision or prelim sfx pulls, you can go to prefs and set the files transfer type to &quot;interleaved&quot;.  then create a folder in the finder and start scanning for stuff you'll need.  when you find some cuts that you like mouse over the waveform window near where the little grabber hand is.  drag the waveform to your folder - voila! instant transfer sans DAW.&#xD;&#xA;&#xD;&#xA;there's more, but that's what I have off the top of my head.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24150" PostHistoryTypeId="2" PostId="14643" RevisionGUID="21d6bb42-ebfc-4f59-981b-b91a9c86ea06" CreationDate="2012-07-14T18:03:51.900" UserId="3784" Text="The best thing ive ever done to help my workflow is turning my SM monitor sideways to reduce scrolling, may not sound like much.. but after ahwile youll thank me." ContentLicense="CC BY-SA 3.0" />
  <row Id="24151" PostHistoryTypeId="2" PostId="14644" RevisionGUID="8e5cfe78-6e9d-4b8d-b40a-a65c0d356548" CreationDate="2012-07-14T19:22:44.463" UserId="1035" Text="Building off of Rene's last tip, you can also pull out the side bar on the right, and then hit Cmd-Opt-2 to bring up a folder building window. Build folders, sub-folders, name them, and then with a folder selected, select a sound file, hit T and then it's tagged. Click the little preferences button, make sure &quot;Build Folder Structure&quot; is checked. Now you can select all of those sounds, Cmd-B them, and you'll have them all sent to your transfer path, keeping the same organized folder structure. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24152" PostHistoryTypeId="2" PostId="14645" RevisionGUID="8a1ffc58-27ed-4aa0-963b-6a2b81f8e1b1" CreationDate="2012-07-14T22:45:32.120" UserId="6411" Text="I was going to post this as an answer to any of the multiple [ergonomics-based][1] questions, but I'll just add to the pile.&#xD;&#xA;&#xD;&#xA;Have you seen this yet? &#xD;&#xA;&#xD;&#xA;[youtube]_d6KuiuteIA[/youtube]&#xD;&#xA;&#xD;&#xA;Your Minority Report future is available for [pre-order][2] for $69.99 USD + shipping. But hold on.&#xD;&#xA;&#xD;&#xA;It seems that it's not as straightforward as tossing your mouse out the window and flailing at the screen. On their forum, their asking people [which software programs should be optimized for LEAP][3]. I've tossed in my +1 for Pro Tools. But maybe you use Nuendo, or Live, or Logic. So go register and suggest how you think this could be an awesome input device / ergonomic blessing for audio.&#xD;&#xA;&#xD;&#xA;I just keep envisioning vertical faders (like a conductor), 5.1 panning (twirl a finger), cutting, fading, knob turns... &#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/search?q=ergonomics&#xD;&#xA;  [2]: https://live.leapmotion.com/order.html&#xD;&#xA;  [3]: https://live.leapmotion.com/forums/showthread.php?131-Leap-Optimized-Software-Suggestions" ContentLicense="CC BY-SA 3.0" />
  <row Id="24153" PostHistoryTypeId="1" PostId="14645" RevisionGUID="8a1ffc58-27ed-4aa0-963b-6a2b81f8e1b1" CreationDate="2012-07-14T22:45:32.120" UserId="6411" Text="New Product: LEAP" ContentLicense="CC BY-SA 3.0" />
  <row Id="24154" PostHistoryTypeId="3" PostId="14645" RevisionGUID="8a1ffc58-27ed-4aa0-963b-6a2b81f8e1b1" CreationDate="2012-07-14T22:45:32.120" UserId="6411" Text="&lt;ergonomics&gt;&lt;gear&gt;&lt;input&gt;&lt;mouse&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24155" PostHistoryTypeId="16" PostId="14645" RevisionGUID="8a1ffc58-27ed-4aa0-963b-6a2b81f8e1b1" CreationDate="2012-07-14T22:45:32.120" UserId="6411" />
  <row Id="24156" PostHistoryTypeId="2" PostId="14646" RevisionGUID="cd92e140-5c0a-468e-aef0-b39b4c08b7c8" CreationDate="2012-07-15T03:26:56.617" UserId="3746" Text="If you use it in dual mono mode the right channel will record 20dB lower than the left side. That can be a saviour if you are recording highly variable volumes and something clips the input...you can then use the other lower level channel.&#xD;&#xA;If you get a high pitched noise when turning up gain..... it could be that you have got the built-in speaker turned up instead of using headphones." ContentLicense="CC BY-SA 3.0" />
  <row Id="24157" PostHistoryTypeId="2" PostId="14647" RevisionGUID="18397590-b5b3-4f14-a1a8-5d983a6765d8" CreationDate="2012-07-15T12:00:20.510" UserId="6524" Text="I was just listening to bunch of scenes on the website MovieClips, and while watching this [Raptor scene][1] from Jurassic Park III I got curious as to how they got that sound whether they actually made the prop so it produces the sound or whether it was designed, any ideas? If you had to do something similar how did/would you approach it?.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://movieclips.com/RzJw-jurassic-park-3-movie-returning-the-raptor-eggs/100.18/159.98" ContentLicense="CC BY-SA 3.0" />
  <row Id="24158" PostHistoryTypeId="1" PostId="14647" RevisionGUID="18397590-b5b3-4f14-a1a8-5d983a6765d8" CreationDate="2012-07-15T12:00:20.510" UserId="6524" Text="How do would you create an &quot;imitation&quot; of a sound you've already created?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24159" PostHistoryTypeId="3" PostId="14647" RevisionGUID="18397590-b5b3-4f14-a1a8-5d983a6765d8" CreationDate="2012-07-15T12:00:20.510" UserId="6524" Text="&lt;designing&gt;&lt;sounds&gt;&lt;raptor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24160" PostHistoryTypeId="2" PostId="14648" RevisionGUID="b4bffe5e-057f-46e3-aa91-93fb0cc802cb" CreationDate="2012-07-15T12:49:09.793" UserId="3282" Text="I am curious about the process of making innovative sounds for synths (no matter hardware or software). &#xD;&#xA;I have been impressed recently by some factory presets from NI's Massive. **If some of you have insights, experience or ideas about it, please feel free to share.**" ContentLicense="CC BY-SA 3.0" />
  <row Id="24161" PostHistoryTypeId="1" PostId="14648" RevisionGUID="b4bffe5e-057f-46e3-aa91-93fb0cc802cb" CreationDate="2012-07-15T12:49:09.793" UserId="3282" Text="Where do synth presets makers find their inspirations ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24162" PostHistoryTypeId="3" PostId="14648" RevisionGUID="b4bffe5e-057f-46e3-aa91-93fb0cc802cb" CreationDate="2012-07-15T12:49:09.793" UserId="3282" Text="&lt;synthesis&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24163" PostHistoryTypeId="2" PostId="14649" RevisionGUID="2979dbdb-920c-4d51-ad46-665174fc56a8" CreationDate="2012-07-15T14:27:53.223" UserId="1049" Text="I'm pretty sure it'd just have been sound designed. I don't think there would be time and budget to spend on designing functioning props like that; it would essentially be like designing a musical instrument specifically for use in a couple of scenes!&#xD;&#xA;&#xD;&#xA;The design of the sound would probably have involved the use of some flute sounds, the lower parts from blowing across something like a drainpipe." ContentLicense="CC BY-SA 3.0" />
  <row Id="24164" PostHistoryTypeId="2" PostId="14650" RevisionGUID="6f26c823-01cf-46d8-890f-f273dfa5fd0d" CreationDate="2012-07-15T14:51:42.277" UserId="3179" Text="1 . Know how the synthesizer works and      how it sounds, know its limits -&gt;       Know how use it and adjust it towards    a certain idea from a certain start      point.&#xD;&#xA;&#xD;&#xA;2 . Have listened to different synth sounds to gain inspiration from them.    Have explored and reverse-engineered     settings of good presets to gain       knowledge about different &quot;tricks&quot;       and understanding of the relationship    of different synth components, maybe    in a particular synth.&#xD;&#xA;&#xD;&#xA;3a. Having an    idea of what to create (emulating a    known synth sound, creating a new    version of a known synth sound e.g.    wobble bass, creating a sound that    fits into a certain musical    style/genre or fills a purpose as an    instrument or sound e.g. bass, lead,    pad, fx). &#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;3b. Play around until    you hear something that gives you an    idea and go to 4. &#xD;&#xA;&#xD;&#xA;4a. During building    the first idea you may hear something    which evokes another idea which you    can add to your existing patch. Then    you take that direction or continue    doing what you originally intented.&#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;4b. You may try something    unintentionally (&quot;Lets see what    happens if I plug this here&quot;) which    evokes another idea, which you then    explore or try something else.&#xD;&#xA;&#xD;&#xA;5 . You go around this idea-or-experimentation -&gt;    implementation cycle until you have    something that you're happy with.&#xD;&#xA;&#xD;&#xA;The more complex the synth, the more variables there are and the more it's about knowing the synth inside out and going the experimental 3b/4b route until you hit something interesting, which you can build on. You can build rigorously, but if the synth is very complex it's too overwhelming to chase &quot;precise&quot; ideas and better to just &quot;go with the flow&quot;. Or you can always keep it simple.&#xD;&#xA;&#xD;&#xA;It doesn't really matter progress-wise what the synth's capabilities or sound sources are. You use a certain synth in a way that the synth is intended to use and for sounds that you know/think that it can do, you know its limits and how it works and can pick another synth if the synth you're using doesn't do what you'd need or like it to do. &#xD;&#xA;&#xD;&#xA;You can discern between chaotic/non-predictable/experimental ways of using synths and intentional/knowledge-based ways to use synths and use both methods." ContentLicense="CC BY-SA 3.0" />
  <row Id="24165" PostHistoryTypeId="5" PostId="14650" RevisionGUID="a20062a7-e5eb-48a0-a386-5f75be7a2b3f" CreationDate="2012-07-15T14:57:21.807" UserId="3179" Comment="added 25 characters in body; added 210 characters in body; added 2 characters in body; added 1 characters in body" Text="1 . Know how the synthesizer works and      how it sounds, know its limits -&gt;       Know how use it and adjust it towards    a certain idea from a certain start      point.&#xD;&#xA;&#xD;&#xA;2 . Have listened to different synth sounds to gain inspiration from them.    Have explored and reverse-engineered     settings of good presets to gain       knowledge about different &quot;tricks&quot;       and understanding of the relationship    of different synth components, maybe    in a particular synth.&#xD;&#xA;&#xD;&#xA;3a. Having an    idea of what to create (emulating a    known synth sound, creating a new    version of a known synth sound e.g.    wobble bass, creating a sound that    fits into a certain musical    style/genre or fills a purpose as an    instrument or sound e.g. bass, lead,    pad, fx). &#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;3b. Play around until    you hear something that gives you an    idea and go to 4. &#xD;&#xA;&#xD;&#xA;4a. During building    the first idea you may hear something    which evokes another idea which you    can add to your existing patch. Then    you take that direction or continue    doing what you originally intented.&#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;4b. You may try something    unintentionally (&quot;Lets see what    happens if I plug this here&quot;) which    evokes another idea, which you then    explore or try something else.&#xD;&#xA;&#xD;&#xA;5 . You go around this idea-or-experimentation -&gt;    implementation cycle until you have    something that you're happy with.&#xD;&#xA;&#xD;&#xA;AND: Particularly important if making presets for other to use: Know how people play or sequence the synth and that particular style of sound. Presets have to be playable and thus are made playability in mind.&#xD;&#xA;&#xD;&#xA;The more complex the synth, the more variables there are and the more it's about knowing the synth inside out and going the experimental 3b/4b route until you hit something interesting, which you can build on. You can build rigorously, but if the synth is very complex it's too overwhelming to chase &quot;precise&quot; ideas and better to just &quot;go with the flow&quot;. Or you can always keep it simple.&#xD;&#xA;&#xD;&#xA;It doesn't really matter progress-wise what the synth's capabilities or sound sources are. You use a certain synth in a way that the synth is intended to use and for sounds that you know/think that it can do, you know its limits reasonably well and you know how it works and can pick another synth if the synth you're using doesn't do what you'd need or like it to do. &#xD;&#xA;&#xD;&#xA;You can discern between chaotic/non-predictable/experimental ways of using synths and intentional/knowledge-based ways to use synths and use both methods." ContentLicense="CC BY-SA 3.0" />
  <row Id="24166" PostHistoryTypeId="5" PostId="14650" RevisionGUID="ab613cd1-1d0e-4fe5-b21f-f5d511236afc" CreationDate="2012-07-15T15:20:01.750" UserId="3179" Comment="added 17 characters in body; deleted 104 characters in body" Text="1 . Know how the synthesizer works and      how it sounds, know its limits -&gt;       Know how use it and adjust it towards    a certain idea from a certain start      point.&#xD;&#xA;&#xD;&#xA;2 . Have listened to different synth sounds to gain inspiration from them.    Have explored and reverse-engineered     settings of good presets to gain       knowledge about different &quot;tricks&quot;       and understanding of the relationship    of different synth components, maybe    in a particular synth.&#xD;&#xA;&#xD;&#xA;3a. Having an    idea or specification of what to create (emulating a    known synth sound, creating a new    version of a known synth sound e.g.    wobble bass, creating a sound that    fits into a certain musical    style/genre or fills a purpose as an    instrument or sound e.g. bass, lead,    pad, fx). &#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;3b. Play around until    you hear something that gives you an    idea and go to 4. &#xD;&#xA;&#xD;&#xA;4a. During building    the first idea you may hear something    which evokes another idea which you    can add to your existing patch. Then    you take that direction or continue    doing what you originally intented.&#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;4b. You may try something    unintentionally (&quot;Lets see what    happens if I plug this here&quot;) which    evokes another idea, which you then    explore or try something else.&#xD;&#xA;&#xD;&#xA;5 . You go around this idea-or-experimentation -&gt;    implementation cycle until you have    something that you're happy with.&#xD;&#xA;&#xD;&#xA;AND: Particularly important if making presets for other to use: Know how people play or sequence the synth and that particular style of sound. Presets have to be playable and thus are made playability in mind.&#xD;&#xA;&#xD;&#xA;The more complex the synth, the more variables there are and the more it's about knowing the synth well and going the experimental 3b/4b route until you hit something interesting, which you can build on. You can build rigorously, but if the synth is very complex it's too overwhelming to chase &quot;precise&quot; ideas and better to just &quot;go with the flow&quot;. Or you can always keep it simple.&#xD;&#xA;&#xD;&#xA;It doesn't really matter progress-wise what the synth's capabilities or sound sources are. You use a certain synth in a way that the synth is intended to use and for sounds that you know/think that it can do, you know its limits reasonably well and you know how it works.&#xD;&#xA;&#xD;&#xA;You can discern between chaotic/non-predictable/experimental ways of using synths and intentional/knowledge-based ways to use synths and use both methods." ContentLicense="CC BY-SA 3.0" />
  <row Id="24167" PostHistoryTypeId="5" PostId="14650" RevisionGUID="a81ac9b2-5471-471c-99c9-9c991b2b1c78" CreationDate="2012-07-15T17:33:56.777" UserId="3179" Comment="added 3 characters in body; deleted 9 characters in body; added 10 characters in body" Text="1 . Knowing how the synthesizer works and      how it sounds, know its limits -&gt;       Know how to use it and adjust it towards    a certain idea from a certain start      point.&#xD;&#xA;&#xD;&#xA;2 . Having listened to different synth sounds to gain inspiration from them.    Having explored and reverse-engineered     settings of good presets to gain       knowledge about different &quot;tricks&quot;       and understanding of the relationship    of different synth components, maybe    in a particular synth.&#xD;&#xA;&#xD;&#xA;3a. Having an    idea or specification of what to create (emulating a    known synth sound, creating a new    version of a known synth sound e.g.    wobble bass, creating a sound that    fits into a certain musical    style/genre or fills a purpose as an    instrument or sound e.g. bass, lead,    pad, fx). &#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;3b. Play around until    you hear something that gives you an    idea and go to 4. &#xD;&#xA;&#xD;&#xA;4a. During building    the first idea you may hear something    which evokes another idea which you    can add to your existing patch. Then    you take that direction or continue    doing what you originally intented.&#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;4b. Trying something    unintentionally (&quot;Lets see what    happens if I plug this here&quot;) which    evokes another idea, which you then    explore or try something else.&#xD;&#xA;&#xD;&#xA;5 . Going around this idea-or-experimentation -&gt;    implementation cycle until you have    something that you're happy with.&#xD;&#xA;&#xD;&#xA;AND: Particularly important if making presets for other to use: Knowing how people play or sequence the synth and that particular style of sound. Presets have to be playable and thus are made playability in mind.&#xD;&#xA;&#xD;&#xA;The more complex the synth, the more variables there are and the more it's about knowing the synth well and going the experimental 3b/4b route until you hit something interesting, which you can build on. You can build rigorously, but if the synth is very complex it's too overwhelming to chase &quot;precise&quot; ideas and better to just &quot;go with the flow&quot;. Or you can always keep it simple.&#xD;&#xA;&#xD;&#xA;It doesn't really matter progress-wise what the synth's capabilities or sound sources are. You use a certain synth in a way that the synth is intended to use and for sounds that you know/think that it can do, you know its limits reasonably well and you know how it works.&#xD;&#xA;&#xD;&#xA;Discerning between chaotic/non-predictable/experimental ways of using synths and intentional/knowledge-based ways to use synths and using both methods." ContentLicense="CC BY-SA 3.0" />
  <row Id="24168" PostHistoryTypeId="5" PostId="14650" RevisionGUID="100df8a4-fc51-41ba-96f1-565a1b401f1d" CreationDate="2012-07-15T17:39:06.180" UserId="3179" Comment="added 6 characters in body" Text="1 . Knowing how the synthesizer works and      how it sounds, knowing its limits -&gt;       Knowing how to use it and adjust it towards    a certain idea from a certain start      point.&#xD;&#xA;&#xD;&#xA;2 . Having listened to different synth sounds to gain inspiration from them.    Having explored and reverse-engineered     settings of good presets to gain       knowledge about different &quot;tricks&quot;       and understanding of the relationship    of different synth components, maybe    in a particular synth.&#xD;&#xA;&#xD;&#xA;3a. Having an    idea or specification of what to create (emulating a    known synth sound, creating a new    version of a known synth sound e.g.    wobble bass, creating a sound that    fits into a certain musical    style/genre or fills a purpose as an    instrument or sound e.g. bass, lead,    pad, fx). &#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;3b. Play around until    you hear something that gives you an    idea and go to 4. &#xD;&#xA;&#xD;&#xA;4a. During building    the first idea you may hear something    which evokes another idea which you    can add to your existing patch. Then    you take that direction or continue    doing what you originally intented.&#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;4b. Trying something    unintentionally (&quot;Lets see what    happens if I plug this here&quot;) which    evokes another idea, which you then    explore or try something else.&#xD;&#xA;&#xD;&#xA;5 . Going around this idea-or-experimentation -&gt;    implementation cycle until you have    something that you're happy with.&#xD;&#xA;&#xD;&#xA;AND: Particularly important if making presets for other to use: Knowing how people play or sequence the synth and that particular style of sound. Presets have to be playable and thus are made playability in mind.&#xD;&#xA;&#xD;&#xA;The more complex the synth, the more variables there are and the more it's about knowing the synth well and going the experimental 3b/4b route until you hit something interesting, which you can build on. You can build rigorously, but if the synth is very complex it's too overwhelming to chase &quot;precise&quot; ideas and better to just &quot;go with the flow&quot;. Or you can always keep it simple.&#xD;&#xA;&#xD;&#xA;It doesn't really matter progress-wise what the synth's capabilities or sound sources are. You use a certain synth in a way that the synth is intended to use and for sounds that you know/think that it can do, you know its limits reasonably well and you know how it works.&#xD;&#xA;&#xD;&#xA;Discerning between chaotic/non-predictable/experimental ways of using synths and intentional/knowledge-based ways to use synths and using both methods." ContentLicense="CC BY-SA 3.0" />
  <row Id="24169" PostHistoryTypeId="5" PostId="14650" RevisionGUID="8017b204-d71e-4479-b7f1-8002366fe955" CreationDate="2012-07-15T17:45:40.850" UserId="3179" Comment="added 22 characters in body" Text="1 . Knowing how the synthesizer works and      how it sounds, knowing its limits -&gt;       Knowing how to use it and adjust it towards    a certain idea from a certain start      point.&#xD;&#xA;&#xD;&#xA;2 . Having listened to different synth sounds to gain inspiration from them.    Having explored and reverse-engineered     settings of good presets to gain       knowledge about different &quot;tricks&quot;       and understanding of the relationship    of different synth components and values/parameters, maybe    in a particular synth.&#xD;&#xA;&#xD;&#xA;3a. Having an    idea or specification of what to create (emulating a    known synth sound, creating a new    version of a known synth sound e.g.    wobble bass, creating a sound that    fits into a certain musical    style/genre or fills a purpose as an    instrument or sound e.g. bass, lead,    pad, fx). &#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;3b. Play around until    you hear something that gives you an    idea and go to 4. &#xD;&#xA;&#xD;&#xA;4a. During building    the first idea you may hear something    which evokes another idea which you    can add to your existing patch. Then    you take that direction or continue    doing what you originally intented.&#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;4b. Trying something    unintentionally (&quot;Lets see what    happens if I plug this here&quot;) which    evokes another idea, which you then    explore or try something else.&#xD;&#xA;&#xD;&#xA;5 . Going around this idea-or-experimentation -&gt;    implementation cycle until you have    something that you're happy with.&#xD;&#xA;&#xD;&#xA;AND: Particularly important if making presets for other to use: Knowing how people play or sequence the synth and that particular style of sound. Presets have to be playable and thus are made playability in mind.&#xD;&#xA;&#xD;&#xA;The more complex the synth, the more variables there are and the more it's about knowing the synth well and going the experimental 3b/4b route until you hit something interesting, which you can build on. You can build rigorously, but if the synth is very complex it's too overwhelming to chase &quot;precise&quot; ideas and better to just &quot;go with the flow&quot;. Or you can always keep it simple.&#xD;&#xA;&#xD;&#xA;It doesn't really matter progress-wise what the synth's capabilities or sound sources are. You use a certain synth in a way that the synth is intended to use and for sounds that you know/think that it can do, you know its limits reasonably well and you know how it works.&#xD;&#xA;&#xD;&#xA;Discerning between chaotic/non-predictable/experimental ways of using synths and intentional/knowledge-based ways to use synths and using both methods." ContentLicense="CC BY-SA 3.0" />
  <row Id="24170" PostHistoryTypeId="2" PostId="14651" RevisionGUID="1cff5eab-fd0b-410a-8b2e-28fd64c6ea9c" CreationDate="2012-07-15T20:50:15.767" UserId="2186" Text="Old Disney cartoons used a lot of [purpose built machines][1] for sound effects, but that is as far as I know very rare now.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=8A6z8QkVHk4" ContentLicense="CC BY-SA 3.0" />
  <row Id="24171" PostHistoryTypeId="5" PostId="14650" RevisionGUID="35e43ac3-3cbd-4548-a63b-401d5b33c9fb" CreationDate="2012-07-15T21:10:32.790" UserId="3179" Comment="added 26 characters in body" Text="1 . Knowing how the synthesizer works and      how it sounds, knowing its limits -&gt;       Knowing how to use it and adjust it towards    a certain idea from a certain start      point.&#xD;&#xA;&#xD;&#xA;2 . Having listened to different synth sounds to gain inspiration from them.    Having explored and reverse-engineered     settings of good presets to gain       knowledge about different &quot;tricks&quot;       and understanding of the relationship    of different synth components and values/parameters, maybe    in a particular synth.&#xD;&#xA;&#xD;&#xA;3a. Having an    idea or specification of what to create (emulating a    known synth sound, creating a new    version of a known synth sound e.g.    wobble bass, creating a sound that    fits into a certain musical    style/genre or fills a purpose as an    instrument or sound e.g. bass, lead,    pad, fx). &#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;3b. Play around until    you hear something that gives you an    idea and go to 4. &#xD;&#xA;&#xD;&#xA;4a. During building    the first idea you may hear something    which evokes another idea which you    can add to your existing patch. Then    you take that direction or continue    doing what you originally intented.&#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;4b. Trying something    unintentionally (&quot;Lets see what    happens if I plug this here / change this value here&quot;) which    evokes another idea, which you then    explore or try something else.&#xD;&#xA;&#xD;&#xA;5 . Going around this idea-or-experimentation -&gt;    implementation cycle until you have    something that you're happy with.&#xD;&#xA;&#xD;&#xA;AND: Particularly important if making presets for others to use: Knowing how people play or sequence the synth and that particular style of sound. Presets have to be playable and thus are made playability in mind.&#xD;&#xA;&#xD;&#xA;The more complex the synth, the more variables there are and the more it's about knowing the synth well and going the experimental 3b/4b route until you hit something interesting, which you can build on. You can build rigorously, but if the synth is very complex it's too overwhelming to chase &quot;precise&quot; ideas and better to just &quot;go with the flow&quot;. Or you can always keep it simple.&#xD;&#xA;&#xD;&#xA;It doesn't really matter progress-wise what the synth's capabilities or sound sources are. You use a certain synth in a way that the synth is intended to use and for sounds that you know/think that it can do, you know its limits reasonably well and you know how it works.&#xD;&#xA;&#xD;&#xA;Discerning between chaotic/non-predictable/experimental ways of using synths and intentional/knowledge-based ways to use synths and using both methods." ContentLicense="CC BY-SA 3.0" />
  <row Id="24172" PostHistoryTypeId="2" PostId="14652" RevisionGUID="b8dad2e2-4aa9-4750-bed5-c0751bffc576" CreationDate="2012-07-16T00:39:34.457" UserDisplayName="user49" Text="If its flute related, I had a bit of experience when working on The Warriors Way of needing the sound of the last air exiting a neck wound after someone was killed by a Samurai - the script referred to it as a 'sad flute'&#xD;&#xA;I experimented with a lot of ideas but got the best results by hiring a local guy who is a genius with all sorts of wind instruments. He has a massive collection from many different culture but also is very skilled at various playing techniques (overblowing to create harmonics etc) &#xD;&#xA;http://en.wikipedia.org/wiki/Overblowing&#xD;&#xA;&#xD;&#xA;Myself and the director got him to try all sorts of musical &amp; non-musical/atonal phrases that I then messed with..  For my use I also filled a few ocarina and bamboo flutes with water and yoghurt, and captured elements to simulate lungs filling with blood etc...&#xD;&#xA;&#xD;&#xA;fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24173" PostHistoryTypeId="2" PostId="14653" RevisionGUID="8508c303-1ac0-4061-948d-abd8c76cc117" CreationDate="2012-07-16T08:36:37.983" UserId="842" Text="I can't say for sure what it originally was that made that sound, but it wasn't from the prop. Like Tim mentioned, it might very well be some kind of flute, very possibly a Chinese or Japanese flute played by someone truly brilliant. My guess is the Shakuhachi.&#xD;&#xA;&#xD;&#xA;It does sound very bamboo:ey." ContentLicense="CC BY-SA 3.0" />
  <row Id="24174" PostHistoryTypeId="2" PostId="14654" RevisionGUID="60aa8fbb-de64-45f2-8b64-73d5340fc63f" CreationDate="2012-07-16T09:26:07.757" UserId="6432" Text="If you've not seen it, this panel discussion at Moogfest might be of interest - Eric Persing, Diego Stocco, Richard Devine and Scott Gershin.&#xD;&#xA;&#xD;&#xA;[youtube]lMjaGA9zo_o[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;and the link:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=lMjaGA9zo_o&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24175" PostHistoryTypeId="5" PostId="14650" RevisionGUID="da9ea80f-fbba-450f-b735-f97d2ac6d687" CreationDate="2012-07-16T11:33:15.453" UserId="3179" Comment="added 4 characters in body" Text="1 . Knowing how the synthesizer works and      how it sounds, knowing its limits -&gt;       Knowing how to use it and adjust it towards    a certain idea from a certain start      point.&#xD;&#xA;&#xD;&#xA;2 . Having listened to different synth sounds to gain inspiration from them.    Having explored and reverse-engineered     settings of good presets to gain       knowledge about different &quot;tricks&quot;       and understanding of the relationship    of different synth components and values/parameters, maybe    in a particular synth.&#xD;&#xA;&#xD;&#xA;3a. Having an    idea or specification of what to create (emulating a    known synth sound, creating a new    version of a known synth sound e.g.    wobble bass, creating a sound that    fits into a certain musical    style/genre or fills a purpose as an    instrument or sound e.g. bass, lead,    pad, fx). &#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;3b. Play around until    you hear something that gives you an    idea and go to 4. &#xD;&#xA;&#xD;&#xA;4a. During building    the first idea you may hear something    which evokes another idea which you    can add to your existing patch. Then    you take that direction or continue    doing what you originally intented.&#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA;4b. Trying something    unintentionally (&quot;Lets see what    happens if I plug this here / change this value here&quot;) which    evokes another idea, which you then    explore or try something else.&#xD;&#xA;&#xD;&#xA;5 . Going around this idea-or-experimentation -&gt;    implementation cycle until you have    something that you're happy with.&#xD;&#xA;&#xD;&#xA;AND: Particularly important if making presets for others to use: Knowing how people play or sequence the synth and that particular style of sound. Presets have to be playable and thus are made playability in mind.&#xD;&#xA;&#xD;&#xA;The more complex the synth, the more variables there are and the more it's about knowing the synth well and going the experimental 3b/4b route until you hit something interesting, which you can build on. You can build rigorously, but if the synth is very complex it's too overwhelming to chase &quot;precise&quot; ideas and better to just &quot;go with the flow&quot;. Or you can always keep it simple.&#xD;&#xA;&#xD;&#xA;It doesn't really matter progress-wise what the synth's capabilities or sound sources are. You use a certain synth in a way that the synth is intended to be used and for sounds that you know/think that it can do, you know its limits reasonably well and you know how it works.&#xD;&#xA;&#xD;&#xA;Discerning between chaotic/non-predictable/experimental ways of using synths and intentional/knowledge-based ways to use synths and using both methods." ContentLicense="CC BY-SA 3.0" />
  <row Id="24176" PostHistoryTypeId="2" PostId="14655" RevisionGUID="b8cb1a58-b100-415a-9fa5-80cc70d934ee" CreationDate="2012-07-16T11:35:39.577" UserId="4066" Text="Looking to get DAW's, plugins, synth packages, midi keyboards, and maybe sound libraries.&#xD;&#xA;&#xD;&#xA;Please recommend your favourites.&#xD;&#xA;&#xD;&#xA;Much obliged." ContentLicense="CC BY-SA 3.0" />
  <row Id="24177" PostHistoryTypeId="1" PostId="14655" RevisionGUID="b8cb1a58-b100-415a-9fa5-80cc70d934ee" CreationDate="2012-07-16T11:35:39.577" UserId="4066" Text="best online place to buy DAW's and plugins for the uk?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24178" PostHistoryTypeId="3" PostId="14655" RevisionGUID="b8cb1a58-b100-415a-9fa5-80cc70d934ee" CreationDate="2012-07-16T11:35:39.577" UserId="4066" Text="&lt;online&gt;&lt;purchase-advice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24179" PostHistoryTypeId="2" PostId="14656" RevisionGUID="7fe4d8a7-426d-49f7-ad4d-766183837e2f" CreationDate="2012-07-16T15:46:58.480" UserId="1049" Text="I bought Pro Tools from [morecomputers.com][1] for a very good price, cheaper than any music specialist etc I could find and they had it in stock where everywhere else had waits for stock to come in. I even paid for 3-5 day delivery, but got it next day! Very impressed with their service, was even better than highly respected stores like GAK and Andertons.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.morecomputers.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="24180" PostHistoryTypeId="5" PostId="14656" RevisionGUID="891a9874-26e3-4184-affe-0f7f662045db" CreationDate="2012-07-16T15:52:23.470" UserId="1049" Comment="added 85 characters in body" Text="I bought Pro Tools from [morecomputers.com][1] for a very good price, cheaper than any music specialist etc I could find and they had it in stock where everywhere else had waits for stock to come in. I even paid for 3-5 day delivery, but got it next day! Very impressed with their service, was even better than highly respected stores like GAK and Andertons.&#xD;&#xA;&#xD;&#xA;EDIT: Forgot to say, I bought Pro Tools 9 + MBox, with free Pro Tools 10 Upgrade.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.morecomputers.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="24181" PostHistoryTypeId="5" PostId="14645" RevisionGUID="930908d4-996d-40c9-b6c9-96b9a51c3846" CreationDate="2012-07-16T16:29:00.497" UserId="6411" Comment="spelling" Text="I was going to post this as an answer to any of the multiple [ergonomics-based][1] questions, but I'll just add to the pile.&#xD;&#xA;&#xD;&#xA;Have you seen this yet? &#xD;&#xA;&#xD;&#xA;[youtube]_d6KuiuteIA[/youtube]&#xD;&#xA;&#xD;&#xA;Your Minority Report future is available for [pre-order][2] for $69.99 USD + shipping. But hold on.&#xD;&#xA;&#xD;&#xA;It seems that it's not as straightforward as tossing your mouse out the window and flailing at the screen. On their forum, they're asking people [which software programs should be optimized for LEAP][3]. I've tossed in my +1 for Pro Tools. But maybe you use Nuendo, or Live, or Logic. So go register and suggest how you think this could be an awesome input device / ergonomic blessing for audio.&#xD;&#xA;&#xD;&#xA;I just keep envisioning vertical faders (like a conductor), 5.1 panning (twirl a finger), cutting, fading, knob turns... &#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/search?q=ergonomics&#xD;&#xA;  [2]: https://live.leapmotion.com/order.html&#xD;&#xA;  [3]: https://live.leapmotion.com/forums/showthread.php?131-Leap-Optimized-Software-Suggestions" ContentLicense="CC BY-SA 3.0" />
  <row Id="24182" PostHistoryTypeId="2" PostId="14657" RevisionGUID="6e652b7c-1bbb-40ce-9688-e4057cda3bdf" CreationDate="2012-07-16T17:06:23.500" UserId="4067" Text="Hey guys i also had trouble with bass recording being barely audible with cakewalk guitar tracks pro,i fix this by switching all software eq sliders to high shelf then adjusting the eq as needed it makes a world of difference." ContentLicense="CC BY-SA 3.0" />
  <row Id="24183" PostHistoryTypeId="16" PostId="14657" RevisionGUID="6e652b7c-1bbb-40ce-9688-e4057cda3bdf" CreationDate="2012-07-16T17:06:23.500" UserId="4067" />
  <row Id="24184" PostHistoryTypeId="2" PostId="14658" RevisionGUID="58dfbcfe-4b2e-4df4-a617-b8885f14d7c3" CreationDate="2012-07-17T01:08:21.923" UserId="3894" Text="I've been having a weird problem with my Sound Devices 702. It's less than a month old. Basically, the Compact Flash card I use (Kingston CF 8GB 133X) mounts very inconsistently. When I first got the 702, I never had any problems. Plugged it in, and it appeared in my finder. Now, I have to try at least 10 times before the card mounts. &#xD;&#xA;&#xD;&#xA;I'm running the 702 via the Firewire 400 through a 400 to 800 cable into my Mac Pro's Firewire 800 connection. At first I thought that it might be a Lion issue and reinstalled to no avail. I've tried all four FW 800 ports on the Mac Pro with no success. I've made sure that other Firewire devices mount, and they do with no problem. &#xD;&#xA;&#xD;&#xA;Could this be a problem with my 702? The device recognizes the connection and goes into the proper mode, as indicated by the 702's screen. But it doesn't mount. It does show up in Disk Utility, but I can't run any operations. Basically, the 702 gets stuck in the Firewire connection mode, and I have to physically disconnect the power to try again.&#xD;&#xA;&#xD;&#xA;I ordered a CF card reader, which will hopefully help. But I'd still like to see if anyone has any ideas in the meantime, as I can't access any of my recordings. Perhaps at this point I should contact Sound Devices support? " ContentLicense="CC BY-SA 3.0" />
  <row Id="24185" PostHistoryTypeId="1" PostId="14658" RevisionGUID="58dfbcfe-4b2e-4df4-a617-b8885f14d7c3" CreationDate="2012-07-17T01:08:21.923" UserId="3894" Text="Problem with Mounting Compact Flash from Sound Devices 702 to OS X" ContentLicense="CC BY-SA 3.0" />
  <row Id="24186" PostHistoryTypeId="3" PostId="14658" RevisionGUID="58dfbcfe-4b2e-4df4-a617-b8885f14d7c3" CreationDate="2012-07-17T01:08:21.923" UserId="3894" Text="&lt;702&gt;&lt;compact-flash-cards&gt;&lt;osx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24187" PostHistoryTypeId="2" PostId="14659" RevisionGUID="9f9e315c-f718-42a6-a524-38c8860c90ea" CreationDate="2012-07-17T02:33:32.907" UserId="1228" Text="My first recommendation is to check the firmware version and if you need to update or of this is a known issue with the firmware version you're on.  SD does a lot of firmware updates (especially for the 788), not only fixing known issues and bugs but also adding/improving features.  That would be my first recommendation.  I believe there was a firewire transfer issue that they addressed recently - not entire sure, but I remember something about a connection/transfer issue being addressed.&#xD;&#xA;&#xD;&#xA;Have you done everything to rule out where the problem actually is is?  As individually, testing the unit, the CF card, the CF card internal connection, the port on the unit, the cable itself (and subsequently, individually ruling out any interconnect cables such as 400&gt;800 if you're using one), the port on the system, and the system itself.  The way to do this is not testing multiple things at once (such as, trying a new port and switching out the cable), but individually testing each part of the equation to rule out what it's NOT, that will help drill down on what it IS or COULD BE.  It sounds like you've ruled out the OS, and the unit logic board (at least, the software on the unit detecting some sort of connection is present).  But I believe there are a lot of other physical tests/swap outs to try to further rule out what the source is." ContentLicense="CC BY-SA 3.0" />
  <row Id="24188" PostHistoryTypeId="5" PostId="14659" RevisionGUID="04fc937b-4473-46f5-8253-0f3c2a40a240" CreationDate="2012-07-17T02:39:25.147" UserId="1228" Comment="added 609 characters in body; added 173 characters in body; edited body" Text="My first recommendation is to check the firmware version and if you need to update or of this is a known issue with the firmware version you're on.  SD does a lot of firmware updates (especially for the 788), not only fixing known issues and bugs but also adding/improving features.  That would be my first recommendation.  I believe there was a firewire transfer issue that they addressed recently - not entire sure, but I remember something about a connection/transfer issue being addressed.&#xD;&#xA;&#xD;&#xA;My second guess is it could be a bad cable - I've seen bad cables wreck all sorts of havoc.  And the cable itself was in top-shape.&#xD;&#xA;&#xD;&#xA;Have you done everything to rule out where the problem actually is?  As in individually, testing the unit, the CF card, the CF card internal connection, the port on the unit, the cable itself (and subsequently, individually ruling out any interconnect cables such as 400&gt;800 if you're using one), the port on the system, and the system itself.  The way to do this is not testing multiple things at once (such as, trying a new port and switching out the cable), but individually testing each part of the equation to rule out what it's NOT, that will help drill down on what it IS or COULD BE.  It sounds like you've ruled out the OS, and the unit logic board (at least, the software on the unit detecting some sort of connection is present), and possibly the ports on the system.  But I believe there are a lot of other physical tests/swap outs to try to further rule out what the source is.&#xD;&#xA;&#xD;&#xA;That may allow us to assist you in figuring out the problem.  Unfortunately what's been presented now is too broad, in the vain of saying you've just BSOD'd or kernel panic'd, but haven't provided details about the context or what it kicked back - again, not saying it to be rude, just that what you've presented may be too broad - and likely calling SD, they'd ask if you've thoroughly vetted everything I mentioned above.&#xD;&#xA;&#xD;&#xA;I'd personally recommend doing some more hands on troubleshooting to determine a more conclusive status as to what it is not and/or could be and please let us know.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24189" PostHistoryTypeId="6" PostId="14658" RevisionGUID="0c07b01f-4d55-4653-a065-9a75eb0a1d12" CreationDate="2012-07-17T02:44:54.743" UserId="1228" Comment="Improved indexing tags" Text="&lt;702&gt;&lt;compact-flash-cards&gt;&lt;osx&gt;&lt;sound-devices&gt;&lt;transfer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24190" PostHistoryTypeId="5" PostId="13089" RevisionGUID="87104bf2-1df9-425c-8396-c4d465e7e9ce" CreationDate="2012-07-17T08:31:03.700" UserId="6524" Comment="added 69 characters in body; added 77 characters in body" Text="If you can wait for a while Ric Viers' nearly done with his new book which is unofficially titled &quot;[The Location Sound Bible][1]&quot; which is supposed to cover sound mixing and stuff.&#xD;&#xA;&#xD;&#xA;[Update] Release date is now the 1st of September, looking forward to it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/dp/1615931201/ref=rdr_ext_tmb" ContentLicense="CC BY-SA 3.0" />
  <row Id="24191" PostHistoryTypeId="2" PostId="14660" RevisionGUID="445692ed-4222-4f0c-8cb9-c86d4ca0378e" CreationDate="2012-07-17T09:21:46.563" UserId="261" Text="Hey Everyone,&#xD;&#xA;&#xD;&#xA;A while back I was on a shoot in a bullet factory, and had a bit of time between setups to run around in the production facility to record some of their machines...&#xD;&#xA;I gave no idea what the machines are called, but the make some awesome sounds.&#xD;&#xA;I used a Sennheiser 416 going through a Sound Devices 302 and into a Sound Devices 744T.&#xD;&#xA;I trimmed the heads and tails of the clips, but otherwise performed no mastering or post of any kind.&#xD;&#xA;&#xD;&#xA;[Get it here][1]&#xD;&#xA;&#xD;&#xA;Enjoy, have fun.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/kurt_human/sets/machines-in-a-bullet-factory" ContentLicense="CC BY-SA 3.0" />
  <row Id="24192" PostHistoryTypeId="1" PostId="14660" RevisionGUID="445692ed-4222-4f0c-8cb9-c86d4ca0378e" CreationDate="2012-07-17T09:21:46.563" UserId="261" Text="Sounds for your downloading pleasure - &quot;Machines in a Bullet Factory&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24193" PostHistoryTypeId="3" PostId="14660" RevisionGUID="445692ed-4222-4f0c-8cb9-c86d4ca0378e" CreationDate="2012-07-17T09:21:46.563" UserId="261" Text="&lt;sound-effects-recording&gt;&lt;field-recording&gt;&lt;download&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24194" PostHistoryTypeId="2" PostId="14661" RevisionGUID="b63f7998-6a5a-4a12-b685-e56893353b8b" CreationDate="2012-07-17T10:13:42.227" UserId="3933" Text="dv247.com does the job but can sometimes be annoying, for example on of my friends bought Pro Tools 9 (around the time 10 was announced) and they wouldn't ship it because they ran out of copies (the site said they were still in stock) and instead of ordering the &quot;last&quot; batch of Pro Tools 9 software from Avid, or whoever ships them they said they were waiting until Pro Tools 10 started to ship. Which was around a month away. It was also delayed further because they ran out of that first batch before it came to my friends order so they had to wait around another two weeks.&#xD;&#xA;&#xD;&#xA;Other than that one time all my friends have had a great service with them and have had no complaints. I personally haven't shopped there so I can't have a say in it, just passing on an experience I know of.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I live close to a physical music specialist shop, Soundslive. So I don't tend to buy much online but there online store soundslive.co.uk is run by the same guys not some other company. I have had great service from them, they know their audio gear. I don't know about delivery times and such but they are based in the north east so you lot down south may get longer delivery times.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Plugins wise I usually just go straight to the source." ContentLicense="CC BY-SA 3.0" />
  <row Id="24195" PostHistoryTypeId="2" PostId="14662" RevisionGUID="82264da5-4746-428c-9e53-ae97be85f03b" CreationDate="2012-07-17T10:29:53.720" UserId="3285" Text="For plugins audiodeluxe I suggest you Audiodeluxe.com, when you create an account (free) you get a lot of special offers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24196" PostHistoryTypeId="2" PostId="14663" RevisionGUID="b1bd352c-641e-4b40-9cd9-e33b5399bc72" CreationDate="2012-07-17T10:31:54.677" UserId="3282" Text="I just found this too : &#xD;&#xA;&#xD;&#xA;http://www.innovativesynthesis.com/10-tips-for-creative-patch-programming-part-1/&#xD;&#xA;&#xD;&#xA;http://www.innovativesynthesis.com/10-tips-for-creative-patch-programming-part-2/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24197" PostHistoryTypeId="5" PostId="14654" RevisionGUID="7e209e85-3ad9-4d13-a816-7458a3f2a690" CreationDate="2012-07-17T14:47:59.967" UserId="6432" Comment="added 725 characters in body; added 1 characters in body; deleted 3 characters in body; added 110 characters in body" Text="If you've not seen it, this panel discussion at Moogfest might be of interest - Eric Persing, Diego Stocco, Richard Devine and Scott Gershin.&#xD;&#xA;&#xD;&#xA;[youtube]lMjaGA9zo_o[/youtube]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;and the link:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=lMjaGA9zo_o&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;Another thought. I also watched this program about Curtis Roads the other day. He's basically the father of granular synthesis if you've not heard of him before. He talks a bit about his composition strategies, but as his main tool is the granular process it's really about how he programs his synths. There's a great bit where he likens composing to landscape gardening. This really got me thinking that isn't it the stuff we learn around our chosen field which can sometimes inspire us the most creatively? - even in a field so technologically deterministic as music from pure synthesis.&#xD;&#xA;&#xD;&#xA;Pt 1&#xD;&#xA;&#xD;&#xA;[youtube]ajdRGF5NHIs[/youtube]&#xD;&#xA;&#xD;&#xA;Parts 2 &amp; 3 here&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=_ehu8u_JTjw&#xD;&#xA;&#xD;&#xA;http://youtu.be/ul4y_e3TLyk&#xD;&#xA;&#xD;&#xA;Can't get them to embed for some reason?? Feel free to edit them in if you know how.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24198" PostHistoryTypeId="2" PostId="14664" RevisionGUID="c35bdb6e-a88c-4721-bcf0-5d5dab023e17" CreationDate="2012-07-17T17:00:19.560" UserId="4070" Text="I am cutting a Car Chase scene for a student, spec commercial.  All of the libraries I look at only have SFX for doors and car drive bys, etc.  There wasn't a budget for on set recording/ or wild sounds, so I need to know where to find sounds of cars driving, from inside the car, driving with the car, etc.  Can anyone recommend a library that has these types of sounds?&#xD;&#xA;&#xD;&#xA;The edit is complete and now I need to sound design the whole thing from scratch.  It's only 15 seconds of material.&#xD;&#xA;&#xD;&#xA;The car is an Audi R8." ContentLicense="CC BY-SA 3.0" />
  <row Id="24199" PostHistoryTypeId="1" PostId="14664" RevisionGUID="c35bdb6e-a88c-4721-bcf0-5d5dab023e17" CreationDate="2012-07-17T17:00:19.560" UserId="4070" Text="Car Chase SFX Library Recommendation" ContentLicense="CC BY-SA 3.0" />
  <row Id="24200" PostHistoryTypeId="3" PostId="14664" RevisionGUID="c35bdb6e-a88c-4721-bcf0-5d5dab023e17" CreationDate="2012-07-17T17:00:19.560" UserId="4070" Text="&lt;car&gt;&lt;chase&gt;&lt;library&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24201" PostHistoryTypeId="2" PostId="14665" RevisionGUID="2c33d1f8-007e-48bd-8307-25fd92baed82" CreationDate="2012-07-17T17:35:46.747" UserId="1294" Text="Hello Everybody,&#xD;&#xA;&#xD;&#xA;Ive been wondering for many days to create monster voices with emotion. So the idea is to get emotion in voices like in the movie WALL-E, but they are robotic. &#xD;&#xA;&#xD;&#xA;So are there any ideas to create emotions such as Sadness/happiness/surprises etc... for monsters such as Dragons, dinosaurs or any fantasy creature/monster (not anger &amp; attack growl etc...as its kinda easy &amp; its available in many SFX libraries also).&#xD;&#xA;&#xD;&#xA;Kindly share your ideas regarding this, it would much appreciated.&#xD;&#xA;&#xD;&#xA;Best Regards,&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="24202" PostHistoryTypeId="1" PostId="14665" RevisionGUID="2c33d1f8-007e-48bd-8307-25fd92baed82" CreationDate="2012-07-17T17:35:46.747" UserId="1294" Text="Emotional Monster Voices" ContentLicense="CC BY-SA 3.0" />
  <row Id="24203" PostHistoryTypeId="3" PostId="14665" RevisionGUID="2c33d1f8-007e-48bd-8307-25fd92baed82" CreationDate="2012-07-17T17:35:46.747" UserId="1294" Text="&lt;voices&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24204" PostHistoryTypeId="2" PostId="14666" RevisionGUID="18ae7064-cb4d-48df-a776-7f9c1238825c" CreationDate="2012-07-17T17:51:11.730" UserId="208" Text="On sale right now. 50% off . No audis though.&#xD;&#xA;http://sounddogs.com/sound-effects-library/2744.htm&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24205" PostHistoryTypeId="2" PostId="14667" RevisionGUID="78c61b41-8993-4c38-9910-0757f38c45d2" CreationDate="2012-07-17T18:02:35.100" UserId="1228" Text="Try Boom Library's car set - has a workup of an Audi A3 an a V6 Audi A5 TDI.  While the onboard recordings are not very long like those in Soundstorm or 5000 series, they're nice a clean.  The source material should be more than enough to get the job done.  There's some other good gems in there too (like the BMW 116i car doors).&#xD;&#xA;&#xD;&#xA;Also, as mentioned on here, don't be too married to the exact car.  The fact this set has two Audis though should get you 'close enough' in my opinion even though you're not using the exact R8 engine." ContentLicense="CC BY-SA 3.0" />
  <row Id="24206" PostHistoryTypeId="2" PostId="14668" RevisionGUID="b5f39873-8fbf-4491-8d28-d3878a7dff7a" CreationDate="2012-07-17T18:10:35.407" UserId="3776" Text="I got a reply from Rycote yesterday. They say &#xD;&#xA;&#xD;&#xA;&quot;We are just about to introduce a stereo Connbox with two detachable MZL, 130 mm tails. The product code &amp; price is listed below.&#xD;&#xA;&#xD;&#xA;Description:		Connbox Stereo MZL&#xD;&#xA;Part No:			016926&#xD;&#xA;Retail Price:		199.79 GBP exc. VAT&#xD;&#xA;&#xD;&#xA;This Connbox will be a special order item, with a 2 week lead time.&quot; &#xD;&#xA;&#xD;&#xA;Hope this will be helpful for atleast some." ContentLicense="CC BY-SA 3.0" />
  <row Id="24207" PostHistoryTypeId="2" PostId="14669" RevisionGUID="2b46b68f-53a3-475f-9ab8-c18ab1134102" CreationDate="2012-07-17T19:48:37.040" UserId="362" Text="Hi All,&#xD;&#xA;&#xD;&#xA;I'm working on a new play that really pushes the audience's comfort level. . . &#xD;&#xA;&#xD;&#xA;I was wondering if anyone can share psychoacoustic techniques they've found to elicit certain subtle psychological or emotional responses from the audience. I've heard about reversing polarity on speakers to achieve a certain uncomfortable effect. Has anyone experimented with this? I've also heard that sending certain signals through the subs can  make the audience feel a bit on edge. Any advice on things to try. Super low frequency sine wave? Square? something else? &#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Jeremy Bloom&#xD;&#xA;Sound Designer " ContentLicense="CC BY-SA 3.0" />
  <row Id="24208" PostHistoryTypeId="1" PostId="14669" RevisionGUID="2b46b68f-53a3-475f-9ab8-c18ab1134102" CreationDate="2012-07-17T19:48:37.040" UserId="362" Text="Psychoacoustics" ContentLicense="CC BY-SA 3.0" />
  <row Id="24209" PostHistoryTypeId="3" PostId="14669" RevisionGUID="2b46b68f-53a3-475f-9ab8-c18ab1134102" CreationDate="2012-07-17T19:48:37.040" UserId="362" Text="&lt;psychoacoustics&gt;&lt;theater&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24210" PostHistoryTypeId="2" PostId="14670" RevisionGUID="0a921e11-a570-4919-8bd5-2989369cfea9" CreationDate="2012-07-17T20:23:47.690" UserId="3444" Text="Good question! I think we interpret monster emotions very similarly to human ones. Meaning when you're sad you have down ward tone inflection... excited an upwards one. We even associate these emotions to when animals make these sounds. Like a sad dog crying, or a cat meowing cause it's hungry. &#xD;&#xA;&#xD;&#xA;My approach would be to use this as a reference when recording. If you can add a processed human voice somewhere in your layers the emotion may come out. Even if you process the voice beyond recognition, the idea is to maintain the dynamics and pitch. That is really the key to emotions.&#xD;&#xA;&#xD;&#xA;Here are some interesting links:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Paralanguage&#xD;&#xA;&#xD;&#xA;http://scienceblogs.com/neurophilosophy/2009/05/18/decoding-the-brains-response-to-vocal-emotions/&#xD;&#xA;&#xD;&#xA;Alex" ContentLicense="CC BY-SA 3.0" />
  <row Id="24211" PostHistoryTypeId="2" PostId="14671" RevisionGUID="acb211ce-8ea8-4b7c-ab2b-71753ab91fa1" CreationDate="2012-07-17T22:13:09.903" UserId="4071" Text="Reaper. I have both Pro Tools and Reaper. Pro Tools is the standard in the industry, but I use Reaper when possible (which is most of the time). That's because I can do my post work twice as fast, and we all know that time is money.." ContentLicense="CC BY-SA 3.0" />
  <row Id="24212" PostHistoryTypeId="2" PostId="14672" RevisionGUID="0d7ba596-c87d-4c81-85b6-180b1f01695c" CreationDate="2012-07-17T22:51:35.320" UserId="29" Text="This same thing happened to me and coincided with a MacOS update. Firmware update didn't help, SD confirmed it was (in my case) a known issue. Since then I decided to stop messing around with it and I got a FW800 card reader and never looked back. I've not even tried it again recently as I've gotten used to this workflow." ContentLicense="CC BY-SA 3.0" />
  <row Id="24213" PostHistoryTypeId="2" PostId="14673" RevisionGUID="9ffcd3b6-f323-4e6f-a184-1776946c7da1" CreationDate="2012-07-18T00:50:18.673" UserId="429" Text="although I am a miniminer / soundminer HD user I have been making play lists ( or pull lists for those who remember mtools) in external databases like Foobar PC and bento Mac. I cannot stress enough how much of an improvement playlists are from using the digi workspace and catalogs as the only resource for sourcing and organizing sound assets" ContentLicense="CC BY-SA 3.0" />
  <row Id="24214" PostHistoryTypeId="2" PostId="14674" RevisionGUID="08c0ac0f-1744-473f-91d5-0ff5ef98db67" CreationDate="2012-07-18T03:00:13.520" UserId="6460" Text="I agree with Alexandre that a lot of the reason WALL-E was such a successful voice design was because the sounds were supercharged with an innate humanity. &#xD;&#xA;&#xD;&#xA;As an alternative to finding human elements in a library, try voicing it yourself! Or perhaps find a friend with voice training (or who likes to talk to his dog a lot... you know, in dog).&#xD;&#xA;&#xD;&#xA;Set up a mic, watch the footage (if it's a film you're designing for), pick a monster and emotion and just make a lot of sounds! Drink room-temperature apple juice to help keep the voice running. If nothing else, it's a ton of fun — one of those I-can't-believe-this-is-my-career kinda moments — and it can be very inspiring. Let your roommates know ahead of time, of course, lest they hear you through the walls while you're channelling your inner-Andy Serkis.&#xD;&#xA;&#xD;&#xA;Even if you don't wind up using the human track, it can help you lay out a groundplan. Then you can look through sound libraries for elements and layers to build your ideal sound on top." ContentLicense="CC BY-SA 3.0" />
  <row Id="24215" PostHistoryTypeId="2" PostId="14675" RevisionGUID="36a6071d-138f-48e5-a985-0e2eef7c01e5" CreationDate="2012-07-18T05:20:03.887" UserId="407" Text="try [pole.se][1]. The owner of the company Max is a really nice guy so if you tell him your predicament he may well help you out.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pole.se" ContentLicense="CC BY-SA 3.0" />
  <row Id="24216" PostHistoryTypeId="2" PostId="14676" RevisionGUID="99d2dcf1-c476-4728-9912-00742368b0e4" CreationDate="2012-07-18T06:46:42.320" UserDisplayName="user49" Text="I concur with Rene re making use of multiple databases - I have over 20+ databases...&#xD;&#xA;&#xD;&#xA;The most important thing is that you want to be able to find sounds via multiple means - the faster the better. Don't get bogged down searching through one epic master database when it might be far easier &amp; faster to eg have a seperate database for all of Franks libraries, Rabbit Ears etc&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Some of my databases are temporary eg I make a new one each time I add a new big library, just so its instant to check through the contents, as I become familiar with it...&#xD;&#xA;&#xD;&#xA;Some are project based eg one with all production audio for current film, one with all my recordings, one with all (non-prod audio) media being used on the project.... Even if the media is already in my ProTools work session/s, it is still often quicker to find, compare &amp; remind myself of my resources in SM than in PT session...&#xD;&#xA;&#xD;&#xA;I have three master databases - one with all FX &amp; Ambiences, one with all music sample libraries, and one with all Kontakt libraries...&#xD;&#xA;&#xD;&#xA;I often keep a master database of library material from specific projects...&#xD;&#xA;&#xD;&#xA;Another fun one to randomnly listen to is an IR library - sometimes it like listening to early Pole :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Love the pitch control in SM, wish it also had an 'audition backwards' button!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24217" PostHistoryTypeId="2" PostId="14677" RevisionGUID="43992386-55d3-4050-a2ce-7f92d37e2057" CreationDate="2012-07-18T07:43:48.677" UserId="842" Text="I absolutely love psychoacoustics, it is the very reason I fell in love with sound to begin with, but frankly this is a very very hard question to answer. Psychoacoustics are rarely something really tangible like a sound or a certain technique. There are some cases where you can seriously point a finger at it, like the deep sine-wave in Irrèversible, the fading street-amb in Se7en, or, to give a personal reference, a distorted very high frequency tone I just used in a horror movie. But most of these things mustn't bear the entire scene by itself. It's partly because you can never tell how the systems will react to such extreme signals unless you actually do the mixing at the theater, it might be so quiet it makes no difference, but it might as well be so loud people forget the play altogether and just wanna hurt the one responsible. Everything drawing the audience from the action is seriously bad.&#xD;&#xA;&#xD;&#xA;Every sound designer has his or her own little tricks and preferences, but mine is very often based in dissonance and insecurity, at least when doing horror, dystopian fiction and action (doing the same thing to a comedy may or may not render it into a tragedy/travesty instead, potentially effing it up completely). It all comes down to context: take a dripping pipe. In a cellar, it will make the owner virtually soil him/herself with anxiety, and give the audience a feeling of discomfort. In the desert, it's the most wonderful thing anyone possibly could imagine, next to a full stream, of course.&#xD;&#xA;&#xD;&#xA;All this might very well give you nothing, but I do hope you understand what I meant by this. These things can't be made by the numbers, it HAS to be made by understanding what you wanna accomplish and what makes you tick yourself. Psychoacoustics is exactly what it's named after, based entirely in psychology, but by just listening to your inner voice and trusting your own judgment, you're already halfway there :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24218" PostHistoryTypeId="2" PostId="14678" RevisionGUID="ae2d1af0-6523-47bc-af13-63c7bed64304" CreationDate="2012-07-18T08:59:34.343" UserId="1049" Text="+1 to @Christian's answer. Just to build on it, it is important to remember that there are two areas of 'psycho-acoustics' in this context; things that will consciously affect the audience, and those effects which subconsciously effect the audience. &#xD;&#xA;&#xD;&#xA;Using 'conscious' affects on an audience is all to do with sound-association, where certain sounds draw certain emotional responses from the audience, due to what they associate the sound with, along the lines of Christian's dripping tap example. These usually draw similar reactions from the audience, but not everyone will feel the same. [There is a nice little clip here][1] from a BBC show about that kind of thing.&#xD;&#xA;&#xD;&#xA;I think what you're thinking of though Jeremy are subconscious effects. Using strong subsonics (eg. 4Hz+) or very low sonic-frequencies will most likely put an audience on edge, they'll probably be able to 'feel' the sound more than they can hear it, but again as Christian pointed out this is hard to reproduce practically or well for general distribution and is probably something that's best used when mixed for a specific theatre or setup. And again, use of such techniques, with high or low frequencies etc, has to be carried off well to avoid distracting or annoying the audience!     &#xD;&#xA;&#xD;&#xA;  [1]: http://www.bbc.co.uk/programmes/p00q6wcl" ContentLicense="CC BY-SA 3.0" />
  <row Id="24219" PostHistoryTypeId="5" PostId="14678" RevisionGUID="8bd3e0ad-6a75-4d01-979b-c4a4a855b169" CreationDate="2012-07-18T09:06:29.773" UserId="1049" Comment="added 826 characters in body" Text="+1 to @Christian's answer. Just to build on it, it is important to remember that there are two areas of 'psycho-acoustics' in this context; things that will consciously affect the audience, and those effects which subconsciously effect the audience. &#xD;&#xA;&#xD;&#xA;Using 'conscious' affects on an audience is all to do with sound-association, where certain sounds draw certain emotional responses from the audience, due to what they associate the sound with, along the lines of Christian's dripping tap example. These usually draw similar reactions from the audience, but not everyone will feel the same. [There is a nice little clip here][1] from a BBC show about that kind of thing.&#xD;&#xA;&#xD;&#xA;I think what you're thinking of though Jeremy are subconscious effects. Using strong subsonics (eg. 4Hz+) or very low sonic-frequencies will most likely put an audience on edge, they'll probably be able to 'feel' the sound more than they can hear it, but again as Christian pointed out this is hard to reproduce practically or well for general distribution and is probably something that's best used when mixed for a specific theatre or setup. And again, use of such techniques, with high or low frequencies etc, has to be carried off well to avoid distracting or annoying the audience! &#xD;&#xA;&#xD;&#xA;Is your play just going to be shown in one specific theatre? If so then you'll first need to look at the capability of the equipment you've got. If you've got kit, or can get kit, that's capable of producing subsonic frequencies then try a 16Hz low-level sine, get a couple of people to sit in different areas of the room (edges and centre being most important), and slowly increase the level. You could get those helping to put their hands up when they sense anything different, and maybe ask how it made them feel. You could possibly try similar tests and do a sweep of different low frequencies and judge reactions from that too, to pick an optimum frequency for your theatre. This will take a little trial and error to find what works for your play and your setup but will hopefully come out with some good results!       &#xD;&#xA;&#xD;&#xA;  [1]: http://www.bbc.co.uk/programmes/p00q6wcl" ContentLicense="CC BY-SA 3.0" />
  <row Id="24220" PostHistoryTypeId="2" PostId="14679" RevisionGUID="e8804271-c813-4cc4-a09c-bcf9abdd1ca6" CreationDate="2012-07-18T09:12:29.800" UserId="6432" Text="I'm not sure if this is technically psychoacoustics as it's more about how the body reacts to sound physiologically than our perception of sound. But as we are physical beings, we also resonate when subjected to sound waves of the right frequencies. Much of it is subsonic - below the frequency of human hearing. &#xD;&#xA;&#xD;&#xA; 1. Head:            about 25hz &#xD;&#xA; 2. Eyeball:         30-80hz&#xD;&#xA; 3. Ribcage:         60hz&#xD;&#xA; 4. Abdominal mass:  4-8hz &#xD;&#xA; 5. Legs:            2hz(bent knee) - 20hz (rigid posture)&#xD;&#xA; 6. Wrist:           50-200hz&#xD;&#xA; 7. Lower Arm: 16-30hz&#xD;&#xA; 8. Spine 10-12hz&#xD;&#xA; 9. Shoulders: 4-5hz&#xD;&#xA;&#xD;&#xA;It's certainly true that low frequency sounds at high SPL's at  are unpleasant, I've also heard that on more of a psychological level we connect loud subsonic sounds with danger instinctively. As many natural phenomena which are dangerous to us (such as earthquakes) also generate similar sound waves.&#xD;&#xA;&#xD;&#xA;Personally, while I think this is definitely something interesting to explore, these techniques are a little over-used - especially in the cinema. Often less is more, so perhaps pick your points carefully. Also, as this is for the theatre, make sure the PA systems where you're playing are up to the task - no point designing a load of subsonic rumbles for a crappy house PA which goes down to 150hz&#xD;&#xA;&#xD;&#xA;But also think about the more subtle ways to affect your audience psychologically, as this is often more effective. What are the locations? Are there any sounds around those locations which you can use to create unease? " ContentLicense="CC BY-SA 3.0" />
  <row Id="24221" PostHistoryTypeId="5" PostId="14678" RevisionGUID="22e1b96d-2da7-49dc-a0c0-ffc48be3435d" CreationDate="2012-07-18T09:15:06.140" UserId="1049" Comment="added 107 characters in body" Text="+1 to @Christian's answer. Just to build on it, it is important to remember that there are two areas of 'psycho-acoustics' in this context; things that will consciously affect the audience, and those effects which subconsciously effect the audience. &#xD;&#xA;&#xD;&#xA;Using 'conscious' affects on an audience is all to do with sound-association, where certain sounds draw certain emotional responses from the audience, due to what they associate the sound with, along the lines of Christian's dripping tap example. These usually draw similar reactions from the audience, but not everyone will feel the same. There is a nice little clip on from a BBC show about that kind of thing. I can't find the exact clip but [this is a link to that episodes page][1] on the BBC site for a little more info.&#xD;&#xA;&#xD;&#xA;I think what you're thinking of though Jeremy are subconscious effects. Using strong subsonics (eg. 4Hz+) or very low sonic-frequencies will most likely put an audience on edge, they'll probably be able to 'feel' the sound more than they can hear it, but again as Christian pointed out this is hard to reproduce practically or well for general distribution and is probably something that's best used when mixed for a specific theatre or setup. And again, use of such techniques, with high or low frequencies etc, has to be carried off well to avoid distracting or annoying the audience! &#xD;&#xA;&#xD;&#xA;Is your play just going to be shown in one specific theatre? If so then you'll first need to look at the capability of the equipment you've got. If you've got kit, or can get kit, that's capable of producing subsonic frequencies then try a 16Hz low-level sine, get a couple of people to sit in different areas of the room (edges and centre being most important), and slowly increase the level. You could get those helping to put their hands up when they sense anything different, and maybe ask how it made them feel. You could possibly try similar tests and do a sweep of different low frequencies and judge reactions from that too, to pick an optimum frequency for your theatre. This will take a little trial and error to find what works for your play and your setup but will hopefully come out with some good results!       &#xD;&#xA;&#xD;&#xA;  [1]: http://www.bbc.co.uk/programmes/b01dzmbs" ContentLicense="CC BY-SA 3.0" />
  <row Id="24222" PostHistoryTypeId="2" PostId="14680" RevisionGUID="981b66aa-2ff3-4cae-9310-9febeea0e27e" CreationDate="2012-07-18T15:26:54.840" UserId="208" Text=" Hey all&#xD;&#xA;Anyone willing to swap some sfx?&#xD;&#xA;Im in need of some ambiences from Hawaii. Preferably from smaller cities, countryside, and forests&#xD;&#xA;Need it for an animation short taking place in Honolulu in the seventies, so nothing too fancy, modern or big.&#xD;&#xA;&#xD;&#xA;Thanks alot.&#xD;&#xA;&#xD;&#xA;Best wishes&#xD;&#xA;&#xD;&#xA;Mikkel&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24223" PostHistoryTypeId="1" PostId="14680" RevisionGUID="981b66aa-2ff3-4cae-9310-9febeea0e27e" CreationDate="2012-07-18T15:26:54.840" UserId="208" Text="Hawaiian ambiences " ContentLicense="CC BY-SA 3.0" />
  <row Id="24224" PostHistoryTypeId="3" PostId="14680" RevisionGUID="981b66aa-2ff3-4cae-9310-9febeea0e27e" CreationDate="2012-07-18T15:26:54.840" UserId="208" Text="&lt;sfx&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24225" PostHistoryTypeId="2" PostId="14681" RevisionGUID="abf8a83b-1fd3-48ff-8b0d-4aaadd540599" CreationDate="2012-07-18T17:35:33.993" UserId="3525" Text="I'm in the process of getting rid of my zoom h4n primarily because of the noisy circuitry inside. I have found that most tascam stuff is extremely quiet. With the zoom I use an MP1 sound device preamp but there is no way to bypass the electronics obviously in the zoom. My question is whats the quality of the preamps in the tascam dr 680? Would I need an external still or what they be good enough for the job. Obviously there are 8 inputs so I wouldn't be able to use my one channel pre on all of them. Also if anyone has had bad experiences or would recommend another recorder with more than 2 inputs. Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24226" PostHistoryTypeId="1" PostId="14681" RevisionGUID="abf8a83b-1fd3-48ff-8b0d-4aaadd540599" CreationDate="2012-07-18T17:35:33.993" UserId="3525" Text="Tascam DR-680 ratings??" ContentLicense="CC BY-SA 3.0" />
  <row Id="24227" PostHistoryTypeId="3" PostId="14681" RevisionGUID="abf8a83b-1fd3-48ff-8b0d-4aaadd540599" CreationDate="2012-07-18T17:35:33.993" UserId="3525" Text="&lt;field-recording&gt;&lt;portable-recorder&gt;&lt;tascam-dr-680&gt;&lt;pre-amp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24228" PostHistoryTypeId="2" PostId="14682" RevisionGUID="ea912349-61fb-4429-958e-1d2e11bd8b4d" CreationDate="2012-07-18T18:01:20.787" UserId="3179" Text="I think the DR-680 is hands down the best purchase in the market unless you value something in the Sound Devices units (with at least triple the price) or it's oversized for your needs.&#xD;&#xA;&#xD;&#xA;https://pantherfile.uwm.edu/type/www/audio-art-tech-gallery/pages/Emil_DR680_SD702_QuadMic_Compare-present.html&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/4204/has-anyone-got-experience-with-the-tascam-dr-680" ContentLicense="CC BY-SA 3.0" />
  <row Id="24229" PostHistoryTypeId="2" PostId="14683" RevisionGUID="fb24b884-b180-4cec-bfdd-58b3143db563" CreationDate="2012-07-18T20:38:17.863" UserId="1049" Text="[This classic Jim Stout tutorial][1] should be a great help; using your own voice as the carrier signal for a vocoder seems like the way to go with this. Use this technique to manipulate a mix of animal noises and, as the others have suggested, just let loose and have fun!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=d1Z_Rop_iGk" ContentLicense="CC BY-SA 3.0" />
  <row Id="24230" PostHistoryTypeId="2" PostId="14684" RevisionGUID="4dff0f6a-3e87-4f96-83c7-c2dec8865bc9" CreationDate="2012-07-18T22:07:01.693" UserId="4069" Text="Hello, &#xD;&#xA;&#xD;&#xA;I'm really new here, also a newby sound designer (and really happy to find this place :)&#xD;&#xA;&#xD;&#xA;I was experimenting with some techniques to make an auto generative whoosh patch weeks ago, using absynth and Usine. Not a great thing, without too much external samples, just some real time pitch variations. &#xD;&#xA;&#xD;&#xA;Maybe could be useful for you,&#xD;&#xA;&#xD;&#xA;http://az-rotator.com/?p=106 &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="24231" PostHistoryTypeId="2" PostId="14685" RevisionGUID="b8c37954-d891-493a-96b4-8bb0683f9827" CreationDate="2012-07-19T01:51:33.883" UserId="3894" Text="I just got the DPA SMK4060 Stereo Kit. As many of you know, these are terrific and lovely mics. I love the detail I've been able to pull from them. I have a question about using these in a handheld configuration for ambient recordings. &#xD;&#xA;&#xD;&#xA;I read that Chris Watson mounts them on a wire coat hanger. This works really well: it spaces the mics about 40cmm, achieving a nice stereo image. Plus, the magnetic mounts that ship with the stereo SMK kit work really well. I have one slight problem with this: it seems a little susceptible to handling noise. My guess is that I'll just be more careful, but I wonder how others run the 4060s in a handheld AB configuration. Would a stereo bar with a Rycote grip work better? &#xD;&#xA;&#xD;&#xA;Alternatively, I was thinking about achieving AB by clipping each mic on my shoulders, right/left, AB. I'm interested to see how my head/neck work as a baffle. Has anyone tried this? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24232" PostHistoryTypeId="1" PostId="14685" RevisionGUID="b8c37954-d891-493a-96b4-8bb0683f9827" CreationDate="2012-07-19T01:51:33.883" UserId="3894" Text="Running a pair of DPA 4060s in a Handheld Configuration " ContentLicense="CC BY-SA 3.0" />
  <row Id="24233" PostHistoryTypeId="3" PostId="14685" RevisionGUID="b8c37954-d891-493a-96b4-8bb0683f9827" CreationDate="2012-07-19T01:51:33.883" UserId="3894" Text="&lt;omni&gt;&lt;placement&gt;&lt;dpa&gt;&lt;handling-noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24234" PostHistoryTypeId="2" PostId="14686" RevisionGUID="b1e9959e-dbb3-446c-b57d-fff35d7f57f1" CreationDate="2012-07-19T04:40:34.357" UserId="6411" Text="I haven't gone with the shoulder mount, but I have gotten a pair of [budfits][1]. They work relatively well, achieving a decent L/R separation. Although it may be too binaural for your needs. Here's an example of a recording I made near the Plaza Del Sol in Madrid last year during the protests.&#xD;&#xA;&#xD;&#xA;[soundcloud]steve-urban/uap-fx-4[/soundcloud]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I've also attached my 4060s to the horizontal mount bar of my Rode Blimp in a roughly estimated ORTF. For me, I found that using [Bostik Blu Tack][2] with the standard mount was preferable to the magnetic mounts as it reduced the handling noise slightly. Perhaps going with the Blu Tack and the hanger would be an affordable next step? Unless of course you already own the Rycote.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.budfits.com/&#xD;&#xA;  [2]: http://www.blutack.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24235" PostHistoryTypeId="2" PostId="14687" RevisionGUID="d36aebd3-e6f8-4ae8-992d-1e734eb265e1" CreationDate="2012-07-19T05:47:40.817" UserId="61" Text="Although [this][1] thread has touched upon the topic, I would like to explore it further.&#xD;&#xA;&#xD;&#xA;Everybody and their brother credits themselves as a Sound Designer. But what have they done to actually **earn** the title?&#xD;&#xA;&#xD;&#xA;It is undisputed that the likes of Walter Murch, Ben Burtt and Gary Rydstrom (among others) are the fathers of sound design for the world of modern cinema, creating some of the most iconic sounds in the history of film. But what is it that they've accomplished that makes them more than a sound editor, sound effects editor, or supervising sound editor? Is it the alien  language they created? The horrifying roar of an unknown creature? A subtle interweaving of atmospheres and ambiences that tell the story of an entire generation? &#xD;&#xA;&#xD;&#xA;What about the simple sound of a door creaking and closing, and yet telling a part of the film's story that may otherwise go unnoticed? What about a gentle wind through conifer trees, or gentle waves upon a deserted island beach that ominously transform into ferocious reef breakers that will not be crossed? &#xD;&#xA;&#xD;&#xA;Have you ever created sounds like that? And does that make YOU a sound designer?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Let the discussion commence.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/12586/audio-designer-vs-sound-designer" ContentLicense="CC BY-SA 3.0" />
  <row Id="24236" PostHistoryTypeId="1" PostId="14687" RevisionGUID="d36aebd3-e6f8-4ae8-992d-1e734eb265e1" CreationDate="2012-07-19T05:47:40.817" UserId="61" Text="What makes you think YOU'RE a sound designer?!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24237" PostHistoryTypeId="3" PostId="14687" RevisionGUID="d36aebd3-e6f8-4ae8-992d-1e734eb265e1" CreationDate="2012-07-19T05:47:40.817" UserId="61" Text="&lt;sound-designer&gt;&lt;credit&gt;&lt;title&gt;&lt;job-description&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24238" PostHistoryTypeId="2" PostId="14688" RevisionGUID="c7b6abae-1db9-45cf-921d-bb0a07a6e32b" CreationDate="2012-07-19T05:48:25.370" UserId="1035" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I'm about to start cutting some sounds for a scene taking place in Seattle. I haven't been there. For those of you who've been there or live there, is there anything I should keep in mind, definitely put in, with my BGs? Any specific kind of a sound that you always associate with the general city ambience? &#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24239" PostHistoryTypeId="1" PostId="14688" RevisionGUID="c7b6abae-1db9-45cf-921d-bb0a07a6e32b" CreationDate="2012-07-19T05:48:25.370" UserId="1035" Text="The sound/ambience of Seattle" ContentLicense="CC BY-SA 3.0" />
  <row Id="24240" PostHistoryTypeId="3" PostId="14688" RevisionGUID="c7b6abae-1db9-45cf-921d-bb0a07a6e32b" CreationDate="2012-07-19T05:48:25.370" UserId="1035" Text="&lt;background&gt;&lt;ambience&gt;&lt;city&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24241" PostHistoryTypeId="2" PostId="14689" RevisionGUID="5bd6fe8b-6a4f-4e8f-ac80-4fdd69921102" CreationDate="2012-07-19T08:04:04.460" UserId="4075" Text="I am not having good knowledge on AVRs...but wish to buy one because I love sound. When I read some reviews I felt as if there would be not much improvement in the kind of effect a 7.1/.2 would produce when compared with a 5.1 ( Atleast not worth the money spent on the extra speakers).. Please correct me if I am wrong.&#xD;&#xA;Coming to my actual question...in this regard if I wish to buy a 5.1, then can I use the tower speakers or should I settle for the normal front speakers ( similar to the virtual presence speakers)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24242" PostHistoryTypeId="1" PostId="14689" RevisionGUID="5bd6fe8b-6a4f-4e8f-ac80-4fdd69921102" CreationDate="2012-07-19T08:04:04.460" UserId="4075" Text="What front speakers are to be used with a 5.1 when compared to a 7.1" ContentLicense="CC BY-SA 3.0" />
  <row Id="24243" PostHistoryTypeId="3" PostId="14689" RevisionGUID="5bd6fe8b-6a4f-4e8f-ac80-4fdd69921102" CreationDate="2012-07-19T08:04:04.460" UserId="4075" Text="&lt;5.1&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24244" PostHistoryTypeId="2" PostId="14690" RevisionGUID="f8b612b3-7e78-4a6f-a093-03b315fadf60" CreationDate="2012-07-19T09:59:18.437" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;This is not so much a recommendation for a technique but more a sharing of experiences. When I just got the DPA's I've had a lot of success with doing handheld recordings. Not so much for outdoor ambiences, but when recording indoor spaces underground. Exploring tunnels and bunkers with the dpa's in hand (and the foam windscreens). Not your everyday sound excursion ofcourse, and being flexible was really important. I needed to move quickly sometimes so setting up a tripod or anything like that was not an option.  &#xD;&#xA;By holding them in hand (instead of using a wire coat hanger) you can adjust the spacing really easily. This makes it possible to adapt the audio depth of field when you move from a small tunnel to a new room (you have to monitor with headphones). You do have to concentrate on not changing the spacing in one room. But the thing is, I got really into 'the zone' and my dpa's became my ears so I was super sensitive to the acoustics and the sounds in the spaces. You should try it and maybe you'll notice that 40cm is just a starting point for AB recordings.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24249" PostHistoryTypeId="2" PostId="14692" RevisionGUID="148eb1e4-f496-47e0-9086-c2de20dfaf0e" CreationDate="2012-07-19T10:22:28.000" UserId="3179" Text="A sound edit (not &quot;a sound design&quot; here) is not a single sound, it's a composition of sounds.&#xD;&#xA;&#xD;&#xA;As there's no organization to control the profession definitions and the use of titles, everyone can call themselves whatever they want (try to do that with &quot;engineer&quot; or &quot;scientist&quot; for example). It's the same why there are so many &quot;composers&quot; (or &quot;audio engineers&quot;), while I think that &quot;a composer&quot; is primarily a person who writes music for musicians or orchestra, in the classical sense, and &quot;an audio engineer&quot; is simply a very old term from the days when a studio guy may have had worked in electronic/electrical engineering related tasks. In terms of composers, I don't consider modern purely computer-assisted media composers without grounding and practice in writing &quot;real music&quot; as composers, to me they are simply computer musicians or artists just like anyone else writing music using (just) a computer.&#xD;&#xA;&#xD;&#xA;I wholeheartly think that the &quot;sound designer&quot; title in visual media context is mainly a (perhaps stupid) merit, which others apply to you when they recognize your work as something distinctive that they appreciate. Or the term is more pure in the sense of developing a sonic product for example (a sample library, a sound installation etc.), for which there might be a more fitting term. &quot;Sound designer&quot; is and has probaly become the stupidest general term in visual media, because in visual media it's a close analogy to a video editor, for which there is the term &quot;sound editor&quot;. What's wrong with that?&#xD;&#xA;&#xD;&#xA;The appropriate use of titles goes for many other titles/professions that need to have some professional backing (e.g. a degree, research or practical work) or you're and should be classified just as a wannabe. There's barely any social limitations in what you can call yourself in the arts and in professional practice (that's for profit) I find the title to be mainly a selling term (&quot;We need a sound designer/graphics artist/whatever, lets find and hire one&quot;). But then again, I barely see the point of sound DESIGNER, as opposed to sound editor or simply sound artist here. Unless it's for leveraging one's excellence and comparing oneself to someone like Ben Burtt.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24250" PostHistoryTypeId="5" PostId="14690" RevisionGUID="62b043b9-1ec6-4b6f-a113-93484486c846" CreationDate="2012-07-19T10:26:22.270" UserId="1216" Comment="added my experiences with handling noise (or lack thereof)" Text="Hi,&#xD;&#xA;&#xD;&#xA;This is not so much a recommendation for a technique but more a sharing of experiences. When I just got the DPA's I've had a lot of success with doing handheld recordings. Not so much for outdoor ambiences, but when recording indoor spaces underground. Exploring tunnels and bunkers with the dpa's in hand (and the foam windscreens). Not your everyday sound excursion ofcourse, and being flexible was really important. I needed to move quickly sometimes so setting up a tripod or anything like that was not an option.  &#xD;&#xA;By holding them in hand (instead of using a wire coat hanger) you can adjust the spacing really easily. This makes it possible to adapt the audio depth of field when you move from a small tunnel to a new room (you have to monitor with headphones). You do have to concentrate on not changing the spacing in one room. But the thing is, I got really into 'the zone' and my dpa's became my ears so I was super sensitive to the acoustics and the sounds in the spaces. And I never had any real issues with handling noise, just keep them between your fingertips about 3 cm's from the capsule. Just try it and maybe you'll notice that 40cm is only a starting point for AB recordings.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24251" PostHistoryTypeId="2" PostId="14693" RevisionGUID="ed784da0-7307-4af9-a902-0baf64986239" CreationDate="2012-07-19T10:30:48.347" UserId="842" Text="Very good question!&#xD;&#xA;&#xD;&#xA;For me, it's the way I work. I put most of my energy to building something I'm convinced will inflict some kind of feeling in the audience, with a heavy focus on details. The whole is king, but the life is in the details. There are different kinds generally accepted as sound designers (which I'm pretty sure you already know, but for the sake of argument), ranging from making just making individual sound effects, to complete soundscapes and mixes. Me, I work primarily as an full-mix sound designer, meaning I often &quot;compose&quot; the soundscape for entire movies.&#xD;&#xA;&#xD;&#xA;A door and a door is not necessarily the same thing. My primary weapon of choice is first and foremost ambiance and small details, in pretty much that order, and everything I do I have a specific purpose with. Take a door, i made this one for a slasher-movie. In the beginning of the movie it was pretty smooth, it did have squeaks, but they where pretty friendly squeaks added more for consistency with the later parts than actual feeling. Later in the movie the killer enters. Here, I use mostly the same door (it was a composit from about 8 different sources for me to be able to change character seamlessly), but this time I replaces the friendly squeaks with coarse and corroded creaks from an old and near well rusted shut shelter-door, as well as changed the balance between the layers a little. The result wasn't night and day, actually the director didn't even notice at first (which was my hope), but he did feel something was very very different, and the killer just got a whole lot more gruesome.&#xD;&#xA;&#xD;&#xA;That's why I call myself sound designer." ContentLicense="CC BY-SA 3.0" />
  <row Id="24252" PostHistoryTypeId="5" PostId="14692" RevisionGUID="b2689d6b-445f-429d-99cb-bd1e3e266362" CreationDate="2012-07-19T10:30:59.723" UserId="3179" Comment="deleted 13 characters in body; added 57 characters in body; added 2 characters in body; added 19 characters in body" Text="A sound edit (not &quot;a sound design&quot; here) is not a single sound, it's a composition of sounds.&#xD;&#xA;&#xD;&#xA;As there's no organization to control the profession definitions and the use of titles, everyone can call themselves whatever they want (try to do that with &quot;engineer&quot; or &quot;scientist&quot; for example). It's the same why there are so many &quot;composers&quot; (or &quot;audio engineers&quot;), while I think that &quot;a composer&quot; is primarily a person who writes music for musicians or orchestra, in the classical sense, and &quot;an audio engineer&quot; is simply a very old term from the days when a studio guy may have had worked in electronic/electrical engineering related tasks. In terms of composers, I don't consider modern purely computer-assisted media composers without grounding and practice in writing &quot;real music&quot; as composers, to me they are simply computer musicians or artists just like anyone else writing music using (just) a computer.&#xD;&#xA;&#xD;&#xA;I think that the &quot;sound designer&quot; title in visual media context is mainly a (perhaps stupid) merit, which others apply to you when they recognize your work as something distinctive that they appreciate. Or the term is more pure in the sense of developing a sonic product for example (a sample library, a sound installation etc.), for which there might be a more fitting term. &quot;Sound designer&quot; is and has probaly become the stupidest general term in visual media, because in visual media it's a close analogy to a video editor or a VFX artist, for which there is the term &quot;sound editor&quot; or simply sound (or sound effects) artist. What's wrong with those?&#xD;&#xA;&#xD;&#xA;The appropriate use of titles goes for many other titles/professions that need to have some professional backing (e.g. a degree, research or practical work) or you're and should be classified just as a wannabe. There's barely any social limitations in what you can call yourself in the arts and in professional practice (that's for profit) I find the title to be mainly a selling term (&quot;We need a sound designer/graphics artist/whatever, lets find and hire one&quot;). But then again, I barely see the point of sound DESIGNER, as opposed to sound editor or simply sound (or sound effects) artist here. Unless it's for leveraging one's excellence and comparing oneself to someone like Ben Burtt.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24253" PostHistoryTypeId="5" PostId="14692" RevisionGUID="12688da8-d3cd-40f8-abb1-56426ff206b4" CreationDate="2012-07-19T10:36:10.877" UserId="3179" Comment="added 1 characters in body" Text="A sound edit (not &quot;a sound design&quot; here) is not a single sound, it's a composition of sounds.&#xD;&#xA;&#xD;&#xA;As there's no organization to control the profession definitions and the use of titles, everyone can call themselves whatever they want (try to do that with &quot;engineer&quot; or &quot;scientist&quot; for example). It's the same why there are so many &quot;composers&quot; (or &quot;audio engineers&quot;), while I think that &quot;a composer&quot; is primarily a person who writes music for musicians or orchestra, in the classical sense, and &quot;an audio engineer&quot; is simply a very old term from the days when a studio guy may have had worked in electronic/electrical engineering related tasks. In terms of composers, I don't consider modern purely computer-assisted media composers without grounding and practice in writing &quot;real music&quot; as composers, to me they are simply computer musicians or artists just like anyone else writing music using (just) a computer.&#xD;&#xA;&#xD;&#xA;I think that the &quot;sound designer&quot; title in visual media context is mainly a (perhaps stupid) merit, which others apply to you when they recognize your work as something distinctive that they appreciate. Or the term is more pure in the sense of developing a sonic product for example (a sample library, a sound installation etc.), for which there might be a more fitting term. &quot;Sound designer&quot; is and has probably become the stupidest general term in visual media, because in visual media it's a close analogy to a video editor or a VFX artist, for which there is the term &quot;sound editor&quot; or simply sound (or sound effects) artist. What's wrong with those?&#xD;&#xA;&#xD;&#xA;The appropriate use of titles goes for many other titles/professions that need to have some professional backing (e.g. a degree, research or practical work) or you're and should be classified just as a wannabe. There's barely any social limitations in what you can call yourself in the arts and in professional practice (that's for profit) I find the title to be mainly a selling term (&quot;We need a sound designer/graphics artist/whatever, lets find and hire one&quot;). But then again, I barely see the point of sound DESIGNER, as opposed to sound editor or simply sound (or sound effects) artist here. Unless it's for leveraging one's excellence and comparing oneself to someone like Ben Burtt.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24254" PostHistoryTypeId="5" PostId="14692" RevisionGUID="6d2c8cfe-42e8-49ad-989a-351cf9331688" CreationDate="2012-07-19T10:42:23.077" UserId="3179" Comment="deleted 14 characters in body" Text="A sound edit (not &quot;a sound design&quot; here) is not a single sound, it's a composition of sounds.&#xD;&#xA;&#xD;&#xA;As there's no organization to control the profession definitions and the use of titles, everyone can call themselves whatever they want (try to do that with &quot;engineer&quot; or &quot;scientist&quot; for example). It's the same why there are so many &quot;composers&quot; (or &quot;audio engineers&quot;), while I think that &quot;a composer&quot; is primarily a person who writes music for musicians or orchestra, in the classical sense, and &quot;an audio engineer&quot; is simply a very old term from the days when a studio guy may have had worked in electronic/electrical engineering related tasks. In terms of composers, I don't consider modern purely computer-assisted media composers without grounding and practice in writing &quot;real music&quot; as composers, to me they are simply computer musicians or artists just like anyone else writing music using (just) a computer.&#xD;&#xA;&#xD;&#xA;I think that the &quot;sound designer&quot; title in visual media context is mainly a (perhaps stupid) merit, which others apply to you when they recognize your work as something distinctive that they appreciate. Or the term is more pure in the sense of developing a sonic product for example (a sample library, a sound installation etc.), for which there might be a more fitting term. &quot;Sound designer&quot; is and has probably become the stupidest general term in visual media, because in visual media it's a close analogy to a video editor or a VFX artist, for which there is the term &quot;sound editor&quot; or sound (or sound effects) artist. What's wrong with those?&#xD;&#xA;&#xD;&#xA;The appropriate use of titles goes for many other titles/professions that need to have some professional backing (e.g. a degree, research or practical work) or you're and should be classified just as a wannabe. There's barely any social limitations in what you can call yourself in the arts and in professional practice (that's for profit) I find the title to be mainly a selling term (&quot;We need a sound designer/graphics artist/whatever, lets find and hire one&quot;). But then again, I barely see the point of sound DESIGNER, as opposed to sound editor or sound (or sound effects) artist here. Unless it's for leveraging one's excellence and comparing oneself to someone like Ben Burtt.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24255" PostHistoryTypeId="2" PostId="14694" RevisionGUID="c1adfe8b-c624-49c6-81d8-b292cc7c7787" CreationDate="2012-07-19T10:50:55.147" UserId="348" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;A gear question regarding the XL B2 lithium batteries that come as an accessory with the soud device 722. From what I have read, the only way to recharge the batteries is via the recording device. Is there a separate battery charger you can get for the XL B2? I ask this because, if one battery runs out or defaults and you have a back up and need to recharge, how can one do this?&#xD;&#xA;&#xD;&#xA;Thanks. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24256" PostHistoryTypeId="1" PostId="14694" RevisionGUID="c1adfe8b-c624-49c6-81d8-b292cc7c7787" CreationDate="2012-07-19T10:50:55.147" UserId="348" Text="The XL B2 battery " ContentLicense="CC BY-SA 3.0" />
  <row Id="24257" PostHistoryTypeId="3" PostId="14694" RevisionGUID="c1adfe8b-c624-49c6-81d8-b292cc7c7787" CreationDate="2012-07-19T10:50:55.147" UserId="348" Text="&lt;battery&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24258" PostHistoryTypeId="2" PostId="14695" RevisionGUID="8ad94b7b-9d62-4fa1-90ed-5efd14f75b38" CreationDate="2012-07-19T12:56:31.760" UserId="1011" Text="Hi James,&#xD;&#xA;&#xD;&#xA;One thing I noticed about Seattle when I recorded there was how quickly the density of downtown gives way to calmer, more residential atmospheres in such a small area.&#xD;&#xA;&#xD;&#xA;There are parts that are dense, but not anything like New York City, for example.  Even though Seattle is a major city it doesn't seem to have an intensity that matches its size.&#xD;&#xA;&#xD;&#xA;Now, I'm not a native, but that's the impression I felt.&#xD;&#xA;&#xD;&#xA;I have one track of the Belltown neighbourhood you can check out for reference:&#xD;&#xA;http://www.airbornesound.com/catalogsearch/result/?q=seattle&#xD;&#xA;&#xD;&#xA;It's fairly close to the core but you don't hear the city drone or frenzy of a busy city.&#xD;&#xA;&#xD;&#xA;It's also a coastal city -- so, seagulls abound. There are ferries to the islands. Perhaps that could fit in somehow?&#xD;&#xA;&#xD;&#xA;It's unlikely that it fits with your project, but one distinctive sound is Seattle's Pike Place market.  The fish mongers there sing/chant in unison whenever they make sale.  They also lob the fish through the air to each other before they pack it up.  Lots of fun to watch.&#xD;&#xA;&#xD;&#xA;Check out the fish sellers at this link:&#xD;&#xA;http://www.airbornesound.com/catalogsearch/result/?q=pike+place&#xD;&#xA;&#xD;&#xA;Great city, by the way.&#xD;&#xA;&#xD;&#xA;Best of luck with your project.&#xD;&#xA;&#xD;&#xA;Paul&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24259" PostHistoryTypeId="5" PostId="14695" RevisionGUID="cebfac95-eaba-40a2-84c5-b5a887e9cf6b" CreationDate="2012-07-19T13:01:34.497" UserId="1011" Comment="added 2 characters in body" Text="Hi James,&#xD;&#xA;&#xD;&#xA;One thing I noticed about Seattle when I recorded there was how quickly the density of downtown gives way to calmer, more residential atmospheres in such a small area.&#xD;&#xA;&#xD;&#xA;There are parts that are dense, but not anything like New York City, for example.  Even though Seattle is a major city it doesn't seem to have an intensity that matches its size.&#xD;&#xA;&#xD;&#xA;Now, I'm not a native, but that's the impression I felt.&#xD;&#xA;&#xD;&#xA;I have one track of the Belltown neighbourhood you can check out for reference:&#xD;&#xA;http://www.airbornesound.com/catalogsearch/result/?q=seattle&#xD;&#xA;&#xD;&#xA;It's fairly close to the core but you don't hear the city drone or frenzy of a busy city.&#xD;&#xA;&#xD;&#xA;It's also a coastal city -- so, seagulls abound. There are ferries to the islands. Perhaps that could fit in somehow?&#xD;&#xA;&#xD;&#xA;It's unlikely that it fits with your project, but one distinctive sound is Seattle's Pike Place market.  The fish mongers there sing/chant in unison whenever they make a sale.  They also lob the fish through the air to each other before they pack it up.  Lots of fun to watch.&#xD;&#xA;&#xD;&#xA;Check out the fish sellers at this link:&#xD;&#xA;http://www.airbornesound.com/catalogsearch/result/?q=pike+place&#xD;&#xA;&#xD;&#xA;Great city, by the way.&#xD;&#xA;&#xD;&#xA;Best of luck with your project.&#xD;&#xA;&#xD;&#xA;Paul&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24260" PostHistoryTypeId="2" PostId="14696" RevisionGUID="8f7d9a6a-f3a8-465b-afaa-6de6977ac95a" CreationDate="2012-07-19T14:43:57.403" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;Of course you can charge the batteries on other ways. Have a look at http://www.sounddevices.com/download/guides/xl-charge_en.pdf&#xD;&#xA;&#xD;&#xA;Cheeper chargers you can maybe find in onlineshops, have a look with google. Also there are chargers you can plug-in in the car, I don't know the name in english, the thing you could light your cigarette, you know.&#xD;&#xA;But be carfull, not all of the cheep chargers brings the correct/enough power to load the battery in usefull time. For my 788 I use external SWIT-Batteries. I use http://www.proav.co.uk/Swit-Shop/NP-Style-Batteries/sc10151.aspx the NP ones but probably older than this. With a SWIT-Adapter and sound devices power-plug you can connect it directly to the recorders power supply. &#xD;&#xA;With that, I can record with 6 Channels for about 4 houres. If the external battery is empty, you can change it without digging the internal recorder's battery out. If you have a second SWIT-Battery, you can connect it and load the empty one or use the internal.&#xD;&#xA;I'm quite happy with the SWIT's, you have to be careful if it get's cold. Instead of lithium batteries, they discharge if they get too cold. But I used them at my recording-trip in Tibet this year (have a look at my site: https://www.soundeffects.ch/news/new-sound-recordings-from-china-and-tibet.php ) and had not too much problems. Put the battery in your jacket to keep it warm if the recorder is off and take it in your sleeping bag like a teddybear. They like it and keep charged.&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Guido" ContentLicense="CC BY-SA 3.0" />
  <row Id="24261" PostHistoryTypeId="2" PostId="14697" RevisionGUID="66860ae3-c265-4539-8864-7f9567bdfdcf" CreationDate="2012-07-19T15:55:52.380" UserId="4076" Text="Hello,&#xD;&#xA;&#xD;&#xA;Firstly I know nothing about sound mixing.&#xD;&#xA;&#xD;&#xA;I have produced a short film which a sound mixer has created a final mix for the film in 5.1 surround sound.&#xD;&#xA;&#xD;&#xA;I now need to create a DVD that plays the 5.1 sound but also should the disc be played on a stereo tv or other device it still sounds correct.&#xD;&#xA;My mixer told me that all you need is 5.1, and then the device, whatever it may be does its own mixdown to stereo and should sound fine. Is this true?&#xD;&#xA;&#xD;&#xA;I now need to create a master DVD with 5.1 sound and also the stereo option, for film festivals.&#xD;&#xA;&#xD;&#xA;I have called alot of various places in London, Soho (post houses) and I am yet to find someone who can do this for me.&#xD;&#xA;I have little to no money as this is a self funded short film.&#xD;&#xA;&#xD;&#xA;BUT WAIT, theres more.&#xD;&#xA;&#xD;&#xA;My sound mixer has also given me his own mixdown of the 5.1. Which I am currently using on the DVD. But no matter what device I play this stereo mixdown on, it comes out far too quiet, and I have to turn the volume upto full for decent listening level of dialogue.&#xD;&#xA;&#xD;&#xA;This is all very long winded and I am sorry.&#xD;&#xA;But basically these are my questions -&#xD;&#xA;1, if you only have a 5.1 mix on a dvd, does it mixdown by itself when on a stereo device?&#xD;&#xA;2, who in London can create for me a master dvd with both 5.1 and 2.0 option in the menu?&#xD;&#xA;3, any ideas why the stereo DVD is so quiet?I have gone back to the mixer and he has said he cannot make it any louder which I just do not understand.&#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;Andrew" ContentLicense="CC BY-SA 3.0" />
  <row Id="24262" PostHistoryTypeId="1" PostId="14697" RevisionGUID="66860ae3-c265-4539-8864-7f9567bdfdcf" CreationDate="2012-07-19T15:55:52.380" UserId="4076" Text="How to correctly do sound mixing for both 5.1 surround and 2.0 stereo and creating a DVD" ContentLicense="CC BY-SA 3.0" />
  <row Id="24263" PostHistoryTypeId="3" PostId="14697" RevisionGUID="66860ae3-c265-4539-8864-7f9567bdfdcf" CreationDate="2012-07-19T15:55:52.380" UserId="4076" Text="&lt;mix&gt;&lt;short&gt;&lt;5.1&gt;&lt;surround-sound&gt;&lt;dvd&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24264" PostHistoryTypeId="2" PostId="14698" RevisionGUID="adb8e947-3ecc-4a8c-b77a-8776d52cef79" CreationDate="2012-07-19T16:04:16.840" UserId="6600" Text="Hey Jeremy,&#xD;&#xA;&#xD;&#xA;You might want to check out this post about sound illusions.  &#xD;&#xA;&#xD;&#xA;http://listverse.com/2008/02/29/top-10-incredible-sound-illusions/&#xD;&#xA;&#xD;&#xA;I'm not sure how you would implement any of these in a theatrical setting, but they might give you some inspiration.&#xD;&#xA;&#xD;&#xA;Also following on from Mark's post, I read somewhere that the resonant frequency of the eyeball can cause optical hallucinations although I have no idea how true this is (I also read that it was 19Hz but similarly cannot back this up!).  I think subsonic is generally a good way to make people feel uneasy but apparently prolonged exposure can cause nausea so I guess you'll have to pick your moments rather subjecting your audience to 2 hours of 1.5Hz (although if you do decide to go with that I'd be interested to hear what happens heh)." ContentLicense="CC BY-SA 3.0" />
  <row Id="24265" PostHistoryTypeId="2" PostId="14699" RevisionGUID="f49e7a7e-87cd-4f75-8e2e-cbccdfa57e16" CreationDate="2012-07-19T16:50:04.003" UserId="2502" Text="simply put, i consider myself a sound designer because of my complete fascination with sound in all it's wonder. recording, capturing, manipulating, layering, composing music organic or electronic, or any combination there of makes me a sound designer. making a living by doing these things makes me a professional sound designer. &#xD;&#xA;&#xD;&#xA;if anyone else at any point in there personal path of sonic exploration wants to also term themselves as a sound designer then i welcome them as colleagues.&#xD;&#xA;&#xD;&#xA;i feel that sound designers like interior, product, graphic and other designers design form, function and aesthetic using sound.&#xD;&#xA;&#xD;&#xA;here's a wonderful little interview from famous product designer Dieter Rams that I think has great points relevant to all designers, sound or otherwise:&#xD;&#xA;http://vimeo.com/7917568 " ContentLicense="CC BY-SA 3.0" />
  <row Id="24267" PostHistoryTypeId="2" PostId="14701" RevisionGUID="b23a5e6b-82a8-4da2-86c7-bb194ae05633" CreationDate="2012-07-19T16:56:44.740" UserId="234" Text="Hi Andrew,&#xD;&#xA;&#xD;&#xA;Here are the short answers to your questions...&#xD;&#xA;&#xD;&#xA;1. Yes... the downmix is part of the Dolby or DTS decoder built into the DVD player. It's not an option, if the Dolby or DTS logo is on it, it will do it.&#xD;&#xA;&#xD;&#xA;2. I'm not from London, but any authoring house should be able to do this for you if you give them both sets of tracks - you need to have two separate audio &quot;streams&quot; (in DVD parlance) to be chosen from the menu. You CANNOT just turn on the automated downmix from the menu - that's done at the machine level, NOT the DVD level.&#xD;&#xA;&#xD;&#xA;3. There are a number of reasons that the level on a DVD can be low... most of which happen at encoding. If a simple program like iDVD, or Windows DVD Maker was used, than a setting called Dialnorm was probably set incorrectly. Dialnorm can be a very technical complicated subject, but essentially it tells the DVD player how much to turn up or down the volume so that (in theory) all DVD's play the same. However it's only as good as the info it's given, and many consumer programs get it wrong - essentially telling the DVD player it's much louder than it really is, so the player &quot;turns it down&quot;. Without knowing a great deal more that would be my first guess...&#xD;&#xA;&#xD;&#xA;If this is for festival ENTRY then don't worry about making a menu with options... just give them a 5.1 or a stereo version. You don't want the festival folks doing anything but WATCHING your film. If it's for actual festival PLAYBACK - then my advice is JUST do a stereo version. Most Festival Theatres can't playback 5.1 from a DVD anyway. And if you do a menu version I can guarantee that an overworked, possibly undertrained projectionist at one of the theatres will pick the wrong one.&#xD;&#xA;&#xD;&#xA;Finally, ALL indie films have little to no money... but there is a case of being &quot;penny wise and pound foolish&quot;. Going with &quot;cheap&quot; services often ends up costing you far more in time and money redoing things than going with a reputable, reliable service. Spend the money you NEED to spend to get a quality product for the festival directors - otherwise, you'll be throwing good money (your entry fee) after bad." ContentLicense="CC BY-SA 3.0" />
  <row Id="24268" PostHistoryTypeId="2" PostId="14702" RevisionGUID="614b329e-f185-4527-8121-513eb09f11cd" CreationDate="2012-07-19T17:22:38.313" UserId="418" Text="I am a soundware maker for a living, so if I don't make great presets then my family does not eat. That's about all the inspiration I need. :) Inspiration comes the way any inspiration comes; something you hear in a movie, something you think of in the shower, a weird dream, nature, real life, science fiction, or just via happy accidents.&#xD;&#xA;&#xD;&#xA;There really isn't a way to dig into the creative process, because the process is going to be completely different for every instrument. Like someone mentioned above, having a solid understanding of the instrument is important. And if you're doing sample-based instruments, which is all I do, then it's really all about the source material. &#xD;&#xA;&#xD;&#xA;At the end of the day, just about anyone could randomly twiddle knobs until something cool sounding comes about. Giving it value is much more difficult. Making it musically useful, creating an entire collection of similar, but unique, instruments, making something that people will actually buy and use, and love, and come back for more. &#xD;&#xA;&#xD;&#xA;But the real value, and the truly special sounds, tend to come from the people with the great ideas. It's really all about the idea, which I guess applies to any artform. That's my opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="24269" PostHistoryTypeId="2" PostId="14703" RevisionGUID="ec4a6613-b22a-4ac1-b064-e1cb98c4e617" CreationDate="2012-07-19T17:42:05.700" UserId="4077" Text="Hello,my name is Derrick and I would like to know how to create my own synths and other electronic instruments in Reason 6?I'm always looking for new sounds via refills and sound kits,but I need my own sound library outside of basic patches and refills.Which are good,but I want to create sounds that are either never heard before or rarely heard.I basically need to know what is the main basis for synths,etc.I know a little bit about the LFO,Mod,Filter,and Wavetables.But I need to learn how to create a sound that I may hear in my head or from somewhere else,say,tv,radio,film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24270" PostHistoryTypeId="1" PostId="14703" RevisionGUID="ec4a6613-b22a-4ac1-b064-e1cb98c4e617" CreationDate="2012-07-19T17:42:05.700" UserId="4077" Text="How can I learn how to create my own synths in Reason 6?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24271" PostHistoryTypeId="3" PostId="14703" RevisionGUID="ec4a6613-b22a-4ac1-b064-e1cb98c4e617" CreationDate="2012-07-19T17:42:05.700" UserId="4077" Text="&lt;synthesis&gt;&lt;and&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24272" PostHistoryTypeId="2" PostId="14704" RevisionGUID="e1b3a648-eb53-4ed6-bdb9-1e4945353731" CreationDate="2012-07-19T17:51:09.677" UserId="3933" Text="I think anybody should be able to call themselves a sound designer, in the same way that all musicians can call themselves artists. And that we shouldn't judge anybody who wishes to call themselves that, just for the sake of them people who use the term as some sort of &quot;brownie points&quot; credit.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Why?&#xD;&#xA;&#xD;&#xA;Because I think its a personal title. I if people ask what I do I say I'm &quot;a sound guy&quot; or a &quot;student sound designer&quot;, someone with not quite enough to class himself as a sound designer outright but still has that connection.&#xD;&#xA;&#xD;&#xA;Its my personal belief that a sound designer is an artist who paints with sound, you can't class it because like the other arts its subjective from person to person. I believe I should be able to use the term sound designer when I do something that pushes somebody emotionally... be it scaring somebody with subtle 'pokes' before hitting them with the scare that matches the screen. Or making that grass sway oh so smooth in the background of an romance movie. Also a sound designer, in my opinion should constantly be pushing themselves to create this emotional entertainment otherwise what's the point of having 'design' in your title when you don't design something but are rather just a content creator.&#xD;&#xA;&#xD;&#xA;So if I am doing what I say a sound designer is why don't I yet class myself as one? because I haven't shifted a &quot;product&quot; yet. I haven't made my mark artistically with sound on something that people will seek out to entertain them." ContentLicense="CC BY-SA 3.0" />
  <row Id="24273" PostHistoryTypeId="2" PostId="14705" RevisionGUID="62dd06aa-52ee-410e-b70c-9bec08fd7e1b" CreationDate="2012-07-19T19:10:07.127" UserId="3179" Text="Well, you need to practice a lot, and not only using synths. Every artist reaches a point when they feel like they can express themselves i.e. put out the sound that they intended to put out and the grounding for that is that tools and methods are simply tools and methods for doing that, not a reason and not a barrier. And do to that, you need to know the tools (whatever you use). So well, you just need to keep turning the knobs and reading the manual (or watching tutorials) until you can focus freely on the sound and not the tool, whatever the tool is.&#xD;&#xA;&#xD;&#xA;Sound is a different beast however in the sense that you cannot approach it like a drawing. I.e. create a picture directly from your head. You can do this to a certain extent with synthesizers, but synthesizers are limited and incapable of creating most &quot;real-world&quot; sounds, except by performing what is called &quot;resynthesis&quot; to recorded audio (which is basically just digitalizing a recorded sound to a sine wave representation a la additive synthesis) or modeling sound mathematically (which is not something that artists generally go to do and is quite simply hugely complex).&#xD;&#xA;&#xD;&#xA;The best advice for getting a sound that you hear somewhere else is to simply sample it. Keep in mind however that sampling audio that's copyrighted to someone else is illegal.&#xD;&#xA;&#xD;&#xA;The best advice to get a sound that you didn't hear anywhere, but you can find from a library or you can record it, is to simply do that.&#xD;&#xA;&#xD;&#xA;Use synthesizers for the sounds that they are meant for and for sounds that they can do.&#xD;&#xA;&#xD;&#xA;For Reason tools knowledge the Reason Substance is a good resource: http://www.propellerheads.se/substance/discovering-reason/ as is the Reason manual.&#xD;&#xA;&#xD;&#xA;For general and practical synthesis knowledge I suggest Youtube videos, [Wikipedia][1] and hands-on work with different types of synthesizers, or a single complex one. You can dig to books for more theoretical knowledge, but it's not really useful unless you start to actually design and build synthesizers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Synthesizer" ContentLicense="CC BY-SA 3.0" />
  <row Id="24274" PostHistoryTypeId="5" PostId="14705" RevisionGUID="6f2317e1-a154-49a4-b1da-e93a7ccc017e" CreationDate="2012-07-19T19:15:32.247" UserId="3179" Comment="added 9 characters in body; added 4 characters in body" Text="Well, you need to practice a lot, and not only using synths. Every artist reaches a point when they feel like they can express themselves i.e. put out the sound that they intended to put out and the grounding for that is that tools and methods are simply tools and methods for doing that, not a reason and not a barrier. And do to that, you need to know the tools (whatever you use). So well, you just need to keep turning the knobs and reading the manual (or watching tutorials) until you can focus freely on the sound and not the tool, whatever the tool is.&#xD;&#xA;&#xD;&#xA;Sound is a different beast however in the sense that you cannot approach it like a drawing. I.e. create a picture directly from your head. You can do this to a certain extent with synthesizers, but synthesizers are limited and incapable of creating most &quot;real-world&quot; sounds, except by performing what is called &quot;resynthesis&quot; to recorded audio (which is basically just digitalizing a recorded sound to a sine wave representation a la additive synthesis) or modeling sound mathematically (which is not something that artists generally go to do and is quite simply hugely complex).&#xD;&#xA;&#xD;&#xA;The best advice for getting a sound that you hear somewhere else is to simply sample it. Keep in mind however that sampling audio that's copyrighted to someone else is illegal.&#xD;&#xA;&#xD;&#xA;The best advice to get a sound that you didn't hear anywhere, but found already recorded or you can record the sound, is to simply use or do that.&#xD;&#xA;&#xD;&#xA;Use synthesizers for the sounds that they are meant for and for sounds that they can do.&#xD;&#xA;&#xD;&#xA;For Reason tools knowledge the &quot;Discovering Reason&quot; is a good resource: http://www.propellerheads.se/substance/discovering-reason/ as is the Reason manual.&#xD;&#xA;&#xD;&#xA;For general and practical synthesis knowledge I suggest Youtube videos, [Wikipedia][1] and hands-on work with different types of synthesizers, or a single complex one. You can dig to books for more theoretical knowledge, but it's not really useful unless you start to actually design and build synthesizers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Synthesizer" ContentLicense="CC BY-SA 3.0" />
  <row Id="24275" PostHistoryTypeId="5" PostId="14705" RevisionGUID="9ee9a941-2289-452d-8dd6-5b37cff53124" CreationDate="2012-07-19T19:26:38.753" UserId="3179" Comment="added 102 characters in body; deleted 1 characters in body; added 11 characters in body" Text="Well, you need to practice a lot, and not only using synths. Every artist reaches a point when they feel like they can express themselves i.e. put out the sound that they intended to put out and the grounding for that is that tools and methods are simply tools and methods for doing that, not a reason and not a barrier. And do to that, you need to know the tools (whatever you use). So well, you just need to keep turning the knobs and reading the manual (or watching tutorials) until you can focus freely on the sound and not the tool, whatever the tool is.&#xD;&#xA;&#xD;&#xA;Sound is a different beast however in the sense that you cannot approach it like a drawing. I.e. create a picture directly from your head. You can reason and plan sound and work towards ideas, but you cannot map an idea 1:1 from your head to a sound. You can do this to a certain extent with synthesizers, but synthesizers are limited and incapable of creating most &quot;real-world&quot; sounds, except by performing what is called &quot;resynthesis&quot; to recorded audio (which is basically just digitalizing a recorded sound to a sine wave representation a la additive synthesis) or modeling sound mathematically (which is not something that artists generally go to do and is quite simply hugely complex).&#xD;&#xA;&#xD;&#xA;The best advice for getting a sound that you hear somewhere else is to simply sample it. Keep in mind however that sampling audio that's copyrighted to someone else is illegal.&#xD;&#xA;&#xD;&#xA;The best advice to get a sound that you didn't hear anywhere, but found already recorded or you can record the sound, is to simply use or do that.&#xD;&#xA;&#xD;&#xA;Use synthesizers for the sounds that they are meant for and for sounds that they can do.&#xD;&#xA;&#xD;&#xA;For Reason tools knowledge the &quot;Discovering Reason&quot; is a good resource: http://www.propellerheads.se/substance/discovering-reason/ as is the Reason manual.&#xD;&#xA;&#xD;&#xA;For general and practical synthesis knowledge I suggest Youtube videos, [Wikipedia][1] and hands-on work with different types of synthesizers, or a single complex one. You can dig to books for more theoretical knowledge, but it's not really useful unless you start to actually design and build synthesizers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Synthesizer" ContentLicense="CC BY-SA 3.0" />
  <row Id="24276" PostHistoryTypeId="5" PostId="14705" RevisionGUID="5ac72875-8b69-42e4-b7bf-3563861ec8d7" CreationDate="2012-07-19T19:56:45.523" UserId="3179" Comment="added 64 characters in body" Text="Well, you need to practice a lot, and not only using synths. Every artist reaches a point when they feel like they can express themselves i.e. put out the sound that they intended to put out and the grounding for that is that tools and methods are simply tools and methods for doing that, not a reason and not a barrier. And do to that, you need to know the tools (whatever you use). So well, you just need to keep turning the knobs and reading the manual (or watching tutorials) until you can focus freely on the sound and not the tool, whatever the tool is.&#xD;&#xA;&#xD;&#xA;Sound is a different beast however in the sense that you cannot approach it like a drawing. I.e. create a picture directly from your head. You can reason and plan sound and work towards ideas, but you cannot map an idea 1:1 from your head to a sound. You can do this to a certain extent with synthesizers, but synthesizers are limited and incapable of creating most &quot;real-world&quot; sounds, except by performing what is called &quot;resynthesis&quot; to recorded audio (which is basically just digitalizing a recorded sound to a sine wave representation a la additive synthesis) or modeling sound mathematically (which is not something that artists generally go to do and is quite simply hugely complex).&#xD;&#xA;&#xD;&#xA;The best advice for getting a sound that you hear somewhere else is to simply sample it. Keep in mind however that sampling audio that's copyrighted to someone else is illegal.&#xD;&#xA;&#xD;&#xA;The best advice to get a sound that you didn't hear anywhere, but found already recorded or you can record the sound, is to simply use or do that.&#xD;&#xA;&#xD;&#xA;Use synthesizers for the sounds that they are meant for and for sounds that they can do. Or for sounds that they already contain (presets), if you wish.&#xD;&#xA;&#xD;&#xA;For Reason tools knowledge the &quot;Discovering Reason&quot; is a good resource: http://www.propellerheads.se/substance/discovering-reason/ as is the Reason manual.&#xD;&#xA;&#xD;&#xA;For general and practical synthesis knowledge I suggest Youtube videos, [Wikipedia][1] and hands-on work with different types of synthesizers, or a single complex one. You can dig to books for more theoretical knowledge, but it's not really useful unless you start to actually design and build synthesizers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Synthesizer" ContentLicense="CC BY-SA 3.0" />
  <row Id="24277" PostHistoryTypeId="5" PostId="14704" RevisionGUID="787c56c1-cfec-4561-8672-4571b7de5253" CreationDate="2012-07-19T20:13:17.093" UserId="3933" Comment="deleted 465 characters in body" Text="I think anybody should be able to call themselves a sound designer, in the same way that all musicians can call themselves artists. And that we shouldn't judge anybody who wishes to call themselves that, just for the sake of them people who use the term as some sort of &quot;brownie points&quot; credit.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Why?&#xD;&#xA;&#xD;&#xA;Its my personal belief that a sound designer is an artist who paints with sound, you can't class it because like the other arts its subjective from person to person. I believe I should be able to use the term sound designer when I do something that pushes somebody emotionally... be it scaring somebody with subtle 'pokes' before hitting them with the scare that matches the screen. Or making that grass sway oh so smooth in the background of an romance movie. Also a sound designer, in my opinion should constantly be pushing themselves to create this emotional entertainment otherwise what's the point of having 'design' in your title when you don't design something but are rather just a content creator." ContentLicense="CC BY-SA 3.0" />
  <row Id="24278" PostHistoryTypeId="2" PostId="14706" RevisionGUID="15510161-6dca-4c70-a2e6-67920e54c1e6" CreationDate="2012-07-19T20:51:33.410" UserId="6460" Text="We humans primarily use our eyes to identify and understand what we observe — sound can reinforce that identity, of course, but it isn't the way we navigate the world. Sound designers take full advantage of this: we have the unique ability to recontextualize the material we gather or create and use it to fool you into a false reality. &#xD;&#xA;&#xD;&#xA;I am a sound designer because I have chosen to adopt sound as my secondary 'language' of interpretation. When I hear a sound, I listen with the intent to mentally form my own visual tie. After a few years of this, I naturally think of a soundscape when I focus on the visual. Whether I am inspired by research for a project or simply by the project itself, sound design is such an uninhibited thought process: literally any sound is up for grabs, as long as it works for me and the director.&#xD;&#xA;&#xD;&#xA;The Star Wars trilogy is a perfect example of our willingness to accept sounds from the most random of sources when they are contextualized within a story. To me, this creation of a sonic language is the very backbone of sound design, and it is deeply tied to the personality of the sound designer.&#xD;&#xA;&#xD;&#xA;If I'm right, hopefully we'll never have to worry about robots taking our job :).&#xD;&#xA;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="24279" PostHistoryTypeId="2" PostId="14707" RevisionGUID="e20d5234-5855-4fca-8a5e-7835d57728ff" CreationDate="2012-07-19T20:57:06.313" UserId="3754" Text="I carry a portable recorder wherever I go, always ready to capture sounds that inspire me or intrigue me. In my mind, that makes me a sound designer :)&#xD;&#xA;&#xD;&#xA;whether I've got the skills to translate what's in my head through a pair of speakers is up to the listener. But I know I have the passion in my heart to put the ear before all other senses.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24280" PostHistoryTypeId="2" PostId="14708" RevisionGUID="b553e95e-b0fb-4d12-b5db-36cb81c45de5" CreationDate="2012-07-19T21:52:44.393" UserId="7811" Text="my tip would be to use a table-tenis (ping-pong) bat as a make-shift Jecklin-disk-cum-handle.&#xD;&#xA;&#xD;&#xA;Stick the DPA's either side and you have a great portable hand-held stereo mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="24281" PostHistoryTypeId="2" PostId="14709" RevisionGUID="845b3836-cca0-496f-87eb-c929eef6ede4" CreationDate="2012-07-20T04:15:55.343" UserId="194" Text="Nice Q!  I wrote a big huge response and it ended up as a blog post.  Umm, so there's that.  :)  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://thesoundmyheadmakes.blogspot.com/2012/07/who-can-wear-sound-designer-title.html &#xD;&#xA;&#xD;&#xA;basic premise was that titles both imply skills and imply both what you can and can't do. I don't think the term &quot;sound designer&quot; carries much caché anymore, but it does server a basic utility as a kind of shorthand to differentiate us from other audio guys like composers, location recordists, mixers, etc. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24282" PostHistoryTypeId="2" PostId="14710" RevisionGUID="177ccc8f-bdc1-448b-ac0b-83219463ccdf" CreationDate="2012-07-20T04:53:47.090" UserId="18160" Text="Great question, Jay.&#xD;&#xA;&#xD;&#xA;I had this argument just the other day with a video editor I frequently work with.&#xD;&#xA;&#xD;&#xA;I was explaining to him that from my job, I need to be consulted with and influence the script so that I can carve out room within the storytelling of the film to really allow sound to take it's part in forwarding the message of the piece. I had recently been given a documentary to design and mix way too late in the chain from him and I was not happy about it. I don't enjoy getting things to design and mix that have already been edited with no regard to sound design or sound transitions, ambiences, etc.&#xD;&#xA;&#xD;&#xA;That right there plays a big part in the distinguishing between a sound editor and a sound designer. The sound designer takes full responsibility for the soundtrack as a whole, and allows no barriers between him and the storytelling at hand.&#xD;&#xA;&#xD;&#xA;We all know the definition of Sound.&#xD;&#xA;&#xD;&#xA;The first definition of Design is this:&#xD;&#xA;&#xD;&#xA;&quot;a plan or drawing produced to show the look and function or workings of a building, garment, or other object before it is built or made&quot;&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;&quot;the art or action of conceiving of and producing such a plan&quot;&#xD;&#xA;&#xD;&#xA;I'd like to work more towards that in my projects - where I am able to plan and coordinate with the director on scenes and really create masterful opportunities for sound to really shine to forward the story, and do this while the script is being written and camera angles are being chosen, etc. I specifically look for areas in the script where sound can communicate concepts and story points better than visually, and have better impact.&#xD;&#xA;&#xD;&#xA;The sound designer for &quot;No Country for Old Men&quot; earned his title when he created the idea of the villain having a beeping tracking device, thereby allowing the camera to never show him at the hotel where he caught up with Josh Brolin's character, but rather you only HEAR him walking up to the hotel room. It's in my opinion one of the most nerve-racking scenes ever filmed, and mostly due to the clever use of sound.&#xD;&#xA;&#xD;&#xA;You're creating a 360 degree environment for the audience to get lost in for 2 hours, and sound plays a huge role in that. When it's done right, it's priceless and really puts it there for the audience to enjoy and get lost in. Done wrong, well, it just doesn't do that and people's attention gravitate towards it.&#xD;&#xA;&#xD;&#xA;That's all I've got for now (I'm short on time). I'll update my answer with more later.&#xD;&#xA;&#xD;&#xA;Good to see you again, Jay." ContentLicense="CC BY-SA 3.0" />
  <row Id="24283" PostHistoryTypeId="2" PostId="14711" RevisionGUID="0424f57f-e9a2-4f73-84bb-a368ad03b3ed" CreationDate="2012-07-20T06:30:13.853" UserDisplayName="user49" Text="&#xD;&#xA;I didn't know this trick until today:&#xD;&#xA;&#xD;&#xA;the plus and minus keys shift pitch by 10% up/down each time you press them! (very handy if you want exactly half speed etc... )&#xD;&#xA;&#xD;&#xA;Option click on pitch slider to revert to zero pitch&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24284" PostHistoryTypeId="5" PostId="14705" RevisionGUID="dd65ff52-9fec-4281-814d-ebb1c20480e6" CreationDate="2012-07-20T08:11:13.557" UserId="3179" Comment="added 6 characters in body" Text="Well, you need to practice a lot, and not only using synths. Every artist reaches a point when they feel like they can express themselves i.e. put out the sound that they intended to put out and the grounding for that is that tools and methods are simply tools and methods for doing that, not a reason and not a barrier. And to do that, you need to first know the tools (whatever you use). So well, you just need to keep turning the knobs and reading the manual (or watching tutorials) until you can focus freely on the sound and not the tool, whatever the tool is.&#xD;&#xA;&#xD;&#xA;Sound is a different beast however in the sense that you cannot approach it like a drawing. I.e. create a picture directly from your head. You can reason and plan sound and work towards ideas, but you cannot map an idea 1:1 from your head to a sound. You can do this to a certain extent with synthesizers, but synthesizers are limited and incapable of creating most &quot;real-world&quot; sounds, except by performing what is called &quot;resynthesis&quot; to recorded audio (which is basically just digitalizing a recorded sound to a sine wave representation a la additive synthesis) or modeling sound mathematically (which is not something that artists generally go to do and is quite simply hugely complex).&#xD;&#xA;&#xD;&#xA;The best advice for getting a sound that you hear somewhere else is to simply sample it. Keep in mind however that sampling audio that's copyrighted to someone else is illegal.&#xD;&#xA;&#xD;&#xA;The best advice to get a sound that you didn't hear anywhere, but found already recorded or you can record the sound, is to simply use or do that.&#xD;&#xA;&#xD;&#xA;Use synthesizers for the sounds that they are meant for and for sounds that they can do. Or for sounds that they already contain (presets), if you wish.&#xD;&#xA;&#xD;&#xA;For Reason tools knowledge the &quot;Discovering Reason&quot; is a good resource: http://www.propellerheads.se/substance/discovering-reason/ as is the Reason manual.&#xD;&#xA;&#xD;&#xA;For general and practical synthesis knowledge I suggest Youtube videos, [Wikipedia][1] and hands-on work with different types of synthesizers, or a single complex one. You can dig to books for more theoretical knowledge, but it's not really useful unless you start to actually design and build synthesizers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Synthesizer" ContentLicense="CC BY-SA 3.0" />
  <row Id="24285" PostHistoryTypeId="5" PostId="14705" RevisionGUID="d23dd8ea-49eb-433c-a5a2-b745d89210e1" CreationDate="2012-07-20T08:17:11.273" UserId="3179" Comment="added 9 characters in body" Text="Well, you need to practice a lot, and not only using synths. Every artist reaches a point when they feel like they can express themselves i.e. put out the sound that they intended to put out and the grounding for that is that tools and methods are simply tools and methods for doing that, not a reason and not a barrier. And to do that, you need to first know the tools (whatever you use). So well, you just need to keep turning the knobs and reading the manual (or watching tutorials) until you can focus freely on the sound and not the tool, whatever the tool is.&#xD;&#xA;&#xD;&#xA;Sound is a different beast however in the sense that you cannot approach it like a drawing. I.e. create a picture directly from your head. You can reason and plan sound and work towards ideas, but you cannot map an idea 1:1 from your head to a sound. You can do this to a certain extent with synthesizers, but synthesizers are limited and incapable of creating most &quot;real-world&quot; sounds, except by performing what is called &quot;analysis/resynthesis&quot; to recorded audio (which is basically just digitalizing a recorded sound to a sine wave representation a la additive synthesis) or modeling sound mathematically (which is not something that artists generally go to do and is quite simply hugely complex).&#xD;&#xA;&#xD;&#xA;The best advice for getting a sound that you hear somewhere else is to simply sample it. Keep in mind however that sampling audio that's copyrighted to someone else is illegal.&#xD;&#xA;&#xD;&#xA;The best advice to get a sound that you didn't hear anywhere, but found already recorded or you can record the sound, is to simply use or do that.&#xD;&#xA;&#xD;&#xA;Use synthesizers for the sounds that they are meant for and for sounds that they can do. Or for sounds that they already contain (presets), if you wish.&#xD;&#xA;&#xD;&#xA;For Reason tools knowledge the &quot;Discovering Reason&quot; is a good resource: http://www.propellerheads.se/substance/discovering-reason/ as is the Reason manual.&#xD;&#xA;&#xD;&#xA;For general and practical synthesis knowledge I suggest Youtube videos, [Wikipedia][1] and hands-on work with different types of synthesizers, or a single complex one. You can dig to books for more theoretical knowledge, but it's not really useful unless you start to actually design and build synthesizers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Synthesizer" ContentLicense="CC BY-SA 3.0" />
  <row Id="24286" PostHistoryTypeId="2" PostId="14712" RevisionGUID="9a1753c6-9daf-4118-aa44-8d06711d2a8c" CreationDate="2012-07-20T09:22:16.197" UserId="37" Text="Imagine a &quot;what makes you think you're a set designer&quot; kind of question. &#xD;&#xA;&#xD;&#xA;&gt; **designer** *|dɪˈzʌɪnə|* (noun) a person who plans the form, look, or&#xD;&#xA;&gt; workings of something before its being&#xD;&#xA;&gt; made or built, typically by drawing it&#xD;&#xA;&gt; in detail&#xD;&#xA;&gt; &#xD;&#xA;&gt; and only then, and not necessarily:&#xD;&#xA;&gt; &quot;made by or having the expensive&#xD;&#xA;&gt; sophistication of a famous and&#xD;&#xA;&gt; prestigious fashion designer&quot; or&#xD;&#xA;&gt; &quot;upscale and fashionable&quot;&#xD;&#xA;&#xD;&#xA;Great of the dictionary to reference the fashion industry. I'd agree they could be at the bottom of this.&#xD;&#xA;&#xD;&#xA;I go with &quot;sound editor&quot;, unless the person across thinks an &quot;editor&quot; is just another guy. Everyone who knows editing appreciates another editor. Everyone else, I'd rather they heard an ringing title. &#xD;&#xA;&#xD;&#xA;The only place where a &quot;sound designer&quot; really means something to me is in &quot;designed&quot; effects, where just combining existing sounds won't get you too far, or at least past the cliché. Even then, the ability to break down a sound into requirements and potential sources is one of our core skills. I think for the storytelling aspect, a &quot;sound editor&quot; is more than enough, and maybe a sound director one day said &quot;too many directors will confuse the audience&quot;.&#xD;&#xA;&#xD;&#xA;Is it 2 cents too many?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24287" PostHistoryTypeId="5" PostId="14712" RevisionGUID="a44bc291-28a6-4148-b867-3a3e2013b6a9" CreationDate="2012-07-20T09:53:14.013" UserId="37" Comment="deleted 6 characters in body" Text="Imagine a &quot;what makes you think you're a set designer&quot; kind of question. &#xD;&#xA;&#xD;&#xA;&gt; **designer** *|dɪˈzʌɪnə|* (noun) a person who plans the form, look, or&#xD;&#xA;&gt; workings of something before its being&#xD;&#xA;&gt; made or built, typically by drawing it&#xD;&#xA;&gt; in detail&#xD;&#xA;&gt; &#xD;&#xA;&gt; and only then, and not necessarily:&#xD;&#xA;&gt; &quot;made by or having the expensive&#xD;&#xA;&gt; sophistication of a famous and&#xD;&#xA;&gt; prestigious fashion designer&quot; or&#xD;&#xA;&gt; &quot;upscale and fashionable&quot;&#xD;&#xA;&#xD;&#xA;Great of the dictionary to reference the fashion industry. I'd agree they could be at the bottom of this.&#xD;&#xA;&#xD;&#xA;I go with &quot;sound editor&quot;, unless the person across thinks an &quot;editor&quot; is just another guy. Whoever knows editing appreciates another editor. Everyone else, I'd rather they heard a ringing title. &#xD;&#xA;&#xD;&#xA;The only place where a &quot;sound designer&quot; really means something to me is in &quot;designed&quot; effects, where just combining existing sounds won't get you too far, or at least past the cliché. Even then, the ability to break down a sound into requirements and potential sources is one of our core skills. I think for the storytelling aspect, a &quot;sound editor&quot; is more than enough, and maybe a sound director one day said &quot;too many directors will confuse the audience&quot;.&#xD;&#xA;&#xD;&#xA;Is it 2 cents too many?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24288" PostHistoryTypeId="2" PostId="14713" RevisionGUID="66080309-2837-4f16-9815-25b1fbc0a9c4" CreationDate="2012-07-20T10:53:23.003" UserId="1185" Text="I have to agree with the answer given by @theodorejordan.  The only other thing I'd add is everyone will have there own way of going around a creative process (coming up with the ideas).  This is reflected in the Mavericks of Sound Design Panel video above, where each of the panel clearly have their own way of working." ContentLicense="CC BY-SA 3.0" />
  <row Id="24289" PostHistoryTypeId="2" PostId="14714" RevisionGUID="b6ba9fc1-6d9e-46e7-9ec7-ce7e7e823af0" CreationDate="2012-07-20T11:53:26.593" UserId="3730" Text="Hi there&#xD;&#xA;&#xD;&#xA;Here's my two cents worth.&#xD;&#xA;&#xD;&#xA;The sound effect tracks for this probably totaled to no more than 4 tracks. Try add more tracks of sound effects to reduce holes and dips. You don't always necessary need to put the obvious sounds down. Create an atmosphere . Make use of &quot;off screen effects&quot;&#xD;&#xA;Pick a point of view for the viewer, Ie are you on the horse attacking or are you being attacked. Both have different feels. Pick one then try understand what that person would be feeling .  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24290" PostHistoryTypeId="2" PostId="14715" RevisionGUID="f50c7ed3-5207-435e-9f8e-4dacf70d9113" CreationDate="2012-07-20T13:33:16.153" UserId="194" Text="given the goals, a headset mic is probably the optimal solution.  Noise is best minimized with proximity, and nothing's closer to your mouth than a headset mic.  &#xD;&#xA;&#xD;&#xA;Its why all of the sports anchors wear them when they're out on location in the midst of a rowdy crowd." ContentLicense="CC BY-SA 3.0" />
  <row Id="24291" PostHistoryTypeId="5" PostId="14709" RevisionGUID="71e0d966-083d-4aca-a7a6-73b8300f1cf1" CreationDate="2012-07-20T13:34:33.327" UserId="194" Comment="deleted 1 characters in body" Text="Nice Q!  I wrote a big huge response and it ended up as a blog post.  Umm, so there's that.  :)  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://thesoundmyheadmakes.blogspot.com/2012/07/who-can-wear-sound-designer-title.html &#xD;&#xA;&#xD;&#xA;basic premise was that titles both imply skills and imply both what you can and can't do. I don't think the term &quot;sound designer&quot; carries much caché anymore, but it does serve a basic utility as a kind of shorthand to differentiate us from other audio guys like composers, location recordists, mixers, etc. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24292" PostHistoryTypeId="2" PostId="14716" RevisionGUID="8c00ebbf-df8e-4ad9-bbbf-ff6315b456a2" CreationDate="2012-07-20T15:00:17.893" UserDisplayName="user6513" Text="I'll do exactly what you're doing. Well, the first bit anyways. &#xD;&#xA;&#xD;&#xA;Pose the question to a bunch of experts, find a good solutions, hire the expert/s to work for you, take a cut. \(^_^)/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24293" PostHistoryTypeId="2" PostId="14717" RevisionGUID="eae347b5-d7e2-4324-b0a7-0866df8ca29d" CreationDate="2012-07-20T15:25:24.367" UserId="863" Text="It sounds very basic and linear, but a great start. &#xD;&#xA;&#xD;&#xA;About 20seconds in the sound fails to create an impact. Make them bows sound big! the flames sound huge, get more leathery sounds in there for where the hand grips the bow, or riders grip reins etc. Layer up the sound of the horses and riders and use perspective, for example when you see the white horse fly over you. &#xD;&#xA;&#xD;&#xA;There is no sense of the amount of arrows coming towards the white rider and deflecting the arrows is indeed weak. I think it needs the sound of wood hitting wood and the spinning of the spear would help... I think the high pitch whoooses would disappear now too. &#xD;&#xA;&#xD;&#xA;These spring to mind but probably better examples out there: &#xD;&#xA;http://youtu.be/qdDdHMwhU2s?t=2m8s&#xD;&#xA;http://youtu.be/L6EknwERf3o?t=1m28s&#xD;&#xA;&#xD;&#xA;Anyway good luck, think it will sound amazing once you add a bit more to it :)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24294" PostHistoryTypeId="2" PostId="14718" RevisionGUID="47e627a8-ae79-43f5-a592-0bac502fc18e" CreationDate="2012-07-20T15:47:31.697" UserId="253" Text="I think this term is overused; particularly by folks who don't really know much about sound post. I'm not usually comfortable crediting myself as &quot;Sound Designer&quot; and will often go with &quot;Sound Editor&quot; for rush jobs, and jobs where i haven't had a chance to really get inside the film and build it up with sound.&#xD;&#xA;&#xD;&#xA;It comes back to the question: &quot;What is sound design?&quot;. I think sound design is the careful consideration of every aural element of your film; from a door creak, to the sound of a car's engine - even room tone. IMHO, &quot;sound design&quot; is achievable through any means, whether it be using only an FX library, or going the whole hog with synths and samplers and FX recording and whatnot. I believe it's the thought process that's key.&#xD;&#xA;&#xD;&#xA;So i aspire to be able to call myself a Sound Designer on every job - not for the title, but because to be truly effective, a film's soundscape needs to be thoroughly designed.&#xD;&#xA;&#xD;&#xA;PS: It always irks me when i hear people who know how to cut in a door slam say &quot;oh, i'm a sound designer&quot;. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24295" PostHistoryTypeId="2" PostId="14719" RevisionGUID="8b91d639-2b8f-4785-931d-636cfa2970b6" CreationDate="2012-07-20T17:24:07.407" UserId="6460" Text="Very cool! I like what you have there so far. I think the next step is to add some more detail and character to the sounds. To add to what has already been mentioned:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; - The whizzes of the arrows sound a lot like passing bullet, rather than a larges shaft of wood with a feather that are on fire.&#xD;&#xA; - The moment when the female rider's horse erupts through the flame can be much larger and more intimidating.&#xD;&#xA; - I think you can get even more blood-and-guts from the moment at the end when the female warrior attacks&#xD;&#xA; - When she attacks, give every detail a sound&#xD;&#xA;    - Her spear digging into the ground when she leaps&#xD;&#xA;    - The creak of armor as she leaves the horse&#xD;&#xA;    - The whoosh as her body does a full flip in the air&#xD;&#xA;    - The flutter of her cape as it billows in the fast wind&#xD;&#xA;   ... all of these details will make the moment much more significant and menacing&#xD;&#xA; - The body falls of the dead warriors lack in low frequency content and a sense of momentum&#xD;&#xA; - I very much like the effect of the dead warriors' horses continuing off even after their riders have fallen. The moment afterward, however, is very sudden and lacks a build. It doesn't have to be long (even less than a second), but I would like to hear some sound or sounds as she turns her head, building up to the cut that shows the horned warrior behind her.&#xD;&#xA;&#xD;&#xA;&lt;p&gt;Cheers,&lt;/p&gt;&lt;p&gt;~Matt&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24296" PostHistoryTypeId="2" PostId="14720" RevisionGUID="8ad2ce86-34a2-42fa-9291-138c61e3f627" CreationDate="2012-07-20T18:17:50.863" UserId="605" Text="not directly related to comfort levels, but you can also play with absence of sound. for example- if you play a recording of air conditioning, or similar at a low level for most of the show to establish the noise floor, and suddenly cut it out at some point then the new much quieter noise floor becomes more intense." ContentLicense="CC BY-SA 3.0" />
  <row Id="24297" PostHistoryTypeId="2" PostId="14721" RevisionGUID="4c6a19bf-2e01-47b9-a1c4-0b2661806612" CreationDate="2012-07-20T20:17:06.317" UserId="3179" Text="I happened to stumble upon the titles &quot;audiographer&quot; and &quot;director of audiography&quot;, which I have not come across before (am I the only one?). Wikipedia proposes the alternatives &quot;audio director&quot; and &quot;director of sound&quot; as alternatives for DoA and the &quot;audiographer&quot; title is applied to everyone in the sound team.&#xD;&#xA;&#xD;&#xA;[From Wikipedia:][1]&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;To me the role of DoA seems very much what Murch's original definition of a &quot;sound designer&quot; proposed: &quot;an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track&quot;. Murch didn't mention music, but it should definitely be there, because Murch speaks of &quot;all aspects of a film's audio track&quot;. So the person who Murch describes should be a creative lead for the use of sound in films (or as well in all visual entertainment and media), much like a director, but for sound. Such creative lead is not a person who creates &quot;designed&quot; sound elements, which &quot;sound designer&quot; nowadays means and has long meant. The problem is that I think &quot;sound designer&quot; in visual and especially in electronic arts is occasionally falsely linked with creative direction (i.e. planning, direction and &quot;creation&quot; of the whole) and the original description also proposed it falsely, while the title &quot;sound designer&quot; should be used just for that very specific role of &quot;sound special effects&quot;. And even some of the more experienced guys might use the term &quot;sound designer&quot; wrongly when they take some role in directing the use of sound, but then generally go with the title &quot;sound designer&quot;, which might be explained by them having multiple roles in a particular production or in productions in general. But then again, the director of sound was what Murch's original definition proposed, so anyone could be mistaken. The sound designer title is also falsely used for example in theatre sound where &quot;sound designer&quot; might be, and probably usually is used to describe the director of the use of all sound.&#xD;&#xA;&#xD;&#xA;The generalization and mixing of titles can also very easily happen in very small sound teams where you might only have one person (&quot;the audio guy&quot;, who might falsely use the title &quot;sound designer&quot; when working on the whole) or two persons (a sound designer and a composer/musician. But who is the director of sound then?). Everyone should agree that a &quot;sound designer&quot; doesn't make up the whole soundtrack/all audio. In the latter team the director of sound is either both or just one of them, but the director of sound is NOT called &quot;sound designer&quot; and the guy who creates &quot;everything non-musical&quot; isn't a sound designer either, because that leads to generalization (over VO editors, field recordists etc. and most importantly the director of sound), especially if there's no designated &quot;sound lead&quot;. Then again, there should be, because directing the soundtrack as a whole is important. The director of sound should be a separate or a particularly designated person. So in a team of two the other artist would take at least another role as the sound lead for example with the title &quot;director of audio&quot; or &quot;audio director&quot; for consistency across the media field. If you're the sole sound guy or gal in a project, you could either go with the title &quot;audiographer&quot; or a (small) combination of different subtitles that cover the roles you took, to avoid the needless use and generalization of the title &quot;director&quot; when the sound team consists of only one person.&#xD;&#xA;&#xD;&#xA;The overuse of the term &quot;sound designer&quot; could be because of the aforementioned application of the term falsely to describe an audio director, not a person who takes/took solely the role of &quot;sound special effects&quot;. Thus a person working in visual media who's professional title (outside of any projects) reads &quot;sound designer&quot; isn't necessary. The title should be used only as a part of a project or as a permanent professional title if you're employed as a sound designer i.e. &quot;the sound special effects guy&quot; and that's your permament role. Otherwise you could be an audiographer, which according to the Wikipedia explanation, can be applied to any individual working on audio in visual productions without a particular further designation. Thus &quot;an audiographer&quot; is a true generalist/all-around term for a sound artist/professional that works with sound in visual arts.&#xD;&#xA;&#xD;&#xA;Outside of visual arts, the sound designer title would be and is employed by people who design sound elements i.e. sound/sample library developers, apart from purely &quot;sampled musical instrument&quot; libraries. As a part of other than media productions the use of the sound designer title hasn't even seen much use, other than maybe in installation and some live work(?), where I would maybe rather see the title &quot;sound artist&quot;.&#xD;&#xA;&#xD;&#xA;&quot;Sound design&quot; purely means the process of creating sound (to a definition or an idea, often &quot;from scratch&quot;) and it's practiced by most artists across the sonic arts and unless it's tied to the role of &quot;special sound effects&quot; in a project team in media productions or sound library development, there's no need for a particular &quot;sound designer&quot; designation as a professional title.&#xD;&#xA;&#xD;&#xA;When talking about the use of sound soundtracks (as a whole), the word &quot;audio direction&quot; could maybe be used (when there hopefully is a designated sound director of some sort!) instead of &quot;sound design&quot;, when addressing the use of sound. Or then simply &quot;the use of sound&quot; (regardless of the type of sound).&#xD;&#xA;&#xD;&#xA;Surely when you put it this way, there are too many &quot;sound special effects&quot; guys...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Director_of_audiography&#xD;&#xA;  [2]: http://upload.wikimedia.org/wikipedia/en/thumb/1/10/TSM_DirectorOfSound_02.pdf/page1-800px-TSM_DirectorOfSound_02.pdf.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="24298" PostHistoryTypeId="5" PostId="14721" RevisionGUID="74f166bd-1fd5-4043-80d6-fefa238a807f" CreationDate="2012-07-20T20:24:53.973" UserId="3179" Comment="added 3 characters in body" Text="I happened to stumble upon the titles &quot;audiographer&quot; and &quot;director of audiography&quot;, which I have not come across before (am I the only one?). Wikipedia proposes the alternatives &quot;audio director&quot; and &quot;director of sound&quot; as alternatives for DoA and the &quot;audiographer&quot; title is applied to everyone in the sound team.&#xD;&#xA;&#xD;&#xA;[From Wikipedia:][1]&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;To me the role of DoA seems very much what Murch's original definition of a &quot;sound designer&quot; proposed: &quot;an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track&quot;. Murch didn't mention music, but it should definitely be there, because Murch speaks of &quot;all aspects of a film's audio track&quot;. So the person who Murch describes should be a creative lead for the use of sound in films (or as well in all visual entertainment and media), much like a director, but for sound. Such creative lead is not a person who creates &quot;designed&quot; sound elements, which &quot;sound designer&quot; nowadays means and has long meant. The problem is that I think &quot;sound designer&quot; in visual and especially in electronic arts is occasionally falsely linked with creative direction (i.e. planning, direction and &quot;creation&quot; of the whole) and the original description also proposed it falsely, while the title &quot;sound designer&quot; should be used just for that very specific role of &quot;sound special effects&quot;. And even some of the more experienced guys might use the term &quot;sound designer&quot; wrongly when they take some role in directing the use of sound, but then generally go with the title &quot;sound designer&quot;, which might be explained by them having multiple roles in a particular production or in productions in general. But then again, the director of sound was what Murch's original definition proposed, so anyone could be mistaken. The sound designer title is also falsely used for example in theatre sound where &quot;sound designer&quot; might be, and probably usually is used to describe the director of the use of all sound.&#xD;&#xA;&#xD;&#xA;The generalization and mixing of titles can also very easily happen in very small sound teams where you might only have one person (&quot;the audio guy&quot;, who might falsely use the title &quot;sound designer&quot; when working on the whole) or two persons (a sound designer and a composer/musician. But who is the director of sound then?). Everyone should agree that a &quot;sound designer&quot; doesn't make up the whole soundtrack/all audio. In the latter team the director of sound is either both or just one of them, but the director of sound is NOT called &quot;sound designer&quot; and the guy who creates &quot;everything non-musical&quot; isn't a sound designer either, because that leads to generalization (over VO editors, field recordists etc. and most importantly the director of sound), especially if there's no designated &quot;sound lead&quot;. Then again, there should be, because directing the soundtrack as a whole is important. The director of sound should be a separate or a particularly designated person. So in a team of two the other artist would take at least another role as the sound lead for example with the title &quot;director of audio&quot; or &quot;audio director&quot; for consistency across the media field. If you're the sole sound guy or gal in a project, you could either go with the title &quot;audiographer&quot; or a (small) combination of different subtitles that cover the roles you took, to avoid the needless use and generalization of the title &quot;director&quot; when the sound team consists of only one person.&#xD;&#xA;&#xD;&#xA;The overuse of the term &quot;sound designer&quot; could be because of the aforementioned application of the term falsely to describe an audio director, not a person who takes/took solely the role of &quot;sound special effects&quot;. Thus a person working in visual media who's professional title (outside of any projects) reads &quot;sound designer&quot; isn't necessary. The title should be used only as a part of a project or as a permanent professional title if you're employed as a sound designer i.e. &quot;the sound special effects guy&quot; and that's your permament role. Otherwise you could be an audiographer, which according to the Wikipedia explanation, can be applied to any individual working on audio in visual productions without a particular further designation. Thus &quot;an audiographer&quot; is a true generalist/all-around term for a sound artist/professional that works with sound in visual arts.&#xD;&#xA;&#xD;&#xA;Outside of visual arts, the sound designer title would be and is employed by people who design sound elements i.e. sound/sample library developers, apart from purely &quot;sampled musical instrument&quot; libraries. As a part of other than media productions the use of the sound designer title hasn't even seen much use, other than maybe in installation and some live work(?), where I would maybe rather see the title &quot;sound artist&quot;.&#xD;&#xA;&#xD;&#xA;&quot;Sound design&quot; purely means the process of creating sound (to a definition or an idea, often &quot;from scratch&quot;) and it's practiced by most artists across the sonic arts and unless it's tied to the role of &quot;special sound effects&quot; in a project team in media productions or sound library development, there's no need for a particular &quot;sound designer&quot; designation as a professional title.&#xD;&#xA;&#xD;&#xA;When talking about the use of sound in soundtracks (as a whole), the word &quot;audio direction&quot; could maybe be used (when there hopefully is a designated sound director of some sort!) instead of &quot;sound design&quot;, when addressing the use of sound. Or then simply &quot;the use of sound&quot; (regardless of the type of sound).&#xD;&#xA;&#xD;&#xA;Surely when you put it this way, there are too many &quot;sound special effects&quot; guys...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Director_of_audiography&#xD;&#xA;  [2]: http://upload.wikimedia.org/wikipedia/en/thumb/1/10/TSM_DirectorOfSound_02.pdf/page1-800px-TSM_DirectorOfSound_02.pdf.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="24299" PostHistoryTypeId="5" PostId="14721" RevisionGUID="d7720b4c-b592-40df-88f5-34cee7ad90c9" CreationDate="2012-07-20T20:32:20.337" UserId="3179" Comment="edited body; added 22 characters in body" Text="I happened to stumble upon the titles &quot;audiographer&quot; and &quot;director of audiography&quot;, which I have not come across before (am I the only one?). Wikipedia proposes the alternatives &quot;audio director&quot; and &quot;director of sound&quot; as alternatives for DoA and the &quot;audiographer&quot; title is applied to everyone in the sound team.&#xD;&#xA;&#xD;&#xA;[From Wikipedia:][1]&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;To me the role of DoA seems very much what Murch's original definition of a &quot;sound designer&quot; proposed: &quot;an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track&quot;. Murch didn't mention music, but it should definitely be there, because Murch speaks of &quot;all aspects of a film's audio track&quot;. So the person who Murch describes should be a creative lead for the use of sound in films (or as well in all visual entertainment and media), much like a director, but for sound. Such creative lead is not a person who creates &quot;designed&quot; sound elements, which &quot;sound designer&quot; nowadays means and has long meant. The problem is that I think &quot;sound designer&quot; in visual and especially in electronic arts is occasionally falsely linked with creative direction (i.e. planning, direction and &quot;creation&quot; of the whole) and the original description also proposed it falsely, while the title &quot;sound designer&quot; should be used just for that very specific role of &quot;sound special effects&quot;. And even some of the more experienced guys might use the term &quot;sound designer&quot; wrongly when they take some role in directing the use of sound, but then generally go with the title &quot;sound designer&quot;, which might be explained by them having multiple roles in a particular production or in productions in general. But then again, the director of sound was what Murch's original definition proposed, so anyone could be mistaken. The sound designer title is also falsely used for example in theatre sound where &quot;sound designer&quot; might be, and probably usually is used to describe the director of the use of all sound.&#xD;&#xA;&#xD;&#xA;The generalization and mixing of titles can also very easily happen in very small sound teams where you might only have one person (&quot;the audio guy&quot;, who might falsely use the title &quot;sound designer&quot; when working on the whole) or two persons (a sound designer and a composer/musician. But who is the director of sound then?). Everyone should agree that a &quot;sound designer&quot; doesn't make up the whole soundtrack/all audio. In the latter team the director of sound is either both or just one of them, but the director of sound is NOT called &quot;sound designer&quot; and the guy who creates &quot;everything non-musical&quot; isn't a sound designer either, because that leads to generalization (over VO editors, field recordists etc. and most importantly the director of sound), especially if there's no designated &quot;sound lead&quot;. Then again, there should be, because directing the soundtrack as a whole is important. The director of sound should be a separate or a particularly designated person. So in a team of two the other artist would take at least another role as the sound lead for example with the title &quot;director of audio&quot; or &quot;audio director&quot; for consistency across the media field. If you're the sole sound guy or gal in a project, you could either go with the title &quot;audiographer&quot; or a (small) combination of different subtitles that cover the roles you took, to avoid the needless use and generalization of the title &quot;director&quot; when the sound team consists of only one person.&#xD;&#xA;&#xD;&#xA;The overuse of the term &quot;sound designer&quot; could be because of the aforementioned application of the term falsely to describe an audio director, not a person who takes/took solely the role of &quot;sound special effects&quot;. Thus a person working in visual media who's professional title (outside of any projects) reads &quot;sound designer&quot; isn't necessary. The title should be used only as a part of a project or as a permanent professional title if you're employed as a sound designer i.e. &quot;the sound special effects guy&quot; and that's your permanent role. Otherwise you could be an audiographer, which according to the Wikipedia explanation, can be applied to any individual working on audio in visual productions without a particular further designation, apart from musicians. Thus &quot;an audiographer&quot; is a true generalist/all-around term for a sound artist/professional that works with sound in visual arts.&#xD;&#xA;&#xD;&#xA;Outside of visual arts, the sound designer title would be and is employed by people who design sound elements i.e. sound/sample library developers, apart from purely &quot;sampled musical instrument&quot; libraries. As a part of other than media productions the use of the sound designer title hasn't even seen much use, other than maybe in installation and some live work(?), where I would maybe rather see the title &quot;sound artist&quot;.&#xD;&#xA;&#xD;&#xA;&quot;Sound design&quot; purely means the process of creating sound (to a definition or an idea, often &quot;from scratch&quot;) and it's practiced by most artists across the sonic arts and unless it's tied to the role of &quot;special sound effects&quot; in a project team in media productions or sound library development, there's no need for a particular &quot;sound designer&quot; designation as a professional title.&#xD;&#xA;&#xD;&#xA;When talking about the use of sound in soundtracks (as a whole), the word &quot;audio direction&quot; could maybe be used (when there hopefully is a designated sound director of some sort!) instead of &quot;sound design&quot;, when addressing the use of sound. Or then simply &quot;the use of sound&quot; (regardless of the type of sound).&#xD;&#xA;&#xD;&#xA;Surely when you put it this way, there are too many &quot;sound special effects&quot; guys...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Director_of_audiography&#xD;&#xA;  [2]: http://upload.wikimedia.org/wikipedia/en/thumb/1/10/TSM_DirectorOfSound_02.pdf/page1-800px-TSM_DirectorOfSound_02.pdf.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="24300" PostHistoryTypeId="5" PostId="14721" RevisionGUID="d5b1d3fc-c0e0-4eba-a001-9e79c2af6d8e" CreationDate="2012-07-20T20:38:27.440" UserId="3179" Comment="added 35 characters in body; added 1 characters in body; added 20 characters in body" Text="I happened to stumble upon the titles &quot;audiographer&quot; and &quot;director of audiography&quot;, which I have not come across before (am I the only one?). Wikipedia proposes the alternatives &quot;audio director&quot; and &quot;director of sound&quot; as alternatives for DoA and the &quot;audiographer&quot; title is applied to everyone in the sound team.&#xD;&#xA;&#xD;&#xA;[From Wikipedia:][1]&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;To me the role of DoA seems very much what Murch's original definition of a &quot;sound designer&quot; proposed: &quot;an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track&quot;. Murch didn't mention music, but it should definitely be there, because Murch speaks of &quot;all aspects of a film's audio track&quot;. So the person who Murch describes should be a creative lead for the use of sound in films (or as well in all visual entertainment and media), much like a director, but for sound. Such creative lead is not a person who creates &quot;designed&quot; sound elements, which &quot;sound designer&quot; nowadays means and has long meant. The problem is that I think &quot;sound designer&quot; in visual and especially in electronic arts is occasionally falsely linked with creative direction (i.e. planning, direction and &quot;creation&quot; of the whole) and the original description also proposed it falsely, while the title &quot;sound designer&quot; should be used just for that very specific role of &quot;sound special effects&quot;. And even some of the more experienced guys might use the term &quot;sound designer&quot; wrongly when they take some role in directing the use of sound, but then generally go with the title &quot;sound designer&quot;, which might be explained by them having multiple roles in a particular production or in productions in general. But then again, &quot;sound designer&quot; as the director of sound was what Murch's original definition proposed, so anyone could be mistaken. The sound designer title is also falsely used for example in theatre sound where &quot;sound designer&quot; might be, and probably usually is used to describe the director of the use of all sound.&#xD;&#xA;&#xD;&#xA;The generalization and mixing of titles can also very easily happen in very small sound teams where you might only have one person (&quot;the audio guy&quot;, who might falsely use the title &quot;sound designer&quot; when working on the whole) or two persons (a sound designer and a composer/musician. But who is the director of sound then?). Everyone should agree that a &quot;sound designer&quot; doesn't make up the whole soundtrack/all audio. In the latter team the director of sound is either both or just one of them, but the director of sound is NOT called &quot;sound designer&quot; and the guy who creates &quot;everything non-musical&quot; isn't a sound designer either, because that leads to generalization (over VO editors, field recordists etc. and most importantly the director of sound), especially if there's no designated &quot;sound lead&quot;. Then again, there should be, because directing the soundtrack as a whole is important. The director of sound should be a separate or a particularly designated person. So in a team of two the other artist would take at least another role as the sound lead for example with the title &quot;director of audio&quot; or &quot;audio director&quot; for consistency across the media field. If you're the sole sound guy or gal in a project, you could either go with the title &quot;audiographer&quot; or a (small) combination of different subtitles that cover the roles you took, to avoid the needless use and generalization of the title &quot;director&quot; when the sound team consists of only one person.&#xD;&#xA;&#xD;&#xA;The overuse of the term &quot;sound designer&quot; could be because of the aforementioned application of the term falsely to describe an audio director, not a person who takes/took solely the role of &quot;sound special effects&quot;. Thus a person working in visual media who's professional title (outside of any projects) reads &quot;sound designer&quot; isn't necessary. The title should be used only as a part of a project or as a permanent professional title if you're employed as a sound designer i.e. &quot;the sound special effects guy&quot; and that's your permanent role. Otherwise you could be an audiographer (with specializations, if you wish), which according to the Wikipedia explanation, can be applied to any individual working on audio in visual productions without a particular further designation, apart from musicians. Thus &quot;an audiographer&quot; is a true generalist/all-around term for a sound artist/professional that works with sound in visual arts.&#xD;&#xA;&#xD;&#xA;Outside of visual arts, the sound designer title would be and is employed by people who design sound elements i.e. sound/sample library developers, apart from purely &quot;sampled musical instrument&quot; libraries. As a part of other than media productions the use of the sound designer title hasn't even seen much use, other than maybe in installation and some live work(?), where I would maybe rather see the title &quot;sound artist&quot;.&#xD;&#xA;&#xD;&#xA;&quot;Sound design&quot; purely means the process of creating sound (to a definition or an idea, often &quot;from scratch&quot;) and it's practiced by most artists across the sonic arts and unless it's tied to the role of &quot;special sound effects&quot; in a project team in media productions or sound library development, there's no need for a particular &quot;sound designer&quot; designation as a professional title.&#xD;&#xA;&#xD;&#xA;When talking about the use of sound in soundtracks (as a whole), the word &quot;audio direction&quot; could maybe be used (when there hopefully is a designated sound director of some sort!) instead of &quot;sound design&quot;, when addressing the use of sound. Or then simply &quot;the use of sound&quot; (regardless of the type of sound).&#xD;&#xA;&#xD;&#xA;Surely when you put it this way, there are too many &quot;sound special effects&quot; guys...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Director_of_audiography&#xD;&#xA;  [2]: http://upload.wikimedia.org/wikipedia/en/thumb/1/10/TSM_DirectorOfSound_02.pdf/page1-800px-TSM_DirectorOfSound_02.pdf.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="24301" PostHistoryTypeId="2" PostId="14722" RevisionGUID="50b937fb-9f66-4626-ae61-134b8ae4b907" CreationDate="2012-07-20T20:38:40.427" UserId="4078" Text="You really can't mix anything on headphones or TV accurately, its impossible!Totally impossible! Proof, take a graphic analyzer and check the wave dynamic of each TV &amp; headphone &amp; computer monitor's sound response output, and you will see a hundred different patterns on your hundred different TV's headphones etc., The EQ levels are all over the god damned place! I've been doing audio &amp; visual for 40 years and all the horror scenes in the Hellraiser movies are a picnic when compared to mixing to commercial audio or visual with any sense of accuracy! Even those stupid codec's, video compression schemes, and digital effects will also all ruin and destroy a mix at every turn or combination of turns. The fact is only the zillion dollar Hollywood trickster producing boys can truly make many situations look or sound like a zillion dollars, in all kinds of consumer speaker or visual systems, which means, no real freedom of speech in America for you and I poor boys! (When you brush up against big entertainment money!) Besides they control distribution &amp; payola too which also wipes everyone else out. I just saw another special investigation of payola on a hour long special on the boobie tube today. Keep up the good work!)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24302" PostHistoryTypeId="5" PostId="14721" RevisionGUID="451fa7c8-b2e3-4405-8477-e8c01ecbb9ae" CreationDate="2012-07-20T20:47:34.187" UserId="3179" Comment="added 1 characters in body; added 12 characters in body" Text="I happened to stumble upon the titles &quot;audiographer&quot; and &quot;director of audiography&quot;, which I have not come across before (am I the only one?). Wikipedia proposes the alternatives &quot;audio director&quot; and &quot;director of sound&quot; as alternatives for DoA and the &quot;audiographer&quot; title is applied to everyone in the sound team.&#xD;&#xA;&#xD;&#xA;[From Wikipedia:][1]&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;To me the role of DoA seems very much what Murch's original definition of a &quot;sound designer&quot; proposed: &quot;an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track&quot;. Murch didn't mention music, but it should definitely be there, because Murch speaks of &quot;all aspects of a film's audio track&quot;. So the person who Murch describes should be a creative lead for the use of sound in films (or as well in all visual entertainment and media), much like a director, but for sound. Such creative lead is not a person who creates &quot;designed&quot; sound elements, which &quot;sound designer&quot; nowadays means and has long meant. The problem is that I think &quot;sound designer&quot; in visual and especially in electronic arts is occasionally falsely linked with creative direction (i.e. planning, direction and &quot;creation&quot; of the whole) and the original description also proposed it falsely, while the title &quot;sound designer&quot; should be used just for that very specific role of &quot;sound special effects&quot;. And even some of the more experienced guys might use the term &quot;sound designer&quot; wrongly when they take some role in directing the use of sound, but then generally go with the title &quot;sound designer&quot;, which might be explained by them having multiple roles in a particular production or in productions in general. But then again, &quot;sound designer&quot; as the director of sound was what Murch's original definition proposed, so anyone could be mistaken. The sound designer title is also falsely used for example in theatre sound where &quot;sound designer&quot; might be, and probably usually is used to describe the director of the use of all sound.&#xD;&#xA;&#xD;&#xA;The generalization and mixing of titles can also very easily happen in very small sound teams where you might only have one person (&quot;the audio guy&quot;, who might falsely use the title &quot;sound designer&quot; when working on the whole) or two persons (a sound designer and a composer/musician. But who is the director of sound then?). Everyone should agree that a &quot;sound designer&quot; doesn't make up the whole soundtrack/all audio. In the latter team the director of sound is either both or just one of them, but the director of sound is NOT called &quot;sound designer&quot; and the guy who creates &quot;everything non-musical&quot; isn't a sound designer either, because that leads to generalization (over VO editors, field recordists etc. and most importantly the director of sound), especially if there's no designated &quot;sound lead&quot;. Then again, there should be, because directing the soundtrack as a whole is important. The director of sound should be a separate or a particularly designated person. So in a team of two the other artist would take at least another role as the sound lead for example with the title &quot;director of audio&quot; or &quot;audio director&quot; for consistency across the media field. If you're the sole sound guy or gal in a project, you could either go with the title &quot;audiographer&quot; or a (small) combination of different subtitles that cover the roles you took, to avoid the needless use and generalization of the title &quot;director&quot; when the sound team consists of only one person.&#xD;&#xA;&#xD;&#xA;The overuse of the term &quot;sound designer&quot; could be because of the beforementioned application of the term falsely to describe an audio director, not a person who takes/took solely the role of &quot;sound special effects&quot;. Thus a person working in visual media who's professional title (outside of any projects) reads &quot;sound designer&quot; isn't necessary. The title should be used only as a part of a project or as a permanent professional title if you're employed as a sound designer i.e. &quot;the sound special effects guy&quot; and that's your permanent role. Otherwise you could be an audiographer (with specializations, if you wish), which according to the Wikipedia explanation, can be applied to any individual working on audio in visual productions without a particular further designation, apart from musicians. Thus &quot;an audiographer&quot; is a true generalist/all-around term for a sound artist/professional that works with sound in visual arts.&#xD;&#xA;&#xD;&#xA;Outside of visual arts, the sound designer title would be and is employed by people who design sound elements i.e. sound/sample library developers, apart from purely &quot;sampled musical instrument&quot; libraries. As a part of other than media productions the use of the sound designer title hasn't even seen much use, other than maybe in installation and some live work(?), where I would maybe rather see the title &quot;sound artist&quot;.&#xD;&#xA;&#xD;&#xA;&quot;Sound design&quot; purely means the process of creating sound (to a definition or an idea, often &quot;from scratch&quot;) and it's practiced by most artists across the sonic arts and unless it's tied to the role of &quot;special sound effects&quot; in a project team in media productions or sound library development, there's no need for a particular &quot;sound designer&quot; designation as a professional title.&#xD;&#xA;&#xD;&#xA;When talking about the use of sound in soundtracks (as a whole), the word &quot;audio direction&quot; could maybe be used (when there hopefully is a designated sound director of some sort!) instead of &quot;sound design&quot;, when addressing the use of sound. Or then simply &quot;the use of sound&quot; (regardless of the type of sound).&#xD;&#xA;&#xD;&#xA;Surely when you put it this way, there are too many (full-time) &quot;sound special effects&quot; guys...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Director_of_audiography&#xD;&#xA;  [2]: http://upload.wikimedia.org/wikipedia/en/thumb/1/10/TSM_DirectorOfSound_02.pdf/page1-800px-TSM_DirectorOfSound_02.pdf.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="24303" PostHistoryTypeId="5" PostId="14721" RevisionGUID="a2e3e6f8-180f-4f34-a914-e6ddf841afad" CreationDate="2012-07-20T20:53:44.613" UserId="3179" Comment="added 15 characters in body; edited body; added 10 characters in body" Text="I happened to stumble upon the titles &quot;audiographer&quot; and &quot;director of audiography&quot;, which I have not come across before (am I the only one?). Wikipedia proposes the alternatives &quot;audio director&quot; and &quot;director of sound&quot; as alternatives for DoA and the &quot;audiographer&quot; title is applied to everyone in the sound team.&#xD;&#xA;&#xD;&#xA;[From Wikipedia:][1]&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;To me the role of DoA seems very much what Murch's original definition of a &quot;sound designer&quot; proposed: &quot;an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track&quot;. Murch didn't mention music, but it should definitely be there, because Murch speaks of &quot;all aspects of a film's audio track&quot;. So the person who Murch describes should be a creative lead for the use of sound in films (or as well in all visual entertainment and media), much like a director, but for sound. Such creative lead is not a person who creates &quot;designed&quot; sound elements, which &quot;sound designer&quot; nowadays means and has long meant. The problem is that I think &quot;sound designer&quot; in visual and especially in electronic arts is occasionally falsely linked with creative direction (i.e. planning, direction and &quot;creation&quot; of the whole) and the original description also proposed it falsely, while the title &quot;sound designer&quot; should be used just for that very specific role of &quot;sound special effects&quot;. And even some of the more experienced guys might use the term &quot;sound designer&quot; wrongly when they take some role in directing the use of sound, but then generally go with the title &quot;sound designer&quot;, which might be explained by them having multiple roles in a particular production or in productions in general. But then again, &quot;sound designer&quot; as the director of sound was what Murch's original definition proposed, so anyone could be mistaken. The sound designer title is also falsely used for example in theatre sound where &quot;sound designer&quot; might be, and probably usually is used to describe the director of the use of all sound.&#xD;&#xA;&#xD;&#xA;The generalization and mixing of titles can also very easily happen in very small sound teams where you might only have one person (&quot;the audio guy&quot;, who might falsely use the title &quot;sound designer&quot; when working on the whole) or two persons (a sound designer and a composer/musician. But who is the director of sound then?). Everyone should agree that a &quot;sound designer&quot; doesn't make up the whole soundtrack/all audio. In the latter team the director of sound is either both or just one of them, but the director of sound is NOT called &quot;sound designer&quot; and the guy who creates &quot;everything non-musical&quot; isn't a sound designer either, because that leads to generalization (over foley artists, VO editors, field recordists etc. and most importantly the director of sound), especially if there's no designated &quot;sound lead&quot;. Then again, there should be, because directing the soundtrack as a whole is important. The director of sound should be a separate or a particularly designated person. So in a team of two the other artist would take at least another role as the sound lead for example with the title &quot;director of audio&quot; or &quot;audio director&quot; for consistency across the media field. If you're the sole sound guy or gal in a project, you could either go with the title &quot;audiographer&quot; or a (small) combination of different subtitles that cover the roles you took, to avoid the needless use and generalization of the title &quot;director&quot; when the sound team consists of only one person.&#xD;&#xA;&#xD;&#xA;The overuse of the term &quot;sound designer&quot; could be because of the beforementioned application of the term falsely to describe an audio director, not a person who takes/took solely the role of &quot;sound special effects&quot;. Thus a person working in visual media whose professional title (outside of any projects) reads &quot;sound designer&quot; isn't necessary. The title should be used only as a part of a project or as a permanent professional title if you're employed as a sound designer i.e. &quot;the sound special effects guy&quot; and that's your permanent role. Otherwise you could be an audiographer (with specializations, if you wish), which according to the Wikipedia explanation, can be applied to any individual working on audio in visual productions without a particular further designation, apart from musicians. Thus &quot;an audiographer&quot; is a true generalist/all-around term for a sound artist/professional that works with sound in visual arts.&#xD;&#xA;&#xD;&#xA;Outside of visual arts and media, the sound designer title would be and is employed by people who design sound elements i.e. sound/sample library developers, apart from purely &quot;sampled musical instrument&quot; libraries. As a part of other than media productions the use of the sound designer title hasn't even seen much use, other than maybe in installation and some live work(?), where I would maybe rather see the title &quot;sound artist&quot;.&#xD;&#xA;&#xD;&#xA;&quot;Sound design&quot; purely means the process of creating sound (to a definition or an idea, often &quot;from scratch&quot;) and it's practiced by most artists across the sonic arts and unless it's tied to the role of &quot;special sound effects&quot; in a project team in media productions or sound library development, there's no need for a particular &quot;sound designer&quot; designation as a professional title.&#xD;&#xA;&#xD;&#xA;When talking about the use of sound in soundtracks (as a whole), the word &quot;audio direction&quot; could maybe be used (when there hopefully is a designated sound director of some sort!) instead of &quot;sound design&quot;, when addressing the use of sound. Or then simply &quot;the use of sound&quot; (regardless of the type of sound).&#xD;&#xA;&#xD;&#xA;Surely when you put it this way, there are too many (full-time) &quot;sound special effects&quot; guys...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Director_of_audiography&#xD;&#xA;  [2]: http://upload.wikimedia.org/wikipedia/en/thumb/1/10/TSM_DirectorOfSound_02.pdf/page1-800px-TSM_DirectorOfSound_02.pdf.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="24304" PostHistoryTypeId="5" PostId="14721" RevisionGUID="869fc581-ea47-4f46-8b6d-cb5e21ac79fe" CreationDate="2012-07-20T20:59:58.393" UserId="3179" Comment="added 89 characters in body; added 1 characters in body; deleted 6 characters in body" Text="I happened to stumble upon the titles &quot;audiographer&quot; and &quot;director of audiography&quot;, which I have not come across before (am I the only one?). Wikipedia proposes the titles &quot;audio director&quot; and &quot;director of sound&quot; as alternatives for DoA and the &quot;audiographer&quot; title is applied to everyone in the sound team.&#xD;&#xA;&#xD;&#xA;[From Wikipedia:][1]&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;To me the role of DoA seems very much what Murch's original definition of a &quot;sound designer&quot; proposed: &quot;an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track&quot;. Murch didn't mention music, but it should definitely be there, because Murch speaks of &quot;all aspects of a film's audio track&quot;. So the person who Murch describes should be a creative lead for the use of sound in films (or as well in all visual entertainment and media), much like a director, but for sound. Such creative lead is not a person who creates &quot;designed&quot; sound elements, which &quot;sound designer&quot; nowadays means and has long meant. The problem is that I think &quot;sound designer&quot; in visual and especially in electronic arts is occasionally falsely linked with creative direction (i.e. planning, direction and &quot;creation&quot; of the whole) and the original description also proposed it falsely, while the title &quot;sound designer&quot; should be used just for that very specific role of &quot;sound special effects&quot;. And even some of the more experienced guys might use the term &quot;sound designer&quot; wrongly when they take some role in directing the use of sound, but then generally go with the title &quot;sound designer&quot;, which might be explained by them having multiple roles in a particular production or in productions in general. But then again, &quot;sound designer&quot; as the director of sound was what Murch's original definition proposed, so anyone could be mistaken. The sound designer title is also falsely used for example in theatre sound where &quot;sound designer&quot; might be, and probably usually is used to describe the director of the use of all sound.&#xD;&#xA;&#xD;&#xA;The generalization and mixing of titles can also very easily happen in very small sound teams where you might only have one person (&quot;the audio guy&quot;, who might falsely use the title &quot;sound designer&quot; when working on the whole) or two persons (a sound designer and a composer/musician. But who is the director of sound then?). Everyone should agree that a &quot;sound designer&quot; doesn't make up the whole soundtrack/all audio. In the latter team the director of sound is either both or just one of them, but the director of sound is NOT called &quot;sound designer&quot; and the guy who creates &quot;everything non-musical&quot; isn't a sound designer either, because that leads to generalization (over foley artists, VO editors, field recordists etc. and most importantly the director of sound), especially if there's no designated &quot;sound lead&quot;. Then again, there should be, because directing the soundtrack as a whole is important. The director of sound should be a separate or a particularly designated person. So in a team of two the other artist would take at least another role as the sound lead for example with the title &quot;director of audio&quot; or &quot;audio director&quot; for consistency across the media field. If you're the sole sound guy or gal in a project, you could either go with the title &quot;audiographer&quot; or a (small) combination of different subtitles that cover the roles you took, to avoid the needless use and generalization of the title &quot;director&quot; when the sound team consists of only one person.&#xD;&#xA;&#xD;&#xA;The overuse of the term &quot;sound designer&quot; could be because of the beforementioned application of the term falsely to describe an audio director, not a person who takes/took solely the role of &quot;sound special effects&quot;. Thus a person working in visual media whose professional title (outside of any projects) reads &quot;sound designer&quot; isn't necessary. The title should be used only as a part of a project or as a permanent professional title if you're employed as a sound designer i.e. &quot;the sound special effects guy&quot; and that's your permanent role. Otherwise you could be an audiographer (with specializations, if you wish), which according to the Wikipedia explanation, can be applied to any individual working on audio in visual productions without a particular further designation, apart from musicians. Thus &quot;an audiographer&quot; is a true generalist/all-around term for a sound artist/professional that works with sound in visual arts.&#xD;&#xA;&#xD;&#xA;Outside of visual arts and media, the sound designer title would be and is employed by people who design sound elements i.e. sound/sample library developers, apart from purely &quot;sampled musical instrument&quot; libraries. As a part of other than media productions the use of the sound designer title hasn't even seen much use, other than maybe in installation and some live work(?), where I would maybe rather see the title &quot;sound artist&quot;.&#xD;&#xA;&#xD;&#xA;&quot;Sound design&quot; purely means the process of creating sound (to a definition or an idea, often &quot;from scratch&quot;) and it's practiced by most artists across the sonic arts. Sound design is not the application of &quot;unconventional&quot; practices or effects. And unless sound design is tied to the role of &quot;special sound effects&quot; in a project team in media productions or sound library development, there's no need for a particular &quot;sound designer&quot; designation as a professional title.&#xD;&#xA;&#xD;&#xA;When talking about the use of sound in soundtracks (as a whole), the word &quot;audio direction&quot; could maybe be used (when there hopefully is a designated sound director of some sort!) instead of &quot;sound design&quot;, when addressing the use of sound. Or then simply &quot;the use of sound&quot; (regardless of the type of sound).&#xD;&#xA;&#xD;&#xA;Surely when you put it this way, there are too many (full-time) &quot;sound special effects&quot; guys...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Director_of_audiography&#xD;&#xA;  [2]: http://upload.wikimedia.org/wikipedia/en/thumb/1/10/TSM_DirectorOfSound_02.pdf/page1-800px-TSM_DirectorOfSound_02.pdf.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="24305" PostHistoryTypeId="5" PostId="14721" RevisionGUID="fa3d5fa5-63ab-4dab-95a2-8b59a81ac59e" CreationDate="2012-07-20T21:11:18.290" UserId="3179" Comment="edited body; added 40 characters in body" Text="I happened to stumble upon the titles &quot;audiographer&quot; and &quot;director of audiography&quot;, which I have not come across before (am I the only one?). Wikipedia proposes the titles &quot;audio director&quot; and &quot;director of sound&quot; as alternatives for DoA and the &quot;audiographer&quot; title is applied to everyone in the sound team.&#xD;&#xA;&#xD;&#xA;[From Wikipedia:][1]&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;To me the role of DoA seems very much what Murch's original definition of a &quot;sound designer&quot; proposed: &quot;an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track&quot;. Murch didn't mention music, but it should definitely be there, because Murch speaks of &quot;all aspects of a film's audio track&quot;. So the person who Murch describes should be a creative lead for the use of sound in films (or as well in all visual entertainment and media), much like a director, but for sound. Such creative lead is not a person who creates &quot;designed&quot; sound elements, which &quot;sound designer&quot; nowadays means and has long meant. The problem is that I think &quot;sound designer&quot; in visual and especially in electronic arts is occasionally falsely linked with creative direction (i.e. planning, direction and &quot;creation&quot; of the whole) and the original description also proposed it falsely, while the title &quot;sound designer&quot; should be used just for that very specific role of &quot;sound special effects&quot;. And even some of the more experienced guys might use the term &quot;sound designer&quot; wrongly when they take some role in directing the use of sound, but then generally go with the title &quot;sound designer&quot;, which might be explained by them having multiple roles in a particular production or in productions in general. But then again, &quot;sound designer&quot; as the director of sound was what Murch's original definition proposed, so anyone could be mistaken. The sound designer title is also falsely used for example in theatre sound where &quot;sound designer&quot; might be, and probably usually is used to describe the director of the use of all sound.&#xD;&#xA;&#xD;&#xA;The generalization and mixing of titles can also very easily happen in very small sound teams where you might only have one person (&quot;the audio guy&quot;, who might falsely use the title &quot;sound designer&quot; when working on the whole) or two persons (a sound designer and a composer/musician. But who is the director of sound then?). Everyone should agree that a &quot;sound designer&quot; doesn't make up the whole soundtrack/all audio. In the latter team the director of sound is either both or just one of them, but the director of sound is NOT called &quot;sound designer&quot; and the guy who creates &quot;everything non-musical&quot; isn't a sound designer either, because that leads to generalization (over foley artists, VO editors, field recordists etc. and most importantly the director of sound), especially if there's no designated &quot;sound lead&quot;. Then again, there should be, because directing the soundtrack as a whole is important. The director of sound should be a separate or a particularly designated person. So in a team of two the other artist (or both artists) would take and would be credited at least another role as the sound lead for example with the title &quot;director of audio&quot; or &quot;audio director&quot; for consistency across the media field. If you're the sole sound guy or gal in a project, you could either go with the title &quot;audiographer&quot; or a (small) combination of different subtitles that cover the roles you took, to avoid the needless use and generalization of the title &quot;director&quot; when the sound team consists of only one person.&#xD;&#xA;&#xD;&#xA;The overuse of the term &quot;sound designer&quot; could be because of the beforementioned application of the term falsely to describe an audio director, not a person who takes/took solely the role of &quot;sound special effects&quot;. Thus a person working in visual media whose professional title (outside of any projects) reads &quot;sound designer&quot; isn't necessary. The title should be used only as a part of a project or as a permanent professional title if you're employed as a sound designer i.e. &quot;the sound special effects guy&quot; and that's your permanent role. Otherwise you could be an audiographer (with specializations, if you wish), which according to the Wikipedia explanation, can be applied to any individual working on audio in visual productions without a particular further designation, apart from musicians. Thus &quot;an audiographer&quot; is a true generalist/all-around term for a sound artist/professional that works with sound in visual arts.&#xD;&#xA;&#xD;&#xA;Outside of visual arts and media, the sound designer title would be and is employed by people who design sound elements i.e. sound/sample library developers, apart from purely &quot;sampled musical instrument&quot; libraries. As a part of other than media productions the use of the sound designer title hasn't even seen much use, other than maybe in installation and some live work(?), where I would maybe rather see the title &quot;sound artist&quot;.&#xD;&#xA;&#xD;&#xA;&quot;Sound design&quot; purely means the process of creating sound (to a definition or an idea, often &quot;from scratch&quot;) and it's practiced by most artists across the sonic arts. Sound design is not the application of &quot;unconventional&quot; practices or effects. And unless sound design is tied to the role of &quot;sound special effects&quot; in a project team in media productions or sound library development, there's no need for a particular &quot;sound designer&quot; designation as a professional title.&#xD;&#xA;&#xD;&#xA;When talking about the use of sound in soundtracks (as a whole), the word &quot;audio direction&quot; could maybe be used (when there hopefully is a designated sound director of some sort!) instead of &quot;sound design&quot;, when addressing the use of sound. Or then simply &quot;the use of sound&quot; (regardless of the type of sound).&#xD;&#xA;&#xD;&#xA;Surely when you put it this way, there are too many (full-time) &quot;sound special effects&quot; guys...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Director_of_audiography&#xD;&#xA;  [2]: http://upload.wikimedia.org/wikipedia/en/thumb/1/10/TSM_DirectorOfSound_02.pdf/page1-800px-TSM_DirectorOfSound_02.pdf.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="24306" PostHistoryTypeId="16" PostId="14721" RevisionGUID="fa3d5fa5-63ab-4dab-95a2-8b59a81ac59e" CreationDate="2012-07-20T21:14:45.777" UserId="3179" />
  <row Id="24307" PostHistoryTypeId="5" PostId="14721" RevisionGUID="1e72b4f9-c3a8-4470-9d58-88aa41ed28c2" CreationDate="2012-07-20T21:26:20.583" UserId="3179" Comment="added 123 characters in body; added 1 characters in body" Text="I happened to stumble upon the titles &quot;audiographer&quot; and &quot;director of audiography&quot;, which I have not come across before (am I the only one?). Wikipedia proposes the titles &quot;audio director&quot; and &quot;director of sound&quot; as alternatives for DoA and the &quot;audiographer&quot; title is applied to everyone in the sound team.&#xD;&#xA;&#xD;&#xA;[From Wikipedia:][1]&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;To me the role of DoA seems very much what Murch's original definition of a &quot;sound designer&quot; proposed: &quot;an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track&quot;. Murch didn't mention music, but it should definitely be there, because Murch speaks of &quot;all aspects of a film's audio track&quot;. So the person who Murch describes should be a creative lead for the use of sound in films (or as well in all visual entertainment and media), much like a director, but for sound. Such creative lead is not a person who creates &quot;designed&quot; sound elements, which &quot;sound designer&quot; nowadays means and has long meant. The problem is that I think &quot;sound designer&quot; in visual and especially in electronic arts is occasionally falsely linked with creative direction (i.e. planning, direction and &quot;creation&quot; of the whole) and the original description also proposed it falsely, while the title &quot;sound designer&quot; should be used just for that very specific role of &quot;sound special effects&quot;. And even some of the more experienced guys might use the term &quot;sound designer&quot; wrongly when they take some role in directing the use of sound, but then generally go with the title &quot;sound designer&quot;, which might be explained by them having multiple roles in a particular production or in productions in general. But then again, &quot;sound designer&quot; as the director of sound was what Murch's original definition proposed, so anyone could be mistaken. The sound designer title is also falsely used for example in theatre sound where &quot;sound designer&quot; might be, and probably usually is used to describe the director of the use of all sound.&#xD;&#xA;&#xD;&#xA;The generalization and mixing of titles can also very easily happen in very small sound teams where you might only have one person (&quot;the audio guy&quot;, who might falsely use the title &quot;sound designer&quot; when working on the whole) or two persons (a sound designer and a composer/musician. But who is the director of sound then?). Everyone should agree that a &quot;sound designer&quot; doesn't make up the whole soundtrack/all audio. In the latter team the director of sound is either both or just one of them, but the director of sound is NOT called &quot;sound designer&quot; and the guy who creates &quot;everything non-musical&quot; isn't a sound designer either, because that leads to generalization (over foley artists, VO editors, field recordists etc. and most importantly the director of sound), especially if there's no designated &quot;sound lead&quot;. Then again, there should be, because directing the soundtrack as a whole is important. The director of sound should be a separate or a particularly designated person. So in a team of two the other artist (or both artists) would take and would be credited at least another role as the sound lead for example with the title &quot;director of audio&quot; or &quot;audio director&quot; for consistency across the media field. If you're the sole sound guy or gal in a project, you could either go with the title &quot;audiographer&quot; or a (small) combination of different subtitles that cover the roles you took, to avoid the needless use and generalization of the title &quot;director&quot; when the sound team consists of only one person.&#xD;&#xA;&#xD;&#xA;The overuse of the term &quot;sound designer&quot; could be because of the beforementioned application of the term falsely to describe an audio director, not a person who takes/took solely the role of &quot;sound special effects&quot;. Thus a person working in visual media whose professional title (outside of any projects) reads &quot;sound designer&quot; isn't necessary. The title should be used only as a part of a project or as a permanent professional title if you're employed as a sound designer i.e. &quot;the sound special effects guy&quot; and that's your permanent role. Otherwise you could be an audiographer (with specializations, if you wish), which, according to the Wikipedia explanation, can be applied to any individual working on audio in visual productions without a particular further designation, apart from musicians. Thus &quot;an audiographer&quot; is a true generalist/all-around term for a sound artist/professional that works with sound in visual arts.&#xD;&#xA;&#xD;&#xA;Outside of visual arts and media, the sound designer title would be and is employed by people who design sound elements i.e. sound/sample library developers, apart from purely &quot;sampled musical instrument&quot; libraries. As a part of other than media productions the use of the sound designer title hasn't even seen much use, other than maybe in installation and some live work(?), where I would maybe rather see the title &quot;sound artist&quot; (if it's one person and it's not a particular individual of a larger group with a designated &quot;sound special effects&quot; role).&#xD;&#xA;&#xD;&#xA;&quot;Sound design&quot; purely means the process of creating sound (to a definition or an idea, often &quot;from scratch&quot;) and it's practiced by most artists across the sonic arts. Sound design is not the application of &quot;unconventional&quot; practices or effects. And unless sound design is tied to the role of &quot;sound special effects&quot; in a project team in media productions or sound library development, there's no need for a particular &quot;sound designer&quot; designation as a professional title.&#xD;&#xA;&#xD;&#xA;When talking about the use of sound in soundtracks (as a whole), the word &quot;audio direction&quot; could maybe be used (when there hopefully is a designated sound director of some sort!) instead of &quot;sound design&quot;, when addressing the use of sound. Or then simply &quot;the use of sound&quot; (regardless of the type of sound).&#xD;&#xA;&#xD;&#xA;Surely when you put it this way, there are too many (full-time) &quot;sound special effects&quot; guys...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Director_of_audiography&#xD;&#xA;  [2]: http://upload.wikimedia.org/wikipedia/en/thumb/1/10/TSM_DirectorOfSound_02.pdf/page1-800px-TSM_DirectorOfSound_02.pdf.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="24308" PostHistoryTypeId="2" PostId="14723" RevisionGUID="55484086-8885-41e3-a549-778193f79e8b" CreationDate="2012-07-20T21:39:54.187" UserId="4079" Text="I'm just curious as to a lot of these new technological portable devices have recently come out now. I'm sure a lot of people getting started in the industry and wanting to make a sound design reel would like to know what should they use in terms of software for manipulating sounds and recorders and mics. Let me know if you were strap for cash what would you buy if you had a low budget and wanted to start a new sound design kit. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24309" PostHistoryTypeId="1" PostId="14723" RevisionGUID="55484086-8885-41e3-a549-778193f79e8b" CreationDate="2012-07-20T21:39:54.187" UserId="4079" Text="If you had to start over as a newbie, what would be your starter kit for sound designing (software, field recording, etc.)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24310" PostHistoryTypeId="3" PostId="14723" RevisionGUID="55484086-8885-41e3-a549-778193f79e8b" CreationDate="2012-07-20T21:39:54.187" UserId="4079" Text="&lt;field-recording&gt;&lt;microphone&gt;&lt;sound-design&gt;&lt;software&gt;&lt;wave-editor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24311" PostHistoryTypeId="5" PostId="14721" RevisionGUID="3f875011-ae1f-4bab-b343-79cf7d2acc38" CreationDate="2012-07-20T21:48:24.970" UserId="3179" Comment="edited body" Text="I happened to stumble upon the titles &quot;audiographer&quot; and &quot;director of audiography&quot;, which I have not come across before (am I the only one?). Wikipedia proposes the titles &quot;audio director&quot; and &quot;director of sound&quot; as alternatives for DoA and the &quot;audiographer&quot; title is applied to everyone in the sound team.&#xD;&#xA;&#xD;&#xA;[From Wikipedia:][1]&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;To me the role of DoA seems very much what Murch's original definition of a &quot;sound designer&quot; proposed: &quot;an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track&quot;. Murch didn't mention music, but it should definitely be there, because Murch speaks of &quot;all aspects of a film's audio track&quot;. So the person who Murch describes should be a creative lead for the use of sound in films (or as well in all visual entertainment and media), much like a director, but for sound. Such creative lead is not a person who creates &quot;designed&quot; sound elements, which &quot;sound designer&quot; nowadays means and has long meant. The problem is that I think &quot;sound designer&quot; in visual and especially in electronic arts is occasionally falsely linked with creative direction (i.e. planning, direction and &quot;creation&quot; of the whole) and the original description also proposed it falsely, while the title &quot;sound designer&quot; should be used just for that very specific role of &quot;sound special effects&quot;. And even some of the more experienced guys might use the term &quot;sound designer&quot; wrongly when they take some role in directing the use of sound, but then generally go with the title &quot;sound designer&quot;, which might be explained by them having multiple roles in a particular production or in productions in general. But then again, &quot;sound designer&quot; as the director of sound was what Murch's original definition proposed, so anyone could be mistaken. The sound designer title is also falsely used for example in theatre sound where &quot;sound designer&quot; might be, and probably usually is used to describe the director of the use of all sound.&#xD;&#xA;&#xD;&#xA;The generalization and mixing of titles can also very easily happen in very small sound teams where you might only have one person (&quot;the audio guy&quot;, who might falsely use the title &quot;sound designer&quot; when working on the whole) or two persons (a sound designer and a composer/musician. But who is the director of sound then?). Everyone should agree that a &quot;sound designer&quot; doesn't make up the whole soundtrack/all audio. In the latter team the director of sound is either both or just one of them, but the director of sound is NOT called &quot;sound designer&quot; and the guy who creates &quot;everything non-musical&quot; isn't a sound designer either, because that leads to generalization (over foley artists, VO editors, field recordists etc. and most importantly the director of sound), especially if there's no designated &quot;sound lead&quot;. Then again, there should be, because directing the soundtrack as a whole is important. The director of sound should be a separate or a particularly designated person. So in a team of two the other artist (or both artists) would take and would be credited at least another role as the sound lead for example with the title &quot;director of sound&quot; or &quot;audio director&quot; for consistency across the media field. If you're the sole sound guy or gal in a project, you could either go with the title &quot;audiographer&quot; or a (small) combination of different subtitles that cover the roles you took, to avoid the needless use and generalization of the title &quot;director&quot; when the sound team consists of only one person.&#xD;&#xA;&#xD;&#xA;The overuse of the term &quot;sound designer&quot; could be because of the beforementioned application of the term falsely to describe an audio director, not a person who takes/took solely the role of &quot;sound special effects&quot;. Thus a person working in visual media whose professional title (outside of any projects) reads &quot;sound designer&quot; isn't necessary. The title should be used only as a part of a project or as a permanent professional title if you're employed as a sound designer i.e. &quot;the sound special effects guy&quot; and that's your permanent role. Otherwise you could be an audiographer (with specializations, if you wish), which, according to the Wikipedia explanation, can be applied to any individual working on audio in visual productions without a particular further designation, apart from musicians. Thus &quot;an audiographer&quot; is a true generalist/all-around term for a sound artist/professional that works with sound in visual arts.&#xD;&#xA;&#xD;&#xA;Outside of visual arts and media, the sound designer title would be and is employed by people who design sound elements i.e. sound/sample library developers, apart from purely &quot;sampled musical instrument&quot; libraries. As a part of other than media productions the use of the sound designer title hasn't even seen much use, other than maybe in installation and some live work(?), where I would maybe rather see the title &quot;sound artist&quot; (if it's one person and it's not a particular individual of a larger group with a designated &quot;sound special effects&quot; role).&#xD;&#xA;&#xD;&#xA;&quot;Sound design&quot; purely means the process of creating sound (to a definition or an idea, often &quot;from scratch&quot;) and it's practiced by most artists across the sonic arts. Sound design is not the application of &quot;unconventional&quot; practices or effects. And unless sound design is tied to the role of &quot;sound special effects&quot; in a project team in media productions or sound library development, there's no need for a particular &quot;sound designer&quot; designation as a professional title.&#xD;&#xA;&#xD;&#xA;When talking about the use of sound in soundtracks (as a whole), the word &quot;audio direction&quot; could maybe be used (when there hopefully is a designated sound director of some sort!) instead of &quot;sound design&quot;, when addressing the use of sound. Or then simply &quot;the use of sound&quot; (regardless of the type of sound).&#xD;&#xA;&#xD;&#xA;Surely when you put it this way, there are too many (full-time) &quot;sound special effects&quot; guys...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Director_of_audiography&#xD;&#xA;  [2]: http://upload.wikimedia.org/wikipedia/en/thumb/1/10/TSM_DirectorOfSound_02.pdf/page1-800px-TSM_DirectorOfSound_02.pdf.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="24312" PostHistoryTypeId="2" PostId="14724" RevisionGUID="fb2fb0bb-add3-4c30-9d42-2518aa288bfc" CreationDate="2012-07-20T21:49:13.430" UserId="3417" Text="I call myself a sound designer by working actually as a **sound designer**, making sound design for advertising, feature films, short films, multimedia, videogames, etc. All this by creating everything from scratch, using multiple tools/software/techniques, from foleys to synths to audio libraries, and whatever freestyle stuff you are able to use (legal/licensed), etc. &#xD;&#xA;&#xD;&#xA;my 2 cents&#xD;&#xA;&#xD;&#xA;greetz from mexico :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24313" PostHistoryTypeId="5" PostId="14721" RevisionGUID="f5812f31-3177-416c-8f08-a613b02dda02" CreationDate="2012-07-20T21:59:14.587" UserId="3179" Comment="added 15 characters in body" Text="I happened to stumble upon the titles &quot;audiographer&quot; and &quot;director of audiography&quot;, which I have not come across before (am I the only one?). Wikipedia proposes the titles &quot;audio director&quot; and &quot;director of sound&quot; as alternatives for DoA and the &quot;audiographer&quot; title is applied to everyone in the sound team.&#xD;&#xA;&#xD;&#xA;[From Wikipedia:][1]&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;To me the role of DoA seems very much what Murch's original definition of a &quot;sound designer&quot; proposed: &quot;an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track&quot;. Murch didn't mention music, but it should definitely be there, because Murch speaks of &quot;all aspects of a film's audio track&quot;. So the person who Murch describes should be a creative lead for the use of sound in films (or as well in all visual entertainment and media), much like a director, but for sound. Such creative lead is not a person who creates &quot;designed&quot; sound elements, which &quot;sound designer&quot; nowadays means and has long meant. The problem is that I think &quot;sound designer&quot; in visual and especially in electronic arts is occasionally falsely linked with creative direction (i.e. planning, direction and &quot;creation&quot; of the whole) and the original description also proposed it falsely, while the title &quot;sound designer&quot; should be used just for that very specific role of &quot;sound special effects&quot;. And even some of the more experienced guys might use the term &quot;sound designer&quot; wrongly when they take some role in directing the use of sound, but then generally go with the title &quot;sound designer&quot;, which might be explained by them having multiple roles in a particular production or in productions in general. But then again, &quot;sound designer&quot; as the director of sound was what Murch's original definition proposed, so anyone could be mistaken. The sound designer title is also falsely used for example in theatre sound where &quot;sound designer&quot; might be, and probably usually is used to describe the director of the use of all sound.&#xD;&#xA;&#xD;&#xA;The generalization and mixing of titles can also very easily happen in very small sound teams where you might only have one person (&quot;the audio guy&quot;, who might falsely use the title &quot;sound designer&quot; when working on the whole) or two persons (a sound designer and a composer/musician. But who is the director of sound then?). Everyone should agree that a &quot;sound designer&quot; doesn't make up the whole soundtrack/all audio. In the latter team the director of sound is either both or just one of them, but the director of sound is NOT called &quot;sound designer&quot; and the guy who creates &quot;everything non-musical&quot; isn't a sound designer either, because that leads to generalization (over foley artists, VO editors, field recordists, sound editors etc. and most importantly the director of sound), especially if there's no designated &quot;sound lead&quot;. Then again, there should be, because directing the soundtrack as a whole is important. The director of sound should be a separate or a particularly designated person. So in a team of two the other artist (or both artists) would take and would be credited at least another role as the sound lead for example with the title &quot;director of sound&quot; or &quot;audio director&quot; for consistency across the media field. If you're the sole sound guy or gal in a project, you could either go with the title &quot;audiographer&quot; or a (small) combination of different subtitles that cover the roles you took, to avoid the needless use and generalization of the title &quot;director&quot; when the sound team consists of only one person.&#xD;&#xA;&#xD;&#xA;The overuse of the term &quot;sound designer&quot; could be because of the beforementioned application of the term falsely to describe an audio director, not a person who takes/took solely the role of &quot;sound special effects&quot;. Thus a person working in visual media whose professional title (outside of any projects) reads &quot;sound designer&quot; isn't necessary. The title should be used only as a part of a project or as a permanent professional title if you're employed as a sound designer i.e. &quot;the sound special effects guy&quot; and that's your permanent role. Otherwise you could be an audiographer (with specializations, if you wish), which, according to the Wikipedia explanation, can be applied to any individual working on audio in visual productions without a particular further designation, apart from musicians. Thus &quot;an audiographer&quot; is a true generalist/all-around term for a sound artist/professional that works with sound in visual arts.&#xD;&#xA;&#xD;&#xA;Outside of visual arts and media, the sound designer title would be and is employed by people who design sound elements i.e. sound/sample library developers, apart from purely &quot;sampled musical instrument&quot; libraries. As a part of other than media productions the use of the sound designer title hasn't even seen much use, other than maybe in installation and some live work(?), where I would maybe rather see the title &quot;sound artist&quot; (if it's one person and it's not a particular individual of a larger group with a designated &quot;sound special effects&quot; role).&#xD;&#xA;&#xD;&#xA;&quot;Sound design&quot; purely means the process of creating sound (to a definition or an idea, often &quot;from scratch&quot;) and it's practiced by most artists across the sonic arts. Sound design is not the application of &quot;unconventional&quot; practices or effects. And unless sound design is tied to the role of &quot;sound special effects&quot; in a project team in media productions or sound library development, there's no need for a particular &quot;sound designer&quot; designation as a professional title.&#xD;&#xA;&#xD;&#xA;When talking about the use of sound in soundtracks (as a whole), the word &quot;audio direction&quot; could maybe be used (when there hopefully is a designated sound director of some sort!) instead of &quot;sound design&quot;, when addressing the use of sound. Or then simply &quot;the use of sound&quot; (regardless of the type of sound).&#xD;&#xA;&#xD;&#xA;Surely when you put it this way, there are too many (full-time) &quot;sound special effects&quot; guys...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Director_of_audiography&#xD;&#xA;  [2]: http://upload.wikimedia.org/wikipedia/en/thumb/1/10/TSM_DirectorOfSound_02.pdf/page1-800px-TSM_DirectorOfSound_02.pdf.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="24314" PostHistoryTypeId="2" PostId="14725" RevisionGUID="91b500c8-f517-4ec3-a323-7af33e503d68" CreationDate="2012-07-20T22:36:38.453" UserId="3179" Text="A computer. Speakers/Headphones. At least a DAW and some other software (in the form of plug-ins, if you wish). An audio interface. A microphone (or more). A portable recorder.&#xD;&#xA;&#xD;&#xA;Sound/sample libraries, if you're making soundtracks (which are not about and aren't full-on &quot;sound design&quot;)." ContentLicense="CC BY-SA 3.0" />
  <row Id="24315" PostHistoryTypeId="2" PostId="14726" RevisionGUID="64bea198-a208-4edc-aa13-f7e2519e102e" CreationDate="2012-07-20T23:52:37.553" UserId="1049" Text="&#xD;&#xA;This is entirely dependent on what sort of work you'd plan to do, and what exactly your budget was. Without an example of budget etc it's hard to give specific examples of equipment. But if you really had no money to spend and could get access to a computer then it'd be entirely possible to start creating basic sound effects for use in something like a simple browser game using the voice recorder on a mobile (cell) phone and freeware like Audacity. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24316" PostHistoryTypeId="2" PostId="14727" RevisionGUID="5ace7001-d25a-42a2-942d-0b305a2c6af0" CreationDate="2012-07-21T01:23:15.843" UserDisplayName="user49" Text="Strapped for cash? I'd buy nothing new - secondhand Mac, secondhand MBox &amp; ProTools10 ilok, a shotgun mic and a recorder. You don't need other plugins because if you are starting out there is a LOT to learn just with ProTools... and frankly, if you cannot make interesting sounds with just those four things, then its your imagination &amp; creativity that needs focusing on" ContentLicense="CC BY-SA 3.0" />
  <row Id="24317" PostHistoryTypeId="2" PostId="14728" RevisionGUID="5ff1b595-46b8-42a6-9ad1-27da27bf5091" CreationDate="2012-07-21T02:28:13.917" UserId="4081" Text="Hey guys,&#xD;&#xA;I am in the process of making sounds for my first game. The project is for an iOS game app and given the 20mb size limit, my audio files have to be really small. As such I would like to deliver some of the shorter sounds at a 24khz sample rate. However, using Logic Pro, I can't seem to figure out how to do that! Obviously when I bounce the file and just simply change the sample rate from 44 to 24, the file is played back twice as fast. How do I make this not happen?&#xD;&#xA;&#xD;&#xA;On a related note, how should the files be delivered? Apple seems to stress that the sounds should be in Linear PCM or IMA4 codec, but these files are huge. If you use the bash script afconvert to put them in a smaller file format, it always leads to some awful aliasing. Why would I not just deliver it as an mp3 or AAC? On the other hand, even if I did that, don't the more compressed formats like mp3 require more work for the CPU to encode them on the iPhone? &#xD;&#xA;&#xD;&#xA;Sorry for the large amount of questions, if you can answer any one of them, I would be very grateful." ContentLicense="CC BY-SA 3.0" />
  <row Id="24318" PostHistoryTypeId="1" PostId="14728" RevisionGUID="5ff1b595-46b8-42a6-9ad1-27da27bf5091" CreationDate="2012-07-21T02:28:13.917" UserId="4081" Text="ios game audio file size" ContentLicense="CC BY-SA 3.0" />
  <row Id="24319" PostHistoryTypeId="3" PostId="14728" RevisionGUID="5ff1b595-46b8-42a6-9ad1-27da27bf5091" CreationDate="2012-07-21T02:28:13.917" UserId="4081" Text="&lt;game&gt;&lt;filesize&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24320" PostHistoryTypeId="2" PostId="14729" RevisionGUID="643218d6-2be4-454b-bb16-33d6ac96517c" CreationDate="2012-07-21T03:05:48.813" UserId="3839" Text="Hmm, probably an H4n, NTG3, PT10, RX2, a pair of Yamaha HS50Ms, sony 7506. Those would be my main essentials. RX2 specifically for removing preamp hiss from the H4n. PT10 is fine out of the box nowadays, but Ozone 5 if I had to choose one 3rd party plugin.&#xD;&#xA;&#xD;&#xA;H4n - 300&#xD;&#xA;NTG3 - 700&#xD;&#xA;PT10 - 700 (or a cheaper student version)&#xD;&#xA;HS50m pair - 300&#xD;&#xA;7506 - 80&#xD;&#xA;RX2 - 300&#xD;&#xA;Ozone 5 Adv - 800&#xD;&#xA;&#xD;&#xA;Total = about $3200.. on the high end" ContentLicense="CC BY-SA 3.0" />
  <row Id="24321" PostHistoryTypeId="2" PostId="14730" RevisionGUID="18e1127a-de5c-404d-ba3d-b2be40d2bb2c" CreationDate="2012-07-21T04:55:10.863" UserId="842" Text="I'd do like I've always done, buy a few vital things with the highest quality possible (it's more expensive in the long run to upgrade), and work only with the sources until I could afford more trustworthy monitoring so I could start filtering and processing more seriously.&#xD;&#xA;&#xD;&#xA;Of course I wouldn't be nowhere near buying an Aaton at that time (still isn't), so I'd go for the best thing for the buck - a Fostex FR2Le. I actually work with the full FR2 right now. Then I'd get a Line Audio CM3 cardioid and a Sennheiser MKH416, a pair of BeyerDynamic DT250 headphones, and some Supra-cable. Though very cheap, the CM3 is still a valuable asset to my set.&#xD;&#xA;&#xD;&#xA;With that I would record everything I could find 'till I could afford the DAW-part. For the audio interface I'd go for a LynxTWO-card to begin with, Steinberg Nuendo for DAW, and the best monitors I could find for my money. Right now it might very well be a pair of old Alesis Monitor One mkII, though chances are I'd very well find something else I would like if I tried. The M-One are not the easiest to mix in, but they're pretty straight-lined and far from flattering, and when I upgrade they'll make a good addition to much bigger systems to confirm the mix.&#xD;&#xA;&#xD;&#xA;But frankly, when I started out most of these things didn't exist. At the very beginning I had a really shitty DV-recorder with auto-gain and a Röde NT3, though my Yamaha DSP Factory-cards and Monitor One (mkII, the first model was more lackluster) was very nice at the time! All of the sounds recorded during those about two years is completely useless today." ContentLicense="CC BY-SA 3.0" />
  <row Id="24322" PostHistoryTypeId="2" PostId="14731" RevisionGUID="1c95dbfd-6592-46bd-ade4-65d965e1852c" CreationDate="2012-07-21T08:05:47.417" UserId="1145" Text="I think i would go for a laptop with ableton live suite, apogee duet 2 interface, zoom H4N, Røde NT1A, Sony 7506 and maybe active Event monitors. I think there is more creative possibilities with ableton than PT, if i had to pick one to start with. I don't think we'll ever stop upgrading our gear anyway, so the thing is to get the best of what we can get. Even now after 20 years and a lot of quality gear I'm sure i'll change it at some point. The only thing i keep is good microphones, vintage keys and tube preamps/compressors etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="24323" PostHistoryTypeId="2" PostId="14732" RevisionGUID="55258b56-694a-40cb-9928-aa9020dd65a6" CreationDate="2012-07-21T09:06:03.510" UserId="3296" Text="Hi there. I use Logic 9 and save PCM Wav at 22050hz and play back is fine. I'm not sure why you're getting problems with the speed?&#xD;&#xA;&#xD;&#xA;20mb goes a long way if you use it efficiently. Keep files sizes low by saving as mono, keep SFX to &lt;0.5sec. Loop SFX for longer instances. Use pitch changes to create variations. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24324" PostHistoryTypeId="2" PostId="14733" RevisionGUID="8f6702a9-e138-4a60-ba3c-40518b7825d0" CreationDate="2012-07-21T10:37:14.177" UserId="7642" Text="Ramblings ahead!&#xD;&#xA;&#xD;&#xA;This seems to have focused on what to buy...&#xD;&#xA;&#xD;&#xA;Define sound design...&#xD;&#xA;&#xD;&#xA;Do you mean working with sound for film/tv etc in general, designing it's soundtrack?&#xD;&#xA;Do you mean working with sound for AAA games designing it's soundtrack?&#xD;&#xA;Do you mean designing sounds for yourself as art?&#xD;&#xA;Do you mean designing sounds for independents to use in ios or online games etc?&#xD;&#xA;&#xD;&#xA;All the above could be defined as doing sound design.&#xD;&#xA;And the paths to get anywhere is very different depending on where you're goals are.&#xD;&#xA;&#xD;&#xA;Yes, designing sounds is a vital knowledge and part of the needed skillset for working for film/TV.&#xD;&#xA;But you will never ever get a job starting out as a &quot;sound designer&quot;. You  start out assisting on a shoot pulling cables and fetching coffe, or editing basic sound effects/foley/ADR for less demanding projects.&#xD;&#xA;Until you have proven that you can find/choose the right sounds get them in sync and complete your tasks within the predefined time all while beeing a nice person to be around. You will not be considered for anything but very basic tasks. The closest you'd get to &quot;sound design&quot; in a SSD way is going out to record some sound effects that's not vital for the story but would be nice to have and if the newbie (you) screws up its no big deal. &#xD;&#xA;&#xD;&#xA;Major games are similar but still very different.&#xD;&#xA;&#xD;&#xA;Art, small games and school films (for free), is different still. &#xD;&#xA;These are the areas that pay the least but still require you to know your tools, own your tools, understand the craft. Delivery is what is mostly different, with these kinds of projects time is likely to be less of an issue. Either because  art is expected to take time, school projects understand the learning curve and small/independent games will have a limited amount of assets you need to deliver so you are likely to be able to spend more time on each asset.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What you need in terms of knowledge and preparedness is very different.&#xD;&#xA;What you need in terms of tools/equipment is also very different.&#xD;&#xA;What it will cost you is also very different.&#xD;&#xA;How to get there is also very different.&#xD;&#xA;&#xD;&#xA;Now what was the question? " ContentLicense="CC BY-SA 3.0" />
  <row Id="24325" PostHistoryTypeId="2" PostId="14734" RevisionGUID="ffb5c6cb-63ab-40d5-b53d-2c051aeab630" CreationDate="2012-07-21T10:39:37.250" UserId="3975" Text="First of all what game engine are you using?  &#xD;&#xA;&#xD;&#xA;If its something like Unity then generally for SFX you would use wav and for large sound files use mp3 or ogg (although you would use ogg for seamless loops)." ContentLicense="CC BY-SA 3.0" />
  <row Id="24326" PostHistoryTypeId="5" PostId="14733" RevisionGUID="01a4bf68-523a-48dd-967a-5e464ded7866" CreationDate="2012-07-21T10:48:34.887" UserId="7642" Comment="added 105 characters in body" Text="Ramblings ahead!&#xD;&#xA;&#xD;&#xA;This seems to have focused on what to buy... (sorry I failed to read the question properly, I still think my response is valid so i won't delete it).&#xD;&#xA;&#xD;&#xA;Define sound design...&#xD;&#xA;&#xD;&#xA;Do you mean working with sound for film/tv etc in general, designing it's soundtrack?&#xD;&#xA;Do you mean working with sound for AAA games designing it's soundtrack?&#xD;&#xA;Do you mean designing sounds for yourself as art?&#xD;&#xA;Do you mean designing sounds for independents to use in ios or online games etc?&#xD;&#xA;&#xD;&#xA;All the above could be defined as doing sound design.&#xD;&#xA;And the paths to get anywhere is very different depending on where you're goals are.&#xD;&#xA;&#xD;&#xA;Yes, designing sounds is a vital knowledge and part of the needed skillset for working for film/TV.&#xD;&#xA;But you will never ever get a job starting out as a &quot;sound designer&quot;. You  start out assisting on a shoot pulling cables and fetching coffe, or editing basic sound effects/foley/ADR for less demanding projects.&#xD;&#xA;Until you have proven that you can find/choose the right sounds get them in sync and complete your tasks within the predefined time all while beeing a nice person to be around. You will not be considered for anything but very basic tasks. The closest you'd get to &quot;sound design&quot; in a SSD way is going out to record some sound effects that's not vital for the story but would be nice to have and if the newbie (you) screws up its no big deal. &#xD;&#xA;&#xD;&#xA;Major games are similar but still very different.&#xD;&#xA;&#xD;&#xA;Art, small games and school films (for free), is different still. &#xD;&#xA;These are the areas that pay the least but still require you to know your tools, own your tools, understand the craft. Delivery is what is mostly different, with these kinds of projects time is likely to be less of an issue. Either because  art is expected to take time, school projects understand the learning curve and small/independent games will have a limited amount of assets you need to deliver so you are likely to be able to spend more time on each asset.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What you need in terms of knowledge and preparedness is very different.&#xD;&#xA;What you need in terms of tools/equipment is also very different.&#xD;&#xA;What it will cost you is also very different.&#xD;&#xA;How to get there is also very different.&#xD;&#xA;&#xD;&#xA;Now what was the question? " ContentLicense="CC BY-SA 3.0" />
  <row Id="24327" PostHistoryTypeId="2" PostId="14735" RevisionGUID="91c1123c-7dfe-49d3-97be-ac68771fe6d1" CreationDate="2012-07-21T14:48:26.577" UserId="3179" Text="It's playing back too fast because the playbacking program or hardware is resampling the sound file to 44.1 or 48kHz sample rate without compensating for the original file length, which leads to doubling its playback speed. Usually resampling algorithms do compensate by default, otherwise you would use the terms pitch- or timestretching to describe the process. So the the application is set up wrong or you're feeding it wrong formats.&#xD;&#xA;&#xD;&#xA;You should consider your game engine's or SDK's manual for the supported audio formats on the target platform. Ogg Vorbis is widely supported and highly recommended for games, but it all depends on whether it's supported or not. Otherwise MP3 for most sounds and WAV/AIFF for everything that needs looping (i.e. BG tracks), unless there are other options.&#xD;&#xA;&#xD;&#xA;You would be putting a lot of simultaneous sound to make CPU use of any concern, and application perfomance is mainly the developer's problem, so don't worry about it too much, other than going for the most efficient formats that you can use. This applies to sound in all game development." ContentLicense="CC BY-SA 3.0" />
  <row Id="24328" PostHistoryTypeId="5" PostId="14735" RevisionGUID="e0d1669d-d3f0-4edb-84aa-492fa0149706" CreationDate="2012-07-21T14:53:41.400" UserId="3179" Comment="added 14 characters in body" Text="It's playing back too fast because the playbacking program or hardware is resampling the sound file to 44.1 or 48kHz sample rate without compensating for the original file length, which leads to doubling its playback speed. Usually resampling algorithms do compensate by default, otherwise you would use the terms pitch- or timestretching (or -compression) to describe the process. So the application is set up wrong or you're feeding it wrong formats.&#xD;&#xA;&#xD;&#xA;You should consider your game engine's or SDK's manual for the supported audio formats on the target platform. Ogg Vorbis is widely supported and highly recommended for games, but it all depends on whether it's supported or not. Otherwise MP3 for most sounds and WAV/AIFF for everything that needs looping (i.e. BG tracks), unless there are other options.&#xD;&#xA;&#xD;&#xA;You would be putting a lot of simultaneous sound to make CPU use of any concern, and application perfomance is mainly the developer's problem, so don't worry about it too much, other than going for the most efficient formats that you can use. This applies to sound in all game development." ContentLicense="CC BY-SA 3.0" />
  <row Id="24329" PostHistoryTypeId="5" PostId="14735" RevisionGUID="df98e6b6-2e20-4078-affa-d96c12957da3" CreationDate="2012-07-21T15:23:52.710" UserId="3179" Comment="deleted 24 characters in body" Text="It's playing back too fast because the program is resampling the sound file to 44.1 or 48kHz sample rate without compensating for the original file length, which leads to doubling its playback speed. Usually resampling algorithms do compensate by default, otherwise you would use the terms pitch- or timestretching (or -compression) to describe the process. So the application is set up wrong or you're feeding it wrong formats.&#xD;&#xA;&#xD;&#xA;You should consider your game engine's or SDK's manual for the supported audio formats on the target platform. Ogg Vorbis is widely supported and highly recommended for games, but it all depends on whether it's supported or not. Otherwise MP3 for most sounds and WAV/AIFF for everything that needs looping (i.e. BG tracks), unless there are other options.&#xD;&#xA;&#xD;&#xA;You would be putting a lot of simultaneous sound to make CPU use of any concern, and application perfomance is mainly the developer's problem, so don't worry about it too much, other than going for the most efficient formats that you can use. This applies to sound in all game development." ContentLicense="CC BY-SA 3.0" />
  <row Id="24330" PostHistoryTypeId="5" PostId="14735" RevisionGUID="f2259ca8-3093-4a58-8b9b-9be5804b24e6" CreationDate="2012-07-21T16:23:02.040" UserId="3179" Comment="added 216 characters in body" Text="It's playing back too fast because a program or the hardware is resampling the sound file to 44.1 or 48kHz sample rate without compensating for the original file length, which leads to doubling its playback speed. In other words, the file might be 22.5/24kHz, but you're playing it back at 44.1/48kHz. Usually resampling algorithms do compensate by default and software/hardware adjusts to the correct sample rate. Otherwise you would use the terms pitch- or timestretching (or -compression) to describe the software process. So the application/hardware (your sound card or playback software) is set up wrong or you're feeding it wrong formats.&#xD;&#xA;&#xD;&#xA;You should consider your game engine's or SDK's manual for the supported audio formats on the target platform. Ogg Vorbis is widely supported and highly recommended for games, but it all depends on whether it's supported or not. Otherwise MP3 for most sounds and WAV/AIFF for everything that needs looping (i.e. BG tracks), unless there are other options.&#xD;&#xA;&#xD;&#xA;You would be putting a lot of simultaneous sound to make CPU use of any concern, and application perfomance is mainly the developer's problem, so don't worry about it too much, other than going for the most efficient formats that you can use. This applies to sound in all game development." ContentLicense="CC BY-SA 3.0" />
  <row Id="24331" PostHistoryTypeId="2" PostId="14736" RevisionGUID="eb5e9332-c6c6-4b15-8f52-56c2831c0e09" CreationDate="2012-07-21T16:52:08.640" UserId="517" Text="When my AC power adapter for my SD 722 was damaged, I started looking at replacements and alternatives. I found a very [reasonable wall plug charger][1] for the NP-1 style batteries that are compatible with the 722 on Amazon. It's quite compact and fits well in my Petrol bag and includes a car cigarette lighter adapter as well, which I have yet to use but may be handy if you're out in the middle of nowhere and need a boost. The charger has a little light on it that is red as it's charging and turns green when it's finished. I've been using it for quite a while and am pretty happy with it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/CTA-MR-F550-Battery-Charger-Batteries/dp/B000EISJV0" ContentLicense="CC BY-SA 3.0" />
  <row Id="24332" PostHistoryTypeId="2" PostId="14737" RevisionGUID="d9180d3a-46ca-4f71-abc2-b84e2c9e44a1" CreationDate="2012-07-21T17:40:27.070" UserId="235" Text="Hi James,&#xD;&#xA;  I live in Seattle and I've often wondered the same thing &quot;what is the defining sound of the place I live?&quot;  As Airborne Sound pointed out it's a less intense city than other major metropolises but I wouldn't say it was quiet.  &#xD;&#xA;  Planes unfortunately are a constant here.  Sea-Tac is a major international airport, there's Boing and dozens of other smaller airports.  Flight routes radiate in every direction.  This means planes of all sizes are constantly flying over the city.  &#xD;&#xA;  We have the largest ferry system in the country and one of the largest ports.  The sound of freight trains is common especially south of downtown.  We have Amtrack, a light rail system, a very short monorail system, lots of city busses and downtown we have electric trolley busses which make a very distinctive sound.  During the rainy season (September through June) the sound of tires on wet roads is omnipresent.  &#xD;&#xA;   Seagulls are not uncommon but not ubiquitous either.  We do have lots of crows. Especially in the evenings they travel to roost in huge groups and make quite a racket.  We have a few bald eagles that frequent the parks here.  Then there are those little brown birds (LBJ's as my aunt would call them - Little Brown Jobbers), I don't know their proper name but they'll fly in by the hundreds and inhabit a tree for the afternoon and make a ton of noise with their high pitch twittering.  &#xD;&#xA;   Then of course there's the weather.  It does indeed rain here but it's more of a constant drizzle than a downpour.  Chicago actually gets more rain per year than Seattle.  They just get theirs in intense bursts where ours is spread out over the whole year.  It's also quite windy hear.  West Seattle especially.  West Seattle was actually the original city center when the city was first settled but was abandoned because of the intense wind.  &#xD;&#xA;   I think Seattle's sound is defined more by what we don't have than what we have.  We don't have crickets for example. Night time here sounds a lot like the daytime just quieter.   Also, Seattlites in character tend to be fairly reserved.  At concerts we all just stand around and bob our heads.  We tend not to shout or talk loudly, we don't usually drive around with music blaring and *we don't honk our car horns.*  There was a funny article on the radio recently about a woman who moved here from Georgia and thought Seattle cars had there horns disabled because no one ever used them.  &#xD;&#xA;    I could go on and talk specific neighborhoods and times of year, but I think I've already gotten carried away and given you way more than you were probably looking for.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24333" PostHistoryTypeId="2" PostId="14738" RevisionGUID="649b6436-f79b-4687-8e7c-9a3f3dc79017" CreationDate="2012-07-21T17:46:32.647" UserId="7642" Text="It's a great question, we have discussed it on numerous occaisional here at work.&#xD;&#xA;Audio director would be a nice title, but not really a truthful title...&#xD;&#xA;The audio direcotor is actually the director! &#xD;&#xA;It is his/her vision of the film we are supposed to convey.&#xD;&#xA;Our abilities and knowledge will enable us to do this in different ways but it always has to be according to the directors wishes. And the title audio director implies that the person is actually the one in charge of the soundtrack, and the lead of sound just isn't, the director is.&#xD;&#xA;&#xD;&#xA;Sound supervisor is a good name for the person that have been designated to carry out the directors vision and forward those concepts and ideas to the sound team. Unfortunately theres no good Swedish translation to it. &#xD;&#xA;&#xD;&#xA;To me the/a sound designer is a person employed to help or take part in the development of the soundtrack conceptually together with the sound supervisor. Since the sound supervisor might be just that, a supervisor, or it might be the lead dialog editor. The sound supervisor is responsible for the sound teams resources and planning, often even financially, but he is still the main person in touch with the director. But by personality type I think most sound designers makes the worst sound supervisors and that generally a good experienced dialog editor will likely become a good sound supervisor.&#xD;&#xA;Any sound editor will spend some of his time designing sounds/sequences or recording new sounds to use. Does that make him a sound designer?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Perhaps we should all just let someone decide what it means and stick to that..." ContentLicense="CC BY-SA 3.0" />
  <row Id="24334" PostHistoryTypeId="5" PostId="14737" RevisionGUID="c386e2af-65aa-452f-b405-a1f70153c7fe" CreationDate="2012-07-21T20:46:43.740" UserId="235" Comment="added 1 characters in body; added 6 characters in body" Text="Hi James,&#xD;&#xA;  I live in Seattle and I've often wondered the same thing &quot;what is the defining sound of the place I live?&quot;  As Airborne Sound pointed out it's a less intense city than other major metropolises but I wouldn't say it was quiet.  &#xD;&#xA;  Planes unfortunately are a constant here.  Sea-Tac is a major international airport, there's Boeing and dozens of other smaller airports.  Flight routes radiate in every direction.  This means planes of all sizes are constantly flying over the city.  &#xD;&#xA;  We have the largest ferry system in the country and one of the largest ports.  The sound of freight trains is common especially south of downtown.  We have Amtrack, a light rail system, a very short monorail system, lots of city busses and downtown we have electric trolley busses which make a very distinctive sound.  During the rainy season (September through June) the sound of tires on wet roads is omnipresent.  &#xD;&#xA;   Seagulls are not uncommon but not ubiquitous either.  We do have lots of crows. Especially in the evenings they travel to roost in huge groups and make quite a racket.  We have a few bald eagles that frequent the parks here.  Then there are those little brown birds (LBJ's as my aunt would call them - Little Brown Jobbers), I don't know their proper name but they'll fly in by the hundreds and inhabit a tree for the afternoon and make a ton of noise with their high pitch twittering.  &#xD;&#xA;   Then of course there's the weather.  It does indeed rain a lot here but it's more of a constant drizzle than a downpour.  Chicago actually gets more rain per year than Seattle.  They just get theirs in intense bursts where ours is spread out over the whole year.  It's also quite windy here.  West Seattle especially.  West Seattle was actually the original city center when the city was first settled but was abandoned because of the intense wind.  &#xD;&#xA;   I think Seattle's sound is defined more by what we don't have than what we have.  We don't have crickets for example. Night time here sounds a lot like the daytime just quieter.   Also, Seattlites in character tend to be fairly reserved.  At concerts we all just stand around and bob our heads.  We tend not to shout or talk loudly, we don't usually drive around with music blaring and *we don't honk our car horns.*  There was a funny article on the radio recently about a woman who moved here from Georgia and thought Seattle cars had there horns disabled because no one ever used them.  &#xD;&#xA;    I could go on and talk specific neighborhoods and times of year, but I think I've already gotten carried away and given you way more than you were probably looking for.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24335" PostHistoryTypeId="2" PostId="14739" RevisionGUID="45f36966-f3af-4bdd-b093-65a629afa40b" CreationDate="2012-07-21T21:14:15.087" UserId="4083" Text="Hey guys, &#xD;&#xA;&#xD;&#xA;So here I am 6 months later.  I didn't realize at the time that I had not been logged in under my account when I asked this question.  So I hadn't received any email updates on this topic. &#xD;&#xA;&#xD;&#xA;So here is what I learned from this experience:&#xD;&#xA;&#xD;&#xA;What ended up happening:&#xD;&#xA;&#xD;&#xA;I had gone along as the sound effects editor, reviewing the OMF tracks to see what needed to be cut in as SFX. I gave it a full set BG and as many synced SFX as I thought it needed. I had asked the Dialogue editor to send me what he had done so that I could watch the whole thing down before I turned it in. When I loaded the tracks, I was shocked to see that he had only cut the interview material and had discarded everything else from production sound. I fully expected some surprises but this was huge. I worked overnight and cut all the material that was skipped.  &#xD;&#xA;&#xD;&#xA;The whole project was edited and mixed in 12 days. The Supervisor was overextended and was impossible to communicate with during the edit and I barely slept through the whole thing. &#xD;&#xA;&#xD;&#xA;Client was super happy with the result, we all had beers when it was all over!&#xD;&#xA;&#xD;&#xA;----------------------------------&#xD;&#xA;What I learned from this experience:&#xD;&#xA;&#xD;&#xA;1) When the deadlines are tight, communication must increase, not decrease.  Make sure everyone is on the same page before you start.  &#xD;&#xA;&#xD;&#xA;2) Your work suffers when you do!  -- I have made considerable effort to keep myself healthy, rested and sane since this project.  &#xD;&#xA;&#xD;&#xA;___&#xD;&#xA;&#xD;&#xA;I still would like your opinions on what happened here.  It has been my experience that the Dialogue Editor handles EVERY thing production related(even is they sounds are not edited, they get prepped on tracks so they at least make it to the mix, just in case). The SFX editor ADDS sounds to create the world, realism and as much emotional content as he/she can.&#xD;&#xA;&#xD;&#xA;Thanks, &#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="24336" PostHistoryTypeId="2" PostId="14740" RevisionGUID="fc9536bb-9d64-462b-98af-33feae779407" CreationDate="2012-07-22T06:36:42.463" UserId="6462" Text="The XL-B2 batteries are exactly the same as the Sony NP-F style batteries used in camcorders, so any charger that can charge these will work with the XL-B2's. You can probably pick one up from any large electronics store or Amazon eg. http://www.amazon.co.uk/Eclipse-Battery-Charger-NP-F330-Camcorder/dp/B002QX4EHY/ref=sr_1_1?ie=UTF8&amp;qid=1342938806&amp;sr=8-1&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="24337" PostHistoryTypeId="2" PostId="14741" RevisionGUID="1adb077d-009c-4712-85f3-09d3697f96cd" CreationDate="2012-07-22T16:09:22.160" UserId="432" Text="Late to the party on this one, but I also have two wall plug NP style chargers that I use to keep my batteries in rotation. As soon as one is low, I'll swap a new battery in and start charging the dead one. It helps keep me continuously functional on location (if there's AC available). Of course, I also have enough batteries to run me for about 24 hours wihtout a recharge. Which is another reason why I have two of the chargers. That gives me a total of 3 if I count my 744T. It would just take too long to charge all of the spares otherwise." ContentLicense="CC BY-SA 3.0" />
  <row Id="24338" PostHistoryTypeId="2" PostId="14742" RevisionGUID="cb5ba2f4-f455-4f61-8971-d7cb8f8b7188" CreationDate="2012-07-22T20:42:13.293" UserId="88" Text="Great question and some great replies!  Very interesting analyses here.&#xD;&#xA;&#xD;&#xA;If someone personally handles every aspect of a piece of media's sound (concept, recording, editing, mixing, implementation) and each of his or her decisions throughout that process is guided by the desire to evoke a particular emotional response in the audience (both scene-by-scene and as a whole), I would consider that person a sound designer in the broad sense of the term -- they're not just dropping library effects in for coverage; they're achieving an artistic goal.  If the results are utterly brilliant due to exceptional innovation achieved in that process, I'd consider that person a sound designer in the sense that venerable geniuses like Murch, Burtt, and the masters who have followed them have worn the title.  &#xD;&#xA;&#xD;&#xA;Since I grew up hearing &quot;sound designer&quot; applied almost solely to the latter, wizards-of-sound sort, I still hesitate to use that term to describe anyone whose work I'm not highly impressed by.  My own title is &quot;technical sound designer&quot; or &quot;audio lead&quot; because I do all of the above (in games) plus toolset/feature design, but I'm still uncomfortable with the &quot;sound designer&quot; bit sometimes because it feels pretentious to me.  Yes, I work on sound design professionally; no, I'm not redefining the art daily like they have.&#xD;&#xA;&#xD;&#xA;I like Rene's doctor analogy because it's a great example of what makes &quot;sound designer&quot; confusing:  you can't assume a certain background, skillset, or talent level simply because someone's known as a sound designer.  To paraphrase a previous post on here, the title has more weight when it's granted by other professionals rather than self-applied.  That said, I think that anyone who fits the &quot;sound auteur&quot; definition described above is justified in calling himself or herself a sound designer, while everyone else is justified in using their judgment of that person's work to decide whether or not the person is any good at it." ContentLicense="CC BY-SA 3.0" />
  <row Id="24341" PostHistoryTypeId="5" PostId="14729" RevisionGUID="2452d9b3-7f23-410b-81d5-5e434f99f3bf" CreationDate="2012-07-23T01:13:20.373" UserId="3839" Comment="added 73 characters in body" Text="Hmm, probably an H4n, NTG3, PT10, RX2, a pair of Yamaha HS50Ms, sony 7506. Those would be my main essentials. RX2 specifically for removing preamp hiss from the H4n. PT10 is fine out of the box nowadays, but Ozone 5 if I had to choose one 3rd party plugin.&#xD;&#xA;&#xD;&#xA;H4n - 300&#xD;&#xA;NTG3 - 700&#xD;&#xA;PT10 - 700 (or a cheaper student version)&#xD;&#xA;HS50m pair - 300&#xD;&#xA;7506 - 80&#xD;&#xA;RX2 - 300&#xD;&#xA;Ozone 5 Adv - 800&#xD;&#xA;&#xD;&#xA;Total = about $3200.. on the high end&#xD;&#xA;&#xD;&#xA;Oh, and AudioFinder for 70 bucks is a great buy too! Use it every day" ContentLicense="CC BY-SA 3.0" />
  <row Id="24342" PostHistoryTypeId="2" PostId="14744" RevisionGUID="11f9d50f-efc1-412f-aedd-c59737c0fb32" CreationDate="2012-07-23T03:00:11.257" UserId="3994" Text="Castle in the Sky has some really amazing quiet moments as well do other Studio Ghibli films. Disney added lines over a lot of the silences in the english dub for Castle in the Sky and comparing the two tracks really says a lot about what silence can do." ContentLicense="CC BY-SA 3.0" />
  <row Id="24343" PostHistoryTypeId="16" PostId="14744" RevisionGUID="11f9d50f-efc1-412f-aedd-c59737c0fb32" CreationDate="2012-07-23T03:00:11.257" UserId="-1" />
  <row Id="24344" PostHistoryTypeId="2" PostId="14745" RevisionGUID="47012231-9c7d-480f-970c-c877cfb4330f" CreationDate="2012-07-23T06:17:18.913" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am searching for links to getting the data recovery software for the SD722. The service providers here in South Africa are not being very helpful and since we are using the recorders at an educational institute, my experience has been that we need the software to ensure that things do not got belly up. &#xD;&#xA;&#xD;&#xA;Also, what advice do you guys have on making sure that the machines run properly. We have 9 machines and about 50 odd students using them which means that not everyone will be treating the machines the same way. In the past, we used the Nagra LB and we had serious problems with the internal hard drives losing data and the drives becoming infected with viruses. This is due to the students not formatting their machines after they have dumped their sounds and also dumping their sounds on to computers that were infected. It is a serious problem and some people lost their sounds due to the Nagras corrupt drives. What can be done to ensure that the machines maintain stability and what can be done to prevent data loss. &#xD;&#xA;&#xD;&#xA;I hope my inquiry is clear. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="24345" PostHistoryTypeId="1" PostId="14745" RevisionGUID="47012231-9c7d-480f-970c-c877cfb4330f" CreationDate="2012-07-23T06:17:18.913" UserId="348" Text="Data Recovery software for the SD 722" ContentLicense="CC BY-SA 3.0" />
  <row Id="24346" PostHistoryTypeId="3" PostId="14745" RevisionGUID="47012231-9c7d-480f-970c-c877cfb4330f" CreationDate="2012-07-23T06:17:18.913" UserId="348" Text="&lt;data&gt;&lt;recovery&gt;&lt;for&gt;&lt;sd722&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24347" PostHistoryTypeId="2" PostId="14746" RevisionGUID="d8edc5c8-2319-4602-be8b-d7f45bf2040d" CreationDate="2012-07-23T08:27:54.830" UserDisplayName="user49" Text="the 722 means you can record to a CF card AND hard drive at the same time - so that offers some data security, ie make them primarily use CF cards &amp; keep the HD as a safety clone...." ContentLicense="CC BY-SA 3.0" />
  <row Id="24348" PostHistoryTypeId="2" PostId="14747" RevisionGUID="29a9ff51-e9e1-45fd-bc5b-3ebfd706b4dc" CreationDate="2012-07-23T16:00:14.360" UserId="990" Text="Try Sandisk's RescuePRO and/or Recuva.&#xD;&#xA;&#xD;&#xA;I agree with Tim though. When you're using a 722, I would just ask the students to only pull their files from the CF cards and not connect directly to the 722." ContentLicense="CC BY-SA 3.0" />
  <row Id="24349" PostHistoryTypeId="2" PostId="14748" RevisionGUID="014efff7-0a36-404c-a1e7-a815efe69576" CreationDate="2012-07-23T17:58:42.463" UserId="18" Text="If I was just starting out, looking to learn about audio, and was strapped for cash I would buy the following:&#xD;&#xA;&#xD;&#xA;Cheap Windows laptop (with built in audio): $500 or less &#xD;&#xA;&#xD;&#xA;Reaper: $60 for the non-pro license &#xD;&#xA;&#xD;&#xA;Sony PCM-M10 Recorder: $250 &#xD;&#xA;&#xD;&#xA;Decent Headphones: $100 &#xD;&#xA;&#xD;&#xA;Download/Buy Sound Effects online as needed (freesound.org, Sounddogs, Rabbit Ears, The Recordist, Hiss and a Roar, etc)&#xD;&#xA;&#xD;&#xA;That's under $1,000 usd and enough gear to get started learning to record/edit sound.  No need to go into huge debt to start up.  Once you gain more knowledge/experiece/work, you can start to upgrade the recorder and computer, buy an audio interface, plugins, mics and speakers, and move to other software should you choose.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="24350" PostHistoryTypeId="2" PostId="14749" RevisionGUID="c74f8651-3cc3-4800-ad79-7c261a4daed9" CreationDate="2012-07-23T21:23:58.910" UserId="37" Text="Film sound:&#xD;&#xA;&#xD;&#xA; - A season/membership pass to see (and hear) good films.&#xD;&#xA; - A few good books, notably &quot;The Conversations&quot;, &quot;Tuning of the World&quot;, &quot;The expressive power of music, voice &amp; sound effects&quot;, &quot;Practical Art for Motion Picture Sound&quot;.&#xD;&#xA; - Any mac&#xD;&#xA;&#xD;&#xA;Game sound:&#xD;&#xA;&#xD;&#xA; - A small chunk of cash for carefully selected indy games.&#xD;&#xA; - A good video card.&#xD;&#xA; - Any PC&#xD;&#xA;&#xD;&#xA;Both:&#xD;&#xA;&#xD;&#xA; - A pair of headphones I can learn really really, really well.&#xD;&#xA; - Any pair of speakers that aren't abysmal.&#xD;&#xA; - A Sony PCM-M10 recorder&#xD;&#xA; - A battery-powered mono condenser/electret microphone&#xD;&#xA; - Adobe Audition&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24351" PostHistoryTypeId="2" PostId="14750" RevisionGUID="5385fad8-1f6e-4a98-84cb-6f33a3b0a9a5" CreationDate="2012-07-23T23:49:21.643" UserId="6420" Text="I second RescuePRO. Had a similar problem when I hired an LB out last year. Connected it to my HD then it all when a bit nuts! Managed to get most of it back with the data recovery software but some tracks were damaged with chunks of noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="24352" PostHistoryTypeId="2" PostId="14751" RevisionGUID="df8bdc73-734e-47a4-9d9c-a23ba3b20a31" CreationDate="2012-07-24T02:33:29.647" UserId="4079" Text="First and foremost... thank you everyone because you were all very and I mean VERY informative. My situation is that I'm a composer but I want to expand to sound design and although I have been certified for audio engineering and done some student projects for post production its been awhile and I also have a Master's Certification in Berklee Music for Songwriting and Music Business, but I catch myself loving post production now that I'm older (30 years old :( ) and I know how to design sounds in terms of sound manipulation but in terms of field recording.. I'm kind of not very informed. I really want to get into both sides video game sounds and film. To be honest, considering my age and all I think it may be hard for me to break into something as big as the major film and gaming industry but I would love to do it as a freelance while I work my day job from there who knows what may happened. I do already have IMDB credits for a short film to help me with credentials but I guess I&quot;m not giving up it's just the whole part where I have to learn the technical ascepts about field recording that I guess I got really stuck with. My knowledge of mics and all that has kind of been lacking exercise or so to speak.&#xD;&#xA;&#xD;&#xA;Thank you guys for the answers though.. you've been more helpful than most other communities. I'm defintely stick with you guys. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24356" PostHistoryTypeId="2" PostId="14753" RevisionGUID="374313c3-f1c4-44a4-82be-64560d7e0d5d" CreationDate="2012-07-24T04:56:51.353" UserId="587" Text="Hey all,&#xD;&#xA;&#xD;&#xA;Anyone know of any virtual instruments that have some good chip-tune like capabilities? I have some of the Native Instruments stuff like Abysnth and FM8, etc. Those will be looked through as well - just wanted to see if you all had any suggestions.&#xD;&#xA;&#xD;&#xA;I have heard Fruity Loops has a good set, but I havent had much experience with that program in the past decade of its development.&#xD;&#xA;&#xD;&#xA;Anyone know whats up?&#xD;&#xA;&#xD;&#xA;- C3" ContentLicense="CC BY-SA 3.0" />
  <row Id="24357" PostHistoryTypeId="1" PostId="14753" RevisionGUID="374313c3-f1c4-44a4-82be-64560d7e0d5d" CreationDate="2012-07-24T04:56:51.353" UserId="587" Text="Native Instruments 8-bit Chiptune" ContentLicense="CC BY-SA 3.0" />
  <row Id="24358" PostHistoryTypeId="3" PostId="14753" RevisionGUID="374313c3-f1c4-44a4-82be-64560d7e0d5d" CreationDate="2012-07-24T04:56:51.353" UserId="587" Text="&lt;vst&gt;&lt;settings&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24360" PostHistoryTypeId="2" PostId="14755" RevisionGUID="e85267a5-7012-4b33-934b-604cebdea674" CreationDate="2012-07-24T07:09:15.877" UserId="3179" Text="http://www.plogue.com/products/chipsounds/ is probably your best bet.&#xD;&#xA;&#xD;&#xA;I've heard some people play with retro trackers as well (e.g. FamiTracker)." ContentLicense="CC BY-SA 3.0" />
  <row Id="24361" PostHistoryTypeId="2" PostId="14756" RevisionGUID="568b4156-da75-4d60-8dfa-6df839cdfe8c" CreationDate="2012-07-24T08:54:27.603" UserId="1185" Text="It depends on what you are trying to achieve.  If you want to just create some chiptune like sounds then this can be done with virtually any synth by just using only one or two oscillators, little or no modulation, only simple effects and then putting it through a bit crusher to give you that 8-bit sound.  &#xD;&#xA;&#xD;&#xA;If you want to create a true chiptune track you are best to use software that is based on the original systems as it will constrain what is possible and force you into using sounds and song structures that were typical back in the day.  I have used with good affect MilkTracker as an emulation of some of the original systems and I'm also fond of LSDJ for the gameboy (you can run it an an emulation if you don't have an original gameboy.)&#xD;&#xA;&#xD;&#xA;Have fun.    " ContentLicense="CC BY-SA 3.0" />
  <row Id="24362" PostHistoryTypeId="5" PostId="14756" RevisionGUID="ee125ffb-0c5f-441b-ae5d-244fd6aece7e" CreationDate="2012-07-24T10:04:21.980" UserId="1185" Comment="added 89 characters in body" Text="It depends on what you are trying to achieve.  If you want to just create some chiptune like sounds then this can be done with virtually any synth by just using only one or two oscillators, little or no modulation, only simple effects and then putting it through a bit crusher to give you that 8-bit sound.  &#xD;&#xA;&#xD;&#xA;If you want to create a true chiptune track you are best to use software that is based on the original systems as it will constrain what is possible and force you into using sounds and song structures that were typical back in the day.  I have used with good affect [MilkTracker][1] as an emulation of some of the original systems and I'm also fond of [LSDJ][2] for the gameboy (you can run it an an emulation if you don't have an original gameboy.)&#xD;&#xA;&#xD;&#xA;Have fun.    &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.milkytracker.org/&#xD;&#xA;  [2]: http://littlesounddj.com/lsd/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24363" PostHistoryTypeId="2" PostId="14757" RevisionGUID="9f2b6607-d7e4-48c8-9583-dde6a7b489f4" CreationDate="2012-07-24T10:50:40.777" UserId="6432" Text="I agree that this looks amazing. I think the real question is whether it is actually as responsive in reality as it appears in the tech demos. &#xD;&#xA;&#xD;&#xA;Actually though, I think this would be a bit lost on Pro Tools at the moment, simply because it's not designed for this level of interaction. Presumably optimizing software for leap involves another software layer between the device and the program in question. At its most basic this is probably mouse emulation and at it's most complex it could be mouse emulation + gestures triggering shortcuts. I'm just speculating here of course, but I think that serious control would require a re-write (and re-think) of large parts of the program by Avid, and they never seem to get around to anything very fast! That's not to say that this isn't a great idea or advancement for the future, I just think to use this properly the software would have to be designed around its capabilities.&#xD;&#xA;&#xD;&#xA;An interesting thought though, is that when you add the ability to manipulate virtual objects as intuitively as real ones - like with your hands and fingers, this means you can work with everything in three dimensions. Perhaps you've seen this 3d sequencer called OpenGL:&#xD;&#xA;&#xD;&#xA;[youtube]XJbHcuZUFl0[/youtube]&#xD;&#xA;&#xD;&#xA;For sure, this is aimed solely at music sequencing, but I think that there is real potential in the idea, especially as we work with sound in three dimensions. Granted, you *could* do everything in the video over a 2d interface with a mouse, but remember that this is only the first generation of the idea - it's still only being developed by one person. Often it takes longer for the potential of something to be applied. &#xD;&#xA;&#xD;&#xA;We often talk of our role as being a &quot;craft&quot;, a term I've which I've always liked. With this in mind, I think the real challenge for developers is devising tools which allow you to sculpt sound as intuitively as a carpenter sculpts a piece of wood, and I think that this level of interaction is definitely a step in that direction." ContentLicense="CC BY-SA 3.0" />
  <row Id="24364" PostHistoryTypeId="16" PostId="14757" RevisionGUID="9f2b6607-d7e4-48c8-9583-dde6a7b489f4" CreationDate="2012-07-24T10:50:40.777" UserId="-1" />
  <row Id="24365" PostHistoryTypeId="5" PostId="14757" RevisionGUID="31dd4d5e-0723-455a-aaf7-e4359e9b5e58" CreationDate="2012-07-24T10:56:54.407" UserId="6432" Comment="added 162 characters in body; added 1 characters in body" Text="I agree that this looks amazing. I think the real question is whether it is actually as responsive in reality as it appears in the tech demos. &#xD;&#xA;&#xD;&#xA;Actually though, I think this would be a bit lost on Pro Tools at the moment, simply because it's not designed for this level of interaction. Presumably optimizing software for leap involves another software layer between the device and the program in question. At its most basic this is probably mouse emulation and at it's most complex it could be mouse emulation + gestures triggering shortcuts. I'm just speculating here of course, but I think that serious control would require a re-write (and re-think) of large parts of the program by Avid, and they never seem to get around to anything very fast! That's not to say that this isn't a great idea or advancement for the future, I just think to use this properly the software would have to be designed around its capabilities.&#xD;&#xA;&#xD;&#xA;An interesting thought though, is that when you add the ability to manipulate virtual objects as intuitively as real ones - like with your hands and fingers, this means you can work with everything in three dimensions. Perhaps you've seen this 3d sequencer called AudioGL:&#xD;&#xA;&#xD;&#xA;[youtube]XJbHcuZUFl0[/youtube]&#xD;&#xA;&#xD;&#xA;For sure, this is aimed solely at music sequencing, but I think that there is real potential in the idea, especially as we work with sound in three dimensions. Granted, at the moment you *could* do everything in the video over a 2d interface with a mouse, but it really looks like it needs to be controlled by the Leap. Imagine using one hand to navigate and the other to adjust controls. It's worth also remembering that this is only the first generation of the idea - it's still only being developed by one person. Often it takes longer for the potential of something to be applied. &#xD;&#xA;&#xD;&#xA;We often talk of our role as being a &quot;craft&quot;, a term I've which I've always liked. With this in mind, I think the real challenge for developers is devising tools which allow you to sculpt sound as intuitively as a carpenter sculpts a piece of wood, and I think that this level of interaction is definitely a step in that direction." ContentLicense="CC BY-SA 3.0" />
  <row Id="24366" PostHistoryTypeId="5" PostId="14756" RevisionGUID="8887aa64-d20a-4446-8e85-9538345761cf" CreationDate="2012-07-24T13:12:40.323" UserId="1185" Comment="edited body" Text="It depends on what you are trying to achieve.  If you want to just create some chiptune like sounds then this can be done with virtually any synth by just using only one or two oscillators, little or no modulation, only simple effects and then putting it through a bit crusher to give you that 8-bit sound.  &#xD;&#xA;&#xD;&#xA;If you want to create a true chiptune track you are best to use software that is based on the original systems as it will constrain what is possible and force you into using sounds and song structures that were typical back in the day.  I have used with good affect [MilkTracker][1] as an emulation of some of the original systems and I'm also fond of [LSDJ][2] for the gameboy (you can run it as an emulation if you don't have an original gameboy.)&#xD;&#xA;&#xD;&#xA;Have fun.    &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.milkytracker.org/&#xD;&#xA;  [2]: http://littlesounddj.com/lsd/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24367" PostHistoryTypeId="2" PostId="14758" RevisionGUID="1dc6712f-19ba-4cc6-b8b3-f7f2cdde806a" CreationDate="2012-07-24T13:24:43.757" UserId="4089" Text="http://www.ymck.net/magical8bitplug/index.html - Designed to emulate NES synths, works well&#xD;&#xA;&#xD;&#xA;http://www.kvraudio.com/product/chip32_by_sam - Very close to NES also, a bit more neutral&#xD;&#xA;&#xD;&#xA;(Both of those are free)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24368" PostHistoryTypeId="2" PostId="14759" RevisionGUID="8cc75a96-1e45-4264-b7d4-b7618faed7e9" CreationDate="2012-07-24T14:10:54.300" UserId="3975" Text="Ok so this is not technically sound design but I ened technical ears and you guys are the best for that.&#xD;&#xA;&#xD;&#xA;Just produced a track recently and a have had positive feedback from allot of people. However one has mentioned that they care hear distortion/clipping throughout the whole track and its unlistenable to the point of after 10 seconds having to stop.&#xD;&#xA;&#xD;&#xA;I am not sure I understand what the issue is so thought I would get another perspective from some guys that work with audio.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/myinvisiblesound/jupiter&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24369" PostHistoryTypeId="1" PostId="14759" RevisionGUID="8cc75a96-1e45-4264-b7d4-b7618faed7e9" CreationDate="2012-07-24T14:10:54.300" UserId="3975" Text="Am I having an issue in my Mix!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24370" PostHistoryTypeId="3" PostId="14759" RevisionGUID="8cc75a96-1e45-4264-b7d4-b7618faed7e9" CreationDate="2012-07-24T14:10:54.300" UserId="3975" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24371" PostHistoryTypeId="5" PostId="14757" RevisionGUID="e70a4578-7d1b-497c-bf0e-308c72cab7dc" CreationDate="2012-07-24T14:54:48.027" UserId="6432" Comment="deleted 5 characters in body" Text="I agree that this looks amazing. I think the real question is whether it is actually as responsive in reality as it appears in the tech demos. &#xD;&#xA;&#xD;&#xA;Actually though, I think this would be a bit lost on Pro Tools at the moment, simply because it's not designed for this level of interaction. Presumably optimizing software for leap involves another software layer between the device and the program in question. At its most basic this is probably mouse emulation and at it's most complex it could be mouse emulation + gestures triggering shortcuts. I'm just speculating here of course, but I think that serious control would require a re-write (and re-think) of large parts of the program by Avid, and they never seem to get around to anything very fast! That's not to say that this isn't a great idea or advancement for the future, I just think to use this properly the software would have to be designed around its capabilities.&#xD;&#xA;&#xD;&#xA;An interesting thought though, is that when you add the ability to manipulate virtual objects as intuitively as real ones - like with your hands and fingers, this means you can work with everything in three dimensions. Perhaps you've seen this 3d sequencer called AudioGL:&#xD;&#xA;&#xD;&#xA;[youtube]XJbHcuZUFl0[/youtube]&#xD;&#xA;&#xD;&#xA;For sure, this is aimed solely at music sequencing, but I think that there is real potential in the idea, especially as we work with sound in three dimensions. Granted, at the moment you *could* do everything in the video over a 2d interface with a mouse, but it really looks like it needs to be controlled by the Leap. Imagine using one hand to navigate and the other to adjust controls. It's worth also remembering that this is only the first generation of the idea - it's still only being developed by one person. Often it takes longer for the potential of something to be applied. &#xD;&#xA;&#xD;&#xA;We often talk of our role as being a &quot;craft&quot;, a term which I've always liked. With this in mind, I think the real challenge for developers is devising tools which allow you to sculpt sound as intuitively as a carpenter sculpts a piece of wood, and I think that this level of interaction is definitely a step in that direction." ContentLicense="CC BY-SA 3.0" />
  <row Id="24372" PostHistoryTypeId="2" PostId="14760" RevisionGUID="67024afe-263f-4f9c-8bf5-347c0673d33f" CreationDate="2012-07-24T15:21:23.520" UserId="527" Text="@Andrew&#xD;&#xA;&#xD;&#xA;I think you just got an overly negative review. I hear that there is a synth part what has a distortion element to it. This to me is a creative choice.  I don't hear anything technically wrong here.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24373" PostHistoryTypeId="2" PostId="14761" RevisionGUID="8175c5af-1dd2-49db-b6fe-e69782020232" CreationDate="2012-07-24T15:43:34.640" UserId="4090" Text="This comes up in the video discussing the sound design for Prometheus&#xD;&#xA;&#xD;&#xA;They discuss it at about 7:21 in. &#xD;&#xA;&#xD;&#xA;http://vimeo.com/43796489&#xD;&#xA;&#xD;&#xA;They use IR's&#xD;&#xA;&#xD;&#xA;Best" ContentLicense="CC BY-SA 3.0" />
  <row Id="24374" PostHistoryTypeId="2" PostId="14762" RevisionGUID="d54b4a0f-a815-4202-9b5b-ba29d5972d8c" CreationDate="2012-07-24T16:46:05.990" UserId="1228" Text="http://socialsounddesign.com/questions/13377/8bit-old-school-nintendo-sound-fx" ContentLicense="CC BY-SA 3.0" />
  <row Id="24375" PostHistoryTypeId="2" PostId="14763" RevisionGUID="719af19c-f690-4d63-80c6-2d13566faccb" CreationDate="2012-07-24T16:58:09.490" UserId="2502" Text="if you have licensed native instruments Reaktor there are a few nice ensembles folks have made for this in the native instruments reaktor user library you can download and check out.&#xD;&#xA;&#xD;&#xA; a search for &quot;retro&quot; brings up a few" ContentLicense="CC BY-SA 3.0" />
  <row Id="24376" PostHistoryTypeId="2" PostId="14764" RevisionGUID="615d8afc-4e87-4224-a39d-f8e685e1d24b" CreationDate="2012-07-24T18:54:20.527" UserId="3248" Text="Here's a nice starter tutorial for FM8 retro sound design. &#xD;&#xA;&#xD;&#xA;http://www.fm8tutorials.com/tutorials/designing-a-classic-80s-style-video-game-synth-in-ni-fm8/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24377" PostHistoryTypeId="2" PostId="14765" RevisionGUID="bc2f2562-3832-46e3-8804-1c02763c4045" CreationDate="2012-07-24T20:48:54.420" UserId="4093" Text="IAgree with the comment above, just sounds like the low end synth line has a clip to it, all personal preference, nothing to worry about at all, would suck if we all produced squeaky clean pop songs, keep going buddy !" ContentLicense="CC BY-SA 3.0" />
  <row Id="24378" PostHistoryTypeId="5" PostId="14765" RevisionGUID="630fcd31-61ac-4db2-996b-9d6384ef5a05" CreationDate="2012-07-24T20:54:48.727" UserId="4093" Comment="added 12 characters in body" Text="@Andrew&#xD;&#xA;&#xD;&#xA;I agree with the comment above, just sounds like the low end synth line has a clip to it, all personal preference, nothing to worry about at all, would suck if we all produced squeaky clean pop songs, keep going buddy !" ContentLicense="CC BY-SA 3.0" />
  <row Id="24379" PostHistoryTypeId="2" PostId="14766" RevisionGUID="51491818-89f4-445c-8289-9ca1d5517865" CreationDate="2012-07-24T22:47:09.827" UserId="362" Text="I recently saw a performance of 10 drummers playing in unison. It has a certain power to it. It's loud of course. Although they played together quite well, obviously the attacks don't line up perfectly on the scale of milliseconds. But beyond these, there's a certain energy. You know when 10 identical drums are playing instead of two.&#xD;&#xA;&#xD;&#xA;Trying to recreate this from scratch in my DAW from individual samples and it lacks that extra energy. It's loud, limited just below peak. I have some  purposefully imprecise attack. I've used an &quot;energizer&quot; plugin (reweights the upper formants of the sound). A touch of very natural sounding verb. . .  What am I missing for that extra presence?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24380" PostHistoryTypeId="1" PostId="14766" RevisionGUID="51491818-89f4-445c-8289-9ca1d5517865" CreationDate="2012-07-24T22:47:09.827" UserId="362" Text="The power of many drums" ContentLicense="CC BY-SA 3.0" />
  <row Id="24381" PostHistoryTypeId="3" PostId="14766" RevisionGUID="51491818-89f4-445c-8289-9ca1d5517865" CreationDate="2012-07-24T22:47:09.827" UserId="362" Text="&lt;drum&gt;&lt;sound-design&gt;&lt;samples&gt;&lt;loudness&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24382" PostHistoryTypeId="2" PostId="14767" RevisionGUID="e99d1404-f561-45fd-9eb2-92579825f912" CreationDate="2012-07-24T23:38:31.420" UserId="3839" Text="I would say that the energy is coming from the the attack and rate you move from your noise floor to your peak. The quicker your attack and shorter your sustain, the louder a sound is perceived. I would say emulating the noise floor, and levels to match your listening (fletcher munson) curves are part of what will make it sound similar. As far as the stacking of many drums, try applying different acoustic qualities (verb or delay) to each one if the samples/sound are too similar, and EQ each drums to occupy its own space and frequency band. Dont let them muddy each other up.&#xD;&#xA;&#xD;&#xA;But even with all of this, its still pretty hard/probably impossible to get it to sound quite like a line of drummers do in real life, because they sound phenomenal! I'm not sure if any of that helps, but maybe some stuff to try out and think about.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24383" PostHistoryTypeId="2" PostId="14768" RevisionGUID="119af246-44a9-48d1-aa9f-8bc56d4d85c9" CreationDate="2012-07-24T23:44:28.120" UserId="3179" Text="Sub-bass (e.g. [Lowender][1])?&#xD;&#xA;&#xD;&#xA;At least that's what I'd look for, if it's for &quot;power&quot;.&#xD;&#xA;&#xD;&#xA;Also, when stacking up similar samples, be sure not to cause more loss of energy than gain, because of phasing. You might be able to cut or volume automate out some parts of some of the samples to reduce possible masking and to gain more presence/punch/energy, without breaking the illusion of having many samples stacked.&#xD;&#xA;&#xD;&#xA;If it doesn't work then you likely just need better samples.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.refusesoftware.com/lowender.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="24384" PostHistoryTypeId="5" PostId="14768" RevisionGUID="814200a8-8d8e-4539-8141-1daf4d945faa" CreationDate="2012-07-24T23:53:08.110" UserId="3179" Comment="added 29 characters in body; added 35 characters in body; added 60 characters in body" Text="Sub-bass (e.g. [Lowender][1])?&#xD;&#xA;&#xD;&#xA;At least that's what I'd look for, if it's for &quot;power&quot;.&#xD;&#xA;&#xD;&#xA;Also, when stacking up similar samples, be sure not to cause more loss of energy than gain, because of phasing. You might be able to cut or volume automate out some parts of some of the samples to reduce possible masking and to gain more presence/punch/energy when applying the additional layer, without breaking the illusion of having many samples stacked. Or obviously use EQ as well.&#xD;&#xA;&#xD;&#xA;If it doesn't work then you likely just need better samples. Or an actual recording of 10 drums playing for that matter.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.refusesoftware.com/lowender.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="24385" PostHistoryTypeId="2" PostId="14769" RevisionGUID="43526da1-16a0-43ce-9d21-d200f025d10e" CreationDate="2012-07-25T00:01:36.807" UserId="6432" Text="Where did the samples come from? No two instruments are actually identical - in fact they are completely different. Also, no two people will play an instrument in the same way. If you're combining samples you are just summing together audio, but in the real situation you describe there is a much more complex thing happening - the interaction between the sounds and the environment. The sound from one drum will even resonate the body and skin of another.&#xD;&#xA;&#xD;&#xA;I can't say I've got the answer, I'm afraid. I think these problems are some of the key issues surrounding sequencing orchestral type music on computers, and why when creating sample libraries we still record sections as well as individual instruments. The idea of physically modelling instruments and objects is the closest thing we have to a solution, but I don't think we can yet model the complexity of the physical world to this degree.&#xD;&#xA;&#xD;&#xA;Here's a few ideas off the top of my head though:&#xD;&#xA;&#xD;&#xA;- Record individual samples from ten different drums&#xD;&#xA;- Take IR's from ten positions in a room&#xD;&#xA;- Use subtle resonant filters add a bit of colour to the drums&#xD;&#xA;- Connect it all up with a (very low energy) feedback network, like with waveguide synthesis - this can model some of the energy transfer between different parts of the room&#xD;&#xA;- Add in some distortion or overdrive to simulate the interactions between the sound waves.&#xD;&#xA;&#xD;&#xA;Probably easier to record some drummers! But it would be an interesting experiment to try anyway. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24386" PostHistoryTypeId="2" PostId="14770" RevisionGUID="2e19031a-fe9a-4f56-a904-fc7546672c6a" CreationDate="2012-07-25T00:11:42.300" UserId="6432" Text="An old thread, I know, but I have to add *Jisas Yu Holem Hand Blom Mi* from the Terrence Malick's *The Thin Red Line*. Some of the most effective and haunting use of music I've ever experienced. I works with the story on so many levels.&#xD;&#xA;&#xD;&#xA;[youtube]6EmKGsJUnkM[/youtube]&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24387" PostHistoryTypeId="2" PostId="14771" RevisionGUID="2bef15f1-4cd3-4d9f-8d8e-45301c41aeef" CreationDate="2012-07-25T01:52:59.763" UserId="4095" Text="I have mixed on headsets for years. Make sure you are using as close to a flat as you can get with no compression or filters. I also reference my room monitors so you need both. Headsets are great for aliening stereo and over all balance of instruments. Be careful with effects especially verb. You may have a tendency to over effect on headsets. The bottom line is whether you have a room monitor or headsets is adjusting to your reference. Check what is missing in your reference by using everything from car stereo to home monitors. I have mastered on headsets by knowing my reference. An engineer without the use of headsets is a doctor without a stethoscope. I have been professional engineer for 35 years. I haven't AB-ed &#xD;&#xA;headsets since the 2006 Namn show but find Beyerdynamic and Sennheiser to be front of the field for headsets. I have resently reviewed the Beyerdynamic DT 880 Pro, Audio-technica ATH-M50s, and the Sennheiser HD 380 Pro. I find the DT 880 Pro hands down better headsets for mixing. Sennheiser HD700 and Sennheiser HD600 are Sennheiser's high quality. I have not heard these but I assume they are close to the DT 880 Pro. One last comment. I feel the open backed headsets for professional mixing are the best. Because the sound escapes it eliminates the natural compression that occurs on tracking closed headsets where you are combating external sound. It simulates more what you might hear from your room monitors. Hope this information helps as we are all still learning. Happy mixing!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24388" PostHistoryTypeId="2" PostId="14772" RevisionGUID="0211e45c-9793-40ec-9e31-24894bbfdc37" CreationDate="2012-07-25T02:21:22.680" UserId="3104" Text="If you're gonna spend a good amount of money on some headphones for a flat response, which still wont be flat, you might as well spend the money on a decent pair of monitors. Not only will it help you in the long run for your mixes but the less you'll be getting ear fatigue while trying to mix on a pair of headphones. I don't know what kind of work your trying to do and it might help for a bit to work on headphones because its cheaper, it'll be worth the investment in the long run to buy some monitors, for the sake of your hearing, your mixes and overall work ethics.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24389" PostHistoryTypeId="2" PostId="14773" RevisionGUID="ed8be631-e9fa-4a6c-8fd7-c6d5b6dae1a0" CreationDate="2012-07-25T06:30:09.293" UserId="1035" Text="This is especially geared towards anybody who has done a lot of work on films with an M&amp;E requirement, but really everyone in general. When editing Foley, do you tend to cut things very tight, or do you do it almost like dial editing where you fill between? So, an example might be if I had one footstep in a walk-by that I decided needed to be nudged over 5 or 6 frames. Obviously, if I cut and move that over I've got a hole. Would you put fill in that hole (as though editing dialogue)? &#xD;&#xA;&#xD;&#xA;I've recently gotten some Foley that I've had to do a fair amount of Frankenstein-ing to get it to work. Rather than take the time to meticulously fill between everything, so that each set of steps is one long region, I've been finding ways to use some of the tail &amp; fill at the end of a step, with a fade, to bring it out fairly seamlessly. Hopefully you're able to imagine what it is I'm talking about." ContentLicense="CC BY-SA 3.0" />
  <row Id="24390" PostHistoryTypeId="1" PostId="14773" RevisionGUID="ed8be631-e9fa-4a6c-8fd7-c6d5b6dae1a0" CreationDate="2012-07-25T06:30:09.293" UserId="1035" Text="Foley Editing for the mix" ContentLicense="CC BY-SA 3.0" />
  <row Id="24391" PostHistoryTypeId="3" PostId="14773" RevisionGUID="ed8be631-e9fa-4a6c-8fd7-c6d5b6dae1a0" CreationDate="2012-07-25T06:30:09.293" UserId="1035" Text="&lt;foley&gt;&lt;edit&gt;&lt;footsteps&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24392" PostHistoryTypeId="2" PostId="14774" RevisionGUID="2d0c49fa-d522-4a41-93c0-f6c2af6faa43" CreationDate="2012-07-25T06:40:38.313" UserId="1035" Text="I think that nowadays, what it really comes down to is communicating with the supervisor and the mixer. With digital workflows, it seems that there's no hard-and-fast answer for almost ANYTHING any longer. Having experienced both receiving tracks that were somewhat of a PITA on the stage, as well as delivering those, I've realized that really what it comes down to is never assuming anything, and always being able to backtrack. And quickly. With people glaring at you. And a knife at your throat. Etc. &#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="24394" PostHistoryTypeId="2" PostId="14776" RevisionGUID="e5f73384-39dd-4ac3-a018-1c1955e72f98" CreationDate="2012-07-25T12:21:38.010" UserId="527" Text="@James&#xD;&#xA;&#xD;&#xA;I have done this exact thing that you are talking about.  And yes, when extreme editing is required, I fill all the gaps. Most of the time there is enough space between each step to simply extend the region boundaries and cross fade (without creating a repeat). If not, I fill the gap with tone from elsewhere. You can definitely draw comparisons to Dialogue Editing, although,  it is WAY easier to find tone and I rarely have problems with this. &#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="24395" PostHistoryTypeId="5" PostId="14772" RevisionGUID="078b3843-c51a-42d3-926e-c9a38dbce52c" CreationDate="2012-07-25T18:40:24.037" UserId="3104" Comment="deleted 1 characters in body" Text="If you're gonna spend a good amount of money on some headphones for a flat response, which still wont be flat, you might as well spend the money on a decent pair of monitors. Not only will it help you in the long run for your mixes but the less you'll be getting ear fatigue while trying to mix on a pair of headphones. I don't know what kind of work your trying to do and it might help for a bit to work on headphones because its cheaper, it'll be worth the investment in the long run to buy some monitors, for the sake of your hearing, your mixes and overall work ethic.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24396" PostHistoryTypeId="2" PostId="14777" RevisionGUID="025963e8-fc44-4f6b-9128-54cb7972d16a" CreationDate="2012-07-25T18:55:15.070" UserId="6460" Text="James,&#xD;&#xA;&#xD;&#xA;I do that all the time as well. It really depends on what's going on in the background, though. If there's music, or perhaps a lot of action happening, then filler will get lost under the noise floor anyway.&#xD;&#xA;&#xD;&#xA;If it's a simple diagetic dialog scene, then filler counts a bit more. My favorite trick is to go through the production sound and foley takes and find moments where there are subtle sounds of activity: clothes rustling and shifting, scuffing of shoes... sounds that are only just audible over the noise floor of the roomtone. I take all of these moments, compile them on their own track, and put it aside. If you have a gap you need to fill, pull a clip from these ambiguous movement-soup sounds and crossfade it into the timeline over the gap. &#xD;&#xA;&#xD;&#xA;Hope this helps!&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="24397" PostHistoryTypeId="2" PostId="14778" RevisionGUID="bb4fe168-34fb-4777-937b-f7df7630f814" CreationDate="2012-07-25T22:48:29.500" UserDisplayName="user49" Text="As a sound editor you need to balance your material, otherwise how do you know each element is actually contributing? (but I am not a dialogue editor - that requires a different approach to ambiences/FX etc) especially since an ambience for a location may have dozens of layers contributing to it. That balance is presented to the predub as the starting point, but listening in an edit room is a lot different to listening in a full size dub stage.... And it is the mixers perogative how they then approach it. But if they were to remove my level automation then the amount of work they have to do would increase ten-fold!&#xD;&#xA;&#xD;&#xA;Being aware of what level the production audio will play at &amp; what backgrounds come with it (that will need to be matched/masked etc) is also crucial.&#xD;&#xA;&#xD;&#xA;As far as panning goes, I have multiple tracks feeding each stem dedicated to C, LR and LsRs (so eg current project AMB A = 4c + 4LR + 2LsRs) but where my projects are mixed it is not in the box, so each track goes out a dedicated hardware output...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24398" PostHistoryTypeId="2" PostId="14779" RevisionGUID="f1af1451-ab2b-4a0d-872a-50c8f75f4d89" CreationDate="2012-07-25T23:13:25.463" UserDisplayName="user49" Text="I think the term requires context: a **game audio** sound designer is very different to a **film** sound designer is very different to a **synth/sample library** sound designer&#xD;&#xA;&#xD;&#xA;I personally use the term as I aspire to pursue the role as originally created for film by Walter Murch etc...&#xD;&#xA;&#xD;&#xA;Of course anyone can use the term, but the meaning of it is about context eg if a game audio sound designer pitches to be sound designer on a film, then a director and producer will look at their credits etc and know the truth..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24399" PostHistoryTypeId="2" PostId="14780" RevisionGUID="fb86b196-4153-481e-bb6e-bafcaf505fad" CreationDate="2012-07-26T01:30:02.263" UserId="4098" Text="I always get dead-ended when using Ableton Live for composition.&#xD;&#xA;When there is material in the Arrange AND in the Clips view at the same time,&#xD;&#xA;it's...I just don't like it.&#xD;&#xA;&#xD;&#xA;I use it for percussion loops and some mangling, but I find it very limiting&#xD;&#xA;in terms of composition." ContentLicense="CC BY-SA 3.0" />
  <row Id="24400" PostHistoryTypeId="2" PostId="14781" RevisionGUID="a9af5ff4-5451-4222-a5cc-420834e9832e" CreationDate="2012-07-26T02:31:52.350" UserId="3285" Text="For me, a sound designer is able to change any sound in emotion, add what's missing to bring something on a film or video game." ContentLicense="CC BY-SA 3.0" />
  <row Id="24401" PostHistoryTypeId="5" PostId="14781" RevisionGUID="d50f57e2-86c4-4014-aca1-399123d6a37c" CreationDate="2012-07-26T02:38:03.237" UserId="3285" Comment="added 50 characters in body" Text="For me, a sound designer is able to change any sound in emotion, add what's missing to bring something on a film or video game.&#xD;&#xA;&#xD;&#xA;That's what I try to do every day at my job :p" ContentLicense="CC BY-SA 3.0" />
  <row Id="24402" PostHistoryTypeId="5" PostId="14781" RevisionGUID="02d12b2e-3ff2-4c93-aa18-81de36294350" CreationDate="2012-07-26T03:01:42.640" UserId="3285" Comment="added 79 characters in body" Text="For me, a sound designer is able to change any sound in emotion (see for example Wall-E, it's incredible to tell a story without words...), and add what's missing to bring something on a film or video game.&#xD;&#xA;&#xD;&#xA;That's what I try to do every day at my job :p" ContentLicense="CC BY-SA 3.0" />
  <row Id="24403" PostHistoryTypeId="2" PostId="14782" RevisionGUID="04f8cf07-4525-46ca-bb19-f876721deba1" CreationDate="2012-07-26T03:28:29.450" UserId="3525" Text="People have been recommending DPA's to me for the longest time. I'm in the market to buy two at the moment and probably wireless. I wanted to know if anyone had experience with them and maybe recommend another company besides countryman that can compare to them. My main concern is capturing the best possible dialogue on set in all types of locations. I also will be running my boom with this set up." ContentLicense="CC BY-SA 3.0" />
  <row Id="24404" PostHistoryTypeId="1" PostId="14782" RevisionGUID="04f8cf07-4525-46ca-bb19-f876721deba1" CreationDate="2012-07-26T03:28:29.450" UserId="3525" Text="Review on DPA lavaliers 4061, 4060, and 4071" ContentLicense="CC BY-SA 3.0" />
  <row Id="24405" PostHistoryTypeId="3" PostId="14782" RevisionGUID="04f8cf07-4525-46ca-bb19-f876721deba1" CreationDate="2012-07-26T03:28:29.450" UserId="3525" Text="&lt;dpa&gt;&lt;lavalier&gt;&lt;production-audio&gt;&lt;production-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24406" PostHistoryTypeId="2" PostId="14783" RevisionGUID="09d555fd-823b-4a78-86b2-7f46fc1a15e6" CreationDate="2012-07-26T06:02:15.503" UserId="587" Text="I have a session thats comprised of multiple sample rates, bit depths, and a mix of broadcast wave and microsoft .wav files.&#xD;&#xA;&#xD;&#xA;Sends to about 6 FX tracks total with most only 1 plug-in, one track has 3 plug-ins. Relatively low processing power used.&#xD;&#xA;&#xD;&#xA;Around 5 folders containing the tracks that make up the piece.&#xD;&#xA;&#xD;&#xA;When I export audio mixdown, everything operates as normal unless I choose the destination path box. It spins the think-ring and just sits. The task-bar menus work, and you can exit the audio mixdown window and move windows around the edit bay (the arrow still the processing symbol)&#xD;&#xA;&#xD;&#xA;Interacting with the session is impossible.&#xD;&#xA;&#xD;&#xA;When you hit export within the audio mixdown menu it fails by displaying an &quot;Unexpected Error&quot; ... no more information is given.&#xD;&#xA;&#xD;&#xA;I think this is by far the crazies Nuendo problem I have experienced. I have had multiple sessions with this setup and this problem never existed.&#xD;&#xA;&#xD;&#xA;Any ideas? Ill be posting on their forums as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="24407" PostHistoryTypeId="1" PostId="14783" RevisionGUID="09d555fd-823b-4a78-86b2-7f46fc1a15e6" CreationDate="2012-07-26T06:02:15.503" UserId="587" Text="Nuendo 5.53 Unexpected Error" ContentLicense="CC BY-SA 3.0" />
  <row Id="24408" PostHistoryTypeId="3" PostId="14783" RevisionGUID="09d555fd-823b-4a78-86b2-7f46fc1a15e6" CreationDate="2012-07-26T06:02:15.503" UserId="587" Text="&lt;nuendo&gt;&lt;crash&gt;&lt;bugs&gt;&lt;unexpected-error&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24409" PostHistoryTypeId="2" PostId="14784" RevisionGUID="0eac5455-c70d-4978-bb68-9ad08a745f02" CreationDate="2012-07-26T08:25:52.007" UserId="587" Text="Dead Space 2 has awesome sound design.&#xD;&#xA;&#xD;&#xA;One of the sounds I consider to be really well done is the communicator that Issac has holographic-ally at his disposal.&#xD;&#xA;&#xD;&#xA;Example: http://youtu.be/AhrQNSVRttE?hd=1&amp;t=5m16s&#xD;&#xA;(Link should start at 5:16)&#xD;&#xA;&#xD;&#xA;There are a number of good plug-ins that do this effect quite nicely with a preset, but what exactly is the plug-in doing to create this effect at its core. (not programmatic, but in sound design)&#xD;&#xA;&#xD;&#xA;Its seems to be a bit of narrow-band EQ, slight distortion, and quite a bit of compression and/or limiting. Then on top of that SUM, you have the more digital bloops and filtered static that layer the transmission characteristic to the recording.&#xD;&#xA;&#xD;&#xA;What do you think?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24410" PostHistoryTypeId="1" PostId="14784" RevisionGUID="0eac5455-c70d-4978-bb68-9ad08a745f02" CreationDate="2012-07-26T08:25:52.007" UserId="587" Text="Dead Space 2 Communicator Filter FX" ContentLicense="CC BY-SA 3.0" />
  <row Id="24411" PostHistoryTypeId="3" PostId="14784" RevisionGUID="0eac5455-c70d-4978-bb68-9ad08a745f02" CreationDate="2012-07-26T08:25:52.007" UserId="587" Text="&lt;game-audio&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24412" PostHistoryTypeId="2" PostId="14785" RevisionGUID="ce6ac0a9-e5f6-49e6-aa6b-51a8c255047d" CreationDate="2012-07-26T08:36:34.150" UserId="3567" Text="You more or less got it. Highpass filter, compression, some distortion and a separate recording of bits and bursts of compressed white noise mixed in. Nothing too fancy." ContentLicense="CC BY-SA 3.0" />
  <row Id="24413" PostHistoryTypeId="2" PostId="14786" RevisionGUID="dbd8ab09-135c-493c-b280-fb56a0027256" CreationDate="2012-07-26T12:08:01.923" UserId="842" Text="I have actually never had any problems with version 5.53 yet, other than Altiverb and Waves messing up my exits from the program, but I know from before that Nuendo at least has been very reluctant to handle samplerates not matching the project. Mixing Wave and Broadcast Wave is no problem, actually the same format with added Mata-data though.&#xD;&#xA;The only way to fix it, as far as I see, is to do a total conform of all the files." ContentLicense="CC BY-SA 3.0" />
  <row Id="24414" PostHistoryTypeId="2" PostId="14787" RevisionGUID="e65f756d-48ff-49b2-9ef2-628ef2367a70" CreationDate="2012-07-26T13:44:10.570" UserId="2502" Text="I enjoy Abelton's inherent differences to PT. When I use Ableton I am usually staying in the Session view just because to me that's where it stands out above many other daws. The non-linear, away from the timeline, (edit view -PT) encourages a more stream of conscious process to sound creation, music or otherwise. So many of us spend countless hours locked to the grid in PT looking at an edit timeline that I find it very freeing if not uncomfortably enlightening to work in the session view without a timeline in front of you. In short, it's less &quot;cut/copy/paste&quot; and more &quot;feel it and go&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24415" PostHistoryTypeId="2" PostId="14788" RevisionGUID="dd51569a-7a3d-4152-850e-6b6fba7a00b2" CreationDate="2012-07-26T14:35:10.393" UserId="29" Text="Within the standard limitations of lavs, they're awesome. I was pretty happy with my Countryman B3 lav, but the DPA 4060's never cease to impress. About the only thing sweeter is the Sanken COS-11, which seems to be the lav of choice when inter-cutting with Schoeps mics. But I'm a huge fan of the DPA modular connector system, especially as a sound designer who sometimes needs to just run them into a field recorder, instead of a bodypack (so nice to be able to do both)." ContentLicense="CC BY-SA 3.0" />
  <row Id="24416" PostHistoryTypeId="5" PostId="14783" RevisionGUID="f311e683-c9cf-498c-8533-60a74a8b8031" CreationDate="2012-07-26T16:59:13.800" UserId="587" Comment="added 223 characters in body" Text="I have a session thats comprised of multiple sample rates, bit depths, and a mix of broadcast wave and microsoft .wav files.&#xD;&#xA;&#xD;&#xA;Sends to about 6 FX tracks total with most only 1 plug-in, one track has 3 plug-ins. Relatively low processing power used.&#xD;&#xA;&#xD;&#xA;Around 5 folders containing the tracks that make up the piece.&#xD;&#xA;&#xD;&#xA;When I export audio mixdown, everything operates as normal unless I choose the destination path box. It spins the think-ring and just sits. The task-bar menus work, and you can exit the audio mixdown window and move windows around the edit bay (the arrow still the processing symbol)&#xD;&#xA;&#xD;&#xA;Interacting with the session is impossible.&#xD;&#xA;&#xD;&#xA;When you hit export within the audio mixdown menu it fails by displaying an &quot;Unexpected Error&quot; ... no more information is given.&#xD;&#xA;&#xD;&#xA;I think this is by far the crazies Nuendo problem I have experienced. I have had multiple sessions with this setup and this problem never existed.&#xD;&#xA;&#xD;&#xA;Any ideas? Ill be posting on their forums as well.&#xD;&#xA;&#xD;&#xA;**:UPDATE:** &#xD;&#xA;&#xD;&#xA;I re-named the audio file in the file naming box to something substantially different (one without underscores) and the audio mixdown worked. While solving my issue mostly... this is a really weird bug." ContentLicense="CC BY-SA 3.0" />
  <row Id="24417" PostHistoryTypeId="2" PostId="14789" RevisionGUID="272ee2f9-1237-46f2-9be7-16cc25d2cc64" CreationDate="2012-07-26T19:38:26.273" UserId="670" Text="I just got some pretty terribly recorded dialogue with a lot of hiss on the track and have been trying to get rid of it with C4 and RX denoiser but I can't seem to completely get rid of the hiss. Not to mention it's incredibly distant and this is the only take...Any suggestions?&#xD;&#xA;&#xD;&#xA;http://snd.sc/MacqC0" ContentLicense="CC BY-SA 3.0" />
  <row Id="24418" PostHistoryTypeId="1" PostId="14789" RevisionGUID="272ee2f9-1237-46f2-9be7-16cc25d2cc64" CreationDate="2012-07-26T19:38:26.273" UserId="670" Text="Obnoxiously noisy dialogue" ContentLicense="CC BY-SA 3.0" />
  <row Id="24419" PostHistoryTypeId="3" PostId="14789" RevisionGUID="272ee2f9-1237-46f2-9be7-16cc25d2cc64" CreationDate="2012-07-26T19:38:26.273" UserId="670" Text="&lt;dialogue&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24420" PostHistoryTypeId="2" PostId="14790" RevisionGUID="62998e1e-3dbe-4c32-98e9-284b3ff4c66c" CreationDate="2012-07-26T20:29:34.990" UserId="6420" Text="You should be able to work some magic with those tools with a bit of patience. Apart from getting your hands on a CEDAR or ADR-ing it, you might get something half decent to work with.&#xD;&#xA;&#xD;&#xA;Heres what I did in 3 mins using RX: http://soundcloud.com/andrewjohnlewis/noisy-dialogue-2&#xD;&#xA;&#xD;&#xA;Very rough, but with some finesse you could get somewhere there I'm sure." ContentLicense="CC BY-SA 3.0" />
  <row Id="24424" PostHistoryTypeId="2" PostId="14792" RevisionGUID="fbafe7fe-8630-416e-8d45-300785edf2af" CreationDate="2012-07-27T06:08:29.510" UserId="4099" Text="Hi, i work in Mumbai, India. Here most of the mixers don't mix the tracks. we record separate tracks, and then they go to the editor. they sync the tracks with video. Here most of times, all the actors in a scene are having lapel mics on them, besides the 1 or 2 booms. in the post production, we use the boom and the lapel tracks of the artist together to make his tone, i.e, at any time when somebody speaks, his/her lapel and the boom would be used for that. phase cancellations are usually taken care in the location it self. in my experience, there is no need to mix down to a mono. &#xD;&#xA;&#xD;&#xA;the basic tracking will be like&#xD;&#xA;&#xD;&#xA;1track. boom 1&#xD;&#xA;&#xD;&#xA;2track. boom 2&#xD;&#xA;&#xD;&#xA;3track. artist 1 lapel&#xD;&#xA;&#xD;&#xA;4track. artist 2 lapel&#xD;&#xA;&#xD;&#xA;like..&#xD;&#xA;&#xD;&#xA;usually the last 2 tracks (of a 8 track recoredr like Deva), &#xD;&#xA;&#xD;&#xA;7 &amp;8 are assigned for stereo ambiences, if possible. &#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24426" PostHistoryTypeId="2" PostId="14793" RevisionGUID="7198de5f-eca9-42dc-86d1-ec217ec9fe56" CreationDate="2012-07-27T09:36:16.180" UserId="1185" Text="Following up from my previous answer, I have just seen this article and thought you might find in useful:  [http://www.musicradar.com/news/tech/9-of-the-best-chiptune-vst-plug-ins-554428][1]&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicradar.com/news/tech/9-of-the-best-chiptune-vst-plug-ins-554428" ContentLicense="CC BY-SA 3.0" />
  <row Id="24427" PostHistoryTypeId="2" PostId="14794" RevisionGUID="2f4f81a9-2506-4f1d-888a-71fe3347774f" CreationDate="2012-07-27T11:27:24.957" UserId="37" Text="You'll have to figure out whether you're money rich or time rich. &quot;fairly well retarded with computers&quot; is basically an argument against being time rich. :) I'd say go with vanilla Pro Tools 9 or 10. It runs on any interface and you will end up with Pro Tools, not another half-baked DAW that never made it to industry standard (and by this I mean PT is the half-baked DAW that did). I'd say stay well away from Audacity, regardless of what the word is. The same with Reaper (and for this I expect to get flamed). The good news is PT costs much less these days." ContentLicense="CC BY-SA 3.0" />
  <row Id="24428" PostHistoryTypeId="2" PostId="14795" RevisionGUID="07252007-81c9-4ef9-bc91-b8f798c1ec66" CreationDate="2012-07-27T17:41:14.073" UserId="730" Text="Hey everyone!&#xD;&#xA;&#xD;&#xA;So Google is going to start providing internet in the near future!  Here are the details.  I am curious as to how this will help audio recording sessions between multiple people across the country and even the world.&#xD;&#xA;&#xD;&#xA;What are some practical reason why you think Google fiber will help you in the audio world.  Please don't say bit torrents!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;https://fiber.google.com/about/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24429" PostHistoryTypeId="1" PostId="14795" RevisionGUID="07252007-81c9-4ef9-bc91-b8f798c1ec66" CreationDate="2012-07-27T17:41:14.073" UserId="730" Text="Google Fiber coming soon!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24430" PostHistoryTypeId="3" PostId="14795" RevisionGUID="07252007-81c9-4ef9-bc91-b8f798c1ec66" CreationDate="2012-07-27T17:41:14.073" UserId="730" Text="&lt;file&gt;&lt;file-transfer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24431" PostHistoryTypeId="2" PostId="14796" RevisionGUID="1605bf63-53a1-4c23-a342-5baa0b9e631a" CreationDate="2012-07-27T18:47:48.110" UserId="3179" Text="The bandwidth could definitely benefit creating audio or music collaboratively over distance. Many modern DAWs (Reaper, Ohm Studio, Bitwig) have introduced networking specifically for this.&#xD;&#xA;&#xD;&#xA;The other thing is, will people want to work remotely other than for fun? At least it's (IMO) a quite powerful option even for professional collaboration." ContentLicense="CC BY-SA 3.0" />
  <row Id="24432" PostHistoryTypeId="2" PostId="14797" RevisionGUID="e123e305-3728-4e30-900a-dd5d85faa317" CreationDate="2012-07-27T19:01:25.440" UserId="3179" Text="Unless you have a specific reason to use PT, consider all alternatives, because they can feel subjectively better.&#xD;&#xA;&#xD;&#xA;M-Audio, nor Avid hardware are not known to be very good bang for the buck (unless the hardware is required to run PT), so even here there are a lot alternatives.&#xD;&#xA;&#xD;&#xA;It's all just a matter of taste, but only you can decide what you want to use and how much you want to pay." ContentLicense="CC BY-SA 3.0" />
  <row Id="24433" PostHistoryTypeId="2" PostId="14798" RevisionGUID="8dca171d-b691-4b60-b845-20f43e8eb917" CreationDate="2012-07-27T21:56:21.343" UserId="644" Text="There is a learning curve to any DAW, so regardless of how inadequate you feel towards computers, you will always have to learn the clicks and menus on all of them. &#xD;&#xA;&#xD;&#xA;From being a user of a few DAWs (currently use PT), your workflow and understanding of any of them is relatively similar; the main goal is to gain those clicks and hand contorting keyboard short cuts. I would concentrate on getting a core DAW that is stable and has a good community for keeping you in the know and full of potential updates and plugins; I would recommend PT10 or Cubase.&#xD;&#xA;&#xD;&#xA;Just be sure that you pick a DAW that you can afford. &#xD;&#xA;&#xD;&#xA;Personally, I would recommend both Cubase and Pro Tools. Both have strengths, Pro tools is great for simple sound editing and Cubase holds the monopoly for Midi sequencing and in the box music creation.&#xD;&#xA;&#xD;&#xA;Logic Pro is another good DAW if you are an apple user, but from the current trends from the apple pro developers, Logic could be up for a &quot;dumbing&quot; down in the next year or two. Great at the moment tho and very stable platform on Mac.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="24434" PostHistoryTypeId="5" PostId="14797" RevisionGUID="9451531c-ef83-43c1-a57f-42488e02ba17" CreationDate="2012-07-27T23:15:21.977" UserId="3179" Comment="added 37 characters in body" Text="Unless you have a specific reason to use PT, consider (preferably try and see yourself) all alternatives, because they can feel subjectively better.&#xD;&#xA;&#xD;&#xA;M-Audio, nor Avid hardware are not known to be very good bang for the buck (unless the hardware is required to run PT), so even here there are a lot of alternatives.&#xD;&#xA;&#xD;&#xA;It's all just a matter of taste, but only you can decide what you want to use and how much you want to pay." ContentLicense="CC BY-SA 3.0" />
  <row Id="24435" PostHistoryTypeId="2" PostId="14799" RevisionGUID="6996b023-7b0f-4fb7-bb21-79e4f84e61fb" CreationDate="2012-07-28T00:48:09.767" UserId="4101" Text="Sorry to bump up a one year old thread, but as it may be a clever advice : I always store them with silica gel (that you will most likely find in camera shops), in addition to what previous people said. Into hermetic zip lock bags, this prevent moisture and keep them perfectly dry, which is especially important when not using them for a long time.&#xD;&#xA;&#xD;&#xA;Mickael" ContentLicense="CC BY-SA 3.0" />
  <row Id="24436" PostHistoryTypeId="2" PostId="14800" RevisionGUID="6b6ef6ad-3716-4f62-9785-0ed6e44353d4" CreationDate="2012-07-28T00:49:49.523" UserId="4100" Text="Hey Bala, i'm in a same situation looking for a trekking backpack where i can fit the rode and other stuff so i wonder, how the kata bag worked out for you?&#xD;&#xA;A picture will be very helpful too, shukriyaa!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24437" PostHistoryTypeId="2" PostId="14801" RevisionGUID="584759ec-e3f2-4add-8e81-f8e775f898c8" CreationDate="2012-07-28T02:36:30.500" UserId="3104" Text="So I've been working on a feature film project for a few months now and I had to use Rx at my school to get rid of some really bad humming noises that were in a few scenes. I don't have Rx at home and the scenes that I worked on are little by little regaining the humming noise again. Is there anyway to stop this at all. It was why I used Rx in the audio suite in the first place, to create new files, without any of the unwanted noise. Do I have to buy Rx in order for the noise to go away, try to EQ the new noise coming in or find some other way to fix this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24438" PostHistoryTypeId="1" PostId="14801" RevisionGUID="584759ec-e3f2-4add-8e81-f8e775f898c8" CreationDate="2012-07-28T02:36:30.500" UserId="3104" Text="Can files created by using Audio Suite plug-ins go bad over time?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24439" PostHistoryTypeId="3" PostId="14801" RevisionGUID="584759ec-e3f2-4add-8e81-f8e775f898c8" CreationDate="2012-07-28T02:36:30.500" UserId="3104" Text="&lt;plug-ins&gt;&lt;pro-tools&gt;&lt;post-production&gt;&lt;audiosuite&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24440" PostHistoryTypeId="2" PostId="14802" RevisionGUID="b5022993-947d-4859-9804-540f117e2507" CreationDate="2012-07-28T10:38:48.900" UserId="845" Text="Files don't degrade.  Not like that anyway.  Though I could see it being the backbone of a pretty wicked sci-fi story.&#xD;&#xA;&#xD;&#xA;What's happening is that you're obsessing over the noise. The more you obsess, the louder it gets in your head.  &#xD;&#xA;&#xD;&#xA;Also, careful not to fall down the EQ rabbit hole. One touch here, leads to one touch there, and next thing you know you've got 5 Q10s piled top on each other, and you have no idea what you were trying to get rid of in the first place.&#xD;&#xA;&#xD;&#xA;Sometimes there's only so much you can do with &quot;fixing&quot; location sound.  The purpose (in the absolute utilitarian sense) is in telligibility.  If you can understand what's being said, and it's not *too* ugly, you're good to go.  &#xD;&#xA;&#xD;&#xA;Then you have to move on to the sound design side and get into covering it up with more pleasant sounding stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="24441" PostHistoryTypeId="2" PostId="14803" RevisionGUID="2e7f2c4a-a039-48d4-9ea1-10210bef0cb5" CreationDate="2012-07-28T12:37:36.903" UserId="675" Text="Just wondering what the advantages and/or disadvantages are of using a regular foam windscreen and a furry together?&#xD;&#xA;&#xD;&#xA;From the Rycote website I gather that adding a furry on top of a foam windscreen adds an extra amount of dBs in wind reduction.&#xD;&#xA;&#xD;&#xA;Do you always start with a foam screen (for light to moderate wind) and add a furry for heavy wind?&#xD;&#xA;&#xD;&#xA;Or are there any benefits to using just a furry without a foam screen underneath?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24442" PostHistoryTypeId="1" PostId="14803" RevisionGUID="2e7f2c4a-a039-48d4-9ea1-10210bef0cb5" CreationDate="2012-07-28T12:37:36.903" UserId="675" Text="How do you choose between foam windscreen and/or a furry?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24443" PostHistoryTypeId="3" PostId="14803" RevisionGUID="2e7f2c4a-a039-48d4-9ea1-10210bef0cb5" CreationDate="2012-07-28T12:37:36.903" UserId="675" Text="&lt;wind-protection&gt;&lt;windjammer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24444" PostHistoryTypeId="2" PostId="14804" RevisionGUID="1431de7b-0911-4417-bb70-880864735873" CreationDate="2012-07-28T13:01:36.620" UserId="3179" Text="I'd go with the least amount of wind protection possible in a situation. The more you protect, the more you're blocking the sound you're recording as well.&#xD;&#xA;&#xD;&#xA;Some of the Rycote wind shields are designed so that you can vary the level of wind protection using their own accessories. Thus, you can use what's ideal for a particular situation." ContentLicense="CC BY-SA 3.0" />
  <row Id="24445" PostHistoryTypeId="2" PostId="14805" RevisionGUID="2e9d692c-3943-489e-a083-0fdfc7a2b7a4" CreationDate="2012-07-28T15:36:16.133" UserDisplayName="user80" Text="I watched a major television sporting event last night and was surprised at the amount of plosive popping.  The announcements within the stadium suffered from the effect as well as the programme presenters and commentators.&#xD;&#xA;&#xD;&#xA;Plosive popping is so easily dealt with.  Do you think the audience notices, or has plosive popping become an indicator of a live rather than a recorded event, giving the audience confidence that there is no delay in broadcast?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24446" PostHistoryTypeId="1" PostId="14805" RevisionGUID="2e9d692c-3943-489e-a083-0fdfc7a2b7a4" CreationDate="2012-07-28T15:36:16.133" UserDisplayName="user80" Text="Live television and plosive popping" ContentLicense="CC BY-SA 3.0" />
  <row Id="24447" PostHistoryTypeId="3" PostId="14805" RevisionGUID="2e9d692c-3943-489e-a083-0fdfc7a2b7a4" CreationDate="2012-07-28T15:36:16.133" UserDisplayName="user80" Text="&lt;plosives&gt;&lt;tv-show&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24448" PostHistoryTypeId="2" PostId="14806" RevisionGUID="13425e9f-ccf1-4ea3-b162-62be2b6eb05e" CreationDate="2012-07-28T18:30:59.527" UserId="244" Text="Live broadcast show the scenario, 3 presenters, all lapel mic'd up. The studio itself isnt the best and dryest room to begin with. There appears to be a bit of an echo issue with one of the presenters' voice.. Any advice tips or tricks you could suggest would be gratefully welcomed... eq techniques maybe ? ?&#xD;&#xA;&#xD;&#xA;I try and mic them as close to their mouths as possible, and also tried to hide the mic behind  the lapel of the jacket too to stop the mic from picking up the reflecting sound from the room..&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="24449" PostHistoryTypeId="1" PostId="14806" RevisionGUID="13425e9f-ccf1-4ea3-b162-62be2b6eb05e" CreationDate="2012-07-28T18:30:59.527" UserId="244" Text="TV Vocal Reverb Reduction " ContentLicense="CC BY-SA 3.0" />
  <row Id="24450" PostHistoryTypeId="3" PostId="14806" RevisionGUID="13425e9f-ccf1-4ea3-b162-62be2b6eb05e" CreationDate="2012-07-28T18:30:59.527" UserId="244" Text="&lt;vocals&gt;&lt;reverb&gt;&lt;reduction&gt;&lt;lapel&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24451" PostHistoryTypeId="2" PostId="14807" RevisionGUID="935c51b5-7bd9-4f63-b4ff-1a3837c47aa2" CreationDate="2012-07-28T19:39:18.750" UserId="1035" Text="I really think that a lot of people just tune that stuff out...it's somewhat surprising to me, though, that so many people whose job it is to speak into microphones all the time have never learned to speak PAST the mic as opposed to INTO...but, again, I guess it's that tuning out....people really tune out a surprising number of things." ContentLicense="CC BY-SA 3.0" />
  <row Id="24452" PostHistoryTypeId="2" PostId="14808" RevisionGUID="bb335e61-1d29-49b3-9b02-ca5b8fff7d52" CreationDate="2012-07-28T19:42:54.163" UserId="1035" Text="I avoid using a furry when possible just because it's heavier (especially with a zeppelin). There is definitely a perceivable sonic difference as well. You lose some of the crispness of the dial w/ a big furry/zeppelin, though chances are that usage of NR or filtering in post (as is almost always done on exteriors) is going to eliminate that crispness anyways." ContentLicense="CC BY-SA 3.0" />
  <row Id="24453" PostHistoryTypeId="2" PostId="14809" RevisionGUID="2627936a-e145-43d1-9487-8a9caa8f7a59" CreationDate="2012-07-28T19:49:46.630" UserId="1035" Text="Building on what g.a.harry said above, and if you're the main sound editor/mixer on the project, I might recommend beginning layering in your BGs, if you haven't done so already. It's obviously different when you're part of a larger crew in a traditional professional situation when you don't want to A. step on anyone else's toes B. make someone else's job harder down the line. But I've been in your situation before, and I was focusing on the DX a LOT on the front end. Spent countless hours with C4 and Q10 getting this super clean sounding dialogue, and then ultimately, once I laid in my BGs, realized I could get away with having a lot more of the natural &quot;noise&quot; in there. &#xD;&#xA;&#xD;&#xA;Additionally, I offer that depending on the types of hums, you may even be able to go back to your raw audio files and use notch filtering. This normally works for me, with the exception of grounding buzz. That's when I break out the RX." ContentLicense="CC BY-SA 3.0" />
  <row Id="24455" PostHistoryTypeId="2" PostId="14811" RevisionGUID="28c7600e-13e5-48e7-9645-77ce5aa3c76f" CreationDate="2012-07-28T21:33:57.697" UserDisplayName="user80" Text="Are you leaving all the mics open, or are you switching them on and off as needed?  If you need to leave more than one mic open at a time, try switching the phase or using a downward expander.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24456" PostHistoryTypeId="2" PostId="14812" RevisionGUID="de5a6782-124d-44bf-8d03-48eb53460224" CreationDate="2012-07-28T22:00:23.890" UserId="3179" Text="Supposedly the state of the art of reverb suppression:&#xD;&#xA;&#xD;&#xA;http://www.zynaptiq.com/unveil/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24457" PostHistoryTypeId="2" PostId="14813" RevisionGUID="bf3ab179-b103-4b21-b581-b2caa40b2c92" CreationDate="2012-07-28T22:36:32.490" UserId="3104" Text="I've worked with people remotely, handing off sessions with notes to continue workflow, uploaded bounces from Pro Tools for producers and directors and even uploaded various SFX on Dropbox to friends and editors. Having something like this would be a godsend and would benefit tons of people if this was to spread all over the nation. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24458" PostHistoryTypeId="2" PostId="14814" RevisionGUID="67919640-2e42-45a3-808f-22915571be3b" CreationDate="2012-07-29T06:44:25.793" UserDisplayName="user49" Text="Have you ever experienced the uncanny valley with VFX? But more importantly, have you experienced it with sound? Or do we experience every day working in post, with every sound? And it is just an issue of plausability/sustaining/reinforcing suspension of disbelief? &#xD;&#xA;More info here:&#xD;&#xA;http://en.wikipedia.org/wiki/Uncanny_valley&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24459" PostHistoryTypeId="1" PostId="14814" RevisionGUID="67919640-2e42-45a3-808f-22915571be3b" CreationDate="2012-07-29T06:44:25.793" UserDisplayName="user49" Text="Sonic equivalent to the Uncanny Valley?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24460" PostHistoryTypeId="3" PostId="14814" RevisionGUID="67919640-2e42-45a3-808f-22915571be3b" CreationDate="2012-07-29T06:44:25.793" UserDisplayName="user49" Text="&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24461" PostHistoryTypeId="2" PostId="14815" RevisionGUID="c5f4fb66-679a-4b49-bb4f-9f8752a2caa9" CreationDate="2012-07-29T11:09:13.813" UserId="842" Text="Well, with CGI I'd say it's far from rare, though of course there are a lot of really convincing CGI's too! Just look at Gollum! But with sound, I'd say you have something there with the suspension of disbelief&#xD;&#xA;&#xD;&#xA;With sound, and this is a philosophy I'm convinced of and work by, I'd say the more one can maintain a full transparency and a natural feel in the soundtrack (not to be confused with a natural sound/kitchen sink realism...not a fan of that...), excluding the music and non-diegetics room-wise of course but not in characteristics, the better the movie will seem to the audience. Wall-E, Dark Knight Rises, Delicatessen and Bourne Supremacy is in my opinion great examples of that. But frankly, and I guess most people here in all likelihood have very much seen the effect of this regularly, sound is rarely even remotely as prioritized as picture in most movies, and I dare say people are pretty used to that. I haven't read the article from cover to cover yet though I think it's very interesting, I'm just too tired right now, but it seems to focus on body-language, and that's pretty much my point. We're heavily trained from birth to read and interpret even the tiniest nuances of an individual, be it intonation of the voice, to the way someone wrinkles his or her nose, to how healthy-looking the skin is, most of us are extremely susceptible to even very subliminal changes.&#xD;&#xA;&#xD;&#xA;With everything else on the other hand, we can be fooled very easily. Take for example the shotgun in Terminator 2. I've shot 12 gauge both pellets and slugs many times, and the first time all I could think was &quot;What the deuce!? It sounds more like a really loud Champagne-pop than a gun!?&quot;...frankly, I've even sweetened a Champagne-pop with said shotgun. Yet, even though I know full well that it's fake, I even know what it's made of, and I actually work with these things myself, still I feel in my heart that that cool blast from the humongous cyborg is real! As a contrast: &quot;realistic&quot; speech-synthesis gives me the creeps. I very much prefer the Amiga/Atari/Hawking's kind or none at all..." ContentLicense="CC BY-SA 3.0" />
  <row Id="24462" PostHistoryTypeId="5" PostId="14815" RevisionGUID="e2afed1f-db12-4288-a911-f2c53fd99785" CreationDate="2012-07-29T14:31:55.713" UserId="842" Comment="added 195 characters in body" Text="Well, with CGI I'd say it's far from rare, though of course there are a lot of really convincing CGI's too! Just look at Gollum! But with sound, I'd say you have something there with the suspension of disbelief&#xD;&#xA;&#xD;&#xA;This here is NOT a rant about professionalism, it's about my opinion on keeping withing diegesis and nothing else, ie a natural impression of the final sound but not the source:&#xD;&#xA;With sound, and this is a philosophy I'm convinced of right now and work by, I'd say the more one can maintain a full transparency and a natural feel in the soundtrack (not to be confused with a truly natural sound/kitchen sink realism...not a fan of that...), excluding the music and non-diegetics room-wise of course but not in characteristics, the better the movie will seem to the audience. Wall-E, Dark Knight Rises, Delicatessen and Bourne Supremacy is in my opinion great examples of that. But frankly, and I guess most people here in all likelihood have very much seen the effect of this regularly, sound is rarely even remotely as prioritized as picture in most movies, and I dare say people are pretty used to that. I haven't read the article from cover to cover yet though I think it's very interesting, I'm just too tired right now, but it seems to focus on body-language, and that's pretty much my point. We're heavily trained from birth to read and interpret even the tiniest nuances of an individual, be it intonation of the voice, to the way someone wrinkles his or her nose, to how healthy-looking the skin is, most of us are extremely susceptible to even very subliminal changes.&#xD;&#xA;&#xD;&#xA;With everything else on the other hand, we can be fooled very easily. Take for example the shotgun in Terminator 2. I've shot 12 gauge both pellets and slugs many times, and the first time all I could think was &quot;What the deuce!? It sounds more like a really loud Champagne-pop than a gun!?&quot;...frankly, I've even sweetened a Champagne-pop with said shotgun. Yet, even though I know full well that it's fake, I even know what it's made of, and I actually work with these things myself, still I feel in my heart that that cool blast from the humongous cyborg is real! As a contrast: &quot;realistic&quot; speech-synthesis gives me the creeps. I very much prefer the Amiga/Atari/Hawking's kind or none at all..." ContentLicense="CC BY-SA 3.0" />
  <row Id="24463" PostHistoryTypeId="5" PostId="14815" RevisionGUID="00f233dd-8611-481a-a4ea-6a32bc63e914" CreationDate="2012-07-29T14:53:54.987" UserId="842" Comment="added 762 characters in body; deleted 3 characters in body" Text="Well, with CGI I'd say it's far from rare, though of course there are a lot of really convincing CGI's too! Just look at Gollum! But with sound, I'd say you have something there with the suspension of disbelief&#xD;&#xA;&#xD;&#xA;This here is NOT a rant about professionalism, it's about my opinion on keeping withing diegesis and nothing else, ie giving a natural impression of the final sound but not the source contra a more exaggerated and expressive sound:&#xD;&#xA;&#xD;&#xA;With sound effects and ambiances, and this is a philosophy I'm convinced of right now and work by, I'd say the more one can maintain a full transparency and a natural feel in the soundtrack (not to be confused with a truly natural sound/kitchen sink realism...not a fan of that...), excluding the music and non-diegetics room-wise of course but not in characteristics, the less the risk might be that the audience will get distracted and breaking the illusion. Wall-E, Dark Knight Rises, Delicatessen and Bourne Supremacy is in my opinion great examples of that. But frankly, and I guess most people here in all likelihood have very much seen the effect of this regularly, sound is rarely even remotely as prioritized as picture in most movies, making it difficult to always take it that extra distance we really wanted. And I dare say people are pretty used to that, making small errors and omissions in insignificant sounds more forgivable and out of the valley. I haven't read the article from cover to cover yet though I think it's very interesting, I'm just too tired right now, but it seems to focus on body-language, and that's pretty much my point. We're heavily trained from birth to read and interpret even the tiniest nuances of an individual, be it intonation of the voice, to the way someone wrinkles his or her nose, to how healthy-looking the skin is, most of us are extremely susceptible to even very subliminal changes.&#xD;&#xA;&#xD;&#xA;With everything else on the other hand, we can be fooled very easily. Take for example the shotgun in Terminator 2. I've shot 12 gauge both pellets and slugs many times, and the first time all I could think was &quot;What the deuce!? It sounds more like a really loud Champagne-pop than a gun!?&quot;...frankly, I've even sweetened a Champagne-pop with said shotgun. Yet, even though I know full well that it's fake, I even know what it's made of, and I actually work with these things myself, still I feel in my heart that that cool blast from the humongous cyborg is real! As a contrast: &quot;realistic&quot; speech-synthesis gives me the creeps. I very much prefer the Amiga/Atari/Hawking's kind or none at all...&#xD;&#xA;&#xD;&#xA;Sound design-wise I do however often strive for the Uncanny Valley when doing horror and dystopian movies. As it's much easier to accept sound effects as they are, and one must find what makes the individual sound fit even though sounding unnatural, it's not an easy thing to pull off. But as long as the scene doesn't depend on it, I consider a successful application of it a sweet bonus, and a failure not much more than a day-long dent in my self esteem :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24464" PostHistoryTypeId="5" PostId="14815" RevisionGUID="4c7f625f-173d-4fe0-8801-05f0a0084ada" CreationDate="2012-07-29T15:06:25.517" UserId="842" Comment="added 152 characters in body" Text="Well, with CGI I'd say it's far from rare, though of course there are a lot of really convincing CGI's too! Just look at Gollum! But with sound, I'd say you have something there with the suspension of disbelief&#xD;&#xA;&#xD;&#xA;This here is NOT a rant about professionalism, it's about my opinion on keeping withing diegesis and nothing else, ie giving a natural impression of the final sound but not the source contra a more exaggerated and expressive sound:&#xD;&#xA;&#xD;&#xA;With sound effects and ambiances, and this is a philosophy I'm convinced of right now and work by, I'd say the more one can maintain a full transparency and a natural feel in the soundtrack (not to be confused with a truly natural sound/kitchen sink realism...not a fan of that...), excluding the music and non-diegetics room-wise of course but not in characteristics, the less the risk might be that the audience will get distracted and breaking the illusion. Wall-E, Dark Knight Rises, Delicatessen and Bourne Supremacy is in my opinion great examples of that. But frankly, and I guess most people here in all likelihood have very much seen the effect of this regularly, sound is rarely even remotely as prioritized as picture in most movies, making it difficult to always take it that extra distance we really wanted. And I dare say people are pretty used to that, making small errors and omissions in insignificant sounds more forgivable and out of the valley. I haven't read the article from cover to cover yet though I think it's very interesting, I'm just too tired right now, but it seems to focus on body-language, and that's pretty much my point. We're heavily trained from birth to read and interpret even the tiniest nuances of an individual, be it intonation of the voice, to the way someone wrinkles his or her nose, to how healthy-looking the skin is, most of us are extremely susceptible to even very subliminal changes.&#xD;&#xA;&#xD;&#xA;With everything else on the other hand, we can be fooled very easily. Take for example the shotgun in Terminator 2. I've shot 12 gauge both pellets and slugs many times, and the first time all I could think was &quot;What the deuce!? It sounds more like a really loud Champagne-pop than a gun!?&quot;...frankly, I've even sweetened a Champagne-pop with said shotgun. Yet, even though I know full well that it's fake, I even know what it's made of, and I actually work with these things myself, still I feel in my heart that that cool blast from the humongous cyborg is real! As a contrast: &quot;realistic&quot; speech-synthesis gives me the creeps. I very much prefer the Amiga/Atari/Hawking's kind or none at all...&#xD;&#xA;&#xD;&#xA;Sound design-wise I do however often strive for the Uncanny Valley when doing horror and dystopian movies. As it's much easier to accept sound effects as they are, and one must find what makes the individual sound fit even though sounding unnatural, it's not an easy thing to pull off. But as long as the scene doesn't depend on it, I consider a successful application of it a sweet bonus, and a failure not much more than a day-long dent in my self esteem :-)&#xD;&#xA;&#xD;&#xA;Of course one might argue if there really are any clear humanlike emotions readable from un-antropomorphic stuff, but therein lies the challenge :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24465" PostHistoryTypeId="2" PostId="14816" RevisionGUID="39a328a2-c4c5-4e7b-b0a2-ece5530f676c" CreationDate="2012-07-29T16:55:36.737" UserId="37" Text="I think people experience something like that when they hear themselves talk. Your brain knows what you're hearing is the truth, yet what you're hearing does not &lt;del&gt;quite sound like&lt;/del&gt; match the real you (from inside the skull that is). By then the brain simply refuses to accept the artefact based on this distinction malfunctioning. &#xD;&#xA;&#xD;&#xA;I think with sound that has little to do with us, humans, we're happy to go for the abstract and exercise interpretation and association. But take a speech synthesizer, my, those things sound ugly mostly due to how advanced they are nowadays, and how wrong they get the intonation. &#xD;&#xA;&#xD;&#xA;This, in my view, is much more closely bound to sight than it is to hearing. We're largely used to the idea that one thing can sound like another (maybe as long as it isn't us). But to look very much like another, that's largely the cause of the phenomenon....... Maybe if we attempted to bark at a dog, the dog would have some sort of similar feeling?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24466" PostHistoryTypeId="2" PostId="14817" RevisionGUID="31d0c5f6-e333-430f-8947-35e8c1289dee" CreationDate="2012-07-29T18:01:41.343" UserId="4019" Text="Audio uncanny valley you say?&#xD;&#xA;&#xD;&#xA;That binaural haircut recording - the realism creeped me out the first time I heard it." ContentLicense="CC BY-SA 3.0" />
  <row Id="24467" PostHistoryTypeId="2" PostId="14818" RevisionGUID="cc2e1e19-9578-45a8-84ce-038159725bcf" CreationDate="2012-07-29T18:07:39.667" UserId="29" Text="I'll be there as well. Shaun, sleep is for the dead." ContentLicense="CC BY-SA 3.0" />
  <row Id="24468" PostHistoryTypeId="16" PostId="14818" RevisionGUID="cc2e1e19-9578-45a8-84ce-038159725bcf" CreationDate="2012-07-29T18:07:39.667" UserId="-1" />
  <row Id="24469" PostHistoryTypeId="2" PostId="14819" RevisionGUID="c4b87256-e7c8-406d-a222-9537589a2df7" CreationDate="2012-07-29T18:11:33.013" UserId="29" Text="I find that my own suspension of disbelief tends to arise from synthesized sounds, as opposed to recontextualized field recordings. This is true of a lot of genre films (*Escape from New York*, *Solaris*, and untold hundreds of other horror and sci-fi films), but even recent films such as *Terminator Salvation*, where the sound design of some of the 'bots was *so* synthetic sounding that I found that it pulled me out of the moment and narrative. Some films where the sound is just super weird, like Jacques Tati, you can somehow just roll with and accept the oddities. But when a film's played mostly for realism, that's when it hits ya." ContentLicense="CC BY-SA 3.0" />
  <row Id="24474" PostHistoryTypeId="2" PostId="14821" RevisionGUID="741f54be-c692-46b3-9322-6f11d55accc2" CreationDate="2012-07-30T06:55:54.957" UserId="1178" Text="Have you considered using acoustic blankets in the recording space" ContentLicense="CC BY-SA 3.0" />
  <row Id="24475" PostHistoryTypeId="2" PostId="14822" RevisionGUID="08215b35-219d-45d8-8478-9dff4527d78a" CreationDate="2012-07-30T11:47:44.267" UserId="675" Text="Any recordists living close to Philadelphia, USA looking for a nice recording opportunity?&#xD;&#xA;&#xD;&#xA;This is in the online edition of the NY Times today:&#xD;&#xA;&#xD;&#xA;http://www.nytimes.com/2012/07/30/arts/music/for-more-pianos-last-note-is-thud-in-the-dump.html?pagewanted=1&amp;_r=1&amp;hp&#xD;&#xA;&#xD;&#xA;Quite sad but maybe at the same time a great possibility to record some crazy sounds.&#xD;&#xA;&#xD;&#xA;Of course there's already a great 'Tortured Piano' library by Tim Prebble, but what these people are doing looks a step beyond.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24476" PostHistoryTypeId="1" PostId="14822" RevisionGUID="08215b35-219d-45d8-8478-9dff4527d78a" CreationDate="2012-07-30T11:47:44.267" UserId="675" Text="So, who is going to record this? [piano mass torture in Philadelphia]" ContentLicense="CC BY-SA 3.0" />
  <row Id="24477" PostHistoryTypeId="3" PostId="14822" RevisionGUID="08215b35-219d-45d8-8478-9dff4527d78a" CreationDate="2012-07-30T11:47:44.267" UserId="675" Text="&lt;field-recording&gt;&lt;crashing&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24478" PostHistoryTypeId="2" PostId="14823" RevisionGUID="adb78067-82cc-4273-810f-411f2cda9f4d" CreationDate="2012-07-30T20:42:44.503" UserId="3145" Text="The foley should be recorded in such a quiet environment that there is only negligible &quot;fill&quot;.  Don't fill foley.  Just chop it off or put a short fade on the head and tail if you hear something. If you're creating an M&amp;E, the background tracks, the effects stem and other added effects to replace production effects under the English dialogue will certainly cover any foley holes. Also there will be a cloth pass in your foley tracks to cover all movement.  It's there for the mixer to cover any movement holes in an M&amp;E.  The foley artists generally do the cloth in one pass per reel without stopping. It's easy to cut.  Just advance everything five frames to cover the foley guys' reaction time.  If it's rhythmic movement, like walking, put it back in original sync for that scene.    &#xD;&#xA;&#xD;&#xA;One thing I miss in foreign dubs is that original dialogue presence.  I wish more editors would prepare some orignal room tone from the production sound that matches the actual room and the domestic dialogue.  That would make the foreign ADR much more transparent and realistic.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24479" PostHistoryTypeId="2" PostId="14824" RevisionGUID="25ae8929-754e-4724-8ec5-9252a4306a4a" CreationDate="2012-07-30T21:45:22.170" UserId="61" Text="The first thing that popped into my mind was a scene from Twin Peaks I watched recently. The character The Man from Another Place (I think that was his name) was speaking but every word he uttered was reversed and twisted and quite unnatural. At first hearing it shocked me, then it got progressively more and more spooky and hard to deal with." ContentLicense="CC BY-SA 3.0" />
  <row Id="24480" PostHistoryTypeId="2" PostId="14825" RevisionGUID="dcb5d91c-7e72-4dde-9f66-c319747eacf5" CreationDate="2012-07-30T22:04:28.160" UserId="842" Text="Hellu! I wonder if anyone here have a good suggestion for plugins that applies transient intemodulation distortion as an effect?&#xD;&#xA;Right now I use crappy old amps, really old reel to reel-tape, and dynamic mics, but they give me absolutely no control, and when it's recorded it is there to stay. Of course the tape-players are re-amped, but it would still be easier to only use a dedicated plugin when I want that very effect and only use the hardware when I want the full characteristic of the gears. As a Nuendo-user, I work exclusively in the VST-format." ContentLicense="CC BY-SA 3.0" />
  <row Id="24481" PostHistoryTypeId="1" PostId="14825" RevisionGUID="dcb5d91c-7e72-4dde-9f66-c319747eacf5" CreationDate="2012-07-30T22:04:28.160" UserId="842" Text="Transient intermodulation distortion as a plugin" ContentLicense="CC BY-SA 3.0" />
  <row Id="24482" PostHistoryTypeId="3" PostId="14825" RevisionGUID="dcb5d91c-7e72-4dde-9f66-c319747eacf5" CreationDate="2012-07-30T22:04:28.160" UserId="842" Text="&lt;distortion&gt;&lt;dynamics&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24483" PostHistoryTypeId="2" PostId="14826" RevisionGUID="7cffd2b0-6aab-4766-b82e-2755d9450560" CreationDate="2012-07-31T00:13:24.890" UserId="194" Text="boy, that youtube vid linked in the article WAS hard to watch!  piano's didn't sound like much coming out of the truck either.  &#xD;&#xA;&#xD;&#xA;kind of sad." ContentLicense="CC BY-SA 3.0" />
  <row Id="24484" PostHistoryTypeId="2" PostId="14827" RevisionGUID="69547d29-487a-41cd-a175-6a7a3b92e0b1" CreationDate="2012-07-31T08:03:29.070" UserId="348" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I am looking for some good, contemporary examples of badly recorded/EQed/mixed ADR from either movies or TV shows. The kind of ADR that sounds boxy, poor perspective etc. I know that &quot;Bones&quot; is a good example but does anyone else have any other good examples. &#xD;&#xA;&#xD;&#xA;Tha" ContentLicense="CC BY-SA 3.0" />
  <row Id="24485" PostHistoryTypeId="1" PostId="14827" RevisionGUID="69547d29-487a-41cd-a175-6a7a3b92e0b1" CreationDate="2012-07-31T08:03:29.070" UserId="348" Text="Examples of badly recorded/EQed ADR" ContentLicense="CC BY-SA 3.0" />
  <row Id="24486" PostHistoryTypeId="3" PostId="14827" RevisionGUID="69547d29-487a-41cd-a175-6a7a3b92e0b1" CreationDate="2012-07-31T08:03:29.070" UserId="348" Text="&lt;bad&gt;&lt;adr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24487" PostHistoryTypeId="2" PostId="14828" RevisionGUID="1795e441-ccda-4b3f-9fe5-8aa8c5907394" CreationDate="2012-07-31T10:51:25.267" UserId="3179" Text="http://www.michaelkingston.fi/retroband/&#xD;&#xA;&#xD;&#xA;I'm not familiar with TIMD in analog gear, but it sounds like it could be analogous/similar to forms of digital waveshaping, in which case a flexible/variable waveshaper VST could also get what you want?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24489" PostHistoryTypeId="2" PostId="14830" RevisionGUID="28336fc6-8da6-4a2d-9ba7-1c1f492700a1" CreationDate="2012-07-31T14:10:20.200" UserId="4107" Text="Why Does a music producer call his first child 'bass'?&#xD;&#xA;&#xD;&#xA;because no one will complain when he drops it." ContentLicense="CC BY-SA 3.0" />
  <row Id="24490" PostHistoryTypeId="2" PostId="14831" RevisionGUID="77380b84-b096-4d0c-81f2-a07bd76f4289" CreationDate="2012-07-31T15:50:30.847" UserId="6499" Text="After reading a recent article on Designing Sound. org, http://designingsound.org/2012/07/stephan-schutze-a-week-chasing-planes/, I am wondering who the proper authorities/ departments that I would need to talk to for setting up recording sessions would be.  I have tried in the past to get access to the Docks and Railyards here in New Orleans, but have been either ignored or denied.  &#xD;&#xA;&#xD;&#xA;What tactics does everyone use to get permission and the ability to get into places to record.  I am not sure if I am talking to the wrong people or just not approaching them correctly.  I think that being an independent with no &quot;larger&quot; company name may be hindering me slightly but I doubt that is the case.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24491" PostHistoryTypeId="1" PostId="14831" RevisionGUID="77380b84-b096-4d0c-81f2-a07bd76f4289" CreationDate="2012-07-31T15:50:30.847" UserId="6499" Text="Any tips on getting permission to record in secure places" ContentLicense="CC BY-SA 3.0" />
  <row Id="24492" PostHistoryTypeId="3" PostId="14831" RevisionGUID="77380b84-b096-4d0c-81f2-a07bd76f4289" CreationDate="2012-07-31T15:50:30.847" UserId="6499" Text="&lt;recording&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24494" PostHistoryTypeId="2" PostId="14832" RevisionGUID="23b2c096-78ff-426a-8ab4-64be9b3f19c1" CreationDate="2012-07-31T18:11:23.367" UserId="182" Text="Think of it this way: what do others need to tell you before you let them into your house to perform an activity you have no clue about? &#xD;&#xA;Surely it helps if they tell you it's for a non-profit project that helps someone in need / solves a problem / makes the world a better place? Or if they do something that might benefit you, or that is linked to something you like?&#xD;&#xA;And you'll probably ask them to go away if they state their intention is making money with the stuff they gather at your place, without compensating you, right?&#xD;&#xA;&#xD;&#xA;I think affiliation does play a role, but a convincing talk tailored to that specific recipient might be even more important." ContentLicense="CC BY-SA 3.0" />
  <row Id="24495" PostHistoryTypeId="2" PostId="14833" RevisionGUID="334a4257-0f6a-4c86-8150-24fd321f66b4" CreationDate="2012-07-31T19:23:01.030" UserDisplayName="user80" Text="You have to get people interested in what you are doing.  You'd be surprised what and where you get to when people are enthused.  The personal touch always works best, find out who really has the say, and network, you probably have some connection already, see if you can get an introduction, either from head office or someone who already works there.  &#xD;&#xA;&#xD;&#xA;The main thing is to be polite and persistent, but also accept that no, means no." ContentLicense="CC BY-SA 3.0" />
  <row Id="24496" PostHistoryTypeId="2" PostId="14834" RevisionGUID="d7cd7aae-816b-4582-8016-ed2965ee2bf6" CreationDate="2012-08-01T00:52:05.550" UserId="842" Text="EMV and Iain says it very well, but to add my own view to that: I've been to several downright hazardous places, and it has always without exception ended up that way because I've earned their trust and proved my reliability by NEVER EVER making demands or bitching about anything, but happily accepting any position I might be given, no matter how bad it might really be. If I end up getting anything I'm happy, if not, cest la vie, I tried :-) But the first thing I always do is clarify that I'll leave in an instant if they find me even in the least bit annoying. I also make perfectly clear how far I am willing to go myself, stating I'm not a daredevil, and some of these places actually square scares me into sometimes ridiculous carefulness and respect.&#xD;&#xA;A dock or train-yard might not seem very threatening, but there are much really heavy machinery, and even the smallest moment of inattention from someone not used to the place might end up badly. The foremen knows this.&#xD;&#xA;&#xD;&#xA;When I visit locations there are never no guarantees I'll get any better position after being granted a position, and they might very well say no to even being in the vicinity of the place, but mostly when they'll come to trust me I got very nice things, sometimes even surprising me beyond what I could ever imagine! My greatest pride, that I can actually talk about, was a humongous display-window in a former mall that was up for razing. The foreman didn't wanna let med smash it at first because it would let the dust spread, and quite frankly we both knew what would happen if I cut myself at their location. After being allowed closer and closer as time passed 'till getting some truly amazing positions to the razing, wearing their protective gear, he actually ended up happily smashing it for me and boarding up the gaping hole with plywood! :-)&#xD;&#xA;&#xD;&#xA;Mind you, most people actually think these kind'a things are fun, but are not willing to take the consequences if anythings goes wrong and/or anyone would get injured or killed. We must respect that, and neither should we." ContentLicense="CC BY-SA 3.0" />
  <row Id="24497" PostHistoryTypeId="2" PostId="14835" RevisionGUID="eabf9e54-8177-4210-a914-a2a6058dbf27" CreationDate="2012-08-01T00:55:02.617" UserId="4109" Text="Just completed my first narrative feature film in FCP 7.  The scratch tracks have been replaced with the double-system audio, and prepped to be exported as stems if needed.&#xD;&#xA;&#xD;&#xA;I have iZotope RX2, but not sure what the best workflow is when dealing with thousands of individual sound clips.  The narrative audio tracks are of most importance to me right now, but welcome any suggestions.&#xD;&#xA;&#xD;&#xA;Also, what is the best order when working in RX2 from top to bottom (i.e., first restore a clip and then remove the hum)?  Once done, finally, what is the best way of sending the cleaned audio clip or tracks back to FCP or a DAW?&#xD;&#xA;&#xD;&#xA;The final mix and output for festivals will be stereo, but would like to remain cognizant here on out for a 5.1 mix down the road.&#xD;&#xA;&#xD;&#xA;Thanks for any help you can share!&#xD;&#xA;&#xD;&#xA;Tom&#xD;&#xA;Have the latest MBP, FCP 7, RX2, and Soundtrack Pro (yes embarrassed to say on a forum like this, but it's all I can afford right now).  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24498" PostHistoryTypeId="1" PostId="14835" RevisionGUID="eabf9e54-8177-4210-a914-a2a6058dbf27" CreationDate="2012-08-01T00:55:02.617" UserId="4109" Text="best iZotope RX2 workflow for a film" ContentLicense="CC BY-SA 3.0" />
  <row Id="24499" PostHistoryTypeId="3" PostId="14835" RevisionGUID="eabf9e54-8177-4210-a914-a2a6058dbf27" CreationDate="2012-08-01T00:55:02.617" UserId="4109" Text="&lt;izotope&gt;&lt;workflow&gt;&lt;film&gt;&lt;video&gt;&lt;voice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24503" PostHistoryTypeId="2" PostId="14837" RevisionGUID="1fcc7010-2f32-4fca-a3d9-d322742e5ba3" CreationDate="2012-08-01T03:15:54.917" UserId="4110" Text="Hi everybody,&#xD;&#xA;&#xD;&#xA;I'm an assistant producer organizing the future sound post production of a film and I'm considering various foley facilities. I'm wondering which you think is a usual budget for the foley of a 90 minute film (both in Europe and in the US), since I've been getting very dissimilar prices. This is a very &quot;normal&quot; independent film; no martial arts or robots or anything like that. A plain and simple drama needing good clean sounds and a full M&amp;E track.&#xD;&#xA;&#xD;&#xA;If anyone can help with this, I thank you in advance. &#xD;&#xA;&#xD;&#xA;Paulo" ContentLicense="CC BY-SA 3.0" />
  <row Id="24504" PostHistoryTypeId="1" PostId="14837" RevisionGUID="1fcc7010-2f32-4fca-a3d9-d322742e5ba3" CreationDate="2012-08-01T03:15:54.917" UserId="4110" Text="Foley recording budget" ContentLicense="CC BY-SA 3.0" />
  <row Id="24505" PostHistoryTypeId="3" PostId="14837" RevisionGUID="1fcc7010-2f32-4fca-a3d9-d322742e5ba3" CreationDate="2012-08-01T03:15:54.917" UserId="4110" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24506" PostHistoryTypeId="2" PostId="14838" RevisionGUID="9fc930c4-887f-4f0b-869f-666ad7208d48" CreationDate="2012-08-01T05:15:18.323" UserDisplayName="user49" Text="One option is the 'official' angle, and one way that may be achieved is by finding out if your city has a  Film Locations office, many do. They are often affiliated to City Councils and their function is to help make shooting films in the city possible &amp; efficient. When I wanted to record Fireworks I contacted the local film office and they helped me get fire permits and safety advice, and suggested locations for me. Once I'd narrowed down to a few locations they helped me get permission, and advised me on what I needed to do eg I had to drop letters in the mailboxes of anyone in the immediate area, explaining what we were doing and when. The cost varies from nothing to lots, depending on what potential disruption you create, but I was very impressed with the local Film office - they were very approachable and super helpful.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24507" PostHistoryTypeId="2" PostId="14839" RevisionGUID="08561837-1d1c-42e1-8958-b38b33c18b6b" CreationDate="2012-08-01T08:37:15.837" UserId="4111" Text="I am writing a book about vibrating energies and sound is discussed thoroughly. Here is what I predict in the future of sound technology: There will be 3D sound, speaker and microphone technology will totally change in concept, voice recognition and production is in its infancy, new musical instruments, music beamed silently directly to the brain, sound behavioral management of organisms and our brains, sound in physics and medicine will have new discoveries, recording sound from other dimensions and possibly the past. To top it off I can see this coming sooner than we think: keyboards, switches, rotary and digital controls will become a thing of the past. Some day kids will ask their parents &quot;what was the dial on a telephone for?&quot; Why did they have switches on things, as voice recognition and synthesis will do away with having to press buttons, and even beyond that the sound recognition technology to control things will be surpassed with direct control from just thoughts from our brains. My god maybe we will end up just being brains on a pedestal or just pure thought energy?&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="24508" PostHistoryTypeId="16" PostId="14839" RevisionGUID="08561837-1d1c-42e1-8958-b38b33c18b6b" CreationDate="2012-08-01T08:37:15.837" UserId="4111" />
  <row Id="24509" PostHistoryTypeId="2" PostId="14840" RevisionGUID="c876eaf1-f0b8-42c7-8bc8-61bccec8d099" CreationDate="2012-08-01T09:25:43.627" UserId="4112" Text="Hi Paulo &#xD;&#xA;&#xD;&#xA;Well that's a tricky one but something I can help with &#xD;&#xA;&#xD;&#xA;I'm a supervising sound editor within films and will be able to help with this &#xD;&#xA;&#xD;&#xA;Get in touch to discuss your options &#xD;&#xA;&#xD;&#xA;Thanks &#xD;&#xA;&#xD;&#xA;Chris " ContentLicense="CC BY-SA 3.0" />
  <row Id="24510" PostHistoryTypeId="2" PostId="14841" RevisionGUID="db1f70a6-4053-4116-9def-72999b29f376" CreationDate="2012-08-01T12:13:16.023" UserId="432" Text="As Tim mentioned in his comment, there really aren't &quot;usual&quot; prices. There are a number of factors that could be contributing to you being given dissimilar quotes: experience of the foley team (which will also affect how they view the scope of work), equipment and props that they have available, overhead costs (salaries/wages, rent, electricity, etc.), and the level of demand for their services.&#xD;&#xA;&#xD;&#xA;If you have a supervising sound editor/sound designer/audio post-supervisor, bring them into the conversation. He or she will be able to help you assess which are the best alternatives, and can help you understand where and why the discrepancies in quotes are occurring." ContentLicense="CC BY-SA 3.0" />
  <row Id="24511" PostHistoryTypeId="2" PostId="14842" RevisionGUID="4483f852-b25c-40e0-a2f5-8ebef5f02c73" CreationDate="2012-08-01T13:06:58.183" UserId="4113" Text="I am Ashwin from Bangalore(INDIA), My doubt is how can we recieve the audio sound at a very long distance through wireless media? Like for example- A Man is talking to another man at a distance of 500 meters, I want to record that at the same distance through wireless media!&#xD;&#xA;If u find any suggesion please mail me at the e-mail given below.&#xD;&#xA;&#xD;&#xA;Thank you" ContentLicense="CC BY-SA 3.0" />
  <row Id="24512" PostHistoryTypeId="1" PostId="14842" RevisionGUID="4483f852-b25c-40e0-a2f5-8ebef5f02c73" CreationDate="2012-08-01T13:06:58.183" UserId="4113" Text="Sir, I have a doubt " ContentLicense="CC BY-SA 3.0" />
  <row Id="24513" PostHistoryTypeId="3" PostId="14842" RevisionGUID="4483f852-b25c-40e0-a2f5-8ebef5f02c73" CreationDate="2012-08-01T13:06:58.183" UserId="4113" Text="&lt;wireless&gt;&lt;media&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24514" PostHistoryTypeId="2" PostId="14843" RevisionGUID="506b565b-2eb0-4820-be12-493610d9a5d5" CreationDate="2012-08-01T14:24:28.533" UserId="348" Text="Hello,&#xD;&#xA;&#xD;&#xA;I have done quite a bit of research on CF cards for the SD722 and am fairly comfortable with my decision to go with the San Disk 8GB. I do want to ask a question just to settle my mind. When choosing a disk, Sound Device recommended that you go with cards that are 40x and greater as far as the speed is concerned. &#xD;&#xA;&#xD;&#xA;Is this correct and if not, what speed card do you guys use and what other brands are out there that you might recommend. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24515" PostHistoryTypeId="1" PostId="14843" RevisionGUID="506b565b-2eb0-4820-be12-493610d9a5d5" CreationDate="2012-08-01T14:24:28.533" UserId="348" Text="CF Cards for SD722" ContentLicense="CC BY-SA 3.0" />
  <row Id="24516" PostHistoryTypeId="3" PostId="14843" RevisionGUID="506b565b-2eb0-4820-be12-493610d9a5d5" CreationDate="2012-08-01T14:24:28.533" UserId="348" Text="&lt;cf&gt;&lt;cards&gt;&lt;for&gt;&lt;sd722&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24517" PostHistoryTypeId="2" PostId="14844" RevisionGUID="86b42524-fc2b-4bcc-877e-3c8314a0df74" CreationDate="2012-08-01T14:30:38.587" UserDisplayName="user80" Text="I am very happy with San Disk and use the Extreme Pro range (100 MB/s) without any problems." ContentLicense="CC BY-SA 3.0" />
  <row Id="24518" PostHistoryTypeId="2" PostId="14845" RevisionGUID="e07f26fe-b182-4470-b0da-ca6f0f919c6a" CreationDate="2012-08-01T15:11:50.270" UserId="990" Text="I've used the Kingston Elite Pro 8gb 133x in my 744T for years without any problems. In my 788T I go with the Sandisk 16gb 400x cards." ContentLicense="CC BY-SA 3.0" />
  <row Id="24519" PostHistoryTypeId="2" PostId="14846" RevisionGUID="84cb9999-e392-4b83-bf41-39636abfd375" CreationDate="2012-08-01T15:13:16.603" UserId="6460" Text="Even if the 722 could record 8 simultaneous tracks at 24bit 192kHz, the incoming data rate would only be 4.39MB/s. This is about half the rate of even the modestly-fast CF cards. &#xD;&#xA;&#xD;&#xA;The speed of a CD or SD card is much more important for videographers who are shooting 24-30 images per second, or photographers who are shooting multiple shots in quick succession (e.g., sports photographers).&#xD;&#xA;&#xD;&#xA;I use a SanDisk Ultra 8GB with a 30MB/s speed in my SD 702 and I've never had a problem.&#xD;&#xA;&#xD;&#xA;Cheers!&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="24520" PostHistoryTypeId="2" PostId="14847" RevisionGUID="11dd2e3f-e1a1-4925-b42a-c0759741b704" CreationDate="2012-08-01T15:24:47.973" UserId="990" Text="Rycote recommends that you do not put the foam on while inside your windshield as it actually decreases your wind protection." ContentLicense="CC BY-SA 3.0" />
  <row Id="24521" PostHistoryTypeId="2" PostId="14848" RevisionGUID="b1fb8a09-6a65-4492-bae4-b015f2d7160e" CreationDate="2012-08-01T16:42:44.750" UserId="730" Text="Lets keep this going guys!  We have some really cool ideas already, and I have tried a few of them.  I would like to hear some more things that people have done." ContentLicense="CC BY-SA 3.0" />
  <row Id="24526" PostHistoryTypeId="2" PostId="14850" RevisionGUID="7111308d-2ef2-4092-a4a8-ee6985e950b9" CreationDate="2012-08-01T19:07:17.793" UserId="4114" Text="I'm starting to learn to use samplers and synthetisers and I'm looking for a suggestion for a midi controller. An AKAI MPK25 would be a nice option to work with Alchemy? If not, could you suggest something in the same price range? Thank you  all for the input.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24527" PostHistoryTypeId="1" PostId="14850" RevisionGUID="7111308d-2ef2-4092-a4a8-ee6985e950b9" CreationDate="2012-08-01T19:07:17.793" UserId="4114" Text="AKAI MPK25 Midi controller" ContentLicense="CC BY-SA 3.0" />
  <row Id="24528" PostHistoryTypeId="3" PostId="14850" RevisionGUID="7111308d-2ef2-4092-a4a8-ee6985e950b9" CreationDate="2012-08-01T19:07:17.793" UserId="4114" Text="&lt;midi&gt;&lt;controller&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24529" PostHistoryTypeId="2" PostId="14851" RevisionGUID="f8e1530a-b0a0-4148-a742-9df4fcb98567" CreationDate="2012-08-01T19:44:51.053" UserId="2906" Text="http://www.epicsound.com/sfx/index.php&#xD;&#xA;&#xD;&#xA;A lot of great ideas in here, most very easy and cheap to accomplish. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24530" PostHistoryTypeId="5" PostId="14851" RevisionGUID="ce1479ac-ccad-4797-8e0f-a29fc4f2aa3b" CreationDate="2012-08-01T20:01:21.323" UserId="2906" Comment="added 44 characters in body" Text="http://www.epicsound.com/sfx/index.php&#xD;&#xA;&#xD;&#xA;Slightly out of the line, but a lot of great and versatile ideas in here, most very easy and cheap to accomplish. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24531" PostHistoryTypeId="2" PostId="14852" RevisionGUID="5483ac8b-4e6b-456c-85f4-e7fc4cd0874c" CreationDate="2012-08-01T20:23:28.573" UserId="4115" Text="I'm 16 years old and it has been a lifelong dream of mind to be a sound designer. I have been obsessed with sound and the way it works my whole life. I love devices that make sound such as air horns and sirens (especially the latter) because they will cover everything, including harmonics, waveforms, and reverberation. Because of this, I will make siren sounds on the computer using additive synthesis and then add reverberation with Audacity.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/thewoog34/sets/aca-screamer/&#xD;&#xA;&#xD;&#xA;What do you guys think? I plan on getting education in all sorts of things that will cover what I need, such as electronics theory, signal flow, troubleshooting, acoustics theory, writing and communication, microphone and compressor theory, file management, and business fundamentals. Then I plan on making myself known by making a demo reel and starting small, such as in clubs or editing for local bands (a few of my friends are in bands).&#xD;&#xA;&#xD;&#xA;What do you guys think of the sounds I made above? It's all from scratch. Do you have any advice on what I should do in terms of education and making myself known? I live in upstate New York. Any advice on what schools (I prefer community colleges or other small schools, as degrees are pretty much useless in this field) I should go to?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24532" PostHistoryTypeId="1" PostId="14852" RevisionGUID="5483ac8b-4e6b-456c-85f4-e7fc4cd0874c" CreationDate="2012-08-01T20:23:28.573" UserId="4115" Text="What do you guys think of my progress so far?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24533" PostHistoryTypeId="3" PostId="14852" RevisionGUID="5483ac8b-4e6b-456c-85f4-e7fc4cd0874c" CreationDate="2012-08-01T20:23:28.573" UserId="4115" Text="&lt;synthesis&gt;&lt;education&gt;&lt;design&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24534" PostHistoryTypeId="2" PostId="14853" RevisionGUID="d8b0addd-c41c-4b42-b98f-3c2846639315" CreationDate="2012-08-01T20:55:41.183" UserId="2906" Text="So far, it seems like you're pretty much on the right path, it's cool you have already some personal inclinations on particular sounds. &#xD;&#xA;&#xD;&#xA;I'd say acoustics and audio engineering would cover the essential on your theory skills; A lot of practical experimentation is the best, so get your hands on whatever recording sessions you might have access to. Hearing films / video games and even some genres of music is fundamental to open your mind and ears, but this you already know, for sure. &#xD;&#xA;&#xD;&#xA;Perhaps you could be more clear about the bands matter? Are you talking about operating live music? Even though music is a common background for a lot of sound designers (and it helps a lot), one thing is to invest your time on bands, another is to use it on sound design, imho, for they are different creatures. &#xD;&#xA;&#xD;&#xA;Re-designing the sound of a film clip or video game clip is a great way to understand what works and what doesn't and hopefully it will put various of your skills to test, also if it is well done and you decide later to put it online, it's a nice way a lot of people will see it. &#xD;&#xA;&#xD;&#xA;And, if you don't know this book already, this might actually change your life, ahah: http://www.amazon.com/Sound-Design-Expressive-Effects-Cinema/dp/0941188264 &#xD;&#xA;&#xD;&#xA;On a personal note, if you allow me, 7 mins of sirens sounds isn't very catchy, maybe you should upload smaller sounds. :)&#xD;&#xA;&#xD;&#xA;Welcome to the club!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24535" PostHistoryTypeId="2" PostId="14854" RevisionGUID="09ec96cd-f8d1-44b4-8540-870f9c808c1a" CreationDate="2012-08-01T21:10:09.097" UserDisplayName="user49" Text="I just got one of these for my next offshore trip - seem very well made &amp; I actually like the little keys.. The only things it is lacking are a pitch bender &amp; mod wheel, and the knobs are not continuous (which doesn't worry me, but for writing automation some people might not like them)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24536" PostHistoryTypeId="2" PostId="14855" RevisionGUID="80ea2c61-9c23-400d-b358-52ed8b9fff9d" CreationDate="2012-08-01T21:25:33.647" UserId="1145" Text="It's surprisingly good for the price/size. I always carry this in my laptop bag when traveling.&#xD;&#xA;Even used in on a couple of gigs :)&#xD;&#xA;&#xD;&#xA;But check out Akai MPKmini too. Same keys, but with 8 additional pads and 8 knobs." ContentLicense="CC BY-SA 3.0" />
  <row Id="24537" PostHistoryTypeId="2" PostId="14856" RevisionGUID="17f233d1-f2e9-4848-be45-b0d6c820f1bf" CreationDate="2012-08-01T21:57:13.537" UserId="2502" Text="for piano keys i use larger piano controllers like the CME UF80 but for pads, knobs and faders i'm a big fan of Livid's designs....&#xD;&#xA;&#xD;&#xA;http://www.lividinstruments.com/hardware_ohm64.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="24538" PostHistoryTypeId="2" PostId="14857" RevisionGUID="a81bc619-bdaa-4af3-b02d-a88cdb90d33b" CreationDate="2012-08-02T00:14:34.547" UserId="3179" Text="I don't want to advice not going to school for audio, it can be educational, but think it this way: doing a course in audio will be taken from doing a course in something else. If you pay for the course, there's another concern. You could get an actual, even well paying job with another degree, but a degree is not by any means a requirement to work in arts and art generally doesn't pay very easily.&#xD;&#xA;&#xD;&#xA;Modern technology has made all the technical work very easy and what is left is basically just pure artistic values. Growing as an artist is basically the result of practicing with the tools and being exposed to other artists and their work.&#xD;&#xA;&#xD;&#xA;So yes, you can go to school to study arts, if you want to, but equally well you can practice it just by doing it. None is a better way than the other, it's an opinion, but they are practically different ways of practicing.&#xD;&#xA;&#xD;&#xA;Getting yourself known, well, you need to essentially work with people, because a &quot;sound designer&quot; or an audiographer does not usually work alone. You can practice, play and demonstrate alone, but you cannot really work alone, because the media are multidisciplinary and productions are generally worked in teams and with other artists. Self-promotion and &quot;shameless&quot; networking plays a big part in the field, unless you easily get to meet/know people that you can work with and they want to work with you.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24539" PostHistoryTypeId="5" PostId="14857" RevisionGUID="7fce3d76-e1bf-413a-afd7-af0cfea6a1be" CreationDate="2012-08-02T00:26:56.417" UserId="3179" Comment="added 225 characters in body; added 25 characters in body" Text="I don't want to advice not going to school for audio, it can be educational, but think it this way: doing a course in audio will be taken from doing a course in something else. If you pay for the course, there's another concern. You could get an actual, even well paying job with another degree, but a degree is not by any means a requirement to work in arts and art generally doesn't pay very easily.&#xD;&#xA;&#xD;&#xA;**Edit**&#xD;&#xA;&#xD;&#xA;However, if you're interested in the more technical bases (electronics, signal processing and acoustics), a 2-year or so music/audio technology course might be a good fit. Just check the curriculum to see what they cover.&#xD;&#xA;&#xD;&#xA;**/Edit**&#xD;&#xA;&#xD;&#xA;Modern technology has made all the technical work very easy and what is left is basically just pure artistic values. Growing as an artist is basically the result of practicing with the tools and being exposed to other artists and their work.&#xD;&#xA;&#xD;&#xA;So yes, you can go to school to study arts, if you want to, but equally well you can practice it just by doing it. None is a better way than the other, it's an opinion, but they are practically different ways of practicing.&#xD;&#xA;&#xD;&#xA;Getting yourself known, well, you need to essentially work with people, because a &quot;sound designer&quot; or an audiographer does not usually work alone. You can practice, play and demonstrate alone, but you cannot really work alone, because the media are multidisciplinary and productions are generally worked in teams and with other artists. Self-promotion and &quot;shameless&quot; networking plays a big part in the field, unless you easily get to meet/know people that you can work with and they want to work with you.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24540" PostHistoryTypeId="2" PostId="14858" RevisionGUID="94dbb549-053a-43ce-afca-1b465ccad321" CreationDate="2012-08-02T01:56:51.823" UserId="418" Text="Knock knock.&#xD;&#xA;&#xD;&#xA;- Who's there?&#xD;&#xA;&#xD;&#xA;Foley guy.&#xD;&#xA;&#xD;&#xA;- Foley guy, who?&#xD;&#xA;&#xD;&#xA;Ding dong!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;( still working on this one :P )" ContentLicense="CC BY-SA 3.0" />
  <row Id="24541" PostHistoryTypeId="2" PostId="14859" RevisionGUID="aad006ea-1e9c-44d7-b684-3db00ecab6a9" CreationDate="2012-08-02T02:37:29.543" UserId="2906" Text="Just came across this issue doing sound design for an animation project:&#xD;&#xA;If there are various consecutive shots between 2 POV, let's say 2 guys in front of each other, with a glass wall between them, where there are punctual sound sources on each side; the shots jump between each character POV. (Sorry for the poor example but it gets to the point)&#xD;&#xA;In this case will you be panning those sound objects according to one's point of view? &#xD;&#xA;I understand time duration of each shot is to be considered, but I'd love to know what are your approaches when you want to reach both perspectives.&#xD;&#xA;&#xD;&#xA;Thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="24542" PostHistoryTypeId="1" PostId="14859" RevisionGUID="aad006ea-1e9c-44d7-b684-3db00ecab6a9" CreationDate="2012-08-02T02:37:29.543" UserId="2906" Text="Panning with different POV" ContentLicense="CC BY-SA 3.0" />
  <row Id="24543" PostHistoryTypeId="3" PostId="14859" RevisionGUID="aad006ea-1e9c-44d7-b684-3db00ecab6a9" CreationDate="2012-08-02T02:37:29.543" UserId="2906" Text="&lt;pov&gt;&lt;panning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24544" PostHistoryTypeId="5" PostId="14859" RevisionGUID="f984289e-2291-4866-8f47-5bcddb40c749" CreationDate="2012-08-02T02:52:34.000" UserId="2906" Comment="added 59 characters in body" Text="Just came across this issue doing sound design for an animation project:&#xD;&#xA;If there are various consecutive shots between 2 POV, let's say 2 guys in front of each other, with a glass wall between them, where there are punctual sound sources on each side; the shots jump between each character POV. (Sorry for the poor example but it gets to the point)&#xD;&#xA;In this case will you be panning those sound objects according to one's point of view? How far can we go before it gets confusing to the audience?&#xD;&#xA;I understand time duration of each shot is to be considered, but I'd love to know what are your approaches when you want to reach both perspectives.&#xD;&#xA;&#xD;&#xA;Thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="24545" PostHistoryTypeId="2" PostId="14860" RevisionGUID="14bd8b40-aca3-4fcf-81fe-64905b982639" CreationDate="2012-08-02T03:13:13.140" UserId="4003" Text="Hi all,&#xD;&#xA;&#xD;&#xA;We recently had to overdub a scene because field recording wasn't an option. All the lines for the scene have been completed in a quiet room, so the sound is quite clean and dry.&#xD;&#xA;&#xD;&#xA;However, the scene in question takes place outdoors, and when these overdubbed audio files are applied to the video, it doesn't sound real. It sounds exactly like an overdub... fake!&#xD;&#xA;&#xD;&#xA;As I understand it, there are a wide array of post processing techniques that can be utilized and a few parameters that can be tweaked. I have a short list here:&#xD;&#xA;&#xD;&#xA;1. EQ&#xD;&#xA;2. Reverb&#xD;&#xA;3. Compression&#xD;&#xA;&#xD;&#xA;I'm fairly certain that this is not a complete list. What else could I be missing?&#xD;&#xA;&#xD;&#xA;Note: I am currently using Adobe Premiere CS 5.5&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24546" PostHistoryTypeId="1" PostId="14860" RevisionGUID="14bd8b40-aca3-4fcf-81fe-64905b982639" CreationDate="2012-08-02T03:13:13.140" UserId="4003" Text="Overdub Post Processing" ContentLicense="CC BY-SA 3.0" />
  <row Id="24547" PostHistoryTypeId="3" PostId="14860" RevisionGUID="14bd8b40-aca3-4fcf-81fe-64905b982639" CreationDate="2012-08-02T03:13:13.140" UserId="4003" Text="&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24548" PostHistoryTypeId="2" PostId="14861" RevisionGUID="307e5c87-819e-4552-b874-4c037be3228f" CreationDate="2012-08-02T03:55:31.320" UserId="3179" Text="Depends very much on the particular situation. Changing the soundtrack according to the camera cuts might be appropriate, or it might feel distracting.&#xD;&#xA;&#xD;&#xA;Strike a balance between what sounds need to move and what don't. Can the BG be the same or does it need to change? After those, it should be just a matter of seeing whether the mix can stay balanced or how to make it stay balanced.&#xD;&#xA;&#xD;&#xA;It should be possible to determine what is annoying and what isn't with your listening. And if you're mixing for a film theatre (where extreme panning and mix imbalance are considerable issues), ideally you should be mixing in a film theatre." ContentLicense="CC BY-SA 3.0" />
  <row Id="24549" PostHistoryTypeId="5" PostId="14861" RevisionGUID="5321ef97-8295-4f20-a73b-d5d8c635dd26" CreationDate="2012-08-02T04:01:16.567" UserId="3179" Comment="added 16 characters in body; added 5 characters in body" Text="Depends very much on the particular situation. Changing the soundtrack according to the camera cuts might be appropriate, or it might feel distracting.&#xD;&#xA;&#xD;&#xA;Strike a balance between what sounds need to move and what don't. Can the BG be the same or does it need to change? After those, it should be just a matter of seeing whether the mix can stay balanced or how to make it stay balanced. Keep it simple.&#xD;&#xA;&#xD;&#xA;It should be possible to determine what is annoying and what isn't with your listening. And if you're mixing for a film theatre (where extreme panning and mix imbalance are considerable issues), then ideally you should be mixing in a film theatre." ContentLicense="CC BY-SA 3.0" />
  <row Id="24550" PostHistoryTypeId="2" PostId="14862" RevisionGUID="85bc51ca-2988-4edf-ba13-168fb3872803" CreationDate="2012-08-02T05:41:32.037" UserId="4117" Text="Support or enhance the story" ContentLicense="CC BY-SA 3.0" />
  <row Id="24551" PostHistoryTypeId="2" PostId="14863" RevisionGUID="d235d69a-9130-4dda-b408-609d77d9aa1b" CreationDate="2012-08-02T06:22:58.100" UserId="1117" Text="I have a MPK25 and i think its great for the uses you mentioned.&#xD;&#xA;obviously you would want a bigger keyboard if you were playing piano, but for synths having all the rotary knobs is great.&#xD;&#xA;&#xD;&#xA;one thing i will mention that there is a known problem with the pads having problems with sensitivity for velocity. its just that they are a bit squishy on the edges and if you dont hit them in the right spot your subtle tap may not be recognised.&#xD;&#xA;there is an easy DIY fix for this, but if your not into opening your new keyboard then you might have to think how important the pads are to you.&#xD;&#xA;if you dont really care about velocity on the pads then the full velocity button also fixes this issue.&#xD;&#xA;&#xD;&#xA;the way i wrote that paragraph makes them sound way worse than what they are, sorry. but i did the pad upgrade on mine and they are definitely tighter and more responsive. &#xD;&#xA;&#xD;&#xA;good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="24552" PostHistoryTypeId="2" PostId="14864" RevisionGUID="b2d1047e-7fba-40fb-8fb7-f9c5bbd50841" CreationDate="2012-08-02T08:50:04.593" UserId="4118" Text="Did you put an outdoor ambiance track in? Where does it take place? Is the wind blowing? What do you see in the background?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24553" PostHistoryTypeId="2" PostId="14865" RevisionGUID="fc813fef-d5a5-49b3-bee9-03716d8f3eb4" CreationDate="2012-08-02T09:05:34.823" UserId="4119" Text="Hello To Everyone,&#xD;&#xA;&#xD;&#xA;I come from a music background and am starting out in sound design and dont have a show reel. I realise that this is paramount for new employers, they want to see what you can do, right?&#xD;&#xA;&#xD;&#xA;The problem is that I dont have any video or films to work from. So I thought I'd ask you folks here.&#xD;&#xA;&#xD;&#xA;I have thought about taking scenes from movies and television, stripping the sound and rebuilding it myself.&#xD;&#xA;&#xD;&#xA;Is this something that is viable, I know that there maybe a copyright issue there, but what about future employers, is this something that they want to see or would they prefer something original?&#xD;&#xA;&#xD;&#xA;Thanks in advance for any help!!&#xD;&#xA;&#xD;&#xA;T&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24554" PostHistoryTypeId="1" PostId="14865" RevisionGUID="fc813fef-d5a5-49b3-bee9-03716d8f3eb4" CreationDate="2012-08-02T09:05:34.823" UserId="4119" Text="What videos/films for sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24555" PostHistoryTypeId="3" PostId="14865" RevisionGUID="fc813fef-d5a5-49b3-bee9-03716d8f3eb4" CreationDate="2012-08-02T09:05:34.823" UserId="4119" Text="&lt;sound-design&gt;&lt;film&gt;&lt;workflow&gt;&lt;newbie&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24556" PostHistoryTypeId="2" PostId="14866" RevisionGUID="4fde44bd-cd9d-4914-b1ec-8b4dfdef48f8" CreationDate="2012-08-02T11:11:59.033" UserId="6460" Text="Melissa,&lt;br&gt;A few factors to consider:&#xD;&#xA;&#xD;&#xA; 1. Most audience members will not actively consider the position of a sound that is not drawing their focus (e.g., environmentals and ambiences)&#xD;&#xA; 2. Conversely, an aggressive panning shift tends to pull focus. It depends on the role that your sounds play in the scene, but do not get carried away with accurate localization of the sounds — it's not worth the time, as...&#xD;&#xA; 3. In a theater setting, the perception of image is ultimately dependent on which seat the listener chooses. Your panning relationships will never &lt;i&gt;exactly&lt;/i&gt; be the same between two listeners.&#xD;&#xA;&#xD;&#xA;For a shot-reverse-shot scene, I would first ask myself if the sound really needs to change. In a case like two actors on either side of a window, the background feeling would probably need to shift from one side of the glass to the next, but I would probably rely on automated changes in volume, EQ, and reverb/space before I automate the panning. If I want to stretch the boundary of the shot, or create a specific sense of space, then I will try panning the sound off to the sides and/or into the surrounds. If the sound source is visible in the shot then I simply follow its position. As @Mviljamaa mentioned, it's best to mix these kind of effects in a space like the one where the movie will show.&#xD;&#xA;&#xD;&#xA;Ultimately, ask yourself: is it important for the audience to feel a significant shift on each cut back and forth? &#xD;&#xA;&#xD;&#xA;Hope this helps :) &lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="24557" PostHistoryTypeId="2" PostId="14867" RevisionGUID="417e757f-8c58-479c-b10c-a172e67633df" CreationDate="2012-08-02T11:17:01.427" UserId="348" Text="I have a foley joke which is more of a one liner than a set up scenerio.&#xD;&#xA;&#xD;&#xA;&quot;Foley artists get to do everybody&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24558" PostHistoryTypeId="2" PostId="14868" RevisionGUID="829d07d5-103f-4d90-affd-0ea99b9d2380" CreationDate="2012-08-02T11:24:43.320" UserId="1178" Text="Hello, we are doing a car drop session and everything else has been already planned apart from one last thing. I haven´t been able to find any reasonable system for the release mechanism that connects the car to the crane. I´ve bee looking for products such as Elebia e5 crane hook system and Henriksen HMKST 8.0, MOB-Hook, WLL 8.0 T Art No.: HH000028, with the conclusion that neither of these are optimal for such task. I´ve heard that magnetic &quot;hooks&quot; and suction devices could also be used to lift cars to roughly about 30 meters high. Frankly this stuff goes bit beyond my set of skills and knowledge so any ideas concerning the subject is greatly appreciated. It would also be preferable if we could rent the system for a day or two instead of buying. Thanks for your help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24559" PostHistoryTypeId="1" PostId="14868" RevisionGUID="829d07d5-103f-4d90-affd-0ea99b9d2380" CreationDate="2012-08-02T11:24:43.320" UserId="1178" Text="Release mechanism for car drop session" ContentLicense="CC BY-SA 3.0" />
  <row Id="24560" PostHistoryTypeId="3" PostId="14868" RevisionGUID="829d07d5-103f-4d90-affd-0ea99b9d2380" CreationDate="2012-08-02T11:24:43.320" UserId="1178" Text="&lt;car&gt;&lt;foley&gt;&lt;effect&gt;&lt;impacts&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24561" PostHistoryTypeId="2" PostId="14869" RevisionGUID="d3b9036c-aa8e-40b2-9d18-0f2413e0b6ac" CreationDate="2012-08-02T11:40:40.000" UserId="842" Text="Hello and hope you'll like your new direction! :-)&#xD;&#xA;&#xD;&#xA;I myself was originally a music producer, mainly in industrial, synth pop, different kinds of rock/metal/goth, and ethno. The transition to sound editor was not painless, the approach to sound in music is very different from that in film, but for me the very naturalistic ethno (mostly African, Latin American and Indian) gave me a good understanding of keeping diegesis (making it sound genuine and true), and the sometimes extremely complex industrial/noise-music trained me in layering and maintaining order in chaos. The next step, developing into sounddesigner, was easier, as I already by then knew how these things worked. Though I do have a diploma as a professional sound engineer, mastering technician, and producer, I had to learn everything about film for myself.&#xD;&#xA;&#xD;&#xA;I started out by joining a casting-site for the full business, and for years I jumped on every amateur project I could get, till I finally felt I knew what I was doing. Of course some kind of school would've been a tremendous shortcut, but frankly, Swedish film-schools doesn't have a history of taking sound very seriously... Now I work both as a &quot;one-man-army&quot;, as an employee of others, and sometimes as a supervisor.&#xD;&#xA;&#xD;&#xA;What I say now is my own opinion when I hire people to work with, and it might very well differ from others opinions. For me, getting served a reworked clip from a movie makes me immediately compare it with the original. I don't want to, but I do. It also gives me a nagging worry that the person in mention is not used to working in collaboration with others, and when I hire additional crew I must know for sure I can trust the ones I coordinate to be able to think beyond their own very task, or I will be the one getting all the crap.&#xD;&#xA;&#xD;&#xA;If I instead gets an amateur movie that might perhaps not exactly look like the matrix, but with a well balanced and interesting sound, I tend to take it for what it is and can see through the imperfections, focusing on the very thing I'm looking for people for." ContentLicense="CC BY-SA 3.0" />
  <row Id="24562" PostHistoryTypeId="2" PostId="14870" RevisionGUID="e8222174-a9a2-4a26-aa8f-911229380676" CreationDate="2012-08-02T11:50:29.413" UserId="3919" Text="Ouch that was painful to watch considering a lot of working pianos meet such a cruel fate. You think there would be a business that would buy these piano's from them repair them and sell them onwards." ContentLicense="CC BY-SA 3.0" />
  <row Id="24563" PostHistoryTypeId="2" PostId="14871" RevisionGUID="893a043e-8e21-4f77-bd17-a31962e6cd09" CreationDate="2012-08-02T11:57:59.597" UserId="842" Text="All you need to make it work when it comes to procesing, provided you actually recorded it in a completely dead room, is reverb and EQ. Then it's all up to the ambiance to seal the deal.&#xD;&#xA;&#xD;&#xA;One of the things most notorious for screwing up the illusion of being outdoors is resonances in the bass and lower mid. You said you recorded it in a room, and not a studio, and if that is the case then you probably have a lot of that." ContentLicense="CC BY-SA 3.0" />
  <row Id="24564" PostHistoryTypeId="2" PostId="14872" RevisionGUID="73fbbdf1-b981-4c5c-bd56-7cbfcf37548e" CreationDate="2012-08-02T11:58:27.610" UserId="3919" Text="I always try to piece together multiple ambience tracks to create an effective illusion that the characters are outside. This seems useful if you didn't record a wild track on that particular day. Rod is right in asking you to pay attention to sounds in the background. If there isn't anything particularly interesting use sounds that are off screen e.g. if there is a scene set on the beach and nothing is seen on camera add seagulls, boats, people talking. Hope this helps. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24565" PostHistoryTypeId="2" PostId="14873" RevisionGUID="8ec7922d-2091-4e1a-b003-b2b0231d4a54" CreationDate="2012-08-02T12:09:36.437" UserId="3919" Text="Hello everyone, &#xD;&#xA; &#xD;&#xA;&#xD;&#xA;I am considering buying Izotope Iris as a means to experiment with sounds that i have recorded in the past. What are your feelings on this programme.Is it worth buying, or is it a waste of time? Are there particular programmes that you use to manipulate certain characteristics of a sound? &#xD;&#xA;&#xD;&#xA;Sorry for all of the questions &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;cheers &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Daniel Cowell " ContentLicense="CC BY-SA 3.0" />
  <row Id="24566" PostHistoryTypeId="1" PostId="14873" RevisionGUID="8ec7922d-2091-4e1a-b003-b2b0231d4a54" CreationDate="2012-08-02T12:09:36.437" UserId="3919" Text="What are you feelings on Izotope Iris ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24567" PostHistoryTypeId="3" PostId="14873" RevisionGUID="8ec7922d-2091-4e1a-b003-b2b0231d4a54" CreationDate="2012-08-02T12:09:36.437" UserId="3919" Text="&lt;izotope&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24568" PostHistoryTypeId="2" PostId="14874" RevisionGUID="bb622520-b344-44bc-96fe-8f988a8036af" CreationDate="2012-08-02T12:11:32.253" UserId="842" Text="Provided I didn't misunderstand you, I see two solutions to this. Are the sounds from the two sides more separated by an open wall of glass rather than being in two separate rooms, ie like a wall in a court or something, then I'd keep consistency in it. Is it two obviously very different rooms, for example a guy standing inside an industrial complex, screaming through the closed window to a guy standing outside, then I'd keep their respective views strictly apart, though with very soft transitions between them.&#xD;&#xA;&#xD;&#xA;I've done both many times, and correctly cut the last one can be absolutely fantastic, but if the editor can't think in sound and cuts it too fast, it will be terrible no matter what one does." ContentLicense="CC BY-SA 3.0" />
  <row Id="24569" PostHistoryTypeId="5" PostId="14859" RevisionGUID="e6837a05-f485-4f81-9d96-5ad5ebc5f67e" CreationDate="2012-08-02T12:51:22.653" UserId="2906" Comment="improved formatting" Text="Just came across this issue doing sound design for an animation project:&#xD;&#xA;If there are various consecutive shots between 2 POV, let's say 2 guys in front of each other, with a glass wall between them, where there are punctual sound sources on each side; the shots jump between each character POV. (Sorry for the poor example but it gets to the point)&#xD;&#xA;In this case will you be panning those sound objects according to one's point of view? How far can we go before it gets confusing to the audience?&#xD;&#xA;I understand time duration of each shot is to be considered, but I'd love to know what are your approaches when you want to reach both perspectives.&#xD;&#xA;&#xD;&#xA;Thanks! &#xD;&#xA;&#xD;&#xA;**/ EDIT**&#xD;&#xA;Ok, guys, thank you all for the great answers so far. As there has been some doubts, I'll try to explain better. The example I gave above was just so everyone could easily visualise the situation, even the glass dividing the room so you could understand that the different spaces on each side are been taken under consideration, meaning I am not relying exclusively on panning; the exact situation is a kid that, from the street is looking at a window display very closely at a toy store; the cuts jump between his POV (from the street into the inside of the store) and some close-up shot at his face seen from inside the store. Inside, right behind the glass there are 2 moving toys, to the left (kid's POV). Each one is about 3, 4 seconds, there are two teaks in the beginning and another one some seconds after (between them there's a moment where everything but the music fades, emotional moment, bla bla bla). So that's why I think it's odd not to tweak the panning of the toys, but sure it seems a bit confusing tweak them anyway." ContentLicense="CC BY-SA 3.0" />
  <row Id="24570" PostHistoryTypeId="2" PostId="14875" RevisionGUID="fee10cfc-0203-4f47-a551-3d8195deb692" CreationDate="2012-08-02T13:07:39.163" UserId="3285" Text="For me, it's an excellent tool to create ambiences, sfx and melody but you can spend a lot of time !&#xD;&#xA;&#xD;&#xA;If I have time on a production/video game, I can use Iris if not, I will use GRM Tools and other plugins..." ContentLicense="CC BY-SA 3.0" />
  <row Id="24571" PostHistoryTypeId="2" PostId="14876" RevisionGUID="8aea7a86-3f80-4cd0-be8e-f38b6196e7a8" CreationDate="2012-08-02T13:40:52.243" UserId="1153" Text="Hey,&#xD;&#xA;&#xD;&#xA;I'm thinking of adding an XLR Y-cable into my setup when I'm only recording with one mic to allow me to have a back-up recording at a lower level. This should be particularly useful when recording sources with a strong dynamic range as they increase the potential for clipping.&#xD;&#xA;&#xD;&#xA;&lt;b&gt;I was just wondering if anyone has any expereince with this or currently uses a similair signal chain? From what I've read, with the singal being split only once there wouldn't be any negative effects and if there were these would be minor and not of real concern. Would you agree?&lt;/b&gt;&#xD;&#xA;&#xD;&#xA;Just for reference, an example of my signal chain would be:&#xD;&#xA;&#xD;&#xA;Source&lt;br&gt;&#xD;&#xA;Rode NTG-2 Shotgun&lt;br&gt;&#xD;&#xA;XLR (Y-cable or with Y adapter attached)&lt;br&gt;&#xD;&#xA;2x Zoom H4n XLR inputs - One 'hot' and one at a lower 'safety' level&#xD;&#xA;&#xD;&#xA;Thanks!&lt;br&gt;&#xD;&#xA;Al" ContentLicense="CC BY-SA 3.0" />
  <row Id="24572" PostHistoryTypeId="1" PostId="14876" RevisionGUID="8aea7a86-3f80-4cd0-be8e-f38b6196e7a8" CreationDate="2012-08-02T13:40:52.243" UserId="1153" Text="XLR Y-Cable in signal chain" ContentLicense="CC BY-SA 3.0" />
  <row Id="24573" PostHistoryTypeId="3" PostId="14876" RevisionGUID="8aea7a86-3f80-4cd0-be8e-f38b6196e7a8" CreationDate="2012-08-02T13:40:52.243" UserId="1153" Text="&lt;xlr&gt;&lt;cable&gt;&lt;field-recording&gt;&lt;h4&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24574" PostHistoryTypeId="2" PostId="14877" RevisionGUID="9e99534d-3117-4b03-afba-8ec98f0718b2" CreationDate="2012-08-02T14:27:55.427" UserId="432" Text="You shouldn't have an issue with one split off of a mic. You should probably use the battery power option on the NTG2 , just to keep things simple. In general, this method will probably work better with a set of higher input impedance pre-amps. That's just a general observation, as I don't know what the input impedance on the H4n is off the top of my head.&#xD;&#xA;&#xD;&#xA;Of course, you can always to a quick test record before trying to use this method out in the field. You're not going to damage your mic or the recorder." ContentLicense="CC BY-SA 3.0" />
  <row Id="24575" PostHistoryTypeId="2" PostId="14878" RevisionGUID="6ca07966-c26d-4abb-8bbd-5af980ac7ff4" CreationDate="2012-08-02T14:29:47.600" UserId="542" Text="I've once rented a Tascam 2-chanel recorder and the rental service gave me an Y-Cable for the reason you mentioned.&#xD;&#xA;&#xD;&#xA;Actually it would be really nice to have, but I was (and still am) unsure about what happens once phantom power is applied. I was a bit afraid that it may cause a short-curcuit or something else that would harm the recorder. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24576" PostHistoryTypeId="2" PostId="14879" RevisionGUID="97f6076d-cc11-4a76-b601-85caa451dfb2" CreationDate="2012-08-02T14:48:31.480" UserId="4116" Text="I also think that the most negative point about re-designing the sound of a movie is that people who will be watching it as a show reel will automatically compare it with the original picture + you yourself will be influenced by the original. &#xD;&#xA;&#xD;&#xA;Though I do think it is a great way to practice and to make a of demoreel of, which you could send to amateur/student filmmakers to get to do some sound design for no/low budget productions.&#xD;&#xA;&#xD;&#xA;By doing no/low budget productions you get original material to work with and start to learn how to work within a production team, what i think is most important when trying to get into the ¨real¨buisness." ContentLicense="CC BY-SA 3.0" />
  <row Id="24577" PostHistoryTypeId="2" PostId="14880" RevisionGUID="b1a407a8-52a6-4237-9122-b91889654633" CreationDate="2012-08-02T14:55:49.487" UserId="4116" Text="I would also use just a little bit of reverb and eq to try to mix it into the ambiance. The ambiance of course should fit to what you are seeing in the picture. If you are really in a rush rerecord it outside ;-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24578" PostHistoryTypeId="2" PostId="14881" RevisionGUID="50e9cb0c-7fa2-47e5-ab1f-dd02e1503c62" CreationDate="2012-08-02T15:10:55.817" UserId="4116" Text="Soundtrack Cologne?! In this case i would very much make the decision depending on how much sound design and music are working in a ¨leitmotif¨ manner to gather a maximum effect of  leading the audiences attention. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24579" PostHistoryTypeId="2" PostId="14882" RevisionGUID="615b2018-78db-4403-be18-4438e4a51855" CreationDate="2012-08-02T15:31:02.100" UserId="3179" Text="It's a spectral filtering sampler basically. Spectral filtering as an effect has its own possibilities and apparently it sounds good in Iris and Iris can be played in real-time.&#xD;&#xA;&#xD;&#xA;There's nothing exactly similar (like real-time) to Iris in the market, but there are numerous other software that do somewhat what Iris does: Metasynth, Audiosculpt, Spear, Alchemy. Technically these have a lot more features than Iris, but being real-time and being playable are what's Iris' triumph.&#xD;&#xA;&#xD;&#xA;From these Audiosculpt and especially Metasynth are the most extensive, but they aren't &quot;playable&quot;. Spear is less extensive in features, but it's free. Alchemy has spectral filtering and good sampling features, but its spectral features are a lot clumsier, slow and rather difficult to utilize compared to Iris." ContentLicense="CC BY-SA 3.0" />
  <row Id="24580" PostHistoryTypeId="5" PostId="14882" RevisionGUID="ec5d7808-d571-4e11-8ce5-d34ede525459" CreationDate="2012-08-02T15:36:28.707" UserId="3179" Comment="deleted 7 characters in body" Text="It's a spectral filtering sampler basically. Spectral filtering as an effect has its own possibilities and apparently it sounds good in Iris and Iris can be played in real-time.&#xD;&#xA;&#xD;&#xA;There's nothing exactly similar (like real-time) to Iris in the market, but there are numerous other software that do somewhat what Iris does: Metasynth, Audiosculpt, Spear, Alchemy. Technically these have a lot more features than Iris, but being real-time and being playable is unique to Iris.&#xD;&#xA;&#xD;&#xA;From these Audiosculpt and especially Metasynth are the most extensive, but they aren't &quot;playable&quot;. Spear is less extensive in features, but it's free. Alchemy has spectral filtering and good sampling features, but its spectral features are a lot clumsier, slow and rather difficult to utilize compared to Iris." ContentLicense="CC BY-SA 3.0" />
  <row Id="24581" PostHistoryTypeId="2" PostId="14883" RevisionGUID="ef52ff1b-3bd8-4105-9ce9-47b05e261dc6" CreationDate="2012-08-02T15:46:39.043" UserId="18" Text="When I dropped cars, we used this massive forklift thing:&#xD;&#xA;&#xD;&#xA;https://plus.google.com/photos/112773450273987656053/albums/5575619157179451041/5575619181206793730&#xD;&#xA;&#xD;&#xA;The great thing about the forklift vs cranes, is that it is very quick, you don't have to rig up quick release systems, and there is no reset time.  The downside is that your operator has to shut the engine of the forklift off the second he releases the car.  This is the method that John Fasal uses and he's done more car drops than anyone will ever do, so he's got it all figured out.&#xD;&#xA;&#xD;&#xA;More photos from my drop session here:&#xD;&#xA;&#xD;&#xA;https://plus.google.com/photos/112773450273987656053/albums/5575619157179451041" ContentLicense="CC BY-SA 3.0" />
  <row Id="24582" PostHistoryTypeId="2" PostId="14884" RevisionGUID="f3e25eef-f076-475f-adec-9d1e80a5f5e1" CreationDate="2012-08-02T17:07:24.657" UserId="234" Text="A very wise man once stated the 3P's of ADR... Pitch, Performance, and Placement - in that order. You may be having trouble with your ADR because of the first two. If the talent isn't properly directed to get the right performance in the overdub, then no manner of EQ, Reverb or anything else will really make it work... it will always stand out. &#xD;&#xA;&#xD;&#xA;In this case, people outside tend to talk much louder and at a higher pitch than they would inside - usually because of the outside noise. If they recorded inside, and they weren't properly coached, then they probably talked quieter and lower in pitch. If the lines are really being difficult, even with (as others have mentioned) proper BG's in place, then if at all possible try re-recording them, but having them project more. A neat trick I've done is to feed loud BG's into the performers headphones, so they have to speak louder to hear themselves. Does wonders when ADR'ing stuff done in loud traffic or crowds.&#xD;&#xA;&#xD;&#xA;On the flip side, well performed ADR does an amazing job of fitting in, even when the mic and room are completely unmatched to production. I once had to track a quick and dirty ADR in a small booth, with a large diaphragm mic, but got a great performance. To this day I still can't actually TELL it's an ADR line in the final mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="24583" PostHistoryTypeId="2" PostId="14885" RevisionGUID="ca54b23b-421e-44ec-88ac-d50321f43161" CreationDate="2012-08-02T18:11:47.123" UserId="4120" Text="Hi guys, I'm a sound engineering student and we've gotten this project were we have to record foley for a scene that we're given. &#xD;&#xA;&#xD;&#xA;Now the scene we got is a tennis match, and I was just hoping for some help on things I could use to create the sound of a tennis ball being hit, as we are doing the recording in class and I can't very well hit a ball around inside. &#xD;&#xA;&#xD;&#xA;Any help would be much appreciated. (:" ContentLicense="CC BY-SA 3.0" />
  <row Id="24584" PostHistoryTypeId="1" PostId="14885" RevisionGUID="ca54b23b-421e-44ec-88ac-d50321f43161" CreationDate="2012-08-02T18:11:47.123" UserId="4120" Text="Foley project. Please help. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24585" PostHistoryTypeId="3" PostId="14885" RevisionGUID="ca54b23b-421e-44ec-88ac-d50321f43161" CreationDate="2012-08-02T18:11:47.123" UserId="4120" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24586" PostHistoryTypeId="2" PostId="14886" RevisionGUID="49965bbf-c3b0-44f2-96ff-07d0c1c9ad20" CreationDate="2012-08-02T18:19:18.560" UserId="4121" Text="Try making a popping sound with your lips (for a lower pitched pop, keep your tongue flat against the bottom of your mouth) then high-pass it a bit, add a slight echo and some reverb and you should get a good sound. I'm only 16 and have no formal education so someone else may have a better idea. You could also try hitting the ball against the floor so it just bounces up and hits your racket and use the sound from the initial hit and add some echo and reverb." ContentLicense="CC BY-SA 3.0" />
  <row Id="24587" PostHistoryTypeId="2" PostId="14887" RevisionGUID="dd0fe38c-eef3-4aa5-bda1-459960216291" CreationDate="2012-08-02T18:21:42.527" UserId="3179" Text="Just record it with a racquet and a ball in a place where it's feasible, e.g. outdoors or in a sports hall. Or search for recordings and sound libraries that have usable tennis hits.&#xD;&#xA;&#xD;&#xA;I really don't see the point in trying to invent how to fake a tennis hit, even though it could be possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="24588" PostHistoryTypeId="2" PostId="14888" RevisionGUID="8666b84e-63e3-4c3c-91af-1c3de0f44ca6" CreationDate="2012-08-02T19:08:35.443" UserId="4122" Text="Don't rework audio from an exiting film. Agree with previous responses...&#xD;&#xA;&#xD;&#xA;A suggestion: Contact your local graduate programs in Film/Video (MFA tracks), and offer your sound design work up for free (just a few for free, for now...  Build your reel!). You will find many that will need your services.  As you already have some experience with audio, you can use this as a great starting point-the rest will come quite easily as you mess with the different options and mixes. The other benefit of this method is that it will allow you to be very selective in the footage you choose to work on (obviously not all footage is worth your time, even when just getting started out).  Also, this will connect you into the local film/video scene more tightly. It's a win-win situation this way.&#xD;&#xA;&#xD;&#xA;Best of luck to you,&#xD;&#xA;t" ContentLicense="CC BY-SA 3.0" />
  <row Id="24589" PostHistoryTypeId="2" PostId="14889" RevisionGUID="95532aed-f3b5-4224-bde9-a093315adaef" CreationDate="2012-08-02T20:52:49.077" UserId="4093" Text="I agree with a popping sound, this will sound really stupid but record opening a jar of dolmio sauce ! Some e.q. N processing I recon you'll be close, hope you get there mate good luck " ContentLicense="CC BY-SA 3.0" />
  <row Id="24590" PostHistoryTypeId="2" PostId="14890" RevisionGUID="69379b03-aa9b-4d10-ae96-f088e5cb2a83" CreationDate="2012-08-02T21:02:23.040" UserId="4123" Text="I like Ben and Jake's idea. You could also try hitting something that gives a similar sound but doesn't fly off around the classroom. Perhaps a tough plastic bucket .. &#xD;&#xA;&#xD;&#xA;Given that it's a student exercise, I don't think you'll lose marks for not being completely accurate in the sound fx detail = probably the accuracy of placement of the fx, and how you use your mics will be more important. For example not close micing something that should be deeper in frame. The exercise here is to understand the effort that is put into foley, how to gain perspective with microphones and just how tricky it can be sometimes!&#xD;&#xA;&#xD;&#xA;Don't forget the footsteps and the squeak of the shoes on the court!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24591" PostHistoryTypeId="2" PostId="14891" RevisionGUID="e3b71174-9065-4770-9851-bf54ed81944a" CreationDate="2012-08-02T21:08:25.407" UserId="4123" Text="I think it's a fantastic idea to rebuild the sound design of an established movie scene. Copyright isn't an issue if there's no performance involved. As long as you are upfront with your prospective employer about what it is and what you did.&#xD;&#xA;&#xD;&#xA;ALSO if you own a smartphone you can make your own footage; If you don't want to create a drama scene, you can just head for the city and record something of what is going on around you. Go to a park where there is some action and record that. &#xD;&#xA;&#xD;&#xA;If you can sound design a very ordinary scene and make it sound special then I think you would find some interest from an employer. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24592" PostHistoryTypeId="2" PostId="14892" RevisionGUID="00b1712a-8cf1-471b-ab4e-cb7c93b394f0" CreationDate="2012-08-02T21:34:09.407" UserId="4093" Text="Cate makes a great point,I think your tutor is looking for creativity &amp; ingenuity to a tough task, thinking outside the box is a must. I remember watching a special on the foley for Sam raimes' spiderman films, for the sound of the web shooting they used a mix of analogue audio tape being dropped on the floor &amp; yoghurt squelching ! Who would have thought ! " ContentLicense="CC BY-SA 3.0" />
  <row Id="24593" PostHistoryTypeId="2" PostId="14893" RevisionGUID="818680c7-800c-4965-a539-9826f8acaf5f" CreationDate="2012-08-02T22:18:03.963" UserId="4115" Text="(I'm Jake, just under another account) for a game my friend made on the iPhone, I took an idea someone else had on here. For a shooting sound, I melted a plastic bag and kept a mic held between the bag and the floor (about half way) and used the sizzling sound of the melted plastic. Thinking outside the box is always important and that's what your professor is trying to stress. But yeah, making a popping sound with your mouth (like I said, it would sound a lot more accurate if you did a deeper pop by keeping your tongue on the bottom of your mouth) but I like the idea of opening a jar.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="24594" PostHistoryTypeId="2" PostId="14894" RevisionGUID="7f11d359-2e6a-4051-a70e-9898ac7a278b" CreationDate="2012-08-03T00:35:54.957" UserId="4124" Text="Question,&#xD;&#xA;&#xD;&#xA;The Auto Level Control Slide Selector switch was accidendally bumped from Auto to Manual Recording Level Mode.&#xD;&#xA;&#xD;&#xA;The manual level thumb dial was at 10.  On playback the there is a high level of background sound which all but covers over the faint voices in the mp3 file.  Speach barely intelligible about 25% of the time.&#xD;&#xA;&#xD;&#xA;Is the a repair/restoration strategy that is known for such an issue that would leave voices intelligable and eleminate the rest of the interfering sounds.&#xD;&#xA;&#xD;&#xA;I have used band pass filter leaing just 150 Hz-3,5kHZ, de-noise-declick, spectral sampling and removal with unacceptable results using 3 by consumer level editting package without success.&#xD;&#xA;&#xD;&#xA;Any help on this one?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24595" PostHistoryTypeId="1" PostId="14894" RevisionGUID="7f11d359-2e6a-4051-a70e-9898ac7a278b" CreationDate="2012-08-03T00:35:54.957" UserId="4124" Text="Repair of 320 kbps MP3 file recorded accidentally at maximum manual recording level setting" ContentLicense="CC BY-SA 3.0" />
  <row Id="24596" PostHistoryTypeId="3" PostId="14894" RevisionGUID="7f11d359-2e6a-4051-a70e-9898ac7a278b" CreationDate="2012-08-03T00:35:54.957" UserId="4124" Text="&lt;field-recording&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24597" PostHistoryTypeId="2" PostId="14895" RevisionGUID="af2b07b7-d451-42c9-8621-f6ea43d7b74a" CreationDate="2012-08-03T03:56:37.173" UserId="4125" Text="Hey Benjie,&#xD;&#xA;&#xD;&#xA;I've been playing the game quit a bit the last few days and have been enjoying the sound. One thing in particular I really like is the satisfying &quot;thunk&quot; sound that accompanies weapon explosions as a hit indicator. It only plays when you hit a player/object, correct? It provides great player feedback and feels really nice when you land a thumper blast or disc to finish off an enemy!&#xD;&#xA;&#xD;&#xA;One small criticism I did notice though was the panning/spread on some of the ambient sound sources is a bit drastic. For instance, I was standing in a base next to a wall with running water while turning around and looking for enemies. As I was looking around, the audio source playing that water ambience loop kept drastically bouncing from my left ear to right ear. It pulled me out of the game for a moment to have such a localized ambience source. I'm not sure what implementation methods you are using, but increasing the min-distance on these types of sound sources usually helps.&#xD;&#xA;&#xD;&#xA;Finally, the voice over... After playing pretty heavy CTF for about a week I am about to murder the announcer. &quot;The Sworders have our flag!&quot; I think some variety here would go a long way. A simple pick bag of 5 or so alternate lines for each announcer line would be nice.&#xD;&#xA;&#xD;&#xA;Overall, great work! I'm having a ton of fun playing the game. Keep rockin!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24598" PostHistoryTypeId="2" PostId="14896" RevisionGUID="4e331ede-b35f-4e15-9e1e-dcbc0f7f2a12" CreationDate="2012-08-03T06:49:51.507" UserId="3396" Text="Here's the trick - use your ears. If it bumps fix it.&#xD;&#xA;&#xD;&#xA;I've always faded in and out of foley tracks it can also help to cut right up against first mod on the incoming sound.&#xD;&#xA;&#xD;&#xA;Unless you're slammed and it's impossible to finish on time I would ALWAYS cut the cloth track to picture rather than just advancing it. Maybe it's old school but I was taught that that is what we do." ContentLicense="CC BY-SA 3.0" />
  <row Id="24599" PostHistoryTypeId="2" PostId="14897" RevisionGUID="1947872f-fafb-452b-a948-5bc113a4ab58" CreationDate="2012-08-03T07:17:30.060" UserId="3784" Text="Quieter scenes Ill always fill in the holes, but if its an overpowering scene of MX and FX then I just put short fades on the regions. In a walk and talk the foley is just as delicate as the dialogue." ContentLicense="CC BY-SA 3.0" />
  <row Id="24600" PostHistoryTypeId="2" PostId="14898" RevisionGUID="2b421579-6ef2-4df5-85e4-b3db8fc32c8e" CreationDate="2012-08-03T11:23:26.030" UserId="4126" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm a novice at sound recording but after doing all the necessary research have decided a portable recorder is what best fits my needs (thinking of something like the Tascom DR-40).&#xD;&#xA;&#xD;&#xA;However, whilst there is loads of information out there about features etc, i've not seen hardly anything about how best to use these devices, especially where to position them for best results.  I was wondering if anyone might be able to point me in the direction of a good tutorial regarding their best use for recording..&#xD;&#xA;&#xD;&#xA;My primary use case will be to record another person speaking.  I am wondering if it would be ok to leave the recorder on a table or desk, or if i am best to hold it in front of the person (i won't have use of a tripod or mount).&#xD;&#xA;&#xD;&#xA;Thanks in advance - it's great this forum exisits as it's so much easier to use than the sound on sound forum :)  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24601" PostHistoryTypeId="1" PostId="14898" RevisionGUID="2b421579-6ef2-4df5-85e4-b3db8fc32c8e" CreationDate="2012-08-03T11:23:26.030" UserId="4126" Text="Best techniques for using portable recorders for dialogue, interviews etc" ContentLicense="CC BY-SA 3.0" />
  <row Id="24602" PostHistoryTypeId="3" PostId="14898" RevisionGUID="2b421579-6ef2-4df5-85e4-b3db8fc32c8e" CreationDate="2012-08-03T11:23:26.030" UserId="4126" Text="&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24603" PostHistoryTypeId="2" PostId="14899" RevisionGUID="439b353f-2050-40bb-ae64-896709f736d6" CreationDate="2012-08-03T11:32:08.423" UserId="4126" Text="Hi,&#xD;&#xA;&#xD;&#xA;Basically as the title states.  &#xD;&#xA;&#xD;&#xA;I'm well aware that portable devices are very sensitive to movement, but does that mean it isn't really feasible to try record conversation whilst walking for instance, or is there anything that can be done to mitigate the interference from movement?&#xD;&#xA;&#xD;&#xA;Thanks, " ContentLicense="CC BY-SA 3.0" />
  <row Id="24604" PostHistoryTypeId="1" PostId="14899" RevisionGUID="439b353f-2050-40bb-ae64-896709f736d6" CreationDate="2012-08-03T11:32:08.423" UserId="4126" Text="How best to record dialogue whilst walking using portable device" ContentLicense="CC BY-SA 3.0" />
  <row Id="24605" PostHistoryTypeId="3" PostId="14899" RevisionGUID="439b353f-2050-40bb-ae64-896709f736d6" CreationDate="2012-08-03T11:32:08.423" UserId="4126" Text="&lt;movement&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24606" PostHistoryTypeId="6" PostId="14898" RevisionGUID="e2887272-cff4-4b10-a53e-e5bdce31c2fc" CreationDate="2012-08-03T12:01:48.463" UserId="4126" Comment="more tags" Text="&lt;portable-recorder&gt;&lt;field-recording&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24607" PostHistoryTypeId="6" PostId="14899" RevisionGUID="a468cc8e-defb-4f79-90f8-61462e7a587e" CreationDate="2012-08-03T12:02:41.653" UserId="4126" Comment="edited tags" Text="&lt;movement&gt;&lt;portable-recorder&gt;&lt;field-recording&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24608" PostHistoryTypeId="2" PostId="14900" RevisionGUID="77111429-a198-499f-af04-4fa5697e2459" CreationDate="2012-08-03T12:05:30.940" UserId="6462" Text="The [Rycote portable recorder suspension][1] will help a lot with reducing handling noise and also a good windscreen in essential. With these two things you shouldn't have any issues with getting very good recordings.&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rycote.com/products/portable_recorder_audio_kit/portable_recorder_suspension/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24609" PostHistoryTypeId="2" PostId="14901" RevisionGUID="12c33fb6-7e6f-4b7d-9e56-514cc69b5fa7" CreationDate="2012-08-03T12:08:43.860" UserId="6432" Text="Hi Richie,&#xD;&#xA;&#xD;&#xA;Unfortunately, there is no guaranteed method to get good recordings in any situation. There are a though, a few considerations which you need to think about for any recording scenario - even when using a simple setup. &#xD;&#xA;&#xD;&#xA;The main considerations for the example you give are:&#xD;&#xA;&#xD;&#xA;- How much background noise is there?&#xD;&#xA;- How loud is the person going to be?&#xD;&#xA;- How will the table be used, and how do I mount the recorder on it?&#xD;&#xA;&#xD;&#xA;As you vary the distance between the speaker and the recorder you are altering the balance between how much direct sound and how much reflected sound (from the room) you are recording. When you get the machine try this out and you will see what I mean. It really depends on how you want it to sound. If it's a quiet room, then the table will probably be ok. But if it's a noisy environment you might need to reduce that distance between the recorder and the person you are recording. Similarly, if they speak very quietly you might also not be picking up enough. The best way is to take some headphones, listen, look at the meters and make a judgement from those. &#xD;&#xA;&#xD;&#xA;If you want to use the table then you will probably need a mini tripod of some kind, so you can point the recorder at the person. Also bear in mind that any bumps of the table might be picked up from the recorder (coffee cups etc). Isolating the recorder with a [suspension][1] will help with this, but they don't come cheap. &#xD;&#xA;&#xD;&#xA;Also, do you want to record the voice of the person asking the questions? Then it gets a bit more complicated. I've done this before with the recorder in a vertical position between me and the person I'm interviewing, so one of the stereo mics is roughly pointed at each of us. It works ok, but is a bit risky, especially if they move around a bit. I'd probably only do it if the recording was for my reference only. &#xD;&#xA;&#xD;&#xA;The other options are to buy two external mics and use them. Two short shotgun mics will give you more directionality, better sound and greater rejection of background noise. It's all just a question of what you need and how much money you have.&#xD;&#xA;&#xD;&#xA;Best thing to do though is get the recorder and do a few test recordings. Try a few different environments, different setups, and see for yourself. The DR40 has xlr inputs, so if you need to expand the system with extra mics you have the option. &#xD;&#xA;&#xD;&#xA;If anything doesn't make sense point it out and I'll elaborate further..&#xD;&#xA;&#xD;&#xA;Best of luck,&#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rycote.com/products/portable_recorder_audio_kit/portable_recorder_suspension/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24610" PostHistoryTypeId="2" PostId="14902" RevisionGUID="b2c7376d-c449-4363-ada5-d4122aa377f3" CreationDate="2012-08-03T14:35:32.407" UserId="4127" Text="There are some very good noise reduction processors available (my favourite is iZotope RX2 Advanced) although I'm afraid it sounds like your material may be beyond repair. &#xD;&#xA;If your voices are barely intelligible, you may even have a problem with the way it was mic'd.&#xD;&#xA;If you had mics placed where you could here voices clearly, recording an overloaded signal won't diminish the voices into the background.&#xD;&#xA;Anyway, sorry for the bad news. Better luck next time.&#xD;&#xA;&#xD;&#xA;Cheers, Simon  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24611" PostHistoryTypeId="2" PostId="14903" RevisionGUID="5889339c-270b-4979-b0fe-a9c67a0f6881" CreationDate="2012-08-03T14:53:49.510" UserDisplayName="user80" Text="Set the recorder to 44.1 kHz 24 bit and make sure that AGC (Automatic Gain Control) is off.  Make sure that you have a pop filter on (to reduce plosives), and a camera grip to reduce handling noise.&#xD;&#xA;&#xD;&#xA;http://www.amazon.co.uk/gp/product/B000YHGAMG/ref=oh_details_o02_s00_i00&#xD;&#xA;&#xD;&#xA;Then get the recorder in close to the interviewee but just off to the side of their mouth so that they talk across the mic.  To test where to put the mic put your hand in front of your mouth and say the letter p, then move your hand to the side till you stop feeling the air, that is where you should put the recorder.  &#xD;&#xA;&#xD;&#xA;Then ask the interviewee to tell you what they had for breakfast and set your levels, make sure that the levels don't peak above -6dB.&#xD;&#xA;&#xD;&#xA;Always check your recordings before you leave in case there is a problem.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24612" PostHistoryTypeId="2" PostId="14904" RevisionGUID="dab224f5-cba0-4260-8a49-1cbf3e55cb04" CreationDate="2012-08-03T15:13:14.650" UserId="7642" Text="But the cam grip won't isolate from hand and movement noise, the rycote will.&#xD;&#xA;Wasn't that what you wanted?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24613" PostHistoryTypeId="2" PostId="14905" RevisionGUID="e3905785-d408-47b5-82dd-bc57355198e0" CreationDate="2012-08-03T16:01:20.447" UserId="6460" Text="I own a Sony PCM-D50 recorder and while handling noise can be a pain, there are ways to train yourself to avoid it. The Rycote will definitely provide relief, but so will training your hand to grip firmly in a comfortable position while managing the headphone cable. The cam grip will not provide the shock absorption needed to avoid handling noise.&#xD;&#xA;&#xD;&#xA;If you recorder has a microphone input, consider getting an external mic: it might be cheaper than the rycote and sound better than the recorder's built-in mics.&#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="24614" PostHistoryTypeId="2" PostId="14906" RevisionGUID="ab1b521b-e579-4ac0-a71e-b0f453da8817" CreationDate="2012-08-03T16:02:36.947" UserId="3975" Text="Hey Guys&#xD;&#xA;&#xD;&#xA;Just wanted to pick some peoples brains on how they arrange high rpm gun sounds in a game engine.  Previously I would work out how many bullets are fired per second (say 10) then I would make a bullet sound last 100ms.  I would then make 6-7 variants and then in the engine get it to randomize between each sound adding slight modulation and then once the trigger has been release to play a tail sound.&#xD;&#xA;&#xD;&#xA;I am working on a space sim atm and the programmer is using OpenAL as the sound engine.  Currently the way he wants to approach fast machine gun like sounds is for me to make a seamless loop of a few seconds which he can just have looping when someone clicks and holds fire.&#xD;&#xA;&#xD;&#xA;This got me wondering which way is better and what experience other people have had when dealing with really fast firing gun sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24615" PostHistoryTypeId="1" PostId="14906" RevisionGUID="ab1b521b-e579-4ac0-a71e-b0f453da8817" CreationDate="2012-08-03T16:02:36.947" UserId="3975" Text="Game Sound Design - fast repeating guns" ContentLicense="CC BY-SA 3.0" />
  <row Id="24616" PostHistoryTypeId="3" PostId="14906" RevisionGUID="ab1b521b-e579-4ac0-a71e-b0f453da8817" CreationDate="2012-08-03T16:02:36.947" UserId="3975" Text="&lt;guns&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24617" PostHistoryTypeId="2" PostId="14907" RevisionGUID="ad35b9c7-a4a5-4554-8081-f7c4ee30e49a" CreationDate="2012-08-03T16:47:00.030" UserId="432" Text="I remember sitting in a talk at AES two years ago where someone was talking about the sound implementation for Halo (Reach I think). One particular example was for a vehicle mounted Gatling gun. There were multiple states that the game would switch to, depending on how the player used the gun: a bank of single shots, a bank of short to medium duration rapid fire sounds for bursts of fire, and a longer file of continuous fire. For initiation of continuous fire, the game engine would play back sounds from the bank of short/medium bursts. If the firing continued (let's say past 3 loops/files, for arguments sake), the game engine would then switch over to looping the single longer continuous file. This system allowed the game to reduce the instances of file playback as the player fell into sustained behavior." ContentLicense="CC BY-SA 3.0" />
  <row Id="24618" PostHistoryTypeId="2" PostId="14908" RevisionGUID="753dc21a-bc40-4034-a3c5-bdf783edc236" CreationDate="2012-08-03T16:50:58.313" UserId="407" Text="As with many things in sound the answer is ... it depends on a few things which is the best to go for and which sounds best.&#xD;&#xA;&#xD;&#xA;First thing to consider is fire rates and frame rates and if you audio engine is frame rate dependent.&#xD;&#xA;Granular systems (e.g. 100ms sounds 6-7 variants played consecutively) this works well if the rpm of the gun is well below the frame rate or your audio engine is capable of playing sounds between frames (frame rate independent). If you try to play a high rpm weapon with a frame rate dependent audio engine it plays back un evenly. &#xD;&#xA;For example if the frame rate is 30 Hz and the rpm of the gun is 25 the audio engine will try to play a sound every 1.2 frames. This is can't do so what you'll get is something like 4 frames where a sound will play then it will skip a frame and then start playing again for 4 frames etc. &#xD;&#xA;In my humble opinion this can make the gun sound weaker and not as convincing for the player. Also if the game is not at a stable frame rate this can seriously effect the sound.&#xD;&#xA;&#xD;&#xA;Looping is a good solution if you have a frame dependent audio engine and the fire rate of the weapons is high. if you know the clip length of each weapon then you can make one 'taka taka taka' sound that covers the whole clip length, this way you can bake in the 'swell' of the gun sound into the wav file which adds nicely to the sound. &#xD;&#xA;'Looping' systems are usually broken into 3 parts. A single shot when the player pulls the trigger, followed by the loop as the trigger is help, then a single shot tail when the trigger is released. The good things about the looping system is that it is easy to integrate and the quality is guaranteed each time. The bad thing is that the loop is the same each time which can get annoying and if you want to change the fire rate of the weapon for any reason then you have to remake the sound.&#xD;&#xA;&#xD;&#xA;So yep it all depends ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24620" PostHistoryTypeId="2" PostId="14910" RevisionGUID="9ae962c8-d42d-4907-b98e-dfae62bb6d66" CreationDate="2012-08-03T19:35:44.833" UserId="6454" Text="Hello Sound Geniuses!!&#xD;&#xA;&#xD;&#xA;Somewhat of a strange question, but I am trying to figure out a way simulate the way a young man's voice will crack during puberty.  Basically to take an existing voice record and process it so it sounds like they are going through puberty.  I know it is a little strange, but it is for a project and I thought I would ask around for ideas.  It might not be possible, but maybe I am missing something.&#xD;&#xA;&#xD;&#xA;I have tried random pitch shifting, EQing in the nasaley/shrieky upper mids, Freq-Mod, etc, but nothing is quite right.  Any insight would be greatly appreciated.  In addition, this would need to be programmed, so concepts versus plug-in setting would be best.  Thanks!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24621" PostHistoryTypeId="1" PostId="14910" RevisionGUID="9ae962c8-d42d-4907-b98e-dfae62bb6d66" CreationDate="2012-08-03T19:35:44.833" UserId="6454" Text="Teenage Voice &quot;Cracking&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24622" PostHistoryTypeId="3" PostId="14910" RevisionGUID="9ae962c8-d42d-4907-b98e-dfae62bb6d66" CreationDate="2012-08-03T19:35:44.833" UserId="6454" Text="&lt;voice-manipulation&gt;&lt;programming&gt;&lt;processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24623" PostHistoryTypeId="2" PostId="14911" RevisionGUID="c8624009-3f6d-4b50-becc-45c28cddf84c" CreationDate="2012-08-03T20:51:17.140" UserId="4132" Text="Hi There,&#xD;&#xA;&#xD;&#xA;My question is just critical. Acutally 5.1 Dvd player delivers Bass effect from Subwoofer outlet as well as front right and front left outlet. But my 5.1 receiver accepts the Bass effect from Subwoofer outlet only. It doesnt accepts the Bass effect  from front right and front left. Due to this there is no real 5.1 surround effect from my receiver. What i need is my 5.1 receiver should accept both Subwoofer Bass and front right left Bass. And it should deliver these Bass effects from the Subwoofer. So can any one tell the solution for my problem.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="24624" PostHistoryTypeId="1" PostId="14911" RevisionGUID="c8624009-3f6d-4b50-becc-45c28cddf84c" CreationDate="2012-08-03T20:51:17.140" UserId="4132" Text="Want to Know about 5.1 sound system" ContentLicense="CC BY-SA 3.0" />
  <row Id="24625" PostHistoryTypeId="3" PostId="14911" RevisionGUID="c8624009-3f6d-4b50-becc-45c28cddf84c" CreationDate="2012-08-03T20:51:17.140" UserId="4132" Text="&lt;5.1&gt;&lt;problem&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24626" PostHistoryTypeId="2" PostId="14912" RevisionGUID="0499760d-5a46-449a-86c3-0db8b54b8165" CreationDate="2012-08-03T22:06:35.650" UserId="1228" Text="Chances are more than 75% of the result is the actors performance (e.g. them articulating their voice that way the best they can, and/or using ways they can manipulate their voice in real - life like helium, crunching their nose, talking through objects, etc).  Check out Antares AVOX Throat (I think that's what it's called?)  Even very very CAREFUL uses of Autotune or equivalent tools may work well.  Chances are though a lot of it is going to come down to how the actor articulates their voice, either originally or re-recorded.  There's only so much that plugins and processing can do, and especially with pitch-related alterations, our ears are very sensitive to the realism versus not real versus uncanny of voice pitch so these alterations are not that that forgiving compared to cadences and tempo, these latter ones which can usually have more wiggle room for alterations but still require a delicate editorial touch and feel for a voice's inherent musicality.&#xD;&#xA;&#xD;&#xA;For EQ, the nasal will sit at about 750-900Hz usually, the exact harmonic differing with each voice but this tends to be the usual 'backyard' for nasal qualities." ContentLicense="CC BY-SA 3.0" />
  <row Id="24627" PostHistoryTypeId="2" PostId="14913" RevisionGUID="08974c0c-b66c-405c-9197-07b7afccb54c" CreationDate="2012-08-03T22:41:37.523" UserId="3179" Text="Sounds something that I personally would not even try. For some reason there sometimes seems to be a tendency to think that everything can and should be attempted to be done with post-processing instead of getting to the source.&#xD;&#xA;&#xD;&#xA;I guess Avox (although I have no personal experience with it) or certainly something that does partial and noise based analysis and editing is likely what you would be looking for this type of human voice transformations. It's something that can be used to make a voice sound younger or older (by modifying the ratio of the noisy and tonal parts), to a certain extent, but the effect is still rather, if not clearly synthetic." ContentLicense="CC BY-SA 3.0" />
  <row Id="24628" PostHistoryTypeId="5" PostId="14913" RevisionGUID="bae7fa97-bbc3-41f1-adef-d3b6d44cbde2" CreationDate="2012-08-03T23:19:21.237" UserId="3179" Comment="added 7 characters in body" Text="Sounds something that I personally would not even try. For some reason there sometimes seems to be a tendency to think that everything can and should be attempted to be done with post-processing instead of getting to the source.&#xD;&#xA;&#xD;&#xA;I guess Avox Throat (although I have no personal experience with it) or certainly something that does partial and noise based analysis and editing is likely what you would be looking for this type of human voice transformations. It's something that can be used to make a voice sound younger or older (by modifying the ratio of the noisy and tonal parts), to a certain extent, but the effect is still rather, if not clearly synthetic." ContentLicense="CC BY-SA 3.0" />
  <row Id="24629" PostHistoryTypeId="2" PostId="14914" RevisionGUID="d7c8e684-5d4c-468a-8b41-7fe10c691bf4" CreationDate="2012-08-04T01:37:10.987" UserId="18160" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I need a really quick answer to this question if you don't mind:&#xD;&#xA;&#xD;&#xA;I'm researching a future purchase for a production company that records short films and documentaries that have a wide variety of unprofessional talent and very impromptu camera angles and frames, thus the necessity of a really simple and easy-to-set-up but professional quality (if possible...) sound system.&#xD;&#xA;&#xD;&#xA;Unfortunately, most of these shoots will not have the budget to hire professional sound men but I will be training up certain people on how to use these mics and transmitters for the production company, and I have a very keen vested interest on how these sound because I'm the one who will end up mixing these recordings most likely.&#xD;&#xA;&#xD;&#xA;So, in your professional opinion, what is a good quality mic + transmitter combination I can research further that fits the above criteria (if any)?&#xD;&#xA;&#xD;&#xA;EDIT: Right now we own hoards of Tram and COS-11 mics, and I like the sound of those. I'm mainly concerned more about what belt-packs and transmitter/receivers as well as recorders used in this scenario.&#xD;&#xA;&#xD;&#xA;Thanks very much in advance for your input. Very much appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="24630" PostHistoryTypeId="1" PostId="14914" RevisionGUID="d7c8e684-5d4c-468a-8b41-7fe10c691bf4" CreationDate="2012-08-04T01:37:10.987" UserId="18160" Text="Quick Question: Wireless Belt Packs and Receivers" ContentLicense="CC BY-SA 3.0" />
  <row Id="24631" PostHistoryTypeId="3" PostId="14914" RevisionGUID="d7c8e684-5d4c-468a-8b41-7fe10c691bf4" CreationDate="2012-08-04T01:37:10.987" UserId="18160" Text="&lt;wireless&gt;&lt;microphone&gt;&lt;lavalier&gt;&lt;lapel&gt;&lt;transmitter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24632" PostHistoryTypeId="2" PostId="14915" RevisionGUID="f27f4c22-d9be-4bb8-9f49-e8eafe6491a6" CreationDate="2012-08-04T04:02:46.670" UserId="3104" Text="If you've got the budget to work with a Lectrosonic's 400 Series, then just do it. It's the best thing I've ever worked with on a production before and well worth the money. I've had a pair of Sennheiser G3 100's for a year now and they've worked pretty well for me. If you've got Tram's and COS-11 mics that will work with these transmitters, I'm sure it'll be enough to get the job done and they're much cheaper then the Lectrosonics. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24633" PostHistoryTypeId="2" PostId="14916" RevisionGUID="41850b66-11ee-4ff8-95ec-9deecb4c702c" CreationDate="2012-08-04T05:50:52.297" UserDisplayName="user80" Text="I would go for the Sennheiser ew 100 ENG G3 kit we use them a lot and they just keep working.  For simple shoots just plug them straight into the camera using the hotshoe mount.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24634" PostHistoryTypeId="2" PostId="14917" RevisionGUID="5cbb2071-d163-43c1-b1dc-28db6344ffe8" CreationDate="2012-08-04T05:54:13.220" UserId="18160" Text="I'm sorry to say, but if the actor recorded it without any cracks and you're trying to put the cracks in from scratch, I don't think you'll get very far with it.&#xD;&#xA;&#xD;&#xA;If you try to duplicate it right now with your own voice, you'll notice that a voice crack like those of young men tend to go about an octave up, so possibly selective pitch-shifting an octave up and cleverly crossfading between original and pitch could get you somewhere as a rough edit, but ultimately, I suggest re-recording it and have the actor do the voice cracks originally. To put something like this in after it's recorded in my experience has come to no avail and sounds worse and takes more time than it would have taken to re-record it." ContentLicense="CC BY-SA 3.0" />
  <row Id="24635" PostHistoryTypeId="5" PostId="14916" RevisionGUID="f85507c1-28e5-4925-933b-bdb89ea33f53" CreationDate="2012-08-04T06:03:25.543" UserDisplayName="user80" Comment="added 128 characters in body" Text="I would go for the Sennheiser ew 100 ENG G3 kit we use them a lot and they just keep working.  For simple shoots just plug them straight into the camera using the hotshoe mount.  &#xD;&#xA;&#xD;&#xA;http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wireless-microphone-systems_broadcast-eng-film_ew-100-g3_021118" ContentLicense="CC BY-SA 3.0" />
  <row Id="24636" PostHistoryTypeId="5" PostId="14908" RevisionGUID="af578b9a-989c-49eb-9297-838aec426eb3" CreationDate="2012-08-04T07:01:11.397" UserId="407" Comment="added 319 characters in body" Text="As with many things in sound the answer to which is better is ... it depends on a few things which is the best to go for and which sounds best.&#xD;&#xA;&#xD;&#xA;First thing to consider is fire rates and frame rates and if you audio engine is frame rate dependent.&#xD;&#xA;Granular systems (e.g. 100ms sounds 6-7 variants played consecutively) this works well if the rpm of the gun is well below the frame rate or your audio engine is capable of playing sounds between frames (frame rate independent). If you try to play a high rpm weapon with a frame rate dependent audio engine it plays back un evenly. &#xD;&#xA;For example if the frame rate is 30 Hz and the rpm of the gun is 25 the audio engine will try to play a sound every 1.2 frames. This is can't do so what you'll get is something like 4 frames where a sound will play then it will skip a frame and then start playing again for 4 frames etc. &#xD;&#xA;In my humble opinion this can make the gun sound weaker and not as convincing for the player. Also if the game is not at a stable frame rate this can seriously effect the sound.&#xD;&#xA;Games like Battlefield use the frame rate independent system build into layers. Max Payne 1 and 2 however had a frame rate dependent rapid firing guns, and if I remember correctly so does Death Rally for iOS.&#xD;&#xA;&#xD;&#xA;Looping is a good solution if you have a frame dependent audio engine and the fire rate of the weapons is high. if you know the clip length of each weapon then you can make one 'taka taka taka' sound that covers the whole clip length, this way you can bake in the 'swell' of the gun sound into the wav file which adds nicely to the sound. &#xD;&#xA;'Looping' systems are usually broken into 3 parts. A single shot when the player pulls the trigger, followed by the loop as the trigger is help, then a single shot tail when the trigger is released. The good things about the looping system is that it is easy to integrate and the quality is guaranteed each time. The bad thing is that the loop is the same each time which can get annoying and if you want to change the fire rate of the weapon for any reason then you have to remake the sound. This is the system we used on Alan Wake American Nightmare in general we got pretty good response for the gun sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="24637" PostHistoryTypeId="2" PostId="14918" RevisionGUID="8fd715b6-befe-4ad3-a81d-64be6ef154b2" CreationDate="2012-08-04T10:09:17.867" UserId="1049" Text="From where you've said this needs to be programmed, am I right in thinking you're trying to create an effects processor that alters any dialogue track you input to sound like the voice is breaking, rather than just attempting this on specific piece of already-recorded dialogue?&#xD;&#xA;&#xD;&#xA;If this is the case then it sounds rather a tricky. You could work out a way of programming in random crossfaded +1 octave shifts, like @Utopia suggested, but I've a feeling this will sound rather sharp and mechanical.&#xD;&#xA;&#xD;&#xA;In an ideal situation you'd analyse the characteristics of a pubescent teenage voice and physically model this but that is a huge amount of work requiring a tonne of research etc etc. If that was your real intention then I'd suggest getting in contact with the Antares guys and discuss things with them but I've a feeling it's not!&#xD;&#xA;&#xD;&#xA;Good luck though!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24638" PostHistoryTypeId="2" PostId="14919" RevisionGUID="f63fb325-6be8-4d67-8143-e00591c8a6be" CreationDate="2012-08-04T12:05:46.560" UserId="3587" Text="I've begun using my iPad as a video reference monitor when I record source material and foley, as it's completely silent and very mobile. Right now I'm using dropbox to transfer and play the videos, but it doesn't work quite as well as I would like it to. For one, when I scrub it will sometimes start to re-buffer the video, and the controls aren't very good in general.&#xD;&#xA;&#xD;&#xA;I was wondering if there are any apps that are build specifically for this purpose?&#xD;&#xA;Best case scenario, something that allow me to easily loop a section or make time markers, but anything that has a better workflow than the native video player would be great.&#xD;&#xA;&#xD;&#xA;And if you know any other great iPads for when working in the field, feel free to share them too. It's an amazing tool for the field, and I would hate to waste its potential :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24639" PostHistoryTypeId="1" PostId="14919" RevisionGUID="f63fb325-6be8-4d67-8143-e00591c8a6be" CreationDate="2012-08-04T12:05:46.560" UserId="3587" Text="Apps for using iPad as a video reference monitor" ContentLicense="CC BY-SA 3.0" />
  <row Id="24640" PostHistoryTypeId="3" PostId="14919" RevisionGUID="f63fb325-6be8-4d67-8143-e00591c8a6be" CreationDate="2012-08-04T12:05:46.560" UserId="3587" Text="&lt;ipad&gt;&lt;foley&gt;&lt;video-reference&gt;&lt;app&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24641" PostHistoryTypeId="2" PostId="14920" RevisionGUID="5b3a298f-6857-4264-81ee-d3354474f304" CreationDate="2012-08-04T12:48:57.923" UserId="37" Text="Read up on http://en.wikipedia.org/wiki/Bass_management&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24642" PostHistoryTypeId="2" PostId="14921" RevisionGUID="57efca6a-d329-43bb-ab74-68aafc3d7ff1" CreationDate="2012-08-04T13:50:32.930" UserId="243" Text="Hey guys I have a class foley project coming up soon and I would like to know how to recreate/record the sound of: &#xD;&#xA;sneakers &quot;squeaking&quot; on the floor and&#xD;&#xA;glass breaking (like a window)&#xD;&#xA;&#xD;&#xA;here are the restrictions:&#xD;&#xA;It has to be done in front of the class and there is only a limited amount of time (15 minutes)to set up the mics (the amount and type available tba) AND record the take/s. The scene must be 30 seconds long (like a radio play)&#xD;&#xA;&#xD;&#xA;We have some time to practise/rehearse and synchronize our movements up until the day of the project in front of the class. So I'd like my group to be really on point with setting up the mics quickly and knowing exactly what each person (including myself) must do foley-wise. Therefore allowing us more takes, but the trick is we will have to choose the best take. &#xD;&#xA;&#xD;&#xA;[still need to find out]&#xD;&#xA;&#xD;&#xA;The recording is either: &#xD;&#xA;Done by 1 person in our group (like controlling the faders/pan) &#xD;&#xA;or&#xD;&#xA;We have to physically move the foley away from the mic (to fade the level) and/or move the foley from left to right passed one the stereo mics we will be using.  &#xD;&#xA;NB: we will not be mixing what we record, like in the industry, our recordings will be given to a another unknown person to mix.&#xD;&#xA;&#xD;&#xA;I want the the sneaker foley to take place over different surfaces like concrete, up a ladder or maybe grass. &#xD;&#xA;Solutions:&#xD;&#xA;I have a square concrete base umbrella stand roughly half a metre on each side will probably put a thick blanket underneath (prox effect) for the concrete surface.&#xD;&#xA;I can get a big military desert storm camouflage thing for the grass.  &#xD;&#xA;&#xD;&#xA;As it is in front of the class we can't leave too much of a mess so the window/glass breaking will be a hectic challenge how would I solve this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24643" PostHistoryTypeId="1" PostId="14921" RevisionGUID="57efca6a-d329-43bb-ab74-68aafc3d7ff1" CreationDate="2012-08-04T13:50:32.930" UserId="243" Text="Foley project advice " ContentLicense="CC BY-SA 3.0" />
  <row Id="24644" PostHistoryTypeId="3" PostId="14921" RevisionGUID="57efca6a-d329-43bb-ab74-68aafc3d7ff1" CreationDate="2012-08-04T13:50:32.930" UserId="243" Text="&lt;foley&gt;&lt;recording&gt;&lt;project&gt;&lt;problems&gt;&lt;solving&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24645" PostHistoryTypeId="2" PostId="14922" RevisionGUID="8e6d9d5a-8c84-4187-a04c-d8e520a32b60" CreationDate="2012-08-04T16:26:42.113" UserId="29" Text="There's no need for a second application to do this. Run AirDisplay on your iOS device and computer, and simply show the Quicktime window (and transport controls, if there's no one operating the computer for you) in your DAW on it as a 2nd (or 3rd, or Nth) screen. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24646" PostHistoryTypeId="2" PostId="14923" RevisionGUID="e76b4517-0581-4c8d-a59d-978e24fdba44" CreationDate="2012-08-04T16:33:49.763" UserId="29" Text="My two lira:&#xD;&#xA;&#xD;&#xA;Sneakers: Sneaker squeaks can be loud and will have tons of room reverb if done indoors. Sneakers squeak the most reliably on very glossy varnished wood surfaces - in my experience, would love to hear others' - and you need a fair amount of speed to make 'em squeak on concrete. FWIW.&#xD;&#xA;&#xD;&#xA;Glass: Eye goggles (actual safety goggles, not sunglasses), heavy leather gloves, and one or more very large canvas tarps or sound blankets, ideally arranged in a large &quot;tub&quot; (use gaffer's tape) supported by something like a circle of chairs. I prefer using a wrecking bar or long crowbar to a hammer; way safer, as it puts you much farther away from the shards. Never, ever put your hands or body parts under where the glass might fall. Wear long sleeves and pants. Don't forget a broom and a dustpan for cleanup." ContentLicense="CC BY-SA 3.0" />
  <row Id="24647" PostHistoryTypeId="2" PostId="14924" RevisionGUID="d578fb7b-2715-4b49-9245-48788f80261e" CreationDate="2012-08-04T18:07:53.967" UserId="842" Text="I must say I'm very fond of Lectrosonic's transmitters/receivers! Built like tanks and very trusty in my opinion!&#xD;&#xA;&#xD;&#xA;The last year I've worked very much with the combo Lectrosonic and DPA, and for the first time when working with lavalier, though I still very much prefer boom, I'm fairy satisfied with what I got!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24648" PostHistoryTypeId="2" PostId="14925" RevisionGUID="b9504d56-00b3-47cc-84e3-ff1b1e2b3b42" CreationDate="2012-08-04T18:20:42.120" UserId="842" Text="I've done this before in a movie using pitchshifting with good results, but there are no way I could ever make an algorithm that even remotely works on all voices. It took a LOT of tweaking before it actually sounded pubertal, and it only works on pretty deep and rich voices, or it will just sound weird, and they must be pretty expressive as the cracking comes from trying hard to control the voice but not knowing how. Myself I actually never went through this tho :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24649" PostHistoryTypeId="2" PostId="14926" RevisionGUID="8ae83607-1a05-4344-ae1e-8284622a707d" CreationDate="2012-08-04T19:18:25.683" UserId="1199" Text="Most home entertainment receivers allow for Bass Management by setting the 5 monitors to ' *small* ' in the set-up menu - thus sending their low end (generally crossed over @ 80-120Htz) to the sub.&#xD;&#xA;&#xD;&#xA;As *georgi.m* suggested: it would be good to read up on bass management theory to fully grasp what's going on here and how it affects your playback monitoring...&#xD;&#xA;&#xD;&#xA;happy listening!  &#xD;&#xA;r&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24650" PostHistoryTypeId="2" PostId="14927" RevisionGUID="c0184fc7-418e-459d-baff-2962865513df" CreationDate="2012-08-05T01:53:48.760" UserId="1117" Text="i would say if the gear is to be used by mostly inexperienced people, then maybe the lav is not the way to go.&#xD;&#xA;i would think it would be easier to boom." ContentLicense="CC BY-SA 3.0" />
  <row Id="24651" PostHistoryTypeId="2" PostId="14928" RevisionGUID="5a389da1-2f3e-47f8-8477-0d9e6ba64c79" CreationDate="2012-08-05T12:23:18.223" UserId="6432" Text="I seem to be spending lots of time on the train at the moment, and I'd really like to use it to get some work done. My current headphones are Beyer DT250's, which I like but they aren't great at blocking out sound from the rest of the train. They do block out enough sound from the train itself, but not from other passengers. I'm considering buying a pair of isolation headphones for the purpose - like [these from direct sound][1]. So my Beyer's claim 16db of ambient noise insulation, the EX-25's claim 25-33db. &#xD;&#xA;&#xD;&#xA;Does anyone use these or anything similar for this purpose, or can you recommend anything else? I've not really used them much, but do you think noise cancelling headphones are a better option?&#xD;&#xA;&#xD;&#xA;On a side note - I wish manufacturers would publish all the info about products. Isolation ratings for headphones seem quite difficult to find, especially with even more useful isolation to frequency graphs. If anyone knows of a site where these are collated I'd love to hear about it.&#xD;&#xA;  [1]: http://www.extremeheadphones.com/products/ex-25-headphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="24652" PostHistoryTypeId="1" PostId="14928" RevisionGUID="5a389da1-2f3e-47f8-8477-0d9e6ba64c79" CreationDate="2012-08-05T12:23:18.223" UserId="6432" Text="Headphones for working on noisy trains?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24653" PostHistoryTypeId="3" PostId="14928" RevisionGUID="5a389da1-2f3e-47f8-8477-0d9e6ba64c79" CreationDate="2012-08-05T12:23:18.223" UserId="6432" Text="&lt;headphones&gt;&lt;isolation&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24655" PostHistoryTypeId="2" PostId="14930" RevisionGUID="aa41963a-ce63-4e93-a92c-31d29cee816c" CreationDate="2012-08-05T13:09:08.637" UserId="4069" Text="Another great App is TC-11, I'm enjoying a lot this one:&#xD;&#xA;&#xD;&#xA;http://www.bitshapesoftware.com/instruments/tc-11/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24656" PostHistoryTypeId="2" PostId="14931" RevisionGUID="46c60ab7-5be1-484b-99df-e9f7f7b95c04" CreationDate="2012-08-05T15:08:17.180" UserId="842" Text="I can't remember the name of the model, but Beyer has headphones dedicated for drummers and other people needing high isolation as well! It was a long time since I tried them out, but what I remember they sounded pretty much like the 250's, which happens to be my weapon of choice as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="24657" PostHistoryTypeId="2" PostId="14932" RevisionGUID="72bc3f46-4947-4cc0-8096-4321140071ee" CreationDate="2012-08-05T16:19:49.183" UserId="6432" Text="Really nice. Thanks. &#xD;&#xA;&#xD;&#xA;Seems they've increased the number of cities available too. I wonder if the police radio operators know they're being listened to in this way and what they think of it?&#xD;&#xA;&#xD;&#xA;On the radio worldizing tip, these days you can buy weak FM transmitters designed for use with your Ipod in the car - [this sort of thing][1]. Useful.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.techradar.com/news/audio/portable-audio/best-fm-transmitter-for-iphone-ipod-5-on-test-1035323" ContentLicense="CC BY-SA 3.0" />
  <row Id="24658" PostHistoryTypeId="5" PostId="14926" RevisionGUID="352f032f-bac1-4d3a-81c9-a9e64e723496" CreationDate="2012-08-05T19:05:46.000" UserId="1199" Comment="added additional info" Text="Most home entertainment receivers allow for Bass Management by setting the 5 monitors to ' *small* ' in the set-up menu - thus sending their low end (generally crossed over @ 80-120Htz) to the sub.&#xD;&#xA;&#xD;&#xA;As *georgi.m* suggested: it would be good to read up on bass management theory to fully grasp what's going on here and how it affects your playback monitoring...&#xD;&#xA;&#xD;&#xA;happy listening!  &#xD;&#xA;r&#xD;&#xA;&#xD;&#xA; * this generally, only works for the *5.1 inputs* on your receiver - not the stereo inputs&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24659" PostHistoryTypeId="2" PostId="14933" RevisionGUID="a7f67caa-4ecb-42a6-9999-ac716ab5050a" CreationDate="2012-08-05T21:52:54.483" UserId="4134" Text="Hi Mark,&#xD;&#xA;&#xD;&#xA;I use AudioTechnica in-ear ATH-ANC23 with noise-cancelling during my train travels and it works pretty well. I know you are not searching for in-ear monitors but there are [some headphones which use the same technology][1]. But these headphones are more intended for listen music, so I don't know if hifi headphone can do the job for you.&#xD;&#xA;&#xD;&#xA;Another thing to know : there are à low level noise when you switch ON the noise-cancellation. There must be enough volume to cover the noise so this can tiring if you have a long journey.&#xD;&#xA;&#xD;&#xA;Noise-cancelling works very well with train engine and a bit less well with a punctual source but enough to ignore it.&#xD;&#xA;I hope it will be able to help you in your research.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audio-technica.com/cgi-bin/product_search/headphones/headphones_cat.pl?select_multiple_3=QuietPoint%20Noise%20Cancelling" ContentLicense="CC BY-SA 3.0" />
  <row Id="24660" PostHistoryTypeId="5" PostId="14933" RevisionGUID="2f93e951-2448-4834-bd7c-ba46faf6bbed" CreationDate="2012-08-05T22:10:36.697" UserId="4134" Comment="Add infos" Text="Hi Mark,&#xD;&#xA;&#xD;&#xA;I use AudioTechnica in-ear ATH-ANC23 with noise-cancelling during my train travels and it works pretty well. I know you are not searching for in-ear monitors but there are [some headphones which use the same technology][1]. But these headphones are more intended for listen music, so I don't know if hifi headphone can do the job for you.&#xD;&#xA;&#xD;&#xA;Another thing to know : there are à low level noise when you switch ON the noise-cancellation. There must be enough volume to cover the noise so this can tiring if you have a long journey.&#xD;&#xA;&#xD;&#xA;Noise-cancelling works very well with train engine and a bit less well with a punctual source but enough to ignore it.&#xD;&#xA;I hope it will be able to help you in your research.&#xD;&#xA;&#xD;&#xA;EDIT : Ho I forgot something important : I don't know if it's the same for headphones but the in-ear are sensitive to interference when noise-cancelling is ON.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audio-technica.com/cgi-bin/product_search/headphones/headphones_cat.pl?select_multiple_3=QuietPoint%20Noise%20Cancelling" ContentLicense="CC BY-SA 3.0" />
  <row Id="24661" PostHistoryTypeId="2" PostId="14934" RevisionGUID="04487538-cd89-4cc6-865e-58595d72c281" CreationDate="2012-08-05T22:27:11.517" UserId="4135" Text="I'm doing some field recordings with electret microphones. The manufacturer says they require a voltage between 2 and 10 volts. My Zoom H2N recorder delivers something around 2 to 3 volts I believe, which is at the lower range of the operation voltage range.&#xD;&#xA;&#xD;&#xA;How does a higher voltage like 9 volts affect the recording behavior of the mic? Does a higher voltage enhance the signal-to-noise ratio (reducing it's self-noise) and increase the sensitivity for quiet sounds in nature?&#xD;&#xA;&#xD;&#xA;I've heard that a higher voltage would make the mic more tolerant towards loud sounds but less sensitive for quiet sounds, so I'm a bit confused wether or not I should get a preamp." ContentLicense="CC BY-SA 3.0" />
  <row Id="24662" PostHistoryTypeId="1" PostId="14934" RevisionGUID="04487538-cd89-4cc6-865e-58595d72c281" CreationDate="2012-08-05T22:27:11.517" UserId="4135" Text="How does the voltage affect the operation of an electret capsule?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24663" PostHistoryTypeId="3" PostId="14934" RevisionGUID="04487538-cd89-4cc6-865e-58595d72c281" CreationDate="2012-08-05T22:27:11.517" UserId="4135" Text="&lt;microphone&gt;&lt;power&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24664" PostHistoryTypeId="2" PostId="14935" RevisionGUID="acd3a213-76db-4261-97ce-35831fe41fc7" CreationDate="2012-08-05T22:39:51.093" UserId="4135" Text="I need to loop a lot of recordings such that the loop is not clearly hearable. For example, I recorded some sounds in the forest and want to loop them such that I can fall to sleep when listening them. If the sounds simply start from the beginning the &quot;loop point&quot; is clearly hearable and annoying.&#xD;&#xA;&#xD;&#xA;My first thought was to cut a clip in half, then start with the second half and let it end with the first half. Then I have some freedom in cross-fade the start and end strategically such that no obvious loop is hearable.&#xD;&#xA;&#xD;&#xA;In practice though I believe this would not always work smoothly. For example lets say you have a track where you walk through the woods. When cross-fade over a period of 5 seconds, it would be hard to match/overlay the footsteps and other contents such that it doesn't sound like you're stumbling or running for a brief moment. If the cross-fade is too short, it would become more hearable (e.g. suddenly faster wind, or faster walking, other environment). But when longer, there are basically two recordings hearable at the same time for that moment.&#xD;&#xA;&#xD;&#xA;Since this seems to be tricky, I wonder if there is software dedicated to deal with this problem?&#xD;&#xA;&#xD;&#xA;For both Mac and Windows (to make this question more useful)." ContentLicense="CC BY-SA 3.0" />
  <row Id="24665" PostHistoryTypeId="1" PostId="14935" RevisionGUID="acd3a213-76db-4261-97ce-35831fe41fc7" CreationDate="2012-08-05T22:39:51.093" UserId="4135" Text="Are there tools to seamlessly loop sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24666" PostHistoryTypeId="3" PostId="14935" RevisionGUID="acd3a213-76db-4261-97ce-35831fe41fc7" CreationDate="2012-08-05T22:39:51.093" UserId="4135" Text="&lt;software&gt;&lt;looping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24667" PostHistoryTypeId="2" PostId="14936" RevisionGUID="38b0172a-097c-4f7b-9890-08f5b68ed40e" CreationDate="2012-08-05T23:30:43.480" UserId="6432" Text="There's no magic tool that I know of. &#xD;&#xA;&#xD;&#xA;The technique you describe is the way to do it, it's just a question of choosing the right length of crossfade. With rythmic sounds though, it can be difficult to find the right point. I generally find that ambient sounds (like atmos) work better with longer fades and sharp rythmic sounds (like engine cycles) work better with short fades. This avoids the doubling problem you describe. &#xD;&#xA;&#xD;&#xA;It's not ideal in some situations though, such as the one you suggest. If the footsteps are out of sync by a lot then you might be able to get through with some improvised editing. Are there any suitable wild tracks of the environment you can use as filler? Edits are often easier if you can use another sound to mask your crossfade - a gust of wind or some rustles on a third track might work well. And if the steps are out by a small amount then maybe you can gently time-stretch them into place. &#xD;&#xA;&#xD;&#xA;If the steps are in sync and you want a slow crossfade for atmos, but are getting a doubling on the footsteps then you could attenuate some of the footsteps on the track you're fading in with a spectral editor. I've had some really good results using the lasso tool in the spectral editing mode of Adobe Audition. You can literally draw round sounds spectrally and reduce their amplitude. I think you can do this in Izotope RX2 too." ContentLicense="CC BY-SA 3.0" />
  <row Id="24668" PostHistoryTypeId="2" PostId="14937" RevisionGUID="4ce60fda-15a5-45c0-afbf-ec589a4fcf6a" CreationDate="2012-08-05T23:31:46.293" UserId="3994" Text="In iTunes you can open Preferences, then check and adjust the &quot;Crossfade Songs&quot; option. If you put your clip on repeat it will crossfade. As I was trying this out sometimes it would work and sometimes it wouldn't, so fiddle with the time fader if its not doing what it's supposed to. If you want precise control then you may want to look into a free digital audio workstation. I haven't used any but I've heard FL Studio (http://www.image-line.com/documents/flstudio.html) is pretty good. Something like Loop Editor (http://www.audiofile-engineering.com/loopeditor/) looks up your alley too but it'll cost you." ContentLicense="CC BY-SA 3.0" />
  <row Id="24669" PostHistoryTypeId="2" PostId="14938" RevisionGUID="ad066483-b736-46ed-bbe8-fa6e55d6a051" CreationDate="2012-08-06T02:03:57.157" UserId="4136" Text="I have a two Shure SM58 which I use for stage work. I also have just acquired a Tascam Dr40, primarily for the xlr inputs. I am getting a mono signal from the SM58s and no one from where I bought the unit and no one from Tascam, where I left an enquiry is able to tell me whether that means I have a faulty unit or a mono signal is what you get with the unit. I have been through the unit's recording menu and the mono signal comes when the unit is set to stereo, the two mics plugged in produce two separate mono signals too.&#xD;&#xA;&#xD;&#xA;Does anyone here have a unit and mics and knows what the answer is please?&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24670" PostHistoryTypeId="1" PostId="14938" RevisionGUID="ad066483-b736-46ed-bbe8-fa6e55d6a051" CreationDate="2012-08-06T02:03:57.157" UserId="4136" Text="Tascam DR-40 &amp; Shure SM58" ContentLicense="CC BY-SA 3.0" />
  <row Id="24671" PostHistoryTypeId="3" PostId="14938" RevisionGUID="ad066483-b736-46ed-bbe8-fa6e55d6a051" CreationDate="2012-08-06T02:03:57.157" UserId="4136" Text="&lt;portable-recorder&gt;&lt;tascam&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24672" PostHistoryTypeId="2" PostId="14939" RevisionGUID="560b2684-c6d7-414a-91f4-5b49da24f5fe" CreationDate="2012-08-06T02:13:53.287" UserId="4116" Text="the sm8 is a mono mic so:&#xD;&#xA;1 sm58 mic = mono signal --&gt; mono mic&#xD;&#xA;2 sm58 mics = 2 mono signals --&gt; you can set them up for stereo micing(xy,ab etc.) or record two different sources in mono without spatializing&#xD;&#xA;&#xD;&#xA;inputs + internal mic --&gt; combination of above + 1 stereo track combined of the tr40 internal mics channels = tascam 4 track recorder&#xD;&#xA;&#xD;&#xA;Or did i get the question wrong?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24674" PostHistoryTypeId="2" PostId="14941" RevisionGUID="33fc2103-ff24-47ae-ace9-cbd33e33782b" CreationDate="2012-08-06T04:06:40.427" UserId="3994" Text="A little bit of moisture will be essential for the shoe squeaks." ContentLicense="CC BY-SA 3.0" />
  <row Id="24675" PostHistoryTypeId="2" PostId="14942" RevisionGUID="18e1470e-b5da-4cfc-85dd-09ec8f0facbe" CreationDate="2012-08-06T04:10:20.963" UserId="3994" Text="DMG EQuality has been really good to work with for me. I like the analyzer, the linear phase mode, the MS functionality, the narrow q possibilities and deep notching. The filter variety is nice too." ContentLicense="CC BY-SA 3.0" />
  <row Id="24676" PostHistoryTypeId="2" PostId="14943" RevisionGUID="16a44658-7021-45c3-a723-830e28ecccb8" CreationDate="2012-08-06T05:08:08.360" UserId="4138" Text="Nice to meet you all i'am Shantos Ssekito a production/ location sound recordist /mixer and live in Kampala, Uganda, East Africa and am so damn passionate about what id do, i have worked on feature films, documentaries, talk shows, reality shows, short films and i double this up also as a crew fixer in most African countries plus Location scouting so you might say am jerk of all trades feel free to drop me an email at shantos2010@yahoo.com anytime for a quick professional chat" ContentLicense="CC BY-SA 3.0" />
  <row Id="24677" PostHistoryTypeId="16" PostId="14943" RevisionGUID="16a44658-7021-45c3-a723-830e28ecccb8" CreationDate="2012-08-06T05:08:08.360" UserId="-1" />
  <row Id="24678" PostHistoryTypeId="2" PostId="14944" RevisionGUID="66ec8714-063b-44e6-9eae-74ba662a2b6f" CreationDate="2012-08-06T05:23:18.687" UserId="1117" Text="My name is Jamie, from Melbourne Australia.&#xD;&#xA;mostly i am doing location sound stuff at the moment.&#xD;&#xA;but hoping to do more and more post sound stuff, in the second half of this year.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24679" PostHistoryTypeId="16" PostId="14944" RevisionGUID="66ec8714-063b-44e6-9eae-74ba662a2b6f" CreationDate="2012-08-06T05:23:18.687" UserId="-1" />
  <row Id="24680" PostHistoryTypeId="2" PostId="14945" RevisionGUID="31f3e4b1-72d3-4e88-96bc-6b54bb171d40" CreationDate="2012-08-06T06:33:58.490" UserId="3141" Text="I have had a lot of experience in tracking similar projects, often in less than ideal circumstances.  Digest a lot of Mark Durham's answer for guidance.  Below are some mistakes, ideas, and suggestions I wish I would have known beforehand.&#xD;&#xA;&#xD;&#xA; 1. Some people are intimidated by holding a recorder or microphone to their face.  Especially  if you are overzealous in adjusting proximity.  I once started to feel like Bones from Star Trek, using his handheld medical scanner to sweep over a person's head to determine what species they were or what malady they suffered.&#xD;&#xA; 2. Do some research on interview techniques online to get the best mix of conversation, interview, and information you seek.  You might think that the interviews will be a minute each but a relaxed person may suddenly reveal they are an exceptional storyteller and you want to go with it.  And even a more average interviewee may talk for much longer and you will edit the answer into a more concise and interesting minute or so.&#xD;&#xA; 3. Watch the coupling - the small tapping of a foot might not even register to you during the interview but the sound transfers through the floor, into the table, and into the housing of the microphone or portable recorder.  The plastic housing of my zoom h4 is infamous for this - the vibrations sound like a mortar attack when uploaded and played back in my studio.&#xD;&#xA; 4. Tracking outside with ambient/environmental background has some issues.  Any editing of interview will suddenly reveal fluctuations of the sounds.  So when you cut a digression; a stammer; the 43 instances of &quot;um,&quot; &quot;uh,&quot; &quot;you know,&quot; &quot;but,&quot; &quot;and uh,&quot; etc; or unrelated banter you find that the cicada who was nearly 2 blocks away was actually in a full-on rising volume and now the interview contains very noticeable jumps in cicada volume during what would seem to be a fluid conversation.  This is true for airplanes, cars, wind gusts, nearby conversations, etc.  Controlling your tracking environment solves a lot of issues now and later.  &#xD;&#xA; 5. NPR has their storycorps series [http://storycorps.org/][1] which is a good example to follow as the gear/tracking space is portable and needs to service almost exclusively people who have no knowledge of recording.  Try to replicate their approach.  Also, though the questions you may ask in an interview are likely different, look at how they phrase questions on their website to get people talking.&#xD;&#xA; 6. Using one portable recorder for both people in an interview session usually left me with one booming voice and the other voice sounding like someone trapped under 20 feet of rubble after the collapse of a building, telling me about their first car.  This is easy to replicate when you are new to interviews - I did it 3 or 4 times!  I found that external mics, even inexpensive ones, did a better job than the mics on the Zoom h4 - just as Mark said above.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;   &#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://storycorps.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24681" PostHistoryTypeId="2" PostId="14946" RevisionGUID="b0a9cb53-6b7b-4889-b7f0-838f0995faac" CreationDate="2012-08-06T06:45:17.753" UserId="4138" Text="Hi all i will be doing a shoot soon that will involve me recording dialogue of actors riding on a very speedy motor bike in the middle of a very busy street in my town and am wondering if i use the radio mics they will clip and i cannot use the boom mic... do you guys have an idea of how i can get decent sound in such a situation? thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="24682" PostHistoryTypeId="1" PostId="14946" RevisionGUID="b0a9cb53-6b7b-4889-b7f0-838f0995faac" CreationDate="2012-08-06T06:45:17.753" UserId="4138" Text="Recording decent sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="24683" PostHistoryTypeId="3" PostId="14946" RevisionGUID="b0a9cb53-6b7b-4889-b7f0-838f0995faac" CreationDate="2012-08-06T06:45:17.753" UserId="4138" Text="&lt;lavalier&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24684" PostHistoryTypeId="2" PostId="14947" RevisionGUID="1ac14b87-9e3b-4ba1-8079-cdfc5e0579e7" CreationDate="2012-08-06T06:55:56.390" UserDisplayName="user80" Text="Why will the radio mics clip?  If you do a test before the take, you should be able to set a level that won't clip.  If you are worried about the radio mics going out of range then you can always strap a mini recorder to the bike and hardwire a mic to the recorder." ContentLicense="CC BY-SA 3.0" />
  <row Id="24685" PostHistoryTypeId="2" PostId="14948" RevisionGUID="3858fe1e-ad17-4348-87ae-b573811e0ca3" CreationDate="2012-08-06T07:30:12.257" UserId="3196" Text="guys, i have a studio recording. i was planning to use 2 boom mics - both MKH 70 . but right now i am only getting one MKH 70..cant decide which other mic to use. i have MKH 60 and  KMR 82 as options.. could anyone plz help me suggest which one i can use. i have been told KMR 82 is more like MKH 70, though i have never used it. any suggestions would be welcome. &#xD;&#xA;&#xD;&#xA;**its bit of urgent.plz help.**" ContentLicense="CC BY-SA 3.0" />
  <row Id="24686" PostHistoryTypeId="1" PostId="14948" RevisionGUID="3858fe1e-ad17-4348-87ae-b573811e0ca3" CreationDate="2012-08-06T07:30:12.257" UserId="3196" Text="comparison between MKH 60 , MKH 70 and KMR 82" ContentLicense="CC BY-SA 3.0" />
  <row Id="24687" PostHistoryTypeId="3" PostId="14948" RevisionGUID="3858fe1e-ad17-4348-87ae-b573811e0ca3" CreationDate="2012-08-06T07:30:12.257" UserId="3196" Text="&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24688" PostHistoryTypeId="2" PostId="14949" RevisionGUID="942227f2-21f8-4db4-aecf-3a0c07aa6feb" CreationDate="2012-08-06T08:31:30.703" UserId="1216" Text="Hi, don't know the kmr 82, but own and use the mkh60. Should be a good match with the 70.&#xD;&#xA;But if it's a studio recording, why do you need a super long shotgun? Is it impossible to get close to the actors? I'd use a mkh50 in an indoors situation, unless it has enormous reverberations then I would use the 60.&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24689" PostHistoryTypeId="5" PostId="14943" RevisionGUID="c1355b46-7ced-46a1-a214-60061e6a1a05" CreationDate="2012-08-06T09:48:51.027" UserId="6432" Comment="spelling" Text="Nice to meet you all i'am Shantos Ssekito a production/ location sound recordist /mixer and live in Kampala, Uganda, East Africa and am so damn passionate about what id do, i have worked on feature films, documentaries, talk shows, reality shows, short films and i double this up also as a crew fixer in most African countries plus Location scouting so you might say am jack of all trades feel free to drop me an email at shantos2010@yahoo.com anytime for a quick professional chat" ContentLicense="CC BY-SA 3.0" />
  <row Id="24690" PostHistoryTypeId="2" PostId="14950" RevisionGUID="59d5c5e4-b4cf-468a-9231-5e1db245d6ba" CreationDate="2012-08-06T10:28:13.070" UserId="930" Text="Hi, I'm Fred and I'm an aspiring Sound Designer.&#xD;&#xA;&#xD;&#xA;I studied Sound Technology at LIPA in Liverpool, UK, before moving down to London and running at Hackenbacker for a year. I'm now running at Envy and I also run a royalty-free sample library called Arrowhead Audio ([http://www.arrowheadaudiosfx.com][1]).&#xD;&#xA;&#xD;&#xA;I love SSD and visit regularly, mostly reading it rather than posting and this thread is a fantastic idea. It's nice to read about what all you guys are doing!&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.arrowheadaudiosfx.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="24691" PostHistoryTypeId="16" PostId="14950" RevisionGUID="59d5c5e4-b4cf-468a-9231-5e1db245d6ba" CreationDate="2012-08-06T10:28:13.070" UserId="-1" />
  <row Id="24692" PostHistoryTypeId="5" PostId="14950" RevisionGUID="7d7ebfc9-45b8-4dfa-bc20-d615d2af3467" CreationDate="2012-08-06T10:46:18.230" UserId="930" Comment="deleted 5 characters in body" Text="Hi, I'm Fred and I'm an aspiring Sound Designer.&#xD;&#xA;&#xD;&#xA;I studied Sound Technology at LIPA in Liverpool, UK, before moving down to London and running at Hackenbacker for a year. I'm now running at Envy and I run a royalty-free sample library called Arrowhead Audio ([http://www.arrowheadaudiosfx.com][1]).&#xD;&#xA;&#xD;&#xA;I love SSD and visit regularly, mostly reading it rather than posting and this thread is a fantastic idea. It's nice to read about what all you guys are doing!&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.arrowheadaudiosfx.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="24693" PostHistoryTypeId="2" PostId="14951" RevisionGUID="e096145d-547f-44d7-a4b2-8edeccbcdaa0" CreationDate="2012-08-06T10:47:56.937" UserId="999" Text="+1 Iains comment.&#xD;&#xA;I'd also say though if they are wearing helmets each(and you cannot see the actors mouths moving)-surely you can just wildtrack/ADR the lines afterwards? If it is not a close up shot either you'll get away with wildtrack I expect. &#xD;&#xA;&#xD;&#xA;Otherwise-turn down the sensitivity of your radio mics, consider planting mics if you want the pass by of the motorbike and cross your fingers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24694" PostHistoryTypeId="2" PostId="14952" RevisionGUID="3830dfa6-e43c-46fa-9c8b-39092c81d8e5" CreationDate="2012-08-06T11:00:58.797" UserId="999" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;I am looking through the delivery requirements of a project that's a feature film with a 5.1 mix.&#xD;&#xA;&#xD;&#xA;In the past I have always sent stems as separate wavs and any OMF's/Sessions to boot.&#xD;&#xA;&#xD;&#xA;The client would want the m&amp;e 5.1 mix as a DA88 tape.&#xD;&#xA;&#xD;&#xA;I know it is/used to be common practice to send tapes from a DA88 to clients for archival/M&amp;E purposes, so my question is:&#xD;&#xA;&#xD;&#xA;Is it worth investing now in a DA88, especially still for 5.1 bounces? How will this integrate in my ProTools system with a Pro Fire 2626 (I presume it can utilise the Tascam connector?)&#xD;&#xA;&#xD;&#xA;Theres a few here in the UK for £150 so initially it wouldn't be a huge investment-like this one-&#xD;&#xA;&#xD;&#xA;http://www.ebay.co.uk/itm/Tascam-DA88-8-track-digital-recorder-Manual-Hi8-Tape-Cleaning-Tape-/230833039494?_trksid=p5197.m1997&amp;_trkparms=aid%3D222001%26algo%3DSIC.CURRENT%26ao%3D1%26asc%3D16%26meid%3D1133045944166244035%26pid%3D100016%26prg%3D1006%26rk%3D2%26&#xD;&#xA;&#xD;&#xA;Cheers for any help!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24695" PostHistoryTypeId="1" PostId="14952" RevisionGUID="3830dfa6-e43c-46fa-9c8b-39092c81d8e5" CreationDate="2012-08-06T11:00:58.797" UserId="999" Text="Sending over stems from a DA88-is it worth investing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24696" PostHistoryTypeId="3" PostId="14952" RevisionGUID="3830dfa6-e43c-46fa-9c8b-39092c81d8e5" CreationDate="2012-08-06T11:00:58.797" UserId="999" Text="&lt;post-production&gt;&lt;deliverable&gt;&lt;tape&gt;&lt;tascam&gt;&lt;timecode&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24697" PostHistoryTypeId="5" PostId="14933" RevisionGUID="aae90ad5-b2d6-4492-9175-b9a88babd73a" CreationDate="2012-08-06T11:30:43.757" UserId="4134" Comment="added 10 characters in body" Text="Hi Mark,&#xD;&#xA;&#xD;&#xA;I use AudioTechnica in-ear ATH-ANC23 with noise-cancelling during my train travels and it works pretty well. I know you are not searching for in-ear monitors but there are [some headphones which use the same technology][1]. But these headphones are more intended for listen music, so I don't know if hifi headphone can do the job for you.&#xD;&#xA;&#xD;&#xA;Another thing to know : there are à low level noise when you switch ON the noise-cancellation. There must be enough volume to cover the noise so this can tiring if you have a long journey.&#xD;&#xA;&#xD;&#xA;Noise-cancelling works very well with train engine and a bit less well with a punctual source but enough to ignore it.&#xD;&#xA;I hope it will be able to help you in your research.&#xD;&#xA;&#xD;&#xA;EDIT : Ho I forgot something important : I don't know if it's the same for headphones but the in-ear are sensitive to cellphone interference when noise-cancelling is ON.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audio-technica.com/cgi-bin/product_search/headphones/headphones_cat.pl?select_multiple_3=QuietPoint%20Noise%20Cancelling" ContentLicense="CC BY-SA 3.0" />
  <row Id="24698" PostHistoryTypeId="2" PostId="14953" RevisionGUID="7c9593ac-2398-417d-b6c4-d2cc37c2a542" CreationDate="2012-08-06T13:15:57.123" UserId="348" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;I am researching headphone amplifiers at the moment and have found some suppliers but since we are an educational facility, I am looking for a 4 channel out headphone amp that is quite rugged and will hopefully stand the impact of numerous students using it. &#xD;&#xA;&#xD;&#xA;I am not looking at the cheap stuff but reasonable quality amps so that musicuans and actors can listen to feeds and playback. &#xD;&#xA;&#xD;&#xA;Any suggestions based on experience?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="24699" PostHistoryTypeId="1" PostId="14953" RevisionGUID="7c9593ac-2398-417d-b6c4-d2cc37c2a542" CreationDate="2012-08-06T13:15:57.123" UserId="348" Text="Headphone amplifiers for studio" ContentLicense="CC BY-SA 3.0" />
  <row Id="24700" PostHistoryTypeId="3" PostId="14953" RevisionGUID="7c9593ac-2398-417d-b6c4-d2cc37c2a542" CreationDate="2012-08-06T13:15:57.123" UserId="348" Text="&lt;headphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24701" PostHistoryTypeId="2" PostId="14954" RevisionGUID="0b7ad71e-e22c-430c-886f-813206442cc2" CreationDate="2012-08-06T13:58:32.843" UserId="4100" Text="@Andrew its nice to know that im not the only one who run away from his country very young, lived in few countries and has an addiction to max/msp, i know the feeling too well ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24702" PostHistoryTypeId="16" PostId="14954" RevisionGUID="0b7ad71e-e22c-430c-886f-813206442cc2" CreationDate="2012-08-06T13:58:32.843" UserId="-1" />
  <row Id="24703" PostHistoryTypeId="2" PostId="14955" RevisionGUID="6788e3ee-0b39-493f-97bb-e6b38cb9b0b1" CreationDate="2012-08-06T14:20:53.603" UserId="4100" Text="i studied sound design in UK, but i always consider my self a student. love max/msp and love to use it even in my current not so creative job. Lived in few countries and now im japan working as audio editor and engineer for a podcast company." ContentLicense="CC BY-SA 3.0" />
  <row Id="24704" PostHistoryTypeId="16" PostId="14955" RevisionGUID="6788e3ee-0b39-493f-97bb-e6b38cb9b0b1" CreationDate="2012-08-06T14:20:53.603" UserId="-1" />
  <row Id="24705" PostHistoryTypeId="2" PostId="14956" RevisionGUID="699eb32d-8545-4449-83af-b837ee615ce4" CreationDate="2012-08-06T14:34:14.367" UserId="4100" Text="Hi softdrink, i dont know if it can help but i made a small application for my self (and a masseur friend ) using max/msp for the same reason you described. you can load .wav or .aiff choose the fading length, press play and the app plays all the sounds you loaded,fade them automatically (you can also record it - and has an an extra beat freq generator if you like) it is only for osx though. i dont know how i can get in touch with you from here though, i m new to the site, but i'll be happy to share it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24706" PostHistoryTypeId="2" PostId="14957" RevisionGUID="17ee1a99-498a-4742-a262-4379e92c386c" CreationDate="2012-08-06T14:43:55.240" UserId="842" Text="I don't know any amps with four jacks, but myself I'm very fond of Violectric!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24707" PostHistoryTypeId="2" PostId="14958" RevisionGUID="17dc3f74-8528-48f1-a430-8ab43cc19ca4" CreationDate="2012-08-06T15:57:40.873" UserId="6454" Text="Hello All,&#xD;&#xA;&#xD;&#xA;I have been a follower of this forum for a little over a year now, but only recently began participating it more.  It is a great resource and thanks for creating this additional directory.  &#xD;&#xA;&#xD;&#xA;I am a sound designer, re-recording mix engineer, ADR/Narration/VO engineer, sound editor, and part-time composer working in NYC.  I went to Berklee and have been in NYC for the last 5 years.  &#xD;&#xA;&#xD;&#xA;As we all know, working can suck and there days when I just don't want to do it, but then I remember that I just get to mess around with audio all day. And even though (at least in film and visual media) it is often an over-looked and under-appreciated aspect to the finished product, I have begun to notice that filmmakers and producers understand its value.&#xD;&#xA;&#xD;&#xA;Thanks to a great community!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24708" PostHistoryTypeId="16" PostId="14958" RevisionGUID="17dc3f74-8528-48f1-a430-8ab43cc19ca4" CreationDate="2012-08-06T15:57:40.873" UserId="-1" />
  <row Id="24709" PostHistoryTypeId="2" PostId="14959" RevisionGUID="201b22d3-b424-4cfa-8a12-c5472ac30a53" CreationDate="2012-08-06T16:01:05.207" UserId="3179" Text="http://artproaudio.com/artcessories/headphone_amps/product/headamp_4/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24710" PostHistoryTypeId="5" PostId="14959" RevisionGUID="b2173358-9c45-41e8-825d-86a13cc6f675" CreationDate="2012-08-06T16:19:32.030" UserId="3179" Comment="added 80 characters in body" Text="http://artproaudio.com/artcessories/headphone_amps/product/headamp_4/&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/ART-HeadAmp4-Channel-Headphone-Amplifier/dp/B000M0TN6U" ContentLicense="CC BY-SA 3.0" />
  <row Id="24711" PostHistoryTypeId="2" PostId="14960" RevisionGUID="22f7755b-f812-4601-8e74-02e333ddffbc" CreationDate="2012-08-06T16:46:08.077" UserId="4116" Text="I have got the Presonus HP4 and I find it splendid." ContentLicense="CC BY-SA 3.0" />
  <row Id="24712" PostHistoryTypeId="2" PostId="14961" RevisionGUID="3be373dd-6d2e-4971-98ca-5b642575538f" CreationDate="2012-08-06T17:05:47.327" UserId="432" Text="Is it possible they've just never updated their delivery docs? I'd give them a ring and confirm that that's the only format they'll accept, because it seems odd to me.&#xD;&#xA;&#xD;&#xA;In general, I'd avoid investing in any equipment that's reached the end of it's life cycle. DA-88 won't be making a comeback." ContentLicense="CC BY-SA 3.0" />
  <row Id="24713" PostHistoryTypeId="2" PostId="14962" RevisionGUID="3125eb5c-7094-40ee-bb25-770642ffee10" CreationDate="2012-08-06T18:48:41.013" UserId="4140" Text="Hi Tom. &#xD;&#xA;&#xD;&#xA;I have been facing exactly the same doubts recently since I got RX2 and am using it in several &quot;interviewing documentaries&quot; and other sound for video jobs. I am still starting to learn RX2, and for sure we shall exchange our experiences here, but in the meantime, the only thing I've found regarding this subject is the &quot;manual&quot; released at iZotope's website. Probably you have it already but anyway it's here.&#xD;&#xA;http://izotope.fileburst.com/guides/iZotope_RX_Restoration_Guide_v_1.pdf&#xD;&#xA;&#xD;&#xA;All the best for you, Tom." ContentLicense="CC BY-SA 3.0" />
  <row Id="24714" PostHistoryTypeId="2" PostId="14963" RevisionGUID="7d9ff938-aa7d-4552-9a18-068cfe4ad082" CreationDate="2012-08-06T19:56:24.803" UserId="6454" Text="Hi Tom,&#xD;&#xA;&#xD;&#xA;RX is an extremely powerful tool especially keeping in mind its relative cost to other noise reducing plug-ins/software out there.  I use RX2 almost daily and it is generally a tool used for very specific needs, it is rarely used broadly across all tracks.  Generally, once a film is finished, an exported OMF/AAF along with ALL production audio (included wild recordings, alternate takes, room tone, etc) is given to the Dialogue Editor.  A large part of the clean up that happens in a movie is from the meticulous and time consuming job of the Dial Editor.  By using filler room-tone, alternate/wild takes, etc. you can clean up quite a bit of the &quot;dirty&quot; production audio.  After the editor has tried everything to fix it, you then look into either post-processing (i.e. RX2 or Cedar One (if you have the $)) or ADR.  Cedar One (or WAVES DNS) is used primarily as noise suppression. Its uses a very complex multi-band compression algorithm which is fully automatable and adjustable.  It is very different that RX2's noise suppression which uses a sampling of the noise signal and inverts that into the original audio to cancel out the noise in the signal (hence the artifacts you get when you &quot;over&quot; apply this technique).  The other aspects of RX2, i.e spectral repair, EQ, etc., are used as &quot;fine&quot; tools for stubborn sounds, i.e mic pops, cloth movements, background sounds, etc.  It is quite helpful in removing small sounds, but again it is a fine tool like an Exacto knife.  It is generally a combination of these tools that help to clean up production audio, but first and foremost, all attempts should be made to clean them up in the sound edit before jumping into post-processing.&#xD;&#xA;&#xD;&#xA;Finally, when I use RX2, I like to use it in standalone mode.  I have many issues using in Pro Tools either as AudioSuite or instantiated.  I export the clip in question into a folder called CLEAN, open in RX2, do whatever processing is required, export as the exact same name but with CLEAN added to the end of the filename, import back into the session and replace the old clip.  Others might have better ways, but this has always worked for me and I have a running tally of clips that have been processed. &#xD;&#xA;&#xD;&#xA;Not sure if this helped, but thought I would chime in. Good luck&#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;Ryan   " ContentLicense="CC BY-SA 3.0" />
  <row Id="24716" PostHistoryTypeId="2" PostId="14965" RevisionGUID="edb0d808-df1d-4195-9206-211760f53980" CreationDate="2012-08-06T21:03:15.973" UserId="432" Text="I will second Ryan in his assertion that post-processing is saved for later. Anything you can fix with an edit is better served with that edit than with noise reduction. It doesn't matter how good the algorithms and processors are, noise-reduction will affect the parts you want to keep as well. Experience helps you figure out when you're reaching that point of diminishing returns. It also helps to know what is going ot be happening fx/music-wise in a given scene, because there may be opportunities for freqeuncy masking that make noise reduction a superfluous endeavor. That all being said I'll give you the run-down of how I use RX2. I haven't used Soundtrack Pro, but there should be some corollaries to how I use things in Pro Tools.&#xD;&#xA;&#xD;&#xA;After my edits are done, I duplicate the playlist on every track that needs noise reduction. I try to keep clips grouped together by their source. So, a particular character's dialog, shot on the same day, in one location, with the same mic will be on the same track...or at least a group of tracks next to each other. My goal is to do as little processing as possible, so I start with the most egregious offenders. This is usually hum and steady state noise. I'll start with Denoiser (audiosuite) in Pro Tools to get rid of noise beds, setting the plug-in to process by clip, rather than as an entire selection. Denoiser will frequently take care of a lot of the hum as well (if there is any), so that's one less process. I'll work my way through the audio files, again...only the ones that need it, and process them directly on the timeline. When the files are processed, new clips are created in their place on my newer &quot;duplicate&quot; playlist. If I don't like something that's happened, it's easy to temporarily switch playlists and copy the original file back into my working playlist.&#xD;&#xA;&#xD;&#xA;If I find that there is still some steady state noise that needs to be dealt with, I'll touch it again. You're better off using 2 or three passes with mild settings than 1 that's a massive hammer. I do all of this in Pro Tools, because there's not a lot of advantage to doing these &quot;gross&quot; adjustments in stand-alone. Once I'm done with this, I'll make a list of clips that need additional fine tuning to deal with momentary noise issues (mouth noise, car horns, clunky feet, etc.). If any of those files haven't received any processing so far, I'll duplicate the file via &quot;Consolidate Selection.&quot; That way, I preserve the original file in case I need to go back to the drawing board. Once I've got my list and am confident that all of the files are safely duplicated (either through the Audio suite processing, or bit-for-bit copying), I'll close out of Pro Tools.&#xD;&#xA;&#xD;&#xA;I'll then load up RX2 as stand alone and navigate to the &quot;Audio Files&quot; folder for my project. Using my list, I'll do any necessary spectral repairs directly to the files in that folder. Because I am working on the files that are in my timeline, and haven't changed any file names, all of the retouched clips will be perfectly in place when I re-open Pro Tools. **Note that I haven't done any processing to my original audio files, everything on my list should be those previously mentioned duplicates.**&#xD;&#xA;&#xD;&#xA;After that, I'm usually ready to start mixing. Your final mix is what would go back to your visual edit timeline." ContentLicense="CC BY-SA 3.0" />
  <row Id="24717" PostHistoryTypeId="2" PostId="14966" RevisionGUID="b85c6f72-54f6-4b95-991b-5dbeef8f29a5" CreationDate="2012-08-06T23:11:48.553" UserId="4116" Text="WHITE COLLAR is quite bad too" ContentLicense="CC BY-SA 3.0" />
  <row Id="24718" PostHistoryTypeId="2" PostId="14967" RevisionGUID="87996eec-ca93-4a82-b820-4b9f3c488286" CreationDate="2012-08-07T01:54:26.110" UserId="3141" Text="Not sure the library it is from but it sure sounds like a [waterphone][1] or water instrument, possibly by Richard Waters.  However, I am listening on my laptop speakers right now.  Check the link&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waterphone.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24719" PostHistoryTypeId="2" PostId="14968" RevisionGUID="0fdf2a57-14bb-4443-8e43-287de9597b1d" CreationDate="2012-08-07T06:14:23.387" UserId="4141" Text="One trick I have used is to have a short segment of the ambient recording laid back-to-back with itself, but reverse the second clip. When I tried it, it didn't sound repetitive at all - it really depends on the context though. In my case, it was a recording of crickets! " ContentLicense="CC BY-SA 3.0" />
  <row Id="24720" PostHistoryTypeId="2" PostId="14969" RevisionGUID="d257f6e0-19ca-4ffe-8a07-08cf29ec02fc" CreationDate="2012-08-07T10:03:17.073" UserId="3975" Text="Thats cool that you linked them all up, definitely sounds like the same sound.  Not sure what library it comes from but you could make that sound yourself quite easily with a metal bin and scraping something sharp over it slowly giving a metal groan sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="24721" PostHistoryTypeId="2" PostId="14970" RevisionGUID="b34f3dd9-d425-430a-880e-22cf5fda3b2a" CreationDate="2012-08-07T10:53:53.957" UserId="3568" Text="I have the original Aphex headpod in my studio for several years. It is in a metal chassis and can really take a beating. It has 4 outputs the sound quality is good. Extremely happy with it, and will probably buy these for life. &#xD;&#xA;&#xD;&#xA;Here is a link for the new model(which is assume is as good as the one I have):&#xD;&#xA;[http://www.aphex.com/aphex-products/headpod-4-2/][1]&#xD;&#xA;&#xD;&#xA;Aphex supposedly made it because they were not happy about anything on the market at the time:&#xD;&#xA;[http://www.soundonsound.com/sos/jun08/articles/aphexheadpod.htm][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.aphex.com/aphex-products/headpod-4-2/&#xD;&#xA;  [2]: http://www.soundonsound.com/sos/jun08/articles/aphexheadpod.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="24722" PostHistoryTypeId="2" PostId="14971" RevisionGUID="81a8a964-b089-468e-aa6c-924db5fb1b07" CreationDate="2012-08-07T11:45:54.723" UserDisplayName="user80" Text="We use the Rane HC6s which works really well and is nice and clean.&#xD;&#xA;&#xD;&#xA;You can configure the amp so that it is 1 in 6 out, 6 in 6 out, or any other combination.&#xD;&#xA;&#xD;&#xA;http://www.rane.com/hc6s.html&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24723" PostHistoryTypeId="2" PostId="14972" RevisionGUID="a3d41456-e996-4d94-9d2f-85815ed7bd82" CreationDate="2012-08-07T11:51:04.197" UserId="4142" Text="Can anyone give me advice on how I might speed up my work flow on a similar project.&#xD;&#xA;&#xD;&#xA;I had 400 voice prompts to record for a telephone system.&#xD;&#xA;They had to be supplied with individual file names at 32,000 sample rate/mono.&#xD;&#xA;&#xD;&#xA;I recorded the voiceover in a two to three hour session. He does 2- 3 takes of each prompt.&#xD;&#xA;I generally try get the best take as the last one.&#xD;&#xA;He voices the number along with the prompt.&#xD;&#xA;&#xD;&#xA;When I edit I start at prompt 400 and work backwards to prompt 1.&#xD;&#xA;I generally just have to top and tail the good take. I isolate the good take and drag it to the track 2 underneath.&#xD;&#xA;I use some compression and limiting on this track.&#xD;&#xA;&#xD;&#xA;When I had all 400 prompts isolated I started to bounce to disk each one.&#xD;&#xA;They all had quite complicated file names that I could copy from excel and paste them into the bounce to disk file box. I also had to change the sample rate to 32000 on bounce to disk.&#xD;&#xA;It is very time consuming and I wondered is there any obvious speed up to my work flow.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24724" PostHistoryTypeId="1" PostId="14972" RevisionGUID="a3d41456-e996-4d94-9d2f-85815ed7bd82" CreationDate="2012-08-07T11:51:04.197" UserId="4142" Text="speed up work flow" ContentLicense="CC BY-SA 3.0" />
  <row Id="24725" PostHistoryTypeId="3" PostId="14972" RevisionGUID="a3d41456-e996-4d94-9d2f-85815ed7bd82" CreationDate="2012-08-07T11:51:04.197" UserId="4142" Text="&lt;techniques&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24726" PostHistoryTypeId="2" PostId="14973" RevisionGUID="8c077827-d067-4f33-93ea-013d78f92f1c" CreationDate="2012-08-07T13:05:00.363" UserId="221" Text="Once you have the track with the edited versions, use AudioSuite processing to apply the processing, then use Export Selected As Files to export the files in one go.  You will need to do some file renaming because AudioSuite will append the file names but you could do that with  a renaming utility at the end. Export Selected as Files will also cover the sample rate conversion too." ContentLicense="CC BY-SA 3.0" />
  <row Id="24727" PostHistoryTypeId="2" PostId="14974" RevisionGUID="db22583f-bc7f-4133-b29d-440c74a284ee" CreationDate="2012-08-07T13:18:36.190" UserId="221" Text="I know of a number of companies which still have DA88 format on their delivery specs but with some when you look at the small print it is possible to deliver files instead. So I would agree with Shaun go back and check. &#xD;&#xA;&#xD;&#xA;Although it is possible to buy cheap secondhand DA88s, if they haven't been properly maintained there is a good chance that tapes recorded on them won't play back properly on other machines. So although the investment may be small if the client can't play the tapes you deliver the cost to your reputation is going to be much higher." ContentLicense="CC BY-SA 3.0" />
  <row Id="24728" PostHistoryTypeId="2" PostId="14975" RevisionGUID="880e277d-ada7-411e-99c6-b92f4d715a5f" CreationDate="2012-08-07T13:20:03.680" UserId="221" Text="I use Sony MDR7509 headphones, very clear, good isolation, great quality sound. Love them." ContentLicense="CC BY-SA 3.0" />
  <row Id="24729" PostHistoryTypeId="2" PostId="14976" RevisionGUID="6943f9e0-7bd9-48c0-9c10-f5a43c90936c" CreationDate="2012-08-07T15:28:43.277" UserId="1035" Text="I prefer to use RX2 in standalone, but often at work I need to just use it as an audio suite to save time. I have a window configuration set up to pull up various RX2 audio suite plugs." ContentLicense="CC BY-SA 3.0" />
  <row Id="24730" PostHistoryTypeId="2" PostId="14977" RevisionGUID="b28e8a49-ea97-41c0-87ee-42bebfa29aa6" CreationDate="2012-08-07T15:49:19.947" UserId="3316" Text="**Furnei that sounds like it could be useful for the community : )**&#xD;&#xA;&#xD;&#xA;As far as looping goes, what I generally do is &#xD;&#xA;-double the audio region after itself&#xD;&#xA;-equal power crossfade between the 2&#xD;&#xA;-consolidate them in to one (to render the fade)&#xD;&#xA;-cut them back at into 2 at their equal parts&#xD;&#xA;-copy the first section of the second region to the begining of the first&#xD;&#xA;-render the entire first region&#xD;&#xA;-LOOPS&#xD;&#xA;&#xD;&#xA;That sounds so much more complicated typed than it is in practise.  But has always worked for ambiences for me : )&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;C" ContentLicense="CC BY-SA 3.0" />
  <row Id="24731" PostHistoryTypeId="2" PostId="14978" RevisionGUID="b82b82ae-907b-4347-a21c-dd3d06c6e360" CreationDate="2012-08-07T16:59:39.513" UserId="418" Text="Loads of great stuff available, from sonic toys to controllers. Stuff I use quite a bit:&#xD;&#xA;&#xD;&#xA;- Alchemy mobile (controller and synth/sampler)&#xD;&#xA;&#xD;&#xA;- Lemur (controller)&#xD;&#xA;&#xD;&#xA;- Konkreet Performer (controller)&#xD;&#xA;&#xD;&#xA;- CSGrain (granular sampler instrument)&#xD;&#xA;&#xD;&#xA;- Tabletop (complete modular &quot;studio&quot;, ala Reason)&#xD;&#xA;&#xD;&#xA;- Beatmaker 2 (another studio type thing)&#xD;&#xA;&#xD;&#xA;- Mixtikl (generative music environment)&#xD;&#xA;&#xD;&#xA;- Brian Eno's generative apps (Bloom, Trope, Air)&#xD;&#xA;&#xD;&#xA;- Yamaha Tenori-on (sequenced synth thing)&#xD;&#xA;&#xD;&#xA;- Donut (from the makers of Space and Curtis)&#xD;&#xA;&#xD;&#xA;- RJDJ (realtime audio processing and all sorts of weirdness)&#xD;&#xA;&#xD;&#xA;- Moog Filtatron (only have this on my iPhone though)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I probably have some others, but those are my biggies." ContentLicense="CC BY-SA 3.0" />
  <row Id="24732" PostHistoryTypeId="2" PostId="14979" RevisionGUID="a3b8b773-a9b5-4121-a42b-a98b45539db0" CreationDate="2012-08-07T18:25:35.830" UserId="234" Text="What Mike said... although when we do these I don't AudioSuite the processing, just cause I like to be able to tweak in realtime. What I do is bus the tracks to a new track, and re-record to that track. You can rename the track to the filename and viola! When it's done, select the file and do the Export Selected as. Also if you're on Mac, then do check out A Better Finder Rename (Now just Better Rename) - will save much grief -getting rid of those pesky _01's and such including being able to rename multiple files from a file with a list of filenames. At $20.00 it's a lifesaver." ContentLicense="CC BY-SA 3.0" />
  <row Id="24733" PostHistoryTypeId="2" PostId="14980" RevisionGUID="c75d9d37-ca40-4f0b-aa20-1eae29b3495e" CreationDate="2012-08-07T19:43:43.497" UserId="194" Text="I think bounce to disk is your biggest problem - you should be routing through a print track.  I'd also strongly advise the purchase of quickeys.&#xD;&#xA;&#xD;&#xA;If I were you, I'd do the edit and output as follows:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; - start at the beginning of the session, not the end.&#xD;&#xA; - instead of bouncing to disk, route the track through an aux to a print track.  Put all of your processing on the edit track.&#xD;&#xA; - highlight the good take.&#xD;&#xA; - engage a quickey macro that does the following: command + T, then f12&#xD;&#xA; - listen and read along as the file prints.&#xD;&#xA; - create a quickey that jumps to your spreadsheet, copies a cell, advances to the next cell, jumps back to protools, does a shift + command + R to open a rename dialogue, pauses, then command + paste, pause, enter, command + s  (looks complex, but I've done it countless times)&#xD;&#xA; - move on to highlight the next good take and repeat.&#xD;&#xA;&#xD;&#xA;once you're through the whole project, highlight the printed track and export in your desired format.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24734" PostHistoryTypeId="2" PostId="14981" RevisionGUID="0a70c6e4-29de-49ae-a005-ac36b0424c2d" CreationDate="2012-08-07T19:54:13.610" UserId="66" Text="What are you recording - dialogue? Like Arnoud mentioned above, the mkh-70 is a super long shotgun. I usually only use it only in super noisy exteriors, with a well seasoned boom operator who knows how and where to point the mic. Otherwise if you're even slightly off-axis your sound will be heavily colored, not in the way you want.&#xD;&#xA;&#xD;&#xA;You're not needing to so a stereo recording, are you?&#xD;&#xA;&#xD;&#xA;The MKH 60 is a fantastic mic, and ditto, will match the 70 well if those are your only options. Not familiar kmr82 either." ContentLicense="CC BY-SA 3.0" />
  <row Id="24735" PostHistoryTypeId="2" PostId="14982" RevisionGUID="dad26d4c-9c33-4ce5-8c72-2a04c98b3904" CreationDate="2012-08-07T20:28:11.480" UserId="3179" Text="How about using something like this for recording: http://www.audiofile-engineering.com/voxover/&#xD;&#xA;&#xD;&#xA;Additionally, using a DAW that has real-time and batch bounce (and optionally also batch processing). I.e. not Pro Tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="24736" PostHistoryTypeId="2" PostId="14983" RevisionGUID="4732cebb-1179-43d2-b49d-0beb6257c02b" CreationDate="2012-08-07T20:42:33.230" UserId="4143" Text="I need help programming a Audio Unit that wraps a 3rd party audio unit.&#xD;&#xA;&#xD;&#xA;I am trying to develop an Audio Unit instrument using Xcode. I want my AU to load an instance of a 3rd party Audio Unit called Massive by Native Instruments. I want all MIDI notes passed to my AU to go into the Massive AU and the output of that is the output of my AU.&#xD;&#xA;&#xD;&#xA;I just want my AU to programmatically control some variables of the 3rd party one and pass through all sound/MIDI to it too.&#xD;&#xA;&#xD;&#xA;I can't seem to find any examples of how to do this. Also, I am a newbie with Core Audio and the documentation is very hard to understand. I don't really know what I'm doing with Core Audio...&#xD;&#xA;&#xD;&#xA;Can someone please tell me how to do this?&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24737" PostHistoryTypeId="1" PostId="14983" RevisionGUID="4732cebb-1179-43d2-b49d-0beb6257c02b" CreationDate="2012-08-07T20:42:33.230" UserId="4143" Text="Programming an Audio Unit that hosts another Audio Unit?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24738" PostHistoryTypeId="3" PostId="14983" RevisionGUID="4732cebb-1179-43d2-b49d-0beb6257c02b" CreationDate="2012-08-07T20:42:33.230" UserId="4143" Text="&lt;sound-libraries&gt;&lt;plug-ins&gt;&lt;mac&gt;&lt;plugin&gt;&lt;sound-devices&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24739" PostHistoryTypeId="2" PostId="14984" RevisionGUID="aa75f2ee-713e-48f5-9ab4-131ca83a2f50" CreationDate="2012-08-07T23:44:35.413" UserId="29" Text="If you are familiar with the industry-standard Sony MDR7506, in terms of sound, then you should look into the [Remote Audio HN-7506 High Noise Environment Headset Monitor.][1] These are commonly used in recording loud sources in the field, and they may color the sound less than actual noise-canceling headphones (which I can never bring myself to use).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.remoteaudio.com/high_noise_headset/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24740" PostHistoryTypeId="2" PostId="14985" RevisionGUID="cb4bbabd-1279-45f3-b7ff-a7e7230a4375" CreationDate="2012-08-08T00:52:30.010" UserDisplayName="user49" Text="I'm sure there are a couple of apps for this - one that is only recently no longer available is Redmatica KeyMap Pro, which is intended for editing/mapping sounds for Kontakt/EXS24 etc but it has a bunch of different algorithms for seamless looping... They got bought out by Apple recently &amp; their site is gone, but via wayback machine: &quot;Loop the unloopable with Escher, Penrose, Moebius DSP Machines and AutoLoop&quot;&#xD;&#xA;&#xD;&#xA;http://web.archive.org/web/20101110093439/http://www.redmatica.com/Redmatica/Keymap_Pro.html&#xD;&#xA;&#xD;&#xA;And this is the other one - Infinity is an app thats been around for years:&#xD;&#xA;http://www.antarestech.com/products/infinity.shtml&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24741" PostHistoryTypeId="2" PostId="14986" RevisionGUID="00a4fe05-7dca-472b-a86e-13aead44d339" CreationDate="2012-08-08T02:12:55.587" UserId="3179" Text="Spend some more time reading the documentation. Discuss in the Apple Developer forums.&#xD;&#xA;&#xD;&#xA;Forget your project and use something that's already been made:&#xD;&#xA;http://www.plogue.com/products/bidule/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24742" PostHistoryTypeId="2" PostId="14987" RevisionGUID="584973e9-a322-4841-97a5-ca363df3cb6a" CreationDate="2012-08-08T06:13:34.763" UserId="348" Text="The KMR 82 is similar to the MKH 70 in polar axis and sensitivity. Great mic for exterior locations for blocking out noise. If you are looking at recording dialogue in studio then the mkh 50 with the 60 is a good match. But that depends on the room. If you are doing ADR, maybe try to use the mic that was used on set to record in studio to match as much of the quality from the quide track. I have seen the KMR also used in in live recording situations on stage to capture instruments without the room being an issue. &#xD;&#xA;&#xD;&#xA;Good luck " ContentLicense="CC BY-SA 3.0" />
  <row Id="24743" PostHistoryTypeId="2" PostId="14988" RevisionGUID="a67b779e-73a0-4947-bd98-6c9f53e82eb1" CreationDate="2012-08-08T07:01:22.990" UserId="1185" Text="I did this a couple of years ago and published the results at last years International Computer Music Conference ([http://eprints.bournemouth.ac.uk/18249/1/ICMC2011%2DPaper_Final_Camera_Ready_ver2.pdf][1]).  It is fairly tricky to do and I could not find any example code.  I found the hardest aspect was managing the UI.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://eprints.bournemouth.ac.uk/18249/1/ICMC2011%2DPaper_Final_Camera_Ready_ver2.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="24744" PostHistoryTypeId="2" PostId="14989" RevisionGUID="54e3080f-6576-438a-bcbb-b3aca219244b" CreationDate="2012-08-08T09:03:22.473" UserId="6519" Text="How many percent can ask for a game or film sound design ?&#xD;&#xA;Alternatively, an hourly rate or sound/piece.&#xD;&#xA;What do you think?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24745" PostHistoryTypeId="1" PostId="14989" RevisionGUID="54e3080f-6576-438a-bcbb-b3aca219244b" CreationDate="2012-08-08T09:03:22.473" UserId="6519" Text="Sound design comission or fixed price." ContentLicense="CC BY-SA 3.0" />
  <row Id="24746" PostHistoryTypeId="3" PostId="14989" RevisionGUID="54e3080f-6576-438a-bcbb-b3aca219244b" CreationDate="2012-08-08T09:03:22.473" UserId="6519" Text="&lt;prices&gt;&lt;job&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24748" PostHistoryTypeId="2" PostId="14990" RevisionGUID="a1411277-2322-4a08-abab-af5b07d006bb" CreationDate="2012-08-08T11:39:56.253" UserId="3285" Text="Hi :)&#xD;&#xA;&#xD;&#xA;I've got the KMR 82, very good mic to capture sound in documentary and movies (in outdoor, when the source is far),it should be avoided in a reverberated environment. &#xD;&#xA;It is heavy to carry to a boompole.&#xD;&#xA;&#xD;&#xA;I use it also for record all kind of sound effects. &#xD;&#xA;&#xD;&#xA;Unfortunately, I haven't try other mics to make a comparison ...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24749" PostHistoryTypeId="5" PostId="14990" RevisionGUID="6a2c68a3-0d15-4ce3-a2b9-51dd34552555" CreationDate="2012-08-08T11:48:31.800" UserId="3285" Comment="added 112 characters in body" Text="Hi :)&#xD;&#xA;&#xD;&#xA;I've got the KMR 82, very good mic to capture sound in documentary and movies (in outdoor, when the source is far),it should be avoided in a reverberated environment. &#xD;&#xA;It is heavy to carry to a boompole.&#xD;&#xA;&#xD;&#xA;I use it also for record all kind of sound effects. &#xD;&#xA;&#xD;&#xA;Unfortunately, I haven't try other mics to make a comparison ...&#xD;&#xA;In all cases, these are all good mics and they can last a very long time (for example mine has over 15 years).&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24750" PostHistoryTypeId="2" PostId="14991" RevisionGUID="88f53a5c-e61f-496d-836d-723dce137393" CreationDate="2012-08-08T15:53:02.930" UserId="3230" Text="This is for you sound-heads out there that routinely (or even not-so-routinely) deal with full deliverables for audio post.    &#xD;&#xA;&#xD;&#xA;The client is asking for full splits - VO, On-camera, Nat, Music, etc, etc...  This is routine.  Old hat.  You can do a layback in you sleep.  Heck!  Layback time is a chance to sleep! (That's a joke.)    The layback is done, the files are made, exported and zipped for delivery.  Send.    Client is notified, and you go home for the night.&#xD;&#xA;&#xD;&#xA;The next morning your inbox is flooded and you have 4 increasingly angry voicemails from the producer.  There are drop-outs in your music stem, there's a missing line in the VO split, and the short-version files are all 30 seconds short.   Darn.  Must have made a misplaced key-command....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So, the question: What is your QC process for standard audio deliverables?  (I'm assuming proper session organization and layback routing....Not really talking about that. I'm thinking about review technique.)   How do you &quot;double-check&quot; your work?   Talk to me. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24751" PostHistoryTypeId="1" PostId="14991" RevisionGUID="88f53a5c-e61f-496d-836d-723dce137393" CreationDate="2012-08-08T15:53:02.930" UserId="3230" Text="Deliverable Quality Control - Talk to me." ContentLicense="CC BY-SA 3.0" />
  <row Id="24752" PostHistoryTypeId="3" PostId="14991" RevisionGUID="88f53a5c-e61f-496d-836d-723dce137393" CreationDate="2012-08-08T15:53:02.930" UserId="3230" Text="&lt;quality&gt;&lt;techniques&gt;&lt;deliverable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24753" PostHistoryTypeId="2" PostId="14992" RevisionGUID="fbaa3a74-2e05-4071-9d48-0045b1baf423" CreationDate="2012-08-08T16:08:12.027" UserId="390" Text="I have the good fortune to write music for a wonderfully produced audio drama that features compelling sound design, great acting with audio that's captured really well on location. Sometimes in post production, my music, in my biased opinion, does not hit the right level in the overall mix. &#xD;&#xA;&#xD;&#xA;If there are any audio drama fans here, can you suggest some action-oriented audio dramas that have an impressive mix when it comes to dialogue, sound design and music simultaneously? I have a few programs from GraphicAudio. I've enjoyed 52 although at times, the mix felt overwhelming and in your face. Which, again, is just an opinion! They do great work overall. I was just wondering if anyone has suggestions for a mix that I can use for a benchmark.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24754" PostHistoryTypeId="1" PostId="14992" RevisionGUID="fbaa3a74-2e05-4071-9d48-0045b1baf423" CreationDate="2012-08-08T16:08:12.027" UserId="390" Text="I'm looking for Audio Drama suggestions that have a good mix of music and sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="24755" PostHistoryTypeId="3" PostId="14992" RevisionGUID="fbaa3a74-2e05-4071-9d48-0045b1baf423" CreationDate="2012-08-08T16:08:12.027" UserId="390" Text="&lt;audio-drama&gt;&lt;mixing&gt;&lt;music&gt;&lt;sound-design&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24756" PostHistoryTypeId="2" PostId="14993" RevisionGUID="22b15880-f302-4f2a-a604-46f8de6006b1" CreationDate="2012-08-08T16:41:33.277" UserId="390" Text="My suggestion would be to start with a fixed price. Get a feel for how you pace yourself as a sound designer. The speed of your work could vary depending on the quality of the production and what is asked of you. If you also have to clean up and edit audio in addition to creating the sound design, then that's going to affect the pace of your work. &#xD;&#xA;&#xD;&#xA;I wonder if there's a resource that shows a standard breakdown of budget. I had this conversation earlier this year. In the end, I imagined a setup where the post production budget took up 20-25% of the total budget and out of that 20-25%, sound design wound up with 5 to 10%. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24757" PostHistoryTypeId="2" PostId="14994" RevisionGUID="abcc03c3-6451-4766-802a-b3f2f96eff97" CreationDate="2012-08-08T17:15:57.790" UserId="234" Text="As the old saying goes... &quot;nothing to it, but to do it&quot;... I routinely check all my deliverables COMPLETELY before sending them out. Yes it's a pain, yes it takes time, but yes, it saves those annoying voicemails for the most part. Visually check all your waveforms, double check all your routings, if the program is long, at least do spot checks on all the stems. If I had a nickel for every time I missed something and had to redo it... Verify and confirm everything copied to whatever media. Since my schedules lately are somewhat on the ridiculous side, I've started making checklists that I keep handy.&#xD;&#xA;&#xD;&#xA;And of course, we're all only human. Even with my checks I've occasionally missed something ... Eat crow, apologize and fix it - pay for it you have too! :) The trick is do that as little as is humanly possible. Oh, and even if it turns out it wasn't your fault, always check your work FIRST, before moving the blame elsewhere.&#xD;&#xA;&#xD;&#xA;(Amusing side story brought to mind by &quot;increasingly angry voicemails&quot; part. I once had to do a layback of DA-88 for a producer. At the time we were using the Maxell Black Hi-8 tapes for media. Did the laybacks, did the checks, all was well. Get in the next morning to angry vm's from the producer &quot;You sent VIDEO tapes you idiot! My deliverables are now late, it's all your fault! I'm going to sue!&quot;. Turns out she didn't know WHAT a DA-88 tape even was, nor did her post-sup. After a few moments of explaining to them that Hi-8 WAS the format that DA-88 recorded on, and having them check the tape, I got a very red-faced apology.That one at least wasn't my fault.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24758" PostHistoryTypeId="2" PostId="14995" RevisionGUID="24fa7a22-b6d6-421e-acd1-960b3aee9f86" CreationDate="2012-08-08T19:04:03.807" UserId="432" Text="I haven't really heard any action-oriented ones myself, but Sue Zizza is one of the bigger producers of modern radio dramas. The last one I know of her doing is [The Witches of Lublin][1]. She doesn't have a personal/professional website that I know of other than that link above, but Googling her led me to [Radio Drama Revival][2]...which might be a good starting point for research.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.thewitchesoflublin.com/stations.html&#xD;&#xA;  [2]: http://www.radiodramarevival.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24759" PostHistoryTypeId="2" PostId="14996" RevisionGUID="7a47d22d-b711-42d1-9605-b3c60a668dd9" CreationDate="2012-08-08T21:21:41.723" UserId="221" Text="With radio you have no visual cues and clues as to what is going on, every thing is in the audio. So the problem we face in the mix, is if the music is too high the only thing that will cut through is the dialog, all the atmoses etc and most of the spot effects and foley are masked by the music, so although you may feel the music is not as loud as you would like, we have to balance all the layers to get a complete sound, to tell the story convincingly. Perhaps consider making sure your music has space in the appropriate places to allow the atmos tracks and spot effects to come through without having to dip the music so far.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24760" PostHistoryTypeId="2" PostId="14997" RevisionGUID="97c00588-addd-40d2-9a7b-940624c4d4d1" CreationDate="2012-08-08T21:37:24.667" UserDisplayName="user49" Text="A few thoughts:&#xD;&#xA;&#xD;&#xA;Do you print stems as you mix, and use those for replays (&amp; not the source material)? That provides an ongoing QC, so the printed mix stems are heard every time you do a replay for the director, producer etc.. If you are all virtual/ITB mixing &amp; effectively replay on input then imho you are missing an important step...&#xD;&#xA;&#xD;&#xA;Also did you bounce the exported files or print them? I only ask because bounce means you aren't paying attention - the sound does not play in sync with any picture etc, so you might not notice if a line of dialogue is missing as there is no visual reference... Doing an output via bounce means unless after the bounce is done you replay it from start to finish to picture, there is no QC of the output at all...&#xD;&#xA;&#xD;&#xA;So when you fixed the problems, why/how was things missing? Every problem you solve in fixing the deliveries is something to add to your checklist for BEFORE you start doing outputs in future...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(of course none of this may apply too!)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24761" PostHistoryTypeId="2" PostId="14998" RevisionGUID="7b899564-8371-4a26-a8cc-b776ba9b9e7e" CreationDate="2012-08-08T21:44:37.353" UserDisplayName="user49" Text="I sincerely doubt there is any standard for this, for film anyway, as every film requires individual consideration. Things to consider:&#xD;&#xA;&#xD;&#xA;- the script, whats the content? (a drama with 3 actors is obviously handled differently to an action movie)&#xD;&#xA;&#xD;&#xA;- the total budget vs the expectation&#xD;&#xA;&#xD;&#xA;- the schedule &#xD;&#xA;&#xD;&#xA;- when does picture lock occur?&#xD;&#xA;&#xD;&#xA;- how is production sound? ie what % ADR is likely?&#xD;&#xA;&#xD;&#xA;- what are the deliveries required?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Putting together a budget for sound design for a film means justifying every hour of the entire teams work. How many weeks for dialogue editor, ADR, sound effects editor, foley team, foley editor, predubs, final mix, delieveries etc..." ContentLicense="CC BY-SA 3.0" />
  <row Id="24762" PostHistoryTypeId="2" PostId="14999" RevisionGUID="af48dfad-b67b-4595-8ed8-144b9fe34936" CreationDate="2012-08-08T22:08:33.810" UserId="6411" Text="I say you give your ears a break so that they're well rested for a more suitable critical listening environment.&#xD;&#xA;&#xD;&#xA;If you're taking the time to work on the train, I'd personally work on non-audio aspects of work. Get back to emails, catch up on SSD or blogs, manage your backup database. There's all manner of things that need to happen in what we do that don't require listening.&#xD;&#xA;&#xD;&#xA;Go to an audiologist and get yourself some [custom molded ear plugs][1]. Protect your ears from the noise of the train rather than battle it by trying to shut it out and then piping a louder sound into your ear canal.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.westone.com/defendear/index.php?option=com_k2&amp;view=item&amp;layout=item&amp;id=10&amp;Itemid=115" ContentLicense="CC BY-SA 3.0" />
  <row Id="24763" PostHistoryTypeId="2" PostId="15000" RevisionGUID="353315e6-76e4-468e-b34f-3c018260eb74" CreationDate="2012-08-08T22:11:21.167" UserId="6454" Text="I will second all of what Sonsey said above, especially owning up to mistakes and making them right no matter the cost (time or otherwise).  &#xD;&#xA;&#xD;&#xA;One additional tidbit would be, I am usually monitoring the return from tape, or if ITB the output of the record track, while doing my final laybacks.  This means that if I am hearing something, then it exists.  And I watch the entire fim/commercial/show/etc. as the final layback is happening.  If I am laying back final mixes and all my stems simultaneously (most often the case) and I am ITB, I will also instantiate Main Output sends (muted) on all the stem record tracks so that I can unmute them and hear the reconstituted fullmix in realtime as well, just a little extra coverage.  &#xD;&#xA;&#xD;&#xA;Nothing beats double and even triple checking though.  When I started out as an assistant, one job was to double check the engineers work before sending out and you can be sure those things were RIGHT before they left or else it was my (you know what) in a sling.  Now if I have an assistant do it I put the same fear into them, and it travels with them.  But I must say I prefer to do it myself :-).  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24764" PostHistoryTypeId="5" PostId="15000" RevisionGUID="be511660-699f-4780-8c07-dd0f43547335" CreationDate="2012-08-08T22:17:27.143" UserId="6454" Comment="added 1 characters in body" Text="I will second all of what Sonsey said above, especially owning up to mistakes and making them right no matter the cost (time or otherwise).  &#xD;&#xA;&#xD;&#xA;One additional tidbit would be, I am usually monitoring the return from tape, or if ITB the output of the record track, while doing my final laybacks.  This means that if I am hearing something, then it exists.  And I watch the entire film/commercial/show/etc. as the final layback is happening.  If I am laying back final mixes and all my stems simultaneously (most often the case) and I am ITB, I will also instantiate Main Output sends (muted) on all the stem record tracks so that I can unmute them and hear the reconstituted fullmix in realtime as well, just a little extra coverage.  &#xD;&#xA;&#xD;&#xA;Nothing beats double and even triple checking though.  When I started out as an assistant, one job was to double check the engineers work before sending out and you can be sure those things were RIGHT before they left or else it was my (you know what) in a sling.  Now if I have an assistant do it I put the same fear into them, and it travels with them.  But I must say I prefer to do it myself :-).  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24765" PostHistoryTypeId="2" PostId="15001" RevisionGUID="b46fb935-0bb3-4f6b-8cbf-9261a7b2a747" CreationDate="2012-08-09T01:27:45.420" UserId="587" Text="I have some dialog that needs to be batch processed with H-Delay.&#xD;&#xA;&#xD;&#xA;Using Nuendo 5.5.3 - is there a way too apply Wave plug-in fx into the separate regions without having to cut them up again out of a consolidated region?&#xD;&#xA;&#xD;&#xA;Sound Forge can batch process, but it doesnt process it in the same way and ends up with a different result than hearing it in Nuendo.&#xD;&#xA;&#xD;&#xA;Any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24766" PostHistoryTypeId="1" PostId="15001" RevisionGUID="b46fb935-0bb3-4f6b-8cbf-9261a7b2a747" CreationDate="2012-08-09T01:27:45.420" UserId="587" Text="Batch Processing Wave Plug-Ins" ContentLicense="CC BY-SA 3.0" />
  <row Id="24767" PostHistoryTypeId="3" PostId="15001" RevisionGUID="b46fb935-0bb3-4f6b-8cbf-9261a7b2a747" CreationDate="2012-08-09T01:27:45.420" UserId="587" Text="&lt;batch-processing&gt;&lt;waves&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24768" PostHistoryTypeId="2" PostId="15002" RevisionGUID="6b1774b0-8da0-4a4b-a8d0-466cd92639de" CreationDate="2012-08-09T02:35:57.520" UserId="3520" Text="Being the person who handles our deliverables, I have to agree with everything that has already been said. This is how things go down at our studio so surely it can be applied globally, at least to some degree. Often our mixers won't print stems until after the review and the client is long gone (not always). The mixer is responsible for setting up the routing and then either an assistant or myself will watch down the entire stems print, spot checking along the way that each stem actually is what it's supposed to be, i.e. no FX on a DX stem. Then we BACK IT UP and I will commence with the layback. Make sure you are always monitoring what is coming off of the tape, not what's coming out of PT (extremely important). Our VTR allows me to toggle through my outputs without affecting the ins so I can continue to spot check each stem as it prints to tape. I will also just visually spot check along the way by watching the meters. After a successful layback, I'll give the stems a glance over to make sure there are no strange visible dropouts. I don't bounce the stems, I export them (shift-command-K) as either BWAV or AIFF and burn to disc to hand to the client when they come back for their tapes (occasionally we toss them on the FTP). That's basically it. It's not perfect but our success rate is pretty damn good.&#xD;&#xA;&#xD;&#xA;I assume that you also have either a 5.1 or stereo mix stem, as well. Did the music drop out on only the music stem and not the mix stem? That would be odd. What were you monitoring where you wouldn't have heard the dropout yourself during the layback?&#xD;&#xA;&#xD;&#xA;In my case, I would not be held accountable for a missing line of VO as I have not read the script or been involved the DX editing process nor was I in the room when the clients signed off during the mix review.  The dropouts would, however, fall squarely on my lap. The incorrect length on the stems you provided sounds like a user error, mental lapse. It happens." ContentLicense="CC BY-SA 3.0" />
  <row Id="24769" PostHistoryTypeId="2" PostId="15003" RevisionGUID="1e0c5263-d8c8-43d6-99b3-dea9ad0ccff7" CreationDate="2012-08-09T05:49:20.507" UserId="244" Text="What are the advantages and or disadvantages of wireless UHF/VHF mic systems range, reception, interference etc...?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="24770" PostHistoryTypeId="1" PostId="15003" RevisionGUID="1e0c5263-d8c8-43d6-99b3-dea9ad0ccff7" CreationDate="2012-08-09T05:49:20.507" UserId="244" Text="VHF or UHF Lapel Mic Systems" ContentLicense="CC BY-SA 3.0" />
  <row Id="24771" PostHistoryTypeId="3" PostId="15003" RevisionGUID="1e0c5263-d8c8-43d6-99b3-dea9ad0ccff7" CreationDate="2012-08-09T05:49:20.507" UserId="244" Text="&lt;microphone&gt;&lt;wireless&gt;&lt;lapel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24773" PostHistoryTypeId="2" PostId="15005" RevisionGUID="a7037324-b908-4685-a82b-d1f803e5db77" CreationDate="2012-08-09T07:01:16.903" UserDisplayName="user80" Text="UHF has less to compete with for bandwidth, and suffers less from electrical/electronic interference.  UHF uses more battery power and smaller aerials.  You can also extend the range more with UHF using specialist aerials.  If you can afford it UHF is usually the better solution." ContentLicense="CC BY-SA 3.0" />
  <row Id="24774" PostHistoryTypeId="2" PostId="15006" RevisionGUID="de757cf6-656c-4629-8dd9-c170b822789d" CreationDate="2012-08-09T10:15:46.920" UserId="37" Text="Historically radio transmission has been moving up in the frequency spectrum&#xD;&#xA;&#xD;&#xA; - VHF = very high frequency&#xD;&#xA; - UHF = ultra high frequency&#xD;&#xA;&#xD;&#xA;you may expect better quality and lower power requirements (higher battery life) from UHF, but [the experts say the benefit is usually less battle for channels and smaller antennae][1].&#xD;&#xA;&#xD;&#xA;Familiarise yourself with the legalities of the spectrum distribution, as that's a minefield just as well. &#xD;&#xA;&#xD;&#xA;http://www.gbaudio.co.uk/radio.htm - here's the UK version. Other countries have it different.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audio-technica.com/cms/site/af9d127e26abf498/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24778" PostHistoryTypeId="2" PostId="15008" RevisionGUID="8e94f5d8-87a2-4f8e-87e2-596d2a7151c8" CreationDate="2012-08-09T13:13:16.030" UserId="527" Text="As long as your files already contain the empty space at the tails to contain the decay of the effect and you are applying the same preset to each one, then you can use QuicKeys. I do technical pitch conversions (PAL conversions) this way.  I can set it process files (sometime 40 or 50 5.1 tracks) with Pitch N Time Pro and walk away.  I come back at the end of the day and re-check that it didn't do something screwy and I am done. &#xD;&#xA;&#xD;&#xA;I am also doing some experiments with Sikuli Script.  This requires some programming knowledge, but it can do some pretty amazing things. Sikuli can find things on your screen based on screen grabs. So you can tell it to find the Process button instead of having to make sure your AudioSuite windows are placed correctly. I also have a test script that yells at me for getting on Facebook, because it can visually tell the different between facebook and other web sites. &#xD;&#xA;&#xD;&#xA;I can elaborate if need be. &#xD;&#xA;&#xD;&#xA;Hope this helps. &#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="24779" PostHistoryTypeId="2" PostId="15009" RevisionGUID="034d124e-4985-46a1-b061-9789980de9e3" CreationDate="2012-08-09T15:09:18.233" UserId="3243" Text="Been using the [Samson C-que 8][1]&#xD;&#xA;  [1]: http://www.samsontech.com/samson/products/processors/c-class/cque8/&#xD;&#xA;for years now. I've used it in the studio and also on location." ContentLicense="CC BY-SA 3.0" />
  <row Id="24782" PostHistoryTypeId="2" PostId="15011" RevisionGUID="7a4b64b0-7222-41d2-a1ae-b5ada62b910a" CreationDate="2012-08-09T18:18:56.813" UserId="3519" Text="I am from Seville, Spain.&#xD;&#xA;&#xD;&#xA;I do freelance work in almost every sound area:&#xD;&#xA;Location Sound, Sound Edition &amp; Post-production &amp; Sound Design.&#xD;&#xA;&#xD;&#xA;http://javierzumer.com/en/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24783" PostHistoryTypeId="16" PostId="15011" RevisionGUID="7a4b64b0-7222-41d2-a1ae-b5ada62b910a" CreationDate="2012-08-09T18:18:56.813" UserId="-1" />
  <row Id="24784" PostHistoryTypeId="2" PostId="15012" RevisionGUID="21fc331a-d8df-4b9d-9008-b5a42da6fd80" CreationDate="2012-08-09T19:23:12.370" UserId="7642" Text="Avoid the crap at all cost, if you can't get out of it, outsource the da88 transfer. The transfer facility will then have the issues with creating tapes that work, finding stock that isn't crap and dealing with any re-transfer issues.&#xD;&#xA;Still I'd try my hardest to avoid it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24785" PostHistoryTypeId="2" PostId="15013" RevisionGUID="d5651191-9dc5-4b9e-acfb-1e7a0170219d" CreationDate="2012-08-09T19:53:23.147" UserId="7642" Text="I had  the same question when i started to research electrets for My mobile setups.&#xD;&#xA;The answer isn't fully straightforward as it will change slightly depending on the specific capsule. &#xD;&#xA;&#xD;&#xA;My experiences and info I have collected: &#xD;&#xA;In general the voltage isn't very critical unless it's way below what the specs say. Noise wont change that much but sensitivity and distortion will get worse at lower voltages (especially at low frequencies). Distortion at high SPL WILL change depending on voltage however, again especially at low frequencies.&#xD;&#xA;&#xD;&#xA;Also bear in mind that most electrets are omni and have at times to much (Extreme) LF reproduction. So adding a ANALOG filter ahead of the recorder is often beneficial.&#xD;&#xA;Pip power is not always enough  for Loud sounds with lots of lf content.&#xD;&#xA;So using a external power supply box delivering a voltage close to the upper range if the spec with some gentle LF roll off filtering will make most recordings sound better. &#xD;&#xA;&#xD;&#xA;I won't promise that all the above is fully correct but&#xD;&#xA; it's built on my experiences of using electrets. &#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24786" PostHistoryTypeId="2" PostId="15014" RevisionGUID="75aa55ce-4ea7-4d8b-b7f3-3ae25651891c" CreationDate="2012-08-09T21:09:41.010" UserId="999" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;Had a strange problem with my sound files on a recent shoot.&#xD;&#xA;&#xD;&#xA;Basically it was a big hall and a talking head-static not moving. For recording I used a 702, a Sennheisser G3 E100 kit with the supplied lav- and a Rode NTG-3 on Boom.&#xD;&#xA;&#xD;&#xA;The only way to avoid reverb really was to concentrate on getting a quality lav recording which sounded great in the cans and back at home on a Genelec 8030 :)&#xD;&#xA;&#xD;&#xA;However when I chatted to the editor of the shoot they said the client had said the lav was sounding squeaky and high pitched(and unacceptable). They were monitoring in a big editing office, glass table with the bass and treble controls altered on these(http://www.roland.com/products/en/MA-15D/) even plugging the headphones through these to monitor.&#xD;&#xA;&#xD;&#xA;Listening to the them the recordings really did sound odd-even to the point where I doubted myself!&#xD;&#xA;&#xD;&#xA;It's a tough situation because if it sounds awkward to them-it's my fault and the lack of audio editing skills-eq, compression etc are missed from this kind of project.&#xD;&#xA;&#xD;&#xA;Does anyone have any advice or experience with this? Is it just a case of sitting with the editor and working through it with them after the shoot?&#xD;&#xA;&#xD;&#xA;Cheers, &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24787" PostHistoryTypeId="1" PostId="15014" RevisionGUID="75aa55ce-4ea7-4d8b-b7f3-3ae25651891c" CreationDate="2012-08-09T21:09:41.010" UserId="999" Text="Client Monitoring and sound editing." ContentLicense="CC BY-SA 3.0" />
  <row Id="24788" PostHistoryTypeId="3" PostId="15014" RevisionGUID="75aa55ce-4ea7-4d8b-b7f3-3ae25651891c" CreationDate="2012-08-09T21:09:41.010" UserId="999" Text="&lt;clients&gt;&lt;mixing&gt;&lt;location-recording&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24789" PostHistoryTypeId="2" PostId="15015" RevisionGUID="fcd4a57c-cf02-40f0-bb69-df5c44196912" CreationDate="2012-08-09T22:02:54.243" UserId="4147" Text="Hello SSD World, &#xD;&#xA;&#xD;&#xA;I'm currently in the process of putting together a plan to build my own foley stage w/ corresponding pits to live under the surfaces. I'm wondering if anyone has any plans lying around from a similar project, and what materials you used to best isolate these surfaces from their wooden housing. Would you use weather stripping? Rubber insulation? Just poking around for ideas more or less. &#xD;&#xA;&#xD;&#xA;My budget is 1-2k. I'm looking to do as much of this myself as possible. Thanks in advance for your suggestions / thoughts! &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24790" PostHistoryTypeId="1" PostId="15015" RevisionGUID="fcd4a57c-cf02-40f0-bb69-df5c44196912" CreationDate="2012-08-09T22:02:54.243" UserId="4147" Text="DIY Foley Stage / Pits" ContentLicense="CC BY-SA 3.0" />
  <row Id="24791" PostHistoryTypeId="3" PostId="15015" RevisionGUID="fcd4a57c-cf02-40f0-bb69-df5c44196912" CreationDate="2012-08-09T22:02:54.243" UserId="4147" Text="&lt;foley&gt;&lt;foley-stage&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24792" PostHistoryTypeId="5" PostId="14956" RevisionGUID="e79ed22f-c47e-4d99-b2dc-f008978db30b" CreationDate="2012-08-09T22:27:43.880" UserId="4100" Comment="added 81 characters in body" Text="Hi softdrink, i dont know if it can help but i made a small application for my self (and a masseur friend ) using max/msp for the same reason you described. you can load .wav or .aiff choose the fading length, press play and the app plays all the sounds you loaded,fade them automatically (you can also record it - and has an an extra beat freq generator if you like) it is only for osx though. i dont know how i can get in touch with you from here though, i m new to the site, but i'll be happy to share it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&lt;a href=&quot;http://dl.dropbox.com/u/96750291/Om_Waves.pkg&quot;&gt;Here&lt;/a&gt; is the link." ContentLicense="CC BY-SA 3.0" />
  <row Id="24795" PostHistoryTypeId="2" PostId="15017" RevisionGUID="a5f6496c-4f1d-4d28-b814-f8ddf287fa11" CreationDate="2012-08-10T05:35:44.440" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;I'm not really sure if I understand correct. But in this case it's a kind of trouble-shooting and I would suggest:&#xD;&#xA;&#xD;&#xA;1. Playback your original files at home.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24796" PostHistoryTypeId="12" PostId="15017" RevisionGUID="492ab1d4-9a98-48b0-a834-f3a2ae53174e" CreationDate="2012-08-10T05:36:16.690" UserId="6748" Text="[{&quot;Id&quot;:4073,&quot;DisplayName&quot;:&quot;Guido Helbling&quot;}]" />
  <row Id="24797" PostHistoryTypeId="5" PostId="15017" RevisionGUID="b603d532-2fe0-43a2-8b16-985823b28a10" CreationDate="2012-08-10T05:52:31.800" UserId="6748" Comment="added 1339 characters in body" Text="Hi&#xD;&#xA;&#xD;&#xA;I'm not really sure if I understand correct. But in this case it's a kind of trouble-shooting and I would suggest:&#xD;&#xA;&#xD;&#xA;1. Playback your original files at home. Two options: If the files sounds good, your record is not the problem. If your record sounds bad, something was wrong with the mic, the recorder or something else. -&gt; This is bad for you, you should have noticed that through the shot, but if I understand you correct, your playback is fine.&#xD;&#xA;&#xD;&#xA;2. If your original record is good, something happend in the editing room. Picture editors are not often very skilled in sound editing and strange things can ocure. Talk to the editor and ask what he did. Als here is the way to find the mistake: Playback the files directly out of the system, how does it sound? Bypass all plugins, all EQ's, check what happend and exclude on this way errors. If it sounds ok in the computer, something is wrong with the monitoring, if it sounds bad from the computer, it's in the system.&#xD;&#xA;Open the file with a simple playback-player like quicktime and check how it sounds.&#xD;&#xA;&#xD;&#xA;If everything's not helps give your original file again to the editors. If your original file is fine, it's not that bad and 'only' editorial work and should be done by the person who spoil them. Just give the original files and someone need to edit the sound again.&#xD;&#xA;&#xD;&#xA;Make sure that you are not responsible for the mistake an tell this. &#xD;&#xA;&#xD;&#xA;I hope, this helps. Let me know what it was.&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Guido&#xD;&#xA;https://www.soundeffects.ch/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24798" PostHistoryTypeId="13" PostId="15017" RevisionGUID="e8d42b10-0bd1-4873-8be8-ef92a8f4e767" CreationDate="2012-08-10T05:52:38.833" UserId="6748" Text="[{&quot;Id&quot;:4073,&quot;DisplayName&quot;:&quot;Guido Helbling&quot;}]" />
  <row Id="24799" PostHistoryTypeId="2" PostId="15018" RevisionGUID="537829dd-b37c-4ef7-98c3-ca9d4efb4b37" CreationDate="2012-08-10T07:41:18.180" UserDisplayName="user80" Text="Sounds like the lav and the boom tracks have been mono summed and phase cancellation has occurred.  Try and get hold of the tracks and flip the phase the on the boom mic track, if bass suddenly appears then it's a phase issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="24800" PostHistoryTypeId="2" PostId="15019" RevisionGUID="c3d31baf-3584-4791-8ebd-c3b2bcfd7f33" CreationDate="2012-08-10T07:48:38.653" UserId="348" Text="The key to good foley pits is isolation and quality of sound. Good foley pits are expensive to make but the investment is worth it. The kind of wood you use to box the pit is crucial to the acoustics of the pit as well as durability. Hardwood like oak, teak, seringa are good. Your comment about using rubber insulation is spot on. But you can use the rubber insulation between your traps, shielding them from each other so they don't bleed into each other especially if you are doing foley with another person and using 2 different surfaces. Pit depth is also crucial. Don't make them too deep- around 350mm- and with the added surface such as hard packed gravel or pebble on had packed gravel, your depth should be around 50mm from the top. &#xD;&#xA;&#xD;&#xA;As far as the insulation of the bottom is concerned, foam rubber padding or soft rubber (15mm thick) is good. Cement is a really difficult surface to design. If it is too thin, it will ring and sound too thin. If you have the space, make a large cement surface and then have an area that has a varnish on it and an area that mimics exterior pavement. Also, have a small depression in the exterior one when creating puddles. I have seen studio's use hard rubber as their side insulation and the depth of the cement is quite deep (300-350mm). &#xD;&#xA;&#xD;&#xA;Foam rubber (the orange stuff I think) is also a good insulator. &#xD;&#xA;&#xD;&#xA;Hope it helps.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24801" PostHistoryTypeId="2" PostId="15020" RevisionGUID="d74d5ff1-69e1-47be-9160-9b9028d662c1" CreationDate="2012-08-10T08:03:52.547" UserId="348" Text="I recently had a conversation with a colleague of mine who was saying that lapel micing is the preferred choice of recording dialogue on set over boom micing. His argument was based on an article he had read from Skywalker Sound where the industry pros there prefer the sound of a lapel over the sound of a boom mic. &#xD;&#xA;&#xD;&#xA;In my experience, I have always worked with industry pros who will use lapels, but only as a last resort and prefer the sound of a boom mic. I agree with this because of the natural quality of the boom mic (shotgun, supercardiod etc) and the fact that you can control it in concert with the level of dialogue delivery verses the acoustics of the location. In some instances, I have gone with a lapel and a boom but this decision is based entirely on the blocking of the scene and the size of the shot (generally medium wide with 2 to 3 actors moving in the scene.) The lapel mic, for me, no matter where it is placed, still sounds a little boxy and you cannot follow like you can with a boom. The natural harmony of warm dialogue with the space around the actors is much more present with a boom than it is with a lapel. &#xD;&#xA;&#xD;&#xA;I would be interested in hearing your ideas on the matter. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="24802" PostHistoryTypeId="1" PostId="15020" RevisionGUID="d74d5ff1-69e1-47be-9160-9b9028d662c1" CreationDate="2012-08-10T08:03:52.547" UserId="348" Text="Which is better- boom micing or lapel micing" ContentLicense="CC BY-SA 3.0" />
  <row Id="24803" PostHistoryTypeId="3" PostId="15020" RevisionGUID="d74d5ff1-69e1-47be-9160-9b9028d662c1" CreationDate="2012-08-10T08:03:52.547" UserId="348" Text="&lt;boom&gt;&lt;lapel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24804" PostHistoryTypeId="2" PostId="15021" RevisionGUID="bf3a7c61-3acb-4c2c-a8f3-ef0bbd455938" CreationDate="2012-08-10T08:15:42.727" UserId="7642" Text="If possible, build it on the ground floor with as a direct coupling to solid earth. Pretty much all man made structures will have resonance in the floors. Concrete structural buildings carries transients surprisingly well (in a bad way).&#xD;&#xA;It stuff like this that you won't really think about until you start recording low level sounds like foley.&#xD;&#xA;&#xD;&#xA;A decent pit isn't to hard to build if the foundation is sound. A good to great foley studio is hard to extremely hard to build.&#xD;&#xA;&#xD;&#xA;If you are located in a rural area it's a lot easier..." ContentLicense="CC BY-SA 3.0" />
  <row Id="24805" PostHistoryTypeId="2" PostId="15022" RevisionGUID="9ca9bb18-468d-4ed2-8bcd-e49ecedb5aae" CreationDate="2012-08-10T09:37:22.887" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;Both mics are important. A boom microphone sounds more natural than a lavalier microphone which is (should be!) very close to the body. The thing is, the louder the background is, the more background-noise level you'll have on the boom. So it's a compromise every time: Do you take the more natural signal but you have all the background on it, or do you take the lavalier which is more direct but needs some EQ-mixing. For location sound, I only can recommend to use a both: If there is a transmission problem with the wireless or something has scratched the mik, you have a back-up channel: the boom. For boom: if you're not fast enough and cannot catch a second actor who starts taking, you have also the backup if you gave them lavalier.&#xD;&#xA;&#xD;&#xA;Also it is nice to use the boom channel as a room tone channel, if you record them stereo like an MS. You can use the close lavalier for the voices and mix something from the boom to make it more natural and give back something from the environment - if you want it. For documentary things it's probably nice, for feature film probably not and you can use the boom for backup only.&#xD;&#xA;&#xD;&#xA;I think it's best to use both of them and with today's recorders, a location sound recordist should be able to record 4 channels. Also a very important thing is to write down very clear in the metadatas which channel is what, but this is another issue. It is very frustrating to receive a lot of channels and tracks and no one knows what it is, what's on it and you have to go through each track and find it out. And: No one will use carefully recorded ambience or sfx if no one knows or finds it. - unfortunately. &#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Guido&#xD;&#xA;https://www.soundeffects.ch/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24806" PostHistoryTypeId="2" PostId="15023" RevisionGUID="3feaac59-6c10-45d2-acc2-741bf21705ea" CreationDate="2012-08-10T10:09:35.057" UserDisplayName="user80" Text="The lapel mics, provided they have been mounted properly do give a drier sound, and if you are working on a noisy set then they are definitely easier to work with in post.  If you have a quieter set then the boom mic will sound a lot more natural.  If a film has a bigger sound effects/design budget then lapel mics can be more popular, as it means less original room acoustics to contend with, and matching takes can be easier.  Lapel mics can also be more popular on green screen shoots, as the set has absolutely no relationship to the final shots in any original room tone/acoustics is not desired." ContentLicense="CC BY-SA 3.0" />
  <row Id="24807" PostHistoryTypeId="2" PostId="15024" RevisionGUID="4eac39a8-bbe1-4a96-95bf-87b053361cc7" CreationDate="2012-08-10T10:11:14.480" UserDisplayName="user80" Text="Don't forget a water tank." ContentLicense="CC BY-SA 3.0" />
  <row Id="24808" PostHistoryTypeId="2" PostId="15025" RevisionGUID="7348cf21-f537-4b37-8a94-ae4fdf3afddd" CreationDate="2012-08-10T13:30:36.753" UserId="990" Text="Here's how I like to put it. $2000 mic vs $500 mic.&#xD;&#xA;&#xD;&#xA;Of course lavs have their place in certain situations." ContentLicense="CC BY-SA 3.0" />
  <row Id="24809" PostHistoryTypeId="2" PostId="15026" RevisionGUID="ebc3e271-fd1c-4204-8cd1-85675c9db416" CreationDate="2012-08-10T15:02:05.510" UserId="4107" Text="I'm trying to bounce out some samples from pro tools at very low sample rates (8khz or 11.025khz) to save ram on a computer game as the frequencys in the samples i'm using don't require a higher sample rate to sound good.&#xD;&#xA;&#xD;&#xA;I can get these to loop seamlessly in pro tools but once I bounce them out they are always popping on the loop in the final sample.&#xD;&#xA;&#xD;&#xA;Anyone got any tips how to stop this from happening after the bounce? I've made tons of loops for games at higher sample rates but these are being a pain!&#xD;&#xA;&#xD;&#xA;thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24810" PostHistoryTypeId="1" PostId="15026" RevisionGUID="ebc3e271-fd1c-4204-8cd1-85675c9db416" CreationDate="2012-08-10T15:02:05.510" UserId="4107" Text="looping 8khz or 11.025khz samples" ContentLicense="CC BY-SA 3.0" />
  <row Id="24811" PostHistoryTypeId="3" PostId="15026" RevisionGUID="ebc3e271-fd1c-4204-8cd1-85675c9db416" CreationDate="2012-08-10T15:02:05.510" UserId="4107" Text="&lt;looping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24813" PostHistoryTypeId="2" PostId="15027" RevisionGUID="9b18683c-b639-44f2-b138-160bafca1143" CreationDate="2012-08-10T15:17:47.283" UserId="432" Text="My guess is that you're ending up with a waveform that doesn't start/end/both at a zero crossing once it recalculates the waveform for the output sample rate. Have you tried putting in a really short fade (either with Cmd+F or volume automation)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24814" PostHistoryTypeId="2" PostId="15028" RevisionGUID="5062b45f-a18b-4c96-beda-1d39c6d957f7" CreationDate="2012-08-10T17:16:28.523" UserId="315" Text="I had it explained to me this way once by someone with way more experience mixing and editing dialog than me: &#xD;&#xA;&#xD;&#xA;&quot;When having a conversation with someone, are you normally standing 3-5 feet away from them? Or are you right next to them pressing your ear against their ribcage when they talk to you? Because that is the sound that a lav usually captures.&quot;&#xD;&#xA;&#xD;&#xA;A properly boomed actor is almost always going to sound better and more natural to the ear than a lav imho. Plus lavs are much more likely to pick up clothing noise and other junk as the actor moves around. &#xD;&#xA;&#xD;&#xA;That being said, lavs can be tremendously useful in noisy environments/wide shots/extremely reverberant spaces/shoots at the beach/as a plant mic on a car window visor/films in which the actors are wearing helmets etc.. &#xD;&#xA;&#xD;&#xA;Use every tool you have to your advantage, and at the end of the day, dialog editors just pick which mic sounds the best and roll with it. If you have a good production sound crew, my guess is it will be the boom most of the time." ContentLicense="CC BY-SA 3.0" />
  <row Id="24815" PostHistoryTypeId="2" PostId="15029" RevisionGUID="0770b010-4d52-47ca-8961-6dc890cd0b90" CreationDate="2012-08-10T17:48:37.813" UserId="6432" Text="So if you open the converted files in a sample editor and zoom right in do they start and end on the baseline? If not, can you just add a small fade to solve it. &#xD;&#xA;&#xD;&#xA;I always use a dedicated editor (like Audition or Soundforge) to double check. In fact I'd always bounce out of Pro tools as a .wav in whatever sample rate the session is at and convert after - Pro Tools doesn't support many file types anyway so I got into the habit because of that. It's also nice to have a wav around if you need to provide another type.&#xD;&#xA;&#xD;&#xA;8khz is pretty extreme though, you're not getting any frequencies above 4k there and it may be this lowpass filtering which is causing the problem as you're changing the sound drastically. What filetype are you providing anyway?&#xD;&#xA;&#xD;&#xA;Also, select convert after bounce in Pro Tools as this is (apparently) more accurate. I've never done any tests myself though..." ContentLicense="CC BY-SA 3.0" />
  <row Id="24816" PostHistoryTypeId="5" PostId="15023" RevisionGUID="96a8210c-af98-4849-ac33-d9a3cbaf8d3e" CreationDate="2012-08-10T17:50:15.270" UserDisplayName="user80" Comment="added 1 characters in body; added 9 characters in body" Text="The lapel mics, provided they have been mounted properly do give a drier sound, and if you are working on a noisy set then they are definitely easier to work with in post.  If you have a quieter set then the boom mic will sound a lot more natural.  If a film has a bigger sound effects/design budget then lapel mics can be more popular, as it means less original room acoustics to contend with, and matching takes can be easier.  Lapel mics can also be more popular on green screen shoots, as the set has absolutely no relationship to the final shots and any original room tone or room acoustics are not desired." ContentLicense="CC BY-SA 3.0" />
  <row Id="24817" PostHistoryTypeId="2" PostId="15030" RevisionGUID="c21b5708-71b9-434b-97d4-eea5a77cc9b9" CreationDate="2012-08-10T18:34:24.990" UserId="1199" Text="It's also prudent to check your original file for DC off-set *before* looping &amp; sample convert . Convertors seem to handle this in different ways.&#xD;&#xA;&#xD;&#xA;Though, as Mark mentioned, I too suspect the radically altered freq. content after conversion would require it's loop points to be readjusted. I have run into problems with just a 48kHz &gt; 44.1 convert using spectrally dense material.&#xD;&#xA;&#xD;&#xA;It might be good to try another (or several) programs convert process to compare, as I've experienced distinct variations in how they handle the sonic differences after convert - even between different versions of the same program...&#xD;&#xA;&#xD;&#xA;good luck!  r" ContentLicense="CC BY-SA 3.0" />
  <row Id="24818" PostHistoryTypeId="2" PostId="15031" RevisionGUID="748a1c6b-e594-4c51-a7b4-71983ee6d145" CreationDate="2012-08-11T07:49:47.493" UserId="4141" Text="I've been commissioned as foley recordist/sound designer/sound editor for a feature indie film &#xD;&#xA;which is attempting to capture a nostalgic feel both visually and in its sound track, something akin to movies out of the 70s' or 80s'. The visual side, which is supposed to resemble 16mm, is being handled digitally due to the fact that film is prohibitively expensive. My question is, if I'm trying to create an authentically retro sounding audio track, would it be a smart move to buy a Nagra 4.2 or similar model open-reel recorder? &#xD;&#xA;&#xD;&#xA;Much of the dialogue is being ADR'ed using digital equipment, so it would be necessary for me to dub these tracks to tape. Everything else, including sound FX, foley, and ambiences could potentially be recorded to tape for the first take. I'm new to the field of Nagra, FYI. My primary experience has been with a M-Audio Microtrack II for use as a field recorder. Mainly I'm asking if this would be a good return on investment for future projects, and would be sustainable in turns of repairs/media if I decide to continue using it for future work. If not, does anyone know of any good alternatives for the low-fi feel I am seeking? Thanks.&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="24819" PostHistoryTypeId="1" PostId="15031" RevisionGUID="748a1c6b-e594-4c51-a7b4-71983ee6d145" CreationDate="2012-08-11T07:49:47.493" UserId="4141" Text="Foley/ambient recording on Nagra 4.2 " ContentLicense="CC BY-SA 3.0" />
  <row Id="24820" PostHistoryTypeId="3" PostId="15031" RevisionGUID="748a1c6b-e594-4c51-a7b4-71983ee6d145" CreationDate="2012-08-11T07:49:47.493" UserId="4141" Text="&lt;foley&gt;&lt;nagra&gt;&lt;tape&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24821" PostHistoryTypeId="2" PostId="15032" RevisionGUID="a062d6c9-39b6-4e17-99bb-eee457a91f0b" CreationDate="2012-08-11T08:16:23.147" UserId="6748" Text="hi&#xD;&#xA;&#xD;&#xA;ProTools has a 'bad behavior' here: If you bounce or mix down something, you always have some blank offset on the beginning at the file from about half a frame or more and also at the end! Normally you don't realize this, but if you need to loop something or adding something seamless, it crackles because there is a digital-zero space.&#xD;&#xA;I realized that as I have prepared my ambience tracks which should be combined seamless (Part 1 and Part 2 files) for example: https://www.soundeffects.ch/surround-sound-effects-_e.php?soundeffects=munich+city+place It always crackle if I add them and I didn't know why. If you zoom into the file, you'll find the blank offset at start and end.&#xD;&#xA;&#xD;&#xA;It took a long time to realize that it's not a mistake on my site, it's ProTools! I have contacted Digidesign about that and they told me something weird about 'how should PT know what you bounce if it just starts?? - I think, of coure it knows, the original file starts at 01:00:00.00 and not at 01:00:00.02. Every cheeper software can handle this but not PT.&#xD;&#xA;&#xD;&#xA;If I mixdown files, I make offset at the beginning and end and cut it out destructive. It's more work and not a nice workflow.&#xD;&#xA;&#xD;&#xA;best&#xD;&#xA;&#xD;&#xA;guido" ContentLicense="CC BY-SA 3.0" />
  <row Id="24822" PostHistoryTypeId="2" PostId="15033" RevisionGUID="5890f984-69b4-43c4-a5e1-2d1cbc5b63c6" CreationDate="2012-08-11T09:06:13.420" UserId="999" Text="http://www.aria.co.uk/Systems/Home+and+Office/Audio+Workstations/&#xD;&#xA;&#xD;&#xA;Aria do some here that look pretty acceptable- never got one either. I'd have a long hard think about this or a mac pro though for this price range. You get much more bang for your buck with a PC which im always tempted by but macs are great for Pro tools.&#xD;&#xA;&#xD;&#xA;My advice would be to not use a PC for audio unless it's going to stay offline. In my experience a couple of random updates and all sorts of weird thigs happen! Macs seem a bit more forgiving in this area.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24823" PostHistoryTypeId="5" PostId="15018" RevisionGUID="1ca8f4d8-ffa8-453a-8c15-4f3584c69b7d" CreationDate="2012-08-11T09:41:31.970" UserDisplayName="user80" Comment="deleted 4 characters in body" Text="Sounds like the lav and the boom tracks have been mono summed and phase cancellation has occurred.  Try and get hold of the tracks and flip the phase on the boom mic track, if bass suddenly appears then it's a phase issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="24824" PostHistoryTypeId="2" PostId="15034" RevisionGUID="74590b6a-8041-462a-8581-40878de26f67" CreationDate="2012-08-11T10:47:12.920" UserId="4150" Text="If you have that budget, i would recomment to buy a good field recorder in the price ange of the nagra. Something like a sound devices or similar stuff. As you mentioned, the video is captured digitally, so why not doing the sound processing in post, a lso with the audio part ? There are really good pro-plug ins like waves / spl or similar stuff, that you can use for &quot; designing &quot; the 70's. &#xD;&#xA;&#xD;&#xA;I think a really good digital fieldrecorder would be my choice, because you can also use it in the future. The tape thing is really cool, but in my eyes more a effect as a really portable thing for the future. The price of such recorders is high. You have to choose and think about, how you would it use in the future. Dou you have endless tape for gathering sound fx for fun ? I think a digital recorder is the way to go. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24825" PostHistoryTypeId="2" PostId="15035" RevisionGUID="cdad65f6-7201-4177-a94c-4915a6cc5cb3" CreationDate="2012-08-11T13:30:31.430" UserId="6454" Text="I have a Sound Devices 788-T and LOVE it, using it for production audio, location recording SFX/music, and ADR in the studio.  Nagra is a wonderful company with a rich film history.  There are a lot of sound designers out there that still use them especially for recording loud, impact sounds (gun shots for example) because of headroom and pleasant saturation you get from tape versus digital.  But the S/N difference between tape and digital is huge, so if you are recording ambiences or quieter sounds something like Sound Devices or Nagra digital units are a better bet.  As for an investment, if you are planning on doing a lot of location recording of loud SFX it might be worth having, but the quality and versatility you can get from something like a Sound Devices recorder make it somewhat extraneous.&#xD;&#xA;&#xD;&#xA;Now, there are ways you can post process the dialogue to make it sound older which has its advantageous in that you can record clean audio and &quot;dial in&quot; as much effect as desired, but the other side of that is it is almost impossible to recreate the real thing.  It is like plug-ins for music that say they can make your track sound like it came out of Abbey Road in '64...it might be close but nothing like the real thing. One bit of advice would be to begin trying to find settings for that now before you get into mixing the film.&#xD;&#xA;&#xD;&#xA;Another option would be to rent one.  Because of its cost and association with production, there are probably companies that would rent one to you to use, that way you can experiment with it and see if you like it without the investment.  There are many here in NYC and California, I would do some research and see if there are any near you.  Good luck, sounds quite cool. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24827" PostHistoryTypeId="2" PostId="15037" RevisionGUID="ffba77fb-ff7e-40f0-bd47-42125a0c0d43" CreationDate="2012-08-11T21:04:30.030" UserId="243" Text="I was under the impression that meta data included time code but apparently it is the track information on mp3's? What do you think? &#xD;&#xA;&#xD;&#xA;How do I add metadata to things like my recordings and sound library/ies I see there is a related question here and I would like to know how to do it and why it is useful?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24828" PostHistoryTypeId="1" PostId="15037" RevisionGUID="ffba77fb-ff7e-40f0-bd47-42125a0c0d43" CreationDate="2012-08-11T21:04:30.030" UserId="243" Text="metadata applications" ContentLicense="CC BY-SA 3.0" />
  <row Id="24829" PostHistoryTypeId="3" PostId="15037" RevisionGUID="ffba77fb-ff7e-40f0-bd47-42125a0c0d43" CreationDate="2012-08-11T21:04:30.030" UserId="243" Text="&lt;metadata&gt;&lt;applications&gt;&lt;use&gt;&lt;use-of&gt;&lt;labels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24830" PostHistoryTypeId="5" PostId="15037" RevisionGUID="dae78e5b-8eb4-40fb-b040-9607eb07d111" CreationDate="2012-08-11T21:09:45.460" UserId="243" Comment="deleted 11 characters in body" Text="I was under the impression that meta data included time code but apparently it is the track information on mp3's as well? &#xD;&#xA;&#xD;&#xA;How do I add metadata to things like my recordings and sound library/ies I see there is a related question here and I would like to know how to do it and why it is useful?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24831" PostHistoryTypeId="2" PostId="15038" RevisionGUID="288e0324-d9ad-4f3b-9bb7-1c71542f1a0d" CreationDate="2012-08-11T22:05:07.050" UserId="3179" Text="http://kid3.sourceforge.net/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24835" PostHistoryTypeId="2" PostId="15040" RevisionGUID="d7fe6e22-ae7b-4112-a93c-ae8b58e62fa0" CreationDate="2012-08-12T12:05:30.913" UserId="1171" Text="Hello! I'm having issues with a mixpre d - tried it on 2 different computers, both running windows xp - and it only shows up any volume controls for playback in the windows volume control thingy.. anyone know how to fix this, or the same thing with any other class compliant device? (how does windows decide what to show here?? i have a really cheap usb sound card that shows up as having inputs on here even though it actually doesn't have any!!)&#xD;&#xA;&#xD;&#xA;thanks if you can help!! :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24836" PostHistoryTypeId="1" PostId="15040" RevisionGUID="d7fe6e22-ae7b-4112-a93c-ae8b58e62fa0" CreationDate="2012-08-12T12:05:30.913" UserId="1171" Text="MixPre D (USB Audio Class compliant device) - Windows XP only shows outputs - no inputs!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24837" PostHistoryTypeId="3" PostId="15040" RevisionGUID="d7fe6e22-ae7b-4112-a93c-ae8b58e62fa0" CreationDate="2012-08-12T12:05:30.913" UserId="1171" Text="&lt;usb&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24838" PostHistoryTypeId="5" PostId="15040" RevisionGUID="44726194-ff55-47bf-ac77-5f7228a3c2fc" CreationDate="2012-08-12T12:43:57.690" UserId="1171" Comment="added 138 characters in body" Text="Hello! I'm having issues with a mixpre d - tried it on 2 different computers, both running windows xp - and it only shows up any volume controls for playback in the windows volume control thingy.. it DOES have a recording section (you can click the little circle to the left of &quot;recording&quot;) - but this section is entirely empty..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;anyone know how to fix this, or the same thing with any other class compliant device? (how does windows decide what to show here?? i have a really cheap usb sound card that shows up as having inputs on here even though it actually doesn't have any!!)&#xD;&#xA;&#xD;&#xA;thanks if you can help!! :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24839" PostHistoryTypeId="2" PostId="15041" RevisionGUID="3d41c6d6-4dbb-4cb7-a996-a3321c61112e" CreationDate="2012-08-12T13:09:10.610" UserId="6454" Text="If you are only using MP3s, there are may ways to alter/add metadata.  For MP3s the metadata is called ID3 tags: &#xD;&#xA;&#xD;&#xA;http://www.id3.org/&#xD;&#xA;&#xD;&#xA;There are many different ways of altering the metadata in an MP3, iTunes is probably the easiest (if you use a mac and itunes as your library), there is also a program called Library Monkey which is much more versatile:&#xD;&#xA;&#xD;&#xA;http://www.monkey-tools.com/products/library-monkey/&#xD;&#xA;&#xD;&#xA;The other format that works well with metadata is Broadcast WAV (BWAV). Programs such as Soundminer work well with bwav files.  Soundminer's metadata format is slightly different than ID3 but most of the same information is there and you can change and alter as needed.  Also, many SFX libraries come already with Soundminer metadata added so all you need to do is &quot;add to library&quot; and you are rolling. Also, if you export WAV files from Pro Tools, the Timecode location is burned into the file as well (often required when exporting final mixes and stems for delivery)&#xD;&#xA;&#xD;&#xA;If you are creating sound files to have in your own library, and you have the space available, I wouldn't compress down to MP3 just to use metadata, you can never get back to your full-rez audio after that.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="24840" PostHistoryTypeId="2" PostId="15042" RevisionGUID="49615034-a5f6-4e76-b9b4-9694c6abb548" CreationDate="2012-08-12T15:29:12.843" UserId="362" Text="Hello all, &#xD;&#xA;&#xD;&#xA;I'm trying to design a lamb sacrifice cue and was wondering if anyone knows of any preexisting recordings&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Jeremy Bloom&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24841" PostHistoryTypeId="1" PostId="15042" RevisionGUID="49615034-a5f6-4e76-b9b4-9694c6abb548" CreationDate="2012-08-12T15:29:12.843" UserId="362" Text="Lamb Slaughter Recordings. . . " ContentLicense="CC BY-SA 3.0" />
  <row Id="24842" PostHistoryTypeId="3" PostId="15042" RevisionGUID="49615034-a5f6-4e76-b9b4-9694c6abb548" CreationDate="2012-08-12T15:29:12.843" UserId="362" Text="&lt;animals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24845" PostHistoryTypeId="2" PostId="15044" RevisionGUID="6c286957-359a-4c6b-9ffa-b5d0e6c1e7b5" CreationDate="2012-08-12T20:03:37.817" UserId="4117" Text="The Rule of Thirds for the image is controlled by the Golden mean which is a part of the Flower of Life.  Hopefully you're still following somewhat..&#xD;&#xA;&#xD;&#xA;The Flower of Life also contains the 5 Platonic Solids.  &#xD;&#xA;Philosopers and artists have studied and applied this Golden Mean, and Phi Ratio to living things and proportions--see Leonardo Divinci's drawing of the man with the outstretched arms.&#xD;&#xA;&#xD;&#xA;Other than the idea that sound waves can fit into the category of shape...is there some way to apply these ideas to the concept of sound?  Or what about the concept of sound and image?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24846" PostHistoryTypeId="1" PostId="15044" RevisionGUID="6c286957-359a-4c6b-9ffa-b5d0e6c1e7b5" CreationDate="2012-08-12T20:03:37.817" UserId="4117" Text="Golden Mean/Flower of Life/Rule of Thirds and Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="24847" PostHistoryTypeId="3" PostId="15044" RevisionGUID="6c286957-359a-4c6b-9ffa-b5d0e6c1e7b5" CreationDate="2012-08-12T20:03:37.817" UserId="4117" Text="&lt;question&gt;&lt;ideas&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24848" PostHistoryTypeId="2" PostId="15045" RevisionGUID="0cbd6b2d-3488-48dc-b7a5-3d0b7dff6da3" CreationDate="2012-08-12T20:34:29.620" UserId="3730" Text="HI there&#xD;&#xA;&#xD;&#xA;I mixed a documentary for Discovery about 10 years ago where a zulu tribe sacrificed a goat / lamb for spiritual cleansing in the mountains around Kwazulu Natal South Africa .The noises of the animal shouting , almost crying was overpowering to any cutting / stabbing noises. I think i still have those cries. i will check tomorrow when at work . &#xD;&#xA;&#xD;&#xA;Regards&#xD;&#xA;&#xD;&#xA;Mark Buyskes " ContentLicense="CC BY-SA 3.0" />
  <row Id="24849" PostHistoryTypeId="2" PostId="15046" RevisionGUID="95b1b5a4-6213-4cba-b060-198b4576bd28" CreationDate="2012-08-12T21:20:27.597" UserId="6454" Text="Just finished and good luck, seems like an interesting thesis.  My only question was in regards to the recording process...it seemed like there was very little spacialization in the stereo recordings like you were using an X/Y pattern versus an ORTF which would give you greater spacialization.  SFX recordings are often done in M/S or even mono so they can be panned in the mix, but ambiances (which is basically what you were doing) are usually done in ORTF, spaced pairs, double-ORTF, or OCT.  The jump from stereo to binaural was so great I was just interested in the techniques used.  Thanks very much and again, good luck...it is great that there is research being actively done in this field." ContentLicense="CC BY-SA 3.0" />
  <row Id="24850" PostHistoryTypeId="2" PostId="15047" RevisionGUID="e5d484b1-3ef7-4cbc-80b9-cd21cc545aff" CreationDate="2012-08-13T00:06:38.183" UserId="1171" Text="Well, if anyone's interested, i got a signal through anyway.. guess there's no point allowing attenuation in windows just to confuse things, when it's at unity gain anyway..&#xD;&#xA;&#xD;&#xA;i did have to alter the session to 16 bits before it would work though.. guess there must be a bit depth setting on the unit somewhere.." ContentLicense="CC BY-SA 3.0" />
  <row Id="24851" PostHistoryTypeId="2" PostId="15048" RevisionGUID="b2ae3ce8-891c-4a56-9697-d6dd50d3bf9b" CreationDate="2012-08-13T02:50:54.720" UserId="28" Text="It doesn't help that I can't remember the specifics. Maybe some one can chime in on what I say, and flesh it out. I remember a prof telling a story about a &quot;magic&quot; ratio when filtering the top and bottom of the frequency spectrum.&#xD;&#xA;&#xD;&#xA;For example, if you are going to apply a high pass filter at x Hz, then you should apply a low pass at x' Hz. And if you maintain this proportion, the remaining sound will be more pleasing to the ear than if you had filtered just one end of the spectrum and not the other.&#xD;&#xA;&#xD;&#xA;Does this mean anything to anyone? &#xD;&#xA;&#xD;&#xA;It might have been as simple as the high frequency point dividing by the low point without remainder. Sorry, I can't remember specifically. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24855" PostHistoryTypeId="2" PostId="15050" RevisionGUID="13f258fb-494a-4733-887c-b819c03b446e" CreationDate="2012-08-13T06:26:15.480" UserId="6748" Text="Hi Jeremy&#xD;&#xA;&#xD;&#xA;Rob Nokes made some great recordings. You can find them on my site. There are some nice foleys with blood and flesh.&#xD;&#xA;https://www.soundeffects.ch/surround-sound-effects-_e.php?soundeffects=flesh&#xD;&#xA;&#xD;&#xA;https://www.soundeffects.ch/surround-sound-effects-_e.php?soundeffects=flesh&amp;Category=Horror&#xD;&#xA;&#xD;&#xA;https://www.soundeffects.ch/surround-sound-effects-_e.php?soundeffects=animal&amp;Category=Animal,%20Goat&#xD;&#xA;&#xD;&#xA;Also check the 'horror' category: https://www.soundeffects.ch/soundeffects/sound-effects-categories/sound-effects-horror.php&#xD;&#xA;&#xD;&#xA;Of course it depends if you need it for documentary or more like a horror movie. But also maybe you can find some pig-screams, pitch it up a little and it sounds quite awful.&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;Guido" ContentLicense="CC BY-SA 3.0" />
  <row Id="24857" PostHistoryTypeId="2" PostId="15051" RevisionGUID="f3a4766b-d799-4304-8142-f5cfec0bf9a2" CreationDate="2012-08-13T09:47:42.520" UserId="4154" Text="I am still very confused with 0dB audio.&#xD;&#xA;I really kown very well that dB is a unit of gain.&#xD;&#xA;When I tested a auido system to confirm if the audio signal was clipped by the audio amplifier, I did as follows:&#xD;&#xA;First, I searched a audio file called 0dB/1KHz in form of MP3 on the internet;&#xD;&#xA;Second, After Downloaded to my computer, the audio file was stored in SD card;&#xD;&#xA;Then, the SD card was inserted into my moblie phone, while the audio player was being turned on to paly the audio file(0dB/1KHz), a oscillograph was being used to measure the amplitude of the signal which was outputing to the loudspeaker.&#xD;&#xA;&#xD;&#xA;If the shape of the output signal was clipped very seriously, the gain of the audio amplifier must be decreased.&#xD;&#xA;&#xD;&#xA;All above this, What I really want to kown is that.&#xD;&#xA;(1)what's the amplitude of the 0dB audio file(in form of MP3) after it went through a 0dB-system?&#xD;&#xA;(2)How was the 0dB file(in form of MP3) generated?&#xD;&#xA;I thought there must had been a analog natural audio signal first, then people used some audio equipment to caputure this audio signal. After that the signal was converted to digital sigal. Here came the following questions:&#xD;&#xA;(3) what's the precision of the A/D converter integrated into the audio equipment? In other words, how many bits did the converter have? Is it a 10-bit A/D converter? or 20-bit?&#xD;&#xA;…&#xD;&#xA;&#xD;&#xA;I've been looking foward to get the more professional answers about 0dB audio file." ContentLicense="CC BY-SA 3.0" />
  <row Id="24858" PostHistoryTypeId="16" PostId="15051" RevisionGUID="f3a4766b-d799-4304-8142-f5cfec0bf9a2" CreationDate="2012-08-13T09:47:42.520" UserId="4154" />
  <row Id="24859" PostHistoryTypeId="2" PostId="15052" RevisionGUID="01ad4f94-4cf7-4ace-be57-c6af3d294ab3" CreationDate="2012-08-13T13:45:33.977" UserId="4100" Text="[link text][1]&#xD;&#xA; &#xD;&#xA;[1]: http://sbooth.org/Max/&#xD;&#xA;&#xD;&#xA;as ryan mentioned i dont see why you would use compress audio for your recordings, however metadata or tags may make your life easier when looking for a specific file in your personal (if messy like mine) library. other options if you use .wav&#xD;&#xA;&#xD;&#xA;[link text][2]&#xD;&#xA;&#xD;&#xA;  [2]: http://www.sounddevices.com/products/waveagent/&#xD;&#xA;&#xD;&#xA;or if you use logic and alike from apple you should have something called &quot;apple loop utility&quot; under software/utilities which let you tag files too.&#xD;&#xA;&#xD;&#xA;and im sure there are many more out there." ContentLicense="CC BY-SA 3.0" />
  <row Id="24861" PostHistoryTypeId="2" PostId="15053" RevisionGUID="7f6fa463-e713-4c6c-bf04-70cb4bba946a" CreationDate="2012-08-13T20:28:06.927" UserId="4152" Text="Is there something that would be more effective for this sound than the actual thing?&#xD;&#xA;&#xD;&#xA;I will also try slapping shoes in water by hand.&#xD;&#xA;Would a more fizzy or viscous liquid give a more detailed and longer sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24862" PostHistoryTypeId="1" PostId="15053" RevisionGUID="7f6fa463-e713-4c6c-bf04-70cb4bba946a" CreationDate="2012-08-13T20:28:06.927" UserId="4152" Text="how would you create the sound of someone (in shoes) stepping through a puddle?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24863" PostHistoryTypeId="3" PostId="15053" RevisionGUID="7f6fa463-e713-4c6c-bf04-70cb4bba946a" CreationDate="2012-08-13T20:28:06.927" UserId="4152" Text="&lt;water&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24864" PostHistoryTypeId="2" PostId="15054" RevisionGUID="18026ad6-fffe-4f1a-bc01-d25ef6acf8c5" CreationDate="2012-08-13T20:49:00.423" UserId="3179" Text="What's the ground material? How deep are the puddles? What's the walking speed? What kind of shoes?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24865" PostHistoryTypeId="2" PostId="15055" RevisionGUID="9b8cfcda-7d38-4a61-a0c2-1d7d5f497dc2" CreationDate="2012-08-13T21:30:51.363" UserId="6460" Text="Also, what do YOU want to hear when you think of stepping in a puddle? Do you want a thick, gushy sound of water soaking into the shoe? Do you want a soppy splash? Do you want the classic 'plop' sound? " ContentLicense="CC BY-SA 3.0" />
  <row Id="24866" PostHistoryTypeId="2" PostId="15056" RevisionGUID="f55b904c-3d11-4481-960d-480368ab30cb" CreationDate="2012-08-13T22:23:30.783" UserId="6519" Text="[Shotgun microphone comparison][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://membrans.hu/index.php?option=com_content&amp;view=article&amp;id=23&amp;Itemid=2" ContentLicense="CC BY-SA 3.0" />
  <row Id="24867" PostHistoryTypeId="2" PostId="15057" RevisionGUID="ef078d21-b9fc-4b93-8e4e-9fa52b0796c7" CreationDate="2012-08-13T23:41:42.020" UserId="842" Text="Me, I would bring me a mic, my recorder, my boom, a fitting pair of boots or shoes, and an at least 2l bottle of water or two (if sunshine and no natural puddles) and just go nuts. Anything I couldn't perform in this makeshift puddle would be sweetened afterwards. Though I'd try and get as much of what I need as possibly already in the field." ContentLicense="CC BY-SA 3.0" />
  <row Id="24868" PostHistoryTypeId="2" PostId="15058" RevisionGUID="0bc90fa6-698a-44b3-9738-f8fd04b79018" CreationDate="2012-08-14T02:25:01.927" UserId="842" Text="My vote goes to the Sennheiser MKH416. It's not exceptionally cheap as such, but not expensive either. This is a mic you're not likely to grow out of any time soon. But mind you it can't be fed through battery, it has be phantom-powered." ContentLicense="CC BY-SA 3.0" />
  <row Id="24869" PostHistoryTypeId="2" PostId="15059" RevisionGUID="a5848301-b1ed-4f56-9ee0-2f33d2e321e4" CreationDate="2012-08-14T06:35:47.947" UserId="4141" Text="As mentioned in another thread, I'm working on the sound track of a film which is trying to emulate a vintage, somewhat low-fi feel. The majority of this is most likely going to be accomplished by careful use of compressors, EQ, and plugins such as Izotope Vinyl. However, I was recently struck by the idea that it might be interesting to record foleys and sound effects using vintage equipment as well. I considered using a tape deck, but, as that was expensive, I decided that the microphone itself might be a good place to start.&#xD;&#xA;&#xD;&#xA;Does anyone know what equipment the film sound unit of a 70s film might consist of? I looked at one microphone, an Electro-Voice 644 as a possible shotgun mic to record foleys with. Any suggestions? Thanks " ContentLicense="CC BY-SA 3.0" />
  <row Id="24870" PostHistoryTypeId="1" PostId="15059" RevisionGUID="a5848301-b1ed-4f56-9ee0-2f33d2e321e4" CreationDate="2012-08-14T06:35:47.947" UserId="4141" Text="Vintage foley microphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="24871" PostHistoryTypeId="3" PostId="15059" RevisionGUID="a5848301-b1ed-4f56-9ee0-2f33d2e321e4" CreationDate="2012-08-14T06:35:47.947" UserId="4141" Text="&lt;vintage&gt;&lt;film&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24872" PostHistoryTypeId="2" PostId="15060" RevisionGUID="658bb384-9a8c-4928-baf8-e6e3852abddc" CreationDate="2012-08-14T06:49:40.800" UserId="61" Text="You should be careful of your choice of microphones and recording medium here. Although it may be tempting to use all vintage equipment, you may run into problems later such as tape hiss, preamp noise, and general signal-to-noise issues that cannot be easily fixed with modern tools like CEDAR or WNS. A smarter approach would be to record your foley with multiple microphones, some modern and some vintage, and then have the flexibility in post later on. Along the same lines, you could even record to both Pro Tools and an analog tape deck, and then choose later which recording best represents the vision you are trying to achieve. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24873" PostHistoryTypeId="2" PostId="15061" RevisionGUID="fb0ea6a9-2b1c-429d-93d2-84621728c130" CreationDate="2012-08-14T07:41:31.657" UserId="7642" Text="The standard mic for a long time at our old foley stage was the Neuman m269 looks similar to a U87 but with tubes and a external powersupply.&#xD;&#xA;Very nice sounding mics! But with the arrival of dect phones in our studio comPlex they became impossible to use as they picked up a lot of noise.&#xD;&#xA;For a long time they got shelved, unfortunatly someone must have seen them and stole them... But they didn't steal the power suPplies...&#xD;&#xA;Anyways, those mics were used in Sweden to record foley in the 70's to early 90's." ContentLicense="CC BY-SA 3.0" />
  <row Id="24874" PostHistoryTypeId="2" PostId="15062" RevisionGUID="1171f70a-83b2-4ddf-8bee-bc8deb715d8f" CreationDate="2012-08-14T08:47:19.983" UserId="348" Text="It all depends on the surface. With dirt/mud, I would add the puddle after the fact by building a pool surrounded by dirt with mud and the correct water depth. Also, I sometimes just use my hand to create the splash and have a slight squish sound with footsteps to highlight the surface. If it is cement, find a cement surface that has an indentation so that you can trap water stepping into the trap while still doing the feet on a cement surface. With grass, I use military camouflage for green grass and 1/4 inch tape for dry grass. Here, I would also add in the puddles after the main feet track is done. For hard dirt, dig an indentation into the dirt and then fill it will the desired depth.&#xD;&#xA;&#xD;&#xA;Hope it helps" ContentLicense="CC BY-SA 3.0" />
  <row Id="24875" PostHistoryTypeId="2" PostId="15063" RevisionGUID="be53b179-b703-4cf8-be40-463128c61690" CreationDate="2012-08-14T09:36:22.583" UserId="3285" Text="don't forget that you will probably need a rycote !" ContentLicense="CC BY-SA 3.0" />
  <row Id="24876" PostHistoryTypeId="2" PostId="15064" RevisionGUID="91b16ce8-4ed6-4e08-bc59-0dbe5bf77009" CreationDate="2012-08-14T09:54:38.573" UserId="397" Text="Nagra's recorders are amazing. But if you don't own yet a good digital recorder I would suggest that you definetely invest on buying one. For the last six years, I have the Sound Devices 744T. It's a sturdy recorder and it can function under extreme weather conditions with out any problem! &#xD;&#xA;&#xD;&#xA;Now what you can do is rent a nagra 4 and also an microphone used during that era in film and experiment. Also do a research and if you can find out what was the equipment used in the sound workflow during production and mixing, you could insert that equipment in your board and mix to taste. Could you give us some updates on your decision, and final result?&#xD;&#xA;&#xD;&#xA;Best regards,&#xD;&#xA;Marco" ContentLicense="CC BY-SA 3.0" />
  <row Id="24877" PostHistoryTypeId="2" PostId="15065" RevisionGUID="7d0502b7-e9cd-4b53-9780-5f7a38671a62" CreationDate="2012-08-14T12:10:38.143" UserDisplayName="user80" Text="I woud personally record everything on a Sound Devices and rent a Nagra to use as an insert loop in post.  That way you know that you will be able to capture everything nice and clean and you can add the retro sound later.  &#xD;&#xA;&#xD;&#xA;There are a lot of issues to deal with when recording analogue, such as saturation, wow, flutter, noise, azimuth, as well as sync and reliable tape supplies." ContentLicense="CC BY-SA 3.0" />
  <row Id="24878" PostHistoryTypeId="2" PostId="15066" RevisionGUID="8e25c97b-e4ce-44ed-99b8-54d14bcbd2fd" CreationDate="2012-08-14T12:13:04.027" UserDisplayName="user80" Text="A saturated chamois cloth can be used if you are pushed for time, but the best approach is real shoes and real water." ContentLicense="CC BY-SA 3.0" />
  <row Id="24879" PostHistoryTypeId="2" PostId="15067" RevisionGUID="e2af32db-fc43-49f1-a709-e0f9ce592d4f" CreationDate="2012-08-14T15:56:19.710" UserId="429" Text="uhmm why did I not know about this resource earlier ?? BWF MetaEdit for managing and batch editing metadata !FREE!, cross-platform .. have I died and gone to heaven ??!!&#xD;&#xA;&#xD;&#xA;http://www.digitizationguidelines.gov/guidelines/digitize-embedding.html&#xD;&#xA;&#xD;&#xA;http://bwfmetaedit.sourceforge.net/&#xD;&#xA;&#xD;&#xA;http://sourceforge.net/projects/bwfmetaedit/files/binary/bwfmetaedit-gui/1.2.0/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24880" PostHistoryTypeId="2" PostId="15068" RevisionGUID="dc6790fd-17a2-4d5f-9ec8-19915b5103b3" CreationDate="2012-08-14T16:23:33.897" UserId="3989" Text="Hi everyone,&#xD;&#xA;As some of you may remember I am completing an SFX library based around a car. Now has come the time to get the artwork done, but I'm not sure what I'm legally able to call the pack!&#xD;&#xA;&#xD;&#xA;All of the sounds are from a Renault Clio, but is there any way to say that without being in breach of copyright?&#xD;&#xA;&#xD;&#xA;Any thoughts or suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24881" PostHistoryTypeId="1" PostId="15068" RevisionGUID="dc6790fd-17a2-4d5f-9ec8-19915b5103b3" CreationDate="2012-08-14T16:23:33.897" UserId="3989" Text="Using a trademark name" ContentLicense="CC BY-SA 3.0" />
  <row Id="24882" PostHistoryTypeId="3" PostId="15068" RevisionGUID="dc6790fd-17a2-4d5f-9ec8-19915b5103b3" CreationDate="2012-08-14T16:23:33.897" UserId="3989" Text="&lt;copyright&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24883" PostHistoryTypeId="2" PostId="15069" RevisionGUID="eac68a2b-18d3-432d-9131-782eee6117f4" CreationDate="2012-08-14T19:46:03.197" UserId="18" Text="I'm not 100% sure that you are violating trademark by recording a car and releasing the collection named after the source.  But I'm just a sound guy, so what do I know.  You have 3 options:&#xD;&#xA;&#xD;&#xA;1.  Contact an attorney who has a good understanding of trademark law who can offer you proper legal guidance on this.  This is the best way to go, as a good attorney is more qualified than you or anyone on this forum to answer your questions.  They could also help you seek license to use the name of the car, should you choose to go that route.&#xD;&#xA;&#xD;&#xA;2.  Don't use the name of the car in any way.&#xD;&#xA;&#xD;&#xA;3.  Use the name and don't worry about it.  It's possible someday, you might get a cease and desist notice and then you can change the name of the library.  Our sound effects libraries do not have a very high visibility outside of our little sound world.  Chances are, you'll never run into issue. &#xD;&#xA;&#xD;&#xA;If it were me, I'd go with option 1 or 3." ContentLicense="CC BY-SA 3.0" />
  <row Id="24884" PostHistoryTypeId="2" PostId="15070" RevisionGUID="34ed78df-a1b4-4cb0-87bf-c422f5b30c0b" CreationDate="2012-08-14T22:18:57.847" UserId="3987" Text="Check this out. May not exactly be what you mean, but interesting none the less:&#xD;&#xA;&#xD;&#xA;http://www.omega432.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24885" PostHistoryTypeId="2" PostId="15071" RevisionGUID="65d20834-42ba-43ad-9972-3efba9efb449" CreationDate="2012-08-15T01:09:25.810" UserId="842" Text="Though not strictly movie sound design as such, it's actually first and foremost about the birth of electronic (mostly cinematic) music through tremendous innovation and creativity, but it can still extremely easily be translated into our field of work as well! So I would like to share this with you guys and gals :-)&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Jc07KzsgvqI" ContentLicense="CC BY-SA 3.0" />
  <row Id="24886" PostHistoryTypeId="1" PostId="15071" RevisionGUID="65d20834-42ba-43ad-9972-3efba9efb449" CreationDate="2012-08-15T01:09:25.810" UserId="842" Text="BBC - The Alchemists of Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="24887" PostHistoryTypeId="3" PostId="15071" RevisionGUID="65d20834-42ba-43ad-9972-3efba9efb449" CreationDate="2012-08-15T01:09:25.810" UserId="842" Text="&lt;electronic-music&gt;&lt;vintage&gt;&lt;innovation&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24888" PostHistoryTypeId="2" PostId="15072" RevisionGUID="f2b01ba1-bdb8-49c4-be21-653dacf1de4f" CreationDate="2012-08-15T01:47:23.933" UserId="194" Text="One of the more critical skills for a sound designer to have is good business/people skills.  This is most directly shown when you do what you have to do to gain access to certain locations/vehicles/events in order to record them.&#xD;&#xA;&#xD;&#xA;this thread is for those stories.&#xD;&#xA;&#xD;&#xA;Please post stories here about what you had to do/pay/say to gain access to something for the purposes of recording it.  Even stories of failure to gain access would be fun to see&#xD;&#xA;&#xD;&#xA;They don't have to be crazy over the top things (though those would be cool), but even regular run of the mill stories so that the rest of us can see what does and does not work.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24889" PostHistoryTypeId="1" PostId="15072" RevisionGUID="f2b01ba1-bdb8-49c4-be21-653dacf1de4f" CreationDate="2012-08-15T01:47:23.933" UserId="194" Text="stories of access" ContentLicense="CC BY-SA 3.0" />
  <row Id="24890" PostHistoryTypeId="3" PostId="15072" RevisionGUID="f2b01ba1-bdb8-49c4-be21-653dacf1de4f" CreationDate="2012-08-15T01:47:23.933" UserId="194" Text="&lt;locations&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24891" PostHistoryTypeId="16" PostId="15072" RevisionGUID="f2b01ba1-bdb8-49c4-be21-653dacf1de4f" CreationDate="2012-08-15T01:47:23.933" UserId="194" />
  <row Id="24892" PostHistoryTypeId="2" PostId="15073" RevisionGUID="2dde835a-91fc-4a9e-9a10-aae92ebbd264" CreationDate="2012-08-15T01:55:57.747" UserId="1241" Text="From memory, trademarks are specific to the market of the products they're associated with. In theory, this would mean that since an SFX library is not a car, naming the library after the car would not be violating trademark. Similarly, if you were to create a brand of cheese and name it &quot;Toyota,&quot; you'd theoretically be in the clear.&#xD;&#xA;&#xD;&#xA;On the other hand, the law can be a tricky thing. I advise you to consult an expert in that field, rather than strangers you met on the internet." ContentLicense="CC BY-SA 3.0" />
  <row Id="24893" PostHistoryTypeId="2" PostId="15074" RevisionGUID="195d9df0-e98b-4532-ade2-0a922d7a8a92" CreationDate="2012-08-15T02:04:14.153" UserId="194" Text="To start things off, my most obvious example would be the kickstarter campaign that I ran last year to record the trolleys that run in uptown.&#xD;&#xA;&#xD;&#xA;The first thing I did was make a call to the McKinney Avenue Transit Authority, which is the entity in charge of running the trolleys.  I explained to them what I wanted to do and asked for pricing on booking out a car.  &#xD;&#xA;&#xD;&#xA;This was actually a relatively long conversation because we both wanted pretty clear details of what I intended and was able to do with regards to mic setup, setup timing, trolley run duration, car availability, etc.  I corresponded with the business manager and the trolley manager separately.  The business manager helped with price quotes (he gave me a deal) and with availability dates.&#xD;&#xA;&#xD;&#xA;Once I was very sure about the details of what could be done and had received written permission to do the gig, I prepared to launch the kickstarter.  Preparation included shooting a promo video (which required yet another trip to ride the trolleys) defining all of my costs, defining all of my rewards, and specking out my recording kit.  &#xD;&#xA;&#xD;&#xA;After all preparations were made I launched the kickstarter and through the generosity of this community I was funded within the first 6 hours, and had greatly surpassed my goal within the first 24 hours.  &#xD;&#xA;&#xD;&#xA;Now that I knew my basic expenses were covered, I borrowed the deposit fee, expanded the project and booked out two trolleys for a date just before the kickstarter deadline hit. &#xD;&#xA;&#xD;&#xA;In the intervening days, I visited the trolleys a few times both to scout out the cars and the path and to become friends with the trolley drivers.  This paid huge dividends for the project because I was able to befriend the driver that would be my guy on recording day and have him do things like pick out the most interesting sounding cars and give me access to the electric motors during the runs.  &#xD;&#xA;&#xD;&#xA;The bottom line was that all I needed to do for access was to cold-call and ask, then raise the money and pay for it.  With that said, the human interaction during the prep phase proved to be very important to the final product." ContentLicense="CC BY-SA 3.0" />
  <row Id="24894" PostHistoryTypeId="16" PostId="15074" RevisionGUID="195d9df0-e98b-4532-ade2-0a922d7a8a92" CreationDate="2012-08-15T02:04:14.153" UserId="-1" />
  <row Id="24895" PostHistoryTypeId="2" PostId="15075" RevisionGUID="4cbe62ee-121b-4e5f-b724-67dc93690268" CreationDate="2012-08-15T04:05:07.543" UserId="6499" Text="I am curious what everyone template for creation of sound effects to picture are.  I have a good overall &quot;God&quot; Mix template with all the stems and routing and things I need, but I find that when I am working on a specific sound or set of sounds and creating new sounds with many plugins, my sessions just get out of control and jumbled up.  Trying to get some structure in place so that if I ever have to revisit a design session, it will make some kind of sense.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24896" PostHistoryTypeId="1" PostId="15075" RevisionGUID="4cbe62ee-121b-4e5f-b724-67dc93690268" CreationDate="2012-08-15T04:05:07.543" UserId="6499" Text="Templates for Sound Creation/Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="24897" PostHistoryTypeId="3" PostId="15075" RevisionGUID="4cbe62ee-121b-4e5f-b724-67dc93690268" CreationDate="2012-08-15T04:05:07.543" UserId="6499" Text="&lt;design&gt;&lt;templates&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24898" PostHistoryTypeId="2" PostId="15076" RevisionGUID="1c6077cf-1bbf-4e7c-aafa-6e4ee23fe971" CreationDate="2012-08-15T05:38:32.910" UserId="6435" Text="I've watched this a few times; it's fantastic." ContentLicense="CC BY-SA 3.0" />
  <row Id="24899" PostHistoryTypeId="2" PostId="15077" RevisionGUID="1e95c967-e547-4eee-ab28-f9700c3b9701" CreationDate="2012-08-15T09:08:01.800" UserId="6411" Text="First thing that springs to mind here is Walter Murch's Mysterious Law of Two-and-a-Half. The below excerpt is copied directly from [transom][1], I highly recommend reading pt 1, 2, &amp; 3 and watching/listening to all the video examples:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&gt; **Robots and Grapes**&#xD;&#xA;&gt;&#xD;&#xA;&gt;*This had happened in 1969, on one of the first films I worked on: George Lucas’s THX-1138. It was a low-budget film, but it was also science fiction, so my job was to produce an otherworldly soundtrack on a shoestring. The shoestring part was easy, because that was the only way I had worked up till then. The otherworldly part, though, meant that most of the sounds that automatically ‘came with’ the image (the sync sound) had to be replaced. A case in point: the footsteps of the policemen in the film, who were supposed to be robots made out of six hundred pounds of steel and chrome. During filming, of course, these robots were actors in costume who made the normal sound that anyone would make when they walked. But in the film we wanted them to sound massive, so I built some special metal shoes, fitted with springs and iron plates, and went to the Museum of Natural History in San Francisco at 2am, put them on and recorded lots of separate ‘walk-bys’ in different sonic environments, stalking around like some kind of Frankenstein’s monster.&#xD;&#xA;They sounded great, but I now had to sync all these footstep up. We would do this differently today – the footsteps would be recorded on what is called a Foley stage, in sync with the picture right from the beginning. But I was young and idealistic – I wanted it to sound right! – and besides we didn’t have the money to go to Los Angeles and rent a Foley stage.*&#xD;&#xA;&#xD;&#xA;&gt;*So there I was with my overflowing basket of footsteps, laying them in the film one at a time, like doing embroidery or something. It was going well, but too slowly, and I was afraid I wouldn’t finish in time for the mix. Luckily, one morning at 2am a good fairy came to my rescue in the form of a sudden and accidental realization: that if there was one robot, his footsteps had to be in sync; if there were two robots, also, their footsteps had to be in sync; but if there were three robots, nothing had to be in sync. Or rather, any sync point was as good as any other!*&#xD;&#xA;&#xD;&#xA;&gt;*This discovery broke the logjam, and I was able to finish in time for the mix. But…&#xD;&#xA;But why does something like this happen?&#xD;&#xA;Somehow, it seems that our minds can keep track of one person’s footsteps, or even the footsteps of two people, but with three or more people our minds just give up – there are too many steps happening too quickly. As a result, each footstep is no longer evaluated individually, but rather the group of footsteps is evaluated as a single entity, like a musical chord. If the pace of the steps is roughly correct, and it seems as if they are on the right surface, this is apparently enough. In effect, the mind says “Yes, I see a group of people walking down a corridor and what I hear sounds like a group of people walking down a corridor.”&#xD;&#xA;Sometime during the mid-19th century, one of Edouard Manet’s students was painting a bunch of grapes, diligently outlining every single one, and Manet suddenly knocked the brush out of her hand and shouted: “Not like that! I don’t give a damn about Every Single Grape! I want you to get the feel of the grapes, how they taste, their color, how the dust shapes them and softens them at the same time. ”&#xD;&#xA;Similarly, if you have gotten Every Single Footstep in sync but failed to capture the energy of the group, the space through which they are moving, the surface on which they are walking, and so on, you have made the same kind of mistake that Manet’s student was making. You have paid too much attention to something that the mind is incapable of assimilating anyway, even if it wanted to.*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Additionally, similar to Nate's link to omega432.com, Alan Howarth has a site dedicated to what he calls RA Music. To get the best gist of it you can [watch his videos here][2]. But basically, his notion is that A440 is a man-made construct that is out of harmony with nature. He hypothesizes more or less that, based on sacred geometry, nature resonates at A424 (423.5 and change really). What I found to be an interesting take away occurred in his pt 3 video, I believe. He says that A440 music is focused in/above your head, and as you retune the music lower and lower you're focusing the resonance in your body lower and lower. A424 hits you more in the heart/chest, A414 down in the pelvis. So for a love song, tune A424. A dancehall smash, A414.&#xD;&#xA;&#xD;&#xA;I've been using MondoMod a fair amount lately. So what I've been trying, is tuning the mod freq according to this. Just as an example I'll take a whale call, throw it through MondoMod with only the AM active &amp; use a sine LFO set to .25x 424Hz, or trying tiger roar with a Saw Down @ 10x 42.4Hz. It's probably just the power of suggestion, but it's really seems to fit well. But there's got to be a number of other ways you can try and use this.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://transom.org/?page_id=7006&#xD;&#xA;  [2]: http://members.ramusic.com/video" ContentLicense="CC BY-SA 3.0" />
  <row Id="24900" PostHistoryTypeId="2" PostId="15078" RevisionGUID="7690e62d-0504-4aae-9f70-b2330186eeb1" CreationDate="2012-08-15T09:12:46.743" UserId="4158" Text="The Audi R8 and Lamborghini Gallardo share the same engine. You wouldn't be able to tell the difference. The Chevy Camaro sound in Transformers 2 I believe, was actually a Pontiac GTO. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24901" PostHistoryTypeId="2" PostId="15079" RevisionGUID="ac156ad9-946d-4a38-bcdb-716e5a974cb8" CreationDate="2012-08-15T09:17:39.120" UserId="6600" Text="There is a golden ratio in the dimensions of studio design to minimise standing waves. Whilst looking for a link for this I also found this page which details some of the instruments that have been designed with the golden ration/phi in mind:&#xD;&#xA;&#xD;&#xA;http://www.goldennumber.net/acoustics/&#xD;&#xA;&#xD;&#xA;Also found these diffusers (I'm not on commission!)&#xD;&#xA;&#xD;&#xA;http://www.goldenacoustics.com&#xD;&#xA;&#xD;&#xA;@Joel Corriveau I'd be interested to find out more detail about the filtering you are talking about :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24903" PostHistoryTypeId="2" PostId="15080" RevisionGUID="93f158fc-9451-48b9-8627-63d467446380" CreationDate="2012-08-15T09:38:03.183" UserId="1216" Text="Interesting subject, I have the same issue whenever I'm in a project that get's too elaborate. I mostly realise too late that i should have created an extra design session in PT. But sometimes switching between 2 sessions kills the creative flow. &#xD;&#xA;&#xD;&#xA;Your question is not very clear. Are you looking for an overall solution? A sound design Demigod-template? Or do you need tips how to keep everything in working order after finishing the project?&#xD;&#xA;&#xD;&#xA;Arnoud &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24904" PostHistoryTypeId="2" PostId="15081" RevisionGUID="cc694152-da50-44c9-8595-0f827723455a" CreationDate="2012-08-15T12:48:01.747" UserId="4159" Text="so....firsty hello&#xD;&#xA;&#xD;&#xA;secondly, i'm trying to create the sound a woman eating in reverse....literally pulling the food out of her mouth (intact)&#xD;&#xA;&#xD;&#xA;i'm not getting quite enough &quot;squish&quot; when recording vocalizations....anyone have good advice on something to record for a nice wet squishing sound (i don't have much time to experiment myself)&#xD;&#xA;&#xD;&#xA;it can be quite over the top and disgusting&#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;&#xD;&#xA;john" ContentLicense="CC BY-SA 3.0" />
  <row Id="24905" PostHistoryTypeId="1" PostId="15081" RevisionGUID="cc694152-da50-44c9-8595-0f827723455a" CreationDate="2012-08-15T12:48:01.747" UserId="4159" Text="reverse eating sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="24906" PostHistoryTypeId="3" PostId="15081" RevisionGUID="cc694152-da50-44c9-8595-0f827723455a" CreationDate="2012-08-15T12:48:01.747" UserId="4159" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24907" PostHistoryTypeId="2" PostId="15082" RevisionGUID="bcb2f965-f4f6-4655-ba01-0c8feb9a3c09" CreationDate="2012-08-15T13:42:33.827" UserId="2502" Text="melons&#xD;&#xA;&#xD;&#xA;thoughs squishy rubber toys filled with water at the toy store" ContentLicense="CC BY-SA 3.0" />
  <row Id="24908" PostHistoryTypeId="2" PostId="15083" RevisionGUID="18263334-b47c-48f2-894f-6c9240832920" CreationDate="2012-08-15T16:27:33.033" UserId="6460" Text=" - &lt;b&gt; Watermelon &lt;/b&gt; - dig through it with your&#xD;&#xA;   hands&#xD;&#xA; - &lt;b&gt; raw chicken in marinade &lt;/b&gt; - awesome 'slimy guts' sounds&#xD;&#xA; - &lt;b&gt; raw egg &lt;/b&gt; - for some more slimy goodness&#xD;&#xA; - &lt;b&gt; hand soap &lt;/b&gt; - for the same&#xD;&#xA; - &lt;b&gt; macaroni and cheese &lt;/b&gt; - for some smush&#xD;&#xA; - &lt;b&gt; bread soaked in water &lt;/b&gt; - gives a nice&#xD;&#xA;   fibrous squishy sound&#xD;&#xA; - &lt;b&gt; bell peppers &lt;/b&gt; - rip them apart if you&#xD;&#xA;   need some nice crunch&#xD;&#xA;&#xD;&#xA;Grab your apron and get messy :) &lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="24909" PostHistoryTypeId="2" PostId="15084" RevisionGUID="5b10aee4-1cb2-4ffd-b2d6-d17ce5586292" CreationDate="2012-08-15T17:08:59.083" UserId="730" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I just saw this post and Matt listed some really good stuff.  I have created a fruits and vegetables bundle that you might want to check out.&#xD;&#xA;&#xD;&#xA;https://getsoundeffects.com/#/products-page/sound-bundles/fruits-vegetables-collection/&#xD;&#xA;&#xD;&#xA;I Hope this helps!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;-Benjie" ContentLicense="CC BY-SA 3.0" />
  <row Id="24910" PostHistoryTypeId="2" PostId="15085" RevisionGUID="ad0e9a7a-9885-4fd0-9ee6-57c4bf00cae8" CreationDate="2012-08-15T17:16:33.623" UserId="4160" Text="One of the sounds that fascinates me the most is [the guitar in Lipps Inc.'s 1980's disco track *Funkytown*](http://www.youtube.com/watch?v=HRDc31Co8sI&amp;feature=player_detailpage#t=67s). &#xD;&#xA;&#xD;&#xA;The features I like about it are its attack and super rich mid-range. &#xD;&#xA;&#xD;&#xA;Any ideas on how it's done and/or how to recreate it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24911" PostHistoryTypeId="1" PostId="15085" RevisionGUID="ad0e9a7a-9885-4fd0-9ee6-57c4bf00cae8" CreationDate="2012-08-15T17:16:33.623" UserId="4160" Text="Getting the funk guitar sound from Funkytown" ContentLicense="CC BY-SA 3.0" />
  <row Id="24912" PostHistoryTypeId="3" PostId="15085" RevisionGUID="ad0e9a7a-9885-4fd0-9ee6-57c4bf00cae8" CreationDate="2012-08-15T17:16:33.623" UserId="4160" Text="&lt;guitar&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24913" PostHistoryTypeId="2" PostId="15086" RevisionGUID="6b278d8c-30aa-4123-a09a-d8b203927c48" CreationDate="2012-08-15T17:24:37.537" UserId="1055" Text="here is what my girlfriend build for me :)&#xD;&#xA;http://flic.kr/s/aHsjBqCJuw" ContentLicense="CC BY-SA 3.0" />
  <row Id="24914" PostHistoryTypeId="2" PostId="15087" RevisionGUID="a7a46701-84c2-43a9-814f-697b469bdbaa" CreationDate="2012-08-15T18:40:31.237" UserId="1216" Text="This is a sound design forum, we're mostly here to answer and ask questions about sound in relation to film,tv,games,radio,etc. You are welcome to do so as well, but questions about Funky guitar sound seem more appropriate for a guitar or funk forum I think.&#xD;&#xA;&#xD;&#xA;Good luck finding your answer&#xD;&#xA;&#xD;&#xA;Arnoud " ContentLicense="CC BY-SA 3.0" />
  <row Id="24915" PostHistoryTypeId="2" PostId="15088" RevisionGUID="64ce5388-bee8-4df5-b07e-77fa78cf45ab" CreationDate="2012-08-15T19:04:55.717" UserId="432" Text="try handling a soaking wet washcloth. you can get a lot of nice squishy sounds out those." ContentLicense="CC BY-SA 3.0" />
  <row Id="24916" PostHistoryTypeId="2" PostId="15089" RevisionGUID="d63cafa2-b704-48cc-b873-7ae51dbdd8d9" CreationDate="2012-08-15T19:50:39.437" UserId="3784" Text="I usually create an aux or 2 with my mandatory Design plug ins. My track layouts change per show, if theres heavy guns, or cars, etc Ill dedicate and cater tracks specifically for those key elements, and create LFE tracks for them as well. But I always put plugins on auxes and send from my DSN tracks and automate the sends and plug-ins accordingly.&#xD;&#xA;&#xD;&#xA;Hope this helps" ContentLicense="CC BY-SA 3.0" />
  <row Id="24917" PostHistoryTypeId="2" PostId="15090" RevisionGUID="f84a09f7-aa3d-49c9-9af9-3c7ec1ec173d" CreationDate="2012-08-16T00:27:44.243" UserId="6460" Text="I know what you mean. Sometimes I wish I had the ability to have track folders like in Logic, a feature that Pro Tools hasn't absorbed yet. I'm not sure if you're asking about a literal template file or just a standard structure for your workflow, but ultimately it's just about your preference.&#xD;&#xA;&#xD;&#xA;Let's say that I am designing a standard romantic comedy — chatter, music, standard foley, some basic hard effects, and one big car crash etc. I'm going to speak in Pro Tools terms, obviously this would vary with other DAWs. The stems for RomComX starring Shmatthew Shmcconaughey might, for example, break down like this:&#xD;&#xA;&#xD;&#xA;&lt;ul&gt;&#xD;&#xA;&lt;li&gt; Production dialog &lt;/li&gt;&#xD;&#xA;&lt;li&gt; ADR &lt;/li&gt;&#xD;&#xA;&lt;li&gt; Walla/Ambient Vocal &lt;/li&gt;&#xD;&#xA;&lt;li&gt; Environmental Atmos &lt;/li&gt;&#xD;&#xA;&lt;li&gt; Hard FX &lt;/li&gt;&#xD;&#xA;&lt;li&gt; Foley &lt;/li&gt;&#xD;&#xA;&lt;li&gt; Music &lt;/li&gt;&#xD;&#xA;&lt;/ul&gt;&#xD;&#xA;&#xD;&#xA;Here's how I handle large sound sequences that clutter up your individual sessions. Say that the car crash sits within the 'Hard FX' stem. To match the big crash on screen, I've piled together 35 tracks of metal impacts, scrapes, glass shattering, etc. To keep the Hard FX session from getting too cluttered, I'll bounce these 35 down to 5 sub-category stems: metal impacts, scrapes, glass shattering, and low-frequency material. Once I've bounced the individual 35, I hide and deactivate them. They're still there — each with a track name that looks like &quot;CC.glass1&quot; to make sure I know that it is a layer of the &quot;Car Crash&quot; — but now they're invisible and taking up no CPU power. Each time I make a new edit to the sequence, I'll re-activate the tracks and make the change, then bounce to the same 5 sub-stems &lt;b&gt; on a new playlist &lt;/b&gt;. This way, I can easily switch to the previous playlists to compare with old edits later on. &#xD;&#xA;&#xD;&#xA;For each major sound moment with unique track content, I will usually do one of these sub-mix setups. Once I hit the mixing stage, I can still control the balance between the layers of the car crash (and what gets sent to reverb and FX) without having to open up the 35 individual tracks.&#xD;&#xA;&#xD;&#xA;When setting up your mix session, you want to make things as intuitive as possible for yourself. For instance, I always leave insert slot 1 for an EQ/filter and insert 2 for a compressor/limiter/gate. Even if a track only has a delay on it, I will still stick the delay on insert slot 3. Same goes for sends: for RomComX, send 1 is always Room Reverb 1, send 2 is Room Reverb 2, send 3 is Sweetner Reverb, send 4 is delay, send 5 is special effect. This way you can start to associate a particular send with a type of sound, and you don't have to think twice to know which knob to reach for. &#xD;&#xA;&#xD;&#xA;And when you're in the heat of a creative spark, of course you're going to create a million tracks called &quot;audio1, audio2, ... audio47). Just make sure to go back and organize them.&#xD;&#xA;&#xD;&#xA;Let me know if that makes sense, I can't always explain it to my own brain ...&#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24918" PostHistoryTypeId="2" PostId="15091" RevisionGUID="b83b5a1d-6487-471c-afc0-195ef7b63ad4" CreationDate="2012-08-16T00:30:29.497" UserId="6499" Text="I guess just looking for tips on how to approach things.  For instance, I have some rough cuts of the picture currently in which I am trying to design some pretty crucial sounds to the story.  They are sounds in which the characters interacts and responds to, so the picture edit is still loose should I need a little more room here and there.  I am working very close with the director and editor.  &#xD;&#xA;&#xD;&#xA;I find that when on a roll and just free associating things, I end up duplicating regions and tracks many many times so that I have different &quot;sets&quot; of options.  The end result is a big mess of tracks, plugins, bussing etc, that all make sense at the time, but months/years down the line may make absolutely no sense.  &#xD;&#xA;&#xD;&#xA;I do not like having the &quot;design&quot; sandbox to be in my main mix/edit session because I play files and record in real time and just mess around with things, until something strikes me and then I start to fine tune it.  Many times this audio gets sent out of protools into another program and then ingested back in. &#xD;&#xA;&#xD;&#xA;End result being that I end up with different Layers that I am happy with and I bring those into the mix session. &#xD;&#xA;&#xD;&#xA;So I guess I am looking for tips on keeping things open and creative but within some kind of structure that makes sense.  This is my first project where this much actual design is a factor so I am curious as to what steps should be taken and what information needs to exist to make a decent workflow to the mix sessions.&#xD;&#xA;&#xD;&#xA;     " ContentLicense="CC BY-SA 3.0" />
  <row Id="24919" PostHistoryTypeId="2" PostId="15092" RevisionGUID="7d28eb25-a653-4ae8-a5e6-21f35ad357f5" CreationDate="2012-08-16T06:47:57.807" UserDisplayName="user49" Text="I agree it makes sense to not do serious sound manipulation/design work in your main edit session, for a number of reasons..... first being thats often its better to do serious manipulation at 96k, and then export 48k files to the main edit session....&#xD;&#xA;&#xD;&#xA;Second being that you might want literally hundreds of source files available to create a few specific sounds &amp; its easier to not clog up your main edit session with all the source material (eg for creating wooshes I might have literally all of Franks fire library &amp; all of Michaels two rocket libraries in my woosh creation session, along with a lot of other material.. and a few different plugin chains.... Certainly dont want all that in the edit session!)&#xD;&#xA;&#xD;&#xA;Another is that its valuable to be able to leave plugins enabled &amp; setup, especially when the sounds created are dependent on them, but they aren't the sort of plugs you want to carry in the main edit session... Especially as their automation may have no relationship to picture and they wont want to be conformed the way a main edit session does, when picture changes)&#xD;&#xA;&#xD;&#xA;And there is definitely merit in having a design session (and every version of tis evolution) archived for every major design element, simply because as VFX etc become finalised you may need to revisit it (and/or earlier versions of your designs) to create variations...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Having said all that, there are also times I want to work in context, and even in my big edit session I usually have a few disabled tracks down the bottom, one with Doppler on it and another with TL Space, Altiverb etc - these are bused to their own dedicated record tracks, so while editing if I come across something I want to doppler or convolve I just enable the source/plug track &amp; the destination/record track - print versions, &amp; disable the tracks again)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In my big edit session I mainly use VCAs for food groups, but thats for my own monitoring, since I dont mix ITB...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24920" PostHistoryTypeId="2" PostId="15093" RevisionGUID="f8f7b848-0831-43cb-8d25-31b052f2972a" CreationDate="2012-08-16T08:42:40.477" UserId="1225" Text="I played with a cloth soaked in the mix of cat food, ketchup and banana. The smell was awful, but i got nice squishes (i layered some &quot;thin&quot; sounds to get one big and juicy)." ContentLicense="CC BY-SA 3.0" />
  <row Id="24921" PostHistoryTypeId="2" PostId="15094" RevisionGUID="7abada0d-4bf1-462a-8b3b-b408afc4eb46" CreationDate="2012-08-16T08:53:45.527" UserId="3933" Text="The MPK's are great although the 61 key one is a bit too stiff for me. Speaking of AKAI, I own the little AKAI LPK25 and it is amazing when you just need an idea to mess around with when your travelling... which has since been &quot;upgraded&quot; to the MPK Mini mentioned above so I imagine the keys are exactly the same.&#xD;&#xA;&#xD;&#xA;Novation's Impulse range is also great value for money. I own the 61 key one and it blows the MPK61 (same size) out of the water. That's not to say the MPK's are bad, in fact I would buy an MPK Mini or an 88 key version (much better keys than the 61) if I had the money and needed them but my LPK and Impulse is perfect for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="24922" PostHistoryTypeId="2" PostId="15095" RevisionGUID="319a737b-159e-4664-b8a1-6ebfcc931f04" CreationDate="2012-08-16T16:58:32.070" UserId="2502" Text="Arnoud is right but I can tell you this much...&#xD;&#xA;&#xD;&#xA;it's a double tracked clean tone stratocaster.  probably played by David Rivkin.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24923" PostHistoryTypeId="2" PostId="15096" RevisionGUID="171dc0cb-6cc7-44e5-98a1-1a12d48fd8a5" CreationDate="2012-08-16T17:21:29.627" UserId="730" Text="I love iris.  Ive been doing a lot of sound design with it lately.  In fact I just did a bundle of scifi alarms with nothing but iris.  Check it out!&#xD;&#xA;&#xD;&#xA;https://getsoundeffects.com/#/products-page/sound-bundles/scifi-alarms/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24924" PostHistoryTypeId="2" PostId="15097" RevisionGUID="633ec4b2-e19b-4f29-b33d-260cbdc8de83" CreationDate="2012-08-16T20:07:22.880" UserId="3186" Text="What I would have given to work with those people! What an amazing learning experience." ContentLicense="CC BY-SA 3.0" />
  <row Id="24925" PostHistoryTypeId="2" PostId="15098" RevisionGUID="991d2ed0-4797-4aa1-887f-ced1aaba29d2" CreationDate="2012-08-16T20:08:07.850" UserId="4072" Text="I'm interested in digging deep into the science of sound and I was wondering if there are any must-read resources that anyone could point me to. I understand that this is a broad topic, so I am prepared to read a lot. Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24926" PostHistoryTypeId="1" PostId="15098" RevisionGUID="991d2ed0-4797-4aa1-887f-ced1aaba29d2" CreationDate="2012-08-16T20:08:07.850" UserId="4072" Text="I want to understand the science of sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="24927" PostHistoryTypeId="3" PostId="15098" RevisionGUID="991d2ed0-4797-4aa1-887f-ced1aaba29d2" CreationDate="2012-08-16T20:08:07.850" UserId="4072" Text="&lt;science&gt;&lt;physics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24928" PostHistoryTypeId="2" PostId="15099" RevisionGUID="8c2cc186-8f4b-4063-b8e8-e818d94bf0d6" CreationDate="2012-08-16T20:15:05.173" UserId="103" Text="[This][1] is a very interesting read.&#xD;&#xA;&#xD;&#xA;http://www.physicsclassroom.com/class/sound/&#xD;&#xA;&#xD;&#xA;[http://en.wikipedia.org/wiki/Sound][2]&#xD;&#xA;&#xD;&#xA;That should keep you busy for a short while.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/product-reviews/1408809761/ref=dp_top_cm_cr_acr_txt?ie=UTF8&amp;showViewpoints=1&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="24929" PostHistoryTypeId="2" PostId="15100" RevisionGUID="0d4048d2-84ae-4238-95c3-df2d4aee6283" CreationDate="2012-08-16T20:26:29.643" UserId="3186" Text="Michael, have you seen this video. I found this incredibly helpful for organization.&#xD;&#xA;&#xD;&#xA;https://vimeo.com/17294093" ContentLicense="CC BY-SA 3.0" />
  <row Id="24930" PostHistoryTypeId="2" PostId="15101" RevisionGUID="fbe048f9-a8b3-4d3f-841b-8d5b0d38365c" CreationDate="2012-08-16T20:43:07.947" UserId="418" Text="There are a few other Iris threads here as well, might have some good info in them. I use it quite a bit, and am in the process of creating some instrument libraries for it right now. &#xD;&#xA;&#xD;&#xA;It only does one thing, but it does it really well. It's far from perfect, but it's pretty darn good for a v1 of a product. Best thing to do is just download the demo, play around with it, feed some of your sounds into it, see if you like it. &#xD;&#xA;&#xD;&#xA;Kind of impossible to say whether it's worth it or a waste of time, all depends on what you do and if you need it. Some people will get a lot of use out of it, others will have no use for it, like anything else. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24931" PostHistoryTypeId="2" PostId="15102" RevisionGUID="fbd89d1a-4a09-486a-afdc-b6e98c95b21a" CreationDate="2012-08-16T20:47:27.470" UserId="418" Text="I am in NYC as well, and I know of a few good locations like this, mostly on Long Island. I actually did a library a few years ago of just these kinds of sounds, and most of the footage came from spots on the island. Fair warning; They aren't exactly &quot;open to the public&quot; though. ;) Will shoot you an email." ContentLicense="CC BY-SA 3.0" />
  <row Id="24932" PostHistoryTypeId="5" PostId="15102" RevisionGUID="d3167b24-3d3f-4085-8923-830b686efb94" CreationDate="2012-08-16T21:10:41.640" UserId="418" Comment="added content" Text="I am in NYC as well, and I know of a few good locations like this, mostly on Long Island. I actually did a library a few years ago of just these kinds of sounds, and most of the footage came from spots on the island. Fair warning; They aren't exactly &quot;open to the public&quot; though. ;) Will shoot you an email.&#xD;&#xA;&#xD;&#xA;*Almost forgot! http://abandonednyc.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24933" PostHistoryTypeId="2" PostId="15103" RevisionGUID="18c867f5-8a4d-4268-9bf4-9cef3cc39f55" CreationDate="2012-08-16T22:07:48.673" UserDisplayName="user49" Text="Its interesting but I'm not much of a fan of its filtering to be honest, even at 96k it seems to have a tonality to it that doesn't appeal to my ears/sensibility... I've used Kyma, Metasynth and AudioSculpt and AudioSculpt seems the most transparent (although I'm sure if Kyma is capable if you make the considerable time investment required)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24934" PostHistoryTypeId="2" PostId="15104" RevisionGUID="3ad2c109-bbb9-4be0-aec9-fea2ee1253e7" CreationDate="2012-08-17T01:00:48.970" UserId="517" Text="[Sound For Film and Television][1] by Tomlinson Holman goes quite extensively into the physics, psychoacoustics and practical applications of sound as related to the production and post production film industry. It's a good textbook to read and have as a reference.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Sound-Film-Television-Third-Edition/dp/0240813308/ref=sr_1_1?ie=UTF8&amp;qid=1345165068&amp;sr=8-1&amp;keywords=tomlinson+holman" ContentLicense="CC BY-SA 3.0" />
  <row Id="24935" PostHistoryTypeId="2" PostId="15105" RevisionGUID="09d2a48c-f912-43cb-bfa6-76e7be887ae3" CreationDate="2012-08-17T04:37:21.740" UserId="4115" Text="Look through Synth School's videos, there are some excellent explanations on how sound works.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?list=PL0CF041F562C5BE5E&amp;v=YsZKvLnf7wU" ContentLicense="CC BY-SA 3.0" />
  <row Id="24936" PostHistoryTypeId="2" PostId="15106" RevisionGUID="bd891f96-99b9-4a58-a116-efec4de0daa3" CreationDate="2012-08-17T07:41:22.167" UserId="3179" Text="Pure physics and mathematics textbooks.&#xD;&#xA;&#xD;&#xA;I find it very hard to approach the fundamental topic of &quot;science of sound&quot; from any other direction." ContentLicense="CC BY-SA 3.0" />
  <row Id="24937" PostHistoryTypeId="5" PostId="15106" RevisionGUID="8310c416-2379-4f3f-9573-c85ff657c3e2" CreationDate="2012-08-17T07:47:41.167" UserId="3179" Comment="added 10 characters in body" Text="Pure physics and mathematics textbooks/resources.&#xD;&#xA;&#xD;&#xA;I find it very hard to approach the fundamental topic of &quot;science of sound&quot; from any other direction." ContentLicense="CC BY-SA 3.0" />
  <row Id="24938" PostHistoryTypeId="2" PostId="15107" RevisionGUID="e3a56735-4a0a-4432-a87f-efd602ad95c4" CreationDate="2012-08-17T13:14:03.607" UserId="1185" Text="I find a good understanding of acoustic principles a vital aspect for sound design.  I recommend [Master Handbook of Acoustics][1] to my students. Quit scientific, but gives some great descriptions of the principles.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Master-Handbook-Acoustics-Alton-Everest/dp/0071603328/ref=sr_1_1?ie=UTF8&amp;qid=1345209194&amp;sr=8-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="24939" PostHistoryTypeId="2" PostId="15108" RevisionGUID="45eed5d1-ace3-4798-9a40-2e9ccc01a7f6" CreationDate="2012-08-17T16:18:52.043" UserId="6454" Text="If you are interested in more Synthesis techniques (which have quite a bit of physics and acoustic principles).  There are a few &quot;bibles&quot;:&#xD;&#xA;&#xD;&#xA;[The Computer Music Tutorial by Curtis Roads][1]&#xD;&#xA;&#xD;&#xA;also:&#xD;&#xA;&#xD;&#xA;[The CSound Book and by Richard Boulanger][2] (focusing on using c-sound, but the fundamentals can be applied to any synthesis technique, I studied with Dr. B and this book is a collection of essays on different techniques of synthesis, DSP, etc from some of the pioneers of digital audio)&#xD;&#xA;&#xD;&#xA;Then for Audio in general (especially digital):&#xD;&#xA;&#xD;&#xA;[Mastering Audio by Bob Katz][3] is a must &#xD;&#xA;&#xD;&#xA;Good Luck!!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Computer-Music-Tutorial-Curtis-Roads/dp/0262680823/ref=sr_1_fkmr0_1?s=books&amp;ie=UTF8&amp;qid=1345220253&amp;sr=1-1-fkmr0&amp;keywords=somputer+music+tutorial+book&#xD;&#xA;  [2]: http://www.amazon.com/Csound-Book-Perspectives-Processing-Programming/dp/0262522616/ref=sr_1_2?s=books&amp;ie=UTF8&amp;qid=1345220156&amp;sr=1-2&amp;keywords=csound+book&#xD;&#xA;  [3]: http://www.focalpress.com/books/details/9780240808376/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24940" PostHistoryTypeId="2" PostId="15109" RevisionGUID="6f6fdd55-e922-4331-8ebc-a57acaf4b735" CreationDate="2012-08-17T17:24:14.727" UserId="6411" Text="Along with the more specific squishes everyone else has recommended, I've had great success with a can of Hormel Chili. Open one end (fully remove lid), turn the can upside down, allow gravity to pull the contents out slowly onto a plate, bowl, or pan. Repack the can with the chili and go for take 2. The first take is usually the longest due to the canning process. Subsequent takes get shorter and shorter as more air is in the can when you pack it yourself. But you can get some nice, sloppy sounds that would be a great layer underneath the specifics." ContentLicense="CC BY-SA 3.0" />
  <row Id="24941" PostHistoryTypeId="2" PostId="15110" RevisionGUID="255ffd5e-2465-4179-af42-85f25d026a73" CreationDate="2012-08-17T20:21:17.573" UserId="2502" Text="Iris has been finding it's way into more and more of my work in various ways. Aside from the musical and sound design strengths, I just used it to quickly create long even room tone from a very short clip of production audio for a spot i'm mixing.  i was able to quickly filter and dial it to taste but still retain the matching ability to the room noise in the production dialog that is still present after standard dialog cleaning techniques. smooth like butter.&#xD;&#xA;&#xD;&#xA;b&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24944" PostHistoryTypeId="2" PostId="15112" RevisionGUID="93885433-ee67-4d3b-9a92-a65b92c38888" CreationDate="2012-08-17T23:15:22.327" UserId="4163" Text="The Funkytown guitar sound came from a Schecter Strat rented from Knute Koupe in Minneapolis. It was played by Tom Riopelle from the band Fairchild. David Rivkin was the engineer and Steven Greenberg the producer. It was recorded at Sound 80 in Mpls, Studio 2 - where Dylan recorded Blood On The Tracks. Many people have asked about the sound but we want to keep it a secret. We can tell you this...it was achieved with hard work and experimentation NOT taken from a bank of sounds. Ha! " ContentLicense="CC BY-SA 3.0" />
  <row Id="24945" PostHistoryTypeId="2" PostId="15113" RevisionGUID="84c93780-bc3c-4c9d-9831-651773ef8766" CreationDate="2012-08-17T23:29:11.750" UserId="3754" Text="SM7B type capsule shock mounted within the steering wheel. all gyroscopes and suspended :P" ContentLicense="CC BY-SA 3.0" />
  <row Id="24946" PostHistoryTypeId="2" PostId="15114" RevisionGUID="a6b3b80e-3bd3-4a0b-9f7b-96b62cc76d40" CreationDate="2012-08-18T04:12:55.763" UserId="3104" Text="I'm going to upgrade from my original Mbox 2 to an Mbox 3 soon. I was browsing around the internet for a bunch of stuff when I stumbled upon this. &#xD;&#xA;&#xD;&#xA;http://www.blacklionaudio.com/content.php?p=47&#xD;&#xA;&#xD;&#xA;I wanted to know if anyone around here has had any work done with them and if it was really worth getting the upgraded components in this set up. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24947" PostHistoryTypeId="1" PostId="15114" RevisionGUID="a6b3b80e-3bd3-4a0b-9f7b-96b62cc76d40" CreationDate="2012-08-18T04:12:55.763" UserId="3104" Text="Black Lion Audio Mods?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24948" PostHistoryTypeId="3" PostId="15114" RevisionGUID="a6b3b80e-3bd3-4a0b-9f7b-96b62cc76d40" CreationDate="2012-08-18T04:12:55.763" UserId="3104" Text="&lt;converter&gt;&lt;mbox&gt;&lt;pro-tools&gt;&lt;modification&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24949" PostHistoryTypeId="2" PostId="15115" RevisionGUID="00d56419-6fbc-4d18-b95e-b55f0b408638" CreationDate="2012-08-18T22:14:46.133" UserId="18160" Text="I don't know about the MBox mods, but I have used their 192 I/Os before and they sound extremely better than the stock DigiDesign I/Os I own before I modded them..&#xD;&#xA;&#xD;&#xA;And I tested their new 192s against the &quot;Avid&quot; ones,&#xD;&#xA;&#xD;&#xA;and guess what:&#xD;&#xA;&#xD;&#xA;Looks like Avid put the same I/O circuitry in the &quot;new&quot; 192 I/Os that they had in their 003s...&#xD;&#xA;&#xD;&#xA;Black Lion's sound 10X better.&#xD;&#xA;&#xD;&#xA;I would suggest getting a demo unit before you commit to anything, but I highly recommend them.&#xD;&#xA;&#xD;&#xA;And, I know a mixer who was approached by Avid saying &quot;We'll give you brand new 192 I/Os for free in your mixroom if you say you use them in a magazine article&quot; and the answer was an emphatic NO. And, he uses exclusively the Black Lions on his line." ContentLicense="CC BY-SA 3.0" />
  <row Id="24950" PostHistoryTypeId="5" PostId="15115" RevisionGUID="8da854fd-9667-4243-aa2e-4a6d17ecda37" CreationDate="2012-08-18T23:10:47.747" UserId="18160" Comment="added 116 characters in body" Text="I don't know about the MBox mods, but I have used their 192 I/Os before and they sound extremely better than the stock DigiDesign I/Os I own before I modded them..&#xD;&#xA;&#xD;&#xA;And I tested their new 192s against the &quot;Avid&quot; ones,&#xD;&#xA;&#xD;&#xA;and guess what:&#xD;&#xA;&#xD;&#xA;Looks like Avid put the same I/O circuitry in the &quot;new&quot; 192 I/Os that they had in their 003s...&#xD;&#xA;&#xD;&#xA;Black Lion's sound 10X better.&#xD;&#xA;&#xD;&#xA;I would suggest getting a demo unit before you commit to anything, but I highly recommend them.&#xD;&#xA;&#xD;&#xA;And, I know a mixer who was approached by Avid saying &quot;We'll give you brand new 192 I/Os for free in your mixroom if you say you use them in a magazine article&quot; and the answer was an &#xD;&#xA;emphatic NO. And, he uses exclusively the Black Lions on his line.&#xD;&#xA;&#xD;&#xA;But, as always, try it for yourself and take no-one's word except your own to determine if you like it or not." ContentLicense="CC BY-SA 3.0" />
  <row Id="24951" PostHistoryTypeId="5" PostId="15115" RevisionGUID="8a3a810c-fe30-4b2d-a95c-13c8ca72ee12" CreationDate="2012-08-19T00:59:04.777" UserId="18160" Comment="deleted 4 characters in body" Text="I don't know about the MBox mods, but I have used their 192 I/Os before and they sound extremely better than the stock DigiDesign I/Os I own before I modded them..&#xD;&#xA;&#xD;&#xA;And I tested their new 192s against the &quot;Avid&quot; ones,&#xD;&#xA;&#xD;&#xA;and guess what:&#xD;&#xA;&#xD;&#xA;Looks like Avid put the same I/O circuitry in the &quot;new&quot; 192 I/Os that they had in their 003s...&#xD;&#xA;&#xD;&#xA;Black Lion's sound 10X better.&#xD;&#xA;&#xD;&#xA;I would suggest getting a demo unit before you commit to anything, but I highly recommend them.&#xD;&#xA;&#xD;&#xA;And, I know a mixer who was approached by Avid saying &quot;We'll give you brand new 192 I/Os for free in your mixroom if you say you use them in a magazine article&quot; and the answer was an &#xD;&#xA;emphatic NO. And, he uses Black Lions exclusively on his line.&#xD;&#xA;&#xD;&#xA;But, as always, try it for yourself and take no-one's word except your own to determine if you like it or not." ContentLicense="CC BY-SA 3.0" />
  <row Id="24955" PostHistoryTypeId="2" PostId="15117" RevisionGUID="ae6ec72e-2409-46bc-a2c4-6e441f9c4a43" CreationDate="2012-08-19T17:55:42.780" UserId="4116" Text="Hei i think the best thing you can get for under 200,- is the Calumet BP1500. Plenty space for blimp, mic, recorder, cablex etc. and a laptop." ContentLicense="CC BY-SA 3.0" />
  <row Id="24956" PostHistoryTypeId="2" PostId="15118" RevisionGUID="f0ffe443-2ab2-4f07-bcd9-d735df192461" CreationDate="2012-08-19T21:07:41.360" UserId="4164" Text="So far I have created the rumble of the cart and have squeaks of the wheels on the track.  It's the electric whir of the motor that is giving me trouble.  I need the sound to be versatile as the trolley makes frequent stops.  With every source file I seem to run into the same problem, the sound turns into white noise.  I've tried using recordings of a drill and a jig saw, I went to new orleans and recorded the trolley, I've tried using recording of motors from soundcloud and I always end up with a result that sounds more like an airplane than the trolley motor.  Here's a video for reference http://www.youtube.com/watch?v=DtHROGTHiSk&amp;feature=relmfu .  If anyone has suggestions please let me know, thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="24957" PostHistoryTypeId="1" PostId="15118" RevisionGUID="f0ffe443-2ab2-4f07-bcd9-d735df192461" CreationDate="2012-08-19T21:07:41.360" UserId="4164" Text="What advice do you have for creating the sound of a trolley motor?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24958" PostHistoryTypeId="3" PostId="15118" RevisionGUID="f0ffe443-2ab2-4f07-bcd9-d735df192461" CreationDate="2012-08-19T21:07:41.360" UserId="4164" Text="&lt;motor-sounds&gt;&lt;engine&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24959" PostHistoryTypeId="2" PostId="15119" RevisionGUID="ff9a9778-619e-4f7f-b714-8248ba3dfa44" CreationDate="2012-08-20T05:53:20.767" UserDisplayName="user80" Text="I would start by looking at underground trains like London's tube.  The trains on the tube are slightly more modern, but if you pitch shift them down a little I think they will work once you add all of the street and track rumble.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=n8lApzXFvOQ&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24960" PostHistoryTypeId="2" PostId="15120" RevisionGUID="e1e2b566-239b-4e58-a095-358ef54f5885" CreationDate="2012-08-20T07:04:41.177" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;the 'science of sound' of sound is an incredible wide area. I'll recommend some books too, but first I think you need to clarify what you will do. If you start thinking about a career in the audio-business, I'd recommend to you to get an overview what you're interested in. Because you have posted here, you probably are interested in filmsound and also this field is a wide area by itself: -Location Sound -Post Production Sound -Sound Editing -Sound Design -Foley -ADR -Music Recording -Music Programming -Studio Desiging -Acoustic Engineer and so on.&#xD;&#xA;&#xD;&#xA;I'd recommend to all folks who are interesting in this jobs to go out and have a look. Call the guys in your environment and ask them if you can work as a trainee for some days. I'd recommend to ask a location sound engineer, if you can come to the set. Everything you see in real, helps you can decide if you really want to do it for a longer time. Filmmaking as a sound editor is not always having fun in recording some fancy stuff, it also means to sit alone for weeks in front of a computer, chopping sounds. Find out, if you like/can do that or not.&#xD;&#xA;&#xD;&#xA;For film sound I'd really recommend you this books: 'Audio in Media' by Stanley R. Alten: This is your book! it shows the principles of sound, like 'what is a sound', 'what is a sine', 'how does we hear', also it goes into music theory, acousitic, live sounds, orchestra sounds, film sounds, studio design, microphones, signal flow and a lot more.&#xD;&#xA;&#xD;&#xA;'Sound on film' by Vincent Lobrutto: Great book with 25 interviews with creators of film sound like Walter Murch, Jim Webb, Frank Serafine, Gary Rydstorm and more Also check the other books from Lobrutto.&#xD;&#xA;&#xD;&#xA;'Principles of Digital Audio' it's a hard peace! If you have understand it, you can give us some lesions in digital converting and how it works.&#xD;&#xA;&#xD;&#xA;I hope this helps for the moment. One important thing is: LEARN TO LISTEN! If you're in business with sound, you need to have an exact imagination how something should sound. For example, a rock-drumset sounds different than other styles. This seems obvious, but if I ask you, what the difference is, would you know it? As a specialist for sounds, you're not listening music anymore, you're listening to a mix of single elements: bass drum, snare, hat, toms, percussions, guitar, bass guitar, effects, reverb and so on. Same for film: backgrounds, foregrounds, foleys, effects, voices, music, atmospheres.... an how it's prepares. It's difficult to explain in english, but I hope you know what I mean.&#xD;&#xA;&#xD;&#xA;best&#xD;&#xA;&#xD;&#xA;Guido https://www.soundeffects.ch/" ContentLicense="CC BY-SA 3.0" />
  <row Id="24961" PostHistoryTypeId="2" PostId="15121" RevisionGUID="22d93255-6f9b-4c9a-952f-c42cf575f807" CreationDate="2012-08-20T09:12:35.513" UserId="993" Text="I use a belt mounted pouch (similar to this: http://www.combatsportsupply.com/voodootacticalmolledumppouch.aspx) that fits the Zoom perfectly - as well as having side pockets for carrying mics/looping cables through. This is great for both boom swinging and field recording as it allows for great mobility and means at any time you can be recording within seconds. For the shotgun/blimp you can just clip a large carabiner to your belt and loop the blimp handle in there." ContentLicense="CC BY-SA 3.0" />
  <row Id="24962" PostHistoryTypeId="2" PostId="15122" RevisionGUID="8922816f-c130-42ba-b398-76a386dc0723" CreationDate="2012-08-20T10:14:09.247" UserId="4166" Text="Rifle or shot gun microphones are a must in all applications but the advent of lepal or lav microphones have really helped in situations ,for example an extreme wide or wide shot and at the end of the day you just can not get that boom in there that Lapel is helping to pick up that dialogue even if its a guide track its a pretty good decent guide track which will help the person who is doing ADR in post &#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;Where Lepal and Lavlier mics come into there own is for live television application especially for Multi cam shoots  and sports television &#xD;&#xA;&#xD;&#xA; Boom for film as much as possiable lepal is secondary  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24963" PostHistoryTypeId="2" PostId="15123" RevisionGUID="5954b4a9-ab82-4e98-a4b6-2bbfba7e5246" CreationDate="2012-08-20T16:50:23.950" UserId="3989" Text="So I contacted a Solicitor who basically said it was a grey area and said fairly much the same as Chuck. So I contacted Renault, and they said that they will give me permission to use the name for a limited time." ContentLicense="CC BY-SA 3.0" />
  <row Id="24968" PostHistoryTypeId="2" PostId="15125" RevisionGUID="65525c61-b1de-4f20-8fbf-cf3e29296fc3" CreationDate="2012-08-21T06:26:51.237" UserId="455" Text="Ok I just tried something and it worked almost exactly for what you need.  What popped into my head first was that the &quot;motor&quot; sounds kind of like a mid frequency drone, almost like a stringed instrument changing in pitch.  I opened up iris, loaded the violin sample, found a neutral sounding note and slowly modulated the pitch up and down.  If you have a midi keyboard and some kind of sampler try this out.  This will also let you perform the sound to picture for a better result.&#xD;&#xA;&#xD;&#xA;I would layer or create some kind of sound that is not exactly a violin, but that sounds closer to that electronic hum/ whine.  When you find a sound you like, layered in with the rattles, bells and other ambiences it should work out nicely." ContentLicense="CC BY-SA 3.0" />
  <row Id="24969" PostHistoryTypeId="2" PostId="15126" RevisionGUID="13125fd9-1753-47e4-85d6-82e7586c9d2c" CreationDate="2012-08-21T08:58:39.897" UserId="4169" Text="Hi everyone!&#xD;&#xA;I need some sounds of really big iceberg crackling. I found some ice cracks in the sound ideas library but it's not enough.&#xD;&#xA;I tried also to pitch down some wood tear sounds and sound good.&#xD;&#xA;Anyone know how to create this sounds? I thought about goin to a mine and break stones, but i am not sure it will work.&#xD;&#xA;What I need is something like when the earth is breaking in a earthquake, big glaciars, big pieces of ice melting.&#xD;&#xA;It has to be super-big.&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="24970" PostHistoryTypeId="1" PostId="15126" RevisionGUID="13125fd9-1753-47e4-85d6-82e7586c9d2c" CreationDate="2012-08-21T08:58:39.897" UserId="4169" Text="iceberg crackling" ContentLicense="CC BY-SA 3.0" />
  <row Id="24971" PostHistoryTypeId="3" PostId="15126" RevisionGUID="13125fd9-1753-47e4-85d6-82e7586c9d2c" CreationDate="2012-08-21T08:58:39.897" UserId="4169" Text="&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24972" PostHistoryTypeId="2" PostId="15127" RevisionGUID="2c336b76-c64f-4c2d-8fca-54b9514e1e25" CreationDate="2012-08-21T10:04:21.943" UserId="863" Text="Stick a contact/hydro mic in a plastic bowl of water and put it in your freezer and record the sound of it freezing OR once frozen take it out and pour water on it to have it start cracking. Sounds quite good, did it at University." ContentLicense="CC BY-SA 3.0" />
  <row Id="24973" PostHistoryTypeId="2" PostId="15128" RevisionGUID="0d92ea2f-cac3-4dba-8738-a88a2496c763" CreationDate="2012-08-21T12:34:59.773" UserId="62" Text="One word - thunder. Works a treat." ContentLicense="CC BY-SA 3.0" />
  <row Id="24974" PostHistoryTypeId="2" PostId="15129" RevisionGUID="108632f7-3307-4092-aa00-6d9b6629a5cf" CreationDate="2012-08-21T14:14:12.013" UserId="194" Text="always funny to see different sound effects editors discover the same sound.  &#xD;&#xA;&#xD;&#xA;I know that early in my career I thought that I was being **very** creative and original when I'd find a great library sound that worked perfectly in a given moment, then feel sick to my stomach when I'd hear that same effect cut in by someone else in a similar spot on a completely different project.  There's a kid laugh that's in every kid spot, and a certain set of doors that run rampant through otherwise very good TV shows (looking at you Mad Men and Dexter)&#xD;&#xA;&#xD;&#xA;I think the rise of the microlibraries is mitigating that somewhat, but some of the more popular ones will inevitably become widely adopted enough that a few of us will &quot;discover&quot; the same gems independently even in those.&#xD;&#xA;&#xD;&#xA;we can't always record all of our sound effects, but I think games have more latitude to do so because they're dealing with longer timelines and deeper levels of integration.  &#xD;&#xA;&#xD;&#xA;(I'm assuming that the point of the post is to show that people are using the same effect, not to request its location so that you can use it too.)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24975" PostHistoryTypeId="2" PostId="15130" RevisionGUID="d401ccb1-ecc9-4724-90ce-c3204de231d6" CreationDate="2012-08-21T15:29:26.647" UserId="3444" Text="I like Ian's suggesting of using thunder. Some pitch down lightning cracks combines with earthquake, volcano or avalanche rumbles for the low end. I'd also say rock crumbles work well. You may need to filter some of the higher frequencies so you don't hear so much of the debris and stones. If you have access to sound ideas try layering some of the footstep scuffs and impact to get snow / ice textures as well.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;Alex" ContentLicense="CC BY-SA 3.0" />
  <row Id="24976" PostHistoryTypeId="2" PostId="15131" RevisionGUID="893b9da5-d4e1-4b10-820d-4fe67a56c9b1" CreationDate="2012-08-21T16:03:26.900" UserId="6460" Text="For the more close-up crackling sound, get your hands on some styrofoam peanuts and a very quiet mic/room. Crank up the gain and gather a couple handfulls. Very slowly squeeze and release the bunches of peanuts — it creates a surprisingly realistic mimicry of the crackle and creak of ice. &lt;a href=&quot;http://soundcloud.com/mattrglenn/the-great-frost-sample&quot;&gt;HERE&lt;/a&gt; is a sample. It's relatively untreated, but you could play with pitch-shifting and filters a bit more than I did.&#xD;&#xA;&#xD;&#xA;Combine that with various cracks, booms and thunder (as Ian mentioned) then send them all in various amounts to a reverb with a hi-cut filter. This will help create a sense of resonance through a large body.&#xD;&#xA;&#xD;&#xA;Good luck!&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="24977" PostHistoryTypeId="2" PostId="15132" RevisionGUID="f3fb8139-ea61-4814-a457-b81aef113765" CreationDate="2012-08-21T16:54:58.580" UserId="2368" Text="Hi all, &#xD;&#xA;&#xD;&#xA;I'm working on a short horror film at the moment and I have quite a gruesome scene where a person falls face first onto a BBQ which results in some face melting gruesomeness. I've already made a start on it and have some nice effects in place but I just thought i'd see if you guys could give me anymore ideas for this scene and how you would approach it. &#xD;&#xA;&#xD;&#xA;To set the scene the kid falls face first onto the bbq and then pulls away melting and tearing his skin in the process. &#xD;&#xA;&#xD;&#xA;Thank, &#xD;&#xA;&#xD;&#xA;Adam " ContentLicense="CC BY-SA 3.0" />
  <row Id="24978" PostHistoryTypeId="1" PostId="15132" RevisionGUID="f3fb8139-ea61-4814-a457-b81aef113765" CreationDate="2012-08-21T16:54:58.580" UserId="2368" Text="BBQ Horror madness" ContentLicense="CC BY-SA 3.0" />
  <row Id="24979" PostHistoryTypeId="3" PostId="15132" RevisionGUID="f3fb8139-ea61-4814-a457-b81aef113765" CreationDate="2012-08-21T16:54:58.580" UserId="2368" Text="&lt;horror&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24980" PostHistoryTypeId="2" PostId="15133" RevisionGUID="df4cde20-817e-4e12-8beb-de9711b59c8a" CreationDate="2012-08-21T16:57:14.890" UserId="730" Text="I just made an Ice bundle last week if you want to check it out.  It has a ton of ice cracking , crushing and chunks of ice sliding on each other.  Check it out, maybe this will help you.&#xD;&#xA;&#xD;&#xA;https://getsoundeffects.com/#/products-page/sound-bundles/ice/  " ContentLicense="CC BY-SA 3.0" />
  <row Id="24981" PostHistoryTypeId="2" PostId="15134" RevisionGUID="2ac4d300-a0cc-4d6b-b6b5-b2c8d4a33345" CreationDate="2012-08-21T17:02:44.590" UserId="730" Text="Watch the scene in terminator 2 where Arnie throws the biker on the grill because he wont give him his clothes.  Its near the beginning of the movie.  The sound in it was really good and made you feel like the guy got burned really bad.  The sounds were not over the top but it conveyed the message.&#xD;&#xA;&#xD;&#xA;Benjie" ContentLicense="CC BY-SA 3.0" />
  <row Id="24982" PostHistoryTypeId="2" PostId="15135" RevisionGUID="99585067-6961-4975-aa11-eb5e0cdac1a2" CreationDate="2012-08-21T21:04:40.493" UserId="4122" Text="Man, this was extremely helpful; thanks all for taking the time to be so detailed and forthcoming!&#xD;&#xA;&#xD;&#xA;Tom" ContentLicense="CC BY-SA 3.0" />
  <row Id="24983" PostHistoryTypeId="2" PostId="15136" RevisionGUID="b904f919-0796-4c86-a7da-e61f4e4c4a4b" CreationDate="2012-08-22T06:15:40.327" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;These kind of sounds are so much fun to make. I have done this before and I used anti-acid powder for some of the burn sound. I put it in a plate to make it breath with some water. I also added a fried egg and rice falling through my hand to show that the heat is burning through his skin. For the tearing off, I used the same fried egg which I allowed to over cook and stick to the pan and I then tore it off- really yummy and very effective. I also added the general raw meat (ie raw and cooked chicken skin being tore off the meat. A hot iron or piece of metal in about 10mm of water is also very effective. Experiment and have fun!&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="24984" PostHistoryTypeId="2" PostId="15137" RevisionGUID="e5b4cc7c-0e16-4b04-a7e9-b031059a292f" CreationDate="2012-08-22T06:36:47.040" UserId="1178" Text="add some fiber or cloth tear sounds to sweeten the top end, works surprisingly well on the kind of sound you were describing" ContentLicense="CC BY-SA 3.0" />
  <row Id="24985" PostHistoryTypeId="2" PostId="15138" RevisionGUID="8a14837e-14c0-4b8c-8a52-c2c3152064b2" CreationDate="2012-08-22T08:59:28.810" UserId="1055" Text="i know hydrophones are used for this technique, but after seeing this: http://audiocookbook.org/sound_design/sounds-from-a-contact-mic-frozen-in-water-ice/&#xD;&#xA;i thought, is it safe for contact mic to be in water? why do people use hydrophones then and not contact mics for underwater recordings? " ContentLicense="CC BY-SA 3.0" />
  <row Id="24986" PostHistoryTypeId="1" PostId="15138" RevisionGUID="8a14837e-14c0-4b8c-8a52-c2c3152064b2" CreationDate="2012-08-22T08:59:28.810" UserId="1055" Text="contact mic in water?" ContentLicense="CC BY-SA 3.0" />
  <row Id="24987" PostHistoryTypeId="3" PostId="15138" RevisionGUID="8a14837e-14c0-4b8c-8a52-c2c3152064b2" CreationDate="2012-08-22T08:59:28.810" UserId="1055" Text="&lt;contact-mic&gt;&lt;water&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="24988" PostHistoryTypeId="2" PostId="15139" RevisionGUID="7c2c0d62-8e0c-4578-9c09-afd1dc8ceabe" CreationDate="2012-08-22T09:16:30.240" UserId="4141" Text="You can quite easily make a contact mic yourself if you can get a piezo crystal speaker element such as this one from Radio Shack.   &#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://RSK.imageg.net/graphics/product_images/pRS1C-2160311w345.jpg&#xD;&#xA;&#xD;&#xA;I made one for recording the sound of ice melting. I soldered the leads to a 1/4&quot; phone jack and sealed the cracks using a hot glue gun. Then I froze it in a bowl of water and recorded the sound of the ice cracking as I poured hot water over it. It did quite a good job of recording the cracking, just make sure to use a good quality amplifier. I'd also suggest buying a dozen or so and freezing them all, it's easy to mess up and the cracking doesn't last long for each. Good luck. " ContentLicense="CC BY-SA 3.0" />
  <row Id="24992" PostHistoryTypeId="2" PostId="15141" RevisionGUID="beb7530a-4bcd-42c0-a36a-9fc6e4dec1f4" CreationDate="2012-08-22T14:03:27.517" UserId="769" Text="Quick and related question —&#xD;&#xA;&#xD;&#xA;I have a Mix Pre which I'm using with a Marantz PMD-620 and Tascam DR-40.  However, when I'm running the Mix Pre on NiMH rechargeable batteries (2450mAh), I'm getting about five or ten minutes out of it (supplying 48v phantom power to one microphone) before it starts to crap out.&#xD;&#xA;&#xD;&#xA;Are there known issues with using these kinds of batteries with this mixer; is mine a dud; is something else amiss?  Do I need to remove them when the unit's powered off?  I've tried it with two sets of batteries.  It's not their fault." ContentLicense="CC BY-SA 3.0" />
  <row Id="24993" PostHistoryTypeId="2" PostId="15142" RevisionGUID="7b04e92c-8f60-4b94-849c-8ab3f4d58c71" CreationDate="2012-08-22T14:53:23.503" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;You also could use a SM58 or any another microphone, put a condom over it, make a lot of gaffertape around it until it's dense and hold it in the water. (I would suggest to take your cheapest microphone :-).&#xD;&#xA;A hydrophone is a specialized microphone for the use in the water. For example, if you drive thousands of miles to the north pole and want to record something special under water, you look quite bad if your SM58 in the condom get wet and breaks of the salt water. You look much worse if your expansive Neumann breaks and the most bad thing is, you can't make records anymore and you don't have a music shop around the corner. You can forget your records or drive back an get another one.&#xD;&#xA;&#xD;&#xA;So if you have a hydrophone, you make your underwater record and get great results - hopefully. It's a kind of safety and it probably makes a clearer record. It's expansive but for important records I would really consider about it.&#xD;&#xA;&#xD;&#xA;It always depends on the situation. ...and I'd love to have one.&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Guido&#xD;&#xA;https://www.soundeffects.ch" ContentLicense="CC BY-SA 3.0" />
  <row Id="24994" PostHistoryTypeId="2" PostId="15143" RevisionGUID="0801e1c5-1882-4135-9c56-a80e98d85e87" CreationDate="2012-08-22T16:21:21.467" UserId="4171" Text="Just throw a tiny but of water in a fat pan!! But caution it will spread things away :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="24995" PostHistoryTypeId="2" PostId="15144" RevisionGUID="a8950428-b276-40f8-9156-941a190b4065" CreationDate="2012-08-22T17:17:57.290" UserId="4172" Text="On this episode of Weapons of Mass Production (Bammo), host Kevin Good tests boom vs lav head to head.  See for yourself! http://www.youtube.com/watch?v=O4Ed0uqkdTs" ContentLicense="CC BY-SA 3.0" />
  <row Id="24999" PostHistoryTypeId="2" PostId="15146" RevisionGUID="5022fe12-53e4-4361-acb7-6b2e36c3d6ee" CreationDate="2012-08-22T19:07:06.913" UserId="6519" Text="Check my [Ice creaking][1] Sound FX.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.pond5.com/sound-effect/5165125/ice-creaking.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="25000" PostHistoryTypeId="2" PostId="15147" RevisionGUID="78d7072d-433e-47e2-bc8b-16f8cf50e341" CreationDate="2012-08-22T21:53:49.157" UserId="4141" Text="I need to create a somewhat cartoony sound of a small vehicle (truck) engine idling, speeding up, and coming to an abrupt stop. Short of recording a vehicle, is there any way I can synthesize a basic motor sound/loop? It doesn't have to be incredibly realistic, more like something you would hear in Mario Kart. Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25001" PostHistoryTypeId="1" PostId="15147" RevisionGUID="78d7072d-433e-47e2-bc8b-16f8cf50e341" CreationDate="2012-08-22T21:53:49.157" UserId="4141" Text="Creating a car engine sound " ContentLicense="CC BY-SA 3.0" />
  <row Id="25002" PostHistoryTypeId="3" PostId="15147" RevisionGUID="78d7072d-433e-47e2-bc8b-16f8cf50e341" CreationDate="2012-08-22T21:53:49.157" UserId="4141" Text="&lt;design&gt;&lt;engine&gt;&lt;synthesis&gt;&lt;car&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25007" PostHistoryTypeId="2" PostId="15149" RevisionGUID="e3766693-fc30-4e1d-b4ac-5e6ce80e6c61" CreationDate="2012-08-23T00:25:17.550" UserId="432" Text="Try this out:&#xD;&#xA;&#xD;&#xA;[youtube]m40ZAfJb4f8[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="25012" PostHistoryTypeId="2" PostId="15151" RevisionGUID="df1e80f6-e0af-479b-9801-66635f064d1c" CreationDate="2012-08-23T09:12:01.913" UserId="4174" Text="Thank you all!! You have been very helpfull.&#xD;&#xA;I will try to do some recordings with styrofoam peanuts and  breaking walnuts so far.&#xD;&#xA;I will let you know the results.&#xD;&#xA;I share with you  a recording of a big piece of plastic breaking that creaks very good also. &#xD;&#xA;&#xD;&#xA; http://soundcloud.com/arrufat/arrufx-creak-plastic-pitched&#xD;&#xA;&#xD;&#xA;And I add a cool sound of ice crakling that sounds like laser (never imagined that could sound this way!):&#xD;&#xA;http://silentlistening.wordpress.com/2008/05/09/dispersion-of-sound-waves-in-ice-sheets/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25013" PostHistoryTypeId="2" PostId="15152" RevisionGUID="6698596e-942a-426a-9cbe-dab6c0916e63" CreationDate="2012-08-23T11:45:26.070" UserId="4079" Text="I'm wondering which forum do you prefer that covers both sound design and music composition?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25014" PostHistoryTypeId="1" PostId="15152" RevisionGUID="6698596e-942a-426a-9cbe-dab6c0916e63" CreationDate="2012-08-23T11:45:26.070" UserId="4079" Text="What's your favorite forum that combines the passions of Sound Design AND Music Composition?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25015" PostHistoryTypeId="3" PostId="15152" RevisionGUID="6698596e-942a-426a-9cbe-dab6c0916e63" CreationDate="2012-08-23T11:45:26.070" UserId="4079" Text="&lt;composition&gt;&lt;community&gt;&lt;forum&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25017" PostHistoryTypeId="2" PostId="15153" RevisionGUID="7f4a9f3f-38b6-4a27-b33c-97d857facb93" CreationDate="2012-08-24T05:21:39.620" UserId="6435" Text="I've used a soldering iron on a pork chop for flesh-burning sounds before. Can sound pretty cool." ContentLicense="CC BY-SA 3.0" />
  <row Id="25018" PostHistoryTypeId="2" PostId="15154" RevisionGUID="eb3f58d6-1911-4686-9cf1-277c524e45b9" CreationDate="2012-08-24T10:54:09.177" UserId="618" Text="I have to design the sounds of a creature made of shadow for an horror short film.&#xD;&#xA;The sounds will be melted in a cemetery background. We only see it for 1 or 2 seconds at the end, so the sounds must be intriguing, and slowly create tension through the scene.&#xD;&#xA;&#xD;&#xA;Any ideas, advices, or movie examples ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25019" PostHistoryTypeId="1" PostId="15154" RevisionGUID="eb3f58d6-1911-4686-9cf1-277c524e45b9" CreationDate="2012-08-24T10:54:09.177" UserId="618" Text="Shadow creature sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="25020" PostHistoryTypeId="3" PostId="15154" RevisionGUID="eb3f58d6-1911-4686-9cf1-277c524e45b9" CreationDate="2012-08-24T10:54:09.177" UserId="618" Text="&lt;horror&gt;&lt;creature&gt;&lt;creature-vocalizations&gt;&lt;tension&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25021" PostHistoryTypeId="2" PostId="15155" RevisionGUID="46334594-d802-47dc-b0d1-1589e8744d05" CreationDate="2012-08-24T12:15:53.457" UserId="28" Text="A creature made of shadow? &quot;[Ah-WOOOOOOOOOO! Shaka chaka chaka chaka.][1]&quot; &#xD;&#xA;&#xD;&#xA;Maybe not.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=m0X3OKjIlUg" ContentLicense="CC BY-SA 3.0" />
  <row Id="25022" PostHistoryTypeId="2" PostId="15156" RevisionGUID="1c73495a-9bd7-4576-8739-b31adce350f7" CreationDate="2012-08-24T12:41:03.857" UserId="842" Text="If it's an ethereal creature without a solid physical body then I probably would start with micking up some different fans and ventilation-systems (as worn and gritty as humanly possible), as well as vocalize lots of very whispery/breathy noises and half-words!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25023" PostHistoryTypeId="2" PostId="15157" RevisionGUID="ba06f207-54cc-4d09-93db-d96a34a68abb" CreationDate="2012-08-24T12:51:51.103" UserId="3179" Text="In a media context?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25024" PostHistoryTypeId="2" PostId="15158" RevisionGUID="25d65034-f434-45d2-85ce-22eaf44649e4" CreationDate="2012-08-24T19:10:21.200" UserDisplayName="user80" Text="I would record wind sounds with different pitches.  After that load the sounds onto a sampler and use pitch bends to create a layered doppler effect so that it sounds like the creature is moving back and forwards towards the audience." ContentLicense="CC BY-SA 3.0" />
  <row Id="25025" PostHistoryTypeId="2" PostId="15159" RevisionGUID="0ed6c960-d832-4cf7-9986-32e38bc626c7" CreationDate="2012-08-24T19:15:33.737" UserDisplayName="user80" Text="Try crushing smaller stones with larger rocks to layer under the ice cracks.  Icebergs typically have some rock content based upon what was in the glacier from which the icebergs were calved.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25026" PostHistoryTypeId="2" PostId="15160" RevisionGUID="0373e98a-db6f-4bc2-ace2-ce6e3439e8ed" CreationDate="2012-08-24T19:19:37.273" UserId="6460" Text="It always depends on how heavy-handed you want the moment to be. If it's a more subtle gesture (less slasher thriller, more psychological), try performing a similar effect that Iain suggests with the other backgrounds in the scene. For instance, if the cemetery has crickets or a roomtone of its own, try distorting/pitch shifting those sounds as the creature goes by. Using the normal diagetic sounds gives the sense that the presence of the creature messes with reality.&#xD;&#xA;&#xD;&#xA;Good luck! &lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25027" PostHistoryTypeId="2" PostId="15161" RevisionGUID="f533db02-9d2f-4fed-b1a0-3e7453fb7e3b" CreationDate="2012-08-24T21:19:15.690" UserId="4141" Text="I can't remember the sound exactly per se, but there was an episode of the X-Files about deadly shadows called &quot;Soft Light&quot;, I remember it had a lot of creepy atmospheric sound typical to the series. Another technique that seems to work well for tension of this sort is a sort of high-pitched metal groan with reverb, you can hear it around 0:24-0:25 in this clip: &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=pqqEriE0ogc&#xD;&#xA;&#xD;&#xA;Good luck! &#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="25028" PostHistoryTypeId="2" PostId="15162" RevisionGUID="0dbed33f-ab19-4a62-8177-781c2f7c07ad" CreationDate="2012-08-24T21:26:31.437" UserId="3784" Text="I worked on a feature called shadow people and I ended up using the moogerfrooger app DI into my protools session and messed with the output gain to create crazy feedbacks. Worked really well." ContentLicense="CC BY-SA 3.0" />
  <row Id="25029" PostHistoryTypeId="2" PostId="15163" RevisionGUID="1eab197b-adb1-4a83-a05b-1525c93ad907" CreationDate="2012-08-25T04:28:59.433" UserId="3567" Text="Hello guys. I'm having an issue with using compressors for voice recordings, namely when two voices vary wildly. For example, If a speaker's voice peaks at -20dB and another one's at -1 dB, no matter what compressor settings I use, in the end there still is a big difference in the perceived loudness of the voices.&#xD;&#xA;&#xD;&#xA;The only solution that I found so far is to manually raise the volume only on the soft parts. However, this is time consuming and I'm looking for an automated process that can take care of this. Can you guys think of one?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25030" PostHistoryTypeId="1" PostId="15163" RevisionGUID="1eab197b-adb1-4a83-a05b-1525c93ad907" CreationDate="2012-08-25T04:28:59.433" UserId="3567" Text="Compression for really wide dynamic range?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25031" PostHistoryTypeId="3" PostId="15163" RevisionGUID="1eab197b-adb1-4a83-a05b-1525c93ad907" CreationDate="2012-08-25T04:28:59.433" UserId="3567" Text="&lt;use-of-compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25032" PostHistoryTypeId="2" PostId="15164" RevisionGUID="957b4653-c86e-4079-a55b-4e8d669840e5" CreationDate="2012-08-25T05:56:05.737" UserId="37" Text="have a think about the characters, sometimes they're supposed to vary like that. &#xD;&#xA;&#xD;&#xA;up the gain on the quieter voice before compression, lower the gain on the louder before compression. find a place to insert an EQ on each, before compression. then have a think about the microphones used. on the louder voice you may need just to shave the peaks off, whereas on the quieter you would be less subtle. watch out for noise, and don't look at the meters too much.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25033" PostHistoryTypeId="2" PostId="15165" RevisionGUID="d6e2a1af-f670-4c33-97d0-e467b3b80cf6" CreationDate="2012-08-25T08:10:15.033" UserDisplayName="user80" Text="Try and match the RMS (Average) levels and don't worry about the peaks as long as they are below a sensible limit.&#xD;&#xA;&#xD;&#xA;If you are using PT go to the gain plug-in, and you can find the RMS level there.&#xD;&#xA;&#xD;&#xA;What I usually do is find a region that I consider to be dynamically perfect for the section I am working on, i.e. just the right balance between RMS and peak. You don't need to be too precise with the RMS match, within 2 or 3 dBs is usually fine.&#xD;&#xA;&#xD;&#xA;I will then try and replicate the dynamic range on the problem regions using a compressor and make-up gain. So if the dialogue involves whispering and shouting, then the difference between the RMS and peak will obviously be greater, or if the dialogue is supposed to be monotonous, then the difference between RMS and peak will be much less.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25034" PostHistoryTypeId="2" PostId="15166" RevisionGUID="0104a59e-01c8-4af7-88ee-868a8585afe9" CreationDate="2012-08-25T09:08:40.153" UserId="3179" Text="You could try an automatic gain rider, e.g. [http://www.meldaproduction.com/mautovolume/][1] and adjust the settings for the two tracks by ear.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.meldaproduction.com/mautovolume/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25035" PostHistoryTypeId="2" PostId="15167" RevisionGUID="d6fd954b-3f36-4a1e-ba0f-4ad522cd3093" CreationDate="2012-08-25T09:11:42.020" UserId="1145" Text="The way i do it is to ride the faders to balance things before going into eq, de-esser and compressor. Then i put a [Brickwall limiter ][1] on the submaster and master.&#xD;&#xA;It's timeconsuming, but it's worth it.&#xD;&#xA;&#xD;&#xA;You could try the [Waves Vocal Rider][2]  plug if time is more important than quality in this case.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.masseyplugins.com/plugins/l2007&#xD;&#xA;  [2]: http://www.waves.com/content.aspx?id=9945" ContentLicense="CC BY-SA 3.0" />
  <row Id="25036" PostHistoryTypeId="2" PostId="15168" RevisionGUID="fdd94bca-f6f4-424b-884b-86afe2e122db" CreationDate="2012-08-25T13:48:28.123" UserId="3316" Text="Any people out there developing their own plug ins for bespoke use?&#xD;&#xA;What tools are you using?&#xD;&#xA;&#xD;&#xA;Theres something about just using xcode which is un appealing :P, and although I would prefer to develop on a mac, I really dislike the idea of AU only plugs. &#xD;&#xA;&#xD;&#xA;Anything you guys are using that google has fail to pop up?&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;C" ContentLicense="CC BY-SA 3.0" />
  <row Id="25037" PostHistoryTypeId="1" PostId="15168" RevisionGUID="fdd94bca-f6f4-424b-884b-86afe2e122db" CreationDate="2012-08-25T13:48:28.123" UserId="3316" Text="plug in creation" ContentLicense="CC BY-SA 3.0" />
  <row Id="25038" PostHistoryTypeId="3" PostId="15168" RevisionGUID="fdd94bca-f6f4-424b-884b-86afe2e122db" CreationDate="2012-08-25T13:48:28.123" UserId="3316" Text="&lt;plug-ins&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25039" PostHistoryTypeId="2" PostId="15169" RevisionGUID="62eb6b55-e740-431b-8e47-2a2ef294ee7e" CreationDate="2012-08-25T14:21:50.897" UserId="432" Text="You could also try an upward/parallel compression approach. Dupe the &quot;too quiet&quot; audio onto a second track, add a compressor with a low threshold and high ratio (so that it's really compressing the hell out of the dialog), fast attack, slow release, and slap on some heavy make up gain. What you're left with is the a track full of the lower end of the dynamic range. Route the original and the parallel compression to an aux channel and mix them to taste (you'll probably only use a little of the parrallel track). Make sure you don't have any phase/timing issues being introduced by the plug-in, adjust the timing of the parallel track if you do. This should help add some body to a weak track. If any additional compression is needed, add it to the aux track the two copies are being mixed to." ContentLicense="CC BY-SA 3.0" />
  <row Id="25040" PostHistoryTypeId="2" PostId="15170" RevisionGUID="a1eff03c-8f1d-4e53-9593-526ef56208aa" CreationDate="2012-08-25T14:29:32.810" UserId="4177" Text="It has already been mentioned, but its an amazing (Pricey) tool. If you go through this often, then this will make your life so simple. &#xD;&#xA;&#xD;&#xA;http://www.waves.com/content.aspx?id=9945" ContentLicense="CC BY-SA 3.0" />
  <row Id="25041" PostHistoryTypeId="2" PostId="15171" RevisionGUID="9fc8281c-4787-48d4-9b5f-feba755be1f4" CreationDate="2012-08-25T21:28:32.883" UserId="4178" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I am looking to improve the noise on my recordings, since I have been using the h4n and it's a bit noisy with the ntg-2.  &#xD;&#xA;&#xD;&#xA;For sound quality + limiter, which one should I get? &#xD;&#xA;1) Tascam HD-P2&#xD;&#xA;2) Tascam DR-680&#xD;&#xA;3) Edirol R-44 &#xD;&#xA;4) Roland r-26&#xD;&#xA;&#xD;&#xA;I want clear crispy sound by spending less than $1000 on a field recorder. Also, it would be nice to not having to carry a mixer." ContentLicense="CC BY-SA 3.0" />
  <row Id="25042" PostHistoryTypeId="1" PostId="15171" RevisionGUID="9fc8281c-4787-48d4-9b5f-feba755be1f4" CreationDate="2012-08-25T21:28:32.883" UserId="4178" Text="tascam hd-p2 or tascam dr-680?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25043" PostHistoryTypeId="3" PostId="15171" RevisionGUID="9fc8281c-4787-48d4-9b5f-feba755be1f4" CreationDate="2012-08-25T21:28:32.883" UserId="4178" Text="&lt;zoom-h4n&gt;&lt;tascam&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25045" PostHistoryTypeId="2" PostId="15173" RevisionGUID="2b5e2a00-f302-404c-96f0-2be56e310c7b" CreationDate="2012-08-25T22:12:38.810" UserId="6519" Text="I think choose Tascam DR-680 and buy iZotope RX2 (remove noise)." ContentLicense="CC BY-SA 3.0" />
  <row Id="25046" PostHistoryTypeId="2" PostId="15174" RevisionGUID="8e7be082-f5b9-4681-84a5-92ea00a9a0a8" CreationDate="2012-08-25T22:43:14.733" UserId="4176" Text="Boom or lav, that is the question? Justin and Guido have covered this topic well - so it really comes down to the framed shot, location, and post budget to dictate what you use. I am a documentary sound op and my lavs rarely leave my kit.&#xD;&#xA; &#xD;&#xA;When I’m recording in locations that are ambient specific, the soundscape is as important as the dialogue. Shotguns are the only option to deliver the “real life” sound that can’t be reproduced in post. Knowing your shotguns and working closely with the camera op to create continuity between picture and sound are musts for this type of shooting.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25047" PostHistoryTypeId="2" PostId="15175" RevisionGUID="f4c18810-0c87-427a-a4b0-42a0bc0c322c" CreationDate="2012-08-25T23:13:11.207" UserId="4176" Text="Liam, I think you got it right. I've been screwed by editors that don't know how to handle sound so many times that I stopped offering up split track options, and unless I'm posting the project, I record single tracks only - No shotgun on channel 1 with lav back-up on channel 2. Many don't seem to understand the summing issue.&#xD;&#xA;&#xD;&#xA;I find getting it right in the field with the mindset of - the post audio editor is the director cutting the show on his or her laptop on the plane with a set of iPod headphones keeps my recordings simple. KISS (keep it simple stupid) and stupid is referring to the those capable people handling your sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="25048" PostHistoryTypeId="2" PostId="15176" RevisionGUID="070fd2db-aae9-4ed7-8dd8-7a99ef82bdc3" CreationDate="2012-08-25T23:37:31.740" UserId="3179" Text="[Juce][1] is a pretty standard cross-platform library, although payware.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[SynthMaker][2]/[FlowStone][3] is pretty appealing for VST, if the platform is Windows only.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rawmaterialsoftware.com/juce.php&#xD;&#xA;  [2]: http://synthmaker.co.uk/&#xD;&#xA;  [3]: http://www.dsprobotics.com/flowstone.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="25049" PostHistoryTypeId="5" PostId="15176" RevisionGUID="d8bf67cc-ca37-4dd1-825c-20216aa29fd9" CreationDate="2012-08-25T23:42:36.267" UserId="3179" Comment="deleted 65 characters in body; added 199 characters in body" Text="[Juce][1] is a pretty standard cross-platform library, although payware.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[SynthMaker][2] is pretty appealing for VST, if the platform is Windows only.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For a hobbyist with a need to put something cross-platform together simply, Reaktor and especially [Usine][3] (when it supports Mac too) are good to go.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rawmaterialsoftware.com/juce.php&#xD;&#xA;  [2]: http://synthmaker.co.uk/&#xD;&#xA;  [3]: http://www.sensomusic.com/usine/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25050" PostHistoryTypeId="5" PostId="15176" RevisionGUID="fa8cca79-cf49-42e8-85d3-10c59f7efb92" CreationDate="2012-08-25T23:52:50.493" UserId="3179" Comment="added 60 characters in body" Text="[Juce][1] is a pretty standard cross-platform library, although payware.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[SynthMaker][2] is pretty appealing for VST, if the platform is Windows only.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For a hobbyist with a need to put something cross-platform together simply, Reaktor, [Bidule][3] and especially [Usine][4] (when it supports Mac too) are good to go.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rawmaterialsoftware.com/juce.php&#xD;&#xA;  [2]: http://synthmaker.co.uk/&#xD;&#xA;  [3]: http://www.plogue.com/products/bidule/&#xD;&#xA;  [4]: http://www.sensomusic.com/usine/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25051" PostHistoryTypeId="2" PostId="15177" RevisionGUID="f5288b6f-fe0a-49d3-9a18-0d6178243683" CreationDate="2012-08-26T01:00:43.840" UserId="4181" Text="Hi Everyone&#xD;&#xA;I'm running 10 on a mac quadcore spdif in/out and going into a UA 2192 ad/da. I rarely/never record more than 2 tracks at a time and figured getting rid of the 002R is just one less outdated component. I don't use the 002r for anything other than out of computer to 2192 ad/da back to 002r.&#xD;&#xA;&#xD;&#xA;I have neve, great river, ua, api, etc pres that i just patch into the 2192. One day I will get more than 2 channels of high end AD/DA but in the interim how do set this up to remove the 002r out of the path and just use the 2192 as the interface?&#xD;&#xA;&#xD;&#xA;Any help suggestions would be hugely appreciated.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;t&#xD;&#xA;&#xD;&#xA;www.vrtclentertainment.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="25052" PostHistoryTypeId="1" PostId="15177" RevisionGUID="f5288b6f-fe0a-49d3-9a18-0d6178243683" CreationDate="2012-08-26T01:00:43.840" UserId="4181" Text="How do I stop using my 002R with PT10???" ContentLicense="CC BY-SA 3.0" />
  <row Id="25053" PostHistoryTypeId="3" PostId="15177" RevisionGUID="f5288b6f-fe0a-49d3-9a18-0d6178243683" CreationDate="2012-08-26T01:00:43.840" UserId="4181" Text="&lt;help&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25054" PostHistoryTypeId="2" PostId="15178" RevisionGUID="2f86aac9-5a98-4ce7-be8a-a47f6984a24e" CreationDate="2012-08-26T03:23:16.667" UserId="4141" Text="Any ideas as to how to create some cannon sound effects, such as what can be heard here? [link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sounddogs.com/sound-effects/25/mp3/223129_SOUNDDOGS__gu.mp3&#xD;&#xA;&#xD;&#xA;At the moment I'm thinking of three main elements - some sort of very loud, harsh deep bang or boom layered with either a distorted element or almost something like a plastic bag or newspaper for texture, and of course a residual decay. I've heard real cannons and they sound nothing like the cannons you will hear in pirate movies, so I think I would be better off to make one from scratch. Thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25055" PostHistoryTypeId="1" PostId="15178" RevisionGUID="2f86aac9-5a98-4ce7-be8a-a47f6984a24e" CreationDate="2012-08-26T03:23:16.667" UserId="4141" Text="Cannon sound effects" ContentLicense="CC BY-SA 3.0" />
  <row Id="25056" PostHistoryTypeId="3" PostId="15178" RevisionGUID="2f86aac9-5a98-4ce7-be8a-a47f6984a24e" CreationDate="2012-08-26T03:23:16.667" UserId="4141" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25057" PostHistoryTypeId="2" PostId="15179" RevisionGUID="5e80f1ef-ca9e-4242-9cca-a09e2f97c3e2" CreationDate="2012-08-26T04:23:54.270" UserId="6411" Text="I don't think that the Mac Pro's digital out is ADAT compliant, but first try Optical out of your tower to the ADAT optical in on your 2192. If that doesn't work, you should be able to go Optical out from your tower to an optical/coaxial converter [(like this one)][1] in to the coaxial spdif of the 2192. Then go to Setup &gt; Playback Engine. Based on what you're describing you should have the 002 Rack currently active. If you choose &quot;Built-In Digital Output&quot; from the drop-down PT will now use your built in digital output as your playback engine. The 002r should go offline and you can remove it completely from your computer and audio signal chain.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.monoprice.com/products/product.asp?c_id=104&amp;cp_id=10423&amp;cs_id=1042302&amp;p_id=2948&amp;seq=1&amp;format=1#largeimage" ContentLicense="CC BY-SA 3.0" />
  <row Id="25058" PostHistoryTypeId="2" PostId="15180" RevisionGUID="2557c32f-0704-49e9-a210-43714d7a3a31" CreationDate="2012-08-26T08:21:54.137" UserId="1225" Text="Hey, i discovered a new technique recently. It can be useful to make some base material for cannons and blasts. In bried, you can make an syntesized explosion out of any impact sound.&#xD;&#xA;&#xD;&#xA;Here are some examples.&#xD;&#xA;&#xD;&#xA;http://rghost.ru/private/39901441/d9c82e1026e3eca1b7d243a3a3ddc312&#xD;&#xA;http://rghost.ru/private/39901150/4322417d5062dc6a0d00baac8d11b45e&#xD;&#xA;&#xD;&#xA;How-to:&#xD;&#xA;&#xD;&#xA;1) take a sound with a clear impact.&#xD;&#xA;2) make a copy, reverse it, unite with a previous sound - now you have a &quot;whoosh&quot; with soild middle part.&#xD;&#xA;3) process this &quot;whoosh&quot; with a pitch, the envelope should look like this: &#xD;&#xA;&#xD;&#xA;http://rghost.ru/40008102/image.png&#xD;&#xA;&#xD;&#xA;Very fast attack, starting from the lowest point going up and then medium decay and slow release. About 48 semitones should be enough.&#xD;&#xA;&#xD;&#xA;4) add some fuzz or distortion, equalize the low end, raise some high middle frequency. Some reverberation may be good too.&#xD;&#xA;&#xD;&#xA;The resulting sound isn't very suitable for solo use, but you can mix it with actual blasts and explosions to get a fat and lush sound effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="25059" PostHistoryTypeId="2" PostId="15181" RevisionGUID="1b84890f-616f-42b6-8d25-12396820cef5" CreationDate="2012-08-26T11:09:59.070" UserId="3179" Text="I think that...&#xD;&#xA;&#xD;&#xA;Sounds 1 and 3 in the link sound like they're hits/kicks on metal (e.g. a metal door) or dropping a metal plate hard to a hard surface. Slowed/pitched down.&#xD;&#xA;&#xD;&#xA;Sound 2 sounds like a slowed down gunshot (with some natural echo in the recording)." ContentLicense="CC BY-SA 3.0" />
  <row Id="25060" PostHistoryTypeId="5" PostId="15180" RevisionGUID="4e247665-f49d-496c-988b-a9577d5eae0b" CreationDate="2012-08-26T14:16:10.673" UserId="1225" Comment="edited body" Text="Hey, i discovered a new technique recently. It can be useful to make some base material for cannons and blasts. In brief, you can make an syntesized explosion out of any impact sound.&#xD;&#xA;&#xD;&#xA;Here are some examples.&#xD;&#xA;&#xD;&#xA;http://rghost.ru/private/39901441/d9c82e1026e3eca1b7d243a3a3ddc312&#xD;&#xA;http://rghost.ru/private/39901150/4322417d5062dc6a0d00baac8d11b45e&#xD;&#xA;&#xD;&#xA;How-to:&#xD;&#xA;&#xD;&#xA;1) take a sound with a clear impact.&#xD;&#xA;2) make a copy, reverse it, unite with a previous sound - now you have a &quot;whoosh&quot; with soild middle part.&#xD;&#xA;3) process this &quot;whoosh&quot; with a pitch, the envelope should look like this: &#xD;&#xA;&#xD;&#xA;http://rghost.ru/40008102/image.png&#xD;&#xA;&#xD;&#xA;Very fast attack, starting from the lowest point going up and then medium decay and slow release. About 48 semitones should be enough.&#xD;&#xA;&#xD;&#xA;4) add some fuzz or distortion, equalize the low end, raise some high middle frequency. Some reverberation may be good too.&#xD;&#xA;&#xD;&#xA;The resulting sound isn't very suitable for solo use, but you can mix it with actual blasts and explosions to get a fat and lush sound effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="25061" PostHistoryTypeId="2" PostId="15182" RevisionGUID="89438393-f90d-4215-a67b-a02869293461" CreationDate="2012-08-26T14:20:25.230" UserId="407" Text="There seems to be a few Fostex fr2's knocking around on ebay at the moment for around 600 dollars. Have you considered it? great pre's :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25062" PostHistoryTypeId="2" PostId="15183" RevisionGUID="6e7e5e46-03a5-47a6-b7ab-abf512cea7ec" CreationDate="2012-08-26T19:29:52.160" UserId="7642" Text="How many channels do you want/need?&#xD;&#xA;If you don't need more than two, the simple answer would be to get the fostex. But I suggest a more complex dual unit setup. Get a Sony M10 and a Sound devices preamp. That way you get a great small recorder to use with internal/pip mics, and with a SD preamp you get great preamps and monitoring. The M10 has awesome battery time and the internal mics aren't at all bad although the stereo spread is almost non-existant.&#xD;&#xA;If you want more than two channels, I'd buy the tascam 680, add the low noise preamp mod when you can afford it. &#xD;&#xA;&#xD;&#xA;I bought the R26. it's quite ok but have a few to many quirks in use, but it's a pretty affordable way to be able to record 4(6 with an extra hardware mod or using the internal mics) channels. Unfortunately the internal mics aren't good enough for low level sounds.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25063" PostHistoryTypeId="2" PostId="15184" RevisionGUID="7399ca44-bb4b-4af1-a346-1723e20b95e1" CreationDate="2012-08-26T20:34:01.563" UserId="4185" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I would like to be able to non-destructively tagg only a region of an audio file or song, and index it as an individual entry in a music database. &#xD;&#xA;&#xD;&#xA;I have seen a number of interesting audio/music database systems for sound design and composition, including audio finder, sound miner, basehead and snapper. From these my favorites were audio finder and sound miner as they allow for customisation of tags and user-defined fields within the metadata database. (For a previous discussion on audio database software in this forum please see [here][1] ). &#xD;&#xA;&#xD;&#xA;However, none of these software feature any tagging function for audio regions or segments - the tagging options they offer only apply to the entire audio file.  Most songs feature various different aural components at different times, or maybe one same audio region can be interesting in different ways. Splitting the audio file and creating a new one is impractical and resource (time, hard drive space) consuming. Wouldn't it be great if an audio/music database allowed you to create individual entries that referred or linked to different parts, regions, segments or fractions of an audio file? Just like you can add time stamps to a youtube video or a soundcloud song, that you could do that to your audio files and tagg them, and index them with your criteria in a database. &#xD;&#xA;&#xD;&#xA;I'm pretty sure some software used in the film industry does this, as it allows to timecode not only video but also audio. Some software like snapper and sound miner allows you to add timestamps or timecode data to a song, but it does not index this as a separate editable entry in the database.&#xD;&#xA;&#xD;&#xA;The closest I have found to this is a function in Atlas.ti, which allows you to code parts of any multimedia file (audio, video, images, documents) and it functions as a layer - it only access but does not modify the original file. This is what I'm looking for, but although Atlas.ti works well for research, it does not feature any audio editing functions or audio metadata like the sound database software I've seen.&#xD;&#xA;&#xD;&#xA;I've seen [a patent application][2] for something that apparently does exactly what I'm looking for, but I couldn't find any software that implements it, so I'm turning to you guys for orientation and advice. Maybe there is no such implementation yet, but any thoughts or orientation towards similar functions in existing software would be greatly appreciated!&#xD;&#xA;&#xD;&#xA;Thank you in advance!&#xD;&#xA;Pli&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/122/a-good-value-sound-library-search-engine-for-the-mac&#xD;&#xA;  [2]: http://www.faqs.org/patents/app/20120197650#b" ContentLicense="CC BY-SA 3.0" />
  <row Id="25064" PostHistoryTypeId="1" PostId="15184" RevisionGUID="7399ca44-bb4b-4af1-a346-1723e20b95e1" CreationDate="2012-08-26T20:34:01.563" UserId="4185" Text="Tagging audio regions or segments in a sound/music database" ContentLicense="CC BY-SA 3.0" />
  <row Id="25065" PostHistoryTypeId="3" PostId="15184" RevisionGUID="7399ca44-bb4b-4af1-a346-1723e20b95e1" CreationDate="2012-08-26T20:34:01.563" UserId="4185" Text="&lt;metadata&gt;&lt;database&gt;&lt;tagging&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25066" PostHistoryTypeId="2" PostId="15185" RevisionGUID="07f9b6b3-5c67-484f-8a57-ee981f4cb740" CreationDate="2012-08-26T21:01:32.987" UserDisplayName="user80" Text="I would really recommend a Sound Devices preamp, that way you really don't have to worry about the recorder choice.  I use them in front of an R-44 for really clean recordings." ContentLicense="CC BY-SA 3.0" />
  <row Id="25067" PostHistoryTypeId="2" PostId="15186" RevisionGUID="1b681c0e-eaed-4422-98d8-b8602abf1e5a" CreationDate="2012-08-26T21:46:56.430" UserId="1185" Text="Another option is [Max4Live][1].  Failing this or the options mention above you'll have to learn to software program to really write your own plug-ins.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://cycling74.com/products/maxforlive/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25068" PostHistoryTypeId="2" PostId="15187" RevisionGUID="0c284fb6-9eb1-447c-b007-78a84bb517dd" CreationDate="2012-08-27T06:54:30.307" UserId="61" Text="You've heard the sound a million times in a thousand different contexts, but how did the original folks actually create it?&#xD;&#xA;&#xD;&#xA;My link is to an oldie but goodie, and anyone who grew up in the 70s will be in for a treat. For those in the younger generation, listen for the sound of bionic &quot;running&quot;.&#xD;&#xA;&#xD;&#xA;[link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=QWccQa7fI0g&amp;feature=related" ContentLicense="CC BY-SA 3.0" />
  <row Id="25069" PostHistoryTypeId="1" PostId="15187" RevisionGUID="0c284fb6-9eb1-447c-b007-78a84bb517dd" CreationDate="2012-08-27T06:54:30.307" UserId="61" Text="How Did They Do That?? Vol. 5: The &quot;Singing Sword&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25070" PostHistoryTypeId="3" PostId="15187" RevisionGUID="0c284fb6-9eb1-447c-b007-78a84bb517dd" CreationDate="2012-08-27T06:54:30.307" UserId="61" Text="&lt;sound-design&gt;&lt;singing-sword&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25071" PostHistoryTypeId="5" PostId="15187" RevisionGUID="b57d6989-30e2-44f9-a3e2-5f5b553cdd1e" CreationDate="2012-08-27T06:59:39.460" UserId="61" Comment="added 12 characters in body" Text="You've heard the sound a million times in a thousand different contexts, but how did the original folks actually create it?&#xD;&#xA;&#xD;&#xA;My link is to an oldie but goodie, and anyone who grew up in the 70s will be in for a treat. For those in the younger generation, listen for the sound of bionic &quot;running&quot; around 0:27.&#xD;&#xA;&#xD;&#xA;[link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=QWccQa7fI0g&amp;feature=related" ContentLicense="CC BY-SA 3.0" />
  <row Id="25072" PostHistoryTypeId="2" PostId="15188" RevisionGUID="d3bbfa70-4cfe-4dec-a463-495a243a89a2" CreationDate="2012-08-27T09:53:48.957" UserId="786" Text="I had a very famous Danish director in the studio once, who took some anti-depressive medication which made his mouth dry out and make a lot of clicks.&#xD;&#xA;&#xD;&#xA;I was prepared and asked around on the internet and the answer was to make him eat apples.&#xD;&#xA;&#xD;&#xA;It worked!&#xD;&#xA;&#xD;&#xA;We had two sessions of voice over for a feature film, and the click noises were greatly reduced by the apples..." ContentLicense="CC BY-SA 3.0" />
  <row Id="25073" PostHistoryTypeId="2" PostId="15189" RevisionGUID="2f8de403-c332-4040-85df-13c07496dd7f" CreationDate="2012-08-27T10:11:00.663" UserId="786" Text="I normally use RX2 as an audiosuite plugin, and I try only to use it when necessary. I will normally denoise a clip, IF it is too noisy, and I may also remove hum IF there is any hum worth mentioning. I will also use spectral repair, if there is a specific noise, I want to get rid of.&#xD;&#xA;&#xD;&#xA;In the end I would rather have a final sound which is a bit too noisy than a sterile, clean and dead piece of audio, with audible artifacts.&#xD;&#xA;&#xD;&#xA;To my experience it is always better to use audio levels, EQ'ing and reverb to make the dialogue track even, and you may also want to have some extra &quot;clean noise&quot; for masking the edits. if the overall sound then is too noisy, you should try noise reduction like RX2.&#xD;&#xA;&#xD;&#xA;Sometimes a bit of noise helps the film!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;- Morten" ContentLicense="CC BY-SA 3.0" />
  <row Id="25074" PostHistoryTypeId="2" PostId="15190" RevisionGUID="6af072ed-18e2-4111-9edf-f95850e48d6c" CreationDate="2012-08-27T16:54:02.883" UserId="4187" Text="Well, I've used Plural Eyes a lot during my work as editor, but these guys are much better:&#xD;&#xA;[http://www.woowave.com][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.woowave.com&#xD;&#xA;&#xD;&#xA;it's way faster... in its fast mode it goes through hundreds of files for few minutes on an I7 machine. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25075" PostHistoryTypeId="2" PostId="15191" RevisionGUID="e3114874-6de2-4182-913c-40da46f7513e" CreationDate="2012-08-27T19:27:39.370" UserId="3392" Text="Hello everyone!&#xD;&#xA;Recently we've shot a pilot of a sitcom.&#xD;&#xA;&#xD;&#xA;I've never done something like this, and now at post im struggling at laying laughter regions, it just eats so much time!!&#xD;&#xA;&#xD;&#xA;Here's how i do it: i audition various samples that i have, then i grab parts which i liked the most and edit them to fit the picture. Overall, i'm pleased with the result, but man, this way it eats time!&#xD;&#xA;&#xD;&#xA;Does someone has an idea of doing it better, more time-efficient way? I'd be most grateful for any tips on this matter.&#xD;&#xA;&#xD;&#xA;Thanks!!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25076" PostHistoryTypeId="1" PostId="15191" RevisionGUID="e3114874-6de2-4182-913c-40da46f7513e" CreationDate="2012-08-27T19:27:39.370" UserId="3392" Text="Offscreen laughter tracklaying in comedy show" ContentLicense="CC BY-SA 3.0" />
  <row Id="25077" PostHistoryTypeId="3" PostId="15191" RevisionGUID="e3114874-6de2-4182-913c-40da46f7513e" CreationDate="2012-08-27T19:27:39.370" UserId="3392" Text="&lt;sitcom&gt;&lt;laughter&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25078" PostHistoryTypeId="2" PostId="15192" RevisionGUID="68e4832c-217a-425c-a51b-84cecbdcc669" CreationDate="2012-08-27T19:42:04.097" UserId="527" Text="How about a sampler?  If there is something I know I will need a lot of, I create a very basic Kontakt patch. I have done this for BG sessions.  Say for an interior suburb scene, I will put things like car bys, individual dog barks, children laughing...etc. This can be lame if you just use the same set of sounds on EVERYTHING you work on. But the sampler comes together fast enough that I build a new one for every film. &#xD;&#xA;&#xD;&#xA;This allows for super quick auditioning you can perform to picture.  May still require some editing, but this has worked for me. &#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="25079" PostHistoryTypeId="2" PostId="15193" RevisionGUID="19f95c49-b09b-4549-bbff-9671144d2910" CreationDate="2012-08-27T21:25:09.537" UserId="587" Text="Many sample players like Kontakt have special files (nkx) that house the samples in which it uses within a DAW.&#xD;&#xA;&#xD;&#xA;Anyone know how to get to the actual wav files? I've heard this is possible.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25080" PostHistoryTypeId="1" PostId="15193" RevisionGUID="19f95c49-b09b-4549-bbff-9671144d2910" CreationDate="2012-08-27T21:25:09.537" UserId="587" Text="Find The Samples In VST Instruments" ContentLicense="CC BY-SA 3.0" />
  <row Id="25081" PostHistoryTypeId="3" PostId="15193" RevisionGUID="19f95c49-b09b-4549-bbff-9671144d2910" CreationDate="2012-08-27T21:25:09.537" UserId="587" Text="&lt;vst&gt;&lt;instrument&gt;&lt;samples&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25082" PostHistoryTypeId="2" PostId="15194" RevisionGUID="c05e7885-5220-44c9-bab0-6d708544bb2a" CreationDate="2012-08-27T23:41:12.647" UserId="4178" Text="would that work?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25083" PostHistoryTypeId="1" PostId="15194" RevisionGUID="c05e7885-5220-44c9-bab0-6d708544bb2a" CreationDate="2012-08-27T23:41:12.647" UserId="4178" Text="hd-p2 with 32gb compact flash" ContentLicense="CC BY-SA 3.0" />
  <row Id="25084" PostHistoryTypeId="3" PostId="15194" RevisionGUID="c05e7885-5220-44c9-bab0-6d708544bb2a" CreationDate="2012-08-27T23:41:12.647" UserId="4178" Text="&lt;tascam&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25085" PostHistoryTypeId="2" PostId="15195" RevisionGUID="fa1a3a83-6d28-4fee-a2c5-178d0173a4d3" CreationDate="2012-08-27T23:51:56.493" UserId="3316" Text="Your best bet is to open kontakt stand alone, and collect samples /  batch compress the patches you have in mind.  This way you can choose un compressed wav. and itll save them to a sample directory of your choosing.  Although this may be something blocked with official native instrument libraries with protected samples :(  &#xD;&#xA;&#xD;&#xA;most people only use compressed native instruments files as its a severe drop in file size. &#xD;&#xA;&#xD;&#xA;Cam&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25086" PostHistoryTypeId="2" PostId="15196" RevisionGUID="5e4f88c3-57e7-4ceb-b77a-425061229ff8" CreationDate="2012-08-28T00:36:22.910" UserId="6392" Text="I've recently had to do the very same thing for a kids show I work on.  The most time efficient way to do this is load the laughs into a sampler, and 'play' them to picture.  My sampler of choice for this is Structure.  I map out my laughs in intensity from small to large across the keys leaving the black keys for any special laughs or reactions.  I've been using this approach for the last two seasons (around 35 episodes so far) and while it took a while to set up it has really made things easy.  I can play multiple keys to vary the intensity of the laughs and I've also made the samples velocity sensitive so I can have a further level of variance." ContentLicense="CC BY-SA 3.0" />
  <row Id="25087" PostHistoryTypeId="2" PostId="15197" RevisionGUID="6ffbd54e-5980-41ef-9359-6cfdaf4ec01e" CreationDate="2012-08-28T07:17:50.837" UserId="1055" Text="for kontakt you do this...&#xD;&#xA;&#xD;&#xA;open kontakt load a file/instrument you want...go to &quot;mapping editor&quot; double click any sample that is mapped on the keyboard, &quot;wave editor&quot; should open, then move your mouse on sample name and it should show you a path, where that sample is.&#xD;&#xA;&#xD;&#xA;like this.. http://imageshack.us/photo/my-images/706/sampleqt.jpg/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25088" PostHistoryTypeId="2" PostId="15198" RevisionGUID="d5d2f39b-5199-427c-9880-3792c47e749b" CreationDate="2012-08-28T07:28:48.387" UserId="769" Text="Yup. http://tascam.com/content/downloads/products/83/e_hd-p2_readme_vd.pdf, page 7." ContentLicense="CC BY-SA 3.0" />
  <row Id="25089" PostHistoryTypeId="5" PostId="15190" RevisionGUID="b6b91b16-c9b4-4b23-9fbd-1051fc05cab5" CreationDate="2012-08-28T07:52:09.393" UserId="4187" Comment="deleted 55 characters in body" Text="Well, I've used Plural Eyes a lot during my work as editor, but Woowave WooSync is much faster&#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;&#xD;&#xA;it's way faster... in its fast mode it goes through hundreds of files for few minutes on an I7 machine. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25090" PostHistoryTypeId="2" PostId="15199" RevisionGUID="e020f51d-3e45-45e7-b20b-1af5a40bc654" CreationDate="2012-08-28T09:10:34.767" UserId="4134" Text="Hello,&#xD;&#xA;&#xD;&#xA;I would like to record footstep to create a personal sound bank. I wonder what preamps and what microphones you usually use for this kind of thing in studio? I do not have specific or maximum budget, So do not hesitate to suggest me very expensive stuff (of course less expensive is cool too).&#xD;&#xA;&#xD;&#xA;The constraints include:&#xD;&#xA;&#xD;&#xA; - Very good S/N ratio : I would like to record some tiny variation like&#xD;&#xA;   sneak walk.&#xD;&#xA; - Several microphone for several mic position (suggest several config)&#xD;&#xA; - Neutrality and precision&#xD;&#xA;&#xD;&#xA;In the past I used dual DPA 4006A for near recording in combo with dual DPA 4011A for distance. Unfortunately my preamp (Aphex 1788A) was not good enough (too much noise) but I was still satisfied with the sound from DPA. So I am open to alternative or similar suggestion. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="25091" PostHistoryTypeId="1" PostId="15199" RevisionGUID="e020f51d-3e45-45e7-b20b-1af5a40bc654" CreationDate="2012-08-28T09:10:34.767" UserId="4134" Text="Best Mic/Preamp for footstep recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="25092" PostHistoryTypeId="3" PostId="15199" RevisionGUID="e020f51d-3e45-45e7-b20b-1af5a40bc654" CreationDate="2012-08-28T09:10:34.767" UserId="4134" Text="&lt;footsteps&gt;&lt;recording&gt;&lt;microphone&gt;&lt;pre-amp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25093" PostHistoryTypeId="2" PostId="15200" RevisionGUID="a7127a87-769d-4e2d-bc13-7418539a387d" CreationDate="2012-08-28T11:11:15.527" UserId="2501" Text="A great combo for footstep (outdoor) is Rode NTG3 with Sound Devices MixPre-D. I always get really good stuff with them. For other configurations (?) I suggest a good figure8 mic to combine in M/S with the Rode (Sennheiser MKH 30 for exaple). &#xD;&#xA;Anyway, for more info I'll hand over to the experts..." ContentLicense="CC BY-SA 3.0" />
  <row Id="25094" PostHistoryTypeId="2" PostId="15201" RevisionGUID="15882584-dde1-4db0-bd4c-2597fb8acaa6" CreationDate="2012-08-28T12:08:20.140" UserId="194" Text="the hollywood standard is a 416 for footsteps, though I've recently been considering running some experiments.&#xD;&#xA;&#xD;&#xA;the thing about footsteps is that you never run them very hot in a mix, so consequently noise floor is less of an issue than if you just listen to them in isolation.&#xD;&#xA;&#xD;&#xA;the real tricky part is smoothing out some of the swingier transients that grit and rubble can produce - you don't want one footstep sticking out too far above the others on accident.  &#xD;&#xA;&#xD;&#xA;As such, i've been considering running some mics that have slower transient responses and slightly warmer characteristics to better compliment final usage." ContentLicense="CC BY-SA 3.0" />
  <row Id="25095" PostHistoryTypeId="2" PostId="15202" RevisionGUID="15947d67-2646-422e-85c8-c488446e8be2" CreationDate="2012-08-28T12:33:09.723" UserId="4190" Text="I’m running Protools 8 LE with DV toolkit 2 on a pc (windows xp).&#xD;&#xA;&#xD;&#xA;I’m going to buy a new pc and I have a few queries regarding PT10.&#xD;&#xA;&#xD;&#xA;On my new pc I would like to upgrade to PT10 using windows 7.&#xD;&#xA;&#xD;&#xA;1) If I go with the upgrade from DV toolkit 2 to PT10 without the complete production tool kit will I get&#xD;&#xA;the following included: DINR, TL Space and XForm (which all came with DV Toolkit 2)&#xD;&#xA;&#xD;&#xA;2) Without paying for two PT programs is it possible to continue to use DV toolkit 2 on my old PC and &#xD;&#xA;PT 10 on my new pc even if it meant pluging in and out the ilok dongle?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25096" PostHistoryTypeId="1" PostId="15202" RevisionGUID="15947d67-2646-422e-85c8-c488446e8be2" CreationDate="2012-08-28T12:33:09.723" UserId="4190" Text="Protools8 - PT10" ContentLicense="CC BY-SA 3.0" />
  <row Id="25097" PostHistoryTypeId="3" PostId="15202" RevisionGUID="15947d67-2646-422e-85c8-c488446e8be2" CreationDate="2012-08-28T12:33:09.723" UserId="4190" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25098" PostHistoryTypeId="2" PostId="15203" RevisionGUID="6a25baa7-0b68-4cbd-b540-b6c8f6f75d4d" CreationDate="2012-08-28T12:43:29.617" UserId="432" Text="In answer to #1: All the bundled plug-ins are separate licenses on your iLok. I don't believe they're tied to a particular version number, so they should carry over.&#xD;&#xA;&#xD;&#xA;In answer to #2: No. Upgrading to 10 will require you to surrender your license for 8." ContentLicense="CC BY-SA 3.0" />
  <row Id="25099" PostHistoryTypeId="2" PostId="15204" RevisionGUID="ba521a31-9362-4868-9d86-186b1aeb2f2b" CreationDate="2012-08-28T13:46:42.273" UserId="1145" Text="I haven't tried every combination of mics and preamps out there, but i can tell you what i use and am happy with:&#xD;&#xA;&#xD;&#xA;In the studio i use Sennheiser Mkh 50 or 40 with RME Fireface 800 for foley/small objects and sound fx. If i'm recording footsteps in stairs or loft i bring my Sound Devices 702.&#xD;&#xA;If you ever get out of your cave (recommended) i've found the Rode NTG3 to capture footsteps in mud, snow or whatever really well. But get a good handheld solution from Rycote...&#xD;&#xA;&#xD;&#xA;Since i'm not only working on films and TV i also often record these things in stereo.&#xD;&#xA;Yes, a lot can be done in post, but on the right location, natural ambience/roomtone and reverb is a killer! Try spaced omnis like Sennheiser Mkh 8020 on a stand in the room together with a handheld Mkh 40 or 50, pointing at your feet or on a stand for pass by effect.&#xD;&#xA;Then you can mix and match later in the studio.&#xD;&#xA;&#xD;&#xA;Also, don't forget to experiment with good contact mics on squeaky floors etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="25101" PostHistoryTypeId="2" PostId="15206" RevisionGUID="e60c1bdf-b714-47ad-b1c8-cea1c3a8f1b8" CreationDate="2012-08-29T00:57:18.203" UserId="3839" Text="In the Sound Devices manual, it says that you have to Turn off both units first, then connect them and turn them in on the order that it states, otherwise it can cause permanent damage to both the unit and the computers ports. !! Maybe it wont read properly unless you do so. Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="25102" PostHistoryTypeId="2" PostId="15207" RevisionGUID="a5e881d0-6a84-4e3c-a71d-59f71ad47fc9" CreationDate="2012-08-29T01:35:45.670" UserId="4192" Text="Hi guys, well here's a tip for you. Ive been using a Nuemann KMR81i for 90% of foley recording. Been doing foley for more than 25 years, so have tried it all. The 416 was the standard many years ago but it does have a nasty kick around 3k which really bites with chains, keys or foot grit, the KMR 81i is much warmer. The 416 is what I use for location foley on some films as its better in the wind and really brings in the feet thanks to the 3 k kick!&#xD;&#xA;&#xD;&#xA;As far as mic pre's go, I use a DBX 768 with the digi out ( unfortunately these pre amps are no longer available). the other I like in the TL Audio C1 valve pre..very nice for impacts and just warming up the sounds, its also a very quiet pre.  Just remember that no matter how quiet the mic and pre combo are, if the space your recording in is noisy, then thats as quiet as you will ever get.&#xD;&#xA;&#xD;&#xA;Hope this helps..Good luck&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25103" PostHistoryTypeId="2" PostId="15208" RevisionGUID="2eb4fd8a-6a10-4723-8f71-a6dd851d12d4" CreationDate="2012-08-29T10:57:07.453" UserId="1055" Text="This is maybe stupid question, but what other things, other than frequency response, make mic sound good? i mean if we take cheap and expensive mic with same frequency response/selfnoise/sensitivity/polar pattern and compare the recordings, they probably will sound different..and the winner will probably be expensive one." ContentLicense="CC BY-SA 3.0" />
  <row Id="25104" PostHistoryTypeId="1" PostId="15208" RevisionGUID="2eb4fd8a-6a10-4723-8f71-a6dd851d12d4" CreationDate="2012-08-29T10:57:07.453" UserId="1055" Text="So why its not possible to eq cheap mics to sound like expensive ones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25105" PostHistoryTypeId="3" PostId="15208" RevisionGUID="2eb4fd8a-6a10-4723-8f71-a6dd851d12d4" CreationDate="2012-08-29T10:57:07.453" UserId="1055" Text="&lt;microphone&gt;&lt;eq&gt;&lt;frequency&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25106" PostHistoryTypeId="2" PostId="15209" RevisionGUID="4edd610a-c469-4b97-9e65-36081ab14fe3" CreationDate="2012-08-29T11:12:07.407" UserId="3179" Text="The membrane is an analog device. It's operation varies continuously. Thus, you cannot change the overall recorded signal to sound like what another microphone would have picked up using static post-processing.&#xD;&#xA;&#xD;&#xA;I don't think it's a question of cheap vs expensive nowadays, at least in studio microphones. It's just good design vs bad design. You can find many microphones with good design for cheap nowadays, although the used inventions are likely ripped from expensive microphone designs (e.g. Neumann). It's just the manufacturing that's cheap.&#xD;&#xA;&#xD;&#xA;In field-capable microphones there's much less competition and less cheap copycats." ContentLicense="CC BY-SA 3.0" />
  <row Id="25107" PostHistoryTypeId="2" PostId="15210" RevisionGUID="b903ee94-c57c-47ed-8e36-e835a1e4ab1a" CreationDate="2012-08-29T11:14:35.997" UserId="407" Text="expensive/good mics basically pick up more detail and clarity as well as having lower self noise. It's impossible to EQ in detail." ContentLicense="CC BY-SA 3.0" />
  <row Id="25108" PostHistoryTypeId="2" PostId="15211" RevisionGUID="8ae80364-150e-4bf2-a0bf-00447cab01c8" CreationDate="2012-08-29T11:16:19.007" UserId="3316" Text="I wouldn't always say the winner is the expensive one, like a bad mic used well is always better than a good mic used poorly. Weeelllll sometimes : P&#xD;&#xA;&#xD;&#xA;But my understanding (and I possibly think this just to sleep better at night) was that the reason you can't truly just process sound from a cheap microphone is that it may have not captured those frequencies in the first place. Or at least not in the same way. So by trying to bring those characteristics out, your enhancing certain aspects, likely the bad along with it. &#xD;&#xA;&#xD;&#xA;That and of course the physical components may differ greatly, meaning colouring in the more expensive mics will be closer to what we hear on a daily basis and be what we class as more professional.      Plus we need to keep thinking this was, or else who would make money making heart breaking &amp; expensive mics. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25109" PostHistoryTypeId="5" PostId="15209" RevisionGUID="7ffe8485-32c8-4b9e-87fb-17ac07f4897a" CreationDate="2012-08-29T11:17:37.590" UserId="3179" Comment="added 105 characters in body" Text="The membrane is an analog device. It's operation varies continuously. Thus, you cannot change the overall recorded signal to sound like what another microphone would have picked up using static post-processing. Regarding noise, different microphones also have different noise prints. There's just so many variables.&#xD;&#xA;&#xD;&#xA;I don't think it's a question of cheap vs expensive nowadays, at least in studio microphones. It's just good design vs bad design. You can find many microphones with good design for cheap nowadays, although the used inventions are likely ripped from expensive microphone designs (e.g. Neumann). It's just the manufacturing that's cheap.&#xD;&#xA;&#xD;&#xA;In field-capable microphones there's much less competition and less cheap copycats." ContentLicense="CC BY-SA 3.0" />
  <row Id="25110" PostHistoryTypeId="5" PostId="15209" RevisionGUID="5ab35d85-b7e8-4795-854d-100e7400302c" CreationDate="2012-08-29T11:38:41.530" UserId="3179" Comment="added 154 characters in body" Text="The membrane is an analog device. It's operation varies continuously. Thus, you cannot change the overall recorded signal to sound like what another microphone would have picked up using static post-processing. Regarding noise, different microphones also have different noise prints. Different microphones also have different housings, which affects how the signal is directed to the membrane (reflections and phase cancellation occurs). There's just so many variables.&#xD;&#xA;&#xD;&#xA;I don't think it's a question of cheap vs expensive nowadays, at least in studio microphones. It's just good design vs bad design. You can find many microphones with good design for cheap nowadays, although the used inventions are likely ripped from expensive microphone designs (e.g. Neumann). It's just the manufacturing that's cheap.&#xD;&#xA;&#xD;&#xA;In field-capable microphones there's much less competition and less cheap copycats." ContentLicense="CC BY-SA 3.0" />
  <row Id="25111" PostHistoryTypeId="5" PostId="2077" RevisionGUID="dd11f6af-e2bd-498b-9151-77f4c15bb3ce" CreationDate="2012-08-29T11:56:49.900" UserId="432" Comment="added 340 characters in body" Text="We have a pair of K-tek booms that we've been using for YEARS at my company.  We've used them all over the place (woods, cities, deserts) and we've never had any issues with them.  They're great.&#xD;&#xA;&#xD;&#xA;http://www.ktekbooms.com/&#xD;&#xA;&#xD;&#xA;**EDIT:**&#xD;&#xA;&#xD;&#xA;I completely forgot about this thread, but I just thought I would share this [&quot;Kit Cool&quot;][1] gear by Boom Audio &amp; Video...in case people haven't seen/heard of it before. *[Disclaimer: I've never actually tried this rig myself.]*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.boomaudiovideo.com/products/category-boom-pole-supports/-kit-cool-3117/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25112" PostHistoryTypeId="2" PostId="15212" RevisionGUID="99deb22e-665e-42ee-96ee-e67e85d71fb4" CreationDate="2012-08-29T12:11:32.260" UserId="432" Text="I think your main issue with understanding this is that you're looking at it from too simplified a view.&#xD;&#xA;&#xD;&#xA; - Frequency response curves can only be so accurate, and even within a manufactured line of a particular mic by a particular company there may be slight variations.&#xD;&#xA; - Polar response is not identical between two different model microphones (even though they're both labelled as hyper-cardioid). They will be very close, but not identical. In addition, polar response changes based on frequency within the spectrum.&#xD;&#xA; - Sensitivity can be misleading, because truly quiet sounds can be identified in a signal even if their in the noise floor. The sensitivity measurement is not necessarily tied to the mic's signal to noise ratio. Many manufacturers will say that a mic can respond to &quot;X&quot; level sounds, even if they're in the noise floor...because there is a measurable pickup.&#xD;&#xA;&#xD;&#xA;There are other issues involved as well: such as response time (which factors in to sensitivity, though it is rarely mentioned), or subtle phase differences that contribute to the mic's overall tone/color (independent of frequency response).&#xD;&#xA;&#xD;&#xA;As has been mentioned it's largely a case of design. Mics are designed for specific purposes, and trade offs are allowed to control cost versus specified use. It can also depend on the source you're recording. I've been editing some fabric sound I recorded, and two of the mics I used are nearly identical sounding in some of those files (a Neumann TLM-170R in hyper-cardioid and an AKG SE 300B with with CK93 capsule). They would sound very different on a voice recording though." ContentLicense="CC BY-SA 3.0" />
  <row Id="25113" PostHistoryTypeId="2" PostId="15213" RevisionGUID="9f37c8e1-a882-4015-8557-9f9764b6a906" CreationDate="2012-08-29T13:23:18.027" UserId="4194" Text="Just getting myself ready to conform audio to some picture changes which &#xD;&#xA;I haven’t done before in Protools.&#xD;&#xA;Is there any advantage in starting at the end to make the first change and working back to the start?&#xD;&#xA;Would the editors notes lose their time location if I make the first edit towards the start etc..&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25114" PostHistoryTypeId="1" PostId="15213" RevisionGUID="9f37c8e1-a882-4015-8557-9f9764b6a906" CreationDate="2012-08-29T13:23:18.027" UserId="4194" Text="conforming audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="25115" PostHistoryTypeId="3" PostId="15213" RevisionGUID="9f37c8e1-a882-4015-8557-9f9764b6a906" CreationDate="2012-08-29T13:23:18.027" UserId="4194" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25116" PostHistoryTypeId="2" PostId="15214" RevisionGUID="a782a427-64f7-4132-96c6-7af484351837" CreationDate="2012-08-29T14:31:32.380" UserId="1185" Text="I have just read this article from the BBC: [Why are female record producers so rare?][1]  I do know of a few female sound people in the UK, but from what I can see it does seem to follow this trend and in my experience this is also reflected by the number of female students taking sound related courses at UK Universities.  Is this the same in other countries?  Is it different in other sectors of sound?  For example, Sound Designer, Sound Engineers, Sound Editors, Foley Artists?  Does anyone have any stats?  Anyway to encourage more female students to apply for sound courses?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bbc.co.uk/news/entertainment-arts-19284058" ContentLicense="CC BY-SA 3.0" />
  <row Id="25117" PostHistoryTypeId="1" PostId="15214" RevisionGUID="a782a427-64f7-4132-96c6-7af484351837" CreationDate="2012-08-29T14:31:32.380" UserId="1185" Text="Female Sound Designer/Engineers/Editors????" ContentLicense="CC BY-SA 3.0" />
  <row Id="25118" PostHistoryTypeId="3" PostId="15214" RevisionGUID="a782a427-64f7-4132-96c6-7af484351837" CreationDate="2012-08-29T14:31:32.380" UserId="1185" Text="&lt;sound-design&gt;&lt;courses&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25119" PostHistoryTypeId="2" PostId="15215" RevisionGUID="c498a447-09e7-4728-bb78-604ede26135b" CreationDate="2012-08-29T14:52:44.740" UserId="261" Text="Hey,&#xD;&#xA;&#xD;&#xA;In a few weeks time I'll be recording production sound for a film in which the actors are sat in a parked car for about 80% of the time.&#xD;&#xA;In the film the interact mainly with one another, but do also interact with actors on the outside of the car.&#xD;&#xA;The car we have is an old Volvo station wagon, the big boxy one from the late 80s.&#xD;&#xA;&#xD;&#xA;I was considering miking them in the following way-&#xD;&#xA;&#xD;&#xA;2 Lav, mounted above each actors' head on the ceiling of the car, wirelessly connected to my recorder&#xD;&#xA;&#xD;&#xA;A shotgun/boom combo in case the need to get out of the car during a take... &#xD;&#xA;(I should be able to stand out of shot outside the vehicle.)&#xD;&#xA;&#xD;&#xA;Does anybody else have further suggestions?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Kurt&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25120" PostHistoryTypeId="1" PostId="15215" RevisionGUID="c498a447-09e7-4728-bb78-604ede26135b" CreationDate="2012-08-29T14:52:44.740" UserId="261" Text="Miking 2 actors in a stationary car." ContentLicense="CC BY-SA 3.0" />
  <row Id="25121" PostHistoryTypeId="3" PostId="15215" RevisionGUID="c498a447-09e7-4728-bb78-604ede26135b" CreationDate="2012-08-29T14:52:44.740" UserId="261" Text="&lt;cars&gt;&lt;location-recording&gt;&lt;microphone-positioning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25122" PostHistoryTypeId="2" PostId="15216" RevisionGUID="ef7cc58d-79c4-40c1-9593-eb7084fcaf4b" CreationDate="2012-08-29T15:13:54.937" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;Seems like a reasonable way to do it. Some questions:&#xD;&#xA;&#xD;&#xA;1. Why don't you wire the actors themselves? To get 'better' acoustics? &#xD;&#xA;&#xD;&#xA;2. Do you really need to go wireless? I'd rather go wired if the car is stationary. If you do need to go wireless, make sure the transmitters are outside the car.&#xD;&#xA;&#xD;&#xA;3. I would put an extra 'plant' cardiod microphone in between the actors. This gives you a little room sound and can serve as a backup or alternate perspective track.&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="25123" PostHistoryTypeId="2" PostId="15217" RevisionGUID="49d863de-94cb-4fca-926b-1b1cf8a8a9b5" CreationDate="2012-08-29T15:42:05.287" UserDisplayName="user80" Text="Mic the actors with two wired omnis, pop a third omni just above the rear view mirror, and then boom for when the actors talk to people outside the vehicle. so that you have a different  perspective." ContentLicense="CC BY-SA 3.0" />
  <row Id="25124" PostHistoryTypeId="6" PostId="15214" RevisionGUID="5f625672-d1e8-46c7-a525-ba869ac39b26" CreationDate="2012-08-29T15:55:25.340" UserId="1185" Comment="edited tags" Text="&lt;sound-design&gt;&lt;education&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25127" PostHistoryTypeId="2" PostId="15219" RevisionGUID="1a64f420-979c-47a2-8e8e-90d52b39447e" CreationDate="2012-08-29T17:58:02.550" UserId="4198" Text="construct the new edit at a different location on the timeline to avoid confusion. If the picture start at 1 hour, do it at 4 hours for example. also means if something goes wrong you have the old layout available. If your changes are listed as 'add x frames here', 'cut x frames there' etc, then you will have to translate that into a series of cut and pastes - shouldnt be too hard if you take care.&#xD;&#xA;Marc Specter" ContentLicense="CC BY-SA 3.0" />
  <row Id="25128" PostHistoryTypeId="2" PostId="15220" RevisionGUID="f502e867-62cc-437f-b325-118ac0c2d252" CreationDate="2012-08-29T18:31:34.307" UserId="432" Text="I personally know a lot of women sound editors/engineers/whatever you want to call the profession...there are even a few on SSD here...but there's a lot of passive sexism in our industry. When guys make comments like Internet Human's comment above (no offense meant, but it's a good example), &quot;I guess women in arts just tend to enjoy more &quot;artistic&quot; positions, rather than technical,&quot; or another comment I've seen here on SSD in the past, &quot;Holy crap! There's a girl here?!&quot; (disclaimer: may not be strictly verbatim)...it creates a hostile environment. It's like we're saying they need to justify their presence in our profession.&#xD;&#xA;&#xD;&#xA;If you want to encourage women to pursue this profession, we have to change the way we think and talk about the idea. One of the focuses of the [Women's Audio Mission][1], that I mentioned above, is to simply increase the exposure of female professionals; giving young women who might be interested in the field some role models they can look up to. Don't treat the women who **are** here like they're anomalies. They're not. They're just as talented, artistic, and technically minded as the rest of us.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.womensaudiomission.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25129" PostHistoryTypeId="2" PostId="15221" RevisionGUID="c71600f5-d8af-480f-9a75-a942c79baaeb" CreationDate="2012-08-29T18:31:56.383" UserId="4199" Text="Hi, I'm building my own Bluetooth audio receiver using a Bluetooth module 2.1 with A2DP, so I can connect the receiver (with internal power) to any set of speakers that has a 3.5mm jack, then play music via any Bluetooth device like iPhone or PC.&#xD;&#xA;&#xD;&#xA;I got the Bluetooth module wired up and can now be paired with any A2DP enabled device, the issues is, the Bluetooth module has output connectors for 2 audio channels: Left Positive, Left Negative, Right Positive, and Right Negative, my question is how do I connect the 2 channels to a female 3.5mm jack? do I need something like a summing box (which I don't really understand yet), or is there a simple way to solve this? I hope to keep the entire receiver small.&#xD;&#xA;&#xD;&#xA;Thank you. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25130" PostHistoryTypeId="1" PostId="15221" RevisionGUID="c71600f5-d8af-480f-9a75-a942c79baaeb" CreationDate="2012-08-29T18:31:56.383" UserId="4199" Text="How to convert 2 channel audio output into one 3.5mm jack " ContentLicense="CC BY-SA 3.0" />
  <row Id="25131" PostHistoryTypeId="3" PostId="15221" RevisionGUID="c71600f5-d8af-480f-9a75-a942c79baaeb" CreationDate="2012-08-29T18:31:56.383" UserId="4199" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25132" PostHistoryTypeId="2" PostId="15222" RevisionGUID="194f98bf-a371-48f6-bc9f-46102d2cbbc4" CreationDate="2012-08-29T18:52:17.610" UserId="2502" Text="+1 Marc. Definitely construct the new edit in a different location. &#xD;&#xA;&#xD;&#xA;Region groups are your true friend in this process as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="25133" PostHistoryTypeId="2" PostId="15223" RevisionGUID="c994e167-e0d7-4396-9c4c-c461dc223182" CreationDate="2012-08-29T19:13:09.920" UserId="182" Text="Actually, the bluetooth module probably has left signal, left ground, right signal and right ground. Positive and negative terminals are only seen on equipment handling balanced signals, which anything with bluetooth doesn't do.&#xD;&#xA;&#xD;&#xA;The standard way is the following:&#xD;&#xA;left signal -&gt; tip&#xD;&#xA;right signal -&gt; ring&#xD;&#xA;left ground -&gt; sleeve&#xD;&#xA;right ground -&gt; sleeve&#xD;&#xA;&#xD;&#xA;Or just cut the cinch connectors off of a standard $3 stereo cinch to 3,5mm jack cable. Shielding = ground, Center core = signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="25134" PostHistoryTypeId="5" PostId="15223" RevisionGUID="b444aca8-ea3c-49a5-9df7-8c03219ff936" CreationDate="2012-08-29T21:08:07.420" UserId="182" Comment="formatting" Text="Actually, the bluetooth module probably has left signal, left ground, right signal and right ground. Positive and negative terminals are only seen on equipment handling balanced signals, which anything with bluetooth doesn't do.&#xD;&#xA;&#xD;&#xA;The standard way is the following:&#xD;&#xA;&#xD;&#xA; - left signal -&gt; tip&#xD;&#xA; - right signal -&gt; ring&#xD;&#xA; - left ground -&gt; sleeve&#xD;&#xA; - right ground -&gt; sleeve&#xD;&#xA;&#xD;&#xA;Or just cut the cinch connectors off of a standard $3 stereo cinch to 3,5mm jack cable. Shielding = ground, Center core = signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="25135" PostHistoryTypeId="2" PostId="15224" RevisionGUID="484de0fb-eb1b-4757-9295-1971fc47deb1" CreationDate="2012-08-30T01:04:41.157" UserId="994" Text="In Poland, a lot of trained sound engineers/sound editors, especialy those graduated from &quot;tonmeister&quot; course at Frederic Chopin University Of Music , are woman... I thought about it earlier and I think it's some sort of phenomen. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25136" PostHistoryTypeId="2" PostId="15225" RevisionGUID="84c28eae-20c9-46d3-9384-0acf3bd6c9f8" CreationDate="2012-08-30T04:30:38.550" UserId="4176" Text="I've been using the Sennheiser G2 for close to five years now and I'm happy with them - they've never let me down. Recently I've been looking at the G3 and wondering if there's any real difference, and would it be worth the cost? " ContentLicense="CC BY-SA 3.0" />
  <row Id="25137" PostHistoryTypeId="1" PostId="15225" RevisionGUID="84c28eae-20c9-46d3-9384-0acf3bd6c9f8" CreationDate="2012-08-30T04:30:38.550" UserId="4176" Text="Sennheiser G2 upgrade to G3?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25138" PostHistoryTypeId="3" PostId="15225" RevisionGUID="84c28eae-20c9-46d3-9384-0acf3bd6c9f8" CreationDate="2012-08-30T04:30:38.550" UserId="4176" Text="&lt;field-recording&gt;&lt;wireless&gt;&lt;upgrade&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25139" PostHistoryTypeId="2" PostId="15226" RevisionGUID="c41d57b4-188a-4fbb-93ea-3b1b6b3ddfa7" CreationDate="2012-08-30T05:40:11.730" UserId="916" Text="Hello.&#xD;&#xA;&#xD;&#xA;I've been wondering for a while now about the recording capabilities of my iPhone. With the addition of the Apogee Mic and others it could be a good little recorder maybe?&#xD;&#xA;&#xD;&#xA;But I wonder, does any one know the maximum sample rate / bit depth of the iPhone?&#xD;&#xA;&#xD;&#xA;I personally have the iPhone 4 with iOS 5.&#xD;&#xA;&#xD;&#xA;Thanks! James" ContentLicense="CC BY-SA 3.0" />
  <row Id="25140" PostHistoryTypeId="1" PostId="15226" RevisionGUID="c41d57b4-188a-4fbb-93ea-3b1b6b3ddfa7" CreationDate="2012-08-30T05:40:11.730" UserId="916" Text="What is the maximum sample rate/bit depth of the iPhone for recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25141" PostHistoryTypeId="3" PostId="15226" RevisionGUID="c41d57b4-188a-4fbb-93ea-3b1b6b3ddfa7" CreationDate="2012-08-30T05:40:11.730" UserId="916" Text="&lt;iphone&gt;&lt;sample-rate&gt;&lt;bit-depth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25142" PostHistoryTypeId="2" PostId="15227" RevisionGUID="5d692b4e-2980-4032-ab6e-d962ec1f285f" CreationDate="2012-08-30T05:55:59.350" UserId="1228" Text="I'm 99.9% sure it's 48kHz, 16-bit Mono (or Stereo if you have a plug-in mic of some sort which supports Stereo).  I use the FiRe app which is one of the most comprehensive and professional-geared recording apps, and that's the max it supports.  On older iPhones like the 3G I believe it was only 44.1kHz." ContentLicense="CC BY-SA 3.0" />
  <row Id="25143" PostHistoryTypeId="2" PostId="15228" RevisionGUID="b52118e0-f434-4669-82d2-cd679d304356" CreationDate="2012-08-30T07:01:32.570" UserId="348" Text="My career started in Montreal, Canada where I spent many years in post audio. To put a smile on your face and to tell you that there are lots of women working in the post audio industry there from mixing right through to ADR Supervising and on set recording. Natalie Fluerant and Diane Carrier are industry veterans there both in ADR and Natalie Moran and Isabelle Larin are veteran foley recordists- all very technical. It is truly sad to stereotype women in the industry when my experience has been the exact opposite. There are a number on female on set recordists and boom operators of high caliber working in Montreal and Toronto and there are many female foley artists who have years under their belts. Also, I found that it is about a 60% to 40% split in favor of men in the post audio industry but that is a lot better than say 35 years ago when women were stereotyped into admin jobs, make-up, costume and hair. Things are changing and I agree that technology is NOT gender specific and the quality of my past colleagues work is exceptional. &#xD;&#xA;&#xD;&#xA;I hope that when you students read this they will be inspired to pursue their dreams in a technological area such as cinema audio. At the end of the day we all have ears and the same neurological ability to process what we hear into a creative vision. &#xD;&#xA;&#xD;&#xA;Hope it helps" ContentLicense="CC BY-SA 3.0" />
  <row Id="25144" PostHistoryTypeId="2" PostId="15229" RevisionGUID="9c855396-947f-484e-bbe9-bc7f9a6191f2" CreationDate="2012-08-30T09:09:25.137" UserId="4200" Text="I have the original video file and the new video file running in frame mode and I can see when the frames visually go out of sync. I was wondering would it be helpful to cut the old video file with my grouped regions on the OMF or just leave the old video file unedited.&#xD;&#xA;If the editor says cut x frames at a certain point will I have no reference on the old video to know where he is talking about?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25145" PostHistoryTypeId="2" PostId="15230" RevisionGUID="df28fee8-aa0e-45a7-95a8-ccc374f90b09" CreationDate="2012-08-30T12:53:59.477" UserId="4125" Text="For preamps, I love using Milenia (HV-3D) and John Hardy M-2 pres. Great S/N ratio, even frequency response, and tons of headroom." ContentLicense="CC BY-SA 3.0" />
  <row Id="25146" PostHistoryTypeId="2" PostId="15231" RevisionGUID="ec6a8d53-41c9-4c47-88ac-cdeae5f48821" CreationDate="2012-08-30T15:29:55.460" UserId="3629" Text="The main reason would be if you want to work in Channel 38 (which is the new designated band for radio mics) a license fee should of course be paid for this. Otherwise if they are G2 **Band E** (look on the back) they still will work legally for the future in the Channel 70 unregulated band - I wouldnt worry about it too much if channel 70 works fine for you.&#xD;&#xA;&#xD;&#xA;In terms of overall difference in 'quality' I haven't noticed anything, although I haven't scrutinised them like for like. I would also be interested if anyone has anything on this. &#xD;&#xA;&#xD;&#xA;Senns G2s in my view are a great value bit of kit. The stock senn lavs are fine but I have upgraded my ones to trams, which if you have money to burn may be worth considering over a G3 upgrade (unless you would like channel 38 or have different mics already). &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25148" PostHistoryTypeId="5" PostId="15231" RevisionGUID="a57b3721-71ba-486b-857b-ef9ea8ffb973" CreationDate="2012-08-30T15:36:29.930" UserId="3629" Comment="added 19 characters in body; added 174 characters in body" Text="If in the UK...&#xD;&#xA;&#xD;&#xA;The main reason would be if you want to work in Channel 38 (which is the new designated band for radio mics) a license fee should of course be paid for this. Otherwise if they are G2 **Band E** (look on the back) they still will work legally for the future in the Channel 70 unregulated band - I wouldnt worry about it too much if channel 70 works fine for you.&#xD;&#xA;&#xD;&#xA;In terms of overall difference in 'quality' I haven't noticed anything, although I haven't scrutinised them like for like. I would also be interested if anyone has anything on this. &#xD;&#xA;&#xD;&#xA;Senns G2s in my view are a great value bit of kit. The stock senn lavs are fine but I have upgraded my ones to trams, which if you have money to burn may be worth considering over a G3 upgrade (unless you would like channel 38 or have different mics already). &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Dean - just had a look at your website. Nice work! You probably know all this already. Hopefully someone will approach this from a different angle as I am interested too.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25151" PostHistoryTypeId="2" PostId="15234" RevisionGUID="5a5b8cc7-f60a-44c4-a78b-ce0e86d4ebae" CreationDate="2012-08-30T18:33:54.053" UserId="3994" Text="I'm in film presentation and I'm very surprised how many edits that stand out like sore thumbs because of NTSC squeal at 15.75k. If you can't hear that high, maybe an RTA would help. High frequencies that mixers don't catch can be very annoying to some." ContentLicense="CC BY-SA 3.0" />
  <row Id="25152" PostHistoryTypeId="2" PostId="15235" RevisionGUID="2c6db8de-4594-4039-bf2d-e63f7242def1" CreationDate="2012-08-30T20:12:13.720" UserId="3919" Text="Im glad I read this as I was very familiar with the sound but didnt know what it was called. Just out of curiosity why is this sound called the singing sword?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25153" PostHistoryTypeId="2" PostId="15236" RevisionGUID="d5d0ea9c-b9b2-402e-bbd1-bc4211d4fea1" CreationDate="2012-08-30T20:26:58.363" UserId="3919" Text="hello everyone, &#xD;&#xA;&#xD;&#xA;I have been on the hunt for various sound job vacancies. But I am having trouble finding advertisements in this field. Im looking to find paid work as I have some experience in working with aspiring film makers but cannot find anything available. Please help. I know that finding a pay job is by looking at the right place at the right time but is there websites that you guys use that I haven't used before? I use mandy broadcasting, film crew pro and talent circle. &#xD;&#xA;&#xD;&#xA;Hope all is well guys &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25154" PostHistoryTypeId="1" PostId="15236" RevisionGUID="d5d0ea9c-b9b2-402e-bbd1-bc4211d4fea1" CreationDate="2012-08-30T20:26:58.363" UserId="3919" Text="Where shall I look for a job?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25155" PostHistoryTypeId="3" PostId="15236" RevisionGUID="d5d0ea9c-b9b2-402e-bbd1-bc4211d4fea1" CreationDate="2012-08-30T20:26:58.363" UserId="3919" Text="&lt;job&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25156" PostHistoryTypeId="2" PostId="15237" RevisionGUID="7a847ee3-754a-4295-b200-6a49c96ba4b3" CreationDate="2012-08-30T22:57:39.967" UserId="3104" Text="Its going to be really tough to find a job through just a posting online. While I'm not saying it can't happen, the easiest way to find a job, whether it be a full time gig or just for a shoot is going to happen through word of mouth. One of the biggest things that I've learned in the past two years of graduating with an audio degree is that the network of friends and acquaintances that I've made have gotten me all of the work. Another good thing for you to do is intern somewhere. A friend of mine interned at a few different places and he ended up getting a job at Sony in their video game department doing sound design. &#xD;&#xA;&#xD;&#xA;The best thing that you can do is just act as professional as you can on every gig you get, be it a commercial, a feature film or even a short film. Make yourself as marketable as you can, by having good equipment or showcasing skills that are unique to you, so that people will seek you out. Chances are that one of the very people you might be crewed up with can get you a better job than the one you have now. &#xD;&#xA;&#xD;&#xA;Good Luck and Godspeed!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25157" PostHistoryTypeId="2" PostId="15238" RevisionGUID="1627e78e-e6f1-469b-878d-6bdf79fa8cae" CreationDate="2012-08-31T00:46:11.763" UserId="4176" Text="Al, it sounds like you're getting a little more serious about recording audio. It may be time to look into a small 2 or 3 channel field mixer - the Y-cable is not a solution most sound mixers would suggest. For a few hundred, not only will you be able to run a safety without possibly messing up your mic or H4n, but your recordings will sound richer from the mixers mic-pre, you'll have limiters to prevent distorting your recorder, and a High Pass Filter to give you more control of the ambience.&#xD;&#xA;&#xD;&#xA;Go out and rent a mixer, I think you'll be surprised how much better your mic sounds.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25158" PostHistoryTypeId="2" PostId="15239" RevisionGUID="81b5ec36-7420-49e2-a4e6-596f0c68b845" CreationDate="2012-08-31T05:20:18.717" UserDisplayName="user80" Text="If you can only use a single mic then the Y-split is a good backup plan for extreme dynamic ranges.  &#xD;&#xA;&#xD;&#xA;There is sometimes a slight drop in sensitivity when you power a mic by its battery rather than by phantom, some mic manufacturers list the difference. If you want to run the mic off phantom, which is usually the best option, make sure that you get an inline phantom power blocker for one of the split channels.  &#xD;&#xA;&#xD;&#xA;http://www.sescom.com/product.asp?item=SES-IL-PPB &#xD;&#xA;&#xD;&#xA;One thing to remember is that a Y-split reduces the impedance, which effectively reduces the signal by up to 3 dB.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25159" PostHistoryTypeId="2" PostId="15240" RevisionGUID="cf1518da-5465-4db6-b89d-db703968c381" CreationDate="2012-08-31T06:47:04.733" UserId="4146" Text="Also always stay positive about your skills and have a great attitude so do not let anything nor anyone disappoint you. Best of Luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="25160" PostHistoryTypeId="2" PostId="15241" RevisionGUID="56544fc1-69ae-420f-b77b-783f2ff0daeb" CreationDate="2012-08-31T12:16:03.053" UserId="3519" Text="Like Ruben says in this business networking is everything. I would suggest you to put all your efforts in meeting people all the time and leave always a good and professional impression.&#xD;&#xA;&#xD;&#xA;A tip I use is trying to get along with the non-sound crew, specially. This is because they are not a &quot;rival&quot; for you and in a future gig hopefully they could remember you. For me, this works specially with DoP's.&#xD;&#xA;&#xD;&#xA;Another advice I can give is to have a nice online presence. Once someone know you, you'll want to have a good and clear website showing what you do and every possible way to connect with you.&#xD;&#xA;&#xD;&#xA;And my last advice would be to have patience. The seeds will grow.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25165" PostHistoryTypeId="2" PostId="15244" RevisionGUID="66be5c74-510b-492a-ba50-5a6edd0496f5" CreationDate="2012-08-31T16:31:44.557" UserId="4204" Text="Well I have to say, I'm a woman, I'm 24 years old and I'm studying to become a sound designer also, I'm from Mexico and most of my girl-friends are into sound editing, recording, design, etc. :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="25166" PostHistoryTypeId="2" PostId="15245" RevisionGUID="9bd9c373-0311-4bb5-bb80-1b228bf416fc" CreationDate="2012-08-31T18:49:14.613" UserId="4206" Text="I'm in a bit of a pickle. I am working on a gaming project that has a really great intro. The sound for the intro needs to be a very mechanical effect—like a lot of moving parts. I have scoured the internet to find something that would work, but nothing has even come close. &#xD;&#xA;&#xD;&#xA;There is a sound effect from a popular movie (I'd rather not say which one) that works absolutely perfectly for my needs. I don't know what to do. I'm not a sound engineer so creating one myself isn't really an option (though I've been trying). &#xD;&#xA;&#xD;&#xA;I really want to just purchase a royalty-free sound alike or something similar if I can find it, but so far I haven't come up with anything. I believe in doing things legally but I'm wondering if I can't come up with anything, would that be an issue to use an excerpt from a sound effect in a movie?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25167" PostHistoryTypeId="1" PostId="15245" RevisionGUID="9bd9c373-0311-4bb5-bb80-1b228bf416fc" CreationDate="2012-08-31T18:49:14.613" UserId="4206" Text="Using Sound Effect From A Movie - Otherwise Unavailable" ContentLicense="CC BY-SA 3.0" />
  <row Id="25168" PostHistoryTypeId="3" PostId="15245" RevisionGUID="9bd9c373-0311-4bb5-bb80-1b228bf416fc" CreationDate="2012-08-31T18:49:14.613" UserId="4206" Text="&lt;movies&gt;&lt;soundeffects&gt;&lt;legality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25169" PostHistoryTypeId="5" PostId="15223" RevisionGUID="18433885-20e2-4d38-8363-9237aa331db4" CreationDate="2012-08-31T19:13:08.823" UserId="182" Comment="added 1960 characters in body" Text="Actually, the bluetooth module probably has left signal, left ground, right signal and right ground. Positive and negative terminals are only seen on equipment handling balanced signals, which anything with bluetooth doesn't do.&#xD;&#xA;&#xD;&#xA;The standard way is the following:&#xD;&#xA;&#xD;&#xA; - left signal -&gt; tip&#xD;&#xA; - right signal -&gt; ring&#xD;&#xA; - left ground -&gt; sleeve&#xD;&#xA; - right ground -&gt; sleeve&#xD;&#xA;&#xD;&#xA;Or just cut the cinch connectors off of a standard $3 stereo cinch to 3,5mm jack cable. Shielding = ground, Center core = signal.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**EDIT: The above is wrong.**&#xD;&#xA;&#xD;&#xA;It seems I was wrong, and the output is actually balanced. Your module seems very similar to this one: &#xD;&#xA;http://www.sparkfun.com/datasheets/Wireless/Bluetooth/WT32_Datasheet-1.pdf&#xD;&#xA;&#xD;&#xA;And in there it says the following: &#xD;&#xA;&#xD;&#xA;&gt; AUDIO_OUT_P_RIGHT and AUDIO_OUT_N_RIGHT &#xD;&#xA;&#xD;&#xA;&gt; Right channel audio output. The au dio output lines should be routed differentially to either &#xD;&#xA;the speakers or to the output amplifier, depe nding on whether or not a single-ended signal &#xD;&#xA;is required. Use low impedance ground  plane dedicated for the audio signals. &#xD;&#xA;&#xD;&#xA;&gt; AUDIO_OUT_P_LEFT and AUDIO_OUT_N_LEFT &#xD;&#xA;&#xD;&#xA;&gt; Left channel audio output. The same guidelines apply to this section as discussed &#xD;&#xA;previously. &#xD;&#xA;&#xD;&#xA;You could try to put both negative pins and check if that also shuts down the module (probably, given your earlier result). If not, that could be your way to do this. Alternatively, you could ignore the negative terminals, and just connect the positive ones and the ground of the board but this is a bit of a hack:&#xD;&#xA;&#xD;&#xA; - left positive -&gt; tip&#xD;&#xA; - right positive -&gt; ring&#xD;&#xA; - ground -&gt; sleeve&#xD;&#xA;&#xD;&#xA;Note that this will leave you with half the signal amplitude, and possibly a degraded signal.&#xD;&#xA;&#xD;&#xA;To do it properly, you need a circuit that converts between balanced and unbalanced, also called a balun, or, in electronic terms, a differential to single ended circuit. &#xD;&#xA;You can do this with transformers (http://www.jensen-transformers.com/faqs.html#faq4), there are IC's to do this, or circuits with an op-amp that require a bit more electronics knowledge, like this one: http://www.ecircuitcenter.com/Circuits/adcin_diff_se/adcin_diff_se1.htm or the stuff that's discussed here: http://www.electro-tech-online.com/general-electronics-chat/92142-differential-single-ended-output-2.html&#xD;&#xA;&#xD;&#xA;More about the transformer way of doing this (note that they describe mono signals):&#xD;&#xA;http://www.jensen-transformers.com/an/an003.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="25170" PostHistoryTypeId="2" PostId="15246" RevisionGUID="79e83988-5a8b-445c-a102-ef73cc7116f4" CreationDate="2012-08-31T19:46:11.217" UserId="61" Text="You can't do that. It would be akin to ripping the T-rex roar out of Jurassic Park and calling it your own. The sound from the movie you're referencing is part of the soundtrack of the film, which is the legal property of whichever studios and production companies financed it.&#xD;&#xA;&#xD;&#xA;If you can't create the sound you desire on your own, then you need to hire a sound editor / designer to do it for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="25171" PostHistoryTypeId="2" PostId="15247" RevisionGUID="a0c3e0c0-8c02-4edf-a597-ff30e0e3fb00" CreationDate="2012-08-31T19:47:02.947" UserId="527" Text="This is absolutely NOT OK. The soundtrack is part of a copyright protected film. &#xD;&#xA;&#xD;&#xA;You are, however, making an excellent case to hire a Sound Designer.  This is what we do (and its what you need). We rarely just put a stock sound effect in for something like this.  We manipulate and process multiple sounds to achieve something that will create (hyper)realism and emotion. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25172" PostHistoryTypeId="2" PostId="15248" RevisionGUID="24cc1a36-e452-44b4-8b56-125cb8e1b7eb" CreationDate="2012-09-01T00:08:31.677" UserId="3607" Text="Ripping that sound is a big no-no.  What Chris said!&#xD;&#xA;&#xD;&#xA;I also think you're not looking hard enough for sounds.  Have you looked at Sounddogs.com or this awesome list of independent libraries?:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/sfx-independence&#xD;&#xA;&#xD;&#xA;I say, dig deeper, or trust your sound design instincts and try recording something." ContentLicense="CC BY-SA 3.0" />
  <row Id="25173" PostHistoryTypeId="2" PostId="15249" RevisionGUID="eb232b14-7bf8-4864-997b-9b608f402ac2" CreationDate="2012-09-01T00:33:27.870" UserDisplayName="user49" Text="&quot;I have scoured the internet to find something that would work, but nothing has even come close.&quot;&#xD;&#xA;&#xD;&#xA;This comment hints at a perceptual gap in your thinking - I very much doubt the sound you want to rip from a movie was ever a single sound. It is far more likely to have been constructed (aka designed) from many elements and/or layers and then mixed to feel like a single sound. So it is no surprise you have scoured the internet and cant find an instant solution.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25174" PostHistoryTypeId="2" PostId="15250" RevisionGUID="4886c489-e441-4ecd-941a-47b9aee9613b" CreationDate="2012-09-01T03:35:56.360" UserId="527" Text="I am wondering where the divide is between being a sound effects person and being a dialogue person (and can I guide myself toward one or the other?)&#xD;&#xA;&#xD;&#xA;I am constantly forced into projects where I must do EVERYTHING. Scheduling it all is possible, only if you are ok with NEVER achieving what you truly are going for.  e.i &quot; Got the DX done, but there wasn't any time to do ANY foley&quot;&#xD;&#xA;&#xD;&#xA;Is there a place in indie film for specialists? Or shall we all be Composers, Mixers, DX editors, ADR recordist/editors, Foley Artists, Foley Mixers, Sound Effects Editors, and Sound Designers.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25175" PostHistoryTypeId="1" PostId="15250" RevisionGUID="4886c489-e441-4ecd-941a-47b9aee9613b" CreationDate="2012-09-01T03:35:56.360" UserId="527" Text="Is it good or bad to be a specialist?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25176" PostHistoryTypeId="3" PostId="15250" RevisionGUID="4886c489-e441-4ecd-941a-47b9aee9613b" CreationDate="2012-09-01T03:35:56.360" UserId="527" Text="&lt;indie&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25177" PostHistoryTypeId="2" PostId="15251" RevisionGUID="17a3103e-f468-4403-9f41-8c71a6d59711" CreationDate="2012-09-01T04:09:26.030" UserId="3979" Text="I agree COMPLETELY. I was JUST telling a friend the same thing yesterday. My biggest realization was that word of mouth was the best form of advertisement. About a year and a half ago my partner and I did a short for very little money and on a tight schedule - but we stayed positive, presented ourselves professionally and our work was impressive and we've been working steadily ever since. Our next film project is always booked before our current was is over. Each a little more professional and better paying.&#xD;&#xA;&#xD;&#xA;BEST OF LUCK TO YOU. TO US ALL REALLY.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25178" PostHistoryTypeId="2" PostId="15252" RevisionGUID="69c91623-d38a-4f8d-a3a6-4e131178c474" CreationDate="2012-09-01T05:36:49.373" UserId="125" Text="The habit in our country (Hungary) is like u do everithing in one film. From Field record to Mixing. (of course u have boom operator,or maybe an editor in the studio)&#xD;&#xA;Its really nice, when u follow the whole project alone, and u work with in the studio what u recorded in the field.&#xD;&#xA;not that it would not be good professionals here at home, because many foreign production come here, and work with our sound engeniers, but i guess u cant immers deeply in one thing in this way. it shows in the movies sometimes..." ContentLicense="CC BY-SA 3.0" />
  <row Id="25179" PostHistoryTypeId="2" PostId="15253" RevisionGUID="a4e62865-a2d7-4f6c-9003-13bcb5203141" CreationDate="2012-09-01T06:35:22.333" UserId="4208" Text="I have searched through the questions, but I feel each person has specific requirements that necessitates a specific question. &#xD;&#xA;&#xD;&#xA;I'm on a $1k budget and I need a field sound kit. I'll be going fx, ambience, foley (not in studio), maybe a little vocals, but no music. &#xD;&#xA;&#xD;&#xA;I know SD 702 is the way to go but again, money. &#xD;&#xA;&#xD;&#xA;So far I'm hearing Fostex FR-2LE, roland r44, marantz pmd 661 or 671. &#xD;&#xA;&#xD;&#xA;What do you guys think? Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25180" PostHistoryTypeId="1" PostId="15253" RevisionGUID="a4e62865-a2d7-4f6c-9003-13bcb5203141" CreationDate="2012-09-01T06:35:22.333" UserId="4208" Text="Beginners sound kit - 1k budget" ContentLicense="CC BY-SA 3.0" />
  <row Id="25181" PostHistoryTypeId="3" PostId="15253" RevisionGUID="a4e62865-a2d7-4f6c-9003-13bcb5203141" CreationDate="2012-09-01T06:35:22.333" UserId="4208" Text="&lt;sound-design&gt;&lt;beginner&gt;&lt;budget&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25182" PostHistoryTypeId="2" PostId="15254" RevisionGUID="3f005285-878e-493a-8828-856280cd7892" CreationDate="2012-09-01T09:15:17.923" UserId="4209" Text="If it's a particular effect from a high profile movie - the chances are it is highly recognisable. Far better to create your own sound effects and build up your library that way. Also BBC sound effects CD's or Hard drives are very good value. Try Ebay.&#xD;&#xA;or places like [De Wolfe][1] &#xD;&#xA;&#xD;&#xA;If you had gone ahead and not said anything, there would be a high chance that nothing would happen - but you are taking a gamble and may be encouraged to do it again.&#xD;&#xA;&#xD;&#xA;I'm sure many sound designers stuck for an effect have 'borrowed' the occasional effect from a commercial sound library belonging to someone else, (occasionally being the operative word), however a specific effect up-front in the mix would be inadvisable.&#xD;&#xA;&#xD;&#xA;This [section may be of interest][2]&#xD;&#xA;&#xD;&#xA;This [University of Cambridge site on copyright][3] is also useful&#xD;&#xA;&#xD;&#xA;As your project is a game, and is a highly commercial venture then all your work needs to be above board, end of story. It's like a graphic designer stealing a photograph or image from the internet and passing it off as their work. This may be fair use for non-profit or student work (though contacting the copyright holder is always advisable, and usually results in a favourable response) - however commercial ventures need to be fully compliant with copyright. The last thing you or the client want is an expensive legal infringement challenge.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dewolfe.co.uk/sfx/libraries/bbc-61-165-hd.php&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/3928/pirate-audio-samples-how-risky-is-it-really&#xD;&#xA;  [3]: http://www.caret.cam.ac.uk/copyright/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="25183" PostHistoryTypeId="2" PostId="15255" RevisionGUID="ef275641-9bb5-46f6-a814-e6561b99053b" CreationDate="2012-09-01T09:35:16.043" UserId="1049" Text="If just starting out I don't think you need to be jumping into spending so much on a recorder straight away, unless buying second hand. &#xD;&#xA;&#xD;&#xA;If you want brand new kit, I'd strongly recommend the following:&#xD;&#xA;&#xD;&#xA;- Tascam DR100 MkII - Very decent portable recorder. Internal mics are great for the price you pay for the device too, as well as having XLR inputs.&#xD;&#xA;&#xD;&#xA;- Rode NTG2&#xD;&#xA;&#xD;&#xA;- Rode Mini Boom (if doing dialogue booming)&#xD;&#xA;&#xD;&#xA;- Rode Blimp Kit - For decent pistol grip, shock mount, wind protection&#xD;&#xA;&#xD;&#xA;- A decent pair of headphones&#xD;&#xA;&#xD;&#xA;That should all cost you around $1k if you shop around a little. eBay stores can be a good bet for these kind of deals, or go agree a package from your local/preferred AV store. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Of course, if you wanted to go the second hand route that's a different matter. You could probably pick up one of the recorders you mentioned second hand but that might still take up more than half your budget, and you need to leave some money for mics and peripherals. Of course you if you can get a more advanced field recorder than the Tascam or other units in that range for a similar price it might be worth it. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25184" PostHistoryTypeId="2" PostId="15256" RevisionGUID="aaafe668-a158-42ef-a7c0-37b60cf77aa3" CreationDate="2012-09-01T09:46:38.950" UserId="3411" Text="For a brand new kit, I would also suggest the Tascam DR100 MKii. &#xD;&#xA;&#xD;&#xA;These are great, not only because they have decent features for the price as well as XLR inputs, but they are one of the few handhelds around with a digital input. This means when you are wanting to upgrade you can get a SD USBPre or Mixpre-D and bypass the cheap converters and pre amps on the Tascam and go Sound Devices.&#xD;&#xA;&#xD;&#xA;I would suggest starting with a cheapish stereo mic like a Rode NT4 as it is a good all rounder and particularly good for ambiences. Get a Rode Deadcat to go with it too.&#xD;&#xA;&#xD;&#xA;If you don't have any headphones, get some Sennheiser Hd25s, and get yourself a bag.&#xD;&#xA;&#xD;&#xA;That will get you under $1k I think, and you'll be cookin'.&#xD;&#xA;&#xD;&#xA;Of course if you are just after a recorder then I'd suggest getting the Tascam and an SD USBPre2 and a USB battery pack." ContentLicense="CC BY-SA 3.0" />
  <row Id="25185" PostHistoryTypeId="2" PostId="15257" RevisionGUID="8d136b6c-bef5-4dc0-b445-aa11d83fc54f" CreationDate="2012-09-01T10:33:53.330" UserId="118" Text="Here's my solution: http://sonicskepsi.wordpress.com/2012/08/31/ipad3-♥-mixpre-d-♥-auria/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25186" PostHistoryTypeId="5" PostId="15256" RevisionGUID="102f031b-53cb-4f6a-bc40-4dac50086244" CreationDate="2012-09-01T12:21:04.710" UserId="3411" Comment="Dead kitten not Dead Cat for the NT4" Text="For a brand new kit, I would also suggest the Tascam DR100 MKii. &#xD;&#xA;&#xD;&#xA;These are great, not only because they have decent features for the price as well as XLR inputs, but they are one of the few handhelds around with a digital input. This means when you are wanting to upgrade you can get a SD USBPre or Mixpre-D and bypass the cheap converters and pre amps on the Tascam and go Sound Devices.&#xD;&#xA;&#xD;&#xA;I would suggest starting with a cheapish stereo mic like a Rode NT4 as it is a good all rounder and particularly good for ambiences. Get a Rode Dead Kitten to go with it too.&#xD;&#xA;&#xD;&#xA;If you don't have any headphones, get some Sennheiser Hd25s, and get yourself a bag.&#xD;&#xA;&#xD;&#xA;That will get you under $1k I think, and you'll be cookin'.&#xD;&#xA;&#xD;&#xA;Of course if you are just after a recorder then I'd suggest getting the Tascam and an SD USBPre2 and a USB battery pack." ContentLicense="CC BY-SA 3.0" />
  <row Id="25187" PostHistoryTypeId="2" PostId="15258" RevisionGUID="2a1b0bb0-2b19-4e4c-a57c-aff22ac3457d" CreationDate="2012-09-01T19:34:26.687" UserId="4171" Text="Good choice. Dr100mk2 - ntg2 or ntg3 (much better) and a blimp (must have !!!) " ContentLicense="CC BY-SA 3.0" />
  <row Id="25188" PostHistoryTypeId="2" PostId="15259" RevisionGUID="ba58d89f-75dd-432c-a7f5-84fb2a97e1d1" CreationDate="2012-09-01T20:07:45.773" UserId="3426" Text="Buy a Sony PCM D-50 and put the rest of your budget in the bank, saving for a Sound Devices 702 and external mic setup down the road." ContentLicense="CC BY-SA 3.0" />
  <row Id="25189" PostHistoryTypeId="2" PostId="15260" RevisionGUID="e7f136f6-90cd-4179-9417-344131fbced6" CreationDate="2012-09-02T00:36:23.890" UserId="348" Text="I have a very large library of SA sounds from all over. Both rural and urban. Lots of different languages as well. All at 24/96 some MS and some stereo. Just let me know what you need and if I don't have it I will get it. No problem. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25190" PostHistoryTypeId="2" PostId="15261" RevisionGUID="ba9cec9e-5cb1-436c-a6a5-e6768faa48bf" CreationDate="2012-09-02T05:48:40.590" UserId="407" Text="Yesterday I had the good fortune to do some car drop recordings. Needless to say it was loud and great fun ;) There was 4 other recordists there and during the after session beers we were discussing different techniques for recording loud transient sounds. Some like to record with really high gain, bouncing the transients off the limiter, others like to record clean without clipping the transient. Both have valid reasons why they record the way they do - so I open the question to you guys, How do you like to record loud transients and why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25191" PostHistoryTypeId="1" PostId="15261" RevisionGUID="ba9cec9e-5cb1-436c-a6a5-e6768faa48bf" CreationDate="2012-09-02T05:48:40.590" UserId="407" Text="How do you record loud sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25192" PostHistoryTypeId="3" PostId="15261" RevisionGUID="ba9cec9e-5cb1-436c-a6a5-e6768faa48bf" CreationDate="2012-09-02T05:48:40.590" UserId="407" Text="&lt;field-recording&gt;&lt;recording&gt;&lt;loudness&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25193" PostHistoryTypeId="2" PostId="15262" RevisionGUID="24c3f318-e150-4a6b-b1be-0d5105313273" CreationDate="2012-09-02T05:50:26.247" UserId="6487" Text="I am a post sound b#itch.  I love it.  It is everything I have wanted since I ran my Cubase system in 89. There is nothing else for me. I started competing for time in the studio at age 13. &#xD;&#xA;&#xD;&#xA;While I do call my female comrades &quot;unicorns&quot;, as there are not many of us, those that exist would not at all be attracted to more &quot;artsy&quot; course titles or different educational marketing.  In fact, if anyone can find an Advanced SSL and/or Neve Automation Techniques for Post seminar or Audio Implementation course for gaming, I would be tickled. &#xD;&#xA;&#xD;&#xA;The last statistic I read was 5% females in audio engineering by the US Dept of Labor a few years back.  I couldn't tell you why it is so low.  I cannot imagine a cooler gig.  &#xD;&#xA;&#xD;&#xA;All I know is that it is changing and the women that roll in audio successfully are blowing it up. Check out mixer Anna Behlmer (Super 8, Cloverfield, etc), mixer Lora Hirschberg (First Female Academy Award Winner for Audio Mix last year for Inception and also mixed Avengers and The Dark Knight this year.), or Supervising Sound Editor, Gwen Whittle (Tron, Mission:Impossible Ghost Protocol, etc). In fact, Skywalker in general has lots of audio chicks rocking the air waves. &#xD;&#xA;&#xD;&#xA;Generally, there seems to be more females in dialogue editing, ADR mixing, &amp; dialogue supervision than sound design, foley, and re-recording mix.  But I know plenty of women on the lots in LA who can make things go &quot;BOOM&quot; and can surf faders. Many do so for some of the highest end audio post companies and studios imaginable. Take Ann Scibelli for example works for Soundelux and just finished Prometheus this year.  &#xD;&#xA;&#xD;&#xA;And just to crush another stereotype...I am also girly and hott. I love to nerd just as much as I love to get mani/pedis. We do exist. We are the complete package. We are gunning for your gigs.  We are getting gigs and your studio will be assimilated. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25194" PostHistoryTypeId="2" PostId="15263" RevisionGUID="48f41a9d-0ad2-463f-b42a-9ebb49658a87" CreationDate="2012-09-02T06:20:01.417" UserId="6487" Text="How is your processing chain different? Certainly, limiting and dialnorm requirements are different...but what about your actually processing?  Do you step compress on some genres and quick attack bus compress on others? Does it matter if it is a &quot;walk and talk&quot; verse a &quot;Action&quot; film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25195" PostHistoryTypeId="1" PostId="15263" RevisionGUID="48f41a9d-0ad2-463f-b42a-9ebb49658a87" CreationDate="2012-09-02T06:20:01.417" UserId="6487" Text="Dialogue Chain Differences:TV verses Film" ContentLicense="CC BY-SA 3.0" />
  <row Id="25196" PostHistoryTypeId="3" PostId="15263" RevisionGUID="48f41a9d-0ad2-463f-b42a-9ebb49658a87" CreationDate="2012-09-02T06:20:01.417" UserId="6487" Text="&lt;mix&gt;&lt;compression&gt;&lt;eq&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25197" PostHistoryTypeId="2" PostId="15264" RevisionGUID="e012a88f-355b-4008-ba0a-7e14ed6b57fc" CreationDate="2012-09-02T06:41:59.030" UserId="6487" Text="Check it out! An article about Laughman, Bickelhaupt. Crazy interesting! http://nymag.com/arts/tv/features/laughtracks-2011-12/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25198" PostHistoryTypeId="2" PostId="15265" RevisionGUID="c2a9e3f8-471a-40c7-9f41-fbae9c5495ba" CreationDate="2012-09-02T12:47:18.967" UserId="194" Text="IMO loud sounds require many channels of audio.  Its very difficult to get a good recording of a loud sound with just two tracks because of how many parts a loud sound can be broken into (each requiring a different gain setting and mic perspective)&#xD;&#xA;&#xD;&#xA;I typically try to evaluate and cover the following parts:&#xD;&#xA;&#xD;&#xA; - **low end** - how much low end is the sound generating and what's the best angle to record that from?  I'll typically try to have a &quot;punch&quot; mic that has the sole purpose of capturing the low end of the thing.  gain set non clipping, no highpass in the chain, good mic for gathering low end, etc.&#xD;&#xA;&#xD;&#xA; - **midrange transient** - dynamics or warm mics are good for this part of the sound.  sometimes I'll run two channels aimed at capturing this part of the sound set to different gain stages.  If I highpass I do it before the limiter in the mixer.  limiters can mess up the low end when they engage.&#xD;&#xA;&#xD;&#xA; - **reverberation** - I'll typically spend 4 to 6 channels focused exclusively on reverb.  Loud sounds are defined by the characteristics of the space that they're recorded in, and recording the reverb as a direct source is key in capturing that space and defining the sound.  Reverb mics tend to be relatively far away, and aimed not at the source but at the reflecting surfaces.  Quiet smooth mics work well for this, with gain settings run up pretty high.  limiters off and let sound clip if it needs to clip - these mics are for everything else.  Spaced omnis and PZMs can be the secret sauce here.  In the final mix, it can be amazing how much your rely on these mics at hot levels to really define the sound.&#xD;&#xA;&#xD;&#xA; - **capsule foldback** - its good to have a nice aggressively recorded channel to add some meanness to the sound.  typically i'll find a mic whose capsule can't really handle the spl that the loud thing is emitting and will put that relatively close to the source so that the spl can fold the capsule back.  lav mics work well for this, and the 416 sounds good when its folding back as well.  Cheap camera mics and electronics can achieve this too.&#xD;&#xA;&#xD;&#xA; - **experiments** - loud sounds require lots of access and prep time, so why not set some stuff up you haven't tried yet and won't rely on working out?  things like contact mics on nearby stuff, mics in and on things that might resonate in a cool way, mics you haven't tried in this application yet, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="25199" PostHistoryTypeId="2" PostId="15266" RevisionGUID="aeacc447-9669-455a-b119-0cf79051510f" CreationDate="2012-09-02T13:28:22.637" UserId="2778" Text="I'd suggest the TASCAM DR40+ NTG2 or NTG3. The DR100mk2 has just too many buttons and functions but honestly you'll be using only half of them most of the times. You gt a DR40 for around $150. The DR40 gives you the option of changing the directions of the mic which lets you record in AB as well as in XY pattern, which is not the case with DR100. Plus, as you are on a tight budget it'll help you save a couple of hundred dollars which you can put it in other stuff. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25200" PostHistoryTypeId="2" PostId="15267" RevisionGUID="e5519800-c861-4641-9a97-b35efa7cae49" CreationDate="2012-09-02T17:28:20.210" UserId="6460" Text="Rene layed this out fantastically, and I've never thought of purposefully distorting a cheap mic before—brilliant!&#xD;&#xA;&#xD;&#xA;The equivalent technique I've always used is to record 1 or 2 additional channels with the mic medium-close to the source: far enough to capture the entire source evenly but close enough that the reverb or space doesn't take over. In post, run those channels through a compressor/limiter with aggressive settings (very fast attack, fast release). IMO, it's particularly fantastic with a nice analog compressor like an 1176, but you can use any plugin compressor too (PSP's vintagewarmer works nicely). Plugin compressors have the advantage that they often have extremely-fast attack times. The result is an alternative kind of distortion that you can run soft or loud in the mix to add harmonics and body to a loud sound. I learned this technique during school when we recorded/mixed drums.&#xD;&#xA;&#xD;&#xA;I agree also that getting a reverb recording is CRUCIAL. Adding reverb in post might work, but keep in mind that reverb processors only process what you send them, and what you would be sending them is a close-up recording that might not fully capture the power of the source sound. It's &lt;b&gt; ALWAYS &lt;/b&gt; better to set up additional channels to record the actual interaction with the recording space, even if you are recording in the open outdoors." ContentLicense="CC BY-SA 3.0" />
  <row Id="25201" PostHistoryTypeId="5" PostId="15262" RevisionGUID="69403943-576d-48c6-98f2-84228b2fe37b" CreationDate="2012-09-02T18:29:01.493" UserId="6487" Comment="added 6 characters in body" Text="I am a post sound b#itch.  I love it.  It is everything I have wanted since I ran my Cubase system in 89. There is nothing else for me. I started competing for time in the studio at age 13. &#xD;&#xA;&#xD;&#xA;While I do call my female comrades &quot;unicorns&quot;, as there are not many of us, those that exist would not at all be attracted to more &quot;artsy&quot; course titles or different educational marketing.  In fact, if anyone can find an Advanced SSL and/or Neve Automation Techniques for Post seminar or Audio Implementation course for gaming, I would be tickled. &#xD;&#xA;&#xD;&#xA;The last statistic I read was 5% females in audio engineering by the US Dept of Labor a few years back.  I couldn't tell you why it is so low.  I cannot imagine a cooler gig.  &#xD;&#xA;&#xD;&#xA;All I know is that it is changing and the women that roll in audio successfully are blowing it up. Check out mixer Anna Behlmer (Super 8, Cloverfield, etc), mixer Lora Hirschberg (First Female Academy Award Winner for Audio Mix last year for Inception and also mixed Avengers and The Dark Knight this year.), or Supervising Sound Editor, Gwen Whittle (Tron, Mission:Impossible Ghost Protocol, etc). In fact, Skywalker in general has lots of audio chicks rocking the air waves. &#xD;&#xA;&#xD;&#xA;Generally, there seems to be more females in dialogue editing, ADR mixing, &amp; dialogue supervision than sound design, foley, and re-recording mix.  But I know plenty of women on the lots in LA who can make things go &quot;BOOM&quot; and can surf faders. Many do so for some of the highest end audio post companies and studios imaginable. Take Ann Scibelli for example.  She works for Soundelux and just finished Prometheus this year.  &#xD;&#xA;&#xD;&#xA;And just to crush another stereotype...I am also girly and hott. I love to nerd just as much as I love to get mani/pedis. We do exist. We are the complete package. We are gunning for your gigs.  We are getting gigs and your studio will be assimilated. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25202" PostHistoryTypeId="2" PostId="15268" RevisionGUID="d7bf642c-5c1a-4eb3-9ecc-29d9b8719fe8" CreationDate="2012-09-02T22:05:47.833" UserDisplayName="user49" Text="Its neither good or bad, but an important factor is that it depends on what stage you are at in your career. &#xD;&#xA;&#xD;&#xA;If you aspire to be a supervisor or sound designer then you need to have a deep appreciation and understanding of what every contributor brings to a film mix. Accordingly early in your career it is valuable to get some experience &amp; learn about all aspects...&#xD;&#xA;&#xD;&#xA;Later in your career, once you have proved to yourself (&amp; others) that you are actually ideally suited to a chosen speciality, then of course it is inevitable that people specialise because most projects rapidly become far to complex and schedules too tight to do it all yourself, even if you wanted to. But more importantly film making is about collaboration and it is what we each bring to the project and how we collaborate that creates the best outcomes...&#xD;&#xA;&#xD;&#xA;As far as indie films go, even the lowest budget projects I've ever done (including short films with no budget) I have always collaborated with a dialogue editor.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25203" PostHistoryTypeId="2" PostId="15269" RevisionGUID="1a2170ff-a4d0-47d4-8144-3483fb23e20d" CreationDate="2012-09-03T02:52:15.637" UserId="6411" Text="How do you cut / delineate a jump in time within the same space? Is there a standard way to handle this? For example, setting = interior, home office, day. Character A is sitting at their desk when character B enters the room. Character A stands to greet B, they shake and deliver a few lines. Cut to both sitting in arm chairs, chatting about war stories within the same room. Clearly some small amount of time has passed, be it 45 seconds or 45 minutes.&#xD;&#xA;&#xD;&#xA;My thought is to continue the int room tone, but perhaps change an element or three of what's happening outside the room. So, if I'm in a residential house I might lay in kids at play up top, then change to a distant lawnmower at the cut. Or perhaps add in some sounds of washing dishes off in the kitchen, etc.&#xD;&#xA;&#xD;&#xA;Probably a very simple question with a straightforward answer, but thought I'd bring it up anyway." ContentLicense="CC BY-SA 3.0" />
  <row Id="25204" PostHistoryTypeId="1" PostId="15269" RevisionGUID="1a2170ff-a4d0-47d4-8144-3483fb23e20d" CreationDate="2012-09-03T02:52:15.637" UserId="6411" Text="How do you cut BGs across time shifts within the same space?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25205" PostHistoryTypeId="3" PostId="15269" RevisionGUID="1a2170ff-a4d0-47d4-8144-3483fb23e20d" CreationDate="2012-09-03T02:52:15.637" UserId="6411" Text="&lt;background&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25206" PostHistoryTypeId="2" PostId="15270" RevisionGUID="35ad2490-4592-411d-bf66-83e0b9752e0b" CreationDate="2012-09-03T03:27:35.220" UserId="1228" Text="My rule of thumb is to always split that, even if its the same BG we're continuing.  I always split BG 'sides' by location and time cuts (and sometimes POV depending on what's going on).  Better to slightly over-split it then to not split at all and make it an issue for the stage if they want to mess with the BG.&#xD;&#xA;&#xD;&#xA;A great example is two simultaneous interrogations going on - both rooms are heavy roomtone rumbles (and there's an implied time dilation).  Both rooms are the same room, but for each back and forth it gets split, and some (but not all) of the tones are pitched up or down by about 1-2 semi's just to make the rooms bump ever so slightly.&#xD;&#xA;&#xD;&#xA;In my opinion, it's better to have the entire BG split if you're introducing new elements or taking others away on the time cut.  Otherwise I feel it looks sloppy and unprofessional, and could confuse a mixer." ContentLicense="CC BY-SA 3.0" />
  <row Id="25207" PostHistoryTypeId="5" PostId="15263" RevisionGUID="01c55fe9-f088-4955-bb22-f48905b840e3" CreationDate="2012-09-03T04:08:32.800" UserId="6411" Comment="spelling" Text="How is your processing chain different? Certainly, limiting and dialnorm requirements are different...but what about your actual processing?  Do you step compress on some genres and quick attack bus compress on others? Does it matter if it is a &quot;walk and talk&quot; verse a &quot;Action&quot; film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25208" PostHistoryTypeId="4" PostId="15263" RevisionGUID="01c55fe9-f088-4955-bb22-f48905b840e3" CreationDate="2012-09-03T04:08:32.800" UserId="6411" Comment="spelling" Text="Dialogue Chain Differences: TV versus Film" ContentLicense="CC BY-SA 3.0" />
  <row Id="25209" PostHistoryTypeId="2" PostId="15271" RevisionGUID="5605b1ad-fe71-4a6c-bf89-db0ee13d4d87" CreationDate="2012-09-03T04:20:21.317" UserId="4141" Text="I'm currently looking for four-year schools at which I can study sound design in the U.S. Probably ought to provide a bit of background - I am a musician (keyboard/synth) and do pit work for musicals, but am also heavily into doing foley recording/FX design for indie films, games, etc. I'm interested in being able to fill quite a few different roles, including foley recordist, composer, audio engineer (studio or live sound), and perhaps even the role of sound designer itself. I have 9 years of music composition and theory experience, which helps a bit of the composing side of things. &#xD;&#xA;&#xD;&#xA;Two schools in particular I looked at were Emerson College in Massachusetts, which offers a BA/BFA in sound design and audio post, and Fredonia in NY, which has a B.S. in Sound Recording Technology. The latter is heavily oriented toward music, and the former caters more to film. Any suggestions, or recommendations based on the schools listed? Thanks " ContentLicense="CC BY-SA 3.0" />
  <row Id="25210" PostHistoryTypeId="1" PostId="15271" RevisionGUID="5605b1ad-fe71-4a6c-bf89-db0ee13d4d87" CreationDate="2012-09-03T04:20:21.317" UserId="4141" Text="Studying Sound/Sound Design in the U.S. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25211" PostHistoryTypeId="3" PostId="15271" RevisionGUID="5605b1ad-fe71-4a6c-bf89-db0ee13d4d87" CreationDate="2012-09-03T04:20:21.317" UserId="4141" Text="&lt;design&gt;&lt;studies&gt;&lt;school&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25212" PostHistoryTypeId="2" PostId="15272" RevisionGUID="44eac665-c3cd-4c56-b9d0-fca9688d5acc" CreationDate="2012-09-03T06:28:15.327" UserId="3145" Text="I would not split the tracks, but, as you suggested add an appropriate element to sell the time jump.  If there is music you will need something a litte more recognizable than a split. I like your suggestions.  Also a car by just as it's passing, distant refrigerator hum or a different AC ambience." ContentLicense="CC BY-SA 3.0" />
  <row Id="25213" PostHistoryTypeId="2" PostId="15273" RevisionGUID="82567485-2fdb-4ac4-856e-e08650eda1e0" CreationDate="2012-09-03T06:59:06.020" UserId="3141" Text="I presume you mean in terms of community; perhaps looking for a site similar to Social Sound Design but with an emphasis on music?  &#xD;&#xA;&#xD;&#xA;Have you tried Tape Op message boards?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25214" PostHistoryTypeId="2" PostId="15274" RevisionGUID="3ef7f497-cb1b-404c-a189-9cb490706a18" CreationDate="2012-09-03T10:09:16.647" UserId="3203" Text="A good question, and as with most good questions they are hard to answer in a simple way.&#xD;&#xA;&#xD;&#xA;Being a specialist makes for a pretty good career path. Employers know that you know your job. They won't hesitate working with you as long as you also get a long well with the other team members.&#xD;&#xA;&#xD;&#xA;But the more you are known as a specialist the possibility that you will be considered as an asset for other types of work diminishes. If you are known as a great dialog editor, why should they risk using you as a sound effects editor rather than for dialog?&#xD;&#xA;&#xD;&#xA;The same goes for an accomplished effects editor.&#xD;&#xA;&#xD;&#xA;The tools and workflow for mangling and treating sounds are similar but rarely (if ever) the same when you compare what is done by a fx and dia editor.&#xD;&#xA;&#xD;&#xA;How to bwcome one or the other? &#xD;&#xA;Persoanlly I think it wil just &quot;happen&quot; to you. If you are the perfect one-man-band for documentaries and fast turn around projects you will be known as one.&#xD;&#xA;&#xD;&#xA;If you are great at building a super soundtrack but perhaps not a tech wiz at designing your own sounds you are likely to become a fx editor.&#xD;&#xA;&#xD;&#xA;If you do the above but also constantly produce fresh sound design elements and also have a good perception on how to effectively convey feelings with sounds. then you might be considered as a sound designer.&#xD;&#xA;&#xD;&#xA;If you are great with rhythm, cadence, tonality, meticulous and fast at operating your daw, you are likely to be known as a dialog editor. &#xD;&#xA;&#xD;&#xA;If you know most of the above, have a super personality, are great with scheduling have spent countless hours on a dub stage delivering material to various mixers, then you are a likely candidate for a sound supervisor post.&#xD;&#xA;&#xD;&#xA;Mixers, they are the folks who don't want to spend the time creating all the material but love to claim the fame for a great soundtrack while being especially good at time managment... :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Personally, I've become a &quot;do-it-all&quot; person.&#xD;&#xA;I started in music recording and mixing, transitioned to fx editing and foley recording, then became a dialog specialist, then assisted a lot in mixing, became a mixer, unsatisfied with certain sound effects editors job I decided to try to do better. So now I spend most of my time editing and designing sound effects. On projects I supervise I tend to mix as well. Occasionally I just mix. Right now I'm editing dialog only for a feature but I also supervise and handle the contacts with the director, mixer, composer and editor.&#xD;&#xA;&#xD;&#xA;But I've become a &quot;do-it-all&quot; person out of necessity, as being full time employed as staff at a smallish (9 employees but growing) sound post company with a dub stage,  7 editing rooms and handling all aspects of sound to film and TV I need to be able to wear many hats. I'm also responsible for assessing workflow and also the brains behind all things technical at our facility. The only thing I don't do is record dialog on location. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25215" PostHistoryTypeId="2" PostId="15275" RevisionGUID="fde3e927-70f4-448c-8412-f9875922557c" CreationDate="2012-09-03T11:16:16.440" UserId="2906" Text="The piezos used in contact microphones pick physical vibrations from solid surfaces as you can see here, for example: http://vimeo.com/31926631&#xD;&#xA;In that case of ice recording it makes sense to use those, but I don't think (and I hope someone correct me if I am wrong) a contact microphone under water -- in any other state than solid -- won't pick up vibrations which piezo is able to transduce to an electric signal. For my experience the contact mic needs to be well attached to the surface you are trying to use, and sometimes you even have to exert some pressure in it with a tool or your own hands. &#xD;&#xA;&#xD;&#xA;For the underwater recordings, I know it works acceptably well some simple small omnidirectional microphones with the advices given above. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25216" PostHistoryTypeId="2" PostId="15276" RevisionGUID="c797d9b8-a9d2-46b0-a738-a9e554c06df6" CreationDate="2012-09-03T11:31:07.827" UserId="930" Text="As far as I'm aware, some hydrophones are actually made with contact mics (or piezo transducers) sealed inside a protective housing, and called hydrophones - so I think your logic is sound.&#xD;&#xA;&#xD;&#xA;Actually, Jez Riley French makes some and it seems from his wording that that's how he makes his: http://hydrophones.blogspot.co.uk/2009/04/hydrophones-by-jrf.html&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="25217" PostHistoryTypeId="5" PostId="15275" RevisionGUID="b9621f90-6051-4719-a7e2-83cb97d1ea9e" CreationDate="2012-09-03T11:52:33.280" UserId="2906" Comment="improved formatting" Text="The piezos used in contact microphones pick physical vibrations from solid surfaces as you can see here, for example: http://vimeo.com/31926631&#xD;&#xA;In that case of ice recording it makes sense to use those, but I don't think (and I hope someone correct me if I am wrong) a contact microphone under water -- in any other state than solid -- won't pick up much vibrations which the piezo is able to transduce to an electric signal. For my experience the contact mic needs to be well attached to the surface you are trying to use, and sometimes you even have to exert some pressure in it with a tool or your own hands. &#xD;&#xA;&#xD;&#xA;For the underwater recordings, I know it works acceptably well some simple small omnidirectional microphones with the advices given above. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25218" PostHistoryTypeId="5" PostId="15276" RevisionGUID="d3ebe9eb-7118-4120-8ee4-bbec0c545b9a" CreationDate="2012-09-03T14:57:46.850" UserId="930" Comment="deleted 24 characters in body" Text="As far as I'm aware, some hydrophones are actually made with contact mics (or piezo transducers) sealed inside a protective housing - so I think your logic is sound.&#xD;&#xA;&#xD;&#xA;Actually, Jez Riley French makes some and it seems from his wording that that's how he makes his: http://hydrophones.blogspot.co.uk/2009/04/hydrophones-by-jrf.html&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="25219" PostHistoryTypeId="2" PostId="15277" RevisionGUID="9a2def95-d7fa-49a4-9176-256c6d21c3f8" CreationDate="2012-09-03T16:47:53.700" UserId="3312" Text="I think you're going in the right direction.&#xD;&#xA;Sound is part of the storytelling process. And as such, I usually handle these situations in a way that's subtle, but not subliminal. For example, by adding a distant dog bark you are bringing a new character into the environment and that's OK as long as there is purpose and you lock in within a timeframe (don't use it again when it's supposed to be much later). If the scene is a business office, it will be an implied weekday so kids on the street would suggest it's afternoon as they would be back from school. As long as we hear the before and after, we'll know time has passed.&#xD;&#xA;A subtle difference in the outside traffic that leaks in can be useful to refresh POVs. Even if we don't see a window, you can suggest the existence of there being one closer to Character A than to Character B. When you cut to Character B, then maybe you have more interior-ish sounds leaking in.&#xD;&#xA;I once had to do this with a single character who stays up all night. No music, no dialog. About 20 seconds at 11PM, then 1AM, then 3AM, then 6AM, then 8AM. So as you can imagine, traffic diminishes, then it becomes sparse, very subtle crickets, a cat, the city rumbling, then as the city wakes up we hear a distant garbage truck, later kids before going to school + rush hour in the distance, then more controlled day ambience at 8AM.&#xD;&#xA;If dialog drives the scene let it take the wheel and don't force it, but suggest changes using your imagination. Sometimes you'll want these changes to be noticeable, and some other times you'll have to be subtle. Play with it and after a while the scene will ask for what it needs. That's just my 2 cents." ContentLicense="CC BY-SA 3.0" />
  <row Id="25220" PostHistoryTypeId="2" PostId="15278" RevisionGUID="cc50a2b7-7b81-4711-8d6a-8df23abeaeaa" CreationDate="2012-09-03T17:22:54.557" UserDisplayName="user6508" Text="I've done both splitting and not splitting.  It depends on what the end product is.  If it's a TV show that I know doesn't feature BG's, I won't split but will add distinguishing elements to differentiate between the cut (Like you mentioned, lawn mower, kids playing etc)  I'll even spot a car by or bus by that cut's off on the cut or starts mid by on the B side (If it's relevant and feels right)  This all depends too on what else is playing during the time cut.  Is there music that transitions and hit's the cut?  Is Dialogue pre-lapping the cut to sell the transition?  Like so much of our job, it's rarely ever a &quot;yes or no&quot; call.  It's more about what ever helps support and communicate the story." ContentLicense="CC BY-SA 3.0" />
  <row Id="25221" PostHistoryTypeId="2" PostId="15279" RevisionGUID="7310b82b-0c7a-4d38-9194-208586a5efe4" CreationDate="2012-09-03T20:14:20.823" UserId="18" Text="I **always** have the limiters engaged on my recorders, no matter what I'm recording.  But, it is absolutely essential with the loud stuff (guns, explos, jet bikes, car drops, etc).  The hardest thing about recording a loud source is that you can't monitor while you record.  Well, you can monitor, but you won't hear it well enough to get a feel for the recordings.  Playback after takes is essential, so that you know what adjustments to make.  &#xD;&#xA;&#xD;&#xA;I find that if your recordings are distorting, the first thing to change is your mic placement.  Move the mic further away or point it away from the source.  Likewise, if you are not getting enough level, move your stuff closer.  Also realize that some mics just won't like a particular source, so don't be afraid to swap mics out.  Of course, you still need to understand proper gain settings, your mic pres should not be jacked up all the way, nor should they be turned down to near zero.  Mic pads are also a good thing to have around.&#xD;&#xA;&#xD;&#xA;Also, I tend to record loud stuff pretty hot, especially the transient stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="25222" PostHistoryTypeId="2" PostId="15280" RevisionGUID="6e0afa51-b1e1-403b-8464-d6bc3f4e0853" CreationDate="2012-09-03T21:45:02.303" UserId="4213" Text="You can check out Full Sial University in Orlando Fl. They have a beautiful Recording Arts BS program that cover both music and film.  Good luck in your endeavours my friend.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25223" PostHistoryTypeId="2" PostId="15281" RevisionGUID="cee5513c-4661-428f-8311-ab4d3948b641" CreationDate="2012-09-04T10:32:09.740" UserId="4214" Text="Columbia College Chicago" ContentLicense="CC BY-SA 3.0" />
  <row Id="25224" PostHistoryTypeId="2" PostId="15282" RevisionGUID="ad2d128a-77a9-4823-85dc-4818af89469e" CreationDate="2012-09-04T11:39:27.860" UserId="432" Text="I earned my MA at Emerson, and it wasn't a bad program. To be honest though, I would advise you against either Fredonia or Emerson (or any other school in Boston for that matter). You would be far better served by looking into schools in locations where there is a thriving commercial film environment, such as New York or LA (schools like NYU Tisch or USC respectively); Chicago definitely has a busy industry as well, and I've heard good things about Columbia College as well (mentioned by MSquared). People may argue with me about finding the same level/quality of courses in other areas, but it's better to be where the work is. It will give you a chance to start making connections before you've graduated, giving you a better shot of finding a foot in the door when you're ready for that step." ContentLicense="CC BY-SA 3.0" />
  <row Id="25225" PostHistoryTypeId="2" PostId="15283" RevisionGUID="80f98245-9dae-4d5b-925e-e523bc56c057" CreationDate="2012-09-04T20:16:50.717" UserId="234" Text="GENERALLY (because as you well know, every project is different), the difference is that I tend to use more compression on TV, because a) I have to hit a LKFS spec and b) I usually have far less time to ride levels so multiple compressors can go a long way. In film I usually start with very minimal processing on the bus... just a peak limiter and then add only what I absolutely need to. With TV shows I usually have a template/program that may include, NR, EQ and compression. These are usually setup on the first ep, and then tweaked as needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="25226" PostHistoryTypeId="2" PostId="15284" RevisionGUID="b0ba7623-02ec-45e3-b55b-b081e52031d8" CreationDate="2012-09-05T08:10:59.447" UserId="1228" Text="Savannah College of Art and Design is another to consider - they have a solid 4 year, accredited BFA program for Sound Design (but likely like any other well rounded sound design degree, it's still just an 'introduction' to prepare you for beginning in the industry).  A great eclectic mix of professors, some even still work on shows on the side or even work out here in LA during summer.  There's a music track and a film/post sound track to the program to some degree, but the program is definitely more film/post sound oriented.  All ProTools environment, mix suites, Foley stage/pits, a MIDI/sound design suite (I believe, at least when I was there a long time ago), scoring stage/recording studio with an Icon setup, and a variety of production sound and studio recording mics and gear, and an extensive Sound Ideas/Hollywood Edge library with a Soundminer back end.  So if anything there's a lot of presently-used-in-the-industy tools at your fingertips, and the instruction compliments it well in my opinion.  As odd as it may seem of it's location, it's a well rounded and solid program and I know quite a few in post sound who have found success out here in LA after graduating." ContentLicense="CC BY-SA 3.0" />
  <row Id="25227" PostHistoryTypeId="2" PostId="15285" RevisionGUID="1cf3f569-9230-4b0d-bd53-4da9ffaad3ee" CreationDate="2012-09-05T15:30:20.803" UserId="4217" Text="I want to thank you for this posting which I found in my desperate search for HELP!!!&#xD;&#xA;I am a novice audiobook narrator and, as such, must also act as my own audio &quot;engineer.&quot;  I'm finding my biggest hurdle is my own biology, specifically in the nasal and oral cavities -- not to go into too much gory detail.  The editing of my pieces has been tortuous, to the point of making me question why I'm entering this field. I've tried all the &quot;potions&quot; and suggestions regarding eating and drinking and nothing seemed to work. The comments here regarding elocution lessons got me thinking about what's actually going on in the oral cavity, with the structures interacting in a viscous environment.  Since attempts at adjusting the viscosity have failed, I figured maybe I should reduce the mechanical interactions when speaking as much as possible through control over the movements within, by keeping the inner cheeks close to the teeth, with only as much tongue and mouth movement as necessary.  It takes some practice, but my initial results are very promising! Vocal instructors may take issue with this, but I am so aware of the agony you engineers are experiencing, that this is a direction that I really want to explore to the fullest. It's my job to make the raw product as easy for you as possible.  Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25228" PostHistoryTypeId="2" PostId="15286" RevisionGUID="81d1bf4c-04b4-4d7e-a685-6b020f3717a5" CreationDate="2012-09-05T15:53:37.473" UserId="2906" Text="I'm from Portugal and I don't know any other woman or girl into sound design in here. &#xD;&#xA;I attended a bachelor on Music Production and Technology and between 16-18 students per year, usually there are 0 to 1 girls.&#xD;&#xA;Even so, there are some live sound technicians girls and they all enjoy of a nice reputation, actually. I think they are seen as trustworthy. &#xD;&#xA;Within these areas, I think the ones who stand out are really good and work hard, more than most of guys, and of course if we are so few, we end up standing out.&#xD;&#xA;&#xD;&#xA;Without criticizing anyone I agree to a certain extent the the 'engineering' is usually the weakest part, from what I've been seeing, most woman tend to focus more on the concept and so on, on a theoretical level, then technical experimentation. I guess it's only a matter of time, though.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25229" PostHistoryTypeId="2" PostId="15287" RevisionGUID="bc55e5ee-5340-452d-824a-2e1f3ba37a04" CreationDate="2012-09-06T01:33:38.987" UserId="4218" Text="I studied about sound quality in mechanical engineering.&#xD;&#xA;I want to define luxurious car horn sound connecting with emotion sound.&#xD;&#xA;I hope that u recommend to express about soft, sharpness or like baritone voice.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25230" PostHistoryTypeId="1" PostId="15287" RevisionGUID="bc55e5ee-5340-452d-824a-2e1f3ba37a04" CreationDate="2012-09-06T01:33:38.987" UserId="4218" Text="Do u know what sounds express about soft , sharpness or like baritone." ContentLicense="CC BY-SA 3.0" />
  <row Id="25231" PostHistoryTypeId="3" PostId="15287" RevisionGUID="bc55e5ee-5340-452d-824a-2e1f3ba37a04" CreationDate="2012-09-06T01:33:38.987" UserId="4218" Text="&lt;help&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25232" PostHistoryTypeId="2" PostId="15288" RevisionGUID="ad345275-9496-400b-9906-92696603667b" CreationDate="2012-09-06T05:18:23.247" UserId="4176" Text="Chris, with the way most film and video is produced, I think it's in your best interest to be able to offer more than one audio skill to a production. You don't want to be the &quot;jack of all trades, but master of none&quot;, but competent in a few different areas makes you more employable. &#xD;&#xA;&#xD;&#xA;After 26 years in audio, when I am hired now for a gig, I take it from recording on location, to writing the underscore, to mixing and mastering for broadcast - I take responsibility for all aspect of sound for that production. I used to have close to 50 clients when I was known only as a location audio operator, jumping from 2 day gig to 7 day gig ect., but now I cater to 6 clients and do 3 to 5 complete shows a year. Jumping from the studio to location is kinda nice.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25236" PostHistoryTypeId="2" PostId="15290" RevisionGUID="1f3dc747-6710-4afe-9253-6986723536de" CreationDate="2012-09-06T10:23:14.837" UserId="4119" Text="I think it's important to cross reference, constantly. If you've got a setup and playback system you are comfortable with and can trust, i.e headphones and decent reference monitors, this process shouldn't slow you down and with more experience you get to know what particular device is better suited to the detail or the abstract of what you are editing. For me, headphones are great, mdr 7506, every tiny detail can be analysed.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25237" PostHistoryTypeId="2" PostId="15291" RevisionGUID="fdcf9d01-a6fb-4312-826a-d717e36244ec" CreationDate="2012-09-06T10:28:31.220" UserId="3420" Text="Can I just ask. . . if you're recording dialogue for a short - it's fine to just plug your Rode NTG2 straight into the Tascam 100?&#xD;&#xA;&#xD;&#xA;Also. . it's $1k for you guys, but over in the UK all that stuff basically comes to 1 grand sterling." ContentLicense="CC BY-SA 3.0" />
  <row Id="25238" PostHistoryTypeId="2" PostId="15292" RevisionGUID="b3fc7324-5feb-41c4-83c3-d6e9f023781c" CreationDate="2012-09-06T11:57:01.627" UserId="1237" Text="Hi!&#xD;&#xA;&#xD;&#xA;BF3 has just released a new cool video and it as always has a great sound design:&#xD;&#xA;[youtube]qDJdE88OX-0[/youtube]&#xD;&#xA;&#xD;&#xA;There is an interesting sequence from 00:05 to 00:10 sec and I wonder what kind of synthesis is used there? Granular, FM or something else? &#xD;&#xA;&#xD;&#xA;Right now I am experimenting only with fm-synth and I don't know anything about granular method. And, if aforementioned moment was created by granular synthesizer, then I'm starting to learn it immediately! :)&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25239" PostHistoryTypeId="1" PostId="15292" RevisionGUID="b3fc7324-5feb-41c4-83c3-d6e9f023781c" CreationDate="2012-09-06T11:57:01.627" UserId="1237" Text="Battlefield 3 Trailer Sound Design - Type of Synthesis" ContentLicense="CC BY-SA 3.0" />
  <row Id="25240" PostHistoryTypeId="3" PostId="15292" RevisionGUID="b3fc7324-5feb-41c4-83c3-d6e9f023781c" CreationDate="2012-09-06T11:57:01.627" UserId="1237" Text="&lt;synthesis&gt;&lt;trailer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25241" PostHistoryTypeId="2" PostId="15293" RevisionGUID="1f165219-7771-4eeb-8061-9a7643b24a42" CreationDate="2012-09-06T12:28:58.857" UserId="1055" Text="hmm, sounds like some sort of static, with lfo on LP filter(lfo rate modulated too), maybe a little bit of doppeler. imo innitial sound is some basic noisy synth patch(it could be even basic subtractive synth) or static noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="25242" PostHistoryTypeId="5" PostId="15293" RevisionGUID="a82a4636-d7c8-40ff-af31-5e5294f9bee6" CreationDate="2012-09-06T12:34:59.817" UserId="1055" Comment="added 174 characters in body" Text="hmm, sounds like some sort of static, with lfo on LP filter(lfo rate modulated too), maybe a little bit of doppeler. imo innitial sound is some basic noisy synth patch(it could be even basic subtractive synth) or static noise.&#xD;&#xA;&#xD;&#xA;edit: low pass filtering doesn't work for noise oscillators as i would thought, but small short notes of just noise osc and a little bit of doppeler does similar results." ContentLicense="CC BY-SA 3.0" />
  <row Id="25243" PostHistoryTypeId="2" PostId="15294" RevisionGUID="8dd63dd9-f243-45f2-a912-8fb2a447dfb5" CreationDate="2012-09-06T12:37:30.453" UserId="1237" Text="Whoops!&#xD;&#xA;I think that there might be a little fundamental misunderstanding in my personal recording theory!&#xD;&#xA;&#xD;&#xA;I am about this RedSonic01's sentence: &#xD;&#xA;&#xD;&#xA;&gt; Some like to record with really high&#xD;&#xA;&gt; gain, bouncing the transients off the&#xD;&#xA;&gt; limiter.&#xD;&#xA;&#xD;&#xA;I always thought, that the only purpose of gain in portable recorders was the ability to change the monitor level for the comfortable listening. I mean, I thought that if you took two the same recorders and record the same sound (not such a loud sound that will cause the clipping) but with different gain level and later in DAW normalize those two recordings, you would receive identical sounds. Is this right? Or there is something more about microphone gain?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25244" PostHistoryTypeId="5" PostId="14865" RevisionGUID="c1e582f9-5bb4-4f89-a0a5-957852156a0c" CreationDate="2012-09-06T13:01:13.343" UserId="4119" Comment="spelling" Text="Hello To Everyone,&#xD;&#xA;&#xD;&#xA;I come from a music background and am starting out in sound design and dont have a show reel. I realise that this is paramount for new employers, they want to see what you can do, right?&#xD;&#xA;&#xD;&#xA;The problem is that I dont have any video or films to work from. So I thought I'd ask you folks here.&#xD;&#xA;&#xD;&#xA;I have thought about taking scenes from movies and television, stripping the sound and rebuilding it myself.&#xD;&#xA;&#xD;&#xA;Is this something that is viable, I know that there maybe a copyright issue there, but what about future employers, is this something that they want to see or would they prefer something original?&#xD;&#xA;&#xD;&#xA;Thanks in advance for any help!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25245" PostHistoryTypeId="2" PostId="15295" RevisionGUID="aa7d76d6-7b52-4ae2-a723-9913df0e31d8" CreationDate="2012-09-06T14:07:29.423" UserId="2502" Text="My company tracks a good amount of audio books and headphones are standard for this type of session. You will catch little things that need to be picked up in the cans that you might not in the monitors. This type of workflow was actually pressed on me from the producers that produce high profile audio books daily. Whatever you are working on, if your end user will be listening on headphones, you should be doing a good amount of it yourself." ContentLicense="CC BY-SA 3.0" />
  <row Id="25249" PostHistoryTypeId="2" PostId="15297" RevisionGUID="2fdcd073-79fb-4d7b-af46-71b83d518f43" CreationDate="2012-09-06T15:46:13.753" UserId="4119" Text="Couldn't find any other posts on: how to define the end/completion of the services you were contracted for. Thought it might be a good topic to discuss. However, if there are any good threads already talking about this please post them.&#xD;&#xA;&#xD;&#xA;How do you define the completion of your services that you were contracted for? i.e is it more common to state: I will keep on working on the project until the director/producer deems it is finished or I will only do a maximum number of recalls per section/scene???&#xD;&#xA;&#xD;&#xA;I understand that this can be seen as quite a wide ranged question where it's almost different in every circumstance but it is important to protect the 'service provider' so that they are not tied into a project because of a extremely pedantic director/producer for a financially harmful amount of time. And like-wise to ensure the director/producer gets a quality service and is happy with the service.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="25250" PostHistoryTypeId="1" PostId="15297" RevisionGUID="2fdcd073-79fb-4d7b-af46-71b83d518f43" CreationDate="2012-09-06T15:46:13.753" UserId="4119" Text="Defining the completion of your services in written terms/contract?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25251" PostHistoryTypeId="3" PostId="15297" RevisionGUID="2fdcd073-79fb-4d7b-af46-71b83d518f43" CreationDate="2012-09-06T15:46:13.753" UserId="4119" Text="&lt;contracts&gt;&lt;business&gt;&lt;legality&gt;&lt;sound-design&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25252" PostHistoryTypeId="2" PostId="15298" RevisionGUID="2b9db923-f5c7-4ff1-8dc6-4fd3990d7862" CreationDate="2012-09-06T16:22:06.970" UserId="432" Text="When I negotiate freelance projects, I typically give clients a rough mix to review and request changes, plus 1 or 2 rounds of revisions after that to get to final mix. This simply means that this is all that will be completed under the negotiated rate (be that flat project fee or hourly/daily/etc.). Any work or revisions requested beyond that will be done at another rate; either one agreed upon prior to beginning the project (suggested), or to be negotiated after previously mentioned work is completed.&#xD;&#xA;&#xD;&#xA;Set some clear expectations as to how much work should go into this in post, and let it be know that you're willing to continue working beyond that should it be required. The point is to make sure that the client understands there is a cost associated with incessant tweaking and projects that never end." ContentLicense="CC BY-SA 3.0" />
  <row Id="25253" PostHistoryTypeId="2" PostId="15299" RevisionGUID="e7ae99e9-be9f-4ffe-a457-bcfba630c060" CreationDate="2012-09-06T20:37:06.910" UserId="4220" Text="How would you mount a wireless mic pack like [this one][1]&#xD;&#xA;&#xD;&#xA;to guitar without damaging the guitar or impeding the player?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.shure.com/americas/products/wireless-systems/uhfr-systems/ur1-wireless-bodypack-transmitter" ContentLicense="CC BY-SA 3.0" />
  <row Id="25254" PostHistoryTypeId="1" PostId="15299" RevisionGUID="e7ae99e9-be9f-4ffe-a457-bcfba630c060" CreationDate="2012-09-06T20:37:06.910" UserId="4220" Text="guitar wireless micing question" ContentLicense="CC BY-SA 3.0" />
  <row Id="25255" PostHistoryTypeId="3" PostId="15299" RevisionGUID="e7ae99e9-be9f-4ffe-a457-bcfba630c060" CreationDate="2012-09-06T20:37:06.910" UserId="4220" Text="&lt;live-sound&gt;&lt;wireless&gt;&lt;guitar&gt;&lt;microphone-positioning&gt;&lt;mounting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25256" PostHistoryTypeId="2" PostId="15300" RevisionGUID="a5946d3f-0b98-4418-8e5f-23fc313bc419" CreationDate="2012-09-06T21:26:14.480" UserId="3754" Text="I've put a pack on an acoustic before in Theatre, you just provide a new strap and sew an elastic pouch to it. Run the cable down the strap and tape the mic in place / jack plug.&#xD;&#xA;&#xD;&#xA;Obviously easier to do when you have a wardrobe department available, but shouldn't be to hard." ContentLicense="CC BY-SA 3.0" />
  <row Id="25257" PostHistoryTypeId="5" PostId="15299" RevisionGUID="43251877-9c7d-4bc8-a7db-573f2f2da075" CreationDate="2012-09-06T21:44:13.857" UserId="4220" Comment="added 44 characters in body" Text="How would you mount a wireless mic pack like [this one][1]&#xD;&#xA;&#xD;&#xA;to guitar without damaging the guitar or impeding the player?&#xD;&#xA;&#xD;&#xA;[EDIT] oh and the strap is not preferable!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.shure.com/americas/products/wireless-systems/uhfr-systems/ur1-wireless-bodypack-transmitter" ContentLicense="CC BY-SA 3.0" />
  <row Id="25258" PostHistoryTypeId="2" PostId="15301" RevisionGUID="9a596a25-7223-4b67-b829-5f2ed8e38e16" CreationDate="2012-09-06T23:40:02.943" UserId="1228" Text="My personal take on it is that we set out with a turnaround time at the beginning, and we put it in writing as one of the line items within the contract - in some regards its a 'handshake deal' with some clients beyond that in terms of if we have to meet that drop-dead agreed date or if we have some wiggle room but we want to finish around that listed deadline nonetheless.&#xD;&#xA;&#xD;&#xA;Planning for accurate turnaround times takes some experience both in time management and having some experience under your belt on similar type shows and also knowing what average industry-wide turnaround times are for those.  It also has to take into account budget in my opinion, under the good-fast-cheap-pick-two rule to some degree.  Higher budget is likely to have higher priority in my day to day work management, but this also depends upon how quick the client is to turn around materials requests (if they take a while to get back to me about pix updates or dailies or something, for instance, it can slow down the schedule and force me to lower the priority in the meantime).&#xD;&#xA;&#xD;&#xA;In my experience, usually contracts for freelance work are simple all-in deals for the show and not day rate, so the budget quote is determined by a lot of factors with the show itself and what it will take to get the job done, both work-wise and crew-wise.  This is were some background experience comes in handy too to not sell yourself short but also not gouge the client. A fair rate for them and you.  I tend to plan in 'weeks' (such as, a polished dialogue pass averages about 1 reel/wk, sound effects 1-2 reels/wk depending upon how FX heavy, 2 (maybe 3) reels/wk for BGs also depending upon how heavy they are, etc - but these are just what I personally find works for me, everyone's allowances way differ).  Taking these numbers into account for my workflow speed, I can calculate from the onset of the show at the time of the contract considerably accurately how long it will take to complete, and that helps us agree upon the delivery deadline and post schedule.  or if they already have a deadline in mind, I use these numbers to help figure out where I can strategize the workflow and/or trim things from the budget if needs or hire crew members.&#xD;&#xA;&#xD;&#xA;Contractually, I always require a 50% upfront deposit at time of deliverables intake/spotting session.  Similar to Shaun, I provide playback and sessions to tweaks as necessary - if I have to work long distance, I send mp3s (sure, not a true 1:1 but close enough but still protects the actual work).  Once they approve, either in person or over long distance, and the remainder 50% is paid, the uncompressed BWAV printmasters/stems are released.  I allow for 48 hours after approval and delivery for technical fixes free of charge (limited to QC bounces, problematic files, and missing sound elements **only if they already exist within the cut tracks**, and technical things like that).  After that window, anything done creatively or technical is billed per day as overages (or we can form a new contract).&#xD;&#xA;&#xD;&#xA;Overall, in my opinion, shooting for a firm, drop-dead deadline is beneficial for both parties.  It keeps you on track and it gives them a firm payment deadline which cannot by skirted around." ContentLicense="CC BY-SA 3.0" />
  <row Id="25259" PostHistoryTypeId="2" PostId="15302" RevisionGUID="65ca90e5-8259-4f82-bd86-cb253a232227" CreationDate="2012-09-07T08:23:14.410" UserId="6460" Text="It sounds like some form of subtractive noise synthesis with a stutter effect applied. This could be done by applying a LFO shaped as a square wave to the volume of the synth, and then automating the speed of the LFO. There are also filter sweeps happening underneath. &#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25260" PostHistoryTypeId="2" PostId="15303" RevisionGUID="b6f91921-3f7b-4991-849a-14a050cda5c0" CreationDate="2012-09-07T16:22:14.377" UserId="1049" Text="I'm not entirely sure what you are after and not entirely sure what you mean by 'luxurious' car horn... Are you wanting to describe the timbre of a certain car horn sound using words? And do you have any examples of a particular type of horn you are able to post a link to? &#xD;&#xA;&#xD;&#xA;Timbre, or 'how something sounds', is usually described using words you'd normally relate with other senses, such as vision and touch. For example, a sound can be described as warm or cold, sharp or soft, bright or dull. &#xD;&#xA;&#xD;&#xA;Words I'd use to describe a typical car horn would be things like 'sharp', 'bright', maybe 'harsh'. The point of a car horn is to act as a warning so will tend to be be disharmonic and cutting so as to stand out and catch our attention. &#xD;&#xA;&#xD;&#xA;Again, if you post a link to a more specific example of what you're attempting to describe, we might be able to give you more assistance!! " ContentLicense="CC BY-SA 3.0" />
  <row Id="25261" PostHistoryTypeId="2" PostId="15304" RevisionGUID="60942ab6-08a0-4d4c-bf26-8cc66dbf8e01" CreationDate="2012-09-07T19:43:42.003" UserId="6411" Text="Just made some down and dirty heart monitor beeps for a scene. The main character is in a hospital bed and has just come out of a coma. I used a couple instances of Structure, a single trigger for each that I region-looped, and then tempo-mapped subtle heart rate changes through the scene based on her reactions. Then re-recorded the output of each Structure track to new audio tracks. Quick and easy.&#xD;&#xA;&#xD;&#xA;One thing to note, I did this in a new session and imported the recorded audio tracks back into my BG session as I didn't want it to throw off the sync of anything else in my main session.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25262" PostHistoryTypeId="2" PostId="15305" RevisionGUID="96e75bfa-8028-4a8b-8020-d9df264afc20" CreationDate="2012-09-07T19:56:39.470" UserId="4222" Text="Very interesting project. I have seen these plans posted in other places. The weakness of this design is that you will actually need a separate microphone at the end of each tube, instead of a single mic at teh end of the funnel. The tubes may resonate and amplify, but whaever gain they have is lost in the &quot;collector&quot;--i.e. the area inside the funnel where the tubes join." ContentLicense="CC BY-SA 3.0" />
  <row Id="25263" PostHistoryTypeId="2" PostId="15306" RevisionGUID="3170dc34-c0fd-4a51-a8de-bf6be07ef343" CreationDate="2012-09-07T21:36:50.637" UserDisplayName="user49" Text="Every film project I have ever done is budgeted and scheduled with a clear finish date, and a specific deliveries list. If the schedule changes then the onus is on the producer to pay for extra time eg if an extra day of mix fixes is required they have to approve that extra cost with the mix facility and for each of the freelancers involved. Same goes for overtime, it always has to be peeapproved by producer and/or post supervisor.&#xD;&#xA;&#xD;&#xA;I believe in weekly invoicing, one week in arrears, and in 20+ years of work have never had a single problem with payment, because any issue arises and is dealt with immediately. So ie we work week 1, invoice for week 1 on Monday of week 2 and are paid Thursday of week 2. Every week until the project is finished.&#xD;&#xA;&#xD;&#xA;The post supervisor provides the list of deliverables, most of which in my case as a freelancer are completed by the mixers/facility.... But for studio films they usually also require copies of all source material, Predub stems and final mix sessions, so time has to be allocated and budgeted to do this work after the final mix is completed." ContentLicense="CC BY-SA 3.0" />
  <row Id="25264" PostHistoryTypeId="2" PostId="15307" RevisionGUID="3079898f-8330-413b-89f8-19c888662f82" CreationDate="2012-09-08T08:53:57.080" UserId="4100" Text="wow Utopia you really tried them all but i do understand your frustration, i personally deal with this issue everyday and i haven't found a magic solution yet however here what we do:&#xD;&#xA;&#xD;&#xA;- educate the talent ( we have many pro voice actors but also non pro and by explaining them the issue makes them more clicks aware when speaking as a result we get better takes, even with people who have piercing on their tongue and believe me those guys can sound like alva noto music when speaking)&#xD;&#xA;&#xD;&#xA;- i may be totally wrong here but we noticed that using those spongy pop filter/wind shield and positioning the mic not right in front of their mouth attenuate those sounds, there are still there but not so prominent &#xD;&#xA;&#xD;&#xA;- we simple use water and apple ice tea or juice, but ask them to swallow more often to keep their mouth neither too wet nor too dry, i think with the apple or anything containing apple i got the best result.&#xD;&#xA;&#xD;&#xA;- lastly... well, we actually clean the mouth clicks by hand using spectral frequency view, which is very time consuming." ContentLicense="CC BY-SA 3.0" />
  <row Id="25265" PostHistoryTypeId="16" PostId="15307" RevisionGUID="3079898f-8330-413b-89f8-19c888662f82" CreationDate="2012-09-08T08:53:57.080" UserId="-1" />
  <row Id="25266" PostHistoryTypeId="2" PostId="15308" RevisionGUID="7ef227fe-f066-42fb-bcb6-81f6bb860951" CreationDate="2012-09-08T18:59:01.673" UserId="6460" Text="I looked for a previous thread about this and I'm surprised that I didn't find anything—if I missed it let me know. &#xD;&#xA;&#xD;&#xA;As a relative newcomer to freelance film sound design, I often find myself holding the title of supervising sound editor, dialog editor, foley recordist, SFX designer ... yadda yadda. I'm sure many of you have been in situations where you are the lone-wolf post-sound figure, it seems to be the thing to do for newer directors and indies where the budget can't cover a sound team. &#xD;&#xA;&#xD;&#xA;Even when I'm working alone, I like to provide a mix that has comparable attention to detail as a team of dubbing editors would have provided—it's a somewhat unrealistic-but-motivational goal, even with a time limit. &#xD;&#xA;&#xD;&#xA;I'm currently working on a 70-minute comedy which is fairly dialog-heavy with a couple large FX sequences. My organization is:&#xD;&#xA;&#xD;&#xA; - a dialog session where each scene is a different set of tracks into a bus&#xD;&#xA; - an atmospherics session&#xD;&#xA; - a different session for each hard FX sequence (6 sessions)&#xD;&#xA; - a session for the narrator's voiceovers&#xD;&#xA;&#xD;&#xA;... we don't have time to create a foley mix for this draft of the film. Now that the dialog is mostly edited, I've been jumping from one session to another just adding detail. I find myself exhausted after a couple hours and moving somewhat slowly.&#xD;&#xA;&#xD;&#xA;I'm curious if any of you have advice or stories about this type of situation, from keeping your editing sessions consistent to keeping yourself sane. Do you organize your workflow and files in the same way that you would have a team do the same? How do you keep yourself productive while still maintaining creative clarity and grounded perspective on what's important/what's not? I'm thirsty for some different approaches.&#xD;&#xA;&#xD;&#xA;Thanks,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25267" PostHistoryTypeId="1" PostId="15308" RevisionGUID="7ef227fe-f066-42fb-bcb6-81f6bb860951" CreationDate="2012-09-08T18:59:01.673" UserId="6460" Text="Working by yourself" ContentLicense="CC BY-SA 3.0" />
  <row Id="25268" PostHistoryTypeId="3" PostId="15308" RevisionGUID="7ef227fe-f066-42fb-bcb6-81f6bb860951" CreationDate="2012-09-08T18:59:01.673" UserId="6460" Text="&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25269" PostHistoryTypeId="2" PostId="15309" RevisionGUID="5445fbe4-6f0a-4d9f-9870-635740c9ccc5" CreationDate="2012-09-08T21:25:47.483" UserId="194" Text="Hi Matt,&#xD;&#xA;&#xD;&#xA;sounds like you have a pretty tall order in front of you.  &#xD;&#xA;&#xD;&#xA;I think that you're absolutely correct to break the parts of the production up into different sessions.  Being free to open whatever plugs you want in whatever situation you need is a big benefit of that approach.&#xD;&#xA;&#xD;&#xA;I'd also advise coming up with an order of priority and a rough milestone schedule for the work.  That way the work you do at one step will be able to carry through to the next step, and you'll feel the progress that you're making as you reach each milestone.&#xD;&#xA;&#xD;&#xA;For example, you could probably prioritize your parts as follows:&#xD;&#xA;&#xD;&#xA; - dialogue edit&#xD;&#xA; - bgfx edit&#xD;&#xA; - music edit&#xD;&#xA; - foley record and edit&#xD;&#xA; - sfx edit&#xD;&#xA; - premix&#xD;&#xA; - final mix&#xD;&#xA;&#xD;&#xA;at the end of each part you'd print out a stem, import that stem in to the session of the next step, and work the next step in the context of the previous work.  This also forces you to live with the previous work as the project moves along, which may allow you to discover errors or alternate choices you could make as you hear that work over and over again.  &#xD;&#xA;&#xD;&#xA;executing the dialogue first means that you're living with that dialogue edit the longest, and you're able to work all of the *rest* of your editorial in the context of the dialogue edit.&#xD;&#xA;&#xD;&#xA;one other piece of advice that I'd give would be to be fearless about making decisions.  This generally translates to printing effects instead of automating them.  The more decisive you are early in the process the less there will be to juggle as all of the parts come together in the end - so own those choices by printing them and moving them forward in a concrete form. &#xD;&#xA;&#xD;&#xA;finally - seek out ears that you trust and try to inject as much collaboration as you can into the process.  An impartial observer can restore perspective that you may lose as you wade through the minutia of the edit.  this kind of work is *supposed* to be collaborative, and it benefits from collaboration so much that it really is worth the effort to inject that kind of perspective into the process.  &#xD;&#xA;&#xD;&#xA;If there's any part that you can farm out or outsource, do so while retaining the responsibility for the final product.  This can alleviate some of the deadline stress while adding a fresh perspective to the project." ContentLicense="CC BY-SA 3.0" />
  <row Id="25271" PostHistoryTypeId="2" PostId="15311" RevisionGUID="b9952084-b7e7-487d-bc47-2d7fe06bf63f" CreationDate="2012-09-09T17:01:55.053" UserId="6432" Text="I think it could be any number of things, perhaps it's designed using recordings and not synthesis at all. As the other answers have mentioned there's some heavy amplitude modulation present and this contributes a great deal to the character of the sound. Recording a few minutes of de-tuning a radio or other glitch source and playing around with LFO rate AM should give some similar results. As the effect changes the sound so dramatically it's also good to have a long sample to experiment on - you never know what combination of sound and modulation rate are going to be the most fruitful. &#xD;&#xA;&#xD;&#xA;I think the neat thing here is how they've used bursts of the sound to punctuate the key moments of the sequence with an increase in the rate of modulation to create the accelerando effect.&#xD;&#xA;&#xD;&#xA;Thanks for posting, would be an interesting sound to try and re-create." ContentLicense="CC BY-SA 3.0" />
  <row Id="25272" PostHistoryTypeId="2" PostId="15312" RevisionGUID="b9c9e657-8a3c-44e1-a648-c6dff7855ae4" CreationDate="2012-09-09T19:21:23.497" UserId="3196" Text="i would like to know if you guys EQ a reverb, if so what parameters do you keep in mind while doing so? everytime i try to EQ a reverb i end up fiddling with it without getting proper results..i have tried using Rverb.&#xD;&#xA;or may be can someone explain why we need to eq a reverb in first place?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25273" PostHistoryTypeId="1" PostId="15312" RevisionGUID="b9c9e657-8a3c-44e1-a648-c6dff7855ae4" CreationDate="2012-09-09T19:21:23.497" UserId="3196" Text="EQing the reverb" ContentLicense="CC BY-SA 3.0" />
  <row Id="25274" PostHistoryTypeId="3" PostId="15312" RevisionGUID="b9c9e657-8a3c-44e1-a648-c6dff7855ae4" CreationDate="2012-09-09T19:21:23.497" UserId="3196" Text="&lt;eq&gt;&lt;reverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25275" PostHistoryTypeId="2" PostId="15313" RevisionGUID="6f81f5b8-e3c1-4177-bc29-d819903c0f35" CreationDate="2012-09-09T19:57:40.037" UserId="6460" Text="I almost always end up EQing my reverbs, although sometimes convolution reverb presets work without alteration. It truly depends on what you are sending to the reverb and what else is happening in the mix. Un-EQed reverb usually covers the full frequency spectrum, and if you're talking about many elements in a mix then adding broadband reverb can result in a layer of distracting &quot;soup&quot; that muddies up your other mix elements. &#xD;&#xA;&#xD;&#xA;I would suggest experimenting with putting the EQ before the reverb in the signal chain. If you feel that there is too much bass boominess in your reverb, for instance, try inserting an EQ before the reverb and shelving out the bass there—then perhaps add a subtle boost in the frequency range where you want the reverb to sit. It makes for a much more natural reverb sound when it works. If you still feel you are not getting the results you're looking for, consider a different reverb preset or plugin (if this is available to you). &#xD;&#xA;&#xD;&#xA;If you know you have the right setup and it's still not working for you, then add an EQ post-reverb. Always start by working in simple, broad EQ strokes (high- and low-shelves are your friend) as this will keep the overall tone of the reverb more natural. &#xD;&#xA;&#xD;&#xA;Good luck!&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25276" PostHistoryTypeId="2" PostId="15314" RevisionGUID="60ac23ef-2604-4978-b3da-bd756eb6366e" CreationDate="2012-09-09T21:01:24.667" UserId="4225" Text="&quot;The base of the sound is a recording of an old radio scanning through frequencies. So mostly noise and static but with inherent movement. This is treated with distortion, filtersweeps (FilterFreak LPF) and an aggressive stutter effect (SoundToys Tremolator) with the tempo automated over time.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25277" PostHistoryTypeId="2" PostId="15315" RevisionGUID="222297b6-bd16-4d7f-a275-b95688431af6" CreationDate="2012-09-10T08:21:54.657" UserDisplayName="user80" Text="I use EQ on a reverb to try and recreate the surfaces that are present in the room that I am trying to simulate. If there is plaster board, I will roll of some of the top end, if there is stone I roll off more of the bass.  If the space is mostly glass then high mids will be important.  I will also consider the likelihood of room modes and EQ accordingly." ContentLicense="CC BY-SA 3.0" />
  <row Id="25278" PostHistoryTypeId="2" PostId="15316" RevisionGUID="27f5f70b-9d9a-4edd-a579-3ac8a09d78f3" CreationDate="2012-09-10T15:13:22.387" UserId="2502" Text="I do a good amount of music as well as sound design and mix and yes I eq verb much of the time, even if that means using the shelving parameters that exist in many verb plugs. Also like Matt mentioned, often times it is a matter of eqing the signal going into to the verb. It is common for me to filter a bit of the bass out of the signal before it hits the verb to keep it more clean down low. As a generality, things can get muddy quickly when verb is applied to bass. Washing out the low end is often times trouble so applying a high pass to a desired taste to the signal going in can help keep a mix clean down low and still give you nice ambiance up above, this is especially true if you are bussing multiple signals/channels into one verb on an aux for example. You can then push more reverberant signal if you like without muddying up your low end. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25279" PostHistoryTypeId="2" PostId="15317" RevisionGUID="3af9f65a-8b4f-4113-a84f-795d3ca099f4" CreationDate="2012-09-10T16:34:08.683" UserId="6519" Text="How to make a real retro handheld game sound?&#xD;&#xA;Any software? &#xD;&#xA;&#xD;&#xA;[Retro Handheld Video][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=vtunnYlN1zQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="25280" PostHistoryTypeId="1" PostId="15317" RevisionGUID="3af9f65a-8b4f-4113-a84f-795d3ca099f4" CreationDate="2012-09-10T16:34:08.683" UserId="6519" Text="Retro handheld game sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="25281" PostHistoryTypeId="3" PostId="15317" RevisionGUID="3af9f65a-8b4f-4113-a84f-795d3ca099f4" CreationDate="2012-09-10T16:34:08.683" UserId="6519" Text="&lt;vintage&gt;&lt;handheld&gt;&lt;game&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25282" PostHistoryTypeId="2" PostId="15318" RevisionGUID="17615c25-a9b7-46b8-ac7d-10bcd0f931cf" CreationDate="2012-09-10T16:48:10.010" UserId="1185" Text="Do some research on 8-bit/chiptune.  The previous question should be a good starting point: [http://socialsounddesign.com/questions/14753/native-instruments-8-bit-chiptune/14793#14793][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/14753/native-instruments-8-bit-chiptune/14793#14793" ContentLicense="CC BY-SA 3.0" />
  <row Id="25283" PostHistoryTypeId="2" PostId="15319" RevisionGUID="a28ad6d2-ab82-46a3-bbe2-132a62470b4d" CreationDate="2012-09-10T18:35:00.353" UserId="4227" Text="Hi everybody,&#xD;&#xA;I´m just thinking about stereo dialogue mixing for tv, and I´d like to know yours opinions. &#xD;&#xA;The thing is that I´m working on the first chapter of a Tv Serie (with a stereo final mix) that has several scenes inside an F-250 truck, with 3 characters sitting at the front seat. Everyone has his owns lavs, and there is an ORTF stereo set with two Senheisser 416, placed in the middle of the cabin. The shots usually are frontal, with the camera mounted on the car´s hood. &#xD;&#xA;My big doubt is if I should pick the boom mic that has the character who speaks at the moment (alternating the mic, like when you have two boompoles) OR should I leave the ORTF signal, that sounds really great indeed, close and clean, with a nice natural reverb. &#xD;&#xA;I´m inclined to use that option, but I have two issues regarding that. First of all, is it unconventional, the driver always sounds at the right of the screen, like the other character at the left side and the one in the middle, at the phantom center. Is it that strange? in a good or bad way? Could I use the lavs panned to center?&#xD;&#xA;And second, how to clean and EQ both tracks, cleaning like an stereo and doing copy-past of the EQ automation? &#xD;&#xA;&#xD;&#xA;What you would do if you have to choose in this situation? &#xD;&#xA;Did you have stereo dial before? How did you deal with it?&#xD;&#xA;&#xD;&#xA;Thanks!!&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="25284" PostHistoryTypeId="1" PostId="15319" RevisionGUID="a28ad6d2-ab82-46a3-bbe2-132a62470b4d" CreationDate="2012-09-10T18:35:00.353" UserId="4227" Text="Stereo Dialogue inside a car for TV Serie, mixing issue... " ContentLicense="CC BY-SA 3.0" />
  <row Id="25285" PostHistoryTypeId="3" PostId="15319" RevisionGUID="a28ad6d2-ab82-46a3-bbe2-132a62470b4d" CreationDate="2012-09-10T18:35:00.353" UserId="4227" Text="&lt;dialogue&gt;&lt;mixing&gt;&lt;television&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25286" PostHistoryTypeId="5" PostId="15318" RevisionGUID="c109b73f-9bfe-4323-a596-320e45423124" CreationDate="2012-09-10T18:56:16.150" UserId="1185" Comment="added 1 characters in body" Text="Do some research on 8-bit/chiptune.  This previous question should be a good starting point: [http://socialsounddesign.com/questions/14753/native-instruments-8-bit-chiptune/14793#14793][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/14753/native-instruments-8-bit-chiptune/14793#14793" ContentLicense="CC BY-SA 3.0" />
  <row Id="25287" PostHistoryTypeId="2" PostId="15320" RevisionGUID="4955f7e6-b644-4e88-aa29-0ba443fe794a" CreationDate="2012-09-10T19:19:48.420" UserId="3866" Text="Clicking often comes from the palette at the top of the mouth, so I usually find that tilting the mic at a downwards angle helps reduce it. This doesn't eliminate the clicks completely but does noticeably reduce it." ContentLicense="CC BY-SA 3.0" />
  <row Id="25288" PostHistoryTypeId="16" PostId="15320" RevisionGUID="4955f7e6-b644-4e88-aa29-0ba443fe794a" CreationDate="2012-09-10T19:19:48.420" UserId="-1" />
  <row Id="25289" PostHistoryTypeId="2" PostId="15321" RevisionGUID="3454bb1a-262e-48b0-b04b-260a9c7fa168" CreationDate="2012-09-10T21:07:24.883" UserId="2906" Text="Hi, everyone!&#xD;&#xA;&#xD;&#xA;In the studio where I do some tasks, we are seriously considering the production of some SFX library. &#xD;&#xA;I'm wondering, as sound designers, what kind of sounds do you feel we should have in hand most of the times that might be not that common to find at a reasonable price?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25290" PostHistoryTypeId="1" PostId="15321" RevisionGUID="3454bb1a-262e-48b0-b04b-260a9c7fa168" CreationDate="2012-09-10T21:07:24.883" UserId="2906" Text="What kind of sound libraries do you think is missing the most?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25291" PostHistoryTypeId="3" PostId="15321" RevisionGUID="3454bb1a-262e-48b0-b04b-260a9c7fa168" CreationDate="2012-09-10T21:07:24.883" UserId="2906" Text="&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25292" PostHistoryTypeId="2" PostId="15322" RevisionGUID="124e920f-51e7-430e-90e9-6f8f30606066" CreationDate="2012-09-10T21:14:47.597" UserId="4117" Text="I would use the ORTF at approximately 35% volume and lav's to fill in the rest.  Also I think that it depends on the rest of the TV series and scenes, and how they are recorded.&#xD;&#xA;&#xD;&#xA;Never done such a thing just speculating..." ContentLicense="CC BY-SA 3.0" />
  <row Id="25293" PostHistoryTypeId="2" PostId="15323" RevisionGUID="de40a086-7b5a-4e8f-b1d6-6f088a725da4" CreationDate="2012-09-10T21:59:22.613" UserId="7642" Text="I asked Ben Minto and his anser was:&#xD;&#xA;fast edits and filter - keeping it old school and doing it manually  will double check though - that was done 18 months or more ago. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25294" PostHistoryTypeId="2" PostId="15324" RevisionGUID="da0c65ac-4f4d-4058-867d-2de21de04806" CreationDate="2012-09-10T22:08:08.137" UserId="6460" Text="No matter what you decide to do, always sum your mix to mono and check it, as many broadcasts and/or TV sets (not to mention some laptops) still come through in mono. ORTF takes advantage of time differences between the capsules to create a stereo image, which works great in stereo playback but can cause phase issues when summed mono. One possibility is to automate the two mics in the ORTF track to alternately dip at least 6dB when not in use. This still gives you a stereo reverb, but if the TV station or playback system is mono then the phasing will be less apparent. If there is a character that is equally loud in both mics then you just need to pick one. It's kind of a middle ground between your two options. &#xD;&#xA;&#xD;&#xA;I would be careful about mixing the ORTF with the lavs. It sounds like both are capturing a fairly direct signal from the actors and combining them, even a little, will almost certainly cause phasing of some degree.&#xD;&#xA;&#xD;&#xA;Best of luck!&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25295" PostHistoryTypeId="2" PostId="15325" RevisionGUID="825e29ea-3654-4ad8-a69b-4ab7a7d9614d" CreationDate="2012-09-10T22:38:45.813" UserId="3145" Text="I'm working on an American movie that was dubbed in German for PAL. Since there is a lot of music and singing it was pitch corrected to sound right at PAL speed.  Now we're doing a blu ray version at NTSC speed (slower). Obviously since there was pitch correction introduced into the PAL the NTSC will be not only slower and a lower pitch but slightly off key. I can correct with my Pro Tools audio suite Pitch Shift, (1.047:1 with speed correction) but there are anomalies.  I'm hearing pulsing in steady notes and some my tracks drift and create echos.  My Accuracy setting is at zero. I know there is software and plug-ins that do this job much better.  Any recommendations?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25296" PostHistoryTypeId="1" PostId="15325" RevisionGUID="825e29ea-3654-4ad8-a69b-4ab7a7d9614d" CreationDate="2012-09-10T22:38:45.813" UserId="3145" Text="Pitch correction on pitch correction" ContentLicense="CC BY-SA 3.0" />
  <row Id="25297" PostHistoryTypeId="3" PostId="15325" RevisionGUID="825e29ea-3654-4ad8-a69b-4ab7a7d9614d" CreationDate="2012-09-10T22:38:45.813" UserId="3145" Text="&lt;pitch-issue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25298" PostHistoryTypeId="2" PostId="15326" RevisionGUID="c9a94d52-0332-4fad-a37c-767ad8312168" CreationDate="2012-09-10T23:09:03.123" UserId="3979" Text="Hey guys, I can't research much on this topic as I'm in an extreme hurry to meet a deadline :&#xD;&#xA;&#xD;&#xA;How can I export an OMF in Pro Tools 10 with my Track Names? As it stands, if you import an OMF that I exported, the track names come up as : A1, A2, A3, etc.&#xD;&#xA;&#xD;&#xA;Mainly it's important that the mixer knows which tracks are my dedicated LFE, SFX, Foley, etc.&#xD;&#xA;Is this possible?&#xD;&#xA;I'm exporting from Pro Tools 10 (w/ complete production toolkit), he's importing in Nuendo.&#xD;&#xA;&#xD;&#xA;THANK YOU!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25299" PostHistoryTypeId="1" PostId="15326" RevisionGUID="c9a94d52-0332-4fad-a37c-767ad8312168" CreationDate="2012-09-10T23:09:03.123" UserId="3979" Text="Pro Tools 10 OMF Export" ContentLicense="CC BY-SA 3.0" />
  <row Id="25300" PostHistoryTypeId="3" PostId="15326" RevisionGUID="c9a94d52-0332-4fad-a37c-767ad8312168" CreationDate="2012-09-10T23:09:03.123" UserId="3979" Text="&lt;pro&gt;&lt;pro-tools&gt;&lt;omf&gt;&lt;export&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25301" PostHistoryTypeId="2" PostId="15327" RevisionGUID="a5e4fa6b-1cce-4b2a-926b-6542739f87fe" CreationDate="2012-09-10T23:52:03.677" UserId="4176" Text="When locking sound to picture thats shot with a DSLR, I've had issues syncing the sound recorded on my H4n because of the poor sound quality of the onboard mic mounted on the camera. Any recommendations for the best DSLR mounted camera mic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25302" PostHistoryTypeId="1" PostId="15327" RevisionGUID="a5e4fa6b-1cce-4b2a-926b-6542739f87fe" CreationDate="2012-09-10T23:52:03.677" UserId="4176" Text="DSLR Mounted Mic for Sync Track." ContentLicense="CC BY-SA 3.0" />
  <row Id="25303" PostHistoryTypeId="3" PostId="15327" RevisionGUID="a5e4fa6b-1cce-4b2a-926b-6542739f87fe" CreationDate="2012-09-10T23:52:03.677" UserId="4176" Text="&lt;location-recording&gt;&lt;camera&gt;&lt;shotgun&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25304" PostHistoryTypeId="2" PostId="15328" RevisionGUID="4cd6ce19-c716-44ee-ae96-df49c04da599" CreationDate="2012-09-11T01:22:15.357" UserId="432" Text="Rode makes a stereo and a shotgun specifically for DSLRs (shoe mount, battery powered, and correct sized TRS jack). They're relatively inexpensive and light years better than what you can get with the built in camera mics (if you really want to call them that). Look for Video Mic and Stereo Video Mic. I think they both come in two SKUs now: standard and &quot;Pro.&quot;&#xD;&#xA;&#xD;&#xA;Another option is to buy a shoe mount to 5/8 adapter like [this one][1]. Then you can use any standard mic stand shock mount (Audio-Technica makes a [pretty versatile one][2]) to put a shotgun or other microphone. Of course, in that case you'd also want something like a [Juiced Link box][3], to provide phantom power, preamp and impedance conversion.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/68160-REG/Audio_Technica_AT8469_AT8469_Camera_Shoe_Mount.html&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/product/68138-REG/Audio_Technica_AT8410A_AT8410A_Shock_Mount.html&#xD;&#xA;  [3]: http://www.juicedlink.com/audio-preamps-mixers-etc-c-66/ra333-riggy-assist" ContentLicense="CC BY-SA 3.0" />
  <row Id="25305" PostHistoryTypeId="2" PostId="15329" RevisionGUID="23ce4861-4d86-4220-aa74-f48b768d1606" CreationDate="2012-09-11T04:34:58.727" UserId="6411" Text="Quick answer: I don't know if it is possible. Also, Pro Tools &gt; Nuendo and Nuendo &gt; ProTools transfers aren't always the smoothest. If you have that working, you're over half-way there.&#xD;&#xA;&#xD;&#xA;Quick solution: Email. (ie. A1-A16 = SFX, A17 = LFE, A18-A22 = Foley, etc.) Never underestimate the usefulness of good 'ol communication in the face of technological &quot;shortcomings&quot;. Especially when forced into a time-constrained corner.&#xD;&#xA;&#xD;&#xA;Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="25306" PostHistoryTypeId="2" PostId="15330" RevisionGUID="4277f216-bce0-4bdb-8d3e-e7eea47ebb98" CreationDate="2012-09-11T05:06:10.720" UserId="4228" Text="Seratto Pitch 'n Time has been the defacto plug in for this type of work. However, you will still have some aretfacts as a result of this process. &#xD;&#xA;&#xD;&#xA;I am assuming that this is something like an old MGM musical or the like, where the singing wasn't dubbed in German. If so, I would suggest doing so editorial - using the non pictch corrected NTSC English for the musical numbers and the German newly pitch corrected track for the remainder of the film.&#xD;&#xA;&#xD;&#xA;Randall Smith" ContentLicense="CC BY-SA 3.0" />
  <row Id="25307" PostHistoryTypeId="2" PostId="15331" RevisionGUID="724f4a0c-9aef-4e34-bf12-2d94e6bb3692" CreationDate="2012-09-11T05:46:58.520" UserDisplayName="user80" Text="The Rode Video mic is a safe bet, and is fine for guide tracks, the Pro version is worth the extra money.  &#xD;&#xA;&#xD;&#xA;I would also suggest using the clapperboard at the start and end of takes, remember to hold the board upside down at the end.  Having the board at the start and end allows you quickly to see if the camera compression has altered the timing." ContentLicense="CC BY-SA 3.0" />
  <row Id="25308" PostHistoryTypeId="2" PostId="15332" RevisionGUID="99beb734-56a7-48f2-92f5-e1fb135d4728" CreationDate="2012-09-11T05:57:22.667" UserId="6460" Text="Jake,&#xD;&#xA;&#xD;&#xA;In addition to Steve's idea, try slating each track vocally. Grab any small recording device (pocket recorder, iphone, laptop mic) and record yourself reading the names of each of the tracks. Import the recording into the pro tools session and splice each recorded track name into its own region. At the end of the session (after the video file ends) put each slate recording on its corresponding track. This way you avoid any possible confusion in the transfer.&#xD;&#xA;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25312" PostHistoryTypeId="2" PostId="15334" RevisionGUID="3e114ed6-b4a4-4124-a64a-74da5da2f4f4" CreationDate="2012-09-11T11:51:24.057" UserId="1237" Text="Maybe some endemic ambient libraries? I mean like nature, cities or rural countries. In your profile you pointed that you are from Portugal. How about a library like &quot;Sound of Portugal&quot;? :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25313" PostHistoryTypeId="2" PostId="15335" RevisionGUID="93ef051f-b564-4192-b7ba-c8c79eddace6" CreationDate="2012-09-11T12:31:50.907" UserId="6600" Text="In comparison to the previous answers, we work on projects with a much shorter turnaround (i.e. 30s adverts, channel rebrands etc.) and so it is much easier to manage timing, mixing and invoicing. Our main challenge is attaining the right style/sound for the client&#xD;&#xA;&#xD;&#xA;So with regards to your question of how do you know when the remit of your original engagement is complete, we always try to get the client to commit to references, whether that be a music track, a previous piece of work, a scene from a film or whatever. Not that we are looking to rip off other artists but rather we have something tangible to illustrate a divergence from the original direction. I quite like the metaphor someone once told me; if you fuel up your car and drive 50 miles in the wrong direction, you don't return to the gas station and ask for a refund.&#xD;&#xA;&#xD;&#xA;I would say it is normal to have a few rounds of feedback in any project but I guess the issue is at what point are they asking you to do more than they originally requested?&#xD;&#xA;&#xD;&#xA;This of course applies to a different style of deliverable than films or TV shows, but might be applicable in some way :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25314" PostHistoryTypeId="2" PostId="15336" RevisionGUID="d487dbfb-db8c-41f5-bf0e-c5ff063505a1" CreationDate="2012-09-11T13:25:49.027" UserId="194" Text="First off, go read the [jetstreaming][1] blog for tons of insights.  Given everything that Paul says there - &#xD;&#xA;&#xD;&#xA;I'd rate the value of a library on three different scales:&#xD;&#xA;&#xD;&#xA;1) ability to use out of context:&#xD;&#xA;&#xD;&#xA;Tim prebble's contact mics library and his tortured piano library are just overflowing with sounds that beg to be sped up, slowed down, and otherwise manipulated beyond their starting points.  This springs from the out of context mentality from recording those sounds, as well as the dense and layered content in the recordings themselves.  The more flexible a library's source material is, the more useful the library is in other contexts.&#xD;&#xA;&#xD;&#xA;2) difficulty of record:&#xD;&#xA;&#xD;&#xA;Things that occur rarely, or in difficult to access locations are generally prized recordings.  Animal libraries, weapons, electricity and explosions, and certain ambiances and weather conditions fall into this category.  If I don't have access to a mountain lion I'm certainly more likely to buy a library that does.&#xD;&#xA;&#xD;&#xA;3) quality of record:&#xD;&#xA;&#xD;&#xA;the quality of boutique sfx libraries varies wildly.  Those that are of higher recording quality are of higher use to me.  Quality is more than which gear you use - its also which environment you're in, the level of variations in the sound, mic positions and technique, mastering, metadata, and other factors.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;some libraries rate very highly on all three scales.  some do not.  those that do are more likely to generate money IMO.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jetstreaming.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25315" PostHistoryTypeId="2" PostId="15337" RevisionGUID="af18f0d1-9de2-4b0d-ba86-e01de6dfb58c" CreationDate="2012-09-11T13:45:27.107" UserDisplayName="user80" Text="Animals.  Recordings of animal sounds are always really useful, include everything from walking, running, jumping through to vocalisations." ContentLicense="CC BY-SA 3.0" />
  <row Id="25316" PostHistoryTypeId="2" PostId="15338" RevisionGUID="89b8e78e-1ed6-4afd-9db9-f66157a0489e" CreationDate="2012-09-11T13:58:48.720" UserId="1011" Text="Hi Melissa,&#xD;&#xA;&#xD;&#xA;Rene has covered the bulk of it (thanks for the mention, Rene!).  If you produce a library with his three tips, you can't go wrong.&#xD;&#xA;&#xD;&#xA;There's a few other things I'd add to supplement his post:&#xD;&#xA;&#xD;&#xA; - **Distinctiveness**: I find these categories do well: cars, guns,&#xD;&#xA;   multimedia (whooshes, buttons),&#xD;&#xA;   materials (water, wood, ice, fire),&#xD;&#xA;   weather (rain, waves, wind), dogs.  The&#xD;&#xA;   problem is that they're covered quite&#xD;&#xA;   well already by the existing&#xD;&#xA;   Indie/Boutique libraries. You'll have&#xD;&#xA;   more impact if you record something&#xD;&#xA;   rare.&#xD;&#xA;   &#xD;&#xA; - **Audience**: Yours is a tricky question to answer without knowing&#xD;&#xA;   your target market, or &quot;audience.&quot;&#xD;&#xA;   Game audio people use clips&#xD;&#xA;   differently than the film crew. &#xD;&#xA;   Radio producers are different than&#xD;&#xA;   multimedia people. They all have&#xD;&#xA;   different sound effect needs and&#xD;&#xA;   delivery specs.  Choosing one will&#xD;&#xA;   strengthen your library. Work these&#xD;&#xA;   needs into your library and you'll&#xD;&#xA;   create something solid. Caution:&#xD;&#xA;   targeting everyone diffuses your&#xD;&#xA;   library's impact/success.&#xD;&#xA;   &#xD;&#xA; - **Expressiveness**: I like Rene's point about Tim's contact mic library&#xD;&#xA;   and utility. That library is also&#xD;&#xA;   useful because it is very expressive.&#xD;&#xA;   Part of this comes from the mic type,&#xD;&#xA;   the subject, but also from the&#xD;&#xA;   performance. Expressive sound effects&#xD;&#xA;   libraries always do well because they&#xD;&#xA;   convey character, which augments the&#xD;&#xA;   projects in which they're used.&#xD;&#xA;   They're more fun to cut in, and also&#xD;&#xA;   better appreciated by other&#xD;&#xA;   listeners. Whatever subject you&#xD;&#xA;   choose, I'd suggest recording with&#xD;&#xA;   expressiveness. It also makes&#xD;&#xA;   recording more fun.&#xD;&#xA;&#xD;&#xA;Paul" ContentLicense="CC BY-SA 3.0" />
  <row Id="25317" PostHistoryTypeId="5" PostId="15338" RevisionGUID="9b43de5e-2c66-4642-85f7-05fc442be820" CreationDate="2012-09-11T14:06:25.303" UserId="1011" Comment="added 6 characters in body" Text="Hi Melissa,&#xD;&#xA;&#xD;&#xA;Rene has covered the bulk of it (thanks for the mention, Rene!).  If you produce a library with his three tips, you can't go wrong.&#xD;&#xA;&#xD;&#xA;There's a few other things I'd add to supplement his post:&#xD;&#xA;&#xD;&#xA; - **Distinctiveness**: I find these categories do well: cars, guns,&#xD;&#xA;   multimedia (whooshes, buttons),&#xD;&#xA;   materials (water, wood, ice, fire),&#xD;&#xA;   weather (rain, waves, wind), dogs.  The&#xD;&#xA;   problem is that they're covered quite&#xD;&#xA;   well already by the existing&#xD;&#xA;   Indie/Boutique libraries. You'll have&#xD;&#xA;   more impact if you record something&#xD;&#xA;   rare.&#xD;&#xA;   &#xD;&#xA; - **Audience**: Yours is a tricky question to answer without knowing&#xD;&#xA;   your target market, or &quot;audience.&quot;&#xD;&#xA;   Game audio people use clips&#xD;&#xA;   differently than the film crew. &#xD;&#xA;   Radio producers are different than&#xD;&#xA;   multimedia people. They all have&#xD;&#xA;   different sound effect needs and&#xD;&#xA;   delivery specs needs.  Choosing one will&#xD;&#xA;   strengthen your library. Work these&#xD;&#xA;   needs into your library and you'll&#xD;&#xA;   create something solid. Caution:&#xD;&#xA;   targeting everyone diffuses your&#xD;&#xA;   library's impact/success.&#xD;&#xA;   &#xD;&#xA; - **Expressiveness**: I like Rene's point about Tim's contact mic library&#xD;&#xA;   and utility. That library is also&#xD;&#xA;   useful because it is very expressive.&#xD;&#xA;   Part of this comes from the mic type,&#xD;&#xA;   the subject, but also from the&#xD;&#xA;   performance. Expressive sound effects&#xD;&#xA;   libraries always do well because they&#xD;&#xA;   convey character, which augments the&#xD;&#xA;   projects in which they're used.&#xD;&#xA;   They're more fun to cut in, and also&#xD;&#xA;   better appreciated by other&#xD;&#xA;   listeners. Whatever subject you&#xD;&#xA;   choose, I'd suggest recording with&#xD;&#xA;   expressiveness. It also makes&#xD;&#xA;   recording more fun.&#xD;&#xA;&#xD;&#xA;Paul" ContentLicense="CC BY-SA 3.0" />
  <row Id="25318" PostHistoryTypeId="2" PostId="15339" RevisionGUID="2f1dda95-a90b-48d9-8dee-99111018eb92" CreationDate="2012-09-11T17:30:28.327" UserId="4232" Text="Looking at cheap field mixer on ebay Marenius MM-3100 Portable Mono Field Mixer&#xD;&#xA; , the specs say that the phantom power is equal to battery voltage. Internally the mixer takes two 9v batteries so that 18v for phantom power which will not work with my 48v mics. &#xD;&#xA;&#xD;&#xA;Can I use a phantom power adaptor and just feed the 48v to the power supply of this unit?&#xD;&#xA;&#xD;&#xA;Say this guy http://www.sweetwater.com/store/detail/Phantom2Pro?utm_source=none&amp;utm_medium=PPC&amp;utm_campaign=none&amp;gclid=CMvhy9KGrrICFQVgMgodyS8Abw or something similar?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25319" PostHistoryTypeId="1" PostId="15339" RevisionGUID="2f1dda95-a90b-48d9-8dee-99111018eb92" CreationDate="2012-09-11T17:30:28.327" UserId="4232" Text="48v Power supply for field mixer - Marenius MM-3100" ContentLicense="CC BY-SA 3.0" />
  <row Id="25320" PostHistoryTypeId="3" PostId="15339" RevisionGUID="2f1dda95-a90b-48d9-8dee-99111018eb92" CreationDate="2012-09-11T17:30:28.327" UserId="4232" Text="&lt;mixers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25321" PostHistoryTypeId="2" PostId="15340" RevisionGUID="e68459fe-f147-4957-aec6-9e6e5db5e7e9" CreationDate="2012-09-11T18:24:17.143" UserId="432" Text="Was looking at the specs on the manufacturer page, and it seems they have two models: one that provides 18v phantom, and one that provide 48v phantom. It appears though, that you can buy a replacement circuit board to convert the 18v to 48v. [Have a look at their price sheet][1]. (item labelled &quot;MM-3100/48PCB&quot;). A little pricier, but it might be worth it to simplify things.&#xD;&#xA;&#xD;&#xA;Also, keep in mind that not all microphones actually require 48v phantom power. Some will work with only 18v. You'd have to confirm in the mic's specs of course.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.marenius.se/pdf/PRICELIST2012.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="25322" PostHistoryTypeId="2" PostId="15341" RevisionGUID="078d01ce-750e-40d0-90da-192b8361fb69" CreationDate="2012-09-11T19:02:19.057" UserId="4233" Text="Thanks you guys for your advice.&#xD;&#xA;&#xD;&#xA;I´ve made some test with the stereo summed to mono, with different % of the stereo signal and volume changes, the best results I think were accomplished with the 6db of difference with the unused mic, as Matt said, and with the lavs in phase with the principal mic, but just for support. In that way, the dialogue keeps the dynamics in motion of the stereo setting, but it´s not weak at the center when the side characters speak...in the end, it acts like a natural stereo reverb and sounds pretty well in this particular case. I wonder if there are production sound made with an M-S rig for dialogues or things like that, but maybe that´s another post.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="25323" PostHistoryTypeId="2" PostId="15342" RevisionGUID="d4aa23de-40bc-4f60-895d-05e50dc3c0be" CreationDate="2012-09-11T19:54:19.613" UserId="1111" Text="Has anybody tried it? I emailed Rode but got no response.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25324" PostHistoryTypeId="1" PostId="15342" RevisionGUID="d4aa23de-40bc-4f60-895d-05e50dc3c0be" CreationDate="2012-09-11T19:54:19.613" UserId="1111" Text="Does an AT825 fit inside the Rode Blimp?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25325" PostHistoryTypeId="3" PostId="15342" RevisionGUID="d4aa23de-40bc-4f60-895d-05e50dc3c0be" CreationDate="2012-09-11T19:54:19.613" UserId="1111" Text="&lt;rode&gt;&lt;blimp&gt;&lt;stereo&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25326" PostHistoryTypeId="2" PostId="15343" RevisionGUID="a4a59e1b-68a5-4e16-b317-6ee855d1fb30" CreationDate="2012-09-11T19:56:18.887" UserId="3285" Text="I haven't dared to answer, but rather than the ORTF, why not use a MS couple in the middle and an omni (or cardio) on each side ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25327" PostHistoryTypeId="2" PostId="15344" RevisionGUID="76d7a0d0-2a3c-4889-a081-bdf3b5aff126" CreationDate="2012-09-11T20:27:35.567" UserId="6487" Text="I encountered an error this week after spending a week on a feature film dialogue edit where I was charged with leveling the audio using region gain within my dialogue edit.  The mixer is not working with PT10, so the plan was to render my region gain automation and deliver the edit to him with 3 sec handles so he would have a full fader of volume to manipulate but levels would be approximate.  &#xD;&#xA;&#xD;&#xA;But, apparently there is an error in PT10 where audio data shifts within regions that crossfade to other regions upon rendering the gain info.  I spent all last night hand phase syncing all my work in order to get back my edit that completed days ago.  BOO!  &#xD;&#xA;&#xD;&#xA;I consulted the DUC but their proposed solutions are of little help to me after I have made an edit and I have another film to deliver tomorow which is in the same situation:edited with region gain info....waiting to be rendered and saved as a older PT session.  Does anyone have any suggestions or workarounds for this? I really don't want to have to resync another 2 hour edit by hand. :(" ContentLicense="CC BY-SA 3.0" />
  <row Id="25328" PostHistoryTypeId="1" PostId="15344" RevisionGUID="76d7a0d0-2a3c-4889-a081-bdf3b5aff126" CreationDate="2012-09-11T20:27:35.567" UserId="6487" Text="Pro Tools 10:Region Gain" ContentLicense="CC BY-SA 3.0" />
  <row Id="25329" PostHistoryTypeId="3" PostId="15344" RevisionGUID="76d7a0d0-2a3c-4889-a081-bdf3b5aff126" CreationDate="2012-09-11T20:27:35.567" UserId="6487" Text="&lt;error&gt;&lt;pro&gt;&lt;tools&gt;&lt;10&gt;&lt;gain&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25330" PostHistoryTypeId="2" PostId="15345" RevisionGUID="01077e62-b1dd-4fe5-bbbb-1bb93aa280fc" CreationDate="2012-09-11T21:08:17.377" UserId="1303" Text="I don't know about the 825 but the 4025 will fit nicely and they're almost the same size. [GEARSLUTZ THREAD ABOUT IT][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/post-production-forum/505617-bp4025-field-recording.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="25333" PostHistoryTypeId="2" PostId="15346" RevisionGUID="403c2ea0-fa7d-416e-880d-c000fb32cb6a" CreationDate="2012-09-11T21:36:05.897" UserId="2502" Text="It sounds like your problem is that you are delivering to someone who isn't capable of running PT10 currently, yet they are tasking you with using a function of PT10 specifically to do your dialog edit. Is that correct?&#xD;&#xA;&#xD;&#xA;With the current bug in PT10 regarding rendering clip gain your options are to do what you are doing or:&#xD;&#xA;&#xD;&#xA;A: Lose the handles and &quot;consolidate clip.&quot; Consolidating clips renders the clip gain but does not move the audio, but you don't have handles.&#xD;&#xA;&#xD;&#xA;B: Bus and Print dialog stems. No handles, rendered gain.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;To me the problem is mainly that the mixer is not on PT10, yet tasking you with a PT10 function. Re-syncing by hand just seems risky, messy and lengthy.&#xD;&#xA;&#xD;&#xA;I would offer a solution to the mixer of &quot;consolidated clips&quot; so that the clip gain is rendered and frame accurate, but before you do that, duplicate all your dialog tracks to dead tracks (no voices or IO) so that if the mixer needs to dig for handles he/she can. They will loose clip gain but that's because they don't have that function and they probably need to consider a software upgrade.  my two cents." ContentLicense="CC BY-SA 3.0" />
  <row Id="25334" PostHistoryTypeId="2" PostId="15347" RevisionGUID="da7ec296-6c26-449a-a2c9-4639898907ef" CreationDate="2012-09-11T21:43:40.683" UserId="4234" Text="First of all, isn't it the mixers job to &quot;level&quot; the dialog? Second, you can just convert clip gain to volume automation, and then copy all of the volume auto into the Trim plugin. Third, you could wait for the update of Pro Tools that will fix this issue, but who knows when that will come out…" ContentLicense="CC BY-SA 3.0" />
  <row Id="25335" PostHistoryTypeId="5" PostId="15346" RevisionGUID="a3a2c99f-596e-4be9-970c-9c742df30c1d" CreationDate="2012-09-11T21:50:25.037" UserId="2502" Comment="further research" Text="It sounds like your problem is that you are delivering to someone who isn't capable of running PT10 currently, yet they are tasking you with using a function of PT10 specifically to do your dialog edit. Is that correct?&#xD;&#xA;&#xD;&#xA;With the current bug in PT10 regarding rendering clip gain your options are to do what you are doing or:&#xD;&#xA;&#xD;&#xA;A: Lose the handles and &quot;consolidate clip.&quot; Consolidating clips renders the clip gain but does not move the audio, but you don't have handles.&#xD;&#xA;&#xD;&#xA;B: Bus and Print dialog stems. No handles, rendered gain.&#xD;&#xA;&#xD;&#xA;C: Convert Volume automation to clip gain, but the mixer will begin their mix with your volume automation.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;To me the problem is mainly that the mixer is not on PT10, yet tasking you with a PT10 function. Re-syncing by hand just seems risky, messy and lengthy.&#xD;&#xA;&#xD;&#xA;I would offer a solution to the mixer of &quot;consolidated clips&quot; so that the clip gain is rendered and frame accurate, but before you do that, duplicate all your dialog tracks to dead tracks (no voices or IO) so that if the mixer needs to dig for handles he/she can. They will loose clip gain but that's because they don't have that function and they probably need to consider a software upgrade.  my two cents.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25336" PostHistoryTypeId="5" PostId="15346" RevisionGUID="89b0119f-9f99-4aaf-959b-a39f5548be41" CreationDate="2012-09-11T22:09:32.530" UserId="2502" Comment="had it flipped" Text="It sounds like your problem is that you are delivering to someone who isn't capable of running PT10 currently, yet they are tasking you with using a function of PT10 specifically to do your dialog edit. Is that correct?&#xD;&#xA;&#xD;&#xA;With the current bug in PT10 regarding rendering clip gain your options are to do what you are doing or:&#xD;&#xA;&#xD;&#xA;A: Lose the handles and &quot;consolidate clip.&quot; Consolidating clips renders the clip gain but does not move the audio, but you don't have handles.&#xD;&#xA;&#xD;&#xA;B: Bus and Print dialog stems. No handles, rendered gain.&#xD;&#xA;&#xD;&#xA;C: Convert clip gain to volume automation, but the mixer will begin their mix with your volume automation.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;To me the problem is mainly that the mixer is not on PT10, yet tasking you with a PT10 function. Re-syncing by hand just seems risky, messy and lengthy.&#xD;&#xA;&#xD;&#xA;I would offer a solution to the mixer of &quot;consolidated clips&quot; so that the clip gain is rendered and frame accurate, but before you do that, duplicate all your dialog tracks to dead tracks (no voices or IO) so that if the mixer needs to dig for handles he/she can. They will loose clip gain but that's because they don't have that function and they probably need to consider a software upgrade.  my two cents.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25337" PostHistoryTypeId="2" PostId="15348" RevisionGUID="73941d01-059c-44be-88a0-3f10d0747ea3" CreationDate="2012-09-11T22:45:03.710" UserId="3784" Text="Hey guys, I notice myself using a few of the same lite wind/breeze files in my BGs for day and night time scenes. I mean I have enough to get by but I would like to know if anyone knew of any libraries that  consited of just very low key exterior airs, no birds, not crazy blowing and whistling. Just clean low level exterior airs for calm day and night scenes.&#xD;&#xA;&#xD;&#xA;Thanks in advanced!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25338" PostHistoryTypeId="1" PostId="15348" RevisionGUID="73941d01-059c-44be-88a0-3f10d0747ea3" CreationDate="2012-09-11T22:45:03.710" UserId="3784" Text="Lite wind/air libraries" ContentLicense="CC BY-SA 3.0" />
  <row Id="25339" PostHistoryTypeId="3" PostId="15348" RevisionGUID="73941d01-059c-44be-88a0-3f10d0747ea3" CreationDate="2012-09-11T22:45:03.710" UserId="3784" Text="&lt;background&gt;&lt;air&gt;&lt;wind&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25340" PostHistoryTypeId="2" PostId="15349" RevisionGUID="43313775-701d-4da1-9bbf-3672108ea57f" CreationDate="2012-09-11T22:48:26.887" UserId="1228" Text="Try Mountain Air: http://www.tonsturm.com/Soundpacks/files/Mountain_Air.html&#xD;&#xA;&#xD;&#xA;And/or layer some textures from the Blow Tools set.  Those have some good textures to work with." ContentLicense="CC BY-SA 3.0" />
  <row Id="25341" PostHistoryTypeId="2" PostId="15350" RevisionGUID="5255866e-ad9f-4928-be5b-37b8eaad05f5" CreationDate="2012-09-12T02:05:16.120" UserId="4235" Text="Hello All! &#xD;&#xA;&#xD;&#xA;I understand that workflow in sound designing a movie usually ends up in 3 tracks;&#xD;&#xA;Dialogue, Sound Effects, and Music.&#xD;&#xA;I've been asked to level out a feature length movie which doesn't have an organization as such, however I was curious if there are set db levels where these tracks should generally sit.&#xD;&#xA;&#xD;&#xA;For example, the Dialogue should sit between -15 to -10 db&#xD;&#xA;&#xD;&#xA;Also welcome to any other pointers for mastering sound for a movie.&#xD;&#xA;&#xD;&#xA;Thank you so much!&#xD;&#xA;Kevin&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25342" PostHistoryTypeId="1" PostId="15350" RevisionGUID="5255866e-ad9f-4928-be5b-37b8eaad05f5" CreationDate="2012-09-12T02:05:16.120" UserId="4235" Text="Final MIX - Movie Mastering Levels" ContentLicense="CC BY-SA 3.0" />
  <row Id="25343" PostHistoryTypeId="3" PostId="15350" RevisionGUID="5255866e-ad9f-4928-be5b-37b8eaad05f5" CreationDate="2012-09-12T02:05:16.120" UserId="4235" Text="&lt;movies&gt;&lt;mastering&gt;&lt;sound-design&gt;&lt;film&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25344" PostHistoryTypeId="2" PostId="15351" RevisionGUID="e1bee200-1741-47ca-b8ac-b3ce8aa897eb" CreationDate="2012-09-12T07:17:08.147" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;I have lots of 'empty-space' records, interior and ext. It's not completed for a collection yet but most of them are finish prepared, 3-4 minutes long. Ext. tracks were recorded in the mountains and have different colors of 'nothing'. Interior tracks all are room tones,  about 2 minutes long. Some of them sounds more electric, others more ventilation, industrial, or simply almost nothing for the background. If you are interested send me a mail at: https://www.soundeffects.ch/ I can send you some mp3 for previews and a tracklist from what I have.&#xD;&#xA;Just for preview, some industrial roomtones you can preview at: https://www.soundeffects.ch/advanced-sound-effects-search.php?soundeffects=room&amp;soundcategory=&amp;library=Industrial+Soundscapes&amp;type=&#xD;&#xA;These tracks are form my Industrial Soundscapes collection, the factory hall tracks are no-silent tracks with activity in the background, the roomtone tracks should be empty.&#xD;&#xA;&#xD;&#xA;Send me a note&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;Guido" ContentLicense="CC BY-SA 3.0" />
  <row Id="25345" PostHistoryTypeId="2" PostId="15352" RevisionGUID="cf998138-aec3-4f8d-b778-5b896558c463" CreationDate="2012-09-12T08:12:53.487" UserId="1216" Text="Hi Kevin,&#xD;&#xA;&#xD;&#xA;In general movie soundtracks are not mixed to specific dB levels. Mixers mostly trust their ears and therefore they need a calibrated room. Where are you going to work on the levels of the soundtrack. &#xD;&#xA;&#xD;&#xA;Do you have access to a Dolby Mix facility? You could rent one, with assistance, and this should allow you to get the levels right in the mix.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25346" PostHistoryTypeId="2" PostId="15353" RevisionGUID="9bd1d061-2e1a-4a29-9cad-624d530705e9" CreationDate="2012-09-12T09:14:30.900" UserId="6460" Text="Kevin,&#xD;&#xA;&#xD;&#xA;Check out this video on calibrating your studio speakers to a standard monitoring level:&#xD;&#xA;&#xD;&#xA;http://vimeo.com/22735507&#xD;&#xA;&#xD;&#xA;Calibrate to 79dB for a home studio. If you don't have an SPL meter, you can download one on a smartphone and it will do just fine. It's might be a bit louder than you're used to.&#xD;&#xA;&#xD;&#xA;Once you're all calibrated, watch a film or show that has similar sonic style or a sound mix that you know/respect. Listen to the dynamic range; if your interface has meters on it, note where the dialog lands in loud/quiet portions, when the effects/music hit the limiters, etc. It might even help you to switch back-and-forth, especially if the reference film is very similar to yours. &#xD;&#xA;&#xD;&#xA;Also, try summing your mix to mono and playing it back over different speakers. It will tell you a lot.&#xD;&#xA;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25347" PostHistoryTypeId="2" PostId="15354" RevisionGUID="12cd933d-d7ba-4494-ac41-d4f8385d88a9" CreationDate="2012-09-12T10:05:19.703" UserId="37" Text="=&gt; http://socialsounddesign.com/questions/14005/metering-levels-for-sound-effects&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;=&gt; http://socialsounddesign.com/questions/14080/normalizing-your-final-mix&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25348" PostHistoryTypeId="2" PostId="15355" RevisionGUID="b000dcf6-e1e5-4d63-9aa9-f5dd18572d98" CreationDate="2012-09-12T10:07:23.163" UserId="37" Text="4025 even fits into a baby ball gag. among the best tips i've gotten here so far...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25349" PostHistoryTypeId="2" PostId="15356" RevisionGUID="9d3d41cf-fe4d-41e8-8af0-001c66138b11" CreationDate="2012-09-12T16:10:47.350" UserId="261" Text="Hey Folks,&#xD;&#xA;&#xD;&#xA;I'm helping an artist friend with an exhibition, where we need to be able to loop an audio seamlessly for 3 days.&#xD;&#xA;I would normally use Ableton live for this, but the nature of the space dictates that a computer would be impossible to hide..&#xD;&#xA;&#xD;&#xA;Is seamless looping possible with an mp3 player? I mean a cheap one from the corner electronics shop.&#xD;&#xA;&#xD;&#xA;I know that there are issues regarding looping with MP3s (but it all seems to do with looping in a playback engine/ game), but there must be a way to do this.&#xD;&#xA;Tomorrow I will go out and look for a MiniDisc player and give it a try.&#xD;&#xA;Also, I suppose a cheap loop pedal or a cheap sampler might be an option too, but that put's it out of my 'client's' budget.&#xD;&#xA;&#xD;&#xA;Any help appreciated&#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25350" PostHistoryTypeId="1" PostId="15356" RevisionGUID="9d3d41cf-fe4d-41e8-8af0-001c66138b11" CreationDate="2012-09-12T16:10:47.350" UserId="261" Text="Seamless looping on a media player / small ipod ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25351" PostHistoryTypeId="3" PostId="15356" RevisionGUID="9d3d41cf-fe4d-41e8-8af0-001c66138b11" CreationDate="2012-09-12T16:10:47.350" UserId="261" Text="&lt;looping&gt;&lt;sound-art&gt;&lt;sound-installations&gt;&lt;technical&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25352" PostHistoryTypeId="2" PostId="15357" RevisionGUID="d927b3dc-84d1-4844-adf0-f2a6a3e82103" CreationDate="2012-09-12T17:24:34.197" UserId="6432" Text="Not sure, but you do get seamless loop cd players which are reasonably small like this [Numark][1]. I imagine they're pretty solid too as that's what they are designed for. That one is about £128. Probably out of your budget, but maybe you could get a secondhand bargain.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.numark.com/product/ndx200&#xD;&#xA;  [2]: http://www.google.co.uk/imgres?hl=en&amp;client=firefox-a&amp;sa=X&amp;rls=org.mozilla:en-US:official&amp;biw=1524&amp;bih=818&amp;tbm=isch&amp;prmd=imvns&amp;tbnid=37Q0VbvslP3F8M:&amp;imgrefurl=http://www.djworx.com/skratchworx/newspage.php%3Fp%3Darchive%26fn_mode%3Dcomments%26fn_id%3D1267&amp;docid=eEUnTE2qbv59XM&amp;imgurl=http://www.djworx.com/skratchworx/images/ndx200.jpg&amp;w=460&amp;h=587&amp;ei=tsRQUIXNBtHY0QWQt4GAAw&amp;zoom=1&amp;iact=hc&amp;vpx=172&amp;vpy=124&amp;dur=1956&amp;hovh=254&amp;hovw=199&amp;tx=106&amp;ty=127&amp;sig=118003913568488309924&amp;page=1&amp;tbnh=130&amp;tbnw=102&amp;start=0&amp;ndsp=28&amp;ved=1t:429,r:0,s:0,i:73" ContentLicense="CC BY-SA 3.0" />
  <row Id="25353" PostHistoryTypeId="2" PostId="15358" RevisionGUID="5d05f016-f68c-4fee-b696-9ef3a286c4ae" CreationDate="2012-09-12T18:40:28.720" UserId="730" Text="maybe these will help you.&#xD;&#xA;&#xD;&#xA;https://getsoundeffects.com/#/products-page/sound-bundles/atmosphere/&#xD;&#xA;&#xD;&#xA;https://getsoundeffects.com/#/products-page/sound-bundles/graveyard-ambience/&#xD;&#xA;&#xD;&#xA;https://getsoundeffects.com/#/products-page/sound-bundles/space-ambience/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25354" PostHistoryTypeId="2" PostId="15359" RevisionGUID="59e289ac-b028-4a02-af47-6aa6a387fb5d" CreationDate="2012-09-12T19:26:06.837" UserId="1228" Text="As said above, you want to calibrate your playback environment first.  Than, in my experience, with dialogue you want to be hitting equal to about -27 DB LEQ(a) up the center channel, usually measured on a stage with a Dolby LM100 - if you're using Phasescope over a stereo master because you're not working in 5.1, The rule of thumb I learned is aim 3dB hotter because it's measuring over a summed stereo source (meaning, err for about -24 to equal a perceived -27, but even then go by ear because this can be misleading if the production dialogue itself suffered from a lot of compression or limiting when it was shot).  That usually results in your dialogue average meter sitting around -16 dB to -12dB with peaks hitting around -6dB, maybe as hot a -3dB on a huge scream (this also depends upon how much compression you use on your dialogue, some prefer more than others).  This method has seemed to produce desirable results which translate well.  When I have leveled out my dialogue edits in the past with this dialnorm target, I've heard them thrown up onto the stage and the play back at the right energy level and a good translation.  Aside from that, as mentioned on here as well, with FX and MX it's all by ear/taste usually, since dialogue levels are the anchor to which you sculpt around.  If there's any level 'rules' for FX or MX, I just make sure they top out at -1dB max, but I set a brickwall at -3dB so that only once a blue moon if something is just too loud and it pushes past the brick wall it will still be free of clipping.  So about 99% of the time those things will top out at about -3dB and maybe 1% of the time they're reach up to -1dB.  This is all with features in mind, as I understand TV works a little different, where I've seen it that dialogue is hard brickwalled at -10dB and the overall summed mix levels were hard brickwalled at -6dB.&#xD;&#xA;&#xD;&#xA;My opinion is that dialogue is the 'black/white' anchor you want to establish level-wise, and you'll probably find that everything else for FX and MX intuitively fall into place once you've established that." ContentLicense="CC BY-SA 3.0" />
  <row Id="25355" PostHistoryTypeId="5" PostId="15359" RevisionGUID="4aac4019-fe09-4e5c-9ad5-cfd85f597b3a" CreationDate="2012-09-12T19:35:34.143" UserId="1228" Comment="deleted 390 characters in body; added 504 characters in body" Text="As said above, you want to calibrate your playback environment first.  Than, in my experience, with dialogue you want to be hitting equal to about -27 DB LEQ(a) up the center channel, usually measured on a stage with a Dolby LM100.  That usually results in your dialogue average meter sitting around -16 dB to -12dB with peaks hitting around -6dB, maybe as hot a -3dB on a huge scream (this also depends upon how much compression you use on your dialogue, some prefer more than others).  This method has seemed to produce desirable results which translate well.  When I have leveled out my dialogue edits in the past with this dialnorm target even with the less-accurate Phasescope plugin, I've heard them thrown up onto the stage and the dialogue plays back at the right energy level and a good translation, granted the mixer will be further refining and adjusting it.  Aside from that, as mentioned on here as well, with FX and MX it's all by ear/taste usually, since dialogue levels are the anchor to which you sculpt around.  If there's any level 'rules' for FX or MX, I just make sure they top out at -1dB max, but I set a brickwall at -3dB so that only once a blue moon if something is just too loud and it pushes past the brick wall it will still be free of clipping.  So about 99% of the time those things will top out at about -3dB and maybe 1% of the time they're reach up to -1dB.&#xD;&#xA;&#xD;&#xA;This is all with features in mind though, as I understand TV works a little different, where I've seen it that dialogue is hard brickwalled at -10dB and the overall summed mix levels were hard brickwalled at -6dB and the LEQ(a) target can be somewhere arouound -24 or even a little hotter.  I'm sure some TV mixers on here could chime in on that as I'm not very knowledgeable about that area.&#xD;&#xA;&#xD;&#xA;My opinion is that dialogue is the 'black/white' anchor you want to establish level-wise, and you'll probably find that everything else for FX and MX intuitively fall into place once you've established that.  Listneing to movie samples will definitely help give you a sense of the balance, but at the end of the day it's usually only the dialogue which has a hard and fast 'rule' as far as meter levels go." ContentLicense="CC BY-SA 3.0" />
  <row Id="25356" PostHistoryTypeId="5" PostId="15359" RevisionGUID="be5b0efc-8f79-44ac-8f3b-e7edf0104296" CreationDate="2012-09-12T19:51:29.880" UserId="1228" Comment="added 1496 characters in body" Text="As said above, you want to calibrate your playback environment first.  Than, in my experience, with dialogue you want to be hitting equal to about -27 DB LEQ(a) up the center channel, usually measured on a stage with a Dolby LM100.  That usually results in your dialogue average meter sitting around -16 dB to -12dB with peaks hitting around -6dB, maybe as hot a -3dB on a huge scream (this also depends upon how much compression you use on your dialogue, some prefer more than others).  This method has seemed to produce desirable results which translate well.  When I have leveled out my dialogue edits in the past with this dialnorm target even with the less-accurate Phasescope plugin and compensating for how it measures it's levels, I've heard the sessions thrown up onto the stage and the dialogue plays back at the right energy level and a good translation, granted the mixer will be further refining and adjusting it.  Aside from that, as mentioned on here as well, with FX and MX it's all by ear/taste usually, since dialogue levels are the anchor to which you sculpt around.  If there's any level 'rules' for FX or MX, I just make sure they top out at -1dB max, but I set a brickwall at -3dB so that only once a blue moon if something is just too loud and it pushes past the brick wall it will still be free of clipping.  So about 99% of the time those things will top out at about -3dB and maybe 1% of the time they're reach up to -1dB.&#xD;&#xA;&#xD;&#xA;This is all with features in mind though, as I understand TV works a little different, where I've seen it that dialogue is hard brickwalled at -10dB and the overall summed mix levels were hard brickwalled at -6dB and the LEQ(a) target can be somewhere arouound -24 or even a little hotter.  I'm sure some TV mixers on here could chime in on that as I'm not very knowledgeable about that area.&#xD;&#xA;&#xD;&#xA;My opinion is that dialogue is the 'black/white' anchor you want to establish level-wise, and you'll probably find that everything else for FX and MX intuitively fall into place once you've established that.  Listneing to movie samples will definitely help give you a sense of the balance, but at the end of the day it's usually only the dialogue which has a hard and fast 'rule' as far as meter levels go.&#xD;&#xA;&#xD;&#xA;As far as watching examples, as Matt said, I do recommend an exercise of caution because many times a DVD/BLuRay/iTunes is using a re-mixed version of the theatrical print, usually with a tighter dynamic range, and sometimes smothered with compression or even as much as 6dB hotter of a reference level (because a standard living room has an ambient 40 to 50 dB level whereas as theater is 20dB or so).  Unfortunately it's not a well-known practice nor is it specified on the packaging, but it does happen and even then, there's non standardization in that some films are released to disc with the theatrical as-is (often quieter sounding), other's are remixed for DVD but keep the same reference level, and others are severely crunched and boosted during the remix.&#xD;&#xA;&#xD;&#xA;I know one example I like to always go back to is MI:3 - unfortunately the compression on the DVD printmaster is palpable during the opening mission, to my ears almost like nails on a chalkboard.  So I guess what I'm getting at is that Matt's ideas is a good one, although I'd recommend you more or less try to find a clear area of dialogue in the film first and level out your playback level otherwise you may very likely be comparing apples to oranges by having listened to the DVD too low or too hot.  Equal loudness can affect how you judge the mix balance, as sounds become more impactful and punchy when they're louder but dull and rounded when they're lower." ContentLicense="CC BY-SA 3.0" />
  <row Id="25361" PostHistoryTypeId="2" PostId="15361" RevisionGUID="5149fa18-5395-4063-8bd1-5d0da9431bee" CreationDate="2012-09-12T22:05:10.973" UserId="238" Text="I just finished watching District 9 and was quite impressed with the way the alien language had been developed. So it got me thinking about alien / monster language design in film. Other favourites of mine are the Predator clicks and Wall-E. &#xD;&#xA;&#xD;&#xA;So what are some of your favourite Alien / Monster vocalisations in film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25362" PostHistoryTypeId="1" PostId="15361" RevisionGUID="5149fa18-5395-4063-8bd1-5d0da9431bee" CreationDate="2012-09-12T22:05:10.973" UserId="238" Text="Favorite Alien / Monster Vocalisations In Film " ContentLicense="CC BY-SA 3.0" />
  <row Id="25363" PostHistoryTypeId="3" PostId="15361" RevisionGUID="5149fa18-5395-4063-8bd1-5d0da9431bee" CreationDate="2012-09-12T22:05:10.973" UserId="238" Text="&lt;monster&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25364" PostHistoryTypeId="2" PostId="15362" RevisionGUID="8db0e73f-5ae3-4a98-9fc7-96975587dbee" CreationDate="2012-09-12T23:40:58.037" UserId="315" Text="No list would be complete without Chewbacca and the dinosaurs from Jurassic Park. I also liked the language in District 9. Ultimately I'm impressed by any language design work that sounds organic but otherworldly." ContentLicense="CC BY-SA 3.0" />
  <row Id="25365" PostHistoryTypeId="2" PostId="15363" RevisionGUID="7cfb6892-5931-494f-ac81-f8c242ebc3a8" CreationDate="2012-09-13T01:24:23.347" UserId="4146" Text="**I like the voice of the little transformer that hacks into the airplane's network on the first movie. It's kind of an evil funny machine!**" ContentLicense="CC BY-SA 3.0" />
  <row Id="25366" PostHistoryTypeId="2" PostId="15364" RevisionGUID="b095a3b9-b31a-4f1f-a4f8-9c19ad0bc4e9" CreationDate="2012-09-13T02:08:16.323" UserId="194" Text="district 9 easily jumps to the top of my list.  &#xD;&#xA;&#xD;&#xA;[youtube]pHihFA8q8xI#t=57s[/youtube]&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25367" PostHistoryTypeId="5" PostId="15364" RevisionGUID="0692717b-999b-4c9c-9251-fe1e9cf987e3" CreationDate="2012-09-13T02:22:16.167" UserId="194" Comment="added 300 characters in body" Text="district 9 easily jumps to the top of my list.  (57 seconds in)&#xD;&#xA;&#xD;&#xA;[youtube]pHihFA8q8xI#t=57s[/youtube]&#xD;&#xA;&#xD;&#xA;how to train your dragon was loaded up with tons of cool sounds&#xD;&#xA;&#xD;&#xA;[youtube]88x08ePynt0[/youtube]&#xD;&#xA;&#xD;&#xA;Lord of the rings Balrog (made with concrete and wood!)&#xD;&#xA;&#xD;&#xA;[youtube]JLclk16PtE4[/youtube]&#xD;&#xA;&#xD;&#xA;also the mouth of sauron was fun.  &#xD;&#xA;&#xD;&#xA;[youtube]8FfRRpRAHI0&amp;feature=related[/youtube]&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25368" PostHistoryTypeId="2" PostId="15365" RevisionGUID="2bf6af0d-259b-4b29-b99d-e59dbda1a703" CreationDate="2012-09-13T07:23:33.203" UserId="6460" Text="A few unmentioned ones come to mind:&#xD;&#xA;&#xD;&#xA; - Pixar's &quot;Brave&quot; -- the work with Bear vocals is very impressive and incredibly expressive.&#xD;&#xA; - R2D2 -- we cannot forget the emotive beeps and whirrs&#xD;&#xA;&#xD;&#xA;And an honorable mention for &quot;The Lost Thing&quot;, an incredible animation film. I first discovered it when www.soundworkscollection.com did a segment on the sound design. The soundscape of the mechanical characters, features, and settings in the film deserves to be called it's own language.&#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25369" PostHistoryTypeId="2" PostId="15366" RevisionGUID="ab2bb8e4-f644-424c-aee3-4f60caf67db8" CreationDate="2012-09-13T08:33:54.643" UserId="1185" Text="What about Wall-E? I personally did like the film much, but my kids love mimicking the voices which has got to be the ultimate achievement when designing vocalisations." ContentLicense="CC BY-SA 3.0" />
  <row Id="25370" PostHistoryTypeId="2" PostId="15367" RevisionGUID="577d1708-cf30-4656-9502-43ae7993548c" CreationDate="2012-09-13T08:49:15.247" UserId="61" Text="You've probably already figured this out, but in case you haven't…&#xD;&#xA;&#xD;&#xA;We are working on a project now where the picture department has used a lot clip gain. We needed to get out of that mode and into more standard volume graphing. Then we discovered under Edit&gt;Automation the Coalesce clip gain to volume automation command (not in front of PT right now, so that path may be a little wonked). It performed beautifully, rendering the clip gain to volume automation and even straight-line graphing from one clip gain value to another within adjoining clips.&#xD;&#xA;&#xD;&#xA;Worked like a charm, plus no rendering of new audio files. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25371" PostHistoryTypeId="2" PostId="15368" RevisionGUID="bd1b51db-c51c-4775-9db8-cf23f51dafa1" CreationDate="2012-09-13T11:30:29.597" UserId="6600" Text="I quite liked the noises from the alien in Super 8, I remember they did this breathing thing that matched the flapping of his lips really well.&#xD;&#xA;&#xD;&#xA;Also those things in the tunnel in the film Cloverfield made an almost comical but creepy sound that I liked.&#xD;&#xA;&#xD;&#xA;Also! I'm always impressed how some sci'fi's go to the lengths of actually inventing an entire language, e.g. Klingon or the Na'vi from Avatar (which btw totally ripped off the storyline from Dances With Wolves ;) )" ContentLicense="CC BY-SA 3.0" />
  <row Id="25372" PostHistoryTypeId="5" PostId="15366" RevisionGUID="f33832a3-96e9-49fd-92c4-35cff960c480" CreationDate="2012-09-13T12:33:00.320" UserId="1185" Comment="added 4 characters in body" Text="What about Wall-E? I personally did not like the film much, but my kids love mimicking the voices which has got to be the ultimate achievement when designing vocalisations." ContentLicense="CC BY-SA 3.0" />
  <row Id="25373" PostHistoryTypeId="2" PostId="15369" RevisionGUID="e03d76e4-ac6c-4471-93e5-c5f57ea8e618" CreationDate="2012-09-13T18:51:44.147" UserId="3784" Text="My favorite alien vocalisation is probably &quot;poggle&quot; the insect king in attack of the clones. Talent listened to lines in reverse, imitated what was playing backwards in&#xD;&#xA;Real time then reversed that recording and added African type clicks and pops to the dialogue. It almost sounds like its been through kyma.. But I don't think so. &#xD;&#xA;&#xD;&#xA;Can't find a good&#xD;&#xA;Clip" ContentLicense="CC BY-SA 3.0" />
  <row Id="25374" PostHistoryTypeId="2" PostId="15370" RevisionGUID="9ded3858-0516-42d1-beb3-11861e4faf97" CreationDate="2012-09-13T20:58:01.383" UserId="6519" Text="Jabba the Hutt and his torment droid in the torture chamber (Return of the Jedi)." ContentLicense="CC BY-SA 3.0" />
  <row Id="25375" PostHistoryTypeId="5" PostId="15370" RevisionGUID="eba8cf42-6d79-4f4f-a675-1d168193bc33" CreationDate="2012-09-13T21:04:34.807" UserId="6519" Comment="corrected text." Text="Jabba the Hutt and his 8D8 smelter droid in the torture chamber (Return of the Jedi)." ContentLicense="CC BY-SA 3.0" />
  <row Id="25376" PostHistoryTypeId="2" PostId="15371" RevisionGUID="a6bbe420-edca-4fd7-9b25-ceace90552fe" CreationDate="2012-09-13T21:25:56.563" UserId="3411" Text="Just wondering if anyone has had any experience of using these for recording outdoor atmos and quiet room tones?&#xD;&#xA;I would like a pair of omnis to record open outdoor spaces and from what I understand are also good for quiet room tones (or air) as omnis have low noise. Would like to know how these compare to the Schoeps CMC with omni capsule or the Sennheiser 8000 series omnis.&#xD;&#xA;Cheers.&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="25377" PostHistoryTypeId="1" PostId="15371" RevisionGUID="a6bbe420-edca-4fd7-9b25-ceace90552fe" CreationDate="2012-09-13T21:25:56.563" UserId="3411" Text="Neumann KM 183 Stereo Pair" ContentLicense="CC BY-SA 3.0" />
  <row Id="25378" PostHistoryTypeId="3" PostId="15371" RevisionGUID="a6bbe420-edca-4fd7-9b25-ceace90552fe" CreationDate="2012-09-13T21:25:56.563" UserId="3411" Text="&lt;neumann&gt;&lt;omni&gt;&lt;ambience&gt;&lt;room&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25379" PostHistoryTypeId="2" PostId="15372" RevisionGUID="c675485e-54ba-4682-bd5b-9e9510cbd5d8" CreationDate="2012-09-14T00:10:17.700" UserId="958" Text="So, are we expecting the newly released &lt;b&gt;iPhone 5&lt;/b&gt; to have an increase in Bit Depth &amp; Sample Rate capabilities for audio recording software / hardware?&#xD;&#xA;&#xD;&#xA;I scoured the tech specs on Apple's website but couldn't find info on this topic (I assume it is hidden in the developer manuals).&#xD;&#xA;&#xD;&#xA;I understand that the 'new' iPad is capable of recording &lt;b&gt;24bit/96kHz&lt;/b&gt; using apps such as &lt;b&gt;&lt;a href=&quot;http://auriaapp.com/Products/auria&quot;&gt;auria&lt;/a&gt;&lt;/b&gt;.&#xD;&#xA;&#xD;&#xA;I'd love to see &lt;b&gt;Tascam&lt;/b&gt; (&lt;a href=&quot;http://tascam.com/product/ixz/&quot;&gt;ixz&lt;/a&gt;) or &lt;b&gt;Apogee&lt;/b&gt; (&lt;a href=&quot;http://www.apogeedigital.com/products/jam.php&quot;&gt;JAM&lt;/a&gt;) release a quality preamp with +48v capable of recording 24 bit/96kHz audio to an iOS app for field recording purposes.&#xD;&#xA;&#xD;&#xA;Any thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25380" PostHistoryTypeId="1" PostId="15372" RevisionGUID="c675485e-54ba-4682-bd5b-9e9510cbd5d8" CreationDate="2012-09-14T00:10:17.700" UserId="958" Text="iPhone 5 Bit Depth &amp; Sample Rate?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25381" PostHistoryTypeId="3" PostId="15372" RevisionGUID="c675485e-54ba-4682-bd5b-9e9510cbd5d8" CreationDate="2012-09-14T00:10:17.700" UserId="958" Text="&lt;iphone&gt;&lt;field-recording&gt;&lt;bit-depth&gt;&lt;sample-rate&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25382" PostHistoryTypeId="2" PostId="15373" RevisionGUID="055377af-8fa4-412f-bc67-ec681e0a4d0f" CreationDate="2012-09-14T05:09:45.410" UserId="182" Text="I have a pair, so far I'm very pleased with them. I'll record some room tone and put it here so you can have a listen. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25383" PostHistoryTypeId="2" PostId="15374" RevisionGUID="7a401755-257a-453c-89a7-4b9402996a59" CreationDate="2012-09-14T05:37:12.133" UserId="7642" Text="Select all clips in the timeline lower the clip gain a sensible amount so that when you coalesce the clip level to automation the balance still works.&#xD;&#xA;Insert trim plugin on all channels adding the same amount. 1:1 and will work with older or systems, although clip gain is a much better/faster tool in itself." ContentLicense="CC BY-SA 3.0" />
  <row Id="25384" PostHistoryTypeId="2" PostId="15375" RevisionGUID="1b1d2cb7-ab68-4caf-89d0-4b7644e9aee4" CreationDate="2012-09-14T05:44:08.713" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;Neumann is always great, they are my favorite! Very good sound quality, very good signal to noise floor-difference and also robust design and very reliable. I work since many years with the KM140 and the figure-8 AK20 as an MS set. I made recording all over the world from hot places and icecold wintermountains. Never had any problems.&#xD;&#xA;I think the KM184 (cardiodid one) is one of the most flexiblest microphones. Other than sound recorders or a pro tools system, good quality microphones keeps it's price and if you want to sell it once, you will not loos lot's of money if the mic is still fine. For a sound recorder you get almost nothing after some years.&#xD;&#xA;Also neumann is great with the price, you can purchase 2 neumann microphones from the KM-Series for the price from one high-quality schoeps mic. And also for loud level are the neumann great. Others like the schoeps (they are great too, but much more expansiv) get harsh and sharp.&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Guido" ContentLicense="CC BY-SA 3.0" />
  <row Id="25385" PostHistoryTypeId="2" PostId="15376" RevisionGUID="a378883a-0418-48aa-9262-930d1841478c" CreationDate="2012-09-14T06:50:40.890" UserId="348" Text="I personally love the monsters/mutants in &quot;I am Legend&quot;. With the quiet backgrounds they stand out well and offer a new dimension to the danger of a post-apocalyptic world.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25386" PostHistoryTypeId="2" PostId="15377" RevisionGUID="b0b890dd-ccc4-49ec-9657-8613845aa4b6" CreationDate="2012-09-14T06:59:23.883" UserId="348" Text="I have been navigating the archives of SSD and noticed that a lot of people have posted queries about their favorite sounds from films. I am always fascinated with how we make these sounds and what has inspired us to come up with new and unique ways of affecting the audience by adding in an X factor to a common, everyday sound such as a car engine. &#xD;&#xA;&#xD;&#xA;Woulds be interested to know what is your favorite cinematic car sound and why? Mine is the Evil Van/Truck from Jeepers Creepers. It seems to be a combo of an 18 wheeler, some animal growl, old machinery squeaking and creaking. Could be wrong, but is definitely frightening. Also, the POV shots of the evil presence from &quot;The Evil Dead&quot;. I know that this is not a vehicle but they did record the motorcycle that the camera was mounted on and then pitched it down to amplify the low ends. Great stuff.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25387" PostHistoryTypeId="1" PostId="15377" RevisionGUID="b0b890dd-ccc4-49ec-9657-8613845aa4b6" CreationDate="2012-09-14T06:59:23.883" UserId="348" Text="What is your favorite car sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25388" PostHistoryTypeId="3" PostId="15377" RevisionGUID="b0b890dd-ccc4-49ec-9657-8613845aa4b6" CreationDate="2012-09-14T06:59:23.883" UserId="348" Text="&lt;car&gt;&lt;engine&gt;&lt;sounds&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25389" PostHistoryTypeId="2" PostId="15378" RevisionGUID="9257f7b2-7f51-425d-9f51-8ccc507d10a4" CreationDate="2012-09-14T07:27:38.853" UserId="4236" Text="V moda M 80.&#xD;&#xA;&#xD;&#xA;I'm not an audiophile. I don't critically listen to music but listen for enjoyment. I have several IEMs with the best being Klipsch X5 and while the detail is great, i find them too sharp sounding. The M80s have a warm feel with great detail and good soundstage for a portable but has bass. Not a ton but I have to feel the drums and my friends Sony zx700s are good but I don't feel the drums. They could be a little brighter but my ears are very sensitive too harsh treble so I'm not unhappy. The mids are great with great detail and forward without being drowned by bass. I have to add that I find most audiophiles seem to like weak bass but bright treble and consumers the opposite. I wonder if it is because audiophiles tend to listen to natural instruments as opposed to electronic or heavier forms of music with powerful drums but  I find it odd when they claim that M50's are too bassy. honestly, don't drums in any live performance have much more impact than what is being played through your headphones? How is this fidelity? Sorry but I'm a noob." ContentLicense="CC BY-SA 3.0" />
  <row Id="25390" PostHistoryTypeId="2" PostId="15379" RevisionGUID="daf25258-b801-4908-9243-13a85e1f645a" CreationDate="2012-09-14T07:49:22.753" UserId="4237" Text="**Sennheiser HD600**&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;Pros:&#xD;&#xA;&lt;br&gt; - They are open, so they don't hurt you ears after long listening&#xD;&#xA;&lt;br&gt; - Great, natural sound!&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;Cons:&#xD;&#xA;&lt;br&gt; - Sensitive Cable and Pins (soon it's gonna be my third cable) [don't even try to use them outside]&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&lt;br&gt; With my Adam A7X they make agreat couple :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25391" PostHistoryTypeId="16" PostId="15379" RevisionGUID="daf25258-b801-4908-9243-13a85e1f645a" CreationDate="2012-09-14T07:49:22.753" UserId="4237" />
  <row Id="25392" PostHistoryTypeId="2" PostId="15380" RevisionGUID="2673fd03-0f15-4bf1-a60d-6cf94c382ff4" CreationDate="2012-09-14T08:30:04.783" UserId="3411" Text="+1 for Sennheiser HD600 in the studio, they are very comfortable and sound great. They do need a decent headphone amp though.&#xD;&#xA;&#xD;&#xA;Senn HD25 IIs all the way for the Field." ContentLicense="CC BY-SA 3.0" />
  <row Id="25393" PostHistoryTypeId="2" PostId="15381" RevisionGUID="90d43a20-8c67-413e-a4b3-e3ea33bdd935" CreationDate="2012-09-14T10:28:58.003" UserId="6519" Text="[The last V8][1] - Mad Max Series.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=hiNZbcEzogU" ContentLicense="CC BY-SA 3.0" />
  <row Id="25394" PostHistoryTypeId="2" PostId="15382" RevisionGUID="37ce96b6-20f2-4c16-b66f-d37419cc601e" CreationDate="2012-09-14T12:34:14.997" UserId="202" Text="Pro Tools 10.3 (just released) should have solved this bug. not installed yet, so I just report the fix from the read me:&#xD;&#xA;&#xD;&#xA;**Plug-Ins and Processing&#xD;&#xA;Audio sync issues when rendering clip gain on clips with crossfades have been resolved. (PTSW-170425)**&#xD;&#xA;&#xD;&#xA;As others already wrote, I usually convert all the clip gain to Volume automation (watch out for 12 db gain limit of volume VS the 36 db of clip gain, and for clip gain inside clip groups: the group must be ungrouped to translate the clip gain to volume automation). &#xD;&#xA;Most of the time I copy the volume automation to a trim plugin (I always have a trim plugin just to be able to invert phase, even if in PT10 with audiosuite handles the invert plugin is much more convenient), and clear the volume automation, but it really depends how the rerecording mixer prefer to work.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25395" PostHistoryTypeId="2" PostId="15383" RevisionGUID="9519c5a3-8f68-47bc-875f-3e1dc9ed3e41" CreationDate="2012-09-14T15:24:03.003" UserId="194" Text="Ultrasone 750 pros&#xD;&#xA;&#xD;&#xA;great resolution, very comfortable, offset driver greatly reduces fatigue in long listening sessions." ContentLicense="CC BY-SA 3.0" />
  <row Id="25396" PostHistoryTypeId="16" PostId="15383" RevisionGUID="9519c5a3-8f68-47bc-875f-3e1dc9ed3e41" CreationDate="2012-09-14T15:24:03.003" UserId="-1" />
  <row Id="25397" PostHistoryTypeId="2" PostId="15384" RevisionGUID="536f4c80-f45a-4c21-9ff7-c73eb4d86110" CreationDate="2012-09-14T17:18:19.953" UserId="182" Text="Here's a quick room tone recording inside a playback/conference room I made just now with the KM183:&#xD;&#xA;&#xD;&#xA;http://wtrns.fr/eJfis31q4MXi_UE&#xD;&#xA;(this is the original 96 kHz 24bit wav file)&#xD;&#xA;&#xD;&#xA;Neumann KM183 spaced omni pair, about 1m apart, into a Sound Devices 788t, 60 dB of gain. No filtering, no editing.&#xD;&#xA;&#xD;&#xA;The background SPL was 31.0 dBA (measured).&#xD;&#xA;&#xD;&#xA;The buzz you hear is a pair of Genelec subwoofers that is switched on.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;At the moment, I don't have any quiet outdoor atmos on hand. Maybe I'll get around to it later." ContentLicense="CC BY-SA 3.0" />
  <row Id="25398" PostHistoryTypeId="2" PostId="15385" RevisionGUID="f8a58501-14fa-47e8-998c-3015b9f1bae7" CreationDate="2012-09-14T18:59:44.103" UserId="1228" Text="For me it's a small bit in the opening of Safe House, when the car Denzel is in with the other guy and (as I recall, it's been a while) there's an intersection impact wherein the car gets T-boned.  The car rev spins up to a hard stop right by the camera.  That spin rev engine still sticks out as a favorite vehicle moment for me.  But in all seriousness, the entire vehicle chase sequence early on in the film (the one with mayhem on the freeway) is ridiculous in a good way, one of the longest and most intense car sequences I've seen (and heard)." ContentLicense="CC BY-SA 3.0" />
  <row Id="25399" PostHistoryTypeId="2" PostId="15386" RevisionGUID="b40d11bf-a03d-498f-852c-a3fa5e5a40ba" CreationDate="2012-09-14T19:21:36.947" UserId="565" Text="Mine would be Kurt Russel's Chevy Nova in Death Proof.  Harry Cohen did an amazing job making that car sound like pure danger!  From the low gurgling idle to the full out revs and bys.  I get goose bumps every time I watch the movie." ContentLicense="CC BY-SA 3.0" />
  <row Id="25400" PostHistoryTypeId="2" PostId="15387" RevisionGUID="f7bfa61f-8442-49d8-b0d6-457ffd2ca302" CreationDate="2012-09-14T19:24:51.553" UserId="3654" Text="check out the desolated strings and wood from www.thesoundcatcher.com maybe this is it what you´re for." ContentLicense="CC BY-SA 3.0" />
  <row Id="25401" PostHistoryTypeId="2" PostId="15388" RevisionGUID="a4a696dc-37f4-49f2-80e9-507a612f1382" CreationDate="2012-09-14T21:29:14.107" UserId="6460" Text="For a real car, my mind goes to Marty's big pickup in the *Back to the Future* movies. Maybe not the most interesting, but the drag racing scene when Marty revs at a red light against Biff is definitely iconic in my mind. &#xD;&#xA;&#xD;&#xA;For a surreal car, I have to admit that the Tumbler and Bat Pod in &lt;i&gt;Batman Begins&lt;/i&gt; and *The Dark Knight* are wickedly cool. I love what they do with shepherd tones during acceleration.&#xD;&#xA;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25402" PostHistoryTypeId="2" PostId="15389" RevisionGUID="76b5de24-6226-4ed2-966e-8634b7e9b250" CreationDate="2012-09-14T22:05:25.193" UserDisplayName="user49" Text="Mini cooper, the Italian Job (the original movie and car)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25403" PostHistoryTypeId="2" PostId="15390" RevisionGUID="7d08326a-4d56-40fe-a8c7-57ce44281054" CreationDate="2012-09-15T00:37:24.667" UserId="194" Text="some of the radio imaging libraries have stuff that really runs down road pretty well." ContentLicense="CC BY-SA 3.0" />
  <row Id="25404" PostHistoryTypeId="2" PostId="15391" RevisionGUID="61d9b94e-d417-46fe-b7a1-4f0e73f8ec13" CreationDate="2012-09-15T08:41:25.250" UserId="4238" Text="I think Wall-E and R2D2 are pretty much the best ones out there.&#xD;&#xA;&#xD;&#xA;Although I think my favourite has to be the machines from War of the Worlds, such a huge sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="25405" PostHistoryTypeId="2" PostId="15392" RevisionGUID="595f3af1-b712-46ab-9fdc-a9b198318f8e" CreationDate="2012-09-15T08:44:42.320" UserId="4238" Text="There has recently been a Audio Plugin/VSTi which has been created called AudioWind and AudioRain. It's basically a customizable plugin which creates basically infinite combinations of wind samples and or rain samples. It's fairly new, but it's pretty neat and has lots of potential. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25406" PostHistoryTypeId="2" PostId="15393" RevisionGUID="df1561d1-96c6-4bf3-bd18-a6f87250b663" CreationDate="2012-09-15T09:14:01.043" UserId="4238" Text="I've always liked the sound of the Mini in the Bourne Identity film, just because the sound is so hyper-real." ContentLicense="CC BY-SA 3.0" />
  <row Id="25407" PostHistoryTypeId="2" PostId="15394" RevisionGUID="0766acf2-5d7c-42b6-aeac-d2ec8f8302e5" CreationDate="2012-09-15T09:18:23.117" UserId="4238" Text="I'm trying to create a first person soundscape and one part is a plane crashing in the water whilst on board. &#xD;&#xA;&#xD;&#xA;I'd like to get your opinions on which plane crash scenes in TV, Film or Games are the best so I can study them to create my own ideas?&#xD;&#xA;&#xD;&#xA;I personally like the various LOST plane crash scenes and the cutscene in Modern Warfare 3, but which are yours?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25408" PostHistoryTypeId="1" PostId="15394" RevisionGUID="0766acf2-5d7c-42b6-aeac-d2ec8f8302e5" CreationDate="2012-09-15T09:18:23.117" UserId="4238" Text="Best Plane Crash scene in terms of Sound Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25409" PostHistoryTypeId="3" PostId="15394" RevisionGUID="0766acf2-5d7c-42b6-aeac-d2ec8f8302e5" CreationDate="2012-09-15T09:18:23.117" UserId="4238" Text="&lt;plane&gt;&lt;crash&gt;&lt;soundscapes&gt;&lt;fps&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25410" PostHistoryTypeId="2" PostId="15395" RevisionGUID="acc57093-8ec6-4568-b589-db92fc9f3f1a" CreationDate="2012-09-15T10:43:55.697" UserId="6524" Text="I haven't seen this film but after watching a short screening of this scene at film school, I kind of want to. I like this scene because watching and listening to it made me feel really uncomfortable, it's just the way I imagine when I'm on a plane I feel very paranoid (thanks to doco's like Aircrash Investigation haha).&#xD;&#xA;&#xD;&#xA;[youtube]iLLcH0x1kwg[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="25411" PostHistoryTypeId="5" PostId="15395" RevisionGUID="bc49efb1-15bb-4a91-851e-0842966ea1dc" CreationDate="2012-09-15T10:48:59.203" UserId="6524" Comment="added 44 characters in body; deleted 1 characters in body" Text="I haven't seen this film but after watching a short screening of this scene at film school, I kind of want to. I like this scene because watching and listening to it made me feel really uncomfortable, it's just the way I imagine when I'm on a plane, I feel very paranoid thanks to doco's like Aircrash Investigation haha. The one in Cast Away is quite cool as well.&#xD;&#xA;&#xD;&#xA;[youtube]iLLcH0x1kwg[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="25412" PostHistoryTypeId="2" PostId="15396" RevisionGUID="d6ff6e79-2b40-4569-a322-e43811a6e741" CreationDate="2012-09-15T11:11:02.160" UserId="194" Text="fight club's mid air collision is one of the best.  &#xD;&#xA;&#xD;&#xA;[youtube]UAj8_G9tF0k[/youtube]&#xD;&#xA;&#xD;&#xA;castaway - also epic&#xD;&#xA;&#xD;&#xA;[youtube]IyOu9xCNMK0[/youtube]&#xD;&#xA;&#xD;&#xA;dark nights Bane plane heist scene was the best scene of the whole film. (no youtube there, sorry)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25413" PostHistoryTypeId="2" PostId="15397" RevisionGUID="0978da33-c753-411d-b4bd-c4d2b5e123c4" CreationDate="2012-09-15T13:01:20.957" UserId="208" Text="+1 for castaway.&#xD;&#xA;Love how the tension builds up the moments before." ContentLicense="CC BY-SA 3.0" />
  <row Id="25414" PostHistoryTypeId="5" PostId="15397" RevisionGUID="e6e185a5-8104-470e-8324-5d52205a8c85" CreationDate="2012-09-15T15:50:30.163" UserId="208" Comment="added 16 characters in body" Text="+1 for castaway.&#xD;&#xA;Love how the tension builds up the moments before things go wrong." ContentLicense="CC BY-SA 3.0" />
  <row Id="25415" PostHistoryTypeId="2" PostId="15398" RevisionGUID="8399c199-9a12-4512-92bc-179fdc135ee0" CreationDate="2012-09-15T17:39:21.047" UserId="6420" Text="The one in The Grey was pretty impressive&#xD;&#xA;&#xD;&#xA;http://www.google.co.uk/url?sa=t&amp;source=web&amp;cd=2&amp;ved=0CCkQtwIwAQ&amp;url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DiLLcH0x1kwg&amp;ei=a7xUULfUFeWX1AWDw4CoDg&amp;usg=AFQjCNFeQ3qZfQ0PbmSekZxEqzlZx1CxGw" ContentLicense="CC BY-SA 3.0" />
  <row Id="25416" PostHistoryTypeId="2" PostId="15399" RevisionGUID="bb32b774-55ad-42a5-ba4d-23f10fd828b8" CreationDate="2012-09-15T18:12:59.620" UserId="6411" Text="This is a great list. I've been clamoring for the same thing lately, but am trying to keep my expenses down. So rather than searching for new libraries I've been scouring through my own AMB files, listening in between all the &quot;polluting noise&quot; and tossing on a heaping of C4 &amp; EQ to minimize the sounds that I don't want and maximize the tones that I am looking for. I've had some successes, but at the cost of time. This is thinking I should invest more wisely." ContentLicense="CC BY-SA 3.0" />
  <row Id="25417" PostHistoryTypeId="5" PostId="15398" RevisionGUID="a9f8d990-682d-4da4-abfe-d1f6de67ae96" CreationDate="2012-09-15T21:38:45.253" UserId="6420" Comment="deleted 67 characters in body; deleted 94 characters in body" Text="The one in The Grey was pretty impressive&#xD;&#xA;&#xD;&#xA;http://youtu.be/iLLcH0x1kwg" ContentLicense="CC BY-SA 3.0" />
  <row Id="25418" PostHistoryTypeId="2" PostId="15400" RevisionGUID="a9394e13-359a-45e9-bc6b-ecd96a612f96" CreationDate="2012-09-16T04:10:51.360" UserId="136" Text="http://www.youtube.com/watch?v=vXwB7_dOtA4&#xD;&#xA;&#xD;&#xA;This scene from The Knowing. I saw it in the cinema and it was huge! Really convincing as well. Unfortunately the youtube clip doesn't do it justice. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25419" PostHistoryTypeId="5" PostId="15400" RevisionGUID="61d651fe-2d89-4385-ab3a-b22a35a8d81e" CreationDate="2012-09-16T05:53:39.093" UserId="136" Comment="added 65 characters in body" Text="http://www.youtube.com/watch?v=vXwB7_dOtA4&#xD;&#xA;&#xD;&#xA;This scene from The Knowing. I saw it in the cinema and it was huge! Really convincing as well. Unfortunately the youtube clip doesn't do it justice. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Edit: Sorry I didn't see that you said 'inside' the plane. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25420" PostHistoryTypeId="2" PostId="15401" RevisionGUID="f46022c3-a72c-4448-adb8-e7d079dda03a" CreationDate="2012-09-16T07:02:49.677" UserId="3141" Text="1) Alien and Aliens - the breathing/hissing/drawing in of air in conjunction of the liquids running around and over mouth - also the organic folding/stretching heard when the eggs open.&#xD;&#xA;&#xD;&#xA;2) The Thing - especially the CPR scene when the chest opens up, arms are swallowed, and oh-my-lord... I am a small child watching it in the theater and the sound of the head detaching and crawling away...&#xD;&#xA;&#xD;&#xA;3) Many great examples above - notably from Pixar and/or Ben Burt; Chewbacca and R2D2 a model (in the original trilogy) as the vocalizations sat perfectly in the dialogue mix and overall soundtrack.  Chewbacca seems to actually be making the sounds with his throat and mouth." ContentLicense="CC BY-SA 3.0" />
  <row Id="25421" PostHistoryTypeId="2" PostId="15402" RevisionGUID="28fb23bc-5a58-4c98-b651-e3d974e57c6f" CreationDate="2012-09-16T08:39:07.663" UserId="208" Text="I tried to do some tracks in Kyma, where I controlled the pitch and filtering with a Wacom pen for a more natural feel. This way I could get the gusts etc. when I need them , and in sync with picture, if needed.&#xD;&#xA;&#xD;&#xA;Here is a few fast ones, used in fishermans tv documentary, I did some sfx recordings for:&#xD;&#xA;&#xD;&#xA;http://snd.sc/PvGuUJ&#xD;&#xA;&#xD;&#xA;http://snd.sc/PvGUdA&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;All dry recordings. Mixing the different layers, automating the volume, and adding some verb, makes them really useful, I think.&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel " ContentLicense="CC BY-SA 3.0" />
  <row Id="25422" PostHistoryTypeId="2" PostId="15403" RevisionGUID="6d178881-ea1d-4b4f-8512-89ab0c3cdc01" CreationDate="2012-09-16T08:51:08.150" UserId="3405" Text="i think one of the simple sound process is reverse sound and smtimes the result is very interesting&#xD;&#xA;my favorite:&#xD;&#xA;Glass crash,&#xD;&#xA;Explosion,&#xD;&#xA;Dialogue,,&#xD;&#xA;Musical Note,&#xD;&#xA;Cymbal Hit,&#xD;&#xA;Church Bell, &#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="25423" PostHistoryTypeId="1" PostId="15403" RevisionGUID="6d178881-ea1d-4b4f-8512-89ab0c3cdc01" CreationDate="2012-09-16T08:51:08.150" UserId="3405" Text="Whats your favorite Reverse Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="25424" PostHistoryTypeId="3" PostId="15403" RevisionGUID="6d178881-ea1d-4b4f-8512-89ab0c3cdc01" CreationDate="2012-09-16T08:51:08.150" UserId="3405" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25425" PostHistoryTypeId="2" PostId="15404" RevisionGUID="3d1c92c1-28fa-4be0-8a7e-b32faf24bd19" CreationDate="2012-09-16T12:12:21.397" UserId="4156" Text="&#xD;&#xA;Why not just print the dialog to one ore more stems and deliver your originals as inactive tracks along with those stems. If your dialog edits sound smooth and good the stems will be all the mixer needs, he will only need to have access to the original clips/ regions in a few cases probably, which he will have on those original dialog clips on the inactive tracks (be it with incorrect level due to the missing clip-gain). " ContentLicense="CC BY-SA 3.0" />
  <row Id="25426" PostHistoryTypeId="2" PostId="15405" RevisionGUID="ab6178de-8d60-41c6-be94-e34fc4cb830c" CreationDate="2012-09-16T15:30:29.077" UserId="643" Text="I've found GRM's reson useful for creating interesting wind effects.  Really seems to liven up a boring wind track.&#xD;&#xA;&#xD;&#xA;Mikkel, how are you filtering your wind tracks in Kyma?  I bought kyma a few months ago and am always looking for cool uses for it.  Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="25427" PostHistoryTypeId="2" PostId="15406" RevisionGUID="c08edcc2-7dc1-4f40-aaa6-cdaeddec627e" CreationDate="2012-09-16T17:37:46.233" UserId="1049" Text="Reversing whispered speech is always a favourite of mine, especially when creating 'evil' or 'creepy' ambiences. =)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25428" PostHistoryTypeId="2" PostId="15407" RevisionGUID="4a6c0a73-e6b1-4477-b117-aa67c3da370c" CreationDate="2012-09-16T18:08:35.617" UserId="1049" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I'm working on a piece that involves a portal blasting or ripping open and I'm having some difficulty getting it sounding right. The 'portal' is centre-screen and meant to burst open fairly suddenly.&#xD;&#xA;&#xD;&#xA;Right now I've got a nice EQ'd thunderclap and a sizzle and crackle going on that works well for the energy of the portal dying off, and I've recorded tearing paper and foil and layered them for the actual portal ripping open but it's lacking a certain 'energy'.&#xD;&#xA;&#xD;&#xA;Any suggestions for things to try to add would be greatly appreciated! " ContentLicense="CC BY-SA 3.0" />
  <row Id="25429" PostHistoryTypeId="1" PostId="15407" RevisionGUID="4a6c0a73-e6b1-4477-b117-aa67c3da370c" CreationDate="2012-09-16T18:08:35.617" UserId="1049" Text="Sound of an inter-dimensional portal ripping/blasting open? " ContentLicense="CC BY-SA 3.0" />
  <row Id="25430" PostHistoryTypeId="3" PostId="15407" RevisionGUID="4a6c0a73-e6b1-4477-b117-aa67c3da370c" CreationDate="2012-09-16T18:08:35.617" UserId="1049" Text="&lt;energy&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25431" PostHistoryTypeId="2" PostId="15408" RevisionGUID="6fd21d61-9a86-4b00-8142-d50f4dfcbe7e" CreationDate="2012-09-16T19:16:36.093" UserId="644" Text="I also recommend the DT770 pros for anyone looking for comfort and longevity. I've had a pair for over 10 years now with the drivers still going strong. I do still use them for recording, but I don't know if it would recommend them straight up. They are quite bulky and can Take up valuable room in the bag; I have had to clip them on to a strap while carrying, which leaves them out for knocks and scrapes.&#xD;&#xA;As for a monitoring/recording option I would say a definitive no. They are quite bass heavy and can mask your judgement on recordings and mixes (something I learned very early on that the 770s were not capable of by being close backed). &#xD;&#xA;&#xD;&#xA;Seriously though, I have used them in the studio behind the drum kit, thrown them off my head during gigs, kicked them and dropped them out in the sticks on location and all that I have to do is change the pads so often. &#xD;&#xA;&#xD;&#xA;I'm on the lookout for something more compact and flatter, so I look forward to more recommendations&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25432" PostHistoryTypeId="16" PostId="15408" RevisionGUID="6fd21d61-9a86-4b00-8142-d50f4dfcbe7e" CreationDate="2012-09-16T19:16:36.093" UserId="-1" />
  <row Id="25433" PostHistoryTypeId="2" PostId="15409" RevisionGUID="d86f9834-f94e-4ff1-94b0-8a43c126e2ac" CreationDate="2012-09-17T00:03:29.403" UserId="61" Text="Explosions. Animal roars. Metal clangs. Glass shattering. Car crashes. Depth charges.&#xD;&#xA;&#xD;&#xA;Throw them all into your favorite sampler and get to work!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25434" PostHistoryTypeId="2" PostId="15410" RevisionGUID="4f541b4e-69fc-4798-a55a-6d67dcebbeab" CreationDate="2012-09-17T00:05:49.753" UserId="61" Text="When cutting car chases, reversing an accel away from the mic is a great substitute for a fast decel when you can't find a naturally recorded one." ContentLicense="CC BY-SA 3.0" />
  <row Id="25435" PostHistoryTypeId="2" PostId="15411" RevisionGUID="5d8c7321-26a2-40cd-8a27-56c39243a9da" CreationDate="2012-09-17T02:39:46.097" UserId="3741" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am interested in capturing LFO type sounds in nature. Something that starts at a high oscillating rate and drops to a lower one... Does anything come to mind?&#xD;&#xA;Animals, natural phenomena (weather, springs, rivers, etc)&#xD;&#xA;&#xD;&#xA;thanks...&#xD;&#xA;-Steven&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25436" PostHistoryTypeId="1" PostId="15411" RevisionGUID="5d8c7321-26a2-40cd-8a27-56c39243a9da" CreationDate="2012-09-17T02:39:46.097" UserId="3741" Text="LFO sounds in nature" ContentLicense="CC BY-SA 3.0" />
  <row Id="25437" PostHistoryTypeId="3" PostId="15411" RevisionGUID="5d8c7321-26a2-40cd-8a27-56c39243a9da" CreationDate="2012-09-17T02:39:46.097" UserId="3741" Text="&lt;field-recording&gt;&lt;nature&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25438" PostHistoryTypeId="2" PostId="15412" RevisionGUID="bf76914c-3702-464d-9936-73c0b4ecdf16" CreationDate="2012-09-17T05:15:54.323" UserId="6435" Text="reverse reverbed screams. Reversed glass crashes." ContentLicense="CC BY-SA 3.0" />
  <row Id="25439" PostHistoryTypeId="2" PostId="15413" RevisionGUID="376c7379-3f5b-48ee-9902-971468b35e36" CreationDate="2012-09-17T05:16:54.763" UserId="6435" Text="Add a musical element to it perhaps? " ContentLicense="CC BY-SA 3.0" />
  <row Id="25440" PostHistoryTypeId="2" PostId="15414" RevisionGUID="c57d9d30-215a-4c5d-836f-99c7f3a95336" CreationDate="2012-09-17T10:17:08.567" UserId="1237" Text="[youtube]BVCfo6CLkb0[/youtube]&#xD;&#xA;&#xD;&#xA;Teaser from Prey 2" ContentLicense="CC BY-SA 3.0" />
  <row Id="25441" PostHistoryTypeId="2" PostId="15415" RevisionGUID="6ab4ccc4-8dc0-4aa4-8aa1-393b1648f707" CreationDate="2012-09-17T12:35:55.063" UserId="1049" Text="[This][1] is quite a nice clip. As a cicada gets going it's 'chirp' starts of of at a low oscillating rate then progressively increases.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=mah26og11ms" ContentLicense="CC BY-SA 3.0" />
  <row Id="25442" PostHistoryTypeId="2" PostId="15416" RevisionGUID="2dab3b7a-8cdb-4e3f-88c5-6a02036ed2a9" CreationDate="2012-09-17T12:50:33.267" UserId="993" Text="One of the portal effects I was pretty happy with involved the following elements:&#xD;&#xA;&#xD;&#xA;- Bass heavy explosion with a nice thud to it&#xD;&#xA;- Fire burst (flammable liquid dumped on a fire)&#xD;&#xA;- Jacobs' ladder electrical arcs (two different recordings panned left and right plus heavy reverb and I think a bit of flange)&#xD;&#xA;- A few layers of metal melodic pipe drones (continues throughout portal being open)&#xD;&#xA;&#xD;&#xA;But are there perhaps other elements in the environment that might resonate with the portal opening? Metal structures vibrating? Wooden floors cracking? Birds scattering? Comes back to the idea of adding debris to an explosion to make it sound really dangerous.&#xD;&#xA;&#xD;&#xA;If you're interested though, the above recipe can be heard at 6min 7second here: http://www.escapistmagazine.com/videos/view/tales-from-the-table/4804-Chapter-14-A-Tale-of-a-Sirens-Call" ContentLicense="CC BY-SA 3.0" />
  <row Id="25443" PostHistoryTypeId="2" PostId="15417" RevisionGUID="9d16519c-bf28-4f0e-b2a4-ce85809dbeac" CreationDate="2012-09-17T16:30:31.500" UserId="61" Text="How about rain?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25444" PostHistoryTypeId="2" PostId="15418" RevisionGUID="7ccda6c2-cd27-4862-890c-a5920f121700" CreationDate="2012-09-17T17:01:17.887" UserId="4240" Text="Anything. EVERYTHING is better reversed. But, gun to head, reverse piano or harp gliss. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25445" PostHistoryTypeId="2" PostId="15419" RevisionGUID="83f5ef56-674d-4715-99dc-e5bb5d62228f" CreationDate="2012-09-17T18:49:57.520" UserId="6432" Text="A couple of years ago I had the pleasure of watching *Encounters at the end of the world* at the cinema. The recordings of seals and other marine life in that film are really amazing, and an amazing experience in the cinema&#xD;&#xA;&#xD;&#xA;[youtube]OlrcbKlW4Tw[/youtube]&#xD;&#xA;&#xD;&#xA;Most of the sounds are like sawtooth lfo's - from high to low.&#xD;&#xA;&#xD;&#xA;In a sense though, many natural phenomena create lfo style patterns when graphed on a larger scale. If you think about an environment which contains birds and insects for example, they all fall into a natural rhythm as they try to be heard. This on-off pattern is like a complex interdependent pattern of square waves. &#xD;&#xA;&#xD;&#xA;And of course, if you graph the rise and fall of the sea you get the [original sine wave][1]:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/File:ComplexSinInATimeAxe.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="25446" PostHistoryTypeId="2" PostId="15420" RevisionGUID="63c7ed35-7da8-47af-ace1-356542352739" CreationDate="2012-09-17T18:58:33.737" UserId="2778" Text="The one in English Patient." ContentLicense="CC BY-SA 3.0" />
  <row Id="25455" PostHistoryTypeId="2" PostId="15425" RevisionGUID="fa531c73-cbbe-4753-8083-7f4ba7dbabbd" CreationDate="2012-09-18T14:14:05.433" UserId="769" Text="If you're heading down the path of interactive design, you will likely not be served better than by acquiring skills in Max/MSP (or related software like PureData, Plogue Bidule etc).  What you get is basically a blank canvas upon which to build, without presumption, your ideas. If you're disciplined, you can even teach yourself using the provided tutorials.  &#xD;&#xA;&#xD;&#xA;Cycling '74's website has a list of schools that teach it, as well as a link to the tutes.&#xD;&#xA;&#xD;&#xA;http://cycling74.com/whatismax/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25456" PostHistoryTypeId="2" PostId="15426" RevisionGUID="48924c00-090c-4f03-ac89-027a7aaff3e7" CreationDate="2012-09-18T14:25:58.887" UserId="769" Text="So, if I understand the question correctly, what you're saying is this:&#xD;&#xA;&#xD;&#xA;• You have two separate Shure SM-58 microphones plugged into inputs 1 and 2 on the DR-40;&#xD;&#xA;• When you wear headphones and monitor your recording, you're getting a uniform sound in each ear, ie. a mono signal?&#xD;&#xA;&#xD;&#xA;Sorry to answer your question with a question, but... is this 'mono' signal derived from one of the microphones only, or both?  If the former, the inaudible microphone is either faulty or is connected with a faulty lead.  If the latter, you might need to check the DR-40's mixer settings.  It's possible to pan both external inputs to the centre in monitor output.  If I remember accurately though, they'll still record to separate tracks.  (You should try recording too, and see what you come up with.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25457" PostHistoryTypeId="2" PostId="15427" RevisionGUID="f34616bb-bac7-4c07-bd86-6549e9a3f00d" CreationDate="2012-09-18T14:27:50.937" UserId="769" Text="Frogs? Pigeons?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25458" PostHistoryTypeId="2" PostId="15428" RevisionGUID="5b8c202f-c46a-4974-a190-c58cb5b1ba34" CreationDate="2012-09-18T16:17:53.487" UserId="6600" Text="Check out this blog about the dispersion of sound waves in ice sheets:&#xD;&#xA;&#xD;&#xA;http://silentlistening.wordpress.com/2008/05/09/dispersion-of-sound-waves-in-ice-sheets/&#xD;&#xA;&#xD;&#xA;If you listen to the recording at 35s in particular they captured an awesome sound which may be the kind of thing you're after.&#xD;&#xA;&#xD;&#xA;They also share their recording technique which is nice." ContentLicense="CC BY-SA 3.0" />
  <row Id="25459" PostHistoryTypeId="5" PostId="10061" RevisionGUID="0b5aa883-ffb3-40f3-95f7-22887b4d4d4e" CreationDate="2012-09-18T17:11:24.040" UserId="315" Comment="added 397 characters in body; edited title; added 14 characters in body" Text="UPDATE: I thought I would update this post from a long time ago. Sennheiser has now introduced the [MKH 8090 Wide Cardiod][1]. This makes the figure 8 the only missing pattern in the 8000 series. Hopefully now the 8030 will see the light of day.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Last year I bought a Sennheiser 8050 hypercardiod to complement my mic collection, which is mostly Schoeps and DPA stuff. I love the extended frequency response of this mic, it's super quiet, small, and the super tight pickup pattern has really come in handy. &#xD;&#xA;&#xD;&#xA;I'd like to turn this mic into an MS pair, and have considered matching it with an MKH-30. But I've heard unconfirmed rumors that Sennheiser is developing an 8030. Anybody else heard this? I asked a Sennheiser rep at AES and they were uncertain. I also contacted Sennheiser directly via email without a response. A Google search has provided me with folks confirming it's in development, and people saying this mic is not planned for release. If anyone can shed some light on this I'd be very grateful. In addition, has anybody matched this mic with another figure 8 in an MS pair?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en-de.sennheiser.com/news/perfect-for-orchestral-recordings-the-mkh-8090-wide-cardioid-condenser-microphone-from-sennheiser-" ContentLicense="CC BY-SA 3.0" />
  <row Id="25460" PostHistoryTypeId="4" PostId="10061" RevisionGUID="0b5aa883-ffb3-40f3-95f7-22887b4d4d4e" CreationDate="2012-09-18T17:11:24.040" UserId="315" Comment="added 397 characters in body; edited title; added 14 characters in body" Text="UPDATE: Anybody else waiting anxiously for the Sennheiser 8030?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25461" PostHistoryTypeId="2" PostId="15429" RevisionGUID="5cbaadcc-63bc-4711-a985-11bffe6f4631" CreationDate="2012-09-18T18:22:13.790" UserId="29" Text="The opposite happens with Hornbills. That &quot;ooh-ooh-ooh-AH AH AH&quot; screech one often hears in jungle scenes isn't a monkey, but rather a bird, and it's just the crescendo of a pretty long (multi-minute) song that starts with a low &quot;whoo,&quot; not unlike an owl, and raises in frequency of utterance as well as pitch. Still, an interesting (if inversed) morph over time. Recorded this myself in Thailand many years back.&#xD;&#xA;&#xD;&#xA;Breaking waves are good, too, as are thunder claps." ContentLicense="CC BY-SA 3.0" />
  <row Id="25462" PostHistoryTypeId="2" PostId="15430" RevisionGUID="bdb47378-fa8a-4732-a858-21c6ac860c08" CreationDate="2012-09-18T19:23:35.613" UserId="3741" Text="thanks all, great responses and leads. If there are more, keep em coming!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25463" PostHistoryTypeId="2" PostId="15431" RevisionGUID="bfc0df09-d2d4-46c6-a494-b6288385ea52" CreationDate="2012-09-18T19:33:43.797" UserId="3741" Text="A couple of good resources&#xD;&#xA;&#xD;&#xA;- check out IRCAM's research on many different areas within sound/music:&#xD;&#xA;http://www.ircam.fr/equipes.html?&amp;L=1&#xD;&#xA;&#xD;&#xA;- Shannon Mattern's course is thoroughly documented, a good mix of theoretical and practical stuff : http://www.wordsinspace.net/course_material/sound_space/sound_space_F05.html&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25464" PostHistoryTypeId="2" PostId="15432" RevisionGUID="11f28a83-0117-44e3-aeba-f268e39dfc5c" CreationDate="2012-09-18T23:52:31.857" UserId="6512" Text="I like this idea, a lot. I'm in the northern Philly suburbs, too, so I might just be able to make it happen. It'll take some coordination, but thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25465" PostHistoryTypeId="2" PostId="15433" RevisionGUID="16ad7f27-2cc9-4259-98f2-3c597b9479d3" CreationDate="2012-09-19T04:07:53.330" UserId="6524" Text="Whether it's for sound effects recording or production sound mixing." ContentLicense="CC BY-SA 3.0" />
  <row Id="25466" PostHistoryTypeId="1" PostId="15433" RevisionGUID="16ad7f27-2cc9-4259-98f2-3c597b9479d3" CreationDate="2012-09-19T04:07:53.330" UserId="6524" Text="What kinds of adhesive tape are essential for a sound recordist and Why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25467" PostHistoryTypeId="3" PostId="15433" RevisionGUID="16ad7f27-2cc9-4259-98f2-3c597b9479d3" CreationDate="2012-09-19T04:07:53.330" UserId="6524" Text="&lt;gear&gt;&lt;production&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25468" PostHistoryTypeId="2" PostId="15434" RevisionGUID="293dc2c3-671b-4eed-a138-d7ad74e3f86c" CreationDate="2012-09-19T04:26:49.573" UserId="29" Text="- Paper spike tape. Not that sticky, good for sensitive surfaces.&#xD;&#xA;- Gaffer's tape. Stickier, the standard, gentle on most surfaces.&#xD;&#xA;- 3M Micropore tape. Excellent for lav placement.&#xD;&#xA;- Double-sided wig/toupee tape, for similar.&#xD;&#xA;- Self-adhesive Dr. Scholls moleskine, for buffering the edges of a lav from cloth rubbing when concealed.&#xD;&#xA;- Electrical tape, for its actual purpose (repairs). For heavy duty repairs I've moved on to Gorilla tape instead of duct tape...but be careful. That s#!$ does *not* come off.&#xD;&#xA;&#xD;&#xA;Sometimes I also use silicone tape, aka 100mph tape, if I need something waterproofed like XLR connections, especially whilst hydrophoning." ContentLicense="CC BY-SA 3.0" />
  <row Id="25469" PostHistoryTypeId="2" PostId="15435" RevisionGUID="676b309c-b2da-4ac9-abd1-1a051fa797e6" CreationDate="2012-09-19T04:42:26.600" UserId="670" Text="Hey all,&#xD;&#xA;&#xD;&#xA;So my friend is letting me borrow his FR-2LE for a shoot this week since my H4n is being repaired. I usually use my SD MixPre with my Zoom.&#xD;&#xA;&#xD;&#xA;I'll be getting it the day of the shoot so I really won't have time to test it out. Will I need to use the MixPre with the FR-2LE other than for a sine tone, or are the preamps of the Fostex good enough on their own? Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="25470" PostHistoryTypeId="1" PostId="15435" RevisionGUID="676b309c-b2da-4ac9-abd1-1a051fa797e6" CreationDate="2012-09-19T04:42:26.600" UserId="670" Text="Borrowing a Fostex FR-2LE" ContentLicense="CC BY-SA 3.0" />
  <row Id="25471" PostHistoryTypeId="3" PostId="15435" RevisionGUID="676b309c-b2da-4ac9-abd1-1a051fa797e6" CreationDate="2012-09-19T04:42:26.600" UserId="670" Text="&lt;fostex&gt;&lt;sound-devices&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25472" PostHistoryTypeId="2" PostId="15436" RevisionGUID="d421c252-0754-4001-8913-cd1f142d5b59" CreationDate="2012-09-19T06:00:44.647" UserId="1178" Text="Hello! I´m been trying to find some websites that sell used field recording gear apart from the obvious ebay etc. websites. I came across to to http://www.bblist.co.uk and i was wondering if there´s other similar websites that sell used professional field recording gear? Any recommendations? " ContentLicense="CC BY-SA 3.0" />
  <row Id="25473" PostHistoryTypeId="1" PostId="15436" RevisionGUID="d421c252-0754-4001-8913-cd1f142d5b59" CreationDate="2012-09-19T06:00:44.647" UserId="1178" Text="Best online website for hunting used field recording gear" ContentLicense="CC BY-SA 3.0" />
  <row Id="25474" PostHistoryTypeId="3" PostId="15436" RevisionGUID="d421c252-0754-4001-8913-cd1f142d5b59" CreationDate="2012-09-19T06:00:44.647" UserId="1178" Text="&lt;field&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25475" PostHistoryTypeId="2" PostId="15437" RevisionGUID="7e095dfc-7ef8-4860-8acd-33239cda9804" CreationDate="2012-09-19T06:29:13.167" UserId="3654" Text="Hi colleagues. &#xD;&#xA;&#xD;&#xA;I was asked from a client to repair an audio track from a recorded TV show (6 years ago).&#xD;&#xA;&#xD;&#xA;you can listen to a snippet, here: http://bit.ly/Qkvs5n&#xD;&#xA;&#xD;&#xA;I listened to it a i know, there is no chance to get this audio sounding good.&#xD;&#xA;self- sufficient i tried a bit in iZotopes RX2 to get something repaired, but in my eyes (ears) there´s no chance. The problem within this audiofiles is, that it doesn´t clip. There are some sort of massively distortions in the voice concerned the whole frequency range.&#xD;&#xA;And in my opinion, this file is, as it is.....&#xD;&#xA;&#xD;&#xA;But i think more ears an minds think and know things different. so, maybe i´ve overseen something and you have a good idea to repair this stuff.." ContentLicense="CC BY-SA 3.0" />
  <row Id="25476" PostHistoryTypeId="1" PostId="15437" RevisionGUID="7e095dfc-7ef8-4860-8acd-33239cda9804" CreationDate="2012-09-19T06:29:13.167" UserId="3654" Text=" Advanced Audio Restauration" ContentLicense="CC BY-SA 3.0" />
  <row Id="25477" PostHistoryTypeId="3" PostId="15437" RevisionGUID="7e095dfc-7ef8-4860-8acd-33239cda9804" CreationDate="2012-09-19T06:29:13.167" UserId="3654" Text="&lt;distortion&gt;&lt;repair&gt;&lt;izotope&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25478" PostHistoryTypeId="2" PostId="15438" RevisionGUID="1506457d-4753-4663-933b-42780ff54845" CreationDate="2012-09-19T08:01:20.553" UserId="221" Text="The Mix Pre preamps are much better than the preamps in the FR-2LE so I would use the line out from the Mix Pre into the Line input of the FR-2LE and work as normal." ContentLicense="CC BY-SA 3.0" />
  <row Id="25479" PostHistoryTypeId="2" PostId="15439" RevisionGUID="822b213b-3d68-46f2-af87-6498fd8d5864" CreationDate="2012-09-19T08:07:40.520" UserId="6432" Text="The preamps in the Fostex are pretty good but I'd definitely use your MixPre as they are better. Also you will have a much easier time adjusting levels on the MixPre." ContentLicense="CC BY-SA 3.0" />
  <row Id="25480" PostHistoryTypeId="2" PostId="15440" RevisionGUID="1a3d333b-c73a-40de-b4e5-f35b4464b695" CreationDate="2012-09-19T10:02:08.110" UserId="4244" Text="bblist is good but you often have to be quick..&#xD;&#xA;Here's a few I trawl through every so often.&#xD;&#xA;&#xD;&#xA;http://www.trewaudio.com/consignment/&#xD;&#xA;http://www.locationsound.com/proaudio/ls/used.html&#xD;&#xA;http://www.pro-sound.com/Merchant2/merchant.mvc?Screen=CTGY&amp;Store_Code=PSS&amp;Category_Code=U&#xD;&#xA;http://jwsoundgroup.net/index.php?/forum/23-want-to-buy-want-to-sell/&#xD;&#xA;&#xD;&#xA;All these sites are for production recordists but its the same gear anyway..&#xD;&#xA;&#xD;&#xA;Regards,&#xD;&#xA;Grant." ContentLicense="CC BY-SA 3.0" />
  <row Id="25481" PostHistoryTypeId="2" PostId="15441" RevisionGUID="13ea1c4f-b027-4f7e-a249-78aca428d815" CreationDate="2012-09-19T10:49:23.190" UserId="4245" Text="I’m looking for a single motorised fader for Protools.&#xD;&#xA;I am aware of Alphatrack and Faderport but I was hoping for something even simplier.&#xD;&#xA;Just one fader no pans or transport buttons etc.&#xD;&#xA;Does this product exist?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25482" PostHistoryTypeId="1" PostId="15441" RevisionGUID="13ea1c4f-b027-4f7e-a249-78aca428d815" CreationDate="2012-09-19T10:49:23.190" UserId="4245" Text="Motorised fader" ContentLicense="CC BY-SA 3.0" />
  <row Id="25483" PostHistoryTypeId="3" PostId="15441" RevisionGUID="13ea1c4f-b027-4f7e-a249-78aca428d815" CreationDate="2012-09-19T10:49:23.190" UserId="4245" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25485" PostHistoryTypeId="2" PostId="15442" RevisionGUID="5d380c32-1ded-459e-9e52-300e8fe36de5" CreationDate="2012-09-19T12:27:36.973" UserId="3754" Text="What are you using it for? As a stereo master controller, or for automation of a single channel?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25486" PostHistoryTypeId="2" PostId="15443" RevisionGUID="d0b564f2-9ff2-441f-9f4a-aec178b4934c" CreationDate="2012-09-19T12:55:12.180" UserId="194" Text="ebay has been good to me.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25487" PostHistoryTypeId="2" PostId="15444" RevisionGUID="f1f57f19-29f8-44ff-923e-4dc58fcbcd0a" CreationDate="2012-09-19T13:56:56.337" UserId="4251" Text="Automation of a single channel" ContentLicense="CC BY-SA 3.0" />
  <row Id="25488" PostHistoryTypeId="2" PostId="15445" RevisionGUID="b7c75121-33a9-48f3-9a97-0a22d3380496" CreationDate="2012-09-19T15:21:53.693" UserId="29" Text="Agreed with Mark and Mike on this. Two major gotchas to be aware of, in addition: &#xD;&#xA;&#xD;&#xA; 1. The headphone amp is NOY-ZAY. Far noisier than the actual recorded signal. Don't let that throw you.&#xD;&#xA; 2. The CF cards need to be uniquely formatted for either stereo or mono. Super weird but there ya go.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25489" PostHistoryTypeId="2" PostId="15446" RevisionGUID="e5360cb5-7c35-4ea3-b9c9-0f906863564f" CreationDate="2012-09-19T16:11:38.757" UserId="817" Text="Here are the tapes I most often use on set:&#xD;&#xA;&#xD;&#xA;1. Medical Transpore tape (same as micropore above)_works well for placing lavs on actors skin and clothes.&#xD;&#xA;2. Medical Cloth tape (white)_When transpore doesn't work and for concealing wires on or beneath white clothing.&#xD;&#xA;3. Waterproof medical tape (skin tone)_used occasionally for moist situations and for concealing wires on see-through clothing.&#xD;&#xA;4. Black Gaff tape (2 inch)_For various mounting purposes (try not to use on freshly painted sets; it will cause damage).&#xD;&#xA;5. Black Paper tape (2 inch)_Used sparingly when Gaff tape is too rough or when I need to temporarily mount things onto camera that won't need velcro.&#xD;&#xA;6. Blue painting tape (2 inch)_For placing carpets on floors and for mounting small objects on sensitive surfaces; just make sure it's not in the shot (light blue tape will shine on screen)&#xD;&#xA;&#xD;&#xA;I've used the silicone 100mph tape while working with a sound mixer from Holland (Antoin Cox; one of the best I've worked with) and it was amazing for quick fixes on damaged XLR cable. I haven't yet looked into buying some of my own. I haven't needed it, but I would love to have a few rolls just in case.&#xD;&#xA;&#xD;&#xA;Happy tape hunting,&#xD;&#xA;&#xD;&#xA;E. Santiago" ContentLicense="CC BY-SA 3.0" />
  <row Id="25490" PostHistoryTypeId="2" PostId="15447" RevisionGUID="0be45348-a541-4667-993f-2237a591999e" CreationDate="2012-09-19T16:52:04.617" UserId="817" Text="I forgot to mention, but I also have Dr. Scholl's moleskin for occasional uses as mentioned by NoiseJockey, but I don't use it often (maybe I should; he makes a great point with concealing lavs, particularly when placing a Sanken COS-11 in a tie). Another great tape mentioned is the double sided wig tape named &quot;Top Stick&quot;. I don't use it much, but it's always hanging around for situations where I need to conceal a wire within fabric while keeping the fabric from moving around. Sometimes you have to tape part of the actors wardrobe together within areas that will be on screen; Top Stick does a great job being virtually invisible to camera when placed underneath areas around or on a lavaliere mic placement.&#xD;&#xA;&#xD;&#xA;Have fun making sound for movies,&#xD;&#xA;&#xD;&#xA;E. Santiago " ContentLicense="CC BY-SA 3.0" />
  <row Id="25492" PostHistoryTypeId="5" PostId="15419" RevisionGUID="f54fb37c-615b-4cf9-a6a1-1b95c8d49fa5" CreationDate="2012-09-19T17:01:14.510" UserId="6432" Comment="grammar" Text="A couple of years ago I had the pleasure of watching *Encounters at the end of the world* at the cinema. The recordings of seals and other marine life in that film are really amazing, and an amazing experience in the cinema&#xD;&#xA;&#xD;&#xA;[youtube]OlrcbKlW4Tw[/youtube]&#xD;&#xA;&#xD;&#xA;Most of the sounds are like sawtooth LFOs - from high to low.&#xD;&#xA;&#xD;&#xA;In a sense though, many natural phenomena create LFO style patterns when graphed on a larger scale. If you think about an environment which contains birds and insects for example, they all fall into a natural rhythm as they try to be heard. This on-off pattern is like a complex interdependent pattern of square waves. &#xD;&#xA;&#xD;&#xA;And of course, if you graph the rise and fall of the sea you get the [original sine wave][1]:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/File:ComplexSinInATimeAxe.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="25493" PostHistoryTypeId="2" PostId="15449" RevisionGUID="0b1c093e-6a94-4e9a-85bb-26d0e4b654b2" CreationDate="2012-09-19T17:54:20.387" UserId="3933" Text="If you only want to control one channel I have heard good things about the Presonus FaderPort http://www.presonus.com/products/FaderPort &#xD;&#xA;&#xD;&#xA;I doubt you can get much simpler since it literally is one fader and a few other important and frequently used buttons.&#xD;&#xA;&#xD;&#xA;Never tried it myself but since its by Presonus I would trust it quality wise, I have never had anything in the past by them that I thought was below par." ContentLicense="CC BY-SA 3.0" />
  <row Id="25495" PostHistoryTypeId="2" PostId="15450" RevisionGUID="e7b42c94-ec4d-451e-89dc-ed764f152628" CreationDate="2012-09-19T17:59:45.023" UserId="3411" Text="+1 for the Faderport. Sounds like just what you need." ContentLicense="CC BY-SA 3.0" />
  <row Id="25496" PostHistoryTypeId="2" PostId="15451" RevisionGUID="0a5578ff-f614-4fd2-a263-b9da4742b823" CreationDate="2012-09-19T19:13:25.457" UserId="3141" Text="Though more oriented towards music, my favorite is [Tape Op][1], specifically the message board section for [selling/buying/trading gear][2].  In fact, in was in one of the Tape Op forums that I learned of Social Sound Design.  Also, free (or paid) subscriptions available.  Highly recommended and a great cross-pollination of ideas, skills, talent, and approach to sound. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tapeop.com/&#xD;&#xA;  [2]: http://messageboard.tapeop.com/viewforum.php?f=23&amp;sid=3037c966259d37a8ed078c2a018521a1" ContentLicense="CC BY-SA 3.0" />
  <row Id="25497" PostHistoryTypeId="5" PostId="15401" RevisionGUID="c5e3406e-f453-40c1-a428-bc8c955eec4e" CreationDate="2012-09-19T19:17:32.663" UserId="3141" Comment="corrected spelling of Burtt and added year to film" Text="1) Alien and Aliens - the breathing/hissing/drawing in of air in conjunction of the liquids running around and over mouth - also the organic folding/stretching heard when the eggs open.&#xD;&#xA;&#xD;&#xA;2) The Thing (1982) - especially the CPR scene when the chest opens up, arms are swallowed, and oh-my-lord... I am a small child watching it in the theater and the sound of the head detaching and crawling away...&#xD;&#xA;&#xD;&#xA;3) Many great examples above - notably from Pixar and/or Ben Burtt; Chewbacca and R2D2 a model (in the original trilogy) as the vocalizations sat perfectly in the dialogue mix and overall soundtrack.  Chewbacca seems to actually be making the sounds with his throat and mouth." ContentLicense="CC BY-SA 3.0" />
  <row Id="25499" PostHistoryTypeId="2" PostId="15453" RevisionGUID="a8b44b9d-3aad-4122-81a8-ea9d920cc201" CreationDate="2012-09-19T19:58:30.227" UserId="3176" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;I would like to know what's the best online resource for cell phone ring tones of pop music.  What I'm looking for are some &quot;cheap midi instrument 8 bit fony lame versions of pop songs&quot;...&#xD;&#xA;&#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="25500" PostHistoryTypeId="1" PostId="15453" RevisionGUID="a8b44b9d-3aad-4122-81a8-ea9d920cc201" CreationDate="2012-09-19T19:58:30.227" UserId="3176" Text="Cell phome ringtone midi instrument pop music" ContentLicense="CC BY-SA 3.0" />
  <row Id="25501" PostHistoryTypeId="3" PostId="15453" RevisionGUID="a8b44b9d-3aad-4122-81a8-ea9d920cc201" CreationDate="2012-09-19T19:58:30.227" UserId="3176" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25502" PostHistoryTypeId="2" PostId="15454" RevisionGUID="821d26a8-1da4-4e4b-b8b5-6a0554939d39" CreationDate="2012-09-19T20:25:42.937" UserId="362" Text="Also interested" ContentLicense="CC BY-SA 3.0" />
  <row Id="25503" PostHistoryTypeId="4" PostId="15453" RevisionGUID="574446c1-119d-4867-b9d6-ef8a5fdddaf4" CreationDate="2012-09-19T21:04:37.277" UserId="61" Comment="edited title" Text="Cell phone ringtone midi instrument pop music" ContentLicense="CC BY-SA 3.0" />
  <row Id="25504" PostHistoryTypeId="2" PostId="15455" RevisionGUID="d6a81c33-06c1-4a7b-b9ba-24f83deedd33" CreationDate="2012-09-20T08:55:34.563" UserId="348" Text="Hello,&#xD;&#xA;&#xD;&#xA;There is a shoot happening in an underground packing lot with a low cement ceiling and a cement floor as well as a low end hum that will be constant in the background. The genre is a crime drama where there is a lot of yelling and screaming. My fear as I have encountered this before is distortion and muddiness of the dialogue due to the acoustic environment. &#xD;&#xA;&#xD;&#xA;I have recommended a pad of about -15 to -20dB with a hyper-cardiod mic to record the close and medium shots with radio mics for the wide shots. &#xD;&#xA;&#xD;&#xA;What other recommendations might you have in relation to such a location? &#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;[IMG]http://i50.tinypic.com/2qnwl55.jpg[/IMG]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i50.tinypic.com/2qnwl55.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="25505" PostHistoryTypeId="1" PostId="15455" RevisionGUID="d6a81c33-06c1-4a7b-b9ba-24f83deedd33" CreationDate="2012-09-20T08:55:34.563" UserId="348" Text="Recording in an underground parking lot" ContentLicense="CC BY-SA 3.0" />
  <row Id="25506" PostHistoryTypeId="3" PostId="15455" RevisionGUID="d6a81c33-06c1-4a7b-b9ba-24f83deedd33" CreationDate="2012-09-20T08:55:34.563" UserId="348" Text="&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25507" PostHistoryTypeId="2" PostId="15456" RevisionGUID="600626e9-eb93-4f7c-8afa-43bde7d5e645" CreationDate="2012-09-20T09:46:46.827" UserId="348" Text="Ice Hockey tape is also an option. Cloth, sticky but leaves very little residue. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25508" PostHistoryTypeId="2" PostId="15457" RevisionGUID="eaf2ab52-4e7a-4f8a-afa8-d6de7e771c73" CreationDate="2012-09-20T11:55:47.447" UserId="863" Text="Eek... I think you've recommended everything thats possible. &#xD;&#xA;&#xD;&#xA;I would ask for a few takes of wild tracks of wide shots and grab an impulse response recording of the location incase you need to get the actors in for ADR.&#xD;&#xA;&#xD;&#xA;Other than that good luck! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25509" PostHistoryTypeId="2" PostId="15458" RevisionGUID="ff0fce57-6308-4412-94ca-e65f70cf4b8f" CreationDate="2012-09-20T12:23:41.437" UserId="4114" Text="It's a little easier than I thought. I've found lots of stuff on youtube." ContentLicense="CC BY-SA 3.0" />
  <row Id="25510" PostHistoryTypeId="2" PostId="15459" RevisionGUID="bd8faf8e-fbbb-4f10-b350-bec8b9df4775" CreationDate="2012-09-20T15:29:58.790" UserId="3346" Text="No, no stems. This audio is copied from the tv or whatever recording. The picture is as bad, as the audio. I extracted it from the quicktime. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25511" PostHistoryTypeId="2" PostId="15460" RevisionGUID="55e16762-aef3-42ae-ab5c-60540bab3da0" CreationDate="2012-09-20T21:10:53.597" UserId="6460" Text="1. Wild tracks&#xD;&#xA;2. Wild takes&#xD;&#xA;3. Recordings of dialog that are wild&#xD;&#xA;&#xD;&#xA;I really swear by them. You *can* get usable audio in a place like that, just not necessarily out of the camera frame. Radio mics are obviously an option, but the decay of the reverb in a lav mic never sounds as good as in the boom (in my opinion at least). Take a moment and chat with the script supervisor and/or whoever on set is paying attention to script (hopefully someone) and let them know that you will be counting on consistent line readings because your wide shot takes will not be useable. This will not only help your filmed takes but will also hopefully keep your wild lines more consistent in terms of performance. &#xD;&#xA;&#xD;&#xA;Also, capture the space in detail. Go around before or after shooting (or both) and record the natural sound sources. If there are noticeable sounds coming from the fans, buzzing lights, etc. then grab a nice, minute-long close recording of each. If you have to live with leakage from the background into your dialog — which, of course, you will — then having controlled, layered recordings of the atmosphere will help it blend and at least make the backgrounds sound purposeful. At the very least, the post guys/gals will appreciate it.&#xD;&#xA;&#xD;&#xA;For the scenes where loud sounds happen, you might even set up a stereo pair out in the lot to catch the natural decay. I usually carry my pcmd50 stereo recorder to have on hand in case I want to quickly set up a stereo capture, if time or helping hands turn out to be scarce. &#xD;&#xA;&#xD;&#xA;Nest of luck!&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25512" PostHistoryTypeId="2" PostId="15461" RevisionGUID="3f0ff57e-20de-4171-ae9b-e96e396b1fc2" CreationDate="2012-09-20T22:03:40.563" UserId="542" Text="I'd try to ask the crew, that they need to stay quiet when the shot is done, because otherwise they'll ruin the long reverb tail." ContentLicense="CC BY-SA 3.0" />
  <row Id="25513" PostHistoryTypeId="2" PostId="15462" RevisionGUID="4d691d5e-8c85-4323-ad32-63f4ff65e2fc" CreationDate="2012-09-20T23:57:55.787" UserId="3176" Text="Have you ever done that?&#xD;&#xA;&#xD;&#xA;I was just looking for a very quiet air ambience for exteriors and found myself trying some air conditioner and ventilation noises, mixed with a lot of discretion. Sincerely, I didn't find the result was bad." ContentLicense="CC BY-SA 3.0" />
  <row Id="25514" PostHistoryTypeId="1" PostId="15462" RevisionGUID="4d691d5e-8c85-4323-ad32-63f4ff65e2fc" CreationDate="2012-09-20T23:57:55.787" UserId="3176" Text="Interior room tone for exterior" ContentLicense="CC BY-SA 3.0" />
  <row Id="25515" PostHistoryTypeId="3" PostId="15462" RevisionGUID="4d691d5e-8c85-4323-ad32-63f4ff65e2fc" CreationDate="2012-09-20T23:57:55.787" UserId="3176" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25516" PostHistoryTypeId="2" PostId="15463" RevisionGUID="ae626d2c-94b6-4a10-bec6-766f681090b4" CreationDate="2012-09-21T00:19:37.293" UserId="3520" Text="I understand why you might think about going this direction, as a lot of &quot;winds&quot; in libraries are, more often than not, on the turbulent side.  I personally would recommend taking the time to &quot;tone down&quot; some of the harsher sounding winds, rather than using an interior air.  Mix them extremely low and cut together only the calmer breaths between the gusts.  To me, I feel like I would notice the &quot;boxiness&quot; of the air, more closed off and confined.  However, that being said, if it pleases your ears and, more importantly, the clients, then it would be hard to argue against your choices..." ContentLicense="CC BY-SA 3.0" />
  <row Id="25517" PostHistoryTypeId="2" PostId="15464" RevisionGUID="d21466a1-a240-481f-9f3e-76fe12ed2b8c" CreationDate="2012-09-21T01:44:54.580" UserId="194" Text="I often do this in reverse - where I'll use exterior ambiances on interior scenes (usually traffic). &#xD;&#xA;&#xD;&#xA;i think the tricky thing would be to find the right int texture that doesn't have any machinery going on (AC, Fridge etc) and doesn't give it away with reverberation." ContentLicense="CC BY-SA 3.0" />
  <row Id="25518" PostHistoryTypeId="5" PostId="15460" RevisionGUID="c40a49f2-e65e-47b9-bcaa-cfd609e9d370" CreationDate="2012-09-21T05:41:45.103" UserId="6460" Comment="Corrected typo" Text="1. Wild tracks&#xD;&#xA;2. Wild takes&#xD;&#xA;3. Recordings of dialog that are wild&#xD;&#xA;&#xD;&#xA;I really swear by them. You *can* get usable audio in a place like that, just not necessarily out of the camera frame. Radio mics are obviously an option, but the decay of the reverb in a lav mic never sounds as good as in the boom (in my opinion at least). Take a moment and chat with the script supervisor and/or whoever on set is paying attention to script (hopefully someone) and let them know that you will be counting on consistent line readings because your wide shot takes will not be useable. This will not only help your filmed takes but will also hopefully keep your wild lines more consistent in terms of performance. &#xD;&#xA;&#xD;&#xA;Also, capture the space in detail. Go around before or after shooting (or both) and record the natural sound sources. If there are noticeable sounds coming from the fans, buzzing lights, etc. then grab a nice, minute-long close recording of each. If you have to live with leakage from the background into your dialog — which, of course, you will — then having controlled, layered recordings of the atmosphere will help it blend and at least make the backgrounds sound purposeful. At the very least, the post guys/gals will appreciate it.&#xD;&#xA;&#xD;&#xA;For the scenes where loud sounds happen, you might even set up a stereo pair out in the lot to catch the natural decay. I usually carry my pcmd50 stereo recorder to have on hand in case I want to quickly set up a stereo capture, if time or helping hands turn out to be scarce. &#xD;&#xA;&#xD;&#xA;Best of luck!&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25519" PostHistoryTypeId="2" PostId="15465" RevisionGUID="178899c8-2ed7-4fc1-a30c-cb6829b44eea" CreationDate="2012-09-21T08:41:55.837" UserId="6432" Text="So acoustic dispersion is the phenomenon responsible for the classic Star Wars laser sound. An answer in [this][1] thread recently also linked to some great recordings of ice sheets which exhibit the same effect. I understand that the high frequencies reach the listener before the low frequencies, but I don't understand why this happens in some materials and not others?&#xD;&#xA;&#xD;&#xA;Can anyone explain the science behind this in layman's terms?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/15411/lfo-sounds-in-nature" ContentLicense="CC BY-SA 3.0" />
  <row Id="25520" PostHistoryTypeId="1" PostId="15465" RevisionGUID="178899c8-2ed7-4fc1-a30c-cb6829b44eea" CreationDate="2012-09-21T08:41:55.837" UserId="6432" Text="What's the science behind acoustic dispersion?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25521" PostHistoryTypeId="3" PostId="15465" RevisionGUID="178899c8-2ed7-4fc1-a30c-cb6829b44eea" CreationDate="2012-09-21T08:41:55.837" UserId="6432" Text="&lt;acoustics&gt;&lt;science&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25523" PostHistoryTypeId="5" PostId="15465" RevisionGUID="78dc0b3a-9a10-4fed-81ef-c1685d021df0" CreationDate="2012-09-21T13:20:07.667" UserId="6432" Comment="added 514 characters in body; edited tags" Text="So acoustic dispersion is the phenomenon responsible for the classic Star Wars laser sound. An answer in [this][1] thread recently also linked to some great recordings of ice sheets which exhibit the same effect. I understand that the high frequencies reach the listener before the low frequencies, but I don't understand why this happens in some materials and not others? &#xD;&#xA;&#xD;&#xA;Can anyone explain the science behind this in layman's terms?&#xD;&#xA;&#xD;&#xA;So I've been mulling over the [Wikipedia entry][2] and it seems like the key is to understand phase velocity. I've been looking at some [interesting java applets][3] which make some sense, but I'm having trouble connecting this to anything real - like what's actually happening in the material, or to think of it another way what's the process? How does it differ between different substances?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/15411/lfo-sounds-in-nature&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Acoustic_dispersion&#xD;&#xA;  [3]: http://www.falstad.com/dispersion/e-index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="25524" PostHistoryTypeId="6" PostId="15465" RevisionGUID="78dc0b3a-9a10-4fed-81ef-c1685d021df0" CreationDate="2012-09-21T13:20:07.667" UserId="6432" Comment="added 514 characters in body; edited tags" Text="&lt;acoustics&gt;&lt;science&gt;&lt;physics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25525" PostHistoryTypeId="2" PostId="15467" RevisionGUID="1f4f8df8-53f5-47a0-bff8-2ebaa99c3a38" CreationDate="2012-09-21T15:16:55.010" UserId="4254" Text="basically, get a U87 and a cheap condenser, make a 'hissing' S sound into each and record the results. you'll have your answer." ContentLicense="CC BY-SA 3.0" />
  <row Id="25526" PostHistoryTypeId="2" PostId="15468" RevisionGUID="7edebc2f-cb72-47b5-85ba-08665fad18d3" CreationDate="2012-09-21T19:07:02.683" UserId="4255" Text="pt Andersons Punch Drunk Love.&#xD;&#xA;&#xD;&#xA;And love this thread :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25527" PostHistoryTypeId="16" PostId="15468" RevisionGUID="7edebc2f-cb72-47b5-85ba-08665fad18d3" CreationDate="2012-09-21T19:07:02.683" UserId="-1" />
  <row Id="25528" PostHistoryTypeId="5" PostId="15468" RevisionGUID="84d284c6-b91a-4a9f-a81a-9014d0ab137f" CreationDate="2012-09-21T19:40:07.283" UserId="4255" Comment="Adding more" Text="pt Andersons Punch Drunk Love.&#xD;&#xA;&#xD;&#xA;And especially the first ten minutes of There Will Be Blood. Am I looking forward to the Master? Yes, I am.&#xD;&#xA;&#xD;&#xA;And love this thread :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25529" PostHistoryTypeId="2" PostId="15469" RevisionGUID="6436e2a7-c510-44ae-867e-816d2211a5e1" CreationDate="2012-09-21T21:25:34.453" UserId="6499" Text="Looking for a few tips on props to use to make the dry erase marker squeek sound.  Looking for something that projects volume a little more and is more controllable than an actual dry erase marker.  Any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25530" PostHistoryTypeId="1" PostId="15469" RevisionGUID="6436e2a7-c510-44ae-867e-816d2211a5e1" CreationDate="2012-09-21T21:25:34.453" UserId="6499" Text="Tips on making dry erase squeeks" ContentLicense="CC BY-SA 3.0" />
  <row Id="25531" PostHistoryTypeId="3" PostId="15469" RevisionGUID="6436e2a7-c510-44ae-867e-816d2211a5e1" CreationDate="2012-09-21T21:25:34.453" UserId="6499" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25532" PostHistoryTypeId="2" PostId="15470" RevisionGUID="c77bdd37-f9cc-4eb3-9d64-57c2573f436b" CreationDate="2012-09-22T00:03:32.313" UserId="3835" Text="I'm not sure what you could use to emulate that sound without actually recording it. If i was you i would close mic an eraser bring used then compress and level it to a louder volume. The only other thing i can suggest is to make a squeaky synth sound by resonating the top harmonics of a synth patch and using envelopes on a resonant filter to try and get close to the timbre of the real thing." ContentLicense="CC BY-SA 3.0" />
  <row Id="25533" PostHistoryTypeId="2" PostId="15471" RevisionGUID="8b8e5e1b-833e-44d3-88ed-4f2ee360f4dd" CreationDate="2012-09-22T00:52:58.233" UserId="6512" Text="Wow. First, yes, there's only so much you'll be able to do. I don't know of any quick ways of dealing with this, so if you're going to improve it any, it'll take a lot of time (as far as I know).&#xD;&#xA;&#xD;&#xA;I tried messing around with it in RX2 (basic). I wasn't able to get anything worthwhile with the main plugins either.&#xD;&#xA;&#xD;&#xA;Your biggest problem is basically with the sibilants (s, z, ß) and some 'f's. The rest of it isn't in great shape at all, but it appears to be listenable. As far as I know, you'll have to go about this on a consonant-by-consonant basis. To do that, I'd use EQ and gain reduction on each of them where needed. If you're using RX, the ability to edit spectrally can take care of some of the more annoying frequencies that stand out.&#xD;&#xA;&#xD;&#xA;Taking a look at what you gave, for example, the first &quot;f&quot; is pretty easy to improve a bit by using a lowpass filter on it at about 9kHz. I then trimmed its gain down by 6dB. &#xD;&#xA;&#xD;&#xA;The other consonants will take more work, though.&#xD;&#xA;&#xD;&#xA;Going about it like this won't get a result that is in any way perfect, but it would improve it.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25534" PostHistoryTypeId="2" PostId="15472" RevisionGUID="54e95d9e-4e26-4874-abdb-c424d8da9ed6" CreationDate="2012-09-22T04:51:49.157" UserId="3269" Text="Hello SSD! &#xD;&#xA;&#xD;&#xA;I've finished my first (complete) trailer done! A short one, but a current and cool one in my opinion. &#xD;&#xA;&#xD;&#xA;Here is the goods: http://youtu.be/q4f70CoJV64 &#xD;&#xA;&#xD;&#xA;Let me know what you think, I know I have a lot to learn but this is the first thing I've done that sounds remotely like a trailer, haha. &#xD;&#xA;&#xD;&#xA;The main issue I had was making things sound big without making the low end sound like it was rattling out of the trunk of a rusty honda civic, haha. So some tips on portraying scale in sound design could help out. &#xD;&#xA;&#xD;&#xA;Anyhow, thanks in advance! &#xD;&#xA;-James" ContentLicense="CC BY-SA 3.0" />
  <row Id="25535" PostHistoryTypeId="1" PostId="15472" RevisionGUID="54e95d9e-4e26-4874-abdb-c424d8da9ed6" CreationDate="2012-09-22T04:51:49.157" UserId="3269" Text="First trailer re-design. Critiques?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25536" PostHistoryTypeId="3" PostId="15472" RevisionGUID="54e95d9e-4e26-4874-abdb-c424d8da9ed6" CreationDate="2012-09-22T04:51:49.157" UserId="3269" Text="&lt;trailer&gt;&lt;game&gt;&lt;epic&gt;&lt;big&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25537" PostHistoryTypeId="2" PostId="15473" RevisionGUID="c4732d51-1d11-4c0c-8c63-0b6d6e6070cd" CreationDate="2012-09-22T06:16:06.197" UserId="270" Text="Quickly unrolling parcel tape is good for making electrical arcing/spark sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="25538" PostHistoryTypeId="2" PostId="15474" RevisionGUID="96d91946-e82d-41f2-aad6-3a3b1e17cc08" CreationDate="2012-09-22T07:28:17.640" UserId="3336" Text="I'd have to second the vote on 'Playtime' (Jacques Tati) this is totally awesome use of Foley which brings together the whole absurdity of the film perfectly. The opening airport scene is brilliant!  &#xD;&#xA;&#xD;&#xA;Without repeating anything suggested by anyone else, 'The Tree of Life' (Terrence Malick) and in particular the 30 minute evolution sequence. Demonstrates how beautiful imagery and sound can be so amazingly powerful." ContentLicense="CC BY-SA 3.0" />
  <row Id="25539" PostHistoryTypeId="16" PostId="15474" RevisionGUID="96d91946-e82d-41f2-aad6-3a3b1e17cc08" CreationDate="2012-09-22T07:28:17.640" UserId="-1" />
  <row Id="25540" PostHistoryTypeId="2" PostId="15475" RevisionGUID="11aca503-a066-4b76-bb1a-ce15f4e7641c" CreationDate="2012-09-22T13:16:20.923" UserId="270" Text="i have got similarish squeaky sounds by sliding my fingers over tiles and glass.  It probably isn't louder than a pen on a white board but could give you more control." ContentLicense="CC BY-SA 3.0" />
  <row Id="25541" PostHistoryTypeId="2" PostId="15476" RevisionGUID="28d66ccf-8214-49d8-aeac-42e7010f2918" CreationDate="2012-09-22T15:00:51.283" UserId="3754" Text="I haven't tried, but maybe make a piezo transducer, and tape it to the board, or a sheet of glass. Then tried tried fingers, pens, rubbers etc. The piezo might be a bit intense on it's own though." ContentLicense="CC BY-SA 3.0" />
  <row Id="25542" PostHistoryTypeId="2" PostId="15477" RevisionGUID="d03674b7-74c4-4e18-938c-30e4ffbb8ee5" CreationDate="2012-09-22T16:33:34.527" UserId="4256" Text="I have a few SM57's that I use at church.  Sometimes the cables &quot;wobble&quot; in the end of the mic and it shorts out. The cables that seem to do this came with a package deal through Behringer. My question is this:  Is there no industry standard in the diameter of the XLR connectors?  OR is it the SM57's that are the problem?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25543" PostHistoryTypeId="1" PostId="15477" RevisionGUID="d03674b7-74c4-4e18-938c-30e4ffbb8ee5" CreationDate="2012-09-22T16:33:34.527" UserId="4256" Text="XLR cables not a tight fit with SM57s" ContentLicense="CC BY-SA 3.0" />
  <row Id="25544" PostHistoryTypeId="3" PostId="15477" RevisionGUID="d03674b7-74c4-4e18-938c-30e4ffbb8ee5" CreationDate="2012-09-22T16:33:34.527" UserId="4256" Text="&lt;sm57&gt;&lt;xlr&gt;&lt;microphone&gt;&lt;cable+&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25545" PostHistoryTypeId="2" PostId="15478" RevisionGUID="03ca52a1-210f-4132-9020-4a517eaa24d2" CreationDate="2012-09-22T18:13:04.023" UserDisplayName="user80" Text="It might be the cables that are the problem, as all of the SM57s that I have ever used have never had this problem.  I recommend exchanging the cables for ones with neutrik connectors." ContentLicense="CC BY-SA 3.0" />
  <row Id="25546" PostHistoryTypeId="2" PostId="15479" RevisionGUID="d0f844d0-e942-4e73-bcf3-b5d2ab9530db" CreationDate="2012-09-22T18:15:39.823" UserDisplayName="user80" Text="Slightly damp chamois cloths on dry glass or mirrors can work quite well." ContentLicense="CC BY-SA 3.0" />
  <row Id="25547" PostHistoryTypeId="2" PostId="15480" RevisionGUID="86b77265-519d-4d6b-8753-e957734a6d34" CreationDate="2012-09-22T18:20:46.113" UserDisplayName="user80" Text="I would investigate the CEDAR Cambridge, you will never have a perfect track, but you will definitely be able to improve it.&#xD;&#xA;&#xD;&#xA;http://www.cedaraudio.com/products/cambridge/cedarcambridge_options.html&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25548" PostHistoryTypeId="2" PostId="15481" RevisionGUID="86dc0295-0e08-4988-a0a0-d01a6188a914" CreationDate="2012-09-22T18:23:51.647" UserId="6460" Text="Hey James,&#xD;&#xA;&#xD;&#xA;Cool stuff, the effects are organic and blend well with each other. I will say, though, that the trailer is extremely ambiguous... without the title of the game at the end I would have absolutely no idea what I was watching. So while one of my critiques was a lack of identity for the sound design, I realize that much of that is due to what's missing in the trailer itself. &#xD;&#xA;&#xD;&#xA;The action in the trailer is very up-close and in-your-face, and I think the effects you've designed would be better served without so much reverb. For this one I would think of reverb as a little mortar between the bricks, and allow only certain sounds to excite a reverb. The gunshots, for instance, sound very washed out and have little impact. Perhaps try varying the use of reverb with the use of delay. Delay can be a great way to add space without feeling like the sound is &quot;back in a room&quot;.  &#xD;&#xA;&#xD;&#xA;The whole idea of 'size' in sound comes in a few dimensions: volume, width of frequency range,  use of stereo/surround field, and number of reflections (delay and reverb), to name a few. An increase in any, or all, of the above will result in a feeling of larger size to your effects. You can't rely just on volume if you don't know what people are listening on, so when a sound is meant to sound 'larger' try filling out the frequency spectrum, spread it over the stereo field, and allow that sound to excite a space created from delay/reverb. &#xD;&#xA;&#xD;&#xA;Cool stuff, good luck!&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25549" PostHistoryTypeId="2" PostId="15482" RevisionGUID="c11ea2e8-7e86-4a10-9d74-09aab04f0fb1" CreationDate="2012-09-22T21:14:45.263" UserId="3654" Text="Hm.. thanks for your response. i think i have not the time and my client not the money to get rid of this....the client&#xD;&#xA;has to live with that quality....the whole article is about 5 minutes long, so it would last endlessly to recover this audio track." ContentLicense="CC BY-SA 3.0" />
  <row Id="25550" PostHistoryTypeId="2" PostId="15483" RevisionGUID="a4137855-8165-431f-9caa-3115b73a6ce8" CreationDate="2012-09-22T22:00:10.793" UserId="298" Text="Hi everyone&#xD;&#xA;&#xD;&#xA;Quick one:  &#xD;&#xA;We are shooting the film in tight room with hard walls, squeaky floor and 2-3 actors. Genre would be psycho-thriller with lots of tension and pressure in voice.&#xD;&#xA;I've got a limited selection of mics: Rode NTG2, Senn ME66, 416, and could possibly hire Senn MKH50 for special occasion.&#xD;&#xA;&#xD;&#xA;Seeing that ME66 is the only one Supercardioid mic from those three, could it be an option for the clear and crisp dialogue?&#xD;&#xA;How much I can win with MKH50 in this case if I decide to get it, compared to already available ME66?&#xD;&#xA;&#xD;&#xA;Much appreciated!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25551" PostHistoryTypeId="1" PostId="15483" RevisionGUID="a4137855-8165-431f-9caa-3115b73a6ce8" CreationDate="2012-09-22T22:00:10.793" UserId="298" Text="Mic choice for indoor dialogue" ContentLicense="CC BY-SA 3.0" />
  <row Id="25552" PostHistoryTypeId="3" PostId="15483" RevisionGUID="a4137855-8165-431f-9caa-3115b73a6ce8" CreationDate="2012-09-22T22:00:10.793" UserId="298" Text="&lt;microphone&gt;&lt;choice&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25553" PostHistoryTypeId="2" PostId="15484" RevisionGUID="c5a211b4-c024-40d0-ba0e-115222b9efab" CreationDate="2012-09-23T01:27:01.840" UserId="103" Text="I very much prefer the mkh50 over the me66, as i'm really not a big fan of the me66.&#xD;&#xA;&#xD;&#xA;The mkh50 is the one i always use for small interiors... Sounds really really really good, as long as you can keep the mic close enough to the actors.&#xD;&#xA;Also its much smaller physically wich really helps in tight locations.&#xD;&#xA;I also use it all the time for micing dialog in cars with a little help from [these guys][1].&#xD;&#xA;&#xD;&#xA;Also we use lav mics a lot, when the light on the set forces us to keep the mic to far, or if the set is to small to move the boom as necessary&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.pt/imgres?um=1&amp;hl=en&amp;sa=N&amp;biw=1440&amp;bih=710&amp;tbm=isch&amp;tbnid=KFPQ2JpwzVCuqM:&amp;imgrefurl=http://www.fisheraudiovisual.co.uk/Hire-it-Video-Cameras/c1_6/p316/Manfrotto-Magic-Arm/product_info.html&amp;docid=WrI6bbq353o8EM&amp;imgurl=http://www.fisheraudiovisual.co.uk/images/magic-arm3.jpg&amp;w=755&amp;h=500&amp;ei=L2VeUOP6CMrJhAe1iIDYBA&amp;zoom=1&amp;iact=hc&amp;vpx=416&amp;vpy=416&amp;dur=2275&amp;hovh=183&amp;hovw=276&amp;tx=207&amp;ty=159&amp;sig=104269309559850370539&amp;page=1&amp;tbnh=151&amp;tbnw=228&amp;start=0&amp;ndsp=18&amp;ved=1t:429,r:13,s:0,i:111" ContentLicense="CC BY-SA 3.0" />
  <row Id="25554" PostHistoryTypeId="2" PostId="15485" RevisionGUID="3c39f5be-b712-4fb4-9a00-5a0c56390cab" CreationDate="2012-09-23T03:57:10.653" UserId="6435" Text="I've had good luck with slightly wet paper towel wrapped around my finger, and rubbing a pane of glass." ContentLicense="CC BY-SA 3.0" />
  <row Id="25555" PostHistoryTypeId="2" PostId="15486" RevisionGUID="89d21fcf-f5ff-4e78-ad29-4b5a6787cde9" CreationDate="2012-09-23T06:06:36.547" UserId="6532" Text="Hi&#xD;&#xA;&#xD;&#xA;I've always wonder how to create those dense reverbs that you often hear in big cities. The classic example are sirens, car honks, or train whistles really far away. Whenever I listen to recordings that have these distant sounds baked in, they always have a very distinct reverb. But I can't for the life of me recreate these verbs with artificial reverb (e.g. to make a dry car horn seem far away). I assume there are IRs for that, but has anybody ever tried recreating them with &quot;conventional&quot; reverb? What's the trick?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25556" PostHistoryTypeId="1" PostId="15486" RevisionGUID="89d21fcf-f5ff-4e78-ad29-4b5a6787cde9" CreationDate="2012-09-23T06:06:36.547" UserId="6532" Text="Reverbs for Urban Exteriors" ContentLicense="CC BY-SA 3.0" />
  <row Id="25557" PostHistoryTypeId="3" PostId="15486" RevisionGUID="89d21fcf-f5ff-4e78-ad29-4b5a6787cde9" CreationDate="2012-09-23T06:06:36.547" UserId="6532" Text="&lt;reverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25558" PostHistoryTypeId="2" PostId="15487" RevisionGUID="cd031830-6a88-4c31-b017-cdcf174c61f0" CreationDate="2012-09-23T08:35:54.137" UserId="6499" Text="Joes sticky stuff is great.&#xD;&#xA;&#xD;&#xA;I have taken a liking to a tape used in the sports medicine field known as kinesiotape, I use that as a substitute for moleskin.  Also an item which is not tape but kind of goes hand in hand with concealing lavs is antistatic spray.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;+1 to what everyone else has said, they are all in my kit plus my above mentioned.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25563" PostHistoryTypeId="2" PostId="15489" RevisionGUID="11530081-b0ff-4ec5-a202-0383ffce198e" CreationDate="2012-09-23T13:31:41.973" UserId="1049" Text="It's not just about laying on a load of reverb, you ideally need to EQ and level the various sounds in your soundscape too. The further away something is, the more of the top end you need to remove, 'muffling' the sounds. In addition to playing around with tweaking 'concrete' or 'city' -style reverb presets, try experimenting with a few sounds in your 'environment', filtering off more of the higher frequencies the further away you want that effect to sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="25564" PostHistoryTypeId="5" PostId="15489" RevisionGUID="4f930913-6c84-4398-b472-a7b02f158e0a" CreationDate="2012-09-23T13:43:24.867" UserId="1049" Comment="added 275 characters in body" Text="It's not just about laying on a load of reverb, you ideally need to EQ and level the various sounds in your soundscape too. The further away something is, the more of the top end you need to remove, 'muffling' the sounds. In addition to playing around with tweaking 'concrete' or 'city' -style reverb presets, try experimenting with a few sounds in your 'environment', filtering off more of the higher frequencies the further away you want that effect to sound.&#xD;&#xA;&#xD;&#xA;Edit: Also consider trying out some (multi)delay. In a downtown urban environment there are the many hard reflective surfaces of buildings for sound to bounce around between. Don't go overboard with it, but done right and the result should sound quite natural. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25565" PostHistoryTypeId="2" PostId="15490" RevisionGUID="1cf0dffb-b1c0-4ac3-9c52-0b23afb7d597" CreationDate="2012-09-23T14:05:05.727" UserId="1216" Text="Hi, I've recently recorded 10 different dry erase pens and had great succes with a close mic'ed mkh50 into a RME Fireface UC. Mic was about 10 cm away from the board which was cheap. Be very quiet (breathing and movement) and take care to keep the distance steady for all recordings. You don't have to do exactly what I did,  experiment with the distance and find what works best for you. And practice some gestures before the recording, it helps getting into the sound and character.&#xD;&#xA;&#xD;&#xA;Oh and I recorded for almost 2 hours with a short break, be prepared to edit a lot of material if you need more than 10 seconds of pen squeeks.&#xD;&#xA;&#xD;&#xA;I'll upload a sample in a bit, so you can listen to it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25566" PostHistoryTypeId="2" PostId="15491" RevisionGUID="e103bf2f-21d5-4ef7-9cc1-406a172a426f" CreationDate="2012-09-23T19:12:48.437" UserId="4258" Text="After recently watching I Am Legend again and listening to the sound design of the opening scene with the Shelby GT driving through the urban landscape, I too wanted to recreate this distinct urban reverb. I'm no expert, but after experimenting with some presets in Adobe Soundbooth (now called Adobe Audition), there is a reverb preset called &quot;Endless Tunnel&quot;.&#xD;&#xA;&#xD;&#xA;The reverb image that this preset creates is amazing and really reminds me of that scene from I Am Legend. I guess this preset resembles the reverb from the film so much since the infinitely long streets of New York are almost like endless tunnels (of which this reverb preset attempts to recreate). Try and play around with some presets that try to resemble long tunnels or large but narrow spaces.&#xD;&#xA;&#xD;&#xA;Anyway, just my two cents. I hope this will help you in some way." ContentLicense="CC BY-SA 3.0" />
  <row Id="25567" PostHistoryTypeId="2" PostId="15492" RevisionGUID="5be0d779-c13a-4cf8-992a-7f68a57a3150" CreationDate="2012-09-23T20:18:25.070" UserId="1216" Text="Ok, I know this is a question I alone can answer, but I have to admit I'm kind of at a loss.&#xD;&#xA;&#xD;&#xA;The issue: I've been 'on the market' for about a year trying to decide on a 4 track recorder in the professional range. Whether it be, Sound devices, Zaxcom or, yes, Sonosax.&#xD;&#xA;I'll mainly be using it to record SFX and ambiences and videoshoots (mostly DSLR). I already own a nice selection of mic's and a SQN4 mixer and Sony PCM-D50.&#xD;&#xA; &#xD;&#xA;Now I know that there is a golden rule, and I've said it heremyself: 'only buy gear when you think you will make money with it and can justify the expenses made'. Well, right now I'm at a certain point, that I can't really decide anymore. Here's why:&#xD;&#xA;&#xD;&#xA;1. I have the money and I've been looking around so long I can dream about the thing!&#xD;&#xA;2. There's no one paying me, at the moment, that will justify the expense.&#xD;&#xA;3. It's second hand, in great shape and really affordable/ it's a bargain!&#xD;&#xA;   (The introduction of the SD664/Zaxcom Max, drops second hand prices, considerably.)&#xD;&#xA;4. I love the unit and it's features, but it's not 'new and up to date'.&#xD;&#xA;5. There is a financial crisis and I'm honestly not sure how long it will take..&#xD;&#xA;   (But it hasn't yet affected my income in any way).&#xD;&#xA;6. I am going to China for a month and want a solid recorder to record the &#xD;&#xA;evolution of the chinese soundscape, whilst traveling.&#xD;&#xA;&#xD;&#xA;At the very moment of writing this, I *feel* that I will definitely make up for the cost. I've bought gear before and never have I've been wrong, so maybe I should just go for it. But still... for the first time, something's itching...&#xD;&#xA;&#xD;&#xA;So, suprise me, tell me the things I don't want to hear. If after that I still want to buy, it's really my decision and possibly my mistake. Devil's advocate, show yourself.&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25568" PostHistoryTypeId="1" PostId="15492" RevisionGUID="5be0d779-c13a-4cf8-992a-7f68a57a3150" CreationDate="2012-09-23T20:18:25.070" UserId="1216" Text="Buying gear (yeah i know, we've been here before...) Or Sonosax SX-R4" ContentLicense="CC BY-SA 3.0" />
  <row Id="25569" PostHistoryTypeId="3" PostId="15492" RevisionGUID="5be0d779-c13a-4cf8-992a-7f68a57a3150" CreationDate="2012-09-23T20:18:25.070" UserId="1216" Text="&lt;gear&gt;&lt;field-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25570" PostHistoryTypeId="2" PostId="15493" RevisionGUID="928f1e47-3ed4-4112-908e-f3743dcabdf0" CreationDate="2012-09-23T20:48:19.910" UserId="6411" Text="&quot;Golden&quot; rules aside, a philosophy that I try to abide by when it comes to purchases (both business and personal) is I can buy something after I have saved 3x the amount I'm looking to spend. This not only guarantees that I'm not spending money I don't have, but allows me the time to comparison shop and make informed decisions about my purchases. You say you have the money and have done your research, so much so that you've found an excellent buying opportunity. Sounds like a point in the &quot;Buy&quot; column.&#xD;&#xA;&#xD;&#xA;&quot;New and improved&quot; doesn't always mean &quot;better and practically useful&quot;. If the unit serves the purposes that you're looking to fill, it's the right tool for the job. If there's another model that has features that would be nice, but in practical application would be lost on you, then it's not worth the extra coin. If you love the unit and the features, it sounds like another tally in the &quot;Buy&quot; column.&#xD;&#xA;&#xD;&#xA;Recouping costs doesn't always have to happen in the billing department. If you purchase this for your China trip and find it's not everything you've been having dreams about, sell it when you get home. I doubt the resale on this used bargain would be impacted heavily over the duration of your trip, unless it becomes severely damaged. This way you satiate your desire to work with the gear, familiarize yourself with it in a practical application, achieve the goal of recording your trip and still have the chance to make an informed decision about recouping your costs. Shoot, if you love the thing and can't bare to part with it after your trip, I'm certain that a decent set of AMB recordings from China could be a good seller.&#xD;&#xA;&#xD;&#xA;I guess I'm not really good at being the Devil's advocate." ContentLicense="CC BY-SA 3.0" />
  <row Id="25571" PostHistoryTypeId="2" PostId="15494" RevisionGUID="8feaa858-efe4-41f1-baee-d908bc5c0289" CreationDate="2012-09-23T21:48:45.283" UserDisplayName="user80" Text="Use multitap delays rather than reverbs. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25572" PostHistoryTypeId="2" PostId="15495" RevisionGUID="1a4e89c9-bd80-47fb-a192-af55f922e707" CreationDate="2012-09-23T23:51:14.440" UserId="3426" Text="There's a preset on the TC Electronic System 6000 Reverb, which you often see on big dub stages, called &quot;Big City.&quot; It is a pretty long reverb mixed with multi-delays. It's also on the VSS3 plug-in. That would be a good one to analyze. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25573" PostHistoryTypeId="2" PostId="15496" RevisionGUID="36d6cb04-1007-4403-a58d-510f38d571b9" CreationDate="2012-09-24T00:18:45.063" UserId="4259" Text="I'm really just starting out in the world of Sound Design and I'm having a blast so far. I worked on a web series (for free, of course) and it turned out to be quite demanding as far as sound goes. I captured/mixed the dialogue and recorded most of the material I used for sound effects. The music was stock. I just did my first paid work, and I want to keep going. Is this most likely going to be a soul-crushing experience, or does it just get better? Where are you on the road to sound nirvana? Here's a [link][1] to one of the episodes I worked on. Thanks for the inspiration (also helpful feedback).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=ShwIWW4g3ck&amp;feature=plcp" ContentLicense="CC BY-SA 3.0" />
  <row Id="25574" PostHistoryTypeId="1" PostId="15496" RevisionGUID="36d6cb04-1007-4403-a58d-510f38d571b9" CreationDate="2012-09-24T00:18:45.063" UserId="4259" Text="Does it stay this fun?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25575" PostHistoryTypeId="3" PostId="15496" RevisionGUID="36d6cb04-1007-4403-a58d-510f38d571b9" CreationDate="2012-09-24T00:18:45.063" UserId="4259" Text="&lt;business&gt;&lt;career&gt;&lt;reel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25576" PostHistoryTypeId="2" PostId="15497" RevisionGUID="bf5709bc-e1ef-4a04-91a0-9f98ebbd925e" CreationDate="2012-09-24T05:28:25.563" UserId="3196" Text="okay..may b this is not the right place to put this question since this a discussion forum.. but i am in need of a small help . i need a house lizard's sound asap ..can anyone help me out in this matter please?  i have tried searching free sfx sites but couldnt get it.." ContentLicense="CC BY-SA 3.0" />
  <row Id="25577" PostHistoryTypeId="1" PostId="15497" RevisionGUID="bf5709bc-e1ef-4a04-91a0-9f98ebbd925e" CreationDate="2012-09-24T05:28:25.563" UserId="3196" Text="House Lizard's SFX" ContentLicense="CC BY-SA 3.0" />
  <row Id="25578" PostHistoryTypeId="3" PostId="15497" RevisionGUID="bf5709bc-e1ef-4a04-91a0-9f98ebbd925e" CreationDate="2012-09-24T05:28:25.563" UserId="3196" Text="&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25579" PostHistoryTypeId="2" PostId="15498" RevisionGUID="e19286a5-badd-4d7b-b271-4a40956a8fa2" CreationDate="2012-09-24T08:11:22.097" UserId="61" Text="Reed, welcome to SSD. Glad to hear that you're having fun so far! Here's the good news: You're just getting started.&#xD;&#xA;&#xD;&#xA;If your journey is anything like what most of us have experienced, you will have your share of ups and downs and will most likely question why in the world you didn't take that job at your father's hardware store. But persevere through those bad times, set your sights high and jump to the next rung when you have the opportunity. &#xD;&#xA;&#xD;&#xA;Having clear goals is key; without them and you could end up mired in the same old job you started in, always longing for that big break that just never comes. And when that door opens to your goal, don't hesitate. Go for it, and tell everyone why you are doing it. They will (hopefully) respect you for it, encourage you and send you along with best wishes, leaving you with strong bridges in your wake rather than burning ones. Remember, the &quot;sound design&quot; community tends to be very small and word travels fast, whether good or bad.&#xD;&#xA;&#xD;&#xA;Best wishes for your career!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25580" PostHistoryTypeId="2" PostId="15499" RevisionGUID="50ff0c0e-c3e3-4de8-b6db-279fb471df08" CreationDate="2012-09-24T08:14:38.543" UserId="61" Text="You need to experiment with Altiverb (from Audio Ease). The exterior IRs were created for this very purpose and often you will get stellar result just from the presets. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25581" PostHistoryTypeId="2" PostId="15500" RevisionGUID="6c536cf9-5eaa-4d68-9c47-6e3007d03ce4" CreationDate="2012-09-24T10:19:36.677" UserId="4261" Text="Hi first post here :)&#xD;&#xA;&#xD;&#xA;I made the sound, music for a short film (a stereo 48k mix).&#xD;&#xA;The film had no dialogue. I noticed though in the screenings (2 film fetsivals) that the stereo image was almost gone.&#xD;&#xA;So i am wondering if this is a problem with the format it was delivered (thus stereo) or if there was some encoding-decoding to something different from the festival that messed with the soundtrack.&#xD;&#xA;&#xD;&#xA;cheers&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Greg &#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25582" PostHistoryTypeId="1" PostId="15500" RevisionGUID="6c536cf9-5eaa-4d68-9c47-6e3007d03ce4" CreationDate="2012-09-24T10:19:36.677" UserId="4261" Text="stereo sound in a movie theater " ContentLicense="CC BY-SA 3.0" />
  <row Id="25583" PostHistoryTypeId="3" PostId="15500" RevisionGUID="6c536cf9-5eaa-4d68-9c47-6e3007d03ce4" CreationDate="2012-09-24T10:19:36.677" UserId="4261" Text="&lt;film-sound-design&gt;&lt;stereo-imaging&gt;&lt;movies&gt;&lt;theater&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25584" PostHistoryTypeId="2" PostId="15501" RevisionGUID="d0dfb26f-bdb2-417f-9535-c3ab47251c76" CreationDate="2012-09-24T10:40:50.593" UserId="1216" Text="Hi greg!&#xD;&#xA;&#xD;&#xA;Most festival/venues i've been to, tend to mess up (stereo) soundtracks. Not sure if this is the case ofcourse. Did you hear phasing issues or was it just monophonic? Where did you mix your short? Most of the time is has to do with the setup (i've seen very old speakers and cheap mixers in the projection room) or the dolby matrix 'compatibility' of your soundtrack.&#xD;&#xA;Did you do a soundcheck? I've been doing this everytime and saved the soundtrack multiple times from an unholy monophonic meltdown. &#xD;&#xA;&#xD;&#xA;Also try and search a bit more in SSD, this has been discussed before, so there's a lot of information already here.&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="25588" PostHistoryTypeId="2" PostId="15503" RevisionGUID="edb681af-04da-41e8-8cab-767bbe02e949" CreationDate="2012-09-24T13:11:57.197" UserId="527" Text="This one is for the production sound guys.  What techniques are you using to capture dialogue for NYC (or any big city) exteriors?  I am a post guy and I am constantly faced with indie productions that have awful exterior dialogue. Combine that with an ADR budget of zero and a short deadline and I end up a film that is not up to par.  Even with a top notch, well equipped studio with every noise reduction tool you can think of, the dialogue is simply too noisy. &#xD;&#xA;&#xD;&#xA;So how are the bigger productions doing it?  I am definitely seeing NYC exteriors that are not  ADR'ed.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25589" PostHistoryTypeId="1" PostId="15503" RevisionGUID="edb681af-04da-41e8-8cab-767bbe02e949" CreationDate="2012-09-24T13:11:57.197" UserId="527" Text="New York City Dialogue?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25590" PostHistoryTypeId="3" PostId="15503" RevisionGUID="edb681af-04da-41e8-8cab-767bbe02e949" CreationDate="2012-09-24T13:11:57.197" UserId="527" Text="&lt;city&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25591" PostHistoryTypeId="2" PostId="15504" RevisionGUID="1cdd4e98-d69f-4e3e-92cf-13207144c3b3" CreationDate="2012-09-24T14:02:22.017" UserId="6432" Text="I remember finding a great set of videos a while ago which broke down a scene from Apocalypse Now into the relevant stems (music, dialog, foley etc). &#xD;&#xA;&#xD;&#xA;It was a great educational resource but I can't seem to find it. Anyone know if it's still online somewhere?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25592" PostHistoryTypeId="1" PostId="15504" RevisionGUID="1cdd4e98-d69f-4e3e-92cf-13207144c3b3" CreationDate="2012-09-24T14:02:22.017" UserId="6432" Text="Where can I find the Apocalypse Now stem videos" ContentLicense="CC BY-SA 3.0" />
  <row Id="25593" PostHistoryTypeId="3" PostId="15504" RevisionGUID="1cdd4e98-d69f-4e3e-92cf-13207144c3b3" CreationDate="2012-09-24T14:02:22.017" UserId="6432" Text="&lt;murch&gt;&lt;stems&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25595" PostHistoryTypeId="2" PostId="15505" RevisionGUID="8e066a0c-7427-4df3-b40e-bff0fcff0f31" CreationDate="2012-09-24T14:21:22.460" UserId="542" Text="There you go:&#xD;&#xA;&#xD;&#xA;http://transom.org/?page_id=7006&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25596" PostHistoryTypeId="5" PostId="15492" RevisionGUID="40be35e9-84d5-408c-80a0-23372a482cfb" CreationDate="2012-09-24T17:12:04.097" UserId="1216" Comment="added 53 characters in body" Text="Ok, I know this is a question I alone can answer, but I have to admit I'm kind of at a loss.&#xD;&#xA;&#xD;&#xA;The issue: I've been 'on the market' for about a year trying to decide on a 4 track recorder in the professional range. Whether it be, Sound devices, Zaxcom or, yes, Sonosax.&#xD;&#xA;I'll mainly be using it to record SFX and ambiences and videoshoots (mostly DSLR). I already own a nice selection of mic's and a SQN4 mixer and Sony PCM-D50.&#xD;&#xA; &#xD;&#xA;Now I know that there is a golden rule, and I've said it heremyself: 'only buy gear when you think you will make money with it and can justify the expenses made'. Well, right now I'm at a certain point, that I can't really decide anymore. Here's why:&#xD;&#xA;&#xD;&#xA;1. I have the money and I've been looking around so long I can dream about the thing!&#xD;&#xA;2. There's no one paying me, at the moment, that will justify the expense.&#xD;&#xA;3. It's second hand, in great shape and really affordable/ it's a bargain!&#xD;&#xA;   (The introduction of the SD664/Zaxcom Max, drops second hand prices, considerably.)&#xD;&#xA;4. I love the unit and it's features, but it's not 'new and up to date'.&#xD;&#xA;5. There is a financial crisis and I'm honestly not sure how long it will take..&#xD;&#xA;   (But it hasn't yet affected my income in any way).&#xD;&#xA;6. I am going to China for a month and want a solid recorder to record the &#xD;&#xA;evolution of the chinese soundscape, whilst traveling.&#xD;&#xA;&#xD;&#xA;At the very moment of writing this, I *feel* that I will definitely make up for the cost. I've bought gear before and never have I've been wrong, so maybe I should just go for it. But still... for the first time, something's itching...&#xD;&#xA;&#xD;&#xA;So, suprise me, tell me the things I don't want to hear. If after that I still want to buy, it's really my decision and possibly my mistake. Devil's advocate, show yourself.&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;EDIT: Decided to buy, very happy, sounds amazing!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25597" PostHistoryTypeId="5" PostId="15490" RevisionGUID="073061c4-a4de-4619-9286-c8e93802251e" CreationDate="2012-09-24T17:24:18.463" UserId="1216" Comment="updated with a link" Text="Hi, I've recently recorded 10 different dry erase pens and had great succes with a close mic'ed mkh50 into a RME Fireface UC. Mic was about 10 cm away from the board which was cheap. Be very quiet (breathing and movement) and take care to keep the distance steady for all recordings. You don't have to do exactly what I did,  experiment with the distance and find what works best for you. And practice some gestures before the recording, it helps getting into the sound and character.&#xD;&#xA;&#xD;&#xA;Oh and I recorded for almost 2 hours with a short break, be prepared to edit a lot of material if you need more than 10 seconds of pen squeeks.&#xD;&#xA;&#xD;&#xA;I'll upload a sample in a bit, so you can listen to it.&#xD;&#xA;&#xD;&#xA;here's the link:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/de-auditieve-dienst/dry-erase-markers&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25598" PostHistoryTypeId="2" PostId="15506" RevisionGUID="60f5e52c-fb3a-403d-97f2-11b09af89558" CreationDate="2012-09-24T17:52:22.033" UserId="6748" Text="Hi Greg&#xD;&#xA;&#xD;&#xA;Stereo sound like we know from music was never used in cinema. There are lots of article if you search in books or google, I can explain you the main facts: In the past, the first audio format was mono with one speaker in the middle of the screen. This format is still the most important channel if you imagine the situation of a cinema. Wherever you sit in a cinema, you will hear the things from screen 'out' of the screen. So 'stereo' as we know from music is not recommendable in cinemas: it's always focused on hard left or hard right. Imagine if you sit left, you only hear the things from left very present and it's not coming out of the screen. This is weird and irritating, so this format makes no sense in the cinema. Later, if the format extended into multichanels, the centerchanel still is the most important channel from all.&#xD;&#xA;The next format was Dolby Stereo with 4 channels: Center, Left, Right And Surround and was used a long time until the digital format brought more and more channels. But the situation always stay's the same: the sound should come out where the action is, and this is from the screen and should be as realistic as possible. I tell this as a 'surround guy' (see https://www.soundeffects.ch/) Surround is great but should never take the action from the screen, except you really want it. Otherwise it's bad.&#xD;&#xA;So if you make a soundtrack for the big screen, it's better to mix it Mono or do it in Dolby Stereo than 'Music-Stereo'.&#xD;&#xA;&#xD;&#xA;best&#xD;&#xA;Guido" ContentLicense="CC BY-SA 3.0" />
  <row Id="25599" PostHistoryTypeId="2" PostId="15507" RevisionGUID="170cb255-2594-4763-9fb7-4f900ea5cf9b" CreationDate="2012-09-24T21:11:34.227" UserId="103" Text="I work mostly in lisbon, and whenever we're recording on very busy areas we have a few police agents stopping the traffic. That, as you can imagine, helps an insanely awful lot...&#xD;&#xA;&#xD;&#xA;If we can't stop traffic, we'll switch to our long shotgun mics, the mkh70, and negociate the shots with the director and DP.&#xD;&#xA;We'll many times mic the actors if we can't &quot;get the boom in there&quot;. &#xD;&#xA;&#xD;&#xA;Also actors who can project their voices helps immensely. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25600" PostHistoryTypeId="2" PostId="15508" RevisionGUID="31c5c187-a137-4829-a565-76a31d44ed3d" CreationDate="2012-09-24T22:00:09.767" UserId="4263" Text="I started using Pro Co Ameriquad cable for mic for karaoke singing...I found the difference in the cable I used earlier ones and this one..The difference is clarity, no noise, and excellent and clear sound...I dont have any problem with this..company says ' use or abuse' we will exchange free...I saw a price of $26.75 for 10 foot cable and was browsing for lower price...Zzsounds.com had it for same price $26.75.. when I wanted to place order next day on Amazon.com, I saw the price at $44.95, when went back to Zzsounds.com saw the same $26.75 still on...instead of a patch cord, I ordered 2 of this 10 foot for mic to pre-amp and pre-amp to sound mixer. I do find a quality difference! Instead of going for 3 or 4 times cheaper ones, lets go for 1 cable which would serve us long time.." ContentLicense="CC BY-SA 3.0" />
  <row Id="25601" PostHistoryTypeId="2" PostId="15509" RevisionGUID="583a2565-b656-4656-84f8-2f834f7489fa" CreationDate="2012-09-24T22:14:34.177" UserId="18160" Text="I'm putting together a portable production sound mixing rig and I was looking at the possibility of using 192 I/Os with a laptop, and I can't find anywhere where they sell that little Avid HD Native Thunderbolt box shown here:&#xD;&#xA;&#xD;&#xA;http://www.vintageking.com/Avid-Pro-Tools-HD-Native-Thunderbolt-Bundles?utm_source=North+Amercian+LIst&amp;utm_campaign=c742265832-Avid_AAX_Video8_15_2012&amp;utm_medium=email&#xD;&#xA;&#xD;&#xA;All I need is that little box! Does anyone know where I can find it by itself without it being bundled with an HD I/O or some other package?&#xD;&#xA;&#xD;&#xA;Thanks in advance," ContentLicense="CC BY-SA 3.0" />
  <row Id="25602" PostHistoryTypeId="1" PostId="15509" RevisionGUID="583a2565-b656-4656-84f8-2f834f7489fa" CreationDate="2012-09-24T22:14:34.177" UserId="18160" Text="HD Native Thunderbolt Box sold separately?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25603" PostHistoryTypeId="3" PostId="15509" RevisionGUID="583a2565-b656-4656-84f8-2f834f7489fa" CreationDate="2012-09-24T22:14:34.177" UserId="18160" Text="&lt;pro&gt;&lt;tools&gt;&lt;avid&gt;&lt;hd&gt;&lt;native&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25604" PostHistoryTypeId="2" PostId="15510" RevisionGUID="56c9ec09-c28d-4996-89cd-d86466d0b88c" CreationDate="2012-09-24T23:43:30.233" UserId="3994" Text="In my experience in presentation and film festivals, essentially we prologic any stereo content. Stereo in a cinema is bad because the stereo phantom centre will move depending on where you're sitting, so the tradeoff is made so centre information like dialogue is always actually coming from the centre." ContentLicense="CC BY-SA 3.0" />
  <row Id="25605" PostHistoryTypeId="2" PostId="15511" RevisionGUID="bb96f81d-b6f8-4d6e-867d-ffd268e7ad25" CreationDate="2012-09-25T04:29:19.403" UserId="6411" Text="My favorite kind is the one that reaches sufficiently from point A to point B and all the pins on one end are the same as the other." ContentLicense="CC BY-SA 3.0" />
  <row Id="25606" PostHistoryTypeId="2" PostId="15512" RevisionGUID="f47049a1-223a-4053-a6ee-138974a0c724" CreationDate="2012-09-25T06:47:42.190" UserId="7642" Text="Good cables are the ones that don't fail, don't get curled and are nice to handle without making you all dirty.&#xD;&#xA;Testing with very long cables on a cable drum or coiled up could possibly be a problem as inductance might be caused.&#xD;&#xA;&#xD;&#xA;Otherwise I trust Paul Frindle, SSL analog console designer (E,G types), Sony Oxford designer, Sonnox plugins original designer. I'll find his quote later but essentially a wire is a wire, even with extremely long runs nothing but interference (depends on shielding and cable run design) and a VERY slight HF rolloff can occur. the cable lengths to make that HF roll off to be of importance is almost rediculous. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25607" PostHistoryTypeId="5" PostId="15492" RevisionGUID="537c91a3-f855-4a53-86a1-48544cf65dda" CreationDate="2012-09-25T13:01:09.290" UserId="1216" Comment="minor edits on description" Text="Ok, I know this is a question I alone can answer, but I have to admit I'm kind of at a loss.&#xD;&#xA;&#xD;&#xA;The issue: I've been 'on the market' for about a year trying to decide on a 4 track recorder in the professional range. Whether it be, Sound devices, Zaxcom or, yes, Sonosax.&#xD;&#xA;I'll mainly be using it to record SFX and ambiences and videoshoots (mostly DSLR). I already own a nice selection of mic's and a SQN4 mixer and Sony PCM-D50.&#xD;&#xA; &#xD;&#xA;Now I know that there is a golden rule, and I've said it heremyself: 'only buy gear when you think you will make money with it and can justify the expenses made'. Well, right now I'm at a certain point, that I can't really decide anymore. Here's why:&#xD;&#xA;&#xD;&#xA;1. I have the money and I've been looking around so long I can dream about the thing!&#xD;&#xA;2. There's no one paying me, at the moment, that will justify the expense.&#xD;&#xA;3. It's second hand, in great shape and affordable, it's a good price!&#xD;&#xA;   (The introduction of the SD664/Zaxcom Max, drops second hand prices.)&#xD;&#xA;4. I love the unit and it's features, but it's not 'new and up to date'.&#xD;&#xA;5. There is a financial crisis and I'm honestly not sure how long it will take..&#xD;&#xA;   (But it hasn't yet affected my income in any way).&#xD;&#xA;6. I am going to China for a month and want a solid recorder to record the &#xD;&#xA;evolution of the chinese soundscape, whilst traveling.&#xD;&#xA;&#xD;&#xA;At the very moment of writing this, I *feel* that I will definitely make up for the cost. I've bought gear before and never have I've been wrong, so maybe I should just go for it. But still... for the first time, something's itching...&#xD;&#xA;&#xD;&#xA;So, suprise me, tell me the things I don't want to hear. If after that I still want to buy, it's really my decision and possibly my mistake. Devil's advocate, show yourself.&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;EDIT: Decided to buy, very happy, sounds amazing!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25608" PostHistoryTypeId="2" PostId="15513" RevisionGUID="f1c22067-7b3b-41f1-a284-72a044746f1d" CreationDate="2012-09-25T17:08:11.963" UserId="4266" Text="I'm thinking more of starting with a source, any source really, and altering it so drastically as to not be recognizable as that source, say processing through Max or Kyma.  Is it legitimate to then turn around and sell these &quot;new&quot; sounds as a library?  Does anyone know the legal aspects of doing this?  Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="25609" PostHistoryTypeId="1" PostId="15513" RevisionGUID="f1c22067-7b3b-41f1-a284-72a044746f1d" CreationDate="2012-09-25T17:08:11.963" UserId="4266" Text="Is it viable to sell a custom sfx library of sources you didn't record?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25610" PostHistoryTypeId="3" PostId="15513" RevisionGUID="f1c22067-7b3b-41f1-a284-72a044746f1d" CreationDate="2012-09-25T17:08:11.963" UserId="4266" Text="&lt;sfx&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25611" PostHistoryTypeId="2" PostId="15514" RevisionGUID="7232576e-a64a-442b-9d31-558caaacb79d" CreationDate="2012-09-25T17:15:59.953" UserId="432" Text="No. This would come under the heading of selling &quot;derivatives,&quot; which most licenses specify that you may not do. If you want to sell sound effects, they have to be ones that you own the distribution rights to...from source to finish.&#xD;&#xA;&#xD;&#xA;This doesn't preclude you from hiring someone to record or generate some source material for you, but it would have to be in the hiring contract that you then own the rights to all of the source recordings." ContentLicense="CC BY-SA 3.0" />
  <row Id="25612" PostHistoryTypeId="2" PostId="15515" RevisionGUID="3ee6e2ea-1ff9-4913-a1c6-1b23b3df5301" CreationDate="2012-09-25T18:46:09.010" UserId="2502" Text="Growing up making sample based music, electronic music and now as a sound designer with a sfx library in the market as well, I've always believed that if you are going to process a borrowed source to the extent of being unrecognizable, why not just create it originally?  The purpose of borrowing, sampling a source would be to utilize a characteristic of the source. If it's truly processed past that point then why did you use it?&#xD;&#xA;&#xD;&#xA;If you can only get the result desired by using the borrowed source, then the source retains it's characteristic deemed unique to it." ContentLicense="CC BY-SA 3.0" />
  <row Id="25613" PostHistoryTypeId="5" PostId="15515" RevisionGUID="6b4b6e02-5bc5-4354-84ed-ac239ec9f297" CreationDate="2012-09-25T18:59:35.723" UserId="2502" Comment="deleted 125 characters in body" Text="I've always believed that if you are going to process a borrowed source to the extent of being unrecognizable, why not just create it originally?  The purpose of borrowing, sampling a source would be to utilize a characteristic of the source. If it's truly processed past that point then why did you use it?&#xD;&#xA;&#xD;&#xA;If you can only get the result desired by using the borrowed source, then the source retains it's characteristic deemed unique to it." ContentLicense="CC BY-SA 3.0" />
  <row Id="25614" PostHistoryTypeId="2" PostId="15516" RevisionGUID="f060bd3e-15a5-4fa9-91d2-5d5dd54b982a" CreationDate="2012-09-25T19:02:54.973" UserId="817" Text="Arnoud,&#xD;&#xA;&#xD;&#xA;I'm to understand that you purchased the Sonosax SX-R4? If so, just make sure you have a fully charged battery in your R4, as well as an external battery supply with fully charged batteries before you start your day;  and bring backup batteries. The R-4 is a great machine with a great sound and wonderful features, but if your batteries die while recording, the R-4 tends to re-set user settings back to factory default settings. &#xD;&#xA;&#xD;&#xA;Last year I worked on a feature with a production sound mixer that used the R-4 recorder for splinter unit and ambient recording sessions. Twice During recording the batteries died and after placing a new battery in the machine the R-4 re-started with default settings and we had a mess of a time trying to reset the machine fast enough to keep up with production. No fault to our sound mixer. We were working in sub zero freezing conditions and the batteries were just very cold and running through very fast.&#xD;&#xA;&#xD;&#xA;So just make sure your machine has a fully charged on board (internal) battery as well as a fully charged external. The external will be your main power source while your on board will allow the machine to run as you replace your drained external with your backup. And if you can, try to keep your backup batteries warm if you're working in freezing weather. I now try to keep my backup batteries in my coat next to my body while working in the cold.&#xD;&#xA;&#xD;&#xA;Congratulations on your new machine! And have fun making sound for movies,&#xD;&#xA;&#xD;&#xA;E. Santiago" ContentLicense="CC BY-SA 3.0" />
  <row Id="25615" PostHistoryTypeId="2" PostId="15517" RevisionGUID="5a5fe3db-348d-45b2-944e-0dcbbe9dc36d" CreationDate="2012-09-25T21:06:02.587" UserId="817" Text="@jacob,&#xD;&#xA;&#xD;&#xA;I just found this (http://vmeter.net/). Not motorized, but very interesting, and inexpensive.&#xD;&#xA;&#xD;&#xA;Have fun making sound for movies,&#xD;&#xA;&#xD;&#xA;E. Santiago" ContentLicense="CC BY-SA 3.0" />
  <row Id="25616" PostHistoryTypeId="2" PostId="15518" RevisionGUID="2146e90f-2b5f-47ae-a5d1-3eb14f7b97d7" CreationDate="2012-09-26T12:29:17.030" UserId="1237" Text="It was mentioned above, but here is the video from Cloverfield:&#xD;&#xA;&#xD;&#xA;[youtube]gRzjSsXw9PU[/youtube]&#xD;&#xA;&#xD;&#xA;Great and scary!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25617" PostHistoryTypeId="5" PostId="15518" RevisionGUID="fe4aa8f9-6de2-4893-b437-c64ca83015cb" CreationDate="2012-09-26T12:37:00.630" UserId="1237" Comment="added 83 characters in body; added 3 characters in body; added 14 characters in body" Text="It was mentioned above, but here are the videos from Cloverfield:&#xD;&#xA;&#xD;&#xA;[youtube]gRzjSsXw9PU[/youtube]&#xD;&#xA;&#xD;&#xA;[youtube]6esR4uGEFCc[/youtube]&#xD;&#xA;&#xD;&#xA;second video 01:23&#xD;&#xA;&#xD;&#xA;I remember how I was squashed in a theater at that moment." ContentLicense="CC BY-SA 3.0" />
  <row Id="25618" PostHistoryTypeId="2" PostId="15519" RevisionGUID="f45583d6-0c5d-47d1-beeb-03ceea9ee044" CreationDate="2012-09-26T15:56:09.263" UserId="4267" Text="&#xD;&#xA;Go to http://hitlist.sourceaudio.com/&#xD;&#xA;&#xD;&#xA;The splits/stems for these tracks are available, so customization and editing is a snap!&#xD;&#xA;&#xD;&#xA;:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25619" PostHistoryTypeId="2" PostId="15520" RevisionGUID="a59e956f-7ac2-4893-9f16-8a119f16844a" CreationDate="2012-09-26T16:29:35.460" UserId="3784" Text="Dry skin against the grain on a wood floor may achieve an over the top squeak with more control" ContentLicense="CC BY-SA 3.0" />
  <row Id="25620" PostHistoryTypeId="2" PostId="15521" RevisionGUID="58b112b4-a66a-4537-a4e8-265f4db568ae" CreationDate="2012-09-26T17:46:34.290" UserId="270" Text="Although Ben Burtt may be the greatest sound designer in History, I never really liked the sound of Wall-E's voice as much as everyone else seems to, i much preferred the sound of Eve.&#xD;&#xA;&#xD;&#xA;By far my favourite monster vocals are from Jurassic Park, which i think were created by Gary Rydstrom.  They are really believable to me and scary (at least they were scary when i watched it for the 1st time as a 10 year old).&#xD;&#xA;&#xD;&#xA;The T Rex sounds humongous and powerful, and the velociraptors sound articulate, dangerous, and sometimes bizarre!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25621" PostHistoryTypeId="2" PostId="15522" RevisionGUID="beaf29ad-3d0f-4464-af60-ea913d94124b" CreationDate="2012-09-26T19:20:36.740" UserId="1228" Text="- Create the sound file, bounced as a loopable file with no printed silence on the front or back&#xD;&#xA;&#xD;&#xA;- In iTunes tag it as &quot;Part Of A Gapless Album&quot; under Options for the file itself&#xD;&#xA;&#xD;&#xA;- Create a new playlist&#xD;&#xA;&#xD;&#xA;- Add this file to the playlist or maybe a few repeated entries of it for a good measure&#xD;&#xA;&#xD;&#xA;- On the iPod playback, go to the new Playlist, hit Play (on the top of the playlist, not the files in the playlist)&#xD;&#xA;&#xD;&#xA;- Once it starts playing, select the loop icon.  This should loop your playlist continuously, and by indicating it's gapless, the playback should be seamless." ContentLicense="CC BY-SA 3.0" />
  <row Id="25622" PostHistoryTypeId="2" PostId="15523" RevisionGUID="7511c392-7abd-413a-9d15-8cc639971408" CreationDate="2012-09-26T20:19:57.763" UserId="2674" Text="Yes. I have used my AT-825 in the Rode Blimp and it worked great for recording outdoor ambience. As I recall it was a bit of a squeeze to snap into the included hoops but the mic did fit. I did remove the short through-handle mono xlr cable as it is useless with the 825. Ideally you'd run a short stereo 5-pin XLR in its place. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25623" PostHistoryTypeId="2" PostId="15524" RevisionGUID="84d9d173-accc-4a22-aa9c-1b0ee802d087" CreationDate="2012-09-26T22:26:56.007" UserId="18160" Text="What type of sound?&#xD;&#xA;&#xD;&#xA;Vocalizations? Footsteps? Tongue lick?&#xD;&#xA;&#xD;&#xA;If I were you, I would just make the vocalization myself and do some leaf-finger-footsteps, and get a wet rubber band for some tongue-swinging action." ContentLicense="CC BY-SA 3.0" />
  <row Id="25624" PostHistoryTypeId="2" PostId="15525" RevisionGUID="0b3e721a-6a04-4ad3-9c97-7edb16e9cbaf" CreationDate="2012-09-26T22:43:08.407" UserId="103" Text="Try rubbing your theeth with your finger, after you brushed them with a thick toothpaste." ContentLicense="CC BY-SA 3.0" />
  <row Id="25625" PostHistoryTypeId="5" PostId="15498" RevisionGUID="2e5f72d3-28ef-4939-bd3b-85690e7ff6b6" CreationDate="2012-09-27T07:52:42.730" UserId="61" Comment="added 5 characters in body" Text="Reed, welcome to SSD. Glad to hear that you're having fun so far! Here's the good news: It only gets better.&#xD;&#xA;&#xD;&#xA;If your journey is anything like what most of us have experienced, you will have your share of ups and downs and will most likely question why in the world you didn't take that job at your father's hardware store. But persevere through those bad times, set your sights high and jump to the next rung when presented with the opportunity. &#xD;&#xA;&#xD;&#xA;Having clear goals is paramount; without them and you could end up mired in the same old job you started in, always longing for that big break that never comes. And when the door opens to your goal, **don't hesitate**. Go for it, and tell everyone why you're going for it. They will (hopefully) respect you for it, encourage you and send you along with best wishes, leaving you with strong bridges in your wake rather than burning ones. Remember, the &quot;sound design&quot; community tends to be very small and word travels fast, whether good or bad.&#xD;&#xA;&#xD;&#xA;Best wishes for your career!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25626" PostHistoryTypeId="2" PostId="15526" RevisionGUID="a3614126-7804-4c88-a516-acacc862985c" CreationDate="2012-09-27T10:22:35.873" UserId="3587" Text="Any ideas on how to get that classic rubbery stretch sound that is popular in cartoons? &#xD;&#xA;I tried a lot of different props, even tried using som screetching and creaking, but it's not working very well. Are there any specific props that are great for getting stretch sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25627" PostHistoryTypeId="1" PostId="15526" RevisionGUID="a3614126-7804-4c88-a516-acacc862985c" CreationDate="2012-09-27T10:22:35.873" UserId="3587" Text="Cartoony stretch sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="25628" PostHistoryTypeId="3" PostId="15526" RevisionGUID="a3614126-7804-4c88-a516-acacc862985c" CreationDate="2012-09-27T10:22:35.873" UserId="3587" Text="&lt;cartoon&gt;&lt;foley&gt;&lt;recording&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25629" PostHistoryTypeId="2" PostId="15527" RevisionGUID="09f1f0fe-2adc-4693-83e4-7e31e386b026" CreationDate="2012-09-27T11:24:12.263" UserId="6420" Text="Tried rubber gloves?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25630" PostHistoryTypeId="2" PostId="15528" RevisionGUID="90c75c57-cfa4-43d4-9a2e-5ed1dfb8ebdf" CreationDate="2012-09-27T11:44:38.693" UserId="1049" Text="Start off with slowly run a (damp) finger along a deflated balloon.&#xD;&#xA;&#xD;&#xA;Then record unrolling a large roll of parcel tape. &#xD;&#xA;&#xD;&#xA;Fiddle with the pitch of each sound, EQ them, put them together, and you should have something good, or at least good for a basis." ContentLicense="CC BY-SA 3.0" />
  <row Id="25631" PostHistoryTypeId="2" PostId="15529" RevisionGUID="b42218b1-9046-431b-a69d-e5478ddec57a" CreationDate="2012-09-27T15:33:51.977" UserId="3183" Text="Empty water tank from the water cooler, the big one. &#xD;&#xA;Roll it on floor while hold a mic above it, squeeze your finger against it and rub." ContentLicense="CC BY-SA 3.0" />
  <row Id="25632" PostHistoryTypeId="2" PostId="15530" RevisionGUID="86243987-6e15-4dad-bc5d-0b167f8990bd" CreationDate="2012-09-27T18:08:37.093" UserId="4269" Text="Hello&#xD;&#xA;&#xD;&#xA;I don't have an answer for your question, but am also interested audio programming.  I am a musician and software developer with over 20 years of experience in software development.  While I don't have a degree in audio production, I have an avid interest in it and have dabbled in it ever since I started playing guitar back in the 70's.  I am also versed in current audio production technologies.&#xD;&#xA;&#xD;&#xA;Having said all that, I am interested in learning how to develop audio processing software or even game audio development.  I would be grateful to anyone who could point me in the right direction.  What I am looking for is specific information related to the development of audio software (DSP, VST, etc).  I don't need information or courses in programming and software development as I am well versed in those areas.&#xD;&#xA;&#xD;&#xA;Actually, audio programming for games sounds very interesting to me.  I am not an artist so developing graphics is not my thing.  I am all about the audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="25633" PostHistoryTypeId="2" PostId="15531" RevisionGUID="d3a54514-2235-4104-8c96-82bf2764e3da" CreationDate="2012-09-28T02:24:30.370" UserId="455" Text="Although I don't think the sound matched the character, I was really intrigued and excited by the content that made up the sound of the smoke monster from LOST.  The first time hearing it's call while it moved through the trees in the distance made my imagination explode with questions and theories about what could possibly be making that sound.  &#xD;&#xA;&#xD;&#xA;However, I'm going to agree with @FFRmusic that the best Alien sound is the tripod sound from War of The Worlds.  It really plays with the primal instinct of survival- scary animal sound that evolves into an almost calming, musical tone that for a moment is comforting until it ends in a way that lets us know &quot;No, this isn't music, and it's not something of this world.  It's nothing we've heard before but it sounds huge and dangerous.&quot;  Even after the first time hearing it and knowing what made the sound, my perception was and continues to be manipulated from comfort to fear.  Well done Mr. King and team." ContentLicense="CC BY-SA 3.0" />
  <row Id="25634" PostHistoryTypeId="2" PostId="15532" RevisionGUID="7ae8be98-f428-45d1-a055-89f5eeb499bb" CreationDate="2012-09-28T05:27:47.823" UserId="455" Text="Buy a few different sizes of markers/ felt tip pens and let them dry out for a few days.  The drier, more solid tips (using a white board) should create more friction = louder sound.  This makes sense in my head, not sure if would work or not." ContentLicense="CC BY-SA 3.0" />
  <row Id="25635" PostHistoryTypeId="2" PostId="15533" RevisionGUID="9611c144-3edd-4295-9b5a-014e570f9828" CreationDate="2012-09-28T10:26:01.990" UserId="3299" Text="I'm new to a gig editing radio documentary. This means a lot of the content is recorded with people who aren't used to having a mic sitting in front of them, and ultimately leads to fillers such as um, eh, y'know...&#xD;&#xA;&#xD;&#xA;Often it's easy to remove the ones that are isolated from other words by a pause, but I'm continually being asked to remove instances that are 'tied' vocally to the words around it. e.g Iehwas at the shop... &#xD;&#xA;&#xD;&#xA;I find the mouth shape used during these verbal strings make it really difficult to convincingly separate the words, and this results in unhappy clients. &#xD;&#xA;&#xD;&#xA;The biggest issue is when trying to make a convincing sounding start of a sentence from something that wasn't originally a start. The dynamic change sounds unnatural. Gaining it down only works some of the time. And the start is often too sharp to use a crossfade without it fading up on the word noticeably.&#xD;&#xA;&#xD;&#xA;I haven't the experience argue the case to the client, so I was hoping an experienced hand would have some tips or advice? &#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="25636" PostHistoryTypeId="1" PostId="15533" RevisionGUID="9611c144-3edd-4295-9b5a-014e570f9828" CreationDate="2012-09-28T10:26:01.990" UserId="3299" Text="Dealing with Fillers" ContentLicense="CC BY-SA 3.0" />
  <row Id="25637" PostHistoryTypeId="3" PostId="15533" RevisionGUID="9611c144-3edd-4295-9b5a-014e570f9828" CreationDate="2012-09-28T10:26:01.990" UserId="3299" Text="&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25638" PostHistoryTypeId="2" PostId="15534" RevisionGUID="4b678d27-868f-497a-8f2b-1026d50e741e" CreationDate="2012-09-28T12:03:23.420" UserId="3754" Text="As far as I'm aware, if the words are slurred into each other, it's very difficult to split naturally. You could find another similar ending and splice it to finish your word, but it could feel very unnatural. Surely excessive editing will lose the authenticity of the doc?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25640" PostHistoryTypeId="2" PostId="15536" RevisionGUID="9822d943-7f06-4370-9c0f-b95b2043e420" CreationDate="2012-09-28T16:37:19.097" UserId="6435" Text="Another trick is to look for similar beginnings/endings of words elsewhere in the piece. If you can steal the top of &quot;was&quot; from some other time the subject says it, that might help fix the I-eh-was issue more than trying to get a virtual razor in where the &quot;eh&quot; slides into the &quot;w&quot; badly.&#xD;&#xA;&#xD;&#xA;You can also disguise edits by cutting in the middle of a word rather than at the beginning or end. If you cut within a word on a hard clicky consonant like a t or a k, or on a sibilant, you can mask a great deal of cutting." ContentLicense="CC BY-SA 3.0" />
  <row Id="25641" PostHistoryTypeId="2" PostId="15537" RevisionGUID="7ebe88b4-3926-457d-9b42-63514c48155b" CreationDate="2012-09-28T17:46:28.980" UserId="432" Text="As far as the kinds of &quot;audio gymnastics&quot; your client is talking about, they are definitely possible. They are something I do regularly. There's no easy way to learn it though, and few &quot;rules&quot; that will apply in all situations. *[Previous mentions of cutting in the middle of words and on plosives or other hard consonants are useful examples. Cutting after the breath, instead of before, is another one.]* It's really more about the approach and the thought process. It's an exercise in puzzle solving, and capability is something that only really comes with experience. It's nearly impossible to define what steps would be effective without hearing the exact offending situation and what you have available in the rest of the subject's audio.&#xD;&#xA;&#xD;&#xA;There are any number of tricks that can be used, but they're all context dependent. A lot of them can get very granular...i.e. building a new phoneme from two or more different intonations through the use of cross-fades (which is probably something you should try based on what you've mentioned), pitch mapping to alter intonation, etc.&#xD;&#xA;&#xD;&#xA;Struggle through it to the best of your ability. You'll definitely learn a few things (even if you're not conscious of it). The issue isn't if the gymnastics are humanly possible...they are. The issue is whether or not they're humanly possible, **for you**, within your deadline." ContentLicense="CC BY-SA 3.0" />
  <row Id="25642" PostHistoryTypeId="2" PostId="15538" RevisionGUID="6a3ca2ad-de1d-47e9-b8ed-8dfb63c357a6" CreationDate="2012-09-28T19:22:59.523" UserId="4141" Text="I am designing sound for a game in which the player deals with fireflies on the game board. I realize that real fireflies don't make sound, but does anyone have any suggestions for how to create a &quot;hum&quot; or such that would suit? Thanks " ContentLicense="CC BY-SA 3.0" />
  <row Id="25643" PostHistoryTypeId="1" PostId="15538" RevisionGUID="6a3ca2ad-de1d-47e9-b8ed-8dfb63c357a6" CreationDate="2012-09-28T19:22:59.523" UserId="4141" Text="Firefly sound (stylized) " ContentLicense="CC BY-SA 3.0" />
  <row Id="25644" PostHistoryTypeId="3" PostId="15538" RevisionGUID="6a3ca2ad-de1d-47e9-b8ed-8dfb63c357a6" CreationDate="2012-09-28T19:22:59.523" UserId="4141" Text="&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25645" PostHistoryTypeId="2" PostId="15539" RevisionGUID="ecadc3f9-fc9f-4808-8f26-536d55b78c86" CreationDate="2012-09-28T23:52:21.410" UserId="4272" Text="Coincidentally, I'd asked a similar question of one of my teachers - in particular I'd wanted to do the sound of wings.  His suggestion: load some/any sounds into kontakt, loop a portion, play em high and add square wave LFOs to volume or pitch, control the LFO freq with pitch bend. You might want an envelope on volume with a 1.5 sec release&#xD;&#xA;&#xD;&#xA;Worked pretty well for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="25646" PostHistoryTypeId="2" PostId="15540" RevisionGUID="801e2c60-df6b-4dc4-b24e-d9ce4a38b5c4" CreationDate="2012-09-28T23:56:19.413" UserId="4272" Text="Working on some creature sound design for a griffin - head of a bird, body of a lion.  Just trying to capture the sound of its growl/roar.  Trying to come up with something growly and menacing like a lion but it needs to sound like it's coming from a beak and should therefore sound quite different from a real lion.  Any suggestions?  I'm coming up blank.  Also wishing I had Kyma so I could use the Tau editor for this." ContentLicense="CC BY-SA 3.0" />
  <row Id="25647" PostHistoryTypeId="1" PostId="15540" RevisionGUID="801e2c60-df6b-4dc4-b24e-d9ce4a38b5c4" CreationDate="2012-09-28T23:56:19.413" UserId="4272" Text="Creature Sound Design - Griffin" ContentLicense="CC BY-SA 3.0" />
  <row Id="25648" PostHistoryTypeId="3" PostId="15540" RevisionGUID="801e2c60-df6b-4dc4-b24e-d9ce4a38b5c4" CreationDate="2012-09-28T23:56:19.413" UserId="4272" Text="&lt;creature-vocalizations&gt;&lt;fantasy&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25649" PostHistoryTypeId="2" PostId="15541" RevisionGUID="946fb81f-d5a9-45c3-a747-e05622847639" CreationDate="2012-09-29T01:44:04.083" UserId="6460" Text="An idea for the wings:&#xD;&#xA;&#xD;&#xA;Try grabbing a pair of gloves (any kind will do as long as they make noise when you flap them). Put them together palm-to-palm and grib the wrist part in your hands. Record yourself shaking the fingers back and forth rapidly. This is a fairly well-used technique for the sound of bird wings, if it sounds familiar...&#xD;&#xA;&#xD;&#xA;Take these recordings and pitch them up (a lot) until they have more of a buzzing sound. You'll need to set your pitch shifter so that as the pitch goes higher, the duration becomes shorter—for instance, in the pro tools pitch shifter plugin you would disable 'Time Correction'. I tried this trick as a part of a guerilla sound design challenge (had to make the wings of a fairy) and the result was very cool. It still had the feeling of individual wings but the speed of the buzz of an insect.&#xD;&#xA;&#xD;&#xA;Just my $.02. Enjoy!&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25650" PostHistoryTypeId="2" PostId="15542" RevisionGUID="0f080928-102f-4c66-a03e-1cdd7e1cb0f2" CreationDate="2012-09-29T08:58:18.257" UserId="6432" Text="We have a pretty intrinsic understanding that vocal sounds are produced from the upper half of most creatures - lungs, larynx, throat and that the size and shape of these physically affect the sound. I think it might be difficult to connect the sound and image together with the sound being predominantly from a lion. Maybe try starting with some bird sounds like Eagle screeches and see if it gels better? That's not to say that you can't put some lion in there somewhere, but perhaps it will combine better in the lower registers. You can also try pitch shifting them into similar frequency ranges and vocoding them together. Another trick is to use a bit of IR reverb to glue the sounds together - you can use impulses of very small spaces to model the creatures throat. Sometimes I use two together, one with a heavy lowpass filter to cover the sounds emanating from the body of the creature and one clean for the sound from it's mouth... or whatever it's got!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25651" PostHistoryTypeId="2" PostId="15543" RevisionGUID="397e75f6-f888-4a8e-9528-58083d3c2303" CreationDate="2012-09-29T13:07:56.277" UserId="6454" Text="In addition to what was said about larger productions utilizing security/police to deal with traffic control and having a location scout pick spots that are appropriate for the story AND the production...one of the biggest attributes to a production mixer is a talented boom op.  It is sadly a thankless job that many films would suffer greatly if they didn't exist.  Many people who are boom ops aspire to be mixers or even non-sound crew, but there are a few who are passionate about booming.  It is a tough gig, both physically (try holding your arms straight up for hours at a time at 4am in the pouring rain :-) and mentally (you need to stay focused to follow the actors to be slightly ahead of where they are going to be and know the script just as well as the director and actors). As a re-recording mixer and dialogue editor, when I get a film edit OMF/AAF that sounds great, I make sure the production mixer AND the boom op know how much we appreciate it.  &#xD;&#xA;Using the correct equipment is always important, but just like in music, it is the abilities of the operator that is of utmost importance...even a pawn shop guitar will sound pretty amazing in Clapton's hands." ContentLicense="CC BY-SA 3.0" />
  <row Id="25652" PostHistoryTypeId="2" PostId="15544" RevisionGUID="07b56799-4c1b-4950-b7c7-2ae8387af940" CreationDate="2012-09-29T20:20:35.087" UserId="6411" Text="I'd ignore being authentic to the recording. If you wanted authenticity in the doc you wouldn't edit it at all. You're trying to convey the speakers words/ideas in the clearest manner possible. If that means you have to steal an &quot;I was at the sh&quot; from the cutting room floor, so be it.&#xD;&#xA;&#xD;&#xA;Regarding your deadline, get through the edit first. Work in quick, multiple passes. Mark anything that needs work, and move forward. I know that I'm guilty of getting manically stuck on **making *this* edit *perfect***. But it does no good if the first 3 minutes are perfect but the remaining 20 aren't finished. Plus, as you continue down your timeline you'll have those areas in mind. So when you get to the 23rd minute you may find the perfect start of your sentence for that problem edit at 2:25.&#xD;&#xA;&#xD;&#xA;Also, I'd ask is if there's a transcription of the full interview. Running a quick &quot;find&quot; in Word/Pages will allow you to scan through the entire interview quickly to see if there's a potential donor line/syllable/phenome/homonyms/rhymes.&#xD;&#xA;&#xD;&#xA;Another idea to keep in mind is that you're working in radio so you don't have to maintain sync, just come in under time. If your speaker says &quot;Iiiiuhhhhmm was at the shop&quot; shortening it to &quot;I was at the shop&quot; may sound completely unnatural, but &quot;Iii__was at the shop&quot; or &quot;Iwas at the shop&quot; may sound perfect. Don't forget to cut in room tone/noise floor/fill from elsewhere in the recording to hide the edit.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25653" PostHistoryTypeId="2" PostId="15545" RevisionGUID="ba1bb26b-ca4f-4c20-b4f9-95112577c1f6" CreationDate="2012-09-30T10:39:57.767" UserId="3839" Text="I also sometimes will use Pro Tools AIR Talkbox to help shape formants of separate sounds similarly as with IR at times, usually on an aux. Its just easy to manipulate formants with it." ContentLicense="CC BY-SA 3.0" />
  <row Id="25654" PostHistoryTypeId="2" PostId="15546" RevisionGUID="1761468a-c5cb-4261-9b38-9cabbafb2b4d" CreationDate="2012-09-30T12:56:56.493" UserId="1237" Text="Here is the video:&#xD;&#xA;&#xD;&#xA;[youtube]xsYLxNkeRGM[/youtube]&#xD;&#xA;&#xD;&#xA;Personally, I can't believe that this is a real sound of the water impact.&#xD;&#xA;Any thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25655" PostHistoryTypeId="1" PostId="15546" RevisionGUID="1761468a-c5cb-4261-9b38-9cabbafb2b4d" CreationDate="2012-09-30T12:56:56.493" UserId="1237" Text="Dropping a giant  rock (476ft.). Fake or not?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25656" PostHistoryTypeId="3" PostId="15546" RevisionGUID="1761468a-c5cb-4261-9b38-9cabbafb2b4d" CreationDate="2012-09-30T12:56:56.493" UserId="1237" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25657" PostHistoryTypeId="2" PostId="15547" RevisionGUID="768afbe4-cbe8-4dbc-a59f-548a7309e5f8" CreationDate="2012-09-30T13:08:33.627" UserId="3754" Text="At that height and that weight, the surface tension of the water and the size of the object, it would be more of a slap than a splash. Sounds real to me." ContentLicense="CC BY-SA 3.0" />
  <row Id="25658" PostHistoryTypeId="2" PostId="15548" RevisionGUID="eda128e8-1e60-43cb-b5a0-e4f71f835987" CreationDate="2012-09-30T18:08:14.280" UserId="3816" Text="Sup peps,&#xD;&#xA;&#xD;&#xA;One thing that I struggle with every time I get ready to mix a new project is choosing the structure and order of the dialogue processing chain.&#xD;&#xA;&#xD;&#xA;**Sticking with your choice...**&#xD;&#xA;&#xD;&#xA;When we mixing for post production we enter the realm of heavy automation. It is therefore important to decide on a processing chain that will be able to address all of your dialogue needs throughout the duration of the mixing and this is a difficult thing. In doing so we realize that we now don't  have the freedom to switch our signal processing choice in the middle of a project without it causing complications (correct me if im wrong)... and even if we choose to do so, we would have mirror our processing on all of our dial tracks so as to retain the ability to make use of all of our dialogue tracks should we have to move our audio around... Right?&#xD;&#xA;&#xD;&#xA;At present, my default chain is like this for the reasons listed below.&#xD;&#xA;&#xD;&#xA;**ALL AUDIO TRACKS (usually between 2-8) pre bus**&#xD;&#xA;  &#xD;&#xA;        v&#xD;&#xA; &#xD;&#xA;**EQ III**: This Eq is for corrections. Filters, notches and basic tonality adjustments for if its boomy, thin, nasally or whatever...&#xD;&#xA;&#xD;&#xA;        v&#xD;&#xA;**Noise Suppression**: Mostly waves WNS or their w43... my choice depends on overall quality of the sound from the get go. Even before my first EQ the sound has probably already been exposed to some light noise suppression though destructive processing so I normally don´t need too much of this.&#xD;&#xA;&#xD;&#xA;        v&#xD;&#xA;**Channel Strip**: I have gone with the Channel strip that comes with PT10. I use this for some basic dynamic taming and additional EQ. Expansion for lowing backgrounds a little and some light compression just to tuck in the peaks when necessary. With this EQ i use to get the tone I want. I also like this channel strip as it gives you the option of choosing (and automating) the order of the different processing elements (FILTER-EQ-DYNAMIC or FILTER-DYNAMIC-EQ ext...) in channel strip itself which I find really useful!&#xD;&#xA;&#xD;&#xA;        v&#xD;&#xA;**De esser**: When I have the time, I normally prefer to volume out my esses but when time is of the essence (no pun intended) this is faster.&#xD;&#xA;&#xD;&#xA;        v&#xD;&#xA;**Waves C4**: I find that from time to time, I need to remove some of these &quot;in your face&quot; mids that can become unconformable to listen too. Its also good for controlling boomy dialogue. I use the C4 as a multi-band compressor to accomplish this.&#xD;&#xA;&#xD;&#xA;        v&#xD;&#xA;&#xD;&#xA;**Waves Ren-compressor**: This is my go to compressor for finding the correct dynamic balance in the dialogue I am working on. Smooth and transparent and I find that this has actually been known to solve tonally difficult dialogue at times.. don't know how... just has! :P&#xD;&#xA;&#xD;&#xA;       v&#xD;&#xA;&#xD;&#xA;**DIAL BUS**: After my audio track has gone though all of the processing above, it goes straight though to this dialogue bus.&#xD;&#xA;&#xD;&#xA;       v&#xD;&#xA; &#xD;&#xA;**L2**: This is the only processing I have on the bus. It normally keeps the same settings throughout so things don't get out of hand but its no stranger to automation either.&#xD;&#xA;&#xD;&#xA;Thoughts, suggestions and comparisons would be most welcome!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25659" PostHistoryTypeId="1" PostId="15548" RevisionGUID="eda128e8-1e60-43cb-b5a0-e4f71f835987" CreationDate="2012-09-30T18:08:14.280" UserId="3816" Text="Dialogue Plugin Chain flexibilty and Bussing Preferences?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25660" PostHistoryTypeId="3" PostId="15548" RevisionGUID="eda128e8-1e60-43cb-b5a0-e4f71f835987" CreationDate="2012-09-30T18:08:14.280" UserId="3816" Text="&lt;dialogue&gt;&lt;mixing&gt;&lt;plugin&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25661" PostHistoryTypeId="2" PostId="15549" RevisionGUID="45f0d15f-67a2-4a80-8fe9-021db2f7e67b" CreationDate="2012-10-01T00:45:09.367" UserId="1228" Text="That sounds similar to what I use, although I don't use an of the RTAS noise suppressors (except for the C4, which I have saved a noise suppression template for which I like to use).  To my ears the WNS sounded nearly identical to the C4 but with a whole lot less parameters to control.&#xD;&#xA;&#xD;&#xA;I always run Q10s an Trims on each DX track, but all other processing is done on my sidechain bus, so the processing is happening to a summed signal.  I find that the EQIII isn't tight enough to get in there for particularly nasty notch filtering.  At the beginning of my summed sidechain bus I always do a hard rolloff at 80Hz - nothing down there except sonic material which could interfere with compressors or noise suppressors, and it prevents the risk of any unexpected mic bumps from hitting the LFE.  From there I run my plugin chain and after that it gets bussed out to my DX Stem Submaster - the only thing I put on it is Maxim as a preventative brickball (sound similar to your usage of the L2).  Then the output of that is sent 1:1 to the DX Stem, followed by 1:1 to the printmaster.&#xD;&#xA;&#xD;&#xA;My usual rule of thumb has been to do frequency-based and gain-based (corrective) processing at the discrete track level before the sidechain, and do dynamics-based and noise-based processing on the summed sidechain itself.&#xD;&#xA;&#xD;&#xA;This is just my 2 cents.  Your chain sounds similar to what I and likely others use (assuming the chain is processing a summed signal versus track-based)." ContentLicense="CC BY-SA 3.0" />
  <row Id="25662" PostHistoryTypeId="2" PostId="15550" RevisionGUID="b1f9ca2c-fb17-4b27-be4a-2dc139cd0a5f" CreationDate="2012-10-01T06:33:40.630" UserId="6460" Text="Hey Coca,&#xD;&#xA;&#xD;&#xA;That chain sounds pretty typical for me as well, although I often use the high band of the C4 instead of a dedicated de-esser.&#xD;&#xA;&#xD;&#xA;Depending on the project, I often create a separate set of editing tracks every time the scene/location changes. Supposing that I'm working on REEL 2 SCENE 3, a set of tracks looks like this: &#xD;&#xA;&#xD;&#xA; - 2.3 Dialog A&#xD;&#xA; - 2.3 Dialog B&#xD;&#xA; - 2.3 Roomtone&#xD;&#xA; - 2.3 Fix&#xD;&#xA; - 2.3 ADR&#xD;&#xA;&#xD;&#xA;all routed into &#xD;&#xA;&#xD;&#xA; - 2.3 PROC (mono aux track)&#xD;&#xA;&#xD;&#xA;These edit tracks contain my corrective EQ, and, like Stavro, the summing aux track contains my dynamics plugins (usually a C4 for multiband expansion and a C4 for multiband compression) and any aesthetic EQ. If I'm mixing for a small-speaker medium such as an internet video, I'll add another compressor (I, too, love the Waves RComp). &#xD;&#xA;&#xD;&#xA;Even if multiple scenes take place in the same location, creating a dedicated editing chain for each lets you customize for the scene as needed, and makes it simple to return to the edits if you need to make a corrective change later, without worrying about affecting the sound quality of another scene. Once you get the settings you like, you can send the output from the summing aux track to your DX stem, bounce out your edit, and deactivate/hide the set of edit tracks.&#xD;&#xA;&#xD;&#xA;To reinforce Stavro's rule of thumb, it's also best to write your volume automation on the individual track level, before the sounds hits your dynamics processors on the summing aux. This will allow you to smooth out the source audio and will keep your compression/expansion more even and predictable. &#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25663" PostHistoryTypeId="2" PostId="15551" RevisionGUID="0b134594-cc15-4ba7-8dda-3aa0d9fe1e05" CreationDate="2012-10-01T06:40:01.213" UserId="4275" Text="First time poster here: I've just begun to learn post-production sound, and I'm at the mixing stage for a short film that is going to be sent out to some festivals.&#xD;&#xA;&#xD;&#xA;I would love to be able to have a reference film (or films) against which I can compare my own work. (Obviously, no two films will be mixed the same and no two styles will be the same. Even so, it would be nice to have examples of how various types of scenes are handled.) &#xD;&#xA;&#xD;&#xA;I know that most DVD releases of theatrical films apply significant compression and are often remixed. So: can people provide recommendations of good reference films that are virtually untouched from the original theatrical mix to use as reference / learning tool? &#xD;&#xA;&#xD;&#xA;The compression issue will be tough, I know. I just want something that gets close to the dynamics and levels of the theatrical mix. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25664" PostHistoryTypeId="1" PostId="15551" RevisionGUID="0b134594-cc15-4ba7-8dda-3aa0d9fe1e05" CreationDate="2012-10-01T06:40:01.213" UserId="4275" Text="DVDs with Original Theatrical Mix for Reference?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25665" PostHistoryTypeId="3" PostId="15551" RevisionGUID="0b134594-cc15-4ba7-8dda-3aa0d9fe1e05" CreationDate="2012-10-01T06:40:01.213" UserId="4275" Text="&lt;dvd&gt;&lt;film-sound-design&gt;&lt;reference&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25666" PostHistoryTypeId="2" PostId="15552" RevisionGUID="9df34991-61a4-48ff-8456-6b3509f82502" CreationDate="2012-10-01T06:40:48.637" UserId="4276" Text="Hello,&#xD;&#xA;&#xD;&#xA;Can you recommend me the best education /courses/ for sound design in Germany? Could you tell me any universities which offer this kind of education? &#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25667" PostHistoryTypeId="1" PostId="15552" RevisionGUID="9df34991-61a4-48ff-8456-6b3509f82502" CreationDate="2012-10-01T06:40:48.637" UserId="4276" Text="Study sound design in Germany" ContentLicense="CC BY-SA 3.0" />
  <row Id="25668" PostHistoryTypeId="3" PostId="15552" RevisionGUID="9df34991-61a4-48ff-8456-6b3509f82502" CreationDate="2012-10-01T06:40:48.637" UserId="4276" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25669" PostHistoryTypeId="5" PostId="15551" RevisionGUID="c1c7b4ee-4557-4ee8-b65a-e825b5ad0d82" CreationDate="2012-10-01T06:45:15.193" UserId="4275" Comment="added 141 characters in body; deleted 2 characters in body; added 328 characters in body" Text="First time poster here: I've just begun to learn post-production sound, and I'm at the mixing stage for a short film that is going to be sent out to some festivals. I'm mixing in stereo at a decent studio setup at my college campus (the best one we have there) with very good monitors and pro tools 10 HD.&#xD;&#xA;&#xD;&#xA;I would love to be able to have a reference film (or films) against which I can compare my own work. Obviously, no two films will be mixed the same and no two styles will be the same. Even so, it would be nice to have examples of how various types of scenes are handled. &#xD;&#xA;&#xD;&#xA;I know that most DVD releases of theatrical films apply significant compression and are often remixed. So: can people provide recommendations of good reference films that are virtually untouched from the original theatrical mix to use as reference / learning tool? &#xD;&#xA;&#xD;&#xA;The compression issue will be tough, I know. I just want something that gets close to the dynamics and levels of the theatrical mix. It would also be ideal to somehow extract some sample scenes via handbrake (compression!!) to bring directly into pro tools for comparison. I know that handbrake or other programs introduce another layer of compression: I'm fine with the image being compressed to hell, but I'd like to get the audio as uncompressed as possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="25670" PostHistoryTypeId="2" PostId="15553" RevisionGUID="d7bac995-078b-4ecb-bb5b-739522868d2f" CreationDate="2012-10-01T07:35:19.453" UserId="3587" Text="Just to elaborate on Freds answer: Water is practically non-compressable, and if you were to jump from that distance, you'd be crushed when you hit the water. It's more or less the same thing with the rock; Instead of softly displacing and pushing the water aside, it slams into the surface as if it was concrete. The water simply doesn't have time to get out of the way of the rock at first. The splash is still there though, and if the microphone was close enough you'd be able to hear it, but at this distance you only hear the loud crack of the initial impact." ContentLicense="CC BY-SA 3.0" />
  <row Id="25671" PostHistoryTypeId="2" PostId="15554" RevisionGUID="422624c6-e3d9-44eb-9e05-fd4ffe8b8d15" CreationDate="2012-10-01T13:17:13.810" UserId="1011" Text="Just to add to the great comments already here.&#xD;&#xA;&#xD;&#xA;@Shaun is indeed right about selling derivatives.  It's not allowed, except in very special circumstances.&#xD;&#xA;&#xD;&#xA;As @minion mentioned, I wrote about the &quot;grey area&quot; and that &quot;nothing is created in a vacuum.&quot;  That's mentioned in International law mostly because, if it wasn't, you could be sued for having inspiration or musical influences or whatever.&#xD;&#xA;&#xD;&#xA;Based on my research for those articles on Airborne Sound, the issue is how great the change is.&#xD;&#xA;&#xD;&#xA;Take the example of the Obama Hope poster.  It was based off an AP photo.  One could say that it is a derivative, and should be allowed.  However, it recently lost a court case.  It's because it resembles the photo closely; the change is not great enough.&#xD;&#xA;&#xD;&#xA;Sometimes derivatives are allowed if they are &quot;culturally significant&quot; or &quot;a benefit to humanity.&quot;&#xD;&#xA;&#xD;&#xA;The other issue is the sound library license. Most licenses from sound libraries allow you to use sounds only in &quot;timed relation.&quot;  This means you can use them paired with film picture, a Flash video, etc.  If one was to sell a library sound blended with another, it's no longer in timed-relation (or syncrhonization), and therefore outside the license terms.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In a practical sense I'd echo everyone else here and say that you're better building your library from original works.  I've actually seen clients (i.e., major libraries out there) approached because they have (usually unwittingly) used derivatives and copyright in library sounds.  I don't mention this as a scare tactic.  In each case things were patched up quickly.  But just heads up. It does happen.&#xD;&#xA;&#xD;&#xA;Building your own stuff is more fun, anyway.&#xD;&#xA;&#xD;&#xA;Best of luck, and if you have any questions, PM me, I'm happy to share.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25672" PostHistoryTypeId="5" PostId="15554" RevisionGUID="87234c07-5583-40d5-be9e-9e844ca2fb1e" CreationDate="2012-10-01T13:22:17.527" UserId="1011" Comment="added 126 characters in body; deleted 41 characters in body" Text="Just to add to the great comments already here.&#xD;&#xA;&#xD;&#xA;@Shaun is indeed right about selling derivatives.  It's not allowed, except in very special circumstances.&#xD;&#xA;&#xD;&#xA;As @minion mentioned, I wrote about the &quot;grey area&quot; and that &quot;nothing is created in a vacuum.&quot;  That's mentioned in International law mostly because, if it wasn't, you could be sued for having inspiration or musical influences or whatever.&#xD;&#xA;&#xD;&#xA;Of course, I'm not a lawyer.  But, based on my research for [those articles on Airborne Sound][1], the issue is how great the change is.&#xD;&#xA;&#xD;&#xA;Take the example of the Obama Hope poster.  It was based off an AP photo.  One could say that it is a derivative, and should be allowed.  However, it recently lost a court case.  It's because it resembles the photo closely; the change is not great enough.&#xD;&#xA;&#xD;&#xA;Sometimes derivatives are allowed if they are &quot;culturally significant&quot; or &quot;a benefit to humanity.&quot;&#xD;&#xA;&#xD;&#xA;The other issue is the sound library license. Most licenses from sound libraries allow you to use sounds only in &quot;timed relation.&quot;  This means you can use them paired with film picture, a Flash video, etc.  If one was to sell a library sound blended with another, it's no longer in timed-relation (or syncrhonization), and therefore outside the license terms.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In a practical sense I'd echo everyone else here and say that you're better building your library from original works.  I've actually seen clients (i.e., major libraries out there) approached because they have (usually unwittingly) used derivatives and copyright in library sounds.  In each case things were patched up quickly.  But just heads up. It does happen.&#xD;&#xA;&#xD;&#xA;Building your own stuff is more fun, anyway.&#xD;&#xA;&#xD;&#xA;Best of luck, and if you have any questions, PM me, I'm happy to share.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.airbornesound.com/news/sound-effects-and-copyright-survival-guide-1/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25673" PostHistoryTypeId="2" PostId="15555" RevisionGUID="062b3595-b091-400c-991f-38cb8f312ebb" CreationDate="2012-10-01T13:28:33.390" UserDisplayName="user80" Text="Definitely real, you can clearly hear the echoes and reverb from the canyon." ContentLicense="CC BY-SA 3.0" />
  <row Id="25674" PostHistoryTypeId="5" PostId="15555" RevisionGUID="c30b15a6-de01-4fb2-99f5-a37e2210ca90" CreationDate="2012-10-01T13:34:00.727" UserDisplayName="user80" Comment="added 89 characters in body" Text="Definitely real, you can clearly hear the echoes and reverb from the canyon.  The delay is also accurate, if someone has faked this, they clearly understand physics." ContentLicense="CC BY-SA 3.0" />
  <row Id="25675" PostHistoryTypeId="2" PostId="15556" RevisionGUID="56711d56-2114-426d-902b-ff6c32c13d4f" CreationDate="2012-10-01T14:28:50.377" UserId="1055" Text="Hello all,&#xD;&#xA;&#xD;&#xA;i really really hate noise(mic/preamp noise), and my recording rig isn't that great(fostex fr2le, 2x rode nt5)...now, cleaning up some sfx, that were close mic'ed, is easy with izotope rx2, you basically teach rx2 a noise profile from quiet moments, and it works great, but how do i get rid of noise from a nature/ambience recording? any particular techniques?&#xD;&#xA;&#xD;&#xA;ohh and one more question, at what levels should be nature/ambience sounds recorded? i mean nobody will put a -3db recording of nature in a movie or game, i found that -20 is sort of good level, thou there is a little bit of noise then, at least in my situation.&#xD;&#xA;&#xD;&#xA;edit: the noise is not that horrible at all, but it still bugs me :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25676" PostHistoryTypeId="1" PostId="15556" RevisionGUID="56711d56-2114-426d-902b-ff6c32c13d4f" CreationDate="2012-10-01T14:28:50.377" UserId="1055" Text="Cleaning up noise from nature/ambience recordings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25677" PostHistoryTypeId="3" PostId="15556" RevisionGUID="56711d56-2114-426d-902b-ff6c32c13d4f" CreationDate="2012-10-01T14:28:50.377" UserId="1055" Text="&lt;noise-reduction&gt;&lt;noise&gt;&lt;ambience&gt;&lt;nature-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25678" PostHistoryTypeId="2" PostId="15557" RevisionGUID="08d883df-516c-415b-8dee-c1905940e2f3" CreationDate="2012-10-01T14:47:35.670" UserId="1216" Text="Hi All,&#xD;&#xA;&#xD;&#xA;I've been gathering examples of famous and nice sound logo designs.&#xD;&#xA;Unfortunately most 'sound logos' are actually 'music logos' :(&#xD;&#xA;&#xD;&#xA;Here are some nice examples:&#xD;&#xA;&#xD;&#xA;Classic: http://www.youtube.com/watch?v=OVCxJ1aT24A&#xD;&#xA;&#xD;&#xA;Musical: http://www.youtube.com/watch?v=X0EB_vl4rik&#xD;&#xA;         http://www.youtube.com/watch?v=N8VFwZkp384&#xD;&#xA;&#xD;&#xA;Technology: http://www.youtube.com/watch?v=vccECcGRtSE&#xD;&#xA;&#xD;&#xA;What are your favourites?&#xD;&#xA;&#xD;&#xA;Oh and yes I know about the wikipedia: http://en.wikipedia.org/wiki/Sound_branding" ContentLicense="CC BY-SA 3.0" />
  <row Id="25679" PostHistoryTypeId="1" PostId="15557" RevisionGUID="08d883df-516c-415b-8dee-c1905940e2f3" CreationDate="2012-10-01T14:47:35.670" UserId="1216" Text="Sound Logos: What's your favourite? " ContentLicense="CC BY-SA 3.0" />
  <row Id="25680" PostHistoryTypeId="3" PostId="15557" RevisionGUID="08d883df-516c-415b-8dee-c1905940e2f3" CreationDate="2012-10-01T14:47:35.670" UserId="1216" Text="&lt;sound-logos&gt;&lt;favourite&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25681" PostHistoryTypeId="2" PostId="15558" RevisionGUID="22c335ec-13fa-48aa-893f-db8d76a5da6d" CreationDate="2012-10-01T15:02:32.317" UserDisplayName="user80" Text="Try recording some samples with the mic preamp set to the level that you used for the recordings, but without connecting the mic, and then use the micless file for the profile to subtract noise from the ambient recording.&#xD;&#xA;&#xD;&#xA;Most of the noise will be from the preamp, mics are generally quiet compared to preamps.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25682" PostHistoryTypeId="2" PostId="15559" RevisionGUID="b140b9a0-be3a-46ba-8c91-80e898fa40e8" CreationDate="2012-10-01T15:49:41.623" UserId="3179" Text="The original PlayStation boot screen.&#xD;&#xA;&#xD;&#xA;THX aka &quot;Deep Note&quot;.&#xD;&#xA;&#xD;&#xA;There could be more had I heard more, but these are the one's that have struck me as sounding particularly good/interesting/distinctive." ContentLicense="CC BY-SA 3.0" />
  <row Id="25683" PostHistoryTypeId="2" PostId="15560" RevisionGUID="fa76ace8-01f1-47ba-8535-77ad60203351" CreationDate="2012-10-01T15:57:46.933" UserId="238" Text="I really like the Citroen sonic logo. They've been using it for quite a few years now and I really associate the sound effect with the Citoren brand.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?feature=player_detailpage&amp;v=wpfkI5FK_NY#t=26s&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25684" PostHistoryTypeId="5" PostId="15559" RevisionGUID="066438f6-025e-4965-bef8-0d1974569c97" CreationDate="2012-10-01T16:00:35.170" UserId="3179" Comment="deleted 1 characters in body" Text="The original PlayStation boot screen.&#xD;&#xA;&#xD;&#xA;THX aka &quot;Deep Note&quot;.&#xD;&#xA;&#xD;&#xA;There could be more had I heard more, but these are the ones that have struck me as sounding particularly good/interesting/distinctive." ContentLicense="CC BY-SA 3.0" />
  <row Id="25685" PostHistoryTypeId="2" PostId="15561" RevisionGUID="00bc152c-1fbb-4aea-a6ca-23cb17f7f849" CreationDate="2012-10-01T16:18:10.407" UserId="4277" Text="The point of over sampling is not about hearing frequencies above 20k. The point of over sampling is to make it easier for the filters to filter everything out above the nyquist frequency. When you sample at lower sampling rates such as 44.1 or 48 the quality of the filter matters more. So if you record with an amazing ad converter with a really expensive filter, 44.1 sounds just fine and it becomes more difficult to hear the difference between 44.1 or 96 or 192. On the other side when you record with a less expensive converter, over sampling at a rate of 96k or 192 becomes extremely helpful in that you will have a cheap filter and it won't matter as much. &#xD;&#xA;&#xD;&#xA;The issue with recording at really 96 or 192 with a lesser quality converter or interface is that the word clock tends to be poor as well which will bring about jitter issues. Therefore if you have a cheap converter and want to record at high sampling rates then it would be a good idea to buy a good external clock." ContentLicense="CC BY-SA 3.0" />
  <row Id="25686" PostHistoryTypeId="2" PostId="15562" RevisionGUID="428df1fd-7762-440d-8bed-42cbb696838f" CreationDate="2012-10-01T17:07:14.000" UserId="3784" Text="http://www.youtube.com/watch?feature=player_embedded&amp;v=qeSnUzHNTA8&#xD;&#xA;&#xD;&#xA;I really like this one for sound and visuals.. Brilliant" ContentLicense="CC BY-SA 3.0" />
  <row Id="25687" PostHistoryTypeId="2" PostId="15563" RevisionGUID="be85321c-7c95-4ea0-8ecd-8fc258fca3c3" CreationDate="2012-10-01T17:37:34.460" UserId="6454" Text="The current HBO is great:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=zmIvu1yg3bU&#xD;&#xA;&#xD;&#xA;but the classic is amazing (epic and musical, but brings back so many memories):&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=i1NKoMNy5bY&#xD;&#xA;&#xD;&#xA;Pixar:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=sI8T_u-GUyU&#xD;&#xA;&#xD;&#xA;I am sure there are many more!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25688" PostHistoryTypeId="5" PostId="15203" RevisionGUID="1ade9af9-023a-4830-9398-530a604ef55e" CreationDate="2012-10-01T20:41:42.120" UserId="432" Comment="i was wrong! ;)" Text="In answer to #1: All the bundled plug-ins are separate licenses on your iLok. I don't believe they're tied to a particular version number, so they should carry over.&#xD;&#xA;&#xD;&#xA;**WRONG -&gt;** [In answer to #2: No. Upgrading to 10 will require you to surrender your license for 8.] **See @stavrosound's comments below (thanks for correcting me, man).**" ContentLicense="CC BY-SA 3.0" />
  <row Id="25689" PostHistoryTypeId="2" PostId="15564" RevisionGUID="22f22fe5-4a33-4adb-a8bb-36dc17748704" CreationDate="2012-10-01T21:09:23.753" UserId="6566" Text="Here is another perspective amongst some great posts already made. About 14 years ago I released an SFX library which was sold by all the usual suspects. It became very popular and sold well. A few years down the road one of the companies who was selling it released a library in the same genre. While working at my current and long-time gig I was auditioning SFX from this new library looking for specific stuff to pull and started to hear some very familiar SFX which caused me to sit up and take notice the more I listened. It turns out that on one specific disk of this multi-disk library there were a bunch of sounds that were definitely reprocessed from my library. I knew them all too well and even though they were highly manipulated I could still make out my specific sounds easily. &#xD;&#xA;&#xD;&#xA;Needless to say I was angry and wanted justice. As I unfortunately found after speaking to an attorney, suing was just not worth the trouble for various reasons and I decided to let it go. &#xD;&#xA;&#xD;&#xA;At the time, the policy of this publisher was to make all designers of all submitted material sign an agreement indemnifying them of any liability in regards to ownership of the submitted material. Meaning, the designers of the submitted material represent that they own it and have the right to sell it to the publisher. So, it was one of the 4-5 designers credited on the release who actually did the reprocessing and represented to the publisher that they created it from scratch.&#xD;&#xA;&#xD;&#xA;Since I wasn't going to sue it really came down to letting it go and filing a mental note that the perpetrator is most likely one of the 4-5 people in the credits list. Done, life goes on.&#xD;&#xA;&#xD;&#xA;So, how is this relevant to your question? I would ask, regardless of the aforementioned legalities, what kind of sound designer do you want to be? One who makes and sells SFX that are based on someone else's work, or one who is inspired everyday to dream up new techniques, tricks and ideas for SFX that are unique to you? To me the latter is what being a designer is all about. To ply my trade on the opposite of that premise would be a futile endeavor, not to mention a basis from which to build an entire company. The reality is that due to budget and time constraints many of us have to rely on library stuff on a routine basis as starting points to more processed and complex finished sound constructions that may also include original source. My expectation however for any new library that gets considered for purchase is that it would always have to be based on original work. At the same time I also concede that this last point is debatable. For me, its a very strong personal preference." ContentLicense="CC BY-SA 3.0" />
  <row Id="25690" PostHistoryTypeId="5" PostId="13249" RevisionGUID="19bbc67e-1490-4720-acfc-740ae8641689" CreationDate="2012-10-01T21:33:23.067" UserId="315" Comment="added 3 characters in body" Text="There's a great article in the recent &quot;[Nagra News][1]&quot; about a field recording trip to Antartica. The field recordist used a pair of 4006 (DPA not B&amp;K though) in Rycotes. Got to imagine if they will hold up there, they will work for you. They are certainly beautiful sounding mics, having recorded with them before (in a more controlled environment though).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.nagraaudio.com/doc_en/NagraNews_27.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="25691" PostHistoryTypeId="2" PostId="15565" RevisionGUID="16124bcc-e7f2-4b81-b605-a8e9f77cb12d" CreationDate="2012-10-01T23:03:03.337" UserId="3138" Text="I've been getting a lot of jobs where the I get an offline edit done elsewhere and a hard drive with the location recordings dumbed on my desk for me to sync. So far my working method has been to do this manually and matching the takes to the offline provided...extremely time consuming.&#xD;&#xA;&#xD;&#xA;Can anyone please advise me on an automated way that they know of doing this please." ContentLicense="CC BY-SA 3.0" />
  <row Id="25692" PostHistoryTypeId="1" PostId="15565" RevisionGUID="16124bcc-e7f2-4b81-b605-a8e9f77cb12d" CreationDate="2012-10-01T23:03:03.337" UserId="3138" Text="Syncing rushes from location record into Pro Tools 10 workflow help" ContentLicense="CC BY-SA 3.0" />
  <row Id="25693" PostHistoryTypeId="3" PostId="15565" RevisionGUID="16124bcc-e7f2-4b81-b605-a8e9f77cb12d" CreationDate="2012-10-01T23:03:03.337" UserId="3138" Text="&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25694" PostHistoryTypeId="2" PostId="15566" RevisionGUID="daa7bfa1-bdf0-4d44-a341-5c3512f55cea" CreationDate="2012-10-01T23:33:21.257" UserId="3839" Text="If youre looking to sync video with separate audio in a standalone, I believe DualEyes is what youre looking for?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25695" PostHistoryTypeId="2" PostId="15567" RevisionGUID="9cff5574-6b06-44ab-b92c-a891df05a0e5" CreationDate="2012-10-01T23:43:30.390" UserId="103" Text="Its the picture editing department that is supposed to do the syncing.&#xD;&#xA;Ask them to export you an OMF or an AAF, and import session data from that file, every region will (should....)synchronize, and make sure they have a academy leader at the front of the video, to make sure it does sync.&#xD;&#xA;&#xD;&#xA;It that won't happen @ColtonRybus said it best." ContentLicense="CC BY-SA 3.0" />
  <row Id="25696" PostHistoryTypeId="2" PostId="15568" RevisionGUID="8c6f8451-b768-40ce-9852-dff0c6db84aa" CreationDate="2012-10-01T23:48:50.627" UserId="3179" Text="For pitch shifting down you need more than a 0-22.5kHz bandlimited signal to try to maintain some highs in the downpitched version.&#xD;&#xA;&#xD;&#xA;For digital recording you need more than 44.1kHz total sampling rate for 1. Making all gear-related conversion and input/output stage signal processing take place far enough from the audible range to minimize problems in the audible range. 2. Cutting costs in engineering and manufacturing and coping with limits in technology. But improvements don't come above a certain point and 88.2kHz and 96kHz are optimal sampling rates (from the existing standards) according to engineer Dan Lavry: http://www.lavryengineering.com/pdfs/lavry-white-paper-the_optimal_sample_rate_for_quality_audio.pdf . It would be even better, if the audio industry wouldn't have the stupid double standard of 44.1kHz and 48kHz sample rates, which forces needless interpolated downsampling (e.g. 96kHz -&gt; 44.1kHz).&#xD;&#xA;&#xD;&#xA;For plug-in processing you need oversampling for the same reason as in digital recording, for keeping DSP induced problems (e.g. potential aliasing generated by DSP) out of the audible range. And of course for maintaining the recorded sample rate (88.2/96kHz) throughout the project until the audio is finally downsampled for distribution purposes.&#xD;&#xA;&#xD;&#xA;But 192kHz. It seems unnecessary, useless and it has more downsides.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25697" PostHistoryTypeId="5" PostId="15568" RevisionGUID="f0446e00-cd26-4aea-b48f-9d434d98001f" CreationDate="2012-10-01T23:57:06.820" UserId="3179" Comment="added 4 characters in body" Text="For pitch shifting down you need more than a 0 - ∼22.05kHz bandlimited signal to try to maintain some highs in the downpitched version.&#xD;&#xA;&#xD;&#xA;For digital recording you need more than 44.1kHz total sampling rate for 1. Making all gear-related conversion and input/output stage signal processing take place far enough from the audible range to minimize problems in the audible range. 2. Cutting costs in engineering and manufacturing and coping with limits in technology. But improvements don't come above a certain point and 88.2kHz and 96kHz are optimal sampling rates (from the existing standards) according to engineer Dan Lavry: http://www.lavryengineering.com/pdfs/lavry-white-paper-the_optimal_sample_rate_for_quality_audio.pdf . It would be even better, if the audio industry wouldn't have the stupid double standard of 44.1kHz and 48kHz sample rates, which forces needless interpolated downsampling (e.g. 96kHz -&gt; 44.1kHz).&#xD;&#xA;&#xD;&#xA;For plug-in processing you need oversampling for the same reason as in digital recording, for keeping DSP induced problems (e.g. potential aliasing generated by DSP) out of the audible range. And of course for maintaining the recorded sample rate (88.2/96kHz) throughout the project until the audio is finally downsampled for distribution purposes.&#xD;&#xA;&#xD;&#xA;But 192kHz. It seems unnecessary, useless and it has more downsides.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25698" PostHistoryTypeId="5" PostId="15568" RevisionGUID="85fbf724-34c8-4fb5-987c-86f8a1e7de67" CreationDate="2012-10-02T00:24:22.427" UserId="3179" Comment="added 2 characters in body; deleted 12 characters in body" Text="For pitch shifting down you need more than a 0 - ∼22.05kHz bandlimited signal to try to maintain some highs in the downpitched version.&#xD;&#xA;&#xD;&#xA;For digital recording you need more than 44.1kHz total sampling rate for 1. Making all gear-related conversion and input/output stage signal processing so that audible problems aren't induced to the audible range or the problems are minimal. 2. Cutting costs in engineering and manufacturing and coping with limits in technology. But improvements don't come above a certain point and 88.2kHz and 96kHz are optimal sampling rates (from the existing standards) according to engineer Dan Lavry: http://www.lavryengineering.com/pdfs/lavry-white-paper-the_optimal_sample_rate_for_quality_audio.pdf . It would be even better, if the audio industry wouldn't have the stupid double standard of 44.1kHz and 48kHz sample rates, which forces needless interpolated downsampling (e.g. 96kHz -&gt; 44.1kHz).&#xD;&#xA;&#xD;&#xA;For plug-in processing you need oversampling for the same reason as in digital recording, for keeping DSP induced problems (e.g. potential aliasing generated by DSP) out of the audible range. And of course for maintaining the recorded sample rate (88.2/96kHz) throughout the project until the audio is finally downsampled for distribution purposes.&#xD;&#xA;&#xD;&#xA;But 192kHz. It seems unnecessary and has more downsides.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25699" PostHistoryTypeId="2" PostId="15569" RevisionGUID="6ec0e288-86dc-4b7c-8aeb-742f58ed170f" CreationDate="2012-10-02T01:49:35.293" UserId="285" Text="This is a really old question now but I thought I would add to the list. Rene Coronado (Dallas), Dustin Camilleri (Chicago) and myself (Toronto) have just released a new podcast that is all about sound design and audio post.  Its called Tonebenders.  If you want to take a listen to the first episode you can go to www.tonebenders.net and download it or grab the RSS feed to set up iTunes to subscribe.  &#xD;&#xA;&#xD;&#xA;Tonebenders' premiere episode, titled Origin Stories, introduces listeners to the show’s hosts.  Through in-depth discussions each host tells the story of how he ended up working in audio and the mistakes and triumphs experienced along the way.  Also, Dustin Camilleri talks about his recent trip to St. Cloud, MN, for the 2012 Kyma International Sound Symposium (K.I.S.S.).  Dustin  introduces listeners to the Kyma software/hardware system and offers his take on the conference.&#xD;&#xA;&#xD;&#xA;Take a listen and let me know what you think or if you have any ideas for future episodes.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25700" PostHistoryTypeId="2" PostId="15570" RevisionGUID="fa09a824-eb72-4de4-8cf3-b60fe8ea2b3a" CreationDate="2012-10-02T04:53:21.460" UserId="4279" Text="I want to put together a sound fx library which will have some processing.  I'm wondering the best way to master the effects so they all have the same timbre and overall level. Is this typically done or do you just bounce out each effect and group them at some point regardless of how well they fit together?  Any advice on these last stages would be greatly appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="25701" PostHistoryTypeId="1" PostId="15570" RevisionGUID="fa09a824-eb72-4de4-8cf3-b60fe8ea2b3a" CreationDate="2012-10-02T04:53:21.460" UserId="4279" Text="Suggestions for mastering a sound FX library?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25702" PostHistoryTypeId="3" PostId="15570" RevisionGUID="fa09a824-eb72-4de4-8cf3-b60fe8ea2b3a" CreationDate="2012-10-02T04:53:21.460" UserId="4279" Text="&lt;sfx&gt;&lt;sound-effects&gt;&lt;library-sound-effects&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25703" PostHistoryTypeId="2" PostId="15571" RevisionGUID="a017370a-48eb-4a00-87b3-2343e7ac824a" CreationDate="2012-10-02T06:40:10.993" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;If you want to clean nature ambience, it depends if you want to remove hiss from preamps or if you want to remove atmospheric-nature sounds, who makes a nature-ambience muffled. If you record some ambience outside, you have some ugly frequency about 1khz or lower who gives a lot of (atmospheric) noise in the ambience. Try to drag them out with an equalizer. If you want to make something more clear and not that far, remove some low-end or semi-low end about 200hz. Also a lot of noise will be about 500Hz. If you record some bugs or some stuff in the foreground, I also would recommend to remove some 'hissing' or roaring frequencies to make it clearer.&#xD;&#xA;&#xD;&#xA;For recording in the field, it's different than recording loud fx. For that, you need a really good preamp. Building good preamps needs expansive components and cannot be done cheep. Also I recommend to use omnidirectional microphones for exterior ambiences. They are much more insensitive against wind than directional. But it does not change the fact that you need the most finest stuff for non-hissing exterior recordings. And on some level, every environmental-situation starts hissing, because the nature itselfs hiss, for example if there is somewhere a river or far distant wind. But you should be able to record some quite things like wind in grass or so.&#xD;&#xA;&#xD;&#xA;Guido https://www.soundeffects.ch&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25704" PostHistoryTypeId="2" PostId="15572" RevisionGUID="25245bf3-f8e7-4f91-bcdf-16e7707f6b0d" CreationDate="2012-10-02T13:24:22.910" UserId="3754" Text="Hello, I'm a fairly competent sound designer, and desperate to get into video games. However I know f all about fmod, wwise and other middleware.&#xD;&#xA;&#xD;&#xA;How much is this going to hold me back? If you were hiring, would you prefer solid sound skills, or a more rounded package?&#xD;&#xA;&#xD;&#xA;I'm willing to do as much as I can to get myself into the game audio business, except pay for a course, because I  haven't the funds.&#xD;&#xA;&#xD;&#xA;so in summary, how can I get into the industry without the programming skills? Or if they are vital, how can I gain the skills?&#xD;&#xA;&#xD;&#xA;Fred" ContentLicense="CC BY-SA 3.0" />
  <row Id="25705" PostHistoryTypeId="1" PostId="15572" RevisionGUID="25245bf3-f8e7-4f91-bcdf-16e7707f6b0d" CreationDate="2012-10-02T13:24:22.910" UserId="3754" Text="Programming for video games" ContentLicense="CC BY-SA 3.0" />
  <row Id="25706" PostHistoryTypeId="3" PostId="15572" RevisionGUID="25245bf3-f8e7-4f91-bcdf-16e7707f6b0d" CreationDate="2012-10-02T13:24:22.910" UserId="3754" Text="&lt;game&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25707" PostHistoryTypeId="2" PostId="15573" RevisionGUID="daae5579-3036-4d74-9311-d67dcb3e5c6d" CreationDate="2012-10-02T14:04:18.310" UserId="3179" Text="I think...&#xD;&#xA;&#xD;&#xA;For large teams, just solid sound skills as it's easier and hypothetically better to keep people focused on just their main proficiency and hire people that master and are willing to work on that one area. It's not wise to overload people with work or multiple roles and there might not be need for some kind of middlemen, depending on the organization. For small teams, multidisciplinarity and the ability and willingness for changing hats, because you may not be able to have or cannot afford to have a separate specialist for every task.&#xD;&#xA;&#xD;&#xA;Technically the common audio middleware software are developed by 3rd parties and they are so polished and usable by sound designers that most technical audio-related work in game development is likely to be so extensive and technical that it'll require time and a team of experienced programmers that are primarily programmers. Or then the technology could be bought from another software house. Or then such technical work would be so small that it could be done by a programmer or programmers whose main responsibility is something else. Although of course it all varies depending on what the project is like.&#xD;&#xA;&#xD;&#xA;But just for the sake of interest, there's nothing stopping you from writing code." ContentLicense="CC BY-SA 3.0" />
  <row Id="25708" PostHistoryTypeId="5" PostId="15573" RevisionGUID="4a3c7cba-7fbf-4971-8c01-760a2bad98ba" CreationDate="2012-10-02T14:15:50.483" UserId="3179" Comment="added 651 characters in body; added 6 characters in body; added 11 characters in body" Text="I think...&#xD;&#xA;&#xD;&#xA;For large teams, just solid sound skills as it's easier and hypothetically better to keep people focused on just their main proficiency and hire people that master and are willing to work on that one area. It's not wise to overload people with work or multiple roles and there might not be need for some kind of middlemen, depending on the organization. For small teams, multidisciplinarity and the ability and willingness for changing hats, because you may not be able to have or cannot afford to have a separate specialist for every task.&#xD;&#xA;&#xD;&#xA;Technically the common audio middleware software are developed by 3rd parties and they are so polished and usable by sound designers that most technical audio-related work in game development is likely to be so extensive and technical that it'll require time and a team of experienced programmers that are primarily programmers. Or then the technology could be bought from another software house. Or then such technical work would be so small that it could be done by a programmer or programmers whose main responsibility is something else. Although of course it all varies depending on what the project is like.&#xD;&#xA;&#xD;&#xA;I would guess that a &quot;programmer-audio designer-composer&quot; is not the primary interest of companies in the current and the very business-oriented mainstream game industry, but it doesn't mean that such skillset wouldn't still be valuable in some special cases. It's always useful to know about different things e.g. programming, especially when everyone mostly works with software anyways, and if you enjoy learning new things. Plus, no-one's saying that one should do like everyone else seems to do, so one might be that &quot;programmer-audio designer-composer&quot; and actually find work where one gets to apply that kind of multidisciplinary skills, if one wants to. If coding interests you and you enjoy it, there's nothing stopping you from writing code." ContentLicense="CC BY-SA 3.0" />
  <row Id="25709" PostHistoryTypeId="5" PostId="15573" RevisionGUID="8ff41c43-e346-4535-b7fd-64cc8c87d861" CreationDate="2012-10-02T14:43:35.887" UserId="3179" Comment="added 35 characters in body" Text="I think...&#xD;&#xA;&#xD;&#xA;For large teams, just solid sound skills as it's easier and hypothetically better to keep people focused on just their main proficiency and what they enjoy doing the most and hire people that master and are willing to work on that one area. It's not wise to overload people with work or multiple roles and there might not be need for some kind of middlemen, depending on the organization. For small teams, multidisciplinarity and the ability and willingness for changing hats, because you may not be able to have or cannot afford to have a separate specialist for every task.&#xD;&#xA;&#xD;&#xA;Technically the common audio middleware software are developed by 3rd parties and they are so polished and usable by sound designers that most technical audio-related work in game development is likely to be so extensive and technical that it'll require time and a team of experienced programmers that are primarily programmers. Or then the technology could be bought from another software house. Or then such technical work would be so small that it could be done by a programmer or programmers whose main responsibility is something else. Although of course it all varies depending on what the project is like.&#xD;&#xA;&#xD;&#xA;I would guess that a &quot;programmer-audio designer-composer&quot; is not the primary interest of companies in the current and the very business-oriented mainstream game industry, but it doesn't mean that such skillset wouldn't still be valuable in some special cases. It's always useful to know about different things e.g. programming, especially when everyone mostly works with software anyways, and if you enjoy learning new things. Plus, no-one's saying that one should do like everyone else seems to do, so one might be that &quot;programmer-audio designer-composer&quot; and actually find work where one gets to apply that kind of multidisciplinary skills, if one wants to. If coding interests you and you enjoy it, there's nothing stopping you from writing code." ContentLicense="CC BY-SA 3.0" />
  <row Id="25710" PostHistoryTypeId="2" PostId="15574" RevisionGUID="dd591160-d6fb-40d4-8ae5-ecd6fe3edddb" CreationDate="2012-10-02T14:54:33.590" UserId="285" Text="this is a pretty good starting point for you: http://www.jetstreaming.org/2012/09/05/an-introduction-to-sound-effects-mastering/&#xD;&#xA;&#xD;&#xA;Once you have read that article explore the rest of the jetstreaming blog, as a lot of it will be useful info for what you are tackling.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25711" PostHistoryTypeId="5" PostId="15573" RevisionGUID="c44f0ba1-75d1-4d01-a8b9-a9d301b65111" CreationDate="2012-10-02T15:53:03.333" UserId="3179" Comment="added 300 characters in body; added 25 characters in body; edited body; added 75 characters in body" Text="I think...&#xD;&#xA;&#xD;&#xA;For large teams, just solid sound skills as it's easier and hypothetically better to keep people focused on just their main proficiency and what they enjoy doing the most and hire people that master and are willing to work on that one area. It's not wise to overload people with work or multiple roles and there might not be need for some kind of middlemen, depending on the organization. For small teams, multidisciplinarity and the ability and willingness for changing hats, because you may not be able to have or cannot afford to have a separate specialist for every task.&#xD;&#xA;&#xD;&#xA;Technically the common audio middleware software are developed by 3rd parties and they are so polished and usable by sound designers out of the box that I think most custom, technical audio-related work in game development is likely to be so extensive and technical that it'll require time and a team of experienced programmers that are primarily programmers. Or then the technology could be bought from another software house. Or then such technical work would be so small that it could be done by a programmer or programmers whose main responsibility is something else. Although of course it all varies depending on what the project is like, how the company operates and what kind of professionals they have there.&#xD;&#xA;&#xD;&#xA;I would guess that a &quot;programmer-audio designer-composer&quot; is not the primary interest of most companies in the current and the very business-oriented mainstream game industry, but it doesn't mean that such skillset wouldn't still be valuable in some special cases. It's always useful to know about different things e.g. programming, especially when everyone mostly works with software anyways, and if you enjoy learning new things. Plus, no-one's saying that one should do like everyone else seems to do, so one might be that &quot;programmer-audio designer-composer&quot; and actually find work where one gets to apply that kind of multidisciplinary skills, if one wants to. In a competitive situation it might be just that multidisciplinary background that gets you the job, but it depends on what the employer is looking for, and it might as well not be all about technical and vocational skills, but more about just personal traits and how they fit for the role. If coding interests you and you enjoy it, there's nothing stopping you from writing code." ContentLicense="CC BY-SA 3.0" />
  <row Id="25712" PostHistoryTypeId="5" PostId="15573" RevisionGUID="1edb28b3-cc52-4162-9f8f-e2a14b2f28ac" CreationDate="2012-10-02T16:10:06.183" UserId="3179" Comment="added 98 characters in body; added 9 characters in body; added 30 characters in body" Text="I think...&#xD;&#xA;&#xD;&#xA;For large teams, just solid sound skills as it's easier and hypothetically better to keep people focused on just their main proficiency and what they enjoy doing the most and hire people that master and are willing to work on that one area. It's not wise to overload people with work or multiple roles and there might not be need for some kind of middlemen, depending on the organization. For small teams, multidisciplinarity and the ability and willingness for changing hats, because you may not be able to have or cannot afford to have a separate specialist for every task.&#xD;&#xA;&#xD;&#xA;Technically the common audio middleware software are developed by 3rd parties and they are so polished and usable by sound designers out of the box that I think most custom, technical audio-related work in game development is likely to be so extensive and technical that it'll require time and a team of experienced programmers that are primarily programmers. Or then the technology could be bought from another software house. Or then such technical work would be so small that it could be done by a programmer or programmers whose main responsibility is something else. Although of course it all varies depending on what the project is like, how the company operates and what kind of professionals they have there.&#xD;&#xA;&#xD;&#xA;I would guess that a &quot;programmer-audio designer-composer&quot; is not the primary interest of most companies in the current and the very business-oriented mainstream game industry, where the talent pool is already so large that companies can pretty much find and pick whatever they need, but it doesn't mean that such skillset wouldn't still be valuable in some special cases and for special lines of work. It's always useful to know about different things e.g. programming, especially when everyone mostly works with software anyways, and if you enjoy learning new things. Plus, no-one's saying that one should do like everyone else seems to do, so one might be that &quot;programmer-audio designer-composer&quot; and actually find work where one gets to apply that kind of multidisciplinary skills, if one wants to. In a competitive situation it might be just that multidisciplinary background that gets you the job, but it depends on what the employer is looking for, and it might as well not be all about technical and vocational skills, but more about just personal traits and how they fit for the role. If coding interests you and you enjoy it, there's nothing stopping you from writing code." ContentLicense="CC BY-SA 3.0" />
  <row Id="25713" PostHistoryTypeId="5" PostId="15573" RevisionGUID="db834ffb-b1ec-4639-bdf4-1bebb2937e1b" CreationDate="2012-10-02T16:15:26.510" UserId="3179" Comment="added 109 characters in body; added 26 characters in body; deleted 2 characters in body; deleted 2 characters in body" Text="I think...&#xD;&#xA;&#xD;&#xA;For large teams, just solid sound skills as it's easier and hypothetically better to keep people focused on just their main proficiency and what they enjoy doing the most and hire people that master and are willing to work on that one area. It's not wise to overload people with work or multiple roles and there might not be need for some kind of middlemen, depending on the organization. For small teams, multidisciplinarity and the ability and willingness for changing hats, because you may not be able to have or cannot afford to have a separate specialist for every task.&#xD;&#xA;&#xD;&#xA;Technically the common audio middleware software are developed by 3rd parties and they are so polished and usable by sound designers out of the box that I think most custom, technical audio-related work in game development is likely to be so extensive and technical that it'll require time and a team of experienced programmers that are primarily programmers. Or then the technology could be bought from another software house. Or then such technical work would be so small that it could be done by a programmer or programmers whose main responsibility is something else. Although of course it all varies depending on what the project is like, how the company operates and what kind of professionals they have there.&#xD;&#xA;&#xD;&#xA;I would guess that a &quot;programmer-audio designer-composer&quot; is not the primary interest of most companies in the current and the very business-oriented mainstream game industry, where the talent pool is already so large that companies can pretty much find and pick whatever they need (although some sources say that there's shortage of highly skilled people who are willing to work on games / in the game industry), but it doesn't mean that such skillset wouldn't still be valuable in some special cases and for special lines of work. It's always useful to know about different things e.g. programming, especially when everyone mostly works with software anyways, and if you enjoy learning new things. Plus, no-one's saying that one should do like everyone else seems to do, so one might be that &quot;programmer-audio designer-composer&quot; and actually find work where one gets to apply that kind of multidisciplinary skills, if one wants to. In a competitive situation it might be just that multidisciplinary background that gets you the job, but it depends on what the employer is looking for, and it might as well not be all about technical and vocational skills, but more about just personal traits and how they fit for the role. If coding interests you and you enjoy it, there's nothing stopping you from writing code." ContentLicense="CC BY-SA 3.0" />
  <row Id="25714" PostHistoryTypeId="2" PostId="15575" RevisionGUID="5c2e34bd-8131-4fa5-b173-3339ab7d3b54" CreationDate="2012-10-02T16:28:45.727" UserId="4280" Text="this has helped me SO much guys, thanks! I'm doing the same for my final project at uni right now and site is well useful!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25715" PostHistoryTypeId="2" PostId="15576" RevisionGUID="dae56ee6-aaf6-4431-b947-ef9cfdc33f49" CreationDate="2012-10-02T16:31:09.703" UserId="4272" Text="My suggestion would be to just download Wwise (it's free to download) and follow the internet tutorials from Audio Kinetic.  There's certainly no harm in familiarizing yourself with audio middleware, and a lot of companies explicitly ask for middleware proficiency as a prerequisite.  Certainly not all companies expect you to know programming or implementation as a sound designer, but it's definitely a resume-sweetener and it's not terribly hard to learn either." ContentLicense="CC BY-SA 3.0" />
  <row Id="25717" PostHistoryTypeId="2" PostId="15578" RevisionGUID="b9242ba7-8759-4401-b558-1f0a435e4f8e" CreationDate="2012-10-02T19:29:10.483" UserId="234" Text="Hey All! I'm working on a wonderful animated Christmas Special that has lots of hockey being played. While I've got loads of library stuff, I'm arranging some time with skaters and a rink to do some custom stuff to add some zing (love it when I have the time and $$ to do that!). Has anyone in the collective done any of this? Any suggestions? Unusual mic choices? I have a plan, but I'm always open to ideas!&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="25718" PostHistoryTypeId="1" PostId="15578" RevisionGUID="b9242ba7-8759-4401-b558-1f0a435e4f8e" CreationDate="2012-10-02T19:29:10.483" UserId="234" Text="Recording Skating" ContentLicense="CC BY-SA 3.0" />
  <row Id="25719" PostHistoryTypeId="3" PostId="15578" RevisionGUID="b9242ba7-8759-4401-b558-1f0a435e4f8e" CreationDate="2012-10-02T19:29:10.483" UserId="234" Text="&lt;field-recording&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25720" PostHistoryTypeId="2" PostId="15579" RevisionGUID="616d78f8-40c1-4f95-a0a4-568d01817293" CreationDate="2012-10-02T19:36:11.677" UserId="315" Text="[This might provide some ideas.][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=czaFPtQZE9U" ContentLicense="CC BY-SA 3.0" />
  <row Id="25721" PostHistoryTypeId="2" PostId="15580" RevisionGUID="9f04762e-8295-40b5-a867-8af49afa6dc7" CreationDate="2012-10-02T20:39:41.097" UserId="371" Text="Hello dear sound friends,&#xD;&#xA;&#xD;&#xA;I'm currently working on the **sound of a IPhone game that has both Bike and Car races.**&#xD;&#xA;It's a very simple game and my structure here wouldn't allow a recording session as guys in, let's say, Need for Speed usually do LOL&#xD;&#xA;The guy working here before me did something that doesn't sound that great but works. He created 6 files with synthetic noises that have different pitches according to the velocity of the bike. And also he created the transition files that we hear when we speed up or down the bike (same synthethic sounds, just gradually pitching). &#xD;&#xA;&#xD;&#xA;Now I need to improve it. And my resources are poor. What would be the easiest way to do something a lil bit decent? I'd like to work with this multiple files thing too, but I'm having tons of trouble doind the perfect loops when I use real sounds. And how could I use the speed changed within it?&#xD;&#xA;&#xD;&#xA;Help? &#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25722" PostHistoryTypeId="1" PostId="15580" RevisionGUID="9f04762e-8295-40b5-a867-8af49afa6dc7" CreationDate="2012-10-02T20:39:41.097" UserId="371" Text="Racing games: HOW?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25723" PostHistoryTypeId="3" PostId="15580" RevisionGUID="9f04762e-8295-40b5-a867-8af49afa6dc7" CreationDate="2012-10-02T20:39:41.097" UserId="371" Text="&lt;games&gt;&lt;car&gt;&lt;bike&gt;&lt;speed&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25724" PostHistoryTypeId="5" PostId="15573" RevisionGUID="7c1272e7-aedd-4ca4-8c59-332151bd26f8" CreationDate="2012-10-02T20:55:37.947" UserId="3179" Comment="added 633 characters in body; deleted 5 characters in body; added 20 characters in body; added 3 characters in body; added 2 characters in body" Text="I think...&#xD;&#xA;&#xD;&#xA;For large teams, just solid sound skills as it's easier and hypothetically better to keep people focused on just their main proficiency and what they enjoy doing the most and hire people that master and are willing to work on that one area. It's not wise to overload people with work or multiple roles and there might not be need for some kind of middlemen, depending on the organization. For small teams, multidisciplinarity and the ability and willingness for changing hats, because you may not be able to have or cannot afford to have a separate specialist for every task.&#xD;&#xA;&#xD;&#xA;Technically the common audio middleware software are developed by 3rd parties and they are so polished and usable by sound designers out of the box that I think most custom, technical audio-related work in game development is likely to be so extensive and technical that it'll require time and a team of experienced programmers that are primarily programmers. Or then the technology could be bought from another software house. Or then such technical work would be so small that it could be done by a programmer or programmers whose main responsibility is something else. Although of course it all varies depending on what the project is like, how the company operates and what kind of professionals they have there. In general, artists don't develop tools/software for their own purposes, but rather tools and software that are needed by artists are developed for them, or then the team uses common middleware, which artists should be familiar with or able to grasp it quickly. Operating custom tools is taught (if it's an in-house developed tool). Artists may in some cases and roles need to code small scripts for controlling and configuring the tools e.g. selecting the audio samples, playing back audio samples, setting parameters for effects etc.&#xD;&#xA;&#xD;&#xA;I would guess that a &quot;programmer-audio designer-composer&quot; is not the primary interest of most companies in the current and the very business-oriented mainstream game industry, where most tools can be bought off the shelf and the talent pool is already so large that companies can pretty much find and pick whatever talent they need (although some sources say that there's shortage of highly skilled people who are willing to work on games / in the game industry, I would assume this to apply mainly to technical positions though), but it doesn't mean that such skillset wouldn't still be valuable in some special cases and for special lines of work. It's always useful to know about different things e.g. programming, especially when everyone mostly works with software anyways, and if you enjoy learning new things. Plus, no-one's saying that one should do like everyone else seems to do, so one might be that &quot;programmer-audio designer-composer&quot; and actually find work where one gets to apply that kind of multidisciplinary skills, if one wants to. In a competitive situation it might be just that multidisciplinary background that gets you the job, but it depends on what the employer is looking for, and it might as well not be all about technical and vocational skills, but more about just personal traits and how they fit for the role. If coding interests you and you enjoy it, there's nothing stopping you from writing code." ContentLicense="CC BY-SA 3.0" />
  <row Id="25725" PostHistoryTypeId="2" PostId="15581" RevisionGUID="87a4db89-8f6d-43d9-9898-917cc53b6b0e" CreationDate="2012-10-02T21:04:38.703" UserId="194" Text="In addition to the rob nokes stuff Justin linked to, I'd say be sure to get your skater to go as hard as possible during the takes.  Performance matters in stuff like this, and you'll have to direct him like an actor.&#xD;&#xA;&#xD;&#xA;Also, skating rinks are very reverberant.  That's certainly authentic to the sound, but be aware that having too much verb baked into the recordings will limit how up front you can push the sounds in the final mix.&#xD;&#xA;&#xD;&#xA;As such, tight miking is probably best.&#xD;&#xA;&#xD;&#xA;Bring wind protection for swinging that mic around as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="25726" PostHistoryTypeId="5" PostId="15573" RevisionGUID="df94899f-f398-4902-92df-85b799b34ab3" CreationDate="2012-10-02T21:13:56.287" UserId="3179" Comment="deleted 37 characters in body" Text="I think...&#xD;&#xA;&#xD;&#xA;For large teams, just solid sound skills as it's easier and hypothetically better to keep people focused on just their main proficiency and what they enjoy doing the most and hire people that master and are willing to work on that one area. It's not wise to overload people with work or multiple roles and there might not be need for some kind of middlemen, depending on the organization. For small teams, multidisciplinarity and the ability and willingness for changing hats, because you may not be able to have or cannot afford to have a separate specialist for every task.&#xD;&#xA;&#xD;&#xA;Technically the common audio middleware software are developed by 3rd parties and they are so polished and usable by sound designers out of the box that I think most custom, technical audio-related work in game development is likely to be so extensive and technical that it'll require time and a team of experienced programmers that are primarily programmers. Or then the technology could be bought from another software house. Or then such technical work would be so small that it could be done by a programmer or programmers whose main responsibility is something else. Although of course it all varies depending on what the project is like, how the company operates and what kind of professionals they have there. In general, artists don't develop tools/software for their own purposes, but rather tools and software that are needed by artists are developed for them, or then the team uses common middleware, which artists should be familiar with or able to grasp it quickly. Operating custom tools is taught. Artists may in some cases and roles need to code small scripts for controlling and configuring the tools e.g. selecting the audio samples, playing back audio samples, setting parameters for effects etc.&#xD;&#xA;&#xD;&#xA;I would guess that a &quot;programmer-audio designer-composer&quot; is not the primary interest of most companies in the current and the very business-oriented mainstream game industry, where most tools can be bought off the shelf and the talent pool is already so large that companies can pretty much find and pick whatever talent they need (although some sources say that there's shortage of highly skilled people who are willing to work on games / in the game industry, I would assume this to apply mainly to technical positions though), but it doesn't mean that such skillset wouldn't still be valuable in some special cases and for special lines of work. It's always useful to know about different things e.g. programming, especially when everyone mostly works with software anyways, and if you enjoy learning new things. Plus, no-one's saying that one should do like everyone else seems to do, so one might be that &quot;programmer-audio designer-composer&quot; and actually find work where one gets to apply that kind of multidisciplinary skills, if one wants to. In a competitive situation it might be just that multidisciplinary background that gets you the job, but it depends on what the employer is looking for, and it might as well not be all about technical and vocational skills, but more about just personal traits and how they fit for the role. If coding interests you and you enjoy it, there's nothing stopping you from writing code." ContentLicense="CC BY-SA 3.0" />
  <row Id="25727" PostHistoryTypeId="2" PostId="15582" RevisionGUID="3f46973a-556e-4311-bf21-5ed8fab6c646" CreationDate="2012-10-02T21:35:22.060" UserId="4281" Text="Hey All,&#xD;&#xA;&#xD;&#xA;I'm interested to hear everyone's thoughts on normalising sound libraries (or 'normalizing' as Firefox seems to want me to call it!)&#xD;&#xA;&#xD;&#xA;How do you go about it?  -0.1/-0.3/-1/-3dBFS?  Not at all?  Play it by Ear?  I've seen quite a lot of divided opinion elsewhere, intrigued to see what people here do.&#xD;&#xA;&#xD;&#xA;Many thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25728" PostHistoryTypeId="1" PostId="15582" RevisionGUID="3f46973a-556e-4311-bf21-5ed8fab6c646" CreationDate="2012-10-02T21:35:22.060" UserId="4281" Text="Normalising Sound Libraries" ContentLicense="CC BY-SA 3.0" />
  <row Id="25729" PostHistoryTypeId="3" PostId="15582" RevisionGUID="3f46973a-556e-4311-bf21-5ed8fab6c646" CreationDate="2012-10-02T21:35:22.060" UserId="4281" Text="&lt;sound-libraries&gt;&lt;normalize&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25730" PostHistoryTypeId="2" PostId="15583" RevisionGUID="296de5af-89d5-44bf-85e5-7a0b4e31d28a" CreationDate="2012-10-02T21:38:43.763" UserId="3179" Text="Sounds like a crap way to do it compared to what can be done with proper audio middleware or a programmer who's willing and capable of coding the audio API they're using so that it can do cross-fades and pitch shifting for the car audio.&#xD;&#xA;&#xD;&#xA;For example FMOD has a car engine done with looping samples, crossfades and volume curves and pitch shifting. And it's like the bare minimum way I'd like to work on car audio myself, because the tools for doing it that way exist and it can sound great.&#xD;&#xA;&#xD;&#xA;If you need to go that same route as the original guy, then I'd get good samples to start with. If you can't get them to loop even with pitch correction and balancing the volume and changes in frequency balance, then the samples are unusable. You might even find some packs that have ready loops (even at different RPMs). Then it should be rather straightforward to do the transition files using pitch shifting and/or granular synthesis.&#xD;&#xA;&#xD;&#xA;And well, if the car sound doesn't need to be realistic then different types of car/engine-like sounds can be created with samplers using loop points and pitch shifting, synthesizers and granular synthesis." ContentLicense="CC BY-SA 3.0" />
  <row Id="25731" PostHistoryTypeId="5" PostId="15583" RevisionGUID="1ec7118e-ddb2-4ca5-8422-8c6333aa9a1e" CreationDate="2012-10-02T21:45:11.070" UserId="3179" Comment="added 8 characters in body" Text="Sounds like a crap way to do it compared to what can be done with proper audio middleware or a programmer who's willing and capable of coding the audio API they're using so that it can do cross-fades and pitch shifting for the car audio.&#xD;&#xA;&#xD;&#xA;For example FMOD has a car engine example done with looping samples, crossfades and volume curves and pitch shifting. And it's like the bare minimum way I'd like to work on car audio myself, because the tools for doing it that way exist and it can sound great.&#xD;&#xA;&#xD;&#xA;If you need to go that same route as the original guy, then I'd get good samples to start with. If you can't get them to loop even with pitch correction and balancing the volume and changes in frequency balance, then the samples are unusable. You might even find some packs that have ready loops (even at different RPMs). Then it should be rather straightforward to do the transition files using pitch shifting and/or granular synthesis.&#xD;&#xA;&#xD;&#xA;And well, if the car sound doesn't need to be realistic then different types of car/engine-like sounds can be created with samplers using loop points and pitch shifting, synthesizers and granular synthesis." ContentLicense="CC BY-SA 3.0" />
  <row Id="25732" PostHistoryTypeId="2" PostId="15584" RevisionGUID="d54032c6-f057-4492-b886-d6b5405437eb" CreationDate="2012-10-02T22:05:31.897" UserId="3179" Text="Just peak normalizing does not really matter. Normalizing by RMS level could get closer. But ideally the files should be balanced by ear, taken that it's done with care so that you aren't gain riding or equalizing the files excessively to achieve that, but just balancing them mildly without causing some irreversible changes to the sounds that may not be fit for someone's intended use. Or if you apply considerable amounts of processing, then you should supply the end-user with both processed and unprocessed versions, so they can make the pick of which ones to use." ContentLicense="CC BY-SA 3.0" />
  <row Id="25733" PostHistoryTypeId="2" PostId="15585" RevisionGUID="3c523008-ab69-44d9-93ad-7f99853bdbde" CreationDate="2012-10-02T22:12:35.937" UserId="3138" Text="Thanks Colton and Filipe for your suggestions,  will have a look at Dual eyes" ContentLicense="CC BY-SA 3.0" />
  <row Id="25734" PostHistoryTypeId="2" PostId="15586" RevisionGUID="71ea70d8-0eab-4ddf-be93-1fdf35d0a4e2" CreationDate="2012-10-03T01:56:27.813" UserDisplayName="user49" Text="Surely the idea of &quot;normalising sound libraries&quot; is dependent on content? I surely would not want ambiences normalised to the same level as a gun shot...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25735" PostHistoryTypeId="2" PostId="15587" RevisionGUID="4e577a3d-c838-4db4-bfd0-c2359a709b25" CreationDate="2012-10-03T05:42:21.150" UserId="4282" Text="I was wondering how viable it is to sell a custom fx library as a potential income stream.  I'm trying to set expectations on how many units one is likely to sell as an independent distributor.  I would be doing this on my own website not through any 3rd party site.  Assuming promotion is not completely incompetent, is somewhere between 500 to 1000 downloads a realistic expectation or way off?  Does anyone have good experience selling off of their own site?  I've read one post saying they typically lose money on these, so would love to hear anyone's feedback.  Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25736" PostHistoryTypeId="1" PostId="15587" RevisionGUID="4e577a3d-c838-4db4-bfd0-c2359a709b25" CreationDate="2012-10-03T05:42:21.150" UserId="4282" Text="Viability of sound fx library as income stream?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25737" PostHistoryTypeId="3" PostId="15587" RevisionGUID="4e577a3d-c838-4db4-bfd0-c2359a709b25" CreationDate="2012-10-03T05:42:21.150" UserId="4282" Text="&lt;library-sound-effects&gt;&lt;income&gt;&lt;expected-income&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25739" PostHistoryTypeId="2" PostId="15589" RevisionGUID="f69990d9-5728-46e9-a66e-dcdfa229e810" CreationDate="2012-10-03T06:57:29.900" UserId="654" Text="Maggot's &quot;Assemblerator&quot; or Sounds in Syncs &quot;EdiLoad&quot; both do what you need if you can get an EDL." ContentLicense="CC BY-SA 3.0" />
  <row Id="25740" PostHistoryTypeId="2" PostId="15590" RevisionGUID="7129a41f-aa13-4046-b8f1-cd8de98c288b" CreationDate="2012-10-03T07:16:53.827" UserId="6519" Text="Do you know this? [Crankcase Audio's REV‎.][1]&#xD;&#xA;&#xD;&#xA;Look at this : [Introduction to REV Video][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://crankcaseaudio.com/&#xD;&#xA;  [2]: http://www.youtube.com/watch?feature=player_embedded&amp;v=kpeJdErx5b4" ContentLicense="CC BY-SA 3.0" />
  <row Id="25741" PostHistoryTypeId="2" PostId="15591" RevisionGUID="f301a366-2ab9-4dea-9cdd-acbdf537c071" CreationDate="2012-10-03T07:22:10.003" UserId="18" Text="500 to 1000 downloads of a single sound library?  No, you're probably not going to get that.  50 to 100 downloads maybe, and it would probably take you a year to get close to that number.  10 to 20 downloads of a library is realistic.  I'm not trying to be negative, just being honest.  The market is just not that big.&#xD;&#xA;&#xD;&#xA;Now, if you're offering thousands of individual downloads or a huge collection of libraries (like 50+) you can probably start to hit those numbers with combined sales.  It will be a slow climb though and you have to be in it for the long haul." ContentLicense="CC BY-SA 3.0" />
  <row Id="25742" PostHistoryTypeId="2" PostId="15592" RevisionGUID="6e816790-a2d9-42e4-85ec-dae7229c24ef" CreationDate="2012-10-03T11:04:15.853" UserId="3581" Text="Chapter 52 of the Protools 10 reference guide gives an explanation about the workflow with field recorders. Is really simple and fast and you don't need any additional software.&#xD;&#xA;OR Watch http://www.youtube.com/watch?v=Gz9e9LuIdXU : Production Sound Workflow with Pro Tools - AGENT MX-Z3RO" ContentLicense="CC BY-SA 3.0" />
  <row Id="25743" PostHistoryTypeId="2" PostId="15593" RevisionGUID="fd4b478d-69b8-4ada-a4d1-ce1140c1c45a" CreationDate="2012-10-03T12:35:45.777" UserId="1011" Text="I agree with Chuck.&#xD;&#xA;&#xD;&#xA;A single library bundle, or perhaps 10, won't have much impact.  You'll need to bulk up your library, and add to it over time.  When your library grows, you'll see it take off.&#xD;&#xA;&#xD;&#xA;I began selling individual downloads about 6 years ago.  I had 2,500 sounds.  I placed them on a handful of websites.  They did fine, but not spectacular.&#xD;&#xA;&#xD;&#xA;It was only years later when the amount grew over 10k that things took off.&#xD;&#xA;&#xD;&#xA;That's not to say you need that number of sounds.  Packs work a bit differently, and in fact may be a wiser choice.  However there is a tipping point.  Keep at it.  It is, as Chuck noted, a long haul game.&#xD;&#xA;&#xD;&#xA;Also, quality is important.  One pack with 500 standard sounds will be less successful than an exceptional pack with 40 sounds.&#xD;&#xA;&#xD;&#xA;I think the market is big enough to make a go of it, but it is fairly saturated right now.  Focus on rare, diligent recordings and you'll do well.&#xD;&#xA;&#xD;&#xA;Paul" ContentLicense="CC BY-SA 3.0" />
  <row Id="25744" PostHistoryTypeId="5" PostId="15593" RevisionGUID="d2f48422-3fa6-4c78-ba9c-99808a524d73" CreationDate="2012-10-03T12:45:58.490" UserId="1011" Comment="added 29 characters in body" Text="I agree with Chuck.&#xD;&#xA;&#xD;&#xA;A single library bundle, or perhaps 10, won't have much impact.  You'll need to bulk up your library, and add to it over time.  When your library grows, you'll see it take off.&#xD;&#xA;&#xD;&#xA;A story from my own experience: I began selling individual downloads about 6 years ago.  I had 2,500 sounds.  I placed them on a handful of websites.  They did fine, but not spectacular. It was only years later when the amount grew over 10k that things took off.&#xD;&#xA;&#xD;&#xA;That's not to say you need that number of sounds.  Packs work a bit differently, and in fact may be a wiser choice.  However there is a tipping point.  Keep at it.  It is, as Chuck noted, a long haul game.&#xD;&#xA;&#xD;&#xA;Also, quality is important.  One pack with 500 standard sounds will be less successful than an exceptional pack with 40 sounds.&#xD;&#xA;&#xD;&#xA;I think the market is big enough to make a go of it, but it is fairly saturated right now.  Focus on rare, diligent recordings and you'll do well.&#xD;&#xA;&#xD;&#xA;Paul" ContentLicense="CC BY-SA 3.0" />
  <row Id="25745" PostHistoryTypeId="2" PostId="15594" RevisionGUID="9e016e38-bf0d-4050-aaec-46619821b48b" CreationDate="2012-10-03T12:58:43.657" UserId="1011" Text="I agree with @tim that normalizing depends on content.&#xD;&#xA;&#xD;&#xA;I've written up what I call a &quot;style sheet&quot; for our team.  It's guideline of how certain effects should be normalized.  It's not rigid, purely a starting point, but is something like this:&#xD;&#xA;&#xD;&#xA; - Specifics: -10 to -3 dBFS (door knob&#xD;&#xA;   moves on the low side, gunshots on&#xD;&#xA;   the high end)&#xD;&#xA; - Atmospheres: -12 to -8 dBFS (birdsong&#xD;&#xA;   on the lower end, traffic higher)&#xD;&#xA; - Wind: -15 to -10 dBFS (higher end for&#xD;&#xA;   the gusts or piercing whistles)&#xD;&#xA; - Room tones: -15 dBFS, sometimes lower&#xD;&#xA;&#xD;&#xA;We usually discard any sound below -15 or -20 dBFS as it is too quiet or hissy to be useful for our projects.&#xD;&#xA;&#xD;&#xA;Of course, it all depends on the content, and how you like to use it.  Each effect's level is customized.&#xD;&#xA;&#xD;&#xA;Whichever your choice, avoid normalizing everything to the same level.  This is murder to audition: wind will be the same level as a metal crash or jet pass.&#xD;&#xA;&#xD;&#xA;Paul&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25749" PostHistoryTypeId="2" PostId="15596" RevisionGUID="d8f21ff2-a9b7-4ca3-96fb-f3e4f45004b6" CreationDate="2012-10-03T16:13:08.747" UserDisplayName="user80" Text="Hire a lav with extra wind protection and mount it onto one of the boots." ContentLicense="CC BY-SA 3.0" />
  <row Id="25750" PostHistoryTypeId="2" PostId="15597" RevisionGUID="c6353bd2-37e6-4c7e-b673-81d8082a9208" CreationDate="2012-10-03T19:44:53.317" UserId="3835" Text="I buy a lot of music in FLAC format and i usually import it into iTunes using 'Fluke' then convert it to Apple Lossless. My friend has ripped a vinyl for me at 24Bit/96kHz and FLAC encoded it. When i try converting it into other formats it basically maximizes it by a ridiculous amount and is just a mess of distortion. Does anyone know some software or a technique of getting these files into a more manageable format while still preserving it's quality?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25751" PostHistoryTypeId="1" PostId="15597" RevisionGUID="c6353bd2-37e6-4c7e-b673-81d8082a9208" CreationDate="2012-10-03T19:44:53.317" UserId="3835" Text="Converting 24Bit/96kHz FLAC" ContentLicense="CC BY-SA 3.0" />
  <row Id="25752" PostHistoryTypeId="3" PostId="15597" RevisionGUID="c6353bd2-37e6-4c7e-b673-81d8082a9208" CreationDate="2012-10-03T19:44:53.317" UserId="3835" Text="&lt;file-conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25753" PostHistoryTypeId="2" PostId="15598" RevisionGUID="4bcb74ad-85c9-4483-b519-3c279ea0d003" CreationDate="2012-10-03T19:49:48.633" UserId="432" Text="Have you tried pulling it in to [Audacity][1] and exporting it into a new format? The software is free, and it can handle FLAC files. I don't really understand what's going on in the conversion process you're using from iTunes, but it would be worth trying a different piece of software.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25754" PostHistoryTypeId="2" PostId="15599" RevisionGUID="33715975-2135-4052-8a0a-5bd001ae8e0d" CreationDate="2012-10-03T20:19:09.973" UserId="455" Text="To add your question, I'd be curious if anyone has attempted to foley ice skate movements with props in a traditional foley booth.  &#xD;&#xA;&#xD;&#xA;I had a similar project a year or so ago- VERY low budget animation.  Unfortunately I had to cut in library effects because there was NO money, and I live in Los Angeles.  It was passable but I would have loved to record some fresh material.  This is pretty high up on my list of things to record.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25756" PostHistoryTypeId="2" PostId="15600" RevisionGUID="2d2b61b8-c1b1-45c4-95d6-6d88f33fd400" CreationDate="2012-10-04T05:55:27.280" UserId="4286" Text="The standard ISO for a 31 band Eq is as follows&#xD;&#xA;HZ:20/25/31.5/40/50/63/80/100/125/160/200/250/315/400/500/630/800/1K/1.25K/1.6K/ 2K/ 2.5K/3.15K/4K/5K/6.3K/8K/10K/12.5K/16K/20K.&#xD;&#xA;&#xD;&#xA;But I think that this wasn’t the question, the question was how to calculate it, right?&#xD;&#xA;&#xD;&#xA;First, every octave doubles or divides per two a chosen frequency.  &#xD;&#xA;                                            &#xD;&#xA;Let’s take as a reference 400 Hz, the upper octave of this frequency is 800, and the lower 200. Let’s assume that you want a 1/3 octave Eq: 800Hz-400Hz=400Hz; &#xD;&#xA;&#xD;&#xA;Then 400Hz/3 = 133.33^Hz&#xD;&#xA;This means that the frequencies would be: 400/ 533.33^ (400+133.33^)/                                 666.66^ (400+133.33^x2)/ 799.99^ (400+133.33^x3)&#xD;&#xA;&#xD;&#xA;And for the lower octave 400-200=200; 200/3=66.66^; &#xD;&#xA;So: 200/ 266.66/333.3266/399.99&#xD;&#xA;&#xD;&#xA;Notice that standard ISO has rounded those numbers 200/250/315/400&#xD;&#xA;&#xD;&#xA;If you want an 1/12 octave for the frequencies among 400 and 800, then 400/12=33.33^&#xD;&#xA;Then: 400/433.33^/466.66^/etc. and then rounded.&#xD;&#xA;&#xD;&#xA;Notice also that the upper octave of 16K is 32K, so out of human range.&#xD;&#xA;I hope it helps.&#xD;&#xA;Regards.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25757" PostHistoryTypeId="2" PostId="15601" RevisionGUID="3e3e3b6d-ea86-419f-ac6d-c13f03109800" CreationDate="2012-10-04T12:07:58.993" UserId="863" Text="Hello,&#xD;&#xA;&#xD;&#xA;realise its been asked before but does anyone know any sites which supply fighter jet recordings for download? I'm looking for specifics.. RAF/Eurofighter planes. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25758" PostHistoryTypeId="1" PostId="15601" RevisionGUID="3e3e3b6d-ea86-419f-ac6d-c13f03109800" CreationDate="2012-10-04T12:07:58.993" UserId="863" Text="airplane sound fx" ContentLicense="CC BY-SA 3.0" />
  <row Id="25759" PostHistoryTypeId="3" PostId="15601" RevisionGUID="3e3e3b6d-ea86-419f-ac6d-c13f03109800" CreationDate="2012-10-04T12:07:58.993" UserId="863" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25760" PostHistoryTypeId="2" PostId="15602" RevisionGUID="1e8ca71b-b321-4cb2-98a7-8805cb61b0a5" CreationDate="2012-10-04T14:45:23.237" UserId="69" Text="Check out John Leonard's Sounds of Flight:&#xD;&#xA;http://www.johnleonard.co.uk/immersive.html&#xD;&#xA;&#xD;&#xA;Best" ContentLicense="CC BY-SA 3.0" />
  <row Id="25761" PostHistoryTypeId="2" PostId="15603" RevisionGUID="a194ae7e-dd28-41a1-b453-8f02a1966e8f" CreationDate="2012-10-04T16:53:33.950" UserId="4287" Text="What microphone would be appropriate to record heartbeats? I want to record people off the street so it has to be easy for the person to hold in place themselves for a couple of minutes whilst standing up without causing too many extraneous noises. It would be great if it gave the impression of 'medically legitimate professional' rather than 'home-made pervert freak'.&#xD;&#xA;&#xD;&#xA;It's being made in London to form part of the music for a modern dance show in Korea." ContentLicense="CC BY-SA 3.0" />
  <row Id="25762" PostHistoryTypeId="1" PostId="15603" RevisionGUID="a194ae7e-dd28-41a1-b453-8f02a1966e8f" CreationDate="2012-10-04T16:53:33.950" UserId="4287" Text="Recording Heartbeats" ContentLicense="CC BY-SA 3.0" />
  <row Id="25763" PostHistoryTypeId="3" PostId="15603" RevisionGUID="a194ae7e-dd28-41a1-b453-8f02a1966e8f" CreationDate="2012-10-04T16:53:33.950" UserId="4287" Text="&lt;recording&gt;&lt;microphone&gt;&lt;human&gt;&lt;contact-mic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25764" PostHistoryTypeId="2" PostId="15604" RevisionGUID="c6ed6283-81ab-4221-9793-ee267350e9cd" CreationDate="2012-10-04T17:14:21.217" UserId="6460" Text="Unless you are recording in a very controlled environment, I would not recommend a contact mic (which is, ultimately, a better-sounding stethoscope). A standard capsule-based mic will likely generate too much noise (or pick up noise from the surrounding area) because you'll need to turn it up significantly to pick up a pulse.&#xD;&#xA;&#xD;&#xA;Check these out: http://www.c-ducer.com/&#xD;&#xA;&#xD;&#xA;They are contact mics that could easily be mistaken for medical electrodes but anyone who doesn't know better (it basically feels like a leather strip, and it comes with its own double-sided tape). I own a pair and they sound fantastic — very low noise and they come in a kit with a phantom-powered impedance convertor that terminates in a standard XLR to plug in to any preamp. They're advertised for violin, harp, piano, and any instrument where there is a resonant body. Properly fitted to the upper chest and/or neck, I'm sure you could get some good heartbeat sounds. &#xD;&#xA;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25765" PostHistoryTypeId="2" PostId="15605" RevisionGUID="b63ddc49-1307-472c-8ef7-1a6d0fb8dd72" CreationDate="2012-10-04T17:58:56.923" UserId="4288" Text="You can convert any FLAC to AIF ( for iTunes ) with the free XLD application. XLD is also an excellent ripper, slightly better-sounding than iTunes." ContentLicense="CC BY-SA 3.0" />
  <row Id="25766" PostHistoryTypeId="2" PostId="15606" RevisionGUID="afdeef1a-61c9-4baa-a23c-66b0235c2215" CreationDate="2012-10-04T18:47:27.167" UserId="6411" Text="You could try Diego Stocco's method. Check out his [stethoscope mic at :24][1]. Looks like a Rode NT-6 with a modded stethoscope attachment.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=fY-ZoVMwGKM" ContentLicense="CC BY-SA 3.0" />
  <row Id="25767" PostHistoryTypeId="2" PostId="15607" RevisionGUID="40b224b4-1fda-49a1-858a-522d8cd2ae6d" CreationDate="2012-10-04T19:20:33.807" UserId="4289" Text="Hello ! &#xD;&#xA;&#xD;&#xA;If you've got one, you could try with a hydrophone mic in contact with your chest.&#xD;&#xA;It's not the best way, because you will have noise to deal with, but maybe you can get what you're looking for.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Clem" ContentLicense="CC BY-SA 3.0" />
  <row Id="25768" PostHistoryTypeId="2" PostId="15608" RevisionGUID="aaa1019f-9be8-46f9-99dc-42176a60a50f" CreationDate="2012-10-04T21:53:59.973" UserId="1153" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I've set up my website via wordpress and am now having some issues trying to find a shop plugin that allows large file sizes to be downloaded. I've managed to surpass the wp upload limit via ftp and can successfully download the zip file via the same ftp with the file unzipping and working fine, pointing to wp and the plugin I am using. Generally the file downloads to the correct size and won't unzip stating corruption or will download to a smaller/greater file size, then state the same corruption (the download has been tried from multiple computers at multiple addresses).&#xD;&#xA;&#xD;&#xA;The Zip file is 142.5 mb (25 sounds plus info files).&#xD;&#xA;&#xD;&#xA;Plugins I've tried are:&#xD;&#xA;&#xD;&#xA;Cart66 Lite&lt;br&gt;&#xD;&#xA;Easy Digital Downloads&lt;br&gt;&#xD;&#xA;Market Press Lite&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Have you had any experience with similar issues? Have any plugins that you'd recommend? Or would an external store provider that I could connect to my store perhaps be better?&#xD;&#xA;&#xD;&#xA;Any help is much appreciated, all I want to do is share these sounds after all the hard work!&#xD;&#xA;&#xD;&#xA;Alan" ContentLicense="CC BY-SA 3.0" />
  <row Id="25769" PostHistoryTypeId="1" PostId="15608" RevisionGUID="aaa1019f-9be8-46f9-99dc-42176a60a50f" CreationDate="2012-10-04T21:53:59.973" UserId="1153" Text="Sound Effects Retail - Download Plugins" ContentLicense="CC BY-SA 3.0" />
  <row Id="25770" PostHistoryTypeId="3" PostId="15608" RevisionGUID="aaa1019f-9be8-46f9-99dc-42176a60a50f" CreationDate="2012-10-04T21:53:59.973" UserId="1153" Text="&lt;websites&gt;&lt;sound-libraries&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25771" PostHistoryTypeId="2" PostId="15609" RevisionGUID="eb1dcedd-b41a-4ddf-8206-421687b506e6" CreationDate="2012-10-04T22:33:28.030" UserId="4279" Text="Are you trying to sell the sounds or just give them away?  If you're selling them, you might try a PayPal solution that redirects back to your download page once the user pays.  If you're just having trouble downloading, you shouldn't need a plugin for this.  Just find the path where the zip file is and post that link to download.  As for corruption, are you certain the entire zip file is downloaded before you try to open it?  It could be the download is getting hung up somewhere and you are trying to open it prematurely.  It's also possible the entire library didn't get uploaded even though it appears to have been via ftp.  You could be running into that upload limit.  I'd try looking at the zip file in your ftp client and getting info on that first.  Check what size it is after you upload it." ContentLicense="CC BY-SA 3.0" />
  <row Id="25772" PostHistoryTypeId="2" PostId="15610" RevisionGUID="1897a2dc-1111-47ee-b6a5-8237568752ab" CreationDate="2012-10-04T22:47:28.353" UserDisplayName="user49" Text="FWIW I tried a few wp plugs for data delivery &amp; the one I intended to use worked except every downlaod stopped at about 50MB!?! After hassling the developer and my host tech, it turned out to be a RAM problem on the server with how much RAM was available to php (which is what wp and plugs run on) - I didnt find a solution &amp; moved ecomm &amp; data delivery to EJunkie" ContentLicense="CC BY-SA 3.0" />
  <row Id="25773" PostHistoryTypeId="2" PostId="15611" RevisionGUID="547c5fc1-3787-4e90-9c1a-1437a6bd93d2" CreationDate="2012-10-04T23:20:41.577" UserId="1129" Text="I am a fan of dBPowerAmp Batch Converter for my audio transcoding needs." ContentLicense="CC BY-SA 3.0" />
  <row Id="25774" PostHistoryTypeId="2" PostId="15612" RevisionGUID="fe4a9f76-a81e-4f16-a243-80ac03bf59ee" CreationDate="2012-10-04T23:26:41.613" UserId="4290" Text="Although expensive, [Stephan Schutze's Aircraft Collection][1] is the most thorough and high quality collection of airplane recordings I am aware of. Take a look through what it included - I would be surprised if it didn't have what you were after.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.prosoundeffects.com/the-aviation-collection.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="25775" PostHistoryTypeId="2" PostId="15613" RevisionGUID="e1f4fb0d-3b47-4d23-b098-f34654459839" CreationDate="2012-10-05T01:17:32.380" UserId="4259" Text="@Clem. If you're using a hydrophone, you could do the recording underwater in contact with your chest. This might actually make it feel like you're inside the bloodstream. You would need a very quiet body of water, though." ContentLicense="CC BY-SA 3.0" />
  <row Id="25776" PostHistoryTypeId="2" PostId="15614" RevisionGUID="ce05642d-3690-434b-bdf4-322c39413842" CreationDate="2012-10-05T01:43:51.610" UserId="4291" Text="Hi Everybody, i'm an Italian guy who will graduate at the conservaotry of Padova in this december as sound engineer. &#xD;&#xA;Recently i discovered (and start to love) the figure of Sound Designer into film and most important Videogame.&#xD;&#xA;I know that now is late for the various MC, but i've seen this course of Sound Design at the London School Of Sound that starts in february and i wanna ask if somebody could give me a feedback about it. Is it a good course? Maybe there's other courses that start at the beginning of 2013?&#xD;&#xA;&#xD;&#xA;Here the link of the course: http://www.londonschoolofsound.co.uk/mp181.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="25777" PostHistoryTypeId="1" PostId="15614" RevisionGUID="ce05642d-3690-434b-bdf4-322c39413842" CreationDate="2012-10-05T01:43:51.610" UserId="4291" Text="Sound Design course - London School Of Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="25778" PostHistoryTypeId="3" PostId="15614" RevisionGUID="ce05642d-3690-434b-bdf4-322c39413842" CreationDate="2012-10-05T01:43:51.610" UserId="4291" Text="&lt;design&gt;&lt;course&gt;&lt;london&gt;&lt;masters-degree&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25779" PostHistoryTypeId="5" PostId="15604" RevisionGUID="a4805a7f-2731-44d2-baf5-ae0f7a39f78d" CreationDate="2012-10-05T06:26:39.763" UserId="6460" Comment="deleted 4 characters in body" Text="Unless you are recording in a very controlled environment, I would recommend a contact mic (which is, ultimately, a better-sounding stethoscope). A standard capsule-based mic will likely generate too much noise (or pick up noise from the surrounding area) because you'll need to turn it up significantly to pick up a pulse.&#xD;&#xA;&#xD;&#xA;Check these out: http://www.c-ducer.com/&#xD;&#xA;&#xD;&#xA;They are contact mics that could easily be mistaken for medical electrodes but anyone who doesn't know better (it basically feels like a leather strip, and it comes with its own double-sided tape). I own a pair and they sound fantastic — very low noise and they come in a kit with a phantom-powered impedance convertor that terminates in a standard XLR to plug in to any preamp. They're advertised for violin, harp, piano, and any instrument where there is a resonant body. Properly fitted to the upper chest and/or neck, I'm sure you could get some good heartbeat sounds. &#xD;&#xA;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25780" PostHistoryTypeId="2" PostId="15615" RevisionGUID="c77ea2dc-eacc-4028-b567-51873c154458" CreationDate="2012-10-05T06:51:00.977" UserId="6748" Text="Hi Alan&#xD;&#xA;&#xD;&#xA;Your problem is not easy to answer and maybe it belongs to a web-developer forum. I'd recommend you to find out by trial and error what the problems are: Try to make a hard-link to a testfile with the same size. Download it with firefox. If the download works, the problem is not on the hoster and it accutally should work.&#xD;&#xA;Try download by ftp, (try filezilla for this) this should work. Try download with the scripts. If it don't works, than the problem is on the scripts, not on the server.&#xD;&#xA;Most of the scripts you find for downloading are developt for easy stuff, like mp3 songs or pictures with some MB of data. If you want to provide bigger packs from several GBs, you cannot use the scripts anymore, because they get time-outs. This means, a script who provide a small file probably needs some seconds to run. If you provide 1GB, it will run some houres or a day. For security reasons, servers have a time-limit and stop scripts after 60s or whater it is set. This is very important, otherwise bad scripts can crash down a server with endless running scripts.&#xD;&#xA;&#xD;&#xA;With php you can set max_execution_time('300'); to 300 seconds, http://www.php.net/manual/en/info.configuration.php#ini.max-execution-time but this is not the solution for large files. You have to give out large files by the apache-server with a hard link. If you want to hide the link, you need programming skills, a lot of nervs and time. Or you set up a password-protected area and provide links to users by hand and open the area for the single users on request.&#xD;&#xA;&#xD;&#xA;Sorry for no 'easy'-answer,&#xD;&#xA;&#xD;&#xA;Guido https://www.soundeffects.ch&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25781" PostHistoryTypeId="2" PostId="15616" RevisionGUID="f790c1e6-4a28-4fc0-a4f3-ffacab0c7349" CreationDate="2012-10-05T08:43:50.720" UserId="994" Text="Hello Marco,&#xD;&#xA;&#xD;&#xA;I didn't attend to this school, but after quick look at program course I must say - it looks like it's not what you're looking for. It is mainly focused on synthesis techniques and it feels that this course is rather prepaired for electronic musician/producer than a sound designer for film - there aren't any topics which are covering sound effects editing/designing for film and narrative concepts of film sound. Sound synthesis is widely used tool in sound design for film, but it's only a tool... " ContentLicense="CC BY-SA 3.0" />
  <row Id="25782" PostHistoryTypeId="2" PostId="15617" RevisionGUID="5ce0ab7a-8853-496d-b35e-e9de6b40b6b8" CreationDate="2012-10-05T11:06:26.030" UserId="37" Text="come on, there's got to be a more extreme version that involves ingesting things or, you know, probing of some sort. :D&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25783" PostHistoryTypeId="2" PostId="15618" RevisionGUID="5595ad47-552a-47a0-9193-c8b4a74b0633" CreationDate="2012-10-05T17:35:12.477" UserId="1145" Text="I have done some great hartbeat recordings with the H2a Hydrophone from Aquarian.&#xD;&#xA;It may be a good idea to try with the [adapter][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.aquarianaudio.com/contact-mic-adapter.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="25784" PostHistoryTypeId="2" PostId="15619" RevisionGUID="d0f92164-c1e2-41fe-8102-de93a36ad4b0" CreationDate="2012-10-05T20:16:23.913" UserId="1011" Text="Hi Alan,&#xD;&#xA;&#xD;&#xA;Both Guido and Tim are right.&#xD;&#xA;&#xD;&#xA;The problem is the default settings of your server.  These default limits are placed on shared servers on lower hosting plans (i.e., like Hostgator's Hatchling plan).  This is done so that the basic hosting plans don't steal performance from other accounts on the same server, etc.&#xD;&#xA;&#xD;&#xA;These settings are stored in the &quot;php.ini&quot; file in your root directory.  You'll have to modify it to accommodate larger timeouts as Guido describes.  This is an easy five minute fix.  It's just like editing a text file. I'd advise hiring a developer to do it if you're not familiar with making the changes, syntax, etc.&#xD;&#xA;&#xD;&#xA;Another issue is that some hosts won't allow you to change this value unless you upgrade to the next plan.  The reason is because it has potential to undermine performance for other customers on shared hosting plans.&#xD;&#xA;&#xD;&#xA;If you don't want to mess with this you can go with a distribution service.  They cost, though.  The rate depends.  [eJunkie][1] charges you a monthly rate depending on the amount of material they store for you, and the number of items.  This is good if you are expecting a lot of sales.&#xD;&#xA;&#xD;&#xA;If you're starting slow [Payloadz][2] is another option.  It's a flat monthly rate, with a small fee for each transaction.  I used Payloadz for years (not any longer) and it was seamless.&#xD;&#xA;&#xD;&#xA;Best of luck,&#xD;&#xA;&#xD;&#xA;Paul&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.e-junkie.com/&#xD;&#xA;  [2]: https://www.payloadz.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25785" PostHistoryTypeId="2" PostId="15620" RevisionGUID="d94eefd6-b205-4542-9fa8-238e37118eed" CreationDate="2012-10-05T20:19:02.833" UserId="3875" Text="find Carl-Frank Westermann. http://www.udk-berlin.de/sites/soundstudies/content/index_ger.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="25786" PostHistoryTypeId="2" PostId="15621" RevisionGUID="40d464d9-8f44-4fa2-b74b-96dafdc6cf77" CreationDate="2012-10-05T20:30:54.960" UserId="3875" Text="@filipe-chagas how often are the feet actually in the shots? you could also put fabric on the floor so it doesn't interfere with the dialogue recording.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25787" PostHistoryTypeId="2" PostId="15622" RevisionGUID="c52aed56-ccec-4601-9ab8-b90f45c3f7e7" CreationDate="2012-10-06T10:08:17.737" UserId="6432" Text="I don't think there's any sound equivalent yet, because the curve from positive to negative is so specific:&#xD;&#xA;&#xD;&#xA;&quot;Mori's original hypothesis states that as the appearance of a robot is made more human, a human observer's emotional response to the robot will become increasingly positive and empathic, until a point is reached beyond which the response quickly becomes that of strong revulsion&quot;&#xD;&#xA;&#xD;&#xA;It seems like the effect is specific to something mimicking us, so perhaps the obvious audio equivalent for this is speech synthesis. I imagine that we're not so far from creating basic systems using voice recognition, basic AI and speech synthesis for roles such as handling queries in call centres or other similar tasks. When these become so realistic that you're really not sure whether it's a person or a machine on the other end, that could be very strange indeed, and possibly incite the same revulsion that characterises the uncanny valley.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25788" PostHistoryTypeId="2" PostId="15623" RevisionGUID="4bebf3ca-f8ff-4a67-bd52-870d9a325f69" CreationDate="2012-10-06T12:31:50.413" UserId="3866" Text="Hi Marco,&#xD;&#xA;&#xD;&#xA;I did the Pro Tools 101 and 110 courses at London School of Sound. The classes are very small (there was only 2 of us) so you get a lot of attention, and the tutor was very good.&#xD;&#xA;&#xD;&#xA;However, these courses are mainly aimed at people who want to learn how to use Pro Tools and plugins, not so much for techniques in sound design.&#xD;&#xA;&#xD;&#xA;If you are already graduating as a Sound Engineer I'd recommend you look for a junior/entry level job in the industry and work you way up. There are plenty of Runner jobs at Post Production facilities around London.&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25789" PostHistoryTypeId="2" PostId="15624" RevisionGUID="e9bf92be-ff64-4c05-97a3-eb889bc03fab" CreationDate="2012-10-06T13:54:30.167" UserId="3866" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm looking to buy some microphones to record some outdoor atmospheres (traffic, park, outdoor crowd, etc.). &#xD;&#xA;&#xD;&#xA;I have experience recording indoor sounds like vocals and foley but no outdoor recording experience. My budget is pretty low so I know my choice is limited but would love some help in choosing the right mics.&#xD;&#xA;&#xD;&#xA;Any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25790" PostHistoryTypeId="1" PostId="15624" RevisionGUID="e9bf92be-ff64-4c05-97a3-eb889bc03fab" CreationDate="2012-10-06T13:54:30.167" UserId="3866" Text="Best Microphones for Recording Atmospheres" ContentLicense="CC BY-SA 3.0" />
  <row Id="25791" PostHistoryTypeId="3" PostId="15624" RevisionGUID="e9bf92be-ff64-4c05-97a3-eb889bc03fab" CreationDate="2012-10-06T13:54:30.167" UserId="3866" Text="&lt;atmosphere&gt;&lt;atmos&gt;&lt;microphone&gt;&lt;recording&gt;&lt;budget&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25792" PostHistoryTypeId="2" PostId="15625" RevisionGUID="ba957142-cca2-4dcd-ba64-f0279ed5cab2" CreationDate="2012-10-06T14:15:54.367" UserId="3197" Text="Sony PCM D50 if you're on a budget. Has a really low noise level for a handheld recorder although you'll need a wind cover if it's going to be of any use to you outside and the standard Sony one isn't much good." ContentLicense="CC BY-SA 3.0" />
  <row Id="25793" PostHistoryTypeId="2" PostId="15626" RevisionGUID="7e932e0c-73f4-4f2b-9dc0-415e4448c4be" CreationDate="2012-10-06T14:57:44.173" UserId="6454" Text="For microphones, the best bang for your buck with the added value of low self-noise...Rode mics are my &quot;go to.&quot;  I have a pair of NT55: small diaphragm condensors with exchangeable capsules (cardioid and omni) included.  You can look a factory matched pair and their specs [here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If you are recording ambiences it is nice to have a stereo pair and a stereo bar (or even dual stands if you aren't hiking too far out) vs an M/S pair or X/Y stereo mic in a single blimp.  Using either ORTF or Spaced Pair is ideal for ambiences.  Of course X/Y and M/S are fine, but the stereo image you get from ORTF or Spaced Pairs is much more defined.  Granted if you are hiking out far into the wild or running all over the city, the lighter and less gear you have the better.&#xD;&#xA;&#xD;&#xA;Also, self noise is the spec you want to check out the most in both your mics and your recorder.  Schoeps mics are amazing microphones and quite expensive, but they have a fair amount of self noise and thus aren't the most ideal for quiet ambiences.  People use them all the time, but Rode mics or, if you have a bit more money, Sennheiser MKH series are some of the quietest mics out there.&#xD;&#xA;&#xD;&#xA;Finally, what recorder are you using?  I don't have much experience with the Sony D50 mentioned above by Marco, but as far as I know it is a decent handheld but not ideal with external mics, supposedly it does have some of the better onboard mics for handhelds out there.  Sound Device products are amazing...wonderful pres, compact, robust, the whole package, though quite expensive.  I bit the bullet and bought one and have never been happier.  You could look into a 702 [here][2]  or a 704 and just see what you think.  If it is something you are going to be doing more of, it is a great box and I think worth the investment, but obviously you know your budget and need to be comfortable with your purchases.&#xD;&#xA;&#xD;&#xA;Good luck!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/mics/nt55-mp&#xD;&#xA;  [2]: http://www.sounddevices.com/products/702/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25794" PostHistoryTypeId="2" PostId="15627" RevisionGUID="c08f256c-db68-485d-8a62-4b24eb6bd19c" CreationDate="2012-10-06T19:09:07.003" UserId="726" Text="@rene another effective method of damping footfall noise discreetly is &quot;Tesa Tape&quot;. Definitely would recommend checking out" ContentLicense="CC BY-SA 3.0" />
  <row Id="25806" PostHistoryTypeId="2" PostId="15632" RevisionGUID="8bed5d3f-2364-4cc1-9c70-a25a180df371" CreationDate="2012-10-07T14:14:36.457" UserId="4116" Text="The way i see it udk only offers a master course for something like sound design, the bachelor is more to become a ¨tonmeister¨. But there are several other institutions like of course Babelsberg  http://www.hff-potsdam.de/de/studium/ba-studiengaenge/sound.html &#xD;&#xA;Ludwigsburg http://www.filmakademie.de/studium/studiengang-filmmusik-sounddesign/filmtonsounddesign/&#xD;&#xA;and Trossingen http://www.mh-trossingen.de/studium/musikdesign.html&#xD;&#xA;&#xD;&#xA;for all these study programms you have to have knowledge of musicology/compositon/music history (solfedge, rythmicdictee, sight score reading/writing)&#xD;&#xA;&#xD;&#xA;If you`re not a half composer or you don`t want to deal with music writing during your studies your quite lost in germany.&#xD;&#xA;&#xD;&#xA;But you should check out the courses of your dutch neighbors.&#xD;&#xA;Utrecht/Hilversum http://www.hku.nl/web/Studiekeuze/Muziek/SoundDesign.htm&#xD;&#xA;Amsterdam http://www.ahk.nl/filmacademie/opleidingen/sound-design/ &#xD;&#xA;&#xD;&#xA;You will have to learn dutch, quite doable for german natives, and you would have to pay studyfee, for which you can get a credit.&#xD;&#xA;&#xD;&#xA;If you would get BAFög in Germany, you will get even more when you study abroad ;-)&#xD;&#xA;&#xD;&#xA;I am studying at NFTA/Amsterdam and i find it splendid.&#xD;&#xA;So if you have any further questions feel free to ask!&#xD;&#xA;&#xD;&#xA;p.s.: Dont even look at the Musiccube Bonn&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25807" PostHistoryTypeId="2" PostId="15633" RevisionGUID="213cbaa9-5b14-4c18-9f75-19f5f7db0816" CreationDate="2012-10-07T14:29:48.570" UserId="4296" Text="Hello! My first post here, but Ive been a long-time background user.&#xD;&#xA;&#xD;&#xA;I have a scene in a film I'm working on, and a car is mis-fueled (petrol put into a diesel car)&#xD;&#xA;&#xD;&#xA;I dont drive (yet) and I havn't experienced this before. i would like to make my soundtrack as realistic as possible and Im wondering if any of you know what it sounds like?&#xD;&#xA;&#xD;&#xA;Hope you can help!&#xD;&#xA;&#xD;&#xA;Tom " ContentLicense="CC BY-SA 3.0" />
  <row Id="25808" PostHistoryTypeId="1" PostId="15633" RevisionGUID="213cbaa9-5b14-4c18-9f75-19f5f7db0816" CreationDate="2012-10-07T14:29:48.570" UserId="4296" Text="Sound editing - car misfueled, what sort of sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25809" PostHistoryTypeId="3" PostId="15633" RevisionGUID="213cbaa9-5b14-4c18-9f75-19f5f7db0816" CreationDate="2012-10-07T14:29:48.570" UserId="4296" Text="&lt;car&gt;&lt;sound-editing&gt;&lt;broken&gt;&lt;engine&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25810" PostHistoryTypeId="2" PostId="15634" RevisionGUID="44b30529-389c-44fd-870f-d837f9037174" CreationDate="2012-10-07T14:46:17.043" UserId="132" Text="I've experimented a bit with these mics, and I would rather have the sound of my mic and my chosen mic pre. This digital solutions take that out of the equation for me. Obviously it is all personal preference. I have also stuck with Schoeps CMC5 bodies because they don't use any surface mount electronics. The CMC 6's do. The CMC 6's are 1 db quieter, but I generally find the CMC5 bodies more pleasing. I also use a Cooper CS-104 as a front end to my Sound Devices, which is full of Jensen Transformers, so I'm on the opposite side of the spectrum." ContentLicense="CC BY-SA 3.0" />
  <row Id="25811" PostHistoryTypeId="2" PostId="15635" RevisionGUID="324daa2f-dfbe-43de-a710-8ca21a912c60" CreationDate="2012-10-07T15:23:48.523" UserDisplayName="user80" Text="http://www.youtube.com/watch?v=b5xhPAundL4&amp;feature=related&#xD;&#xA;&#xD;&#xA;At first there is little difference, but the longer you drive the car the greater the effect, the above video might help." ContentLicense="CC BY-SA 3.0" />
  <row Id="25812" PostHistoryTypeId="2" PostId="15636" RevisionGUID="63370b18-f4a1-41e1-9980-ae3a516c4601" CreationDate="2012-10-07T16:01:34.860" UserId="3933" Text="@twosdotsound I'm no expert but it may sound more believable to the audience if the 'Breaking down' sound was a car in a higher gear than it should be for the travelling speed. It creates a &quot;juddery&quot; sound before eventually stalling." ContentLicense="CC BY-SA 3.0" />
  <row Id="25813" PostHistoryTypeId="2" PostId="15637" RevisionGUID="44e67713-c65f-474e-b8c3-804c646b9f67" CreationDate="2012-10-07T20:21:42.483" UserId="863" Text="You could try NFTS, National Film and Theatre School, although they expect you to have some years of experience behind you before applying. So as above, get yourself into a studio, and do some freelance work and work a portfolio up." ContentLicense="CC BY-SA 3.0" />
  <row Id="25814" PostHistoryTypeId="2" PostId="15638" RevisionGUID="3b040f8b-0ac8-4bee-a06f-40a05b738265" CreationDate="2012-10-08T05:14:21.270" UserId="1178" Text="As everyone else here said already, the course is mainly focusing on synth synthesis and not so much on on actual sound design. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25815" PostHistoryTypeId="2" PostId="15639" RevisionGUID="88dd2cfd-2f32-4ed4-a89c-cf074906ad06" CreationDate="2012-10-09T13:51:30.743" UserId="37" Text="I like the Audio Technica 4025, as long as the source hasn't got an overwhelming spectrum (waves waterfalls and such get lots of phasing).. quiet especially when plugged into a mixpre.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25816" PostHistoryTypeId="2" PostId="15640" RevisionGUID="f09e40a8-c934-469e-a343-697d8245c27d" CreationDate="2012-10-09T17:28:45.153" UserId="842" Text="Myself, I'm pretty fond of the Line Audio CM3 and Oktava MK012 when if comes to lower budget microphones! I don't really like the...um, let's call it &quot;grayness&quot; of the Röde-line (a matter of taste though, mind you). Though also a colder mic than the CM3 and 012, I also like the old AKG CK1, which is sold as CK451 now. Allegedly the same mic (haven't tried the remake yet) a the CK1, but not modular. The CK1 was actually the capsule.&#xD;&#xA;&#xD;&#xA;The CM3 has an extremely rich sound for a microphone that cheap, it's virtually flat, except a slight roll-off in the treble, making it a little dull raw, but including absolutely everything for easy enhancing of the treble and highest mid. Not an Earthworks, but for one tenth of the price, who cares? ;-)&#xD;&#xA;&#xD;&#xA;The Oktava MK012 is a modular set, and I actually uses mine (a full 6 capsule stereo-matched set complete with two 10dB pads and un-damped holders in a beautiful wooden box) together with two Line Audio-shockmounts (the best I've seen, not counting Rycote, for these kinds of microphones) frequently to record ambiances! Sure, it's pretty far from an as detailed a sound as my Sennheiser MKH-series or DPA, but as it's quite frankly my only stereo-pair to date, I've found enough great use of it to actually use the characteristics when doing a more three-dimensional sound!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25819" PostHistoryTypeId="2" PostId="15642" RevisionGUID="66dca52c-e9da-45ea-867a-3f22fa002e9b" CreationDate="2012-10-10T09:56:47.063" UserId="3420" Text="Hey everyone, &#xD;&#xA;&#xD;&#xA;I have a Neumann microphone (can't mind the model!) and on the mike you can choose the polar patterns . . .I assume that Cardioid is best for recording some VO? &#xD;&#xA;&#xD;&#xA;There are also other options such as a little slider which has -dB values on it. I'm unsure what exactly these do or what they can add to the recording?&#xD;&#xA;&#xD;&#xA;Sorry for sounding a bit silly but I'm really stumped when it comes to how things work outside of actually dubbing and mixing!&#xD;&#xA;&#xD;&#xA;Thanks :)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25820" PostHistoryTypeId="1" PostId="15642" RevisionGUID="66dca52c-e9da-45ea-867a-3f22fa002e9b" CreationDate="2012-10-10T09:56:47.063" UserId="3420" Text="Best Polar Pattern and dB setting for VO?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25821" PostHistoryTypeId="3" PostId="15642" RevisionGUID="66dca52c-e9da-45ea-867a-3f22fa002e9b" CreationDate="2012-10-10T09:56:47.063" UserId="3420" Text="&lt;voice-over&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25822" PostHistoryTypeId="2" PostId="15643" RevisionGUID="1e035024-e8fc-4817-8504-25d06aadfb2d" CreationDate="2012-10-10T10:19:02.893" UserId="1216" Text="Hi Aaron,&#xD;&#xA;&#xD;&#xA;First of all:&#xD;&#xA;I don't want to sound harsh, but these are very basic things anyone, that has dubbing/mixing experience, should be able to understand if he or she steps into a studio.&#xD;&#xA;&#xD;&#xA;Questions:  &#xD;&#xA;1. Did you get a manual or can you look it up on google? You'll need the model number.  &#xD;&#xA;2.If you do dubbing and mixing, don't you know some people that can help you out?&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="25823" PostHistoryTypeId="5" PostId="15643" RevisionGUID="df2088b7-9c47-4951-9478-2ddf71475fe7" CreationDate="2012-10-10T10:29:35.030" UserId="1216" Comment="added 971 characters in body" Text="Hi Aaron,&#xD;&#xA;&#xD;&#xA;First of all:&#xD;&#xA;I don't want to sound harsh, but these are very basic things anyone, that has dubbing/mixing experience, should be able to understand if he or she steps into a studio.&#xD;&#xA;&#xD;&#xA;Questions:  &#xD;&#xA;1. Did you get a manual or can you look it up on google? You'll need the model number.  &#xD;&#xA;2.If you do dubbing and mixing, don't you know some people that can help you out?&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;Ok that did sound a bit harh, let me give you some quick and dirty answers:&#xD;&#xA;The polar pattern allows you to choose between several patterns, like:  &#xD;&#xA;Omni: most natural sounding, records everything around the microphone, not a typical VO setting because room acoustics will be picked up also.  &#xD;&#xA;Cardio: More focused soundfield to where the mic is pointing (there's a front and back to a mic, figure that out first). Usefull for VO, first choice with a mic in a reflective room.&#xD;&#xA;Figure 8: Special pattern, google it, can be used for VO, not first choice in my opinion.&#xD;&#xA;&#xD;&#xA;Level/dB switch: allows you to attenuate the level from the capsule before it goes into the preamp. Prevents distortion with loud screaming. Not very useful for VO.&#xD;&#xA;&#xD;&#xA;Sometimes there's a freq filter: useful to attenuate low frequencies, not especially necessary for a VO unless there's a lot of low end rumble from adjacent traffic or machinery that distorts the preamp.&#xD;&#xA;&#xD;&#xA;Good luck! " ContentLicense="CC BY-SA 3.0" />
  <row Id="25824" PostHistoryTypeId="2" PostId="15644" RevisionGUID="114a086a-2a63-4d30-83e1-c99456bfc322" CreationDate="2012-10-10T11:28:33.757" UserId="4301" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;i'm currently working on a project where make a small object move towards a sound source. The object will be on a rail and only moves in 1 dimension (left or right). At the moment i'm trying to find out how to localize the sound source in relation to the object. So basically i'm looking for the following:&#xD;&#xA;&#xD;&#xA;- localization of a sound source, does not have to be extremely accurate (just left or right)&#xD;&#xA;- localization based on volume (no phase shifting etc.: too complex and expensive)&#xD;&#xA;- arduino compatible&#xD;&#xA;- super cheap (since I'm aiming at making a bunch of them)&#xD;&#xA;&#xD;&#xA;At the moment i'm using two omnidirectional electret mic breakout boards from sparkfun: https://www.sparkfun.com/products/9964 and ordered some from deal extreme: http://dx.com/p/arduino-microphone-sound-detection-sensor-module-red-135533 (did not arrive yet so no results so far)&#xD;&#xA;&#xD;&#xA;I have directed the two mic's in opposite direction about 10cm from each other. I made a simple cone (squared) to make them as directional as possible. It is working not too bad, but I hope i can improve the reliability and sensitivity.&#xD;&#xA;&#xD;&#xA;http://s14.postimage.org/r87ldeok1/DSC_0034_copy.jpg&#xD;&#xA;http://s11.postimage.org/9kjjc8fzn/DSC_0043_copy.jpg&#xD;&#xA;&#xD;&#xA;What are the best ways too build this systems and what kind of cones should I make to get electret microphone as directional as possible (shape- and material wise)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25825" PostHistoryTypeId="1" PostId="15644" RevisionGUID="114a086a-2a63-4d30-83e1-c99456bfc322" CreationDate="2012-10-10T11:28:33.757" UserId="4301" Text="volume based sound localization " ContentLicense="CC BY-SA 3.0" />
  <row Id="25826" PostHistoryTypeId="3" PostId="15644" RevisionGUID="114a086a-2a63-4d30-83e1-c99456bfc322" CreationDate="2012-10-10T11:28:33.757" UserId="4301" Text="&lt;arduino&gt;&lt;microphone-positioning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25827" PostHistoryTypeId="2" PostId="15645" RevisionGUID="7eafeacc-aa41-4a47-b09a-12dc399ab1fe" CreationDate="2012-10-10T11:36:08.447" UserId="4302" Text="When doing research on how horror games utilize sound, I came across this conference paper by Mark Grimshaw titled 'The audio Uncanny Valley: Sound, fear and the&#xD;&#xA;horror game': http://vbn.aau.dk/ws/files/61573698/audioUncannyValley_MG.pdf &#xD;&#xA;&#xD;&#xA;An interesting read." ContentLicense="CC BY-SA 3.0" />
  <row Id="25828" PostHistoryTypeId="4" PostId="15644" RevisionGUID="c2264c84-2122-4145-9100-3cc531599d9c" CreationDate="2012-10-10T12:22:23.897" UserId="4301" Comment="edited title" Text="Trying to build a cone for omni mikes to make them directional" ContentLicense="CC BY-SA 3.0" />
  <row Id="25829" PostHistoryTypeId="5" PostId="15644" RevisionGUID="a6ec2eaa-152f-440b-8a4d-154d64dbe047" CreationDate="2012-10-10T12:25:16.280" UserId="2" Comment="added 2 characters in body; edited tags" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;i'm currently working on a project where I make a small object move towards a sound source. The object will be on a rail and only moves in 1 dimension (left or right). At the moment i'm trying to find out how to localize the sound source in relation to the object. So basically i'm looking for the following:&#xD;&#xA;&#xD;&#xA;- localization of a sound source, does not have to be extremely accurate (just left or right)&#xD;&#xA;- localization based on volume (no phase shifting etc.: too complex and expensive)&#xD;&#xA;- arduino compatible&#xD;&#xA;- super cheap (since I'm aiming at making a bunch of them)&#xD;&#xA;&#xD;&#xA;At the moment i'm using two omnidirectional electret mic breakout boards from sparkfun: https://www.sparkfun.com/products/9964 and ordered some from deal extreme: http://dx.com/p/arduino-microphone-sound-detection-sensor-module-red-135533 (did not arrive yet so no results so far)&#xD;&#xA;&#xD;&#xA;I have directed the two mic's in opposite direction about 10cm from each other. I made a simple cone (squared) to make them as directional as possible. It is working not too bad, but I hope i can improve the reliability and sensitivity.&#xD;&#xA;&#xD;&#xA;http://s14.postimage.org/r87ldeok1/DSC_0034_copy.jpg&#xD;&#xA;http://s11.postimage.org/9kjjc8fzn/DSC_0043_copy.jpg&#xD;&#xA;&#xD;&#xA;What are the best ways too build this systems and what kind of cones should I make to get electret microphone as directional as possible (shape- and material wise)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25830" PostHistoryTypeId="6" PostId="15644" RevisionGUID="a6ec2eaa-152f-440b-8a4d-154d64dbe047" CreationDate="2012-10-10T12:25:16.280" UserId="2" Comment="added 2 characters in body; edited tags" Text="&lt;arduino&gt;&lt;microphone&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25831" PostHistoryTypeId="4" PostId="15644" RevisionGUID="4c5f48a3-c15d-4055-825f-adde9fec9e25" CreationDate="2012-10-10T15:35:00.420" UserId="2" Comment="edited title" Text="Trying to build a cone for omni mics to make them directional" ContentLicense="CC BY-SA 3.0" />
  <row Id="25832" PostHistoryTypeId="2" PostId="15646" RevisionGUID="f5be5de9-ace8-4bd5-920d-d4a8699d2310" CreationDate="2012-10-10T15:50:30.897" UserId="6460" Text="Ruben,&lt;br&gt;&#xD;&#xA;You mention that you don't wan't to incorporate phase at all—I'm guessing that you mean you don't want to design a kind of phase shift based on delay? Keep in mind that, unless your two mics are placed in the exact same point in space, there will be some difference in time arrival (aka, a phase difference) between the two signals. This is a very good way to create a sense of directionality! It is complicated, but it's completely free!&#xD;&#xA;&#xD;&#xA;A very important question: what is your sound source? More specifically, what sort of frequency spectrum does your sound source have?&#xD;&#xA;&#xD;&#xA;Remember that we perceive direction much more effectively at higher frequencies than lower ones because lower frequencies have longer wavelengths. For example, it just so happens that the wavelength of 1000hz is a little over 1 foot. If your mics are less than a foot apart, they will not be able to effectively convey a sense of direction for frequences 1000hz or lower. Our ears are a good example, actually. Try closing your eyes and listening to a 250hz sine tone while spinning in a circle. Because your ears are much less than 4 feet (the wavelength of 250hz) apart, it will be fairly difficult to discern a location of the 250hz source. Turning a pair of omnidirectional mics in opposite directions won't help much but putting some air between them certainly will.&#xD;&#xA;&#xD;&#xA;Your cones are helping with directionality to a certain extent by blocking out the highest of frequencies from the sides and rear of the mics. The lower in frequency you go, though, the easier it is for sound to diffract—or bend—around objects like your cones. Ultimately, the cones won't block anything below 10khz (my guess, anyway). &#xD;&#xA;&#xD;&#xA;What you might consider doing next is putting some kind of absorbative baffle in between the two mics. This is a fairly standard technique that engineers of classical music use, called the &quot;jecklin disc&quot; technique. The disc is basically an absorbtion baffle placed between two omnidirectional mics. By blocking the transmission of higher frequencies between the two mics, it gives the illusion that the mics are, in fact, directional. A picture can be found [HERE][1]. The larger the disc, the better the effect. It doesn't have to be anything fancy either. If you have some spare insulation sitting around your house, you could cut out a couple rectangular chunks, press them together and wrap it all in some burlap or other loosely-woven fabric. That whole setup would probably cost you around $10.&#xD;&#xA;&#xD;&#xA;Another pretty good example of a very common jecklin disc setup: two ears and the big, useless thing in between 'em ;).&#xD;&#xA;&#xD;&#xA;Best of luck!&lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.homebrewedmusic.com/wp-content/uploads/2009/02/jecklin.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="25833" PostHistoryTypeId="5" PostId="15643" RevisionGUID="171b139e-d91d-4859-b0e1-43eeba9655c0" CreationDate="2012-10-10T16:14:32.247" UserId="1216" Comment="grammar mistakes" Text="Hi Aaron,&#xD;&#xA;&#xD;&#xA;First of all:&#xD;&#xA;I don't want to sound harsh, but these are very basic things anyone, that has dubbing/mixing experience, should be able to understand if he or she steps into a studio.&#xD;&#xA;&#xD;&#xA;Questions:  &#xD;&#xA;1. Did you get a manual or can you look it up on google? You'll need the model number.  &#xD;&#xA;2.If you do dubbing and mixing, don't you know some people that can help you out?&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;Ok that did sound a bit harsh, let me give you some quick and dirty answers:&#xD;&#xA;The polar pattern allows you to choose between several patterns, like:  &#xD;&#xA;Omni: most natural sounding, records everything around the microphone, not a typical VO setting because room acoustics will be picked up also.  &#xD;&#xA;Cardiod: More focused soundfield to where the mic is pointing (there's a front and back to a mic, figure that out first). Usefull for VO, first choice with a mic in a reflective room.&#xD;&#xA;Figure 8: Special pattern, google it, can be used for VO, not first choice in my opinion.&#xD;&#xA;&#xD;&#xA;Level/dB switch: allows you to attenuate the level from the capsule before it goes into the preamp. Prevents distortion with loud screaming. Not very useful for VO.&#xD;&#xA;&#xD;&#xA;Sometimes there's a freq filter: useful to attenuate low frequencies, not especially necessary for a VO unless there's a lot of low end rumble from adjacent traffic or machinery that distorts the preamp.&#xD;&#xA;&#xD;&#xA;Good luck! " ContentLicense="CC BY-SA 3.0" />
  <row Id="25834" PostHistoryTypeId="2" PostId="15647" RevisionGUID="84b3c7d0-68ae-460f-8ce4-226f69a70440" CreationDate="2012-10-10T18:35:09.323" UserId="801" Text="i would transform some diarrhea sounds, be great and very realistic to;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25835" PostHistoryTypeId="2" PostId="15648" RevisionGUID="c4fbcb31-a1b6-44ce-8226-8e44ae3a2f9e" CreationDate="2012-10-11T01:22:40.057" UserId="4303" Text="Hi,&#xD;&#xA;&#xD;&#xA;My little brother is looking to go to grad school for sound design. He's an amazing musician primarily as a bass guitarist but is handy with most other instruments. He mixes all of his bands music (mostly self taught I believe) and is clearly passionate about all things music.&#xD;&#xA;&#xD;&#xA;Here's the thing. He's teetering on whether he wants to go back to school for sound design or not. I think most of this is driven by the fact that he's nervous -- about going back to school, about meeting expectations, about failing.&#xD;&#xA;&#xD;&#xA;His birthday is coming up.&#xD;&#xA;&#xD;&#xA;My question: What can I get him (within reasonable budget) that will totally inspire him. Are there any amazing books out there that just capture the spirit of what sound design is and can be? I want to show him what being a sound designer can mean. It seems that the opportunities are vast and amazing. From dealing with sound in games and movies to orchestras, theaters and music halls.&#xD;&#xA;&#xD;&#xA;Any advice and suggestions would be appreciated.&#xD;&#xA;&#xD;&#xA;Thanks very much in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25836" PostHistoryTypeId="1" PostId="15648" RevisionGUID="c4fbcb31-a1b6-44ce-8226-8e44ae3a2f9e" CreationDate="2012-10-11T01:22:40.057" UserId="4303" Text="Inspiration for a newbie to sound design???" ContentLicense="CC BY-SA 3.0" />
  <row Id="25837" PostHistoryTypeId="3" PostId="15648" RevisionGUID="c4fbcb31-a1b6-44ce-8226-8e44ae3a2f9e" CreationDate="2012-10-11T01:22:40.057" UserId="4303" Text="&lt;inspiration&gt;&lt;books&gt;&lt;newbie&gt;&lt;school&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25838" PostHistoryTypeId="2" PostId="15649" RevisionGUID="b11ca40f-b958-40ed-b7db-fcb4fb4f935e" CreationDate="2012-10-11T02:45:22.520" UserId="194" Text="kid needs a mic or a synth IMO.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25839" PostHistoryTypeId="2" PostId="15650" RevisionGUID="b8f8353e-151d-4306-a348-324eda121765" CreationDate="2012-10-11T03:09:08.383" UserId="4304" Text="I started using logic 6 years ago and loved it as a musician. I've upgrade it to version 8.&#xD;&#xA;Recently I need to do some film work and needed to buy protools 10. &#xD;&#xA;It took me a while to get my head around it but I found both to be very useful and If I have both I am more employable. &#xD;&#xA;&#xD;&#xA;Logic is great for composing and and has ooddles of loops and midi instruments out of the box.&#xD;&#xA;&#xD;&#xA;Pro-tools has some great key functions like the three in one tool option.&#xD;&#xA;I like being able to adjust ciip gain for each clip or sub clip.&#xD;&#xA;&#xD;&#xA;The reverb for Pro- tools is not as nice as that in Logic&#xD;&#xA;Logic has better Mastering software and plug ins&#xD;&#xA;&#xD;&#xA;Both are great and I'm glad I own both&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25840" PostHistoryTypeId="16" PostId="15650" RevisionGUID="b8f8353e-151d-4306-a348-324eda121765" CreationDate="2012-10-11T03:09:08.383" UserId="4304" />
  <row Id="25841" PostHistoryTypeId="2" PostId="15651" RevisionGUID="bf67fbf9-8ebc-4706-9929-b8a124b000f8" CreationDate="2012-10-11T03:10:10.010" UserId="61" Text="A copy of the original Star Wars should do the trick. If it doesn't, have him watch WALL-E, Poltergeist, and Once Upon A Time in the West. All in one night. With a notepad." ContentLicense="CC BY-SA 3.0" />
  <row Id="25843" PostHistoryTypeId="2" PostId="15653" RevisionGUID="4198f317-bb33-44d4-98bc-27607e48d42f" CreationDate="2012-10-11T08:30:39.607" UserId="3933" Text="Speaking of Star Wars, there is a great book out that goes through the sound effects (comes with a little audio player attached). Naturally called &quot;the sounds of star wars&quot;, it talks about either how the sound was created or a little interesting story about the sound. And its always fun to listen to the sound effects in a raw sense (not as they are mixed into the movie), especially those from Mr. Burtt." ContentLicense="CC BY-SA 3.0" />
  <row Id="25844" PostHistoryTypeId="2" PostId="15654" RevisionGUID="dff6fdce-7695-458f-a519-68634e83d961" CreationDate="2012-10-11T09:06:41.020" UserId="6432" Text="He should definitely check out some of the [Soundworks videos][1], and if he doesn't already have one, a portable recorder like a Zoom H4n would be a good investment. Also, remember you don't have to choose between being a sound designer and a musician - it's all sound. You can be both.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/channels/soundworkscollection" ContentLicense="CC BY-SA 3.0" />
  <row Id="25845" PostHistoryTypeId="2" PostId="15655" RevisionGUID="7aa32197-46f5-41f2-8ea6-6d4c44b4cc5c" CreationDate="2012-10-11T10:27:15.287" UserId="3179" Text="Here are some popular and recommendable books regarding the topic:&#xD;&#xA;&#xD;&#xA;M. Chion: Audio-Vision. On the analytical and &quot;academic&quot; side of sound's role in a visual medium (film). Very informative and interesting read.&#xD;&#xA;&#xD;&#xA;D. Sonnenschein: Sound Design. Has a more practical approach to the whole topic as it's written by a (film) sound designer himself.&#xD;&#xA;&#xD;&#xA;R. Viers: The Sound Effects Bible. A book that contains mostly just practical tips to creating different types of sound effects. It's a fun book for that reason and could be a good gift for someone who's or is about to become interested in sound effects and ways in which they can be created in practice&#xD;&#xA;&#xD;&#xA;R. Bridgett: From the Shadows of Film Sound. Which compares the use of sound in films and games. Not a &quot;general introductory book&quot; though, so the book assumes that the reader is somewhat familiar with the topic in general.&#xD;&#xA;&#xD;&#xA;A. Farnell: Designing Sound. Shows what can be done with technology (sound synthesis). It's a very technical book, but inspiring nevertheless, especially if one's interested in interactive audio and physical modelling synthesis.&#xD;&#xA;&#xD;&#xA;And:&#xD;&#xA;&#xD;&#xA;Buy him an inexpensive (or a more expensive one, if you wish) handheld recorder to use for capturing sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="25846" PostHistoryTypeId="5" PostId="15655" RevisionGUID="367eccab-ef20-484e-b2d7-83f256bbc5c0" CreationDate="2012-10-11T10:32:17.777" UserId="3179" Comment="added 56 characters in body; deleted 6 characters in body" Text="Here are some popular and recommendable books regarding the topic:&#xD;&#xA;&#xD;&#xA;General/informative:&#xD;&#xA;&#xD;&#xA;M. Chion: Audio-Vision. On the analytical and &quot;academic&quot; side of sound's role in a visual medium (film). Very informative and interesting read.&#xD;&#xA;&#xD;&#xA;D. Sonnenschein: Sound Design. Has a more practical approach to the topic as it's written by a (film) sound designer himself.&#xD;&#xA;&#xD;&#xA;R. Bridgett: From the Shadows of Film Sound. Which compares the use of sound in films and games. Not a &quot;general introductory book&quot; though, so the book assumes that the reader is somewhat familiar with the topic in general.&#xD;&#xA;&#xD;&#xA;About just creating sounds:&#xD;&#xA;&#xD;&#xA;R. Viers: The Sound Effects Bible. A book that contains mostly just practical tips to creating different types of sound effects. It's a fun book for that reason and could be a good gift for someone who's or is about to become interested in sound effects and ways in which they can be created in practice.&#xD;&#xA;&#xD;&#xA;A. Farnell: Designing Sound. Shows what can be done with technology (sound synthesis). It's a very technical book, but inspiring nevertheless, especially if one's interested in interactive audio and physical modelling synthesis.&#xD;&#xA;&#xD;&#xA;And:&#xD;&#xA;&#xD;&#xA;Buy him an inexpensive (or a more expensive one, if you wish) handheld recorder to use for capturing sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="25847" PostHistoryTypeId="5" PostId="15655" RevisionGUID="7c316f50-6eeb-4b9a-b1b0-def6da5937d3" CreationDate="2012-10-11T10:48:39.227" UserId="3179" Comment="added 269 characters in body; added 3 characters in body" Text="Here are some popular and recommendable books regarding the topic:&#xD;&#xA;&#xD;&#xA;General/informative:&#xD;&#xA;&#xD;&#xA;M. Chion: Audio-Vision. On the analytical and &quot;academic&quot; side of sound's role in a visual medium (film). Very informative and interesting read.&#xD;&#xA;&#xD;&#xA;D. Sonnenschein: Sound Design. Has a more practical approach to the topic as it's written by a (film) sound designer himself.&#xD;&#xA;&#xD;&#xA;R. Bridgett: From the Shadows of Film Sound. Which compares the use of sound in films and games. Not a &quot;general introductory book&quot; though, so the book assumes that the reader is somewhat familiar with the topic in general.&#xD;&#xA;&#xD;&#xA;About just creating sounds:&#xD;&#xA;&#xD;&#xA;R. Viers: The Sound Effects Bible. A book that contains mostly just practical tips to creating different types of sound effects. It's a fun book for that reason and could be a good gift for someone who's or is about to become interested in sound effects and ways in which they can be created in practice.&#xD;&#xA;&#xD;&#xA;A. Farnell: Designing Sound. Shows what can be done with technology (sound synthesis). It's a very technical book, but inspiring nevertheless, especially if one's interested in interactive audio and physical modelling synthesis. Not about &quot;sound design&quot; as we know it, but had to put it up as it expands one's mind to see what's beyond recorded audio and can propel inspiration for creating sounds in general, because of the analytical approach it demonstrates (sound analysis -&gt; synthesis/creation).&#xD;&#xA;&#xD;&#xA;And:&#xD;&#xA;&#xD;&#xA;Buy him an inexpensive (or a more expensive one, if you wish) handheld recorder to use for capturing sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="25848" PostHistoryTypeId="5" PostId="15655" RevisionGUID="22ad01fd-be8f-4d64-9899-d5d5989f6397" CreationDate="2012-10-11T11:05:07.283" UserId="3179" Comment="added 145 characters in body; added 41 characters in body" Text="Here are some popular and recommendable books regarding the topic:&#xD;&#xA;&#xD;&#xA;General/informative:&#xD;&#xA;&#xD;&#xA;M. Chion: Audio-Vision. On the analytical and &quot;academic&quot; side of sound's role in a visual medium (film). Very informative and interesting read.&#xD;&#xA;&#xD;&#xA;D. Sonnenschein: Sound Design. Has a more practical approach to the topic as it's written by a (film) sound designer himself.&#xD;&#xA;&#xD;&#xA;R. Bridgett: From the Shadows of Film Sound. Which compares the use of sound in films and games. Not a &quot;general introductory book&quot; though, so the book assumes that the reader is somewhat familiar with the topic in general.&#xD;&#xA;&#xD;&#xA;About just creating sounds:&#xD;&#xA;&#xD;&#xA;R. Viers: The Sound Effects Bible. A book that contains mostly just practical tips to creating different types of sound effects. It's a fun book for that reason and could be a good gift for someone who's or is about to become interested in sound effects and ways in which they can be created in practice.&#xD;&#xA;&#xD;&#xA;A. Farnell: Designing Sound. Shows what can be done with technology (sound synthesis). It's a very technical book, but inspiring nevertheless, especially if one's interested in interactive audio and physical modelling synthesis. Not about &quot;sound design&quot; as we know it, but had to put it up as it expands one's mind to see what's beyond recorded audio and can propel inspiration for creating sounds in general, because of the analytical approach it demonstrates (sound analysis -&gt; synthesis/creation).&#xD;&#xA;&#xD;&#xA;And:&#xD;&#xA;&#xD;&#xA;Buy him an inexpensive (or a more expensive one, if you wish) handheld recorder to use for capturing sounds.&#xD;&#xA;&#xD;&#xA;And give him links to these sites:&#xD;&#xA;&#xD;&#xA; - http://www.socialsounddesign.com/&#xD;&#xA; - http://www.soundesign.info/&#xD;&#xA; - http://www.designingsound.com/&#xD;&#xA; - http://www.soundworkscollection.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25849" PostHistoryTypeId="5" PostId="15655" RevisionGUID="3e62e382-4dde-4475-bd23-2c0469de4d58" CreationDate="2012-10-11T11:15:29.220" UserId="3179" Comment="added 116 characters in body" Text="Here are some popular and recommendable books regarding the topic:&#xD;&#xA;&#xD;&#xA;General/informative:&#xD;&#xA;&#xD;&#xA;M. Chion: Audio-Vision. On the analytical and &quot;academic&quot; side of sound's role in a visual medium (film). Very informative and interesting read.&#xD;&#xA;&#xD;&#xA;D. Sonnenschein: Sound Design. Has a more practical approach to the topic as it's written by a (film) sound designer himself.&#xD;&#xA;&#xD;&#xA;R. Bridgett: From the Shadows of Film Sound. Which compares the use of sound in films and games. Not a &quot;general introductory book&quot; though, so the book assumes that the reader is somewhat familiar with the topic in general.&#xD;&#xA;&#xD;&#xA;About just creating sounds:&#xD;&#xA;&#xD;&#xA;R. Viers: The Sound Effects Bible. A book that contains mostly just practical tips to creating different types of sound effects. It's a fun book for that reason and could be a good gift for someone who's or is about to become interested in sound effects and ways in which they can be created in practice.&#xD;&#xA;&#xD;&#xA;A. Farnell: Designing Sound. Shows what can be done with technology (sound synthesis). It's a very technical book, but inspiring nevertheless, especially if one's interested in interactive audio and physical modelling synthesis. Not about &quot;sound design&quot; as we know it (in the storytelling sense), but had to put it up as it expands one's mind to see what's beyond recorded audio and can propel inspiration for creating sounds in general, because of the analytical approach it demonstrates (sound analysis -&gt; synthesis/creation). Topics include sound/signal theory, psychoacoustics and sound synthesis/sound creation.&#xD;&#xA;&#xD;&#xA;And:&#xD;&#xA;&#xD;&#xA;Buy him an inexpensive (or a more expensive one, if you wish) handheld recorder to use for capturing sounds.&#xD;&#xA;&#xD;&#xA;And give him links to these sites:&#xD;&#xA;&#xD;&#xA; - http://www.socialsounddesign.com/&#xD;&#xA; - http://www.soundesign.info/&#xD;&#xA; - http://www.designingsound.com/&#xD;&#xA; - http://www.soundworkscollection.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25850" PostHistoryTypeId="5" PostId="15655" RevisionGUID="ab9b7312-86d1-4605-9a8c-a1c2eb73a215" CreationDate="2012-10-11T11:20:56.680" UserId="3179" Comment="added 15 characters in body" Text="Here are some popular and recommendable books regarding the topic:&#xD;&#xA;&#xD;&#xA;General/informative:&#xD;&#xA;&#xD;&#xA;M. Chion: Audio-Vision. On the analytical and &quot;academic&quot; side of sound's role in a visual medium (film). Very informative and interesting read.&#xD;&#xA;&#xD;&#xA;D. Sonnenschein: Sound Design. Has a more practical approach to the topic as it's written by a (film) sound designer himself.&#xD;&#xA;&#xD;&#xA;R. Bridgett: From the Shadows of Film Sound. Which compares the use of sound in films and games. Not a &quot;general introductory book&quot; though, so the book assumes that the reader is somewhat familiar with the topic in general.&#xD;&#xA;&#xD;&#xA;About just creating sounds:&#xD;&#xA;&#xD;&#xA;R. Viers: The Sound Effects Bible. A book that contains mostly just practical tips to creating different types of sound effects. It's a fun book for that reason and could be a good gift for someone who's or is about to become interested in sound effects and ways in which they can be created in practice.&#xD;&#xA;&#xD;&#xA;A. Farnell: Designing Sound. Shows what can be done with technology (sound synthesis). It's a very technical book, but inspiring nevertheless, especially if one's interested in interactive audio and physical modelling synthesis. Not about &quot;sound design&quot; as we know it (in the storytelling and soundtrack sense), but had to put it up as it expands one's mind to see what's beyond recorded audio and can propel inspiration for creating sounds in general, because of the analytical approach it demonstrates (sound analysis -&gt; synthesis/creation). Topics include sound/signal theory, psychoacoustics and sound synthesis/sound creation.&#xD;&#xA;&#xD;&#xA;And:&#xD;&#xA;&#xD;&#xA;Buy him an inexpensive (or a more expensive one, if you wish) handheld recorder to use for capturing sounds.&#xD;&#xA;&#xD;&#xA;And give him links to these sites:&#xD;&#xA;&#xD;&#xA; - http://www.socialsounddesign.com/&#xD;&#xA; - http://www.soundesign.info/&#xD;&#xA; - http://www.designingsound.com/&#xD;&#xA; - http://www.soundworkscollection.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25851" PostHistoryTypeId="5" PostId="15649" RevisionGUID="b552a67b-01fd-4793-8f2c-91f6594c2f7b" CreationDate="2012-10-11T13:40:17.023" UserId="194" Comment="added 318 characters in body" Text="kid needs a mic or a synth IMO.  :)&#xD;&#xA;&#xD;&#xA;edit: [pocketsynth!][1]&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.juno.co.uk/products/dubreq-stylophone-the-original-pocket-electronic-organ-with-mp3-input/316391-01/?currency=USD&amp;utm_source=google_us&amp;utm_medium=organic&amp;utm_campaign=Google%2BShopping&#xD;&#xA;  [2]: http://images.junostatic.com/full/IS316391-01-01-BIG.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="25852" PostHistoryTypeId="2" PostId="15656" RevisionGUID="aa2e59b4-99f8-4639-a075-948a1cc4b038" CreationDate="2012-10-11T17:23:15.020" UserId="4307" Text="Reversed acoustic guitar or piano is the best! Clean and reverberant recordings work well. This kind of thing is good for non-diagetic textural sound design or music composition." ContentLicense="CC BY-SA 3.0" />
  <row Id="25853" PostHistoryTypeId="2" PostId="15657" RevisionGUID="1771c5d9-35ec-480f-a77f-7d779b18d4ee" CreationDate="2012-10-11T20:20:03.413" UserId="6487" Text="The Technical Requirements call for the International M&amp;E to contain all production Fx, added design, and ambiences as in the domestic mix minus dialogue.  What about Production FX that are married in the dialogue?  Do you have to ADR and then rebuild FX that are under dialogue just to fit this requirement?  Please advise.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25854" PostHistoryTypeId="1" PostId="15657" RevisionGUID="1771c5d9-35ec-480f-a77f-7d779b18d4ee" CreationDate="2012-10-11T20:20:03.413" UserId="6487" Text="Dialogue Editing for Movie of the Week" ContentLicense="CC BY-SA 3.0" />
  <row Id="25855" PostHistoryTypeId="3" PostId="15657" RevisionGUID="1771c5d9-35ec-480f-a77f-7d779b18d4ee" CreationDate="2012-10-11T20:20:03.413" UserId="6487" Text="&lt;dialogue&gt;&lt;sound-editing&gt;&lt;international&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25856" PostHistoryTypeId="2" PostId="15658" RevisionGUID="ef77c8a4-f041-4847-9ff2-d91d5ff7b770" CreationDate="2012-10-11T22:07:37.277" UserDisplayName="user6508" Text="Typically you would cover this in foley.  Even if you don't play that foley in the domestic mix, you would make sure it's mixed to match the production fx from the domestic when you do the M&amp;E." ContentLicense="CC BY-SA 3.0" />
  <row Id="25857" PostHistoryTypeId="2" PostId="15659" RevisionGUID="ee5e6c50-16eb-4420-bbad-1133e8bbde58" CreationDate="2012-10-12T00:40:47.227" UserDisplayName="user49" Text="I really, really, really like recording sounds performed to be reversed i.e. conceive of the shape of the sound you want, reverse it in your mind, perform it that way, then record it &amp; reverse&#xD;&#xA;&#xD;&#xA;A simple example: I made a weird sting by used some drum brushes on the front of a metal gas heater to start gradually from nothing &amp; build to very active friction... &amp; ended suddenly by giving the heater a massive hit.... Reversed it ramps from the decay of that big hit into a loud backwards burst with a long backwards decay of the reversed brush movement&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25858" PostHistoryTypeId="2" PostId="15660" RevisionGUID="f4fba544-30e3-4a1b-8dee-bd1ebb9ba29b" CreationDate="2012-10-12T04:49:34.107" UserId="407" Text="speaking backwards - i.e. speaking backwards then reversing so it goes forwards if you get my drift :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25859" PostHistoryTypeId="2" PostId="15661" RevisionGUID="4971b47c-eaf9-4233-ad9c-ef5b6ddad420" CreationDate="2012-10-12T04:52:08.267" UserId="407" Text="listen to Amon Tobin - particularly the album 'Foley Room' - great combination of sound design and music." ContentLicense="CC BY-SA 3.0" />
  <row Id="25860" PostHistoryTypeId="2" PostId="15662" RevisionGUID="5a8e9df4-795f-43ce-bd61-a27a09b9a4ed" CreationDate="2012-10-12T10:38:57.070" UserId="3420" Text="Hey everyone, &#xD;&#xA;&#xD;&#xA;I've searched YouTube etc but was wondering if there's some kind of old historical database where old radio reports would be stored?&#xD;&#xA;&#xD;&#xA;The quality really doesn't matter - in fact the more old and ropey , the better!&#xD;&#xA;&#xD;&#xA;Anyone know of such a place? Reports about troops progress in the war - be it news presenters talking about western soldiers being killed or even new advances made.&#xD;&#xA;&#xD;&#xA;I'm a bit stuck and would prefer real authentic bits of news rather than ADR'ing fake ones and adding crusty old recording sounds on top! Would really need about 3 different incidents. I've got propaganda sounds for the war off of archive.org - but half way through the short piece I want to then play some recordings of how it ACTUALLY went.&#xD;&#xA;Any help or links would be brilliant!&#xD;&#xA;Thanks :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25861" PostHistoryTypeId="1" PostId="15662" RevisionGUID="5a8e9df4-795f-43ce-bd61-a27a09b9a4ed" CreationDate="2012-10-12T10:38:57.070" UserId="3420" Text="Ropey old recordings of radio broadcasts about the Vietnam war?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25862" PostHistoryTypeId="3" PostId="15662" RevisionGUID="5a8e9df4-795f-43ce-bd61-a27a09b9a4ed" CreationDate="2012-10-12T10:38:57.070" UserId="3420" Text="&lt;design&gt;&lt;recordings&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25863" PostHistoryTypeId="2" PostId="15663" RevisionGUID="d6c078ba-44f1-4999-946b-03dc196ae3b9" CreationDate="2012-10-12T11:13:56.323" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;What kind of experience do you have with salt water and your equipment? Salt is very aggressive and could ruin a lot of electronic equipment. Recordings on the beach, on the sea, the air is full with salty dust which allegedly could also find a way through good Rycote-Windshields. ?? If the salt is on/in electronic components it slowly makes long-term demages.  &#xD;&#xA;Some years ago, I went to iceland and made some records from the sea. Friends alert me about the salt and made me afraid. I was very careful, nothing happend until now, everything's still runs fine.  &#xD;&#xA;On Tim Prebbles website http://hissandaroar.com/amb001-blow-holes/ we can see a lot of great pics from his recordings at the coast.  &#xD;&#xA;@Tim: Did you have any problems with your equipment because of the salt? On some pics we can see that your windshield is quite wet. No Problem with the salt?  &#xD;&#xA;How is it with someone who lives close to the sea?  &#xD;&#xA;&#xD;&#xA;Best Guido" ContentLicense="CC BY-SA 3.0" />
  <row Id="25864" PostHistoryTypeId="1" PostId="15663" RevisionGUID="d6c078ba-44f1-4999-946b-03dc196ae3b9" CreationDate="2012-10-12T11:13:56.323" UserId="6748" Text="Salt and your equipment/Fieldrecordings on the sea" ContentLicense="CC BY-SA 3.0" />
  <row Id="25865" PostHistoryTypeId="3" PostId="15663" RevisionGUID="d6c078ba-44f1-4999-946b-03dc196ae3b9" CreationDate="2012-10-12T11:13:56.323" UserId="6748" Text="&lt;field-recording&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25866" PostHistoryTypeId="2" PostId="15664" RevisionGUID="f0b3793f-24b1-4992-ab80-02f4fd114c6d" CreationDate="2012-10-12T11:33:43.117" UserId="3420" Text="Oh ho, I found a few more that might be of interest to people in future if they're making backgrounds for war drama's.&#xD;&#xA;&#xD;&#xA;http://archive.org/details/TheArmyAirMobilityTeam&#xD;&#xA;&#xD;&#xA;http://ia600202.us.archive.org/17/items/Know_Your_Enemy-The_Vietcong/Know_Your_Enemy-The_Vietcong.mpg&#xD;&#xA;&#xD;&#xA;Hope this helps someone in future :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25867" PostHistoryTypeId="2" PostId="15665" RevisionGUID="abff2c69-15c6-4eb8-9d3b-e433877e9fd7" CreationDate="2012-10-12T12:23:14.137" UserId="644" Text="All good answers.&#xD;&#xA;&#xD;&#xA;If I was starting out from the beginning again, I would get a portable recorder from the get go. &#xD;&#xA;&#xD;&#xA;Something like a zoom H2 or an Olympus Ls-5 or something. Ok, its a bit expensive unless you love your brother very much, but the opportunities for experimenting and being inspired by the sounds around us instantly is the probably the best incentive for all sound designers. Once he gets more involved, he can expand his tools to something that will give better recording results.&#xD;&#xA;&#xD;&#xA;If that is out of budget, I would make him listen to anything Randy Thom has to say." ContentLicense="CC BY-SA 3.0" />
  <row Id="25868" PostHistoryTypeId="2" PostId="15666" RevisionGUID="6f80ff21-3dba-49bd-a32e-0f8c71829d15" CreationDate="2012-10-12T20:00:57.500" UserId="4162" Text="Hello everybody!&#xD;&#xA;&#xD;&#xA;I am a sound design student. I am exploring the subject of history of sound formats, especially Split Surround. Unfortunately, there is not enough information for me to understand this concept. I thought it is a good idea to ask this question here. while researching I found an article that confused me even more:&#xD;&#xA;&#xD;&#xA;&quot;Split Surround was compatable with the Baby Boom format. Like Baby Boom, Split Surround had the same left, center, right, mono surround, and two boom tracks. The added left and right surrounds were put on the same tracks as the two boom tracks. This was accomplished by limiting the boom tracks to under 200 Hz and the left and right surrounds were limited to about 500 Hz.&quot; &#xD;&#xA;&#xD;&#xA;Split Surround was the first 5.1 as we know it today. As far as I am aware 5.1 means 5 channels (left, center, right, left surround, right surround) + a sub-bass channel. Why then Split Surround used two boom channels? What is mono Surround? What was the speakers setup of Split Surround? &#xD;&#xA;&#xD;&#xA;I will be grateful for explaining me this abstruse concept. Many thanks in advance&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25869" PostHistoryTypeId="1" PostId="15666" RevisionGUID="6f80ff21-3dba-49bd-a32e-0f8c71829d15" CreationDate="2012-10-12T20:00:57.500" UserId="4162" Text="Sound formats / Dolby technologies" ContentLicense="CC BY-SA 3.0" />
  <row Id="25870" PostHistoryTypeId="3" PostId="15666" RevisionGUID="6f80ff21-3dba-49bd-a32e-0f8c71829d15" CreationDate="2012-10-12T20:00:57.500" UserId="4162" Text="&lt;format&gt;&lt;surround-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25871" PostHistoryTypeId="5" PostId="15666" RevisionGUID="ce133a90-b622-4b0d-8fa3-3843cbaf199f" CreationDate="2012-10-12T20:07:13.547" UserId="4162" Comment="edited body; edited body" Text="Hello everybody!&#xD;&#xA;&#xD;&#xA;I am a sound design student. I am exploring the subject of history of sound formats, especially Split Surround. Unfortunately, there is not enough information for me to understand this concept. I thought it is a good idea to ask this question here. While researching I found an article that confused me even more:&#xD;&#xA;&#xD;&#xA;&quot;Split Surround was compatible with the Baby Boom format. Like Baby Boom, Split Surround had the same left, center, right, mono surround, and two boom tracks. The added left and right surrounds were put on the same tracks as the two boom tracks. This was accomplished by limiting the boom tracks to under 200 Hz and the left and right surrounds were limited to about 500 Hz.&quot; &#xD;&#xA;&#xD;&#xA;Split Surround was the first 5.1 as we know it today. As far as I am aware 5.1 means 5 channels (left, center, right, left surround, right surround) + a sub-bass channel. Why then Split Surround used two boom channels? What is Mono Surround? What was the speakers setup of Split Surround? &#xD;&#xA;&#xD;&#xA;I will be grateful for explaining me this abstruse concept. Many thanks in advance&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25872" PostHistoryTypeId="2" PostId="15667" RevisionGUID="624cbacc-065f-4a1d-b2bd-1941bc11fec9" CreationDate="2012-10-12T20:34:25.047" UserId="432" Text="Split surround wasn't the first &quot;5.1.&quot; It wasn't even the first surround format. &quot;5.1&quot; is a term created by Tomlinson Holman to describe a particular surround format (the one that most people today are familiar with). Various other formats have been tested over the decades, and they were all experiments as to what people thought would work. Someone though having two low frequency channels would be important and tried it.&#xD;&#xA;&#xD;&#xA;Mono surround is exactly what it sounds like. Instead of having a left surround and right surround channel (that plays out of the surround speakers on the left and right respectively), there was a single channel of audio content that would play out of all surround speakers (regardless of spatial location). The original Dolby Pro Logic format used a mono surround channel as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="25873" PostHistoryTypeId="2" PostId="15668" RevisionGUID="6aedec27-4927-47b1-866f-c1fb37f81ec4" CreationDate="2012-10-12T21:42:44.160" UserId="4089" Text="I think Chris is on the right track." ContentLicense="CC BY-SA 3.0" />
  <row Id="25874" PostHistoryTypeId="2" PostId="15669" RevisionGUID="26f0483f-d790-4f17-80eb-6e63b331ebed" CreationDate="2012-10-12T22:38:59.180" UserDisplayName="user6508" Text="Bell tolls, metal tubular wind chimes. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25875" PostHistoryTypeId="12" PostId="15669" RevisionGUID="abc64137-d662-484e-85f2-9c6f041f90fa" CreationDate="2012-10-12T22:39:27.510" UserDisplayName="user6508" Text="[{&quot;Id&quot;:75,&quot;DisplayName&quot;:&quot;GaryMegregian&quot;}]" />
  <row Id="25876" PostHistoryTypeId="13" PostId="15669" RevisionGUID="7048a79f-6cba-4580-b27f-6e265b1f7e49" CreationDate="2012-10-12T22:40:00.933" UserDisplayName="user6508" Text="[{&quot;Id&quot;:75,&quot;DisplayName&quot;:&quot;GaryMegregian&quot;}]" />
  <row Id="25880" PostHistoryTypeId="2" PostId="15671" RevisionGUID="23046c31-a31d-4049-be18-24b8c106fb4a" CreationDate="2012-10-13T05:19:53.023" UserId="4244" Text="I've done a lot of seaside recording over the years and it comes down to being sensible with your equipment.&#xD;&#xA;Here's a few tips: &#xD;&#xA;&#xD;&#xA;All xlr's are neutrik waterproof series (as seen here).  &#xD;&#xA;http://www.sjmediasystem.com/nc3fx-hd-b.html&#xD;&#xA;&#xD;&#xA;Use long cable runs, I have 50/25/10/5m 5XLR lengths. (starquad wired for &quot;stereo&quot;) That way I can sit under cover and keep an eye on my equipment.&#xD;&#xA;&#xD;&#xA;My kit is in a &quot;sound bag&quot;, make sure the cover is on or even a towel over the top can be handy.&#xD;&#xA;&#xD;&#xA;A damp cloth can be handy to wipe down cables/tripod later at home. (deoxit all pins too!) &#xD;&#xA;&#xD;&#xA;If the rycote windjammer gets wet, at home I'll soak it for a bit in a tub then gently squeeze refilling the container a few times to rinse followed by a light brush and air dry. Do not wash or dry in a machine! Do it by hand gently and it'll stay tangle free for years.  &#xD;&#xA;&#xD;&#xA;Use a paint brush to remove solids off the mixer, follow using a (barely) damp cloth, once dry use a vacuum cleaner with brush attachment. After all that I'll clean all pots/switches with deoxit and I'm ready to go!&#xD;&#xA;&#xD;&#xA;And one final tip:  You can cover the unused xlrs with tape to help reduce salt getting into the connectors.&#xD;&#xA;&#xD;&#xA;Here's the sound of the sea on Niue. &#xD;&#xA;http://soundcloud.com/naturesounds_nz/sets/niue/&#xD;&#xA;&#xD;&#xA;Regards, &#xD;&#xA;Grant Finlay&#xD;&#xA;http://naturesounds.co.nz&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25881" PostHistoryTypeId="16" PostId="15671" RevisionGUID="23046c31-a31d-4049-be18-24b8c106fb4a" CreationDate="2012-10-13T05:19:53.023" UserId="4244" />
  <row Id="25882" PostHistoryTypeId="2" PostId="15672" RevisionGUID="35c6969c-d0e2-48f6-b5fd-a346ebb4b3aa" CreationDate="2012-10-13T05:34:52.860" UserId="4244" Text="I've never gone into debt, but then never had a lot to throw around either..&#xD;&#xA;All major purchases were made as an investment and everything was bought 2nd hand, saved a heap of money by lurking in the consignment pages and online groups. (I'm a location recordist and like bargins!) Over all, If I was to sell my kit tomorrow I'd get back cent spent because I bought the best, at a great rate. Put aside $XX a week and soon that $XXX item is closer..&#xD;&#xA;Not sure if that helps?&#xD;&#xA;&#xD;&#xA;Regards,&#xD;&#xA;Grant. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25883" PostHistoryTypeId="2" PostId="15673" RevisionGUID="7706d996-926a-4bbc-af44-f4da576d19d3" CreationDate="2012-10-13T12:27:44.780" UserId="4089" Text="Definitely piano." ContentLicense="CC BY-SA 3.0" />
  <row Id="25885" PostHistoryTypeId="2" PostId="15675" RevisionGUID="c9a75acd-c90e-43d3-b254-6cf5261fe791" CreationDate="2012-10-13T13:43:13.410" UserId="4314" Text="I have just recently purchased a Zoom H4n and Rode NTG2 and I am also having the same problems with not enough gain (recording in stereo, with or w/o channel 1 and 2 linked and with or w/o mono mix engages.) Using the mic at the appropriate distance from the person speaking, the gain is unacceptable low. If it is a quiet speaker, it does good to record at -36, even maxing out the record level.&#xD;&#xA;&#xD;&#xA;I called Zoom tech support and after speaking with them for about 15 minutes I borrowed a different mic but had the same result of not enough gain. I sent the H4n in for a replacement and it (the replacement) is doing the same thing.&#xD;&#xA;&#xD;&#xA;My set-up is NTG2 - Zoon H4n - XLR cords (brand new) - Nikon DSLR.&#xD;&#xA;&#xD;&#xA;My questions to any experienced audio pro out there- is there a better portable recorder out there? If not, what pre-amps would you recommend that would not increase noise? What is the best way to resolve this, using a pre-amp or investing in a better mic? What are recommendations for better (yet affordable) shotgun mics?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="25886" PostHistoryTypeId="1" PostId="15675" RevisionGUID="c9a75acd-c90e-43d3-b254-6cf5261fe791" CreationDate="2012-10-13T13:43:13.410" UserId="4314" Text="lack of gain, Zoom H4n with Rode NGT2" ContentLicense="CC BY-SA 3.0" />
  <row Id="25887" PostHistoryTypeId="3" PostId="15675" RevisionGUID="c9a75acd-c90e-43d3-b254-6cf5261fe791" CreationDate="2012-10-13T13:43:13.410" UserId="4314" Text="&lt;zoom&gt;&lt;zoom-h4n&gt;&lt;gain&gt;&lt;preamp&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25888" PostHistoryTypeId="2" PostId="15676" RevisionGUID="c0706189-4248-4c64-962c-8339d191f4ea" CreationDate="2012-10-13T13:53:40.947" UserId="3754" Text="I'm pretty poor, but I've managed to build up kit.&#xD;&#xA;&#xD;&#xA;In this world, do NOT go into debt. It's not worth it. Beg and borrow until you can afford it.&#xD;&#xA;&#xD;&#xA;I got a job recording some interviews, I asked them for half upfront, and then used that money to buy a TASCAM DR-100. I then did the job on that. &#xD;&#xA;&#xD;&#xA;So I used the job to buy the equipment to do the job.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I know it isn't always that simple, but from someone who IS in debt, don't go into it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;That said, if you buy equipment, make sure you can retain it's resale value, AKA a quality mic looked after will always be a quality mic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Good luck, and I'm still lusting after my first Sound Device recorder. I'll get there one day :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25889" PostHistoryTypeId="5" PostId="15666" RevisionGUID="5949f518-ef9e-4a57-97d4-fd871b1fa7cd" CreationDate="2012-10-13T13:58:03.363" UserId="4162" Comment="added 45 characters in body" Text="Hello everybody!&#xD;&#xA;&#xD;&#xA;I am a sound design student. I am exploring the subject of history of sound formats, especially Split Surround. Unfortunately, there is not enough information for me to understand this concept. I thought it is a good idea to ask this question here. While researching I found an article that confused me even more:&#xD;&#xA;&#xD;&#xA;&quot;Split Surround was compatible with the Baby Boom format. Like Baby Boom, Split Surround had the same left, center, right, mono surround, and two boom tracks. The added left and right surrounds were put on the same tracks as the two boom tracks. This was accomplished by limiting the boom tracks to under 200 Hz and the left and right surrounds were limited to about 500 Hz.&quot; &#xD;&#xA;&#xD;&#xA;Split Surround was the first 5.1 as we know it today (http://frank.mtsu.edu/~smpte/seventies.html) As far as I am aware 5.1 means 5 channels (left, center, right, left surround, right surround) + a sub-bass channel. Why then Split Surround used two boom channels? What is Mono Surround? What was the speakers setup of Split Surround? &#xD;&#xA;&#xD;&#xA;I will be grateful for explaining me this abstruse concept. Many thanks in advance&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25890" PostHistoryTypeId="2" PostId="15677" RevisionGUID="446a1adc-bc2c-42a1-b5ea-2c106f1256b2" CreationDate="2012-10-13T16:08:38.377" UserId="769" Text="An AC adaptor won't help things at all. Apologies if my answers seem obvious, but...&#xD;&#xA;&#xD;&#xA;You do need phantom power switched on for the Rode NTG-2 to work, and of course for phantom power to work, you need XLR (male) to XLR (female) cable. (XLR to jack won't work.) &#xD;&#xA;&#xD;&#xA;The only exception is if you put the AA battery into the NTG-2. In this case, you will want to switch phantom power off. You should get a decent level. Your problems are certainly not consistent with my experiences with the H4n, so it seems likely to be something to do with how you're using it." ContentLicense="CC BY-SA 3.0" />
  <row Id="25891" PostHistoryTypeId="2" PostId="15678" RevisionGUID="2b5b470c-677b-4c4a-a18e-fdb410eebf57" CreationDate="2012-10-13T19:06:05.653" UserId="362" Text="Good gear doesn't make a good sound designer, but a good sound designer can make up for bad gear. . ." ContentLicense="CC BY-SA 3.0" />
  <row Id="25892" PostHistoryTypeId="2" PostId="15679" RevisionGUID="7546b069-1e70-454c-90b7-08f2f4bf4318" CreationDate="2012-10-13T19:54:24.623" UserDisplayName="user914" Text="Hey everyone, &#xD;&#xA;&#xD;&#xA;I was wondering if you could get me some hints on this topic:&#xD;&#xA;&#xD;&#xA;Which sounds will be gone in a few years and which sounds are already gone from our planet?&#xD;&#xA;(Erveryday life, not films)&#xD;&#xA;&#xD;&#xA;I know this site:&#xD;&#xA;http://www.savethesounds.info/&#xD;&#xA;But I imagine that there are tons more.&#xD;&#xA;&#xD;&#xA;Is it perhaps that only pretty &quot;new sounds&quot; are going to die, because of the fast pace of modern society and technical progress (Otto engine, Gameboy,...). Will &quot;old sounds&quot; stay because of their nostalgic or romantic value (horse carriage, pendulum clocks).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25893" PostHistoryTypeId="1" PostId="15679" RevisionGUID="7546b069-1e70-454c-90b7-08f2f4bf4318" CreationDate="2012-10-13T19:54:24.623" UserDisplayName="user914" Text="Endangered Sounds: Which sounds will be gone in a few years?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25894" PostHistoryTypeId="3" PostId="15679" RevisionGUID="7546b069-1e70-454c-90b7-08f2f4bf4318" CreationDate="2012-10-13T19:54:24.623" UserDisplayName="user914" Text="&lt;sounds&gt;&lt;old&gt;&lt;new&gt;&lt;future&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25895" PostHistoryTypeId="2" PostId="15680" RevisionGUID="e217af2f-e729-456b-9a9e-fcc8bbb6aee2" CreationDate="2012-10-13T21:08:28.247" UserId="527" Text="I am working on a short that is mostly slow motion (shot MOS). Not severely, but enough to give it a surreal quality. This is opening the door for a lot of sound design moments, which is great, but I am having a little trouble in places. &#xD;&#xA;&#xD;&#xA;There is a moment when the main character is walking and distracted.  CITY EXT - We hear a cacophony of &quot;inner thoughts&quot; and he steps into traffic and a person grabs him before he is struck by an oncoming car. The thoughts are sucked away and the character is back to reality. The problem is that the footage is still slowed down at this moment. So there is now a ton of sync that I feel should happen, but just plain foley isn't working. &#xD;&#xA;&#xD;&#xA;I am trying to create something natural in these moments, and I feel like I am overplaying the pitched down, soaked in reverb slow motion effect. &#xD;&#xA;&#xD;&#xA;If anyone can point me in the right direction or just brainstorm with me, that would be AWESOME!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25896" PostHistoryTypeId="1" PostId="15680" RevisionGUID="e217af2f-e729-456b-9a9e-fcc8bbb6aee2" CreationDate="2012-10-13T21:08:28.247" UserId="527" Text="Slow motion foley?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25897" PostHistoryTypeId="3" PostId="15680" RevisionGUID="e217af2f-e729-456b-9a9e-fcc8bbb6aee2" CreationDate="2012-10-13T21:08:28.247" UserId="527" Text="&lt;slow&gt;&lt;motion&gt;&lt;design&gt;&lt;brainstorm&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25898" PostHistoryTypeId="2" PostId="15681" RevisionGUID="db616a88-a3d3-4073-94c8-f6e9342c4817" CreationDate="2012-10-13T21:21:14.103" UserId="194" Text="this sounds like a fun problem.  :)&#xD;&#xA;&#xD;&#xA;by what percentage is the footage slowed down?  if its in the 10-20% range, you could go with straight foley and it may work (no pitching or slowing down required, just perform it to picture) and leave bgfx natural sounding.  This will give the impression that all of this is actually happening at the slower speed in reality.&#xD;&#xA;&#xD;&#xA;if its slowed more than that, you could experiment with the removal of sounds - IOW losing all of the bgfx and only having the foley in place, or vice versa.  I think the pitched/verb thing may end feeling clichéd at that point, so again just perform the foley to picture and see how it looks with the removal of the bgfx context.&#xD;&#xA;&#xD;&#xA;another option would be to go with non-literal foley.  IOW choose props that are bigger and heavier than what you see on screen, and perform those to picture instead.  exaggerate the materials and not the performance, and you may end up with a cool result." ContentLicense="CC BY-SA 3.0" />
  <row Id="25899" PostHistoryTypeId="2" PostId="15682" RevisionGUID="f2455d8e-37bf-49e2-bfcc-8ef802468ef5" CreationDate="2012-10-13T21:22:29.143" UserId="4318" Text="There is not enough gain in your rig, and you need more. Short of getting a different recorder, you could add an MP-1 to your set up. Adding batteries to the mic wont solve your issue, but it would be cool if it did. You need more gain, plus the impedance between the h4 and the NTG are off. Try the SD MP-1, its amazing and will give you all the good clean gain you need. http://www.fullcompass.com/product/300436.html?&#xD;&#xA;utm_source=googleps&amp;utm_medium=shopping&amp;utm_campaign=googleps&amp;gclid=CKuKg-H1_rICFQs5nAodyXwABw" ContentLicense="CC BY-SA 3.0" />
  <row Id="25900" PostHistoryTypeId="2" PostId="15683" RevisionGUID="e77b5175-b98a-40be-a150-e150d7d0dbdf" CreationDate="2012-10-13T21:24:11.703" UserId="194" Text="i'd say pre-70s technology sounds are an endangered species.  &#xD;&#xA;&#xD;&#xA;things like printing presses, tube televisions, rotary phones, dial up modems, film projectors, film cameras, etc.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25901" PostHistoryTypeId="2" PostId="15684" RevisionGUID="343004af-4db2-4f59-83c8-f178a05bb1f9" CreationDate="2012-10-13T22:31:42.470" UserId="1011" Text="Well, I'm not sure about a few years exactly, but I've always thought of this question in terms of wildlife.  The first thing that comes to mind are species lost from environmental destruction.&#xD;&#xA;&#xD;&#xA;[Bernie Krause][1] writes about how noise pollution is making certain ambiences extinct as well.  Great article about him here:&#xD;&#xA;&#xD;&#xA;http://www.cntraveler.com/features/2012/01/The-Sound-of-Silence&#xD;&#xA;&#xD;&#xA;Another similar one on the same topic, a great read:&#xD;&#xA;&#xD;&#xA;http://www.nytimes.com/2012/03/18/magazine/is-silence-going-extinct.html?pagewanted=all&amp;_r=0&#xD;&#xA;&#xD;&#xA;I've also wondered how this applies to &quot;heritage sounds,&quot; like traditional songs, singing, etc.  As the world modernizes these sounds, and also the stories of cultures seem to fade.  Very expressive stuff and important to preserve!  Even though it's not sound effects I try to capture this stuff whenever I can so others can hear it and spread it along.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://en.wikipedia.org/wiki/Bernie_Krause" ContentLicense="CC BY-SA 3.0" />
  <row Id="25902" PostHistoryTypeId="5" PostId="15684" RevisionGUID="5ed6830c-94aa-4f5b-98b0-e2bb78af7e0b" CreationDate="2012-10-13T22:38:21.220" UserId="1011" Comment="added 233 characters in body; added 2 characters in body" Text="Well, I'm not sure about a few years exactly, but I've always thought of this question in terms of wildlife.  The first thing that comes to mind are species lost from environmental destruction.&#xD;&#xA;&#xD;&#xA;One example: [whale song is changing][1].  One theory is that they can no longer communicate as they did because marine traffic overwhelms their language.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Bernie Krause][2] writes about how noise pollution is making certain ambiences extinct as well.  Great article about him here:&#xD;&#xA;&#xD;&#xA;http://www.cntraveler.com/features/2012/01/The-Sound-of-Silence&#xD;&#xA;&#xD;&#xA;Another similar one on the same topic, a great read:&#xD;&#xA;&#xD;&#xA;http://www.nytimes.com/2012/03/18/magazine/is-silence-going-extinct.html?pagewanted=all&amp;_r=0&#xD;&#xA;&#xD;&#xA;I've also wondered how this applies to &quot;heritage sounds,&quot; like traditional songs, singing, etc.  As the world modernizes these sounds, and also the stories of cultures, seem to fade.  Very expressive stuff and important to preserve!  Even though it's not sound effects, I try to capture this stuff whenever I can so others can hear it and spread it along.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wired.com/wiredscience/2009/12/blue-whale-song-mystery/&#xD;&#xA;  [2]: https://en.wikipedia.org/wiki/Bernie_Krause" ContentLicense="CC BY-SA 3.0" />
  <row Id="25903" PostHistoryTypeId="2" PostId="15685" RevisionGUID="d4556e28-88a2-407b-ae72-4b890f015488" CreationDate="2012-10-14T00:17:20.327" UserId="6435" Text="The odd other side of this is, many of those sounds are available in large quantities on commercial SFX libraries, and if you're like me and made major SFX library purchases in the late '90s that's the bulk of what you've got!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25904" PostHistoryTypeId="2" PostId="15686" RevisionGUID="d0ad40d6-b07c-4185-9ca3-2d6c336ef7ae" CreationDate="2012-10-14T09:51:54.777" UserId="644" Text="The sound of children playing outside. Extremely endangered in many established countries. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25905" PostHistoryTypeId="2" PostId="15687" RevisionGUID="afd64663-1051-4b79-a249-1a701c04831c" CreationDate="2012-10-14T10:21:54.627" UserId="644" Text="If you do go down the road of using an external pre-amp before the zoom H4n, which can be an expensive excursion, you would benefit from a workaround from triggering your pre-amps within your H4n. I understand buying an extra pre-amp is a great investment for the H4n, as the noise off the pres can get intrusive when recording low spl sources.&#xD;&#xA;&#xD;&#xA;http://www.danmccomb.com/posts/987/connecting-zoom-h4n-to-sound-devices-mixpre-part-ii/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25906" PostHistoryTypeId="2" PostId="15688" RevisionGUID="03bc3f69-2c34-4eb8-895b-406fb728aec6" CreationDate="2012-10-14T17:27:20.873" UserId="6460" Text="To my great dismay: space shuttle launches. Supposedly one of the (if not THE) loudest man-made sounds. I know the Transformers 3 sound team was able to record the last launch—quite a priceless recording if you ask me. Of course NASA and private companies will be launching other forms of rockets for years. I doubt many would be able to tell the difference.&#xD;&#xA;&#xD;&#xA;Cheers, &lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25907" PostHistoryTypeId="2" PostId="15689" RevisionGUID="6b8a011c-a17a-48df-9f5a-e1083b569252" CreationDate="2012-10-14T18:22:21.817" UserId="4162" Text="I have been working on a short animation, there was a rock-solid floor cracking. On one rainy day while going home I've heard the perfect sound - it was water dribbling on concrete from a pipe placed about 1m above the sidewalk. Little cosmetics and worked great. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25908" PostHistoryTypeId="2" PostId="15690" RevisionGUID="5abb2a33-2a43-44ff-bcff-e5f65f969409" CreationDate="2012-10-14T23:09:08.623" UserId="4314" Text="I am new to the world of audio recording and I am in the process of setting up my first DAW which will be in conjunction with a DLSR video camera. I don't have a big budget right now but I am in need of achieving at least a decent pro audio quality. The final product will be viewed and heard online only.&#xD;&#xA;&#xD;&#xA;My most immediate need for a microphone is to record speech in interiors such as business offices, private residences, etc. and will most likely on a boom pole (unless there is a better suggestion offered here.) &#xD;&#xA;&#xD;&#xA;On the advice of a &quot;audio pro&quot; at a retail location I won't name at this time, I recently purchased a Rode NTG2, which I realized yesterday reading postings on this forum, is not really what I need. &#xD;&#xA;&#xD;&#xA;Should I be looking specifically at hypercardioid condenser or are there a different recommendations? Are there any shotgun boom mics that will work or have an interchangeable body that can be converted to a hypercardioid condenser?&#xD;&#xA;&#xD;&#xA;Does anyone have any experience with the Audio-Technica AT4053b they could share? &#xD;&#xA;&#xD;&#xA;And lastly - any reading recommendations regarding mic types and applications?&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;P.S. I wish I would have found this forum b4 I started purchasing gear. It would have save me a lot of time.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25909" PostHistoryTypeId="1" PostId="15690" RevisionGUID="5abb2a33-2a43-44ff-bcff-e5f65f969409" CreationDate="2012-10-14T23:09:08.623" UserId="4314" Text="need mic recommendations for working in interiors with low ceilings" ContentLicense="CC BY-SA 3.0" />
  <row Id="25910" PostHistoryTypeId="3" PostId="15690" RevisionGUID="5abb2a33-2a43-44ff-bcff-e5f65f969409" CreationDate="2012-10-14T23:09:08.623" UserId="4314" Text="&lt;microphone&gt;&lt;microphone-technique&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25911" PostHistoryTypeId="2" PostId="15691" RevisionGUID="d6cdee3b-ebe2-4dee-89fa-ce3572d4b70c" CreationDate="2012-10-15T00:28:22.357" UserId="432" Text="Yes, a hypercardioid microphone is usually better suited to indoor use than a shotgun (supercardioid).&#xD;&#xA;&#xD;&#xA;I don't have any experience with that particular Audio-Technica, but they do make some good microphones in general. One I do have experience with in that particular price range, is the AKG Blue Line series. The hypercardioid capsule in particular is actually very nice. Not as quiet as a Sennheiser MKH series, but few are. B&amp;H sells the the capsule with the SE-300B body for less than the AT4053b (check it out [here][1]). This particular mic might be useful to you, since it's a modular system and the capsules are interchangeable. If you ever need a shotgun mic, cardioid or omni-directional pickup pattern you can just buy the new capsule and swap it out on the same body.&#xD;&#xA;&#xD;&#xA;As far as reading reccomendations., Ric Viers is pretty good at explaining things for beginners. He just released a new book called [The Location Sound Bible][2], and you might find that useful. His other book, [The Sound Effects Bible][3], also has a decent section on mic applications.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/349107-REG/AKG_Blue_Line_Series_Microphone.html&#xD;&#xA;  [2]: http://www.amazon.com/The-Location-Sound-Bible-Professional/dp/1615931201/ref=sr_1_1?ie=UTF8&amp;qid=1350260728&amp;sr=8-1&amp;keywords=ric+viers&#xD;&#xA;  [3]: http://www.amazon.com/The-Sound-Effects-Bible-Hollywood/dp/1932907483/ref=pd_bxgy_b_img_y" ContentLicense="CC BY-SA 3.0" />
  <row Id="25912" PostHistoryTypeId="2" PostId="15692" RevisionGUID="14cc14e7-ee12-44f4-8a83-70e95d4f488f" CreationDate="2012-10-15T01:02:37.670" UserId="4327" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;I am just about to finish my sound-post course at a film school in Australia and I was wondering what would be the best ways to promote myself along with face-to-face networking? I currently have a linkedin profile with my credits of all the stuff I have worked on this year (as both an editor and mixer), however I won't have some sort of showreel until the end of this year/early next year. Would it be also worthwile to invest in an imdb resume and get someone to build me a portfolio site? Do a lot of places/people still take paper resumes for this sort of work, if so how would one structure it? &#xD;&#xA;&#xD;&#xA;Any other relevant tips for someone who hasn't 'worked' a day in this industry yet would be appreciated. I am currently in the process of preparing myself for potential attachments/work experience." ContentLicense="CC BY-SA 3.0" />
  <row Id="25913" PostHistoryTypeId="1" PostId="15692" RevisionGUID="14cc14e7-ee12-44f4-8a83-70e95d4f488f" CreationDate="2012-10-15T01:02:37.670" UserId="4327" Text="Self-promotion advice" ContentLicense="CC BY-SA 3.0" />
  <row Id="25914" PostHistoryTypeId="3" PostId="15692" RevisionGUID="14cc14e7-ee12-44f4-8a83-70e95d4f488f" CreationDate="2012-10-15T01:02:37.670" UserId="4327" Text="&lt;networking&gt;&lt;showreel&gt;&lt;credits&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25915" PostHistoryTypeId="2" PostId="15693" RevisionGUID="638880bd-f4d6-480f-a023-320ae21bad75" CreationDate="2012-10-15T05:14:45.893" UserId="1228" Text="Welcome!  I was giving your question some thought and I think maybe the keyword here is credibility, not promotion (yet).&#xD;&#xA;&#xD;&#xA;Breaking into this profession is very much, in my own experience and that of my close peers, a growth of trust-building and credibility in ones body of work over a long period of time.  And it's something we never stop, primarily because every day we are building new relationships with others and facilities/studios (even if we've done the gig already for 5, 10, 15, or more years), and we want to nurture those relationships properly by putting our best foot forward always and having a reason for them to call us back: our bottom-line credibility.  In my opinion it's a profession of daily first impressions.  Much in the same way a financial miss step can affect a credit score, the same holds true for a miss step here too - it affects credibility, which at the end of the day is what gets out name out by word of mouth and gets many of us work.  So to that end, focusing on credibility correctly means that the credibility will speak for itself and promote itself through your body work without you having to do a whole lot but get the job done.&#xD;&#xA;&#xD;&#xA;It may sound harsh, but when we all start its a blank slate - nobody knows anything about us, what we're capable of, if they can trust us (both in what we can do, and how we can be trusted under not breaking NDA conditions) how well we can deliver on time, and so forth.  Basically, we're in a place of being a huge risk for an employer/contractor - so I believe the first goal is to work toward reducing the risk.  &#xD;&#xA;&#xD;&#xA;By credibility in our work I'm speaking in the sense that, if you/I were hired onto a feature, are you/I capable of meeting the expectations of what's needed for that show?  Can you cut hot car chases or combat sequences?  I'm just using this as an example.  But overall by credibility I'm referring to having developed credible sound editorial skills and a trained ear/sensibility.  Nobody does right at the start, but that's why we all have (or likely have) begin in internship situations where we can increase out credibility by learning the ropes and being granted more and more opportunities on actual shows to help out, to the goal that one day you're running the ship and the show is your own.&#xD;&#xA;&#xD;&#xA;My suggestion would be to look toward that route, anywhere you can be to learn from peers in the trenches, hands on experiences where you have some degree of a 'buffer' to help you out as your learning.  It's all about learning, and finding somewhere to voluntarily intern like a studio (as well as taking on short films on the side **to put into practice what you're learning** at your internship) is a great way to begin to develop credibility in a body of work so that your developing credibility is doing the promoting itself. &#xD;&#xA;&#xD;&#xA;These are just my 2 cents." ContentLicense="CC BY-SA 3.0" />
  <row Id="25916" PostHistoryTypeId="2" PostId="15694" RevisionGUID="25b44149-f57d-4815-a601-a54b0779c8b1" CreationDate="2012-10-15T13:47:59.107" UserId="194" Text="my best answer would be to begin to do work.  &#xD;&#xA;&#xD;&#xA;Check out craigslist and mandys and look for the gigs that seem to match your inclination and skillset.  Don't worry about money yet (many of the gigs that fit your profile won't pay much or anything at first), but do be careful to choose projects that you ENJOY and can do well on.&#xD;&#xA;&#xD;&#xA;Jumping into these types of projects will introduce you to worlds of people you haven't met yet.  Some will be flakes and shysters, and some will be up and comers with real futures in front of them.  Learn the difference through experience and hang out with the people that you feel will have the greatest capacity for success.&#xD;&#xA;&#xD;&#xA;(side note here - the amount someone speaks is often inversely proportional to the capability one has to do good work - judge on actions, not rhetoric)&#xD;&#xA;&#xD;&#xA;these projects will also refine your skillset and prove to others in the industry that you are a capable professional.  The money and jobs will start working themselves out quickly after you've established that with others who are doing good work.&#xD;&#xA;&#xD;&#xA;Be prepared to spend a few years working and building your craft before you start to consider yourself &quot;established&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25917" PostHistoryTypeId="2" PostId="15695" RevisionGUID="5383c83d-33c2-48d0-a50d-fa90fe82f12f" CreationDate="2012-10-15T15:39:11.220" UserId="432" Text="Have you ever had one of those moments discussing workflow, processing, or what have you...where someone mentions something that's such a painfully simple concept, you wonder why you never thought of it before? Maybe you've simply had a &quot;Eureka!&quot; moment on your own. Let's create a little archive of these hidden common sense gems.&#xD;&#xA;&#xD;&#xA;Here are two examples:&#xD;&#xA;&#xD;&#xA;A favorite eureka moment of mine many years ago...**just because you're using a compressor, doesn't mean you have to add make-up gain.**&#xD;&#xA;&#xD;&#xA;Another that I have to give René Coronado massive credit for...**You can do easier fast automation moves, if you write automation while in half-playback speeds.**&#xD;&#xA;&#xD;&#xA;What have you got?! Make me face-palm." ContentLicense="CC BY-SA 3.0" />
  <row Id="25918" PostHistoryTypeId="1" PostId="15695" RevisionGUID="5383c83d-33c2-48d0-a50d-fa90fe82f12f" CreationDate="2012-10-15T15:39:11.220" UserId="432" Text="The Best of Simple Ideas" ContentLicense="CC BY-SA 3.0" />
  <row Id="25919" PostHistoryTypeId="3" PostId="15695" RevisionGUID="5383c83d-33c2-48d0-a50d-fa90fe82f12f" CreationDate="2012-10-15T15:39:11.220" UserId="432" Text="&lt;workflow&gt;&lt;techniques&gt;&lt;tricks&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25920" PostHistoryTypeId="2" PostId="15696" RevisionGUID="9ee8cc02-9563-4c7a-a642-02db0cf2118a" CreationDate="2012-10-15T16:24:47.583" UserId="4176" Text="Rene nailed it! But I'd like to add;&#xD;&#xA;&#xD;&#xA;I taught Location Sound at a post secondary level for 9 years and a very good place to meet up-and-comers is universities, colleges, and tech schools that teach film and video. These students are focused on the camera side and ALL of them quickly come to realize the importance of sound.&#xD;&#xA;&#xD;&#xA;For years I told my students to put up a &quot;Junior Location Sound Operator learning like you&quot; poster in the schools - those that did were blown away by the response. Not only will you have more opportunity to hone your skills, but you'll be meeting the next generation of directors, producers, and camera ops - it's like shooting fish in a barrel! &#xD;&#xA;&#xD;&#xA;After 23 years of recording in the field, I've been hired by many companies with camera ops, producers, and directors that were at one time getting me coffee!&#xD;&#xA;&#xD;&#xA;Stay in the game, it takes time. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25921" PostHistoryTypeId="2" PostId="15697" RevisionGUID="cd4ad034-f131-454f-8d7b-5c847f9d66e4" CreationDate="2012-10-15T16:39:12.943" UserId="4162" Text="I am studying sound design, so there is not much I can say, but the thing that came to me like some kind of angel from the heavens was when i found out about the elastic audio, while editing the dialogue for my second project. During the first one I would ask my ADR friends to start over and over again in order to synch the speech with the picture... and they would just hate me!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25922" PostHistoryTypeId="2" PostId="15698" RevisionGUID="09c02ee5-b6f2-441e-8e22-f712759e1c5d" CreationDate="2012-10-15T17:30:02.170" UserId="194" Text="how about: **don't use bright mics on bright sources**&#xD;&#xA;&#xD;&#xA;also, **headphone gain affects an actor's read.**" ContentLicense="CC BY-SA 3.0" />
  <row Id="25923" PostHistoryTypeId="2" PostId="15699" RevisionGUID="72d00742-9d7c-4775-82b4-3b164fea94ab" CreationDate="2012-10-15T18:02:21.963" UserId="3784" Text="I've learned to really utilize my system. I have a Mac book pro 17&quot; which I upgraded to 8gigs of ram, with sound miner, protools 10, and a control 24. In total I spent 4k on that set up and I also rent a 24/7 studio lock out for 600 a month, cus it can be so damn hard to work from home.. But I usually have atleast 4 drives going, my work G drive and my 3 D2 LaCie drives. 2 of them are for FX and 1 is strictly video playback. My point is I haven't had the heart to take a plunge with a better machine because literally I'm just maxing out my MacBook but it does the job I need it to. So I guess the theory &quot;buy the cheapest car your ego can afford&quot; is how I look at it as well. It's not always about having the best gear, it's about using what you can get to your best ability. If you open a line of credit and buy all kinds of crazy stuff then you'll never really learn to perfect one piece of gear inside and out. Pick exactly what will help you on a day to day and ask if it'll help your workflow, chances are if it doesn't then it's more of a want then a need. And that can be a thin line cus we all think we need the latest and greatest. Used gear FTW." ContentLicense="CC BY-SA 3.0" />
  <row Id="25924" PostHistoryTypeId="2" PostId="15700" RevisionGUID="6a33c664-599b-4070-baa0-7a2190c63a58" CreationDate="2012-10-15T19:41:51.553" UserId="285" Text="Noise Reduction always makes things sound different, not necessarily better.  Not everything needs to be pristine." ContentLicense="CC BY-SA 3.0" />
  <row Id="25925" PostHistoryTypeId="2" PostId="15701" RevisionGUID="0413633d-7d50-40e0-9ec6-0260f4c4ff6b" CreationDate="2012-10-15T20:24:19.570" UserId="3933" Text="I love this for the sheer simplicity, its the old SEGA one:&#xD;&#xA;http://www.youtube.com/watch?v=0y6hIABR-nU" ContentLicense="CC BY-SA 3.0" />
  <row Id="25928" PostHistoryTypeId="2" PostId="15703" RevisionGUID="6853bb76-6c99-4363-838b-34a756ed900e" CreationDate="2012-10-15T20:33:46.710" UserId="6460" Text="My most recent mind-leap: dynamic range vs. perceived dynamic range. I was lucky during my last mix to have access to a room full of Meyer Sound loudspeakers (UP-Juniors and a UM-1P, for those who know them) which I set up in a 5.1 configuration. I discovered an incredible difference in perceived dynamic range between the set of midfield monitors (Meyer HD-1s) in the control room and the live sound cabinets in the other room. The slightly loud words in the dialog track that I let pass by on the midfields came across as painful blasts of sound in the other room. &#xD;&#xA;&#xD;&#xA;It made me think hard about my use of the frequency spectrum, the surround field, reverbs/delays and subtle compression in conjunction with variation in volume to create a smooth and consistent level throughout the film. &#xD;&#xA;&#xD;&#xA;Not to mention the other lessons I learned just by previewing my mix on a second set of speakers. If you can make it happen, do it. A lot. It keeps you on your toes. Then sum to mono and do it again.&#xD;&#xA;&#xD;&#xA;Cheers, &lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25929" PostHistoryTypeId="2" PostId="15704" RevisionGUID="7c26457e-3345-4d18-8d8b-490d5d591d6a" CreationDate="2012-10-15T20:56:52.957" UserId="4314" Text="Problem resolved... I have returned both the H4n and NTG-2. No use giving myself a disadvantage out of the gate. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25930" PostHistoryTypeId="2" PostId="15705" RevisionGUID="6e25c42d-ae33-4e1d-8538-8a0e82645e42" CreationDate="2012-10-15T22:24:54.647" UserId="4176" Text="Hi David, the NTG 2 is an entry level medium shotgun that can be used indoors, but it's physical length can become a problem in low ceiling rooms - be aware of reflections being accentuated. This mic is more of a medium framing shotgun that will yield better results in an outdoor location. &#xD;&#xA;&#xD;&#xA;Rhode makes an NTG1 which is more of a short shotgun and is more suited to indoor shooting and tighter framed shots (indoor or out). If you have the cash and are looking at rounding out your mic collection this would be a good choice. Personally, I use short shotguns for most shots I deal with in the documentary world.&#xD;&#xA;&#xD;&#xA;There is no one mic that will work in all indoor and outdoor locations. Having both medium and short shotguns available will give you the ability to record better audio in a wider variety of locations and framings. Also, by having your shotguns made by the same manufacturer, they will match well when edited together.&#xD;&#xA;&#xD;&#xA;Recommended reading - **Location Audio Simplified** comes in book form and has just been released in an iBook version (works only on an iPad) it's great for learning ALL the basics of recording in the field.&#xD;&#xA;http://locationaudiosimplified.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="25931" PostHistoryTypeId="2" PostId="15706" RevisionGUID="1bf8fd7f-b90e-41ec-a569-a3691be9c2aa" CreationDate="2012-10-16T01:14:15.467" UserId="4314" Text="I am about to purchase my first serious recorder, which is looking like it will be the Tascam dr-680. I've read a lot of postings/reviews about its features and how well it works. the only con seems to be the lack of a durable housing. I have read many reviews regarding the &quot;plasticy feeling&quot; and my question is to those of you who have had one of these recorders for a while, does is hold up well enough? &#xD;&#xA;&#xD;&#xA;I plan on getting a Porta bag, or something along those lines, but any input about how well they do or don't hold up would be appreciated. &#xD;&#xA;&#xD;&#xA;Oh yeah- the other question... have I overlooked some under-rated or lesser known jewel of a  recorder out there in this price range I should consider? " ContentLicense="CC BY-SA 3.0" />
  <row Id="25932" PostHistoryTypeId="1" PostId="15706" RevisionGUID="1bf8fd7f-b90e-41ec-a569-a3691be9c2aa" CreationDate="2012-10-16T01:14:15.467" UserId="4314" Text="2 questions re: Tascam DR-680 " ContentLicense="CC BY-SA 3.0" />
  <row Id="25933" PostHistoryTypeId="3" PostId="15706" RevisionGUID="1bf8fd7f-b90e-41ec-a569-a3691be9c2aa" CreationDate="2012-10-16T01:14:15.467" UserId="4314" Text="&lt;location-recording&gt;&lt;tascam-dr-680&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25934" PostHistoryTypeId="2" PostId="15707" RevisionGUID="13bb8eed-63be-47e5-a62c-820a591d33cb" CreationDate="2012-10-16T02:10:33.627" UserId="61" Text="My 2 cents: http://socialsounddesign.com/questions/5230/so-i-dropped-my-recorder-in-a-wheelbarrow-full-of-water" ContentLicense="CC BY-SA 3.0" />
  <row Id="25935" PostHistoryTypeId="2" PostId="15708" RevisionGUID="4567f51b-a790-4d36-8e21-5bd43acd2cb4" CreationDate="2012-10-16T04:37:20.600" UserId="4327" Text="Thanks guys!&#xD;&#xA;&#xD;&#xA;This is my current setup in my small apartment bedroom:&#xD;&#xA;&#xD;&#xA;iMac 21.5 inch core 2 duo 3.06ghz with 12gb RAM&#xD;&#xA;External firewire 800 7200rpm drive&#xD;&#xA;Apogee duet&#xD;&#xA;Pro Tools 10&#xD;&#xA;Sound Ideas 6000 library, BBC library and some personal recordings.&#xD;&#xA;Sony MDR-7506 headphones&#xD;&#xA;Zoom h4n&#xD;&#xA;Shure sm58&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What else should I be looking out for when starting out on my own? Can good results be achieved in sub-par acoustic conditions? Any recommendations for monitors, plug-ins, microphones, keyboard, mouse, acoustic treatment etc.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25936" PostHistoryTypeId="5" PostId="15440" RevisionGUID="364c8c98-b719-432f-8c7f-0c4f4338c351" CreationDate="2012-10-16T12:20:33.323" UserId="4244" Comment="formatting" Text="bblist is good but you often have to be quick..&#xD;&#xA;Here's a few I trawl through every so often.&#xD;&#xA;&#xD;&#xA;http://www.trewaudio.com/consignment/  &lt;br/&gt;&#xD;&#xA;http://www.locationsound.com/proaudio/ls/used.html  &lt;br/&gt;&#xD;&#xA;http://www.pro-sound.com/Merchant2/merchant.mvc?Screen=CTGY&amp;Store_Code=PSS&amp;Category_Code=U   &lt;br/&gt;&#xD;&#xA;http://jwsoundgroup.net/index.php?/forum/23-want-to-buy-want-to-sell/   &lt;br/&gt;&#xD;&#xA;&#xD;&#xA;All these sites are for production recordists but its the same gear anyway..&#xD;&#xA;&#xD;&#xA;Regards,&#xD;&#xA;Grant." ContentLicense="CC BY-SA 3.0" />
  <row Id="25937" PostHistoryTypeId="2" PostId="15709" RevisionGUID="c852f3d6-96b4-4d04-8b85-5a6a5980caab" CreationDate="2012-10-16T14:17:04.910" UserId="238" Text="I know it's been a while since this question was active, but today I came across this acoustic ecology website which I think is awesome in terms of interactive sound design. Great BG ambiances, nice slick rollover sfx, left/right panning response to mouse movements. Plus the subject manner is very interesting too!&#xD;&#xA;&#xD;&#xA;[Arte Sound Ecology][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ecologiesonore.arte.tv/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25938" PostHistoryTypeId="2" PostId="15710" RevisionGUID="197775e0-e4f8-41a1-a8a1-570bd3698344" CreationDate="2012-10-16T15:36:10.220" UserId="4333" Text="I use [Max][1] to convert from FLAC [I've tried up to 24bit/96 KHz] directly to Apple Lossless [which handles 24/96]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sbooth.org/Max/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25939" PostHistoryTypeId="2" PostId="15711" RevisionGUID="909fe88b-7ed2-4918-a62d-219438075c4b" CreationDate="2012-10-16T16:03:34.610" UserId="6669" Text="I use Foobar 2000 and have never had any issues decoding from FLAC. To be honest I end up doing most of my transcoding / compression stuff through there. It's free and reasonably powerful, though Windows-only." ContentLicense="CC BY-SA 3.0" />
  <row Id="25940" PostHistoryTypeId="2" PostId="15712" RevisionGUID="19c0f7ac-35e9-403c-bed5-e59aa54b20e8" CreationDate="2012-10-16T16:33:31.217" UserId="4314" Text="I'm curious why you used a square/rectangular cone instead of a round one?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25941" PostHistoryTypeId="2" PostId="15713" RevisionGUID="f6f0e88d-74d2-4753-b699-0ac334f62459" CreationDate="2012-10-16T16:51:46.660" UserId="1303" Text="I had the DR-680 but it perished in water during a recording session. Until it drowned, I liked the UI, the recordings sounded great, and It seemed durable enough construction-wise. I used it in a petrol Deca Eargonizer, it fit perfectly in there. I also really dug recording to a SD card. Both of my mac have built-in SD card readers so offloading recordings was a snap. So much more convenient than the Sound Devices recorders. That said, my biggest problem with the DR-680 was it was susceptible to overheating. To be fair, this was when it was exposed to 100°F heat(side note the 744 we replaced it with lasted all day in this weather). Otherwise a great recorder for the price. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25942" PostHistoryTypeId="2" PostId="15714" RevisionGUID="9135c902-eb7a-49ac-b016-c9ddfbd283eb" CreationDate="2012-10-16T17:32:42.557" UserId="6460" Text="Blake,&lt;br&gt;&#xD;&#xA;Looks like a good set of gear to start with! For your next venture, I would strongly suggest prioritizing a set of monitors. Headphones can work for detail-snooping or for editing sounds on an individual level, but when it comes to balancing elements together in frequency, level, and space, nothing beats a well-tuned set of speakers.&#xD;&#xA;&#xD;&#xA;Honestly, our suggestions for monitors can only get you so far—you need to find a pair that helps *you* do what you do. Burn a CD of a few of your projects that you're very familiar with and take it, as well as some familiar music, around to some pro audio shops. If a shop is serious about audio gear sales, the sales people will let you test speakers in a controlled manner. Always listen on each pair for as long as you can, too—remember, these will be the speakers you sit in front of for hours, days, weeks, years... And after a while, you'll know the sound of those speakers like you know the sound of your mother's voice.&#xD;&#xA;&#xD;&#xA;I'm not sure about Australian vendors, but most stores in the US that will allow you to return a pair of speakers within 30 days of purchase. This is a great second step to figure out if a pair of monitors will work for you. &#xD;&#xA;&#xD;&#xA;Best of luck!&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="25943" PostHistoryTypeId="2" PostId="15715" RevisionGUID="339724e8-7b48-4583-94f9-bea632758bad" CreationDate="2012-10-16T18:17:53.287" UserId="4335" Text=" Fun question! True - you can find many of these sounds in sfx libraries. We have recordings of NASA space shuttle launches at Pro Sound Effects, and recently have been making 'sound a day' audio posts about sounds of endangered species. &#xD;&#xA;&#xD;&#xA;[www.prosoundeffects.com/blog/2012/09/sound-of-the-day-endangered-species-week][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.prosoundeffects.com/blog/2012/09/sound-of-the-day-endangered-species-week" ContentLicense="CC BY-SA 3.0" />
  <row Id="25944" PostHistoryTypeId="2" PostId="15716" RevisionGUID="cc67db75-a172-4b76-b998-48e8ed5a9def" CreationDate="2012-10-16T18:36:46.500" UserId="66" Text="Exactly what Gary said - you don't need to ADR, what international M&amp;Es are looking for are the effects and music, which includes foley.  They do not need or use the dialogue track (someone please correct me if I'm mistaken).&#xD;&#xA;&#xD;&#xA;So yes, you will have to record fand/orcut in foley effects for PFX that are embedded into the dialogue tracks. The international versions only dub in the dialogue.&#xD;&#xA;&#xD;&#xA;I typically 'save' as much production sound as possible, and paste room tone where ever the dialogue was to smooth out the sound, then cut in new foley effects over the room tone.  So if your film is dialogue heavy, a significant amount of foley work will most likely need to be done.&#xD;&#xA;&#xD;&#xA;Sometimes a 'fully filled' M&amp;E is required, which means they're wanting all sounds including subtle foley sounds.  If it's not, you can often get away with just saving PFX and cutting in the most obvious fx. On micro budget projects, this is often what needs to be done (which is also why sometimes international versions sound empty - because they often are).  " ContentLicense="CC BY-SA 3.0" />
  <row Id="25945" PostHistoryTypeId="2" PostId="15717" RevisionGUID="7a80c6e0-6d50-43ec-a5d4-6531dea97971" CreationDate="2012-10-16T20:35:09.200" UserId="432" Text="I miss being able to sit out in the woods and not hear any signs of human life beyond my own breathing. Can't really find that many places anymore." ContentLicense="CC BY-SA 3.0" />
  <row Id="25946" PostHistoryTypeId="2" PostId="15718" RevisionGUID="07fc1426-818a-4fe8-af72-a06bd7a4a57d" CreationDate="2012-10-16T20:36:47.590" UserId="3145" Text="The minus dialogue track is a valuable commodity that can add a lot to the final M&amp;E.  Try to preserve as many production effects as possible.  Sometimes the best effects in the movie are production, i.e. doors, props, movement, cars, skids, etc. all in the dialogue stem.  As Laura said above, reasonably fill for the mixer to get in and out of the minus D.  It's possible to fix the effects, extend some that have pieces under dialogue.  It's a judgment call if it's worth it. Some you can't save, there's too much dialogue to extract. Another element to preserve from the dialogue stem are crowds, cheers, efforts, screams, foreign language walla that lives in the domestic or any other vocals that could possibly be used in a foreign mix.  Put those on an alt dialogue track for helpers on the M&amp;E. This will give the foreign mixers more options either to use their own talent or the original.   I've seen original vocals used in foreign mixes. Sometimes foreign dialogue is used in the domestic.  Be sure to preserve that. I once had to fix an M&amp;E that failed to preserve a character who only spoke Portuguese (Love Actually).  I had to pull it out of the dialogue stem to mix with the other languages.  This was a story point and obviously couldn't be dubbed in any other language. I don't remember what the solution was for the Portuguese version." ContentLicense="CC BY-SA 3.0" />
  <row Id="25947" PostHistoryTypeId="2" PostId="15719" RevisionGUID="7bb226f7-6e5b-4ab9-a0db-d99817a908dc" CreationDate="2012-10-16T21:36:11.120" UserId="4162" Text="Hi! &#xD;&#xA;I was wondering if you guys have your favorite scenes, in which sound effect or effects impact the physiological aspects, such as heart beating, or emotional state, making you concerned/sad/blissful etc?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25948" PostHistoryTypeId="1" PostId="15719" RevisionGUID="7bb226f7-6e5b-4ab9-a0db-d99817a908dc" CreationDate="2012-10-16T21:36:11.120" UserId="4162" Text="Power of sound design in film / Favorite scenes" ContentLicense="CC BY-SA 3.0" />
  <row Id="25949" PostHistoryTypeId="3" PostId="15719" RevisionGUID="7bb226f7-6e5b-4ab9-a0db-d99817a908dc" CreationDate="2012-10-16T21:36:11.120" UserId="4162" Text="&lt;design&gt;&lt;film&gt;&lt;film-sound-design&gt;&lt;emotional-interpretation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25950" PostHistoryTypeId="5" PostId="15713" RevisionGUID="a19e2200-ad04-44ce-b01e-babab2b51003" CreationDate="2012-10-16T21:55:04.140" UserId="1303" Comment="added 1 characters in body" Text="I had the DR-680 but it perished in water during a recording session. Until it drowned, I liked the UI, the recordings sounded great, and It seemed durable enough construction-wise. I used it in a petrol Deca Eargonizer, it fit perfectly in there. I also really dug recording to a SD card. Both of my macs have built-in SD card readers so offloading recordings was a snap. So much more convenient than the Sound Devices recorders. That said, my biggest problem with the DR-680 was it was susceptible to overheating. To be fair, this was when it was exposed to 100°F heat(side note the 744 we replaced it with lasted all day in this weather). Otherwise a great recorder for the price. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25951" PostHistoryTypeId="2" PostId="15720" RevisionGUID="c7478793-442b-47ef-ba5f-5422af710d7f" CreationDate="2012-10-16T22:23:14.117" UserId="4316" Text="What to do when you're working on a low-budget game for children with lots of animals, and you can't source anything pre recorded that's any good?&#xD;&#xA;&#xD;&#xA;Specifically sounds for giraffes, rats, and pandas. I want sounds that are at least somewhat representative of the animal... ie. a roar for a lion, an elephant trumpeting.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25952" PostHistoryTypeId="1" PostId="15720" RevisionGUID="c7478793-442b-47ef-ba5f-5422af710d7f" CreationDate="2012-10-16T22:23:14.117" UserId="4316" Text="Low Budget Sound Design (Animal Sounds)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25953" PostHistoryTypeId="3" PostId="15720" RevisionGUID="c7478793-442b-47ef-ba5f-5422af710d7f" CreationDate="2012-10-16T22:23:14.117" UserId="4316" Text="&lt;animals&gt;&lt;low-budget&gt;&lt;philosophy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25954" PostHistoryTypeId="2" PostId="15721" RevisionGUID="cd1d6e4f-f4fa-473c-a4dc-5d8ff96ed887" CreationDate="2012-10-16T22:32:24.520" UserId="6460" Text="I'm not quite sure I understand what you mean when you say the sound effects &quot;impact&quot; the physiological aspects — do you mean the *characters'* physiology or mine?&#xD;&#xA;&#xD;&#xA;*The Hurt Locker* is one of my more recent favorites that *emphasizes* the body. The use of breath sounds to create an intimate perspective made me very nervous during the bomb diffusion scenes, as well as the sniper scene. I find that in scenes involving mortal danger, it's what we don't hear that creates the most suspense.&#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25955" PostHistoryTypeId="2" PostId="15722" RevisionGUID="912f29ee-fa8f-42d8-8457-69c34cd27e2a" CreationDate="2012-10-16T23:32:58.767" UserId="826" Text="I had my DR-680's front panel buttons replaced. They failed on me in about a year, obviously after warranty :) Other than that, it works and sounds great. I use it with SD 442 in front and feed it line level. It's a perfect match :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25956" PostHistoryTypeId="2" PostId="15723" RevisionGUID="eb700fda-769d-4006-b279-8e7817068d18" CreationDate="2012-10-17T04:06:55.193" UserId="29" Text="And, of course, there is the the Intel signature audio ID (hey, they used to call it the Intel Bong for years, give 'em a break :-p). It's been [executed][1] in [many][2] [ways][3] and has been called the 2nd most &quot;addictive&quot; sound in the USA [by one survey][4]. The [story of its composition][5] by Walter Werzowa is pretty interesting.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=jzrEqQLuMow&#xD;&#xA;  [2]: http://www.intel.com/content/www/us/en/my-intel-edge/sxsw-artists-rock-the-intel-bong.html&#xD;&#xA;  [3]: http://www.youtube.com/watch?v=Dt9maknsGJ0&#xD;&#xA;  [4]: http://www.michaelleander.me/blog/the-10-most-recognizable-sounds-in-the-world-usa/&#xD;&#xA;  [5]: http://musicthing.blogspot.com/2005/05/tiny-music-makers-pt-1-intel-inside.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="25957" PostHistoryTypeId="2" PostId="15724" RevisionGUID="7b9bba8c-9afe-46c6-869b-0e92ee1f9692" CreationDate="2012-10-17T04:13:46.363" UserId="29" Text="A gem from Randy Thom: An omnidirectional mic placed close enough to a sound source becomes effectively directional. It's all about S:N! :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25958" PostHistoryTypeId="2" PostId="15725" RevisionGUID="ef618b04-8637-45ec-9a22-a0e740f134b9" CreationDate="2012-10-17T07:03:14.867" UserId="3654" Text="I use my DR 680 since one year nearly every day to record mostly sound fx and acoustic concerts. It´s a really great piece of work. Shure, someone will say, it´s out of plastic, but if you put it in a professional audio bag, nothing should get destroyed. i have mine from &quot;filmtontechnik.de&quot; a german manufacturer, which produces bags for any kind of audio gear. they´re cheaper than porta brace and they fit perfect as they´re made for the product itself ;). This device works in cold and heat. i recorded several hours in snow under 0° degrees and it doesn´t droped out (maybe it comes from the bag as a isolator) - &#xD;&#xA;&#xD;&#xA;back to the dr 680..... What i miss is the ability to controll more than one gain rider at a time. shure there are gain groups, where you can set a group of controllers that work together with the gain pot, but sometimes (not often) i wish i had the ability to controll more than on e group or one mic. &#xD;&#xA;&#xD;&#xA;what i also think is really anoying is the lake of a professional audio meter. the meter, that is build in really suck. but you learn how to work with that. I love the SD meters, but hey. These devices are much more expensive.....&#xD;&#xA;&#xD;&#xA;The limiters aren´t that good, so you have to take care of loud sources (as @ Jay Jennings mentioned).&#xD;&#xA;&#xD;&#xA;So go and get it. It should be the best choice in this price range. ;)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25959" PostHistoryTypeId="2" PostId="15726" RevisionGUID="8661a23e-8922-48ca-98dd-f56e093a7160" CreationDate="2012-10-17T07:30:58.173" UserId="1055" Text="giraffes rarely make any sound, i don't think there are libraries with giraffe vocalisations." ContentLicense="CC BY-SA 3.0" />
  <row Id="25960" PostHistoryTypeId="2" PostId="15727" RevisionGUID="ca74438e-2ae0-42fc-952a-c3e68fd9389d" CreationDate="2012-10-17T07:48:16.123" UserId="4337" Text="Hi people, I've been recording voice over dialogue for a cooking show and have never encountered so much sibilance problems. I hate what auto deessers do to a track and haven't the time to scrub them manually. any advice on dealing with sibilance on the way in, mic placement tec. ?&#xD;&#xA;cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="25961" PostHistoryTypeId="1" PostId="15727" RevisionGUID="ca74438e-2ae0-42fc-952a-c3e68fd9389d" CreationDate="2012-10-17T07:48:16.123" UserId="4337" Text="Voice over sibilance" ContentLicense="CC BY-SA 3.0" />
  <row Id="25962" PostHistoryTypeId="3" PostId="15727" RevisionGUID="ca74438e-2ae0-42fc-952a-c3e68fd9389d" CreationDate="2012-10-17T07:48:16.123" UserId="4337" Text="&lt;sibilence&gt;&lt;dialogue&gt;&lt;voice-over&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25963" PostHistoryTypeId="2" PostId="15728" RevisionGUID="cf05c0e9-777c-49b9-b096-0896b4e8cb6b" CreationDate="2012-10-17T08:12:48.410" UserId="221" Text="If you are using personal clip on mics, providing they are omni, turn them upside down so they are facing down rather than up with help sibilance.&#xD;&#xA;&#xD;&#xA;As to de-essers, there are de-essers and de-essers. A lot of the de-essers are wide band so when a sibilance is detected they gain reduce the whole freq range. Good de-esses can be configured to just reduce the sibilance frequencies and so sound so much much natural. Plug-in wise I would look at the Waves, Sonnox and the new [FabFilter Pro-DS][1] one is rapidly becoming my go to de-esser.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pro-tools-expert.com/home-page/2012/10/8/fabfilter-release-pro-ds-de-esser-plug-in.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="25964" PostHistoryTypeId="5" PostId="15719" RevisionGUID="90cffe44-6ffb-4921-a51c-8403e4f514a6" CreationDate="2012-10-17T08:44:37.657" UserId="4162" Comment="added 33 characters in body" Text="Hi! &#xD;&#xA;I was wondering if you guys have your favorite scenes, in which sound effect or effects that somehow affect your body, for example, making your heart to go crazy, or impacting your emotional state, making you cry/laugh/sad/blissful etc?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25965" PostHistoryTypeId="2" PostId="15729" RevisionGUID="2638764f-f21a-4452-a44f-b57756c1d052" CreationDate="2012-10-17T12:31:54.147" UserId="432" Text="+1 on Mike's suggestion regarding lavs. If you're using stand mounted mics though, try placing the mic capsule above the mouth (cheek bone height) and slightly to the side. Obviously, still aimed at the mouth. The point is to get it out from in front of it.&#xD;&#xA;&#xD;&#xA;A quick fix for you in post...&#xD;&#xA;&#xD;&#xA;Create a duplicate track of the DX with your de-esser on it. Set it so that it controls that sibilance well, even when it's at its worst. Yes, the rest of the track will probably sound awful, but that's why you do this on a duplicate track. Now kill the volume of that duplicate track (negative infinity, don't mute it). When you hit a spot where the sibilance is needs to be controlled in your original/primary DX track, put in a quick crossfade between the processed and unprocessed tracks. Fast, simple, and avoids overfiltering the rest of your track.&#xD;&#xA;&#xD;&#xA;Another favorite, though more time consuming, trick of mine is to de-ess using RX2. Use &quot;spectral repair&quot; and &quot;attenuate&quot; the offending sibilance. You can get far better sounding results that way." ContentLicense="CC BY-SA 3.0" />
  <row Id="25966" PostHistoryTypeId="2" PostId="15730" RevisionGUID="e1c34204-1e35-4ba5-adc3-05d6bfe87f88" CreationDate="2012-10-17T12:50:01.863" UserId="1117" Text="i think i know what you mean, &#xD;&#xA;like give you almost a physical reaction... &#xD;&#xA;&#xD;&#xA;the famous &quot;bite the curb...' scene in american history x... just that sound of the teeth on the concrete is what scares me the most and makes me want to turn away...&#xD;&#xA;&#xD;&#xA;i also remember in 127 hours when he has to place the knife to the nerve endings in his arm and there is an almost feedback kinda sound, worked on me... i couldnt watch and that pain lasted with me for the next few days... im a wimp" ContentLicense="CC BY-SA 3.0" />
  <row Id="25967" PostHistoryTypeId="2" PostId="15731" RevisionGUID="d020e24a-f037-4cf7-a585-37c5e5d5ad91" CreationDate="2012-10-17T15:34:11.167" UserId="234" Text="In Blade Runner, the scene where Batty kills Tyrell ... all happens off screen, but the sound made me squirm... still does!&#xD;&#xA;&#xD;&#xA;Oh and pretty much ALL of the original 1963 The Haunting. Most of the scares are sound based, and they STILL make me tense." ContentLicense="CC BY-SA 3.0" />
  <row Id="25968" PostHistoryTypeId="2" PostId="15732" RevisionGUID="fef05080-b375-472a-b32f-f39e73f82fe9" CreationDate="2012-10-17T17:04:09.517" UserId="479" Text="I'm considering buying a Rycote S Series blimp for an MKH416. Rycote website recommends a certain size blimp.&#xD;&#xA;&#xD;&#xA;My concern though is if I put a smaller microphone into a large blimp will it affect the sound.&#xD;&#xA;&#xD;&#xA;Does anyone use a blimp larger than specified for their microphone and find any issues?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25969" PostHistoryTypeId="1" PostId="15732" RevisionGUID="fef05080-b375-472a-b32f-f39e73f82fe9" CreationDate="2012-10-17T17:04:09.517" UserId="479" Text="Blimp windshield size" ContentLicense="CC BY-SA 3.0" />
  <row Id="25970" PostHistoryTypeId="3" PostId="15732" RevisionGUID="fef05080-b375-472a-b32f-f39e73f82fe9" CreationDate="2012-10-17T17:04:09.517" UserId="479" Text="&lt;blimp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25971" PostHistoryTypeId="2" PostId="15733" RevisionGUID="1f0a153e-2b95-4242-b074-e3f82fc03f9b" CreationDate="2012-10-17T17:43:11.230" UserId="6432" Text="So are you thinking of not buying the one Rycote recommend? If so, I think you should trust Rycote and go for one the right size. The S-series kits are quite specific because of the way they hold the mic.&#xD;&#xA;&#xD;&#xA;Larger blimps are heavier which is reason enough to go with one the right size." ContentLicense="CC BY-SA 3.0" />
  <row Id="25972" PostHistoryTypeId="2" PostId="15734" RevisionGUID="baf56306-303c-45c4-96f4-1b531dc8a148" CreationDate="2012-10-17T18:25:33.827" UserId="432" Text="The different sizes are really an intersection of ensuring the minimum amount of clearance around the mic to provide optimum wind protection, and ensuring that you have maximum flexibility in terms of distance for mic placement. The smaller windscreens simply let you place those shorter microphones (which are typically not supercardiod) closer to your sound source. You won't have as much close-miking flexibility with a larger windscreen than the microphone calls for. Obviously, this can effect your ambient (meaning environmental, not electrical) signal-to-noise ratio.&#xD;&#xA;&#xD;&#xA;Windscreens do have some effect on the frequency spectrum of your recordings, but using a larger than necessary windscreen shouldn't cause anything beyond that effect. Just the previously mentioned placement issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="25973" PostHistoryTypeId="2" PostId="15735" RevisionGUID="02619d0a-f9c2-4769-a705-edb18c0b7386" CreationDate="2012-10-17T21:55:13.960" UserId="18" Text="I put smaller mics in my 416 Rycote all the time. I wouldn't worry about it, you're only talking about a few inches of difference.  Get the 416 kit and you'll be fine." ContentLicense="CC BY-SA 3.0" />
  <row Id="25974" PostHistoryTypeId="2" PostId="15736" RevisionGUID="a8670e33-9c72-4094-ae97-f41578ac3f4d" CreationDate="2012-10-17T23:08:03.923" UserDisplayName="user6508" Text="No Country For Old Men, when Josh Brolin is sitting on the bed in the hotel.  The design in that is so &quot;minimal&quot; but talk about putting a viewer in the scene.  It made me feel so nervous and filled me with anxiety I was literally on the edge of my seat as if I was in the hotel room." ContentLicense="CC BY-SA 3.0" />
  <row Id="25975" PostHistoryTypeId="2" PostId="15737" RevisionGUID="bae306d8-cc13-4fbe-8db0-1870038bada0" CreationDate="2012-10-18T02:06:08.413" UserId="3784" Text="For car scenes that involve Dialogue and camera angles that move from the hood outside the car, to actual back seat perspective shots, does one cut everything from the interior perspective since thats where the characters are actually speaking or do you cut all those extra exterior shots during the sequence?&#xD;&#xA;&#xD;&#xA;Hope that makes sense,&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25976" PostHistoryTypeId="1" PostId="15737" RevisionGUID="bae306d8-cc13-4fbe-8db0-1870038bada0" CreationDate="2012-10-18T02:06:08.413" UserId="3784" Text="When cutting BG's.." ContentLicense="CC BY-SA 3.0" />
  <row Id="25977" PostHistoryTypeId="3" PostId="15737" RevisionGUID="bae306d8-cc13-4fbe-8db0-1870038bada0" CreationDate="2012-10-18T02:06:08.413" UserId="3784" Text="&lt;background&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25978" PostHistoryTypeId="2" PostId="15738" RevisionGUID="aa43da0f-4eef-43db-8537-ecaa96fae2d3" CreationDate="2012-10-18T03:34:48.260" UserId="61" Text="Really depends on the tone and mood of the scene. There may be times when it's appropriate to cut perspectives like that, but more often times than not the sound should be supporting the dialog, which is happening inside the car. But again, there are no rules - only conventions. " ContentLicense="CC BY-SA 3.0" />
  <row Id="25983" PostHistoryTypeId="2" PostId="15740" RevisionGUID="69146dd4-ffe2-47c6-a47b-f3ea14f9f5e2" CreationDate="2012-10-18T07:51:02.183" UserId="6432" Text="I absolutely agree with what Jay says, but it's also worth noting that using the sound from the interior of the vehicle even during lengthy external shots is a little used but effective technique. Most audiences will naturally connect the sound of the interior with the external shot of the car, but if you use this technique carefully it can really force the audience to listen as (depending on the shot) they may not be able to see the people in the car. One film which uses this extensively is *[A taste of cherry][1]* which has long sections of interior car dialogue with wide angle car shots. Unconventional, but it really works. Granted, this is not a technique that's going to be adopted for prime time tv, but is interesting none the less.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0120265/" ContentLicense="CC BY-SA 3.0" />
  <row Id="25984" PostHistoryTypeId="2" PostId="15741" RevisionGUID="18424e58-13a4-4f6b-958c-cd8227d12c93" CreationDate="2012-10-18T10:59:03.437" UserId="4316" Text="I ended up finding all of them via a lot more searching. As for the giraffe, apparently they make noise that is too low for human hearing. However, if you get a baby and it's a bit scared, wallah we have something! A bit of RX and editing made it work for my project. In case you wanna see... http://www.youtube.com/watch?v=Y7iuOZVJhs0" ContentLicense="CC BY-SA 3.0" />
  <row Id="25985" PostHistoryTypeId="2" PostId="15742" RevisionGUID="1f7071a2-aec6-4bde-b49d-614e858277f0" CreationDate="2012-10-18T11:18:16.347" UserId="3289" Text="Hey there,&#xD;&#xA;&#xD;&#xA;I'm trying to reproduce this spesific SFX, but i couldn't figure out how to create that scrape. Regular sword (fish slice) scrapes just won't work. Any ideas?&#xD;&#xA;&#xD;&#xA;the sound: http://snd.sc/PbYGrV" ContentLicense="CC BY-SA 3.0" />
  <row Id="25986" PostHistoryTypeId="1" PostId="15742" RevisionGUID="1f7071a2-aec6-4bde-b49d-614e858277f0" CreationDate="2012-10-18T11:18:16.347" UserId="3289" Text="[How To Question] Spesific scrape sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="25987" PostHistoryTypeId="3" PostId="15742" RevisionGUID="1f7071a2-aec6-4bde-b49d-614e858277f0" CreationDate="2012-10-18T11:18:16.347" UserId="3289" Text="&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25988" PostHistoryTypeId="2" PostId="15743" RevisionGUID="61e23ee9-77cc-4dcb-8809-36f1380a5a11" CreationDate="2012-10-18T11:31:30.563" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;It's a combination of several sound events:&#xD;&#xA;A pitched up scrape of metal (on a sharpening stone?)&#xD;&#xA;Typical horror slush sound (from tomatoes?)&#xD;&#xA;A shortened whoosh sound (cloth?)&#xD;&#xA;&#xD;&#xA;Good luck&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="25989" PostHistoryTypeId="4" PostId="15742" RevisionGUID="395ac698-5dad-42b6-b00b-90da14dfff8e" CreationDate="2012-10-18T12:31:39.673" UserId="432" Comment="edited tags; edited title" Text="[How To Question] Specific scrape sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="25990" PostHistoryTypeId="6" PostId="15742" RevisionGUID="395ac698-5dad-42b6-b00b-90da14dfff8e" CreationDate="2012-10-18T12:31:39.673" UserId="432" Comment="edited tags; edited title" Text="&lt;sfx&gt;&lt;sound-design&gt;&lt;metal&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25991" PostHistoryTypeId="2" PostId="15744" RevisionGUID="548f0489-5eae-469c-a34c-240005d40221" CreationDate="2012-10-18T12:48:51.697" UserId="505" Text="Hi guys,&#xD;&#xA;In these days I have to create the sound of a pneumatic wheel.&#xD;&#xA;In the video there is a pneumatic that goes on the road for 15 sec. It starts with a road in the summer time and it turns in a winter road with snow.&#xD;&#xA;&#xD;&#xA;Any idea?&#xD;&#xA;&#xD;&#xA;Thanks so much!" ContentLicense="CC BY-SA 3.0" />
  <row Id="25992" PostHistoryTypeId="1" PostId="15744" RevisionGUID="548f0489-5eae-469c-a34c-240005d40221" CreationDate="2012-10-18T12:48:51.697" UserId="505" Text="How to create a pneumatic wheel sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="25993" PostHistoryTypeId="3" PostId="15744" RevisionGUID="548f0489-5eae-469c-a34c-240005d40221" CreationDate="2012-10-18T12:48:51.697" UserId="505" Text="&lt;design&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="25994" PostHistoryTypeId="2" PostId="15745" RevisionGUID="615d6f1e-4caa-4ffd-97bc-5f894bced123" CreationDate="2012-10-18T13:19:32.680" UserId="4089" Text="Great tips Shaun!  I have also heard of people getting good results out of RX2. (Which is on sale!)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25995" PostHistoryTypeId="2" PostId="15746" RevisionGUID="3ead3151-d35e-4448-b6b7-ebd6a9050a26" CreationDate="2012-10-18T13:24:58.390" UserId="4354" Text="Have you tried to use two knives with a quick stroke together? Works everytime for me. + some epic pitchshifter on that. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="25996" PostHistoryTypeId="2" PostId="15747" RevisionGUID="30873dca-b184-4e1c-ad3e-b3066f701740" CreationDate="2012-10-18T14:28:29.347" UserId="238" Text="I've found this works very well with a large chef's knife. If you slide one blade along the other you get a really nice resonating ring to it. For a slightly dirtier version, use one blade along a knife sharper." ContentLicense="CC BY-SA 3.0" />
  <row Id="25997" PostHistoryTypeId="2" PostId="15748" RevisionGUID="e6cd3213-4e9c-4710-aa14-7920a1a8f7f4" CreationDate="2012-10-18T14:54:07.587" UserId="6460" Text="On top of the other suggestions so far, try the knife on many surfaces. If it's not a knife you care about, use brick, stone, soil, gravel, various woods, vegetables, etc. to cut into/scrape against. Come to think of it, I wouldn't suggest using one of my good knives for this anyway ;). &#xD;&#xA;&#xD;&#xA;Do you have a sampler plugin or something you can use to map out sounds to a midi keyboard? It takes a little more setup time, but this is one of my favorite ways to quickly audition different combinations of sounds. Grab your favorite cut/scrape samples and assign each to an octave of the keyboard (C to C). Put the default pitch at F#. This lets you freely play with layering of sounds AND pitch shifting up to 6 semitones simultaneously.&#xD;&#xA;&#xD;&#xA;Have fun! &lt;br&gt;&#xD;&#xA;~Matt " ContentLicense="CC BY-SA 3.0" />
  <row Id="25998" PostHistoryTypeId="2" PostId="15749" RevisionGUID="3effa19f-b9d2-4e56-a1f6-db91fb4ba6b8" CreationDate="2012-10-18T18:55:22.287" UserId="3784" Text="Thanks for the solid answers guys. Ive always wondered what the correct way is but like you guys said it depends on the mood and what you want the audience to pick up on. I always find myself OVER cutting BGs when it comes to this. I cut EVERYTHING just in case (because being yelled at on the stage in front of clients for missing something is never fun) Thanks for giving me a better approach on this, much appreciated! " ContentLicense="CC BY-SA 3.0" />
  <row Id="25999" PostHistoryTypeId="2" PostId="15750" RevisionGUID="613481ba-e85f-4099-b143-c4319aa2895e" CreationDate="2012-10-18T19:47:37.250" UserId="66" Text="As New York audio post people know, Sound One, a staple audio post house, is in danger of closing.  It got me thinking that with the number of freelance sound editors/designers growing, I should try to put together a sound effects library through [Pro Sound Effects][1] geared towards independent sound engineers who don't have access to massive libraries the big studios do. &#xD;&#xA;&#xD;&#xA;Between downloading individual sounds to a large collection on a hard drive, or a yearly fee vs. buyout, I'd love to hear your thoughts and wishes about what would work for you. We have a huge resource that is underutilized by my fellow independent sound editors, and I'd love to remedy that. &#xD;&#xA;&#xD;&#xA;Take a sec to fill out the form (and get a $25 voucher for our online library) and feel free to email or post your thoughts as well. [The form is here][2].  Danke!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.prosoundeffects.com&#xD;&#xA;  [2]: https://docs.google.com/spreadsheet/viewform?formkey=dDhnOUtFY2RwWTNnN2VqSUZQdGM2ZVE6MQ&amp;goback=.gmp_69594.gde_69594_member_175809888" ContentLicense="CC BY-SA 3.0" />
  <row Id="26000" PostHistoryTypeId="1" PostId="15750" RevisionGUID="613481ba-e85f-4099-b143-c4319aa2895e" CreationDate="2012-10-18T19:47:37.250" UserId="66" Text="your thoughts about pricing a sound effects library for freelancers" ContentLicense="CC BY-SA 3.0" />
  <row Id="26001" PostHistoryTypeId="3" PostId="15750" RevisionGUID="613481ba-e85f-4099-b143-c4319aa2895e" CreationDate="2012-10-18T19:47:37.250" UserId="66" Text="&lt;library-sound-effects&gt;&lt;effects&gt;&lt;editing&gt;&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26002" PostHistoryTypeId="2" PostId="15751" RevisionGUID="c70ad6a9-e629-44f4-ace7-cb936905a740" CreationDate="2012-10-18T20:17:33.223" UserId="4355" Text="&gt; Blockquote  2&#xD;&#xA;&#xD;&#xA;	&#xD;&#xA;&#xD;&#xA;I agree with the suggestions of leaving the dialog dry. The more intimate you can make this feel the better. Especially if you goal is to bring the audience closer to the character.&#xD;&#xA;&#xD;&#xA;If you are mixing in 5.1 try placing the VO in the LCR. Adding voiceover to the stereo field can give the audience the feeling that someone is talking directly in their ear. This was done very effectively in Apocalypse Now. Listening to that mix in a theater gives you the feeling that Martin Sheen is practically whispering in your ear...almost like you're a priest in a confessional booth with him.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I am edditting a shor movie, and in 4 moments i ahave the talent walking slowly in a long corridor, looking down , obviouly sunked in his thoutgs... i used a vey dry sound , totally deessed, almost all low freqs removed (near 15db), resulted in a more medium frequencies, like old records, and positioned in LR front and 10% in C channel . The producers was very peased . Thanks Justin Pearson for the overall concept" ContentLicense="CC BY-SA 3.0" />
  <row Id="26003" PostHistoryTypeId="16" PostId="15751" RevisionGUID="c70ad6a9-e629-44f4-ace7-cb936905a740" CreationDate="2012-10-18T20:17:33.223" UserId="4355" />
  <row Id="26004" PostHistoryTypeId="5" PostId="15751" RevisionGUID="8b0f0283-fbcd-40ff-924f-39fa28e3ba1e" CreationDate="2012-10-18T20:55:04.653" UserId="396" Comment="fixed formatting" Text="&gt; I agree with the suggestions of&#xD;&#xA;&gt; leaving the dialog dry. The more&#xD;&#xA;&gt; intimate you can make this feel the&#xD;&#xA;&gt; better. Especially if you goal is to&#xD;&#xA;&gt; bring the audience closer to the&#xD;&#xA;&gt; character.&#xD;&#xA;&gt; &#xD;&#xA;&gt; If you are mixing in 5.1 try placing&#xD;&#xA;&gt; the VO in the LCR. Adding voiceover to&#xD;&#xA;&gt; the stereo field can give the audience&#xD;&#xA;&gt; the feeling that someone is talking&#xD;&#xA;&gt; directly in their ear. This was done&#xD;&#xA;&gt; very effectively in Apocalypse Now.&#xD;&#xA;&gt; Listening to that mix in a theater&#xD;&#xA;&gt; gives you the feeling that Martin&#xD;&#xA;&gt; Sheen is practically whispering in&#xD;&#xA;&gt; your ear...almost like you're a priest&#xD;&#xA;&gt; in a confessional booth with him.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I am edditting a shor movie, and in 4 moments i ahave the talent walking slowly in a long corridor, looking down , obviouly sunked in his thoutgs... i used a vey dry sound , totally deessed, almost all low freqs removed (near 15db), resulted in a more medium frequencies, like old records, and positioned in LR front and 10% in C channel . The producers was very peased . Thanks Justin Pearson for the overall concept" ContentLicense="CC BY-SA 3.0" />
  <row Id="26005" PostHistoryTypeId="8" PostId="15751" RevisionGUID="67aaa49f-809d-45b5-afea-c1576c05bd57" CreationDate="2012-10-18T20:56:13.017" UserId="396" Comment="Rollback to [c70ad6a9-e629-44f4-ace7-cb936905a740]" Text="&gt; Blockquote  2&#xD;&#xA;&#xD;&#xA;	&#xD;&#xA;&#xD;&#xA;I agree with the suggestions of leaving the dialog dry. The more intimate you can make this feel the better. Especially if you goal is to bring the audience closer to the character.&#xD;&#xA;&#xD;&#xA;If you are mixing in 5.1 try placing the VO in the LCR. Adding voiceover to the stereo field can give the audience the feeling that someone is talking directly in their ear. This was done very effectively in Apocalypse Now. Listening to that mix in a theater gives you the feeling that Martin Sheen is practically whispering in your ear...almost like you're a priest in a confessional booth with him.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I am edditting a shor movie, and in 4 moments i ahave the talent walking slowly in a long corridor, looking down , obviouly sunked in his thoutgs... i used a vey dry sound , totally deessed, almost all low freqs removed (near 15db), resulted in a more medium frequencies, like old records, and positioned in LR front and 10% in C channel . The producers was very peased . Thanks Justin Pearson for the overall concept" ContentLicense="CC BY-SA 3.0" />
  <row Id="26006" PostHistoryTypeId="5" PostId="15751" RevisionGUID="d5b354d9-9b9c-4e00-acb2-f2c3f970a754" CreationDate="2012-10-18T20:58:53.117" UserId="396" Comment="fixed spelling and formatting" Text="&gt; I agree with the suggestions of&#xD;&#xA;&gt; leaving the dialog dry. The more&#xD;&#xA;&gt; intimate you can make this feel the&#xD;&#xA;&gt; better. Especially if you goal is to&#xD;&#xA;&gt; bring the audience closer to the&#xD;&#xA;&gt; character.&#xD;&#xA;&gt; &#xD;&#xA;&gt; If you are mixing in 5.1 try placing&#xD;&#xA;&gt; the VO in the LCR. Adding voiceover to&#xD;&#xA;&gt; the stereo field can give the audience&#xD;&#xA;&gt; the feeling that someone is talking&#xD;&#xA;&gt; directly in their ear. This was done&#xD;&#xA;&gt; very effectively in Apocalypse Now.&#xD;&#xA;&gt; Listening to that mix in a theater&#xD;&#xA;&gt; gives you the feeling that Martin&#xD;&#xA;&gt; Sheen is practically whispering in&#xD;&#xA;&gt; your ear...almost like you're a priest&#xD;&#xA;&gt; in a confessional booth with him.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I am editing a short movie, and in four moments I have the talent walking slowly in a long corridor, looking down, obviously sunk in his thoughts... I used a very dry sound , totally deessed, almost all low freqs removed (near 15db), resulted in more medium frequencies, like old records, and positioned in LR front and 10% in C channel . The producers were very pleased. Thanks Justin Pearson for the overall concept." ContentLicense="CC BY-SA 3.0" />
  <row Id="26007" PostHistoryTypeId="2" PostId="15752" RevisionGUID="b5a147b9-c936-4635-b67a-1fac1c2c051e" CreationDate="2012-10-18T21:58:40.270" UserId="66" Text="we have a lot of sounds on our [online library][1], including our 'rare animals' library. &#xD;&#xA;&#xD;&#xA;Giraffes do snort a bit.&#xD;&#xA;&#xD;&#xA;Pandas make sounds too, but they're not as cute as one would assume.&#xD;&#xA;here's a blog post about panda sounds...&#xD;&#xA;http://www.prosoundeffects.com/blog/2012/09/giant-panda-cub-call-sound-of-the-day&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://download.prosoundeffects.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="26008" PostHistoryTypeId="5" PostId="15750" RevisionGUID="5b0798ca-3eb1-45d5-9154-fc9fc61f6919" CreationDate="2012-10-18T21:59:18.457" UserId="66" Comment="added 49 characters in body" Text="As New York audio post people know, Sound One, a staple audio post house, is in danger of closing.  It got me thinking that with the number of freelance sound editors/designers growing, I should try to put together a sound effects library through [Pro Sound Effects][1] geared towards independent sound engineers who don't have access to massive libraries the big studios do. &#xD;&#xA;&#xD;&#xA;Between downloading individual sounds to a large collection on a hard drive, or a yearly fee vs. buyout, I'd love to hear your thoughts and wishes about what would work for you. We have a huge resource that is underutilized by my fellow independent sound editors, and I'd love to remedy that. &#xD;&#xA;&#xD;&#xA;Take a sec to fill out the form (and get a $25 voucher for our [online library][2]) and feel free to email or post your thoughts as well. [The form is here][3].  Danke!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.prosoundeffects.com&#xD;&#xA;  [2]: http://download.prosoundeffects.com&#xD;&#xA;  [3]: https://docs.google.com/spreadsheet/viewform?formkey=dDhnOUtFY2RwWTNnN2VqSUZQdGM2ZVE6MQ&amp;goback=.gmp_69594.gde_69594_member_175809888" ContentLicense="CC BY-SA 3.0" />
  <row Id="26009" PostHistoryTypeId="2" PostId="15753" RevisionGUID="843c20f5-12e9-4607-b854-229ea9204a55" CreationDate="2012-10-19T01:56:05.040" UserDisplayName="user49" Text="its as much mix decision/s as editing... Editing i would be inclined to prep it both ways so you have the option in the final mix to experiment. Dialogue perspective will also be an important factor, so eg if interior dialogue leads across an EXT shot, i would prepare the ext perspective but also lead the int and the mixer can then choose where or if to transition from ext to int etc... and as others have commented it will depend on what is motivated by story, drama, intent and style.... fast cutting suits some scenes and moments but not others...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26010" PostHistoryTypeId="2" PostId="15754" RevisionGUID="f2bbfdc6-b546-4f60-be05-90725906b278" CreationDate="2012-10-19T03:17:38.820" UserId="4355" Text="I already produced a lot of phone sounds, using the international standards, frequencies.&#xD;&#xA;I produced as well some ringtones , and recorded another one in my studio .&#xD;&#xA;If you want to try my files i will be pleased to pack and send to you.&#xD;&#xA;Best regards,&#xD;&#xA;LeoSSom." ContentLicense="CC BY-SA 3.0" />
  <row Id="26011" PostHistoryTypeId="2" PostId="15755" RevisionGUID="cbf5e59e-73da-4117-9736-8a96b456115e" CreationDate="2012-10-19T03:26:11.887" UserId="4355" Text="I noticed that a very big windscreens affect at high frequencies, I ussualy made my mic blimps, and i already conducted a large ammount os tests. this was the main effect that blimps or windsreens can cause .&#xD;&#xA;But like Chuck Russom said, you will be fine with this kit." ContentLicense="CC BY-SA 3.0" />
  <row Id="26012" PostHistoryTypeId="2" PostId="15756" RevisionGUID="25892911-437d-488d-ba80-624201664e8a" CreationDate="2012-10-19T07:42:10.500" UserDisplayName="user49" Text="When you import high sample rate sounds into ProTools (eg a 96k sound into a 48k session) the usual procedure is to sample rate convert them, so they play at the correct speed.... &#xD;&#xA;but if you choose to not do this, its a quick &amp; dirty way to pitch shift an octave without processing ie playing a 96k sound in a 48k session is same as having that sound available at half speed, or quarter speed for a 192k file in a 48k session&#xD;&#xA;(Same goes for manually editing the sample rate in the workspace browser)" ContentLicense="CC BY-SA 3.0" />
  <row Id="26013" PostHistoryTypeId="2" PostId="15757" RevisionGUID="d0b71515-c62c-4216-9229-628041d4f498" CreationDate="2012-10-19T11:18:00.590" UserId="3411" Text="When splitting mono atmoses between scenes, use a stereo and swap between the L and R, meaning they can be seamless and no phase issues. It's made things far easier for sitcoms etc based in the same place for the whole episode." ContentLicense="CC BY-SA 3.0" />
  <row Id="26014" PostHistoryTypeId="2" PostId="15758" RevisionGUID="f85e0a11-b860-422a-8257-73ea5d94f430" CreationDate="2012-10-19T16:24:33.343" UserId="4355" Text="Yes, I will tell that the Zoom H4n is a very poor audio recorder . The gain is very low. The overall quality is so so ....&#xD;&#xA;I returned to my Fostex mr8HD, 4 chanells simutaneos recorder with 122 hours of contimum record time with the 40GB hard drive. &#xD;&#xA;I am electronic engineer, so i made some mods in my fostex. I installed a 32GB ssd drive in substitution of the 40GB magnectic spin driver, and remove his internal power supply, and substituted by 12 3.7 5500mah recharged batteries. The overal weigth was reduced , and the unit is now 100% portable. The recorded time The record time was reduced to 96 hours, but is still enough for me ...&#xD;&#xA;I modified the input circuitry , since in fostex is very easy to do that, ad i could impove gain in 10 dB.&#xD;&#xA;You can obtain an unit like that in Ebay ( mine costs only 175), and ask an electronic technician to do that for you .&#xD;&#xA;Best regards, &#xD;&#xA;Leossom" ContentLicense="CC BY-SA 3.0" />
  <row Id="26015" PostHistoryTypeId="2" PostId="15759" RevisionGUID="2d71a491-182c-44d3-9889-730a2a43415b" CreationDate="2012-10-19T18:23:04.107" UserId="4357" Text="A huge factor in mouth noise is coffee.  It really dries up the mouth and can make for serious mouth noise but trying to persuade anyone not to drink it before a morning recording session would be a feat in itself I would imagine.  Apple juice or an apple works really well for cleaning up mouth noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="26016" PostHistoryTypeId="16" PostId="15759" RevisionGUID="2d71a491-182c-44d3-9889-730a2a43415b" CreationDate="2012-10-19T18:23:04.107" UserId="-1" />
  <row Id="26017" PostHistoryTypeId="2" PostId="15760" RevisionGUID="0a46e46a-54bd-40fd-bdc3-980e200fdc88" CreationDate="2012-10-19T18:28:31.917" UserId="4357" Text="Jrock, mouth noise can be easily removed by zooming into the waveform at the sample level - i.e. the highest zoom your DAW can manage.  It will look spiky at the top as opposed to the usual rounded off waveform of regular audio.  The important thing to do is to remove it at the start and end of the cycle or cycles if it's more than one revolution long.  Always cut at the zero crossing and do a tiny crossfade if need be.  But, if you cut at the zero crossings, most times you won't even need to crossfade the edit.&#xD;&#xA;&#xD;&#xA;The easiest way to find the mouth noise is to scrub across the audio.  You'll hear the regular audio as low end-ey and warm, the mouth noise will sound like a click or tick.  Zoom in and look for the few cycles of the waveform that don't look like the rest of it, this is your mouth noise.  I work in audiobooks and music too and you can completely remove 100% of mouth noise without it being noticeable, tedious as hell but do-able" ContentLicense="CC BY-SA 3.0" />
  <row Id="26018" PostHistoryTypeId="16" PostId="15760" RevisionGUID="0a46e46a-54bd-40fd-bdc3-980e200fdc88" CreationDate="2012-10-19T18:28:31.917" UserId="-1" />
  <row Id="26019" PostHistoryTypeId="2" PostId="15761" RevisionGUID="6dfc169c-43a9-4048-953b-bbb73fbdfce1" CreationDate="2012-10-19T19:00:03.300" UserId="6411" Text="One man's sonata is another man's noise. But I was reading an article today titled [The Worst Noises in the World][1] which reported on a recent neuroscience study investigating the interaction between the auditory cortex and the amygdala when a subject is exposed to &quot;pleasant&quot; and &quot;unpleasant&quot; sounds. The [amygdala][2] is a section of the brain that handles emotional response. There are a few interesting notes that the article states, but one stuck out to me.&#xD;&#xA;&#xD;&#xA;&gt; Analysis of the acoustic features of the sounds found that anything in the frequency range of around 2,000 to 5,000 Hz was found to be unpleasant.&#xD;&#xA;&#xD;&#xA;I find it to be a *very* broad and misleading statement. Perhaps they are speaking of sounds which have their fundamental frequency fall in that range? But I also believe that other factors, like timbre, rhythm, duration &amp; intensity, can influence the &quot;unpleasantness&quot; of a particular sound.&#xD;&#xA;&#xD;&#xA;For those who don't want to click through, here's what they found:&#xD;&#xA;&#xD;&#xA;&gt; Most Unpleasant Sounds&#xD;&#xA;&#xD;&#xA;&gt;Rating 74 sounds, people found the most unpleasant noises to be&#xD;&#xA;&gt;&#xD;&#xA;&gt; - Knife on a bottle&#xD;&#xA;&gt; - Fork on a glass&#xD;&#xA;&gt; - Chalk on a blackboard&#xD;&#xA;&gt; - Ruler on a bottle&#xD;&#xA;&gt; - Nails on a blackboard&#xD;&#xA;&gt; - Female scream&#xD;&#xA;&gt; - Anglegrinder&#xD;&#xA;&gt; - Brakes on a cycle squealing&#xD;&#xA;&gt; - Baby crying&#xD;&#xA;&gt; - Electric drill&#xD;&#xA; &#xD;&#xA;&gt; Least Unpleasant Sounds&#xD;&#xA;&gt;&#xD;&#xA;&gt; - Applause&#xD;&#xA;&gt; - Baby laughing&#xD;&#xA;&gt; - Thunder&#xD;&#xA;&gt; - Water flowing&#xD;&#xA;&#xD;&#xA;I found the list of unpleasant sounds familiar to the answers regarding [this question about tension][3] (a potentially unpleasant state). But also find it odd that the &quot;least unpleasant&quot; sounds all can/do occupy this same &quot;unpleasant frequency range.&quot;&#xD;&#xA;&#xD;&#xA;Regardless, this stirred a question in me. Since it's fright month and there are a lot of horror/ghost/paranormal stories going around, what do you find to be an &quot;unpleasant&quot; sound and how does this influence your design / mix? What aspects do you pay mind to when crossing the thresholds between &quot;uneasy&quot; to &quot;scary&quot; and how do you avoid going too far into &quot;unpleasant&quot;, or even &quot;TURN IT OFF!!!&quot;?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sciencedaily.com/releases/2012/10/121012112424.htm?fb_action_ids=10101150177741415&amp;fb_action_types=og.likes&amp;fb_ref=.UIDf2rT5nCQ.like&amp;fb_source=aggregation&amp;fb_aggregation_id=288381481237582&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Amygdala&#xD;&#xA;  [3]: http://socialsounddesign.com/questions/9502/tension-sounds-like" ContentLicense="CC BY-SA 3.0" />
  <row Id="26020" PostHistoryTypeId="1" PostId="15761" RevisionGUID="6dfc169c-43a9-4048-953b-bbb73fbdfce1" CreationDate="2012-10-19T19:00:03.300" UserId="6411" Text="Illiciting Emotional Responses in Listeners" ContentLicense="CC BY-SA 3.0" />
  <row Id="26021" PostHistoryTypeId="3" PostId="15761" RevisionGUID="6dfc169c-43a9-4048-953b-bbb73fbdfce1" CreationDate="2012-10-19T19:00:03.300" UserId="6411" Text="&lt;emotions&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26022" PostHistoryTypeId="4" PostId="15761" RevisionGUID="3b1f40c1-4d58-4813-8640-5356f8f94e29" CreationDate="2012-10-19T19:30:48.997" UserId="6411" Comment="Edited Title" Text="Illiciting Negative Emotional Responses in Listeners" ContentLicense="CC BY-SA 3.0" />
  <row Id="26023" PostHistoryTypeId="2" PostId="15762" RevisionGUID="a249ad79-c2e3-4e21-9021-2ed14f83e648" CreationDate="2012-10-19T21:30:41.140" UserDisplayName="user80" Text="Dissonance and association usually work well to elicit negative emotional responses." ContentLicense="CC BY-SA 3.0" />
  <row Id="26024" PostHistoryTypeId="2" PostId="15763" RevisionGUID="4d0469b2-92fc-40ce-b679-cade9af1bf4f" CreationDate="2012-10-19T21:48:44.707" UserId="1228" Text="For me it's fingernails on metal.  It gives me the same gut response sonically as the chalkboard, but my mind actually &quot;hurts&quot; thinking about the physical pain of doing it against metal.&#xD;&#xA;&#xD;&#xA;For me I guess the sound choice balance for dealing with what you mention would be a matter of how much high frequency content (especially 8k+ shrill stuff) and grittiness I mix into the overall effect. (Case in point: stuttering nails on metal 'hurts' more than a clean smooth scrape)." ContentLicense="CC BY-SA 3.0" />
  <row Id="26025" PostHistoryTypeId="2" PostId="15764" RevisionGUID="68a70c56-2f27-4adf-918b-f3fd3e95cb8c" CreationDate="2012-10-19T22:36:13.250" UserId="644" Text="I know you are looking for real representation of the animal, but if you are struggling to source you could maybe try looking to create sound gestures from animals that are mostly mute.&#xD;&#xA;&#xD;&#xA;Eating habits, movements, etc. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26028" PostHistoryTypeId="2" PostId="15766" RevisionGUID="429a5147-2f64-4560-af6a-fd7831ab130b" CreationDate="2012-10-20T01:36:17.223" UserId="3835" Text="Rather than focus on your source sounds, think about how any sound can fit within a mix. Some people spend hours trawling through sample packs when they could of used 100's of sounds they passed. THe trick is making the dynamics and frequencies sit between everything else. Relativity baby..." ContentLicense="CC BY-SA 3.0" />
  <row Id="26029" PostHistoryTypeId="2" PostId="15767" RevisionGUID="0197f3a0-c4dc-4cdf-84fa-2589df2146b8" CreationDate="2012-10-20T04:07:18.643" UserId="295" Text="Spend more time watching the video and less time with your eyes glued to Pro Tools.  This is something I try to keep in mind because it can be so easy to get sucked into the computer screen. &#xD;&#xA;&#xD;&#xA;Automation Preview mode is also a god send." ContentLicense="CC BY-SA 3.0" />
  <row Id="26031" PostHistoryTypeId="5" PostId="15698" RevisionGUID="6f484e49-658b-480d-8542-a27ab67e58b8" CreationDate="2012-10-20T15:18:01.843" UserId="194" Comment="added 85 characters in body" Text="how about: **don't use bright mics on bright sources**&#xD;&#xA;&#xD;&#xA;also, **headphone gain affects an actor's read.**&#xD;&#xA;&#xD;&#xA;edited to add: **don't eq things when they're soloed out - eq relies on context**" ContentLicense="CC BY-SA 3.0" />
  <row Id="26032" PostHistoryTypeId="2" PostId="15769" RevisionGUID="ff14bbec-315b-41ea-8029-46491bf38a6c" CreationDate="2012-10-20T21:45:16.963" UserId="455" Text="Hello,&#xD;&#xA;&#xD;&#xA;I'm currently working on a short film with a lot of gun fighting.  I went through and cut all of the gun shots and now I'm working on bullet bys.  It would be great if you guys could share any tricks or tips you have learned when cutting bullet bys.  There are handguns, assault rifles and a few shotguns.&#xD;&#xA;&#xD;&#xA;The obvious first thought is to cut a sound for every gunshot, which seems like a good idea for the most part.  However, there are some scenes that have four machine guns firing simultaneously, and a few scenes where there are muzzle flashes every frame.  Delivering 80 bys, plus 80 gun shots, bullet casings, body &amp; surface hits plus other fx just feels cluttered, and I don't want to over-deliver to my mixer, especially since this is a VERY low budget short.  However, I DO want to deliver a detailed quality edit (duh.) &#xD;&#xA;&#xD;&#xA;My thought at a solution is to cut in a lot of bys, and then shift them around so that it sounds full but not too full, almost like creating a musical score.  How do you approach scenes like this?  Are there any kind of rules for cutting off camera shots, or gunshots at different angles?  &#xD;&#xA;&#xD;&#xA;Tell me what has worked for you!  Now, back to experimenting...." ContentLicense="CC BY-SA 3.0" />
  <row Id="26033" PostHistoryTypeId="1" PostId="15769" RevisionGUID="ff14bbec-315b-41ea-8029-46491bf38a6c" CreationDate="2012-10-20T21:45:16.963" UserId="455" Text="Tips for cutting bullet bys" ContentLicense="CC BY-SA 3.0" />
  <row Id="26034" PostHistoryTypeId="3" PostId="15769" RevisionGUID="ff14bbec-315b-41ea-8029-46491bf38a6c" CreationDate="2012-10-20T21:45:16.963" UserId="455" Text="&lt;guns&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26035" PostHistoryTypeId="2" PostId="15770" RevisionGUID="a2c7d923-661c-4a56-b67b-9ae79aeee411" CreationDate="2012-10-20T22:14:36.790" UserId="61" Text="Designing an effective gun battle takes precision, patience, and lots of practice. I tend to approach them along these lines:&#xD;&#xA;&#xD;&#xA;- cut all the on camera guns first. Cut them tight to the muzzle flashes and don't let them hang over the next cut (only the natural tail of the shot should hang over). &#xD;&#xA;&#xD;&#xA;- next, cut the on camera impacts. The same rules apply, cutting tight to the visual impact.&#xD;&#xA;&#xD;&#xA;- now start working in the bullet passbys, ins and riccos. These sounds are meant to tie the shot together to the impact, to make them one moment rather then seperate events. The riccos are used as dramatic (or comedic) accents. Here's an important note: Not every gunshot or impact needs a by, in or ricco! You risk losing the impact of these moments if you overcut. &#xD;&#xA;&#xD;&#xA;- finally, start filling in the gaps with off screen gunshots and properly timed impacts. You will probably find that these sequences won't need bys, ins or riccos. &#xD;&#xA;&#xD;&#xA;That should get you about 50% of the way to a nice tight sounding gun battle with plenty of detail and clarity. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26036" PostHistoryTypeId="2" PostId="15771" RevisionGUID="f11774a0-3c00-4bbd-8083-e387fe80307e" CreationDate="2012-10-20T22:15:31.147" UserId="1228" Text="You're approach sounds right for dealing with multiple guns - where it's more about the overall gestalt then hitting a rico for each and every shot (unless the shots are fired enough apart to really discern each individual shot).  That's not to say you don't want to make it one event like Jay mentioned for eahc shot, because you should of course tie it all together appropriately, but there reaches a point in my opinion where even that type of sync goes on the wayside a bit when, like you said, there's a flash every single frame from multiple guns.  Same goes with casings - not with each shot when there's multiple, but sprinkle where it feels right in the lulls and usually at the tail end of a gun's firing sequence it's nice to trickle out with them.&#xD;&#xA;&#xD;&#xA;The sound for a complete bullet by/rico event will usually have a 'zip in', impact, 'zip out' - the zip in and out being different pitches.  But even then, as Jay mentioned, sometimes you only do part of the event or just the impact only.&#xD;&#xA;&#xD;&#xA;Sometimes you may break it down by onscreen and OS (or even by gun type specifically when there's a drastically different gun like a bunch of Glocks and someone else using an M60 or something), but it probably depends on the needs of the show too.  A case by case scenario.  It's definitely a precision thing but also a feeling-driven thing too in my opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="26037" PostHistoryTypeId="2" PostId="15772" RevisionGUID="6d96fb09-1152-41b8-ac0d-037171a2934e" CreationDate="2012-10-20T22:24:14.067" UserId="4362" Text="Thanks guys!&#xD;&#xA;&#xD;&#xA;I may actually have a potential project to work on, a paid one too! It was advertised through my school's website and I emailed the director about the 'sound design' position and she is keen to talk to me about it. What should be the things to ask about, to find out if the effort and skills required will be worth the return? Since this could be my First job, should I charge hourly or by project, if there already isn't a set payment?&#xD;&#xA;&#xD;&#xA;Anything else I should be wary of? I only have the capacity to edit at home, not mix.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Advice would be very much appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="26038" PostHistoryTypeId="2" PostId="15773" RevisionGUID="842c3c5a-be43-4416-b741-b15aa8d1c24b" CreationDate="2012-10-21T09:32:41.783" UserId="1228" Text="I just update my own as well.  I prefer to do so after the show is wrapped (or when I've fully delivered the show and it's finishing out through predubs), because at that point I feel I've properly 'earned' the credit and my work is essentially done.&#xD;&#xA;&#xD;&#xA;But that being said, I always get the credit situation sorted out when the show drops and the contract is arranged - I just hold off on posting it.&#xD;&#xA;&#xD;&#xA;For my own in-house work I have a line item in my contracts which covers the credit arrangement so we're all on the same page from the start." ContentLicense="CC BY-SA 3.0" />
  <row Id="26039" PostHistoryTypeId="2" PostId="15774" RevisionGUID="96f4df7a-89ab-47a9-a096-7bae9a3dcdc9" CreationDate="2012-10-21T10:36:14.327" UserDisplayName="user49" Text="One little tip; for fast bullet bys sometimes a pan isnt effective and you are better off cutting the bullet by in half and cut approach in eg SL and away in R, or whatever is appropriate - some fast bys 'read' better this way&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26040" PostHistoryTypeId="2" PostId="15775" RevisionGUID="ff8fdd87-49a0-4c4b-877c-e73c39fcd8ab" CreationDate="2012-10-22T19:14:07.877" UserId="234" Text="Thanks for the link Steve... I love that sort of stuff!&#xD;&#xA;&#xD;&#xA;Maybe it's a post-thing, but I still find 1K tone to be an annoying sound... especially the longer it goes on. I think it might be because it's such an unwavering, unnatural sound (there's nothing really in the world that creates a pure sine wave). Case in point... [this][1] at around the 7:40 mark. The director wanted a &quot;completely unnatural&quot; sound which would be extremely unpleasant... sure enough the 1K tone is in there :)&#xD;&#xA;&#xD;&#xA;When is it too far? I think length is a factor - the longer it goes on the more annoying a sound becomes. How long depends on the story you're trying to tell... sometimes the director WANTS it to go on too long, to create that sense of unease. Other times it's using just enough to start the unease, then releasing it. On one animated show I did we had an episode called &quot;The Most Annoying Sound in the World&quot;, and basically it was a lot of that list. The director/producer, who was normally hands off with the audio, was very specific about how long certain sounds would go on for, to create maximum annoyance.&#xD;&#xA;&#xD;&#xA;P.S. Every now and again I get someone commenting on that very scene, and how it made them uncomfortable... kinda makes me smile that we got it right!&#xD;&#xA;&#xD;&#xA;  [1]: : http://blip.tv/ottawa-horror/nightmare-1666924" ContentLicense="CC BY-SA 3.0" />
  <row Id="26041" PostHistoryTypeId="2" PostId="15776" RevisionGUID="69eb0c22-d279-4b9f-86c8-9113b8126215" CreationDate="2012-10-22T19:32:37.450" UserId="6454" Text="Hi All,&#xD;&#xA;&#xD;&#xA;Maybe a strange question, but I am in need of a location for Foley, FS, Rustle etc. for a film shot in Yellowstone and I, of course, live in NYC.  I am hoping to get out this Saturday morning and am not sure of a decent place to go.  I was trying to see if I could make it work Foleying in the studio, but the main character is alone in the woods for a large portion of the film and most of those scenes was shot MOS, so placing myself in a &quot;similar&quot; environment would be great. I would be all for experimenting and trying out places or scouting locations beforehand, but alas, time is of the essence and I will most likely only have Saturday to work.  I was looking at a few parks on Staten Island which if early enough, might not have too many plane flyovers, or else driving up north towards Bear Mountain State Park was another option.  If anyone has any insight into this, it would be greatly appreciated.  I was in VT last weekend and brought my recorder along to, but of course, it poured almost the whole time so was a bust for recording (nice and relaxing though :-).  Thanks all.&#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;Ryan" ContentLicense="CC BY-SA 3.0" />
  <row Id="26042" PostHistoryTypeId="1" PostId="15776" RevisionGUID="69eb0c22-d279-4b9f-86c8-9113b8126215" CreationDate="2012-10-22T19:32:37.450" UserId="6454" Text="Closest and quietest park/wooded area to NYC?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26043" PostHistoryTypeId="3" PostId="15776" RevisionGUID="69eb0c22-d279-4b9f-86c8-9113b8126215" CreationDate="2012-10-22T19:32:37.450" UserId="6454" Text="&lt;location-recording&gt;&lt;quiet&gt;&lt;foley&gt;&lt;city&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26044" PostHistoryTypeId="2" PostId="15777" RevisionGUID="d280ba1f-56e8-410d-850f-71af33ae3dbe" CreationDate="2012-10-22T20:25:02.580" UserId="103" Text="I don't remember any places in NYC, but in New Jersey there were some really cool foresty places near norwood, wich were only a 45 minute bus ride from the grand central." ContentLicense="CC BY-SA 3.0" />
  <row Id="26045" PostHistoryTypeId="2" PostId="15778" RevisionGUID="a48d2084-22af-49d4-bbb5-d1e71353d0a9" CreationDate="2012-10-22T21:06:34.843" UserId="3587" Text="I've recently begun doing a lot of editing, and I'm having problems keeping the levels of the different parts consistent. Were talking usually about 20 minutes of video for which I do all the sound design and editing.&#xD;&#xA;Any tips for keeping the levels consistent? Are there any tools or tricks for this? I'm pretty inexperienced, so don't hesitate to mention all the otherwise obvious tips." ContentLicense="CC BY-SA 3.0" />
  <row Id="26046" PostHistoryTypeId="1" PostId="15778" RevisionGUID="a48d2084-22af-49d4-bbb5-d1e71353d0a9" CreationDate="2012-10-22T21:06:34.843" UserId="3587" Text="How do I keep sound levels consistent when edifing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26047" PostHistoryTypeId="3" PostId="15778" RevisionGUID="a48d2084-22af-49d4-bbb5-d1e71353d0a9" CreationDate="2012-10-22T21:06:34.843" UserId="3587" Text="&lt;sound-design&gt;&lt;editing&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26048" PostHistoryTypeId="4" PostId="15778" RevisionGUID="44ba4607-76ea-45c3-bf69-20a3c94cc4cf" CreationDate="2012-10-22T21:14:08.630" UserId="61" Comment="edited title" Text="How do I keep sound levels consistent when editing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26049" PostHistoryTypeId="2" PostId="15779" RevisionGUID="d8f792cb-6a05-4477-8d85-64d24a30d1d2" CreationDate="2012-10-22T21:20:58.597" UserId="61" Text="I think you're talking about the mixing process. This is a **very** wide ranging topic for which there are no 'quick fix' tools or tricks. A decent starting point may be to find an area in your video that you feel best represents the overall tone and content and work on that for a while. Make sure you're getting the dialog (or narration, or whatever is supposed to be telling the story) loud enough so you can understand it but not too loud as to overwhelm everything else. It should be playing back at a comfortable level. Once you've established that sequence and feel that it's in good shape, use it as the reference point for the rest of your video.&#xD;&#xA;&#xD;&#xA;There is SO SO SO much more to say and learn about mixing. Proper mixing involves metering, correctly calibrated speakers, monitoring systems, etc. I hesitate to even tell you what I've told you already since a little information can be enough to do some damage. Let's see what the rest of the SSD universe has to say on the matter -" ContentLicense="CC BY-SA 3.0" />
  <row Id="26050" PostHistoryTypeId="2" PostId="15780" RevisionGUID="7c889b02-8aab-482d-b4ad-871873161e06" CreationDate="2012-10-22T21:29:06.833" UserId="295" Text="Use your ears and your level meters. Surround scope, phase scope, hardware or console, third party plugin...&#xD;&#xA;Most of the time FX and music levels will have to make room for dialogue so concentrate on getting dialogue levels consistent then use your ears to level the other elements in relation to the dialogue.  Keep in mind that levels and consistency will be focused on during the mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="26051" PostHistoryTypeId="2" PostId="15781" RevisionGUID="85213951-cf10-4d97-8889-f41208b4d7f6" CreationDate="2012-10-22T22:53:55.700" UserId="842" Text="You shouldn't need to worry, I use a Sennheiser MKH 40 in a Rycote Kit 4 zeppelin I originally bought for a 416 all the time. what you should mind though is to reposition the baseplate slightly, you'll need to make the smaller mic go as centered in the dome of the front as you can as to avoid unnecessary risk of reflections and ability to close-mic better.&#xD;&#xA;&#xD;&#xA;The beauty of it is that the repositioned baseplate still will be working every bit as fine for the 416! You just need to find new positioning for the lyres :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="26052" PostHistoryTypeId="2" PostId="15782" RevisionGUID="cf418703-6db4-44c9-890e-fb3740d6c0b4" CreationDate="2012-10-22T22:56:03.993" UserId="3649" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I have enrolled and commenced studies on a BA (Hons) in Film &amp; Moving Image Production degree course here in the UK.&#xD;&#xA;&#xD;&#xA;I am 24 &amp; will finish my studies at 27 years of age. &#xD;&#xA;&#xD;&#xA;The course covers all aspects of Film making and analysis. I study at an Arts University so our study is fairly practical and hands on. &#xD;&#xA;&#xD;&#xA;Anyway, I plan to be a professional (i.e. paid) sound designer working in the film industry.&#xD;&#xA;&#xD;&#xA;Just wondering, now that I have started a course in Film, what should I be doing as far as contacting people in the industry to let them know I want to work in post production sound for them? &#xD;&#xA;&#xD;&#xA;Are internships/work placements a good option? I would also love to spend some time working abroad in Europe during my career.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26053" PostHistoryTypeId="1" PostId="15782" RevisionGUID="cf418703-6db4-44c9-890e-fb3740d6c0b4" CreationDate="2012-10-22T22:56:03.993" UserId="3649" Text="Studying @ University... What Next?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26054" PostHistoryTypeId="3" PostId="15782" RevisionGUID="cf418703-6db4-44c9-890e-fb3740d6c0b4" CreationDate="2012-10-22T22:56:03.993" UserId="3649" Text="&lt;career-advice&gt;&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26055" PostHistoryTypeId="5" PostId="15782" RevisionGUID="6cc91a08-c4a4-4bbe-95bd-f52e89cd5b30" CreationDate="2012-10-22T23:11:48.597" UserId="3649" Comment="added 236 characters in body" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I have enrolled and commenced studies on a BA (Hons) in Film &amp; Moving Image Production degree course here in the UK.&#xD;&#xA;&#xD;&#xA;I am 24 &amp; will finish my studies at 27 years of age. &#xD;&#xA;&#xD;&#xA;The course covers all aspects of Film making and analysis. I study at an Arts University so our study is fairly practical and hands on. &#xD;&#xA;&#xD;&#xA;Anyway, I plan to be a professional (i.e. paid) sound designer working in the film industry.&#xD;&#xA;&#xD;&#xA;Just wondering, now that I have started a course in Film, what should I be doing as far as contacting people in the industry to let them know I want to work in post production sound for them? &#xD;&#xA;&#xD;&#xA;Are internships/work placements a good option? I would also love to spend some time working abroad in Europe during my career.&#xD;&#xA;&#xD;&#xA;*EDIT* Part of me is leaning towards getting some work experience in the industry during summer breaks, but how to go about getting a quality placement is tricky, and part of me wants to study a masters degree at NFTS in Sound Design..." ContentLicense="CC BY-SA 3.0" />
  <row Id="26056" PostHistoryTypeId="2" PostId="15783" RevisionGUID="24f3f4e5-ceca-489c-a225-fe80a51cf021" CreationDate="2012-10-22T23:19:49.123" UserId="3179" Text="Do everything you can. If you wish to work as an freelancer, or even if you want to work in a company, your contacts are and will be everything, because they are, if any, those that generate projects for you. If you have no contacts, you won't have projects other than those that you generate by yourself.&#xD;&#xA;&#xD;&#xA;There are many ways to go on doing this, just as there are many ways to socialize and be involved with people in general. But the main point is to get to know people that you can work with, because you cannot really work alone in the media field. Get to know film makers, media producers, other sound people etc., anyone who works on the stuff that interests you and to which you want to and can contribute. Then it's pretty much just getting involved and making projects, just like everyone else you know are always making or seeking new projects.&#xD;&#xA;&#xD;&#xA;Also, especially for applying for companies, but also in general, start building your portfolio. And set up a personal website, so you can direct people there so they get an idea of what you do." ContentLicense="CC BY-SA 3.0" />
  <row Id="26057" PostHistoryTypeId="5" PostId="15783" RevisionGUID="4a08e303-ea82-41ad-ad25-d91b55aee821" CreationDate="2012-10-22T23:25:06.337" UserId="3179" Comment="deleted 1 characters in body" Text="Do everything you can. If you wish to work as an freelancer, or even if you want to work in a company, your contacts are and will be everything, because they are, if any, those that generate projects for you. If you have no contacts, you won't have projects other than those that you generate by yourself.&#xD;&#xA;&#xD;&#xA;There are many ways to go on doing this, just as there are many ways to socialize and be involved with people in general. But the main point is to get to know people that you can work with, because you cannot really work alone in the media field. Get to know film makers, media producers, other sound people etc., anyone who works on the stuff that interests you and to which you want to and can contribute. Then it's pretty much just getting involved and making projects, just like everyone else you know are always making or seeking new projects.&#xD;&#xA;&#xD;&#xA;Also, especially for applying to companies, but also in general, start building your portfolio. And set up a personal website, so you can direct people there so they get an idea of what you do." ContentLicense="CC BY-SA 3.0" />
  <row Id="26058" PostHistoryTypeId="2" PostId="15784" RevisionGUID="d0cfa1cb-ef86-4934-953f-b9786674c7b8" CreationDate="2012-10-23T01:21:26.387" UserId="61" Text="This is just me coming off-the-cuff, but imho if you plan on becoming a &quot;professional sound designer&quot; then I'd skip that masters degree. I doubt very highly that having that degree will get you any more jobs than you would've gotten without it, and it will surely put you into a great deal of debt. However, if your aim is to pursue your dream into the realm of academia and become a teacher or professor, then by all means go for it. Maybe having that masters will benefit you.&#xD;&#xA;&#xD;&#xA;Use the money you would have spent on further studies and invest in a home studio setup. Become a master of your tools through practice and patience. Then, go out and find some work. And don't limit yourself to your geographic area; there are many companies who are happy to contract out work to people who live thousands of miles away and are never seen face to face, only corresponding through emails and the occasional phone call. Of course, gaining those contacts and convincing them to hire you is another hurdle altogether, but once achieved you are off to the races. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26059" PostHistoryTypeId="2" PostId="15785" RevisionGUID="228b2aa1-4b53-45cb-84ba-b29e5fea5920" CreationDate="2012-10-23T01:51:48.190" UserDisplayName="user49" Text="If you're inexperienced, one beginners trap is not using a consistent monitoring level. Ideally you should line up your monitors to a set standard, but most important of all is making sure you put a mark on your master level control (on the mixing desk faders or whatever is feeding your monitors) so that when you edit you are always listening at the same level....&#xD;&#xA;&#xD;&#xA;(ignore this if you already are aware, but if not...)" ContentLicense="CC BY-SA 3.0" />
  <row Id="26060" PostHistoryTypeId="2" PostId="15786" RevisionGUID="4cf513ac-6fb5-4d8e-8efb-9ff79c07516d" CreationDate="2012-10-23T05:19:44.910" UserId="3414" Text="Hi all,&#xD;&#xA;&#xD;&#xA;First of all, I really enjoy this site and wish everyone tons of luck in their current and future projects.  My question is one regarding the structuring of resumes or CVs for sound editors.  Is there an industry-accepted standard for sound editing or sound designing resumes?&#xD;&#xA;&#xD;&#xA;I've seen quite a number of resumes from sound editors over the years, but I have yet to find any kind of standardized throughline between any of them.  Some resumes are company/job title driven, others are project-based, and still others focus on education and skills.&#xD;&#xA;&#xD;&#xA;If there isn't an industry standard, is there a resume format that has worked well/repeatedly with you guys?&#xD;&#xA;&#xD;&#xA;OR... are resumes a thing of the past?&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Peter" ContentLicense="CC BY-SA 3.0" />
  <row Id="26061" PostHistoryTypeId="1" PostId="15786" RevisionGUID="4cf513ac-6fb5-4d8e-8efb-9ff79c07516d" CreationDate="2012-10-23T05:19:44.910" UserId="3414" Text="Resume Formats for Sound Editors/Designers" ContentLicense="CC BY-SA 3.0" />
  <row Id="26062" PostHistoryTypeId="3" PostId="15786" RevisionGUID="4cf513ac-6fb5-4d8e-8efb-9ff79c07516d" CreationDate="2012-10-23T05:19:44.910" UserId="3414" Text="&lt;format&gt;&lt;standard&gt;&lt;jobs&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26063" PostHistoryTypeId="2" PostId="15787" RevisionGUID="319661c1-34e4-414c-b7fd-c4a59ae24329" CreationDate="2012-10-23T06:14:30.357" UserId="7642" Text="Writing a resume can be a door opener, not very likely but it just might.&#xD;&#xA;I wouldn't worry about formal formatting unless applying for major company jobs. &#xD;&#xA;&#xD;&#xA;In my mind, short, to the point and easy to read is what matters. &#xD;&#xA;&#xD;&#xA;A brief description of you as a person and what you have done previously is fine.&#xD;&#xA;Dont write &quot;up&quot; what you've done.&#xD;&#xA;&#xD;&#xA;If you have no specific experience in the particular field, say so. &#xD;&#xA;I'd take personality, hunger for knowledge, reliability and punctuality ahead of anything else for an entry position. Even experience won't rate as hi as the others in my book...&#xD;&#xA;&#xD;&#xA;Don't claim to be a PT wiz just because you've attended a PT 101 class.&#xD;&#xA;&#xD;&#xA;Dress decently but not formally. &#xD;&#xA;&#xD;&#xA;If you really want to be a musician and be in a band, don't contact me, you'll just waste my time. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26064" PostHistoryTypeId="2" PostId="15788" RevisionGUID="28b52d38-1a98-4531-b787-4bee09417cbc" CreationDate="2012-10-23T06:28:10.080" UserId="1228" Text="Welcome!  My personal take on it is that they aren't used much but it's nice to have one on hand that someone can casually view for more information on their own.  The one I have made though is sorted by order of what I believe to be most important from the top down:&#xD;&#xA;&#xD;&#xA; - Name, regional location (Los Angeles, CA for instance but not the address), phone#, IMDB link&#xD;&#xA; - A few selected titles for filmography/body of work&#xD;&#xA; - Affiliations &amp; Awards (if any) (IATSE, MPSE, CAS, AMPAS, ATAS, etc)&#xD;&#xA; - Work experience (as in, who have I worked for or contracted with studio/facility wise on a regular basis)&#xD;&#xA; - Education&#xD;&#xA;&#xD;&#xA;I prefer the simple approach, no statement of purpose or such of that nature.  Nothing that gloats either.  My thoughts per a recent posting on here about promotion is that by building credibility in one's body of work first, the credibility does the promotion for oneself over time.  So in that sense, I feel the resume follows suit.  Listing the straightforward no-fluff credible facts, which corroborate with IMDB/LinkedIn etc, and to-the-point.&#xD;&#xA;&#xD;&#xA;Then again this is just one take on it, as I've always been an independent contractor and thus my body of work (IMDB) is the only true common-denominator-paper trail representing my overall work history.  Others may differ though based upon their work situation." ContentLicense="CC BY-SA 3.0" />
  <row Id="26070" PostHistoryTypeId="2" PostId="15791" RevisionGUID="3b89040f-2236-4614-ae93-29bb5301bd5f" CreationDate="2012-10-23T10:53:04.473" UserId="62" Text="Make sure you know how to use Pro Tools. Most places here in the UK use it and wont have the time or money to start training you up." ContentLicense="CC BY-SA 3.0" />
  <row Id="26071" PostHistoryTypeId="2" PostId="15792" RevisionGUID="142366fe-130c-4579-87ae-800d2a9fec66" CreationDate="2012-10-23T15:18:57.100" UserId="4314" Text="I am a professional photographer adding DSLR video capture to my productions. Moving into this transition, I almost made the mistake of buying too low of quality in both a mobile recorder and microphones but luckily, I found this site and got plugged into a much better source of information. &#xD;&#xA;&#xD;&#xA;I have decided on the Tascam DR-680 for my recorder as it seems like the best value for my money at this time. (My funds are a little tight at this time.)&#xD;&#xA;&#xD;&#xA;For microphones, it seems like a good way to go would be to purchase a good quality modular line, as it would help keep the costs down. I was considering the Audio-technica AT4900b-48 and the AKG Blue Line (SE-300B Power Supply) series, but the AT line only has 3 capsules and I haven't heard enough of the AKG series to be won over yet.&#xD;&#xA;&#xD;&#xA;I am now looking at the Neumann KM modular line. Neumann seems to be a line a lot of people are passionate about, the mics I've heard have been very impressive, and it has the most options for capsules. The down side is, it is a more costly line and there isn't a shotgun available in the KM series. &#xD;&#xA;&#xD;&#xA;My questions are: What are your opinions regarding the Neumann KM line in regards to sound quality and durability? And secondly, what are your opinions on investing in modular lines in general? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26072" PostHistoryTypeId="1" PostId="15792" RevisionGUID="142366fe-130c-4579-87ae-800d2a9fec66" CreationDate="2012-10-23T15:18:57.100" UserId="4314" Text="Opinions re: modular mics and Neumann KM modular series" ContentLicense="CC BY-SA 3.0" />
  <row Id="26073" PostHistoryTypeId="3" PostId="15792" RevisionGUID="142366fe-130c-4579-87ae-800d2a9fec66" CreationDate="2012-10-23T15:18:57.100" UserId="4314" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26075" PostHistoryTypeId="2" PostId="15794" RevisionGUID="efffda95-8389-46d1-ab7e-7fbb41e7b219" CreationDate="2012-10-23T17:01:34.890" UserId="3223" Text="Hey Guys,&#xD;&#xA;&#xD;&#xA;A buddy of mine recently came to me with a seminar vid that contains some pretty nasty RF hits. Unfortunately the only sources are the lav on the speaker and the onboard camera audio (which is, needless to say, extremely distant/buried in background noise). I've been messing around with Izotope to try and and alleviate the issue, but I'm having very little luck...&#xD;&#xA;&#xD;&#xA;Thanks in advanced for any advice! " ContentLicense="CC BY-SA 3.0" />
  <row Id="26076" PostHistoryTypeId="1" PostId="15794" RevisionGUID="efffda95-8389-46d1-ab7e-7fbb41e7b219" CreationDate="2012-10-23T17:01:34.890" UserId="3223" Text="Anyone have any luck fixing/attenuating wireless hits?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26077" PostHistoryTypeId="3" PostId="15794" RevisionGUID="efffda95-8389-46d1-ab7e-7fbb41e7b219" CreationDate="2012-10-23T17:01:34.890" UserId="3223" Text="&lt;wireless&gt;&lt;interference&gt;&lt;noise-reduction&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26078" PostHistoryTypeId="2" PostId="15795" RevisionGUID="7c54ee9a-6733-45ed-a22b-757992086ace" CreationDate="2012-10-23T18:08:20.080" UserId="4176" Text="Hi David, There is one very important factor you may want to consider before you purchase a shotgun. Are you putting together a sound package that someone else will operate (you camera and a sound op) or are you one-man-banding it? &#xD;&#xA;&#xD;&#xA;The quality of sound you record is not going to be dictated by the equipment you purchase, but by the operator knowing how to use it. Having a full arsenal of shotguns with a variety a capsules is similar to having a bag full of quality prime lenses. The operator needs the knowledge and experience to use them to their full potential. Where 1 or 2 utility type zoom lenses will also get the job done, but they may not do as good of a job as the primes. With shotguns, using higher end shot specific mics (lets call them prime mics), you'll need to have the hands to work them as well as the knowledge and experience to get the sound improvement out of them (sound operator). With many of the entry level (lets call them utility mics) they'll do a very good job for the majority of shots you'll encounter, they'll be easier to operate, and more forgiving in a wider variety of environments (one-man-band).&#xD;&#xA;&#xD;&#xA;I've used Neumanns for 15 years now and I love them. I have a KM150 with way over 1000 hours of field exposure. It's been in the Sahara desert, Jungles of Cambodia, and the northern reaches of Canada and it has never let me down. I've heard and read they can't take the abuse of the field, I have to disagree.&#xD;&#xA;&#xD;&#xA;Cheers, I hope this helps. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26079" PostHistoryTypeId="2" PostId="15796" RevisionGUID="c9590d8d-cb91-4ec6-bd3d-1ebcd76597c1" CreationDate="2012-10-23T22:53:04.313" UserId="4162" Text="I am doing my final year in Interactive media design. I spent last three years studying different types of media and what I have discovered is that what fascinates me the most is sound. Since I remember I was fascinated by sound and music, but I never thought I could go that far with it. Due to the nature of my course, which is not only dedicated to sound, I sometimes feel like standing in front of a huge mountain, that I have no idea how to conquer, because I don'tspend as much time with it, as I would like to. Sound is a heavy bit to bite. I started with doing soundtracks for university projects and eventually some people have noticed and appreciated my work. I am a modest person and rather a realist, it is not my style to apply for serious productions, unless I'm sure that I possess necessary skills in order to accomplish the task. I believe that a strong portfolio is the key to sound designer's future. Portfolio is pretty easy to build, simply post on a vimeo forum that you are willing to create sound design for some film. Sometimes you will get paid for that, sometimes not and you should be prepared that at the begging you wont get paid (that's the way it is). It's kind of a symbiosis, a mutual benefit for both sides: the film creators and you. They get sound, you enrich your portfolio. Of course working for free doesn't mean that you don't know your value. But a good portfolio gives you a good basis to start earning money. Remember, every kind of media needs sound! There is plenty of work to do. If you want work specifically on film, start with shorts. the big ones will come in the right time. and yes, pro tools is an industry standard. make sure you know shortcuts. This will speed up your flow which you don't want to loose. &#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26080" PostHistoryTypeId="5" PostId="15796" RevisionGUID="34e09fd7-19be-4ccc-8e16-49a5a43530a4" CreationDate="2012-10-23T23:00:08.703" UserId="4162" Comment="added 369 characters in body; added 99 characters in body" Text="I am doing my final year in Interactive media design. I spent last three years studying different types of media and what I have discovered is that what fascinates me the most is sound. Since I remember I was fascinated by sound and music, but I never thought I could go that far with it. Due to the nature of my course, which is not only dedicated to sound, I sometimes feel like standing in front of a huge mountain, that I have no idea how to conquer, because I don'tspend as much time with it, as I would like to. Sound is a heavy bit to bite. I started with doing soundtracks for university projects and eventually some people have noticed and appreciated my work. I am a modest person and rather a realist, it is not my style to apply for serious productions, unless I'm sure that I possess necessary skills in order to accomplish the task. I believe that a strong portfolio is the key to sound designer's future. Portfolio is pretty easy to build, simply post on a vimeo forum that you are willing to create sound design for some film. Sometimes you will get paid for that, sometimes not and you should be prepared that at the begging you wont get paid (that's the way it is). It's kind of a symbiosis, a mutual benefit for both sides: the film creators and you. They get sound, you enrich your portfolio. Of course working for free doesn't mean that you don't know your value. But a good portfolio gives you a good basis to start earning money. &#xD;&#xA;Usually at the beginning you will be required to bring your equipment. You need it anyway to record sounds that you can use later. Cheap and reliable Shure SM58 for vocals, shotgun, capacitor and hyper cardioid capacitor if affordable, but this is a dream team for the beginning. But the basic is a recorder. I use Marantz PMD661 and I am pretty happy with it, as for the start. I find the student loan very useful in this subject. IT IS worth to invest this money. Remember, every kind of media needs sound! There is plenty of work to do. If you want work specifically on film, start with shorts. the big ones will come in the right time. and yes, pro tools is an industry standard. make sure you know shortcuts. This will speed up your flow which you don't want to loose. &#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26081" PostHistoryTypeId="2" PostId="15797" RevisionGUID="914dc87c-9b19-45d5-ba87-183b506bfa4e" CreationDate="2012-10-23T23:53:19.687" UserId="527" Text="EXT DAY - Poor Jamaican town.&#xD;&#xA;&#xD;&#xA;Lonely kid walks down the street and all we see are birds and a few dogs. So we want convey activity in this scene where there really is none.  I have added some sounds of people in there houses with the windows open (doings dishes and general fiddling about), but I think it would be great to add a layer of Jamaican voices. &#xD;&#xA;&#xD;&#xA;Something like a mother yelling at her kids, or just conversation. This is a very short moment so I wouldn't need much.  &#xD;&#xA;&#xD;&#xA;If you have something like this, or can recommend a library...Lets talk!&#xD;&#xA;&#xD;&#xA;Thank you, &#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="26082" PostHistoryTypeId="1" PostId="15797" RevisionGUID="914dc87c-9b19-45d5-ba87-183b506bfa4e" CreationDate="2012-10-23T23:53:19.687" UserId="527" Text="FX REQUEST: Jamaican Walla + Stingers" ContentLicense="CC BY-SA 3.0" />
  <row Id="26083" PostHistoryTypeId="3" PostId="15797" RevisionGUID="914dc87c-9b19-45d5-ba87-183b506bfa4e" CreationDate="2012-10-23T23:53:19.687" UserId="527" Text="&lt;request&gt;&lt;walla&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26084" PostHistoryTypeId="2" PostId="15798" RevisionGUID="278ec24a-314e-4257-b076-43aba455d508" CreationDate="2012-10-24T08:28:32.647" UserId="1178" Text="pretty decent and solid piece comparing to the price. Has it´s own character though and I do not like the buttons on the top, two second delay on the solo tracks, inaccurate metering and far too big headroom and the distortion on the headphone channel. I would rate it 7/10 because it has so many channels comparing to the price." ContentLicense="CC BY-SA 3.0" />
  <row Id="26085" PostHistoryTypeId="5" PostId="15796" RevisionGUID="b59a7a40-e41f-40a5-984d-363ad6078869" CreationDate="2012-10-24T10:40:27.780" UserId="4162" Comment="added 8 characters in body" Text="I am doing my final year in Interactive media design. I spent last three years studying different types of media and what I have discovered is that what fascinates me the most is sound. Since I remember I was fascinated by sound and music, but I never thought I could go that far with it. Due to the nature of my course, which is not only dedicated to sound, I sometimes feel like standing in front of a huge mountain, that I have no idea how to conquer, because I don'tspend as much time with it, as I would like to. Sound is a heavy bit to bite. I started with doing soundtracks for university projects and eventually some people have noticed and appreciated my work. I am rather a realist, it is not my style to apply for serious productions, unless I'm sure that I possess necessary skills in order to accomplish the task. I believe that a strong portfolio is the key to sound designer's future. Portfolio is pretty easy to build, simply post on a vimeo forum that you are willing to create sound design for some film. Sometimes you will get paid for that, sometimes not and you should be prepared that at the begging you wont get paid (that's the way it is). It's kind of a symbiosis, a mutual benefit for both sides: the film creators and you. They get sound, you enrich your portfolio. Of course working for free doesn't mean that you don't know your value. But a good portfolio gives you a good basis to start earning money. &#xD;&#xA;Usually at the beginning you will be required to bring your equipment. You need it anyway to record sounds that you can use later. Cheap and reliable Shure SM58 for vocals, shotgun, capacitor and hyper cardioid capacitor if affordable (also a contact mic to do magic) but this is a dream team for the beginning. The basic is a recorder. I use Marantz PMD661 and I am pretty happy with it, as for the start. I find the student loan very useful in this subject. IT IS worth to invest this money. Remember, every kind of media needs sound! There is plenty of work to do. If you want work specifically on film, start with shorts. the big ones will come in the right time. and yes, pro tools is an industry standard. make sure you know shortcuts. This will speed up your flow which you don't want to loose. &#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26086" PostHistoryTypeId="2" PostId="15799" RevisionGUID="a8221dc2-93e5-48e8-8d0c-f8ae1e3c4673" CreationDate="2012-10-24T11:04:29.207" UserId="348" Text="Hello All,&#xD;&#xA;&#xD;&#xA;An issue came up recently where a PT10 project was saved as a PT9 project so that we could work on a system that only had PT9 on it. The issue was that some of the clips were out of sync but these sync problems were random and only about 30% of the clips had these sync issues. I was told that this could happen if you do a real time save on PT10 and then save as a PT9 project. &#xD;&#xA;&#xD;&#xA;Have any of you had issues regarding this problem and if so, what did you do to resolve these issues?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="26087" PostHistoryTypeId="1" PostId="15799" RevisionGUID="a8221dc2-93e5-48e8-8d0c-f8ae1e3c4673" CreationDate="2012-10-24T11:04:29.207" UserId="348" Text="Sync Problems when transferring a PT10 session to a PT9 session" ContentLicense="CC BY-SA 3.0" />
  <row Id="26088" PostHistoryTypeId="3" PostId="15799" RevisionGUID="a8221dc2-93e5-48e8-8d0c-f8ae1e3c4673" CreationDate="2012-10-24T11:04:29.207" UserId="348" Text="&lt;protools&gt;&lt;10&gt;&lt;9&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26089" PostHistoryTypeId="2" PostId="15800" RevisionGUID="801a31a4-b262-41ff-ad13-107f92992f98" CreationDate="2012-10-24T12:37:23.013" UserId="4314" Text="This is probably a sound already in someone's library, but I remember my parent's old 50's era (or prior to that?) electric coffee percolator. When it is left to perc for 30 mins. to an hour (adding additional water here and there) it has quit a vocabulary. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26090" PostHistoryTypeId="2" PostId="15801" RevisionGUID="4548efb7-5251-48ef-b82d-527dd6e4dc5f" CreationDate="2012-10-24T12:44:08.920" UserId="432" Text="Since Pro Tools 10 can handle multiple file formats in a single session, is the issue possibly that the Pro Tools 9 session is referencing multiple sample rates?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26091" PostHistoryTypeId="5" PostId="15800" RevisionGUID="4b1badf0-bee7-4fa5-a0a4-bb2e8587f85b" CreationDate="2012-10-24T16:36:01.817" UserId="61" Comment="added 1 characters in body" Text="This is probably a sound already in someone's library, but I remember my parent's old 50's era (or prior to that?) electric coffee percolator. When it is left to perc for 30 mins. to an hour (adding additional water here and there) it has quite a vocabulary. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26092" PostHistoryTypeId="2" PostId="15802" RevisionGUID="3e25acb7-cecc-4a71-b05b-6b0a7ff16c5f" CreationDate="2012-10-24T16:58:00.447" UserId="4384" Text="I've had and am having similar issues with my H4n. If you turn the gain up too high you get static, if it's too low the sound comes out extremely quiet in recordings. I've spent hours fiddling and the only thing I can suggest is to find a happy medium, a threshold that isn't too quiet and retains quality, with this little recorder this is proving difficult to do." ContentLicense="CC BY-SA 3.0" />
  <row Id="26093" PostHistoryTypeId="2" PostId="15803" RevisionGUID="e0bc3e80-957c-4406-a1df-a18623a9f494" CreationDate="2012-10-24T18:51:06.270" UserId="261" Text="When designing a layered effect, mute layers/regions once in a while-&#xD;&#xA;What can't be heard/felt is only clogging up your signal path&#xD;&#xA;Low frequency energy adds up really quickly&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26095" PostHistoryTypeId="2" PostId="15804" RevisionGUID="b685e2ac-f711-4e9b-8c5b-4955452abd94" CreationDate="2012-10-25T06:04:09.450" UserId="295" Text="When you're hired to work in another studio/stage, which tools do you bring with you?&#xD;&#xA;Plugins, hardware, mouse, templates, sound files, mikes, entire computers...&#xD;&#xA;&#xD;&#xA;And, how do you transport them?&#xD;&#xA;iLok, hard drive(s), pelican case...&#xD;&#xA;&#xD;&#xA;It seems to me that more plugins are moving to a response type authorization and away from iLoks. Has this complicated things for you?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26096" PostHistoryTypeId="1" PostId="15804" RevisionGUID="b685e2ac-f711-4e9b-8c5b-4955452abd94" CreationDate="2012-10-25T06:04:09.450" UserId="295" Text="Travel tools for freelance gigs" ContentLicense="CC BY-SA 3.0" />
  <row Id="26097" PostHistoryTypeId="3" PostId="15804" RevisionGUID="b685e2ac-f711-4e9b-8c5b-4955452abd94" CreationDate="2012-10-25T06:04:09.450" UserId="295" Text="&lt;editing&gt;&lt;mixing&gt;&lt;travel&gt;&lt;freelancing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26098" PostHistoryTypeId="2" PostId="15805" RevisionGUID="8d78b291-8660-46f5-b5f6-c668016b64fe" CreationDate="2012-10-25T08:03:01.883" UserId="3784" Text="Phone work ups. Now everyone uses a smart phone in films. flip phones, antennas, function beeps, and key clicks I can see being endangered. I feel like I haven't heard a wilhelm scream in ahwile either." ContentLicense="CC BY-SA 3.0" />
  <row Id="26099" PostHistoryTypeId="2" PostId="15806" RevisionGUID="9fa6d9ec-fd75-4ff3-9d49-31a853e5d83a" CreationDate="2012-10-25T08:51:27.993" UserId="6411" Text="Great question, this is something that I've been pondering for a little while now. I've been doing a fair bit of stage editing in the last few months and have been considering a 1510LFC pelican case not just for safe carry, but just as a &quot;home&quot; for all my mobile gear as well. I'm pretty sure it'll all fit.&#xD;&#xA;&#xD;&#xA;What I currently tow along (in two backpacks) is my 15&quot; MacBook Pro, a clone of my SFX drive, a full size keyboard + Apple Magic Track Pad, an Apogee MiniDAC, headphones, two USB hubs (one bus powered and a self powered backup), two iLoks and a USB thumb drive with my Waves 9 licenses, a travel power strip and then all the associated power, USB, FW800, cables etc. Oh, and a granola bar or two. But this is when I'm expected to be working on my own gear.&#xD;&#xA;&#xD;&#xA;What I've seen work well when a machine is provided for you is a bootable FW clone of your internal HD. Attach it to the machine in question, reboot, and you might as well be sitting at home. Some bring an additional drive / partition with all their plugin install .dmg files, just in case something needs to be added. Still need the iLoks though. Can't say I've seen too many response authorizations, which companies have gone that route?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26100" PostHistoryTypeId="2" PostId="15807" RevisionGUID="69e22956-ebb6-44a0-8983-22388156b7ba" CreationDate="2012-10-25T09:58:43.790" UserId="1185" Text="On the technology front, when was the last time you heard a dot matrix printer?  Same goes for a typewriter." ContentLicense="CC BY-SA 3.0" />
  <row Id="26101" PostHistoryTypeId="2" PostId="15808" RevisionGUID="b3e8ce6b-4d73-4afe-84d2-28ae48b15311" CreationDate="2012-10-25T10:39:21.397" UserId="3754" Text="When I do theatrical design, I bring my mac, external sfx hard drive, mouse and matt, beyer 770s, and my minrator pro. That's the killer, because I can set up the PA to optimum standard before I playback my sound. Nothing worse then altering your audio, to find the rig has been garbling it up anyway.&#xD;&#xA;&#xD;&#xA;And I shove it all in a pelicase." ContentLicense="CC BY-SA 3.0" />
  <row Id="26102" PostHistoryTypeId="2" PostId="15809" RevisionGUID="1f6405aa-5f8d-4322-b4c0-f24df264c9d9" CreationDate="2012-10-25T14:10:45.160" UserId="4162" Text="Hello!&#xD;&#xA;What are you favorite sound effects in film?&#xD;&#xA;1. best sci-fi effect&#xD;&#xA;2. best organic effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="26103" PostHistoryTypeId="1" PostId="15809" RevisionGUID="1f6405aa-5f8d-4322-b4c0-f24df264c9d9" CreationDate="2012-10-25T14:10:45.160" UserId="4162" Text="Your favorite sound effect in film. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26104" PostHistoryTypeId="3" PostId="15809" RevisionGUID="1f6405aa-5f8d-4322-b4c0-f24df264c9d9" CreationDate="2012-10-25T14:10:45.160" UserId="4162" Text="&lt;film-sound-design&gt;&lt;scifi&gt;&lt;sound-design&gt;&lt;favorite&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26105" PostHistoryTypeId="2" PostId="15810" RevisionGUID="0e21b2b9-448d-44af-8ec4-a87193aa1d38" CreationDate="2012-10-25T15:12:38.503" UserId="348" Text="If I can digress for a second and mention that sound for the tendon cutting scene in 127 Hours. The use of guitar bending and screeching sent chills down spin. As far as organic effects go, the use of animal sounds in the Bat Plane. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26107" PostHistoryTypeId="2" PostId="15812" RevisionGUID="4722747b-3060-4a63-9883-55a66d010fc3" CreationDate="2012-10-25T15:33:36.927" UserId="348" Text="During a foley session which involved a bucket of water, I accidentally bumped the mic stand which was housing a studio prospect mic and timber!!!!! it went directly into the full bucket of water! &#xD;&#xA;&#xD;&#xA;I turned completely cold as it was not my mic and could only think of the damage I had just caused and the bill I would receive. After some quick thinking/internet surfing, I found that putting it outside under the sun to dry might work ...and....voila! It worked!&#xD;&#xA;&#xD;&#xA;Good gear tends to be very durable. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26108" PostHistoryTypeId="5" PostId="15808" RevisionGUID="3b28bd54-75b7-4543-87ca-48d326df396c" CreationDate="2012-10-25T16:10:24.313" UserId="3754" Comment="added 112 characters in body" Text="When I do theatrical design, I bring my mac, external sfx hard drive, mouse and matt, beyer 770s, and my [minirator pro][1]. That's the killer, because I can set up the PA to optimum standard before I playback my sound. Nothing worse then altering your audio, to find the rig has been garbling it up anyway.&#xD;&#xA;&#xD;&#xA;And I shove it all in a pelicase.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.nti-audio.com/Home/Products/HandheldExelLine/MiniratorMRPRO/tabid/119/Default.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="26109" PostHistoryTypeId="2" PostId="15813" RevisionGUID="b4bb6b52-9af7-437a-83e9-19f62f6cb36d" CreationDate="2012-10-25T16:36:50.090" UserId="842" Text="1. - Hypnotoad. All glory to The Hypnotoad!&#xD;&#xA;&#xD;&#xA;2. - Creaks. Wood, metal or leather doesn't matter (um, well...in the project it does, of course), but plastic is often not as fun." ContentLicense="CC BY-SA 3.0" />
  <row Id="26110" PostHistoryTypeId="2" PostId="15814" RevisionGUID="2b114a6f-30a0-4b42-99a9-190600337835" CreationDate="2012-10-25T16:53:08.413" UserId="565" Text="1) I know it is overused now, but I LOVE the simple low frequency sine wave sweep in the low end or in the LFE channel.  It really makes me giddy every time I hear it.&#xD;&#xA; &#xD;&#xA;2) A simple whoosh.  Baseball bat, pool cue, cloth, wire etc...  Great stuff.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(I wasn't aware of the Hypnotoad until today, it is pretty awesome!)" ContentLicense="CC BY-SA 3.0" />
  <row Id="26111" PostHistoryTypeId="2" PostId="15815" RevisionGUID="f0ceaa0c-34ba-4bee-8dbe-63b7c6c00082" CreationDate="2012-10-25T16:54:21.640" UserId="1303" Text="This will probably be the most bland of answers but I've always loved the sound of the soda cup that Woody runs around in while he and buzz sneak into the pizza shack in Toy Story.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?feature=player_detailpage&amp;v=6hCYihlt1Lk#t=2032s" ContentLicense="CC BY-SA 3.0" />
  <row Id="26112" PostHistoryTypeId="2" PostId="15816" RevisionGUID="9ea5fae9-a927-469d-90dc-4fb1a2ae1216" CreationDate="2012-10-25T17:29:20.027" UserId="208" Text="Hey all&#xD;&#xA;Ive tried recording my own mouth doing this, and have pitched the recording down, but it is not really aggressive enough (afraid I might loose a few teeth in the process).&#xD;&#xA;Also layered with different meaty hits etc. &#xD;&#xA;Im getting there but still need the final thing.&#xD;&#xA;&#xD;&#xA;Anyone who has a great suggestion for achieving this? (think, the T-rex snapping sounds in King Kong, which sound just awesome in my opinion).&#xD;&#xA;&#xD;&#xA;Thanks alot&#xD;&#xA;Best wishes, Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="26113" PostHistoryTypeId="1" PostId="15816" RevisionGUID="9ea5fae9-a927-469d-90dc-4fb1a2ae1216" CreationDate="2012-10-25T17:29:20.027" UserId="208" Text="creating big creature jaws snapping?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26114" PostHistoryTypeId="3" PostId="15816" RevisionGUID="9ea5fae9-a927-469d-90dc-4fb1a2ae1216" CreationDate="2012-10-25T17:29:20.027" UserId="208" Text="&lt;sfx&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26115" PostHistoryTypeId="2" PostId="15817" RevisionGUID="fc365cef-1ce8-40bb-a5db-42e469901e7e" CreationDate="2012-10-25T19:43:27.440" UserId="29" Text="Is this just teeth clacking together with little in the middle? Hollow wood, like those percussive frogs you can buy in music stores, might be a starting point, although it might also be too tuned/chromatic/musical. Using actual bone-on-bone impacts that are pitched down might be a useful layer, too. And of course, metallic clacking sounds could be great if you need more weight or high-freq content, if used judiciously in the mix. &#xD;&#xA;&#xD;&#xA;Seems like other opportunities for richness, though, could come from a forceful exhalation of breath, tongue/saliva/mouth slaps and other wet sounds, or a grunt/groan that would coincide with a creature's toothy lunge. As you said, meaty hits will do well for filling out the mid-lows. Start hitting those stacks of phonebooks! :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="26116" PostHistoryTypeId="2" PostId="15818" RevisionGUID="02c0654f-dd46-4f9f-9fa8-b8d8095b5b15" CreationDate="2012-10-25T19:46:01.930" UserId="29" Text="Some props will also become scarce over time; keeping typewriters functioning is getting challenging. I use my library of thick phone-book hits for all sorts of stuff, which also causes them to get duct-taped together and often nearly destroyed. What will I use when everyone stops publishing thick pulp softcovers? Resort to punching interns in the stomach?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26117" PostHistoryTypeId="2" PostId="15819" RevisionGUID="fe862011-71a4-407f-809b-bb4670152b48" CreationDate="2012-10-25T19:50:02.047" UserId="29" Text="Beyond the basics that everyone else seems to carry:&#xD;&#xA;&#xD;&#xA; - My own headphones&#xD;&#xA; - My own mouse/input device and any drivers needed&#xD;&#xA; - Backup of any drives&#xD;&#xA; - 2 spare 32GB thumb drives&#xD;&#xA; - Small rolls of as many kinds of tape as I can remember to bring: Duct, gorilla, micropore, gaffer, spike...&#xD;&#xA; - Pens galore&#xD;&#xA; - Things to stave off hunger or boredom (food and eBooks)&#xD;&#xA;&#xD;&#xA;I usually try to fit everything into two softsides and two Pelican 1500's, at the most, depending on what I'm doing (field recording is one softsided shoulderbag and my SD recorder in a PortaBrace). My rule is that everything, including boompoles and tripods, need to be &lt;18&quot; collapsed, so that I can have flexibility in what bag(s) I bring. Makes things a lot more modular." ContentLicense="CC BY-SA 3.0" />
  <row Id="26118" PostHistoryTypeId="12" PostId="15819" RevisionGUID="ad881401-43af-41e1-9197-79fb44ad6f7f" CreationDate="2012-10-25T19:50:42.143" UserId="29" Text="[{&quot;Id&quot;:29,&quot;DisplayName&quot;:&quot;NoiseJockey&quot;}]" />
  <row Id="26119" PostHistoryTypeId="13" PostId="15819" RevisionGUID="975abc6d-0ea5-4cfd-81b4-90a2d8eaf2c5" CreationDate="2012-10-25T19:54:21.010" UserId="29" Text="[{&quot;Id&quot;:29,&quot;DisplayName&quot;:&quot;NoiseJockey&quot;}]" />
  <row Id="26120" PostHistoryTypeId="2" PostId="15820" RevisionGUID="c6b70e35-c60e-491d-8d49-f02684f68e66" CreationDate="2012-10-25T20:01:32.043" UserId="842" Text="I very rarely do this, but once very very early in my career I actually brought my entire studio to the other side of the country, lock stock and barrel (except the mixing console. Even I have my limits...), and built an ADR-studio in an apartment. That simply will not happen again though.&#xD;&#xA;&#xD;&#xA;Nowadays, I see it like this (at least for now); if I really must do dialogue editing in another studio for some reason, I'm just bringing a drive with roomtones and location-based hard effects and foley (you never know), my Nuendo install-disc (all software including ditto Syncrosoft and iLok-keys, of course), my Dolby meter, a few simple dynamic processors and filters (just in case), and two of my main monitors. And a trusty trackball. I hate working with mice or trackpads.&#xD;&#xA;&#xD;&#xA;Last time I did sound effects in another studio I brought my complete computer with the then only picture-monitor and patched the DSP Factory-card (impressing at the time. Been very dated for years now) bypassing his console and directly into the patchbay. Now I'd just bring my fieldrecorders, or possibly rent a Cantar, depending on what I'd do.&#xD;&#xA;&#xD;&#xA;When doing sound design, on the other hand, things gets a lot more complicated. I try to avoid doing it externally, after all I do have well good stuff myself which I know well (I traded my old Yamaha-cards for state of the art second generation Lynx-cards years ago), but sometimes that's not an option. Things depends on what the studio and the occasion. If I'm just supervising, I just bring my reference headphones and a single large harddrive with all my sound effects. I very rarely do that either though, I like to work hands-on also when supervising. When doing some serious sound designing myself, my luggage would consist of my entire computer setup including all three picture-monitors and Lynx-rig, all five main monitors (right now Yamaha HS80 with phase-corrected bass management, but I'll buy some iNo as soon as I can afford it. The Yamaha's are VERY frustrating to rig...), a switchbox for the listening monitoring (never underestimate the value of some extra reference listening, hopefully already tuned for the room), my headphones, a DVD with all install-files for all my software including Windows (just in case, Murphy's not a lazy man indeed), my location set (K-Tek boom, Fostex FR2 fieldrecorder, different Sennheiser MKH mics, will supplement with linear DPA's, and Beyer 250 headphones, lots of batteries), and a backup harddrive with all sound effects should the internal dedicated effects-drive up and die on me. And of course some reference listening-material on DVD coded in DTS. When I've installed a BluRay in the computer I'll probably change that to reference listening in BD, coded only in lossless. Sounds likely.&#xD;&#xA;&#xD;&#xA;But most important of all, I'll make sure I'll have access in one way or another to peanuts/roasted pumpkin seeds, grapefruits/pomelos, and coffee. Some healthy doses of Doctor Pepper is also good for the morale no less, but the caffeine, citrus fruits, and the mineral- and energy-rich peanuts/pumpkin seeds all helps regaining what the brain burns at a ridiculous speed while concentrating heavily for extended periods of time, especially after entering hyper focus and beyond. At my places I have no more than a five minute walk to get that, when in other studios it's a good idea to find out if one can get it anywhere near, of if I'll have to bring it myself." ContentLicense="CC BY-SA 3.0" />
  <row Id="26121" PostHistoryTypeId="5" PostId="15806" RevisionGUID="1ab2241c-cc58-44f0-9019-3d0a08543314" CreationDate="2012-10-25T20:54:19.473" UserId="6411" Comment="added 190 characters in body" Text="Great question, this is something that I've been pondering for a little while now. I've been doing a fair bit of stage editing in the last few months and have been considering a 1510LFC pelican case not just for safe carry, but just as a &quot;home&quot; for all my mobile gear as well. I'm pretty sure it'll all fit.&#xD;&#xA;&#xD;&#xA;What I currently tow along (in two backpacks) is my 15&quot; MacBook Pro, a clone of my SFX drive, a full size keyboard + Apple Magic Track Pad, an Apogee MiniDAC, headphones, two USB hubs (one bus powered and a self powered backup), two iLoks and a USB thumb drive with my Waves 9 licenses, a travel power strip and then all the associated power, USB, FW800, cables etc. Oh, and a granola bar or two. But this is when I'm expected to be working on my own gear.&#xD;&#xA;&#xD;&#xA;What I've seen work well when a machine is provided for you is a bootable FW clone of your internal HD. Attach it to the machine in question, reboot, and you might as well be sitting at home. Some bring an additional drive / partition with all their plugin install .dmg files, just in case something needs to be added. Still need the iLoks though. Can't say I've seen too many response authorizations, which companies have gone that route?&#xD;&#xA;&#xD;&#xA;**EDIT:**&#xD;&#xA;&#xD;&#xA;All this talk of extra screens reminded me that I also bring my iPad along. With TouchOSC, V-Control Pro and DisplayPad it's quite a useful thing to have along with the MBP." ContentLicense="CC BY-SA 3.0" />
  <row Id="26122" PostHistoryTypeId="2" PostId="15821" RevisionGUID="c106d849-9924-44cd-8358-8f646d33dd80" CreationDate="2012-10-25T21:31:57.237" UserId="4390" Text="Well, where I live (Denmark) I'm sure having a hard time capturing any kind of natural ambience completely free of man-made sounds. But it's a small country, densely populated, etc, so no wonder. In my part of the world, silence is definitely endangered." ContentLicense="CC BY-SA 3.0" />
  <row Id="26125" PostHistoryTypeId="2" PostId="15823" RevisionGUID="57e2f6d8-5b48-4afa-94c7-1030f488bbc0" CreationDate="2012-10-26T06:24:39.253" UserId="61" Text="Lightsaber. T-Rex roar." ContentLicense="CC BY-SA 3.0" />
  <row Id="26126" PostHistoryTypeId="2" PostId="15824" RevisionGUID="ae01bf07-d86d-4503-973f-2582bf72df74" CreationDate="2012-10-26T07:19:11.240" UserId="37" Text=" - Vinyl crackle (replaced by smeared transients)&#xD;&#xA; - That sound when you change FM stations on a radio. The one when you change AM ones is so rarely heard today too.. &#xD;&#xA; - The cascade transformer whine of CRT TVs..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26127" PostHistoryTypeId="2" PostId="15825" RevisionGUID="1e81e527-1e4c-4f31-b311-04ac8afda723" CreationDate="2012-10-26T07:38:15.737" UserId="3994" Text="I really liked the sun in Sunshine" ContentLicense="CC BY-SA 3.0" />
  <row Id="26128" PostHistoryTypeId="2" PostId="15826" RevisionGUID="973dc636-8e84-4585-b092-b56b8514154b" CreationDate="2012-10-26T08:27:15.990" UserId="1185" Text="+1 for lightsaber (prior the 1976 this sound just did not exist and now everyone knows it). The flap of bird wings (the effect is never the same once you know how it is created, but you you can feel smug that most people don't know)." ContentLicense="CC BY-SA 3.0" />
  <row Id="26129" PostHistoryTypeId="2" PostId="15827" RevisionGUID="db6544b2-6451-46c6-88e3-d76ae529265e" CreationDate="2012-10-26T09:22:28.997" UserDisplayName="user49" Text="1. Silence in 2001&#xD;&#xA;&#xD;&#xA;2. The wallpaper peeling off in Barton Fink&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26130" PostHistoryTypeId="2" PostId="15828" RevisionGUID="8c5889cf-7c52-40bd-ba89-f01a6d36490c" CreationDate="2012-10-26T14:11:21.730" UserId="6432" Text="Just wondering if anyone knows of a SoundCloud alternative suitable for academic use. I'm really looking for something which will allow students to post and contribute sounds to a central site or page. For example a group of students might go on a field recording trip and can then all log in and post the best sounds they recorded. I guess it's personal logins and the ability to invite users to a group where they can share sounds which are important. &#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;&#xD;&#xA;Mark" ContentLicense="CC BY-SA 3.0" />
  <row Id="26131" PostHistoryTypeId="1" PostId="15828" RevisionGUID="8c5889cf-7c52-40bd-ba89-f01a6d36490c" CreationDate="2012-10-26T14:11:21.730" UserId="6432" Text="Alternative to Soundcloud for academic use" ContentLicense="CC BY-SA 3.0" />
  <row Id="26132" PostHistoryTypeId="3" PostId="15828" RevisionGUID="8c5889cf-7c52-40bd-ba89-f01a6d36490c" CreationDate="2012-10-26T14:11:21.730" UserId="6432" Text="&lt;sharing&gt;&lt;group&gt;&lt;academic&gt;&lt;soundcloud&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26133" PostHistoryTypeId="2" PostId="15829" RevisionGUID="74c41ed9-671c-4ce5-93da-9c347b23e48f" CreationDate="2012-10-26T14:22:25.847" UserId="3754" Text="I guess if it's to strictly control content, dropbox seems most apt" ContentLicense="CC BY-SA 3.0" />
  <row Id="26134" PostHistoryTypeId="5" PostId="15828" RevisionGUID="edc32092-d03c-4b2d-b033-9d3e67390b81" CreationDate="2012-10-26T15:21:08.500" UserId="6432" Comment="added 338 characters in body" Text="Just wondering if anyone knows of a SoundCloud alternative suitable for academic use. I'm really looking for something which will allow students to post and contribute sounds to a central site or page. For example a group of students might go on a field recording trip and can then all log in and post the best sounds they recorded. I guess it's personal logins and the ability to invite users to a group where they can share sounds which are important. &#xD;&#xA;&#xD;&#xA;I also realise that with Soundcloud you can create groups and have users contribute sounds to the group. The problem with this is that as files are deleted from each account they are removed from the group. I need something which will also works as a record or archive - if you contribute a sound it's stored in the group permanently.&#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;&#xD;&#xA;Mark" ContentLicense="CC BY-SA 3.0" />
  <row Id="26135" PostHistoryTypeId="2" PostId="15830" RevisionGUID="e24e7e13-4096-4e1c-a6df-fa6b54794e5c" CreationDate="2012-10-26T16:21:15.387" UserId="1185" Text="&#xD;&#xA;I use a SoundCloud group for my students to share work with their peers and me - I then create a fresh group each year.  This is then used to give formative feedback to the student community as a whole.  The students then submit the final work on our internal system and I can given them individual summative feedback and archive the submissions.  Not sure if this will work for you, but has worked for me for a couple of years now.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26136" PostHistoryTypeId="2" PostId="15831" RevisionGUID="38c2a234-7fea-48f2-aaac-75d609eb8c21" CreationDate="2012-10-26T17:38:13.967" UserId="182" Text="What about [Freesound][1]? It has the added bonus of contributing to the availability of good free recordings, which is, if you ask me, very academic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://freesound.org" ContentLicense="CC BY-SA 3.0" />
  <row Id="26137" PostHistoryTypeId="2" PostId="15832" RevisionGUID="e4e27679-2ade-4d2a-8c78-05f9c9ca077e" CreationDate="2012-10-27T01:34:06.100" UserId="61" Text="And what are you hoping to get out of it? Heavy waves and storm surge could be good but you'll get mighty wet recording what might sound like white noise. Or, you could attach some contact mics to your walls and windows…or you could open one of those windows *just a little bit* and record some gnarly whistling and moaning…or…or…or…&#xD;&#xA;&#xD;&#xA;Stay safe out there, East coasters!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26138" PostHistoryTypeId="1" PostId="15832" RevisionGUID="e4e27679-2ade-4d2a-8c78-05f9c9ca077e" CreationDate="2012-10-27T01:34:06.100" UserId="61" Text="Who's recording Hurricane Sandy?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26139" PostHistoryTypeId="3" PostId="15832" RevisionGUID="e4e27679-2ade-4d2a-8c78-05f9c9ca077e" CreationDate="2012-10-27T01:34:06.100" UserId="61" Text="&lt;recording&gt;&lt;nature&gt;&lt;hurricane&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26141" PostHistoryTypeId="2" PostId="15834" RevisionGUID="55018686-6707-4e0f-aa84-9b9907085446" CreationDate="2012-10-27T13:12:21.337" UserId="6454" Text="One thing I also think is worth mentioning is that sometimes when you react to a sound that you like in  film it is not only the quality of the sound but the sound edit as well.  For example...the cup sound from Toy Story mentioned above...it is a great, clean, and &quot;true&quot; sound, but I think what is so striking and playful about it, is the edit and how it perfectly compliments the motion.&#xD;&#xA;&#xD;&#xA;With that said...&#xD;&#xA;&#xD;&#xA;1. +1 Light saber (so easy to mention, but it is so iconic) and the vocal effects for the Alien from Alien and Aliens &#xD;&#xA;&#xD;&#xA;2. +1 for Creaks...I just love a good leather squeeze...a bad guy wearing black military gloves and making a fist...so good   " ContentLicense="CC BY-SA 3.0" />
  <row Id="26142" PostHistoryTypeId="2" PostId="15835" RevisionGUID="a1cc2359-96da-4058-836a-92308f5207d1" CreationDate="2012-10-27T19:12:25.517" UserId="3784" Text="Just use a jamican granular synth on an insert. Duh. Usually for specific call outs like that an ADR group loop crew will come in with certain cues and bring the BG people to life with relevant dialogue that will most likely be mixed down with the BG walla, but in your case the hum of people library might have some Jamaican call outs, or just record it yourself and post process it. Do some wild takes of your best impressions, maybe while watching cool runnings for inspiration. Great movie regardless." ContentLicense="CC BY-SA 3.0" />
  <row Id="26143" PostHistoryTypeId="2" PostId="15836" RevisionGUID="cae5a4db-4205-41ba-a4d0-6d70485e4a9c" CreationDate="2012-10-27T19:14:02.433" UserId="4140" Text="I know it's always a very subjective question, but I'm trying to find a fair and objective criteria to evaluate how much I should charge for music for video and web/TV Commercials. &#xD;&#xA;&#xD;&#xA;Should I apply some kind of &quot;rate per minute of music&quot;? &#xD;&#xA;How much difference should I consider depending if it's music for a TV Commercial or for a video for &quot;web business promo&quot; (the video will only be watched online and shared via social networking or client's website)? &#xD;&#xA;Would you do some kind of measurement on the music's complexity (for example for how many tracks there are in the mix? To me sounds too much and complex elements to include in negotiation with my clients). &#xD;&#xA;Would you distinguish your price also by the final cient's? (for example: charging higher for bigger companies)&#xD;&#xA;&#xD;&#xA;Let's assume that recording costs are irrelevant (either because I work 90% of the time with midi only material, or the audio I record for the music may be considered costless, or simply I know that if I'll have to pay extra XX$ for some recording, I'll add that plus maybe some margin to my final price). What I'm searching here is some kind of price for creativity and music composition itself, in the end.&#xD;&#xA;&#xD;&#xA;Thank you.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26144" PostHistoryTypeId="1" PostId="15836" RevisionGUID="cae5a4db-4205-41ba-a4d0-6d70485e4a9c" CreationDate="2012-10-27T19:14:02.433" UserId="4140" Text="Price for Music (commercial videos for web or TV)" ContentLicense="CC BY-SA 3.0" />
  <row Id="26145" PostHistoryTypeId="3" PostId="15836" RevisionGUID="cae5a4db-4205-41ba-a4d0-6d70485e4a9c" CreationDate="2012-10-27T19:14:02.433" UserId="4140" Text="&lt;music-business&gt;&lt;prices&gt;&lt;commercials&gt;&lt;video&gt;&lt;web&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26146" PostHistoryTypeId="2" PostId="15837" RevisionGUID="d8c48895-96dc-4175-8673-ea96e8255e0f" CreationDate="2012-10-27T19:23:01.393" UserId="3784" Text="As I do love the sound of a light saber I think my favorite sound from starwars is the tie fighter. Which I believe is a raw sound of a jaguar hissing? &#xD;&#xA;&#xD;&#xA;My favorite organic sounds are hard switches, kill switches, old buttons, I love vintage gear for that reason. If it makes a big CLUNK when you flip the switch for something, it's probably bad ass." ContentLicense="CC BY-SA 3.0" />
  <row Id="26147" PostHistoryTypeId="2" PostId="15838" RevisionGUID="2a63b0a3-43f3-4ad8-8230-72740568031a" CreationDate="2012-10-27T20:49:19.733" UserId="235" Text="  I see this question getting asked on message boards a lot.  It's a perfectly valid question and I'm not sure why it's so hard to find answers with actual numbers.  There are lots of people coming up from student/low-no film markets into a more commercial markets (just like I did) who are very likely to greatly undercut established rates without knowing any better (just like I did). &#xD;&#xA;&#xD;&#xA;So....  &#xD;&#xA;&#xD;&#xA;  Union sound effects editors in LA get around 37$/hr according to [this site][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But keep in mind that these are for staff positions.  Meaning they're getting a guaranteed number of hours every week, benefits, overtime, they're using studio equipment and software etc.  Contract or freelance rates should always be at least double employee rates.  At least.&#xD;&#xA;&#xD;&#xA;Over on [Gearslutz][2], the always generous Georgia posted her studio rates as of 2008&#xD;&#xA;&#xD;&#xA;$150 / hour for music composition&#xD;&#xA;$150 / hour for sound design&#xD;&#xA;$150 / hour graphics&#xD;&#xA;$200 / hour picture editorial&#xD;&#xA;$225 / hour for ADR and dialogue cleanup&#xD;&#xA;$300 / hour for Foley&#xD;&#xA;$350 / hour for mixing&#xD;&#xA;$350 / hour for printmastering and/or encoding Dolby or DTS&#xD;&#xA;$450 / hour HD laybacks&#xD;&#xA;$450 / hour VFX &#xD;&#xA;&#xD;&#xA;This is for a full service studio of course and if you're a freelancer working in your bedroom, you may not think you can charge this much, but I know respected sound designers working out of home studios who are charging over $300/hr for sound design.  &#xD;&#xA;&#xD;&#xA;My current base rate is $80/hr but I'm considering raising it or charging on a strictly per-project basis.  There are commercial projects that would happily pay much more and indie projects I'd love to work on who can't come close to paying that much.&#xD;&#xA;&#xD;&#xA;Frequently for indie projects I'm really interested in, I'll offer a reduced rate.  But I always make sure they know it's a reduced rate and I reflect that on the final invoice.  There is a huge difference between commercial and indie film rates so it makes sense to do this, but if these low rates become the norm than we collectively run the risk of devaluing our work.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Anyway, my 4 cents (I'm a freelancer remember).  &#xD;&#xA;&#xD;&#xA;  [1]: http://media-services.com/labor2011/Los_Angeles_Local_700_Editors_2010-11.htm#_Toc282423776&#xD;&#xA;  [2]: http://www.gearslutz.com/board/post-production-forum/187531-sound-design-rates.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="26148" PostHistoryTypeId="2" PostId="15839" RevisionGUID="2d7aaf2e-c9ea-46c7-ad56-002a5efb7b9c" CreationDate="2012-10-28T09:46:34.660" UserId="4406" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;just wanted to introduce my free creative commons music website:&#xD;&#xA;[www.bensound.com][1]&#xD;&#xA;&#xD;&#xA;Ben&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bensound.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="26149" PostHistoryTypeId="2" PostId="15840" RevisionGUID="cb5680c0-55cd-46c4-a30c-a55899f04ddb" CreationDate="2012-10-29T03:20:14.273" UserId="4358" Text="Silence in Wild Strawberries- Ingmar Bergman and &#xD;&#xA;the Laser Gun in Wall. E" ContentLicense="CC BY-SA 3.0" />
  <row Id="26150" PostHistoryTypeId="2" PostId="15841" RevisionGUID="e86121e4-3ee1-416c-9174-e7d2536deb8b" CreationDate="2012-10-29T11:16:19.027" UserId="644" Text="The Sound of Optimus Prime's Gun from Transformers the Movie (the proper one). (40 seconds) http://www.youtube.com/watch?v=fB0_vJUc3o4&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The other one is the sound of the train in opening sequence in on Once Upon A Time in the West&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26151" PostHistoryTypeId="2" PostId="15842" RevisionGUID="7f695d46-1cf7-4d66-8186-1ff42e6e51ad" CreationDate="2012-10-29T12:49:33.763" UserId="1216" Text="I'm not aware of such a platform or website. But it is a good idea to have this functionality! The least you could do is contact Soundcloud, there really nice, and ask if the have any plans for this or if they might take it under consideration for certain projects/institutes.&#xD;&#xA;&#xD;&#xA;Only other thing you could do is ask them if backing up the wav files is possible? A [project][1] I run, the Sound of the Netherlands, has this arrangment with Soundcloud. &#xD;&#xA;At least you could host it on your own soundcloud account afterwards.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;  [1]: http://www.geluidvannederland.nl" ContentLicense="CC BY-SA 3.0" />
  <row Id="26152" PostHistoryTypeId="5" PostId="15832" RevisionGUID="556df877-f7d1-4e86-a095-6a7949ee1177" CreationDate="2012-10-29T16:33:15.150" UserId="61" Comment="added 27 characters in body; edited title" Text="Anyone on the east coast trying to record this behemoth? Could be a once in a lifetime opportunity. Heavy waves and storm surge could be good but you'll have to use extreme caution. Or, you could attach some contact mics to your walls and windows…or you could open one of those windows *just a little bit* and record some gnarly whistling and moaning…or…or…or…&#xD;&#xA;&#xD;&#xA;Stay safe out there, East coasters!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26153" PostHistoryTypeId="4" PostId="15832" RevisionGUID="556df877-f7d1-4e86-a095-6a7949ee1177" CreationDate="2012-10-29T16:33:15.150" UserId="61" Comment="added 27 characters in body; edited title" Text="Hurricane Sandy" ContentLicense="CC BY-SA 3.0" />
  <row Id="26154" PostHistoryTypeId="2" PostId="15843" RevisionGUID="7caf3a81-9b7f-45bc-b72a-94dde6e1f4ba" CreationDate="2012-10-29T19:21:01.207" UserId="4412" Text="I personally love some of the sounds of the Waves modeled plug-ins, such as the API 2500 compressor. There are hundreds of plug-ins out there that model the analog sound, and do it amazingly as &lt;em&gt;Tomas&lt;/em&gt; said above. Look at Reason 6.5's mixer, its modeled after an SSL board. However, one thing I really do enjoy is having the physical feeling of knobs and sliders. &lt;p&gt;I think it helps quite a bit to improve sonic quality if your not staring at the software interface and visually mixing and simply listening with no visual stimulation and turning a knob or a slider until you get the sound you like. &lt;p&gt;The beautiful thing is that if you have any sort of midi controller, you can do a hardware override and control something like the Waves API 2500 compressor with your midi controllers knobs and sliders if you have them. At this point, its almost like you have an infinite rack of outboard hardware that you can physically interact with. The &quot;analog gear fetish&quot; as &lt;em&gt;Tomas&lt;/em&gt; quoted above can be fulfilled, and you don't necessarily need to go out of the box! It's the best of both worlds. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26155" PostHistoryTypeId="2" PostId="15844" RevisionGUID="6f3414c3-256f-49ee-93ca-4e2a4416ac91" CreationDate="2012-10-30T03:11:01.877" UserId="18" Text="Michael Raphael (Rabbit Ears Audio) has been recording some stuff.  He's even posted sounds already:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/sepulchra/wind-hurricane-sandy-short&#xD;&#xA;&#xD;&#xA;He also posted some pics of his DPA 4060's attached to his windows." ContentLicense="CC BY-SA 3.0" />
  <row Id="26156" PostHistoryTypeId="2" PostId="15845" RevisionGUID="a9f27ca7-1e58-4e61-8a27-df89b098b1ce" CreationDate="2012-10-30T03:36:34.680" UserId="4089" Text="I got some good wind sounds from my area in North Carolina.  But I am rather far inland so I cant get any of the cool rain and waves you asked about." ContentLicense="CC BY-SA 3.0" />
  <row Id="26157" PostHistoryTypeId="2" PostId="15846" RevisionGUID="4eaf61c3-1d75-45ed-ba7d-ad83ce581217" CreationDate="2012-10-30T05:13:55.140" UserId="432" Text="I'm stuck in San Francisco, but my wife commanded me to walk her through setting up my rig over Skype. Can't wait to hear what she records for me!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26158" PostHistoryTypeId="2" PostId="15847" RevisionGUID="78b904ed-1595-40ff-947a-87e739cf9db9" CreationDate="2012-10-30T09:01:41.743" UserId="348" Text="I am using the 722 and the issue of dumping via firewire either from the INHDD or the CF card has been a consistent problem. I contacted sound Device and they did say that there is an issue with the firewire reading on the OS X system. The only solution I have is to keep trying until it does read. That is what I do and eventually the 2 read each other but as I said, sometimes it picks up right away and sometimes it take 5-10 tries. &#xD;&#xA;&#xD;&#xA;Also, I would like to mirror what ColtonRybus said about having all the units switched off before connecting the cable. It does say this as a warning in the manual and indeed, if you do not do this, you run the risk of frying the mother board or USB processor inside the SD. &#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="26159" PostHistoryTypeId="2" PostId="15848" RevisionGUID="1aec1e15-805c-45eb-bd2e-57bf07eb91dc" CreationDate="2012-10-30T10:25:04.883" UserId="6411" Text="How do you handle discernible English walla in crowd BGs (library or otherwise) in an M&amp;E for dramatic television? I've heard some take the momentarily understandable bits and just reverse it, others pull the entire effect leaving holes that don't match the full mix. Is there a preferred, &quot;standard&quot; way of tackling this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26160" PostHistoryTypeId="1" PostId="15848" RevisionGUID="1aec1e15-805c-45eb-bd2e-57bf07eb91dc" CreationDate="2012-10-30T10:25:04.883" UserId="6411" Text="English spoken in M&amp;E BGs" ContentLicense="CC BY-SA 3.0" />
  <row Id="26161" PostHistoryTypeId="3" PostId="15848" RevisionGUID="1aec1e15-805c-45eb-bd2e-57bf07eb91dc" CreationDate="2012-10-30T10:25:04.883" UserId="6411" Text="&lt;walla&gt;&lt;background&gt;&lt;qc&gt;&lt;me&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26162" PostHistoryTypeId="2" PostId="15849" RevisionGUID="351e0e99-2d0d-4566-9bcd-b4d1201dba62" CreationDate="2012-11-01T00:16:52.383" UserId="3093" Text="Well, I know my answer may just end up half helping, but I would be glad if it did (half-helped). If Im not wrong, apps like shazam and soundhound for smartphones use a technology that identifies similar soundwaves from what they are listening to and search it in their database.... THAT I don't know how they do it, but if you find the way, you could play the sound and let the mysterious process find the similar files, and delete them." ContentLicense="CC BY-SA 3.0" />
  <row Id="26163" PostHistoryTypeId="2" PostId="15850" RevisionGUID="68cebb7e-0a46-4d4e-a38a-5268d58a5456" CreationDate="2012-11-01T06:47:57.317" UserId="6392" Text="I wish there was a 'standard' way of dealing with this.  It really is a case by case basis.  Sometimes reversing the section works as long as it is short and doesn't sound too weird.  Other times you can usually find a section of the track that you can copy and paste over the discernible dialogue.  What we usually try to do is have our BG editor try to cut in 'non-discernible' backgrounds (crowds, sidewalk, office..etc) that carries the sense of people and then we'll also get a more understandable track as the main BG.  That way if we have to completely remove something we still have stuff to fall back on." ContentLicense="CC BY-SA 3.0" />
  <row Id="26164" PostHistoryTypeId="2" PostId="15851" RevisionGUID="c1fa5c27-12fe-407c-acfe-755f978705b2" CreationDate="2012-11-01T06:48:54.317" UserId="61" Text="Reversing is an easy, tried-and-true method that is usually acceptable. Or you can copy some non-discernable english from another part of the clip and use it as fill. Both approaches are standard.&#xD;&#xA;&#xD;&#xA;I wouldn't advise leaving holes in your track; they could sound like dropouts and flag a QC kickback.&#xD;&#xA;&#xD;&#xA;One thing to remember is that the composite BG track is its own entity and has to be evaluated as such; no one outside of the dub stage will be soloing the 'crowd' pre dub and critiquing it. Even if you have some english dialog in the BGs some of the other elements may mask it, ie. traffic, birds, movement, etc. Play everything together; if you still hear the english, then fill it in.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="26165" PostHistoryTypeId="5" PostId="15851" RevisionGUID="a3f7ee28-ccdc-47e5-8eac-be4f79857e81" CreationDate="2012-11-01T08:05:32.067" UserId="61" Comment="deleted 5 characters in body" Text="Reversing is an easy, tried-and-true method that usually yields acceptable results. Or you could copy some non-discernable english from another part of the clip and use it as fill. Both approaches are standard.&#xD;&#xA;&#xD;&#xA;I wouldn't advise leaving holes in your track; they might sound like dropouts and flag a QC kickback.&#xD;&#xA;&#xD;&#xA;Keep in mind that the composite BG track is its own entity and has to be evaluated as such; no one outside of the dub stage will be soloing the 'crowd' pre dub and critiquing it. Even if you have some english dialog in the BGs some other elements may mask it, ie. traffic, birds, movement, etc. Play everything together; if you still hear the english, then fill it in.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="26166" PostHistoryTypeId="2" PostId="15852" RevisionGUID="26809f3b-db35-41c6-9a61-4e3cfc105088" CreationDate="2012-11-01T14:42:00.207" UserId="2906" Text="Hello everyone!&#xD;&#xA;&#xD;&#xA;On the context of an application I am working on for my Master's program on Sound Design, in which my role with a classmate was to compose / sound design small samples that convey emotions (such as fear, sadness, happiness, tenderness, ...) we started to question if through sound, UNRELATED to any context is it possible to convey surprise!&#xD;&#xA;&#xD;&#xA;As a matter of comparison, if I present you to you all a very sad piece, in general we would all agree that the piece is sad, without needing to insert it in a context of any kind. &#xD;&#xA;Honestly I cannot think of the same happening with surprise. &#xD;&#xA;I think it's possible to be surprised if the sound is... well uncommon, surprising, after all. But is this the same as conveying emotion with melodies, timbres, etc.? Also, it might be surprising the first, maybe second time we hear it, but after it... well that's the thing with surprise, after all.&#xD;&#xA;&#xD;&#xA;Maybe my line of thought is all wrong, but anyway, I am very curious to hear what this fantastic community has to say about it, and if you remember of any example.&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26167" PostHistoryTypeId="1" PostId="15852" RevisionGUID="26809f3b-db35-41c6-9a61-4e3cfc105088" CreationDate="2012-11-01T14:42:00.207" UserId="2906" Text="Sound conveying emotions: what about surprise?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26168" PostHistoryTypeId="3" PostId="15852" RevisionGUID="26809f3b-db35-41c6-9a61-4e3cfc105088" CreationDate="2012-11-01T14:42:00.207" UserId="2906" Text="&lt;emotions&gt;&lt;emotional-interpretation&gt;&lt;sound-design&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26172" PostHistoryTypeId="2" PostId="15854" RevisionGUID="ba2be5bf-99cb-489b-bb64-e03ce878747f" CreationDate="2012-11-01T15:15:47.440" UserId="29" Text="I don't consider surprise a &quot;steady-state&quot; emotion like joy or sadness or fear. Surprise, while a legitimate emotion, seems like a reaction to a major change in state, context, other emotions, or expectations.&#xD;&#xA;&#xD;&#xA;Sound and music are all about surprise, but it's usually momentary. In terms of film sound, surprise seems to be usually handled usually by atonality and dissonance, and that can be pretty fatiguing to listen to. It also tends to call attention to itself, which of course great sound isn't necessarily supposed to do. I'd think that listening to music that was surprising in a sustained, ongoing way would be a suspension-of-belief eject button for any viewer. &#xD;&#xA;&#xD;&#xA;There's a fine line between being surprised and being annoyed. :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="26173" PostHistoryTypeId="2" PostId="15855" RevisionGUID="1509ffda-1576-4eb3-84d7-9ca1612f6814" CreationDate="2012-11-01T17:47:28.020" UserId="4237" Text="Personally, I wouldn't like to read that kind of forum. Don't get me wrong but I prefer to follow Pros that are skilled in specific area than listen to people who &quot;have some knowledge about this and maybe heard about that&quot;. If I have some questions about sound design google always sends me here on SSD, so it's just perfect :)&#xD;&#xA;&#xD;&#xA;Oh, I hope it doesn't sound rude. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26174" PostHistoryTypeId="2" PostId="15856" RevisionGUID="d0b4f6e1-5dd0-421a-93b7-e1e9b545ad31" CreationDate="2012-11-01T18:00:36.183" UserId="6460" Text="Hello Melissa,&#xD;&#xA;&#xD;&#xA;I had a lot of similar discussions last year in one of my my Master's program classes. We would talk about the concept of synesthesia and how it differed from individual to individual, so it was very difficult to design for all listeners. I agree with @NoiseJockey that &quot;surprise&quot; without *external* context (in the sense of &quot;startling&quot;) is a fairly immediate sensation rather than a lasting emotion. It might help to reword your definition — maybe &quot;surprising&quot; someone simply means defying their expectations:&#xD;&#xA;&#xD;&#xA; - a standard line of classical music with a cadence that never finishes&#xD;&#xA; - music with a meter that constantly shifts and never repeats&#xD;&#xA; - a build-up to a sneeze without a sneeze&#xD;&#xA; - A passage read by a single voice where a key word of each sentence is reversed&#xD;&#xA;&#xD;&#xA;I do think context plays heavily into the idea of surprise — after all, you can't be surprised by something if you don't have an alternative expectation of it — but I also think it's very possible to create your own context within the world of your design.&#xD;&#xA;&#xD;&#xA;Really interesting challenge. Gotta love grad school for those :).&#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26175" PostHistoryTypeId="2" PostId="15857" RevisionGUID="f8d424a6-168c-4f61-94c8-20d2a570dc9a" CreationDate="2012-11-01T21:36:16.613" UserId="132" Text="I put up a bunch of recordings yesterday if you want to check some of them out. It was quite a  night. [http://sepulchra.com/blog/?p=1959][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sepulchra.com/blog/?p=1959" ContentLicense="CC BY-SA 3.0" />
  <row Id="26177" PostHistoryTypeId="5" PostId="15846" RevisionGUID="32935790-baed-4132-93f3-540588eb27e2" CreationDate="2012-11-02T14:45:49.387" UserId="432" Comment="added 36 characters in body" Text="I'm stuck in San Francisco, but my wife commanded me to walk her through setting up my rig over Skype. Can't wait to hear what she records for me!&#xD;&#xA;&#xD;&#xA;**UPDATE:** She chickened out :p" ContentLicense="CC BY-SA 3.0" />
  <row Id="26178" PostHistoryTypeId="2" PostId="15859" RevisionGUID="36607e2b-4b25-42a5-82fc-b46f51739c34" CreationDate="2012-11-02T17:25:37.320" UserId="4421" Text="someone on my team split a giant wav file into smaller regions, but it accidentally got normalized on a file by file level. Is there a way to compare the small files/regions (which are numerically ordered) to the large wav file and have it simply slice it up in all the same places, presuming there's no added time or lost time (that the regions were only cut/split, no added or lost time) and give me new files of the same time length? &#xD;&#xA;&#xD;&#xA;It's sort of like I have the original puzzle image, but need to re-cut it up into pieces. They have the pieces, but the puzzle image is blurry. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26179" PostHistoryTypeId="1" PostId="15859" RevisionGUID="36607e2b-4b25-42a5-82fc-b46f51739c34" CreationDate="2012-11-02T17:25:37.320" UserId="4421" Text="Split a wav file into regions based on other regions/files" ContentLicense="CC BY-SA 3.0" />
  <row Id="26180" PostHistoryTypeId="3" PostId="15859" RevisionGUID="36607e2b-4b25-42a5-82fc-b46f51739c34" CreationDate="2012-11-02T17:25:37.320" UserId="4421" Text="&lt;regions&gt;&lt;batch-processing&gt;&lt;dialogue&gt;&lt;software&gt;&lt;cutting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26181" PostHistoryTypeId="2" PostId="15860" RevisionGUID="217ea910-f892-4e55-9ffe-59e8cf79baca" CreationDate="2012-11-02T17:56:04.860" UserId="194" Text="as long as the files are lined up exactly into the same time position as the rendered file, you could easily use a quickkeys script to do this.  &#xD;&#xA;&#xD;&#xA;just group the tracks, tab, b, repeat.  &#xD;&#xA;&#xD;&#xA;IMO quickkeys is an invaluable addition to any daw for the macro looping capabilities." ContentLicense="CC BY-SA 3.0" />
  <row Id="26182" PostHistoryTypeId="5" PostId="15859" RevisionGUID="a9c6f52f-4014-4e82-8a41-f5ca4fc8bbe3" CreationDate="2012-11-02T22:14:37.503" UserId="4421" Comment="added 44 characters in body" Text="someone on my team split a giant wav file into smaller regions, but it accidentally got normalized on a file by file level. Is there a way to compare the small files/regions (which are numerically ordered) to the large wav file and have it simply slice it up in all the same places, presuming there's no added time or lost time (that the regions were only cut/split, no added or lost time) and give me new files of the same time length? &#xD;&#xA;&#xD;&#xA;It's sort of like I have the original puzzle image, but need to re-cut it up into pieces. They have the pieces, but the puzzle image is blurry.&#xD;&#xA;&#xD;&#xA;Note: I am using Logic 9. I also have DP7" ContentLicense="CC BY-SA 3.0" />
  <row Id="26183" PostHistoryTypeId="2" PostId="15861" RevisionGUID="588c67a6-5bc8-4eb0-bf3d-8b921511f17b" CreationDate="2012-11-03T00:47:43.663" UserId="3250" Text="I have an NTG2 and an H4N. I have never had problems with it being overly quiet. I have noticed a new battery in the NTG2 tends to give it some life. What are you recording specifically? If you're trying to do quiet foley then yeah the whole rig is going to have it's limitations due the preamps and microphone. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26184" PostHistoryTypeId="2" PostId="15862" RevisionGUID="5297f3e6-1605-42bb-9d99-a7f375166836" CreationDate="2012-11-03T09:37:08.213" UserId="4423" Text="Hey guys I am working on a film and the music that has been scored is good but very loud and gets chaotic at some stages.&#xD;&#xA;&#xD;&#xA;The genre of the score is rock so percussion's, cymbal crashes and electric guitars are very prominent in this music score.&#xD;&#xA;&#xD;&#xA;I am using Pro Tools 9 and I am having trouble mixing the dialogue and music together as it is hard to hear the dialogue at times and at other times the dialogue can be heard but the music is too soft.&#xD;&#xA;&#xD;&#xA;Does anyone have any tips on how I could achieve a good mix???" ContentLicense="CC BY-SA 3.0" />
  <row Id="26185" PostHistoryTypeId="1" PostId="15862" RevisionGUID="5297f3e6-1605-42bb-9d99-a7f375166836" CreationDate="2012-11-03T09:37:08.213" UserId="4423" Text="How to mix music and dialogue..." ContentLicense="CC BY-SA 3.0" />
  <row Id="26186" PostHistoryTypeId="3" PostId="15862" RevisionGUID="5297f3e6-1605-42bb-9d99-a7f375166836" CreationDate="2012-11-03T09:37:08.213" UserId="4423" Text="&lt;dialogue&gt;&lt;music&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26187" PostHistoryTypeId="2" PostId="15863" RevisionGUID="d79374ff-d4e5-4cf3-8bd7-670623c41e98" CreationDate="2012-11-03T12:45:27.513" UserId="4316" Text="Volume Automation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26188" PostHistoryTypeId="2" PostId="15864" RevisionGUID="be8cd1f0-fab1-4fa5-89fd-a3b741a3f670" CreationDate="2012-11-03T13:36:46.990" UserId="6454" Text="Other than turning down the music, if you have access to the music stems, you can &quot;remix&quot; the music to accomodate the dialogue.  Certain instruments often compete with dialogue (cymbals, guitars, or strings are common culprits).  If you are working with premixed music or licensed tracks from an album it is obvious that the music was not mixed with the intention of getting in a film so if you can get the stems it is very helpful.  Otherwise, using EQ to &quot;carve out&quot; space in the music for the dialogue to sit or using &quot;light&quot; compression to soften the cymbal hits are additional techniques.  &#xD;&#xA;&#xD;&#xA;The most common and useful is volume automation as stated above." ContentLicense="CC BY-SA 3.0" />
  <row Id="26189" PostHistoryTypeId="2" PostId="15865" RevisionGUID="2e8dc3be-1eee-447b-a021-f20cb85ae0ed" CreationDate="2012-11-03T17:47:13.633" UserId="261" Text="This is how I learnt to connect a MixPre with an H4n.&#xD;&#xA;(It works, and gives really nice quality audio)&#xD;&#xA;&#xD;&#xA;[ZOOM H4N WITH SOUND DEVICES MIXPRE: HOW TO PROPERLY CONNECT THE TWO FOR PRISTINE AUDIO][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.danmccomb.com/posts/880/zoom-h4n-with-sound-devices-mixpre-how-to-properly-connect-the-two-for-pristine-audio/" ContentLicense="CC BY-SA 3.0" />
  <row Id="26190" PostHistoryTypeId="2" PostId="15866" RevisionGUID="125301fd-df51-4c27-95c0-895dc5c9f47f" CreationDate="2012-11-04T14:07:27.167" UserId="4427" Text="What is the industry standard requirements for post production??&#xD;&#xA;&#xD;&#xA;- International frame-rate standards; Europe, Asia, North America, South &#xD;&#xA;America &amp; Japan&#xD;&#xA;&#xD;&#xA;- Audio sample-rate and bit-depth in relation to distribution / transmission &#xD;&#xA;formats &#xD;&#xA;&#xD;&#xA;- Accepted decibel levels for final delivery &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;any help??&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="26191" PostHistoryTypeId="1" PostId="15866" RevisionGUID="125301fd-df51-4c27-95c0-895dc5c9f47f" CreationDate="2012-11-04T14:07:27.167" UserId="4427" Text="What is the industry standard requirements for post production??" ContentLicense="CC BY-SA 3.0" />
  <row Id="26192" PostHistoryTypeId="3" PostId="15866" RevisionGUID="125301fd-df51-4c27-95c0-895dc5c9f47f" CreationDate="2012-11-04T14:07:27.167" UserId="4427" Text="&lt;post-production&gt;&lt;music&gt;&lt;industry&gt;&lt;standard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26193" PostHistoryTypeId="2" PostId="15867" RevisionGUID="9bb43326-a638-4dc4-aed1-d89eb1eae310" CreationDate="2012-11-04T15:12:04.637" UserId="3078" Text="Hi&#xD;&#xA;&#xD;&#xA;I have regularly been asked to record talks and speeches at a private members' club.&#xD;&#xA;&#xD;&#xA;In the past the most successful recordings were made with my Sony ECM907 on 120 deg setting into my Edirol R-09HR.  The two unamplified speakers were sitting in tall-backed armchairs on either side of a  small table where the mic was placed (a distance of about 1m from the heads).&#xD;&#xA;This worked well with the interview taking place with a hushed audience listening to every word.&#xD;&#xA;&#xD;&#xA;Unfortunately latterly the room has been rearranged for a Bose radio mic system and the room is much more reflective, acoustically. In fact the speakers often stand up using the radio mic which has been set so badly that its preamp is overdriving, yet the level is barely louder than the acoustic voice. Couple that with audience noises of coughing, glasses, chairs, etc and you have a far less satisfactory recording.  &#xD;&#xA;&#xD;&#xA;I have also recorded an awards ceremony in another room where there were a couple of hundred people in the room and the MC/recipients were using a similar mic but through a PA. It was OK but in these latter cases I was thinking that I could maybe get a feed from the mixer - also set up hurriedly without an expert in the room ;-)&#xD;&#xA;&#xD;&#xA;Of course BBC quality isn't expected from the management but I would prefer something better myself!&#xD;&#xA;&#xD;&#xA;I know shotguns aren't recommended indoors but I was thinking of something more directional. I was thinking of experimenting with my gear a bit.&#xD;&#xA;&#xD;&#xA;My front end gear is the Sony, an AT877 shotgun, a v cheap wired lav, or a Sennheiser Evolution E855 dynamic. I have an old but still (mostly) working FP32A mixer (and a few other bits), into my Edirol.&#xD;&#xA;&#xD;&#xA;The recordings are done on a sort of amateur basis and are pretty ad hoc since I never really know exactly what will be involved until I get there, and I probably don't have too much time to experiment and set up in advance...&#xD;&#xA;&#xD;&#xA;Any sensible ideas that might make the end result better? The use is podcasts and the club's website eventually.&#xD;&#xA;&#xD;&#xA;Many thanks in advance - I know you are all busy people.&#xD;&#xA;&#xD;&#xA;Regards,&#xD;&#xA;&#xD;&#xA;P" ContentLicense="CC BY-SA 3.0" />
  <row Id="26194" PostHistoryTypeId="1" PostId="15867" RevisionGUID="9bb43326-a638-4dc4-aed1-d89eb1eae310" CreationDate="2012-11-04T15:12:04.637" UserId="3078" Text="Suggestions for recording club speeches/talks" ContentLicense="CC BY-SA 3.0" />
  <row Id="26195" PostHistoryTypeId="3" PostId="15867" RevisionGUID="9bb43326-a638-4dc4-aed1-d89eb1eae310" CreationDate="2012-11-04T15:12:04.637" UserId="3078" Text="&lt;speech&gt;&lt;interview&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26196" PostHistoryTypeId="2" PostId="15868" RevisionGUID="dfa74777-b11e-44c1-a1b5-d9446fa3c7e2" CreationDate="2012-11-04T16:22:33.183" UserId="4428" Text="Hi, &#xD;&#xA;I swear I used to have a plug in which did this, but as many of you, the sea of tools at my hands has quickly caused my memory to drown. &#xD;&#xA;&#xD;&#xA;I'm basically looking to take around 30 tonal sounds, and apply the waveform characteristics of another 30 tonal sounds to it. Such as to alter the envelope / decay etc.  Something like vocalign I guess, but I'm sure there was something else. &#xD;&#xA;&#xD;&#xA;As usual any help is greatly appreciated. : )" ContentLicense="CC BY-SA 3.0" />
  <row Id="26197" PostHistoryTypeId="1" PostId="15868" RevisionGUID="dfa74777-b11e-44c1-a1b5-d9446fa3c7e2" CreationDate="2012-11-04T16:22:33.183" UserId="4428" Text="Give one sound the characteristics of another" ContentLicense="CC BY-SA 3.0" />
  <row Id="26198" PostHistoryTypeId="3" PostId="15868" RevisionGUID="dfa74777-b11e-44c1-a1b5-d9446fa3c7e2" CreationDate="2012-11-04T16:22:33.183" UserId="4428" Text="&lt;plug-ins&gt;&lt;pro-tools&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26199" PostHistoryTypeId="2" PostId="15869" RevisionGUID="b59929c8-cd67-4851-abb0-56e4c8e4cf73" CreationDate="2012-11-04T16:44:45.110" UserId="432" Text="one option is to use a vocoder (like Waves Morphoder) to use one sound as the carrier, and another as the modulator." ContentLicense="CC BY-SA 3.0" />
  <row Id="26200" PostHistoryTypeId="2" PostId="15870" RevisionGUID="92f99e8c-8303-4ab1-8e45-1ef094d40d23" CreationDate="2012-11-04T17:28:51.870" UserId="6432" Text="It's a bit difficult to diagnose these things without seeing the space and knowing the setup of the audio system. Maybe post a diagram and go into more detail about the setup (speaker models etc)&#xD;&#xA;&#xD;&#xA;When you say the preamp is overdriving, do you mean you have problems with feedback or is it actual distortion of the sound? Also, is the radio mic you describe an omni directional lav mic? &#xD;&#xA;&#xD;&#xA;I've done a bit of live sound here and there and generally I find that if the participants aren't moving around then gooseneck mics on a table works well. These Shure ones are pretty good:&#xD;&#xA;&#xD;&#xA;http://www.shure.co.uk/products/microflex/mx412_mx418&#xD;&#xA;&#xD;&#xA;The cardioid has quite good rear rejection so this could help with your feedback problem (if that's what it is). &#xD;&#xA;&#xD;&#xA;For a Lectern setup maybe try to pick up some second hand AKG c747's. They're really small and two on a lectern (one either side) will sound great.&#xD;&#xA;&#xD;&#xA;It sounds like the PA has not been set up so well though. Is it more of a music system rather than a purpose installed PA? It's really important for a PA to not be flooding the stage with sound. &#xD;&#xA;&#xD;&#xA;Mark" ContentLicense="CC BY-SA 3.0" />
  <row Id="26201" PostHistoryTypeId="2" PostId="15871" RevisionGUID="9c01ae8f-dfe1-4695-b072-390f18883593" CreationDate="2012-11-04T18:07:12.313" UserDisplayName="user49" Text="To be clear, do you mean the &quot;envelope / decay&quot; ie the volume OR do you mean the tonal/spectrum?&#xD;&#xA;&#xD;&#xA;The first requires an envelope follower, which cam be done manually (i.e. trace the waveform of the source sound by creating via manually drawing a volume graph that tracks/traces its level/waveform &amp; then cut/remove it from that track and paste it in the same sync position on the destination track) and maybe automatically with some tweaking &amp; setup (the bluecat analysis/metering plugins can output MIDI of any chosen parameter, so eg output MIDI of volume, send it to control the fader of the destination track) - I did this the manual way on the film Bridge to Terabithia for some creature vocals, using the pitched vocal track from a giant tree and pasting the volume/envelope grpah on to a track of roughly synced branch/leaf shakes....&#xD;&#xA;&#xD;&#xA;http://www.bluecataudio.com/Products/Category_Analysis/&#xD;&#xA;&#xD;&#xA;The second requires cross synthesis - convolution does this to a degree, AudioSculpt does this with more control, have a read of the AudioSculpt cross synthesis manual/handbook:&#xD;&#xA;&#xD;&#xA;http://homepages.gold.ac.uk/ems/pdf/AS-Cross%20Synthesis%20Handbook.pdf&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26202" PostHistoryTypeId="2" PostId="15872" RevisionGUID="25b6f5dd-18e1-4fa5-b672-f4124e58afd4" CreationDate="2012-11-04T21:37:14.557" UserId="3994" Text="http://wallstreetpr.com/avid-investors-begin-their-selloff-of-multimedia-giant-avid-3730&#xD;&#xA;&#xD;&#xA;http://www.tapeop.com/blog/2012/11/03/how-long-will-avid-and-pro-tools-be-around/&#xD;&#xA;&#xD;&#xA;What do you guys think? Should I start learning a new DAW for the future?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26203" PostHistoryTypeId="1" PostId="15872" RevisionGUID="25b6f5dd-18e1-4fa5-b672-f4124e58afd4" CreationDate="2012-11-04T21:37:14.557" UserId="3994" Text="Is avid going to be around much longer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26204" PostHistoryTypeId="3" PostId="15872" RevisionGUID="25b6f5dd-18e1-4fa5-b672-f4124e58afd4" CreationDate="2012-11-04T21:37:14.557" UserId="3994" Text="&lt;avid&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26205" PostHistoryTypeId="2" PostId="15873" RevisionGUID="fb7d3cb8-e002-4c73-9df7-9e0eb42b35ad" CreationDate="2012-11-04T22:02:27.737" UserId="3179" Text="They're all pretty much the same.&#xD;&#xA;&#xD;&#xA;However, I really don't believe Avid or Pro Tools is going anywhere for a long time. Standard tools and practices take a long time to die, even though there would be migration to other tools. As we know, PT is widely used in the film and music industries and there are studios that have put big bucks on Avid's systems. So it's unlikely that people and studios would feel a need to switch for a long time, even if Avid would seize operations." ContentLicense="CC BY-SA 3.0" />
  <row Id="26206" PostHistoryTypeId="5" PostId="15873" RevisionGUID="b9b05323-d446-49c2-a371-574eb95ada35" CreationDate="2012-11-04T22:07:49.070" UserId="3179" Comment="added 341 characters in body; added 3 characters in body; deleted 1 characters in body; added 5 characters in body" Text="They're all pretty much the same.&#xD;&#xA;&#xD;&#xA;However, I really don't believe Avid or Pro Tools is going anywhere for a long time. Standard tools and practices take a long time to die, even though there would be migration to other tools. As we know, PT is widely used in the film and music industries and there are studios that have put big bucks on Avid's systems. So it's unlikely that people and studios would feel a need to switch for a long time, even if Avid would seize operations.&#xD;&#xA;&#xD;&#xA;Investors are obviously taking their money away when it seems that a company may not be able to continue to grow and make new products that generate profit. I think the audio and video software industries are tough, because I don't think there are that many groundbreaking innovations to be done that could radically change the way people work." ContentLicense="CC BY-SA 3.0" />
  <row Id="26207" PostHistoryTypeId="2" PostId="15874" RevisionGUID="5955ee32-7e53-4a4d-ab53-47a4dd11cdb6" CreationDate="2012-11-05T00:36:44.693" UserId="6454" Text="That is a HUGE question with many answers but a few places to start would be:&#xD;&#xA;&#xD;&#xA;A &quot;sticky&quot; from Gearslutz which will help you to get started:&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/post-production-forum/229741-standard-mixing-levels-movie-theater-dvd-broadcast-tv-commercials-etc.html&#xD;&#xA;&#xD;&#xA;For US broadcast standards you should read the ATSC's A85 document:&#xD;&#xA;&#xD;&#xA;http://www.atsc.org/cms/index.php/standards/recommended-practices/185-a85-techniques-for-establishing-and-maintaining-audio-loudness-for-digital-television&#xD;&#xA;&#xD;&#xA;For Europe there is a similar document put out by the EBU.&#xD;&#xA;&#xD;&#xA;Here is an image of the NTSC, PAL, and SECAM breakdown in the world:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/w/index.php?title=File:PAL-NTSC-SECAM.svg&amp;page=1&#xD;&#xA;&#xD;&#xA;Sample-rate and bit depth in relation to distribution is an equally huge question in and of itself and will require research of your own.&#xD;&#xA;&#xD;&#xA;A few standards but there are MANY choices and reasons for choosing:&#xD;&#xA;&#xD;&#xA;- 24bit/48kHz&#xD;&#xA;- 192kpbs/48kHz&#xD;&#xA;- 128kpbs/48kHz&#xD;&#xA;- 192kpbs/44.1kHz&#xD;&#xA;- 128kpbs/44.1kHz&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I just want to reiterate that this is a huge question and the links I sent are starting points, if there are specific areas or delivery formats you are creating we might be able to be more specific.&#xD;&#xA;&#xD;&#xA;There are so many delivery options from HD video to mobile audio and everything in between...Dolby AC3 encoded for Blu-Ray, Dolby E or Dolby Digital encoded HDCam tapes being sent to film festivals, DCP in theatres, Hulu streaming on your iPhone, HD Quicktime catapults to broadcast with WAV or even MP3 audio (not recommended but I have seen it).  Delivery is something like the wild west. &#xD;&#xA;&#xD;&#xA;Good luck and let us know if there are more specific questions.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26208" PostHistoryTypeId="2" PostId="15875" RevisionGUID="b202cad6-17b0-4624-bdfd-341f74d0fe31" CreationDate="2012-11-05T02:00:12.273" UserDisplayName="user49" Text="This isn't an answer but if you ever felt you could trust a corporation, then I suggest you watch the documentary: The Corporation&#xD;&#xA;&#xD;&#xA;http://www.imdb.com/title/tt0379225/&#xD;&#xA;http://www.thecorporation.com/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26209" PostHistoryTypeId="2" PostId="15876" RevisionGUID="601ad4a8-8104-4636-a7a2-a176b4fcc72a" CreationDate="2012-11-05T02:53:03.117" UserId="3835" Text="Max/MSP's Convolution is alright and also SoundHack has some awesome Mutation and convolution processes." ContentLicense="CC BY-SA 3.0" />
  <row Id="26210" PostHistoryTypeId="2" PostId="15877" RevisionGUID="6d852b59-2fd5-4736-af47-299d2449c796" CreationDate="2012-11-05T04:08:44.120" UserId="18" Text="Pro Tools is too strong of a brand name to disappear.  Avid could die, but another company will buy Pro Tools.  It could be better, worse, or the same as before.  Yamaha bought Steinberg several years ago and I honestly don't think much has changed.  Oh, and Disney bought Star Wars...." ContentLicense="CC BY-SA 3.0" />
  <row Id="26211" PostHistoryTypeId="2" PostId="15878" RevisionGUID="2228f1de-452a-4948-aaed-36c71ee05545" CreationDate="2012-11-05T10:29:54.527" UserId="3183" Text="Pro Tools will live with or without Avid. Learning a DAW is much more easy is if:&#xD;&#xA;&#xD;&#xA;1. you know one very well (Pro Tools)&#xD;&#xA;2. more importantly, know what you want to do&#xD;&#xA;&#xD;&#xA;I think there's no need to speculate on this yet. Probably Avid won't be on the stock exchange soon, and that may well be the very best decision in a long time. I'm far from an expert, but their first and biggest problem seem to be that they expanded too fast, tried to target every user in the whole world." ContentLicense="CC BY-SA 3.0" />
  <row Id="26212" PostHistoryTypeId="2" PostId="15879" RevisionGUID="549c91de-6dad-4390-bbb1-7bb1de4894dc" CreationDate="2012-11-05T11:46:10.393" UserId="3289" Text="I'm using these for a while now, and very satisfied about it: http://www.boomlibrary.com/boomlibrary/index.php?option=com_content&amp;view=article&amp;id=77&#xD;&#xA;http://www.boomlibrary.com/boomlibrary/index.php?option=com_content&amp;view=article&amp;id=78" ContentLicense="CC BY-SA 3.0" />
  <row Id="26213" PostHistoryTypeId="2" PostId="15880" RevisionGUID="edcde80a-faa4-4938-bf00-d22688dadc9f" CreationDate="2012-11-05T17:27:36.737" UserId="238" Text="After reading Jack Menhorn's [review of Sound Forge Pro Mac on Designing Sound][1], I thought it'd be interesting to see who's using what in terms of audio editors. &#xD;&#xA;&#xD;&#xA;- What editor do you use?&#xD;&#xA;- What are it's strong points?&#xD;&#xA;- What, if any, are the weaknesses?&#xD;&#xA;&#xD;&#xA;Prob best to state what platform you are on as to avoid any confusion.&#xD;&#xA;&#xD;&#xA;I personally have used Bias Peak for years and have found it to be very stable and it works well with plugins. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2012/11/sound-forge-pro-mac-review/" ContentLicense="CC BY-SA 3.0" />
  <row Id="26214" PostHistoryTypeId="1" PostId="15880" RevisionGUID="edcde80a-faa4-4938-bf00-d22688dadc9f" CreationDate="2012-11-05T17:27:36.737" UserId="238" Text="What audio editor are you using?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26215" PostHistoryTypeId="3" PostId="15880" RevisionGUID="edcde80a-faa4-4938-bf00-d22688dadc9f" CreationDate="2012-11-05T17:27:36.737" UserId="238" Text="&lt;audio-editor&gt;&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26216" PostHistoryTypeId="2" PostId="15881" RevisionGUID="6361c7a2-8b28-40b5-9489-decec4232ce7" CreationDate="2012-11-05T17:58:36.940" UserId="6432" Text="I use Audition on both PC and Mac.&#xD;&#xA;&#xD;&#xA;I find it fairly intuitive, although CoolEdit was the first editor I used so perhaps I'm a little biased here. I really like the spectral editing tools, and find the native noise reduction tools to be very capable. It's also good to have the multitrack option within the same package - I'd always use ProTools for anything complex but throwing a few sounds together in Audition is very easy. Batch processing is ok too. Being able to create different arrangements with the various windows works well. Good meters.&#xD;&#xA;&#xD;&#xA;No real complaints, but if you could take the editing features in Audition bolt them onto  ProTools then that would be my dream program for dealing with audio.&#xD;&#xA;&#xD;&#xA;I've used SoundForge before and found it to be very capable working on individual samples, but unless you're running Vegas alongside it's not good for creating sounds as it has no multitrack capacity.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26218" PostHistoryTypeId="2" PostId="15883" RevisionGUID="37ff2e58-5a46-471d-a2ff-f81b36ca94dd" CreationDate="2012-11-05T21:08:35.337" UserId="4429" Text="What is the standard mounting technique while using the RM-11s? I use topstick and mount it on the clothes in the sweet spot of the chest. Is this correct or is there a better way? &#xD;&#xA;&#xD;&#xA;I'm also shooting with ALOT of chef coats, very heavy and lots of rustle. What the best micing technique??&#xD;&#xA;&#xD;&#xA;thanks!!!&#xD;&#xA;&#xD;&#xA;-SEsound" ContentLicense="CC BY-SA 3.0" />
  <row Id="26219" PostHistoryTypeId="1" PostId="15883" RevisionGUID="37ff2e58-5a46-471d-a2ff-f81b36ca94dd" CreationDate="2012-11-05T21:08:35.337" UserId="4429" Text="RM-11 mounting with COS-11" ContentLicense="CC BY-SA 3.0" />
  <row Id="26220" PostHistoryTypeId="3" PostId="15883" RevisionGUID="37ff2e58-5a46-471d-a2ff-f81b36ca94dd" CreationDate="2012-11-05T21:08:35.337" UserId="4429" Text="&lt;microphone-positioning&gt;&lt;microphone&gt;&lt;field-recording&gt;&lt;sanken&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26222" PostHistoryTypeId="2" PostId="15884" RevisionGUID="f5133b50-a044-442e-b478-9ac583cc88b3" CreationDate="2012-11-06T00:48:08.740" UserId="4430" Text="I use WaveEditor for Mac by Audiofile Engineering extensively for all kind of audio editing, be it from cutting recorded samples from my field recorder, mastering recordings for CD, converting between audio-formats or creating libraries for software-sampler. WaveEditor has been replaced by Triumph on Nov. 1. and I am curious myself if it brings the power of WaveEditor to a next level.&#xD;&#xA;&#xD;&#xA;The key features which make this audio editor such a incredibly important tool to me:&#xD;&#xA;&#xD;&#xA;- Multichannel Editing (native 8 channel AIFF)&#xD;&#xA;- Sample Editing (remove current clicks from recordings)&#xD;&#xA;- SmartEdits for cutting, moving and pasting &#xD;&#xA;- CD-Mastering&#xD;&#xA;- Support for large number of audio formats&#xD;&#xA;- Fix broken audio files&#xD;&#xA;- Support for AudioUnits and VST-Plugins&#xD;&#xA;- Processing (Resampling, Dithering, Pitch-shifting, Normalisation)&#xD;&#xA;- Peak-detection -&gt; Markers/Regions&#xD;&#xA;- Batch-export of regions&#xD;&#xA;&#xD;&#xA;I used all of these features on a almost daily basis, they are great!&#xD;&#xA;&#xD;&#xA;http://www.audiofile-engineering.com/triumph/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26223" PostHistoryTypeId="2" PostId="15885" RevisionGUID="8f18ac28-51b8-4dae-b428-9500a5e7b661" CreationDate="2012-11-06T02:23:36.460" UserId="990" Text="You're using the RM-11 in a common way.&#xD;&#xA;&#xD;&#xA;As for chef jackets.. try and get them out in the open." ContentLicense="CC BY-SA 3.0" />
  <row Id="26224" PostHistoryTypeId="2" PostId="15886" RevisionGUID="21f9e8fd-1934-4134-a70d-7d9417d65d45" CreationDate="2012-11-06T02:44:38.570" UserId="4431" Text="RM-11 is also great for wedging on the inside of a tie knot with the COS-11 pointing down just hidden by the shadow of the fabric. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The chef's jacket problem may be solved by making two triangle wedges of tape with sticky side out. Place one on the inner part of jacket just below a button, then COS-11, then second wedge and stick it all together so no movement is allowed betwee top layer/mic/bottom layer. Alternate is Joe's Sticky Stuff instead of triangle wedges.&#xD;&#xA;&#xD;&#xA;Or try COS-11 in Vclip under the collar.&#xD;&#xA;&#xD;&#xA;Or try a B6 in the hairline?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26227" PostHistoryTypeId="2" PostId="15889" RevisionGUID="201f19a0-40b9-44c4-b885-4e9ec2b4a297" CreationDate="2012-11-06T10:53:36.570" UserId="644" Text="I used to edit in soundforge, but the Sony incarnations became more and more buggy, so I moved on to using the DAW of choice.&#xD;&#xA;&#xD;&#xA;If I am Batch converting, I still fire up an old version of Soundforge on a PC (still sitting on XP) as it is stable and converts without fuss.&#xD;&#xA;&#xD;&#xA;As I migrated to MAC and away from cubase and soundforge (work didn't support them), i couldn't find a wave editor that was intuitive enough for me on MAC and spent my time migrating from using PC editing with transfer to mac with Pro Tools mixing. As work relied on Pro Tools for everything, I kind of got used to editing within PT and then migrate sessions. To be fair, it was a compromise and a bad habit that I am now getting myself out of.&#xD;&#xA;&#xD;&#xA;I was excited to see Sony release sound forge for MAC, as it has been my go to editor for a while now, but it seems that Sony have released a version that has taken a backwards step (ask Chuck Russom)&#xD;&#xA;&#xD;&#xA;Audacity is...ok, and I am not being a snob here, but I find it clunky and there is nothing that Audacity offers that I can't get elsewhere that works better with injecting just a little bit of cash" ContentLicense="CC BY-SA 3.0" />
  <row Id="26228" PostHistoryTypeId="2" PostId="15890" RevisionGUID="36b7ebac-9265-4f48-80df-e57241a4cf16" CreationDate="2012-11-06T11:03:59.820" UserId="1049" Text="I still use Cool Edit Pro 2! I've never got round to doing the jump to Audition. Like @Mark mentioned, I find the native noise reduction tools are pretty decent, and like some of the native effects. I tend to throw some recordings into CEP2 first to tidy them up before putting them into to Pro Tools or my library.&#xD;&#xA;&#xD;&#xA;I do also have Sound Forge on my PC which I use for odd tasks but I just seem to find myself using CEP2 more often than not. I guess it's either familiarity or, again like Mark mentioned, ease of use!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26229" PostHistoryTypeId="2" PostId="15891" RevisionGUID="d4da846a-7397-4a85-92fe-883e5dcf425e" CreationDate="2012-11-06T13:30:44.043" UserId="4089" Text="Probably apparent from my review that I use Sound Forge Pro 10 through Parallels desktop, which is quite stable if not slightly inconvenient when it comes to file paths.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I recently grabbed Triumph but haven't had a chance to dig into it yet. I hear good things." ContentLicense="CC BY-SA 3.0" />
  <row Id="26230" PostHistoryTypeId="2" PostId="15892" RevisionGUID="ca010f90-e25c-4d74-9972-93cff9cde238" CreationDate="2012-11-06T13:52:01.620" UserDisplayName="user80" Text="I use RX2 a lot as an audio editor, usually I am just trimming, adding fades and some gentle noise reduction.  For some reason I prefer the sound of the noise reduction in the standalone mode and I avoid using RX2 as a plug-in.  The software is very stable and is really simple to use once you have read the manual.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="26231" PostHistoryTypeId="2" PostId="15893" RevisionGUID="a3a756f3-93a1-4192-9bbe-5ddc28847b0f" CreationDate="2012-11-06T14:02:31.027" UserDisplayName="user80" Text="In my research into listening and sound design I am becoming increasingly aware of the effects of presbycusis (age related hearing loss), which has its own ISO standard (7029).  My question is do you take presbycusis into consideration when you are working for both yourself and the audience?  Do you alter the design if the expected audience is older, or do you design for a generic listener?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="26232" PostHistoryTypeId="1" PostId="15893" RevisionGUID="a3a756f3-93a1-4192-9bbe-5ddc28847b0f" CreationDate="2012-11-06T14:02:31.027" UserDisplayName="user80" Text="Presbycusis, do you take it in consideration when you are working?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26233" PostHistoryTypeId="3" PostId="15893" RevisionGUID="a3a756f3-93a1-4192-9bbe-5ddc28847b0f" CreationDate="2012-11-06T14:02:31.027" UserDisplayName="user80" Text="&lt;sound-design&gt;&lt;audience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26235" PostHistoryTypeId="2" PostId="15895" RevisionGUID="6dd0aaed-34ab-40a9-96ec-e06fb0bb35e7" CreationDate="2012-11-06T18:50:45.767" UserId="3520" Text="After doing some of the things already mentioned, you could try using some frequency dependent compression.  Put a compressor that allows you to compress only certain frequencies (somewhere in the range of 1K - 4K might be a decent starting point) on the music track and feed the dialogue into it's sidechain.  That way every time someone speaks it will lightly compress those frequencies in the music track." ContentLicense="CC BY-SA 3.0" />
  <row Id="26237" PostHistoryTypeId="2" PostId="15897" RevisionGUID="0d78a327-518c-4ee3-bbcc-9b5079af4e4e" CreationDate="2012-11-06T22:54:39.510" UserId="4433" Text="Prepare yourselves for a noob question, but I'm not 100% clear on the role of programs like Sound Miner when creating a sound fx library.  Do I import all of my sounds into this program, tag each sound and then export from there?  Is there anything I'm missing in that regard and is there a way to do this without this program?  Thanks very much." ContentLicense="CC BY-SA 3.0" />
  <row Id="26238" PostHistoryTypeId="1" PostId="15897" RevisionGUID="0d78a327-518c-4ee3-bbcc-9b5079af4e4e" CreationDate="2012-11-06T22:54:39.510" UserId="4433" Text="Role of Sound Miner in FX library creation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26239" PostHistoryTypeId="3" PostId="15897" RevisionGUID="0d78a327-518c-4ee3-bbcc-9b5079af4e4e" CreationDate="2012-11-06T22:54:39.510" UserId="4433" Text="&lt;soundminer&gt;&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26242" PostHistoryTypeId="2" PostId="15900" RevisionGUID="6875bc26-5a52-462f-9b71-6caf23a2d801" CreationDate="2012-11-07T02:12:11.060" UserId="18" Text="Everything you ever needed to know, right here:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/12/frank-bry-special-methods-of-a-metadata-madman-part-1/&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/12/frank-bry-special-methods-of-a-metadata-madman-part-2/" ContentLicense="CC BY-SA 3.0" />
  <row Id="26243" PostHistoryTypeId="2" PostId="15901" RevisionGUID="01ec5489-eacf-4b13-a5f6-b3f673a887cf" CreationDate="2012-11-07T04:09:09.663" UserId="4434" Text="I live in central Maine and while we were not hit with the bulk of the storm, I was able to get some super consistant heavy rain recordings as well as some fun internal bits. Some of my best from last week are a storm gutter inside the building I work in." ContentLicense="CC BY-SA 3.0" />
  <row Id="26244" PostHistoryTypeId="2" PostId="15902" RevisionGUID="ff9563cd-f866-4474-a311-71ea2e7ea892" CreationDate="2012-11-07T09:28:36.780" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;Currently I'm traveling and recording China.&#xD;&#xA;I got quite a scare when the output of one of my Dpa 4060's was only 50% of the other mic level. I inspected the fragile microdot connector afraid it's phantom feed might have shortcircuited or something alike. It seemed fine and fortunately I found the culprit a little switch connecting the gain of the mic to the wrong channel. &#xD;&#xA;&#xD;&#xA;It did however made me realise I need to protect the connector better, but I'm on the road without my local gear wizards around. Do you have any tips to keep my connectors from breaking or getting loose?&#xD;&#xA;&#xD;&#xA;I'm thinking a soft paper layer plus a harder layer might do the trick. Any ideas anyone?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;Ps. Beijing is very quiet in the hutong and it's also great to record at night!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26245" PostHistoryTypeId="1" PostId="15902" RevisionGUID="ff9563cd-f866-4474-a311-71ea2e7ea892" CreationDate="2012-11-07T09:28:36.780" UserId="1216" Text="DPA 4060: Protecting microdot connectors during traveling in the bag (connected to xlr adapter)" ContentLicense="CC BY-SA 3.0" />
  <row Id="26246" PostHistoryTypeId="3" PostId="15902" RevisionGUID="ff9563cd-f866-4474-a311-71ea2e7ea892" CreationDate="2012-11-07T09:28:36.780" UserId="1216" Text="&lt;dpa&gt;&lt;protect&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26247" PostHistoryTypeId="2" PostId="15903" RevisionGUID="5c3d998a-b970-4138-b152-19f6fb296157" CreationDate="2012-11-07T12:28:13.957" UserId="182" Text="We keep the whole set with accessories in the original DPA-case, but this might not be practical on the road.&#xD;&#xA;&#xD;&#xA;For small connectors or other protruding fragile electronic things I have successfully used plastic bottle caps or ballpoint pen caps. Finding a cap with a tight fit is best, if not, you need a little tape or a rubber band to keep it on your item.&#xD;&#xA;&#xD;&#xA;Cutting a piece of packaging foam to the right size has also worked for me. Might not last forever, but it's easy enough to make again." ContentLicense="CC BY-SA 3.0" />
  <row Id="26248" PostHistoryTypeId="2" PostId="15904" RevisionGUID="c7b32f83-e040-4e82-992a-4288448f2f91" CreationDate="2012-11-07T12:47:11.240" UserId="4435" Text="i am editing a fiction where the sound needs often the help of the radio mikes (what i do not like very much)&#xD;&#xA;i have allways between 3 an 12 samples offset between the different mikes.&#xD;&#xA;&#xD;&#xA;does there exist a plugin for protools to put the phase of the tracks together or you other guys still do it by hand?&#xD;&#xA;thanks for your answer&#xD;&#xA;george" ContentLicense="CC BY-SA 3.0" />
  <row Id="26249" PostHistoryTypeId="1" PostId="15904" RevisionGUID="c7b32f83-e040-4e82-992a-4288448f2f91" CreationDate="2012-11-07T12:47:11.240" UserId="4435" Text="Phasing between Boom and radio mices" ContentLicense="CC BY-SA 3.0" />
  <row Id="26250" PostHistoryTypeId="3" PostId="15904" RevisionGUID="c7b32f83-e040-4e82-992a-4288448f2f91" CreationDate="2012-11-07T12:47:11.240" UserId="4435" Text="&lt;offsets&gt;&lt;delay&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26251" PostHistoryTypeId="2" PostId="15905" RevisionGUID="40c225f8-8fd3-4bc8-bbfa-9b31f3fa54df" CreationDate="2012-11-07T13:53:10.407" UserId="432" Text="If I have to do it, I do it by hand. I practically never use both at the same time though. I much prefer to use EQ and multiband compression/expansion (and a touch of reverb if necessary) to match the two as closely as I can, then edit between them...always leaning more towards the shotgun than the lav.&#xD;&#xA;&#xD;&#xA;Mixing the two together is often a recipe for a massive headache, and potentially a huge wasted of time." ContentLicense="CC BY-SA 3.0" />
  <row Id="26252" PostHistoryTypeId="2" PostId="15906" RevisionGUID="afdc618c-adc7-4a9e-bcf1-4582e754fec7" CreationDate="2012-11-07T14:43:33.477" UserId="3525" Text="you could try your luck with either phase align or vocalign and yes I agree sometimes mixing the two can be tedious and most likely a waste of your time. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26253" PostHistoryTypeId="2" PostId="15907" RevisionGUID="63ceb91a-1f50-4d01-ab37-875a030b4ff3" CreationDate="2012-11-07T17:56:59.233" UserId="300" Text="got quite a bit from an apartment in Green Point.. one's up online here: &#xD;&#xA;&#xD;&#xA;http://soundcloud.com/jameshayday/hurricane-sandy-green-point" ContentLicense="CC BY-SA 3.0" />
  <row Id="26254" PostHistoryTypeId="4" PostId="15904" RevisionGUID="4040c005-df6a-4bf6-9d86-f03157af6e41" CreationDate="2012-11-07T18:17:10.783" UserId="432" Comment="edited title" Text="Phasing between Boom and radio mics" ContentLicense="CC BY-SA 3.0" />
  <row Id="26255" PostHistoryTypeId="2" PostId="15908" RevisionGUID="964384b8-ac21-4dcb-8397-3dd3b1b931af" CreationDate="2012-11-07T18:34:58.053" UserId="4434" Text="-almost every creature from Lord of the Rings. (notably Balrog's and Orcs)&#xD;&#xA;&#xD;&#xA;-seismic charges from Star Wars Episode 2" ContentLicense="CC BY-SA 3.0" />
  <row Id="26256" PostHistoryTypeId="2" PostId="15909" RevisionGUID="536719d7-37f2-4748-b863-62fcc797d540" CreationDate="2012-11-07T19:34:22.270" UserId="6411" Text="When I took my 4060s with me to Spain I found a small, plastic art supply case that was just large enough to carry the mics, connectors, some blu tack, and a couple additional mounts. There are moveable dividers in the case, so just a few tissues keeps everything from rattling around. I do like EMV's idea of pen caps for the microdot connectors though." ContentLicense="CC BY-SA 3.0" />
  <row Id="26257" PostHistoryTypeId="2" PostId="15910" RevisionGUID="65fe9b7f-31ca-478a-a933-e6db4a6648cb" CreationDate="2012-11-07T21:20:13.443" UserId="4436" Text="Hi there. I graduated from studying a BA in sound design in London this summer and would like to know how to go about becoming a free lance audio book editor? For example, who are the wright people to contact at publishing company's?  How to establish a fee for the work carried out and what dose is entail? What are the most useful skill's in audio book editing? And most importantly what are clients looking for that should be in my portfolio?&#xD;&#xA; &#xD;&#xA;Any feedback would be greatly appreciated. Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="26258" PostHistoryTypeId="1" PostId="15910" RevisionGUID="65fe9b7f-31ca-478a-a933-e6db4a6648cb" CreationDate="2012-11-07T21:20:13.443" UserId="4436" Text="Free lance audio book editor." ContentLicense="CC BY-SA 3.0" />
  <row Id="26259" PostHistoryTypeId="3" PostId="15910" RevisionGUID="65fe9b7f-31ca-478a-a933-e6db4a6648cb" CreationDate="2012-11-07T21:20:13.443" UserId="4436" Text="&lt;dialogue&gt;&lt;sound-design&gt;&lt;editing&gt;&lt;education&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26260" PostHistoryTypeId="2" PostId="15911" RevisionGUID="d20d6112-389c-40e9-9aae-8cd3983795c4" CreationDate="2012-11-07T21:37:02.583" UserId="3179" Text="I would assume an audio book editing/producing not to generally be a specific specialism, but something that could be worked out in any audio studio by anyone who otherwise works in audio production for media. It isn't different than other forms of audio production that isn't strictly music production or different from other types of &quot;sound design&quot;, even though audio books are a slightly different type of medium from the others. The production process is still similar enough.&#xD;&#xA;&#xD;&#xA;I would assume that an internship in a sound or broadcasting studio that produces audio books would be a good call. I doubt book publishers have in-house audio studios, but rather they outsource the production of an audio book to a sound studio. It might be also difficult to freelance in just audio books, because I don't know if audio books are produced on an &quot;indie&quot; basis that much, so it could be difficult/impossible to find projects that way.&#xD;&#xA;&#xD;&#xA;If an internship is not an option (at least not immediately), then if audio books are your sole interest, then I'd probably try to work out some small demos, for example based on existing books or even scripts. I.e. just producing some audio book sound by yourself, so you can have something to show to prospective employers/customers/affiliates. That's the current standard procedure in the media and entertainment field anyways, building a portfolio of work that applies to the line of work that you're applying for and getting someone interested about it." ContentLicense="CC BY-SA 3.0" />
  <row Id="26261" PostHistoryTypeId="5" PostId="15911" RevisionGUID="54f311b2-7343-4ddf-b22c-e894e83541df" CreationDate="2012-11-07T21:42:39.477" UserId="3179" Comment="added 26 characters in body; added 17 characters in body" Text="I would assume an audio book editing/producing not to generally be a specific specialism, but something that could be worked out in any audio studio by anyone who otherwise works in audio production for media. It isn't different than other forms of audio production that isn't strictly music production or different from other types of &quot;sound design&quot;, even though audio books are a slightly different type of medium from the others. The production process is still similar enough.&#xD;&#xA;&#xD;&#xA;I would assume that an internship in a sound or broadcasting studio that produces audio books would be a good call. I doubt book publishers have in-house audio studios, but rather they outsource the production of an audio book to a sound studio or a broadcasting company. It might be also difficult to freelance in just audio books, because I don't know if audio books are produced on an &quot;indie&quot; basis that much, so it could be difficult/impossible to find projects that way.&#xD;&#xA;&#xD;&#xA;If an internship is not an option (at least not immediately), then if audio books are your sole interest, then I'd probably try to work out some small demos, for example based on existing books or short stories or even scripts. I.e. just producing some audio book sound by yourself, so you can have something to show to prospective employers/customers/affiliates. That's the current standard procedure in the media and entertainment field anyways, building a portfolio of work that applies to the line of work that you're applying for and getting someone interested about it." ContentLicense="CC BY-SA 3.0" />
  <row Id="26262" PostHistoryTypeId="2" PostId="15912" RevisionGUID="9ccd122c-084a-43b0-b708-7032546fdacb" CreationDate="2012-11-07T22:27:45.777" UserId="238" Text="Many studios that specialise in Voice Over services also tend to cover the audiobook market so it may be a good idea to start in that direction. With the right attitude and enough persistence, you should be able to eventually get your foot in the door. Seeing as you've just graduated you may be looking at an internship/runner position. As a starting point, do a google search of all the V.O. studios in London. Have a look at their websites and make a note of who does what. See if you can connect with them on a social network (i.e. LinkedIn or Twitter). Then get in touch. If you can get your foot in the door, you can then build your network and things should take off on their own.&#xD;&#xA;&#xD;&#xA;In terms of freelancing on this type of project, you'll find that it works in the same way as with almost every other type of production in our industry. It's all about your network. The majority of audiobook productions have enough of a budget to use established studios and are unlikely to freelance the project out to an individual. So your best bet would be to try and get your way into a studio that develops this type of work. Smaller budget productions may outsource to an individual freelancer but this would normally go to someone with a big enough reputation who has already worked on similar projects. Again, this usually goes hand in hand with having a strong network. &#xD;&#xA;&#xD;&#xA;I've said it here before, but your reputation will take you a very long way (or, if you've got the wrong attitude, a very short way). Network as much as possible. Your portfolio should be easily accessible (do you have a website?) and only include high standard work. If you haven't already worked on anything outside of your studies, start picking up some unpaid work on projects that are inline with where you want to go (check Mandy.com for example). &#xD;&#xA;&#xD;&#xA;A lot of the SSD community have experience with audiobooks. You might want to get in touch with some of them via twitter. Two people that spring to mind are Utopia (Ryan) and Hubert Campbell (I remember seeing a question from him about audiobooks). And I'm sure more people will chip in with their experiences." ContentLicense="CC BY-SA 3.0" />
  <row Id="26263" PostHistoryTypeId="2" PostId="15913" RevisionGUID="03e94428-a468-4d95-a0a2-63ad9dc9daa8" CreationDate="2012-11-07T22:52:11.697" UserId="3272" Text="Gaffer the connection carefully, roll them up and put them in a waterproof plastic bag (I used a plastic bag keeping food). It worked for me when I was travelling eastern europe with them." ContentLicense="CC BY-SA 3.0" />
  <row Id="26264" PostHistoryTypeId="2" PostId="15914" RevisionGUID="a06103a4-87d5-40bc-ae60-0a455b5d3608" CreationDate="2012-11-08T04:22:52.177" UserId="4438" Text="In many mastering tutorials, I see that people have exported their mixdown as a WAV file and then re-opened it in their DAW (Ableton in my case). Are there benefits to doing this instead of just mastering on the Master channel strip in the original project file?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26265" PostHistoryTypeId="1" PostId="15914" RevisionGUID="a06103a4-87d5-40bc-ae60-0a455b5d3608" CreationDate="2012-11-08T04:22:52.177" UserId="4438" Text="When you're mastering, does it matter whether you export your mixdown to a WAV/AIF file first?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26266" PostHistoryTypeId="3" PostId="15914" RevisionGUID="a06103a4-87d5-40bc-ae60-0a455b5d3608" CreationDate="2012-11-08T04:22:52.177" UserId="4438" Text="&lt;mastering&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26267" PostHistoryTypeId="2" PostId="15915" RevisionGUID="910b3780-10bc-4a8e-8dac-0135be1e4c58" CreationDate="2012-11-08T07:36:23.700" UserId="801" Text="My first soundedit was on a steinbeck-machine handling 16mm film and perforoll,&#xD;&#xA;every sound had to be manually cut and paste in 8 seperate Audio / Music tracks.&#xD;&#xA;then i had to mix these with no automation to 16 track, over and over again&#xD;&#xA;i'm happy we have computers now, it was a nervous predicement but the memory of it is great! " ContentLicense="CC BY-SA 3.0" />
  <row Id="26268" PostHistoryTypeId="2" PostId="15916" RevisionGUID="c9d7ebf0-8b21-4bd8-8d4a-ce45904753bb" CreationDate="2012-11-08T07:38:01.623" UserId="3179" Text="You cannot do edits (well you can, but you'd be using parameter automation for them, or you'd have to edit multiple tracks instead of just one or few master tracks), if the project hasn't been bounced to a master track or at least to much less tracks than what the mix has. Some claim that there's also a psychological effect of getting rid of the multitrack so you'd focusing only on adjustments that can be done to the master track, instead of fiddling around with the multitrack and its &quot;endless possibilities for fixes/adjustments&quot;.&#xD;&#xA;&#xD;&#xA;If the &quot;mastering&quot; is just slapping some plug-ins on a channel strip, then in that case it wouldn't matter." ContentLicense="CC BY-SA 3.0" />
  <row Id="26269" PostHistoryTypeId="2" PostId="15917" RevisionGUID="ff1b7646-4c5d-40b5-994d-ad96878d7a02" CreationDate="2012-11-08T10:46:30.247" UserId="348" Text="My first &quot;audio&quot; project was in radio at a campus radio station in Canada. I was 14 and my friends and I would attempt to write/record/edit in an old Revox imitations of old Hancock and Goon Show Radio plays. Terribly fun but terribly unfunny!!! I loved working on 1/4 inch tape. My first film project was in 1st year of film school recording on a Nagra V and cutting mag tape on a Steinbeck. Again, slow but fun. &#xD;&#xA;&#xD;&#xA;I was drawn to foley very quickly and I set up a make shift sound blanket type tent in a control booth with a 24 track Soundcraft, a Tascam 8 track and a 416. I had to set up under the tent, rush out, set my level (estimated) pushed record on the Tascam, ran back under the tent and did the sound to picture. LOL&#xD;&#xA;&#xD;&#xA;Those days are gone but they are definitely some of my fondest memories or experimentation and mistake making. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26270" PostHistoryTypeId="2" PostId="15918" RevisionGUID="bb727d84-481d-4fed-9684-c768e4247fce" CreationDate="2012-11-08T12:10:26.133" UserId="3567" Text="First of all, you have to be familiar with linear audio editing software, for example Adobe Audition. You  have to be experienced with this piece of software, as audiobook editing means loads of content that needs to be listened to and edited to perfection. So if you're familiar with sound design but you cannot edit audio fast enough you will struggle with making deadlines. Not to mention that payment is usually per hour of edited content, so if that takes you 5 hours then your rates go down by a lot. &#xD;&#xA;&#xD;&#xA;You can always start editing podcasts first and then graduate to audiobooks. Speaking of which, the right people to contact would be voice actors, narrators and content creators at first. Once you complete a few (e.g many) small projects you can think about contacting large companies or publishers.&#xD;&#xA;&#xD;&#xA;As I already said, the fees are usually per hour of edited audio. If the raw audio is extremely bad you can negotiate per source audio rates.&#xD;&#xA;&#xD;&#xA;One skill that's definitely required is patience. Audiobook editing isn't as glamorous as sound design for media, or as thrilling as writing music for video games. You just listen to hours of content on end and edit out imperfections until your ears bleed.&#xD;&#xA;&#xD;&#xA;Obviously, clients will be looking for before and after excerpts from projects that you've worked on.&#xD;&#xA;&#xD;&#xA;For more info and maybe opportunities you can check this out: http://www.acx.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="26271" PostHistoryTypeId="2" PostId="15919" RevisionGUID="bfbf1d56-b8cd-401f-9600-8f61ae8ff886" CreationDate="2012-11-08T16:52:10.203" UserId="4440" Text="Triumph (formerly wave editor) has quickly become my goto 2 track editor. I work in game audio, so a lot of the design that I do is in logic A. because I'm quicker B. because I can't live without space designer. I then export separate pieces to build the sfx and make the necessary loops, cuts, trims and fades.&#xD;&#xA;&#xD;&#xA;They are incredibly responsive to support as I've emailed them nearly every day with new things which i hope is useful since it's in its infancy. It has a neat photoshop style layers concept, and the great part about it is that the assets remain fully intact. FX that you add or fades that you do are completely non destructive. It's a great mix between a DAW and a 2 track editor. &#xD;&#xA;&#xD;&#xA;My main bummer is that there is not a &quot;document editing mode&quot;. It's proejct based, so you have to import all of your assets into a package, and then render out a finished file, etc. until this happens, I use sound studio to make very simple fades and trims." ContentLicense="CC BY-SA 3.0" />
  <row Id="26272" PostHistoryTypeId="2" PostId="15920" RevisionGUID="5dea8ac2-8be0-4ad5-b320-3fb714df62d6" CreationDate="2012-11-08T17:04:01.457" UserId="4439" Text="I agree with all answers above, made similar experiences editing Audio Books (Hörbücher) here in Germany .&#xD;&#xA;&#xD;&#xA;Most studios look for freelance editors that are reliable and deliver their work with consistent quality in the scheduled time. Deadlines are very important because the publishers will only choose studios that can fulfill their schedules. Voice actors and directors are allowed to cause delays but the audio engineers are not!&#xD;&#xA;&#xD;&#xA;Editing an Audio Book is a very, hm..., minimalistic task. Most of its challenges are to cut out a hundred little clicks and unwanted noises from the actors mouth. Or to paste together the performance of an inexperienced actor from A LOT of takes.&#xD;&#xA;&#xD;&#xA;In my opinion it is also a benefit if you got an interest in literature and the art of reading. If you understand the dynamics and the pace of text, you get a better understanding of the actor's performance. Sometimes you have to choose the best take yourself and correct or create the rythm of speech. Choosing the right lenght for the different pauses is an important part of the job. Sometimes you have to work with a director and most directors apreciate it if you quickly understand their instructions and aid them in their work.&#xD;&#xA;&#xD;&#xA;If you have a literary background, (maybe you have, cause you want to edit audio books?) then mention it in your portfolio. This will seperate you from most other audio guys who come from music backgrounds.&#xD;&#xA;&#xD;&#xA;Pardon my English and greetings from Berlin!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26273" PostHistoryTypeId="2" PostId="15921" RevisionGUID="e6197348-1692-430e-a943-1773bcaef2eb" CreationDate="2012-11-08T17:28:21.913" UserId="3588" Text="There is outboard phase alignment gear available. Unfortunately, I have only used one in my experience (and can't remember who built it) and haven't compared it to any others, but they are pretty handy for situations similar to what you are describing." ContentLicense="CC BY-SA 3.0" />
  <row Id="26274" PostHistoryTypeId="2" PostId="15922" RevisionGUID="c4cb6c51-33e0-48ae-94a3-5cdf740ab687" CreationDate="2012-11-08T17:39:34.587" UserId="3588" Text="Volume automation to lower the levels during dialog works fairly well, if the music is supposed to sound loud in the scene (club, concert) or as has been said before using a bell eq to lower the frequencies between 1kHz and 4kHz (between 3k and 4k is about where the &quot;meat&quot; of human voice is). Just please don't get the idea of using side-chain compression. I just QC'd a show that did that with the English dialog and noticed that they won't be able to mix the M&amp;E with many foreign languages because it dips for the syllables. I find that if you are going to make a change make it for the whole track is standard." ContentLicense="CC BY-SA 3.0" />
  <row Id="26276" PostHistoryTypeId="2" PostId="15924" RevisionGUID="f9f22409-299a-4ec6-9180-e3e13e0db5ba" CreationDate="2012-11-09T04:39:14.690" UserId="4426" Text="Just like everyone else I first start by going through and smoothing all the transitions out, picking mics, and inverting phase on problem mics. Sometimes while editing I'll even run some RX to see if I can get room tones to work. This all depends on what type of film it is. A horror film with lots of sound design allows you to get away with more than say a family drama with sparse music and sound effects. Once I've done my edit pass and finished up RX cleanup, I'll set up my mix pending on what type of project it is and what its' dialog deliverable levels are. Pretty much if your final product isn't mixed to the specs of the distributor your mix is going to get screwed up or bounced back for you to fix. Feature work allows for more dynamics than television work so I'll talk about that first. Pretty much you start by calibrating your room. Solo each speaker and play Dolby Pink noise to the volume of 79Db on your SPL meter with it sitting around the position where your head normally resides. The Spl meter needs to weighted to C level and set it to slow. With features I usually start with a gentle compression, somewhere around 2:1 to 3:1, on each dialog channel. After that I run it into an automatable 7 band eq. After that it goes into a Dialog bus to which I usually throw a limiter on. That limiter is set almost completely open, it's just to catch the occasional clip. The Dialog bus gets routed to the main bus to get routed to the final mix. For the verbs I usually run 2 separate ones, a close verb and a far verb. These are just Dx verbs that each channel gets routed to, then these verbs get routed into the dialog bus. Once that is set, I then go in and snap shot reverb presets pending on the locations in the picture. If I'm using something like TL space that can't change impulses, I'll usually use multiple ones for the different locations and set up the extra busses. After I'm ready to start my mix, I'll listen with my ears to get a good mix. If I'm ever sketchy on where I'm sitting at I'll nab out the SPL meter, c weighted to check that my dialog is somewhere between 70Db to 90Db. I don't really have it out that much though. The meter usually comes out a little at the beginning of the mix and at the end of long days. As far as Eq'ing. For features and shorts it's all about clarity of the dialog. I'm always using eq for matching microphones, notching out noise (sometimes after RX there's a little harmonic ringing in there you gotta notch), and for changing perspective. Around 1k is always a good spot for perspective trickery. Take some away to lose presence. The real tricky stuff is when you have noises that happen on set that change over time and you have to automate the notched frequency to match with the sound. It can get pretty complex with Eq'ing, but I do usually add a little top end. As far as the Verb, I get something to match the scene, which sometimes means using a predelay, and throw everything to it just a little bit to put everything in the same environment. &#xD;&#xA;After that you just mix and the rule is that Dialog is Key! Generally deliverables on films are -27 Db Rms for Dialog and -6db peak level.&#xD;&#xA;&#xD;&#xA;For Television it's a whole other beast. Pretty much you're trying to compete with the washer and dryer going off while baby screams bloody murder because you forgot about your tea on the stove! The routing is all pretty much the same except now you have to get your dialog uber loud with a low peak volume. -25db Rms for Dialog and a -9 Peak level is a loud one. Sharp peaks, doors, cell phones in production audio all become your worst enemy! Thankfully we have Limiters. I'll go a little harder on limiting and compression all the way around and I'll add an extra limiter to the bottom of every dialog channel strip. Then I'll keep messing with the levels of all the limiters and compressors until the final output meets what I'm looking for. Once you have that it's smooth sailing. Just mix with your ears! One note on the limiters at this stage is that you really want to go a little heavier on the individual tracks rather than slamming everything into one limiter that has to handle the dynamics of all the mixed material. Limiters handle better with less information to deal with. Another thing about the EQ for the dialog is that you generally want to cut out a lot of the lows and add highs. Cut a lot of 200hz and add a shelf above 2kz. &#xD;&#xA;&#xD;&#xA;I hope this sheds some light on it. I'm sure everyone has there own way, but so far this has worked for me.  &#xD;&#xA;&#xD;&#xA;Just found out about this forum board. This is really cool! Thanks to everyone for being here!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="26277" PostHistoryTypeId="2" PostId="15925" RevisionGUID="9ffe6359-d8f0-4d94-aa35-fa4b691b623a" CreationDate="2012-11-09T09:02:02.757" UserId="6432" Text="I can't say that I have, but I've never had the brief to create something specifically for that age bracket.&#xD;&#xA;&#xD;&#xA;It strikes me that perhaps the best way to tackle this is not in the mix of any material but how it's played back. The trouble is that the public are often uneducated and unwilling to callibrate the equipment they use. &#xD;&#xA;&#xD;&#xA;I remember seeing a good TED talk a while back by the designer of the Humanscale Freedom chair; he spoke about this design related issue of nobody adjusting chairs before they sit in them, which is especially true in hot-desking environments which seem to be common at the moment. So the challenge was to create a chair which automatically adjusted to the person sitting in it. Similarly, how many times do you see people watching television with the colour so saturated everybody looks like they've had a spray tan accident? &#xD;&#xA;&#xD;&#xA;With the issue of sound it becomes increasingly complex because more than one person can be listening to the same system, and they might all have different listening needs. I think the solution could be about creating systems with a bit of intelligence, ones that make use of the mass of information we gather. I don't see why the television of an elderly couple shouldn't communicate with the records of their local doctor and adjust the frequency response of their tv automatically, to the value which best serves them both. It's amazing how long we've had this sort of capability, discussed it and never made use of it. It's like the internet has been hijacked by Marketeers and it's true purpose has been forgotten..." ContentLicense="CC BY-SA 3.0" />
  <row Id="26278" PostHistoryTypeId="5" PostId="15902" RevisionGUID="46f33f99-e429-4d18-ba5c-e00995c02108" CreationDate="2012-11-09T14:01:13.233" UserId="1216" Comment="Added update" Text="Hi,&#xD;&#xA;&#xD;&#xA;Currently I'm traveling and recording China.&#xD;&#xA;I got quite a scare when the output of one of my Dpa 4060's was only 50% of the other mic level. I inspected the fragile microdot connector afraid it's phantom feed might have shortcircuited or something alike. It seemed fine and fortunately I found the culprit a little switch connecting the gain of the mic to the wrong channel. &#xD;&#xA;&#xD;&#xA;It did however made me realise I need to protect the connector better, but I'm on the road without my local gear wizards around. Do you have any tips to keep my connectors from breaking or getting loose?&#xD;&#xA;&#xD;&#xA;I'm thinking a soft paper layer plus a harder layer might do the trick. Any ideas anyone?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;Ps. Beijing is very quiet in the hutong and it's also great to record at night!&#xD;&#xA;&#xD;&#xA;UPDATE!&#xD;&#xA;&#xD;&#xA;Hi guys thanks for all the tips! I realised I didn't ask the right question, but you did provide me with a good answer! What I meant to ask was: how do you protect your microdot connector in the mix bag DURING shooting and traveling, with the microphones connected and ready to record. I went to the forbidden city with my recorder in my backpack and the wires were a bit bent in the process. What I've done now is put a small (ladies) pack pf tissues around the 2 connector/wires and tape that tight enough. This protects the wires and connectors in the hustle and bustle of busy metro stations and markets.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26281" PostHistoryTypeId="2" PostId="15927" RevisionGUID="62a85105-0b63-493c-9ad4-1050186396ff" CreationDate="2012-11-10T02:52:03.240" UserId="234" Text="There is a plug in called Auto Align that I used quite successfully on a show recently, where I had two actors in a green screen studio each with their own mic. Because of the nature of the performance - a beatboxing performance - I needed both mics and the plug in did an admirable job of putting the two mics in phase. However that is a &quot;best case&quot; scenario for the plugin, since it's basically a drum performance. Not sure how well it would work on spoken dialog..." ContentLicense="CC BY-SA 3.0" />
  <row Id="26282" PostHistoryTypeId="2" PostId="15928" RevisionGUID="f1b93bd3-103c-4a0a-be20-612401f51e5b" CreationDate="2012-11-10T04:38:24.647" UserId="6499" Text="So this is a somewhat hypothetical question.  I am possibly partnering with someone who is interested in getting a VO room and Control Room going.  We collectively agree on charging a rate in the area of 100-150/hr for VO track and editing. Room soundproofing and treatment is something I have somewhat already figured out for the rooms we will be utilizing.  &#xD;&#xA;&#xD;&#xA;Equipment is what I am curious about, specifically from those guys that have or do operate in that dollar per hour amount.&#xD;&#xA;&#xD;&#xA; I have been slowly building up my equipment as the projects come and I can afford it. I have been asked to make a wish list. Here is the gear I currently have.&#xD;&#xA;&#xD;&#xA;A custom Self built PC- Quad Core 3 ghz, win 7, 8 gb ram, SSD, and 3 other internal drives for Programs, Projects, Media. 2 monitors and a 42&quot; plasma for picture viewing.  I have another monitor that will be mounted in the VO room to display lines/picture etc.&#xD;&#xA;PT9 and Nuendo 5&#xD;&#xA;&#xD;&#xA;I/O- M audio Profire 2626&#xD;&#xA;Event 8 Reference monitors.&#xD;&#xA;Yamaha 01v &#xD;&#xA;Mackie Control &#xD;&#xA;RE20&#xD;&#xA;&#xD;&#xA;both of my rooms, control and vo are roughly 10'x8' with 7.6' ceilings&#xD;&#xA;&#xD;&#xA;The very weird concern I have, is how much do equipment stereotypes come into play in that price range?  For what I have paid for my equipment, they have performed great, but I just do not know the next level.&#xD;&#xA;&#xD;&#xA;I personally prefer PCs but I understand Mac is a staple, and my partner wants a mac.  So which parts would you say were essential to upgrade/replace and which would be allowed to slide for a little bit.&#xD;&#xA;&#xD;&#xA;What would your wish list be, within reason, to go for clients in the 100-150/hr price range.  I currently charge people 50/hr to design and edit and I am doing this out of my bedroom with the above noted equipment and no special room treatments.  If there are any special plugins you would have in mind.  I already know I want a better reverb.  If my I/O moves up to something that can support TDM then revibe is on the list as well as altiverb.  My tracking room will be very dead due to it being too small to be nice live." ContentLicense="CC BY-SA 3.0" />
  <row Id="26283" PostHistoryTypeId="1" PostId="15928" RevisionGUID="f1b93bd3-103c-4a0a-be20-612401f51e5b" CreationDate="2012-11-10T04:38:24.647" UserId="6499" Text="Equipment and software recomendations for VO studio" ContentLicense="CC BY-SA 3.0" />
  <row Id="26284" PostHistoryTypeId="3" PostId="15928" RevisionGUID="f1b93bd3-103c-4a0a-be20-612401f51e5b" CreationDate="2012-11-10T04:38:24.647" UserId="6499" Text="&lt;equipment&gt;&lt;list&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26285" PostHistoryTypeId="2" PostId="15929" RevisionGUID="da0c1f52-3d95-4992-a67c-25a4f23c9bdc" CreationDate="2012-11-10T05:32:55.810" UserId="842" Text="Yes and no. I was originally trained as a mixture between apprentice and student into a music producer, and as such I was accustomed to mixing in several different systems, with a small and extremely low-middy speaker (probably around 100Hz to 5KHz, was 15 years ago) as an absolute reference. It could never really sound good in this ridiculous little cone built into the console, but if you got everything in it and with a good balance to that, and it sounded good in the &quot;consumer-system&quot; in the live room, then you knew it would pretty much sound if not great (after all, some people use their %&amp;#%#¤ cellphones to listen to...without headphones...), then at least good, in pretty much all systems and for all listeners except those with the absolutely most messed up hearing. And they will not hear very much anyway.&#xD;&#xA;&#xD;&#xA;As such, I'm not really mixing for any specific age, system, or ability to hear, I'm normally mixing everything so everyone would enjoy it, including both people with absolutely perfect hearing, and those with really bad ditto. I don't happily use the word &quot;generic&quot; as it for me is a pretty negative word (mind you, English is not my native language so chances is I make too much a deal of that word), but yes, I try to keep it general. In my firm belief and experience it's not really a problem making exciting sounds that works well for everyone, as long as one are aware of the limitations and mind them carefully. It's not always easy, but I do firmly believe there always is a way, even if it might be pretty hard to find sometimes.&#xD;&#xA;&#xD;&#xA;Now, I still follow the same rules as I did as a musician, though movies is a lot different to mix philosophically. And they are in surround. Here, we strive much more towards a more natural impression (not to be confused with actually realistic), and use a lot more linear microphones in film than in music. As such, I've gotten used to low-passing most things much more heavily with slightly resonant filters (for example, voices I usually keep between 80Hz to 11Khz for deep male voices, and about 150Hz to 13KHz for very bright female voices), but fact is not all people can hear everything that's out in nature, and as such I see it as I must choose what's important for the scene and what is just enhancements. And if I can't motivate it at all it has to go anyway.&#xD;&#xA;&#xD;&#xA;Take for instance a scene I made recently for a slasher-flick. It's a beautiful scene with two friends sitting in the garden in the middle of nowhere, having a cold one in the calm summer breeze. Summer ambiance is very soft and airy, and as I've already established that they are nowhere near civilization, it's virtually no noise at all. To give it this airy nice feeling, I chosen mostly singing birds and grasshoppers (sounds pretty much as crickets, but we have no crickets in Sweden). I know the birds ought to be audible for anyone except those with the most effed up ears, but I know at least one person who can't hear grasshoppers/crickets at all should his life depend on it. My sound normally is far from overly bright (I've learned that lesson years ago...), but in this case I had to chose between a much brighter and sparser than usual sound as to depict calm and tranquility, or a more sturdy sound that would turn out more doom. And I already had scenes for that. Mildly put (it was a slasher, mind you). Considering people with a limit at about 7KHz, even down to 5KHz, just birds would be pretty lame. Sure one could perhaps had used cicadas or something, but this was supposed to be a Swedish rural summer afternoon with the nearest neighbor no closer than at least a few miles away, and cicadas would make it sound just wrong. So my choice fell to adding a distant wind-chime for texture and space.&#xD;&#xA;&#xD;&#xA;You might say, in this case, that I tweaked the scene to suit hearing-impaired people, but fact is I didn't. Not as such, though it is indeed an important parameter. I modeled it after known limitations keeping it fully enjoyable for everyone, but my emphasis was actually still in those hearing frequencies at least up to 10KHz, preferably up to 15KHz (though this scene actually had a spectrum exceeding 22KHz in some elements). It's pretty rare though that I have to consider modeling the range this extremely, most projects I make are often urban, and most of those in the wilderness wouldn't hurt from a little distant wind-noise, and as such I could theoretically make an entire movie without ever needing to consider placing something important with fundamentals above 5KHz for any other reason than to add texture. Despite that, we must always make a choice, and that choice will have consequences. One can make an entire movie keeping within the boundaries of limited hearing, and it will sound pretty good for everyone (provided it's well done). It will be fast, and it will be safe, but it will not shine. One can also keep it within the boundaries, but in a more artistic way. Films like Bourne Ultimatum, Saving Private Ryan, and Wall-E are good examples of movies sounding amazing without really having any treble, where the sound post-team has taken a more coarse way, which works well with cinema without tampering with quality. Different choices makes different sounds, not necessarily meaning one is better than the other, just different. Myself, I love really high-frequency treble, but I'm not overly fond of general sharpness. Thus, fundamentally I work exactly as I did as a producer, especially when I worked with African and Latin American Ethno and Industrial; I try and maintain a firm base for everyone to enjoy, with lots of treats in the extremes for those who can enjoy them. Unless it's for TV, of course. I see no point in working too hard with extremes that almost guaranteed will get completely lost in the mangling of countless (pointless?) extra filters and processors. This post is all about my philosophy when mixing and designing for unaltered fullrange media like DVD and BD, and to some extent cinema." ContentLicense="CC BY-SA 3.0" />
  <row Id="26286" PostHistoryTypeId="2" PostId="15930" RevisionGUID="c4b80688-74c8-45b4-a0c8-be089e77cf4f" CreationDate="2012-11-10T06:04:59.103" UserId="842" Text="Personally, I don't like M-Audio very much, so my first choice would be to buy a Lynx Aurora as audio interface instead. Can be made to work with both Nuendo and Pro Tools!&#xD;&#xA;&#xD;&#xA;I do a lot of both voice-over and ADR, and I try to keep it simple. I have a PC with Lynx-interfaces, a simple but reliable and good sounding pre-amp (Lynx-interfaces are pretty much basically DAC/ADC's and nothing else), both picture and audio monitoring (audio via an old but trusty Soundtracs-console) for both me, the director (if he/she's actually there), and the ADR-victim, and of course a mic that matches the already recorded material if it's ADR. And I use Nuendo.&#xD;&#xA;&#xD;&#xA;I'd say, at least from my experiences, that it's not as much a matter of what equipment you have (though it must be professional, of course) as much as what the costumer will leave with. You might very well have the most gnarly equipment ever created, but chances are the director will not have a clue what it is anyway, and will only look at how professional an impression you will give, and how good the material will sound. Probably pretty much in that order. It's never a bad thing to have a lot of cool gear, it sure impresses some people, but the price, I must say, is more a matter of your abilities as a technician and less of equipment." ContentLicense="CC BY-SA 3.0" />
  <row Id="26287" PostHistoryTypeId="2" PostId="15931" RevisionGUID="54c4bdba-085d-4022-b515-9272fd52d3e7" CreationDate="2012-11-10T11:30:14.447" UserId="4376" Text="Obviously this depends entirely on what sound you are trying to create. Sometimes sounds will be made by using both sources. But i'm interested in what makes people decide if they are going to head out into the field to capture the live sound itself or use the foley studio to recreate that sound?&#xD;&#xA;&#xD;&#xA;Which way are you usually most pleased with the outcome?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26288" PostHistoryTypeId="1" PostId="15931" RevisionGUID="54c4bdba-085d-4022-b515-9272fd52d3e7" CreationDate="2012-11-10T11:30:14.447" UserId="4376" Text="Live field recordings or recreate by foley?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26289" PostHistoryTypeId="3" PostId="15931" RevisionGUID="54c4bdba-085d-4022-b515-9272fd52d3e7" CreationDate="2012-11-10T11:30:14.447" UserId="4376" Text="&lt;foley&gt;&lt;field-recording&gt;&lt;creativity&gt;&lt;production&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26290" PostHistoryTypeId="2" PostId="15932" RevisionGUID="c809c3ec-7d78-4028-9c13-eb3acfa1ec23" CreationDate="2012-11-10T17:19:01.563" UserId="6460" Text="Before you focus on gear, make sure that the acoustic treatment of your VO booth (and your control room) is exactly how you want it. Racks can be filled, plugins can be downloaded, yadda yadda — but if you have acoustic anomalies or noise leakage in your recording or listening rooms then you will not be able to get the best out of your gear. Knowing that your VO booth is reflection- and background-noise-free will cause fewer headaches and potential client complaints down the road. &#xD;&#xA;&#xD;&#xA;I also agree with Christian that the M-audio is a less-than-stellar choice of an A-D converter. Moreover, it's more I/O than you usually need need for a Voiceover session. It might not be a bad idea to keep it around for a situation when you need 8 inputs or outputs, but from the size of your VO booth it sounds like you will typically be recording no more than 1 or 2 people at a time. I would make those two recording chains as pure and reliable as possible:&#xD;&#xA;&#xD;&#xA; 1. Clean mic (e.g., Neumann TLM-103, U89)&#xD;&#xA; 2. Clean preamp (e.g., Grace m101, Millenia HV-3C)&#xD;&#xA; 3. High-quality converter (e.g. Apogee interface, Benchmark ADC1)&#xD;&#xA; 4. DAW&#xD;&#xA;&#xD;&#xA;Some of these examples are up there in price, but I've always found them to be reliable for getting a clean recording into your DAW... a good, simple starting place to expand upon.&#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="26291" PostHistoryTypeId="2" PostId="15933" RevisionGUID="91f3bc66-31c3-4062-8773-79ea9677024f" CreationDate="2012-11-10T17:42:46.410" UserId="6460" Text="It depends on the sound I'm trying to create ;). Pragmatically, it also depends upon the availability of a quiet, reflection-free outdoor spot vs. a foley studio — both of which can be hard to find (or afford).&#xD;&#xA;&#xD;&#xA;A project that calls for a more stylized foley track might best be served by a foley studio with an enormous assortment of props, shoes, pits, cloth, etc. Some of the magic of movies like the *Lord of the Rings* series came in the incredible detail and sense of heightened-reality in the foley track, with swords and armor that produced huge impact sounds in battle, to the delicate sound of parchment pages in the old books.&#xD;&#xA;&#xD;&#xA;For a project like *True Grit*, which takes place primarily outdoors in desert and forest landscapes, I would hit the field to create a realistic, gritty (pun intented) foley landscape. The advantage of recording in the field, to me, lies in the accidents that happen and the sounds that you stumble upon. With a prime location, good micing technique, and a little luck, you can get field recordings that sound so clean that you'd never know they weren't done indoors. Plus, with a fully-charged ipad you can still record a foley performance to the film.&#xD;&#xA;&#xD;&#xA;Field foley definitely works better for louder sounds, too — I would probably not record my cloth tracks in the field, but footsteps work fine. If you're not hiking too far, it can't hurt to have a couple mic stands and some thick blankets to help with outside noise and any reflections.&#xD;&#xA;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26292" PostHistoryTypeId="2" PostId="15934" RevisionGUID="c4da986d-3ceb-4ffb-916e-71b009ed25e8" CreationDate="2012-11-10T17:54:28.787" UserId="4220" Text="I'm trying to find some cheap material to make acoustic reflectors out of. From what I hear the most important thing is that the material be stiff, however from my research stiffness (measured in GPA or bulk modules or elastic modules) has a pretty broad range. so I was wondering if anyone knew:&#xD;&#xA;&#xD;&#xA;At what gpa does a material have to have to qualify as a good acoustic reflector?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26293" PostHistoryTypeId="1" PostId="15934" RevisionGUID="c4da986d-3ceb-4ffb-916e-71b009ed25e8" CreationDate="2012-11-10T17:54:28.787" UserId="4220" Text="material for acoustic reflection?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26294" PostHistoryTypeId="3" PostId="15934" RevisionGUID="c4da986d-3ceb-4ffb-916e-71b009ed25e8" CreationDate="2012-11-10T17:54:28.787" UserId="4220" Text="&lt;acoustics&gt;&lt;reflection&gt;&lt;system&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26295" PostHistoryTypeId="2" PostId="15935" RevisionGUID="7977d6c3-c36b-4e17-bc87-37726c20ad32" CreationDate="2012-11-10T18:13:41.730" UserId="29" Text="Record a wheelbarrow with well-lubed bearings on the surfaces you need: No motor noise, true pneumatic wheel. I can't count how many effects I've generated with wheelbarrows..!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26296" PostHistoryTypeId="2" PostId="15936" RevisionGUID="be5dabea-c89c-4e7b-ab2f-96ac9ba51799" CreationDate="2012-11-10T18:32:39.790" UserId="3784" Text="Option+apple+question mark (?) is the capture hot key when in preview mode" ContentLicense="CC BY-SA 3.0" />
  <row Id="26297" PostHistoryTypeId="2" PostId="15937" RevisionGUID="a0be778f-a99e-4f74-b9e9-8e06d8406744" CreationDate="2012-11-10T19:10:16.513" UserId="3912" Text="looking for a microphone that would pick up the low end sound of a gunshot. so far i have a &#xD;&#xA;- rode ntg-3 &#xD;&#xA;- sennheiser mkh-416 &#xD;&#xA;- oktava mk-012 &#xD;&#xA;&#xD;&#xA;i would like to spent less then $900&#xD;&#xA;&#xD;&#xA;thanks guys&#xD;&#xA;~reN " ContentLicense="CC BY-SA 3.0" />
  <row Id="26298" PostHistoryTypeId="1" PostId="15937" RevisionGUID="a0be778f-a99e-4f74-b9e9-8e06d8406744" CreationDate="2012-11-10T19:10:16.513" UserId="3912" Text="looking for a mic that would pick up the low end sound of a gunshot. so far i have a  " ContentLicense="CC BY-SA 3.0" />
  <row Id="26299" PostHistoryTypeId="3" PostId="15937" RevisionGUID="a0be778f-a99e-4f74-b9e9-8e06d8406744" CreationDate="2012-11-10T19:10:16.513" UserId="3912" Text="&lt;microphone&gt;&lt;sound-effects-recording&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26301" PostHistoryTypeId="2" PostId="15939" RevisionGUID="d3dfbeb7-b3c9-4b38-97be-65d97a627a2c" CreationDate="2012-11-10T20:50:29.243" UserId="432" Text="just throw up an omni-directional mic somewhere close to the gun. few other patterns can get you as even a low end pickup as a high quality omni." ContentLicense="CC BY-SA 3.0" />
  <row Id="26302" PostHistoryTypeId="2" PostId="15940" RevisionGUID="079bd77f-756b-4839-8424-f56491e7ad2d" CreationDate="2012-11-10T21:13:12.870" UserId="1185" Text="I suggest that you do some research into absorption coefficients and look for materials with a low absorption coefficient.  If you need further detail I suggest you look at the Master Handbook of Acoustics: [http://www.amazon.co.uk/Master-Handbook-Acoustics-Alton-Everest/dp/0071603328][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Master-Handbook-Acoustics-Alton-Everest/dp/0071603328" ContentLicense="CC BY-SA 3.0" />
  <row Id="26303" PostHistoryTypeId="2" PostId="15941" RevisionGUID="84e3cfd2-a5b5-41b5-8e41-bee57c2b3bfa" CreationDate="2012-11-10T21:24:55.607" UserId="3649" Text="Do people usually get to work within the original Final Cut Project? or do they get given a .mov file and separate audio files to work with?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26304" PostHistoryTypeId="1" PostId="15941" RevisionGUID="84e3cfd2-a5b5-41b5-8e41-bee57c2b3bfa" CreationDate="2012-11-10T21:24:55.607" UserId="3649" Text="When working with Post Production Audio, Do you Work With the Original Final Cut Project?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26305" PostHistoryTypeId="3" PostId="15941" RevisionGUID="84e3cfd2-a5b5-41b5-8e41-bee57c2b3bfa" CreationDate="2012-11-10T21:24:55.607" UserId="3649" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26306" PostHistoryTypeId="2" PostId="15942" RevisionGUID="84fbc889-577b-47f7-9488-66911b9dd8ad" CreationDate="2012-11-10T22:07:44.840" UserId="18" Text="The 416 is one of my favorite mics on guns.  You can get great low end with it, but placement is critical (as with any mic).  Keep in mind that the location will also have an effect on your sound.  The three mics that I must have when I record guns; 416, RSM191, and MKH800.  Of those 3, the 416 is the best at the low end stuff.&#xD;&#xA;&#xD;&#xA;Beyond the 416, if you are really only looking at picking up low end, I recommend you find a used Crown SASS.  Those are great for low end punch, but you really need to work with them and learn how best to place them as I've found they can be pretty picky.&#xD;&#xA;&#xD;&#xA;I'll add that I've never had good luck using bass drum mics on guns." ContentLicense="CC BY-SA 3.0" />
  <row Id="26308" PostHistoryTypeId="2" PostId="15943" RevisionGUID="68066728-9fb4-4c83-afc3-ddcac8f512c1" CreationDate="2012-11-10T23:06:58.190" UserId="432" Text="typically you get a movie file and an OMF or AAF (which will contain all of the audio tracks and files) exported from the sequence in the Final Cut project." ContentLicense="CC BY-SA 3.0" />
  <row Id="26309" PostHistoryTypeId="2" PostId="15944" RevisionGUID="4c95004d-c927-4cbf-834a-0bacb1b20fce" CreationDate="2012-11-10T23:15:01.073" UserId="432" Text="To build on the excellent answer the Matt posted, I'll throw in a few other considerations.&#xD;&#xA;&#xD;&#xA;Is the setting for the sound I need to edit into the film an indoor or an outdoor one. It doesn't necessarily make sense to record sounds for indoor scenes outdoors. That's typically the biggest deciding factor for me. Then again, there are some things you just can't get into a foley studio, and that means you've got to go out in the world to get them. That could mean recording indoors or outdoors (depending on what you can find) at a location that has what you need.&#xD;&#xA;&#xD;&#xA;One factor that always enters into the equation is time. If there is time in the budget, and time before the deadline, I'll definitely try to get outside to record those sounds I've identified as &quot;desirable to record oustide.&quot; If time is tight, I'll only get target the most critical &quot;outdoor&quot; sounds. It typically takes more time to set up for recording in the field, and sometimes the schedule just does not allow for it.&#xD;&#xA;&#xD;&#xA;Moral of the story? You have to be creative within the restrictions you're given.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26310" PostHistoryTypeId="2" PostId="15945" RevisionGUID="50756063-313c-4a11-9336-6e090b97ae06" CreationDate="2012-11-11T07:44:23.897" UserId="407" Text="My go to for getting good Mid Low Punch is MKH418S into an FR2 recorder - location and gain settings are the key though. Also if you are after Low end, the height of the Mic above the ground is crucial. Like @Chuck Russom already mentioned I've also heard great things from the Crown SASS but don't actually have experience myself.&#xD;&#xA;&#xD;&#xA;One Mic I always take with me when recording loud stuff is a D112 usually running into a cheap recorder like a H4. I've had reasonable results placing it under the shooter if they are standing, if not I try to place it where I think Bass will collect - i.e. in a corner somewhere or under a big rock. It's a bit hit and miss even to the extent that some guns sound great and others not on the same session without moving the mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="26311" PostHistoryTypeId="2" PostId="15946" RevisionGUID="bf837708-cb7c-4e7c-b649-e98e3f63e0f4" CreationDate="2012-11-11T12:44:05.653" UserId="930" Text="Does anyone know of a decent Canned Laughter resource/library, preferably British/English and able to buy online and download?&#xD;&#xA;&#xD;&#xA;I can only seem to find packs of sounds costing $200+ or expensive individual sounds, but I need something in between.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="26312" PostHistoryTypeId="1" PostId="15946" RevisionGUID="bf837708-cb7c-4e7c-b649-e98e3f63e0f4" CreationDate="2012-11-11T12:44:05.653" UserId="930" Text="Canned Laughter SFX" ContentLicense="CC BY-SA 3.0" />
  <row Id="26313" PostHistoryTypeId="3" PostId="15946" RevisionGUID="bf837708-cb7c-4e7c-b649-e98e3f63e0f4" CreationDate="2012-11-11T12:44:05.653" UserId="930" Text="&lt;laughter&gt;&lt;library&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26314" PostHistoryTypeId="2" PostId="15947" RevisionGUID="d06f390b-bb25-486e-9305-8aa79a4e8b7c" CreationDate="2012-11-11T16:58:33.533" UserId="4444" Text="my xlr input on my zoom h4n is not working or picking audio anybody know if this problem is common or not and how to fix it and i have tried to change the phantom power to power up my 2 boom shotgun mics but there was no pickup from the mic to the au" ContentLicense="CC BY-SA 3.0" />
  <row Id="26315" PostHistoryTypeId="1" PostId="15947" RevisionGUID="d06f390b-bb25-486e-9305-8aa79a4e8b7c" CreationDate="2012-11-11T16:58:33.533" UserId="4444" Text="zoom h4n problem " ContentLicense="CC BY-SA 3.0" />
  <row Id="26316" PostHistoryTypeId="3" PostId="15947" RevisionGUID="d06f390b-bb25-486e-9305-8aa79a4e8b7c" CreationDate="2012-11-11T16:58:33.533" UserId="4444" Text="&lt;zoom&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26317" PostHistoryTypeId="2" PostId="15948" RevisionGUID="89e1ab44-bb35-4433-9b18-b1f8b3cadca1" CreationDate="2012-11-11T17:57:47.590" UserId="930" Text="I haven't heard of anything myself regarding the XLR/Phantom on the H4n.&#xD;&#xA;&#xD;&#xA;You should try and isolate the problem though in case it's not the XLR/Phantom.&#xD;&#xA;&#xD;&#xA;- Try your mics with a different recorder/interface. &#xD;&#xA;- Swap out your XLR cables.&#xD;&#xA;- Try a dynamic mic in your H4n to see if it works.&#xD;&#xA;&#xD;&#xA;Try as many possible combinations, with only swapping one out at a time, and you should find out what's wrong eventually - and if it does turn out to be the XLR/Phantom, I'd suggest getting in touch with Zoom.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="26318" PostHistoryTypeId="2" PostId="15949" RevisionGUID="b8c0c0fe-3367-44bd-b783-1ccee7bed0fb" CreationDate="2012-11-11T23:59:48.063" UserId="4446" Text="If you're handy with electrical repairs, you should be able to get to the PC board. Now the tricky part is to remove the old part, the headphone jack (you can call the company and they will give you a replacement jack). There are 6 soldering points. To remove the old one, you have to use a wick or vacuum to remove the solder from the 6 contact points. Once you do that, the new one goes in.&#xD;&#xA;&#xD;&#xA;WHAT IF YOU DON'T HAVE A SOLDERING IRON? Do the removal of everything, then take the PC board and the new jack into a repair shop and they will do it for you for a minimal fee. Try a professional audio gear rental place (especially for musicians or productions or tv). " ContentLicense="CC BY-SA 3.0" />
  <row Id="26319" PostHistoryTypeId="2" PostId="15950" RevisionGUID="f62a895a-22f5-410b-97d2-24cc24a226a4" CreationDate="2012-11-12T07:19:12.390" UserId="182" Text="That doesn't seem all that impossible (ignore the red marking):&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i1136.photobucket.com/albums/n482/linconnubxl/zoomh4n1.jpg&#xD;&#xA;&#xD;&#xA;Why not invest in a soldering iron (with a small tip, and preferably temperature control) and DIY?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26320" PostHistoryTypeId="2" PostId="15951" RevisionGUID="cba2776b-9ddc-42bd-8f52-a042f85144f7" CreationDate="2012-11-12T09:02:34.857" UserId="3567" Text="Not sure there are any decent packs out there. But you can try this: http://www.soundsnap.com/search/audio/laughter/score&#xD;&#xA;351 results and reasonable rates." ContentLicense="CC BY-SA 3.0" />
  <row Id="26321" PostHistoryTypeId="2" PostId="15952" RevisionGUID="12fdc3a4-1ed6-43df-b8bd-c22aeea64a6f" CreationDate="2012-11-12T11:13:05.903" UserId="618" Text="I recently bought a pair of Line Audio's CM3 for stereo ambiance recording. I'm now looking for windjammers.&#xD;&#xA;&#xD;&#xA;Anyone tested the [Rode WS8][1]? they're pretty cheap.&#xD;&#xA;  [1]: http://www.rodemic.com/accessories/ws8&#xD;&#xA;My other options are : Rycote Baby ball, Schoeps W20 or Cinela Leo.&#xD;&#xA;&#xD;&#xA;My goal is to be able to record large AB ambiences (each mic on his stand). &#xD;&#xA;Do you know if mic suspensions will be useful in my case or classic mic holder can work well ?&#xD;&#xA;&#xD;&#xA;Thank's in advance for your recommendations.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26322" PostHistoryTypeId="1" PostId="15952" RevisionGUID="12fdc3a4-1ed6-43df-b8bd-c22aeea64a6f" CreationDate="2012-11-12T11:13:05.903" UserId="618" Text="Pencil mic windjammer recommendations" ContentLicense="CC BY-SA 3.0" />
  <row Id="26323" PostHistoryTypeId="3" PostId="15952" RevisionGUID="12fdc3a4-1ed6-43df-b8bd-c22aeea64a6f" CreationDate="2012-11-12T11:13:05.903" UserId="618" Text="&lt;microphone&gt;&lt;suspension-mounts&gt;&lt;wind-protection&gt;&lt;windshield&gt;&lt;windjammer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26324" PostHistoryTypeId="2" PostId="15953" RevisionGUID="bb8d3c19-7b68-4b4d-bc3d-7fb0f2e83fc6" CreationDate="2012-11-12T12:46:34.043" UserId="993" Text="I've been doing some recording on my home studio setup and while most of the time things are running smoothly, occasionally I'll record some Foley and it sounds fine in the headphones - but when I play it back it sounds like...well, this:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/squeakyfish/003-glitches&#xD;&#xA;&#xD;&#xA;Does anyone recognise this particular sound or scenario? My setup is as follows:&#xD;&#xA;&#xD;&#xA;* DAW: Pro Tools LE 8 on PC&#xD;&#xA;* Surface: Digidesign Factory 003&#xD;&#xA;* Mic:Cardioid microphone with 48v phantom power&#xD;&#xA;&#xD;&#xA;Let me know if you need further specifics. Thanks in advance all!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26325" PostHistoryTypeId="1" PostId="15953" RevisionGUID="bb8d3c19-7b68-4b4d-bc3d-7fb0f2e83fc6" CreationDate="2012-11-12T12:46:34.043" UserId="993" Text="Recognise the sound of this glitch? (Pro Tools recording issue)" ContentLicense="CC BY-SA 3.0" />
  <row Id="26326" PostHistoryTypeId="3" PostId="15953" RevisionGUID="bb8d3c19-7b68-4b4d-bc3d-7fb0f2e83fc6" CreationDate="2012-11-12T12:46:34.043" UserId="993" Text="&lt;pro-tools&gt;&lt;003&gt;&lt;glitch&gt;&lt;clicks&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26327" PostHistoryTypeId="5" PostId="15952" RevisionGUID="9897abf6-9c18-4bad-8db2-abb3f3800c9c" CreationDate="2012-11-12T13:14:36.377" UserId="618" Comment="added 108 characters in body" Text="I recently bought a pair of Line Audio's CM3 for stereo ambiance recording. I'm now looking for windjammers.&#xD;&#xA;&#xD;&#xA;Anyone tested the [Rode WS8][1]? they're pretty cheap.&#xD;&#xA;  [1]: http://www.rodemic.com/accessories/ws8&#xD;&#xA;My other options are : Rycote Baby ball, Schoeps W20 or Cinela Leo.&#xD;&#xA;&#xD;&#xA;My goal is to be able to record large AB ambiences (each mic on his stand). &#xD;&#xA;Do you know if mic suspensions will be useful in my case or classic mic holder can work well ?&#xD;&#xA;I'm also thinking of buying a Rode Blimp, I heard it can fit an ortf system with small mics like the CM3s. &#xD;&#xA;&#xD;&#xA;Thank's in advance for any recommendations.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26328" PostHistoryTypeId="2" PostId="15954" RevisionGUID="c0eab5ed-7098-417a-8081-33787eecb280" CreationDate="2012-11-12T16:30:43.510" UserId="29" Text="If you're recording outside, do yourself a favor and go with a Rycote Baby Ball Gag (well, a pair, obviously). They CM3's *might* fit in a single stereo windscreen (they're about 6mm longer than an MKH 80X0). (Be aware that Rycote makes windscreens in different sizes, some of which are much wider than the Rode Blimp, which might make fitment easier.)&#xD;&#xA;&#xD;&#xA;I've done many, many recordings with just a foam windscreen and a fuzzy/dead cat/wombat and it just doesn't work reliably for the range of conditions you'll find outdoors. They're awesome for interiors to prevent wind noise from breaths, boompole swings, and outdoors on really calm days in sheltered locations, but they're nowhere near as flexible as a proper windscreen that holds a volume of still air around the mic. You don't want your gear dictating where and when you can record, especially for field recording, if you can help it." ContentLicense="CC BY-SA 3.0" />
  <row Id="26329" PostHistoryTypeId="2" PostId="15955" RevisionGUID="60ad0a90-4fa3-4e46-b554-d030b083ac27" CreationDate="2012-11-12T18:14:17.737" UserId="432" Text="What sort of troubleshooting have you done so far? Things to try would include: different mic, different cable, different input on the 003, combinations of all three of those, route the output of your record track to a bus (and only a bus, no physical outputs) - feed that bus to an input on an aux track - and monitor the output of the aux (that way you're certain to be listening to a &quot;post record&quot; signal while in record). Are you recording to your OS drive, or a separate project drive? How does the audio file sound when played through Quicktime or Windows Media Player.&#xD;&#xA;&#xD;&#xA;These are all things you can do to help narrow down where the problem is occurring, and will make your life simpler if you have to contact tech support." ContentLicense="CC BY-SA 3.0" />
  <row Id="26330" PostHistoryTypeId="2" PostId="15956" RevisionGUID="45be3617-0237-482b-be53-3887244853b0" CreationDate="2012-11-12T18:52:45.207" UserId="4448" Text="Hey,&#xD;&#xA;Please help me if you're experienced with sound mixing. I am an aspiring filmmaker and just locked picture on my 25 minute film. I produced it but I'm also editing and sound mixing. I'm on to sound mixing. What are the dB audio levels I want to keep my dialogue between? I saw a youtube video that said -8dB is where you want to keep it but as I'm getting more experience, that sounds like the maximum level I should take it to. My second question, what are good audio levels for the soundtrack?&#xD;&#xA;&#xD;&#xA;BTW great forum board, thanks everybody" ContentLicense="CC BY-SA 3.0" />
  <row Id="26331" PostHistoryTypeId="1" PostId="15956" RevisionGUID="45be3617-0237-482b-be53-3887244853b0" CreationDate="2012-11-12T18:52:45.207" UserId="4448" Text="film producer sound mixing for first time by self, please help" ContentLicense="CC BY-SA 3.0" />
  <row Id="26332" PostHistoryTypeId="3" PostId="15956" RevisionGUID="45be3617-0237-482b-be53-3887244853b0" CreationDate="2012-11-12T18:52:45.207" UserId="4448" Text="&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26333" PostHistoryTypeId="2" PostId="15957" RevisionGUID="1bff1bc2-a82a-4357-8de8-05e1675e27c7" CreationDate="2012-11-12T19:17:42.410" UserId="1228" Text="I get that on my 003 every so often when I have Analog 7-8 feeding in for SM.  Just APPLE+ 2 (numpad) to open session setup, and re-click the Clock to Internal and it goes away.  Every so often I her it start up for no reason so doing that same thing to reset the clock fixes it.  It's either a bug with the PT firmware (I never noticed it before 8.0.6) or some issue with the clock on the 003.  Not sure, my device is out of warranty and I don't feel like being nickled and dimed by Avid to get it looked into when the fix is quick (and it doesn't bother the Mains or busses, just the audio input which I hardly ever use except for Computer Audio monitoring in).&#xD;&#xA;&#xD;&#xA;But I believe the root of the issue is somewhere with clock or how the clock is handled, and doing that command should set it straight (at least until it sneaks up again).&#xD;&#xA;&#xD;&#xA;For what its worth, I did a lengthy post on the ProTools Ideascale and nobody gave a damn about it nor did the Avid moderators.  The DUC also turned up no info on this issue either.  Seems to be an isolated issue, maybe only with some 003 users." ContentLicense="CC BY-SA 3.0" />
  <row Id="26334" PostHistoryTypeId="2" PostId="15958" RevisionGUID="7849f479-9e02-498d-ab23-cc0b18e99e94" CreationDate="2012-11-12T19:49:18.467" UserId="261" Text="Hey Guys,&#xD;&#xA;&#xD;&#xA;I've just landed my first job editing sound effects for a feature film - Yay!&#xD;&#xA;&#xD;&#xA;I've also been made in charge of editing doors - The film is a romantic comedy , so nothing fancy - no slams or jail doors, or cave doors.&#xD;&#xA;Just wholesome INT and EXT doors for Apartments, freestanding homes, and the odd shop or two.&#xD;&#xA;&#xD;&#xA;Where can I get them/buy them.? (I have Zero time to record them myself) &#xD;&#xA;&#xD;&#xA;Kurt" ContentLicense="CC BY-SA 3.0" />
  <row Id="26335" PostHistoryTypeId="1" PostId="15958" RevisionGUID="7849f479-9e02-498d-ab23-cc0b18e99e94" CreationDate="2012-11-12T19:49:18.467" UserId="261" Text="Where can I buy some good doors?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26336" PostHistoryTypeId="3" PostId="15958" RevisionGUID="7849f479-9e02-498d-ab23-cc0b18e99e94" CreationDate="2012-11-12T19:49:18.467" UserId="261" Text="&lt;sound-fx&gt;&lt;feature&gt;&lt;library&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26337" PostHistoryTypeId="2" PostId="15959" RevisionGUID="d553215d-c43b-40f0-8723-5b23678e1821" CreationDate="2012-11-12T19:53:39.220" UserId="6460" Text="Petr,&#xD;&#xA;&#xD;&#xA;Welcome! Sounds like you have a big project ahead of you. Please note that it is worth searching the forum for your questions, as this very same question has come up before in discussion here in various formats. For instance:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/618/tv-broadcast-levels &lt;br&gt;&#xD;&#xA;http://socialsounddesign.com/questions/3254/dia-always-the-same-level &lt;br&gt;&#xD;&#xA;http://socialsounddesign.com/questions/6114/tips-for-mixing-dialogue&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There are so many standards thrown around on the internet for what level you should mix to, but ultimately you need to experiment and learn for yourself. Experienced mixers go off of what they hear in front of them, and base many of their level-setting decisions on previous mixing experiences. &#xD;&#xA;&#xD;&#xA;Ultimately, calibration of and time spent with your monitoring system is your most important ally when you mix. If you set up your speakers so that the levels you mix to are directly corollated to the levels you hear then you are free to make creative choices without worrying if your dialog level is hitting __dB. Even more, if you calibrate your system based on the destination of your film then you give yourself a huge foot forward. If your movie will be shown on youtube, you will calibrate your system differently than if the movie will be shown in a theater, which is different than broadcast TV, DVD, etc... Watch this movie for more detailed instructions on how to set up your speakers:&#xD;&#xA;&#xD;&#xA;http://vimeo.com/22735507&#xD;&#xA;&#xD;&#xA;I also must recommend finding an experienced sound designer to take a look at your film. This is why we exist! Even if it's just a 1- or 2-hour session, getting a demonstration on the mixing process might make a huge difference for you when you sit down to mix. It could be well worth the time and money.&#xD;&#xA;&#xD;&#xA;Best of luck!&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="26341" PostHistoryTypeId="2" PostId="15961" RevisionGUID="01fb381d-d5ff-4c97-af2f-5efe4de32836" CreationDate="2012-11-13T01:36:53.660" UserId="4366" Text="I appreciate your enthusiasm, i wish that at 16 i was as motivated as you to go into sound design, i would of made things differently but then again maybe not. &#xD;&#xA;&#xD;&#xA;About you sounds i agree with Melissa's post, 7 minutes is way too long. If your approaching this form a sound study or artistic experimentation then we get the idea quite fast maybe just a minute or two might have a even better effect on the listener. Keep going in that exact same vein and keep trying out things. Good or bad, doesn't matter, the point is to learn and develop your style. &#xD;&#xA;&#xD;&#xA;Also, you not made me think of what a teacher once told me, &quot;reverb is like MSG for the ears&quot;. Reverb tends to be a first reflex for early sound designers and electroacoustic musicians. If you want to experiment with reverb i recommend recording material and playing it back in a reverberant space you like (stariwell or tunnel etc) and then re-recording your sound with natural reverb. Digital reverb plugins are easy to use but once you get into film, video games or even composition you will see that reverb can sometimes drown the mix. &#xD;&#xA;&#xD;&#xA;Anyways, Good Luck. Your doing great!&#xD;&#xA;&#xD;&#xA;Max" ContentLicense="CC BY-SA 3.0" />
  <row Id="26342" PostHistoryTypeId="2" PostId="15962" RevisionGUID="c04374ec-0e5a-4998-a001-2d1c2c6c1b49" CreationDate="2012-11-13T03:11:07.120" UserId="3784" Text="Ive always gotten away with using and processing a bit of leather creaks for that tight feeling of something around your throat. I usually get great responses, but right now I have a client that isnt satisfied with any throat choking im delivering him. I recorded cabbage, used certain ropes, and he can tell when its leather or rubber and it bugs him. So in return its bugging me!!! Any thoughts?&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="26343" PostHistoryTypeId="1" PostId="15962" RevisionGUID="c04374ec-0e5a-4998-a001-2d1c2c6c1b49" CreationDate="2012-11-13T03:11:07.120" UserId="3784" Text="choking.. client specific" ContentLicense="CC BY-SA 3.0" />
  <row Id="26344" PostHistoryTypeId="3" PostId="15962" RevisionGUID="c04374ec-0e5a-4998-a001-2d1c2c6c1b49" CreationDate="2012-11-13T03:11:07.120" UserId="3784" Text="&lt;tension&gt;&lt;creak&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26345" PostHistoryTypeId="2" PostId="15963" RevisionGUID="cfeee009-ad8a-433a-95bf-18cec2a91336" CreationDate="2012-11-13T04:47:04.477" UserId="18" Text="Sound Dogs might be your best bet: http://sounddogs.com/&#xD;&#xA;&#xD;&#xA;If you want a lot of door sounds, you could check out Sound Ideas door library: http://sound-ideas.com/9000.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="26346" PostHistoryTypeId="2" PostId="15964" RevisionGUID="abb6a93b-c235-4167-93a8-065f40c874eb" CreationDate="2012-11-13T05:22:00.043" UserDisplayName="user49" Text="really? No time to record? Thats seems insane for a feature film. The best time to record doors is often after hours - evenings, weekends, late at night.... &#xD;&#xA;&#xD;&#xA;Frankly if I was supervising the film you are working on I would be way less impressed with you cutting in the same old library doors that we hear all too often, and way more impressed with you finding/making time to bug your friends and locate some appropriate locations and doors and record them.... &#xD;&#xA;&#xD;&#xA;Is it really time thats the issue?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26347" PostHistoryTypeId="2" PostId="15965" RevisionGUID="61fa47e7-0314-45a9-b9e3-17e3ac5b59d8" CreationDate="2012-11-13T05:58:50.593" UserId="6460" Text="Do you have a really quiet mic and a really quiet room? I would recommend experimenting with other items that are fibrous, like rope — something you can stretch or bend that mimics the sound of muscles and cartilage collapsing in the neck and throat. Some things that come to mind:&#xD;&#xA;&#xD;&#xA; - celery ... bend it enough so that it flexes but doesn't break&#xD;&#xA; - a bell pepper ... try squeezing it in your hand, then cut it into large chunks and and bend them slowly&#xD;&#xA; - find a small piece of fabric (better yet, a fabric sack) and fill it with items that grind and crunch... maybe granola cereal, small rocks, small twigs... and squeeze it all together in the fabric bag. Maybe try dunking the whole thing in water and repeat.&#xD;&#xA;&#xD;&#xA;Combining these with elements of skin-on-skin and maybe a few larger crunch sounds and see how it works.&#xD;&#xA;&#xD;&#xA;Let us know how it goes! &lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="26348" PostHistoryTypeId="2" PostId="15966" RevisionGUID="7551d038-39b8-40ba-9337-2145a9c64862" CreationDate="2012-11-13T08:35:46.183" UserId="4451" Text="+1 on the 418s. Super great mic!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26349" PostHistoryTypeId="2" PostId="15967" RevisionGUID="b1fdaaaf-e882-40f1-b037-949697829c16" CreationDate="2012-11-13T09:02:16.873" UserId="4100" Text="http://www.amazon.com/gp/aw/d/B000GGMMB8/ref=mp_s_a_1?qid=1352797145&amp;sr=8-24&amp;pi=SL75&#xD;&#xA;&#xD;&#xA;i personally use this, and i leave the xlr connected." ContentLicense="CC BY-SA 3.0" />
  <row Id="26350" PostHistoryTypeId="2" PostId="15968" RevisionGUID="c844db19-a23f-48e7-aac0-a736e85d6f11" CreationDate="2012-11-13T09:09:28.083" UserId="4100" Text="i second fred suggestion however i had an issue too with the left channel b4 it was making ramdom noise and i got it replaced with out charge, mind u it was new." ContentLicense="CC BY-SA 3.0" />
  <row Id="26351" PostHistoryTypeId="2" PostId="15969" RevisionGUID="db6705c0-fcd9-4122-b2a9-1458d24b1a38" CreationDate="2012-11-13T09:18:28.857" UserId="4100" Text="audition mainly for the marking system and spectral view, handy when i have to take many parts off a long file and the spectral view usefull for removing mouths clicks or remove those unwanted sounds hard to view otherwise. however i used to be a big fan of soundforge when it was sonicfoundry." ContentLicense="CC BY-SA 3.0" />
  <row Id="26354" PostHistoryTypeId="2" PostId="15970" RevisionGUID="0ad60e65-f2e6-44a5-bbaf-c51866f92bc0" CreationDate="2012-11-13T14:16:39.690" UserId="4452" Text="DBpoweramp (a very good ripper) uses ID2V3 headers (like mp3) and eveyone kind of follows that. a very good tag editor is the one included in Musichi Suite.&#xD;&#xA;wwww.musichi.eu" ContentLicense="CC BY-SA 3.0" />
  <row Id="26355" PostHistoryTypeId="2" PostId="15971" RevisionGUID="0ad462d4-662a-4919-9d4c-9ca63a7debb9" CreationDate="2012-11-13T15:07:50.540" UserId="432" Text="Does the client specifically want the sound of the physical choking object? Remember that sound design is all about creating and/or supporting perspective. Maybe you'd be better served by focusing on the human/animal side of choking (gasps, gurgles, snorts, etc.).&#xD;&#xA;&#xD;&#xA;If the client does want that object sound, another item you could try is a loosely woven wicker basket or bunching up and twisting some individual reeds." ContentLicense="CC BY-SA 3.0" />
  <row Id="26356" PostHistoryTypeId="2" PostId="15972" RevisionGUID="95b01c22-33b6-4d77-a14d-e4330eb1dbab" CreationDate="2012-11-13T15:41:16.623" UserId="4246" Text="I'm designing my showreel and have chosen a clip from the film Apollo 13 where the rocket takes off. I'm wondering what sort of sounds I could use. I was thinking something synth based for the low end but the mid-high is what I'm struggling with. (also falling ice is something I'm confused about)&#xD;&#xA;I have a few samples of power tools (such as drills and a wood lathe) and some fireworks. I have to source everything from scratch.&#xD;&#xA;Here's a link to the clip: http://www.youtube.com/watch?feature=player_detailpage&amp;v=kgHYGw9OL7c#t=127s &#xD;&#xA;(my clip finishes at 2:22)&#xD;&#xA;Any help would be much appreciated!&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26357" PostHistoryTypeId="1" PostId="15972" RevisionGUID="95b01c22-33b6-4d77-a14d-e4330eb1dbab" CreationDate="2012-11-13T15:41:16.623" UserId="4246" Text="Elements to make a rocket taking off sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="26358" PostHistoryTypeId="3" PostId="15972" RevisionGUID="95b01c22-33b6-4d77-a14d-e4330eb1dbab" CreationDate="2012-11-13T15:41:16.623" UserId="4246" Text="&lt;space&gt;&lt;sound-design&gt;&lt;showreel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26359" PostHistoryTypeId="2" PostId="15973" RevisionGUID="4f1b8965-526f-4c2c-a562-6c223c7961da" CreationDate="2012-11-13T17:19:43.533" UserId="6460" Text="I'm sure there are many of you who are power users of your particular sets of software, but I would love to hear about additional steps you take to speed up your workflow, whatever your work happens to be.&#xD;&#xA;&#xD;&#xA;Do you have custom functions and/or key commands in your software? Do you map your controls to midi controllers or keyboards? Anybody design your own programs or scripts?&#xD;&#xA;&#xD;&#xA;For instance, I recently designed a large theatrical sound design in Figure 53's [Qlab][1] software. Qlab allows you to program Applescript functionality directly in the program, so I designed several scripts (e.g., automatically creating fade-out cuts, batch changing fade times, etc.) to speed up the process in rehearsal. These scripts were mapped to keystrokes so they were second-nature by week 2. &#xD;&#xA;&#xD;&#xA;Please share your strategies, I'm sure there are others out there who would love to snap up ideas.&#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://figure53.com/qlab/" ContentLicense="CC BY-SA 3.0" />
  <row Id="26360" PostHistoryTypeId="1" PostId="15973" RevisionGUID="4f1b8965-526f-4c2c-a562-6c223c7961da" CreationDate="2012-11-13T17:19:43.533" UserId="6460" Text="Quickening Your Workflow" ContentLicense="CC BY-SA 3.0" />
  <row Id="26361" PostHistoryTypeId="3" PostId="15973" RevisionGUID="4f1b8965-526f-4c2c-a562-6c223c7961da" CreationDate="2012-11-13T17:19:43.533" UserId="6460" Text="&lt;workflow&gt;&lt;efficiency&gt;&lt;shortcut&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26362" PostHistoryTypeId="2" PostId="15974" RevisionGUID="e63546f8-0c5b-45a9-b4f2-d0e5444fec01" CreationDate="2012-11-13T18:06:00.800" UserDisplayName="user49" Text="Quickeys and TextExpander are two essential utilities as far as I'm concerned - see the thread on Quickeys below - Quickeys allows scripting of all ui functions, and application switching....&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/1171/how-are-your-quickeys-workflows&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26363" PostHistoryTypeId="2" PostId="15975" RevisionGUID="d254739e-2c88-421c-80e8-38139cffca85" CreationDate="2012-11-13T22:31:49.730" UserId="4453" Text="Greetings all,&#xD;&#xA;&#xD;&#xA;My team has created a gun sfx library recently. Here is the demo, but I do have something specific to ask:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/funkyrustic/funky-rustic-gun-pack-demo&#xD;&#xA;&#xD;&#xA;I use a technique I first really liked found in the game Half Life 2, specifically with the pistol. What made it unique was it's muted / gated initial plosive, followed by a baked in verb tail, augmented by verb based on location.&#xD;&#xA;&#xD;&#xA;What are your thoughts on what we did in the library? And have any of you used this technique with your own sounds?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;-Alex&#xD;&#xA;&#xD;&#xA;http://www.funkyrustic.net&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26364" PostHistoryTypeId="1" PostId="15975" RevisionGUID="d254739e-2c88-421c-80e8-38139cffca85" CreationDate="2012-11-13T22:31:49.730" UserId="4453" Text="Feedback on special gun set of sfx" ContentLicense="CC BY-SA 3.0" />
  <row Id="26365" PostHistoryTypeId="3" PostId="15975" RevisionGUID="d254739e-2c88-421c-80e8-38139cffca85" CreationDate="2012-11-13T22:31:49.730" UserId="4453" Text="&lt;library-sound-effects&gt;&lt;library&gt;&lt;guns&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26366" PostHistoryTypeId="2" PostId="15976" RevisionGUID="9ab35b4a-3769-45ba-9c20-292bb9eae55b" CreationDate="2012-11-13T22:35:01.630" UserId="4453" Text="I would try a combination of blowing unevenly into a microphone for an extended period of time (also blowing with gravel in your voice) then layering it at different low pitches for the distorted rocket effect, the falling ice could be achieved by cracking a head of lettuce (great for flesh as well as a myriad of other splintering type sounds). Synth helps for low end too. As for the liftoff it should be a quick breath with heavy low end added. Hope this helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26367" PostHistoryTypeId="2" PostId="15977" RevisionGUID="d4ba1eb9-791a-4945-b2ac-4699ef93d75c" CreationDate="2012-11-13T22:36:29.300" UserId="3629" Text="I just writing you should try an AKG D112. Dynamic, works with high SPL and tailored to work with lower frequencies such as a kick drum. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26368" PostHistoryTypeId="2" PostId="15978" RevisionGUID="f0826b07-7dc8-44f9-bdd9-b7f432b05ad1" CreationDate="2012-11-13T23:40:14.193" UserId="6579" Text="You should take a look at the Sennheiser MD21. This is a dynamic omnidirectional mike. Experiment with placing it as close as possible to the ground." ContentLicense="CC BY-SA 3.0" />
  <row Id="26369" PostHistoryTypeId="2" PostId="15979" RevisionGUID="69ea4968-b1a9-4b4b-9bd9-9b2f944073d8" CreationDate="2012-11-13T23:44:11.417" UserId="18160" Text="Hi guys, long time no see. I've been extremely busy on some over-seas gigs.&#xD;&#xA;&#xD;&#xA;Right now I'm post producing a concert, and I'm having a bit of trouble with the amount of PA to audience ratio in between songs and even during songs when the crowd sings along with the music, etc. and when I compare my mix to other concert DVDs, I can't help but notice that the recordings of the crowds on other projects have way less PA in them - more isolated crowds.&#xD;&#xA;&#xD;&#xA;So, this question is for anyone who has any information or sources I can find out the basics on how recordists set their mics up to capture crowds specifically during concerts:&#xD;&#xA;&#xD;&#xA;- Where are the mics positioned?&#xD;&#xA;- How many microphones are used?&#xD;&#xA;- What type/types of microphones were used?&#xD;&#xA;- Is there any post-augmentation from dry crowd recordings used after the fact? Or are they all original recordings from the original concert?&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="26370" PostHistoryTypeId="1" PostId="15979" RevisionGUID="69ea4968-b1a9-4b4b-9bd9-9b2f944073d8" CreationDate="2012-11-13T23:44:11.417" UserId="18160" Text="Capturing audience reaction during a concert." ContentLicense="CC BY-SA 3.0" />
  <row Id="26371" PostHistoryTypeId="3" PostId="15979" RevisionGUID="69ea4968-b1a9-4b4b-9bd9-9b2f944073d8" CreationDate="2012-11-13T23:44:11.417" UserId="18160" Text="&lt;audience&gt;&lt;recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26372" PostHistoryTypeId="2" PostId="15980" RevisionGUID="ae41f455-6a64-40ef-9152-faa23d253467" CreationDate="2012-11-14T05:57:56.390" UserId="3912" Text="Thank you all so much for your input, it was all very informative. &#xD;&#xA;&#xD;&#xA;~reN " ContentLicense="CC BY-SA 3.0" />
  <row Id="26373" PostHistoryTypeId="2" PostId="15981" RevisionGUID="692a97d6-3fad-4a92-9736-fa61343b44e1" CreationDate="2012-11-14T06:04:33.787" UserId="1178" Text="For low end stuff I would use close proximity micing (below the gun) either Beta-52A or D112 dynamic kick drum mics. Works every time and you´ll get awesome low end. Remember to listen and check the position before starting the actual session, moving the mic even few inches makes a lot of difference how much bottom end you get." ContentLicense="CC BY-SA 3.0" />
  <row Id="26374" PostHistoryTypeId="2" PostId="15982" RevisionGUID="a0818cef-6927-4fb7-add9-729021f29c6f" CreationDate="2012-11-14T07:21:49.723" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;You can capture crowd during a concert on several ways. First of all, it depends quite a lot if you want to record the audience of a classical or rock event. if it's loud as hell on a rockshow, you will get the pa loud as hell on the microphones.&#xD;&#xA;&#xD;&#xA;-Classic shows: if you use overhead microphone to capture an orchestra, normaly the level of the audience is quite nice on it.&#xD;&#xA;-Delay/amby line: hang 2 microphones directly over the audience, away from the stage&#xD;&#xA;-if there is a live-record, place a stereo-set at the FOH-place, one in the front, one goes in back. record as much as possible and check what you can use&#xD;&#xA;-Openair-Festivals: If there is no ceiling to put on overhead mics, there is a big stage with lot's of truss. hang some amby mics, directed to the audience on the front of the truss: a stereoset in the center of the stage, one microphon left, one right. Also place microfones at FOH place.&#xD;&#xA;&#xD;&#xA;All this requires preparation, takes a lot of time (except placing 2 miks at FOH, this is easy), gear, long cables, channels for recording and good microphones (schoeps, neumann).&#xD;&#xA;The fact is, you need something placed on the audience. If it reacts, you will have something. If it's a good show, the audience is very loud, no problem! But if you compare for example with the Rolling Stones DVD, they record every show, cut together the best things. And also, the FOH place of such a big show is far away from the stage, and the direct sound from the pa is much smaller than the level in a club or small venue.&#xD;&#xA;&#xD;&#xA;I have some audience reaction on: https://www.soundeffects.ch/surround-sound-effects-_e.php?soundeffects=concert+crowd&amp;soundcategory=&amp;type=&#xD;&#xA;sometimes, boxing-ambience or sport ambience can help, but most of the time, it does not work.&#xD;&#xA;&#xD;&#xA;I'd try to record the audience, if the pa is too loud, try some tricks, filtering, to phase-inverse the LR-Output from the mixing-desk (which should be recorded too!) to the amby-channels and so on. If it's too loud, than it's too loud, the only thing is to run a show on quiter level for the record.&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Guido, https://www.soundeffects.ch&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26375" PostHistoryTypeId="2" PostId="15983" RevisionGUID="7a92fa53-2fd8-45b8-bfa2-138157be8afe" CreationDate="2012-11-14T09:46:42.910" UserId="1049" Text="I've not experience in recording/micing such an event, but I would advise capturing as much crowd noise before and after the performance, and between each song, as possible and mix that in where needed, much as with the 'laugh track' from a comedy show with an audience. &#xD;&#xA;&#xD;&#xA;Of course you probably won't be able to instruct the crowd to do some applause/cheering takes etc as they would prior to the recording of a tv show, but concert crowds tend to be excitable and start cheering a fair bit before and after the performance!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="26376" PostHistoryTypeId="2" PostId="15984" RevisionGUID="a4ecbe5c-4f0d-4c6c-a590-cdfaae5db754" CreationDate="2012-11-14T11:56:39.747" UserId="3360" Text="I'm using Sound Studio. It's very intuitive, has multitrack capabilities, nice markers management, fast stereo and mono mix down function and all sort of useful features.&#xD;&#xA;I've recently bought DSP-Quattro thinking that It would have been a more powerful software but I found myself a bit stuck and unable to do simple things as quickly as I do with Sound Studio.&#xD;&#xA;&#xD;&#xA;I've also tried Wave Editor and it's a good one" ContentLicense="CC BY-SA 3.0" />
  <row Id="26377" PostHistoryTypeId="2" PostId="15985" RevisionGUID="e628038e-7f12-47df-a039-07ecfa97ef84" CreationDate="2012-11-14T19:15:30.590" UserId="1319" Text="Well I'm also looking for a nice crossplatform editor. Nobody's using Wavelab?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26378" PostHistoryTypeId="2" PostId="15986" RevisionGUID="ef5efe5c-0e7c-485d-801b-1ea16f00c51d" CreationDate="2012-11-14T19:45:27.177" UserId="4455" Text="get a 2nd dynamic mic, a shure 57 , get a big plastic garbage can, fill it with water, protect the mic with a condom put the mic in the water, set the gain very low.&#xD;&#xA;&#xD;&#xA;the set up will have to be a feet aside from the gun.&#xD;&#xA;&#xD;&#xA;great Lfe.&#xD;&#xA;&#xD;&#xA;Record the 2 mics on different tracks" ContentLicense="CC BY-SA 3.0" />
  <row Id="26379" PostHistoryTypeId="2" PostId="15987" RevisionGUID="ffeb4763-188f-4deb-8246-0c722f5ca974" CreationDate="2012-11-14T22:41:22.023" UserId="4457" Text="Greetings !&#xD;&#xA;I'm junior sound designer and this is my first game project.&#xD;&#xA;I created sound events in FMOD. &#xD;&#xA;I need to edit sounds (SFX-s) using FMOD in order to have changes in real-time on the game (installed in the same computer).&#xD;&#xA;&#xD;&#xA;What shell I do to get this done ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26380" PostHistoryTypeId="1" PostId="15987" RevisionGUID="ffeb4763-188f-4deb-8246-0c722f5ca974" CreationDate="2012-11-14T22:41:22.023" UserId="4457" Text="FMOD real time audio implementation " ContentLicense="CC BY-SA 3.0" />
  <row Id="26381" PostHistoryTypeId="3" PostId="15987" RevisionGUID="ffeb4763-188f-4deb-8246-0c722f5ca974" CreationDate="2012-11-14T22:41:22.023" UserId="4457" Text="&lt;fmod&gt;&lt;realtime&gt;&lt;gameaudio&gt;&lt;edit&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26382" PostHistoryTypeId="2" PostId="15988" RevisionGUID="b7779260-4334-40f3-ab54-ecdee6949aed" CreationDate="2012-11-15T00:59:15.210" UserId="6499" Text="Would it be better to use the AD conversion in the Profire 2626 or the AD/Pres in the Yamaha 01v?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26383" PostHistoryTypeId="2" PostId="15989" RevisionGUID="2f0893d2-4f56-4974-b8b3-cd893e935d95" CreationDate="2012-11-15T02:02:47.103" UserId="362" Text="These might help you out so you don't have to write your own scripts for qlab...&#xD;&#xA;http://wiki.figure53.com/QLab+Scripts+and+Macros" ContentLicense="CC BY-SA 3.0" />
  <row Id="26384" PostHistoryTypeId="2" PostId="15990" RevisionGUID="b5fa8557-9e80-49c6-94d6-380331f84d64" CreationDate="2012-11-15T04:09:29.403" UserId="3784" Text="What's the best fastest way to cut them? I know they have a few different styles of running and it can be very rhythmic but I tried hitting it like foley and spot every step but it doesn't feel right, the only thing that really is working for me is layering a couple tracks for the fast running, obviously the walking and what not is easier to cut but what I'm doing sounds good I'm just not sure if I'm doin it right or I'm being too lazy?&#xD;&#xA;&#xD;&#xA;Thanks!! You guys rock" ContentLicense="CC BY-SA 3.0" />
  <row Id="26385" PostHistoryTypeId="1" PostId="15990" RevisionGUID="b5fa8557-9e80-49c6-94d6-380331f84d64" CreationDate="2012-11-15T04:09:29.403" UserId="3784" Text="Horses.. The right way??" ContentLicense="CC BY-SA 3.0" />
  <row Id="26386" PostHistoryTypeId="3" PostId="15990" RevisionGUID="b5fa8557-9e80-49c6-94d6-380331f84d64" CreationDate="2012-11-15T04:09:29.403" UserId="3784" Text="&lt;sfx&gt;&lt;horse&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26387" PostHistoryTypeId="2" PostId="15991" RevisionGUID="666866a5-d7cb-4257-96c8-5892e99937c0" CreationDate="2012-11-15T04:39:36.833" UserDisplayName="user6508" Text="The important thing is if it sounds good, and feels good you're probably on the right track.  In the past I've had luck finding the style that's close to the rhythm and pace of the picture, even if it's not perfect.  You can then time compress or expand (within reason of course) to match the picture.  One tip I learned from a friend is, if you're having trouble transitioning from a gallop to a canter or walk, add a horse vocal (A whiny, snort or breath) at the transition.  It helps draw attention away from the feet.  Granted I always try and make it work first, but sometimes (especially in television when time is limited) you need to pick your battles." ContentLicense="CC BY-SA 3.0" />
  <row Id="26388" PostHistoryTypeId="2" PostId="15992" RevisionGUID="28f23aee-a46a-495b-af79-ffd487c54a56" CreationDate="2012-11-15T05:21:52.647" UserId="1259" Text="Well the demo sound file on soundcloud is a bit disappointing, in that it mostly contains someone talking about things I care little about. There's barely 10 actual sounds from the pack you hear, and that's not enough to decide to drop the $75 dollars for it. &#xD;&#xA;&#xD;&#xA;That aside, I do know exactly the pistol sound you're talking about from Half Life 2, and even all those years ago it was very noticeable the difference between that and what other shooters had. I can definitely hear the influence, and it might be a nice thing to add to a collection for variation's sake. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26390" PostHistoryTypeId="2" PostId="15993" RevisionGUID="b573cfb6-7317-4e32-8489-bfdc23ced105" CreationDate="2012-11-15T07:33:50.480" UserId="4418" Text="I actually like the Mackie Onyx i mixers. Normally I'd use a dedicated i/o but the firewire interface on the Mackie mixer offers good sound and a whole heap of options when connecting gear. 8 or 16 channels with 6 sends and a sub bus, plus the ability to route into the computer or take out on all channels independently.&#xD;&#xA;&#xD;&#xA;Best yet, all headphone mixes stay analog and with 8-16 channels your number of live mics can grow very quickly, all with no latency.&#xD;&#xA;&#xD;&#xA;Pair that to Pro Tools 10 with video and that TV and you're a nice multi purpose studio.&#xD;&#xA;&#xD;&#xA;Oh, and sends can also work well for ISDN or even alt speakers, maybe some TV monitors or small auratones for checking mixes on other such speakers.&#xD;&#xA;&#xD;&#xA;scrap the Events, just go with Mackies or KRKs." ContentLicense="CC BY-SA 3.0" />
  <row Id="26391" PostHistoryTypeId="2" PostId="15994" RevisionGUID="45107ff5-7e1e-45ce-8b12-a697c5a9e83f" CreationDate="2012-11-15T08:42:12.477" UserId="3825" Text="Awesome ideas. If I have trouble with the literal sounds, I try the metaphorical/dramatic. You could avoid the literal sounds altogether. Maybe you could focus your thoughts on the reason for choking. Who is the protagonist and what do they have to lose? Whatever the motivation is, identify that, record it, and play with that sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="26392" PostHistoryTypeId="2" PostId="15995" RevisionGUID="618611ca-afb6-4de3-bc79-9e2db9a526ca" CreationDate="2012-11-15T09:22:52.617" UserId="3179" Text="Study:&#xD;&#xA;&#xD;&#xA;[FMOD Tutorial 1 - Introduction To FMOD Designer][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=HIil0OFtqxc" ContentLicense="CC BY-SA 3.0" />
  <row Id="26393" PostHistoryTypeId="2" PostId="15996" RevisionGUID="7e473d07-14de-4b28-9c34-cfc4b4225af2" CreationDate="2012-11-15T11:23:34.133" UserId="348" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I am working on a film in South Africa but the producer is in London and wishes to have the sound mix sent to him for viewing. The producer has asked the studio here if we can find him a 5.1 studio in London to view the mix in it's various stages and then send it back with notes. &#xD;&#xA;&#xD;&#xA;The budget is not great and the producer is not looking for a &quot;high end&quot; facility but he wants one that is certified for 5.1. &#xD;&#xA;&#xD;&#xA;Can anyone recommend a studio in London that is not too expensive?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="26394" PostHistoryTypeId="1" PostId="15996" RevisionGUID="7e473d07-14de-4b28-9c34-cfc4b4225af2" CreationDate="2012-11-15T11:23:34.133" UserId="348" Text="Needing a 5.1 studio in London" ContentLicense="CC BY-SA 3.0" />
  <row Id="26395" PostHistoryTypeId="3" PostId="15996" RevisionGUID="7e473d07-14de-4b28-9c34-cfc4b4225af2" CreationDate="2012-11-15T11:23:34.133" UserId="348" Text="&lt;5.1&gt;&lt;studios&gt;&lt;london&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26396" PostHistoryTypeId="2" PostId="15997" RevisionGUID="cf0c01ce-e930-403b-bc01-3227e6fc2d57" CreationDate="2012-11-15T11:37:45.500" UserId="863" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;A film I worked on that I mixed in stereo is being shown at a cinema on Saturday. The director went today to check the setup and test the film, on testing apparently the audio sounds very tinny and there's no bass. &#xD;&#xA;&#xD;&#xA;The projectionist is saying that he can't do anything about it as my mix is not in 5.1.&#xD;&#xA;&#xD;&#xA;Is this normal? I would suspect that a cinema would be able to do both. Is the projectionist being a bit of difficult?  &#xD;&#xA;&#xD;&#xA;He's also claiming he can't alter the brightness of the screen without changing the bulbs, which sounds very odd to me.&#xD;&#xA;&#xD;&#xA;What can I do, please help!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26397" PostHistoryTypeId="1" PostId="15997" RevisionGUID="cf0c01ce-e930-403b-bc01-3227e6fc2d57" CreationDate="2012-11-15T11:37:45.500" UserId="863" Text="cinema screening stereo problem" ContentLicense="CC BY-SA 3.0" />
  <row Id="26398" PostHistoryTypeId="3" PostId="15997" RevisionGUID="cf0c01ce-e930-403b-bc01-3227e6fc2d57" CreationDate="2012-11-15T11:37:45.500" UserId="863" Text="&lt;surround-sound&gt;&lt;stereo&gt;&lt;mix&gt;&lt;cinema&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26399" PostHistoryTypeId="2" PostId="15998" RevisionGUID="94d73bd0-0665-4d3a-b8cb-0e6be1e0d309" CreationDate="2012-11-15T13:47:11.350" UserId="863" Text="try art4noise.com, not sure on their prices but an awesome bunch of guys who really love what they do work there." ContentLicense="CC BY-SA 3.0" />
  <row Id="26400" PostHistoryTypeId="2" PostId="15999" RevisionGUID="f862b1b9-b353-4f4b-b6e6-675f5a86ac97" CreationDate="2012-11-15T15:00:07.517" UserId="4461" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I made a demo reel this week as I want to try to get a sound editing job in London. I had 25 blank DVDs printed with a design I made. I made a nice custom menu in iDVD, to allow the user to choose between playing the reel or viewing a mini version of my CV, complete with 30 seconds of background sound design. My plan was to go to London today with 10 or so burnt DVDs and drop it off in person at a selection of post-pro houses. Unfortunately I burnt a test DVD last night and tried it in my home sitting room DVD player and it sounded pretty terrible. The sound was muffled, like I had a bad cold or something and listening to it gave me a sort of uncomfortable feeling. It seemed very lacking in upper-mid to high frequencies. The sound system in there is OK at best, but DVDs played on it usually sound a lot better than this.&#xD;&#xA;&#xD;&#xA;The reel sounds fine to me when I play it on my computer over my ADAM A7s, whether on the quicktime video or the DVD. The scenes I took from the feature I worked on sounded great at the cinema during the premier. I don't have any other way of testing the DVD on a more normal sound-system until the weekend when I can test it on a friend's home system.  &#xD;&#xA;&#xD;&#xA;Until then I would really appreciate it if anybody would watch/listen to my reel (I uploaded it to Vimeo) and tell me whether it sounds ok or if I need to tweak it? Any other comments or suggestions are welcome of course. The link is [here][1].&#xD;&#xA;&#xD;&#xA;Thank you for reading,&#xD;&#xA;&#xD;&#xA;Joe&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://vimeo.com/53588038" ContentLicense="CC BY-SA 3.0" />
  <row Id="26401" PostHistoryTypeId="1" PostId="15999" RevisionGUID="f862b1b9-b353-4f4b-b6e6-675f5a86ac97" CreationDate="2012-11-15T15:00:07.517" UserId="4461" Text="Problem with my demo reel" ContentLicense="CC BY-SA 3.0" />
  <row Id="26402" PostHistoryTypeId="3" PostId="15999" RevisionGUID="f862b1b9-b353-4f4b-b6e6-675f5a86ac97" CreationDate="2012-11-15T15:00:07.517" UserId="4461" Text="&lt;demo&gt;&lt;reel&gt;&lt;demo-reel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26403" PostHistoryTypeId="2" PostId="16000" RevisionGUID="30deb85a-9090-4877-b1b5-9fe823a162bf" CreationDate="2012-11-15T15:11:13.550" UserId="3196" Text="guys, i need some help here. i need to give a presentation as a part of my college assignment. can anyone suggest me a topic please. i have thought about Acoustics or 3D audio. but then acoustics would become very theoretical and i don't have enough resources to make a presentation on 3d audio. any suggestions would be helpful" ContentLicense="CC BY-SA 3.0" />
  <row Id="26404" PostHistoryTypeId="1" PostId="16000" RevisionGUID="30deb85a-9090-4877-b1b5-9fe823a162bf" CreationDate="2012-11-15T15:11:13.550" UserId="3196" Text="topic for presentation" ContentLicense="CC BY-SA 3.0" />
  <row Id="26405" PostHistoryTypeId="3" PostId="16000" RevisionGUID="30deb85a-9090-4877-b1b5-9fe823a162bf" CreationDate="2012-11-15T15:11:13.550" UserId="3196" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26406" PostHistoryTypeId="2" PostId="16001" RevisionGUID="9c1a607a-9dc8-48e1-99ed-17c39c5ae223" CreationDate="2012-11-15T15:24:00.550" UserId="1259" Text="Maybe on the Loudness Wars of music and labels over the past couple decades. There's enough research material on the web, and you can pull up music examples that showcase it pretty blatantly." ContentLicense="CC BY-SA 3.0" />
  <row Id="26407" PostHistoryTypeId="2" PostId="16002" RevisionGUID="27022f45-65ae-4bf2-ac18-2c827ab581ac" CreationDate="2012-11-15T15:46:28.253" UserId="4462" Text="Don't panic. Check the LFE channel if you have done a 5.1 job. If not (as I imagine), simply pump up the subfrequencis (I think Rbass by Waves could be great).&#xD;&#xA;Hope is not too late...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26408" PostHistoryTypeId="2" PostId="16003" RevisionGUID="b4a30f81-82cf-4439-bea1-948e3e28de01" CreationDate="2012-11-15T15:48:12.897" UserId="3835" Text="Theres always plenty to talk about when it comes to cross-over. I bet there's enough information out there about the skrillex / korn dubstep thing. Most of it will be subjective, reactionary crap, but I'm sure you can find something." ContentLicense="CC BY-SA 3.0" />
  <row Id="26410" PostHistoryTypeId="2" PostId="16005" RevisionGUID="dc2009e0-a314-42d9-a12d-7d544a95f985" CreationDate="2012-11-15T15:59:20.043" UserId="3179" Text="How about commercialization and monetizing of music/sound/media products that involve sound in the digital era. You could study and present what kind of options there are (digital marketplaces, personal websites, crowd sourcing services etc.) for making money out of sound and what are their differences. Maybe search some data about the state of different sound-related media industries, their structures (companies, independents) and how different groups generate profit. You could throw a few words about promotion and marketing as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="26411" PostHistoryTypeId="5" PostId="16005" RevisionGUID="125e431c-4828-4dff-bbcc-3dfe02f92968" CreationDate="2012-11-15T16:09:49.663" UserId="3179" Comment="added 388 characters in body; added 3 characters in body" Text="How about commercialization and monetizing of music/sound/media products that involve sound in the digital era. You could study and present what kind of options there are (digital marketplaces, personal websites, crowd sourcing services etc.) for making money out of sound and what are their differences. Maybe search some data about the state of different sound-related media industries, their structures (companies, independents) and how different groups generate profit. You could throw a few words about promotion and marketing as well.&#xD;&#xA;&#xD;&#xA;I personally find technical presentations rather boring, if they aren't given in the right context and/or by the right person (one usually needs good theoretical background to present the stuff in a way that's not too speculative or superficial). And I think the creative side is much more relevant, unless the class/course you're taking part in has a technical &quot;engineering&quot;-like focus." ContentLicense="CC BY-SA 3.0" />
  <row Id="26412" PostHistoryTypeId="2" PostId="16006" RevisionGUID="6ebab1f2-8e15-45ad-b4b0-06555d7b91e0" CreationDate="2012-11-15T16:11:10.710" UserId="1049" Text="Is it open-topic and you're choosing to make it audio-based, or does it have to be acoustics related (hence your use of the 'acoustics' tag)?&#xD;&#xA;&#xD;&#xA;You could always branch off a little and do something on psychoacoustics or emotional responses to certain sounds, such as discussed in this post [here][1]. You could collect a bunch of sounds and play them out to your audience and see how they react to each, similar to what they did on [this episode of BBC's Bang Goes the Theory][2] . I don't know if you'll be able to hunt down that episode but they've got a link to the sound clips they used. You could then follow up on a discussion as to why we react in such ways etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bbc.co.uk/programmes/b01dzmbs&#xD;&#xA;  [2]: http://www.bbc.co.uk/programmes/b01dzmbs" ContentLicense="CC BY-SA 3.0" />
  <row Id="26413" PostHistoryTypeId="5" PostId="16006" RevisionGUID="9f85ca5a-b2b8-4851-a76a-ad50abab5b4a" CreationDate="2012-11-15T16:17:00.543" UserId="1049" Comment="added 113 characters in body" Text="Is it open-topic and you're choosing to make it audio-based, or does it have to be acoustics related (hence your use of the 'acoustics' tag)?&#xD;&#xA;&#xD;&#xA;You could always branch off a little and do something on psychoacoustics or emotional responses to certain sounds, such as discussed in this post [here][1]. You could collect a bunch of sounds and play them out to your audience and see how they react to each, similar to what they did on [this episode of BBC's Bang Goes the Theory][2] . I don't know if you'll be able to hunt down that episode but they've got a link to the sound clips they used. You could then follow up on a discussion as to why we react in such ways etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**EDIT:** Or have a look at [this][3] on 'sonic crystal'&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bbc.co.uk/programmes/b01dzmbs&#xD;&#xA;  [2]: http://www.bbc.co.uk/programmes/b01dzmbs&#xD;&#xA;  [3]: http://www.bbc.co.uk/programmes/p00q6qnz" ContentLicense="CC BY-SA 3.0" />
  <row Id="26414" PostHistoryTypeId="2" PostId="16007" RevisionGUID="8177a382-be7d-4ab5-99c4-230b5c1fbe98" CreationDate="2012-11-15T17:51:40.087" UserId="4464" Text="use contact mics (piezos) and sink them in dense foam... cheap" ContentLicense="CC BY-SA 3.0" />
  <row Id="26415" PostHistoryTypeId="2" PostId="16008" RevisionGUID="4a0e26b7-27f2-4b96-ba08-dc47c547965e" CreationDate="2012-11-15T18:25:13.767" UserId="407" Text="I'd love to have a chance to research and do a talk on how good or bad audio effects the way you perceive visuals. Sight is your strongest sense, but audio effects the way your subconscious interprets the vision." ContentLicense="CC BY-SA 3.0" />
  <row Id="26416" PostHistoryTypeId="2" PostId="16009" RevisionGUID="80abb5cc-8fb5-4ff4-84d0-44631004679c" CreationDate="2012-11-16T02:53:33.870" UserId="1150" Text="Might be handy to have a radio mic around especially for ADR :)&#xD;&#xA;Acoustics / noise floor issues / monitoring as well very important." ContentLicense="CC BY-SA 3.0" />
  <row Id="26417" PostHistoryTypeId="2" PostId="16010" RevisionGUID="3acb7c60-8648-4dc3-a673-32b317b73deb" CreationDate="2012-11-16T02:57:19.617" UserId="4465" Text="Hi all, &#xD;&#xA;&#xD;&#xA;Just wanting some fresh ideas when discussing film noir sound design. Have studied all the great noir works and was hoping there were some more modern examples to look at/listen to. The film we're doing deals with obsession and delusion while the score will be a classic noir-ish sound, I'm hoping to use modern techniques for the sound design. &#xD;&#xA;&#xD;&#xA;Any guidance would be appreciated. &#xD;&#xA;Ryan. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26418" PostHistoryTypeId="1" PostId="16010" RevisionGUID="3acb7c60-8648-4dc3-a673-32b317b73deb" CreationDate="2012-11-16T02:57:19.617" UserId="4465" Text="Modern takes on film noir sound design? " ContentLicense="CC BY-SA 3.0" />
  <row Id="26419" PostHistoryTypeId="3" PostId="16010" RevisionGUID="3acb7c60-8648-4dc3-a673-32b317b73deb" CreationDate="2012-11-16T02:57:19.617" UserId="4465" Text="&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26420" PostHistoryTypeId="2" PostId="16011" RevisionGUID="ad26ac4d-afd2-408f-b11b-b18348c7cf72" CreationDate="2012-11-16T09:17:56.600" UserId="4466" Text="You can also check and make sure that everything is in phase in your mix.  That happened to me once.  The theater was actually in mono and I hadn't correctly made sure that there were no phase issues. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26421" PostHistoryTypeId="2" PostId="16012" RevisionGUID="fe8c8746-a366-4ee4-a341-397cd55f33b3" CreationDate="2012-11-16T09:21:18.580" UserId="4466" Text="@sonicdesigns&#xD;&#xA;&#xD;&#xA;I found this helpful watching Gary Hecker do this.  Your question made me think of this.  He this helps.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26423" PostHistoryTypeId="2" PostId="16014" RevisionGUID="5eea5572-adba-428d-97b3-658078545a03" CreationDate="2012-11-16T17:05:03.910" UserId="4461" Text="Just to say that I fixed the DVD problem - the DVD player was using pro-logic decoding on the stereo track. I didn't notice the sound coming out the rears (doh!) when I tested but obviously it was creating phase problems hence the stuffy/uncomfortable feeling. I really hope other DVD players don't default to pro-logic when playing a simple stereo DVD! Is there something I need to do when burning the DVD to prevent this? So I guess I answered my own problem. C&amp;C on the showreel still welcome :) - Joe." ContentLicense="CC BY-SA 3.0" />
  <row Id="26424" PostHistoryTypeId="2" PostId="16015" RevisionGUID="2076acca-b277-4bba-b471-55fa2754a738" CreationDate="2012-11-16T17:19:53.580" UserDisplayName="user49" Text="Maybe check out the Cohen Brothers noir-ish The Man Who Wasn't There?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26425" PostHistoryTypeId="2" PostId="16016" RevisionGUID="28ed652f-0137-4a3c-9c5c-1b1aa602f380" CreationDate="2012-11-16T18:24:42.783" UserId="234" Text="Most Cinema's sadly have NOBODY who knows about the sound system. In recent years I've learned far too much about Dolby Cinema Processors. Some things to look out for:&#xD;&#xA;&#xD;&#xA;Most Cinema's STILL take the analog outs of the BluRay player to their Cinema Processors Non-Sync input... even if they're runniing digital to the projector - most CP's can't take the AC3 from a BluRay or DVD (The CP850 does but the older 750 and 650 and anything else does not unless they have the DMA8 converter). In that case 5.1 won't happen... it's essentially PL/PLII decoding, which can cause it's own issues. In that case, do a quick Google search on the Processor - there are a number of settings that can royally screw up your soundtrack.&#xD;&#xA;&#xD;&#xA;Good Luck!&#xD;&#xA;&#xD;&#xA;EDIT; Just double checking... the 650 DOES do AC3 in some confifgurations as well as the 750!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26426" PostHistoryTypeId="2" PostId="16017" RevisionGUID="75f44c06-ad26-4317-a002-aa5f4dc8dc1b" CreationDate="2012-11-16T22:05:53.950" UserId="4466" Text="@hideo&#xD;&#xA;&#xD;&#xA;I did enjoy your demo reel.  I do have some feedback for you.  I feel that the game clip stands out negatively in your favor.  All of your other pieces show fluid and seamless sound but when we listen to the game clip it doesn't sit quite as well. I think it would be nice to hear more foley of the fabric and character movements.  Having the sound of snow crunching will sell the idea more.  Also there are times when weapons are being moved or dropped and there are no assets for them as well.  Other than that I did enjoy your reel." ContentLicense="CC BY-SA 3.0" />
  <row Id="26427" PostHistoryTypeId="2" PostId="16018" RevisionGUID="503bafc0-cf3e-4ed0-9169-afa73bba07c3" CreationDate="2012-11-17T04:48:25.387" UserId="4469" Text="Hi guys, this is the first time i post on this forum, although i've been reading quite often in the last few months. &#xD;&#xA;&#xD;&#xA;I've got an issue on something i just came across.&#xD;&#xA;&#xD;&#xA;I'm editing dialogues (voices only, no ambient noises no sfx) for tv, and i've been asked to follow the following specification:&#xD;&#xA;&#xD;&#xA;Dialogue targeting –26 Leq A&#xD;&#xA;– 10dBFS max on peaks&#xD;&#xA;- 22 RMS&#xD;&#xA;&#xD;&#xA;I can't (and perhaps don't want) to compress the audio too much (max reduction on compressor 3db, only on the peaks). I managed to get the right levels as regard dBFS and RMS, but the Leq A value is around 33 / 35 only (short term). &#xD;&#xA;&#xD;&#xA;I was wondering if the only way to reach an higher Leq A value is by compressing, or if there are other way.&#xD;&#xA;&#xD;&#xA;Thank you in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26428" PostHistoryTypeId="1" PostId="16018" RevisionGUID="503bafc0-cf3e-4ed0-9169-afa73bba07c3" CreationDate="2012-11-17T04:48:25.387" UserId="4469" Text="Leq (A) specifications" ContentLicense="CC BY-SA 3.0" />
  <row Id="26429" PostHistoryTypeId="3" PostId="16018" RevisionGUID="503bafc0-cf3e-4ed0-9169-afa73bba07c3" CreationDate="2012-11-17T04:48:25.387" UserId="4469" Text="&lt;pro-tools&gt;&lt;editing&gt;&lt;dialogue&gt;&lt;compression&gt;&lt;television&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26430" PostHistoryTypeId="2" PostId="16019" RevisionGUID="20e7dcd7-050b-455d-b469-5dc56c9b45b8" CreationDate="2012-11-17T05:11:47.590" UserId="4470" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;I have been working in sound design for just under a year now in my first professional gig and have now gotten to the stage where I can no longer just rely on library recordings to work with. Although I am not new to audio design I am very new to actual field recording, although I did spend a number of years working as a producer so am quite comfortable recording vocals etc. &#xD;&#xA;&#xD;&#xA;I would ideally like to get a small set-up which will allow me to get out there an begin building my own library. I am currently working in the games industry so the majority of my sound requirements are ambience/effects and foley but not not much dialogue at the moment. &#xD;&#xA;&#xD;&#xA;I am on a very tight budget so I really need to make every penny count and attempt to be able to be as flexible as possible with this set-up until I can afford to upgrade in the future. From reading around I have been over a few set-ups and believe the following might possibly be the most flexible in my price range. &#xD;&#xA;&#xD;&#xA;Marantz PMD661 &#xD;&#xA;&#xD;&#xA;Rode NT6 x 2&#xD;&#xA;&#xD;&#xA;Rode Blimp x 1  &#xD;&#xA;&#xD;&#xA;and possibly the NT45-O capsule if I need omni for anything. Total cost for the 2 rodes and the Marantz and blimp is about £1039. Plus I would need some kind of mount for the pair (any suggestions that would work with the blimp + the 2 rodes?) &#xD;&#xA;&#xD;&#xA;Anyway if anybody could possibly give me any feedback or has suggestions for a better setup I would be hugely grateful, as I said before I really need the most flexibility I can get at the moment on the smallest price so need to be able to do stereo and mono at 96khz/24bit. &#xD;&#xA;&#xD;&#xA;Many thanks for taking a look and many thanks for anybody who has any input. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26431" PostHistoryTypeId="1" PostId="16019" RevisionGUID="20e7dcd7-050b-455d-b469-5dc56c9b45b8" CreationDate="2012-11-17T05:11:47.590" UserId="4470" Text="First Field Setup" ContentLicense="CC BY-SA 3.0" />
  <row Id="26432" PostHistoryTypeId="3" PostId="16019" RevisionGUID="20e7dcd7-050b-455d-b469-5dc56c9b45b8" CreationDate="2012-11-17T05:11:47.590" UserId="4470" Text="&lt;field-recording&gt;&lt;setup&gt;&lt;first&gt;&lt;gear&gt;&lt;low-budget&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26433" PostHistoryTypeId="2" PostId="16020" RevisionGUID="c7104189-273c-41da-8684-a6b3d7b9d162" CreationDate="2012-11-17T05:19:33.300" UserId="1228" Text="I'm sure some more experience mixers can chime in, as I'm not a mixer by trade so I don't know all of the in's and outs.&#xD;&#xA;&#xD;&#xA;Although, from my somewhat limited experience, the LEQ(a) is effectively an RMS-type (averaged) measurement of sound energy.  Meaning that it stands to reason in my mind that based upon what you've said, upward compression is the only thing which will push the LEQ(a) hotter because by doing so, you're pushing up the average sound energy level.  The specs you list seem on point with what I know for TV, and some have even more stringent specs (I believe I've heard somewhere that Discovery asks for -24 LEQ(a) )." ContentLicense="CC BY-SA 3.0" />
  <row Id="26434" PostHistoryTypeId="2" PostId="16021" RevisionGUID="a038d9f3-d922-4167-9838-43fe81169f8b" CreationDate="2012-11-17T07:47:33.203" UserId="407" Text="What gear you need depends on what you want to record of course, so take all this advice with a pinch of salt. My work colleague uses an [olympus ls100][1] as his main recorder and that sounds pretty good. Our composer is currently road testing the [Roland R-26][2] which apart from a few software bugs he says in really great. This would cover you for stereo recordings, I'd suggest looking for a decent second hand shotgun, mic with Rycote - maybe a sennheiser 416 p48. A great sight to look for second hand gear is [bb list][3]. Remember also headphones, cables and stands :) -&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.thomann.de/gb/olympus_ls_100.htm&#xD;&#xA;  [2]: http://www.thomann.de/gb/roland_r26.htm&#xD;&#xA;  [3]: http://www.bblist.co.uk/" ContentLicense="CC BY-SA 3.0" />
  <row Id="26435" PostHistoryTypeId="2" PostId="16022" RevisionGUID="9addf480-ead1-473f-a368-0b26b099797d" CreationDate="2012-11-17T10:18:16.507" UserId="3299" Text="Rian Johnson's (Looper) first film 'Brick' is a great take on a modern film noir. " ContentLicense="CC BY-SA 3.0" />
  <row Id="26436" PostHistoryTypeId="2" PostId="16023" RevisionGUID="3c722e95-2936-4b23-b5d2-e050968d6f2c" CreationDate="2012-11-17T12:32:38.267" UserId="432" Text="Steve is correct in that LeqA is effectively an RMS style measurement. The main difference is that the measurement is weighted by an EQ curve (which is why there can be a difference between the LeqA and actual RMS measurement).&#xD;&#xA;&#xD;&#xA;Yes, you're going to need more compression to meet the necessary levels. Most television dialog sits in that -26 range already (it's always compressed). In fact, -26/-27 LeqA dialog levels was a very typical broadcast requirement prior to the introduction of Loudness metering." ContentLicense="CC BY-SA 3.0" />
  <row Id="26437" PostHistoryTypeId="5" PostId="16023" RevisionGUID="d7bd344b-1dcb-485a-895e-f8751276b6df" CreationDate="2012-11-17T13:09:55.077" UserId="432" Comment="added 19 characters in body" Text="Steve is correct in that LeqA is effectively an RMS style measurement. The main difference is that the measurement is weighted by an EQ curve (which is one of the reasons why there can be a difference between the LeqA and actual RMS measurement).&#xD;&#xA;&#xD;&#xA;Yes, you're going to need more compression to meet the necessary levels. Most television dialog sits in that -26 range already (it's always compressed). In fact, -26/-27 LeqA dialog levels was a very typical broadcast requirement prior to the introduction of Loudness metering." ContentLicense="CC BY-SA 3.0" />
  <row Id="26438" PostHistoryTypeId="2" PostId="16024" RevisionGUID="8b076ce9-3470-4ab0-8042-2d55b92d1464" CreationDate="2012-11-17T15:10:45.377" UserId="4376" Text="Im just finishing my degree in live &amp; studio sound and was wandering what other skills do sound designers most like to have? And what makes a sound designer more employable other than having skills in sound design?&#xD;&#xA;&#xD;&#xA;Also, how important are music composition skills?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="26439" PostHistoryTypeId="1" PostId="16024" RevisionGUID="8b076ce9-3470-4ab0-8042-2d55b92d1464" CreationDate="2012-11-17T15:10:45.377" UserId="4376" Text="What other skills should you have?" ContentLicense="CC BY-SA 3.0" />
  <row Id="26440" PostHistoryTypeId="3" PostId="16024" RevisionGUID="8b076ce9-3470-4ab0-8042-2d55b92d1464" CreationDate="2012-11-17T15:10:45.377" UserId="4376" Text="&lt;skill&gt;&lt;job&gt;&lt;composition&gt;&lt;employability&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26441" PostHistoryTypeId="2" PostId="16025" RevisionGUID="e9feb584-84b9-4042-a4c8-0babf967a209" CreationDate="2012-11-17T15:50:10.357" UserId="3179" Text="Well, sound design is mainly creative specialist work, although it practically encompasses everything in &quot;sound production&quot; in general. Thus, to be really competent, you should know at least a bit of everything that goes into making a soundtrack (music composition, music recording, sound effects recording and creation, hiring and directing VO artists, recording VO, mixing and mastering), although it doesn't mean that you have to do everything, but rather you should know what creating a soundtrack encompasses. Additionally, it may be beneficial to understand script writing, film making, video editing, acting, animation, game design etc. as art forms and on a practical level, because those are things that affect your work as an artist, because you're interpreting the work of other artists and working towards a coherent piece of art or media with them. Additionally, you may wish to follow your chosen medium as a consumer to have good a sense of different styles and genres that inspire you on how to do your own work and to know what others in your field/medium are doing.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26442" PostHistoryTypeId="5" PostId="16025" RevisionGUID="916ed419-9893-4752-91af-e0359f00ab09" CreationDate="2012-11-17T15:55:11.377" UserId="3179" Comment="added 8 characters in body" Text="Well, sound design is mainly creative specialist work, although it practically encompasses everything in &quot;sound production&quot; in general. Thus, to be really competent, you should know at least a bit of everything that goes into making a soundtrack (music composition, music recording, sound effects recording and creation, hiring and directing VO artists, recording VO, mixing and mastering), although it doesn't mean that you have to do everything, but rather you should know what creating a soundtrack encompasses. Additionally, it may be beneficial to understand script writing, film making, video editing, acting, animation, game design etc. as art forms and a bit on the practical level, because those are things that affect your work as an artist, because you're interpreting the work of other artists and working towards a coherent piece of art or media with them. Additionally, you may wish to follow your chosen medium as a consumer to have good a sense of different styles and genres that inspire you on how to do your own work and to know what others in your field/medium are doing.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26443" PostHistoryTypeId="5" PostId="16025" RevisionGUID="a43ea00f-20f2-456c-a556-4bbc32f21856" CreationDate="2012-11-17T16:00:43.897" UserId="3179" Comment="added 94 characters in body; added 3 characters in body; added 78 characters in body; added 60 characters in body" Text="Well, sound design is mainly creative specialist work, although it practically encompasses everything in &quot;sound production&quot; in general (which would make a &quot;sound designer&quot; more of a generalist in the audio field). Thus, to be really competent, you should know at least a bit of everything that goes into making a soundtrack (music composition, music recording, sound effects recording and creation, hiring and directing VO artists, recording VO, mixing and mastering), although it doesn't mean that you have to do everything, but rather you should know what creating a soundtrack encompasses and what kind of talent you need to hire, if you work alone. Additionally, it may be beneficial to understand script writing, film making, video editing, acting, animation, game design etc. as art forms and a bit on the practical level, because those are things that affect your work as an artist, because you're interpreting the work of other artists and working towards a coherent piece of art or media with them, and knowing and being interested in what other artists do is a good way to show professionalism. Additionally, you may wish to follow your chosen medium as a consumer to have good a sense of different styles and genres that inspire you on how to do your own work and to know what others in your field/medium are doing.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26444" PostHistoryTypeId="5" PostId="16025" RevisionGUID="c6b320a6-23e0-4b7a-a609-c1036421aa46" CreationDate="2012-11-17T16:08:40.620" UserId="3179" Comment="added 380 characters in body; added 158 characters in body" Text="Well, sound design is mainly creative specialist work, although it practically encompasses everything in &quot;sound production&quot; in general (which would make a &quot;sound designer&quot; more of a generalist in the audio field). Thus, to be really competent, you should know at least a bit of everything that goes into making a soundtrack (music composition, music recording, sound effects recording and creation, hiring and directing VO artists, recording VO, mixing and mastering), although it doesn't mean that you have to do everything, but rather you should know what creating a soundtrack encompasses and what kind of talent you need to hire, if you work alone. Additionally, it may be beneficial to understand script writing, film making, video editing, acting, animation, game design etc. as art forms and a bit on the practical level, because those are things that affect your work as an artist, because you're interpreting the work of other artists and working towards a coherent piece of art or media with them, and knowing and being interested in what other artists do is a good way to show professionalism. Additionally, you may wish to follow your chosen medium as a consumer to have good a sense of different styles and genres that inspire you on how to do your own work and to know what others in your field/medium are doing. And well, actually consuming the media that you work in is probably one of the most important things, because producing it is a balance between meeting viewer/consumer expectations (i.e. lending common styles, making &quot;what they want to hear&quot; and producing sound which supports their art experience or media consumption the best) and filling the gaps with your own personal style. A sound designers as well as any artists most important skill is to make stuff that people want to consume, and in this case specifically hear and experience&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26445" PostHistoryTypeId="5" PostId="16025" RevisionGUID="60aeaf4b-fe14-47f8-ba04-440e7611a38b" CreationDate="2012-11-17T16:13:59.610" UserId="3179" Comment="added 2 characters in body; edited body; added 56 characters in body" Text="Well, sound design is mainly creative specialist work, although it practically encompasses everything in &quot;sound production&quot; in general (which would make a &quot;sound designer&quot; more of a generalist in the audio field). Thus, to be really competent, you should know at least a bit of everything that goes into making a soundtrack (music composition, music recording, sound effects recording and creation, hiring and directing VO artists, recording VO, mixing and mastering), although it doesn't mean that you have to do everything, but rather you should know what creating a soundtrack encompasses and what kind of talent you need to hire, if you work alone. Additionally, it may be beneficial to understand script writing, film making, video editing, acting, animation, game design etc. as art forms and a bit on the practical level, because those are things that affect your work as an artist, because you're interpreting the work of other artists and working towards a coherent piece of art or media with them, and knowing and being interested in what other artists do is a good way to show professionalism. Additionally, you may wish to follow your chosen medium as a consumer to have a good sense of different styles and genres that inspire you on how to do your own work and to know what others in your field/medium are doing. And well, actually consuming the media that you work in is probably one of the most important things, because producing it is a balance between meeting viewer/consumer expectations (i.e. lending common styles, making &quot;what they want to hear&quot; and producing sound which supports their art experience or media consumption the best) and filling the gaps with your own personal style. A sound designer's as well as any artist's most important skill is to make stuff that people want to consume, and most importantly, stuff that supports the piece that you're doing sound for in the best possible way.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26446" PostHistoryTypeId="5" PostId="16025" RevisionGUID="14616971-88b1-4b17-92f5-4fefac2d7433" CreationDate="2012-11-17T16:19:15.943" UserId="3179" Comment="deleted 19 characters in body; added 1 characters in body; added 46 characters in body" Text="Well, sound design is mainly creative specialist work, although it practically encompasses everything in &quot;sound production&quot; in general (which would make a &quot;sound designer&quot; more of a generalist in the audio field). Thus, to be really competent, you should know at least a bit of everything that goes into making a soundtrack (music composition, music recording, sound effects recording and creation, hiring and directing VO artists, recording VO, mixing and mastering), although it doesn't mean that you have to do everything, but rather you should know what creating a soundtrack encompasses and what kind of talent you need to hire. Additionally, it may be beneficial to understand script writing, film making, video editing, acting, animation, game design etc. as art forms and a bit on the practical level, because those are things that affect your work as an artist, because you're interpreting the work of other artists and working towards a coherent piece of art or media with them, and knowing and being interested in what other artists do is a good way to show professionalism. Additionally, you may wish to follow your chosen medium as a consumer to have a good sense of different styles and genres that inspire you on how to do your own work and to know what others in your field/medium are doing. And well, actually consuming the medium that you work in is probably one of the most important things, because producing it is a balance between meeting viewer/consumer expectations (i.e. lending common styles, making &quot;what they want to hear&quot; and producing sound which supports their art experience or media consumption the best) and filling the gaps with your own personal style. A sound designer's as well as any artist's most important skill, taken that you want to be paid for doing it, is to make stuff that people want to consume, and most importantly, stuff that supports the piece that you're doing sound for in the best possible way.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26447" PostHistoryTypeId="5" PostId="16025" RevisionGUID="489293b2-9fa9-400c-93ee-03d7b4bc92e4" CreationDate="2012-11-17T16:25:23.603" UserId="3179" Comment="added 31 characters in body; added 17 characters in body; added 142 characters in body" Text="Well, sound design is mainly creative specialist work, although it practically encompasses everything in &quot;sound production&quot; in general (which would make a &quot;sound designer&quot; more of a generalist in the audio field). Thus, to be really competent, you should know at least a bit of everything that goes into making a soundtrack (music composition, music recording, sound effects recording and creation, dialog and location recording, hiring and directing VO artists, recording VO, mixing and mastering), although it doesn't mean that you have to do everything, but rather you should know what creating a soundtrack encompasses and what kind of talent you need to hire and/or work with. Additionally, it may be beneficial to understand script writing, film making, video editing, acting, animation, game design etc. as art forms and a bit on the practical level, because those are things that affect your work as an artist, because you're interpreting the work of other artists and working towards a coherent piece of art or media with them, and knowing and being interested in what other artists do is a good way to show professionalism. You may also wish to understand the business and entrepreneurial side of things a bit, especially if you freelance or set up your own studio. Additionally, you may wish to follow your chosen medium as a consumer to have a good sense of different styles and genres that inspire you on how to do your own work and to know what others in your field/medium are doing. And well, actually consuming the medium that you work in is probably one of the most important things, because producing it is a balance between meeting viewer/consumer expectations (i.e. lending common styles, making &quot;what they want to hear&quot; and producing sound which supports their art experience or media consumption the best) and filling the gaps with your own personal style. A sound designer's as well as any artist's most important skill, taken that you want to be paid for doing it, is to make stuff that people want to consume, and most importantly, stuff that supports the piece that you're doing sound for in the best possible way.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26448" PostHistoryTypeId="2" PostId="16026" RevisionGUID="55b777a9-e295-4ea9-bda9-653b45757ac5" CreationDate="2012-11-17T17:29:27.997" UserDisplayName="user6508" Text="The couple &quot;skills&quot; that I believe are most important to employability in this business is people skills and a positive attitude.  No ones going to want to work with someone with a terrible attitude who doesn't get along with other people.  This art, especially when talking film, tv and gaming, is such a collaborative process you have to be able to work with all types, even if you can't personally stand the person.  It's amazing what a &quot;can do&quot; attitude and a smile can do for ones career.&#xD;&#xA;&#xD;&#xA;Best of luck to you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26449" PostHistoryTypeId="2" PostId="16027" RevisionGUID="6f23aa7c-28e1-4c3f-ab48-cb067593df1d" CreationDate="2012-11-17T18:05:03.880" UserId="3979" Text="Minority Report! Tom Cruise - music by John Williams - sound design by THE Gary Rydstrom&#xD;&#xA;&#xD;&#xA;http://www.imdb.com/title/tt0181689/&#xD;&#xA;&#xD;&#xA;Great modern noir film. Watch all the special features too if possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="26450" PostHistoryTypeId="2" PostId="16028" RevisionGUID="0b340566-e786-456f-8967-c6f10e122634" CreationDate="2012-11-17T18:12:30.260" UserId="3979" Text="Portable recorder + the zoo - if you go in the early afternoon on a weekday when there are less people and talk to the staff about what you're doing, some times they'll be really cool and let you go to the more secluded sections to record. You can also ask what the feeding times are, and they're usually happy to say. Animals tend to be more vocal during feeding time." ContentLicense="CC BY-SA 3.0" />
  <row Id="26451" PostHistoryTypeId="2" PostId="16029" RevisionGUID="7929fd21-9f82-499a-bc24-11b83449b98c" CreationDate="2012-11-17T18:27:15.760" UserId="3979" Text="&gt;&gt;watch these videos!!!!!!!!&lt;&lt;&#xD;&#xA;&#xD;&#xA;http://soundworkscollection.com/halo-reach&#xD;&#xA;&#xD;&#xA;http://soundworkscollection.com/flight&#xD;&#xA;&#xD;&#xA;The halo one really breaks it down about 2 minutes in.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26452" PostHistoryTypeId="2" PostId="16030" RevisionGUID="537383a8-32f0-4606-af99-a6717d4d0635" CreationDate="2012-11-17T18:32:04.113" UserDisplayName="user49" Text="- Totally agree with everything the others have said - especially people skills &amp; being positive/enthusiastic is very, very important!&#xD;&#xA;&#xD;&#xA;- Knowing when to be quiet&#xD;&#xA;&#xD;&#xA;- Knowing dub stage etiquette&#xD;&#xA;&#xD;&#xA;- Knowing the history of your field, i.e. if you work in film you should watch a LOT of films &amp; not just Hollywood films (when looking for interns I always ask for applicants to list their 5 favourite films and if they are all from one country/culture, then I eliminate them... I cannot stand xenophobia)&#xD;&#xA;&#xD;&#xA;- Understanding other peoples roles eg knowing how &amp; why a picture editor does their work is very important&#xD;&#xA;&#xD;&#xA;imho composition skills are not essential, but having a musical ear, a sensibility &amp; an appreciation for a broad range of music is very beneficial as you will collaborate with composers...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26453" PostHistoryTypeId="5" PostId="16026" RevisionGUID="383cc208-f5b9-4675-bc2d-9dbb702be0c7" CreationDate="2012-11-17T19:09:54.417" UserDisplayName="user6508" Comment="deleted 6 characters in body" Text="The couple &quot;skills&quot; that I believe are most important to employability in this business is people skills and a positive attitude.  No ones going to want to work with someone with a terrible attitude who doesn't get along with other people.  This art, especially when talking film, tv and gaming, is such a collaborative process you have to be able to work with all types, even if you can't personally stand them.  It's amazing what a &quot;can do&quot; attitude and a smile can do for ones career.&#xD;&#xA;&#xD;&#xA;Best of luck to you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="26456" PostHistoryTypeId="2" PostId="16032" RevisionGUID="89715896-1f5f-4b3d-95e4-af45ef9fe93d" CreationDate="2012-11-17T22:19:09.827" UserId="18160" Text="A couple things I have gleaned:&#xD;&#xA;&#xD;&#xA;- **Organization**. Knowing how to organize your time and setting up your schedule to be able to beat or meet a deadline is extremely important IMHO. And the gigs I do, the sound designer/editor/mixer/recordist who manages their time and can organize their workday to achieve an easy pace but still getting all the work done to a stellar product and still manages to get a good night's sleep is revered, while the martyr who really &quot;muscled it through&quot; after not sleeping for a week to get it done is not the first on the list to get re-hired.&#xD;&#xA;&#xD;&#xA;- **Discipline**. Are you diligent and work the full day with minimal breaks or &quot;f*%$-around&quot;? I know fellows who have been fired for taking a personal call while he was working. And I know producers who sometimes test their clients by calling them while on the job to see if they pick up or continue working. Obviously an emergency is okay, but I'm talking about the two broads you want to go bar-hopping with or the buds who want to know if you want mush n' pepp or hawaiian pizza... It's definitely noted how diligent and persistent to work you are.&#xD;&#xA;&#xD;&#xA;- **Common courtesies in the mixroom / studio**. Don't unpatch the other guy's patchbay for yours which is &quot;more important&quot;. Don't move papers unless you know exactly who's they are. Don't leave a mess for the next guy in the studio. Coil your goddamn cables correctly with over-under and not like a garden-hose. Common sense courtesy goes a LONG way. Help your fellow co-worker. Be willing to move big demo equipment boxes around, help clean the bathroom stalls up, help receptionist Judy bring in the 40-pack of water bottles from the car outside.&#xD;&#xA;&quot;Hey Bob, who was that guy who was so willing to help out and helped the foley artist when he was done for the day?&quot; &quot;Oh, that was Brian.&quot; &quot;Lets get him on the next project - he's a hard worker.&quot;&#xD;&#xA;&#xD;&#xA;- **Don't be important**. Be humble and open to someone else's opinion. No matter how great you think you can make that effect work or whatever other idea you have that is &quot;better than the other guy's&quot;, don't push it on people. Wait for your chance to present something or be called to work something out. In the long run, you'll be noticed as &quot;better than the other guy&quot; if you continue working and are diligent as above and eventually your work will be noticed. Bragging also plays a part in this - don't do it. Don't call attention to yourself to get noticed - it annoys the hell out of certain people and creates a sort of reputation about you that others just seem to repel or reject after a while.&#xD;&#xA;&#xD;&#xA;- **Continue learning**. You're dead the minute you think you know all there is to know about a subject - same applies to sound design. The moment you start resting on your laurels, be certain your time is almost up because there is constantly things changing or upgrading or moving and you need to be all over it and on top of it. Don't become out-dated or &quot;behind the times&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="26457" PostHistoryTypeId="5" PostId="16032" RevisionGUID="15356adc-b5e7-42df-af63-324d2d4b224c" CreationDate="2012-11-17T22:26:24.147" UserId="18160" Comment="added 703 characters in body" Text="A couple things I have gleaned:&#xD;&#xA;&#xD;&#xA;- **Organization**. Knowing how to organize your time and setting up your schedule to be able to beat or meet a deadline is extremely important IMHO. And the gigs I do, the sound designer/editor/mixer/recordist who manages their time and can organize their workday to achieve an easy pace but still getting all the work done to a stellar product and still manages to get a good night's sleep is revered, while the martyr who really &quot;muscled it through&quot; after not sleeping for a week to get it done is not the first on the list to get re-hired.&#xD;&#xA;&#xD;&#xA;- **Discipline**. Are you diligent and work the full day with minimal breaks or &quot;f*%$-around&quot;? I know fellows who have been fired for taking a personal call while he was working. And I know producers who sometimes test their clients by calling them while on the job to see if they pick up or continue working. Obviously an emergency is okay, but I'm talking about the two broads you want to go bar-hopping with or the buds who want to know if you want mush n' pepp or hawaiian pizza... It's definitely noted how diligent and persistent to work you are.&#xD;&#xA;&#xD;&#xA;- **Common courtesies in the mixroom / studio**. Don't unpatch the other guy's patchbay for yours which is &quot;more important&quot;. Don't move papers unless you know exactly who's they are. Don't leave a mess for the next guy in the studio. Coil your goddamn cables correctly with over-under and not like a garden-hose. Common sense courtesy goes a LONG way. Help your fellow co-worker. Be willing to move big demo equipment boxes around, help clean the bathroom stalls up, help receptionist Judy bring in the 40-pack of water bottles from the car outside.&#xD;&#xA;&quot;Hey Bob, who was that guy who was so willing to help out and helped the foley artist when he was done for the day?&quot; &quot;Oh, that was Brian.&quot; &quot;Lets get him on the next project - he's a hard worker.&quot;&#xD;&#xA;&#xD;&#xA;- **Learn how to keep a computer organized, and learn and use basic computer filing systems which are generally agreed upon**. Don't mess up a computer's harddrive with a bunch of &quot;delete me&quot; sessions or clutter up a desktop with file exports. Keep your harddrives nice and clean, organize your sessions, create a &quot;Previous Sessions&quot; folder to put in older Pro Tools sessions so the most recent version is the only one in the session folder. This also carries into your sessions. Don't leave a bunch of ambiguous markers that say &quot;UTH&quot;, &quot;Stopped here&quot;, &quot;Fix this&quot;, &quot;something here&quot;. It wastes time for the next guy to work with the session. Put things down in notes - don't keep things in your head.&#xD;&#xA;&#xD;&#xA;- **Don't be important**. Be humble and open to someone else's opinion. No matter how great you think you can make that effect work or whatever other idea you have that is &quot;better than the other guy's&quot;, don't push it on people. Wait for your chance to present something or be called to work something out. In the long run, you'll be noticed as &quot;better than the other guy&quot; if you continue working and are diligent as above and eventually your work will be noticed. Bragging also plays a part in this - don't do it. Don't call attention to yourself to get noticed - it annoys the hell out of certain people and creates a sort of reputation about you that others just seem to repel or reject after a while.&#xD;&#xA;&#xD;&#xA;- **Continue learning**. You're dead the minute you think you know all there is to know about a subject - same applies to sound design. The moment you start resting on your laurels, be certain your time is almost up because there is constantly things changing or upgrading or moving and you need to be all over it and on top of it. Don't become out-dated or &quot;behind the times&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="26458" PostHistoryTypeId="5" PostId="16032" RevisionGUID="6f639ade-4015-4d6a-af4a-c83211a6fa19" CreationDate="2012-11-17T22:32:13.823" UserId="18160" Comment="added 592 characters in body; added 376 characters in body" Text="I find that most times studio managers and producers often overlook the technical aspects and feel you out for how easy you are to work with and how you deal with other people. Sure you've got to know how to use the tools of the trade and sure, music composition is extremely important for what we do, but like the others, I'm going to start in at more of a bedrock level.&#xD;&#xA;&#xD;&#xA;A couple things I have gleaned:&#xD;&#xA;&#xD;&#xA;- **Organization**. Knowing how to organize your time and setting up your schedule to be able to beat or meet a deadline is extremely important IMHO. And the gigs I do, the sound designer/editor/mixer/recordist who manages their time and can organize their workday to achieve an easy pace but still getting all the work done to a stellar product and still manages to get a good night's sleep is revered, while the martyr who really &quot;muscled it through&quot; after not sleeping for a week to get it done is not the first on the list to get re-hired.&#xD;&#xA;&#xD;&#xA;- **Discipline**. Are you diligent and work the full day with minimal breaks or &quot;f*%$-around&quot;? I know fellows who have been fired for taking a personal call while he was working. And I know producers who sometimes test their clients by calling them while on the job to see if they pick up or continue working. Obviously an emergency is okay, but I'm talking about the two broads you want to go bar-hopping with or the buds who want to know if you want mush n' pepp or hawaiian pizza... It's definitely noted how diligent and persistent to work you are.&#xD;&#xA;&#xD;&#xA;- **Common courtesies in the mixroom / studio**. Don't unpatch the other guy's patchbay for yours which is &quot;more important&quot;. Don't move papers unless you know exactly who's they are. Don't leave a mess for the next guy in the studio. Coil your goddamn cables correctly with over-under and not like a garden-hose. Common sense courtesy goes a LONG way. Help your fellow co-worker. Be willing to move big demo equipment boxes around, help clean the bathroom stalls up, help receptionist Judy bring in the 40-pack of water bottles from the car outside.&#xD;&#xA;&quot;Hey Bob, who was that guy who was so willing to help out and helped the foley artist when he was done for the day?&quot; &quot;Oh, that was Brian.&quot; &quot;Lets get him on the next project - he's a hard worker.&quot;&#xD;&#xA;&#xD;&#xA;- **Learn how to keep a computer organized, and learn and use basic computer filing systems which are generally agreed upon**. Don't mess up a computer's harddrive with a bunch of &quot;delete me&quot; sessions or clutter up a desktop with file exports. Keep your harddrives nice and clean, organize your sessions, create a &quot;Previous Sessions&quot; folder to put in older Pro Tools sessions so the most recent version is the only one in the session folder. This also carries into your sessions. Don't leave a bunch of ambiguous markers that say &quot;UTH&quot;, &quot;Stopped here&quot;, &quot;Fix this&quot;, &quot;something here&quot;. It wastes time for the next guy to work with the session. Put things down in notes - don't keep things in your head.&#xD;&#xA;&#xD;&#xA;- **Don't be important**. Be humble and open to someone else's opinion. No matter how great you think you can make that effect work or whatever other idea you have that is &quot;better than the other guy's&quot;, don't push it on people. Wait for your chance to present something or be called to work something out. In the long run, you'll be noticed as &quot;better than the other guy&quot; if you continue working and are diligent as above and eventually your work will be noticed. Bragging also plays a part in this - don't do it. Don't call attention to yourself to get noticed - it annoys the hell out of certain people and creates a sort of reputation about you that others just seem to repel or reject after a while.&#xD;&#xA;&#xD;&#xA;- **Continue learning**. You're dead the minute you think you know all there is to know about a subject - same applies to sound design. The moment you start resting on your laurels, be certain your time is almost up because there is constantly things changing or upgrading or moving and you need to be all over it and on top of it. Don't become out-dated or &quot;behind the times&quot;.&#xD;&#xA;&#xD;&#xA;- **Good etiquette in general. Be amiable and pleasing in your appearance**. Knowing how to treat women or superiors or important people. Knowing how to speak to the &quot;big wigs&quot;. You're the big new mixer on the project, huh? Don't ignore the janitor or runners or secretaries - who do they report to? Your boss. Grant everyone respect in the workplace. Trust me, I've seen many college kids come in and just get dumped after their first internship because they're in some &quot;cool guy&quot; attitude all the time and pay no attention to certain people &quot;beneath&quot; them and what not. It's pretty sad." ContentLicense="CC BY-SA 3.0" />
  <row Id="26459" PostHistoryTypeId="5" PostId="16032" RevisionGUID="bfa93c8d-a5b4-4214-abda-7c1552cd41ab" CreationDate="2012-11-17T22:38:52.733" UserId="18160" Comment="added 172 characters in body; added 139 characters in body; edited body" Text="I find that most times studio managers and producers often overlook the technical aspects and feel you out for how easy you are to work with and how you deal with other people. Sure you've got to know how to use the tools of the trade and sure, music composition is extremely important for what we do, but like the others, I'm going to start in at more of a bedrock level.&#xD;&#xA;&#xD;&#xA;A couple things I have gleaned:&#xD;&#xA;&#xD;&#xA;- **Organization**. Knowing how to organize your time and setting up your schedule to be able to beat or meet a deadline is extremely important IMHO. And the gigs I do, the sound designer/editor/mixer/recordist who manages their time and can organize their workday to achieve an easy pace but still getting all the work done to a stellar product and still manages to get a good night's sleep is revered, while the martyr who really &quot;muscled it through&quot; after not sleeping for a week to get it done is not the first on the list to get re-hired.&#xD;&#xA;&#xD;&#xA;- **Discipline**. Are you diligent and work the full day with minimal breaks or &quot;f*%$-around&quot;? I know fellows who have been fired for taking a personal call while he was working. And I know producers who sometimes test their clients by calling them while on the job to see if they pick up or continue working. Obviously an emergency is okay, but I'm talking about the two broads you want to go bar-hopping with or the buds who want to know if you want mush n' pepp or hawaiian pizza... It's definitely noted how diligent and persistent to work you are.&#xD;&#xA;&#xD;&#xA;- **Common courtesies in the mixroom / studio**. Don't unpatch the other guy's patchbay for yours which is &quot;more important&quot;. Don't move papers unless you know exactly who's they are. Don't leave a mess for the next guy in the studio. Coil your goddamn cables correctly with over-under and not like a garden-hose. Common sense courtesy goes a LONG way. Help your fellow co-worker. Be willing to move big demo equipment boxes around, help clean the bathroom stalls up, help receptionist Judy bring in the 40-pack of water bottles from the car outside.&#xD;&#xA;&quot;Hey Bob, who was that guy who was so willing to help out and helped the foley artist when he was done for the day?&quot; &quot;Oh, that was Brian.&quot; &quot;Lets get him on the next project - he's a hard worker.&quot;&#xD;&#xA;&#xD;&#xA;- **Learn how to keep a computer organized, and learn and use basic computer filing systems which are generally agreed upon**. Don't mess up a computer's harddrive with a bunch of &quot;delete me&quot; sessions or clutter up a desktop with file exports. Keep your harddrives nice and clean, organize your sessions, create a &quot;Previous Sessions&quot; folder to put older Pro Tools sessions in so the most recent version is the only one in the session folder. Obviously not everyone works the same or does the previous sessions trick, but learn how the people you're working with like to manage things and try to use their methods. This also carries into your sessions. Don't leave a bunch of ambiguous markers that say &quot;UTH&quot;, &quot;Stopped here&quot;, &quot;Fix this&quot;, &quot;something here&quot;. It wastes time for the next guy to work with the session. Put things down in notes - don't keep things in your head.&#xD;&#xA;&#xD;&#xA;- **Don't be important**. Be humble and open to someone else's opinion. No matter how great you think you can make that effect work or whatever other idea you have that is &quot;better than the other guy's&quot;, don't push it on people. Wait for your chance to present something or be called to work something out. In the long run, you'll be noticed as &quot;better than the other guy&quot; if you continue working and are diligent as above and eventually your work will be noticed. Bragging also plays a part in this - don't do it. Don't call attention to yourself to get noticed - it annoys the hell out of certain people and creates a sort of reputation about you that others just seem to repel or reject after a while. &quot;Guess who I worked with - I recorded ____ ____!&quot; is about as acceptable to a professional dubbing session as a dead opossum at a wedding.&#xD;&#xA;&#xD;&#xA;- **Continue learning**. You're dead the minute you think you know all there is to know about a subject - same applies to sound design. The moment you start resting on your laurels, be certain your time is almost up because there is constantly things changing or upgrading or moving and you need to be all over it and on top of it. Don't become out-dated or &quot;behind the times&quot;.&#xD;&#xA;&#xD;&#xA;- **Good etiquette in general. Be amiable and pleasing in your appearance**. Knowing how to treat women or superiors or important people. Knowing how to speak to the &quot;big wigs&quot;. You're the big new mixer on the project, huh? Don't ignore the janitor or runners or secretaries - who do they report to? Your boss. Grant everyone respect in the workplace. Trust me, I've seen many college kids come in and just get dumped after their first internship because they're in some &quot;cool guy&quot; attitude all the time and pay no attention to certain people &quot;beneath&quot; them and what not. It's pretty sad." ContentLicense="CC BY-SA 3.0" />
  <row Id="26460" PostHistoryTypeId="5" PostId="16032" RevisionGUID="32f563b7-473f-4e5c-8130-35f04dd0fa1e" CreationDate="2012-11-17T22:44:20.643" UserId="18160" Comment="deleted 28 characters in body" Text="I find that most times studio managers and producers often overlook the technical aspects and feel you out for how easy you are to work with and how you deal with other people. Sure you've got to know how to use the tools of the trade and sure, music composition is extremely important for what we do, but like the others, I'm going to start in at more of a bedrock level.&#xD;&#xA;&#xD;&#xA;A couple things I have gleaned:&#xD;&#xA;&#xD;&#xA;- **Organization**. Knowing how to organize your time and setting up your schedule to be able to beat or meet a deadline is extremely important IMHO. And the gigs I do, the sound designer/editor/mixer/recordist who manages their time and can organize their workday to achieve an easy pace but still getting all the work done to a stellar product and still manages to get a good night's sleep is revered, while the martyr who really &quot;muscled it through&quot; after not sleeping for a week to get it done is not the first on the list to get re-hired.&#xD;&#xA;&#xD;&#xA;- **Discipline**. Are you diligent and work the full day with minimal breaks or &quot;f*%$-around&quot;? I know fellows who have been fired for taking a personal call while he was working. And I know producers who sometimes test their clients by calling them while on the job to see if they pick up or continue working. Obviously an emergency is okay, but I'm talking about the two broads you want to go bar-hopping with or the buds who want to know if you want mush n' pepp or hawaiian pizza... It's definitely noted how diligent and persistent to work you are.&#xD;&#xA;&#xD;&#xA;- **Common courtesies in the mixroom / studio**. Don't unpatch the other guy's patchbay for yours which is &quot;more important&quot;. Don't move papers unless you know exactly who's they are. Don't leave a mess for the next guy in the studio. Coil your goddamn cables correctly with over-under and not like a garden-hose. Common sense courtesy goes a LONG way. Help your fellow co-worker. Be willing to move big demo equipment boxes around, help clean the bathroom stalls up, help receptionist Judy bring in the 40-pack of water bottles from the car outside.&#xD;&#xA;&quot;Hey Bob, who was that guy who was so willing to help out and helped the foley artist when he was done for the day?&quot; &quot;Oh, that was Brian.&quot; &quot;Lets get him on the next project - he's a hard worker.&quot;&#xD;&#xA;&#xD;&#xA;- **Learn how to keep a computer organized, and learn and use basic computer filing systems which are generally agreed upon**. Don't mess up a computer's harddrive with a bunch of &quot;delete me&quot; sessions or clutter up a desktop with file exports. Keep your harddrives nice and clean, organize your sessions, create a &quot;Previous Sessions&quot; folder to put older Pro Tools sessions in so the most recent version is the only one in the session folder. Obviously not everyone works the same or does the previous sessions trick, but learn how the people you're working with like to manage things and try to use their methods. This also carries into your sessions. Don't leave a bunch of ambiguous markers that say &quot;UTH&quot;, &quot;Stopped here&quot;, &quot;Fix this&quot;, &quot;something here&quot;. It wastes time for the next guy to work with the session. Put things down in notes - don't keep things in your head.&#xD;&#xA;&#xD;&#xA;- **Don't be important**. Be humble and open to someone else's opinion. No matter how great you think you can make that effect work or whatever other idea you have that is &quot;better than the other guy's&quot;, don't push it on people. Wait for your chance to present something or be called to work something out. In the long run, you'll be noticed as &quot;better than the other guy&quot; if you continue working and are diligent as above and eventually your work will be noticed. Bragging also plays a part in this - don't do it. Don't call attention to yourself to get noticed - it annoys the hell out of certain people and creates a sort of reputation about you that others just seem to repel or reject after a while. &quot;Guess who I worked with - I recorded ____ ____!&quot; is about as acceptable to a professional dubbing session as a dead opossum at a wedding.&#xD;&#xA;&#xD;&#xA;- **Continue learning**. You're dead the minute you think you know all there is to know about sound design. The moment you start resting on your laurels, be certain your time is almost up because there is constantly things changing or upgrading or moving and you need to be all over it and on top of it. Don't become out-dated or &quot;behind the times&quot;.&#xD;&#xA;&#xD;&#xA;- **Good etiquette in general. Be amiable and pleasing in your appearance**. Knowing how to treat women or superiors or important people. Knowing how to speak to the &quot;big wigs&quot;. You're the big new mixer on the project, huh? Don't ignore the janitor or runners or secretaries - who do they report to? Your boss. Grant everyone respect in the workplace. Trust me, I've seen many college kids come in and just get dumped after their first internship because they're in some &quot;cool guy&quot; attitude all the time and pay no attention to certain people &quot;beneath&quot; them and what not. It's pretty sad." ContentLicense="CC BY-SA 3.0" />
  <row Id="26461" PostHistoryTypeId="5" PostId="16032" RevisionGUID="763cbb1e-ab10-4442-9fb3-cfa03833383d" CreationDate="2012-11-17T23:21:11.640" UserId="18160" Comment="added 1396 characters in body" Text="I find that most times studio managers and producers often overlook the technical aspects and feel you out for how easy you are to work with and how you deal with other people. Sure you've got to know how to use the tools of the trade and sure, music composition is extremely important for what we do, but like the others, I'm going to start in at more of a bedrock level.&#xD;&#xA;&#xD;&#xA;A couple things I have gleaned:&#xD;&#xA;&#xD;&#xA;- One thing I find that is extremely hard to teach newcomers: **Learn to be willing to change your ________ (read: edit, mix, design, proposal...)**. I know, I know. You've stayed up all night and really think the edit you've done fits so well with the speederbikes in that chase scene, and you've spent 20 hours total caressing the volume rides and massaging the pan automation to make it perfect. You have sat with the mixer and he's made it perfect. And now, on the Friday evening before you planned to take the weekend off going paragliding with your fiance, the director turns around in his seat in the viewing theater and tells your sound super that &quot;The speederbikes need to be a little more.... MMmmmphgffff&quot;. I don't care if you have to carry around a self-electrocuting device. I don't care if you have to carry around a bullet to bite. The second you feel like saying &quot;No - my speederbikes are awesome and you should use them&quot; to the director, you have to do something to hold it in. It's not your movie - you have to learn how to change things when asked. Not that this sort of thing happens all the time (*joking*), but it's going to be the more willing designer who is willing to take a look at his speederbikes again to try to deliver what the director needs and wants that is going to be re-hired. Not the new guy who is cocky and confident his speederbikes will win an oscar.&#xD;&#xA;&#xD;&#xA;- **Organization**. Knowing how to organize your time and setting up your schedule to be able to beat or meet a deadline is extremely important IMHO. And the gigs I do, the sound designer/editor/mixer/recordist who manages their time and can organize their workday to achieve an easy pace but still getting all the work done to a stellar product and still manages to get a good night's sleep is revered, while the martyr who really &quot;muscled it through&quot; after not sleeping for a week to get it done is not the first on the list to get re-hired.&#xD;&#xA;&#xD;&#xA;- **Discipline**. Are you diligent and work the full day with minimal breaks or &quot;f*%$-around&quot;? I know fellows who have been fired for taking a personal call while he was working. And I know producers who sometimes test their clients by calling them while on the job to see if they pick up or continue working. Obviously an emergency is okay, but I'm talking about the two broads you want to go bar-hopping with or the buds who want to know if you want mush n' pepp or hawaiian pizza... It's definitely noted how diligent and persistent to work you are.&#xD;&#xA;&#xD;&#xA;- **Common courtesies in the mixroom / studio**. Don't unpatch the other guy's patchbay for yours which is &quot;more important&quot;. Don't move papers unless you know exactly who's they are. Don't leave a mess for the next guy in the studio. Coil your goddamn cables correctly with over-under and not like a garden-hose. Common sense courtesy goes a LONG way. Help your fellow co-worker. Be willing to move big demo equipment boxes around, help clean the bathroom stalls up, help receptionist Judy bring in the 40-pack of water bottles from the car outside.&#xD;&#xA;&quot;Hey Bob, who was that guy who was so willing to help out and helped the foley artist when he was done for the day?&quot; &quot;Oh, that was Brian.&quot; &quot;Lets get him on the next project - he's a hard worker.&quot;&#xD;&#xA;&#xD;&#xA;- **Learn how to keep a computer organized, and learn and use basic computer filing systems which are generally agreed upon**. Don't mess up a computer's harddrive with a bunch of &quot;delete me&quot; sessions or clutter up a desktop with file exports. Keep your harddrives nice and clean, organize your sessions, create a &quot;Previous Sessions&quot; folder to put older Pro Tools sessions in so the most recent version is the only one in the session folder. Obviously not everyone works the same or does the previous sessions trick, but learn how the people you're working with like to manage things and try to use their methods. This also carries into your sessions. Don't leave a bunch of ambiguous markers that say &quot;UTH&quot;, &quot;Stopped here&quot;, &quot;Fix this&quot;, &quot;something here&quot;. It wastes time for the next guy to work with the session. Put things down in notes - don't keep things in your head.&#xD;&#xA;&#xD;&#xA;- **Don't be important**. Be humble and open to someone else's opinion. No matter how great you think you can make that effect work or whatever other idea you have that is &quot;better than the other guy's&quot;, don't push it on people. Wait for your chance to present something or be called to work something out. In the long run, you'll be noticed as &quot;better than the other guy&quot; if you continue working and are diligent as above and eventually your work will be noticed. Bragging also plays a part in this - don't do it. Don't call attention to yourself to get noticed - it annoys the hell out of certain people and creates a sort of reputation about you that others just seem to repel or reject after a while. &quot;Guess who I worked with - I recorded ____ ____!&quot; is about as acceptable to a professional dubbing session as a dead opossum at a wedding.&#xD;&#xA;&#xD;&#xA;- **Continue learning**. You're dead the minute you think you know all there is to know about sound design. The moment you start resting on your laurels, be certain your time is almost up because there is constantly things changing or upgrading or moving and you need to be all over it and on top of it. Don't become out-dated or &quot;behind the times&quot;.&#xD;&#xA;&#xD;&#xA;- **Good etiquette in general. Be amiable and pleasing in your appearance**. Knowing how to treat women or superiors or important people. Knowing how to speak to the &quot;big wigs&quot;. You're the big new mixer on the project, huh? Don't ignore the janitor or runners or secretaries - who do they report to? Your boss. Grant everyone respect in the workplace. Trust me, I've seen many college kids come in and just get dumped after their first internship because they're in some &quot;cool guy&quot; attitude all the time and pay no attention to certain people &quot;beneath&quot; them and what not. It's pretty sad." ContentLicense="CC BY-SA 3.0" />
  <row Id="26462" PostHistoryTypeId="5" PostId="16032" RevisionGUID="0d154889-f4df-43d2-b251-89a56eea9811" CreationDate="2012-11-17T23:30:25.133" UserId="18160" Comment="added 1007 characters in body; added 1 characters in body; added 17 characters in body; deleted 1 characters in body" Text="I find that most times studio managers and producers often overlook the technical aspects and feel you out for how easy you are to work with and how you deal with other people. Sure you've got to know how to use the tools of the trade and sure, music composition is extremely important for what we do, but like the others, I'm going to start in at more of a bedrock level.&#xD;&#xA;&#xD;&#xA;A couple things I have gleaned:&#xD;&#xA;&#xD;&#xA;- One thing I find that is extremely hard to teach newcomers: **Learn to be willing to change your ________ (read: edit, mix, design, proposal...)**. I know, I know. You've stayed up all night and really think the edit you've done fits so well with the speederbikes in that chase scene, and you've spent 20 hours total caressing the volume rides and massaging the pan automation to make it perfect. You have sat with the mixer and he's made it perfect. And now, on the Friday evening before you planned to take the weekend off going paragliding with your fiance, the director turns around in his seat in the viewing theater and tells your sound super that &quot;The speederbikes need to be a little more.... MMmmmphgffff&quot;. I don't care if you have to carry around a self-electrocuting device. I don't care if you have to carry around a bullet to bite. The second you feel like saying &quot;No - my speederbikes are awesome and you should use them&quot; to the director, you have to do something to hold it in. It's not your movie - you have to learn how to change things when asked. Not that this sort of thing happens all the time (*joking*), but it's going to be the more willing designer who is willing to take a look at his speederbikes again to try to deliver what the director needs and wants that is going to be re-hired. Not the new guy who is cocky and confident his speederbikes will win an oscar.&#xD;&#xA;&#xD;&#xA;- **Learn how to not take criticism personally**. A scene I cut ADR for once elicited this response from the director: &quot;Yeah, well, that scene kinda sucked and the ADR kinda sucked and you f&amp;%&amp;cked up the VFX in it, yeah - it kinda sucks but OK. The ADR didn't suck too bad, but it still sucked. I guess the guy knew what he was doing&quot;. Later on, the producer came and told me &quot;yeah, that was actually a compliment&quot;. This director is known for not giving compliments the way Mr. Rogers does. I'm not saying all criticisms you receive will be like this, but if I were to break down and become upset about what the director told me, I would get nowhere. You have to learn how to accept criticism and pay heed to the important things. I've seen a lot of people on message boards post the &quot;Hey - I just made this, please critique it&quot; and people give honest critiques. And then the person who posted it spends the rest of his responses trying to defend what he put up as being good and doesn't learn from what people told him.&#xD;&#xA;&#xD;&#xA;- **Organization**. Knowing how to organize your time and setting up your schedule to be able to beat or meet a deadline is extremely important IMHO. And the gigs I do, the sound designer/editor/mixer/recordist who manages their time and can organize their workday to achieve an easy pace but still getting all the work done to a stellar product and still manages to get a good night's sleep is revered, while the martyr who really &quot;muscled it through&quot; after not sleeping for a week to get it done is not the first on the list to get re-hired.&#xD;&#xA;&#xD;&#xA;- **Discipline**. Are you diligent and work the full day with minimal breaks or &quot;f*%$-around&quot;? I know fellows who have been fired for taking a personal call while he was working. And I know producers who sometimes test their clients by calling them while on the job to see if they pick up or continue working. Obviously an emergency is okay, but I'm talking about the two broads you want to go bar-hopping with or the buds who want to know if you want mush n' pepp or hawaiian pizza... It's definitely noted how diligent and persistent to work you are.&#xD;&#xA;&#xD;&#xA;- **Common courtesies in the mixroom / studio**. Don't unpatch the other guy's patchbay for yours which is &quot;more important&quot;. Don't move papers unless you know exactly who's they are. Don't leave a mess for the next guy in the studio. Coil your goddamn cables correctly with over-under and not like a garden-hose. Common sense courtesy goes a LONG way. Help your fellow co-worker. Be willing to move big demo equipment boxes around, help clean the bathroom stalls up, help receptionist Judy bring in the 40-pack of water bottles from the car outside.&#xD;&#xA;&quot;Hey Bob, who was that guy who was so willing to help out and helped the foley artist when he was done for the day?&quot; &quot;Oh, that was Brian.&quot; &quot;Lets get him on the next project - he's a hard worker.&quot;&#xD;&#xA;&#xD;&#xA;- **Learn how to keep a computer organized, and learn and use basic computer filing systems which are generally agreed upon**. Don't mess up a computer's harddrive with a bunch of &quot;delete me&quot; sessions or clutter up a desktop with file exports. Keep your harddrives nice and clean, organize your sessions, create a &quot;Previous Sessions&quot; folder to put older Pro Tools sessions in so the most recent version is the only one in the session folder. Obviously not everyone works the same or does the previous sessions trick, but learn how the people you're working with like to manage things and try to use their methods. This also carries into your sessions. Don't leave a bunch of ambiguous markers that say &quot;UTH&quot;, &quot;Stopped here&quot;, &quot;Fix this&quot;, &quot;something here&quot;. It wastes time for the next guy to work with the session. Put things down in notes - don't keep things in your head.&#xD;&#xA;&#xD;&#xA;- **Don't be important**. Be humble and open to someone else's opinion. No matter how great you think you can make that effect work or whatever other idea you have that is &quot;better than the other guy's&quot;, don't push it on people. Wait for your chance to present something or be called to work something out. In the long run, you'll be noticed as &quot;better than the other guy&quot; if you continue working and are diligent as above and eventually your work will be noticed. Bragging also plays a part in this - don't do it. Don't call attention to yourself to get noticed - it annoys the hell out of certain people and creates a sort of reputation about you that others just seem to repel or reject after a while. &quot;Guess who I worked with - I recorded Tom Pitt!&quot; is about as acceptable to a professional dubbing session as a dead opossum at a wedding.&#xD;&#xA;&#xD;&#xA;- **Continue learning**. You're dead the minute you think you know all there is to know about sound design. The moment you start resting on your laurels, be certain your time is almost up because there is constantly things changing or upgrading or moving and you need to be all over it and on top of it. Don't become out-dated or &quot;behind the times&quot;.&#xD;&#xA;&#xD;&#xA;- **Good etiquette in general. Be amiable and pleasing in your appearance**. Knowing how to treat women or superiors or important people. Knowing how to speak to the &quot;big wigs&quot;. You're the big new mixer on the project, huh? Don't ignore the janitor or runners or secretaries - who do they report to? Your boss. Grant everyone respect in the workplace. Trust me, I've seen many college kids come in and just get dumped after their first internship because they're in some &quot;cool guy&quot; attitude all the time and pay no attention to certain people &quot;beneath&quot; them and what not. It's pretty sad." ContentLicense="CC BY-SA 3.0" />
  <row Id="26463" PostHistoryTypeId="5" PostId="16032" RevisionGUID="2599321f-c40a-4098-8736-4e462c91e1bf" CreationDate="2012-11-17T23:36:08.887" UserId="18160" Comment="added 74 characters in body; deleted 60 characters in body; added 67 characters in body" Text="I find that most times studio managers and producers often overlook the technical aspects and feel you out for how easy you are to work with and how you deal with other people. Sure you've got to know how to use the tools of the trade and sure, music composition is extremely important for what we do, but like the others, I'm going to start in at more of a bedrock level.&#xD;&#xA;&#xD;&#xA;A couple things I have gleaned:&#xD;&#xA;&#xD;&#xA;- **Learn to be willing to change your ________ (read: edit, mix, design, proposal...)**. I know, I know. You've stayed up all night and really think the edit you've done fits so well with the speederbikes in that chase scene, and you've spent 20 hours total caressing the volume rides and massaging the pan automation to make it perfect. The video editor liked the sound so much he made it his ring tone. You have sat with the mixer and he's told you what a great job you've done. And now, on the Friday evening before you planned to take the weekend off going paragliding with your fiance, the director turns around in his seat in the viewing theater and tells your sound super that &quot;The speederbikes need to be a little more.... MMmmmphgffff&quot;. I don't care if you have to carry around a self-electrocuting device. I don't care if you have to carry around a bullet to bite. The second you feel like saying &quot;No - my speederbikes are awesome and you should use them&quot; to the director, you have to do something to hold it in. It's not your movie - you have to learn how to change things when asked. Not that this sort of thing happens all the time (*joking*), but it's going to be the more willing designer who is willing to take a look at his speederbikes again and willing to start from scratch on a Friday night to try to deliver what the director needs and wants that is going to be re-hired. Not the new guy who is cocky and confident his speederbikes will win an oscar.&#xD;&#xA;&#xD;&#xA;- **Learn how to not take criticism personally**. A scene I cut ADR for once elicited this response from the director: &quot;Yeah, well, that scene kinda sucked and the ADR kinda sucked and you f&amp;%&amp;cked up the VFX in it, yeah - it kinda sucks but OK. The ADR didn't suck too bad, but it still sucked. I guess the guy knew what he was doing&quot;. Later on, the producer came and told me &quot;yeah, that was actually a compliment&quot;. This director is known for not giving compliments the way Mr. Rogers does. I'm not saying all criticisms you receive will be like this, but if I were to break down and become upset about what the director told me, I would get nowhere. You have to learn how to accept criticism and pay heed to the important things. I've seen a lot of people on message boards post the &quot;Hey - I just made this, please critique it&quot; and people give honest critiques. And then the person who posted it spends the rest of his responses trying to defend what he put up as being good and doesn't learn from what people told him.&#xD;&#xA;&#xD;&#xA;- **Organization**. Knowing how to organize your time and setting up your schedule to be able to beat or meet a deadline is extremely important IMHO. And the gigs I do, the sound designer/editor/mixer/recordist who manages their time and can organize their workday to achieve an easy pace but still getting all the work done to a stellar product and still manages to get a good night's sleep is revered, while the martyr who really &quot;muscled it through&quot; after not sleeping for a week to get it done is not the first on the list to get re-hired.&#xD;&#xA;&#xD;&#xA;- **Discipline**. Are you diligent and work the full day with minimal breaks or &quot;f*%$-around&quot;? I know fellows who have been fired for taking a personal call while he was working. And I know producers who sometimes test their clients by calling them while on the job to see if they pick up or continue working. Obviously an emergency is okay, but I'm talking about the two broads you want to go bar-hopping with or the buds who want to know if you want mush n' pepp or hawaiian pizza... It's definitely noted how diligent and persistent to work you are.&#xD;&#xA;&#xD;&#xA;- **Common courtesies in the mixroom / studio**. Don't unpatch the other guy's patchbay for yours which is &quot;more important&quot;. Don't move papers unless you know exactly who's they are. Don't leave a mess for the next guy in the studio. Coil your goddamn cables correctly with over-under and not like a garden-hose. Common sense courtesy goes a LONG way. Help your fellow co-worker. Be willing to move big demo equipment boxes around, help clean the bathroom stalls up, help receptionist Judy bring in the 40-pack of water bottles from the car outside.&#xD;&#xA;&quot;Hey Bob, who was that guy who was so willing to help out and helped the foley artist when he was done for the day?&quot; &quot;Oh, that was Brian.&quot; &quot;Lets get him on the next project - he's a hard worker.&quot;&#xD;&#xA;&#xD;&#xA;- **Learn how to keep a computer organized, and learn and use basic computer filing systems which are generally agreed upon**. Don't mess up a computer's harddrive with a bunch of &quot;delete me&quot; sessions or clutter up a desktop with file exports. Keep your harddrives nice and clean, organize your sessions, create a &quot;Previous Sessions&quot; folder to put older Pro Tools sessions in so the most recent version is the only one in the session folder. Obviously not everyone works the same or does the previous sessions trick, but learn how the people you're working with like to manage things and try to use their methods. This also carries into your sessions. Don't leave a bunch of ambiguous markers that say &quot;UTH&quot;, &quot;Stopped here&quot;, &quot;Fix this&quot;, &quot;something here&quot;. It wastes time for the next guy to work with the session. Put things down in notes - don't keep things in your head.&#xD;&#xA;&#xD;&#xA;- **Don't be important**. Be humble and open to someone else's opinion. No matter how great you think you can make that effect work or whatever other idea you have that is &quot;better than the other guy's&quot;, don't push it on people. Wait for your chance to present something or be called to work something out. In the long run, you'll be noticed as &quot;better than the other guy&quot; if you continue working and are diligent as above and eventually your work will be noticed. Bragging also plays a part in this - don't do it. Don't call attention to yourself to get noticed - it annoys the hell out of certain people and creates a sort of reputation about you that others just seem to repel or reject after a while. &quot;Guess who I worked with - I recorded Tom Pitt!&quot; is about as acceptable to a professional dubbing session as a dead opossum at a wedding.&#xD;&#xA;&#xD;&#xA;- **Continue learning**. You're dead the minute you think you know all there is to know about sound design. The moment you start resting on your laurels, be certain your time is almost up because there is constantly things changing or upgrading or moving and you need to be all over it and on top of it. Don't become out-dated or &quot;behind the times&quot;.&#xD;&#xA;&#xD;&#xA;- **Good etiquette in general. Be amiable and pleasing in your appearance**. Knowing how to treat women or superiors or important people. Knowing how to speak to the &quot;big wigs&quot;. You're the big new mixer on the project, huh? Don't ignore the janitor or runners or secretaries - who do they report to? Your boss. Grant everyone respect in the workplace. Trust me, I've seen many college kids come in and just get dumped after their first internship because they're in some &quot;cool guy&quot; attitude all the time and pay no attention to certain people &quot;beneath&quot; them and what not. It's pretty sad." ContentLicense="CC BY-SA 3.0" />
  <row Id="26464" PostHistoryTypeId="16" PostId="16032" RevisionGUID="2599321f-c40a-4098-8736-4e462c91e1bf" CreationDate="2012-11-17T23:37:50.153" UserId="18160" Comment="added 74 characters in body; deleted 60 characters in body; added 67 characters in body" />
  <row Id="26465" PostHistoryTypeId="5" PostId="16032" RevisionGUID="31aeac63-250c-41c5-801c-20ad34442877" CreationDate="2012-11-17T23:41:56.533" UserId="18160" Comment="added 2 characters in body; added 16 characters in body" Text="I find that most times studio managers and producers often overlook the technical aspects and feel you out for how easy you are to work with and how you deal with other people. Sure you've got to know how to use the tools of the trade and sure, music composition is extremely important for what we do, but like the others, I'm going to start in at more of a bedrock level.&#xD;&#xA;&#xD;&#xA;A couple things I have gleaned:&#xD;&#xA;&#xD;&#xA;- **Learn to be willing to change your ________ (read: edit, mix, design, proposal...)**. I know, I know. You've stayed up all night and really think the edit you've done fits so well with the speederbikes in that chase scene, and you've spent 20 hours total caressing the volume rides and massaging the pan automation to make it perfect. The video editor liked the sound so much he made it his ring tone. You have sat with the mixer and he's told you what a great job you've done. And now, on the Friday evening before you planned to take the weekend off going paragliding with your fiance, the director turns around in his seat in the viewing theater and tells your sound super that &quot;The speederbikes need to be a little more.... MMmmmphgffff&quot;. I don't care if you have to carry around a self-electrocuting device. I don't care if you have to carry around a bullet to bite. The second you feel like saying &quot;No - my speederbikes are awesome and you should use them&quot; to the director, you have to do something to hold it in. It's not your movie - you have to learn how to change things when asked. Not that this sort of thing happens all the time (*joking*), but it's going to be the more willing designer who is willing to take a look at his speederbikes again and willing to start from scratch on a Friday night to try to deliver what the director needs and wants that is going to be re-hired. Not the new guy who is cocky and confident his speederbikes will win an oscar.&#xD;&#xA;&#xD;&#xA;- **Learn how to not take criticism personally**. A scene I cut ADR for once elicited this response from the director: &quot;Yeah, well, that scene kinda sucked and the ADR kinda sucked and you f&amp;%&amp;cked up the VFX in it, yeah - it kinda sucks but OK. The ADR didn't suck too bad, but it still sucked. I guess the guy knew what he was doing&quot;. Later on, the producer came and told me &quot;yeah, that was actually a compliment&quot;. This director is known for not giving compliments the way Mr. Rogers does. I'm not saying all criticisms you receive will be like this, but if I were to break down and become upset about what the director told me, I would get nowhere. You have to learn how to accept criticism and pay heed to the important things. I've seen a lot of people on message boards post the &quot;Hey - I just made this, please critique it&quot; and people give honest critiques. And then the person who posted it spends the rest of his responses trying to defend what he put up as being good and doesn't learn from what people told him.&#xD;&#xA;&#xD;&#xA;- **Organization**. Knowing how to organize your time and setting up your schedule to be able to beat or meet a deadline is extremely important IMHO. And the gigs I do, the sound designer/editor/mixer/recordist who manages their time and can organize their workday to achieve an easy pace but still getting all the work done to a stellar product and still manages to get a good night's sleep is revered, while the martyr who really &quot;muscled it through&quot; after not sleeping for a week to get it done is not the first on the list to get re-hired.&#xD;&#xA;&#xD;&#xA;- **Discipline**. Are you diligent and work the full day with minimal breaks or &quot;f*%$-around&quot;? I know fellows who have been fired for taking a personal call while he was working. And I know producers who sometimes test their employees by calling them while on the job to see if they pick up or continue working. Obviously an emergency is okay, but I'm talking about the two broads you want to go bar-hopping with or the buds who want to know if you want mush n' pepp or hawaiian on your pizza tonight... It's definitely noted how diligent and persistent to work you are.&#xD;&#xA;&#xD;&#xA;- **Common courtesies in the mixroom / studio**. Don't unpatch the other guy's patchbay for yours which is &quot;more important&quot;. Don't move papers unless you know exactly who's they are. Don't leave a mess for the next guy in the studio. Coil your goddamn cables correctly with over-under and not like a garden-hose. Common sense courtesy goes a LONG way. Help your fellow co-worker. Be willing to move big demo equipment boxes around, help clean the bathroom stalls up, help receptionist Judy bring in the 40-pack of water bottles from the car outside.&#xD;&#xA;&quot;Hey Bob, who was that guy who was so willing to help out and helped the foley artist when he was done for the day?&quot; &quot;Oh, that was Brian.&quot; &quot;Lets get him on the next project - he's a hard worker.&quot;&#xD;&#xA;&#xD;&#xA;- **Learn how to keep a computer organized, and learn and use basic computer filing systems which are generally agreed upon**. Don't mess up a computer's harddrive with a bunch of &quot;delete me&quot; sessions or clutter up a desktop with file exports. Keep your harddrives nice and clean, organize your sessions, create a &quot;Previous Sessions&quot; folder to put older Pro Tools sessions in so the most recent version is the only one in the session folder. Obviously not everyone works the same or does the previous sessions trick, but learn how the people you're working with like to manage things and try to use their methods. This also carries into your sessions. Don't leave a bunch of ambiguous markers that say &quot;UTH&quot;, &quot;Stopped here&quot;, &quot;Fix this&quot;, &quot;something here&quot;. It wastes time for the next guy to work with the session. Put things down in notes - don't keep things in your head.&#xD;&#xA;&#xD;&#xA;- **Don't be important**. Be humble and open to someone else's opinion. No matter how great you think you can make that effect work or whatever other idea you have that is &quot;better than the other guy's&quot;, don't push it on people. Wait for your chance to present something or be called to work something out. In the long run, you'll be noticed as &quot;better than the other guy&quot; if you continue working and are diligent as above and eventually your work will be noticed. Bragging also plays a part in this - don't do it. Don't call attention to yourself to get noticed - it annoys the hell out of certain people and creates a sort of reputation about you that others just seem to repel or reject after a while. &quot;Guess who I worked with - I recorded Tom Pitt!&quot; is about as acceptable to a professional dubbing session as a dead opossum at a wedding.&#xD;&#xA;&#xD;&#xA;- **Continue learning**. You're dead the minute you think you know all there is to know about sound design. The moment you start resting on your laurels, be certain your time is almost up because there is constantly things changing or upgrading or moving and you need to be all over it and on top of it. Don't become out-dated or &quot;behind the times&quot;.&#xD;&#xA;&#xD;&#xA;- **Good etiquette in general. Be amiable and pleasing in your appearance**. Knowing how to treat women or superiors or important people. Knowing how to speak to the &quot;big wigs&quot;. You're the big new mixer on the project, huh? Don't ignore the janitor or runners or secretaries - who do they report to? Your boss. Grant everyone respect in the workplace. Trust me, I've seen many college kids come in and just get dumped after their first internship because they're in some &quot;cool guy&quot; attitude all the time and pay no attention to certain people &quot;beneath&quot; them and what not. It's pretty sad." ContentLicense="CC BY-SA 3.0" />
  <row Id="26466" PostHistoryTypeId="2" PostId="16033" RevisionGUID="0c33b325-9e31-469c-af2c-6434c65f7663" CreationDate="2012-11-18T14:03:43.410" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;A problem has arisen in a couple of our MAC's where the bounced stereo mix is out of sync once it has been inserted into FCP. The mix starts in sync but around halfway it goes out of sync by approximately 5 frames. All my settings seem to be fine and the sample rate is correct for PAL. But when I click on playback engine, a message appears saying &quot;HW device is at a different sample rate from the open session&quot;. I checked everything but all seems to be fine. &#xD;&#xA;&#xD;&#xA;Can anyone enlighten me on what the issue might be?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="26467" PostHistoryTypeId="1" PostId="16033" RevisionGUID="0c33b325-9e31-469c-af2c-6434c65f7663" CreationDate="2012-11-18T14:03:43.410" UserId="348" Text="Sync problem via the HW in Protools 9LE" ContentLicense="CC BY-SA 3.0" />
  <row Id="26468" PostHistoryTypeId="3" PostId="16033" RevisionGUID="0c33b325-9e31-469c-af2c-6434c65f7663" CreationDate="2012-11-18T14:03:43.410" UserId="348" Text="&lt;device&gt;&lt;sample&gt;&lt;rate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="26469" PostHistoryTypeId="2" PostId="16034" RevisionGUID="6ec411d8-75b9-41a6-9812-64ca83b0ce02" CreationDate="2012-11-18T16:47:19.633" UserId="4209" Text="your protools session and your FCP project must be at the same Sample rate (i.e. 44.1Khz or 48Khz)" ContentLicense="CC BY-SA 3.0" />
  <row Id="26470" PostHistoryTypeId="2" PostId="16035" RevisionGUID="f6833427-e593-4ce3-9cd4-058ada82ddab" CreationDate="2012-11-18T20:22:40.163" UserId="1228" Text="It sounds to me that you're running into a pulldown issue, which WILL cause sync to gradually drift over time.  Check your PT session setup and make sure there's no pulldown/up enabled (and subsequently, if there's a way to check this in FCP, it's, worth doing so as well).  Framerates and pulldown/up are different animals - you can have two things using the identical frame rate (PAL 25, which may look just fine at first), but if one has a pulldown and the other doesn't (or they both have different pulldowns), it will throw sync regardless.&#xD;&#xA;&#xD;&#xA;Also, more clarification would be helpful.  Are you running ProTools while running FCP?  Is there a reason you need to be if that's the case?  Is your computer audio out feeding in the PT hardware so you can audition it on the mains, and that's why you need PT open or use the HW device via CoreAudio?&#xD;&#xA;&#xD;&#xA;The only issue I see so far is that when you load in a printed file into FCP and it's causing a sync drift against pix, you have a pulldown/up issue or incorrect framerate at which the original print was made at (like 23.976 or 29.97 which run at 0.1% slower than 24 and 30), and that's causing the discrepancy you see in FCP with the audio print.&#xD;&#xA;&#xD;&#xA;As to the secondary issue of the HW device and sample rate, some more clarification as to the circumstances would be helpful.  It doesn't seem to figure into the equation of the problem unless I'm missing some key information (as questioned above)." ContentLicense="CC BY-SA 3.0" />
  <row Id="26471" PostHistoryTypeId="5" PostId="16035" RevisionGUID="ad26e94d-8b8a-4cd0-a69c-e438dda7ec1d" CreationDate="2012-11-18T20:30:23.183" UserId="1228" Comment="added 796 characters in body" Text="It sounds to me that you're running into a pulldown issue, which WILL cause sync to gradually drift over time.  Check your PT session setup and make sure there's no pulldown/up enabled (and subsequently, if there's a way to check this in FCP, it's, worth doing so as well).  Framerates and pulldown/up are different animals - you can have two things using the identical frame rate (PAL 25, which may look just fine at first), but if one has a pulldown and the other doesn't (or they both have different pulldowns), it will throw sync regardless.&#xD;&#xA;&#xD;&#xA;Also, more clarification would be helpful.  Are you running ProTools while running FCP?  Is there a reason you need to be if that's the case?  Is your computer audio out feeding in the PT hardware so you can audition it on the mains, and that's why you need PT open or use the HW device via CoreAudio?&#xD;&#xA;&#xD;&#xA;The only issue I see so far is that when you load in a printed file into FCP and it's causing a sync drift against pix, you have a pulldown/up issue or incorrect framerate at which the original print was made at (like 23.976 or 29.97 which run at 0.1% slower than 24 and 30), and that's causing the discrepancy you see in FCP with the audio print.&#xD;&#xA;&#xD;&#xA;As to the secondary issue of the HW device and sample rate, some more clarification as to the circumstances would be helpful.  It doesn't seem to figure into the equation of the problem unless I'm missing some key information (as questioned above).&#xD;&#xA;&#xD;&#xA;If what your saying is that the HW is serving as your mains even with PT is not running (e.g. using it via CoreAudio), it's possible that by having different sample rate settings it can cause an issue where everything you hear from that device will be out of sync, but normally devices will override with the sample rate they need, unless the HW is still slaved to another device (e.g. trying to run PT while feeding CoreAudio to it at the same time).  If that's the case, try setting your computer audio to 48k (which I gather is the regular session sample rates your working at).  If this is the case then it's an entirely different issue.&#xD;&#xA;&#xD;&#xA;Ultimately, further articulation about the problem would help, it's stil muddy to me what's going on and what the focus of the problem actually is." ContentLicense="CC BY-SA 3.0" />
  <row Id="27466" PostHistoryTypeId="2" PostId="17033" RevisionGUID="4a190a62-bb7a-4b43-bfdd-80acd6c8e53d" CreationDate="2012-11-18T23:04:35.343" UserId="432" Text="I'm going to echo Stavrosound here in that a little more detail would be helpful. I will, however, throw out the fact that there is a known issue with FCP (FCP7 in particular, don't know about FCPX if that's what's being used) where it will sometimes misread and rewrite the header information in audio files. This causes them to playback at the incorrect speed against picture, and you'll see in the FCP timeline that it's either shorter or longer than the actualy visual edit.&#xD;&#xA;&#xD;&#xA;We run into this all the time where I work. To identify FCP as the problem though, you have to be certain that there aren't any issue in how you're outputting the audio files from Pro Tools...and it sounds like you may possibly have something gummed up on your end there." ContentLicense="CC BY-SA 3.0" />
  <row Id="27467" PostHistoryTypeId="2" PostId="17034" RevisionGUID="f9956497-9b33-45b9-b308-91395515350f" CreationDate="2012-11-19T00:45:06.997" UserId="4135" Text="Problem: I have to encode sounds as efficiently as possible while maintaining best quality.&#xD;&#xA;The only way I can do this is by encoding with different bit rates, and then listen to the files.&#xD;&#xA;&#xD;&#xA;I'm on the Mac and I listen to two versions using preview and the arrow keys. But it is hard to judge which is better because I can't set a loop region and listen to A / B over and over again starting at the same point every time.&#xD;&#xA;&#xD;&#xA;Is there a tool which makes this task of comparing two differently encoded files easy?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27468" PostHistoryTypeId="1" PostId="17034" RevisionGUID="f9956497-9b33-45b9-b308-91395515350f" CreationDate="2012-11-19T00:45:06.997" UserId="4135" Text="Is there a Mac tool for A/B comparison of two differently encoded sound files?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27469" PostHistoryTypeId="3" PostId="17034" RevisionGUID="f9956497-9b33-45b9-b308-91395515350f" CreationDate="2012-11-19T00:45:06.997" UserId="4135" Text="&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27470" PostHistoryTypeId="2" PostId="17035" RevisionGUID="c02a3786-f613-436e-8a3e-25a51636abe3" CreationDate="2012-11-19T01:22:40.183" UserId="5471" Text="Howarth himself speaks about this effect in an interview on this website: http://constructinghorror.com/index.php?id=142 (it's the 7th part of the interview).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27471" PostHistoryTypeId="2" PostId="17036" RevisionGUID="62ad0fd4-d884-4849-b42a-e45b281b5739" CreationDate="2012-11-19T02:55:42.507" UserId="362" Text="that's a great question. In theater have A\B switches like this to test microphones against eachother. In terms of a software solution, if I weren't writing my own tool in MAX\MSP, I'd be inclined to use qlab (www.figure53.com) to play the two files in sync with eachother. Then trigger &quot;fade&quot; cues with hot keys to toggle which is audible as they both play continuously " ContentLicense="CC BY-SA 3.0" />
  <row Id="27472" PostHistoryTypeId="2" PostId="17037" RevisionGUID="59998d5a-f9e9-423b-b07e-533bb4bc7bb5" CreationDate="2012-11-19T03:46:22.303" UserId="1237" Text="Besides everything was told, don't forget to be yourself. Because to many people nowadays think about it like of industry, like we work in some accounting department. I hate it so much and it is so stupid.&#xD;&#xA;&#xD;&#xA;Possibly the only common rule (and most probably if you want to work in movies) it is a Pro Tools. All the rest else is just an attempt to standardize eveything. Just be yourself, bring something new with you." ContentLicense="CC BY-SA 3.0" />
  <row Id="27473" PostHistoryTypeId="2" PostId="17038" RevisionGUID="35c48856-ff1d-43d0-890f-7a4d1f7544ac" CreationDate="2012-11-19T04:08:28.540" UserId="396" Text="If you're looking to do it on the cheap, and you don't need sample-accurate playback, you could always use Quicktime Pro.&#xD;&#xA;&#xD;&#xA;Enable the preference 'Play sound in  frontmost player only', hit 'command-return' to play all open files, then use the keyboard to toggle between the open windows.&#xD;&#xA;&#xD;&#xA;Quicktime Pro is able to loop a selected area within a file." ContentLicense="CC BY-SA 3.0" />
  <row Id="27474" PostHistoryTypeId="2" PostId="17039" RevisionGUID="71939e1f-06a6-4e14-b88f-719adb50425c" CreationDate="2012-11-19T04:42:25.423" UserId="565" Text="Sonnox makes a plugin for music mixers to quickly A/B what different MP3/AAC bit rates will sound like.  It might be the solution that you are looking for.&#xD;&#xA;&#xD;&#xA;http://www.sonnoxplugins.com/pub/plugins/products/pro-codec.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="27475" PostHistoryTypeId="5" PostId="17037" RevisionGUID="6736e8d3-4a0b-4cc6-aab7-ccfe6132c998" CreationDate="2012-11-19T06:49:24.323" UserId="1237" Comment="added 2 characters in body" Text="Besides everything was told, don't forget to be yourself. Because too many people nowadays think about it like of industry, like we work in some accounting department. I hate it so much and it is so stupid.&#xD;&#xA;&#xD;&#xA;Possibly the only common rule (and most probably if you want to work in movies) it is a Pro Tools. All the rest else is just an attempt to standardize everything. Just be yourself, bring something new with you." ContentLicense="CC BY-SA 3.0" />
  <row Id="27476" PostHistoryTypeId="5" PostId="17037" RevisionGUID="a8ded9e6-0b64-49b4-bdb3-03ff12954111" CreationDate="2012-11-19T07:50:27.317" UserId="1237" Comment="added 422 characters in body; deleted 2 characters in body" Text="Besides everything was told, don't forget to be yourself. Because too many people nowadays think about it like of industry, like we work in some accounting department. I hate it so much and it is so stupid.&#xD;&#xA;&#xD;&#xA;Possibly the only common rule (and most probably if you want to work in movies) it is Pro Tools. All the rest else is just an attempt to standardize everything. Just be yourself, bring something new with you.&#xD;&#xA;&#xD;&#xA;And imho, people shouldn't always think about their work like of constant development process.&#xD;&#xA;I mean, when you say something like: &quot;Oh, that work I did 5 years ago, I was young and now I can do it better&quot;, honestly, I think it is stupid.&#xD;&#xA;&#xD;&#xA;Do each project as best as you can, and then later you won't be ashamed of it. There might be ascensions and declines, just don't take it like the straight idealistic process." ContentLicense="CC BY-SA 3.0" />
  <row Id="27477" PostHistoryTypeId="2" PostId="17040" RevisionGUID="6f917e5f-0394-4403-af06-1ae5ab1db51b" CreationDate="2012-11-19T10:00:55.360" UserId="823" Text="Wiretap Studio lets you loop sections of audio, and change the compression format/settings during playback. It's also a really useful tool for capturing any audio source on your Mac.&#xD;&#xA;&#xD;&#xA;http://www.ambrosiasw.com/utilities/wiretap/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27478" PostHistoryTypeId="2" PostId="17041" RevisionGUID="79a94fd8-7150-4a98-bbf7-cb5b870ee6b7" CreationDate="2012-11-19T12:50:10.927" UserId="4057" Text="I would probably approach this by loading up Cockos REAPER and then &quot;solo-ing&quot; the particular track that I want to audition. I am fairly sure REAPER will support looping and all the required functionality.&#xD;&#xA;&#xD;&#xA;www.reaper.fm&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27479" PostHistoryTypeId="2" PostId="17042" RevisionGUID="25c1d491-b3b6-4115-89da-2bb24383660a" CreationDate="2012-11-19T18:15:18.150" UserId="4442" Text="Hey guys. Any ideas for a rubber tire rolling sound that does NOT have a motor attached to it? I'm designing some of these rolling guys, and i'm going to use rubber on all of them, but i can't get anything without an engine running. I tried to record just my back tire while my wife was slowly driving my car (they're not moving too fast), and i just don't know if i can make this work for what I need. Any help is appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="27480" PostHistoryTypeId="1" PostId="17042" RevisionGUID="25c1d491-b3b6-4115-89da-2bb24383660a" CreationDate="2012-11-19T18:15:18.150" UserId="4442" Text="Big Rubber Tire sound " ContentLicense="CC BY-SA 3.0" />
  <row Id="27481" PostHistoryTypeId="3" PostId="17042" RevisionGUID="25c1d491-b3b6-4115-89da-2bb24383660a" CreationDate="2012-11-19T18:15:18.150" UserId="4442" Text="&lt;sfx&gt;&lt;wheeled&gt;&lt;vehicles&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27482" PostHistoryTypeId="2" PostId="17043" RevisionGUID="2993b1f5-d5a1-4053-9cc9-f59feb05a258" CreationDate="2012-11-19T18:32:31.960" UserId="432" Text="Wheel barrows usually have rubber tires on them. Throw some **soft** weight that won't bounce (canvas sand bags can be pretty good), rig up your mic to the wheel barrow so you don't have to have someone chasing it, and push that sucker around.&#xD;&#xA;&#xD;&#xA;The two wheel variants might be more stable and give you better control with less handling noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="27483" PostHistoryTypeId="2" PostId="17044" RevisionGUID="b2afe593-1fac-483a-ab2d-f6da5675b828" CreationDate="2012-11-19T19:12:20.130" UserId="234" Text="You've been bitten by THIS:http://duc.avid.com/showthread.php?t=212057&#xD;&#xA;&#xD;&#xA;It's a fairly well known issue in FCP... When the Sequence is set to an Integer Frame Rate (i.e. 24, or 25) and the capture settings are set to non-integer rates (23.976, 29.97) FCP &quot;helpfully&quot; tries to correct the audio by doing pull-up/pulldown. The full details can be found in the thread, but the quick and easy solution is to use Sebsky Tools or QT Pro to make the audio into a QT movie with the correct frame rate. This will prevent FCP from attempting to change the audio.&#xD;&#xA;&#xD;&#xA;P.S. Just found out the other day that the Sebsky Tools are NOT Intel native, so 10.7 won't run them. 10.6 and under work fine with Rosetta installed.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27484" PostHistoryTypeId="5" PostId="17044" RevisionGUID="54a4984f-dd88-435a-bd6d-4f9c39d8d2b1" CreationDate="2012-11-19T19:49:00.717" UserId="234" Comment="added 59 characters in body" Text="You've been bitten by THIS:[http://duc.avid.com/showthread.php?t=212057][1]&#xD;&#xA;&#xD;&#xA;It's a fairly well known issue in FCP... When the Sequence is set to an Integer Frame Rate (i.e. 24, or 25) and the capture settings are set to non-integer rates (23.976, 29.97) FCP &quot;helpfully&quot; tries to correct the audio by doing pull-up/pulldown. The full details can be found in the thread, but the quick and easy solution is to use Sebsky Tools or QT Pro to make the audio into a QT movie with the correct frame rate. This will prevent FCP from attempting to change the audio.&#xD;&#xA;&#xD;&#xA;P.S. Just found out the other day that the Sebsky Tools are NOT Intel native, so 10.7 won't run them. 10.6 and under work fine with Rosetta installed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://duc.avid.com/showthread.php?t=212057" ContentLicense="CC BY-SA 3.0" />
  <row Id="27485" PostHistoryTypeId="2" PostId="17045" RevisionGUID="903aad77-9ba4-4418-8aa7-c6d6b71ebb05" CreationDate="2012-11-19T21:23:39.830" UserId="3744" Text="Does anybody have any advice for creating the sound of of a metal fishing boat creaking?  I have a limited to no budget as this is  for a university project." ContentLicense="CC BY-SA 3.0" />
  <row Id="27486" PostHistoryTypeId="1" PostId="17045" RevisionGUID="903aad77-9ba4-4418-8aa7-c6d6b71ebb05" CreationDate="2012-11-19T21:23:39.830" UserId="3744" Text="Boat Creak Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="27487" PostHistoryTypeId="3" PostId="17045" RevisionGUID="903aad77-9ba4-4418-8aa7-c6d6b71ebb05" CreationDate="2012-11-19T21:23:39.830" UserId="3744" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27488" PostHistoryTypeId="5" PostId="17043" RevisionGUID="a3be7d2c-564f-434d-8e7c-16c174c11a4c" CreationDate="2012-11-19T21:50:30.973" UserId="432" Comment="added 3 characters in body" Text="Wheel barrows usually have rubber tires on them. Throw some in **soft** weight that won't bounce (canvas sand bags can be pretty good), rig up your mic to the wheel barrow so you don't have to have someone chasing it, and push that sucker around.&#xD;&#xA;&#xD;&#xA;The two wheel variants might be more stable and give you better control with less handling noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="27489" PostHistoryTypeId="2" PostId="17046" RevisionGUID="a34570e2-44ac-4f1a-be2c-c536896a9a52" CreationDate="2012-11-19T22:41:59.357" UserId="6460" Text="For a conversion program, check out Amadeus Pro at www.hairersoft.com. It's an awesome editor, batch processor and converter that I use almost every day.&#xD;&#xA;&#xD;&#xA;If you have access to a multitrack editor, try this trick for conversion. Make sure that you have a full-quality .WAV copy of the file you are interested in comparing. On one track, put the original wave file. On each subsequent track, place each version of the converted files. In order to compare, all you need to do is play the original on top of one of the converted files with the polarity of one of the two tracks flipped. &#xD;&#xA;&#xD;&#xA;What this does is take two supposedly-identical files and play them in opposite polarity. Of course, the converted file has some data missing, so any material present in the original wave that the conversion deleted will play through. In essence, you're hearing a sonic representation of all the material that the conversion process deleted. With this setup, you just need to do a comparison of each conversion type to the original then pick whichever one has the least &quot;missing&quot; audio playing.&#xD;&#xA;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="27490" PostHistoryTypeId="2" PostId="17047" RevisionGUID="d25a8c40-1472-4968-aca3-790d36a71f9b" CreationDate="2012-11-19T23:24:41.027" UserId="527" Text="Guys,&#xD;&#xA;&#xD;&#xA;I am mostly a sound effects editor and sometimes designer. However, I find myself on crazy short deadlines and low budgets far too often.  In 4 years, I have never had the time or budget to record and catalog sound effects. &#xD;&#xA;&#xD;&#xA;So how much time on a project do you normally spend field recording?  Are you just donating this time? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27491" PostHistoryTypeId="1" PostId="17047" RevisionGUID="d25a8c40-1472-4968-aca3-790d36a71f9b" CreationDate="2012-11-19T23:24:41.027" UserId="527" Text="How often do you record?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27492" PostHistoryTypeId="3" PostId="17047" RevisionGUID="d25a8c40-1472-4968-aca3-790d36a71f9b" CreationDate="2012-11-19T23:24:41.027" UserId="527" Text="&lt;field&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27493" PostHistoryTypeId="2" PostId="17048" RevisionGUID="889094d9-c6ab-42cd-b877-fb1a271aaf7a" CreationDate="2012-11-20T00:54:32.250" UserId="432" Text="Whenever I have down-time at work, I spend it either experimenting/trying to learn something new or adding to our library. Ignoring that, I also spend hours each week working on my personal library at home. If I need something at work and know I have it on my personal system, I'll bring it in without hesitation.&#xD;&#xA;&#xD;&#xA;I don't see it as &quot;donating&quot; my time. Most of the effects recording I do is on my personal time, with my own gear. So, they're truly my sounds. Recording and maintaining your own library is an investment in yourself. It helps your technique and gives you more &quot;on hand&quot; resources for those times when you're on a tight deadline." ContentLicense="CC BY-SA 3.0" />
  <row Id="27494" PostHistoryTypeId="2" PostId="17049" RevisionGUID="6d115064-3750-4b9c-ad23-f0cb959fd1bd" CreationDate="2012-11-20T02:48:09.060" UserId="4442" Text="I actually have a toaster with a door that gives a really great creak. You could try to find some of your household appliances. if it doesn't immediately creak, give it a little extra push at the bottom to try to tense it. When I'm home i may be able to try to record one, but it will be easier for you because you'll be able to get closer to the foley." ContentLicense="CC BY-SA 3.0" />
  <row Id="27495" PostHistoryTypeId="2" PostId="17050" RevisionGUID="4b6862cd-0bf8-440f-b29f-326abd1b9bc4" CreationDate="2012-11-20T02:58:05.057" UserId="4442" Text="Some of my appliances doors have some nice creaks when they are stressed. I would try some stuff around your house. With a high enough bit and sample rate, you can get some serious sounds out of some really minor creaks." ContentLicense="CC BY-SA 3.0" />
  <row Id="27496" PostHistoryTypeId="2" PostId="17051" RevisionGUID="11b81a1a-fb67-4374-bdd5-954730671a6e" CreationDate="2012-11-20T04:29:53.197" UserId="3093" Text="Hey @mrchegibson, do you also have your pro tools session files in this external drive? words says it could get messy if you have the session files in one drive and the samples or other media in another one." ContentLicense="CC BY-SA 3.0" />
  <row Id="27497" PostHistoryTypeId="2" PostId="17052" RevisionGUID="a720703b-740a-4662-81d0-8cfeba6f3b90" CreationDate="2012-11-20T06:47:20.860" UserId="4418" Text="I think ABX will work with multiple types. It's an A-B testing app for listening tests. 10 blind listens and an average score.&#xD;&#xA;&#xD;&#xA;http://emptymusic.com/software/ABXer.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="27498" PostHistoryTypeId="2" PostId="17053" RevisionGUID="bd25cf9f-48da-4114-83b6-6f999f50c56f" CreationDate="2012-11-20T06:51:51.353" UserId="4418" Text="Rode makes a great dead cat and a dead kitten for smaller pencil cards. maybe the dead kitten on the 55's and well, the blinp works great for the nt4 but yeah, lot's of room. but really helpful outside.&#xD;&#xA;&#xD;&#xA;any closer and a shotgun and deadcat are better. NTG3 or 2 and dead cat for close mic and nt55 for amb, BGs" ContentLicense="CC BY-SA 3.0" />
  <row Id="27499" PostHistoryTypeId="2" PostId="17054" RevisionGUID="7c4dd9d0-8813-4a6a-9c4b-8ae1e5c04f1b" CreationDate="2012-11-20T08:25:28.173" UserDisplayName="user80" Text="I go about it in a slightly different way, I like to listen to artefacts on their own.  What I do is encode the samples and then decode them back to wav.  Then I import them into a DAW invert the phase on the decoded files and then subtract the original uncompressed file so you are left with the artefacts.  I will then choose the compression based on the annoyance factor for the artefacts." ContentLicense="CC BY-SA 3.0" />
  <row Id="27500" PostHistoryTypeId="2" PostId="17055" RevisionGUID="ee65927a-dd80-4931-937e-673aecbee2b4" CreationDate="2012-11-20T08:34:04.947" UserDisplayName="user80" Text="Learn to find out what people really want, rather than what they say they want.  There is usually an overlap, but not everybody is good at communicating.  Listen closely, make thorough notes and deliver what was asked for." ContentLicense="CC BY-SA 3.0" />
  <row Id="27501" PostHistoryTypeId="2" PostId="17056" RevisionGUID="78a3ec54-8c73-4e20-af8d-ccf199f7b4a3" CreationDate="2012-11-20T10:16:54.860" UserId="4114" Text="A must read for film sound appreciation and analysis: Michel Chion's &quot;Audio-vision&quot;. Really, read this. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27502" PostHistoryTypeId="2" PostId="17057" RevisionGUID="0110ee76-93fc-4803-98db-c6823af8adc4" CreationDate="2012-11-20T14:30:06.910" UserId="4428" Text="I find recently, I plant a few portable recorders when location recording  8/10 times I'm using those recording for front in the mix, They are reliable, sturdy, durable and in comparison to alot of gear, often silent - ish. &#xD;&#xA;&#xD;&#xA;Now with the new GOPRO camera due out, which is even smaller and more durable, and insanely good quality.  Whats the microphone equivalent? That would be something which would be a no brainer purchase for me. Something I can throw in my bag, and record anywhere I go.   Maybe not 100 foot under the water, or falling out a plane like the GOPRO. But as close to that as possible. :P&#xD;&#xA;&#xD;&#xA;Thanks guys  as always" ContentLicense="CC BY-SA 3.0" />
  <row Id="27503" PostHistoryTypeId="1" PostId="17057" RevisionGUID="0110ee76-93fc-4803-98db-c6823af8adc4" CreationDate="2012-11-20T14:30:06.910" UserId="4428" Text="Pocket Sturdy Microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="27504" PostHistoryTypeId="3" PostId="17057" RevisionGUID="0110ee76-93fc-4803-98db-c6823af8adc4" CreationDate="2012-11-20T14:30:06.910" UserId="4428" Text="&lt;portable-recorder&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27505" PostHistoryTypeId="2" PostId="17058" RevisionGUID="7d654946-1725-4cc6-bbc0-237f9a978f4c" CreationDate="2012-11-20T14:31:42.023" UserId="142" Text="I thought some of you would be interested in this from the BBC,[link text][1] its a history of conflicts from more of a sonic perspective. The sounds of conflict are obviously some of the most powewrful sounds that man has made and get lodged in the memory whether you are a civillian or soldier as a matter of survival. When my grandad came back from the war for many years he would dive to the ground if he heard a car backfire and I am sure many involved in todays wars are in many ways affected just as much by the sonic aspect as the visual. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bbc.co.uk/news/magazine-20400030" ContentLicense="CC BY-SA 3.0" />
  <row Id="27506" PostHistoryTypeId="1" PostId="17058" RevisionGUID="7d654946-1725-4cc6-bbc0-237f9a978f4c" CreationDate="2012-11-20T14:31:42.023" UserId="142" Text="Conflicts from a sonic perspective." ContentLicense="CC BY-SA 3.0" />
  <row Id="27507" PostHistoryTypeId="3" PostId="17058" RevisionGUID="7d654946-1725-4cc6-bbc0-237f9a978f4c" CreationDate="2012-11-20T14:31:42.023" UserId="142" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27508" PostHistoryTypeId="2" PostId="17059" RevisionGUID="95d6496b-9c55-4db5-87f6-e2ab6cc2ab68" CreationDate="2012-11-20T15:30:25.813" UserId="407" Text="At work we tend to try and batch all our recording during down time, these tend to be the bigger more complicated session that requires time and energy to set up and execute (guns, car drops, explosions). When we do these we tend to try to pack them close together so we can be recording every few days over a period of a month. This happens maybe every 6-9 months or so. we tend to end up with Gigabytes of data which can equal a few weeks editing.&#xD;&#xA;&#xD;&#xA;However I try to record something at least once a week outside of work, it can be anything, not specifically for any project but more just cause I like the idea or the sound. - I keep a list of stuff I want to try or capture. some of it is really simple and takes maybe a few minutes to record, e.g the beep of my home microwave, or cars passing down the street on a rainy day. Others I have to think a it more about how to capture e.g. other things on the list are Tesla coils, The local sea defence military exercises.&#xD;&#xA;&#xD;&#xA;Like @Shaun says recording is an investment and should become a habit - but one note only record as much as you have time to edit." ContentLicense="CC BY-SA 3.0" />
  <row Id="27509" PostHistoryTypeId="2" PostId="17060" RevisionGUID="02c39025-a463-4657-8176-ddbf4da1f3f5" CreationDate="2012-11-20T20:12:56.083" UserDisplayName="user49" Text="From the first time I read a script or first watch a cut I start thinking about what sounds in the film I would like to record, so that I can prioritise those &amp; start organising time &amp; access. I simply don't believe in the 'I dont have time to record' line - I've worked on plenty of low &amp; no budget projects and it is your choice how you spend your time. If you really want to record something then there is always the evenings or weekend (which are often the best time anyway!)&#xD;&#xA;&#xD;&#xA;I can give a good example: many years ago I got called in to help on a film that was having trouble with the sound team. An important sonic character in the film was a particular V8 car - there was a chase sequence &amp; it also crashed into a petrol station which caught fire &amp; exploded. I checked out what had been edited, the impacts, fire &amp; explosion were good but car was very underwhelming &amp; I asked what recording had been done &quot;Oh we havent had time to record anything&quot; - I didnt say anything but I thought, really? What they meant was either they hadn't prioritised it... or maybe there was some kind of psychological barrier?&#xD;&#xA;&#xD;&#xA;So guess what? In less than half an hour of phone calls I tracked down a car with the same engine, I explained to the owner we didnt have  big budget but I could cover petrol &amp; some beers - the guy was keen. I drove to a quiet street, rigged the mics for onboard recording, did half an hour of driving. I then hopped out &amp; gave him a list of moves I needed - passbys various speeds, up &amp; stop, take offs etc... An hour later we were done.&#xD;&#xA;&#xD;&#xA;So in under 3 hours total I did what the sound team had been putting off for literally months . And the really fundamental part of this is &amp; what you maybe need to consider: it is FAR EASIER to edit a scene when you have material specifically recorded for it, than trying to piece it together from a library. The end result has so much more character and because you recorded it you were there &amp; remember all the funny interesting sounds that add character... Especially vehicles where action is specific to picture cuts etc... &#xD;&#xA;&#xD;&#xA;Access to gear isn't an excuse any more either - that car recording story was back in the day when I only had a DAT recorder, a 416 and two dynamic mics.... Recording great specific unique material, even with a single mic is far better than nothing, and you learn a lot in the process&#xD;&#xA;&#xD;&#xA;Sometimes I will have a go at cutting a scene or sequence of FX from my library, or do a first pass of ambiences from my library &amp; then think: what elements would really benefit from new material.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But remember above all else, it is more about priorities than 'not having time'&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27510" PostHistoryTypeId="2" PostId="17061" RevisionGUID="ddfe1afb-7384-43a6-838f-ae96ad16a69d" CreationDate="2012-11-20T20:45:10.697" UserId="3250" Text="If this is a one man band, then don't spend a lot of money on gear. Your quality is going to be limited by it being a one-man-band more than the gear. And then when you get to the point where you can hire an experienced sound guy, he *should* have his own gear. But it seems like you've already made up your mind to buy these high end mics. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27511" PostHistoryTypeId="2" PostId="17062" RevisionGUID="940283d6-b7a1-456a-ae30-e39ec3804aed" CreationDate="2012-11-21T09:50:19.000" UserId="238" Text="I just finished reading Douglas Murray's guest article on Designing Sound during which he states:&#xD;&#xA;&#xD;&#xA;&gt; BG sounds connect the component shots into a whole scene and also separates the scenes one from the other by the changes in sound at the transitions between scenes.&#xD;&#xA;&gt;&#xD;&#xA;&#xD;&#xA;This got me thinking about the effect of playing with BGs to deliberately affect perception. Can anyone think of an example where two scenes in different places keep an element of the previous BG? I'm thinking of how BG manipulation can be used creatively to play with audience perception. Is there an example of two consecutive scenes that ordinarily should have different BGs but somehow retain certain elements? &#xD;&#xA;&#xD;&#xA;As Douglas Murray states, BGs serve to define time, space, mood and duration. But I'm just wondering if anyone has really experimented by messing with these &quot;rules&quot;. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27512" PostHistoryTypeId="1" PostId="17062" RevisionGUID="940283d6-b7a1-456a-ae30-e39ec3804aed" CreationDate="2012-11-21T09:50:19.000" UserId="238" Text="Creative Use Of BGs In Film" ContentLicense="CC BY-SA 3.0" />
  <row Id="27513" PostHistoryTypeId="3" PostId="17062" RevisionGUID="940283d6-b7a1-456a-ae30-e39ec3804aed" CreationDate="2012-11-21T09:50:19.000" UserId="238" Text="&lt;background&gt;&lt;ambiance&gt;&lt;film&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27514" PostHistoryTypeId="2" PostId="17063" RevisionGUID="2a0e5891-0b7d-4688-bcaf-36c99e3a3699" CreationDate="2012-11-21T13:41:44.663" UserId="644" Text="I've got some fantastic creaks from big rusty metal jerry cans and oil drums. Using the screw caps as the source and the empty cans as a chamber, I got great reverb squeaks and creaks. Pitching them down and the frequency range drops, so they turn into groans and croaks with plenty tails to meddle with.&#xD;&#xA;&#xD;&#xA;Something to work with, but I am not sure the exact sounds you are looking for. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27515" PostHistoryTypeId="2" PostId="17064" RevisionGUID="22de74f1-ba29-4fbf-8152-29f3601fca56" CreationDate="2012-11-21T13:45:20.080" UserId="644" Text="wheelchairs and golf club caddie cars are great." ContentLicense="CC BY-SA 3.0" />
  <row Id="27519" PostHistoryTypeId="5" PostId="17062" RevisionGUID="99e33c6c-8080-4c35-abb8-d91ddd31c80f" CreationDate="2012-11-21T15:12:21.690" UserId="238" Comment="added link" Text="I just finished reading Douglas Murray's [guest article on Designing Sound][1] during which he states:&#xD;&#xA;&#xD;&#xA;&gt; BG sounds connect the component shots into a whole scene and also separates the scenes one from the other by the changes in sound at the transitions between scenes.&#xD;&#xA;&gt;&#xD;&#xA;&#xD;&#xA;This got me thinking about the effect of playing with BGs to deliberately affect perception. Can anyone think of an example where two scenes in different places keep an element of the previous BG? I'm thinking of how BG manipulation can be used creatively to play with audience perception. Is there an example of two consecutive scenes that ordinarily should have different BGs but somehow retain certain elements? &#xD;&#xA;&#xD;&#xA;As Douglas Murray states, BGs serve to define time, space, mood and duration. But I'm just wondering if anyone has really experimented by messing with these &quot;rules&quot;. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2012/11/backgrounds-sound-design-under-the-radar/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27520" PostHistoryTypeId="2" PostId="17066" RevisionGUID="2448f318-e803-4563-8ea8-67824e9d4d25" CreationDate="2012-11-21T17:12:28.823" UserId="29" Text="This is sure to become a SSD running gag, but: ***Wheelbarrows***. :-)&#xD;&#xA;&#xD;&#xA;They're constructed not unlike boats, a large metal tub or scoop, and using a shovel or even a hammer claw on the inside of a wheelbarrow's bin can yield some great groaning, creaking, etc. Plus, whenever I've been in a fishing boat on the water, things are invariably swaying and swinging, hitting the hull and making all manner of percussive sounds, so it works for that as well. &#xD;&#xA;&#xD;&#xA;Pitched-down rusty hinges are also good for metal that's under more intense strain. Listen all around you for squeaky doors and the like, but be sure to not record them with much (any, ideally) room reverb.&#xD;&#xA;&#xD;&#xA;WHEELBARROWS FOR EVERYONE! :-p" ContentLicense="CC BY-SA 3.0" />
  <row Id="27521" PostHistoryTypeId="2" PostId="17067" RevisionGUID="a8e5fbad-9060-4de5-ab5a-eaf9adbdcb48" CreationDate="2012-11-21T17:17:45.170" UserId="29" Text="@CG, cameras can be isolated from the air or water as long as they have a high-quality porthole through which to see. Rendering the same level of protection to microphones will render them useless, as they need access to air in order to function. Your only solution is to buy a reasonably rugged all-in-one handheld field recorder (e.g., Sony PCM-D50) or use water-resistant mic capsules (e.g., Countryman lavs) to a remote field recorder, possibly in a dry bag. But neither will be, or can, be, weatherproof while in use." ContentLicense="CC BY-SA 3.0" />
  <row Id="27522" PostHistoryTypeId="2" PostId="17068" RevisionGUID="af775d12-59c8-4fff-ae73-3f3d9a6347a7" CreationDate="2012-11-21T21:02:27.387" UserId="194" Text="I'll be the sound of the drone is greatly feared in that part of the world right now.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="27523" PostHistoryTypeId="2" PostId="17069" RevisionGUID="e4999eee-87f4-47c6-9281-13bd20c44fad" CreationDate="2012-11-21T22:06:40.360" UserId="3250" Text="I just discovered that there were other options for figure-eight mics for M/S and have found very little opinions on the blue line stuff from AKG. &#xD;&#xA;&#xD;&#xA;For about $1300 you can have a cardiod condenser and a figure-eight pair for essentially half the cost (new anyways) of a mkh30/40 pair. Plus there would be new capsules to buy to add a shotgun or hyper. &#xD;&#xA;&#xD;&#xA;I take it they are in the awkward mid-tier price range where people are usually gonna go for gold or go home kinda thing. &#xD;&#xA;&#xD;&#xA;I've heard some concerns about noise but that's really about all I can find. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27524" PostHistoryTypeId="1" PostId="17069" RevisionGUID="e4999eee-87f4-47c6-9281-13bd20c44fad" CreationDate="2012-11-21T22:06:40.360" UserId="3250" Text="No love for the AKG Blue Line microphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27525" PostHistoryTypeId="3" PostId="17069" RevisionGUID="e4999eee-87f4-47c6-9281-13bd20c44fad" CreationDate="2012-11-21T22:06:40.360" UserId="3250" Text="&lt;field-recording&gt;&lt;microphone&gt;&lt;mid-side&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27526" PostHistoryTypeId="2" PostId="17070" RevisionGUID="a430c2f8-0a72-4208-8bb8-a8c3766e0bfc" CreationDate="2012-11-21T22:45:08.957" UserId="5474" Text="As i type this i'm digitally tracking about 3hrs of audio from an American Vietnam Radio Station. If you would like a copy Email me at cole.rippe@me.com&#xD;&#xA;&#xD;&#xA;&quot;And the hits just keep on coming!&quot;&#xD;&#xA;&#xD;&#xA;Authentic, Explicit and **AWESOME**!" ContentLicense="CC BY-SA 3.0" />
  <row Id="27527" PostHistoryTypeId="2" PostId="17071" RevisionGUID="8c29c7ce-7464-4d30-bd1f-2eeea33de64a" CreationDate="2012-11-21T22:52:35.777" UserId="3179" Text="Could be just marketing (mouth to mouth and retailers) as well. Some brands and product lines are just so widely used that there's no excuse to look for alternatives.&#xD;&#xA;&#xD;&#xA;Speaking of M-S though:&#xD;&#xA;http://pearl.se/microphones/ms_2.type at around $1800 I think." ContentLicense="CC BY-SA 3.0" />
  <row Id="27528" PostHistoryTypeId="2" PostId="17072" RevisionGUID="d8fee029-f8df-4e61-baa7-18363f0b7b2a" CreationDate="2012-11-21T23:39:36.530" UserId="432" Text="On the contrary, I own two blue line bodies and cardioid and hypercardioid capsules for each. They're great mics, but, yes, the stereotypical Sennheiser and Schoeps mics are definitely nicer. They do have a higher noise floor, such that I wouldn't want to use them as an M/S pair. I don't mind using them in coincident or spaced pair configurations for stereo recordings, but I'm not convinced I'd be happy with the resultant noise floor from an M/S summing procedure. That's just me." ContentLicense="CC BY-SA 3.0" />
  <row Id="27529" PostHistoryTypeId="2" PostId="17073" RevisionGUID="fde262d1-2fbd-4ac6-a984-6b7d27e6a604" CreationDate="2012-11-22T06:27:17.517" UserId="4418" Text="well, one great film with BGs is 'No Country For Old Men' - lack of music in spots, BG's hold the scene and the tension runs very high, foley and BG - thats it. (thinking desert scene)" ContentLicense="CC BY-SA 3.0" />
  <row Id="27531" PostHistoryTypeId="2" PostId="17075" RevisionGUID="b4c8ee2f-cf3d-4d49-b5f1-0dd68c3f20ad" CreationDate="2012-11-22T10:21:35.933" UserId="5475" Text="Hi, thanks for the reply, yeah I understand,  but you would still expect something with close to the same size / sturdyness / and quality from a pocket recorder. Instead of them all looking like early 90s cellphones. And the ones that can truly fit in your pocket without making you look suspiciously happy about recording are typically made from incredibly cheap plastic. &#xD;&#xA;&#xD;&#xA;There seems to be a gap in the market for something truly compact, rugged, and of decent quality. Memory and power supplies have gotten so small that I'm not sure whats holding it back. The screen doesnt need to be massive. gopro have there thing down. Now to just find a portable recorder that was just as cool : )&#xD;&#xA;&#xD;&#xA;Which probably exists and I just fail at googling btw&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="27532" PostHistoryTypeId="2" PostId="17076" RevisionGUID="48ca4649-cca9-4d2b-b73c-8c9e9b3d4051" CreationDate="2012-11-22T14:32:30.127" UserId="194" Text="I had a scene in a short film I did last year where I did something fun.  &#xD;&#xA;&#xD;&#xA;The film is a period piece, so no modern sounds anywhere.  A woman is sitting alone in a room contemplating a potion she's in the process of making that will kill her unborn child - saving it from her abusive husband.  &#xD;&#xA;&#xD;&#xA;I put a clock in the room (even though there wasn't one anywhere on screen in the set) and had it ticking almost inaudibly at first.  Just part of the furniture.  &#xD;&#xA;&#xD;&#xA;The woman is interrupted as husband storms into the room, threatens her and leaves.  he's been doing this for years.&#xD;&#xA;&#xD;&#xA;I do some other designy things around her state of mind there (stretched screams, some forgotten zither things, etc), and in a fit of rage she makes the potion strong enough to both kill herself *and* the unborn child.  the camera starts spinning around her head in closeup and I take the clock and push it very loud in the mix - just a massive ticking thing signifying the last moments of her life.  The audio and visuals are chaos for a moment as she's going to through the decision making process that will lead her to drink the potion.&#xD;&#xA;&#xD;&#xA;then a hard cut to a wide shot of the woman.  she's made her decision, now she just has to do it.  The clock is back to its regular place - its there, but just part of the furniture again.  The rest of the bgfx are  back in place.  wind, house creaking, etc.&#xD;&#xA;&#xD;&#xA;she takes the cup and lifts it.&#xD;&#xA;&#xD;&#xA;*kaboom!!* - a piano that some movers were lifting in a previous scene crashes through the window.&#xD;&#xA;&#xD;&#xA;The cup falls and shatters.  The potion is ruined.  The woman is disoriented.&#xD;&#xA;&#xD;&#xA;At this point I got rid of all of the bgfx that weren't a part of the piano ringout (thanks to Tim Prebble for ![tortured piano][1] there) - including the clock.  Its a subtle thing, but that decision was a specific metaphor for the fact that the seconds are no longer ticking down on the woman's life.&#xD;&#xA;&#xD;&#xA;The movers walk into the room and address the woman, but we're still only hearing the piano breaking apart on the floor and the dust settling.  Despite all of the visual motion, all of the audio is of the event settling into the ground.  &#xD;&#xA;&#xD;&#xA;no clock, no wind, no house creaking, no men talking even though we see them addressing her and helping her off the floor.  Just the long ringing dissonance of the piano as it lays there and the falling of dirt to the floor and the occasional random string pop as it finally gives way.  The scene settles into quiet and then hard cuts to the woman screaming as she gives birth.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hissandaroar.com/sd006-tortured-piano/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27533" PostHistoryTypeId="2" PostId="17077" RevisionGUID="24eb2bd2-4df3-4044-bf28-0033e2e65be8" CreationDate="2012-11-22T16:33:31.027" UserId="6420" Text="The scene in Barton Fink where Fink arrives at the hotel for the first time. The previous scene of waves crashing dissolves over the lobby shot but we still hear the waves. &#xD;&#xA;&#xD;&#xA;Didn't have any luck finding a clip on youtube but there's a clip here http://www.avclub.com/articles/barton-fink,33399/&#xD;&#xA;&#xD;&#xA;Interesting article too. &#xD;&#xA;&#xD;&#xA;Hope that helps! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="27534" PostHistoryTypeId="2" PostId="17078" RevisionGUID="7bcf8430-244d-4d90-a5b0-cde07142cdd5" CreationDate="2012-11-22T18:40:49.390" UserId="542" Text="I own the GoPro HD Hero2 camera and to be honest:&#xD;&#xA; &#xD;&#xA;it's a fun camera, but the actual quality is not that good as you might think at first. The material is hard to grade, it tends to get noisy, doing recordings underwater gives you condensed water on the lens, etc.,etc.&#xD;&#xA; &#xD;&#xA;Nevertheless I still like it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;That said, I think a cheap Zoom H2n is actually kinda the equivalent for audiogear: it offers you the chance to make recordings, that sound ok, even though it won't stay up against an expensive recorder. But it gives you usuable results and it's not that bad when it get's destroyed.&#xD;&#xA;&#xD;&#xA;If you'd like to invest a little bit more, go with the Sony PCM-D50 as Nathan said.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I own a Zoom H1 and I don't hesitate putting it into places where I won't put my expensive gear into,eg. putting it directly under rails while trains are passing over it. (the recordings sound less exciting than I thought they would )&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27535" PostHistoryTypeId="2" PostId="17079" RevisionGUID="cb980063-b623-4240-8553-acaaa1d102d0" CreationDate="2012-11-22T21:55:44.680" UserId="5476" Text="I am working on a theater sound design which will require frequent repetitions of a few sound files. I have a PC laptop that I can use for playback. I have seen software that allows the assignment of hot keys to play different mp3's, but now that I need it, I cannot find it on line. Can anyone recommend something?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Gordon Gunn&#xD;&#xA;Gunn Bros. Sound Design&#xD;&#xA;Austin, TX" ContentLicense="CC BY-SA 3.0" />
  <row Id="27536" PostHistoryTypeId="1" PostId="17079" RevisionGUID="cb980063-b623-4240-8553-acaaa1d102d0" CreationDate="2012-11-22T21:55:44.680" UserId="5476" Text="PC laptop mp3 playback" ContentLicense="CC BY-SA 3.0" />
  <row Id="27537" PostHistoryTypeId="3" PostId="17079" RevisionGUID="cb980063-b623-4240-8553-acaaa1d102d0" CreationDate="2012-11-22T21:55:44.680" UserId="5476" Text="&lt;mp3&gt;&lt;pc&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27538" PostHistoryTypeId="2" PostId="17080" RevisionGUID="c1780a00-e008-4c66-ab46-d69957f3677a" CreationDate="2012-11-22T22:07:17.653" UserId="238" Text="Try [Jingle Palette][1]. &#xD;&#xA;&#xD;&#xA;- It's free. &#xD;&#xA;- It supports various audio files. &#xD;&#xA;- And, in my experience of using it, it's very stable. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jinglepalette.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27539" PostHistoryTypeId="2" PostId="17081" RevisionGUID="db964bea-5824-42ff-9858-4bc066cf674c" CreationDate="2012-11-23T00:20:41.257" UserId="3754" Text="if you can beg borrow or steal a mac, qLab is free, awesome and virtually industry standard for theatre." ContentLicense="CC BY-SA 3.0" />
  <row Id="27541" PostHistoryTypeId="2" PostId="17083" RevisionGUID="e3cbadee-6e10-47db-afce-3282cd6f2654" CreationDate="2012-11-23T08:38:35.373" UserId="5479" Text="I've used the Blue Line series as a cardioid x-y pair with the knuckle/swivel mounts for location work as they fit well into a single suspension. You can't compare them to a schoeps/senheisser solution but for the price I was mostly happy with the results." ContentLicense="CC BY-SA 3.0" />
  <row Id="27542" PostHistoryTypeId="2" PostId="17084" RevisionGUID="9a50ca9b-d58f-455e-9dc0-9ac84d1511f0" CreationDate="2012-11-23T08:39:53.240" UserId="5480" Text="also try SoundByte from www.blackcatsystems.com been using that for years for very same thing. also v stable and very intuitive, maybe even a bit simpler than QLab and less cluttered during a show. &#xD;&#xA;&#xD;&#xA;it allows click to play, hot keys, midi trigger, or playlist play. you can also loop individual carts if you want say a birdsong bed under other fx etc. &#xD;&#xA;&#xD;&#xA;also features individual level sliders for each cart. &#xD;&#xA;&#xD;&#xA;hth&#xD;&#xA;&#xD;&#xA;paul d" ContentLicense="CC BY-SA 3.0" />
  <row Id="27543" PostHistoryTypeId="2" PostId="17085" RevisionGUID="4927640b-5861-4819-85b8-634719ac2249" CreationDate="2012-11-23T10:03:49.300" UserId="4390" Text="Oohlala - first question ever on SSD!&#xD;&#xA;&#xD;&#xA;So: I'm wondering if anyone here has experience building and using diy electret mics for field recording purposes? I am thinking of building one of these: http://www.scotthelmke.com/alice-mic.html&#xD;&#xA;&#xD;&#xA;Did anyone here build and/or use one of these? How did it fare in terms of sound and, just as importantly, self noise?&#xD;&#xA;&#xD;&#xA;I already bought this kit (yet to be built though): http://www.micbooster.com/products/diystereomicroph.html&#xD;&#xA;&#xD;&#xA;Which should let me do the spaced omni's thing a bit better than the built in mics on my Sony PCM M10 allows for. The Primo capsules are reported to have very low self-noise, so that doesn't worry me.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27544" PostHistoryTypeId="1" PostId="17085" RevisionGUID="4927640b-5861-4819-85b8-634719ac2249" CreationDate="2012-11-23T10:03:49.300" UserId="4390" Text="DIY mics for field/fx recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27545" PostHistoryTypeId="3" PostId="17085" RevisionGUID="4927640b-5861-4819-85b8-634719ac2249" CreationDate="2012-11-23T10:03:49.300" UserId="4390" Text="&lt;diy&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27550" PostHistoryTypeId="2" PostId="17088" RevisionGUID="df046e49-467e-4fe8-b0da-2b6e03becee0" CreationDate="2012-11-23T15:51:51.643" UserId="3979" Text="I learned a tone about BGs by watching &quot;blade runner&quot;. Some of the best,most unique BGs I've ever heard." ContentLicense="CC BY-SA 3.0" />
  <row Id="27551" PostHistoryTypeId="2" PostId="17089" RevisionGUID="cde0effe-06f7-40d5-a7f8-34d0d27326c1" CreationDate="2012-11-23T17:17:03.877" UserId="5482" Text="Hi everyone,&#xD;&#xA;I've seen other posts on sound library usage, but my question is more geared towards freelancers.&#xD;&#xA;&#xD;&#xA;If you're working as a freelance sound designer and get hired by a production company on contract to work on a project for their client, are you legally allowed to use the royalty free sound libraries that  you've purchased yourself to work on the project even if it's for a third party?&#xD;&#xA;&#xD;&#xA;Would the production company need to purchase the library since they are the ones being credited on the project and not you?&#xD;&#xA;&#xD;&#xA;Any insight into this would be appreciated.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Anne-Marie" ContentLicense="CC BY-SA 3.0" />
  <row Id="27552" PostHistoryTypeId="1" PostId="17089" RevisionGUID="cde0effe-06f7-40d5-a7f8-34d0d27326c1" CreationDate="2012-11-23T17:17:03.877" UserId="5482" Text="Sound Library Usage for Freelancers" ContentLicense="CC BY-SA 3.0" />
  <row Id="27553" PostHistoryTypeId="3" PostId="17089" RevisionGUID="cde0effe-06f7-40d5-a7f8-34d0d27326c1" CreationDate="2012-11-23T17:17:03.877" UserId="5482" Text="&lt;sound-library&gt;&lt;freelance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27554" PostHistoryTypeId="2" PostId="17090" RevisionGUID="46230f4c-8fa8-4c02-8975-6512bc305c17" CreationDate="2012-11-23T17:59:54.657" UserId="643" Text="Well, from my point of view... it depends.&#xD;&#xA;&#xD;&#xA;The biggest factor is where the final product will be exhibited and how tightly the client (or the client's client, ie the network/film studio) likes to cover their ass.  I've had clients ask me to provide a list of the sources of all the sfx I used (which I may or may not be able to provide).  Other clients don't give a hoot.  So it's best to ask your client prior to working with them.&#xD;&#xA;&#xD;&#xA;Most independent sfx libraries allow you to use their sfx in any way you see fit.  See BOOM's terms of use:&#xD;&#xA;&#xD;&#xA;&gt; Can I use your sounds in a production&#xD;&#xA;&gt; that's going to be broadcast. Do I&#xD;&#xA;&gt; have to pay for additional licenses?&#xD;&#xA;&#xD;&#xA;&gt; The licence is for commercial and&#xD;&#xA;&gt; non-commercial use in music,&#xD;&#xA;&gt; sound-effect, audio/video&#xD;&#xA;&gt; post-production, performance,&#xD;&#xA;&gt; broadcast or similar finished&#xD;&#xA;&gt; content-creation and production use.&#xD;&#xA;&gt; It allows you to combine the CONTENT&#xD;&#xA;&gt; you've purchased for commercial&#xD;&#xA;&gt; recordings without paying any&#xD;&#xA;&gt; additional license fees or providing&#xD;&#xA;&gt; source attribution to BOOM Library" ContentLicense="CC BY-SA 3.0" />
  <row Id="27555" PostHistoryTypeId="2" PostId="17091" RevisionGUID="74e9e11c-2109-4f08-b425-2f57219e93b1" CreationDate="2012-11-23T19:18:22.613" UserId="3835" Text="Hello,&#xD;&#xA;&#xD;&#xA;I am running a Macbook Pro 15&quot; into an edirol USB interface which connects to my Samson Rubicon R6a monitors via XLR. My power supply causes horrible noise in my monitors and i am aware i need to buy an isolation transformer. Anyone have any recommendations? My budget is about £50 maximum." ContentLicense="CC BY-SA 3.0" />
  <row Id="27556" PostHistoryTypeId="1" PostId="17091" RevisionGUID="74e9e11c-2109-4f08-b425-2f57219e93b1" CreationDate="2012-11-23T19:18:22.613" UserId="3835" Text="Isolation Transformer" ContentLicense="CC BY-SA 3.0" />
  <row Id="27557" PostHistoryTypeId="3" PostId="17091" RevisionGUID="74e9e11c-2109-4f08-b425-2f57219e93b1" CreationDate="2012-11-23T19:18:22.613" UserId="3835" Text="&lt;power&gt;&lt;technology&gt;&lt;connector&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27558" PostHistoryTypeId="2" PostId="17092" RevisionGUID="9be07a9a-1e5b-4e03-af7f-fcf1d6df8fa9" CreationDate="2012-11-23T19:57:10.873" UserId="432" Text="You can't cheap out if you're planning to use transformers. The cheaper they are, the more likely they are to mangle and distort your audio...something you don't want happening in your monitoring chain. You need to be able to trust what you're hearing. Good transformers are expensive. Jensen are some of the highest quality you can buy, but they aren't cheap either; you get what you pay for.&#xD;&#xA;&#xD;&#xA;If you can't afford the entry cost for quality transformers, you're better off looking for a different solution. Where are all of your cables positioned? There may be a simple solution if you give that some careful consideration." ContentLicense="CC BY-SA 3.0" />
  <row Id="27559" PostHistoryTypeId="2" PostId="17093" RevisionGUID="757bd360-ee02-4745-97b8-a2ce24235724" CreationDate="2012-11-23T21:15:54.157" UserDisplayName="user49" Text="This is a common occurrence - I don't know the exact stats but many sound editors, &amp; sound designers are freelance and accordingly spend the majority of their time working in the scenario you describe. &#xD;&#xA;&#xD;&#xA;If you check the license agreement for each sound library company you can verify the rights and use that is allowed, certainly for HISSandaROAR it is very clear you are entitled to do this. &#xD;&#xA;http://hissandaroar.com/eula&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Some free sound websites have agreements that you have to be aware of on a case by case basis eg freesound contain samples some of which are public domain &amp; some of which are not allowed for commercial use... &#xD;&#xA;&#xD;&#xA;http://www.freesound.org/help/faq/#licenses-0&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27560" PostHistoryTypeId="2" PostId="17094" RevisionGUID="5e9ddaac-7c2e-4f97-9061-25abd8c169d8" CreationDate="2012-11-24T00:05:23.533" UserId="182" Text="Regardless of the source of the interference (dirty mains power, the power supply, a faulty component, or something in the laptop), there is a strong link between the audio interface and the interference that ends up in the audio path. If the manufacturer cut corners in the shielding of the audio components, EMI-noise ends up in the audible range.&#xD;&#xA;&#xD;&#xA;I've had an Edirol interface years ago, and I sold it because I could hear hard-disk activity, screen redraws and processor activity through the audio outputs.&#xD;&#xA;This noise became a lot quieter when I disconnected the power supply from my laptop, but it was still there if I turned up the volume.&#xD;&#xA;&#xD;&#xA;Other interfaces did not have this problem.&#xD;&#xA;&#xD;&#xA;A transformer might help, but try to borrow one to see if it actually improves things, and while you're borrowing, also try out a decent audio interface to check what that can do for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="27561" PostHistoryTypeId="2" PostId="17095" RevisionGUID="deb99e15-551c-435a-90f7-f4b18dced0ea" CreationDate="2012-11-24T07:20:44.800" UserId="5483" Text="socket for another output like background music(any di box with an earth lift will do) with the earth lift switch on, that gets rid of the power supply noise across both. Regarding noise from the internal workings of the laptop I always have the laptop volume at full. The lower you have the volume on your MBP the closer you are to the machines noise floor. Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="27562" PostHistoryTypeId="5" PostId="17095" RevisionGUID="7fb8dfd1-e5e0-41be-b545-cbbcc81d2841" CreationDate="2012-11-24T07:25:49.260" UserId="5483" Comment="Incomplete submission" Text="I work on live events. i have a macbook pro and i use a usb interface (apogee one) for walk up music cues, and a di box with an earth lift switch (interspace industries pc di box about £65) out of the headphone socket for another output like background music(any di box with an earth lift will do) with the earth lift switch on, that gets rid of the power supply noise across both. Regarding noise from the internal workings of the laptop I always have the laptop volume at full. The lower you have the volume on your MBP the closer you are to the machines noise floor. Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="27564" PostHistoryTypeId="2" PostId="17096" RevisionGUID="6e383936-089c-458f-8ab8-b01297844102" CreationDate="2012-11-24T12:57:36.747" UserId="198" Text="I think there could be another thread to discuss films where the sound design was somehow &quot;overdone&quot;, in ways where it was possibly &quot;too good&quot; (if that makes sense).&#xD;&#xA;&#xD;&#xA;'The Tree of Life' was a bit overdone for me (as was the film in general), also something about the sound in 'Where the Wild Things Are' disturbed me. With many stylistic contemporary films I get the feeling I'm watching a sophisticated music video rather than a film." ContentLicense="CC BY-SA 3.0" />
  <row Id="27565" PostHistoryTypeId="16" PostId="17096" RevisionGUID="6e383936-089c-458f-8ab8-b01297844102" CreationDate="2012-11-24T12:57:36.747" UserId="-1" />
  <row Id="27566" PostHistoryTypeId="2" PostId="17097" RevisionGUID="7eb1b9c4-f86e-4b3b-a12e-d74a597f76e2" CreationDate="2012-11-25T02:27:15.050" UserId="5484" Text="Or just Ableton Live! Can do everything!" ContentLicense="CC BY-SA 3.0" />
  <row Id="27567" PostHistoryTypeId="2" PostId="17098" RevisionGUID="103f3a3b-f871-4e01-b340-a144ef52f3cd" CreationDate="2012-11-25T08:44:37.253" UserId="1319" Text="After reading this thread: [What audio editor are you using?][1], I was dooing a little research to choose the best audio editor for mac and pc (I need a cross-platform editor). But I would love to have the Pro Tools shuttle mode workflow in an audio editor. There is a scrub function in Adobe Audition, but it's not that powerfull like shuttle mode. Maybe somebody found that function in an audio editor? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/15880/what-audio-editor-are-you-using&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27568" PostHistoryTypeId="1" PostId="17098" RevisionGUID="103f3a3b-f871-4e01-b340-a144ef52f3cd" CreationDate="2012-11-25T08:44:37.253" UserId="1319" Text="Shuttle mode alternative in audio editor?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27569" PostHistoryTypeId="3" PostId="17098" RevisionGUID="103f3a3b-f871-4e01-b340-a144ef52f3cd" CreationDate="2012-11-25T08:44:37.253" UserId="1319" Text="&lt;audio-editor&gt;&lt;wave-editor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27570" PostHistoryTypeId="2" PostId="17099" RevisionGUID="07cc5718-f924-49f8-a353-97cfb23b4bb8" CreationDate="2012-11-25T19:12:35.900" UserId="3784" Text="Top stick and gaff tape" ContentLicense="CC BY-SA 3.0" />
  <row Id="27571" PostHistoryTypeId="2" PostId="17100" RevisionGUID="394d7ca7-9abd-4e58-a9bf-72e23744cfed" CreationDate="2012-11-25T19:47:11.780" UserId="238" Text="As part of the [Europa Cinemas][1] event that took place here in Paris this weekend, I watched a really interesting talk by David Orlic, Creative Director and Co Founder of [Volontaire][2]. The discussion was based around a project they developed for the Swedish Institute and Visit Sweden entitled [Curators of Sweden][3]. &#xD;&#xA;&#xD;&#xA;For those who haven't heard about it, the project saw Sweden become the first country in the world to let go of an official communication channel and hand it over to its citizens. Every week, someone in Sweden became @Sweden and therefore, the sole ruler of the country's official Twitter account. The project trended on Twitter worldwide and, after some controversial comments, gained worldwide media coverage. &#xD;&#xA;&#xD;&#xA;Having trended on Twitter worldwide and gained worldwide media coverage Curators of Sweden has since inspired the launch of many similar projects as well as the term Rotation Creation. &#xD;&#xA;&#xD;&#xA;According to Wikipedia:&#xD;&#xA;&gt; Rotation Curation, also #RotationCuration, is a social media concept where official and unofficial projects, countries, cities, companies, cultural, and, or other types of groups rotate their spokespersons, curators, every week.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So, has anyone here participated in such a project with a concept of a rotating spokesperson or curator on any level? If so, how did it work out? Is there any scope to develop this idea in a sound design / recording context? We've seen various crowd sourcing projects but I'm wondering how interesting it'd be to try something like this?  &#xD;&#xA;&#xD;&#xA;Any ideas / thoughts?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.europa-cinemas.org/en&#xD;&#xA;  [2]: http://www.volontaire.se/en/&#xD;&#xA;  [3]: http://www.volontaire.se/en/case/curators-of-sweden/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27572" PostHistoryTypeId="1" PostId="17100" RevisionGUID="394d7ca7-9abd-4e58-a9bf-72e23744cfed" CreationDate="2012-11-25T19:47:11.780" UserId="238" Text="#RotationCreation" ContentLicense="CC BY-SA 3.0" />
  <row Id="27573" PostHistoryTypeId="3" PostId="17100" RevisionGUID="394d7ca7-9abd-4e58-a9bf-72e23744cfed" CreationDate="2012-11-25T19:47:11.780" UserId="238" Text="&lt;project&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27574" PostHistoryTypeId="2" PostId="17101" RevisionGUID="3de56d6d-ba40-420a-9420-ce777975a0ba" CreationDate="2012-11-25T21:43:49.140" UserId="7642" Text="I have. &#xD;&#xA;I never bothered building any advanced housings.&#xD;&#xA;I focused on placement and also tried various stereo mounting techniques all wit pretty good results. &#xD;&#xA;It may not stand up to the very best mics, but mine are far from bad.&#xD;&#xA;Make sure for fx recording to get good sensitivity and low noise.&#xD;&#xA;&#xD;&#xA;What's great is that the capsules are inexpensive enough that buying a bunch, experimenting and mistreating them until they brake is not a big thing." ContentLicense="CC BY-SA 3.0" />
  <row Id="27575" PostHistoryTypeId="2" PostId="17102" RevisionGUID="8ce2bc81-2678-4f1b-829d-4378290724cc" CreationDate="2012-11-26T08:32:35.233" UserId="5487" Text="Hi there!&#xD;&#xA;&#xD;&#xA;I was wondering how poeple set their limiter while mixing film for theater and/or dvd. There can be found a lot about speaker calibration and just mixing by ear after your calibration is correct. But there isn't much about the fx chain on the masterbus..&#xD;&#xA;&#xD;&#xA;Do you set your metering after the limiter and what values do other people use for their limiters?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;PP" ContentLicense="CC BY-SA 3.0" />
  <row Id="27576" PostHistoryTypeId="1" PostId="17102" RevisionGUID="8ce2bc81-2678-4f1b-829d-4378290724cc" CreationDate="2012-11-26T08:32:35.233" UserId="5487" Text="When and how to set the limiter while mixing film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27577" PostHistoryTypeId="3" PostId="17102" RevisionGUID="8ce2bc81-2678-4f1b-829d-4378290724cc" CreationDate="2012-11-26T08:32:35.233" UserId="5487" Text="&lt;mixing&gt;&lt;dvd&gt;&lt;theater&gt;&lt;limiters&gt;&lt;monitor-calibration&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27578" PostHistoryTypeId="5" PostId="17100" RevisionGUID="bde304c8-bdc5-49ae-aed8-11206dca046d" CreationDate="2012-11-26T08:48:56.930" UserId="238" Comment="changed sentence " Text="As part of the [Europa Cinemas][1] event that took place here in Paris this weekend, I watched a really interesting talk by David Orlic, Creative Director and Co Founder of [Volontaire][2]. The discussion was based around a project they developed for the Swedish Institute and Visit Sweden entitled [Curators of Sweden][3]. &#xD;&#xA;&#xD;&#xA;For those who haven't heard about it, the project saw Sweden become the first country in the world to let go of an official communication channel and hand it over to its citizens. Every week, someone in Sweden became @Sweden and therefore, the sole ruler of the country's official Twitter account. The project trended on Twitter worldwide and, after some controversial comments, gained worldwide media coverage. &#xD;&#xA;&#xD;&#xA;Having gained worldwide media coverage, Curators of Sweden has since inspired the launch of many similar projects as well as the term Rotation Creation. &#xD;&#xA;&#xD;&#xA;According to Wikipedia:&#xD;&#xA;&gt; Rotation Curation, also #RotationCuration, is a social media concept where official and unofficial projects, countries, cities, companies, cultural, and, or other types of groups rotate their spokespersons, curators, every week.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So, has anyone here participated in such a project with a concept of a rotating spokesperson or curator on any level? If so, how did it work out? Is there any scope to develop this idea in a sound design / recording context? We've seen various crowd sourcing projects but I'm wondering how interesting it'd be to try something like this?  &#xD;&#xA;&#xD;&#xA;Any ideas / thoughts?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.europa-cinemas.org/en&#xD;&#xA;  [2]: http://www.volontaire.se/en/&#xD;&#xA;  [3]: http://www.volontaire.se/en/case/curators-of-sweden/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27580" PostHistoryTypeId="2" PostId="17104" RevisionGUID="857f5740-56af-40a8-8ebf-c2a87e13b722" CreationDate="2012-11-26T11:54:34.790" UserId="348" Text="I have always love David Lynch's choices for BG's. The low end drone in Bill Pullman's house as he walks down the hallway into the darkness or the CCTV footage outside his house. Also, the sound of Rossellini's apartment building is truly haunting and unnerving. Great stuff. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27581" PostHistoryTypeId="5" PostId="17088" RevisionGUID="69064a19-85b7-4574-8703-7c2e1c10288b" CreationDate="2012-11-26T15:38:38.253" UserId="61" Comment="deleted 1 characters in body" Text="I learned a ton about BGs by watching &quot;blade runner&quot;. Some of the best,most unique BGs I've ever heard." ContentLicense="CC BY-SA 3.0" />
  <row Id="27583" PostHistoryTypeId="2" PostId="17106" RevisionGUID="12ae8c39-1dcf-4d5c-a4e2-e594bd2bf88a" CreationDate="2012-11-26T19:34:01.113" UserId="4116" Text="Hei Peter&#xD;&#xA;one of the problems when working digitally is that the dbFs scale will give you no reference about how loud a sound is and if your signal is too hot, clipping, it will not be compressed and distorted in a harmonically way,like it would happen on tape, but because you are running out of 0 and 1 to process the signal it will sound very ugly.&#xD;&#xA;&#xD;&#xA;Long story short: limiters are, in my opinion should only be, used to avoid clipping; to compress a (partsofa)signal in it s output where it s qua dynamics to hot for the reason of the above mentioned effect.&#xD;&#xA;&#xD;&#xA;If you have a limiter on your masterbus, you are probably mixing music and participating on the beloved loudness war of ourdays music industry.&#xD;&#xA;&#xD;&#xA;Mixing for film/tv is dependend on calibrated speakers, by mixing via those folks you get a close to reality impression on how loud your will be in the theater. Some tv stations have their own leveling requirements, and there are especially differences between different nations. But, just as radio stations do it with help of a VU meter, most of them mostly re-level them quite a bit.&#xD;&#xA;&#xD;&#xA;So calibrate your speakers, dB meters are very cheap and even smartphone apps do their job quite well, and try to keep the limiter out of your masterbus. When your master is clipping better try to get rid of the problem earlier in your signal chain&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27588" PostHistoryTypeId="2" PostId="17109" RevisionGUID="5c95f71e-aa22-47f8-8944-2a89309e64f8" CreationDate="2012-11-26T21:27:38.903" UserId="5488" Text="Duct Tape. Because it turns, &quot;no, no, NOOO!&quot; into , &quot;mmm, mmmm, MMMMMM!&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27589" PostHistoryTypeId="5" PostId="17106" RevisionGUID="26ec0406-6f9b-41c3-abb3-50c9d0adb590" CreationDate="2012-11-26T21:56:27.920" UserId="4116" Comment="added 118 characters in body" Text="Hei Peter&#xD;&#xA;one of the problems when working digitally is that the dbFs scale will give you no reference about how loud a sound is and if your signal is too hot, clipping, it will not be compressed and distorted in a harmonically way,like it would happen on tape, but because you are running out of 0 and 1 to process the signal it will sound very ugly.&#xD;&#xA;&#xD;&#xA;Long story short: limiters are, in my opinion should only be, used to avoid clipping; to compress a (partsofa)signal in it s output where it s qua dynamics to hot for the reason of the above mentioned effect.&#xD;&#xA;&#xD;&#xA;If you have a limiter on your masterbus, you are probably mixing music and participating on the beloved loudness war of ourdays music industry.&#xD;&#xA;&#xD;&#xA;Mixing for film/tv is dependend on calibrated speakers, by mixing via those folks you get a close to reality impression on how loud your will be in the theater. Some tv stations have their own leveling requirements, and there are especially differences between different nations. But, just as radio stations do it with help of a VU meter, most of them mostly re-level them quite a bit.&#xD;&#xA;&#xD;&#xA;So calibrate your speakers, dB meters are very cheap and even smartphone apps do their job quite well, and try to keep the limiter out of your masterbus. When your master is clipping better try to get rid of the problem earlier in your signal chain&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;p.s. also check these&#xD;&#xA;&#xD;&#xA;http://vimeo.com/22735507&#xD;&#xA;http://socialsounddesign.com/questions/618/tv-broadcast-levels" ContentLicense="CC BY-SA 3.0" />
  <row Id="27590" PostHistoryTypeId="2" PostId="17110" RevisionGUID="107ccc5b-341c-407b-a62c-314ccd45a522" CreationDate="2012-11-26T23:31:17.623" UserId="3984" Text="I have read couple of post talking about this pre, and everybody seems to be pretty happy with the job out there. But what I would really like to know is how it works as a Audio interfece, has anybody any experience? I am using Mac and ProTools 9. I would use it has main interface until I can buy a RME. &#xD;&#xA;Are the converters good? As I said I have read a lot how good it is on the field but I would like to know if I can realy on it in the studio.&#xD;&#xA;&#xD;&#xA;Thank you very much for your time.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27591" PostHistoryTypeId="1" PostId="17110" RevisionGUID="107ccc5b-341c-407b-a62c-314ccd45a522" CreationDate="2012-11-26T23:31:17.623" UserId="3984" Text="Sound devices MixPre-D" ContentLicense="CC BY-SA 3.0" />
  <row Id="27592" PostHistoryTypeId="3" PostId="17110" RevisionGUID="107ccc5b-341c-407b-a62c-314ccd45a522" CreationDate="2012-11-26T23:31:17.623" UserId="3984" Text="&lt;sound-devices&gt;&lt;audio-interfaces&gt;&lt;field-recording&gt;&lt;pre-amp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27593" PostHistoryTypeId="2" PostId="17111" RevisionGUID="c2a7a75c-5a9d-473d-82f4-3341378f0440" CreationDate="2012-11-26T23:48:13.253" UserId="3994" Text="Well, I can tell you that the headphone amp doesn't sound half bad, and it has been working well for me. I don't have much to compare to though. If you want to use it as an interface, you pretty much have to buy the ~$80 dollar power supply or else you're running on batteries forever." ContentLicense="CC BY-SA 3.0" />
  <row Id="27594" PostHistoryTypeId="2" PostId="17112" RevisionGUID="31a8bb9e-614a-4eda-9c0c-a21b191e64ef" CreationDate="2012-11-27T03:04:05.033" UserId="5489" Text="Hey Guys,&#xD;&#xA;&#xD;&#xA;I'm currently working on a project that has a bunch of VFX, which are coming in slowly.  In addition, it has to be shown to a few investors every few weeks to show off the progress we are making.  FOr each time, I've been importing the aaf into the same pro tools project, and just copying and pasting where I can.  This is kind of a hassle, has anyone worked like this before and have any suggestions for a better workflow for projects that have multiple delivery dates like this?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="27595" PostHistoryTypeId="1" PostId="17112" RevisionGUID="31a8bb9e-614a-4eda-9c0c-a21b191e64ef" CreationDate="2012-11-27T03:04:05.033" UserId="5489" Text="Sound Designing without picture lock?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27596" PostHistoryTypeId="3" PostId="17112" RevisionGUID="31a8bb9e-614a-4eda-9c0c-a21b191e64ef" CreationDate="2012-11-27T03:04:05.033" UserId="5489" Text="&lt;pro&gt;&lt;tools&gt;&lt;picture&gt;&lt;lock&gt;&lt;conform&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27597" PostHistoryTypeId="2" PostId="17113" RevisionGUID="d18c6684-3064-460d-9955-331f8e249b11" CreationDate="2012-11-27T03:33:07.973" UserDisplayName="user49" Text="Do you use a conform tool at all? &#xD;&#xA;&#xD;&#xA;Every turnover, even if it just a scene, should have an EDL with it so you can conform... eg one option may be you work on a scene by scene basis (ie a new AAF and QT for each scene) and then when a turnover of a whole reel or the whole film arrives, you can conform from the scenes to assemble the whole reel or film..... Justins Conformalizer app tracks VFX versions (if a standardised naming convention is used) so updates to VFX are not interpreted as new shots... and the correct material is conformed to the updates...&#xD;&#xA;&#xD;&#xA;For investor screenings, it can be wise to basically maintain a constantly ongoing temp mix. So as soon as you have a scene in good shape, print stems of it &amp; keep those stems on tracks along with your source material - then when you need to output a version you can conform the source material AND your stems &amp; sometimes quickly patch &amp; output a rough mix just from your stems...&#xD;&#xA;&#xD;&#xA;ProTools 12 hour timeline is a massive advantage with such things..." ContentLicense="CC BY-SA 3.0" />
  <row Id="27598" PostHistoryTypeId="2" PostId="17114" RevisionGUID="b012442d-6731-48b2-8925-1332fdc7db2d" CreationDate="2012-11-27T08:44:54.280" UserId="5490" Text="&#xD;&#xA;Here's a simpler application for just playing sounds from the the same company that makes Qlab.&#xD;&#xA;&#xD;&#xA;Qcart:&#xD;&#xA;&#xD;&#xA;http://figure53.com/qcart/&#xD;&#xA;&#xD;&#xA;But I'm afraid thats only mac too. If you don't find anything similar for PC I would definitely go for Ableton Live. I've been using it a lot for theater sound design. Lots of possibilities to change the sound live, allows me to change parameters in ambient sounds and at the same time easily play short effects with just a click. And I can do my design while playing along with the actors, no need to render new files after every change. Try it! " ContentLicense="CC BY-SA 3.0" />
  <row Id="27599" PostHistoryTypeId="6" PostId="17100" RevisionGUID="c4d51e6c-ce74-44cd-a6bb-7c4f4ab686fc" CreationDate="2012-11-27T10:15:58.350" UserId="238" Comment="edited tags" Text="&lt;project&gt;&lt;community&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27600" PostHistoryTypeId="2" PostId="17115" RevisionGUID="4a8b6ad3-ce17-4686-8b6c-18bb7e6442a5" CreationDate="2012-11-27T10:41:48.757" UserId="6432" Text="Not exactly Rotation Curation, but I did take part in a kind of chain patch thread over on the Max/msp forums which perhaps fits under Rotation Creation. Generally I like the idea of lots of people contributing to a creative project, as it then takes on a whole life of its own. If you've not seen it an awesome example of this is the [Johnny Cash Project][1]. Totally amazing.&#xD;&#xA;&#xD;&#xA;So with the Max thing the idea was that everyone contributed a little bit to the patch a few objects at a time. As you might imagine it got pretty noisy! If there was interest here we could do some collaborative soundscape building or something like that, I'd be well up for it anyway. Not sure how it would work logistically though as file size is quite big. Anyone know of any online environments for this sort of collaboration?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.thejohnnycashproject.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27601" PostHistoryTypeId="2" PostId="17116" RevisionGUID="c79fdf4d-7e04-4afe-a1b1-a4e910447429" CreationDate="2012-11-27T11:14:46.507" UserId="900" Text="You know...with a hammer, hitting things.&#xD;&#xA;&#xD;&#xA;I'll run them into my compositions for some metallic bite.&#xD;&#xA;&#xD;&#xA;Does anyone have any tips on recording these high dynamic range signals?&#xD;&#xA;&#xD;&#xA;ie. Stereo/mono, record clean or get a bit of distortion, distance from the object?&#xD;&#xA;&#xD;&#xA;I won't be in a studio environment so noise may be a concern.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Tools will be 1/2 hammers, fostex FR2-LE with Rode nt5 mics, and whatever I find that I can bash!&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="27602" PostHistoryTypeId="1" PostId="17116" RevisionGUID="c79fdf4d-7e04-4afe-a1b1-a4e910447429" CreationDate="2012-11-27T11:14:46.507" UserId="900" Text="Going out to record 'anvil' sounds..." ContentLicense="CC BY-SA 3.0" />
  <row Id="27603" PostHistoryTypeId="3" PostId="17116" RevisionGUID="c79fdf4d-7e04-4afe-a1b1-a4e910447429" CreationDate="2012-11-27T11:14:46.507" UserId="900" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27604" PostHistoryTypeId="2" PostId="17117" RevisionGUID="65a4d445-16fb-4e3c-825f-ef551a8dbe59" CreationDate="2012-11-27T13:05:45.600" UserId="28" Text="**Anvil: the story of Anvil**? http://www.youtube.com/watch?v=FF4H8lB2Y_o&#xD;&#xA;&#xD;&#xA;Sorry, I saw the title, and couldn't resist. [/friendlytroll]" ContentLicense="CC BY-SA 3.0" />
  <row Id="27605" PostHistoryTypeId="2" PostId="17118" RevisionGUID="86e668af-fa30-4f6f-82b8-ada23d650a5c" CreationDate="2012-11-27T13:24:06.737" UserId="432" Text="Don't be afraid to let the impact sound clip out/distort. Since the impact is such a transient sound, the distortion will add character to the recording, but be short enough in duration that it shouldn't sound like the horrible mess it would on a sustained sound. Recording at a hotter level will let you capture the ring out with some decent level. If you don't trust yourself on the distortion angle, an alternative would be to have two similar sounding mics with different gain settings: one to capture the impact without distortion, and one to capture the ring out/tail at a good signal level (where the impact WILL distort).&#xD;&#xA;&#xD;&#xA;Also, multiple perspectives. Clean and close miking is great, but having a variety of distances will give you a more versatile collection of sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="27606" PostHistoryTypeId="2" PostId="17119" RevisionGUID="3e9f75ef-1ec5-4b9b-92ce-74e0bd2b2543" CreationDate="2012-11-27T13:49:06.270" UserId="3754" Text="I also think a contact piezo will get some interesting stuff, ad the metal is so dense it'll pick up lots. If you've got a spare channel, wouldn't hurt." ContentLicense="CC BY-SA 3.0" />
  <row Id="27607" PostHistoryTypeId="2" PostId="17120" RevisionGUID="53c223a5-4826-4ce2-8f38-2db906dab549" CreationDate="2012-11-27T14:30:18.567" UserId="4430" Text="In the course of a Max/MSP class I've been taking part of this kind of collaborative work on a bigger piece, each student was writing a small part of it, that was responsible of a specific creative area, like spacialisation, filtering and so on. As @Mark said, not exactly like Rotation Curation, but you get the sense of it. But the fundamental idea are maybe more specific the problems you encounter with the rotation of curation I already experienced there: The distribution is a nice thing, but it would be much more interesting / creative if the decision of combination and artistic fingerprint would change frequently, it would carry on the idea of the collaboration.&#xD;&#xA;&#xD;&#xA;Since Max/MSP patches are quite small compared to a DAW-session for sound-design, it shouldn't be a problem to stay with e-mail and FTP or even github (or similar) for the collaboration.&#xD;&#xA;&#xD;&#xA;If the solution doesn't exist (I don't know of one) to work on sessions for sound design, it's time to create one. For example by using a public storage for the recorded / sampled material and a session file under version control. A subject to research further upon." ContentLicense="CC BY-SA 3.0" />
  <row Id="27610" PostHistoryTypeId="2" PostId="17121" RevisionGUID="2b594b85-7e7c-486f-a21a-0ffc72fe0ea1" CreationDate="2012-11-27T18:45:23.167" UserId="194" Text="Those NT5s may end up sounding too bright given what the source material is.  I'd advise looking for some darker mics if you can find them.&#xD;&#xA;&#xD;&#xA;Also, I'd experiment with many different mic positions on the anvil.  What you're looking for is going to be incredibly difficult to capture well with just one setup.  Give 5 good whacks (allowing time for ringout between each hit), then move the mics, rinse repeat.  &#xD;&#xA;&#xD;&#xA;Don't be afraid to aim the mics away from the anvil on some takes, and also to move them at least 10 feet away on some takes  Put them under the table the anvil is on as well.  &#xD;&#xA;&#xD;&#xA;then, in post you can combine the different persepectives into a single hit captured from multiple angles.&#xD;&#xA;&#xD;&#xA;I once did some bat hits at a major league batting practice that way.  I only had one mic on me (416) and didn't expect them to start BP with no music on.  When it started happening I aimed at the batter for a few hits, then started aiming at various reverb points in the stadium.  Combined them all up and got the most realistic bat hit sound in my library." ContentLicense="CC BY-SA 3.0" />
  <row Id="27611" PostHistoryTypeId="2" PostId="17122" RevisionGUID="c1991e1d-ff38-4caf-8826-d24ba85d9d18" CreationDate="2012-11-27T20:00:33.547" UserId="5491" Text="Yes i have had something like that happen to me as well with recording E-Books.I was using low latency monitoring I terned it of then back on again and it cleared up the problem. It's stupid but that's pro tools for you. Had I known this programs was as weak sauce as it is i would have got something better and for a lot less money. Pro Tools is over rated because so many die hard apple people will always defend there precious apple stuff even when it's inferior to something ells. &#xD;&#xA;Any way that's how I fixed my stupid Protools statick scratchy sounding stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="27612" PostHistoryTypeId="2" PostId="17123" RevisionGUID="86f7a55d-c7ee-449f-b439-31bde2b02f3a" CreationDate="2012-11-27T21:50:15.420" UserDisplayName="user80" Text="It sounds a lot like RF interference, I have never had this problem with Pro Tools or our 003r, but I have had it with radio mics, albeit in the late 80s early 90s.  Can you recreate the problem by just recording the channel with the mic preamp turned up, but without the mic?  Until you find out what the problem was try running a second mic ideally a dynamic and see if you are getting the same problem.  That way you will be able to narrow to work out whether it is something to do with the phantom power. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27613" PostHistoryTypeId="5" PostId="17123" RevisionGUID="39ea51a2-4c9d-470f-b458-c51dfbc99e24" CreationDate="2012-11-27T22:25:16.760" UserDisplayName="user80" Comment="deleted 6 characters in body" Text="It sounds a lot like RF interference, I have never had this problem with Pro Tools or our 003r, but I have had it with radio mics, albeit in the late 80s early 90s.  Can you recreate the problem by just recording the channel with the mic preamp turned up, but without the mic?  Until you find out what the problem is try running a second mic, ideally a dynamic, and see if you are getting the same problem.  That way you will be able to narrow down whether it is something to do with the phantom power. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27614" PostHistoryTypeId="2" PostId="17124" RevisionGUID="a39cf78e-f5a7-45e8-83b2-81cda84dd181" CreationDate="2012-11-27T23:58:38.753" UserId="5492" Text="This is an interesting and evolving area, but in my experience the verdict usually fall towards the freelancer having legal right to use their own sound effects library as a work-for-hire.&#xD;&#xA;&#xD;&#xA;As a freelancer, if you purchase the royalty-free right to a sound effects library and are hired by a company that does not have their own library, you can use your own as long as they are used in synch.&#xD;&#xA;&#xD;&#xA;Some companies do provide their own library and some companies like to purchase either the sounds or library you used on their project just to be 100% clear/for good housekeeping.&#xD;&#xA;&#xD;&#xA;An easier way to understand all of this is to liken it to a painter (sound designer) and the patron (client). A painter may bring his own paint to paint the patron's portrait. Sometimes that is enough, sometimes the patron supplies or purchases more paint (wider variety, higher quality, etc) for the painter, in addition to commissioning the painting.&#xD;&#xA;&#xD;&#xA;All in all, to support the sound effects industry, it is nice&#xD;&#xA;This is what Sound One did - they supplied a massive library (200k+ sounds)that could only be used on Sound One projects. Unfortunately, Sound One has shut down temporarily and now there are a ton of freelancers here in NYC looking for work.These freelancers are not allowed to use Sound One's library in their own projects and projects for other clients.&#xD;&#xA;&#xD;&#xA;I am the Library &amp; Licensing Specialist at Pro Sound Effects, so I handle licensing issues of all sorts on behalf of our catalogs (Blastwave FX, BBC, Foundation, etc). I hope this helped and happy to try to answer any other questions related to sound effects licensing." ContentLicense="CC BY-SA 3.0" />
  <row Id="27615" PostHistoryTypeId="2" PostId="17125" RevisionGUID="e39df927-c03a-4b14-b9e9-ff54ef7aa468" CreationDate="2012-11-28T00:07:10.957" UserId="587" Text="V-Control Pro or Control Surface?&#xD;&#xA;&#xD;&#xA;I wanted to surface another thread about this, as the last is a little over a year old.&#xD;&#xA;&#xD;&#xA;http://www.neyrinck.com/v-control-pro&#xD;&#xA;&#xD;&#xA;Check this out. It's a pretty nifty app on iPad. They have demo videos for a better understanding of the functionality.&#xD;&#xA;&#xD;&#xA;Anyone use this on the daily? Are there any issues or bugs that have popped up in your experience?&#xD;&#xA;&#xD;&#xA;I think it almost looks and has the functionality of a very high end control surface, but at half the price (iPad and App included in the total) as some high end control surfaces cost upwards to and beyond $1k.&#xD;&#xA;&#xD;&#xA;Does it actually show you plug-ins on screen? It brought up an amp simulator plug-in so I am assuming it does.&#xD;&#xA;&#xD;&#xA;Some of the pros of this set-up that I assume:&#xD;&#xA;&#xD;&#xA; - Wireless - ability to control DAW from anywhere in the room/booth/no running to and from keyboard&#xD;&#xA; - Plug-in/Mix/Send control without using the mouse. How well it feels like an actual fader, not sure.&#xD;&#xA; - No keyboard mapping needed. Tired of having to assign controls to knobs? I assume this takes care of that.&#xD;&#xA; - Less desk space and much lighter :)&#xD;&#xA;&#xD;&#xA;Some cons I assume would be:&#xD;&#xA;&#xD;&#xA; - Unsure of the fidelity of the automation writing. How well does it translate to your DAW over Wi-Fi? I did see they have a proprietary wi-fi connection for highest fidelity possible. Any experience on this?&#xD;&#xA; - Possible loss of &quot;feel&quot; of the fader. How well does a tangible fader translate to digital form?&#xD;&#xA; - Battery - dont forget to charge the thing!&#xD;&#xA; - Possible important feature lacking? Maybe you cant see the plug-ins used on the screen and can only control the plug-in using non-visual number system? Any experience on this?&#xD;&#xA;&#xD;&#xA;Many Thanks!&#xD;&#xA;- C3sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="27616" PostHistoryTypeId="1" PostId="17125" RevisionGUID="e39df927-c03a-4b14-b9e9-ff54ef7aa468" CreationDate="2012-11-28T00:07:10.957" UserId="587" Text="Control Surface or V-Control Pro on iPad" ContentLicense="CC BY-SA 3.0" />
  <row Id="27617" PostHistoryTypeId="3" PostId="17125" RevisionGUID="e39df927-c03a-4b14-b9e9-ff54ef7aa468" CreationDate="2012-11-28T00:07:10.957" UserId="587" Text="&lt;ipad&gt;&lt;app&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27618" PostHistoryTypeId="2" PostId="17126" RevisionGUID="56da1c7f-cc60-44bb-81fd-1014ea0925d0" CreationDate="2012-11-28T02:33:19.103" UserId="1068" Text="I use this semi-regularly, especially since I sold my Digi 002 a few months ago.&#xD;&#xA;&#xD;&#xA;Overall, I like using V-Control, but I do miss having physical faders. Without the feedback of touching a real fader, you sometimes have to take your eyes off the task at hand to make sure you touch the right area. Still, having the ability to control plugin GUIs by touching them directly is awesome, and takes poorly-mapped controls out of the equation.&#xD;&#xA;&#xD;&#xA;I love that I can grab the iPad and wander around, controlling the system when I'm on the other side of the room recording. It has completely replaced my Frontier Designs Tranzport, which was always a finicky device even when new. Leaving this app open for hours does hit the battery hard, but I've left it going for 8 hours and still had plenty of juice left for checking emails/reddit afterwards.&#xD;&#xA;&#xD;&#xA;When I first set it up, I had some issues with the app connecting to Ney-Fi on my host. For a while, I would create an ad-hoc WiFi network from my MacBook Pro and connect the iPad to that, but not having internet/network connectivity on either device was a drag. Now, I set up a router specifically for V-Control that connects directly to the MBP via ethernet, which in turn gives me internet connectivity on the iPad without having to deal with the file transfer traffic on my main Wi-Fi.&#xD;&#xA;&#xD;&#xA;While this is a really functional setup for now, I'm still planning on buying an Artist Mix at some point. I'll definitely keep V-Control around, and plan on using the physical faders on the Mix along side the touch plugin controls on the iPad.&#xD;&#xA;&#xD;&#xA;Also, Paul Neyrinck has been awesome about listening to feedback from users, which keep the software fresh and functional. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27619" PostHistoryTypeId="2" PostId="17127" RevisionGUID="959627d9-6b2c-41b9-a518-28e42dc5b8c7" CreationDate="2012-11-28T02:34:44.330" UserId="396" Text="If you haven't listened to it already, you might like to check out Episode Three of the Tonebenders podcast: http://www.tonebenders.net/tonebenders-episode-three-shaun-farley-and-valhallashimmer/ - there is some discussion on the merits of physical control surfaces vs touchscreens. The impression I got was that for riding faders, a physical fader still beats a touchscreen. Haven't used V-Control yet myself though." ContentLicense="CC BY-SA 3.0" />
  <row Id="27620" PostHistoryTypeId="16" PostId="17127" RevisionGUID="959627d9-6b2c-41b9-a518-28e42dc5b8c7" CreationDate="2012-11-28T02:34:44.330" UserId="396" />
  <row Id="27622" PostHistoryTypeId="2" PostId="17129" RevisionGUID="22a9eb3b-c73c-4f90-bf95-36b0b195e1f3" CreationDate="2012-11-28T10:16:35.713" UserId="221" Text="I must admit I am seriously considering selling my MC Control and buying an iPad with V-Control. I rarely use the faders on the MC Control and the plug-in implementation on the MC Control is not good. I too would value the opinions of people you are regularly using V-Control" ContentLicense="CC BY-SA 3.0" />
  <row Id="27623" PostHistoryTypeId="2" PostId="17130" RevisionGUID="5d7b071e-e049-4858-b227-73d5c66209f0" CreationDate="2012-11-28T15:51:43.860" UserId="4442" Text="I just read an article, that I wish that I bookmarked, but he was talking about doing contact mics on pipes and things like that. The shit sounded amazing. Completely otherworldly, and it was just water running through pipes!!&#xD;&#xA;&#xD;&#xA;I think they're cheap from what I'm gathering, and I wanted to pick a couple up. I have no problem with soldering, are they just piezos and cables? I'll make them if necessary, but if there are decent brands, i'd sooner check that out. &#xD;&#xA;&#xD;&#xA;Thanks for your help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="27624" PostHistoryTypeId="1" PostId="17130" RevisionGUID="5d7b071e-e049-4858-b227-73d5c66209f0" CreationDate="2012-11-28T15:51:43.860" UserId="4442" Text="What is everyone doing for contact mics?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27625" PostHistoryTypeId="3" PostId="17130" RevisionGUID="5d7b071e-e049-4858-b227-73d5c66209f0" CreationDate="2012-11-28T15:51:43.860" UserId="4442" Text="&lt;microphone&gt;&lt;diy&gt;&lt;contact-mic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27626" PostHistoryTypeId="2" PostId="17131" RevisionGUID="58b33789-7530-4dbe-bf4c-e7ecb9cbb417" CreationDate="2012-11-28T15:54:39.170" UserId="4442" Text="Found this&#xD;&#xA;&#xD;&#xA;http://blog.makezine.com/2011/12/20/collins-lab-diy-contact-mic/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27627" PostHistoryTypeId="2" PostId="17132" RevisionGUID="210093ba-fa53-45f7-b95f-cc8a6dfa06af" CreationDate="2012-11-28T16:43:52.947" UserId="6460" Text="The key to a good contact mic lies more in the preamp than in the transducer itself. Contact mics will inherently pick up sound from a very unique perspective, but you need preamp circuitry that will not only keep noise low but will also provide the necessary impedance to match the high load of the mic itself. Because impedance is a frequency-dependent resistance, a poorly-matched preamp will skew the frequency response of the transducer. Tim Prebble gave a fantastic explanation of the effects of a mis-matched contact mic preamp &lt;b&gt;[on his blog][1]&lt;/b&gt; when he released his contact mic library.&#xD;&#xA;&#xD;&#xA;I personally use a pair of &lt;b&gt;[C-Ducers][2]&lt;/b&gt; as my contact mics. They come in a neat and very light kit with 2 phantom-powered preamps. The large surface area makes for a fantastic signal-to-noise ratio, and they're also flat if you need something low-profile (e.g., micing an instrument live).  Finding good double-sided tape can be tricky, but once you find a brand that works well you're golden.&#xD;&#xA;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicofsound.co.nz/blog/the-first-rule-of-contact-mic-club&#xD;&#xA;  [2]: http://www.c-ducer.com/row/row_cps_8.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="27628" PostHistoryTypeId="2" PostId="17133" RevisionGUID="4ed597d3-3828-42b7-9b3f-b13fb86401fe" CreationDate="2012-11-28T17:16:11.517" UserId="6460" Text="I also use V-Control, although only in situations where my Mackie Control is out of reach. It's a bit silly when I phrase it this way, but I honestly bought it to be a surround panner, as hardware panners for pro tools start around $800. The depth of functionality is there, but the physical interface still doesn't completely click with me. The faders are actually the least of my problems—it's really nice to have a fader to ride manually when I'm on the go. Smaller controls are less useful, and the knobs in particular are really awkward to work with—you have to work pretty hard to make micro adjustments. Fortunately, you get a 'flip' mode in which the faders take up the duties of the knobs.&#xD;&#xA;&#xD;&#xA;I think you will find that writing accurate automation is not a problem at all. You're definitely better off creating a dedicated network from your computer to your iPad to avoid wifi blips. As for your desire for tactile plugin control, V-Control sports a new &quot;V-Window&quot; which shows you a projected view of your computer screen. It's kinda cool but a little clunky, and also happens to not work too well with my waves plugins. I'm sure it will get better in the future updates.&#xD;&#xA;&#xD;&#xA;I think everyone is opinionated about control surfaces. Personally, I'm a fan of simple, if not completely dedicated functions for faders, knobs and buttons — that way I don't have to waste precious brain power puttering around with the interface and losing focus on my work. I think the V-Control is almost there, it just takes a bit more patience and you really need to take your eyes off of the screen to use it. Of course, it's the size of an iPad and at least 20x cheaper than most hardware controllers of protools with the same featureset.&#xD;&#xA;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27629" PostHistoryTypeId="2" PostId="17134" RevisionGUID="c015f02b-d9c4-42e6-9d11-9129e6605176" CreationDate="2012-11-28T17:37:40.690" UserId="6566" Text="They can definitely be tricky to get usable material out of but with some experimentation can yield some amazing source.&#xD;&#xA;&#xD;&#xA;I have a bunch of various contact mics from these guys:&#xD;&#xA;&#xD;&#xA;Cold Gold &#xD;&#xA;http://contactmicrophones.com/&#xD;&#xA;&#xD;&#xA;They make an interesting and affordable selection of various transducers. They also sell some of the bare parts for making your own projects.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27630" PostHistoryTypeId="2" PostId="17135" RevisionGUID="d4b30a26-fda1-48ad-9677-f6f06eb5cde1" CreationDate="2012-11-28T17:49:22.420" UserId="29" Text="I use Cold Gold, a few other hand-made ones, and the rubber contact-mic adapter for the Aquarian Audio H1a hydrophone. The C-Ducers sound pretty compelling - high noise floors are common with cheap piezos - but the H1a is a stellar contact mic...provided you can attach its heavy bulk to something effectively. Tim Prebble and others also like the Barcus Berry instrument contact mics, and the audible results are impressive, as one would expect from a higher-price mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="27631" PostHistoryTypeId="2" PostId="17136" RevisionGUID="d2ad7a01-8cf4-43a0-882c-8cc1d151df8c" CreationDate="2012-11-28T18:15:05.953" UserId="3800" Text="I've succesfully build some mics using electret caps. I began with the panasonic wm61a soldered on a rugular 3,5mm plug cable running on pip. It was ok. I attempted the Alice build, but got stuck as the my circuit wasn't working. I've set it aside a haven't picked it up since. &#xD;&#xA;&#xD;&#xA;My most recent build is a dummy head for binaural recoding using the Primo em-158 omni caps with a cicuit which provides p48 (which actually gets dumbed down to about 10V) and balanced outputs. This way I can use it with my Fostex FR2. It's basically the Alice circuit with a few changes. Very happy with this one, I get excellent results for such a cheap DIY setup. I've also made a stereo pair version of the dummy in some nice housings to the use as spaced omnis.  &#xD;&#xA;&#xD;&#xA;I didn't modify the alice circuit myself so schematics and reading material about this circuit are floating on the web.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I have free sfx for download on my [website][1] recorded with various DIY setups, should you want to hear some examples.&#xD;&#xA;&#xD;&#xA;Some pics![alt text][2]&#xD;&#xA;![alt text][3]&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ongelegen.com&#xD;&#xA;  [2]: http://sphotos-d.ak.fbcdn.net/hphotos-ak-snc7/425001_311230462268252_361607830_n.jpg&#xD;&#xA;  [3]: http://sphotos-a.ak.fbcdn.net/hphotos-ak-ash3/544200_325916204133011_204990475_n.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="27632" PostHistoryTypeId="2" PostId="17137" RevisionGUID="00b75a3e-2463-4a4a-aeda-338be8dd89f7" CreationDate="2012-11-28T19:18:46.057" UserId="238" Text="Though I don't own any, Barcus Berry contact mics sound awesome. I use the Aquarian Audio H2a contact mic adapter. I also bought a contact mic a couple of years back from [these guys][1]. Don't think they sell their mics anymore, but there is a useful guide on how to build your own. &#xD;&#xA;&#xD;&#xA;I'm also looking forward to hearing more about the new [Trance Audio][2] stereo set that Tim Prebble [posted recordings of recently][3]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.contactmics.com/&#xD;&#xA;  [2]: http://www.tranceaudio.com/&#xD;&#xA;  [3]: http://www.musicofsound.co.nz/blog/the-rhythm-of-rain-drips" ContentLicense="CC BY-SA 3.0" />
  <row Id="27633" PostHistoryTypeId="5" PostId="17137" RevisionGUID="d9cb9e2c-9986-4a92-b331-073f6fbe7cd6" CreationDate="2012-11-28T19:46:06.060" UserId="238" Comment="added a bit more" Text="Though I don't own any, Barcus Berry contact mics sound awesome. I use the Aquarian Audio H2a contact mic adapter. I also bought a contact mic a couple of years back from [these guys][1]. Don't think they sell their mics anymore, but there is a useful guide on how to build your own. &#xD;&#xA;&#xD;&#xA;I'm also looking forward to hearing more about the new [Trance Audio][2] stereo set that Tim Prebble [posted recordings of recently][3]. &#xD;&#xA;&#xD;&#xA;Also shouldn't forget Jez Riley French's [Contact C Series][4] which I've also heard very good things about. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.contactmics.com/&#xD;&#xA;  [2]: http://www.tranceaudio.com/&#xD;&#xA;  [3]: http://www.musicofsound.co.nz/blog/the-rhythm-of-rain-drips&#xD;&#xA;  [4]: http://hydrophones.blogspot.fr/2011/05/c-series-pro-contact-microphones-new.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="27637" PostHistoryTypeId="2" PostId="17139" RevisionGUID="d1f1c807-1178-40f7-8aea-5c4e7db9c271" CreationDate="2012-11-28T20:34:39.803" UserId="5481" Text="The problem here is that there are so many one the market that are all quite good. I use the m-audio axiom 61. the only reason i chose this over the others is the fact that I got it off ebay quite cheap. So my advice would be to look around and try get a bargin.&#xD;&#xA;&#xD;&#xA;P.S. I am a fan of the novation pulse controllers but at the time I wanted to get one, there were no ebay special bargins so it was the axiom for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="27639" PostHistoryTypeId="2" PostId="17140" RevisionGUID="5d2a9d44-e436-4b6f-badf-6203b8539b39" CreationDate="2012-11-28T22:37:31.937" UserId="6411" Text="Walk to your nearest window, run your finger up and down the glass. That's how much it feels like a real fader.&#xD;&#xA;&#xD;&#xA;I have both an Artist Control and a iPad with VControl. For the most part, I only use the iPad when I'm editing/mixing on my remote system and am away from my Artist Control.&#xD;&#xA;&#xD;&#xA;If you already have an iPad, plonking down the $50 for V-Control Pro is almost a no-brainer. But I use it as much more than just a virtual fader.&#xD;&#xA;&#xD;&#xA;The wireless transport controls when recording foley or voice by yourself is almost worth the cost alone.&#xD;&#xA;&#xD;&#xA;When on my laptop (without a full keyboard) I use the V-Window to pull up my Memory Locations so they're just a tap away. You can have them open, but hidden at the bottom of the laptop screen and V-Control will still show them as selectable windows. Same goes for plug-in windows. Having that extra screen real-estate plus touch screen ease is nice. However, like many have said, a touch-screen offers no tactile feedback. As a result, I've strayed off track a number of times while writing automation.&#xD;&#xA;&#xD;&#xA;The original v1 opened plugins, but it opened them as a series of rotary pots with very little visual feedback and a response time that I always found to lag heavily. After the updates to 1.6 and the inclusion of the V-Window, it's a little smoother and more responsive, but I still find myself going in and hand tweaking some automation after the fact. It depends on how steady a finger you have I guess.&#xD;&#xA;&#xD;&#xA;I've heard first-hand accounts of mixers sitting at a Harrison console, using the V-Control as their surround panner and preferring it. That's a pretty ringing endorsement if you ask me.&#xD;&#xA;&#xD;&#xA;But, in my opinion it's just one more tool. It's not the be-all-end-all, it's just one more tool in the box. It can certainly solve the issue of being unable to afford a dedicated control surface, but in my opinion it will never take the place of an actual mechanical, motorized fader. I'm hoping that someday somebody brighter than me will figure out a hybrid between the [iPad joysticks][1] and the [Pogo Connect][2] that will allow some kind of force-feedback rotary pot/fader to provide some kind of tactile happiness. But, in the meantime, I'll use it for it's strengths and pass over it on it's weaknesses.&#xD;&#xA;&#xD;&#xA;As an aside for those of you with the Artist Control. You may have used its touch screen surround panner and found it severely lacking. Try using an iPad stylus. It's incredibly more responsive and records far smoother pan automation. Plus, I find the screen easier to use on the whole when using a stylus, ergonomically speaking.&#xD;&#xA; &#xD;&#xA;  [1]: https://www.google.com/search?q=ipad+joystick&amp;ie=utf-8&amp;oe=utf-8&amp;aq=t&amp;rls=org.mozilla:en-US:official&amp;client=firefox-a#q=ipad+joystick&amp;hl=en&amp;client=firefox-a&amp;hs=Ktq&amp;tbo=u&amp;rls=org.mozilla:en-US:official&amp;source=univ&amp;tbm=shop&amp;sa=X&amp;ei=1Ye2UMjoEsWDyAGoroHgBA&amp;ved=0CFoQsxg&amp;bav=on.2,or.r_gc.r_pw.r_cp.r_qf.&amp;fp=d7a537441070d940&amp;bpcl=38897761&amp;biw=1200&amp;bih=638&#xD;&#xA;  [2]: http://www.tenonedesign.com/connect.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="27640" PostHistoryTypeId="2" PostId="17141" RevisionGUID="3d7b691f-3552-489a-b5c1-514866a8ce75" CreationDate="2012-11-28T22:50:17.500" UserId="5481" Text="hello&#xD;&#xA;&#xD;&#xA;I am about to start a project at university where I have to write an underscore for a video game cinematic trailer.&#xD;&#xA;&#xD;&#xA;Just wondering what you guys think of Omnisphere for this project or are there any other virtual instruments that you would recommend.&#xD;&#xA;&#xD;&#xA;Note - Im not looking for real orchestral sounds as I already have symphobia, I want an instrument that has a 'spacey, out of this world' type sound to it.&#xD;&#xA;&#xD;&#xA;Thank you for your time.    " ContentLicense="CC BY-SA 3.0" />
  <row Id="27641" PostHistoryTypeId="1" PostId="17141" RevisionGUID="3d7b691f-3552-489a-b5c1-514866a8ce75" CreationDate="2012-11-28T22:50:17.500" UserId="5481" Text="Omnisphere......" ContentLicense="CC BY-SA 3.0" />
  <row Id="27642" PostHistoryTypeId="3" PostId="17141" RevisionGUID="3d7b691f-3552-489a-b5c1-514866a8ce75" CreationDate="2012-11-28T22:50:17.500" UserId="5481" Text="&lt;instrument&gt;&lt;video-games&gt;&lt;score&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27643" PostHistoryTypeId="2" PostId="17142" RevisionGUID="3f079f4a-ecf4-42b5-aa36-81346ca2f66b" CreationDate="2012-11-28T23:42:25.483" UserId="675" Text="A question about the operating temperature of various microphones.&#xD;&#xA;&#xD;&#xA;I went through the manuals and spec sheets for several microphones that I own, and a few others. Almost nowhere I find a specification of the minimum and maximum operating temperatures.&#xD;&#xA;&#xD;&#xA;Of course I was wondering about this because of some situations which might be more or less common in sound design but are probably not standard microphone usage.&#xD;&#xA;&#xD;&#xA;For example:&#xD;&#xA;- freezing a microphone to record breaking ice when it melts again&#xD;&#xA;- submerging a microphone (obviously a hydrophone) into boiling water&#xD;&#xA;- recording the sound of very hot pipes by sticking a contact microphone on them&#xD;&#xA;- having a microphone close to a source of fire or extreme heat&#xD;&#xA;&#xD;&#xA;There is a lot written already about using rugged and/or cheap microphones in situations in which you risk damaging your mic. Which is good advice.&#xD;&#xA;&#xD;&#xA;But when do you risk damage just because of the temperature? What are the things to be aware of when using a microphone is very low or high temperatures? I guess there is some kind of common threshold for the different types of microphone (dynamic, condenser, electret, etc.)?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27644" PostHistoryTypeId="1" PostId="17142" RevisionGUID="3f079f4a-ecf4-42b5-aa36-81346ca2f66b" CreationDate="2012-11-28T23:42:25.483" UserId="675" Text="What are the operating temperature limits of microphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27645" PostHistoryTypeId="3" PostId="17142" RevisionGUID="3f079f4a-ecf4-42b5-aa36-81346ca2f66b" CreationDate="2012-11-28T23:42:25.483" UserId="675" Text="&lt;temperature&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27646" PostHistoryTypeId="2" PostId="17143" RevisionGUID="61a7ad16-093b-457e-9e51-aaa490376577" CreationDate="2012-11-28T23:49:18.373" UserId="194" Text="contact mics are pretty cheap.  &#xD;&#xA;&#xD;&#xA;I own some cold gold ones as well, but I never use them anymore.  Now I roll with my [Jez Riley French C series ones.][1]  &#xD;&#xA;&#xD;&#xA;[here's some classic laser stuff I did with them:][2]&#xD;&#xA;&#xD;&#xA;[soundcloud]rcoronado/guy-wire-contact-mics-huge[/soundcloud]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I run them through (inexpensive) [hosa MIT-129 impedance transformers][3] to get them matched up to my preamp, and they sound kickass.  This is a pretty crucial step BTW.  Contact mics are similar in impedance to guitar pickups.  You wouldn't plug your guitar into a preamp without an impedance xformer either - and for the same reasons.&#xD;&#xA;&#xD;&#xA;Mismatching impedances ruins your low end.  &#xD;&#xA;&#xD;&#xA;Tim Prebble had a great post about this kind of stuff a while back - [located here.][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hydrophones.blogspot.com/2011/05/c-series-pro-contact-microphones-new.html&#xD;&#xA;  [2]: http://thesoundmyheadmakes.blogspot.com/2012/03/contact-mics-and-guy-wires.html&#xD;&#xA;  [3]: http://www.hosatech.com/product/0/MIT-129/_/Impedance_Transformer,_14_in_TS_to_XLR3M&#xD;&#xA;  [4]: http://www.musicofsound.co.nz/blog/the-first-rule-of-contact-mic-club" ContentLicense="CC BY-SA 3.0" />
  <row Id="27647" PostHistoryTypeId="2" PostId="17144" RevisionGUID="b34826e8-cdce-47c9-be03-531c3f40c99c" CreationDate="2012-11-28T23:49:59.673" UserId="3839" Text="Omnisphere is AWESOME!! It gives you control over your patches you wont get elsewhere I dont think. Great presets, but really great customizable features. You can even go into their source sound files and build from scratch and synthesize all in one. Offers dynamic playability to real-world infused synthetic sound and vice versa. Native Instrument synths are cool and can get a lot of different sounds, but they dont sound quite like Omnisphere. Its a very musical plugin." ContentLicense="CC BY-SA 3.0" />
  <row Id="27648" PostHistoryTypeId="2" PostId="17145" RevisionGUID="808cbdfb-f421-4f19-9345-357c903e8c2c" CreationDate="2012-11-28T23:51:04.570" UserId="5481" Text="Maybe protect the mic warping cling film around it not really sure what else to say its a tough one. &#xD;&#xA;&#xD;&#xA;when it comes to putting near pipes depends on the mic and how it was made. just remember that they put wax in mics and if that melts onto the electronics then it probably will kill it but who knows, give it a try&#xD;&#xA;&#xD;&#xA;defiantly use dynamic mics as they are build to last. try a shure pg58 as they are cheap&#xD;&#xA;&#xD;&#xA;hope this helps" ContentLicense="CC BY-SA 3.0" />
  <row Id="27649" PostHistoryTypeId="2" PostId="17146" RevisionGUID="ed790fdc-2fef-44e6-9638-405592b41bd7" CreationDate="2012-11-29T00:35:58.560" UserId="6460" Text="I own Omnisphere and find it to be incredible musical and flexible. And you could literally spend eternity experiencing every single patch available. My biggest gripe with it is that you cannot upload your own sounds (unlike Kontakt, Alchemy, and other sampler/synths). I happen to love the granular effects you can get in Omnisphere and I wish so often that I could import my own samples.&#xD;&#xA;&#xD;&#xA;I discovered Camel Audio's alchemy. It's a different beast, but not that different, and it allows you to upload up to four wav files per plugin instance. It also comes with a large library (but nowhere near the 40GB of material in Omnisphere). It definitely depends on your needs and workflow, but always something to keep in mind. Also, as a student you are eligible to buy Alchemy for $125 through Camel Audio's academic pricing. &#xD;&#xA;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="27650" PostHistoryTypeId="2" PostId="17147" RevisionGUID="d20a5a44-db27-48aa-b4f7-615caca264d2" CreationDate="2012-11-29T00:59:43.223" UserId="3250" Text="Just make sure you stick to music and not sound design. Omnisphere can't legally be used for sound design. I remembering reading some big blog post about it but can't find it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27654" PostHistoryTypeId="2" PostId="17149" RevisionGUID="ebe7fc4a-3587-4e2e-aa23-4f2bea0d80f0" CreationDate="2012-11-29T02:56:01.747" UserId="5494" Text="I've got the Senheiser hd800, Grado gs1000 that are the most expensive ones I own and sounds absolutely stunning. But non of the head phones I own are as comfortable as the BOSE QC15 or the BOSE Tri-port over ear HPs. You honestly cant feel that you are wearing any phones at all until u take them off and realize your ears have some sweat. &#xD;&#xA;&#xD;&#xA;Sound quality of the mentioned bose units are nearly identical to the Beyerdynamic DT770 80 ohm version with a tad bit more low end bass + bit more mid range than the DT770. They don't require any external amps coz they're designed to work straight off your phone or low power MP3 player. Amping them didn't seem to improve the SQ, but make the drives move a bit more air and distort if you play too loud. But overall, the QC 15 (active noise cancelling) is quite good, especially if you can get it used off ebay, otherwise the Tri port is basically a QC15 without active noise cancellation, but it isolates quite well. If I'm wearing them without playing music and the person next to me speaks to me, I can barely hear the person speak.&#xD;&#xA;&#xD;&#xA;For in house use&#xD;&#xA;Senheiser hd800 or GradoGS1000 as they are open back, you will annoy others with your music and you will be annoyed by others making noise + they require substantial amplification to get good sound. If you amp them correctly, it will be the benchmark in ultimate SQ, and sound stage. The Grados have more bass than the Sens IMO. All this comes at a hefty cost unfortunately and not everyone can spend over $2000 on a headphone and headphone amp, let alone a stereo system. But, IMO to match the SQ of a properly amp Sen HD800 or Grado GS1000, you'd be spending almost 10 times as much in hifi gear, so it's a bargain in comparison.&#xD;&#xA;&#xD;&#xA;On the move use&#xD;&#xA;No matter what the haters say, BOSE tri port or QC15 works brilliantly on the move without amps and it's less bulky to carry and I can't stress enough on how comfy they are. If you think the Beyerdynamic DT770 is comfy, this set will make you re-think your decision. It's that comfortable.&#xD;&#xA;Beyerdynamic DT770 80 ohm version is also not bad for on the move use but a tad bit bulky. Sound quality is very comparable to the BOSE head sets mentioned above with slightly less low end bass. If you buy the 250 ohm version, your phone or mp3 player will struggle to power it and will require a portable amp. Again, I urge you to give them a listen and decide for yourself, rather than taking anyones word for it.&#xD;&#xA;&#xD;&#xA;Another use I found for the BOSE QC15 was gaming. If you have a gaming rig like me that has many cooling fans making noise, the QC 15 cuts them off completely! Brilliant!" ContentLicense="CC BY-SA 3.0" />
  <row Id="27655" PostHistoryTypeId="16" PostId="17149" RevisionGUID="ebe7fc4a-3587-4e2e-aa23-4f2bea0d80f0" CreationDate="2012-11-29T02:56:01.747" UserId="-1" />
  <row Id="27656" PostHistoryTypeId="5" PostId="17149" RevisionGUID="a4fea1b8-2080-4874-93aa-f7d17aafe71c" CreationDate="2012-11-29T03:14:23.997" UserId="5494" Comment="added 649 characters in body" Text="I've got the Senheiser hd800, Grado gs1000 that are the most expensive ones I own and sounds absolutely stunning. But non of the head phones I own are as comfortable as the BOSE QC15 or the BOSE Tri-port over ear HPs. You honestly cant feel that you are wearing any phones at all until u take them off and realize your ears have some sweat. &#xD;&#xA;&#xD;&#xA;Sound quality of the mentioned bose units are nearly identical to the Beyerdynamic DT770 80 ohm version with a tad bit more low end bass + bit more mid range than the DT770. They don't require any external amps coz they're designed to work straight off your phone or low power MP3 player. Amping them didn't seem to improve the SQ, but make the drives move a bit more air and distort if you play too loud. But overall, the QC 15 (active noise cancelling) is quite good, especially if you can get it used off ebay, otherwise the Tri port is basically a QC15 without active noise cancellation, but it isolates quite well. If I'm wearing them without playing music and the person next to me speaks to me, I can barely hear the person speak.&#xD;&#xA;&#xD;&#xA;For in house use&#xD;&#xA;&#xD;&#xA;Senheiser hd800 or GradoGS1000 : as they are open back they leak lots of music. So you will annoy others with your music and you will be annoyed by others making noise + they require substantial amplification to get good sound. If you amp them correctly, (I use the Lehmann Audio Black cube ultra-linear) it will be the benchmark in ultimate SQ, and sound stage. The Grados have more bass than the Sens IMO. All this comes at a hefty cost unfortunately and not everyone can spend over $2000 on a pair of headphons and a headphone amp, let alone a stereo system. But, IMO to match the SQ of a properly amped Sen HD800 or Grado GS1000, you'd be spending at least 10 times as much in hifi gear, so it's a bargain in comparison.&#xD;&#xA;&#xD;&#xA;On the move use&#xD;&#xA;&#xD;&#xA;No matter what the haters say, IMO, BOSE tri port or QC15 works brilliantly on the move without amps and it's less bulky to carry and I can't stress enough on how comfy they are. If you think the Beyerdynamic DT770 is comfy, this set will make you re-think your decision. It's that comfortable. Another use I found for the BOSE QC15 was gaming. If you have a gaming rig like me that has many cooling fans making noise, the QC 15 cuts them off completely! Brilliant!&#xD;&#xA;&#xD;&#xA;Beyerdynamic DT770 80 ohm version is also not bad for on the move use but a tad bit bulky. The cushions are quite comfy but gets on your jaws and irritates them. Also the cushions aren't as soft as the Bose's ones and doesn't do a good job in sealing the phone/ear cup against my head. And the cable is too long (10 feet). Sound quality is very comparable to the BOSE head sets mentioned above with slightly less low end bass. If you buy the 250 ohm version, your phone or mp3 player will struggle to power it and will require a portable amp. &#xD;&#xA;&#xD;&#xA;It's also very important to give the DT770 a good initial break in. I had the amp (Lehmann Audio Rhinelander with high input gain) and ipod running music to the DT 770 250 ohm version and 80 ohm version continuously for abt 4 - 5 days before I found them working well. Initially vocals sounded a bit nasal and bass was not that good. The 4 -5 days break in opened things up quite a bit and made them sound great :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27657" PostHistoryTypeId="2" PostId="17150" RevisionGUID="1b5cb30d-2346-48d4-aef2-695082a43665" CreationDate="2012-11-29T07:51:38.720" UserId="3285" Text="I saw on your site that sounds are recorded at 44.1kHz 16 bits, most other libraries are in 96kHz 24 Bits... It's a huge difference when you are doing sound design, especially when you use pitch and time stretch effects. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27658" PostHistoryTypeId="2" PostId="17151" RevisionGUID="9bb5c558-ea9d-4921-866e-099d41265626" CreationDate="2012-11-29T08:18:36.567" UserId="4390" Text="More of a tip/heads-up than a recommendation:&#xD;&#xA;I have a pair of Sennheiser HD265 - great sounding cans (obsolete now, I think).&#xD;&#xA;Sound fantastic, comfy, etc.&#xD;&#xA;&#xD;&#xA;But if I had known the price of replacement parts for these, I would have stayed away!&#xD;&#xA;&#xD;&#xA;- I have replaced the &quot;reinforced kevlar cable&quot; twice (on my third cable now). Cable costs around 50 bucks.&#xD;&#xA;&#xD;&#xA;- Earpads are in total disarray - but new ones cost 75 bucks! SEVENTYFIVE!&#xD;&#xA;In perspective, earpads for the 7506 cans cost around 15. Just saying.&#xD;&#xA;&#xD;&#xA;When I bought the second cable for these, the salesperson said: &quot;oh, Sennheisers? Made to break&quot;. Gee, thanks.&#xD;&#xA;If you're investing in a good set of cans, maybe check out the price of replacement parts first. Just an idea." ContentLicense="CC BY-SA 3.0" />
  <row Id="27659" PostHistoryTypeId="16" PostId="17151" RevisionGUID="9bb5c558-ea9d-4921-866e-099d41265626" CreationDate="2012-11-29T08:18:36.567" UserId="-1" />
  <row Id="27660" PostHistoryTypeId="2" PostId="17152" RevisionGUID="34ee5e06-8210-4f59-8be7-79602b570de8" CreationDate="2012-11-29T08:31:18.050" UserId="3784" Text="I think you should be able to hit play and listen to samples and read the description while listening. I listened on an iPhone and I immediately skip the dialogue but when I do that I find myself landing on more explanations when I probably just skipped a quick sample. If your gonna keep the dialogue set up markers (which you can write descriptions on) on sound cloud so the listener has the option to jump right to the sound or can also listen to the discription if they wanted too, but my personal opinion.. it's not necessary. I also think the price is way too high for the quality of effect, also most mixers are prolly gonna wanna throw their own verb on especially guns, I get why you baked it in but I know mixers that hate that. I'd offer a dry version of each one as well, but for alot cheaper. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27661" PostHistoryTypeId="2" PostId="17153" RevisionGUID="290975db-e3de-4503-aa5e-0d35940992d1" CreationDate="2012-11-29T10:35:12.703" UserId="5495" Text="Ok I know this question has been asked many times and I saw it was the second question on the main page (at the time of this post) but I am just looking for something in specific.&#xD;&#xA;&#xD;&#xA;My last pair were the Sennheiser hd 280 pros and I loved them, but I no longer have them.&#xD;&#xA;&#xD;&#xA;As some of you said in the topic I had read they do have their flaws and are not the greatest headphones for sound design.&#xD;&#xA;&#xD;&#xA;I have only done music production before but am very interested in sound design for movies but do not know what headphones would be best for both movie sound design and music production and mastering.&#xD;&#xA;&#xD;&#xA;I would specifically like something with an all around better frequency response then the Sennheiser 280s  (if that is what is best for sound design and production)&#xD;&#xA;&#xD;&#xA;I was looking up a few different models around the same price as the hd 280s but I can't really find much. (because I have no clue what I am looking for)&#xD;&#xA;&#xD;&#xA;At this point I either want a $100 pair that has little but noticeable difference or just jump the gun from there and pay all out price for top quality. (If I am not going to find better than the hd 280s for 100 or under I want top quality headphones.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="27662" PostHistoryTypeId="1" PostId="17153" RevisionGUID="290975db-e3de-4503-aa5e-0d35940992d1" CreationDate="2012-11-29T10:35:12.703" UserId="5495" Text="Specific headphone requests?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27663" PostHistoryTypeId="3" PostId="17153" RevisionGUID="290975db-e3de-4503-aa5e-0d35940992d1" CreationDate="2012-11-29T10:35:12.703" UserId="5495" Text="&lt;headphones&gt;&lt;music&gt;&lt;sound-design&gt;&lt;movies&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27665" PostHistoryTypeId="2" PostId="17155" RevisionGUID="3ac796be-46e7-4f97-8ac8-b9cde470556d" CreationDate="2012-11-29T12:39:40.833" UserId="3179" Text="Either that or NI Komplete are pretty widely used, because they're probably the biggest single &quot;sound banks&quot; around. I've heard people call Omnisphere a standard tool in DAW-based film scoring (which I'm not sure if it's a good or a bad thing, even though the patches are made by very experienced people and thus sound extremely good). Alchemy is the closest contender and it's a better synth, although the patch content is a matter of taste (Omnisphere likely still has more and &quot;better&quot; overall content).&#xD;&#xA;&#xD;&#xA;But, if you have a sampler e.g. Kontakt that has loads of good banks made for it, then you may equally well purchase just sound banks for your sampler." ContentLicense="CC BY-SA 3.0" />
  <row Id="27666" PostHistoryTypeId="5" PostId="17155" RevisionGUID="ea5c0035-dd23-40a1-8d28-40ff8e484052" CreationDate="2012-11-29T12:44:59.860" UserId="3179" Comment="added 110 characters in body" Text="Either that or NI Komplete are pretty widely used, because they're probably the biggest single &quot;sound banks&quot; around. I've heard people call Omnisphere a standard tool in DAW-based film scoring (which I'm not sure if it's a good or a bad thing, even though the patches are made by very experienced people and thus sound extremely good). Alchemy is the closest contender and it's a better synth, although the patch content is a matter of taste (Omnisphere likely still has more and &quot;better&quot; overall content as it has a lot of legacy samples in it that have been in products that the Omnisphere team has worked before).&#xD;&#xA;&#xD;&#xA;But, if you have a sampler e.g. Kontakt that has loads of good banks made for it, then you may equally well purchase just sound banks for your sampler." ContentLicense="CC BY-SA 3.0" />
  <row Id="27667" PostHistoryTypeId="5" PostId="3935" RevisionGUID="cd2d2d4e-25b7-4818-8b56-e3c0e846346b" CreationDate="2012-11-29T14:09:38.960" UserId="238" Comment="edited body" Text="Morally, I agree with Ryan and follow a similar Karma approach. That aside, when working in an industry such as ours, professionalism is one of the most important assets we can have. To use pirated software and un-licensed sounds shows a distinct lack of professionalism. You may be able to use un-licensed sounds in a project without having someone notice whether they are licensed or not, but when you need to work alongside others it can be harder to conceal. And you'd be surprised at how far reputation will aid or, inversely, destroy your career. Bottom line is that it is your reputation and professionalism that is on the line!" ContentLicense="CC BY-SA 3.0" />
  <row Id="27670" PostHistoryTypeId="2" PostId="17157" RevisionGUID="86c04aba-d787-40bb-b775-df858ce2ef7d" CreationDate="2012-11-29T15:09:23.730" UserId="3179" Text="It's fair to give back if you take advantage of something that's been created by someone else.&#xD;&#xA;&#xD;&#xA;However, I have never quite understood the need for the limitations that copyright law puts on creative work. Yes it gives artists some &quot;tangible&quot; assets to own, yes it gives a chance to influence how one's work might get used. But fundamentally it limits what you can use to create, which I think is a stupid limitation.&#xD;&#xA;&#xD;&#xA;People are using other people's work. They do so by licensing, although rarely by crediting by name/company unless it's a close colleague or something. But is it really the sound files that are important, or is it the project that you put them into. Make a soundtrack of using only pirated material, and no-one would notice anything but 'your' work and how good it was, which is the normal case, no-one cares how you got the stuff together, only that it was 'created' you, unless they are in a position in which they need to fear for legal inspection. Individual sounds can be likely spotted only by the original creator/editor himself or someone who has used the same sound source and happens to know that one hasn't got the right to use it and it would take quite critical listening to spot them in a dense mix.&#xD;&#xA;&#xD;&#xA;So yes, it's wrong. But I don't think there's a risk of getting caught for it, because not many people or organizations care about it. And I think the law has its stumbling blocks that causes more problems than advantages." ContentLicense="CC BY-SA 3.0" />
  <row Id="27671" PostHistoryTypeId="5" PostId="17157" RevisionGUID="17d2cf9d-425e-4315-9131-fd00c7d7c133" CreationDate="2012-11-29T15:14:34.727" UserId="3179" Comment="added 3 characters in body; added 77 characters in body" Text="It's fair to give back if you take advantage of something that's been created by someone else.&#xD;&#xA;&#xD;&#xA;However, I have never quite understood the need for the limitations that copyright law puts on creative work. Yes it gives artists some &quot;tangible&quot; assets to own, yes it gives a chance to influence how one's work might get used. But fundamentally it limits what you can use to create, which I think is a stupid limitation.&#xD;&#xA;&#xD;&#xA;People are using other people's work. They do so by licensing, although rarely by crediting by name/company unless it's a close colleague or something. But is it really the sound files that are important, or is it the project that you put them into. Make a soundtrack of using only pirated material, and no-one would notice anything but 'your' work and how good it was, which is the normal case, no-one cares how you got the stuff together, only that it was 'created' by you, unless they are in a position in which they need to fear for legal inspection. Individual sounds can be likely spotted only by the original creator/editor himself or someone who has used the same sound source and happens to know that one hasn't got the right to use it and it would take quite critical listening to spot them in a dense mix.&#xD;&#xA;&#xD;&#xA;So yes, it's wrong. But I don't think there's a risk of getting caught for it, because not many people or organizations care about it, and it's rather impossible to recognize what's pirated sound and what isn't. And I think the law has its stumbling blocks that causes more problems than advantages." ContentLicense="CC BY-SA 3.0" />
  <row Id="27672" PostHistoryTypeId="5" PostId="17157" RevisionGUID="e31e6056-35fe-4355-9d80-beb3fe9f0a6e" CreationDate="2012-11-29T15:20:33.457" UserId="3179" Comment="added 51 characters in body; added 55 characters in body; added 9 characters in body" Text="It's fair to give back if you take advantage of something that's been created by someone else.&#xD;&#xA;&#xD;&#xA;However, I have never quite understood the need for the limitations that copyright law puts on creative work. Yes it gives artists some &quot;tangible&quot; assets to own, yes it gives a chance to influence how one's work might get used. But fundamentally it limits what you can use to create, which I think is a stupid limitation.&#xD;&#xA;&#xD;&#xA;People are using other people's work. They do so by licensing, although rarely by crediting by name/company unless it's a close colleague or something. But is it really the sound files that are important, or is it the project that you put them into. Make a soundtrack of using only pirated material, and no-one would notice anything but 'your' work and how good it was, which is the normal case, no-one cares how you got the stuff together, only that it was 'created' by you, unless they are in a position in which they need to fear for legal inspection. Individual sounds can be likely spotted only by the original creator/editor himself or someone who has used the same sound source and happens to know that one hasn't got the right to use it and it would take quite critical listening to spot them in a dense mix or in a form that's been altered (cut, layered, processed etc.).&#xD;&#xA;&#xD;&#xA;So yes, it's wrong. But I don't think there's a risk of getting caught for it, because not many people or organizations care about it, and it's rather impossible to recognize what's pirated sound and what isn't, until the original creator makes a claim about it. And I think the law has its stumbling blocks that causes more problems than advantages." ContentLicense="CC BY-SA 3.0" />
  <row Id="27673" PostHistoryTypeId="5" PostId="17157" RevisionGUID="78390007-d14e-47ec-8649-a15d69846853" CreationDate="2012-11-29T15:25:49.577" UserId="3179" Comment="added 108 characters in body; deleted 1 characters in body; added 120 characters in body" Text="It's fair to give back if you take advantage of something that's been created by someone else.&#xD;&#xA;&#xD;&#xA;However, I have never quite understood the need for the limitations that copyright law puts on creative work. Yes it gives artists some &quot;tangible&quot; assets to own, yes it gives a chance to influence how one's work might get used. But fundamentally it limits what you can use to create, which I think is a stupid limitation.&#xD;&#xA;&#xD;&#xA;People are using other people's work. They do so by licensing, although rarely by crediting by name/company unless it's a close colleague or something. Or when it's about sampling visual art, which has a much more simpler way of determining what's copying and what isn't. But is it really the sound files that are important, or is it the project that you put them into. Make a soundtrack of using only pirated material, and no-one would notice anything but 'your' work and how good it was, which is the normal case, no-one cares how you got the stuff together, only that it was 'created' by you, unless they are in a position in which they need to fear for legal inspection. Individual sounds can be likely spotted only by the original creator/editor himself or someone who has used the same sound source and happens to know that one hasn't got the right to use it and it would take quite critical listening to spot them in a dense mix or in a form that's been altered (cut, layered, processed etc.).&#xD;&#xA;&#xD;&#xA;So yes, it's wrong. But I don't think there's a risk of getting caught for it, because not many people or organizations care about it. Well, they might care about it on their own part, but because it's rather impossible to recognize what's pirated sound and what isn't, until the original creator makes a claim about it, it's fairly impossible for them to know about it. And I think the law has its stumbling blocks that cause more problems than advantages." ContentLicense="CC BY-SA 3.0" />
  <row Id="27674" PostHistoryTypeId="5" PostId="17157" RevisionGUID="7acd3a2e-f847-458c-8431-7fd97edc588f" CreationDate="2012-11-29T15:33:57.653" UserId="3179" Comment="added 47 characters in body" Text="It's fair to give back if you take advantage of something that's been created by someone else, especially if you do it for money or prestige.&#xD;&#xA;&#xD;&#xA;However, I have never quite understood the need for the limitations that copyright law puts on creative work. Yes it gives artists some &quot;tangible&quot; assets to own, yes it gives a chance to influence how one's work might get used. But fundamentally it limits what you can use to create, which I think is a stupid limitation.&#xD;&#xA;&#xD;&#xA;People are using other people's work. They do so by licensing, although rarely by crediting by name/company unless it's a close colleague or something. Or when it's about sampling visual art, which has a much more simpler way of determining what's copying and what isn't. But is it really the sound files that are important, or is it the project that you put them into. Make a soundtrack of using only pirated material, and no-one would notice anything but 'your' work and how good it was, which is the normal case, no-one cares how you got the stuff together, only that it was 'created' by you, unless they are in a position in which they need to fear for legal inspection. Individual sounds can be likely spotted only by the original creator/editor himself or someone who has used the same sound source and happens to know that one hasn't got the right to use it and it would take quite critical listening to spot them in a dense mix or in a form that's been altered (cut, layered, processed etc.).&#xD;&#xA;&#xD;&#xA;So yes, it's wrong. But I don't think there's a risk of getting caught for it, because not many people or organizations care about it. Well, they might care about it on their own part, but because it's rather impossible to recognize what's pirated sound and what isn't, until the original creator makes a claim about it, it's fairly impossible for them to know about it. And I think the law has its stumbling blocks that cause more problems than advantages." ContentLicense="CC BY-SA 3.0" />
  <row Id="27676" PostHistoryTypeId="2" PostId="17158" RevisionGUID="7134351a-3ff0-45aa-8423-75ce06ed74a4" CreationDate="2012-11-29T22:11:32.287" UserId="3994" Text="The other major competitor in that price range is the Sony MDR-7506/V6. These are pretty standard issue for editors, but as for your uses I dunno if they will be 'better' than HD280s. If you want to jump up in price and quality, this link has pretty much all the info: http://www.head-fi.org/t/634201/battle-of-the-flagships-50-headphones-compared" ContentLicense="CC BY-SA 3.0" />
  <row Id="27677" PostHistoryTypeId="2" PostId="17159" RevisionGUID="a5072846-2523-471d-88e0-c3ffbc39fe59" CreationDate="2012-11-30T00:33:16.327" UserId="4272" Text="You might also consider Native Instruments Absynth, Kontakt, or Izotope Iris." ContentLicense="CC BY-SA 3.0" />
  <row Id="27678" PostHistoryTypeId="5" PostId="17135" RevisionGUID="b6057bac-37d1-48e5-9b3d-5d20115c5b0f" CreationDate="2012-11-30T03:05:57.963" UserId="29" Comment="Got model number wrong on the hydrophone!" Text="I use Cold Gold, a few other hand-made ones, and the rubber contact-mic adapter for the Aquarian Audio H2a hydrophone. The C-Ducers sound pretty compelling - high noise floors are common with cheap piezos - but the H2a is a stellar contact mic...provided you can attach its heavy bulk to something effectively. Tim Prebble and others also like the Barcus Berry instrument contact mics, and the audible results are impressive, as one would expect from a higher-price mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="27679" PostHistoryTypeId="2" PostId="17160" RevisionGUID="e970a525-8c24-481c-b8c2-d6d9fc3a770c" CreationDate="2012-11-30T05:44:59.020" UserId="376" Text="**Reaper**, hands down the most flexible editor and also with fully configurable scrub modes.&#xD;&#xA;Cross-platform is just the beginning of the benefits.&#xD;&#xA;&#xD;&#xA;www.reaper.fm&#xD;&#xA;&#xD;&#xA;Cheers." ContentLicense="CC BY-SA 3.0" />
  <row Id="27687" PostHistoryTypeId="2" PostId="17164" RevisionGUID="30da2909-e888-4d81-8c19-daf478dd13d3" CreationDate="2012-11-30T16:45:05.107" UserId="2502" Text="NI Komplete is powerful, Iris is wonderful, but Omnisphere so often gets the job done. If I was stuck on an island and hired to compose &quot;a video game cinematic trailer&quot; I would pack Omnisphere while shedding a tear or two for Kontakt and Reaktor.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27688" PostHistoryTypeId="5" PostId="15453" RevisionGUID="196cf9ef-1af6-4bfa-8795-60274a7a6a66" CreationDate="2012-11-30T17:49:22.480" UserId="61" Comment="added 1 characters in body" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;I would like to know what's the best online resource for cell phone ring tones of pop music.  What I'm looking for are some &quot;cheap midi instrument 8 bit phony lame versions of pop songs&quot;...&#xD;&#xA;&#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="27689" PostHistoryTypeId="2" PostId="17165" RevisionGUID="5ac329f6-9e99-4337-8257-a8081e6b6371" CreationDate="2012-12-01T13:24:58.893" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;Hot temperatures:&#xD;&#xA;&#xD;&#xA;This is very easy: Put a finger beside your mikrofone. If it get's too hot for your finger, it get's too hot for the microfone. Same for boiling water: there are other methodes to records bubbles. Play around with compressed air and you get similar results without a boiled hyrdophone.&#xD;&#xA;&#xD;&#xA;If you want to record fires or explosions, put the microfone beside the fire, not over it. This gives you a good result without fire, hot air and so on.&#xD;&#xA;&#xD;&#xA;Cold:&#xD;&#xA;&#xD;&#xA;I made lot of records here in the swiss mountains. In winter it's about minus 20 degrees or more, no problem. If you record outside, at minus temperature, you have to acclimatize your gears. Windshields and the microfone itself starts crackling and making some noise if they get in the cold. this could take an houre or two. Use a good winshield-zeppelin, because the temperature falls much softer than putting a microfone out in the cold air.&#xD;&#xA;&#xD;&#xA;If it's cold and dry, you should not have much problems with your gear. BUT: This is very important: If you bring in your equipment (recorders or microfones) from minus temperature-outside into a 20 degrees warm room, you have to be very carefull! The temperature on the mikrofone is minus degrees and freezes the warm, condensing water from the air immediately! If water freezes, you know it expends and could break electronic components out of the circuit boards without problems. Freezing water is very powerfull! Imagine the waterbottle in the freezer - it breaks.&#xD;&#xA;So, if you go from cold into a warm room with your equipement, it needs to acclimatize too. Also in zeppelins, the temprature rises soft, picks up the condensing water and helps to protect the microfones.&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Guido&#xD;&#xA;&#xD;&#xA;https://www.soundeffects.ch&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27690" PostHistoryTypeId="2" PostId="17166" RevisionGUID="02a692ff-198e-4565-98ad-eba5514b2704" CreationDate="2012-12-01T15:28:07.660" UserId="182" Text="I called DPA a few months ago to inquire about high temperatures and their 4060 range. They weren't sure themselves and redirected me to their European distributor. They didn't have exact numbers either, but an hour later they called me: they tested it by putting a mic in harms way - great service!&#xD;&#xA;They found the following:&#xD;&#xA;&#xD;&#xA; - the microphones were operating as expected up to the specified 45° C.&#xD;&#xA; - they were stable and fine at about 70° C too (!) (forgot the exact number, could have been 80 too), above that they are destroyed.&#xD;&#xA; - while being heated from 45 to 70, their behaviour was unpredictable and there was noise in the signal.&#xD;&#xA;&#xD;&#xA;They also told me that Boeing uses their mics in jet engine testing, where they last only a few minutes before they are fried, but just enough to get usable measurements." ContentLicense="CC BY-SA 3.0" />
  <row Id="27691" PostHistoryTypeId="5" PostId="17166" RevisionGUID="39310811-058b-4c0b-ba9e-7c34daccadc0" CreationDate="2012-12-01T15:33:24.513" UserId="182" Comment="added link" Text="I called DPA a few months ago to inquire about very high temperatures and their 4060 range. Aside from the temperature range in their [specifications, (pdf)][1], they weren't sure themselves and redirected me to their European distributor. They didn't have exact numbers either, but an hour later they called me: they tested it by putting a mic in harms way - great service!&#xD;&#xA;They found the following:&#xD;&#xA;&#xD;&#xA; - the microphones were operating as expected up to the specified 45° C.&#xD;&#xA; - they were stable and fine at about 70° C too (!) (forgot the exact number, could have been 80 too), above that they are destroyed.&#xD;&#xA; - while being heated from 45 to 70, their behaviour was unpredictable and there was noise in the signal.&#xD;&#xA;&#xD;&#xA;They also told me that Boeing uses their mics in jet engine testing, where they last only a few minutes before they are fried, but just enough to get usable measurements.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://pdf.tradelink.dk/dpa/produktark/Produktark_4060-BM.pdf?xml=http%3a%2f%2fwww.dpamicrophones.com%2fen%2fproducts.aspx%3fc%3ditem%26category%3d128%26item%3d24035%26xml%3d1" ContentLicense="CC BY-SA 3.0" />
  <row Id="27692" PostHistoryTypeId="2" PostId="17167" RevisionGUID="77b099e2-f644-43cf-b8a7-39b64b01ce16" CreationDate="2012-12-01T20:10:24.293" UserId="842" Text="As the other said here, microphones are delicate equipment. If you can't handle it, neither can the microphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="27693" PostHistoryTypeId="2" PostId="17168" RevisionGUID="fc421e3b-4433-4bd6-9492-f3a5aa3da02f" CreationDate="2012-12-01T21:14:17.740" UserId="3890" Text="In response to Colin, I too am curious about the stereo Trance Audio rig, so I wrote them. &#xD;&#xA;&#xD;&#xA;They responded with the following specs:&#xD;&#xA;&#xD;&#xA;The stereo Inducer is a custom-built specially designed low-noise high-definition stereo system that's aimed towards sound designers.  The Inducer runs 2 Acoustic Lens transducers, the heart of the system.  The Lenses, which can have a cable length of up to 10 feet, employ multiple sensors to create a well defined sonic image of whatever its attached to.&#xD;&#xA;&#xD;&#xA;Features of the Inducer stereo:&#xD;&#xA;&#xD;&#xA;- Runs on a single 9V battery for 100+ hours with an LED low battery warning indicator&#xD;&#xA;- Has a greater than -100dB idle noise floor, 115dB S/N ratio, better than .005% THD.&#xD;&#xA;- Has external gain contols for up to +55dB gain adjustment&#xD;&#xA;- Has XLR balanced outs for each channel, plus TRS 1/4&quot; outs (balanced or unbalanced)&#xD;&#xA; -Has a phase switch for each channel out&#xD;&#xA;- Plugging a pickup into either input powers up the unit. The inputs are normally shorting, so no noise from an unused input should only 1 transducer be in use.&#xD;&#xA;&#xD;&#xA;Stoked!&#xD;&#xA;&#xD;&#xA;..jenn&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27694" PostHistoryTypeId="2" PostId="17169" RevisionGUID="1d9d1e6e-2902-4449-aa8b-aeae7226ad7d" CreationDate="2012-12-02T06:19:31.400" UserId="5501" Text="While almost entering death, I found myself being talked too (by who or what I have no clue) and shown things that a crazy person would envy.  One item that I just can't shake is being told I was to use the &quot;SOUND of color&quot; to accomplish some fairly bezzare great things in life.  I was also given equasions but I am far from a physisist (cant even spell it).  I do however have a visual memory that holds it's own.  I know the pattern of colors to be produced.  What I didn't know till doing this search a year later....is that....you guys seem to already know that colors have sound.&#xD;&#xA;&#xD;&#xA;Any help would be appreciated.   &#xD;&#xA;&#xD;&#xA;Tim" ContentLicense="CC BY-SA 3.0" />
  <row Id="27695" PostHistoryTypeId="1" PostId="17169" RevisionGUID="1d9d1e6e-2902-4449-aa8b-aeae7226ad7d" CreationDate="2012-12-02T06:19:31.400" UserId="5501" Text="Call me crazy...need help to change the world!" ContentLicense="CC BY-SA 3.0" />
  <row Id="27696" PostHistoryTypeId="3" PostId="17169" RevisionGUID="1d9d1e6e-2902-4449-aa8b-aeae7226ad7d" CreationDate="2012-12-02T06:19:31.400" UserId="5501" Text="&lt;color&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27703" PostHistoryTypeId="2" PostId="17171" RevisionGUID="c912648f-f903-431d-b803-43aab7d26af3" CreationDate="2012-12-02T10:48:15.640" UserId="6432" Text="Hi Tim,&#xD;&#xA;&#xD;&#xA;That's really fascinating. Reading your account reminded me of the book *[Musicophilia][1]* by Oliver Sachs. He's a neurologist who studied the connection between sound and the brain. There are several stories in a sense similar to yours, of people having powerful experiences in their life where sound plays a part. As an example some of the book is about a 42-year-old man struck by lightning who suddenly experiences an unquenchable thirst for music, learns to play the piano, and starts to compose. I recommend it to anyone here actually, it's also quite an easy read - not full of jargon. So I'm not suggesting that you will find some all encompassing answer in the book, reading it just highlights how complicated the connection is between what we experience, perceive and how we try to interpret meaning from that.&#xD;&#xA;&#xD;&#xA;Back to your question though. As was suggested you should definitely look up [Synesthesia][2], but be aware that it is a neurological condition - the connections have been made by the brain of the person who experiences it. Why they have this experience and whether it relates to anything measurable and coherent is the interesting thing about it. From a scientific standpoint colours don't literally have equivalent sounds but they do have a specific wavelength in the same way individual frequencies of sound have a wavelength:&#xD;&#xA;&#xD;&#xA;![alt text][3]  &#xD;&#xA;&#xD;&#xA;And sound:&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The connection has been exploited by VJ's and programmers writing sound visualisation software extensively over the years. Essentially if you analyse and map from one to the other, in a sense you can create images from sound or convert image data into sound. Another example of this is the software [Metasynth][5] which interprets pictures and synthesizes them into sound. It's fairly configurable but the main parameters it takes into account are colour (for frequency) and intensity (for amplitude). &#xD;&#xA;&#xD;&#xA;So exploring this sort of thing is a route you could take, and if you find it interesting then why not! Everyone on these pages has some kind of (perhaps unexplainable) fascination with sound so you'd be in good company. I'd also suggest that if you can, perhaps you should speak to a neurologist or other professional about your experiences - they might be just as interested as you are, and you may find as many answers there as you will pursuing your ideas here.&#xD;&#xA;&#xD;&#xA;All the best,&#xD;&#xA;&#xD;&#xA;Mark &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.guardian.co.uk/books/2007/nov/03/scienceandnature.music&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Synesthesia&#xD;&#xA;  [3]: http://www.windows2universe.org/physical_science/magnetism/images/visible_spectrum_waves_big.jpg&#xD;&#xA;  [4]: http://obiaudio.com/wp-content/uploads/2010/07/frequency_chart_lg.gif&#xD;&#xA;  [5]: http://www.uisoftware.com/MetaSynth/index.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="27704" PostHistoryTypeId="5" PostId="17171" RevisionGUID="753961a6-ec93-4216-8ec5-13b7988f7980" CreationDate="2012-12-02T11:54:38.167" UserId="6432" Comment="An extra point." Text="Hi Tim,&#xD;&#xA;&#xD;&#xA;That's really fascinating. Reading your account reminded me of the book *[Musicophilia][1]* by Oliver Sachs. He's a neurologist who studied the connection between sound and the brain. There are several stories in a sense similar to yours, of people having powerful experiences in their life where sound plays a part. As an example some of the book is about a 42-year-old man struck by lightning who suddenly experiences an unquenchable thirst for music, learns to play the piano, and starts to compose. I recommend it to anyone here actually, it's also quite an easy read - not full of jargon. So I'm not suggesting that you will find some all encompassing answer in the book, reading it just highlights how complicated the connection is between what we experience, perceive and how we try to interpret meaning from that.&#xD;&#xA;&#xD;&#xA;Back to your question though. As was suggested you should definitely look up [Synesthesia][2], but be aware that it is a neurological condition - the connections have been made by the brain of the person who experiences it. Why they have this experience and whether it relates to anything measurable and coherent is the interesting thing about it. From a scientific standpoint colours don't literally have equivalent sounds but they do have a specific wavelength in the same way individual frequencies of sound have a wavelength:&#xD;&#xA;&#xD;&#xA;![alt text][3]  &#xD;&#xA;&#xD;&#xA;And sound:&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The connection has been exploited by VJ's and programmers writing sound visualisation software extensively over the years. Essentially if you analyse and map from one to the other, in a sense you can create images from sound or convert image data into sound. Another example of this is the software [Metasynth][5] which interprets pictures and synthesizes them into sound. It's fairly configurable but the main parameters it takes into account are colour (for frequency) and intensity (for amplitude). &#xD;&#xA;&#xD;&#xA;So exploring this sort of thing is a route you could take, and if you find it interesting then why not! Everyone on these pages has some kind of (perhaps unexplainable) fascination with sound so you'd be in good company. I'd say though, that working with sound and image at this sort of level is fairly advanced so don't expect to get results right away. Another route you could take is to hook up with a sound designer/artist who can work with you on the project, you might be able to find someone working in those areas already who has an interest in your story. &#xD;&#xA;&#xD;&#xA;I'd also suggest that if you can, perhaps you should speak to a neurologist or other professional about your experiences - they might be just as interested as you are, and you may find as many answers there as you will pursuing your ideas here.&#xD;&#xA;&#xD;&#xA;All the best,&#xD;&#xA;&#xD;&#xA;Mark &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.guardian.co.uk/books/2007/nov/03/scienceandnature.music&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Synesthesia&#xD;&#xA;  [3]: http://www.windows2universe.org/physical_science/magnetism/images/visible_spectrum_waves_big.jpg&#xD;&#xA;  [4]: http://obiaudio.com/wp-content/uploads/2010/07/frequency_chart_lg.gif&#xD;&#xA;  [5]: http://www.uisoftware.com/MetaSynth/index.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="27705" PostHistoryTypeId="5" PostId="17171" RevisionGUID="eb0ba273-703e-485f-aa25-0ff1eddd4779" CreationDate="2012-12-02T15:22:12.893" UserId="6432" Comment="corrected a mistake " Text="Hi Tim,&#xD;&#xA;&#xD;&#xA;That's really fascinating. Reading your account reminded me of the book *[Musicophilia][1]* by Oliver Sachs. He's a neurologist who studied the connection between sound and the brain. There are several stories in a sense similar to yours, of people having powerful experiences in their life where sound plays a part. As an example some of the book is about a 42-year-old man struck by lightning who suddenly experiences an unquenchable thirst for music, learns to play the piano, and starts to compose. I recommend it to anyone here actually, it's also quite an easy read - not full of jargon. So I'm not suggesting that you will find some all encompassing answer in the book, reading it just highlights how complicated the connection is between what we experience, perceive and how we try to interpret meaning from that.&#xD;&#xA;&#xD;&#xA;Back to your question though. As was suggested you should definitely look up [Synesthesia][2], but be aware that it is a neurological condition - the connections have been made by the brain of the person who experiences it. Why they have this experience and whether it relates to anything measurable and coherent is the interesting thing about it. From a scientific standpoint colours don't literally have equivalent sounds but they do have a specific wavelength in the same way individual frequencies of sound have a wavelength:&#xD;&#xA;&#xD;&#xA;![alt text][3]  &#xD;&#xA;&#xD;&#xA;And sound:&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The connection has been exploited by VJ's and programmers writing sound visualisation software extensively over the years. Essentially if you analyse and map from one to the other, in a sense you can create images from sound or convert image data into sound. &#xD;&#xA;&#xD;&#xA;So exploring this sort of thing is a route you could take, and if you find it interesting then why not! Everyone on these pages has some kind of (perhaps unexplainable) fascination with sound so you'd be in good company. I'd say though, that working with sound and image at this sort of level is fairly advanced so don't expect to get results right away. Another route you could take is to hook up with a sound designer/artist who can work with you on the project, you might be able to find someone working in those areas already who has an interest in your story. &#xD;&#xA;&#xD;&#xA;I'd also suggest that if you can, perhaps you should speak to a neurologist or other professional about your experiences - they might be just as interested as you are, and you may find as many answers there as you will pursuing your ideas here.&#xD;&#xA;&#xD;&#xA;All the best,&#xD;&#xA;&#xD;&#xA;Mark &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.guardian.co.uk/books/2007/nov/03/scienceandnature.music&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Synesthesia&#xD;&#xA;  [3]: http://www.windows2universe.org/physical_science/magnetism/images/visible_spectrum_waves_big.jpg&#xD;&#xA;  [4]: http://obiaudio.com/wp-content/uploads/2010/07/frequency_chart_lg.gif&#xD;&#xA;  [5]: http://www.uisoftware.com/MetaSynth/index.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="27707" PostHistoryTypeId="2" PostId="17173" RevisionGUID="7ff4c2aa-e737-4777-a9fe-7b12c1460bc5" CreationDate="2012-12-02T18:26:19.933" UserId="5503" Text="Hello everybody !I'm a student of lightning and sound design for theatre and I'm looking for sound effects' websites that could help me to find several sound fx for a person's alucination Can you help me please? Thanks " ContentLicense="CC BY-SA 3.0" />
  <row Id="27708" PostHistoryTypeId="1" PostId="17173" RevisionGUID="7ff4c2aa-e737-4777-a9fe-7b12c1460bc5" CreationDate="2012-12-02T18:26:19.933" UserId="5503" Text="Sound effects for alucination" ContentLicense="CC BY-SA 3.0" />
  <row Id="27709" PostHistoryTypeId="3" PostId="17173" RevisionGUID="7ff4c2aa-e737-4777-a9fe-7b12c1460bc5" CreationDate="2012-12-02T18:26:19.933" UserId="5503" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27710" PostHistoryTypeId="2" PostId="17174" RevisionGUID="fe866b41-6554-4a43-a161-eee99348ec62" CreationDate="2012-12-02T18:44:26.813" UserId="3754" Text="im assuming you mean hallucination?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27711" PostHistoryTypeId="2" PostId="17175" RevisionGUID="298e4685-f594-43ef-906f-0a079c02ffc9" CreationDate="2012-12-02T19:30:26.760" UserId="238" Text="You will find plenty of good advice on this site but please can you give more detail on what you would like to achieve. A hallucination could be interpreted in thousands of different ways. &#xD;&#xA;&#xD;&#xA;Context is extremely important, so if you add a little more detail to your request I'm sure you'll find the responses to be very helpful! " ContentLicense="CC BY-SA 3.0" />
  <row Id="27713" PostHistoryTypeId="2" PostId="17177" RevisionGUID="8a65c90d-8c0a-45e8-831a-1f4c33a802ff" CreationDate="2012-12-03T03:55:11.513" UserId="5500" Text="It's not Hallucination but maybe you'll find this useful:&#xD;&#xA;&#xD;&#xA;http://cuneimedia.com/arcanum/occult-voices-paranormal-music-recordings-of-unseen-intelligences-1905-2007&#xD;&#xA;&#xD;&#xA;occult voices paranormal music recordings of unseen intelligences 1905-2007&#xD;&#xA;Published by Thomas Knoefel und Andreas Fischer Köln&#xD;&#xA;Released by supposé (2007)&#xD;&#xA;Trance Speech and Direct Voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="27717" PostHistoryTypeId="2" PostId="17179" RevisionGUID="aa8c6cdc-59c7-49f6-95ad-32bf1dde89d4" CreationDate="2012-12-03T04:34:25.107" UserId="4442" Text="Is this for theater? Using these live?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27718" PostHistoryTypeId="2" PostId="17180" RevisionGUID="b7756525-bd88-40bb-b08f-ba953765dae2" CreationDate="2012-12-03T04:37:53.817" UserId="4442" Text="I agree with Rene don't go to layer crazy, but you may try an electrical hum and an impulse reverb. Set it to a short decay. When you set a convolution reverb to a short decay time, you're basically just affecting the sound. I'm not sure if you have a convolution reverb, but there's one in kontakt, guitar rig, built into logic, waves, a number of things. Definitely invest in one. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27720" PostHistoryTypeId="2" PostId="17182" RevisionGUID="0a70901d-3756-408d-9c57-181c692890fa" CreationDate="2012-12-03T05:02:43.940" UserId="3890" Text="Hi Anne-Marie,&#xD;&#xA;&#xD;&#xA;The above gents have covered this pretty nicely but I thought I'd add something that has come up for me a few times: ProTools design sessions.&#xD;&#xA;&#xD;&#xA;I've been asked to supply ProTools sessions so the company can recreate/modify sounds if they need to. Except for my own sounds, this steps beyond purchased SFX EULAs.  I've made a point to make sure folks understand this when discussing contract details.  If this is overwhelmingly important to them, we discuss the purchases they would be required to make, in order to legitimize the process.&#xD;&#xA;&#xD;&#xA;..jenn" ContentLicense="CC BY-SA 3.0" />
  <row Id="27724" PostHistoryTypeId="2" PostId="17185" RevisionGUID="a94b1476-b43b-43cc-b6ca-ed78ce1d1283" CreationDate="2012-12-03T09:54:06.230" UserId="5500" Text="Who's making generative Music/Art with Pure Data or Max ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27725" PostHistoryTypeId="1" PostId="17185" RevisionGUID="a94b1476-b43b-43cc-b6ca-ed78ce1d1283" CreationDate="2012-12-03T09:54:06.230" UserId="5500" Text="Generative Music" ContentLicense="CC BY-SA 3.0" />
  <row Id="27726" PostHistoryTypeId="3" PostId="17185" RevisionGUID="a94b1476-b43b-43cc-b6ca-ed78ce1d1283" CreationDate="2012-12-03T09:54:06.230" UserId="5500" Text="&lt;puredata&gt;&lt;max-msp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27727" PostHistoryTypeId="2" PostId="17186" RevisionGUID="d1fd3498-7d77-4a69-b764-ffaee2783ed1" CreationDate="2012-12-03T11:36:55.083" UserId="6432" Text="I went through a phase of designing generative music systems in Max a few years ago. It was a fun experiment that produced some interesting results, a few of them linger on my [Soundcloud][1]. I'm still quite interested in the concepts but spend more of my time working on signal processing stuff in Max rather than generating music (ie generating note data).&#xD;&#xA;&#xD;&#xA;Really nice music btw, I followed the link from your profile. &#xD;&#xA;  [1]: http://soundcloud.com/mark-durham/sets/generative-music/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27728" PostHistoryTypeId="2" PostId="17187" RevisionGUID="e01ad929-6723-46c4-9033-0a32346b3e35" CreationDate="2012-12-03T13:48:17.853" UserId="407" Text="This is a question that's been banding around the studio here and thought I'd throw the question out to you guys to see what you think - There are a couple of obvious ones like harsh sounding wind, or emphasising the high frequencies to make things sound like breaking ice. But what do you add when you want something to sound cold?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27729" PostHistoryTypeId="1" PostId="17187" RevisionGUID="e01ad929-6723-46c4-9033-0a32346b3e35" CreationDate="2012-12-03T13:48:17.853" UserId="407" Text="How do you make a scene sound/feel cold?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27730" PostHistoryTypeId="3" PostId="17187" RevisionGUID="e01ad929-6723-46c4-9033-0a32346b3e35" CreationDate="2012-12-03T13:48:17.853" UserId="407" Text="&lt;sound-design&gt;&lt;video-games&gt;&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27731" PostHistoryTypeId="2" PostId="17188" RevisionGUID="3d01fedf-9f01-4c11-b907-24d76d7aa1ff" CreationDate="2012-12-03T13:51:23.247" UserId="3754" Text="if there's dialogue, over compress it. Really bring up the lip and mouth noises, the subtle slurps and wheezes. It's really uncomfortable listening and I feel it brings out the desperation/harshness of talking in the cold" ContentLicense="CC BY-SA 3.0" />
  <row Id="27732" PostHistoryTypeId="2" PostId="17189" RevisionGUID="ebab01b5-6e92-4f21-b237-8212d4804f79" CreationDate="2012-12-03T14:17:13.227" UserId="1216" Text="I mostly associate metallic hi pitched sounds with cold. But also hi frequency crackling of some plastic fruit wrappings (from the supermarket) have a spine chilling quality to them.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27733" PostHistoryTypeId="2" PostId="17190" RevisionGUID="8781a502-695b-4fd8-a40f-912ce5598f8a" CreationDate="2012-12-03T14:50:04.337" UserId="3183" Text="I agree with that V-control is not tackile, but still, it is a very good solution. It is the reason I haven't bought the artist series controllers. Tried them, but compared to the Icon, they are not as good, compared to the V-control, they are not that much better. Of course imho." ContentLicense="CC BY-SA 3.0" />
  <row Id="27734" PostHistoryTypeId="5" PostId="17100" RevisionGUID="bc48e580-6a62-45ce-b4cc-d2dff825ede8" CreationDate="2012-12-03T15:28:42.660" UserId="238" Comment="added 2 characters in body" Text="As part of the [Europa Cinemas][1] event that took place here in Paris this weekend, I watched a really interesting talk by David Orlic, Creative Director and Co Founder of [Volontaire][2]. The discussion was based around a project they developed for the Swedish Institute and Visit Sweden entitled [Curators of Sweden][3]. &#xD;&#xA;&#xD;&#xA;For those who haven't heard about it, the project saw Sweden become the first country in the world to let go of an official communication channel and hand it over to its citizens. Every week, someone in Sweden became @Sweden and therefore, the sole ruler of the country's official Twitter account. The project trended on Twitter worldwide and, after some controversial comments, gained worldwide media coverage. &#xD;&#xA;&#xD;&#xA;Having gained worldwide media coverage, Curators of Sweden has since inspired the launch of many similar projects as well as the term Rotation Creation. &#xD;&#xA;&#xD;&#xA;According to Wikipedia:&#xD;&#xA;&gt; Rotation Curation, also #RotationCuration, is a social media concept where official and unofficial projects, countries, cities, companies, cultural, and, or other types of groups rotate their spokespersons, curators, every week.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So, has anyone here participated in such a project with a concept of a rotating spokesperson or curator on any level? If so, how did it work out? Is there any scope to develop this idea in a sound design / recording context? We've seen various crowd sourcing projects but I'm wondering how interesting it'd be to try something like this?  &#xD;&#xA;&#xD;&#xA;Any ideas / thoughts..?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.europa-cinemas.org/en&#xD;&#xA;  [2]: http://www.volontaire.se/en/&#xD;&#xA;  [3]: http://www.volontaire.se/en/case/curators-of-sweden/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27735" PostHistoryTypeId="2" PostId="17191" RevisionGUID="f13d7b2f-9886-423d-9374-b9b1d1d7b7fd" CreationDate="2012-12-03T19:12:45.200" UserId="66" Text="Hi all. Not sure any of you responded to the survey, but we did get tons of responses, and we came up with the Pro Sound Effects™Hybrid Library!  &#xD;&#xA;&#xD;&#xA;It's a combination of 56,000 sound effects on a Hard Drive plus Online Access to over 120,000+ sounds. To support freelancers on tighter budgets, we've set aside 100 units of the Hybrid Library at a super low price. You can see more info and demos on our site: http://www.prosoundeffects.com/hybrid-library-for-freelance-sound-designers.html#hybrid_library_details&#xD;&#xA;&#xD;&#xA;cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="27736" PostHistoryTypeId="2" PostId="17192" RevisionGUID="02f72cd4-56cf-4d7c-8911-e8c1f35e6f9b" CreationDate="2012-12-03T19:44:16.980" UserId="5500" Text="I would compose something atonal music-wise and I'd use resonance with metal sound. Then I'd send this sound to a reverb and tweak the freeze function. If I have to create Cold/Tech sounds I'll mosty use FM synthesis and granular synthesis. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27737" PostHistoryTypeId="2" PostId="17193" RevisionGUID="3e8cd9fb-3de6-440c-bcb7-92412d997ad8" CreationDate="2012-12-03T21:28:59.923" UserId="5506" Text="No birds or other animals in BG. Quiet BG, since everyone is indoors trying to stay warm. Small sounds seem magnified in contrast to the quiet of the ambient sounds. Distant sounds are duller due to greater atmospheric absorption of high frequencies in colder temperatures." ContentLicense="CC BY-SA 3.0" />
  <row Id="27738" PostHistoryTypeId="2" PostId="17194" RevisionGUID="dfbbf086-b312-4017-b6c3-904d286b4e26" CreationDate="2012-12-03T22:59:38.683" UserId="3835" Text="I like to use a spectral gate with a very narrow bandwidth over the top mids on real instruments to create drones comprised of a few sines. The sines generally play around each other and create beating that feels very empty. It gives you the ability to create that 'cold' feeling and still be in key with the musical elements, if that's what you desire." ContentLicense="CC BY-SA 3.0" />
  <row Id="27739" PostHistoryTypeId="2" PostId="17195" RevisionGUID="340f6888-94d5-4b43-ab05-c513db19b0a3" CreationDate="2012-12-04T01:32:41.340" UserId="6512" Text="Is there an actress onstage playing the hallucination or some other sort of visual cue for it? Or, do you have to sell it just with the FX?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27740" PostHistoryTypeId="2" PostId="17196" RevisionGUID="e2c33c1f-0c57-4360-bfc6-7d593b66b44b" CreationDate="2012-12-04T01:58:32.873" UserId="1150" Text="What's the scene setting? Inside? Outside?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27741" PostHistoryTypeId="2" PostId="17197" RevisionGUID="f714fc2a-266f-4dd5-a6a5-4b55761c05ab" CreationDate="2012-12-04T04:09:25.567" UserId="4358" Text="Hey.&#xD;&#xA;I recently migrated to a mac book pro  after being a longtime windows user. I am using PT10. I bought myself a [Dynex Extended Keypad][1], just for the ease of using PT. But I am not able to open the transport window, session settings etc .. (Command+ Num keypad Options)&#xD;&#xA;&#xD;&#xA;Is it because MBP doesn't have the num lock setting or do I simply need to buy another keypad. Anyone ever encountered the same issue? I'm new to mac so don't know everything about it as yet. Kindly help. :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dynexproducts.com/products/computer-accessories/DX-KEYPAD2.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="27742" PostHistoryTypeId="1" PostId="17197" RevisionGUID="f714fc2a-266f-4dd5-a6a5-4b55761c05ab" CreationDate="2012-12-04T04:09:25.567" UserId="4358" Text="Extended Num Keypad." ContentLicense="CC BY-SA 3.0" />
  <row Id="27743" PostHistoryTypeId="3" PostId="17197" RevisionGUID="f714fc2a-266f-4dd5-a6a5-4b55761c05ab" CreationDate="2012-12-04T04:09:25.567" UserId="4358" Text="&lt;pt-quick-keys&gt;&lt;macbook-pro&gt;&lt;experiences&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27744" PostHistoryTypeId="2" PostId="17198" RevisionGUID="15723ccc-ce41-42c4-8edf-397fa5058375" CreationDate="2012-12-04T04:18:30.730" UserId="3994" Text="FWIW I use KeyRemap4MacBook to get some of the functionality of the numeric keyboard. I use the option &quot;Change Num Key (1…0)&quot; and then it becomes a matter of fn+1 fn+2 and so on to access that functionality." ContentLicense="CC BY-SA 3.0" />
  <row Id="27745" PostHistoryTypeId="2" PostId="17199" RevisionGUID="5a3a0cd8-d54a-402a-82fc-29ac9df33622" CreationDate="2012-12-04T07:18:12.177" UserId="5508" Text="The dynex is only PC compatible" ContentLicense="CC BY-SA 3.0" />
  <row Id="27746" PostHistoryTypeId="2" PostId="17200" RevisionGUID="4f154907-8457-44eb-959a-e77499c70dc0" CreationDate="2012-12-04T08:24:31.500" UserId="5500" Text="If you're used to work with a laptop I'll suggest you learn all the shortcuts again or try this :  &#xD;&#xA;1) http://dnamusiclabs.com/hotkey-matrix if you don't have the time to learn the shortcuts all over again&#xD;&#xA;2) http://transom.org/wp/wp-content/uploads/2008/11/pro-tools-shortcuts.pdf?9d7bd4&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27747" PostHistoryTypeId="2" PostId="17201" RevisionGUID="17102b26-3b6d-4820-ae45-b52b2aa0e0c5" CreationDate="2012-12-04T12:35:22.747" UserId="589" Text="Hello, &#xD;&#xA;&#xD;&#xA;I am a bit confused by this issue. I am working on a MacPro  with two graphic cards and Nuendo as main Software. So I have three displays attached, one of which I use for the video. I always assume that sync problems are only important when trying to synchronise an external source, but not within a system. But I am getting reports that the sound that I am exporting is collectively out of sync. Strangely enough that does not seem to be the case for every export. Now I came across a Synccheck devise on the internet that apparently measures the offset of audio and video. &#xD;&#xA;&#xD;&#xA;Does anyone have experience with this? Is there an offset within one computer system? If so are there any cheaper ways of measuring it other than Synccheck, since that device seems to be quite expensive.&#xD;&#xA;&#xD;&#xA;Many thanks, &#xD;&#xA;&#xD;&#xA;Nico" ContentLicense="CC BY-SA 3.0" />
  <row Id="27748" PostHistoryTypeId="1" PostId="17201" RevisionGUID="17102b26-3b6d-4820-ae45-b52b2aa0e0c5" CreationDate="2012-12-04T12:35:22.747" UserId="589" Text="Sync within a DAW" ContentLicense="CC BY-SA 3.0" />
  <row Id="27749" PostHistoryTypeId="3" PostId="17201" RevisionGUID="17102b26-3b6d-4820-ae45-b52b2aa0e0c5" CreationDate="2012-12-04T12:35:22.747" UserId="589" Text="&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27750" PostHistoryTypeId="2" PostId="17202" RevisionGUID="58ec0301-4df2-4193-ae0c-ee2d24da21a7" CreationDate="2012-12-04T13:49:31.420" UserId="891" Text="If the offset is not rather small and constant you'll need to answer Mark's questions. ;)&#xD;&#xA;&#xD;&#xA;In generell:&#xD;&#xA;Any kind of display (flat screen/projector) will add latency. Latency that your system is not aware of. Also different video codecs will add different latencies.&#xD;&#xA;This is why you can adjust the video sync offset in ProTools eg. (not sure how it works in Nuendo, but there should be some option.)&#xD;&#xA;&#xD;&#xA;Nevertheless: if you put a beep on the leader and this beep looks good, then the rest should look just as good. Because you can allign the beep by timecode (mind proper frame grid) you can use it to check the sync of your material. But this is not as precise as a synccheck.&#xD;&#xA;&#xD;&#xA;Maybe try to find a studio close to you where you can rent a synccheck to determine your system's delay for a few common codecs and then you should be fine for a while." ContentLicense="CC BY-SA 3.0" />
  <row Id="27751" PostHistoryTypeId="2" PostId="17203" RevisionGUID="1e1f372f-3b92-4df1-b973-b9729afcf0a7" CreationDate="2012-12-04T13:53:09.160" UserId="253" Text="Within a DAW, as far as i know, delays of up to a few frames can be caused by processor-heavy plug ins. I'm not sure if Nuendo has a delay compensation feature, or a way to measure the delay in your chain, but maybe someone else can help there.&#xD;&#xA;&#xD;&#xA;Different monitor outputs can bring delays with them too, although if you're plugging the monitor straight into your computer (as opposed to using a Canopus box or something, which converts the signal to component), the delay shouldn't be huge. Play a pip (without any plug ins in the chain), accompanied by a flash, and watch. Does it seem out of sync to you? One trick i use, in lieu of a sync checking device, is to do this and watch the flash in my peripheral vision. Just relax; don't be in sync-checking mode, just be aware. If you focus too hard on sync, your brain can artificially impose it. If you do have a big delay in your monitor, this will make you cut your FX in earlier than necessary, and you will need to offset your video (again, i'm not sure if Nuendo has this feature).&#xD;&#xA;&#xD;&#xA;Finally, what kind of sync problems are they reporting? Does it slowly drift out of sync, a few frames every few minutes? More? Lately, i've had some clients report sync drift issues, although the majority have been totally fine. I haven't figured out why yet, but i think it might be the picture editing software assigning a frame rate to my audio and adjusting the speed while importing. Ask for a pip at the head and tail of the program in future. This way, they can tell you whether they line up, and if not, how many frames you're out by.&#xD;&#xA;&#xD;&#xA;- If sync starts out ok, and drifts out by about 18 frames every 10 minutes, then you can try pulling your audio up/down by .01%.&#xD;&#xA;&#xD;&#xA;- If you're a few frames late from the start, then it's a processing delay in your system. Although if they line up your front pip with theirs, it should be in sync.&#xD;&#xA;&#xD;&#xA;That's all i can think of pre-coffee. Hope it helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="27752" PostHistoryTypeId="2" PostId="17204" RevisionGUID="d89fcdbc-58cd-4e24-a4a0-f581054fee81" CreationDate="2012-12-04T17:10:11.223" UserId="5510" Text="I've never had satisfactory results with plugins.&#xD;&#xA;&#xD;&#xA;In addition to mic selection, placement and a pop shield I think the best method is to just go through the material in an audio editor with a spectral view (I use Soundtrack Pro) and reduce the volume of offending frequencies.&#xD;&#xA;&#xD;&#xA;You have much more control this way and don't end up with artefacts all over the place and people sounding like they're underwater. &#xD;&#xA;&#xD;&#xA;A little time consuming but well worth it for the results." ContentLicense="CC BY-SA 3.0" />
  <row Id="27753" PostHistoryTypeId="2" PostId="17205" RevisionGUID="2c1f252b-4c13-47ba-b271-f228da96f671" CreationDate="2012-12-04T17:14:29.397" UserId="3587" Text="Howling wind usually sounds very cold. You can usually use that both outside and inside. If your scene is outside in snow, make the small sounds (Mouth sounds, footsteps, foley, etc.) louder, and dampen the higher frequencies of distant sounds. Snow is kinda like acoustic foam, it dampens reverb and makes everything you hear clearer. If you can use non-diegetic sounds, try using high pitched tonal metallic bell and crystal-ish sounds in the ambience. Or if you're trying to create a more sinister mood, high pitched metal or cymbal bow scrapes are great, and also sound chilling/cold. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27754" PostHistoryTypeId="2" PostId="17206" RevisionGUID="d253067a-f900-4efd-bc8f-49f38036d492" CreationDate="2012-12-04T17:36:04.567" UserId="5511" Text="As my first post of what i assume will be many I'd just like to say hello to everyone, what an awesome space.&#xD;&#xA;&#xD;&#xA;I'm looking for a good plugin to load active tones into and manipulate in real time in a space. Ideally it would emulate the physics of the movement and therefore the sound (pitch, EQ etc).&#xD;&#xA;&#xD;&#xA;For example, i'd be able to use an active hum for a lightsaber, and pull the sound around and the processing would mimic how that sound would work in a space, thus eliminating using a loudspeaker and mic - all in one box.&#xD;&#xA;&#xD;&#xA;Anyone come across anything like this? &#xD;&#xA;&#xD;&#xA;ps. I was playing with Izotope's Iris and Camel's Alchemist and like them but i'm still missing the ability to move the sound around." ContentLicense="CC BY-SA 3.0" />
  <row Id="27755" PostHistoryTypeId="1" PostId="17206" RevisionGUID="d253067a-f900-4efd-bc8f-49f38036d492" CreationDate="2012-12-04T17:36:04.567" UserId="5511" Text="Good samplers for real-time manipulation" ContentLicense="CC BY-SA 3.0" />
  <row Id="27756" PostHistoryTypeId="3" PostId="17206" RevisionGUID="d253067a-f900-4efd-bc8f-49f38036d492" CreationDate="2012-12-04T17:36:04.567" UserId="5511" Text="&lt;sampler&gt;&lt;plugin&gt;&lt;manipulation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27757" PostHistoryTypeId="2" PostId="17207" RevisionGUID="bc36ddba-626e-46f4-b208-a071274b7487" CreationDate="2012-12-04T18:44:04.807" UserId="5512" Text="Try with Ableton Live. It has really nice samplers and via macro you can do anything with the sound on the fly.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=wjr9IPEnQ_Y" ContentLicense="CC BY-SA 3.0" />
  <row Id="27758" PostHistoryTypeId="2" PostId="17208" RevisionGUID="4286601e-747c-4559-94ff-4b2f69640c06" CreationDate="2012-12-04T19:05:38.910" UserId="18160" Text="I've found sibilance to be accentuated on recordings of dialogue inside hard-surfaced rooms, such as a tiled bathroom or *kitchen* for example.&#xD;&#xA;&#xD;&#xA;I would look at ways to baffle the space you're recording in (it's probably got a hard-surfaced counter and tiles and a nice big metal cooking pot to reflect on), and I think this could be a good way to start hunting down your problem.&#xD;&#xA;&#xD;&#xA;What type of microphone are you using?&#xD;&#xA;&#xD;&#xA;I find that the CMIT-5U from Schoeps has some pretty smooth sibilance to it.&#xD;&#xA;&#xD;&#xA;Also, make sure if you're using a lav, that the HF boost isn't on if it's outside the guy's shirt...&#xD;&#xA;&#xD;&#xA;Just a couple thoughts I can give without knowing what type of mic, acoustics, etc. you're dealing with. Can you give a little more info?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27759" PostHistoryTypeId="2" PostId="17209" RevisionGUID="406ce75d-f575-4b60-94d4-15bdf025d51c" CreationDate="2012-12-04T19:10:40.293" UserId="18160" Text="I had to do this with a scene shot on a sunny day in London.&#xD;&#xA;&#xD;&#xA;Director wanted cold/dreary.&#xD;&#xA;&#xD;&#xA;What I did was muted all production tracks that had any happiness in them (birds chirping, happy walla, etc.)&#xD;&#xA;&#xD;&#xA;Then, I put in some ambient sounds that subliminally make people feel cold, such as car-bys through puddles and wet surfaced streets." ContentLicense="CC BY-SA 3.0" />
  <row Id="27760" PostHistoryTypeId="2" PostId="17210" RevisionGUID="f514972c-76ce-413d-8e94-e2b5581b0e4a" CreationDate="2012-12-04T19:10:43.170" UserId="6460" Text="I strongly recommend Camel Audio's [Alchemy][1]. It's one of the most intuitive interfaces I've found for manipulating the pitch, speed, tonality, and envelope of any sound you upload. The algorithms sound fantastic too. Check out [THIS][2] video about the granular synthesis engine...it might be just what you need.&#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.camelaudio.com/Alchemy.php&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=hTODhn-UROc&amp;feature=BFa&amp;list=PL3C6594A994B13A64" ContentLicense="CC BY-SA 3.0" />
  <row Id="27761" PostHistoryTypeId="2" PostId="17211" RevisionGUID="beda4db5-da85-4875-86bd-87b0a4c2aa03" CreationDate="2012-12-04T19:39:54.693" UserId="3179" Text="There simply isn't a single stand-alone sampler that has enough real-time and modulation flexibility, so most people use modular patcher programs (Reaktor, Max/MSP etc.) for that kind of stuff and more.&#xD;&#xA;&#xD;&#xA;I would recommend either Usine or Bidule, because they are the easiest ones to use and can be used as VSTs, as opposed to being stand-alone. And they can host 3rd party VSTs in patches: &#xD;&#xA;&#xD;&#xA;http://www.sensomusic.com/usine/&#xD;&#xA;&#xD;&#xA;http://www.plogue.com/products/bidule/&#xD;&#xA;&#xD;&#xA;Another option, although a total overkill for just simple sampling, is [Kyma][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.symbolicsound.com/cgi-bin/bin/view/Company/WebHome" ContentLicense="CC BY-SA 3.0" />
  <row Id="27762" PostHistoryTypeId="5" PostId="17211" RevisionGUID="a3bef84d-3b6b-447a-9c57-077d83348e0f" CreationDate="2012-12-04T19:46:30.333" UserId="3179" Comment="added 95 characters in body; deleted 7 characters in body" Text="There simply isn't a single stand-alone sampler that has enough real-time and modulation flexibility, so most people use modular patcher programs (Reaktor, Max/MSP etc.) for that kind of stuff and more.&#xD;&#xA;&#xD;&#xA;I would recommend either Usine or Bidule, because they are the easiest ones to use and can be used as VSTs, as opposed to being stand-alone. And they can host 3rd party VSTs in patches, so you can throw in e.g. Alchemy and just attach controls to it + add effects and more: &#xD;&#xA;&#xD;&#xA;http://www.sensomusic.com/usine/&#xD;&#xA;&#xD;&#xA;http://www.plogue.com/products/bidule/&#xD;&#xA;&#xD;&#xA;Another option, although a total overkill for just simple sampling, is [Kyma][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.symbolicsound.com/cgi-bin/bin/view/Company/WebHome" ContentLicense="CC BY-SA 3.0" />
  <row Id="27763" PostHistoryTypeId="5" PostId="17211" RevisionGUID="6be05ba0-96fd-40b6-8873-86f58f3a3d37" CreationDate="2012-12-04T19:52:00.107" UserId="3179" Comment="added 21 characters in body; deleted 3 characters in body" Text="There simply isn't a single stand-alone sampler that has enough real-time and modulation flexibility, so most people use modular patcher programs (Reaktor, Max/MSP etc.) for that kind of stuff and more.&#xD;&#xA;&#xD;&#xA;I would recommend either Usine or Bidule, because they are the easiest ones to use and can be used as VSTs in addition to running as stand-alone applications. And they can host 3rd party VSTs in patches, so you can throw in e.g. Alchemy and just attach controls to it + add effects and more: &#xD;&#xA;&#xD;&#xA;http://www.sensomusic.com/usine/&#xD;&#xA;&#xD;&#xA;http://www.plogue.com/products/bidule/&#xD;&#xA;&#xD;&#xA;Another option, although a total overkill for just simple sampling, is [Kyma][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.symbolicsound.com/cgi-bin/bin/view/Company/WebHome" ContentLicense="CC BY-SA 3.0" />
  <row Id="27764" PostHistoryTypeId="2" PostId="17212" RevisionGUID="c773fb9c-76ea-4134-b228-c3c0b15ab21b" CreationDate="2012-12-04T19:52:34.957" UserId="3835" Text="To add to the above comment i would start looking at modular environments like max/MSP.. If you can't afford it or can not (cough, cough) 'aquire' it then you can achieve the same thing in Pure Data, although the learning resources and cold, grey interface do not compare to max/MSP in my eyes.&#xD;&#xA;&#xD;&#xA;Maybe start emulating other samplers you like and then start modifying it how you see fit. It's a very steep learning curve and it will take years to get to a point where you can really start realizing big projects but once you start scratching the surface of it the possibilities are endless." ContentLicense="CC BY-SA 3.0" />
  <row Id="27765" PostHistoryTypeId="2" PostId="17213" RevisionGUID="31d2957e-1cd2-45e2-92df-d0643910bf0d" CreationDate="2012-12-05T03:49:56.547" UserDisplayName="user49" Text="The path to solving such problems lies in having systems in place so you can backtrack to find where the error/s are occurring.... A friend wrote a post for me about using the SyncCheck device, you should have a read of it as it will verify the offset you should be using with your system:&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/calibration-2-sync&#xD;&#xA;&#xD;&#xA;But you should also have procedures in place to verify sync as the project is transferred between picture editorial and you, and then back again. With every turnover of a new picture cut, the Quicktime should have a correct frame rate SMPTE leader with a visual and audio head pop, and a tail leader on the end of each video with a tail pop. You should also receive a list from the editor of the FFOA and LFOA - first frame of action and last frame of action. If you do not do this and there is a problem then you wont easily be able to verify the source of the problem and resolve it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27766" PostHistoryTypeId="2" PostId="17214" RevisionGUID="b52f2dc7-f9c9-46b9-9bcb-f871f09638fb" CreationDate="2012-12-05T10:56:14.597" UserId="1118" Text="I'd love to work with Terrance Malick or Craig Berkey one day. Really explore sound art within film." ContentLicense="CC BY-SA 3.0" />
  <row Id="27767" PostHistoryTypeId="2" PostId="17215" RevisionGUID="d1734823-be62-46d4-807b-448698ddffdc" CreationDate="2012-12-05T17:49:55.490" UserDisplayName="user49" Text="For me it would be getting to work with certain directors &amp; auteurs.....&#xD;&#xA;&#xD;&#xA; - Kim Ki-Duk&#xD;&#xA; - David Lynch&#xD;&#xA; - Kiyoshi Kurosawa&#xD;&#xA; - Jean Pierre Jeunet&#xD;&#xA; - Mathew Barney&#xD;&#xA; - Joon-ho Bong&#xD;&#xA; - Apichatpong Weerasethakul&#xD;&#xA; - Wes Anderson&#xD;&#xA; - Wim Wenders&#xD;&#xA; - Lars von Trier&#xD;&#xA; - Terence Malick&#xD;&#xA; - Park Chan-Wook&#xD;&#xA; - Wong Ka Wai&#xD;&#xA; - PT Anderson&#xD;&#xA; - The Cohen Brothers&#xD;&#xA; &#xD;&#xA;and lots more...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27768" PostHistoryTypeId="2" PostId="17216" RevisionGUID="130a58d8-7546-420c-b44a-25d6b832cde5" CreationDate="2012-12-05T18:21:30.590" UserId="5513" Text="I am a theatrical sound designer, and a play that I worked on has recently been filmed and they have approached me with a seperate contract. They want to give me $5000 for full rights. Should I ask for some points on the net profits, so that I don't lose out if it becomes &quot;big&quot;? The sound design was a major part of the play, winning two awards in NYC and one in LA." ContentLicense="CC BY-SA 3.0" />
  <row Id="27769" PostHistoryTypeId="1" PostId="17216" RevisionGUID="130a58d8-7546-420c-b44a-25d6b832cde5" CreationDate="2012-12-05T18:21:30.590" UserId="5513" Text="Film Sound Design Contracts" ContentLicense="CC BY-SA 3.0" />
  <row Id="27770" PostHistoryTypeId="3" PostId="17216" RevisionGUID="130a58d8-7546-420c-b44a-25d6b832cde5" CreationDate="2012-12-05T18:21:30.590" UserId="5513" Text="&lt;design&gt;&lt;film&gt;&lt;contracts&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27771" PostHistoryTypeId="2" PostId="17217" RevisionGUID="f6cb9f01-c399-4e53-96ef-ffe10faf142c" CreationDate="2012-12-05T18:29:13.793" UserId="4442" Text="So, I'm trying to make a metal stab for one of our robots who has big blade like arms. I tried stabbing a soda can with a butcher knife, but I'm not loving the result. Pitched down it just sounds like a crumple more than anything.I don't have the time or the means to bring my metal stake to a junkyard, I feel like that would be a good start. Any pointers for some more home remedies?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27772" PostHistoryTypeId="1" PostId="17217" RevisionGUID="f6cb9f01-c399-4e53-96ef-ffe10faf142c" CreationDate="2012-12-05T18:29:13.793" UserId="4442" Text="Metal stab sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="27773" PostHistoryTypeId="3" PostId="17217" RevisionGUID="f6cb9f01-c399-4e53-96ef-ffe10faf142c" CreationDate="2012-12-05T18:29:13.793" UserId="4442" Text="&lt;metal&gt;&lt;foley&gt;&lt;machine&gt;&lt;damage&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27774" PostHistoryTypeId="2" PostId="17218" RevisionGUID="360b7921-8b7d-4eae-81e3-5e897f37630f" CreationDate="2012-12-05T22:16:04.483" UserId="3197" Text="I'm working on a student film where there is a CU scene of a genius' face while he is brainstorming a big idea. The director wants no speech involved (ie. it's not what he is thinking but rather what him thinking might sound like.)&#xD;&#xA;&#xD;&#xA;The director wants it to sound pleasant and happy (like snow white in the forrest with animals or something similar) so that's taken out a lot of the sounds I might have tried first ie. calculation sounds, hard drives, calculators etc.)&#xD;&#xA;&#xD;&#xA;Having a lot of trouble coming up with something that works that still sounds like some sort of internal thought process is happening. &#xD;&#xA;&#xD;&#xA;Any ideas? How would you tackle this? Cheers." ContentLicense="CC BY-SA 3.0" />
  <row Id="27775" PostHistoryTypeId="1" PostId="17218" RevisionGUID="360b7921-8b7d-4eae-81e3-5e897f37630f" CreationDate="2012-12-05T22:16:04.483" UserId="3197" Text="Designing a genius' thought process" ContentLicense="CC BY-SA 3.0" />
  <row Id="27776" PostHistoryTypeId="3" PostId="17218" RevisionGUID="360b7921-8b7d-4eae-81e3-5e897f37630f" CreationDate="2012-12-05T22:16:04.483" UserId="3197" Text="&lt;film-sound-design&gt;&lt;ideas&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27777" PostHistoryTypeId="2" PostId="17219" RevisionGUID="12f0189f-4df9-4c6b-9cad-704bd4db8830" CreationDate="2012-12-05T22:22:14.640" UserId="194" Text="that sounds like an event that needs to be scored IMO.  maybe try something musical?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27778" PostHistoryTypeId="2" PostId="17220" RevisionGUID="255d3766-7fc2-4bd6-b66a-c19510634813" CreationDate="2012-12-05T23:23:46.443" UserId="432" Text="What is he supposed to be brainstorming? You could try building some sort of montage out of sounds associated with the idea. Obviously, making it sound pleasant and happy will really depend on what sounds you select. Avoiding noise-like sounds and selecting ones that have a clearly defined pitch will help. Stick with combinations of frequencies that are easy to listen to simultaneously and in juxtaposition...maybe making use of appropriate musical scales and chords as a basis. Timing and flow are going to be key in keeping this interesting and producing the requested effect.&#xD;&#xA;&#xD;&#xA;Sounds like an interesting challenge!" ContentLicense="CC BY-SA 3.0" />
  <row Id="27782" PostHistoryTypeId="2" PostId="17222" RevisionGUID="e192c2bd-f556-4f0e-b431-0036a2414707" CreationDate="2012-12-06T02:22:46.727" UserId="5514" Text="A few weeks ago I was alone in my room. It was totally quiet. However, I kept hearing a low (or should I say high) pitched whine. To me it sounded electrical. I thought it was coming from my laptop but it seemed distant. When I put my ear to it it didn't sound like it was coming from it. The air conditioner was on so I wrote it off as that's what it was since it seemed squeaky in the attic when it ran. I didn't remember hearing it again for a real long time. Now I'm hearing the same type of low pitched ring again. AC isn't on. Could it be RF or tinnitus??? It's not so bad that it causes me to not sleep or have certain side effects...but it does annoy me in a way that I know it's &quot;there&quot; and it won't stop. If someone's talking to me or if there's another noise that over powers it I usually don't notice it though. I'm only 27, should I be freaking out? I have been to lots of loud shows in my life time but I haven't been to a show in about a month." ContentLicense="CC BY-SA 3.0" />
  <row Id="27783" PostHistoryTypeId="2" PostId="17223" RevisionGUID="e5b9c72d-fe9a-4055-836e-73d528bbd23b" CreationDate="2012-12-06T02:42:26.203" UserId="5500" Text="Avid Pro Tools HDX ! In the studio I'm working.&#xD;&#xA;It's an incredible tool. My mate bought some Electrodyne and PAcifica Preamps.&#xD;&#xA;Bought a JCF A/D D/A converters. They're awesome. Have a look." ContentLicense="CC BY-SA 3.0" />
  <row Id="27784" PostHistoryTypeId="2" PostId="17224" RevisionGUID="9103a658-cd24-4d00-880e-9e493a8a57b8" CreationDate="2012-12-06T02:53:12.050" UserId="5515" Text="Household idea: Try using coat hangers (or other long metal objects) and hit them together and pitch it down?&#xD;&#xA;Try to catch the sound of any low vibrations you might get too.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27786" PostHistoryTypeId="2" PostId="17226" RevisionGUID="df27b6f7-c0a2-417c-9840-d33eb9675c71" CreationDate="2012-12-06T08:42:56.810" UserId="3289" Text="Besides AU, there's a plugin named Patcher of FL Studio for doing this to VST's." ContentLicense="CC BY-SA 3.0" />
  <row Id="27787" PostHistoryTypeId="2" PostId="17227" RevisionGUID="127e793c-03bb-47c7-b144-5d23dd2981f1" CreationDate="2012-12-06T09:35:20.283" UserId="1216" Text="Great challenge! Since there's no picture or real context (personality, subject of idea etc.), it's kind of difficult to give any real advice here. &#xD;&#xA;But the first thing that I came up with was the notion that when I get a good idea everything around me disappears (sonically and sometimes visually).&#xD;&#xA;  &#xD;&#xA;Let me explain this a bit. When I'm really focused on a particular problem or concept of interest I totally zone out. This happens all by itself, it's a bit like daydreaming. I have images in my head and can clearly hear myself talking about the idea. Anything else just fades away. &#xD;&#xA;&#xD;&#xA;Since you cannot use voices, I would focus on whatever the subject is of the genius idea. Does that have a distinctive or characteristic sound? Or is there some sound that can be related to the problem? This could be a starting point for a design, although it may sound a bit literal. &#xD;&#xA;&#xD;&#xA;The thing is, you should start with an idea and explore all it's possibilities and then all of a sudden a solution will present itself, as long as you're in the zone.&#xD;&#xA;&#xD;&#xA;Hope this helps! And please keep us posted on your results!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27788" PostHistoryTypeId="2" PostId="17228" RevisionGUID="3c7d8fa7-a44d-486c-a897-540018100a21" CreationDate="2012-12-06T10:32:40.927" UserDisplayName="user80" Text="You might want to build up short electrical signals to suggest that neurons are firing.  Start slowly and then speed them, use panning and depth cues as well as doppler so that you get a sense of the whole brain working in three dimensions." ContentLicense="CC BY-SA 3.0" />
  <row Id="27789" PostHistoryTypeId="2" PostId="17229" RevisionGUID="79b367bb-923e-4670-9c55-a7d8731bdb96" CreationDate="2012-12-06T10:49:33.933" UserId="348" Text="I have done this sort of thing before. I have use good, resonant kitchen knives or a long blade/sword. Slide them against another blade for the ring sound for stab in and out. Maybe try to mount sheet metal or two pieces of metal close together and slide the blade in between them. Then use metal cutting scissors and cut the metal for the metal &quot;crunch&quot; sound or collapse a soup can. &#xD;&#xA;&#xD;&#xA;Happy experimenting" ContentLicense="CC BY-SA 3.0" />
  <row Id="27790" PostHistoryTypeId="2" PostId="17230" RevisionGUID="0c135cae-751b-415f-8b60-ae00df87f217" CreationDate="2012-12-06T15:24:37.270" UserId="5503" Text="Hello everybody ! Do you know where I can find trautonium and martenot waves and theramin sound effects?&#xD;&#xA;&#xD;&#xA;THANKS" ContentLicense="CC BY-SA 3.0" />
  <row Id="27791" PostHistoryTypeId="1" PostId="17230" RevisionGUID="0c135cae-751b-415f-8b60-ae00df87f217" CreationDate="2012-12-06T15:24:37.270" UserId="5503" Text="Trautonium, Martenot Waves" ContentLicense="CC BY-SA 3.0" />
  <row Id="27792" PostHistoryTypeId="3" PostId="17230" RevisionGUID="0c135cae-751b-415f-8b60-ae00df87f217" CreationDate="2012-12-06T15:24:37.270" UserId="5503" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27793" PostHistoryTypeId="2" PostId="17231" RevisionGUID="658f7aaa-cc40-4cf0-a30e-1569394940e0" CreationDate="2012-12-06T17:03:03.553" UserId="1145" Text="[Ondes Martenot][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soniccouture.com/en/products/28-ancient-rare-and-experimental/g27-ondes/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27797" PostHistoryTypeId="2" PostId="17233" RevisionGUID="9be71662-b133-4c8d-8cbf-ad0f95ce7e3e" CreationDate="2012-12-06T18:49:29.467" UserId="29" Text="@oinkaudio has some great suggestions. Another great sound layer would be hitting empty paint cans with a baseball bat. I did a session of that recently and the sound of metal buckling with the impact was pretty cool - better, as you can imagine, pitched down a bit. Just need to make sure they're sitting on blanekts or similar so the can doesn't bounce upwards after being struck. I've also gotten some nice metal buckling sounds by striking car hoods and other kinds of sheet metal." ContentLicense="CC BY-SA 3.0" />
  <row Id="27798" PostHistoryTypeId="2" PostId="17234" RevisionGUID="ee2fdcd8-11ac-4f19-9717-44ff06589e61" CreationDate="2012-12-06T18:54:57.253" UserId="238" Text="[youtube]DanOeC2EpeA[/youtube]&#xD;&#xA;&#xD;&#xA;[DARPA Demos Acoustic Suppression of Flame][1]&#xD;&#xA;&#xD;&#xA;Just saw this video demo of the Defence Advanced Research Projects Agency's (DARPA) Instant Fire Suppression program. &#xD;&#xA;&#xD;&#xA;Pretty crazy right?&#xD;&#xA;&#xD;&#xA;So what's the weirdest use of sound you've come across?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?feature=player_embedded&amp;v=DanOeC2EpeA" ContentLicense="CC BY-SA 3.0" />
  <row Id="27799" PostHistoryTypeId="1" PostId="17234" RevisionGUID="ee2fdcd8-11ac-4f19-9717-44ff06589e61" CreationDate="2012-12-06T18:54:57.253" UserId="238" Text="Weirdest Use Of Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="27800" PostHistoryTypeId="3" PostId="17234" RevisionGUID="ee2fdcd8-11ac-4f19-9717-44ff06589e61" CreationDate="2012-12-06T18:54:57.253" UserId="238" Text="&lt;weird&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27801" PostHistoryTypeId="2" PostId="17235" RevisionGUID="3a115f04-50dd-4123-904b-d046d08992c7" CreationDate="2012-12-06T19:20:48.323" UserId="5500" Text="Maybe Ultrasonic levitation : http://www.youtube.com/watch?v=S4exO4CuoSU&#xD;&#xA;&#xD;&#xA;Cymatic Studies http://www.youtube.com/watch?v=sY6z2hLgYuY&#xD;&#xA;&#xD;&#xA;http://cuneimedia.com/culture/pharmaceutical-research-yields-acoustic-levitation&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27802" PostHistoryTypeId="2" PostId="17236" RevisionGUID="189b316c-ce9b-4ea5-8290-67769cb1827e" CreationDate="2012-12-06T19:30:38.103" UserId="432" Text="The use of ultrasonic frequencies to generate localized, audible, sound: http://www.ncbi.nlm.nih.gov/pubmed/19574137&#xD;&#xA;&#xD;&#xA;Using inaudible sound waves to recreate audible sound somewhere else? It's basically holographic sound. I talked to a guy at AES in 2011 who works on that kind of thing over in Europe, and it completely blew my brain apart. The technology ain't young by any stretch. It's part of how [Audio Spotlight][1] works.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.holosonics.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27803" PostHistoryTypeId="2" PostId="17237" RevisionGUID="3c68fe71-c1a3-4eca-93ac-d42390b2200c" CreationDate="2012-12-06T20:07:42.300" UserId="3567" Text="Hey there, fellow social sound designers.&#xD;&#xA;&#xD;&#xA;I'm coming to you with a practical question. How do I go about designing this type of radio-ish stingers: http://soundcloud.com/georgevlad/stingers/s-l11QP&#xD;&#xA;&#xD;&#xA;(That is not my work, and it's only there to show you what I mean.)&#xD;&#xA;&#xD;&#xA;I'm interested in those short bursts and transitions, but also in the dynamics of everything. Is there a specific effect or set of effects that can simply turn music, noise or other audio into something like this? Do you have any experience with similar stuff?&#xD;&#xA;&#xD;&#xA;I'm asking this because I'd like to avoid reinventing the wheel when a solution may be right in front of me. It is possible however that this can only be done with endless hours of toil and work. If this is the case then please let me know and I will get right on to it." ContentLicense="CC BY-SA 3.0" />
  <row Id="27804" PostHistoryTypeId="1" PostId="17237" RevisionGUID="3c68fe71-c1a3-4eca-93ac-d42390b2200c" CreationDate="2012-12-06T20:07:42.300" UserId="3567" Text="How do I go about designing this type of stingers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27805" PostHistoryTypeId="3" PostId="17237" RevisionGUID="3c68fe71-c1a3-4eca-93ac-d42390b2200c" CreationDate="2012-12-06T20:07:42.300" UserId="3567" Text="&lt;stingers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27806" PostHistoryTypeId="2" PostId="17238" RevisionGUID="d3283663-8028-498f-94d0-d6f53e00094d" CreationDate="2012-12-06T20:21:37.810" UserId="3784" Text="Anyone know of a good one? I have alot of heavy trucks to cut and im trying out AudioGaming's AudioMotors.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="27807" PostHistoryTypeId="1" PostId="17238" RevisionGUID="d3283663-8028-498f-94d0-d6f53e00094d" CreationDate="2012-12-06T20:21:37.810" UserId="3784" Text="Diesel truck library" ContentLicense="CC BY-SA 3.0" />
  <row Id="27808" PostHistoryTypeId="3" PostId="17238" RevisionGUID="d3283663-8028-498f-94d0-d6f53e00094d" CreationDate="2012-12-06T20:21:37.810" UserId="3784" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27809" PostHistoryTypeId="2" PostId="17239" RevisionGUID="ae5707a2-97ab-4a4f-bf0d-e8edee00ecfd" CreationDate="2012-12-06T20:33:04.397" UserId="5500" Text="Theremin: &#xD;&#xA;&#xD;&#xA;http://www.sampleism.com/noisymichael/resonator &#xD;&#xA;&#xD;&#xA;http://www.wavelore.com/products.php?product=WLEP" ContentLicense="CC BY-SA 3.0" />
  <row Id="27810" PostHistoryTypeId="2" PostId="17240" RevisionGUID="cdf94dea-ae5e-4a98-b205-11b4df7a0a2e" CreationDate="2012-12-06T21:22:57.223" UserId="542" Text="You can achieve most of those synthetic sounds with most substractive synth and by applying LFOs to pitch, filter cutoff,etc. and automate the frequency of the LFOs.&#xD;&#xA;&#xD;&#xA;You could also try to load various samples into a sampler and modulate the pitch (and playback speed) of the samples via a LFO.&#xD;&#xA;&#xD;&#xA;You might also want to play with very short delays to get those Transformers-like sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="27811" PostHistoryTypeId="2" PostId="17241" RevisionGUID="9d1c9214-2cfd-4638-92d3-c26387d0cd9d" CreationDate="2012-12-06T23:19:25.650" UserId="5519" Text="I'm building a Passive Mid-Side encoder that might do the trick for you. It has multiple ins and outs, you can monitor each channel with dedicated direct outs, uses quality Jensen transformers, and for now it comes in an attractive box hand made from reclaimed redwood. I'm going to sell a couple of these soon for something less than a grand ($US). &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There's more info at http://www.glenglenn.com&#xD;&#xA;&#xD;&#xA;Glen Glenn Audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="27812" PostHistoryTypeId="2" PostId="17242" RevisionGUID="1b206251-a165-4523-acb6-2f413ac594d6" CreationDate="2012-12-06T23:26:13.210" UserId="5519" Text="Take a peek at this new gear. The Dovetail: passive Mid-Side encoder.&#xD;&#xA;&#xD;&#xA;http://www.glenglenn.com&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27813" PostHistoryTypeId="2" PostId="17243" RevisionGUID="bed95f1c-9c73-4825-8998-f4fc1059b72f" CreationDate="2012-12-07T00:37:01.837" UserId="3979" Text="I'm confused on the subject of Early Reflections...I'm trying to learn how to mix film, and I've recently learned how insanely important creating the right space with reverb, EQ and delay is.&#xD;&#xA;&#xD;&#xA;What do you guys use to create early reflections? I used to think that you did this with the pre delay setting in your reverb, but now I'm not sure.&#xD;&#xA;&#xD;&#xA;Do you use delay plugins to do this? The consept keeps slipping away from me..." ContentLicense="CC BY-SA 3.0" />
  <row Id="27814" PostHistoryTypeId="1" PostId="17243" RevisionGUID="bed95f1c-9c73-4825-8998-f4fc1059b72f" CreationDate="2012-12-07T00:37:01.837" UserId="3979" Text="Early Reflections?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27815" PostHistoryTypeId="3" PostId="17243" RevisionGUID="bed95f1c-9c73-4825-8998-f4fc1059b72f" CreationDate="2012-12-07T00:37:01.837" UserId="3979" Text="&lt;mixing&gt;&lt;delay&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27816" PostHistoryTypeId="2" PostId="17244" RevisionGUID="d339a00b-2b03-4361-8c26-0078a33eb0f0" CreationDate="2012-12-07T00:44:33.383" UserId="5520" Text="ask the producer, what format they want it, if none in particular 44.1-16 bit / mono files is a default. it's been mentioned before - mobile devices tend to only have mono outputs, not only that your memory constraints are higher. you probably are only going to have 7 MBS total to work with after all is compressed - keep that in mind. don't send stereo unless needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="27817" PostHistoryTypeId="2" PostId="17245" RevisionGUID="1791b0fa-9fa4-4d06-8db0-1a172cbd7a9a" CreationDate="2012-12-07T01:23:48.063" UserId="6499" Text="So I am a little confused on what kinds of things are required for Pro Tools HD.  Basically I am running pro tools 9.  I want to do surround mixing and that would require CPTK which is 2000.00 upgrade.&#xD;&#xA;&#xD;&#xA;In browsing used items, it seems I may be able to get an older HD system for around the same prices.  This would upgrade my IO which is a profire 2626 and provide surround capabilities.  When looking at what I need, I would need PCI card in my computer, then the IO box which would be linked to the card.&#xD;&#xA;&#xD;&#xA;What is the difference between core cards, accell cards, and process cards.  and what am I missing from this equation.  &#xD;&#xA;&#xD;&#xA;Could someone clear up the confusion with HD systems and required hardware." ContentLicense="CC BY-SA 3.0" />
  <row Id="27818" PostHistoryTypeId="1" PostId="17245" RevisionGUID="1791b0fa-9fa4-4d06-8db0-1a172cbd7a9a" CreationDate="2012-12-07T01:23:48.063" UserId="6499" Text="Pro tools HD gear question" ContentLicense="CC BY-SA 3.0" />
  <row Id="27819" PostHistoryTypeId="3" PostId="17245" RevisionGUID="1791b0fa-9fa4-4d06-8db0-1a172cbd7a9a" CreationDate="2012-12-07T01:23:48.063" UserId="6499" Text="&lt;pt&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27820" PostHistoryTypeId="2" PostId="17246" RevisionGUID="f841a3fe-e516-49a1-857f-31889f49685b" CreationDate="2012-12-07T01:38:32.360" UserId="3179" Text="HD Core cards are for I/O connections and bandwidth. HD Accel cards (previously called HD Process cards) are for plug-in processing (TDM format).&#xD;&#xA;&#xD;&#xA;At minimum you need one HD Core card to run an older version of PT HD. Obviously an I/O box of some kind (96 IO/192 IO) as well.&#xD;&#xA;&#xD;&#xA;(Useless rant: I guess you've made a decision or have a reason to purchase PT HD, however, I would never personally pay for PT HD, given that there are so many cheaper and better options in DAWs and audio interfaces. And one can even mix surround in PT LE / the newest &quot;normal versions&quot;, it's not ideal though.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="27821" PostHistoryTypeId="2" PostId="17247" RevisionGUID="294be766-dffd-447b-8af4-a5ee8909d33d" CreationDate="2012-12-07T01:42:56.307" UserId="3979" Text="http://soundworkscollection.com/howtotrainyourdragonpanel&#xD;&#xA;&#xD;&#xA;I watched the great video on sound works collection that was on the sound of &quot;How to Train your Dragon&quot;. I have two questions about some of the things I heard durring the interveiw.&#xD;&#xA;&#xD;&#xA;The first is that he said that one of his huge trade secrets in sound design are sounds that continually change in pitch just slightly. This way, they clash less with music and dialog and can be heard better through the mix because they're constantly changing. This makes a tone of sense and is genious. The question is...what would you use to do that? Sometimes I just record and create sounds without using a sampler (which would have a pitch bend), loading all those sound into a sampler would be a time consuming pain. &#xD;&#xA;I thought a doppler effect might work, but that's more of a sweeping EQ right?&#xD;&#xA;&#xD;&#xA;So what would YOU use to do this?&#xD;&#xA;&#xD;&#xA;____________________________________________________&#xD;&#xA;&#xD;&#xA;2nd question : &#xD;&#xA;&#xD;&#xA;Also in the interview they give you a few break downs of sceens with Just dialog, just music and just SFX solo'd out. They mention some of the animals they recorded to get the sounds of dragons, like pigs, horses, dogs, etc.&#xD;&#xA;What I noticed when the SFX were solo'd out is how CLEAN AND CLEAR the dragon sounds were!!&#xD;&#xA;How can you possibly record all those animals with NO outside noises, wind, birds, cars, etc?!&#xD;&#xA;&#xD;&#xA;Is noise reduction used WAY MORE HEAVILY in sound design than I thought?&#xD;&#xA;Or is it just that they're on a huge budget and can record in the best conditions?&#xD;&#xA;&#xD;&#xA;THANKS GUYS!!! I REALLY APPRECIATE THE HELP!!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27822" PostHistoryTypeId="1" PostId="17247" RevisionGUID="294be766-dffd-447b-8af4-a5ee8909d33d" CreationDate="2012-12-07T01:42:56.307" UserId="3979" Text="Randy Thom Interview Question." ContentLicense="CC BY-SA 3.0" />
  <row Id="27823" PostHistoryTypeId="3" PostId="17247" RevisionGUID="294be766-dffd-447b-8af4-a5ee8909d33d" CreationDate="2012-12-07T01:42:56.307" UserId="3979" Text="&lt;recording&gt;&lt;sound-design&gt;&lt;noise-reduction&gt;&lt;pitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27824" PostHistoryTypeId="2" PostId="17248" RevisionGUID="100b795e-6bfc-4033-8eb1-8088f38f84c1" CreationDate="2012-12-07T02:07:27.277" UserId="3179" Text="&lt;blockquote&gt;&#xD;&#xA;The first is that he said that one of his huge trade secrets in sound design are sounds that continually change in pitch just slightly. This way, they clash less with music and dialog and can be heard better through the mix because they're constantly changing. This makes a tone of sense and is genious. The question is...what would you use to do that?&lt;/blockquote&gt;&#xD;&#xA;&#xD;&#xA;I would do it right in the recording or sample selection. So if you record something, while creating different variations, also focus on getting different pitches.&#xD;&#xA;&#xD;&#xA;Artificially: offline pitch shifting, with envelopes? The usual one that at least every audio editor has.&#xD;&#xA;For more automated processing you could look at wow &amp; flutter type effects, basically pitch shifters that are controller by a LFO of some kind, however, real-time pitch-shifting is generally lower quality compared to offline rendered. I guess even a pitch correction plug-in could work. However, generally the point can't be random pitch variation, but choices made in relation to the mix or sound sequence: if you need more space to a small frequency range, you can simply pitch stuff differently so they don't clash as much to get more clarity without resorting to equalizing them. Also having slight variation in pitch in anything always sounds more lively and thus more clear or distinctive compared to a static sound. Pitch works just like dynamics, sort of.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&lt;blockquote&gt;&#xD;&#xA;Is noise reduction used WAY MORE HEAVILY in sound design than I thought? Or is it just that they're on a huge budget and can record in the best conditions?&#xD;&#xA;&lt;/blockquote&gt;&#xD;&#xA;&#xD;&#xA;Noise reduction is an art of compromise. I think that first of all you should avoid ever having to use it. Secondly, I think you should only use it in relation to the mix or in a way that definitely doesn't worsen the sound. Only reduce noise in a way that is just enough, but not more. I think noise reduction is a standard practice in some cases, but ultimately you should use your own judgement about using it. Don't forget that there are also other ways to take the noise under control so it doesn't sound too bad, single-/multiband compression and narrow EQ cuts and even automation. &#xD;&#xA;&#xD;&#xA;It's nothing specific to &quot;sound design&quot; though.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27825" PostHistoryTypeId="5" PostId="17248" RevisionGUID="ae9e8e3f-ae2f-4207-8d1e-b7e13dcbe1b4" CreationDate="2012-12-07T02:14:03.210" UserId="3179" Comment="edited body; added 56 characters in body; added 11 characters in body; added 37 characters in body" Text="&lt;blockquote&gt;&#xD;&#xA;The first is that he said that one of his huge trade secrets in sound design are sounds that continually change in pitch just slightly. This way, they clash less with music and dialog and can be heard better through the mix because they're constantly changing. This makes a tone of sense and is genious. The question is...what would you use to do that?&lt;/blockquote&gt;&#xD;&#xA;&#xD;&#xA;I would do it right in the recording or sample selection. So if you record something, while creating different variations, also focus on getting different pitches or timbres.&#xD;&#xA;&#xD;&#xA;Artificially: offline pitch shifting, with envelopes? The usual one that at least every audio editor has.&#xD;&#xA;For more automated processing you could look at wow &amp; flutter type effects, basically pitch shifters that are controlled by a LFO of some kind. They emulate pitch variation of tape recorders. However, real-time digital pitch-shifting is generally lower quality compared to offline rendered. I guess even a pitch correction plug-in could work. However, generally the point can't be random pitch variation, but choices made in relation to the mix or sound sequence: if you need more space to a small frequency range, you can simply pitch stuff differently so they don't clash as much to get more clarity without resorting to equalizing them. Also having slight variation in pitch or equalization in anything always sounds more lively and thus more clear or distinctive compared to a static sound. Changes in pitch and timbre work just like dynamics, sort of.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&lt;blockquote&gt;&#xD;&#xA;Is noise reduction used WAY MORE HEAVILY in sound design than I thought? Or is it just that they're on a huge budget and can record in the best conditions?&#xD;&#xA;&lt;/blockquote&gt;&#xD;&#xA;&#xD;&#xA;Noise reduction is an art of compromise. I think that first of all you should avoid ever having to use it. Secondly, I think you should only use it in relation to the mix or in a way that definitely doesn't worsen the sound. Only reduce noise in a way that is just enough, but not more. I think noise reduction is a standard practice in some cases, but ultimately you should use your own judgement about using it. Don't forget that there are also other ways to take the noise under control so it doesn't sound too bad, single-/multiband compression and narrow EQ cuts and even automation. &#xD;&#xA;&#xD;&#xA;It's nothing specific to &quot;sound design&quot; though.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27826" PostHistoryTypeId="2" PostId="17249" RevisionGUID="52f064b7-34b1-4b58-90bf-6f52938c734c" CreationDate="2012-12-07T02:28:19.520" UserId="432" Text="To reflect on your first question, Randy is referring to a psychoacoustic principle that falls under something called &quot;scene analysis.&quot; I don't know that he's necessarily read a ton on psychoacoustics...but whether or not he has, the different effects are something that you begin to pick up on after a certain amount of experience. Basically, what's going on is that sounds that have changes which occur evenly across their spectrum are picked out by the brain from sounds that do not have those changes. There are a number of ways to do this. Pitch shifting is one (Serrato Pitch 'n Time or Waves Sound Shifter are examples of plug-ins you could use), and modulation is another (either frequency or amplitude, and as slow a rate as 1 or 2 Hz can give the effect). There are a few others, but they would take a lot of time to explain here. These can even overcome the masking effect in some instances, which can make them very powerful tools come mix time.&#xD;&#xA;&#xD;&#xA;As to your second question, it's unlikely the type of noise-reduction you're envisioning is being employed. These are big budget pictures you're talking about, and the recording of clean sounds in a controlled environment is either budgeted for or has been done prior to the film entirely. Location, time of day, mic selection and placement all contribute to capturing clean sounds that mitigate the need for noise reduction. Not too mention, the effect library at Skywalker is MASSIVE. There used to be, and maybe still is, one person dedicated solely to digitizing, and adding to the database, Ben Burtt's old analog recordings...that archiving process was going on for YEARS...and probably still is." ContentLicense="CC BY-SA 3.0" />
  <row Id="27827" PostHistoryTypeId="5" PostId="17239" RevisionGUID="698a2af4-999f-4e58-a573-0caeedee82dd" CreationDate="2012-12-07T03:40:08.603" UserId="5500" Comment="added 110 characters in body" Text="Theremin: &#xD;&#xA;&#xD;&#xA;http://www.sampleism.com/noisymichael/resonator &#xD;&#xA;&#xD;&#xA;http://www.wavelore.com/products.php?product=WLEP&#xD;&#xA;&#xD;&#xA;http://www.puremagnetik.com/index.php?option=com_content&amp;view=article&amp;id=364:mysterium&amp;catid=77&amp;Itemid=159" ContentLicense="CC BY-SA 3.0" />
  <row Id="27829" PostHistoryTypeId="2" PostId="17251" RevisionGUID="9eead24e-7370-4210-8278-c7927f2bf71e" CreationDate="2012-12-07T03:52:40.730" UserDisplayName="user49" Text="Pitch change in sounds was Randy &amp; Phil Bensons mantra back when they came to NZ to work on the Frighteners back in the 90s and from what I observed &amp; heard of their material, much of it was achieved in the performance of props when recording, and some was achieved using doppler. (A doppler isn't a sweeping EQ - its a very specific kind of pitch change, read up wikipedia or something) But it is also achieved in editing and through the selection and layering of sounds...&#xD;&#xA;&#xD;&#xA;re the clean sound effects question, of course they have access to clean recordings but some of it would also be achieved via when and how various sounds are heard - edited and layered, and effectively envelope shaped via volume automation etc so that noise is masked by the louder parts of other layers...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27830" PostHistoryTypeId="2" PostId="17252" RevisionGUID="b78f516e-52f0-4124-a2c9-37c1ebf3196a" CreationDate="2012-12-07T03:59:26.193" UserDisplayName="user49" Text="Those sound a bit like what can be achieved with one of those Reaktor patches &amp; a lot of experimenting - recording the output and editing combinations etc...  &#xD;&#xA;have a listen to the demos of S Layer - it has def some of that overtly annoying/attention seeking style :) &#xD;&#xA;http://twistedtools.com/shop/reaktor/s-layer/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27831" PostHistoryTypeId="2" PostId="17253" RevisionGUID="bee85d35-36e6-4b69-a800-94fa244cc8f0" CreationDate="2012-12-07T05:08:48.990" UserId="1178" Text="back in the days when I started to produce my own synth patches I red many books concernin substractive synthesis. This book is by far and still very much up to date on substractive synthesis and it will explain all the details you need to know how to operate the somewhat complex beasts. Highly reommended. http://www.amazon.com/Power-Tools-Synthesizer-Programming-Reference/dp/0879307730/ref=pd_sim_b_1" ContentLicense="CC BY-SA 3.0" />
  <row Id="27832" PostHistoryTypeId="2" PostId="17254" RevisionGUID="8e3486d9-971e-4a09-893e-b5a401da0290" CreationDate="2012-12-07T06:47:27.580" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;Have a look:&#xD;&#xA;&#xD;&#xA;https://www.soundeffects.ch/surround-sound-effects-_e.php?soundeffects=truck+diesel&amp;soundcategory=&amp;type=&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;https://www.soundeffects.ch/soundeffects/sound-effects-categories/sound-effects-truck.php&#xD;&#xA;&#xD;&#xA;If you are interested in trucks only, I can arrange a individual truck-bundle for you. Also with unpublished sounds which are not on the site. Contact me by mail, you will find it at my site.&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Guido&#xD;&#xA;https://www.soundeffects.ch" ContentLicense="CC BY-SA 3.0" />
  <row Id="27833" PostHistoryTypeId="2" PostId="17255" RevisionGUID="9d798197-1e04-4562-96f5-fbd44676a601" CreationDate="2012-12-07T07:45:46.330" UserId="3567" Text="Hey guys, thank all you for your suggestions. I will pick up Jim Aikin's book as it sounds really interesting.&#xD;&#xA;&#xD;&#xA;Anyway, reading Tim's comment I remembered that back in the day when I was writing extreme music such as IDM, Glitch, Datkstep etc I made excessive use of these two plugins:&#xD;&#xA;&#xD;&#xA;http://illformed.org/plugins/glitch/&#xD;&#xA;http://mdsp.smartelectronix.com/livecut/&#xD;&#xA;&#xD;&#xA;And this looked like the best opportunity to revive that abuse. With this in mind I put together a tame mix and applied several instances of these two plugins, on inserts and master as well, plus a bit of compression and brickwall limiting. The result is a cacophony of glitches that I can cut into small bits and use as awesome stingers:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/georgevlad/glitch-madness" ContentLicense="CC BY-SA 3.0" />
  <row Id="27834" PostHistoryTypeId="2" PostId="17256" RevisionGUID="88e2b62c-d414-416a-a37c-d7569f1d1d1b" CreationDate="2012-12-07T13:20:23.183" UserId="432" Text="Yes...if you were to stick with the native route, you would need the CPTK upgrade plus an interface that can handle a minimum of six channels of output (though it does not need to be an AVID interface with 9 and up). Looking up the Profire, it looks like it provides 8 channels of I/O. That means you would NOT need to buy a new interface.&#xD;&#xA;&#xD;&#xA;As far as HD systems, these require a CORE card to be a basic HD1 (TDM) system. Process cards and Accel cards are the additional cards that can be added to the system to create HD2 and HD3 systems. The Accel cards are newer, and would be the better option...as I believe versions 9 and 10 require Accel cards. There are a few cavéats that go along with the idea of purchasing a used HD system:&#xD;&#xA;&#xD;&#xA; 1. The TDM systems will not support anything higher than Pro Tools 10. A hardware upgrade (PCI cards that is) would be required. Which means the upgrade will cost you another expensive outlay of cash in the future.&#xD;&#xA; 2. Pro Tools HD licenses are tied directly to the CORE card they are sold with. Many people who are selling their used HD systems are not including the software licenses with the hardware, which is not how the hardware is supposed to be sold. In order to upgrade from one version of Pro Tools HD to the next, you need access to the Avid account that owns the software/hardware combination. Without that you can't upgrade the software. Make sure the person selling is providing EVERYTHING the HD system originally came with, and is ready to complete a &quot;transfer of ownership&quot; through Avid. This gets even more complicated if you don't upgrade to 10 (another $1k minimum added to your cost...depends on the version you own) before 11 comes out. [My guess on that, probably by NAB in April...but AES 2013 at the latest).&#xD;&#xA;&#xD;&#xA;Right now, I would argue that the CPTK is your better option. It will provide you a far easier...and cheaper...upgrade path in the future. If you ever want to go up to PT11 (whenever it comes out), an older HD system would need to be replaced entirely. There are trade-in options, but they aren't cheap...and you could be trapped if you purchase a system from the wrong person (see item 2 above). The native systems are extremely powerful, especially with recent increases to Delay Compensation in Pro Tools 10. Unless you anticipate having to complete extremely large mixes, the HD system might be overkill for you at this moment." ContentLicense="CC BY-SA 3.0" />
  <row Id="27835" PostHistoryTypeId="2" PostId="17257" RevisionGUID="c751048d-901c-48ef-936a-f0782e53e6f4" CreationDate="2012-12-07T15:51:14.160" UserId="253" Text="Personally, i use the pre-delay settings in reverb plugs, as that's what they're designed to replicate. From my experience (YMMV), pre-delay acts in the same way as a delay plug would, if it came before your reverb in the chain. It delays your first reflection, and the diffuse reflections that follow. &#xD;&#xA;&#xD;&#xA;So, for a large space, you want to set an appropriately long pre-delay. You could work out the time it would take for the sound to travel to the nearest reflective surface and back again and use that as your setting, or you could go with your intuition and see what feels natural. &#xD;&#xA;&#xD;&#xA;I'm not sure if anyone out there has found an advantage to using a separate delay plug in, and i'd be keen to hear of any. For now, i'd stick with using pre-delay as it keeps things simple, and doesn't needlessly use up processing power." ContentLicense="CC BY-SA 3.0" />
  <row Id="27836" PostHistoryTypeId="2" PostId="17258" RevisionGUID="cab0ff1a-2f9c-47f1-b4e5-cb4fbaba096f" CreationDate="2012-12-07T17:26:54.843" UserId="5523" Text="I would recommend two books: **The Art of Digital Audio** by John Watkinson and **Elements of Computer Music** by F. Richard Moore. The first for his generality, is a very interesting book useful for introducing to many matters regarding digital audio. The 2nd is my preferred for his semplicity and clarity; though not very complete in respect to The Computer Music Tutorial by Curtis Roads (a bible for digital audio synthesis). In my opinion! : )&#xD;&#xA;&#xD;&#xA;http://www.goodreads.com/book/show/2759254-the-art-of-digital-audio&#xD;&#xA;&#xD;&#xA;http://www.musicainformatica.org/reviews/book_elements_of_computer_music.php&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27837" PostHistoryTypeId="5" PostId="17249" RevisionGUID="d1f12b0f-1f40-49e1-a8a8-ea5be345e347" CreationDate="2012-12-07T18:07:44.407" UserId="432" Comment="deleted 1 characters in body" Text="To reflect on your first question, Randy is referring to a psychoacoustic principle that falls under something called &quot;scene analysis.&quot; I don't know that he's necessarily read a ton on psychoacoustics...but whether or not he has, the different effects are something that you begin to pick up on after a certain amount of experience. Basically, what's going on is that sounds that have changes which occur evenly across their spectrum are picked out by the brain from sounds that do not have those changes. There are a number of ways to do this. Pitch shifting is one (Serrato Pitch 'n Time or Waves Sound Shifter are examples of plug-ins you could use), and modulation is another (either frequency or amplitude, and as slow a rate as 1 or 2 Hz can give the effect). There are a few others, but they would take a lot of time to explain here. These can even overcome the masking effect in some instances, which can make them very powerful tools come mix time.&#xD;&#xA;&#xD;&#xA;As to your second question, it's unlikely the type of noise-reduction you're envisioning is being employed. These are big budget pictures you're talking about, and the recording of clean sounds in a controlled environment is either budgeted for or has been done prior to the film entirely. Location, time of day, mic selection and placement all contribute to capturing clean sounds that mitigate the need for noise reduction. Not to mention, the effect library at Skywalker is MASSIVE. There used to be, and maybe still is, one person dedicated solely to digitizing, and adding to the database, Ben Burtt's old analog recordings...that archiving process was going on for YEARS...and probably still is." ContentLicense="CC BY-SA 3.0" />
  <row Id="27840" PostHistoryTypeId="2" PostId="17259" RevisionGUID="202eb528-4d4d-43e0-bb61-7a750da137bc" CreationDate="2012-12-07T20:59:01.230" UserId="4114" Text="Pre-delay and early reflections are not the same thing. Pre-delay is  the time of dry signal that exists before early reflections arrive. A lot of reverb plug ins allow you to control all this without the need of anything else. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27841" PostHistoryTypeId="2" PostId="17260" RevisionGUID="2b180bfd-bdb9-4f1c-b77d-9d53db68a575" CreationDate="2012-12-08T01:35:13.887" UserId="194" Text="sounds like the world you're looking at is the world of radio imaging.  &#xD;&#xA;&#xD;&#xA;Some super super talented guys work in that world.  There's a good podcast out there called The Producers where they talk about how to build and use that kind of stuff.  Check out the [episode with Joe D'Augustin][1] to hear one of the best talk about his methodology.&#xD;&#xA;&#xD;&#xA;I'm currently going through the archives and checking it out.  cool stuff in there.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ryanontheradio.com/2011/06/episode-36-%E2%80%93-part-1-%E2%80%93-joe-dagostin/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27842" PostHistoryTypeId="2" PostId="17261" RevisionGUID="ab53761d-c885-4396-8142-b3a3cae5c2f0" CreationDate="2012-12-08T04:57:39.977" UserId="3093" Text="Going more into brands.....It looks like Glyph products actually have Seagate drives internally. I think then, that glyph drives are like seagates but made for constant use, like if you were going to use it as a main 2nd drive, for example, for holding all your audio files and session files, or maybe to hold your videos... but if you are only planning to backup once a week or so, I would go for a seagate :)." ContentLicense="CC BY-SA 3.0" />
  <row Id="27844" PostHistoryTypeId="2" PostId="17262" RevisionGUID="d90db34e-38c6-4ed5-b8e3-1e7560b1e553" CreationDate="2012-12-08T07:27:12.710" UserId="5526" Text="This diagram helps explain pre delay and early reflections.&#xD;&#xA;&#xD;&#xA;http://www.torgny.biz/images/Reflextionsmonstret.jpg&#xD;&#xA;&#xD;&#xA;Some reverbs have a pre delay before the ER section and another before the reverb section. The pre delay helps determine the size of the space you're in, since the longer it takes for the first reflected sounds to get to your ears, the larger the space must be.&#xD;&#xA;&#xD;&#xA;Early reflections are built into most natural sounding reverb plugins. It's an essential component of the natural sound. It tells your ears what size the room is and what kind of surfaces it is made of. You can use a multitap delay to get a similar effect, but it would be harder and wouldn't sound as good as the early reflection section built into a good reverb unit." ContentLicense="CC BY-SA 3.0" />
  <row Id="27845" PostHistoryTypeId="2" PostId="17263" RevisionGUID="dba9f694-e281-4280-b075-293617f5ad8a" CreationDate="2012-12-08T07:48:13.867" UserId="5500" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;My friend and I are starting a small documentary and we're looking for a recorder/mixer and a good microphone that would be sturdy enough to cope with heat and humidity. Our budget is 5000$. There's only one person at a time on screen and two mics for the interviewer and the interviewee.&#xD;&#xA;&#xD;&#xA;Thanks for your help :)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27846" PostHistoryTypeId="1" PostId="17263" RevisionGUID="dba9f694-e281-4280-b075-293617f5ad8a" CreationDate="2012-12-08T07:48:13.867" UserId="5500" Text="What should I buy for a small documentary ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27847" PostHistoryTypeId="3" PostId="17263" RevisionGUID="dba9f694-e281-4280-b075-293617f5ad8a" CreationDate="2012-12-08T07:48:13.867" UserId="5500" Text="&lt;field-recording&gt;&lt;recorder-mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27848" PostHistoryTypeId="5" PostId="17263" RevisionGUID="ca2f726b-58a8-4ea2-8f61-a214e8a3ba76" CreationDate="2012-12-08T08:16:54.790" UserId="5500" Comment="added 327 characters in body" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;My friend and I are starting a small documentary and we're looking for a recorder/mixer and a good microphone that would be sturdy enough to cope with heat and humidity. Our budget is 5000$. There's only one person at a time on screen and two mics for the interviewer and the interviewee. But ideally we'd like to add 3 more mics.&#xD;&#xA;&#xD;&#xA;We had a look at the Zaxcom and 4minx features. We like the Zaxcom which is cheaper and the NeverClip function as well as the 137db dynamic range of its preamps. But if we buy the zaxcom  I don't think we'll have enough money to get a decent mic. We'd like to have your opinions.&#xD;&#xA;&#xD;&#xA;Thanks a lot for your help :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="27850" PostHistoryTypeId="2" PostId="17264" RevisionGUID="3c8edfa9-55f1-40d6-8ec4-4f7be9a7092e" CreationDate="2012-12-08T09:12:43.787" UserId="3285" Text="- Rycote suspension w/ pistol grip&#xD;&#xA;- Rycote Stereo Windshield size AE&#xD;&#xA;- Rycote Stereo Windjammer Rycote&#xD;&#xA;- Stereo Connbox Rycote MS stereo mic clips&#xD;&#xA;- Boom pole of your choice&#xD;&#xA;(like NoiseJockey)&#xD;&#xA;&#xD;&#xA; - Neumann KM120 &#xD;&#xA; - Neumann KM140/184" ContentLicense="CC BY-SA 3.0" />
  <row Id="27851" PostHistoryTypeId="2" PostId="17265" RevisionGUID="0454ccb6-5022-44e4-b2aa-9b13e3cc6aa7" CreationDate="2012-12-08T09:16:50.583" UserId="407" Text="the peterbilt 379 from pole.se is pretty good you can check it out from their [shop][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://pole.se/sounds.asp" ContentLicense="CC BY-SA 3.0" />
  <row Id="27852" PostHistoryTypeId="2" PostId="17266" RevisionGUID="fa51254a-71b8-4664-9341-e74a6eefd72b" CreationDate="2012-12-08T09:20:00.160" UserId="6432" Text="Slightly off topic but perhaps of interest... did you know Thecus make a pocket RAID for two 2.5&quot; disks. &#xD;&#xA;&#xD;&#xA;http://www.thecus.com/product.php?PROD_ID=21&#xD;&#xA;&#xD;&#xA;I've had my eye on it for a while, but does anyone here use one of these?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27853" PostHistoryTypeId="2" PostId="17267" RevisionGUID="457de680-83f7-41e3-8879-a98a4e16388f" CreationDate="2012-12-08T13:24:55.047" UserId="1216" Text="Hi Staann,&#xD;&#xA;&#xD;&#xA;Depending on the length of documentary and your future needs for recording equipment, I would suggest you to rentthe gear. Although it is very tempting to buy gear. If you are not experienced yet with using field recorders and different mic's, why take the risk?&#xD;&#xA;&#xD;&#xA;5000 dollars is a lot of money, which you could also save up and spent on 2nd hand gear, when you start on a new project. I've taken small steps in building up my recording setup. First starting with a DAT machine and cheap mic's,adding better ones, when the opportunity rised.With my first recording gig I rented gear that seemed good. I was a bit dissapointed in the gear and changed some bits (different mic's etc.). It got me going and I learned a lot.&#xD;&#xA;&#xD;&#xA;When I had the opportunity I bought my first Mic (MKH50 still use it!) and a SQN mixer (now my back up mixer). On bigger gigs I rented a Sound Devices and was pretty happy with it. &#xD;&#xA;In the meantie my mic collection had grown and not until recently I bought a Sonosax recorder for recording SFX and small documentary gigs. It took me 5 years to build this up and I appreciate every device (with it's merits) and now when to use which devices. &#xD;&#xA;&#xD;&#xA;If you're already experienced as sound recordist (with the recorder you talk about) than you could still rent it and save money. But that's up to you.&#xD;&#xA;&#xD;&#xA;Good luck with your decision.&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="27854" PostHistoryTypeId="2" PostId="17268" RevisionGUID="ff402c8e-36d2-4fe2-9535-51b6fb9c36ee" CreationDate="2012-12-08T15:22:53.570" UserId="3177" Text="Hello to all. Im a 3rd year student investigating The use of DSS in question 5.1 in the horror film genre - with the intention of re-doing the audio for the end scene of &quot;The Ring&quot; in 5.1. Id like to ask a few questions your responses would be much appreciated&#xD;&#xA;&#xD;&#xA;1.DSS having roughly double the headroom in perceived loudness (about 10db) than compared to Dolby SR - how can this be taken advantage of creatively, is it best to make everything louder?&#xD;&#xA;&#xD;&#xA;2.For Music, Sound FX Dialogue tracks what are the db levels in general for these tracks.&#xD;&#xA;&#xD;&#xA;3.A lot of FX/Dialogue will used will be ghostly heavy-breathing, breathing rises to create the presence of a supernatural being. Where is it best use these effects in the 5.1 spectrum. Without distracting the audience from the horror of the scene? &#xD;&#xA;&#xD;&#xA;Thank you very much&#xD;&#xA;Tommy Helling" ContentLicense="CC BY-SA 3.0" />
  <row Id="27855" PostHistoryTypeId="1" PostId="17268" RevisionGUID="ff402c8e-36d2-4fe2-9535-51b6fb9c36ee" CreationDate="2012-12-08T15:22:53.570" UserId="3177" Text="5.1 DSS - Horror film genre Question" ContentLicense="CC BY-SA 3.0" />
  <row Id="27856" PostHistoryTypeId="3" PostId="17268" RevisionGUID="ff402c8e-36d2-4fe2-9535-51b6fb9c36ee" CreationDate="2012-12-08T15:22:53.570" UserId="3177" Text="&lt;mixing&gt;&lt;5.1&gt;&lt;surround-sound&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27857" PostHistoryTypeId="2" PostId="17269" RevisionGUID="d88997af-9e65-4a60-acce-f4ce548ab92e" CreationDate="2012-12-08T20:41:47.980" UserId="3680" Text="If you are going to end up with 44.1 kHz, 16 bit files, you are better off working at 88.2 kHz.  Downsampling from that sample rate is simpler mathematically--you are cutting the sample rate exactly in half.  Going from 96 kHz to 44.1 kHz is a lot more complicated--the best sample rate converters can do it pretty competently, but why take a chance on artifacts occurring when you don't have to?&#xD;&#xA;&#xD;&#xA;For film, of course, you are aiming at a final product at 48 kHz, so then you would use 96 kHz (or 192 kHz) in your initial recording.  &#xD;&#xA;&#xD;&#xA;BTW, I think the main benefit of recording at higher sample rates occurs during the initial A to D conversion--real world problems with anti-aliasing filters are moved up at least an octave which makes the artifacts less audible.  Recording at 24 bits is always desirable as well--any audio level processing that occurs during editing will be done more precisely, and you can leave more headroom during the initial recording.  Only when you are rendering the final file should you dither down to 16 bits." ContentLicense="CC BY-SA 3.0" />
  <row Id="27861" PostHistoryTypeId="2" PostId="17271" RevisionGUID="eef19686-ace7-4c81-a1a6-8d2bd6ca8f0c" CreationDate="2012-12-08T21:12:20.397" UserId="3680" Text="The Sennheiser HD 280 Pro is a pretty good set of headphones--in particular it has a pretty flat midrange response, which is helpful for mixing.  Drawbacks: a little hyped in the bass and high treble.  Offers good isolation from outside sounds if you need that.&#xD;&#xA;&#xD;&#xA;The Sony MDR 7506 (or V6, which is an earlier version) sounds different but not necessarily better--there is a mild midrange peak, the high treble tends to roll off, lower mids are a bit recessed, bass is extended (though not quite as extended as the HD 280, which is capable of response to below 20 Hz).  Isolation from outside sounds is fair--the HD 280 is better in that respect.  Interesting option: you can get a special high isolation version from Trew Audio in Nashville, that puts 7506 drivers into what is essentially a helicopter pilot com headset--it's called the HN-7506.  Putting the 7506 drivers into such a different environment makes them bass heavy, but the sound is still useable, and the isolation is better than just about any other headphone out there--if you need to mix while onstage with a band, the HN-7506 is what you want.&#xD;&#xA;&#xD;&#xA;If you do not need isolation, the Sennheiser open-ear headphones are good, if expensive choices.  The HD-600 is very neutral sounding--you might check it out." ContentLicense="CC BY-SA 3.0" />
  <row Id="27862" PostHistoryTypeId="2" PostId="17272" RevisionGUID="28a0ec79-fd34-4f0d-8bba-24966a03832c" CreationDate="2012-12-08T21:36:32.977" UserId="3680" Text="I've used Pro Tools LE on a Windows XP PC since about 2005.  I also have an Apple Laptop with Pro Tools LE, and I have extensive experience using PT LE on a Mac G4 in a voice-over studio.  A main reason why I use Pro Tools on a PC is because I also use audio software (Sony Sound Forge, CD Architect) that only works in Windows.  &#xD;&#xA;&#xD;&#xA;The main thing to remember when using a PC for any serious audio work, is that you are far better off using a dedicated DAW (not used for gaming or web surfing) that has been set up from scratch to be a good audio computer.  This is true for Macs too, but it especially applies to Windows machines.  You do not want to buy a Dell or HP that has been setup for the typical consumer, with all the bloat-ware and &quot;extras&quot; that such machines typically have.  Either buy from a vendor that provides PCs set up for audio from the get go (Sweetwater Sound's Creative Stations, for example), or make sure you have the Windows install disc, wipe the hard drive(s) and reinstall only what you need. &#xD;&#xA;&#xD;&#xA;There are various sources (such as Sweetwater's web site) that have articles devoted to setting up Windows for audio work, which basically means turning off a bunch of &quot;features&quot; and configuring the operating system to favor audio.  Once you have done this, assuming the hardware doesn't have any incompatibility surprises, you can run Pro Tools reliably on a Windows PC.&#xD;&#xA;&#xD;&#xA;Obviously, the Mac platform is a little more audio-tolerant and less likely to have hardware compatibility problems.  If you can hack the higher price of the hardware, the Mac platform is a nice way to go--though it is not infallible.  Pro Tools setups on Macs can have problems too.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27863" PostHistoryTypeId="2" PostId="17273" RevisionGUID="59422d15-87c8-458a-ab09-d9bf69917b9d" CreationDate="2012-12-08T21:44:41.150" UserId="3680" Text="The Shure FP-33 field mixer has mid-side monitor decoding built in.  You might be able to pick used one pretty reasonably.  Sound quality is good." ContentLicense="CC BY-SA 3.0" />
  <row Id="27866" PostHistoryTypeId="2" PostId="17275" RevisionGUID="65f39836-3b08-4a4e-b733-e13c47ca8212" CreationDate="2012-12-08T22:01:56.517" UserId="3680" Text="Budget choice: for indoors use, the AKG C-1000S is a surprisingly good mike when used with the super-cardioid adapter, and it is inexpensive compared to the other mikes you are considering. It can operate off an internal battery, which allows for greater battery life in your field mixer (phantom power not needed), or even using audio inputs that do not provide phantom at all. &#xD;&#xA;&#xD;&#xA;High priced spread: the Schoeps Collette series with supercardioid capsule (I forget the model number) is the &quot;standard&quot; for feature film indoors boom use.  Schoeps microphones are noted for their low coloration, excellent pickup pattern control and high overall quality.  Neumann KM series are very good, but not any better than Schoeps.  Schoeps also makes a very nice short shotgun.  (For longer shotguns, Neumann and Sennheiser are the top choices.)  Schoeps' are expensive, but not unreasonably so considering their high quality." ContentLicense="CC BY-SA 3.0" />
  <row Id="27867" PostHistoryTypeId="2" PostId="17276" RevisionGUID="59b2d29f-8da0-48bc-b0af-d7157f49ec15" CreationDate="2012-12-08T22:23:12.933" UserId="3680" Text="I agree with FAO that relying on a limiter on the master bus is largely a music mixing practice that has little applicability to film mixing.  &#xD;&#xA;&#xD;&#xA;For a really good overview of calibration of monitor levels and how level management is being approached in the broadcast industry, go see &lt;a href=&quot;http://www.atsc.org/cms/standards/a_85-2011a.pdf&quot;&gt;ATSC.org web site&lt;/a&gt; and check out their paper on ATSC Recommended Practice: Techniques for Establishing and Maintaining Audio Loudness for Digital Television (PDF file).  In particular, look at section 10.4 &quot;Reference Level Calibration&quot;, which goes into detail about how to set up a calibrated monitoring system.  &#xD;&#xA;&#xD;&#xA;Once you have set up and experienced the control over levels that properly calibrated monitors give you, you will want to work that way whenever possible.  Further, working in a properly calibrated environment means that limiting and compression become artistic tools for getting the sound you want, instead of a means for trying keep some sort of overall control of your levels. (Now if we could just get the music industry to adopt this way of working....)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27868" PostHistoryTypeId="2" PostId="17277" RevisionGUID="a36c1008-8ead-4c77-a106-553f816b5971" CreationDate="2012-12-09T00:55:42.693" UserId="4358" Text="Hey. I am new to protools. I recently installed PT10. I am running it on a 13.3 inch MBP, 2.9GHz 750Gb hard drive and 8 gigs of RAM. I just started mixing dialogs for a short 2min video clip. But for some odd reasons an error keeps popping up after a few playbacks saying:&#xD;&#xA;**'A CPU overload error occurred. If this happens often, try increasing the H/W buffer size in the playback engine Dialog, or removing some plugins.'**&#xD;&#xA;But I already have the H/W buffer size set to maximum and the 2 dialog tracks just have the basic PT EQ on it.&#xD;&#xA;I tried working on my computer and also on my external 2gig hard drive. But the error still pops. I've heard that this is a quiet common error but I don't know the solution for it.&#xD;&#xA;Kindly help!&#xD;&#xA;Thank you in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="27869" PostHistoryTypeId="1" PostId="17277" RevisionGUID="a36c1008-8ead-4c77-a106-553f816b5971" CreationDate="2012-12-09T00:55:42.693" UserId="4358" Text="Protools Error.." ContentLicense="CC BY-SA 3.0" />
  <row Id="27870" PostHistoryTypeId="3" PostId="17277" RevisionGUID="a36c1008-8ead-4c77-a106-553f816b5971" CreationDate="2012-12-09T00:55:42.693" UserId="4358" Text="&lt;newbie&gt;&lt;pro-tools&gt;&lt;error&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27871" PostHistoryTypeId="2" PostId="17278" RevisionGUID="50b4a9c6-19b7-4869-81dc-f24e2e7a7bcd" CreationDate="2012-12-09T01:11:00.397" UserId="432" Text="Try deactivating all tracks. Option+right-click a track name and select deactivate. all the tracks should be grayed out. save, then reactivate them all. That will sometimes clear out the whatever issue is going on.&#xD;&#xA;&#xD;&#xA;Something else you could try is to create a new project, then import the session data (option+shift+I) from the original project.&#xD;&#xA;&#xD;&#xA;See if either of those clear things up. If not you may want to contact support. Before doing that I'd suggest opening up the &quot;System Usage&quot; window while you're working, and keep track of the CPU usage meter. It will give you a little more data to share with tech support (i.e. if the meter actually filling or not when you get the error)." ContentLicense="CC BY-SA 3.0" />
  <row Id="27872" PostHistoryTypeId="2" PostId="17279" RevisionGUID="f5bddc31-0e34-4d38-86ad-8b74bd6e5f84" CreationDate="2012-12-09T01:31:07.420" UserId="18" Text="I've run into this a lot!  I attribute it to Pro Tools less than optimal code base.  But, since there is nothing we can do about crappy code I would suggest you try everything that Shaun recommended.  Often times, Pro Tools 9/10 just doesn't want to work with a particular session anymore, for no good reason.  Creating a new session usually fixes this.&#xD;&#xA;&#xD;&#xA;Also, close any apps that you have running.  In the past, I've had issues with Chrome running at the same time as Pro Tools (though, I haven't seen this problem in a long while), but anything you have running will be tasking your system resources and can cause issues." ContentLicense="CC BY-SA 3.0" />
  <row Id="27873" PostHistoryTypeId="2" PostId="17280" RevisionGUID="691728fe-794e-4fe9-b6f5-642158d1a71b" CreationDate="2012-12-09T06:17:55.863" UserId="1228" Text="All of my stem submasters run Limiters - something quick-response, transparent, and can take a beating like Maxim or L2007.  Maximizers like the L1 or MV2 are too colorized for my liking and they let too much through.&#xD;&#xA;&#xD;&#xA;And then a run a PT MasterFader (but with NO limiters) just to monitor meters on the overall stem summing - because you can have no peaking on individual stems, but they CAN still sum to create a clip peak overall.  That said, My limiters are quick attack and slight release, a very hard ratio and they kick in at a threshold of about -6 to -3 usually.  But with mix level being -20dBFS = 85 SPL, we're not up there all that often.  So I run my limiters just as a fail-safe to make sure nothing peaks past QC.  My rule of thumb with these limiters and the parameters I use on them, just likewhen I use a compressor for DX, is that I'm mixing INTO the limiter/compressor, not the other way around.  So very rarely with the case of these limiters are they ever engaged.&#xD;&#xA;&#xD;&#xA;No sometimes I do like to, as mentioned, us dynamics processors for artistic purposes.  I happen to like the character and vibrancy and warmth that the Waves HComp provides on FX.  Even then though, I still have my transparent limiters always at the very end of the chain.  Because this is a case where one dynamics processor is used for creative/nuiance purposes, but I still need the utilitarian limiter just to ensure QC is met when all is said and done.&#xD;&#xA;&#xD;&#xA;The reason you're likely not finding much info on that exact topic is that it's not an exact science.  Everyone has their own tastes and aesthetic choice, so as long as you're (a) properly calibrated and (b) know what level output is required on your delivery specs, there are many 'right' ways of doing things.  It's a matter of developing your own ear for what you think sounds good, but also translates. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27874" PostHistoryTypeId="2" PostId="17281" RevisionGUID="cb257d70-c8fa-4f7b-8d77-6d994bd7c95a" CreationDate="2012-12-09T10:46:05.697" UserDisplayName="user6513" Text="I like the idea of building modular, so I reckon&#xD;&#xA;&#xD;&#xA;1 x Sound Devices MixPre-D&#xD;&#xA;&#xD;&#xA;1 x Sennheiser MKH416 or Sanken CS-1&#xD;&#xA;&#xD;&#xA;2 x Sennheiser G3 Wireless Sets&#xD;&#xA;&#xD;&#xA;2 x Lavalier Mics (Countryman, Sanken, or Oscar Sound Tech)&#xD;&#xA;&#xD;&#xA;1 x handy recorder (take your pick, too many to list from)&#xD;&#xA;&#xD;&#xA;1 x boom pole + windshield + bag + cables + accessories&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Depending on what you get, you should be able to get em under $5000 or thereabouts. The MixPre-D can be used to expand the inputs of other Sound Devices mixers, so it's a good way to go. The Sennheiser wireless will be good for wireless hops or director's feeds when you decide to upgrade to better wireless sets. Altogether it'll be a light kit and plenty good for interviews." ContentLicense="CC BY-SA 3.0" />
  <row Id="27875" PostHistoryTypeId="5" PostId="17186" RevisionGUID="665bbac2-9a75-49fe-8a60-456f29ab3450" CreationDate="2012-12-09T17:24:42.180" UserId="6432" Comment="more." Text="I went through a phase of designing generative music systems in Max a few years ago. It was a fun experiment that produced some interesting results, a few of them linger on my [Soundcloud][1]. I'm still quite interested in the concepts but spend more of my time working on signal processing stuff in Max rather than generating music (ie generating note data).&#xD;&#xA;&#xD;&#xA;Really nice music btw, I followed the link from your profile. &#xD;&#xA;&#xD;&#xA;edit:&#xD;&#xA;&#xD;&#xA;In response to your questions I thought I'd add to my previous answer here as there's not really enough space in the comments.&#xD;&#xA;&#xD;&#xA;Well I'm very much a student in this area, but recently I've been trying to work out the appeal of this approach (for me personally) so here's a few thoughts:&#xD;&#xA;&#xD;&#xA;Essentially the aim of generative music is to create a program or system for generating music to a set of rules. The creative part for us is designing the system. To do this we need to look at what music is and define the parameters which it's comprised of. We then need to analyse the process of composition and choose when and whether we try to mimic a human composer or create sounds more mechanical and computer based . Both have their merits and pitfalls, so it's really dependent on what you like and are trying to achieve.&#xD;&#xA;&#xD;&#xA;Defining the parameters involved in music is pretty easy, and in fact has been done for us - MIDI. If you think about what MIDI essentially is, it's a system for encoding musical information in a digital form. Put another way it allows us to record or generate musical information in a digital form which we can then manipulate. The main components of midi data are pitch and velocity, but we also sequence these so should include timing, which we can think of as a parameter of sorts.&#xD;&#xA;&#xD;&#xA;So a [stochastic][2] system is one which has a degree of randomness built into it. In a musical sense this could be anything from adding random velocity (something which is now built into most DAW's) to choosing random notes (which isn't). This isn't really a new idea, and you can trace it all the way back to early works of [John Cage][3] bit these ideas became much more interesting and accessible with the development of computers. So you might be thinking here that you don't want to make random music because random music doesn't sound good - and you'd be right, but this becomes more useful when you build systems with many interconnected elements which are separate but can also affect each other. You've then created a [complex system][4], with complex behaviour.&#xD;&#xA;&#xD;&#xA;With our music we primarily need parts of the program to generate rhythm and pitch (velocity is perhaps an afterthought as music can still be musical even at one velocity). Generating a rhythm can be done on a note by note basis and we can do it in the way John Cage did by using probability or even better by using weighted probability (which will allow us to make a more complex system). Imagine you trigger a note and then role a dice, the number on the dice corresponds to a set timings, you then wait that long, trigger the next note and roll the dice again... and so it goes on and on. Mimic this process inside a computer and you've just created an algorithmic rhythm generator. You can do the same for pitch each time you generate a note which you constrict to a certain set of frequencies (like a scale for instance). You can then expand on the parts of your program and refine their behavior. I quite like to create sets of presets or 'states' for each. Let's say you've a separate generator for pitch, timing and velocity each with 20 possible states. You then create a program to generatively cycle through each then you've created a system with 8000 possible states (20x20x20). Let's say you then combine three of these into a polyphonic instrument and have six of these generating a song... how many possible states are there then? &#xD;&#xA;&#xD;&#xA;I find that this approach can easily become chaotic, but I think part of the appeal is the idea of creating something so complex that you wrestle to control it and then when it seems almost out of control it creates the most interesting output. &#xD;&#xA;&#xD;&#xA;If you want to get into this sort of stuff in Max/msp I strongly recommend you work through Christopher Dobrian's tutorials here:&#xD;&#xA;&#xD;&#xA;[http://algocomp.blogspot.co.uk/][5]&#xD;&#xA;&#xD;&#xA;If anything I've written seems a bit vague, it won't after you've worked through those. For sure, it will take some time but there's really no magic bullet with using these techniques - you can only get the most from them by dedicating time and understanding them fully. The techniques that I imagine were involved in the soundcloud track you link to in the comments are all contained in those tutorials.&#xD;&#xA;&#xD;&#xA;I also got a lot out of this book&#xD;&#xA;&#xD;&#xA;[http://mitpress.mit.edu/books/composing-interactive-music][6]&#xD;&#xA;&#xD;&#xA;It's a bit old, but the ideas are good. There is also tons of info on the Max/msp forum:&#xD;&#xA;&#xD;&#xA;[http://www.cycling74.com/forums/][7]&#xD;&#xA;&#xD;&#xA;At the moment I'm really interested in organic patterns and how you can generate them with algorithmic processes. There's also a connection between these and how our world is organised - check out this seashell:&#xD;&#xA;&#xD;&#xA;![alt text][8]&#xD;&#xA;&#xD;&#xA;Similar patterns to those on the shell can be generated through processes like [cellular automata][9], it's visually beautiful but is also just the representation of a pattern generated by a system. If you break down music or sound it's also just patterns. So there's the potential for creating sound from any set of data, it's just that some are musically more useful than others.  &#xD;&#xA;&#xD;&#xA;If that interests you, you might also enjoy this book:&#xD;&#xA;&#xD;&#xA;[http://around.com/the-information/][10]&#xD;&#xA;&#xD;&#xA;Well I think that's the longest answer I've ever written!&#xD;&#xA;&#xD;&#xA;Good luck with it... you might have just fallen into a (very deep) rabbit hole.&#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/mark-durham/sets/generative-music/&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Stochastic&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Williams_Mix&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Complex_system&#xD;&#xA;  [5]: http://algocomp.blogspot.co.uk/&#xD;&#xA;  [6]:  http://mitpress.mit.edu/books/composing-interactive-music&#xD;&#xA;  [7]: http://www.cycling74.com/forums/&#xD;&#xA;  [8]: http://upload.wikimedia.org/wikipedia/commons/thumb/7/7d/Textile_cone.JPG/800px-Textile_cone.JPG&#xD;&#xA;  [9]: http://en.wikipedia.org/wiki/Cellular_automata&#xD;&#xA;  [10]: http://around.com/the-information/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27876" PostHistoryTypeId="2" PostId="17282" RevisionGUID="e25a60c7-b979-4a8f-b6f9-cd7de17b7b41" CreationDate="2012-12-10T01:25:09.247" UserId="3093" Text="Hi, &#xD;&#xA;what is the speed of your hard drives? 7,200 rpm or better yet SSDs should handle this error better than a 5,400 rpm drive. &#xD;&#xA;When using the external drive, what files did you placed there? you should place all of your session files in the external drive, as well as the audio that you are using; so the plugins and pt itself would run from your laptop's drive and the other drive would handle other things.&#xD;&#xA;&#xD;&#xA;How many cores does your processor have? I've heard some people say that this errors happens less to them if they don't actually dedicate all of their processor's cores to pt, but this is usually with i7evns or maybe give it a try if you have an i5.&#xD;&#xA;&#xD;&#xA;what other values have you stablished for the other options in the &quot;playback engine&quot;?&#xD;&#xA;:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="27877" PostHistoryTypeId="2" PostId="17283" RevisionGUID="5abdb409-3fd0-4ad7-9895-249acda76b37" CreationDate="2012-12-10T04:36:56.947" UserId="3245" Text="I'm doing some sound design for a scene that takes place outside in front of a farmhouse, but all of the sound for it is being recorded indoors. I've got the outdoor ambiance sounds covered just fine, but the ambient reverb/delay is where I'm stumped.&#xD;&#xA;&#xD;&#xA;Even though this is in a big open area, I know it's not just echoless and dead, because I know that if I shout in a field rather than in a padded room, it sounds way different. There is some natural echo (which has me leaning toward using a delay), but I'm having a hell of a time getting the settings right. Part of it is EQ, because I know that the echoed sounds would lose a lot of the high frequencies from the source, and I know it shoud be a longer delay, but everything I come up with sounds like it's happening in a cave rather than in a field.&#xD;&#xA;&#xD;&#xA;Thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27878" PostHistoryTypeId="1" PostId="17283" RevisionGUID="5abdb409-3fd0-4ad7-9895-249acda76b37" CreationDate="2012-12-10T04:36:56.947" UserId="3245" Text="Outdoor Reverb/Delay?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27879" PostHistoryTypeId="3" PostId="17283" RevisionGUID="5abdb409-3fd0-4ad7-9895-249acda76b37" CreationDate="2012-12-10T04:36:56.947" UserId="3245" Text="&lt;outdoors&gt;&lt;reverb&gt;&lt;echo&gt;&lt;delay&gt;&lt;field&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27880" PostHistoryTypeId="2" PostId="17284" RevisionGUID="ddd0b4ae-07b2-49cb-a784-6ef0c21f84f8" CreationDate="2012-12-10T05:53:47.547" UserId="4442" Text="Have you tried any convolution reverbs? Most of those would have an outdoor sample. I know the stock one in logic has a few. Convolution is really IMO the best approach for recreation of a real space like this. Good luck dude. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27881" PostHistoryTypeId="2" PostId="17285" RevisionGUID="a1f43902-b5a3-43d3-8c07-62b1d73e44d5" CreationDate="2012-12-10T06:37:54.257" UserId="1228" Text="Usually a convo verb can give decent results, as Dave mentioned.  I find that even with that, it all comes down to the predelay and late delay parameters which 'sell it' though primarily, in my opinion.  Predalys and late delays, and how they're used, are what give the reverb that character &quot;slap&quot; off the walls (or, the trees) that we recognize in real life.  With convo verbs I tend to gravitate toward IRs of spring reverbs, followed by plates as a second, not often do I actually find an exterior IR that I like.&#xD;&#xA;&#xD;&#xA;For what it's worth, a 0.9ms Predaly is good for a studio space, a 16ms or so feels nice for a big house room.  Give something in the 70-150ms range anf see what happens.  Or try keeping the predelay around 50ms or so and fire up the late delay to about 140ms - that gives an interesting lush slap reverb tail when I used it on TLSpace with a spring verb to verb some city dogs" ContentLicense="CC BY-SA 3.0" />
  <row Id="27883" PostHistoryTypeId="2" PostId="17287" RevisionGUID="c0e73fd6-a1d1-4074-a341-8dfe756adc17" CreationDate="2012-12-10T12:13:22.703" UserId="5526" Text="The most common reason to have lots of reverb units in a film mix is that film sound is mixed in stems and each stem needs at least one reverb unit. It's common to have separate stems for DIAL, ADR, Loop Group, BGs, FX, DESIGN, FOLEY, MUSIC, etc., as needed for the particular film and depending on capacity of the bussing and the recorder(s). So in this hypothetical stem count of eight, you'd need eight reverb units (or separate engines) at minimum to keep the reverbs segregated by stem." ContentLicense="CC BY-SA 3.0" />
  <row Id="27884" PostHistoryTypeId="2" PostId="17288" RevisionGUID="998e4d2e-2027-4f74-b869-f8e8439fa937" CreationDate="2012-12-10T13:48:47.220" UserId="708" Text="I've used the &quot;Outdoorverb&quot; by xoxos on a few projects and have had good results. It's a freeware VST plugin for PC, so PT (on on a MAC) cannot run it. It's a tap delay-type unit which incorporates a pitch variance. It's an interesting little plugin. Recommended if you can run it.&#xD;&#xA;&#xD;&#xA;http://rekkerd.org/xoxos-releases-outdoorverb/&#xD;&#xA;&#xD;&#xA;Good luck with the project!" ContentLicense="CC BY-SA 3.0" />
  <row Id="27885" PostHistoryTypeId="5" PostId="17288" RevisionGUID="ec36f6ba-ce72-4cab-a660-5d85998a7c15" CreationDate="2012-12-10T14:14:23.837" UserId="708" Comment="added 10 characters in body" Text="I've used the &quot;Outdoorverb&quot; by xoxos on a few projects and have had good results. It's a freeware VST plugin for PC, so unfortunately PT (and MAC) cannot run it. It's a tap delay-type unit which incorporates a pitch variance. It's an interesting little plugin. Recommended if you can run it.&#xD;&#xA;&#xD;&#xA;http://rekkerd.org/xoxos-releases-outdoorverb/&#xD;&#xA;&#xD;&#xA;Good luck with the project!" ContentLicense="CC BY-SA 3.0" />
  <row Id="27886" PostHistoryTypeId="2" PostId="17289" RevisionGUID="38c9e973-51c8-4fe5-b4e5-2f46dcff5622" CreationDate="2012-12-10T16:26:24.533" UserId="5537" Text="Hey guys, that's maybe a noob question but: What level of overall output control you're using when your producing? I heard that some people use 100/100 in OS, some say that you should bring that level down till it is sounding comfortable.For myself, I'm trying to stay on 50/100.So what's right and what's wrong ?&#xD;&#xA;&#xD;&#xA;Thanks!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="27887" PostHistoryTypeId="1" PostId="17289" RevisionGUID="38c9e973-51c8-4fe5-b4e5-2f46dcff5622" CreationDate="2012-12-10T16:26:24.533" UserId="5537" Text="Overall Sound Volume" ContentLicense="CC BY-SA 3.0" />
  <row Id="27888" PostHistoryTypeId="3" PostId="17289" RevisionGUID="38c9e973-51c8-4fe5-b4e5-2f46dcff5622" CreationDate="2012-12-10T16:26:24.533" UserId="5537" Text="&lt;volume&gt;&lt;level&gt;&lt;sound-design&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27889" PostHistoryTypeId="2" PostId="17290" RevisionGUID="fba7cc8c-3b39-44f9-921f-26ed7153aff6" CreationDate="2012-12-10T17:09:20.467" UserId="6460" Text="To add to the other ideas here, it's often the layered complexity of outdoor reflections that gives them a natural feel. Real spaces, indoor or outdoor, never sound exactly like a reverb preset. I find it fun to design a bunch of options and mix-and-match—my usual strategy is to take 3-4 sends from the dialog/FX tracks and create corresponding aux tracks, each with a different spatial effect. Then I can use the 3-4 faders to balance those effects until I get something natural, or start with something new.&#xD;&#xA;&#xD;&#xA;My best suggestion is to go for a walk and clap your hands a lot. It sounds basic (and potentially weird, depending on your neighbors) but it's a really good way to get a feeling for how sound actually interacts with structures and open spaces outdoors. &#xD;&#xA;&#xD;&#xA;A few years back I heard gunshots from hunters while spending time near Yosemite National Park. It's so dang quiet there that I could clearly hear the characteristics of the echoes through the forest. Now when designing an echoey open space, I always make sure to have a low-pass filter in the feedback loop to mimic the continuous loss of high-frequencies over large distances and on reflections.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27891" PostHistoryTypeId="2" PostId="17291" RevisionGUID="3873dd33-3795-4270-94de-e1fe42033580" CreationDate="2012-12-10T17:45:54.623" UserId="432" Text="Check out this explanation of monitor calibration: http://www.dynamicinterference.com/blog/2010/09/quick-and-dirty-monitor-calibration/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27898" PostHistoryTypeId="2" PostId="17294" RevisionGUID="0dc79792-b04f-4e13-bf8a-467d60b69762" CreationDate="2012-12-10T19:57:55.143" UserId="5539" Text="hi, i need to route the audio out of different software (e.g. browser, audio player) through different channels of my soundcard (rme babyface). but i can't find suitable audio players, they all seem to use ch 1+2 with no option to select other playback channels. which audio player for OSX supports multi channel soundcards? " ContentLicense="CC BY-SA 3.0" />
  <row Id="27899" PostHistoryTypeId="1" PostId="17294" RevisionGUID="0dc79792-b04f-4e13-bf8a-467d60b69762" CreationDate="2012-12-10T19:57:55.143" UserId="5539" Text="osx audio player with selectable soundcard output?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27900" PostHistoryTypeId="3" PostId="17294" RevisionGUID="0dc79792-b04f-4e13-bf8a-467d60b69762" CreationDate="2012-12-10T19:57:55.143" UserId="5539" Text="&lt;macosx&gt;&lt;playback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27901" PostHistoryTypeId="2" PostId="17295" RevisionGUID="d7869dc0-c923-4c7f-891e-9124c46f9bbb" CreationDate="2012-12-10T20:07:19.693" UserId="432" Text="Have you tested out using Cycling 74's [Soundflower][1]? Not exactly what you're asking for, but it might provide a useful (free) solution for you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://cycling74.com/products/soundflower/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27902" PostHistoryTypeId="2" PostId="17296" RevisionGUID="665b8142-46f0-4fea-9df8-2819712fd133" CreationDate="2012-12-10T21:18:34.597" UserId="6460" Text="You might try opening the Audio/MIDI setup in the Applications-&gt;Utilities folder. In the audio window, click on the Babyface, and click the &quot;Speaker Configuration&quot; button. It should allow you to select a channel of the interface for the L/R outputs from the system.&#xD;&#xA;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="27903" PostHistoryTypeId="2" PostId="17297" RevisionGUID="c7ecfe13-ebf8-4b83-b090-0c42df70e8a6" CreationDate="2012-12-11T02:55:43.853" UserId="5540" Text="I have 2 of them and works pretty good, I also have some second hand like ADCOM GFA-545II, PROTON D940 and some Marantz, Onkyos and Yamahas(MX-830), the Behringer sounds better than all those, construction is sturdy and heavy. When the amp is on you feel it." ContentLicense="CC BY-SA 3.0" />
  <row Id="27904" PostHistoryTypeId="2" PostId="17298" RevisionGUID="62f1a7fb-278d-46fb-af07-9823c4d7425d" CreationDate="2012-12-11T07:43:32.873" UserId="5541" Text="Hi &#xD;&#xA;&#xD;&#xA;I am new to the movie making. I have shot a small film and doing re recoding and finding it very difficult to do. Can anyone please suggest sound/dialouge recording softwares where I can reduce the echo, and edit the sounds.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Naimuddin" ContentLicense="CC BY-SA 3.0" />
  <row Id="27905" PostHistoryTypeId="1" PostId="17298" RevisionGUID="62f1a7fb-278d-46fb-af07-9823c4d7425d" CreationDate="2012-12-11T07:43:32.873" UserId="5541" Text="Good dialouge Recording Software" ContentLicense="CC BY-SA 3.0" />
  <row Id="27906" PostHistoryTypeId="3" PostId="17298" RevisionGUID="62f1a7fb-278d-46fb-af07-9823c4d7425d" CreationDate="2012-12-11T07:43:32.873" UserId="5541" Text="&lt;recording&gt;&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27907" PostHistoryTypeId="5" PostId="17298" RevisionGUID="f7aa123e-ee11-4c07-a553-ad63e9d24ab7" CreationDate="2012-12-11T11:19:52.397" UserDisplayName="user80" Comment="added 7 characters in body; edited title" Text="Hi &#xD;&#xA;&#xD;&#xA;I am new to the movie making. I have shot a small film and doing re-recording and finding it very difficult to do. Can anyone please suggest sound/dialouge recording software which I can use to reduce the echo, and edit the sounds.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Naimuddin" ContentLicense="CC BY-SA 3.0" />
  <row Id="27908" PostHistoryTypeId="4" PostId="17298" RevisionGUID="f7aa123e-ee11-4c07-a553-ad63e9d24ab7" CreationDate="2012-12-11T11:19:52.397" UserDisplayName="user80" Comment="added 7 characters in body; edited title" Text="Good dialogue Recording Software" ContentLicense="CC BY-SA 3.0" />
  <row Id="27909" PostHistoryTypeId="2" PostId="17299" RevisionGUID="2b21f719-4968-4d80-8176-8d367f1423f0" CreationDate="2012-12-11T11:35:29.167" UserId="5542" Text="Hey guys, &#xD;&#xA;&#xD;&#xA;I'm a long time lurker on this network! Love it.&#xD;&#xA;&#xD;&#xA;I just got my first gig as a an all around sound guy on a movie (the on site recording is done by other people). It's a 240 minute movie, a sort of documentary type one, but including actors.&#xD;&#xA;&#xD;&#xA;I'm trying to clean up  the dialogue in one of the parts, but I find it nearly impossible! There is this broadband noise that when cleaned up, destroys the voices. I can get away with some level of noise, as as far as I know the director doesn't want it super polished. But I have no luck getting to a satisfying point.&#xD;&#xA;&#xD;&#xA;This are two soundclips:&#xD;&#xA;https://soundcloud.com/misterve/noisy-forest-02&#xD;&#xA;&#xD;&#xA;The action is in the forest. there's constant broadband noise there, how do I go about cleaning it?&#xD;&#xA;&#xD;&#xA;Thank you very much!&#xD;&#xA;&#xD;&#xA;Have a great week!,&#xD;&#xA;Mister Ve" ContentLicense="CC BY-SA 3.0" />
  <row Id="27910" PostHistoryTypeId="1" PostId="17299" RevisionGUID="2b21f719-4968-4d80-8176-8d367f1423f0" CreationDate="2012-12-11T11:35:29.167" UserId="5542" Text="Very difficult noisy dialogue, can it even be cleaned up?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27911" PostHistoryTypeId="3" PostId="17299" RevisionGUID="2b21f719-4968-4d80-8176-8d367f1423f0" CreationDate="2012-12-11T11:35:29.167" UserId="5542" Text="&lt;denoiser&gt;&lt;noise&gt;&lt;dialogue&gt;&lt;cleaning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27912" PostHistoryTypeId="2" PostId="17300" RevisionGUID="80e5d64d-5144-4138-abab-075dac263082" CreationDate="2012-12-11T11:46:56.107" UserId="5542" Text="You can always try the free Audacity, or the amazingly cheap Cockos Reaper! I suggest the latter. Free full test, unlimited in time. Prices of Reaper:&#xD;&#xA;$225: full commercial license.&#xD;&#xA;$60:  discounted license.&#xD;&#xA;&#xD;&#xA;http://audacity.sourceforge.net/&#xD;&#xA;&#xD;&#xA;http://www.reaper.fm/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27913" PostHistoryTypeId="2" PostId="17301" RevisionGUID="34c6ef50-92c0-41c3-be34-dec7b5975df1" CreationDate="2012-12-11T12:44:13.450" UserId="3519" Text="If you allow the download option in soundcloud, I can try to clean it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27914" PostHistoryTypeId="2" PostId="17302" RevisionGUID="dd386c0d-3a89-43db-b352-2527384b3259" CreationDate="2012-12-11T12:49:49.587" UserId="432" Text="This is a documentary. You can get away with noise in the production audio, and people will accept it. They key point is whether or not the audio is intelligible. Listening to that example you linked to, I would suggest you leave it alone. The noise floor, while present, is not interfering with my ability to pick out the phonemes. Give it some EQ to reinforce the voices just slightly, and leave it alone beyond that.&#xD;&#xA;&#xD;&#xA;Don't fall into the trap of trying to have everything sound pristine. In documentaries, you should preserve some of those sonic characteristics of the location." ContentLicense="CC BY-SA 3.0" />
  <row Id="27918" PostHistoryTypeId="2" PostId="17304" RevisionGUID="40f49db9-d52f-40b9-9614-ea3d4bff9282" CreationDate="2012-12-11T15:18:17.470" UserId="5526" Text="1. It is best to use the extra head room for dynamics rather than continuous loudness, especially in a horror film, dynamics is your most powerful tool.&#xD;&#xA;&#xD;&#xA;2. Set up a monitor level to a standard 85 dB, ten use your ears. While working on loud scenes for an extended period you can reduce the SPL to say 80, but switch back to 85 from time to time to check your work. Then &quot;If it sounds good, it IS good!&quot;&#xD;&#xA;&#xD;&#xA;3. Off screen can be distracting if unmotivated by action. For example, sounds that seem to come from off screen are distracting when the source is on screen. If you've established that the dialog comes out of the center speaker, you need to respect that with your effects, too. It's significant when breathing leaves the center, so use that consciously to build dread. Breathing coming from all around the 5.1 space implies that we are seeing the POV of the breather.&#xD;&#xA;&#xD;&#xA;Have fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="27920" PostHistoryTypeId="2" PostId="17305" RevisionGUID="7113d3da-4e92-4186-b0db-818770a8f521" CreationDate="2012-12-11T15:33:52.777" UserId="4089" Text="I don't know how to really reduce much echo.  That should be taken care of while recording, not after.&#xD;&#xA;&#xD;&#xA;Like @Mister Ve said, : Reaper is inexpensive and comes with an abundance of quality plugins." ContentLicense="CC BY-SA 3.0" />
  <row Id="27922" PostHistoryTypeId="2" PostId="17307" RevisionGUID="84683ed1-94fc-4a78-bbd6-6f5c55212977" CreationDate="2012-12-11T17:39:56.760" UserId="5526" Text="The front speakers should be full range in either case. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27923" PostHistoryTypeId="2" PostId="17308" RevisionGUID="eb24b255-7bec-4de0-a9a2-eb62390b6214" CreationDate="2012-12-11T19:10:11.433" UserId="994" Text="Reducing echo is not impossible, but it's quite new technological thing (as a plugin for audio use), there's actually one plugin which does it pretty good with some deconvolution algorithm, but it's not classical workflow.&#xD;&#xA;&#xD;&#xA;What you should consider and what would be usually done is just recording ADR (automatic dialogue replacement), which is process of recording and replacing bad dialogue lines - distorted, with to much reverb or noise.&#xD;&#xA;&#xD;&#xA;If reverb or echo is not so big using a smooth expander might help to keep longer tails of reverb on lower level." ContentLicense="CC BY-SA 3.0" />
  <row Id="27924" PostHistoryTypeId="2" PostId="17309" RevisionGUID="122bdd58-2b0e-4d17-ad90-7f92f171ca6c" CreationDate="2012-12-11T19:14:02.720" UserId="994" Text="Or learn C++? It's not so hard... :) If you want to do plugins for pro tools, you need to write to avid first, to receive SDK (software development toolkit). VST SDK from steinberg is available for everyone.&#xD;&#xA;&#xD;&#xA;cheers." ContentLicense="CC BY-SA 3.0" />
  <row Id="27925" PostHistoryTypeId="2" PostId="17310" RevisionGUID="c4777181-cc3e-4809-a876-cb53223f3b02" CreationDate="2012-12-11T19:30:11.487" UserId="238" Text="Do you mean you want to reduce echo that is in a recording you have already made? If so, you can have a look at these plugins that can be of help:&#xD;&#xA;&#xD;&#xA;http://www.zynaptiq.com/unveil/&#xD;&#xA;&#xD;&#xA;http://spl.info/produkte/analog-coder-plug-ins/microplugs/de-verb.html&#xD;&#xA;&#xD;&#xA;These both run as plugins so will need to be hosted in a DAW software (or audio editor that features plugin support). A DAW can also be a solution for editing your audio. &#xD;&#xA;&#xD;&#xA;Many, many upcoming filmmakers overlook the importance of audio. If it is something that really interests you, then why not take on the challenge of editing and mixing. But you should be aware that there is a lot of skill involved and it's not something that can be learned overnight. &#xD;&#xA;&#xD;&#xA;The best is to have the cleanest possible audio to work with in the first place. However, if you do have poorly recorded dialogue you may also need to consider re-recording the dialogue (ADR). &#xD;&#xA;&#xD;&#xA;As for which software to use, just type &quot;audio editor&quot; or &quot;DAW&quot; in the search field of this site and you'll find plenty of useful tips. " ContentLicense="CC BY-SA 3.0" />
  <row Id="27928" PostHistoryTypeId="2" PostId="17311" RevisionGUID="766cbe7d-5e85-49ea-aec5-c717d4b806a9" CreationDate="2012-12-11T21:16:21.567" UserId="5543" Text="greetings&#xD;&#xA;&#xD;&#xA;*Im a newbie Sound Designer/Audio Engineer and still learning..&#xD;&#xA;ive been a long time lurker here in this forums..and ive learn a lot..&#xD;&#xA;but this time ive decided to register for good..thats all for a short intro*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;this has been a good community..i wonder if theres a site which offers files for practice purposes on audio for video post/sound design..&#xD;&#xA;&#xD;&#xA;In Music Mixing we had a site which generously offers free multitracks like this&#xD;&#xA;*http://www.cambridge-mt.com/ms-mtk.htm*&#xD;&#xA;&#xD;&#xA;Anyone can share if theres existing such as this for Audio post/sound design&#xD;&#xA;or any ideas that you can recommend me..&#xD;&#xA;&#xD;&#xA;more power" ContentLicense="CC BY-SA 3.0" />
  <row Id="27929" PostHistoryTypeId="1" PostId="17311" RevisionGUID="766cbe7d-5e85-49ea-aec5-c717d4b806a9" CreationDate="2012-12-11T21:16:21.567" UserId="5543" Text="Audio for Video Post Production..Practice Files/resource Files" ContentLicense="CC BY-SA 3.0" />
  <row Id="27930" PostHistoryTypeId="3" PostId="17311" RevisionGUID="766cbe7d-5e85-49ea-aec5-c717d4b806a9" CreationDate="2012-12-11T21:16:21.567" UserId="5543" Text="&lt;recommendations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27931" PostHistoryTypeId="2" PostId="17312" RevisionGUID="56c40272-d41d-4df6-8fbf-49181a673a83" CreationDate="2012-12-11T21:25:53.270" UserId="3008" Text="Finally I got a 46&quot; Sony Led and it has been working pretty well. I haven't noticed any noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="27934" PostHistoryTypeId="2" PostId="17314" RevisionGUID="e7212742-5a50-43b9-9532-d016eeb36226" CreationDate="2012-12-12T00:22:07.487" UserId="6524" Text="You can learn a lot from just listening to films, listen to how it's layered together I like to start with the backgrounds, then sound effects, foley and finally dialog. Ask yourself why they used that sound, how does it make you feel or what do you think it's trying to convey, this can help you when editing sounds together to tell the story rather than just the &quot;See a Sound Cut a Sound&quot; approach. &#xD;&#xA;&#xD;&#xA;If you own a Digital Audio Workstation I guess the best thing you could do is look for a scene in a Movie, TV Show or Game Cinematic and redo all the sounds, there are sites like [FreeSound][1] and [Sound Bible][2] to get access to free SFX's, also a lot of companies and independent sound effect recordists like to give away some of their sounds for &quot;free&quot; if you check their websites ([Blastwave FX][3], [Boom Library][4], [Hiss and a Roar][5] and [Hart FX][6]). Also there are books like David Lewis Yewdall's &quot;The Practical Guide To Motion Picture Sound 4th Edition&quot; &amp; &quot;The Game Audio Tutorial&quot; by Dave Raybould &amp; Richard Stevens that provide Sound Effects for you to learn and practice with, they even have websites with loads of resources. Especially on [David Yewdall's book-site][7] there's so many great videos to learn from on there. One thing to keep in mind is that these may be free but make sure you read and know all the legalities of what your allowed to do with the sounds you get. Welcome to the community and all the best. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org&#xD;&#xA;  [2]: http://soundbible.com/&#xD;&#xA;  [3]: http://www.blastwavefx.com/&#xD;&#xA;  [4]: http://www.boomlibrary.com/&#xD;&#xA;  [5]: http://hissandaroar.com/&#xD;&#xA;  [6]: http://hartfx.net/&#xD;&#xA;  [7]: http://booksite.focalpress.com/9780240812403/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27935" PostHistoryTypeId="2" PostId="17315" RevisionGUID="916ca912-8596-4beb-87dc-3d368c46ed85" CreationDate="2012-12-12T00:33:46.723" UserId="61" Text="I've used Structure fairly successfully since it first debuted but am having difficulty figuring out how to build my own multichannel patches. When I open up an instance of Structure that is more than two channels (quad, 5.0, 5.1) and build a patch using the LCR panners in the Edit mode, all I get is LR output. I've poked around searching for some other way of panning samples within a patch but haven't found the solution yet.&#xD;&#xA;&#xD;&#xA;Anyone out there able to shed some light on this? Thanks -" ContentLicense="CC BY-SA 3.0" />
  <row Id="27936" PostHistoryTypeId="1" PostId="17315" RevisionGUID="916ca912-8596-4beb-87dc-3d368c46ed85" CreationDate="2012-12-12T00:33:46.723" UserId="61" Text="Avid's Structure sampler - who's building their own multichannel patches?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27937" PostHistoryTypeId="3" PostId="17315" RevisionGUID="916ca912-8596-4beb-87dc-3d368c46ed85" CreationDate="2012-12-12T00:33:46.723" UserId="61" Text="&lt;avid&gt;&lt;sampler&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27938" PostHistoryTypeId="2" PostId="17316" RevisionGUID="9578aabb-d33e-4b24-9ef9-3eb57ca3b50b" CreationDate="2012-12-12T01:28:50.940" UserId="444" Text="End Goal: To make a clean dialogue track sound as if it was recorded with a lav mic.&#xD;&#xA;&#xD;&#xA;Background Info: An actor was not mic'd during a production.  I did not have access to any of the other lav mics used during production for the ADR recording. (A Neumann TLM103 was used). &#xD;&#xA;&#xD;&#xA;I've EQ'd the dialogue to fit the space, mimicked the space of the location, added the room tone of the location.  I've also added a very soft distortion, and even gated an AC noise generator into the dialogue track. &#xD;&#xA;&#xD;&#xA;Yet it still sounds too clean to my ears. My next attempt is to Re-Amp the recorded track through an old mixer, a PA, or either a guitar or keyboard amp. (I wont have access to the production mixers gear, but I maybe able to get a list of the gear he used).&#xD;&#xA;&#xD;&#xA;My question: Has anyone here had a similar challenge in processing a dialogue track and can share their techniques, or dos anyone have any further suggestions on what to try.&#xD;&#xA;&#xD;&#xA;Thank You.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27939" PostHistoryTypeId="1" PostId="17316" RevisionGUID="9578aabb-d33e-4b24-9ef9-3eb57ca3b50b" CreationDate="2012-12-12T01:28:50.940" UserId="444" Text="Dirtying up an ADR track" ContentLicense="CC BY-SA 3.0" />
  <row Id="27940" PostHistoryTypeId="3" PostId="17316" RevisionGUID="9578aabb-d33e-4b24-9ef9-3eb57ca3b50b" CreationDate="2012-12-12T01:28:50.940" UserId="444" Text="&lt;adr&gt;&lt;mixing&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27941" PostHistoryTypeId="2" PostId="17317" RevisionGUID="82dd5be4-d557-4270-bd63-ff28ce9a8df5" CreationDate="2012-12-12T01:45:57.700" UserId="444" Text="Regal just built a brand new theatre in my area and along with IMAX it has it's own brand of theatre called RPX (Regal Premium Experience).&#xD;&#xA;&#xD;&#xA;I have an inside friend who got a chance to watch a movie in the RPX theatre before it opened, and she was amazed at how it sounded. She even suggested it was better then other theatre's in town (also owned buy Regal, but not RPX).&#xD;&#xA;&#xD;&#xA;I'm wondering what goes into the playback of the sound in one of these RPX theatre's?  Is it different then the standard Dolby, or DTS playback systems? Is it just a marketing tool to get people to buy tickets?&#xD;&#xA;&#xD;&#xA;I checked the Regal site, and it gives no technical information.  So I figured I'd ask around here to see if anyone knows more about the sound technology inside a Regal RPX!&#xD;&#xA;&#xD;&#xA;Edit: I've since learned one RPX in NYC is a 9.1 system." ContentLicense="CC BY-SA 3.0" />
  <row Id="27942" PostHistoryTypeId="1" PostId="17317" RevisionGUID="82dd5be4-d557-4270-bd63-ff28ce9a8df5" CreationDate="2012-12-12T01:45:57.700" UserId="444" Text="The sound in Regal's RPX Theatre's" ContentLicense="CC BY-SA 3.0" />
  <row Id="27943" PostHistoryTypeId="3" PostId="17317" RevisionGUID="82dd5be4-d557-4270-bd63-ff28ce9a8df5" CreationDate="2012-12-12T01:45:57.700" UserId="444" Text="&lt;playback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27944" PostHistoryTypeId="2" PostId="17318" RevisionGUID="5be6b1aa-20fc-4cd9-9e4b-f6a23d264cb3" CreationDate="2012-12-12T02:43:14.867" UserDisplayName="user6508" Text="If you're not doing this already, try adding fill from the production track under the ADR. Another thing that might help is adding foley cloth.  In the past I've had luck using production fill that has some movement on it, wether it be cloth, feet or background movement depending on if it works with picture.  Granted this tends to work when it's just a line or two and not a whole scene worth.  Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="27945" PostHistoryTypeId="2" PostId="17319" RevisionGUID="6b9dbe42-c88a-42a8-9eb6-0db44df851b5" CreationDate="2012-12-12T03:14:11.910" UserId="6524" Text="This is going to be pretty broad cause this stuff just confuses me so I wondering, if you guy's could give me some resources to check out so I can understand them a little better. I don't even know how to ask a question so I'll just list it out what I'd like to learn haha:&#xD;&#xA;&#xD;&#xA; - LKFS&#xD;&#xA;&#xD;&#xA; - Leq&#xD;&#xA;&#xD;&#xA; - Weighting Filters&#xD;&#xA;&#xD;&#xA; - Dialnorm&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="27946" PostHistoryTypeId="1" PostId="17319" RevisionGUID="6b9dbe42-c88a-42a8-9eb6-0db44df851b5" CreationDate="2012-12-12T03:14:11.910" UserId="6524" Text="Understanding Loudness &amp; Broadcast Standards" ContentLicense="CC BY-SA 3.0" />
  <row Id="27947" PostHistoryTypeId="3" PostId="17319" RevisionGUID="6b9dbe42-c88a-42a8-9eb6-0db44df851b5" CreationDate="2012-12-12T03:14:11.910" UserId="6524" Text="&lt;broadcasting&gt;&lt;loudness&gt;&lt;level&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27948" PostHistoryTypeId="2" PostId="17320" RevisionGUID="c906dbff-367e-40c8-80fa-8eb83f2f25eb" CreationDate="2012-12-12T03:26:03.873" UserId="6532" Text="I know the topic of exterior BGs for interior scenes has already received a lot of attention here. However, my question is more specifically related to how to mix them.&#xD;&#xA;&#xD;&#xA;I'm working on a scene that takes place in the living room of a fairly nice house close to the beach. One of the backgrounds are distant ocean waves, recorded at what I believe to be the right perspective in terms of distance (e.g. there are no close-up water laps). However, no matter what I try, the waves still sound very much exterior and not at all like they would sound when perceived from the inside. I've tried various degrees of Hi-Cuts and Roll-Offs, compression (so that quieter parts don't get lost completely when I play everything very low), I've played around with the stereo image, heck, I've even blurred the sound a bit by convolving it with a bit of noise. All to no avail as it seems.&#xD;&#xA;&#xD;&#xA;Any suggestions? How do you deal with exterior backgrounds in interior scenes?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27949" PostHistoryTypeId="1" PostId="17320" RevisionGUID="c906dbff-367e-40c8-80fa-8eb83f2f25eb" CreationDate="2012-12-12T03:26:03.873" UserId="6532" Text="Mixing exterior backgrounds for interior scenes" ContentLicense="CC BY-SA 3.0" />
  <row Id="27950" PostHistoryTypeId="3" PostId="17320" RevisionGUID="c906dbff-367e-40c8-80fa-8eb83f2f25eb" CreationDate="2012-12-12T03:26:03.873" UserId="6532" Text="&lt;background&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27951" PostHistoryTypeId="2" PostId="17321" RevisionGUID="bdf6ea99-7beb-4d0e-9305-a16c6bee2fd6" CreationDate="2012-12-12T04:05:16.367" UserId="5526" Text="Greg is right about the necessity of filling with crap from the production tracks and Foley. That's probably the #1 requirement for getting ADR to seem real.&#xD;&#xA;&#xD;&#xA;Varying the gain and EQ as the on screen actor moves about will help. Imagine what it would sound like if the actor were facing toward or away from a boom mic above the camera position, or something.&#xD;&#xA;&#xD;&#xA;If you are using noise reduction on the production tracks in the film (or even if you're not), use the same processes on the ADR, it will help screw up the ADR a bit to sound like the production." ContentLicense="CC BY-SA 3.0" />
  <row Id="27952" PostHistoryTypeId="2" PostId="17322" RevisionGUID="3c47817e-92dc-4193-af75-64de46f52ac8" CreationDate="2012-12-12T05:49:12.897" UserId="1228" Text="&gt; recorded at what I believe to be the right perspective in terms of distance&#xD;&#xA;&#xD;&#xA;I believe this is why you are hitting a roadblock.  Just because something was recorded according to reality does not mean it will translate in a mix the same way.  In cutting BGz, 95% of the time this has proven true for me.  We 'cheat' sounds all the time.  It's all &quot;what sounds good, is good&quot;.  The crisper and more defined your sound is (versus blurred by distance), the better it will read when played low.  But even then, it's all about layers.  One track of waves likely won't do it.  My guess is it will take 2-3 of the right ones to play off of one another, maybe even 4.  Also, try panning them toward the middle t be about 50% width - I do this sometimes with traffic for interiors when it feels too wide.  Usually too this stuff will play low against roomtone, just to tickle the ear." ContentLicense="CC BY-SA 3.0" />
  <row Id="27953" PostHistoryTypeId="5" PostId="17322" RevisionGUID="7c4f3279-7241-4cde-b0e2-5cd35a046c8f" CreationDate="2012-12-12T05:54:27.843" UserId="1228" Comment="added 406 characters in body; added 170 characters in body" Text="&gt; recorded at what I believe to be the right perspective in terms of distance&#xD;&#xA;&#xD;&#xA;I believe this is why you are hitting a roadblock.  Just because something was recorded according to reality does not mean it will translate in a mix the same way.  In cutting BGz, 95% of the time this has proven true for me.  We 'cheat' sounds all the time.  It's all &quot;what sounds good, is good&quot;.  The crisper and more defined your sound is (versus blurred by distance), the better it will read when played low.&#xD;&#xA;&#xD;&#xA;A good example is wind.  Wind in a forest usually sounds boring, even when recorded.  but that's why build in layers with different types of isolated wind recordings to create a texture which both fits the mood, and is hyper real enough that it cuts thru the mix, but realistic enough that the audience will buy it.  My feeling is that you're getting stumped because your approach is too literal.&#xD;&#xA;&#xD;&#xA;  But even then, it's all about layers.  One track of waves likely won't do it.  My guess is it will take 2-3 of the right ones to play off of one another, maybe even 4.  Also, try panning them toward the middle t be about 50% width - I do this sometimes with traffic for interiors when it feels too wide.  Usually too this stuff will play low against roomtone, just to tickle the ear.&#xD;&#xA;&#xD;&#xA;So I guess what I'm getting at here is that before even asking the question of mixing them, the more important question is: did I choose the right source to begin with?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27954" PostHistoryTypeId="5" PostId="17319" RevisionGUID="6d2a3676-305b-425a-b737-6cf81f0ed84a" CreationDate="2012-12-12T05:54:56.063" UserId="6524" Comment="added 24 characters in body" Text="This is going to be pretty broad cause this stuff just confuses me so I wondering, if you guy's could give me some resources to check out so I can understand them a little better. I don't even know how to ask a question so I'll just list it out what I'd like to learn haha:&#xD;&#xA;&#xD;&#xA; - LKFS&#xD;&#xA;&#xD;&#xA; - Leq&#xD;&#xA;&#xD;&#xA; - Weighting Filters&#xD;&#xA;&#xD;&#xA; - Dialnorm&#xD;&#xA;&#xD;&#xA; - Intersample Peaks&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="27955" PostHistoryTypeId="2" PostId="17323" RevisionGUID="d31f29c0-1fd7-4586-a606-b4230c0220c8" CreationDate="2012-12-12T06:32:13.963" UserId="5545" Text="An option would be suction cups, the ones with levers to create the vacuum. I have found them in large box home stores such as Home Depot and also in hardware stores such as Northern Tools or Harbor Freight.&#xD;&#xA;&#xD;&#xA;If you elect to use a suction cup, be sure the paint is clean. Spray a bit of water on the surface to give the suction cup a bit more grip.&#xD;&#xA;&#xD;&#xA;I have purchased devices with four suction cups designed with two pairs of suction cups connected with a hollow round bar. I figure I will be clamping something on that round bar and am afraid I will crush or break it. So to prevent damage I cut a short length of wood dowel, coat it with roofing cement and jam the whole mess down the hollow tube. After a week or so the cement has set and now I can securely clamp most anything onto the tube." ContentLicense="CC BY-SA 3.0" />
  <row Id="27956" PostHistoryTypeId="2" PostId="17324" RevisionGUID="242e4fec-2d67-46a0-9add-f7328b9253f6" CreationDate="2012-12-12T06:54:13.177" UserId="5545" Text="I buy mine from Shirley who owns Gig Wig Windscreens in Tennessee USA.&#xD;&#xA;&#xD;&#xA;http://www.GigWigWindscreens.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="27957" PostHistoryTypeId="2" PostId="17325" RevisionGUID="ee395e86-efcc-4902-aa97-98c9f47c40c4" CreationDate="2012-12-12T07:03:22.407" UserId="6532" Text="Bad news first: if you want to develop RTAS plugins, you're pretty much out of luck. Pro Tools is the only major DAW that doesn't have an open plugin SDK; you have to apply to Avid directly and get approved, which, while free, is very unlikely to happen.&#xD;&#xA;&#xD;&#xA;Now the good news: the VST SDK is free and open, and if you're willing to shell out a bit of money for FXPansion's VST to RTAS wrapper, you can use your VSTs in Pro Tools. That's how I'm doing it.&#xD;&#xA;&#xD;&#xA;Xcode ist just an IDE (Integrated Development Environment), so if you're on a Mac you'll probably end up using it for your coding no matter what SDK you're programming with.&#xD;&#xA;&#xD;&#xA;Lastly, most SDKs I know of are written in C or C++, so make sure to brush up on your programming skills." ContentLicense="CC BY-SA 3.0" />
  <row Id="27958" PostHistoryTypeId="2" PostId="17326" RevisionGUID="30e0055d-8fd9-4069-ba87-fc565ca63fb9" CreationDate="2012-12-12T09:51:32.633" UserId="3093" Text="Hey there,&#xD;&#xA;&#xD;&#xA;My mother really likes to build those miniature cities that many build at this time of the year, with &quot;tiny persons&quot; and houses, mini cars etc.. so I thought it would be nice to give a soundscape to the city. &#xD;&#xA;&#xD;&#xA;My idea is to build a long-enough track so that when you stop and stare at it for a while, you don't quickly realize that it already looped to were you first started to listen to it. &#xD;&#xA;&#xD;&#xA;So I came up with a challenge I still can't resolve, do you guys know of any way I can lets say, ensamble a library with sounds to be used (all of them) and with some software choose randomly between them? ofcourse with the ability to play several at the same time as there would be ambiences but also specific sounds like ice skates or bells of some sort (reminding us of chrismtas :) )&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="27959" PostHistoryTypeId="1" PostId="17326" RevisionGUID="30e0055d-8fd9-4069-ba87-fc565ca63fb9" CreationDate="2012-12-12T09:51:32.633" UserId="3093" Text="Idea on how to randomly choose sounds from specified files" ContentLicense="CC BY-SA 3.0" />
  <row Id="27960" PostHistoryTypeId="3" PostId="17326" RevisionGUID="30e0055d-8fd9-4069-ba87-fc565ca63fb9" CreationDate="2012-12-12T09:51:32.633" UserId="3093" Text="&lt;sound-design&gt;&lt;fun&gt;&lt;software&gt;&lt;ideas&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27961" PostHistoryTypeId="2" PostId="17327" RevisionGUID="bca25400-f50f-459e-a7eb-c2a7423e4155" CreationDate="2012-12-12T10:20:28.787" UserId="5511" Text="What's everyone's favourite way of making glitchy sound effects and manipulating dialogue in a glitch-style way?&#xD;&#xA;&#xD;&#xA;I'm quite partial to just chopping up the waveform into tiny segments and stitching them together in interesting ways... Using Ableton's grain delay and beat repeat is quite a good method to get some more fluid control over them too.&#xD;&#xA;&#xD;&#xA;Any other great tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27962" PostHistoryTypeId="1" PostId="17327" RevisionGUID="bca25400-f50f-459e-a7eb-c2a7423e4155" CreationDate="2012-12-12T10:20:28.787" UserId="5511" Text="Glitchy sound effects" ContentLicense="CC BY-SA 3.0" />
  <row Id="27963" PostHistoryTypeId="3" PostId="17327" RevisionGUID="bca25400-f50f-459e-a7eb-c2a7423e4155" CreationDate="2012-12-12T10:20:28.787" UserId="5511" Text="&lt;glitch&gt;&lt;effect&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27964" PostHistoryTypeId="2" PostId="17328" RevisionGUID="10605d5d-d0ad-4259-92a5-3189bf531894" CreationDate="2012-12-12T10:23:30.927" UserId="1225" Text="dfx Buffer Override, SmartElectronix LiveCut." ContentLicense="CC BY-SA 3.0" />
  <row Id="27965" PostHistoryTypeId="2" PostId="17329" RevisionGUID="b8418bd4-e410-4b00-af16-5cb8b8d7c310" CreationDate="2012-12-12T11:05:44.627" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;What a sweet idea! I guess there are many ways to do this. I would recommend to use Ableton Live or Max Msp. Both have the ability to loop sounds in interesting (non repetitive) ways.&#xD;&#xA;It will take some time to figure it out in Max, Live would be the easiest, youtube some tutorials on it.&#xD;&#xA;As far as selecting sounds, this is just plain and simple work, especially in Live.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27966" PostHistoryTypeId="2" PostId="17330" RevisionGUID="f6b4c06c-7917-410b-8d05-cd7b6ff5d34d" CreationDate="2012-12-12T13:39:04.843" UserId="432" Text="Busy day for me right now, but I'll point you to a blog post I did a little while ago that covers some of the basic of loudness metering: http://www.dynamicinterference.com/blog/2012/04/what-the-hell-do-all-these-letters-and-numbers-mean/&#xD;&#xA;&#xD;&#xA;It'll get you started at least." ContentLicense="CC BY-SA 3.0" />
  <row Id="27967" PostHistoryTypeId="2" PostId="17331" RevisionGUID="f6e52536-8522-4f38-bf40-8ce6b66ed33c" CreationDate="2012-12-12T14:41:28.620" UserId="1216" Text="Interesting article on using 'hum' to find edit points in audio recordings. Not sure if this is useful evidence in all contexts but a great way to see how sound has an 'subliminal' presence and effect :)&#xD;&#xA;&#xD;&#xA;http://www.bbc.co.uk/news/science-environment-20629671&#xD;&#xA;&#xD;&#xA;I am wondering if this also happens with professional gear instead of iPhones or digital dictation devices...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27968" PostHistoryTypeId="1" PostId="17331" RevisionGUID="f6e52536-8522-4f38-bf40-8ce6b66ed33c" CreationDate="2012-12-12T14:41:28.620" UserId="1216" Text="Article: The hum that helps to fight crime" ContentLicense="CC BY-SA 3.0" />
  <row Id="27969" PostHistoryTypeId="3" PostId="17331" RevisionGUID="f6e52536-8522-4f38-bf40-8ce6b66ed33c" CreationDate="2012-12-12T14:41:28.620" UserId="1216" Text="&lt;hum&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27970" PostHistoryTypeId="2" PostId="17332" RevisionGUID="2af3641c-16b1-4460-9b16-00717c80d7d7" CreationDate="2012-12-12T14:50:55.667" UserId="3835" Text="Max/MSP. I make custom patches for all my Post-Digital, Glitch aesthetics.&#xD;&#xA;&#xD;&#xA;Also, try opening up audio in a text editor and edit the text." ContentLicense="CC BY-SA 3.0" />
  <row Id="27972" PostHistoryTypeId="2" PostId="17334" RevisionGUID="e7622733-9b6f-4820-8f84-b68c44efa932" CreationDate="2012-12-12T16:31:26.050" UserId="29" Text="Buffer Override is indeed awesome, as per @Serge, but I also love the SupaTrigga plugin and GleetchLab." ContentLicense="CC BY-SA 3.0" />
  <row Id="27973" PostHistoryTypeId="2" PostId="17335" RevisionGUID="d55fcba8-bda6-435d-bdd9-8c0d72f3123e" CreationDate="2012-12-12T17:17:03.857" UserId="234" Text="If you want to go hardcore... &#xD;&#xA;&#xD;&#xA;http://www.itu.int/rec/R-REC-BS.1770/en&#xD;&#xA;&#xD;&#xA;This is the spec that most North American Broadcasters adhere to when measuring.&#xD;&#xA;&#xD;&#xA;http://www.atsc.org/cms/index.php/standards/recommended-practices/185-a85-techniques-for-establishing-and-maintaining-audio-loudness-for-digital-television&#xD;&#xA;&#xD;&#xA;ATSC's guidelines" ContentLicense="CC BY-SA 3.0" />
  <row Id="27974" PostHistoryTypeId="2" PostId="17336" RevisionGUID="0e3300e7-816f-46b2-834e-989941019b86" CreationDate="2012-12-12T17:45:19.020" UserId="3567" Text="I would add dBlueGlitch:  http://illformed.org/plugins/glitch/&#xD;&#xA;&#xD;&#xA;It is somewhat tamer than the Smartelectronix plugins. Meaning it's easier to control the amount of every effect that you apply, so you no longer have to rely on randomness." ContentLicense="CC BY-SA 3.0" />
  <row Id="27975" PostHistoryTypeId="2" PostId="17337" RevisionGUID="a1f80080-1388-4233-9910-4cb63e4c6bb1" CreationDate="2012-12-12T17:59:46.127" UserId="4272" Text="In Pro Tools, flip on the elastic audio mode to either polyphonic or monophonic.  Set the track to warp and add breakpoints at random.  Stretch out the waveform.  Don't be afraid of the waveform turning red (I believe this indicates potential for artefacts) - in fact, embrace this.  Go crazy with it.  When you're done, for further glitchiness, chop up the clip at random, turn on shuffle mode, and start moving things around.  Try duplicating a few small sections as well for interesting stutter effets.&#xD;&#xA;&#xD;&#xA;I also second the idea to use dblue Glitch &amp; buffer override.  You might also try Image-Line's Gross Beat." ContentLicense="CC BY-SA 3.0" />
  <row Id="27976" PostHistoryTypeId="2" PostId="17338" RevisionGUID="7d73a682-491f-4f8e-95a8-77f41ffbba92" CreationDate="2012-12-12T18:09:02.457" UserId="6432" Text="All of the above, but perhaps a lesser known but interesting glitch box is the [Lost Technology VST][1], especially if your host can randomize all the parameters. I also love to combine it with the [Atlantis filter delay VST][2]. [GrainCube][3] is also good fun.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://rekkerd.org/ce00423/docs/userdoc.html&#xD;&#xA;  [2]: http://www.kvraudio.com/product/atlantis_by_jeremy_evers&#xD;&#xA;  [3]: http://designingsound.org/2010/05/graincube-a-free-reaktor-instrument-for-granular-sound-manipulation/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27977" PostHistoryTypeId="2" PostId="17339" RevisionGUID="f610cb44-fc72-4f3a-9868-92de935cdcc8" CreationDate="2012-12-12T18:21:18.857" UserId="4272" Text="This is obviously done often with game audio, so you might consider using a middleware tool such as Wwise (which is free to download).&#xD;&#xA;&#xD;&#xA;1. Set up a looping city hum sound&#xD;&#xA;2. Use procedural wind (Wwise has a plugin for this built-in)&#xD;&#xA;3. Add some random containers containing your various sound effects &amp; set them to wait a random amount of time before playing the next one.  Having more than one random container will allow more than one sound effect to play at a time.  You can even set up some pitch and volume randomization for greater variety.&#xD;&#xA;&#xD;&#xA;Lots of tutorials online to get you started with Wwise (or try FMod) and I'm thinking this would be easier than setting up a patch in Max/MSP" ContentLicense="CC BY-SA 3.0" />
  <row Id="27978" PostHistoryTypeId="2" PostId="17340" RevisionGUID="a08f2e24-fdb3-4468-901c-af8f5e2affc5" CreationDate="2012-12-12T19:00:08.163" UserId="5526" Text="IZotope's Stutter Edit is pretty good for glitchy." ContentLicense="CC BY-SA 3.0" />
  <row Id="27979" PostHistoryTypeId="2" PostId="17341" RevisionGUID="51cf8303-4bbe-4d04-97bc-4a6900468070" CreationDate="2012-12-12T19:05:45.797" UserId="565" Text="This is a great video explaining intersample peaks.  While they are talking about the metering in Final Cut, the information is still great.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=lQTxSyK-ATI" ContentLicense="CC BY-SA 3.0" />
  <row Id="27980" PostHistoryTypeId="2" PostId="17342" RevisionGUID="bf28d147-50fa-41e3-802e-f83fe6c68339" CreationDate="2012-12-12T19:09:33.073" UserId="234" Text="For a quick and dirty solution, try using a convo-reverb to the approriate room size, set to 100% wet to start, and then adjust filters and mix to taste. MCDSP's Revolver has a great preset called &quot;upstairs-1 floor&quot; that I often use when I need to quickly &quot;interior-ize&quot; an exterior BG." ContentLicense="CC BY-SA 3.0" />
  <row Id="27981" PostHistoryTypeId="2" PostId="17343" RevisionGUID="a6f5e9f7-48d2-4f27-b37a-33afa8915e6c" CreationDate="2012-12-12T19:12:15.127" UserId="208" Text="Hi group&#xD;&#xA;Any of you using a Zaxcom Deva V recorder?&#xD;&#xA;Ive been offered a demo model for around $2000 from a dealer.&#xD;&#xA;Besides the Deva V being an older model, Its still a $10000 plus recorder. There must be some kind of catch here, right?&#xD;&#xA;&#xD;&#xA;Whats your opinion on this one?&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="27982" PostHistoryTypeId="1" PostId="17343" RevisionGUID="a6f5e9f7-48d2-4f27-b37a-33afa8915e6c" CreationDate="2012-12-12T19:12:15.127" UserId="208" Text="Zaxcom Deva V users" ContentLicense="CC BY-SA 3.0" />
  <row Id="27983" PostHistoryTypeId="3" PostId="17343" RevisionGUID="a6f5e9f7-48d2-4f27-b37a-33afa8915e6c" CreationDate="2012-12-12T19:12:15.127" UserId="208" Text="&lt;field&gt;&lt;recording&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27984" PostHistoryTypeId="2" PostId="17344" RevisionGUID="3d5480b6-bfc2-406e-bc46-85f623ec978a" CreationDate="2012-12-12T19:23:52.180" UserId="1216" Text="Hi Mikkel,&#xD;&#xA;&#xD;&#xA;Not a Deva user, but isn't it possible to hire the unit for a day and test it?&#xD;&#xA;You could take it to another dealer and ask for a check up.&#xD;&#xA;&#xD;&#xA;And you can always ask the dealer: why are you selling it?&#xD;&#xA;If he's vague, 'step away from the vehicle' :)&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27985" PostHistoryTypeId="2" PostId="17345" RevisionGUID="7a1f6dcb-2b49-464b-949a-a1ce4e860816" CreationDate="2012-12-12T20:28:08.333" UserId="432" Text="We have a Deva 5.8 at work, and overall it's a great piece of gear. My biggest gripe with the 5.8, and I assume the 5 will have the same issue, is that it's a bitch to get the data off of it. Unlike the Sound Devices gear, it cannot act as an external hard drive with your computer (though I think there may be an adapter you can buy now that let's you do that...not sure). That means you essentially have to transfer the data twice! You mirror the data to a second drive (firewire drive, compact flash card or DVD-RAM), then you can transfer it to your DAW.&#xD;&#xA;&#xD;&#xA;Oh, and that first transfer process from the Deva? Slooooooooooooow. Your best bet is to mirror while recording (yes, that is possible), and depending on how many channels you're recording, bit depth and sample rate, the unit might actually be able to keep up with a real-time mirror. Don't be surprised if it's not actually done mirroring data when you're done recording though. That means you need to leave the unit on to finish the job (or turn it back on again later). Transer is faster at lower sample rates, but since most of us record effects at 96k or higher...&#xD;&#xA;&#xD;&#xA;If you can put up with the workflow annoyances, it's a great machine. I hardly ever use ours for those reasons though. I just don't always have the time to wait. The Nomad and the new Maxx units are far better thought out as far as data transfer afterwards." ContentLicense="CC BY-SA 3.0" />
  <row Id="27986" PostHistoryTypeId="2" PostId="17346" RevisionGUID="142ca908-50ce-455b-84c3-00c30bcea5ed" CreationDate="2012-12-12T20:47:47.330" UserDisplayName="user49" Text="for iPad check out Glitch Breaks" ContentLicense="CC BY-SA 3.0" />
  <row Id="27987" PostHistoryTypeId="2" PostId="17347" RevisionGUID="dfcdc1e3-8e68-4284-b8b2-7fff7749baea" CreationDate="2012-12-12T22:03:10.923" UserId="3784" Text="Hey guys I'm just about to start working on a new show about zombies and robots battling it out in the future. Epic, i know. My question is, obviously good zombie sounds comes from performance, but I'm just trying to think of other routes besides just good performance to make these guys stand out. Ive played with some pitching in UHBIK-G grains and pitch (which has some really cool effects but not exactly what I'm looking for) Ive added teeth chomps when ever they close their mouth (if they have one) I guess I'm just looking for other ideas. I'm a huge fan of the Dawn of the Dead zoms, I guess I'm trying to lean that way, the more aggressive zombie.. not the moaning slow walker no one is really afraid of kind.&#xD;&#xA;&#xD;&#xA;Thanks guys!&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="27988" PostHistoryTypeId="1" PostId="17347" RevisionGUID="dfcdc1e3-8e68-4284-b8b2-7fff7749baea" CreationDate="2012-12-12T22:03:10.923" UserId="3784" Text="Zombies!                                                                                               . " ContentLicense="CC BY-SA 3.0" />
  <row Id="27989" PostHistoryTypeId="3" PostId="17347" RevisionGUID="dfcdc1e3-8e68-4284-b8b2-7fff7749baea" CreationDate="2012-12-12T22:03:10.923" UserId="3784" Text="&lt;zombies&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27990" PostHistoryTypeId="2" PostId="17348" RevisionGUID="4e7ad12e-4a1f-46ea-ac4f-d7ffe39d25ee" CreationDate="2012-12-12T22:45:00.373" UserId="6532" Text="At the risk of stating the obvious: experiment with various animal sounds, especially growls and snarls, and mix them together with the performances. Pitch-shifting will definitely help as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="27991" PostHistoryTypeId="2" PostId="17349" RevisionGUID="78579ec7-ae23-490e-a497-511674570035" CreationDate="2012-12-13T00:01:48.383" UserId="845" Text="A guy who was on the same Masters course as me last year built this as his dissertation project: [http://orfeasboteas.com/dehumaniser/][1]. It's a pretty fun little gadget, might be helpful.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://orfeasboteas.com/dehumaniser/" ContentLicense="CC BY-SA 3.0" />
  <row Id="27992" PostHistoryTypeId="2" PostId="17350" RevisionGUID="8b950938-0f16-4ecc-978c-95c915a1d0e6" CreationDate="2012-12-13T03:24:20.847" UserId="5526" Text="You can find an interesting discussion of &quot;Baby Boom&quot; and Split Surround&quot; and other terms relating to 70mm release prints with magnetic sound here:&#xD;&#xA;&#xD;&#xA;http://www.film-tech.com/ubb/f1/t003513.html&#xD;&#xA;&#xD;&#xA;These formats had 6.0, 4.1, 6.1, and other layouts. There's a chart here:&#xD;&#xA;&#xD;&#xA;http://frank.mtsu.edu/~smpte/table.html&#xD;&#xA;&#xD;&#xA;These 70mm formats from the late 1970s were for limited premium &quot;road show&quot; releases. They preceded the 5.1 revolution and gave experience to the engineers who designed the several 5.1 formats as to what worked well and what didn't. Dolby Digital, DTS and SDDS are all digital formats, which also contain an analog Dolby Stereo SR track for compatibility and as a backup." ContentLicense="CC BY-SA 3.0" />
  <row Id="27994" PostHistoryTypeId="2" PostId="17352" RevisionGUID="8bec8efd-4718-49cc-ba00-817c57ff1315" CreationDate="2012-12-13T05:46:16.197" UserId="18160" Text="Also the obvious but sometimes overlooked for when you need it:&#xD;&#xA;&#xD;&#xA;Ask your buddies if they have children with colds and record them.&#xD;&#xA;&#xD;&#xA;Drink some milk and have some fun in the studio making hocking and throaty sounds.&#xD;&#xA;&#xD;&#xA;I also find ice cream is a good way to generate a lot of phlegm and you can get some great sounds that way." ContentLicense="CC BY-SA 3.0" />
  <row Id="27995" PostHistoryTypeId="2" PostId="17353" RevisionGUID="2a6d1002-da42-4918-ad5a-22e3459f564c" CreationDate="2012-12-13T06:28:59.827" UserId="3567" Text="Looking to revive the deals question. I just upgraded Ableton Live to Suite and got some nice sound libraries from Precisionsound. &#xD;&#xA;&#xD;&#xA;http://www.store.precisionsound.net/index.php  -  50% sale on all samplesets&#xD;&#xA;http://www.synthtopia.com/content/2012/12/04/holiday-deals-for-musicians-2012/&#xD;&#xA;&#xD;&#xA;What are you getting this holidays season? &#xD;&#xA;Any other deals you're aware of?" ContentLicense="CC BY-SA 3.0" />
  <row Id="27996" PostHistoryTypeId="1" PostId="17353" RevisionGUID="2a6d1002-da42-4918-ad5a-22e3459f564c" CreationDate="2012-12-13T06:28:59.827" UserId="3567" Text="Holiday Deals everyone!" ContentLicense="CC BY-SA 3.0" />
  <row Id="27997" PostHistoryTypeId="3" PostId="17353" RevisionGUID="2a6d1002-da42-4918-ad5a-22e3459f564c" CreationDate="2012-12-13T06:28:59.827" UserId="3567" Text="&lt;deals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="27998" PostHistoryTypeId="2" PostId="17354" RevisionGUID="7ac893a1-29ad-43a5-9ef3-a9fc682c41d7" CreationDate="2012-12-13T08:57:18.410" UserId="6748" Text="Here is a full list of december special sound effect libraries: Blastwave FX, BBC, Sound Ideas 50% deals, Sounddogs, Hollywood Edge and my own 5.1 libraries.&#xD;&#xA;Have a look: https://www.soundeffects.ch/soundlibraries_e.php?view=Specials-Deals-Sound-Effect-Libraries&#xD;&#xA;&#xD;&#xA;Also my own libraries are reduced: https://www.soundeffects.ch/soundlibraries_e.php?view=Soundeffects.ch&#xD;&#xA;&#xD;&#xA;I'm happy to help,&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Guido&#xD;&#xA;https://www.soundeffects.ch" ContentLicense="CC BY-SA 3.0" />
  <row Id="27999" PostHistoryTypeId="2" PostId="17355" RevisionGUID="da79bd4a-a10e-46d9-a26f-bed796964ff4" CreationDate="2012-12-13T14:37:34.433" UserId="6499" Text="This is a small thing, but Pro-sound is offering a 25$ gift to use in the rentals or service department.  Just mention the gift via pro sound newsletter/email from Richard Topham Jr. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28000" PostHistoryTypeId="2" PostId="17356" RevisionGUID="c020272a-24b7-4e4a-9a7b-96d42f680ae2" CreationDate="2012-12-13T18:11:18.337" UserId="4272" Text="http://designingsound.org/2012/12/holiday-sales/&#xD;&#xA;&#xD;&#xA;Holiday sales post from designing sound.org&#xD;&#xA;Definitely check out the Boom library's advent calendar of deals.&#xD;&#xA;As for me, I recently made a bunch of Black Friday purchases from Waves." ContentLicense="CC BY-SA 3.0" />
  <row Id="28001" PostHistoryTypeId="2" PostId="17357" RevisionGUID="f5cc0d0b-e1d0-45a0-8b07-78c3c914c8d7" CreationDate="2012-12-13T18:15:29.050" UserId="4272" Text="Just a tip: Blastwave FX recently released a Zombie Apocalypse library that has a ton of awesome sounds that could come in handy for this sort of thing." ContentLicense="CC BY-SA 3.0" />
  <row Id="28002" PostHistoryTypeId="2" PostId="17358" RevisionGUID="bd458742-0b86-4247-8249-837c2ab0ee8d" CreationDate="2012-12-13T20:00:42.460" UserId="4358" Text="Currently a student at Vancouver Film School's Sound Design Program." ContentLicense="CC BY-SA 3.0" />
  <row Id="28003" PostHistoryTypeId="16" PostId="17358" RevisionGUID="bd458742-0b86-4247-8249-837c2ab0ee8d" CreationDate="2012-12-13T20:00:42.460" UserId="-1" />
  <row Id="28004" PostHistoryTypeId="2" PostId="17359" RevisionGUID="0cacb603-07a7-4d28-bd26-5526aa1d54d0" CreationDate="2012-12-13T20:54:34.220" UserId="61" Text="I graduated from Berklee College of Music in 1992 with a degree in Music Production &amp; Engineering. The knowledge and experiences I gained from that major set me on the path to post-production sound, first for commercials and television and eventually to feature films and games." ContentLicense="CC BY-SA 3.0" />
  <row Id="28005" PostHistoryTypeId="16" PostId="17359" RevisionGUID="0cacb603-07a7-4d28-bd26-5526aa1d54d0" CreationDate="2012-12-13T20:54:34.220" UserId="-1" />
  <row Id="28006" PostHistoryTypeId="2" PostId="17360" RevisionGUID="f6a06fde-654b-40cb-91b2-c9f458a2c21a" CreationDate="2012-12-13T22:15:04.167" UserId="4442" Text="I'm not sure what i'm looking for, it's a CRACK not a zzzzap or buzzzzzzzzaw&#xD;&#xA;&#xD;&#xA;Is that like an arc welder spark? I'm looking through a ton of my samples, and I can't seem to find anything. The welding sounds I have are all kind of sustained burning sounds. Not really what I want. All I need is a single CRACK and I can't seem to think of the name. Any help is appreciated.&#xD;&#xA;&#xD;&#xA;The final sound fx is literally going to be 200ms, so that's the kind of quick attack CRACK i'm talking about. I was trying to look up industrial laser cutters on youtube, but they all either have voiceover or music (what I was seeing.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28007" PostHistoryTypeId="1" PostId="17360" RevisionGUID="f6a06fde-654b-40cb-91b2-c9f458a2c21a" CreationDate="2012-12-13T22:15:04.167" UserId="4442" Text="Industrial Laser sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="28008" PostHistoryTypeId="3" PostId="17360" RevisionGUID="f6a06fde-654b-40cb-91b2-c9f458a2c21a" CreationDate="2012-12-13T22:15:04.167" UserId="4442" Text="&lt;sound-design&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28009" PostHistoryTypeId="2" PostId="17361" RevisionGUID="f0e72713-b893-45ba-a616-c72929ae3a60" CreationDate="2012-12-13T22:30:47.070" UserId="2502" Text="maybe this library:&#xD;&#xA;&#xD;&#xA;http://www.tonsturm.com/Soundpacks/files/Electricity.html&#xD;&#xA;&#xD;&#xA;high quality stuff&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28010" PostHistoryTypeId="2" PostId="17362" RevisionGUID="c22c463b-2fbc-4bf6-84d4-b11f7ca0a587" CreationDate="2012-12-14T01:13:01.590" UserId="61" Text="Try a sped-up gunshot? Or whip crack?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28011" PostHistoryTypeId="2" PostId="17363" RevisionGUID="a7424dba-a052-4752-b1f2-ac80346d2609" CreationDate="2012-12-14T01:34:36.423" UserId="5553" Text="@Andres This is not stereo. I think you're confusing stereo with Surround (somehow). This is a SURROUND SOUND mic. It captures audio not on only two planes (one axis), like stereo does, but in an omnidirectional pan that is reproducing the same audio capture that your ears do, in that the mics are placed PRECISELY the same distance apart as your ears.    " ContentLicense="CC BY-SA 3.0" />
  <row Id="28012" PostHistoryTypeId="2" PostId="17364" RevisionGUID="601d9aad-9084-446d-a1f9-5e408ac67405" CreationDate="2012-12-14T01:49:55.110" UserId="3835" Text="I reckon layer a couple together.. I'm thinking the &quot;gun-shot, whip crack&quot; (as mentioned above) and the welding sound enveloped with a big transient..&#xD;&#xA;&#xD;&#xA;You want the high impact transient but the source bonding of electricity so layer the two. Also, make sure you use some really tight, small room reverb to place it in a space.&#xD;&#xA;&#xD;&#xA;hope this helped" ContentLicense="CC BY-SA 3.0" />
  <row Id="28016" PostHistoryTypeId="2" PostId="17366" RevisionGUID="c980251a-bb76-4d83-9b45-c7193a4f3eee" CreationDate="2012-12-14T06:44:12.767" UserId="6460" Text="I would highly recommend Figure 53's Qlab. Qlab is primarily used for live theater sound playback and it has built in functionality that allows you to build looping sound beds fairly simply. You can learn the basics pretty quickly, it's mostly drag-and-drop. You can built a cue list and loop each individual cue. Using your goal as an example, you could have a group cue that randomly picks from the loops within it (e.g., car horn, train pass by, skates). Undearneath, you could have several looping files of basic city noises that always play, and at different looping lengths. Since everything is set on loop, it won't stop playing until you stop it.&#xD;&#xA;&#xD;&#xA;And on top of that, it's totally free for the functions you'd need—a little holiday spirit there :).&#xD;&#xA;&#xD;&#xA;Take a look at www.figure53.com to download Qlab. Here are a few video links that explain the interface pretty well.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=UboXX8pcYpo &lt;br&gt;&#xD;&#xA;http://www.youtube.com/watch?v=F16O_3o428o &lt;br&gt;&#xD;&#xA;http://www.youtube.com/watch?v=6MV9tStpxa0&#xD;&#xA;&#xD;&#xA;Best!&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="28017" PostHistoryTypeId="5" PostId="17299" RevisionGUID="8ef28782-65f1-4202-8458-ce102c21db3d" CreationDate="2012-12-14T07:57:51.390" UserId="5542" Comment="deleted 97 characters in body" Text="Hey guys, &#xD;&#xA;&#xD;&#xA;I'm a long time lurker on this network! Love it.&#xD;&#xA;&#xD;&#xA;I just got my first gig as a an all around sound guy on a movie (the on site recording is done by other people). It's a sort of documentary type one, but including actors.&#xD;&#xA;&#xD;&#xA;I'm trying to clean up  the dialogue in one of the parts, but I find it nearly impossible! There is this broadband noise that when cleaned up, destroys the voices. I can get away with some level of noise, as as far as I know the director doesn't want it super polished. But I have no luck getting to a satisfying point.&#xD;&#xA;&#xD;&#xA;The action is in the forest. there's constant broadband noise there, how do I go about cleaning it?&#xD;&#xA;&#xD;&#xA;Thank you very much!&#xD;&#xA;&#xD;&#xA;Have a great week!,&#xD;&#xA;Mister Ve" ContentLicense="CC BY-SA 3.0" />
  <row Id="28018" PostHistoryTypeId="2" PostId="17367" RevisionGUID="db0e58e2-b28c-42a6-9766-973582eff3a4" CreationDate="2012-12-14T11:47:05.720" UserId="4318" Text="Try to find the sound of two arcs hitting each other in the air. That's where the fast &quot;crack&quot; sound comes from. Look for some library sounds of a Jacobs Ladder, they usually have several of these kinds of sounds. Also, I have used the sound of a very large electrical switch being thrown with good success. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28019" PostHistoryTypeId="2" PostId="17368" RevisionGUID="413d329e-2779-485f-b7e1-13128005b13c" CreationDate="2012-12-14T12:04:20.753" UserId="4318" Text="Problems become most obvious to the general audience when there is a clean bit of audio to compare the dirty one with. Even high quality audio cleaning will have a noticeable effect on the dialog. When that is compared with an alternate track the difference can be much more obvious. &#xD;&#xA;&#xD;&#xA;If you are using multiple sources, you will have to do a certain amount of audio cleaning to the track that doesn't really need it. An audience tends to overlook audio fidelity issues when there is no focal point of higher quality. I have had to deal with the exact same issue in Post, Music and SFX production as well. &#xD;&#xA;&#xD;&#xA;Not to sound cynical, but I have found that the average person is basically a lemming to what there ears are telling them. The point of reference they use to judge quality is often momentary and unskilled. That being said, minus noticeable distortion, phasing and obvious frequency problems you have a good amount of wiggle room I think. &#xD;&#xA;&#xD;&#xA;On a side note, I like to record my field sessions with some low fidelity mics just to taste test them with declared &quot;Audiophile&quot; people. Often, even experienced ears pick out the &quot;Lower Quality&quot; options. Especially if they don't know which mic is which in the first place. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28020" PostHistoryTypeId="2" PostId="17369" RevisionGUID="65c0870d-bf91-4e3b-b598-1ccebbb5e2ec" CreationDate="2012-12-14T12:13:05.147" UserId="805" Text="So I did the sound edit and final mix for a short film a few months ago. The director was happy and signed off the film. Great. But now he has got in touch to ask if I will again do the sound edit for a director's cut of the film. Strangly, the film is only a few seconds longer than the final cut, but the edit is completely different; different takes, new shots that I haven't seen before, cuts in different places and basically an entirely new edit. &#xD;&#xA;&#xD;&#xA;When given the final cut and now the director's cut, both versions were delivered as an MOV with a septerate AAF with embedded audio. The audio was recorded with a non-timecode recorder. I did a lot of work with the final cut audio, making stuff that shouldn't have worked, work. It was a quite poorly recorded production so I had to work hard to make the best of it.&#xD;&#xA;&#xD;&#xA;As far as I can tell, now I have been given this completely new cut, I've got to start from scratch again. I'm just checking that this is the case and there isn't a miracle technique that I've never had to use before?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28021" PostHistoryTypeId="1" PostId="17369" RevisionGUID="65c0870d-bf91-4e3b-b598-1ccebbb5e2ec" CreationDate="2012-12-14T12:13:05.147" UserId="805" Text="Re-syncing Sound to a Directors Cut" ContentLicense="CC BY-SA 3.0" />
  <row Id="28022" PostHistoryTypeId="3" PostId="17369" RevisionGUID="65c0870d-bf91-4e3b-b598-1ccebbb5e2ec" CreationDate="2012-12-14T12:13:05.147" UserId="805" Text="&lt;pro-tools&gt;&lt;timecode&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28023" PostHistoryTypeId="6" PostId="17369" RevisionGUID="bb8c1aaa-f894-40db-81bc-8a4f0dd85035" CreationDate="2012-12-14T12:57:20.073" UserId="805" Comment="edited tags" Text="&lt;pro-tools&gt;&lt;timecode&gt;&lt;sync&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28024" PostHistoryTypeId="2" PostId="17370" RevisionGUID="e080a46e-f129-41d7-81d9-28e3103c5ea0" CreationDate="2012-12-14T13:00:39.080" UserId="238" Text="I'm not sure what other people's experiences have been, but I have been in a similar situation before where I've worked on different versions of a production (i.e. different cuts but essentially using the same source material). Although working for the same agency, these were for two different end clients. I therefore treated these as two separate projects without ever really trying to incorporate my edits from the first film into the second. &#xD;&#xA;&#xD;&#xA;Many of my processes were the same meaning the second project took a little less time than the first. But I never really saw any other option. I did use some noise-reduced vox stems that I had processed in the first project, but as for editing I began the second project from scratch. &#xD;&#xA;&#xD;&#xA;One piece of advice however: ask the director for an omf as well as the .mov. This will make things a lot easier from the outset." ContentLicense="CC BY-SA 3.0" />
  <row Id="28025" PostHistoryTypeId="2" PostId="17371" RevisionGUID="08f452c7-e0f2-48b1-98ac-7fef335c781b" CreationDate="2012-12-14T14:16:12.830" UserId="194" Text="sounds like you've got a common mess on your hands.  &#xD;&#xA;&#xD;&#xA;as much of a pain as it is, you'll probably get a better result from going through the reconform steps than from re-doing the entire thing from scratch.&#xD;&#xA;&#xD;&#xA;There are utilities that can help with this.  Maggot Software's [conformalizer][1] has tools that can compare edls from the first cut and the second cut - detect the changes - and reconform the session.  after that all you have to do is import the new aaf, drag down the additional clips, and smooth out the music and sfx edit. &#xD;&#xA;&#xD;&#xA;This can take time, but it takes far less time than redoing it from scratchn.&#xD;&#xA;&#xD;&#xA;If the editor can't give you edls - conformalizer will let you generate your own change list by comparing the two quicktimes.  this will take forever, but it will still be faster and more accurate than re-doing the entire mix from scratch.  &#xD;&#xA;&#xD;&#xA;check the turoial videos that they have on the website.  Its an expensive program ($1k USD) but there is a free 6 day trial.  If you can get the conform done in 6 days, it will have been worth the effort.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.maggot.co.nz/software/conformalizer.shtml" ContentLicense="CC BY-SA 3.0" />
  <row Id="28026" PostHistoryTypeId="2" PostId="17372" RevisionGUID="09c25af9-87c9-4e77-83f9-62932c7589f4" CreationDate="2012-12-14T15:03:19.080" UserId="1216" Text="I'm curious what the role of the mic was in the production, probably not dialogue recording.&#xD;&#xA;But I especially dislike what director Matthew says in the video: 'A great way to enhance the overall quality of a project, where budget is limited, is through sound and sound design.'. &#xD;&#xA;&#xD;&#xA;While I agree that good audio is essential, claiming that it could 'enhance' a projects overall quality, that is already on a limited budget, is false logic. If there's no money to do proper sound recording, how is any mic setup going to fix that? &#xD;&#xA;&#xD;&#xA;And a binaural mic which you can 'upmix to 5.1'.... I doubt it.&#xD;&#xA;&#xD;&#xA;Nice gadget for some productions, but claiming it's great on low budget film is a sales pitch.&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="28027" PostHistoryTypeId="2" PostId="17373" RevisionGUID="8419c88b-e00b-4463-9791-8d1572cd2115" CreationDate="2012-12-14T15:41:12.853" UserId="2502" Text="I agree with rene. This doesn't sound like a complete redo rather than a chunky re conform with additional work to do with the new material.&#xD;&#xA;&#xD;&#xA;Products like conformalizer and virtual katy exist to help this process but with some thought, and careful editing practice, you should be able to work through the film. &#xD;&#xA;&#xD;&#xA;Save a new session as the director's cut, make a region group of the whole film timeline, copy the entire time line over and from there start hacking wholesale scenes to the new locations and lengths. Region grouping is your best friend. Work in GRID mode at frames obviously and use the audio from the quicktime of the director's cut against your edit, play them along together in a nice phasey mess and when the two tracks go wheels off (a different edit) address the edits and move forward. You can use the original version of the film you copied over from to lift whole scenes and copy them into place.&#xD;&#xA;&#xD;&#xA;different folks have different methods of doing this type of work but you will learn a ton having gone through the process and will tweak your own methods along the way.&#xD;&#xA;&#xD;&#xA;hope that helps.&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="28028" PostHistoryTypeId="2" PostId="17374" RevisionGUID="c313d733-bb62-4b96-aacb-3aed66f26806" CreationDate="2012-12-14T18:52:02.237" UserId="3520" Text="I completed the Master Recording Program at the Conservatory of Recording Arts &amp; Sciences.  It's a full-time, fast-paced, intensive 10 month (approx.) program that focuses more so on the art of capturing quality sound at the source (mic techniques, phase alignment, wave theory, etc.) than sound design, per se.  Much more emphasis on music production than on-set or post-production audio, but they do set aside 3 weeks dedicated to post (introductions to ADR, Foley, sync, etc.).  The internship placement program is a nice bonus, as well.  Plus, it's one of the last remaining schools to teach analog alongside digital.  Even though analog is basically dead to the post world, I would argue that having that understanding of how things are/were done in the analog realm can give you a leg up, or at the very least, a greater understanding of the different levels of a constantly evolving medium and how those levels relate to each other (not to mention, a huge heaping amount of respect for the ground-breakers that came before us, that we all try so hard to emulate, that cut all of their work on tape).  I recommend, however, you're only going to take away as much as you're willing to put in because they cram in an immense amount of knowledge in such a short time span that if you try to coast your way through it you won't be successful.  From there, it was a mixture of luck, timing, skill, persistence, and attitude that helped land me my gig at a post-production studio in L.A. that handles mostly network television and indie film.  Being a musician, I already had a base understanding of sound, but without school I would not be where I am today (partially because I wouldn't have had the confidence to move across the country chasing a &quot;dream&quot; job) and more importantly, now I'll never have to wait tables again! (*knocks on wood)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28029" PostHistoryTypeId="16" PostId="17374" RevisionGUID="c313d733-bb62-4b96-aacb-3aed66f26806" CreationDate="2012-12-14T18:52:02.237" UserId="-1" />
  <row Id="28030" PostHistoryTypeId="2" PostId="17375" RevisionGUID="b9bbcce8-0bb0-45ba-9d85-b3a524bd6ec5" CreationDate="2012-12-14T18:55:49.370" UserId="18160" Text="Couldn't help but notice that when I watched Looper last night, a very familiar sound was used that I instantly recognized from my childhood.&#xD;&#xA;&#xD;&#xA;It was when the hovering motorcycles stall or crash. I'm pretty sure it's the same motor wind-down sound effect that was used in Star Wars for when the millennium falcon comically doesn't start for Han Solo.&#xD;&#xA;&#xD;&#xA;I find this happening to me a lot, mostly with cliche sounds.. Like the anvil hit that gets used in almost every action movie trailer ever made...&#xD;&#xA;&#xD;&#xA;So, what other sounds have you noticed that are iconic in some movies, I.e. used with good judgement and class, but when used in other projects, just sound a little off and not right for the part?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28031" PostHistoryTypeId="1" PostId="17375" RevisionGUID="b9bbcce8-0bb0-45ba-9d85-b3a524bd6ec5" CreationDate="2012-12-14T18:55:49.370" UserId="18160" Text="Noticing iconic SFX used in other movies..." ContentLicense="CC BY-SA 3.0" />
  <row Id="28032" PostHistoryTypeId="3" PostId="17375" RevisionGUID="b9bbcce8-0bb0-45ba-9d85-b3a524bd6ec5" CreationDate="2012-12-14T18:55:49.370" UserId="18160" Text="&lt;reused&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28033" PostHistoryTypeId="2" PostId="17376" RevisionGUID="16368549-0a92-4bb5-841e-cfe151a121c2" CreationDate="2012-12-14T19:06:56.250" UserId="18160" Text="If anyone has used either of the three consoles, would you please care to share your experience and how it went?&#xD;&#xA;&#xD;&#xA;I specifically would like to find out data in terms of ergonomics, ease of use, layout and quickness of setup for a fast, almost TV-like output of projects and mixdowns.&#xD;&#xA;&#xD;&#xA;Thanks very much in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="28034" PostHistoryTypeId="1" PostId="17376" RevisionGUID="16368549-0a92-4bb5-841e-cfe151a121c2" CreationDate="2012-12-14T19:06:56.250" UserId="18160" Text="System 5 vs. Icon vs. Neve DFC" ContentLicense="CC BY-SA 3.0" />
  <row Id="28035" PostHistoryTypeId="3" PostId="17376" RevisionGUID="16368549-0a92-4bb5-841e-cfe151a121c2" CreationDate="2012-12-14T19:06:56.250" UserId="18160" Text="&lt;console&gt;&lt;shootout&gt;&lt;experiences&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28036" PostHistoryTypeId="2" PostId="17377" RevisionGUID="ea4c3d28-8e3c-47ce-9a0c-41d972708ff1" CreationDate="2012-12-14T21:51:21.987" UserId="253" Text="I had the privilege of using an Icon back in film school. I wasn't doing any speed mixing back then, but i remember the features of the desk being very intuitive.&#xD;&#xA;&#xD;&#xA;- Having dedicated buttons for auto preview and write to selection (and within easy reaching distance!) was fantastic for writing automation.&#xD;&#xA;&#xD;&#xA;- Custom fader groups are great if you're working from a template and want to be able to toggle quickly between your different groups.&#xD;&#xA;&#xD;&#xA;- Soft knobs for eq/dynamics plug ins also make things more intuitive, IMHO, and can link to most plug ins.&#xD;&#xA;&#xD;&#xA;I'm not sure if other desks have similar features, but i'm guessing that some of them are part of the ICON protocol, which is digi only (i think?).&#xD;&#xA;&#xD;&#xA;Hope that helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28037" PostHistoryTypeId="2" PostId="17378" RevisionGUID="fe797668-c4a4-4572-849e-38f08c1586c8" CreationDate="2012-12-14T22:35:53.653" UserId="5556" Text="Very hard one to describe or to consider creating...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Want to create that classic cartoon sound of say... A tree being sucked down into the land in a quick balloon-like slurp. &#xD;&#xA;&#xD;&#xA;any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28038" PostHistoryTypeId="1" PostId="17378" RevisionGUID="fe797668-c4a4-4572-849e-38f08c1586c8" CreationDate="2012-12-14T22:35:53.653" UserId="5556" Text="Cartoon &quot;thonk&quot; or exaggerated suck" ContentLicense="CC BY-SA 3.0" />
  <row Id="28039" PostHistoryTypeId="3" PostId="17378" RevisionGUID="fe797668-c4a4-4572-849e-38f08c1586c8" CreationDate="2012-12-14T22:35:53.653" UserId="5556" Text="&lt;cartoon&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28040" PostHistoryTypeId="2" PostId="17379" RevisionGUID="18716286-4fa8-4d18-a5a1-9cd931be8db7" CreationDate="2012-12-15T04:49:19.297" UserId="18160" Text="The human mouth is capable of more than what people like to think.&#xD;&#xA;&#xD;&#xA;I suggest vocalizing what you're trying to do through a mic and see if that can be manipulated further with plug-ins to taste, and see if that works out.&#xD;&#xA;&#xD;&#xA;Otherwise, reversing certain sound effects (like a balloon pop, for example), something very transient, might do the trick for you of that quick sucking sound you're looking for.&#xD;&#xA;&#xD;&#xA;What I would do, is go to the nearest fitness center with a rubber mallet and bring a recorder with you, and record the mallet hitting one of those big exercise balls, and reverse it. This should give you that bigger, balloonish-like &quot;thunk&quot;.&#xD;&#xA;&#xD;&#xA;Let us know what you end up with, and welcome to SSD." ContentLicense="CC BY-SA 3.0" />
  <row Id="28041" PostHistoryTypeId="2" PostId="17380" RevisionGUID="ca5bef54-f958-4238-ba8a-095a522b0cf5" CreationDate="2012-12-15T04:56:50.217" UserId="18160" Text="When I have the time, I worldize every chance I can get.&#xD;&#xA;&#xD;&#xA;In my experience, worldizing does a much better job than any plug-in I have tried." ContentLicense="CC BY-SA 3.0" />
  <row Id="28042" PostHistoryTypeId="2" PostId="17381" RevisionGUID="5150ff98-e7af-45b0-9cea-b3d3ca841430" CreationDate="2012-12-15T06:32:28.517" UserId="1106" Text="Let me preface this by saying that I'm aware of the issues of maxing things out but at the end of the day the folks paying me want things to be bassier, punchier, fuller and ultimately LOUDER. This is mostly for fight scenes which usually have heavily compressed music layered over them as well...&#xD;&#xA;&#xD;&#xA;So far I've been using combinations of layering and compression, as well as sidechaining the music track with the SFX so they push through it. Essentially I'm mixing as if it were a music track rather than a film, and I was wondering if anyone had any thoughts on this, or better ways around it?  I've tried mixing normally but I just get comments back from the client asking me to give it more bass / punch.  It'd be lovely to have breathing room in the mix and for everything to have its own place, but YouTubers seem to love it when levels are maxed out.&#xD;&#xA;&#xD;&#xA;Any thoughts, hints or tips are all welcome!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28043" PostHistoryTypeId="1" PostId="17381" RevisionGUID="5150ff98-e7af-45b0-9cea-b3d3ca841430" CreationDate="2012-12-15T06:32:28.517" UserId="1106" Text="Any tips or thoughts on making fight scenes loud / mixing for The Internet?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28044" PostHistoryTypeId="3" PostId="17381" RevisionGUID="5150ff98-e7af-45b0-9cea-b3d3ca841430" CreationDate="2012-12-15T06:32:28.517" UserId="1106" Text="&lt;mixing&gt;&lt;internet&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28045" PostHistoryTypeId="2" PostId="17382" RevisionGUID="aae1140f-2222-4d0e-8e0a-9ba742a82385" CreationDate="2012-12-15T10:22:35.243" UserDisplayName="user80" Text="The only real solution is to include more quiet sections, just before you want to hear the punch dip the music so that by comparison the contact is much louder.  Another trick is to emphasise any grunts or breaths so that it sounds like the actors are really exerting themselves, that way the force can be communicated." ContentLicense="CC BY-SA 3.0" />
  <row Id="28046" PostHistoryTypeId="2" PostId="17383" RevisionGUID="a78c37b8-9c78-4db4-8a08-5f03cd0c5fa4" CreationDate="2012-12-15T10:24:26.903" UserId="845" Text="Try putting a bit of distortion on your FX.  Psychoacoustically, pure, clean tones always sound quieter than more complex sounds (no matter how loud you are actually playing it).  So a bit of distortion will make every punch sound like it's breaking a face.&#xD;&#xA;&#xD;&#xA;Oh, and tell your employers that I dislike their aesthetic choices immensely.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28047" PostHistoryTypeId="2" PostId="17384" RevisionGUID="92e49e6f-0b32-4a55-a996-f63a1a04bd30" CreationDate="2012-12-15T11:18:32.647" UserId="1049" Text="Try experimenting with pulling a cork, or similar substitute, out of a glass bottle. Then pitch and EQ till you get something useful, and mix it in to other suggestions, such as Utopia's idea." ContentLicense="CC BY-SA 3.0" />
  <row Id="28048" PostHistoryTypeId="2" PostId="17385" RevisionGUID="ddced26f-9620-44c4-b0a6-db985c76b89f" CreationDate="2012-12-15T11:42:07.460" UserId="1048" Text="After years of all kinds of re-conforms, I have gone back to doing it manually, as have some other editors and mixers I know. Virtual Katy et al do a great job, but every cut needs to be checked manually too. And the time it takes to smooth out the cut far outweights the time to do the cut... So, in my experiance, automatic re-conform will save you some time, but on the other hand, it will do some un-intellignet cuts, and you will lose the time you've gained by repairing the damage. The only situation I would use the automatic reconforms would be quick turnaround TV shows, where you can leave most of the cuts without even smoothing them. If you go that way, for a budget option, check out http://www.maisch.at/TLC/TheLittleConformer.html - it won't compare the EDL's like the afore-mentioned programs, but there are tips on how to produce the change-EDL on the author's website. It works with both Nuendo and Pro Tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="28049" PostHistoryTypeId="5" PostId="17385" RevisionGUID="6d7ac721-2013-40d5-a247-fb90c8c49d0c" CreationDate="2012-12-15T12:11:16.143" UserId="1048" Comment="deleted 3 characters in body" Text="After thousands of re-conformed cuts, I have gone back to doing it manually, as have some other editors and mixers I know. Virtual Katy et al do a great job, but every cut needs to be checked manually too. And the time it takes to smooth out the cut far outweights the time to do the cut... So, in my experiance, automatic re-conform will save you some time, but on the other hand, it will do some un-intellignet cuts, and you will lose the time you've gained by repairing the damage. The only situation I would use the automatic reconforms would be quick turnaround TV shows, where you can leave most of the cuts without even smoothing them. If you go that way, for a budget option, check out http://www.maisch.at/TLC/TheLittleConformer.html - it won't compare the EDL's like the afore-mentioned programs, but there are tips on how to produce the change-EDL on the author's website. It works with both Nuendo and Pro Tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="28050" PostHistoryTypeId="2" PostId="17386" RevisionGUID="bd7af33b-9157-4d6f-bd90-de5ba0521d41" CreationDate="2012-12-15T16:34:21.817" UserId="5557" Text="Try this. &#xD;&#xA;&#xD;&#xA;http://tech.ebu.ch/docs/r/r128.pdf&#xD;&#xA;&#xD;&#xA;Some useful and enjoyable reading regarding &quot;Loudness normalisation and permitted maximum level of audio signals&quot;&#xD;&#xA;&#xD;&#xA;At the bottom of the document there are a list of references for further reading.&#xD;&#xA;&#xD;&#xA;[1]  EBU Tech Doc 3205-E ‘The EBU standard peak-programme meter for the control of &#xD;&#xA;international transmissions’ &#xD;&#xA;&#xD;&#xA;[2]  ITU-R BS.645 ‘Test signals and metering to be used on international sound programme &#xD;&#xA;connections’ &#xD;&#xA;&#xD;&#xA;[3]  ITU-R BS.1770 ‘Algorithms to measure audio programme loudness and true-peak audio &#xD;&#xA;level’ &#xD;&#xA;&#xD;&#xA;[4]  EBU Tech Doc 3341 ‘Loudness Metering: ‘EBU Mode’ metering to supplement loudness &#xD;&#xA;normalisation in accordance with EBU R 128’ &#xD;&#xA;&#xD;&#xA;[5]  EBU Tech Doc 3342 ‘Loudness Range: A measure to supplement loudness normalisation in &#xD;&#xA;accordance with EBU R 128’ &#xD;&#xA;&#xD;&#xA;[6]  EBU Tech Doc 3343 ‘Practical Guidelines for Production and Implementation in accordance &#xD;&#xA;with EBU R 128’ &#xD;&#xA;&#xD;&#xA;[7]  EBU Tech Doc 3344 ‘Practical Guidelines for Distribution of Programmes in accordance &#xD;&#xA;with EBU R 128’" ContentLicense="CC BY-SA 3.0" />
  <row Id="28051" PostHistoryTypeId="2" PostId="17387" RevisionGUID="556ac664-4786-44d4-88a4-1e7645b43b57" CreationDate="2012-12-15T19:53:45.890" UserId="4417" Text="I'm new to sound design having worked a lot in radio. I've started to blog my progress, what I'm learning, advice I've been given etc. over at leoworsdale.com/blog. However I was wondering if there were any similar blogs that give advice on careers in sound design?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28052" PostHistoryTypeId="1" PostId="17387" RevisionGUID="556ac664-4786-44d4-88a4-1e7645b43b57" CreationDate="2012-12-15T19:53:45.890" UserId="4417" Text="Sound Design Blogs" ContentLicense="CC BY-SA 3.0" />
  <row Id="28053" PostHistoryTypeId="3" PostId="17387" RevisionGUID="556ac664-4786-44d4-88a4-1e7645b43b57" CreationDate="2012-12-15T19:53:45.890" UserId="4417" Text="&lt;sound-design&gt;&lt;blog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28054" PostHistoryTypeId="2" PostId="17388" RevisionGUID="0182ef11-07b9-4167-82c9-04b86d804eee" CreationDate="2012-12-15T21:06:59.433" UserDisplayName="user49" Text="http://www.musicofsound.co.nz/blog/career-advice-part-1&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/career-advice-part-2&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28055" PostHistoryTypeId="2" PostId="17389" RevisionGUID="835224ca-1a28-4c86-b6f6-60d42bcbac4c" CreationDate="2012-12-16T14:34:41.450" UserId="103" Text="[http://designingsound.org/][1]&#xD;&#xA;&#xD;&#xA;If you scroll down there's a big list.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28056" PostHistoryTypeId="2" PostId="17390" RevisionGUID="5a7f8a21-5d7e-4780-ab62-f9eed6372f2d" CreationDate="2012-12-16T20:37:37.113" UserId="845" Text="Oh jeez.  You mean the speaker's handheld wireless runs into the speakers in the ceiling? I bet there's a million of them up there. &#xD;&#xA;&#xD;&#xA;That's why it's sounding more refelctive.  The more sound sources you have in a room (depending on how it's been designed, and I'm guessing this is a fairly normal, rectangular meeting/ballroom) the more sources for reflections you have.  The more reflections you have, the more confusing the sound of the space is.&#xD;&#xA;&#xD;&#xA;Those systems are primarily designed (or so I assume) to play music at a relatively low level, and to be as unobtrusive as possible, just to provide a bit of ambient noise to fill in the uncomfortable silences between sentences while people try and think of something to say.  Not so good for public speaking.&#xD;&#xA;&#xD;&#xA;I'd recommend that you insist (as politely as you can) that they drag out the old PA whenever they plan to have a speaker in.  Also, if they have speakers very frequently, you should ask them to let you buy a relatively inexpensive wireless lav setup (Sennheiser do a good one that consists of two small battery powered pocket-packs).  You can then split signal from the receive pack and pipe it directly into both the mixer and your recorder (respectively).  That will take care of both the reverby room, low amplitude/crappy sounding signal, *and* allow the speakers to gesticulate as wildly and freely as they like.&#xD;&#xA;&#xD;&#xA;You could then set up your shotgun a little further away to get a bit of room around the voice, then mix the two together. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28057" PostHistoryTypeId="2" PostId="17391" RevisionGUID="bf3bb493-ab6d-42a8-b30b-99fa219e61f0" CreationDate="2012-12-17T00:28:42.413" UserId="654" Text="IMHO If you're mainly a console guy - go the DFC, you will be fastest in an environment you are best used to.&#xD;&#xA;If you're mainly a PT guy, used to mixing in the box, go the ICON.&#xD;&#xA;If you're a console guy interested in flirting with some PT integration, go the system 5.&#xD;&#xA;&#xD;&#xA;For TV, I dont think much can currently beat an ICON. Custom groups, templates, PT integration and dedicated dyn/eq section all make for a very quick environment to mix ITB, far faster than the DFC or Sys5 atm. System 5 is getting many ICON features onto the board as EUCON gets updated but the layout is driven by console guys rather than PT guys IMHO - so I dont think it will be as fast for TV though I'm not a sys5 expert.&#xD;&#xA;Certainly tonnes of ICONs in SOHO and throughout Australian broadcasters for quick turnaround TV post." ContentLicense="CC BY-SA 3.0" />
  <row Id="28058" PostHistoryTypeId="2" PostId="17392" RevisionGUID="ca2d2154-0b3c-49dc-95d3-900802b63558" CreationDate="2012-12-17T01:39:41.590" UserId="845" Text="As great as reading career advice can be to get you over the initial hurdles of developing self-confidence and making connections with people, a good idea might be to also look for stuff that's not so purpose-driven.  What I mean is writing/listening that focuses on the *why* as much as it does the what.&#xD;&#xA;&#xD;&#xA;In particular, when I was first getting into the SD world (which is not to make it sound like I'm a big time pro or anything) I stumbled across this set of writings by Andreas Bick ([http://silentlistening.wordpress.com/category/reflections/][1] and [http://www.andreas-bick.de/en/writings/][2]).  They were really helpful with giving me a conceptual kick in the butt in terms of thinking about how sound works, why it works, and the power that comes with the ability to control it.  Also, see if you can find a copy of Salomé Voegelin's *Listening to Noise and Silence: Towards a Philosophy of Sound Art*.  Also, take a look at http://earroom.wordpress.com/.&#xD;&#xA;&#xD;&#xA;The reason I recommend these things is that a big helper with getting a gig (in my short experience) has been being able to communicate a developed sense of aesthetic, and a clear sense of where you want to take something and why.  And yes, there are quite a few people who are not at all interested in the above and will tell you it's all a load of waffle (and will shortly after tell you that they just want more *bass*), but to be able to manipulate your audience (which is what sound/music/art is really about) you have to understand what it is in sound that motivates people's reactions to it.  And the better you do that, the better you do, if you take my meaning.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://silentlistening.wordpress.com/category/reflections/&#xD;&#xA;  [2]: http://www.andreas-bick.de/en/writings/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28061" PostHistoryTypeId="2" PostId="17394" RevisionGUID="98c79397-c169-4fbc-b1f6-da9dc4e89fc4" CreationDate="2012-12-17T07:21:03.707" UserDisplayName="user80" Text="How about purchasing an inexpensive lavaliere mic and plugging it directly into the Edirol?  Then just ask the speakers to pop the recorder into their pocket. &#xD;&#xA;&#xD;&#xA;http://www.waeplus.co.uk/product/1606851/SONY-ECMCS3-Tie-clip-Microphone&#xD;&#xA;&#xD;&#xA;We use this technique with an old Aiwa mic and a Zoom H2 with surprisingly good results.&#xD;&#xA;&#xD;&#xA;If the speakers don't have pockets large enough for the recorder get a cotton pouch made with straps wide enough to go around even the largest waist." ContentLicense="CC BY-SA 3.0" />
  <row Id="28062" PostHistoryTypeId="2" PostId="17395" RevisionGUID="8313e1eb-5866-447a-9a44-c176d27a5d6c" CreationDate="2012-12-17T09:47:46.970" UserId="1185" Text="[http://sound-sculpting.blogspot.co.uk/2011/05/how-to-become-sound-designer.html][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sound-sculpting.blogspot.co.uk/2011/05/how-to-become-sound-designer.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="28063" PostHistoryTypeId="2" PostId="17396" RevisionGUID="4a3caebd-0431-4c94-ac32-a399aca99327" CreationDate="2012-12-17T15:05:25.357" UserId="5561" Text="totally agree with fred renick. U really need to double check with earphones to make sure where in the stereofield your instruments are specially if you use lots of synths that need to be competing for the same range of frequency to avoid masking. In other words, make everything fit in a 3d space sound. No matter how flat ur speakers are, you wont get that picture in any other way." ContentLicense="CC BY-SA 3.0" />
  <row Id="28064" PostHistoryTypeId="2" PostId="17397" RevisionGUID="46e37e73-2b53-49c5-8a57-640515e61124" CreationDate="2012-12-17T19:53:51.720" UserId="66" Text="Times are always &quot;a-changing&quot; but we are in the middle (or tail end) of big change with respect to digital/technology service-oriented companies.&#xD;&#xA;&#xD;&#xA;I know from personal experience that this is a hot topic of debate.  Companies, from sound effects library companies to audio post production have reluctantly been forced to slash prices in order to remain competitive.  I myself have tried to respect my own time by standing by my rates and lost numerous projects because of it - someone will always do it cheaper.&#xD;&#xA;&#xD;&#xA;Though I'm interested mainly in audio companies/freelancers, I think this question can be applied to any branch of the industry (animation/web design/games etc). The questions is, how do we deal with the low barrier to entry for people offering audio services - due mainly to the democratization of technology (i.e. you can run a robust Pro Tools system on your laptop for a few hundred dollars compared to ten years ago when you needed $10k to run PTHD with hardware).&#xD;&#xA;&#xD;&#xA;Audio professionals are fighting an uphill battle against lower budgets and low barrier to entry for competition.  There are few clients who still offer the budgets of the past.  &#xD;&#xA;&#xD;&#xA;Is it possible, however, that though rates have been decreasing, there is more work?  Smaller companies who were not able to afford video marketing etc. now can; there is an entire new advertising platform (the web) that simply didn't exist a decade ago.  &#xD;&#xA;&#xD;&#xA;If you stand by your rates so as not to devalue your skills or product, are you helping the industry or hurting yourself?  Are our standards lowered when it comes to art, music, media... is the &quot;[good enough revolution][2]&quot; inevitable?  And if so, is that a problem?&#xD;&#xA;&#xD;&#xA;In 1995, [Steve Jobs said in an interview][1], &quot;...the way we're going to ratchet up our species is to take the best and to spread it around to everybody so that everybody grows up with better things…&quot;    It feels unfortunate to the professionals who are impacted the most from this; I have friends who used to make a secure living who are out of work after their studios went out of business.  However, I think there is as much if not more opportunity. The budgets may be lower, true. Perhaps if this work doesn't promise the salary one needs a change in career may be the best answer.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thoughts?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.magpictures.com/stevejobsthelostinterview/&#xD;&#xA;  [2]: http://www.wired.com/gadgets/miscellaneous/magazine/17-09/ff_goodenough?currentPage=all" ContentLicense="CC BY-SA 3.0" />
  <row Id="28065" PostHistoryTypeId="1" PostId="17397" RevisionGUID="46e37e73-2b53-49c5-8a57-640515e61124" CreationDate="2012-12-17T19:53:51.720" UserId="66" Text="impact of democratization of technology on audio companies/freelancers" ContentLicense="CC BY-SA 3.0" />
  <row Id="28066" PostHistoryTypeId="3" PostId="17397" RevisionGUID="46e37e73-2b53-49c5-8a57-640515e61124" CreationDate="2012-12-17T19:53:51.720" UserId="66" Text="&lt;industry&gt;&lt;studios&gt;&lt;rate&gt;&lt;business&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28067" PostHistoryTypeId="2" PostId="17398" RevisionGUID="0e7419a1-6798-4e9f-a43f-d86d1c56d379" CreationDate="2012-12-17T23:40:37.250" UserId="3179" Text="&quot;Shit happens&quot; pretty much summarizes my opinion. One just needs to find a way to advance, whatever they're doing or offering in order to have a competitive edge. But in a service-oriented positions and in the entertainment and media fields, the means to advance definitely are very different compared to say a technology field, where there really aren't many limitations.&#xD;&#xA;&#xD;&#xA;Competition is always good though, because it forces to innovate in order to stay relevant and interesting, and to offer something better. Innovation leads to better products and services, which serves everybody. There may be more mass in the market, but competition definitely doesn't lower quality or make things worse, vice versa, it drives those that are capable to produce better stuff and offer better services/products and makes those that can't leave the market. Not everyone are capable of doing those innovations that will end up being meaningful, and of course it isn't straightforward. Still it's the only way to do something about getting devalued by the competition. Leveraging to a different league." ContentLicense="CC BY-SA 3.0" />
  <row Id="28070" PostHistoryTypeId="5" PostId="17398" RevisionGUID="44249dc3-a22f-4170-b721-23bdeeb4a43c" CreationDate="2012-12-18T04:37:21.507" UserId="3179" Comment="added 341 characters in body; deleted 4 characters in body; added 63 characters in body" Text="&quot;Shit happens&quot; pretty much summarizes my opinion. One just needs to find a way to advance, whatever they're doing or offering in order to have a competitive edge. But in service-oriented positions and in the entertainment and media fields, the means to advance definitely are very different compared to say a technology field, where there really aren't many limitations. In a technology field a company goes and invents/produces a new technology or a product that's better than the existing ones (commonly in other aspects than just price) or that hasn't been seen before, but what does/can one do in the media field, especially in sound services, which is not the end that's inventing those new productions? When there's nothing else to compete with you slash the prices.&#xD;&#xA;&#xD;&#xA;Competition is always good though, because it forces to innovate in order to stay relevant and interesting, and to offer something better. Innovation leads to better products and services, which serves everybody. There may be more mass in the market, but competition definitely doesn't lower quality or make things worse, vice versa, it drives those that are capable to produce better stuff and offer better services/products and makes those that can't leave the market. Not everyone are capable of doing those innovations that will end up being meaningful, and of course it isn't straightforward. Still it's the only way to do something about getting devalued by the competition. Leveraging to a different league." ContentLicense="CC BY-SA 3.0" />
  <row Id="28071" PostHistoryTypeId="5" PostId="17398" RevisionGUID="ec2c4b4b-e2b2-4d17-8fd1-79949ef7e431" CreationDate="2012-12-18T04:45:06.833" UserId="3179" Comment="added 31 characters in body" Text="&quot;Shit happens&quot; pretty much summarizes my opinion. One just needs to find a way to advance, whatever they're doing or offering in order to have a competitive edge. But in service-oriented positions and in the entertainment and media fields, the means to advance definitely are very different compared to say a technology field, where there really aren't many limitations. In a technology field a company goes and invents/produces a new technology or a product that's better than the existing ones (commonly in other aspects than just price) or that hasn't been seen before, but what does/can one do in the media field, especially in sound services, which is not the end that's inventing those new productions? When there's nothing else to compete with you slash the prices or e.g. shorten delivery times.&#xD;&#xA;&#xD;&#xA;Competition is always good though, because it forces to innovate in order to stay relevant and interesting, and to offer something better. Innovation leads to better products and services, which serves everybody. There may be more mass in the market, but competition definitely doesn't lower quality or make things worse, vice versa, it drives those that are capable to produce better stuff and offer better services/products and makes those that can't leave the market. Not everyone are capable of doing those innovations that will end up being meaningful, and of course it isn't straightforward. Still it's the only way to do something about getting devalued by the competition. Leveraging to a different league." ContentLicense="CC BY-SA 3.0" />
  <row Id="28072" PostHistoryTypeId="5" PostId="17398" RevisionGUID="a28dccbb-5b1b-48e5-a282-42008756d5da" CreationDate="2012-12-18T04:52:34.020" UserId="3179" Comment="added 143 characters in body; added 8 characters in body; added 7 characters in body; added 67 characters in body" Text="&quot;Shit happens&quot; pretty much summarizes my opinion. One just needs to find a way to advance, whatever they're doing or offering in order to have a competitive edge. But in service-oriented positions and in the entertainment and media fields, the means to advance definitely are very different compared to say a technology field, where there really aren't many limitations. In a technology field a company goes and invents/produces a new technology or a product that's better than the existing ones (commonly in other aspects than just price) or that hasn't been seen before, but what does/can one do in the media field, especially in sound services, which is not the end that's inventing those new productions? When there's nothing else to compete with you slash the prices or e.g. shorten delivery times. Personal styles and brands play a part though, if you think of sound designers and especially composers that keep being hired specifically because of how they do stuff or what having their name on a production does to sales.&#xD;&#xA;&#xD;&#xA;Competition is always good though, because it forces to innovate in order to stay relevant and interesting, and to offer something better. Innovation leads to better products and services, which serves everybody. There may be more mass in the market, but competition definitely doesn't lower quality or make things worse, vice versa, it drives those that are capable to produce better stuff and offer better services/products and makes those that can't leave the market. Not everyone are capable of doing those innovations that will end up being meaningful, and of course it isn't straightforward. Still it's the only way to do something about getting devalued by the competition. Leveraging to a different league." ContentLicense="CC BY-SA 3.0" />
  <row Id="28073" PostHistoryTypeId="5" PostId="17398" RevisionGUID="fa40fa6c-b132-49e3-acb2-71826eeb865f" CreationDate="2012-12-18T05:07:43.237" UserId="3179" Comment="added 17 characters in body" Text="&quot;Shit happens&quot; pretty much summarizes my opinion. One just needs to find a way to advance, whatever they're doing or offering in order to have a competitive edge. But in service-oriented positions and in the entertainment and media fields, the means to advance definitely are very different compared to say a technology field, where there really aren't many limitations. In a technology field a company goes and invents/produces a new technology or a product that's better than the existing ones (commonly in other aspects than just price) or that hasn't been seen before, but what does/can one do in the media field, especially in sound services, which is not the end that's inventing those new productions? When there's nothing else to compete with you slash the prices or e.g. shorten delivery times. Personal styles, specializations and brands play a part though, if you think of sound designers and especially composers that keep being hired specifically because of how they do stuff or what having their name on a production does to sales.&#xD;&#xA;&#xD;&#xA;Competition is always good though, because it forces to innovate in order to stay relevant and interesting, and to offer something better. Innovation leads to better products and services, which serves everybody. There may be more mass in the market, but competition definitely doesn't lower quality or make things worse, vice versa, it drives those that are capable to produce better stuff and offer better services/products and makes those that can't leave the market. Not everyone are capable of doing those innovations that will end up being meaningful, and of course it isn't straightforward. Still it's the only way to do something about getting devalued by the competition. Leveraging to a different league." ContentLicense="CC BY-SA 3.0" />
  <row Id="28074" PostHistoryTypeId="5" PostId="17398" RevisionGUID="882f6087-501e-4ba4-a87f-3366c2ec43db" CreationDate="2012-12-18T05:14:31.467" UserId="3179" Comment="added 255 characters in body" Text="&quot;Shit happens&quot; pretty much summarizes my opinion. One just needs to find a way to advance, whatever they're doing or offering in order to have a competitive edge. But in service-oriented positions and in the entertainment and media fields, the means to advance definitely are very different compared to say a technology field, where there really aren't many limitations. In a technology field a company goes and invents/produces a new technology or a product that's better than the existing ones (commonly in other aspects than just price) or that hasn't been seen before, but what does/can one do in the media field, especially in sound services, which is not the end that's inventing those new productions? When there's nothing else to compete with you slash the prices or e.g. shorten delivery times. Reliability, customer/social relationships and track records have obviously always played a big / the biggest part, but even for that it might become difficult to justify one's rates, if the client has seemingly many equal alternatives to pick from. Personal styles, specializations and brands play a part though, if you think of e.g. sound designers and especially composers that keep being hired specifically because of how they do stuff or what having their name on a production does to sales.&#xD;&#xA;&#xD;&#xA;Competition is always good though, because it forces to innovate in order to stay relevant and interesting, and to offer something better. Innovation leads to better products and services, which serves everybody. There may be more mass in the market, but competition definitely doesn't lower quality or make things worse, vice versa, it drives those that are capable to produce better stuff and offer better services/products and makes those that can't leave the market. Not everyone are capable of doing those innovations that will end up being meaningful, and of course it isn't straightforward. Still it's the only way to do something about getting devalued by the competition. Leveraging to a different league." ContentLicense="CC BY-SA 3.0" />
  <row Id="28075" PostHistoryTypeId="2" PostId="17400" RevisionGUID="c5c21247-abf0-4e2d-b29b-d98deb428716" CreationDate="2012-12-18T05:37:29.403" UserId="194" Text="IMO the work that we do is far less about the tools and far more about the talent.&#xD;&#xA;&#xD;&#xA;To that end, the goal is to create a skillset that people value - regardless of the tools in use or the price thereof.  If your clients value your skillset, they will pay for that.  If they feel they can execute as well as you can, then they won't.  &#xD;&#xA;&#xD;&#xA;In the end, the challenge is to create value far beyond what your clients and their friends can execute - even with the same tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="28076" PostHistoryTypeId="2" PostId="17401" RevisionGUID="410dc517-d59c-42c8-8bc2-cb331061c525" CreationDate="2012-12-18T06:36:38.733" UserDisplayName="user49" Text="Film making (&amp; any other technology based medium) is going through the same evolution that the music industry has gone through and continues to go through... and while fruity poops, protools and ableton LIVE have been a factor, that isn't the primary element of change in the music industry. **The massive change has occurred due to effectively costless digital delivery** - that is whats created the change. Its the democratization of delivery. And as with the music industry, the road will be bumpy for anyone who's business is based on the traditional delivery model, unless they too evolve.... So just as the big five record labels struggle to remain relevant, so too will the big film studios, and so too will anyone whos business is directly dependent on them.&#xD;&#xA;&#xD;&#xA;The point of entry for creating is lowered for all mediums, so that means there will be a lot more low/no budget/self funded projects than ever before. And that is a great thing - that is the democratization of self expression. But as with music, it will be and already is a crowded market. Take the Sundance Film Festival, in 2011 there were 10,279 films submitted - 118 of which were selected to screen. Even though it is very likely the number of films submitted will grow each year, the number selected likely wont change very much.&#xD;&#xA;&#xD;&#xA;As someone whos been participating in film making since before the start of digital, as a relevant example I saw all the hype about DV (as in DV video tape) back in the 90s - how it was going to revolutionize &amp; democratize the film making process etc... Did it? A little, but it wasn't a revolution - it was just incremental evolution. Ten years later DSLRs were marketed with the same hype, but it takes a skilled cinematographer (and writer, director, actors etc) rather than a slightly better camera to make the difference. Again its just an incremental evolution. Same for RED cameras - in the wrong hands, a RED camera adds nothing. Same for a ProTools system.&#xD;&#xA;&#xD;&#xA;I can (obviously) only speak for myself, but in terms of my own film work and in terms of the people I work with/hire, the most important factor remains unchanged and that factor is not based so much on technology. Even though the price of a ProTools system (or whatever) is much lower, buying Protools only enables you to start - i.e. to start gaining experience - the far bigger factor is the individual persons attitude, personality, creativity, experience etc... Even when considering interns, it is their experience that matters most - lots of people start, far fewer persevere. A lot of people don't get past how. Even less transcend the technology &amp; learn how to emotionally engage in story telling....&#xD;&#xA;&#xD;&#xA;With regards to earning a living, thats the challenge every person on the planet has to face. People with salary jobs are at a distinct disadvantage because familiarity breeds contempt - they often don't have to think too hard about where the next income is coming from, whereas every freelance does, every single day. So when that salary disappears those people tend to be very vocal, whereas every freelancer goes through that process at the end of every job.&#xD;&#xA;&#xD;&#xA;Every project you work on is an investment, of your time, skills and resources, and as a freelancer you are free to choose how or if you participate. But one thing is sure, you aren't going to be paid more than the DOP or the picture editor. So having a preconceived idea of what your income is going to be, will eliminate you from some projects, for better or worse. So I don't think there is anything to be gained by becoming emotional about whether you are being paid your worth or not. Choose to participate or don't. But if you do choose to participate on projects that don't or cant pay a living wage, seriously consider the terms in which you work. Eg if you work on 20 no/low budget films in 10 years and one of them goes off at Sundance blair witch styles &amp; is sold for a few million, I'd be wanting to have points in that project rather than just a thank you email from the Bahamas.&#xD;&#xA;&#xD;&#xA;There are no conclusions to be made, its all evolution... We each have to choose how important each of the relevant factors are: job security vs creative expression vs learning vs earning a living vs freedom vs how we spend each day &amp; the fixed amount of time we are each given on this planet....&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28078" PostHistoryTypeId="2" PostId="17402" RevisionGUID="17b65bf0-d669-4ff9-b2eb-19b3ca42a750" CreationDate="2012-12-18T10:47:00.460" UserId="3299" Text="Why not just get the [Apple keyboard with Num pad][1]? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://store.apple.com/us/product/MB110LL/B/apple-keyboard-with-numeric-keypad&#xD;&#xA;&#xD;&#xA;I got one second hand for half the RRP. You're still only using up one USB port and there ports on the keyboard which I use to connect mouse and iLok.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28081" PostHistoryTypeId="2" PostId="17403" RevisionGUID="7cad6e73-14b1-4f4f-84c9-5025757a444f" CreationDate="2012-12-18T13:40:25.610" UserId="4442" Text="I know this is old and you've probably already done it, but for the other RIG sounds (not the holographic), like the &quot;warning&quot; sound and stuff like that, there are definitely some granular fx on there. Try out Buffeater by twisted tools, it has some great stretch and smear stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="28082" PostHistoryTypeId="2" PostId="17404" RevisionGUID="48098270-64f5-4915-b33b-166af4ab500f" CreationDate="2012-12-18T15:18:20.330" UserId="4019" Text="I was in a similar situation about a half year ago, in the game industry, new to field recording and this is what I ended up getting, in chronological order:&#xD;&#xA;&#xD;&#xA;Sony PCM-D50 &#xD;&#xA;Sound Devices Usbpre2&#xD;&#xA;Sanken CS-3e shotgun&#xD;&#xA;&#xD;&#xA;Starting out with the D50 let me get stereo ambiences and some effects, in a very convenient and mobile package. I had access to a NTG-3 so I bought the Usbpre2 and hooked it up via Toslink to the D50 as a mic pre/AD converter. Finally I bought the Sanken so I wouldn't have to worry about borrowing the NTG-3 for extended periods of time.&#xD;&#xA;&#xD;&#xA;What I like about this setup is that it is modular and high quality - I have my D50 with me everyday in my bag and the Usbpre2 is a pretty awesome audio interface which I can bring anywhere due to its small size. Quality wise, the Usbpre2's mic pres share the same topology as the SD 744t and the conversion is really good as well. The Sony acts as a bit-bucket via Toslink so no loss of quality there. Finally, this setup will give you some pretty good 96k 24 bit audio (limited by the D50, the SD Usbpre2 alone can go up to 192kHz).&#xD;&#xA;&#xD;&#xA;The downside is that ergonomics wise its not great - in fact it can be a lot of trouble since you are essentially dealing with a rig made out of bits and pieces unintended for serious field recording work.&#xD;&#xA;&#xD;&#xA;All in all this will run you about the same price as a SD 702. In hindsight I should've just gotten the D50 and a SD 702, I find myself not really using the Usbpre2 as a audio interface much nowadays." ContentLicense="CC BY-SA 3.0" />
  <row Id="28083" PostHistoryTypeId="2" PostId="17405" RevisionGUID="29484fa2-3aac-4b83-b1dc-01f2a617057c" CreationDate="2012-12-18T16:05:22.900" UserId="5511" Text="I'm sure I've seen it in a library under 'Metal Gate creaks and groans'. Probably from a Sound Ideas library. In any case, I'll now be avoiding it should it pop up, or including it as the creaky metal equivalent of the Wilhelm scream" ContentLicense="CC BY-SA 3.0" />
  <row Id="28084" PostHistoryTypeId="2" PostId="17406" RevisionGUID="88d3cbd0-af90-4369-8a92-8cf0f85287b2" CreationDate="2012-12-18T19:07:04.660" UserId="4442" Text="https://soundcloud.com/dave-delizza/crazer-whump-v1&#xD;&#xA;&#xD;&#xA;Quick background: 1vs1 strategy game, aerial sort of 3/4 view&#xD;&#xA;&#xD;&#xA;This is a sound that I have that occurs after the robot gets shocked with a large lightening like &quot;laser&quot; which is really a big quick pop and buzz. This is supposed to be his energy shield getting disturbed. To me and my programmer, it sounds A. not dangerous enough and B. sort of like a UI sound for &quot;you can't do this action right now&quot;.&#xD;&#xA;&#xD;&#xA;I was going to try mixing in some explosion for menace, and this wasn't really cutting it.&#xD;&#xA;&#xD;&#xA;The sound you're hearing is absynth 5, pretty basic patch just for the synthetic and a slowed down plastic pipe hit that I recorded and processed. Any suggestions on this are certainly welcome.&#xD;&#xA;&#xD;&#xA;I have komplete 7, some waves stuff, logic 9, michael norris spectral magic if it helps at all. I don't think it will, the answer is probably simpler than I've tried to exhaust." ContentLicense="CC BY-SA 3.0" />
  <row Id="28085" PostHistoryTypeId="1" PostId="17406" RevisionGUID="88d3cbd0-af90-4369-8a92-8cf0f85287b2" CreationDate="2012-12-18T19:07:04.660" UserId="4442" Text="Energy Shield Disturbance WHUMP" ContentLicense="CC BY-SA 3.0" />
  <row Id="28086" PostHistoryTypeId="3" PostId="17406" RevisionGUID="88d3cbd0-af90-4369-8a92-8cf0f85287b2" CreationDate="2012-12-18T19:07:04.660" UserId="4442" Text="&lt;energy&gt;&lt;sound-effects&gt;&lt;foley&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28087" PostHistoryTypeId="2" PostId="17407" RevisionGUID="45216c4c-b11d-4e88-a4a6-292562de846a" CreationDate="2012-12-18T20:29:33.570" UserId="4442" Text="If there is metal around, the groaning and creaking can add some tear and pain to it. Even if not, I imagine it's a commonly used element. &#xD;&#xA;&#xD;&#xA;Dry ice in metal recordings would be great for this, those groans are perfect, especially with some time manipulation and some granular effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="28088" PostHistoryTypeId="2" PostId="17408" RevisionGUID="832d72f2-9bc5-4fa1-ad0d-774e8c5a7833" CreationDate="2012-12-18T20:37:28.867" UserId="3179" Text="I'm not sure what kind of advice you're looking for, because I'm not sure what exactly you're looking to do. And how would I, because it'll be trial and error anyways :). &#xD;&#xA;&#xD;&#xA;Tools/&quot;methods&quot; that can be used for getting sounds for laser sounds and regarding the style in the example that you've posted: simple pitch envelopes, automating reverbs, sweeping comb filters, granular synthesis. Manual phasing/comb filtering as well, i.e. having a couple or a bunch of similar samples or even the same sample duplicated and just nudging them out of phase and possibly re-editing/cutting them. Simple stuff.&#xD;&#xA;&#xD;&#xA;Just play around!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28089" PostHistoryTypeId="5" PostId="17408" RevisionGUID="03b541c6-e21c-41d5-a46b-d494cac6a1e0" CreationDate="2012-12-18T20:54:26.383" UserId="3179" Comment="added 36 characters in body" Text="I'm not sure what kind of advice you're looking for, because I'm not sure what exactly you're looking to do. And how would I, because it'll be trial and error anyways :). &#xD;&#xA;&#xD;&#xA;Tools/&quot;methods&quot; that can be used for getting sounds for laser sounds and regarding the style in the example that you've posted: simple pitch envelopes, automating reverbs, sweeping comb filters, granular synthesis. Resampling, resampling, resampling. Manual phasing/comb filtering as well, i.e. having a couple or a bunch of similar samples or even the same sample duplicated and just nudging them out of phase and possibly re-editing/cutting them. Simple stuff.&#xD;&#xA;&#xD;&#xA;Just play around!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28090" PostHistoryTypeId="2" PostId="17409" RevisionGUID="bed9314f-40ea-491d-8ff9-b3bef72e51da" CreationDate="2012-12-18T23:27:00.300" UserId="6432" Text="What sound is appropriate also depends on the look of the objects and how they're animated so it's a bit difficult to say. But perhaps if the synth route isn't working you should try using samples?&#xD;&#xA;&#xD;&#xA;I'd probably source a load of:&#xD;&#xA;&#xD;&#xA;Hisses&#xD;&#xA;Explosions&#xD;&#xA;Crackles&#xD;&#xA;Whooshes&#xD;&#xA;Rumbles&#xD;&#xA;Cracks&#xD;&#xA;Creaks&#xD;&#xA;Hums etc...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;....and mix them all together with some basic effects. I often try to think of these elements only in terms of the texture they will add to the final sound and would probably expect to add together a good few to achieve the end result. Sometimes it helps to try and imagine the event step by step - two energy sources collide and one absorbs the other. To me that means an impact sound of some kind, then one sound fading out (the laser being absorbed) and another sound fading in with a ring-off (the shield absorbing the bolt and confirming it is still operational), perhaps with a rougher texture for the first half transitioning to a smoother texture for the second half, like a rough aggressive sound being diffused by a more rounded and stable sound. I'm not saying it needs to be very long, but our brains are capable of registering changes in very short sounds so it may need to evolve. &#xD;&#xA;&#xD;&#xA;Hope that helps&#xD;&#xA;&#xD;&#xA;Mark &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28091" PostHistoryTypeId="2" PostId="17410" RevisionGUID="412e4120-337c-459f-b1d6-c312cddc4a02" CreationDate="2012-12-19T00:00:21.350" UserId="5565" Text="In my opinion, the solution is easier than you think :) I really like the base sound.&#xD;&#xA;&#xD;&#xA;1- Add a kick in the beggining, to get a slight punch&#xD;&#xA;2- Scoop a bit of mids.&#xD;&#xA;3- Saturate / Tube Distortion" ContentLicense="CC BY-SA 3.0" />
  <row Id="28092" PostHistoryTypeId="2" PostId="17411" RevisionGUID="301e301d-6723-46ba-9c11-78e4a17826ec" CreationDate="2012-12-19T05:55:44.343" UserId="1225" Text="Hi Dave,&#xD;&#xA;&#xD;&#xA;You've already got some good advices, so I just can offer you my version of Energy Shield sfx which i created some time ago. Feel free to use it if it fits your needs.&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/vibe-crc/energy-shield-bump" ContentLicense="CC BY-SA 3.0" />
  <row Id="28093" PostHistoryTypeId="2" PostId="17412" RevisionGUID="1df48de1-493a-458c-a8ef-ccc7740d4730" CreationDate="2012-12-19T06:44:02.310" UserId="5566" Text="Im about to embark on a indie feature road trip movie. This story thrives on improvisation with characters and &quot;real life&quot; people. What kind of tricks do you know that could help get the cleanest audio for this kind of project?&#xD;&#xA;&#xD;&#xA;Things like mic'ing an actor with the intention of recording another subject off the mic. Planting mics on nearby props/set dec. Etc.???&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;ps- i understand the legal ramifications of going about things this way...but thats what the producers are here for." ContentLicense="CC BY-SA 3.0" />
  <row Id="28094" PostHistoryTypeId="1" PostId="17412" RevisionGUID="1df48de1-493a-458c-a8ef-ccc7740d4730" CreationDate="2012-12-19T06:44:02.310" UserId="5566" Text="Guerilla Style Recording..." ContentLicense="CC BY-SA 3.0" />
  <row Id="28095" PostHistoryTypeId="3" PostId="17412" RevisionGUID="1df48de1-493a-458c-a8ef-ccc7740d4730" CreationDate="2012-12-19T06:44:02.310" UserId="5566" Text="&lt;guerrilla&gt;&lt;documentary&gt;&lt;microphone&gt;&lt;techniques&gt;&lt;indie&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28096" PostHistoryTypeId="2" PostId="17413" RevisionGUID="c5ff78b2-7f13-401b-95dd-b48e0f29f183" CreationDate="2012-12-19T08:01:28.100" UserId="6460" Text="Hey Jan,&#xD;&#xA;&#xD;&#xA;Depending on what the actors are wearing, you might consider hiding a lavalier mic in plain sight on each actor's body. There are some awesome techniques for doing this, like the [PEN CAP TRICK][1] (starts at 3:28), replacing a button or other part of the garment with the mic, or using something like the [RODE PINMIC][2] on a similarly-colored garment. All of these tricks keep the cable of the mic hidden and give you a clear shot between the mic and the passerby's voice. Plus, both the pinmic and the pen cap trick very effectively prevent clothing from rustling against the mic element. &#xD;&#xA;&#xD;&#xA;No matter what technique/mic you use, make sure that whatever recorder you use on has a low noise floor and has some form of limiter built-in to the input. You'll likely be doing a lot of mixing between the loud presence of the actor's voice and the distant softness of the passerby, and you'll feel much more comfortable having the protection of a limiter.&#xD;&#xA;&#xD;&#xA;Good luck!&lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=_sNve5rNAMI&#xD;&#xA;  [2]: http://www.rodemic.com/mics/pinmic" ContentLicense="CC BY-SA 3.0" />
  <row Id="28097" PostHistoryTypeId="2" PostId="17414" RevisionGUID="40316351-697c-4fa9-854c-c6814b5836c0" CreationDate="2012-12-19T08:25:11.223" UserId="238" Text="May seem a very obvious point, but if using lav mics (hidden or not) make sure to use omnidirectional mics such as DPA 4060/4061 or Sanken COS-11. This will increase your chances of capturing off-axis content." ContentLicense="CC BY-SA 3.0" />
  <row Id="28102" PostHistoryTypeId="2" PostId="17417" RevisionGUID="37572a9d-4ba3-4abf-bdf0-3939495f0824" CreationDate="2012-12-19T09:43:15.937" UserId="608" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;Any suggestions for decent libraries of whooshes and transitions?&#xD;&#xA;&#xD;&#xA;Alot of the stuff we have in our library currently is very Sci Fi/a bit mental, I would love to snap up a kit of useable sounds for spotting promos and corporate videos (plainer, more pedestrian stuff) so i don't have to create a sound for every spot like I do currently, far too time consuming for those shorter promo sessions.&#xD;&#xA;&#xD;&#xA;Many thanks,&#xD;&#xA;&#xD;&#xA;Nick" ContentLicense="CC BY-SA 3.0" />
  <row Id="28103" PostHistoryTypeId="1" PostId="17417" RevisionGUID="37572a9d-4ba3-4abf-bdf0-3939495f0824" CreationDate="2012-12-19T09:43:15.937" UserId="608" Text="Suggestions for FX Libraries for Promos" ContentLicense="CC BY-SA 3.0" />
  <row Id="28104" PostHistoryTypeId="3" PostId="17417" RevisionGUID="37572a9d-4ba3-4abf-bdf0-3939495f0824" CreationDate="2012-12-19T09:43:15.937" UserId="608" Text="&lt;sfx&gt;&lt;television&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28105" PostHistoryTypeId="2" PostId="17418" RevisionGUID="fcf94427-37c1-4b38-ab19-1489fbd9be1a" CreationDate="2012-12-19T10:07:41.437" UserId="3285" Text="Hi :)&#xD;&#xA;&#xD;&#xA;Have a look on Boom Library Cinematic Trailers Designed [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://boomlibrary.com/boomlibrary/index.php/store/cinematic-trailers" ContentLicense="CC BY-SA 3.0" />
  <row Id="28107" PostHistoryTypeId="2" PostId="17420" RevisionGUID="14ac7621-a7c1-43ea-b455-a06a4a9dac51" CreationDate="2012-12-19T13:21:58.363" UserId="5568" Text="I'm considering taking advantage of some of the end-of-year/holiday sales to beef up my sound collection. I'm especially interested in good production music, for use for audio drama mostly. I've previewed a few of the Sound Ideas collections which seem more targeted at commercials and spots (&quot;The Mix&quot;, especially).&#xD;&#xA;&#xD;&#xA;Do you have any recommendations for good general-purpose collections of music for underscoring plays? It's a broad and subjective question, I know, but suggestions on places to look would be most appreciated. The specific need is for a project that does a variety of genres of radio  plays, where we don't have the budget for custom music.&#xD;&#xA;&#xD;&#xA;Thanks very much" ContentLicense="CC BY-SA 3.0" />
  <row Id="28108" PostHistoryTypeId="1" PostId="17420" RevisionGUID="14ac7621-a7c1-43ea-b455-a06a4a9dac51" CreationDate="2012-12-19T13:21:58.363" UserId="5568" Text="Suggestions for production music for audio drama" ContentLicense="CC BY-SA 3.0" />
  <row Id="28109" PostHistoryTypeId="3" PostId="17420" RevisionGUID="14ac7621-a7c1-43ea-b455-a06a4a9dac51" CreationDate="2012-12-19T13:21:58.363" UserId="5568" Text="&lt;music&gt;&lt;audio-drama&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28110" PostHistoryTypeId="2" PostId="17421" RevisionGUID="b15b6135-bbea-4138-a052-3ff17a242b99" CreationDate="2012-12-19T16:07:17.943" UserId="1035" Text="There's this one library called big whoosh. Can't remember if that one is more over the top or not, so look for some samples to listen to first. It takes a bit more effort, but for more &quot;tame&quot; whooshes I've often had luck with arrow whiz bys and whooshes intended for fight sounds. Sometimes you want to pitch them down a touch and give them a little verb. You could find these sorts of recordings prbably in a general fx library, a mini library of medieval combat fx, or a la carte on a site like sound dogs. Just design a whole bunch ahead of time and keep them on hand." ContentLicense="CC BY-SA 3.0" />
  <row Id="28111" PostHistoryTypeId="2" PostId="17422" RevisionGUID="e1e9d1c9-1910-4c7b-a65f-946c3a55bc22" CreationDate="2012-12-19T16:21:15.767" UserId="1035" Text="For me, it'd depend a lot on how much dialogue is going on and if the rain has anything to do with thematic elements or subtext. In Flags of Our Fathers, when the general is walking on the beach alone, the waves are heavily panned. But little else is going on! In other scenes with a lot of dial or other hard fx action, not so much panning. &#xD;&#xA;&#xD;&#xA;Technically, in order to achieve the panning, you would want to use perspective splits. Find the frames where the cuts happen. Then, cut the sound and split it to a secondary track, using overlaps of a frame or so and little fades if it's popping. By doing this, it's way easier to set up panning and levels and keep them consistent for each angle. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28112" PostHistoryTypeId="2" PostId="17423" RevisionGUID="b93ae8de-16f1-4321-9b64-42e37f93c023" CreationDate="2012-12-19T18:46:05.980" UserId="4272" Text="You might consider synthesis as an option for this sort of thing. Since it's not a real-world sound it gives you a lot of options - it can really sound like whatever you want it to sound like.  I would tend to use a lot of bass-heavy explosion type sounds - reverse explosions?  Go pitch-shift crazy.&#xD;&#xA;Try using a sampler.  Try some nice designed whooshes.  Reversed glass shards.  Just get creative with it." ContentLicense="CC BY-SA 3.0" />
  <row Id="28113" PostHistoryTypeId="2" PostId="17424" RevisionGUID="90b7b259-505e-40f5-ba8c-0f7e25656840" CreationDate="2012-12-19T20:13:17.290" UserId="194" Text="I completely agree with Bryce on the synthesis angle.  A good thick synth element can get waaay punchier results than anything recorded in the real world, and they are much easier to bend with regards to pitch and timing because you're bending them at the generative stage and not at the post-waveform stage - no artifacts.&#xD;&#xA;&#xD;&#xA;Also, consider frequency content and arrangement when you're putting the sound together.  A low **or** high freq ear candy lead in (but not both), then a *very* slight pause and a large full frequency event (with that thick synth as a key element) that is followed by a composition that's got a well-mapped frequency layout.  elements that bend or stutter will cut through better - but be careful not to junk the design up with too many layers.  Everything in there needs to be clearly audible and to be doing something positive to the overall effect.&#xD;&#xA;&#xD;&#xA;Play with automating some distortion either in or out on some of the elements.  Have the punchiest things in mono and panned dead center.  mids and highs can sit or move out to the edges.&#xD;&#xA;&#xD;&#xA;mix it on small speakers.  If it sounds huge on small then it'll work better on big ones." ContentLicense="CC BY-SA 3.0" />
  <row Id="28114" PostHistoryTypeId="2" PostId="17425" RevisionGUID="5914b3dd-751a-4fb5-90e8-d0681568f812" CreationDate="2012-12-19T21:37:20.923" UserId="3285" Text="Hello,&#xD;&#xA;&#xD;&#xA;Would you know how to recreate the cell VO effect at the beginning ?&#xD;&#xA;[http://www.youtube.com/watch?v=d617cLfcC0M][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=d617cLfcC0M&#xD;&#xA;&#xD;&#xA;I saw on the facebook page of Charles Deenen (Lead sound designer of this game) : &quot;Processing was originally done by the CrytekUK guys, but I had to figure it out for 2 additional lines. Purepitch v4 (soundtoys) and ultrapitch from Waves will do. Basically seperating Formant from base, and the ability to set a Freq range on the base will do that simple effect.&quot;&#xD;&#xA;&#xD;&#xA;So, I've got ultrapitch but I don't understand how to proceed to sound like this video...&#xD;&#xA;if someone could explain this to me.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28115" PostHistoryTypeId="1" PostId="17425" RevisionGUID="5914b3dd-751a-4fb5-90e8-d0681568f812" CreationDate="2012-12-19T21:37:20.923" UserId="3285" Text="Cell VO effect (Crysis 3 trailer)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28116" PostHistoryTypeId="3" PostId="17425" RevisionGUID="5914b3dd-751a-4fb5-90e8-d0681568f812" CreationDate="2012-12-19T21:37:20.923" UserId="3285" Text="&lt;effect&gt;&lt;radio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28117" PostHistoryTypeId="2" PostId="17426" RevisionGUID="3d66d53b-ada2-43ff-96a0-ad69782b03e6" CreationDate="2012-12-19T22:17:32.083" UserId="3179" Text="&quot;Basically seperating Formant from base, and the ability to set a Freq range on the base will do that simple effect.&quot;&#xD;&#xA;&#xD;&#xA;There you have it. Now find the relevant parameters and settings." ContentLicense="CC BY-SA 3.0" />
  <row Id="28118" PostHistoryTypeId="2" PostId="17427" RevisionGUID="14aecc47-960e-4660-a324-0d2a6cd10360" CreationDate="2012-12-19T23:41:52.560" UserId="5569" Text="Hi Everybody,&#xD;&#xA;&#xD;&#xA;I was wondering if anyone had any favorite quiet, secluded locations outside of Los Angeles where they like to record. The ideal place would be reasonably quiet and away from spying eyes. Thanks.&#xD;&#xA;&#xD;&#xA;Tony" ContentLicense="CC BY-SA 3.0" />
  <row Id="28119" PostHistoryTypeId="1" PostId="17427" RevisionGUID="14aecc47-960e-4660-a324-0d2a6cd10360" CreationDate="2012-12-19T23:41:52.560" UserId="5569" Text="Quiet Desert areas around Los Angeles to Record in" ContentLicense="CC BY-SA 3.0" />
  <row Id="28120" PostHistoryTypeId="3" PostId="17427" RevisionGUID="14aecc47-960e-4660-a324-0d2a6cd10360" CreationDate="2012-12-19T23:41:52.560" UserId="5569" Text="&lt;field-recording&gt;&lt;desert&gt;&lt;quiet&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28121" PostHistoryTypeId="5" PostId="17426" RevisionGUID="3cea2925-f7f4-4807-94d3-4da1f852b7a4" CreationDate="2012-12-20T03:26:36.553" UserId="3179" Comment="added 868 characters in body; added 289 characters in body; added 1 characters in body" Text="&quot;Basically seperating Formant from base, and the ability to set a Freq range on the base will do that simple effect.&quot;&#xD;&#xA;&#xD;&#xA;There you have it. Now find the relevant parameters and settings.&#xD;&#xA;&#xD;&#xA;To put it straight, what it says is that you use a pitch-shifting plug-in that can perform pitch-shifting separately to the entire sound and just its formant parts: UltraPitch and PurePitch have such feature among others. Shifting formants is simply known as &quot;formant shift&quot; in some contexts. It will definitely end up to the direction of that voice in the trailer. Having not used the plug-ins mentioned, I'm not sure how they operate regarding this (should be straightforward to find out though), but it sounds like the key is to find a correct balance (mix and the ratio of pitches) between the shifted formant part and the unprocessed base pitch part (which although may be shifted as well), so that the speech sounds intact. If you follow the tip precisely, it says to adjust the base pitch, but not the formant part, but that sounds like it's rather specific to those plug-ins then (i.e. the formant part will stay at base pitch, but the base part will get shifted, leading to some some strange phasing I assume).&#xD;&#xA;&#xD;&#xA;The best/only approach is to study those plug-ins throughouly to find out what the parameters do. And then find settings that work." ContentLicense="CC BY-SA 3.0" />
  <row Id="28122" PostHistoryTypeId="5" PostId="17426" RevisionGUID="377f1d2d-d5fa-4758-93c4-636f94eae5e2" CreationDate="2012-12-20T03:32:54.813" UserId="3179" Comment="added 9 characters in body" Text="&quot;Basically seperating Formant from base, and the ability to set a Freq range on the base will do that simple effect.&quot;&#xD;&#xA;&#xD;&#xA;There you have it. Now find the relevant parameters and settings.&#xD;&#xA;&#xD;&#xA;To put it straight, what it says is that you use a pitch-shifting plug-in that can perform pitch-shifting separately to the entire sound and just its formant parts: UltraPitch and PurePitch have such feature among others. Shifting formants is simply known as &quot;formant shift&quot; in some contexts. It will definitely end up to the direction of that voice in the trailer. Having not used the plug-ins mentioned, I'm not sure how they operate regarding this (should be straightforward to find out though), but it sounds like the key is to find a correct balance (mix and the ratio of pitches) between the shifted formant part and the unprocessed base pitch part (which although may be shifted as well), so that the speech sounds intact. If you follow the tip precisely, it suggests to adjust the base pitch only, but not the formant part, but that sounds like it's rather specific to those plug-ins then (i.e. the formant part will stay at base pitch, but the base part will get shifted, leading to some some strange phasing I assume).&#xD;&#xA;&#xD;&#xA;The best/only approach is to study those plug-ins throughouly to find out what the parameters do. And then find settings that work." ContentLicense="CC BY-SA 3.0" />
  <row Id="28123" PostHistoryTypeId="5" PostId="17426" RevisionGUID="2a3d8b13-3fbe-4454-ac87-1966c858742e" CreationDate="2012-12-20T04:27:49.513" UserId="3179" Comment="added 139 characters in body" Text="&quot;Basically seperating Formant from base, and the ability to set a Freq range on the base will do that simple effect.&quot;&#xD;&#xA;&#xD;&#xA;There you have it. Now find the relevant parameters and settings.&#xD;&#xA;&#xD;&#xA;To put it straight, what it says is that you use a pitch-shifting plug-in that can perform pitch-shifting separately to the entire sound and just its formant parts: UltraPitch and PurePitch have such feature among others. Shifting formants is simply known as &quot;formant shift&quot; in some contexts. It will definitely end up to the direction of that voice in the trailer. Having not used the plug-ins mentioned, I'm not sure how they operate regarding this (should be straightforward to find out though), but it sounds like the key is to find a correct balance (mix and the ratio of pitches) between the shifted formant part and the unprocessed base pitch part (which although may be shifted as well), so that the speech sounds intact. If you follow the tip precisely, it suggests to adjust the base pitch only, but not the formant part, but that sounds like it's rather specific to those plug-ins then (i.e. the formant part will stay at base pitch, but the base part will get shifted, leading to some some strange phasing I assume). Or if you read it very carefully it says to limit the range of the base pitch, which again should be something specific to those plug-ins.&#xD;&#xA;&#xD;&#xA;The best/only approach is to study those plug-ins throughouly to find out what the parameters do. And then find settings that work." ContentLicense="CC BY-SA 3.0" />
  <row Id="28124" PostHistoryTypeId="5" PostId="17426" RevisionGUID="3ce5df37-97f9-4afa-bed9-ee24ec6f70f1" CreationDate="2012-12-20T04:41:29.540" UserId="3179" Comment="added 132 characters in body; added 25 characters in body" Text="&quot;Basically seperating Formant from base, and the ability to set a Freq range on the base will do that simple effect.&quot;&#xD;&#xA;&#xD;&#xA;There you have it. Now find the relevant parameters and settings.&#xD;&#xA;&#xD;&#xA;To put it straight, what it says is that you use a pitch-shifting plug-in that can perform pitch-shifting separately to the entire sound and just its formant parts: UltraPitch and PurePitch have such feature among others. Shifting formants is simply known as &quot;formant shift&quot; in some contexts. It will definitely end up to the direction of that voice in the trailer. Having not used the plug-ins mentioned, I'm not sure how they operate regarding this (should be straightforward to find out though), but it sounds like the key is to find a correct balance (mix and the ratio of pitches) between the shifted formant part and the unprocessed base pitch part (which although may be shifted as well), so that the speech sounds intact. If you follow the tip precisely, it suggests to adjust the base pitch only, but not the formant part, but that sounds like it's rather specific to those plug-ins then (i.e. the formant part will stay at base pitch, but the base part will get shifted, leading to some some strange phasing I assume). Or if you read it very carefully it says to limit the range of the base pitch, which I assume means that the base part gets limited in its pitch range while the formant part retains the natural pitch variation (i.e. is left untouched), which again should be something specific to those plug-ins.&#xD;&#xA;&#xD;&#xA;The best/only approach is to study those plug-ins throughouly to find out what the parameters do. And then find settings that work." ContentLicense="CC BY-SA 3.0" />
  <row Id="28125" PostHistoryTypeId="2" PostId="17428" RevisionGUID="5e3d8c3a-c54d-4715-8098-2519f114b25a" CreationDate="2012-12-20T08:21:13.957" UserId="238" Text="Expanding slightly on Bryce's ideas of reverse explosion, the classic reverse reverb technique could be very effective. Care would be needed to ensure the &quot;sudden&quot; effect isn't lost but a subtle mix of reverse reverb could add a nice element of suspension.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="28126" PostHistoryTypeId="2" PostId="17429" RevisionGUID="925770e6-5e2c-40ba-babc-c146ab3da8a4" CreationDate="2012-12-20T16:27:44.570" UserId="28" Text="Logic Studio comes with a lot of program music of different genres." ContentLicense="CC BY-SA 3.0" />
  <row Id="28127" PostHistoryTypeId="2" PostId="17430" RevisionGUID="83d91854-008c-4d76-a97c-3d5f82e316b8" CreationDate="2012-12-20T17:10:55.080" UserId="3426" Text="I would investigate around the outskirts of [Palmdale][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://maps.google.com/maps?client=safari&amp;rls=en&amp;oe=UTF-8&amp;q=palmdale+ca&amp;um=1&amp;ie=UTF-8&amp;hq=&amp;hnear=0x80c25784ec70ddb5:0x6a6c792dad12e03a,Palmdale,+CA&amp;gl=us&amp;sa=X&amp;ei=VUbTULTKLObfiAKXpoCgDg&amp;ved=0CJsBELYD" ContentLicense="CC BY-SA 3.0" />
  <row Id="28132" PostHistoryTypeId="2" PostId="17432" RevisionGUID="6b9311b3-b029-4d47-a705-268163427fa0" CreationDate="2012-12-20T23:02:38.473" UserId="5573" Text="Hello,&#xD;&#xA;&#xD;&#xA;I recently bought an Fostex FR2 LE and a RODE NTG2 in order to create a starter kit for sound recording in the field.&#xD;&#xA;I have performed numerous test recordings over the past few days but the the recorded result is always far too quiet when I import the audio into my DAW. &#xD;&#xA;When recording I have the recording level knob set to full and the mic trim at roughly half, with a good level around -3 to -5dB on the monitor yet the result is extremely quiet and barely tickles the monitor in my DAW.&#xD;&#xA;I am using phantom power on the NTG2, with the FR2 LE powered by a 7.2v 3000mah Tamiya battery.&#xD;&#xA;If anyone could help me with this problem I would be extremely grateful. It has been very stressful for me, having spent a good deal on the gear and with an important assignment on the way I'm beginning to feel anxious.&#xD;&#xA;&#xD;&#xA;Thanks and kind regards,&#xD;&#xA;Ty" ContentLicense="CC BY-SA 3.0" />
  <row Id="28133" PostHistoryTypeId="1" PostId="17432" RevisionGUID="6b9311b3-b029-4d47-a705-268163427fa0" CreationDate="2012-12-20T23:02:38.473" UserId="5573" Text="Fostedx FR2 LE + Rode NTG2 quiet input" ContentLicense="CC BY-SA 3.0" />
  <row Id="28134" PostHistoryTypeId="3" PostId="17432" RevisionGUID="6b9311b3-b029-4d47-a705-268163427fa0" CreationDate="2012-12-20T23:02:38.473" UserId="5573" Text="&lt;rode&gt;&lt;ntg2&gt;&lt;fostex&gt;&lt;quiet&gt;&lt;input&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28135" PostHistoryTypeId="4" PostId="17432" RevisionGUID="b40ce5a9-8988-4a3e-b8db-76077b35a7cb" CreationDate="2012-12-20T23:10:30.223" UserId="5573" Comment="edited title" Text="Fostex FR2 LE + Rode NTG2 quiet input" ContentLicense="CC BY-SA 3.0" />
  <row Id="28136" PostHistoryTypeId="2" PostId="17433" RevisionGUID="b8ed5627-ec1e-4df0-b7aa-7f20190910e5" CreationDate="2012-12-20T23:14:20.260" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;You say you have 'a good level around -3 to -5dB on the monitor' but that looks pretty loud to me. I never monitor at such levels. The FR2 LE has a level meter, right? That should, at the loudest peaks be reaching -6 dB (or lower if you do 24bits recording).&#xD;&#xA;Test the level while speaking into your microphone or snapping your finger in front of it. If you can hear the peaks on a good level on your headphones and it reaches between -20dB and -12dB dB on the level meter it should sound good back in the studio.&#xD;&#xA;&#xD;&#xA;Oh and -12 is louder than -20... just to be sure :)&#xD;&#xA;&#xD;&#xA;btw: what is your monitoring level in the studio? have you listened to the recordings in a simple mediaplayer like itunes/vlc or winamp?&#xD;&#xA;&#xD;&#xA;Good luck&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28137" PostHistoryTypeId="2" PostId="17434" RevisionGUID="b92972df-9ae9-4496-a3d1-24209f1ab266" CreationDate="2012-12-21T01:44:20.040" UserId="29" Text="I took own(ed) an FR-2LE and an NTG2. Despite where the pots were, I was always able to get a decent S:N ratio with that combo, specifically using phantom power and not a battery in the NTG (which you are also doing), also with a Tamiya style battery. I'm afraid that I don't recall where the gain pot was, but it was pretty high. &#xD;&#xA;&#xD;&#xA;I found the headphone amp on the FR2-LE to be horrific and not to be trusted: Far noisier than what you actually capture. In addition, the levels on the top edge of the device are woefully inaccurate. I only used the LCD meters, and those aren't great either, but more accurate for sure (and more visible in daylight). At the end of the day, the question is if you're getting the S:N ratio you want without clipping, pot positions be damned. Sounds like your level is probably a lot lower than mine, but our definitions of &quot;a lot of noise&quot; might be different. I was probably over the 2 o'clock position on the gain, but not cranked over towards 5 o'clock. I'd need to do some testing to validate this, however.&#xD;&#xA;&#xD;&#xA;I'd also suggest switching audio cables to make sure, AND testing with AA's in the battery sled to eliminate the Tamiya battery as a variable." ContentLicense="CC BY-SA 3.0" />
  <row Id="28141" PostHistoryTypeId="2" PostId="17436" RevisionGUID="8daee3b2-2d1d-4107-aabc-5a208b7aeae0" CreationDate="2012-12-21T07:42:02.173" UserId="61" Text="Speaking from a bit of experience, you are going to experience urban noise pollution even at great distances outside of Los Angeles County. Between the freeways and flight paths you'll be fighting the noise at every turn. If you really want to find a (relatively) quiet space I'd head for Death Valley." ContentLicense="CC BY-SA 3.0" />
  <row Id="28142" PostHistoryTypeId="2" PostId="17437" RevisionGUID="a3d57062-40b9-4c92-a230-bb5559327a65" CreationDate="2012-12-21T08:17:08.520" UserDisplayName="user80" Text="Try taking a large explosion and reversing it.  Then sweeten it with the EQ'd thunderclap and a sizzle and crackle that you already have." ContentLicense="CC BY-SA 3.0" />
  <row Id="28143" PostHistoryTypeId="2" PostId="17438" RevisionGUID="2c935214-88e1-46d4-a368-9befb93b289c" CreationDate="2012-12-21T10:40:22.920" UserId="3299" Text="As an additional layer to all the above mentioned sounds, how about the sound of an actual seam tearing from a piece of clothing, to take the 'seam' in space/time idea to it's literal extreme." ContentLicense="CC BY-SA 3.0" />
  <row Id="28144" PostHistoryTypeId="2" PostId="17439" RevisionGUID="b7e6ec70-2db8-4e1b-9e91-3b3880850dc0" CreationDate="2012-12-21T15:17:18.293" UserId="3835" Text="Thought i would jump back to this one as i have just been playing with a tool that has given me insane audio! 'Obelisk' by Artificial Audio.&#xD;&#xA;&#xD;&#xA;http://www.artificialaudio.com/&#xD;&#xA;&#xD;&#xA;I usually just play with the spectral gating but i just used the delay and feedback it offers on my whole mix and it chundered out some amazing glitch.. It sounds a lot like the breakdown section of Alva Noto's 'Uni Deform'&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=KrC4jwBld0w" ContentLicense="CC BY-SA 3.0" />
  <row Id="28145" PostHistoryTypeId="2" PostId="17440" RevisionGUID="2665d1a8-b95c-43d6-a9ff-cacf6183546c" CreationDate="2012-12-21T17:57:01.363" UserId="1760" Text="&quot;Extreme Music&quot; has some great quality music and a huge range of styles... I use their stuff for radio plays and sketches all the time..&#xD;&#xA;&#xD;&#xA;www.extrememusic.com&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28146" PostHistoryTypeId="2" PostId="17441" RevisionGUID="543b08f1-8b98-46b3-a9dc-5a2cdcafb284" CreationDate="2012-12-21T23:51:13.103" UserId="5573" Text="Hello,&#xD;&#xA;&#xD;&#xA;I am new to field recording and had some questions pertaining to gain staging for  recording sound effects and ambience.&#xD;&#xA;&#xD;&#xA;What is the recommended desired input level for both sound effects and ambience? In other words, what level should I be aiming for when recording. Right now I aim for around -6 to -3dB on the peaks, I've been told this is rather hot however I feel that anything much below this is surely too quiet and would require a lot of undesirable processing in a DAW to get to a good hearing level.&#xD;&#xA;&#xD;&#xA;I imagine the desired input can vary depending on the nature of the sound, but if anyone could provide some appropriate guidelines or 'rules of thumb' it would be greatly appreciated.&#xD;&#xA;&#xD;&#xA;Thanks and kind regards,&#xD;&#xA;Ty" ContentLicense="CC BY-SA 3.0" />
  <row Id="28147" PostHistoryTypeId="1" PostId="17441" RevisionGUID="543b08f1-8b98-46b3-a9dc-5a2cdcafb284" CreationDate="2012-12-21T23:51:13.103" UserId="5573" Text="Field recording gain staging - Desirable input level and processing" ContentLicense="CC BY-SA 3.0" />
  <row Id="28148" PostHistoryTypeId="3" PostId="17441" RevisionGUID="543b08f1-8b98-46b3-a9dc-5a2cdcafb284" CreationDate="2012-12-21T23:51:13.103" UserId="5573" Text="&lt;gain&gt;&lt;input&gt;&lt;field-recording&gt;&lt;beginner&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28149" PostHistoryTypeId="2" PostId="17442" RevisionGUID="15291764-d3b7-4e2d-af28-bb706ad27b4e" CreationDate="2012-12-22T02:45:10.720" UserId="432" Text="Everyone has a different approach, and you'll probably hear a few of them from other folks on this site. The one common thing you'll hear, is that there is no rule that applies in every situation. What gear are you using? What's your sound source? Where is the mic positioned? How will the sound be used once you get it back into the studio? What type of sound is it (transient, drone, etc.)? The answers to all of these questions (plus a few others) will dictate how you set your levels.&#xD;&#xA;&#xD;&#xA;Personally, I frequently record sounds at the level I expect to use them in my projects and mixes. I use the tone generator in my recorder (1 kHZ at -20dBFS) to give myself a reference over my headphones prior to adjusting gain levels. It's a basic method for calibrating your gear out in the field...and you should always work under the tightest calibration you can (in the field or studio). There's no point in recording foley sounds or ambiences with peaks of -3 or -6 dBFS. That's not how I'm going to use them in my mixes. For sources that are really loud, I may want to let some distortion into the recording. It can give the sound a unique character (provided it's not overbearing), or the distortion could be of such a short duration that it is virtually undetectable (this can happen with transient sounds, giving you a better recorded signal for the tail out). I don't do it all the time. I make that judgement in the moment.&#xD;&#xA;&#xD;&#xA;I know you're looking for a few simple guidelines, but the kind you're looking for don't really exist. There are no magic numbers that will work in a majority of situations. You have to think when you're recording. So, the rule is to ask yourself questions:&#xD;&#xA;&#xD;&#xA; 1. How am I (or someone else) going to use this sound?&#xD;&#xA; 2. Does it have the right sonic character for that use?&#xD;&#xA; 3. Does it sound good?&#xD;&#xA; 4. Is the signal as clean as I can get it in this situation?&#xD;&#xA;&#xD;&#xA;Use your ears, answer those questions, and you'll be making great recordings in no time." ContentLicense="CC BY-SA 3.0" />
  <row Id="28150" PostHistoryTypeId="2" PostId="17443" RevisionGUID="4907e4d4-6403-4576-93ef-ec45575da6b4" CreationDate="2012-12-22T03:12:19.600" UserId="194" Text="IMO:&#xD;&#xA;&#xD;&#xA;**rule 1** is to leave enough headroom, and err on the side of leaving too much rather than too little.  24 bit recording allows us to add back 20 or 30 db of gain in post with little to no damage done.  This means that look at your peaks and make sure that you have enough room to record something unexpected and louder than your current setting.&#xD;&#xA;&#xD;&#xA;**rule 2** is to record something as close to the level that it will be used in a final product as possible.  this means ambiances are recorded pretty quietly, and most other things are recorded at a moderate to loud level.  Rule 1 overrides rule 2.&#xD;&#xA;&#xD;&#xA;stick to those in the field and you can master your sfx after the fact using limiters or edits to put them into closer adherence to rule 2 alone." ContentLicense="CC BY-SA 3.0" />
  <row Id="28151" PostHistoryTypeId="2" PostId="17444" RevisionGUID="5d2dc5e6-7c86-43b6-bc30-f17b88b69b37" CreationDate="2012-12-22T08:13:49.073" UserId="5542" Text="Definitely put a pitching down sub in there! A bit of saturation on top of it too." ContentLicense="CC BY-SA 3.0" />
  <row Id="28152" PostHistoryTypeId="2" PostId="17445" RevisionGUID="5ddcba54-498e-4159-8e90-1791a821681d" CreationDate="2012-12-22T18:35:33.707" UserId="1048" Text="Here's where Charles Maynes records, he says it's near Burbank:&#xD;&#xA;http://www.youtube.com/watch?v=uL350lOQ8I0&#xD;&#xA;&#xD;&#xA;BTW, I can swear that there is a point in desert where many Hollywood gunshots get recorded. I've seen this picture of a desert with a faraway mountain (where they get the slapback i suppose) several times, but maybe all deserts look alike?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28153" PostHistoryTypeId="2" PostId="17446" RevisionGUID="2fe1053c-efe4-43ad-a2fe-ee7bbf3fb54e" CreationDate="2012-12-22T18:54:46.360" UserId="4307" Text="As you can see this site is a little old, but it has some of the most amazing articles. Articles from the grandfathers of sound design. &#xD;&#xA;&#xD;&#xA;Check it:&#xD;&#xA;&#xD;&#xA;http://filmsound.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28154" PostHistoryTypeId="2" PostId="17447" RevisionGUID="d1f5622a-18c4-44bb-bd9d-273bf1dfc574" CreationDate="2012-12-22T19:12:17.350" UserId="4307" Text="... this technology might be the best available right now:  &#xD;&#xA;&#xD;&#xA;http://www.izotope.com/products/audio/rx/&#xD;&#xA;&#xD;&#xA;But before you start trying to get the cleanest sound you can get, think about style. Why is does the recording sound the way it does and what does the quality of audio mean in the given context.  This is basically following up on the previous post about documentary sound. Along those lines, Coll Anderson talks about how the lower quality audio makes certain elements of a documentary's sound more believable.  He even has gone to the point of adding distortion and mic ruffling sounds to scenes.  &#xD;&#xA;&#xD;&#xA;I actually just realized that the post I am talking about above is by Shaun Farley. Go figure:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2011/06/coll-anderson-special-film-sound-discussion-of-catfish/&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2011/06/coll-anderson-special-documentary-sound/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28157" PostHistoryTypeId="2" PostId="17450" RevisionGUID="9e69c294-8e49-4fee-9bde-ad4f728aaae0" CreationDate="2012-12-24T19:33:25.337" UserId="5581" Text="Ok so im good at making sounds, but the only problem is, I dont know how to make the sounds I hear in my head. I was wondering if anyone knew of a good audio book out there (as sitting at my computer, reading off the screen hurts my eyes) that I could download and listen to about synthesizing? Or any tips on how to make the sounds I hear myself, but just cant seem to recreate?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28158" PostHistoryTypeId="1" PostId="17450" RevisionGUID="9e69c294-8e49-4fee-9bde-ad4f728aaae0" CreationDate="2012-12-24T19:33:25.337" UserId="5581" Text="audio book for subtractive synthesizing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28159" PostHistoryTypeId="3" PostId="17450" RevisionGUID="9e69c294-8e49-4fee-9bde-ad4f728aaae0" CreationDate="2012-12-24T19:33:25.337" UserId="5581" Text="&lt;books&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28160" PostHistoryTypeId="2" PostId="17451" RevisionGUID="646c607e-7a4b-4247-b07f-6bd96267056a" CreationDate="2012-12-24T20:39:28.593" UserId="3179" Text="I don't know about audio books, but this is a pretty &quot;neat&quot; book regarding the topic: http://www.synthesizer-cookbook.com/&#xD;&#xA;&#xD;&#xA;Plenty of examples with precise &quot;recipes&quot; that you can copy and see what they're composed of. Working out those should give a better idea of how different styles of subtractive sounds can be made.&#xD;&#xA;&#xD;&#xA;Also, this video series: [Intro To Synthesis - Youtube][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=atvtBE6t48M&#xD;&#xA;&#xD;&#xA;Btw: have you looked at adjusting your monitor's color balance and the background color of text documents to more eye-friendly settings, if those would help for eye ache?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28161" PostHistoryTypeId="5" PostId="17451" RevisionGUID="adbc5376-1481-4a56-af88-bd3e912c76c4" CreationDate="2012-12-24T20:44:33.160" UserId="3179" Comment="added 4 characters in body; added 43 characters in body" Text="I don't know about audio books, but this is a pretty &quot;neat&quot; book regarding the topic: http://www.synthesizer-cookbook.com/&#xD;&#xA;&#xD;&#xA;Plenty of examples with precise &quot;recipes&quot; that you can copy and see what they're composed of. Working out those should give a better idea of how different styles of subtractive sounds can be made.&#xD;&#xA;&#xD;&#xA;Also, this video series: [Intro To Synthesis - Youtube][1] (doesn't necessary need viewing to follow)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=atvtBE6t48M&#xD;&#xA;&#xD;&#xA;Btw: have you looked at adjusting your monitor's color balance and the background color of text documents to more eye-friendly settings, if those would help for the eye ache?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28162" PostHistoryTypeId="2" PostId="17452" RevisionGUID="bd3257b5-0865-4eae-8c9f-de3b65631b1f" CreationDate="2012-12-26T07:34:12.270" UserId="5582" Text="I am putting together a sound effects library myself. If I had to recommend a good resource it's the book I just bought: *sound effects bible*. pretty good stuff in there. There's also a few resources online I like but the largest and most encompassing is http://www.epicsound.com/sfx/index.php&#xD;&#xA;&#xD;&#xA;Of course I've also created a channel for foley sound effects, http://www.youtube.com/user/DIYFoley&#xD;&#xA;&#xD;&#xA;Each week (every saturday) I'll be creating a new slew of effects for my audience. I've been doing tons of research and experimentation so who knows you may find that to be a nice reference/guide in the near future, why not subscribe?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28163" PostHistoryTypeId="2" PostId="17453" RevisionGUID="e95dd819-aedb-408f-9b22-0b4867214577" CreationDate="2012-12-26T09:19:40.987" UserId="5582" Text="This may sound weird but when you cut metal it has sort of a low rusty sound which you may be able to achieve by crumpling plastic or cellophane and then lowering the sound a few octaves. You can also try punching or rolling your fist in some corn start if this is the classic sort of iron giant robot.&#xD;&#xA;&#xD;&#xA;I have also found that the arcing of electricity onto a metallic surface from a bare wire makes a nice metal impact noise. (think the sound of darth sidious' lightning, the low tones not the high pitched ones).&#xD;&#xA;&#xD;&#xA;If you need a cleaner *thunk* you can try hitting a shovel against a rock.&#xD;&#xA;&#xD;&#xA;Also the crack of a bullwhip is always a good sound for over-the-top punching and impact noises which, layered with a track of a spatula slid against a metal rod, makes a good piercing sword sound combined with metal slicing.&#xD;&#xA;&#xD;&#xA;(By the way, I'm assuming the robot is slicing up *another robot* not an organic person. that sound is very different and involves the use of several vegetables and fruit)&#xD;&#xA;&#xD;&#xA;www.youtube.com/user/DIYFoley" ContentLicense="CC BY-SA 3.0" />
  <row Id="28164" PostHistoryTypeId="2" PostId="17454" RevisionGUID="abbf69a8-e8db-4e0f-86b1-869d272f3509" CreationDate="2012-12-26T09:31:38.500" UserId="5582" Text="I always prefer the 'dry' approach, I believe you may be able to create this sound mix realistically without a ton of modification.&#xD;&#xA;&#xD;&#xA;It needs some more impact noise, something like arcing against metal or tesla shock sounds to start. Your base sound is good though you might want to extend it.&#xD;&#xA;&#xD;&#xA;To really add some emphasis to the affect of the laser you should look into some strained metal sounds, like the lazer has affected internal components. Trying skidding on tile or linoleum with a boot or maybe a bike wheel. You can also take a factory tour and get some real good industrial sounds to work with, plenty of which I'm sure will sound strained and aching.&#xD;&#xA;&#xD;&#xA;That said there are a huge variety of things out there that can create this effect for you. Your best bet is to get into your mind (as I have) what you *want this effect to sound like* and then think of all the things that make sounds similar to that. experiment! Elephants call? rubbing a wet pumpkin? A kazoo? tearing cardboard? You have tons of creative freedom with something like a lazer hitting a robot. Just think of the huge variety in star wars; you would not believe the things they used to make some of those sounds.&#xD;&#xA;&#xD;&#xA;www.youtube.com/user/DIYFoley" ContentLicense="CC BY-SA 3.0" />
  <row Id="28165" PostHistoryTypeId="2" PostId="17455" RevisionGUID="1c1b7f69-6220-4101-af83-0de9797b1460" CreationDate="2012-12-26T09:42:58.763" UserId="5582" Text="Easy! I have an episode of punching sound effects being released this saturday, I did tons of research and lots of (sometimes expensive) experimentation and even though the last answer was in june 2011 who knows, someone else may stumble across this post and need what I have to tell them!&#xD;&#xA;&#xD;&#xA;chest/back/clothing punches.&#xD;&#xA;These are heavy hitting heavy resistance punches, we used a phone book, punched it several times and several different ways to get exactly the sound we were looking for. Word to the wise: punch it lightly, to strong a punch and you get plastic sounds from the cover and rustling pages (depending on how you hold it). It usually sounded better up in the air than against the ground but try it both ways and see what fits.&#xD;&#xA;&#xD;&#xA;gut punches&#xD;&#xA;A softer, longer lasting punch (generally visualized as *through* cloth) I made by hitting a broom or mop against a couch cushion. This one worked especially well when we added some recorded open-mouth chewing on carrots to the mix. Wile you can get away with just the broom/couch sound if you're looking to churn someone's guts or break a bone bite or chew on a carrot or celery for added emphasis.&#xD;&#xA;&#xD;&#xA;bare skin, slaps, head punches&#xD;&#xA;Go out and buy some cheap steak, put it against a solid surface that will absorb any reverberating sound and beat the heck out of it! We found you can also get a similar effect by slapping the steak against more steak.&#xD;&#xA;&#xD;&#xA;Classic technique&#xD;&#xA;The tried and true method used since the days of yore is slapping your hand against your thigh *really* hard and recording that (make sure it's recording!). You won't want to do this very many times.&#xD;&#xA;&#xD;&#xA;But yes it is better if I know what sort of punch you want, there are more punching sound fx but those are the big ones! Remember to record it in a similar room/environment as the scene takes place in to get the right echo and vibrations.&#xD;&#xA;&#xD;&#xA;www.youtube.com/user/DIYFoley" ContentLicense="CC BY-SA 3.0" />
  <row Id="28166" PostHistoryTypeId="2" PostId="17456" RevisionGUID="a1aed5b5-3d60-4318-9d60-1d9ceeb722a4" CreationDate="2012-12-26T09:49:57.713" UserId="5582" Text="To my ears it really really sounds like a feedback look, like they got to sound emitting objects real close together that also recorded. Like what you can do with two phones on a call with each other. What they used exactly? I don't know, but there's a whole expo (shame I can't find a link) of feedback sound creators. Look at what they did and you might find a cheap solution to your problem.&#xD;&#xA;&#xD;&#xA;www.youtube.com/user/DIYFoley" ContentLicense="CC BY-SA 3.0" />
  <row Id="28167" PostHistoryTypeId="2" PostId="17457" RevisionGUID="914a987e-c8e2-4485-9f4b-cdf939c84fea" CreationDate="2012-12-26T10:06:17.927" UserId="5583" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;It's the first time that I ask a question. I apologize for my bad english (I'm french woman sounddesigner).&#xD;&#xA;I need to create a flour monster for an animated movie. &#xD;&#xA;I used the snow foley for texture, but it misses something.&#xD;&#xA;Which another texture can I use?&#xD;&#xA;&#xD;&#xA;Thanks for your response&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28168" PostHistoryTypeId="1" PostId="17457" RevisionGUID="914a987e-c8e2-4485-9f4b-cdf939c84fea" CreationDate="2012-12-26T10:06:17.927" UserId="5583" Text="sound of monster flour" ContentLicense="CC BY-SA 3.0" />
  <row Id="28169" PostHistoryTypeId="3" PostId="17457" RevisionGUID="914a987e-c8e2-4485-9f4b-cdf939c84fea" CreationDate="2012-12-26T10:06:17.927" UserId="5583" Text="&lt;sound-design&gt;&lt;texture&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28170" PostHistoryTypeId="4" PostId="17457" RevisionGUID="b2eba533-1a5c-41d2-af01-f83fa3b29b62" CreationDate="2012-12-26T10:17:05.510" UserId="5583" Comment="edited title" Text="sound of flour monster" ContentLicense="CC BY-SA 3.0" />
  <row Id="28171" PostHistoryTypeId="2" PostId="17458" RevisionGUID="52c6c05c-53c1-4b99-a17a-d27b6ff4669c" CreationDate="2012-12-26T12:51:52.210" UserId="3179" Text="&gt; what will be the next physical form of&#xD;&#xA;&gt; sharing sound if it ever will, what do&#xD;&#xA;&gt; you think?&#xD;&#xA;&#xD;&#xA;It will be the same as for other data, just as CD and analog formats (to a certain extent) were. There's already Digipak, which although is almost the same as &quot;a CD&quot;. But apart from that, USB sticks or flash memory cards or just distribution over a network, just like any other data and media.&#xD;&#xA;&#xD;&#xA;&gt; But what we have now is the valueless, weightless binary clouds called digital distribution - information in its purest form. I think we are loosing something what always was Additional information, things that help and point our attention along with the sound.&#xD;&#xA;&#xD;&#xA;Well, you could view it that way, but I think that's just being nostalgic (i.e. having an opinion that the previous formats were &quot;better for the art&quot;). But as for being valueless, nope, think for example about social platforms like last.fm or Spotify. The main distribution is very closely linked to those, because those kinds of social networks do generate value for many music listeners. As for other &quot;more individual&quot; channels and/or more personal, artistic takes on distribution, one can go pretty wild with web technology or even stand-alone software, if one wishes to, like creating an interactive album of some sort that adds some kind of visual and interactive elements to the music. Although sadly multimedia may not and isn't meant to fit for all types of music." ContentLicense="CC BY-SA 3.0" />
  <row Id="28172" PostHistoryTypeId="5" PostId="17458" RevisionGUID="21bd7e1c-1902-40a0-86bf-8285d1868c07" CreationDate="2012-12-26T12:58:08.140" UserId="3179" Comment="deleted 4 characters in body; added 163 characters in body" Text="&gt; what will be the next physical form of&#xD;&#xA;&gt; sharing sound if it ever will, what do&#xD;&#xA;&gt; you think?&#xD;&#xA;&#xD;&#xA;It will be the same as for other data, just as CD and analog formats (to a certain extent) were. There's already Digipak, which although is almost the same as &quot;a CD&quot;. But apart from that, USB sticks or flash memory cards or just distribution over a network, just like any other data and media.&#xD;&#xA;&#xD;&#xA;&gt; But what we have now is the valueless, weightless binary clouds called digital distribution - information in its purest form. I think we are loosing something what always was Additional information, things that help and point our attention along with the sound.&#xD;&#xA;&#xD;&#xA;Well, you could view it that way, but I think that's just being nostalgic (i.e. having an opinion that the previous formats were &quot;better for the art&quot;). However, vinyl has been seeing some sort of comeback, likely because some people think it's a great alternative to digital formats after all. But as for digital distribution being valueless, nope, think for example about social platforms like last.fm or Spotify. The main distribution is very closely linked to those, because those kinds of social networks do generate value for many music listeners. As for other &quot;more individual&quot; channels and/or more personal, artistic takes on distribution, one can go pretty wild with web technology or even stand-alone software, if one wishes to, like creating an interactive album of some sort that adds some kind of visual and interactive elements to the music. Although sadly multimedia may not and isn't meant to fit all types of music." ContentLicense="CC BY-SA 3.0" />
  <row Id="28173" PostHistoryTypeId="2" PostId="17459" RevisionGUID="841d23d5-09ef-42f4-914d-3904e4d8a3df" CreationDate="2012-12-26T13:00:50.493" UserId="243" Text="Hi guys I recently got EZ a VINYL/TAPE CONVERTER, I will use it to convert/capture/record a load of old vinyls from my late father's massive collection. I tried running the program with protools simultaneously in the hopes that it would come up as an instrument like melodyne etc. But it doesn't. The EZ audio converter program itself is frustrating to see the least, it has minimal functionality when it comes to setting the bit depth or sample rate. I have to set that up in itunes but itunes doesnt have a 24 bit option and even if it did (hypothetical=I havent tried yet) the amount of control I actually have over the recording is so limited. &#xD;&#xA;&#xD;&#xA;I would like to know if there is a rewire plugin or something I can download to set EZ VINYL/TAPE CONVERTER as a client in protools?    " ContentLicense="CC BY-SA 3.0" />
  <row Id="28174" PostHistoryTypeId="1" PostId="17459" RevisionGUID="841d23d5-09ef-42f4-914d-3904e4d8a3df" CreationDate="2012-12-26T13:00:50.493" UserId="243" Text="Rewire EZ VINYL/TAPE CONVERTER to protools" ContentLicense="CC BY-SA 3.0" />
  <row Id="28175" PostHistoryTypeId="3" PostId="17459" RevisionGUID="841d23d5-09ef-42f4-914d-3904e4d8a3df" CreationDate="2012-12-26T13:00:50.493" UserId="243" Text="&lt;converter&gt;&lt;pro-tools&gt;&lt;recording&gt;&lt;plugin&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28176" PostHistoryTypeId="5" PostId="17458" RevisionGUID="6afa9e8a-05b8-4823-ac85-fc9ce79116d8" CreationDate="2012-12-26T13:05:32.480" UserId="3179" Comment="deleted 18 characters in body" Text="&gt; what will be the next physical form of&#xD;&#xA;&gt; sharing sound if it ever will, what do&#xD;&#xA;&gt; you think?&#xD;&#xA;&#xD;&#xA;It will be the same as for other data, just as CD and analog formats (to a certain extent) were. There's already Digipak, which although is almost the same as &quot;a CD&quot;. But apart from that, USB sticks or flash memory cards or just distribution over a network, just like any other data and media. Or it could be vinyl for some, because it has seen growing sales.&#xD;&#xA;&#xD;&#xA;&gt; But what we have now is the valueless, weightless binary clouds called digital distribution - information in its purest form. I think we are loosing something what always was Additional information, things that help and point our attention along with the sound.&#xD;&#xA;&#xD;&#xA;Well, you could view it that way, but I think that's just being nostalgic (i.e. having an opinion that the previous formats were &quot;better for the art&quot;). Although, as mentioned, vinyl sales have been increasing. But as for digital distribution being valueless, nope, think for example about social platforms like last.fm or Spotify. The main distribution is very closely linked to those, because those kinds of social networks do generate value for many music listeners. As for other &quot;more individual&quot; channels and/or more personal, artistic takes on distribution, one can go pretty wild with web technology or even stand-alone software, if one wishes to, like creating an interactive album of some sort that adds some kind of visual and interactive elements to the music. Although sadly multimedia may not and isn't meant to fit all types of music." ContentLicense="CC BY-SA 3.0" />
  <row Id="28177" PostHistoryTypeId="5" PostId="17458" RevisionGUID="79e8ea35-8a84-4382-be31-edab8a3dd078" CreationDate="2012-12-26T13:10:34.890" UserId="3179" Comment="added 95 characters in body" Text="&gt; what will be the next physical form of&#xD;&#xA;&gt; sharing sound if it ever will, what do&#xD;&#xA;&gt; you think?&#xD;&#xA;&#xD;&#xA;It will be the same as for other data, just as CD and analog formats (to a certain extent) were. There's already Digipak, which although is almost the same as &quot;a CD&quot;. But apart from that, USB sticks or flash memory cards or just distribution over a network, just like any other data and media. Or it could be vinyl for some, because it has seen growing sales.&#xD;&#xA;&#xD;&#xA;&gt; But what we have now is the valueless, weightless binary clouds called digital distribution - information in its purest form. I think we are loosing something what always was Additional information, things that help and point our attention along with the sound.&#xD;&#xA;&#xD;&#xA;Well, you could view it that way, but I think that's just being nostalgic (i.e. having an opinion that the previous formats were &quot;better for the art&quot;). Although, as mentioned, vinyl sales have been increasing. But as for digital distribution being valueless, nope, think for example about social platforms like last.fm or Spotify. The main distribution is very closely linked to those, because those kinds of social networks do generate value for many music listeners. As for other &quot;more individual&quot; channels and/or more personal, artistic takes on distribution, one can go pretty wild with web technology or even stand-alone software, if one wishes to, like creating an interactive album of some sort that adds some kind of visual and interactive elements to the music. Although sadly multimedia may not and isn't meant to fit all types of music. I don't see why music albums couldn't be distributed for example as websites and links though." ContentLicense="CC BY-SA 3.0" />
  <row Id="28178" PostHistoryTypeId="2" PostId="17460" RevisionGUID="49eac202-a276-4564-b9be-5919e5879f34" CreationDate="2012-12-26T13:41:54.060" UserId="208" Text="Maybe try watching and listening to Spiderman 2 ( i think), and the sandman scenes. I remember these as being very well made." ContentLicense="CC BY-SA 3.0" />
  <row Id="28179" PostHistoryTypeId="2" PostId="17461" RevisionGUID="f056fefa-26a3-440b-ad42-f0c64e0ccff5" CreationDate="2012-12-26T14:22:57.450" UserDisplayName="user80" Text="What topics do you think that sound design students should be studying?  &#xD;&#xA;&#xD;&#xA;Obviously all of the technical aspects such as: microphones, recorders, DAWs, loudspeakers, preamps, sampling, synthesis etc, as well as basic techniques such as: recording, editing and mixing.&#xD;&#xA;&#xD;&#xA;I know that this is a very broad area, but would appreciate all suggestions, no matter how obvious they seem." ContentLicense="CC BY-SA 3.0" />
  <row Id="28180" PostHistoryTypeId="1" PostId="17461" RevisionGUID="f056fefa-26a3-440b-ad42-f0c64e0ccff5" CreationDate="2012-12-26T14:22:57.450" UserDisplayName="user80" Text="Sound Design courses, what should they teach?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28181" PostHistoryTypeId="3" PostId="17461" RevisionGUID="f056fefa-26a3-440b-ad42-f0c64e0ccff5" CreationDate="2012-12-26T14:22:57.450" UserDisplayName="user80" Text="&lt;education&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28182" PostHistoryTypeId="2" PostId="17462" RevisionGUID="5ea52bd6-0f20-4f28-99d5-5bb652f6ca38" CreationDate="2012-12-26T14:31:32.983" UserDisplayName="user80" Text="Try crushing coarse sugar with your fingers in sync to the creature's movement.  The roughness will add a suggestion of the internal movement of flour within the creature." ContentLicense="CC BY-SA 3.0" />
  <row Id="28183" PostHistoryTypeId="2" PostId="17463" RevisionGUID="31629996-f66e-462f-a13e-3d7f83dcfd7c" CreationDate="2012-12-26T14:52:00.967" UserId="3179" Text="Mainly projects/practical work. Projects are the only real way to train what one's really training to do, when taking a sound post / sound design / sound production for media course. Projects can be designed so that there's an increasing level of difficulty/complexity. Group or teacher-student discussions and feedback regarding the results and during the project work are extremely important in giving guidance and further thoughts for the student about his art and thoughts on how he/she can improve himself/herself.&#xD;&#xA;&#xD;&#xA;Only minimal amounts of guidance to mic techniques (emphasizing how they apply to capturing sound! Some quick practicals could be useful.) and software and gear operation as it applies to shaping a soundtrack. Formal teaching of technical stuff should be kept to a minimum on an art course, because those things will come naturally and at the required level (which is probably individual for every student) in the project work. I think that for &quot;technical audio&quot; there are acoustics and electronics or software engineering courses.&#xD;&#xA;&#xD;&#xA;Additionally or optionally small masterclass-style courses on e.g. foley (to see the vastness of materials, objects and techniques that can be used to create sound effects). Maybe a small course on sound synthesis and sample-based synthesis, just enough so that students become familiar with what kinds of sounds synthesis and sample processing (basic sampler functions and granular synthesis) are useful for. Could bundle other &quot;plug-in based sound design techniques&quot; in the same package as well. Perhaps something small regarding voice recording and acting and VO.&#xD;&#xA;&#xD;&#xA;I think that's about it for a sound post/sound design course, not including music composition.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28184" PostHistoryTypeId="5" PostId="17463" RevisionGUID="a0b4abca-315b-4c65-9c7d-dcfc36145cce" CreationDate="2012-12-26T14:58:32.290" UserId="3179" Comment="added 44 characters in body" Text="Mainly projects/practical work. Projects are the only real way to train what one's really training to do, when taking a sound post / sound design / sound production for media course. Projects can be designed so that there's an increasing level of difficulty/complexity. Group or teacher-student discussions and feedback regarding the results and during the project work are extremely important in giving guidance and further thoughts for the student about his art and thoughts on how he/she can improve himself/herself.&#xD;&#xA;&#xD;&#xA;Only minimal amounts of guidance to mic techniques (including location recording. Emphasizing how the mic techniques apply to capturing sound! Some quick practicals could be useful.) and software and gear operation as it applies to shaping a soundtrack. Formal teaching of technical stuff should be kept to a minimum on an art course, because those things will come naturally and at the required level (which is probably individual for every student) in the project work. I think that for &quot;technical audio&quot; there are acoustics and electronics or software engineering courses.&#xD;&#xA;&#xD;&#xA;Additionally or optionally small masterclass-style courses on e.g. foley (to see the vastness of materials, objects and techniques that can be used to create sound effects). Maybe a small course on sound synthesis and sample-based synthesis, just enough so that students become familiar with what kinds of sounds synthesis and sample processing (basic sampler functions and granular synthesis) are useful for. Could bundle other &quot;plug-in based sound design techniques&quot; in the same package as well. Perhaps something small regarding voice recording and acting and VO.&#xD;&#xA;&#xD;&#xA;I think that's about it for a sound post/sound design course, not including music composition.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28185" PostHistoryTypeId="5" PostId="17463" RevisionGUID="213a7322-e1d4-4373-860f-0486c2ff967f" CreationDate="2012-12-26T15:09:12.893" UserId="3179" Comment="added 361 characters in body" Text="Mainly projects/practical work. Projects are the only real way to train what one's really training to do, when taking a sound post / sound design / sound production for media course. Projects can be designed so that there's an increasing level of difficulty/complexity. Group or teacher-student discussions and feedback regarding the results and during the project work are extremely important in giving guidance and further thoughts for the student about his art and thoughts on how he/she can improve himself/herself. Ideally the project work should be done with students stuyding visual arts, film making, animation and/or e.g. game programming, because then the projects can be self-planned and self-executed group projects, rather than given and boring individual assignments on pre-existing media. It's also a great and an important way for the students to form connections.&#xD;&#xA;&#xD;&#xA;Only minimal amounts of guidance to mic techniques (including location recording. Emphasizing how the mic techniques apply to capturing sound! Some quick practicals could be useful.) and software and gear operation as it applies to shaping a soundtrack. Formal teaching of technical stuff should be kept to a minimum on an art course, because those things will come naturally and at the required level (which is probably individual for every student) in the project work. I think that for &quot;technical audio&quot; there are acoustics and electronics or software engineering courses.&#xD;&#xA;&#xD;&#xA;Additionally or optionally small masterclass-style courses on e.g. foley (to see the vastness of materials, objects and techniques that can be used to create sound effects). Maybe a small course on sound synthesis and sample-based synthesis, just enough so that students become familiar with what kinds of sounds synthesis and sample processing (basic sampler functions and granular synthesis) are useful for. Could bundle other &quot;plug-in based sound design techniques&quot; in the same package as well. Perhaps something small regarding voice recording and acting and VO.&#xD;&#xA;&#xD;&#xA;I think that's about it for a sound post/sound design course, not including music composition.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28186" PostHistoryTypeId="5" PostId="17463" RevisionGUID="b822024f-48b7-4729-9ef5-7c77ca62c072" CreationDate="2012-12-26T15:17:41.330" UserId="3179" Comment="added 177 characters in body" Text="Mainly projects/practical work. Projects are the only real way to train what one's really training to do, when taking a sound post / sound design / sound production for media course. Projects can be designed so that there's an increasing level of difficulty/complexity. Group or teacher-student discussions and feedback regarding the results and during the project work are extremely important in giving guidance and further thoughts for the student about his art and thoughts on how he/she can improve himself/herself. Ideally the project work should be done with students stuyding visual arts, film making, animation and/or e.g. game programming, because then the projects can be self-planned and self-executed group projects, rather than given and boring individual assignments on pre-existing media (eventhough that might often be the case when working for real. However, creating something new should still be more motivating than working on e.g. film snippets or trailers.). It's also a great and an important way for the students to form connections.&#xD;&#xA;&#xD;&#xA;Only minimal amounts of guidance to mic techniques (including location recording. Emphasizing how the mic techniques apply to capturing sound! Some quick practicals could be useful.) and software and gear operation as it applies to shaping a soundtrack. Formal teaching of technical stuff should be kept to a minimum on an art course, because those things will come naturally and at the required level (which is probably individual for every student) in the project work. I think that for &quot;technical audio&quot; there are acoustics and electronics or software engineering courses.&#xD;&#xA;&#xD;&#xA;Additionally or optionally small masterclass-style courses on e.g. foley (to see the vastness of materials, objects and techniques that can be used to create sound effects). Maybe a small course on sound synthesis and sample-based synthesis, just enough so that students become familiar with what kinds of sounds synthesis and sample processing (basic sampler functions and granular synthesis) are useful for. Could bundle other &quot;plug-in based sound design techniques&quot; in the same package as well. Perhaps something small regarding voice recording and acting and VO.&#xD;&#xA;&#xD;&#xA;I think that's about it for a sound post/sound design course, not including music composition.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28187" PostHistoryTypeId="5" PostId="17463" RevisionGUID="a16129b6-c56b-4e0e-b22b-2262dd237d72" CreationDate="2012-12-26T15:30:20.553" UserId="3179" Comment="added 651 characters in body; added 37 characters in body; added 65 characters in body" Text="Mainly projects/practical work. Projects are the only real way to train what one's really training to do, when taking a sound post / sound design / sound production for media course. Projects can be designed so that there's an increasing level of difficulty/complexity. Group or teacher-student discussions and feedback regarding the results and during the project work are extremely important in giving guidance and further thoughts for the student about his art and thoughts on how he/she can improve himself/herself. Ideally the project work should be done with students stuyding visual arts, film making, animation and/or e.g. game programming, because then the projects can be self-planned and self-executed group projects, rather than given and boring individual assignments on pre-existing media (eventhough that might often be the case when working for real. However, creating something new should still be more motivating than working on e.g. film snippets or trailers.). It's also a great and an important way for the students to form connections.&#xD;&#xA;&#xD;&#xA;Only minimal amounts of guidance to mic techniques (including location recording. Emphasizing how the mic techniques apply to capturing sound! Some quick practicals could be useful.) and software and gear operation as it applies to shaping a soundtrack. Formal teaching of technical stuff should be kept to a minimum on an art course, because those things will come naturally and at the required level (which is probably individual for every student) in the project work. I think that for &quot;technical audio&quot; there are acoustics and electronics or software engineering courses.&#xD;&#xA;&#xD;&#xA;Additionally or optionally small masterclass-style courses on e.g. foley (to see the vastness of materials, objects and techniques that can be used to create sound effects). Maybe a small course on sound synthesis and sample-based synthesis, just enough so that students become familiar with what kinds of sounds synthesis and sample processing (basic sampler functions and granular synthesis) are useful for. Could bundle other &quot;plug-in based sound design techniques&quot; in the same package as well. Perhaps something small regarding voice recording and acting and VO.&#xD;&#xA;&#xD;&#xA;I think that's about it for a sound post/sound design course, not including music composition.&#xD;&#xA;&#xD;&#xA;I'm also thinking of something regarding analysis of sound use. I think it's quite common in courses to have at least one write up (or a practical) on some film scene so that it's assured that students have been introduced to concepts such as silence and diagetic/non-diagetic and off-screen sound. Most students will likely be into the subject enough so that they already consume the media a lot and thus understand &quot;how it should sound&quot; quite well, but a brief introduction to critical listening and understanding these few theoretical concepts might be essential for those that might not have thought of the aspects that a sound scene can have. Not sure, if it's essential though, or whether it could be easily integrated to the practical work.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28188" PostHistoryTypeId="2" PostId="17464" RevisionGUID="4f44c1f9-8d09-4259-960d-3905458d8074" CreationDate="2012-12-26T15:40:58.850" UserId="845" Text="If I were to design a course I'd put a lot of the focus not on playing with noises, but sitting down and listening to noises (of all kinds).  What I mean is two hour-long classes a week of just sitting and listening to music, radio-drama, musique concrete, random field recordings, movies with the picture stripped off, the sound of the room itself with nothing playing.  I find that I get so wrapped up in making things to hear that I forget to actually sit down and listen to them :)&#xD;&#xA;&#xD;&#xA;The other thing I'd make a high priority is human contact.  The biggest thing I missed on the course that I just finished was access to our professors for feedback.  What I really wanted (I think) was more of a mentorship situation, where I'd go off and do the work, bring it to the professor and we'd sit down and pull it apart to figure out what worked and what didn't.  Instead, what we got when they'd finished marking our submissions was a link to an online form that contained the (anonymous) marker's 'feedback,' which consisted of a grade and perhaps three sentences of uninterested sounding commentary.  Not exactly encouraging.&#xD;&#xA;&#xD;&#xA;A big part of learning (for me, at least) is not putting information into my head, but the brain shift that comes with realising how *other people* hear that information.  So I think the more creative/critical conversation and exchange you can encourage, the better.  &#xD;&#xA;&#xD;&#xA;Basically, as much facetime with the Prof as possible.  Inasmuch as most people will have their *thing* that they're into, and probably won't care too much about what other people think, it always helps to have someone 'older' and 'more knowlegeable' than you sit down next to you and say &quot;cool! how did you even do that!?&quot;  &#xD;&#xA;&#xD;&#xA;Having someone show interest in what you're doing is the best encouragement for anyone who does creative work.  And I get *much* more out of a learning/working situation when I have that kind of support.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28189" PostHistoryTypeId="5" PostId="17463" RevisionGUID="d2680602-bb39-4417-ad7f-7b5d8f1918fe" CreationDate="2012-12-26T15:41:18.313" UserId="3179" Comment="added 263 characters in body" Text="Mainly projects/practical work. Projects are the only real way to train what one's really training to do, when taking a sound post / sound design / sound production for media course. Projects can be designed so that there's an increasing level of difficulty/complexity. Group or teacher-student discussions and feedback regarding the results and during the project work are extremely important in giving guidance and further thoughts for the student about his art and thoughts on how he/she can improve himself/herself. Ideally the project work should be done with students stuyding visual arts, film making, animation and/or e.g. game programming, because then the projects can be self-planned and self-executed group projects, rather than given and boring individual assignments on pre-existing media (eventhough that might often be the case when working for real. However, creating something new should still be more motivating than working on e.g. film snippets or trailers.). It's also a great and an important way for the students to form connections.&#xD;&#xA;&#xD;&#xA;Only minimal amounts of guidance to mic techniques (including location recording. Emphasizing how the mic techniques apply to capturing sound! Some quick practicals could be useful.) and software and gear operation as it applies to shaping a soundtrack. Formal teaching of technical stuff should be kept to a minimum on an art course, because those things will come naturally and at the required level (which is probably individual for every student) in the project work. I think that for &quot;technical audio&quot; there are acoustics and electronics or software engineering courses.&#xD;&#xA;&#xD;&#xA;Additionally or optionally small masterclass-style courses on e.g. foley (to see the vastness of materials, objects and techniques that can be used to create sound effects). Maybe a small course on sound synthesis and sample-based synthesis, just enough so that students become familiar with what kinds of sounds synthesis and sample processing (basic sampler functions and granular synthesis) are useful for. Could bundle other &quot;plug-in based sound design techniques&quot; in the same package as well. Perhaps something small regarding voice recording and acting and VO.&#xD;&#xA;&#xD;&#xA;I think that's about it for a sound post/sound design course, not including music composition.&#xD;&#xA;&#xD;&#xA;I'm also thinking of something regarding analysis of sound use. I think it's quite common in courses to have at least one write up (or a practical) on some film scene so that it's assured that students have been introduced to concepts such as silence and diagetic/non-diagetic and off-screen sound. Most students will likely be into the subject enough so that they already consume the media a lot and thus understand &quot;how it should sound&quot; quite well, but a brief introduction to critical listening and understanding these few theoretical concepts might be essential for those that might not have thought of the aspects that a sound scene can have. Not sure, if it's essential though, or whether it could be easily integrated to the practical work.&#xD;&#xA;&#xD;&#xA;Overall as much as possible should be integrated to the practical work, rather than presenting stuff as separate concepts/modules. Everything is applicable for almost every, if not every soundtrack creation anyways, so why not let the practicing happen there.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28190" PostHistoryTypeId="2" PostId="17465" RevisionGUID="40adfaad-0964-44fb-bd6d-0a4f9812dac2" CreationDate="2012-12-26T15:49:34.243" UserId="3754" Text="granular synthesis and animal sounds :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28191" PostHistoryTypeId="2" PostId="17466" RevisionGUID="deb3ef70-5006-4e2b-b43b-99fbda0bb10f" CreationDate="2012-12-26T20:15:50.990" UserDisplayName="user49" Text="Most of your suggested study topics are about HOW - unless the course is intended to be purely practical it would be good to include some study as to WHY ie what are the primary motives of sound design. Story telling, screen writing, analysing a script for sound, picture editing etc and learning to become a good collaborator...  &#xD;&#xA;To develop sound design skills you need to have an understanding (&amp; preferably some experience) with all the elements of the project - dialogue recording/production sound, ADR, dialogue editing, foley performance &amp; recording, ambiences, sound effects etc... " ContentLicense="CC BY-SA 3.0" />
  <row Id="28192" PostHistoryTypeId="2" PostId="17467" RevisionGUID="443cd0c2-76b9-4dbc-8b1a-c06e36d3031c" CreationDate="2012-12-26T20:24:14.257" UserId="5585" Text="If the sound disappears completely from wind pushing in the mic diaphragm there's not much you can do afterwards. Always work on getting the best source material right away. Do some tests with your equipment before hand." ContentLicense="CC BY-SA 3.0" />
  <row Id="28193" PostHistoryTypeId="2" PostId="17468" RevisionGUID="f8540c0a-a723-4ee8-81df-6defc5e0a3e1" CreationDate="2012-12-26T21:11:12.440" UserId="29" Text="Sounds like a fun challenge!&#xD;&#xA;&#xD;&#xA;Flour is soft, not coarse like sugar. Maybe very soft, pillowy sounds would be good to add: Impacts into pillows, cloth hits, maybe even foley of things being dropped into talcum powder or flour itself (guaranteed to be messier than any liquid, though). Maybe even experiment with snow foley?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28194" PostHistoryTypeId="2" PostId="17469" RevisionGUID="cbb00e51-9234-4081-be99-e8e846aee00c" CreationDate="2012-12-26T21:23:30.840" UserId="29" Text="Any material packaging or delivery method will need to add value to the audio content. Many reissued albums add value from their liner notes: Why this artist is historically important, their biography, who they played with, and so on. Some liner notes are now actually small books. Some artists have fun with it: Kid Koala's &quot;12 Bit Blues&quot; CD comes with a DIY cardboard turntable! Sometimes the material object is important in the aesthetic of the act, band, or artist. The advantage of a physical artifact is that it can encapsulate a lot into one focused experience, unlike a bunch of MP3's and a PDF booklet and a vanity website...but, to Rene's point, the younger generation might not have the patience for that.&#xD;&#xA;&#xD;&#xA;But is that a fallacy? Will the simple fact that MP3's (or their future replacements) are so easy to hear, trade, and swap create demand for richer experiences? Will people start to realize that rich Web experiences are possibly *more* expensive than printing a gorgeous booklet, and isn't portable to all devices at all times (given URLs' dependence on internet connectivity)? Will albums come in decoder rings or some other weird artifact? Portability of the music experience will probably trump everything, which is why cassettes gained popularity, as did MP3 files a generation later. But that doesn't preclude a &quot;mothership&quot; container of some sort, whether it has higher-fidelity audio material or a bunch of extra content, or both. (Which the vinyl LP is still great at today.)&#xD;&#xA;&#xD;&#xA;There will always be a hardcore group of listeners who crave something more, whether it's reinterpretations (visuals, videos, live shows) or context (liner notes, stories, etc.). Whether these things come in boxes we buy or virtual collections of media is a question I don't think anyone can answer. I suspect these things are cyclical, like many trends, but each cycle mutates a bit, so I'm excited to see where artists and performers go to further engage with their fans.&#xD;&#xA;&#xD;&#xA;Who hopefully value their work enough to BUY SOMETHING..." ContentLicense="CC BY-SA 3.0" />
  <row Id="28195" PostHistoryTypeId="2" PostId="17470" RevisionGUID="13fca34d-5cc9-4001-bc04-389beb7e1a70" CreationDate="2012-12-27T00:59:35.037" UserId="2906" Text="Hey there everyone!&#xD;&#xA;&#xD;&#xA;I'm working on a mobile game in which, besides its many features, I have to build some sounds for a enemy creature that is solely made of bones - a skeleton, in practice. I read in another post some suggestions regarding pistachios usage which seems very interesting, but I am lacking some ideas and references on how to have a more solid sound for its movement. &#xD;&#xA;&#xD;&#xA;This creature is very small, with a big head / skull and it's kind of nuts. He also carries a bag with more bones to throw before spinning them in the air.&#xD;&#xA;&#xD;&#xA;I'm thinking of some empty wooden sounds, maybe some joints details, although I still don't know how to maintain balance when it comes to mobile games. &#xD;&#xA;&#xD;&#xA;I appreciate any ideas you can share. :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Melissa" ContentLicense="CC BY-SA 3.0" />
  <row Id="28196" PostHistoryTypeId="1" PostId="17470" RevisionGUID="13fca34d-5cc9-4001-bc04-389beb7e1a70" CreationDate="2012-12-27T00:59:35.037" UserId="2906" Text="Sounds for a Skeleton" ContentLicense="CC BY-SA 3.0" />
  <row Id="28197" PostHistoryTypeId="3" PostId="17470" RevisionGUID="13fca34d-5cc9-4001-bc04-389beb7e1a70" CreationDate="2012-12-27T00:59:35.037" UserId="2906" Text="&lt;mobile-phone&gt;&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28198" PostHistoryTypeId="2" PostId="17471" RevisionGUID="08289e14-0fce-498c-a6a6-d2a52d817895" CreationDate="2012-12-27T01:15:33.333" UserId="2906" Text="Also, some insight on video editing, because it works in parallel with sound editing, and knowing what types of shots should enhance and convey (in principle) the story and / or some detail, is a great help for the sound designer. Knowing this has helped me to understand better the intentions given in the picture. &#xD;&#xA;&#xD;&#xA;I would say semiotics too, even though it's a bit scary. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28199" PostHistoryTypeId="2" PostId="17472" RevisionGUID="f89735e9-fecf-4f65-ab9a-03a310c1e464" CreationDate="2012-12-27T01:37:49.483" UserId="4318" Text="Tim hit the nail on the head, big surprise. Recording, Chopping, naming, Processing and the like are mechanical bits of knowledge. They are super important, but no more important than the art of storytelling with sound. How to record sound in the field and the studio, how to edit and mix, and the details of processing, archiving and handling large numbers of files with metadata. Those are all important and detailed topics that require patience and skill, but those are not necessarily part of the &quot;designing&quot; of the sound. In my opinion of course. An opinion which I stole from people smarter and more experienced than myself. :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Psycho-acoustics should also be a field of study for anyone interested in designing sound. With my students, we start by actually reading the definition of &quot;design&quot;. It always helps to start at the beginning, so things become properly framed. You can develop great story telling with Sound Design without ever touching a sound. How to record sound in the field and the studio. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Even though my background is in Music Production and engineering, and I now work in interactive media and games, I personally reference a lot of Movies. Between the amazing narrative work of Walter Murch in &quot;Apocalypse Now&quot; and Ben Burts amazing audio creation for the Star Wars, Pixar, etc. I have learned a lot! How to support the narrative of the scene is Paramount, and it is a very subjective thing as well. How and when to use silence and Dynamic range are really important as well. &#xD;&#xA;&#xD;&#xA;I often practice &quot;Designing Sound&quot; by picking a random 2D image from Google Images that catches my imagination. Then develop a palliate of tones that I want use and try to make sense of it on paper. When working with producers, you have to be able to explain your sound design and how it connects to the story if you expect to be contracted or hired. at the end of the day, we design sound to some kind of visual media, 9 out of 10 times. It is important to know how to use sound to play a supporting role to the aesthetic and narrative of the visual media. Those should be studied to a certain degree also.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="28200" PostHistoryTypeId="2" PostId="17473" RevisionGUID="93cf6882-ed04-4846-83be-4eb9874f34d0" CreationDate="2012-12-27T08:46:04.997" UserId="5583" Text="Thanks everyone for your responses :)&#xD;&#xA;&#xD;&#xA;Yes, it's a fun challenge.&#xD;&#xA;I used cloth hits with an LPF and snow avalanche with an EQ, to have the texture. And I'm pretty happy of the result. &#xD;&#xA;&#xD;&#xA;For the voice of the monster, I tried to use the granular synthesis, but the result is not really the way I want.&#xD;&#xA;&#xD;&#xA;Any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28201" PostHistoryTypeId="2" PostId="17474" RevisionGUID="87753b7c-5aa7-4588-9d4d-ea7d873c2af7" CreationDate="2012-12-27T11:06:48.913" UserDisplayName="user80" Text="How about re-voicing the dialogue with a low breathy mumble underneath the existing dialogue so it sounds like an evolving wind?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28202" PostHistoryTypeId="5" PostId="17462" RevisionGUID="8d6ba1de-da1d-4f5c-ae39-84c4ac7b2ac0" CreationDate="2012-12-27T11:07:27.980" UserDisplayName="user80" Comment="added 59 characters in body" Text="Try crushing coarse sugar with your fingers in sync to the creature's movement, but layer it on top of the existing cloth and snow sounds.  The roughness will add a suggestion of the internal movement of flour within the creature." ContentLicense="CC BY-SA 3.0" />
  <row Id="28203" PostHistoryTypeId="2" PostId="17475" RevisionGUID="118b2cc8-3108-4108-89b0-cba2c3a9d8b6" CreationDate="2012-12-27T15:03:43.707" UserId="5583" Text="I have some results with the reverse effect on the mumble.&#xD;&#xA;I don't know how I can explain it, but How can I do a sound which sounds like dust, for the texture? Maybe can I do a morphing with the voice and the texture?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28204" PostHistoryTypeId="2" PostId="17476" RevisionGUID="aa267344-8502-4b20-b5aa-ded4790c6426" CreationDate="2012-12-28T05:52:10.807" UserId="5586" Text="I use both Nuendo and Pro Tools on a daily basis. They are both great programs no doubt, but Nuendo is my favorite. It is the fastest for tracking, editing and mixing and has more features that speed up other processes. Protools can do anything Nuendo can do (except built in vari-audio which is like melodyne) but Nuendo requires fewer steps for most things." ContentLicense="CC BY-SA 3.0" />
  <row Id="28205" PostHistoryTypeId="2" PostId="17477" RevisionGUID="aa1a3f51-ee2c-458e-9294-7fd439782080" CreationDate="2012-12-28T06:01:38.523" UserId="4307" Text="The Deals at Plugin Alliance are still going until Jan 1st:&#xD;&#xA;&#xD;&#xA;https://plugin-alliance.com/en/xmasc.html?door=25" ContentLicense="CC BY-SA 3.0" />
  <row Id="28206" PostHistoryTypeId="2" PostId="17478" RevisionGUID="3f7308e3-cce1-4e03-bf7a-40b4ff2e4e20" CreationDate="2012-12-28T18:30:26.333" UserId="5587" Text="So I just hooked up a Tascam US 1800. Installation went fine and my computer recognizes it as my default sound device. However, for some reason, whenever I use Pro-Tools, it still wants to send the sound to my speakers. In fact the only sound that goes through to my interface is anything Adobe Flash Player related. I have tried completely disabling all other sound devices with no luck. Anyone have any idea what could be wrong?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28207" PostHistoryTypeId="1" PostId="17478" RevisionGUID="3f7308e3-cce1-4e03-bf7a-40b4ff2e4e20" CreationDate="2012-12-28T18:30:26.333" UserId="5587" Text="Problem with my sound devices..." ContentLicense="CC BY-SA 3.0" />
  <row Id="28208" PostHistoryTypeId="3" PostId="17478" RevisionGUID="3f7308e3-cce1-4e03-bf7a-40b4ff2e4e20" CreationDate="2012-12-28T18:30:26.333" UserId="5587" Text="&lt;sound-design&gt;&lt;audio-interfaces&gt;&lt;pro&gt;&lt;tools&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28209" PostHistoryTypeId="5" PostId="17478" RevisionGUID="3e279ab8-580b-4130-a0b5-1f23e5406d24" CreationDate="2012-12-28T19:00:28.400" UserId="5587" Comment="added 190 characters in body" Text="So I just hooked up a Tascam US 1800. Installation went fine and my computer recognizes it as my default sound device. However, for some reason, whenever I use Pro-Tools, it only sends the Pro Tools audio to the interface. Literally EVERYTHING else audio related is sent to other sound devices. I believe it is being caused by ASIO4ALL, which automatically boots every time I run Pro Tools. When Pro Tools/ASIO is off, everything is sent to the Tascam just fine. It's only when I run Pro Tools/ASIO4ALL do I start to get problems. I have tried disabling all other sound devices with no luck. Anyone have any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28210" PostHistoryTypeId="2" PostId="17479" RevisionGUID="e1b7b090-1322-43f8-8ae1-dc93ed93cf10" CreationDate="2012-12-28T19:44:45.390" UserId="5588" Text="@Melissa,&#xD;&#xA;&#xD;&#xA;What kind of game is it? The player perspective will definitely influence how you approach the skeleton audio. I assume as it is for mobile it will either be isometric, top-down or side scrolling?&#xD;&#xA;&#xD;&#xA;Secondly, is it real-time or turn based (like the might and magic games, for example?) or something else entirely? This needs to be considered, as a real-time game will require much more variety to prevent repetition.&#xD;&#xA;&#xD;&#xA;Take a look at other games that have great skeleton sound design. The Diablo series, Skyrim, Dungeon Keeper...&#xD;&#xA;&#xD;&#xA;I would start with the footsteps and work up from there (literally). Are the skeletons wearing boots? If not work on a collection of good clackety, rattley, [insert made up boney word here] footstep samples. Regardless of how sophisticated the coding is, you should consider incorporating all movement foley into these footsteps and have the &quot;tail&quot; of the sound overlap with the start of the next footstep, giving a nice, constant sound as he/they move.&#xD;&#xA;&#xD;&#xA;Grab as many things as you can that have the kind of sound you need. Wooden sticks, gravel, actual bones (leftover KFC! Although you may wish to wash it first...). Try as many things as possible until something sounds right. This will more than likely need quite a lot of EQ to get the tonality right, but it depends how lucky you are with the source sounds.&#xD;&#xA;&#xD;&#xA;Does the skeleton have a voice? If not use the same ideas you used for footsteps and try to create vocalisations with the bone sounds. For example, a fast rattling sound resonating from inside the skull could work well for pain or attack vocal sounds.&#xD;&#xA;&#xD;&#xA;Does he wear any plate or chainmail armour? Adding this as another layer to the bone foley will help it feel a little more alive than just the bone sounds.&#xD;&#xA;&#xD;&#xA;For your joint idea, you can't go wrong with a selection of rusty old hinges. Just be careful not to go overboard. less can sound like *much* more if you strike the right balance.&#xD;&#xA;&#xD;&#xA;~Dan~&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28211" PostHistoryTypeId="2" PostId="17480" RevisionGUID="98f6ff49-82ee-44ac-a09a-c043a3db6e61" CreationDate="2012-12-28T22:19:47.207" UserId="3245" Text="I was given an assignment by a prospective employer to test my sound design skills. They gave me a short, 2-paragraph description of a scene and then gave me three days to create the scene with sound. I was told to create it such that somebody could listen to it without being coached and tell what's happening. It was a challenging and fun project to do, and I think I did a decent job.&#xD;&#xA;&#xD;&#xA;I'd love to hear your feedback, though. Can you tell what's going on? Is it reasonably unambiguous? I'd love to hear thoughts from fellow sound designers.&#xD;&#xA;&#xD;&#xA;[soundcloud]geekisthenewcool/sound-design-scene[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="28212" PostHistoryTypeId="1" PostId="17480" RevisionGUID="98f6ff49-82ee-44ac-a09a-c043a3db6e61" CreationDate="2012-12-28T22:19:47.207" UserId="3245" Text="Can you tell what's going on in this clip? Is it obvious?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28213" PostHistoryTypeId="3" PostId="17480" RevisionGUID="98f6ff49-82ee-44ac-a09a-c043a3db6e61" CreationDate="2012-12-28T22:19:47.207" UserId="3245" Text="&lt;sound-design&gt;&lt;test&gt;&lt;employability&gt;&lt;feedback&gt;&lt;project&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28214" PostHistoryTypeId="5" PostId="17480" RevisionGUID="3565107c-75cd-4175-b216-9f9a783e5160" CreationDate="2012-12-29T01:06:30.567" UserId="3245" Comment="added 110 characters in body; deleted 57 characters in body; deleted 33 characters in body" Text="I was given an assignment by a prospective employer to test my sound design skills. They gave me a short, 2-paragraph description of a scene and then gave me three days to create the scene with sound. I was told to create it such that somebody could listen to it without being coached and tell what's happening. It was a challenging and fun project to do, and I think I did a decent job.&#xD;&#xA;&#xD;&#xA;I'd love to hear your feedback, though. Can you tell what's going on? Is it reasonably unambiguous? I'd love to hear thoughts from fellow sound designers.&#xD;&#xA;&#xD;&#xA;Listen to it [here](https://soundcloud.com/geekisthenewcool/sound-design-scene)." ContentLicense="CC BY-SA 3.0" />
  <row Id="28215" PostHistoryTypeId="2" PostId="17481" RevisionGUID="33be3edb-de27-4828-aed4-0a3724a05925" CreationDate="2012-12-29T03:30:42.347" UserId="5589" Text="I am a dubbing / re-recording mixer with 10+ years experience. I think Nuendo is starting to give Pro Tools a run for its money. However having used both for long and short form on a daily basis, in my opinion....&#xD;&#xA;&#xD;&#xA;Short form - Nuendo is ace, the folder tracks keep things nice and tidy (especially with the constant changes from advertising clients).&#xD;&#xA;&#xD;&#xA;Long form - Pro tools is king, fades and automation are no nonsense (when I've had a long day, i just want to know hitting the space bar plays my huge mix, cause I want to go home)&#xD;&#xA;&#xD;&#xA;Of course, future updates and versions could change all this, Nuendo 6 looks exciting, but I guess thats the beauty of competiiton... and about time.&#xD;&#xA;&#xD;&#xA;Mr T" ContentLicense="CC BY-SA 3.0" />
  <row Id="28216" PostHistoryTypeId="16" PostId="17481" RevisionGUID="33be3edb-de27-4828-aed4-0a3724a05925" CreationDate="2012-12-29T03:30:42.347" UserId="-1" />
  <row Id="28217" PostHistoryTypeId="2" PostId="17482" RevisionGUID="6f821b6e-d3b6-4f21-8471-237bb8b6466c" CreationDate="2012-12-29T09:52:52.720" UserId="6432" Text="If ever you post technical problems to a forum always include software version, system spec, OS, driver versions at the least.&#xD;&#xA;&#xD;&#xA;I'll presume you're running Windows. When a program uses an Asio driver it connects directly to the audio interface, bypassing Windows. So Asio can only be used by one piece of software - It's either Pro Tools or Windows not both of them together. &#xD;&#xA;&#xD;&#xA;I'd also use the Tascam Asio drivers as they're purpose designed for your system. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28218" PostHistoryTypeId="5" PostId="17460" RevisionGUID="4a9e4892-0ea4-41ec-a400-0166b3e7a292" CreationDate="2012-12-29T11:47:33.993" UserId="208" Comment="added 2 characters in body; deleted 11 characters in body; added 40 characters in body" Text="Maybe try watching and listening to Spiderman 3, and the sandman scenes. I remember these as being very well made.&#xD;&#xA;http://m.youtube.com/watch?v=rXOa5bWFRKw" ContentLicense="CC BY-SA 3.0" />
  <row Id="28219" PostHistoryTypeId="5" PostId="13034" RevisionGUID="89be43d4-6c1c-49e9-a810-409e2fcbb962" CreationDate="2012-12-29T12:32:40.593" UserId="3567" Comment="added 1 characters in body" Text="I'm in the process of creating an audio ident for a website I'll be launching soon. I had a great voice actor record a number of takes and I have been playing with these for a few days now. However, I can't seem to find any suitable effects for voice processing.&#xD;&#xA;&#xD;&#xA;I really love the nVidia ident that's in a lot of video games these days. I tried reverb, compression, delays, phasers, flangers and I'm not nearly content with the result. &#xD;&#xA;&#xD;&#xA;What would you guys recommend I use? Is there a secret amount of some fx or a specific effect that works best?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;G." ContentLicense="CC BY-SA 3.0" />
  <row Id="28220" PostHistoryTypeId="2" PostId="17483" RevisionGUID="d8392140-b854-441c-9c7d-02264cfa3e0e" CreationDate="2012-12-29T13:05:11.687" UserId="3754" Text="Not a question, but thought this was an interesting article about some reverb/acoustics in England :)&#xD;&#xA;&#xD;&#xA;http://www.bbc.co.uk/news/magazine-20773690" ContentLicense="CC BY-SA 3.0" />
  <row Id="28221" PostHistoryTypeId="1" PostId="17483" RevisionGUID="d8392140-b854-441c-9c7d-02264cfa3e0e" CreationDate="2012-12-29T13:05:11.687" UserId="3754" Text="Nice read about reverb" ContentLicense="CC BY-SA 3.0" />
  <row Id="28222" PostHistoryTypeId="3" PostId="17483" RevisionGUID="d8392140-b854-441c-9c7d-02264cfa3e0e" CreationDate="2012-12-29T13:05:11.687" UserId="3754" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28223" PostHistoryTypeId="2" PostId="17484" RevisionGUID="d5cef2fd-859f-4a21-af99-a21cfb39607d" CreationDate="2012-12-29T13:50:46.790" UserId="3835" Text="I am facing a bit of a problem. I have an assignment which requires me to create a track in Pro Tools. Part of the assignment is a submission of a Pro Tools project, which evidences my production techniques and mixing capabilities.&#xD;&#xA;&#xD;&#xA;My CPU is peaking and it's getting near impossible to carry on, however i can't just bounce things down and put them back into the track because i need to evidence my Sound Design, DSP, bus mixing etc. I have decided to bounce certain elements out and re-import while leaving the original tracks there but as deactivated channels with deactivated plugs but I'm still too hot.&#xD;&#xA;&#xD;&#xA;Has anyone got any ideas how to free up some CPU in this instance?&#xD;&#xA;&#xD;&#xA;Much appreciated " ContentLicense="CC BY-SA 3.0" />
  <row Id="28224" PostHistoryTypeId="1" PostId="17484" RevisionGUID="d5cef2fd-859f-4a21-af99-a21cfb39607d" CreationDate="2012-12-29T13:50:46.790" UserId="3835" Text="Conserving CPU in Pro Tools Without Boucing &gt; Importing.?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28225" PostHistoryTypeId="3" PostId="17484" RevisionGUID="d5cef2fd-859f-4a21-af99-a21cfb39607d" CreationDate="2012-12-29T13:50:46.790" UserId="3835" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28226" PostHistoryTypeId="4" PostId="17484" RevisionGUID="cccf08f8-5768-4145-a04f-9144049a5bfc" CreationDate="2012-12-29T15:12:21.790" UserId="3835" Comment="edited title" Text="Conserving CPU in Pro Tools Without Bouncing &gt; Importing.?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28227" PostHistoryTypeId="2" PostId="17485" RevisionGUID="8b78bb1c-0ac1-4cd6-9549-20dd807c1d8f" CreationDate="2012-12-29T16:31:25.357" UserId="5590" Text="I will be recording my first film shoot this month. To this point, all of my work has been Audio-post. I was just wondering how people keep records of what they are recording? I know about sound reports, but am finding it difficult to find out how they really work? &#xD;&#xA;&#xD;&#xA;How do I really keep track of what I'm recording? &#xD;&#xA;&#xD;&#xA;Any advise anybody can offer would be much appreciated.&#xD;&#xA;&#xD;&#xA;Cheers." ContentLicense="CC BY-SA 3.0" />
  <row Id="28228" PostHistoryTypeId="1" PostId="17485" RevisionGUID="8b78bb1c-0ac1-4cd6-9549-20dd807c1d8f" CreationDate="2012-12-29T16:31:25.357" UserId="5590" Text="Basics of Location recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="28229" PostHistoryTypeId="3" PostId="17485" RevisionGUID="8b78bb1c-0ac1-4cd6-9549-20dd807c1d8f" CreationDate="2012-12-29T16:31:25.357" UserId="5590" Text="&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28230" PostHistoryTypeId="2" PostId="17486" RevisionGUID="14fa16fe-bfb0-410b-9bea-0b109a2199a9" CreationDate="2012-12-29T17:53:20.220" UserId="3179" Text="Make tracks that you don't need to edit anymore inactive and optionally also hidden, but bounce them to audio tracks before that. This way the track settings are saved and can be recalled for viewing, but you don't need to keep the unnecessary track effects, automation etc. consuming CPU while working and during playback.&#xD;&#xA;&#xD;&#xA;Sum tracks and consolidate regions that you don't need to edit anymore or which belong together. If you use versioned save files, then you can go back and recall things, in case you need to edit something that you had already &quot;locked&quot;.&#xD;&#xA;&#xD;&#xA;Raise the H/W Buffer to maximum.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28231" PostHistoryTypeId="5" PostId="17486" RevisionGUID="67fb13a8-dd77-48b1-9bf7-9cceee2b2ffe" CreationDate="2012-12-29T18:06:22.893" UserId="3179" Comment="added 242 characters in body; deleted 4 characters in body" Text="Make tracks that you don't need to edit anymore inactive and optionally also hidden, but bounce them to audio tracks before that. This way the track settings are saved and can be recalled for viewing, but you don't need to keep the unnecessary track effects, automation etc. consuming CPU while working and during playback. Inactivated tracks do not consume any processing power.&#xD;&#xA;&#xD;&#xA;Sum tracks and consolidate regions that you don't need to edit anymore or which belong together. If you use versioned save files, then you can go back and recall things, in case you need to edit something that you had already &quot;locked&quot;.&#xD;&#xA;&#xD;&#xA;Raise the H/W Buffer to maximum.&#xD;&#xA;&#xD;&#xA;Check your background processes and applications and make sure it's not some other application that's causing the load. Basically, don't run any other application while running PT." ContentLicense="CC BY-SA 3.0" />
  <row Id="28232" PostHistoryTypeId="2" PostId="17487" RevisionGUID="387681d9-0543-4b68-b8b4-e7151036b72a" CreationDate="2012-12-29T19:10:38.483" UserId="3426" Text="You can find printable production sound report templates [here][1].&#xD;&#xA;&#xD;&#xA;A great read on production sound essentials [here][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gothamsound.com/main.shtml?page=docs&#xD;&#xA;  [2]: http://www.amps.net/technical/Essentials.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="28233" PostHistoryTypeId="2" PostId="17488" RevisionGUID="47f85a32-1fec-4797-8baa-90734d073c3a" CreationDate="2012-12-29T22:52:19.830" UserId="1216" Text="In addition to Internet Human's notes. You could use the playlists to create your final montage of a track, but keep the original edit in another playlist. This should allow you to reduce some cpu also.&#xD;&#xA;&#xD;&#xA;Arnoud " ContentLicense="CC BY-SA 3.0" />
  <row Id="28234" PostHistoryTypeId="2" PostId="17489" RevisionGUID="e26f5348-18e2-4c3c-b8c3-b60bf61fa008" CreationDate="2012-12-29T23:47:19.983" UserDisplayName="user49" Text="In keeping with this months topic of reverb on Designing Sound, what are the reverb plugins you use most often? for Convolution/IR? Traditional? Weirder/non real?&#xD;&#xA;(There is no right answer to this question of course, so I'll add my favourites below)&#xD;&#xA;&#xD;&#xA;Convolution:&#xD;&#xA;I own Altiverb&#xD;&#xA;http://www.audioease.com/Pages/Altiverb&#xD;&#xA;&#xD;&#xA;TL Space &#xD;&#xA;http://www.avid.com/US/products/TL-Space&#xD;&#xA;&#xD;&#xA;and just bought Reverberate&#xD;&#xA;http://www.liquidsonics.com/software_reverberate.htm&#xD;&#xA;&#xD;&#xA;I'm not a fan of Altiverb - it sounds great but I find its ui dysfunctional.. so I use TLSpace mostly, but am very interested to experiment with Reverbate...&#xD;&#xA;&#xD;&#xA;Traditional:&#xD;&#xA;Valhalla Room&#xD;&#xA;http://www.valhalladsp.com/valhallaroom&#xD;&#xA;&#xD;&#xA;Weirder/non real:&#xD;&#xA;Valhalla Shimmer&#xD;&#xA;http://www.valhalladsp.com/valhallashimmer&#xD;&#xA;&#xD;&#xA;d16 Toraverb&#xD;&#xA;http://www.d16.pl/index.php?menu=228&#xD;&#xA;&#xD;&#xA;2cAudio Aether&#xD;&#xA;http://2caudio.com/products/aether&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I love these last three...&#xD;&#xA;&#xD;&#xA;What do you use most?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28235" PostHistoryTypeId="1" PostId="17489" RevisionGUID="e26f5348-18e2-4c3c-b8c3-b60bf61fa008" CreationDate="2012-12-29T23:47:19.983" UserDisplayName="user49" Text="What reverb plugins do you use?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28236" PostHistoryTypeId="3" PostId="17489" RevisionGUID="e26f5348-18e2-4c3c-b8c3-b60bf61fa008" CreationDate="2012-12-29T23:47:19.983" UserDisplayName="user49" Text="&lt;reverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28237" PostHistoryTypeId="2" PostId="17490" RevisionGUID="ba9024a7-8795-4f2e-af1c-81eac76baf37" CreationDate="2012-12-29T23:52:30.550" UserId="994" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I've just moved to PT10 on macbook pro, mountain lion and I have a problem with this plugin. Always when I run pt this plugin gets an error during initial start up, message box pops out saying sth like: &quot;this plugin can't be loaded propably because of registration issue&quot; Do you know what's the problem?&#xD;&#xA;&#xD;&#xA;best!&#xD;&#xA;Marcin" ContentLicense="CC BY-SA 3.0" />
  <row Id="28238" PostHistoryTypeId="1" PostId="17490" RevisionGUID="ba9024a7-8795-4f2e-af1c-81eac76baf37" CreationDate="2012-12-29T23:52:30.550" UserId="994" Text="Problem with duy z-room reverb in pro tools 10" ContentLicense="CC BY-SA 3.0" />
  <row Id="28239" PostHistoryTypeId="3" PostId="17490" RevisionGUID="ba9024a7-8795-4f2e-af1c-81eac76baf37" CreationDate="2012-12-29T23:52:30.550" UserId="994" Text="&lt;pro-tools&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28240" PostHistoryTypeId="2" PostId="17491" RevisionGUID="791767a1-4dce-4a98-b81c-060240cd2628" CreationDate="2012-12-30T01:26:41.643" UserId="654" Text="ValhallaRoom for warmth&#xD;&#xA;&#xD;&#xA;Revibe/Reverb one for hifi/bright&#xD;&#xA;&#xD;&#xA;LX480 for natural/transparent space - might replace with the newly cheap LXP bundle from Lexicon or Michael Carnes new Exponential Audio &quot;Phoenix&quot; depending who goes AAX first&#xD;&#xA;&#xD;&#xA;DVerb for small room/ambience &#xD;&#xA;&#xD;&#xA;TL space and Valhalla Shimmer for more out there stuff - not including delays like Echoboy or mod delay 3." ContentLicense="CC BY-SA 3.0" />
  <row Id="28242" PostHistoryTypeId="2" PostId="17493" RevisionGUID="fbc856a3-5fc4-4a3f-a2b1-f694e9f2a934" CreationDate="2012-12-30T03:39:59.613" UserId="1228" Text="There's Reverb One and Revibe, although I don't own/use them yet, but I know that some mixers like them.  On a few occasions I've visited stages and heard both being used and they sound quite nice, lush, and transparent.&#xD;&#xA;&#xD;&#xA;Right now based upon what tools I hve access to, I pretty much only TL Space for DX and FX (I lean toward the spring and plate IRs for FX), but I prefer RVerb for MX (score) - with Rverb I like using the studio space, 0.96 Size, 40-60ms Predelay, slightly rising high end on the EQ section, mix to taste against the dry." ContentLicense="CC BY-SA 3.0" />
  <row Id="28244" PostHistoryTypeId="2" PostId="17494" RevisionGUID="84e751ff-3de0-46c8-94cb-f69fbedbe6e2" CreationDate="2012-12-30T06:29:49.163" UserId="3567" Text="I've got a thing for frozen reverb and delay. A great example is Ableton Live's Frozen Buildup preset, that can be tuned to great effect. But careful overdoing it, as it can quickly add so much mud to the mix.&#xD;&#xA;&#xD;&#xA;Here's a question for you: do you ever use reverb without filtering the low end?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28245" PostHistoryTypeId="2" PostId="17495" RevisionGUID="26060305-abf9-47af-8f69-d61ec9c527b1" CreationDate="2012-12-30T10:14:44.330" UserId="3179" Text="You haven't registered it?&#xD;&#xA;&#xD;&#xA;See:&#xD;&#xA;http://www.duystore.com/com/register.html&#xD;&#xA;or&#xD;&#xA;http://www.duy.com/webstuff/contact.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="28246" PostHistoryTypeId="2" PostId="17496" RevisionGUID="62367f8d-0bce-48ce-a888-12e871851703" CreationDate="2012-12-30T18:33:19.913" UserId="315" Text="The [TC Electronic VSS3 reverb][2] is great. It has numerous presets for post, and it's the same algorithm as found in the System 6000, so it's easy to match a reverb commonly found on dub stages. Great sounding early reflections and very useful for smaller stuff.&#xD;&#xA;&#xD;&#xA;[Altiverb][1] is excellent for post, they've changed their UI in version 7 so you may find it easier to use now. They've also added an algorithmic reverb to the plugin which helps add brightness to darker IRs. Plus I dig supporting them because their customer service is so great, they're a small company, and they continue to supply awesome IRs to their customers (where else can you find IRs of the Great Pyramid of Giza or the Cistern in Fort Worden). It can be a DSP hog though, so I often find myself printing reverb returns with it before mixing.&#xD;&#xA;&#xD;&#xA;I haven't tried but I am interested in checking out:&#xD;&#xA;&#xD;&#xA;IRCAM Verb, everything by Valhalla, Eventide 2016 Reverb and Blackhole, and the Lexicon PCM Bundle&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audioease.com/Pages/Altiverb/index.php&#xD;&#xA;  [2]: http://www.tcelectronic.com/vss3-tdm/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28247" PostHistoryTypeId="2" PostId="17497" RevisionGUID="8cbfcc58-eb82-424d-a1ca-ac2f83f06826" CreationDate="2012-12-31T05:25:37.620" UserId="5592" Text="Someone was sitting down to a drink with his faithful dog, when a UFO appeared. It may have done something to the dog or just floated around for a bit before leaving. Then after a few seconds of seeming normalcy, the UFO came back and adbucted the man. The last few seconds are of him inside the spaceship, breathing heavily." ContentLicense="CC BY-SA 3.0" />
  <row Id="28248" PostHistoryTypeId="2" PostId="17498" RevisionGUID="2979432a-e261-4d7b-94be-fcdab43bd53c" CreationDate="2012-12-31T07:59:19.100" UserId="4237" Text="Ableton Reverb in Freeze Mode - If you like experimentation ( we all do:P ), espacially with                  bground sound, then this plugin can easily become a key ingredient.&#xD;&#xA;&#xD;&#xA;Valhalla Room - don't need to describe, just a must have.&#xD;&#xA;&#xD;&#xA;I'm gonna check 2CAudio stuff soon, their demos sounds fantastic!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28249" PostHistoryTypeId="2" PostId="17499" RevisionGUID="4bb7fe48-e484-4439-b40b-38d8b364c086" CreationDate="2012-12-31T16:14:18.407" UserId="917" Text="**ValhallaRoom** - for sweetening things up. It's light on resources and parameters can be automated without clicks.&#xD;&#xA;&#xD;&#xA;[**ValhallaUberMod**][1] - for nonlinear reverbs and sound design&#xD;&#xA;&#xD;&#xA;**Reverberate** - mostly for sound design and experiments with my own IRs. I use the mod section a lot. Great plugin, very flexible.&#xD;&#xA;&#xD;&#xA;**ZRev** - a &quot;Schroeder” reverb from [U-HE Zebra][2] pack. Good for ringing, resonating reverbs. It can turn almost any percussive sound into a hang drum beat :) Also good for sound design and creating metallic textures and ambiances.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.valhalladsp.com/valhallaubermod&#xD;&#xA;  [2]: http://www.u-he.com/cms/zebra" ContentLicense="CC BY-SA 3.0" />
  <row Id="28250" PostHistoryTypeId="5" PostId="17496" RevisionGUID="6a16b270-5623-4fe7-85ff-43ec825bf25c" CreationDate="2013-01-01T01:54:25.207" UserId="315" Comment="added 154 characters in body" Text="The [TC Electronic VSS3 reverb][1] is great. It has numerous presets for post, and it's the same algorithm as found in the System 6000, so it's easy to match a reverb commonly found on dub stages. Great sounding early reflections and very useful for smaller stuff.&#xD;&#xA;&#xD;&#xA;[Altiverb][2] is excellent for post, they've changed their UI in version 7 so you may find it easier to use now. They've also added an algorithmic reverb to the plugin which helps add brightness to darker IRs. Plus I dig supporting them because their customer service is so great, they're a small company, and they continue to supply awesome IRs to their customers (where else can you find IRs of the Great Pyramid of Giza or the Cistern in Fort Worden). It can be a DSP hog though, so I often find myself printing reverb returns with it before mixing.&#xD;&#xA;&#xD;&#xA;[Echoboy][3] by Soundtoys is great for weirder stuff. Plus, sometimes a little delay is all you need.&#xD;&#xA;&#xD;&#xA;I haven't tried but I am interested in checking out:&#xD;&#xA;&#xD;&#xA;IRCAM Verb, everything by Valhalla, Eventide 2016 Reverb and Blackhole, and the Lexicon PCM Bundle&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tcelectronic.com/vss3-tdm/&#xD;&#xA;  [2]: http://www.audioease.com/Pages/Altiverb/index.php&#xD;&#xA;  [3]: http://www.soundtoys.com/product/EchoBoy" ContentLicense="CC BY-SA 3.0" />
  <row Id="28251" PostHistoryTypeId="2" PostId="17500" RevisionGUID="80cc76f8-269b-413b-9172-a342e1f66e89" CreationDate="2013-01-01T18:07:53.720" UserId="1228" Text="If you have ProTools (and understandably a hardware unit to plug into), why not just feed in the RCAs, create a 96k/24bit session, create an Aux and an Audio Track, bus them so that they feed from the Aux to the Audio Track, record to the track (using the Aux beforehand to set your input level).  Do any RTAS EQ or limiting afterward, then bounce to 320kbps MP3 (if thats what you need instead of wav) at 44.1k, 16 bit.  Whenever I've digitized vinyl that's what I've done." ContentLicense="CC BY-SA 3.0" />
  <row Id="28252" PostHistoryTypeId="2" PostId="17501" RevisionGUID="d8a133b7-575c-42b8-b81d-ece31e8a3902" CreationDate="2013-01-01T23:19:43.077" UserId="5594" Text="From all that I've read, one thing that you are going to need to do is record the output of test sweeps, then adjust your feed EQ to bring it back into line.  Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28253" PostHistoryTypeId="2" PostId="17502" RevisionGUID="52e25ce5-1fb1-434d-8add-643c3102be9f" CreationDate="2013-01-01T23:42:36.930" UserId="5593" Text="Pulled this from a incredible film Cloud Atlas. &#xD;&#xA;&#xD;&#xA;The sci fi gun sound you hear at 5sec 6sec 10sec 11sec in and so on, how is this made? It seems to have something to do with filter envelopes, maybe a low pass opening and closing over a electric/magnetic sound? &#xD;&#xA;&#xD;&#xA;https://soundcloud.com/tim-bourke-1/sci-fi-gun" ContentLicense="CC BY-SA 3.0" />
  <row Id="28254" PostHistoryTypeId="1" PostId="17502" RevisionGUID="52e25ce5-1fb1-434d-8add-643c3102be9f" CreationDate="2013-01-01T23:42:36.930" UserId="5593" Text="Creating this sonically fantastic sound? " ContentLicense="CC BY-SA 3.0" />
  <row Id="28255" PostHistoryTypeId="3" PostId="17502" RevisionGUID="52e25ce5-1fb1-434d-8add-643c3102be9f" CreationDate="2013-01-01T23:42:36.930" UserId="5593" Text="&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28256" PostHistoryTypeId="2" PostId="17503" RevisionGUID="dd0aa44d-90e6-4e93-9f56-11058b660fc1" CreationDate="2013-01-02T08:58:40.413" UserId="3202" Text="Hi all,&#xD;&#xA;&#xD;&#xA;Sorry for sounding like a noob 'cos I have a noob question. :`( I've just purchased my first sound effects libraries (from Sound Ideas) and they came in audio CDs. I know that there are softwares and Tab Delimited ASCII Text Files from the Sound Ideas that I should use to create metadata for the sound effects, but...&#xD;&#xA;&#xD;&#xA;Firstly, what do you guys do to bring the files onto your hard drive? Secondly, after bringing the files to the hard drive, what do you guys use to add/embed the provided metadata csv or ascii text files to the files?&#xD;&#xA;&#xD;&#xA;Thanks a lot in advance!&#xD;&#xA;&#xD;&#xA;PS. What I tried was to use iTunes to create wav files and the metadata iTunes use are brief excerpts and not the full description that I can find from the delimited text files. But somehow I couldn't find any ways out of trial-and-error of automatically embedding the full descriptions that are right there on my textedit into my files." ContentLicense="CC BY-SA 3.0" />
  <row Id="28257" PostHistoryTypeId="1" PostId="17503" RevisionGUID="dd0aa44d-90e6-4e93-9f56-11058b660fc1" CreationDate="2013-01-02T08:58:40.413" UserId="3202" Text="Workflow with purchased sound effects library?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28258" PostHistoryTypeId="3" PostId="17503" RevisionGUID="dd0aa44d-90e6-4e93-9f56-11058b660fc1" CreationDate="2013-01-02T08:58:40.413" UserId="3202" Text="&lt;library&gt;&lt;library-sound-effects&gt;&lt;metadata&gt;&lt;database&gt;&lt;embed&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28259" PostHistoryTypeId="2" PostId="17504" RevisionGUID="c48e353c-eeca-4c73-8c8b-a733d6c11000" CreationDate="2013-01-02T10:37:16.853" UserId="1216" Text="Hi there and welcome!&#xD;&#xA;&#xD;&#xA;Gareth Fry describes his workflow on his blog:&#xD;&#xA;&#xD;&#xA;http://garethfry.wordpress.com/2011/01/12/creating-a-sound-effects-library-with-metadata/&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;Arnoud Traa" ContentLicense="CC BY-SA 3.0" />
  <row Id="28260" PostHistoryTypeId="2" PostId="17505" RevisionGUID="2453ad99-d22d-4266-9a40-d5d6f2650341" CreationDate="2013-01-02T11:29:42.910" UserId="3179" Text="Well, there are no real answers for &quot;how is this made&quot;, because you cannot, nor need to know and you cannot replicate it precisely.&#xD;&#xA;&#xD;&#xA;Processing-wise I don't hear much else than pitch modulation. The layers sound like synths, but of course there are other ways to get a sound that has a &quot;synthetic&quot; quality than using a synth. But then again, synths are the simplest to operate in terms of applying pitch modulation. And the modulation waveforms here aren't complex (the initial burst is random or just so fast and inharmonic that it becomes noise, like in FM synthesis), the bubbly synth's pitch modulating waveshape could be a triangle wave, but anyhow something that &quot;goes up and down&quot; and is quite smooth and not stepped. Although it also has envelope style pitch modulation, because you can hear it slowing down, instead of the pitch modulation happening at a static speed.&#xD;&#xA;&#xD;&#xA;Try to break it down to separate sounds and then start building those sounds, with a synth. For example there's the initial fast FM synthesis-style burst and the slower and smoother bubbly synth sound that fades in after it. After doing those you're left with something that you can fill / add more frequencies to, and then you find/create something that you can add to it to make it more complete." ContentLicense="CC BY-SA 3.0" />
  <row Id="28261" PostHistoryTypeId="5" PostId="17505" RevisionGUID="139d1640-1e3d-4c85-8d46-22da96e6bbfd" CreationDate="2013-01-02T11:35:02.007" UserId="3179" Comment="added 40 characters in body; added 19 characters in body; added 6 characters in body; deleted 2 characters in body" Text="Well, there are no real answers for &quot;how is this made&quot;, because you cannot, nor need to know and you cannot replicate it precisely.&#xD;&#xA;&#xD;&#xA;Processing-wise I don't hear much else than pitch modulation. The layers sound like synths, but of course there are other ways to get a sound that has a &quot;synthetic&quot; quality than using a synth. But then again, synths are the simplest to operate in terms of applying pitch modulation, the other option is to draw automation, you can do both. And the modulation waveforms here aren't complex (the initial burst is random or just so fast and inharmonic that it becomes noise, like in FM synthesis), the bubbly synth's pitch modulating waveshape could be a triangle wave, but anyhow something that &quot;goes up and down&quot; and is quite smooth and not stepped. Although it also has envelope style pitch modulation, because you can hear it slowing down, instead of the pitch modulation happening at a static speed.&#xD;&#xA;&#xD;&#xA;Try to break it down to separate sounds and then start building those sounds, with a synth. For example there's the initial fast FM synthesis-style noisy burst and the slower and smoother bubbly synth sound that fades in after it. After doing those you're left with something that you can fill / add more frequencies to, and then you find/create something that you can add to it to make it more complete." ContentLicense="CC BY-SA 3.0" />
  <row Id="28262" PostHistoryTypeId="5" PostId="17505" RevisionGUID="c54f4f3a-7810-4f2f-906b-a63956359709" CreationDate="2013-01-02T11:41:25.923" UserId="3179" Comment="deleted 1 characters in body" Text="Well, there are no real answers to &quot;how is this made&quot;, because you cannot, nor need to know and you cannot replicate it precisely.&#xD;&#xA;&#xD;&#xA;Processing-wise I don't hear much else than pitch modulation. The layers sound like synths, but of course there are other ways to get a sound that has a &quot;synthetic&quot; quality than using a synth. But then again, synths are the simplest to operate in terms of applying pitch modulation, the other option is to draw automation, you can do both. And the modulation waveforms here aren't complex (the initial burst is random or just so fast and inharmonic that it becomes noise, like in FM synthesis), the bubbly synth's pitch modulating waveshape could be a triangle wave, but anyhow something that &quot;goes up and down&quot; and is quite smooth and not stepped. Although it also has envelope style pitch modulation, because you can hear it slowing down, instead of the pitch modulation happening at a static speed.&#xD;&#xA;&#xD;&#xA;Try to break it down to separate sounds and then start building those sounds, with a synth. For example there's the initial fast FM synthesis-style noisy burst and the slower and smoother bubbly synth sound that fades in after it. After doing those you're left with something that you can fill / add more frequencies to, and then you find/create something that you can add to it to make it more complete." ContentLicense="CC BY-SA 3.0" />
  <row Id="28263" PostHistoryTypeId="5" PostId="17505" RevisionGUID="bbc63a72-6cae-4b14-8958-64d75deb72de" CreationDate="2013-01-02T12:13:03.310" UserId="3179" Comment="added 2 characters in body; added 9 characters in body; added 38 characters in body" Text="Well, there are no real answers to &quot;how is this made&quot;, because you cannot, nor need to know and you cannot replicate it precisely.&#xD;&#xA;&#xD;&#xA;Processing-wise I don't hear much else than pitch modulation. The layers sound like synths, but of course there are other ways to get a sound that has a &quot;synthetic&quot; quality than using a synth. But then again, synths are the simplest to operate in terms of applying pitch modulation, the other option is to draw automation, you can do both. And the modulation waveforms here aren't complex (the initial burst is random or just so fast and inharmonic that it becomes noise, like in FM synthesis), the bubbly synth's pitch modulating waveshape could be a is an inverse saw or something that &quot;goes down&quot; (could be a looping envelope as well), it could be some preset custom shape in a synth. The bubbly sound also has some envelope style pitch modulation, because you can hear it slowing down, instead of the pitch modulation happening at a static speed.&#xD;&#xA;&#xD;&#xA;Try to break it down to separate sounds and then start building those sounds, with a synth. For example there's the initial fast FM synthesis-style noisy burst and the slower and smoother bubbly synth sound that fades in after it. After doing those you're left with something that you can fill / add more frequencies to, and then you find/create something that you can add to it to make it more complete." ContentLicense="CC BY-SA 3.0" />
  <row Id="28264" PostHistoryTypeId="5" PostId="17505" RevisionGUID="30e341fd-6731-4b3b-91e0-bd44bdfe9370" CreationDate="2013-01-02T13:12:15.443" UserId="3179" Comment="deleted 5 characters in body" Text="Well, there are no real answers to &quot;how is this made&quot;, because you cannot, nor need to know and you cannot replicate it precisely.&#xD;&#xA;&#xD;&#xA;Processing-wise I don't hear much else than pitch modulation. The layers sound like synths, but of course there are other ways to get a sound that has a &quot;synthetic&quot; quality than using a synth. But then again, synths are the simplest to operate in terms of applying pitch modulation, the other option is to draw automation, you can do both. And the modulation waveforms here aren't complex (the initial burst is random or just so fast and inharmonic that it becomes noise, like in FM synthesis), the bubbly synth's pitch modulating waveshape could be an inverse saw or something that &quot;goes down&quot; (could be a looping envelope as well), it could be some preset custom shape in a synth. The bubbly sound also has some envelope style pitch modulation, because you can hear it slowing down, instead of the pitch modulation happening at a static speed.&#xD;&#xA;&#xD;&#xA;Try to break it down to separate sounds and then start building those sounds, with a synth. For example there's the initial fast FM synthesis-style noisy burst and the slower and smoother bubbly synth sound that fades in after it. After doing those you're left with something that you can fill / add more frequencies to, and then you find/create something that you can add to it to make it more complete." ContentLicense="CC BY-SA 3.0" />
  <row Id="28265" PostHistoryTypeId="2" PostId="17506" RevisionGUID="44cb9744-1d3f-4e61-b174-041aec8b3347" CreationDate="2013-01-02T15:13:09.130" UserId="194" Text="2012 is in the books, so lets hear the best of the best you've done this year.&#xD;&#xA;&#xD;&#xA;My personal fav is something that I can't share freely (a recording of an actual operation in an OR), but in and around that moment were some of the best quad recordings I've been able to capture to date - quiet crowd ambiences in hospital settings.  So tricky to gain access and so rewarding to listen to.&#xD;&#xA;&#xD;&#xA;[soundcloud]rcoronado/family-waiting-room-front-wav[/soundcloud]&#xD;&#xA;https://soundcloud.com/rcoronado/family-waiting-room-front-wav&#xD;&#xA;&#xD;&#xA;[soundcloud]rcoronado/family-waiting-room-rear-wav[/soundcloud]&#xD;&#xA;https://soundcloud.com/rcoronado/family-waiting-room-rear-wav&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;which are your fav recordings of 2012?  what are the stories behind them?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28266" PostHistoryTypeId="1" PostId="17506" RevisionGUID="44cb9744-1d3f-4e61-b174-041aec8b3347" CreationDate="2013-01-02T15:13:09.130" UserId="194" Text="what were your best recordings of 2012?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28267" PostHistoryTypeId="3" PostId="17506" RevisionGUID="44cb9744-1d3f-4e61-b174-041aec8b3347" CreationDate="2013-01-02T15:13:09.130" UserId="194" Text="&lt;favorite&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28268" PostHistoryTypeId="2" PostId="17507" RevisionGUID="6156a2b1-894d-4ef6-8358-fa40af72c788" CreationDate="2013-01-02T19:17:06.023" UserId="4272" Text="Can't remember if this was early 2012 or late 2011, but I had the opportunity to record some motorcycles up on a quiet mountain setting here in British Columbia.  I won't share those recordings now as they're not mine alone, but I will gladly share one of my other favourite recordings - while I was still in school I access to a foley room so some of my classmates and I loaded up a suitcase with fruits and veggies to get some [blood and guts sound effects][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://soundcloud.com/brycerafflesound/blood-bones-sound-effects" ContentLicense="CC BY-SA 3.0" />
  <row Id="28269" PostHistoryTypeId="2" PostId="17508" RevisionGUID="8241b364-1283-4b91-b1cc-822b00efd5ea" CreationDate="2013-01-02T20:06:56.507" UserId="4272" Text="atm I'm using TrueVerb and IR-L from Waves.  Neither are all that fancy but they're relatively inexpensive, easy to use, and produce pretty decent results.&#xD;&#xA;Favourite verbs would be Revibe, Reverb One, and Altiverb but those are all pretty much bank-breaking plugins." ContentLicense="CC BY-SA 3.0" />
  <row Id="28270" PostHistoryTypeId="2" PostId="17509" RevisionGUID="28e70c94-67a1-4b5b-b26a-afcfa695aa2b" CreationDate="2013-01-02T20:14:53.493" UserId="66" Text="Hi all, if you'd like to read further, please visit the linkedin post.  Many comments:&#xD;&#xA;&#xD;&#xA;http://www.linkedin.com/groupAnswers?viewQuestionAndAnswers=&amp;discussionID=197035913&amp;gid=69594&amp;commentID=111359145&amp;goback=%2Egmp_69594%2Egde_69594_member_197035913&amp;trk=NUS_DISC_Q-subject#commentID_111359145&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28271" PostHistoryTypeId="2" PostId="17510" RevisionGUID="3ddafd0a-1234-4679-9093-e661f553a989" CreationDate="2013-01-02T20:14:55.287" UserId="3688" Text="I've got some freelance game audio contracts beginning soon and need to get started with a basic bedroom setup. Here's some quick specs:&#xD;&#xA;&#xD;&#xA; - 11.8 x 12.8 sized bedroom. Carpeted, drywall, a queen sized bed in there, bookshelves, etc. Pretty much a typical apartment bedroom.&#xD;&#xA;&#xD;&#xA; - I plan on setting these monitors up in the middle of the 12.8 sized wall. Not going to be putting them in corners or anything like that.&#xD;&#xA;&#xD;&#xA; - My workstation (and, more specifically, my ears) will probably be anywhere from 3' to 5' feet away from the monitors.&#xD;&#xA;&#xD;&#xA; - I'm on a budget of approximately 500 - 1000 dollars. That would be for a PAIR, not a single monitor.&#xD;&#xA;&#xD;&#xA; - I'm not composing or mixing music. I don't know how relevant that is, but I'm mentioning it nonetheless just in case. I WILL probably be listening to the music that other people compose, however. But 95% of what I'm doing will be SFX asset creation, dialog management, playing through the game with implemented assets, etc.&#xD;&#xA;&#xD;&#xA; - I used KRK monitors years ago and really liked them but I'm sure there are newer models  available now. Same with Events (I used the Event TR5's at my first studio gig). Searching on here, I've seen the KRK VXT8 are often suggested but they're a bit out of my price range. The Adam A7's are also recommended a lot. What I really need are a solid pair of inexpensive but relatively good quality nearfield monitors for an apartment bedroom setup to do game audio work. Just looking for some suggestions from others." ContentLicense="CC BY-SA 3.0" />
  <row Id="28272" PostHistoryTypeId="1" PostId="17510" RevisionGUID="3ddafd0a-1234-4679-9093-e661f553a989" CreationDate="2013-01-02T20:14:55.287" UserId="3688" Text="KRK (or any other) nearfield recommendation for game audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="28273" PostHistoryTypeId="3" PostId="17510" RevisionGUID="3ddafd0a-1234-4679-9093-e661f553a989" CreationDate="2013-01-02T20:14:55.287" UserId="3688" Text="&lt;monitors&gt;&lt;gameaudio&gt;&lt;budget&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28274" PostHistoryTypeId="2" PostId="17511" RevisionGUID="9e338545-6214-46bc-a000-661829c61a52" CreationDate="2013-01-02T20:16:33.933" UserId="4272" Text="Just a few tips from my experience:&#xD;&#xA;&#xD;&#xA;You'll want to speak to the script supervisor (scripty) and ask them to keep you updated as to what scene/take you're on.  On your sound report you'll want to write down the scene and take numbers and keep track of how many mics/channels you used and make notes regarding the quality of the recording (was the an airplane going by during the take?  was the speech intelligible? etc.)  If there are problems make sure you let the director know that sound had a problem and ask for another take.  If you don't get another take, write that on your report (&quot;no reshoot as per director&quot;).&#xD;&#xA;&#xD;&#xA;Some recorders will allow you to enter a name for your recording - if so, enter the scene: &quot;01A_T&quot; as in Scene 01 Alpha, Take_  The recorder should add a number each time you do another take so you shouldn't have to manually enter the number each time you do a take.  If your recorder doesn't allow you to name your tracks, you should probably write on your sound reports the name your recorder has assigned to the recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="28275" PostHistoryTypeId="2" PostId="17512" RevisionGUID="5d2c121c-9751-420e-86f9-7b1a7d389260" CreationDate="2013-01-02T21:12:11.150" UserId="4272" Text="Depending on what version of PT you have you can set up DPE tracks (direct punch edit).  Not sure if this is for music or post production, but basically you could route all your foley to the foley DPE track, all your dialogue to your dialog DPE track, etc.  Once your foley's mixed you can just record it to the DPE and make those tracks inactive (when you hand in your project just delete the DPE track and reactivate the foley tracks and change the output appropriately.  Not sure I've explained that clearly but hopefully that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="28276" PostHistoryTypeId="2" PostId="17513" RevisionGUID="9f4e66b2-fb13-4c37-8adb-6fd89caf3015" CreationDate="2013-01-02T21:53:42.743" UserId="5598" Text="IRCAM Verb Session by Flux for natural verbs and distance.&#xD;&#xA;&#xD;&#xA;TL Space for convolution (although I find it frustratingly &quot;toiletty&quot; at times).&#xD;&#xA;&#xD;&#xA;I just bought Softube's TSAR-1R for more synthetic/retro but haven't really used it in anger yet.&#xD;&#xA;&#xD;&#xA;Waves IR-L and Trueverb when working in Fairlight." ContentLicense="CC BY-SA 3.0" />
  <row Id="28277" PostHistoryTypeId="2" PostId="17514" RevisionGUID="694542eb-c651-4b74-822c-fa41e9b4e3e8" CreationDate="2013-01-02T22:49:57.247" UserId="5599" Text="nebula pro and divers reverb programs. Awesome..." ContentLicense="CC BY-SA 3.0" />
  <row Id="28278" PostHistoryTypeId="2" PostId="17515" RevisionGUID="ad899f75-5a37-42ed-b7fc-7fc6aab5bb0a" CreationDate="2013-01-02T22:50:11.850" UserId="6524" Text="I was quite busy doing production sound recording at film school but a couple of directors wanted me to record SFX's for their films and one of them were Gun's which were a first for me, I only had 1 NTG-2 w/ MixPre-D and my H4n. Their not great but it was a fun experience.&#xD;&#xA;&#xD;&#xA;[soundcloud]stephensaldanha/9mm-pistol-rounds[/soundcloud]&#xD;&#xA;https://soundcloud.com/stephensaldanha/9mm-pistol-rounds&#xD;&#xA;&#xD;&#xA;[soundcloud]stephensaldanha/free-download-srsfx-9mm-pistol[/soundcloud]&#xD;&#xA;https://soundcloud.com/stephensaldanha/free-download-srsfx-9mm-pistol&#xD;&#xA;&#xD;&#xA;Also when helping to build a set for a sitcom style project I found a Nagra 4.2 laying around in the school's storage room. I asked if I could take it home and had a go with loading in tape and listening to the old recordings and was amazed by it's sound quality. Before I brought back to school I recorded some recording examples and the sound of it running as well.&#xD;&#xA;&#xD;&#xA;[soundcloud]stephensaldanha/nagra-4-2-sounds[/soundcloud]&#xD;&#xA;https://soundcloud.com/stephensaldanha/nagra-4-2-sounds&#xD;&#xA;&#xD;&#xA;[soundcloud]stephensaldanha/nagra-4-2-audio-samples[/soundcloud]&#xD;&#xA;https://soundcloud.com/stephensaldanha/nagra-4-2-audio-samples" ContentLicense="CC BY-SA 3.0" />
  <row Id="28279" PostHistoryTypeId="2" PostId="17516" RevisionGUID="fe819712-b643-4431-8dd9-34ab78e97cbd" CreationDate="2013-01-02T23:26:08.720" UserId="432" Text="Would you believe that I haven't gone through all of them yet?! I don't think I've even gone through half of them...which is ridiculous!&#xD;&#xA;&#xD;&#xA;If I were to just go by &quot;memory of the moment&quot; right now, I'd have to say all of the fabric recordings I made (of which I've mastered about two-thirds of so far). It wasn't meant to be an end-all be all library...and it's not, by any stretch of the imagination...but they've been incredibly handy on several projects so far to cover little moments where a touch of foley was needed to fill holes.&#xD;&#xA;&#xD;&#xA;Now, I just have to finish mastering the rest of the raw audio so I can move on to some of the other recordings I haven't touched yet." ContentLicense="CC BY-SA 3.0" />
  <row Id="28280" PostHistoryTypeId="2" PostId="17517" RevisionGUID="63e3e5f0-a873-4f22-bbff-44c7eb5335f4" CreationDate="2013-01-02T23:37:14.727" UserId="587" Text="I have found a ton of individual sites that have some good recordings here and there,&#xD;&#xA;&#xD;&#xA;but anyone know of a solid library that has a good range of birds from owls to macaws, eagles, falcons, etc etc?&#xD;&#xA;&#xD;&#xA;Ill toss some sites up that I have found:&#xD;&#xA;&#xD;&#xA;http://soundbible.com/tags-bird-of-prey.html&#xD;&#xA;&#xD;&#xA;http://www.audionetwork.com/sound-effects/living-creatures/birds/owls-and-birds-of-prey Youll have to sift through to find the good ones&#xD;&#xA;&#xD;&#xA;http://www.sounddogs.com/results.asp?Type=1&amp;CategoryID=1009&amp;SubcategoryID=15 &#xD;&#xA;&#xD;&#xA;http://www.audiomicro.com/free-sound-effects/free-animal-sound-effects/free-bird-sound-effects same here, just another site that has a few – don’t know if they are good.&#xD;&#xA;&#xD;&#xA;http://www.grsites.com/archive/sounds/category/10/?offset=12 &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28281" PostHistoryTypeId="1" PostId="17517" RevisionGUID="63e3e5f0-a873-4f22-bbff-44c7eb5335f4" CreationDate="2013-01-02T23:37:14.727" UserId="587" Text="Looking For A Birds Of Prey Library" ContentLicense="CC BY-SA 3.0" />
  <row Id="28282" PostHistoryTypeId="3" PostId="17517" RevisionGUID="63e3e5f0-a873-4f22-bbff-44c7eb5335f4" CreationDate="2013-01-02T23:37:14.727" UserId="587" Text="&lt;birds&gt;&lt;sound-effects&gt;&lt;library&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28283" PostHistoryTypeId="2" PostId="17518" RevisionGUID="990cd58e-f1ab-437b-9545-dd4327b1d7c4" CreationDate="2013-01-02T23:48:09.307" UserId="6604" Text="i got a better solution and is somewhat similar to Bryce's DPE.&#xD;&#xA;&#xD;&#xA; 1. If you are using PC, turn off the antivirus, and background apps, windows transperancy etc. If not, then proceed to step 2&#xD;&#xA;&#xD;&#xA; 2. We use this method for mixing television episodes and films in the company where i work, win projects having multiple dialogue, fx, music tracks&#xD;&#xA;&#xD;&#xA; 3. List item" ContentLicense="CC BY-SA 3.0" />
  <row Id="28284" PostHistoryTypeId="12" PostId="17518" RevisionGUID="7f0f6276-ca96-4075-8c74-7177aed70eb6" CreationDate="2013-01-02T23:49:44.377" UserId="6604" Text="[{&quot;Id&quot;:1285,&quot;DisplayName&quot;:&quot;Aural Chef&quot;}]" />
  <row Id="28285" PostHistoryTypeId="13" PostId="17518" RevisionGUID="fa25703a-e983-4afe-946f-c9a7ca754787" CreationDate="2013-01-02T23:49:51.173" UserId="6604" Text="[{&quot;Id&quot;:1285,&quot;DisplayName&quot;:&quot;Aural Chef&quot;}]" />
  <row Id="28286" PostHistoryTypeId="5" PostId="17518" RevisionGUID="101c597b-a5d9-4bf0-9101-7bd7a962ae2c" CreationDate="2013-01-03T00:09:52.233" UserId="6604" Comment="incomplete post ; added 337 characters in body" Text="i got a better solution and is somewhat similar to Bryce's DPE.&#xD;&#xA;&#xD;&#xA; 1. turn off the antivirus, background apps, windows transperancy (for PC) etc. &#xD;&#xA;&#xD;&#xA; 2. We use this method for mixing television episodes and films in the company where i work, with projects having multiple dialogue, fx, music tracks. &#xD;&#xA;&#xD;&#xA;In this method, you dont bounce tracks, instead do internal routing using Busses and Aux tracks and record the Final audio on to stereo tracks, which can be easily exported.&#xD;&#xA;&#xD;&#xA;While recording the final mix, you can change automations, eqs, compressions, etc. and punch from where you stopped without starting from the top.&#xD;&#xA;&#xD;&#xA;       1. Go to Setup-&gt; I/o (same process for PC and MAC)&#xD;&#xA;&#xD;&#xA;create stereo busses as FX AUX, FX PREMIX, DIA AUX, DIA PREMIX, MUSIC AUX, MUSIC PREMIX REVERB 1,2, etc. and MASTER as required.&#xD;&#xA;&#xD;&#xA;       2. Then in you session, create stereo aux tracks (hoping you are doing a stereo mix)&#xD;&#xA;FX aux, DIA aux, Music aux, 1 stereo Audio track for final mix recording and finally a MASTER audio track&#xD;&#xA;&#xD;&#xA;       3. Route the output of all FX tracks to input of FX AUX Track using the FX AUX BUS that you created, and the FX AUX TRACK output to MASTER BUS.&#xD;&#xA;&#xD;&#xA;similarly track sends to reverb, dialogue tracks to DIA AUX TRACK using the DIA AUX BUS, etc.&#xD;&#xA;&#xD;&#xA;       4. The OUTPUT of all AUX tracks should be MASTER and the i/o of MASTER AUDIO TRACK will be this MASTER BUS, in which you should set your master compressor/limiter&#xD;&#xA;&#xD;&#xA;       5. Finally you FINAL MIX AUDIO track's input should be MASTER BUS and output-&gt;speakers.&#xD;&#xA;&#xD;&#xA;       6. Record Arm the FINAL MIX track, monitor input, press keypad 6 for &quot;quick punch mode&quot; and press play. You should be able to hear everything, make changes etc.&#xD;&#xA;&#xD;&#xA;When satisfied with the mix, press record and the whole mix will get recorded.&#xD;&#xA;&#xD;&#xA;Finally stop the recording when done. select the required length of the recorded track and press (ALT/OPTION + SHIFT +3) to consolidate into 1 region.&#xD;&#xA;&#xD;&#xA;Then press COMMAND+OPTION+K to export &quot;selected region&quot; in which ever format you want. Be sure to select &quot;stereo interleaved&quot; in the menu.&#xD;&#xA;&#xD;&#xA;This way you will have the complete mix file as wav or aiff WITHOUT bouncing.&#xD;&#xA;&#xD;&#xA;by punch recording, you can insert corrections or changes and record that part only and consolidate and export the whole file, without starting from the top.&#xD;&#xA;&#xD;&#xA;AND MOST IMPORTANTLY this method is used in the industry also and if you show you session with such routings to your teacher, he/she will be very impressed.&#xD;&#xA;&#xD;&#xA;Bouncing is good enough for songs and short audio, not for long work where you cant afford to do it in runtime of the entire duration each time you make a change or correction&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28287" PostHistoryTypeId="2" PostId="17519" RevisionGUID="428a08fe-7b6b-4667-b22a-00a0f8143213" CreationDate="2013-01-03T00:23:00.973" UserId="6604" Text="Hey cool..... even i have created such a track, telling a story only through sound for my personal learning.. will post it soon. &#xD;&#xA;&#xD;&#xA;will listen to your track on speakers and reply soon" ContentLicense="CC BY-SA 3.0" />
  <row Id="28288" PostHistoryTypeId="2" PostId="17520" RevisionGUID="5668ef1f-91b3-4146-82aa-1c117307c152" CreationDate="2013-01-03T00:24:03.773" UserId="3649" Text="Hi everyone.&#xD;&#xA;&#xD;&#xA;I have always known I want to work in audio. I enrolled on a film course at University, which is great. It has a lot of emphasis on sound and storytelling, both practically and theoretically speaking.&#xD;&#xA;&#xD;&#xA;The university I go to offers another course: Game Art &amp; Design. I am studying towards a degree because I don't know how else I can improve my chances of knowing what Im doing when it comes to game audio,and of getting a job.&#xD;&#xA;&#xD;&#xA;Basically there are 4 options open to me at the moment:&#xD;&#xA;&#xD;&#xA;COntinue studying Film, focusing on sound as much as possible.&#xD;&#xA;&#xD;&#xA;Transfer to the Game course, learning about broad game development and art.&#xD;&#xA;&#xD;&#xA;Study one of the above and also 2 short courses in the summer, one of which is the schoolofvideogameaudio course in WWISE, the other is Alchemea's Pro Tools 130 Game Audio course.&#xD;&#xA;&#xD;&#xA;Do a degree, the short courses and an MA in game audio.&#xD;&#xA;&#xD;&#xA;Anyone able to offer any advice? I know where I want to be and I am willing to keep going till I get there, just not sure what route to take...&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28289" PostHistoryTypeId="1" PostId="17520" RevisionGUID="5668ef1f-91b3-4146-82aa-1c117307c152" CreationDate="2013-01-03T00:24:03.773" UserId="3649" Text="Game Sound Design/Audio - What should I study in order to advance to a paid job?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28290" PostHistoryTypeId="3" PostId="17520" RevisionGUID="5668ef1f-91b3-4146-82aa-1c117307c152" CreationDate="2013-01-03T00:24:03.773" UserId="3649" Text="&lt;game&gt;&lt;design&gt;&lt;education&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28291" PostHistoryTypeId="2" PostId="17521" RevisionGUID="33a07dbd-d7ac-41cb-9b0d-7b5743fc478d" CreationDate="2013-01-03T00:37:40.457" UserId="6604" Text="Hi&#xD;&#xA;&#xD;&#xA;I want to buy a portable recorder for my birthday tomorrow to record sound fx. My budget currently is 12000 Rs. here in Mumbai which is enough for Zoom H2N which interests me because of its surround mics and M-s recording, but im interested in Zoom H4n which costs 18000 Rs. cause it has XLR inputs. &#xD;&#xA;&#xD;&#xA;My neighbour has a Hayabusa bike which i want to record and renting an H4n is very expensive...almost 2000 Rs. for a day,  while a boom mic and Rode blimp cost only 500 Rs. a day...&#xD;&#xA;&#xD;&#xA;So im thinking what to buy? Will H2n help in my beginner recordings of the Hayabusa? or shall i save some more money and buy H4n?&#xD;&#xA;&#xD;&#xA;Any other good recorders in my budget?&#xD;&#xA;&#xD;&#xA;Also major question is if i buy a H2N now, can i add in a small preamp for boom/condensor mic to provide phantom power and give its output to Zoom h2n's line it? Will it be costlier than an H4n solution?&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="28292" PostHistoryTypeId="1" PostId="17521" RevisionGUID="33a07dbd-d7ac-41cb-9b0d-7b5743fc478d" CreationDate="2013-01-03T00:37:40.457" UserId="6604" Text="Want to buy a portable recorder for birthday tomorrow" ContentLicense="CC BY-SA 3.0" />
  <row Id="28293" PostHistoryTypeId="3" PostId="17521" RevisionGUID="33a07dbd-d7ac-41cb-9b0d-7b5743fc478d" CreationDate="2013-01-03T00:37:40.457" UserId="6604" Text="&lt;zoom-h4n&gt;&lt;portable&gt;&lt;portable-recorder&gt;&lt;h2n&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28294" PostHistoryTypeId="5" PostId="17521" RevisionGUID="983711b0-0050-4c84-af3a-71bbc39944a0" CreationDate="2013-01-03T00:44:04.513" UserId="6604" Comment="addition" Text="Hi&#xD;&#xA;&#xD;&#xA;I want to buy a portable recorder for my birthday tomorrow to record sound fx. My budget currently is 12000 Rs. here in Mumbai which is enough for Zoom H2N which interests me because of its surround mics and M-s recording, but im interested in Zoom H4n which costs 18000 Rs. cause it has XLR inputs. &#xD;&#xA;&#xD;&#xA;My neighbour has a Hayabusa bike which i want to record and renting an H4n is very expensive...almost 2000 Rs. for a day,  while a boom mic and Rode blimp cost only 500 Rs. a day...&#xD;&#xA;&#xD;&#xA;So im thinking what to buy? Will H2n help in my beginner recordings of the Hayabusa? or shall i save some more money and buy H4n?&#xD;&#xA;&#xD;&#xA;I just want to start off on the field recording thing without waiting any longer or too many complications. I have used a H4N before and liked it, but its bulky too.&#xD;&#xA;&#xD;&#xA;Are the H2n's inbuilt mics any good?&#xD;&#xA;&#xD;&#xA;Any other good recorders in my budget?&#xD;&#xA;&#xD;&#xA;Also major question is if i buy a H2N now, can i add in a small preamp for boom/condensor mic to provide phantom power and give its output to Zoom h2n's line it? Will it be costlier than an H4n solution?&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="28295" PostHistoryTypeId="2" PostId="17522" RevisionGUID="9bc463ad-4e2a-4554-95d5-1384494e9b47" CreationDate="2013-01-03T00:58:29.717" UserId="315" Text="[The Macaulay Library][1] at Cornell will licenses their recordings.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://macaulaylibrary.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28297" PostHistoryTypeId="5" PostId="17522" RevisionGUID="917a322d-1eed-450a-b443-6def371140c3" CreationDate="2013-01-03T01:10:25.200" UserId="315" Comment="deleted 5 characters in body" Text="[The Macaulay Library][1] at Cornell licenses their recordings.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://macaulaylibrary.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28298" PostHistoryTypeId="2" PostId="17524" RevisionGUID="841097ae-ebfd-473c-b458-9c7356382c11" CreationDate="2013-01-03T01:12:31.660" UserId="3179" Text="Focus on relationships. &#xD;&#xA;&#xD;&#xA;Knowing how to use sound is just a start, but just knowing the craft is not what's going to keep you employed, it's people.&#xD;&#xA;&#xD;&#xA;A nice portfolio will show that you've done something, which can be both a topic for discussion and an artifact/asset. In job seeking it's what you'd mainly use in order to get to interviews. But past those, and especially if you decide on freelancing or entrepreneurship, what you'll mostly need is customers or other people that give you something to work on.&#xD;&#xA;&#xD;&#xA;I would not stress much about what &quot;qualifications&quot; you're getting from schools (but I would stress the relationships that you form). As long as you enjoy it and it feels worth it, then sure keep doing it, but it's unlikely that many others see degrees as particularly valuable or relevant as the art and media industries are the least about degrees." ContentLicense="CC BY-SA 3.0" />
  <row Id="28299" PostHistoryTypeId="5" PostId="17524" RevisionGUID="ff001d18-6685-4054-8c8d-bbceba1cff77" CreationDate="2013-01-03T01:19:13.140" UserId="3179" Comment="added 44 characters in body; added 30 characters in body" Text="Focus on relationships. &#xD;&#xA;&#xD;&#xA;Knowing how to use sound is just a start, but just knowing the craft is not what's going to keep you employed, it's people.&#xD;&#xA;&#xD;&#xA;A nice portfolio will show that you've done something, which can be both a topic for discussion and an artifact/asset. In job seeking it's what you'd mainly use in order to get to interviews. But past those, and especially if you decide on freelancing or entrepreneurship, what you'll mostly need is customers or other people that give you something to work on and who want to work with you.&#xD;&#xA;&#xD;&#xA;I would not stress much about what &quot;qualifications&quot; you're getting from schools (but I would stress the relationships that you form + the portfolio, if you haven't got one yet). As long as you enjoy it and it feels worth it, then sure keep doing it, but it's unlikely that many others see degrees as particularly valuable or relevant as the art and media industries are the least about degrees." ContentLicense="CC BY-SA 3.0" />
  <row Id="28300" PostHistoryTypeId="5" PostId="17524" RevisionGUID="362980ea-4bbb-411e-9a61-4ce7dade6493" CreationDate="2013-01-03T01:27:08.373" UserId="3179" Comment="added 65 characters in body" Text="Focus on relationships. &#xD;&#xA;&#xD;&#xA;Knowing how to use sound is just a start, but just knowing the craft is not what's going to keep you employed, it's people.&#xD;&#xA;&#xD;&#xA;A nice portfolio will show that you've done something, which can be both a topic for discussion and an artifact/asset. In job seeking it's what you'd mainly use in order to get to interviews. But past those, and especially if you decide on freelancing or entrepreneurship, what you'll mostly need is customers or other people that give you something to work on and who want to work with you.&#xD;&#xA;&#xD;&#xA;I would not stress much about what &quot;qualifications&quot; you're getting from schools (but I would stress the relationships that you form + the portfolio, if you haven't got one yet). As long as you enjoy it and it feels worth it, then sure keep doing it, but it's unlikely that many others see degrees as particularly valuable or relevant as the art and media industries are the least about degrees.&#xD;&#xA;&#xD;&#xA;If you want a leg up in game audio, then do game programming." ContentLicense="CC BY-SA 3.0" />
  <row Id="28301" PostHistoryTypeId="5" PostId="17524" RevisionGUID="d8a986de-81ec-4d2f-91ca-ef0fe65280e3" CreationDate="2013-01-03T01:42:29.213" UserId="3179" Comment="added 191 characters in body" Text="Focus on relationships. &#xD;&#xA;&#xD;&#xA;Knowing how to use sound is just a start, but just knowing the craft is not what's going to keep you employed, it's people.&#xD;&#xA;&#xD;&#xA;A nice portfolio will show that you've done something, which can be both a topic for discussion and an artifact/asset. In job seeking it's what you'd mainly use in order to get to interviews. But past those, and especially if you decide on freelancing or entrepreneurship, what you'll mostly need is customers or other people that give you something to work on and who want to work with you.&#xD;&#xA;&#xD;&#xA;I would not stress much about what &quot;qualifications&quot; you're getting from schools (but I would stress the relationships that you form + the portfolio, if you haven't got one yet). As long as you enjoy it and it feels worth it, then sure keep doing it, but it's unlikely that many others see degrees as particularly valuable or relevant as the art and media industries are the least about degrees.&#xD;&#xA;&#xD;&#xA;If you want a leg up in game audio, then do game programming, i.e. double yourself in something else than just audio, it could be graphic design as well. However, programming (+designing) your own games is likely going to give you most &quot;street credit&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="28302" PostHistoryTypeId="2" PostId="17525" RevisionGUID="9f4fe471-5a1e-4599-80a0-dd76042ba181" CreationDate="2013-01-03T03:19:41.307" UserId="3688" Text="I agree with everything @Internet Human said.&#xD;&#xA;&#xD;&#xA;I've worked professionally at a studio for almost five years and relationships are everything. The people who really understand that what we do is fundamentally a service industry and structure their work philosophy around that are the ones who go the furthest.&#xD;&#xA;&#xD;&#xA;Relative to a lot of disciplines, the social network of audio is narrow but deep and you'll start coming across the same people in this industry over and over again. They spread out fast in this industry - folks are constantly migrating in and out of various projects and studios. If you're laid back, humble but really good at what you do they'll readily recommend you when there's an opportunity to do it because they understand the value of such colleagues. Likewise, if you're terrible - well, it's pretty hard to get anywhere.&#xD;&#xA;&#xD;&#xA;In other words: cultivate a good reputation. Start with school or whatever place you're in.&#xD;&#xA;&#xD;&#xA;Also, implementation is huge. Actual creation of assets is maybe 40% of my job. If that. The rest of it can broadly filed under the category of implementation. So know Wwise. Know FMOD. Get under the hood of engines like Unity and Unreal and know how they work in general, but especially with regards to audio.&#xD;&#xA;&#xD;&#xA;He's also right about the programming. Scripting and coding knowhow are a huge bonus.&#xD;&#xA;&#xD;&#xA;Degrees themselves? Honestly, they don't amount to much. I've never been asked where I went to school or what my 'scores' were or anything like that. It's hard to conceive of a situation where that would actually be relevant. Relationships, skills and experience are where it's at.&#xD;&#xA;&#xD;&#xA;That said, soak up as much as you can from school and then start applying that knowledge to your professional goals.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28303" PostHistoryTypeId="2" PostId="17526" RevisionGUID="f92d6a46-ca1c-44b8-b9de-4525c85f5c42" CreationDate="2013-01-03T07:46:10.970" UserId="5602" Text="Hi Aural Chef,&#xD;&#xA;&#xD;&#xA;I too was looking at the H4n (among other things) but ended up getting the H2n. I have to say that IMO the H2n is the handier of the two for field recording with the potential for surround recording (which for me is sometimes useful) or the MS, which can be recorded in Raw Mode for later decoding, which again for me is also useful. &#xD;&#xA;&#xD;&#xA;While there are no XLR connectors (minijack only) it is still possible to connect another mic (or pair) -- although it is consequently more limited in terms of connectivity with other 'pro' mics etc…&#xD;&#xA;&#xD;&#xA;The sound quality is quite good - if a little on the 'bright' side for my ears - and it probably won't stack up too well compared to more serious rigs, but with that said, (Soundfiled mic and Sound devices recorder anyone?) the H2n is definitely at the value end of the scale and with a bit of post-processing and care in the recordings  - wind and handling noise can especially be a problem in field situations ( I also got the accessory kit (on sale) mostly for the popfilter and 'mic stand adaptor' and use that combo with a rycote softie I already had for handling in the field - the results are usually quite usable and sometimes excellent. &#xD;&#xA;&#xD;&#xA;Wether this is the optimal mic to record your friends bike with, I 'm not sure, but for a low-cost unit to do recording where accessibility might be an issue and quick setup is required, this thing is very useful.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28304" PostHistoryTypeId="2" PostId="17527" RevisionGUID="efef09c8-cca7-459d-9498-7e6263cfae7d" CreationDate="2013-01-03T08:00:23.943" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;If you're looking for birds, I'd recommend you the BBC Library. You can browse it online at:&#xD;&#xA;https://www.soundeffects.ch/soundeffects/sound-effects-categories/sound-effects-birds.php&#xD;&#xA;All birds and animals are categorized and labeled with the biological latin name.&#xD;&#xA;&#xD;&#xA;If you only want the birds, just contact me. I can collect you the BBC bird sound only or the ones you like, up to almost 10'000 records.&#xD;&#xA;&#xD;&#xA;If you are interested, send me an e-mail. You can contact me at: https://www.soundeffects.ch/soundeffectscontact_e.php&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Guido" ContentLicense="CC BY-SA 3.0" />
  <row Id="28305" PostHistoryTypeId="2" PostId="17528" RevisionGUID="e2aaaa59-93f1-4d79-b7cb-31909a3584e5" CreationDate="2013-01-03T09:41:42.437" UserId="118" Text="My low cost solution was to buy a Sound Devices MixPre-D to use with my iPad3: http://sonicskepsi.wordpress.com/2012/08/31/ipad3-♥-mixpre-d-♥-auria/&#xD;&#xA;Hope this helps! " ContentLicense="CC BY-SA 3.0" />
  <row Id="28306" PostHistoryTypeId="2" PostId="17529" RevisionGUID="2a1e8c55-dbb4-4154-9301-a41077324b63" CreationDate="2013-01-03T10:43:38.900" UserId="589" Text="Yes, I agree, contacts are everything! The thing you need to understand about degrees is that education is an industry like any other industry. They are trying to sell you products (degrees) and of course they try to make it look like you will benefit greatly from these products. But the reality is that especially in media, almost everyone can finish a degree. So whether you have a degree or not does not say much about your skills and employers know that. They all have made the experience that they have given some responsibilities to a kid fresh from uni, only to realize that this kid is totally incompetent. &#xD;&#xA;&#xD;&#xA;That does not mean that you cannot learn anything at uni. Uni gives you access to good facilities and you are in an environment in which you meet a lot of people who are also interesting in learning. Other than in the real industry you can still make mistakes here without damaging your reputation. So if you do a degree don't focus too much on your marks. Use the time to learn as much as you can, even outside of the agenda of your course and use the uni itself to make as many contacts as you can. One thing uni has given me is a showreel, with which I could showcase my skills. And afterwards it was this showreel that opened some doors, not the degree. &#xD;&#xA;&#xD;&#xA;Uni is a very comfortable way of learning. However, it is also by far the most expensive one. If you can afford it without going into dept, it is worth considering. But by no means it is necessary to do a degree. There are other ways to make it in this industry. These are usually a bit less comfortable, but they are definitely not unsuccessful. More often than not they are actually more successful.    " ContentLicense="CC BY-SA 3.0" />
  <row Id="28307" PostHistoryTypeId="2" PostId="17530" RevisionGUID="7450bead-4691-4568-8ba1-94500560c14b" CreationDate="2013-01-03T11:09:10.137" UserId="5603" Text="I have one built in aluminum! Someone in my family built it years ago. I never tried it myself. It it for sale, but I think it would be very expensive to ship it! I live in Sweden" ContentLicense="CC BY-SA 3.0" />
  <row Id="28309" PostHistoryTypeId="2" PostId="17532" RevisionGUID="38c2856a-b0dc-46e2-b75c-00d4a946ae0b" CreationDate="2013-01-03T15:53:28.133" UserId="5573" Text="As the title suggests I am currently seeking a carry case/bag or a good strap for my Fostex FR2 LE field recorder.&#xD;&#xA;Cases such as the portabrace exceed my humble budget(up to £50), and I've been told that the alternative I was interested in, found here: &#xD;&#xA;&#xD;&#xA;http://www.inta-audio.com/recording-c57/portable-recorders-c85/fostex-fostex-fr2le-carry-case-p2058&#xD;&#xA;&#xD;&#xA;Is sold out.&#xD;&#xA;&#xD;&#xA;I would be equally happy with a good strap, as the main reason for this purchase is simply in order to keep my hands free during recording; although a bag or case offering some degree of protection from the elements would be preferable.&#xD;&#xA;&#xD;&#xA;If anyone could provide a recommendation or solution it would be very much appreciated.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28310" PostHistoryTypeId="1" PostId="17532" RevisionGUID="38c2856a-b0dc-46e2-b75c-00d4a946ae0b" CreationDate="2013-01-03T15:53:28.133" UserId="5573" Text="Seeking Fostex FR2 LE case/bag/strap" ContentLicense="CC BY-SA 3.0" />
  <row Id="28311" PostHistoryTypeId="3" PostId="17532" RevisionGUID="38c2856a-b0dc-46e2-b75c-00d4a946ae0b" CreationDate="2013-01-03T15:53:28.133" UserId="5573" Text="&lt;fostex&gt;&lt;bag&gt;&lt;cases&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28312" PostHistoryTypeId="2" PostId="17533" RevisionGUID="81691f28-85f6-4bc9-9597-de12312c80ca" CreationDate="2013-01-03T17:07:24.857" UserId="1228" Text="I use Soundminer for assets management.  they have a ripper tool which is a discontinued legacy product, altough talking to Steve there might give you an avenue to purchase it.  It rips the tracks and embeds the metadata into the files themselves which is then displayable in Soundminer.  While it is only one of many ways to digitize and infuse the files with metadata, it is widely regarded as the most widely used and effective method of choice (espeially with Soundminer being the popular choice of assetd management).  Basebead I believe has similar functionality." ContentLicense="CC BY-SA 3.0" />
  <row Id="28313" PostHistoryTypeId="2" PostId="17534" RevisionGUID="f668984d-2930-4d16-b52b-f212dedd8f96" CreationDate="2013-01-03T17:12:52.533" UserDisplayName="user6508" Text="Over at http://www.sonic-terrain.com Nathan Moody did an article about using bags intended for the military for audio recording purposes.&#xD;&#xA;&#xD;&#xA;http://www.sonic-terrain.com/2010/09/portage-i-the-mil-spec-way/&#xD;&#xA;&#xD;&#xA;You may want to look into these as well as other bags/cases as another alternative." ContentLicense="CC BY-SA 3.0" />
  <row Id="28314" PostHistoryTypeId="2" PostId="17535" RevisionGUID="5860435a-a0ac-40a2-befc-3de7410509d9" CreationDate="2013-01-03T17:17:50.930" UserId="1228" Text="Check out Petrol bags.  I'm not 100% sure if they have one for the FR2 LE, but I'll bet they probably do.  Great, well-built modular/customizeable cases.  All production sound mixers I know live by them, many sound effects recordists I know use them as well.  I use one with my 702.  Personally I've had bad experiences with Portabrace and have felt their bags are flimsy and thin - the one I worked with on a regular FR2 felt more like a cloth cover tgan a solid, standing, sturdy protection bag." ContentLicense="CC BY-SA 3.0" />
  <row Id="28315" PostHistoryTypeId="2" PostId="17536" RevisionGUID="88506a8c-1436-4035-8bae-c2d5d3455c6e" CreationDate="2013-01-03T17:53:16.160" UserId="1228" Text="While the Zoom recorders and all those of the same echelon are mot the same as a Sound Devices or FR2, I strongly believe somethig which either Jay or Tim mentioned, which is that the best recorder is the one you have on you (in the same vain that the best mic for the job is the one in your hand).  I started out using an H4n and rven though I've since outgrown its capabilites for what I record, it saved me so many times by giving me a means to record in general versus hearing the world go by without a means to capture at all.  Even now I still use my trusty iPhone in a pinch and it's proved valuable.  So what I'm getting at is that regardless of what recorder it is, espeically when you're on a budget like this, the worst &quot;offense&quot; would be not to have a recorder at all, even if it is an H2." ContentLicense="CC BY-SA 3.0" />
  <row Id="28316" PostHistoryTypeId="2" PostId="17537" RevisionGUID="7fa54c8f-f55e-4674-afb7-7c909b03ba18" CreationDate="2013-01-03T19:02:07.933" UserId="4442" Text="i love the shit out of my H4N, WITH the redhead. It's really a necessity, because the included filter does suck. It's not useless, I have it on a dynamic mic in my basement as a quick and dirty pop/breath filter for non-serious recordings.&#xD;&#xA;&#xD;&#xA;The h4n is certainly no sound devices, but as was mentioned before, it's certainly an alternative to having no recorder. I had a previous gen H2, and I did love it, but when I saw the flexibility with the H4n and the inputs, I had to jump. Don't think just mics, think about putting contact mics into there! then you can get the very decent onboard mic sound with some huge body resonance! Turns an oven into a 10 ton walking mech!&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="28317" PostHistoryTypeId="2" PostId="17538" RevisionGUID="9a58548c-f221-4061-afc7-ce3e8612d569" CreationDate="2013-01-03T21:38:10.803" UserId="1048" Text="Why don't you ask Frank Kruse, he said he is open to any questions about the movie :)&#xD;&#xA;http://duc.avid.com/showthread.php?t=331203" ContentLicense="CC BY-SA 3.0" />
  <row Id="28318" PostHistoryTypeId="2" PostId="17539" RevisionGUID="98e04153-a92b-4857-b909-03e08f5f5243" CreationDate="2013-01-03T21:39:48.080" UserId="1011" Text="I really enjoyed recording freight trains in 2012. I hopped a fence near home and tried recordings from a mixture of H4n, D50, and 191 over a period of a few months.&#xD;&#xA;&#xD;&#xA;They have a lot of dynamic and power. Cool mix of heavy, deep engines, squealing rails, and shrieking passes. Also fun learning about their differences, ages, etc.&#xD;&#xA;&#xD;&#xA;Some passes:&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/airbornesound/emd-sd90-freight-train-passing&#xD;&#xA;[https://soundcloud.com/airbornesound/train-freight-diesel-general-3][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;This was a spaceship-like slow pass:&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/airbornesound/train-freight-diesel-general-1&#xD;&#xA;&#xD;&#xA;I like this one because of the squeaky autoracks as the train crawls by.&#xD;&#xA;https://soundcloud.com/airbornesound/freight-train-autorack-cars&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://soundcloud.com/airbornesound/train-freight-diesel-general-3" ContentLicense="CC BY-SA 3.0" />
  <row Id="28319" PostHistoryTypeId="5" PostId="17506" RevisionGUID="348942bd-d21e-4724-a47d-95c516c3d197" CreationDate="2013-01-04T02:43:17.187" UserId="194" Comment="added 119 characters in body" Text="2012 is in the books, so lets hear the best of the best you've done this year.&#xD;&#xA;&#xD;&#xA;My personal fav is something that I can't share freely (a recording of an actual operation in an OR), but in and around that moment were some of the best quad recordings I've been able to capture to date - quiet crowd ambiences in hospital settings.  So tricky to gain access and so rewarding to listen to.&#xD;&#xA;&#xD;&#xA;[soundcloud]rcoronado/family-waiting-room-front-wav[/soundcloud]&#xD;&#xA;https://soundcloud.com/rcoronado/family-waiting-room-front-wav&#xD;&#xA;&#xD;&#xA;[soundcloud]rcoronado/family-waiting-room-rear-wav[/soundcloud]&#xD;&#xA;https://soundcloud.com/rcoronado/family-waiting-room-rear-wav&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;which are your fav recordings of 2012?  what are the stories behind them?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://3.bp.blogspot.com/-bdNKA2bvM84/UFvKcvNTjII/AAAAAAAABY0/2KwhuntB-88/s1600/IMG_3453.JPG" ContentLicense="CC BY-SA 3.0" />
  <row Id="28320" PostHistoryTypeId="2" PostId="17540" RevisionGUID="5d64de80-efcc-4a3b-8399-e70c74025c88" CreationDate="2013-01-04T02:43:54.147" UserId="4468" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;I'm working on a short film at the moment in which one of the characters falls of a skateboar and cracks his head open.  The lead in sounds of the skateboard work, wheel screech, a gravel crucnch, though I am having trouble 'cracking his head open' (on concrete) naturally.  Although we don't see what happens, the DIrector has specified he wants to hear the sound very close.&#xD;&#xA;&#xD;&#xA;I have tried combining a cocunut break with rock melon and water melon cracks, but having no success&#xD;&#xA;&#xD;&#xA;Has anyone tried to create a similar effect in the past?  Or can point me in the right direction of where to find a pre-made effect (as always, time is of the essence, project deadline is monday)&#xD;&#xA;&#xD;&#xA;Many thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="28321" PostHistoryTypeId="1" PostId="17540" RevisionGUID="5d64de80-efcc-4a3b-8399-e70c74025c88" CreationDate="2013-01-04T02:43:54.147" UserId="4468" Text="Newbie trying to create a head crack" ContentLicense="CC BY-SA 3.0" />
  <row Id="28322" PostHistoryTypeId="3" PostId="17540" RevisionGUID="5d64de80-efcc-4a3b-8399-e70c74025c88" CreationDate="2013-01-04T02:43:54.147" UserId="4468" Text="&lt;head&gt;&lt;on&gt;&lt;concrete&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28323" PostHistoryTypeId="2" PostId="17541" RevisionGUID="40fa6d8c-adc4-43a1-b477-2522be468dba" CreationDate="2013-01-04T03:34:32.440" UserId="5607" Text="Sounds like you are on the right path. Maybe layering those wet crunchy sounds with an impact sound like a bat crack pitched down, and adding a low body hit impact sound, like punch effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="28324" PostHistoryTypeId="2" PostId="17542" RevisionGUID="a844b117-56b9-4ccf-9acb-87baf7a6834c" CreationDate="2013-01-04T05:02:20.407" UserId="3525" Text="Im wondering how they create the sound when frodo puts on the ring and disappears this may sound easy but any ideas how they did it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28325" PostHistoryTypeId="1" PostId="17542" RevisionGUID="a844b117-56b9-4ccf-9acb-87baf7a6834c" CreationDate="2013-01-04T05:02:20.407" UserId="3525" Text="Lord of the Rings Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="28326" PostHistoryTypeId="3" PostId="17542" RevisionGUID="a844b117-56b9-4ccf-9acb-87baf7a6834c" CreationDate="2013-01-04T05:02:20.407" UserId="3525" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28327" PostHistoryTypeId="2" PostId="17543" RevisionGUID="34d26874-fecc-4649-b79a-34c0fbbf5969" CreationDate="2013-01-04T10:09:45.567" UserId="243" Text="I have been having trouble with my mac because it gets stuck during playback, editing or even recording, so I have to force shut down the laptop by holding the power button in! What can I do to stop this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28328" PostHistoryTypeId="1" PostId="17543" RevisionGUID="34d26874-fecc-4649-b79a-34c0fbbf5969" CreationDate="2013-01-04T10:09:45.567" UserId="243" Text="Protools9 running of macbook pro icore 7 problems" ContentLicense="CC BY-SA 3.0" />
  <row Id="28329" PostHistoryTypeId="3" PostId="17543" RevisionGUID="34d26874-fecc-4649-b79a-34c0fbbf5969" CreationDate="2013-01-04T10:09:45.567" UserId="243" Text="&lt;problems&gt;&lt;pro-tools&gt;&lt;protools9&gt;&lt;computer&gt;&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28330" PostHistoryTypeId="2" PostId="17544" RevisionGUID="16b01427-ecd5-4e12-b5a5-722357c39f0c" CreationDate="2013-01-04T13:03:52.743" UserId="3800" Text="I'm looking for a 2 channel, preferably 4 channel, mic preamp for the studio. My budget is around €350, which is what the RME QuadMic is going for in Europe. It seems to suite my needs but I'm not fully convinced about the quality of the pres. The people at gearslutz seem to have mixed opinions about RME's amps and their opinion mostly is based on vocal and instrument recording. I will mainly be using the amp for foley/sfx recording in the studio.&#xD;&#xA;&#xD;&#xA;I was wondering how the QuadMic amps compare to the FR2 which I have or the Sound Devices stuff, which is above my budget. Do any of you guys have experience with the QuadMic or other RME amps? Suggestions for other 2 or 4 channel amps are most welcome. I'd gladly buy SD stuff, but in my current situation I just can't justify spending that kind of money on this hobby.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Martin" ContentLicense="CC BY-SA 3.0" />
  <row Id="28331" PostHistoryTypeId="1" PostId="17544" RevisionGUID="16b01427-ecd5-4e12-b5a5-722357c39f0c" CreationDate="2013-01-04T13:03:52.743" UserId="3800" Text="Suggestion on preamp, RME QuadMic 4 channel preamp?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28332" PostHistoryTypeId="3" PostId="17544" RevisionGUID="16b01427-ecd5-4e12-b5a5-722357c39f0c" CreationDate="2013-01-04T13:03:52.743" UserId="3800" Text="&lt;preamp&gt;&lt;fostex&gt;&lt;sound-devices&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28333" PostHistoryTypeId="2" PostId="17545" RevisionGUID="0afff5d5-faf3-479c-890d-823e37537169" CreationDate="2013-01-04T13:24:13.970" UserId="6524" Text="I've always wondered how dialog in films sound so clean and full, I thought it was just all the gear, great dialog editing/mixing and great ADR performances but after watching the Tron Legacy panel and Michael Semanick's Presentation both from SoundWorks Collection I was amazed at difference from the dialog recorded on set to the final edited/premixed version. I was wondering how the dialog tracks cleaned and processed to sound as they do in the final mix.&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="28334" PostHistoryTypeId="1" PostId="17545" RevisionGUID="0afff5d5-faf3-479c-890d-823e37537169" CreationDate="2013-01-04T13:24:13.970" UserId="6524" Text="How are dialog tracks treated for dramatic productions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28335" PostHistoryTypeId="3" PostId="17545" RevisionGUID="0afff5d5-faf3-479c-890d-823e37537169" CreationDate="2013-01-04T13:24:13.970" UserId="6524" Text="&lt;dialog&gt;&lt;adr&gt;&lt;mixing&gt;&lt;editing&gt;&lt;processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28336" PostHistoryTypeId="2" PostId="17546" RevisionGUID="56dd4a72-26ed-401f-8a17-b8a571eefdf2" CreationDate="2013-01-04T16:33:10.737" UserId="5607" Text="I think you answered your question in the first sentence, but to add to that, proper use of eq, compression, reverb, and noise reduction are a couple things that add to a great vocal performance." ContentLicense="CC BY-SA 3.0" />
  <row Id="28337" PostHistoryTypeId="2" PostId="17547" RevisionGUID="3cd2ab6c-b565-4b2f-9514-6cea198a0c2e" CreationDate="2013-01-04T17:34:19.663" UserId="3741" Text="hi there,&#xD;&#xA;Try using celery, I've heard it works well for punches" ContentLicense="CC BY-SA 3.0" />
  <row Id="28338" PostHistoryTypeId="2" PostId="17548" RevisionGUID="6784cddd-da8d-4bbb-ae83-990bd32036e6" CreationDate="2013-01-04T18:22:38.963" UserId="4272" Text="Although your description seems pretty specific, it also leaves a lot of questions that might give clues as to what your head crack should sound like.  For example, what genre is this film?  If it's horror, I'd assume there's going to be a lot of blood during this scene and it's probably going to sound larger than life.  If it's a mockumentary or something along those lines, it would likely be a lot more understated.&#xD;&#xA;&#xD;&#xA;Using coconuts, watermelon, etc. seems a likely bet but if that's not working, try other types of impacts - rolled up newspaper, wood cracks, slab of meat, eggs, carrots, celery.  Try sorting through your sound effects library (since you're new and might not have one yet, look into getting a library - Hollywood Edge, SFX Bible, Blastwave, etc. have a ton of generic sound effects that could be useful).&#xD;&#xA;&#xD;&#xA;On the topic of making this skull crack &quot;larger than life&quot;, try adding in some heavy bass thumps, heavy body-falls, kicks, explosions, thunder cracks, etc.  Try beefing up your sound with a low end enhancer (Waves' Lo Air, MH's Thump) or adding some distortion to really exaggerate the intensity of this moment in the film.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="28339" PostHistoryTypeId="2" PostId="17549" RevisionGUID="2b1db0cd-9ab4-4f87-8f08-2f0695d29472" CreationDate="2013-01-04T18:33:05.623" UserId="29" Text="Thanks for the shout-out, Gary. Literally forgot that I wrote that article! :-) &#xD;&#xA;&#xD;&#xA;While I've lost any small amount of love that I had for Portabrace bags, they DO have a [model specific to the FR2LE][1] which AFAIK is the only one that has a flap to allow viewing of the side panel, which IMO is FAR more important and useful than the top strip of pots and meters. Operating the FR2LE out of a bag without being able to see that panel is frustrating, to say the least.&#xD;&#xA;&#xD;&#xA;I'm sorry to report that it's out of your price range.&#xD;&#xA;&#xD;&#xA;The other option that I went for is to go to a military supply store and get a US$15 first aid bag. Then get some clear marine vinyl. Some velcro, cutting, and sewing and you've got your own flapped, multi-pocket bag. Worked well for me until I went for the Portabrace case.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/476177-REG/Porta_Brace_AR_FR2LE_AR_FR2LE_Audio_Recorder_Case.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="28340" PostHistoryTypeId="5" PostId="17507" RevisionGUID="cc5733c7-b7a1-434d-8eed-825048ca3d31" CreationDate="2013-01-04T18:37:35.693" UserId="4272" Comment="added 4 characters in body" Text="Can't remember if this was early 2012 or late 2011, but I had the opportunity to record some motorcycles up on a quiet mountain setting here in British Columbia.  I won't share those recordings now as they're not mine alone, but I will gladly share one of my other favourite recordings - while I was still in school I had access to a foley room so some of my classmates and I loaded up a suitcase with fruits and veggies to get some [blood and guts sound effects][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://soundcloud.com/brycerafflesound/blood-bones-sound-effects" ContentLicense="CC BY-SA 3.0" />
  <row Id="28341" PostHistoryTypeId="2" PostId="17550" RevisionGUID="32380889-c258-47e9-9bb2-2b615a5e2e93" CreationDate="2013-01-04T19:05:15.010" UserId="1106" Text="I saw Life of Pi last night in Dolby Atmos at the Empire Cinema in London, and reading back over the previous answers and comments, I'm not sure which side of the fence to sit on.  As neat as it was during a few moments of the film, plus the Atmos trailer at the start, the actual space of the cinema really seemed to bugger it up...&#xD;&#xA;&#xD;&#xA;Essentially, both myself and everyone I saw it with found it bloody hard to hear the dialogue clearly due to the huge space of the room - the reverb in there was way too much. I don't know much about acoustic treatment and I'm sure it'd be an insane pain to deaden such a huge space, but surely it's futile to spend so much on a speaker system if it's being used in a room where it just *can't* translate the sound to the viewer properly?  &#xD;&#xA;&#xD;&#xA;The Atmos trailer before the film and the storm scene during it were both very cool, but for the most part it was hard to focus on anything else except trying to make out the dialogue... Unless there's a smaller Atmos screen introduced in Lonon, I'll probably opt for a smaller screens in smaller rooms in the future - I'd much rather have greater clarity in 5.1 over blurry audio in Atmos!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28342" PostHistoryTypeId="2" PostId="17551" RevisionGUID="f18278b8-4f4a-44ef-bfe9-3f736956160f" CreationDate="2013-01-04T20:37:06.380" UserId="3649" Text="Hi, I wanted to ask if anyone is interested in creating a list here with all the computer/video Games they know of that include special features/short documentaries on sound design/audio implementation - much like are sometimes included with DVD films.&#xD;&#xA;&#xD;&#xA;So here are some I can think of:&#xD;&#xA;&#xD;&#xA;Deus Ex: Human Revolution - Augmented Edition comes with a documentary on the making of the game which includes a section on audio &amp; music.&#xD;&#xA;&#xD;&#xA;Elder Scrolls: Oblivion Special Edition comes with a DVD that included a making of documentary - which included audio.&#xD;&#xA;&#xD;&#xA;ANyoen who wants to add to the list please do so!&#xD;&#xA;&#xD;&#xA;Cheers.&#xD;&#xA;&#xD;&#xA;- Si" ContentLicense="CC BY-SA 3.0" />
  <row Id="28343" PostHistoryTypeId="1" PostId="17551" RevisionGUID="f18278b8-4f4a-44ef-bfe9-3f736956160f" CreationDate="2013-01-04T20:37:06.380" UserId="3649" Text="List of Games With Special Features on Audio (Not Music)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28344" PostHistoryTypeId="3" PostId="17551" RevisionGUID="f18278b8-4f4a-44ef-bfe9-3f736956160f" CreationDate="2013-01-04T20:37:06.380" UserId="3649" Text="&lt;game&gt;&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28345" PostHistoryTypeId="2" PostId="17552" RevisionGUID="60ec9229-51f4-49e2-9cb3-98af2e028a48" CreationDate="2013-01-04T21:03:13.323" UserId="5609" Text="LEXICON PCM BUNdLE, for sure. &#xD;&#xA;I love the halls to create out of there effects.&#xD;&#xA;In my try list is &quot;valhalla room. &#xD;&#xA;After bougth the lexicons, I give up from altiveb, but I still like some of their impulses. &#xD;&#xA;TC VSS3 when available!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28346" PostHistoryTypeId="2" PostId="17553" RevisionGUID="ec3eba5a-86e0-4fe8-85dd-0e02092314f3" CreationDate="2013-01-04T22:28:37.290" UserDisplayName="user80" Text="Have you tried using wood yet? The deeper you want the sound the thicker the wood.  Use an axe to start the process and then finish with your hands." ContentLicense="CC BY-SA 3.0" />
  <row Id="28347" PostHistoryTypeId="5" PostId="17545" RevisionGUID="484b4410-f10a-4695-9ad1-daa2a1654088" CreationDate="2013-01-04T22:50:31.343" UserId="6524" Comment="Added Links" Text="I've always wondered how dialog in films sound so clean and full, I thought it was just all the gear, great dialog editing/mixing and great ADR performances but after watching the [Tron Legacy panel][1] and [Michael Semanick's Presentation][2] both from SoundWorks Collection I was amazed at difference from the dialog recorded on set to the final edited/premixed version. I was wondering how the dialog tracks cleaned and processed to sound as they do in the final mix.&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/videos/tronlegacysoundshow&#xD;&#xA;  [2]: http://soundworkscollection.com/videos/michaelsemanick" ContentLicense="CC BY-SA 3.0" />
  <row Id="28348" PostHistoryTypeId="5" PostId="17553" RevisionGUID="8ed74531-c97f-4257-867f-a9a133c8e721" CreationDate="2013-01-04T23:22:35.963" UserDisplayName="user80" Comment="added 39 characters in body" Text="Have you tried using wood yet? The deeper you want the sound the thicker the wood.  Use an axe to start the process and then when you are ready to record use your hands for a brief crack." ContentLicense="CC BY-SA 3.0" />
  <row Id="28349" PostHistoryTypeId="2" PostId="17554" RevisionGUID="e462d094-c961-4431-b6f0-421d1a711610" CreationDate="2013-01-05T00:12:07.310" UserId="4259" Text="This is a recording I made of a friend's oven fan that had been the victim of a ridiculous cooking accident. She was making beans in a pressure cooker and removed the lid before it had depressurized. The lid blew off and sprayed bean all over her and all over her kitchen. The one thing she couldn't ever get clean was her fan, which I noticed right away as a unique and interesting source of sound. I've already used it a couple of times.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/reed-harvey-1/oven-fan-scraping-01" ContentLicense="CC BY-SA 3.0" />
  <row Id="28350" PostHistoryTypeId="2" PostId="17555" RevisionGUID="81dcb28a-748e-4081-bedc-d5f0f6f1c995" CreationDate="2013-01-05T00:43:38.400" UserId="5610" Text="Limbo&#xD;&#xA;&#xD;&#xA;Plenty of research on the game audio of limbo (Martin Stig Andersen)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28351" PostHistoryTypeId="5" PostId="17554" RevisionGUID="c3f02380-9121-49af-9ca3-8c378c3396e0" CreationDate="2013-01-05T01:06:45.757" UserId="4259" Comment="added 3 characters in body" Text="This is a recording I made of a friend's oven fan that had been the victim of a ridiculous cooking accident. She was making beans in a pressure cooker and removed the lid before it had depressurized. The lid blew off and sprayed bean all over her and all over her kitchen. The one thing she couldn't ever get clean was her fan, which I noticed right away as a unique and interesting source of sound. I've already used it a couple of times.&#xD;&#xA;&#xD;&#xA;[soundcloud]reed-harvey-1/oven-fan-scraping-01[/soundcloud]" ContentLicense="CC BY-SA 3.0" />
  <row Id="28352" PostHistoryTypeId="2" PostId="17556" RevisionGUID="c5e9ae35-52e5-4e9b-9ff5-018bbb6f501c" CreationDate="2013-01-05T01:18:58.153" UserId="6460" Text="There's a balance between proper editing of the dialog tracks and proper use of the processing that Jay mentioned, but also the effects of masking when you introduce atmospheres, walla, foley, roomtones, and reverb/early reflections. For instance, it's very tempting to listen to the production tracks during editing and nitpick like crazy over acoustics issues, small amounts of background noise, hiss, level differences, etc., but the reality is that these issues are not always noticeable in the context of a full mix. This might be some of what you're hearing in the videos. &#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;Matt&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28353" PostHistoryTypeId="5" PostId="17556" RevisionGUID="267c4cc3-229a-4b71-959d-838ceb4fe04e" CreationDate="2013-01-05T01:27:06.310" UserId="6460" Comment="deleted 27 characters in body" Text="There's a balance between proper editing of the dialog tracks and proper use of the processing that Jay mentioned, but also the effects of masking when you introduce atmospheres, walla, foley, roomtones, and reverb/early reflections. For instance, even without EQ or compression, the acoustical variations, small amounts of background noise, level differences, etc. in the raw tracks of the Social Network clips would not likely be noticeable in the context of the full mix, especially when reverb is added to the dialog track to match the backgrounds.&#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;Matt&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28354" PostHistoryTypeId="2" PostId="17557" RevisionGUID="980c9053-29aa-42ae-a318-c66fbf1356d2" CreationDate="2013-01-05T02:10:10.750" UserId="5611" Text="I'm been producing electronic music for a while now. I create most of my music with analogue synths but I'm no stranger to digital synthesis using a a variety of methods. This year, I'm going to take a year off songwriting and concentrate on digital sound design. The aim is to bring my skill level up and start working on a completely different sound. I already own NI Komplete 7, and next year I will be buying a Symbolic Sounds Paca unit so that I can use the Kyma system. I know this site is mainly oriented toward film/game sound design but I believe that there's no real different between the two disciplines.&#xD;&#xA;&#xD;&#xA;So, I would like to do a sound design course. I'm happy to do an online course, but I don't want to get ripped off, and I don't want to pay for a course where I am just going around and around in circles on the basics. I want to be swamped with new practical information and challenges. &#xD;&#xA;&#xD;&#xA;So, please tell me about your experience with formal sound design courses. Here are a few online courses that I have found. I'm particularly interested in hearing from you if you have done one of these courses. I would also love to hear from people who have done Kyma courses. &#xD;&#xA;&#xD;&#xA;http://www.dubspot.com/programs/sound-design-komplete-progra m/?from=295#courses (looks ludicrously overpriced) &#xD;&#xA;http://www.pointblankonline.net/sound-design-course.php (looks reasonably priced) &#xD;&#xA;http://www.berkleemusic.com/school/course/sound-design-for-t he-electronic-musician?course%5fitem%5fid=1325180&amp;page=&amp;tab= &amp;program=&amp;preview%5fp=0&amp;usca%5fp=t (looks reasonably priced) &#xD;&#xA;&#xD;&#xA;PS: Please, no comments on YouTube tutorials, or web sites where I can download ad hoc technique vids. I'm looking for a formal course where I can get grades and feedback." ContentLicense="CC BY-SA 3.0" />
  <row Id="28355" PostHistoryTypeId="1" PostId="17557" RevisionGUID="980c9053-29aa-42ae-a318-c66fbf1356d2" CreationDate="2013-01-05T02:10:10.750" UserId="5611" Text="Online Sound Design Courses" ContentLicense="CC BY-SA 3.0" />
  <row Id="28356" PostHistoryTypeId="3" PostId="17557" RevisionGUID="980c9053-29aa-42ae-a318-c66fbf1356d2" CreationDate="2013-01-05T02:10:10.750" UserId="5611" Text="&lt;course&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28357" PostHistoryTypeId="2" PostId="17558" RevisionGUID="6873fd4e-68b7-469c-a2b9-665b1ffa51dc" CreationDate="2013-01-05T04:10:44.920" UserId="5612" Text="As Bryce said, the answer is layers.  Its not working...yet.  Beef it up, fill it out.  Think frequency ranges - are all your bases covered or is it thin in some places?  And once your done go back and see if there are any sounds that you don't need now that you've added a bunch more, which will help with keeping it from getting &quot;muddy&quot;.  Lastly, be really picky about lining up your initial transients - even a couple frames of difference can make a crack into something more thunky.  Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28359" PostHistoryTypeId="2" PostId="17560" RevisionGUID="c631193a-be5e-435f-8d42-af4dad21d9b2" CreationDate="2013-01-05T11:01:36.387" UserId="402" Text="There's allot of this sort of stuff in online dev diary's. Search for sound or audio over at gametrailers.com and you'll find loads. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28360" PostHistoryTypeId="2" PostId="17561" RevisionGUID="4357fc8f-c102-4a7a-9e14-4cd872ac9ffb" CreationDate="2013-01-05T11:55:57.603" UserId="5605" Text="There will be a free course on Sound Design on Coursera:&#xD;&#xA;https://www.coursera.org/course/digitalsounddesign&#xD;&#xA;&#xD;&#xA;&gt; Sounds and music are embedded in almost every aspect of daily life. This course will provide an overview of the fundamental principles of sound and the factors that determine our audio perception. It will also explore techniques of recording, mixing, processing, synthesis, sampling, analysis, and editing of digital audio.&#xD;&#xA;&#xD;&#xA;I believe it will mostly cover basics, but just wanted to mention it." ContentLicense="CC BY-SA 3.0" />
  <row Id="28362" PostHistoryTypeId="2" PostId="17563" RevisionGUID="1d0f9f75-5fe1-48a0-909d-85d120967266" CreationDate="2013-01-05T19:30:47.517" UserId="5615" Text="As a game sound designer for over 20 years, I'll second all that has been said already! Know tools, know processing, know storytelling, know coding or at least scripting.&#xD;&#xA;&#xD;&#xA;You might consider taking some acting and directing classes while at the University; I found myself on many occasions doing voice casting and directing and my experience in the theater was very useful. This also helps when you are editing dialog for scene work (anybody still doing cut scenes?) or concatenation.&#xD;&#xA;&#xD;&#xA;Don't just show up for classes. Be an annoyance (sort of); follow your professors around and ask all kinds of questions. They are there for your benefit, or they should be, and you deserve to get all you can from them. Dig deep and push them! You are paying their salaries.&#xD;&#xA;&#xD;&#xA;Try as many things as you can while in school. Make mistakes, ask opinions, get feedback from other students. Make yourself the sound guru in the department. When you graduate, the people you went to school with will be hiring you to work on their projects. Maybe not immediately but in a few years those relationships will be useful to you.&#xD;&#xA;&#xD;&#xA;Don't burn bridges.&#xD;&#xA;&#xD;&#xA;Good Luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28363" PostHistoryTypeId="2" PostId="17564" RevisionGUID="886a028a-9fd0-456d-8826-01a308db9495" CreationDate="2013-01-05T23:10:38.987" UserId="6604" Text="Heres a nice video about using an external mixer and zoom h4n &#xD;&#xA;http://www.youtube.com/watch?v=cRNd9DT0_is" ContentLicense="CC BY-SA 3.0" />
  <row Id="28364" PostHistoryTypeId="2" PostId="17565" RevisionGUID="31dcae56-e267-4fac-9942-31116642aabf" CreationDate="2013-01-06T00:46:05.647" UserId="5575" Text="Here is an online series of tuts &#xD;&#xA;&#xD;&#xA;http://interactiveaudio.wikiaudio.org" ContentLicense="CC BY-SA 3.0" />
  <row Id="28365" PostHistoryTypeId="2" PostId="17566" RevisionGUID="d1dba9c9-05ab-41d1-a9bc-59f013b70200" CreationDate="2013-01-06T01:20:28.987" UserId="6604" Text="Hi&#xD;&#xA;&#xD;&#xA;I have been scouting the net like crazy and it says H4n doesnt have line inputs and people using XLR inline attenuator pads while capturing live performances from mixing consoles, etc.&#xD;&#xA;&#xD;&#xA;so now im looking at Tascam Dr40....&#xD;&#xA;&#xD;&#xA;anyone got any experience with it? Hows the mic preamp quality compared to the &quot;noisy preamps&quot; of H4n?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28366" PostHistoryTypeId="2" PostId="17567" RevisionGUID="61ec41c2-47fb-4933-92ab-eb4696708fea" CreationDate="2013-01-06T06:49:46.527" UserDisplayName="user49" Text="&quot;this may sound easy&quot;&#xD;&#xA;&#xD;&#xA;I dont remember much of those films - I went to screenings but it was a long time ago &amp; I had no other involvement so take these comments with a grain of salt.... but I will say this: I sincerely doubt it was easy - Dave Farmer, Dave Whitehead &amp; Brent Burge all probably contributed/discussed/shaped design elements for it ... and then Chris Boyes would have predubbed it to stems, then it would have been mixed in context alongside Mike Hedges &amp; Michael Semanicks work, with many revisions to picture &amp; to balance &amp; element choices.... &#xD;&#xA;A lot, as in a LOT of evolution will have occurred in creating the contributing elements &amp; a lot of mix evolution will have occurred in finding the best dramatic shape for that moment... Easy is not a word I would use, but like all great design in hindsight it might appear so" ContentLicense="CC BY-SA 3.0" />
  <row Id="28367" PostHistoryTypeId="2" PostId="17568" RevisionGUID="67b799a1-8dda-40c8-b16d-9bc8ea44cc82" CreationDate="2013-01-06T11:23:05.440" UserId="5618" Text="Hi Jay&#xD;&#xA;&#xD;&#xA;I'm studying a Bachelor of Recording Arts and have a research project I have to complete.&#xD;&#xA;&#xD;&#xA;I stumbled upon this website and saw that a while ago you gave a guy this idea for a research project - &#xD;&#xA;&#xD;&#xA;*Design sound for an older movie scene/trailer using new sounds recorded at the highest bitrate and sample rate available (most likely 24bit/192kHz), then using some creative pitch shifting and/or other processing, discuss why this newer technology allows you more creativity and makes the end result &quot;better&quot;.*&#xD;&#xA;&#xD;&#xA;I'm thinking off doing this for my research project and I wanted to ask whether or not you have any suggestions as to what movies in particular you think could be done &quot;better&quot; with newer recorded sounds.&#xD;&#xA;&#xD;&#xA;Also if you had any other research ideas then don't hesitate.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Denby Strange" ContentLicense="CC BY-SA 3.0" />
  <row Id="28368" PostHistoryTypeId="1" PostId="17568" RevisionGUID="67b799a1-8dda-40c8-b16d-9bc8ea44cc82" CreationDate="2013-01-06T11:23:05.440" UserId="5618" Text="Research Project" ContentLicense="CC BY-SA 3.0" />
  <row Id="28369" PostHistoryTypeId="3" PostId="17568" RevisionGUID="67b799a1-8dda-40c8-b16d-9bc8ea44cc82" CreationDate="2013-01-06T11:23:05.440" UserId="5618" Text="&lt;product-research&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28374" PostHistoryTypeId="2" PostId="17570" RevisionGUID="d379f2aa-2312-4fe6-9a92-bdb32b8802e0" CreationDate="2013-01-06T12:24:23.623" UserId="3179" Text="I'd have a look at whether that project with that kind of brief ever got done, and if it was, what were the propositions, what were the outcomes and how was it presented, before jumping at something like that. And see whether someone has done something similar. That quote sounds far too general, broad and technical to me that I personally fail to see the point of this kind of &quot;research&quot;, mainly because the effects/outcomes of technological development and the technology itself (in the quote's case: sample rates, bit depth(?), pitch-shifting, general audio DSP) are self-explanatory and &quot;standard&quot; from a creative viewpoint. Unless you wish to analyze their &quot;goodness&quot; from an quantitive standpoint, but this question doesn't sound like it.&#xD;&#xA;&#xD;&#xA;However, if you wish to improve a soundtrack that's been produced prior to the substantial technologies (fully computer-based recording and production) that we have today, then I think you could pick any piece of media that motivates you and that's been produced without computers and otherwise with far less sophisticated and more fundamental (analog, manual) ways (&lt;- that's what you'd use as an antithesis prior to demonstrating that today's technology allows improved sound quality and richer soundtracks in your chosen case). But even in this case, &quot;researching&quot; and proposing/stating that &quot;today's technology allows us to produce better audio and be more creative&quot; and then going on to prove it is a straightforward statement that &quot;we all know&quot;. As an individual demonstration and exploration it's ok, of course, but as a &quot;research project&quot;, it doesn't really sound useful(?) and it's vague without a quantitive or scientific aspect to support it. Or would it be more useful to expand on what the requirements are for this research project, or is it more like a personal, practical/project-based thesis?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28375" PostHistoryTypeId="5" PostId="17570" RevisionGUID="8405e7ef-7362-4547-812d-e7a5d3069230" CreationDate="2013-01-06T12:31:30.900" UserId="3179" Comment="deleted 1 characters in body" Text="I'd have a look at whether that project with that kind of brief ever got done, and if it was, what were the propositions, what were the outcomes and how was it presented, before jumping at something like that. And see whether someone has done something similar. That quote sounds far too general, broad and technical to me that I personally fail to see the point of this kind of &quot;research&quot;, mainly because the effects/outcomes of technological development and the technology itself (in the quote's case: sample rates, bit depth(?), pitch-shifting, general audio DSP) are self-explanatory and &quot;standard&quot; from a creative viewpoint. Unless you wish to analyze their &quot;goodness&quot; from a quantitive standpoint, but this question doesn't sound like it.&#xD;&#xA;&#xD;&#xA;However, if you wish to improve a soundtrack that's been produced prior to the substantial technologies (fully computer-based recording and production) that we have today, then I think you could pick any piece of media that motivates you and that's been produced without computers and otherwise with far less sophisticated and more fundamental (analog, manual) ways (&lt;- that's what you'd use as an antithesis prior to demonstrating that today's technology allows improved sound quality and richer soundtracks in your chosen case). But even in this case, &quot;researching&quot; and proposing/stating that &quot;today's technology allows us to produce better audio and be more creative&quot; and then going on to prove it is a straightforward statement that &quot;we all know&quot;. As an individual demonstration and exploration it's ok, of course, but as a &quot;research project&quot;, it doesn't really sound useful(?) and it's vague without a quantitive or scientific aspect to support it. Or would it be more useful to expand on what the requirements are for this research project, or is it more like a personal, practical/project-based thesis?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28376" PostHistoryTypeId="5" PostId="17570" RevisionGUID="2b6ca2dd-dab1-42d5-9120-57770383533d" CreationDate="2013-01-06T14:50:34.573" UserId="3179" Comment="added 4 characters in body" Text="I'd have a look at whether that project with that kind of brief ever got done, and if it was, what were the propositions, what were the outcomes and how was it presented, before jumping at something like that. And see whether someone has done something similar. That quote sounds far too general, broad and technical to me that I personally fail to see the point of this kind of &quot;research&quot;, mainly because the effects/outcomes of technological development and the technology itself (in the quote's case: sample rates, bit depth(?), pitch-shifting, general audio DSP) are self-explanatory and &quot;standard&quot; from a creative viewpoint. Unless you wish to analyze their &quot;goodness&quot; from a quantitative standpoint, but this question doesn't sound like it.&#xD;&#xA;&#xD;&#xA;However, if you wish to improve a soundtrack that's been produced prior to the substantial technologies (fully computer-based recording and production) that we have today, then I think you could pick any piece of media that motivates you and that's been produced without computers and otherwise with far less sophisticated and more fundamental (analog, manual) ways (&lt;- that's what you'd use as an antithesis prior to demonstrating that today's technology allows improved sound quality and richer soundtracks in your chosen case). But even in this case, &quot;researching&quot; and proposing/stating that &quot;today's technology allows us to produce better audio and be more creative&quot; and then going on to prove it is a straightforward statement that &quot;we all know&quot;. As an individual demonstration and exploration it's ok, of course, but as a &quot;research project&quot;, it doesn't really sound useful(?) and it's vague without a quantitative or scientific aspect to support it. Or would it be more useful to expand on what the requirements are for this research project, or is it more like a personal, practical/project-based thesis?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28377" PostHistoryTypeId="2" PostId="17571" RevisionGUID="f0b77620-3b1e-4b39-ba8e-87e3433e4fe0" CreationDate="2013-01-06T20:19:49.180" UserDisplayName="user80" Text="You might want to study the impact that higher sampling rates and greater bit depths have had on film production, specifically the take up and acceptance.&#xD;&#xA;&#xD;&#xA;If you watch the Sound Works collection video on the Hobbit there is a reference to recording new sounds with higher sample rates and bit depths in order to refresh the library, see 01:49 onwards.&#xD;&#xA;&#xD;&#xA;http://soundworkscollection.com/videos/hobbit" ContentLicense="CC BY-SA 3.0" />
  <row Id="28378" PostHistoryTypeId="2" PostId="17572" RevisionGUID="2912252e-07f0-4300-a82b-2ac4c9741437" CreationDate="2013-01-06T23:46:19.050" UserId="3754" Text="I think its out of your budget, not sure what an 'R' is in pounds £, however I am very happy with my Tascam dr-100" ContentLicense="CC BY-SA 3.0" />
  <row Id="28379" PostHistoryTypeId="2" PostId="17573" RevisionGUID="3f3fbccc-f742-4efd-874c-b0d6fd2e3d51" CreationDate="2013-01-07T04:59:53.783" UserId="5617" Text="Hi!&#xD;&#xA;&#xD;&#xA;There is a great post on Designing Sound in which Charles Maynes talks about a cool way to work with pug-in effects: http://designingsound.org/2013/01/a-plug-in-vector-matrix/&#xD;&#xA;&#xD;&#xA;I wonder is it possible to implement such a scheme in Nuendo?&#xD;&#xA;&#xD;&#xA;I can't find the way to create a multichannel bus (&quot;group track&quot; in Nuendo) with individual mono channels. There is a possibility to create child busses for a multichannel bus, but I couldn't find how to send fx-signals to those separate busses.&#xD;&#xA;&#xD;&#xA;I will be thankful for any help.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28380" PostHistoryTypeId="1" PostId="17573" RevisionGUID="3f3fbccc-f742-4efd-874c-b0d6fd2e3d51" CreationDate="2013-01-07T04:59:53.783" UserId="5617" Text="Charles Maynes plug-in matrix scheme in Nuendo" ContentLicense="CC BY-SA 3.0" />
  <row Id="28381" PostHistoryTypeId="3" PostId="17573" RevisionGUID="3f3fbccc-f742-4efd-874c-b0d6fd2e3d51" CreationDate="2013-01-07T04:59:53.783" UserId="5617" Text="&lt;nuendo&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28384" PostHistoryTypeId="2" PostId="17576" RevisionGUID="c09fda97-f80c-4dd7-86c1-d25b5b93e95c" CreationDate="2013-01-07T07:30:26.493" UserId="4259" Text="I have the Tascam DR40 and I like it a lot. I have used the H4n, and I think the preamps are pretty similar in quality. I use an external preamp ([Naiant tinybox][1], which is handmade to spec by a cool guy in Atlanta), and that makes a huge difference. This setup, with various mid-range mics, has gotten me great results, and is extremely portable. Obviously, I'm looking forward to the day when I can buy the fancy, mouth-watering equipment, but until I have work that will pay for it, I'm content to use this setup.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.naiant.com/naiant/microphoneamplifiers.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="28385" PostHistoryTypeId="5" PostId="17480" RevisionGUID="c333219c-44d2-4b02-95dd-c9634dec54b6" CreationDate="2013-01-07T08:42:10.930" UserId="2" Comment="Added Soundcloud embed; added 3 characters in body; deleted 1 characters in body; deleted 62 characters in body" Text="I was given an assignment by a prospective employer to test my sound design skills. They gave me a short, 2-paragraph description of a scene and then gave me three days to create the scene with sound. I was told to create it such that somebody could listen to it without being coached and tell what's happening. It was a challenging and fun project to do, and I think I did a decent job.&#xD;&#xA;&#xD;&#xA;I'd love to hear your feedback, though. Can you tell what's going on? Is it reasonably unambiguous? I'd love to hear thoughts from fellow sound designers.&#xD;&#xA;&#xD;&#xA;Listen to it [here](https://soundcloud.com/geekisthenewcool/sound-design-scene).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28387" PostHistoryTypeId="2" PostId="17578" RevisionGUID="b61eb5d0-5422-4523-8a0d-7112099bef2e" CreationDate="2013-01-07T10:41:48.677" UserId="6604" Text="It can be done... you need to use the multichannel child busses...in output (press F3)&#xD;&#xA;&#xD;&#xA;and in the mixer view (F4) assign the inputs and outputs for channels.. like in protools..&#xD;&#xA;Let me do it and send a pic" ContentLicense="CC BY-SA 3.0" />
  <row Id="28388" PostHistoryTypeId="2" PostId="17579" RevisionGUID="30f5bc1d-f1b0-424a-b033-a76757567fa5" CreationDate="2013-01-07T10:43:40.090" UserId="6604" Text="How about the old Tron and Star wars films?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28389" PostHistoryTypeId="2" PostId="17580" RevisionGUID="b4ed5842-e857-4ce1-b514-cdae74efdfb1" CreationDate="2013-01-07T12:21:38.897" UserId="1216" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I've been looking around for a better Protools-controller. &#xD;&#xA;A few years ago I bought a Novation controller, but I didn't know that the faders would become more important than the knobs. It's a great plugin controller, but for protools it's just not working for me.&#xD;&#xA;&#xD;&#xA;So I looked around and found the Avid Artist Control V2. It seems to work great, with dedicated buttons and a jog wheel. I've read some stuff about screen flickers and noisy faders, but that seems to be a small issue. It could be a workflow enhancement if I can get into it's design principles (I'm back to reading the manual, after I'm done writing this) &#xD;&#xA;&#xD;&#xA;I was wondering what your experiences are? Specifically, how does the touch screen work for you? And is it possible to work with in a way that minimizes mouse/keyboard actions (ergonomics and implementation).&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;Arnoud&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28390" PostHistoryTypeId="1" PostId="17580" RevisionGUID="b4ed5842-e857-4ce1-b514-cdae74efdfb1" CreationDate="2013-01-07T12:21:38.897" UserId="1216" Text="Euphonix/Avid Artist Control V2: Is it as good as it looks?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28391" PostHistoryTypeId="3" PostId="17580" RevisionGUID="b4ed5842-e857-4ce1-b514-cdae74efdfb1" CreationDate="2013-01-07T12:21:38.897" UserId="1216" Text="&lt;pro-tools&gt;&lt;controller&gt;&lt;euphonix&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28392" PostHistoryTypeId="2" PostId="17581" RevisionGUID="0bd940f0-487b-4afe-902b-dbf8f985250f" CreationDate="2013-01-07T13:01:04.693" UserId="432" Text="I have an Avid branded Artist Control (the all black version). Overall, I love it and would recommend it to other people.&#xD;&#xA;&#xD;&#xA;To answer you concerns about screen flickers and faders...I've never had any issues with the screen. The fader noise issue you mentioned had something to do with one of the previous firmware versions. The faders would basically oscillate over a very tiny range when they weren't in receiving commands to track (note: never experienced this myself...this is what I've heard from other people). This was fixed in one of the more recent firmware updates, which came before I purchased mine. The faders have been smooth the entire time I've owned it.&#xD;&#xA;&#xD;&#xA;Other Notes:&#xD;&#xA;&#xD;&#xA;-This won't eliminate the speed you get from keyboard hotkeys for editing. You CAN do all of your editing using the interface, but navigating through the pages to get to the specific function you need is going to be slower than the keyboard. You can put your most common commands on the first page though, so that will make things easier.&#xD;&#xA;&#xD;&#xA;-Where this device really shines is the programming of macro commands (very similar to QuickKeys). Make sure any commands that you create as &quot;repeating&quot; (while you hold down a soft button) don't repeat more than 3 (maybe 4) times per second though. Things can go a little crazy otherwise.&#xD;&#xA;&#xD;&#xA;-The built in jog wheel is mediocre. Decent for changing zoom levels or shuttle, but absolute crap for scrub. It's a &quot;stepped&quot; controller. You'll feel every detent that's built into it, and it feels janky. I've heard marvelous things about the Transport controller, and I'm thinking of picking one of those up in the future.&#xD;&#xA;&#xD;&#xA;-Although I haven't used it as much as I'd like to so far, the touch screen panner is awesome.&#xD;&#xA;&#xD;&#xA;Hope that helps your decision making. Let me know if you have any other questions, and I'll answer them as best I can." ContentLicense="CC BY-SA 3.0" />
  <row Id="28393" PostHistoryTypeId="2" PostId="17582" RevisionGUID="c91a3534-d8f3-4047-973b-ab96394d97e8" CreationDate="2013-01-07T13:21:17.043" UserId="4442" Text="I would like to echo Tim's sentiment here. I watched nearly every sound feature on those movies, and easy would not come up in my description. In order to make Treebeard's voice more convincing, they built in enormous wouldn't baffle to worldize. They also built another huge structure to dangle logs from to make his walking sound. Whenever easy comes up in Sound design, it's really always thinking about it comparatively. Sort of like &quot;oh, that was easier than I thought it would be&quot;. With that being said, they do have a ton of features on the sound, check out on YouTube. I don't remember your sound coming up, but it may at least give you some insight into how they thought and approached things.&#xD;&#xA;&#xD;&#xA;Much luck in your search." ContentLicense="CC BY-SA 3.0" />
  <row Id="28394" PostHistoryTypeId="2" PostId="17583" RevisionGUID="cf3a81a0-9ae7-4e40-91fa-50b622c54b73" CreationDate="2013-01-07T15:30:29.800" UserId="5623" Text="We're recording a great deal of the sound for Johnathon Blow's upcoming game Witness on Angel Island in San Francisco Bay.  We were out there 4 times this year, and we may need another trip.  I've got thousands of ambiences and footsteps I've recorded in the last 15 years, and even though its all good...I wasn't happy with how they blended when going from one area to another or one footstep texture to another.  So, I had the idea of standardizing our recording technique and finding one general location get the sounds.  We've basically ended up turning Angel Island into our recording studio.  Our ambiences are recorded with a spaced omni pair of Sennheiser MKH 8040s and then we make quads in post ( I prefer this method to quads in the field) and for footsteps we use the MKH 8060 spaced about a meter from the feet.&#xD;&#xA;&#xD;&#xA;I'm not sure anyone will care about any of this other than sound nerds, so it fun to share!  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28395" PostHistoryTypeId="2" PostId="17584" RevisionGUID="bfc7d335-ff2e-4e66-b2d7-0d15c793fec8" CreationDate="2013-01-07T17:31:06.587" UserId="3179" Text="I think you'll get around more easily if you do this in something like Bidule or Usine. These patcher type of programs were pretty much made for this kind of stuff in the first place, but I believe there aren't many if any of these types of programs in PT's plug-in formats and thus may drive Pro Tools users to figure out this kind of &quot;workarounds&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="28396" PostHistoryTypeId="2" PostId="17585" RevisionGUID="a9dad029-c1dd-44e7-b344-0303c7fa773b" CreationDate="2013-01-07T23:34:26.337" UserId="3396" Text="Years ago (2002?) I worked on a special mix for a film called &quot;We Were Soldiers&quot;, I cut sound for an overhead speaker. Helicopters, bullet bys and the like. I think it only screened in one theater on a limited engagement. &#xD;&#xA;&#xD;&#xA;I don't really know what my point is but I wanted somebody to know that I (WE) DID IT FIRST!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28397" PostHistoryTypeId="2" PostId="17586" RevisionGUID="d64d336b-4abb-4a82-b92a-81f737eb6b32" CreationDate="2013-01-07T23:39:04.987" UserId="3396" Text="Late to the game ... sorry.&#xD;&#xA;&#xD;&#xA;I have never heard of a sound designer getting points ... ever, and I've been doing this for quite a while now." ContentLicense="CC BY-SA 3.0" />
  <row Id="28398" PostHistoryTypeId="2" PostId="17587" RevisionGUID="359cb867-c93a-4e1e-a91d-7416d03b99a0" CreationDate="2013-01-08T00:20:39.787" UserId="5624" Text="Have a search on YouTube for &quot;lord of the rings sound design&quot;. There is a behind the scenes video for each of the three films, specicifically regarding the sound. If I remember correctly, in one of them is a whole section about how they did the sound for the ring. They're great videos anyway, so watch them all!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28399" PostHistoryTypeId="2" PostId="17588" RevisionGUID="74aa6ced-3768-426e-9ef6-f002581c9c9d" CreationDate="2013-01-08T00:34:51.830" UserId="3245" Text="Making sounds for a cutesy iPad game for little kids learning to read. At one point there is a cartoon spider that runs across the top of the screen. The producer has requested a sound for this. I'm kind of at a loss. Any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28400" PostHistoryTypeId="1" PostId="17588" RevisionGUID="74aa6ced-3768-426e-9ef6-f002581c9c9d" CreationDate="2013-01-08T00:34:51.830" UserId="3245" Text="Cartoon spider feet -- Any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28401" PostHistoryTypeId="3" PostId="17588" RevisionGUID="74aa6ced-3768-426e-9ef6-f002581c9c9d" CreationDate="2013-01-08T00:34:51.830" UserId="3245" Text="&lt;gameaudio&gt;&lt;animals&gt;&lt;bug&gt;&lt;sound-effects&gt;&lt;creature&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28402" PostHistoryTypeId="2" PostId="17589" RevisionGUID="c05b2892-4c56-46d1-b503-c19fbde643c0" CreationDate="2013-01-08T00:56:47.443" UserId="29" Text="Re-watch A Bug's Life for tons of ideas. If you can get the DVD, there's a whole track where it's SFX only: No dialogue, no music. Full of neat ideas there. Seem to remember that Ben Burtt used handcuff ratchets for the feet of the roach in Wall-E. Just some ideas of existing SFX to get you unblocked.&#xD;&#xA;&#xD;&#xA;Close-up, dainty, tight foley or SFX seem like they'd work well: Keeping footfalls short, truncated, short, like quiet IDM/electronic clips/hits/thwips. Just another thought.&#xD;&#xA;&#xD;&#xA;But, of course, it all depends if it's meant to be funny, creepy, silly, or a notification of some kind." ContentLicense="CC BY-SA 3.0" />
  <row Id="28403" PostHistoryTypeId="2" PostId="17590" RevisionGUID="01fa2df3-9143-4a76-9fc3-751d8d86dded" CreationDate="2013-01-08T01:55:37.780" UserId="5625" Text="This may be a vague question but I really want to get some formal education and a degree in the sound/audio world so I have been looking at some schools for it.&#xD;&#xA;&#xD;&#xA;Getting straight to the point, what is the difference between the education in Sound Design (in schools such as Savannah and others) and the education provided in the &quot;School of Audio Engineering&quot;. Reading through the descriptions of them, it seems pretty damn similar so I'm a little confused.&#xD;&#xA;&#xD;&#xA;I know Audio Engineering and Sound Design are completely different specializations but if you have attended these schools or have/could read the descriptions of their education and clarify this for me that would be tremendous help because their descriptions overlap in most if not all ways. Or is it just that both educations train you to be a &quot;jack of all sound/audio trades&quot; but one has an emphasis on audio engineering and the other emphasizes sound design?&#xD;&#xA;&#xD;&#xA;It would probably be best if I would also give you some information on my goals concerning this path. I am currently an electronic music producer with a high passion for sound design (the literal meaning, synthesizing sounds and manipulating them). I want to get some education to become a jack of all audio/sound trades to open my options and to further my skills. Designing sounds for linear visual media intrigues me as a possible career as does becoming a Sound Designer (your meaning) for film projects etc while also working on my own sound/audio/musical projects.&#xD;&#xA;&#xD;&#xA;Thanks for your time. &#xD;&#xA;- Arnar&#xD;&#xA;&#xD;&#xA;Here are the links:&#xD;&#xA;http://www.sae.edu/en-us/course/1840/Audio_Engineering&#xD;&#xA;http://www.scad.edu/sound-design/index.cfm" ContentLicense="CC BY-SA 3.0" />
  <row Id="28404" PostHistoryTypeId="1" PostId="17590" RevisionGUID="01fa2df3-9143-4a76-9fc3-751d8d86dded" CreationDate="2013-01-08T01:55:37.780" UserId="5625" Text="Sound design education vs &quot;School of Audio Engineering&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28405" PostHistoryTypeId="3" PostId="17590" RevisionGUID="01fa2df3-9143-4a76-9fc3-751d8d86dded" CreationDate="2013-01-08T01:55:37.780" UserId="5625" Text="&lt;design&gt;&lt;engineering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28406" PostHistoryTypeId="2" PostId="17591" RevisionGUID="77d00f87-83ae-40cf-8c88-f147ad533b67" CreationDate="2013-01-08T02:52:21.373" UserId="4442" Text="I might try a small (very) garden trow or small hand shovel in grass, time compressed and pitched up. Bugs usually get a &quot;skittery&quot; sound no matter what kind of feet they have. The time compressions will shorten it and make it a tiny tap. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28407" PostHistoryTypeId="2" PostId="17592" RevisionGUID="2158b7f5-6c16-4e4d-92ac-9de622230bd5" CreationDate="2013-01-08T03:44:41.333" UserId="4418" Text="Tascam Dr100mk2 Cheaper and better pre's. Though no 4 chan recording. Also, better build and longer battery.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28408" PostHistoryTypeId="2" PostId="17593" RevisionGUID="17818e8d-56e9-4bc9-9c5a-0922b361e718" CreationDate="2013-01-08T03:50:18.500" UserId="4418" Text="8 Inch is nice though at 3-5ft you'll never realize the bass extension of such woofers. Not until you get about 6-8 feet away do you begin to hear the sub 80hz range. For a room that size you might look at 6 inch drivers with a .1 (sub) -- however, how will you be running these, off soundcard, monitor controller?&#xD;&#xA;&#xD;&#xA;I actually like the mackie big knob very much, offers multiple inputs and putputs and also room for a sub. In this scenario you connect the speakers to the main output, the sub to the other and also if you have some, add some computer speakers so you can A-B the sound. Cheap vs. professional. Also, you can connect many sources, like a computer line out and also TV out. And the large volume knob is also great.&#xD;&#xA;&#xD;&#xA;on a side note. KRK makes a controller too. a small 2 channel one with input for sub too. I think it even does some room correction too." ContentLicense="CC BY-SA 3.0" />
  <row Id="28409" PostHistoryTypeId="2" PostId="17594" RevisionGUID="8b7668e5-a3c7-47c2-936a-f695cae90b5e" CreationDate="2013-01-08T11:25:24.243" UserId="3179" Text="&quot;I know Audio Engineering and Sound Design are completely different specializations&quot;&#xD;&#xA;&#xD;&#xA;In practice maybe, but not that much in technical skillsets. Both of them record, edit audio digitally, treat audio and mix. The actual specialization will become of what you actually work on, not of the education. Of course courses have differences in course content, and you should review the courses on a course basis, so you know what you're getting, but those two you linked could be very similar. I think the biggest general division in education in the audio arts is between formal music composition and musician courses and all the &quot;audio engineering/music technology/recording arts/sound design&quot; type courses, but even in those cases there's often some cross-breeding.&#xD;&#xA;&#xD;&#xA;But I emphasize that if you're stuck with job titles, those will come of what you work on (i.e. what describes your role or even just personal focus best), not what you did a course in." ContentLicense="CC BY-SA 3.0" />
  <row Id="28410" PostHistoryTypeId="2" PostId="17595" RevisionGUID="4f9444d6-8f8d-4268-bbe1-dfba71ff8ab6" CreationDate="2013-01-08T11:25:34.103" UserId="6600" Text="You could maybe try dropping small pasta shells or tapping your nails on a hard surface. If it's a cutesy kids thing I imagine something like a xylophone run would help soften the mood as the spider runs past as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="28411" PostHistoryTypeId="5" PostId="17594" RevisionGUID="149d1df2-73fb-4763-afe5-fcf0c1ecfe48" CreationDate="2013-01-08T11:32:51.680" UserId="3179" Comment="added 398 characters in body; deleted 23 characters in body; deleted 98 characters in body; added 77 characters in body" Text="&quot;I know Audio Engineering and Sound Design are completely different specializations&quot;&#xD;&#xA;&#xD;&#xA;In practice maybe, but not that much in technical skillsets. Both of them record, edit audio digitally, treat audio and mix. The actual specialization will become of what you actually work on, not of the education. Of course courses have differences in course content, and you should review the courses on a course basis, so you know what you're getting, but those two you linked could be very similar. I think the biggest general division in education in the audio arts is between formal music composition and musician courses and all the &quot;audio engineering/music technology/recording arts/sound design&quot; type courses, but even in those cases there's often some cross-breeding. The difference may come also in whether there's some aspect to producing sound for other media (film, tv, radio, video games...), instead of producing pure sound/music. But I think most courses have integrated the &quot;other media&quot; aspect as that's where the most jobs tend to be and it's a totally relevant and important subfield for &quot;sound communication&quot;.&#xD;&#xA;&#xD;&#xA;But I emphasize that if you're stuck with job titles, those will come of what you work on (i.e. what describes your role or even just personal focus best), not what you did a course in." ContentLicense="CC BY-SA 3.0" />
  <row Id="28412" PostHistoryTypeId="5" PostId="17594" RevisionGUID="202f672d-d78a-47c8-8f3a-a9a1ce2f0d48" CreationDate="2013-01-08T12:17:17.733" UserId="3179" Comment="added 216 characters in body" Text="&quot;I know Audio Engineering and Sound Design are completely different specializations&quot;&#xD;&#xA;&#xD;&#xA;In practice maybe, but not that much in technical skillsets. Both of them record, edit audio digitally, treat audio and mix. The actual specialization will become of what you actually work on, not of the education. Of course courses have differences in course content, and you should review the courses on a course basis, so you know what you're getting, but those two you linked could be very similar. I think the biggest general division in education in the audio arts is between formal music composition and musician courses and all the &quot;audio engineering/music technology/recording arts/sound design&quot; type courses, but even in those cases there's often some cross-breeding. The difference may come also in whether there's some aspect to producing sound for other media (film, tv, radio, video games...), instead of producing pure sound/music. But I think most courses have integrated the &quot;other media&quot; aspect as that's where the most jobs tend to be and it's a totally relevant and important subfield for &quot;sound communication&quot;.&#xD;&#xA;&#xD;&#xA;But I emphasize that if you're stuck with job titles, those will come of what you work on (i.e. what describes your role or even just personal focus best), not what you did a course in. And remember that schools do business, some of the titles as well as course names and descriptions that they throw may well be read as &quot;buzzwords&quot;, unless you really dig into the specific differences in the content." ContentLicense="CC BY-SA 3.0" />
  <row Id="28413" PostHistoryTypeId="5" PostId="17594" RevisionGUID="b4a3a0d6-3d16-462e-ad7a-95d29252d5e5" CreationDate="2013-01-08T15:01:31.340" UserId="3179" Comment="added 253 characters in body; added 133 characters in body" Text="&quot;I know Audio Engineering and Sound Design are completely different specializations&quot;&#xD;&#xA;&#xD;&#xA;In practice maybe, but not that much in technical skillsets. Both of them record, edit audio digitally, treat audio and mix. The actual specialization will become of what you actually work on, not of the education. Of course courses have differences in course content, and you should review the courses on a course basis, so you know what you're getting, but those two you linked could be very similar. I think the biggest general division in education in the audio arts is between formal music composition and musician courses and all the &quot;audio engineering/music technology/recording arts/sound design&quot; type courses, but even in those cases there's often some cross-breeding. The difference may come also in whether there's some aspect to producing sound for other media (film, tv, radio, video games...), instead of producing pure sound/music. But I think most courses have integrated the &quot;other media&quot; aspect as that's where the most jobs tend to be and it's a totally relevant and important subfield for &quot;sound communication&quot;.&#xD;&#xA;&#xD;&#xA;But I emphasize that if you're stuck with job titles, those will come of what you work on (i.e. what describes your role or even just personal focus best), not what you did a course in. And remember that schools do business, some of the titles as well as course names and descriptions that they throw may well be read as &quot;buzzwords&quot;, unless you really dig into the specific differences in the content.&#xD;&#xA;&#xD;&#xA;And keep in mind what you're going to do in the end and focus on practicing that. The degree and (most) parts of the studies don't equal the job that you'll be doing, which in most cases is entirely practical topped up with client and colleague relationships and administrative tasks. The &quot;extra&quot; studies are there to provide some &quot;depth&quot; for your thinking, or that's what they say." ContentLicense="CC BY-SA 3.0" />
  <row Id="28414" PostHistoryTypeId="5" PostId="17594" RevisionGUID="d0621675-ce16-4f9f-a124-a865767e5273" CreationDate="2013-01-08T15:06:51.473" UserId="3179" Comment="deleted 33 characters in body" Text="&quot;I know Audio Engineering and Sound Design are completely different specializations&quot;&#xD;&#xA;&#xD;&#xA;In practice maybe, but not that much in technical skillsets. Both of them record, edit audio digitally, treat audio and mix. The actual specialization will become of what you actually work on, not of the education. Of course courses have differences in course content, and you should review the courses on a course basis, so you know what you're getting, but those two you linked could be very similar. I think the biggest general division in education in the audio arts is between formal music composition and musician courses and all the &quot;audio engineering/music technology/recording arts/sound design&quot; type courses, but even in those cases there's often some cross-breeding. The difference may come also in whether there's some aspect to producing sound for other media (film, tv, radio, video games...), instead of producing pure sound/music. But I think most courses have integrated the &quot;other media&quot; aspect as that's where the most jobs tend to be and it's a totally relevant and important subfield for &quot;sound communication&quot;.&#xD;&#xA;&#xD;&#xA;But I emphasize that if you're stuck with job titles, those will come of what you work on (i.e. what describes your role or even just personal focus best), not what you did a course in. And remember that schools do business, some of the titles as well as course names and descriptions that they throw may well be read as &quot;buzzwords&quot;, unless you really dig into the specific differences in the content.&#xD;&#xA;&#xD;&#xA;And keep in mind what you're going to do in the end and focus on practicing that. The degree and (most) parts of the studies don't equal the job that you'll be doing or the real working situation that you'd be working in. The actual work in most cases is entirely practical topped up with client and colleague relationships and administrative tasks." ContentLicense="CC BY-SA 3.0" />
  <row Id="28415" PostHistoryTypeId="2" PostId="17596" RevisionGUID="ef8be299-805b-445b-a15f-8cebecd7e4a4" CreationDate="2013-01-08T17:07:12.310" UserId="3649" Text="Dude, just record yourself in a foley room. &#xD;&#xA;&#xD;&#xA;Footsteps on concrete blocks, metallic surfaces etc or just any surface that a warehouse would include and then add an IR reverb of a warehouse and you are good to go." ContentLicense="CC BY-SA 3.0" />
  <row Id="28416" PostHistoryTypeId="2" PostId="17597" RevisionGUID="c5f0bcb3-6c9e-46ec-ade8-139f0344e8b6" CreationDate="2013-01-08T17:35:23.110" UserId="6460" Text="In addition to the great info Internet Human provided, it's worth mentioning that as an electronic music producer you are off to a good start. Designing sounds from scratch is a very strong practical skill to have as a sound designer, even if not for every project. &#xD;&#xA;&#xD;&#xA;I think you're right to look for a program that teaches sound design/audio engineering, but instead of focusing just on the classes I would highly recommend looking for a program that will provide you the time and the opportunity to freely collaborate with your fellow students. I got my college degree in music technology and I can easily say that I learned 75% of my skills from extra-curricular collaborations and the other 25% from my classes. I'm in a master's program now so the classes are a bit more challenging and specialized, but to a certain extent the same relationship still applies. &#xD;&#xA;&#xD;&#xA;It's good to focus on technical knowledge to a certain extent, as computers and sound technology provide the medium through which you work—however, the MOST important skill you can possibly learn as a collaborator of any kind is &lt;b&gt; good communication &lt;/b&gt;. This is especially true as a sound designer, as many of the people you will collaborate with are far from trained in the arts and processes of sound design. Knowing how to translate a director's [sometimes extremely vague] vision into your to-do list for the day is vital to having a healthy career. It's very hard to teach such an individual skill in a class... it can only come from experience with building your own personal workflow. &#xD;&#xA;&#xD;&#xA;Truthfully, you can learn the technology along the way. Remember, technology changes so quickly that 4 years from now we will all likely be using different computers and software (on OSX 10.14, mountain lynx). So really, we are all constantly *learning* the technology, but what stays with us is our creative approach and methodology to using it. Watch others work; read books; read forums like this one; watch videos on [www.soundworkscollection.com][1]; watch a lot of movies, and not just the ones that are in theaters now; buy a [field recorder][2], gather sounds, and start playing with them in your workstation. You'll learn a ton by just getting your hands dirty.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;All the best,&lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundworkscollection.com&#xD;&#xA;  [2]: http://www.sweetwater.com/c1006--Portable_Recorders" ContentLicense="CC BY-SA 3.0" />
  <row Id="28417" PostHistoryTypeId="2" PostId="17598" RevisionGUID="b689cd3d-6081-4727-9e21-24638846646e" CreationDate="2013-01-08T17:53:52.880" UserId="4117" Text="SAE from my experience there, they teach very little to no Sound Design.  There are cheesy instructors who have jobs there and maybe one or two will take the time to critique your work.  Mostly you have the opportunity to learn a little bit of everything about A. Engineering and recording.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="28418" PostHistoryTypeId="2" PostId="17599" RevisionGUID="bda52868-7d9f-4ed0-bfec-84a5f688c64f" CreationDate="2013-01-08T18:34:53.520" UserId="5628" Text="Hi,&#xD;&#xA;I'm fairly new to FX recording and I'm looking for a good mic for excellent quality recordings.  I've done a decent amount of research and have narrowed it down to the Schoeps CMC6-u Mk41 or Schoeps CMIT 5u both for price and quality.  The only negatives I've found are the humidity issues which for my purposes won't really apply since I'm doing mainly indoor recording. Can anyone comment on either of these mics for FX recording?  The CMC6-u seems to be more versatile which as a musician is another plus.  Any reason to choose the CMIT?  Thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="28419" PostHistoryTypeId="1" PostId="17599" RevisionGUID="bda52868-7d9f-4ed0-bfec-84a5f688c64f" CreationDate="2013-01-08T18:34:53.520" UserId="5628" Text="Schoeps CMC6-u Mk41 or Schoeps CMIT 5u for FX recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="28420" PostHistoryTypeId="3" PostId="17599" RevisionGUID="bda52868-7d9f-4ed0-bfec-84a5f688c64f" CreationDate="2013-01-08T18:34:53.520" UserId="5628" Text="&lt;schoeps&gt;&lt;sfx&gt;&lt;shotgun&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28421" PostHistoryTypeId="2" PostId="17600" RevisionGUID="60e319e1-0109-4ee5-82ae-5cfd13317a94" CreationDate="2013-01-08T18:49:47.950" UserId="517" Text="An advantage of the MK41 is the ability to upgrade to an MS stereo setup by adding the MK8 to your rig. You can definitely do that with the CMIT5 as well, but its pickup pattern is narrower, so it may not work as well for an MS rig. If unwanted background noise is an issue with your FX recording, the the CMIT5 may be your best choice because of its increased directionality. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28422" PostHistoryTypeId="2" PostId="17601" RevisionGUID="0af6f28f-695b-441c-996f-ba4f840b1402" CreationDate="2013-01-08T19:15:26.367" UserId="18" Text="If I could only have one mic for FX, I don't think I'd want it to be a shotgun.  Shotguns are great, but not for an all-purpose mic.  I'd much rather go with an MK4 or MK41.  The humidity issues on Schoeps mics are way over-hyped.  I doubt you'd have any problems except in the most extreme of conditions, at least based on reports I've heard from Schoeps owners. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28426" PostHistoryTypeId="2" PostId="17603" RevisionGUID="e2a0b6af-f44c-48a2-811b-693dfc4b6a97" CreationDate="2013-01-08T20:19:04.470" UserId="432" Text="I'll start by saying, &quot;+1 to Chuck's comments.&quot; Shotguns are great (the CMIT in particular...off-axis coloration is non-existent), but not the best polar pattern for versatility.&#xD;&#xA;&#xD;&#xA;Shotguns are designed for use over a distance. Close miking tends to be the best way to capture clean recordings (high source to ambient ratios), but it's typically a bad idea with shotguns. If there's any possibility that your sound source is going to move, you need to pull a shotgun back a little to make sure you don't get unwanted attenuation of the source should it begin to exit the pickup angle. That means you're allowing more &quot;space&quot; for noise/unwanted ambient sounds to get into your recording (lowering the source to ambient ratio). A cardioid or hyper-cardioid can be placed closer to the source with less fear.&#xD;&#xA;&#xD;&#xA;I know people who use omni-directional mics, ridiculously close to a sound source, to great effect. It's all in the placement. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28427" PostHistoryTypeId="2" PostId="17604" RevisionGUID="9ffb1bdb-5a4c-4033-8b42-c9dc2a5a3028" CreationDate="2013-01-08T21:12:41.137" UserId="5630" Text="Trying to record a ticking sound of watch. Using a piezo contact mic. Want to learn how I can decide what preamp to use and how to match impedance. Any help would be appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="28428" PostHistoryTypeId="1" PostId="17604" RevisionGUID="9ffb1bdb-5a4c-4033-8b42-c9dc2a5a3028" CreationDate="2013-01-08T21:12:41.137" UserId="5630" Text="Contact mic recording a watch ticking with Arduino" ContentLicense="CC BY-SA 3.0" />
  <row Id="28429" PostHistoryTypeId="3" PostId="17604" RevisionGUID="9ffb1bdb-5a4c-4033-8b42-c9dc2a5a3028" CreationDate="2013-01-08T21:12:41.137" UserId="5630" Text="&lt;arduino&gt;&lt;contact&gt;&lt;contact-mic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28430" PostHistoryTypeId="2" PostId="17605" RevisionGUID="bb0daf41-2a58-4df7-9c4d-dea1d464db75" CreationDate="2013-01-08T21:13:03.977" UserId="5631" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;I will be very thankful for any advice concerning the bellow-&#xD;&#xA;&#xD;&#xA;I am willing to create funny/cartoon sound fx (later to be sold as stock sound fx) using a software only, so no external recording is involved.&#xD;&#xA;&#xD;&#xA;I am looking for a software that enables such a task, maybe a synth software or or any good alternative that might be helpful.&#xD;&#xA;&#xD;&#xA;I will be thankful to know about some good and affordable options.&#xD;&#xA;&#xD;&#xA;Thank you in advanced for the help.&#xD;&#xA;&#xD;&#xA;Kind regards." ContentLicense="CC BY-SA 3.0" />
  <row Id="28431" PostHistoryTypeId="1" PostId="17605" RevisionGUID="bb0daf41-2a58-4df7-9c4d-dea1d464db75" CreationDate="2013-01-08T21:13:03.977" UserId="5631" Text="creating sound fx via a software only-any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28432" PostHistoryTypeId="3" PostId="17605" RevisionGUID="bb0daf41-2a58-4df7-9c4d-dea1d464db75" CreationDate="2013-01-08T21:13:03.977" UserId="5631" Text="&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28433" PostHistoryTypeId="2" PostId="17606" RevisionGUID="70dd5717-ecee-407a-8e65-6ffd40f5c9c3" CreationDate="2013-01-08T21:41:30.770" UserId="3179" Text="Not going to work.&#xD;&#xA;&#xD;&#xA;Most/all of the great cartoon FX are made with inventive physical sound making devices and instruments. See for example: http://www.youtube.com/watch?feature=player_detailpage&amp;v=TSf8Er2gV_Q#t=265s for inspiration.&#xD;&#xA;&#xD;&#xA;And if you're sampling and repackaging, you'd be violating copyrights." ContentLicense="CC BY-SA 3.0" />
  <row Id="28434" PostHistoryTypeId="2" PostId="17607" RevisionGUID="b8d317e5-7137-4e8c-983b-267cdd636237" CreationDate="2013-01-08T21:46:08.267" UserId="3835" Text="I create a lot of Sound Designs and music using nothing but white noise. I take very small sections of the audio (5-200ms) and loop it in a sampler to create a wavetable oscillator. That gives you your basic synthesizer for you to then envelope, filter, modulate etc. Then it's all about your processing chain.. I tend to granulate a lot of audio and use spectral gates, both of which can be achieved using the range of plugs created by Micheal Norris..&#xD;&#xA;&#xD;&#xA;http://www.michaelnorris.info/software/soundmagic-spectral.html&#xD;&#xA;&#xD;&#xA;(They're free)&#xD;&#xA;&#xD;&#xA;For comical sound FX you want to play with Pitch a lot.. I recommend any good sampler (Kontact, Alchemy) Also, experiment with some delay modulation in Logic's Tape Delay or Artificial Audio's Plug 'Quartz'&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28435" PostHistoryTypeId="2" PostId="17608" RevisionGUID="0db9cbb7-076a-4a2b-b91e-880a1a8a84fb" CreationDate="2013-01-08T22:15:03.770" UserId="1216" Text="Hi and welcome!&#xD;&#xA;&#xD;&#xA;Check out Tim Prebble's blogpost on contact mic's:&#xD;&#xA;http://www.musicofsound.co.nz/blog/the-first-rule-of-contact-mic-club&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="28436" PostHistoryTypeId="2" PostId="17609" RevisionGUID="8abd39e9-6b4f-4adc-b63f-df0097b2d7b7" CreationDate="2013-01-09T01:01:51.483" UserId="769" Text="Really liked the brief silent section in Berberian Sound Studio, just out." ContentLicense="CC BY-SA 3.0" />
  <row Id="28437" PostHistoryTypeId="16" PostId="17609" RevisionGUID="8abd39e9-6b4f-4adc-b63f-df0097b2d7b7" CreationDate="2013-01-09T01:01:51.483" UserId="-1" />
  <row Id="28438" PostHistoryTypeId="2" PostId="17610" RevisionGUID="926bc749-35c5-44ad-b1cc-b1d70bec7995" CreationDate="2013-01-09T03:17:18.007" UserId="5633" Text="Many thanks for the info:-)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28441" PostHistoryTypeId="2" PostId="17612" RevisionGUID="e39b1024-ef22-46a3-ab55-087022c0edea" CreationDate="2013-01-09T13:10:27.003" UserId="589" Text="Hello,&#xD;&#xA;&#xD;&#xA;does anyone here know how to simulate a long swinging of a blade? You know that high pitched sound you get when you have hit a metal. It does not seem to be a simple sinus tone. There seems to be some kind of modulation going on.  &#xD;&#xA;&#xD;&#xA;Thanks! &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28442" PostHistoryTypeId="1" PostId="17612" RevisionGUID="e39b1024-ef22-46a3-ab55-087022c0edea" CreationDate="2013-01-09T13:10:27.003" UserId="589" Text="Swinging of a blade" ContentLicense="CC BY-SA 3.0" />
  <row Id="28443" PostHistoryTypeId="3" PostId="17612" RevisionGUID="e39b1024-ef22-46a3-ab55-087022c0edea" CreationDate="2013-01-09T13:10:27.003" UserId="589" Text="&lt;metal&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28444" PostHistoryTypeId="2" PostId="17613" RevisionGUID="ba09c56a-cb4b-4c61-ae5b-45c28ca7ef59" CreationDate="2013-01-09T15:00:25.987" UserId="125" Text="i almost forgot&#xD;&#xA;&#xD;&#xA;https://www.dropbox.com/s/qrnvm81g1txtln3/Motel.mp4" ContentLicense="CC BY-SA 3.0" />
  <row Id="28445" PostHistoryTypeId="2" PostId="17614" RevisionGUID="9884e0ce-29bf-4775-9488-a1433238ad14" CreationDate="2013-01-09T16:45:41.487" UserId="4442" Text="Do you mean the swish or the actual clang? For the clang after a hit you might try a fast vibrato that slows down? not sure without knowing which part you're talking about." ContentLicense="CC BY-SA 3.0" />
  <row Id="28446" PostHistoryTypeId="2" PostId="17615" RevisionGUID="d8ff7b27-c8a0-491b-8a18-15fa5343ed8f" CreationDate="2013-01-09T16:48:29.240" UserId="393" Text="The best luck I've had for the high pitched sing is to hit a metal putty knife with a screwdriver, then cut out the attack and fade in.  As for the modulation, a slow tremolo that shifts frequency and not volume could work for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="28447" PostHistoryTypeId="2" PostId="17616" RevisionGUID="d3cd4577-33a2-49b8-ba95-810a4428eb36" CreationDate="2013-01-09T16:51:22.137" UserId="393" Text="Take an Unbreakable plastic comb (for your hair), bend the tines back with your thumb, and let them pop up one by one." ContentLicense="CC BY-SA 3.0" />
  <row Id="28448" PostHistoryTypeId="2" PostId="17617" RevisionGUID="d0c2558f-975a-4fce-b331-1683cc957299" CreationDate="2013-01-09T17:54:25.430" UserId="3520" Text="Another idea...  I've used a baking sheet to achieve the unsheathing, singing blade effect.  Pull it off of a counter, dragging it down across the 90 degree edge of the counter top.  Do various takes at different intensities, with your hands positioned differently, and, depending on the baking sheet itself, with some practice you can actually get that thing to sing for you.  If nothing else, you'll have a great source to start with that you could then begin processing." ContentLicense="CC BY-SA 3.0" />
  <row Id="28449" PostHistoryTypeId="2" PostId="17618" RevisionGUID="5823daf1-1cbf-4b16-9d20-cae43b26b912" CreationDate="2013-01-09T18:54:51.967" UserId="6411" Text="It sounds like you're looking for the metal ring off of the sword after it is unsheathed. It's usually performed as foley, but can be sweetened with some library effects.&#xD;&#xA;&#xD;&#xA;Basically you'll need two pieces of metal, the first is long and dense enough to give you the length and heft of the scrape you're looking for. The second is smaller in order to achieve that higher frequency. You want something that is easy to handle, yet large enough to ring loud and long. &#xD;&#xA;&#xD;&#xA;Check out [this video on Gary Becker][1]. At around :30, and again @ 3:10 he performs exactly the sound I *think* you're looking for.&#xD;&#xA;&#xD;&#xA;You'll see that he has an actual sword, this contributes to the length and heft of the scrape (an actual sword isn't necessary, I've used wrought iron, angle iron, scrap metal,  etc. again you want about 1m long and dense). And a kitchen spatula, (small, light, highly resonant) that he scrapes along the sword's edge and points towards the mic. &#xD;&#xA;&#xD;&#xA;Try short aggressive scrapes, long fluid scrapes, whatever is appropriate. You can then wave the spatula around to modulate the ring according to picture.&#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/videos/garyhecker" ContentLicense="CC BY-SA 3.0" />
  <row Id="28450" PostHistoryTypeId="2" PostId="17619" RevisionGUID="7979e4c3-b362-4896-b2d1-8fb5ad9ca143" CreationDate="2013-01-09T20:54:22.200" UserId="4442" Text="Ok, so the singing part. If you have a knife block, you can get part of the unsheathing sound by pulling out of that if performed correctly. Layer that with a butcher knife along the back of something like a baking sheet mentioned above. You can try pots and pans, but thicker pots and pans will not resonate and you will not get a long sing. Don't forget you can compress the sing to hell to get some sustain out of it." ContentLicense="CC BY-SA 3.0" />
  <row Id="28451" PostHistoryTypeId="2" PostId="17620" RevisionGUID="c5570bbb-372c-4130-9e20-9e091b66f212" CreationDate="2013-01-09T21:17:48.557" UserDisplayName="user49" Text="For THE WARRIORS WAY I mostly used a Tibetan singing bowl and a pair of those small Tibetan Timsha bells - the latter are very interesting as you can set up beating between the two bells and they are easy to move and perform dopplers, which is far more complex and controllable in the real world than via plugins....&#xD;&#xA;&#xD;&#xA;See this video for how you excite/create continuous tones from a singing bowl:&#xD;&#xA;http://www.youtube.com/watch?v=Bpw53tN6h8E&#xD;&#xA;&#xD;&#xA;&amp; the pair of Timsha Bells:&#xD;&#xA;http://www.youtube.com/watch?v=1UDdyG7iB4o&#xD;&#xA;&#xD;&#xA;Also worth trying spectral based time expansion with these as the beating is hypnotic when the rhythm is slowed down but pitch remains the same....&#xD;&#xA;&#xD;&#xA;We also got some spring steel swords from WETA and suspended them on string &amp; hit them - they resonated like crazy but the dopplers from them was very useful too" ContentLicense="CC BY-SA 3.0" />
  <row Id="28452" PostHistoryTypeId="5" PostId="10506" RevisionGUID="4cd2eed0-c47a-45df-920f-6291ccc5e4a9" CreationDate="2013-01-09T22:51:23.307" UserId="6604" Comment="updated status" Text="Working as dubbing/ADR, mixing engineer and dubbing supervisor at Prime Focus in Mumbai, India  &#xD;&#xA;&#xD;&#xA;Earlier worked as a Dubbing, Mixing, Foley, Asst. Music Recording Engg in a mid-size company in Mumbai working mostly on tv projects. Graduate d from SAE, Chennai. Avid gamer and films enthusiast and sound designer in  free time.&#xD;&#xA;&#xD;&#xA;Fluent in Protools 10 HD with ICON &amp; Nuendo 4. &#xD;&#xA;Working since 2 years" ContentLicense="CC BY-SA 3.0" />
  <row Id="28453" PostHistoryTypeId="2" PostId="17621" RevisionGUID="baf45e24-d15c-4ce3-90aa-8c5fd7bc5adb" CreationDate="2013-01-09T23:13:59.033" UserId="6604" Text="Hi &#xD;&#xA;&#xD;&#xA;Recently my boss asked gave me an Innkeeper4 and asked me to figure out a way to setup remote audio monitoring for Disney producers sitting in their office and directing the voice artist and engineer who are in a studio miles away, with a Protools 10 HD setup.&#xD;&#xA;&#xD;&#xA;I was amazed by the capabilities of Innkeeper 4 and i was on the verge of pulling my hair out with frustration due to the complexity of the routing (and frustratingly the setup would work in 1 studio, but not in another main studio) so that the producers could here the artist on mic, engineer through talkback and also speak to the artist and engineer over the phone line, connected to Innkeeper and Protools 10 HD and also explaining the routings to another engineer who would be the actual recordist. Finally after a demo, the producers liked the voice quality they were hearing.&#xD;&#xA;&#xD;&#xA;This led me to think, is it possible to record remotely as well? I recently saw a video of George Lucas sitting with his Supervising sound editor for Starwars, in a studio, watching a movie clip, which was running in sync with the same file being played in a studio in Australia, where the ADR was taking place...though they were remotely monitoring as well, sending just the sync timecode to the other studio via internet or phone line, is it possible to remotely operate a protools machine as well, like using Teamviewer or Remote Desktop?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28454" PostHistoryTypeId="1" PostId="17621" RevisionGUID="baf45e24-d15c-4ce3-90aa-8c5fd7bc5adb" CreationDate="2013-01-09T23:13:59.033" UserId="6604" Text="Remote recording in studios?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28455" PostHistoryTypeId="3" PostId="17621" RevisionGUID="baf45e24-d15c-4ce3-90aa-8c5fd7bc5adb" CreationDate="2013-01-09T23:13:59.033" UserId="6604" Text="&lt;remote&gt;&lt;monitoring&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28456" PostHistoryTypeId="2" PostId="17622" RevisionGUID="d6170361-226c-4e43-b558-bf4053138341" CreationDate="2013-01-09T23:35:06.413" UserId="362" Text="Are there any free alternatives to Sound Miner out there?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28457" PostHistoryTypeId="1" PostId="17622" RevisionGUID="d6170361-226c-4e43-b558-bf4053138341" CreationDate="2013-01-09T23:35:06.413" UserId="362" Text="Free OSX Sound Database programs" ContentLicense="CC BY-SA 3.0" />
  <row Id="28458" PostHistoryTypeId="3" PostId="17622" RevisionGUID="d6170361-226c-4e43-b558-bf4053138341" CreationDate="2013-01-09T23:35:06.413" UserId="362" Text="&lt;soundminer&gt;&lt;metadata&gt;&lt;database&gt;&lt;freeware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28459" PostHistoryTypeId="2" PostId="17623" RevisionGUID="48298e4f-be2a-404b-a95d-cdf8c518b661" CreationDate="2013-01-09T23:48:35.937" UserId="194" Text="you can use the finder and spotlight to do a lot of databasing.  &#xD;&#xA;&#xD;&#xA;The idea would be to put your metadata in the spotlight comment window - which spotlight can read in its searches.  There are automator scripts out there that can take metadata from spreadsheets and embed them into the spotlight notes fields as a batch process.&#xD;&#xA;&#xD;&#xA;If you search for photographer automator actions, you'll find a lot of automater based solutions that the photography community has come up with.&#xD;&#xA;&#xD;&#xA;its pretty powerful.&#xD;&#xA;&#xD;&#xA;here's a link:&#xD;&#xA;http://apple.stackexchange.com/questions/46614/adding-tags-to-files-in-os-x-how-to-use-where-are-tags-stored-and-will-they-w" ContentLicense="CC BY-SA 3.0" />
  <row Id="28460" PostHistoryTypeId="5" PostId="17623" RevisionGUID="33619255-73d0-489a-9afe-68cc46be26f6" CreationDate="2013-01-09T23:55:36.997" UserId="194" Comment="added 188 characters in body; added 128 characters in body" Text="you can use the finder and spotlight to do a lot of databasing.  &#xD;&#xA;&#xD;&#xA;The idea would be to put your metadata in the spotlight comment window - which spotlight can read in its searches.  There are automator scripts out there that can take metadata from spreadsheets and embed them into the spotlight comment fields as a batch process.  I'd imagine you can get good results using waveagent to read the bwav description and moving metadata over that way as well.&#xD;&#xA;&#xD;&#xA;If you search for photographer automator actions, you'll find a lot of automater based solutions that the photography community has come up with.&#xD;&#xA;&#xD;&#xA;its pretty powerful.&#xD;&#xA;&#xD;&#xA;here's a link:&#xD;&#xA;http://apple.stackexchange.com/questions/46614/adding-tags-to-files-in-os-x-how-to-use-where-are-tags-stored-and-will-they-w&#xD;&#xA;&#xD;&#xA;deep in that first link is a link to this page, which has 7 file tagging applications for ya.&#xD;&#xA;http://mac.appstorm.net/roundups/utilities-roundups/7-file-tagging-applications-for-os-x/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28461" PostHistoryTypeId="2" PostId="17624" RevisionGUID="08bc9399-46a8-4fd7-ad4a-613d74ecd715" CreationDate="2013-01-10T01:00:13.093" UserId="2906" Text="http://www.superflashbros.net/as3sfxr/ for more 8-bit-sound-like sfx, if it helps... it's free :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28462" PostHistoryTypeId="2" PostId="17625" RevisionGUID="cdccde2e-b2a8-421d-a54e-61a22d8a5621" CreationDate="2013-01-10T01:08:27.297" UserId="362" Text="I'm a theatrical sound designer from Brooklyn, NY. [http://www.jeremyb.com][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jeremyb.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="28463" PostHistoryTypeId="16" PostId="17625" RevisionGUID="cdccde2e-b2a8-421d-a54e-61a22d8a5621" CreationDate="2013-01-10T01:08:27.297" UserId="-1" />
  <row Id="28464" PostHistoryTypeId="2" PostId="17626" RevisionGUID="c52d3ef2-5ad4-47fe-a92b-0fd38c44f4cc" CreationDate="2013-01-10T01:18:05.893" UserId="5635" Text="Hey I'm having some issues in trying to find books on using a vocoder which blows. Found plenty of books on sound design and synthesis so I can't understand why I can't find books vocoders. Somebody please help!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28465" PostHistoryTypeId="1" PostId="17626" RevisionGUID="c52d3ef2-5ad4-47fe-a92b-0fd38c44f4cc" CreationDate="2013-01-10T01:18:05.893" UserId="5635" Text="I'm looking for some good books on using a vocoder" ContentLicense="CC BY-SA 3.0" />
  <row Id="28466" PostHistoryTypeId="3" PostId="17626" RevisionGUID="c52d3ef2-5ad4-47fe-a92b-0fd38c44f4cc" CreationDate="2013-01-10T01:18:05.893" UserId="5635" Text="&lt;vocoder&gt;&lt;synthesis&gt;&lt;books&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28467" PostHistoryTypeId="2" PostId="17627" RevisionGUID="c59fc5d2-f918-4e0b-8de3-b5b20a8ece20" CreationDate="2013-01-10T01:32:05.387" UserId="838" Text="Most &quot;audio&quot; schools are still focused on old school training (which is fine since I am old enough to have produced many records on 2&quot;tape) but don't train sound designers and or production skills in general. Take it with a grain of salt since I work here, but Pyramind (www.pyramind.com) is much more of a hands on production training facility. We have placed many people in film and more so the game world as sound designers and composers. The difference is we are large production company (halo for microsoft, disney, sony etc.) that happens to also have a training component. Most of our production staff teaches a bit so the learning is VERY real world. Like I said with a grain of salt since I am a senior producer here but look us up and see if it makes sense. I hear questions like this every day as it's tricky to find this kind of real world training. Regardless I hope you find something that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="28468" PostHistoryTypeId="2" PostId="17628" RevisionGUID="da07ddf8-9e7c-426a-ab01-25a9fef0ce26" CreationDate="2013-01-10T01:40:39.573" UserId="3179" Text="The specific manual of the vocoder that you're using.&#xD;&#xA;&#xD;&#xA;The overall idea of a vocoder is simple. In laymans terms:&#xD;&#xA;&#xD;&#xA;You have two audio inputs: the source and the modulator.&#xD;&#xA;&#xD;&#xA;The vocoder is a bunch of bandpass filters with envelope followers on each one of the filter bands. The envelope followers listen to the modulator input at each filter band, i.e. the gains of each filter band follow the constantly varying spectra of the modulator signal. The behavior and sensitivity of the envelope followers is usually adjustable and there may also be other parameters, like the count of the filter bands (higher count = clearer, smoother sound, lower count = cruder, synthetic sound).&#xD;&#xA;&#xD;&#xA;The source signal is fed through this filter array. It becomes out modulated or &quot;vocoded&quot; by the modulator that controls the filter array." ContentLicense="CC BY-SA 3.0" />
  <row Id="28469" PostHistoryTypeId="2" PostId="17629" RevisionGUID="b7faa5df-1bf8-4959-ae21-41c5a7abd5e8" CreationDate="2013-01-10T03:57:31.760" UserId="4100" Text="Hey Aura Chef not sure this can help you but here something i used once before. &#xD;&#xA;&#xD;&#xA;http://jackaudio.org or http://www.jackosx.com&#xD;&#xA;&#xD;&#xA;http://netjack.sourceforge.net&#xD;&#xA;&#xD;&#xA;https://ccrma.stanford.edu/software/openmixer/manual/using_netjack/netjack-under-osx&#xD;&#xA;&#xD;&#xA;There is also a max/msp object you can read about it here &lt;a href=&quot;http://www.nullmedium.de/dev/netsend~/&quot;&gt; here&lt;/a&gt;, maybe max 6 has it implemented.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28470" PostHistoryTypeId="5" PostId="17613" RevisionGUID="c4c4d5ec-52d3-447d-8e37-af79ac17bdbf" CreationDate="2013-01-10T05:29:57.220" UserId="125" Comment="deleted 9 characters in body" Text="i almost forgot&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=DhJtj24e22A" ContentLicense="CC BY-SA 3.0" />
  <row Id="28473" PostHistoryTypeId="2" PostId="17631" RevisionGUID="e40d7fbc-36a3-465c-bc72-eb1df5c3a6fc" CreationDate="2013-01-10T06:35:01.797" UserId="6435" Text="Perhaps Source-connect would help.&#xD;&#xA;&#xD;&#xA;http://source-elements.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28474" PostHistoryTypeId="2" PostId="17632" RevisionGUID="89285c53-9b67-47bf-b1b6-9974b13e0d3c" CreationDate="2013-01-10T09:30:26.133" UserId="61" Text="Social Sound Design has been a great resource to me over the years and I've gained a lot of knowledge from all of the people contributing. And in an effort to keep that momentum going I choose to post an answer to this question - with reservations.&#xD;&#xA;&#xD;&#xA;I do not like the title of this question. Nor do I like the grotesque escalation of violence in every form of media, especially lately in light of the latest round of mass killings in America (most notably the murder of a classroom full of kindergarten age children), it makes me sick to my stomach to think that watching people die on screen is considered &quot;entertainment&quot;. To be called upon by directors and producers to create the sounds of torture porn, murder and death for people to sit and watch strikes me as - absolutely wrong. But hey, who am I to argue? The public eats this crap up like biscuits and gravy.&#xD;&#xA;&#xD;&#xA;All that being said, I will offer up this piece of creative sound design advice, had I been put in your position of needing to create it: A chainsaw cutting through most any object will have a strain put on its motor, causing it to &quot;bog down&quot; temporarily. If you construct the chainsaw engine with this in mind you will probably lead the audience to think that the saw is really working hard to cut its way through. And people will most likely love that and tell all their friends how gross it was, and we will all continue to become desensitized to the violence around us." ContentLicense="CC BY-SA 3.0" />
  <row Id="28475" PostHistoryTypeId="2" PostId="17633" RevisionGUID="ac324bef-44d8-4f59-a15b-e461e2a65ab2" CreationDate="2013-01-10T09:41:08.423" UserId="1185" Text="It is not clear if you want a book on the theory/implementation of vocoding or if you want one that covers using a vocoder for sound design.  If you clarify this you will probably get more responses.&#xD;&#xA;&#xD;&#xA;[Designing Sound by Andy Farnell][1] covers both briefly.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Designing-Sound-Andy-Farnell/dp/0262014416/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1357810798&amp;sr=1-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="28476" PostHistoryTypeId="2" PostId="17634" RevisionGUID="acd8130f-c650-4a50-8bf7-9cdd8a107f57" CreationDate="2013-01-10T09:59:32.870" UserId="6432" Text="Hi Shane,&#xD;&#xA;&#xD;&#xA;Welcome to SSD.&#xD;&#xA;&#xD;&#xA;Probably many of those books have sections on vocoding. What level of information are you trying to find? Are you looking for info on basic use or do you already know the basics and are looking for more detailed info?&#xD;&#xA;&#xD;&#xA;For basic music tech information Sound on Sound is a good source for general, well written articles. Here's an example:&#xD;&#xA;&#xD;&#xA;[http://www.soundonsound.com/sos/jul00/articles/synthsec.htm][1]&#xD;&#xA;&#xD;&#xA;Searching around you should find plenty of these. SOS have written many more specific articles on using the vocoders bundled with most DAW's.&#xD;&#xA;&#xD;&#xA;Is this the sort of thing you're after? Beyond that it's vocoder design and build, how analog and digital vocoders work at component/DSP level. &#xD;&#xA;&#xD;&#xA;  [1]:  http://www.soundonsound.com/sos/jul00/articles/synthsec.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="28477" PostHistoryTypeId="2" PostId="17635" RevisionGUID="bb9a0537-6415-42d3-9be5-b0a37af21411" CreationDate="2013-01-10T10:42:20.617" UserId="62" Text="I bought AudioFinder for the meagre price of $70. It appears to do most of what SM does and is far far cheaper. I've found most useful and would happily recommend it." ContentLicense="CC BY-SA 3.0" />
  <row Id="28478" PostHistoryTypeId="2" PostId="17636" RevisionGUID="df797ff3-871f-4ee2-acc7-260c1e9310af" CreationDate="2013-01-10T10:47:24.100" UserId="958" Text="Well, rode has created the solution to this problem. &#xD;&#xA;&#xD;&#xA;The iXY iPhone/iPad microphone, with its own a/d converter can record at 96kHz/24bit, bypassing iOS's 48kHz/16bit limit.&#xD;&#xA;&#xD;&#xA;Great move from Rode. &#xD;&#xA;&#xD;&#xA;http://store.rodemic.com/products/ixy&#xD;&#xA;&#xD;&#xA;Not for iPhone 5 yet, however. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28479" PostHistoryTypeId="2" PostId="17637" RevisionGUID="11b5ca2e-4cd9-4b8c-a17b-0e615283b6f3" CreationDate="2013-01-10T13:12:27.000" UserId="6524" Text="I'll be honest I have this on my Mac but never really used it haha. Found it randomly thought I'd give it a try, it works. Now I just need figure out how to add metadata to my recordings.&#xD;&#xA;&#xD;&#xA;http://www.sound-ideas.com/metadigger-free-metadata-management-software.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="28480" PostHistoryTypeId="2" PostId="17638" RevisionGUID="a4ec5737-622e-4e69-99e2-0b71049ae35a" CreationDate="2013-01-10T13:59:32.750" UserId="208" Text="Hi group&#xD;&#xA;Any of you having experience, using the Rycote baby ball gags, instead of a full modular system?&#xD;&#xA;I can see the modular system being more protective of the mic, but other then that I dont know the pros and cons. Im curious about the effectiveness of the grommet on the baby ball gag.&#xD;&#xA;Thanks alot.&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="28481" PostHistoryTypeId="1" PostId="17638" RevisionGUID="a4ec5737-622e-4e69-99e2-0b71049ae35a" CreationDate="2013-01-10T13:59:32.750" UserId="208" Text="Rycote, baby ball gag or full modular system?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28482" PostHistoryTypeId="3" PostId="17638" RevisionGUID="a4ec5737-622e-4e69-99e2-0b71049ae35a" CreationDate="2013-01-10T13:59:32.750" UserId="208" Text="&lt;rycote&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28483" PostHistoryTypeId="2" PostId="17639" RevisionGUID="1ee3ab27-6c15-4b6d-854b-1110787f41b8" CreationDate="2013-01-10T17:19:32.263" UserId="29" Text="My BBG grommet is nice and tight. But, of course, because the BBG rubber grommets/openings are specific sizes, it's less flexible than a modular system. However, having both is great. I use the BBG when I want to put a mic somewhere unusual where a larger Rycote windscreen just wouldn't make sense, like strapping it to vehicles. As long as the BBG you get matches the width of your mic body, I've found them to be every bit as effective." ContentLicense="CC BY-SA 3.0" />
  <row Id="28487" PostHistoryTypeId="5" PostId="17580" RevisionGUID="e248f230-a202-42d4-a5fb-a3500459d523" CreationDate="2013-01-10T19:24:09.123" UserId="1216" Comment="update edited" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I've been looking around for a better Protools-controller. &#xD;&#xA;A few years ago I bought a Novation controller, but I didn't know that the faders would become more important than the knobs. It's a great plugin controller, but for protools it's just not working for me.&#xD;&#xA;&#xD;&#xA;So I looked around and found the Avid Artist Control V2. It seems to work great, with dedicated buttons and a jog wheel. I've read some stuff about screen flickers and noisy faders, but that seems to be a small issue. It could be a workflow enhancement if I can get into it's design principles (I'm back to reading the manual, after I'm done writing this) &#xD;&#xA;&#xD;&#xA;I was wondering what your experiences are? Specifically, how does the touch screen work for you? And is it possible to work with in a way that minimizes mouse/keyboard actions (ergonomics and implementation).&#xD;&#xA;&#xD;&#xA;UPDATE: bought it, have to get used to the touch screen though. otherwise nice machine!&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;Arnoud&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28488" PostHistoryTypeId="2" PostId="17641" RevisionGUID="5565bd2f-baf4-4b5f-a859-49105b182119" CreationDate="2013-01-10T20:14:25.980" UserId="29" Text="I agree with most of Shaun's suggestions and observations. I own all of the original Euphonix MC Arist units.&#xD;&#xA;&#xD;&#xA;If you where going to just get one, the Control's the one to get - but that transport control is indeed pretty janky. If you were going to get two, my honest advice would be to get a Transport and a Mix: Fewer touchscreen tidbits but if you're a keyboard command whiz, you'll get more faders and a real jog/shuttle wheel with a nice feel for the price. (I'm also a former video editor, so that's the control surface that works for me.) &#xD;&#xA;&#xD;&#xA;My workstation is OS X based and runs off a laptop with an external display. I've had zero issues. Every once in a while a reboot of whatever Ethernet hub you're using may be necessary, but I've had no flicker or noise issues. Been smooth sailing!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28489" PostHistoryTypeId="2" PostId="17642" RevisionGUID="3cc00523-318a-4d46-8516-77f68b361652" CreationDate="2013-01-10T20:42:32.180" UserId="1145" Text="I love the BBG! I use two of them for MKH 40's for ORTF recordings on a stereobar and tripod.&#xD;&#xA;Sometimes i also use one of them with a pistolgrip for mono recordings.&#xD;&#xA;Haven't tried them in really windy conditions, but for regular outdor use, i hear no difference&#xD;&#xA;from my other Rycote systems. Another + is the small size if you travel light..." ContentLicense="CC BY-SA 3.0" />
  <row Id="28490" PostHistoryTypeId="2" PostId="17643" RevisionGUID="93fb114e-72e4-4e39-967d-7d2045dc32f4" CreationDate="2013-01-11T00:31:21.310" UserId="3979" Text="Hello There,&#xD;&#xA;&#xD;&#xA;I generally work in film. I have a broadcast gig in which I am cleaning dialog and mixing a 23 minute spot which is going to air shortly and I do not have a Technical Specification Sheet. I am so sorry to ask these questions again (i know versions of this question have been asked), but I just need clarification and I have additional questions...&#xD;&#xA;&#xD;&#xA;1. Is it correct to calibrate system to 79 dB-spl (at -20) for TV broadcast? More Importantly - Are commercials and shows mixed differently, or at different calibrations? (I understand each station may have different specs making this a difficult question).&#xD;&#xA;&#xD;&#xA;2. Is it correct that I mix, Peak at -10db, and -20db for unity gain?&#xD;&#xA;&#xD;&#xA;3. 79 db sounds seemingly quiet. Do TV stations generally take these mixes and compress and squash them to be louder before airing? Or do I need to do an extra step after mixing?&#xD;&#xA;&#xD;&#xA;THANK YOU THANK YOU THANK YOU!!&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="28491" PostHistoryTypeId="1" PostId="17643" RevisionGUID="93fb114e-72e4-4e39-967d-7d2045dc32f4" CreationDate="2013-01-11T00:31:21.310" UserId="3979" Text="**URGENT** TV Broadcast, Mixing Levels, Commercials, Tech Specs" ContentLicense="CC BY-SA 3.0" />
  <row Id="28492" PostHistoryTypeId="3" PostId="17643" RevisionGUID="93fb114e-72e4-4e39-967d-7d2045dc32f4" CreationDate="2013-01-11T00:31:21.310" UserId="3979" Text="&lt;television&gt;&lt;mixing&gt;&lt;calibration&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28493" PostHistoryTypeId="2" PostId="17644" RevisionGUID="dcd08916-979e-4a44-a8cb-56e8d307342e" CreationDate="2013-01-11T00:52:49.230" UserId="253" Text="I'm not a great authority on this, but i'll jump in anyway because you seem keen to get an answer:&#xD;&#xA;&#xD;&#xA;1. 79 dB spl seems to be the standard calibration for TV mixes. Commercials, from what i hear, tend to be pushed louder by ad agency execs who want their ad to thump people in the face, but it sounds like you're mixing a program so you should mix to standard spec (the ads are pretty much what pay for the show you're mixing, so i imagine they get rejected less often). &#xD;&#xA;&#xD;&#xA;2. Yes to -10dBFS peak. I'm not sure i understand your use of unity gain in this context (probably my fault), but the most common broadcast spec for average loudness is -24dB LKFS. If you have Dolby Media Meter, or can borrow it from someone, use that to monitor your average loudness. If you can't get hold of it, you can get Phase Scope for free (sorry i can't provide a link off the top of my head, but i'm sure google will help). Put it on your master, click the LEQ(A) button in the bottom panel of the plug in and set it to analyse 10 seconds. If you keep your reading between -29 and -25 dB (averaging around -27), you should be in the correct average loudness range.&#xD;&#xA;&#xD;&#xA;3. Loudness is all subjective. It might seem quiet to you if you're used to mixing at a louder calibration. I believe the -79dB spl for tv is to allow for the noise and distractions of peoples' homes. This will push you to maybe compress a little more, and to lift the subtle details so they come through. It's a smaller dynamic range, but i think it's practical, given TV viewing conditions at home. Just make sure you don't push your average level too high.&#xD;&#xA;&#xD;&#xA;Hope that helps. Best of luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28494" PostHistoryTypeId="2" PostId="17645" RevisionGUID="93d44e56-06d8-4286-aa42-9949a86a3e2a" CreationDate="2013-01-11T03:49:32.507" UserId="4418" Text="First off this 79 figure is based on room size. Look for the ATSC 85 document to verify. It's typical to mix to 79 for TV and 82 to 85 for film. Theatrical get's sometimes 85 up on LCR and 82 on Ls Rs.&#xD;&#xA;&#xD;&#xA;You need to take a room size measurement then using the figures in the doc above, and an SPL meter and the blue sky test tones (or pink limited mono wav files) calibrate each speaker individually from the mix position with the spl meter facing 45 degrees up.&#xD;&#xA;&#xD;&#xA;I work in a bedroom and mix to 76dbspl.&#xD;&#xA;&#xD;&#xA;this means that the pink noise file playing from my pro tools is mixed at -20dbspl and as it's playing out of my monitor controller i turn up the volume on till my spl meter reads 76. then, as a base i leave that volume knob set and check each speaker after that and turn the volume on the speaker itself to get each speaker to 76. all individually.&#xD;&#xA;&#xD;&#xA;i use 76 for TV related stuff and 80 for film.&#xD;&#xA;&#xD;&#xA;Best is to mix a little TV related stuff and a little film related stuff - both to your taste - then take that to a dub stage and put it up for a few minutes and hear whats happening.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/post-production-forum/604616-speaker-calibration-tutorial-students.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="28499" PostHistoryTypeId="2" PostId="17647" RevisionGUID="ecee21d7-1172-4b02-a1e8-c7b4ee633a0d" CreationDate="2013-01-11T12:50:51.323" UserId="3984" Text="Anybody can tell me how they sound, D50 seems to be the best… not much said about the 661. I wanted to record quite ambient atmospheres. How many channels does the Optical in take? 1 or 2?  People seem to have lots of troubles to connect the D50 using the optical in, the same with Marantz? &#xD;&#xA;I am truly in love with the MixPre D and it would work great with the D50 but not sure if it’s a good audio interface and right now I am looking for something that can do both. Any body?&#xD;&#xA;&#xD;&#xA;Thank you very much!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28500" PostHistoryTypeId="1" PostId="17647" RevisionGUID="ecee21d7-1172-4b02-a1e8-c7b4ee633a0d" CreationDate="2013-01-11T12:50:51.323" UserId="3984" Text="Sony PCM D50 vs Marantz Pmd661 (internalmics and optical options )" ContentLicense="CC BY-SA 3.0" />
  <row Id="28501" PostHistoryTypeId="3" PostId="17647" RevisionGUID="ecee21d7-1172-4b02-a1e8-c7b4ee633a0d" CreationDate="2013-01-11T12:50:51.323" UserId="3984" Text="&lt;sony-pcm-d50&gt;&lt;marantz&gt;&lt;sound-devices&gt;&lt;field-recording&gt;&lt;birds&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28502" PostHistoryTypeId="2" PostId="17648" RevisionGUID="a8f8b661-6adc-49f8-90e5-88d43eaad3ed" CreationDate="2013-01-11T13:26:51.477" UserId="5637" Text="I have the d50, I've never used the optical but, the mics it has are great and totally worth the price. I know that's not exactly what you wanted to know but I hope it helps a little. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28503" PostHistoryTypeId="2" PostId="17649" RevisionGUID="94f7b3ad-7a23-4e32-be3f-24748eef870b" CreationDate="2013-01-11T16:27:22.687" UserId="298" Text="I've got Marantz and absolutely love it. Optical In takes 2 channels and I use it as much as XLRs, in cases when I need to rip something from web, or as Save as... function with demo software.&#xD;&#xA;&#xD;&#xA;D50's microphone would be slightly better I think, but convenience and inter-transferability of SD card storage format makes Marantz a winner straight away (or at least it made for me).&#xD;&#xA;&#xD;&#xA;But it eats batteries like nothing." ContentLicense="CC BY-SA 3.0" />
  <row Id="28504" PostHistoryTypeId="2" PostId="17650" RevisionGUID="7084d7a1-60f5-47b3-9517-b3126e5ca6e1" CreationDate="2013-01-11T19:39:43.633" UserId="6460" Text="As a previous owner of a Marantz PMD recorder and current owner of a D50, I can tell you that the D50 wins in:&#xD;&#xA;&#xD;&#xA; - battery life (I leave a set of batteries in there for weeks at a time)&#xD;&#xA; - build quality (it's a heavy hunk of metal)&#xD;&#xA; - internal mic quality&#xD;&#xA; - storage (internal 4GB without an cards added)&#xD;&#xA; - size (it's incredibly portable, hide-able, and unobtrusive in your backpack)&#xD;&#xA;&#xD;&#xA;What it lacks:&#xD;&#xA;&#xD;&#xA; - XLR inputs (unless you buy the optional attachment, which is expensive)&#xD;&#xA; - convenient media slot (sony's memory sticks are easy to get, but a bit obscure)&#xD;&#xA;&#xD;&#xA;I have made an incredible number of very useable recordings with my PCM-D50. The interface for recording is perfectly user-friendly, but I would certainly practice with it before you take it out into the field (read the manual). The MixPre-D would be a great companion with it. I personally have not used the optical input either, but I have sent a line level signal in and I suspect the setup is virtually the same.&#xD;&#xA;&#xD;&#xA;Cheers, &lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28505" PostHistoryTypeId="2" PostId="17651" RevisionGUID="833d96b6-a6f2-47f6-8f38-db7fa77e05b3" CreationDate="2013-01-11T20:42:44.270" UserId="730" Text="https://getsoundeffects.com/#/products-page/sound-effects/halloween-horror/&#xD;&#xA;&#xD;&#xA;Track 4 is my Chainsaw Massacre track I made, maybe this will help you with some ideas.&#xD;&#xA;&#xD;&#xA;-Benjie" ContentLicense="CC BY-SA 3.0" />
  <row Id="28506" PostHistoryTypeId="2" PostId="17652" RevisionGUID="5942b535-46f2-4179-a37d-aa8affa91c82" CreationDate="2013-01-11T20:46:37.323" UserId="5638" Text="I have used both the 8 fader &amp; 4 fader plus controls.  I tend to prefer the keyboard commands vs the soft buttons yet found the surround panner quite nice.  I am going with the 8 fader control unit as I tend to want more faders for my work flow.  My setup is paired with a Wacom cintiq monitor/tablet combo. I use the tablet for a lot for isotope, but do not think it is worth ditching the mouse.  The transport controller is good, but I don't do much scrub/shuttle often.  The plug-in control with 8 fader unit is okay, but is a requires a bit too much navigating.  The faders are a bit noisy, but nothing like a old Control 24.  &#xD;&#xA;&#xD;&#xA;Good Luck!&#xD;&#xA;&#xD;&#xA;Michael" ContentLicense="CC BY-SA 3.0" />
  <row Id="28507" PostHistoryTypeId="2" PostId="17653" RevisionGUID="ebeeccef-ea25-4041-a037-41c2f3ac15f3" CreationDate="2013-01-11T21:05:55.613" UserId="842" Text="I love the idea of Baby Ballgags (what a weird name), but myself I'm a little worried about friction-noises! I've had some problems, not much, but still, with foam windshieds on both my Sennheisers and Oktavas making tiny scraping noises sometimes. I don't really think that's as big a risk though as the gag is not as close to the membrane as the foam, so for me the main reason I remain with the full systems is frankly to keep the mic as light as possible as to not stress the lyre-suspensions too much. And also for protection, I rather risk smashing an about $700 blimp than a $2000 mic, especially as the blimp still works after a severe beating." ContentLicense="CC BY-SA 3.0" />
  <row Id="28508" PostHistoryTypeId="2" PostId="17654" RevisionGUID="b0e36829-e440-4267-b16e-ddbd20178431" CreationDate="2013-01-11T23:44:19.993" UserId="18160" Text="What microphone are you planning on using this with?&#xD;&#xA;&#xD;&#xA;For me, mic tonality is senior to all other aspects of a windscreen. I don't want to sacrifice tonality if I don't need to.&#xD;&#xA;&#xD;&#xA;I found the Schoeps W5D to have the best wind protection for the minimal amount of tonality loss. I placed it along with the BBG in front of a huge industrial fan and they both had fairly equal amounts of wind reduction.&#xD;&#xA;&#xD;&#xA;And, the baby ball gag sounded to me like, frankly, a plastic ball placed around your mic.&#xD;&#xA;&#xD;&#xA;The W5D sounded the best by far out of all the windscreens I tested (and I shot out quite a few of them, including all sorts of baskets, Rycotes and tribbles). Most production sound mixers I receive my production tracks from are using these more and more and they are extremely transparent sounding compared to one of those plastic cages.&#xD;&#xA;&#xD;&#xA;Give the W5D a chance. It costs about $100 from where I get my gear (Location Sound Corp).&#xD;&#xA;&#xD;&#xA;Let us know what you decide to go with." ContentLicense="CC BY-SA 3.0" />
  <row Id="28509" PostHistoryTypeId="5" PostId="17654" RevisionGUID="f136750c-2390-442f-a877-3bf778fbd457" CreationDate="2013-01-11T23:49:51.567" UserId="18160" Comment="added 148 characters in body; deleted 22 characters in body" Text="What microphone are you planning on using this with?&#xD;&#xA;&#xD;&#xA;For me, mic tonality is senior to all other aspects of a windscreen. I don't want to sacrifice tonality if I don't need to.&#xD;&#xA;&#xD;&#xA;I found the Schoeps W5D to have the best wind protection for the minimal amount of tonality loss. I placed it along with the BBG in front of a huge industrial fan and they both had fairly equal amounts of wind reduction.&#xD;&#xA;&#xD;&#xA;And, the baby ball gag sounded to me like, frankly, a plastic ball placed around your mic.&#xD;&#xA;&#xD;&#xA;The W5D sounded the best by far out of all the windscreens I tested (and I shot out quite a few of them, including all sorts of baskets, Rycotes and tribbles). Most production sound mixers I receive my production tracks from are using these more and more and they are extremely transparent sounding compared to one of those plastic cages. And I have personally used them in 25 mph gusts outside in the Cincinnati area and Twin Cities area, as well as those windy Los Angeles afternoons.&#xD;&#xA;&#xD;&#xA;Give the W5D a chance. It costs about $100 from where I get my gear.&#xD;&#xA;&#xD;&#xA;Let us know what you decide to go with." ContentLicense="CC BY-SA 3.0" />
  <row Id="28510" PostHistoryTypeId="12" PostId="17654" RevisionGUID="b3e78d2e-c062-4f7b-bb7b-6fc58782997e" CreationDate="2013-01-12T00:56:42.023" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="28511" PostHistoryTypeId="2" PostId="17655" RevisionGUID="f6d4c2d9-3744-41ab-889d-aad74171f06c" CreationDate="2013-01-12T09:44:40.667" UserId="4057" Text="Depends entirely on what FX you are recording. IMHO if you are looking at these types of mics for FX then budget isn't an issue for you. What I would say is that these mics will give you an awesome quality recording whichever one you pick. &#xD;&#xA;&#xD;&#xA;Please bear in mind though, that some FX recording isn't done under controlled conditions and you may just find that for some tasks, the conditions you end up recording in - and the sound sources you record - may not be too healthy for the actual microphone itself. Consequently, you might want to consider something a little less expensive for some of the more hazardous or dangerous sound sources - which you will inevitably come across.&#xD;&#xA;&#xD;&#xA;Additionally, consider dynamic mics for some high SPL work rather than condensor. Even with a pad, you will find that the dynamics give you a better result in the high SPL region.&#xD;&#xA;&#xD;&#xA;Consider a range of mics. I fear you are starting at the high-end possibly without experiencing the range of quality you can get with lower-end mics. Don't get me wrong - I have 3 MK41's myself - I just tend to use other mics for a lot of the FX work and the 41's when I am in more controlled conditions.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28515" PostHistoryTypeId="2" PostId="17657" RevisionGUID="ebeb99bc-96ff-45e4-bab4-af73854f29be" CreationDate="2013-01-12T12:00:59.733" UserId="5639" Text="I found some test audio samples, somewhere on the web, of both ambient and vocal recordings using the internal mics on both of these. The noise floor on the Marantz is far higher. Having owned several handheld recorders, including the very nice and compact Olympus ls-11 I recently purchased the Sony and finally I can get the quiet ambiences I want with low enough noise.&#xD;&#xA;&#xD;&#xA;You can get the XLR-1 attachment to provide two XLR mic-ins and phantom power." ContentLicense="CC BY-SA 3.0" />
  <row Id="28517" PostHistoryTypeId="2" PostId="17658" RevisionGUID="21b037d4-3b12-4be6-bbfc-6dce4d45b623" CreationDate="2013-01-12T13:01:21.633" UserId="1216" Text="HI,&#xD;&#xA;&#xD;&#xA;A bit late but here's my favourite field recording of 2012. (Well actually I have a lot of favourites recorded during my China trip, spread over different categories, but this one has something extra to it. &#xD;&#xA;I had been recording on the City wall of Xian (China). After recording lots of nice traffic and announcements, I walked to a magic spot. All the sounds from the square bounced around me. &#xD;&#xA;This is stereo mixdown of a 4 track recording with DPA 4060's and MKH50/30.&#xD;&#xA;I only did some panning (dpa left/mkh right) and some hipass on dpa's.&#xD;&#xA;&#xD;&#xA;Hope you enjoy it!&#xD;&#xA;&#xD;&#xA;[Xian City Walls][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://soundcloud.com/de-auditieve-dienst/amb-china-xian-city-wall" ContentLicense="CC BY-SA 3.0" />
  <row Id="28518" PostHistoryTypeId="2" PostId="17659" RevisionGUID="47c5d7c6-f385-48ce-b7fb-136009a18cbf" CreationDate="2013-01-12T13:05:52.727" UserId="1216" Text="Anyone living in Stockholm? I would definitely try and record this :)&#xD;&#xA;&#xD;&#xA;http://www.liveleak.com/view?i=c26_1357935775&#xD;&#xA;&#xD;&#xA;Greetings,&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="28519" PostHistoryTypeId="1" PostId="17659" RevisionGUID="47c5d7c6-f385-48ce-b7fb-136009a18cbf" CreationDate="2013-01-12T13:05:52.727" UserId="1216" Text="What happens when you scream out of your window in Sweden at 10 PM" ContentLicense="CC BY-SA 3.0" />
  <row Id="28520" PostHistoryTypeId="3" PostId="17659" RevisionGUID="47c5d7c6-f385-48ce-b7fb-136009a18cbf" CreationDate="2013-01-12T13:05:52.727" UserId="1216" Text="&lt;field-recording&gt;&lt;stock-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28521" PostHistoryTypeId="2" PostId="17660" RevisionGUID="57ce319a-bbb8-4580-aed3-a35175b7a513" CreationDate="2013-01-12T14:01:00.480" UserId="5639" Text="I want to take data directly from a table in a pdf or excel spreadsheet, and add it, several files at a time, to the spotlight comment fields for a list of files. Is there a way to do this?&#xD;&#xA;&#xD;&#xA;Any help appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="28522" PostHistoryTypeId="1" PostId="17660" RevisionGUID="57ce319a-bbb8-4580-aed3-a35175b7a513" CreationDate="2013-01-12T14:01:00.480" UserId="5639" Text="Automator actions for adding spotlight comments to a batch from excel/text document?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28523" PostHistoryTypeId="3" PostId="17660" RevisionGUID="57ce319a-bbb8-4580-aed3-a35175b7a513" CreationDate="2013-01-12T14:01:00.480" UserId="5639" Text="&lt;metadata&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28524" PostHistoryTypeId="2" PostId="17661" RevisionGUID="9992a943-78ee-4da3-8f2a-b77010ba0b4b" CreationDate="2013-01-12T15:14:36.373" UserId="3179" Text="Maybe this works/helps http://www.leancrew.com/all-this/2008/02/appscript-and-spotlight-comments/ ? The Python version.&#xD;&#xA;&#xD;&#xA;I believe it's not possible in the graphical Automator, because it doesn't have commands needed to parse CSV files." ContentLicense="CC BY-SA 3.0" />
  <row Id="28525" PostHistoryTypeId="2" PostId="17662" RevisionGUID="37fd9e40-b8e8-4b02-b78a-ee74dbcb4957" CreationDate="2013-01-12T15:18:50.927" UserId="527" Text="I am attempting to move into game sound design from/along side film sound design.  So far I have done some 2D flash &amp; Java based games that are winding up on mobile devices. I am still trying to figure out what the best way to master these are.  Its seems like most of these games I see are &quot;mixed&quot; like music, upto 0 dBfs. &#xD;&#xA;&#xD;&#xA;However, my largest problem is conceptualizing the sounds.  I am so used to creating things in sync with picture that I am having  to create many re-iterations of sound so get things right. And a lot of times I am asked to start the sound work before I see anything.  &#xD;&#xA;&#xD;&#xA;Can anyone share any ideas or techniques that you have for conceptualizing sounds for games?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28526" PostHistoryTypeId="1" PostId="17662" RevisionGUID="37fd9e40-b8e8-4b02-b78a-ee74dbcb4957" CreationDate="2013-01-12T15:18:50.927" UserId="527" Text="Game Sound - conceptualizing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28527" PostHistoryTypeId="3" PostId="17662" RevisionGUID="37fd9e40-b8e8-4b02-b78a-ee74dbcb4957" CreationDate="2013-01-12T15:18:50.927" UserId="527" Text="&lt;game&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28528" PostHistoryTypeId="5" PostId="17661" RevisionGUID="eb679378-5e16-43b1-afa3-9144da9b19ef" CreationDate="2013-01-12T15:26:01.957" UserId="3179" Comment="added 81 characters in body; edited body" Text="Maybe this works/helps http://www.leancrew.com/all-this/2008/02/appscript-and-spotlight-comments/ ? The Python version.&#xD;&#xA;&#xD;&#xA;I believe it's not possible in the graphical Automator, because it doesn't have commands needed to parse CSV files. Except by embedding a script to handle the text parsing with &quot;Run shell script&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="28529" PostHistoryTypeId="2" PostId="17663" RevisionGUID="7b228073-c27c-493f-9eaf-af326ed16f55" CreationDate="2013-01-12T15:40:18.110" UserId="3179" Text="Well, it's difficult/impossible, if you can't see anything. So ideally you should always see something prior to doing something. But the game development cycle can be such that the audio can be left little time to work on the sound after the code and graphics are already in place (basically, you mostly start your job, when the others have already finished theirs), possibly because other team members think that it's the easiest way (which it may well be) or may even think that audio can be done quickly, when it's needed, rather than having the audio work follow the main development constantly by passing around files (animations, recent builds) during the main development, so you can work on small bits at a time whenever something is considered 'finished'. What you should really focus on is communicating with the graphic artists and animators and getting 'finished' animation files asap to use for SFX creation, because compared to animation files, having a running build is not that essential until when finishing up the project (like if you have budgeted time for final mixing, after all code and graphics are working and you've managed to do the final soundtrack pieces, like music, near the end of the development ), depending on the size of the game of course. But the animation files would be what I'd stick to acquiring, and make sound using those as a reference (in the typical linear DAW way)." ContentLicense="CC BY-SA 3.0" />
  <row Id="28530" PostHistoryTypeId="5" PostId="17663" RevisionGUID="413bdb39-1bd0-49c2-98c4-179762e68780" CreationDate="2013-01-12T15:48:25.750" UserId="3179" Comment="added 146 characters in body; added 10 characters in body; added 13 characters in body" Text="Well, it's difficult/impossible, if you can't see anything. So ideally you should always see something prior to doing something. But the game development cycle can be such that the audio can be left little time to work on the sound after the code and graphics are already in place (basically, you mostly start your job, when the others have already finished theirs), possibly because other team members think that it's the easiest way (which it may well be) or may even think that audio can be done quickly, when it's needed, rather than having the audio work follow the main development constantly by passing around files (animations, recent builds) during the main development, so you can work on small bits at a time whenever something is considered 'finished'. What you should really focus on is communicating with the graphic artists and animators and getting 'finished' animation files asap to use for SFX and dialogue creation, because compared to animation files, having a running build is not that essential until when finishing up the project (like if you have budgeted time for final mixing, after all code and graphics are working and you've managed to do the final soundtrack pieces, like music, near the end of the development ), depending on the size of the game of course. But the animation files would be what I'd stick to acquiring, and make sound using those as a reference (in the typical linear DAW way).&#xD;&#xA;&#xD;&#xA;This may give you some thoughts:&#xD;&#xA;[The Game Developer and Audio Designer Handshake - Youtube][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?&amp;v=Zg0_cWGkKwg" ContentLicense="CC BY-SA 3.0" />
  <row Id="28531" PostHistoryTypeId="5" PostId="17661" RevisionGUID="f8fc67e2-b0a8-431e-8ef9-ad7ae8ce4579" CreationDate="2013-01-12T16:29:33.830" UserId="3179" Comment="added 122 characters in body" Text="Maybe this works/helps http://www.leancrew.com/all-this/2008/02/appscript-and-spotlight-comments/ ? The Python version.&#xD;&#xA;&#xD;&#xA;I believe it's not possible in the graphical Automator, because it doesn't have commands needed to parse CSV files. Except by embedding a script to handle the text parsing with &quot;Run shell script&quot;.&#xD;&#xA;&#xD;&#xA;Also, you can use AppleScript, which can be added as Folder actions (Right click a folder -&gt; Folder Actions Setup...)." ContentLicense="CC BY-SA 3.0" />
  <row Id="28532" PostHistoryTypeId="5" PostId="17661" RevisionGUID="bc46c420-fdf7-4f7f-8594-d988aaa8dd18" CreationDate="2013-01-12T16:39:09.893" UserId="3179" Comment="added 3 characters in body; added 3 characters in body" Text="I believe it's not possible in the graphical Automator, because it doesn't have commands needed to parse CSV files. Except by embedding a script to handle the text parsing with &quot;Run shell script&quot;.&#xD;&#xA;&#xD;&#xA;Also, you can use AppleScript, which can be added as Folder actions (Right click a folder -&gt; Folder Actions Setup...). There's already a script for adding spotlight comments to image files in a folder, it could be customizable to do what you need." ContentLicense="CC BY-SA 3.0" />
  <row Id="28533" PostHistoryTypeId="2" PostId="17664" RevisionGUID="025c1b05-7ec3-43d7-a67b-879391a864dc" CreationDate="2013-01-12T20:15:18.817" UserId="1048" Text="Fantastic!&#xD;&#xA;&#xD;&#xA;I've found this somewhere on the www:&#xD;&#xA;&#xD;&#xA;*If you screamed as loud as you could from a window tonight, you’d probably receive several invitations to shut the heck up, but but not in the Flogsta neighborhood of Uppsala, Sweden. As this video creepily demonstrates, this community has a daily ritual called &quot;the Flogsta scream&quot; in which each night at 10 p.m., students scream collectively from windows, balconies and rooftops. Its origin is debated: Some say it’s a stress relief technique that emerged during exam times and became a daily habit. Others say it began as a remembrance of a student’s suicide in the 1970s. We're betting some outsiders might admit that the first time they heard it, they needed new pants.*" ContentLicense="CC BY-SA 3.0" />
  <row Id="28534" PostHistoryTypeId="5" PostId="17661" RevisionGUID="a9f4c18b-1dcc-466a-b739-d78a7e1d5b1b" CreationDate="2013-01-12T21:01:51.177" UserId="3179" Comment="added 273 characters in body; added 15 characters in body; deleted 26 characters in body; added 26 characters in body; edited body" Text="I believe it's not possible in the graphical Automator, because it doesn't have commands needed to parse CSV files. Except by embedding a script to handle the text parsing with &quot;Run shell script&quot;.&#xD;&#xA;&#xD;&#xA;Also, you can use AppleScript, which can be added as Folder actions (Right click a folder -&gt; Folder Actions Setup...). There's already a script for adding spotlight comments to image files in a folder, it could be customizable to do what you need.&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;Not sure what kind of formats you have the data in, but I made a Folder Action script that works with simple comma-delimited text files (or CSV files), which is something that you should get out of many spreadsheet programs: http://ge.tt/8wOnIHV/v/0?c , see if it's any help." ContentLicense="CC BY-SA 3.0" />
  <row Id="28535" PostHistoryTypeId="2" PostId="17665" RevisionGUID="b616ee25-6a99-42f3-a688-f7e184968ef8" CreationDate="2013-01-12T21:02:17.897" UserId="842" Text="Hahaha, I must try it! :-D" ContentLicense="CC BY-SA 3.0" />
  <row Id="28536" PostHistoryTypeId="5" PostId="17661" RevisionGUID="d5df15c1-ef25-44c1-bc1e-f733cbc7a02a" CreationDate="2013-01-12T21:09:53.770" UserId="3179" Comment="edited body; edited body" Text="I believe it's not possible in the graphical Automator, because it doesn't have commands needed to parse CSV files. Except by embedding a script to handle the text parsing with &quot;Run shell script&quot;.&#xD;&#xA;&#xD;&#xA;Also, you can use AppleScript, which can be added as Folder actions (Right click a folder -&gt; Folder Actions Setup...). There's already a script for adding spotlight comments to image files in a folder, it could be customizable to do what you need.&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;Not sure what kind of formats you have the data in, but I made a Folder Action script that works with simple comma-delimited text files (or CSV files), which is something that you should get out of many spreadsheet programs: http://ge.tt/8tlQKHV/v/0?c , see if it's any help." ContentLicense="CC BY-SA 3.0" />
  <row Id="28537" PostHistoryTypeId="5" PostId="17661" RevisionGUID="e38244da-5d06-4908-b165-469802c1b33f" CreationDate="2013-01-12T21:25:37.160" UserId="3179" Comment="edited body" Text="I believe it's not possible in the graphical Automator, because it doesn't have commands needed to parse CSV files. Except by embedding a script to handle the text parsing with &quot;Run shell script&quot;.&#xD;&#xA;&#xD;&#xA;Also, you can use AppleScript, which can be added as Folder actions (Right click a folder -&gt; Folder Actions Setup...). There's already a script for adding spotlight comments to image files in a folder, it could be customizable to do what you need.&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;Not sure what kind of formats you have the data in, but I made a Folder Action script that works with simple comma-delimited text files (or CSV files), which is something that you should get out of many spreadsheet programs: http://ge.tt/38P9NHV/v/0?c , see if it's any help." ContentLicense="CC BY-SA 3.0" />
  <row Id="28538" PostHistoryTypeId="13" PostId="17654" RevisionGUID="628211c2-c93c-4b91-ac9f-38cbc4ead4df" CreationDate="2013-01-12T22:19:30.137" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="28539" PostHistoryTypeId="2" PostId="17666" RevisionGUID="9c3ef8c3-a739-44f1-a4ad-22fd0654921a" CreationDate="2013-01-12T22:30:18.703" UserId="6524" Text="Very cool and little creepy too reminds me of the experimental noise group [Stalaggh][1] that apparently according to them took mental patients with homicidal urges into a chapel and recorded their wild screaming and yelling.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/br5tyuEUBWE" ContentLicense="CC BY-SA 3.0" />
  <row Id="28540" PostHistoryTypeId="2" PostId="17667" RevisionGUID="0f0e4023-2fc4-4a43-acd4-c3fd95c19c3c" CreationDate="2013-01-13T07:49:27.107" UserId="407" Text="Having the animations and the visuals together at the last minute is part of the game development process. Unlike film, the idea of post production phase in the traditional sense doesn't really exist. Working without or with limited visuals is an important part of the skill set of a game audio designer, what you are effectively having to do is work in parellel with all the other disciplines. &#xD;&#xA;&#xD;&#xA;There are 2 main challenges for getting the audio correct. Firstly like you mentioned is conceptualising the sound, the second is getting the sounds in sync. For conceptualising what we do at Remedy is firstly gather all the information on the feature we can, concept art, scripts, game design documents, then we sit down with the creative director and art director and come up with a collection of descriptive words, we usually come up with 2 or to describe a feature, e.g. cold, shocking, quick, brutal etc. This at least ensures we are all using the same vocabulary. Then we compare  that description to how it fits with other descriptions of other features. From this you kinda get a balance of how the sound you are designing fits into the game. Then we go and create a collection of sounds that fit the description, and compare them against the visuals as they are developed. Sometimes it can turn out that the audio drives the visual design. The more you work with a team the better you can guess what really going to happen ;).&#xD;&#xA;&#xD;&#xA;Sync is another issue - another thing I try to determine very early on is how changeable a feature is. e.g. is it something that will be baked and then left alone, or has it got lots of tweakable variables that will change into the last second. If it is baked then we can design sounds that sync offline working more like syncing to picture, syncing part is done really late in the process. The variable we usually granulate the sound design and design systems that stitch it all together at runtime. This means that whatever the designers change the sound design will follow it automatically. With this system we try to get our sounds in as early as possible.&#xD;&#xA;&#xD;&#xA;Hopefully some of this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="28541" PostHistoryTypeId="2" PostId="17668" RevisionGUID="6a2b0489-9bf0-4b4c-bc05-81d73eed7826" CreationDate="2013-01-13T08:40:05.710" UserId="407" Text="I know a few people who use Itunes to organize their sound library - not quite sound miner but it's free." ContentLicense="CC BY-SA 3.0" />
  <row Id="28542" PostHistoryTypeId="2" PostId="17669" RevisionGUID="10de8f48-a963-4367-bbb2-afdaeafbf34e" CreationDate="2013-01-13T09:46:33.677" UserId="6432" Text="Yeah, it's really difficult if you've got nothing to go by. I always find it easier to have something visual on the timeline to design to. Ideally this is a video capture of the gameplay, you can then design your variations to the picture and put them in the places where the game would trigger them. You can even put in a music temp track or atmos to help contextualise them. If there's literally no gameplay video available then concept art maybe the best thing you can get. Sometimes concept art can actually be better as it can be more evocative, especially for things like designing atmos. I don't want to get into a debate about its audio capabilities, but one of the great things about using Vegas for sound design is that you can throw pretty much any type of media on a timeline - pictures along with most video formats. I wish ProTools wound let me do that. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28543" PostHistoryTypeId="2" PostId="17670" RevisionGUID="10d4e09b-69be-468e-b467-4994a55e927e" CreationDate="2013-01-13T10:46:39.710" UserId="4244" Text="@stephen: You can use wave agent from sound devices to add metadata.&#xD;&#xA;&#xD;&#xA;http://www.sounddevices.com/products/waveagent/videos/ &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28544" PostHistoryTypeId="2" PostId="17671" RevisionGUID="3eb5b726-b89b-4221-a693-05efe35711b9" CreationDate="2013-01-13T13:26:05.433" UserId="936" Text="A good compromise is to get the Sony PCM-M10 which is fantastic value, not as good as the D50, but not that far off given the difference in price and the 661 when you need a larger rig.&#xD;&#xA;&#xD;&#xA;That gives you both portability and flexibility. I like the 661 but only with an external mic, the internal one is just for emergencies. One warning with the Marantz, I've found that with a Rode NT4 the transients will often clip on sounds with a fast attack unless you use the internal pad to reduce the gain. &#xD;&#xA;&#xD;&#xA;A 661 with the NT4 is a great combination for recording ambiences." ContentLicense="CC BY-SA 3.0" />
  <row Id="28545" PostHistoryTypeId="2" PostId="17672" RevisionGUID="bcbd9030-fc09-4d16-aeb8-621b233f94e3" CreationDate="2013-01-13T15:37:43.950" UserId="5644" Text="I’m moving more into audio for picture lately and I am trying to decide to go for a new  PC or Mac running Protools.&#xD;&#xA;I know all the arguments for and against but I’m trying to come at it from a different angle.&#xD;&#xA;If I went with PC would there be any issue working with clients.&#xD;&#xA;For example if I get OMF’s , video files to sync and external hard drives to provide me with audio and video elements&#xD;&#xA;could there be anything that would be an issue for me?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28546" PostHistoryTypeId="1" PostId="17672" RevisionGUID="bcbd9030-fc09-4d16-aeb8-621b233f94e3" CreationDate="2013-01-13T15:37:43.950" UserId="5644" Text="Moving from mac to pc for post" ContentLicense="CC BY-SA 3.0" />
  <row Id="28547" PostHistoryTypeId="3" PostId="17672" RevisionGUID="bcbd9030-fc09-4d16-aeb8-621b233f94e3" CreationDate="2013-01-13T15:37:43.950" UserId="5644" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28548" PostHistoryTypeId="2" PostId="17673" RevisionGUID="3eeeb98d-b181-416d-955b-8dd6d533ac0e" CreationDate="2013-01-13T16:27:11.827" UserId="3179" Text="If you and who you work with stick to the supported and **standard** file formats (which have cross-platform and cross-application support), then no.&#xD;&#xA;&#xD;&#xA;One situation where you could run into problems is if your client uses Apple's software (e.g. Final Cut). As obviously Apple's file formats have little to no support on Windows." ContentLicense="CC BY-SA 3.0" />
  <row Id="28549" PostHistoryTypeId="5" PostId="17669" RevisionGUID="2b7d5e41-ad0a-416e-8477-d0f7ea86b98a" CreationDate="2013-01-13T17:03:40.290" UserId="6432" Comment="Typo..." Text="Yeah, it's really difficult if you've got nothing to go by. I always find it easier to have something visual on the timeline to design to. Ideally this is a video capture of the gameplay, you can then design your variations to the picture and put them in the places where the game would trigger them. You can even put in a music temp track or atmos to help contextualise them. If there's literally no gameplay video available then concept art maybe the best thing you can get. Sometimes concept art can actually be better as it can be more evocative, especially for things like designing atmos. I don't want to get into a debate about its audio capabilities, but one of the great things about using Vegas for sound design is that you can throw pretty much any type of media on a timeline - pictures along with most video formats. I wish ProTools would let me do that. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28550" PostHistoryTypeId="2" PostId="17674" RevisionGUID="2fa07a57-f373-4d3f-94e0-1dae1259b10f" CreationDate="2013-01-13T17:46:28.270" UserId="517" Text="You can also make a Windows partiiton on your hard drive for your Mac so that you can boot into either platform. You can then install ProTools on both operating systems so that you can use either for your sound work." ContentLicense="CC BY-SA 3.0" />
  <row Id="28551" PostHistoryTypeId="2" PostId="17675" RevisionGUID="a5e370c9-9ca3-41d6-81a2-1193f90f3bdf" CreationDate="2013-01-13T18:03:55.233" UserId="432" Text="I made the switch to PC for my home system over two years ago now. I haven't had any issues, and I occassionally move projects between my system at home and at work (where I use a Mac). Most of the time, I use flash based media or data DVDs to transfer files. You'll only have trouble reading from flash based media if you format it on a Mac (no issue if you leave it the same format as you purchased it).&#xD;&#xA;&#xD;&#xA;If you do make the switch to PC, you may want to purchase a copy of MacDrive by Media Four ($50 for the basic version). It will allow your computer to format and read Mac formatted (HFS/HFS+) drives. You can even keep an internal drive on your system formatted that way. The only caveat with that is that I would suggest keeping all files for any given project restricted to a single drive format (all on NTFS drives, or all on HFS+ drives). Reading files from the multiple formats within one session can cause problems...not always, but why give yourself the potential headache?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28552" PostHistoryTypeId="2" PostId="17676" RevisionGUID="0ba8d053-4167-4978-afb6-7be35aa0ed83" CreationDate="2013-01-13T20:40:32.083" UserId="5590" Text="I met with a client today who was looking to try and salvage some of the audio they recorded for a documentary. They were using a Rode videomic for Interior and Exterior, and the handling noise that came out is incredible. I suggested that there was very little that could be done outside of majorly editing the footage, but I figured I would ask on here.&#xD;&#xA;&#xD;&#xA;So does anybody have any experience of successfully dealing with Handling noises in Post?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28553" PostHistoryTypeId="1" PostId="17676" RevisionGUID="0ba8d053-4167-4978-afb6-7be35aa0ed83" CreationDate="2013-01-13T20:40:32.083" UserId="5590" Text="Mic Handling Noises in Post Production?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28554" PostHistoryTypeId="3" PostId="17676" RevisionGUID="0ba8d053-4167-4978-afb6-7be35aa0ed83" CreationDate="2013-01-13T20:40:32.083" UserId="5590" Text="&lt;handling&gt;&lt;noise&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28555" PostHistoryTypeId="2" PostId="17677" RevisionGUID="b9c58e86-eee2-4bac-9f41-c3e4648a7775" CreationDate="2013-01-13T20:41:06.007" UserId="5645" Text="When it came to the comments I got a bit lost about Juornaling but overall from what I've read I should be safe enough with a PC if I use Mac Drive.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28556" PostHistoryTypeId="2" PostId="17678" RevisionGUID="3c1a1aed-78c2-4f98-baa6-6f7002b44ba5" CreationDate="2013-01-13T20:59:39.840" UserId="1228" Text="From my experience with dialogue editorial, you're usually SOL when it comes to this - the problem being that handling noise tend to fill all frequencies.  Depending on how the frequency content is from what you're hearing, a hi pass may help you, automated of course, but even then usually such noise sits too high into the mid-lows and mids (like a plosive) that the rolloff will then have a huge affect upon your actual sound content.  The other thing is to cut it out piece by piece, find replacement words, syllables, etc with alts (or even stolen from other lines) as needed.  This is one of the hallmarks of successful dialogue editorial, done carefully to be as transparent as possible.&#xD;&#xA;&#xD;&#xA;There is no such thing as a free lunch for getting good results with a dialogue track, especially so with a case like this.  The more well-edited and strategic those edits are, the more success there will be with processing options on the stage.  So my guess is that your best bet will be (assuming there's no ADR options) rolling up your sleeves and doing some creative edits." ContentLicense="CC BY-SA 3.0" />
  <row Id="28557" PostHistoryTypeId="2" PostId="17679" RevisionGUID="bf4a1e77-8c53-4685-9eaf-7bbb34436b04" CreationDate="2013-01-13T22:05:37.180" UserId="238" Text="Two questions, albeit related ones. I'm currently looking for some storage solutions for when I'm out and about:&#xD;&#xA;&#xD;&#xA;- a small waterproof case for my binaural mics (Soundman OKM II)&#xD;&#xA;- a case to store my rycote portable audio recorder kit&#xD;&#xA;&#xD;&#xA;I noticed that Peli Cases do a micro series and was wondering if anyone is using these for anything audio related? I think this could be the solution for the binaural kit.&#xD;&#xA;&#xD;&#xA;Also, those of you who are using the rycote portable kit, baring in mind the lyre cradle part is a bit bulky and something you really don't want getting squashed out of shape, what are you using in terms of storage when you go from one place to the other? I've found a small Peli Case that may work, but does anyone have any other ideas.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="28558" PostHistoryTypeId="1" PostId="17679" RevisionGUID="bf4a1e77-8c53-4685-9eaf-7bbb34436b04" CreationDate="2013-01-13T22:05:37.180" UserId="238" Text="Micro Peli Case" ContentLicense="CC BY-SA 3.0" />
  <row Id="28559" PostHistoryTypeId="3" PostId="17679" RevisionGUID="bf4a1e77-8c53-4685-9eaf-7bbb34436b04" CreationDate="2013-01-13T22:05:37.180" UserId="238" Text="&lt;storage&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28560" PostHistoryTypeId="2" PostId="17680" RevisionGUID="a5330404-56cc-4bff-97fb-7e129845839f" CreationDate="2013-01-13T22:19:41.700" UserId="5647" Text="You should check out MEGA TALES http://megatales.tumblr.com.  It kind of reminds me of The Twilight Zone meets Are You Afraid of the Dark with a comedic twist.  Really funny stuff and really well produced.  Great sound mix use of effects, music, acting, etc.  Quality program that is always good for a laugh! &#xD;&#xA;&#xD;&#xA;https://itunes.apple.com/us/podcast/mega-tales/id556744899?mt=2&#xD;&#xA;&#xD;&#xA;http://megatales.bandcamp.com/&#xD;&#xA;&#xD;&#xA;https://www.facebook.com/pages/MEGA-TALES/308489252545161&#xD;&#xA;&#xD;&#xA;https://twitter.com/REALMegaTales" ContentLicense="CC BY-SA 3.0" />
  <row Id="28561" PostHistoryTypeId="2" PostId="17681" RevisionGUID="65f4d762-2421-4cb9-bd68-33912410bfb8" CreationDate="2013-01-13T22:41:35.710" UserId="432" Text="We have a couple of the smaller Pelican waterproof cases at work. One holds a small collection of lavalier microphones, and several others are used to hold 400 series Lectrosonics wireless systems. The cases we have will hold either one receiver, or two transmitters. They're aweseome little cases, and not TOO bulky. Good for keeping small items organized and protected.&#xD;&#xA;&#xD;&#xA;As for the Rycote systems...yeah, we use Pelicans at work for those as well. I've been meaning to check these out to: http://www.alfacase.com/Softi-Case.html&#xD;&#xA;&#xD;&#xA;First noticed them on Tim Prebble's blog. I wonder if they'll work for the full windshield systems. Their &quot;[Combo Case][1]&quot; is pretty interesting as well.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.alfacase.com/Combo-Case.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="28562" PostHistoryTypeId="2" PostId="17682" RevisionGUID="8b050a67-8dfc-4d07-baa0-b504660c211e" CreationDate="2013-01-14T00:13:34.127" UserId="4117" Text="Izotope RX all day long.&#xD;&#xA;Spectral repair and replace does an amazing job." ContentLicense="CC BY-SA 3.0" />
  <row Id="28563" PostHistoryTypeId="2" PostId="17683" RevisionGUID="2463c92e-23f0-409f-92b4-e89a15478926" CreationDate="2013-01-14T00:19:12.467" UserId="432" Text="It's been a while since I've had the urge to sit down and watch a good horror or thriller flick. I was wondering what people think are the films with the best sound. I'm not just referring to the sound design either. If you think the mix is stellar in a particular film, I'd like to hear that too." ContentLicense="CC BY-SA 3.0" />
  <row Id="28564" PostHistoryTypeId="1" PostId="17683" RevisionGUID="2463c92e-23f0-409f-92b4-e89a15478926" CreationDate="2013-01-14T00:19:12.467" UserId="432" Text="Best Sound in Horror/Thriller Films?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28565" PostHistoryTypeId="3" PostId="17683" RevisionGUID="2463c92e-23f0-409f-92b4-e89a15478926" CreationDate="2013-01-14T00:19:12.467" UserId="432" Text="&lt;horror&gt;&lt;opinion&gt;&lt;mixing&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28566" PostHistoryTypeId="2" PostId="17684" RevisionGUID="0ac0ed47-9873-457a-a5cc-cffdbf00110f" CreationDate="2013-01-14T00:26:15.887" UserId="1228" Text="I've been in a philosophical kind of mood as of late, and I've been pondering this question/concept for the past few days and I've love to hear others' thoughts and ideas on it.  Not really a right or wrong answer to this, just something interesting to think about.&#xD;&#xA;&#xD;&#xA;So The Planck length, 1.616199(97)×10− to the 35 is the smallest unit of measurement that we (or rather science I guess) deem as being realistically measurable, anything beyond which smaller unit would seem ludicrous and to some degree redundant.&#xD;&#xA;&#xD;&#xA;It got me thinking about gain in an audio chain.  Such as, using a mixer in front of a recorder to give yourself greater S/N to work with in quiet environments.  If one were to, say, daisychain 100 (or even more) Sound Devices pres (or any other top-tier pres for that matter) to maximize available gain, how quiet of a sound could be picked up?  What sort of noise or harmonics might be &quot;capturable&quot;?  How about considering this realistically (considering the mic self noise, environment, etc) versus theoretical (mic has no self noise, environment is undisturbed quiet, etc)?  Would it reach a threshold or tipping point at which greater noise would be introduced/summed than the gain availability we're creating for ourselves to begin with when daisychaining in more gain (sort of how zipping an MP3 makes it larger rather than smaller)?  I'm cnosidering this question with the understanding as well that we're talking about proper gain staging, not running each pre at 100%&#xD;&#xA;&#xD;&#xA;I'd love to hear thoughts and discussion on this, if anyone has science to share on it, I'd also love to hear as well.  Sort of an out there topic but it's one which has had my mind pondering for some time." ContentLicense="CC BY-SA 3.0" />
  <row Id="28567" PostHistoryTypeId="1" PostId="17684" RevisionGUID="0ac0ed47-9873-457a-a5cc-cffdbf00110f" CreationDate="2013-01-14T00:26:15.887" UserId="1228" Text="The 'Sonic' Planck" ContentLicense="CC BY-SA 3.0" />
  <row Id="28568" PostHistoryTypeId="3" PostId="17684" RevisionGUID="0ac0ed47-9873-457a-a5cc-cffdbf00110f" CreationDate="2013-01-14T00:26:15.887" UserId="1228" Text="&lt;sound-theory&gt;&lt;philosophy&gt;&lt;gain&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28569" PostHistoryTypeId="5" PostId="17684" RevisionGUID="9ec81222-5487-4bd4-bd39-605c27097c1f" CreationDate="2013-01-14T00:41:24.403" UserId="1228" Comment="added 219 characters in body" Text="I've been in a philosophical kind of mood as of late, and I've been pondering this question/concept for the past few days and I've love to hear others' thoughts and ideas on it.  Not really a right or wrong answer to this, just something interesting to think about.&#xD;&#xA;&#xD;&#xA;So The Planck length, 1.616199(97)×10− to the 35 is the smallest unit of measurement that we (or rather science I guess) deem as being realistically measurable, anything beyond which smaller unit would seem ludicrous and to some degree redundant.&#xD;&#xA;&#xD;&#xA;It got me thinking about gain in an audio chain.  Such as, using a mixer in front of a recorder to give yourself greater S/N to work with in quiet environments.  If one were to, say, daisychain 100 (or even more) Sound Devices pres (or any other top-tier pres for that matter) to maximize available gain, how quiet of a sound could be picked up?  What sort of noise or harmonics might be &quot;capturable&quot;?  How about considering this realistically (considering the mic self noise, environment, etc) versus theoretical (mic has no self noise, environment is undisturbed quiet, etc)?  Would it reach a threshold or tipping point at which greater noise would be introduced/summed than the gain availability we're creating for ourselves to begin with when daisychaining in more gain (sort of how zipping an MP3 makes it larger rather than smaller)?  And furthermore, how does the cosmic radiation background (white noise, 'sound' of cooling photons which is still being electromagnetically picked up) play into this and does it set some sort of threshold precedent?    I'm considering this question with the understanding as well that we're talking about proper gain staging, not running each pre at 100%&#xD;&#xA;&#xD;&#xA;I'd love to hear thoughts and discussion on this, if anyone has science to share on it, I'd also love to hear as well.  Sort of an out there topic but it's one which has had my mind pondering for some time." ContentLicense="CC BY-SA 3.0" />
  <row Id="28570" PostHistoryTypeId="2" PostId="17685" RevisionGUID="cb311831-ddf0-44b7-aecb-bd3aadc74ee7" CreationDate="2013-01-14T01:16:20.670" UserId="1303" Text="Have you seen the innkeepers? Sound is used as a plot device in a gimmicky way but I thought it was pretty effective.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28571" PostHistoryTypeId="2" PostId="17686" RevisionGUID="8e82f9fb-75cd-4355-a022-5e08a2f0ac58" CreationDate="2013-01-14T02:15:16.363" UserId="29" Text="I use a Pelican micro case for GoPro, charging accessories, and other stuff when sea kayaking.  So, as you might imagine, I don't $#&amp;! around with water protection! :-) Works like a charm. My only complaint about them is that the rubber padding is also the o-ring seal, so you can't remove the padding without removing its waterproofness, unlike a standard Peli case (which has foam and a separate rubber o-ring).&#xD;&#xA;&#xD;&#xA;They're all too small to carry something like a PCM-D50, though. I use a Pelican 1120 case for my PCM-D50. It's a small Pelican, not a micro Pelican, but it's the right size. The 1100 series surprisingly petite; the hardware is scaled down from the 1200-1700 series.&#xD;&#xA;&#xD;&#xA;I've not messed with the Sofi-Cases either, but for large cylindrical objects, my suggestion would be waterproof dufflebags from [Watershed][1]. I keep my DSLR and a big, long lens in one, tucked in my kayak cockpit, for wildlife photography, and it's surprisingly bombproof. They would, if you get the right size, accommodate cylindrical bits like Rycote windshields.&#xD;&#xA;&#xD;&#xA;Hope that helps!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.drybags.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28572" PostHistoryTypeId="2" PostId="17687" RevisionGUID="27c76f9c-67dd-4728-95a2-13c9a27cd6a3" CreationDate="2013-01-14T02:17:20.133" UserId="29" Text="In terms of recent films, I quite liked *The Orphanage*. I thought the sound of *Drag Me To Hell* was especially awful. SSD's own Mr. Prebble was involved in *40 Days of Night,* so maybe that's worth checking out..." ContentLicense="CC BY-SA 3.0" />
  <row Id="28573" PostHistoryTypeId="2" PostId="17688" RevisionGUID="228e37ab-bb23-4862-97a9-5432353b843e" CreationDate="2013-01-14T04:53:07.070" UserId="18160" Text="Might do you good to peruse the &quot;Films to study for excellence in sound design&quot; for thrillers/horrors,&#xD;&#xA;&#xD;&#xA;but these films are what I especially liked for their soundtracks:&#xD;&#xA;&#xD;&#xA;- The Ring&#xD;&#xA;- The Cell&#xD;&#xA;- The Lovely Bones&#xD;&#xA;- The Shining&#xD;&#xA;&#xD;&#xA;I'll think about it for a bit and update my answer if I come up with any newer ones.&#xD;&#xA;&#xD;&#xA;recent sound design and mix I liked:&#xD;&#xA;- Girl with the dragon tattoo" ContentLicense="CC BY-SA 3.0" />
  <row Id="28574" PostHistoryTypeId="5" PostId="17687" RevisionGUID="8f36832b-b886-4cd7-9433-70b3e0949cd6" CreationDate="2013-01-14T05:35:50.997" UserId="29" Comment="added 15 characters in body" Text="In terms of recent films, I quite liked *The Orphanage*. I thought the sound of *Drag Me To Hell* was especially awful. SSD's own Mr. Prebble was involved in */oops/40/oops/ 30 Days of Night,* so maybe that's worth checking out..." ContentLicense="CC BY-SA 3.0" />
  <row Id="28575" PostHistoryTypeId="2" PostId="17689" RevisionGUID="e0ddc6d1-eafd-4401-87f4-df4d58d3e272" CreationDate="2013-01-14T08:17:41.310" UserId="238" Text="Not everyone was a fan, but I found the use of sound in Blair Witch Project at times freakin scary. In particular, the scenes where they are sleeping in the tent, there is no light and we start to hear weird sounds off in the distance. In terms of intensity I found this film awesome." ContentLicense="CC BY-SA 3.0" />
  <row Id="28576" PostHistoryTypeId="2" PostId="17690" RevisionGUID="d75a92d0-c45b-42ef-a135-39d4ed98e1c1" CreationDate="2013-01-14T09:54:51.650" UserDisplayName="user49" Text="While there are plenty of 'technically well made' horror films I can really only name a few horror/thriller films that had any residual depth for me and imho their sound MUST be excellent, otherwise they would not be such effective &amp; powerful films. But it isn't that they are overtly over designed horror film soundtracks... quite the opposite....&#xD;&#xA;&#xD;&#xA;- The Shining by Stanley Kubric&#xD;&#xA;- The Omen by Richard Donner&#xD;&#xA;- Retribution by Kiyoshi Kurosawa&#xD;&#xA;- AntiChrist by Lars von Trier&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28577" PostHistoryTypeId="2" PostId="17691" RevisionGUID="f4a058a8-c03d-4003-bae2-afb52902012c" CreationDate="2013-01-14T12:18:21.557" UserId="3984" Text="Woowww thanks to everybody. Well seems that I will fo for a Sony then... since what I want is to be able to get decent recordings with the internal mics. I have been using H4n and it's been quite impossible to record decent ambients. Interesting thing about the M10, anybody can say anything about the internal mics? should I still go with the D50? I don't mind spending twice the money if it's worth... but I want something that I don't have to replace in the future. So...&#xD;&#xA;&#xD;&#xA;Thanks to everybody again." ContentLicense="CC BY-SA 3.0" />
  <row Id="28578" PostHistoryTypeId="2" PostId="17692" RevisionGUID="65722b85-ec50-4f6b-bc15-6689fd554644" CreationDate="2013-01-14T13:18:17.243" UserId="842" Text="There are a few that impressed me in different ways!&#xD;&#xA;&#xD;&#xA;To begin with, the sound from The Beyond (Lucio Fulci 1981) might be a tab bit crude and coarse, but here it works well! What impressed me here though is a scene where the fact that a ghost girl and her undead dog runs completely silently is heavily emphasized is something I appreciated a lot!&#xD;&#xA;&#xD;&#xA;Froniere(s), an extremely violent and gory French nazisploitationflick, has both a really good mix and sounds with extremely nice texture and aural pain.&#xD;&#xA;&#xD;&#xA;Which leads the Saw 4 and 5. They are a little to the bright side, but the sounds have an amazing texture to it, and is extremely well designed!&#xD;&#xA;&#xD;&#xA;It was a while since I saw it, so I can't exactly remember what it was I liked with it, but the Korean movie The Host is in my &quot;Good Sound Shelf&quot;, and I do remember it was for a good reason :-)&#xD;&#xA;&#xD;&#xA;Though also, like most movies made before the advent of Pro Tools and Nuendo (I guess at least a few of you here remembers the old 35mm full-coat, reel-to-reel and NAB cart machines...), not perfection in sound quality, I really like the sound of Hellraiser! Like in Se7en (one of my absolute favorite sound-movies together with Wall-E and No Country For Old Men), I really think the grit and coarseness of the sound adds to the uncanny feeling of the movies by working with the limitations of the medium instead of against it! Something I can all too well relate to :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28579" PostHistoryTypeId="2" PostId="17693" RevisionGUID="6808fc79-fe55-431a-9db1-05b187e50891" CreationDate="2013-01-14T13:52:44.313" UserId="432" Text="Hmmm....there's potential. I don't know about in a daisy-chain configuration, but maybe it would work in a [source &gt; distributed network &gt; summed signal] configuration. I will confess to having no direct experience with what I'm about to descrie; it's only something I've read about.&#xD;&#xA;&#xD;&#xA;Because of the random quality of Brownian Noise, a signal that gets split, fed to matching electronics, and subsequently summed can have an increase in signal to noise ratio (from a purely electronics standpoint that is...I'll touch on that in next paragraph). A pair of signals from the same source that are summed, after nominal gain in each set of electronics, achieves a 6dB increase in level...while the noise floor from the electronics only receives a 3dB increase in gain. That means you've gained 3dB in the signal-to-noise ratio (note, this is only &quot;self noise&quot;). This was a trick that was used occasionally in analog recording. To my knowledge, this will not work in the digital domain, because there is a finite number of variations that can be present in a digitally encoded system. This will affect exactly how Brownian in nature the system noise is. The higher your bit and sample rate, the farther you might be able to go. But there **will** be a point of diminishing returns, and that point will be far earlier than the point that is capable with an analog signal.&#xD;&#xA;&#xD;&#xA;Any sound **not** generated by the electronics is, in this case, signal; whether it's something you wanted to capture or not. Noise, as I was using it in the previous paragraph, refers **only** to that which is inherent to the electrical ciruits. I think the possibility of recording those commonly &quot;imperceptible&quot; sounds would be reliant on three factors: &#xD;&#xA;&#xD;&#xA; - Can the transducer actually react to those sounds?&#xD;&#xA; - What is the signal-to-noise ratio in the recording environment?&#xD;&#xA; - The number and quality of the components within the analog circuit.&#xD;&#xA;&#xD;&#xA;If the transducer cannot react to those vibrations or [compressions + rarefactions], the sound cannot be recorded. If it can...then even if the sound is in the system's noise floor (remembering that many devices are still **technically** reacting to &quot;signal,&quot; even if it **is** in the noise floor) then it is theoretically possible to get **some** information using that method mentioned above.&#xD;&#xA;&#xD;&#xA;Of course, this would be a pointless exercise if any other sound in the environment is going to mask those commonly imperceptible sounds. There's a point of sound level separation where spectrum proximity is irrelevant to masking. If something is loud enough, it will mask the quieter sound (even if they occupy radically different locations within the sound spectrum). We won't be able to hear that target sound on reproduction...even though it is being recorded.&#xD;&#xA;&#xD;&#xA;As to the number and quality of components...well...no real-world passive or active component operates at &quot;ideal&quot; potential. This would affect just how close to the ideal Brownian Noise the system comes...which would in turn affect your ability to achieve that ideal 3dB gain in signal-to-noise ratio." ContentLicense="CC BY-SA 3.0" />
  <row Id="28584" PostHistoryTypeId="2" PostId="17696" RevisionGUID="e2c54875-fcaa-499a-9fcf-e6e07b613c98" CreationDate="2013-01-14T20:57:12.713" UserId="587" Text="So it seems like Nuendo has a specific plug-in type that just does not exist for the DAW.&#xD;&#xA;&#xD;&#xA;Amazing pitch shifting plug-ins like pitch-n-time and the graphical soundshifter by waves do not work with Nuendo, forcing a scavenger hunt for some kind of pitch plug-in (graphical preferred).&#xD;&#xA;&#xD;&#xA;Something like this would be great:&#xD;&#xA;&#xD;&#xA;http://www.waves.com/Content.aspx?id=284&#xD;&#xA;&#xD;&#xA;Waves Soundshifter does work with Nuendo, but only with limited functionality. Graphical mode is turned off.&#xD;&#xA;&#xD;&#xA;The only workaround that I have seen thus far is just to bounce out any audio needed to be pitched graphically and use Sound Forge to do so.&#xD;&#xA;&#xD;&#xA;Any ideas?&#xD;&#xA;&#xD;&#xA;- C3" ContentLicense="CC BY-SA 3.0" />
  <row Id="28585" PostHistoryTypeId="1" PostId="17696" RevisionGUID="e2c54875-fcaa-499a-9fcf-e6e07b613c98" CreationDate="2013-01-14T20:57:12.713" UserId="587" Text="Nuendo Pitch Shift Plug-ins" ContentLicense="CC BY-SA 3.0" />
  <row Id="28586" PostHistoryTypeId="3" PostId="17696" RevisionGUID="e2c54875-fcaa-499a-9fcf-e6e07b613c98" CreationDate="2013-01-14T20:57:12.713" UserId="587" Text="&lt;plug-ins&gt;&lt;nuendo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28587" PostHistoryTypeId="5" PostId="17696" RevisionGUID="ed5cb960-1fff-4d3d-8931-a7535ccc5730" CreationDate="2013-01-14T22:24:59.573" UserId="587" Comment="added 62 characters in body" Text="(Looking for a *non-factory* based graphical pitch shifter)&#xD;&#xA;&#xD;&#xA;So it seems like Nuendo has a specific plug-in type that just does not exist for the DAW&#xD;&#xA;&#xD;&#xA;Amazing pitch shifting plug-ins like pitch-n-time and the graphical soundshifter by waves do not work with Nuendo, forcing a scavenger hunt for some kind of pitch plug-in (graphical preferred).&#xD;&#xA;&#xD;&#xA;Something like this would be great:&#xD;&#xA;&#xD;&#xA;http://www.waves.com/Content.aspx?id=284&#xD;&#xA;&#xD;&#xA;Waves Soundshifter does work with Nuendo, but only with limited functionality. Graphical mode is turned off.&#xD;&#xA;&#xD;&#xA;The only workaround that I have seen thus far is just to bounce out any audio needed to be pitched graphically and use Sound Forge to do so.&#xD;&#xA;&#xD;&#xA;Any ideas?&#xD;&#xA;&#xD;&#xA;- C3" ContentLicense="CC BY-SA 3.0" />
  <row Id="28588" PostHistoryTypeId="2" PostId="17697" RevisionGUID="0bd00236-449e-4557-8258-0ba27a491d84" CreationDate="2013-01-14T22:40:45.120" UserId="234" Text="An oldie but a goodie... 1963's &quot;The Haunting&quot;, directed by Robert Wise. Just about ALL the scare factor comes from the sound. A primer on making things sound spooky, and all done before digital - not that that makes it BETTER, just proof that a zillion plug-ins don't necessarily make good sound design.&#xD;&#xA;&#xD;&#xA;Also someone mentioned &quot;Drag Me to Hell&quot;, but for a much finer example of that crew (Marti Humphries and Co.) check out &quot;The Exorcism of Emily Rose&quot;. &quot;Hell&quot; being a Raimi film was by necessity somewhat more over the top, while &quot;Exorcism&quot; plays on a more subtle note.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28589" PostHistoryTypeId="2" PostId="17698" RevisionGUID="5bc9ff4e-1539-4a0d-a97c-342ea4df90e7" CreationDate="2013-01-14T23:58:50.733" UserId="5651" Text="Aural Chef, do you know where you saw that video of George Lucas? I'm looking for teaching materials." ContentLicense="CC BY-SA 3.0" />
  <row Id="28590" PostHistoryTypeId="5" PostId="17698" RevisionGUID="2bfd5296-d84b-4efe-967b-12e6827fd7df" CreationDate="2013-01-15T06:54:34.927" UserId="5651" Comment="(edit,formatting)" Text="@Aural Chef, do you know where you saw that video of George Lucas? I'm looking for teaching materials." ContentLicense="CC BY-SA 3.0" />
  <row Id="28591" PostHistoryTypeId="2" PostId="17699" RevisionGUID="76d33f08-de37-4c74-983c-6c1f9a1614bf" CreationDate="2013-01-15T07:54:21.527" UserId="7642" Text="Yep it's a university thing here...&#xD;&#xA;&#xD;&#xA;Tuesdays at ten at some of the housing areas connected to some universities. &#xD;&#xA;Should be recordable. &#xD;&#xA;I have to much of a cold ATM to do it right now. &#xD;&#xA;Should it be recorded during winter/snow (dampened and less apparent reflections) or wait until the snow is gone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28592" PostHistoryTypeId="2" PostId="17700" RevisionGUID="b057febf-b667-4fe2-9e72-c6f7365c119d" CreationDate="2013-01-15T08:14:59.500" UserId="310" Text="Nuendo has Group Channel Track. &#xD;&#xA;&#xD;&#xA;- Just create wanted mono busses and mix it down to Main Output or Create 5.1 (up to 10.2) Bus (STEM) STEM. Use **@aural-chef** method with F4 shortcut.&#xD;&#xA;- In mixer there is Direct routing which help you to route faster...&#xD;&#xA;-  For details take a look into manual there is a lot of information there!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28595" PostHistoryTypeId="2" PostId="17701" RevisionGUID="b312f624-fb2a-4453-aefe-39bb322cb86a" CreationDate="2013-01-15T10:45:08.963" UserId="5645" Text="I’m moving from Protools LE 8 Digi rack 002 to protools 10.&#xD;&#xA;When I upgrade do I continue to use the digi rack 002 hardware or do you just use a good soundcard instead.&#xD;&#xA;Or what is the way to do it.&#xD;&#xA;I also use a two track editor, can you play back from that and protools if you just have a sound card.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28596" PostHistoryTypeId="1" PostId="17701" RevisionGUID="b312f624-fb2a-4453-aefe-39bb322cb86a" CreationDate="2013-01-15T10:45:08.963" UserId="5645" Text="PT 8 - pt 10 hardware" ContentLicense="CC BY-SA 3.0" />
  <row Id="28597" PostHistoryTypeId="3" PostId="17701" RevisionGUID="b312f624-fb2a-4453-aefe-39bb322cb86a" CreationDate="2013-01-15T10:45:08.963" UserId="5645" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28598" PostHistoryTypeId="2" PostId="17702" RevisionGUID="79cc4844-d803-47df-acdd-91613432dd49" CreationDate="2013-01-15T11:42:06.573" UserId="1216" Text="I guess this is something you should ask on the Avid forums (DUC).&#xD;&#xA;Also I recommend to check the faq's on the Avid website.&#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="28599" PostHistoryTypeId="2" PostId="17703" RevisionGUID="1012f7d9-ece5-4aec-919d-d1a117cacd73" CreationDate="2013-01-15T11:43:00.887" UserId="5645" Text="If I want to transfer files from an external mac hfs formatted drive to my PC.&#xD;&#xA;And I have an extra internal drive formatted on my pc for hfs do I still need something like mac drive?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28600" PostHistoryTypeId="1" PostId="17703" RevisionGUID="1012f7d9-ece5-4aec-919d-d1a117cacd73" CreationDate="2013-01-15T11:43:00.887" UserId="5645" Text="Internal drive on pc formatted for hfs" ContentLicense="CC BY-SA 3.0" />
  <row Id="28601" PostHistoryTypeId="3" PostId="17703" RevisionGUID="1012f7d9-ece5-4aec-919d-d1a117cacd73" CreationDate="2013-01-15T11:43:00.887" UserId="5645" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28602" PostHistoryTypeId="2" PostId="17704" RevisionGUID="ed95658a-8734-4ca3-adf5-13db7b9857f6" CreationDate="2013-01-15T12:30:30.387" UserId="432" Text="...and your PC can read that Mac formatted drive?&#xD;&#xA;&#xD;&#xA;Sounds like your computer already has a version of Mac Drive installed. Do you have an older version of Pro Tools that installed HFS+ support? If so, that's an older version of Mac Drive, and you should be fine.&#xD;&#xA;&#xD;&#xA;Just a heads up, Avid is no longer paying for the right to distribute HFS+ support with Pro Tools. If you upgrade to 10, it gets uninstalled. You'll need to purchase Mac Drive at that point, or else your PC will no longer be able to read Mac formatted drives. I've heard that some people have been able to preserve the HFS+ support by uninstalling the old version of Pro Tools (preserving HFS+ support), then installing 10. I've never spoken to anyone who has done this though, and it might be conjecture on the part of the people who have mentioned it." ContentLicense="CC BY-SA 3.0" />
  <row Id="28603" PostHistoryTypeId="2" PostId="17705" RevisionGUID="3b627f7b-2dc2-4ec3-9db0-c4379b621ced" CreationDate="2013-01-15T12:35:51.600" UserId="432" Text="You can still use the 002 Rack with Pro Tools 10. I do.&#xD;&#xA;&#xD;&#xA;You'll need to download the updated drivers though. They can be found [here][1], under the &quot;Firewire Device Drivers&quot; heading. Install those **before** updating to 10.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avid.force.com/pkb/articles/en_US/download/en379411?popup=true" ContentLicense="CC BY-SA 3.0" />
  <row Id="28604" PostHistoryTypeId="2" PostId="17706" RevisionGUID="f3dda044-d154-4e6a-8918-73ec1a9d9491" CreationDate="2013-01-15T13:36:28.147" UserId="221" Text="Yes the 002R will work fine with PT10, I too use it and all is fine.However come Pro tools 11 it is unlikely that the 002R will work. Avid have announced that the 002 family amongst others will no longer 'supported' after PT10. However what is not clear is if it will continue to work. Other 'unsupported' hardware like ProControl still works OK." ContentLicense="CC BY-SA 3.0" />
  <row Id="28605" PostHistoryTypeId="2" PostId="17707" RevisionGUID="2044f3c7-119b-45fe-9f15-420913e057ca" CreationDate="2013-01-15T17:57:37.310" UserId="5652" Text="Hello everyone&#xD;&#xA;&#xD;&#xA;I need a little help here, does anyone might recognize what the soundsource of the sounds in this sample: https://soundcloud.com/pandroid77/sound-sample &#xD;&#xA;&#xD;&#xA;I would be really grateful,&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="28606" PostHistoryTypeId="1" PostId="17707" RevisionGUID="2044f3c7-119b-45fe-9f15-420913e057ca" CreationDate="2013-01-15T17:57:37.310" UserId="5652" Text="Need help with recognizing a sound source" ContentLicense="CC BY-SA 3.0" />
  <row Id="28607" PostHistoryTypeId="3" PostId="17707" RevisionGUID="2044f3c7-119b-45fe-9f15-420913e057ca" CreationDate="2013-01-15T17:57:37.310" UserId="5652" Text="&lt;sample&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28608" PostHistoryTypeId="2" PostId="17708" RevisionGUID="48345a91-1270-4ba0-a8ee-fc0551a76efe" CreationDate="2013-01-15T19:16:40.767" UserId="3567" Text="Strings and percussion, plus reverb. Alternately, some synth patch." ContentLicense="CC BY-SA 3.0" />
  <row Id="28609" PostHistoryTypeId="5" PostId="17707" RevisionGUID="a192e2a5-e4d2-4901-95b5-17ee605766ad" CreationDate="2013-01-15T19:21:42.470" UserId="5652" Comment="added 2 characters in body" Text="Hello everyone&#xD;&#xA;&#xD;&#xA;I need a little help here, does anyone might recognize what's the soundsource of the sounds in this sample: https://soundcloud.com/pandroid77/sound-sample &#xD;&#xA;&#xD;&#xA;I would be really grateful,&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="28611" PostHistoryTypeId="2" PostId="17710" RevisionGUID="0518a519-6417-4779-9f1a-de221e3d7d3a" CreationDate="2013-01-15T20:58:15.600" UserId="130" Text="https://soundcloud.com/eduardopolitzer/cigarra-premix&#xD;&#xA;&#xD;&#xA;Hi audio-people &#xD;&#xA;&#xD;&#xA;I've been trying to create from scratch some cicada sounds, maybe someone here can help me in this crazy idea.&#xD;&#xA;&#xD;&#xA;the link above is an idea of how far I've gone so far.&#xD;&#xA;&#xD;&#xA;I've done that in Reason and protools using only subtractive synthesis and HP filtering.&#xD;&#xA;&#xD;&#xA;So... any ideas?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28612" PostHistoryTypeId="1" PostId="17710" RevisionGUID="0518a519-6417-4779-9f1a-de221e3d7d3a" CreationDate="2013-01-15T20:58:15.600" UserId="130" Text="help synthesizing cicadas" ContentLicense="CC BY-SA 3.0" />
  <row Id="28613" PostHistoryTypeId="3" PostId="17710" RevisionGUID="0518a519-6417-4779-9f1a-de221e3d7d3a" CreationDate="2013-01-15T20:58:15.600" UserId="130" Text="&lt;sound-design&gt;&lt;insects&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28614" PostHistoryTypeId="2" PostId="17711" RevisionGUID="a9c5b010-28c8-4b97-8655-3b428cf540d1" CreationDate="2013-01-15T21:26:31.507" UserDisplayName="user49" Text="What analysis have you done of real cicadas? if you pitch/slow them down you can hear the rhythm of their individual stridulations, so that would a good starting point... Your version sounds very smeared, rather than percussive....&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/cicadas-meet-pitch-shift&#xD;&#xA;&#xD;&#xA;Of course it also depends exactly what cicada you are trying to create - their sound varies hugely depending on species ie cicadas in NZ sound nothing like cicadas in Japan" ContentLicense="CC BY-SA 3.0" />
  <row Id="28615" PostHistoryTypeId="2" PostId="17712" RevisionGUID="a3008962-70a9-4ca0-a9e8-56935f92053e" CreationDate="2013-01-15T21:31:04.780" UserId="3984" Text="Is the PCM D50 really woth twice the price compared with the M10?&#xD;&#xA;I want them for recording ambiences, birds, waterfalls, animals... &#xD;&#xA;&#xD;&#xA;Is there such a big diference with the internal mics or not (noise floor)  ? I don't really want the digital input on the D50 so...&#xD;&#xA;&#xD;&#xA;Anybody ever tryed to compare them?&#xD;&#xA;&#xD;&#xA;Thank you very much." ContentLicense="CC BY-SA 3.0" />
  <row Id="28616" PostHistoryTypeId="1" PostId="17712" RevisionGUID="a3008962-70a9-4ca0-a9e8-56935f92053e" CreationDate="2013-01-15T21:31:04.780" UserId="3984" Text="Sony PCM D50 vs PCM M10 ( internal mics)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28617" PostHistoryTypeId="3" PostId="17712" RevisionGUID="a3008962-70a9-4ca0-a9e8-56935f92053e" CreationDate="2013-01-15T21:31:04.780" UserId="3984" Text="&lt;sony-pcm-d50&gt;&lt;pcm-m10&gt;&lt;ambience&gt;&lt;field-recording&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28618" PostHistoryTypeId="2" PostId="17713" RevisionGUID="6b870264-a6ab-4aca-b245-f78e6b57e6a2" CreationDate="2013-01-15T23:18:41.133" UserId="6432" Text="Bizarre that this has come up before....twice!&#xD;&#xA;&#xD;&#xA;Check this thread for some good links to Andy Farnell's work:&#xD;&#xA;&#xD;&#xA;[http://socialsounddesign.com/questions/5901/how-do-you-design-a-cricket-sound][1]&#xD;&#xA;&#xD;&#xA;also here:&#xD;&#xA;&#xD;&#xA;[http://socialsounddesign.com/questions/14134/creating-insect-and-meadow-ambient-noises-without-recording-insects-or-meadow-abi][2]&#xD;&#xA;&#xD;&#xA;Good luck with it.&#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/5901/how-do-you-design-a-cricket-sound&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/14134/creating-insect-and-meadow-ambient-noises-without-recording-insects-or-meadow-abi" ContentLicense="CC BY-SA 3.0" />
  <row Id="28619" PostHistoryTypeId="2" PostId="17714" RevisionGUID="7b5f7cbe-780e-4e1b-a80d-7ef3e32cb41b" CreationDate="2013-01-15T23:46:18.970" UserId="3835" Text="I would suggest granular synthesis in some form.. it's one of the greatest tools for producing 'random' textural sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="28620" PostHistoryTypeId="2" PostId="17715" RevisionGUID="cb4077c3-8cdc-43fe-b36f-659a3cbff489" CreationDate="2013-01-16T03:01:38.103" UserId="5590" Text="I have a client who is about filming part of a documentaru in Israel and is looking to purchase 2 radio mics for the shoot. They will be purchased in Germany. It looks as though Sennheiser may not be usable there. Can anybody suggest what radio mics are usable please? Have never had to think about this issue and information seems to be hard to come by. Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28621" PostHistoryTypeId="1" PostId="17715" RevisionGUID="cb4077c3-8cdc-43fe-b36f-659a3cbff489" CreationDate="2013-01-16T03:01:38.103" UserId="5590" Text="Radio Mics Usable in Israel?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28622" PostHistoryTypeId="3" PostId="17715" RevisionGUID="cb4077c3-8cdc-43fe-b36f-659a3cbff489" CreationDate="2013-01-16T03:01:38.103" UserId="5590" Text="&lt;radiomics&gt;&lt;international&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28623" PostHistoryTypeId="2" PostId="17716" RevisionGUID="d0a2c8b0-342f-4efc-8303-2fc4f2f51757" CreationDate="2013-01-16T06:13:48.773" UserId="3890" Text="Seconding RX. Massive satisfaction when it works for the presenting noise types.&#xD;&#xA;&#xD;&#xA;Note, it can be a long haul depending on the shape and tonality of the noise. I imagine the handling noise issue being quite invasive.  &#xD;&#xA;&#xD;&#xA;Here's an Isotope demo of high frequency removal. Not representational of handing noise but it's an intro.&#xD;&#xA;http://www.youtube.com/watch?v=qwdECSt3qX4&amp;feature=player_embedded&#xD;&#xA;&#xD;&#xA;And another with a Declipping example:&#xD;&#xA;http://www.youtube.com/watch?v=FsYCpnGNgAo&amp;list=PL0CE41F83D2BC1BDF&amp;index=9" ContentLicense="CC BY-SA 3.0" />
  <row Id="28624" PostHistoryTypeId="2" PostId="17717" RevisionGUID="2f51ec01-d68a-47ee-80e5-b8c0f7612f06" CreationDate="2013-01-16T09:41:08.170" UserId="4431" Text="Best ask in the JWsoundgroup.net forum. They'll know. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28625" PostHistoryTypeId="2" PostId="17718" RevisionGUID="c7736e37-68e5-4aab-9c7d-a48817a70ea3" CreationDate="2013-01-16T10:51:52.747" UserId="348" Text="Hello,&#xD;&#xA;&#xD;&#xA;We are in the beginning stages of deciding what to buy for a new film school. Er are looking at Sound Device 722 and the SD552 but I think we have settled on the 722.&#xD;&#xA;&#xD;&#xA; I have a question though regarding the SD cards for the 552 and the compact flashcards for the 722. I have heard that the CF cards are faster and more reliable than the SD cards. Can anyone shed some light on which is more reliable? &#xD;&#xA;&#xD;&#xA;Thank you. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28626" PostHistoryTypeId="1" PostId="17718" RevisionGUID="c7736e37-68e5-4aab-9c7d-a48817a70ea3" CreationDate="2013-01-16T10:51:52.747" UserId="348" Text="The difference between SD Cards and Compact flashcards" ContentLicense="CC BY-SA 3.0" />
  <row Id="28627" PostHistoryTypeId="3" PostId="17718" RevisionGUID="c7736e37-68e5-4aab-9c7d-a48817a70ea3" CreationDate="2013-01-16T10:51:52.747" UserId="348" Text="&lt;sd&gt;&lt;cards&gt;&lt;cf&gt;&lt;device&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28628" PostHistoryTypeId="2" PostId="17719" RevisionGUID="6d7f5a05-4061-4560-9a8d-e86fc1b3f4a7" CreationDate="2013-01-16T10:52:59.970" UserId="2524" Text="just thought i'd add to the confusion - i had a D50 die on me, apparently the whole circuit board needs replacing, and tried various shops in london, none of which were able to source any parts. which implies that it has been discontinued after all. possibly. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28629" PostHistoryTypeId="2" PostId="17720" RevisionGUID="d4f96fd7-aa9a-4a13-af8f-d024e8b0609c" CreationDate="2013-01-16T17:23:04.093" UserId="6454" Text="They could have been using ISDN: transmitting Timecode and locking the 2 systems.  We do it all the time for ADR when clients are in LA and talent is in NYC.  You send TC on channel 1 of the ISDN signal, the receiving system chases to that, then you send the ADR audio via channel 2 and everything is locked." ContentLicense="CC BY-SA 3.0" />
  <row Id="28630" PostHistoryTypeId="2" PostId="17721" RevisionGUID="b3ac5498-604c-4fd8-b259-563a62a6ac6f" CreationDate="2013-01-16T18:18:09.727" UserId="517" Text="[WingfieldAudio.com][1] has extensive reviews of several handheld sound recorders, including the D50 and the M10. Most interestingly, they have [side by side recording sample tests][2] that you can use for comparison. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wingfieldaudio.com/index.html&#xD;&#xA;  [2]: http://www.wingfieldaudio.com/portable-recorder-sound-samples.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="28631" PostHistoryTypeId="2" PostId="17722" RevisionGUID="c27bf363-2834-428b-a722-06d0c6e0cc1d" CreationDate="2013-01-16T18:37:14.750" UserId="3179" Text="I haven't used the D50, but I had a M10 and realized what makes the price difference between those.&#xD;&#xA;&#xD;&#xA;In terms of circuits, the M10 sounds good/balanced and clean. It (and the Sony range) must be the best sounding and cleanest in portable recorders, until you spend a lot more money.&#xD;&#xA;&#xD;&#xA;However, the more important difference is in how the microphones are implemented. The M10 has two **omnis** in a fixed angle. This is not a &quot;known standard&quot; for stereo micing (I think M10 is the only portable recorder with this kind of configuration) and you can hear it, the sound field in stereo is narrow and the sound is unfocused and blurry (because of the omni patterns). I sold the M10, because I thought it was unusable for recording stereo that sounds &quot;correct&quot; and focused, and obviously you can't record in mono either as it doesn't have an external mic input.&#xD;&#xA;&#xD;&#xA;The D50 has two **cardioids** in adjustable &quot;XY&quot;. I guess it would solve the problems the M10 has in its stereofield, which are very obvious when recording ambiences." ContentLicense="CC BY-SA 3.0" />
  <row Id="28632" PostHistoryTypeId="5" PostId="17722" RevisionGUID="6bfd8fec-aeb2-4614-92da-b16d199775ff" CreationDate="2013-01-16T18:46:27.830" UserId="3179" Comment="added 138 characters in body; deleted 16 characters in body; added 4 characters in body" Text="I haven't used the D50, but I had a M10 and realized what makes the price difference between those.&#xD;&#xA;&#xD;&#xA;In terms of circuits, the M10 sounds good/balanced and clean. It (and the Sony range) must be the best sounding and cleanest in portable recorders, until you spend a lot more money.&#xD;&#xA;&#xD;&#xA;However, the more important difference is in how the microphones are implemented. The M10 has two **omnis** in a fixed angle. This is not a &quot;known standard&quot; for stereo micing (I think M10 is the only portable recorder with this kind of configuration) and you can hear it, the sound field in stereo is narrow and the sound is unfocused and blurry (because of the omni patterns). I sold the M10, because I thought it was unusable for recording stereo that sounds &quot;correct&quot; and focused, and obviously you can't record in mono either as it doesn't have an external mic input.&#xD;&#xA;&#xD;&#xA;The D50 has two **cardioids** in adjustable &quot;XY&quot;. I guess it would solve the problems the M10 has in its stereofield, which are very obvious when recording ambiences.&#xD;&#xA;&#xD;&#xA;I think the M10 definitely isn't for the pro audio market (the D50 &quot;could&quot; be), but rather for reporting and taking notes." ContentLicense="CC BY-SA 3.0" />
  <row Id="28633" PostHistoryTypeId="2" PostId="17723" RevisionGUID="b2ed0241-8e1c-4d01-93b6-9da894fd8b7c" CreationDate="2013-01-16T20:25:18.047" UserId="5655" Text="This is not really meant to be sarcastic, just wondering assuming you have the best equipment you can afford, which I do, what else do I need to think about when recording fx indoors?  Getting the mic close to the source and hitting record on Pro Tools is what I know so far.  Would love to hear other opinions and/or resources so I can get the best possible recordings.  Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28634" PostHistoryTypeId="1" PostId="17723" RevisionGUID="b2ed0241-8e1c-4d01-93b6-9da894fd8b7c" CreationDate="2013-01-16T20:25:18.047" UserId="5655" Text="What else do I need to know besides pointing and clicking record?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28635" PostHistoryTypeId="3" PostId="17723" RevisionGUID="b2ed0241-8e1c-4d01-93b6-9da894fd8b7c" CreationDate="2013-01-16T20:25:18.047" UserId="5655" Text="&lt;sound-fx&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28636" PostHistoryTypeId="2" PostId="17724" RevisionGUID="85f01c0b-dc84-4a69-b6cf-72ea3f264d05" CreationDate="2013-01-16T20:41:56.177" UserId="5656" Text="The 722 and 552 are both great recorders - solid, well designed, reliable. Neither has full timecode capability. If you want to teach film then students ought to know about timecode. &#xD;&#xA;&#xD;&#xA;722 has only two tracks - not enough for even basic film recording. 744T is really a minimum IMHO.&#xD;&#xA;&#xD;&#xA;Also the 722 has a hard drive as well as a card so the card speed is pretty irrelevant. Did you mean the 702 which is card only? " ContentLicense="CC BY-SA 3.0" />
  <row Id="28637" PostHistoryTypeId="2" PostId="17725" RevisionGUID="117be49f-b300-4ed3-9795-1f136707ecb0" CreationDate="2013-01-16T21:04:07.673" UserId="5657" Text="MY guess would be a cello, no percussion, with an artificial reverb that enforces the low-end a lot.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28638" PostHistoryTypeId="2" PostId="17726" RevisionGUID="f8b824c7-73ca-4420-8dde-5b6a81c59843" CreationDate="2013-01-16T21:31:22.223" UserId="5654" Text="I've owned the D50 since 2008.  The unit has been rock solid for me.  I've even used it as a recorder (bypassing the internal mics) with a feed from a SD MixPre with surprisingly solid results from the 1/8&quot; jack.  I use the mic now as a discrete recorder when I don't want to bring attention to myself.&#xD;&#xA;&#xD;&#xA;If you want to achieve the highest quality results for this semi-pro recorder the Rycote system is imperative.  Don't let handling noise ruin your great recordings.&#xD;&#xA;&#xD;&#xA;When recording ambiences be careful not to raise the pre so high, as it can get a little noisy when raising it to 7 or so; this seems to be my only issue with the unit.  &#xD;&#xA;&#xD;&#xA;In my opinion it's a good buy because it's not something you still wouldn't want to own when upgrading your recorder.  &#xD;&#xA;&#xD;&#xA;The design is also awesome, I feel like a Ghostbuster when I'm using it.&#xD;&#xA;&#xD;&#xA;Hope this information helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="28639" PostHistoryTypeId="2" PostId="17727" RevisionGUID="a5c7ed86-d5e9-46ac-b3d9-33fe9265714d" CreationDate="2013-01-16T21:36:32.797" UserId="3179" Text="You need to listen to the recordings that you pick up and define whether they are good or whether you want/need to improve them. Then do what is needed to improve what you're picking up (adjust the sound source, adjust the mic setup and handling, adjust the room/environment or buy better equipment).&#xD;&#xA;&#xD;&#xA;After you start thinking less about how to record, you can start focusing on why (i.e. what) you record." ContentLicense="CC BY-SA 3.0" />
  <row Id="28640" PostHistoryTypeId="5" PostId="17722" RevisionGUID="0333d8b4-f1e3-46d2-bdf2-f1ada22ad67f" CreationDate="2013-01-16T21:44:27.500" UserId="3179" Comment="deleted 88 characters in body" Text="I haven't used the D50, but I had a M10 and realized what makes the price difference between those.&#xD;&#xA;&#xD;&#xA;In terms of circuits, the M10 sounds good/balanced and clean. It (and the Sony range) must be the best sounding and cleanest in portable recorders, until you spend a lot more money.&#xD;&#xA;&#xD;&#xA;However, the more important difference is in how the microphones are implemented. The M10 has two **omnis** in a fixed angle. This is not a &quot;known standard&quot; for stereo micing (I think M10 is the only portable recorder with this kind of configuration) and you can hear it, the sound field in stereo is narrow and the sound is unfocused and blurry (because of the omni patterns). I sold the M10, because I thought it was unusable for recording stereo that sounds &quot;correct&quot; and focused.&#xD;&#xA;&#xD;&#xA;The D50 has two **cardioids** in adjustable &quot;XY&quot;. I guess it would solve the problems the M10 has in its stereofield, which are very obvious when recording ambiences.&#xD;&#xA;&#xD;&#xA;I think the M10 definitely isn't for the pro audio market (the D50 &quot;could&quot; be), but rather for reporting and taking notes." ContentLicense="CC BY-SA 3.0" />
  <row Id="28641" PostHistoryTypeId="5" PostId="17722" RevisionGUID="ff2160f2-b003-4169-a71f-e678ec7476c8" CreationDate="2013-01-16T21:53:57.267" UserId="3179" Comment="edited body; added 4 characters in body; added 5 characters in body" Text="I haven't used the D50, but I had a M10 and realized what makes the price difference between those.&#xD;&#xA;&#xD;&#xA;In terms of circuits, the M10 sounds good/balanced and clean. It (and the Sony range) must be the best sounding and cleanest in portable recorders, until you spend a lot more money.&#xD;&#xA;&#xD;&#xA;However, the more important difference is in how the microphones are implemented. The M10 has two **omnis** in a fixed angle. This is not a &quot;known standard&quot; for stereo micing (I think M10 is the only portable recorder with this kind of configuration) and you can hear it, the sound field in stereo is narrow and the sound is unfocused and blurry (because of the omni patterns). I sold the M10, because I thought it was unusable for recording stereo that sounds &quot;correct&quot; and focused.&#xD;&#xA;&#xD;&#xA;The D50 has two **cardioids** in adjustable &quot;XY&quot;. I guess it would solve the problems the M10 has in its stereofield, which are very obvious when recording ambiences.&#xD;&#xA;&#xD;&#xA;I think the M10 internal mics aren't for the pro audio market (the D50 mics &quot;could&quot; be), but rather for reporting and taking notes." ContentLicense="CC BY-SA 3.0" />
  <row Id="28642" PostHistoryTypeId="2" PostId="17728" RevisionGUID="f917e5aa-44fc-4f70-8889-73dc40e7f89f" CreationDate="2013-01-16T21:56:01.893" UserId="4390" Text="I have used external PIP mics to overcome the dull stereo performance of the internals.&#xD;&#xA;Primo EM172 omni electrets in AB config (I suspect many others here use these) helps a lot. Supposedly, this is the same brand and type as the M10's internals actually - very quiet (good enough for even rather quiet outdoor ambiences). And very cheap..." ContentLicense="CC BY-SA 3.0" />
  <row Id="28643" PostHistoryTypeId="2" PostId="17729" RevisionGUID="dc299538-c691-47fa-b87a-f7836ca6adbc" CreationDate="2013-01-16T22:33:16.047" UserId="5654" Text="A common question on here seems to be a recommendation for a SFX mic (mostly indoors).  I too am currently mulling over this same issue.  &#xD;&#xA;&#xD;&#xA;I am planning to do several SFX libraries in the near future, and was wondering if anyone with similar experience could point me in the right direction.  I need a mic for indoor SFX that I could also possibly use as a dialog mic indoors.&#xD;&#xA;&#xD;&#xA;One question I have is in terms of mono/stereo options.  Most SFX libraries are Stereo (I assume because of the ease of going from Stereo to Mono in any DAW).  I have always recorded my SFX for projects in mono with my AKG c414B-XLS and have set a delay or chorus if I wanted to &quot;beef&quot; them up a little.  That being said, I'm confused as to whether I should buy a short shotgun, hyper, matched stereo pair or single stereo mic for indoor SFX?&#xD;&#xA;&#xD;&#xA;Some mics I have considered are:&#xD;&#xA;&#xD;&#xA;-stereo pair of Beyerdynamic MC930s (this would allow me record in stereo indoors and possibly outdoor ambiences).  Maybe even use a single mic as a backup for indoor dialog?&#xD;&#xA;&#xD;&#xA;Sanken CSS-5 (can record in stereo or mono, possibly use it as a dialog mic for film, outdoors but may not be the best for SFX and I'll have less flexibility with the the fixed stereo positions as opposed to the MC930s.&#xD;&#xA;&#xD;&#xA;Schoeps MK41 (seems like people use this for SFX but it would leave me with mono recordings but I've used this indoors for dialog and was really impressed)&#xD;&#xA;&#xD;&#xA;So this is my predicament.  I just got paid for a post gig that I worked very hard on and almost went crazy over so I want to make this purchase count.&#xD;&#xA;&#xD;&#xA;Thank you for your input" ContentLicense="CC BY-SA 3.0" />
  <row Id="28644" PostHistoryTypeId="1" PostId="17729" RevisionGUID="dc299538-c691-47fa-b87a-f7836ca6adbc" CreationDate="2013-01-16T22:33:16.047" UserId="5654" Text="Recording SFX in mono or stereo / Mic options?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28645" PostHistoryTypeId="3" PostId="17729" RevisionGUID="dc299538-c691-47fa-b87a-f7836ca6adbc" CreationDate="2013-01-16T22:33:16.047" UserId="5654" Text="&lt;sfx&gt;&lt;recording&gt;&lt;stereo&gt;&lt;schoeps&gt;&lt;sanken&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28646" PostHistoryTypeId="2" PostId="17730" RevisionGUID="9846c30d-8aec-4b09-8987-a1e0d233e24b" CreationDate="2013-01-16T22:47:56.723" UserDisplayName="user49" Text="Such choices are really dictated by what you are recording and where....&#xD;&#xA;&#xD;&#xA; - Choices of mono or stereo - is a stereo image important? it depends on what you're recording.... Dual mono/discrete stereo may be more valuable, or M/S may be (&amp; may tie in better to also having a good dialogue mic) &#xD;&#xA;&#xD;&#xA; - Indoors but does room acoustic matter? &#xD;&#xA;&#xD;&#xA; - How loud is what you plan to record? i.e. how sensitive do the mic/s need to be? How important is self noise?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;These are all questions to ask yourself but the best suggestion I can make is to rent and/or borrow the mics you are seriously considering, to audition them with your own ears - it is the only way you will know for sure ie do a test recording of a range of sounds to get a feel for how each mic responds....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28647" PostHistoryTypeId="2" PostId="17731" RevisionGUID="e6df82f5-46ec-44c4-b002-833ff3213442" CreationDate="2013-01-16T22:52:27.210" UserId="29" Text="By no means a canonical list, but what I've found has become most useful to me, in situations like yours (recording SFX in a controlled interior as opposed to field recording):&#xD;&#xA;&#xD;&#xA;- Know your polar patterns. Shotguns vs. cardioids vs. omnis, etc. etc. - they all have unique advantages and disadvantages that indoor conditions usually amplify.&#xD;&#xA;- Know your room. This can also influence your mono vs. stereo recording choices, how you treat a room, and the all-important knowledge of knowing where you shouldn't record.&#xD;&#xA;- Know your microphones and their underlying technologies: What's fragile, what's robust, what's overly sensitive to the proximity effect, what's bright vs. dull, what off-axis freq response is like, etc. Like how a chef knows that certain pots or knives are better for certain tasks.&#xD;&#xA;- Know about mic positioning: High, low, close, far, and how all that varies based on the physical attributes of the object or thing you're recording, what its materials are, and how they behave and propagate, amplify, or attenuate sound.&#xD;&#xA;- Know as much as you can about what it is you want to use the sounds for. This may be known or not, but could impact how hot your recordings can or should be, and certainly how you might master the recordings after the session.&#xD;&#xA;- Know how to self-assess, be self-critical, and assess each session as objectively as you can. From bad sessions can come intense education, and from great sessions can come techniques you can use for a lifetime.&#xD;&#xA;- If at all possible, observe or assist those more skilled than yourself." ContentLicense="CC BY-SA 3.0" />
  <row Id="28648" PostHistoryTypeId="2" PostId="17732" RevisionGUID="17fb391b-c856-43ef-bb7d-4a24bfc3f843" CreationDate="2013-01-16T22:57:31.750" UserId="29" Text="A thoroughly unscientific opinion is that on my recording devices, on my computers, with my flash media, my CF's are faster than my SD's. But that could also be due to a wide number of factors and shouldn't be considered a rule.&#xD;&#xA;&#xD;&#xA;I really don't think it matters relative to the ultimate question: How is your school going to use these? If the recorder is specifically for SFX shoots, sure, a 702 is economical and does use CF cards. If you're recording multiple tracks of dialog during actual production, then you should use a 744 (where the CF card is more for a safety backup) or the 552 (which tops out at 96kHz, unlike the 744 which tops out at 192kHz)...or any number of other options, including the Zaxcom Nomad, Nomad Lite, or even a used Deva." ContentLicense="CC BY-SA 3.0" />
  <row Id="28649" PostHistoryTypeId="5" PostId="17732" RevisionGUID="60dc638c-3517-492a-9a19-d454267c2963" CreationDate="2013-01-17T01:18:17.083" UserId="29" Comment="added 369 characters in body" Text="A thoroughly unscientific opinion is that on my recording devices, on my computers, with my flash media, my CF's are faster than my SD's. But that could also be due to a wide number of factors and shouldn't be considered a rule.&#xD;&#xA;&#xD;&#xA;I really don't think it matters relative to the ultimate question: How is your school going to use these? If the recorder is specifically for SFX shoots, sure, a 702 is economical and does use CF cards. If you're recording multiple tracks of dialog during actual production, then you should use a 744 (where the CF card is more for a safety backup) or the 552 (which tops out at 96kHz, unlike the 744 which tops out at 192kHz)...or any number of other options, including the Zaxcom Nomad, Nomad Lite, or even a used Deva.&#xD;&#xA;&#xD;&#xA;*UPDATE:* Checking some quick websites it seems that indeed CF cards in devices have a general 2x to 3x speed bonus over SDHC cards of similar capacity, at least in cameras. Seems to me that as long as the cards can keep up with the data rate required - not hard with audio, as compared to video - the only gotcha is transfer speeds from device to editing computer." ContentLicense="CC BY-SA 3.0" />
  <row Id="28650" PostHistoryTypeId="5" PostId="17573" RevisionGUID="c417229a-cc59-404a-94ec-c2cc2ff1b9f8" CreationDate="2013-01-17T01:33:31.040" UserId="61" Comment="added 1 characters in body" Text="Hi!&#xD;&#xA;&#xD;&#xA;There is a great post on Designing Sound in which Charles Maynes talks about a cool way to work with plug-in effects: http://designingsound.org/2013/01/a-plug-in-vector-matrix/&#xD;&#xA;&#xD;&#xA;I wonder is it possible to implement such a scheme in Nuendo?&#xD;&#xA;&#xD;&#xA;I can't find the way to create a multichannel bus (&quot;group track&quot; in Nuendo) with individual mono channels. There is a possibility to create child busses for a multichannel bus, but I couldn't find how to send fx-signals to those separate busses.&#xD;&#xA;&#xD;&#xA;I will be thankful for any help.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28651" PostHistoryTypeId="2" PostId="17733" RevisionGUID="9e16ca94-804d-4a22-bc79-7dc151a21f72" CreationDate="2013-01-17T04:13:15.300" UserId="5655" Text="Thanks everyone, great info for a noob." ContentLicense="CC BY-SA 3.0" />
  <row Id="28652" PostHistoryTypeId="2" PostId="17734" RevisionGUID="cfa5b536-ac5c-407b-81d4-8f9cfd2817c3" CreationDate="2013-01-17T04:28:36.510" UserId="5658" Text="Hi,&#xD;&#xA;I'm a little confused on sample rates for fx recording and thought I'd post here.  I'm recording some fx that I want to use in a variety of contexts, sound design material and for music.  I want to record in 96k, as that seems to be the norm, but I'm concerned this will cause problems in 48k sessions or even 44.1.  I've had problems in the past of samples being played back too fast or too slow due to a conflict in the sample and DAW session sample rate.  How do people normally work with 96k samples.  Do they have to do some conversion before fitting well into a 48k session?  &#xD;&#xA;Thank you" ContentLicense="CC BY-SA 3.0" />
  <row Id="28653" PostHistoryTypeId="1" PostId="17734" RevisionGUID="cfa5b536-ac5c-407b-81d4-8f9cfd2817c3" CreationDate="2013-01-17T04:28:36.510" UserId="5658" Text="Sample rate for FX question, 48k or 96k" ContentLicense="CC BY-SA 3.0" />
  <row Id="28654" PostHistoryTypeId="3" PostId="17734" RevisionGUID="cfa5b536-ac5c-407b-81d4-8f9cfd2817c3" CreationDate="2013-01-17T04:28:36.510" UserId="5658" Text="&lt;sample&gt;&lt;sample-rate&gt;&lt;sound-fx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28655" PostHistoryTypeId="2" PostId="17735" RevisionGUID="af9a2d28-9a81-4b43-9846-6cd9b0bcd2a1" CreationDate="2013-01-17T06:15:52.713" UserId="4418" Text="sample rate convert on import... soundminer or Pro Tools will ask when importing as the system can't work with mixed sample rates. 96 to 48 is fine, it's half data, like 88.2 to 44.1.&#xD;&#xA;&#xD;&#xA;record sfx at 24/96 for future proofing library." ContentLicense="CC BY-SA 3.0" />
  <row Id="28656" PostHistoryTypeId="2" PostId="17736" RevisionGUID="9be8a920-0e3f-4d2d-9e37-d621a9658db5" CreationDate="2013-01-17T06:20:12.677" UserId="3567" Text="The higher the sample rate, the more you can do with the recorded file afterwards. This is especially important if you plan on pitching down a lot, as higher sample rates will preserve high frequencies, whereas 44.1 kHz will sound muffled and lack energy.&#xD;&#xA;&#xD;&#xA;So go with 24/96 as Mike said and worry about conversions later. Better even, work with 96kHz always and only when exporting for casual playback convert to 44.1 kHz." ContentLicense="CC BY-SA 3.0" />
  <row Id="28657" PostHistoryTypeId="2" PostId="17737" RevisionGUID="25760d59-a3e3-452b-a595-6c2b4a439533" CreationDate="2013-01-17T06:27:44.143" UserId="3567" Text="Tim mostly answered your question, but what I would add is don't use fx. Record anything as dry as you can, even if it doesn't sound as beefy as you'd like. Delay or chorus can always be added, but it's a pain to subtract them from a recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="28658" PostHistoryTypeId="2" PostId="17738" RevisionGUID="b26e10ff-9874-4136-b61e-0698ecd52911" CreationDate="2013-01-17T07:52:42.160" UserId="310" Text="I agree with Tim Prebble. &#xD;&#xA;&#xD;&#xA;Because I am on budget than I use general purpose shotgun BP4029 from Audio Technica it is variable Wide/Narrow Stereo and M/S - with M/S I can always use it as mono shotgun and If its required I can mix ambience in my recordings.&#xD;&#xA;&#xD;&#xA;With M/S you will be always mono compatible - but you will need recorder with support to monitor it (matrix). And some plugins to smooth you workflow in DAW." ContentLicense="CC BY-SA 3.0" />
  <row Id="28659" PostHistoryTypeId="2" PostId="17739" RevisionGUID="46b26182-93b4-4d93-8a2e-3e4f600539cd" CreationDate="2013-01-17T12:58:51.630" UserId="769" Text="[http://paperradio.net][1] is the thing I work on. I wouldn't make any claims on its quality - it's definitely a work in progress. But it's another thing to listen to and think about, maybe.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://paperradio.net &quot;Paper Radio&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28660" PostHistoryTypeId="2" PostId="17740" RevisionGUID="20ff714e-0cb0-4b74-9e62-5bbbdc1d6914" CreationDate="2013-01-17T19:28:08.310" UserId="4442" Text="Also, and I've learned a few times the hard way, silence to us is certainly not radio silence. Mics pick up every conceivable buzz in a room. Recording kitchen stuff? Unplug your refrigerator AND your microwave. Basement stuff? Make sure you disable your hvac (off, not just adjusting home temp to shut it off).&#xD;&#xA;&#xD;&#xA;With good editing, you can really achieve amazing fx recorded in the home. Think about it, when SFX libraries are recording large stationery factory machines, they have to go to them. Not an ideal recording environment, but through controlling as much as you possibly can and editing your sounds down to the bare minimum, you can get some really pro sounds.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28661" PostHistoryTypeId="2" PostId="17741" RevisionGUID="2ed74275-010c-4586-ad46-dad61b5fd700" CreationDate="2013-01-17T21:38:52.780" UserId="3754" Text="I find perspective is important. Sounds can be made more intense with close miking, compression, length, etc, or more subtle/incidental with less processing, more air / space etc. How the sound will be used dictates the approach." ContentLicense="CC BY-SA 3.0" />
  <row Id="28662" PostHistoryTypeId="2" PostId="17742" RevisionGUID="1bb39832-9a7e-4fb0-bbf0-1361a8a5f211" CreationDate="2013-01-17T22:15:01.767" UserId="4057" Text="another +1 for RX, but in addition to that, anyone using a Rode Videomic for documentary work needs to be put up against a wall and shot." ContentLicense="CC BY-SA 3.0" />
  <row Id="28663" PostHistoryTypeId="2" PostId="17743" RevisionGUID="84a337d8-7d35-4bab-b785-6cba41a418e3" CreationDate="2013-01-18T03:30:12.873" UserId="4114" Text="I've just saw this excellent sound library by echo collective where they used a stethoscope mic to record it http://ecbiz115.inmo...rgotten-zither. I didn't know such thing even existed. Is this actually manufactured by some company or it must be hand-built (in the last case, the question is how would someone do it?) &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28664" PostHistoryTypeId="1" PostId="17743" RevisionGUID="84a337d8-7d35-4bab-b785-6cba41a418e3" CreationDate="2013-01-18T03:30:12.873" UserId="4114" Text="Stethoscope mic" ContentLicense="CC BY-SA 3.0" />
  <row Id="28665" PostHistoryTypeId="3" PostId="17743" RevisionGUID="84a337d8-7d35-4bab-b785-6cba41a418e3" CreationDate="2013-01-18T03:30:12.873" UserId="4114" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28666" PostHistoryTypeId="2" PostId="17744" RevisionGUID="883681bb-fecf-4627-bcda-6cd8cb871ee4" CreationDate="2013-01-18T05:15:06.403" UserId="194" Text="Hi Rodrigo, I did that recording.  &#xD;&#xA;&#xD;&#xA;(your link is broken btw.  [Here's the link.][1])&#xD;&#xA;&#xD;&#xA;the mic is a Rode NT5 plugged into a stethoscope that I modified using a rubber end to a chair cap.   Stethoscopes are really just the main chest pieces connected to some rubber tubing.  Here are a couple of pics:&#xD;&#xA;&#xD;&#xA;![alt text][2]  ![alt text][3]&#xD;&#xA;&#xD;&#xA;I got the idea from some diego stocco vids.  &#xD;&#xA;&#xD;&#xA;The key is to form an airtight seal around mic leading in from the tube.  This setup has some pretty massive low end.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://echocollectivefx.com/collections/forgotten-zither&#xD;&#xA;  [2]: https://webapi.bumpserver.com/v1/data/9cdbac99-d41c-45c4-b6bc-b7a916536753&#xD;&#xA;  [3]: https://webapi.bumpserver.com/v1/data/d9099435-b5c1-4ed1-9599-18c7c2d0da19" ContentLicense="CC BY-SA 3.0" />
  <row Id="28668" PostHistoryTypeId="5" PostId="17744" RevisionGUID="8ea019a3-7dc1-405d-bb00-26edd96c9bf8" CreationDate="2013-01-18T15:21:43.107" UserId="194" Comment="added 115 characters in body" Text="Hi Rodrigo, I did that recording.  &#xD;&#xA;&#xD;&#xA;(your link is broken btw.  [Here's the link.][1])&#xD;&#xA;&#xD;&#xA;the mic is a Rode NT5 plugged into a stethoscope that I modified using a rubber end to a chair cap.   Stethoscopes are really just the main chest pieces connected to some rubber tubing.  Here are a couple of pics:&#xD;&#xA;&#xD;&#xA;![alt text][2]  ![alt text][3]&#xD;&#xA;&#xD;&#xA;I got the idea from some diego stocco vids.  &#xD;&#xA;&#xD;&#xA;The key is to form an airtight seal around mic leading in from the tube.  This setup has some pretty massive low end, but it does roll off the high end quite a bit.  The recordings combine the stethoscope mic with the overhead CM3s.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://echocollectivefx.com/collections/forgotten-zither&#xD;&#xA;  [2]: https://webapi.bumpserver.com/v1/data/9cdbac99-d41c-45c4-b6bc-b7a916536753&#xD;&#xA;  [3]: https://webapi.bumpserver.com/v1/data/d9099435-b5c1-4ed1-9599-18c7c2d0da19" ContentLicense="CC BY-SA 3.0" />
  <row Id="28669" PostHistoryTypeId="2" PostId="17745" RevisionGUID="fbfb739c-7f48-4703-8ec5-125e3fffd7f2" CreationDate="2013-01-18T19:24:17.400" UserId="66" Text="Hey all, the Hybrid Library has taken off and there are only a handful left. Apply for freelancer pricing before the end of January.&#xD;&#xA;&#xD;&#xA;After much discussion internally and with current and potential clients, we will continue the hybrid library post-Jan. but the price will not stay as low as it is now.&#xD;&#xA;&#xD;&#xA;Happy New Year!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28670" PostHistoryTypeId="2" PostId="17746" RevisionGUID="fd840bba-1f2a-4b4a-9aad-4628458d3d89" CreationDate="2013-01-19T05:21:29.120" UserId="3912" Text="hello everyone! I just finished my first 22 minute webisode the director and producer are both happy with the sound design but want to tighten up some of the video edits. I don't know what to do in this situation since any change that is made is going to set audio off sync in pro tools. Is there anything in particular that you guys do during such situations.&#xD;&#xA;&#xD;&#xA;Thanks &#xD;&#xA;~reN " ContentLicense="CC BY-SA 3.0" />
  <row Id="28671" PostHistoryTypeId="1" PostId="17746" RevisionGUID="fd840bba-1f2a-4b4a-9aad-4628458d3d89" CreationDate="2013-01-19T05:21:29.120" UserId="3912" Text="keeping audio in sync when they want to make more video edits " ContentLicense="CC BY-SA 3.0" />
  <row Id="28672" PostHistoryTypeId="3" PostId="17746" RevisionGUID="fd840bba-1f2a-4b4a-9aad-4628458d3d89" CreationDate="2013-01-19T05:21:29.120" UserId="3912" Text="&lt;sync&gt;&lt;pro&gt;&lt;tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28673" PostHistoryTypeId="2" PostId="17747" RevisionGUID="8033a0cf-91ff-4e53-92f3-1748371d306b" CreationDate="2013-01-19T08:01:23.350" UserId="1228" Text="Welcome!  I recommend running a search on here for 'conform' and you'll actually find a MOUNTAIN of valuable information on this.  'Conform' or 're-conform' are the actual terms for what you speak of, so hopefully that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="28674" PostHistoryTypeId="6" PostId="17746" RevisionGUID="f8670efb-7162-4a0f-8aa6-2c640fcc997d" CreationDate="2013-01-19T08:01:57.210" UserId="1228" Comment="edited tags" Text="&lt;sync&gt;&lt;pro&gt;&lt;tools&gt;&lt;conform&gt;&lt;re-conforming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28675" PostHistoryTypeId="2" PostId="17748" RevisionGUID="4ca743d9-6445-427c-b1ee-550b2dc5442f" CreationDate="2013-01-19T08:31:53.780" UserId="3567" Text="Laura, let me tell you why your library actually defeats its purpose.&#xD;&#xA;&#xD;&#xA;**First** of all, price. Do you know how many boutique sound effects libraries I can get for $1500? And even if I can't get 56k sound effects, I can get exactly what I need, without having to make a hole in my budget.&#xD;&#xA;&#xD;&#xA;Most of the times, a freelancer such as myself will also have several decent mics with which they can record basic sound effects like whooshes, impacts, bubbles, screeches or what have you. So what I/they will actually need is specific sounds that can't be accessed and recorded easily.&#xD;&#xA;&#xD;&#xA;**Secondly**, it's huge. And we all know how much ballast accumulates with huge libraries. &#xD;&#xA;&#xD;&#xA;**Lastly**, it looks like an extensively thought out marketing exercise. I have come to dislike anything that is packed as colorful and eye catching as your library. Plus, it's got all the psychological small tricks that sales people think only they know, such as the Units Left countdown, offer expiring shortly but hey we decided to extend it, apply for freelancer pricing that in the end everybody gets, etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What I can definitely say is that the *Pro Sound Effects™Hybrid Library* is not what me or most of the sound designers hanging around in this community are after. I'm not sure if you even took into account the opinions of the people taking your poll. But one thing is clear: you should stick to catering to big studios with big budgets and lots of users, instead of trying to go for the smaller fish. There already are plenty of choices for us, some of them included in this list:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/sfx-independence/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28676" PostHistoryTypeId="2" PostId="17749" RevisionGUID="d615e78b-dc93-47e2-bc6f-fbbcb9d995cd" CreationDate="2013-01-20T02:41:35.670" UserId="418" Text="The Ruby series from ZBS has always had a healthy amount of music, mixed quite nicely in my opinion. Pretty much everything ZBS does has some musical material but Ruby seems to carry the most, off the top of my head. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28677" PostHistoryTypeId="2" PostId="17750" RevisionGUID="53817b80-f332-4302-bbb0-00cead1afb08" CreationDate="2013-01-20T08:57:23.703" UserId="786" Text="I would say percussion with a resonant reverb, maybe one of the Waves Enigma or Mondomod plugs used for resonance.&#xD;&#xA;&#xD;&#xA;-Morten" ContentLicense="CC BY-SA 3.0" />
  <row Id="28678" PostHistoryTypeId="2" PostId="17751" RevisionGUID="f0493464-d4f5-4a00-bbf5-389552a184cd" CreationDate="2013-01-20T09:40:41.597" UserId="786" Text="I have been on mac for many years now since I got tired of constantly having trouble mounting mac discs on my pc and the other way around. It probably works better today, but I would seriously consider looking into what the other guys in your area use. There is no reason to be the only pc guy in an all-mac neighborhood (or the opposite).&#xD;&#xA;&#xD;&#xA;I live in Copenhagen, Denmark, and I have made around 15 feature films as supervising sound editor /sound designer over the last 10 years. I have only once encountered a pc based system in audio post, that I had to exchange files with. It was a foley recording facility in Paris, France, which used Pyramix. They were able to export their project into an old ProTools format, and I was able to import it. I have recieved ProTools files from Stockholm, Prague, Germany, Macedonia, New York and London, most of them using mac as their platform.&#xD;&#xA;&#xD;&#xA;If mac is the answer, you may have to spend more on the computer, but you might spend a lot less time on converting files. Go for the solution with the least technological hassle, and spend more time on working with sound.&#xD;&#xA;&#xD;&#xA;-Morten" ContentLicense="CC BY-SA 3.0" />
  <row Id="28679" PostHistoryTypeId="2" PostId="17752" RevisionGUID="893209bd-9fa1-4d5c-a4cc-10c06b08eb02" CreationDate="2013-01-20T22:04:14.430" UserId="4358" Text="Hey Guys,&#xD;&#xA;So recently visited the [Black Stone Press][1] in Granville Island, Vancouver. [Here][2] are some of the sounds from that day. I would like to know what you think about them. &#xD;&#xA;Thank you. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.blackstonepress.ca/Black_Stone_Press/Home.html&#xD;&#xA;  [2]: https://soundcloud.com/thesoundguy-2/sets/printing-press" ContentLicense="CC BY-SA 3.0" />
  <row Id="28680" PostHistoryTypeId="1" PostId="17752" RevisionGUID="893209bd-9fa1-4d5c-a4cc-10c06b08eb02" CreationDate="2013-01-20T22:04:14.430" UserId="4358" Text="Printing Press Recordings." ContentLicense="CC BY-SA 3.0" />
  <row Id="28681" PostHistoryTypeId="3" PostId="17752" RevisionGUID="893209bd-9fa1-4d5c-a4cc-10c06b08eb02" CreationDate="2013-01-20T22:04:14.430" UserId="4358" Text="&lt;field-recording&gt;&lt;sfx&gt;&lt;library&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28682" PostHistoryTypeId="2" PostId="17753" RevisionGUID="374c468d-2c7c-4db8-8fea-f9bb89b46b3c" CreationDate="2013-01-21T00:10:42.750" UserId="5666" Text="You know what I'm talking about- it's in literally Every Single Show now (movie, TV, game, whatever) &amp; it's the new go-to audio cue for &quot;something dangerous is happening&quot;.  It's a spacey metallic scraping noise that sounds kind of like a giant, pitched-down electric razor or something, usually with a bit of a reverb tail on it, usually lasting for between 2-4 seconds.  &#xD;&#xA;&#xD;&#xA;I've been driving myself insane trying to find it, or at least find a reference to it online, but nobody seems to know what I'm talking about even though it's Everywhere these days.  You can hear it most often in thrillers &amp; horror-type movies, but like I said, it's like the new go-to audio cue for ratcheting up tension so you even hear it on children's cartoons now.  PLEASE- does ANYBODY out there know what I'm talking about, &amp; if so, do you know what it is or how to make it?  &#xD;&#xA;&#xD;&#xA;There are many different versions of it out there (brighter, darker, etc), but all essentially similar, so I'm assuming it's not an individual sample that's being re-used, but one that is created new each time using the same process/technique- but I could be wrong.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="28683" PostHistoryTypeId="1" PostId="17753" RevisionGUID="374c468d-2c7c-4db8-8fea-f9bb89b46b3c" CreationDate="2013-01-21T00:10:42.750" UserId="5666" Text="What is that sound effect that they put in almost every movie/TV show now whenever the scene turns dangerous/menacing (an echo-ey metallic scraping sound, 2-4 secs long)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28684" PostHistoryTypeId="3" PostId="17753" RevisionGUID="374c468d-2c7c-4db8-8fea-f9bb89b46b3c" CreationDate="2013-01-21T00:10:42.750" UserId="5666" Text="&lt;sound-effects&gt;&lt;sfx&gt;&lt;sound-design&gt;&lt;stingers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28685" PostHistoryTypeId="2" PostId="17754" RevisionGUID="10599877-9d1d-4e8b-9593-c8a9e61d1ea1" CreationDate="2013-01-21T00:15:44.723" UserId="18160" Text="Bowed glass?&#xD;&#xA;&#xD;&#xA;I recommend you keep watching TV and watching movies and note down when you hear it and telling us so we can hear it and give further advice.&#xD;&#xA;&#xD;&#xA;My money is on bowed glass effects, though. That seems to be the cliche trailer sting (along with that anvil hit)." ContentLicense="CC BY-SA 3.0" />
  <row Id="28686" PostHistoryTypeId="2" PostId="17755" RevisionGUID="f39269d6-6552-4091-816e-50c0ec0479bc" CreationDate="2013-01-21T01:18:24.487" UserId="4318" Text="Bowed metal and Waterphones are very a-typical of the sound you are describing. Go and demo some of the many great Cinematic trailer SFX libraries from people Like Time Prebble (Hiss and Roar), Frank Bry (The Recordist), Boob Library and the like. You will find that man of them sell amazing libraries with cinematic stingers for reasonable prices. Some of those helped me figure out how to create my own. Almost as important is that they helped me look good to me clients! :-)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28687" PostHistoryTypeId="2" PostId="17756" RevisionGUID="bb5693c6-ee36-4f99-98c9-209eaa20c99c" CreationDate="2013-01-21T01:19:47.863" UserId="4318" Text="Every single thing I thought to add to this was within Tim Prebble;s list, so never-mind! " ContentLicense="CC BY-SA 3.0" />
  <row Id="28688" PostHistoryTypeId="16" PostId="17756" RevisionGUID="bb5693c6-ee36-4f99-98c9-209eaa20c99c" CreationDate="2013-01-21T01:19:47.863" UserId="-1" />
  <row Id="28689" PostHistoryTypeId="2" PostId="17757" RevisionGUID="4cc4a66f-8d7e-41da-8b17-697aeb41993f" CreationDate="2013-01-21T01:35:05.907" UserId="5607" Text="There are many many greats, but Requiem for a Dream really affected me the first time I watched it. Haven't seen it again in years but I still remember being affected by the great sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="28690" PostHistoryTypeId="16" PostId="17757" RevisionGUID="4cc4a66f-8d7e-41da-8b17-697aeb41993f" CreationDate="2013-01-21T01:35:05.907" UserId="-1" />
  <row Id="28691" PostHistoryTypeId="2" PostId="17758" RevisionGUID="93b887da-824a-4b5d-8f8f-fdb2ebc27754" CreationDate="2013-01-21T09:43:21.047" UserId="4358" Text="I think I got rid of that issue. I just uninstalled and reinstalled PT again on my laptop. Its working all right now. &#xD;&#xA;Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="28692" PostHistoryTypeId="2" PostId="17759" RevisionGUID="426f939a-a284-4625-b51f-3ed8ea3484dc" CreationDate="2013-01-21T15:00:00.590" UserId="194" Text="Really nice work!  [I recorded some printing presses last year][1], and found the big industrial ones to be incredibly challenging to get just right.  I was really running and gunning in a massive industrial complex though.  Sounds like you had the opportunity to sit and do a study on one machine, which is very cool IMO.&#xD;&#xA;&#xD;&#xA;What was your recording setup?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://thesoundmyheadmakes.blogspot.com/2012/01/recordings-of-cd-press-and-printing.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="28693" PostHistoryTypeId="2" PostId="17760" RevisionGUID="0e25be16-e362-4b77-bc2e-9ff0979d085a" CreationDate="2013-01-21T16:21:27.857" UserId="3800" Text="Using AA batteries to power the FR2 doesn't cut it for me anymore. For some time now I've been looking for a solution using a RC battery pack with a tamiya connection and make a tamiya to DC cable. Quite a simple procedure, however I just can't seem to find the model of the DC connector that fits into the FR-2. I've tried all the different DC plugs I have around the house, nothing fits. I've been searching the internet for the correct model to the point of pulling my hair out, still no luck. I don't have the FR2 AC mains adapter otherwise I would cut the connector from that. Can anyone help me identify the DC connector?&#xD;&#xA;&#xD;&#xA;Here's a photo of the left side panel of the FR2:&#xD;&#xA;http://www.inquitaudio.co.uk/assets/images/fr2left-2.jpg&#xD;&#xA;&#xD;&#xA;Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="28694" PostHistoryTypeId="1" PostId="17760" RevisionGUID="0e25be16-e362-4b77-bc2e-9ff0979d085a" CreationDate="2013-01-21T16:21:27.857" UserId="3800" Text="Fostex FR-2 DC plug/connector" ContentLicense="CC BY-SA 3.0" />
  <row Id="28695" PostHistoryTypeId="3" PostId="17760" RevisionGUID="0e25be16-e362-4b77-bc2e-9ff0979d085a" CreationDate="2013-01-21T16:21:27.857" UserId="3800" Text="&lt;fostex&gt;&lt;battery&gt;&lt;powering&gt;&lt;connector&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28696" PostHistoryTypeId="2" PostId="17761" RevisionGUID="111ee61f-c955-47c8-9887-3c1f53244dc5" CreationDate="2013-01-21T16:46:16.153" UserId="1228" Text="For what its worth, there are dozens if DC connectors like that, but they all slighty differ in connector size and voltage so it may be near impossible to know for sure. However, I know some FR2 users who got their units modified with a Hirose connector in order to run NP1s and other such outside power sources." ContentLicense="CC BY-SA 3.0" />
  <row Id="28697" PostHistoryTypeId="2" PostId="17762" RevisionGUID="705768a5-f931-4718-8847-8298c1a3e575" CreationDate="2013-01-21T18:44:19.813" UserId="3994" Text="Sunshine by Danny Boyle blew me away with its soundtrack. Amazing mix, amazing effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="28698" PostHistoryTypeId="16" PostId="17762" RevisionGUID="705768a5-f931-4718-8847-8298c1a3e575" CreationDate="2013-01-21T18:44:19.813" UserId="-1" />
  <row Id="28699" PostHistoryTypeId="2" PostId="17763" RevisionGUID="3d04fa73-f676-4945-b9e2-9f5994fe3f99" CreationDate="2013-01-21T21:07:57.343" UserId="3534" Text="&quot;Confessions&quot; directed by  Tetsuya Nakashima ( http://www.imdb.com/title/tt1590089/ )&#xD;&#xA;That is the best movie I've watched recently in term of sound design. Espacially because of the use of silence." ContentLicense="CC BY-SA 3.0" />
  <row Id="28700" PostHistoryTypeId="16" PostId="17763" RevisionGUID="3d04fa73-f676-4945-b9e2-9f5994fe3f99" CreationDate="2013-01-21T21:07:57.343" UserId="-1" />
  <row Id="28702" PostHistoryTypeId="2" PostId="17765" RevisionGUID="feced460-75d5-422e-9f09-01844b5baa50" CreationDate="2013-01-21T22:00:09.743" UserId="4390" Text="+1 what Dave said. With just a few homemade absorbent panels (wooden frame + mineral wool batts + protective cloth cover) propped up to form a makeshift booth, I have achieved a BIG improvement in home-recording foley sounds lately. Going from &quot;recorded in the bathroom&quot; sound, to no audible room-tone on sounds that are required to be neutral wrt room sound.&#xD;&#xA;&#xD;&#xA;But the FIRST thing I did, was relocate from a room that had a permanently noisy heating installation in it - to one that did not. No amount sensible amount of absorbent would have made a room that noisy work..." ContentLicense="CC BY-SA 3.0" />
  <row Id="28703" PostHistoryTypeId="2" PostId="17766" RevisionGUID="9b34b2a6-43a6-4d2c-a2c1-3f55e53f9637" CreationDate="2013-01-21T23:04:04.613" UserId="4358" Text="@Rene Yes, I did have the opportunity to study the [Heidelberg printing press][1] before I could record. The owner of the press was very kind enough to let me and a friend come over to their facility and record for a couple of hours. We took multiple takes of the machines. I used the [Cold Gold][2] large suction cup contact mic, Sennheiser ME66 and Sound Devices 722 and recorded different perspectives of the press and then combined them together.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://attheacademy.org/files/heidelberg.jpg&#xD;&#xA;  [2]: http://contactmicrophones.com/products-sscmmed.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="28704" PostHistoryTypeId="2" PostId="17767" RevisionGUID="d8158621-6f05-48c8-9a07-896260908c3f" CreationDate="2013-01-21T23:25:53.373" UserId="5669" Text="Hi!! new member here..&#xD;&#xA;&#xD;&#xA;I'm looking for dvd's or video courses on sound design for film/tv.&#xD;&#xA;I would like to learn everything from recording the right way to adding audio effects or anything needed like eq's or mastering before being ready to use or sell.&#xD;&#xA;&#xD;&#xA;All help will be much appreciated. : )" ContentLicense="CC BY-SA 3.0" />
  <row Id="28705" PostHistoryTypeId="1" PostId="17767" RevisionGUID="d8158621-6f05-48c8-9a07-896260908c3f" CreationDate="2013-01-21T23:25:53.373" UserId="5669" Text="Video courses on sound design for film/tv ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28706" PostHistoryTypeId="3" PostId="17767" RevisionGUID="d8158621-6f05-48c8-9a07-896260908c3f" CreationDate="2013-01-21T23:25:53.373" UserId="5669" Text="&lt;design&gt;&lt;dvd&gt;&lt;video&gt;&lt;course&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28707" PostHistoryTypeId="2" PostId="17768" RevisionGUID="4eaff632-c29f-4a82-a9a9-99db9a155280" CreationDate="2013-01-21T23:58:10.343" UserId="4442" Text="Good luck. The most i've found is &quot;making of&quot; featurettes, but as all making of featurettes, they're made for fans, not for creatives. They lack the whole process really. There are some good books such as Ric Viers Sound Effects Bible. Of course there is also no shortage of mixing tutorials, but far less for SFX. I'd love for someone to come on here and prove me wrong though!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28708" PostHistoryTypeId="2" PostId="17769" RevisionGUID="bf6e871a-4de9-48c9-a933-d22223760aef" CreationDate="2013-01-22T06:25:23.223" UserId="18160" Text="So, I've been asked to play cleanup man on a sound design of a network logo.&#xD;&#xA;&#xD;&#xA;There are a lot of &quot;literal&quot; things going on which have been cut, but I'm going to nix them and ultimately I want to just do some subtle airy movements to transition between segments of it,&#xD;&#xA;&#xD;&#xA;I would post a video file for you guys to look at, but ATM it is extremely confidential.&#xD;&#xA;&#xD;&#xA;Could anyone direct me in the direction of how I could either create or purchase some nice subliminal futuristic sounds that communicate logo movements and transitions? I know it's a tall order, but I'm sure some of the geniuses which make up our community here could chime in and help a brother out!&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;-Ryan " ContentLicense="CC BY-SA 3.0" />
  <row Id="28709" PostHistoryTypeId="1" PostId="17769" RevisionGUID="bf6e871a-4de9-48c9-a933-d22223760aef" CreationDate="2013-01-22T06:25:23.223" UserId="18160" Text="URGENT. Subtle air movements" ContentLicense="CC BY-SA 3.0" />
  <row Id="28710" PostHistoryTypeId="3" PostId="17769" RevisionGUID="bf6e871a-4de9-48c9-a933-d22223760aef" CreationDate="2013-01-22T06:25:23.223" UserId="18160" Text="&lt;logo&gt;&lt;movement&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28711" PostHistoryTypeId="2" PostId="17770" RevisionGUID="e980fb8a-ea6c-45b5-8f96-e3747fea4eb1" CreationDate="2013-01-22T07:29:41.843" UserId="5654" Text="I would suggest picking up a copy of Audio Postproduction for Film and Video by Jay Rose; at the very least it's good to refer to.  It helped me out many times in the past and it gives you enough information to fully grasp what you are reading.  This book changed the way I approached audio projects while I was in school, and it still is within close reach on my desk.&#xD;&#xA;&#xD;&#xA;Vimeo and YouTube are great sources to find &quot;making-of&quot; and &quot;behind the scenes&quot; clips.  However Rose's book will give you a good foundation on how to mix for a variety of media and  also provide some real insight into overall dynamic(s) processing.  Dave is right about the Sound Effects Bible.  This book is useful to almost anyone, and is particularly helpful if you  want to establish a set workflow in your recordings. There's always something new to learn.&#xD;&#xA;&#xD;&#xA;(:&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/Audio-Postproduction-Second-After-Shoot/dp/0240809718" ContentLicense="CC BY-SA 3.0" />
  <row Id="28712" PostHistoryTypeId="2" PostId="17771" RevisionGUID="2d298b09-21c3-4c82-920a-d702ad03ad60" CreationDate="2013-01-22T10:09:16.373" UserId="5671" Text="@pezzatronic I had same problem and modified mine, bringing out a little cable with an in-line RCA connector." ContentLicense="CC BY-SA 3.0" />
  <row Id="28713" PostHistoryTypeId="2" PostId="17772" RevisionGUID="f01b4954-de06-48c6-adb3-4ba461461536" CreationDate="2013-01-22T11:50:53.083" UserId="1216" Text="What about the new release by Echo collective? &#xD;&#xA;For example the air movements with the feathers are nicely done.&#xD;&#xA;Check the video at&#xD;&#xA;http://echocollectivefx.com/collections/motion-textures&#xD;&#xA;&#xD;&#xA;Otherwise my only suggestion would be to go ahead and record stuff yourself.&#xD;&#xA;But I'm guessing your already near the deadline..&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28714" PostHistoryTypeId="2" PostId="17773" RevisionGUID="86ec7a34-c3ad-45e7-be75-f97122ad8665" CreationDate="2013-01-22T12:15:34.677" UserId="407" Text="you could ask [hawkswood][1] where they get there plugs from, as they build the NP1 solutions for FR2, which uses the same plug. I use the tamiya batteries with the fostex cable, but those cables are really hard to come by now a days. It's a shame because the tamiya battery solution is such a great idea and works really nicely.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hawkwoods.com/products/details/details.php?code=npr-fr2&amp;mainMenuItemToSlide=5&amp;asi=np-70&amp;asi2=mr4" ContentLicense="CC BY-SA 3.0" />
  <row Id="28715" PostHistoryTypeId="2" PostId="17774" RevisionGUID="004b4138-fe45-496f-bc47-b7c5fd2e0e66" CreationDate="2013-01-22T12:34:53.797" UserId="6524" Text="A bit of weird question, I don't even know how to ask it but I love listening to the cinematic for [World of Warcraft: Mists of Pandaria][1] not only is the work done on it great but I love the sonic quality it has, I don't have studio monitors but with my 7506's it has this nice tight lowend and crisp but still round sounding mids, I'd like to think its a plugin or something but it probably isn't, even sound designer [Tapio Liukkonen][2] was able to get that sound in his little making of video for the game Overgrowth (Intro foley fx). How would you go about getting that sound, is it gear or technique when post processing?. I think its pleasurable to listen to and the kind of sound I'd like to get with my work.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/wvYXoyxLv64&#xD;&#xA;  [2]: http://youtu.be/fEZvJSxJX5s" ContentLicense="CC BY-SA 3.0" />
  <row Id="28716" PostHistoryTypeId="1" PostId="17774" RevisionGUID="004b4138-fe45-496f-bc47-b7c5fd2e0e66" CreationDate="2013-01-22T12:34:53.797" UserId="6524" Text="Getting Tight &amp; Crisp Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="28717" PostHistoryTypeId="3" PostId="17774" RevisionGUID="004b4138-fe45-496f-bc47-b7c5fd2e0e66" CreationDate="2013-01-22T12:34:53.797" UserId="6524" Text="&lt;sonic&gt;&lt;quality&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28718" PostHistoryTypeId="2" PostId="17775" RevisionGUID="a3c025ff-539e-4381-9931-6f32c41b6c89" CreationDate="2013-01-22T12:46:52.943" UserId="3567" Text="Agreed, it's really tight and pleasurable to listen to. To attain it you've got to have decent gear (from mics to workstation), great ears and a lot of experience. &#xD;&#xA;&#xD;&#xA;You're able to cut corners by purchasing high quality sound effects libraries and/or music, but the mix is still something that you need to take care of." ContentLicense="CC BY-SA 3.0" />
  <row Id="28719" PostHistoryTypeId="2" PostId="17776" RevisionGUID="be5455a0-151f-4d31-a31a-268ffc6ce1d0" CreationDate="2013-01-22T12:51:12.640" UserId="3567" Text="I think this is what you're looking for: http://www.boomlibrary.com/boomlibrary/index.php/store/cinematic-trailers" ContentLicense="CC BY-SA 3.0" />
  <row Id="28720" PostHistoryTypeId="2" PostId="17777" RevisionGUID="5fa17cff-c5dc-4cb5-a3ee-0e99e254d832" CreationDate="2013-01-22T13:44:51.133" UserId="3179" Text="It's just the way it's mixed and how good the recordings themselves are. The mixer has a good taste and uses dynamics and equalization in a pleasant/non-irritating and contrasting way. The sound selection has been made to support the mix, because often you can't polish a turd. And all recordings have been made with the right intention to minimize &quot;fixing&quot; equalization and turd polishing. Of course your listening (your ears, your monitors and your listening room) usually has to be pretty top notch to create really good mixes.&#xD;&#xA;&#xD;&#xA;One good plug-in suggestion for corrective EQ are dynamic EQs aka split-band or multi-band compressors (they usually do expansion as well). By using a dynamic EQ you can fine tune the frequency response of sounds much more naturally, because the EQ responds to the material, than with static EQ, which although has it's own place as well. Another call would be &quot;magic plug-ins&quot; such as mastering plug-ins (limiters, exciters and other &quot;sound goodizers&quot;) that can sweeten already good sounds almost &quot;magically&quot; to be slightly more better." ContentLicense="CC BY-SA 3.0" />
  <row Id="28721" PostHistoryTypeId="2" PostId="17778" RevisionGUID="5131c261-6d6e-4d7a-99eb-1f3a4adb9558" CreationDate="2013-01-22T13:51:56.443" UserId="5673" Text="Apart from the usual suspects such as: recording sounds, pitch, reverse, delay etc.. What cool sound design tricks have you discovered?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="28722" PostHistoryTypeId="1" PostId="17778" RevisionGUID="5131c261-6d6e-4d7a-99eb-1f3a4adb9558" CreationDate="2013-01-22T13:51:56.443" UserId="5673" Text="Your favourite sound design tricks" ContentLicense="CC BY-SA 3.0" />
  <row Id="28723" PostHistoryTypeId="3" PostId="17778" RevisionGUID="5131c261-6d6e-4d7a-99eb-1f3a4adb9558" CreationDate="2013-01-22T13:51:56.443" UserId="5673" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28724" PostHistoryTypeId="2" PostId="17779" RevisionGUID="a2cc865c-e7c5-45ac-baf8-9acc964721bf" CreationDate="2013-01-22T14:13:13.437" UserId="6600" Text="My favourite sound design trick is not to share my sound design tricks ;)&#xD;&#xA;&#xD;&#xA;But seriously, I'm not sure if this is old news and everyone does it (I actually nicked this idea off someone else), but simultaneously recording materials with a contact and open air mic can sometimes give you a good options in terms of mixing between the body and more live aspects of the sound. Almost like wet and dry. Obviously you can't do this with, say, a horse :)&#xD;&#xA;&#xD;&#xA;Also this isn't a trick either, but I think this free plugin is awesome for foley work:&#xD;&#xA;&#xD;&#xA;http://vladgsound.wordpress.com/category/vst-plugins/proximity-plugin-vst-plugins/&#xD;&#xA;&#xD;&#xA;It's an all in one distance plugin that adjusts stereo width, EQ, air diffusion, gain etc with one fader. It also works great for creating doppler whooshes if you automate the distance gain.&#xD;&#xA;&#xD;&#xA;In summary, none of these are my tricks, just passing on the knodge." ContentLicense="CC BY-SA 3.0" />
  <row Id="28725" PostHistoryTypeId="2" PostId="17780" RevisionGUID="81954fd0-5229-4291-86c7-ea5ac4466e7d" CreationDate="2013-01-22T14:24:08.647" UserId="5674" Text="Hi there (first post) &#xD;&#xA;I wanted to know if anyone knows how to find the vst plug in for soundminer. I cant seem to find it in my mac. Im just trying to put SM on an AUX channel so that i dont have to toggle between inputs on my d-box for monitoring. &#xD;&#xA;In Pro tools 10 when I go to instrument the re-wire plug is not there. &#xD;&#xA;&#xD;&#xA;Im using SM 4 Pro. &#xD;&#xA;&#xD;&#xA;Any help would be greatly appreciated. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28726" PostHistoryTypeId="1" PostId="17780" RevisionGUID="81954fd0-5229-4291-86c7-ea5ac4466e7d" CreationDate="2013-01-22T14:24:08.647" UserId="5674" Text="using soundminer on an AUX BUS for monitoring. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28727" PostHistoryTypeId="3" PostId="17780" RevisionGUID="81954fd0-5229-4291-86c7-ea5ac4466e7d" CreationDate="2013-01-22T14:24:08.647" UserId="5674" Text="&lt;soundminer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28728" PostHistoryTypeId="5" PostId="17777" RevisionGUID="909d4587-f922-4c4c-8ce9-53476cf5d480" CreationDate="2013-01-22T14:36:52.623" UserId="3179" Comment="added 92 characters in body" Text="It's just the way it's mixed and how good the recordings themselves are. The mixer has a good taste and uses dynamics and equalization in a pleasant/non-irritating and contrasting way. The sound selection has been made to support the mix, because often you can't polish a turd. And all recordings have been made with the right intention to minimize &quot;fixing&quot; equalization and turd polishing. Of course one's listening (one's ears, one's monitors and one's listening room) usually has to be pretty top notch to create really good mixes.&#xD;&#xA;&#xD;&#xA;One good plug-in suggestion for corrective EQ are dynamic EQs aka split-band or multi-band compressors (they usually do expansion as well). By using a dynamic EQ you can fine tune the frequency response of sounds much more naturally, because the EQ responds to the material, than with static EQ, which although has it's own place as well. Another call would be &quot;magic plug-ins&quot; such as mastering plug-ins (limiters, exciters and other &quot;sound goodizers&quot;) that can sweeten already good sounds almost &quot;magically&quot; to be slightly more better. But if the recordings are crystal, then the plug-ins may not do or need to do anything." ContentLicense="CC BY-SA 3.0" />
  <row Id="28729" PostHistoryTypeId="5" PostId="17777" RevisionGUID="785099e0-f5e8-431c-ad71-9ac7bb5a0fa6" CreationDate="2013-01-22T14:43:01.290" UserId="3179" Comment="added 473 characters in body; added 10 characters in body" Text="It's just the way it's mixed and how good the recordings themselves are. The mixer has a good taste and uses dynamics and equalization in a pleasant/non-irritating and contrasting way. The sound selection has been made to support the mix, because often you can't polish a turd. And all recordings have been made with the right intention to minimize &quot;fixing&quot; equalization and turd polishing. Of course one's listening (one's ears, one's monitors and one's listening room) usually has to be pretty top notch to create really good mixes.&#xD;&#xA;&#xD;&#xA;One good plug-in suggestion for corrective EQ are dynamic EQs aka split-band or multi-band compressors (they usually do expansion as well). By using a dynamic EQ you can fine tune the frequency response of sounds much more naturally, because the EQ responds to the material, than with static EQ, which although has it's own place as well. Another call would be &quot;magic plug-ins&quot; such as mastering plug-ins (limiters, exciters and other &quot;sound goodizers&quot;) that can sweeten already good sounds almost &quot;magically&quot; to be slightly more better. But if the recordings are crystal, then the plug-ins may not do or need to do anything.&#xD;&#xA;&#xD;&#xA;Handling/using the bottom end is really crucial in smoothness and roundness. There are many ways to go on how to control it (a general idea is to only allow one bass sound/part at a time and that should be preferably almost pure sine wave to get maximum energy and no phasing), but you usually need a good listening first (the flatter the bass frequencies the better). Subharmonic generators and synthesizers can be used to fill in or modify that low end for sounds that need it." ContentLicense="CC BY-SA 3.0" />
  <row Id="28730" PostHistoryTypeId="2" PostId="17781" RevisionGUID="48aef316-5f4f-4ac3-a297-647a2e100739" CreationDate="2013-01-22T15:09:30.290" UserId="4468" Text="Hi guys&#xD;&#xA;&#xD;&#xA;As noted in a previous post, I am soemwhat of a newbie in terms of sound design and ear training.&#xD;&#xA;&#xD;&#xA;My current focus is on mixing dialogue, and I know a lot of people have asked before 'how do you EQ, process dialogue', to help train my ears a little, what do you listen for when processing dialogue?  and what do you do to it?  I.e resonances in the voice (pull out that frequency), de-essing (multibanding compression, plug-in?).  Any particular voice 'characteristics' 'hidden' in raw recordings, brought out by potcessing.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Beaks" ContentLicense="CC BY-SA 3.0" />
  <row Id="28731" PostHistoryTypeId="1" PostId="17781" RevisionGUID="48aef316-5f4f-4ac3-a297-647a2e100739" CreationDate="2013-01-22T15:09:30.290" UserId="4468" Text="Dialogue - what to listen for" ContentLicense="CC BY-SA 3.0" />
  <row Id="28732" PostHistoryTypeId="3" PostId="17781" RevisionGUID="48aef316-5f4f-4ac3-a297-647a2e100739" CreationDate="2013-01-22T15:09:30.290" UserId="4468" Text="&lt;dialogue&gt;&lt;processing&gt;&lt;listening&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28733" PostHistoryTypeId="2" PostId="17782" RevisionGUID="51955b10-0d3b-4c2a-9b5e-ce0f57dc2360" CreationDate="2013-01-22T17:18:52.723" UserId="1228" Text="For me, it's more a philosophival thing.  My favorite trick is entering the show and leaving from it without the sonic contributions being noticed by the audience.  That's one of the coolest and most rewarding trick in my mind." ContentLicense="CC BY-SA 3.0" />
  <row Id="28734" PostHistoryTypeId="2" PostId="17783" RevisionGUID="6a727c0c-2799-4719-93cc-a52568e9b9ea" CreationDate="2013-01-22T18:44:21.553" UserId="5675" Text="Take a listen of these examples at a fairly high volume, so you can hear the hiss that is present in different recorders due to lousy preamps..The Sony D50 is the winner for me, in overall sound quality and the absence of noise.&#xD;&#xA;http://www.wingfieldaudio.com/portable-recorder-sound-samples.html&#xD;&#xA;I am in the same ballpark as you my friend, I love the SD Mix-pre D and I'm currently looking for a quality recorder with a digital input, so I can bypass the AD converters and preamps in it, and use the digital signal from Mix-pre D. The only thing you have to consider is that Mic-pre D has an AES/EBU digital output which is 110 oms resistance, and spdif connectors are 75 ohms. The missmatch in impendances will cause errors, pops and clicks if you don't encorporate some kind of impendance matching cable or adapter. Let me know how the quest is going for you! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28735" PostHistoryTypeId="2" PostId="17784" RevisionGUID="b9b81171-4018-4779-ad87-245cd0304eb7" CreationDate="2013-01-22T19:30:47.093" UserId="4278" Text="I have just purchased a D50 as an replacement and upgrade for my broken H4n. I have first considered using a Sound Devices MixPre D as front end going into the digital in of the D50, too. But after some research on the net I have learned that:&#xD;&#xA;&#xD;&#xA;a) this would require using a separate box to get the signal from the AES out of the MixPre into the SPDIF in of the D50; if it was a coaxial SPDIF in on the D50 the above mentioned cable with matching resistance would be fine, but unfortunately the D50 has an optical in ...&#xD;&#xA;&#xD;&#xA;b) most likely the Sony would not be able to handle the digital signal of the MixPre even with a proper physical connection; I have read several negative reports on this, which is caused apparently by the Sony expecting any digital signal coming in to be in a specific data format (containing bit depth and sample rate in the header) which many digital devices do not deliver, including the MixPreD. Sound Devices kind of confirmed this issue in their user forum, and recommended the USBPre2 instead as a front end, as this device is able to deliver the required digital data format (and it has optical outs). They might consider updating the firmware of the MixPreD as well some day, but it didn't sound as if you should hold your breath for it.&#xD;&#xA;&#xD;&#xA;This is all based on internet research and hearsay though without any hands on experience, so maybe somebody managed to use a MixPreD as digital front end for a D50 and can share his experience.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Felix" ContentLicense="CC BY-SA 3.0" />
  <row Id="28736" PostHistoryTypeId="2" PostId="17785" RevisionGUID="b78ab0e0-9760-416b-9da7-9a4de19bc7b1" CreationDate="2013-01-22T21:05:29.870" UserId="4358" Text="One very simple and very basic technique would be to take a transient sound with a long decay, duplicate it and reversing the duplicate and then combining the original and the reversed region in a way that their peaks meet. This is what I did for a few arrow whooshes on my last project and it worked pretty well for me.." ContentLicense="CC BY-SA 3.0" />
  <row Id="28737" PostHistoryTypeId="2" PostId="17786" RevisionGUID="919a3cfe-7610-4fd6-b51e-5d2ac2774f20" CreationDate="2013-01-22T21:14:17.970" UserId="4358" Text="I'd say take the job anyways and give the best you can. Sound Designers are storytellers too and I think if the director is not involved so much in the process, you can create something which you think will tell a story better, sonically. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28739" PostHistoryTypeId="2" PostId="17788" RevisionGUID="868ae710-9828-4bf7-82df-1464d58c8971" CreationDate="2013-01-22T23:36:36.827" UserId="842" Text="My favorite sound design trick is the one that does the job at any given task. What that might be differs greatly from project to project, and is completely dependent on the movie. It's not unusual that my methods gets up to three or something revisions as I find new and sometimes better, sometimes just different, ways to deal with thing.&#xD;&#xA;&#xD;&#xA;So if I'd say anything as a favorite trick, it would pretty much be to never let myself get stuck in old tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="28740" PostHistoryTypeId="2" PostId="17789" RevisionGUID="90a4f870-f91e-4cf0-9fe5-ba3a9d91fcfc" CreationDate="2013-01-22T23:51:54.210" UserId="842" Text="That's an extremely hard question to answer, and would result in an answer thick as the bible. But the quintessence of it all is to keep it even, fluent, and remove everything that isn't needed for the scene or feeling, and replace sounds that sound bad or just wrong. Also to never ever use more processing than you actually need. The dialogue editing is more of a cleaning-up-and-tidying-up-thing, mixing, and that includes most equalizing and dynamic control, belong in the mixing session. Mistakes there will end up with a very pissed off mix technician." ContentLicense="CC BY-SA 3.0" />
  <row Id="28741" PostHistoryTypeId="2" PostId="17790" RevisionGUID="3a767579-3bb8-4a98-8d58-9c136749cd06" CreationDate="2013-01-23T00:00:21.503" UserId="1228" Text="In short, this is a very hard one to answer because even between all our peers, the answer to this is all broadly subjective (taste and nuance) within a narrowly defined objective (calibration and QC specs).&#xD;&#xA;&#xD;&#xA;I'd love to elaborate on this a little later, so I will be appending to this, but in a nutshell this is my thought/gut reaction, being a dialogue editor at heart." ContentLicense="CC BY-SA 3.0" />
  <row Id="28742" PostHistoryTypeId="2" PostId="17791" RevisionGUID="06c8a26f-714c-47d0-ad7b-37b286734c4e" CreationDate="2013-01-23T01:28:18.343" UserId="5676" Text="Hey there. The goal should be to analyze what you hear and determine if it sounds natural. What does that mean? Well, if you hear hi freq or low freq that generally are not there in real life, that is because the mic or actor have those freqs in recording and you need to adjust it to balance it back to the real world as much as you can. Usually involes eqing under 250hz for boomy proximity stuff or de-essing/eqing around 2-4khz for hard S, T, Ds....also compression will generally help level out the mix and the make up gain from the compression can help bring up the overall volume. These are just basics of processing.... There is of course more! Like reverb.  ;) but ill let you start with that. Hope it helps! Cheers! -jason www.soundmorph.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="28743" PostHistoryTypeId="2" PostId="17792" RevisionGUID="fb299970-562c-4292-a843-8e0264dac9a2" CreationDate="2013-01-23T03:49:18.520" UserId="3179" Text="In general, listen to whether it sounds good or whether it has something that irritates you. Or whether the sound is fitting or whether it's e.g. weak (in the modern days of dynamics squashing that can be a valid notion that you may want to adjust with compression. Just remember what the dialogue is for, i.e. following the story, so all processing should aim to be rather natural and focus on clarity and minimizing any sort of irritation in the sound).&#xD;&#xA;&#xD;&#xA;Ideally, dialogue processing doesn't need anything more than some EQ, some gain riding (prefer it to compressors, unless you're in a hurry, although modern vocal specific gain ride plug-ins can work really naturally) and a compressor/limiter to finish it.&#xD;&#xA;&#xD;&#xA;But, dialogue can and preferably should be recorded, to save yourself from headache, so that you may not need to do anything but cut and add some fades, and possibly add a very small amount of sweetening/finishing EQ (or compression). I.e. the recording should sound almost, if not totally finished already when recording. In this approach having a good and carefully selected microphone is essential, the placing has to be correct, the actor must attempt to/be able to speak/sing consistently (i.e. consciously keep the dynamic range that he/she uses under control), his/her voice obviously has to sound good and the recording room must sound neutral. In location dialogue recording controlling the environment and the mic positioning becomes an art of its own, which is why they invented ADR though.&#xD;&#xA;&#xD;&#xA;So, don't spend too much time wondering how to post-process the dialogue, focus on making the recordings as good as possible, and you'll need to do less later and it will come out sounding better." ContentLicense="CC BY-SA 3.0" />
  <row Id="28744" PostHistoryTypeId="5" PostId="17792" RevisionGUID="a9b0f459-7b45-4c3e-8f35-acdf700632ca" CreationDate="2013-01-23T03:54:21.453" UserId="3179" Comment="deleted 1 characters in body; added 72 characters in body" Text="In general, listen to whether it sounds good or whether it has something that irritates you. Or whether the sound is fitting or whether it's e.g. weak (in the modern days of dynamics squashing that can be a valid notion that you may want to adjust with compression. Just remember what the dialogue is for, i.e. following the story, so all processing should aim to be rather natural and focus on clarity and minimizing any sort of irritation in the sound).&#xD;&#xA;&#xD;&#xA;Ideally, dialogue processing doesn't need anything more than some EQ, some gain riding (prefer it to compressors, unless you're in a hurry, although modern vocal specific gain ride plug-ins can work really naturally) and a compressor/limiter to finish it.&#xD;&#xA;&#xD;&#xA;But, dialogue can and preferably should be recorded, to save yourself from headache, so that you may not need to do anything but cut and add some fades, and possibly add a very small amount of sweetening/finishing EQ (or compression). I.e. the dialogue should sound almost, if not totally finished already when recording. In this approach having a good and carefully selected microphone is essential, the placing has to be correct, the actor must attempt to/be able to speak/sing consistently (i.e. consciously keep the dynamic range that he/she uses under control), his/her voice obviously has to sound good, the recording room must sound neutral and you must retake and readjust everything that doesn't sound good enough. In location dialogue recording controlling the environment and the mic positioning becomes an art of its own, which is why they invented ADR though.&#xD;&#xA;&#xD;&#xA;So, don't spend too much time wondering how to post-process the dialogue, focus on making the recordings as good as possible, and you'll need to do less later and it will come out sounding better." ContentLicense="CC BY-SA 3.0" />
  <row Id="28745" PostHistoryTypeId="5" PostId="17792" RevisionGUID="70da9756-4502-4d57-894e-91c351e4bdc2" CreationDate="2013-01-23T04:14:42.257" UserId="3179" Comment="added 17 characters in body; edited body" Text="In general, listen to whether it sounds good or whether it has something that irritates you. Or whether the sound is fitting or whether it's e.g. weak (in the modern days of dynamics squashing that can be a valid notion that you may want to adjust with compression. Just remember what the dialogue is for, i.e. following the story, so all processing should aim to be rather natural and focus on clarity and minimizing any sort of irritation in the sound).&#xD;&#xA;&#xD;&#xA;Ideally, dialogue processing doesn't need anything more than some EQ, some gain riding (prefer it to compressors, unless you're in a hurry, although modern vocal specific gain ride plug-ins can work really naturally) and a compressor/limiter to finish it.&#xD;&#xA;&#xD;&#xA;But, dialogue can and preferably should be recorded, to save yourself from headache, so that you may not need to do anything but cut and add some fades, and possibly add a very small amount of sweetening/finishing EQ (or compression). I.e. the dialogue should sound almost, if not totally finished already when recording. In this approach having a good and carefully selected microphone is essential, the placing and micing angle has to be correct, the actor must attempt to/be able to speak/sing consistently (i.e. consciously keep the dynamic range that he/she uses under control), his/her voice obviously has to sound good, the recording room must sound neutral and you must retake and readjust everything that doesn't sound good enough. In location dialogue recording controlling the environment and the mic positioning becomes an art of its own, which is why they invented ADR though.&#xD;&#xA;&#xD;&#xA;So, don't spend too much time wondering how to post-process the dialogue. Focus on making the recordings as good as possible, and you'll need to do less later and it will come out sounding better." ContentLicense="CC BY-SA 3.0" />
  <row Id="28746" PostHistoryTypeId="2" PostId="17793" RevisionGUID="405cce31-0fb4-4c76-9229-9eb14c58695d" CreationDate="2013-01-23T06:54:48.547" UserId="4465" Text="Scraping cymbals with another object, pitch up or down. Wash rinse repeat." ContentLicense="CC BY-SA 3.0" />
  <row Id="28747" PostHistoryTypeId="5" PostId="17792" RevisionGUID="6d8b2bea-3782-47e1-b7f3-1e434be3b6ed" CreationDate="2013-01-23T09:20:11.793" UserId="3179" Comment="added 68 characters in body; added 96 characters in body" Text="In general, listen to whether it sounds good or whether it has something that irritates you. Or whether the sound is fitting or whether it's e.g. weak (in the modern days of dynamics squashing that can be a valid notion that you may want to adjust with compression. Just remember what the dialogue is for, i.e. it has to sound humanly like the person who's speaking it and it has to be intelligible, so all processing should aim to be rather natural and focus on clarity and minimizing any sort of irritation in the sound).&#xD;&#xA;&#xD;&#xA;Ideally, dialogue processing doesn't need anything more than some EQ, some gain riding (prefer it to compressors, unless you're in a hurry, although modern vocal specific gain ride plug-ins can work really naturally) and a compressor/limiter to finish it.&#xD;&#xA;&#xD;&#xA;But, dialogue can and preferably should be recorded, to save yourself from headache, so that you may not need to do anything but cut and add some fades, and possibly add a very small amount of sweetening/finishing EQ (or compression). I.e. the dialogue should sound almost, if not totally finished already when recording. In this approach having a good and carefully selected microphone is essential, the placing and micing angle has to be correct, the actor must attempt to/be able to speak/sing consistently (i.e. consciously keep the dynamic range that he/she uses under control. Or, you need to adjust the microphone according to how loud or soft the actor's dialogue goes.), his/her voice obviously has to sound good, the recording room must sound neutral and you must retake and readjust everything that doesn't sound good enough. In location dialogue recording controlling the environment and the mic positioning becomes an art of its own, which is why they invented ADR though.&#xD;&#xA;&#xD;&#xA;So, don't spend too much time wondering how to post-process the dialogue. Focus on making the recordings as good as possible, and you'll need to do less later and it will come out sounding better." ContentLicense="CC BY-SA 3.0" />
  <row Id="28748" PostHistoryTypeId="2" PostId="17794" RevisionGUID="0d4e0f55-76ab-4519-8f91-1bdfbddc7ab3" CreationDate="2013-01-23T13:26:24.267" UserId="4442" Text="I gotta say, if you're a mac user, Michael Norris Soundmagic Spectral. Wild stuff. I'll spend some time a few mornings of the week just putting up a drum loop or something else like noises in logic and just switching the plugins out and recording the outputs. They can be difficult to follow because the terminology is not similar to many other plugins, but with some experimentation, you can get a little control over them.&#xD;&#xA;&#xD;&#xA;If you're not a mac user, i would try any of the manifold granular plugins available to you. granular synthesis stuff is great at creating sci-fi or magic sounds almost instantly.&#xD;&#xA;&#xD;&#xA;Another thing i would mention, credited to ric viers Sound Effects Bible, is LISTEN THROUGH YOUR RECORDER!! I know it sounds obvious, but it's not just about what your ears pick up. Everything sounds different through super sensitive condenser mics. Also, it's not that our ears are bad, our brains are physiologically programmed to ignore certain things or perceive them as unimportant. On a hunch, i took one of my pit bulls rubber kong toys and slid it across the refrigerator door. My ears said &quot;cool squeak and rumble&quot;. My recorder said &quot;holy shit, the house is coming down&quot;. &#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="28749" PostHistoryTypeId="2" PostId="17795" RevisionGUID="dc342a5c-98a9-451e-b0f4-9e9cd2ed92bb" CreationDate="2013-01-23T14:30:56.547" UserId="1216" Text="Although many good answers have been given already, I would like to point you in the direction of [this book][1]. It's not exactly written to teach 'what a voice' should sound like, but goes in depth to teach about dialogue editing and workflow. &#xD;&#xA;&#xD;&#xA;Furthermore: Directing, recording and editing a voice is an art and I think one should have an obvious talent for it. It's not something you cannot learn, but if you don't 'feel' what a voice should sound like, you'll have difficulty creating the perfect voice-track. If you want to get better, try to direct as much as you can. And practice with recording your own voice, it helps a lot in many situations.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Dialogue-Editing-Motion-Pictures-Invisible/dp/0240809181" ContentLicense="CC BY-SA 3.0" />
  <row Id="28750" PostHistoryTypeId="2" PostId="17796" RevisionGUID="a2167165-afe9-4124-932a-c314fb4ead17" CreationDate="2013-01-23T16:25:23.410" UserId="3104" Text="I was looking around Ebay, to find a good deal on a boom pole, since I lost mine on a shoot and I came across this listing.&#xD;&#xA;&#xD;&#xA;http://www.ebay.com/itm/9-ft-Carbon-Fiber-Microphone-BOOM-POLE-The-Lux-Falcon-Boompole-for-mics-/221173884469?pt=LH_DefaultDomain_0&amp;hash=item337efda635&#xD;&#xA;&#xD;&#xA;I wanted to know if anyone on here has ever used these and if they're worth investing in or if I should just save up and get a K-Tek instead." ContentLicense="CC BY-SA 3.0" />
  <row Id="28751" PostHistoryTypeId="1" PostId="17796" RevisionGUID="a2167165-afe9-4124-932a-c314fb4ead17" CreationDate="2013-01-23T16:25:23.410" UserId="3104" Text="Falcon Boom Poles - Any Thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28752" PostHistoryTypeId="3" PostId="17796" RevisionGUID="a2167165-afe9-4124-932a-c314fb4ead17" CreationDate="2013-01-23T16:25:23.410" UserId="3104" Text="&lt;boom-pole&gt;&lt;gear&gt;&lt;location-recording&gt;&lt;purchase-advice&gt;&lt;booming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28753" PostHistoryTypeId="5" PostId="918" RevisionGUID="72505203-aa59-4f83-8146-7b86ba178ca7" CreationDate="2013-01-23T17:29:24.613" UserId="61" Comment="deleted 9 characters in body" Text="Welcome to the world of modern filmmaking. Hate to break it to you, but many directors fit this description. Sound is an afterthought most of the time, seldom entering into the script as a story point; production audio is often polluted with background noise and can be unusable at times because no one wants to allow the production mixer the latitude to capture good tracks; budgets are shrinking for post-production sound editorial and mixing; and - here's the capper - sometimes the director doesn't show up for the mix until the last few days for playbacks. And THEN they have notes!&#xD;&#xA;&#xD;&#xA;Well, what can you do? Start by educating the director that sound is a critical part of his/her film. Not by lecturing or over-pontificating, but rather through sound budgeting practices, solid and creative tracks, and organized delivery to the stage for mixing.&#xD;&#xA;&#xD;&#xA;In short, take the job. It's good practice for the future.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28754" PostHistoryTypeId="2" PostId="17797" RevisionGUID="a46f806c-4fbb-4931-b021-97b9669a56a9" CreationDate="2013-01-23T18:20:54.583" UserId="1068" Text="A few years ago, I was working on a Kung Fu short that needed some quick swishes and whooshes (as Kung Fu movies will). Not wanting to go into a library, I ended up grabbing my cats' feather toy with a 3' plastic rod and whirled it around in front of a microphone. It worked great, and is a method I still use when I want quick swish/whoosh sounds.&#xD;&#xA;&#xD;&#xA;Also, I suggest checking out [this video][1] posted on Designing Sound a few years back.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.youtube.com/watch?v=KM5xeTH5iZU &quot;Recording Whooshes &quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28755" PostHistoryTypeId="2" PostId="17798" RevisionGUID="c2c5aa5f-2cd3-491a-9d35-3bb1f2000a7a" CreationDate="2013-01-23T22:20:46.873" UserId="5669" Text="Well.. I think it's almost impossible to find anything. I've been searching for a while and the closest thing I've found was 30 minutes video tutorial for $25.00 plus s/h jaja..&#xD;&#xA;Will have to get some books then.&#xD;&#xA;thanks for your answers.." ContentLicense="CC BY-SA 3.0" />
  <row Id="28756" PostHistoryTypeId="2" PostId="17799" RevisionGUID="986738b1-9c94-4d00-942b-6b190836c6d4" CreationDate="2013-01-23T22:43:14.260" UserId="4272" Text="There are so many ways to make whooshes!  I like to use a sampler (Kontakt is my fave).  Use a nice long sound effect (wind works fairly well), and a filter, and set the knobs to midi learn.  Then you can &quot;perform&quot; the whoosh by playing with the knobs on your midi keyboard in real-time.  If your sampler has built-in fx you can get some pretty neat sounds.  In the case of Kontakt, it has many built-in fx including doppler, verb, delay, distortion, etc.&#xD;&#xA;&#xD;&#xA;Alternatively, you can pop an explosion sound into kontakt, set it to play in reverse, turn on loop mode to play back-forth until release, and set your loop points to not play the transient of the explo." ContentLicense="CC BY-SA 3.0" />
  <row Id="28758" PostHistoryTypeId="2" PostId="17800" RevisionGUID="c7529453-1c86-402b-98fb-4d8e2cf4c258" CreationDate="2013-01-24T00:56:06.087" UserId="3746" Text="Here are links to a couple of pages at rocksuresoundz.com that are laughter sfx. They are individual files, not packs though.&#xD;&#xA;http://rocksuresoundz.com/store/ambiance/laughting/page/1/&#xD;&#xA;http://rocksuresoundz.com/store/foley/laugh/page/1/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28760" PostHistoryTypeId="2" PostId="17802" RevisionGUID="3b7e0488-ee2c-49bb-8c96-5de0d947e024" CreationDate="2013-01-24T02:54:32.910" UserId="3746" Text="I'm interested to know why you want to create cicada sounds rather than record cicadas? Is it to mke some sort of synth patch type effect, or are you wanting to sound like real cicadas? I've recorded heaps of New Zealand cicada sounds as they are all over the place here at this time of year!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28761" PostHistoryTypeId="2" PostId="17803" RevisionGUID="cf25af4a-a497-4e3b-95d4-d4a7897a1c9d" CreationDate="2013-01-24T03:23:42.563" UserId="5678" Text="Hello everybody,&#xD;&#xA;I enjoy the different sounds of wind, I use them for making things like car pass by using the Doppler plugin comes with protools and eq them on the later part with a light reverb. It's not because I'm lazy, but it gives me the correct feel, when the whole audience is concentrating on the main protagonist,It simply doesn't drive the attention away but fills up those nice blanks.&#xD;&#xA;2ndly, I enjoy using Signal generator(comes with protools -audio suite), if u really want to underline the POV Panned shots to give it a more stylised version, it's a cool way,&#xD;&#xA;But the choice of freq. is important, even what kind of wave u r using.&#xD;&#xA;But u have to be perfect in fades.&#xD;&#xA;Fades does all the game and a leak of reverb makes it so smooth.....hmmm...yummy...!!&#xD;&#xA;There are many tricks, if you guys want any then mail me at anirbanmayhem@gmail.com&#xD;&#xA;&#xD;&#xA;Cheers...have fun..!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28762" PostHistoryTypeId="16" PostId="17803" RevisionGUID="cf25af4a-a497-4e3b-95d4-d4a7897a1c9d" CreationDate="2013-01-24T03:23:42.563" UserId="5678" />
  <row Id="28763" PostHistoryTypeId="2" PostId="17804" RevisionGUID="db445984-580a-4b5d-8fc0-b5dbceb6cc99" CreationDate="2013-01-24T05:22:14.133" UserId="6499" Text="I have plenty of Louisiana Cicadas should you need that audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="28764" PostHistoryTypeId="2" PostId="17805" RevisionGUID="7d7d32d8-5bf1-4696-ae2d-24c2e8be8cf7" CreationDate="2013-01-24T08:04:54.707" UserId="5679" Text="Interressting. Seems to be somehow affordeble. Are there some testers of this anywhere ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28767" PostHistoryTypeId="2" PostId="17807" RevisionGUID="182d2e04-3fca-476e-b7cd-28c6b2ee81a7" CreationDate="2013-01-24T11:23:23.637" UserId="5675" Text="Thanx for the info Felix. &#xD;&#xA;Did you consider a Tascam DR 100 mkII which has an digital input through an TRRS connector (TRRS to RCA cable is included), or will this input cause the same problem as in Mix-pre D/Sony D50 scenario?.. &#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28768" PostHistoryTypeId="2" PostId="17808" RevisionGUID="e402ce80-137b-4be8-846c-abd2163494af" CreationDate="2013-01-24T18:48:50.283" UserId="4442" Text="I'm not referring to actual rooms, i'm talking more about weirdness. I've been trying to use Skanner XT in reaktor (i mean, it can be any synth for that matter) to make some custom weird IRs. I'm getting some mixed results. A lot of the time it sounds like the same synth sound through reverb. &#xD;&#xA;&#xD;&#xA;Any good tips on doing that sort of thing? My reverb is either Space Designer, Kontakt built in convolution, or Reflektor. Not that it really matters, once again." ContentLicense="CC BY-SA 3.0" />
  <row Id="28769" PostHistoryTypeId="1" PostId="17808" RevisionGUID="e402ce80-137b-4be8-846c-abd2163494af" CreationDate="2013-01-24T18:48:50.283" UserId="4442" Text="Do you make your own impulse responses?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28770" PostHistoryTypeId="3" PostId="17808" RevisionGUID="e402ce80-137b-4be8-846c-abd2163494af" CreationDate="2013-01-24T18:48:50.283" UserId="4442" Text="&lt;convolution&gt;&lt;convolution-reverb&gt;&lt;impulse-response&gt;&lt;reaktor&gt;&lt;sound-designer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28771" PostHistoryTypeId="2" PostId="17809" RevisionGUID="b5987e35-54ad-43d1-a2d8-faa3302c2c47" CreationDate="2013-01-24T21:34:12.597" UserId="4278" Text="I have no hands on experience, but from the specs that shouldn't be a problem; the only drawback is that the digital in on the Tascam shares the jack with the input for the RC wire - so if you use the digital in, your remote control does only work in wireless mode. The SPDIF data format issue seems to be D50 specific anyway from what I know." ContentLicense="CC BY-SA 3.0" />
  <row Id="28772" PostHistoryTypeId="2" PostId="17810" RevisionGUID="e6d97765-5d31-4515-8c88-afe8696354a3" CreationDate="2013-01-25T02:11:13.550" UserId="168" Text="The quality of the convolution can depend on a lot of factors. IRs are meant to sample a space over time. With something like a synth, the change of frequency content over time would probably be less important (compared to a reverb). I have found that chopping the length of the sample to a few milliseconds (or tens or hundreds of milliseconds) can result in better results ;) . This is quite easy to do in Space Designer, without needing to edit the source file." ContentLicense="CC BY-SA 3.0" />
  <row Id="28773" PostHistoryTypeId="2" PostId="17811" RevisionGUID="00e95175-9237-4110-b998-c6d8a423f49e" CreationDate="2013-01-25T04:09:06.513" UserId="5683" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;In the past I asked a similar question (so apologizes if the question seems a bit familiar), but as I was not able to find a solution and also have some more details, I will be very thankful for any additional advice-&#xD;&#xA;&#xD;&#xA;I am willing to create funny/cartoon sound fx (later to be sold as stock sound fx) *using a* PC software only, with no external recording of any kind (no mics etc.)&#xD;&#xA;&#xD;&#xA;There are many cartoon sound fx that can be achieved using digital sounds only(without any foley), such as: a clean tooth &quot;ding&quot; (a single sound), a funny sound of a Xylophone (played by digital/virtual instrument only with a mix of several tunes or even single ones) and many more.&#xD;&#xA;&#xD;&#xA;I am looking for any advice concerning what kind of a software to use (I am a newbie so I am not familiar with the different software)-&#xD;&#xA;&#xD;&#xA;Is it a synthesizer software? &#xD;&#xA;&#xD;&#xA;Is it a virtual instrument software?&#xD;&#xA;&#xD;&#xA;Or maybe something else?&#xD;&#xA;&#xD;&#xA;The important thing to remember is that I am willing to sell those sound fx as stock sounds, so *I need a software that I can use to create sounds that can be legally sold afterwards.*&#xD;&#xA;&#xD;&#xA;I will be very thankful for any advice concerning achieving the above in a straightforward way (including any resources, info, link or book that might provide any additional and relevant info)&#xD;&#xA;&#xD;&#xA;*Thank you in advanced for the help.*&#xD;&#xA;&#xD;&#xA;Kind regards.&#xD;&#xA;&#xD;&#xA;I." ContentLicense="CC BY-SA 3.0" />
  <row Id="28774" PostHistoryTypeId="1" PostId="17811" RevisionGUID="00e95175-9237-4110-b998-c6d8a423f49e" CreationDate="2013-01-25T04:09:06.513" UserId="5683" Text="Software for creating digital sound fx (without any foley)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28775" PostHistoryTypeId="3" PostId="17811" RevisionGUID="00e95175-9237-4110-b998-c6d8a423f49e" CreationDate="2013-01-25T04:09:06.513" UserId="5683" Text="&lt;software&gt;&lt;digital&gt;&lt;stock&gt;&lt;legal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28776" PostHistoryTypeId="2" PostId="17812" RevisionGUID="90b795d2-2f38-4ca7-872b-aaeaa9c08e31" CreationDate="2013-01-25T04:16:53.637" UserId="5682" Text="Hello everyone, &#xD;&#xA;&#xD;&#xA;I am working on the sounddesign for a movie and I am kind of stuck with a dialogue scene where two characters are talking through a slightly opened appartment door. &#xD;&#xA;In theory, as perspective changes back and forth, so should acoustics, right?. If the door was wide open it wouldn't matter that much, but in this case it's kind of a crass change of perspective while the characters are very close to each other.  &#xD;&#xA;I managed to get a pretty decent setup for the &quot;hallway over shoulder shot&quot; but once the camera shoots from inside the appartment I can't quite manage to hit the sweet spot combining (or reducing) hallway and appartment room and eq's. Maybe it's just me, but just swapping between the two feels very distracting on the sound level, which is of course the opposite of what good sounddesign should do.  &#xD;&#xA;The same question goes pretty much for the subtle backgrounds that I built, but haven't added yet. Noisy neighbours, a barking dog, &quot;bad neighbourhood&quot; sounds, all that kind of stuff.  &#xD;&#xA;&#xD;&#xA;Any Ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28777" PostHistoryTypeId="1" PostId="17812" RevisionGUID="90b795d2-2f38-4ca7-872b-aaeaa9c08e31" CreationDate="2013-01-25T04:16:53.637" UserId="5682" Text="Dialog through slightly opened door/ Reverb?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28778" PostHistoryTypeId="3" PostId="17812" RevisionGUID="90b795d2-2f38-4ca7-872b-aaeaa9c08e31" CreationDate="2013-01-25T04:16:53.637" UserId="5682" Text="&lt;sound-design&gt;&lt;reverb&gt;&lt;room&gt;&lt;indoor-dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28779" PostHistoryTypeId="2" PostId="17813" RevisionGUID="02ae1b32-ccaa-4049-8006-5ea720856577" CreationDate="2013-01-25T06:11:11.380" UserId="180" Text="You should a take look at Reverberate from [LiquidSonics][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://liquidsonics.com &quot;LiquidSonics&quot;&#xD;&#xA;&#xD;&#xA;The built-in presets and IRs are questionable, but I've found it rather indispensable for mangling my own impulses." ContentLicense="CC BY-SA 3.0" />
  <row Id="28780" PostHistoryTypeId="2" PostId="17814" RevisionGUID="b5561c1a-38c0-495c-a288-43d70367960d" CreationDate="2013-01-25T09:21:25.923" UserId="1055" Text="So i will be upgrading my phone soon(galaxy s3), and yesterday i found this app https://play.google.com/store/apps/details?id=com.extreamsd.usbaudiorecorderpro&amp;hl=lt&#xD;&#xA;and to my surprise in compatibility list(http://www.extreamsd.com/USBAudioRecorderPRO/) i found that sound devices mixpre-d works with this app, the problem is they don't tell what phone they used to test this...maybe someone that has s3 and mixpre-d can download trial version of the app, and confirm if it works or not? :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28781" PostHistoryTypeId="1" PostId="17814" RevisionGUID="b5561c1a-38c0-495c-a288-43d70367960d" CreationDate="2013-01-25T09:21:25.923" UserId="1055" Text="Field recording with android phone and external preamp/help testing" ContentLicense="CC BY-SA 3.0" />
  <row Id="28782" PostHistoryTypeId="3" PostId="17814" RevisionGUID="b5561c1a-38c0-495c-a288-43d70367960d" CreationDate="2013-01-25T09:21:25.923" UserId="1055" Text="&lt;android&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28783" PostHistoryTypeId="2" PostId="17815" RevisionGUID="8bc31d81-af26-46bf-b92a-02574d8dad98" CreationDate="2013-01-25T09:51:21.937" UserDisplayName="user49" Text="i think you might find using your imagination combined with doing a lot of experimenting is the best approach.... &#xD;&#xA;&#xD;&#xA;(as far as actual software there are literally hundres of choices but really, if you're going to make the sounds to sell, isn't it your job to find/make the unique ideas and sounds?)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28784" PostHistoryTypeId="2" PostId="17816" RevisionGUID="147ee7ff-3673-4738-9b6a-1715ce1e0ebc" CreationDate="2013-01-25T12:29:38.880" UserId="5684" Text="if the scene has lots of cuts i'd be inclined to keep the background stuff consistent and only change the dialogue reverb for the perspective shifts." ContentLicense="CC BY-SA 3.0" />
  <row Id="28785" PostHistoryTypeId="2" PostId="17817" RevisionGUID="8455d0ff-8788-4bdd-86c8-8846289b3150" CreationDate="2013-01-25T14:39:18.480" UserId="194" Text="Hey Geronimo,&#xD;&#xA;&#xD;&#xA;why don't you experiment with re-amping the dialogue track through a slightly open door.  Even if the result isn't usable, you'll at least have a very solid reference that you can aim for with regards to verb and eq.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;speaker in room A -&gt; half open door -&gt; mono mic in room B from camera perspective&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;alternatively you could shoot an impulse response with that setup and use a convolution verb if you love the effect but need more control.&#xD;&#xA;&#xD;&#xA;seems like the straightest path..." ContentLicense="CC BY-SA 3.0" />
  <row Id="28786" PostHistoryTypeId="2" PostId="17818" RevisionGUID="9e2fbbb0-6a3f-44b0-a349-2627be76cb4e" CreationDate="2013-01-25T18:43:27.760" UserId="5675" Text="Thnx Felix, I'll look into th DR-100 and let you know what are the results, if you're interested, that is :) Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="28787" PostHistoryTypeId="2" PostId="17819" RevisionGUID="75958f04-13bf-408b-868a-0fb17e460355" CreationDate="2013-01-25T19:44:09.300" UserId="3179" Text="Without seeing/hearing the particular situation:&#xD;&#xA;&#xD;&#xA;In general, I'd avoid trying to &quot;fake&quot; anything real with plug-ins, especially when it comes to spaces. Getting a real world recording of a particular situation will be a lot better and it will take considerably less fiddling around with a DAW that probably doesn't lead to anything.&#xD;&#xA;&#xD;&#xA;So check Rene's suggestion of remicing the dialogue track, taken that the dialogue track has been already recorded (from a wrong perspective)." ContentLicense="CC BY-SA 3.0" />
  <row Id="28788" PostHistoryTypeId="2" PostId="17820" RevisionGUID="e1fc232e-a22e-4c53-aaa2-fb2021f1ce4a" CreationDate="2013-01-25T19:52:08.283" UserId="3179" Text="Yes, there are hundreds of choices, so I think you just need to look around what you can get and what you can then use it for.&#xD;&#xA;&#xD;&#xA;Be careful with sampled instruments, samples and wavetable synths. It's almost always a license or a copyright infringement to resell a sample. So you need to know what you can do and what you cannot or edit or layer the sound beyond recognition or otherwise contribute to the sound effect so much of your own that you aren't simply repackaging someone else's work." ContentLicense="CC BY-SA 3.0" />
  <row Id="28795" PostHistoryTypeId="2" PostId="17822" RevisionGUID="7cdc6e37-4cab-43d3-8af2-775d8fa4a090" CreationDate="2013-01-26T08:03:28.893" UserId="4418" Text="I use it this way.&#xD;&#xA;&#xD;&#xA;You create a session, the one that you'll be editing with. Create a stereo aux channel and set the output to your main stereo out (analog 1-2).&#xD;&#xA;&#xD;&#xA;If you've installed the plugin correctly and have the license asset on the ilok, then you'll have a soundminer plugin in instruments I believe, in any case, it's an RTAS processor. So, instantiate that on one of the inserts for that aux you created.&#xD;&#xA;&#xD;&#xA;Importantly, you need to instantiate the plugin and have the PT session running before you open soundminer, that way the rewire (the tech that allows SM to talk to PT) works. When installing soundminer, it might even ask you to update the rewire client.&#xD;&#xA;&#xD;&#xA;your done.&#xD;&#xA;&#xD;&#xA;don't forget to solo safe the aux track. CMD + click on solo button. this way if you have any solos in the session it won't cut the output of soundminer.&#xD;&#xA;&#xD;&#xA;cruise through your library in soundminer to find good sounds and then once one is found, hit CMD + B and it'll import the file into the pro tools region/clip bin. then you can drag it into the timeline.&#xD;&#xA;&#xD;&#xA;you can also just highlight certain parts of the audio in soundminer and only import that part.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28796" PostHistoryTypeId="2" PostId="17823" RevisionGUID="ed6ce623-23ec-44d1-8107-4d35b012cceb" CreationDate="2013-01-26T12:55:07.843" UserId="432" Text="It's a &quot;rewire&quot; plug-in in the &quot;instruments&quot; category...if I'm remembering correctly. It's automatic for me. It's called SM Engine, or SM Eng...again, autmoatic for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="28797" PostHistoryTypeId="2" PostId="17824" RevisionGUID="9bf1a064-b472-45ff-9100-76405eaf53ea" CreationDate="2013-01-26T14:24:29.107" UserId="6462" Text="Hi.&#xD;&#xA;I have the D50 and love it, it's been with me in all sorts of places and always accompanies me both with my full sound recording rig and in my personal life. It's so easy to just get out and hit record and the results are incredibly good, many recordings have been used in features, short films, commercials etc.&#xD;&#xA;I have used the optical inputs from my mac and I have to say it's a bit hit and miss but when they do work the recordings are great, as you'd expect.&#xD;&#xA;I would do a test with the normal analogue output of the MixPre-D into the line in of the D50, you'll find that the recordings are excellent and not much different from the Digital in. If you do a search online you'll find many people using this method with excellent results. Digital does not necessarily mean it's better, if you get the levels correct with the analogue input you may not notice the difference." ContentLicense="CC BY-SA 3.0" />
  <row Id="28798" PostHistoryTypeId="2" PostId="17825" RevisionGUID="d560c24b-46df-44d2-94ab-221fad76153c" CreationDate="2013-01-26T16:59:18.050" UserId="5688" Text="*Thank you for the replies.*&#xD;&#xA;&#xD;&#xA;Let me ask you this-&#xD;&#xA;&#xD;&#xA;If I am willing to go on the 100% safe side, I guess that I will need to create each and every sample and tune from scratch(even a basic instrument tune)- *Am I right?*&#xD;&#xA;&#xD;&#xA;And if this is the case, which program can I use in order to do this?&#xD;&#xA;&#xD;&#xA;Any other source (link, book etc.) for creating such is thankfully welcome.&#xD;&#xA;&#xD;&#xA;The goal, as mentioned, is to create sound fx, samples and loops for stock sound fx selling.&#xD;&#xA;&#xD;&#xA;*Thank you.*&#xD;&#xA;&#xD;&#xA;I." ContentLicense="CC BY-SA 3.0" />
  <row Id="28799" PostHistoryTypeId="2" PostId="17826" RevisionGUID="cbebe134-fceb-45a7-8f69-994add4cbd72" CreationDate="2013-01-26T18:54:15.480" UserId="3285" Text="Just find this thread [here][1]  :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dv-forums.com/forums/showthread.php?t=7159" ContentLicense="CC BY-SA 3.0" />
  <row Id="28803" PostHistoryTypeId="2" PostId="17828" RevisionGUID="36182dfe-a5ea-48b3-a8d9-c0d9f495e29c" CreationDate="2013-01-27T03:09:41.570" UserId="18160" Text="Worldizing is my favorite trick.&#xD;&#xA;&#xD;&#xA;Nothing sounds as good as properly placed mics and loudspeakers to place a certain sound in a space.&#xD;&#xA;&#xD;&#xA;Also, when trying to make a song sound like it's coming from a car, or a newscast sound like it's from a TV in another room, that's where Worldizing will always win over EQ or a plug-in." ContentLicense="CC BY-SA 3.0" />
  <row Id="28804" PostHistoryTypeId="2" PostId="17829" RevisionGUID="53c3e265-bd0c-4ce4-a3fd-26f8027b912b" CreationDate="2013-01-27T03:33:05.397" UserId="18160" Text="Hi Stephen,&#xD;&#xA;&#xD;&#xA;A soundtrack is like a salad (final mix).&#xD;&#xA;&#xD;&#xA;You choose the ingredients (individual SFX, dialogue tracks, music stems, etc.) that you want to put in that salad.&#xD;&#xA;&#xD;&#xA;The salad quality and it's taste (how it sounds) is dependent on the ingredients you put in it,&#xD;&#xA;&#xD;&#xA;For example, if you go to the store and buy GMO (genetically modified organisms) tomatoes, under-ripened pears or out-of-season pears, lettuce that's been mass produced, etc., your salad isn't going to taste very good. (read: if you use wonky mass-produced library sound effects that are over-compressed, up/down-converted, processed, harsh, and horrible-sounding)&#xD;&#xA;&#xD;&#xA;If you use your own home-grown ingredients from your backyard like fresh vegetables picked off the plant, fresh organic tomatoes and lettuce, etc. (SFX that you yourself record at the proper sample rate and miced properly with high quality equipment), the end product is going to be a very nice tasting salad (nice-sounding final mix).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The way to get a good, full sounding soundtrack is to use the full spectrum wisely. Don't put 12 low-end rumbles and whooshes in there all piled up on each-other. Spread your sounds around the spectrum wisely. I think expert choice and management of your tracks is important to keep in mind while putting together the soundtrack. If done correctly, the mixer has an easy job putting emphasis on certain things and really creating an organic track that captivates the listener and puts him in a 360 degree environment that sounds real and convincing. Otherwise, if something is out of place or it's messy in the lows or highs or mids, it just doesn't have the same impact. It doesn't take a lot of experience to achieve this, I don't think. It's just building it correctly in the first place so you don't have to spend a bunch of time processing things and mucking it up later." ContentLicense="CC BY-SA 3.0" />
  <row Id="28805" PostHistoryTypeId="5" PostId="17829" RevisionGUID="4cb02153-eaaf-4d9e-a7e6-016d7f16e6d2" CreationDate="2013-01-27T04:06:20.007" UserId="18160" Comment="added 333 characters in body; added 420 characters in body" Text="Hi Stephen,&#xD;&#xA;&#xD;&#xA;A soundtrack is like a salad (final mix).&#xD;&#xA;&#xD;&#xA;You choose the ingredients (individual SFX, dialogue tracks, music stems, etc.) that you want to put in that salad.&#xD;&#xA;&#xD;&#xA;The salad quality and it's taste (how it sounds) is dependent on the ingredients you put in it,&#xD;&#xA;&#xD;&#xA;For example, if you go to the store and buy GMO (genetically modified organisms) tomatoes, under-ripened pears or out-of-season pears, lettuce that's been mass produced, etc., your salad isn't going to taste very good. (read: if you use wonky mass-produced library sound effects that are over-compressed, up/down-converted, processed, harsh, and horrible-sounding **[Disclaimer: don't get me wrong - there are many sound effects libraries you can buy that are boutique and sound amazing and are tailored that way for high fidelity and truer sound, and are provided as an alternative to the larger, more bland and &quot;commercial&quot; libraries you buy out there, e.g. &quot;KEWL HOLLYWOOD FX 500000000000&quot;.]**)&#xD;&#xA;&#xD;&#xA;If you use your own home-grown ingredients from your backyard like fresh vegetables picked off the plant, fresh organic tomatoes and lettuce, etc. (SFX that you yourself record at the proper sample rate and miced properly with high quality equipment), the end product is going to be a very nice tasting salad (nice-sounding final mix).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The way to get a good, full sounding soundtrack is to use the full spectrum wisely. Don't put 12 low-end rumbles and whooshes in there all piled up on each-other. Spread your sounds around the spectrum wisely. I think expert choice and management of your tracks is important to keep in mind while putting together the soundtrack. If done correctly, the mixer has an easy job putting emphasis on certain things and really creating an organic track that captivates the listener and puts him in a 360 degree environment that sounds real and convincing. Otherwise, if something is out of place or it's messy in the lows or highs or mids, it just doesn't have the same impact. It doesn't take a lot of experience to achieve this, I don't think. It's just building it correctly in the first place so you don't have to spend a bunch of time processing things and mucking it up later.&#xD;&#xA;&#xD;&#xA;One thing I noticed while watching that cinematic you linked, is that the mixer made &quot;space&quot; for everything. I.e., there wasn't 20 things all playing at once, but rather, he played up specific sounds here and there and made sure the mast crack and crash wasn't on the dialogue (which is also important to get coordinated with the video editor so you make yourself space for that type of thing). Just an observation.." ContentLicense="CC BY-SA 3.0" />
  <row Id="28806" PostHistoryTypeId="5" PostId="17825" RevisionGUID="4faab5f7-ef9f-4974-9db2-7f5293df9d0e" CreationDate="2013-01-27T06:04:54.430" UserId="5688" Comment="Addition to my last post-" Text="*Thank you for the replies.*&#xD;&#xA;&#xD;&#xA;Let me ask you this-&#xD;&#xA;&#xD;&#xA;If I am willing to go on the 100% safe side, I guess that I will need to create each and every sample and tone from scratch(even a basic instrument tone)- *Am I right?*&#xD;&#xA;&#xD;&#xA;And if this is the case, which program can I use in order to do this?&#xD;&#xA;&#xD;&#xA;Any other source (link, book etc.) for creating such is thankfully welcome.&#xD;&#xA;&#xD;&#xA;The goal, as mentioned, is to create sound fx, samples and loops for stock sound fx selling.&#xD;&#xA;&#xD;&#xA;*Thank you.*&#xD;&#xA;&#xD;&#xA;I.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Thanks for the replies.**&#xD;&#xA;&#xD;&#xA;As I am new to this, I am not familiar with the &quot;known&quot; software, so I will be very thankful for any advice concerning a software that enables creating sounds from scratch, without the need to import any recordered sounds (foley) The goal is to create 100% software generated sounds, that can be later sold as stock sound fx, samples and tones.&#xD;&#xA;&#xD;&#xA;Many thanks.&#xD;&#xA;&#xD;&#xA;I&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28807" PostHistoryTypeId="2" PostId="17830" RevisionGUID="da592dcc-9d53-4562-8b77-a4523824b59c" CreationDate="2013-01-27T06:06:48.010" UserId="5688" Text="**Thanks for the replies.**&#xD;&#xA;&#xD;&#xA;As I am new to this, I am not familiar with the &quot;known&quot; software, so I will be very thankful for any advice concerning a software that enables creating sounds from scratch, without the need to import any recordered sounds (foley) The goal is to create 100% software generated sounds, that can be later sold as stock sound fx, samples and tones.&#xD;&#xA;&#xD;&#xA;*Many thanks.*&#xD;&#xA;&#xD;&#xA;I" ContentLicense="CC BY-SA 3.0" />
  <row Id="28808" PostHistoryTypeId="2" PostId="17831" RevisionGUID="28e29979-dc2e-4aba-bcad-aabb9a810f3c" CreationDate="2013-01-27T08:20:48.420" UserId="3245" Text="Audio-MIDI.com is having one of their &quot;No-Brainer&quot; deals right now, and it's for this SFX Machine Pro plugin, for 87% off. It's only $20, but I'm between gigs at the moment and don't want to blow $20 on something dumb. It bills itself as an amazing sound design tool, but the only demos I can find online are it being used on terrible third-rate rap songs.&#xD;&#xA;&#xD;&#xA;So, have any of you tried it? And if you have, have you used it in a sound design capacity? I'd love to hear your feedback.&#xD;&#xA;&#xD;&#xA;http://www.shareit.com/product.html?cart=1&amp;productid=300077342" ContentLicense="CC BY-SA 3.0" />
  <row Id="28809" PostHistoryTypeId="1" PostId="17831" RevisionGUID="28e29979-dc2e-4aba-bcad-aabb9a810f3c" CreationDate="2013-01-27T08:20:48.420" UserId="3245" Text="Have any of you tried out SFX Machine Pro?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28810" PostHistoryTypeId="3" PostId="17831" RevisionGUID="28e29979-dc2e-4aba-bcad-aabb9a810f3c" CreationDate="2013-01-27T08:20:48.420" UserId="3245" Text="&lt;software&gt;&lt;vst&gt;&lt;plug-ins&gt;&lt;review&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28811" PostHistoryTypeId="2" PostId="17832" RevisionGUID="2018eb9f-a85d-4315-8446-a61a86e4c1ca" CreationDate="2013-01-27T10:19:25.117" UserId="6432" Text="Why do you not want to use recordings in your sound design? It's by far the easiest and most economical way (both time and money) to get started designing sounds but you seem to have written this off without considertation? A $200 portable recorder and basic audio sequencer will allow you to design a far broader range of sounds than if you restrict yourself to a synth or virtual instrument. Most sound designers use recorded sound as their primary source because it is inherently rich, complex and natural. There are some natural sfx which you can learn to synthesise but it's a lengthy process which requires more in depth knowledge. I think everyone here would agree that learning to record and manipulate audio in a DAW is the best first step into sound design. &#xD;&#xA;&#xD;&#xA;If you haven't already, check out some of the videos at [Soundworks][1] to see some professional sound designers at work. You will notice that they talk more about recording sounds as source material than generating it from scratch. As was mentioned, if you record sounds they are yours and you can sell them 100% legally if that's your aim. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28812" PostHistoryTypeId="5" PostId="17832" RevisionGUID="0c5e1988-5dd9-4778-bb9e-bf8583fc3ab7" CreationDate="2013-01-27T12:57:35.780" UserId="6432" Comment="more." Text="Why do you not want to use recordings in your sound design? It's by far the easiest and most economical way (both time and money) to get started designing sounds but you seem to have written this off without considertation? A $200 portable recorder and basic audio sequencer will allow you to design a far broader range of sounds than if you restrict yourself to a synth or virtual instrument. Most sound designers use recorded sound as their primary source because it is inherently rich, complex and natural. There are some natural sfx which you can learn to synthesise but it's a lengthy process which requires more in depth knowledge. I think everyone here would agree that learning to record and manipulate audio in a DAW is the best first step into sound design. &#xD;&#xA;&#xD;&#xA;If you haven't already, check out some of the videos at [Soundworks][1] to see some professional sound designers at work. You will notice that they talk more about recording sounds as source material than generating it from scratch. As was mentioned, if you record sounds they are yours and you can sell them 100% legally if that's your aim. &#xD;&#xA;&#xD;&#xA;You have a very specific idea of what you want to do, but perhaps you should do some general research into sound design techniques before you start on something so specific. There are some great books listed in this post:&#xD;&#xA;&#xD;&#xA;[http://socialsounddesign.com/questions/200/what-sound-design-books-have-influenced-you-the-most][2]&#xD;&#xA;&#xD;&#xA;Also there is some great stuff over at designing sound:&#xD;&#xA;&#xD;&#xA;[http://designingsound.org/][3]&#xD;&#xA;&#xD;&#xA;Lots of ideas there for techniques and software choices.&#xD;&#xA;&#xD;&#xA;Hope that helps,&#xD;&#xA;&#xD;&#xA;Mark&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/200/what-sound-design-books-have-influenced-you-the-most&#xD;&#xA;  [3]: http://designingsound.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28813" PostHistoryTypeId="2" PostId="17833" RevisionGUID="c3a9ba4b-057d-4be9-a2f1-f028c4cfbda4" CreationDate="2013-01-27T14:13:40.100" UserId="3196" Text="hey guys, i have been trying to create the effect of a character talking over a microphone. i used delay, and then eq-ed it, giving a boost in the low-mid section since the character was in a room, then i added a little bit of reverb to it. well, i am not quite satisfied  with the result. could anyone please suggest something in this regard? &#xD;&#xA; also, how would the use of delay be different if say the character is in the outdoors." ContentLicense="CC BY-SA 3.0" />
  <row Id="28814" PostHistoryTypeId="1" PostId="17833" RevisionGUID="c3a9ba4b-057d-4be9-a2f1-f028c4cfbda4" CreationDate="2013-01-27T14:13:40.100" UserId="3196" Text="how to create the effect of someone talking over a microphone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28815" PostHistoryTypeId="3" PostId="17833" RevisionGUID="c3a9ba4b-057d-4be9-a2f1-f028c4cfbda4" CreationDate="2013-01-27T14:13:40.100" UserId="3196" Text="&lt;reverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28816" PostHistoryTypeId="2" PostId="17834" RevisionGUID="786c2ba3-e1fc-420c-b5a3-af13ea0b8a82" CreationDate="2013-01-27T15:04:15.977" UserId="5676" Text="Hey there I bought it and i would say it's OKAY....but nothing mind blowing in there in my opinion....however it does have alot of stuff in it...i just found that I can already do most of the things it offers with other plugs. if you have 20 to blow check out the animoog iOs app...its awesome. Cheers! -jason www.soundmorph.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="28817" PostHistoryTypeId="2" PostId="17835" RevisionGUID="b869d0ca-6dd1-46c0-8ae0-d59745c223eb" CreationDate="2013-01-27T16:15:18.207" UserId="3654" Text="http://www.dv-forums.com/forums/showthread.php?t=7159" ContentLicense="CC BY-SA 3.0" />
  <row Id="28818" PostHistoryTypeId="6" PostId="17833" RevisionGUID="b6cc97a5-3ef6-4455-b684-f65a3d6f175c" CreationDate="2013-01-27T16:31:57.407" UserId="3196" Comment="edited tags" Text="&lt;reverb&gt;&lt;creativity&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28819" PostHistoryTypeId="2" PostId="17836" RevisionGUID="1c2d1a01-5550-4505-a03a-d928b0bc9c59" CreationDate="2013-01-27T16:52:09.807" UserId="5663" Text="My personal Jesus and almighty God Max/Msp is &quot;a software that enables creating sounds from scratch&quot;. Do everything slower but understand everything you do." ContentLicense="CC BY-SA 3.0" />
  <row Id="28820" PostHistoryTypeId="2" PostId="17837" RevisionGUID="b4d06dfc-c933-49b6-a0cc-5c495e70dd84" CreationDate="2013-01-27T18:34:16.297" UserId="5690" Text="You're welcome to download a free demo from&#xD;&#xA;http://sfxmachine.com/downloads.html . &#xD;&#xA;&#xD;&#xA;Earl Vickers&#xD;&#xA;&#xD;&#xA;The Sound Guy, Inc.&#xD;&#xA;&#xD;&#xA;http://sfxmachine.com&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28821" PostHistoryTypeId="2" PostId="17838" RevisionGUID="19f5f940-d502-4d27-bfb9-dd445fcccd98" CreationDate="2013-01-27T18:39:10.367" UserId="1228" Text="The interesting thing about reverb, at least in my own experience, is it tends to be the same situation as the human voice - subconsciously, our mind is very picky and can easily determine what sounds true, fluid, and natural and what sounds fabricated/altered.  It's a high pint of our species' hearing sensitivity to nuance.&#xD;&#xA;&#xD;&#xA;So this, in general sense, may be why you're facing a lot of frustration with this - it's not easy to replicate believably, it's even a challenge for seasoned pros too.  Many times it's finding that happy medium where our ears 'buy' what we're hearing but not spending an astronomical; amount of time and effort beyond what would be reasonable.  This is where IR reverbs tend to help, many work quite well in a pinch, but even they need help sometimes.  And it also depends on the reverb plugin - some (in their overall algorithms, regardless of what IR or parameters you plug in) sound metallic, some sound lush, others sound smooth and rich.  So that's part of the challenge, in knowing which ones you like for which certain occasions - some work well for voice, others sound like they were destined for music treatments.  A lot of finding what you like for which occasion just comes with time and experience working with them - it's hard to find a &quot;magic bullet&quot; for something like this.  Run a search on here and I know there's a reverb post on here, I believe a post by Tim, which has quite a few responses tossing out a variety of reverb tools, some of which I had never heard of - some reverbs out there which immediately come to mind are TLSpace, TrueVerb, RVerb, Altiverb, Revibe, ReverbOne, Valhalla, but there are many many others.&#xD;&#xA;&#xD;&#xA;My guess is that what will head you int the right direction as far as the verb situation you speak of is to set up a slap delay (i.e. short delay with little/no feedback), THEN follow up that slap delay with a reverb (maybe even an IR) to treat the soften the slap and give it more depth - try letting the reverb run on the source dialogue and the slap delay, and also try verbing the slap delay only (this is where Aux sidechains help) and see what you like.  The slap delay helps give that perceived feeling of the sound slapping walls (and it even kinda takes into account that believable amount of delay you might get from speaking into a mic and having it go through the signal chain to the speakers).  Again, it's really just an experimentation thing, finding what hits your ear right, there is no perfect answer to this - so if this is the method you tried already, trying using a different set of plugins and/or different reverb IRs/parameters).&#xD;&#xA;&#xD;&#xA;Also worth noting, if you're doing this treatment with a clean and naked dialogue track it's GOING TO sound very weird regardless of what you do.  This is where BGz are critical in giving that bed of existence and 'space' for which the dialogue can interact with.  Even dead quiet auditorium or opera/theater environments  can contain a lot of sonic texture just with the roomtone layering alone.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28822" PostHistoryTypeId="2" PostId="17839" RevisionGUID="a650cc6a-0653-411c-a331-5db44d3adb80" CreationDate="2013-01-27T19:41:26.573" UserId="3890" Text="@Eyehear05, &#xD;&#xA;&#xD;&#xA;Are you trying to make someone sound close miked? Or speak over a speaker system, or... ?&#xD;&#xA;&#xD;&#xA;This may not be the answer you're looking for but re-recording your sound usually does the trick to properly place a sound in an environment.  This may be impractical, if you aren't near a matching environment, or need to set up a giant PA (as examples) but there is nothing like acoustics, to create acoustics.  If you are trying to replicate the sound of a Voice Over Booth, perhaps put a speaker in a small resonant booth-like room and mic it up.&#xD;&#xA;&#xD;&#xA;..jenn&#xD;&#xA;&#xD;&#xA;p.s. here is the thread on reverb plugs, that Stravosound mentioned.&#xD;&#xA;http://socialsounddesign.com/questions/17489/what-reverb-plugins-do-you-use&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28823" PostHistoryTypeId="2" PostId="17840" RevisionGUID="6273e491-6686-4d44-858f-caddab7b0f5d" CreationDate="2013-01-27T20:48:14.613" UserId="18" Text="It's a great plugin and the $20 deal is a steal" ContentLicense="CC BY-SA 3.0" />
  <row Id="28824" PostHistoryTypeId="2" PostId="17841" RevisionGUID="4b47ddb8-cf39-4e45-bf5f-977264eae2b7" CreationDate="2013-01-27T23:42:23.380" UserId="253" Text="Stavrosound and jlew pretty much covered it. Reverb and delay are very important, and re-recording your sound in the desired situation is possibly the best way to get what you want.&#xD;&#xA;&#xD;&#xA;Another thing to think about is what's happening to the signal between the mic and the speaker. How is it being amplified? What kind of speakers are being used? Adding a little bit of dirt to the signal with an amp simulator might help sell the effect.&#xD;&#xA;&#xD;&#xA;And, to answer your last question, if we're outdoors there'll be less (if any) reverb, and more slap. How much slap depends on whether there are any flat, hard surfaces nearby, how quiet the area is, etc. Even trees in a forest can give some slapback." ContentLicense="CC BY-SA 3.0" />
  <row Id="28825" PostHistoryTypeId="2" PostId="17842" RevisionGUID="89d2348f-97e3-4baa-8139-a2af1c81fefd" CreationDate="2013-01-27T23:54:50.047" UserId="1228" Text="You know how long it takes for an overhead jet to 'clear'&#xD;&#xA;&#xD;&#xA;(something like 45-55 sec, or about 1:30-1:47 if they're flying low and there's no obstructions to baffle it)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28826" PostHistoryTypeId="16" PostId="17842" RevisionGUID="89d2348f-97e3-4baa-8139-a2af1c81fefd" CreationDate="2013-01-27T23:54:50.047" UserId="-1" />
  <row Id="28827" PostHistoryTypeId="5" PostId="17838" RevisionGUID="59489def-848e-4985-bba9-235a2c10c1f9" CreationDate="2013-01-28T00:00:43.057" UserId="1228" Comment="added 1 characters in body" Text="The interesting thing about reverb, at least in my own experience, is it tends to be the same situation as the human voice - subconsciously, our mind is very picky and can easily determine what sounds true, fluid, and natural and what sounds fabricated/altered.  It's a high point of our species' hearing sensitivity to nuance.&#xD;&#xA;&#xD;&#xA;So this, in general sense, may be why you're facing a lot of frustration with this - it's not easy to replicate believably, it's even a challenge for seasoned pros too.  Many times it's finding that happy medium where our ears 'buy' what we're hearing but not spending an astronomical; amount of time and effort beyond what would be reasonable.  This is where IR reverbs tend to help, many work quite well in a pinch, but even they need help sometimes.  And it also depends on the reverb plugin - some (in their overall algorithms, regardless of what IR or parameters you plug in) sound metallic, some sound lush, others sound smooth and rich.  So that's part of the challenge, in knowing which ones you like for which certain occasions - some work well for voice, others sound like they were destined for music treatments.  A lot of finding what you like for which occasion just comes with time and experience working with them - it's hard to find a &quot;magic bullet&quot; for something like this.  Run a search on here and I know there's a reverb post on here, I believe a post by Tim, which has quite a few responses tossing out a variety of reverb tools, some of which I had never heard of - some reverbs out there which immediately come to mind are TLSpace, TrueVerb, RVerb, Altiverb, Revibe, ReverbOne, Valhalla, but there are many many others.&#xD;&#xA;&#xD;&#xA;My guess is that what will head you int the right direction as far as the verb situation you speak of is to set up a slap delay (i.e. short delay with little/no feedback), THEN follow up that slap delay with a reverb (maybe even an IR) to treat the soften the slap and give it more depth - try letting the reverb run on the source dialogue and the slap delay, and also try verbing the slap delay only (this is where Aux sidechains help) and see what you like.  The slap delay helps give that perceived feeling of the sound slapping walls (and it even kinda takes into account that believable amount of delay you might get from speaking into a mic and having it go through the signal chain to the speakers).  Again, it's really just an experimentation thing, finding what hits your ear right, there is no perfect answer to this - so if this is the method you tried already, trying using a different set of plugins and/or different reverb IRs/parameters).&#xD;&#xA;&#xD;&#xA;Also worth noting, if you're doing this treatment with a clean and naked dialogue track it's GOING TO sound very weird regardless of what you do.  This is where BGz are critical in giving that bed of existence and 'space' for which the dialogue can interact with.  Even dead quiet auditorium or opera/theater environments  can contain a lot of sonic texture just with the roomtone layering alone.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28828" PostHistoryTypeId="2" PostId="17843" RevisionGUID="a069af71-8725-42ab-b42b-3acace11bc07" CreationDate="2013-01-28T01:38:24.567" UserId="4057" Text="Yes. I recently wrote an article on this very subject which details creation of an impulse response to simulate a &quot;radio&quot; effect in a signal chain.&#xD;&#xA;&#xD;&#xA;http://www.greensideproductions.com.au/2013/01/04/creating-a-radio-effect-using-a-convolution-filter/&#xD;&#xA;&#xD;&#xA;enjoy." ContentLicense="CC BY-SA 3.0" />
  <row Id="28829" PostHistoryTypeId="2" PostId="17844" RevisionGUID="1914b4db-845c-4b55-9ca8-8f524aa471ab" CreationDate="2013-01-28T01:40:30.070" UserId="4057" Text="If this is for film, don't forget the standard film &quot;hook&quot; where you tap the microphone and then have a short squeak of feedback. Happens every time.... ;-)&#xD;&#xA;&#xD;&#xA;What is the context of the sound segment? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28830" PostHistoryTypeId="13" PostId="11511" RevisionGUID="0705e3ad-476c-4933-ad53-07f1335537f5" CreationDate="2013-01-28T06:42:42.143" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="28831" PostHistoryTypeId="5" PostId="11511" RevisionGUID="52719199-401f-41eb-bb7d-2e114038ae16" CreationDate="2013-01-28T06:42:58.380" UserId="18160" Comment="deleted 6 characters in body; added 10 characters in body" Text="... you have more than 6 answers in this thread." ContentLicense="CC BY-SA 3.0" />
  <row Id="28832" PostHistoryTypeId="2" PostId="17845" RevisionGUID="18145768-d0eb-4714-9725-015d6f2c82ff" CreationDate="2013-01-28T11:38:46.437" UserId="3754" Text="A few nights ago at a big train station in London, this VERY loud alarm started pulsing, followed by an automated message.&#xD;&#xA;&#xD;&#xA;instead of worrying/finding an exit....I got my recorder out :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28833" PostHistoryTypeId="16" PostId="17845" RevisionGUID="18145768-d0eb-4714-9725-015d6f2c82ff" CreationDate="2013-01-28T11:38:46.437" UserId="-1" />
  <row Id="28834" PostHistoryTypeId="2" PostId="17846" RevisionGUID="7fae6a93-92fd-43e2-82ae-3f63b1b3ebb5" CreationDate="2013-01-28T13:11:09.750" UserId="4468" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;For a budget priced blimp, has anyone had experience with the Proaim BMP60 R or S?&#xD;&#xA;&#xD;&#xA;Noticed it has been mentioned in a post before, though cannot find any buyer reviews except for a the  (unsurprisingly) glowing reports on the company's site.&#xD;&#xA;&#xD;&#xA;For its price range, woudl you recommend it?&#xD;&#xA;&#xD;&#xA;And the difference between the R and S model looks to be only the handle and a $30 difference in price, any thoughts on the R being worth the extra $30 for a covered handle?&#xD;&#xA;&#xD;&#xA;Beaks" ContentLicense="CC BY-SA 3.0" />
  <row Id="28835" PostHistoryTypeId="1" PostId="17846" RevisionGUID="7fae6a93-92fd-43e2-82ae-3f63b1b3ebb5" CreationDate="2013-01-28T13:11:09.750" UserId="4468" Text="PROAIM BMP60 thoughts" ContentLicense="CC BY-SA 3.0" />
  <row Id="28836" PostHistoryTypeId="3" PostId="17846" RevisionGUID="7fae6a93-92fd-43e2-82ae-3f63b1b3ebb5" CreationDate="2013-01-28T13:11:09.750" UserId="4468" Text="&lt;budget&gt;&lt;blimp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28837" PostHistoryTypeId="2" PostId="17847" RevisionGUID="a203d948-82ca-4447-b438-24f8c22a54b3" CreationDate="2013-01-28T15:03:00.827" UserId="5692" Text="*Thank you for the amazing replies.&#xD;&#xA;It really helped!*&#xD;&#xA;&#xD;&#xA;Kind regards,&#xD;&#xA;&#xD;&#xA;I." ContentLicense="CC BY-SA 3.0" />
  <row Id="28838" PostHistoryTypeId="2" PostId="17848" RevisionGUID="cb84203c-3874-4380-997a-5539ca1eb057" CreationDate="2013-01-28T17:10:48.213" UserId="5693" Text="A voice recorded by a mic , should look like the natural voice. When you want to give the impression (like in the impressionism paintings) you are pretending that voice was listening trough a sound system ( a telephone , a PA system in a concert or in a moll) besides being recorded by a mic.&#xD;&#xA;Meaning, the idea that you want to create comes from the resemblance/memory. &#xD;&#xA;More practical , imagine a &quot;bad&quot; mic , something like a 58 , cut below 400 hz with a 24 slope , cut above 10KHz with a 12 slope. Push a beat on mid , put in some kind of reflexion ( a dly between 50ms and 100ms) , ad a beat of splash( a reverse plate , for ex). Listen and tweak.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28839" PostHistoryTypeId="2" PostId="17849" RevisionGUID="13d7a941-8329-4818-affd-8d658d4897dd" CreationDate="2013-01-28T22:02:02.317" UserId="37" Text="not to state the obvious but ok I will: play it over a speaker and record that? then to your original sound add a bit of very short delay with just about enough feedback so that the &quot;speaker&quot; seems to be feeding back into the &quot;microphone&quot;. you can compute the delay time based on the apparent distance between speakers and mic.&#xD;&#xA;&#xD;&#xA;is this on screen? you may want to automate the boosts in low and low-mid EQ so that they're more pronounced when the character is closer to the mic. the viewer's brain will do the rest.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28840" PostHistoryTypeId="2" PostId="17850" RevisionGUID="25d448a0-ef6d-44a8-8b5b-d543d0bca9e1" CreationDate="2013-01-28T22:40:23.830" UserId="3984" Text="Well I was going to go for the D50, but I had a chat with Sony and they confirmed that is discontinued, and I ask myself what's the point getting a product discontinued. Does anybody recomend any other gear? I want it for fild recording and I would like some decent internal mics. D50 seemed it was the choice to go... but not any more. Tascam DR100Mkll? Marantz? Anybody? I would love de M10 of Sony but the Omni mics patern won't give me a real stereo image so... THanks to everybody for you time and help!! : )" ContentLicense="CC BY-SA 3.0" />
  <row Id="28841" PostHistoryTypeId="2" PostId="17851" RevisionGUID="573de4dd-8ebe-4c74-8c4c-d7d6ebae8032" CreationDate="2013-01-29T00:20:23.117" UserId="18160" Text="From the live audio work I've done, I've learned that the best PA is the PA that only provides coverage for where the audiences heads are, and nowhere else.&#xD;&#xA;&#xD;&#xA;That's basically the PA tech's job on a show, is to put the speakers in the best place with even SPL throughout the audience, and nothing hitting walls, aisle ways, back walls, the stage, etc.&#xD;&#xA;&#xD;&#xA;I would suggest looking where the speakers are and if you're getting slap from walls and other reflective surfaces and adjusting the PA to only hit the audience, if there is a problem.&#xD;&#xA;&#xD;&#xA;What exactly is the PA setup?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28842" PostHistoryTypeId="2" PostId="17852" RevisionGUID="ba2706cd-882b-4bb2-9553-2bf27ee2a490" CreationDate="2013-01-29T06:14:17.093" UserId="5694" Text="You know how important it is to be visible.  You know you need to use the internet better.  But you also need to take care of your business.  You can’t do both.  Well, you take care of your business… we’ll take care of the internet for you.  Our expert staff understands how to make search engines your friend.  Email us and we’ll get started.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28843" PostHistoryTypeId="2" PostId="17853" RevisionGUID="d8c95b91-7cd9-43b0-902c-df6972cbad65" CreationDate="2013-01-29T09:37:47.320" UserId="4426" Text="I moved to LA from Orlando a year ago and in Orlando I've done a number of low budget feature films, usually with a small team of sound editors, where I was primarily responsible for multiple jobs that an LA post house would farm out to multiple employees (Dx editing, Foley Artist, ADR recordist, Re-recording mixer, Sound Designer, etc...) and when applying for jobs at post houses in LA, I've been asked a number of times whether I'm able to edit dialog. To which I reply, &quot;Well yes, I was responsible for all of the sound of the films that I've worked on and have done the dialog edit on every film I have a sound supervisor credit on.&quot; There are a number of times though that I haven't heard anything back when I send in a resume and I often wonder if it's because I don't have the credits listed on IMDB that they're looking for. &#xD;&#xA;&#xD;&#xA;I've always been the type to not want to hog up credit roll time with listing every single job that I perform on a film, but is this the right way to go about things?&#xD;&#xA;Generally I just take a sound supervisor and a re-recording mixer credit, but should I be listing every job? I've also thought that maybe I should go into IMDB and list everything out, but I'm not sure of what the norm is on this. &#xD;&#xA;&#xD;&#xA;Recently I changed my resume to include most of the specific jobs I've done on each film, but a resume is just a piece of paper and IMDB seems to be a more legit way of listing credits. &#xD;&#xA;Any thoughts?&#xD;&#xA;&#xD;&#xA;I feel like a lot of studios don't realize how many different things I can do and that they are looking for specialists. Then again I could be unfounded in that belief and maybe most understand on low budget fair that one person is responsible for every aspect of the sound track. More than likely no one's been hiring, but I really want to step up to something bigger... then again, who doesn't!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="28844" PostHistoryTypeId="1" PostId="17853" RevisionGUID="d8c95b91-7cd9-43b0-902c-df6972cbad65" CreationDate="2013-01-29T09:37:47.320" UserId="4426" Text="Credits in the eyes of LA Studios coming from the low budget world." ContentLicense="CC BY-SA 3.0" />
  <row Id="28845" PostHistoryTypeId="3" PostId="17853" RevisionGUID="d8c95b91-7cd9-43b0-902c-df6972cbad65" CreationDate="2013-01-29T09:37:47.320" UserId="4426" Text="&lt;credit&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28846" PostHistoryTypeId="2" PostId="17854" RevisionGUID="82b541cf-31af-4737-ae06-8b18a4ca23a7" CreationDate="2013-01-29T10:27:36.617" UserId="5695" Text="Also guitar pick up are ok for those ticking sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="28847" PostHistoryTypeId="2" PostId="17855" RevisionGUID="c6423c50-db37-4a68-a44a-cf12e4a6a513" CreationDate="2013-01-29T13:19:05.047" UserId="243" Text="Hi Jedi does protools 9 function properly on mountain lion 10.8.2 os? I wanna upgrade" ContentLicense="CC BY-SA 3.0" />
  <row Id="28848" PostHistoryTypeId="1" PostId="17855" RevisionGUID="c6423c50-db37-4a68-a44a-cf12e4a6a513" CreationDate="2013-01-29T13:19:05.047" UserId="243" Text="Protools 9 mountain lion compatability" ContentLicense="CC BY-SA 3.0" />
  <row Id="28849" PostHistoryTypeId="3" PostId="17855" RevisionGUID="c6423c50-db37-4a68-a44a-cf12e4a6a513" CreationDate="2013-01-29T13:19:05.047" UserId="243" Text="&lt;pro-tools&gt;&lt;protools9&gt;&lt;computer&gt;&lt;operation&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28850" PostHistoryTypeId="2" PostId="17856" RevisionGUID="fee0b278-4d30-4d06-bab0-d2ed855a724c" CreationDate="2013-01-29T13:54:07.177" UserId="1216" Text="Hi Rreider,&#xD;&#xA;I don't work in LA or the US for that matter. My experience (Europe) is slightly the same. Credits are sometimes a thing to take care of yourself, especially on IMDB. Most of what I've done is on the list, but with some films I'm not on the credit list, although I made a substantial contribution. Mostly I add my work to IMDB when the production company forgot about it. As long as you're on the credit list of the film, it's legal.&#xD;&#xA;&#xD;&#xA;But more to the point, do you have a demo reel? Isn't that the best opportunity to show your skills? I don't admire a fulltime film sound design career (yes it sounds strange I know), but if I would, then I would definitely work on it. Show some scenes your proud of. &#xD;&#xA;I can imagine a dialog edit scene (with a before and after) or sfx scene (with and without).&#xD;&#xA;This should convince any contractor if your work is good.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28851" PostHistoryTypeId="2" PostId="17857" RevisionGUID="cbd55621-ea0c-42be-89dd-3990201c5673" CreationDate="2013-01-29T16:52:39.970" UserId="3519" Text="As far as I know only 9.0.6 works in ML." ContentLicense="CC BY-SA 3.0" />
  <row Id="28852" PostHistoryTypeId="2" PostId="17858" RevisionGUID="38c0c9ea-58e3-403a-b94a-540b836990f8" CreationDate="2013-01-29T18:22:00.420" UserId="1228" Text="&gt; To which I reply, &quot;Well yes, I was responsible for all of the sound of the films that I've worked on and have done the dialog edit on every film I have a sound supervisor credit on.&quot; There are a number of times though that I haven't heard anything back when I send in a resume&#xD;&#xA;&#xD;&#xA;Herein lies the problem, as I see it.  The one major part you omitted, in my opinion, is that you didn't declare in some way shape or form that you have a desire and passion to learn and grow.  Secondly, you dropped 'supervisor'.  If you're open to a suggestion, I would suggest not using that choice word (unless it's a case like I mention later down, where the studio is courting you instead of you approaching them for work).  Whether you intend to or not, it has a self-righteous feel in the vain of &quot;well, if you're a supervisor, then why are you begging for work?&quot; - Not that this is the case at all, but it helps to have a perspective to how they may look at it. So it comes back to the learning and growing idea.  This is what they usually want in an entry-level position - potential, coupled with the **potential and aptitude to learn to do things the way they want**.  Saying you have supervised this or that, as important as it might seem to you, comes across unpalatable to them - it has a &quot;guns-blazing&quot; kind of feel.  Usually if a post house is directly seeking top talent for dialogue, effects, supervision you name it, it can usually come through in-house referrals and varying ways in which the studio reaches out to the person they want (in that, these positions don't ever exist as &quot;available job openings&quot; at a company or post house - they &quot;create the job position&quot; for the person they want to bring on board - effectively, they often recruit the talent they want to work with).  But in the case where you are approaching a post house for entry level work, as opposed to a post house courting you, in my opinion the approach should be one of being humble and letting them know with great importance that above all the things you know, your primary goal is the learn and grow.  So A way to maybe rephrase or re-approach this is&quot; Yes, I have past experience and skills with dialogue editorial, however most importantly, I am very much open to learning to integrate with how your team likes it's dialogue tracks prepared&quot;&#xD;&#xA;&#xD;&#xA;Distilled down:  You approaching them for work is a situation where you are seeking experience and a foot in the door to the network at-large.  But them approaching you ('you' meaning an established editorial entity) is because they know you're a good at what you do, through referral or what knot, your body of work and work relationships have proven it, and they want you on their show.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&lt;break&gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&gt;I feel like a lot of studios don't realize how many different things I can do&#xD;&#xA;&#xD;&#xA;Here's the stark truth - most studios don't care, at least, in the vain that &quot;talk is cheap&quot;.  The thought is borderline self-righteousness, at least in hows its perceived.  Not out of spite, but they have a ship to run and job to get done, usually lean and mean nowadays, so they desire a workforce which has the plasticity to learn to do things they way they operate and take on a task proficiently.  An example being, they hand you a six reel show with an important director behind it, and after the spotting session, and say &quot;here, we'll see you in ___ weeks at the stage&quot;.  Of course, this is over simplified, but one must **exercise caution in saying what they can do versus what they are actually well versed in**, because in the end we're only as good as our last gig, and we are defined solely by our body of work, and LA is a VERY small town, so the last thing one would want to do is over-extend them self by misrepresentation and botch a show.&#xD;&#xA;&#xD;&#xA;As for IMDB I'd say that's of prime importance - I'm guilty as charged of looking up peers on there all the time, as well as information for films I'm working on or being bid on.  It's a great resource, but only if the data on it is current and up to date.  So I'd suggest you make sure everything on your page is current and up to date.  Also, for our line of work especially filled with independent contractor types like myself, IMDB **IS** your work history track record, often your only one.  Demo reels, or Show reels as I like to call them (sounds less tacky), can be useful, especially for starting out - over time though, if you have one, it mostly serves as a showcase of your most notable work to reinforce your body of work&#xD;&#xA;&#xD;&#xA;I know this all comes across blunt, but I believe it's important to realize how fast-pace the LA environment is.  It's competitive, the quality demand is of **very exacting** standards (especially so for the top studios), and the career path is a process of patience, but there is also a close-knit comradery - do your best work, maintain a solid work ethic, and have a desire to learn and grow from the start... and that will echo in a good way and come back to you over time in ways you won't even realize at the moment.  Hopefully this helps, and good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28853" PostHistoryTypeId="5" PostId="17858" RevisionGUID="8460d38e-3555-44ad-b885-c7192be497a7" CreationDate="2013-01-29T18:27:43.493" UserId="1228" Comment="added 157 characters in body; added 93 characters in body" Text="&gt; To which I reply, &quot;Well yes, I was responsible for all of the sound of the films that I've worked on and have done the dialog edit on every film I have a sound supervisor credit on.&quot; There are a number of times though that I haven't heard anything back when I send in a resume&#xD;&#xA;&#xD;&#xA;Herein lies the problem, as I see it.  The one major part you omitted, in my opinion, is that you didn't declare in some way shape or form that you have a desire and passion to learn and grow.  Secondly, you dropped 'supervisor'.  If you're open to a suggestion, I would suggest not using that choice word (unless it's a case like I mention later down, where the studio is courting you instead of you approaching them for work).  Whether you intend to or not, it has a self-righteous feel in the vain of &quot;well, if you're a supervisor, then why are you begging for work?&quot; - Not that this is the case at all, but it helps to have a perspective to how they may look at it. So it comes back to the learning and growing idea.  This is what they usually want in an entry-level position - potential, coupled with the **potential and aptitude to learn to do things the way they want**.  Saying you have supervised this or that, as important as it might seem to you, comes across unpalatable to them - it has a &quot;guns-blazing&quot; kind of feel.  Usually if a post house is directly seeking top talent for dialogue, effects, supervision you name it, it can usually come through in-house referrals and varying ways in which the studio reaches out to the person they want (in that, these positions don't ever exist as &quot;available job openings&quot; at a company or post house - they &quot;create the job position&quot; for the person they want to bring on board - effectively, they often recruit the talent they want to work with).  But in the case where you are approaching a post house for entry level work, as opposed to a post house courting you, in my opinion the approach should be one of being humble and letting them know with great importance that above all the things you know, your primary goal is the learn and grow.  So A way to maybe rephrase or re-approach this is&quot; Yes, I have past experience and skills with dialogue editorial, however most importantly, I am very much open to learning to integrate with how your team likes it's dialogue tracks prepared&quot;&#xD;&#xA;&#xD;&#xA;Distilled down:  You approaching them for work is a situation where you are seeking experience and a foot in the door to the network at-large.  But them approaching you ('you' meaning an established editorial entity) is because they know you're a good at what you do, through referral or what knot, your body of work and work relationships have proven it, and they want you on their show.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&lt;break&gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&gt;I feel like a lot of studios don't realize how many different things I can do&#xD;&#xA;&#xD;&#xA;Here's the stark truth - most studios don't care, at least, in the vain that &quot;talk is cheap&quot;.  The thought is borderline self-righteousness, at least in hows its perceived.  Not out of spite, but they have a ship to run and job to get done, usually lean and mean nowadays, so they desire a workforce which has the plasticity to learn to do things they way they operate and take on a task proficiently.  An example being, they hand you a six reel show with an important director behind it, and after the spotting session, and say &quot;here, we'll see you in ___ weeks at the stage&quot;.  Of course, this is over simplified, but one must **exercise caution in saying what they can do versus what they are actually well versed in**, because in the end we're only as good as our last gig, and we are defined solely by our body of work, and LA is a VERY small town, so the last thing one would want to do is over-extend them self by misrepresentation and botch a show.&#xD;&#xA;&#xD;&#xA;As for IMDB I'd say that's of prime importance - I'm guilty as charged of looking up peers on there all the time, as well as information for films I'm working on or being bid on.  It's a great resource, but only if the data on it is current and up to date.  So I'd suggest you make sure everything on your page is current and up to date.  Also, for our line of work especially filled with independent contractor types like myself, IMDB **IS** your work history track record, often your only one.  Demo reels, or Show reels as I like to call them (sounds less tacky), can be useful, especially for starting out - over time though, if you have one, it mostly serves as a showcase of your most notable work to reinforce your body of work&#xD;&#xA;&#xD;&#xA;I know this all comes across blunt, but I believe it's important to realize how fast-pace the LA environment is.  It's competitive (do you eat, breath, sleep 'sound'?  well, the other person you're competing for the job is), the quality demand is of **very exacting** standards (especially so for the top studios), it's fast paced (primetime TV has one week editorial and 2 days of mix per show, some 6 reel features have 3 weeks editorial, etc) and the career path is a process of patience (think years and decades), but there is also a close-knit comradery - do your best work, maintain a solid work ethic, and have a desire to learn and grow from the start... and that will echo in a good way and come back to you over time in ways you won't even realize at the moment.  Hopefully this helps, and good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28854" PostHistoryTypeId="2" PostId="17859" RevisionGUID="3165d235-c3b4-4f20-ab34-f7adbe6dc7f4" CreationDate="2013-01-29T18:47:03.423" UserId="6460" Text="Hey everyone,&#xD;&#xA;&#xD;&#xA;Maybe some of you have heard about this, but Cornell University has compiled a library of nearly 150,000 nature recordings representing approximately 9000 species (primarily birds). The earliest recording dates back to 1929, and the clips come from a variety of media and sources (of course, with varying quality and usability). Certainly inspirational, and some of the recordings are pretty hard to believe — the [HAMMERING WALRUS][1] sounds mentioned in a blog post are pretty mind-blowing.&#xD;&#xA;&#xD;&#xA;[HERE][3] is the libary's home page.&#xD;&#xA;&#xD;&#xA;[HERE][2] is the link to the blog post. &#xD;&#xA;&#xD;&#xA;Enjoy!&lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://macaulaylibrary.org/audio/53276/odobenus-rosmarus-walrus-becky-sjare?utm_source=Cornell+Lab+eNews&amp;utm_campaign=a0ee9fad74-Macaulay_Library_digitization_Jan2013&amp;utm_medium=email&#xD;&#xA;  [2]: http://cornelluniversity.tumblr.com/post/40770771576/worlds-largest-natural-sound-archive-now-fully-digital&#xD;&#xA;  [3]: http://macaulaylibrary.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28855" PostHistoryTypeId="1" PostId="17859" RevisionGUID="3165d235-c3b4-4f20-ab34-f7adbe6dc7f4" CreationDate="2013-01-29T18:47:03.423" UserId="6460" Text="Cornell Ornothological Sound Library" ContentLicense="CC BY-SA 3.0" />
  <row Id="28856" PostHistoryTypeId="3" PostId="17859" RevisionGUID="3165d235-c3b4-4f20-ab34-f7adbe6dc7f4" CreationDate="2013-01-29T18:47:03.423" UserId="6460" Text="&lt;nature-recording&gt;&lt;archive&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28857" PostHistoryTypeId="2" PostId="17860" RevisionGUID="3c10eacc-743e-43e7-adea-a6a9b4a3cce8" CreationDate="2013-01-29T19:14:50.693" UserId="5582" Text="Doesn't look like anyone's said what I use specifically yet so here's another option for y'all. &#xD;&#xA;&#xD;&#xA;Rattlesnake magnets - two small oblong magnets that buzz and sputter against each other when you throw them up in the air near, but not next, to each other.&#xD;&#xA;&#xD;&#xA;Slinkie - take a standard slinkie and hang it from a height where it is just barely touching the floor. pick up the bottom and drop it, the reverb traveling up through the slinkie will make an amazing lazer-ish PEEWWW! The sound created depends on what the slinkie is hanging off; I hung it off a bike brake handle and my microphone (for a larger noise). Experiment with different materials for different takes on the same lazer noise.&#xD;&#xA;&#xD;&#xA;Keep in mind, holding the top of it in your hand will absorb the sound and you won't hear the lazer. You just get the resounding clang and clash of the metal colliding.&#xD;&#xA;&#xD;&#xA;www.youtube.com/user/diyfoley" ContentLicense="CC BY-SA 3.0" />
  <row Id="28858" PostHistoryTypeId="6" PostId="17853" RevisionGUID="2c238400-0737-415b-b0ef-3029825c7d08" CreationDate="2013-01-29T23:28:52.287" UserId="1228" Comment="edited tags" Text="&lt;credit&gt;&lt;career&gt;&lt;career-advice&gt;&lt;work&gt;&lt;finding-work&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28859" PostHistoryTypeId="2" PostId="17861" RevisionGUID="5ae71202-6d87-4965-af63-85e23dff1c3a" CreationDate="2013-01-30T04:01:14.340" UserId="3230" Text="Hey Sound Designers!   It's been a while since I've been on the forums, but I'm back, and I have a question for you: How would you stop an elevator?  &#xD;&#xA;&#xD;&#xA;A 1930's era elevator is careening down it's shaft when something goes wrong (a crack! the snap of cable, or an explosion?) and the car comes to a stop.   Is it slow an ominous (with the creak and screech of metal on metal) or is it violent?   What do you hear?  What elements are involved?  Give me ideas. Stop this elevator.&#xD;&#xA;&#xD;&#xA;I will be forever indebted to you!&#xD;&#xA;--Phil " ContentLicense="CC BY-SA 3.0" />
  <row Id="28860" PostHistoryTypeId="1" PostId="17861" RevisionGUID="5ae71202-6d87-4965-af63-85e23dff1c3a" CreationDate="2013-01-30T04:01:14.340" UserId="3230" Text="Can you stop an elevator?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28861" PostHistoryTypeId="3" PostId="17861" RevisionGUID="5ae71202-6d87-4965-af63-85e23dff1c3a" CreationDate="2013-01-30T04:01:14.340" UserId="3230" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;design&gt;&lt;elements&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28862" PostHistoryTypeId="2" PostId="17862" RevisionGUID="6062465a-b374-4e96-9f5c-77e31f093667" CreationDate="2013-01-30T04:23:23.083" UserId="4358" Text="I think the picture can give you a lot more information about which sounds to use depending on the various surfaces of the elevator itself. But, IMO I think you can use a bit of both.You can layer the metal creaks and screeches along with some low vibrations. I recently edited some elevator sounds (not Crashing) and used a lot of low pitched metal sounds as well as some whale moans. Considering that your scene is set in the 30's, I'm guessing most of the elevators were made of wood. So you might wanna use some wood cracking as an additional layer. Again, there's a lot more you can do. Try different sounds. They don't have to be the exact same as you see on screen. Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="28863" PostHistoryTypeId="2" PostId="17863" RevisionGUID="304110d0-06e4-4e27-b6f7-8e167cfdb9cd" CreationDate="2013-01-30T05:06:36.963" UserId="61" Text="(fade up on scene already in motion)&#xD;&#xA;&#xD;&#xA;The old rickety elevator, which should have been taken out of service years ago, shimmies up to the 38th floor as it has for years. But, unbeknownst to the lone passenger, this night will be different...&#xD;&#xA;&#xD;&#xA;(cue A MENACING GROAN FROM ABOVE as the cable strains against an unknown force, and suddenly...)&#xD;&#xA;&#xD;&#xA;CRACK!!! The cast iron pulley breaks free from the ceiling 30 floors up, causing the METAL FLYWHEEL to spin violently out of control and the FRAYED CABLES to flail about wildly, razor-sharp tentacles smacking against the sheet metal walls of the shaft. Debris rains downs round us as...&#xD;&#xA;&#xD;&#xA;The elevator car lurches and drops into a FREE FALL, gravity pulling us down as the AIR PRESSURE increases and starts its ascending wail, now building into a howling shriek...only seconds remain before we disintegrate with amazing force into the concrete foundation below when suddenly...&#xD;&#xA;&#xD;&#xA;A GRIND of wood against metal, the CRUNCHING and SPLINTERING of thick redwood timbers against the cast iron supports of the shaft, the SHUDDERING car seems it might explode ---&#xD;&#xA;&#xD;&#xA;And then, with a JOLT and a GROAN, the entire event comes to an abrupt standstill...mere inches from the bottom&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(END)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28864" PostHistoryTypeId="2" PostId="17864" RevisionGUID="bce27685-bc87-4da7-9d4a-a5a2e27023e3" CreationDate="2013-01-30T05:48:48.260" UserId="4468" Text="to add to jays suggestion of flailing cables, hitting a support wire for telephone polls.always makes a quirky sound...&#xD;&#xA;&#xD;&#xA;if i'm not mistaken, ben burtt has used this sound a lot in sci fis like star wars and wall-e" ContentLicense="CC BY-SA 3.0" />
  <row Id="28865" PostHistoryTypeId="2" PostId="17865" RevisionGUID="285f1e6f-f83f-4d9a-91ba-ced10dbcdab8" CreationDate="2013-01-30T08:31:22.137" UserId="5697" Text="On a paper from AUDIO ENGINEERING SOCIETY (italian section)(paper GTC010),I read about the setting of loudspeaker to mix for theatrical, &#xD;&#xA;to align a -32dbfs to make corrspond to 85 db SPL, but everywhere here on internet in many threads i read -20 dbfs to 85 db spl, &#xD;&#xA;can anyone clarify this point? &#xD;&#xA; what is the right setting of my loudspeaker to start any mix " ContentLicense="CC BY-SA 3.0" />
  <row Id="28866" PostHistoryTypeId="1" PostId="17865" RevisionGUID="285f1e6f-f83f-4d9a-91ba-ced10dbcdab8" CreationDate="2013-01-30T08:31:22.137" UserId="5697" Text="mix room alignment -32dbfs/85 db spl or -20dbfs/85 dbspl" ContentLicense="CC BY-SA 3.0" />
  <row Id="28867" PostHistoryTypeId="3" PostId="17865" RevisionGUID="285f1e6f-f83f-4d9a-91ba-ced10dbcdab8" CreationDate="2013-01-30T08:31:22.137" UserId="5697" Text="&lt;production-mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28868" PostHistoryTypeId="2" PostId="17866" RevisionGUID="659a3896-f318-46c1-9863-25baf039f0b8" CreationDate="2013-01-30T08:52:04.340" UserId="1228" Text="In a normal theatrical environment/stage it should be either -18dBFS = 85dBSPL or -20dBFS = 85dBSPL (I believe -20 is the commonly-accepted standard now).  For TV its the same but to 79dBSPL.  I'm curious where the 32 comes from.  That's a very oddball number unless There's something I'm missing entirely." ContentLicense="CC BY-SA 3.0" />
  <row Id="28872" PostHistoryTypeId="2" PostId="17868" RevisionGUID="b12697eb-0099-40f6-9471-86cce5e57627" CreationDate="2013-01-30T11:38:54.330" UserDisplayName="user80" Text="-20 dB Full Scale is the commonly accepted standard." ContentLicense="CC BY-SA 3.0" />
  <row Id="28873" PostHistoryTypeId="2" PostId="17869" RevisionGUID="bfde7e37-b818-4b87-9578-1e28c42d9c2f" CreationDate="2013-01-30T12:46:51.023" UserId="432" Text="The most common standards are -20 and -18, there are some people who use -22 though (all referring to peak readings, dB full scale, of course). It's an issue of how much head room you want while you're mixing. You can mix to whatever reference you like, just know that it will affect your mix decisions. For example, if you mix to a -22 reference your mix will likely be quieter than if you mixed it at a -18 reference.&#xD;&#xA;&#xD;&#xA;Setting your digital/electrical reference level to match a specific SPL is also partially dictated by the volume (meaning size...you know, length X width x height) of the room you're mixing in:&#xD;&#xA;&#xD;&#xA;    Greater than 20,000 cubic feet (566 cubic meters) - 85dB-SPL&#xD;&#xA;    10,000 to 19,000 cubic feet (283 to 565 cubic meters) - 82dB-SPL&#xD;&#xA;    5,000 to 9,999 cubic feet (142 to 282 cubic meters) - 80dB-SPL&#xD;&#xA;    1,500 to 4,999 cubic feet (42 to 141 cubic meters) - 78dB-SPL&#xD;&#xA;    Less than 1,499 cubic feet (41 or less cubic meters) - 76dB-SPL&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28874" PostHistoryTypeId="2" PostId="17870" RevisionGUID="fa1de788-a434-405d-bb4d-6cc5c93fc605" CreationDate="2013-01-30T13:58:56.367" UserId="4442" Text="I'm thinking you could do a lot with an opening garage door, manual of course, and slowing down the sound of the tracks or pitching it for that matter. Slowing might not be the right way of going about it. A contact Mic on the track combined with room mic can give you huge sound for that.&#xD;&#xA;&#xD;&#xA;For snapping belts, I would try the industrial bungees, or rubber bands. You'd be surprise what kind of snaps you can get with some reverb out of those. For the bungees, I would try slapping against the wall. The body of the band that is. &#xD;&#xA;&#xD;&#xA;Definitely some wood rattling sound. I'm thinking an old child's wagon. This sounds like a boatload of fun!&#xD;&#xA;&#xD;&#xA;Please do post sound and process when finished." ContentLicense="CC BY-SA 3.0" />
  <row Id="28875" PostHistoryTypeId="2" PostId="17871" RevisionGUID="16c89e04-5521-4299-930a-5d9a3cd0429f" CreationDate="2013-01-30T14:59:53.420" UserId="6454" Text="I believe I located the paper you were referring to (in Italian):&#xD;&#xA;&#xD;&#xA;http://www.atic-ntc.org/Notizie/Gestione%20del%20Suono%20nella%20Produzione%20Audio%20per%20la%20Cinematografia.pdf&#xD;&#xA;&#xD;&#xA;Section in question:&#xD;&#xA;&#xD;&#xA;*Osservazione: Dopo aver studiato il problema e misurato &#xD;&#xA;rumori reali in ambienti dal vero, e quindi indicativi delle &#xD;&#xA;esigenze di dinamica di un film, si è rilevato che è &#xD;&#xA;consigliabile fissare una corrispondenza tra un rumore rosa a &#xD;&#xA;85 dB SPL (pesato C) nel punto di ripresa, limitato in banda &#xD;&#xA;(20 Hz, 20 KHz), e un livello RMS digitale equivalente a &#xD;&#xA;quello fatto segnare da una sinusoide a -32 dB FS di picco. I &#xD;&#xA;parametri di allineamento qui riportati sono da considerarsi &#xD;&#xA;validi non solo per la presa diretta ma anche per la &#xD;&#xA;registrazione di musica, effetti e doppiaggio. Sarà poi in fase &#xD;&#xA;di mixage che tale dinamica, realistica, sarà adeguata agli &#xD;&#xA;standard di consegna del prodotto. Tale indicazione di &#xD;&#xA;massima può ritenersi un utile punto di riferimento, che &#xD;&#xA;favorirà ampia dinamica e lavorazioni di postproduzione &#xD;&#xA;omogenee e agevoli dal montaggio al mix. L'audio &#xD;&#xA;cinematografico non e’ neppure in grado di riprodurre &#xD;&#xA;realisticamente picchi quali quelli prodotti da un semplice &#xD;&#xA;battimano, che presenta appunto picchi di 30 dB superiori a &#xD;&#xA;quelli del dialogo, richiedendo almeno 20 dB di headroom in &#xD;&#xA;piu’.*&#xD;&#xA;&#xD;&#xA;I was able to get a rough online translation:&#xD;&#xA;&#xD;&#xA;*...it was noted that it was advisable to attach a correspondence between a pink noise at 85 dB SPL (weighed (C) at the point of resumption, limited in bandwidth (20 Hz, 20 KHz), and a RMS level digital equivalent to that reported by a sinusoid to -32dB FS peak...*&#xD;&#xA;&#xD;&#xA;I also have never heard of -32 dBFS as a reference level  - in the US we almost exclusively use -20 and EU almost exclusively -18. I woud be interested to understand more from this paper and see what the author's basis is.  If someone could translate that would be great. Thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28876" PostHistoryTypeId="2" PostId="17872" RevisionGUID="2b7ae882-4cd6-4ea7-94b2-de030fe6018d" CreationDate="2013-01-30T18:48:45.633" UserId="5697" Text="what is the right level to normalize dialogue, it is a short movie very low budget, the target is some indy film festival, somebdoy just told me to stay  with dynamic between -18 and -6db, but what about the -27 i read often here about dialogue? seems really to be so low. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28877" PostHistoryTypeId="1" PostId="17872" RevisionGUID="2b7ae882-4cd6-4ea7-94b2-de030fe6018d" CreationDate="2013-01-30T18:48:45.633" UserId="5697" Text="normalizing dialogue, what approach" ContentLicense="CC BY-SA 3.0" />
  <row Id="28878" PostHistoryTypeId="3" PostId="17872" RevisionGUID="2b7ae882-4cd6-4ea7-94b2-de030fe6018d" CreationDate="2013-01-30T18:48:45.633" UserId="5697" Text="&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28879" PostHistoryTypeId="2" PostId="17873" RevisionGUID="bd3f702b-0779-48bb-b018-6cb9411d23bc" CreationDate="2013-01-30T19:27:02.903" UserId="432" Text="&quot;with dynamic between -18 and -6&quot; doesn't mean anything. Dynamic what? Dynamic range?&#xD;&#xA;&#xD;&#xA;Maybe your peaks would hit between -18 and -6, but an RMS or LeqA (which is what -27 is referring to) should not be getting anywhere near that. If you think that sounds too quiet, then it's likely you need to properly calibrate your system: http://www.dynamicinterference.com/blog/2010/09/quick-and-dirty-monitor-calibration/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28880" PostHistoryTypeId="2" PostId="17874" RevisionGUID="89ffb41d-9d40-43f9-ba24-02ace5cde1e2" CreationDate="2013-01-30T20:19:57.250" UserId="465" Text="OLD THREAD... but thought I'd share....Film I'm working on required the characters to be listening to a radio broadcast through an old radio.  I recorded the radio dialog clean, transferred a copy to my ipod, used a cheap FM-Transmitter, then re-recorded it playing through an old radio... I thought it worked great!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28881" PostHistoryTypeId="2" PostId="17875" RevisionGUID="dc179a67-bb76-42f3-a279-b03a666b885e" CreationDate="2013-01-30T21:13:44.880" UserId="5691" Text="Hi! First time here! Have a noob question here,&#xD;&#xA;&#xD;&#xA;So I added some fx, ADR, and atmos/ambience to my friend's film in pro tools 9. (He gave me a .AAF export from AVID 6 after adding most of the sync sound files), Now he decided to make some changes to the cut. While working on his new cut, I tried resyncing the audio (by simple drag/drop/move) BUT most of it is out of sync. He says he's cut about 15 frames or so. How do I reduce the audio files according to the frames?&#xD;&#xA;He's given me a log sheet as well as the timecode of every scene but I really don't know how to get the perfect sync the way it was syncing before. Please help.?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28882" PostHistoryTypeId="1" PostId="17875" RevisionGUID="dc179a67-bb76-42f3-a279-b03a666b885e" CreationDate="2013-01-30T21:13:44.880" UserId="5691" Text="Pro Tools 9 Help : Film Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="28883" PostHistoryTypeId="3" PostId="17875" RevisionGUID="dc179a67-bb76-42f3-a279-b03a666b885e" CreationDate="2013-01-30T21:13:44.880" UserId="5691" Text="&lt;pro-tools&gt;&lt;film-sound-design&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28884" PostHistoryTypeId="2" PostId="17876" RevisionGUID="68f48cee-27e2-4aef-b38b-0b164fcfc734" CreationDate="2013-01-30T21:26:21.467" UserId="3104" Text="Hey Everyone,&#xD;&#xA;&#xD;&#xA;I accidentally messed up two days of location audio, by my FP-33 being set to Mic Level on its outputs, instead of Line. I know that my signal to noise is now completely ruined, but is there any way to salvage any of those recordings or should I tell the director that we have to do that stuff over?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28885" PostHistoryTypeId="1" PostId="17876" RevisionGUID="68f48cee-27e2-4aef-b38b-0b164fcfc734" CreationDate="2013-01-30T21:26:21.467" UserId="3104" Text="Low Dialog Recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="28886" PostHistoryTypeId="3" PostId="17876" RevisionGUID="68f48cee-27e2-4aef-b38b-0b164fcfc734" CreationDate="2013-01-30T21:26:21.467" UserId="3104" Text="&lt;dialogue&gt;&lt;location-recording&gt;&lt;location-sound&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28887" PostHistoryTypeId="2" PostId="17877" RevisionGUID="ee0b103d-35f7-4615-9522-f603bb847020" CreationDate="2013-01-30T21:35:26.947" UserId="5698" Text="The measurements are hard, not because of instruments (FM had sufficiently good instruments) but because the listeners have to tell you when two sounds at very different frequencies sound as loud as each other. And in the FM case, at sound levels up to 120dB (painful). If you try playing two sounds of very different frequencies figuring out when one is as loud as the other is tough. Fold in different people and their differing frequency responses. The scatter in the numbers is huge, and then you have to average them. Do you average the energies or the dB? etc. The three curves, the FM, the Robinson Dadson, and the ISO 2003 differ pretty significantly from each other. Which are &quot;better&quot;? Why do they differ so much from each other?(over 10dB in some places)? I do not think anyone knows, but it does indicate that one should take them with a certain grain of salt." ContentLicense="CC BY-SA 3.0" />
  <row Id="28888" PostHistoryTypeId="2" PostId="17878" RevisionGUID="56e9b917-bc97-44ca-922a-02dd57773766" CreationDate="2013-01-30T22:13:54.313" UserId="1228" Text="Welcome!  I recommend please running a search for &quot;conform' or 're-conform', as this will answer your question.  There are far too many search results to link directly here on my answer, but this search will provide you everything you need to know.  in a nutshell, request a new AAF and pix cut to compare against - EDLs can work too but it a more labor-intensive process than comparing AAFs if you're in a rush.  The other search results will provide more depth as to what the process is like and what options you have." ContentLicense="CC BY-SA 3.0" />
  <row Id="28889" PostHistoryTypeId="6" PostId="17875" RevisionGUID="59a7c491-8ec0-48ed-84b6-7128d9eca2cb" CreationDate="2013-01-30T22:14:19.160" UserId="1228" Comment="edited tags" Text="&lt;pro-tools&gt;&lt;film-sound-design&gt;&lt;sync&gt;&lt;conform&gt;&lt;re-conforming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28890" PostHistoryTypeId="2" PostId="17879" RevisionGUID="38243e48-58e8-4743-955c-dfdc9c4247b3" CreationDate="2013-01-30T22:27:12.930" UserId="5699" Text="Hello everyone. I wanted to get your opinions about a very important decision in my life. I hope my question is not very off-topic for this site.&#xD;&#xA;&#xD;&#xA;I am going to be 24 in a couple of months. I'm studying literature and I'm going to get my equivalent of Bachelor's Degree this year. Approximately a year and a half ago, I had an enlightenment and decided that I had to do something about music in life. After studying electronic music on my own, I fell in love with sound design. &#xD;&#xA;&#xD;&#xA;I don't have a technical or musical background. I don't have any experience in programming. But I am very enthusiastic about this whole thing and so I started studying math, and I will be studying physics later to understand how sound behaves.&#xD;&#xA;&#xD;&#xA;Currently I am trying to learn Pure Data. Although I normally use Windows, I am thinking of switching to another system. Should I go with Ubuntu Studio or do I need a Mac or should I hang on to Windows for a while? I want to learn Ubuntu Studio as I understand that more can be learned from it. On the other hand, some say that it is not worth the trouble and one should go with a Mac when it comes to audio. What would you say about it? &#xD;&#xA;&#xD;&#xA;So what do you think? Do I have a shot in becoming a sound designer? What do you recommend me to do? How should I proceed? I hope my post is not that awkward as it was written in a moment of &quot;chaotic pessimism&quot;. &#xD;&#xA;&#xD;&#xA;Thanks everyone for your time!!!&#xD;&#xA;&#xD;&#xA;Ati" ContentLicense="CC BY-SA 3.0" />
  <row Id="28891" PostHistoryTypeId="1" PostId="17879" RevisionGUID="38243e48-58e8-4743-955c-dfdc9c4247b3" CreationDate="2013-01-30T22:27:12.930" UserId="5699" Text="Am I too old for sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28892" PostHistoryTypeId="3" PostId="17879" RevisionGUID="38243e48-58e8-4743-955c-dfdc9c4247b3" CreationDate="2013-01-30T22:27:12.930" UserId="5699" Text="&lt;sound-design&gt;&lt;career-advice&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28893" PostHistoryTypeId="2" PostId="17880" RevisionGUID="1ee2c65d-e529-48b1-8828-f405133a0b97" CreationDate="2013-01-30T22:47:57.943" UserId="4442" Text="&quot;Chaotic Pessimism&quot;. Classic.&#xD;&#xA;&#xD;&#xA;Well, I'm finally working on my first real game at 29, but granted, i spent the better part of my 20s unfortunately not pursuing music and sound, however i do have a background in it. If you were great at sound design, no age would be too old. To start raw at 24 with no prior knowledge in sound and music can be slightly difficult, as most of us have at least dabbled in sound for a little bit. If it's something you want to learn, your learning speed will dictate how long it will take you to become proficient.&#xD;&#xA;&#xD;&#xA;So, no, you're not too old.&#xD;&#xA;&#xD;&#xA;With that being said, there is a SHIT LOAD that you'll need to learn. I also don't know that i'd start with puredata out of the gate. I'd start with learning how to record sounds and how to affect them and what effect families do.&#xD;&#xA;&#xD;&#xA;Ric Viers Sound Effects Bible is really good and assumes little prior knowledge. Some sort of Dummies Guide to Audio might be good to grab too.&#xD;&#xA;&#xD;&#xA;In all seriousness, do your research. Learn and play a little first to see what goes into it to see if you even like it. From what I've found on this site (and my own belief as well), we're here to help. Good luck with your decision man." ContentLicense="CC BY-SA 3.0" />
  <row Id="28894" PostHistoryTypeId="5" PostId="17869" RevisionGUID="d43556c3-c80e-45d5-a248-a8135516a258" CreationDate="2013-01-31T00:03:43.690" UserId="432" Comment="incorrect data" Text="The most common standards are -20 and -18, there are some people who use -22 though. It's an issue of how much head room you want while you're mixing. You can mix to whatever reference you like, just know that it will affect your mix decisions. For example, if you mix to a -22 reference your mix will likely be quieter than if you mixed it at a -18 reference.&#xD;&#xA;&#xD;&#xA;Setting your digital/electrical reference level to match a specific SPL is also partially dictated by the volume (meaning size...you know, length X width x height) of the room you're mixing in:&#xD;&#xA;&#xD;&#xA;    Greater than 20,000 cubic feet (566 cubic meters) - 85dB-SPL&#xD;&#xA;    10,000 to 19,000 cubic feet (283 to 565 cubic meters) - 82dB-SPL&#xD;&#xA;    5,000 to 9,999 cubic feet (142 to 282 cubic meters) - 80dB-SPL&#xD;&#xA;    1,500 to 4,999 cubic feet (42 to 141 cubic meters) - 78dB-SPL&#xD;&#xA;    Less than 1,499 cubic feet (41 or less cubic meters) - 76dB-SPL&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28895" PostHistoryTypeId="2" PostId="17881" RevisionGUID="f601f031-096e-437d-8678-ef2595afc9b0" CreationDate="2013-01-31T00:26:53.877" UserId="4358" Text="One of my classmates at Vancouver Film School is 47 years old and has no experience in sound design and is actually good at his work. Its how badly you wanna learn. As far as finding a job goes, I know people who've been in this field for a very long time but still don't have a job. Finding a job has got to do more with how good you are at your work (1st) and how good you are with people. Its a very easy choice man. As of wanting to know about the basics of sound, there are shit loads of books you can refer to. [This][1] book is highly recommended in order to really understand the non-technical ( or what I like to call, The Artistic side of sound). The first four chapters of [this][2] book will give you a pretty solid idea about the basics of sound physics and other technical terms. I think these books will give you a fair amount of idea sound design. One of the things you would wanna do besides all this is watch a lot of films and read [Film scripts][3]. Not just the ones with big action sequences and explosions, but all the genres. Some of the most difficult scenes to design sound for are the ones with very minimal elements in it. Watch films by different directors, different periods, different countries and just get a feel of it. Ask yourself how is sound changing how you feel about the character or how is it helping the director tell his story, how would you feel if there was no sound at all in that scene ask how it was done and ask WHY it was done and so on... &#xD;&#xA;It is a very unpredictable industry and no school or university can guarantee you a 'job' as a sound designer. If you think that you can withstand all the pressures of deadlines and creative tensions among your co-workers and be able to maintain a balance between personal and professional life and you think you really can be good at this, you should just go for it. Age don't matter!&#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Sound-Design-Expressive-Effects-Cinema/dp/0941188264&#xD;&#xA;  [2]: http://www.amazon.com/Sound-Reinforcement-Handbook-Gary-Davis/dp/0881889008&#xD;&#xA;  [3]: http://www.simplyscripts.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="28896" PostHistoryTypeId="2" PostId="17882" RevisionGUID="61e13d96-b685-4675-973c-f0a179a652ae" CreationDate="2013-01-31T00:56:50.560" UserId="5624" Text="Depending how bad the noise is you can try using RX to denoise it. It's not ideal, but you may be able to salvage something from it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28897" PostHistoryTypeId="2" PostId="17883" RevisionGUID="a1c0d2a8-37ab-471b-a35b-d3fe57ffdb30" CreationDate="2013-01-31T01:07:49.283" UserId="3179" Text="Just do it.&#xD;&#xA;&#xD;&#xA;Know that you're taking a risk financially, because there's no guarantee for work (you have to be active in finding it) and there are a lot of people working in and studying for the field. So you need to be active in networking and giving yourself out as something that people trust and will want to work with or hire instead of person B. It can take a lot of time (like closer to 10 years or more) to form a professional network where you can find work as a freelancer/entrepreneur. But you can also get lucky or get a position in a company (which although isn't necessarily secure either, because smaller entertainment firms or sound houses tend to be quite volatile). But you definitely shouldn't pursue this because of money, but rather than because it's like &quot;the only thing&quot; that you want to do and you want to do it professionally, rather than semi-professionally/as a hobby and getting your income from other sources. You need determination or you can burn out, you need to know that the work can be quite hectic and stressful at times (deadlines) and you may need to to do creative work even when you're not inspired or personally don't care about the product that you're working for.&#xD;&#xA;&#xD;&#xA;Technically, your (main) tool is a DAW and a combination of microphones and recorders. What operating system you run is irrelevant, but macs are fairly popular, because OS X is technically simple to operate and poses far less problems with maintenance, drivers and stuff compared to Windows. And Apple's computers are pretty. Linux is very rare/almost non-existent in audio post work, because it doesn't have the necessary software (Pro Tools, Soundforge etc.), unless you run it through Wine. You can easily google for &quot;linux audio software&quot; and see what's available. Again, if you're only working by yourself, then you can choose freely what you use, but usually not, if you have to sync files with other people.&#xD;&#xA;&#xD;&#xA;Pd is useful for learning about interactive sound sequencing and high-level audio and midi processing. It's not very relevant for &quot;sound design&quot;, unless you have a very specific idea for a patch that you use it for + it's definitely not a fast tool to work with.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28898" PostHistoryTypeId="5" PostId="17883" RevisionGUID="872fadda-51e3-4d0b-90dc-8c881e577dfe" CreationDate="2013-01-31T01:15:15.437" UserId="3179" Comment="added 51 characters in body; added 46 characters in body; added 2 characters in body" Text="Just do it.&#xD;&#xA;&#xD;&#xA;Know that you're taking a risk financially, because there's no guarantee for work (you have to be active in finding it) and there are a lot of people working in and studying for the field, with the same or stronger determination as you. So you need to be active in networking and giving yourself out as something that people trust and will want to work with or hire instead of person B. It can take a lot of time (like closer to 10 years or more) to form a professional network where you can find work as a freelancer/entrepreneur. But you can also get lucky or get a position in a company (which although isn't necessarily secure either, because smaller entertainment firms or sound houses tend to be quite volatile). But you definitely shouldn't pursue this because of money, but rather than because it's like &quot;the only thing&quot; that you want to do and you want to do it professionally, rather than semi-professionally/as a hobby and getting your income from other sources. You need determination or you can burn out, you need to know that the work can be quite hectic and stressful at times (deadlines) and you may need to to do creative work even when you're not inspired or personally don't care about the product that you're working for.&#xD;&#xA;&#xD;&#xA;Technically, your (main) tool is a DAW and a combination of microphones and recorders. What operating system you run is irrelevant, but macs are fairly popular, because OS X is technically simple to operate and poses far less problems with maintenance, drivers and stuff compared to Windows. And Apple's computers are pretty. Linux is very rare/almost non-existent in audio post work, because it doesn't have the necessary software (Pro Tools, Soundforge etc.), unless you run it through Wine. You can easily google for &quot;linux audio software&quot; and see what's available. I believe Ardour is the only formidable Linux DAW. Again, if you're only working by yourself, then you can choose freely what you use, but usually not, if you have to sync files with other people.&#xD;&#xA;&#xD;&#xA;Pd is useful for learning about interactive sound sequencing and high-level audio and midi processing. It's not very relevant for &quot;sound design&quot;, unless you have a very specific idea for a patch that you use it for + it's definitely not a fast tool to work with.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28899" PostHistoryTypeId="2" PostId="17884" RevisionGUID="9241170f-07b0-4725-aee0-1ff9d7849bdd" CreationDate="2013-01-31T01:19:24.770" UserDisplayName="user49" Text="the only way to know will be to load up some of the recordings and have a dialogue editor or mixer check them, after cranking gain to get them ot a useable level... Were you recording to a 24bit recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28900" PostHistoryTypeId="5" PostId="17883" RevisionGUID="778cef05-290f-41fa-b629-65e58f2bc221" CreationDate="2013-01-31T01:22:04.390" UserId="3179" Comment="added 73 characters in body; deleted 5 characters in body; added 15 characters in body; deleted 2 characters in body" Text="Just do it.&#xD;&#xA;&#xD;&#xA;Know that you're taking a risk financially, because there's no guarantee for work (you have to be active in finding it) and there are a lot of people working in and studying for the field, with the same or stronger determination as you. So you need to be active in networking and giving yourself out as someone that people trust and will want to work with or hire instead of person B. It can take a lot of time (like closer to 10 years or more) to form a professional network where you can find work as a freelancer/entrepreneur. But you can also get lucky or get a position in a company (which although isn't necessarily secure either, because smaller entertainment firms or sound houses tend to be quite volatile, bigger as well, because that's the nature of the entertainment industry). But you definitely shouldn't pursue this because of money, but rather because it's like &quot;the only thing&quot; that you want to do and you want to do it professionally, rather than semi-professionally/as a hobby and getting your income from other sources. You need determination and motivation or you can burn out, you need to know that the work can be quite hectic and stressful at times (deadlines) and you may need to to do creative work even when you're not inspired or personally don't care about the product that you're working for.&#xD;&#xA;&#xD;&#xA;Technically, your (main) tool is a DAW and a combination of microphones and recorders. What operating system you run is irrelevant, but macs are fairly popular, because OS X is technically simple to operate and poses far less problems with maintenance, drivers and stuff compared to Windows. And Apple's computers are pretty. Linux is very rare/almost non-existent in audio post work, because it doesn't have the necessary software (Pro Tools, Soundforge etc.), unless you run it through Wine. You can easily google for &quot;linux audio software&quot; and see what's available. I believe Ardour is the only formidable Linux DAW. Again, if you're only working by yourself, then you can choose freely what you use, but usually not, if you have to sync files with other people.&#xD;&#xA;&#xD;&#xA;Pd is useful for learning about interactive sound sequencing and high-level audio and midi processing. It's not very relevant for &quot;sound design&quot;, unless you have a very specific idea for a patch that you use it for + it's definitely not a fast tool to work with.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28901" PostHistoryTypeId="5" PostId="17883" RevisionGUID="5dffdc67-2cf0-40ec-a192-ea69196fad4c" CreationDate="2013-01-31T01:27:46.167" UserId="3179" Comment="added 137 characters in body; added 22 characters in body; deleted 2 characters in body; deleted 4 characters in body" Text="Just do it.&#xD;&#xA;&#xD;&#xA;Know that you're taking a risk financially, because there's no guarantee for work (you have to be active in finding it) and there are a lot of people working in and studying for the field, with the same or stronger determination as you. So you need to be active in networking and giving yourself out as someone that people trust and will want to work with or hire instead of person B. It can take a lot of time (like closer to 10 years or more) to form a professional network where you can find work as a freelancer/entrepreneur. But you can also get lucky or get a position in a company (which although isn't necessarily secure either, because smaller entertainment firms or sound houses tend to be quite volatile, bigger as well, because that's the nature of the entertainment industry). One key to boost your employment prospects is to be versed in another art form or skill that's applied in the medium that you work in, in addition to sound. You definitely shouldn't pursue this because of money, but rather because it's like &quot;the only thing&quot; that you want to do and you want to do it professionally, rather than semi-professionally/as a hobby and getting your income from other sources. You need determination and motivation or you can burn out, you need to know that the work can be quite hectic and stressful at times (deadlines) and you may need to to do creative work even when you're not inspired or personally don't care about the product that you're working for.&#xD;&#xA;&#xD;&#xA;Technically, your (main) tool is a DAW and a combination of microphones and recorders. What operating system you run is irrelevant, but macs are fairly popular, because OS X is technically simple to operate and poses far less problems with maintenance, drivers and stuff compared to Windows. And Apple's computers are pretty. Linux is very rare/almost non-existent in audio post work, because it doesn't have the necessary software (Pro Tools, Soundforge etc.), unless you run it through Wine. You can easily google for &quot;linux audio software&quot; and see what's available. I believe Ardour is the only formidable Linux DAW. Again, if you're only working by yourself, then you can choose freely what you use, but usually not, if you have to sync files with other people.&#xD;&#xA;&#xD;&#xA;Pd is useful for learning about interactive sound sequencing and high-level audio and midi processing. It's not very relevant for &quot;sound design&quot;, unless you have a very specific idea for a patch that you use it for + it's definitely not a fast tool to work with.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28902" PostHistoryTypeId="2" PostId="17885" RevisionGUID="9c3c490b-a314-425e-ba08-97a7f0ee89d6" CreationDate="2013-01-31T01:34:14.310" UserId="5697" Text="thats the document, it mention 32 dbfs peak to peak not rms.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28903" PostHistoryTypeId="5" PostId="17883" RevisionGUID="aa3ae57e-0aad-4b0d-bde4-44689330da0d" CreationDate="2013-01-31T01:36:07.353" UserId="3179" Comment="added 338 characters in body; added 125 characters in body; edited body; deleted 7 characters in body" Text="Just do it.&#xD;&#xA;&#xD;&#xA;Know that you're taking a risk financially, because there's no guarantee for work (you have to be active in finding it) and there are a lot of people working in and studying for the field, with the same or stronger determination as you. So you need to be active in networking and giving yourself out as someone that people trust and will want to work with or hire instead of person B. It can take a lot of time (like closer to 10 years or more) to form a professional network where you can find work as a freelancer/entrepreneur. But you can also get lucky or get a position in a company (which although isn't necessarily secure either, because smaller entertainment firms or sound houses tend to be quite volatile, bigger as well, because that's the nature of the entertainment industry). One key to boost your employment prospects is to be versed in another art form or skill that's applied in the medium that you work in, in addition to sound. You definitely shouldn't pursue this because of money, but rather because it's like &quot;the only thing&quot; that you want to do and you want to do it professionally, rather than semi-professionally/as a hobby and getting your income from other sources. You need determination and motivation or you can burn out, you need to know that the work can be quite hectic and stressful at times (deadlines) and you may need to to do creative work even when you're not inspired or personally don't care about the product that you're working for.&#xD;&#xA;&#xD;&#xA;I would not overstress the decision as a &quot;very important life decision&quot;. I think you should approach it primarily as a fun hobby that you like to do, rather than &quot;a job&quot;. If you get paid for it, then that's even better, but you shouldn't base your decision on it. Be ready and open to other stuff as well than just sound/music. If you plan on getting a degree, then you should think very carefully, I wouldn't recommend going into debt because of this.&#xD;&#xA;&#xD;&#xA;Technically, your (main) tool is a DAW and a combination of microphones and recorders. What operating system you run is irrelevant, but macs are fairly popular, because OS X is technically simple to operate and poses far less problems with maintenance, drivers and stuff compared to Windows. And Apple's computers are pretty. Linux is very rare/almost non-existent in audio post work, because it doesn't have the necessary software (Pro Tools, Soundforge etc.), unless you run it through Wine. You can easily google for &quot;linux audio software&quot; and see what's available. I believe Ardour is the only formidable Linux DAW. Again, if you're only working by yourself, then you can choose freely what you use, but usually not, if you have to sync files with other people.&#xD;&#xA;&#xD;&#xA;Pd is useful for learning about interactive sound sequencing and high-level audio and midi processing. It's not very relevant for &quot;sound design&quot;, unless you have a very specific idea for a patch that you use it for + it's definitely not a fast tool to work with.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28904" PostHistoryTypeId="5" PostId="17872" RevisionGUID="fced5144-6191-4ae2-802a-56d50e74ede7" CreationDate="2013-01-31T01:39:49.397" UserId="5697" Comment="added 6 characters in body" Text="what is the right level to normalize dialogue, it is a short movie very low budget, the target is some indy film festival, somebdoy just told me to stay  with dynamic range between -18 and -6db, but what about the -27 i read often here about dialogue? seems really to be so low. " ContentLicense="CC BY-SA 3.0" />
  <row Id="28905" PostHistoryTypeId="5" PostId="17883" RevisionGUID="47e7a754-108c-459d-8939-9457ca0e76ce" CreationDate="2013-01-31T01:49:10.067" UserId="3179" Comment="added 106 characters in body; added 38 characters in body" Text="Just do it.&#xD;&#xA;&#xD;&#xA;Know that you're taking a risk financially, because there's no guarantee for work (you have to be active in finding it) and there are a lot of people working in and studying for the field, with the same or stronger determination as you. So you need to be active in networking and giving yourself out as someone that people trust and will want to work with or hire instead of person B. But don't get into some stupid &quot;I'm competitive&quot; mode, you need allies and your attitude has to be sound (among the people that you work with). It can take a lot of time (like closer to 10 years or more) to form a professional network where you can find work as a freelancer/entrepreneur. But you can also get lucky or get a position in a company (which although isn't necessarily secure either, because smaller entertainment firms or sound houses tend to be quite volatile, bigger as well, because that's the nature of the entertainment industry). One key to boost your employment prospects is to be versed in another art form or skill that's applied in the medium that you work in, in addition to sound. You definitely shouldn't pursue this because of money, but rather because it's like &quot;the only thing&quot; that you want to do and you want to do it professionally, rather than semi-professionally/as a hobby and getting your income from other sources. You need determination and motivation or you can burn out, you need to know that the work can be quite hectic and stressful at times (deadlines) and you may need to to do creative work even when you're not inspired or personally don't care about the product that you're working for.&#xD;&#xA;&#xD;&#xA;I would not overstress the decision as a &quot;very important life decision&quot;. I think you should approach it primarily as a fun hobby that you like to do, rather than &quot;a job&quot;. If you get paid for it, then that's even better, but you shouldn't base your decision on it. Be ready and open to other stuff as well than just sound/music. If you plan on getting a degree, then you should think very carefully, I wouldn't recommend going into debt because of this.&#xD;&#xA;&#xD;&#xA;Technically, your (main) tool is a DAW and a combination of microphones and recorders. What operating system you run is irrelevant, but macs are fairly popular, because OS X is technically simple to operate and poses far less problems with maintenance, drivers and stuff compared to Windows. And Apple's computers are pretty. Linux is very rare/almost non-existent in audio post work, because it doesn't have the necessary software (Pro Tools, Soundforge etc.), unless you run it through Wine. You can easily google for &quot;linux audio software&quot; and see what's available. I believe Ardour is the only formidable Linux DAW. Again, if you're only working by yourself, then you can choose freely what you use, but usually not, if you have to sync files with other people.&#xD;&#xA;&#xD;&#xA;Pd is useful for learning about interactive sound sequencing and high-level audio and midi processing. It's not very relevant for &quot;sound design&quot;, unless you have a very specific idea for a patch that you use it for + it's definitely not a fast tool to work with.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28906" PostHistoryTypeId="5" PostId="17883" RevisionGUID="1f6feb15-ba9f-4d68-a402-5e7a39efa42b" CreationDate="2013-01-31T02:03:35.623" UserId="3179" Comment="added 438 characters in body; added 1 characters in body; added 15 characters in body; added 9 characters in body" Text="Just do it.&#xD;&#xA;&#xD;&#xA;Know that you're taking a risk financially, because there's no guarantee for work (you have to be active in finding it) and there are a lot of people working in and studying for the field, with the same or stronger determination as you. So you need to be active in networking and giving yourself out as someone that people trust and will want to work with or hire instead of person B. But don't get into some stupid &quot;I'm competitive&quot; mode, you need allies and your attitude has to be sound (among the people that you work with). It can take a lot of time (like closer to 10 years or more) to form a professional network where you can find work as a freelancer/entrepreneur. But you can also get lucky or get a position in a company (which although isn't necessarily secure either, because smaller entertainment firms or sound houses tend to be quite volatile, bigger as well, because that's the nature of the entertainment industry). One key to boost your employment prospects is to be versed in another art form or skill that's applied in the medium that you work in, in addition to sound. You definitely shouldn't pursue this because of money, but rather because it's like &quot;the only thing&quot; that you want to do and you want to do it professionally, rather than semi-professionally/as a hobby and getting your income from other sources. You need determination and motivation or you can burn out, you need to know that the work can be quite hectic and stressful at times (deadlines) and you may need to to do creative work even when you're not inspired or personally don't care about the product that you're working for.&#xD;&#xA;&#xD;&#xA;I would not overstress the decision as a &quot;very important life decision&quot;. I think you should approach it primarily as a fun hobby that you like to do, rather than &quot;a job&quot;. If you get paid for it, then that's even better, but you shouldn't base your decision on it. Be ready and open to other stuff as well than just sound/music. If you plan on getting a degree, then you should think very carefully, I wouldn't recommend going into debt because of this.&#xD;&#xA;&#xD;&#xA;Technically, your (main) tool is a DAW and a combination of microphones and recorders. What operating system you run is irrelevant, but macs are fairly popular, because OS X is technically simple to operate and poses far less problems with maintenance, drivers and stuff compared to Windows. And Apple's computers are pretty. Linux is very rare/almost non-existent in audio post work, because it doesn't have the necessary software (Pro Tools, Soundforge etc.), unless you run it through Wine. You can easily google for &quot;linux audio software&quot; and see what's available. I believe Ardour is the only formidable Linux DAW. Again, if you're only working by yourself, then you can choose freely what you use, but usually not, if you have to sync files with other people.&#xD;&#xA;&#xD;&#xA;Pd is useful for learning about interactive sound sequencing and high-level audio and midi processing. It's not very relevant for &quot;sound design&quot;, unless you have a very specific idea for a patch that you use it for + it's definitely not a fast tool to work with.&#xD;&#xA;&#xD;&#xA;Oh, and I don't know how applicable advanced math and physics is in &quot;sound design&quot;. This is an art field. I mean, if you want to program software, design hardware or design e.g. acoustic spaces or simulations, then definitely, and I personally stress the study of natural sciences as general education, even if you're not applying the knowledge, but for doing &quot;sound design&quot; i.e. soundtracks for media in the general sense, it's not that relevant, nor common.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28907" PostHistoryTypeId="5" PostId="17883" RevisionGUID="02bb8682-7e94-4f11-b101-f1f9c42b7f93" CreationDate="2013-01-31T02:15:05.130" UserId="3179" Comment="added 35 characters in body; added 6 characters in body; deleted 9 characters in body" Text="Just do it.&#xD;&#xA;&#xD;&#xA;Know that you're taking a risk financially, because there's no guarantee for work (you have to be active in finding it) and there are a lot of people working in and studying for the field, with the same or stronger determination as you. So you need to be active in networking and giving yourself out as someone that people trust and will want to work with or hire instead of person B. But don't get into some stupid &quot;I'm competitive&quot; mode, you need allies and your attitude has to be sound (among the people that you work with). It can take a lot of time (like closer to 10 years or more) to form a professional network where you can find work as a freelancer/entrepreneur. But you can also get lucky or get a position in a company (which although isn't necessarily secure either, because smaller entertainment firms or sound houses tend to be quite volatile, bigger as well, because that's the nature of the entertainment industry). One key to boost your employment prospects is to be versed in another art form or skill that's applied in the medium that you work in, in addition to sound. You definitely shouldn't pursue this because of money, but rather because it's like &quot;the only thing&quot; that you want to do and you want to do it professionally, rather than semi-professionally/as a hobby and getting your income from other sources. You need determination and motivation or you can burn out, you need to know that the work can be quite hectic and stressful at times (deadlines) and you may need to to do creative work even when you're not inspired or personally don't care about the product that you're working for.&#xD;&#xA;&#xD;&#xA;I would not overstress the decision as a &quot;very important life decision&quot;. I think you should approach it primarily as a fun hobby that you like to do, rather than &quot;a job&quot;. If you get paid for it, then that's even better, but you shouldn't base your decision on it. Be ready and open to other stuff as well than just sound/music. If you plan on getting a degree, then you should think very carefully, I wouldn't recommend going into debt because of this.&#xD;&#xA;&#xD;&#xA;Technically, your (main) tool is a DAW and a combination of microphones and recorders. What operating system you run is irrelevant, but macs are fairly popular, because OS X is technically simple to operate and poses far less problems with maintenance, drivers and stuff compared to Windows. And Apple's computers are pretty. Linux is very rare/almost non-existent in audio post work, because it doesn't have the necessary software (Pro Tools, Soundforge etc.), unless you run it through Wine. You can easily google for &quot;linux audio software&quot; and see what's available. I believe Ardour is the only formidable Linux DAW. Again, if you're only working by yourself, then you can choose freely what you use, but usually not, if you have to sync files with other people.&#xD;&#xA;&#xD;&#xA;Pd is useful for learning about interactive sound sequencing and high-level audio and midi processing. It's not very relevant for &quot;sound design&quot;, unless you have a very specific idea for a patch that you use it for + it's definitely not a fast tool to work with.&#xD;&#xA;&#xD;&#xA;Oh, and I don't know how applicable advanced math and physics is in &quot;sound design&quot;. This is an art field, or alternatively a trade/craft. I mean, if you want to program software, design hardware or design e.g. acoustic spaces or simulations, then definitely, and I personally stress the study of natural sciences as general education, even if you're not applying the knowledge, but for doing &quot;sound design&quot; i.e. soundtracks for media in the general sense, it's not that relevant, nor common.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28908" PostHistoryTypeId="16" PostId="17883" RevisionGUID="02bb8682-7e94-4f11-b101-f1f9c42b7f93" CreationDate="2013-01-31T02:16:24.633" UserId="3179" Comment="added 35 characters in body; added 6 characters in body; deleted 9 characters in body" />
  <row Id="28909" PostHistoryTypeId="2" PostId="17886" RevisionGUID="c31a47fe-0e74-41f3-a761-6729f98d2e07" CreationDate="2013-01-31T02:24:34.293" UserId="5697" Text="right after the video editing, when i import audio project in daw and start to work on dialogue, what the dynamic range to care about dialogue? I am not relating mixing but dialogue editing." ContentLicense="CC BY-SA 3.0" />
  <row Id="28910" PostHistoryTypeId="5" PostId="17883" RevisionGUID="4dbe7ccb-0e18-4e47-bf91-267f4b019b22" CreationDate="2013-01-31T02:33:17.980" UserId="3179" Comment="added 50 characters in body" Text="Just do it.&#xD;&#xA;&#xD;&#xA;Know that you're taking a risk financially, because there's no guarantee for work (you have to be active in finding it) and there are a lot of people working in and studying for the field, with the same or stronger determination as you. So you need to be active in networking and giving yourself out as someone that people trust and will want to work with or hire instead of person B. But don't get into some stupid &quot;I'm competitive&quot; mode, you need allies and your attitude has to be sound (among the people that you work with). It can take a lot of time (like closer to 10 years or more) to form a professional network where you can find work as a freelancer/entrepreneur. But you can also get lucky or get a position in a company (which although isn't necessarily secure either, because smaller entertainment firms or sound houses tend to be quite volatile, bigger as well, because that's the nature of the entertainment industry). One key to boost your employment prospects is to be versed in another art form or skill that's applied in the medium that you work in, in addition to sound. You definitely shouldn't pursue this because of money, but rather because it's like &quot;the only thing&quot; that you want to do and you want to do it professionally, rather than semi-professionally/as a hobby and getting your income from other sources. You need determination and motivation or you can burn out, you need to know that the work can be quite hectic and stressful at times (deadlines) and you may need to to do creative work even when you're not inspired or personally don't care about the product that you're working for.&#xD;&#xA;&#xD;&#xA;I would not overstress the decision as a &quot;very important life decision&quot;. I think you should approach it primarily as a fun hobby that you like to do, rather than &quot;a job&quot;. If you get paid for it, then that's even better, but you shouldn't base your decision on it. Be ready and open to other stuff as well than just sound/music. If you plan on getting a degree, then you should think very carefully, I wouldn't recommend going into debt because of this.&#xD;&#xA;&#xD;&#xA;Technically, your (main) tool is a DAW and a combination of microphones and recorders. What operating system you run is irrelevant, but macs are fairly popular, because OS X is technically simple to operate and poses far less problems with maintenance, drivers and stuff compared to Windows. And Apple's computers are pretty. Linux is very rare/almost non-existent in audio post work, because it doesn't have the necessary software (Pro Tools, Soundforge etc.), unless you run it through Wine. You can easily google for &quot;linux audio software&quot; and see what's available. I believe Ardour is the only formidable Linux DAW. Again, if you're only working by yourself, then you can choose freely what you use, but usually not, if you have to sync files with other people.&#xD;&#xA;&#xD;&#xA;Pd is useful for learning about interactive sound sequencing and high-level audio and midi processing. It's not very relevant for &quot;sound design&quot;, unless you have a very specific idea for a patch that you use it for + it's definitely not a fast tool to work with.&#xD;&#xA;&#xD;&#xA;Oh, and I don't know how applicable advanced math and physics is in &quot;sound design&quot;. This is an art field, or alternatively a trade/craft. I mean, if you want to program software, design hardware or design e.g. acoustic spaces or simulations, then definitely, and I personally stress the study of natural sciences as general education, even if you're not applying the knowledge, but for doing &quot;sound design&quot; i.e. soundtracks for media in the general sense, it's not that relevant, nor common. This work is about feeling, rather than formulas.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28911" PostHistoryTypeId="5" PostId="17883" RevisionGUID="5bc8de1f-866e-46f9-80e8-aed5da8b31b1" CreationDate="2013-01-31T02:52:47.797" UserId="3179" Comment="deleted 3 characters in body" Text="Just do it.&#xD;&#xA;&#xD;&#xA;Know that you're taking a risk financially, because there's no guarantee for work (you have to be active in finding it) and there are a lot of people working in and studying for the field, with the same or stronger determination as you. So you need to be active in networking and giving yourself out as someone that people trust and will want to work with or hire instead of person B. But don't get into some stupid &quot;I'm competitive&quot; mode, you need allies and your attitude has to be sound (among the people that you work with). It can take a lot of time (like closer to 10 years or more) to form a professional network where you can find work as a freelancer/entrepreneur. But you can also get lucky or get a position in a company (which although isn't necessarily secure either, because smaller entertainment firms or sound houses tend to be quite volatile, bigger as well, because that's the nature of the entertainment industry). One key to boost your employment prospects is to be versed in another art form or skill that's applied in the medium that you work in, in addition to sound. You definitely shouldn't pursue this because of money, but rather because it's like &quot;the only thing&quot; that you want to do and you want to do it professionally, rather than semi-professionally/as a hobby and getting your income from other sources. You need determination and motivation or you can burn out, you need to know that the work can be quite hectic and stressful at times (deadlines) and you may need to do creative work even when you're not inspired or personally don't care about the product that you're working for.&#xD;&#xA;&#xD;&#xA;I would not overstress the decision as a &quot;very important life decision&quot;. I think you should approach it primarily as a fun hobby that you like to do, rather than &quot;a job&quot;. If you get paid for it, then that's even better, but you shouldn't base your decision on it. Be ready and open to other stuff as well than just sound/music. If you plan on getting a degree, then you should think very carefully, I wouldn't recommend going into debt because of this.&#xD;&#xA;&#xD;&#xA;Technically, your (main) tool is a DAW and a combination of microphones and recorders. What operating system you run is irrelevant, but macs are fairly popular, because OS X is technically simple to operate and poses far less problems with maintenance, drivers and stuff compared to Windows. And Apple's computers are pretty. Linux is very rare/almost non-existent in audio post work, because it doesn't have the necessary software (Pro Tools, Soundforge etc.), unless you run it through Wine. You can easily google for &quot;linux audio software&quot; and see what's available. I believe Ardour is the only formidable Linux DAW. Again, if you're only working by yourself, then you can choose freely what you use, but usually not, if you have to sync files with other people.&#xD;&#xA;&#xD;&#xA;Pd is useful for learning about interactive sound sequencing and high-level audio and midi processing. It's not very relevant for &quot;sound design&quot;, unless you have a very specific idea for a patch that you use it for + it's definitely not a fast tool to work with.&#xD;&#xA;&#xD;&#xA;Oh, and I don't know how applicable advanced math and physics is in &quot;sound design&quot;. This is an art field, or alternatively a trade/craft. I mean, if you want to program software, design hardware or design e.g. acoustic spaces or simulations, then definitely, and I personally stress the study of natural sciences as general education, even if you're not applying the knowledge, but for doing &quot;sound design&quot; i.e. soundtracks for media in the general sense, it's not that relevant, nor common. This work is about feeling, rather than formulas.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28912" PostHistoryTypeId="2" PostId="17887" RevisionGUID="43a3741a-6d7b-4cff-bec1-f78322e6e023" CreationDate="2013-01-31T05:49:29.283" UserId="18160" Text="Hi Ati.&#xD;&#xA;&#xD;&#xA;Please use the search function on this site. Typing in &quot;age&quot; got me these:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/3702/age-discrimination-in-the-audio-industry&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/9746/getting-into-business-after-25" ContentLicense="CC BY-SA 3.0" />
  <row Id="28913" PostHistoryTypeId="13" PostId="3703" RevisionGUID="f1ca1207-4783-4d21-a8f9-ba47f6e7b55d" CreationDate="2013-01-31T05:50:23.490" UserId="18160" Text="[{&quot;Id&quot;:263,&quot;DisplayName&quot;:&quot;Utopia&quot;}]" />
  <row Id="28914" PostHistoryTypeId="2" PostId="17888" RevisionGUID="392decf8-91cd-455e-8ad6-3c18856362b3" CreationDate="2013-01-31T05:50:57.863" UserId="3396" Text="No you are not to old. I started at 30 and have been doing it successfully for 28 years now.&#xD;&#xA;&#xD;&#xA;Get an entry level job (driver, apprentice, assistant) at a sound house.&#xD;&#xA;You will meet people and you will learn how it is really done. &#xD;&#xA;&#xD;&#xA;A HUGE part of success is who you know.&#xD;&#xA;&#xD;&#xA;You will find out quickly if you have the feel, the talent, the creativity and the temperament for the job. Some people just don't have the touch and never get it.&#xD;&#xA;&#xD;&#xA;I have never seen a single person get a job by walking in with a degree ... not a single one.&#xD;&#xA;&#xD;&#xA;You will work on freebies at first to learn your craft and earn your reputation. Be prepared for long days as you will typically work on these freebies after hours.&#xD;&#xA;&#xD;&#xA;Go for it! GOOD LUCK!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28915" PostHistoryTypeId="5" PostId="17888" RevisionGUID="717f8a3d-eb2c-4fab-b7da-b3af36aba7b0" CreationDate="2013-01-31T06:00:08.167" UserId="3396" Comment="added 99 characters in body" Text="No you are not to old. I started at 30 and have been doing it successfully for 28 years now.&#xD;&#xA;&#xD;&#xA;Get an entry level job (driver, apprentice, assistant) at a sound house.&#xD;&#xA;You will meet people and you will learn how it is really done. &#xD;&#xA;&#xD;&#xA;A HUGE part of success is who you know.&#xD;&#xA;&#xD;&#xA;You will find out quickly if you have the feel, the talent, the creativity and the temperament for the job. Some people just don't have the touch and never get it.&#xD;&#xA;&#xD;&#xA;I have never seen a single person get a job by walking in with a degree ... not a single one.&#xD;&#xA;&#xD;&#xA;You will work on freebies at first to learn your craft and earn your reputation. Be prepared for long days as you will typically work on these freebies after hours.&#xD;&#xA;&#xD;&#xA;Go for it! GOOD LUCK!&#xD;&#xA;&#xD;&#xA;P.S.- MAC,MAC,MAC, you really don't have a choice, at least in feature films here in Hollywood." ContentLicense="CC BY-SA 3.0" />
  <row Id="28916" PostHistoryTypeId="2" PostId="17889" RevisionGUID="e445cdc7-7aa8-49ee-b442-e57399a0071c" CreationDate="2013-01-31T08:11:46.263" UserId="5582" Text="I'm having trouble on the sound of playing cards, actual playing cards aren't doing it and there are not many resources out there for playing card noises. Any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28917" PostHistoryTypeId="1" PostId="17889" RevisionGUID="e445cdc7-7aa8-49ee-b442-e57399a0071c" CreationDate="2013-01-31T08:11:46.263" UserId="5582" Text="How to make playing card noises sound more satisfying and full" ContentLicense="CC BY-SA 3.0" />
  <row Id="28918" PostHistoryTypeId="3" PostId="17889" RevisionGUID="e445cdc7-7aa8-49ee-b442-e57399a0071c" CreationDate="2013-01-31T08:11:46.263" UserId="5582" Text="&lt;cards&gt;&lt;foley&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28919" PostHistoryTypeId="2" PostId="17890" RevisionGUID="fd3277a5-9de6-4d6e-84d7-4e6f41c07810" CreationDate="2013-01-31T08:15:36.753" UserId="3179" Text="Record multiple different takes with different tones and layer them for the finished sounds. Works." ContentLicense="CC BY-SA 3.0" />
  <row Id="28920" PostHistoryTypeId="2" PostId="17891" RevisionGUID="3e10985c-941f-43fc-b65b-1f06a519c2e4" CreationDate="2013-01-31T08:18:16.603" UserId="1228" Text="Business Cards? Post-It Notes?  Credit/plastic cards?  These are just some ideas, but it also depends upon the action required.  Break away from the literal sound playing cards make and think of textures and frequency variances.  All the above props offer different tonality, brittleness, frequency characteristics.  It's the juxtaposing of various carefully-chosen frequencies which create a sound full of depth and character, whether it be playing cards or any other sound.&#xD;&#xA;&#xD;&#xA;An example:  A door fx edit can sometimes contain as little 2 to as many as 10 sound elements (or more for a tech door or something)... but each element imparts a different quality which ends up having a balance of high, mid, low (or maybe latch, thud, boom, creak, seal, etc)... the gestalt is a textured, character door with a lot of colorful depth and complexity.&#xD;&#xA;&#xD;&#xA;Think outside the box!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28921" PostHistoryTypeId="2" PostId="17892" RevisionGUID="2ba7dda7-9504-4fdf-92d2-cfab7fdcb193" CreationDate="2013-01-31T10:11:46.087" UserId="3567" Text="Filter and EQ. Playing cards don't need that extra low end which can subtract from the overall quality of the sound, but slightly boosting mids and/or highs can make a great difference." ContentLicense="CC BY-SA 3.0" />
  <row Id="28922" PostHistoryTypeId="2" PostId="17893" RevisionGUID="1f4ab88a-a275-4139-afae-0273a23203a6" CreationDate="2013-01-31T13:07:24.720" UserId="194" Text="depends on what the moves are.  &#xD;&#xA;&#xD;&#xA;if they're of shuffling, dealing, etc you may want to bring someone in that's had a lot of experience doing those things.  card moves can sound dramatically different in the hands of a pro vs in the hands of an amateur." ContentLicense="CC BY-SA 3.0" />
  <row Id="28927" PostHistoryTypeId="2" PostId="17895" RevisionGUID="20b55155-eb4e-40b6-93f8-001f3a5926b1" CreationDate="2013-01-31T15:14:39.913" UserId="709" Text="Currently working sound editorial/design/post on an H2 series.  Early on had a DME deliverable kicked back for not being at same level as the Printmaster.  Upon review, the level was identical (LKFS), but the DME was not limited, as was the Printmaster.&#xD;&#xA;&#xD;&#xA;After getting in contact with the network, it was clear that they wanted all deliverables limited to -10.&#xD;&#xA;&#xD;&#xA;I'm curious why?  If you reassembled shows for broadcast from limited elements, at some point you risk peaking above your own spec.  Why not reassemble and limit on master?  &#xD;&#xA;&#xD;&#xA;And I do understand how badly our sound is abused by some networks before going to broadcast regardless of their spec.&#xD;&#xA;&#xD;&#xA;Thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28928" PostHistoryTypeId="1" PostId="17895" RevisionGUID="20b55155-eb4e-40b6-93f8-001f3a5926b1" CreationDate="2013-01-31T15:14:39.913" UserId="709" Text="Limited Spec Deliverables?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28929" PostHistoryTypeId="3" PostId="17895" RevisionGUID="20b55155-eb4e-40b6-93f8-001f3a5926b1" CreationDate="2013-01-31T15:14:39.913" UserId="709" Text="&lt;broadcast&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28930" PostHistoryTypeId="2" PostId="17896" RevisionGUID="b26baca2-e9b1-4a25-afd8-a8ef74c24483" CreationDate="2013-01-31T17:01:18.090" UserId="4442" Text="Where do you guys typically go first for less than obvious sounds? Do you go foley first, or try to rummage through your synth patches first? I'm thinking like scifi, forcefield, energy, etc.&#xD;&#xA;&#xD;&#xA;This is more of just a conversation, and I know the obvious answers are going to be &quot;experiment!&quot; or &quot;depends on the person!&quot;. I know those, and i'm not looking for those. Just looking to spark some conversation on where you generally look first." ContentLicense="CC BY-SA 3.0" />
  <row Id="28931" PostHistoryTypeId="1" PostId="17896" RevisionGUID="b26baca2-e9b1-4a25-afd8-a8ef74c24483" CreationDate="2013-01-31T17:01:18.090" UserId="4442" Text="Where do you start, affected foley or synth?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28932" PostHistoryTypeId="3" PostId="17896" RevisionGUID="b26baca2-e9b1-4a25-afd8-a8ef74c24483" CreationDate="2013-01-31T17:01:18.090" UserId="4442" Text="&lt;sound-design&gt;&lt;foley&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28933" PostHistoryTypeId="2" PostId="17897" RevisionGUID="f71d56d8-539c-4cdc-a8d4-ed608f015701" CreationDate="2013-01-31T17:33:17.323" UserId="3179" Text="Depends on the sound.&#xD;&#xA;&#xD;&#xA;Synths and sampling have separate results and boundaries, so that dictates what's appropriate." ContentLicense="CC BY-SA 3.0" />
  <row Id="28934" PostHistoryTypeId="2" PostId="17898" RevisionGUID="b078e253-67f4-449b-8024-8dfb7e4f0c0c" CreationDate="2013-01-31T17:48:23.743" UserId="3567" Text="Definitely synth. Sci fi **is** synthetic by nature, and I can't imagine a forcefield done all by foley.&#xD;&#xA;&#xD;&#xA;Except for those lasers designed banging on taut wires. But there's a lot of processing in there as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="28935" PostHistoryTypeId="2" PostId="17899" RevisionGUID="a25115e9-f44e-41cf-a180-d7c45237efd6" CreationDate="2013-01-31T18:59:55.217" UserDisplayName="user49" Text="I'd start with organic sounds - field recordings or foley.... Thats only a general approach because the specifics &amp; aesthetic of what I was trying to make would be the main influence, but as an example I remember reading about how the sound designer of the Tron remake film tried to make all the bike/light cycle sounds using synths but couldn't achieve what was required and eventually went out recording real motor bikes.... I would have approached it the other way around ie built a version of the FX sequences with real bike recordings &amp; then developed processed and/or synth versions &amp; elements. I'd do it that way around for a few reasons: &#xD;&#xA;&#xD;&#xA; First is to inherit all the beautiful complexity of real sounds - the physicality, spatial, the naturally complex spectrum AND the unexpected elements that inevitably occur.... &#xD;&#xA;&#xD;&#xA; Secondly I know how easy it is to process something too much, so when the sounds are in their final context (ie playing amongst dialogue &amp; potentially loud score) I would always want the option of altering the balance of the composite sounds back towards 'real' sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But its not either/or - synths are more convenient, you can easily boot up any of hundreds on a laptop whereas it is harder work in many ways to find/record interesting and appropriate sounds and manipulate them. It would be the combination &amp; interplay of both approaches that would be the direction I would head....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28936" PostHistoryTypeId="2" PostId="17900" RevisionGUID="2cdc466d-8c9c-4b67-b1ef-258428c6894a" CreationDate="2013-01-31T19:53:37.530" UserId="4358" Text="your car crashes down a cliff AND you have a recorder on AND you have practically broken all your bones, the first thing you say is, &quot;I hope that didn't clip!&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28937" PostHistoryTypeId="16" PostId="17900" RevisionGUID="2cdc466d-8c9c-4b67-b1ef-258428c6894a" CreationDate="2013-01-31T19:53:37.530" UserId="-1" />
  <row Id="28938" PostHistoryTypeId="2" PostId="17901" RevisionGUID="dd7a1b67-b045-4125-bc35-75f564eb766b" CreationDate="2013-01-31T20:59:46.923" UserId="234" Text="Glib answer.... because that's what they asked for! There are all sorts of questionable (from an audio quality standpoint) delivery specs (do a DUC search on Discovery specs and see the fireworks), but at the end of the day, arguing specs with the Broadcaster/Distributer will still result in them bouncing it back, and upset producers, who have to have things redone. The Golden Rule applies here... &quot;Those who have the Gold, make the rules&quot; :)&#xD;&#xA;&#xD;&#xA;More serious answer... many times DME's are not just used to re-assemble mixes, but to create promo's and such for the material. These are usually done in house and seldom see audio-post. By having limited stems they have a &quot;known&quot; starting point -they may just want to use a music sting for example, at the end of a VO promo. Plus if they are using an element they know that if they play it a unity it will NOT go over spec. You are correct that they could indeed go over their spec if they were adding say a VO, but to them it's &quot;one less thing to worry about&quot;. Most specs for DME's I receive require them to be limited as per the mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="28939" PostHistoryTypeId="2" PostId="17902" RevisionGUID="498b1d4b-14ad-43cd-826d-5e53772283c4" CreationDate="2013-01-31T21:11:05.833" UserId="234" Text="One of the truism's of Foley seems to be that things of the right size and shape seldom sound like the right size and shape! &#xD;&#xA;&#xD;&#xA;As Stavrossound said, try different sizes and thicknesses of paper and cards to get the right tonality for the scene. In addition to his suggestions, I'd also suggest index cards, or even try old floppy disks if you can find them (I have literally a bag FULL that has been used for all sorts of interesting sounds). " ContentLicense="CC BY-SA 3.0" />
  <row Id="28940" PostHistoryTypeId="2" PostId="17903" RevisionGUID="5b2d52cf-d555-4988-a569-daed388c1a04" CreationDate="2013-01-31T21:22:58.903" UserId="845" Text="Two big ol' pieces of corrugated cardboard.&lt;br&gt;&#xD;&#xA;Bristol Board (the kind you used to do science-fair projects on).&lt;br&gt;&#xD;&#xA;Two planks of wood.&#xD;&#xA;&#xD;&#xA;Depends on how epic you're feeling, really." ContentLicense="CC BY-SA 3.0" />
  <row Id="28949" PostHistoryTypeId="2" PostId="17910" RevisionGUID="3a0a4741-e447-4e68-b065-a0eac4561e8c" CreationDate="2013-02-01T00:43:10.283" UserId="37" Text="oh, not again.&#xD;&#xA;and.. 24!!&#xD;&#xA;just do it man&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28951" PostHistoryTypeId="2" PostId="17912" RevisionGUID="f02ea3c3-0d8c-44c3-8faf-07b9fd643399" CreationDate="2013-02-01T04:35:01.357" UserId="5663" Text="Hi,&#xD;&#xA;&#xD;&#xA;Im looking for way to delay an audio signal for more than 30 seconds. I know how to do this with the help of my computer but i cant seem to find another way, a way where i dont need my computer.&#xD;&#xA;&#xD;&#xA;/m" ContentLicense="CC BY-SA 3.0" />
  <row Id="28952" PostHistoryTypeId="1" PostId="17912" RevisionGUID="f02ea3c3-0d8c-44c3-8faf-07b9fd643399" CreationDate="2013-02-01T04:35:01.357" UserId="5663" Text="Delay a live audio signal 30 sec or more" ContentLicense="CC BY-SA 3.0" />
  <row Id="28953" PostHistoryTypeId="3" PostId="17912" RevisionGUID="f02ea3c3-0d8c-44c3-8faf-07b9fd643399" CreationDate="2013-02-01T04:35:01.357" UserId="5663" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28954" PostHistoryTypeId="5" PostId="17863" RevisionGUID="5f178261-050e-4012-9a58-3795254db6ec" CreationDate="2013-02-01T05:15:18.230" UserId="61" Comment="added 73 characters in body" Text="(fade up on scene already in motion)&#xD;&#xA;&#xD;&#xA;The old rickety elevator, which should have been taken out of service a decade ago ago, shimmies up to the 38th floor as it has for years. But, unbeknownst to the lone passenger, this trip will be different...&#xD;&#xA;&#xD;&#xA;(cue A MENACING GROAN FROM ABOVE as the cable strains against an unknown force, and suddenly...)&#xD;&#xA;&#xD;&#xA;CRACK!!! The cast iron pulley breaks free from the ceiling 30 floors up, causing the METAL FLYWHEEL to spin violently out of control and the FRAYED CABLES to flail about wildly, razor-sharp tentacles smacking against the sheet metal walls of the shaft. Debris rains downs round us as...&#xD;&#xA;&#xD;&#xA;The elevator car lurches and drops into a FREE FALL, gravity pulling us down as the AIR PRESSURE increases and starts its ascending wail, now building into a howling shriek...only moments remain before we disintegrate with crushing force into the concrete foundation below when suddenly...&#xD;&#xA;&#xD;&#xA;The GRIND of wood against metal, the CRUNCHING and SPLINTERING of thick redwood timbers against the cast iron supports of the shaft, the SHUDDERING car seems it might explode ---&#xD;&#xA;&#xD;&#xA;A gut-wrenching JOLT and a deep GROAN brings the entire event comes to an abrupt standstill only seconds from when it had begun...and mere inches from the bottom of the shaft.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(END)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28955" PostHistoryTypeId="2" PostId="17913" RevisionGUID="f707ef16-609c-4a4e-81f7-5a5b52c4a7ec" CreationDate="2013-02-01T05:16:04.030" UserId="362" Text="look into broadcast delay units from the radio world like this one&#xD;&#xA;http://www.sonifex.co.uk/redbox/rbpd2_ld.shtml" ContentLicense="CC BY-SA 3.0" />
  <row Id="28956" PostHistoryTypeId="2" PostId="17914" RevisionGUID="8547bb1a-d7ed-46b3-a3ca-7c614798d409" CreationDate="2013-02-01T06:08:48.500" UserId="842" Text="First of all, foley is not just organic sound effects, you can actually make foley playing synthesizers and samplers as well, foley is the art of recording something in sync with the picture. Myself I almost exclusively use that for movement and footsteps, practically everything else is edited and designed from hard effects (my personal library).&#xD;&#xA;&#xD;&#xA;With that said, good question! Myself I try as far as possible to use sound sources from organic and otherwise &quot;worldly&quot; stuff. &quot;Worldly&quot; here meaning of non-synthetic origin. For example, I have an old disc-echo in nowhere near mint condition. I will eventually fix it, I love these great old gadgets, but when I got it it had several broken parts and a really horrible magnetic coating, which gave an eerie pulsating sound with marvelous little discharges, sparks, and lots of audio artifacts! Though I could, and did, manipulate how the unit was operating, it still was nowhere near synthetic - it was a very living form of controlled chaos based in unintended feedback, unpredictable and unreliable distortion, corrosion, and heavy fluctuations (the motor was the first thing I replaced). Even had I wanted to I could never ever make the exact same sound ever again. I've used many of the sounds I made from that in many projects over the years without ever repeating myself.&#xD;&#xA;&#xD;&#xA;This sound is, though all electronic (one must differ between electronic and synthetic, a Fender axe or Rhodes-piano is nothing without electricity, but seriously not synthetic), exactly like nature: It lives, breathes, and tho it might sound the same for 10 minutes in a row, it really doesn't. If I was to try and make the same kind of sound on a synth it would take a lot of work (I shit you not, though most of it is pure drone this sound is really insanely complicated when analyzed!), and it would most likely have close to no imperfections in the sound, meaning it might be hard to pull off as realistic.&#xD;&#xA;&#xD;&#xA;That is however not always a problem! In my arsenal I have lots of synthesizers, drum-machines, vocoders and other electronic instruments ranging from early 70's (my Yamaha SY-1) to about 10 years ago (a Roland MC-505. Surprisingly useful). Everything from purely additive (making sounds by arranging sine-waves) to analogue subtractive synthesis. All of these synthesizers can be programmed to make personal sounds impossible to find in nature, but too awesome not to use in the mix. Take for example my Evolution EVS-1. This is an old 1U rack, at least 20 years old I'd say, based in several kinds of modulation-syntheses as well as additive. This little beast have absolutely no warmth nor power whatsoever, but I've made lots of absolutely stunning digital sounds with it! The KORG MS-20 is another synth I've made tremendous electronic- and robot-sounds with! As it's modular the possibilities are enormous. Not as fat as the PolySix or JUNO, but superior in versatility.&#xD;&#xA;One of my absolutely best synths was really not a synth at all before I and Mister Soldering Iron invited it to a little surgery: my Commodore 64 Breadbox with ditto keyboard overlay. Forget everything about &quot;8 Bit-Sound&quot; here, the SID-chip is a mostly analogue synth-chip with additional wavetable noise. The sounds from this gets a little different from the other synthesizers, it has a wicked bite to it, but the fact that I can rout an external signal through it and automate the filters make it totally invaluable for work.&#xD;&#xA;&#xD;&#xA;When it comes to more traditional synthesizers, I'd say they can add both bite and substance even to more realistic (not naturalistic) soundscapes as long as one uses them carefully and not drags too much attention to them and mix them with &quot;worldly&quot; sounds. A good example was one of the first movies I made. A werewolf jumps up to an ascending helicopter and beats the crap out of it. The first parts was easy, I made the whole sequence from sounds I recorded myself and based the helicopter on real helicopters I recorded outside my house combined with a dismembered former washing-machine. The descending was a lot trickier though. I wanted something really filmic, the sound of a really fritzy chopper-motor going completely haywire. I ended up with the combination of a screaming falling sound I made on my Kawai K1 II (wavetable additive) with sweetening from the washing-machine and a very big RC helicopter. For the final impact and plowing through the ground with the chopper I used rumbles I made with my JUNO-60 (Old Betsy. My very first synth!!) and percussive sweetening from an Ensoniq SQ-80, although all the essential sounds was recorded in and around my home.&#xD;&#xA;&#xD;&#xA;However, it is very rare that I use synthesizers as prominently as I did in the helicopter-crash in the werewolf-short, especially since I actually began working with this. At least for sounds intended to sound natural and diegetic (ie: in the same worlds as the movie unlike music and stingers that's outside the movie-world). The rumble for example I do with a large sheet of metal nowadays, and what I don't have in sound effect elements I can easily record. The last few years I've made mostly horror, thrillers, action, and drama, so synth-sound just plain doesn't work at all. Possibly for occasional drones and stingers, but my organic sounds still worked better so far.&#xD;&#xA;&#xD;&#xA;What does gain on synthesizers IMHO is SciFi! Not meaning robots and computers, that goes without saying, but for example forcefields (as you mentioned), hums, details, and special sound effects! With special sound effects I mean things like Star Trek beamings, Optimus Prime transforming, or even simple ones like the bass-fall from good ol' Obi-Wan being naughty with the tractor beam. As Tim said, nature is far more rich and complex than a synth can ever be, but if it's the right tool for the job, it's the right tool to use.&#xD;&#xA;&#xD;&#xA;We all have different ways of dealing with things as well as different approaches and preferences - myself I quite frankly work very little with processing whatsoever. I try first and foremost to reach my goal with different kinds of microphone techniques, processed with only ordinary filtering, dynamic control, and reverb (often in that order), possibly combined with some nifty distortion, and as such synth-sounds rarely mix very well. But when using synths I still prefer to make my own patches, I seriously dislike using factory presets, and I only use hardware. Period." ContentLicense="CC BY-SA 3.0" />
  <row Id="28957" PostHistoryTypeId="2" PostId="17915" RevisionGUID="08c266a2-815a-4bfc-826e-b98796dbdcce" CreationDate="2013-02-01T06:26:31.920" UserId="842" Text="I don't know what it is you don't like with what you got, but don't forget all decks sound and act differently, and that different microphone-techniques gives different results! Myself I found a good sound in especially two decks, one Star Wars and one Pondus (a Norwegian comicbook character), recorded with a special tilt on the mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="28958" PostHistoryTypeId="2" PostId="17916" RevisionGUID="e65dd205-106c-4712-b5d4-afa9afb3e570" CreationDate="2013-02-01T06:31:35.520" UserDisplayName="user80" Text="The cards need to be new, fresh out of the pack.  Go to a gaming store and ask for the stiffest, thickest pack that they sell.  Then record with an omni mic almost touching the cards, so that you hear the subtle sounds that the fingers make as well as the cards.  The omni is so that all of the sound is on axis, the mic is also not prone to the proximity effect, so will still have a balanced frequency response when working really close." ContentLicense="CC BY-SA 3.0" />
  <row Id="28959" PostHistoryTypeId="2" PostId="17917" RevisionGUID="337b01a0-769b-4c87-af9b-ad85da8b15e3" CreationDate="2013-02-01T07:06:37.350" UserId="1178" Text="try using contact mics on the cards and tru to find thick, new out of the box cards with very rough surface." ContentLicense="CC BY-SA 3.0" />
  <row Id="28960" PostHistoryTypeId="2" PostId="17918" RevisionGUID="2692311b-4a3f-4ae3-86b1-6a1b02c0c316" CreationDate="2013-02-01T07:15:46.323" UserId="5701" Text="Are there any good tutorials videos that can help me build ambience and a whole environment .&#xD;&#xA;&#xD;&#xA;Thanx" ContentLicense="CC BY-SA 3.0" />
  <row Id="28961" PostHistoryTypeId="1" PostId="17918" RevisionGUID="2692311b-4a3f-4ae3-86b1-6a1b02c0c316" CreationDate="2013-02-01T07:15:46.323" UserId="5701" Text="Building ambience " ContentLicense="CC BY-SA 3.0" />
  <row Id="28962" PostHistoryTypeId="3" PostId="17918" RevisionGUID="2692311b-4a3f-4ae3-86b1-6a1b02c0c316" CreationDate="2013-02-01T07:15:46.323" UserId="5701" Text="&lt;ambience&gt;&lt;tutorial&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28963" PostHistoryTypeId="2" PostId="17919" RevisionGUID="94adca46-29b3-4994-826e-f48cc3e2e3c8" CreationDate="2013-02-01T10:56:19.807" UserId="4119" Text="I'm going to be working a gig for a month as a sound recorder with an employer I've worked with before. We have agreed on a fee for the days planned and what my responsibilities will be. This has all been agreed in emails.&#xD;&#xA;&#xD;&#xA;I would like to get him to sign a contract, but in some ways feel that it might sour the relationship and create and air of distrust. I my mind this director would see it as not being able to take his word for it would as an insult, disrespect...what have you. &#xD;&#xA;&#xD;&#xA;What do you folks out there think? Have any of you been burned? &#xD;&#xA;&#xD;&#xA;I would like to know how well an email can stand up as a 'type' of proof of the working terms that were agreed by both parties.&#xD;&#xA;&#xD;&#xA;Hope there's some kind folks out there that can help.&#xD;&#xA;&#xD;&#xA;Young Geo." ContentLicense="CC BY-SA 3.0" />
  <row Id="28964" PostHistoryTypeId="1" PostId="17919" RevisionGUID="94adca46-29b3-4994-826e-f48cc3e2e3c8" CreationDate="2013-02-01T10:56:19.807" UserId="4119" Text="Awkward Sound Recording Contracts" ContentLicense="CC BY-SA 3.0" />
  <row Id="28965" PostHistoryTypeId="3" PostId="17919" RevisionGUID="94adca46-29b3-4994-826e-f48cc3e2e3c8" CreationDate="2013-02-01T10:56:19.807" UserId="4119" Text="&lt;contracts&gt;&lt;legal&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28966" PostHistoryTypeId="5" PostId="17919" RevisionGUID="ae496043-c646-4936-b458-ebfd999303e2" CreationDate="2013-02-01T11:53:21.010" UserId="4119" Comment="added 48 characters in body; edited tags" Text="I'm going to be working a gig for a month as a sound recorder with an employer I've worked with before. We have agreed on a fee for the days planned and what my responsibilities will be. This has all been agreed in emails.&#xD;&#xA;&#xD;&#xA;I would like to get him to sign a contract, but in some ways feel that it might sour the relationship and create and air of distrust. In my mind this director would see it as not being able to take his word for it whilst also seeming like an insult, disrespect...or what have you. &#xD;&#xA;&#xD;&#xA;What do you folks out there think? Have any of you been burned? &#xD;&#xA;&#xD;&#xA;The definitive question is: I would like to know how well an email can stand up as a 'type' of proof of the working terms that were agreed by both parties.&#xD;&#xA;&#xD;&#xA;Hope there's some kind folks out there that can help.&#xD;&#xA;&#xD;&#xA;Young Geo." ContentLicense="CC BY-SA 3.0" />
  <row Id="28967" PostHistoryTypeId="6" PostId="17919" RevisionGUID="ae496043-c646-4936-b458-ebfd999303e2" CreationDate="2013-02-01T11:53:21.010" UserId="4119" Comment="added 48 characters in body; edited tags" Text="&lt;contracts&gt;&lt;legal&gt;&lt;recording&gt;&lt;business&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28968" PostHistoryTypeId="2" PostId="17920" RevisionGUID="bdcb1e79-457a-4cc4-a88b-bd877f1ac2ec" CreationDate="2013-02-01T12:01:29.447" UserId="3567" Text="Hey Young George, emails aren't contracts. And getting someone to sign a contract is usual business practice, so go ahead and do it without feeling uneasy about it. &#xD;&#xA;&#xD;&#xA;You can tell him it's how you always work, if you fear it will create distrust, but it never happened to me in the past. And if he doesn't want to sign it that's a huge red flag." ContentLicense="CC BY-SA 3.0" />
  <row Id="28969" PostHistoryTypeId="2" PostId="17921" RevisionGUID="e2531d47-495c-4945-bc83-e442496c8970" CreationDate="2013-02-01T12:12:43.577" UserId="3179" Text="Don't take risks, if there's anything that makes you feel like you have to get a written agreement for it. If the opposite side doesn't understand your intention, then they aren't acting professionally, nor maturely.&#xD;&#xA;&#xD;&#xA;If there's no written agreement, then there's nothing you can fall back on, if something changes or goes differently from what was agreed.&#xD;&#xA;&#xD;&#xA;I think emails can be valid proof for what was agreed, but to be legally sure, you'd have to consult the law." ContentLicense="CC BY-SA 3.0" />
  <row Id="28970" PostHistoryTypeId="2" PostId="17922" RevisionGUID="b15c03c0-3914-4733-86be-f5c6a5f5f448" CreationDate="2013-02-01T12:20:39.740" UserId="801" Text="I interchanged files from logic to protools, perfectly sync... back to Logic, not sync, the file seems to be sped up, anyone had this before?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28971" PostHistoryTypeId="1" PostId="17922" RevisionGUID="b15c03c0-3914-4733-86be-f5c6a5f5f448" CreationDate="2013-02-01T12:20:39.740" UserId="801" Text="Logic not sync?" ContentLicense="CC BY-SA 3.0" />
  <row Id="28972" PostHistoryTypeId="3" PostId="17922" RevisionGUID="b15c03c0-3914-4733-86be-f5c6a5f5f448" CreationDate="2013-02-01T12:20:39.740" UserId="801" Text="&lt;sync&gt;&lt;logic&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28973" PostHistoryTypeId="2" PostId="17923" RevisionGUID="b3fde63b-da8f-4d0f-9eee-6b7da4113703" CreationDate="2013-02-01T14:35:01.647" UserId="5702" Text="This could be down to sample rate. Is your playback and audio file sample rate matched? " ContentLicense="CC BY-SA 3.0" />
  <row Id="28974" PostHistoryTypeId="2" PostId="17924" RevisionGUID="e6606564-5a9a-450a-b6c7-baa4318334b9" CreationDate="2013-02-01T15:33:10.787" UserId="4089" Text="http://bitflipgames.com/2010/08/31/sound-development-for-ace-attack/&#xD;&#xA;&#xD;&#xA;Here is a link to a video by David Steinwedel recording some sounds for a card game.  If I recall the plastic playing cards created a pretty good sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="28975" PostHistoryTypeId="2" PostId="17925" RevisionGUID="e0099181-c168-419e-861f-a23c3b22678b" CreationDate="2013-02-01T15:35:05.633" UserId="4089" Text="Totally do a contract.  It not only protects you, but it protects them.  There should be no reason in a business situation that they would want to turn down a contract." ContentLicense="CC BY-SA 3.0" />
  <row Id="28978" PostHistoryTypeId="2" PostId="17928" RevisionGUID="8b00c212-58c3-40e2-bf04-1552ade51fcd" CreationDate="2013-02-01T18:28:20.587" UserId="5703" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;Now I might be being completely idiotic, but I am a sound-design student at Hertfordshire University, and I've been searching everywhere for some ideas on how to get computer type bleeps, robot noises, machine sounds.&#xD;&#xA;&#xD;&#xA;Now I understand the idea of recording some motors, remote controlled cars e.t.c and infact have loads of ideas for recording motorised sounds. But the sounds I'm kind of struggling with is that typical sci-fi computer room sound, and blips and beeps.&#xD;&#xA;&#xD;&#xA;I guessed the best way to produce these sounds would be through synthesis, but what kind of oscillators, synthesis techniques and tricks are best for these sounds? I've got some sounds through basic sine waves and just generally playing around but I'm coming to a bit of a dead end a lot of time, and would love to hear if you guys have any tips on the synth side, or even on the post production side on how to get nice clean, robotic futuristic type noises? &#xD;&#xA;&#xD;&#xA;I've scoured the web and watched many a video, read many a blog, but I just thought i'd do worse than to post the question myself.&#xD;&#xA;&#xD;&#xA;Oh and last thing, I can't just use a sample library as that kind of defeats the object of designing the sound. Any help vastly appreciated, and hope this question makes sense!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28979" PostHistoryTypeId="1" PostId="17928" RevisionGUID="8b00c212-58c3-40e2-bf04-1552ade51fcd" CreationDate="2013-02-01T18:28:20.587" UserId="5703" Text="Computer Bleeps/Robot Sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="28980" PostHistoryTypeId="3" PostId="17928" RevisionGUID="8b00c212-58c3-40e2-bf04-1552ade51fcd" CreationDate="2013-02-01T18:28:20.587" UserId="5703" Text="&lt;computer&gt;&lt;beeps&gt;&lt;synthesis&gt;&lt;robots&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28981" PostHistoryTypeId="2" PostId="17929" RevisionGUID="a59825a2-17c0-4d3b-aba9-b9da25b40c0d" CreationDate="2013-02-01T19:15:09.990" UserId="3688" Text="There's not many threads where this is discussed extensively - and some of them are rather old...&#xD;&#xA;&#xD;&#xA;...but I'm looking for a pair of headphones I can use for sound design (game audio, specifically) during off hours when my family is asleep. During the day, I've got a nice pair of 5&quot; KRK's and can use them to monitor mixes and play back SFX, etc. &#xD;&#xA;&#xD;&#xA;I'm not trying to get perfectly accurate mixes here or do EVERYTHING in headphones (bad idea, I know). However, I do need headphones that are decent enough that when I work in them, I can get relatively accurate results and minimize the amount of next-day adjusting when I play it all back in a proper environment.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28982" PostHistoryTypeId="1" PostId="17929" RevisionGUID="a59825a2-17c0-4d3b-aba9-b9da25b40c0d" CreationDate="2013-02-01T19:15:09.990" UserId="3688" Text="headphones for sound design" ContentLicense="CC BY-SA 3.0" />
  <row Id="28983" PostHistoryTypeId="3" PostId="17929" RevisionGUID="a59825a2-17c0-4d3b-aba9-b9da25b40c0d" CreationDate="2013-02-01T19:15:09.990" UserId="3688" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="28984" PostHistoryTypeId="2" PostId="17930" RevisionGUID="1b4c27eb-2b29-4674-b182-a903b520b274" CreationDate="2013-02-01T20:04:18.283" UserId="5623" Text="@Ross-&#xD;&#xA;There's a lot of ways to approach this, but for me it depends on the 'era' of computer you're going for and what's unique, cool or important about this particular computer?  Then research the technology that may have been available in the era.  &#xD;&#xA;&#xD;&#xA;Now you've got it narrowed down a bit....and you can start looking at ways to build the sound into the narrative.  Id a fair bit of Bioshock 2 Sound Design and in the DLC called Minerva's Den, there was a whole level of a newfangled computing servers...as if the scientist and engineers in Rapture invented it.  Well I didn't want to use any known computer sounds, because computers didn't exist yet.&#xD;&#xA;&#xD;&#xA;What you hear is 98% pre-transistor pinball machine recordings.  If you think about it pinball machines from that era are basically interactive mechanical calculators.  Electronically controlled solenoids and switches are doing all the computing based on what the the pinball is hitting.  They make a huge and awesome and vintage racket.  As an Easter egg in the game you get to play a prototype video game...which I used very very basic oscillator based sounds for.  Again I'm thinking this machine only had the most basic type of circuitry available to synthesize sound.&#xD;&#xA;&#xD;&#xA;There is a clip on our Demo reel at [www.wabisabisound.com][1]. Its at 1:36.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://wabisabisound.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="28985" PostHistoryTypeId="2" PostId="17931" RevisionGUID="2f703a90-5ac0-4cc5-99fa-9212d4a9e4fe" CreationDate="2013-02-01T21:30:08.447" UserId="61" Text="You mentioned that you've been using sine waves so this may cover some already-tread ground, but the basic process can apply to lots of different source material. What you'll need is a base sound of some kind (ie. a tone generator, a synth tone, etc) running through a few basic plugins (ie. an amplitude modulator, a flanger, a chorus, etc) and outputting to a record track. The key to making this work is assigning the control parameters of the plugins to hardware faders or knobs so you can &quot;perform&quot; the moves.&#xD;&#xA;&#xD;&#xA;With the base tone on, start moving the knobs around. You'll hear the signal being affected. Sometimes it's a frequency modulation, sometimes an amplitude modulation. Maybe not too interesting at first, but with wild swings and quick moves on one parameter and slow sweeps on another, you will start to hear new material emerge. Do this for 20 minutes or so and you will hopefully end up with a few usable sounds. When you get bored with what you're hearing, switch out the base sound and/or a plugin or two, rinse and repeat.&#xD;&#xA;&#xD;&#xA;PS&gt; Make sure you are recording your automation moves so that, when you do switch out tones, all the parameter changes will still be there creating new sounds right away." ContentLicense="CC BY-SA 3.0" />
  <row Id="28986" PostHistoryTypeId="2" PostId="17932" RevisionGUID="26089f38-1d74-465a-8d9a-c33b635d00dc" CreationDate="2013-02-01T22:05:11.237" UserId="3835" Text="One little technique you can try which is very quick and can yield surprisingly good results is converting random files into audio data. You can achieve this by downloading 'Soundhack'. It's an old, free bit of software that allows you to attach a wav. header to any file; be that a text file, movie, image etc. It mainly produces white noise but can frequently give you amazing sounds that include bleeps, buzzes, glitches etc.&#xD;&#xA;&#xD;&#xA;Once you have the raw (and it is RAW!) audio, you can then process it with filtering and reverberation to make it a little more palatable to the ear. I do this all the time and I'm always surprised at the results!&#xD;&#xA;&#xD;&#xA;Good Luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="28987" PostHistoryTypeId="2" PostId="17933" RevisionGUID="a4fc0cf9-308d-4619-8c01-2a7f6efb4b48" CreationDate="2013-02-01T22:09:26.087" UserId="4390" Text="I've read enough headphone discussions (here and elsewhere) to know that one man's &quot;industry standard&quot; is another man's harsh/muddy/crap sounding cans. I guess sound quality really is that subjective.&#xD;&#xA;&#xD;&#xA;But what you DO get with good headphones that you don't get with smaller monitors, is a full frequency response. Small speakers in small rooms are just not going to give you accurate reproduction in the low registers (doesn't a 20hz sound-wave have a 17 meter wavelength or something like that?) - headphones reaching as low as 30hz or better will get you there.&#xD;&#xA;Might be helpful when assessing the bass content of sounds like explosions and such.&#xD;&#xA;&#xD;&#xA;Easily as important IMHO, is to get cans that fit your noggin just so, don't make your ears too hot, have sensibly priced spares, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="28988" PostHistoryTypeId="2" PostId="17934" RevisionGUID="3d217ce9-ee95-41ec-9503-0da8eb5667aa" CreationDate="2013-02-01T22:10:51.510" UserId="18" Text="I give contracts to my closest friends when I hire them for work.  It is the only way to guarantee that everyone is on the same page and everything is spelled out in case there is a disagreement/misunderstanding down the road." ContentLicense="CC BY-SA 3.0" />
  <row Id="28989" PostHistoryTypeId="2" PostId="17935" RevisionGUID="1bcd8854-bdcf-4ad2-91b3-8366f27e92ee" CreationDate="2013-02-01T23:00:44.187" UserId="4358" Text="One of things I am learning now is the [Doepfer A100][1] analog modular synthesizer. Mostly used for making electronic music, I believe it has a lotta scope for creating various sci-fi sounds. Ofcourse, it is not possible for everyone to own one, or find one very easily to work on, but you can literally create the synthesizer using the [Nord Modular G2][2]. Its a free program and you can build your won Doepfer A100 on your computer. I think its worth giving a try. &#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=ykyUr2nu-lI&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=KoBf-99KP8o&amp;list=PL25upY6m8hC-zsu7o7K8tUJifNbPWNT79" ContentLicense="CC BY-SA 3.0" />
  <row Id="28990" PostHistoryTypeId="2" PostId="17936" RevisionGUID="9a49e1df-19f0-4df3-8c54-96474d7fdb6b" CreationDate="2013-02-02T03:08:22.483" UserId="842" Text="When it comes to location sound and fieldwork, my weapon of choice is BeyerDynamics DT-250. Fairly isolated and I always knows exactly what I'll get. But they're not very linear.&#xD;&#xA;&#xD;&#xA;When it comes to mixing, designing, and virtually any post production where I for some reason must use headphones, so far the only acceptable ones I've found to date is the Sennheiser HD-650. Very open, and very very linear. Of course there might very well be other among the much more expensive ones that are even better though I haven't found any yet (and I do search for perfection), but I must say these babies impresses me a lot, and sounds nothing like the HD-25!" ContentLicense="CC BY-SA 3.0" />
  <row Id="28991" PostHistoryTypeId="2" PostId="17937" RevisionGUID="e93e47d3-1e8d-4dab-86b4-d541bbf6ebf8" CreationDate="2013-02-02T03:27:05.777" UserId="5704" Text="I'm a big fan of the Audio Technica M50s for both location and post work. I was mixing a short film late a few nights ago with mine as to not disturb my housemates.&#xD;&#xA;&#xD;&#xA;They have a very flat and uncoloured response." ContentLicense="CC BY-SA 3.0" />
  <row Id="28992" PostHistoryTypeId="2" PostId="17938" RevisionGUID="f4fca1d0-f7e4-43ca-83bf-8f23c8c59cca" CreationDate="2013-02-02T04:07:28.043" UserId="3179" Text="It's a matter of taste. Even the models mentioned here would not be fit for everyone interchangeably, because they just sound and feel different.&#xD;&#xA;&#xD;&#xA;If you wish to make a reasonable choice, then maybe you should try out the different models and see what you like. Seriously, there are too many choices. When you budget enough, then all cans are basically &quot;good&quot;, just different. Physically, open back headphones enable the most natural frequency and dynamics response." ContentLicense="CC BY-SA 3.0" />
  <row Id="28993" PostHistoryTypeId="2" PostId="17939" RevisionGUID="98dff8fe-1f58-44a7-b8da-b558477120c0" CreationDate="2013-02-02T05:51:10.647" UserId="3567" Text="Matt mostly answered your question, but if you have time to spare this book is worth reading:&#xD;&#xA;http://www.amazon.com/Dialogue-Editing-Motion-Pictures-Invisible/dp/0240809181" ContentLicense="CC BY-SA 3.0" />
  <row Id="28994" PostHistoryTypeId="2" PostId="17940" RevisionGUID="92e98316-d0e2-48be-9063-9aa0640685aa" CreationDate="2013-02-02T06:48:17.367" UserId="3179" Text="I don't like suggesting proprietary products, but..&#xD;&#xA;&#xD;&#xA;TBH, I think NI Reaktor and it's dozens and dozens of pre-built ensembles make all kinds of synthetic noises (especially short bleeps and UI-like sounds) fairly trivial, because many of them can be used without much thought/understanding of what's really happening. They're built for playing and many of them feature randomization to create endless variations very easily. Otherwise I'd echo Jay's answer featuring hand-automated effects, that is the sort of &quot;keep it simple&quot; approach.&#xD;&#xA;&#xD;&#xA;Otherwise, I'd just suggest to grasp/learn synthesizer (be it oscillator or sample based) parameters in a way that you could approach creating the sounds using any synthesizer that you see fit." ContentLicense="CC BY-SA 3.0" />
  <row Id="28995" PostHistoryTypeId="5" PostId="17940" RevisionGUID="a67e8201-29a7-42c4-97ef-cf9dfafe6c1e" CreationDate="2013-02-02T06:54:17.643" UserId="3179" Comment="deleted 113 characters in body" Text="I don't like suggesting proprietary products, but..&#xD;&#xA;&#xD;&#xA;TBH, I think NI Reaktor and it's dozens and dozens of pre-built ensembles make all kinds of synthetic noises (especially short bleeps and UI-like sounds) fairly trivial, because many of them can be used without much thought/understanding of what's really happening. They're built for playing and many of them feature randomization to create endless variations very easily.&#xD;&#xA;&#xD;&#xA;Otherwise, I'd just suggest to grasp/learn synthesizer (be it oscillator or sample based) parameters in a way that you could approach creating the sounds using any synthesizer that you see fit." ContentLicense="CC BY-SA 3.0" />
  <row Id="28996" PostHistoryTypeId="2" PostId="17941" RevisionGUID="5882d26b-9835-4be5-b6a3-edbeffc02a11" CreationDate="2013-02-02T08:46:22.127" UserId="4358" Text="Hello everyone. &#xD;&#xA;I am sure everyone of you must have thought of it when you first started off in this field. We do what we do, first, because we love it and ,second, because we hope we make some money out of it. &#xD;&#xA;I am at present building up my own sound library. I'm recording as many sounds as I could of as many different objects and ambiances and trying to put all of them together. &#xD;&#xA;Since we have a lot of experienced sound recordists here, I wanted to know how did you go about and what all things you did and kept in mind while monitizing your sounds. &#xD;&#xA;Any specific tips, do's and don't you would like to share.&#xD;&#xA;Thank You." ContentLicense="CC BY-SA 3.0" />
  <row Id="28997" PostHistoryTypeId="1" PostId="17941" RevisionGUID="5882d26b-9835-4be5-b6a3-edbeffc02a11" CreationDate="2013-02-02T08:46:22.127" UserId="4358" Text="Building a Sound Library (For fun &amp; For a living)" ContentLicense="CC BY-SA 3.0" />
  <row Id="28998" PostHistoryTypeId="3" PostId="17941" RevisionGUID="5882d26b-9835-4be5-b6a3-edbeffc02a11" CreationDate="2013-02-02T08:46:22.127" UserId="4358" Text="&lt;sound-libraries&gt;&lt;field-recording&gt;&lt;career&gt;&lt;sfx&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29000" PostHistoryTypeId="2" PostId="17943" RevisionGUID="db8741ad-d37b-4fe4-bfaf-f6868c3d8e35" CreationDate="2013-02-02T10:17:39.160" UserId="3179" Text="Some links:&#xD;&#xA;&#xD;&#xA; - http://www.jetstreaming.org/2011/09/30/selling-sound-effects-how-to/&#xD;&#xA; - http://socialsounddesign.com/questions/38/how-to-make-money-with-sound-design&#xD;&#xA;&#xD;&#xA;This is your competition:&#xD;&#xA;&#xD;&#xA; - http://www.sounddogs.com/&#xD;&#xA; - http://www.soundrangers.com/&#xD;&#xA; - http://www.airbornesound.com/&#xD;&#xA; - http://designingsound.org/sfx-independence/&#xD;&#xA; - http://www.sound-ideas.com/&#xD;&#xA; - http://www.pond5.com/sound-effects/1/*.html&#xD;&#xA; - http://www.prosoundeffects.com/&#xD;&#xA; - http://www.blastwavefx.com/&#xD;&#xA; - ...&#xD;&#xA;&#xD;&#xA;I personally would try to join/set up a collective, or team up with some friends, rather than trying to stitch together a library and/or a delivery channel independently. For example, SoundDogs (more of a distributor nowadays) and Soundrangers are made up of groups of people, and they have volume, in addition to pro quality.&#xD;&#xA;&#xD;&#xA;Volume (the amount of sounds) is one selling point, but the other is quality, usability and uniqueness (for which you need a solid ideas that people want/need, some sort of &quot;marketing strategy&quot; and a well thought delivery channel). I wouldn't waste time doing something that's done clearly better or more cheaply already. You'll definitely need to find specializations to focus on, i.e. filling what is either missing or what you think you can deliver better or more cheaply." ContentLicense="CC BY-SA 3.0" />
  <row Id="29001" PostHistoryTypeId="2" PostId="17944" RevisionGUID="e2ced179-9abd-4b5e-9c1e-ade0d97220a0" CreationDate="2013-02-02T10:18:32.317" UserId="5705" Text="I use my Beyerdynamic DT250 (80ohm) for sound design. Importantly, they're extremely light and comfortable, so I can wear them for hours at a time. Heavy headphones will gradually fatigue and annoy you, so its important to take weight/comfort into consideration." ContentLicense="CC BY-SA 3.0" />
  <row Id="29003" PostHistoryTypeId="16" PostId="17943" RevisionGUID="63803059-fdae-4768-a4fe-117e49d04e65" CreationDate="2013-02-02T10:22:55.903" UserId="3179" />
  <row Id="29004" PostHistoryTypeId="5" PostId="17943" RevisionGUID="e500a394-c6cc-4c76-a7ac-ba2a1755e9e9" CreationDate="2013-02-02T10:26:22.143" UserId="3179" Comment="added 64 characters in body; added 107 characters in body" Text="Some links:&#xD;&#xA;&#xD;&#xA; - http://www.jetstreaming.org/2011/09/30/selling-sound-effects-how-to/&#xD;&#xA; - http://socialsounddesign.com/questions/38/how-to-make-money-with-sound-design&#xD;&#xA;&#xD;&#xA;This is your competition:&#xD;&#xA;&#xD;&#xA; - http://www.sounddogs.com/&#xD;&#xA; - http://www.soundrangers.com/&#xD;&#xA; - http://www.airbornesound.com/&#xD;&#xA; - http://designingsound.org/sfx-independence/&#xD;&#xA; - http://www.sound-ideas.com/&#xD;&#xA; - http://www.pond5.com/sound-effects/1/*.html&#xD;&#xA; - http://www.prosoundeffects.com/&#xD;&#xA; - http://www.blastwavefx.com/&#xD;&#xA; - http://www.hollywoodedge.com/&#xD;&#xA; - http://www.soundsnap.com/&#xD;&#xA; - ...&#xD;&#xA;&#xD;&#xA;I personally would try to join/set up a collective, or team up with some friends, rather than trying to stitch together a library and/or a delivery channel independently. For example, SoundDogs (more of a distributor nowadays) and Soundrangers are made up of groups of people, and they have volume, in addition to pro quality.&#xD;&#xA;&#xD;&#xA;Volume (the amount of sounds) is one selling point, but the other is quality, usability and uniqueness (for which you need a solid ideas that people want/need, some sort of &quot;marketing strategy&quot; and a well thought delivery channel). I wouldn't waste time doing something that's done clearly better or more cheaply already. You'll definitely need to find specializations to focus on, i.e. filling what is either missing or what you think you can deliver better or more cheaply.&#xD;&#xA;&#xD;&#xA;Or you can always go the &quot;FOSS&quot; route and make the world a better place :) :&#xD;&#xA;http://www.freesound.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29008" PostHistoryTypeId="2" PostId="17946" RevisionGUID="b7f34d24-faeb-44ca-8a12-4c546549bb81" CreationDate="2013-02-02T16:39:33.273" UserId="5707" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm trying to record big impact sounds for a fight sequence - punches, body falls, slaps etc. but what I get when I listen to my recordings is nothing like what I heard when recording - either it's overloaded the mic completely and distorted or it sounds weak and too small.&#xD;&#xA;&#xD;&#xA;I've got a good room, a good mic (Schoeps ccm 41) and good recorder (Sound Devices) so where am I going wrong?&#xD;&#xA;&#xD;&#xA;Subsequent treatment of the files doesn't do much either (at least with ProTools EQ/Comp)&#xD;&#xA;&#xD;&#xA;Suspect that my mic technique is wrong - anyone any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29009" PostHistoryTypeId="1" PostId="17946" RevisionGUID="b7f34d24-faeb-44ca-8a12-4c546549bb81" CreationDate="2013-02-02T16:39:33.273" UserId="5707" Text="Recording BIG Sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="29010" PostHistoryTypeId="3" PostId="17946" RevisionGUID="b7f34d24-faeb-44ca-8a12-4c546549bb81" CreationDate="2013-02-02T16:39:33.273" UserId="5707" Text="&lt;big&gt;&lt;hits&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29011" PostHistoryTypeId="2" PostId="17947" RevisionGUID="6445c5e0-1d2a-4b32-85d3-fe94b16f9ef4" CreationDate="2013-02-02T17:18:56.387" UserId="6460" Text="A lot of it boils down to the materials you are recording, in addition to the mic technique you are using. If you could describe a specific example, we can give you more specific advice.&#xD;&#xA;&#xD;&#xA;In general, creating &quot;large&quot; impact sounds involves a balanced combination of techniques including:&lt;br&gt;&#xD;&#xA;&#xD;&#xA; - layering contrasting sound elements&#xD;&#xA; - layering different microphone perspectives of the same sound&#xD;&#xA; - filling out the frequency spectrum (mid and high frequencies are just as important as low energy)&#xD;&#xA; - judicious use of compression, limiting and EQ&#xD;&#xA;&#xD;&#xA;It sounds like you have a good setup. If you have another mic sitting around, I would recommend double-miking your recordings. Try to put the second mic in a second position that &quot;hears&quot; a totally different performance than the schoeps. Record a couple takes with the mics in a close position, then record the same sounds with the mics a bit further back, but still contrasting each other. &#xD;&#xA;&#xD;&#xA;In your DAW, experiment with using the sharp punch of the close-miked sounds in combination with the distant recordings. It's actually very similar to recording a drum kit in a way. The close-mics on each drum are not enough to faithfully reproduce the true sound of the kit—you need some room mics to add in the interaction of the drums with the room and give each drum it's natural, tonal decay. I often find myself lightly (or heavily) compressing room mics to exaggerate the presence of the room.&#xD;&#xA;&#xD;&#xA;Hope this helps!&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="29012" PostHistoryTypeId="2" PostId="17948" RevisionGUID="db9f81c7-a3c4-4dd3-910a-78079e2f8a2a" CreationDate="2013-02-02T20:09:25.043" UserId="6420" Text="All the stuff Matt said was great. Id say with sharp transient material like the stuff you're trying to record you can easily get caught out when recording. With 24 bit recording you can afford to make the levels a little less hot then you'd think and still get a clean useful sound. Try experimenting with engaging the limiter too just in case. &#xD;&#xA;&#xD;&#xA;A lot of the time I beef up sounds with heavy compression. Its not so much the initial transient but the few milliseconds after that give the impression of 'body' to the sound. I often find myself using parallel compression in multiple layers so that I'm not effecting too much of the transient that it loses the 'crack' but can blend in more meatiness if I want. &#xD;&#xA;&#xD;&#xA;Frank Bry has done some articles on this kinda thing and Paul Virostek at Airbourne Sound too are really knowledgable in this area and have lots of useful resources to look up regarding techniques etc.&#xD;&#xA;&#xD;&#xA;Have fun! ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29016" PostHistoryTypeId="2" PostId="17950" RevisionGUID="152b6bc0-1ece-4464-a06c-827c8027b955" CreationDate="2013-02-02T21:44:46.273" UserId="4237" Text="..you get cought by roommates being in wardrobe full of blankets, tearing apart books&#xD;&#xA;&#xD;&#xA;..you wish you sometimes had self-built de-esser " ContentLicense="CC BY-SA 3.0" />
  <row Id="29017" PostHistoryTypeId="16" PostId="17950" RevisionGUID="152b6bc0-1ece-4464-a06c-827c8027b955" CreationDate="2013-02-02T21:44:46.273" UserId="-1" />
  <row Id="29018" PostHistoryTypeId="2" PostId="17951" RevisionGUID="b2573229-a40a-4e53-a324-e4b6271c420d" CreationDate="2013-02-02T22:22:29.843" UserId="5607" Text="I am not aware of any tutorial but here are my two cents, for what it is worth.&#xD;&#xA;&#xD;&#xA;There are many things to consider when creating ambience for a scene. Obvious things like geographic location, weather, time period, time of day, interior, exterior,and of course film or TV genre. Finding the right size tracks, whether that means the size of your tone, crowd, waves or traffic etc also help to sell a realistic scene.&#xD;&#xA;&#xD;&#xA;You also need to consider the story, what can you do to support it. Is it a tense moment? maybe pulling back some sounds to keep the focus on the dialogue helps, or, maybe a rising discordant tone will draw the viewer in. Is it happy, pretty sounds like birds, although cliche, help ease the moment. A seedy neighborhood may have rougher sounds like sirens, or cars with bad mufflers.&#xD;&#xA;&#xD;&#xA;Helping to match, or mask a noisy or great sounding production track through critical listening is also appreciated and helps your Ambience tracks move away from being just tracks to creating a realistic environment. &#xD;&#xA;&#xD;&#xA;Rarely can you find one track to sell a scene. Using multiple layers of sounds, in different frequency spectrums, and specific one off sounds can create new and exciting scenes.&#xD;&#xA;&#xD;&#xA;Finding the sounds that feel right and fit take time and experience, but you will get there if it is important to you. Watching and listening to alot of films and TV series of different genres will give you some great ideas to start with.&#xD;&#xA;I personally love the Ambience in Film and TV, and feel that when it is done well that it can really en-richen a viewers experience, even if only on a sub-concious level." ContentLicense="CC BY-SA 3.0" />
  <row Id="29019" PostHistoryTypeId="2" PostId="17952" RevisionGUID="f85eaa16-8630-4c59-ae35-241998d796d6" CreationDate="2013-02-03T05:39:39.710" UserId="5623" Text="You are using very accurate recording gear in what I'm guessing is a dead room.  Do the same recording in a stairwell, with dynamic mics, transformer coupled mic pres to analog tape and it'll sound bigger.  The reason this is true is that &quot;BIG&quot; is a perception not a particular sound, and accurate gear and dead rooms only get you the sound.  Our brains evaluate the sonic environment (reverb, delay, width of stereo field), frequency response (the fuller the better) and distortion as big.&#xD;&#xA;&#xD;&#xA;You're in luck though b/c...as others mentioned...you can do all of this in post by layering other sounds, using a combination of short delays and reverb to spread out and deepen the stereo field, and apply varying degrees of compression and harmonic distortion." ContentLicense="CC BY-SA 3.0" />
  <row Id="29020" PostHistoryTypeId="2" PostId="17953" RevisionGUID="84f4d942-b18e-4669-bafd-6ee10deb0d7b" CreationDate="2013-02-03T06:02:44.260" UserId="5623" Text="I keep a few pair around.  I think of them as a cheap and convenient ways to check my mixes in different settings.  &#xD;&#xA;&#xD;&#xA;I actually have all the headphones mentioned here plus the Grado 80's.&#xD;&#xA;&#xD;&#xA;The Beyerdynamic DT250 have over hyped highs.  The Audio Technica's are pretty flat, but a little on the boxy side.  The Grado's are flat and open, but not much in the way deep lows.  I have some Sennheiser HD280s that are very very boxy.&#xD;&#xA;&#xD;&#xA;If I had to pick one set it would be the Audio Technica ATH-M50.  I agree they are great for field recording if you do that." ContentLicense="CC BY-SA 3.0" />
  <row Id="29021" PostHistoryTypeId="2" PostId="17954" RevisionGUID="524c3d60-bbc1-452b-8432-3dc9632844ca" CreationDate="2013-02-03T09:33:30.573" UserId="6432" Text="Thanks for the link. There's also [Music, Sound and the Moving Image][1], it's not available for free though.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.liverpooluniversitypress.co.uk/index.php?option=com_content&amp;view=article&amp;id=53:.." ContentLicense="CC BY-SA 3.0" />
  <row Id="29022" PostHistoryTypeId="2" PostId="17955" RevisionGUID="acb9ebec-b2a4-406d-960e-600904c13a3d" CreationDate="2013-02-03T09:39:40.917" UserId="7642" Text="Experimentation is key!&#xD;&#xA;The baddest bass guitar I ever recorded was played ever so lightly and then amped heavily and processed.&#xD;&#xA;&#xD;&#xA;Sometimes the lightest sounds amped up ( a lot ) can do wonders.&#xD;&#xA;&#xD;&#xA;And as stated above, the sound of the space/room is key to get it big.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29023" PostHistoryTypeId="2" PostId="17956" RevisionGUID="823fbf21-9eac-4d8f-ba63-6e15f9f37eaf" CreationDate="2013-02-03T10:32:35.537" UserId="5708" Text="Thanks a lot! Great advice.&#xD;&#xA;&#xD;&#xA;Yes, it is in an acoustically treated room. That explains why when I've recorded this sort of thing (e.g. hockey stick hitting leather jacket) in my bedroom or backyard (with a cheap mic) it sounds way better than recordings made in the studio.&#xD;&#xA;&#xD;&#xA;I get the same problem when trying to record two hunks of metal impacting. If there's a ring out it sounds fine but if it's two solid bits of iron with a sharp transient and no ring the recordings are no good. Is the solution the same? Or different because of the high frequencies?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29024" PostHistoryTypeId="2" PostId="17957" RevisionGUID="c7779a87-6771-4538-abe1-86225e660d46" CreationDate="2013-02-03T10:32:39.867" UserDisplayName="user80" Text="Add a dynamic mic to your set up, ideally something like an AKG D112, and get the mic nice and close.  The dynamic mic will be less prone to distortion and will pick up the bass elements nicely, the D112 is designed for bass/kick drums.  Layer the track with the Schoeps for the best results, but make sure that both mics are in phase with each other." ContentLicense="CC BY-SA 3.0" />
  <row Id="29025" PostHistoryTypeId="5" PostId="17774" RevisionGUID="d592bc81-8cf1-4b9c-9e1c-e91d5123e82b" CreationDate="2013-02-03T11:10:13.360" UserId="6524" Comment="added 185 characters in body" Text="A bit of weird question, I don't even know how to ask it but I love listening to the cinematic for [World of Warcraft: Mists of Pandaria][1] not only is the work done on it great but I love the sonic quality it has, I don't have studio monitors but with my 7506's it has this nice tight lowend and crisp but still round sounding mids, I'd like to think its a plugin or something but it probably isn't, even sound designer [Tapio Liukkonen][2] was able to get that sound in his little making of video for the game Overgrowth (Intro foley fx). How would you go about getting that sound, is it gear or technique when post processing?. I think its pleasurable to listen to and the kind of sound I'd like to get with my work.&#xD;&#xA;&#xD;&#xA;[EDIT] It must be some sort of sonic characteristic or a piece of gear or plugin cause they even got the same quality in these BlizzCast Interviews haha http://youtu.be/Ku0oEryTX7o.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/wvYXoyxLv64&#xD;&#xA;  [2]: http://youtu.be/fEZvJSxJX5s" ContentLicense="CC BY-SA 3.0" />
  <row Id="29026" PostHistoryTypeId="2" PostId="17958" RevisionGUID="33b1c279-054c-4cb9-b5c5-86b4692cbb36" CreationDate="2013-02-03T13:17:40.273" UserId="5702" Text="I've been using the Beyerdynamic DT990 Pro for a year now, and can say they're the most comfortable headphones I've used. They have a flat response, so I often use them to check mixes with.&#xD;&#xA;&#xD;&#xA;I suggest checking any panning you do using headphones with your monitors, as I've found it doesn't always correctly translate." ContentLicense="CC BY-SA 3.0" />
  <row Id="29027" PostHistoryTypeId="2" PostId="17959" RevisionGUID="4a9a353e-ab36-4765-aebd-0cbe47d43c30" CreationDate="2013-02-03T13:29:03.480" UserId="5702" Text="I made a good friend at college who was 28 and had no previous experience with audio. After finishing the course he went straight into a post-pro house in London with ease. So go for it man, It might take time and commitment, but what doesn't." ContentLicense="CC BY-SA 3.0" />
  <row Id="29028" PostHistoryTypeId="2" PostId="17960" RevisionGUID="3626e5f6-12ff-4ae5-8942-568d950b0b96" CreationDate="2013-02-03T15:57:03.427" UserId="407" Text="Great advice here already - as already mentioned it is often the case that small sounds sound big and big sounds sound small, especially in a studio environment where you can't tell from the sounds interaction with the environment how big it is. As you guys already know this is because you turn down the gain so much to accomodate the transient of the loud sound it ends up sounding small.&#xD;&#xA;SoundDevices recorders have great limiters, have you tried really cranking up the gain on the recorder and letting the limiter of the recorder flatten out the sound. Not the sort of advice you'd give in 'recording 101' but maybe worth a try. Along with alot of other advice here I'd suggest using a less 'clean/flat/detailed' mic. Maybe a 416 or even go dynamic e.g. sm57 or something similar. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29029" PostHistoryTypeId="5" PostId="2685" RevisionGUID="fce66865-88cb-47de-8851-5b4e6d45f2e9" CreationDate="2013-02-04T09:35:18.927" UserId="261" Comment="added content" Text="I'd recommend &#xD;&#xA;&#xD;&#xA;'Pi' (Darren Aronofsky)&#xD;&#xA;&#xD;&#xA;'Paris, Texas' (Wim Wenders)&#xD;&#xA;&#xD;&#xA;'Children of Men' (Alfonso Cuaron)&#xD;&#xA;&#xD;&#xA;The BBC Series 'The Life Of Insects'&#xD;&#xA;&#xD;&#xA;And my most boring recommendation ever, for sheer filmic 'naturalism', any of Woody Allen's films between&#xD;&#xA;'Annie Hall' (1977) and 'Husbands and Wives' (1992).&#xD;&#xA;They're mixed in Mono. Yes, mono.&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;I also have to add&#xD;&#xA;&#xD;&#xA;&quot;Melancholia&quot;&#xD;&#xA;&#xD;&#xA;&quot;Jagten&quot;&#xD;&#xA;&#xD;&#xA;Both sound designed byt Kristian Eidnes Andersson&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29030" PostHistoryTypeId="2" PostId="17961" RevisionGUID="7f74ecdb-b4b0-45ac-807c-f22900b5db49" CreationDate="2013-02-04T17:13:35.600" UserId="194" Text="[ultrasone pro 750s][1] for me.  a little pricey but well worth it.  &#xD;&#xA;&#xD;&#xA;offset titanium drivers - means the sound doesn't shoot straight into your ears.  super comfy earpads, and they come with spares.  &#xD;&#xA;&#xD;&#xA;I've worn them while recording audiobooks and they greatly reduced fatigue.  not tons of isolation, but a better approximation of speakers in a room than most IMO.&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ultrasone.com/index.php/en/products/pro-750.html&#xD;&#xA;  [2]: http://www.ultrasone.com/components/com_gk2_photoslide/images/thumbm/520155pro_750_02.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="29031" PostHistoryTypeId="2" PostId="17962" RevisionGUID="0b466885-1316-46b3-81e8-edccefaffa8f" CreationDate="2013-02-04T22:25:50.433" UserId="5710" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I am foleying a scene with a very... shall we say robust character. I want to highlight his heft with the hand foley that I am doing. Does anyone have any good techniques for thickening things up? Either on the record or mix side?&#xD;&#xA;&#xD;&#xA;My first inclination is to just do a bit of light pitch shifting, but would love to hear any other thoughts on ways to make things sound a bit thicker and grosser.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Jesse " ContentLicense="CC BY-SA 3.0" />
  <row Id="29032" PostHistoryTypeId="1" PostId="17962" RevisionGUID="0b466885-1316-46b3-81e8-edccefaffa8f" CreationDate="2013-02-04T22:25:50.433" UserId="5710" Text="Foley techniques for fat hands!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29033" PostHistoryTypeId="3" PostId="17962" RevisionGUID="0b466885-1316-46b3-81e8-edccefaffa8f" CreationDate="2013-02-04T22:25:50.433" UserId="5710" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29034" PostHistoryTypeId="2" PostId="17963" RevisionGUID="8f1ea7ed-3705-4462-bef3-40c9b43a653d" CreationDate="2013-02-04T23:11:21.173" UserId="18160" Text="What types of things is this person handling?&#xD;&#xA;&#xD;&#xA;Because, instead of using those exact items, think of something slightly heavier to record with. For example, a smaller tea-cup being substituted by a larger, heavier tea-cup on the foley stage to move around with.&#xD;&#xA;&#xD;&#xA;I think in addition to the foley being large, also make his weight shift floorboards, toss in large footsteps and deeper impact sit-downs, and sell the weight that way.&#xD;&#xA;&#xD;&#xA;And one thing I've done to make a larger person sound more &quot;disgusting&quot; is replacing out his breathing with more wheezing and lip smack sounds. Think of that Super Bowl commercial with the world's most famous extra making out with the super-model - they added in some really disgusting mouth noise and lip smacks on that smooch. Here's a link:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=o-3j4-4N3Ng" ContentLicense="CC BY-SA 3.0" />
  <row Id="29035" PostHistoryTypeId="2" PostId="17964" RevisionGUID="8b6de484-70d9-4da6-9ee1-259510f0a476" CreationDate="2013-02-04T23:11:59.160" UserId="5607" Text="How about using lots of hand cream to make your hands more moist, sweaty? Or for the extreme gross factor, chicken breasts or steaks (be sure to disinfect afterwards).&#xD;&#xA;&#xD;&#xA;Of course, you haven't described what he is doing with his hands so hard to say what it is you need to achieve. Is it strictly weight or would the wet idea work?&#xD;&#xA;&#xD;&#xA;Pitch shifting, sub harmonic layering or Eqing the lower frequencies could work." ContentLicense="CC BY-SA 3.0" />
  <row Id="29042" PostHistoryTypeId="2" PostId="17967" RevisionGUID="de3a57a3-5b88-4f15-9eab-1f3925cc4c09" CreationDate="2013-02-05T08:58:14.917" UserId="5713" Text="Does anybody know what is involved from a sound point of view in doing&#xD;&#xA;&#xD;&#xA; sound operations for a tv talk show for example something like the Graham Norton.&#xD;&#xA;&#xD;&#xA;I am starting on live and prerecorded tv shows and have come from a radio talkshow background. I’m sure after a week or two I’ll be up to speed but I would like to have an idea of what is expected if you're running the sound mixer.&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29043" PostHistoryTypeId="1" PostId="17967" RevisionGUID="de3a57a3-5b88-4f15-9eab-1f3925cc4c09" CreationDate="2013-02-05T08:58:14.917" UserId="5713" Text="tv show sound operations" ContentLicense="CC BY-SA 3.0" />
  <row Id="29044" PostHistoryTypeId="3" PostId="17967" RevisionGUID="de3a57a3-5b88-4f15-9eab-1f3925cc4c09" CreationDate="2013-02-05T08:58:14.917" UserId="5713" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29045" PostHistoryTypeId="2" PostId="17968" RevisionGUID="7d0b2fe3-3eca-4c5c-aea4-81e5d1e11f42" CreationDate="2013-02-05T10:10:53.180" UserId="5715" Text="PURE ORGANIC SEO FIRM&#xD;&#xA;&#xD;&#xA;Chance to save money on search engine marketing, Website Designing/Development&#xD;&#xA;&#xD;&#xA;We saved the best promotion for this New year!&#xD;&#xA;ONLY $50!! HuRRy UP!!&#xD;&#xA;&#xD;&#xA;Search Engine Optimization– Love your website? Save initial SEO setup fee and see your website on first page of search engines&#xD;&#xA;&#xD;&#xA;No Black-hat methods. &#xD;&#xA;&#xD;&#xA;Take a trial for just $50 and get linked with 100 quality websites having page rank up to 5. &#xD;&#xA;&#xD;&#xA;Our team works directly with you to meet our target which is #1 position on search engines. &#xD;&#xA;&#xD;&#xA;We sincerely believe that the above services will merit with the requirements of your Organization. &#xD;&#xA;&#xD;&#xA;Get full details now by calling or emailing us. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29046" PostHistoryTypeId="2" PostId="17969" RevisionGUID="02fb685e-e099-4142-9772-2a6c64a1a43d" CreationDate="2013-02-05T17:12:09.253" UserId="4358" Text="[Wild Strawberries][1] [The Seventh Seal][2] [Cries and Whispers][3] by Ingmar Bergman are the best ones to study the excellent use of silence in a film. Besides these a few of my personal favourites include [Peeping Tom][4], [The Conversation][5], [Once Upon A Time In The West][6] and OFCOURSE [Apocalypse Now][7]! A lotta films are going through my head right now, these are a few.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0050986/?ref_=sr_1&#xD;&#xA;  [2]: http://www.imdb.com/title/tt0050976/?ref_=sr_2&#xD;&#xA;  [3]: http://www.imdb.com/title/tt0069467/?ref_=sr_1&#xD;&#xA;  [4]: http://www.imdb.com/title/tt0054167/?ref_=fn_al_tt_1&#xD;&#xA;  [5]: http://www.imdb.com/title/tt0071360/?ref_=sr_4&#xD;&#xA;  [6]: http://www.imdb.com/title/tt0064116/?ref_=sr_2&#xD;&#xA;  [7]: http://www.imdb.com/title/tt0078788/?ref_=sr_1" ContentLicense="CC BY-SA 3.0" />
  <row Id="29047" PostHistoryTypeId="16" PostId="17969" RevisionGUID="02fb685e-e099-4142-9772-2a6c64a1a43d" CreationDate="2013-02-05T17:12:09.253" UserId="-1" />
  <row Id="29048" PostHistoryTypeId="2" PostId="17970" RevisionGUID="270ee3a6-e1ea-4e2f-a77d-bcbb3dc79522" CreationDate="2013-02-05T17:37:26.130" UserId="6499" Text="Most digital crossovers for speakers have the ability to delay.  XTA makes many different kinds." ContentLicense="CC BY-SA 3.0" />
  <row Id="29049" PostHistoryTypeId="2" PostId="17971" RevisionGUID="3676daa4-3409-49b1-b3e5-58c552881718" CreationDate="2013-02-05T18:04:20.027" UserId="18160" Text="What's the standard spelling of this word in the industry?&#xD;&#xA;&#xD;&#xA;I've seen it both ways, and I want to just settle once and for all the proper, accepted way it's used. A quick search comes up with most people spelling it &quot;Whoosh&quot;.&#xD;&#xA;&#xD;&#xA;Please let me know your thoughts.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29050" PostHistoryTypeId="1" PostId="17971" RevisionGUID="3676daa4-3409-49b1-b3e5-58c552881718" CreationDate="2013-02-05T18:04:20.027" UserId="18160" Text="Woosh or Whoosh?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29051" PostHistoryTypeId="3" PostId="17971" RevisionGUID="3676daa4-3409-49b1-b3e5-58c552881718" CreationDate="2013-02-05T18:04:20.027" UserId="18160" Text="&lt;whoosh&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29052" PostHistoryTypeId="2" PostId="17972" RevisionGUID="4c3f440f-a871-49b6-9b45-58d9fc9a7b81" CreationDate="2013-02-05T18:06:41.583" UserId="61" Text="I default to 'whoosh'. I've seen 'woosh' but not often. Some people even call it a 'swoosh', 'swish' or 'wipe'!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29053" PostHistoryTypeId="2" PostId="17973" RevisionGUID="bdcf23a5-a819-4cda-9950-2f63c3b111b6" CreationDate="2013-02-05T18:14:45.547" UserId="18160" Text="Running the final dub mixer or the production sound mixer?&#xD;&#xA;&#xD;&#xA;If the latter, what's expected of you is perfect, top-notch recordings from the set or stage with little to no need to go in and fix it later. Reason being is that time is not on your side to get it right. You're not going to have as much time as Terrence Malick gives his sound crew to get the sound perfect - if it's a talk-show type scenario that is either live or airing the same day, you have to streamline the editorial process to be as fast as possible (and with live, there is no second chance).&#xD;&#xA;&#xD;&#xA;Couple things to read up on and have handy:&#xD;&#xA;&#xD;&#xA;- Wireless mics (transmitters and receivers. How to use them. How to debug them when they go bad).&#xD;&#xA;&#xD;&#xA;- Backups for everything. David Letterman has his main mic and 2 backups standing by should anything happen to the first. It's a good habit to have and a good motto is &quot;If it doesn't have a backup, you don't even have a main&quot;.&#xD;&#xA;&#xD;&#xA;- RF spectrum analyzer. It comes in handy when it's 15 minutes until shoot time and your mics drop out due to interference. You can find affordable ones (that don't cost $8,000) like the RF Explorer.&#xD;&#xA;&#xD;&#xA;- Learn how to plant and hide mics and make them sound good. This one is tricky since you're never going to find a manual on the subject and there are as many methods and opinions as there are production sound mixers out there. Toy with it a lot, and find what works for you best and continue to figure out better ways to mic and record people." ContentLicense="CC BY-SA 3.0" />
  <row Id="29054" PostHistoryTypeId="5" PostId="17973" RevisionGUID="a1e76c05-5609-4b71-9108-602af7d269ae" CreationDate="2013-02-05T18:19:54.010" UserId="18160" Comment="added 811 characters in body; added 98 characters in body" Text="Running the final dub mixer or the production sound mixer?&#xD;&#xA;&#xD;&#xA;If the latter, what's expected of you is perfect, top-notch recordings from the set or stage with little to no need to go in and fix it later. Reason being is that time is not on your side to get it right. You're not going to have as much time as Terrence Malick gives his sound crew to get the sound perfect - if it's a talk-show type scenario that is either live or airing the same day, you have to streamline the editorial process to be as fast as possible (and with live, there is no second chance).&#xD;&#xA;&#xD;&#xA;Couple things to read up on and have handy:&#xD;&#xA;&#xD;&#xA;- Wireless mics (transmitters and receivers. How to use them. How to debug them when they go bad).&#xD;&#xA;&#xD;&#xA;- Backups for everything. David Letterman has his main mic and 2 backups standing by should anything happen to the first. It's a good habit to have and a good motto is &quot;If it doesn't have a backup, you don't even have a main&quot;.&#xD;&#xA;&#xD;&#xA;- RF spectrum analyzer. It comes in handy when it's 15 minutes until shoot time and your mics drop out due to interference. You can find affordable ones (that don't cost $8,000) like the RF Explorer.&#xD;&#xA;&#xD;&#xA;- Learn how to plant and hide mics and make them sound good. This one is tricky since you're never going to find a manual on the subject and there are as many methods and opinions as there are production sound mixers out there. Toy with it a lot, and find what works for you best and continue to figure out better ways to mic and record people.&#xD;&#xA;&#xD;&#xA;- If the scenario has a PA in the house where you are recording, become a very good friend of the FOH mixer and PA tech. They influence about 50% of your recordings with the PA alone. Make it your business to read up on and how to set up PAs and PA theory (line-arrays, point source speakers, what happens with low-end coupling with an array of speakers, etc.) and ask to be sent the PA design and MAPP it (Meyer Sound tool) before you let them hang the PA. When I do live shows like corporate meetings or lectern gigs, I always make it a point of seeing what type of splash or response on the stage I'm going to be getting from the PA, and I've had them re-design the PA to gain about 6 dB more headroom on gain-before-feedback for my mics. Then, when you go to final mix the show in post, it can be the difference between a difficult mix or a simple one due to how much PA is coming back into your mics." ContentLicense="CC BY-SA 3.0" />
  <row Id="29055" PostHistoryTypeId="2" PostId="17974" RevisionGUID="bff3192e-3f2e-4d9e-8e6b-4bcb4232f8be" CreationDate="2013-02-05T18:44:15.697" UserId="4442" Text="I use the H also, but i usually think of the whoosh as the big processed and i reserve swish for smaller sounding stuff like the spoon whips before processing." ContentLicense="CC BY-SA 3.0" />
  <row Id="29056" PostHistoryTypeId="2" PostId="17975" RevisionGUID="241f285c-d586-41a9-b0a5-7d1144b19836" CreationDate="2013-02-05T19:08:41.273" UserId="4442" Text="So as I'm working on our strategy game, and doing all of these FX (shields, and wubs, and plasma explosions, etc) I wanted to share an idea and get some feedback.&#xD;&#xA;&#xD;&#xA;Do people that often find themselves doing these type of things (sci-fi, magic, fantasy, etc) find that it's better to start with more non-pitched, less musical sources? &#xD;&#xA;&#xD;&#xA;I'm finding that every time I open absynth or something, i end up finding all of these sort of musical patches. Instead, I've been trying to work with samples and convolution, or some spectral plugins which give an insane sound, or just non-pitched sample content, for example a convolved tesla coil spark, or coin on metal plinks, or doing a lot of work with the noise generator in Massive. &#xD;&#xA;&#xD;&#xA;Not really sure what I'm &quot;asking&quot;, if anything, but just want to source some opinions on effecting non-pitched sample content vs. trying to synthesize." ContentLicense="CC BY-SA 3.0" />
  <row Id="29057" PostHistoryTypeId="1" PostId="17975" RevisionGUID="241f285c-d586-41a9-b0a5-7d1144b19836" CreationDate="2013-02-05T19:08:41.273" UserId="4442" Text="An observation on &quot;unreal&quot; sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="29058" PostHistoryTypeId="3" PostId="17975" RevisionGUID="241f285c-d586-41a9-b0a5-7d1144b19836" CreationDate="2013-02-05T19:08:41.273" UserId="4442" Text="&lt;sampling&gt;&lt;synthesis&gt;&lt;sound-design&gt;&lt;scifi&gt;&lt;fantasy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29059" PostHistoryTypeId="2" PostId="17976" RevisionGUID="8e797276-44d6-4b5e-bf27-0a9c9f774003" CreationDate="2013-02-05T19:22:38.287" UserId="4358" Text="wHoosh. The H adds the power! :P" ContentLicense="CC BY-SA 3.0" />
  <row Id="29061" PostHistoryTypeId="2" PostId="17978" RevisionGUID="065182db-909b-4128-af8b-d0739104c3ad" CreationDate="2013-02-05T21:07:43.113" UserId="3179" Text="Depends on the sound, as always.&#xD;&#xA;&#xD;&#xA; - Pitched sound -&gt; results in pitched&#xD;&#xA;   or clean sound. &#xD;&#xA; - Inharmonic sound /&#xD;&#xA;   noise -&gt; result is inharmonic/noise. (unless you create a fundamental frequency or frequencies).&#xD;&#xA;&#xD;&#xA;There exists loads of pitched real world sounds. Try those." ContentLicense="CC BY-SA 3.0" />
  <row Id="29062" PostHistoryTypeId="2" PostId="17979" RevisionGUID="0b72be05-05bf-491f-b686-deb015a65c9f" CreationDate="2013-02-05T22:49:30.893" UserId="103" Text="http://jwsoundgroup.net/&#xD;&#xA;&#xD;&#xA;+1 On what utopia said&#xD;&#xA;You can also do a search there, those &quot;boys&quot; are all about that." ContentLicense="CC BY-SA 3.0" />
  <row Id="29063" PostHistoryTypeId="2" PostId="17980" RevisionGUID="56566423-bda5-48af-a778-56d28bbd40a7" CreationDate="2013-02-05T23:17:10.703" UserId="2186" Text="My computer is quite noisy. What is the best way of putting it in a different room? Right now I have two HD monitors and a usb audio interface, but I'd like to be future proof." ContentLicense="CC BY-SA 3.0" />
  <row Id="29064" PostHistoryTypeId="1" PostId="17980" RevisionGUID="56566423-bda5-48af-a778-56d28bbd40a7" CreationDate="2013-02-05T23:17:10.703" UserId="2186" Text="Computer in the next room" ContentLicense="CC BY-SA 3.0" />
  <row Id="29065" PostHistoryTypeId="3" PostId="17980" RevisionGUID="56566423-bda5-48af-a778-56d28bbd40a7" CreationDate="2013-02-05T23:17:10.703" UserId="2186" Text="&lt;hardware&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29066" PostHistoryTypeId="2" PostId="17981" RevisionGUID="55cb7818-94b3-4d9c-ba21-fe6288a3c515" CreationDate="2013-02-05T23:53:59.540" UserId="18160" Text="I use a USB switcher that connects me to 3 computers in a remote location." ContentLicense="CC BY-SA 3.0" />
  <row Id="29067" PostHistoryTypeId="2" PostId="17982" RevisionGUID="d00b4c99-5af5-476d-b590-c44a65fd9b23" CreationDate="2013-02-06T00:49:25.177" UserId="842" Text="All in all i agree with Jay, though for me normally a whoosh is a form of non-diegetic stinger or transition, and swishes are diegetic movement, with swooshes as large-body ditto, like passing trains or tipping monoliths and such." ContentLicense="CC BY-SA 3.0" />
  <row Id="29068" PostHistoryTypeId="2" PostId="17983" RevisionGUID="8160f838-abc3-47ba-9ea4-dd885548b4c7" CreationDate="2013-02-06T00:54:57.690" UserId="4238" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I was just reliving old childhood memories watching some anime and it got me wondering about about sound design for it (I watched Dragonball Z and the movie Princess Mononoke)&#xD;&#xA;&#xD;&#xA;Does anyone have any experience for doing sound design etc for anime?&#xD;&#xA; &#xD;&#xA;Are there any different processes rather than in live action? &#xD;&#xA;&#xD;&#xA;Is it more a &quot;focussed&quot; sound design? (As one sound for each main thing you see on a screen, rather than a whole soundscape like in films?) &#xD;&#xA;&#xD;&#xA;Is it more ADR and musically orientated, and if so, is there any room for bigger sound structure? &#xD;&#xA;&#xD;&#xA;Is it mostly synthesis? &#xD;&#xA;&#xD;&#xA;Any input would be great! There isn't really anything on Anime Sound Design on the net I noticed!&#xD;&#xA;&#xD;&#xA;Thanks a lot!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29069" PostHistoryTypeId="1" PostId="17983" RevisionGUID="8160f838-abc3-47ba-9ea4-dd885548b4c7" CreationDate="2013-02-06T00:54:57.690" UserId="4238" Text="Sound Design in Anime" ContentLicense="CC BY-SA 3.0" />
  <row Id="29070" PostHistoryTypeId="3" PostId="17983" RevisionGUID="8160f838-abc3-47ba-9ea4-dd885548b4c7" CreationDate="2013-02-06T00:54:57.690" UserId="4238" Text="&lt;animation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29071" PostHistoryTypeId="2" PostId="17984" RevisionGUID="93eb0ca8-331c-4d94-979c-7d602bed06d8" CreationDate="2013-02-06T01:05:24.757" UserId="4238" Text="For me, if I'm not given a contract for ANY type of work, I find it almost unprofessional and could make me feel uneasy about who I'm dealing with as my assets may not be (and in most cases won't be) protected.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29072" PostHistoryTypeId="2" PostId="17985" RevisionGUID="2c4088d4-8855-4146-b69f-c9106280d8a5" CreationDate="2013-02-06T01:08:55.317" UserId="842" Text="I've thought about that very much before too, but for me I found that just making it silent was much easier and more safe.&#xD;&#xA;&#xD;&#xA;To make it completely silent I got meself an aluminum alloy chassis with internal padding (doesn't resonate at all), noiseless Seagate Barracuda discs (only ever use 2 in the same computer for the sake of noise and vibrations), a passive PSU, and passive graphics- and video-cards.&#xD;&#xA;&#xD;&#xA;It wasn't even what much more expensive than non-silent stuff, just a little less powerful in areas where I, as a sound designer and audio engineer, don't need that much juice anyway, mostly the graphic interface!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29074" PostHistoryTypeId="2" PostId="17987" RevisionGUID="3641f075-1c02-4686-8c93-4a657b278d3c" CreationDate="2013-02-06T02:49:40.363" UserId="714" Text="Mostly all anime sound design is done in Japan.  I worked as a sound designer at a post house which dubs anime for english audiences.  There were a lot of times that clients wanted me to &quot;americanize&quot; the japanese sfx to make them bigger and less cliche.  However, the Japanese definitely have their own unique sonic style when it comes to this genre, and there isn't much information out there on how to achieve it's unique qualities.  The japanese definitely have a different philosophy when it comes to sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="29076" PostHistoryTypeId="2" PostId="17988" RevisionGUID="c6e452c0-64b8-4227-81b8-b81fa377f134" CreationDate="2013-02-06T08:16:19.017" UserDisplayName="user80" Text="Whoosh is the standard way to spell this word." ContentLicense="CC BY-SA 3.0" />
  <row Id="29077" PostHistoryTypeId="5" PostId="17988" RevisionGUID="55e6f97a-031b-4f62-b25f-43fa9e5f3f07" CreationDate="2013-02-06T08:22:45.360" UserDisplayName="user80" Comment="added 135 characters in body" Text="Whoosh is the standard way to spell this word.  Woosh is just a variant, onomatopoeic words sometimes have variants, such as yeah or yeh (yeh is the variant of yeah), or yea or yah." ContentLicense="CC BY-SA 3.0" />
  <row Id="29079" PostHistoryTypeId="2" PostId="17990" RevisionGUID="39cc3193-8dd3-45d1-a525-8f7f8dd110c5" CreationDate="2013-02-06T14:16:42.837" UserId="4417" Text="I'm doing an audio re-skin of the opening bank heist scene from the Dark Knight. I'm looking for some suggests for recreating the rope unravelling sound when the criminal fires the grappling hook at 1.19-1.20.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=0OYBEquZ_j0&#xD;&#xA;&#xD;&#xA;Any suggestions welcome!&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29080" PostHistoryTypeId="1" PostId="17990" RevisionGUID="39cc3193-8dd3-45d1-a525-8f7f8dd110c5" CreationDate="2013-02-06T14:16:42.837" UserId="4417" Text="Suggestions for creating a rope unravelling sound effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="29081" PostHistoryTypeId="3" PostId="17990" RevisionGUID="39cc3193-8dd3-45d1-a525-8f7f8dd110c5" CreationDate="2013-02-06T14:16:42.837" UserId="4417" Text="&lt;foley&gt;&lt;sound-effects&gt;&lt;sound-design&gt;&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29082" PostHistoryTypeId="2" PostId="17991" RevisionGUID="6c42ed89-9b53-4726-93a7-aea290ade503" CreationDate="2013-02-06T14:50:23.997" UserId="194" Text="small skinny rope with a lightly weighted object tied (VERY SECURELY) to the end - record two layers - one of big looping swooshes for the initial flight out the window - maybe a 10 foot extension of the rope, then shorten the rope to 2 feet or so and go much much faster in a circle for the uncoiling.  &#xD;&#xA;&#xD;&#xA;xlr cable could also work." ContentLicense="CC BY-SA 3.0" />
  <row Id="29083" PostHistoryTypeId="2" PostId="17992" RevisionGUID="453b5bf5-905b-4594-95aa-623ce56e63f0" CreationDate="2013-02-06T15:33:00.353" UserId="4442" Text="Definitely what Rene said, the cable would be have a little more information to record, and be more like that &quot;tactical&quot; rope sound. Also, especially if it's coming off of reels, i'd see if you can get your hands on maybe a fishing reel and pitch down?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29084" PostHistoryTypeId="2" PostId="17993" RevisionGUID="a66c4d3d-355e-469e-b340-9fb06ec9e226" CreationDate="2013-02-06T18:13:00.150" UserId="4272" Text="I did a sound redesign for this anime-style music video (it's actually French animation so not technically anime).  My observation was that to make it work it had to be somewhat more stylized than a typical western-style animation/video.  My instinct was to emphasize specific moments on-screen rather than attempt to cover every little thing - I also ignored a lot of the off-screen sound effects.&#xD;&#xA;&#xD;&#xA;Also, as Austin points out, anime tends to embrace what western audiences tend to perceive as cliche sound effects.  The cheesy bell sound effects, for example, on the titles.  The voice acting also tends to have a different cadence to it as well, especially if you're watching anime that's been redubbed to English.&#xD;&#xA;&#xD;&#xA;Anyway, best way to learn is by doing.  Try doing some sound design for anime and see what works and what doesn't.  Trust your instincts.&#xD;&#xA;&#xD;&#xA;nsfw, btw&#xD;&#xA;[http://youtu.be/BTwUEKHN-Xc][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/BTwUEKHN-Xc" ContentLicense="CC BY-SA 3.0" />
  <row Id="29085" PostHistoryTypeId="2" PostId="17994" RevisionGUID="c8fdeed0-8619-40f1-9666-e60c33a61a23" CreationDate="2013-02-06T18:35:34.617" UserId="4272" Text="It's worth pointing out that contrary to popular belief, even a verbal agreement could be construed as a contract.  A contract is simply a legally enforceable agreement between two or more parties for the doing or not doing of something specified.  An email would technically count as a contract and should technically be legally enforceable.  However, there are reasons why people sign actual contracts and don't generally rely on emails as evidence - a properly written contract with clear terms and a written signature is much more likely to hold up in court should it ever come to that.&#xD;&#xA;&#xD;&#xA;And as already mentioned by numerous people above, using a written contract is not only a demonstration of your professionalism but also offers protection to both you and the director - as it is a mutually beneficial agreement, I don't see it as a violation of trust/friendship." ContentLicense="CC BY-SA 3.0" />
  <row Id="29086" PostHistoryTypeId="2" PostId="17995" RevisionGUID="8880f64a-54d5-47ae-91ae-1305e9ef849b" CreationDate="2013-02-06T19:34:23.027" UserId="194" Text="[vimeo]22053820[/vimeo]&#xD;&#xA;&#xD;&#xA;best part is halfway through when his lawyer stats speaking, but worth a watch all the way through regardless." ContentLicense="CC BY-SA 3.0" />
  <row Id="29087" PostHistoryTypeId="2" PostId="17996" RevisionGUID="ea722cd9-10b3-4847-8316-f19d892a0efb" CreationDate="2013-02-06T21:17:23.983" UserId="629" Text="Hey all&#xD;&#xA;&#xD;&#xA;I am doing a bit of freelance location sound recording for TV/Film, I know it is delivered in 48k/24bit but I usually record sound effects/Foley at 96k/24bit so I wondered which I should be going for whilst doing location sound recording?&#xD;&#xA;&#xD;&#xA;Would it be easier for the post production team if it was already in 48k or would they appreciate the 96k?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;Adrian" ContentLicense="CC BY-SA 3.0" />
  <row Id="29088" PostHistoryTypeId="1" PostId="17996" RevisionGUID="ea722cd9-10b3-4847-8316-f19d892a0efb" CreationDate="2013-02-06T21:17:23.983" UserId="629" Text="Which bit rate for location sound recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29089" PostHistoryTypeId="3" PostId="17996" RevisionGUID="ea722cd9-10b3-4847-8316-f19d892a0efb" CreationDate="2013-02-06T21:17:23.983" UserId="629" Text="&lt;rate&gt;&lt;field-recording&gt;&lt;48khz&gt;&lt;96k&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29090" PostHistoryTypeId="2" PostId="17997" RevisionGUID="d2af03a3-b3c7-40a3-9b75-17ab7521ab30" CreationDate="2013-02-06T21:36:00.883" UserId="3179" Text="Conversion is mostly automatic and very easy and fast to do.&#xD;&#xA;&#xD;&#xA;Better record at 96kHz, if possible, because it gives a more flexible recording for later use." ContentLicense="CC BY-SA 3.0" />
  <row Id="29091" PostHistoryTypeId="5" PostId="17997" RevisionGUID="35eb7eac-362f-4633-93f2-536ec039a031" CreationDate="2013-02-06T21:43:24.727" UserId="3179" Comment="added 195 characters in body" Text="Conversion is mostly automatic and very easy and fast to do. So don't make it an issue unless you end up doing conversions from uneven sample rates (e.g. 96k -&gt; 44.1k is not an even division), which causes some, but often minimally audible digital errors.&#xD;&#xA;&#xD;&#xA;Better record at 96kHz, if possible, because it gives a more flexible recording for later use." ContentLicense="CC BY-SA 3.0" />
  <row Id="29092" PostHistoryTypeId="2" PostId="17998" RevisionGUID="bd169414-3131-44db-a9ac-4c461d3b6a65" CreationDate="2013-02-06T21:45:17.323" UserId="842" Text="If it is 48/24 they ask for then there's really no point in recording in 96KHz and then convert it. There is a great gain if the project is being mixed in 96 and then resampled down to 48KHz, the program will have more to work with to reach a more undistorted mix, but doing it the other way around can only lead to degrading of the soundfile, remaining at equilibrium at best. Though few resample-algorithms really are completely transparent.&#xD;&#xA;&#xD;&#xA;Just ask them directly and go with what they say." ContentLicense="CC BY-SA 3.0" />
  <row Id="29093" PostHistoryTypeId="2" PostId="17999" RevisionGUID="cad7ea5d-f032-4031-81ae-b49293f9438a" CreationDate="2013-02-06T22:16:37.807" UserId="5697" Text="Can you explain me, how we get to dolby digital encoding? &#xD;&#xA;&#xD;&#xA;What is level about dialogue editing  to normalize at?&#xD;&#xA;and what are the levels of dialogue at the mixing? &#xD;&#xA;what are leves of music and fx ?&#xD;&#xA;&#xD;&#xA;will the dialogues be mixed c? or on L and r too?&#xD;&#xA;and what about music and fx? &#xD;&#xA;at the end of mixing how we get to dolby digital? daw as logic for example can mix and export multichannel file, and compressor can convert it to ac3? is anyone of you use this workflow? how we get to dolby digital to deliver to theatre? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29094" PostHistoryTypeId="1" PostId="17999" RevisionGUID="cad7ea5d-f032-4031-81ae-b49293f9438a" CreationDate="2013-02-06T22:16:37.807" UserId="5697" Text="from  production to dolby digital, what workflow" ContentLicense="CC BY-SA 3.0" />
  <row Id="29095" PostHistoryTypeId="3" PostId="17999" RevisionGUID="cad7ea5d-f032-4031-81ae-b49293f9438a" CreationDate="2013-02-06T22:16:37.807" UserId="5697" Text="&lt;dolby&gt;&lt;digital&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29096" PostHistoryTypeId="2" PostId="18000" RevisionGUID="411f86dd-247a-4f4e-8ed4-f2bca37678b2" CreationDate="2013-02-06T22:38:55.563" UserId="1228" Text="I highly recommend reading up some literature upon the post sound process, especially John Purcell's Dialogue book and Dave Yewdall's as well.  I say all of this because I took at look at the questions you have asked on SSD, and all 3 seem to be considerably related/reformulated and all are quite rudimentary 'bread-and-butter' topics of post sound.  &#xD;&#xA;&#xD;&#xA;This is not to say you are invalid in asking the question.  I share this because the questions you pose are so open-ended that providing a succinct response is difficult if not impossible - the workflow is so vast and the nuances so detailed (even on a show-by-show basis).  So you likely will not find the perfect response you are seeking from the community because of the broadness of the question(s).&#xD;&#xA;&#xD;&#xA;Gaining an overall understanding of the post process through those two books, as well as others that people may be able to recommend (I believe such a question about literature was actually asked on here not too long ago, you may have to search for it) will likely be a beneficial starting point.&#xD;&#xA;&#xD;&#xA;Again, I say this not to deter you nor your question, just as a hopefully helping hand in guiding you to where you will likely find the most fulfilling answer, to which SSD can be a great resource thereafter with more of the details and idiosyncrasies of the post process." ContentLicense="CC BY-SA 3.0" />
  <row Id="29097" PostHistoryTypeId="2" PostId="18001" RevisionGUID="38ea247c-201b-4434-ab0d-5d1d4f46d183" CreationDate="2013-02-06T22:40:42.643" UserId="4442" Text="Yea, having done some field stuff, especially if it's meant to sync to picture later, better off just grabbing it in 48. That's for the location stuff of course. Later on, if you are laying in sound design or foley, you can record that at whatever you want, esepcially if you plan on slowing and pitching stuff. For the location sound, I would rather not risk the sync errors and just go 24/48." ContentLicense="CC BY-SA 3.0" />
  <row Id="29098" PostHistoryTypeId="2" PostId="18002" RevisionGUID="2165efe1-4246-4a7d-982a-2f167cd98404" CreationDate="2013-02-06T23:00:04.077" UserId="5697" Text="thanks for your reply, my really question is about last step, its enought to encode&#xD;&#xA; a multichannel file in ac3? I dont think so, what hardware is used to achieve  that goal." ContentLicense="CC BY-SA 3.0" />
  <row Id="29099" PostHistoryTypeId="2" PostId="18003" RevisionGUID="d31f4105-20bd-48ee-876a-103c9ab0fecc" CreationDate="2013-02-07T00:22:33.580" UserId="3754" Text="I searched the site and couldn't find a topic, hope I'm not repeating a question.&#xD;&#xA;&#xD;&#xA;For a M/S recording, I don't have a fig 8 mic, but I do have an omni.&#xD;&#xA;&#xD;&#xA;Could I use a cardioid for the mid, and an omni for the sides?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29100" PostHistoryTypeId="1" PostId="18003" RevisionGUID="d31f4105-20bd-48ee-876a-103c9ab0fecc" CreationDate="2013-02-07T00:22:33.580" UserId="3754" Text="Mid/Side with cardioid &amp; omni" ContentLicense="CC BY-SA 3.0" />
  <row Id="29101" PostHistoryTypeId="3" PostId="18003" RevisionGUID="d31f4105-20bd-48ee-876a-103c9ab0fecc" CreationDate="2013-02-07T00:22:33.580" UserId="3754" Text="&lt;omni&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29102" PostHistoryTypeId="2" PostId="18004" RevisionGUID="cf67aef6-bcf5-4f15-af95-da706e2cc18a" CreationDate="2013-02-07T01:06:52.743" UserId="432" Text="I don't believe that will work...not for the typical &quot;stereo&quot; effect anyways. The purpose of the figure-8 is to provide opposing polarities in one signal, allowing there to be a difference when each it is summed and inverse summed with the center channel. You'd also run into an imaging issue in the front/rear plane, as the omni would not provide rejection to the rear as a figure-8 does.&#xD;&#xA;&#xD;&#xA;The viable methods of M/S always involve a figure-8. A cardioid/figure-8 pair is the optimum in combination, in my opinion. Hyper-carioid can work, but there's a small bit of rear pickup that can affect imaging. Shotguns can create strange null points, depending on the fall off patterns of the supercardioid and figure-8 patterns, and has a more pronounced rear pickup than a hyper does (there's that imaging issue again). I personally don't like using omnis in an M/S setup. Coloration tends to be an issue, and nasty phase issues can happen if the decoded M/S signal is summed down to mono. That's not to say that none of those combinations can work. They just take careful testing and mic matching. Cardioid is safe, predictable and gives very nice imaging.&#xD;&#xA;&#xD;&#xA;But I guess the actual point is that you need a figure-8; otherwise, it's not M/S." ContentLicense="CC BY-SA 3.0" />
  <row Id="29103" PostHistoryTypeId="2" PostId="18005" RevisionGUID="d8c49bad-d18a-400c-9203-633bcb873d0c" CreationDate="2013-02-07T02:14:25.200" UserId="194" Text="doesn't work.  tried it.  :)&#xD;&#xA;&#xD;&#xA;the end result is a stereo image that tilts hard to one side, and that can't track from left to right.&#xD;&#xA;&#xD;&#xA;now, if you swap the cardiod for the omni and leave the fig 8 intact, that'll do interesting things..." ContentLicense="CC BY-SA 3.0" />
  <row Id="29104" PostHistoryTypeId="2" PostId="18006" RevisionGUID="615b7231-5216-4a49-8919-68d3abcccd90" CreationDate="2013-02-07T02:27:18.037" UserId="4418" Text="Lynda.com has some music editing for film, not composition however. But, their videos are very well put together" ContentLicense="CC BY-SA 3.0" />
  <row Id="29105" PostHistoryTypeId="2" PostId="18007" RevisionGUID="feb4e6b7-d5d0-4d29-82bc-d64bec8a7ca4" CreationDate="2013-02-07T05:56:46.430" UserId="5724" Text="If you are located in North County San Diego and want to try them out, we rent these units to your flavor of customization. Only $89/day. We are called ANALOG SOURCE RENTALS - Renting these HIGH-END ANALOG OUTBOARD units including Neve, SSL, API, Chandler Limited, Avedis and more. Find us online through Facebook: https://www.facebook.com/AnalogSourceRental" ContentLicense="CC BY-SA 3.0" />
  <row Id="29106" PostHistoryTypeId="2" PostId="18008" RevisionGUID="f6537b16-6846-4759-8d90-805ea4aad427" CreationDate="2013-02-07T06:55:12.800" UserId="6411" Text="First, run some routine maintenance on your computer. If it's making some serious ticks, whirs and clicks there may be a bigger problem. If it sounds like a small turbine engine every time you boot up, open up the case and give it a good once over with a can (or two) of compressed air. Be sure to hit the fans, they're typically very noisy culprits. If the noises persist try hunting down any lose cabling that may be vibrating against the case. If it still ticks and clicks, it may be time to backup the discs and replace them. Ticking drives are 3.5&quot; timebombs that are ready to go off at the most inopportune moment.&#xD;&#xA;&#xD;&#xA;Having said that, if it's up to snuff and is just a distracting whine in the room, almost every place that I've worked in has used some variety of [Gefen][1] extenders. They allow you to make huge runs (200+ feet) for HDMI, DVI, S/PDIF, USB, Firewire, etc. using cat5/5e/6 cable. They're not cheap, but they're great little boxes that get the job done. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gefen.com/kvm/dproductlisting.jsp?listingCategory=Extenders" ContentLicense="CC BY-SA 3.0" />
  <row Id="29107" PostHistoryTypeId="2" PostId="18009" RevisionGUID="103d5d20-eb91-458c-8c91-e4fd7297dd23" CreationDate="2013-02-07T07:58:56.413" UserId="5500" Text="I'm using Ableton Live for Drones and Stingers.&#xD;&#xA;If you want to create a drone you can choose any type of sound and length.&#xD;&#xA;I made a drone with a glass from my kitchen. I selected a small portion (21ms) of the sound I sampled, looped it, randomized the position of the looping start point, modulated all the frequency with FM Sythesis, played with pitch.&#xD;&#xA;I ended up with a dense mass of sound that wasn't the type of soothing drone sound I was searching for. So I recorded a fretless bass playing only harmonics. Processed it with the same FX palette and there was the sound I was hearing in my head a evolving drones with a lush FM type of sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="29108" PostHistoryTypeId="2" PostId="18010" RevisionGUID="edd5cc88-cccb-4d30-8144-58d76d345e6a" CreationDate="2013-02-07T08:20:39.103" UserDisplayName="user49" Text="My only thought on drones is this: be VERY wary of making YOUR (or THE FILMS) **signature sounds** be based on a library. Lets face it, it is very easy to generate drones of your own - whetehr they are granular, synthesis or harmonic freezes or whatever.... You owe it to yourself (and the project) to make/create your own, based on inspiration &amp; emotionally motivated from the project you're working on.... (God/jah/budha bless anyone releasing libraries of drones but I have no use for them) I want my drones to be MY drones! I consider the aesthetics of drones to be very personal &amp; particular &amp; sure as hell dont want the equivalent of the (yeech) Hollywood Edge metal hatch door open/whistly wind/etc/etc applied to something so beautiful &amp; subjective as a drone...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;just my $0.05&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29109" PostHistoryTypeId="5" PostId="18010" RevisionGUID="513aad16-188d-444c-9d06-146f964d7a1b" CreationDate="2013-02-07T08:30:42.087" UserDisplayName="user49" Comment="deleted 103 characters in body" Text="My only thought on drones is this: make them your own&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;be VERY wary of making your **signature sounds** straight out of a library. Lets face it, it is very easy to generate drones of your own - whether they are created via granular, synthesis or harmonic freezes or whatever.... You owe it to yourself (and the project) to make/create your own, inspired &amp; emotionally motivated by the project you're working on.... &#xD;&#xA;&#xD;&#xA;I consider the aesthetics of drones to be very personal &amp; particular.... Sure as hell dont want the equivalent of the (yeech) Hollywood Edge metal hatch door open/whistly wind/etc/etc applied to something so beautiful &amp; subjective as a drone...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;just my $0.05&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29110" PostHistoryTypeId="2" PostId="18011" RevisionGUID="6b0fc062-7c35-4be6-8f39-8f4412c96b69" CreationDate="2013-02-07T12:50:14.100" UserId="845" Text="Not directly related, but some of my favourite 'drone' or 'slow burn' music.  Might give you some ideas to steal.&#xD;&#xA;&#xD;&#xA;&lt;p&gt;Old School:&lt;/p&gt;&#xD;&#xA; - Elaine Radigue&#xD;&#xA; - La Monte Young&#xD;&#xA; - Terry Riley &#xD;&#xA;&#xD;&#xA;&lt;p&gt;Middle School:&lt;/p&gt;&#xD;&#xA; - Noise-arch.net is a collection of 80's-90's cassette-based noise experiments: http://noise-arch.net/&#xD;&#xA;&#xD;&#xA;&lt;p&gt;New School:&lt;/p&gt;&#xD;&#xA;&#xD;&#xA; - The label Panda Fuzz has a bunch of cool stuff: http://www.pandafuzz.com/&lt;br&gt;&#xD;&#xA; - Tim Hecker &#xD;&#xA; - Lawrence English &#xD;&#xA; - North Sea - http://north-sea.bandcamp.com/&#xD;&#xA; - 36 - http://3six.bandcamp.com/music" ContentLicense="CC BY-SA 3.0" />
  <row Id="29111" PostHistoryTypeId="2" PostId="18012" RevisionGUID="29a96442-4dfb-40cd-ab0b-5857ed966869" CreationDate="2013-02-07T13:23:57.807" UserId="3754" Text="Thanks team! My omni is an AKG SE300B, so looks like time to search for a fig 8 cap!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29112" PostHistoryTypeId="2" PostId="18013" RevisionGUID="fa4c31dc-3cdc-4b1f-8d34-2f87277543ad" CreationDate="2013-02-07T13:34:57.590" UserId="4442" Text="Reaktor fo' sho', but if you're a Mac user, you MUST GET MICHAEL NORRIS SPECTRAL MAGIC. Serious, take a microwave hum, light buzz, refrigerator, and put through spectral DroneMaker or Emergence ho mah GAWD.&#xD;&#xA;&#xD;&#xA;Seriously though, this tool pack is free and amazing (audio unit only, sorry if you're vst or anything else), and taking those into samplers and doing whatever else you need with them is beautiful. [Site Here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.michaelnorris.info/software/soundmagic-spectral.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="29113" PostHistoryTypeId="2" PostId="18014" RevisionGUID="264f1747-3dcb-4cdd-b6f1-c71e525f7052" CreationDate="2013-02-07T14:02:51.947" UserId="5605" Text="You can check out Lynda.com:&#xD;&#xA;&#xD;&#xA;Audio for Film and Video with Pro Tools with Scott Hirsch   &#xD;&#xA;http://www.lynda.com/Pro-Tools-9-training/Audio-for-Film-and-Video-with/77862-2.html&#xD;&#xA;&#xD;&#xA;Audio Post Workflow with Final Cut Pro X and Pro Tools with Scott Hirsch   &#xD;&#xA;http://www.lynda.com/Final-Cut-Pro-tutorials/Audio-Post-Workflow-Final-Cut-Pro-X-Pro-Tools/103055-2.html&#xD;&#xA;&#xD;&#xA;Music Editing for TV and Film in Pro Tools with Skye Lewin   &#xD;&#xA;http://www.lynda.com/Pro-Tools-9-tutorials/Music-Editing-for-TV-and-Film-in-Pro-Tools/89611-2.html&#xD;&#xA;&#xD;&#xA;I don't know whether they are any good, stumbled upon them a couple of days ago!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29114" PostHistoryTypeId="2" PostId="18015" RevisionGUID="feb6bf43-8b28-49dc-9ed3-b714c39e5085" CreationDate="2013-02-07T14:34:46.127" UserId="5725" Text="can i record with a zoom 4n simultaneously with the 3.5 mm jack and the built in mics and the xlr jacks at the same time?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29115" PostHistoryTypeId="1" PostId="18015" RevisionGUID="feb6bf43-8b28-49dc-9ed3-b714c39e5085" CreationDate="2013-02-07T14:34:46.127" UserId="5725" Text="Can I use a Zoon " ContentLicense="CC BY-SA 3.0" />
  <row Id="29116" PostHistoryTypeId="3" PostId="18015" RevisionGUID="feb6bf43-8b28-49dc-9ed3-b714c39e5085" CreationDate="2013-02-07T14:34:46.127" UserId="5725" Text="&lt;zoom&gt;&lt;zoom-h4n&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29117" PostHistoryTypeId="2" PostId="18016" RevisionGUID="511f21a5-653c-40d3-be3f-ca0718d710eb" CreationDate="2013-02-07T16:38:22.020" UserId="6499" Text="pretty sure the 1/8th jack is in parallel with the on board mics as far as tracking goes." ContentLicense="CC BY-SA 3.0" />
  <row Id="29118" PostHistoryTypeId="2" PostId="18017" RevisionGUID="e6ade909-07bc-487a-b8a0-b98f2f628648" CreationDate="2013-02-07T16:57:25.683" UserId="1228" Text="No, it can only use the internal mics and XLR simultaneously in 4 channel mode (the caveat being it limits you to 48/24 instead of 96/24).  What you are attempting is 6 channel recording and it is not capable of this." ContentLicense="CC BY-SA 3.0" />
  <row Id="29119" PostHistoryTypeId="2" PostId="18018" RevisionGUID="c79f3d2b-b216-4ee0-82c7-6154a61adf16" CreationDate="2013-02-07T17:29:38.807" UserId="234" Text="IF the distance you're running is under 30 feet, then you try getting really good quality extender cables. I currently run about 30 feet from my &quot;machine room&quot; (really just a large closet) with just hi-quality extender USB and DVI cables. Make sure you spend a few bucks on them, don't use the el-cheapo stuff. Over that point you should consider in investing in the Extenders Steve mentioned. You could also consider isolation racks... we've had good luck with the Middle Atlantic stuff: http://www.middleatlantic.com/studio/ec/ecracks.htm. An option if putting the machine in another room is problematic for one reason or another.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29120" PostHistoryTypeId="4" PostId="18015" RevisionGUID="9206ed4c-5ec1-4679-93a4-1b9497a52364" CreationDate="2013-02-07T17:38:41.153" UserId="61" Comment="edited title" Text="Can I use a Zoom" ContentLicense="CC BY-SA 3.0" />
  <row Id="29121" PostHistoryTypeId="2" PostId="18019" RevisionGUID="30ae363d-3477-40fb-bd7e-e6932b4935fd" CreationDate="2013-02-07T17:59:28.887" UserId="1035" Text="Look into the Avid webinars. They have a good number that are focused on post-production work. The ones w/ Scott Weber are particularly good, they just released a new one called Creating the Indie Film Soundtrack. It comes w/ a downloadable session, and it's all free (just requires registration). " ContentLicense="CC BY-SA 3.0" />
  <row Id="29122" PostHistoryTypeId="2" PostId="18020" RevisionGUID="82f99b13-ee63-4da6-bba2-1ddecf211b9f" CreationDate="2013-02-07T19:20:34.333" UserId="4238" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I know I posted something reasonably similar before about anime but I was thinking about doing a dissertation on the subject, here is what I've got so far.&#xD;&#xA;&#xD;&#xA;&quot;What are the Processes Required in Creating a Successful Sound Design in Action Shōnen Anime?&quot; &#xD;&#xA;&#xD;&#xA;I noticed after watching a few anime, most of the sounds are synthesized or sounds that have been processed a LOT and there has been hardly anything on sound design of this kind. I would analyze generic action shonen anime sounds in terms of processes like EQ etc.&#xD;&#xA;&#xD;&#xA;I was then thinking about comparing older and newer ones to see how they have developed over the years (I know that makes it partly a historical document, but I feel I should add it in the literature review somewhere) and finally whether using a more &quot;realistic&quot; sound design e.g. using soundscapes would benefit this form of anime.&#xD;&#xA;&#xD;&#xA;I was also going to throw in some case studies and interviews with prominent sound designers (if anyone responds haha) in the field to see what they have to say about the matter.&#xD;&#xA;&#xD;&#xA;The methodology would be something along the lines of putting my own bank of created sounds to a few clips and show unbiased subjects a film of my own design and the original film to see what they feel suits the picture more, maybe throw in a version with a combination of both, one to try and emulate more motion picture type sound, and one with &quot;hyperreal&quot; anime sound just to gather response. &#xD;&#xA;&#xD;&#xA;Sorry for rabbiting on haha just wanted to get your opinions and feedback!&#xD;&#xA;&#xD;&#xA;I also have another which is &quot;What is the Validity of using Mathematical Techniques to Create Future Contemporary Hits in Popular Music?&quot; (I know I'm a geek |8]) analyzing things like uplaya and scoreahit etc, but there is a lot of ambiguity on that and I feel as though I could slip up somewhere.&#xD;&#xA;&#xD;&#xA;I digress, please let me know what you think! Would be much appreciated!&#xD;&#xA;&#xD;&#xA;Kind Regards" ContentLicense="CC BY-SA 3.0" />
  <row Id="29123" PostHistoryTypeId="1" PostId="18020" RevisionGUID="82f99b13-ee63-4da6-bba2-1ddecf211b9f" CreationDate="2013-02-07T19:20:34.333" UserId="4238" Text="Dissertation Statement - Help me choose please! " ContentLicense="CC BY-SA 3.0" />
  <row Id="29124" PostHistoryTypeId="3" PostId="18020" RevisionGUID="82f99b13-ee63-4da6-bba2-1ddecf211b9f" CreationDate="2013-02-07T19:20:34.333" UserId="4238" Text="&lt;dissertation&gt;&lt;animation&gt;&lt;education&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29125" PostHistoryTypeId="2" PostId="18021" RevisionGUID="be5d3539-3be0-4d3a-a5f6-a4c76c41e4f7" CreationDate="2013-02-07T19:36:30.743" UserId="4238" Text="Strangely, once I hit the wall, and before I got to the point where I wanted to shoot myself, I just sat back and relaxed for half hour, an hour (or depending on how much time you actually have left).&#xD;&#xA;&#xD;&#xA;Getting stressed out will only cramp your workflow but you will more than likely miss things and or overdo things, as your ears get tired. Just chill out for a bit, then get back into the swing of it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29126" PostHistoryTypeId="2" PostId="18022" RevisionGUID="54f48b54-1117-49e3-8f3e-db7ce8b5ce5d" CreationDate="2013-02-07T20:14:36.257" UserId="66" Text="@George,&#xD;&#xA;&#xD;&#xA;Though this reply will most likely come off as defensive, I still would like to offer my response and I welcome further discussion.&#xD;&#xA;&#xD;&#xA;I can understand why one might feel annoyed at the marketing tactics we employed to spread the word about the Hybrid; I used to feel distaste for marketing and advertising industries myself, equating them to kings of manipulation.  However, I now think that pretty packaging and marketing &quot;tricks&quot; serve a valid purpose, and in fact these days I see branding and marketing as an important representation of a company whether I'm a customer or the business owner.  This is of course an individual's decision, and we as a company choose to place importance on it (and feel no shame for it). &#xD;&#xA;&#xD;&#xA;The Hybrid Library is absolutely thought-out.  We spent a good deal of the last quarter of 2012 coming up with and marketing the idea. The survey results were key to the pricing and number of sounds.  Of course, we obviously hope to make money.  But everyone working at PSE is a sound editor, recording engineer, university professor, etc. when not working at PSE, our publishers as well, and we believe in our products and ultimately want to 'share the wealth' in a way that is a win-win situation.  *Freelancers get a great deal on a robust library; we keep innovating while trying to build up our brand.*  &#xD;&#xA;&#xD;&#xA;We are not selling the Hybrid to just anyone which is why we require an application, and we *have* turned down many inquiries.  The pricing is strictly for freelancers.  Freelancers, myself being an example (I work on indie films in NYC), simply cannot afford the retail price of large sound effects libraries.  The smaller, independent sound effects recordists produce high quality and nicely priced libraries, but when you are sound designing for film, you need a variety of searchable sounds at your fingertips.  It's not efficient to go out and record sounds all the time.  Even though I live in NYC I've rarely gone out to record NYC street ambience because it will take quadruple the time (or more) than to pull it from a sound effects library.   Now a freelance sound installation artist will not have the same needs as a sound editor for indie films, so if you can acquire all your sounds with boutique libraries and capturing them yourself, that is awesome and makes me jealous : )&#xD;&#xA;&#xD;&#xA;Yes - it's a huge, library.  Even a library this large will not cover all of a sound designer's needs. But it's a good start.&#xD;&#xA;&#xD;&#xA;Ultimately, this is an experiment for us, and a risk.  We don't know the long term impact of releasing the hybrid.  One thing is certain, though, which is the positive feedback from happy customers is genuine, and we simply feel good about that.&#xD;&#xA;&#xD;&#xA;Thanks for reading. Comments welcomed." ContentLicense="CC BY-SA 3.0" />
  <row Id="29127" PostHistoryTypeId="2" PostId="18023" RevisionGUID="c7b2faf3-2884-4d53-9e5e-fcec336dca8b" CreationDate="2013-02-07T20:34:59.640" UserId="3179" Text="I think doing polls is the best (or most publicly useful) way to go with art dissertations in general. Remember that what we do is perceived subjectively. So in order to get somewhat objective/truthful statements about art that carry weight, you have to ask (many) people what they feel or think.&#xD;&#xA;&#xD;&#xA;I understand the interest to do analysis of sound and music, but again here lies the danger of excessive subjectivism, if one's attempting to draw some generalizable conclusions. Or then you need to develop a specific methodology for the analysis or dig into the more scientific fields that study art formally (e.g. psychology) and lend methods from those. &#xD;&#xA;&#xD;&#xA;Then, one popular method is to take the dissertation as a personal learning opportunity (which it of course is) and which you formulate by digging some background information (from reputable sources) about what you're going to do and then provide a practical case study about how something works or how you implemented something.&#xD;&#xA;&#xD;&#xA;&quot;What is the Validity of using Mathematical Techniques to Create Future Contemporary Hits in Popular Music?&quot;. What's this? Algorithmic composition?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29128" PostHistoryTypeId="5" PostId="18023" RevisionGUID="ba1564e8-433c-49d0-a499-c5e8c701c171" CreationDate="2013-02-07T20:44:22.893" UserId="3179" Comment="added 25 characters in body" Text="I think doing polls is the best (or most publicly useful) way to go with art dissertations in general. Remember that what we do (or consume) is perceived subjectively. So in order to get somewhat objective/truthful statements about art that carry weight, you have to ask (many) people what they feel or think.&#xD;&#xA;&#xD;&#xA;I understand the interest to do analysis of sound and music, but again here lies the danger of excessive subjectivism, if one's attempting to draw some generalizable conclusions. Or then you need to develop a specific methodology or criteria for the analysis or dig into the more scientific fields that study art formally (e.g. psychology) and lend methods from those. &#xD;&#xA;&#xD;&#xA;Then, one popular method is to take the dissertation as a personal learning opportunity (which it of course is) and which you formulate by digging some background information (from reputable sources) about what you're going to do and then provide a practical case study about how something works or how you implemented something.&#xD;&#xA;&#xD;&#xA;&quot;What is the Validity of using Mathematical Techniques to Create Future Contemporary Hits in Popular Music?&quot;. What's this? Algorithmic composition?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29129" PostHistoryTypeId="5" PostId="18023" RevisionGUID="2da4ba3b-d6e6-41bf-b0d7-2df41bd63493" CreationDate="2013-02-07T20:51:12.627" UserId="3179" Comment="added 9 characters in body; added 62 characters in body; added 28 characters in body" Text="I think doing polls is the best (or most publicly useful) way to go with art dissertations in general. Another could be sales or listening charts, if it's something that's sold or distributed. Remember that what we do (or consume) is perceived subjectively. So in order to get somewhat objective/truthful statements about art that carry weight, you have to ask (many) people what they feel or think.&#xD;&#xA;&#xD;&#xA;I understand the interest to do analysis of sound and music, but again here lies the danger of excessive subjectivism, if one's attempting to draw some generalizable conclusions. Or then you need to develop a specific methodology or criteria for the analysis or dig into the more scientific fields that study art or media formally (e.g. psychology) and lend methods from those. &#xD;&#xA;&#xD;&#xA;Then, one popular method is to take the dissertation as a personal learning opportunity (which it of course is) and which you formulate by digging some background information (from reputable sources) about what you're going to do and then provide a practical case study about how something works or how you implemented something.&#xD;&#xA;&#xD;&#xA;&quot;What is the Validity of using Mathematical Techniques to Create Future Contemporary Hits in Popular Music?&quot;. What's this? Algorithmic composition?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29130" PostHistoryTypeId="5" PostId="18023" RevisionGUID="60bcdefd-e383-4131-8d39-f1775cdafcd8" CreationDate="2013-02-07T20:57:57.170" UserId="3179" Comment="added 8 characters in body; edited body; added 54 characters in body" Text="I think doing polls is the best (or most publicly useful) way to go with art dissertations in general. Another could be sales or viewing/listening charts, if it's something that's sold or distributed. Remember that what we do (or consume) is perceived subjectively. So in order to get somewhat objective/truthful statements about art that carry weight, you have to ask (many) people what they feel or think.&#xD;&#xA;&#xD;&#xA;I understand the interest to do analysis of sound and music, but again here lies the danger of excessive subjectivity and/or the study ending up being very non-informative, if one's attempting to draw some generalizable conclusions. Or then you need to develop a specific methodology or criteria for the analysis or dig into the more scientific fields that study art or media formally (e.g. psychology) and lend methods from those. &#xD;&#xA;&#xD;&#xA;Then, one popular method is to take the dissertation as a personal learning opportunity (which it of course is) and which you formulate by digging some background information (from reputable sources) about what you're going to do and then provide a practical case study about how something works or how you implemented something.&#xD;&#xA;&#xD;&#xA;&quot;What is the Validity of using Mathematical Techniques to Create Future Contemporary Hits in Popular Music?&quot;. What's this? Algorithmic composition?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29131" PostHistoryTypeId="5" PostId="18023" RevisionGUID="3dc1e590-3e50-4fdc-a60b-ed36850be1fe" CreationDate="2013-02-07T21:03:02.087" UserId="3179" Comment="added 20 characters in body; added 55 characters in body" Text="I think doing polls is the best (or most publicly useful) way to go with art dissertations in general. Another could be sales or viewing/listening charts, if it's something that's sold or distributed. Remember that what we do (or consume) is perceived subjectively. So in order to get somewhat objective/truthful or just informative statements about art that carry weight, you have to ask (many) people what they feel or think.&#xD;&#xA;&#xD;&#xA;I understand the interest to do analysis of sound and music, but again here lies the danger of excessive subjectivity and/or the study ending up being very non-informative, if one's attempting to draw some generalizable conclusions with inadequate methods and background study/knowledge. Or then you need to develop a specific methodology or criteria for the analysis or dig into the more scientific fields that study art or media formally (e.g. psychology) and lend methods from those. &#xD;&#xA;&#xD;&#xA;Then, one popular method is to take the dissertation as a personal learning opportunity (which it of course is) and which you formulate by digging some background information (from reputable sources) about what you're going to do and then provide a practical case study about how something works or how you implemented something.&#xD;&#xA;&#xD;&#xA;&quot;What is the Validity of using Mathematical Techniques to Create Future Contemporary Hits in Popular Music?&quot;. What's this? Algorithmic composition?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29132" PostHistoryTypeId="2" PostId="18024" RevisionGUID="83292803-ccc1-4c08-81c9-3823b442511c" CreationDate="2013-02-07T21:14:16.687" UserId="930" Text="The only advice I can give is, you're going to be spending a LOT of time with the material - so pick something you are genuinely interested in and want to learn more about. I'd go as far as saying don't treat it like a piece of educational work - but treat it as an opportunity to research something you want to know more about, or to better your knowledge of a subject you feel you're currently lacking (as long as it's relevant of course).&#xD;&#xA;&#xD;&#xA;Not only will the work come out better because you're truly passionate about it - but, if you pick your topic wisely - it will be valuable to your progression as a sound designer.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Fred" ContentLicense="CC BY-SA 3.0" />
  <row Id="29133" PostHistoryTypeId="2" PostId="18025" RevisionGUID="a1b6e242-ea15-4ffe-8aed-a3d1193c7b45" CreationDate="2013-02-07T22:03:04.437" UserId="845" Text="To be absolutely honest, I can't say that your thesis, as stated, sounds like a terribly interesting read.  Analysis, particularly when it comes to mixing technique, can be rather difficult to make interesting.  It's kind of like reading the verbal equivalent of a spreadsheet.  However, if you find a way to give it a broader scope in terms of how your analysis effects (or should effect) sound design practice, then pretty much any topic is fine.  You have to have a topic that matters, or if you can't find one/aren't interested in one that actually matters, you have to find a way to make what you want to do *sound* like it matters.&#xD;&#xA;&#xD;&#xA;So, why is the huge amount of audio processing done in Shōnen Anime important?  Why should anyone care?  Why do you care?  Because that's really the point.&#xD;&#xA;&#xD;&#xA;Contrary to @Internet Human, I think subjectivity is something that should be actively engaged with.  If it doesn't affect you on a deep, subjective level, there's not much point in studying it, really. All of the driest, boringest, most academic seeming stuff (Philosophy, psychology, meta-linguistic theory, etc.) only exists in the first place because someone cared so much about the subject that they **had** to write 90,000 words on the subject.&#xD;&#xA;&#xD;&#xA;Academic study and writing doesn't have to be as stale and lifeless as most people seem to think.  Having an opinion isn't a bad thing.  Expressing emotion isn't a bad thing.  The only thing that you **must** be able to do is provide justification for any of the claims you make.  As long as you do that, you're in the clear.&#xD;&#xA;&#xD;&#xA;Writing a dissertation is no different than making anything 'artistic'.  A good piece of writing has a sense of dynamic, a sense of flow, a sense of tension, and a genuine feeling of cathartic resolve when the conclusion is reached.  You can't do that without engaging the reader on a personal/human level.  Of course, you have to be careful not to be **too** personal and get carried away, but you won't be marked down for being enthusiastic, interested, and opinionated.  Because if it seems like even *you* don't care about it, then who gives a shit in the first place?&#xD;&#xA;&#xD;&#xA;So express yourself and show that it's important, even if only to you.&#xD;&#xA;&#xD;&#xA;Also, for my two cents, I'd stay away from conducting surveys.  I don't know what context you're working in, but if a study of the kind you propose is done under conditions that aren't strictly controlled and properly supervised, the results are scientifically and statistically meaningless, and the whole therefore is a bit of a waste of time.  Also, in all likelihood, the sample size you'll end up having will be uselessly small.  A study of 20 people who know you and whose answers *will* be affected by your relationship to them, basically nullifies any conclusions you could have drawn from the results.&#xD;&#xA;&#xD;&#xA;If nothing else, when I was starting my dissertaion 8 months ago, the one thing my supervisor told me **not to do** was write a survey-based thesis... " ContentLicense="CC BY-SA 3.0" />
  <row Id="29134" PostHistoryTypeId="5" PostId="18017" RevisionGUID="b5513bbc-4794-47d8-a57d-775861aadca6" CreationDate="2013-02-07T22:46:54.433" UserId="1228" Comment="added 46 characters in body" Text="No, it can only use the internal mics and XLR simultaneously in 4 channel mode (the caveat being it limits you to 48/24 instead of 96/24).  What you are attempting is **6 channel** recording and it is **not** capable of this - on a logic board and firmware level." ContentLicense="CC BY-SA 3.0" />
  <row Id="29135" PostHistoryTypeId="2" PostId="18026" RevisionGUID="f1956b60-91de-4097-b5e0-f68f7adbef89" CreationDate="2013-02-08T01:01:21.780" UserId="6499" Text="All of my paid work has been obtained via word of mouth from people I have done work for in the past.  For awhile that worked, I edited out of my bedroom and did production sound and concert sound gigs to pay the bills.  I had never actively pursued clients or cold called people to get sound design/editing jobs.  The major factor being that I could not offer a professional editing/mixing environment for clients.  I have recently completed my small studio build, two rooms.  One is my edit mix room and the other is a recording room designed specifically for VO and then foley, sfx recording etc.  It is a very dry room.    What I want to actively seek out is commercial work and VO recording.  What tactics have you all found to be most productive in approaching a company that you are trying to cultivate a working relationship with, but do not have a connection to?  I have thought about the idea of also doing some craigslists posts, but in all honesty I am trying to get clientele that would generally not search CL for sound editors.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="29136" PostHistoryTypeId="1" PostId="18026" RevisionGUID="f1956b60-91de-4097-b5e0-f68f7adbef89" CreationDate="2013-02-08T01:01:21.780" UserId="6499" Text="Getting the work, best way to cold call/approach production companies?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29137" PostHistoryTypeId="3" PostId="18026" RevisionGUID="f1956b60-91de-4097-b5e0-f68f7adbef89" CreationDate="2013-02-08T01:01:21.780" UserId="6499" Text="&lt;advertising&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29138" PostHistoryTypeId="2" PostId="18027" RevisionGUID="d541d30c-354e-4233-9b54-9181376c86ed" CreationDate="2013-02-08T02:38:24.257" UserId="5623" Text="Honest emails...much in the tone that you've written this question...can work.  Sometimes you luck out.  I also suggest industry functions like meet ups, conventions, hardware/software demonstrations, development councils etc.  Also, A lot of time people over look connections they already have.  Ping everyone you think has a shot at either using your service...BUT more importantly may be able to refer you to someone.  Then Always Always Always try to meet them in person...if for only a 5 minute coffee." ContentLicense="CC BY-SA 3.0" />
  <row Id="29139" PostHistoryTypeId="2" PostId="18028" RevisionGUID="7a32db69-13f9-461e-a564-ca608747aa17" CreationDate="2013-02-08T04:57:40.987" UserId="3567" Text="I would add to what Andrew already said: get a cool looking website and a profile on Linkedin. Even if the ideal is to meet your clients offline, you still want to have a strong online identity.&#xD;&#xA;&#xD;&#xA;Otherwise, congrats on building your new studio!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29140" PostHistoryTypeId="2" PostId="18029" RevisionGUID="16e8cac7-e6e2-4edf-8740-0eceb4c95de2" CreationDate="2013-02-08T06:48:18.833" UserId="3746" Text="I always spell it as whoosh. Interestingly though, when you want a swoosh, that word has no &quot;H&quot; after the &quot;W&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29141" PostHistoryTypeId="2" PostId="18030" RevisionGUID="183f519b-8b88-4df5-b70c-d004c39f926b" CreationDate="2013-02-08T07:54:16.950" UserId="1228" Text="I agree with George - an online identity is important (even if only a simple &quot;interactive business card&quot; style website), but also CONSISTENCY in your online presence across all media platforms.&#xD;&#xA;&#xD;&#xA;I also agree with Andrew that mixers and conventions and any other opportunities to be around people physically can help.  If anything, it helps everyone put a name to a face for the future.  Patience is key, and you may very well have to begin at the ground level with Mandy.com and Craiglist and the like.&#xD;&#xA;&#xD;&#xA;What I believe should be the long term chief focus/investment is in developing meaningful relationships.  Do that, and the referrals/clients will follow.  Personally, I feel emailing and advertising appears desperate and is not an approach I recommend.  And I can personally attest that I have been on the receiving end advertising/cold-call emails before form people and entities I don't know of trying to tell me about their servies and get me to work with them etc... they all go direct to my trash can without consideration.  Harsh?  Maybe it may seem that way, but it's not at all.  The people I'm going to go to to work with or hire are people I know personally again, **based upon a meaningful relationship we have developed** because this line of work is about calculated risk and reliable relationships.  I would rather you try to, as Andrew mentioned, take time to meet up for coffee or something of that nature to develop a relationship so that you have a foundation to build off of.  If I get two emails, one from somebody I've had lunch with or talked shop with at a mixer, even if many years ago, versus someone's cold-call email of equivalent content, I'm going to be naturally driven to talk to/work with the one who I know and have developed a relationship with. &#xD;&#xA;&#xD;&#xA;This is just my 2 cents.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29142" PostHistoryTypeId="5" PostId="18030" RevisionGUID="20b02c72-3fa6-45e6-922e-dfaf4db9ffc6" CreationDate="2013-02-08T08:37:14.657" UserId="1228" Comment="added 59 characters in body" Text="I agree with George - an online identity is important (even if only a simple &quot;interactive business card&quot; style website), but also CONSISTENCY in your online presence across all media platforms.&#xD;&#xA;&#xD;&#xA;I also agree with Andrew that mixers and conventions and any other opportunities to be around people physically can help.  If anything, it helps everyone put a name to a face for the future.  Patience is key, and you may very well have to begin at the ground level with Mandy.com and Craiglist and the like.&#xD;&#xA;&#xD;&#xA;What I believe should be the long term chief focus/investment is in developing meaningful relationships.  Do that, and the referrals/clients will follow.  Personally, I feel emailing and advertising appears desperate and is not an approach I recommend.  And I can personally attest that I have been on the receiving end advertising/cold-call emails before form people and entities I don't know of trying to tell me about their services and get me to work with them etc (I don't mean potential clients because that's different)... they all go direct to my trash can without consideration.  Harsh?  Maybe it may seem that way, but it's not at all.  The people I'm going to go to to work with or hire are people I know personally again, **based upon a meaningful relationship we have developed** because this line of work is about calculated risk and reliable relationships.  I would rather you try to, as Andrew mentioned, take time to meet up for coffee or something of that nature to develop a relationship so that you have a foundation to build off of.  If I get two emails, one from somebody I've had lunch with or talked shop with at a mixer, even if many years ago, versus someone's cold-call email of equivalent content, I'm going to be naturally driven to talk to/work with the one who I know and have developed a relationship with. &#xD;&#xA;&#xD;&#xA;This is just my 2 cents.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29143" PostHistoryTypeId="2" PostId="18031" RevisionGUID="12800ef8-6f0c-4d47-a439-5fb4a933531c" CreationDate="2013-02-08T09:14:47.130" UserId="261" Text="And when you do absolutely need to timestretch something, use [Paul Stretch][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hypermammut.sourceforge.net/paulstretch/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29144" PostHistoryTypeId="2" PostId="18032" RevisionGUID="352262eb-0d48-4dc3-b2fa-c0cddb63dffa" CreationDate="2013-02-08T18:55:45.603" UserId="730" Text="I started working on the sound design for tribes november 2010, it is still an on going process.  not sure about the music, chris rickwood did that." ContentLicense="CC BY-SA 3.0" />
  <row Id="29145" PostHistoryTypeId="2" PostId="18033" RevisionGUID="2c1fa79d-ea45-4529-820b-1945190fef32" CreationDate="2013-02-09T09:09:14.853" UserId="5731" Text="I am shocked that there is still the attitude that women aren't technical!!!! It would be great to know what aspect of studio technology isn't feminine?&#xD;&#xA;&#xD;&#xA;A sound engineer of 25 years.&#xD;&#xA;&#xD;&#xA;Also a woman." ContentLicense="CC BY-SA 3.0" />
  <row Id="29146" PostHistoryTypeId="2" PostId="18034" RevisionGUID="25960c65-1151-44bf-bc8a-3eff5d9edecb" CreationDate="2013-02-09T10:12:59.603" UserId="243" Text="Hi guys this could be a very popular question/debate but what do you feel are the pros/cons of analog and/or digital audio in relation to one another? To start the ball rolling one of the first pros of digital over analog is: Analog needs large fx/eq/compressor physical racks whereas with digital audio all of the above mentioned &quot;racks&quot; are digitally built into a system/program...   " ContentLicense="CC BY-SA 3.0" />
  <row Id="29147" PostHistoryTypeId="1" PostId="18034" RevisionGUID="25960c65-1151-44bf-bc8a-3eff5d9edecb" CreationDate="2013-02-09T10:12:59.603" UserId="243" Text="Analog vs Digital/digital vs analog audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="29148" PostHistoryTypeId="3" PostId="18034" RevisionGUID="25960c65-1151-44bf-bc8a-3eff5d9edecb" CreationDate="2013-02-09T10:12:59.603" UserId="243" Text="&lt;ideas&gt;&lt;digital&gt;&lt;digital-technology&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29149" PostHistoryTypeId="2" PostId="18035" RevisionGUID="115393df-ffe9-479a-8ccb-b1bd16d5bbd8" CreationDate="2013-02-09T10:55:27.527" UserId="3179" Text="Digital:&#xD;&#xA;&#xD;&#xA;+Easier to design&lt;br&gt;&#xD;&#xA;+Low cost&lt;br&gt;&#xD;&#xA;+Infinite replication (in software)&lt;br&gt;&#xD;&#xA;+Total recall&lt;br&gt;&#xD;&#xA;+Often easier and faster to use&lt;br&gt;&#xD;&#xA;+More bandwidth/channels in a smaller form factor&lt;br&gt;&#xD;&#xA;+Better S/N performance in hardware&lt;br&gt;&#xD;&#xA;+Does stuff that cannot be (at least reasonably or cheaply) done with analog electronics&lt;br&gt;&#xD;&#xA;+Usually implements visual feedback of the processes. GUIs are customizable&lt;br&gt;&#xD;&#xA;&#xD;&#xA;+/-Usually works/sounds always the same (random variation in sound has to be implemented separately)&lt;br&gt;&#xD;&#xA;&#xD;&#xA;-Distortion mostly sounds harsh, but it has its uses&#xD;&#xA;&#xD;&#xA;Analog:&#xD;&#xA;&#xD;&#xA;+Can sound better in particular cases&lt;br&gt;&#xD;&#xA;+Almost everything has a knob for it&lt;br&gt;&#xD;&#xA;&#xD;&#xA;+/-Can have poor S/N performance and can sound &quot;lo-fi&quot;&lt;br&gt;&#xD;&#xA;&#xD;&#xA;-No memory, no recalling of parameters, has to be done by hand&lt;br&gt;&#xD;&#xA;-Often cumbersome to use, especially when it comes to routing/patching and moving the gear around&lt;br&gt;&#xD;&#xA;-Takes space&lt;br&gt;&#xD;&#xA;-Can wear out&lt;br&gt;&#xD;&#xA;-Can show changes in sound because of worn out components, room humidity etc.&lt;br&gt;&#xD;&#xA;-Harder to design, some stuff impossible to design, more expensive to manufacture&lt;br&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29150" PostHistoryTypeId="5" PostId="18035" RevisionGUID="203e28ac-a2c8-4c1c-a390-5a89c3047e0f" CreationDate="2013-02-09T11:00:57.867" UserId="3179" Comment="added 11 characters in body; added 11 characters in body; added 21 characters in body; deleted 9 characters in body" Text="Digital:&#xD;&#xA;&#xD;&#xA;+Easier to design&lt;br&gt;&#xD;&#xA;+Low cost&lt;br&gt;&#xD;&#xA;+Infinite replication (in software)&lt;br&gt;&#xD;&#xA;+Total recall&lt;br&gt;&#xD;&#xA;+Often easier and faster to use&lt;br&gt;&#xD;&#xA;+More bandwidth/channels in a smaller form factor&lt;br&gt;&#xD;&#xA;+Better S/N performance in hardware&lt;br&gt;&#xD;&#xA;+Does stuff that cannot be (at least reasonably or cheaply, or at all) done with analog electronics&lt;br&gt;&#xD;&#xA;+Usually implements visual feedback of the processes. GUIs are customizable&lt;br&gt;&#xD;&#xA;&#xD;&#xA;+/-Usually works/sounds always the same (random variation in sound has to be implemented separately)&lt;br&gt;&#xD;&#xA;&#xD;&#xA;-Distortion mostly sounds harsh, but it has its uses&#xD;&#xA;&#xD;&#xA;Analog:&#xD;&#xA;&#xD;&#xA;+Can sound better in particular cases&lt;br&gt;&#xD;&#xA;+A physical knob/fader/other for almost anything&lt;br&gt;&#xD;&#xA;&#xD;&#xA;+/-Can have poor S/N performance and can sound &quot;lo-fi&quot;&lt;br&gt;&#xD;&#xA;&#xD;&#xA;-No memory, no recalling of parameters, has to be done by hand&lt;br&gt;&#xD;&#xA;-Often cumbersome to use, especially when it comes to routing/patching, moving the gear around and recording&lt;br&gt;&#xD;&#xA;-Takes space&lt;br&gt;&#xD;&#xA;-Can wear out&lt;br&gt;&#xD;&#xA;-Can show changes in sound because of worn out components, room humidity etc.&lt;br&gt;&#xD;&#xA;-Harder to design, some stuff impossible to design, more expensive to manufacture&lt;br&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29151" PostHistoryTypeId="16" PostId="18035" RevisionGUID="203e28ac-a2c8-4c1c-a390-5a89c3047e0f" CreationDate="2013-02-09T11:02:06.947" UserId="3179" Comment="added 11 characters in body; added 11 characters in body; added 21 characters in body; deleted 9 characters in body" />
  <row Id="29152" PostHistoryTypeId="5" PostId="18035" RevisionGUID="6ca276be-6b31-49ef-9ee9-87c2c10789ec" CreationDate="2013-02-09T11:13:47.327" UserId="3179" Comment="added 63 characters in body; added 38 characters in body; added 87 characters in body" Text="Digital:&#xD;&#xA;&#xD;&#xA;+Easier to design&lt;br&gt;&#xD;&#xA;+Low cost&lt;br&gt;&#xD;&#xA;+Infinite replication (in software)&lt;br&gt;&#xD;&#xA;+Total recall&lt;br&gt;&#xD;&#xA;+Often easier and faster to use&lt;br&gt;&#xD;&#xA;+More bandwidth/channels in a smaller form factor&lt;br&gt;&#xD;&#xA;+Better S/N performance in hardware&lt;br&gt;&#xD;&#xA;+Does stuff that cannot be (at least reasonably or cheaply, or at all) done with analog electronics&lt;br&gt;&#xD;&#xA;+Usually implements visual feedback of the processes. GUIs are customizable&lt;br&gt;&#xD;&#xA;&#xD;&#xA;+/-Usually works/sounds always the same (random variation in sound has to be implemented separately)&lt;br&gt;&#xD;&#xA;&#xD;&#xA;-Distortion mostly sounds harsh, but it has its uses&lt;br&gt;&#xD;&#xA;-Opinion: Large price range, quality doesn't necessarily correlate with price&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Analog:&#xD;&#xA;&#xD;&#xA;+Can sound better in particular cases&lt;br&gt;&#xD;&#xA;+A physical knob/fader/other for almost anything&lt;br&gt;&#xD;&#xA;&#xD;&#xA;+/-Can have poor S/N performance and can sound &quot;lo-fi&quot;&lt;br&gt;&#xD;&#xA;&#xD;&#xA;-No memory, no recalling of parameters, has to be done by hand&lt;br&gt;&#xD;&#xA;-Often cumbersome to use, especially when it comes to routing/patching, moving the gear around and recording&lt;br&gt;&#xD;&#xA;-Takes space&lt;br&gt;&#xD;&#xA;-Can wear out&lt;br&gt;&#xD;&#xA;-Can show changes in sound because of worn out components, room humidity etc.&lt;br&gt;&#xD;&#xA;-Harder to design, some stuff impossible to design, more expensive to manufacture&lt;br&gt;&#xD;&#xA;-Large price range, quality usually correlates with price (not necessarily in cult gear though)&lt;br&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29154" PostHistoryTypeId="5" PostId="18035" RevisionGUID="03e02d44-d4b5-4029-8dd4-06accf3fb193" CreationDate="2013-02-09T11:31:38.283" UserId="3179" Comment="deleted 19 characters in body" Text="Digital:&#xD;&#xA;&#xD;&#xA;+Easier to design&lt;br&gt;&#xD;&#xA;+Low cost&lt;br&gt;&#xD;&#xA;+Infinite replication (in software)&lt;br&gt;&#xD;&#xA;+Total recall&lt;br&gt;&#xD;&#xA;+Often easier and faster to use&lt;br&gt;&#xD;&#xA;+More bandwidth/channels in a smaller form factor&lt;br&gt;&#xD;&#xA;+Better S/N performance in hardware&lt;br&gt;&#xD;&#xA;+Does stuff that cannot be (at least reasonably or cheaply, or at all) done with analog electronics&lt;br&gt;&#xD;&#xA;+Usually implements visual feedback of the processes. GUIs are customizable&lt;br&gt;&#xD;&#xA;&#xD;&#xA;+/-Usually works/sounds always the same (random variation in sound has to be implemented separately)&lt;br&gt;&#xD;&#xA;&#xD;&#xA;-Distortion mostly sounds harsh, but it has its uses&lt;br&gt;&#xD;&#xA;-Opinion: Quality doesn't necessarily correlate with price&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Analog:&#xD;&#xA;&#xD;&#xA;+Can sound better in particular cases&lt;br&gt;&#xD;&#xA;+A physical knob/fader/other for almost anything&lt;br&gt;&#xD;&#xA;&#xD;&#xA;+/-Can have poor S/N performance and can sound &quot;lo-fi&quot;&lt;br&gt;&#xD;&#xA;&#xD;&#xA;-No memory, no recalling of parameters, has to be done by hand&lt;br&gt;&#xD;&#xA;-Often cumbersome to use, especially when it comes to routing/patching, moving the gear around and recording&lt;br&gt;&#xD;&#xA;-Takes space&lt;br&gt;&#xD;&#xA;-Can wear out&lt;br&gt;&#xD;&#xA;-Can show changes in sound because of worn out components, room humidity etc.&lt;br&gt;&#xD;&#xA;-Harder to design, some stuff impossible to design, more expensive to manufacture&lt;br&gt;&#xD;&#xA;-Large price range, quality usually correlates with price (not necessarily in cult gear though)&lt;br&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29155" PostHistoryTypeId="5" PostId="18035" RevisionGUID="5e6ff876-e302-4a91-a467-a41e7fe7597d" CreationDate="2013-02-09T11:38:42.923" UserId="3179" Comment="added 32 characters in body" Text="Digital:&#xD;&#xA;&#xD;&#xA;+Easier to design&lt;br&gt;&#xD;&#xA;+Low cost&lt;br&gt;&#xD;&#xA;+Infinite replication (in software)&lt;br&gt;&#xD;&#xA;+Total recall&lt;br&gt;&#xD;&#xA;+Often easier and faster to use&lt;br&gt;&#xD;&#xA;+More bandwidth/channels in a smaller form factor&lt;br&gt;&#xD;&#xA;+Better S/N performance in hardware&lt;br&gt;&#xD;&#xA;+Does stuff that cannot be (at least reasonably or cheaply, or at all) done with analog electronics&lt;br&gt;&#xD;&#xA;+Usually implements visual feedback of the processes. GUIs are customizable&lt;br&gt;&#xD;&#xA;&#xD;&#xA;+/-Usually works/sounds always the same (random variation in sound has to be implemented separately)&lt;br&gt;&#xD;&#xA;&#xD;&#xA;-Distortion mostly sounds harsh, but it has its uses&lt;br&gt;&#xD;&#xA;-Opinion: Quality doesn't necessarily correlate with price&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Analog:&#xD;&#xA;&#xD;&#xA;+Can sound better in particular cases&lt;br&gt;&#xD;&#xA;+A physical knob/fader/other for almost anything&lt;br&gt;&#xD;&#xA;&#xD;&#xA;+/-Can have poor S/N performance and can sound &quot;lo-fi&quot;&lt;br&gt;&#xD;&#xA;&#xD;&#xA;-No memory, no recalling of parameters, has to be done by hand&lt;br&gt;&#xD;&#xA;-Often cumbersome to use, especially when it comes to routing/patching, moving the gear around and recording&lt;br&gt;&#xD;&#xA;-Takes space&lt;br&gt;&#xD;&#xA;-Can wear out&lt;br&gt;&#xD;&#xA;-Can show changes in sound because of worn out components, room humidity etc.&lt;br&gt;&#xD;&#xA;-Harder to design, some stuff impossible to design, more expensive to manufacture&lt;br&gt;&#xD;&#xA;-Large price range, quality usually correlates with price (not necessarily in cult gear though)&lt;br&gt;&#xD;&#xA;&#xD;&#xA;More: http://www.google.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29156" PostHistoryTypeId="5" PostId="18035" RevisionGUID="c4f2c9d3-2904-4c48-bd85-fb8e546760f7" CreationDate="2013-02-09T12:03:52.347" UserId="3179" Comment="added 20 characters in body" Text="Digital:&#xD;&#xA;&#xD;&#xA;+Easier to design&lt;br&gt;&#xD;&#xA;+Low cost&lt;br&gt;&#xD;&#xA;+Infinite replication (in software)&lt;br&gt;&#xD;&#xA;+Total recall&lt;br&gt;&#xD;&#xA;+Undo&lt;br&gt;&#xD;&#xA;+Often easier and faster to use&lt;br&gt;&#xD;&#xA;+More bandwidth/channels in a smaller form factor&lt;br&gt;&#xD;&#xA;+Better S/N performance in hardware&lt;br&gt;&#xD;&#xA;+Does stuff that cannot be (at least reasonably or cheaply, or at all) done with analog electronics&lt;br&gt;&#xD;&#xA;+Usually implements visual feedback of the processes. GUIs are customizable&lt;br&gt;&#xD;&#xA;&#xD;&#xA;+/-Usually works/sounds always the same (random variation in sound has to be implemented separately)&lt;br&gt;&#xD;&#xA;&#xD;&#xA;-Distortion mostly sounds harsh, but it has its uses&lt;br&gt;&#xD;&#xA;-Opinion: Quality doesn't necessarily correlate with price&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Analog:&#xD;&#xA;&#xD;&#xA;+Can sound better in particular cases&lt;br&gt;&#xD;&#xA;+A physical knob/fader/other for almost anything&lt;br&gt;&#xD;&#xA;&#xD;&#xA;+/-Can have poor S/N performance and can sound &quot;lo-fi&quot;&lt;br&gt;&#xD;&#xA;&#xD;&#xA;-No memory, no recalling of parameters, has to be done by hand, no undo&lt;br&gt;&#xD;&#xA;-Often cumbersome to use, especially when it comes to routing/patching, moving the gear around and recording&lt;br&gt;&#xD;&#xA;-Takes space&lt;br&gt;&#xD;&#xA;-Can wear out&lt;br&gt;&#xD;&#xA;-Can show changes in sound because of worn out components, room humidity etc.&lt;br&gt;&#xD;&#xA;-Harder to design, some stuff impossible to design, more expensive to manufacture&lt;br&gt;&#xD;&#xA;-Large price range, quality usually correlates with price (not necessarily in cult gear though)&lt;br&gt;&#xD;&#xA;&#xD;&#xA;More: http://www.google.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29157" PostHistoryTypeId="2" PostId="18036" RevisionGUID="8851948d-fbbe-4e1e-a3ac-11cdd3af7a19" CreationDate="2013-02-09T23:31:14.337" UserId="636" Text="Hi Guys&#xD;&#xA;&#xD;&#xA;Going crazy atm trying to decide on which avenue to go down. I'm currently trying to find a decent hypercardioid mic for an indoor dialogue boom situation for at the most £300. So far I've considered the AKG SE300b with the ck93 capsule and the Oktava MK012 Film Edition. &#xD;&#xA;&#xD;&#xA;Any thoughts on those mics or is there any others that are in the same price range?&#xD;&#xA;&#xD;&#xA;I really want to go for the Oktava mic but have read so many horror stories about qc and handling noise. I do have a Gitzo GB1540 Boom and the Rode Blimp but unsure if I would have to get a Rycote BBG windshield as well.&#xD;&#xA;&#xD;&#xA;Any advice would be really helpful.&#xD;&#xA;&#xD;&#xA;Thanks guys" ContentLicense="CC BY-SA 3.0" />
  <row Id="29158" PostHistoryTypeId="1" PostId="18036" RevisionGUID="8851948d-fbbe-4e1e-a3ac-11cdd3af7a19" CreationDate="2013-02-09T23:31:14.337" UserId="636" Text="Indoor Mic Conundrum" ContentLicense="CC BY-SA 3.0" />
  <row Id="29159" PostHistoryTypeId="3" PostId="18036" RevisionGUID="8851948d-fbbe-4e1e-a3ac-11cdd3af7a19" CreationDate="2013-02-09T23:31:14.337" UserId="636" Text="&lt;oktava&gt;&lt;microphone&gt;&lt;indoor&gt;&lt;hypercardioid&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29160" PostHistoryTypeId="2" PostId="18037" RevisionGUID="d2cc873a-d526-467d-9308-9811b9417614" CreationDate="2013-02-10T00:41:50.517" UserId="1228" Text="Have you considered the Sennheiser ME66, Rode NTG2, Rode NTG3, or Sanken CS1/CS1e?  I haven't used the ones you listed, nor know anything about them, but these shotguns also fit your price range (the Sanken is on the higher end cost-wise), but I have heard good thing about these.  Just my opinion though, others may have more ideas.&#xD;&#xA;&#xD;&#xA;The only thing to consider is whether you can feed the mic reliable 48 phantom power versus using battery-only (some of these mics offer battery internal power).  Sometimes the battery-only method runs at a lower power and cuts the mic sensitivity (and S/N) lower than if you feed it P48.&#xD;&#xA;&#xD;&#xA;Case in point:  my Rode NT4 sounded okay with the 9v battery, but feeding it P48 from a SD702 now breathes a whole new life into the mic, it's a night and day difference, especially in available gain." ContentLicense="CC BY-SA 3.0" />
  <row Id="29161" PostHistoryTypeId="2" PostId="18038" RevisionGUID="e1ce090b-514c-41ed-8a84-8f8ca0d7495e" CreationDate="2013-02-10T05:48:44.730" UserId="5669" Text="I will check Lynda. thanks..&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29162" PostHistoryTypeId="2" PostId="18039" RevisionGUID="76786588-f44f-45ee-b391-8cbb2a229bc3" CreationDate="2013-02-10T07:17:59.857" UserId="4176" Text="Have you thought of using a cardiod pattern mic? I've had very good results with a Sennheiser ME64. There's no pick-up off the rear of the mic which helps knock down reflections (especially when booming close to the ceiling), and it's short in physical length so it can be used in lower ceiling rooms." ContentLicense="CC BY-SA 3.0" />
  <row Id="29163" PostHistoryTypeId="2" PostId="18040" RevisionGUID="7fdd1f98-778a-4dcc-9367-0bac19e5f2a2" CreationDate="2013-02-10T09:05:51.140" UserId="5733" Text="Hey guys, I'm most experienced using Avid's ProTools and Sony products (Vegas, Forge, &amp; Acid) for sound designing, mixing, and mastering.&#xD;&#xA;&#xD;&#xA;I'll be in a pickle for the next few months designing 5 short films and I will continue to use Sound Forge and ProTools for fine edits, v/o, adr, foley, and mixing to stereo/5.1. But for the dialogue, bg, and sfx assembly (majority of my time) I will not be using ProTools. I've used Vegas and Acid before but I do not wish to continue with it. I am familiar on a basic level with Reaper and even though I don't like to make any changes mid project I know it's a necessary sacrafice.&#xD;&#xA;&#xD;&#xA;I couple of quick questions: (1) How does Reaper using PC 32, 64 bit, and/or OSX respond to Waves VST plugins? Lag? Errors? (2) Does Cockos have a broadband noise reduction plugin? I'll primarily be using eq, reverb, compression, and maybe some others. Maybe I can just rely on Cockos plugins. However, I do enjoy using Waves Dorrough plugin for continuous reference. (3) As I'll be using Forge for fine tuning, any noticable disadvantages using Reaper as a multitrack DAW for editing sound to picture? I've got AATranslator so omf, aaf, edl will work fine. Necessary especially for going between ProTools and Reaper. (4) I will also be using Reactor a little for musical sfx and I'd prefer to use it as a plugin as opposed to it as an external software. Reaper okay with it? (4) Excluding the external and desktop specs, can Reaper as a DAW handle 14 hour days?&#xD;&#xA;&#xD;&#xA;I need a bit more assurance before I make the move. Any feedback whatsoever would be much appreciated!&#xD;&#xA;&#xD;&#xA;-Pat" ContentLicense="CC BY-SA 3.0" />
  <row Id="29164" PostHistoryTypeId="1" PostId="18040" RevisionGUID="7fdd1f98-778a-4dcc-9367-0bac19e5f2a2" CreationDate="2013-02-10T09:05:51.140" UserId="5733" Text="Reaper VST fx for Dialogue Editing" ContentLicense="CC BY-SA 3.0" />
  <row Id="29165" PostHistoryTypeId="3" PostId="18040" RevisionGUID="7fdd1f98-778a-4dcc-9367-0bac19e5f2a2" CreationDate="2013-02-10T09:05:51.140" UserId="5733" Text="&lt;reaper&gt;&lt;daw&gt;&lt;vst&gt;&lt;dialogue&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29166" PostHistoryTypeId="2" PostId="18041" RevisionGUID="c08877bd-614e-4fa3-aea4-2bd053f0c1c8" CreationDate="2013-02-10T09:28:45.097" UserId="845" Text="My live mixing mentor was female.&lt;br&gt;&#xD;&#xA;The badassinest sound dude I ever met." ContentLicense="CC BY-SA 3.0" />
  <row Id="29167" PostHistoryTypeId="2" PostId="18042" RevisionGUID="e63ac1e9-3072-4d93-8cc5-74d0e0207ade" CreationDate="2013-02-10T09:51:56.887" UserId="3179" Text="Hi,&#xD;&#xA;&#xD;&#xA;You can download the free trial from the Reaper website and try that everything that you need works.&#xD;&#xA;&#xD;&#xA;I think Reaper is one of the best things to come around in the DAW market. The only thing that would make it even better would be if the source code was open to enable community driven development. But as a DAW, it's the one that's constantly resolving the problems and proprietary nonsense that exist in other DAWs, like paid upgrades for features that should be standard and are not really new or innovative, proprietary file formats and lacking interconnectivity, long waiting time in bug fixing etc. Of course sound work can be done in many of the available softwares, but Reaper is a project that aims to be the best and with the most reasonable business model from the user's point of view.&#xD;&#xA;&#xD;&#xA;(1) They should handle fine, but try them out to be sure.&#xD;&#xA;&#xD;&#xA;(2) It comes with REAFir that has noise reduction. There are some free (as well as the &quot;standard&quot; proprietary) VST plug-ins around as well and there could be something developed in Reaper's JS plug-in format.&#xD;&#xA;&#xD;&#xA;(3) Other than sharing project files with people using other closed DAWs, I don't think so.&#xD;&#xA;&#xD;&#xA;(4) I've tested Reaktor to be functional.&#xD;&#xA;&#xD;&#xA;(5) Why wouldn't it handle? It's developed to be robust.&#xD;&#xA;&#xD;&#xA;Overall, I recommend test driving Reaper with your own collection of plug-ins and external software that you need to use to see that everything works and is like it needs to be." ContentLicense="CC BY-SA 3.0" />
  <row Id="29168" PostHistoryTypeId="5" PostId="18042" RevisionGUID="83e9ff27-35bf-471c-88b8-d82ecbfe85a8" CreationDate="2013-02-10T09:57:17.350" UserId="3179" Comment="edited body" Text="Hi,&#xD;&#xA;&#xD;&#xA;You can download the free trial from the Reaper website and try that everything that you need works.&#xD;&#xA;&#xD;&#xA;I think Reaper is one of the best things to come around in the DAW market. The only thing that would make it even better would be if the source code was open to enable community driven development. But as a DAW, it's the one that's constantly resolving the problems and proprietary nonsense that exist in other DAWs, like paid upgrades for features that should be standard and are not really new or innovative, proprietary file formats and lacking interconnectivity, long waiting time in bug fixing etc. Of course sound work can be done in many of the available softwares, but Reaper is a project that aims to be the best and with the most reasonable business model from the user's point of view.&#xD;&#xA;&#xD;&#xA;(1) They should handle fine, but try them out to be sure.&#xD;&#xA;&#xD;&#xA;(2) It comes with ReaFIR that has noise reduction. There are some free (as well as the &quot;standard&quot; proprietary) VST plug-ins around as well and there could be something developed in Reaper's JS plug-in format.&#xD;&#xA;&#xD;&#xA;(3) Other than sharing project files with people using other closed DAWs, I don't think so.&#xD;&#xA;&#xD;&#xA;(4) I've tested Reaktor to be functional.&#xD;&#xA;&#xD;&#xA;(5) Why wouldn't it handle? It's developed to be robust.&#xD;&#xA;&#xD;&#xA;Overall, I recommend test driving Reaper with your own collection of plug-ins and external software that you need to use to see that everything works and is like it needs to be." ContentLicense="CC BY-SA 3.0" />
  <row Id="29169" PostHistoryTypeId="5" PostId="18042" RevisionGUID="83bcc0ac-d8a3-4661-928b-b712a42c8a1b" CreationDate="2013-02-10T10:10:12.750" UserId="3179" Comment="added 13 characters in body" Text="Hi,&#xD;&#xA;&#xD;&#xA;You can download the free trial from the Reaper website and try that everything that you need works.&#xD;&#xA;&#xD;&#xA;I think Reaper is one of the best things to come around in the DAW market. The only thing that would make it even better would be if the source code was open to enable community driven development. But as a DAW, it's the one that's constantly resolving the problems and proprietary nonsense that exist in other DAWs, like paid upgrades for features that should be standard and are not really new or innovative, proprietary file formats and lacking interconnectivity, long waiting time in bug fixing etc. Of course sound work can be done in many of the available softwares, but Reaper is a project that aims to be the best and with the most reasonable business model from the user's point of view.&#xD;&#xA;&#xD;&#xA;(1) They should handle fine, but try them out to be sure.&#xD;&#xA;&#xD;&#xA;(2) It comes with ReaFIR that has noise reduction. There are some free and low-cost (as well as the &quot;standard&quot; proprietary) VST plug-ins around as well and there could be something developed in Reaper's JS plug-in format.&#xD;&#xA;&#xD;&#xA;(3) Other than sharing project files with people using other closed DAWs, I don't think so.&#xD;&#xA;&#xD;&#xA;(4) I've tested Reaktor to be functional.&#xD;&#xA;&#xD;&#xA;(5) Why wouldn't it handle? It's developed to be robust.&#xD;&#xA;&#xD;&#xA;Overall, I recommend test driving Reaper with your own collection of plug-ins and external software that you need to use to see that everything works and is like it needs to be." ContentLicense="CC BY-SA 3.0" />
  <row Id="29170" PostHistoryTypeId="2" PostId="18043" RevisionGUID="f6e8d720-3027-44d1-b6bf-b1d5dc317ee3" CreationDate="2013-02-10T11:09:57.580" UserId="5679" Text="Maybe check ot the line cm 3 these &quot;secret tip&quot; mics from sweden for a very low price " ContentLicense="CC BY-SA 3.0" />
  <row Id="29171" PostHistoryTypeId="2" PostId="18044" RevisionGUID="3cd70be9-ebc5-4039-9add-54ca9f1931f0" CreationDate="2013-02-10T11:16:40.920" UserId="5733" Text="Yup, a hyper for interior booming is definitely needed. In your price range, both the AKG and Oktava are good options. I haven't used them myself. My friend has got the Oktava with a Rycote blimp. He likes the fact that the capsules are interchangable PLUS what he did, with a bit more money, by replacing a couple of the capacitors, resistors and the transistor on the main board thtat mic sounds comparable to much more expensive ones. That's the cool part to Oktava. Modified, it'll sound less grainy and more transparent, which may help to what you've heard about the handling noise problem. If you know someone on the inside they can do it for you because it's a cautious procedure.  &#xD;&#xA;&#xD;&#xA;Personally, I rely on the AT-4053b. It's fantastic. I switch on the 80Hz hpf, wind screen, rode blimp and boom, good to go. It does a great job on picking up those upper mids (esp w/o filter) and I've never had to worry about handling noise. A bit more cash but for me it was worth it. I only knew that because I rented it out before hand. I recomend that for sure. Go to your local rental house and rent out a couple hypercardoids and listen to the difference. Then make a decision. See if you can listen to the Schoeps CMC641. Man, it's well deserved as the platinum standard.&#xD;&#xA;&#xD;&#xA;Also, even though the Rode blimp states specific mics, there are many it doesn't mention that fit without causing it stress like the at4053b for example.&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="29172" PostHistoryTypeId="5" PostId="18040" RevisionGUID="2cf6fc18-78f4-406f-b4ac-e254401ff81d" CreationDate="2013-02-10T13:24:17.803" UserId="5733" Comment="added 1 characters in body; edited title" Text="Hey guys, I'm most experienced using Avid's ProTools and Sony products (Vegas, Forge, &amp; Acid) for sound designing, mixing, and mastering.&#xD;&#xA;&#xD;&#xA;I'll be in a pickle for the next few months designing 5 short films and I will continue to use Sound Forge and ProTools for fine edits, v/o, adr, foley, and mixing to stereo/5.1. But for the dialogue, bg, and sfx assembly (majority of my time) I will not be using ProTools. I've used Vegas and Acid before but I do not wish to continue with it for various reasons. I am familiar on a basic level with Reaper and even though I don't like to make any changes mid project I believe it's a necessary sacrafice.&#xD;&#xA;&#xD;&#xA;A couple questions: (1) How does Reaper using PC 32, 64 bit, and/or OSX respond to Waves VST plugins? Lag? Errors? (2) Does Cockos have a broadband noise reduction plugin? I'll primarily be using eq, reverb, compression, and maybe some others. Maybe I can just rely on Cockos plugins. I do enjoy using Waves Dorrough plugin for reference though. (3) As I'll be using Forge for fine tuning, any noticable disadvantages using Reaper as a multitrack DAW for editing sound to picture? I've got AATranslator so omf, aaf, edl will work fine. Necessary especially for going between ProTools and Reaper. (4) I will also be using Reaktor a little for musical sfx and I'd prefer to use it as a plugin as opposed to it as an external software. Reaper okay with it? (4) Excluding the external and desktop specs, can Reaper as a DAW handle 14 hour days?&#xD;&#xA;&#xD;&#xA;I need a bit more assurance before I make the move. Any feedback whatsoever would be much appreciated!&#xD;&#xA;&#xD;&#xA;-Pat" ContentLicense="CC BY-SA 3.0" />
  <row Id="29173" PostHistoryTypeId="4" PostId="18040" RevisionGUID="2cf6fc18-78f4-406f-b4ac-e254401ff81d" CreationDate="2013-02-10T13:24:17.803" UserId="5733" Comment="added 1 characters in body; edited title" Text="Reaper for Sound to Picture" ContentLicense="CC BY-SA 3.0" />
  <row Id="29174" PostHistoryTypeId="2" PostId="18045" RevisionGUID="db24ebe3-47ee-4a9d-b456-13ecdb5edc87" CreationDate="2013-02-10T13:54:18.647" UserId="5605" Text="SMPTE/AES Lecture on film sound for the music engineer&#xD;&#xA;http://www.dplay.com/aes/film1.html&#xD;&#xA;http://www.dplay.com/aes/film2.html&#xD;&#xA;&#xD;&#xA;A 2 hour lecture by Jay Rose." ContentLicense="CC BY-SA 3.0" />
  <row Id="29175" PostHistoryTypeId="2" PostId="18046" RevisionGUID="a3c81bc6-2be2-47d0-b2d7-1273f39353dd" CreationDate="2013-02-10T17:54:04.203" UserId="5734" Text="Just click the link, fill the survey and whehey i get some answers you get some samples, nice!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.surveymonkey.com/s/KPV5JMM&#xD;&#xA;&#xD;&#xA;thanks geeks" ContentLicense="CC BY-SA 3.0" />
  <row Id="29176" PostHistoryTypeId="1" PostId="18046" RevisionGUID="a3c81bc6-2be2-47d0-b2d7-1273f39353dd" CreationDate="2013-02-10T17:54:04.203" UserId="5734" Text="Please fill in my sound design survey (on animation)- you get 100 free flacs effects!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29177" PostHistoryTypeId="3" PostId="18046" RevisionGUID="a3c81bc6-2be2-47d0-b2d7-1273f39353dd" CreationDate="2013-02-10T17:54:04.203" UserId="5734" Text="&lt;animation&gt;&lt;design&gt;&lt;survey&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29178" PostHistoryTypeId="2" PostId="18047" RevisionGUID="345fe6aa-2593-442d-8f24-07a7440ffd34" CreationDate="2013-02-10T17:55:49.717" UserId="5735" Text="Hey guys! I'm a Mexican/Spanish guy (yeah, that happens a lot) graduated from audio engineering in a Mexican music production school. I'm way more interested in sound design for movies, video games, advertising, etc. I've been looking for schools, VFS seems legit, but it is really expensive and I can't work in Canada, do you guys reckon there is a high quality sound design school like that one in Europe? Preferably London based? I heard the BBC had a school but can't find it anywhere, is that true?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29179" PostHistoryTypeId="1" PostId="18047" RevisionGUID="345fe6aa-2593-442d-8f24-07a7440ffd34" CreationDate="2013-02-10T17:55:49.717" UserId="5735" Text="Sound Design Schools" ContentLicense="CC BY-SA 3.0" />
  <row Id="29180" PostHistoryTypeId="3" PostId="18047" RevisionGUID="345fe6aa-2593-442d-8f24-07a7440ffd34" CreationDate="2013-02-10T17:55:49.717" UserId="5735" Text="&lt;school&gt;&lt;video&gt;&lt;video-games&gt;&lt;movies&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29181" PostHistoryTypeId="2" PostId="18048" RevisionGUID="0138f5ed-009c-4d25-9894-3035d5d29612" CreationDate="2013-02-10T18:04:39.530" UserDisplayName="user6508" Text="Just curious why you would want to use Reaper when the final mix will be in Pro Tools? Not hating on Reaper (never used it) just thinking that you're making more work for yourself and the possibility for problems going back and forth between multiple DAWs especially if a majority of the dia, fx and bgs editorial will be done in Reaper.  I have yet to see an omf or aaf translate everything properly into pro tools. Not so much with audio files but with volume automation, fades etc.  Not saying this isn't user error on my or the other persons part but I would definitely test it out before you make the move to make sure your not going to be re-doing any editorial work.  Especially if that's where most of your time is going to be spent.&#xD;&#xA;&#xD;&#xA;I had an old percussion teacher tell me K.I.S.S. (Keep It Simple Stupid) :-) " ContentLicense="CC BY-SA 3.0" />
  <row Id="29182" PostHistoryTypeId="5" PostId="18046" RevisionGUID="54e289b6-ddad-4e42-ab60-ae2dfbc3677d" CreationDate="2013-02-10T19:11:27.073" UserId="5734" Comment="added 13 characters in body" Text="Just click the link, fill the survey and whehey i get some answers you get some samples, nice!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.surveymonkey.com/s/KPV5JMM&#xD;&#xA;&#xD;&#xA;thank you my fellow geeks" ContentLicense="CC BY-SA 3.0" />
  <row Id="29183" PostHistoryTypeId="2" PostId="18049" RevisionGUID="9026cdc4-fa20-40d7-bc71-2cb349e06bb0" CreationDate="2013-02-10T19:19:46.613" UserId="3179" Text="What are you looking to get out of going to an audio school/taking a course?&#xD;&#xA;&#xD;&#xA;Technically, all information and tools that you need are available without taking a course. Also, there are numerous internet communities where you can find people to work with so you can start hacking together real projects immediately, given that you have or can acquire basic recording equipment and sound effects, music and virtual instrument libraries that you may need." ContentLicense="CC BY-SA 3.0" />
  <row Id="29184" PostHistoryTypeId="2" PostId="18050" RevisionGUID="13bbcc66-3182-4eff-bd67-1d33d5e6d5f3" CreationDate="2013-02-10T19:43:36.497" UserId="5717" Text="Vancouver Film School has an incredible program, but is also extremely expensive.  Keep your eye out for scholarships/contests, etc.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="29185" PostHistoryTypeId="2" PostId="18051" RevisionGUID="7b1e1d35-f588-4d04-8716-9f98dbec0400" CreationDate="2013-02-10T19:50:10.537" UserId="5717" Text="I love Reaper but have had a lot of trouble with it being stable with video--perhaps this is a codec thing but I generally work with H.264.  Often the video window will just go black or the program will freeze up entirely. And the lack of simple transfer for OMF AAF is definitely a really big problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="29186" PostHistoryTypeId="2" PostId="18052" RevisionGUID="d0c9cb57-c9f8-4147-aa3e-52676960c6f2" CreationDate="2013-02-10T19:53:10.177" UserId="3179" Text="So what are you striving to achieve with this survey?&#xD;&#xA;&#xD;&#xA;I answered it but I found it to be rather misguided about what &quot;sound design&quot; is. Unless you happen to be an engineering student specializing in audio signal processing and I would understand your interest towards hyperreal sound synthesis and its applicability in media sound production. That is, a purely technological viewpoint to &quot;sound design&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="29187" PostHistoryTypeId="5" PostId="18048" RevisionGUID="ec0e945c-76d8-432b-8959-f49ed50d5056" CreationDate="2013-02-10T20:05:47.310" UserDisplayName="user6508" Comment="added 6 characters in body" Text="Just curious why you would want to use Reaper when the final mix will be in Pro Tools? Not hating on Reaper (never used it) just thinking that you're making more work for yourself and the possibility for problems going back and forth between multiple DAWs especially if a majority of the dia, fx and bgs editorial will be done in Reaper.  I have yet to see an omf or aaf translate everything properly into pro tools. Not so much with audio files but with volume automation, fades etc.  Not saying this isn't user error on my or the other persons part but I would definitely test it out before you make the move to make sure your not going to be re-doing any editorial work.  Especially if that's where most of your time is going to be spent.&#xD;&#xA;&#xD;&#xA;I had an old percussion teacher tell me once, K.I.S.S. (Keep It Simple Stupid) :-) " ContentLicense="CC BY-SA 3.0" />
  <row Id="29188" PostHistoryTypeId="2" PostId="18053" RevisionGUID="9be68bd0-c73d-4b93-9738-f102ff3eab23" CreationDate="2013-02-10T20:37:25.453" UserId="786" Text="I rely on a lot of digital tools when making sound. For instance, I often put an EQ on every channel, have a lot reverbs running and some compressors too. All automated, so I can get the most out of them (to my abilities) all of the time. I run a large number of tracks and busses. And I must say the noise reduction technology of today is way better than it was in the old analog days.&#xD;&#xA;&#xD;&#xA;But when it comes to designing the sounds that go into the tracks, I often use analog sources for that. I love the interaction with analog gear. The knobs and cables and so on. As well as the lack of automation. It helps me to stay in the moment and play with the gear like playing an instrument, improvising, knowing I will never be able to make exactly the same sound again. &#xD;&#xA;&#xD;&#xA;So I record what I do when working in the analog domain, bringing it into the controlled digital digital domain, where I will edit it, use the good parts and edit it again and apply effects and automation.&#xD;&#xA;&#xD;&#xA;I try to use the best of both worlds.&#xD;&#xA;&#xD;&#xA;- Morten" ContentLicense="CC BY-SA 3.0" />
  <row Id="29189" PostHistoryTypeId="2" PostId="18054" RevisionGUID="1190e86d-5644-45c7-8be4-e90bafebd4f2" CreationDate="2013-02-10T23:10:06.943" UserDisplayName="user49" Text="What ProTools techniques have you discovered that are non-obvious? ie using a tool or technique in an unusual way?&#xD;&#xA;&#xD;&#xA;An example: I use volume graphs for envelope shaping a lot, but an extreme &amp; useful way can be to use the pencil tool in square wave mode to draw rhythmic volume graph based on the grid setting eg I needed to make the sound of a machine with tracks, driving across snow. I got a recording of a kayak being dragged on snow, switched the grid to 1 frame and drew a continuous square wave volume graph across the continuous snow sound = a rhythmic (one frame up, one frame down repeatedly) snow movement sound. Can then scale the volume graph, and/or use volume trim automation to control the overall volume of the rhythmic automation. If the 1 frame or 6 frame grid doesn't provide enough rate options, switch the grid popup to Bars/Beats....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicofsound.co.nz/zimages/PTautomation.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="29190" PostHistoryTypeId="1" PostId="18054" RevisionGUID="1190e86d-5644-45c7-8be4-e90bafebd4f2" CreationDate="2013-02-10T23:10:06.943" UserDisplayName="user49" Text="Non obvious ProTools tricks?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29191" PostHistoryTypeId="3" PostId="18054" RevisionGUID="1190e86d-5644-45c7-8be4-e90bafebd4f2" CreationDate="2013-02-10T23:10:06.943" UserDisplayName="user49" Text="&lt;pro-tools&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29192" PostHistoryTypeId="2" PostId="18055" RevisionGUID="3ac53e61-ede7-4d38-bede-614f0fe87db8" CreationDate="2013-02-10T23:53:55.213" UserId="5624" Text="I use REAPER almost exclusively for all of my post production work. I jumped off the ProTools train a few years ago and have never looked back!&#xD;&#xA;&#xD;&#xA;In answer to your questions:&#xD;&#xA;&#xD;&#xA;(1) How does Reaper using PC 32, 64 bit, and/or OSX respond to Waves VST plugins? Lag? Errors?&#xD;&#xA;&#xD;&#xA;Never had a problem using Waves plugins.&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;(2) Does Cockos have a broadband noise reduction plugin? I'll primarily be using eq, reverb, compression, and maybe some others. Maybe I can just rely on Cockos plugins. I do enjoy using Waves Dorrough plugin for reference though. &#xD;&#xA;&#xD;&#xA;I use RX for noise reduction so can't comment on REAPER's capabilities there. The REAPER EQ and compression isn't bad but I tend to stick to other plugins there as well.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(3) As I'll be using Forge for fine tuning, any noticable disadvantages using Reaper as a multitrack DAW for editing sound to picture? I've got AATranslator so omf, aaf, edl will work fine. Necessary especially for going between ProTools and Reaper. &#xD;&#xA;&#xD;&#xA;I've never had a problem using REAPER doing anything! As mentioned some people seem to get problems with the video decoding but I've never experienced this. I always receive video files as H.264.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(4) I will also be using Reaktor a little for musical sfx and I'd prefer to use it as a plugin as opposed to it as an external software. Reaper okay with it? &#xD;&#xA;&#xD;&#xA;Have only used Reaktor a tiny bit but never had a problem with it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(5) Excluding the external and desktop specs, can Reaper as a DAW handle 14 hour days?&#xD;&#xA;&#xD;&#xA;Yep! It's an incredibly stable program." ContentLicense="CC BY-SA 3.0" />
  <row Id="29194" PostHistoryTypeId="2" PostId="18057" RevisionGUID="bef9699d-686d-4a78-aa47-8c61faf51f8a" CreationDate="2013-02-11T03:31:52.487" UserId="3979" Text="Hello all,&#xD;&#xA;&#xD;&#xA;I'm very gratefully to have an awesome place that I can post questions and get valid feed back from experienced and talented people. Thanks in advance for your input!&#xD;&#xA;&#xD;&#xA;This is a two part question.&#xD;&#xA;&#xD;&#xA;1- I'm mixing a short film and I'm new to mixing in 5.1. My question is about mixing backgrounds and ambiences in 5.1. Is it true that you're not supposed to use the surround panner for this because if phasing issues? (Placing the panner in the center, for example) I heard that you're supposed to send the signal to the rear speakers and front speakers separately and adjust the balance from there. Any advice?&#xD;&#xA;&#xD;&#xA;2- is M/S ever used in films? I'd imagine you're asking for a few phasing issues if you did. If it is used, then how? And is it sometimes used in any process of the mix, or just foley, sound design, etc?&#xD;&#xA;&#xD;&#xA;THANKS AGAIN!!!&#xD;&#xA;Sincerely,&#xD;&#xA;Jake" ContentLicense="CC BY-SA 3.0" />
  <row Id="29195" PostHistoryTypeId="1" PostId="18057" RevisionGUID="bef9699d-686d-4a78-aa47-8c61faf51f8a" CreationDate="2013-02-11T03:31:52.487" UserId="3979" Text="Mixing bg's and amb" ContentLicense="CC BY-SA 3.0" />
  <row Id="29196" PostHistoryTypeId="3" PostId="18057" RevisionGUID="bef9699d-686d-4a78-aa47-8c61faf51f8a" CreationDate="2013-02-11T03:31:52.487" UserId="3979" Text="&lt;background&gt;&lt;mid-side&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29198" PostHistoryTypeId="2" PostId="18059" RevisionGUID="5b542c19-6e07-4c11-aeca-c046a6b59453" CreationDate="2013-02-11T06:22:40.780" UserId="3979" Text="It may or may not be a well known secret, but if you hold down all 3 modifier keys (cnrl, option,command), then click file &gt; bounce to QuickTime movie - you get a hidden menu that allows you to compress and bounce to many different formats!!!!! Why would they hide this? NO IDEA...." ContentLicense="CC BY-SA 3.0" />
  <row Id="29199" PostHistoryTypeId="2" PostId="18060" RevisionGUID="c8d91e2a-892e-4558-9e9d-02b19179cd03" CreationDate="2013-02-11T07:57:00.687" UserId="1055" Text="just wanted to say that video decoding in reaper gets better if you have VLC installed...vlc btw is my favourite video player, that decodes everything very well." ContentLicense="CC BY-SA 3.0" />
  <row Id="29200" PostHistoryTypeId="2" PostId="18061" RevisionGUID="6c9e8a02-35b7-4139-8341-35bc77058177" CreationDate="2013-02-11T09:21:00.150" UserId="994" Text="There are not so many sound schools which are specifically oriented on sound design - and what I mean here - doing sound for visuals- films, animations, games. I just wanted to stress it out, coss people use term sound design in various way... sometimes they think about music recording, sometimes about electronic/experimental music compositions. Although we use same tools in many situations - it's totally different area.&#xD;&#xA;&#xD;&#xA;In Europe I can only think about NFTS in UK - they have sound program film oriented.&#xD;&#xA;&#xD;&#xA;Most of the film schools haven't got sound program, and most of the sound engineering programs are music recording oriented thing." ContentLicense="CC BY-SA 3.0" />
  <row Id="29201" PostHistoryTypeId="5" PostId="18061" RevisionGUID="dd385418-7687-4d5a-8844-0d05bcff6463" CreationDate="2013-02-11T09:28:17.803" UserId="994" Comment="added one more thing" Text="There are not so many sound schools which are specifically oriented on sound design - and what I mean here - doing sound for visuals- films, animations, games. I just wanted to stress it out, coss people use term sound design in various way... sometimes they think about music recording, sometimes about electronic/experimental music compositions. Although we use same tools in many situations - it's totally different area.&#xD;&#xA;&#xD;&#xA;In Europe I can only think about NFTS in UK - they have sound program film oriented.&#xD;&#xA;&#xD;&#xA;Most of the film schools haven't got sound program, and most of the sound engineering programs are music recording oriented thing.&#xD;&#xA;&#xD;&#xA;And there's also one more thing - I guess many of european film schools don't offer programs in english" ContentLicense="CC BY-SA 3.0" />
  <row Id="29202" PostHistoryTypeId="2" PostId="18062" RevisionGUID="a0045de7-08a2-486e-9abc-ca3b3443e3da" CreationDate="2013-02-11T12:54:05.333" UserId="194" Text="if i have a long sound file with a lot of little transients that I want to isolate and use all at once I do the following:&#xD;&#xA;&#xD;&#xA;1) spot the long file to a track in protools&#xD;&#xA;&#xD;&#xA;2) use strip silence to isolate the transients and remove all of the whitespace.  I usually set the minimum strip duration to zero and use very small start and end pads.  Then set the threshold all the way and back it down until I feel i have the right amount of stuff retained.&#xD;&#xA;&#xD;&#xA;3) set my timeline drop order in the bins to &quot;left to right&quot;&#xD;&#xA;&#xD;&#xA;4) drag all of the regions back into the same timeline, now the spaces are completely removed and what I have is a steady stream of the larger transients in the recording.&#xD;&#xA;&#xD;&#xA;![screenshot1][1]&#xD;&#xA;![screenshot2][2]&#xD;&#xA;![screenshot3][3]&#xD;&#xA;![screenshot4][4]&#xD;&#xA;![screenshot5][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://biz130.inmotionhosting.com/public_html/other%20images/ssd%20screen%20shots/Screen%20shot%202013-02-11%20at%206.38.46%20AM.png&#xD;&#xA;  [2]: http://biz130.inmotionhosting.com/public_html/other%20images/ssd%20screen%20shots/Screen%20shot%202013-02-11%20at%206.39.28%20AM.png&#xD;&#xA;  [3]: http://biz130.inmotionhosting.com/public_html/other%20images/ssd%20screen%20shots/Screen%20shot%202013-02-11%20at%206.39.42%20AM.png&#xD;&#xA;  [4]: http://biz130.inmotionhosting.com/public_html/other%20images/ssd%20screen%20shots/Screen%20shot%202013-02-11%20at%206.40.09%20AM.png&#xD;&#xA;  [5]: http://biz130.inmotionhosting.com/public_html/other%20images/ssd%20screen%20shots/Screen%20shot%202013-02-11%20at%206.40.59%20AM.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="29203" PostHistoryTypeId="2" PostId="18063" RevisionGUID="1239fb70-1a7b-4233-afcb-efa4cae212c9" CreationDate="2013-02-11T14:00:35.023" UserId="5663" Text="I've found a way by using Pure Data + Raspberry Pi + USB Sound card :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29204" PostHistoryTypeId="2" PostId="18064" RevisionGUID="3cff40f5-e4cb-4356-9b1d-19f9a403d158" CreationDate="2013-02-11T16:04:16.290" UserId="4156" Text="A bit simlar to Tim's example: using extreme and fast EQ-automation with a brtual compressor and/ or distortion inserted after that on sounds with a broad spectrum (fire, rivers, whatever) to create sounds for all kinds of apocalyptic destruction... you can really draw and control the 'gesture' of explosions very directly, creating intense articlations from even very simple sounds. Just fool around with when and how fast to boost an cut certain frequencies. It's real fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29205" PostHistoryTypeId="2" PostId="18065" RevisionGUID="93d9c6f6-2393-4e0a-89c2-d7b53bfc1703" CreationDate="2013-02-11T16:24:18.470" UserId="4156" Text="That won't work, of course... but you could try this: use the omni (but a carioid would probably be safer) as the M-mic, then use TWO cardioids instead of the figure of eight side-mic. One pointing left, one pointing right. When decoding it to stereo, you pan the L-side left and the R-side right, instead of the usual S left + polarity inversed S right. &#xD;&#xA;&#xD;&#xA;I've never tried this, but read about it somewhere, and it sounds like it should work, because you still record the phase information in this setup. Although it would of course sound different than using a figure of eight as your side-mic. Not to mention the setup isn't exactly handy... ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29206" PostHistoryTypeId="5" PostId="18064" RevisionGUID="63f389c5-364b-40ff-9be0-58c10b8f921b" CreationDate="2013-02-11T16:31:54.077" UserId="4156" Comment="added 47 characters in body" Text="A bit simlar to Tim's example: using extreme and fast EQ-automation with a brutal compressor and/ or distortion inserted after it on sounds with a broad spectrum (fire, rivers, whatever) to create sounds for all kinds of apocalyptic destruction... you can really draw and control the 'gesture' of explosions, eruptions and all kinds of &quot;big-mass-movements&quot; very directly, creating intense articlations from even very simple sounds. Just fool around with when and how fast to boost an cut certain frequencies. It's real fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29207" PostHistoryTypeId="2" PostId="18066" RevisionGUID="6c274f7c-bcbf-4e2c-aff2-e44d4ed7d636" CreationDate="2013-02-11T16:44:49.697" UserId="4156" Text="Definitely not! If you insert a plug into the 3,5mm jack the internal mics are bypassed. But you absolutly CAN record 4 channels at a time, even using 4 external mics. No phantom power on the mini-jack-input obviuosly, but the Rode NT4 doesn't need any, for example. Or you use external phantom-power supply boxes. &#xD;&#xA;&#xD;&#xA;Interesting detail on the Zoom H4n's mini-jack input: The pre-amps on this input have a much lower selfnoise than the more professional-looking XLR-inputs. Seems kind of counter-intuitive at first, but it seems they thought that most people would use the onboard mics most of the time... then it starts to make sense.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29208" PostHistoryTypeId="2" PostId="18067" RevisionGUID="bc8b57d2-9c10-4ebe-af34-fe9597644b9c" CreationDate="2013-02-11T17:00:05.850" UserId="4156" Text="There's one big disadvantage to the H4n... something will stop working after a while, like probably with all low-priced recorders. My headphone output isn't working any more, for example, making it a pretty useless device now.&#xD;&#xA;I have been using the H4n since it became available, and although the recording-4-tracks at a time-functionality is a great feature I wished I had bought the Sony PCM-D50, which is much more stabile, so it will last a great deal longer! That means in the end it is cheaper, even though it has a higher initial price tag! I guess what I'm saying is: if you're in for this for real (sound recording), buy the good stuff! &#xD;&#xA;(i bought a sound devices recorder and I can still get excited about it how rugged and real that machine feels!)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29209" PostHistoryTypeId="5" PostId="12630" RevisionGUID="20b94b54-949a-4682-a5ed-551226058f4b" CreationDate="2013-02-11T20:37:03.660" UserId="6519" Comment="Update info" Text="I made shotgun microphone comparison table which can be useful before buying.&#xD;&#xA;&#xD;&#xA;More than 70 type. &#xD;&#xA;&#xD;&#xA;I try to update it continuously.&#xD;&#xA;&#xD;&#xA;[Shotgun microphones comparison][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://membrans.hu/index.php?option=com_content&amp;view=article&amp;id=23&amp;Itemid=2&#xD;&#xA;&#xD;&#xA;**New Update 2013-02-13**" ContentLicense="CC BY-SA 3.0" />
  <row Id="29210" PostHistoryTypeId="2" PostId="18068" RevisionGUID="2aae11c0-d14e-40ed-83a3-43ad0cf5e8c2" CreationDate="2013-02-11T23:33:42.387" UserId="6460" Text="I'm not sure of the PC versions of these, but a couple of quick tricks on a mac for the automation lanes:&#xD;&#xA;&#xD;&#xA; - If you want to automate a parameter in a plugin, hold down **Command + Option + Control** and click the parameter&#xD;&#xA; - To quickly bring up the automation data for any automatable parameter, hold down **Command + Control** and click the fader, knob, or button in question.&#xD;&#xA; - The minus (&quot;-&quot;) key is a quick-key to bring up volume automation for the selected track. It works with modifier keys too, so if you press **Option + &quot;-&quot;** it will bring up volume automation for all of the tracks in your session&#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29211" PostHistoryTypeId="2" PostId="18069" RevisionGUID="eeb2a5e8-0943-442c-aed1-654a5c222a46" CreationDate="2013-02-11T23:40:11.850" UserId="18160" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I just got home from a wild show up in Canada which was outdoors.&#xD;&#xA;&#xD;&#xA;The day before the show, they had their worst blizzard in the past 5 years, all while I was setting up my PA and FOH rig.&#xD;&#xA;&#xD;&#xA;I searched the previously asked questions, and there are existing questions about waterproofing, but mainly for the recorders and microphones themselves.&#xD;&#xA;&#xD;&#xA;What I specifically wanted to know that hasn't been asked yet is if there is a simple way of weatherproofing an XLR connection between two XLR connections, for example, a break-out of a snake to a single XLR, or two XLR cables connected together as an extension.&#xD;&#xA;&#xD;&#xA;The problem I was running into was that in the snowy weather, the temperature was so cold that the usual plastic bag with electrical tape was not working. The tape was too cold to stick to itself, not to mention the melted snow that got on it while I was trying to tape it up in the blizzard. On top of that, my snowboard gloves I was wearing were too thick to be able to pick off the e-tape to peel it, so I had to brave the -10C degree weather in bare hands to use the tape at all. So, in the end, I had to bring the tape I was trying to use inside for about 30 minutes in front of a heating vent for it to heat up enough to then bring it back outside and quickly tape it up before it froze again. But, this isn't very viable when you only have about a day to set up 4 PA hangs of 16-piece line-arrays, a baker's dozen point-source delays, a handful of floor monitors on the stage, the wireless mic receivers and cable runs, and 10 audience reaction mics throughout a snowy outdoor venue...&#xD;&#xA;&#xD;&#xA;Ideally I would have something like a piece of rubber that fit around the connections and secured itself water-tight to the cables. Kind of like a handlebar grip in size, but forming to the connectors themselves and extremely quick to slap onto the connectors.&#xD;&#xA;&#xD;&#xA;After Googling for a while, I have not been able to come up with any commercially available product for this type of thing, and I immediately thought those of you who record outdoors a lot have probably already come up with a re-purposing of some type of rubber tube or something that can achieve waterproofing of XLR connectors.&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="29212" PostHistoryTypeId="1" PostId="18069" RevisionGUID="eeb2a5e8-0943-442c-aed1-654a5c222a46" CreationDate="2013-02-11T23:40:11.850" UserId="18160" Text="Waterproofing XLR connections?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29213" PostHistoryTypeId="3" PostId="18069" RevisionGUID="eeb2a5e8-0943-442c-aed1-654a5c222a46" CreationDate="2013-02-11T23:40:11.850" UserId="18160" Text="&lt;xlr&gt;&lt;rain&gt;&lt;snow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29214" PostHistoryTypeId="5" PostId="18069" RevisionGUID="3910f6bf-a14e-4725-a39c-083d90b8dfb2" CreationDate="2013-02-11T23:48:57.603" UserId="18160" Comment="added 42 characters in body" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I just got home from a wild show up in Canada which was outdoors.&#xD;&#xA;&#xD;&#xA;The day before the show, they had their worst blizzard in the past 5 years, all while I was setting up my PA and FOH rig.&#xD;&#xA;&#xD;&#xA;I searched the previously asked questions, and there are existing questions about waterproofing, but mainly for the recorders and microphones themselves.&#xD;&#xA;&#xD;&#xA;What I specifically wanted to know that hasn't been asked yet is if there is a simple way of weatherproofing an XLR connection between two XLR connections, for example, a break-out of a snake to a single XLR, or two XLR cables connected together as an extension.&#xD;&#xA;&#xD;&#xA;The problem I was running into was that in the snowy weather, the temperature was so cold that the usual plastic bag with electrical tape was not working. The tape was too cold to stick to itself, not to mention the melted snow that got on it while I was trying to tape it up in the blizzard. On top of that, my snowboard gloves I was wearing were too thick to be able to pick off the e-tape to peel it, so I had to brave the -10C degree weather in bare hands to use the tape at all. So, in the end, I had to bring the tape I was trying to use inside for about 30 minutes in front of a heating vent for it to heat up enough to then bring it back outside and quickly tape it up before it froze again. But, this isn't very viable when you only have about a day to set up 4 PA hangs of 16-piece line-arrays, a baker's dozen point-source delays, a handful of floor monitors on the stage, the wireless mic receivers and cable runs, and 10 audience reaction mics throughout a snowy outdoor venue...&#xD;&#xA;&#xD;&#xA;Ideally I would have something like a piece of rubber that fit around the connections and secured itself water-tight to the cables. Kind of like a handlebar grip in size, but forming to the connectors themselves and extremely quick to slap onto the connectors.&#xD;&#xA;&#xD;&#xA;After Googling for a while, I have not been able to come up with any commercially available product for this type of thing, and I immediately thought those of you who record outdoors a lot have probably already come up with a re-purposing of some type of rubber tube or something that can achieve waterproofing of XLR connectors.&#xD;&#xA;&#xD;&#xA;Thanks in advance.&#xD;&#xA;&#xD;&#xA;EDIT: Perhaps Saran wrap would work..." ContentLicense="CC BY-SA 3.0" />
  <row Id="29215" PostHistoryTypeId="2" PostId="18070" RevisionGUID="e9c1e69e-9957-4892-9af3-7c9b2e9b78ef" CreationDate="2013-02-11T23:56:51.390" UserId="103" Text="Usually when its raining i roll an insane amount of cellophane around the conection,wich works pretty well, but thats for rain, never had to do it in the snow...&#xD;&#xA;The only gripe i have with it its that its not reusable and its a pretty nasty kind of pollution... so i'm curious to read about other solutions as well!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29216" PostHistoryTypeId="2" PostId="18071" RevisionGUID="551175bb-3781-4f91-b4a8-53a2e08891e8" CreationDate="2013-02-12T00:04:57.053" UserId="5738" Text="Clip grouping! (**command + option + G**)... I use it all the time to move around sound design events. Also to make edits while pro tools is running! for example, group two mono tracks (you'll only be recording on one of them) - if you have a voice talent running a :60 script, you can follow along with them &amp; make edit marks (**command+option+G**) for pickups or busted takes. once you hit stop &amp; the file is &quot;on the line&quot;, you just put it in shuffle &amp; erase all your marked groups. all your regions will come together &amp; boom, edit already done. client amazed!!! I use this one every day.&#xD;&#xA;&#xD;&#xA;(I tried to post a picture for you guys, but failed. sorry)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;another easy little trick - **control+option+command+click** on pt meters will double their width!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29217" PostHistoryTypeId="2" PostId="18072" RevisionGUID="40c38b1d-6436-4008-9d2f-d348f8b31f15" CreationDate="2013-02-12T00:15:57.590" UserId="5738" Text="Whoosh is standard. Woosh is common across the pond (uk)... but for sfx libraries, always stick with the H!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29218" PostHistoryTypeId="2" PostId="18073" RevisionGUID="11b12a80-3fee-4d36-abf6-0b4e8547d38d" CreationDate="2013-02-12T00:26:28.347" UserId="4376" Text="I'm starting my Honours project for my final year at University and I'd like to ask all you pros out there for some advice on my initial idea. &#xD;&#xA;&#xD;&#xA;I've decided to explore spatial audio, specifically 5.1/7.1 cinema systems.&#xD;&#xA;&#xD;&#xA;Being able to create diegetic immersion in your sound design is one of the many things that fascinate me about it and I'd like to see if there is a basis on which I could investigate ways in which diegetic immersion is created *effectively*. I already understand simple things like the fact that the use of your surround channels to create immersion are only necessary in certain types of scenes/genres. For example, if I were working on a documentary film I'd find myself using very little of the surround channels as I wouldn't want to distract the viewer from the dialog on screen. Whereas, if I were designing sound for a horror, I'd want to stick the viewer right in the middle of the haunted house by making full use of the surround channels. &#xD;&#xA;&#xD;&#xA;But is it worth investigating this further? Could there be further 'unwritten rules' for the individual components of the sound track? Such as, appropriate uses of artefacts in the surround channels at certain moods in the on-screen performance. When does something become distracting? &#xD;&#xA;&#xD;&#xA;My tutor said he thinks the project will work but the more I think about it, the more I feel like the whole thing is a completely **subjective** matter and I'm wasting my time..&#xD;&#xA;&#xD;&#xA;Any ideas? Or any ideas of a different direction I could go from here? Would be very much appreciated. :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29219" PostHistoryTypeId="1" PostId="18073" RevisionGUID="11b12a80-3fee-4d36-abf6-0b4e8547d38d" CreationDate="2013-02-12T00:26:28.347" UserId="4376" Text="University Sound Design Project. PLEASE HELP." ContentLicense="CC BY-SA 3.0" />
  <row Id="29220" PostHistoryTypeId="3" PostId="18073" RevisionGUID="11b12a80-3fee-4d36-abf6-0b4e8547d38d" CreationDate="2013-02-12T00:26:28.347" UserId="4376" Text="&lt;sound-design&gt;&lt;dissertation&gt;&lt;honours&gt;&lt;university&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29221" PostHistoryTypeId="2" PostId="18074" RevisionGUID="4b0ba3f7-9166-4d59-9cdd-d9bbf84d68f4" CreationDate="2013-02-12T00:44:49.797" UserId="3754" Text="I think you could wrap gaffa tape round the connection, enough of it will waterproof anything. But it'd be a bitch to replace quickly, nasty to clean afterwards etc. I know lighting would use a plastic food box, cut hole in side, and make the connection there, pop a lid on and done. Might work if you break out your cables all in one place." ContentLicense="CC BY-SA 3.0" />
  <row Id="29222" PostHistoryTypeId="2" PostId="18075" RevisionGUID="ca537603-dec8-4c1d-ace2-38e369351c55" CreationDate="2013-02-12T01:43:43.977" UserId="429" Text="just put it another room and be done with it. DVI / HDMI cable runs under 30ft are cheap and work fine. USB runs need an active repeater every 15ft, passive USB cables don't work at all.&#xD;&#xA;I've worked with my computers in another room since 2001. you wont be disappointed." ContentLicense="CC BY-SA 3.0" />
  <row Id="29223" PostHistoryTypeId="2" PostId="18076" RevisionGUID="b87fd412-3893-4733-81e1-fc0efa3fdeec" CreationDate="2013-02-12T02:53:38.707" UserId="4117" Text="Podcast/Step by step turorials like those of after effects and Photoshop where you strip away the layers.&#xD;&#xA;&#xD;&#xA;Sound Design could really benefit from something like that.&#xD;&#xA;&#xD;&#xA;Especially from someone who chooses the more &quot;bizarre&quot; sounds like Randy Thom." ContentLicense="CC BY-SA 3.0" />
  <row Id="29224" PostHistoryTypeId="1" PostId="18076" RevisionGUID="b87fd412-3893-4733-81e1-fc0efa3fdeec" CreationDate="2013-02-12T02:53:38.707" UserId="4117" Text="Podcast/Step by step turorials like those of after effects and Photoshop where you strip away the layers" ContentLicense="CC BY-SA 3.0" />
  <row Id="29225" PostHistoryTypeId="3" PostId="18076" RevisionGUID="b87fd412-3893-4733-81e1-fc0efa3fdeec" CreationDate="2013-02-12T02:53:38.707" UserId="4117" Text="&lt;podcasts&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29226" PostHistoryTypeId="2" PostId="18077" RevisionGUID="d87b41d0-2bf1-4a8d-ada2-037eb6cf7f79" CreationDate="2013-02-12T08:11:26.103" UserId="61" Text="My 2 cents: You may be disappointed in the end if you pursue that topic. I believe your suspicion that the use of surround sound in cinema being highly subjective is true. What is &quot;correct&quot; for one filmmaker may be &quot;incorrect&quot; for another. And even using your two examples of the documentary and the haunted house may not get you very far, in that some documentaries (The Rolling Stones: Crossfire Hurricane) make full use of the surround channels to immerse the audience, while some horror films or thrillers may only use the surround channels to shock or scare the audience, rather than creating the illusion that they are &quot;there&quot;.&#xD;&#xA;&#xD;&#xA;I suppose your Honors project could exhaust all of the different uses of surround sound across the genres, tracing the evolution of how soundtracks have changed since the advent of different surround technologies (stereo, mono surround, 5.1, 7.1, SDDS, Dolby EX, Atmos, etc). That could be interesting. But don't expect to uncover any &quot;unwritten rules&quot; because 90% of the time there just aren't any." ContentLicense="CC BY-SA 3.0" />
  <row Id="29227" PostHistoryTypeId="2" PostId="18078" RevisionGUID="76421632-4d25-473e-bda0-fe12450a8987" CreationDate="2013-02-12T11:18:12.200" UserId="3179" Text="I haven't seen a single formula on &quot;how to do sound design, when the scene is x&quot; or a standard way for measuring the goodness or effectiveness of a particular practice. Plus, it's practically impossible to follow formulas when working with sound, because nothing can never sound the same and the interpretation and taste varies from person to person, unless the practice is strictly tied to/limited by technology for example.&#xD;&#xA;&#xD;&#xA;Isn't most/all sound design, and art for that matter, aiming for some kind of &quot;diagetic immersion&quot; in the first place? So aiming to define &quot;effectiveness&quot; or &quot;goodness&quot; in something that by definition is based on a particular view on what is effective and good, according to the artist himself/herself, is just stating another opinion on top of it, and unfortunately there are very few or no ways, or for that matter need to prove why something is better.&#xD;&#xA;&#xD;&#xA;I don't think it's interesting or publicly useful to go through the differences in technological frameworks either. By default most technology, at least in these sound systems, has come to exist because of the need or desire to improve particular aspects in the technologies that preceded it, and the engineers have already defined why the technology improves on the existing technologies or &quot;why x is better than y&quot;, when they designed and rolled out the technology. One can only speculate on &quot;how does this technology improve MY work/life/etc&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="29228" PostHistoryTypeId="2" PostId="18079" RevisionGUID="58b5c21f-35e4-42a3-8467-88aa66fdeac5" CreationDate="2013-02-12T13:35:58.527" UserId="4156" Text="About Utopia's question of how to wind without wind: I cant't find the videos right now, but I remember Ben Burtt dragging a rolled-up carpet down the hall for a wind sound in Wall-E. And Gary Rydstrom just going &quot;whoooo&quot; into a mic in the opening scene of Terminator 2. Actually there are many ways to sweeten or even create wind sounds I think, because there are so many types of wind. Recently I've used pitched down chair screeches as wind sounds. It's great when you can go wild with those things... ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29229" PostHistoryTypeId="2" PostId="18080" RevisionGUID="aa266a3d-5348-48df-9248-08ce7f3b844c" CreationDate="2013-02-12T13:56:48.550" UserId="4442" Text="I've actually thought of this pretty often. There is a dude (i think nickstutorials) on youtube that had something similar for some sound redesigns he did while trying to learn, and they were pretty good and informative. I've considered trying to do some of these, but I don't consider myself an authority on it, and I don't feel as comfortable really. At least yet. I was still pretty shocked at the dearth of stuff like that that there was when i was looking around.&#xD;&#xA;&#xD;&#xA;I feel like the answer is ALWAYS &quot;Well, just experiment!&quot; ....yea...of course experiment, however, being able to see how other people experiment just makes your game improve exponentially and faster. Could you imagine us learning how to mix only ever reading books and articles and never setting foot in front of a daw/studio? Good post though, i'll be following this." ContentLicense="CC BY-SA 3.0" />
  <row Id="29230" PostHistoryTypeId="2" PostId="18081" RevisionGUID="dae0facc-b7ad-420c-b698-1f823a19201c" CreationDate="2013-02-12T14:18:57.657" UserId="845" Text="I too will suggest that trying to come up with a definitive list of *rules* for 5.1/7.1/92.7.3 audio is a bit of a waste of time.  On the one hand, every room sounds different, and every listener hears differently, so the precision (and therefore purpose) of the rule goes out the window, on the other, I don't know a single person who actually follows any of the &quot;rules&quot; for working with sound (I mean, what would be the point?).&#xD;&#xA;&#xD;&#xA;However, there's nothing wrong with doing a dissertation that investigates 3-5 particular &quot;possible rules&quot; drawn either from your observations about 5.1 film mixing or your reading about film-sound theory.&#xD;&#xA;&#xD;&#xA;For example:&#xD;&#xA;&#xD;&#xA; - Take a 5 minute scene from a film (preferably something you can get rights to use, in case you manage to get your paper published) and sound design it the way you think it should be done. &#xD;&#xA; - Read up on both film-sound theory and psycho-acoustics.&#xD;&#xA; - Draw up a list of interesting looking ideas/theories/techniques that you've found in your reading.&#xD;&#xA; - Mix your sound design according to those ideas/theories/techniques.&#xD;&#xA; - In your dissertation explain (with examples of your work bounced directly from the scene!) what each theory/technique was supposed to do, and whether it worked or not.  &#xD;&#xA; -  - If not, then explain why, hopefully by way of an idea/theory that you've come across in your reading.&#xD;&#xA;&#xD;&#xA;A big thing that most people don't realise when they're doing stuff like this is that doing shitty work, or having things not turn out the way you expect them to, is actually better than proving that you actually *are* as much of a genius as you always thought you were.  In many cases the failures (or deliberate muckings up) prove to be much more interesting than a intellectually safe compare/contrast essay.  So, even if you do a whole bunch of work and it all totally sucks, as long as you find an intellectually interesting (and properly justified) way of presenting it, you should be totally fine.  Which, I think, is why your tutor says that it will work, there's still a whole bunch of unexplored territory in multi-channel sound, and the best way to find the good stuff if to figure out what sucks." ContentLicense="CC BY-SA 3.0" />
  <row Id="29231" PostHistoryTypeId="2" PostId="18082" RevisionGUID="8b2ce395-d3ba-4396-a80e-8d4955bfa41f" CreationDate="2013-02-12T16:01:47.510" UserId="234" Text="-10C! Dude in a Canadian winter, we consider that a &quot;nice&quot; day! LOL. Seriously... I've shot films out here in -40C! But to answer your question... The most common thing used on set is, as Fred said, gaffer tape. Bit of a b@#$! to take off, but does the job. Mind you, that's usually production sound, so a whole FOH rig could be more difficult. Another idea would be Heat Shrink Tubing of an appropriate size, slid over the connectors (not actually shrunk, just to cover it)." ContentLicense="CC BY-SA 3.0" />
  <row Id="29232" PostHistoryTypeId="2" PostId="18083" RevisionGUID="9bae0a82-d9da-41a9-a134-079941d7fa7f" CreationDate="2013-02-12T16:55:11.130" UserId="5740" Text="Creating Track Presets in Protools 10&#xD;&#xA;&#xD;&#xA;1) Go to Applications &gt; Avid &gt; Pro Tools. Here, create a folder titled &quot;Track Presets&quot;. &#xD;&#xA;you can also create folders within &quot;Track Presets&quot; for different categories (ex: Reverb, Master bus, Virtual instruments and so on)&#xD;&#xA;&#xD;&#xA;2) Create a new track in a blank project and configure the track to your tastes (inputs, outputs, names, sends, volume, pan, plug-ins, etc)&#xD;&#xA;&#xD;&#xA;3) From the File menu, choose Save As Template.&#xD;&#xA;&#xD;&#xA;4) Choose &quot;Select Location for template&quot;&#xD;&#xA;&#xD;&#xA;5) Save it into your Track Presets folder/s&#xD;&#xA;&#xD;&#xA;Once your saved to the &quot;Track Presets&quot; folder they will appear as an options in the New Track dialog box!&#xD;&#xA;&#xD;&#xA;** Notice these template files will appear as .ptxt files. &#xD;&#xA;Its worth noting you can also just rename a normal project .ptx extension to .ptxt.&#xD;&#xA;Nice!&#xD;&#xA;There is a way to do this in PT9/8 also but requires allot more effort. &#xD;&#xA;Have fun :p " ContentLicense="CC BY-SA 3.0" />
  <row Id="29233" PostHistoryTypeId="2" PostId="18084" RevisionGUID="27a976af-e4bc-4749-8abc-e14e31b9ea48" CreationDate="2013-02-12T19:48:33.317" UserId="1149" Text="Hola Marcos!!! es bueno saber que tambien hay mas mexicanos que comparten el gusto por el diseno en audio. Al igual que tu yo estaba buscando escuelas que impartieran algo relacionado con diseno en audio y lo mismo trate en VFS pero es extremadamente caro pero su bolsa de trabajo es increible y es lo que vale la pena.  &#xD;&#xA;Creo que la mejor escuela y el mejor aprendizaje por experiencia que puedes encontrar es entrando al medio, entrar a una casa productora, empezar a trabajar en proyectos y asi vas haciendo curriculum que a futuro eso te beneficia mas que un titulo de alguna escuela, y sobre todo algo que me ha servido mucho es escuchar y analizar lo que mas puedas de peliculas, documentales, spots publicitarios, videojuegos, etc, etc.&#xD;&#xA;Lo que si te puedo recomendar de estudiar fuera y encontrar una escuela que imparta es que puedes encontrar una mucho mejor bolsa de trabajo y mejores posibilidades de colocarte en el medio que en Mexico.&#xD;&#xA;Hace un tiempo me entere de que hay una escuela en Atlanta con el programa de diseno en audio para cine y mas accesible que VFS. http://www.scad.edu/sound-design/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29234" PostHistoryTypeId="2" PostId="18085" RevisionGUID="5b79c4e5-5efc-4edf-86b5-58948d2eb37e" CreationDate="2013-02-12T20:04:08.090" UserId="29" Text="Two decent options are 1) using waterproof Neutrik connectors (pricey and requires custom cable making) and 2) use of silicone tape. Called 100mph tape in the military, it adheres only to itself. You make a single, narrow, very tight wrap around the mating point of the cables, and a wider secondary wrap over that. Stuff's neither cheap nor re-usable but is great for rain...not great for full immersion. No adhesive mess, but you do need to cut it off. Amazing in high heat...never used in in cold like you describe, though. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29235" PostHistoryTypeId="2" PostId="18086" RevisionGUID="d56bce16-f059-4669-b918-a9ab3f7829d9" CreationDate="2013-02-12T20:36:50.857" UserId="4390" Text="I recently cleaned up some audio using exactly the ReaEQ/ReaFir combo you mention. Feels kind of like a hack really, but I believe I used the eq to cut some highs from the signal before ReaFir (which should be set to subtract mode). That way, when you record the noise profile in ReaFir, it doesn't affect the highs as much in your material - and you can tune out the worst of the &quot;underwater&quot; sound often associated with noise reduction software. Takes a bit of trial and error.&#xD;&#xA;&#xD;&#xA;If I had the cash, I would go RX all the way though..." ContentLicense="CC BY-SA 3.0" />
  <row Id="29241" PostHistoryTypeId="5" PostId="18084" RevisionGUID="0c4f83c3-9586-4d6e-957f-1e2711b07ae3" CreationDate="2013-02-13T07:54:19.183" UserDisplayName="user80" Comment="Translation" Text="Hola Marcos!!! es bueno saber que tambien hay mas mexicanos que comparten el gusto por el diseno en audio. Al igual que tu yo estaba buscando escuelas que impartieran algo relacionado con diseno en audio y lo mismo trate en VFS pero es extremadamente caro pero su bolsa de trabajo es increible y es lo que vale la pena.  &#xD;&#xA;Creo que la mejor escuela y el mejor aprendizaje por experiencia que puedes encontrar es entrando al medio, entrar a una casa productora, empezar a trabajar en proyectos y asi vas haciendo curriculum que a futuro eso te beneficia mas que un titulo de alguna escuela, y sobre todo algo que me ha servido mucho es escuchar y analizar lo que mas puedas de peliculas, documentales, spots publicitarios, videojuegos, etc, etc.&#xD;&#xA;Lo que si te puedo recomendar de estudiar fuera y encontrar una escuela que imparta es que puedes encontrar una mucho mejor bolsa de trabajo y mejores posibilidades de colocarte en el medio que en Mexico.&#xD;&#xA;Hace un tiempo me entere de que hay una escuela en Atlanta con el programa de diseno en audio para cine y mas accesible que VFS. http://www.scad.edu/sound-design/&#xD;&#xA;&#xD;&#xA;Hi Mark! is good to know that there are more Mexicans who share a love of design in audio. Like you I was looking for schools that would impart something related to audio design and the same question in VFS but is extremely expensive but their job is amazing and is worth it.&#xD;&#xA;I think the best school and the best learning experience you can find is entering the environment, entering a production house, start working on projects and doing so going forward that curriculum that benefits you more than a degree from a school, and especially something that has served me well is to listen and analyze what more can of films, documentaries, commercials, video games, etc, etc. What if I can recommend to study outside and find a school serving is you can find a better job and better opportunities to put yourself in the middle than in Mexico. Some time ago I found out that there is a school in Atlanta with the design program for film and audio more accessible than VFS. http://www.scad.edu/sound-design/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29242" PostHistoryTypeId="2" PostId="18088" RevisionGUID="49a46121-d7e5-40ac-9096-384574da9e53" CreationDate="2013-02-13T11:55:39.880" UserDisplayName="user80" Text="I am thinking about purchasing Unveil, is anyone using it and if you are, how successful is it?&#xD;&#xA;&#xD;&#xA;I mostly use RX2 and expansion techniques when I am working, but am wondering if I my working practices are now out of date.&#xD;&#xA;&#xD;&#xA;http://www.zynaptiq.com/unveil/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29243" PostHistoryTypeId="1" PostId="18088" RevisionGUID="49a46121-d7e5-40ac-9096-384574da9e53" CreationDate="2013-02-13T11:55:39.880" UserDisplayName="user80" Text="Unveil, what are your experiences?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29244" PostHistoryTypeId="3" PostId="18088" RevisionGUID="49a46121-d7e5-40ac-9096-384574da9e53" CreationDate="2013-02-13T11:55:39.880" UserDisplayName="user80" Text="&lt;reverb-removal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29245" PostHistoryTypeId="2" PostId="18089" RevisionGUID="51ed4ab5-934e-4a02-aab3-b2a4dbec81df" CreationDate="2013-02-13T12:56:25.810" UserId="432" Text="I've toyed around with the demo quite a bit, and it's on my &quot;to purchase&quot; list. There are just a couple of higher priority items ahead of it at the moment. It's an impressive piece of software. Like RX2, I always describe it as a &quot;reduction&quot; tool, not a &quot;removal tool. While it's got a bit of learning curve before you start getting the best results, those results can be impressive. It's far more effective than any expansion or multi-band expansion tricks I've used in the past, and those were always the ones I turned to.&#xD;&#xA;&#xD;&#xA;Colin is working on a review which we hope to have up on Designing Sound sometime soon. In the meantime, why don't you [try out the demo][1]. Just make sure you read through the (short) manual. It's not a plug-in you can really make sense of just by looking at.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.zynaptiq.com/unveil/downloads/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29246" PostHistoryTypeId="6" PostId="18088" RevisionGUID="824c7447-44fd-44ea-ab89-971f2fffdc4c" CreationDate="2013-02-13T13:17:07.110" UserDisplayName="user80" Comment="edited tags" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29247" PostHistoryTypeId="2" PostId="18090" RevisionGUID="93f2797b-98b2-4a62-a418-5a0d2163ce2d" CreationDate="2013-02-13T15:06:38.880" UserId="3567" Text="I wonder how this compares to SPL's DeVerb tool. I admit I'm lazy and I don't want to test the demo, so maybe someone has used both and can enlighten me." ContentLicense="CC BY-SA 3.0" />
  <row Id="29251" PostHistoryTypeId="2" PostId="18092" RevisionGUID="4f1d82cf-fd40-4163-b697-e55a052079a5" CreationDate="2013-02-13T16:53:47.060" UserId="4140" Text="Like shaun said, unveil is quite impressive and specially for its price. &#xD;&#xA;&#xD;&#xA;When I tested it and were looking for alternatives I found also some Japanese stuff that made use of hardware tools (of course I couldn't test it). From the description looked like almost scifi. But again I couldn't obviously try it, it costed thousands of dollars and I don't remember the name of it (I can check my archives if you want to know more about it). &#xD;&#xA;&#xD;&#xA;About the spl's deverb: it's a baby toy compared to unveil. Ridiculous performance when I tested it. Unveil is also on my next shopping list. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29252" PostHistoryTypeId="2" PostId="18093" RevisionGUID="abe953cd-5c7b-4cbd-b2d5-1753e243a57d" CreationDate="2013-02-13T18:12:06.680" UserId="1228" Text="I did a test drive with this plugin, and I honestly didn't like it at all.  Call me old fashioned, or say that I may enjoy a pleasant bit of organic noisefloor in my dialogue tracks, but I wasn't turned onto this tool.  I was turned onto the concept, but in implementation I didn't like it.  The interface although cool looking, I didn't find very intuitive.&#xD;&#xA;&#xD;&#xA;The ability to do what it does, sort of 'meh' in my opinion at this point.  It felt and sounded more like a glorified EQ than actually doing something to suppress noise or clarify dialogue or both.&#xD;&#xA;&#xD;&#xA;And this thing is I believe is an unnecessary resource hog - I hope that this is not because of the fancy graphics.  And my thought is that when you have to blatantly warn customers on your website about it being so re-source heavy (so much so that even though my computer far exceeds the required specs, it still buckles under one plugin instance), that's just poor/sloppy design to begin with in my opinion.  I'd prefer no fancy graphics or frequency response curves etc if it means the tradeoff is that the plugin just runs efficiently.&#xD;&#xA;&#xD;&#xA;Maybe I'll try it again in the distant future, but for now I'm honestly happy using my C4 method and/or working with a Cedar - even if it means a little residual noisefloor.  And I have no intention of investing in this, I'm hard pressed to change my mind.  Less is more here." ContentLicense="CC BY-SA 3.0" />
  <row Id="29253" PostHistoryTypeId="2" PostId="18094" RevisionGUID="fa228353-5ea2-4511-a1d3-4c486eb4d9ab" CreationDate="2013-02-13T21:47:23.057" UserId="726" Text="A really good way of waterproofing XLR connectors outdoor are these casings made by Stanley for outdoor power socket connectors:&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/Stanley-39387-Protect-Protection-Connector/dp/B0036DEC0W/ref=sr_1_2?ie=UTF8&amp;qid=1360791701&amp;sr=8-2&amp;keywords=cable+connector+protector+outdoor+garden&#xD;&#xA;&#xD;&#xA;They fit XLR connectors well, and have used them in wind/rain/rain machines/snow to great affect. Just connect them up and you don't have to worry about them getting wet until the de-rig!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29254" PostHistoryTypeId="2" PostId="18095" RevisionGUID="b1afc88c-3659-490d-9d71-6afa53f78cd8" CreationDate="2013-02-13T22:43:33.720" UserId="5747" Text="I was wondering what methods people are using in pro tools 10 to export individual regions/clips as individual sounds while retaining any fades or processing or even clip gain?  Seems like whenever I export the clips I only get the raw recorded file which isn't particularly useful to me when trying to get hundreds of sounds that have all been treated and have fades in place. What is the best method(s) to do this?  I'm at a loss... Cheers." ContentLicense="CC BY-SA 3.0" />
  <row Id="29255" PostHistoryTypeId="1" PostId="18095" RevisionGUID="b1afc88c-3659-490d-9d71-6afa53f78cd8" CreationDate="2013-02-13T22:43:33.720" UserId="5747" Text="Pro Tools 10 bouncing regions/cips with fades?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29256" PostHistoryTypeId="3" PostId="18095" RevisionGUID="b1afc88c-3659-490d-9d71-6afa53f78cd8" CreationDate="2013-02-13T22:43:33.720" UserId="5747" Text="&lt;pro-tools&gt;&lt;export&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29257" PostHistoryTypeId="2" PostId="18096" RevisionGUID="cd048202-f9c0-48e4-9ed1-d42fdf3b557e" CreationDate="2013-02-13T23:57:57.813" UserId="432" Text="You could do an internal bounce (route through a bus and record to another audio track). That would lock in all the processing, fades, etc. without the hassle of dealing with the Bounce to Disk window. You can even create interleaved or mono files as necessary by making that change in the Session Setup window." ContentLicense="CC BY-SA 3.0" />
  <row Id="29258" PostHistoryTypeId="2" PostId="18097" RevisionGUID="9e8ee94d-aa0d-45e8-9ac8-a1c861cbfa5a" CreationDate="2013-02-13T23:59:30.403" UserId="4358" Text="Hey,&#xD;&#xA;You can bounce the individual regions ('clips' in PT 10) by soloing the track, selecting the region and then opt+cmnd+B. When the bounce window pops, in the bounce source, select the proper output. (Output---&gt;Built-in Output)&#xD;&#xA;I think that should help you out and all your fades and plugin settings will get printed as well. I hope that's what you meant.&#xD;&#xA;Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="29259" PostHistoryTypeId="2" PostId="18098" RevisionGUID="9ba74e12-e09e-4fd1-bc90-53c6e40306a5" CreationDate="2013-02-14T00:28:41.370" UserId="2502" Text="consolidate the clip and it renders the fade and gain. shift+option+3" ContentLicense="CC BY-SA 3.0" />
  <row Id="29260" PostHistoryTypeId="2" PostId="18099" RevisionGUID="5e8636de-194f-49bc-a179-02e8adaa8079" CreationDate="2013-02-14T02:25:12.440" UserId="4156" Text="If I understand correctly you want to &quot;batch export&quot; your regions/clips so you don't have to export them one by one? Do you have plugins with automation on the tracks? Or are there just plugins without automation?&#xD;&#xA;&#xD;&#xA;I guess Shaun's suggestion will be the safest, because you can also listen and stop if there's somerhing not sounding right. Then pick up recording again. If you need to create individual files you could use strip silence, but that of course depends on your audio content. If there are silences in your files that need te stay there you could use Quickeys to automate a process of selecting the original regions and then using the selection to create the new clips from your recording/bounce. I hope this doesn't sound too unclear... ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29261" PostHistoryTypeId="2" PostId="18100" RevisionGUID="709e0fe8-d582-418d-9dc8-433f7db9e3a6" CreationDate="2013-02-14T02:56:12.313" UserId="18160" Text="In situations like this, I run the dialogue out into Analog and boost it up with an analogue preamp and then back into Pro Tools - but that's usually the mix.&#xD;&#xA;&#xD;&#xA;YMMV on digital plug-ins for that gain staging, but I have had the most success on &quot;unusable&quot; low recordings by boosting it in the analogue domain as opposed to in the digital realm. In my experience, noise reduction plug-ins seem to work better this way, once the signal is boosted, so that there is more &quot;resolution&quot; of the waveform." ContentLicense="CC BY-SA 3.0" />
  <row Id="29262" PostHistoryTypeId="2" PostId="18101" RevisionGUID="e64623b1-85f5-44e0-b236-deabf249179a" CreationDate="2013-02-14T03:17:23.103" UserId="18160" Text="If you were teaching someone how to use Pro Tools who is brand new to the program, what are some drills or tasks you would have them do to teach them how to be dextrous around the program?&#xD;&#xA;&#xD;&#xA;I'm pretty fast around the program, and I attribute that to my years and years of gaming experience in using macros and hotkeys. But, I don't think that would be smart to assign a thousand hours of playing Ultima Online or Quake...&#xD;&#xA;&#xD;&#xA;How would you go about teaching someone the dexterity you've learned over the years of using the program who is brand new?&#xD;&#xA;&#xD;&#xA;Thanks in advance for your answers." ContentLicense="CC BY-SA 3.0" />
  <row Id="29263" PostHistoryTypeId="1" PostId="18101" RevisionGUID="e64623b1-85f5-44e0-b236-deabf249179a" CreationDate="2013-02-14T03:17:23.103" UserId="18160" Text="Teaching dexterity in Pro Tools" ContentLicense="CC BY-SA 3.0" />
  <row Id="29264" PostHistoryTypeId="3" PostId="18101" RevisionGUID="e64623b1-85f5-44e0-b236-deabf249179a" CreationDate="2013-02-14T03:17:23.103" UserId="18160" Text="&lt;pro&gt;&lt;tools&gt;&lt;practice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29265" PostHistoryTypeId="2" PostId="18102" RevisionGUID="b044464d-bb81-459c-bd05-4700608a1818" CreationDate="2013-02-14T04:03:25.507" UserId="3179" Text="Simply by putting them to edit sound.&#xD;&#xA;&#xD;&#xA;If they're smart, they'll develop their workflow, because inefficient use of the mouse and the keyboard and doing repetitive control movements and tasks eventually leads to frustation. At least I hope so." ContentLicense="CC BY-SA 3.0" />
  <row Id="29266" PostHistoryTypeId="2" PostId="18103" RevisionGUID="e8bd45e4-f8a7-4e66-9206-9dd92722a7e8" CreationDate="2013-02-14T04:48:49.937" UserId="6411" Text="Open the PT Shortcuts Guide PDF, then unplug the mouse and take it with you. Nothing made me faster with basic keyboard shortcuts than being 100% unable to reach for the mouse." ContentLicense="CC BY-SA 3.0" />
  <row Id="29267" PostHistoryTypeId="2" PostId="18104" RevisionGUID="ce6de86e-f8c8-4321-8d9d-dfd2e7a34068" CreationDate="2013-02-14T05:02:44.823" UserDisplayName="user49" Text="Depends why they are learning to use ProTools but if its soundpost one task I'd use would be to give them a Quicktime of a half hour TV show (with burnt in timecode) and half a dozen audiofiles and ask them to go through and do a first quick ambience pass (ie choosing a single ambience and cut it to the length of the scene or shot, checker boarding as they go)&#xD;&#xA;I'd also ask them to time how long it takes them to do this the first time through. Afterwards check their edits are frame accurate, and that their decisions on scene cuts are correct (being fast at Protools is no use if they aren't also accurate)... &#xD;&#xA;&#xD;&#xA;Then give them 12 more half hour QTs to do the same with... &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29268" PostHistoryTypeId="2" PostId="18105" RevisionGUID="f63915bc-d2d6-4e81-8fca-7621a4ced6a5" CreationDate="2013-02-14T08:33:20.363" UserId="994" Text="I think, like everything, the best way to go is to start from basic things - read manual, memorize keyboard shortcuts, and stuff like that. And - practice." ContentLicense="CC BY-SA 3.0" />
  <row Id="29269" PostHistoryTypeId="2" PostId="18106" RevisionGUID="ad1c91b6-9a78-4403-b0eb-7956a130f51d" CreationDate="2013-02-14T09:08:43.503" UserId="194" Text="i'd have them do all of their sessions for a week without a mouse.  &#xD;&#xA;&#xD;&#xA;then after that i'd have them build quick keys for the more common tasks.  &#xD;&#xA;&#xD;&#xA;that'd do it.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29270" PostHistoryTypeId="2" PostId="18107" RevisionGUID="52545675-3122-44eb-9784-97a9c6c9a581" CreationDate="2013-02-14T10:22:41.657" UserId="310" Text="As @NoiseJockey said - difference is in speed. &#xD;&#xA;&#xD;&#xA;Take a look at sources. CF card use parallel bus (PATA) similar to old HDDs. But **it is not true that they are faster for more pins**. &#xD;&#xA;&#xD;&#xA;Modern trends are to use less cables (eSATA, Thunderbolt, Ethernet) for flexibility and magnetic and electric shielding.&#xD;&#xA;&#xD;&#xA;Based on provided source SD cards are used primarily in &quot;Hobby, Customer Segment&quot; and where size matters also you need special electronic circuit to read them. &#xD;&#xA;&#xD;&#xA;SD drives are used in &quot;More professional&quot; situations because they act as autonomous HDD hardware and can be used in very professional devices with operating systems =&gt; Sound Devices 7XX recorders are able to have HDD - and why reinvent wheel if you as designer have support for CF for free :)&#xD;&#xA;Sound Devices mixer is based on different platform this why SD card slot is used...&#xD;&#xA;&#xD;&#xA;Source: &#xD;&#xA;&#xD;&#xA; - CompactFlash - Wikipedia - http://en.wikipedia.org/wiki/CompactFlash&#xD;&#xA; - Parallel ATA - Wikipedia - http://en.wikipedia.org/wiki/Parallel_ATA&#xD;&#xA; - SATA IO - Website with standards for SATA - http://www.sata-io.org/&#xD;&#xA; - Sound devices website - http://www.sounddevices.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="29271" PostHistoryTypeId="2" PostId="18108" RevisionGUID="3b4e1125-0258-4085-8f0a-97285220912c" CreationDate="2013-02-14T15:11:38.507" UserDisplayName="user80" Text="We use both for students here, there is one major advantage of SD cards over CF cards, the SD card devices don't have pins to bend.  Even members of staff have bent pins here, much to my annoyance.  CF cards were generally faster, but I have some 95 mbps SD cards so speed really is not an issue nowadays." ContentLicense="CC BY-SA 3.0" />
  <row Id="29272" PostHistoryTypeId="2" PostId="18109" RevisionGUID="618fb404-2529-4eee-941f-e651cc85d273" CreationDate="2013-02-14T16:35:14.730" UserId="5748" Text="Thanks for the suggestions everyone, sounds like bussing or consolidation is the way to go.  I've been mainly concerned about getting the fades, but I was hoping to use a limiter on the tracks as well, sounds like this isn't going to work unless I commit the processing?  Thanks again." ContentLicense="CC BY-SA 3.0" />
  <row Id="29273" PostHistoryTypeId="2" PostId="18110" RevisionGUID="c36da4bf-6358-42bc-98ad-2aa894a8aa7c" CreationDate="2013-02-14T17:16:18.337" UserId="5697" Text="PLEASE ANY SUGGESTION ABOUT A BUNDLE WITH PLUGINS PARTICULARLY DEDICATED AT CLEANING NOISY DIALOGUE  AND A GOOD COMPRESSOR ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29274" PostHistoryTypeId="1" PostId="18110" RevisionGUID="c36da4bf-6358-42bc-98ad-2aa894a8aa7c" CreationDate="2013-02-14T17:16:18.337" UserId="5697" Text="NEW AT PROTOOLS, WHAT BEST DENOISER PLUG IN TO USE WITH  DIALOGUE" ContentLicense="CC BY-SA 3.0" />
  <row Id="29275" PostHistoryTypeId="3" PostId="18110" RevisionGUID="c36da4bf-6358-42bc-98ad-2aa894a8aa7c" CreationDate="2013-02-14T17:16:18.337" UserId="5697" Text="&lt;cleaning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29276" PostHistoryTypeId="2" PostId="18111" RevisionGUID="d6f665d4-2c43-4146-80f9-cdd31b9b0cff" CreationDate="2013-02-14T17:17:36.340" UserId="3784" Text="I would stay off the smart tool, I know editors that use it and it makes them slow. Command 1-6 is a good easy hot key that would get the fingers used to quick keys faster. But I mean if it's your thing, then keep doing it. Also I like to add an apple S to the end of every combo stroke ;) Theres nothing like being able to move around with out a mouse, plus it impresses clients if you can edit faster then they can type." ContentLicense="CC BY-SA 3.0" />
  <row Id="29277" PostHistoryTypeId="2" PostId="18112" RevisionGUID="22a595f9-d15a-4af1-9d16-a3d438d28f8d" CreationDate="2013-02-14T17:21:28.767" UserId="5605" Text="The demo clips look really impressive, but I'm a bit skeptical as to what it can actually accomplish until I have some hands-on experience with it. But yeah, looks impressive." ContentLicense="CC BY-SA 3.0" />
  <row Id="29278" PostHistoryTypeId="2" PostId="18113" RevisionGUID="c8738a7f-0f54-4793-b42d-c11f383e2ee9" CreationDate="2013-02-14T17:22:08.283" UserId="5749" Text="Even the SONY Mics are not that great for ambience. I just did a test using the SONY internal and external mics (Roland CS10EM) and you can listen to the results and download 96KHz/24bit files from my blog.&#xD;&#xA;&#xD;&#xA;http://hybridsoundworks.com/?p=1977" ContentLicense="CC BY-SA 3.0" />
  <row Id="29280" PostHistoryTypeId="2" PostId="18115" RevisionGUID="dfc91446-19f4-4b71-976a-783f1525dced" CreationDate="2013-02-14T17:28:11.517" UserId="3179" Text="FOR NOISE REDUCTION LOOK AT IZOTOPE RX 2 OR WAVEARTS MASTER RESTORATION.&#xD;&#xA;&#xD;&#xA;PLENTY OF COMPRESSORS AVAILABLE, CAN'T REALLY NAME ONE &quot;GOOD COMPRESSOR&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="29281" PostHistoryTypeId="5" PostId="18115" RevisionGUID="35c960ac-7d0e-4e63-af71-e38869b32b35" CreationDate="2013-02-14T17:43:23.280" UserId="3179" Comment="added 99 characters in body" Text="FOR NOISE REDUCTION LOOK AT IZOTOPE RX 2 OR WAVEARTS MASTER RESTORATION.&#xD;&#xA;&#xD;&#xA;PLENTY OF COMPRESSORS AVAILABLE, CAN'T REALLY NAME ONE &quot;GOOD COMPRESSOR&quot; (BUT http://varietyofsound.wordpress.com/ IS NICE, AND THEY'RE AVAILABLE FOR FREE / FOR DONATIONS)." ContentLicense="CC BY-SA 3.0" />
  <row Id="29283" PostHistoryTypeId="2" PostId="18116" RevisionGUID="8e6985e5-4241-45d5-a172-134c2558e8a8" CreationDate="2013-02-14T18:10:17.763" UserId="315" Text="To answer your questions:&#xD;&#xA;&#xD;&#xA;1) Yes you can pan BGs with the surround panner. Many mixers for example will pan a stereo ambience slightly into the center channel. Check your mixes in mono if you are concerned about phasing issues. It's also better to cut with well recorded stereo ambiences (without any stereo phasing issues) in the first place. &#xD;&#xA;&#xD;&#xA;2) M/S is used a ton in films. But M/S recordings are always decoded before they hit the mix stage. I don't think many mixers would enjoy the extra hassle of fiddling with an M/S decoder on stage...they have so much to worry about as it is. Some folks have reported issues with M/S recordings and certain Dolby matrices; but I've never had any issues. But M/S is a technique that is easy to mess up if not done properly. I recommend [this read][1] about M/S.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2011/08/tim-nielsen-special-ms-recording/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29284" PostHistoryTypeId="4" PostId="18110" RevisionGUID="4b03b83f-fec3-4e1c-acbd-bfd617468a69" CreationDate="2013-02-14T19:38:45.337" UserDisplayName="user80" Comment="edited title" Text="New at Pro Tools, what is the best denoiser plug-in for dialogue?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29285" PostHistoryTypeId="2" PostId="18117" RevisionGUID="68c258c6-09b6-494b-902f-0e512d005a1f" CreationDate="2013-02-14T20:16:46.137" UserId="3197" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I'm working on a project where there is slow motion scene during an intense moment and the character is &quot;sucked&quot; back to reality.&#xD;&#xA;&#xD;&#xA;I've tried hitting the ambiences in hard at the end of the sequence but since there isn't much actually going on in the scene there isn't anything in the room I can really use to make it big enough.&#xD;&#xA;&#xD;&#xA;That being said I want to try use a classic suck back effect. How do you create it? Is it just white noise with some envelopes?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29286" PostHistoryTypeId="1" PostId="18117" RevisionGUID="68c258c6-09b6-494b-902f-0e512d005a1f" CreationDate="2013-02-14T20:16:46.137" UserId="3197" Text="Classic &quot;Back To Reality&quot; Effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="29287" PostHistoryTypeId="3" PostId="18117" RevisionGUID="68c258c6-09b6-494b-902f-0e512d005a1f" CreationDate="2013-02-14T20:16:46.137" UserId="3197" Text="&lt;sound-design&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29288" PostHistoryTypeId="2" PostId="18118" RevisionGUID="843a39fe-a30a-4dcc-8328-ce173f8932b9" CreationDate="2013-02-14T20:28:20.580" UserId="6411" Text="If all you've done is used clip gain and added some fades, consolidating will be the faster way to go.&#xD;&#xA;&#xD;&#xA;Duplicate your playlist so you can backtrack if necessary. Highlight everything, right click on a region and go to Clip Gain &gt; Render Clip Gain. This will write new files based on the clip gain levels and retain all of your edits. After you render the clip gain, then consolidate your regions and export them. If you really want to use a limiter you can apply it as an AS to your consolidated regions, render, and then export.&#xD;&#xA;&#xD;&#xA;But, if you've added any automation; volume, pan, plug-in, *anything*, I recommend Shaun's internal bounce over a bounce to disk. If for no other reason than you can interrupt and continue an internal re-record when you hear an error, and can't when bouncing to disk.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29289" PostHistoryTypeId="2" PostId="18119" RevisionGUID="73ed116f-b13b-456b-a5c6-1b454de8206d" CreationDate="2013-02-14T20:51:07.983" UserId="1216" Text="Well this is one of the more difficult design tasks I've ran into.&#xD;&#xA;It sounds like there's no actual clue in the visual cut that allows for a snap back to reality.  &#xD;&#xA;In these situations it is mostly trial and error for finding the right moment, the length volume or filter slopes or reverb vs direct sound.  &#xD;&#xA;You can of course also try to sell it with a sound that has either a connection with the character (ie. a memory) or with the context (office &gt; telephone ring or street &gt; car horn, etc). &#xD;&#xA;But this will take some time, so be prepared to think a bit about it and experiment.&#xD;&#xA;And don't fix this stuff with an inexperienced director around, they tend to get anxious when you do not have thinks totally figured out yet.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29291" PostHistoryTypeId="2" PostId="18121" RevisionGUID="9981e2ad-9cfe-457c-8ea1-f70cd8003c91" CreationDate="2013-02-14T20:59:31.297" UserId="6411" Text="Thought of a couple to add to the mix:&#xD;&#xA;&#xD;&#xA;**Empty Region Groups &gt; Markers**&#xD;&#xA;&#xD;&#xA;Since we're not blessed with multiple types of markers, I use empty region groups to spot foley, adr, make general notes, etc. and markers are left for working with sync or &quot;Pick Up here&quot;.&#xD;&#xA;&#xD;&#xA;They're particularly useful to block out scenes. I create an audio track, switch the voice from &quot;dyn&quot; to &quot;off&quot;, select from the first to last frame of the scene (overlapping for dissolves) and create blank Region Groups. I try and stay consistent with the naming ie. &quot;INT Main Character's BR DAY&quot; &quot;EXT Street Med Traffic Night&quot; so that they all group together in the clip bin. As I go through the show and create my BGs, by the time I get to reel3 80% of the rest of the scenes are at least 75% complete. I come to a scene I know we've heard already, click through my bin, select my bgs, copy/paste, tweak, add/subtract as needed, move on. This works much better in super-sessions with all the reels splayed out, than each reel to it's own session.&#xD;&#xA;&#xD;&#xA;**Quicker Clip Gain Trims**&#xD;&#xA;&#xD;&#xA;If you are mousing through your clip gain, stop. Or at least, don't do it so much. In Preferences &gt; Editing &gt; Clips there is a box that reads Clip Gain Nudge Value. This can be as little as 0.1 dB, I have mine set to 0.5. But how do you nudge? &#xD;&#xA;&#xD;&#xA;Highlight the region (or portion of a region) that you want to nudge and hold CNTRL + SHIFT + up/down arrow. That was the first way I found. It's good, it's accurate, and it gets you pretty damn close. Then I discovered that the scroll wheel on my mouse worked in place of the arrow keys. Oooooooh, sexy.&#xD;&#xA;&#xD;&#xA;But this all assumes that you have no fader at your finger. Want to get super detailed in your clip gain? Use the fader to write volume automation, select the region, go to Edit &gt; Automation &gt; Coalesce Volume Automation to Clip Gain. Voilá. Notice also that you can go back and forth with the opposite: Coalesce Clip Gain to Volume Automation. I have both of these as soft keys on my Artist Mix. So nudge your clip gain, convert, trim with fader, convert, up, down, go to town. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29293" PostHistoryTypeId="2" PostId="18123" RevisionGUID="4def5da7-7428-47e3-90ce-a9b3efc980ce" CreationDate="2013-02-14T21:30:33.233" UserId="234" Text="A classic way to make the &quot;suck&quot; sound is to find something that has a sharp hit and a decent ring off, and then reverse it... Try doors, drums, metal bangs -especially something that's relevant to the scene and story- reverse it, and play it under the transition. Volume is a big deal here... you USUALLY want to feel it more than hear it, but always depends on the director." ContentLicense="CC BY-SA 3.0" />
  <row Id="29294" PostHistoryTypeId="2" PostId="18124" RevisionGUID="221e4458-041b-4ce2-8096-e3a38442a816" CreationDate="2013-02-14T22:29:08.220" UserId="2502" Text="shift scroll side to side woohoo!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29295" PostHistoryTypeId="2" PostId="18125" RevisionGUID="17093998-c449-4dd4-8a47-3fd255ccf14b" CreationDate="2013-02-14T22:45:12.857" UserId="3396" Text="When I started (around 25-30 years ago) it seemed like the only females were ADR &amp; dialogue editors and foley walkers (now called foley Artists). That has changed.&#xD;&#xA;&#xD;&#xA;When we were cutting on film it was a dirtier and much more physically demanding job. Sound FX and design was a boys club ... not anymore. Not even a little bit. &#xD;&#xA;&#xD;&#xA;Women are everywhere (thank god!) Where I work there are now as many women as men. Nothing is gender specific anymore. There are more male sound supervisors than female but I think that is just a remnant from the past. There is now a much bigger pool of female sound people ready to rise through the ranks and become supervisors if that is their wish. Some of us prefer to continue to work as editors and designers. It's more fun, independent, creative and you don't have to deal with the suits and budget.&#xD;&#xA;&#xD;&#xA;There is nothing holding you back if you have the talent and the drive ... honest.&#xD;&#xA;&#xD;&#xA;On a side note, a degree won't help you nearly as much as getting an entry level job at a sound house. This is an industry where friendships and connections will help you much more than a degree. I am working with women who started like I did as drivers and assistants. They made friends, stayed after their daytime job was done and sat in with editors and designers and learned what and how it is really done.&#xD;&#xA;&#xD;&#xA;GO FOR IT!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29296" PostHistoryTypeId="2" PostId="18126" RevisionGUID="4404ff69-2684-4c3f-b395-965728c857c3" CreationDate="2013-02-14T23:42:58.477" UserId="3841" Text="Hello,&#xD;&#xA;&#xD;&#xA;I've been recording on my own for a couple of years now and have accumulated a decent library of sounds.  But i decided i should invest in a “smallish” sound library to round out my collection and provide me with quick access to sounds I can't typically record myself.&#xD;&#xA;&#xD;&#xA;I've been looking for something on the smaller end (i don't exactly have the budget for soundstorm) while still being relatively inclusive, like blastwave FX’s thousand sound pack:&#xD;&#xA;http://www.blastwavefx.com/p128/wavFX%20Mini%20Sound%20Effects%20&amp;%20Production%20Elements%20Suite/product_info.html&#xD;&#xA;&#xD;&#xA;The problem i'm running into is that most libraries in this price range are theme specific, while the overview type libraries from other companies (Hollywood Edge) are starting at around $700.&#xD;&#xA;&#xD;&#xA;That being said, i was wondering if anyone has suggestions, alternatives, or just general wisdom before i pull the trigger on it.&#xD;&#xA;&#xD;&#xA;thanks,&#xD;&#xA;Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="29297" PostHistoryTypeId="1" PostId="18126" RevisionGUID="4404ff69-2684-4c3f-b395-965728c857c3" CreationDate="2013-02-14T23:42:58.477" UserId="3841" Text="Poor Mans Sound Library " ContentLicense="CC BY-SA 3.0" />
  <row Id="29298" PostHistoryTypeId="3" PostId="18126" RevisionGUID="4404ff69-2684-4c3f-b395-965728c857c3" CreationDate="2013-02-14T23:42:58.477" UserId="3841" Text="&lt;library&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29299" PostHistoryTypeId="2" PostId="18127" RevisionGUID="04e322c1-aa9e-43b9-8aaf-06f4fc22d43e" CreationDate="2013-02-14T23:50:27.297" UserId="3316" Text="Hey all, &#xD;&#xA;so I bit the bullet and started my move to a new larger more centralised apartment.  Win all round right? NO   I've gone from calm to quite busy, and sadly the room most suited to my soundy set up is the one facing the street. &#xD;&#xA;&#xD;&#xA;Now the sound isn't insane. As that any normal person wouldn't care.  But we are not normal. &#xD;&#xA;&#xD;&#xA;This is a rented property, but there is some small leeway as to what I can get away with here. &#xD;&#xA;The window is actually pretty small and centralised on a wall. The &quot;came with the house&quot; curtain make little or no difference.  What kinda of hard core black out acoustic sheet curtains would any of you recommend? And do I do just the window? OR the whole wall to be safe.  HELLS maybe even both.  I got this place last minute as I really needed to move. And now sadly I have to try make it work for me. For the long haul.  So seriously any help would be appreciated. &#xD;&#xA;&#xD;&#xA;No major budget restrictions I just want this as good as circumstances may allow.  Thanks guys, seriously. this apartment could be lovely. If i didnt cringe everytime i hear those car dopplers ;)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;just an added note, these windows have those little vents at the top of them which can open and close, allowing air in, part of me feels they are not helping the situation ;)&#xD;&#xA;&#xD;&#xA;window in question&#xD;&#xA;&#xD;&#xA;textarea![alt text][1]textarea&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://s17.postimage.org/qx2muwu73/photo.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="29300" PostHistoryTypeId="1" PostId="18127" RevisionGUID="04e322c1-aa9e-43b9-8aaf-06f4fc22d43e" CreationDate="2013-02-14T23:50:27.297" UserId="3316" Text="Noise Reduction - Sound Proofing On Windows " ContentLicense="CC BY-SA 3.0" />
  <row Id="29301" PostHistoryTypeId="3" PostId="18127" RevisionGUID="04e322c1-aa9e-43b9-8aaf-06f4fc22d43e" CreationDate="2013-02-14T23:50:27.297" UserId="3316" Text="&lt;sound-dampening&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29302" PostHistoryTypeId="2" PostId="18128" RevisionGUID="5cc61895-5a95-4411-bf21-8636d800f914" CreationDate="2013-02-15T00:21:14.450" UserDisplayName="user49" Text="What do you work on? I only ask because for every film project I do, I both record as much as possible but also buy as many library sounds as are directly applicable, whether they are themed collections or a whole lot of one-offs from sounddogs etc....&#xD;&#xA;&#xD;&#xA;So the only way to think about your question is &#xD;&#xA;&#xD;&#xA;- what do you need the sounds for, specifically? (eg in the next six months what work do you have that you will have specific needs for)&#xD;&#xA;&#xD;&#xA;- what do you already have covered in your library? &#xD;&#xA;&#xD;&#xA;Analyse where the biggest gaps are in your existing library AND work out what you will likely need for upcoming work. Also imho some of those older 'general' libraries have some tired/over used sounds in them, so do your homework.... So once you have a list of specific needs, you may discover you could pay yourself to record them and/or augment as specific jobs require... A simple example: anyone who owns a record &amp; mic can build a pretty good library of doors without travelling further than their own home &amp; workplace... &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29303" PostHistoryTypeId="2" PostId="18129" RevisionGUID="7cde293d-040c-4326-bc62-57087ee8e7fc" CreationDate="2013-02-15T00:21:38.553" UserId="18" Text="Visit the companies listed here:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/sfx-independence/&#xD;&#xA;&#xD;&#xA;Pick and choose libraries from the various companies, there is a lot of reasonable priced stuff out there." ContentLicense="CC BY-SA 3.0" />
  <row Id="29304" PostHistoryTypeId="2" PostId="18130" RevisionGUID="74b8da1b-0271-41f7-be63-c0faf08d6e37" CreationDate="2013-02-15T00:39:58.907" UserId="3179" Text="Don't bother purchasing or adjusting anything unless you've decided to either &quot;address how the setup sounds by ear&quot;, or better, actually do the measurements and then choose action and try stuff accordingly.&#xD;&#xA;&#xD;&#xA;The furniture you have there and how they're arranged, will affect the room's sound. The window is actually a (possibly very) minor piece of the whole picture and you can get more changes by just placing the listening position and the furniture in a way that minimizes acoustic problems.&#xD;&#xA;&#xD;&#xA;But if you can't treat (and measure!) the room properly, then I think it's not really worth doing &quot;some minor adjustments&quot;, like randomly adding some &quot;acoustic curtains&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="29305" PostHistoryTypeId="2" PostId="18131" RevisionGUID="69a84041-4638-4855-a5b1-51685db766c1" CreationDate="2013-02-15T00:46:07.487" UserId="3179" Text="Use download services and you can pick exactly what you want.&#xD;&#xA;&#xD;&#xA;There are too many digital download distributors to list them here." ContentLicense="CC BY-SA 3.0" />
  <row Id="29306" PostHistoryTypeId="5" PostId="18130" RevisionGUID="7edc3698-5477-4f34-a0aa-f1f8e3b9f9ef" CreationDate="2013-02-15T00:47:45.680" UserId="3179" Comment="added 47 characters in body" Text="Don't bother purchasing or adjusting anything unless you've decided to either &quot;address how the setup sounds by ear&quot;, or better, actually do the measurements and then choose action and try stuff accordingly. Otherwise it could be waste of time and money.&#xD;&#xA;&#xD;&#xA;The furniture you have there and how they're arranged, will affect the room's sound. The window is actually a (possibly very) minor piece of the whole picture and you can get more changes by just placing the listening position and the furniture in a way that minimizes acoustic problems.&#xD;&#xA;&#xD;&#xA;But if you can't treat (and measure!) the room properly, then I think it's not really worth doing &quot;some minor adjustments&quot;, like randomly adding some &quot;acoustic curtains&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="29307" PostHistoryTypeId="2" PostId="18132" RevisionGUID="c8d3c1f7-2654-47df-b98e-9dcbbf18d5df" CreationDate="2013-02-15T02:57:39.680" UserId="3841" Text="Thanks for your replies,&#xD;&#xA;&#xD;&#xA;As far as work goes, Guns would be an example of sounds that I'm going to be soon in need of and don't necessarily have access too.  I could buy a broad sound pack which would include a handful of gun files (17 in the case of the one i linked) or i could buy a specific library for a little less with over a hundred takes of just guns.  &#xD;&#xA;The only conflict comes from the fact that the broader sound library also gives me access to a variety of sounds that i could possibly need in the future (plains, boats, vocal takes, ect.).  The reason i was leaning towards a little of everything type library is because they seem like a more economic option (as opposed to a handful of more specific libraries).&#xD;&#xA;&#xD;&#xA;But I'm inferring that the general consensus seems to be its better to have a lot of sounds that you could use compared to a wide variety of sounds you could need?&#xD;&#xA;&#xD;&#xA;Obviously in a perfect world i would get both, but i suppose its not worth getting a wide reaching sound library unless its going to be one of the big ones with plenty of takes to work from, plus its true that i could always use sounddogs type websites for more specific needs.&#xD;&#xA;&#xD;&#xA;Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="29308" PostHistoryTypeId="2" PostId="18133" RevisionGUID="a7406009-4971-4e4f-b323-32d1cdc0ac24" CreationDate="2013-02-15T05:06:26.020" UserId="4442" Text="www.soundsnap.com would be great for what you need. They're roughly a buck a sound and you can grab them as you need them. What @Tim said is ideal though. I've actually been considering/planning to go room by room in my house (when i get my contact mics probably) and just make as much noise as possible just for general stuff, and to manipulate into some weird stuff.." ContentLicense="CC BY-SA 3.0" />
  <row Id="29309" PostHistoryTypeId="2" PostId="18134" RevisionGUID="a12fa0b5-1279-46ce-8d9c-5428a2259f28" CreationDate="2013-02-15T07:42:20.087" UserId="6432" Text="I would go with buying individual sounds or small packs where most of the sounds are relevant to your project. There are lots of sounds in the big libraries that you could record yourself, so buying specifically what you cannot record is more economical. You also get to know the library better as you've hand picked everything in it." ContentLicense="CC BY-SA 3.0" />
  <row Id="29310" PostHistoryTypeId="2" PostId="18135" RevisionGUID="8296dfb0-ffe4-49ee-b365-c33f8fae1600" CreationDate="2013-02-15T07:47:15.860" UserId="5752" Text="Instead of the 40hz sine wave, I use a synth that generates noise, then with a LPF 12db or even 24db I cut down to 200hz with a little resonance and with the filter envelope I make it &quot;bounce&quot; (no attack, a little decay, no sustain and no release); then with the amp envelope I give it an immediate attack, a slow decay and a good release to achieve that huge sound. Since the pink noise has more harmonic content, works better than drums or sine waves most of the times. Layered with the right floor and hits, you got a terrifying Godzilla." ContentLicense="CC BY-SA 3.0" />
  <row Id="29311" PostHistoryTypeId="2" PostId="18136" RevisionGUID="cd35bcc6-26e0-4bab-bbed-93266a44aa19" CreationDate="2013-02-15T09:16:59.780" UserId="221" Text="+1 for iZotope RX2. I have done a series of videos for them showing in real time how RX2 can fix problems http://www.izotope.com/products/audio/rx/protips.asp&#xD;&#xA;&#xD;&#xA;Also go to Groove 3 and take a look at my RX2 tutorial series with over 3 hours of video tutorials on how to get the most out of RX2 http://www.groove3.com/str/rx2-explained.html&#xD;&#xA;&#xD;&#xA;As to a compressor, the Avid Channel Strip is working OK and is free, if you want to spend a bit of money take a look at the new Pro Compressor from Avid.&#xD;&#xA;&#xD;&#xA;Mike." ContentLicense="CC BY-SA 3.0" />
  <row Id="29312" PostHistoryTypeId="2" PostId="18137" RevisionGUID="76687e29-e7aa-4dc9-a1f8-ebc3e6cdd72a" CreationDate="2013-02-15T10:29:02.900" UserId="1216" Text="Hi Cam,&#xD;&#xA;&#xD;&#xA;I feel you're asking two questions at the same time. Number 1 is: how do I take care not to be disturbed by outside noises(cars). Nr2: how can I treat the room acoustics? This is mostly answered by Internet Human.&#xD;&#xA; &#xD;&#xA;The answer to the first question is related to the second. Is it really the best sounding room (acoustics)? If so then you should try and put a second window in front of you existing window. This can be easily done, simply buy/order the right size sheet of glass. Get good wood to build an extra window frame. There are a lot of DIY guides to do this correctly.&#xD;&#xA;There won't be fresh air coming in, so you have decide if that is an option for you.&#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="29313" PostHistoryTypeId="2" PostId="18138" RevisionGUID="65eba6a6-2f6f-48ba-a022-d5711ca9912a" CreationDate="2013-02-15T10:45:57.833" UserId="6519" Text="Yo Russian Guys !&#xD;&#xA;&#xD;&#xA;Someone recorded the sound of Russian Meteor Explosion ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29314" PostHistoryTypeId="1" PostId="18138" RevisionGUID="65eba6a6-2f6f-48ba-a022-d5711ca9912a" CreationDate="2013-02-15T10:45:57.833" UserId="6519" Text="Russian Meteor Explosion" ContentLicense="CC BY-SA 3.0" />
  <row Id="29315" PostHistoryTypeId="3" PostId="18138" RevisionGUID="65eba6a6-2f6f-48ba-a022-d5711ca9912a" CreationDate="2013-02-15T10:45:57.833" UserId="6519" Text="&lt;rain&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29317" PostHistoryTypeId="2" PostId="18140" RevisionGUID="170921c7-5b0d-450b-beaf-f6ca60db6ea6" CreationDate="2013-02-15T11:01:20.337" UserId="1216" Text="I was thinking the exact same thing, but I guess no one would have had the time to setup a rig that fast.. You'd need dynamic mic's and a really good preamp to record that pressure wave. Judging by the videos on youtube the pressurewave was gigantic (and very loud).&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29318" PostHistoryTypeId="2" PostId="18141" RevisionGUID="afb0eac5-9d36-4d12-890d-021ef4c386b6" CreationDate="2013-02-15T11:10:37.657" UserId="1225" Text="It happened at early morning, so there is a minimal chance that someone were recording at that time." ContentLicense="CC BY-SA 3.0" />
  <row Id="29319" PostHistoryTypeId="2" PostId="18142" RevisionGUID="ec2890b0-bc77-44d1-929d-9cb41c88405e" CreationDate="2013-02-15T11:26:56.727" UserId="4356" Text="One should have set up a recorder with half an hour pre-rec all the time ...&#xD;&#xA;&#xD;&#xA;... meteors ... earthquakes ... imagine: aliens! ...&#xD;&#xA;&#xD;&#xA;no one would be prepared to record them ... it's a shame!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29320" PostHistoryTypeId="2" PostId="18143" RevisionGUID="cde005f4-861e-4ebe-b5e4-66f4759262fe" CreationDate="2013-02-15T12:06:03.993" UserId="3797" Text="I've been using playlists to keep a processing history when using audiosuite plugins and rendering loops during plugin tweaking jams" ContentLicense="CC BY-SA 3.0" />
  <row Id="29321" PostHistoryTypeId="2" PostId="18144" RevisionGUID="fdde3a13-4e32-43f2-b195-85c175abec22" CreationDate="2013-02-15T12:23:31.887" UserId="3316" Text="My insanely jet lagged brain decided to type, without making any sense, so ATTEMPT 02&#xD;&#xA;&#xD;&#xA;I'm looking for a way to block out excessive ambient traffic noise from a window in the above room. Preferably, with the use of multiple layers of black out curtains or some real thick acoustic ones. I was imagining hanging one set on the rails pictured. And then a second rail covering most of the wall. &#xD;&#xA;&#xD;&#xA;Has anyone had any luck or advice with this sort of thing? Any think and affective curtains anyone would recommend?   thanks in advance guys.    I will edit above" ContentLicense="CC BY-SA 3.0" />
  <row Id="29322" PostHistoryTypeId="5" PostId="18127" RevisionGUID="df2f3755-e68a-4fa4-b3cc-87a5dd63e899" CreationDate="2013-02-15T12:29:44.303" UserId="3316" Comment="deleted 752 characters in body" Text="**EDIT**&#xD;&#xA;&#xD;&#xA;Hey all, &#xD;&#xA;&#xD;&#xA;I'm looking for a way to block out excessive ambient traffic noise from a window in the below room. Preferably, with the use of multiple layers of black out curtains or some real thick acoustic ones. I was imagining hanging one set on the rails pictured. And then a second rail covering most of the wall. &#xD;&#xA;&#xD;&#xA;Has anyone had any luck or advice with this sort of thing? Any thick and affective curtains anyone would recommend? Or something non destructive I haven't thought of yet? Thanks in advance guys.   &#xD;&#xA;&#xD;&#xA;window in question&#xD;&#xA;&#xD;&#xA;textarea![alt text][1]textarea&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://s17.postimage.org/qx2muwu73/photo.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="29323" PostHistoryTypeId="2" PostId="18145" RevisionGUID="3f8b3236-4d85-4c55-bd30-3d2c876d4ad3" CreationDate="2013-02-15T15:37:38.727" UserId="298" Text="Hello&#xD;&#xA;&#xD;&#xA;This might be a silly question to ask, but for the sake of curiosity about experience of others...&#xD;&#xA;&#xD;&#xA;How do you use LinkedIn for:&#xD;&#xA;&#xD;&#xA;1) Finding jobs&#xD;&#xA;&#xD;&#xA;2) Finding people with whom you talk or meet later, and collaborate&#xD;&#xA;&#xD;&#xA;3) any other sound-related useful applications&#xD;&#xA;&#xD;&#xA;(in assumption that at least one of the listed is possible in reality)&#xD;&#xA;&#xD;&#xA;Is there any general strategy of use?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Many thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29324" PostHistoryTypeId="1" PostId="18145" RevisionGUID="3f8b3236-4d85-4c55-bd30-3d2c876d4ad3" CreationDate="2013-02-15T15:37:38.727" UserId="298" Text="Use of LinkedIn for jobs and links" ContentLicense="CC BY-SA 3.0" />
  <row Id="29325" PostHistoryTypeId="3" PostId="18145" RevisionGUID="3f8b3236-4d85-4c55-bd30-3d2c876d4ad3" CreationDate="2013-02-15T15:37:38.727" UserId="298" Text="&lt;opportunity&gt;&lt;job&gt;&lt;promotion&gt;&lt;social-network&gt;&lt;career&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29326" PostHistoryTypeId="2" PostId="18146" RevisionGUID="8fffaea1-60f1-4168-93b0-ade0bed7de82" CreationDate="2013-02-15T15:57:26.610" UserId="194" Text="[youtube]NcfXij6t4LA[/youtube]&#xD;&#xA;&#xD;&#xA;:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29327" PostHistoryTypeId="2" PostId="18147" RevisionGUID="5ac67c34-9a1b-45ec-a5d2-b63384cf024d" CreationDate="2013-02-15T16:06:20.000" UserId="3567" Text="First of all, avoid just adding people randomly and pitching to them. This not too subtle approach will definitely yield zero results. And it's against website policies.&#xD;&#xA;&#xD;&#xA;You can join various groups and contribute with insight, however. That's where you make useful connections with whom you can discuss possible work later on.&#xD;&#xA;&#xD;&#xA;I can't say I found jobs advertised on Linkedin, but it has brought me several clients so far.&#xD;&#xA;&#xD;&#xA;As for the video that Rene posted, the sarcasm is a exaggerated in there. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29328" PostHistoryTypeId="2" PostId="18148" RevisionGUID="9883d93e-3209-4084-8b98-eee46b6a61ed" CreationDate="2013-02-15T16:30:19.703" UserId="234" Text="Curtains will do very little to block transmitted noise... the only things that do that are mass and air. If what you're doing is trying to lower transmitted noise, then Arnoud's suggestion is correct. Go to your local Home Depot/Lowes/Hardware Store and get some insulation. There's a brand called Rocksil that has excellent STC values. Use as many layers as is possible. Wrap in plastic and then fabric if you want to be pretty. It can then be placed in the window when needed and removed when not. If you still want more you can also try placing something like Auralex Sheetblok between the layers, but that stuff is EXPENSIVE!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29329" PostHistoryTypeId="2" PostId="18149" RevisionGUID="5cb1455d-53d8-4dcf-89ce-1e5a2905048c" CreationDate="2013-02-15T16:33:54.680" UserId="6499" Text="I built window plugs in my Small mix room and record room.  Made a small wooden frame, attached a layer of 5/8th gypsum, painted it, put some handles and latches and slid it inside the window sill. Between the window and the plug I filled with insulation and then put a piece of white project board against the glass so It just looks like a window shade is pulled down.  Works really well and I can just pop the latches and yank out the plug should I need to get out of the window or move out.&#xD;&#xA;&#xD;&#xA;Curtains will knock the sound down a little, but mass is what sound proofs a room.  The curtains will probably do more to affect the quality of sound inside the room than lower the outside sound intruding.&#xD;&#xA;&#xD;&#xA;Gearslutz has a really great studio building section.  That is where I got all of my information for my studio build from the studs all the way to finish.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29330" PostHistoryTypeId="5" PostId="18149" RevisionGUID="c9129581-97ee-438d-a70f-c3c761b364b1" CreationDate="2013-02-15T16:51:43.540" UserId="6499" Comment="*Edited to add photos*" Text="&#xD;&#xA;&#xD;&#xA;I built window plugs in my Small mix room and record room.  Made a small wooden frame, attached a layer of 5/8th gypsum, painted it, put some handles and latches and slid it inside the window sill. Between the window and the plug I filled with insulation and then put a piece of white project board against the glass so It just looks like a window shade is pulled down.  Works really well and I can just pop the latches and yank out the plug should I need to get out of the window or move out.&#xD;&#xA;&#xD;&#xA;Curtains will knock the sound down a little, but mass is what sound proofs a room.  The curtains will probably do more to affect the quality of sound inside the room than lower the outside sound intruding.&#xD;&#xA;&#xD;&#xA;Gearslutz has a really great studio building section.  That is where I got all of my information for my studio build from the studs all the way to finish.&#xD;&#xA;&#xD;&#xA;VO Room without Plug&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;VO Room with plug &#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;Mix Room Without Plug&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;Mix Room With Plug&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i1340.photobucket.com/albums/o738/onesockshort/VOnoplug_zpseff3d27f.jpg&#xD;&#xA;  [2]: http://i1340.photobucket.com/albums/o738/onesockshort/VOplug_zps14728436.jpg&#xD;&#xA;  [3]: http://i1340.photobucket.com/albums/o738/onesockshort/Mixnoplug_zps3ef5e99b.jpg&#xD;&#xA;  [4]: http://i1340.photobucket.com/albums/o738/onesockshort/Mixplug_zps2e93b001.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="29331" PostHistoryTypeId="5" PostId="18149" RevisionGUID="7246cca3-f70d-44cc-99a7-4a409f7c5bd7" CreationDate="2013-02-15T17:03:33.267" UserId="6499" Comment="deleted 4 characters in body" Text="&#xD;&#xA;I built window plugs in my Small mix room and record room.  Made a small wooden frame, attached a layer of 5/8th gypsum, painted it, put some handles and latches and slid it inside the window sill. Between the window and the plug I filled with insulation and then put a piece of white project board against the glass so It just looks like a window shade is pulled down.  Works really well and I can just pop the latches and yank out the plug should I need to get out of the window or move out.&#xD;&#xA;&#xD;&#xA;Curtains will knock the sound down a little, but mass is what sound proofs a room.  The curtains will probably do more to affect the quality of sound inside the room than lower the outside sound intruding.&#xD;&#xA;&#xD;&#xA;Gearslutz has a really great studio building section.  That is where I got all of my information for my studio build from the studs all the way to finish.&#xD;&#xA;&#xD;&#xA;VO Room without Plug&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;VO Room with plug &#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;Mix Room Without Plug&#xD;&#xA;&#xD;&#xA;![alt text][3]&#xD;&#xA;Mix Room With Plug&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i1340.photobucket.com/albums/o738/onesockshort/VOnoplug_zpseff3d27f.jpg&#xD;&#xA;  [2]: http://i1340.photobucket.com/albums/o738/onesockshort/VOplug_zps14728436.jpg&#xD;&#xA;  [3]: http://i1340.photobucket.com/albums/o738/onesockshort/Mixnoplug_zps3ef5e99b.jpg&#xD;&#xA;  [4]: http://i1340.photobucket.com/albums/o738/onesockshort/photo_zps7a446c21.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="29332" PostHistoryTypeId="5" PostId="18147" RevisionGUID="d71b5166-ee39-483e-8886-e86d9aa68412" CreationDate="2013-02-15T17:50:47.333" UserId="3567" Comment="typo" Text="First of all, avoid just adding people randomly and pitching to them. This not too subtle approach will definitely yield zero results. And it's against website policies.&#xD;&#xA;&#xD;&#xA;You can join various groups and contribute with insight, however. That's where you make useful connections with whom you can discuss possible work later on.&#xD;&#xA;&#xD;&#xA;I can't say I found jobs advertised on Linkedin, but it has brought me several clients so far.&#xD;&#xA;&#xD;&#xA;As for the video that Rene posted, the sarcasm is exaggerated in there. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29333" PostHistoryTypeId="2" PostId="18150" RevisionGUID="e4549331-c592-4e9e-ac21-6a80d20885d1" CreationDate="2013-02-15T18:15:39.463" UserId="3754" Text="fascinating!! Like, the boom and the glass blowing, its the type of thing you have to imagine the SFX, we're been graced with the chance to hear it (albeit from mobile phones)&#xD;&#xA;&#xD;&#xA;BTW, if a sonic boom can blow out a window, what would it do to a mic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29334" PostHistoryTypeId="2" PostId="18151" RevisionGUID="3d1e8754-4448-4014-acaa-20a152cda371" CreationDate="2013-02-15T18:37:22.577" UserId="5756" Text="Thanks Steve, will definitely try this approach." ContentLicense="CC BY-SA 3.0" />
  <row Id="29335" PostHistoryTypeId="2" PostId="18152" RevisionGUID="78f6d7a9-9d9c-400d-b093-9fcff139730e" CreationDate="2013-02-15T20:08:01.387" UserId="4238" Text="NASA should do that in the future. Stick a contact mic to an asteroid and await SFX heaven!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29336" PostHistoryTypeId="2" PostId="18153" RevisionGUID="637e33b2-d693-4128-a02f-50bfd2f6b4a5" CreationDate="2013-02-15T21:38:42.490" UserId="4156" Text="This is quite an extensive topic. There are dedicated places on the Internet where you can read about that in-depth, like this one:&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/studio-building-acoustics/&#xD;&#xA;&#xD;&#xA;But I doubt you will be able to block out the traffic noise without some serious mass, like sheetrock/ drywall or thick glass. So be prepared for something like that." ContentLicense="CC BY-SA 3.0" />
  <row Id="29337" PostHistoryTypeId="2" PostId="18154" RevisionGUID="7d3f5154-97bc-448f-840e-7963f78639bb" CreationDate="2013-02-16T00:26:15.297" UserId="654" Text="Rx is great but the whole learn/remove paradigm can be time consuming, although gives best results. For quick and dirty stuff i love automating the waves w43. Its cheap and reliable and although only native on new systems I normally run it in my first slot anyway, so its not a problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="29338" PostHistoryTypeId="2" PostId="18155" RevisionGUID="02e25336-cf3e-4aea-83a3-7286d19892c2" CreationDate="2013-02-16T00:28:31.490" UserId="654" Text="Putting contact mics on asteroids is the sort of thing Id expect of Tim Prebble..." ContentLicense="CC BY-SA 3.0" />
  <row Id="29339" PostHistoryTypeId="2" PostId="18156" RevisionGUID="f697be10-4010-4e83-97ac-a3e6a2c58b20" CreationDate="2013-02-16T02:12:18.877" UserId="194" Text="ian headley has a pretty great composite going on.&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/ianbattenfieldheadley/fs-11-meteor-russia-feb-15" ContentLicense="CC BY-SA 3.0" />
  <row Id="29340" PostHistoryTypeId="2" PostId="18157" RevisionGUID="0710bdb7-0f20-4357-8c34-23bb09252d92" CreationDate="2013-02-16T03:42:01.940" UserId="5738" Text="The main thing to keep in mind when working with japanese animation is to keep it stylized. think of it more as a &quot;score&quot;. you don't need to worry about the &quot;photo-realism&quot; of the shot, unless it specifically calls for it, of course. it doesn't matter if its foley, overused canned fx, synths, or traditional percussion; if it conveys the right emotion, it fits. the guys I've worked with in Japan don't brag about fancy sound design software or tricks. they use pro tools, native instruments, typical libraries, do their own foley. They work with the same tools we do, but they approach it very differently. Kind of a forrest for the trees thing. very similar to what Alan Parsons says about UK vs US engineers. Americans are obsessed with &quot;gear &amp; secrets&quot;, always chasing the perfect sound or tone... &amp; Brits are obsessed with the &quot;arrangement&quot; or the creation of the piece as a whole... or so he claims." ContentLicense="CC BY-SA 3.0" />
  <row Id="29342" PostHistoryTypeId="2" PostId="18159" RevisionGUID="ca884dca-eeea-4aa9-8327-aa31e5da2c43" CreationDate="2013-02-16T09:05:17.817" UserId="5605" Text="I bet that was a really intense experience. It's really sad that so many people got injured though." ContentLicense="CC BY-SA 3.0" />
  <row Id="29343" PostHistoryTypeId="2" PostId="18160" RevisionGUID="209067d6-0806-4cd6-aa4b-9d3fbcd616a2" CreationDate="2013-02-16T09:53:58.910" UserId="6411" Text="Knew it could be done, but had to look it up.&#xD;&#xA;&#xD;&#xA;HD/Applications/Avid/Pro Tools/Documentation/Plug-ins/AIR Virtual Instruments.pdf&#xD;&#xA;&#xD;&#xA;Page 191 of the .pdf, 181 of the Guide:&#xD;&#xA;&#xD;&#xA;&gt;**Using Structure on Multichannel (Greater-Than- Stereo) Tracks** *-excerpt*&#xD;&#xA;&#xD;&#xA;&gt; To pan a stereo (or mono) Sampler patch to surround in Structure:&#xD;&#xA;&gt;&#xD;&#xA;&gt; 1. In the Part list, reveal the Patch&#xD;&#xA;    list for the Part you want to pan to&#xD;&#xA;    surround.&#xD;&#xA;&gt;&#xD;&#xA;2. &#xD;&#xA;&gt; From the Patch menu, select Add Part &gt;&#xD;&#xA;&gt; Tools and select the type of surround&#xD;&#xA;&gt; panning you want.&#xD;&#xA;&gt;&#xD;&#xA;For more information about Surround Panning controls, see “Tools (for Surround)” on page 246.&#xD;&#xA;&#xD;&#xA;I just threw a &quot;Stereo Surround Panner Basic&quot; on the Sine Wave patch and successfully panned it Ls, Rs, &amp; LFE. It looks like there's about 20+ different panner Tools for different input/output situations. I haven't had a chance to explore it much past that, but this should get you started down the right road." ContentLicense="CC BY-SA 3.0" />
  <row Id="29344" PostHistoryTypeId="2" PostId="18161" RevisionGUID="032bf500-c31e-40c6-8be4-02768009c8d2" CreationDate="2013-02-16T13:26:17.647" UserId="5758" Text="i want to make the sound at 2:14 &#xD;&#xA;https://www.youtube.com/watch?v=N-knHOaAeFA&#xD;&#xA;&#xD;&#xA;what i've got so far: http://www48.zippyshare.com/v/86291041/file.html&#xD;&#xA;&#xD;&#xA;What i'm doing wrong? &#xD;&#xA;&#xD;&#xA;please help" ContentLicense="CC BY-SA 3.0" />
  <row Id="29345" PostHistoryTypeId="1" PostId="18161" RevisionGUID="032bf500-c31e-40c6-8be4-02768009c8d2" CreationDate="2013-02-16T13:26:17.647" UserId="5758" Text="Prgressive House sound of bjornberg" ContentLicense="CC BY-SA 3.0" />
  <row Id="29346" PostHistoryTypeId="3" PostId="18161" RevisionGUID="032bf500-c31e-40c6-8be4-02768009c8d2" CreationDate="2013-02-16T13:26:17.647" UserId="5758" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29347" PostHistoryTypeId="2" PostId="18162" RevisionGUID="98aac62c-afc0-430b-a4a7-cd112cb50b97" CreationDate="2013-02-16T14:40:06.663" UserId="4156" Text="I suspect you meant to ask this question in one of the communities of the &quot;the other&quot; sound design. The one that's mainly about programming synth sounds, although all the stuff is related of course... :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29348" PostHistoryTypeId="2" PostId="18163" RevisionGUID="c83bfa93-d448-4431-8fb9-94e9e2e5af38" CreationDate="2013-02-16T17:09:58.167" UserId="6460" Text="Your clip is actually remarkably close in sound, so you're off to a very good start. What I hear in the original is a significantly higher level of compression, as well as &quot;ducking&quot; from the kick drum. If nothing else this will help you match the perceived level of your track with the original.&#xD;&#xA;&#xD;&#xA;As for your lead synth, I'm fairly certain that you are missing a couple of supporting counter-melodies. Listen really closely as there is harmonic material beyond the melody that you put in your track. I'm not sure what specific parameters you have available on your lead synth, but you might also try increasing the number of oscillator voices that are playing the lead line, and boost up the **UNISON** parameter (i.e., random pitch variation) of each oscillator. You can also do this by assigning a fast, random LFO to both the pitch and the pan of the oscillators. &#xD;&#xA;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="29349" PostHistoryTypeId="2" PostId="18164" RevisionGUID="3e45979b-2611-425d-b36b-5e4a1c87e7b7" CreationDate="2013-02-16T19:46:36.470" UserId="6512" Text="Background to my question:&#xD;&#xA;I want sound to be my career. I'm in the middle of an associates degree in digital audio. I have some limited experience in the field and a decent amount of coursework behind me.&#xD;&#xA;&#xD;&#xA;But, we've gotten to the point where having only one truly significant income in my household (not mine) doesn't work. My health insurance expired, too. Money is, in short, an issue in my household.&#xD;&#xA;&#xD;&#xA;So, I've had to take a full-time job far outside the field. While I have most of the important (that is, audio) courses in my associate's degree finished (and a bachelors in unrelated stuff long done), I still need to take a bunch of unrelated courses to finish the degree, which I'll have to slog through.&#xD;&#xA;&#xD;&#xA;What I now have is a 9-5 (well, 10-6) job about an hour away from me. Health insurance will kick in at some point, and I'll be able to set aside some (but not much) money, for the first time in my life, pretty much. &#xD;&#xA;&#xD;&#xA;I have some pretty decent equipment, though some is low-ish end, and a Windows computer with Pro Tools.&#xD;&#xA;&#xD;&#xA;Obviously, I don't have the time to do a whole lot. Sound is still my thing and a career goal, though.&#xD;&#xA;&#xD;&#xA;As the title gives away, my question is, what can I do, rather than just sit around and wait?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29350" PostHistoryTypeId="1" PostId="18164" RevisionGUID="3e45979b-2611-425d-b36b-5e4a1c87e7b7" CreationDate="2013-02-16T19:46:36.470" UserId="6512" Text="I had to get an unrelated job. What can I do now?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29351" PostHistoryTypeId="3" PostId="18164" RevisionGUID="3e45979b-2611-425d-b36b-5e4a1c87e7b7" CreationDate="2013-02-16T19:46:36.470" UserId="6512" Text="&lt;career-advice&gt;&lt;career&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29352" PostHistoryTypeId="2" PostId="18165" RevisionGUID="af93d562-c3ea-4dbe-ac6c-f7b4c0558c95" CreationDate="2013-02-16T20:21:56.270" UserId="3754" Text="Tough situation, but one we've all grabbled with at some point. &#xD;&#xA;&#xD;&#xA;**Use your downtime wisely**,if you commute via public transport, read books, sound mags, get that knowledge in. If you drive, listen to podcasts, or even rip youtube videos and convert to audio. Like a language, if you don't immerse yourself in it, you'll lose your edge.&#xD;&#xA;&#xD;&#xA;This doesn't *get* you a job, but it keeps you in the running." ContentLicense="CC BY-SA 3.0" />
  <row Id="29353" PostHistoryTypeId="2" PostId="18166" RevisionGUID="07cf9f43-2270-426d-9fd8-5d3e80caaa3d" CreationDate="2013-02-16T20:24:31.293" UserId="6411" Text="I purchased the M10. But when I was comparing the differences between the M10 and the D50, I was looking at them as solid-state 2-track recorders, not as microphones. In my mind the M10 was the winner. I saved $200 that went towards more gear in my rig that was better designed and more practical for the situations I was hoping to capture. &#xD;&#xA;&#xD;&#xA;The M10's a good pocket recorder that's convenient to have with you every day in case you hear something awesome in your travels that you have to record right then. However, you are looking to specifically go out and record &quot;ambiences, birds, waterfalls, animals...&quot; in stereo, and I wouldn't trust either the M10 or the D50 to handle those tasks on their own.&#xD;&#xA;&#xD;&#xA;For those kinds of planned recording trips I went out and purchased a SD MixPre. This provides phantom power and XLR inputs allowing you to use any microphones you desire / can afford in a proper stereo configuration. **The difference is *substantial***. Connection between the two is via the MixPre's 1/8&quot; Tape send /rtn and the M10's line in / headphone out.&#xD;&#xA;&#xD;&#xA;Now I have the best of both worlds, a convenient pocket recorder, and a well-engineered field mic-pre that allows me to use professional microphones in a proper setup." ContentLicense="CC BY-SA 3.0" />
  <row Id="29354" PostHistoryTypeId="2" PostId="18167" RevisionGUID="9df27f3c-61d7-4adb-8c23-732d12043367" CreationDate="2013-02-16T20:27:04.757" UserId="6487" Text="Don't give up. And perhaps find a position at a sound facility that may not be sound related. You need to find a community or mentors. Even if you are a scheduler or a sales guy, you can make connections, learn, and show initiative while still paying the rent. I have even taught classes at the company gym just to have the freedom of an employee pass and the opportunity to be on peoples minds and in their lives. Warning: Befriend people you truly enjoy. While I never burn a bridge, you should never fake a friendship to get ahead. It is bad karma and never the path to true success. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29355" PostHistoryTypeId="2" PostId="18168" RevisionGUID="ff741ce0-cd7a-43bd-a910-bbdce0cbb832" CreationDate="2013-02-16T22:17:03.183" UserId="3179" Text="I don't understand what the question is. You need to earn a living some way. If you can't get it from a particular &quot;dream job&quot;, then you have to make yourself useful in some other way. Simple as that. You can continue to pursue whatever you **would like** though during your leisure time, so what's the problem?&#xD;&#xA;&#xD;&#xA;I think MixingManiac's suggestion is good though. It can be linear thinking to expect that the only way to artistry is to practice the art itself. But, what you actually need, to turn it to a job, is connections to people that would be interested in using your services or working with you. So trying to get a job in something that at least has media people, sound people etc. could be useful. Or then just use your downtime on networking activities." ContentLicense="CC BY-SA 3.0" />
  <row Id="29356" PostHistoryTypeId="2" PostId="18169" RevisionGUID="c0ec25c3-d5de-4693-b9cb-f751e1a54c8d" CreationDate="2013-02-16T23:40:47.907" UserId="6487" Text="I moved to LA a little over a year ago and used linkedin to have my friends introduce me to folks they know in LA. It really helped me find friends and connections. Many did lead to work as well. I think the trick is to make your goal just getting to know folks and to learn from them, share knowledge with them, and garner advice. You can't roll up on a stranger and ask them to hire you. But if people know you, can count on you as a resource, and enjoy your company, they will let you know if they have heard of something. And you may even be able to hook them up as well. It is always great when you can plant someone you know and trust in a good place. It is good karma and a good investment for your future as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="29357" PostHistoryTypeId="2" PostId="18170" RevisionGUID="9dc5e27e-d73a-4162-950a-8ba024c75b06" CreationDate="2013-02-17T00:19:53.543" UserId="4238" Text="Hey!&#xD;&#xA;&#xD;&#xA;I'm a student in the UK studying Sound Design and New Media, hoping to be an Acoustic Consultant, Sound Designer or Voice Actor!&#xD;&#xA;&#xD;&#xA;Best of luck to everyone!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29358" PostHistoryTypeId="16" PostId="18170" RevisionGUID="9dc5e27e-d73a-4162-950a-8ba024c75b06" CreationDate="2013-02-17T00:19:53.543" UserId="-1" />
  <row Id="29359" PostHistoryTypeId="2" PostId="18171" RevisionGUID="9cfbc92e-6449-49b4-8c1a-1206d9197d67" CreationDate="2013-02-17T00:28:15.687" UserId="4238" Text="It depends how much time you have outside of the 9-5. I know what it's like though, getting home after said shift and you just feel like sitting down and relaxing after a long day. &#xD;&#xA;&#xD;&#xA;Just try new things, or take up a small project for yourself to keep your hand in, or try and get some lo-no paid jobs from sites such as mandy.com, to get experience and even contacts. Some of these jobs can be very flexible as many people are in the same boat as you. &#xD;&#xA;&#xD;&#xA;Even keeping your hand in something like a forum like this to get new tips and tricks or just refreshing your memory is good and you never know, you might just get chatting to someone who might have something for you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29360" PostHistoryTypeId="2" PostId="18172" RevisionGUID="12237a79-62ef-4841-a336-ea2a0a4291a7" CreationDate="2013-02-17T00:57:19.477" UserDisplayName="user49" Text="Who hasn't had to hold down a shit day job? I sure did - the year before I went to film school I spent a year working 11pm until 7am, 4 days on 4 days off at a 24 hour petrol station/video store... You might find this hard to believe but it is good for you - its character building and it will test your resolve.&#xD;&#xA;&#xD;&#xA;The important thing is to find ways to make it work for you - during the dead hours of my shit job I watched movies - lots of them! I read manuals &amp; I thought a lot about how I didn't want to be doing this job for the rest of my life... I remember one night about 4am someone came in and I had a (borrowed) Nagra, a razor blade and 1/4&quot; tape spread all over the counter....&#xD;&#xA;&#xD;&#xA;One thought: if you're commuting, like the others said it is an opportunity to be learning... And if your day job is working indoors, then maybe getting a field recording setup or at least a handheld recorder could be useful so you don't go from indoors at work to working indoors at home... I'd also suspect no matter what industry you day job is, there will be unique field recording opportunities come up...&#xD;&#xA;&#xD;&#xA;Never. Stop. Learning." ContentLicense="CC BY-SA 3.0" />
  <row Id="29361" PostHistoryTypeId="2" PostId="18173" RevisionGUID="813bd0f8-350d-4e92-abd0-396b1aea749b" CreationDate="2013-02-17T06:33:23.777" UserId="3567" Text="Don't despair, we've all been there more or less. I had to work unrelated jobs for 6 years before I could build my own studio and transition to sound design. It has been crucial in my development as a person, and as Tim said, during these 6 years I found out that sound design is definitely the career I want for myself." ContentLicense="CC BY-SA 3.0" />
  <row Id="29362" PostHistoryTypeId="2" PostId="18174" RevisionGUID="47902b04-7866-499f-aee0-5f07699bda7e" CreationDate="2013-02-17T19:54:34.277" UserId="5762" Text="&#xD;&#xA;here you go&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=QlX7xO6rWts" ContentLicense="CC BY-SA 3.0" />
  <row Id="29363" PostHistoryTypeId="2" PostId="18175" RevisionGUID="f8bc6f0f-4ca9-47cc-9f5f-e3e672c05b02" CreationDate="2013-02-18T02:20:29.597" UserId="4010" Text="[watch this][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://vimeo.com/59799214" ContentLicense="CC BY-SA 3.0" />
  <row Id="29364" PostHistoryTypeId="2" PostId="18176" RevisionGUID="ee8e4a21-9ee5-4fca-86c5-4856580451c0" CreationDate="2013-02-18T04:20:09.853" UserId="6512" Text="Thanks everyone for the advice, help, and encouragement! I'll be around." ContentLicense="CC BY-SA 3.0" />
  <row Id="29365" PostHistoryTypeId="2" PostId="18177" RevisionGUID="2ad197cb-4c49-47ed-a7e0-09a52c991b83" CreationDate="2013-02-18T05:45:47.793" UserId="362" Text="Think of overtones or harmonics as vast palate of primary 'colors'. It's the final mixture of them that results in the ultimate color\timbre of the sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29366" PostHistoryTypeId="2" PostId="18178" RevisionGUID="e8976554-e485-4642-b54d-9432b9459a5e" CreationDate="2013-02-18T06:43:34.710" UserId="4259" Text="I'm in the same boat. I think we have to remember this isn't something that can happen overnight. It's a long process and as long as you're moving forward in some way, even small, you're getting closer to your goals. Try and find projects that you're excited about and work on them, probably for free. That's what I'm doing and I find it helps keep the passion alive." ContentLicense="CC BY-SA 3.0" />
  <row Id="29367" PostHistoryTypeId="2" PostId="18179" RevisionGUID="db0100e0-49c2-4c99-b8c7-f0707bed2f7d" CreationDate="2013-02-18T07:22:57.583" UserId="5733" Text="Do you guys know how to snap fades on one region in relation to another region on a seperate track, aligning the two for a precise cross fade? Snapping length of regions compared to other tracks, though a little fimicky, works fine, but quick accurate fade snapping isn't working for me. I enjoyed this function on ProTools and Sony's Acid. I haven't found a solution pop up on the Cockos forum yet." ContentLicense="CC BY-SA 3.0" />
  <row Id="29368" PostHistoryTypeId="1" PostId="18179" RevisionGUID="db0100e0-49c2-4c99-b8c7-f0707bed2f7d" CreationDate="2013-02-18T07:22:57.583" UserId="5733" Text="Reaper Post Production" ContentLicense="CC BY-SA 3.0" />
  <row Id="29369" PostHistoryTypeId="3" PostId="18179" RevisionGUID="db0100e0-49c2-4c99-b8c7-f0707bed2f7d" CreationDate="2013-02-18T07:22:57.583" UserId="5733" Text="&lt;reaper&gt;&lt;post-production&gt;&lt;daw&gt;&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29370" PostHistoryTypeId="5" PostId="17277" RevisionGUID="b0bfd68c-36e8-4ad1-8a16-91b6ec5e8643" CreationDate="2013-02-18T13:52:49.887" UserDisplayName="user80" Comment="added 8 characters in body; edited title" Text="Hey. I am new to Pro Tools. I recently installed PT10. I am running it on a 13.3 inch MBP, 2.9GHz 750GB hard drive and 8 gigs of RAM. I just started mixing dialog for a short 2 min video clip. But for some odd reasons an error keeps popping up after a few playbacks saying:&#xD;&#xA;**'A CPU overload error occurred. If this happens often, try increasing the H/W buffer size in the playback engine Dialog, or removing some plugins.'**&#xD;&#xA;&#xD;&#xA;But I already have the H/W buffer size set to maximum and the 2 dialog tracks just have the basic PT EQ on it.&#xD;&#xA;&#xD;&#xA;I tried working on my computer and also on my external 2 Gig hard drive. But the error still pops. I've heard that this is a quiet common error but I don't know the solution for it.&#xD;&#xA;Kindly help!&#xD;&#xA;&#xD;&#xA;Thank you in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="29371" PostHistoryTypeId="4" PostId="17277" RevisionGUID="b0bfd68c-36e8-4ad1-8a16-91b6ec5e8643" CreationDate="2013-02-18T13:52:49.887" UserDisplayName="user80" Comment="added 8 characters in body; edited title" Text="Pro Tools Error.." ContentLicense="CC BY-SA 3.0" />
  <row Id="29372" PostHistoryTypeId="2" PostId="18180" RevisionGUID="1c2a5c3a-52c1-49ec-a7b3-3d85553c538a" CreationDate="2013-02-18T17:10:23.423" UserId="4442" Text="I'm not really in on Reaper, but I've noticed that Macprovideo.com has been putting out a bunch of series on that and they're pretty cheap. I don't think it's mac specific, they've just combined with askvideo.com for stuff. Wish I could help with the actual issue, but if you're a Reaper user, figured you'd want to know." ContentLicense="CC BY-SA 3.0" />
  <row Id="29373" PostHistoryTypeId="2" PostId="18181" RevisionGUID="eb5d8778-1f1e-460b-bc98-039a7fc5330b" CreationDate="2013-02-18T19:55:24.300" UserId="18160" Text="A blonde and a brunette are waiting in line for an audition.&#xD;&#xA;&#xD;&#xA;The brunette turns to the blonde and says, &quot;I'm going to f&amp;^% the director for this job. And maybe the producer. Who are you going to f&amp;^%?&quot;&#xD;&#xA;&#xD;&#xA;The blonde turns to the brunette and says, &quot;I'm going to f&amp;^% the sound guy.&quot;&#xD;&#xA;&#xD;&#xA;Brunette: &quot;Why are you going to f&amp;^% the sound guy? He doesn't make decisions on who gets what part...&quot;&#xD;&#xA;&#xD;&#xA;Blonde: &quot;Well, it's the most common advice everyone gives me when I'm on set. Everyone is constantly saying &quot;f*&amp;^ the sound guy&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="29374" PostHistoryTypeId="2" PostId="18182" RevisionGUID="44cffdf8-e2f8-4394-a849-f67a20f8d904" CreationDate="2013-02-18T21:05:42.077" UserId="5764" Text="Although I use Pro Tools for sequencing and EQ/Mix/Mastering, for dialog, I've actually found Audacity to be leaps and bounds faster and easier (or really for almost all single-file editing). From clicking on the icon, to full software load, it is about 2.5 seconds, and you can bind almost all the keys/functions you want, including many effects, and macros. Plus, you don't have to bounce, you can just export your audio into most formats.&#xD;&#xA;&#xD;&#xA;The Noise Removal tool is superbly slick and pretty easy to use, so here's my workflow:&#xD;&#xA;&#xD;&#xA;I record the dialog through Audacity, use the Noise Removal tool, edit, export the audio, then bring it in to Pro Tools if I need to do some compression/EQ. I am currently not a huge fan of Audacity's compression or EQ, which is why I use Pro Tools for that. Using 2 DAWs might sound inefficient, but even using two instead of 1, I think I am about 25% more efficient since Audacity is so much quicker for dialog editing.&#xD;&#xA;&#xD;&#xA;Lastly, Audacity's pencil, brush, and repair tools for dialog are a huge time saver as well. Great for taking out mouth sounds, etc.&#xD;&#xA;&#xD;&#xA;Did I mention Audacity is free? Audacity is free." ContentLicense="CC BY-SA 3.0" />
  <row Id="29375" PostHistoryTypeId="2" PostId="18183" RevisionGUID="057ce2e3-1ff1-4452-9185-4928d579a4d9" CreationDate="2013-02-19T03:51:33.923" UserId="5765" Text="Hey guys, so I was hoping I could get some feedback on a project that I did for class, all the sounds were self recorded (only sound that wasn't ours was the crow aha). But yah let me know if you like it, what you think, and if you could have added anything, what? :) Thank you all for being a great community!&#xD;&#xA;&#xD;&#xA;http://vimeo.com/49088605" ContentLicense="CC BY-SA 3.0" />
  <row Id="29376" PostHistoryTypeId="1" PostId="18183" RevisionGUID="057ce2e3-1ff1-4452-9185-4928d579a4d9" CreationDate="2013-02-19T03:51:33.923" UserId="5765" Text="Assassins Creed Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="29377" PostHistoryTypeId="3" PostId="18183" RevisionGUID="057ce2e3-1ff1-4452-9185-4928d579a4d9" CreationDate="2013-02-19T03:51:33.923" UserId="5765" Text="&lt;feedback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29378" PostHistoryTypeId="2" PostId="18184" RevisionGUID="4c0acb2e-0e3e-4380-b40d-cdfbe3fe10d6" CreationDate="2013-02-19T06:43:50.103" UserId="1068" Text="Apparently I missed this one!&#xD;&#xA;&#xD;&#xA;I'm a freelance Sound Editor/Re-recording Mixer based out of Los Angeles working on projects ranging from short and feature films, TV shows, commercials, game audio, and web content. I also occasionally work on location recording dialog or FX, and have spent time doing FOH, orchestral recording, DJing, and video editorial/engineering." ContentLicense="CC BY-SA 3.0" />
  <row Id="29379" PostHistoryTypeId="16" PostId="18184" RevisionGUID="4c0acb2e-0e3e-4380-b40d-cdfbe3fe10d6" CreationDate="2013-02-19T06:43:50.103" UserId="-1" />
  <row Id="29380" PostHistoryTypeId="2" PostId="18185" RevisionGUID="3f950523-b8df-4a13-8fa7-1e4243c8258b" CreationDate="2013-02-19T08:18:25.833" UserId="3567" Text="Michael, welcome to SSD. I watched/listened carefully to the trailer and I do like it.&#xD;&#xA;&#xD;&#xA;One thing I believe the trailer could use more of is low end. It kind of sounds thin on some parts. Also, the crow is quite out of place IMO.&#xD;&#xA;&#xD;&#xA;Otherwise good job!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29381" PostHistoryTypeId="2" PostId="18186" RevisionGUID="faa9d99d-2fd1-4703-b795-29f13a56fdb8" CreationDate="2013-02-19T12:13:06.173" UserId="5663" Text="Im a sound maker from Stockholm, Sweden. Freelance in film and builds interactive experiences and applications within Max/Msp. I Love simplicity, silence and computers.&#xD;&#xA;&#xD;&#xA;Booya! " ContentLicense="CC BY-SA 3.0" />
  <row Id="29382" PostHistoryTypeId="16" PostId="18186" RevisionGUID="faa9d99d-2fd1-4703-b795-29f13a56fdb8" CreationDate="2013-02-19T12:13:06.173" UserId="-1" />
  <row Id="29383" PostHistoryTypeId="2" PostId="18187" RevisionGUID="502c9634-d69c-4d88-b962-5ed26eccb03f" CreationDate="2013-02-19T12:13:11.563" UserId="1216" Text="Hi Michael,&#xD;&#xA;&#xD;&#xA;Nicely done. I agree on the crow being a bit out of place. The idea however, to use a sonic event with this 'magical appearance', I do like. The crow sound is simply to isolated and doesn't match the image. Feathers from a white dove would be more appropriate, albeit cliche.&#xD;&#xA;&#xD;&#xA;Overall I think the sound is too clean/stylised and mostly sounds like a foley and sfx/hard effects track. There is no build up of threat for the situation the main character is in. He is under attack but only in the very end I feel that he is threatened. Maybe that was the point and a score is composed to fill that part of the experience. &#xD;&#xA;&#xD;&#xA;Nevertheless, good to hear that you've created all the sounds in the process. Keep at it!&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29387" PostHistoryTypeId="2" PostId="18189" RevisionGUID="fefe541b-b9af-46a4-b458-0ded4f5a166a" CreationDate="2013-02-19T13:31:50.467" UserId="1216" Text="Although I think it's very smart to ask for comments on showreels and other sound design projects, I don't think this is what SSD is meant for. I get the feeling people are using it as a means of getting attention for their work, instead of accelerating debate on sound design topics. We can of course learn from each others work. However I think talking about end products is much less interesting than discussing design issues. &#xD;&#xA;&#xD;&#xA;How do other participants/contributors of SSD think about this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29388" PostHistoryTypeId="1" PostId="18189" RevisionGUID="fefe541b-b9af-46a4-b458-0ded4f5a166a" CreationDate="2013-02-19T13:31:50.467" UserId="1216" Text="Regarding Showreels/Demo's/Etc on SSD" ContentLicense="CC BY-SA 3.0" />
  <row Id="29389" PostHistoryTypeId="3" PostId="18189" RevisionGUID="fefe541b-b9af-46a4-b458-0ded4f5a166a" CreationDate="2013-02-19T13:31:50.467" UserId="1216" Text="&lt;showreel&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29390" PostHistoryTypeId="2" PostId="18190" RevisionGUID="d9d99c90-34d7-418b-98b2-d400a7892b7d" CreationDate="2013-02-19T14:10:25.063" UserId="4442" Text="I like it. I'm with the other guys on the crow, maybe it should be lower in the mix. the effects are very well-timed, my only criticism would be that some of the stabs sound too squishy and not thuddy enough. The squishing gurgly sounds seem like they need to be lower in the mix. Of course, as was mentioned above, score would drastically change all of this. Good work!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29391" PostHistoryTypeId="2" PostId="18191" RevisionGUID="0eb119a1-bc75-42a4-bea3-9790f5426119" CreationDate="2013-02-19T15:11:45.330" UserId="6396" Text="I think peer critiques are great, especially for folks just starting out in sound design.  There's a neat little subreddit called r/RateMyAudio that is meant just for this and it could definitely use a larger active community." ContentLicense="CC BY-SA 3.0" />
  <row Id="29392" PostHistoryTypeId="2" PostId="18192" RevisionGUID="5c1f6d10-507c-421e-82ff-cb356211d4e5" CreationDate="2013-02-19T18:22:28.797" UserId="5765" Text="Well as being someone who just posted my sound design project, I agree it can feel a bit like a self promotion. However, I believe that if the sound design project in mind can bring up interesting and helpful discussion to more members than the person who posted it, then it definitely fit's into Social Sound Design! &#xD;&#xA;&#xD;&#xA;I see how this site could turn into hundreds of post looking for critique, but I guess that's what tags are for? Maybe they should make subforums like GS :P&#xD;&#xA;&#xD;&#xA;Good question Arnoud!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29393" PostHistoryTypeId="2" PostId="18193" RevisionGUID="2c020591-30a2-45e5-bd05-855e43f7664a" CreationDate="2013-02-19T19:09:23.170" UserId="432" Text="I don't think it's necessarily out of form. If someone is posting here in hopes of gaining attention or exposure within the sound community, they're wasting their time. If, however, they're looking for honest and constructive criticism, they've got a good chance of finding it.&#xD;&#xA;&#xD;&#xA;To be honest, I tend to ignore reel posts. I just don't have the time to sit down, view/audition and formulate a critique. I do know that there are other people who have the time to respond and do. Even if it's just students/young professionals talking amongst themselves, discussion is an important element in professional growth. Not everyone comes here seeking to expand the discussion within the sound industry. Many come simply to learn. Let them have the opportunity to discuss the lower level topics, and one day they'll be contributing to the higher level ones." ContentLicense="CC BY-SA 3.0" />
  <row Id="29394" PostHistoryTypeId="2" PostId="18194" RevisionGUID="2bb6ffaa-7843-4ca1-9308-9dc47a4870e2" CreationDate="2013-02-19T20:20:15.400" UserId="3179" Text="![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://s7.postimage.org/3o45ulnuz/Screen_shot_2013_02_19_at_15_44_40.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="29395" PostHistoryTypeId="2" PostId="18195" RevisionGUID="ad8d03ef-a6cc-4774-95ee-2515375e4b8e" CreationDate="2013-02-19T20:37:11.627" UserId="1185" Text="Although I do agree with most of what Shaun has said, there could/can be a quantity issue here.  If every other post is asking for critique or beginner questions it would become very tiresome very quickly.  Do we really want to descend into the constant &quot;how do I make this sound&quot; posts on some other forums.  I personally have lost interest in other places for this very reason.   In addition, I am mindfull that there are learning environments available to students where they can and do get feedback from their tutors." ContentLicense="CC BY-SA 3.0" />
  <row Id="29396" PostHistoryTypeId="2" PostId="18196" RevisionGUID="1f9ba1e4-c52e-419a-a8ba-3708859a921b" CreationDate="2013-02-19T20:43:12.683" UserId="4010" Text="I hear a lot of producers layer all kinds off weird sounds underneath their main elements, eg. a babies cry, or a woman's voice under a snare, a cats purr under a bass element in music...of course one doesn't just go about layering these sounds...the content must be harmonically compatible...the overtones and their structure must match, making the two elements blend and sound as a whole...What are the tools and methods to this sorcery, how do you go about matching overtones of these elements...do you EQ, pitch the sound up and down, frequency shift them etc...Please feel free to share any insight without minding how &quot;cliché&quot; or underrated the method is. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29397" PostHistoryTypeId="1" PostId="18196" RevisionGUID="1f9ba1e4-c52e-419a-a8ba-3708859a921b" CreationDate="2013-02-19T20:43:12.683" UserId="4010" Text="How can someone embed emotional content to a desired sound design process ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29398" PostHistoryTypeId="3" PostId="18196" RevisionGUID="1f9ba1e4-c52e-419a-a8ba-3708859a921b" CreationDate="2013-02-19T20:43:12.683" UserId="4010" Text="&lt;timbre&gt;&lt;perception&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29399" PostHistoryTypeId="2" PostId="18197" RevisionGUID="ba6facd1-42f0-47e6-acef-9bf8bcd24ffe" CreationDate="2013-02-19T20:56:23.063" UserId="1185" Text="It's not clear to me if you are talking about this in a musical context or sound design?  Some clarification may help.&#xD;&#xA;&#xD;&#xA;In sound design Anthropomorphism is using human related sounds as FX for non-human items.  For example, a door opening and instead of using a classic creaking sound, a human groan might be used to give a more sinister feel.  This can help to underline a theme within the scene. Is this what you mean?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29400" PostHistoryTypeId="5" PostId="18195" RevisionGUID="bf943c3b-60a7-413c-86dd-031c5b303e20" CreationDate="2013-02-19T22:23:55.290" UserId="1185" Comment="edited body" Text="Although I do agree with most of what Shaun has said, there could/can be a quantity issue here.  If every other post is asking for critique or beginner questions it would become very tiresome very quickly.  Do we really want to descend into the constant &quot;how do I make this sound&quot; posts on some other forums?  I personally have lost interest in other places for this very reason.   In addition, I am mindfull that there are learning environments available to students where they can and do get feedback from their tutors." ContentLicense="CC BY-SA 3.0" />
  <row Id="29401" PostHistoryTypeId="2" PostId="18198" RevisionGUID="20f9f600-efd3-4081-bf32-27994e9441f7" CreationDate="2013-02-19T22:36:39.317" UserId="3444" Text="I have different tricks depending on the context, but a good place to start as you mentioned is EQ. Removing what is unnecessary or in the way and emphasizing the qualities. Pitch also goes a long way to help morph sounds together. &#xD;&#xA;&#xD;&#xA;For creature sounds, I to use melodyne quite a bit. For example I'll have two distinct sources... one a horse, the other a human vocal roar. I analyze the pitch of both files in melodyne and adjust in order to match. Gives a nice character and helps sell the multiple layers. From there I add other elements that tend to be less &quot;pitch&quot; important. &#xD;&#xA;Here are a few examples I created that demonstrate this method:&#xD;&#xA;&#xD;&#xA;[Horse][1] &#xD;&#xA;&#xD;&#xA;[Vocal Roar][2]&#xD;&#xA;&#xD;&#xA;[Combination of both][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Another trick is to process the various sounds through the same bus that contains your reverb, eq, compression, distortion, etc. This gives it the same characteristics and helps hold it together as one. &#xD;&#xA;&#xD;&#xA;The most important thing is to move your sounds around and see how they fit and interact together. Sometimes it works, sometimes it doesn't.&#xD;&#xA;&#xD;&#xA;Good luck,&#xD;&#xA;&#xD;&#xA;Alex&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/alexsaba514/raid-boss-horse-audio&#xD;&#xA;  [2]: http://soundcloud.com/alexsaba514/raid-boss-vocal-audio&#xD;&#xA;  [3]: http://soundcloud.com/alexsaba514/raid-boss-full-audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="29402" PostHistoryTypeId="2" PostId="18199" RevisionGUID="8d652dc8-6b82-427b-b4cf-7a6552f5684f" CreationDate="2013-02-19T23:46:46.180" UserId="5768" Text="http://3deafmice.files.wordpress.com/2013/01/3dm-webhead130120-copy11.jpg&#xD;&#xA;&#xD;&#xA;What super fascinating facts and info about audio have you heard, that could be shared as a Sound Tidbit in puzzles and treasure hunts of the upcoming music audio game 3DeafMice.com?  Could be from technology, physics, history, music, biology, psychology, anything relating to sound and/or music that comes with a reputable source link (please include if you have it). &#xD;&#xA;&#xD;&#xA;I'm developing this game based on my book &quot;Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema,&quot; and hope to expand the knowledge base through community participation. You can already check out several Sound Tidbits we've posted on facebook.com/the3DeafMice (whip cracks, dolphin language, didgerdoo, etc.), and follow us as we develop this cool game.  &#xD;&#xA;&#xD;&#xA;Thanks so much for helping the Mice! - David Sonnenschein " ContentLicense="CC BY-SA 3.0" />
  <row Id="29403" PostHistoryTypeId="1" PostId="18199" RevisionGUID="8d652dc8-6b82-427b-b4cf-7a6552f5684f" CreationDate="2013-02-19T23:46:46.180" UserId="5768" Text="What are some curious, unusual, fun facts you know about sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29404" PostHistoryTypeId="3" PostId="18199" RevisionGUID="8d652dc8-6b82-427b-b4cf-7a6552f5684f" CreationDate="2013-02-19T23:46:46.180" UserId="5768" Text="&lt;video-games&gt;&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29405" PostHistoryTypeId="2" PostId="18200" RevisionGUID="b2706e77-6a77-43aa-83c4-4574aa0c66fc" CreationDate="2013-02-19T23:52:13.203" UserId="5768" Text="Your question is a bit related to another question that I just answered, so at the risk of being a bit tangential, I'm posting below both the question and answer. Hope you get something out of it, in any case.&#xD;&#xA;&#xD;&#xA;Q:  Is the emotional response to sound universal or does the way we perceive and interpret acoustic stimuli vary from one person to another? Do cultural and social factors affect the perception of sound in any way? How about the technology used to project the sound?&#xD;&#xA;&#xD;&#xA;A:  We have hierarchies of perceiving and interpreting sound, some of which will be very similar for everyone, others that will differ. I call them listening modes, and in the past have used Michel Chion's terms of reduced, causal and semantic, but now prefer the terms shape, source and meaning.&#xD;&#xA;&#xD;&#xA;Shape relates to the physical waveform, which will be perceived quite similarly for everyone, unless they have some defect or distortion as with loss of hearing in high frequencies that happens with older people. We can include variables such as volume, pitch, timbre, attack, reverb, etc. as being perceived universally.&#xD;&#xA;&#xD;&#xA;Source refers to the origin of the sound, which is given a name or label if it is recognizable. This can be more or less refined based on the cultural context. For example, the sound of a motorcycle is familiar to people around the world, but the kind (Harley, Suzuki, Honda, etc.) might only be distinguished by those who ride motorcycles. Same situation with dog barks (what breed?), children laughing (whose child?), radio news (what station?), etc.&#xD;&#xA;&#xD;&#xA;Meaning has to do with the interpretation of the sound for its emotional or informational content. The obvious area of cultural differences is that of spoken language. An American might know that Chinese is being spoken by the appearance of the speaker, but not understand what is being said. The American might think that the Chinese person is angry because of the forceful expression, but in fact they may be just excited about something pleasant that has happened.&#xD;&#xA;&#xD;&#xA;When creating a soundtrack for a film or game, it is important to know who the audience will be, because some of the sounds will be specific to one culture but not another. Globalization has smoothed out these differences, but they still exist." ContentLicense="CC BY-SA 3.0" />
  <row Id="29406" PostHistoryTypeId="2" PostId="18201" RevisionGUID="4e69a00f-b7cb-472a-93da-c4879a7084e3" CreationDate="2013-02-20T00:37:15.497" UserId="3754" Text="I know that scientists are exploring phase cancellation, to create 'pockets' of sound, to direct adverts at you in the street" ContentLicense="CC BY-SA 3.0" />
  <row Id="29407" PostHistoryTypeId="2" PostId="18202" RevisionGUID="53b93896-68eb-483d-9e31-a084f73c7573" CreationDate="2013-02-20T02:47:27.697" UserId="2906" Text="'Ve been there too, still slowly leaving that world for the same reasons.&#xD;&#xA;It may suck (it sure does) but as said above, I really learned that I wanted to have a sound career, and that made me stronger and made me know myself better. It's important not to sit tired and get disappointed (at least too long), still make plans for sound tasks to do, something will come up.&#xD;&#xA;Define priorities - who knows if some part-time job arise would let you spend more time with sound works? Most of the times we would need to sacrifice fancy stuff to buy, but in a way it made me focus on the important things. And after all that and hard work and learning I finally have a great job in sound design - it did took a lot of time but it was worth it!  &#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29408" PostHistoryTypeId="2" PostId="18203" RevisionGUID="54ff9d8a-a968-4bd9-8339-c82a843552d0" CreationDate="2013-02-20T05:33:16.860" UserId="4259" Text="Does anyone know of a good exercise to learn to identify what phase cancellation sounds like in the field? Is there a spectrum to this problem, or is it kind of binary? I don't think I've ever really run into phasing issues, but I'd like to learn what to listen for when I'm using a lot of mics. Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29409" PostHistoryTypeId="1" PostId="18203" RevisionGUID="54ff9d8a-a968-4bd9-8339-c82a843552d0" CreationDate="2013-02-20T05:33:16.860" UserId="4259" Text="Learning to hear phase problems" ContentLicense="CC BY-SA 3.0" />
  <row Id="29410" PostHistoryTypeId="3" PostId="18203" RevisionGUID="54ff9d8a-a968-4bd9-8339-c82a843552d0" CreationDate="2013-02-20T05:33:16.860" UserId="4259" Text="&lt;phase&gt;&lt;learning&gt;&lt;field&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29411" PostHistoryTypeId="2" PostId="18204" RevisionGUID="b945b828-afc1-4e4f-a0f1-5c7d31e45462" CreationDate="2013-02-20T06:23:03.107" UserDisplayName="user80" Text="The first thing is a loss of bass, this is the easiest to hear.  If you are summing lots of mics then the easiest thing to do is invert the phase on each mic as needed, if the bass disappears then switch it back, if the bass suddenly appears then leave the phase switched.  Always leave the most important mic in phase and then work outwards from there." ContentLicense="CC BY-SA 3.0" />
  <row Id="29412" PostHistoryTypeId="4" PostId="18199" RevisionGUID="e811d0e5-dcb8-47d6-8254-2351d2eb4bed" CreationDate="2013-02-20T06:34:59.640" UserId="5768" Comment="edited title" Text="What are some curious, unusual, fun facts you know about sound? Needed for new audio puzzle game." ContentLicense="CC BY-SA 3.0" />
  <row Id="29413" PostHistoryTypeId="2" PostId="18205" RevisionGUID="8159122b-c71d-4dc1-8be2-f680bbda0566" CreationDate="2013-02-20T08:04:56.243" UserId="3567" Text="Shepard's Tone Illusion: http://en.wikipedia.org/wiki/Shepard_tone" ContentLicense="CC BY-SA 3.0" />
  <row Id="29414" PostHistoryTypeId="2" PostId="18206" RevisionGUID="ec1da38e-8e15-4b72-8c7d-0df20c8e67c2" CreationDate="2013-02-20T11:37:17.500" UserId="4010" Text="It was the tone wheel leakage from a B3. When run though a Leslie w/ the horn spinning it added a metalic phasing signature to it. The strait leakage is more usable vs the Leslie, which is more distant but added it's thing. Then into the funky Tel-Ray style echo/delay with feedback, which also had an adjustable square - sine wave LFO modulation on it like the PCM42's do, and you have the sound.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29415" PostHistoryTypeId="5" PostId="18206" RevisionGUID="f1069a65-e8c3-489a-8acb-4843c1cf5f26" CreationDate="2013-02-20T11:50:24.127" UserId="4010" Comment="added 161 characters in body; edited body" Text="It was the tone wheel leakage from a B3. When run though a Leslie w/ the horn spinning it added a metalic phasing signature to it. The strait leakage is more usable vs the Leslie, which is more distant but added it's thing. Then into the funky Tel-Ray style echo/delay with feedback, which also had an adjustable square - sine wave LFO modulation on it like the PCM42's do, and you have the sound. [here is an embedded pdf file with the source sound see the attachment after downloading the pdf file][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.scribd.com/doc/126370354/Bionic" ContentLicense="CC BY-SA 3.0" />
  <row Id="29416" PostHistoryTypeId="2" PostId="18207" RevisionGUID="3fa2f223-6656-433b-99b8-f4dc2416e40c" CreationDate="2013-02-20T12:10:30.173" UserId="5770" Text="Hey Michael,&#xD;&#xA;&#xD;&#xA;Great job, in fact awesome job !&#xD;&#xA;Loved some of the little touches, the arrow coming in was beautiful !!!! and great intro to  the rest of the scene.&#xD;&#xA;I'd maybe have the Foley on some of the other characters a bit more mid rather than close.&#xD;&#xA;It would also be great to have some more cloth/clothing detail in there for the mid freq.&#xD;&#xA;Agree that music scored **around** the sound design would help as well.&#xD;&#xA;I think you've done such a good job of creating &quot;your&quot; sound on the cut-scene it would be a shame to wallpaper it with music !&#xD;&#xA;It had a real nice Watchmen stylised treatment that I dig.&#xD;&#xA;&#xD;&#xA;Great job again ! If I was to hear this on a showreel you'd def have got my attention !&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Chris Sweetman&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29417" PostHistoryTypeId="5" PostId="18207" RevisionGUID="ba265313-aa8a-4f86-ac3d-81feba65e27d" CreationDate="2013-02-20T12:16:59.357" UserId="5770" Comment="added 288 characters in body" Text="Hey Michael,&#xD;&#xA;&#xD;&#xA;Great job, in fact awesome job !&#xD;&#xA;Loved some of the little touches, the arrow coming in was beautiful !!!! and great intro to  the rest of the scene.&#xD;&#xA;I won't mention the Crow : )&#xD;&#xA;Be nice to bring up some of the vocals from guys getting punched, kicked and gutted.&#xD;&#xA;I'd have like to hear a bit more of the ambience of the scene coming back in closer to the end (maybe screwed with in something like GRM to keep in line with the sonic)&#xD;&#xA;I'd maybe have the Foley on some of the other characters a bit more mid rather than close.&#xD;&#xA;It would also be great to have some more cloth/clothing detail in there for the mid freq.&#xD;&#xA;&#xD;&#xA;Agree that music scored **around** the sound design would help as well.&#xD;&#xA;I think you've done such a good job of creating &quot;your&quot; sound on the cut-scene it would be a shame to wallpaper it with music !&#xD;&#xA;It had a real nice Watchmen stylised treatment that I dig.&#xD;&#xA;&#xD;&#xA;Great job again ! If I was to hear this on a showreel you'd def have got my attention !&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Chris Sweetman&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29418" PostHistoryTypeId="2" PostId="18208" RevisionGUID="09f3aaa3-e086-40a3-a37d-c7e35ee610e8" CreationDate="2013-02-20T13:17:31.823" UserId="6432" Text="I think it's an interesting question, I've definitely also found myself in that situation before - creating sfx with synths later to find they're clashing tonally with the music. &#xD;&#xA;&#xD;&#xA;I think the fact that synths are aimed at musicians doesn't help us here. Think about it.. pretty much every synth is controlled by a keyboard, but as sound designers we definitely don't want to be restricted by intervals. For sure, you can work around this, but I still find it difficult not to want to *play* a keybord. &#xD;&#xA;&#xD;&#xA;It's no coincidence that the VCS3 was great for sfx and just featured a continuous pitch control:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My solution is to use the oscillators in Max/msp for synth based sfx creation. I control them with dials, envelope generator and other oscillators - thinking about pitch as a number value not a harmonic interval. &#xD;&#xA;&#xD;&#xA;Starting with samples side steps this problem completely, and is one of the reasons why we use sampled material so often. It's also often faster than ground up synth patch design. Actually, I rarely just use a synth sound on its own unless it's a specific sci-fi style sound effect that's needed. i think layering synth sounds with real sounds is a better way to go for anything intended to be in the real world. The sample based layer adds the necessary imperfections.&#xD;&#xA;&#xD;&#xA;  [1]: http://4.bp.blogspot.com/-yr3B1H_2mmU/UEDfjjd8V5I/AAAAAAAAIG4/JT3ZzxXc318/s1600/IMG_2114.JPG" ContentLicense="CC BY-SA 3.0" />
  <row Id="29419" PostHistoryTypeId="2" PostId="18209" RevisionGUID="13f04245-a160-485a-adf1-b0b7af728b1b" CreationDate="2013-02-20T13:23:59.170" UserId="5771" Text="How do I get the tone and sync pop on to the master print mix down without them getting adjusted?&#xD;&#xA;&#xD;&#xA;And have I set up my template correctly for a master print stem?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My individual DX tracks are bused to bus 1-2 output.&#xD;&#xA;&#xD;&#xA;My DX master aux track bus input is 1-2.&#xD;&#xA;&#xD;&#xA;I bus the output from the master DX aux track to bus 9-10.&#xD;&#xA;&#xD;&#xA;My overall DX ,MX and FX aux master is set to input bus 9-10.&#xD;&#xA;&#xD;&#xA;I output my overall aux master to output 19-20 and analog 1-2&#xD;&#xA;&#xD;&#xA;My master fader that I can print to is set to bus 19-20 and I mute track while recording.&#xD;&#xA;&#xD;&#xA;The above set up is repeated similarly for the MX and FX tracks&#xD;&#xA;&#xD;&#xA;So I have individual dx tracks that go to a dx master. That dx master is mixed with the mx and fx master and sent to another overall aux master&#xD;&#xA;and then to a master print track.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29420" PostHistoryTypeId="1" PostId="18209" RevisionGUID="13f04245-a160-485a-adf1-b0b7af728b1b" CreationDate="2013-02-20T13:23:59.170" UserId="5771" Text="post template for protools query" ContentLicense="CC BY-SA 3.0" />
  <row Id="29421" PostHistoryTypeId="3" PostId="18209" RevisionGUID="13f04245-a160-485a-adf1-b0b7af728b1b" CreationDate="2013-02-20T13:23:59.170" UserId="5771" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29422" PostHistoryTypeId="2" PostId="18210" RevisionGUID="55e8932d-9ef7-404f-b2d9-ce49b73f3331" CreationDate="2013-02-20T13:32:53.707" UserId="4356" Text="the origin of the terms &quot;Foley&quot; and &quot;MOS&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29423" PostHistoryTypeId="2" PostId="18211" RevisionGUID="f9f59dd6-4f9c-49dc-b85f-05e353588714" CreationDate="2013-02-20T13:51:27.830" UserId="3179" Text="I think there are two types of phasing errors in aesthetic sound (i.e. this is not a definition in sound physics).&#xD;&#xA;&#xD;&#xA;1) You sum another signal to another and hear that it affects something in the original signal negatively (e.g. some bass or other frequencies cancel out). When it happens to bassy sounds, it can sound like the sound &quot;loses its power&quot; or &quot;punch&quot;. This can be only identified by comparison (i.e. soloing the original source and then listening to how summing another one to it changes the whole).&#xD;&#xA;&#xD;&#xA;2) You sum multiple similar signals (e.g. mics that record the same source, but from different positions or two synthesized signals of which another one is delayed) and you hear a kind of smearing or sweeping EQ/filtering, which may be periodic. The audio effect &quot;Phaser&quot; takes this to the extreme and I believe this type of phasing always sounds kind of unsettling/unnatural, especially in stereo (because you get these Haas-type effects in the stereo field), unless it's been specifically added as an effect.&#xD;&#xA;&#xD;&#xA;It's important to note that a &quot;phasing error&quot; means a negative change in sound (something is lost, the sound sounds worse) that results from summing/combining multiple signals. Phasing itself happens in everything where multiple signals and channels are summed." ContentLicense="CC BY-SA 3.0" />
  <row Id="29424" PostHistoryTypeId="5" PostId="18211" RevisionGUID="ab50b031-4913-46aa-87ca-3175b833a07a" CreationDate="2013-02-20T14:05:30.327" UserId="3179" Comment="deleted 4 characters in body" Text="I think there are two types of phasing errors in aesthetic sound (i.e. this is not a definition in sound physics).&#xD;&#xA;&#xD;&#xA;1) You sum one signal to another and hear that it affects something in the original signal negatively (e.g. some bass or other frequencies cancel out). When it happens to bassy sounds, it can sound like the sound &quot;loses its power&quot; or &quot;punch&quot;. This can be only identified by comparison (i.e. soloing the original source and then listening to how summing another one to it changes the whole).&#xD;&#xA;&#xD;&#xA;2) You sum multiple similar signals (e.g. mics that record the same source, but from different positions or two synthesized signals of which another one is delayed) and you hear a kind of smearing or sweeping EQ/filtering, which may be periodic. The audio effect &quot;Phaser&quot; takes this to the extreme and I believe this type of phasing always sounds kind of unsettling/unnatural, especially in stereo (because you get these Haas-type effects in the stereo field), unless it's been specifically added as an effect.&#xD;&#xA;&#xD;&#xA;It's important to note that a &quot;phasing error&quot; means a negative change in sound (something is lost, the sound sounds worse) that results from summing/combining multiple signals. Phasing itself happens in everything where multiple signals and channels are summed." ContentLicense="CC BY-SA 3.0" />
  <row Id="29425" PostHistoryTypeId="2" PostId="18212" RevisionGUID="363000cb-e8a1-4f1e-8549-7133887b7e21" CreationDate="2013-02-20T14:47:27.250" UserId="5602" Text="Phasing is commonly the result of comb-filtering (except for polarity reversal where the results can be more dramatic). An excellent 'naturally' occurring example of which is when a broadband noise source arrives at the receiver (mic or ears) both directly and while simultaneously reflected off a flat surface. Walking towards or away from an air-conditioning unit for example it is pretty obvious. You can even stand facing a hard surface (like a wall) make a constant sshh sound and move gradually toward and a way from the wall (1 foot to a few inches). After a while you should clearly hear the characteristic sweeping effect which is created by a change in frequency characteristics of the sound  by the addition/subtraction of a delayed 'copy' (a function of the distance and the speed of sound). Once you get a good sense of the effect, it becomes a little easier to pick up even without it needing sweep up and down the spectrum. And then it will start to stick out and sometimes bug you like a speaker moving closer or further from a desk or table while being miked/recorded ; ) " ContentLicense="CC BY-SA 3.0" />
  <row Id="29426" PostHistoryTypeId="5" PostId="18212" RevisionGUID="af5b85e5-4a41-437f-a23c-54a6bd5efa7a" CreationDate="2013-02-20T15:00:15.650" UserId="5602" Comment="added 458 characters in body" Text="As already mentioned above, when summing a number of signals (from stereo to mono) phase cancellations can be made more apparent and evident through a change in the quality of the sound. &#xD;&#xA;&#xD;&#xA;Phasing is basically the result of comb-filtering - effectively and addition of a delay copy of the sound to itself (except for polarity reversal where the results can be more dramatic). An excellent 'naturally' occurring example of which is when a broadband noise source arrives at the receiver (mic or ears) both directly and while simultaneously reflected off a flat surface. Walking towards or away from an air-conditioning unit for example it is pretty obvious. You can even stand facing a hard surface (like a wall) make a constant sshh sound and move gradually toward and a way from the wall (1 foot to a few inches). After a while you should clearly hear the characteristic sweeping effect which is created by a change in frequency characteristics of the sound  by the addition/subtraction of a delayed 'copy' (a function of the distance and the speed of sound). &#xD;&#xA;&#xD;&#xA;Once you get a good sense of the effect, it becomes a little easier to pick up even without it needing sweep up and down the spectrum. And then it will start to stick out and sometimes bug you like a speaker moving closer or further from a desk or table while being miked/recorded ; ) I realize this is not the precise scenario you are talking about, but learning to recognize the characteristic qualities of comb-filtering may help to pick it up more readily in other situations. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29431" PostHistoryTypeId="2" PostId="18215" RevisionGUID="85402001-7e92-425b-8cdf-ee250092d6e3" CreationDate="2013-02-20T16:06:04.927" UserId="708" Text="I remember coming across a section in Everest's &quot;Master Handbook of Acoustics&quot; (http://www.amazon.ca/Master-Handbook-Acoustics-Alton-Everest/dp/0071360972) about  how at a certain depth in the ocean, the combination of pressure and temperature allows sound to be funnelled , and allowing it to travel for thousands of miles.&#xD;&#xA;&#xD;&#xA;SOFAR channel: http://en.wikipedia.org/wiki/SOFAR_channel&#xD;&#xA;&#xD;&#xA;Always found that interesting" ContentLicense="CC BY-SA 3.0" />
  <row Id="29433" PostHistoryTypeId="2" PostId="18216" RevisionGUID="dde17b36-dfad-4e7c-aaf7-c992e14a17fc" CreationDate="2013-02-20T19:27:13.820" UserId="238" Text="**1883 Volcanic Eruption of Krakatoa**&#xD;&#xA;&#xD;&#xA;The soundwave from the final explosion cracked one foot thick concrete at 300 Miles and was heard 3100 Miles away. Barographic recordings show that the soundwave from the final explosion reverberated around the globe 7 times in total." ContentLicense="CC BY-SA 3.0" />
  <row Id="29434" PostHistoryTypeId="2" PostId="18217" RevisionGUID="dbf04901-8845-461a-a155-33c5c4514c05" CreationDate="2013-02-20T19:37:00.807" UserId="465" Text="The McGurk Effect &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=G-lN8vWm3m0" ContentLicense="CC BY-SA 3.0" />
  <row Id="29435" PostHistoryTypeId="2" PostId="18218" RevisionGUID="d5944a9c-7191-45c5-b7b9-87167999d788" CreationDate="2013-02-21T01:06:04.293" UserId="5775" Text="Yes!&#xD;&#xA;&#xD;&#xA;I make a great living doing sound engineering work.&#xD;&#xA;&#xD;&#xA;Figuring out how to actively seek out clients and do the business side of things has&#xD;&#xA;helped me tremendously.&#xD;&#xA;&#xD;&#xA;The main thing I learned to make money in the sound biz is to go directly&#xD;&#xA;after your targeted profile client. Who is she? Advertising firm, mobile game, rapper in atlanta? Who would be your dream client to work with?&#xD;&#xA;&#xD;&#xA;Once you figure it out, go pitch them your service. I sent thousands of emails and met&#xD;&#xA;with hundreds of potential clients over coffee.&#xD;&#xA;&#xD;&#xA;The sound biz is great if you know how to do business. Basically you gotta learn sales and marketing.&#xD;&#xA;&#xD;&#xA;After I got a small client base and validated I can make a profit, I then created a website and did search engine marketing, and internet marketing, which is totally free. Then people started banging on my door to get my sound engineering services. &#xD;&#xA;&#xD;&#xA;It got to the point where I had to turn work down because I was booked solid! At that point you get to pick and choose your dream clients to work for and you'll be totally satisfied with your work and your financial status.&#xD;&#xA;&#xD;&#xA;So get out there and take a systematic approach to making money in the sound biz.&#xD;&#xA;&#xD;&#xA;If you wanna learn some of my secret tactics I've used to get inside my prospects head and pitch them my services to a 73% closing ratio and how I used deliverables in my webcopy to get people to book studio time on the first website visit I'd love to share. Just shoot me an email.&#xD;&#xA;&#xD;&#xA;Be awesome,&#xD;&#xA;anthony@backpackmusicgroup.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="29436" PostHistoryTypeId="2" PostId="18219" RevisionGUID="fe40a82a-62e2-47fc-9af8-f52563223601" CreationDate="2013-02-21T06:29:31.573" UserId="3396" Text="Yes ... very comfortable.&#xD;&#xA;&#xD;&#xA;If you are in the U.S. WORK UNION.&#xD;&#xA;For sound editors and designers ours is the Motion Picture Editors Guild I.A.T.S.E. Local 700.&#xD;&#xA;&#xD;&#xA;I haven't looked at my rate card in quite a while but I think Union sound editor minimum weekly is around $2000 a week (I could be off either way by a couple hundred dollars). If you are established and desired you make more.&#xD;&#xA;&#xD;&#xA;There's game work in Los Angeles if that's the way you want to go." ContentLicense="CC BY-SA 3.0" />
  <row Id="29437" PostHistoryTypeId="2" PostId="18220" RevisionGUID="288db9fa-43a1-40d0-afb9-6091b874691b" CreationDate="2013-02-21T06:49:48.190" UserId="3396" Text="Sound editor/designer in Hollywood California. &#xD;&#xA;&#xD;&#xA;Started cutting on film using a Moviola when as a sound editor you had to know how to do it all. Dialogue editing, sound FX, Foley, ADR, backgrounds etc. &#xD;&#xA;It gave you the broad view and an understanding of how everything worked together. A great way to learn.&#xD;&#xA;&#xD;&#xA;Worked non-union at first the way you did back then. &#xD;&#xA;It was a huge deal to get in the Union. Very excited when I got in. The MPSE was actually kinda difficult to get in back then too. Now ... not so much.&#xD;&#xA;&#xD;&#xA;Work pretty much exclusively on feature films.&#xD;&#xA;&#xD;&#xA;http://www.imdb.com/name/nm0039810/?ref_=fn_al_nm_1" ContentLicense="CC BY-SA 3.0" />
  <row Id="29438" PostHistoryTypeId="16" PostId="18220" RevisionGUID="288db9fa-43a1-40d0-afb9-6091b874691b" CreationDate="2013-02-21T06:49:48.190" UserId="-1" />
  <row Id="29447" PostHistoryTypeId="2" PostId="18225" RevisionGUID="d74e11a9-bbbd-4c4a-90e8-24e9d7af0732" CreationDate="2013-02-21T12:41:55.207" UserId="4442" Text="Yamaha hs50m. They're solid monitors. I have the 50s and they're 5&quot;, and i plan on buying a woofer at some point, but i've been switching between those and cans, and the best part is how well they translate.&#xD;&#xA;&#xD;&#xA;Point is, even though these may not be your forever monitors, they will certainly be of use to you when you upgrade in the future or decide to do a 5.1 or larger setup.&#xD;&#xA;&#xD;&#xA;I scored mine on ebay, practically unused for really cheap." ContentLicense="CC BY-SA 3.0" />
  <row Id="29452" PostHistoryTypeId="2" PostId="18227" RevisionGUID="28a44e6a-a748-4306-b62d-1c03babad784" CreationDate="2013-02-21T15:10:35.070" UserId="5663" Text="Hi,&#xD;&#xA;&#xD;&#xA;Im building a virtual environment within Max/Msp and have one final thing to implement. The goal is to emulate real world physics within this fictional space. This space got no physical objects, no ground, no nothing, only sound. That means that the amplitude follows the inverse square law to 100%, as an example.&#xD;&#xA;&#xD;&#xA;Now I need to fix with the frequencies. What I'm wondering is if there's some rule like the inverse square law but who'll focus on frequencies? I know that different frequencies have different range. &#xD;&#xA;&#xD;&#xA;By the way. Most objects don't move so there's not much doppler going on.&#xD;&#xA;&#xD;&#xA;thanks,&#xD;&#xA;&#xD;&#xA;/Max " ContentLicense="CC BY-SA 3.0" />
  <row Id="29453" PostHistoryTypeId="1" PostId="18227" RevisionGUID="28a44e6a-a748-4306-b62d-1c03babad784" CreationDate="2013-02-21T15:10:35.070" UserId="5663" Text="Emulate distance accurately" ContentLicense="CC BY-SA 3.0" />
  <row Id="29454" PostHistoryTypeId="3" PostId="18227" RevisionGUID="28a44e6a-a748-4306-b62d-1c03babad784" CreationDate="2013-02-21T15:10:35.070" UserId="5663" Text="&lt;max-msp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29455" PostHistoryTypeId="5" PostId="18189" RevisionGUID="f058bd38-0893-4451-a678-53170134b5a7" CreationDate="2013-02-21T16:51:23.640" UserId="1216" Comment="update with elaborated thoughts" Text="Although I think it's very smart to ask for comments on showreels and other sound design projects, I don't think this is what SSD is meant for. I get the feeling people are using it as a means of getting attention for their work, instead of accelerating debate on sound design topics. We can of course learn from each others work. However I think talking about end products is much less interesting than discussing design issues. &#xD;&#xA;&#xD;&#xA;How do other participants/contributors of SSD think about this?&#xD;&#xA;&#xD;&#xA;UPDATE:  &#xD;&#xA;&#xD;&#xA;I've been thinking about my question and the responses it has received. Although I agree with most of you I still feel the same about my concern. But I guess I wasn't very clear as to why it is a concern to me and could be to others.  &#xD;&#xA;&#xD;&#xA;I believe that this forum is very interesting because we can talk about issues in the design process. This is valuable information comparable to talking with colleagues on the work floor. But most of us don't have colleagues around, work on their own, with a deadline ahead. In other words there is no easy way to get an answer quickly to common issues. And exactly this is what SSD is very good at.  &#xD;&#xA;&#xD;&#xA;Providing feedback to an online demo reel is still a good way to talk about sound. But those demo reels tend to disappear after a year or so. This doesn't mean it's not useful to post demo reels etc. But as an online resource SSD has the ability to become a go-to source with instant advice for an emerging work field with newcomers on a daily basis. They are welcome to share demo reels, but I'm personally more interested in a their thoughts and those of other more experienced designers." ContentLicense="CC BY-SA 3.0" />
  <row Id="29457" PostHistoryTypeId="2" PostId="18229" RevisionGUID="b39fefd0-f5d1-43b8-8368-d90cd3e4079c" CreationDate="2013-02-21T17:47:07.607" UserId="5602" Text="AFAIK that is usually modelled by some basic lowpass filtering according to the distance value. Not sure of the actual formula but there must be one as there are a few online calculators that also take variables like humidity temperature and frequency etc. (look up 'air absorption calculators'). With that said, if you want to implement one in Max, locate the ICST Ambisonic externals package. Somewhere in the examples there is one called Absorption. Inside the patch, in [p absorption] the process is modelled using a biquad~ as a lowpass filter - In that case it uses AED coordinates but the distance value is the only one you would really need to provide." ContentLicense="CC BY-SA 3.0" />
  <row Id="29458" PostHistoryTypeId="2" PostId="18230" RevisionGUID="90e777a3-5900-442a-946a-402150e801b3" CreationDate="2013-02-21T17:50:26.157" UserId="618" Text="Sometimes, when I work as a re-recording mixer for TV, my mix can have a small region (can be 1 frame), that has no sound at all.&#xD;&#xA;My colleagues, who make the final master for future broadcasting, then see this &quot;hole&quot; with their analyzing station with exact Timecode. &quot;Zero data&quot; isn't accepted by the TV broadcaster.&#xD;&#xA;&#xD;&#xA;Is there a quick way to detect this myself ?&#xD;&#xA;&#xD;&#xA;I work on Pyramix at work (really good DAW), but have my laptop with Pro Tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="29459" PostHistoryTypeId="1" PostId="18230" RevisionGUID="90e777a3-5900-442a-946a-402150e801b3" CreationDate="2013-02-21T17:50:26.157" UserId="618" Text="Is there a quick way to find &quot;zero audio&quot; regions in an audio mix ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29460" PostHistoryTypeId="3" PostId="18230" RevisionGUID="90e777a3-5900-442a-946a-402150e801b3" CreationDate="2013-02-21T17:50:26.157" UserId="618" Text="&lt;mixing&gt;&lt;television&gt;&lt;daw&gt;&lt;tips&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29461" PostHistoryTypeId="2" PostId="18231" RevisionGUID="57549bfd-204f-4597-ab1b-a878007025a0" CreationDate="2013-02-21T19:18:20.983" UserId="5663" Text="In pro tools you can do a strip silence. Or that might not be it? First thing i thought of" ContentLicense="CC BY-SA 3.0" />
  <row Id="29462" PostHistoryTypeId="2" PostId="18232" RevisionGUID="09a8f4c3-5fa1-42b7-90c9-a5ae93cd4f34" CreationDate="2013-02-21T19:19:46.997" UserDisplayName="user6508" Text="In pro tools there's the Strip Silence feature (Command U). You can set the Strip Threshold to -96db and all others (Min Strip Duration, Clip Start/End Pad) to 0msec. This should help you locate the holes. Not sure if pyramix has a similar feature. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29463" PostHistoryTypeId="2" PostId="18233" RevisionGUID="70425290-db8d-4edb-b7cc-d4189c42302d" CreationDate="2013-02-21T21:13:17.803" UserId="4010" Text="As previous post says, its bunch of filters with envelope followers modulating the carrier...&#xD;&#xA;but remember if there is no content on that specific region of the carrier where the modulation is driving the amplitude envelope then there won't be any vocodding...what you need to know is if the spectral content of the modulator, which are overtones, have to match the carriers spectral harmonic structure and stay intact and synched at all times, by having the same pitch bend behavior...also carrier can be really crushed with a limiter to fill in the modulators shape driven off the envelope following, amp modulated filters that are lined up on the carrier signal...I think the cleanest, neatest way of vocodding audio is where you take audio and convert it into image with image lines &quot;harmor&quot; then multiply it with another audio-image in photoshop, finally converting back to audio with harmor...[harmor as a vocoder][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=hanSAUAQ0pM" ContentLicense="CC BY-SA 3.0" />
  <row Id="29464" PostHistoryTypeId="2" PostId="18234" RevisionGUID="5526e800-7dcd-41a1-95c5-0aed25d588f7" CreationDate="2013-02-21T21:24:40.200" UserId="4442" Text="As i'm sitting here fussing with a sfx for what will be a .5 second timed effect, I have settled around a convolved quick little bandpass filter sweep (theeuuuu). I also wondered why i didn't just try this earlier. &#xD;&#xA;&#xD;&#xA;As sound designers, we have thousands of tools and methods and options at our disposal, what are some of the bread and butter things that you always end up settling on, and then slapping yourself in the forehead for originally discounting?&#xD;&#xA;&#xD;&#xA;Should be fun. Mine are probably sampling and filtered noise, especially for short fx. What are yours?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29465" PostHistoryTypeId="1" PostId="18234" RevisionGUID="5526e800-7dcd-41a1-95c5-0aed25d588f7" CreationDate="2013-02-21T21:24:40.200" UserId="4442" Text="Discounting the simple things..." ContentLicense="CC BY-SA 3.0" />
  <row Id="29466" PostHistoryTypeId="3" PostId="18234" RevisionGUID="5526e800-7dcd-41a1-95c5-0aed25d588f7" CreationDate="2013-02-21T21:24:40.200" UserId="4442" Text="&lt;sound-design&gt;&lt;learning&gt;&lt;methodology&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29467" PostHistoryTypeId="2" PostId="18235" RevisionGUID="edcff893-30f1-4dbd-a13b-048add5b3a0c" CreationDate="2013-02-21T22:02:39.240" UserId="1185" Text="On one project I wanted some howling wind fx......spent weeks trying to record and nothing was working.  In frustration one day I went into the studio with a mic and spent twenty minutes blowing and howling....I'm sure I don't have to tell you what made it into the final cut." ContentLicense="CC BY-SA 3.0" />
  <row Id="29468" PostHistoryTypeId="2" PostId="18236" RevisionGUID="a6925124-fc7e-4fa8-8b8e-34337eb587e1" CreationDate="2013-02-21T22:24:49.280" UserId="5774" Text="@SteveOBrian's comment over on the [Russian Meteor Explosion Question][1]&#xD;&#xA;&gt;&quot;One should have set up a recorder with half an hour pre-rec all the time&quot;&#xD;&#xA;&#xD;&#xA;Got me thinking about looking into such a recorder.  There's a whole bunch of car dash cams out there that start recording video either based on motion or in a continuos ring cycle buffer recording mode. (Apparently these dashcams were the [main source of these meteor videos][2] to begin with.)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I would love to have something like that for audio field recordings.  These dashcams tend to have pretty poor audio fidelity.  Does anyone know of any portable audio recorders with a cycle buffer mode or remote control record option (to trigger via a motion sensor)?&#xD;&#xA;&#xD;&#xA;I'm aware of the recorders with the pre-buffer option.  I'm more thinking about a recorder that's continuously recording to the SD card, but instead of stopping when out of room, it starts to overwrite the beginning of the file.&#xD;&#xA;&#xD;&#xA;Thanks!  ~Stephen (longtime reader, first time poster)&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/18138/russian-meteor-explosion&#xD;&#xA;  [2]: http://www.huffingtonpost.com/2013/02/15/russian-meteor-explosion-videos-fireball-chelyabinsk_n_2694496.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="29469" PostHistoryTypeId="1" PostId="18236" RevisionGUID="a6925124-fc7e-4fa8-8b8e-34337eb587e1" CreationDate="2013-02-21T22:24:49.280" UserId="5774" Text="Portable Audio Recorder with Cycle Buffer Option?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29470" PostHistoryTypeId="3" PostId="18236" RevisionGUID="a6925124-fc7e-4fa8-8b8e-34337eb587e1" CreationDate="2013-02-21T22:24:49.280" UserId="5774" Text="&lt;field-recording&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29471" PostHistoryTypeId="2" PostId="18237" RevisionGUID="7fe1d56d-68da-4baa-b347-7cf137ac78b1" CreationDate="2013-02-21T22:37:07.353" UserId="5663" Text="Hi! Check this out http://en.wikipedia.org/wiki/Loop_recording. Endless tape recording is based upon, or it is, the same principle as surveillance systems. I've been looking for something like this myself but haven't found anything portable or affordable.&#xD;&#xA;&#xD;&#xA;So I'm in the process of building a system like this with a raspberry pi, pure data and a usb sound card. Might work, might not. I'll scream if it does!&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29472" PostHistoryTypeId="2" PostId="18238" RevisionGUID="a5917b26-4adb-4500-b34b-1df5b94b19d9" CreationDate="2013-02-21T22:56:56.063" UserId="4426" Text="Sounds like a good way to route it all. With that you have the option in the future of easily doing a one pass print down of the individual stems. &#xD;&#xA;&#xD;&#xA;As far as the pops for the top and tail, I usually add those in after recording to avoid processing. It only takes a second with the hotkey after you make a selection. It's Shift + Option + Control + 3 (Mac). This will consolidate the selection with a -20db 1khz tone instead of silence. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29473" PostHistoryTypeId="2" PostId="18239" RevisionGUID="c85e51a1-7ca1-4129-97bc-0ee3871969ef" CreationDate="2013-02-21T23:07:10.880" UserId="930" Text="I would strongly suggest upping your budget at the top end by $99 and consider a set of JBL LSR4326p's. If you wanted second hand, you could get them for far less than that. I'm in the UK, so I'm not sure what the best places are for buying audio gear, but I found them online for that price ($1099).&#xD;&#xA;&#xD;&#xA;I have the 4328's and they sound absolutely stunning. My old monitors were the Yamaha HS50m's and the difference in clarity is astonishing.&#xD;&#xA;&#xD;&#xA;Whatever you decide to go for, try to hear them first.&#xD;&#xA;&#xD;&#xA;There's a few companies over this side of the pond that will let you borrow a couple of sets (whichever ones you're looking at purchasing) on loan so you can set them all up in your room and see which ones you prefer - send the ones back that you don't like, and then purchase the pair that you do. This might be worth looking in to, although again - I'm not sure of the US market so can't recommend anywhere myself.&#xD;&#xA;&#xD;&#xA;You can't beat testing them out and hearing them for yourself, in your own space.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="29474" PostHistoryTypeId="2" PostId="18240" RevisionGUID="43946009-60c9-4480-9cef-49276d0090d2" CreationDate="2013-02-21T23:12:14.870" UserId="6432" Text="I'm doing some research into surround at the moment and would love to hear of some films you think have notable surround mixes. I'd love to hear examples of subtle use of surround through to the extreme use of surround as a specific effect. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29475" PostHistoryTypeId="1" PostId="18240" RevisionGUID="43946009-60c9-4480-9cef-49276d0090d2" CreationDate="2013-02-21T23:12:14.870" UserId="6432" Text="Films with good/interesting surround mixes" ContentLicense="CC BY-SA 3.0" />
  <row Id="29476" PostHistoryTypeId="3" PostId="18240" RevisionGUID="43946009-60c9-4480-9cef-49276d0090d2" CreationDate="2013-02-21T23:12:14.870" UserId="6432" Text="&lt;surround-sound&gt;&lt;mixing&gt;&lt;examples&gt;&lt;list&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29477" PostHistoryTypeId="2" PostId="18241" RevisionGUID="abd1ce0c-da70-47b6-9cb4-90b1688b0564" CreationDate="2013-02-21T23:33:19.540" UserId="3179" Text="Using stock sounds, because they're cheap and (often, sometimes) better what one could've possibly got otherwise.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29478" PostHistoryTypeId="2" PostId="18242" RevisionGUID="87849030-5356-49bf-accb-2ce1eb2652b6" CreationDate="2013-02-22T01:18:53.070" UserId="5738" Text="There are tons &amp; I'm sure you'll get lots of good examples, but I gleamed most of what I know from &quot;**Master and Commander**&quot;. Everything is impeccable. ADR, Foley, Sound Design, &amp; some of the best Mixing you'll ever hear. There's incredible attention paid to perspective &amp; panning. Just watch the opening action sequence &amp; you'll have to change your pants.&#xD;&#xA;&#xD;&#xA;Another movie that does a great job at real world panning &amp; perspectives is &quot;**Children of Men**&quot;. The obvious reference is the seamless POV steady-cam shot, but its also one of the few movies that flies dialog out of the center channel (or LCR) - &amp; it works! I've always been really picky about keeping dialog &quot;toward the frame&quot;. basically, the audience is always looking forward at the picture. Overusing surround channels (&amp; the sub channel) is always kind of a rookie mistake. However, I think that Dolby Atmos will change how we feel about &quot;where things should be&quot;... We can actually put them there.&#xD;&#xA;&#xD;&#xA;in case no one chimes in, my other favorite mixes...&#xD;&#xA;&#xD;&#xA;Saving Private Ryan,&#xD;&#xA;District 9,&#xD;&#xA;Wall-E,&#xD;&#xA;Se7en&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29479" PostHistoryTypeId="2" PostId="18243" RevisionGUID="383b28d2-438f-4a4b-b1b1-5eec7a1f8582" CreationDate="2013-02-22T06:04:53.580" UserId="5765" Text="I was wondering what everyone's opinion was on MOTU's Digital Performer? I know some people have probably never heard of this program, but at Evergreen State College where I took some audio courses this program was our bible. I've actually fallen quite in love with this programs interface and find that it usually can fit all of my audio needs (mostly). Don't get me wrong I'm still ProTools through and through, but this program has definitely gotten a special place in my heart. Any thoughts on it fellow sound designers? :)&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Michael Brennan" ContentLicense="CC BY-SA 3.0" />
  <row Id="29480" PostHistoryTypeId="1" PostId="18243" RevisionGUID="383b28d2-438f-4a4b-b1b1-5eec7a1f8582" CreationDate="2013-02-22T06:04:53.580" UserId="5765" Text="Thoughts on Digital Performer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29481" PostHistoryTypeId="3" PostId="18243" RevisionGUID="383b28d2-438f-4a4b-b1b1-5eec7a1f8582" CreationDate="2013-02-22T06:04:53.580" UserId="5765" Text="&lt;sound-design&gt;&lt;motu&gt;&lt;daw&gt;&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29482" PostHistoryTypeId="2" PostId="18244" RevisionGUID="a1fb96a9-e0cd-4d0f-987e-f8582df48c09" CreationDate="2013-02-22T06:06:02.783" UserId="4010" Text="hit the books man, and use your common sense...nobody taught others how to do things...plus many of those people are suffering form &quot;the prince&quot; commplex...they are good but they hit the saturation point where their big heads get on their way...as an artist I believe in collaboration, hard work of group of people who are dedicated and believe in making things open-source...If you look at todays music and movie industry, you will see its just the same cliche thing over and over again...why cause, everyone in the business is so blinded with goal of making money and fame, they forget the first reason they got into this field...sad but capitalism is killing every single industry...hence the mainstream genres, which I will not even bring up...plus its up to you if you wanna waste your day laming on internet or reinforce your foundation, by revising what you know, as they say don't take advice from someone who doesn't have it...do more with less.    " ContentLicense="CC BY-SA 3.0" />
  <row Id="29483" PostHistoryTypeId="2" PostId="18245" RevisionGUID="98dc2c44-1fa7-425d-adc6-d4ad68bc37e6" CreationDate="2013-02-22T06:11:58.123" UserId="5765" Text="I don't know about surround sound, but if you haven't watched **&quot;Apocalypse Now&quot;** then do! That film has such an abstract sound and sheer brilliance in it's sound design. Also Rawly I've never listened to **&quot;Children of Men&quot;**'s sound design closely in the past, time for a second listen! Thanks for the recommendation! :) Also if you get a chance to watch **&quot;Life of Pi&quot;** in dolby Atmos, definitely pay attention to the way ambiance is used in the ceiling speakers, I think that mix was beautifully well done! &#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;&#xD;&#xA;Michael Brennan" ContentLicense="CC BY-SA 3.0" />
  <row Id="29484" PostHistoryTypeId="2" PostId="18246" RevisionGUID="a9fe1110-e344-4a30-8908-2122b4533424" CreationDate="2013-02-22T07:04:04.600" UserId="3179" Text="I'd simply split this idea of &quot;rising the floor&quot; vs &quot;rising the ceiling&quot;. Rising the floor in order to get more time to rise the (personal) ceiling, rising the ceiling in order to have more interesting/new stuff to work on. At least I personally need an idea of &quot;there not being a ceiling&quot; or I would stop and be bored as there would be nothing new to achieve or learn.&#xD;&#xA;&#xD;&#xA;However, I think &quot;rising the floor&quot; fits the creative audio niche better. Contrary to some people's opinions, I think audio has a lot of constraints / a low ceiling and much of the stuff what I'd consider &quot;cutting edge&quot; or &quot;a benchmark&quot;, I've personally already heard/seen, a long time ago actually." ContentLicense="CC BY-SA 3.0" />
  <row Id="29485" PostHistoryTypeId="5" PostId="18246" RevisionGUID="2aa88608-6997-426d-82a4-aab4ea0a92f5" CreationDate="2013-02-22T07:25:28.813" UserId="3179" Comment="added 229 characters in body" Text="I'd simply split this idea of &quot;rising the floor&quot; vs &quot;rising the ceiling&quot;. Rising the floor in order to get more time to rise the (personal) ceiling, rising the ceiling in order to have more interesting/new stuff to work on. At least I personally need an idea of &quot;there not being a ceiling&quot; or I would stop and be bored as there would be nothing new to achieve or learn.&#xD;&#xA;&#xD;&#xA;However, I think &quot;rising the floor&quot; fits the creative audio niche better. Contrary to some people's opinions, I think audio has a lot of constraints / a low ceiling and much of the stuff what I'd consider &quot;cutting edge&quot; or &quot;a benchmark&quot;, I've personally already heard/seen, a long time ago actually.&#xD;&#xA;&#xD;&#xA;I'd actually go as far as to say that to &quot;rise the ceiling&quot;, would involve expanding to another field entirely or a certain audio-related niche that one just never has quite excelled at, but would like to learn more about it." ContentLicense="CC BY-SA 3.0" />
  <row Id="29486" PostHistoryTypeId="5" PostId="18246" RevisionGUID="e2f2ebe0-5e5e-420b-a007-5359cad80f27" CreationDate="2013-02-22T07:50:22.500" UserId="3179" Comment="added 222 characters in body; edited body" Text="I'd simply split this idea of &quot;rising the floor&quot; vs &quot;rising the ceiling&quot;. Rising the floor in order to get more time to rise the (personal) ceiling, rising the ceiling in order to have more interesting/new stuff to work on. At least I personally need an idea of &quot;there not being a ceiling&quot; or I would stop and be bored as there would be nothing new to achieve or learn.&#xD;&#xA;&#xD;&#xA;However, I think &quot;rising the floor&quot; fits the creative audio niche better. Contrary to some people's opinions, I think audio has a lot of constraints / a low &quot;ceiling&quot; and much of the stuff what I'd consider &quot;cutting edge&quot; or &quot;a benchmark&quot;, I've personally already heard/seen, a long time ago actually. I actually think using the word &quot;ceiling&quot; is wrong here and I'd much rather speak about &quot;walls&quot; or a &quot;box&quot; and making one's box a bit bigger (i.e. getting/seeing out of the box, getting outside of one's &quot;comfort zone&quot;).&#xD;&#xA;&#xD;&#xA;I'd actually go as far as to say that to &quot;rise the ceiling&quot;, would involve expanding to another field entirely or a certain audio-related niche that one just never has quite excelled at, but would like to learn more about it." ContentLicense="CC BY-SA 3.0" />
  <row Id="29487" PostHistoryTypeId="2" PostId="18247" RevisionGUID="bbc952ee-9d44-423c-819f-02d33c5fc2b6" CreationDate="2013-02-22T09:34:09.153" UserId="5765" Text="Hey everyone! Recordist/Sound Designer/Mixer/ADR/Musician (Pretty much anything that has to do with sound I enjoy!) I'm coming from Seattle, Washington however have currently situated myself in San Francisco, CA. I'm a student getting my bachelors. However, I'm trying to get all the necessary gear and needs to start my creation of a professional sample library which I will deliver online. Besides that aspiration, I do almost all the sound for my friends student films down here in SF to start building my show reel. &#xD;&#xA;&#xD;&#xA;BTW I'm available to contact if anyone people in the Bay Area wanna meet up for a recording session at some location to start building those sample libraries! :)&#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;MichaelBrennan" ContentLicense="CC BY-SA 3.0" />
  <row Id="29488" PostHistoryTypeId="16" PostId="18247" RevisionGUID="bbc952ee-9d44-423c-819f-02d33c5fc2b6" CreationDate="2013-02-22T09:34:09.153" UserId="-1" />
  <row Id="29489" PostHistoryTypeId="2" PostId="18248" RevisionGUID="7b270ba5-a11d-48e6-9517-c9dac761a46f" CreationDate="2013-02-22T12:56:01.570" UserId="4442" Text="I used performer for years before eventually switching to logic, and the reason I switched was absolutely no fault of performer's. That program's awesome. I didn't love the stock plugs as much, but i never really used them enough to complain, and there are some better ones now. The last version I used was 7, and it was excellent. Also, the Motunation.com board is a terrific and active community, and I still post on their frequently. This is all coming from a non-pro-tools person, so I don't know what's fitting your needs. In fact, I only ever really used it for music, but it was great for that." ContentLicense="CC BY-SA 3.0" />
  <row Id="29490" PostHistoryTypeId="2" PostId="18249" RevisionGUID="57c611fb-f613-4aad-9d66-79d603fb7ba9" CreationDate="2013-02-22T13:08:26.157" UserId="3179" Text="Not the cheapest, used to be mac-only (and MOTU didn't seem to focus too much on their audio interface range's Windows drivers either), not many users so project file swapping can be a problem, not sure how active the development is because it's not so popular.&#xD;&#xA;&#xD;&#xA;As a program, well, it's a tool as capable as pretty much any other DAW. Not having support for VSTs on mac is one considerable minus though. Although if you only wish to use AUs, then it of course doesn't matter." ContentLicense="CC BY-SA 3.0" />
  <row Id="29491" PostHistoryTypeId="2" PostId="18250" RevisionGUID="9ccb910a-2d28-4bd0-8c9f-f677bffab1f1" CreationDate="2013-02-22T14:46:45.917" UserId="4442" Text="I think I've settled isotope alloy two is my favorite. Any thoughts? Is there anything anyone who's been using it for a long period of time has grown to hate?&#xD;&#xA;&#xD;&#xA;I didn't have a lot of love for version 1, but 2 really seems to be nice. I think I may want to buy.&#xD;&#xA;&#xD;&#xA;Thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29492" PostHistoryTypeId="1" PostId="18250" RevisionGUID="9ccb910a-2d28-4bd0-8c9f-f677bffab1f1" CreationDate="2013-02-22T14:46:45.917" UserId="4442" Text="After many channel strip demos" ContentLicense="CC BY-SA 3.0" />
  <row Id="29493" PostHistoryTypeId="3" PostId="18250" RevisionGUID="9ccb910a-2d28-4bd0-8c9f-f677bffab1f1" CreationDate="2013-02-22T14:46:45.917" UserId="4442" Text="&lt;plug-ins&gt;&lt;izotope&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29494" PostHistoryTypeId="2" PostId="18251" RevisionGUID="1279a831-5eb6-47e1-a929-a9628fcd2767" CreationDate="2013-02-22T15:30:16.287" UserId="2502" Text="I can't say I've been using it for long but it has quickly become a great channel strip tool in my music mixes. Ozone 5 has also become a great tool for me in mastering for music and post.  I like how the Isotope plugs are layed out, very clean and powerful.  Latency becomes an issue but is something I've just had to learn to accept and offset for when mixing music as I cannot stand protools delay compensation and mixing DSP and native on a strip makes it worse so I have been just staying native and slipping the audio the same samples as the delay. &#xD;&#xA;&#xD;&#xA;Anyway, not sure if that helps, but yes, I've been using alloy often as a channel strip tool in music, not so much in post yet. I will say that the presets are real quick to drastically alter the color of your sound so I find myself trying not to go overboard with it.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29498" PostHistoryTypeId="2" PostId="18253" RevisionGUID="c01a59aa-6b15-4340-8192-87653d938fd4" CreationDate="2013-02-22T18:49:08.980" UserId="5779" Text="on a budget I would recommend Alesis M1Active MKII, krk's rocket 6's or 8's, yamaha ns10's, adams a7's or a5's. depends on your final output really - we make a ton of iOS games so having small speakers is the way to go. unless you're doing AAA games that need surround sound I wouldn't bother with a sub, fact is most users still don't have surround set up, and if they do it's not properly set up. my 2 cents." ContentLicense="CC BY-SA 3.0" />
  <row Id="29499" PostHistoryTypeId="2" PostId="18254" RevisionGUID="635c3076-7919-4d05-abe4-0ea3cc2f83c8" CreationDate="2013-02-22T19:02:14.850" UserId="279" Text="add a new track that just has head and tail pops and bus that to final record track (or stem record tracks). This will bypass any processing." ContentLicense="CC BY-SA 3.0" />
  <row Id="29500" PostHistoryTypeId="2" PostId="18255" RevisionGUID="61d484e5-4eac-44f0-b53f-29c1dc54df24" CreationDate="2013-02-22T19:48:31.843" UserId="5738" Text="I'm a Sound Designer/ADR Engineer/Mixer from Dallas, TX. My company is Okratron 5000 inc.&#xD;&#xA;&#xD;&#xA;We handle mostly VO for video games &amp; ADR dubbing for japanese animation &amp; foreign films. With lots of design/mix for picture in the gaps. As others have mentioned, Texas is a right to work state, so there's lots of union free work both here in Dallas, and in Houston as well (maybe a little in Austin). We're very blessed with solid clients who come back again &amp; again. We don't have to break down many doors. We hope to move facilities within the next year to allow for larger actor groups &amp; foley recording. Really enjoying the forum &amp; I look forward to sharing thoughts with all of you.&#xD;&#xA;&#xD;&#xA;Rawly&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;here's just a few titles we've worked on...&#xD;&#xA;&#xD;&#xA;Borderlands 2,&#xD;&#xA;Dragonball Z Kai,&#xD;&#xA;Mass Effect: Paragon Lost,&#xD;&#xA;Comic Jumper: The Adventures of Captain Smiley" ContentLicense="CC BY-SA 3.0" />
  <row Id="29501" PostHistoryTypeId="16" PostId="18255" RevisionGUID="61d484e5-4eac-44f0-b53f-29c1dc54df24" CreationDate="2013-02-22T19:48:31.843" UserId="-1" />
  <row Id="29502" PostHistoryTypeId="2" PostId="18256" RevisionGUID="5eab3997-f6a7-4c19-a764-1cdbd49585b0" CreationDate="2013-02-22T21:00:48.717" UserId="4442" Text="I remember it being sort of invasive and causing some weird stuff before. Anyone on mountain lion and using it without hassle? I must reiterate, this is a long time ago, like in its infancy. I just don't feel like installing it right now if it's going to be a hassle. Just hate making new projects in logic just to record a cool thing when I pull up kontakt." ContentLicense="CC BY-SA 3.0" />
  <row Id="29503" PostHistoryTypeId="1" PostId="18256" RevisionGUID="5eab3997-f6a7-4c19-a764-1cdbd49585b0" CreationDate="2013-02-22T21:00:48.717" UserId="4442" Text="Haven't used soundflower in years" ContentLicense="CC BY-SA 3.0" />
  <row Id="29504" PostHistoryTypeId="3" PostId="18256" RevisionGUID="5eab3997-f6a7-4c19-a764-1cdbd49585b0" CreationDate="2013-02-22T21:00:48.717" UserId="4442" Text="&lt;logic&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29505" PostHistoryTypeId="2" PostId="18257" RevisionGUID="0a56b06f-b71f-4c6f-86b1-d80917b41bbc" CreationDate="2013-02-22T21:06:26.810" UserId="3979" Text="Jacob Paul Proctor here from Salt Lake City, Utah. I was shocked to see others from SLC on here! David sonnenschein too, his book is really good! I got my audio engineering education from the Los Angeles recording school, and worked at various studios out there before moving to Utah and starting my own studio. It's a pleasure to meet you guys!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29506" PostHistoryTypeId="16" PostId="18257" RevisionGUID="0a56b06f-b71f-4c6f-86b1-d80917b41bbc" CreationDate="2013-02-22T21:06:26.810" UserId="-1" />
  <row Id="29507" PostHistoryTypeId="2" PostId="18258" RevisionGUID="8a847177-0925-4b3f-acbd-3dab385bbc80" CreationDate="2013-02-22T21:20:45.567" UserId="6487" Text="I am a chatty Karol.....I am a dialogue mixer, ADR mixer, Dialogue editor....me loves the chatter. I love in LA. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29508" PostHistoryTypeId="16" PostId="18258" RevisionGUID="8a847177-0925-4b3f-acbd-3dab385bbc80" CreationDate="2013-02-22T21:20:45.567" UserId="-1" />
  <row Id="29509" PostHistoryTypeId="2" PostId="18259" RevisionGUID="b0035a36-5925-408e-aaa4-d187474ed09d" CreationDate="2013-02-22T21:28:39.017" UserId="6604" Text="@Bala&#xD;&#xA;This video should help you&#xD;&#xA;https://www.youtube.com/watch?v=cRNd9DT0_is" ContentLicense="CC BY-SA 3.0" />
  <row Id="29510" PostHistoryTypeId="2" PostId="18260" RevisionGUID="90a372e2-adf7-41d3-ad58-a18fd793425f" CreationDate="2013-02-22T21:30:19.803" UserId="3179" Text="It has been improved a lot from the &quot;early stages&quot;.&#xD;&#xA;&#xD;&#xA;It's very robust now.&#xD;&#xA;&#xD;&#xA;Haven't used it in Mountain Lion though." ContentLicense="CC BY-SA 3.0" />
  <row Id="29511" PostHistoryTypeId="2" PostId="18261" RevisionGUID="ac1628ce-5134-4607-a028-c6d0158c46db" CreationDate="2013-02-22T21:40:54.113" UserId="6604" Text="Hi,&#xD;&#xA;&#xD;&#xA;Im in talks with a client to do sound design for his project involving augmented reality (AR) which he intends to sell to niche high end clients for their weddings. I cant divulge any more details than the fact that by the discussions, it looks like a big project involving dancers, elaborate sound design, AR, HD projectors, etc. and ofcourse the married couple, which can be afforded by rich and affluent only. Duration of sound design is 3 mins.&#xD;&#xA;&#xD;&#xA;I have never heard of AR being used for this kind of project and it looks very classy and unique and could have a big market among the wealthy and i have this feeling that once this clicks, they will get more clients requesting customized for their weddings, baby showers, etc.&#xD;&#xA;&#xD;&#xA;Now that i have realised the project scope and work involved, since im not sure whether sfx from my sound library will suffice or if i will need a studio to record foley like effects, im wondering should i charge him a big one time fee or a smaller fee with royalty for his every sale to wedding couples. &#xD;&#xA;&#xD;&#xA;How can i track and ensure i get correct and timely royalty? Do sound designers get royalty at all?&#xD;&#xA;&#xD;&#xA;For projects like games, etc. which are sold to multiple clients, do sound designers receive royalty as well or just a one time fee?&#xD;&#xA;&#xD;&#xA;Please reply soon as I have to send a audio rough cut for animation guy to create all VFX in next 2 days. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29512" PostHistoryTypeId="1" PostId="18261" RevisionGUID="ac1628ce-5134-4607-a028-c6d0158c46db" CreationDate="2013-02-22T21:40:54.113" UserId="6604" Text="Sound design for Augmented Reality project + Royalty" ContentLicense="CC BY-SA 3.0" />
  <row Id="29513" PostHistoryTypeId="3" PostId="18261" RevisionGUID="ac1628ce-5134-4607-a028-c6d0158c46db" CreationDate="2013-02-22T21:40:54.113" UserId="6604" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29514" PostHistoryTypeId="2" PostId="18262" RevisionGUID="3349cda6-c6c7-42e0-88c7-a25d03575abf" CreationDate="2013-02-22T22:38:56.000" UserId="1185" Text="Have not used Soundflower since discovering Jack [http://jackaudio.org][1]&#xD;&#xA;&#xD;&#xA;Might be worth checking out.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://jackaudio.org" ContentLicense="CC BY-SA 3.0" />
  <row Id="29516" PostHistoryTypeId="2" PostId="18264" RevisionGUID="72b2db3e-4cc9-4c71-a417-56ed27a46d11" CreationDate="2013-02-22T23:36:54.120" UserId="4259" Text="Hey, I'm an aspiring Sound Designer/Location Recordist in Portland, OR. It's a bit slow here right now because of all that darned rain, but at least it gives me something to record." ContentLicense="CC BY-SA 3.0" />
  <row Id="29517" PostHistoryTypeId="16" PostId="18264" RevisionGUID="72b2db3e-4cc9-4c71-a417-56ed27a46d11" CreationDate="2013-02-22T23:36:54.120" UserId="-1" />
  <row Id="29518" PostHistoryTypeId="5" PostId="18255" RevisionGUID="dcba4451-9fbc-4213-9bf9-06c46fa61cfa" CreationDate="2013-02-23T01:29:37.217" UserId="5738" Comment="clarification" Text="I'm a Sound Designer/ADR Engineer/Mixer from Dallas, TX. My company is Okratron 5000 inc.&#xD;&#xA;&#xD;&#xA;We handle mostly VO for video games &amp; ADR dubbing for japanese animation &amp; foreign films. With lots of design/mix for picture in the gaps. Really enjoying the forum &amp; I look forward to sharing thoughts with all of you.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29519" PostHistoryTypeId="2" PostId="18265" RevisionGUID="1050bb1a-d500-433b-ac4f-910f43b02777" CreationDate="2013-02-23T03:15:21.683" UserId="37" Text="it just works. &#xD;&#xA;&#xD;&#xA;used it in mountain lion without problems.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29520" PostHistoryTypeId="5" PostId="18262" RevisionGUID="27304422-50be-4f79-be4d-4591dc354ad3" CreationDate="2013-02-23T07:47:31.503" UserId="1185" Comment="added 258 characters in body" Text="Have not used Soundflower since discovering Jack [http://jackaudio.org][1]&#xD;&#xA;&#xD;&#xA;Might be worth checking out.&#xD;&#xA;&#xD;&#xA;EDIT: I guess it is worth pointing out that Soundflower will work for duel channel stereo between applications on one machine, but if more channels are required or the applications are on different networked machines, then Jack may offer a better solution.&#xD;&#xA;&#xD;&#xA;  [1]: http://jackaudio.org" ContentLicense="CC BY-SA 3.0" />
  <row Id="29521" PostHistoryTypeId="2" PostId="18266" RevisionGUID="3ce21287-5d62-4c29-b149-3b4c1f2c4db8" CreationDate="2013-02-23T09:03:16.777" UserId="1228" Text="I believe in what's been said thusfar on this thread, the principal of sync pops has been lost overall.  The whole point of a pop is to ensure sample-accurate sync (and phase coherence) of every track, of every predub, of every stem, of every printmaster to pix, in addition to each other.&#xD;&#xA;&#xD;&#xA;This begins with popping every single edit track (but mute the other ones so they don't overload).  As such, one DX pop should play, one FX pop should play, and so on.  If a pop must be checked further down the road for a specific track, we can simply unmute the pop and check it.&#xD;&#xA;&#xD;&#xA;In my opinion what JBerg has said is quite dangerous and misses the principal of pops entirely.  The pops must follow the identical signal path of how our edit tracks are routed, or else it calls the pops (and sync) into question altogether.  Pops must be checked each and every time they are needed (such as starting a new session and placing them in physically).  Period.  It is incredibly dangerous to assume every show you receive will have consistent pops with the previous one.&#xD;&#xA;&#xD;&#xA;When we become complacent in our popping (such as looking for a template or just &quot;routing in&quot; a pop from a dedicated track), we've done a disservice to what a major role of our job is, and a disservice to the client - ensuring 100% sample-accurate sound sync from the base edit track right through to the final printmaster.  The only way to ensure this is to not be complacent in habits, and thus build your pops each and every occasion manually, allowing them to follow the same signal path as all other sounds - that way, if there is a sync issue which arises, it is visible by what the pops are doing.&#xD;&#xA;&#xD;&#xA;Personally, I pop all my edit tracks, and my personal mix path of choice is to feed my DX, FX, MX edit tracks and sidechains (noise suppression, reverbs, delays, etc) into respective DX, FX, MX Submasters (Auxs) - these Submasters feed DX, FX, MX Stem print tracks at **unity gain** but have a very high-threshold brickwall limiter like Maxim or the L2007.  The Submasters are treated like master faders and don't receive any plugins, panning, volume automation, or anything except for an EQ and brickwall limiter  These stem print tracks then feed the DM&amp;E printmaster at unity gain.  By allowing the pops to go through the entyire signal path, one can troubleshoot sync issues which might not be realized until you are ready to print a stem and realize &quot;uh oh, why is this 4 frames out for the other stems&quot;.  The whole idea to is that these pops on the edit tracks are not automated or altered in any way, they basically feed 1:1 unity gain from the edit track to the stem, which means that all things being equal, the pop is unchanged because it lies outside the program material which does get processed.  What you can do, and is something I have done for a long time, is simply automate a bypass on each and every plugin that the pop feeds through - but only bypass them over a 15-20 frame area of where the pop resides.  How come?  Bypassed plugins **still are utilizing the DSP** and feeding the signal through, the plugin's processes are just not getting a signal fed through it so what comes out the other end is 1:1 (think of it like a switch track - the original track still operates, but there's no train on it because it was switched over to the other track).  This is why feeding the pops the whole way through is critical - and it ensures that when you bus your tracks, everything is coming out properly.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;Here's one particular issue with what JBerg's suggestion is:&#xD;&#xA;&#xD;&#xA;So lets assume none of your edit tracks are popped. Everything feeds through your Submasters and stems and so forth, which results in a lot of complicated bussing to keep this basic hierarchical organization in the edit, predub, stem, printmaster signal flow.  Basically, it's easy to mis-route or not route something at all, even down on the edit track-level or as top-level as a Submaster send to a stem.&#xD;&#xA;&#xD;&#xA;You're working along on your mix for days or weeks, everything you're hearing sounds wonderful, it's coming together layered, full, and fantastic.  The client loves what they hear and so on.  So now, let's print this baby, knowing we bussed everything.  Need a pop?  No worry, we'll just send one straight to the printmaster.  Okay fantastic, now lets lay this print off.&#xD;&#xA;&#xD;&#xA;You hit record and kick back to listen to the symphony of the mix as a it prints, hearing everything exactly as you and client intended.  Great, it's finished, let's ship it off to the client.&#xD;&#xA;&#xD;&#xA;You get a call from the client or QC house next week, and they are crimson red because the print bounced QC because some BGz were missing (or a line of dialogue maybe, pick your poison).  Long story short, it's going to cost both you and the client a lot of time and money to fix this, and they are none to happy.&#xD;&#xA;&#xD;&#xA;But you ask yourself... how could this be, I know I heard the print as it was happening and everything was there?  Well, we did hear it, **but that particular track was bussed to the Mains instead of the submaster!**  So we could &quot;hear it&quot;, thinking it was getting printed, but we never caught the routing problem because we didn't pop our edit tracks and just sent a pop to the printmaster - so what actually happened is that track was feeding to the Mains for us to hear, but it actually wasn't gonig anywhere or being &quot;heard&quot; through the submaster/printmaster signal path.  The point is, there's no way of knowing or being sure unless the tracks are popped.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;Morale of this?  Pop your tracks - manually, regularly, and with due diligence.  There is no free lunch on this post sound line-item in my opinion.  That's my two cents&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29522" PostHistoryTypeId="2" PostId="18267" RevisionGUID="68aca397-5b0e-44f2-9cb1-41522868d4fd" CreationDate="2013-02-23T12:45:14.700" UserId="3179" Text="&gt; For projects like games, etc. which are sold to multiple clients, do sound designers receive royalty as well or just a one time fee?&#xD;&#xA;&#xD;&#xA;Depends on what you agree on. If the employer is a big company that employs many artists, then they almost always want to claim all rights for a fixed one-time fee (or pay a monthly wage), even from 3rd party contractors, because tracking and paying royalties is a lot of paperwork. If the employer is an individual or a small group and the project doesn't employ many artists, then it might be feasible to have royalties.&#xD;&#xA;&#xD;&#xA;One-time fixed fee is the easier approach, but if you want to test whether you could rake in more by having a contract based on royalties, then it's always just a matter of negotiation." ContentLicense="CC BY-SA 3.0" />
  <row Id="29523" PostHistoryTypeId="5" PostId="18267" RevisionGUID="ee53b472-e8d2-4382-9745-bc1a9226a1a0" CreationDate="2013-02-23T12:59:06.507" UserId="3179" Comment="added 165 characters in body; added 70 characters in body; edited body" Text="&gt; For projects like games, etc. which are sold to multiple clients, do sound designers receive royalty as well or just a one time fee?&#xD;&#xA;&#xD;&#xA;Depends on what you agree on. If the employer is a big company that employs many artists, then they almost always want to claim all rights for a fixed one-time fee (or pay a monthly wage), even from 3rd party contractors, because tracking and paying royalties is a lot of paperwork. If the employer is an individual or a small group and the project doesn't employ many artists, then it might be feasible to have royalties.&#xD;&#xA;&#xD;&#xA;One-time fixed fee is the easier approach, but if you want to test whether you could rake in more by having a contract based on royalties, then it's always just a matter of negotiation.&#xD;&#xA;&#xD;&#xA;&gt; How can i track and ensure i get correct and timely royalty?&#xD;&#xA;&#xD;&#xA;By making a solid contract. If it's not paid when it should, then it's a contract infringement that leads to sanctions, which should be seen in the contract as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="29524" PostHistoryTypeId="2" PostId="18268" RevisionGUID="7195af22-b080-4a33-b295-187038fadaf3" CreationDate="2013-02-23T15:00:44.367" UserId="5780" Text="You might wanna check out the &quot;Proximity&quot; plug-in by Tokyo Dawn Labs, it's the most realistic &quot;distance algorithm&quot; I've heard. I'm afraid I can't help as to how it's implemented, but the basic parameters should give you an idea, and perhaps you could contact the guys who developed the plug." ContentLicense="CC BY-SA 3.0" />
  <row Id="29525" PostHistoryTypeId="2" PostId="18269" RevisionGUID="0e1aa4e9-c343-46ce-bb1f-a381d600ea4c" CreationDate="2013-02-23T16:21:26.003" UserId="5763" Text="wWoha great topic here! it's actually the one that made me want to sign up here! Hi everybody!&#xD;&#xA;&#xD;&#xA;I was going to create a desert wind loop for a fps videogame and decided to have a look around...&#xD;&#xA;Thanks to the great solutions presented here i finally find the most suitable as follows:&#xD;&#xA;i have basically 2 tracks, one is a sound i recorded in my tent one very windy night on a very windy peak, i slowed it down with paulstretch (what an aweseome tool!!), eqed it enhancing around 90hz and 770hz, hicut above, the second sound is a pink noise track with a wide reverb and a narrow bandpass filter that i automated moving it very slowly and in small amounts at a time to avoid making it sound like a sci-fi laser.&#xD;&#xA;&#xD;&#xA;That's it for now, as the game design goes on i'm planning to record some recorder's whistles and squeaks to be assigned to buildings corners and i already recorded some spelt flour rolling on a sheet, to simulate sand gusts to assign to certain areas." ContentLicense="CC BY-SA 3.0" />
  <row Id="29526" PostHistoryTypeId="2" PostId="18270" RevisionGUID="05d41007-4df1-45d7-b19f-c9070760f582" CreationDate="2013-02-23T16:35:21.203" UserId="2540" Text="Hello,&#xD;&#xA;&#xD;&#xA;I have a Pro tools 8 with a Mbox 2 mini, Laptop runs a Mac OS X 10.6.8.&#xD;&#xA;&#xD;&#xA;The problem I am receiving are my Rode NT1A microphone is recording in very low volume, turning the input 1 volume produces a large amount of white nosies, however if I tap the microphone the bang registers, however spoken dialogue can not be picked up easily, if shouting, the dialogue is picking up very quietly behind white noises.&#xD;&#xA;&#xD;&#xA;Does anyone know how to resolve this solution?&#xD;&#xA;&#xD;&#xA;I have tired turning the PAD on and off and ensured that 48V button on the back is on, tired recording on a separate machine, the same problem persists.&#xD;&#xA;&#xD;&#xA;Many Thanks&#xD;&#xA;Lamp." ContentLicense="CC BY-SA 3.0" />
  <row Id="29527" PostHistoryTypeId="1" PostId="18270" RevisionGUID="05d41007-4df1-45d7-b19f-c9070760f582" CreationDate="2013-02-23T16:35:21.203" UserId="2540" Text="Pro tools 8 Mic problem" ContentLicense="CC BY-SA 3.0" />
  <row Id="29528" PostHistoryTypeId="3" PostId="18270" RevisionGUID="05d41007-4df1-45d7-b19f-c9070760f582" CreationDate="2013-02-23T16:35:21.203" UserId="2540" Text="&lt;pro-tools&gt;&lt;microphone&gt;&lt;mbox-2&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29529" PostHistoryTypeId="2" PostId="18271" RevisionGUID="8ba01676-86c9-4034-b9b1-2ca784db3885" CreationDate="2013-02-23T18:51:12.037" UserId="3179" Text="I've found the DigiDesign/Avid hardware (Mbox 2s and PTHD hardware from the same period to be precise) to have some software issues, which cause problems that may seem like a problem in the hardware. So rebooting and trying to update or reset the software are first fixes. It sounds like it could be a problem with the phantom power. Unless it's the mic that's faulty/broken.&#xD;&#xA;&#xD;&#xA;Otherwise it could be that the mbox needs to be repaired or replaced." ContentLicense="CC BY-SA 3.0" />
  <row Id="29530" PostHistoryTypeId="5" PostId="18271" RevisionGUID="abd97335-5420-400b-9748-1a67bbac20f3" CreationDate="2013-02-23T18:57:13.020" UserId="3179" Comment="added 1 characters in body" Text="I've found the DigiDesign/Avid hardware (Mbox 2s and PTHD hardware from the same period, to be precise) to have some software issues, which cause problems that may seem like a problem in the hardware. So rebooting and trying to update or reset the software are first fixes. It sounds like it could be a problem with the phantom power. Unless it's the mic that's faulty/broken.&#xD;&#xA;&#xD;&#xA;Otherwise it could be that the mbox needs to be repaired or replaced." ContentLicense="CC BY-SA 3.0" />
  <row Id="29531" PostHistoryTypeId="2" PostId="18272" RevisionGUID="56a06f4b-5720-4f1a-a0a0-51f8eccfd523" CreationDate="2013-02-23T23:59:34.387" UserId="3641" Text="Hi,&#xD;&#xA;&#xD;&#xA;I borrowed DPA 4060 omni mics from a friend to try them and do some field recordings. &#xD;&#xA;&#xD;&#xA;Does anyone uses them for the same purpose? &#xD;&#xA;&#xD;&#xA;Could you suggest a way to place them when going out on the field? A hanger would be a good idea but please share with me any other ways of placing them during recording.&#xD;&#xA;&#xD;&#xA;I will use them in combination with a Tascam DR-100 recorder.&#xD;&#xA;&#xD;&#xA;thank you very much,&#xD;&#xA;&#xD;&#xA;panjethro" ContentLicense="CC BY-SA 3.0" />
  <row Id="29532" PostHistoryTypeId="1" PostId="18272" RevisionGUID="56a06f4b-5720-4f1a-a0a0-51f8eccfd523" CreationDate="2013-02-23T23:59:34.387" UserId="3641" Text="DPA 4060s-ways of placing them during field recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="29533" PostHistoryTypeId="3" PostId="18272" RevisionGUID="56a06f4b-5720-4f1a-a0a0-51f8eccfd523" CreationDate="2013-02-23T23:59:34.387" UserId="3641" Text="&lt;microphone&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29537" PostHistoryTypeId="2" PostId="18274" RevisionGUID="a46c04ea-73b1-4679-b8ee-e4e79d774995" CreationDate="2013-02-24T03:32:34.833" UserId="5782" Text="How we can convert colour to sound?can any give brief explain." ContentLicense="CC BY-SA 3.0" />
  <row Id="29538" PostHistoryTypeId="1" PostId="18274" RevisionGUID="a46c04ea-73b1-4679-b8ee-e4e79d774995" CreationDate="2013-02-24T03:32:34.833" UserId="5782" Text="colour to sound " ContentLicense="CC BY-SA 3.0" />
  <row Id="29539" PostHistoryTypeId="3" PostId="18274" RevisionGUID="a46c04ea-73b1-4679-b8ee-e4e79d774995" CreationDate="2013-02-24T03:32:34.833" UserId="5782" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29540" PostHistoryTypeId="2" PostId="18275" RevisionGUID="cb379a69-97f2-4eaf-afe6-d1f3640b441f" CreationDate="2013-02-24T06:20:29.000" UserId="3567" Text="http://en.wikipedia.org/wiki/Sonification" ContentLicense="CC BY-SA 3.0" />
  <row Id="29542" PostHistoryTypeId="2" PostId="18276" RevisionGUID="c4eab6d5-45d4-403d-b13d-e8bf7fb057e4" CreationDate="2013-02-24T09:38:36.620" UserId="5709" Text="Hi all,&#xD;&#xA;&lt;br&gt;&#xD;&#xA;My name is Pasi Pitkänen and I'm a composer &amp; sound designer from Tampere, Finland. I have Bachelor degrees in 'Digital Sound and Commercial Music' from Tampere University of Applied Sciences and 'Creative Sound Production' from University of Abertay Dundee. I currently work as a sound designer at Rovio Entertainment Ltd.&#xD;&#xA;&#xD;&#xA;Website: http://www.pasipitkanen.fi/&#xD;&#xA;&lt;br&gt;&#xD;&#xA;Twitter: https://twitter.com/pasipitkanen&#xD;&#xA;&lt;bR&gt;&#xD;&#xA;Facebook: https://www.facebook.com/pasipitkanenfi&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&lt;br&gt;&#xD;&#xA;Pasi Pitkänen" ContentLicense="CC BY-SA 3.0" />
  <row Id="29543" PostHistoryTypeId="16" PostId="18276" RevisionGUID="c4eab6d5-45d4-403d-b13d-e8bf7fb057e4" CreationDate="2013-02-24T09:38:36.620" UserId="-1" />
  <row Id="29544" PostHistoryTypeId="2" PostId="18277" RevisionGUID="58784d92-0f6a-4053-826a-3f40063a9797" CreationDate="2013-02-24T11:03:17.973" UserId="5783" Text="Best one hands down is Cedar DNS one" ContentLicense="CC BY-SA 3.0" />
  <row Id="29545" PostHistoryTypeId="2" PostId="18278" RevisionGUID="716b9018-2b91-4e20-b8f9-796467a5d024" CreationDate="2013-02-24T11:15:49.667" UserId="5784" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm making a test setup for MS recording.&#xD;&#xA;&#xD;&#xA;The 1st setup is with a figure 8 mic and a cardiod.&#xD;&#xA;The 2nd setup is with a figure 8 mic and a omni.&#xD;&#xA;The 3rd setup would be with 3 cardiods. (2 S channel placed exactly(!) opposite and phase aligned)&#xD;&#xA;&#xD;&#xA;I Found that that panning the two S cardiodmics hard left and right and adding M do not result in the same audio perception as with a figure 8 and cardiod.&#xD;&#xA;&#xD;&#xA;What I did to resolve this:&#xD;&#xA;First summing the two mics to make a new figure 8 signal.&#xD;&#xA;1st S channel phase non inverted -&gt; bus 1&#xD;&#xA;2nd S channel phase inverted &gt; bus 1&#xD;&#xA;&#xD;&#xA;Then treat bus 1 (the 'new' figure 8 signal) as you would do normally with S signals&#xD;&#xA;bus 1 &gt; new channel 3 and pan hard left, phase non inverted&#xD;&#xA;bus 1 &gt; new channel 4 and pan hard right, phase inverted&#xD;&#xA;channel 5 has the M signal.&#xD;&#xA;&#xD;&#xA;This results in a much better MS with 3 cardiods. &#xD;&#xA;&#xD;&#xA;Anyone agree/disagree?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29546" PostHistoryTypeId="1" PostId="18278" RevisionGUID="716b9018-2b91-4e20-b8f9-796467a5d024" CreationDate="2013-02-24T11:15:49.667" UserId="5784" Text="How to make figure 8 of to cardiods" ContentLicense="CC BY-SA 3.0" />
  <row Id="29547" PostHistoryTypeId="3" PostId="18278" RevisionGUID="716b9018-2b91-4e20-b8f9-796467a5d024" CreationDate="2013-02-24T11:15:49.667" UserId="5784" Text="&lt;microphone-technique&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29548" PostHistoryTypeId="2" PostId="18279" RevisionGUID="a4581608-716a-46e8-8ce5-4328538b503e" CreationDate="2013-02-24T12:52:56.000" UserId="6432" Text="A while back I watched a program about the reasons behind the development of regional accents here in England. It claimed that part of the reason working class accents in the North and South are so different is due to the industrialisation of the North in comparison to the agricultural land use in the South. Due to the need to communicate over the din of the industrial revolution factories, the people developed accents with more pronounced mouth movements and sharper, more defined sounds. So your acoustic environment affects how you speak, and we adapt our methods of communication to to it." ContentLicense="CC BY-SA 3.0" />
  <row Id="29549" PostHistoryTypeId="2" PostId="18280" RevisionGUID="27abf274-68e4-4a71-adc8-2d65e06e60e5" CreationDate="2013-02-24T13:59:48.670" UserId="270" Text="I will suggest;&#xD;&#xA;&#xD;&#xA; - The big bang  &#xD;&#xA; - Jesus' sermon on the mount  &#xD;&#xA; - The vocal sounds of a T Rex&#xD;&#xA; - A big meteor event&#xD;&#xA; - A medieval pitched battle&#xD;&#xA; - E A Poe reading The Raven&#xD;&#xA; - Christmas day truce football match in 1914 France&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29550" PostHistoryTypeId="1" PostId="18280" RevisionGUID="27abf274-68e4-4a71-adc8-2d65e06e60e5" CreationDate="2013-02-24T13:59:48.670" UserId="270" Text="Which sounds in history would you like to have been able to record?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29551" PostHistoryTypeId="3" PostId="18280" RevisionGUID="27abf274-68e4-4a71-adc8-2d65e06e60e5" CreationDate="2013-02-24T13:59:48.670" UserId="270" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29552" PostHistoryTypeId="5" PostId="18280" RevisionGUID="ec5241e4-ab79-4f08-9347-8b867c29a6fd" CreationDate="2013-02-24T14:28:39.783" UserId="270" Comment="added 26 characters in body" Text="I will suggest;&#xD;&#xA;&#xD;&#xA; - The big bang  &#xD;&#xA; - Jesus' sermon on the mount  &#xD;&#xA; - The vocal sounds of a T Rex&#xD;&#xA; - A big meteor event&#xD;&#xA; - A medieval pitched battle&#xD;&#xA; - E A Poe reading The Raven&#xD;&#xA; - Christmas day truce football match in 1914 France&#xD;&#xA; - Caesar's assasination&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29553" PostHistoryTypeId="5" PostId="18280" RevisionGUID="ca2d7799-a827-482b-84e0-6daab2e68848" CreationDate="2013-02-24T14:38:56.507" UserId="270" Comment="added 24 characters in body" Text="I will suggest;&#xD;&#xA;&#xD;&#xA; - The big bang  &#xD;&#xA; - Jesus' sermon on the mount  &#xD;&#xA; - The vocal sounds of a T Rex&#xD;&#xA; - A big meteor event&#xD;&#xA; - A medieval pitched battle&#xD;&#xA; - E A Poe reading The Raven&#xD;&#xA; - Christmas day truce football match in 1914 France&#xD;&#xA; - Caesar's assasination&#xD;&#xA; - Nelson's last words&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29554" PostHistoryTypeId="2" PostId="18281" RevisionGUID="46ecb71f-e4ea-46b2-831e-354f118aa570" CreationDate="2013-02-24T14:47:18.600" UserId="37" Text="The track volume fader.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29555" PostHistoryTypeId="2" PostId="18282" RevisionGUID="d0d9125b-8963-4de4-b237-c4bdbe314098" CreationDate="2013-02-24T15:10:17.850" UserId="5605" Text="Krakatoa probably!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29556" PostHistoryTypeId="5" PostId="18280" RevisionGUID="69d46e90-6a05-4e83-afcc-eb684027c6c8" CreationDate="2013-02-24T15:29:53.440" UserId="270" Comment="added 40 characters in body; deleted 1 characters in body" Text="I will suggest;&#xD;&#xA;&#xD;&#xA; - The big bang  &#xD;&#xA; - Jesus' sermon on the mount  &#xD;&#xA; - The vocal sounds of a T Rex&#xD;&#xA; - A big meteor event&#xD;&#xA; - A medieval pitched battle&#xD;&#xA; - E A Poe reading The Raven&#xD;&#xA; - Christmas day truce football match in 1914 France&#xD;&#xA; - Caesar's assasination&#xD;&#xA; - Nelson's last words&#xD;&#xA; - Neanderthals sitting around a fire&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29557" PostHistoryTypeId="2" PostId="18283" RevisionGUID="1d842e6e-42b2-4354-a1e4-19a55290f270" CreationDate="2013-02-24T15:47:07.580" UserId="3179" Text="Now this is a very deep and philosophical question that digs into the personal level. It could be even slightly offensive. &#xD;&#xA;&#xD;&#xA;But given that many here work in many other forms of media than just related to factual/real world topics (e.g. documentaries, information spreading), does your work reflect your general value system? And, given that you work in highly fictional entertainment or e.g. advertisements, do you, on a deep personal level, value what you do?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29558" PostHistoryTypeId="1" PostId="18283" RevisionGUID="1d842e6e-42b2-4354-a1e4-19a55290f270" CreationDate="2013-02-24T15:47:07.580" UserId="3179" Text="What do you value in life?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29559" PostHistoryTypeId="3" PostId="18283" RevisionGUID="1d842e6e-42b2-4354-a1e4-19a55290f270" CreationDate="2013-02-24T15:47:07.580" UserId="3179" Text="&lt;life&gt;&lt;philosophy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29560" PostHistoryTypeId="2" PostId="18284" RevisionGUID="84965473-199e-4100-8a28-226031e115fc" CreationDate="2013-02-24T16:29:00.740" UserId="3196" Text="does anybody know of any book that deals with Mixing of films.. i have downloaded two books  &#xD;&#xA;&#xD;&#xA; 1. The Mixing Engineers Handbook.&#xD;&#xA; 2. Mix Smart Pro Audio Tips For Your Multitrack Mix&#xD;&#xA;from the internet but these books basically focus on music mix.&#xD;&#xA;&#xD;&#xA;these two books are pretty helpful but i would also like to read more on how to go about mixes in film..how to handle dialouges, ambiences, background music etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="29561" PostHistoryTypeId="1" PostId="18284" RevisionGUID="84965473-199e-4100-8a28-226031e115fc" CreationDate="2013-02-24T16:29:00.740" UserId="3196" Text="books on mixing films?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29562" PostHistoryTypeId="3" PostId="18284" RevisionGUID="84965473-199e-4100-8a28-226031e115fc" CreationDate="2013-02-24T16:29:00.740" UserId="3196" Text="&lt;mixing&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29563" PostHistoryTypeId="5" PostId="18283" RevisionGUID="53b2a30e-5f8d-4e67-8f6d-936cc00b66f3" CreationDate="2013-02-24T16:31:40.557" UserId="3179" Comment="added 71 characters in body; edited title; added 1 characters in body" Text="Now this is a very deep and philosophical question that digs into the personal level. It could be even slightly offensive. &#xD;&#xA;&#xD;&#xA;But given that many here work in many other forms of media than just related to factual/real world topics (e.g. documentaries, information spreading), does your work reflect your general value system? And, given that you work in highly fictional entertainment or e.g. advertisements, do you, on a deep personal level, value what you do or do your values guide what kind of media pieces you choose to work on?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29564" PostHistoryTypeId="4" PostId="18283" RevisionGUID="53b2a30e-5f8d-4e67-8f6d-936cc00b66f3" CreationDate="2013-02-24T16:31:40.557" UserId="3179" Comment="added 71 characters in body; edited title; added 1 characters in body" Text="What do you value in life? / Do your values affect what you choose to work on?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29565" PostHistoryTypeId="2" PostId="18285" RevisionGUID="4526ab5a-590f-4e01-a242-2d41a365b8f4" CreationDate="2013-02-24T16:37:38.007" UserId="238" Text="Check out Tim Prebble's [DIY mini mic clips][1] - very practicle and cheap! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicofsound.co.nz/blog/vietnam-01-first-impressions" ContentLicense="CC BY-SA 3.0" />
  <row Id="29566" PostHistoryTypeId="2" PostId="18286" RevisionGUID="9adea2bd-9087-4e01-8fbd-57cc1dbac470" CreationDate="2013-02-24T17:24:17.973" UserId="432" Text="Besides the obvious answer of extinct animals. My first priority would probably be to record ambiences without the presence of human civilization. No cars and traffic, no aircraft, no electrical interference from cellular and radio...just pristine nature." ContentLicense="CC BY-SA 3.0" />
  <row Id="29567" PostHistoryTypeId="2" PostId="18287" RevisionGUID="ce1b1aaf-7e7a-43e0-824b-731fcfb03368" CreationDate="2013-02-24T18:09:02.870" UserId="4156" Text="Hi panjethro, &#xD;&#xA;if you mean what stereo-system to use then AB or a baffle-system might be a good idea. Two very important issues in field recording are wind and handling noise. If you have some kind of a zeppelin/ blimp then that would make a small AB-setup possible and also cure those 2 problems. &#xD;&#xA;&#xD;&#xA;The width between the mics you need depends on the source you are recording, just listen through headphones and move the mics apart until it start sounding &quot;right&quot;. &#xD;&#xA;&#xD;&#xA;You can also build your own windscreen on a budget, something like this:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=SudmkbL06zg&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29568" PostHistoryTypeId="2" PostId="18288" RevisionGUID="7f86fd84-e6d8-4648-9214-332d8c0173b4" CreationDate="2013-02-24T18:15:20.177" UserId="4156" Text="In my opinion a lot of the decisions in how to setup the session in a mix and what to do with the elements depend on your taste and the type of film you are working on. Story elements can determine how your setup deviates from those in other films. The books I would recommend are David Sonnenscheins &quot;Sound Design&quot; and Barbara Flückingers &quot;Sound Design&quot; if you read german. Not exactly on mixing, but I think also in mixing story and concept are very important. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29570" PostHistoryTypeId="2" PostId="18290" RevisionGUID="185b27f1-35b3-4c1b-adee-374490b4013e" CreationDate="2013-02-24T18:23:26.440" UserId="4156" Text="As for me: I switched from an engineering study to film sound design, and I'm still happy that I did. Not that engineering would not have been interesting, but my heart was beating for this job.. I'm very happy not to work for advertisement-sound though. It earns you a lot of money but there seems to be quite a different way of working with people in that field. At least that is my impression so far... any opions on that? " ContentLicense="CC BY-SA 3.0" />
  <row Id="29571" PostHistoryTypeId="2" PostId="18291" RevisionGUID="375fd554-c789-4fd0-a4e2-c238ec890138" CreationDate="2013-02-24T18:55:15.027" UserId="3754" Text="definitely unspoilt nature sounds!&#xD;&#xA;&#xD;&#xA;• Dinosaurs&#xD;&#xA;• The Blitz / DD landings&#xD;&#xA;• Hiroshima&#xD;&#xA;• Alcatraz when full&#xD;&#xA;&#xD;&#xA;and as I'm quite young, I feel I missed out on Concord :(" ContentLicense="CC BY-SA 3.0" />
  <row Id="29572" PostHistoryTypeId="2" PostId="18292" RevisionGUID="1aeb8e0d-ca28-4cb1-81bf-b45f36045396" CreationDate="2013-02-24T19:27:52.273" UserId="5746" Text="Here is my choice:&#xD;&#xA;&#xD;&#xA;1. http://www.amazon.com/Dialogue-Editing-Motion-Pictures-Invisible/dp/0240809181/ref=sr_1_1?ie=UTF8&amp;qid=1361733846&amp;sr=8-1&amp;keywords=dialogue+editing+for+motion+pictures&#xD;&#xA;2. http://www.amazon.com/Practical-Art-Motion-Picture-Sound/dp/0240812409/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1361733899&amp;sr=1-1&amp;keywords=practical+art+of+motion+picture+sound&#xD;&#xA;&#xD;&#xA;i cant guarantee that this books are about mixing films, but they seems to me pretty helpful." ContentLicense="CC BY-SA 3.0" />
  <row Id="29573" PostHistoryTypeId="2" PostId="18293" RevisionGUID="8a2d14be-93d6-487f-959e-fed3e8fec237" CreationDate="2013-02-24T19:44:19.980" UserId="6411" Text="[Active phase cancellation][1] is used in stealth systems to obscure potential targets from radar. Kind of like giant, inverse, noise cancelling headphones.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://rfdesign.com/military_defense_electronics/active_cancellation_0714/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29574" PostHistoryTypeId="2" PostId="18294" RevisionGUID="fc7cc313-8511-48c1-8d53-b101d2d5ff0a" CreationDate="2013-02-24T19:48:37.127" UserId="6411" Text="Start [here][1] and [here][2]. Plus check out the Related box below the SSD SoundCloud player on the right hand side of any page on SSD.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/12251/can-you-suggest-a-good-reference-book-on-sound-design-and-mixing-for-film&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/12263/i-want-learn-about-sound-mixing-when-shooting-film-can-anyone-suggest-me-a-good" ContentLicense="CC BY-SA 3.0" />
  <row Id="29575" PostHistoryTypeId="2" PostId="18295" RevisionGUID="e16d28b8-3afe-4f32-a9d8-bdd0ae8a992f" CreationDate="2013-02-24T19:54:55.370" UserDisplayName="user49" Text="bird life in New Zealand before any humans arrived.... esp the extinct Moa and Huia" ContentLicense="CC BY-SA 3.0" />
  <row Id="29576" PostHistoryTypeId="2" PostId="18296" RevisionGUID="87e49bb4-3bff-40fd-9332-48b0ed5a04bd" CreationDate="2013-02-24T20:22:39.617" UserId="1185" Text="My children growing up......I have a few bit and pieces, but I now wish I'd recored them more regularly, say once a month.  Clique, but they grow up so fast and before you know it you have missed key bits of their development." ContentLicense="CC BY-SA 3.0" />
  <row Id="29577" PostHistoryTypeId="2" PostId="18297" RevisionGUID="0df63dbb-d7ff-4d70-a3bc-5fcb3ddccce7" CreationDate="2013-02-24T20:29:39.753" UserId="3754" Text="Would also be fascinating to record church organs, and baroque ensembles etc. See just how they would have sounded. Maybe our understanding of old sacred music is completely wrong!?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29578" PostHistoryTypeId="2" PostId="18298" RevisionGUID="5ae52050-a351-469b-9ace-a24253978c98" CreationDate="2013-02-24T21:40:27.297" UserId="5786" Text="Civil War BAttlefield" ContentLicense="CC BY-SA 3.0" />
  <row Id="29579" PostHistoryTypeId="2" PostId="18299" RevisionGUID="0182595c-3a14-48d0-9961-51255856a852" CreationDate="2013-02-25T00:13:51.503" UserId="4080" Text="Hey,&#xD;&#xA;I'm currently working on a sci-fi short film in which the majority of action takes place in an abandoned cellar underground. The director wants bassy, rumbly factory/machinery sounds coming from the floor above. &#xD;&#xA;&#xD;&#xA;I thought this should be easy to just fire up some Logic Space Designer IR, roll off the top end and be good to go, but this just sounds muddy and undefined. &#xD;&#xA;&#xD;&#xA;How do you guys go about making sounds coming from the floor above? " ContentLicense="CC BY-SA 3.0" />
  <row Id="29580" PostHistoryTypeId="1" PostId="18299" RevisionGUID="0182595c-3a14-48d0-9961-51255856a852" CreationDate="2013-02-25T00:13:51.503" UserId="4080" Text="Creating Sounds Coming From Floor Above Action?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29581" PostHistoryTypeId="3" PostId="18299" RevisionGUID="0182595c-3a14-48d0-9961-51255856a852" CreationDate="2013-02-25T00:13:51.503" UserId="4080" Text="&lt;sound-design&gt;&lt;impulse-response&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29582" PostHistoryTypeId="2" PostId="18300" RevisionGUID="03924f8c-2d2c-447c-91fd-f33e885ceda5" CreationDate="2013-02-25T00:28:48.950" UserId="3179" Text="Setup something physical that can block the sound, so you'll get natural filtering. Then depending on whether you have a prop for the sound or a sample, either use the prop or play the sound from a speaker and record the sound from a position, where the sound is blocked. I imagine something like a closed door and some distance could be a good start, or at least it would be worth trying, how it sounds. Or it may provide a base for further small eq or reverb adjustments. &#xD;&#xA;&#xD;&#xA;You could also try blocking the microphone (rather than the sound source) with something. That may allow you to bring the sound source closer to the microphone and you could get more low frequencies, while filtering most of the top and mid freqs by blocking the microphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="29583" PostHistoryTypeId="5" PostId="18300" RevisionGUID="0b62e8f6-00ce-4342-aece-b7da2f91178b" CreationDate="2013-02-25T00:34:07.490" UserId="3179" Comment="added 83 characters in body; deleted 361 characters in body; deleted 10 characters in body" Text="Setup something physical that can block the sound, so you'll get natural filtering. Then depending on whether you have a prop for the sound or a sample, either use the prop or play the sound from a speaker and record the sound from a position, where the sound is blocked. I imagine something like a closed door and some distance could be a good start, or at least it would be worth trying, how it sounds. Or it may provide a base for further small eq adjustments." ContentLicense="CC BY-SA 3.0" />
  <row Id="29584" PostHistoryTypeId="2" PostId="18301" RevisionGUID="62712e1a-acce-477f-9908-3cf001fbcac6" CreationDate="2013-02-25T04:15:01.880" UserId="4442" Text="Space designer... is there an easier way to audition a lot of IRs? I have some other folders, but every time i go to select IR it seems to reset me, there's not just like, arrows that i can hit, making a preset for each of these IRs to go through is not feasible and completely purpose defeating to me...&#xD;&#xA;&#xD;&#xA;What is everyone doing to audition a bunch of IRs easily? Any suggestions? Please? I'm not opposed to using another tool, I have kontakt 4 so i could use the convo model in that, but i'd imagine space designer is way better and obviously i wouldn't have to sample everything.&#xD;&#xA;&#xD;&#xA;Any suggestions are more than welcome.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29585" PostHistoryTypeId="1" PostId="18301" RevisionGUID="62712e1a-acce-477f-9908-3cf001fbcac6" CreationDate="2013-02-25T04:15:01.880" UserId="4442" Text="Auditioning IRs more conveniently (Logic users especially)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29586" PostHistoryTypeId="3" PostId="18301" RevisionGUID="62712e1a-acce-477f-9908-3cf001fbcac6" CreationDate="2013-02-25T04:15:01.880" UserId="4442" Text="&lt;logic&gt;&lt;convolution&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29587" PostHistoryTypeId="2" PostId="18302" RevisionGUID="c34f5bcb-93d1-4b39-84a2-566feb7d5f77" CreationDate="2013-02-25T06:24:00.367" UserId="5605" Text="Also worth checking this one out:&#xD;&#xA;&#xD;&#xA;Audio Postproduction for Film and Video, by Jay Rose" ContentLicense="CC BY-SA 3.0" />
  <row Id="29588" PostHistoryTypeId="2" PostId="18303" RevisionGUID="d629dc83-4296-4302-bb91-5678711e13fc" CreationDate="2013-02-25T07:29:03.010" UserId="842" Text="Sounds like you basically made a complicated X/Y-setting. Two Cardioids together border/crosses over to Omni as they have a very wide pattern, whereas two Super Cardioids would get much closer to a true Figure-Of-8." ContentLicense="CC BY-SA 3.0" />
  <row Id="29589" PostHistoryTypeId="2" PostId="18304" RevisionGUID="f8b62687-81ca-4a7c-af74-1c6f5fc9db97" CreationDate="2013-02-25T08:32:50.160" UserId="5752" Text="Hey guys, I'm new here, this is my first post.&#xD;&#xA;&#xD;&#xA;I'm working on this animated project in wich the main character has a magical sword that emits lighting bolts and sparks and shines like it has some kind of energy field...&#xD;&#xA;&#xD;&#xA;I believe I'm halfway through but I have a problem. I did this chime-like atmosphere and added some buzz with some synthesizers to create the energy field (listen here please, https://www.dropbox.com/s/qw41nm3g2yxl2tk/magic_sword_efield.wav any recommendation would be also much appreciated)... but I'm getting nowhere trying to create the lighting bolts/sparks...&#xD;&#xA;&#xD;&#xA;I saw the Tonsturm electricity library but I have no $$ right now. I searched in the Buzzsaw 2 from Blastwave FX but the sounds are already heavily processed... pretty useless for what I need. I would love to record them myself but honestly I'm not to good handling electrical things (I don't want to die getting zapped or burned by myself...). So, if you could help me getting ideas on how to create something similar processing other sounds, create them with fooley that does not include deadly AC or with some synthesizers would be much appreciated. &#xD;&#xA;&#xD;&#xA;Thank you in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29590" PostHistoryTypeId="1" PostId="18304" RevisionGUID="f8b62687-81ca-4a7c-af74-1c6f5fc9db97" CreationDate="2013-02-25T08:32:50.160" UserId="5752" Text="Magical Sword lightings Help" ContentLicense="CC BY-SA 3.0" />
  <row Id="29591" PostHistoryTypeId="3" PostId="18304" RevisionGUID="f8b62687-81ca-4a7c-af74-1c6f5fc9db97" CreationDate="2013-02-25T08:32:50.160" UserId="5752" Text="&lt;magical&gt;&lt;electricity&gt;&lt;lighting&gt;&lt;singing-sword&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29592" PostHistoryTypeId="2" PostId="18305" RevisionGUID="450c9a58-2a77-40b6-9efc-11a3ba42c5f5" CreationDate="2013-02-25T10:30:48.503" UserId="1225" Text="I mixed static noise recorded from a radio tuned on a silent channel with synthesized material to get &quot;energy&quot;-type sounds. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29593" PostHistoryTypeId="5" PostId="15384" RevisionGUID="1ba293a9-83c4-4c33-a00b-a2d7e93b9d4c" CreationDate="2013-02-25T12:03:54.883" UserId="182" Comment="added 16 characters in body" Text="Here's a quick room tone recording inside a playback/conference room I made just now with the KM183:&#xD;&#xA;&#xD;&#xA;http://we.tl/KRqYmKPAch&#xD;&#xA;(this is the original 96 kHz 24bit wav file) (re-uploaded Feb. 25th)&#xD;&#xA;&#xD;&#xA;Neumann KM183 spaced omni pair, about 1m apart, into a Sound Devices 788t, 60 dB of gain. No filtering, no editing.&#xD;&#xA;&#xD;&#xA;The background SPL was 31.0 dBA (measured).&#xD;&#xA;&#xD;&#xA;The buzz you hear is a pair of Genelec subwoofers that is switched on.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;At the moment, I don't have any quiet outdoor atmos on hand. Maybe I'll get around to it later." ContentLicense="CC BY-SA 3.0" />
  <row Id="29594" PostHistoryTypeId="2" PostId="18306" RevisionGUID="eceeff36-6886-490c-93da-2e4ad9a825b2" CreationDate="2013-02-25T12:04:22.273" UserId="1216" Text="Nice question!&#xD;&#xA;&#xD;&#xA;I try to be stick to my values and principles as much as I can.&#xD;&#xA;I deeply value most of my work, most of the time, and feel very lucky that I'm doing what&#xD;&#xA;seems to be the thing I'm best at. Like Max, we studied together at art school,&#xD;&#xA;my background is scientific (chemistry) and felt liberated during my new studies.&#xD;&#xA;I was very dogmatic at that time and didn't want anything to do with stuff I didn't&#xD;&#xA;value as much as other stuff (like commercials). &#xD;&#xA;&#xD;&#xA;Nevertheless, working in sound(-art) doesn't always mean that you can choose.&#xD;&#xA;I found that out later in my career :) I'd love to work a bit more in documentary,&#xD;&#xA;than in fiction, but I take on what is available and pays the bills. &#xD;&#xA;The media type doesn't matter to me all that much (whether movie, documentary,theatre, online, museum or sound-art).&#xD;&#xA;&#xD;&#xA;I am open to new ideas and philosophies in daily life and that flows through my work also. Most important to me is the kind of people running the show. I really have to 'like' the director and feel challenged by his/her story, otherwise it won't work very well for me. &#xD;&#xA;Advertisement, like I described above was a great example of what was not my cup of tea.&#xD;&#xA;&#xD;&#xA;Making personal sound-art is something I try to do as much as possible and is closest&#xD;&#xA;to the idea of living/working by my values. But this is mostly unpaid or severely underpaid&#xD;&#xA;work that I do for my own satisfaction. Kind of like a hobby, which was the trigger that&#xD;&#xA;got me into the world of sound.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29595" PostHistoryTypeId="2" PostId="18307" RevisionGUID="ea1a7363-75b7-4758-ab7d-6cd9ddf63012" CreationDate="2013-02-25T12:10:45.220" UserId="1216" Text="If you don't want to touch or handle 'electrical things' check out this blogpost by jedsound (jean edouard miclot). He record electromagnetic sounds with guitar pick-ups.&#xD;&#xA;http://jedsound.com/blog/?p=200&#xD;&#xA;&#xD;&#xA;good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="29596" PostHistoryTypeId="2" PostId="18308" RevisionGUID="494ff665-5539-4759-bec8-28939887bb5e" CreationDate="2013-02-25T12:54:43.967" UserId="5746" Text="may be this video will help you, http://www.youtube.com/watch?v=6b3B5AMaoaM ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29597" PostHistoryTypeId="5" PostId="18283" RevisionGUID="d40ea505-f0f6-4468-bbfd-56ae579a135d" CreationDate="2013-02-25T13:29:02.627" UserId="3179" Comment="added 137 characters in body" Text="Now this is a very deep and philosophical question that digs into the personal level. It could be even slightly offensive. &#xD;&#xA;&#xD;&#xA;But given that many here work in many other forms of media than just related to factual/real world topics (e.g. documentaries, information spreading), does your work reflect your general value system? And, given that you work in highly fictional entertainment or e.g. advertisements, do you, on a deep personal level, value what you do or do your values guide what kind of media pieces you choose to work on? &#xD;&#xA;&#xD;&#xA;What are things that make your work feel valuable/worth it (for you), what are things that may make you turn down a job opportunity?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29598" PostHistoryTypeId="5" PostId="18283" RevisionGUID="fb91a0f4-669b-4b13-81cc-b797857d4f52" CreationDate="2013-02-25T13:43:48.570" UserId="3179" Comment="added 14 characters in body" Text="Now this is a very deep and philosophical question that digs into the personal level. It could be even slightly offensive. &#xD;&#xA;&#xD;&#xA;But given that many here work in many other forms of media than just related to factual/real world topics (e.g. documentaries, information spreading), does your work reflect your general value system? And, given that you work in highly fictional entertainment or e.g. advertisements, do you, on a deep personal level, value what you do or do your values guide what kind of media pieces you choose to work on? &#xD;&#xA;&#xD;&#xA;What are things that make your work feel valuable/worth it (for you)? What are things that may make you turn down a job or a business opportunity?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29599" PostHistoryTypeId="5" PostId="18306" RevisionGUID="fa5ea653-f6e4-4ea5-a140-e90ff33ad557" CreationDate="2013-02-25T14:20:46.317" UserId="1216" Comment="update after edit of question" Text="Nice question!&#xD;&#xA;&#xD;&#xA;I try to be stick to my values and principles as much as I can.&#xD;&#xA;I deeply value most of my work, most of the time, and feel very lucky that I'm doing what&#xD;&#xA;seems to be the thing I'm best at. Like Max, we studied together at art school,&#xD;&#xA;my background is scientific (chemistry) and felt liberated during my new studies.&#xD;&#xA;I was very dogmatic at that time and didn't want anything to do with stuff I didn't&#xD;&#xA;value as much as other stuff (like commercials). &#xD;&#xA;&#xD;&#xA;Nevertheless, working in sound(-art) doesn't always mean that you can choose.&#xD;&#xA;I found that out later in my career :) I'd love to work a bit more in documentary,&#xD;&#xA;than in fiction, but I take on what is available and pays the bills. &#xD;&#xA;The media type doesn't matter to me all that much (whether movie, documentary,theatre, online, museum or sound-art).&#xD;&#xA;&#xD;&#xA;I am open to new ideas and philosophies in daily life and that flows through my work also. Most important to me is the kind of people running the show. I really have to 'like' the director and feel challenged by his/her story, otherwise it won't work very well for me. &#xD;&#xA;Advertisement, like I described above was a great example of what was not my cup of tea.&#xD;&#xA;&#xD;&#xA;Making personal sound-art is something I try to do as much as possible and is closest&#xD;&#xA;to the idea of living/working by my values. But this is mostly unpaid or severely underpaid&#xD;&#xA;work that I do for my own satisfaction. Kind of like a hobby, which was the trigger that&#xD;&#xA;got me into the world of sound.&#xD;&#xA;&#xD;&#xA;UPDATE:&#xD;&#xA;after your edit the question is a bit clearer.&#xD;&#xA;What makes my work more valuable: knowing that my contribution will help tell a story i 'support' will find a bigger audience. And hopefully in the same process show the audience that sound is a storyteller just as much as the visual part of the medium in play.&#xD;&#xA;Things I turn down: stories not worth telling (in my humble opinion) or in need of a better storyteller than the person in charge. or better said, projects by people on a different level of skill/experience/philosophy, and this could also mean that I'm not fit for the job. All in good times :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29600" PostHistoryTypeId="2" PostId="18309" RevisionGUID="8b6fd00e-314e-4856-86f3-bbb810d0d169" CreationDate="2013-02-25T15:14:15.040" UserId="4238" Text="I've been given a small task at my University to create a sequence of footage entirely from scratch but I cannot use any real audio, I have to use synthesis. &#xD;&#xA;&#xD;&#xA;I've found it quite easy for the most part, but I'm having trouble getting a good footstep noise. It's an animation of someone walking on hard rock.&#xD;&#xA;&#xD;&#xA;I've been using a synth like Massive for now, manipulating waveforms such as general noise, but is there any alternatives that I could use?&#xD;&#xA;&#xD;&#xA;Or is there a preset someone has made so I can look to see what they've done? (I promise not to steal...) &#xD;&#xA;&#xD;&#xA;It's not a big deal if not, just wanted to know if anyone has had any luck with this sort of thing! Thanks a bunch." ContentLicense="CC BY-SA 3.0" />
  <row Id="29601" PostHistoryTypeId="1" PostId="18309" RevisionGUID="8b6fd00e-314e-4856-86f3-bbb810d0d169" CreationDate="2013-02-25T15:14:15.040" UserId="4238" Text="How would you create footsteps from scratch using synthesis?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29602" PostHistoryTypeId="3" PostId="18309" RevisionGUID="8b6fd00e-314e-4856-86f3-bbb810d0d169" CreationDate="2013-02-25T15:14:15.040" UserId="4238" Text="&lt;footsteps&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29603" PostHistoryTypeId="2" PostId="18310" RevisionGUID="0599439a-3fc3-4409-ba69-9a0c2df96ac3" CreationDate="2013-02-25T15:19:57.360" UserId="3835" Text="I reckon the most important aspect is to get the space right. If you just create some transients and get the right sounding reverb you will be 70 percent of the way there. I've never tried it but i would take the same route you are, using noise and wavetables. That way you can move through the table to generate subtle versions of different footsteps." ContentLicense="CC BY-SA 3.0" />
  <row Id="29604" PostHistoryTypeId="2" PostId="18311" RevisionGUID="149966ed-1036-4f82-913d-d4a9037e3d14" CreationDate="2013-02-25T15:40:45.360" UserId="3654" Text="Hi i´m planning a field recording trip (Turkey). I´m looking also for renting a double M/S Setup for beeing as much flexible as i can. So what are your thoughts about a Neumann km140 /120 combination inside a Rycote Stereo Blimp ? I also can get a Schoeps setup, but idon´t know the exacrt mic typs. But it´s double in price.&#xD;&#xA;Any experiences ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29605" PostHistoryTypeId="1" PostId="18311" RevisionGUID="149966ed-1036-4f82-913d-d4a9037e3d14" CreationDate="2013-02-25T15:40:45.360" UserId="3654" Text="Double M/S System recomendations" ContentLicense="CC BY-SA 3.0" />
  <row Id="29606" PostHistoryTypeId="3" PostId="18311" RevisionGUID="149966ed-1036-4f82-913d-d4a9037e3d14" CreationDate="2013-02-25T15:40:45.360" UserId="3654" Text="&lt;field-recording&gt;&lt;surround-sound&gt;&lt;double&gt;&lt;ms&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29607" PostHistoryTypeId="2" PostId="18312" RevisionGUID="8d4bb21a-3498-4589-baf8-0a66bcfe8f06" CreationDate="2013-02-25T15:46:57.887" UserId="3179" Text="You start from noise or noisy sounds (e.g. inharmonic FM or AM) and then you further shape them by filtering. That's the basis.&#xD;&#xA;&#xD;&#xA;To make a complete footstep sound or multiple different footstep sounds is however too or unnecessarily complex to be attempted to be done inside most synths (it would be technically more feasible in modular synths that know, for example, how to sequence), because a footstep is a combination of different sounds and may require hand-drawn modulation (i.e. built-in envelopes are not enough, there aren't enough of them or you cannot route them as needed). &#xD;&#xA;&#xD;&#xA;The simplest way is to use one synth (or few, if necessary for some reason), use automation as needed and record down different samples. Then edit, treat and piece them together for the finished footsteps. Create new samples when needed. &#xD;&#xA;&#xD;&#xA;It may seem like it's not going anywhere or you don't know what/how you're going to do it (especially, if you're not very experienced with synthesis), but at some point you should arrive at something that you know how to take it further and how to approach creating new variations." ContentLicense="CC BY-SA 3.0" />
  <row Id="29608" PostHistoryTypeId="5" PostId="18312" RevisionGUID="c1654c42-c09e-4b04-9075-c6a94d87c6d2" CreationDate="2013-02-25T15:53:35.520" UserId="3179" Comment="added 138 characters in body" Text="You start from noise or noisy sounds (e.g. inharmonic FM or AM) and then you further shape them by filtering. That's the basis. Wavetable or other forms of &quot;synthesis&quot; could do as well, but those aren't technically synthesis, because they work on prerecorded audio.&#xD;&#xA;&#xD;&#xA;To make a complete footstep sound or multiple different footstep sounds is however too or unnecessarily complex to be attempted to be done inside most synths (it would be technically more feasible in modular synths that know, for example, how to sequence), because a footstep is a combination of different sounds and may require hand-drawn modulation (i.e. built-in envelopes are not enough, there aren't enough of them or you cannot route them as needed). &#xD;&#xA;&#xD;&#xA;The simplest way is to use one synth (or few, if necessary for some reason), use automation as needed and record down different samples. Then edit, treat and piece them together for the finished footsteps. Create new samples when needed. &#xD;&#xA;&#xD;&#xA;It may seem like it's not going anywhere or you don't know what/how you're going to do it (especially, if you're not very experienced with synthesis), but at some point you should arrive at something that you know how to take it further and how to approach creating new variations." ContentLicense="CC BY-SA 3.0" />
  <row Id="29609" PostHistoryTypeId="5" PostId="18312" RevisionGUID="bfc557fd-280f-4337-8357-e58ed0cf8904" CreationDate="2013-02-25T15:58:49.310" UserId="3179" Comment="added 170 characters in body" Text="You start from noise or noisy sounds (e.g. inharmonic FM or AM) and then you further shape them by filtering. That's the basis. Wavetable or other forms of &quot;synthesis&quot; could do as well, but those aren't technically synthesis, because they work on prerecorded audio.&#xD;&#xA;&#xD;&#xA;To make a complete footstep sound or multiple different footstep sounds is however too or unnecessarily complex to be attempted to be done inside most synths (it would be technically more feasible in modular synths that know, for example, how to sequence), because a footstep is a combination of different sounds and may require hand-drawn modulation (i.e. built-in envelopes are not enough, there aren't enough of them or you cannot route them as needed). &#xD;&#xA;&#xD;&#xA;The simplest way is to use one synth (or few, if necessary for some reason), use automation as needed and record down different samples. Then edit, treat and piece them together for the finished footsteps. Create new samples when needed. You may also attempt to do most of the sound shaping using MIDI first, i.e. send notes and automate parameters during the note durations, before bouncing down the sounds.&#xD;&#xA;&#xD;&#xA;It may seem like it's not going anywhere or you don't know what/how you're going to do it (especially, if you're not very experienced with synthesis), but at some point you should arrive at something that you know how to take it further and how to approach creating new variations." ContentLicense="CC BY-SA 3.0" />
  <row Id="29610" PostHistoryTypeId="5" PostId="18312" RevisionGUID="63598a5c-90ed-4ba4-a7d5-509cb3d6a289" CreationDate="2013-02-25T16:05:20.507" UserId="3179" Comment="added 194 characters in body; added 230 characters in body; added 1 characters in body" Text="You start from noise or noisy sounds (e.g. inharmonic FM or AM) and then you further shape them by filtering. That's the basis. Wavetable or other forms of &quot;synthesis&quot; could do as well, but those aren't technically synthesis, because they work on prerecorded audio.&#xD;&#xA;&#xD;&#xA;To make a complete footstep sound or multiple different footstep sounds is however too or unnecessarily complex to be attempted to be done inside most synths (it would be technically more feasible in modular synths that know, for example, how to sequence), because a footstep is a combination of different sounds and may require hand-drawn modulation (i.e. built-in envelopes are not enough, there aren't enough of them or you cannot route them as needed). &#xD;&#xA;&#xD;&#xA;The simplest way is to use one synth (or few, if necessary for some reason), use automation as needed and record down different samples. Then edit, treat and piece them together for the finished footsteps. Create new samples when needed. You may also attempt to do most of the sound shaping using MIDI first, i.e. send notes and automate parameters during the note durations, before bouncing down the sounds.&#xD;&#xA;&#xD;&#xA;It may seem like it's not going anywhere or you don't know what/how you're going to do it (especially, if you're not very experienced with synthesis), but at some point you should arrive at something that you know how to take it further and how to approach creating new variations. It may also end up sounding totally crap, but that might be educational for understanding the limits (and exponential complexity, when attempting to model real world sounds) of sound synthesis.&#xD;&#xA;&#xD;&#xA;Some reading, if you're interested:&#xD;&#xA;&#xD;&#xA;A. Farnell: Designing Sound http://mitpress.mit.edu/books/designing-sound&#xD;&#xA;&#xD;&#xA;Chris Paton's thesis on footstep sound synthesis: http://www.procedural-audio.com/Papers/CHRIS_PATON_THESIS.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="29611" PostHistoryTypeId="2" PostId="18313" RevisionGUID="34fb72c6-ac95-4f52-84ce-3c4b48aecf15" CreationDate="2013-02-25T16:07:11.123" UserId="6432" Text="Andy Farnell has done lots of research in this area:&#xD;&#xA;&#xD;&#xA;http://obiwannabe.co.uk/tutorials/html/tutorial_footsteps.html&#xD;&#xA;&#xD;&#xA;[http://obiwannabe.co.uk/html/papers/pdcon2007/PDCON-2007-FARNELL.pdf][1]&#xD;&#xA;&#xD;&#xA;Depends how far you want to go with it! I agree that most commercial synths are not capable of doing this well. They are not designed to add in the random variations in envelope, tone and texture that is inherent in real footsteps. Using an environment like PD changes all that because you can effectively build a custom synth designed for the purpose. &#xD;&#xA;&#xD;&#xA;It's probably going to need some filtered noise for the scrape and layered, resonant filtered impulses for the click. I suggest looking at some footstep recordings with a sonogram and then break down the sound into components. Note prominent frequencies, decay times etc. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://obiwannabe.co.uk/html/papers/pdcon2007/PDCON-2007-FARNELL.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="29612" PostHistoryTypeId="5" PostId="18312" RevisionGUID="168d1f57-8ce4-4bf3-ab28-df52c6fc200c" CreationDate="2013-02-25T16:11:58.627" UserId="3179" Comment="added 28 characters in body; added 70 characters in body; deleted 18 characters in body" Text="You start from noise or noisy sounds (e.g. inharmonic FM or AM) and then you further shape them by filtering. That's the basis. Wavetable or other forms of &quot;synthesis&quot; could do as well, but those aren't technically synthesis, because they work on prerecorded audio.&#xD;&#xA;&#xD;&#xA;To make a complete footstep sound or multiple different footstep sounds is however too or unnecessarily complex to be attempted to be done inside most synths (it would be technically more feasible in modular synths that know, for example, how to sequence), because a footstep is a combination of different sounds and may require hand-drawn modulation (i.e. built-in envelopes are not enough, there aren't enough of them or you cannot route them as needed). &#xD;&#xA;&#xD;&#xA;The simplest way is to use one synth (or few, if necessary for some reason), use automation as needed and record down different samples. Then edit, treat and piece them together for the finished footsteps. Create new samples when needed. You may also attempt to do most of the sound shaping using MIDI first, i.e. send notes and automate parameters during the note durations, before bouncing down the sounds.&#xD;&#xA;&#xD;&#xA;It may seem like it's not going anywhere or you don't know what/how you're going to do it (especially, if you're not very experienced with synthesis), but at some point you should arrive at something that you know how to take it further and how to approach creating new variations. It may also end up sounding totally crap, but that might be educational for understanding the limits (and exponential complexity, when attempting to model real world sounds) of sound synthesis.&#xD;&#xA;&#xD;&#xA;Some reading, if you're interested:&#xD;&#xA;&#xD;&#xA;A. Farnell: Designing Sound http://mitpress.mit.edu/books/designing-sound&#xD;&#xA;This book has actual synthesis models, made in Pd.&#xD;&#xA;&#xD;&#xA;Chris Paton's thesis on (interactive and real time) footstep sound synthesis: http://www.procedural-audio.com/Papers/CHRIS_PATON_THESIS.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="29613" PostHistoryTypeId="2" PostId="18314" RevisionGUID="3ba2de4c-25b7-445e-965a-e3f036be7c61" CreationDate="2013-02-25T16:18:14.120" UserId="4156" Text="&#xD;&#xA;Sounds like a nice challenge. These sounds coming from a floor above us are often a little difficult to create because you're walking a thin line between 'just low rumble' and 'too clear sounds so they don't seem to be enough next-door-sounding'. &#xD;&#xA;But I think you should be aware that once you have a range of sounds that are believable you can use them to influence the mood of the scene in quite a major way, exactly BECAUSE they are so difficult to indentify, so they work even more unconcious than sound normally does! If you have different options like, for example, aggressive/ wide/ howling/ weeping/ whatever you need, you can sometimes use them almost like music, if the film leaves room for that. &#xD;&#xA;&#xD;&#xA;As for the techniques: I would recommend recording real things that are big and far away/ next door, pitching stuff down, filtering it, reverb, massive granular synthesis can make things sound huge... Also go mad with completely unrelated sounds that can be made to sound machinelike. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29614" PostHistoryTypeId="2" PostId="18315" RevisionGUID="e087aa35-701d-49bd-88cb-e591cd7ceafe" CreationDate="2013-02-25T16:21:46.220" UserId="4156" Text="I'm hoping for a MKH 8030 to be available, that would make a very cute little double MS-setup with two 8040s, for a reasonable price! And all with weather resistant RF-technique... *sigh*&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29615" PostHistoryTypeId="5" PostId="18312" RevisionGUID="8e09b117-b880-4815-9603-60478a12d1a4" CreationDate="2013-02-25T16:24:00.507" UserId="3179" Comment="added 170 characters in body; added 32 characters in body" Text="You start from noise or noisy sounds (e.g. inharmonic FM or AM) and then you further shape them by filtering. That's the basis. Wavetable or other forms of &quot;synthesis&quot; could do as well, but those aren't technically synthesis, because they work on prerecorded audio.&#xD;&#xA;&#xD;&#xA;To make a complete footstep sound or multiple different footstep sounds is however too or unnecessarily complex to be attempted to be done inside most synths (it would be technically more feasible in modular synths that know, for example, how to sequence), because a footstep is a combination of different sounds and may require hand-drawn modulation (i.e. built-in envelopes are not enough, there aren't enough of them or you cannot route them as needed). &#xD;&#xA;&#xD;&#xA;The simplest way is to use one synth (or few, if necessary for some reason), use automation as needed and record down different samples. Then edit, treat and piece them together for the finished footsteps. Create new samples when needed. You may also attempt to do most of the sound shaping using MIDI first, i.e. send notes and automate parameters during the note durations, before bouncing down the sounds.&#xD;&#xA;&#xD;&#xA;It may seem like it's not going anywhere or you don't know what/how you're going to do it (especially, if you're not very experienced with synthesis), but at some point you should arrive at something that you know how to take it further and how to approach creating new variations. If you're totally stuck: listen to your own foosteps or take a recorded footstep and listen to it, listen to it carefully/analytically. Then proceed to copy it using synthesis. The footsteps that you do may also end up sounding totally crap, but that might be educational for understanding the limits (and exponential complexity, when attempting to model real world sounds) of sound synthesis.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Some reading, if you're interested:&#xD;&#xA;&#xD;&#xA;A. Farnell: Designing Sound http://mitpress.mit.edu/books/designing-sound&#xD;&#xA;This book has actual synthesis models, made in Pd.&#xD;&#xA;&#xD;&#xA;Chris Paton's thesis on (interactive and real time) footstep sound synthesis: http://www.procedural-audio.com/Papers/CHRIS_PATON_THESIS.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="29616" PostHistoryTypeId="5" PostId="18312" RevisionGUID="7efdcdbc-ccfa-4226-a026-d070c61c9fec" CreationDate="2013-02-25T16:34:47.443" UserId="3179" Comment="deleted 143 characters in body" Text="You start from noise or noisy sounds (e.g. inharmonic FM or AM) and then you further shape them by filtering. That's the basis. Wavetable or other forms of &quot;synthesis&quot; could do as well, but those aren't technically synthesis, because they work on prerecorded audio.&#xD;&#xA;&#xD;&#xA;To make a complete footstep sound or multiple different footstep sounds is however too or unnecessarily complex to be attempted to be done inside most synths (it would be technically more feasible in modular synths that know, for example, how to sequence), because a footstep is a combination of different sounds and may require hand-drawn modulation (i.e. built-in envelopes are not enough, there aren't enough of them or you cannot route them as needed). &#xD;&#xA;&#xD;&#xA;The simplest way is to use one synth (or few, if necessary for some reason), use automation as needed and record down different samples. Then edit, treat and piece them together for the finished footsteps. Create new samples when needed. You may also attempt to do most of the sound shaping using MIDI first, i.e. send notes and automate parameters during the note durations, before bouncing down the sounds.&#xD;&#xA;&#xD;&#xA;It may seem like it's not going anywhere or you don't know what/how you're going to do it (especially, if you're not very experienced with synthesis), but at some point you should arrive at something that you know how to take it further and how to approach creating new variations. If you're totally stuck: listen to your own foosteps or take a recorded footstep and listen to it, listen to it carefully/analytically. Then proceed to copy it using synthesis. The footsteps that you do may also end up sounding totally crap, but that might be educational for understanding the limits (and exponential complexity, when attempting to model real world sounds) of sound synthesis.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Some reading, if you're interested:&#xD;&#xA;&#xD;&#xA;A. Farnell: Designing Sound http://mitpress.mit.edu/books/designing-sound&#xD;&#xA;This book has actual synthesis models, made in Pd." ContentLicense="CC BY-SA 3.0" />
  <row Id="29617" PostHistoryTypeId="2" PostId="18316" RevisionGUID="ad65ab84-514a-41bf-be5d-bc070b74f08d" CreationDate="2013-02-25T16:46:09.023" UserId="5789" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm working with a group of 1st graders on a film project. The approach I'm taking is very sound driven. We started by listening to an unusual recorded sound and they drew what they thought it would be. Now we are developing stories based on what they drew. I have also given them a foley artist demonstration (very basic).&#xD;&#xA;&#xD;&#xA;Now I would like to show them a scene from a film (or just clips) that show the progression of a film's sound design. Or, perhaps something that has two different approaches to sound design to demonstrate how sound can affect what we see.  &#xD;&#xA;&#xD;&#xA;Do you know of a film or clips (preferably online) that I could show?  &#xD;&#xA;&#xD;&#xA;There is something similar on the Skywalker Sound Blog about &quot;Inception,&quot; but I can't show that to first graders! I am thinking of the sound equivalent of a film that shows the progression of an animation from sketch to full color.&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;Karen Rodriguez" ContentLicense="CC BY-SA 3.0" />
  <row Id="29618" PostHistoryTypeId="1" PostId="18316" RevisionGUID="ad65ab84-514a-41bf-be5d-bc070b74f08d" CreationDate="2013-02-25T16:46:09.023" UserId="5789" Text="Film that shows progress of sound design" ContentLicense="CC BY-SA 3.0" />
  <row Id="29619" PostHistoryTypeId="3" PostId="18316" RevisionGUID="ad65ab84-514a-41bf-be5d-bc070b74f08d" CreationDate="2013-02-25T16:46:09.023" UserId="5789" Text="&lt;design&gt;&lt;film&gt;&lt;clips&gt;&lt;animation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29620" PostHistoryTypeId="2" PostId="18317" RevisionGUID="0674a079-7be5-4a1d-9e58-8d0ec5c29fc2" CreationDate="2013-02-25T17:30:30.690" UserId="6460" Text="I agree with Internet Human's approach, I think physical baffling is the way to go. I have found success in the past by actually using the floor of my previous house. I needed to record footsteps (and a fight) from above, so I set up 4 mics in the basement facing upwards about a foot below the ceiling, and then I had fun running around upstairs, slamming my body down, kicking furniture, etc. &#xD;&#xA;&#xD;&#xA;If you can access a house (particularly a wooden one) with such a basement, try recording a few impulse responses through the floor. What this will get you is a feeling of resonance and size that smaller baffling can't really duplicate. A large, wide floor, especially in an older house with less rigid supports, can act like a &quot;diaphragm&quot; of sorts and resonate low/low-mid frequencies quite well. It might take a little location scouting, but I bet the results would be worth it. &#xD;&#xA;&#xD;&#xA;You can also try &quot;worldizing&quot; (re-recording through a speaker in a real acoustic space) your sounds in various interesting acoustic spaces. I'd go for a stereo recording at a minimum, but multichannel would be even better. A few that come to mind:&#xD;&#xA;&#xD;&#xA; - put the mics in a kitchen cabinet and the monitor on the counter above (and vice versa)&#xD;&#xA; - put the monitor in your closet and the mics outside (and v/v)&#xD;&#xA; - put the mics underneath your bed and the monitor on top (and v/v)&#xD;&#xA;&#xD;&#xA;If you have Altiverb or access to it, the &quot;Next Door&quot; set of impulse responses is quite reliable for these kinds of sounds. You can always blend back in the original sounds in the mix for clarity.&#xD;&#xA;&#xD;&#xA;Best of luck!&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="29621" PostHistoryTypeId="2" PostId="18318" RevisionGUID="2a5b6c20-c131-4ca7-ac03-eecaab39a634" CreationDate="2013-02-25T18:32:22.027" UserId="194" Text="i've never run the neumann rig, but my schoeps rig is always fabulous.  &#xD;&#xA;&#xD;&#xA;The schoeps sound tracks transients very well, and is a little warmer (less bright) than a lot of other SDCs.  Its not clinical though, its got a touch of schoeps 'flavor' that is pretty appealing.  noise floor not bad but slightly higher than some other rigs.  &#xD;&#xA;&#xD;&#xA;I know the sennheiser 8030 rig is also great sounding.  more on the flat and clinical side, but super low noise floor and tracks transients at least as fast as the schoeps. &#xD;&#xA;&#xD;&#xA;I suspect that in comparison the neumann would sound a little brighter than the other two rigs." ContentLicense="CC BY-SA 3.0" />
  <row Id="29622" PostHistoryTypeId="2" PostId="18319" RevisionGUID="7c956872-709f-4122-80e6-5fd92e1accd2" CreationDate="2013-02-25T19:11:10.790" UserId="3179" Text="It's a matter of taste really. My take on this is that Schoeps and Sennheiser are the staples in high-quality, well-engineered field mics. Sennheiser being generally more technically appealing (better specs) workhorse mic (never fails, gets the job done), but Schoeps for the Schoeps sound, which to me is the most well-balanced around, pretty much regardless of what's recorded. Also, as Rene mentions, the noise level may sometimes be a deciding factor (Sennheiser wins here). And yeah, some people use Neumanns, but I think Neumann is better at studio mics. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29623" PostHistoryTypeId="2" PostId="18320" RevisionGUID="6f09c255-d6ef-41e9-bbcb-1662b0ce78d0" CreationDate="2013-02-25T19:11:57.683" UserId="4442" Text="How is everyone using LoAir? do you bounce it on the effect more often, or do you bounce it, and then layer it with the original? I was trying to do it before with just the &quot;Direct&quot; mix, but it seems to work better with the original layer and using this as a separate. Any thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29624" PostHistoryTypeId="1" PostId="18320" RevisionGUID="6f09c255-d6ef-41e9-bbcb-1662b0ce78d0" CreationDate="2013-02-25T19:11:57.683" UserId="4442" Text="Waves LoAir layering" ContentLicense="CC BY-SA 3.0" />
  <row Id="29625" PostHistoryTypeId="3" PostId="18320" RevisionGUID="6f09c255-d6ef-41e9-bbcb-1662b0ce78d0" CreationDate="2013-02-25T19:11:57.683" UserId="4442" Text="&lt;waves&gt;&lt;lfe&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29626" PostHistoryTypeId="2" PostId="18321" RevisionGUID="99560b76-746a-469f-9651-09640894ac19" CreationDate="2013-02-25T19:19:19.490" UserId="3179" Text="It's just a bunch of channels bundled together. So I'd only separate the channels, if there was a need to adjust the channels separately. Otherwise, just leave it as it is, if the mix sounds as it should." ContentLicense="CC BY-SA 3.0" />
  <row Id="29627" PostHistoryTypeId="2" PostId="18322" RevisionGUID="b3978083-f556-494d-b05f-9d06f3943808" CreationDate="2013-02-25T20:00:28.683" UserId="5790" Text="Besides noise level; on experience based: Sennheisers and Neumanns are less sensitive to damp weather than Schoeps. If Schoeps are used, be ready to carry your not used capsules in the pocket of your pants, nice and warm, ready to be swapped when the current one fails you.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29628" PostHistoryTypeId="2" PostId="18323" RevisionGUID="1767ceb0-15ad-49dd-a076-fe8482f39f3e" CreationDate="2013-02-25T20:03:04.720" UserId="5774" Text="1st graders are 6-7 years old, right?&#xD;&#xA;&#xD;&#xA;There's a great special feature on the Two Towers DVD that breaks down the soundtrack of a scene at Helm's Deep battle in 6 or 8 passes: dialog, ambience, spot effects, foley, music, etc.  Unfortunately, that's probably not age appropriate at all.&#xD;&#xA;&#xD;&#xA;There's some great special features on the Wall-E DVD.  I don't remember watching any scenes &quot;in progress&quot; but there are clips with Ben Burtt explaining his process.  There's also a clip in there about using musical stingers for sound effects in Disney's old cartoons, and clips featuring classic foley props." ContentLicense="CC BY-SA 3.0" />
  <row Id="29629" PostHistoryTypeId="2" PostId="18324" RevisionGUID="e6cb6b11-22e1-4a37-a3b0-954fa9d67f43" CreationDate="2013-02-25T20:35:05.640" UserId="310" Text="Take a look on this Youtube video from Peter Jackson about Post Production process in Hobbit movie http://www.youtube.com/watch?v=4vqyzHwnEiY&#xD;&#xA;&#xD;&#xA;I think that this video is good for any age. And it is not only about sound :)&#xD;&#xA;&#xD;&#xA;Also on http://soundworkscollection.com is a lot of useful stuff about progress in sound design - but never single film :/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29630" PostHistoryTypeId="2" PostId="18325" RevisionGUID="1182e175-d758-4205-bf73-218dca141374" CreationDate="2013-02-25T20:46:03.983" UserId="3654" Text="Thanks guys. i also prefer a sennheiser setup for that travel. let´s see, if i can get a affordable one for rent ;)&#xD;&#xA;In the future i´m looking forward to get a setup for my own. So i tend to use Sennheiser. I think this will be a lifetime safe setup for Sfx and fieldrecording stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="29631" PostHistoryTypeId="5" PostId="18313" RevisionGUID="8d18e1b7-a547-40df-be85-d20a6bbbb3ff" CreationDate="2013-02-25T23:05:24.053" UserId="6432" Comment="added 1 characters in body" Text="Andy Farnell has done lots of research in this area:&#xD;&#xA;&#xD;&#xA;http://obiwannabe.co.uk/tutorials/html/tutorial_footsteps.html&#xD;&#xA;&#xD;&#xA;[http://obiwannabe.co.uk/html/papers/pdcon2007/PDCON-2007-FARNELL.pdf][1]&#xD;&#xA;&#xD;&#xA;Depends how far you want to go with it! I agree that most commercial synths are not capable of doing this well. They are not designed to add in the random variations in envelope, tone and texture that is inherent in real footsteps. Using an environment like PD changes all that because you can effectively build a custom synth designed for the purpose. &#xD;&#xA;&#xD;&#xA;It's probably going to need some filtered noise for the scrape and layered, resonant filtered impulses for the click. I suggest looking at some spectrographs of footstep recordings and then break down the sound into components. Note prominent frequencies, decay times etc. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://obiwannabe.co.uk/html/papers/pdcon2007/PDCON-2007-FARNELL.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="29632" PostHistoryTypeId="2" PostId="18326" RevisionGUID="cb75b9fe-b2ca-4a82-89c5-dea741a33717" CreationDate="2013-02-26T04:09:17.967" UserId="5786" Text="&#xD;&#xA;I am an editor and designer with thousands of SFX on external drives. I could really use some software to better organize all of them using the SFX meta data. I know about sound miner, etc. Do you know of any free software which works?  &#xD;&#xA;&#xD;&#xA;Thank you in Advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="29633" PostHistoryTypeId="1" PostId="18326" RevisionGUID="cb75b9fe-b2ca-4a82-89c5-dea741a33717" CreationDate="2013-02-26T04:09:17.967" UserId="5786" Text="Audio Management/Organization Software for Free." ContentLicense="CC BY-SA 3.0" />
  <row Id="29634" PostHistoryTypeId="3" PostId="18326" RevisionGUID="cb75b9fe-b2ca-4a82-89c5-dea741a33717" CreationDate="2013-02-26T04:09:17.967" UserId="5786" Text="&lt;file-organization&gt;&lt;sound-effects&gt;&lt;post-production&gt;&lt;editing&gt;&lt;library&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29635" PostHistoryTypeId="2" PostId="18327" RevisionGUID="bb61bb6c-9be7-4073-831a-1bd125493a94" CreationDate="2013-02-26T04:20:56.783" UserId="3179" Text="[FooSFX][1], if you're on Windows. [Resonic][2] too for Windows.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Many people also use the indexers inside DAWs, e.g. Cubase/Nuendo, Reaper.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://liquidblasted.net/foosfx/&#xD;&#xA;  [2]: http://resonic.at/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29636" PostHistoryTypeId="5" PostId="18327" RevisionGUID="7baee6fb-4902-4273-9ae6-a9b5f8426dd9" CreationDate="2013-02-26T04:26:29.200" UserId="3179" Comment="added 45 characters in body" Text="[FooSFX][1], if you're on Windows.&#xD;&#xA;&#xD;&#xA;Many people also use the indexers inside DAWs, e.g. Cubase/Nuendo, Reaper.&#xD;&#xA;&#xD;&#xA;There are plenty of cheaper, but not free alternatives for Soundminer though.&#xD;&#xA;  [1]: http://liquidblasted.net/foosfx/&#xD;&#xA;  [2]: http://resonic.at/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29640" PostHistoryTypeId="2" PostId="18329" RevisionGUID="b9b6851c-3eee-4f97-93f3-488b5fa27a9a" CreationDate="2013-02-26T06:21:26.627" UserId="407" Text="there is some stuff about the breakdown of the sounds for How To Train Your Dragon textarea[here][1]textarea, there is some really good sections where they show scenes broken down into stems, and sections with just the dragon vocals. Also it is a first grader friendly film :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/videos/howtotrainyourdragonpanel" ContentLicense="CC BY-SA 3.0" />
  <row Id="29641" PostHistoryTypeId="2" PostId="18330" RevisionGUID="d9ab7721-6f6d-49ab-9770-d4d4397955a6" CreationDate="2013-02-26T07:13:51.697" UserDisplayName="user49" Text="just out of interest, why free?&#xD;&#xA;&#xD;&#xA;no one ends up with 'thousands of SFX on external drives' without either doing a LOT of recording or buying a lot of sounds.... so (not being rude) but how come you don't have any budget (at all?) to buy an app to manage &amp; access all those 'thousands of SFX on external drives'?&#xD;&#xA;&#xD;&#xA;While SoundMinerPro might be beyond some peoples budgets, again why free is the only option you are interested in?&#xD;&#xA;&#xD;&#xA;please enlighten?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29642" PostHistoryTypeId="5" PostId="18329" RevisionGUID="9e00efa1-93ba-41ff-92f5-362a8e6c777d" CreationDate="2013-02-26T07:43:26.783" UserId="407" Comment="deleted 16 characters in body" Text="there is some stuff about the breakdown of the sounds for How To Train Your Dragon [here][1], there is some really good sections where they show scenes broken down into stems, and sections with just the dragon vocals. Also it is a first grader friendly film :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/videos/howtotrainyourdragonpanel" ContentLicense="CC BY-SA 3.0" />
  <row Id="29643" PostHistoryTypeId="2" PostId="18331" RevisionGUID="e56b60f1-168f-4bd3-bd10-5c7e9e5d438e" CreationDate="2013-02-26T08:02:22.273" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;If you want to capture surround sound ambience, I'd recommend to you to use 2 stereosets instead of a double MS. Because of it's setup, Double MS is not 'really' a surround setup, it's something between of it. If you want to get something wide, take 2 stereo sets: one in front, one in rear.&#xD;&#xA;&#xD;&#xA;best&#xD;&#xA;&#xD;&#xA;Guido&#xD;&#xA;https://www.soundeffects.ch/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29644" PostHistoryTypeId="2" PostId="18332" RevisionGUID="830fa715-0dc6-4e2d-9762-e665b89654ce" CreationDate="2013-02-26T10:28:19.520" UserId="4238" Text="As per the title, what do you feel is the most invaluable thing you have learnt or gained through the site?&#xD;&#xA;&#xD;&#xA;I think for me, it's a little more broad than just mixing techniques, recording set ups etc. &#xD;&#xA;&#xD;&#xA;This community as a whole, through the various hints and tips I've come across along the way, has inspired me to do more and think more seriously about pursuing Sound Design as a career, mostly through all of your life experiences that you have shared within the industry. &#xD;&#xA;&#xD;&#xA;So I would just like to say thank you for that everyone!&#xD;&#xA;&#xD;&#xA;Even if it's something small, like a mixing technique or small adjustments to a recording set up, I'd like to know what you've learnt!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29645" PostHistoryTypeId="1" PostId="18332" RevisionGUID="830fa715-0dc6-4e2d-9762-e665b89654ce" CreationDate="2013-02-26T10:28:19.520" UserId="4238" Text="What is the most invaluable advice, tip or trick you have learnt through Social Sound Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29646" PostHistoryTypeId="3" PostId="18332" RevisionGUID="830fa715-0dc6-4e2d-9762-e665b89654ce" CreationDate="2013-02-26T10:28:19.520" UserId="4238" Text="&lt;sound-design&gt;&lt;techniques&gt;&lt;tips&gt;&lt;career&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29647" PostHistoryTypeId="2" PostId="18333" RevisionGUID="2fafcc98-0150-4d6b-80cf-95a0c6192ddc" CreationDate="2013-02-26T10:44:58.233" UserId="3179" Text="Seeing a cross-section of personalities and opinions (ok, blame me for assessing people through their somewhat informal writings) that are attracted to or work in this sector.&#xD;&#xA;&#xD;&#xA;Also, seeing a cross-section of numerous problems and solutions, even though the subject is rather well-defined (= often not defined at all, because it's an abstract art).&#xD;&#xA;&#xD;&#xA;Overall, seeing a cross-section of a community is more interesting for me than particular questions or answers." ContentLicense="CC BY-SA 3.0" />
  <row Id="29648" PostHistoryTypeId="2" PostId="18334" RevisionGUID="5537538b-f8c3-4303-89c8-cf271d44765d" CreationDate="2013-02-26T15:12:18.520" UserId="4442" Text="I think the best thing I've realized through SSD is how small the sound community really is. What I mean is when you think that tracking down industry pros for advice is really elusive, you see people on here holding regular conversations that are *serious* heavy hitters in the industry." ContentLicense="CC BY-SA 3.0" />
  <row Id="29649" PostHistoryTypeId="5" PostId="18315" RevisionGUID="fdcb688a-2e57-43d3-a7e2-77f77db54ded" CreationDate="2013-02-26T17:07:16.573" UserId="4156" Comment="added 473 characters in body" Text="I'm hoping for a MKH 8030 to be available, that would make a very cute little double MS-setup with two 8040s, for a reasonable price! And all with weather resistant RF-technique... *sigh*&#xD;&#xA;&#xD;&#xA;... and thinking aboit alternatives that are more wide-sounding: I've heard some good things about the Holophone. Although it is probably more noisy than MKH-mics, because the holophone uses DPA4060's I think (not sure about this):&#xD;&#xA;&#xD;&#xA;http://www.holophone.com/products/overview2&#xD;&#xA;&#xD;&#xA;And DPA have their own baffle-system mobile surround mic, maybe that's for rent as well somewhere near you: &#xD;&#xA;&#xD;&#xA;http://www.dpamicrophones.com/en/products.aspx?c=Item&amp;category=117&amp;item=24312" ContentLicense="CC BY-SA 3.0" />
  <row Id="29650" PostHistoryTypeId="2" PostId="18335" RevisionGUID="75d17465-8693-47ee-adcf-3cb4eed8d856" CreationDate="2013-02-26T17:18:17.887" UserDisplayName="user80" Text="As part of my work, I teach sound design, I am designing a new online masters degree in the subject.&#xD;&#xA;&#xD;&#xA;During the process of validating the degree I was asked &quot;do sound designers need qualifications?&quot;  And my honest answer was no.  I know it was a long time ago but when I left school I became a sound engineer and eventually a sound designer through industrial experience.  I do now have relevant qualifications, but they were not needed to break into the industry or to progress.&#xD;&#xA;&#xD;&#xA;So my question is this, should sound designers have a qualification in sound design?  And if so why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29651" PostHistoryTypeId="1" PostId="18335" RevisionGUID="75d17465-8693-47ee-adcf-3cb4eed8d856" CreationDate="2013-02-26T17:18:17.887" UserDisplayName="user80" Text="Should sound designers have a qualification in sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29652" PostHistoryTypeId="3" PostId="18335" RevisionGUID="75d17465-8693-47ee-adcf-3cb4eed8d856" CreationDate="2013-02-26T17:18:17.887" UserDisplayName="user80" Text="&lt;education&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29653" PostHistoryTypeId="2" PostId="18336" RevisionGUID="682d0440-f7af-4eaf-af20-ac4f5a85e682" CreationDate="2013-02-26T17:28:09.080" UserId="3754" Text="I like the fact that every problem creates numerous solutions. Its reassuring to know there's very little fixed ways, and everyone is willing to adapt and learn every day :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29654" PostHistoryTypeId="2" PostId="18337" RevisionGUID="1c444738-a098-4c6a-8f8d-2362e1d2d447" CreationDate="2013-02-26T17:51:21.017" UserId="4358" Text="IMO, I think more than qualification, Sound Designers should have a proper training. It doesn't have to be from a state of the art university, or from a Film School where you gotta pay hundreds and thousands of dollars. It could be from learning from someone who's been doing it for a long time or by learning on the job. Qualifications might add to your portfolio, but it doesn't necessarily have to be there. Just my opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="29655" PostHistoryTypeId="5" PostId="18335" RevisionGUID="45ab81c9-13d2-47df-a7a1-4bbc043e1bdd" CreationDate="2013-02-26T18:19:49.877" UserDisplayName="user80" Comment="added 7 characters in body; edited title" Text="As part of my work, I teach sound design, I am designing a new online masters degree in the subject.&#xD;&#xA;&#xD;&#xA;During the process of validating the degree I was asked &quot;do sound designers need qualifications?&quot;  And my honest answer was no.  I know it was a long time ago but when I left school I became a sound engineer and eventually a sound designer through industrial experience.  I do now have relevant qualifications, but they were not needed to break into the industry or to progress.&#xD;&#xA;&#xD;&#xA;So my question is this, should sound designers have a formal qualification in sound design?  And if so why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29656" PostHistoryTypeId="4" PostId="18335" RevisionGUID="45ab81c9-13d2-47df-a7a1-4bbc043e1bdd" CreationDate="2013-02-26T18:19:49.877" UserDisplayName="user80" Comment="added 7 characters in body; edited title" Text="Should sound designers have a formal qualification in sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29657" PostHistoryTypeId="2" PostId="18338" RevisionGUID="062ace74-033f-4575-8157-8e0b57c7c3af" CreationDate="2013-02-26T18:21:01.170" UserId="3179" Text="To be really honest, I don't think students should be offered full-degree art courses at all. An ideal place for an art degree would be if it was integrated to some practical course (e.g. science/engineering/math), just to offer a more well-rounded education. At most the courses should be short (one year is totally fine IMO, there need not be bachelors/masters/PHD, unless for those that really, for some strange reason, want to spend the money and time on those). Costs of art courses should also be considerable less than other way more practical degrees. And here's a personal perspective: if I was teaching sound design or any form of art, I wouldn't accept any form of payment for the service, because I feel that art has a humanitarian meaning for students and people and it's not something that I would like to be making money from, even less, because I cannot guarantee any kind of success for the students, nor necessarily for the society. I also think art is what one personally chooses to do, some drop out or change from it, some just continue to do it, because it's all they want to do. It doesn't need a qualification as everything can be learned by doing and a qualification in arts doesn't really qualify for anything." ContentLicense="CC BY-SA 3.0" />
  <row Id="29658" PostHistoryTypeId="5" PostId="18338" RevisionGUID="47785479-09ae-4940-ba46-37c6bfe016ec" CreationDate="2013-02-26T18:26:02.383" UserId="3179" Comment="added 234 characters in body; added 45 characters in body; edited body; added 68 characters in body; added 5 characters in body" Text="To be really honest, I don't think students should be offered full-degree art courses at all. An ideal place for an art degree would be if it was integrated to some practical course (e.g. science/engineering/math), just to offer a more well-rounded education. For learning art, a mentoring approach (with a real professional and real, day-to-day functioning company) would be much more beneficial to the students and the society, I feel. And it would/could also minimize the intake of students in the art fields, so people aren't formally &quot;trained&quot; for nothing. At most the courses should be short (one year is totally fine IMO), there need not be bachelors/masters/PHD, unless for those that really, for some strange reason, want to spend the money and time on those. Although I think offering the courses is immoral. Costs of art courses should also be considerable less than other way more practical degrees. And here's a personal perspective: if I was teaching sound design or any form of art, I wouldn't accept any form of payment for the service, because I feel that art has a humanitarian meaning for students and people and it's not something that I would like to be making money from, even less, because I cannot guarantee any kind of success for the students, nor necessarily for the society. I also think art is what one personally chooses to do, some drop out or change from it, some just continue to do it, because it's all they want to do. It doesn't need a qualification as everything can be learned by doing and a qualification in arts doesn't really qualify for anything." ContentLicense="CC BY-SA 3.0" />
  <row Id="29659" PostHistoryTypeId="2" PostId="18339" RevisionGUID="dd1afead-f8b6-49e4-b735-3f67897a89e8" CreationDate="2013-02-26T18:34:50.943" UserId="5663" Text="Im looking for some kind of list with DBSPL Levels of different animals. How high they shout, scream or sings. I've got a feeling there's something like that out there somewhere but google isn't my friend right now and aI hope that you might be. Im looking for an extensive list of some sort. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29660" PostHistoryTypeId="1" PostId="18339" RevisionGUID="dd1afead-f8b6-49e4-b735-3f67897a89e8" CreationDate="2013-02-26T18:34:50.943" UserId="5663" Text="Decibel levels of animals" ContentLicense="CC BY-SA 3.0" />
  <row Id="29661" PostHistoryTypeId="3" PostId="18339" RevisionGUID="dd1afead-f8b6-49e4-b735-3f67897a89e8" CreationDate="2013-02-26T18:34:50.943" UserId="5663" Text="&lt;measurements&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29662" PostHistoryTypeId="2" PostId="18340" RevisionGUID="bc3c1ad0-5f94-4889-b7c5-a6e72eb09059" CreationDate="2013-02-26T18:54:39.757" UserId="5765" Text="I'm sure we all have our own unique taste for monster vocals, just as sure as I am that we all downloaded Tim Prebble's seal vocal library for those same vocals. (If you haven't check it out here http://hissandaroar.com/sd003-seal-vocals/ ) But what sounds have you guys recorded in the field that has been useful to your own monster creations? :) &#xD;&#xA;&#xD;&#xA;I lived in the Northwest before coming south to SF, and luckily before I moved I managed to record two bald eagles fighting in front of my house over some fish. They gave me one shriek that is just gorgeous! Also recordings of dogs and raccoons have been part of the arsenal.&#xD;&#xA;&#xD;&#xA;So, let's start a series of people telling us about your favorite organic or non organic sounds to use for creating monster vocals :)&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Michael Brennan&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29663" PostHistoryTypeId="1" PostId="18340" RevisionGUID="bc3c1ad0-5f94-4889-b7c5-a6e72eb09059" CreationDate="2013-02-26T18:54:39.757" UserId="5765" Text="How do you make YOUR Monster sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29664" PostHistoryTypeId="3" PostId="18340" RevisionGUID="bc3c1ad0-5f94-4889-b7c5-a6e72eb09059" CreationDate="2013-02-26T18:54:39.757" UserId="5765" Text="&lt;sound-design&gt;&lt;field-recording&gt;&lt;creature-vocalizations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29665" PostHistoryTypeId="2" PostId="18341" RevisionGUID="91ee69df-8976-4ade-ae16-c011564dc23f" CreationDate="2013-02-26T19:06:12.117" UserId="1216" Text="This is very hard question to answer, because it touches a lot of subjects.&#xD;&#xA;First of all Rene put's things is perspective &quot;how do you define (formal) qualifications&quot;.&#xD;&#xA;Qualifications differ throughout every industry or scene. &#xD;&#xA;&#xD;&#xA;We could even start a big discussion about the fact that some people will say that &quot;film is art, but television is industry work&quot;. Or that &quot;nobody should be taught what art is, one has to discover that by themselves&quot;. Or how about this &quot;Art is not science, but science is in art, so one should have qualifications regarding those skills.&quot; etc, etc.&#xD;&#xA;&#xD;&#xA;The short answer to your question is: yes, for some possible forms of sound work qualifications are handy, for some they are necessary for others not. But in the end, people have a way of learning what they do best by practicing what they like and getting better.&#xD;&#xA;I know lot's of artist with and without 'formal qualifications' and the 'quality' of their work is never related to their formal background. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29666" PostHistoryTypeId="2" PostId="18342" RevisionGUID="ff472a06-c322-4a4f-8700-60a3635ede4b" CreationDate="2013-02-26T19:27:17.537" UserId="6432" Text="I see plenty of ads for games industry audio jobs requesting degree level education in a relevant field (or relevant experience). It's harder to gauge with post as jobs are more word of mouth. &#xD;&#xA;&#xD;&#xA;For any position in anything your skills are going to be compared to all other applicants. Sound design is no different. Personally, I don't think that on my own I could have learnt everything that I did on the (sound design) degree which I took. The information is simply not all out there, and I wouldn't have had the time to learn it anyway (because I would have had another job.. with studying you also pay for time to think). So actually I would not have been as qualified as everyone else who has taken sound design degrees, and would not have got the jobs out there I have. That's just my personal experience.&#xD;&#xA;&#xD;&#xA;So I think it's not strictly necessary, but I also think it's becoming increasingly difficult for newcomers without formal qualifications to compete as the quality and quantity of the sound design education out there rises. &#xD;&#xA;&#xD;&#xA;Let's also remember with this discussion that this is potentially very location specific - what's true for one country may not be for another." ContentLicense="CC BY-SA 3.0" />
  <row Id="29667" PostHistoryTypeId="5" PostId="18338" RevisionGUID="90f42ae0-2f54-423e-bffa-9a7c16376038" CreationDate="2013-02-26T20:14:59.800" UserId="3179" Comment="typos" Text="To be really honest, I don't think students should be offered full-degree art courses at all. An ideal place for an art degree would be if it was integrated to some practical course (e.g. science/engineering/math), just to offer a more well-rounded education. For learning art, a mentoring approach (with a real professional and real, day-to-day functioning company) would be much more beneficial to the students and the society, I feel. And it would/could also minimize the intake of students in the art fields, so people aren't formally &quot;trained&quot; for nothing. At most the courses should be short (one year is totally fine IMO), there need not be bachelors/masters/PHD, unless for those that really, for some strange reason, want to spend the money and time on those. Although I think offering the courses is immoral. Costs of art courses should also be considerably less than other way more practical degrees. And here's a personal perspective: if I was teaching sound design or any form of art, I wouldn't accept any form of payment for the service, because I feel that art has a humanitarian meaning for students and people and it's not something that I would like to be making money from, even less, because I cannot guarantee any kind of success for the students, nor necessarily for the society. I also think art is what one personally chooses to do, some drop out or change from it, some just continue to do it, because it's all they want to do. It doesn't need a qualification as everything can be learned by doing and a qualification in arts doesn't really qualify for anything." ContentLicense="CC BY-SA 3.0" />
  <row Id="29668" PostHistoryTypeId="2" PostId="18343" RevisionGUID="31b23a02-98a7-496b-b2ad-defef786f86d" CreationDate="2013-02-26T20:15:38.643" UserId="4238" Text="From the perspective who is doing a Sound Design and New Media Degree at the moment, I can honestly say I don't think it's absolutely necessary.&#xD;&#xA;&#xD;&#xA;Although I can say that it is very rewarding being taught by people who have been in the industry and learning some of their techniques is inspiring, I wouldn't say what I've learnt has been... fulfilling in a sense. Most of it (for me) is common sense and could be taught in a evening class or something. That's not to say I haven't learnt a lot though.&#xD;&#xA;&#xD;&#xA;I plan to do a Physics Degree after, mostly because of what I wish to move into after education, but also because I feel I haven't gotten the most out of the education which could be taught. &#xD;&#xA;&#xD;&#xA;The things I have found most interesting and probably wouldn't have known without being taught it was more of the science aspect of things, such as analogue to digital conversion (and that being the reason for the 'loudness war'), acoustics calculations to create a successful reverb bearing in mind absorption, diffraction etc, psychoacoustics, HRTF's and more. &#xD;&#xA;&#xD;&#xA;I think if it was more scientifically orientated, then perhaps it would be a viable degree. But for me, now that I'm doing such a course, the answer would be no. Although it can't hurt to have!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29669" PostHistoryTypeId="2" PostId="18344" RevisionGUID="8f055bdb-2f37-445c-9e84-b2495dc1a3e6" CreationDate="2013-02-26T20:18:40.697" UserId="4238" Text="It depends on what the monster looks like etc. whether it's a cartoon, science fiction monster or you just want to make an animal &quot;hyper-real&quot;&#xD;&#xA;&#xD;&#xA;For me though, I like using musical instruments (especially deep woodwind instruments such as a bass clarinet or bassoon) and then just completely messing with them! &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29670" PostHistoryTypeId="5" PostId="18343" RevisionGUID="d12786e1-3509-4f50-97b1-ca35699c9320" CreationDate="2013-02-26T20:21:09.967" UserId="4238" Comment="added 11 characters in body" Text="From the perspective of someone who is doing a Sound Design and New Media Degree at the moment, I can honestly say I don't think it's absolutely necessary.&#xD;&#xA;&#xD;&#xA;Although I can say that it is very rewarding being taught by people who have been in the industry and learning some of their techniques is inspiring, I wouldn't say what I've learnt has been... fulfilling in a sense. Most of it (for me) is common sense and could be taught in a evening class or something. That's not to say I haven't learnt a lot though.&#xD;&#xA;&#xD;&#xA;I plan to do a Physics Degree after, mostly because of what I wish to move into after education, but also because I feel I haven't gotten the most out of the education which could be taught. &#xD;&#xA;&#xD;&#xA;The things I have found most interesting and probably wouldn't have known without being taught it was more of the science aspect of things, such as analogue to digital conversion (and that being the reason for the 'loudness war'), acoustics calculations to create a successful reverb bearing in mind absorption, diffraction etc, psychoacoustics, HRTF's and more. &#xD;&#xA;&#xD;&#xA;I think if it was more scientifically orientated, then perhaps it would be a viable degree. But for me, now that I'm doing such a course, the answer would be no. Although it can't hurt to have!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29671" PostHistoryTypeId="2" PostId="18345" RevisionGUID="8063baa4-4a46-4167-bf83-037a332d7260" CreationDate="2013-02-26T20:37:02.677" UserId="5738" Text="There are times I wish for a Sound Designers union; like Cinema Audio Society, or the Directors Guild (maybe a Sound Designers/Editors Guild?)... to offer resources &amp; help with independent health care, etc. &amp; to address the specific needs that sound designers require. It would be based on peer referrals &amp; vouching for each others work &amp; experience. Obviously it would need to start on the tip top of the industry &amp; trickle down... &amp; we can get those sweet initials for our credits. Rawly Pickens, SDG or SEG. across multimedia, to games, to tv, to film, there's so many specific needs that can't be met by NARAS, AES, CAS, etc... just a thought." ContentLicense="CC BY-SA 3.0" />
  <row Id="29672" PostHistoryTypeId="2" PostId="18346" RevisionGUID="ee79f245-3569-49d6-94d7-14fe73f6105b" CreationDate="2013-02-26T21:02:07.433" UserId="5795" Text="I have the Tim Prebble Seals library, and its amazing! I have also used my 7 year old daughter and 9 year old sons voice to a great degree. The human voice is an indistinguishable element for Monster design. Many of us are already close to monster status, and the cultural baggage and recognition for the audience is very strong. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29673" PostHistoryTypeId="5" PostId="18318" RevisionGUID="e620cf20-6b42-42f7-b345-717dd5fb43b5" CreationDate="2013-02-26T22:24:45.407" UserId="194" Comment="corrected mic name" Text="i've never run the neumann rig, but my schoeps rig is always fabulous.  &#xD;&#xA;&#xD;&#xA;The schoeps sound tracks transients very well, and is a little warmer (less bright) than a lot of other SDCs.  Its not clinical though, its got a touch of schoeps 'flavor' that is pretty appealing.  noise floor not bad but slightly higher than some other rigs.  &#xD;&#xA;&#xD;&#xA;I know the sennheiser MKH 30 rig is also great sounding.  more on the flat and clinical side, but super low noise floor and tracks transients at least as fast as the schoeps. &#xD;&#xA;&#xD;&#xA;I suspect that in comparison the neumann would sound a little brighter than the other two rigs." ContentLicense="CC BY-SA 3.0" />
  <row Id="29674" PostHistoryTypeId="2" PostId="18347" RevisionGUID="9f53c20b-0eeb-457f-88db-37cab69e99de" CreationDate="2013-02-26T22:31:37.157" UserId="1278" Text="I shall chime in by saying that sonifying colour or other data is a very subjective process. There is an infinite amount of approaches so it is up to the artist to provide a sonic form to a stream of incoming data. How do you interpret it? Color to pitch, brightness to frequency or RGB&gt;R-pitch,G-pan,B-depth etc...&#xD;&#xA;&#xD;&#xA;Please also have a good read on Synesthesia:&#xD;&#xA;http://en.wikipedia.org/wiki/Synesthesia&#xD;&#xA;&#xD;&#xA;And check out this inspiring video by Neil Harbisson who was born colour-blind and now uses an implant that turns colours into audible frequencies:&#xD;&#xA;http://www.youtube.com/watch?v=ygRNoieAnzI" ContentLicense="CC BY-SA 3.0" />
  <row Id="29675" PostHistoryTypeId="2" PostId="18348" RevisionGUID="a2397ae2-5094-4f2f-b739-e80deb599b70" CreationDate="2013-02-26T22:39:02.327" UserId="1278" Text="Alloy 2 is nice, but because it has so many dynamically switchable parameters, it can become a PITA to automate. Therefore, Metric Halo ChannelStrip is my favourite! All in one window, and a fixed amount of parameters. No. 2 goes to Avid's own ChannelStrip." ContentLicense="CC BY-SA 3.0" />
  <row Id="29676" PostHistoryTypeId="2" PostId="18349" RevisionGUID="19de09e1-a418-4c88-a4a2-8514a2d3aa91" CreationDate="2013-02-26T23:07:45.960" UserId="1278" Text="eyehear05 - I cannot believe you are actually posting piratebay links in this thread and feel fine about it! You are asking about books and then tell us that you don't actually read real books!&#xD;&#xA;&#xD;&#xA;D. Yewdall's Practical art of Motion Picture sound is probably the best book that touches upon the subject of feature film mixing. However you can learn much more here on Social Sound Design, Gearslutz and DUC. But the best advice I can give you is this: listen to and analyse the movies that you think sound good. Try to figure out what is going on and try to apply the same to your own projects. Then find a good mixer in your area and get a chance to sit in with him/her. You will learn more in a day than you have learnt in your life.&#xD;&#xA;&#xD;&#xA;Stop reading those piratebay books - they are useless. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29677" PostHistoryTypeId="2" PostId="18350" RevisionGUID="b7bd1d5e-0148-44c6-b7df-8fd29f8d27e2" CreationDate="2013-02-27T03:51:00.857" UserId="432" Text="That's probably going to be tough to find. The only things I've spotted recently were articles discussing the loudest insects (which are some of the loudest creatures on the planet), and I could only say those were in the last year...specific articles, sources and dates are completely lost to me. That might be a place to restart your google search though.&#xD;&#xA;&#xD;&#xA;**Edit:**&#xD;&#xA;Here's a good start point: [NatGeo article][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://news.nationalgeographic.com/news/2011/07/pictures/110711-loudest-animals-water-boatman-singing-genitals/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29678" PostHistoryTypeId="2" PostId="18351" RevisionGUID="6a057bd8-3773-4221-953a-0e81c6c80a1a" CreationDate="2013-02-27T07:31:57.510" UserId="6435" Text="My parents' dogs and my girlfriend's (now deceased) cat have made multiple appearances as monsters. I do a bunch of my own monster vocalizations as well. Long ago I also did some recordings of a device at a museum that approximated the mechanics of a dinosaur's roar, and used that for a few things. It was essentially a bellows and a long plastic tube/hose arrangement." ContentLicense="CC BY-SA 3.0" />
  <row Id="29679" PostHistoryTypeId="2" PostId="18352" RevisionGUID="428de191-0279-4881-8e26-8987c2ef69da" CreationDate="2013-02-27T09:12:59.070" UserId="3567" Text="Pigs do great shrieks and squeals. I used these for vampires with excellent results." ContentLicense="CC BY-SA 3.0" />
  <row Id="29680" PostHistoryTypeId="2" PostId="18353" RevisionGUID="052e80f8-6e8b-4800-862c-0348fdc13cfe" CreationDate="2013-02-27T09:43:59.850" UserId="6432" Text="It's a good question, and I hope more people will answer. Of course there's tons of useful stuff on SSD so it's difficult to choose! I guess sometimes you read something which totally changes your thought process in a particular area, gives you a completely different angle on a problem. I think these are the real gems - not learning a new keyboard shortcut (though that's good), but understanding how someone else thinks. &#xD;&#xA;&#xD;&#xA;The answer to [this][1] question I asked a while ago was a similar moment for me. It totally opened up a new concept, technique and new way of thinking about sound and how it works. &#xD;&#xA;&#xD;&#xA;Abstract question like [this][2] are also great, and work in the same way. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/10950/placing-sounds-in-the-distance-outdoors&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/12471/negative-space-figure-ground-perception-in-sound/12642#12642" ContentLicense="CC BY-SA 3.0" />
  <row Id="29682" PostHistoryTypeId="2" PostId="18355" RevisionGUID="cff00b04-2a7e-4b50-898b-c68f446a9723" CreationDate="2013-02-27T10:25:31.637" UserId="3784" Text="Ive been doing a lot of hyper-real monsters in the past year and I've come accustom to laying down my own vocal tracks first to start building a foundation so I can start getting a sense of the personality. Then Ill mess with that as far as pitch and any light modulation and then start getting weird with animals and build around what I did with my own vocals. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29683" PostHistoryTypeId="2" PostId="18356" RevisionGUID="bb52c1cb-3dce-4b3c-92f5-6abb52c54121" CreationDate="2013-02-27T11:24:33.387" UserId="5605" Text="Vocoding your own voice with various animals works great too!&#xD;&#xA;&#xD;&#xA;Also, that seal library sounds great!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29685" PostHistoryTypeId="2" PostId="18358" RevisionGUID="553543b5-8714-432e-8ee6-f2a7d4a6d498" CreationDate="2013-02-27T14:18:26.067" UserId="5798" Text="I had pt 8 on an old pc and I have moved to a trail version of pt10 on a new pc.&#xD;&#xA;I want to move permanently to pt10. Should I uninstall the trial version first or just update to PT10 from the trial version?&#xD;&#xA;I also didn’t download the plugins on the trial version, how do I go back and get those?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29686" PostHistoryTypeId="1" PostId="18358" RevisionGUID="553543b5-8714-432e-8ee6-f2a7d4a6d498" CreationDate="2013-02-27T14:18:26.067" UserId="5798" Text="Protools 10 trial" ContentLicense="CC BY-SA 3.0" />
  <row Id="29687" PostHistoryTypeId="3" PostId="18358" RevisionGUID="553543b5-8714-432e-8ee6-f2a7d4a6d498" CreationDate="2013-02-27T14:18:26.067" UserId="5798" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29688" PostHistoryTypeId="2" PostId="18359" RevisionGUID="51674424-3824-4e90-a1f6-a21eabaf61ac" CreationDate="2013-02-27T14:20:50.007" UserId="608" Text="I recorded an installation foyr the national gallery that was designed to portray a Gaugin painting in sound, I ended up talking to a few people with synaesthesia and asking them which pitches related to which colours. Again, it's completely subjective, every synaesthete will experience this differently, but it does give you a point of reference for a sound/colour palette.&#xD;&#xA;&#xD;&#xA;Also, there are a few programs out there that will convert images to picture, so i'd scanned parts of paintings, pitched them according to my &quot;palette&quot; and manipulated them into drone form. http://photosounder.com/ for instance.&#xD;&#xA;&#xD;&#xA;http://www.nationalgallery.org.uk/learning/inspired-by-the-collection/sound/*/chooseMedia/20/&#xD;&#xA;&#xD;&#xA;Arty ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29689" PostHistoryTypeId="2" PostId="18360" RevisionGUID="df91c47e-e098-48fb-83e1-1f0648120d32" CreationDate="2013-02-27T17:32:58.317" UserId="3835" Text="Yeah I've basically done the same as above but as an interactive installation using max/MSP/Jitter&#xD;&#xA;&#xD;&#xA;&quot;The patch was inspired by ideas of cross disciplinary techniques and synaesthesia. It is based on the notion that expressionistic painting, especially the work of Mark Rothko shares similar intention to that of contemporary ambient music. I propose that the focus on washes of colour seen in the work of Rothko is the visual equivalent of the use of drones in ambient music. The patch attempts to present this idea in a sensorial form by marrying colour and sound.&#xD;&#xA;&#xD;&#xA;The RGB analysis is achieved by using the cv.mass object to get an average of 'on' pixels for each plane of the matrix. I calibrated the numbers output by the object to between 0-255, creating a rough RGB value system. I obtained the RGB values of each shade of colour and created a system that fades in each drone based on the RGB numbers with a range of 160. For example if one shade has an RGB value of 100, 160, 80 then the related drone will have a gain of 1 when the incoming signal is exactly those numbers and a gain of 0 when the incoming signal is 160 either side; meaning a analysis of say 50, 80, 40 would ramp the drone to a gain of 0.5.&#xD;&#xA;&#xD;&#xA;The fade system means that smooth, real-time transitions can be achieved when the user scans over the colours. The drones are triggered using a groove~ object meaning they can be looped and held indefinitely. I use a windowing function to create seamless loop points.&quot;&#xD;&#xA;&#xD;&#xA;Sorry for the lengthy document but it was easier to copy and paste then write new! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29690" PostHistoryTypeId="2" PostId="18361" RevisionGUID="2297a074-a913-46f6-be7e-2244ef1682c1" CreationDate="2013-02-27T17:48:18.983" UserId="4442" Text="When do you find yourself using each? What kind of sources are you using in the examples you're giving? Any cool setups that work for you?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29691" PostHistoryTypeId="1" PostId="18361" RevisionGUID="2297a074-a913-46f6-be7e-2244ef1682c1" CreationDate="2013-02-27T17:48:18.983" UserId="4442" Text="To vocode or to convolve, that be the question...." ContentLicense="CC BY-SA 3.0" />
  <row Id="29692" PostHistoryTypeId="3" PostId="18361" RevisionGUID="2297a074-a913-46f6-be7e-2244ef1682c1" CreationDate="2013-02-27T17:48:18.983" UserId="4442" Text="&lt;vocoder&gt;&lt;vocoding&gt;&lt;convolution&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29693" PostHistoryTypeId="2" PostId="18362" RevisionGUID="889df10d-9041-4005-97d0-48b70df1b0d7" CreationDate="2013-02-27T20:54:03.740" UserId="6566" Text="I always try to drag myself in front of a mic when I have a nasty cold. As difficult as it can  be, a scratchy throat and flem filled lungs and sinuses can make for some great monster source if you get creative with it.&#xD;&#xA;&#xD;&#xA;Something I learned many years ago that can be useful for many sound design tasks is the experimentation with mixing attack transients of various animals morphing into unrelated sounds. The basic premise is that humans recognize a sound mostly based on its initial attack envelope less than the body of the sound that follows, such as a violin for instance. Since good animal sounds can be some of the most challenging to create in large numbers with enough variety without spending lots of time and money, this method can be used to get the most out of a limited amount of unique source. As an example take the attack of a short dog growl, pitch it down a bit and blend the attack into a metal grown/stretching sound and some other similar layers. It can take quite a bit of experimentation to get the hang of it but can yield unique results all while leveraging much more easily accesible SFX you probably already have that you might not ever think to use for monsters. The key can be to choose material for the body that has similar frequency and timbre as the attack source.&#xD;&#xA;&#xD;&#xA;http://www.assta.org/sst/2006/sst2006-121.pdf&#xD;&#xA;&#xD;&#xA;And yes, of course pigs. They are usually pretty cooperative in my experience." ContentLicense="CC BY-SA 3.0" />
  <row Id="29694" PostHistoryTypeId="5" PostId="18361" RevisionGUID="06cdf7c9-f2c6-43e2-b99a-90ca9dddadcc" CreationDate="2013-02-27T21:08:35.177" UserId="4442" Comment="better wording" Text="When do you find yourself using each? What kind of sources are you using in the examples you're giving? Any cool setups that work for you?&#xD;&#xA;&#xD;&#xA;Edit: Not reverb. I don't care if you mention that you use a convo verb plugin and use different convolutions, but just not &quot;room&quot; simulation for this thread. Go!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29695" PostHistoryTypeId="2" PostId="18363" RevisionGUID="30efc1ca-5544-416a-9348-23df980a1de2" CreationDate="2013-02-27T21:44:11.527" UserId="2368" Text="Hi all, &#xD;&#xA;&#xD;&#xA;currently working on a project and i'm in need of a fairly simple sound but one that I just can't seem to find or create that fits. It's the sound of a standard everyday light bulb flickering on and off before fading out completely. I can only seem to find the sound of neon lights flickering on and off and they're a little too buzzy for what I need. Any help would be greatly appreciated. Thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29696" PostHistoryTypeId="1" PostId="18363" RevisionGUID="30efc1ca-5544-416a-9348-23df980a1de2" CreationDate="2013-02-27T21:44:11.527" UserId="2368" Text="Light flicker sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="29697" PostHistoryTypeId="3" PostId="18363" RevisionGUID="30efc1ca-5544-416a-9348-23df980a1de2" CreationDate="2013-02-27T21:44:11.527" UserId="2368" Text="&lt;sound-effects&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29698" PostHistoryTypeId="2" PostId="18364" RevisionGUID="4025b57a-354e-4b6c-874b-a3355cf208be" CreationDate="2013-02-27T22:19:18.277" UserId="432" Text="I'd suggest looking for very light, thin, but slightly resonant metallic clicks and building it out of those." ContentLicense="CC BY-SA 3.0" />
  <row Id="29699" PostHistoryTypeId="2" PostId="18365" RevisionGUID="0da9e736-b6d7-44b8-bd82-22dcd0c5d2bd" CreationDate="2013-02-27T22:21:20.390" UserId="3835" Text="Get some fuzzy hum into a wavetable and play it over the keyboard, you'll probably find a nice note that resonates nicely. Then touch it up some filtering and reverb to place it properly.&#xD;&#xA;&#xD;&#xA;That would be my guess mate" ContentLicense="CC BY-SA 3.0" />
  <row Id="29700" PostHistoryTypeId="2" PostId="18366" RevisionGUID="72c0c912-22ed-401d-ac0d-63880935a428" CreationDate="2013-02-27T22:28:53.493" UserId="234" Text="Just me, but I tend to go to vocoders when I want a Dialog Effect (like something special for a mechanical character). I think it's a leftover from the days of the original Battlestar Galactica and the vocoded Cylon voices which I thought were AWESOME as a youngster.&#xD;&#xA;&#xD;&#xA;Convo I tend to use for SFX more, and specifically interesting ambiences. On one animated show I work on, the characters go to a different planet each week - circus planet, pirate planet, fix it planet etc.. The ambience of the planet is a base ambience plus an ambience that I usually make by taking something appropriate to the planet (say a construction site for the fix-it planet) and then passing it through TLSpace with some interesting impulses, ranging from wind, to synth drones. I also like to pass a sustained sound through convo with a rhythmic sound to get interesting rhythmic sounds when needed.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29701" PostHistoryTypeId="2" PostId="18367" RevisionGUID="69f35353-3afe-4720-a306-0b2a678ff955" CreationDate="2013-02-27T22:37:12.320" UserId="1185" Text="I tend to agree with Mark's answer above.  For me the two main aspect of Sound Design are the HOW and the WHY.  Although the HOW questions can be very interesting and there are always new techniques to learn, as you gain more technical experience they tend to just build on known principles.  However, the WHY seems to become more interesting.  As a result, any SSD questions that relate to WHY we are doing certain things with sound tend to be the ones that are the most interest to me.  The example questions Mark gave seem to be good examples." ContentLicense="CC BY-SA 3.0" />
  <row Id="29702" PostHistoryTypeId="2" PostId="18368" RevisionGUID="553ac954-d7cb-431d-a313-0da9adfb5036" CreationDate="2013-02-27T23:19:43.650" UserDisplayName="user49" Text="One approach thats very useful with human performance/ADR for monster vox is using a real time pitch shifter, so the performer is hearing themselves pitched down &amp; can adjust their performance accordingly... I've used the TDM Avid pitch shift plugin, recording the clean &amp; the pitched version to split tracks...&#xD;&#xA;&#xD;&#xA;Also cutting breaths &amp; lip/mouth sounds is important too, esp using dbx subharmonic synth or LowEnder plugin.... as mentioned here:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/3419/creating-large-animal-breathing-sounds&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/timprebble/subbybreaths&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(&amp; thanks for the kind words re the Seals - I scared the living crap out of myself recording it, not because I was in danger but because my mic was! And I was wearing headphones so it was like sticking your head right up beside them!)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29703" PostHistoryTypeId="2" PostId="18369" RevisionGUID="31d00a7d-99ae-4f05-a31d-d73b4a53aacf" CreationDate="2013-02-27T23:25:22.673" UserDisplayName="user49" Text="Try some small splattery sounds eg drop of water into hot wok, then process through glass impulse response (like Fokke Can Sannes free Claustrophobia IRs - the glass jar) to impart the light bulb tonal quality&#xD;&#xA;&#xD;&#xA;http://fokkie.home.xs4all.nl/IR.htm&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29704" PostHistoryTypeId="2" PostId="18370" RevisionGUID="ad594d97-b6dc-4963-95b2-918747109b7e" CreationDate="2013-02-28T02:51:08.553" UserId="362" Text="The  Fokke Can Sannes free Claustrophobia IRs look really great! Thanks for the link" ContentLicense="CC BY-SA 3.0" />
  <row Id="29705" PostHistoryTypeId="2" PostId="18371" RevisionGUID="63fcc4f7-e9e7-4c15-9cfa-8127a9f24791" CreationDate="2013-02-28T04:38:23.343" UserId="4442" Text="What about searching out some tesla coil samples and some industrial like arc welder sounds? Soundsnap is usually like a buck a sound if you find something you like or freesound.org. &#xD;&#xA;&#xD;&#xA;I love filtering my microwave for some weird forcefieldy sounds. It's just the right amount of air and ominous buzz. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29706" PostHistoryTypeId="5" PostId="17561" RevisionGUID="05f03916-48e3-44d1-8361-3fbc5984ebd6" CreationDate="2013-02-28T10:27:04.510" UserId="5605" Comment="ps" Text="There will be a free course on Sound Design on Coursera:&#xD;&#xA;https://www.coursera.org/course/digitalsounddesign&#xD;&#xA;&#xD;&#xA;&gt; Sounds and music are embedded in almost every aspect of daily life. This course will provide an overview of the fundamental principles of sound and the factors that determine our audio perception. It will also explore techniques of recording, mixing, processing, synthesis, sampling, analysis, and editing of digital audio.&#xD;&#xA;&#xD;&#xA;I believe it will mostly cover basics, but just wanted to mention it.&#xD;&#xA;&#xD;&#xA;EDIT: The course has now finished. I believe there will be a rerun at some point in time." ContentLicense="CC BY-SA 3.0" />
  <row Id="29707" PostHistoryTypeId="5" PostId="17561" RevisionGUID="f3059cb8-2588-499c-8c7f-9e297a3fa2f9" CreationDate="2013-02-28T11:38:20.477" UserId="5605" Comment="deleted 2 characters in body" Text="There will be a free course on Sound Design on Coursera:&#xD;&#xA;https://www.coursera.org/course/digitalsounddesign&#xD;&#xA;&#xD;&#xA;&gt; Sounds and music are embedded in almost every aspect of daily life. This course will provide an overview of the fundamental principles of sound and the factors that determine our audio perception. It will also explore techniques of recording, mixing, processing, synthesis, sampling, analysis, and editing of digital audio.&#xD;&#xA;&#xD;&#xA;I believe it will mostly cover basics, but just wanted to mention it.&#xD;&#xA;&#xD;&#xA;EDIT: The course has now finished. I think there will be a rerun at some point in time." ContentLicense="CC BY-SA 3.0" />
  <row Id="29708" PostHistoryTypeId="2" PostId="18372" RevisionGUID="2181eb16-c3e4-44a4-88f5-6daa5d2ced73" CreationDate="2013-02-28T12:02:42.583" UserId="4156" Text="My guess would be that you only need a full license on your iLok, but check out this thread or contact avid support: &#xD;&#xA;&#xD;&#xA;http://duc.avid.com/showthread.php?t=313982" ContentLicense="CC BY-SA 3.0" />
  <row Id="29710" PostHistoryTypeId="2" PostId="18373" RevisionGUID="659d33c3-9b0a-40b0-81e3-fd7919319a32" CreationDate="2013-02-28T15:37:42.150" UserId="4278" Text="Hello there!&#xD;&#xA;&#xD;&#xA;I am about to assemble a MS microphone set for field recordings; after some testing and researching I have decided to go the Sennheiser route with a MKH 30 for the side, and either a MKH 8040 or 8050 as the mid channel.&#xD;&#xA;&#xD;&#xA;At the moment I am bit stuck though in my decision between the cardioid and the hyper-cardioid:&#xD;&#xA;I am both into recording spot effects as well as ambiances - from what I have learned so far a cardioid in MS setup should give a more natural and consistent stereo image, hence it is recommended if the focus is more on stereo/ambience recordings. A hypercardioid though would offer a more focused mid channel apparently for anything that does not require a shotgun (and I would like to avoid a shotgun in a MS setup), which would be nice when recording spot sounds of course.&#xD;&#xA;&#xD;&#xA;So, what to do? I can't afford all three mics yet, nor would I want to carry around a second mic for the mid channel with me in the field &amp; having to open the Rycote everytime I need to replace the mid mic.&#xD;&#xA;&#xD;&#xA;Best would be to do a shootout, but there's no real rental service around here where I live; maybe somebody can share his experience with hyper vs. cardioid in a MS setup?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Felix" ContentLicense="CC BY-SA 3.0" />
  <row Id="29711" PostHistoryTypeId="1" PostId="18373" RevisionGUID="659d33c3-9b0a-40b0-81e3-fd7919319a32" CreationDate="2013-02-28T15:37:42.150" UserId="4278" Text="Picking Sennheiser MKH 8040 or 8050 in MS setup?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29712" PostHistoryTypeId="3" PostId="18373" RevisionGUID="659d33c3-9b0a-40b0-81e3-fd7919319a32" CreationDate="2013-02-28T15:37:42.150" UserId="4278" Text="&lt;field&gt;&lt;recording&gt;&lt;mid-side&gt;&lt;cardioid&gt;&lt;hypercardioid&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29713" PostHistoryTypeId="2" PostId="18374" RevisionGUID="5793854a-1fc2-407e-929a-c59a0218fb70" CreationDate="2013-02-28T15:59:54.420" UserId="4156" Text="I'd go with the cardioid, it's more versatile. for example if you'd buy a second 8040 in the future you'd have lots of options for useful setups: Double MS, MS + spot-mic, XY, ORTF, AB and so forth. Many ambiences sound a lot better/wider/real recorded in setups that consist of spaced mics, like ORTF or AB. Just an opinion of course..." ContentLicense="CC BY-SA 3.0" />
  <row Id="29717" PostHistoryTypeId="2" PostId="18376" RevisionGUID="b71e1abe-0e9b-4d9b-bf1a-f12d97c1cafe" CreationDate="2013-02-28T17:02:00.507" UserId="5752" Text="Hey everyone!&#xD;&#xA;&#xD;&#xA;After I finished the sword I asked you a few days ago, a doubt remained that I cant get off my head: How could you synthesize the electric jolt created by a tesla coil? The final result I'm looking for is something like this:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=3b6I0Rzl0ss&#xD;&#xA;&#xD;&#xA;I believe that If I could get a single jolt, I could layer a buch of them with different envelope settings, pitch, flanging and other stuff to achieve that Tesla coil.&#xD;&#xA;&#xD;&#xA;What do you think guys? &#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29718" PostHistoryTypeId="1" PostId="18376" RevisionGUID="b71e1abe-0e9b-4d9b-bf1a-f12d97c1cafe" CreationDate="2013-02-28T17:02:00.507" UserId="5752" Text="Synthesize a Tesla Coil ??" ContentLicense="CC BY-SA 3.0" />
  <row Id="29719" PostHistoryTypeId="3" PostId="18376" RevisionGUID="b71e1abe-0e9b-4d9b-bf1a-f12d97c1cafe" CreationDate="2013-02-28T17:02:00.507" UserId="5752" Text="&lt;electricity&gt;&lt;tesla-coil&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29720" PostHistoryTypeId="2" PostId="18377" RevisionGUID="77f55085-71c8-4965-adea-b6858b4e7311" CreationDate="2013-02-28T17:44:00.610" UserId="3179" Text="Why can't you get a recording of a tesla coil? Or just get something that resembles enough of the sound that you're looking for.&#xD;&#xA;&#xD;&#xA;Of course you can then stick the sample to a granular synthesizer, for example, to start with. Or just combine it with other fitting sounds, add effects etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="29721" PostHistoryTypeId="2" PostId="18378" RevisionGUID="a44f31e5-9f4e-46db-85c6-1f33a8f1d80f" CreationDate="2013-02-28T18:18:09.023" UserId="4442" Text="I'm with him, there are a good bit of tesla coil recordings. If i was forced at gunpoint to do that though, I might try FM8 with some enveloped and modulated noise maybe? I've had some okay luck stumbling into electrical noise when messing with FM'ing the noise operator on that in some weird ways. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29722" PostHistoryTypeId="5" PostId="18378" RevisionGUID="81d76b7e-f522-4381-a645-47d4027db7fa" CreationDate="2013-02-28T18:23:28.047" UserId="4442" Comment="added 116 characters in body" Text="I'm with him, there are a good bit of tesla coil recordings. If i was forced at gunpoint to do that though, I might try FM8 with some enveloped and modulated noise maybe? I've had some okay luck stumbling into electrical noise when messing with FM'ing the noise operator on that in some weird ways. &#xD;&#xA;&#xD;&#xA;textarea[link text][1]textarea&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://electro-music.com/forum/topic-21825.html &quot;pretty sweet thread&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29723" PostHistoryTypeId="2" PostId="18379" RevisionGUID="48fae081-6d7a-4acf-bdb8-a1ca163df2ab" CreationDate="2013-02-28T22:07:47.767" UserId="5762" Text="hello,&#xD;&#xA;&#xD;&#xA;firstly, love the site and ive been an avid reader for a while! I have a question regarding dialogue editing and noise removal. I've read john Purcell book and it is absolutely brilliant, however it is written under the assumption that someone else will be mixing the material after it is edited, however in this case ill be doing the editing and mixing. Basically, im wondering how much noise reduction i should use on dialogue once it is edited. There is a high pitched hum throughout the dialogue in a certain scene. It has different pitches depending on the shot and occasionally completely different tonal characteristics. Now as advised by purcell, i have edited the dialogue by finding room tone in the handles of the audio files to ensure that i have enoough clean room tone to fill in the gaps between  dialogue. &#xD;&#xA;&#xD;&#xA;Now im down to the mixing stage do i want to then noise process the whole lot to remove this pitched tone and replace it with more suitable, subtle room tone? Or do i keep the room tone as is?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Sorry if thats a bit confusing!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29724" PostHistoryTypeId="1" PostId="18379" RevisionGUID="48fae081-6d7a-4acf-bdb8-a1ca163df2ab" CreationDate="2013-02-28T22:07:47.767" UserId="5762" Text="Noise Removal in Dialogue  editing vs mixing " ContentLicense="CC BY-SA 3.0" />
  <row Id="29725" PostHistoryTypeId="3" PostId="18379" RevisionGUID="48fae081-6d7a-4acf-bdb8-a1ca163df2ab" CreationDate="2013-02-28T22:07:47.767" UserId="5762" Text="&lt;noise&gt;&lt;room-tone-removal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29726" PostHistoryTypeId="2" PostId="18380" RevisionGUID="9d6db637-9960-4178-aa66-94bd74f3ce29" CreationDate="2013-02-28T22:27:25.547" UserId="194" Text="typically the reason that noise reduction is left until mixing is because once you have context of everything else that's happening you can gauge exactly how little noise reduction you can get away with.&#xD;&#xA;&#xD;&#xA;The reason you want to do as little noise reduction as possible is because all noise reduction removes some part of the tone and timbre of the voices onscreen in addition to the noise that goes away.  The more of the original recording that makes it through the more you'll have to work with in the realms of EQ and compression.&#xD;&#xA;&#xD;&#xA;Alternatively, sometimes you really DO have to go nuts with NR to clean something out, and the surrounding music and effects may effectively mask some of the NR artifacts that would otherwise stick out if the track were soloed.&#xD;&#xA;&#xD;&#xA;its all about context.&#xD;&#xA;&#xD;&#xA;In your situation I'd evaluate the changing tonalities in the context of everything else in the mix, and then treat the elements until those high pitched things are sitting just outside of audibility." ContentLicense="CC BY-SA 3.0" />
  <row Id="29727" PostHistoryTypeId="2" PostId="18381" RevisionGUID="f9fbb52c-b4d0-4dc4-99e0-32e7cc68ab40" CreationDate="2013-02-28T22:29:25.813" UserId="4156" Text="Probably this question will be answered once you know what you want to do with the scene! And since you're mixing it, you should an idea where the scene is going in terms of feel (for example full/empty, real/dreamy, wide/hyperfocussed, just sound fx/also music and so on). Maybe you don't know about the music, that can be trouble. Too much noise in your dialogue can really destroy an emotional moment in a scene with music, for example. So there's no simple answer I'm afraid. You'll have to try which treatment will work for the scene. &#xD;&#xA;&#xD;&#xA;On the technical side: those changing whines can really be a pain in the ass. But if you're lucky the scene takes place in an office, where whining sounds do happen (computers? printer? lamp buzz? You can mask your dialogue-whith those sounds... &#xD;&#xA;Hope that helps... " ContentLicense="CC BY-SA 3.0" />
  <row Id="29728" PostHistoryTypeId="2" PostId="18382" RevisionGUID="65f4fc6a-e868-4e15-8560-7b219c3a7d73" CreationDate="2013-02-28T22:43:47.100" UserId="5762" Text="Thanks for the quick responses. Ive uploaded 2 versions of the mix to mediafire and would be greta if someone could take a listen and give me some advice. V1 is without Noise removal and V@ is with. &#xD;&#xA;&#xD;&#xA;http://www.mediafire.com/?xydv7axb0t259xd&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;as the scene does take place in an office, my gut feeling is stay as far away from noise removal as possible and just embrace the natural room tone of the dialogue. &#xD;&#xA;&#xD;&#xA;thanks again!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29729" PostHistoryTypeId="2" PostId="18383" RevisionGUID="cafd491d-e1cb-471c-af3e-5a90648dec8c" CreationDate="2013-02-28T22:45:20.387" UserId="4156" Text="&#xD;&#xA;Check out Tonsturms Electricity package, looks like an awful lot of what you're looking for!&#xD;&#xA;&#xD;&#xA;http://www.tonsturm.com/Soundpacks/files/Electricity.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="29730" PostHistoryTypeId="2" PostId="18384" RevisionGUID="71e98323-1fac-4158-93d7-401dfe88f0fd" CreationDate="2013-02-28T23:03:10.290" UserId="6411" Text="I am thrilled to have this community and I have learned so much from so many questions and answers here. The previous responses touch on many great answers and I agree with them all. But, to me, the most important things that I have taken to heart from SSD are two concepts underlying the whole board that are constantly reinforced.&#xD;&#xA;&#xD;&#xA;&gt; *“There are naive questions, tedious&#xD;&#xA;&gt; questions, ill-phrased questions,&#xD;&#xA;&gt; questions put after inadequate&#xD;&#xA;&gt; self-criticism. But every question is&#xD;&#xA;&gt; a cry to understand the world. There&#xD;&#xA;&gt; is no such thing as a dumb&#xD;&#xA;&gt; question.” - Carl Sagan*&#xD;&#xA;&#xD;&#xA;I'm particularly impressed with this community and how the forum covers such a gamut of ideas with such relatively little judgement or ridicule. From entry level basics to advanced concepts, technical, fix-it questions to esoteric, philosophical ideas, practically everything that is posted gets a response in some form or another. Off-topic ideas are given links to other forums where the question can be more properly answered. Repeat questions are directed to links where the question may have been answered previously. In my opinion, this trust of support allows students with fresh perspectives to mingle freely with highly seasoned professionals who know the necessary steps to persue and avoid to succeed in this industry, and we all benefit in the observation of these interactions. &#xD;&#xA;&#xD;&#xA;&gt; *“If my hands are fully occupied in holding on to something, I can neither&#xD;&#xA;&gt; give nor receive.” - Dorothy Solle*&#xD;&#xA;&#xD;&#xA;I have met many who hold their trade's secrets tight to their chest. I believe they think its their knowledge of how they do what they do that is attributable to their &quot;success&quot;. I used to subscribe to that idea, thinking it was a necessary way to survive. That having more knowledge than another gives you a &quot;competitive edge&quot;. Perhaps it's maturity, a greater confidence in my abilities, or just seeing the interactions here on SSD, but over the last few years I've shifted my notion to I think that philosophy is utter bullshit.&#xD;&#xA;&#xD;&#xA;Much like what Fred and Mark refer to in their answer, I love discussing my craft because it simply makes me better at what I do. Sharing what I know and talking out ideas with others can obliterate my own ill-founded, preconceived notions, smooth out illogical thought processes, or confirm un-tested perspectives. If in the process of discussion I can do the same for someone else, that just makes my day. I've come to realize that it is not teaching a person to edit or mix that makes them an editor or mixer, it's how they apply that knowledge that makes them the professional they where meant to become. That change in perspective has been priceless." ContentLicense="CC BY-SA 3.0" />
  <row Id="29731" PostHistoryTypeId="2" PostId="18385" RevisionGUID="42257d6c-47dd-4432-aec4-2dbe86367c2a" CreationDate="2013-03-01T01:19:11.540" UserId="18160" Text="One of the most difficult things I have a long way to go on learning how to do is filling out the soundtrack with realistic foley.&#xD;&#xA;&#xD;&#xA;I am having a bit of trouble with a particular short film I'm working on, and it's with the foley. There is little to no production sound to pull from, and I am trying my hardest to place in as much stuff to really make it sound &quot;real&quot;. I have worked on it quite a bit and it still feels and sounds to me like I'm missing quite a bit of things, and that it sounds like dead, lifeless recordings edited together and not a realistic film.&#xD;&#xA;&#xD;&#xA;So how do you really make it sound realistic?&#xD;&#xA;&#xD;&#xA;For those foley masters out there, how do you go about creating super-realistic foley tracks from scratch? If you were given a short film or scene to create the foley for, where do you start? How do you turn it into a smooth, full, and realistic sounding track?&#xD;&#xA;&#xD;&#xA;And, what's your average time expectancy for about a minute of full start-from-scratch sound design on a scene where nothing special really happens, just walking around and talking?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29732" PostHistoryTypeId="1" PostId="18385" RevisionGUID="42257d6c-47dd-4432-aec4-2dbe86367c2a" CreationDate="2013-03-01T01:19:11.540" UserId="18160" Text="Filling out the foley tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="29733" PostHistoryTypeId="3" PostId="18385" RevisionGUID="42257d6c-47dd-4432-aec4-2dbe86367c2a" CreationDate="2013-03-01T01:19:11.540" UserId="18160" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29734" PostHistoryTypeId="2" PostId="18386" RevisionGUID="99467727-620d-4d17-88db-4d646c006f09" CreationDate="2013-03-01T04:38:38.143" UserId="4442" Text="Could hardly say I'm a master not even nearly, but what do you usually start with? do you try to hit the things that are on screen, or do you start with the ambience? I'd probably start with a good ambience first so it tunes your ears for it. I feel like your stuff will fit in better ultimately, but if i started with footsteps or something, i'd never be able to hear the broader picture (does that make any sense?)&#xD;&#xA;&#xD;&#xA;Also i won't even speak on time expectancy because i work (to me at least) slowly as shit." ContentLicense="CC BY-SA 3.0" />
  <row Id="29735" PostHistoryTypeId="2" PostId="18387" RevisionGUID="39b362b1-5425-4673-8324-3695afd381c7" CreationDate="2013-03-01T04:48:37.233" UserId="1228" Text="Here's what I'd do, as a dialogue editor at heart myself:&#xD;&#xA;&#xD;&#xA;- **cut the scene across a set of DX A-F tracks** or more, if needed, but I shoot for using only A-F&#xD;&#xA;&#xD;&#xA;- **split the 'angles' out according to the noise/hum characteristic** this may be something Purcell's book didn't address, and is also why I consider his book to be a great introduction to dialogue editorial, but by no means a complete bible - the meat and potatoes of successful dialogue editorial is that most issues are all about situational context, strategy, and sideways/adaptive/intuitive thinking.  In a normal scenario you might split out the OMF onto DX tracks by character or shot angle, but intuitively the first way I would approach the scene you desribe when I roll over it in the OMF is splitting out the angles according to the noise problem.&#xD;&#xA;&#xD;&#xA;- **backfill accordingly, overlapping noise is OK** the idea here is to smooth everything over gently, especially if the noise bumps in timbre between angles (aside from the harmonic issue).  If this means that sometimes the backfill on two different tracks is running simultaneously at times, then there's nothing wrong with that - it's all about making a smooth-playing dialogue track.  Editing like this may take a little more time, but it pays off at the stage because when the reel is tossed up, even with the noise issues, it 'plays' and allows the mixer to focus on specific noise issues like the hum without running the risk of disrupting the flow (or having the find/create the flow!)&#xD;&#xA;&#xD;&#xA;- **Notch EQ on the DX track-level**  *&lt;&lt; this is particularly if you're doing your own predub, they way I like to predub my dialogue, otherwise a mixer will likely do this instead or have their own method.*  This is where &quot;write to all enabled&quot; is a GODSEND.  basically, you can select the entire , say, 20 second area of dialogue from fade in to fade out where a certain hum or buzz is, bypass the automation and enable loop playback so you can spend time finding and notching out the noise problem.  Then, before enabling automation, hit the &quot;Write to all enabled&quot; command, and you're pasted that EQ notch (even if you did multiple ones inside the plugin) across the ENTIRE selection.  This is where having done your split outs according to the noise/hum problem makes this method so easy, because you're allowing a dedicated EQ to each isolated noise problem/track instead of dancing between noise types sharing the same track.&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;After all of that, I recommend trying some real time broadband noise suppression techniques using multiband processors.  Cedar DNS is the king but often prohibitively expensive, but the Waves C4 works exceeding well, and for it's price as a single plugin it's a total steal (I've since been on some major dub stages where I've seen the C4 being used in this way too, so I'm definitely not the only one who is using this method nor the only one having success with it).&#xD;&#xA;&#xD;&#xA;This is the rundown on it with a before/after sample:&#xD;&#xA;&#xD;&#xA;http://www.stavrosound.com/blog/wordpress/2011/07/dialogue-clean-out-the-noise/&#xD;&#xA;&#xD;&#xA;Check out the screenshot of the session too - that sample had harmonic buzz problems from lights in the room and the RED, but the way those edits are laid out are basically a visual representation of what I said above.  SO that should hopefully provide some context for what I said and provide you some tangible results.  Good luck!&#xD;&#xA;&#xD;&#xA;P.S. I'm not against FFT-based processors like RX or XNoise, they definitely have a place in dialogue cleanup and can be valuable.  In my opinion though, I don't prefer them at all as a first line of defense.  I prefer to evaluate my dialogue through a proper predub sidechain with something like a C4, and only then determine if I need to apply some FFT noise suppression as a roll over a line of dialogue.  Sometimes it's quite magical when gently 'lifting' a teeny bit of noise with something like a C4 can do to your dialogue." ContentLicense="CC BY-SA 3.0" />
  <row Id="29736" PostHistoryTypeId="2" PostId="18388" RevisionGUID="fa87a11a-8dd1-4cfd-bb08-20f431392435" CreationDate="2013-03-01T05:21:46.913" UserId="5799" Text="Layer it up.&#xD;&#xA;Footsteps&#xD;&#xA;Cloth movement&#xD;&#xA;Breaths (if necessary)&#xD;&#xA;prop movement&#xD;&#xA;&#xD;&#xA;add in a bit of ambience (roomtone, street out window or something to reflect where you are.&#xD;&#xA;&#xD;&#xA;mix them all with a bit of the same verb to 'glue' them together a bit.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29737" PostHistoryTypeId="2" PostId="18389" RevisionGUID="bf65d60d-f644-4163-8a4b-3df59fda261a" CreationDate="2013-03-01T06:45:35.597" UserId="61" Text="The first thing I do when I'm beginning a film is to WATCH it. (Better yet, I READ the script BEFORE I start to design anything). You only get one first impression. I take in the look and feel of it, the attitude and mood, and try to recognize any overarching themes or ideas the director is trying to convey. Only then do I start listening to sounds or thinking about what to record.&#xD;&#xA;&#xD;&#xA;That said, my first task is to build backgrounds. Airs, winds, traffics, wallas, nature, and spotted BGs (horns, phones, anything singular and specific to the scene) are my go-to food groups. Once built I have a solid foundation to start working on the sounds of things you see.&#xD;&#xA;&#xD;&#xA;Foley cueing comes next. This takes a LOT of practice and patience! Proper cueing is really critical to getting usable material from your foley walkers and recorder; overcueing could cause them to rush through everything, constantly racing the clock, while undercueing will give you less material to work with in the final mix. Also, your cues need to be DESCRIPTIVE! &quot;FS dirt&quot; just won't cut it; &quot;FS combat boot on wet gravel&quot; is much more appropriate. &#xD;&#xA;Usually there is another team member that specializes in foley but on occasion I have needed to fill that position - and it's not to be taken lightly. Sharp attention to detailed foley cueing and supervision can be the difference between a dead track and one with tons of life to it. It's all of those little nuances that add up to make a soundtrack that really speaks.&#xD;&#xA;&#xD;&#xA;If you don't have access to a foley crew and are performing the foley yourself, I highly recommend that you still go through the cueing process, carefully watching the scenes over and over again, noting each and every event that needs attention. Then, remove yourself to a quiet recording area with the appropriate props and start working. It will take experimentation and patience but hopefully you'll find a wealth of usable material when you're done. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29738" PostHistoryTypeId="2" PostId="18390" RevisionGUID="b0032ccf-beb8-4f45-a0ea-10b92a5ec0cb" CreationDate="2013-03-01T10:28:03.430" UserId="542" Text="I am still a beginner, but here are the few things I learned so far:&#xD;&#xA;&#xD;&#xA;-It's important to leave enough 'air' (distance between mic and fole prop) when recording.&#xD;&#xA;&#xD;&#xA;-a thing I recently learned is to glue the tracks together by using an appropiate mono verb on the tracks (even though this falls more into the mix than in the actual recording/editing)&#xD;&#xA;&#xD;&#xA;Usually I try to do footsteps first,which is (for me) one of the hardest parts. Then cloth and then everThing else according to it's importance. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29740" PostHistoryTypeId="2" PostId="18392" RevisionGUID="05507801-7290-432e-8391-11d31f2400b6" CreationDate="2013-03-01T16:34:52.480" UserId="5800" Text="Off the top of my head I'm thinking &quot;Hanna&quot; and &quot;The bourne&quot; films.&#xD;&#xA;Working on something and was hoping to get inspired.&#xD;&#xA;Anyone think of some really &quot;big&quot; fight scenes from recent films? Not kung fu hustle type. I'm working on a project thats two guys against a crowd type a deal?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29741" PostHistoryTypeId="1" PostId="18392" RevisionGUID="05507801-7290-432e-8391-11d31f2400b6" CreationDate="2013-03-01T16:34:52.480" UserId="5800" Text="Really good modern fight scenes!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29742" PostHistoryTypeId="3" PostId="18392" RevisionGUID="05507801-7290-432e-8391-11d31f2400b6" CreationDate="2013-03-01T16:34:52.480" UserId="5800" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29743" PostHistoryTypeId="2" PostId="18393" RevisionGUID="4efb38e3-5cfa-4a2b-89a9-519a606b6e03" CreationDate="2013-03-01T16:42:42.023" UserId="362" Text="Hi All,&#xD;&#xA;&#xD;&#xA;Does anyone know where I can get a free or cheap decent underwater or 'river' IR? In the past I have loaded the sound of a stone being dropped in water as my IR but I want to see if there's a better option.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;Jeremy" ContentLicense="CC BY-SA 3.0" />
  <row Id="29744" PostHistoryTypeId="1" PostId="18393" RevisionGUID="4efb38e3-5cfa-4a2b-89a9-519a606b6e03" CreationDate="2013-03-01T16:42:42.023" UserId="362" Text="Underwater Convolution IRs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29745" PostHistoryTypeId="3" PostId="18393" RevisionGUID="4efb38e3-5cfa-4a2b-89a9-519a606b6e03" CreationDate="2013-03-01T16:42:42.023" UserId="362" Text="&lt;ir&gt;&lt;convolution&gt;&lt;underwater&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29746" PostHistoryTypeId="2" PostId="18394" RevisionGUID="475d3291-7ed7-4c7d-81d9-bd739454bbbd" CreationDate="2013-03-01T17:05:06.807" UserId="6499" Text="I get a wide array of video file types despite me specifying what I want.  I was wondering what does everyone use to convert the video to something more manageable for pro tools?&#xD;&#xA;&#xD;&#xA;Many times I want to convert something that is in H.264 Compression to something less processor intensive.  Motion Jpeg has been something that I have read about people using but I have not really been too successful in being able to get to that format.  I like H.264 for the quicker file transfers but once I get it to my system I do not mind the file being larger." ContentLicense="CC BY-SA 3.0" />
  <row Id="29747" PostHistoryTypeId="1" PostId="18394" RevisionGUID="475d3291-7ed7-4c7d-81d9-bd739454bbbd" CreationDate="2013-03-01T17:05:06.807" UserId="6499" Text="What do you use for video file conversion?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29748" PostHistoryTypeId="3" PostId="18394" RevisionGUID="475d3291-7ed7-4c7d-81d9-bd739454bbbd" CreationDate="2013-03-01T17:05:06.807" UserId="6499" Text="&lt;video&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29749" PostHistoryTypeId="2" PostId="18395" RevisionGUID="5df587a8-cb81-4835-b5ce-262f29a43a95" CreationDate="2013-03-01T17:15:48.223" UserId="432" Text="I use MPEG Streamclip from Squared 5. It's free, and it transcodes just about everything out there." ContentLicense="CC BY-SA 3.0" />
  <row Id="29750" PostHistoryTypeId="2" PostId="18396" RevisionGUID="33dc62fa-c2e0-41ac-9288-035e3f160a5c" CreationDate="2013-03-01T17:34:54.923" UserId="1228" Text="I just use Quiktime Pro and force the outpot to Motion / Photo JPEG since it plays nice with ProTools, but retains higher quality than DVNTSC.  Works simple enough for me when I'v got everything under the sun between H.264 and ProRes.  For me, retaining exact 1:1 fidelity isn't that important to me - te slight inherent 'lossy' quality of PJPG is't that noticeable for the work we do, it's mininal at best.&#xD;&#xA;&#xD;&#xA;I will vouch for DNxHD too.  One time I had a show's reels sent to me in this format, a gorgeously beautiful and detailed 2k output and it actually played as smooth as butter in ProTools.  It's a free codec add-on for QT Pro offered by Avid." ContentLicense="CC BY-SA 3.0" />
  <row Id="29751" PostHistoryTypeId="2" PostId="18397" RevisionGUID="c280c534-d7fa-4d53-8829-1405053e6ffa" CreationDate="2013-03-01T17:49:59.920" UserId="61" Text="The final fist fight at the end of &quot;Gangster Squad&quot; was expertly constructed and is a great example of a realistic take on two men trying to beat each other into submission." ContentLicense="CC BY-SA 3.0" />
  <row Id="29752" PostHistoryTypeId="2" PostId="18398" RevisionGUID="3c2a29ad-fc6d-42a3-b0de-76ba13fbcf8f" CreationDate="2013-03-01T21:07:18.633" UserDisplayName="user49" Text="pitched down water bubbles" ContentLicense="CC BY-SA 3.0" />
  <row Id="29753" PostHistoryTypeId="2" PostId="18399" RevisionGUID="3b927e3c-ad49-4c99-ab7f-7cf84d9e7e9e" CreationDate="2013-03-01T23:54:44.233" UserId="18160" Text="Jay, you're so humble about it... hehe. That was an extremely well done scene!!!&#xD;&#xA;&#xD;&#xA;Columbiana has some great scenes,&#xD;&#xA;&#xD;&#xA;Knight and Day had some good fist fighting on the airplane,&#xD;&#xA;&#xD;&#xA;Mission Impossible 4 ending scene inside the parking garage,&#xD;&#xA;&#xD;&#xA;The Warrior had great sequences,&#xD;&#xA;&#xD;&#xA;Fight Club for sure,&#xD;&#xA;&#xD;&#xA;Great sounding fight scenes in Lawless, as well. (I especially liked the one where Shia LaBeouf gets pulverized)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But, my all-time favorite fist-fighting scene ever was Indiana Jones against the gigantic Nazi in front of the airplane trying to take off (Lost Ark? Forget which one it was in). Those punches were epic - so much so that I instantly recognized them being re-used in the newest one (Crystal Skull)." ContentLicense="CC BY-SA 3.0" />
  <row Id="29754" PostHistoryTypeId="2" PostId="18400" RevisionGUID="432041f8-e146-49fc-ba46-246b647060d1" CreationDate="2013-03-02T04:03:44.070" UserId="4418" Text="Not an IR, but a great library to help create the mood&#xD;&#xA;&#xD;&#xA;http://www.tonsturm.com/files/d7b786b29f6e37689f7c0f8ea7a705b5-21.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="29755" PostHistoryTypeId="2" PostId="18401" RevisionGUID="f3c159e7-ba98-4ac5-b161-4b935a54d5ec" CreationDate="2013-03-02T05:27:44.467" UserId="61" Text="I did this just a few months back for Gangster Squad. Someone shoots a pistol off right next to another guys ear. I used signal generator to generate a pure sine wave at a high frequency (don't remember the exact one right now) and it worked like a charm.  More people commented on that than I was expecting!&#xD;&#xA;&#xD;&#xA;FWIW I have first-hand experience with this sound in real life; I was nearly struck by lightning years ago and the high decibel level of that strike was absolutely terrifying. Immediately after the strike my hearing cut out and all I could hear for about 15 seconds was that tone. So yeah, I know what it sounds like! " ContentLicense="CC BY-SA 3.0" />
  <row Id="29756" PostHistoryTypeId="2" PostId="18402" RevisionGUID="5b6e0ace-8482-4a3d-8e7a-4a6496a59f86" CreationDate="2013-03-02T07:21:29.827" UserDisplayName="user80" Text="The sound is called Tinnitus http://www.tinnitus.org.uk/what-is-tinnitus.  I was creating this sound yesterday and used the signal generator in Pro Tools to create a 10 kHz sine wave." ContentLicense="CC BY-SA 3.0" />
  <row Id="29760" PostHistoryTypeId="5" PostId="18402" RevisionGUID="98da94f1-2114-419b-b19c-ffecb9b8cb9f" CreationDate="2013-03-02T10:49:30.383" UserDisplayName="user80" Comment="added 57 characters in body" Text="The sound is called Tinnitus http://www.tinnitus.org.uk/what-is-tinnitus.  I was creating this sound yesterday and used the signal generator in Pro Tools to create a 10 kHz sine wave, which was then phased a little to give a slight pulsing." ContentLicense="CC BY-SA 3.0" />
  <row Id="29761" PostHistoryTypeId="2" PostId="18406" RevisionGUID="48defd03-0c79-4a02-9a69-156ee1264d0f" CreationDate="2013-03-02T12:06:35.657" UserId="542" Text="Sine three months I have a soft (but annoying) Tinnitus on both ears. So far the doctor checked my ears,  my head cia a CT, xray'ed my backbone and so on and so on.&#xD;&#xA;Since three months are a long time to live with this hing, I start to wonder if it will ever disappear again or if I have to get used to it.&#xD;&#xA;&#xD;&#xA;So after this long intruduction comes the actual question :) :&#xD;&#xA;&#xD;&#xA;Does anybody of you have a Tinnitus or something simular? Do you think, that it is a big problem if you want to work in sound? &#xD;&#xA;&#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="29762" PostHistoryTypeId="1" PostId="18406" RevisionGUID="48defd03-0c79-4a02-9a69-156ee1264d0f" CreationDate="2013-03-02T12:06:35.657" UserId="542" Text="Does anybody have a Tinnitus?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29763" PostHistoryTypeId="3" PostId="18406" RevisionGUID="48defd03-0c79-4a02-9a69-156ee1264d0f" CreationDate="2013-03-02T12:06:35.657" UserId="542" Text="&lt;health&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29764" PostHistoryTypeId="5" PostId="18406" RevisionGUID="0a50b8f1-339b-4a8d-b266-29d97933caee" CreationDate="2013-03-02T13:26:10.663" UserDisplayName="user80" Comment="deleted 2 characters in body" Text="Sine three months I have a soft (but annoying) Tinnitus on both ears. So far the doctor has checked my ears,  my head via a CT, xray'ed my backbone and so on and so on.&#xD;&#xA;Since three months is a long time to live with this thing, I start to wonder if it will ever disappear again or if I have to get used to it.&#xD;&#xA;&#xD;&#xA;So after this long intruduction comes the actual question :) :&#xD;&#xA;&#xD;&#xA;Do any of you have a Tinnitus or something similar? Do you think, that it is a big problem if you want to work in sound? &#xD;&#xA;&#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="29765" PostHistoryTypeId="2" PostId="18407" RevisionGUID="3bffd815-1220-4ff4-8129-9e4ca7edd106" CreationDate="2013-03-02T13:33:10.613" UserDisplayName="user80" Text="I am lucky, in that I don't have tinnitus, but I could easily have had.  I started out in live sound and tinnitus was common amongst live sound engineers, especially monitor engineers.  Now it is acceptable to mix whilst wearing earplugs, but back then, late 80s early 90s it definitely was not acceptable.  &#xD;&#xA;&#xD;&#xA;We all of us have some form of hearing damage, even if we have been careful, it is called Presbycusis. http://www.ncbi.nlm.nih.gov/pubmedhealth/PMH0002040/  It is definitely possible to work with some form of hearing damage, the important thing is to understand how it affects your work and adjust your work accordingly." ContentLicense="CC BY-SA 3.0" />
  <row Id="29766" PostHistoryTypeId="2" PostId="18408" RevisionGUID="d07add7c-5544-4ad1-8973-3503a259f403" CreationDate="2013-03-02T14:26:51.450" UserId="208" Text="Having a clear A major beeeep tone, on my right ear, since 2000.&#xD;&#xA;First year or so, I was freaking out. The more I was thinking about it, the worse it got.&#xD;&#xA;Especially when trying to go to sleep, was hard. The quiet nights made it really loud.&#xD;&#xA;Through the years I have learned to live with it. My mind almost filters it out now, when I going to bed. &#xD;&#xA;Still, when coming home from a situation with lots of people etc. its there, reminding me to cover my ears.&#xD;&#xA;Im wearing earplugs (those yellow thingies) when I listen to loud music, or record loud sources, and have not had any audio work related problems because of the T.&#xD;&#xA;&#xD;&#xA;Quit smoking, drinking alc. and coffee, and do alot of exercise.This will help you alot! Trying not to think too much about it, will too!&#xD;&#xA;&#xD;&#xA;I did this, and I have got my hands full, with 2 children now. I dont have trouble falling a sleep at night anymore :D&#xD;&#xA;&#xD;&#xA;Sorry to hear about your tinnitus. It sucks, but hang in there. You can work around it!&#xD;&#xA;&#xD;&#xA;Best wishes,&#xD;&#xA;&#xD;&#xA;Mikkel&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29767" PostHistoryTypeId="2" PostId="18409" RevisionGUID="638328a4-0b48-45b2-a907-61a4efcec21f" CreationDate="2013-03-02T14:42:12.950" UserId="5803" Text="If you can get hold of it (public library?), an original construction article:- Popular Electronics June 1964 (!). Used 37 , 3/8&quot; ext diam Ali tubes Only one microphone is used." ContentLicense="CC BY-SA 3.0" />
  <row Id="29768" PostHistoryTypeId="2" PostId="18410" RevisionGUID="cc42b2a7-9ac2-43a4-9de7-c166bc2c679b" CreationDate="2013-03-02T15:48:39.483" UserId="6519" Text="It's completed as i promised :) .I hope i can help you with my video.&#xD;&#xA;&#xD;&#xA;[Proaim BMP60 R Pro Blimp (60Cm) Windscreen][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=GZDob8xZyyQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="29770" PostHistoryTypeId="2" PostId="18412" RevisionGUID="0b149d0e-baf4-4731-8661-e25b02050e87" CreationDate="2013-03-02T16:33:18.113" UserId="3754" Text="I think its a brilliant idea, however just make sure it doesn't make you lazy. Make sure you don't lose the skill of evaluating and judging a recording sessions peaks." ContentLicense="CC BY-SA 3.0" />
  <row Id="29771" PostHistoryTypeId="2" PostId="18413" RevisionGUID="e721f82c-aa11-46e0-bec7-94ac42e8599b" CreationDate="2013-03-02T20:54:29.690" UserId="3396" Text="**NO.**&#xD;&#xA;&#xD;&#xA;You cannot quantify creativity or talent. &#xD;&#xA;&#xD;&#xA;To the person wishing for a union we have one (thank god) and the answer about the M.P.S.E. was also correct. We have those sweet initials for our credits, &quot;M.P.S.E.&quot;, I always use them when allowed.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29772" PostHistoryTypeId="2" PostId="18414" RevisionGUID="9b3fab46-7ed1-42a2-a60e-4c450bfd3aa7" CreationDate="2013-03-03T03:33:37.270" UserId="5805" Text="If all you have is an analog synth, I hope you have at least 2 oscillators.  &#xD;&#xA;&#xD;&#xA;Fiddle with the frequency/resonance settings to make the oscillators sound less like music and more like footsteps, or just use a noise oscillator if your synth has one.&#xD;&#xA;&#xD;&#xA;Set the ADSR of OSC1 to a fast attack, and have OSC2 a little bit behind it.  OSC1 is the heel strike and the toe strike is OSC2. Play with the sustain to get the length of the step sounds.&#xD;&#xA;&#xD;&#xA;Use an LFO to slightly vary the pitch of both oscillators to make each hit sound a little different.&#xD;&#xA;&#xD;&#xA;Add some reverb and shorten the attack for hard floor sounds.  Use some PWM and add a little sustain to OSC2 for walking in gravel sounds.&#xD;&#xA;&#xD;&#xA;Have fun!&#xD;&#xA;&#xD;&#xA;Dan&#xD;&#xA;  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29773" PostHistoryTypeId="2" PostId="18415" RevisionGUID="ef57f72e-9551-42a1-84cd-82145f7ab388" CreationDate="2013-03-03T05:06:09.817" UserId="3890" Text="I've always been fascinated with 7.83Hz, or the Schumann Resonance.&#xD;&#xA;&#xD;&#xA;&quot;Since life began, the Earth has been surrounding all living things with this natural vibration. These naturally occurring Schumann Waves are an essential ingredient of all biological life on Earth. Research seems to suggest that our biological system is &quot;tuned&quot; into the Schumann Frequency of our planet.&#xD;&#xA;&#xD;&#xA;Scientists have also confirmed that these Vibrations are not only an essential ingredient of life, they in fact have shaped our life, and thru the eons of time have determined the frequency spectrum of the human brain. The Schumann Resonance was first used for healing by Dr. Ludwig in Germany , who is known as the Father of Magnetic Therapy. Dr. Ludwig convinced NASA to install Schumann Resonance devices on spacecraft to have a stabilizing effect on the astronaut's health in space.&quot; &#xD;&#xA;&#xD;&#xA;Excerpt from:&#xD;&#xA;http://www.helptostop.co.uk/frequency.html&#xD;&#xA;&#xD;&#xA;There's also a wiki page:&#xD;&#xA;http://en.wikipedia.org/wiki/Schumann_resonances" ContentLicense="CC BY-SA 3.0" />
  <row Id="29774" PostHistoryTypeId="2" PostId="18416" RevisionGUID="1fc15301-7c5f-4ae2-bb1d-da917c16b89d" CreationDate="2013-03-03T05:44:44.523" UserId="407" Text="I use Adobe Media Encoder on PC - I also deal with alot of different video formats, and often have to send videos out to outsourcing companies. I've never had any complaints about my videos playback in protools etc. when encoded this way. Before I got the software it used to be a nightmare trying to get the right format to runback smoothly in Protools for everyone." ContentLicense="CC BY-SA 3.0" />
  <row Id="29775" PostHistoryTypeId="2" PostId="18417" RevisionGUID="afc9358e-b9b0-40e6-8945-b0added47cf5" CreationDate="2013-03-03T08:24:28.330" UserId="7642" Text="Apple ProRes also works fine. You need the drive and bus speed to handle it though.&#xD;&#xA;&#xD;&#xA;Codecs can be important. Especially with PT that doesn't seem to like h264. But with Nuendo and other DAWs it works just fine. &#xD;&#xA;&#xD;&#xA;H264 always needs to have key frames on each frame in QT language. Otherwise it won't be frame accurate, and it will look like shit when pressing play and until it has hit the first key frame. h264 also requires  more CPU power when decompressing the film, so all these factors in total makes it into a less than desirable codec in most cases.&#xD;&#xA;&#xD;&#xA;Apple ProRes has several sub codecs. It's 4444, 422(HQ), 422, LT and Proxy. &#xD;&#xA;4444 is for really high quality and keeps alpha channels and color space at the highest level while still having a lower data rate compared to uncompressed. &#xD;&#xA;422(HQ) is when you really need that great picture on a really big screen to impress clients or when you go to a dubstage, but don't need full color space or alpha channels. &#xD;&#xA;422 is still great looking HD codec and we often use it in our dubstage as it is efficient and still looks pretty good. &#xD;&#xA;LT looks quite good still and is a pretty good choice for Sound editing but won't really be good enough for the big screen of a dubstage. &#xD;&#xA;Proxy is a lower quality output that most folks would accept for offline and sound editing, I don't really think it does though and although its at the same data rate as the Avid DNx36, it does not look as good.&#xD;&#xA;&#xD;&#xA;Avoids DNx codec is pretty similar to ProRes. The codec names are formatted like DNXnn, where nn is the data rate. &#xD;&#xA;DNX220x best.&#xD;&#xA;DNx220 almost best.&#xD;&#xA;DNx145 still great.&#xD;&#xA;DNx36 pretty darn good considering its low data rate. Can even be used on a dubstage with decent quality, but artefacts will be visible.&#xD;&#xA;&#xD;&#xA;In my opinion since there are the above choices of great codecs there really is no reason to use anything else really. If your machines can't handle ProRes Proxy or DNx36, you really should get a new machine.&#xD;&#xA;&#xD;&#xA;Also a good advice is to always stay at standard resolutions. &#xD;&#xA;SD 720x576 in Pal, 720x486 in NTSC.&#xD;&#xA;HD 1280x720, 1920x1080.&#xD;&#xA;Doing this means that the signals can use standard video transmission systems and interconnections without needing to be realtime converted at the output, if its even possible (dependant on what card is used).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any questions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29776" PostHistoryTypeId="5" PostId="18417" RevisionGUID="26163aa4-5d6e-4ca6-8f6d-10230bcf7698" CreationDate="2013-03-03T08:32:16.637" UserId="7642" Comment="added 207 characters in body" Text="Apple ProRes also works fine. You need the drive and bus speed to handle it though.&#xD;&#xA;&#xD;&#xA;Codecs can be important. Especially with PT that doesn't seem to like h264. But with Nuendo and other DAWs it works just fine. &#xD;&#xA;&#xD;&#xA;H264 always needs to have key frames on each frame in QT language. Otherwise it won't be frame accurate, and it will look like shit when pressing play and until it has hit the first key frame. h264 also requires  more CPU power when decompressing the film, so all these factors in total makes it into a less than desirable codec in most cases.&#xD;&#xA;And when adding key frames to all frames, its not a very efficient codec compared to the other choices below and it will use a lot more CPU on playback.&#xD;&#xA;H264 is a great preview and internet format though.&#xD;&#xA;&#xD;&#xA;Apple ProRes has several sub codecs. It's 4444, 422(HQ), 422, LT and Proxy. &#xD;&#xA;4444 is for really high quality and keeps alpha channels and color space at the highest level while still having a lower data rate compared to uncompressed. &#xD;&#xA;422(HQ) is when you really need that great picture on a really big screen to impress clients or when you go to a dubstage, but don't need full color space or alpha channels. &#xD;&#xA;422 is still great looking HD codec and we often use it in our dubstage as it is efficient and still looks pretty good. &#xD;&#xA;LT looks quite good still and is a pretty good choice for Sound editing but won't really be good enough for the big screen of a dubstage. &#xD;&#xA;Proxy is a lower quality output that most folks would accept for offline and sound editing, I don't really think it does though and although its at the same data rate as the Avid DNx36, it does not look as good.&#xD;&#xA;&#xD;&#xA;Avoids DNx codec is pretty similar to ProRes. The codec names are formatted like DNXnn, where nn is the data rate. &#xD;&#xA;DNX220x best.&#xD;&#xA;DNx220 almost best.&#xD;&#xA;DNx145 still great.&#xD;&#xA;DNx36 pretty darn good considering its low data rate. Can even be used on a dubstage with decent quality, but artefacts will be visible.&#xD;&#xA;&#xD;&#xA;In my opinion since there are the above choices of great codecs there really is no reason to use anything else really. If your machines can't handle ProRes Proxy or DNx36, you really should get a new machine.&#xD;&#xA;&#xD;&#xA;Also a good advice is to always stay at standard resolutions. &#xD;&#xA;SD 720x576 in Pal, 720x486 in NTSC.&#xD;&#xA;HD 1280x720, 1920x1080.&#xD;&#xA;Doing this means that the signals can use standard video transmission systems and interconnections without needing to be realtime converted at the output, if its even possible (dependant on what card is used).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any questions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29779" PostHistoryTypeId="2" PostId="18420" RevisionGUID="d55c8e0e-37ae-4374-9a48-7bacd86c5e50" CreationDate="2013-03-03T11:02:54.910" UserId="1185" Text="The point of any academic course is not to provide training (that would be a training course), but to assess the academic level that the students can operate at, in the titles subject domain. In this case the level is Masters, although Iain does not say if it is MA or MSc, and the subject domain happens to be sound design.  It is usual at a validation of any course that the course team are asked to demonstrate that there are input and output markets for the course - there is no point validating a course with no input or output.  It is usual to look at &quot;demand&quot; for the input and &quot;jobs&quot; for the output, which is probably why this question was raised.  &#xD;&#xA;&#xD;&#xA;Do sound designers &quot;**need**&quot; a qualification to get a job?  Clearly the answer would be no. There are many avenues that can lead to a career in sound design and as it is practice-based, experience and creativity are always needed.  However, if you look at the masters level academic benchmarks: knowledge, understanding, analysis, critique, synthesis, evaluation, communication, etc. then I think you start to get a different answer.  (I see all of these benchmarks exhibited every time I look on SSD.)  Having a Masters in Sound Design just says &quot;I am capable of operating at the appropriate academic level for this subject domain&quot;.&#xD;&#xA;&#xD;&#xA;Clearly a freshly graduated student is not just going to walk straight into a sound design role on a feature movie.  However, if they were to apply for a junior post the employer would be able to know &quot;This person has some of the academic skills needed.......now lets see what there practical and creative skills are like.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29780" PostHistoryTypeId="2" PostId="18421" RevisionGUID="de051ef9-949d-4cfa-a5ef-d11181e9551b" CreationDate="2013-03-03T12:06:39.203" UserId="5673" Text="We watched the Human centipede 2 at uni. The sound design is outstanding and extremely powerful but I would never watch this terrible film again." ContentLicense="CC BY-SA 3.0" />
  <row Id="29781" PostHistoryTypeId="5" PostId="18421" RevisionGUID="5d9ba0df-667d-4fe1-84d2-259bae2e582c" CreationDate="2013-03-03T12:14:57.027" UserId="5673" Comment="added 26 characters in body" Text="We watched the uncensored version of the Human centipede 2 at uni. The sound design is outstanding and extremely powerful but I would never watch this terrible film again." ContentLicense="CC BY-SA 3.0" />
  <row Id="29782" PostHistoryTypeId="2" PostId="18422" RevisionGUID="485efba7-ff82-446b-a35c-131346f8dbb9" CreationDate="2013-03-03T12:17:26.547" UserId="5673" Text="I used a glass hit as an impulse for fish in a fish tank POV." ContentLicense="CC BY-SA 3.0" />
  <row Id="29783" PostHistoryTypeId="5" PostId="18420" RevisionGUID="4fdae39a-fb16-4d20-bf9a-228b43ef0b2e" CreationDate="2013-03-03T12:59:52.767" UserId="1185" Comment="added 533 characters in body" Text="The point of any academic course is not to provide training (that would be a training course), but to assess the academic level that the students can operate at, in the titles subject domain. In this case the level is Masters, although Iain does not say if it is MA or MSc, and the subject domain happens to be sound design.  It is usual at a validation of any course that the course team are asked to demonstrate that there are input and output markets for the course - there is no point validating a course with no input or output.  It is usual to look at &quot;demand&quot; for the input and &quot;jobs&quot; for the output, which is probably why this question was raised.  &#xD;&#xA;&#xD;&#xA;Do sound designers &quot;**need**&quot; a qualification to get a job?  Clearly the answer would be no. There are many avenues that can lead to a career in sound design and as it is practice-based, experience and creativity are always needed.  However, if you look at the masters level academic benchmarks: knowledge, understanding, analysis, critique, synthesis, evaluation, communication, etc. then I think you start to get a different answer.  (I see all of these benchmarks exhibited every time I look on SSD.)  Having a Masters in Sound Design just says &quot;I am capable of operating at the appropriate academic level for this subject domain&quot;.&#xD;&#xA;&#xD;&#xA;Clearly a freshly graduated student is not just going to walk straight into a sound design role on a feature movie.  However, if they were to apply for a junior post the employer would be able to know &quot;This person has some of the academic skills needed.......now lets see what there practical and creative skills are like.&quot;&#xD;&#xA;&#xD;&#xA;EDIT: I should also point out that I am not saying you cannot gain academic skills without doing a qualification.  However, it may offer a speedier path to enlightenment.  I often tell my students that having a masters will not mean that they will be able miss rungs on the career ladder, but it may offer a speedier accent once they are on the ladder and may open up other ladders that they had not thought about.  However, as discussed by others here, they will require some talent as well if they are to work in sound design. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29784" PostHistoryTypeId="5" PostId="18335" RevisionGUID="03c7e250-7317-4a9b-9649-cd19ff45cf49" CreationDate="2013-03-03T15:39:07.837" UserDisplayName="user80" Comment="added 6 characters in body; added 10 characters in body" Text="As part of my work, I teach sound design, I am designing a new online masters degree (MSc) in the subject.&#xD;&#xA;&#xD;&#xA;During the process of validating the degree I was asked &quot;do sound designers need qualifications?&quot;  And my honest answer was no.  I know it was a long time ago but when I left secondary school I became a sound engineer and eventually a sound designer through industrial experience.  I do now have relevant qualifications, but they were not needed to break into the industry or to progress.&#xD;&#xA;&#xD;&#xA;So my question is this, should sound designers have a formal qualification in sound design?  And if so why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29785" PostHistoryTypeId="2" PostId="18423" RevisionGUID="9141b838-067d-4f03-aee3-bd0ca1ad63e8" CreationDate="2013-03-03T19:12:50.207" UserId="5738" Text="**&quot;Funny Games&quot;**!!! This movie still makes me nervous about letting my neighbors borrow eggs.&#xD;&#xA;&#xD;&#xA;the original is mind blowing -&#xD;&#xA;http://www.imdb.com/title/tt0119167/?ref_=fn_al_tt_2&#xD;&#xA;&#xD;&#xA;the remake is an incredible homage to the first -&#xD;&#xA;http://www.imdb.com/title/tt0808279/?ref_=fn_al_tt_1&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'd also have to day &quot;**Man Bites Dog**&quot;... but perhaps because I went into it thinking it was real. the 90s were a different time.&#xD;&#xA;&#xD;&#xA;http://www.imdb.com/title/tt0103905/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29786" PostHistoryTypeId="5" PostId="18423" RevisionGUID="40e120c1-190a-4cfb-9194-8f4bb51aeb32" CreationDate="2013-03-04T00:03:31.467" UserId="5738" Comment="spelling" Text="**&quot;Funny Games&quot;**!!! This movie still makes me nervous about letting my neighbors borrow eggs.&#xD;&#xA;&#xD;&#xA;the original is mind blowing -&#xD;&#xA;http://www.imdb.com/title/tt0119167/?ref_=fn_al_tt_2&#xD;&#xA;&#xD;&#xA;the remake is an incredible homage to the first -&#xD;&#xA;http://www.imdb.com/title/tt0808279/?ref_=fn_al_tt_1&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'd also have to say &quot;**Man Bites Dog**&quot;... but perhaps that's because I went in thinking it was real. the 90s were a different time... http://www.imdb.com/title/tt0103905/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29787" PostHistoryTypeId="2" PostId="18424" RevisionGUID="a313d337-38e2-44c8-981a-8262a6e1fe32" CreationDate="2013-03-04T09:11:11.303" UserId="4356" Text="Hello,&#xD;&#xA;&#xD;&#xA;I recieved an AAF-file (linked wave files) from an avid-system and started editing. When I zoom-in to the point where you usually can &quot;paint&quot; with the pencil tool, the cursor changes from the pen to a pointing finger and I cant remove any clicks and pops by drawing them out.&#xD;&#xA;&#xD;&#xA;The problem only occurs with the regions I got from avid, not with the ones I pasted afterwards.&#xD;&#xA;&#xD;&#xA;I had this problem before and thought of some data right problems. &#xD;&#xA;&#xD;&#xA;Anyone any ideas, explanations or workarounds?&#xD;&#xA;&#xD;&#xA;Thanks a lot!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29788" PostHistoryTypeId="1" PostId="18424" RevisionGUID="a313d337-38e2-44c8-981a-8262a6e1fe32" CreationDate="2013-03-04T09:11:11.303" UserId="4356" Text="ProTools 10 Problem with Pencil Tool" ContentLicense="CC BY-SA 3.0" />
  <row Id="29789" PostHistoryTypeId="3" PostId="18424" RevisionGUID="a313d337-38e2-44c8-981a-8262a6e1fe32" CreationDate="2013-03-04T09:11:11.303" UserId="4356" Text="&lt;pro-tools&gt;&lt;avid&gt;&lt;aaf&gt;&lt;rights&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29790" PostHistoryTypeId="2" PostId="18425" RevisionGUID="805b5807-b574-42d0-b94e-188e769183b2" CreationDate="2013-03-04T10:40:06.083" UserId="542" Text="Hm, maybe try to save it as a new session (save copy as) and check the files, if they are write protected. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29791" PostHistoryTypeId="2" PostId="18426" RevisionGUID="05f3ae31-12d9-4a3c-b06f-2ca9132e6aae" CreationDate="2013-03-04T12:27:19.347" UserId="5809" Text="Hello,&#xD;&#xA;&#xD;&#xA;Do you know a great collaborative field recording's website where you can post, share and download field recording's sound for free ?&#xD;&#xA;&#xD;&#xA;Thanks for your anwsers " ContentLicense="CC BY-SA 3.0" />
  <row Id="29792" PostHistoryTypeId="1" PostId="18426" RevisionGUID="05f3ae31-12d9-4a3c-b06f-2ca9132e6aae" CreationDate="2013-03-04T12:27:19.347" UserId="5809" Text="Collaborative website of Field Recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="29793" PostHistoryTypeId="3" PostId="18426" RevisionGUID="05f3ae31-12d9-4a3c-b06f-2ca9132e6aae" CreationDate="2013-03-04T12:27:19.347" UserId="5809" Text="&lt;field&gt;&lt;recording&gt;&lt;websites&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29794" PostHistoryTypeId="2" PostId="18427" RevisionGUID="8ee494db-53ea-4c8f-9412-27f76d2b65c0" CreationDate="2013-03-04T12:55:35.047" UserId="194" Text="closest answer is the [sound collector's club.][1]  Its not free, but its very cheap - and its super high quality, so well worth the price of admission.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://thesoundcollectorsclub.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29795" PostHistoryTypeId="2" PostId="18428" RevisionGUID="a38b312a-b46e-402e-a508-bcbd86b07372" CreationDate="2013-03-04T13:47:23.030" UserId="3179" Text="The Freesound Project&lt;br&gt;&#xD;&#xA;http://www.freesound.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29796" PostHistoryTypeId="2" PostId="18429" RevisionGUID="4499cbf9-7919-4f8b-b985-c46669d0f3e2" CreationDate="2013-03-04T13:49:41.613" UserId="1178" Text="Audio energy forms different kind of figures in different energy and pitch levels. http://www.youtube.com/watch?v=nO0bSSXmr1A" ContentLicense="CC BY-SA 3.0" />
  <row Id="29800" PostHistoryTypeId="2" PostId="18431" RevisionGUID="d0fa83f3-a171-4935-9f1a-e7143922f1bd" CreationDate="2013-03-04T14:30:26.707" UserId="1216" Text="Depending on how good your dutch is  (or your skills at translate.google.com) check out [this][1]  &#xD;&#xA;&#xD;&#xA;Disclaimer: I conceptualized and set this site up in collaboration with [the Dutch Instute of Sound and Vision][2]. It's got over 2300 professionally recorded sounds from archives and users. You can contribute also, but it's intended as a Dutch sound archive.  &#xD;&#xA;So it may not be very meaningful to contribute sounds from your country. But invite you to have a look at it. We use soundcloud by the way.&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://htpp://www.geluidvannederland.nl/about&#xD;&#xA;  [2]: http://www.beeldengeluid.nl/en" ContentLicense="CC BY-SA 3.0" />
  <row Id="29801" PostHistoryTypeId="2" PostId="18432" RevisionGUID="916e5759-5d96-4b87-a64f-1a6bf3f1588f" CreationDate="2013-03-04T14:36:06.887" UserId="985" Text="It's not directly a horror flic, but it made me feel very uncomfortable. Being John Malcovitch : All sounds from the body are treated like we hear them in our head, the eating, speaking, drinking. Quite a weird sound when you think about it." ContentLicense="CC BY-SA 3.0" />
  <row Id="29802" PostHistoryTypeId="5" PostId="18431" RevisionGUID="bdeb96e5-539d-4895-ac93-82c50cf45984" CreationDate="2013-03-04T15:21:44.943" UserId="1216" Comment="http error; deleted 1 characters in body" Text="Depending on how good your dutch is  (or your skills at translate.google.com) check out [this][1].&#xD;&#xA;&#xD;&#xA;Disclaimer: I conceptualized and set this site up in collaboration with [the Dutch Instute of Sound and Vision][2]. It's got over 2300 professionally recorded sounds from archives and users. You can contribute also, but it's intended as a Dutch sound archive.  &#xD;&#xA;So it may not be very meaningful to contribute sounds from your country. But invite you to have a look at it. We use soundcloud by the way.&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.geluidvannederland.nl/about&#xD;&#xA;  [2]: http://www.beeldengeluid.nl/en" ContentLicense="CC BY-SA 3.0" />
  <row Id="29803" PostHistoryTypeId="2" PostId="18433" RevisionGUID="438e7479-9cdc-48ea-a597-5489ff129960" CreationDate="2013-03-04T17:23:36.000" UserId="4358" Text="127 Hours, Requiem for a Dream, The Shining, Enter The Void&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29807" PostHistoryTypeId="2" PostId="18435" RevisionGUID="5bfcdad5-638d-4196-8673-9c067ecc8566" CreationDate="2013-03-04T18:44:20.217" UserId="3654" Text="I´m also looking for something similar and i found the [Lowe DSLR Video Fastpack 350 AW][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It seems like a good choice as it´s made for Videographers with extra audio mixers and the like. i´ll definetly give it a try, as it´s not that expensive and seems to be a very good product. I´ll definetly need space for my Canon 600D, my Tascam DR680, Zoom H4N (for Good and flexible Camera Audio), 2 Stands, and Battery stuff and also SD cards, Laptop, et cetera. &#xD;&#xA;You can also check the [Lowe Flipside 300][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.lowepro-deutschland.de/produkte/index.php?article_id=490&amp;clang=0&#xD;&#xA;  [2]: http://www.amazon.de/Lowepro-Flipside-300-SLR-Kamerarucksack-300-mm-Objektiv/dp/B000YA33DC/ref=wl_it_dp_o_pC_S_nC?ie=UTF8&amp;colid=3IJDF9F62FW6M&amp;coliid=I18EPATGJFE9EY" ContentLicense="CC BY-SA 3.0" />
  <row Id="29808" PostHistoryTypeId="2" PostId="18436" RevisionGUID="ee895efb-e0f4-44ec-b695-59ece47509b7" CreationDate="2013-03-04T19:59:44.073" UserId="18160" Text="Vanguard Up-Rise should do the trick. The 48 model would hold all of that and then some.&#xD;&#xA;&#xD;&#xA;I own an Up-Rise 46 and I have a Canon 5D Mark II, 24-105L, 85 f/1.8, Sigma 35 f/1.4 and 135 f/2L I carry around with me,&#xD;&#xA;&#xD;&#xA;plus a laptop. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29809" PostHistoryTypeId="2" PostId="18437" RevisionGUID="054946b9-05e7-465d-8dcc-e34d6e2ab1dd" CreationDate="2013-03-04T20:03:14.407" UserId="1216" Text="Hi,&#xD;&#xA;I was thinking about buying a bone conduction headset for monitoring binaural recordings.&#xD;&#xA;It would be used to hear if there's any wind noise or low battery beeps from my recorder.&#xD;&#xA;&#xD;&#xA;Does anyone have any experience with bone conduction headphones? How does it sound? &#xD;&#xA;Can one expect a normal headphone sound or is it different?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="29810" PostHistoryTypeId="1" PostId="18437" RevisionGUID="054946b9-05e7-465d-8dcc-e34d6e2ab1dd" CreationDate="2013-03-04T20:03:14.407" UserId="1216" Text="Binaural recording: monitoring with 'bone conduction'? " ContentLicense="CC BY-SA 3.0" />
  <row Id="29811" PostHistoryTypeId="3" PostId="18437" RevisionGUID="054946b9-05e7-465d-8dcc-e34d6e2ab1dd" CreationDate="2013-03-04T20:03:14.407" UserId="1216" Text="&lt;binaural&gt;&lt;monitoring&gt;&lt;recording&gt;&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29813" PostHistoryTypeId="2" PostId="18439" RevisionGUID="d4214be0-d4a2-45bc-b52e-8d243b2864bc" CreationDate="2013-03-04T20:33:24.563" UserId="3784" Text="Safe House, Hanna, and fight club are my top for favorite fight sequences as far as mixing and editorial goes. Hands down." ContentLicense="CC BY-SA 3.0" />
  <row Id="29814" PostHistoryTypeId="2" PostId="18440" RevisionGUID="4b065a23-d0c7-4dca-8962-063f6b13ec3e" CreationDate="2013-03-05T02:17:09.770" UserId="5811" Text="I've used the built in FFT filter in Adobe Audition to get some vocals sounding like they're coming from a police radio, and while the black box worked, I'm just curious as to what the FFT filter is actually for, and what differentiates it from an equalizer? What cases calls for one verses the other?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29815" PostHistoryTypeId="1" PostId="18440" RevisionGUID="4b065a23-d0c7-4dca-8962-063f6b13ec3e" CreationDate="2013-03-05T02:17:09.770" UserId="5811" Text="What is the purpose of an FFT filter?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29816" PostHistoryTypeId="3" PostId="18440" RevisionGUID="4b065a23-d0c7-4dca-8962-063f6b13ec3e" CreationDate="2013-03-05T02:17:09.770" UserId="5811" Text="&lt;methodology&gt;&lt;equalization&gt;&lt;filter&gt;&lt;adobe&gt;&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29817" PostHistoryTypeId="2" PostId="18441" RevisionGUID="a26d08d5-a6de-4fc6-9245-fc9589bfc8de" CreationDate="2013-03-05T03:02:54.527" UserId="3179" Text="An equalizer is a combination of filters with different shapes that you adjust in some constrained way.&#xD;&#xA;&#xD;&#xA;The FFT filter is based on the Fast Fourier Transform, which is a different way of manipulating signals. It can be viewed as having a direct control of the amplitudes of a selected number of bands (e.g. 2048 bands) in the frequency domain. In other words, it's a lot more precise type of equalization. It can be used to get those vocoder-like filtering effects as well as for noise reduction or very precise equalization. As it involves heavier calculation, it has a considerably larger latency and can produce unintentional processing artifacts in real-time use." ContentLicense="CC BY-SA 3.0" />
  <row Id="29818" PostHistoryTypeId="2" PostId="18442" RevisionGUID="c0aaf6d2-0ee4-4924-84ca-d5bd4e945ed0" CreationDate="2013-03-05T03:05:41.790" UserId="994" Text="The algorithm is different. Typical eq works in a simmilar way that analog circuits does, but in a digital domain. There are FIR (finitive impulse response) and IIR (infinitive impulse response) filters, not going to much in technical details.&#xD;&#xA;&#xD;&#xA;FFT filter makes fourier transforms of the sound to frequency domain, where you can easily acces distinctive frequency bins and the amplitude of each frequency can easily be changed, and after that - inverse fourier transform is made to go back to time domain.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29819" PostHistoryTypeId="5" PostId="18441" RevisionGUID="4d0fa93d-0b32-4375-89cd-b2170d5f16f2" CreationDate="2013-03-05T03:20:45.757" UserId="3179" Comment="added 328 characters in body; added 54 characters in body; deleted 53 characters in body; added 1 characters in body" Text="An equalizer is a combination of filters with different shapes that you adjust in some constrained way.&#xD;&#xA;&#xD;&#xA;The FFT filter is based on the Fast Fourier Transform, which is a different way of manipulating signals. It can be viewed as having a direct control of the amplitudes of a selected number of bands (e.g. 2048 bands) in the frequency domain. In other words, it's a lot more precise type of equalization. It can be used to get those vocoder-like filtering effects as well as for noise reduction or very precise equalization. As it involves heavier calculation, it has a considerably larger latency and can produce unintentional processing artifacts in real-time use.&#xD;&#xA;&#xD;&#xA;Use an equalizer as you'd use it normally.&#xD;&#xA;&#xD;&#xA;Use FFT equalization for getting more precision that an EQ gives, for correcting very small frequency areas (e.g. supressing noisy parts or very small peaks), for performing equalization of some custom shape that your EQ cannot do or creating a fine-tuned, static filtered sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29820" PostHistoryTypeId="2" PostId="18443" RevisionGUID="5d45ec8c-0cca-4995-9fb2-5f02eb5479b8" CreationDate="2013-03-05T03:38:19.050" UserId="194" Text="its unusual to ask for points.  I'd take the money, hope the show does well, and move on to the next gig." ContentLicense="CC BY-SA 3.0" />
  <row Id="29821" PostHistoryTypeId="2" PostId="18444" RevisionGUID="3b01ebd0-b069-4a34-88ce-076e9a2592ce" CreationDate="2013-03-05T08:03:01.053" UserId="4327" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I am a recent sound-post graduate from Australia and I'm in need of some career advice. Since graduating in December, I have worked on a few external projects (one minimally paid and two unpaid) and have been interviewed for a paid sound assistant role on a popular reality show (still obsessively waiting on the outcome).&#xD;&#xA;&#xD;&#xA;As hard as it is, I'm trying to emotionally detach myself from this potential role to avoid disappointment. However, since it's one of those rare sound jobs that IS actually advertised, it's not exactly easy finding other ones to apply for in the meantime.&#xD;&#xA;&#xD;&#xA;I have come to the realisation that I may have to continue doing inconsistent lo/unpaid work to hopefully progress, but I'm feeling pressured by my parents to work more hours at my part-time checkout operator job (which makes my blood boil) and I believe this would also impact my availability to do unpaid work during the week. They don't want me to work for free for the rest of my life.&#xD;&#xA;&#xD;&#xA;So I have this dilemma of finding a happier part-time job in the meantime and risk missing out or losing focus on sound-related opportunities, or continue being miserable at my current job and hopefully land an unpaid internship sometime in the near future (which may or may not lead to a paid job).&#xD;&#xA;&#xD;&#xA;Also what would be the best way to approach my local sound-post facilities about work experience, through calling or emailing them politely?&#xD;&#xA;&#xD;&#xA;Sorry for sounding negative and naive, but this is definitely the career I want despite being constantly reminded it is a grim industry to work in and I honestly can't see myself doing anything else.&#xD;&#xA;&#xD;&#xA;Advice would be much appreciated at this time." ContentLicense="CC BY-SA 3.0" />
  <row Id="29822" PostHistoryTypeId="1" PostId="18444" RevisionGUID="3b01ebd0-b069-4a34-88ce-076e9a2592ce" CreationDate="2013-03-05T08:03:01.053" UserId="4327" Text="Career advice needed (recent graduate)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29823" PostHistoryTypeId="3" PostId="18444" RevisionGUID="3b01ebd0-b069-4a34-88ce-076e9a2592ce" CreationDate="2013-03-05T08:03:01.053" UserId="4327" Text="&lt;career-advice&gt;&lt;career&gt;&lt;work&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29824" PostHistoryTypeId="2" PostId="18445" RevisionGUID="aa9e875b-1217-4ea9-8963-33ff09b2caf2" CreationDate="2013-03-05T11:11:11.060" UserId="3835" Text="My lexicon LXP plug-ins have started to bug out in the most frustrating way and i don't know what to do about it. Every time i bounce out of ableton and i return to the sequencer from the export audio window the plugs immediately feedback to infinity and destroy my ears! Also when i check the audio i have just exported it has the distortion all over it.&#xD;&#xA;&#xD;&#xA;It's like as soon as anything runs through the plugs they feed 100% back into themselves. It makes no sense to me. I've tried reinstalling but nothing. If i close Live and re-open sometimes it will be okay for about 5 minutes then return to bugging out. Yet to try them in another DAW&#xD;&#xA;&#xD;&#xA;Anyone have a similar problem or can offer advice please?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29825" PostHistoryTypeId="1" PostId="18445" RevisionGUID="aa9e875b-1217-4ea9-8963-33ff09b2caf2" CreationDate="2013-03-05T11:11:11.060" UserId="3835" Text="Lexicon LXP Bug in Ableton Live 8" ContentLicense="CC BY-SA 3.0" />
  <row Id="29826" PostHistoryTypeId="3" PostId="18445" RevisionGUID="aa9e875b-1217-4ea9-8963-33ff09b2caf2" CreationDate="2013-03-05T11:11:11.060" UserId="3835" Text="&lt;plug-ins&gt;&lt;bugs&gt;&lt;ableton-live&gt;&lt;reverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29827" PostHistoryTypeId="2" PostId="18446" RevisionGUID="f14954e2-5794-4345-91bd-442afbe22955" CreationDate="2013-03-05T11:35:51.223" UserId="608" Text="Have you tried changing your default session window length in the preferences window to 00.00.00.00?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29828" PostHistoryTypeId="2" PostId="18447" RevisionGUID="c517d12a-c9a5-4b8b-880a-d4aec40b0757" CreationDate="2013-03-05T11:50:12.010" UserDisplayName="user6513" Text="I'm struggling with my own foley work but what seems to work for me is a bit of magic that happens in the background ambiences. Somehow or rather, I always seem to get a fitting event in the background that helps 'liven' things up. Someone knocking into something, some mic handling noise, etc... An unwanted noise that when nudged to the right place, seems to work with the action on the screen.&#xD;&#xA;&#xD;&#xA;If you're out of ideas, how about putting a mic on yourself and reenacting the scene. Might give you some new ideas of what sounds you will need." ContentLicense="CC BY-SA 3.0" />
  <row Id="29829" PostHistoryTypeId="2" PostId="18448" RevisionGUID="3553d942-5146-442f-add7-e3b751190e9f" CreationDate="2013-03-05T12:17:30.687" UserId="5605" Text="Have you tried contacting support? Or looking in the support forums?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29830" PostHistoryTypeId="5" PostId="18448" RevisionGUID="f8264b8f-eae3-4734-a0bc-af0b9b639f2d" CreationDate="2013-03-05T12:39:32.970" UserId="5605" Comment="added 149 characters in body; added 68 characters in body" Text="Have you tried contacting support? Or looking in the support forums? &#xD;&#xA;&#xD;&#xA;What about track routings? Do you have any routing going on that could lead to a feedback loop, or does it happen in clean/new projects as well?&#xD;&#xA;&#xD;&#xA;The quickest way to try it in another DAW is to download REAPER." ContentLicense="CC BY-SA 3.0" />
  <row Id="29832" PostHistoryTypeId="2" PostId="18450" RevisionGUID="9876b6f1-006c-48bb-becc-2d51a5d08127" CreationDate="2013-03-05T13:10:40.430" UserId="3179" Text="I would &quot;forget&quot; the public job advertisements and contact people directly. Even visit the studios directly, if possible. I believe that many people watch those public job postings, so they will get loads of applications, which isn't a particularly good situation, neither for the recruiter, nor the applicant. Of course contacting people directly just because of a job interest has its own &quot;social issues&quot;, you could send an email prior to visiting them, but I still think it's the best way to show that you're seriously motivated and possibly get to know new people as well. Also, start from small studios, so it won't feel like you're aiming too high and the studio or person might be more open to discuss with &quot;random&quot; job seekers, when they aren't constantly bombarded with applicants, like all the popular places and people probably are.&#xD;&#xA;&#xD;&#xA;Also, something which I think is fairly easy to get sound work in: (indie) games and mods. These can be found online and basically worked entirely remotely. So those could offer you more credits and contacts as well, if those are what you need." ContentLicense="CC BY-SA 3.0" />
  <row Id="29833" PostHistoryTypeId="5" PostId="18450" RevisionGUID="94455af0-cf74-42c8-82cf-48b3a9d89fe2" CreationDate="2013-03-05T13:16:22.643" UserId="3179" Comment="added 240 characters in body" Text="I would &quot;forget&quot; the public job advertisements and contact people directly. Even visit the studios directly, if possible. I believe that many people watch those public job postings, so they will get loads of applications, which isn't a particularly good situation, neither for the recruiter, nor the applicant. Of course contacting people directly just because of a job interest has its own &quot;social issues&quot;, you could send an email prior to visiting them, but I still think it's the best way to show that you're seriously motivated and possibly get to know new people as well. Also, start from small studios, so it won't feel like you're aiming too high and the studio or person might be more open to discuss with &quot;random&quot; job seekers, when they aren't constantly bombarded with applicants, like all the popular places and people probably are. Also, in the long term, knowing people that work in the field, without having a short term motive of getting a job, will be valuable, because you could get brought into projects, because of your good relationship with someone in a project.&#xD;&#xA;&#xD;&#xA;Also, something which I think is fairly easy to get sound work in: (indie) games and mods. These can be found online and basically worked entirely remotely. So those could offer you more credits and contacts as well, if those are what you need." ContentLicense="CC BY-SA 3.0" />
  <row Id="29834" PostHistoryTypeId="5" PostId="18450" RevisionGUID="a2c8c0a2-4cfb-4015-953e-6edf5b1912a5" CreationDate="2013-03-05T13:22:12.103" UserId="3179" Comment="added 242 characters in body" Text="I would &quot;forget&quot; the public job advertisements and contact people directly. Even visit the studios directly, if possible. I believe that many people watch those public job postings, so they will get loads of applications, which isn't a particularly good situation, neither for the recruiter, nor the applicant. Of course contacting people directly just because of a job interest has its own &quot;social issues&quot;, you could send an email prior to visiting them, but I still think it's the best way to show that you're seriously motivated and possibly get to know new people as well. Also, start from small studios, so it won't feel like you're aiming too high and the studio or person might be more open to discuss with &quot;random&quot; job seekers, when they aren't constantly bombarded with applicants, like all the popular places and people probably are. Also, in the long term, knowing people that work in the field, without having a short term motive of getting a job, will be valuable, because you could get brought into projects, because of your good relationship with someone in a project.&#xD;&#xA;&#xD;&#xA;Also, something which I think is fairly easy to get sound work in: (indie) games and mods. These can be found online and basically worked entirely remotely. So those could offer you more credits and contacts as well, if those are what you need. However, games are technically so different (meaning generally much more simpler) from films or TV shows, that I would not see game audio experience as particularly valuable for film or TV, although of course anything is better than nothing." ContentLicense="CC BY-SA 3.0" />
  <row Id="29835" PostHistoryTypeId="5" PostId="18450" RevisionGUID="4c7058e6-23f8-4534-83fa-5a04fddf6730" CreationDate="2013-03-05T13:29:07.427" UserId="3179" Comment="added 94 characters in body" Text="I would &quot;forget&quot; the public job advertisements and contact people directly. Even visit the studios directly, if possible. I believe that many people watch those public job postings, so they will get loads of applications, which isn't a particularly good situation, neither for the recruiter, nor the applicant. Of course contacting people directly just because of a job interest has its own &quot;social issues&quot;, you could send an email prior to visiting them, but I still think it's the best way to show that you're seriously motivated and possibly get to know new people as well. Also, start from small studios, so it won't feel like you're aiming too high and the studio or person might be more open to discuss with &quot;random&quot; job seekers, when they aren't constantly bombarded with applicants, like all the popular places and people probably are. Also, in the long term, knowing people that work in the field, without having a short term motive of getting a job, will be valuable, because you could get brought into projects, because of your good relationship with someone in a project.&#xD;&#xA;&#xD;&#xA;Also, something which I think is fairly easy to get sound work in: (indie) games and mods. These can be found online and basically worked entirely remotely. So those could offer you more credits and contacts as well, if those are what you need. However, games are technically so different (meaning generally much more simpler) from films or TV shows, that I would not see game audio experience as particularly valuable for film or TV, although of course anything is better than nothing. And versatility in sound production, regardless of where its applied, is definitely valuable." ContentLicense="CC BY-SA 3.0" />
  <row Id="29836" PostHistoryTypeId="2" PostId="18451" RevisionGUID="5db87936-2256-47c2-babe-6ce28e1b3d5a" CreationDate="2013-03-05T15:22:18.147" UserId="5813" Text="Someone else mentioned this, but most people forget the cloth sounds. I know it seems unimportant but when you've done everything else (footsteps, incidentals, backgrounds, and any other sound fx), the cloth really sells it. you dont need much just the applicable cloth, or something that sound similar, and record a little movement with it. Not much, a little goes a long way.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="29837" PostHistoryTypeId="2" PostId="18452" RevisionGUID="b0092956-a73e-4a47-93d5-27bb2a4c15ed" CreationDate="2013-03-05T16:19:07.827" UserId="6499" Text="Where does everyone look for cool sounding props?  If you do, do you have places you check on a regular basis? " ContentLicense="CC BY-SA 3.0" />
  <row Id="29838" PostHistoryTypeId="1" PostId="18452" RevisionGUID="b0092956-a73e-4a47-93d5-27bb2a4c15ed" CreationDate="2013-03-05T16:19:07.827" UserId="6499" Text="Finding Props for sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="29839" PostHistoryTypeId="3" PostId="18452" RevisionGUID="b0092956-a73e-4a47-93d5-27bb2a4c15ed" CreationDate="2013-03-05T16:19:07.827" UserId="6499" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29840" PostHistoryTypeId="2" PostId="18453" RevisionGUID="a3ad8a64-72ad-46f8-ac76-2b097de3041f" CreationDate="2013-03-05T16:31:46.473" UserId="103" Text="For me its mostly flea markets, friends storage places (&quot;Do you need this?&quot;) and garbage bins." ContentLicense="CC BY-SA 3.0" />
  <row Id="29841" PostHistoryTypeId="2" PostId="18454" RevisionGUID="ad72a175-7ce2-46f4-b77d-a585b58f42fd" CreationDate="2013-03-05T16:32:26.227" UserId="4442" Text="Your house! Kitchens and garages are particularly useful. Need a metal slider on a prison door opening? Try sliding your oven racks in and out. All of the best arm whooshes you'll need are just serving spoons and box graters! Don't discount what you have lying around. Walk around your kitchen with your headphones on and your handheld recorder and see what types of sounds you hear that you don't hear with your normal ears. We're way too close to hearing those sorts of things, the headphones and mics really put a different spin.&#xD;&#xA;&#xD;&#xA;Also, in Ric Viers SFX Bible (you should buy this immediately), he talks about dollar stores and thrift stores as being one of his favorite resources. Especially when you're talking about things like glass debris, no one wants to spend a ton of money on glass to break, so he actually asks them if they get any broken glasses to save and he buys them at a discount (i'm paraphrasing that whole part, but you should read it)." ContentLicense="CC BY-SA 3.0" />
  <row Id="29842" PostHistoryTypeId="2" PostId="18455" RevisionGUID="f796eeeb-1ad8-4131-95bc-be7c4a778420" CreationDate="2013-03-05T16:35:41.623" UserId="3179" Text="Outdoors and public places in general, flea markets, acquaintances with jobs in interesting places (and thus have access to them) and roles or that have &quot;stuff&quot;/gear lying around, landfills." ContentLicense="CC BY-SA 3.0" />
  <row Id="29843" PostHistoryTypeId="2" PostId="18456" RevisionGUID="c69918de-7817-4887-ab5a-6b4ab9f502f8" CreationDate="2013-03-05T19:06:19.387" UserId="730" Text="I just found a few really cool videos of molten metals.  Check these out!  I want to try this.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=9qSEfcIfYbw&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=w0o5xVkzo54&#xD;&#xA;&#xD;&#xA;I believe someone else posted this in another thread but I thought it fit this topic.  Bird with amazing sounds.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=VjE0Kdfos4Y" ContentLicense="CC BY-SA 3.0" />
  <row Id="29844" PostHistoryTypeId="2" PostId="18457" RevisionGUID="6eff9bf8-b6a7-4b9c-82a5-3c27dd5c4fe2" CreationDate="2013-03-05T19:39:33.220" UserId="5774" Text="For a recent radio drama, I had great luck at my local creative reuse center.  I found it through my local craigslist crafters forum.  Here's a [list of reuse centers][1].  You might want to see if there's a local maker/crafter hobby group, and ask them about resources.&#xD;&#xA;&#xD;&#xA;Goodwill, Salvation Army, Dollar stores were good resources.  Also keep an eye out on craigslist and freecycle.  I also searched yelp for home decor stores.  Most of them were out of my price range, but a few had a back room full of random item bargains.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.lancastercreativereuse.org/directory-creative-reuse-centers.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="29845" PostHistoryTypeId="5" PostId="18258" RevisionGUID="099a9d42-5ba1-477e-a6f8-eb3dd4de45be" CreationDate="2013-03-05T21:16:23.617" UserId="6487" Comment="edited body" Text="I am a chatty Karol.....I am a dialogue mixer, ADR mixer, Dialogue editor....me loves the chatter. I live in LA. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29846" PostHistoryTypeId="2" PostId="18458" RevisionGUID="60d21e55-add1-4901-8256-e7fe944b0b69" CreationDate="2013-03-05T23:20:15.570" UserId="1760" Text="Freelance sound designer/composer, currently working for the ABC (Sydney-Australia) as a promo maker for radio.&#xD;&#xA;&#xD;&#xA;Do audio post for TVCs on the side, and write music when I can.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29847" PostHistoryTypeId="16" PostId="18458" RevisionGUID="60d21e55-add1-4901-8256-e7fe944b0b69" CreationDate="2013-03-05T23:20:15.570" UserId="-1" />
  <row Id="29848" PostHistoryTypeId="2" PostId="18459" RevisionGUID="f7d0422c-39ce-49f0-9e78-10229ef3a8fc" CreationDate="2013-03-05T23:33:05.130" UserId="1760" Text="Keep calling and emailing, managers (mostly) love people who just show they're keen.&#xD;&#xA;With little experience, it already proves to them that you'll work hard.&#xD;&#xA;&#xD;&#xA;Keep Volunteering when you can.. even once a week if that's all the time you have.. &#xD;&#xA;&#xD;&#xA;Don't take no for an answer basically. After all, you're offering to work for free.&#xD;&#xA;&#xD;&#xA;Getting knocked back is inevitable.. but if you approach 100 people, the chances are someone will take you on.&#xD;&#xA;We've had a lot of people simply come in and ask if they can sit in and just watch what we do...&#xD;&#xA;&#xD;&#xA;Cold calling is fine, even speak to reception and say you're keen for work experience... &#xD;&#xA;&#xD;&#xA;and don't give up.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29849" PostHistoryTypeId="2" PostId="18460" RevisionGUID="116da714-98b0-46eb-afec-e18f498ac21a" CreationDate="2013-03-05T23:47:08.537" UserId="1760" Text="In the past.. working on commercials for alcohol/gambling/fastfood industry etc.. was slightly soul destroying.&#xD;&#xA;&#xD;&#xA;I've recently switched jobs and am I'm trying to make up for those times. Much happier!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29850" PostHistoryTypeId="2" PostId="18461" RevisionGUID="7d786d3a-5c32-480f-8540-62663acf79e3" CreationDate="2013-03-06T00:30:35.587" UserId="5814" Text="I'm looking into getting an EQ for $200 or less, preferably less. Alloy 2 retails for $150. Pro-Q is a little more expensive, but around the same price. &#xD;&#xA;&#xD;&#xA;I like Alloy because of its multi-band transient enhancer. I already have Transient Master from Native Instruments, but it's not multi-band, and that would be convenient for drum tracks.&#xD;&#xA;&#xD;&#xA;I really like Pro-Q, and I particularly like the ability to throw on an instant bandpass filter to hear just a section. If Alloy 2 could do that, I'd definitely go for Alloy 2. I have seen no example of Alloy 2 being able to do that. &#xD;&#xA;&#xD;&#xA;There may be a less expensive, very flexible EQ that I don't know about.&#xD;&#xA;&#xD;&#xA;I'm assuming they're very similar in terms of sound quality.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29851" PostHistoryTypeId="1" PostId="18461" RevisionGUID="7d786d3a-5c32-480f-8540-62663acf79e3" CreationDate="2013-03-06T00:30:35.587" UserId="5814" Text="Which EQ is suitable? Alloy 2, Pro-Q, or other?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29852" PostHistoryTypeId="3" PostId="18461" RevisionGUID="7d786d3a-5c32-480f-8540-62663acf79e3" CreationDate="2013-03-06T00:30:35.587" UserId="5814" Text="&lt;izotope&gt;&lt;eq&gt;&lt;transients&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29853" PostHistoryTypeId="2" PostId="18462" RevisionGUID="ec50c9cd-a362-4425-bc49-144954c0a155" CreationDate="2013-03-06T00:59:34.617" UserId="4442" Text="Alloy 2 is kind of a one stop shop and really awesome in my opinion. I'm considering buying it myself. I love the pro q, but personally was looking for a channel strip type of plug, and alloy really does that well." ContentLicense="CC BY-SA 3.0" />
  <row Id="29854" PostHistoryTypeId="2" PostId="18463" RevisionGUID="836495b7-7dfa-492f-8e7a-85aaa3bf1766" CreationDate="2013-03-06T01:43:31.377" UserId="3179" Text="I would say that an equalizer is not worth much these days.&#xD;&#xA;&#xD;&#xA;However:&#xD;&#xA;&#xD;&#xA;MeldaProduction MAutoDynamicEQ&lt;br&gt;&#xD;&#xA;http://www.meldaproduction.com/plugins/product.php?id=MAutoDynamicEq" ContentLicense="CC BY-SA 3.0" />
  <row Id="29855" PostHistoryTypeId="2" PostId="18464" RevisionGUID="87f2cc38-d955-4198-8395-a9c41c25c93b" CreationDate="2013-03-06T06:23:09.773" UserId="3567" Text="I decided to ask this after seeing Internet Human's reply to the Career Advice question. I have much more experience working on video games, but I also did audio editing, foley, sound design and wrote music for animations and such.&#xD;&#xA;&#xD;&#xA;What I found is that I cannot simply say one is more difficult/better/worse than the other.&#xD;&#xA;&#xD;&#xA;However, I could agree that due to the fact that linear media is, eh, linear, things are a bit more straightforward. You don't have to concern yourself with issues such as repetition, behavior in different settings, audio programming, adaptive music etc.&#xD;&#xA;&#xD;&#xA;What have you found working on either or both?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29856" PostHistoryTypeId="1" PostId="18464" RevisionGUID="87f2cc38-d955-4198-8395-a9c41c25c93b" CreationDate="2013-03-06T06:23:09.773" UserId="3567" Text="Which is more difficult to work with: linear or interactive media?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29857" PostHistoryTypeId="3" PostId="18464" RevisionGUID="87f2cc38-d955-4198-8395-a9c41c25c93b" CreationDate="2013-03-06T06:23:09.773" UserId="3567" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29858" PostHistoryTypeId="2" PostId="18465" RevisionGUID="9818b562-78e1-43d2-8380-8e832b69bf13" CreationDate="2013-03-06T07:39:57.360" UserId="407" Text="As far as sound design is concerned aesthetically I would say they are both as challenging as you make them. what I have found though is that sound design for interactive media/games as a job is much more diverse and complex as you are dealing not only with sound but with audio systems and in my experience a constantly changing entertainment experience. In Games there is no concept of picture lock, or a time when us audio guys can sit with relatively finished game and decided how we are going to approach it. We have to develop our audio ideas and systems in parallel with all the other departments - this is the challenge and the fun in game audio.&#xD;&#xA;&#xD;&#xA;Linear media - or the few things I've done linearly - I find it liberating not to be confined so much by the systems and requirements needed in games. The skill is ... dare I say it ... more like a 'pure artist', sculpting the sound to suite the picture in to the smallest detail, less compromise but a lot more choice.&#xD;&#xA;&#xD;&#xA;Both have their challenges - love doing both :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29859" PostHistoryTypeId="2" PostId="18466" RevisionGUID="209cbe6a-e38a-4344-b722-7e0d908fa0ea" CreationDate="2013-03-06T08:55:35.730" UserId="348" Text="Like many of us, we all got into sound for the love of it and this passion for painting a visual landscape with sound is a state of mind rather just a &quot;job&quot;. For myself, at least, for the most part, this is true. And I say for the most part with the up most honesty because as my career developed and my comprehension of post audio increased, I still have had to do jobs that are soul destroying thus making me question the integrity of aspects the industry as a whole. Luckily I have had few of these projects- mainly television and voice over work for commercials. Not all of us can have the luxury of working on feature films for 30 odd years and we have to take on projects that are financed by companies which questionable business ethics. I ask myself, do you take on these jobs and if so why am I doing the job- for money only? And then I hark back to the first sentence of this answer regarding the love of the art form. By taking on these jobs, have I lost the passion and financial reward has taken over? &#xD;&#xA;&#xD;&#xA;Luckily, I have had few of these gigs and the majority of what I do is morally harmonious. Documentaries, feature films, series. I refuse to give in to selling myself to the all mighty dollar at the risk of sacrificing my love for sound.    " ContentLicense="CC BY-SA 3.0" />
  <row Id="29860" PostHistoryTypeId="2" PostId="18467" RevisionGUID="db86bcf1-1124-4966-b182-7b5de2e1c0b2" CreationDate="2013-03-06T09:07:09.590" UserDisplayName="user49" Text="to me, it is a pointless question. you are not only comparing apples and oranges, but are also attempting to generalize about two entire forms of media and creative expression. &#xD;&#xA;&#xD;&#xA;I dont work on, or play video games,or really have any interest in them but i know for a fact that the range of complexity is vast in film - some projects are straight forward, and some are incredibly complex - technically, emotionally, everything... Film has a vast range, so to even generalise about it on its own is futile.... But to compare one epic and frankly meaningless generalisation with another is well... even more meaningless&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I will ask this, for me the ultimate achievement of an artwork is emotional engagement with an audience. Many films achieve this with incredible depth, but does it ever occur with video games? Have you ever been so cauht up in the emotion of a video game that you shed a tear? If I had a litmus test, that woud be it. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29861" PostHistoryTypeId="5" PostId="18467" RevisionGUID="358b0743-7039-41e7-8df0-3faadcf8370e" CreationDate="2013-03-06T09:21:22.830" UserDisplayName="user49" Comment="deleted 322 characters in body" Text="to me, it is a pointless question. you are not only comparing apples and oranges, but are also attempting to generalize about two entire forms of media and creative expression. &#xD;&#xA;&#xD;&#xA;I dont work on, or play video games,or really have any interest in them but i know for a fact that the range of complexity is vast in film - some projects are straight forward, and some are incredibly complex - technically, emotionally, everything... Film has a vast range, so to even generalise about it on its own is futile.... But to compare one epic and frankly meaningless generalisation with another is well... even more meaningless&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29862" PostHistoryTypeId="2" PostId="18468" RevisionGUID="18511d81-00ef-4dce-be81-85c2bc655694" CreationDate="2013-03-06T10:41:42.933" UserId="3567" Text="For me it's becoming increasingly difficult to write music and design sound effects for yet another Angry Birds or Temple Run clone. &#xD;&#xA;&#xD;&#xA;But I'd rather pay my bills than stick to values at the moment. I don't doubt however that at some point in the future I will be able to pick and choose projects that I worked on, and it will be a huge relief." ContentLicense="CC BY-SA 3.0" />
  <row Id="29863" PostHistoryTypeId="2" PostId="18469" RevisionGUID="1c867f40-a842-4580-9c93-02985c153eb4" CreationDate="2013-03-06T11:42:46.483" UserId="3179" Text="It's a fairly pointless question without specifying what the criteria of assessment are. And even still, it might be or actually is a fairly pointless comparison.&#xD;&#xA;&#xD;&#xA;To be somewhat more specific about my impression, my impression comes from how sound in some games (I'm specifically thinking of non-story-based games, but of course this is a generalization) is handled in a somewhat isolated manner, and its use is fairly dictated by the media (meaning fixed sound cues). Some could say that's what &quot;interactive sound&quot; is. I say it serves mainly a responsive rather than representative role (?). I find that slightly limiting. Where in linear media you have a linear sound composition, in games (sorry, generalization) you can have sounds that are played in isolation, even though they belong to the same scene. I mean, not all games are e.g. story-/plot-based so that there would be these &quot;arcs&quot; in how the story and it's soundtrack evolves and changes, or that there would be constant change, rather than loops and repetitive sound effects, so it would resemble more like a film (which is or has been one of the ideals in games for a long time for some). Also the tools can and do impose constraints regarding how dynamic one can make something, but to consider the tools as making something difficult, is not that valid today I think, when the tools are actually pretty good and easy to use. I mean they're just tools and not something that considers what's really essential and what I think this question/comparison should be concerned with, which is the art itself, not the underlying/realizing technology.&#xD;&#xA;&#xD;&#xA;But really, sound tends to serve a slightly/very different purpose in different media, as well as different projects in particular. And then there are projects/products which I find ingenious and and some which don't speak to me at all. So well, it's just an opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="29864" PostHistoryTypeId="5" PostId="18469" RevisionGUID="73f1eabe-fb87-4473-a8bf-88ed787e74b9" CreationDate="2013-03-06T11:50:13.197" UserId="3179" Comment="added 15 characters in body; added 1 characters in body; added 1 characters in body" Text="It's a fairly pointless question without specifying what the criteria for assessment are. And even still, it might be or actually is a fairly pointless, opinion-based comparison.&#xD;&#xA;&#xD;&#xA;To be somewhat more specific about my impression, my impression comes from how sound in some games (I'm specifically thinking of non-story-based games, but of course this is a generalization) is handled in a somewhat isolated manner, and its use is fairly dictated by the medium (meaning fixed sound cues). Some could say that's what &quot;interactive sound&quot; is. I say it serves mainly a responsive rather than representative role (?). I find that slightly limiting. Where in linear media you have a linear sound composition, in games (sorry, generalization) you can have sounds that are played in isolation, even though they belong to the same scene. I mean, not all games are e.g. story-/plot-based so that there would be these &quot;arcs&quot; in how the story and it's soundtrack evolves and changes, or that there would be constant change, rather than loops and repetitive sound effects, so it would resemble more like a film (which is or has been one of the ideals in games for a long time for some). Also the tools can and do impose constraints regarding how dynamic one can make something, but to consider the tools as making something difficult, is not that valid today I think, when the tools are actually pretty good and easy to use. I mean they're just tools and not something that considers what's really essential and what I think this question/comparison should be concerned with, which is the art itself, not the underlying/realizing technology.&#xD;&#xA;&#xD;&#xA;But really, sound tends to serve a slightly/very different purpose in different media, as well as different projects in particular. And then there are projects/products which I find ingenious and and some which don't speak to me at all. So well, it's just an opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="29865" PostHistoryTypeId="5" PostId="18469" RevisionGUID="53d02c57-15fc-4245-8dfd-8746c4b267cd" CreationDate="2013-03-06T12:02:00.700" UserId="3179" Comment="added 212 characters in body" Text="It's a fairly pointless question without specifying what the criteria for assessment are. And even still, it might be or actually is a fairly pointless, opinion-based comparison.&#xD;&#xA;&#xD;&#xA;To be somewhat more specific about my impression, my impression comes from how sound in some games (I'm specifically thinking of non-story-based games, but of course this is a generalization) is handled in a somewhat isolated manner, and its use is fairly dictated by the medium (meaning fixed sound cues). Some could say that's what &quot;interactive sound&quot; is. I say it serves mainly a responsive rather than representative role (?). I find that slightly limiting. Where in linear media you have a linear sound composition, in games (sorry, generalization) you can have sounds that are played in isolation, even though they belong to the same scene. I mean, not all games are e.g. story-/plot-based so that there would be these &quot;arcs&quot; in how the story and it's soundtrack evolves and changes, or that there would be constant change, rather than loops and repetitive sound effects, so it would resemble more like a film (which is or has been one of the ideals in games for a long time for some). Also the tools can and do impose constraints regarding how dynamic one can make something, but to consider the tools as making something difficult, is not that valid today I think, when the tools are actually pretty good and easy to use. I mean they're just tools and not something that considers what's really essential and what I think this question/comparison should be concerned with, which is the art itself, not the underlying/realizing technology.&#xD;&#xA;&#xD;&#xA;But really, sound tends to serve a slightly/very different purpose in different media, as well as different projects in particular. And then there are projects/products which I find ingenious and and some which don't speak to me at all. So well, it's just an opinion.&#xD;&#xA;&#xD;&#xA;However, there could be some philosophical value in debating what and how sound should be used, what's its purpose or how its use could e.g. be advanced in all games, where I think there are some constraints." ContentLicense="CC BY-SA 3.0" />
  <row Id="29866" PostHistoryTypeId="2" PostId="18470" RevisionGUID="6aec6a00-8ef0-4ae9-b30e-9eeedd1ac14a" CreationDate="2013-03-06T12:04:18.320" UserId="644" Text="Charity Shops. They get LOTS of stuff sent in by people who treat the store as a garbage disposal. Effectively, once the charity shops have the gear in their possession, the property belongs to them. I would ask them if they have any items that they deem unfit for the shelves that you could consider. Donate a small fee and you will have mountains of stuff to use.&#xD;&#xA;&#xD;&#xA;Personally I have used my Dad's garage as a place to find stuff. Any retired man will have a mountain of useful nic-nacs stored in a cupboard or garage; I've managed to get hold of some great items and it all helps clear out the stuff early before they croak it! Seriously, some great stuff has been gathered from the good man. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29867" PostHistoryTypeId="5" PostId="18469" RevisionGUID="f75ef5d6-491f-4988-aa36-4ea22a1cc108" CreationDate="2013-03-06T12:10:22.213" UserId="3179" Comment="added 44 characters in body; added 39 characters in body" Text="It's a fairly pointless question without specifying what the criteria for assessment are. And even still, it might be or actually is a fairly pointless, opinion-based comparison.&#xD;&#xA;&#xD;&#xA;To be somewhat more specific about my impression, my impression comes from how sound in some games (I'm specifically thinking of non-story-based games, but of course this is a generalization) is handled in a somewhat isolated manner, and its use is fairly dictated by the medium (meaning fixed sound cues). Some could say that's what &quot;interactive sound&quot; is. I say it serves mainly a responsive rather than representative role (?), particularly when a game has no story/plot. I find that slightly limiting. Where in linear media you have a linear sound composition, in games (sorry, generalization) you can have sounds that are played in isolation, even though they belong to the same scene. I mean, not all games are e.g. story-/plot-based so that there would be these &quot;arcs&quot; in how the story and it's soundtrack evolves and changes, or that there would be constant change, rather than loops and repetitive sound effects, so it would resemble more like a film (which is or has been one of the ideals in games for a long time for some, particularly the Japanese for example). Also the tools can and do impose constraints regarding how dynamic one can make something, but to consider the tools as making something difficult, is not that valid today I think, when the tools are actually pretty good and easy to use. I mean they're just tools and not something that considers what's really essential and what I think this question/comparison should be concerned with, which is the art itself, not the underlying/realizing technology.&#xD;&#xA;&#xD;&#xA;But really, sound tends to serve a slightly/very different purpose in different media, as well as different projects in particular. And then there are projects/products which I find ingenious and and some which don't speak to me at all. So well, it's just an opinion.&#xD;&#xA;&#xD;&#xA;However, there could be some philosophical value in debating what and how sound should be used, what's its purpose or how its use could e.g. be advanced in all games, where I think there are some constraints." ContentLicense="CC BY-SA 3.0" />
  <row Id="29868" PostHistoryTypeId="2" PostId="18471" RevisionGUID="45744715-c079-4784-924c-504494c4d91a" CreationDate="2013-03-06T15:27:26.000" UserId="4442" Text="When I first read @Internet Human post on the other thread, I scoffed, started typing a response, then got side tracked, but after this follow up I can see where he/she was going. I agree with @Tim Prebble that it's mostly a pointless assessment, but I want to put something in.&#xD;&#xA;&#xD;&#xA;With film/linear media, YOU MAKE THE SOUND. Every touch of reverb, every tail, everything is yours. That's appealing in a lot of ways. Also (and more obviously), temporally, everything happens the same way every time. This portion of the medium makes it in one way &quot;more difficult&quot; and in another way &quot;simpler&quot;. In games, so much of the audio is handled in engine. If you are a gamer (or even better if you aren't), go to an assets folder in your game package on a computer, and listen to some of the sounds. You hear typically dry, often mono files that sound nothing like what they sound like when played back in the games engine and with the engine doing spatialization or randomization. In games, all of the reverb (just as one isolated example) is taken care of when you design a room in Unity or whatever engine you're using and define it to have X properties. The sounds then play through it. With games, however, you can not account for timing of one or a hundred shots, or something to even happen at all in games." ContentLicense="CC BY-SA 3.0" />
  <row Id="29869" PostHistoryTypeId="5" PostId="18306" RevisionGUID="07c96f6b-a019-4d00-960f-10e2b87a865f" CreationDate="2013-03-06T19:44:51.213" UserId="1216" Comment="deleted 3 characters in body" Text="Nice question!&#xD;&#xA;&#xD;&#xA;I try to stick to my values and principles as much as I can.&#xD;&#xA;I deeply value most of my work, most of the time, and feel very lucky that I'm doing what&#xD;&#xA;seems to be the thing I'm best at. Like Max, we studied together at art school,&#xD;&#xA;my background is scientific (chemistry) and felt liberated during my new studies.&#xD;&#xA;I was very dogmatic at that time and didn't want anything to do with stuff I didn't&#xD;&#xA;value as much as other stuff (like commercials). &#xD;&#xA;&#xD;&#xA;Nevertheless, working in sound(-art) doesn't always mean that you can choose.&#xD;&#xA;I found that out later in my career :) I'd love to work a bit more in documentary,&#xD;&#xA;than in fiction, but I take on what is available and pays the bills. &#xD;&#xA;The media type doesn't matter to me all that much (whether movie, documentary,theatre, online, museum or sound-art).&#xD;&#xA;&#xD;&#xA;I am open to new ideas and philosophies in daily life and that flows through my work also. Most important to me is the kind of people running the show. I really have to 'like' the director and feel challenged by his/her story, otherwise it won't work very well for me. &#xD;&#xA;Advertisement, like I described above was a great example of what was not my cup of tea.&#xD;&#xA;&#xD;&#xA;Making personal sound-art is something I try to do as much as possible and is closest&#xD;&#xA;to the idea of living/working by my values. But this is mostly unpaid or severely underpaid&#xD;&#xA;work that I do for my own satisfaction. Kind of like a hobby, which was the trigger that&#xD;&#xA;got me into the world of sound.&#xD;&#xA;&#xD;&#xA;UPDATE:&#xD;&#xA;after your edit the question is a bit clearer.&#xD;&#xA;What makes my work more valuable: knowing that my contribution will help tell a story i 'support' will find a bigger audience. And hopefully in the same process show the audience that sound is a storyteller just as much as the visual part of the medium in play.&#xD;&#xA;Things I turn down: stories not worth telling (in my humble opinion) or in need of a better storyteller than the person in charge. or better said, projects by people on a different level of skill/experience/philosophy, and this could also mean that I'm not fit for the job. All in good times :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29870" PostHistoryTypeId="2" PostId="18472" RevisionGUID="15224c4c-21f1-4ae9-ac7e-06f29499de83" CreationDate="2013-03-06T20:57:35.220" UserId="5738" Text="for close up fireworks recordings, I've used large rubbermaid tubs. turn them upside down &amp; toss the lit fireworks underneath, quickly put a brick or rock on top for safety &amp; step back! You'll be surprised at the diversity of sounds that come from different fireworks at different points in their burn. certain firecrackers, like M80s can also be dropped in a bucket of water for a killer sound too.... but they're very dangerous. watch your fingers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29871" PostHistoryTypeId="2" PostId="18473" RevisionGUID="8863e67b-cf54-4f72-ad3b-ec991f25d06e" CreationDate="2013-03-06T21:08:57.723" UserId="5816" Text="Anyone got any ideas on how they made the  spaceship engine sounds in 'The Jetsons'?&#xD;&#xA;&#xD;&#xA;It can be heard here at 13s: http://www.youtube.com/watch?feature=player_detailpage&amp;v=lhF4gu87rn0#t=13s&#xD;&#xA;&#xD;&#xA;I am guessing some kind of really fast resonant filter modulation for that 'wobbly' type sound but really not sure I could recreate it very well myself, it's pretty old so it can't be anything too hi-tech! ... any pointers would be v helpful :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29872" PostHistoryTypeId="1" PostId="18473" RevisionGUID="8863e67b-cf54-4f72-ad3b-ec991f25d06e" CreationDate="2013-03-06T21:08:57.723" UserId="5816" Text="Jetsons Spaceship sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="29873" PostHistoryTypeId="3" PostId="18473" RevisionGUID="8863e67b-cf54-4f72-ad3b-ec991f25d06e" CreationDate="2013-03-06T21:08:57.723" UserId="5816" Text="&lt;sound-design&gt;&lt;space&gt;&lt;engine&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29874" PostHistoryTypeId="2" PostId="18474" RevisionGUID="84d2dde4-5fe9-4114-b025-9d054c911b19" CreationDate="2013-03-06T22:16:27.840" UserId="6499" Text="I forgot where I came across a video about the new electric Audi cars and the sounds.  Now I do think the sounds they make for the vehicles are really cool and interesting.  But why  the constant push to have a car &quot;make&quot; sound.  Combustion vehicles generate sound due to the mechanics of the system.  But the electric cars are broadcasting additional sound via on board speakers.  It seems the world is locked into this perpetual noise pollution system.  What does everyone think about this?  I like the silence, the sound of nature, it is relaxing and refreshing. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29875" PostHistoryTypeId="1" PostId="18474" RevisionGUID="84d2dde4-5fe9-4114-b025-9d054c911b19" CreationDate="2013-03-06T22:16:27.840" UserId="6499" Text="New Electric Cars and Sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="29876" PostHistoryTypeId="3" PostId="18474" RevisionGUID="84d2dde4-5fe9-4114-b025-9d054c911b19" CreationDate="2013-03-06T22:16:27.840" UserId="6499" Text="&lt;car&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29877" PostHistoryTypeId="2" PostId="18475" RevisionGUID="48a20084-2f98-4036-a1ea-ce69c81788ea" CreationDate="2013-03-06T22:41:50.443" UserId="3179" Text="Because it sells cars?&#xD;&#xA;&#xD;&#xA;Isn't the whole point of the &quot;designed&quot; car engine sounds to give a more tailored driving experience that feels better for the car buyer/driver, even though it doesn't necessarily serve a &quot;real&quot; function (I could be wrong about how &quot;useful&quot; this technology is though). Specifically in electric cars I've read that car buyers consider strange a car &quot;that doesn't make any noise&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="29878" PostHistoryTypeId="5" PostId="18475" RevisionGUID="9840ec98-7e4b-4945-a2f1-a369c50dbe1d" CreationDate="2013-03-06T22:47:18.483" UserId="3179" Comment="added 82 characters in body" Text="Because it sells cars?&#xD;&#xA;&#xD;&#xA;Isn't the whole point of the &quot;designed&quot; car engine sounds to give a more tailored driving experience that feels better for the car buyer/driver, even though it doesn't necessarily serve a &quot;real&quot; function (I could be wrong about how &quot;useful&quot; this technology is though). Specifically in electric cars I've read that car buyers consider strange a car &quot;that doesn't make any noise&quot;, so in that case it just answers to the demand where a car has to make some noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="29879" PostHistoryTypeId="2" PostId="18476" RevisionGUID="d04b12fa-f466-49f1-b96c-9d73e7bbbc5a" CreationDate="2013-03-06T23:20:45.660" UserDisplayName="user6508" Text="Part of the reason they're adding sound is for public safety.  http://news.cnet.com/8301-17852_3-57437717-71/do-hybrid-cars-kill-you-with-silence/  " ContentLicense="CC BY-SA 3.0" />
  <row Id="29880" PostHistoryTypeId="5" PostId="18476" RevisionGUID="5d7ff7b2-3248-43a0-a45f-6f37d4374a7d" CreationDate="2013-03-06T23:27:43.440" UserDisplayName="user6508" Comment="added 358 characters in body" Text="Part of the reason they're adding sound is for public safety.  &#xD;&#xA;&#xD;&#xA;http://news.cnet.com/8301-17852_3-57437717-71/do-hybrid-cars-kill-you-with-silence/  &#xD;&#xA;&#xD;&#xA;&quot;at speeds under 35 mph, hybrids and electric cars are 37 percent more likely to hit pedestrians and 66 percent more likely to hit cyclists than normal gas-guzzling machines&quot;  All due to their lack of sound.  I know I've almost been hit by a hybrid 6-7 years ago.  It was coming around a corner and didn't hear it at all as I was crossing the street." ContentLicense="CC BY-SA 3.0" />
  <row Id="29881" PostHistoryTypeId="2" PostId="18477" RevisionGUID="ca5d106d-1045-4af2-a8a0-3b49dbc29b33" CreationDate="2013-03-06T23:46:20.530" UserId="5817" Text="Hi all, &#xD;&#xA;&#xD;&#xA;I'm a picture editor and have worked on a couple of short films before, but have done basic sound designing myself (not ideal I know). For the project I'm working on now we have a pro sound designer but I'm not sure what I need to send her. She's asked for OMF and reference video (that bit I'm fine with), but also wants renamed rushes. I'm not sure how/why these need to be renamed. If it comes to it I can ask her to be more specific, but I don't want to come across completely clueless (even if I am!)&#xD;&#xA;&#xD;&#xA;I hoped you guys would be able to tell me exactly what you expect (or want!) from the picture editor - the more detail the better.&#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;Melidere" ContentLicense="CC BY-SA 3.0" />
  <row Id="29882" PostHistoryTypeId="1" PostId="18477" RevisionGUID="ca5d106d-1045-4af2-a8a0-3b49dbc29b33" CreationDate="2013-03-06T23:46:20.530" UserId="5817" Text="What do you expect from the picture editor?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29883" PostHistoryTypeId="3" PostId="18477" RevisionGUID="ca5d106d-1045-4af2-a8a0-3b49dbc29b33" CreationDate="2013-03-06T23:46:20.530" UserId="5817" Text="&lt;picture-editor&gt;&lt;team&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29884" PostHistoryTypeId="2" PostId="18478" RevisionGUID="04167e42-f82d-4e75-9596-8f3b29615a20" CreationDate="2013-03-07T00:34:03.770" UserId="3179" Text="1. A locked picture.&#xD;&#xA;&#xD;&#xA;2. All audio that was recorded, i.e. including audio tracks from takes that aren't used in the provided cut, so that they can be used, if needed. The tracks being full length, i.e. having &quot;handles&quot;, and not cut to the film cut. Renamed in a way that they can be identified in relation to the picture and in groups, i.e. not for example having a file name that's specific to a video cut's file name, but more like a scene/script related descriptor.&#xD;&#xA;&#xD;&#xA;But you should honestly discuss with the person that doing the work, instead asking from here what he/she wants." ContentLicense="CC BY-SA 3.0" />
  <row Id="29885" PostHistoryTypeId="2" PostId="18479" RevisionGUID="6257202f-022d-415a-89ff-4ded1095a2e8" CreationDate="2013-03-07T00:37:50.763" UserDisplayName="user49" Text="Usually a copy of all the original production audio is handed over (untouched), along with a copy of the audio media ex whatever app you have been editing in eg if cut on an Avid, it makes a copy on import &amp; renames that media with its own unique file name and ID... She'll need the original files to access any eg multitrack files that you may not have used or wildlines etc, but she'll also want all that renamed media so she has everything you might have used in the cut, including any processed files, temp music etc...&#xD;&#xA;&#xD;&#xA;With regards to the reference video, make sure your specs are correct with right size, codec (not h264!) and correct speed SMPTE leader with head 2 pop and tail leader with 2 pop&#xD;&#xA;&#xD;&#xA;You would usually also hand over EDLs, and a list with FFOA and LFOA for each reel.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm not a dialogue editor, so others will be able to clarify exact specs etc..." ContentLicense="CC BY-SA 3.0" />
  <row Id="29886" PostHistoryTypeId="5" PostId="18478" RevisionGUID="26fc1e66-944b-48b8-b5b9-d4119414fcd7" CreationDate="2013-03-07T00:39:07.747" UserId="3179" Comment="added 3 characters in body" Text="1. A locked picture.&#xD;&#xA;&#xD;&#xA;2. All audio that was recorded, i.e. including audio tracks from takes that aren't used in the provided cut, so that they can be used, if needed. The tracks being full length, i.e. having &quot;handles&quot;, and not cut to the film cut. Renamed in a way that they can be identified in relation to the picture and in groups, i.e. not for example having a file name that's specific to a video cut's file name, but more like a scene/script related descriptor.&#xD;&#xA;&#xD;&#xA;But you should honestly discuss with the person that doing the work, instead of asking from here what he/she wants." ContentLicense="CC BY-SA 3.0" />
  <row Id="29887" PostHistoryTypeId="2" PostId="18480" RevisionGUID="e66d918b-b367-46d2-937c-f992abd34cba" CreationDate="2013-03-07T00:47:25.887" UserDisplayName="user49" Text="I'm not sure but have you tried actually analysing it yourself?  Sample it, even off that youtube clip and try pitching it up down by an octave, does it remind you of anything?&#xD;&#xA;&#xD;&#xA;At half speed it makes me think of a pair of those squeaky shoes that kids wear, or those dogs toys that squeak - rapidly alternating two different pitches 12121212121212 then pitched up an octave and doppler effect applied&#xD;&#xA;&#xD;&#xA;&quot;it's pretty old so it can't be anything too hi-tech&quot;&#xD;&#xA;&#xD;&#xA;peoples imaginations are not limited by technology - editing, pitch shifting, reversing &amp; doppler were all easily possible using analog technology (eg a Nagra and a microphone)&#xD;&#xA;&#xD;&#xA;if I was yoda I would say something like 'reliance on plugins/hi tech your downfall will be'" ContentLicense="CC BY-SA 3.0" />
  <row Id="29891" PostHistoryTypeId="2" PostId="18482" RevisionGUID="f2af1081-8890-4c96-8d32-127b64392a1f" CreationDate="2013-03-07T10:41:31.250" UserId="5605" Text="Whatever sound you're trying to create, if you're stuck... Record YOURSELF!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29893" PostHistoryTypeId="2" PostId="18483" RevisionGUID="e4b1e0c3-152e-40bc-acd0-7e30f02c39d2" CreationDate="2013-03-07T11:56:32.087" UserId="1185" Text="I have just been given some funding to buy an iPad and audio/MIDI interface to do some research (synthesis-based sound design).  Having done a bit of research on interfaces against my requirements I've now narrowed it down to either the [Alesis iO Dock][1] or [Tascam iU2][2]   &#xD;&#xA;&#xD;&#xA;I'm leaning towards the Alesis on the grounds of standard connectors and looks better build quality.  As anyone used either?  I'm particularly interested to hear about build quality, robustness and quality of the pre-amps.&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.alesis.com/iodock&#xD;&#xA;  [2]: http://www.thomann.de/gb/tascam_iu2.htm?gclid=CNDbk-6u6rUCFcrHtAodAX4AQg" ContentLicense="CC BY-SA 3.0" />
  <row Id="29894" PostHistoryTypeId="1" PostId="18483" RevisionGUID="e4b1e0c3-152e-40bc-acd0-7e30f02c39d2" CreationDate="2013-03-07T11:56:32.087" UserId="1185" Text="iPad Docks: Alesis iO Dock or Tascam iU2 " ContentLicense="CC BY-SA 3.0" />
  <row Id="29895" PostHistoryTypeId="3" PostId="18483" RevisionGUID="e4b1e0c3-152e-40bc-acd0-7e30f02c39d2" CreationDate="2013-03-07T11:56:32.087" UserId="1185" Text="&lt;ipad&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29896" PostHistoryTypeId="2" PostId="18484" RevisionGUID="3be78f0e-34f4-484f-8641-a8b06b21a749" CreationDate="2013-03-07T14:57:01.307" UserId="426" Text="Hello everyone!&#xD;&#xA;My roommates and I recently decluttered the house. Once all the dust cleared, I found that we had 4 crt tv's that we're throwing out. Seeing them, I decided to hold on to them and use them for SFX fodder. &#xD;&#xA;&#xD;&#xA;So my question- Are there any sounds that I should definitely try to record? I'll naturally be experimenting the entire time, but it'd be great to go into the recording session with a few ideas of sounds I'm going to capture.&#xD;&#xA;&#xD;&#xA;I read [this](http://socialsounddesign.com/questions/789/recording-glass-shatters) post from Jay Jennings, and it's given me some great ideas. However, since flourescent tubes and crt's are slightly different, I wanted your thoughts.&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29897" PostHistoryTypeId="1" PostId="18484" RevisionGUID="3be78f0e-34f4-484f-8641-a8b06b21a749" CreationDate="2013-03-07T14:57:01.307" UserId="426" Text="Recording CRT sound effects" ContentLicense="CC BY-SA 3.0" />
  <row Id="29898" PostHistoryTypeId="3" PostId="18484" RevisionGUID="3be78f0e-34f4-484f-8641-a8b06b21a749" CreationDate="2013-03-07T14:57:01.307" UserId="426" Text="&lt;sound-effects&gt;&lt;foley&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29899" PostHistoryTypeId="2" PostId="18485" RevisionGUID="d4fa4149-6cc5-4c21-be07-25b33fb74b5c" CreationDate="2013-03-07T15:14:51.370" UserId="4442" Text="If they are the old rotary dial ones definitely the knob clicks. If not there's always the buzz, any channels with static on them, and of course, smash em up! If you feel like it of course but they smash and make awesome sounds. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29900" PostHistoryTypeId="2" PostId="18486" RevisionGUID="90e5bc3d-87d1-40c3-bc75-41eda5eb0566" CreationDate="2013-03-07T15:36:51.263" UserId="5738" Text="We use the Alesis i/o docks at our studio. They are made of plastic, so I doubt they're made to travel, but they work really well &amp; I haven't had any problems with connectivity. I'll admit I've only used the preamps a couple of times for sampling or auditions but had no complaints. we mostly use them as midi interfaces &amp; pro quality outputs to Pro Tools. There's some incredible apps for synthesis &amp; sound design on the iPad &amp; having a dock immediately transforms your tablet into a professional sound module. well worth the $$$." ContentLicense="CC BY-SA 3.0" />
  <row Id="29901" PostHistoryTypeId="2" PostId="18487" RevisionGUID="f31e90d0-d9ce-448c-911c-3dffc596519a" CreationDate="2013-03-07T17:12:09.933" UserId="5818" Text="Hi,&#xD;&#xA;I am trying to find a solution to record foley in my recording booth while seeing a looping quicktime movie on my ipad.&#xD;&#xA;&#xD;&#xA;Is there any app that would allow me to do this?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;To avoid all the file handling and other issues i have also looked into just remote controlling my DAW but then i am missing video playback.&#xD;&#xA;&#xD;&#xA;I also tried one &quot;remote acess&quot; app thing, (airdisplay?)  that would mirror my desktop to the ipad, (and therefore letting me see my DAW + video) but the video playback from my DAW was very stuttering and had low framerate that would not work for foley stuff where sync is important.&#xD;&#xA;&#xD;&#xA;Or is an external monitor with a loooooonnng cable into my other room really my only option?&#xD;&#xA;&#xD;&#xA;Any clever ideas out there?&#xD;&#xA;&#xD;&#xA;I feel like i am missing an obvious solution...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks so much.&#xD;&#xA;Djaja" ContentLicense="CC BY-SA 3.0" />
  <row Id="29902" PostHistoryTypeId="1" PostId="18487" RevisionGUID="f31e90d0-d9ce-448c-911c-3dffc596519a" CreationDate="2013-03-07T17:12:09.933" UserId="5818" Text="Recording app with video playback / remote solution" ContentLicense="CC BY-SA 3.0" />
  <row Id="29903" PostHistoryTypeId="3" PostId="18487" RevisionGUID="f31e90d0-d9ce-448c-911c-3dffc596519a" CreationDate="2013-03-07T17:12:09.933" UserId="5818" Text="&lt;design&gt;&lt;ipad&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29904" PostHistoryTypeId="2" PostId="18488" RevisionGUID="680a1db6-5931-4be1-800e-6b97b5d758d2" CreationDate="2013-03-07T17:52:55.667" UserId="1228" Text="If it can still be powered, try recording it various ways with an induction coil mic.  Might yield some interesting buzzes, hums, and other noises especially when power it on and off and playing with adjustment dials." ContentLicense="CC BY-SA 3.0" />
  <row Id="29905" PostHistoryTypeId="2" PostId="18489" RevisionGUID="956d2ef6-4d62-43fa-80b2-f3278b9d5261" CreationDate="2013-03-07T18:41:47.970" UserId="3396" Text="&quot;What do you expect from the picture editor?&quot;&#xD;&#xA;&#xD;&#xA;At the mix I always expect, &quot;Can we hear what's in my OMF? I like what WE did.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29906" PostHistoryTypeId="2" PostId="18490" RevisionGUID="679ef6d2-2b0e-4ce2-9e43-b43e30306ebe" CreationDate="2013-03-07T20:07:52.150" UserId="6519" Text="[CRT Sound effects - Membrans Sound Design][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pond5.com/sound-effects-music/1/artist%3Amembrans-crt.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="29907" PostHistoryTypeId="2" PostId="18491" RevisionGUID="4eb6442c-9c65-4768-aba3-6849a1580408" CreationDate="2013-03-07T20:34:27.817" UserDisplayName="user49" Text="You can use it to test your high frequency hearing response! All CRTs output a whine just below 16k, have someone switch one on in another room without telling you &amp; check to see if you can hear it.... that used to drive me crazy, the whine is very annoying &amp; I was very happy to ditch my last CRT, but it was especially annoying when sounds were recorded in a room with a CRT display accidentally left on...." ContentLicense="CC BY-SA 3.0" />
  <row Id="29908" PostHistoryTypeId="2" PostId="18492" RevisionGUID="0d4af78f-46cb-44c0-8f6d-dc986202d94b" CreationDate="2013-03-07T20:37:46.890" UserId="61" Text="CRTs aren't going to be around or available for much longer, so doing a comprehensive recording of a few different models would be prudent. One day (in the not so distant future) people will say, 'hey there's a scene in my movie where a guy turns on one of those TV-box-type-thingys and I have no idea what they sounded like.' So, that said, here's a few thoughts:&#xD;&#xA;&#xD;&#xA; - Position as many mics as you can get for your session and do it in a quiet room. I'd lean towards condensers rather than dynamics since many of the sounds generated will be low in level and will contain lots of high frequency information. Record at the highest sample and bit rate available to you.&#xD;&#xA;&#xD;&#xA; - Go to a radio shack/other tech type store and pickup a variable voltage controller. Plug your TVs into it and start playing around with different amounts of power, underpowering and (carefully) overpowering the unit. You will probably get tons of great buzzes and squeals and who knows what else.&#xD;&#xA;&#xD;&#xA; - Definitely record any moving parts. They come in handy for all kinds of things, from cockpit switches to robot mech.&#xD;&#xA;&#xD;&#xA; - Use several contact mics.&#xD;&#xA;&#xD;&#xA; - Try recording with electromagnetic pickups.&#xD;&#xA;&#xD;&#xA; - Save the biggest and most destructive stuff for last. And remember that CRT stands for Cathode Ray Tube. That means there's CATHODE RAYS in those tubes. Whether or not they are hazardous to your health is debatable, I guess.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29909" PostHistoryTypeId="2" PostId="18493" RevisionGUID="e5833c49-0157-4f69-b85b-1821315ae21d" CreationDate="2013-03-07T21:19:58.213" UserId="423" Text="And in the end...Hulk...smash!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29910" PostHistoryTypeId="4" PostId="18473" RevisionGUID="42a8f97a-4ba1-4fc7-8bca-9aa330120eb1" CreationDate="2013-03-08T03:02:23.913" UserId="18160" Comment="edited title" Text="How Did They Do That?? Vol. 6: Jetsons Spaceship sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="29911" PostHistoryTypeId="5" PostId="18485" RevisionGUID="fcf648e0-5be7-40f7-8927-8bdc5cb23e13" CreationDate="2013-03-08T03:37:35.373" UserId="4442" Comment="change" Text="If they are the old rotary dial ones definitely the knob clicks. If not there's always the buzz, any channels with static on them, and of course, smash em up! If you feel like it of course but they smash and make awesome sounds. &#xD;&#xA;&#xD;&#xA;EDIT be super careful about smashing, see @Mark Durham's post below. Sorry!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29912" PostHistoryTypeId="2" PostId="18494" RevisionGUID="b8b847c6-ebf2-4025-9102-e27ab9ef4b3c" CreationDate="2013-03-08T07:16:52.553" UserId="1178" Text="http://www.soundjay.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="29913" PostHistoryTypeId="2" PostId="18495" RevisionGUID="9bf9c24b-acdd-4b7f-a284-c4ffde58ea2f" CreationDate="2013-03-08T07:48:45.470" UserId="3567" Text="Freesound has introduced a feature that lets users search for Creative Commons 0 (Public Domain, that is) sounds: http://www.freesound.org/search/?q=&amp;f=license%3A%22Creative+Commons+0%22&amp;s=score+desc&amp;advanced=0&amp;g=1&#xD;&#xA;&#xD;&#xA;Thought it might be helpful." ContentLicense="CC BY-SA 3.0" />
  <row Id="29914" PostHistoryTypeId="5" PostId="18494" RevisionGUID="deba3ff5-d4db-4a9b-b151-dfc3e6ffad71" CreationDate="2013-03-08T08:09:33.163" UserId="1178" Comment="added terms of use" Text="http://www.soundjay.com/&#xD;&#xA;&#xD;&#xA;Few gigs of high quality sound efffects for free, terms of use as followed: &#xD;&#xA;&#xD;&#xA;&quot;Sound Effects&#xD;&#xA;You are allowed to use the sounds free of charge and royalty free in your projects (such as films, videos, games, presentations, animations, stage plays, radio plays, audio books, apps) be it for commercial or non-commercial purposes.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29917" PostHistoryTypeId="2" PostId="18497" RevisionGUID="a6beea85-98a5-4739-b6d8-8e9b113f3576" CreationDate="2013-03-08T14:46:03.797" UserId="5488" Text="1. Yes, a locked picture is nice (in a perfect world)&#xD;&#xA;&#xD;&#xA;2. Definitely handles. Without these, there's really not much to edit.&#xD;&#xA;&#xD;&#xA;3. A sensible track layout. Don't randomly put unlike audio on the same track. It takes time for a sound editor to go through and split these out and trust me, they'll be cursing you the whole time. For a typical documentary, I like something like this:&#xD;&#xA;&#xD;&#xA;Narration&#xD;&#xA;&#xD;&#xA;Dialog/Interviews (bonus points if each interview subject is on their own track)&#xD;&#xA;&#xD;&#xA;Room Tone**&#xD;&#xA;&#xD;&#xA;Nat Sound/Prod FX&#xD;&#xA;&#xD;&#xA;Temp FX&#xD;&#xA;&#xD;&#xA;Music&#xD;&#xA;&#xD;&#xA;** I've done many projects where I know RT was recorded on set, yet the editor has been too lazy to put it in the timeline. It takes time to hunt for it in a region bin (assuming it was named something logical). If it wasn't, then I have to spend even more time hunting for snippets of fill within a line or scene, and these are usually to short to make a decent fill loop.&#xD;&#xA;&#xD;&#xA;Don't jam everything onto a half dozen tracks. Personally I don't care if I get 20 tracks in an OMF, as long as they make sense.&#xD;&#xA;&#xD;&#xA;And obviously the correct TC frame rate, bit depth/sample rate, etc.&#xD;&#xA;&#xD;&#xA;Thanks for asking. Don't worry about the sound dept. thinking you're a noob. If you are, that's ok! I think much more highly of someone asking me &quot;How can I deliver assets so that you can do your job most efficiently?&quot;, rather than hand me a rat's nest of audio tacks and saying &quot;deal with it&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="29918" PostHistoryTypeId="2" PostId="18498" RevisionGUID="a18ad409-23b5-4761-9576-0e3f7232c8ee" CreationDate="2013-03-08T15:48:05.920" UserId="5663" Text="I've got a friend who is stuck at recording potatoes. He puts a set of microphones ready above the oven so that he quickly can take them out and record them. It sounds, I don't know what to say, but they're singing.&#xD;&#xA;&#xD;&#xA;I don't know the recipe but I'm guessing it is http://scandinavianfood.about.com/od/potatodishes/r/hasselbacks.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="29919" PostHistoryTypeId="2" PostId="18499" RevisionGUID="9641c296-c41a-4a9e-85b4-6f41c87d575a" CreationDate="2013-03-08T18:30:25.413" UserId="5821" Text="hi i'm 18 months late in on this discussion, but have most of the mics mentioned and have worked through them in search of low self noise and natural sound.&#xD;&#xA;The 19dB Sound Professionals binaural mics are the only mics that i think meet the low noise natural sound and genuinely in ear criteria i have been searching for.&#xD;&#xA;They seem to perform at best when driven through a preamp or into my Sound Devices 702 via a phantom power adaptor. The preamp i use to connect into my smaller pocket audio recorders like Sony M10, is a FEL Communications BMA1.&#xD;&#xA;I also get extremely Good low noise performance using Shure WL183 straight into Sony m10 using Dan Dugan's PIP Adaptor lead.&#xD;&#xA;For bats like me i slightly miss the upper 3k of high end as the latter mics top out at 17k." ContentLicense="CC BY-SA 3.0" />
  <row Id="29920" PostHistoryTypeId="2" PostId="18500" RevisionGUID="0e424267-ae56-4c6b-aee1-1dca0882492a" CreationDate="2013-03-09T01:45:18.767" UserId="4358" Text="The Roland CS-10EM's are a really good pair. I recently bought them and am really happy with its result." ContentLicense="CC BY-SA 3.0" />
  <row Id="29921" PostHistoryTypeId="2" PostId="18501" RevisionGUID="1389db10-c59f-4cf9-9bd4-d1bdb43e1938" CreationDate="2013-03-09T02:03:41.543" UserId="4259" Text="Check out the Equator D5s. They just increased the price to 399, but that's still a screaming deal. [http://www.equatoraudio.com/D5_Studio_Monitors_with_DSP_p/d5.htm][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.equatoraudio.com/D5_Studio_Monitors_with_DSP_p/d5.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="29923" PostHistoryTypeId="2" PostId="18503" RevisionGUID="73d66ded-1ad6-4b56-a021-02c9ce6f6638" CreationDate="2013-03-09T09:50:53.667" UserId="5697" Text="i am doing some edit of dialogue on a short movie,I am mixing in LCR and  I have all dialogues at Center and all the rest on LR, now the director want me to render a lr audio to use in the movie  he wants just export from final cut as h264 probably to send to someone via vimeo or whatever. So i have the problem to mix from lcr to Lr with protools 10. What is the best workflow to make the thing properly ? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29924" PostHistoryTypeId="1" PostId="18503" RevisionGUID="73d66ded-1ad6-4b56-a021-02c9ce6f6638" CreationDate="2013-03-09T09:50:53.667" UserId="5697" Text="LCR, DOWNMIX TO LR" ContentLicense="CC BY-SA 3.0" />
  <row Id="29925" PostHistoryTypeId="3" PostId="18503" RevisionGUID="73d66ded-1ad6-4b56-a021-02c9ce6f6638" CreationDate="2013-03-09T09:50:53.667" UserId="5697" Text="&lt;lcr&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29926" PostHistoryTypeId="2" PostId="18504" RevisionGUID="277b9d30-8a03-41ed-b0bf-35690477fbb0" CreationDate="2013-03-09T11:20:00.603" UserId="1049" Text="It will take a little bit of work to get it to sound right for your mix, but in essence:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Create a session with 5 tracks in Pro Tools. Put your **L**, **C** and **R** on one each. Your remaining two tracks will be for an **LC** bounce, and an **RC** bounce. &#xD;&#xA;&#xD;&#xA;Reduce the level of your **C** track by approx 3dB.&#xD;&#xA;&#xD;&#xA;Now, bus the **L** and **C** to **LC** and record, then bus **R** and **C** to **RC** and record.&#xD;&#xA;&#xD;&#xA;To monitor; bus **LC** to **Left Speaker** and **RC** to **Right Speaker**, and hear if your **C** components sits well in the mix. If not, adjust the level of your **C** track and repeat until you're happy." ContentLicense="CC BY-SA 3.0" />
  <row Id="29928" PostHistoryTypeId="2" PostId="18506" RevisionGUID="e34de144-c263-439e-92df-d12625c9661f" CreationDate="2013-03-09T15:23:43.150" UserId="426" Text="I just used Soundflower on Mountain Lion last week, and it worked great. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29929" PostHistoryTypeId="2" PostId="18507" RevisionGUID="e4384810-6fb7-4e19-94c7-07e6ddaf8922" CreationDate="2013-03-09T19:14:42.117" UserId="5697" Text="thereis some plug in that makes it properly too? soundcode neyrick for ex." ContentLicense="CC BY-SA 3.0" />
  <row Id="29930" PostHistoryTypeId="2" PostId="18508" RevisionGUID="19930ff1-79a8-40d4-8bc6-d6ccd2f9fd56" CreationDate="2013-03-09T22:41:36.547" UserId="542" Text="I use Vloop for video playback: &#xD;&#xA;https://itunes.apple.com/us/app/cwgs-video-loop-presenter/id423787575?mt=8&#xD;&#xA;&#xD;&#xA;AirDisplay works best when you link your Pro Tools computer and your iPad via an adhoc network. There are dozens of tutorials explaining how to set up such a network.&#xD;&#xA;&#xD;&#xA;I don't know how many meters of monitorcable you need, but I think VGA cables work fine for about 20 meter or so (if I remember correctly)" ContentLicense="CC BY-SA 3.0" />
  <row Id="29931" PostHistoryTypeId="2" PostId="18509" RevisionGUID="7abbe3f4-1c0b-4cb7-bc0a-a8b795d6ffd7" CreationDate="2013-03-09T23:37:17.783" UserId="4376" Text="I have only used the Roland CS-10EM's but I will say that they surprised me! Much better signal to noise ratio than I had anticipated and a relatively flat response, however the LF does roll off as might be expected. Comfortable to wear, however, be careful when monitoring as feedback will strike fairly easily. &#xD;&#xA;&#xD;&#xA;I have only heard that the Soundman plugs are fairly noisy as the output from them is quite hot.&#xD;&#xA;&#xD;&#xA;Have a listen to the recording I did with the Roland's and a Zoom H4N.&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/jason-pinches/albatross-fleetwood-mac-cover&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29933" PostHistoryTypeId="2" PostId="18511" RevisionGUID="e82430f5-adce-4730-937a-e19fa7572338" CreationDate="2013-03-10T02:30:17.760" UserId="4358" Text="I have the Tascam DR40 and I must say its pretty good. Its in a lot of ways similar to the Zoom H4N, but is comparatively cheaper. I have used both, DR100 and DR40 and sound quality wise I feel there's not much of a difference between the DR100 and the DR40. Just that the DR100 has more functions (sometimes it feels that its more than what you actually need). I'd give a +1 to the DR40 for its adjustable mic positions which you cannot do in the DR100. If you are just starting out in field recording, then I think the DR40 would be a good choice and for the price that you get it, its awesome. Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="29938" PostHistoryTypeId="2" PostId="18514" RevisionGUID="40de6848-9450-4694-aad6-ed4914bf6428" CreationDate="2013-03-10T17:42:31.690" UserId="5697" Text="What is the real difference between editing the the clip gain line and the volume line in protools 10" ContentLicense="CC BY-SA 3.0" />
  <row Id="29939" PostHistoryTypeId="1" PostId="18514" RevisionGUID="40de6848-9450-4694-aad6-ed4914bf6428" CreationDate="2013-03-10T17:42:31.690" UserId="5697" Text="protools 10 clip gain line and volume issue" ContentLicense="CC BY-SA 3.0" />
  <row Id="29940" PostHistoryTypeId="3" PostId="18514" RevisionGUID="40de6848-9450-4694-aad6-ed4914bf6428" CreationDate="2013-03-10T17:42:31.690" UserId="5697" Text="&lt;pro-tools&gt;&lt;gain&gt;&lt;volume&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29941" PostHistoryTypeId="2" PostId="18515" RevisionGUID="552679f1-d649-4f41-8714-597a47809b93" CreationDate="2013-03-10T19:49:57.943" UserId="4259" Text="Clip gain affects only that clip. The volume automation affects the actual track in the sections you change. They are both similar means to a similar end, but I've been finding if I have a track with many clips, clip gain ends up being a faster way to adjust volumes. If you need different volumes for two or more sections of the same clip, separate the clip, do a crossfade and adjust the clip gains." ContentLicense="CC BY-SA 3.0" />
  <row Id="29942" PostHistoryTypeId="2" PostId="18516" RevisionGUID="8ad9082a-577a-4a91-8fec-0de0c406cb3c" CreationDate="2013-03-10T19:51:24.903" UserId="3979" Text="The difference between clip gain and volume automation is basically INPUT volume and OUTPUT volume. Clip gain is the input volume. This data is read and taken into account before insert effects, sends, volume automation, eft. Here are two examples : if you crank up the clip gain you could potentially clip your audio. If it Wasn't clipping while you were recording, it might be now that u cranked the clip gain. You don't have this effect with volume Automation because volume automation is post Fader. &#xD;&#xA;&#xD;&#xA;The 2nd example is : say You have a compressor on a track, and you have all the settings where you want them. 3 to 1 ratio and you're getting 2 DB of again reduction. If you raise the clip gain you are raising the input to that compressor. This means that it might throw off your settings. For example you may now be getting four or five Db of compression. However if you adjust your volume automation or volume, you are adjusting the volume after the compressor. Therefore you do not mess with how the compressor is working." ContentLicense="CC BY-SA 3.0" />
  <row Id="29943" PostHistoryTypeId="2" PostId="18517" RevisionGUID="5a815caa-fbc3-42dc-a207-8e0b8ad39cc8" CreationDate="2013-03-10T22:59:35.817" UserId="1014" Text="Hi,&#xD;&#xA;&#xD;&#xA;since I'm relocating to a new country, I'm thinking to sell my pair of Dynaudio BM15A and buy something smaller, more suitable for a studio apartment. Main use is for presets programming and design for sample libraries. I'm also looking for a good DA converter (or an audio interface with good DACs).&#xD;&#xA;&#xD;&#xA;Any advice?&#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="29944" PostHistoryTypeId="1" PostId="18517" RevisionGUID="5a815caa-fbc3-42dc-a207-8e0b8ad39cc8" CreationDate="2013-03-10T22:59:35.817" UserId="1014" Text="Changing nearfield monitors + D/A" ContentLicense="CC BY-SA 3.0" />
  <row Id="29945" PostHistoryTypeId="3" PostId="18517" RevisionGUID="5a815caa-fbc3-42dc-a207-8e0b8ad39cc8" CreationDate="2013-03-10T22:59:35.817" UserId="1014" Text="&lt;nearfield&gt;&lt;monitors&gt;&lt;converter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29946" PostHistoryTypeId="2" PostId="18518" RevisionGUID="efa417ef-4f3d-4d95-a154-89697bc7a9fe" CreationDate="2013-03-11T00:07:38.630" UserId="5697" Text="hi, i apologize for probably stupid question, but how do you manage a dialogue with boom or lavalier in a moving car? how do you get the best result?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29947" PostHistoryTypeId="1" PostId="18518" RevisionGUID="efa417ef-4f3d-4d95-a154-89697bc7a9fe" CreationDate="2013-03-11T00:07:38.630" UserId="5697" Text="how do you manage a dialogue in a car" ContentLicense="CC BY-SA 3.0" />
  <row Id="29948" PostHistoryTypeId="3" PostId="18518" RevisionGUID="efa417ef-4f3d-4d95-a154-89697bc7a9fe" CreationDate="2013-03-11T00:07:38.630" UserId="5697" Text="&lt;dialogue&gt;&lt;cars&gt;&lt;lavalier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29949" PostHistoryTypeId="2" PostId="18519" RevisionGUID="30c4d383-9221-4c5c-bf35-c4626aea38c2" CreationDate="2013-03-11T00:25:35.470" UserId="542" Text="http://socialsounddesign.com/questions/11846/rigging-microphones-in-cars" ContentLicense="CC BY-SA 3.0" />
  <row Id="29950" PostHistoryTypeId="2" PostId="18520" RevisionGUID="83f23bfc-8758-4c67-8484-a4f81716c6a5" CreationDate="2013-03-11T00:52:32.957" UserId="5832" Text="Ingmar Bergman is probably one of the best one's who intensively used silence in hie films." ContentLicense="CC BY-SA 3.0" />
  <row Id="29951" PostHistoryTypeId="16" PostId="18520" RevisionGUID="83f23bfc-8758-4c67-8484-a4f81716c6a5" CreationDate="2013-03-11T00:52:32.957" UserId="-1" />
  <row Id="29952" PostHistoryTypeId="2" PostId="18521" RevisionGUID="738acd70-57f7-4ef6-85d8-a847d3efd5ae" CreationDate="2013-03-11T01:00:09.787" UserId="5832" Text="I recently saw the film Killing Them Softly. Though the film didn't do great commercially, there are a few nicely done sound design-y moments. Eg. the scene where 2 people are beating the Ray Liotta character. [Here][1] are a few things the sound editor has said about how they did the sound for that scene. And it is really effective. The punches sound brutal and it has an affect on the viewer too. I found it very disturbing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.nytimes.com/2012/11/25/movies/building-sounds-for-killing-them-softly.html?_r=1&amp;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29953" PostHistoryTypeId="2" PostId="18522" RevisionGUID="6e699db7-bcfc-430a-994e-22936ab04d2c" CreationDate="2013-03-11T06:21:27.810" UserId="5833" Text="Isn't that what the &quot;Downmixer&quot; plug-in is for? Comes free with PT10. Look in the &quot;Sound Field&quot; plug-ins group. I haven't used it, but I think you just make a duplicate master aux channel and insert the plug-in. It turns it into a stereo aux with a downmix." ContentLicense="CC BY-SA 3.0" />
  <row Id="29954" PostHistoryTypeId="5" PostId="18278" RevisionGUID="e154ebd6-5dbf-4446-afca-ed34c6c2e442" CreationDate="2013-03-11T10:26:25.457" UserDisplayName="user80" Comment="added 5 characters in body; edited title" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm making a test setup for MS recording.&#xD;&#xA;&#xD;&#xA;The 1st setup is with a figure 8 mic and a cardioid.&#xD;&#xA;The 2nd setup is with a figure 8 mic and a omni.&#xD;&#xA;The 3rd setup would be with 3 cardioids. (2 S channel placed exactly(!) opposite and phase aligned)&#xD;&#xA;&#xD;&#xA;I found that by panning the two S cardioid mics hard left and right and adding M did not result in the same audio perception as with a figure 8 and cardioid.&#xD;&#xA;&#xD;&#xA;What I did to resolve this:&#xD;&#xA;First summing the two mics to make a new figure 8 signal.&#xD;&#xA;1st S channel phase non inverted -&gt; bus 1&#xD;&#xA;2nd S channel phase inverted &gt; bus 1&#xD;&#xA;&#xD;&#xA;Then treat bus 1 (the 'new' figure 8 signal) as you would do normally with S signals&#xD;&#xA;bus 1 &gt; new channel 3 and pan hard left, phase non inverted&#xD;&#xA;bus 1 &gt; new channel 4 and pan hard right, phase inverted&#xD;&#xA;channel 5 has the M signal.&#xD;&#xA;&#xD;&#xA;This results in a much better MS with 3 cardioids. &#xD;&#xA;&#xD;&#xA;Anyone agree/disagree?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29955" PostHistoryTypeId="4" PostId="18278" RevisionGUID="e154ebd6-5dbf-4446-afca-ed34c6c2e442" CreationDate="2013-03-11T10:26:25.457" UserDisplayName="user80" Comment="added 5 characters in body; edited title" Text="How to make a figure of 8 out of three cardioids" ContentLicense="CC BY-SA 3.0" />
  <row Id="29956" PostHistoryTypeId="2" PostId="18523" RevisionGUID="2845b06e-823f-4234-987c-2702fdebc836" CreationDate="2013-03-11T10:45:03.763" UserId="644" Text="I think you are asking a very difficult question. I mean, as it is written it makes sense, but as someone who has studied sound and become very analytical, its very difficult to address it as a simple objective viewer.&#xD;&#xA;&#xD;&#xA;As a viewer, trying to switch off from being subjective, I think some of the best sounds that make me happy, or have evoked a viewer &quot;hell yeah&quot; moment, has to be the simple sound cue of a gun being cocked. For instance, the &quot;payback time&quot; mini-gun cocking from Predator, or the &quot;I like to keep this handy (SFX)... for close encounters&quot; from Aliens. &#xD;&#xA;&#xD;&#xA;I think its the sounds that create a narrative statement that resound the most with me. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29957" PostHistoryTypeId="2" PostId="18524" RevisionGUID="1295e990-751f-4a27-abe7-5b55dc6b4c3c" CreationDate="2013-03-11T10:47:58.850" UserId="1216" Text="If you're are used to the Dynaudio BM15a, I'd try the BM6aII or a second hand mkI.&#xD;&#xA;&#xD;&#xA;Regarding a converter/audio interface, I'd advice the RME Fireface UCX. I own and&#xD;&#xA;use the UC and it's really nice. The UCX is a recent update and can also be used&#xD;&#xA;on an iPad(2,3,4) (for a mobile setup, it could be handy).&#xD;&#xA;&#xD;&#xA;But it largely depends on your budget..&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29958" PostHistoryTypeId="2" PostId="18525" RevisionGUID="82ca6927-9ed8-4712-b2b5-46c958d07f22" CreationDate="2013-03-11T15:54:41.867" UserId="5815" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;I have to mix music and sfx for a short animation which will play in a cinema on a dolby 5.1 system. I need to deliver all 6 channels as separate wav files so they can encode everything to a DCP. My plan is to use the waves 360 tools with Ableton Live 8. I want to use the optical output on my imac and connect it to a surround receiver to monitor all 6 channels, then solo each one of them and export a separate track for each channel...&#xD;&#xA;&#xD;&#xA;Is this possible? &#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;Regards,&#xD;&#xA;&#xD;&#xA;Jaap&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29959" PostHistoryTypeId="1" PostId="18525" RevisionGUID="82ca6927-9ed8-4712-b2b5-46c958d07f22" CreationDate="2013-03-11T15:54:41.867" UserId="5815" Text="Mixing surround sound via optical cable" ContentLicense="CC BY-SA 3.0" />
  <row Id="29960" PostHistoryTypeId="3" PostId="18525" RevisionGUID="82ca6927-9ed8-4712-b2b5-46c958d07f22" CreationDate="2013-03-11T15:54:41.867" UserId="5815" Text="&lt;surround-sound&gt;&lt;dolby&gt;&lt;upmixing&gt;&lt;film-mixing&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29961" PostHistoryTypeId="2" PostId="18526" RevisionGUID="f4226298-8321-4343-b2b2-3417bc0eb03f" CreationDate="2013-03-11T16:03:19.537" UserId="432" Text="The monitoring probably won't work. The optical connection on computers is S/PDIF, not Lightpipe/ADAT. That means it will only carry two channels of audio. If you have an encoder plug-in that you can put in line between your discrete DAW tracks and the computer output, you might be able to pull it off." ContentLicense="CC BY-SA 3.0" />
  <row Id="29962" PostHistoryTypeId="2" PostId="18527" RevisionGUID="290de301-f130-469b-8e14-b07386873079" CreationDate="2013-03-11T16:56:13.087" UserId="3908" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;First I would like to say that I really love this place. As a sounddesign student, social sounddesign has been invaluable and a great inspiration! Thanks to all of you for that!&#xD;&#xA;&#xD;&#xA;Now, on with the subject :-)&#xD;&#xA;&#xD;&#xA;I would like to start a brainstorm on selecting and testing different materials for a DIY Aquaphone. I found one online, but was not really charmed by it. This guy seemed to use very low resonance materials and soldered it as opposed to welding. In the end it produced a scratchy not so charming sound with alsmost no sustain. This could also be functional for a difference purpose of course, but I'm specificly aiming for a nice long ring and good resonance, just a nice round sound. So, I would like to select materials accordingly.&#xD;&#xA;&#xD;&#xA;I have found that the best choice for the base of the aquaphone would probably be compareable to those pans that really give a nice ring when excited by hitting it and also pitch modulate that sound through moving a bit of water inside the pan. Allthough I have no idea what they are made of, some materials proven to do this better than others. I can imagine this has to do with the density of the materials molecules and thus affecting the resistance soundwaves encounter when traveling through it. In my case it is a very cheap little saucepan.&#xD;&#xA;&#xD;&#xA;I plan to buy another one and ask someone with welding experience what the possibilities are as it will most likely be a composite material. The idea is to weld those 2 saucepans together to get the base of the instrument. I also fear that it will be hard to get a neat round hole in one of the pan bottoms, for the handle to be put in later. I imagine using a ironcutter will get kinda messy.&#xD;&#xA;&#xD;&#xA;In the DIY I found online the guy uses straightened clothes hangers soldered on the rim of the base to be bowed or hit. I would like to use somethign thicker, better sounding.&#xD;&#xA;&#xD;&#xA;The thing I'm not sure about is, how I should test different type of metal bars without adding a sound producing element. Can I go to a construction market with my violin bow and just see which materials appear to generate the most friction and vibration? Is this a good criteria without actually hearing anything? &#xD;&#xA;&#xD;&#xA;So my most important question would be: &#xD;&#xA;&#xD;&#xA;How do i test the acoustic properties (relevant to this specific purpose) of different materials without having it welded to the final resonating chamber? &#xD;&#xA;&#xD;&#xA;Are there any tables which give me the speed in which sound can advance through different materials and go with the one that has the least amount of resistance/highest speed/higher density/lower density? How would that relate to thickness/length and welding points. I have so many questions I can't stand it! &#xD;&#xA;&#xD;&#xA;I know it's an ambitious plan but I have faith and thought this forum to be a good place to share ideas on this! Maybe I missed some really important things or some info that will answer some of my questions, so any ideas, recommended reads in particular or help in any way is much appreciated! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks for reading! (english is not my first, so i'm sorry if this was a tough read) &#xD;&#xA;&#xD;&#xA;Tom.&#xD;&#xA;&#xD;&#xA;DIY the way i dont want to do it: http://www.instructables.com/id/The-Aquaharp/&#xD;&#xA;&#xD;&#xA;the real deal: http://www.youtube.com/watch?v=2n5jIqX63ok&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29963" PostHistoryTypeId="1" PostId="18527" RevisionGUID="290de301-f130-469b-8e14-b07386873079" CreationDate="2013-03-11T16:56:13.087" UserId="3908" Text="DIY Aquaphone material selection" ContentLicense="CC BY-SA 3.0" />
  <row Id="29964" PostHistoryTypeId="3" PostId="18527" RevisionGUID="290de301-f130-469b-8e14-b07386873079" CreationDate="2013-03-11T16:56:13.087" UserId="3908" Text="&lt;diy&gt;&lt;acoustics&gt;&lt;material&gt;&lt;sound-design&gt;&lt;instruments&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29965" PostHistoryTypeId="2" PostId="18528" RevisionGUID="8edeb8b6-009f-45e9-bc7d-f1009f2c14c0" CreationDate="2013-03-11T19:22:54.227" UserId="234" Text="The [Auria][1] DAW app apparently has a sync video playback function with record... not sure about how well looping is supported. Also cool stuff like AAF/OMF import, but I haven't actually tried it yet.&#xD;&#xA;&#xD;&#xA;Myself, I use Neyrinck's excellent [V-Control][2] App to control my DAW over wifi... mind you I already have a video feed in the booth from my PT rig for ADR etc, but V-Control does a great job of allowing me to control PT from the booth. I'd suggest getting a &quot;proper&quot; video feed into your booth is a worthwhile investment if you're planning to do this on a fairly regular basis. As Micheal pointed out, high quality VGA cables (DON'T buy the cheap ones) will let you run quite far.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://auriaapp.com/Products/auria&#xD;&#xA;  [2]: http://www.neyrinck.com/v-control-pro" ContentLicense="CC BY-SA 3.0" />
  <row Id="29966" PostHistoryTypeId="2" PostId="18529" RevisionGUID="56d79e87-34c9-4dbe-975c-851eb6603029" CreationDate="2013-03-11T19:53:07.167" UserDisplayName="user49" Text="I prefer to use the LowEnder plugin rather than LoAir, and always print it 100% wet to a seperate track so we have control of balance between the original &amp; the LFE element when it is in context/final mix" ContentLicense="CC BY-SA 3.0" />
  <row Id="29967" PostHistoryTypeId="2" PostId="18530" RevisionGUID="4f70119f-2132-4b5f-b0c5-a374934a2196" CreationDate="2013-03-11T23:20:12.890" UserId="1185" Text="The one I always find most striking is the rising heartbeat sound effect that is used in the original Alien film.  (It is worth a watching if you have not seen it and although fairly old now it still stands up very well.)  Anyway the heartbeat can be heard before all the Alien attacks and as the attack get closer the speed and level of the heartbeat increase.  Most people watching the film will not even notice the sound effect, it is so subtle, but it creates clear a physiological effect in the audience where their own heart rate rises in unison with the sound effect. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29968" PostHistoryTypeId="2" PostId="18531" RevisionGUID="69d8ddcd-0947-4e45-97c5-7e265018f09c" CreationDate="2013-03-12T00:25:51.460" UserId="5835" Text="I have a friend building a fantasy steampunk car for burning man.  I'd like to create sounds so it sounds like a steam engine.  He's got pistons attached to the wheels so it looks like a train.&#xD;&#xA;&#xD;&#xA;I will be hooking up some sort of sensor to know where the piston is in its cycle.  I'll be using that to trigger steam puff sounds.  I'll have some kind of computer on board to be able to generate the sound.  &#xD;&#xA;&#xD;&#xA;I don't know if it is something I could completely synthesize in rhythm to the piston, or if I'll end up playing samples based on the piston position and speed.  I'd love to have it sound a little erratic so it's more realistic.&#xD;&#xA;&#xD;&#xA;I assume I'll have a rotary encoder or something equivalent to tell me what position the piston is at.&#xD;&#xA;&#xD;&#xA;Seems like game designers would need to do this kind of thing all the time.  I just don't have a clue where to start." ContentLicense="CC BY-SA 3.0" />
  <row Id="29969" PostHistoryTypeId="1" PostId="18531" RevisionGUID="69d8ddcd-0947-4e45-97c5-7e265018f09c" CreationDate="2013-03-12T00:25:51.460" UserId="5835" Text="Steam engine sound for fantasy vehicle" ContentLicense="CC BY-SA 3.0" />
  <row Id="29970" PostHistoryTypeId="3" PostId="18531" RevisionGUID="69d8ddcd-0947-4e45-97c5-7e265018f09c" CreationDate="2013-03-12T00:25:51.460" UserId="5835" Text="&lt;synthesis&gt;&lt;sfx&gt;&lt;steam-punk-sd&gt;&lt;engine&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29971" PostHistoryTypeId="2" PostId="18532" RevisionGUID="1038d233-873a-4489-ad30-7b82711d0ce7" CreationDate="2013-03-12T00:38:38.667" UserId="3179" Text="As with art in general, it's about describing an alternative reality, in this case by using sound. You deal or can deal with some similar constraints or concepts as in the physical or rational/spiritual worlds as well as some imposed constraints (technical, physical) as in the real world, but art is, in a way, a more limitless way of expression and can describe things that don't exist in ways or languages that can be freely defined.&#xD;&#xA;&#xD;&#xA;The essence is what the sound conveys (or tries to convey) and describes. It doesn't even require a picture to go with it, even though the auditory and visual arts have formed art forms where the two combine." ContentLicense="CC BY-SA 3.0" />
  <row Id="29975" PostHistoryTypeId="5" PostId="18527" RevisionGUID="7bcb5c32-6446-4c9d-8679-6c92f9c4746a" CreationDate="2013-03-12T11:29:08.640" UserId="3908" Comment="added 753 characters in body" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;First I would like to say that I really love this place. As a sounddesign student, social sounddesign has been invaluable and a great inspiration! Thanks to all of you for that!&#xD;&#xA;&#xD;&#xA;Now, on with the subject :-)&#xD;&#xA;&#xD;&#xA;I would like to start a brainstorm on selecting and testing different materials for a DIY Aquaphone. I found one online, but was not really charmed by it. This guy seemed to use very low resonance materials and soldered it as opposed to welding. In the end it produced a scratchy not so charming sound with alsmost no sustain. This could also be functional for a difference purpose of course, but I'm specificly aiming for a nice long ring and good resonance, just a nice round sound. So, I would like to select materials accordingly.&#xD;&#xA;&#xD;&#xA;I have found that the best choice for the base of the aquaphone would probably be compareable to those pans that really give a nice ring when excited by hitting it and also pitch modulate that sound through moving a bit of water inside the pan. Allthough I have no idea what they are made of, some materials proven to do this better than others. I can imagine this has to do with the density of the materials molecules and thus affecting the resistance soundwaves encounter when traveling through it. In my case it is a very cheap little saucepan.&#xD;&#xA;&#xD;&#xA;I plan to buy another one and ask someone with welding experience what the possibilities are as it will most likely be a composite material. The idea is to weld those 2 saucepans together to get the base of the instrument. I also fear that it will be hard to get a neat round hole in one of the pan bottoms, for the handle to be put in later. I imagine using a ironcutter will get kinda messy.&#xD;&#xA;&#xD;&#xA;In the DIY I found online the guy uses straightened clothes hangers soldered on the rim of the base to be bowed or hit. I would like to use somethign thicker, better sounding.&#xD;&#xA;&#xD;&#xA;The thing I'm not sure about is, how I should test different type of metal bars without adding a sound producing element. Can I go to a construction market with my violin bow and just see which materials appear to generate the most friction and vibration? Is this a good criteria without actually hearing anything? &#xD;&#xA;&#xD;&#xA;So my most important question would be: &#xD;&#xA;&#xD;&#xA;How do i test the acoustic properties (relevant to this specific purpose) of different materials without having it welded to the final resonating chamber? &#xD;&#xA;&#xD;&#xA;Are there any tables which give me the speed in which sound can advance through different materials and go with the one that has the least amount of resistance/highest speed/higher density/lower density? How would that relate to thickness/length and welding points. I have so many questions I can't stand it! &#xD;&#xA;&#xD;&#xA;I know it's an ambitious plan but I have faith and thought this forum to be a good place to share ideas on this! Maybe I missed some really important things or some info that will answer some of my questions, so any ideas, recommended reads in particular or help in any way is much appreciated! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks for reading! (english is not my first, so i'm sorry if this was a tough read) &#xD;&#xA;&#xD;&#xA;Tom.&#xD;&#xA;&#xD;&#xA;DIY the way i dont want to do it: http://www.instructables.com/id/The-Aquaharp/&#xD;&#xA;&#xD;&#xA;the real deal: http://www.youtube.com/watch?v=2n5jIqX63ok&#xD;&#xA;&#xD;&#xA;Update:&#xD;&#xA; the base is made of stainless steel (kind of obvious now i think of it.) and the rods are made of bronze. I called a metalworker and he told me that those cannot be welded together so it's going to be a mechanical connection. This raises questions, should I use screw-thread with bolts or some other connecting element. The bronze will set me back about 100 euros so its too expensive to just go and screw around. :) I need those questions answered before i start sawing and cuttin into the bronze. This also means i have to know the lengths of the rods before connecting them as i think shortening them after will put too much of a strain on the rest of the construction. This is a bummer because I was hoping to tune them as I go along. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29976" PostHistoryTypeId="5" PostId="18527" RevisionGUID="45231ba9-d9ba-4003-985b-4e4f4ca20f77" CreationDate="2013-03-12T12:53:21.397" UserId="3908" Comment="added 477 characters in body; deleted 1 characters in body; added 48 characters in body" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;First I would like to say that I really love this place. As a sounddesign student, social sounddesign has been invaluable and a great inspiration! Thanks to all of you for that!&#xD;&#xA;&#xD;&#xA;Now, on with the subject :-)&#xD;&#xA;&#xD;&#xA;I would like to start a brainstorm on selecting and testing different materials for a DIY Aquaphone. I found one online, but was not really charmed by it. This guy seemed to use very low resonance materials and soldered it as opposed to welding. In the end it produced a scratchy not so charming sound with alsmost no sustain. This could also be functional for a difference purpose of course, but I'm specificly aiming for a nice long ring and good resonance, just a nice round sound. So, I would like to select materials accordingly.&#xD;&#xA;&#xD;&#xA;I have found that the best choice for the base of the aquaphone would probably be compareable to those pans that really give a nice ring when excited by hitting it and also pitch modulate that sound through moving a bit of water inside the pan. Allthough I have no idea what they are made of, some materials proven to do this better than others. I can imagine this has to do with the density of the materials molecules and thus affecting the resistance soundwaves encounter when traveling through it. In my case it is a very cheap little saucepan.&#xD;&#xA;&#xD;&#xA;I plan to buy another one and ask someone with welding experience what the possibilities are as it will most likely be a composite material. The idea is to weld those 2 saucepans together to get the base of the instrument. I also fear that it will be hard to get a neat round hole in one of the pan bottoms, for the handle to be put in later. I imagine using a ironcutter will get kinda messy.&#xD;&#xA;&#xD;&#xA;In the DIY I found online the guy uses straightened clothes hangers soldered on the rim of the base to be bowed or hit. I would like to use somethign thicker, better sounding.&#xD;&#xA;&#xD;&#xA;The thing I'm not sure about is, how I should test different type of metal bars without adding a sound producing element. Can I go to a construction market with my violin bow and just see which materials appear to generate the most friction and vibration? Is this a good criteria without actually hearing anything? &#xD;&#xA;&#xD;&#xA;So my most important question would be: &#xD;&#xA;&#xD;&#xA;How do i test the acoustic properties (relevant to this specific purpose) of different materials without having it welded to the final resonating chamber? &#xD;&#xA;&#xD;&#xA;Are there any tables which give me the speed in which sound can advance through different materials and go with the one that has the least amount of resistance/highest speed/higher density/lower density? How would that relate to thickness/length and welding points. I have so many questions I can't stand it! &#xD;&#xA;&#xD;&#xA;I know it's an ambitious plan but I have faith and thought this forum to be a good place to share ideas on this! Maybe I missed some really important things or some info that will answer some of my questions, so any ideas, recommended reads in particular or help in any way is much appreciated! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks for reading! (english is not my first, so i'm sorry if this was a tough read) &#xD;&#xA;&#xD;&#xA;Tom.&#xD;&#xA;&#xD;&#xA;DIY the way i dont want to do it: http://www.instructables.com/id/The-Aquaharp/&#xD;&#xA;&#xD;&#xA;the real deal: http://www.youtube.com/watch?v=2n5jIqX63ok&#xD;&#xA;&#xD;&#xA;Update &#xD;&#xA;the base is made of stainless steel (kind of obvious now i think of it.) and the rods are made of bronze. I called a metalworker and he told me that those cannot be welded together so it's going to be a mechanical connection. This raises questions, should I use screw-thread with bolts or some other connecting element. The bronze will set me back about 100 euros so its too expensive to just go and screw around. :) I need those questions answered before i start sawing and cuttin into the bronze. This also means i have to know the lengths of the rods before connecting them as i think shortening them after will put too much of a strain on the rest of the construction. This is a bummer because I was hoping to tune them as I go along. -&gt; no idea why this turns up in a larger font...&#xD;&#xA;-&#xD;&#xA;once again i was mislead by my own chaotic mind :) The aquaphone is, in fact welded. As shown on images on the official website. Can't believe i missed that! Luckily i found a metalwork-artist willing to test how strong the connection will be when welding bronze on to stainless steel.&#xD;&#xA;&#xD;&#xA;Also, as this seems to be turning into a blog instead of a brainstorm. I will probably stop updating this. Unless there are in fact people interested,let me know, i'll keep you posted. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29977" PostHistoryTypeId="2" PostId="18534" RevisionGUID="34d0c7a3-99e1-4c1e-af9f-f0c514199538" CreationDate="2013-03-12T14:28:11.903" UserId="5838" Text="I know sometimes you will have to use the audio recorded from within a car's interior, though getting great sounding results will be tough regardless of the mics used and setup approach that you choose.  &#xD;&#xA;&#xD;&#xA;Also, by trying to record cleaner audio from the inside of the car, you may begin to impose on the actor's ability to do their best job acting (even if this is reality TV or a documentary, they are still actors).  Funny, that reminds me of a saying I heard (or read once)... &quot;What is the difference between actors in scripted fiction and in documentaries?&quot; &#xD;&#xA;&quot;You have to pay the actors for a scripted film, but that is the only difference&quot;.  &#xD;&#xA;&#xD;&#xA;Though let me get back to the point of the question.  Go out and experiment with any and all of these methods mentioned here, and just experiment in general with different mics (what you have available to you) and mic placement and hope for the best (though make sure you experiment before the actual shoot).  And when deciding on mic placement, try your best to stay out of the way of the actors (and obviously out of the view of the shot) as you do not want to disrupt the scene or their performance by making them uncomfortable and in-turn, negatively impact the sene, or make it unusable because there is a mic on the shot.  &#xD;&#xA;&#xD;&#xA;My advice, get the actors to re-record the lines from the car interior during ADR and then you can process them (along with adding a car interior ambience, even recording the ambience of that specific car on set).  This give you a lot more control over the audio fidelity and the final result of the dialogue for the scene." ContentLicense="CC BY-SA 3.0" />
  <row Id="29978" PostHistoryTypeId="5" PostId="18527" RevisionGUID="d7e1fd58-3924-4922-8606-512800db55fc" CreationDate="2013-03-12T14:48:07.063" UserId="3908" Comment="deleted 1 characters in body" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;First I would like to say that I really love this place. As a sounddesign student, social sounddesign has been invaluable and a great inspiration! Thanks to all of you for that!&#xD;&#xA;&#xD;&#xA;Now, on with the subject :-)&#xD;&#xA;&#xD;&#xA;I would like to start a brainstorm on selecting and testing different materials for a DIY Aquaphone. I found one online, but was not really charmed by it. This guy seemed to use very low resonance materials and soldered it as opposed to welding. In the end it produced a scratchy not so charming sound with alsmost no sustain. This could also be functional for a difference purpose of course, but I'm specificly aiming for a nice long ring and good resonance, just a nice round sound. So, I would like to select materials accordingly.&#xD;&#xA;&#xD;&#xA;I have found that the best choice for the base of the aquaphone would probably be compareable to those pans that really give a nice ring when excited by hitting it and also pitch modulate that sound through moving a bit of water inside the pan. Allthough I have no idea what they are made of, some materials proven to do this better than others. I can imagine this has to do with the density of the materials molecules and thus affecting the resistance soundwaves encounter when traveling through it. In my case it is a very cheap little saucepan.&#xD;&#xA;&#xD;&#xA;I plan to buy another one and ask someone with welding experience what the possibilities are as it will most likely be a composite material. The idea is to weld those 2 saucepans together to get the base of the instrument. I also fear that it will be hard to get a neat round hole in one of the pan bottoms, for the handle to be put in later. I imagine using a ironcutter will get kinda messy.&#xD;&#xA;&#xD;&#xA;In the DIY I found online the guy uses straightened clothes hangers soldered on the rim of the base to be bowed or hit. I would like to use somethign thicker, better sounding.&#xD;&#xA;&#xD;&#xA;The thing I'm not sure about is, how I should test different type of metal bars without adding a sound producing element. Can I go to a construction market with my violin bow and just see which materials appear to generate the most friction and vibration? Is this a good criteria without actually hearing anything? &#xD;&#xA;&#xD;&#xA;So my most important question would be: &#xD;&#xA;&#xD;&#xA;How do i test the acoustic properties (relevant to this specific purpose) of different materials without having it welded to the final resonating chamber? &#xD;&#xA;&#xD;&#xA;Are there any tables which give me the speed in which sound can advance through different materials and go with the one that has the least amount of resistance/highest speed/higher density/lower density? How would that relate to thickness/length and welding points. I have so many questions I can't stand it! &#xD;&#xA;&#xD;&#xA;I know it's an ambitious plan but I have faith and thought this forum to be a good place to share ideas on this! Maybe I missed some really important things or some info that will answer some of my questions, so any ideas, recommended reads in particular or help in any way is much appreciated! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks for reading! (english is not my first, so i'm sorry if this was a tough read) &#xD;&#xA;&#xD;&#xA;Tom.&#xD;&#xA;&#xD;&#xA;DIY the way i dont want to do it: http://www.instructables.com/id/The-Aquaharp/&#xD;&#xA;&#xD;&#xA;the real deal: http://www.youtube.com/watch?v=2n5jIqX63ok&#xD;&#xA;&#xD;&#xA;Update &#xD;&#xA;the base is made of stainless steel (kind of obvious now i think of it.) and the rods are made of bronze. I called a metalworker and he told me that those cannot be welded together so it's going to be a mechanical connection. This raises questions, should I use screw-thread with bolts or some other connecting element. The bronze will set me back about 100 euros so its too expensive to just go and screw around. :) I need those questions answered before i start sawing and cuttin into the bronze. This also means i have to know the lengths of the rods before connecting them as i think shortening them after will put too much of a strain on the rest of the construction. This is a bummer because I was hoping to tune them as I go along. -&gt; no idea why this turns up in a larger font...&#xD;&#xA;-&#xD;&#xA;once again i was misled by my own chaotic mind :) The aquaphone is, in fact welded. As shown on images on the official website. Can't believe i missed that! Luckily i found a metalwork-artist willing to test how strong the connection will be when welding bronze on to stainless steel.&#xD;&#xA;&#xD;&#xA;Also, as this seems to be turning into a blog instead of a brainstorm. I will probably stop updating this. Unless there are in fact people interested,let me know, i'll keep you posted. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29979" PostHistoryTypeId="2" PostId="18535" RevisionGUID="d31d8856-a215-4975-9b2a-a4cde14ac34c" CreationDate="2013-03-12T17:07:53.980" UserId="1035" Text="So, I've been thinking a bit about mix workflows and routing. &#xD;&#xA;&#xD;&#xA;In the past, with dialogue, for example, I've hard-bussed all my dx tracks to an aux track where I normally just throw a bit of compression. That aux track feeds my stem audio track, which in turn feeds my printmaster audio track.&#xD;&#xA;&#xD;&#xA;I recently saw a posting talking about master faders, though, and at some point Brent Heber mentioned that master faders are within the 48 bit realm whereas aux tracks are in the 24 bit realm. So, master faders have more dynamic range and a lower noise floor.&#xD;&#xA;&#xD;&#xA;So, is it actually preferable to be using master faders over aux tracks for things like bus compression? Is it really going to be affecting my mix?&#xD;&#xA;&#xD;&#xA;Furthermore, I'm also kind of wondering about how this whole bit resolution thing works with audio tracks. Let's say that I had 16 tracks, and I wanted to print them down to 4 or 8 tracks with a bit of preliminary subtractive EQ, maybe NR, whatnot, prior to the final mix. Would I be sacrificing something if I didn't, instead, keep those tracks, as they were, up through the final mix when they get laid back into the stem and/or pmaster?&#xD;&#xA;&#xD;&#xA;Thanks. Hope this wasn't too confusing." ContentLicense="CC BY-SA 3.0" />
  <row Id="29980" PostHistoryTypeId="1" PostId="18535" RevisionGUID="d31d8856-a215-4975-9b2a-a4cde14ac34c" CreationDate="2013-03-12T17:07:53.980" UserId="1035" Text="Master Faders, AUXs - 48 bit vs 24 bit in stem/mixing workflows" ContentLicense="CC BY-SA 3.0" />
  <row Id="29981" PostHistoryTypeId="3" PostId="18535" RevisionGUID="d31d8856-a215-4975-9b2a-a4cde14ac34c" CreationDate="2013-03-12T17:07:53.980" UserId="1035" Text="&lt;mixing&gt;&lt;stems&gt;&lt;bit-depth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29983" PostHistoryTypeId="5" PostId="18527" RevisionGUID="e2ca5f9f-e6ef-4af7-89f4-644da8419bef" CreationDate="2013-03-12T18:53:31.957" UserId="3908" Comment="added 11 characters in body; added 7 characters in body; deleted 49 characters in body; added 4 characters in body" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;First I would like to say that I really love this place. As a sounddesign student, social sounddesign has been invaluable and a great inspiration! Thanks to all of you for that!&#xD;&#xA;&#xD;&#xA;Now, on with the subject :-)&#xD;&#xA;&#xD;&#xA;I would like to start a brainstorm on selecting and testing different materials for a DIY Aquaphone. I found one online, but was not really charmed by it. This guy seemed to use very low resonance materials and soldered it as opposed to welding. In the end it produced a scratchy not so charming sound with alsmost no sustain. This could also be functional for a difference purpose of course, but I'm specificly aiming for a nice long ring and good resonance, just a nice round sound. So, I would like to select materials accordingly.&#xD;&#xA;&#xD;&#xA;I have found that the best choice for the base of the aquaphone would probably be compareable to those pans that really give a nice ring when excited by hitting it and also pitch modulate that sound through moving a bit of water inside the pan. Allthough I have no idea what they are made of, some materials proven to do this better than others. I can imagine this has to do with the density of the materials molecules and thus affecting the resistance soundwaves encounter when traveling through it. In my case it is a very cheap little saucepan.&#xD;&#xA;&#xD;&#xA;I plan to buy another one and ask someone with welding experience what the possibilities are as it will most likely be a composite material. The idea is to weld those 2 saucepans together to get the base of the instrument. I also fear that it will be hard to get a neat round hole in one of the pan bottoms, for the handle to be put in later. I imagine using a ironcutter will get kinda messy.&#xD;&#xA;&#xD;&#xA;In the DIY I found online the guy uses straightened clothes hangers soldered on the rim of the base to be bowed or hit. I would like to use somethign thicker, better sounding.&#xD;&#xA;&#xD;&#xA;The thing I'm not sure about is, how I should test different type of metal bars without adding a sound producing element. Can I go to a construction market with my violin bow and just see which materials appear to generate the most friction and vibration? Is this a good criteria without actually hearing anything? &#xD;&#xA;&#xD;&#xA;So my most important question would be: &#xD;&#xA;&#xD;&#xA;How do i test the acoustic properties (relevant to this specific purpose) of different materials without having it welded to the final resonating chamber? &#xD;&#xA;&#xD;&#xA;Are there any tables which give me the speed in which sound can advance through different materials and go with the one that has the least amount of resistance/highest speed/higher density/lower density? How would that relate to thickness/length and welding points. I have so many questions I can't stand it! &#xD;&#xA;&#xD;&#xA;I know it's an ambitious plan but I have faith and thought this forum to be a good place to share ideas on this! Maybe I missed some really important things or some info that will answer some of my questions, so any ideas, recommended reads in particular or help in any way is much appreciated! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks for reading! (english is not my first, so i'm sorry if this was a tough read) &#xD;&#xA;&#xD;&#xA;Tom.&#xD;&#xA;&#xD;&#xA;DIY the way i dont want to do it: http://www.instructables.com/id/The-Aquaharp/&#xD;&#xA;&#xD;&#xA;the real deal: http://www.youtube.com/watch?v=2n5jIqX63ok&#xD;&#xA;&#xD;&#xA;Update &#xD;&#xA;&#xD;&#xA;the base is made of stainless steel (kind of obvious now i think of it.) and the rods are made of bronze. I called a metalworker and he told me that those cannot be welded together so it's going to be a mechanical connection. This raises questions, should I use screw-thread with bolts or some other connecting element. The bronze will set me back about 100 euros so its too expensive to just go and screw around. :) I need those questions answered before i start sawing and cuttin into the bronze. This also means i have to know the lengths of the rods before connecting them as i think shortening them after will put too much of a strain on the rest of the construction. This is a bummer because I was hoping to tune them as I go along.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;once again i was misled by my own chaotic mind :) The aquaphone is, in fact welded. As shown on images on the official website. Can't believe i missed that! Luckily i found a metalwork-artist willing to test how strong the connection will be when welding bronze on to stainless steel.&#xD;&#xA;&#xD;&#xA;Also, as this seems to be turning into a blog instead of a brainstorm. I will probably stop updating this. Unless there are in fact people interested. If so, let me know and i'll keep you posted. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29984" PostHistoryTypeId="5" PostId="18527" RevisionGUID="5d1c0f11-1179-4a91-aa5d-ae74e197fc40" CreationDate="2013-03-12T19:02:14.650" UserId="3908" Comment="added 30 characters in body; added 2 characters in body" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;First I would like to say that I really love this place. As a sounddesign student, social sounddesign has been invaluable and a great inspiration! Thanks to all of you for that!&#xD;&#xA;&#xD;&#xA;Now, on with the subject :-)&#xD;&#xA;&#xD;&#xA;I would like to start a brainstorm on selecting and testing different materials for a DIY Aquaphone. I found one online, but was not really charmed by it. This guy seemed to use very low resonance materials and soldered it as opposed to welding. In the end it produced a scratchy not so charming sound with alsmost no sustain. This could also be functional for a difference purpose of course, but I'm specificly aiming for a nice long ring and good resonance, just a nice round sound. So, I would like to select materials accordingly.&#xD;&#xA;&#xD;&#xA;I have found that the best choice for the base of the aquaphone would probably be compareable to those pans that really give a nice ring when excited by hitting it and also pitch modulate that sound through moving a bit of water inside the pan. Allthough I have no idea what they are made of, some materials proven to do this better than others. I can imagine this has to do with the density of the materials molecules and thus affecting the resistance soundwaves encounter when traveling through it. In my case it is a very cheap little saucepan.&#xD;&#xA;&#xD;&#xA;I plan to buy another one and ask someone with welding experience what the possibilities are as it will most likely be a composite material. The idea is to weld those 2 saucepans together to get the base of the instrument. I also fear that it will be hard to get a neat round hole in one of the pan bottoms, for the handle to be put in later. I imagine using a ironcutter will get kinda messy.&#xD;&#xA;&#xD;&#xA;In the DIY I found online the guy uses straightened clothes hangers soldered on the rim of the base to be bowed or hit. I would like to use somethign thicker, better sounding.&#xD;&#xA;&#xD;&#xA;The thing I'm not sure about is, how I should test different type of metal bars without adding a sound producing element. Can I go to a construction market with my violin bow and just see which materials appear to generate the most friction and vibration? Is this a good criteria without actually hearing anything? &#xD;&#xA;&#xD;&#xA;So my most important question would be: &#xD;&#xA;&#xD;&#xA;How do i test the acoustic properties (relevant to this specific purpose) of different materials without having it welded to the final resonating chamber? &#xD;&#xA;&#xD;&#xA;Are there any tables which give me the speed in which sound can advance through different materials and go with the one that has the least amount of resistance/highest speed/higher density/lower density? How would that relate to thickness/length and welding points. I have so many questions I can't stand it! &#xD;&#xA;&#xD;&#xA;I know it's an ambitious plan but I have faith and thought this forum to be a good place to share ideas on this! Maybe I missed some really important things or some info that will answer some of my questions, so any ideas, recommended reads in particular or help in any way is much appreciated! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks for reading! (english is not my first, so i'm sorry if this was a tough read) &#xD;&#xA;&#xD;&#xA;Tom.&#xD;&#xA;&#xD;&#xA;DIY the way i dont want to do it: http://www.instructables.com/id/The-Aquaharp/&#xD;&#xA;&#xD;&#xA;the real deal: &#xD;&#xA;http://www.youtube.com/watch?v=2n5jIqX63ok&#xD;&#xA;&#xD;&#xA;http://www.waterphone.com/&#xD;&#xA;&#xD;&#xA;Update &#xD;&#xA;&#xD;&#xA;the base is made of stainless steel (kind of obvious now i think of it.) and the rods are made of bronze. I called a metalworker and he told me that those cannot be welded together so it's going to be a mechanical connection. This raises questions, should I use screw-thread with bolts or some other connecting element. The bronze will set me back about 100 euros so its too expensive to just go and screw around. :) I need those questions answered before i start sawing and cuttin into the bronze. This also means i have to know the lengths of the rods before connecting them as i think shortening them after will put too much of a strain on the rest of the construction. This is a bummer because I was hoping to tune them as I go along.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;once again i was misled by my own chaotic mind :) The aquaphone is, in fact welded. As shown on images on the official website. Can't believe i missed that! Luckily i found a metalwork-artist willing to test how strong the connection will be when welding bronze on to stainless steel.&#xD;&#xA;&#xD;&#xA;Also, as this seems to be turning into a blog instead of a brainstorm. I will probably stop updating this. Unless there are in fact people interested. If so, let me know and i'll keep you posted. " ContentLicense="CC BY-SA 3.0" />
  <row Id="29985" PostHistoryTypeId="2" PostId="18536" RevisionGUID="78c99a87-56c2-4bd0-981c-087fc6f871a7" CreationDate="2013-03-12T19:18:38.923" UserId="208" Text="Hi all&#xD;&#xA;&#xD;&#xA;Ive been thinking about upgrading my set of mics for ambience recordings.&#xD;&#xA;So far, I am very happy with using a set of DPA 4060's, when recording more loud places, and  for stealth like recordings.&#xD;&#xA;&#xD;&#xA;When recording quiet places, Ive been going with a pair of Røde NT55's. While these are ok, I sometimes find them a bit too bright, and a bit boring.&#xD;&#xA;&#xD;&#xA;While I would love to get a pair of Sennheiser 80xx's,  a quick calculation made me realize, that I havent got the cash for such a set and a Rycote system.&#xD;&#xA;&#xD;&#xA;I was wondering what everybody uses for ambience recordings, or what would be recommended for more quiet recordings (forests, birds, etc).&#xD;&#xA;&#xD;&#xA;Thanks alot.&#xD;&#xA;&#xD;&#xA;Best wishes, Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="29986" PostHistoryTypeId="1" PostId="18536" RevisionGUID="78c99a87-56c2-4bd0-981c-087fc6f871a7" CreationDate="2013-03-12T19:18:38.923" UserId="208" Text="Mics for ambience recordings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="29987" PostHistoryTypeId="3" PostId="18536" RevisionGUID="78c99a87-56c2-4bd0-981c-087fc6f871a7" CreationDate="2013-03-12T19:18:38.923" UserId="208" Text="&lt;ambience&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29988" PostHistoryTypeId="2" PostId="18537" RevisionGUID="4f5d226a-f4ec-4a64-be4d-243fd471139c" CreationDate="2013-03-12T19:39:14.093" UserId="5800" Text="just in case anyone with a similar setup to mine stumbles upon this page. I go from the optical out to the optical in from my mac to digi 003. Then run miniminer as a standalone. make sure my protools setup is spdif. crete input on my 9/10 (spdif) marked &quot;soundminer.&quot; Then create an aux solo safed with the input being soundminer. The benefits being that everything is digital and you don't have to switch to an &quot;aux in.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29989" PostHistoryTypeId="2" PostId="18538" RevisionGUID="30bdbb2d-59b2-4c2b-985d-12f3c1d3b52b" CreationDate="2013-03-12T19:40:15.927" UserId="6519" Text="I recommend the [Rode NT4][1] stereo mic.&#xD;&#xA;&#xD;&#xA;[Field Recording 1][2]&#xD;&#xA;&#xD;&#xA;[Field Recording 2][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/mics/nt4&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=9amrAkQnkRg&#xD;&#xA;  [3]: http://www.youtube.com/watch?v=-qokdAl50qg" ContentLicense="CC BY-SA 3.0" />
  <row Id="29990" PostHistoryTypeId="2" PostId="18539" RevisionGUID="79cae5a0-e407-4b51-a546-664b3e764c82" CreationDate="2013-03-12T19:50:07.103" UserId="587" Text="Fancy equipment is fancy :P haha&#xD;&#xA;&#xD;&#xA;This looks interesting...&#xD;&#xA;&#xD;&#xA;http://tascam.com/product/im2/&#xD;&#xA;&#xD;&#xA;O.o&#xD;&#xA;&#xD;&#xA;Wonder if it is any good.&#xD;&#xA;&#xD;&#xA;I know, even as non-pro as it sounds, I have gotten some crazy cool stuff from recordings off my iPhone." ContentLicense="CC BY-SA 3.0" />
  <row Id="29991" PostHistoryTypeId="2" PostId="18540" RevisionGUID="605d036f-53af-4286-8d7d-62380eef177e" CreationDate="2013-03-12T20:51:04.273" UserId="3179" Text="I kind of think you'll need to stick to the Rodes to get good results with the chosen budget. The better sounding mics cost more and there's not much you can do about it. You could get the Rodes (or some other SDCs in this price range) modified or modify them yourself, if you've got that kind of skills. The modifications may give you the results that you're satisfied with, without breaking the bank." ContentLicense="CC BY-SA 3.0" />
  <row Id="29992" PostHistoryTypeId="2" PostId="18541" RevisionGUID="718d6d09-83b3-4ff0-9ca2-da0849d92d59" CreationDate="2013-03-12T21:01:22.143" UserId="315" Text="If you go with a matched pair of Sennheiser MKH8020s omnis, which are amazingly quiet mics  and perfect for ambiences, you could probably get away with less wind protection than a full Rycote Windshield at first, since omnis are less suceptible to wind noise. Just a thought. Then save up for Rycotes for later. &#xD;&#xA;&#xD;&#xA;If that is still too expensive, I'd suggest looking at the cheaper DPA 2006A or 2006C omnis." ContentLicense="CC BY-SA 3.0" />
  <row Id="29993" PostHistoryTypeId="2" PostId="18542" RevisionGUID="a7b66ef3-95f6-441d-b36d-ecd359ff6161" CreationDate="2013-03-12T21:23:05.897" UserId="61" Text="Hi all,&#xD;&#xA;&#xD;&#xA;Anyone able to do a quickie record of a London phone dial tone and internal ringing? Appreciate it, thanks in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="29994" PostHistoryTypeId="1" PostId="18542" RevisionGUID="a7b66ef3-95f6-441d-b36d-ecd359ff6161" CreationDate="2013-03-12T21:23:05.897" UserId="61" Text="REQUEST: Modern day European dial tones and internal rings" ContentLicense="CC BY-SA 3.0" />
  <row Id="29995" PostHistoryTypeId="3" PostId="18542" RevisionGUID="a7b66ef3-95f6-441d-b36d-ecd359ff6161" CreationDate="2013-03-12T21:23:05.897" UserId="61" Text="&lt;sound-effects-recording&gt;&lt;futz&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="29996" PostHistoryTypeId="2" PostId="18543" RevisionGUID="193b8c7e-e22e-4be7-a8be-1aaee5926c51" CreationDate="2013-03-12T22:46:57.690" UserId="542" Text="Hey Jay,&#xD;&#xA;even though I don't live in the UK and can't help you with an actual recording, maybe this will help you in case you can't get a recording:&#xD;&#xA;http://blog.trumpton.org.uk/2010/10/uk-dial-and-progress-tones.html&#xD;&#xA;&#xD;&#xA;Hope it helps you" ContentLicense="CC BY-SA 3.0" />
  <row Id="29997" PostHistoryTypeId="5" PostId="18542" RevisionGUID="0d37d316-c03d-46bb-9a1d-d8d5718eac7c" CreationDate="2013-03-12T23:17:56.197" UserId="61" Comment="added 226 characters in body" Text="Hi all,&#xD;&#xA;&#xD;&#xA;Anyone able to do a quickie record of a London phone dial tone and internal ringing? Appreciate it, thanks in advance.&#xD;&#xA;&#xD;&#xA;UPDATE:&#xD;&#xA;&#xD;&#xA;Thanks to Michael I have created my own [UK telephone tones][1]!&#xD;&#xA;&#xD;&#xA;I'll still take recordings that anyone would like to send, of course.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://soundcloud.com/awfulnicesound/sets/uk-telephone-tones" ContentLicense="CC BY-SA 3.0" />
  <row Id="29998" PostHistoryTypeId="2" PostId="18544" RevisionGUID="92912f77-252f-420d-b2af-65cd0d56e9aa" CreationDate="2013-03-13T00:10:32.117" UserDisplayName="user49" Text="To answer a question with a question, whats your feeling on ambience recording with omni mics versus more directional mics? That has to be the first consideration when narrowing down your options...&#xD;&#xA;&#xD;&#xA;The big downside I see to omni mics is that its very difficult to manipulate them to avoid or at least minimise any unwanted elements in an ambience... If I only had a pair of mics for ambience recording I don't think I would go for omni mics as the only option, def great for a second perspective or for more diffuse ambiences or in very quiet situations....&#xD;&#xA;&#xD;&#xA;Also don't forget to compare secondhand prices too - good mics hold their value AND their fucntionality, but are a LOT cheaper than new!" ContentLicense="CC BY-SA 3.0" />
  <row Id="29999" PostHistoryTypeId="2" PostId="18545" RevisionGUID="605d6539-c501-4181-a77e-15534d5a2a52" CreationDate="2013-03-13T03:14:25.820" UserId="3179" Text="Look at Pure Data (or the commercial Max/MSP) on the software front and Arduino or Raspberry Pi (or both) on the hardware front. You'll need to dig in a lot to understand how to get them to do what you want, but those are the tools most often used for this type of creative interaction projects (involving sensors)." ContentLicense="CC BY-SA 3.0" />
  <row Id="30000" PostHistoryTypeId="2" PostId="18546" RevisionGUID="4d433e5b-8420-4448-b236-a049bd94d93d" CreationDate="2013-03-13T09:11:09.780" UserId="1185" Text="Although not the exact sound you are after (???) this tutorial shows how to synthesis a stream turbine sound ([http://audio.tutsplus.com/tutorials/production/essential-synthesis-part-1-synth-noise-effects/][1]).  Will not take much to turn it into a stream engine.  As @Internet says above, if you want to trigger the sound to coincide with the physical action of a piston. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audio.tutsplus.com/tutorials/production/essential-synthesis-part-1-synth-noise-effects/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30001" PostHistoryTypeId="2" PostId="18547" RevisionGUID="bb95db32-c3fe-4096-8eb0-4b9b9b3f7dc9" CreationDate="2013-03-13T09:48:12.657" UserId="900" Text="I've just come back from seeing Stoker - what a great film. Very strong, and potent storytelling. One of the features was a forensic-style magnification of detail, and lots of space and time for elements to settle in.&#xD;&#xA;&#xD;&#xA;You become acutely aware of the background elements, and it's very interesting hearing these mixed UP, very, very loud - as the character hears with great precision and accuracy, the audience are invited to engage in that experience too.&#xD;&#xA;&#xD;&#xA;One of the most striking uses I thought was in the woods scene - the woodpecker sound was just spine chilling (it's just a woodpecker, I know), and there were these slightly processed bird calls that sounded dischordant and alien. They kept on getting louder, and louder, and louder...until you realise you're in a horror context. Then they stop.&#xD;&#xA;&#xD;&#xA;Powerful filmmaking, great sound design.&#xD;&#xA;&#xD;&#xA;If you've seen it, post your thoughts&#xD;&#xA;&#xD;&#xA;T" ContentLicense="CC BY-SA 3.0" />
  <row Id="30002" PostHistoryTypeId="1" PostId="18547" RevisionGUID="bb95db32-c3fe-4096-8eb0-4b9b9b3f7dc9" CreationDate="2013-03-13T09:48:12.657" UserId="900" Text="&quot;Stoker&quot; - sound design moves background to foreground" ContentLicense="CC BY-SA 3.0" />
  <row Id="30003" PostHistoryTypeId="3" PostId="18547" RevisionGUID="bb95db32-c3fe-4096-8eb0-4b9b9b3f7dc9" CreationDate="2013-03-13T09:48:12.657" UserId="900" Text="&lt;sound-design&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30004" PostHistoryTypeId="5" PostId="18527" RevisionGUID="4bdad6d8-5f70-428a-bdca-f899b3351cc0" CreationDate="2013-03-13T16:44:32.823" UserId="3908" Comment="added 1350 characters in body" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;First I would like to say that I really love this place. As a sounddesign student, social sounddesign has been invaluable and a great inspiration! Thanks to all of you for that!&#xD;&#xA;&#xD;&#xA;Now, on with the subject :-)&#xD;&#xA;&#xD;&#xA;I would like to start a brainstorm on selecting and testing different materials for a DIY Aquaphone. I found one online, but was not really charmed by it. This guy seemed to use very low resonance materials and soldered it as opposed to welding. In the end it produced a scratchy not so charming sound with alsmost no sustain. This could also be functional for a difference purpose of course, but I'm specificly aiming for a nice long ring and good resonance, just a nice round sound. So, I would like to select materials accordingly.&#xD;&#xA;&#xD;&#xA;I have found that the best choice for the base of the aquaphone would probably be compareable to those pans that really give a nice ring when excited by hitting it and also pitch modulate that sound through moving a bit of water inside the pan. Allthough I have no idea what they are made of, some materials proven to do this better than others. I can imagine this has to do with the density of the materials molecules and thus affecting the resistance soundwaves encounter when traveling through it. In my case it is a very cheap little saucepan.&#xD;&#xA;&#xD;&#xA;I plan to buy another one and ask someone with welding experience what the possibilities are as it will most likely be a composite material. The idea is to weld those 2 saucepans together to get the base of the instrument. I also fear that it will be hard to get a neat round hole in one of the pan bottoms, for the handle to be put in later. I imagine using a ironcutter will get kinda messy.&#xD;&#xA;&#xD;&#xA;In the DIY I found online the guy uses straightened clothes hangers soldered on the rim of the base to be bowed or hit. I would like to use somethign thicker, better sounding.&#xD;&#xA;&#xD;&#xA;The thing I'm not sure about is, how I should test different type of metal bars without adding a sound producing element. Can I go to a construction market with my violin bow and just see which materials appear to generate the most friction and vibration? Is this a good criteria without actually hearing anything? &#xD;&#xA;&#xD;&#xA;So my most important question would be: &#xD;&#xA;&#xD;&#xA;How do i test the acoustic properties (relevant to this specific purpose) of different materials without having it welded to the final resonating chamber? &#xD;&#xA;&#xD;&#xA;Are there any tables which give me the speed in which sound can advance through different materials and go with the one that has the least amount of resistance/highest speed/higher density/lower density? How would that relate to thickness/length and welding points. I have so many questions I can't stand it! &#xD;&#xA;&#xD;&#xA;I know it's an ambitious plan but I have faith and thought this forum to be a good place to share ideas on this! Maybe I missed some really important things or some info that will answer some of my questions, so any ideas, recommended reads in particular or help in any way is much appreciated! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks for reading! (english is not my first, so i'm sorry if this was a tough read) &#xD;&#xA;&#xD;&#xA;Tom.&#xD;&#xA;&#xD;&#xA;DIY the way i dont want to do it: http://www.instructables.com/id/The-Aquaharp/&#xD;&#xA;&#xD;&#xA;the real deal: &#xD;&#xA;http://www.youtube.com/watch?v=2n5jIqX63ok&#xD;&#xA;&#xD;&#xA;http://www.waterphone.com/&#xD;&#xA;&#xD;&#xA;Update &#xD;&#xA;&#xD;&#xA;the base is made of stainless steel (kind of obvious now i think of it.) and the rods are made of bronze. I called a metalworker and he told me that those cannot be welded together so it's going to be a mechanical connection. This raises questions, should I use screw-thread with bolts or some other connecting element. The bronze will set me back about 100 euros so its too expensive to just go and screw around. :) I need those questions answered before i start sawing and cuttin into the bronze. This also means i have to know the lengths of the rods before connecting them as i think shortening them after will put too much of a strain on the rest of the construction. This is a bummer because I was hoping to tune them as I go along.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;once again i was misled by my own chaotic mind :) The aquaphone is, in fact welded. As shown on images on the official website. Can't believe i missed that! Luckily i found a metalwork-artist willing to test how strong the connection will be when welding bronze on to stainless steel.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;The metalwork artist I contacted told me that there is special kind of welding wire used to weld bronze onto stainless steel.  I find this hilarious because it shows that you need a fellow art freak to get this kind of information, rather than asking a professional welder, who told me this was not possible at all!&#xD;&#xA;&#xD;&#xA;Sadly this welding wire is also quiet expensive, but it is possible! So far my research gives me enough options to actually do this. However, because of the high costs, estimated around 300 euros for the entire project. Im also thinking about a less expensive prototype with different, less expensive materials. I know 300 euros is still way cheaper than buying one (1700,- euros) But I am also saving up for Adam a7x's :p Soooo, yeah.. not really swimming in cash atm :p&#xD;&#xA;&#xD;&#xA;Which brings be back to my first question; How do I find out what other materials have compareable properties to bronze in a waterphone setup? How do i test this without having to make a prototype with all materials included? I can only think of copper to be a good second candidate but copper is not alot cheaper than bronze so thats not a viable option. &#xD;&#xA;&#xD;&#xA;I'm beginning to understand why one would build a crappy version first, getting comfortable with the construction process and than build one with all the fine expensive materials. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also, as this seems to be turning into a blog instead of a brainstorm. I will probably stop updating this. Unless there are in fact people interested. If so, let me know and i'll keep you posted. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30005" PostHistoryTypeId="2" PostId="18548" RevisionGUID="5f5c6bc3-f36e-45ed-a5a2-9b62997931ce" CreationDate="2013-03-13T17:06:42.953" UserId="348" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I have placed the link to a fantastic youtube video where water has a low end 24Hz/25HHz and 23Hz tone sent through while running out of a hose. I do have an &quot;idea&quot; on what is happening but it is literally a shot in the dark idea. Anyone else want to take a stab at it?&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=uENITui5_jU&amp;feature=youtu.be&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="30006" PostHistoryTypeId="1" PostId="18548" RevisionGUID="5f5c6bc3-f36e-45ed-a5a2-9b62997931ce" CreationDate="2013-03-13T17:06:42.953" UserId="348" Text="Sending low tone frequencies through water" ContentLicense="CC BY-SA 3.0" />
  <row Id="30007" PostHistoryTypeId="3" PostId="18548" RevisionGUID="5f5c6bc3-f36e-45ed-a5a2-9b62997931ce" CreationDate="2013-03-13T17:06:42.953" UserId="348" Text="&lt;tone&gt;&lt;water&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30008" PostHistoryTypeId="5" PostId="18527" RevisionGUID="d4e9e756-8d98-4879-9304-0bcfd3ec981b" CreationDate="2013-03-13T17:29:16.550" UserId="3908" Comment="edited body" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;First I would like to say that I really love this place. As a sounddesign student, social sounddesign has been invaluable and a great inspiration! Thanks to all of you for that!&#xD;&#xA;&#xD;&#xA;Now, on with the subject :-)&#xD;&#xA;&#xD;&#xA;I would like to start a brainstorm on selecting and testing different materials for a DIY Aquaphone. I found one online, but was not really charmed by it. This guy seemed to use very low resonance materials and soldered it as opposed to welding. In the end it produced a scratchy not so charming sound with alsmost no sustain. This could also be functional for a difference purpose of course, but I'm specificly aiming for a nice long ring and good resonance, just a nice round sound. So, I would like to select materials accordingly.&#xD;&#xA;&#xD;&#xA;I have found that the best choice for the base of the aquaphone would probably be compareable to those pans that really give a nice ring when excited by hitting it and also pitch modulate that sound through moving a bit of water inside the pan. Allthough I have no idea what they are made of, some materials proven to do this better than others. I can imagine this has to do with the density of the materials molecules and thus affecting the resistance soundwaves encounter when traveling through it. In my case it is a very cheap little saucepan.&#xD;&#xA;&#xD;&#xA;I plan to buy another one and ask someone with welding experience what the possibilities are as it will most likely be a composite material. The idea is to weld those 2 saucepans together to get the base of the instrument. I also fear that it will be hard to get a neat round hole in one of the pan bottoms, for the handle to be put in later. I imagine using a ironcutter will get kinda messy.&#xD;&#xA;&#xD;&#xA;In the DIY I found online the guy uses straightened clothes hangers soldered on the rim of the base to be bowed or hit. I would like to use somethign thicker, better sounding.&#xD;&#xA;&#xD;&#xA;The thing I'm not sure about is, how I should test different type of metal bars without adding a sound producing element. Can I go to a construction market with my violin bow and just see which materials appear to generate the most friction and vibration? Is this a good criteria without actually hearing anything? &#xD;&#xA;&#xD;&#xA;So my most important question would be: &#xD;&#xA;&#xD;&#xA;How do i test the acoustic properties (relevant to this specific purpose) of different materials without having it welded to the final resonating chamber? &#xD;&#xA;&#xD;&#xA;Are there any tables which give me the speed in which sound can advance through different materials and go with the one that has the least amount of resistance/highest speed/higher density/lower density? How would that relate to thickness/length and welding points. I have so many questions I can't stand it! &#xD;&#xA;&#xD;&#xA;I know it's an ambitious plan but I have faith and thought this forum to be a good place to share ideas on this! Maybe I missed some really important things or some info that will answer some of my questions, so any ideas, recommended reads in particular or help in any way is much appreciated! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks for reading! (english is not my first, so i'm sorry if this was a tough read) &#xD;&#xA;&#xD;&#xA;Tom.&#xD;&#xA;&#xD;&#xA;DIY the way i dont want to do it: http://www.instructables.com/id/The-Aquaharp/&#xD;&#xA;&#xD;&#xA;the real deal: &#xD;&#xA;http://www.youtube.com/watch?v=2n5jIqX63ok&#xD;&#xA;&#xD;&#xA;http://www.waterphone.com/&#xD;&#xA;&#xD;&#xA;Update &#xD;&#xA;&#xD;&#xA;the base is made of stainless steel (kind of obvious now i think of it.) and the rods are made of bronze. I called a metalworker and he told me that those cannot be welded together so it's going to be a mechanical connection. This raises questions, should I use screw-thread with bolts or some other connecting element. The bronze will set me back about 100 euros so its too expensive to just go and screw around. :) I need those questions answered before i start sawing and cuttin into the bronze. This also means i have to know the lengths of the rods before connecting them as i think shortening them after will put too much of a strain on the rest of the construction. This is a bummer because I was hoping to tune them as I go along.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;once again i was misled by my own chaotic mind :) The aquaphone is, in fact welded. As shown on images on the official website. Can't believe i missed that! Luckily i found a metalwork-artist willing to test how strong the connection will be when welding bronze on to stainless steel.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;The metalwork artist I contacted told me that there is special kind of welding wire used to weld bronze onto stainless steel.  I find this hilarious because it shows that you need a fellow art freak to get this kind of information, rather than asking a professional welder, who told me this was not possible at all!&#xD;&#xA;&#xD;&#xA;Sadly this welding wire is also quiet expensive, but it is possible! So far my research gives me enough options to actually do this. However, because of the high costs, estimated around 300 euros for the entire project. Im also thinking about a less expensive prototype with different, less expensive materials. I know 300 euros is still way cheaper than buying one (1700,- euros) But I am also saving up for Adam a7x's :p Soooo, yeah.. not really swimming in cash atm :p&#xD;&#xA;&#xD;&#xA;Which brings me back to my first question; How do I find out what other materials have compareable properties to bronze in a waterphone setup? How do i test this without having to make a prototype with all materials included? I can only think of copper to be a good second candidate but copper is not alot cheaper than bronze so thats not a viable option. &#xD;&#xA;&#xD;&#xA;I'm beginning to understand why one would build a crappy version first, getting comfortable with the construction process and than build one with all the fine expensive materials. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also, as this seems to be turning into a blog instead of a brainstorm. I will probably stop updating this. Unless there are in fact people interested. If so, let me know and i'll keep you posted. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30010" PostHistoryTypeId="2" PostId="18550" RevisionGUID="635c1611-5d8f-4ee2-86f5-6b0b9350ebe3" CreationDate="2013-03-13T21:21:28.587" UserId="3908" Text="@Arnoud Traa&#xD;&#xA;&#xD;&#xA;I think the reason omni mics are not really affected by proximity effect is because of how they are constructed. Omni's and figure of 8 are pressure microphones and most other directional mics are pressure gradient microphones. &#xD;&#xA;&#xD;&#xA;Gradient microphones measure difference in air pressure by comparing the front and back of the membrane and for that to be possible their membrane is open on both sides. When the front of a low freq soundwave hits the membrane the airpressure is almost the same at both sides of the membrane.  because the wavelength front is just so big and the change happens so slowly there is almost no difference in phase measured thus resulting in additional volume because of constructive interference. Gradient mics that have more than one directionality (like akg 414) are still sensitive to the prox effect when set to omni unless the change in capsule happens mechanically. &#xD;&#xA;&#xD;&#xA;Pressure mics (omni's and 8's) are great LF mics by definition because they will always follow the changes in airpressure no matter how slow. They have their membrane encased(like a snare drum) and compare airpressure around them with a fixed amount of airpressure inside the capsule. (somewhat like a barometer) this makes them omnidirectional because they can compare evenly from all directions and that also makes that one never has the constructive interference or proximity effect like you have with open membrane capsules.&#xD;&#xA;&#xD;&#xA;I dont see what dpa means with &quot;less sensitive to handling/wind and pop noises&quot; As i wouldnt know what they could do with capsule construction to reduce that kind of stuff except for the user to equip external accessoires. &#xD;&#xA;&#xD;&#xA;But I can understand the proximity thing they claim :)&#xD;&#xA;&#xD;&#xA;to be fair: there are also very nice things done with gradient mics and the prox effect. Like Leonard Cohen's voice for instance. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30011" PostHistoryTypeId="5" PostId="18550" RevisionGUID="f8a7ab0d-7216-4449-bb04-7e81a984c3ed" CreationDate="2013-03-13T21:26:29.550" UserId="3908" Comment="deleted 5 characters in body; added 1 characters in body" Text="@Arnoud&#xD;&#xA;&#xD;&#xA;I think the reason omni mics are not really affected by proximity effect is because of how they are constructed. Omni's and figure of 8 are pressure microphones and most other directional mics are pressure gradient microphones. &#xD;&#xA;&#xD;&#xA;Gradient microphones measure difference in air pressure by comparing the front and back of the membrane and for that to be possible their membrane is open on both sides. When the front of a low freq soundwave hits the membrane the airpressure is almost the same at both sides of the membrane.  because the soundwave's front is just so big and the change happens so slowly there is almost no difference in phase measured thus resulting in additional volume because of constructive interference. Gradient mics that have more than one directionality (like akg 414) are still sensitive to the prox effect when set to omni unless the change in capsule happens mechanically. &#xD;&#xA;&#xD;&#xA;Pressure mics (omni's and 8's) are great LF mics by definition because they will always follow the changes in airpressure no matter how slow. They have their membrane encased(like a snare drum) and compare airpressure around them with a fixed amount of airpressure inside the capsule. (somewhat like a barometer) this makes them omnidirectional because they can compare evenly from all directions and that also makes that one never has the constructive interference or proximity effect like you have with open membrane capsules.&#xD;&#xA;&#xD;&#xA;I dont see what dpa means with &quot;less sensitive to handling/wind and pop noises&quot; As i wouldnt know what they could do with capsule construction to reduce that kind of stuff except for the user to equip external accessoires. &#xD;&#xA;&#xD;&#xA;But I can understand the proximity thing they claim :)&#xD;&#xA;&#xD;&#xA;to be fair: there are also very nice things done with gradient mics and the prox effect. Like Leonard Cohen's voice for instance. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30012" PostHistoryTypeId="2" PostId="18551" RevisionGUID="bc81a55c-9e4e-4694-a49b-798a3cd30ede" CreationDate="2013-03-13T21:37:49.523" UserId="4423" Text="Hey guys, I have been asked to work on a Television series which is going to be shot in the bushes of Africa.&#xD;&#xA;&#xD;&#xA;The challenge of this TV series is to record 3D footage as well as 5.1 sound...&#xD;&#xA;&#xD;&#xA;I have been asked to sort out the sound department and so far what the company has got in stock is a Rode NT4 and they are contemplating on buying a Zoom H4n, what cheap solution could you suggest the company to get in order to record 5.1 sound in the bushes of Africa..." ContentLicense="CC BY-SA 3.0" />
  <row Id="30013" PostHistoryTypeId="1" PostId="18551" RevisionGUID="bc81a55c-9e4e-4694-a49b-798a3cd30ede" CreationDate="2013-03-13T21:37:49.523" UserId="4423" Text="Field recording in 5.1" ContentLicense="CC BY-SA 3.0" />
  <row Id="30014" PostHistoryTypeId="3" PostId="18551" RevisionGUID="bc81a55c-9e4e-4694-a49b-798a3cd30ede" CreationDate="2013-03-13T21:37:49.523" UserId="4423" Text="&lt;field-recording&gt;&lt;zoom&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30018" PostHistoryTypeId="16" PostId="18527" RevisionGUID="993c06c2-2754-4343-ad4c-46b1863f750e" CreationDate="2013-03-13T22:03:22.213" UserId="3908" />
  <row Id="30019" PostHistoryTypeId="5" PostId="18527" RevisionGUID="993c06c2-2754-4343-ad4c-46b1863f750e" CreationDate="2013-03-13T22:03:22.213" UserId="3908" Comment="deleted 198 characters in body" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;First I would like to say that I really love this place. As a sounddesign student, social sounddesign has been invaluable and a great inspiration! Thanks to all of you for that!&#xD;&#xA;&#xD;&#xA;Now, on with the subject :-)&#xD;&#xA;&#xD;&#xA;I would like to start a brainstorm on selecting and testing different materials for a DIY Aquaphone. I found one online, but was not really charmed by it. This guy seemed to use very low resonance materials and soldered it as opposed to welding. In the end it produced a scratchy not so charming sound with alsmost no sustain. This could also be functional for a difference purpose of course, but I'm specificly aiming for a nice long ring and good resonance, just a nice round sound. So, I would like to select materials accordingly.&#xD;&#xA;&#xD;&#xA;I have found that the best choice for the base of the aquaphone would probably be compareable to those pans that really give a nice ring when excited by hitting it and also pitch modulate that sound through moving a bit of water inside the pan. Allthough I have no idea what they are made of, some materials proven to do this better than others. I can imagine this has to do with the density of the materials molecules and thus affecting the resistance soundwaves encounter when traveling through it. In my case it is a very cheap little saucepan.&#xD;&#xA;&#xD;&#xA;I plan to buy another one and ask someone with welding experience what the possibilities are as it will most likely be a composite material. The idea is to weld those 2 saucepans together to get the base of the instrument. I also fear that it will be hard to get a neat round hole in one of the pan bottoms, for the handle to be put in later. I imagine using a ironcutter will get kinda messy.&#xD;&#xA;&#xD;&#xA;In the DIY I found online the guy uses straightened clothes hangers soldered on the rim of the base to be bowed or hit. I would like to use somethign thicker, better sounding.&#xD;&#xA;&#xD;&#xA;The thing I'm not sure about is, how I should test different type of metal bars without adding a sound producing element. Can I go to a construction market with my violin bow and just see which materials appear to generate the most friction and vibration? Is this a good criteria without actually hearing anything? &#xD;&#xA;&#xD;&#xA;So my most important question would be: &#xD;&#xA;&#xD;&#xA;How do i test the acoustic properties (relevant to this specific purpose) of different materials without having it welded to the final resonating chamber? &#xD;&#xA;&#xD;&#xA;Are there any tables which give me the speed in which sound can advance through different materials and go with the one that has the least amount of resistance/highest speed/higher density/lower density? How would that relate to thickness/length and welding points. I have so many questions I can't stand it! &#xD;&#xA;&#xD;&#xA;I know it's an ambitious plan but I have faith and thought this forum to be a good place to share ideas on this! Maybe I missed some really important things or some info that will answer some of my questions, so any ideas, recommended reads in particular or help in any way is much appreciated! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks for reading! (english is not my first, so i'm sorry if this was a tough read) &#xD;&#xA;&#xD;&#xA;Tom.&#xD;&#xA;&#xD;&#xA;DIY the way i dont want to do it: http://www.instructables.com/id/The-Aquaharp/&#xD;&#xA;&#xD;&#xA;the real deal: &#xD;&#xA;http://www.youtube.com/watch?v=2n5jIqX63ok&#xD;&#xA;&#xD;&#xA;http://www.waterphone.com/&#xD;&#xA;&#xD;&#xA;Update &#xD;&#xA;&#xD;&#xA;the base is made of stainless steel (kind of obvious now i think of it.) and the rods are made of bronze. I called a metalworker and he told me that those cannot be welded together so it's going to be a mechanical connection. This raises questions, should I use screw-thread with bolts or some other connecting element. The bronze will set me back about 100 euros so its too expensive to just go and screw around. :) I need those questions answered before i start sawing and cuttin into the bronze. This also means i have to know the lengths of the rods before connecting them as i think shortening them after will put too much of a strain on the rest of the construction. This is a bummer because I was hoping to tune them as I go along.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;once again i was misled by my own chaotic mind :) The aquaphone is, in fact welded. As shown on images on the official website. Can't believe i missed that! Luckily i found a metalwork-artist willing to test how strong the connection will be when welding bronze on to stainless steel.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;The metalwork artist I contacted told me that there is special kind of welding wire used to weld bronze onto stainless steel.  I find this hilarious because it shows that you need a fellow art freak to get this kind of information, rather than asking a professional welder, who told me this was not possible at all!&#xD;&#xA;&#xD;&#xA;Sadly this welding wire is also quiet expensive, but it is possible! So far my research gives me enough options to actually do this. However, because of the high costs, estimated around 300 euros for the entire project. Im also thinking about a less expensive prototype with different, less expensive materials. I know 300 euros is still way cheaper than buying one (1700,- euros) But I am also saving up for Adam a7x's :p Soooo, yeah.. not really swimming in cash atm :p&#xD;&#xA;&#xD;&#xA;Which brings me back to my first question; How do I find out what other materials have compareable properties to bronze in a waterphone setup? How do i test this without having to make a prototype with all materials included? I can only think of copper to be a good second candidate but copper is not alot cheaper than bronze so thats not a viable option. &#xD;&#xA;&#xD;&#xA;I'm beginning to understand why one would build a crappy version first, getting comfortable with the construction process and than build one with all the fine expensive materials. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30020" PostHistoryTypeId="2" PostId="18553" RevisionGUID="2372466c-6036-4262-a5c5-9cbaef0c9ede" CreationDate="2013-03-13T22:23:05.727" UserId="429" Text="Hey a quick search on the ssd site doesn't return what I'm looking for. &#xD;&#xA;&#xD;&#xA;I'm finally switching a PPC G5 rig over to an intel MacPro for Protools HD9 with a Magma chassis etc. Is 10.7 &quot;generally&quot; a stable platform for DAW / audio creative ?? I mean really general like yeah its good or no don't do it &quot;XX_______XX&quot; is broken. Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="30021" PostHistoryTypeId="1" PostId="18553" RevisionGUID="2372466c-6036-4262-a5c5-9cbaef0c9ede" CreationDate="2013-03-13T22:23:05.727" UserId="429" Text="I know I'm way behind but .. is 10.7 stable for DAW ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30022" PostHistoryTypeId="3" PostId="18553" RevisionGUID="2372466c-6036-4262-a5c5-9cbaef0c9ede" CreationDate="2013-03-13T22:23:05.727" UserId="429" Text="&lt;daw&gt;&lt;osx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30023" PostHistoryTypeId="2" PostId="18554" RevisionGUID="3a9f7d7f-3d9d-44e2-9332-f03292f7d0c2" CreationDate="2013-03-14T00:41:25.233" UserId="5838" Text="Use two stereo digital recorders, like the H4n, but I would use two recorders that are the same brand and model if possible.  You can capture the ambience in &quot;quad&quot;, you can pan the front stereo (from one digital recorder) to the left, center, and right and you can use the other stereo recording for your rear surrounds (when in post).  You don't need to put any audio content from your ambience in the sub, but if you want to, you still could.  For the more important audio, like dialogue you won't get a chance to ADR, you will want a mic of a higher &quot;quality&quot;, but for the ambience and overall sounds, having two H4n's or some other good digital recorders should do the trick. I personally like the Sony PCM-D50, it is a bit more money, but I think it is more versatile because you can change the directions of the mics.  Either way, if you are going, have a great time and capture some good sounds out there." ContentLicense="CC BY-SA 3.0" />
  <row Id="30024" PostHistoryTypeId="5" PostId="18550" RevisionGUID="8bb3f278-1975-48b6-a5c3-61505f5fec1f" CreationDate="2013-03-14T00:58:47.853" UserId="3908" Comment="deleted 5 characters in body" Text="@Arnoud&#xD;&#xA;&#xD;&#xA;I think the reason omni mics are less sensitive to proximity effect is because of how they are constructed. Omni's and figure of 8 are pressure microphones and most other directional mics are pressure gradient microphones. &#xD;&#xA;&#xD;&#xA;Gradient microphones measure difference in air pressure by comparing the front and back of the membrane and for that to be possible their membrane is open on both sides. When the front of a low freq soundwave hits the membrane the airpressure is almost the same at both sides of the membrane.  because the soundwave's front is just so big and the change happens so slowly there is almost no difference in phase measured thus resulting in additional volume because of constructive interference. Gradient mics that have more than one directionality (like akg 414) are still sensitive to the prox effect when set to omni unless the change in capsule happens mechanically. &#xD;&#xA;&#xD;&#xA;Pressure mics (omni's and 8's) are great LF mics by definition because they will always follow the changes in airpressure no matter how slow. They have their membrane encased(like a snare drum) and compare airpressure around them with a fixed amount of airpressure inside the capsule. (somewhat like a barometer) this makes them omnidirectional because they can compare evenly from all directions and that also makes that one never has the constructive interference or proximity effect like you have with open membrane capsules.&#xD;&#xA;&#xD;&#xA;I dont see what dpa means with &quot;less sensitive to handling/wind and pop noises&quot; As i wouldnt know what they could do with capsule construction to reduce that kind of stuff except for the user to equip external accessoires. &#xD;&#xA;&#xD;&#xA;But I can understand the proximity thing they claim :)&#xD;&#xA;&#xD;&#xA;to be fair: there are also very nice things done with gradient mics and the prox effect. Like Leonard Cohen's voice for instance. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30026" PostHistoryTypeId="2" PostId="18555" RevisionGUID="147cdace-ef83-4f57-a45d-da3f4869dd7e" CreationDate="2013-03-14T01:29:57.477" UserId="4156" Text="The Rode NT4 and Zoom H4n are okay to record quad ambiences (h4n can record internal mics plus the nt4 onto 4 distinct tracks), but don't forget the stuff that's important once you're out in the bush: &#xD;&#xA;a) everything needs to work, also in heat and moist conditions&#xD;&#xA;b) wind protection &#xD;&#xA;c) handling noise, the h4n and nt4 are quite sensitive to handling! &#xD;&#xA;&#xD;&#xA;Also, XY might not be the ideal mic-setup for wide ambiences (if that's what you're recording), but that's not as urgent for your task i guess. That lion will probably just roar once, so everything has to work as perfectly as possible...&#xD;&#xA;&#xD;&#xA;It seems a bit weird they want to film in 3D but use a Zoom recorder, btw. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30027" PostHistoryTypeId="5" PostId="18555" RevisionGUID="6562b77f-bc5a-45e6-b1f6-fecfedd1556c" CreationDate="2013-03-14T01:41:33.073" UserId="4156" Comment="added 255 characters in body" Text="The Rode NT4 and Zoom H4n are okay to record quad ambiences (h4n can record internal mics plus the nt4 onto 4 distinct tracks), but don't forget the stuff that's important once you're out in the bush: &#xD;&#xA;a) everything needs to work, also in heat and moist conditions&#xD;&#xA;b) wind protection &#xD;&#xA;c) handling noise, the h4n and nt4 are quite sensitive to handling! &#xD;&#xA;&#xD;&#xA;Also, XY might not be the ideal mic-setup for wide ambiences (if that's what you're recording), but that's not as urgent for your task i guess. That lion will probably just roar once, so everything has to work as perfectly as possible...&#xD;&#xA;&#xD;&#xA;It seems a bit weird they want to film in 3D but use a Zoom recorder, btw. &#xD;&#xA;&#xD;&#xA;Another thing: If you do want to record stuff like specific animals, you absolutely need a strongly directional mic like a shotgun. I've heard some savanna recordings and there can be a lot of 'noise' from birds and insects (most of the time actually)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30028" PostHistoryTypeId="2" PostId="18556" RevisionGUID="18e8fa3d-088b-4f64-a6c5-e6bc7dffa6a9" CreationDate="2013-03-14T01:58:47.233" UserId="3525" Text="http://www.stumbleupon.com/su/20wfrt/www.newsday.com/entertainment/movies/behind-the-scenes-on-jack-the-giant-slayer-1.4792722/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30029" PostHistoryTypeId="1" PostId="18556" RevisionGUID="18e8fa3d-088b-4f64-a6c5-e6bc7dffa6a9" CreationDate="2013-03-14T01:58:47.233" UserId="3525" Text="what mic are they using in this trailer/preview" ContentLicense="CC BY-SA 3.0" />
  <row Id="30030" PostHistoryTypeId="3" PostId="18556" RevisionGUID="18e8fa3d-088b-4f64-a6c5-e6bc7dffa6a9" CreationDate="2013-03-14T01:58:47.233" UserId="3525" Text="&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30031" PostHistoryTypeId="2" PostId="18557" RevisionGUID="8afc1855-8d9b-4e2f-8fa3-af7d1f257b96" CreationDate="2013-03-14T05:26:29.947" UserId="1241" Text="To expand on Tim Prebble's comment, pumping a sine wave through the water causes the hose to move back and forth (well, actually in a kind of circular pattern, but that's not really important). Since the end of the hose is oscillating back and forth, the water makes a zig-zag pattern, similar to what happens if you wave a hose back and forth by hand.&#xD;&#xA;&#xD;&#xA;The hose is oscillating at a rate of 24 times per second, since 24 Hz is the frequency of the sine wave being played. If you film it with a camera that films a number of frames per second equal to the frequency of the sine wave, it will always capture the image at exactly the same point on the sine wave, resulting in the illusion of the water always being in the same zig-zag-y shape, instead of continually falling away from the hose nozzle.&#xD;&#xA;&#xD;&#xA;The 23 Hz and 25 Hz variants just put the sine wave slightly out of sync with the camera, so that a slightly earlier or later part of the oscillation is captured each frame. The actual motion of the water is unchanged.&#xD;&#xA;&#xD;&#xA;You can sometimes see a similar effect when watching film footage of a car accelerating - If the wheels seem to stop spinning or move in reverse, it's because the number of revolutions per second have exceeded the frames per second of the camera." ContentLicense="CC BY-SA 3.0" />
  <row Id="30032" PostHistoryTypeId="2" PostId="18558" RevisionGUID="8835e399-58dd-4c99-8063-ca238a8d8847" CreationDate="2013-03-14T05:57:06.107" UserId="5841" Text="check out the MOTU audio interfaces. they have a TouchOSC option to control them. &#xD;&#xA;but really given that you want to then RENDER the MIX… remote cotrol of the DAW sounds a shit load more useful. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30035" PostHistoryTypeId="2" PostId="18560" RevisionGUID="458d2e9e-20a7-40f9-bc97-a0ae4ea74220" CreationDate="2013-03-14T07:39:39.310" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;Recording ambiences needs high quality preamps and microfones. If you want to record sensitive things like wind, grass and trees, you need an good recorder if you want some sound level on the tracks and not only the hiss from bad microfones.&#xD;&#xA;Recording 5.1 ambience you need in minimum 4 channel for quad. Take 4 Neumann KM184 with windshields and stands. If you take omnidirectional mic for the rear, you get a nice and wide surround.&#xD;&#xA;For recording ambience, you need to rise up gain very high. If you're too close, you hear yourself breathing on the tracks, also you cannot hold mics in hand.&#xD;&#xA;&#xD;&#xA;Wherever you are, you need good windshields. Omnidirectional mics are less sensitive against wind but you need to protect them too, otherwise the result is unusable if you have a lot of rumbles on the tracks. Imagine, you have now 4 or 5 channels to control. If you have rumbles or noise on one channel, it affects all the other channels too. Also you need to run them in sync, another point to take a 4 channel recorder in minimum instead of 2 individual recorders.&#xD;&#xA;&#xD;&#xA;If the budget don't allows to work with professional stuff, I honestly would recommend to record the atmospheres stereo. It is better to have well recorded stereo atmospheres with windshields and good microfones which delivers a good sound level instead of surround atmospheres which were not used because the post production of the tracks is too much work. Keep that in mind: What you have to do for one track (sync, level adjust, pan, positioning, cleaning...) you have to do for every track you record.&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Guido&#xD;&#xA;https://www.soundeffects.ch/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30036" PostHistoryTypeId="2" PostId="18561" RevisionGUID="e14a93e2-aa57-4371-84c9-64eb232bead2" CreationDate="2013-03-14T09:40:40.243" UserId="5583" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;I'm actually working on an animated movie, and there is a car chase with old cars. &#xD;&#xA;What types of vehicles can I choose to have a sound which sounds like an old car, and that is at the same time powerful?&#xD;&#xA;&#xD;&#xA;A small description of cars:&#xD;&#xA;&#xD;&#xA;the story takes place in 1920-1930.&#xD;&#xA;The cars look like little metal wagon with wooden wheels, and a small steam chimney.&#xD;&#xA;&#xD;&#xA;Thanks in advance ;)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30037" PostHistoryTypeId="1" PostId="18561" RevisionGUID="e14a93e2-aa57-4371-84c9-64eb232bead2" CreationDate="2013-03-14T09:40:40.243" UserId="5583" Text="Car Chase with old car" ContentLicense="CC BY-SA 3.0" />
  <row Id="30038" PostHistoryTypeId="3" PostId="18561" RevisionGUID="e14a93e2-aa57-4371-84c9-64eb232bead2" CreationDate="2013-03-14T09:40:40.243" UserId="5583" Text="&lt;car&gt;&lt;chase&gt;&lt;old&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30039" PostHistoryTypeId="2" PostId="18562" RevisionGUID="2874361e-3b6b-42ef-972f-cd965be76211" CreationDate="2013-03-14T12:53:33.187" UserId="4442" Text="I would try to make everything sound pretty clunky, including a lot of wood and metal clanking sounds. I would also probably try and incorporate a lot of engine backfiring, those cars didn't go very fast and couldn't be overworked too much. Also figure out what sort of surface is on. You might be able to get some pretty convincing wheel rolls with some material you find around the house and pitch." ContentLicense="CC BY-SA 3.0" />
  <row Id="30040" PostHistoryTypeId="2" PostId="18563" RevisionGUID="79b74a2a-f5e7-4f54-9edd-517ee506efcb" CreationDate="2013-03-14T16:36:39.797" UserId="4272" Text="Sounds like an interesting project.&#xD;&#xA;&#xD;&#xA;Perhaps this will help.  Not sure.&#xD;&#xA;&#xD;&#xA;http://www.thenakedscientists.com/forum/index.php?topic=10888.0&#xD;&#xA;&#xD;&#xA;&quot;Resonance just means that if you vibrate something in some way at a resonant frequency it will vibrate very strongly.&#xD;&#xA;&#xD;&#xA;You can vibrate objects in many different ways, and depending on the way you are vibrating it or even how fast you are vibrating it whether the resonances are a property of the material, the shape of the material or a combination of the two can change.&#xD;&#xA;&#xD;&#xA;for example the resonant frequency of a pendulum in a clock is a property of the shape of the pendulum not of the brass you made it of.&quot;&#xD;&#xA;&#xD;&#xA;Personally, I tend to think that unless you have a bunch of engineering experience, building an instrument like this would have to be somewhat of a trial-and-error process.  The guy (Richard Waters, I believe) who invented/builds the original waterphone has had years to perfect his technique, and they are as expensive as they are for a reason." ContentLicense="CC BY-SA 3.0" />
  <row Id="30041" PostHistoryTypeId="16" PostId="18563" RevisionGUID="79b74a2a-f5e7-4f54-9edd-517ee506efcb" CreationDate="2013-03-14T16:36:39.797" UserId="-1" />
  <row Id="30042" PostHistoryTypeId="2" PostId="18564" RevisionGUID="5530683a-24fe-4863-8ca3-5a81b63ab421" CreationDate="2013-03-14T20:00:09.080" UserId="4390" Text="Well, with the material prices you are quoting + plus the research/development that must have gone into the originals, the cost of a Waterphone is entirely reasonable I'd say. I do lust for one myself (just listen to the Tom Waits song &quot;Shoreleave&quot; to understand why).&#xD;&#xA;I guess getting all the individual elements of the instrument together in just one package is the hard part. Getting the bowed water sound can likely be had for much less than the waterphone - but then it will also be less flexible, less playable. Wish I could afford one...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30043" PostHistoryTypeId="16" PostId="18564" RevisionGUID="5530683a-24fe-4863-8ca3-5a81b63ab421" CreationDate="2013-03-14T20:00:09.080" UserId="-1" />
  <row Id="30044" PostHistoryTypeId="2" PostId="18565" RevisionGUID="870948e8-264b-425f-b803-ed227b9e0359" CreationDate="2013-03-15T00:03:03.063" UserId="4156" Text="the fireface ufx is cheaper but has the same specs, except less in and outputs and stuff. might be better for your budget... ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30045" PostHistoryTypeId="2" PostId="18566" RevisionGUID="be00f6a9-80d9-45f8-ab35-82eb78428749" CreationDate="2013-03-15T00:21:23.903" UserId="5624" Text="Check out the Prism Sound interfaces. I use the Orpheus unit myself and it sounds amazing. They now make a half sized Orpheus called the Lyra, that would be my pick for you if you're after the best D/A - http://www.prismsound.com/music_recording/products_subs/lyra/lyra_home.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="30046" PostHistoryTypeId="2" PostId="18567" RevisionGUID="9610bf62-d807-471c-bed3-e9244a447d7f" CreationDate="2013-03-15T00:42:26.453" UserId="5624" Text="It's very hard to see in the clip but my guess would be the Schoeps cmc6-mk41 - http://www.bhphotovideo.com/c/product/377424-REG/Schoeps_CMC641_SET_Colette_Series_Microphone_Set.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="30047" PostHistoryTypeId="2" PostId="18568" RevisionGUID="c3d9c40a-172e-4fa2-8b9b-60bb357b7d6a" CreationDate="2013-03-15T08:53:25.120" UserId="5697" Text="I am trying  to fix some audio problems about sound directly recorded via a preamp on a canon 5d, a sort of auto gain and limiter was inserted so all material raise 0 dbfs, and there are also a lot of noise problems, like hisses on long part of material, many dialogues in car scenes with many problems (noise spectrum cover voices).&#xD;&#xA;My very basic and immediate approach to all ths was to cut with eq at 5 kz, and put an highpass filter at 50hz, noticed that the use on a noice reducer like wns and an wave ultra maximizer can helps to let dialogue come out and to give uniform dynamic of all dialogues.&#xD;&#xA;What would you do ? consider that  budget is low and  times are very reduce." ContentLicense="CC BY-SA 3.0" />
  <row Id="30048" PostHistoryTypeId="1" PostId="18568" RevisionGUID="c3d9c40a-172e-4fa2-8b9b-60bb357b7d6a" CreationDate="2013-03-15T08:53:25.120" UserId="5697" Text="sound recorded directly on a DSLR, a lot of  problems with dialogue" ContentLicense="CC BY-SA 3.0" />
  <row Id="30049" PostHistoryTypeId="3" PostId="18568" RevisionGUID="c3d9c40a-172e-4fa2-8b9b-60bb357b7d6a" CreationDate="2013-03-15T08:53:25.120" UserId="5697" Text="&lt;canon-5d&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30050" PostHistoryTypeId="2" PostId="18569" RevisionGUID="86c24200-05d8-4324-bc43-5534a8c8a242" CreationDate="2013-03-15T09:25:49.237" UserId="1216" Text="It sounds like a project where no one thought about the end result (sound wise).&#xD;&#xA;I wouldn't touch a thing and 'step away from the vehicle'.&#xD;&#xA;Next time, take care to record externally.&#xD;&#xA;&#xD;&#xA;Greetings,&#xD;&#xA;&#xD;&#xA;Captain Hindsight" ContentLicense="CC BY-SA 3.0" />
  <row Id="30051" PostHistoryTypeId="2" PostId="18570" RevisionGUID="ba056a3b-88d6-4813-81fc-d9bca3124003" CreationDate="2013-03-15T10:47:56.987" UserId="6748" Text="Me too.&#xD;&#xA;&#xD;&#xA;I'm sorry to tell you that this is probably lost. And also I think it's a waist of time (sorry again). There is no tool or way to make something good from bad. If you start filtering, repairing spectrum, you don't make it good, you only make it a little less bad. It needs do be proper recorded or replaced.&#xD;&#xA;&#xD;&#xA;Recording in cars:&#xD;&#xA;If the engine is on and the interior of the car is full of noise, it's important to give actors lav-mics. (Renting a lavalier here in switzerland costs me $20.-) If it's possible to do the take without the engine on, you can start playing in post with clean vocal tracks (a miracle: a lot of the foleys where also here if the engine's off) an adding the engine sound from the library or record it later.&#xD;&#xA;This is sound editing and makes fun and the time should be used for that instead of trying to repair hopeless audiofiles. But it needs do be planned and considered BEFORE shooting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Guido&#xD;&#xA;https://www.soundeffects.ch/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30052" PostHistoryTypeId="2" PostId="18571" RevisionGUID="da5fc31d-790e-403c-86a1-e4c947162802" CreationDate="2013-03-15T14:01:28.107" UserId="2502" Text="you need to hand the director an estimate on how much it will cost to ADR the whole film. &#xD;&#xA;&#xD;&#xA;also hand him an estimate on how much it would have cost to rent a couple lavs and an H4N.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30053" PostHistoryTypeId="2" PostId="18572" RevisionGUID="63c26bd2-3882-4ea3-971d-254dc6f9437e" CreationDate="2013-03-15T14:34:01.893" UserId="5842" Text="When using omf's and aaf's with a protools template is there any advantage in opening the omf first and then importing the template or opening the template first and then importing the omf?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30054" PostHistoryTypeId="1" PostId="18572" RevisionGUID="63c26bd2-3882-4ea3-971d-254dc6f9437e" CreationDate="2013-03-15T14:34:01.893" UserId="5842" Text="open omf or template first" ContentLicense="CC BY-SA 3.0" />
  <row Id="30055" PostHistoryTypeId="3" PostId="18572" RevisionGUID="63c26bd2-3882-4ea3-971d-254dc6f9437e" CreationDate="2013-03-15T14:34:01.893" UserId="5842" Text="&lt;pro&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30056" PostHistoryTypeId="2" PostId="18573" RevisionGUID="b14df610-3efa-424e-838a-c7c7922bb47b" CreationDate="2013-03-15T15:56:41.537" UserId="5844" Text="The way i work usually is that i open the OMF in a new session based on the template in pro tools. I separate and clean the OMF like sending all you sfx to your template sfx tracks or taking two mono tracks of the same thing and putting them on a stereo track etc... Afterwards i delete all unused tracks and i do a &quot;save copy in&quot; and rename the project OMF_Name_DDMMYY. Then if i have to send it to a Engineer in another studio he can just to import session data of the OMF.ptx and import in his own workflow.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30057" PostHistoryTypeId="2" PostId="18574" RevisionGUID="f336d544-f255-4e7b-89cf-f2a2a69a7cb3" CreationDate="2013-03-15T16:26:52.533" UserId="5845" Text="Hi Guys,&#xD;&#xA;&#xD;&#xA;I have a pair of Sennheiser MKE1 and I would like to test some stealth recording. If I want to plug them into a SD 702 I need something like the Sennheiser MZA 900p which is a little bit expensive. But I also have a SD MixPre which can deliver 15V phantom power and the MKE1 is rated for 4,5-15V. Can I build an adapter and plug them into the MixPre or did I miss something and would destroy them?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30058" PostHistoryTypeId="1" PostId="18574" RevisionGUID="f336d544-f255-4e7b-89cf-f2a2a69a7cb3" CreationDate="2013-03-15T16:26:52.533" UserId="5845" Text="Sennheiser MKE1 into MixPre" ContentLicense="CC BY-SA 3.0" />
  <row Id="30059" PostHistoryTypeId="3" PostId="18574" RevisionGUID="f336d544-f255-4e7b-89cf-f2a2a69a7cb3" CreationDate="2013-03-15T16:26:52.533" UserId="5845" Text="&lt;mixer&gt;&lt;lavalier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30060" PostHistoryTypeId="2" PostId="18575" RevisionGUID="12667990-1394-4522-92e3-9fed37b0a069" CreationDate="2013-03-15T16:51:32.713" UserId="5846" Text="So you open a pre built template first and then import the omf.&#xD;&#xA;That's the way I would do it but I have seen a few on line tutorials open the omf first and then import the template. I was just wondering is there any advantage in doing it that way." ContentLicense="CC BY-SA 3.0" />
  <row Id="30061" PostHistoryTypeId="2" PostId="18576" RevisionGUID="885a3640-7230-4662-94c7-60f78566ed70" CreationDate="2013-03-15T18:17:41.097" UserId="3581" Text="There is no difference between both, it's just a way of working. I do both.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30062" PostHistoryTypeId="2" PostId="18577" RevisionGUID="ffcdef69-52cc-47c5-b423-0db9f0c72167" CreationDate="2013-03-15T20:55:26.323" UserDisplayName="user49" Text="&quot;budget is low and times are very reduce&quot;&#xD;&#xA;&#xD;&#xA;Its the old triangle of diminishing returns: **Fast, Good or Cheap. Pick two**&#xD;&#xA;Sounds like what you're working on is cheap, fast so its not going to be good&#xD;&#xA;&#xD;&#xA;What is the final destination of the project? Where will it be seen/heard?&#xD;&#xA;&#xD;&#xA;&quot;cut with eq at 5 kz, and put an highpass filter at 50hz&quot;&#xD;&#xA;&#xD;&#xA;You should be able to get away with the low cut but I wouldn't put a global 5k cut - like all dialogue you will need to deal with it on a shot by shot basis....&#xD;&#xA;But maybe doing a sort of the material so all your 'hiss' takes are on a couple of dedicated tracks, rumbly on another set etc so you can fine tune semi-global EQ...&#xD;&#xA;&#xD;&#xA;Of course all the usual dialogue editing techniques should be used, time permitting - alt takes, clean fill, wild lines, ADR etc..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;BUT ALSO: do you plan to ever work for these people again?&#xD;&#xA;If so, this is your opportunity to show them WHY they must record sound properly, and hook them up with a production sound person for their next project. Sadly I see people with $20k DSLR rigs, with a Beachtek adaptor, a cheap mic &amp; no one monitoring it, who think they are capturing 'good' audio - their gear budget for sound isn't even as much as their cheapest lens&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30064" PostHistoryTypeId="2" PostId="18579" RevisionGUID="e89628ca-6d59-43ad-9a01-ce7189dad396" CreationDate="2013-03-16T01:43:32.360" UserId="6411" Text="I've been running 10.7 with PT10 on my core i7 MBP for over a year now without a hitch. I'd say it's stable." ContentLicense="CC BY-SA 3.0" />
  <row Id="30065" PostHistoryTypeId="2" PostId="18580" RevisionGUID="b3a63aa1-0fbc-4ccd-9bd0-f612f6e8484b" CreationDate="2013-03-16T04:14:37.093" UserId="5488" Text="I think it's more than just building an adapter or straight wiring. You also have to worry about impedance matching. I would search/post your question to RAMPS. Those guys should definitely know.&#xD;&#xA;&#xD;&#xA;https://groups.google.com/forum/?fromgroups#!forum/rec.arts.movies.production.sound&#xD;&#xA;&#xD;&#xA;Personally, a lav like the mke1 is not going to pick up much useable audio more than a few feet away from you. That's what they're designed to do. I'd look into using something else. &#xD;&#xA;&#xD;&#xA;Core Sound's stealth mics have a good rep.&#xD;&#xA;http://www.core-sound.com/mics/1.php&#xD;&#xA;&#xD;&#xA;If that's more than you'd like to spend, check out these guys&#xD;&#xA;http://www.soundprofessionals.com/&#xD;&#xA;They built a pair of waterproof mics for me that I've been very pleased with, especially considering the cost." ContentLicense="CC BY-SA 3.0" />
  <row Id="30066" PostHistoryTypeId="2" PostId="18581" RevisionGUID="a4af21d2-4d5b-4c62-be39-df88bc923191" CreationDate="2013-03-16T08:41:53.677" UserId="7642" Text="Using compression while editing is a tool, not a part of mixing.&#xD;&#xA;So yes if you know it's going to a compressed TV tprogram it can be a good thing to MONITOR through compression. If you are not the mixer don't expect it to be set the way you have it set. If you know the mixer, ask them if and how they generally treat dialog.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30067" PostHistoryTypeId="2" PostId="18582" RevisionGUID="507b5841-bc93-4262-a5bc-098de4323ee5" CreationDate="2013-03-16T08:44:31.197" UserId="3179" Text="I'd get out of the project and tell the one who gave the job what he/they did wrong and how they should work in the future to avoid passing forward irreparable recorded audio. That should teach them unless they find another candidate for &quot;fixing&quot; what they screwed up." ContentLicense="CC BY-SA 3.0" />
  <row Id="30068" PostHistoryTypeId="2" PostId="18583" RevisionGUID="b6873bd6-8ffb-4354-8a63-ed6d7da4d04c" CreationDate="2013-03-16T14:41:53.527" UserId="993" Text="Just found a video of the exact kind of vehicle you're talking about. Take a look/listen from 2 minute on. Also take a look at the similar videos on the side:&#xD;&#xA;https://www.youtube.com/watch?v=vwNxBMDLbXo&#xD;&#xA;&#xD;&#xA;The Antique Engine library might have the source material you need: http://rabbitearsaudio.com/rea009-antique-engines/&#xD;&#xA;&#xD;&#xA;Or if you want to record/design it yourself, you may be able to work with small propeller plans, steam engines - maybe a sewing machine in there? I'm thinking with the train or plane I'd you'd want to EQ out a lot of the rone elements of the engine and emphasise the more mechanical, chugging elements.&#xD;&#xA;&#xD;&#xA;You mention the vehicle in your cartoon is powerful - so maybe a steam train would be a good base there. Give it a bit more oomf - but without making it sound like a modern car and emphasise the steam power aspect. Though if you want some off-time car engine sounds, my housemates' 1980s sedan has a kind of a chugging rhythm to it. Depending on how much material you need I could record some of that for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="30069" PostHistoryTypeId="2" PostId="18584" RevisionGUID="cf4bf872-eebe-4b64-90af-28e66b5b918a" CreationDate="2013-03-16T19:13:37.723" UserId="5539" Text="i have a pair of Neumann KH120a and a RME babyface. just perfect for me. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30070" PostHistoryTypeId="2" PostId="18585" RevisionGUID="eda2dea9-be4d-4518-9bd0-bbafe6242b28" CreationDate="2013-03-16T19:34:15.663" UserId="5539" Text="a low noise and easy to handle setup i'm using for field recordings:&#xD;&#xA;Audio Technica BP4025, INV7HG shockmout, Rycote Baby Ball, mounted on a self made handle build from a cellular rubber bike grip. the BP4025 is a LDC mic in a XY config. for the very quiet things i (sometimes) use a pair of clumpsy Rode Nt1a, which are not easy to handle..." ContentLicense="CC BY-SA 3.0" />
  <row Id="30071" PostHistoryTypeId="2" PostId="18586" RevisionGUID="fd7753b4-191b-406a-9e89-2ff8a85ec496" CreationDate="2013-03-16T19:37:21.070" UserId="4358" Text="I don't think it really matters what you do first... I have done it both ways and it worked fine." ContentLicense="CC BY-SA 3.0" />
  <row Id="30072" PostHistoryTypeId="5" PostId="18584" RevisionGUID="60c37ae1-3578-48be-9058-329475346306" CreationDate="2013-03-16T19:37:23.247" UserId="5539" Comment="added 2 characters in body" Text="i have a pair of Neumann KH120a and a RME babyface. just perfect (for me). " ContentLicense="CC BY-SA 3.0" />
  <row Id="30073" PostHistoryTypeId="2" PostId="18587" RevisionGUID="624db48a-6c0f-4c4c-9a1d-7c75fdc950ac" CreationDate="2013-03-17T09:12:52.143" UserId="243" Text="I have a radio project due in a week and a half's time. I have recorded the dialogue at 44.1, 32 bit. I would just like to know what the radio broadcast level is?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30074" PostHistoryTypeId="1" PostId="18587" RevisionGUID="624db48a-6c0f-4c4c-9a1d-7c75fdc950ac" CreationDate="2013-03-17T09:12:52.143" UserId="243" Text="Radio advert project" ContentLicense="CC BY-SA 3.0" />
  <row Id="30075" PostHistoryTypeId="3" PostId="18587" RevisionGUID="624db48a-6c0f-4c4c-9a1d-7c75fdc950ac" CreationDate="2013-03-17T09:12:52.143" UserId="243" Text="&lt;broadcast-standards&gt;&lt;radio&gt;&lt;level&gt;&lt;levels&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30076" PostHistoryTypeId="2" PostId="18588" RevisionGUID="b80b806f-3aae-4c33-aa1e-cb78956d8321" CreationDate="2013-03-17T18:59:54.827" UserId="5849" Text="Heya, i see this is from a while back but i was just trawling the net about this same idea. Had been playing around with faking stereo through m/s encoding and came to the same conclusion that it could be done with 2 cardioids.&#xD;&#xA;&#xD;&#xA;Am i not right in thinking that it will add stereo image to the 'M' signal but be canceled out when played in mono providing you treat either side signal identically. To exaggerate this you could delay and drop some lows freq on the the 'S' signal in your DAW, or place it further back during recording. Adjust the delay to find a sweet spot where the phase relationships don't hollow out the 'M', if thats a problem.&#xD;&#xA;&#xD;&#xA;The biggest down-side compared to using a 8 mic would be the minute differences that are picked up by each side (and these i assume add colour and prevent the sucking effect of closely or perfectly out of phase audio). &#xD;&#xA;&#xD;&#xA;Let me know your thoughts on my method and i'll get back and let you know how it worked out in practice. :) &#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="30078" PostHistoryTypeId="5" PostId="18550" RevisionGUID="c66023b7-d827-4777-8c94-18cb89c7bc8b" CreationDate="2013-03-17T19:52:50.713" UserId="3908" Comment="deleted 33 characters in body" Text="@Arnoud&#xD;&#xA;&#xD;&#xA;I think the reason omni mics are less sensitive to proximity effect is because of how they are constructed. Omni's are pressure microphones and most other directional mics are pressure gradient microphones. &#xD;&#xA;&#xD;&#xA;Gradient microphones measure difference in air pressure by comparing the front and back of the membrane and for that to be possible their membrane is open on both sides. When the front of a low freq soundwave hits the membrane the airpressure is almost the same at both sides of the membrane.  because the soundwave's front is just so big and the change happens so slowly there is almost no difference in phase measured thus resulting in additional volume because of constructive interference. Gradient mics that have more than one directionality (like akg 414) are still sensitive to the prox effect when set to omni unless the change in capsule happens mechanically. &#xD;&#xA;&#xD;&#xA;Pressure mics are great LF mics by definition because they will always follow the changes in airpressure no matter how slow. They have their membrane encased(like a snare drum) and compare airpressure around them with a fixed amount of airpressure inside the capsule. (somewhat like a barometer) this makes them omnidirectional because they can compare evenly from all directions and that also makes that one never has the constructive interference or proximity effect like you have with open membrane capsules.&#xD;&#xA;&#xD;&#xA;I dont see what dpa means with &quot;less sensitive to handling/wind and pop noises&quot; As i wouldnt know what they could do with capsule construction to reduce that kind of stuff except for the user to equip external accessoires. &#xD;&#xA;&#xD;&#xA;But I can understand the proximity thing they claim :)&#xD;&#xA;&#xD;&#xA;to be fair: there are also very nice things done with gradient mics and the prox effect. Like Leonard Cohen's voice for instance. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30079" PostHistoryTypeId="5" PostId="1758" RevisionGUID="802fc575-5a96-43ad-8242-0fa66bc798c0" CreationDate="2013-03-18T05:26:47.480" UserId="100" Comment="deleted 27 characters in body" Text="I redesigned this same trailer not too long ago ([an interesting comparison][1]). Unlike mine, I like that yours has a good dynamic range to it. Everyone has brought up some great ideas already. I would say to put foley to the whole thing. At the very least put in her footsteps, even though we only see her take a couple. It makes it way more cinematic. Keep up the great work.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://vimeo.com/10560937" ContentLicense="CC BY-SA 3.0" />
  <row Id="30080" PostHistoryTypeId="5" PostId="819" RevisionGUID="898fe18a-4c41-4cc5-ba06-18c1356013cd" CreationDate="2013-03-18T05:29:33.723" UserId="100" Comment="Broken links removed" Text="NoiseJockey beat me to it. This may not be what you're looking for, but for I love learning, so I'll post it anyway. I have an [H4n][1] that I've been very happy with. I did some quick and dirty recordings in my noisy with that using my cheap (cheap) home theater sub with both the built-in mics, as well as an external [MXL V63M][2] (also cheap). I tried both mic setups with multiple sine tones. I would have gone lower, but my sub dies at about 32Hz and the casing rattles too much.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/600761-REG/Zoom_H4N_H4n_Handy_Mobile_4_Track.html&#xD;&#xA;  [2]: http://www.guitarcenter.com/MXL-V63M-Condenser-Studio-Microphone-770694-i1126976.gc?source=4WFRWXX&amp;CAWELAID=439928932" ContentLicense="CC BY-SA 3.0" />
  <row Id="30081" PostHistoryTypeId="5" PostId="875" RevisionGUID="25dcf9c1-2564-446c-ad43-9b6a72da9b77" CreationDate="2013-03-18T05:30:29.097" UserId="100" Comment="Removed broken link to image" Text="For those of you who have made sound design your career of choice, is there anything you would have done differently along the way? Are there certain choices you're especially glad you made? Would you rather have gone freelance/studio, film/games, east coast/west coast, local/international, analog/digital, etc.?&#xD;&#xA;&#xD;&#xA;More than anything, I'm interested in hindsight.&#xD;&#xA;&#xD;&#xA;And to make things more interesting, I've included a bounty." ContentLicense="CC BY-SA 3.0" />
  <row Id="30082" PostHistoryTypeId="2" PostId="18590" RevisionGUID="7ebaa568-6a45-43ed-a7d0-446f0a1eed90" CreationDate="2013-03-18T06:32:32.233" UserDisplayName="user49" Text="&#xD;&#xA;If I could time travel I would go back &amp; tell myself: apply for the Berlinale Talent Campus (And if you get tuned down, keep improving you application &amp; keep applying every year until you DO get accepted)&#xD;&#xA;&#xD;&#xA;Despite any shortcomings, it was the best experience for&#xD;&#xA;- appreciating the role sound plays in film making&#xD;&#xA;- appreciating all the other key roles&#xD;&#xA;- meeting &amp; freely discussing film/art/sound/music with people from all over the planet&#xD;&#xA;- appreciating you are limited by your own experiences &#xD;&#xA;- appreciating what travel means ie if you have not travelled &amp; engaged with other cultures, then you are VERY limited!&#xD;&#xA;&#xD;&#xA;http://www.berlinale-talentcampus.de/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30083" PostHistoryTypeId="2" PostId="18591" RevisionGUID="9012a36a-7422-4687-8833-ce5c6d4665a6" CreationDate="2013-03-18T07:51:34.947" UserId="5697" Text="I know i am going to make a very basic question, but: how to you manage &#xD;&#xA;all sound effects recorded  on the  dialogue mono track with the boom mic, do they stay there while  everything else is rerecorded in stereo ? &#xD;&#xA;the issue is about  creating a stereo image of all ambients effects etc&#xD;&#xA;(the final target is a 2.1 mix)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30084" PostHistoryTypeId="1" PostId="18591" RevisionGUID="9012a36a-7422-4687-8833-ce5c6d4665a6" CreationDate="2013-03-18T07:51:34.947" UserId="5697" Text="MONO TO STEREO, basic question  about foley recorded on mono dialogue track" ContentLicense="CC BY-SA 3.0" />
  <row Id="30085" PostHistoryTypeId="3" PostId="18591" RevisionGUID="9012a36a-7422-4687-8833-ce5c6d4665a6" CreationDate="2013-03-18T07:51:34.947" UserId="5697" Text="&lt;stereo-imaging&gt;&lt;dialogue&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30086" PostHistoryTypeId="2" PostId="18592" RevisionGUID="9b662e11-8b09-4644-81ac-9af84cf80777" CreationDate="2013-03-18T08:21:29.353" UserId="3179" Text="Well, you can't quite remove extra sounds from a dialogue track, unless by doing some cuts and fades. So yes, the dialogue track is fixed, unless you ADR it, which will give you a clean dialogue track. Therefore you also mix everything else relative to the dialogue track. And the dialogue track is in mono, if it's recorded in mono, and you would likely keep it pretty much like that." ContentLicense="CC BY-SA 3.0" />
  <row Id="30087" PostHistoryTypeId="5" PostId="18592" RevisionGUID="dd7b8e73-0c45-44ad-a328-bae1cae167bf" CreationDate="2013-03-18T08:27:48.987" UserId="3179" Comment="added 121 characters in body; added 100 characters in body" Text="Well, you can't quite remove extra sounds from a dialogue track, unless by doing some cuts and fades. So yes, the dialogue track is fixed, unless you ADR it, which will give you a clean dialogue track. Therefore you should avoid picking up extra sounds that you don't want to be included in the dialogue track. You also mix everything else relative to the dialogue track.  And the dialogue track is in mono, if it's recorded in mono, and you would likely keep it pretty much like that. With mono dialogue the stereo image is created with the other tracks, similarly like it's in music that includes vocals." ContentLicense="CC BY-SA 3.0" />
  <row Id="30088" PostHistoryTypeId="5" PostId="18592" RevisionGUID="ae00a4f2-87b4-49d3-900f-b4617b2a0306" CreationDate="2013-03-18T08:34:43.907" UserId="3179" Comment="added 202 characters in body; added 30 characters in body; added 150 characters in body" Text="Well, you can't quite remove extra sounds from a dialogue track, unless by doing some cuts and fades. So yes, the dialogue track is fixed, unless you ADR it, which will give you a clean dialogue track. Therefore you should avoid picking up extra sounds that you don't want to be included in the dialogue track. You also mix everything else relative to the dialogue track.  And the dialogue track is in mono, if it's recorded in mono, and you would likely keep it pretty much like that. With mono dialogue the stereo image is created with the other tracks, similarly like it's in music that includes vocals. Everything else is not necessarily recorded in stereo, because there are many ways for creating a stereo image. Also, in some cases mono sounds better, in some cases it's stereo that sounds better, and you pick the channel count according to what sounds better. Some tracks like ambiences as well as &quot;sounds that move&quot; are very often recorded in stereo though, for obvious reasons." ContentLicense="CC BY-SA 3.0" />
  <row Id="30089" PostHistoryTypeId="2" PostId="18593" RevisionGUID="2c5d6e0a-79b6-4c17-9b02-8a6beb48caa6" CreationDate="2013-03-18T09:22:48.997" UserId="542" Text="You might want to read the Book by John Purcell 'Dialogue editing...' which is about cutting and editing dialogue tracks.&#xD;&#xA;&#xD;&#xA;If you cut out PFX from the dialogue track, you should fill that gap with roomtone. That way you can mix (and pan) those PFX independently from the dialogue track. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30090" PostHistoryTypeId="2" PostId="18594" RevisionGUID="b01f8366-8282-471f-a654-691d4e018484" CreationDate="2013-03-18T13:21:02.453" UserId="1185" Text="There is a small sample from the Purcell book available that covers PFX and guide tracks.  It is available form the Focal site: [http://www.focalpress.com/uploadedFiles/Books/Book_Media/Film_and_Video/Dialogue%20Editing.pdf][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.focalpress.com/uploadedFiles/Books/Book_Media/Film_and_Video/Dialogue%20Editing.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="30091" PostHistoryTypeId="2" PostId="18595" RevisionGUID="7559235b-c677-49ae-9e84-1f05e8858810" CreationDate="2013-03-18T14:32:08.630" UserId="930" Text="Not an answer I'm afraid, but another +1 for the H2. &#xD;&#xA;&#xD;&#xA;It's great to have on you in case something pops up whilst you're out and about but that's about it. I haven't used the line-ins so can't help. &#xD;&#xA;&#xD;&#xA;The option of recording in quad is also a pretty sweet feature which most of the other recorders don't offer. When using the H2 I always record in quad, even for non-atmos sfx, as it gives you a close perspective with the front pair of capsules and a diffuse, non-direct perspective with the rear pair. Sometimes turns out pretty useful.&#xD;&#xA;&#xD;&#xA;Cheers " ContentLicense="CC BY-SA 3.0" />
  <row Id="30092" PostHistoryTypeId="2" PostId="18596" RevisionGUID="09c836a9-6ce7-4b84-aeb6-ede849b13aad" CreationDate="2013-03-18T17:12:39.703" UserId="4272" Text="Who wants a free Kontakt instrument?&#xD;&#xA;&#xD;&#xA;This one is a &quot;Wing Machine&quot; I built and decided to share.  It's useful for designing the sound of small winged creatures - dragonflies, beetles, fairies, etc.&#xD;&#xA;&#xD;&#xA;[Download from my blog][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.brycerafflesound.com/2013/03/12/wing-machine/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30093" PostHistoryTypeId="1" PostId="18596" RevisionGUID="09c836a9-6ce7-4b84-aeb6-ede849b13aad" CreationDate="2013-03-18T17:12:39.703" UserId="4272" Text="Free Kontakt Wings Instrument" ContentLicense="CC BY-SA 3.0" />
  <row Id="30094" PostHistoryTypeId="3" PostId="18596" RevisionGUID="09c836a9-6ce7-4b84-aeb6-ede849b13aad" CreationDate="2013-03-18T17:12:39.703" UserId="4272" Text="&lt;kontakt&gt;&lt;insects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30095" PostHistoryTypeId="5" PostId="18596" RevisionGUID="4b3be4ee-3eb7-4925-b40a-5fb7ef12bf31" CreationDate="2013-03-18T18:07:12.743" UserId="4272" Comment="added 340 characters in body" Text="Who wants a free Kontakt instrument?&#xD;&#xA;&#xD;&#xA;This one is a &quot;Wing Machine&quot; I built and decided to share.  It's useful for designing the sound of small winged creatures - dragonflies, beetles, fairies, etc.&#xD;&#xA;&#xD;&#xA;With apologies if this sounds like self-promotion or spam - I am giving this away for free, and would love to hear feedback on how this instrument could be improved.  I have heard the question come up on several occasions - how to design winged insects and fairies, so this is more of a solution than a question, but I hope some of you will find it helpful.&#xD;&#xA;&#xD;&#xA;[Download here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://brycerafflesound.com/WingMachine.zip" ContentLicense="CC BY-SA 3.0" />
  <row Id="30096" PostHistoryTypeId="2" PostId="18597" RevisionGUID="85777a79-3991-4f63-ba4a-c4a627df7e0c" CreationDate="2013-03-18T18:17:13.040" UserId="4442" Text="I could see how it would be considered spam, however, I just downloaded. Can't wait to play with it. Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30097" PostHistoryTypeId="2" PostId="18598" RevisionGUID="59bf4cb5-ae11-49cc-9255-e870245fdae3" CreationDate="2013-03-18T18:32:44.740" UserId="1189" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I'm in the process of setting myself up as a sole trader for sound design services in the south east of England. I've been freelancing for a couple of years and operate a relatively humble setup designed for relatively small-scale projects but have decided recently to establish myself as a small business. My goal is to offer a complete sound design service for those with modest post budgets (independent directors, small video production houses, corporate film-makers, etc.). I'm aiming to keep the rates reasonable by negating the need for overly-elaborate studio complexes and doing the majority of the work from my own residence.&#xD;&#xA;&#xD;&#xA;My question to everyone is: In order to start the market research elements of my business plan, are there are any sound designers out there that operate on a similar basis either nationally or internationally? If so, is there any way I can ask a few questions about the operational considerations such a business must take into account (rates of pay, marketing approach, legal factors)?&#xD;&#xA;&#xD;&#xA;I would really appreciate any help at all. It's proving very difficult to research identical business models compared to the massive post-houses that top the search rankings. I have a suspicion it's a need-to-know-basis and I really need to know!&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="30098" PostHistoryTypeId="1" PostId="18598" RevisionGUID="59bf4cb5-ae11-49cc-9255-e870245fdae3" CreationDate="2013-03-18T18:32:44.740" UserId="1189" Text="Research on independent / freelance sound designers" ContentLicense="CC BY-SA 3.0" />
  <row Id="30099" PostHistoryTypeId="3" PostId="18598" RevisionGUID="59bf4cb5-ae11-49cc-9255-e870245fdae3" CreationDate="2013-03-18T18:32:44.740" UserId="1189" Text="&lt;business&gt;&lt;career-advice&gt;&lt;research&gt;&lt;small&gt;&lt;indie&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30102" PostHistoryTypeId="2" PostId="18600" RevisionGUID="221003c3-f96f-41ee-8dbd-1a638bd79e64" CreationDate="2013-03-18T18:54:18.267" UserId="2502" Text="Hey Bryce, very cool. thanks for sharing.&#xD;&#xA;&#xD;&#xA;I've only had a few minutes to play with it and it's great.&#xD;&#xA;&#xD;&#xA;Some feedback on how it could be improved:&#xD;&#xA;&#xD;&#xA;1) more source sample material for more varied textures of wings. multiple .nki files&#xD;&#xA;&#xD;&#xA;I enjoyed listening to the raw source sample - nature recording.  I threw in a couple of my own samples real quick, set a loop and was easily able to use the instrument on different samples and get slightly different feels or &quot;wing sounds.&quot; Adjusting the SV HP filter on the group fx insert allowed more bass and a &quot;bigger wing sound&quot; as well. That could be coded up to the UI as a &quot;wing size&quot; function.&#xD;&#xA;&#xD;&#xA;2)  The Panning on the UI.&#xD;&#xA;&#xD;&#xA;The surround pan really helps build a &quot;flying around&quot; effect even when in stereo. Putting this up in your custom UI could be killer.&#xD;&#xA;&#xD;&#xA;3) Switching the LFO Type.&#xD;&#xA;&#xD;&#xA;The rectangle LFO modulation on volume seems to be doing the bulk of the work in terms of the flutter wing sound and obviously rate.  Putting a function on the UI to switch from Rect, to square, sine, etc could provide a &quot;flutter type&quot; functionality for the user.&#xD;&#xA;&#xD;&#xA;Over all great little nki. My suggestions are merely ideas/feedback on possible improvement since you asked. :)&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="30103" PostHistoryTypeId="2" PostId="18601" RevisionGUID="bd2ea4c6-0967-4caf-8b82-876ef3c4924d" CreationDate="2013-03-18T21:29:35.210" UserId="6499" Text="I have had a couple of requests for remote monitoring and or remote recording here at the studio.  I do not have ISDN or really much experience with that.  I was curious is anyone has use Source-Connect and could shed some light on it.&#xD;&#xA;&#xD;&#xA;http://source-elements.com/&#xD;&#xA;&#xD;&#xA;I want to demo it, but without another studio to connect to and do some experimenting with it would be tricky to test out the demo.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30104" PostHistoryTypeId="1" PostId="18601" RevisionGUID="bd2ea4c6-0967-4caf-8b82-876ef3c4924d" CreationDate="2013-03-18T21:29:35.210" UserId="6499" Text="Anyone using Source-Connect?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30105" PostHistoryTypeId="3" PostId="18601" RevisionGUID="bd2ea4c6-0967-4caf-8b82-876ef3c4924d" CreationDate="2013-03-18T21:29:35.210" UserId="6499" Text="&lt;remote&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30107" PostHistoryTypeId="2" PostId="18602" RevisionGUID="20af2ea4-6937-4a0d-9f70-0578adcaa1ae" CreationDate="2013-03-19T02:06:32.553" UserId="362" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I'm trying to create a plugin in logic in which the decay of a piano uncovers prerecorded whispers. What's the best workflow to create this? Convolution reverb kind of gets me half way there,but I'm dissatisfied that with every note, the same pattern of whispers is created. Is there a way to create a kind of shifting\sidechained IR? &#xD;&#xA;&#xD;&#xA;maybe there's a better solution? Like a sidechained gate on the whispers with some kind of delay? " ContentLicense="CC BY-SA 3.0" />
  <row Id="30108" PostHistoryTypeId="1" PostId="18602" RevisionGUID="20af2ea4-6937-4a0d-9f70-0578adcaa1ae" CreationDate="2013-03-19T02:06:32.553" UserId="362" Text="Sidechained shifting Convolution?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30109" PostHistoryTypeId="3" PostId="18602" RevisionGUID="20af2ea4-6937-4a0d-9f70-0578adcaa1ae" CreationDate="2013-03-19T02:06:32.553" UserId="362" Text="&lt;convolution&gt;&lt;convolution-reverb&gt;&lt;logic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30110" PostHistoryTypeId="2" PostId="18603" RevisionGUID="360601f7-4b3f-43aa-8969-05d8afeb4fb9" CreationDate="2013-03-19T02:25:19.323" UserId="4442" Text="I would say you could try a vocoder, or better yet, this is what I would experiment with.&#xD;&#xA;&#xD;&#xA;Set up a long track with whispers and get your whole atmosphere going, right? so on its own it's just a crazy track of whispers and delays and mess.&#xD;&#xA;&#xD;&#xA;Then, set up your other track which would be the &quot;trigger&quot; for lack of better wording. On your whisper track, set up a noise gate plug in with the side chain as the piano track. You will have to set up a bus or send from your piano track to show the output, but as you adjust the settings for the noise gate for attack and release, you should have the &quot;reverb&quot; effect, but it will trigger along with your track." ContentLicense="CC BY-SA 3.0" />
  <row Id="30111" PostHistoryTypeId="2" PostId="18604" RevisionGUID="694da6d8-3c51-47fd-b5c3-0ee25e214a84" CreationDate="2013-03-19T08:15:49.183" UserId="348" Text="You can use a MKH 50 attached to a magic arm which is hooked onto a wooden board and placed on the floor at the passengers seat, stabilized by sandbags. The mic is then angled into the middle of the car close to the gear shift so that the polar pattern will pick up both actors. Also, use 2 omni directional lavs hidden in the visors with the transmitter as a back up. I have done this a few times and it works very well. &#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30113" PostHistoryTypeId="2" PostId="18606" RevisionGUID="c5473d12-ad91-476e-81d2-7ec42fab87e3" CreationDate="2013-03-19T08:48:03.483" UserId="5820" Text="Howdy:)&#xD;&#xA;&#xD;&#xA;I would love to find out how to set up [Stout's][1] method for monster sound design presented in the video, into Logic 8.&#xD;&#xA;&#xD;&#xA;Warmth,&#xD;&#xA;Zuzia&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=d1Z_Rop_iGk" ContentLicense="CC BY-SA 3.0" />
  <row Id="30114" PostHistoryTypeId="1" PostId="18606" RevisionGUID="c5473d12-ad91-476e-81d2-7ec42fab87e3" CreationDate="2013-03-19T08:48:03.483" UserId="5820" Text="Monster Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="30115" PostHistoryTypeId="3" PostId="18606" RevisionGUID="c5473d12-ad91-476e-81d2-7ec42fab87e3" CreationDate="2013-03-19T08:48:03.483" UserId="5820" Text="&lt;vocoder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30116" PostHistoryTypeId="2" PostId="18607" RevisionGUID="6ed6b012-a6aa-4715-9218-7c05c508ce5c" CreationDate="2013-03-19T09:46:54.370" UserId="1185" Text="This method is simply using a vocoder with a dog sample as the carrier and the voice input as the modulator.  Logic does come with a vocoder - you can look it up in the manual and here is an article from SOS that looks at it: [http://www.soundonsound.com/sos/mar07/articles/logictech_0307.htm][1]&#xD;&#xA;&#xD;&#xA;If you are unsure on vocoding in general then details can be found here: [http://www.innovativesynthesis.com/introduction-to-vocoders/][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/mar07/articles/logictech_0307.htm&#xD;&#xA;  [2]: http://www.innovativesynthesis.com/introduction-to-vocoders/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30117" PostHistoryTypeId="2" PostId="18608" RevisionGUID="8fbe49d7-6308-4794-ac0f-eabe98692b6f" CreationDate="2013-03-19T14:02:30.803" UserId="4442" Text="There are a bunch of videos of Jim stout's tutorials from his Designing sound segment a while back. Does anyone know what that dude's up to? He seems to be off the map. Would have loved to see if he has other stuff of that ilk." ContentLicense="CC BY-SA 3.0" />
  <row Id="30118" PostHistoryTypeId="1" PostId="18608" RevisionGUID="8fbe49d7-6308-4794-ac0f-eabe98692b6f" CreationDate="2013-03-19T14:02:30.803" UserId="4442" Text="Jim Stout videos" ContentLicense="CC BY-SA 3.0" />
  <row Id="30119" PostHistoryTypeId="3" PostId="18608" RevisionGUID="8fbe49d7-6308-4794-ac0f-eabe98692b6f" CreationDate="2013-03-19T14:02:30.803" UserId="4442" Text="&lt;tutorial&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30120" PostHistoryTypeId="16" PostId="18608" RevisionGUID="8fbe49d7-6308-4794-ac0f-eabe98692b6f" CreationDate="2013-03-19T14:02:30.803" UserId="4442" />
  <row Id="30127" PostHistoryTypeId="2" PostId="18612" RevisionGUID="7ea19345-ef35-46a2-8a61-4ff89973f7a8" CreationDate="2013-03-19T21:37:40.303" UserId="5488" Text="Yet another vote for the Schoeps 41/48 combo, HOWEVER, I (and others I know) have experienced noise issues with these mics when used in very humid environments. A fluctuating high freq whine. The Sennheisers seem to be more rugged in this respect, but if I'm not in a jungle, Schoeps all the way." ContentLicense="CC BY-SA 3.0" />
  <row Id="30128" PostHistoryTypeId="2" PostId="18613" RevisionGUID="9587d116-b98f-42cf-a9e6-56ea1d7fdb26" CreationDate="2013-03-19T23:55:31.780" UserId="4376" Text="Sorry no advice, but after a quick google I found that this 'bone conduction' idea is used for hearing aid implants. However, the hearing aid is screwed into the skull so a much more structure-bourne transmission occurs. http://bit.ly/YTGXGG&#xD;&#xA;&#xD;&#xA;I wonder how effective a snug fitted headset is.. perhaps a 'try before you buy' may be in order. But a very useful product if it is effective. Thanks for bringing it to my attention." ContentLicense="CC BY-SA 3.0" />
  <row Id="30129" PostHistoryTypeId="2" PostId="18614" RevisionGUID="b8b00b2e-4b12-4f57-87bb-0a3a7d31da3c" CreationDate="2013-03-20T00:30:36.600" UserId="3179" Text="A surround system with a higher speaker count simply adds (or attempts to add) to the level of spatial immersion that's achievable. 5.1 is good for home setups, because going to the higher speaker counts a) costs more b) is more difficult to configure correctly.&#xD;&#xA;&#xD;&#xA;If you don't know what to pick, then buy a speaker set. And I would advise it in any case, because it's better to leave the speaker matching to the manufacturers. Also standing vs non-standing speakers, it's more of a space/aesthetics issue. According to Dolby specs all speakers except the subwoofer should be full-range speakers." ContentLicense="CC BY-SA 3.0" />
  <row Id="30130" PostHistoryTypeId="5" PostId="18614" RevisionGUID="f11b387b-b6e7-41a0-8fbb-1729103af39a" CreationDate="2013-03-20T00:36:41.843" UserId="3179" Comment="added 206 characters in body; added 14 characters in body" Text="A surround system with a higher speaker count simply adds (or attempts to add) to the level of spatial immersion that's achievable. 5.1 is good for home setups, because going to the higher speaker counts a) costs more b) is more difficult to configure correctly.&#xD;&#xA;&#xD;&#xA;If you don't know what to pick, then buy a speaker set. And I would advise it in any case, because it's better to leave the speaker matching to the manufacturers. Also standing vs non-standing speakers, it's more of a space/aesthetics issue. According to Dolby specs all speakers except the subwoofer should be full-range speakers. However in practice, the rear speakers can be smaller (and cheaper) and have less bass respose, because in mixes they generally don't carry that much information or bass heavy information compared to the front speakers." ContentLicense="CC BY-SA 3.0" />
  <row Id="30131" PostHistoryTypeId="2" PostId="18615" RevisionGUID="c94785fb-f442-438b-a0eb-355ffa1d4111" CreationDate="2013-03-20T01:32:37.650" UserDisplayName="user49" Text="in NZ almost all the sound editors are freelance... but I doubt thats any help with your questions, as they are region &amp; work specific... Rates of pay depends on the total budget of the project and your experience/what you bring to the project. Business advice is best asked of an accountant and/or lawyer... The best marketing happens via word of mouth - be helpful, do lots of good work &lt;- directors and producers notice..." ContentLicense="CC BY-SA 3.0" />
  <row Id="30132" PostHistoryTypeId="2" PostId="18616" RevisionGUID="d84201f1-cfe9-4bf9-9c32-a976cc958814" CreationDate="2013-03-20T09:04:33.117" UserId="726" Text="Yo! Another effective rig which I've used several times is placing the transmitter pack between the sunroof and sunroof cover, with the tram/cos etc being taped (Gaffa/durapore tape) just above head height on the roof of the car. This is a very handy place to rig if the camera guys are seeing the sun visors......&#xD;&#xA;&#xD;&#xA;It's quite dangerous to rig the transmitter packs under the sun visors while the actor's driving - just in case the tape doesn't hold and it falls out when in motion! What I have done to combat this (but still having the mic in the visor) is to run the cable down the rubber seal of the car and place the back either in the glove box or in the door compartment of drivers side.&#xD;&#xA;&#xD;&#xA;Hope this gives extra options to you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30133" PostHistoryTypeId="2" PostId="18617" RevisionGUID="ad73cbf1-b069-43ea-be76-b7c0e5de44fd" CreationDate="2013-03-20T12:17:17.270" UserId="5697" Text="I am reading the john purcell book, and finding it very useful, I need to set my session at best way to improve my work, &#xD;&#xA;right now I am editing dialogue and will have to mix too a low budget movie, audio has been recorded directly on dslr, so i have had just one omf track mono of dialogue, and many stereo music tracks to mix, &#xD;&#xA;&#xD;&#xA;i dont have any external hardware mixer, all my job is based on the DAW (PT10) (audio interface has 4 channel outputs)&#xD;&#xA;in john purcell book I read that he uses 12-14 tracks for each scene and never uses same tracks on adiacent scenes, and he does checkerboard about angle and/or about character&#xD;&#xA;( I come from music and there normally you set each track with one and only one instrument), I get confused in about the how to save tracks, but if I want to use some plug in, am is assuming to have same plug in on all those scenes based on those tracks?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30134" PostHistoryTypeId="1" PostId="18617" RevisionGUID="ad73cbf1-b069-43ea-be76-b7c0e5de44fd" CreationDate="2013-03-20T12:17:17.270" UserId="5697" Text=" setting a session for dialogue editing (question about John Purcell book) " ContentLicense="CC BY-SA 3.0" />
  <row Id="30135" PostHistoryTypeId="3" PostId="18617" RevisionGUID="ad73cbf1-b069-43ea-be76-b7c0e5de44fd" CreationDate="2013-03-20T12:17:17.270" UserId="5697" Text="&lt;editing&gt;&lt;session&gt;&lt;session-organization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30136" PostHistoryTypeId="2" PostId="18618" RevisionGUID="98eecc38-87bf-4dcc-a96d-5a68273bd4bd" CreationDate="2013-03-20T12:47:17.770" UserId="1216" Text="Hi Alidav,&#xD;&#xA;Good to hear that you are reading and applying Purcells' methods! It's not the only way to do dialogue editing, but it's a great start.&#xD;&#xA;Regarding the use of plugins and checkerboarding. The idea of the checkerboard is mainly handy if you have different locations. A scene in a bar requires different eq and reverb than a street scene. That's why you use different tracks and different routings. &#xD;&#xA;In protools you can route all dialogue  tracks to an auxillary with a plugin inserted for overall sound enhancements (like a reverb, limiter or compressor). &#xD;&#xA;&#xD;&#xA;If you use PT10 is there really a need to save tracks. Or better said do you really need that much tracks for music mixing?&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30137" PostHistoryTypeId="2" PostId="18619" RevisionGUID="691204b6-9add-4fc1-bc25-6a0bbdcdd03c" CreationDate="2013-03-20T13:19:17.603" UserId="5856" Text="Hi!&#xD;&#xA;&#xD;&#xA;I try to create the whir of a gun sound, like ricochet.&#xD;&#xA;The thing we can hear in movies when the bullet pass just near the camera.&#xD;&#xA;Is someone have an idea about how to create this particular sound?&#xD;&#xA;Some suggestions about the material or effects i can use?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;Best regards&#xD;&#xA;&#xD;&#xA;Alexis" ContentLicense="CC BY-SA 3.0" />
  <row Id="30138" PostHistoryTypeId="1" PostId="18619" RevisionGUID="691204b6-9add-4fc1-bc25-6a0bbdcdd03c" CreationDate="2013-03-20T13:19:17.603" UserId="5856" Text="How to create gun's whir sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30139" PostHistoryTypeId="3" PostId="18619" RevisionGUID="691204b6-9add-4fc1-bc25-6a0bbdcdd03c" CreationDate="2013-03-20T13:19:17.603" UserId="5856" Text="&lt;gunshot&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30143" PostHistoryTypeId="6" PostId="18619" RevisionGUID="9b32db55-e445-449e-95fa-25e3f28f1785" CreationDate="2013-03-20T13:33:27.137" UserId="5856" Comment="edited tags" Text="&lt;gunshot&gt;&lt;techniques&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30144" PostHistoryTypeId="6" PostId="18617" RevisionGUID="7fb00f1d-1010-4653-8dd5-58f09547b82a" CreationDate="2013-03-20T14:08:18.847" UserId="1185" Comment="edited tags" Text="&lt;editing&gt;&lt;session&gt;&lt;session-organization&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30145" PostHistoryTypeId="2" PostId="18621" RevisionGUID="f187f98b-fbf5-433e-ae63-0ec2089d002a" CreationDate="2013-03-20T14:18:40.863" UserId="5697" Text="this is my first time i use protools and edit a dialogue, and I am wasting alot of time trying to  to adopt a correct workflow,  first, how many tracks, considering that i received a omf with one track mono with many noise problems, dialgue was recording on set directly on dslr, &#xD;&#xA; about plug ins the general behavior is to apply them to several  aux stem, and route tracks to them, for example, i send to  3  aux with same bus inputs, but with differents plug in and with automation I mix them,to outputs.&#xD;&#xA;hope to explain myself." ContentLicense="CC BY-SA 3.0" />
  <row Id="30146" PostHistoryTypeId="2" PostId="18622" RevisionGUID="48403682-9010-490b-8c91-3ec09dc31cde" CreationDate="2013-03-20T15:27:48.297" UserId="542" Text="Try shooting various metal things with a slingshot past a microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="30147" PostHistoryTypeId="2" PostId="18623" RevisionGUID="fbd780b4-b749-4e7c-a299-2df1a2712daf" CreationDate="2013-03-20T16:55:10.573" UserId="5857" Text="Hi, I'm a complete novice at aurdino and max, and hope to make a device as follow;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;setting : three light sensors are connected to arduino, arduino is connected to max.&#xD;&#xA;&#xD;&#xA;purpose : three light sensors' serial values control the pitch, tempo, amd volume of a wav file in max.&#xD;&#xA;&#xD;&#xA;How can I make it possible ?  (Hardware setting on aurdino and bread board, code for aurnoino software, and code for max ?)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30148" PostHistoryTypeId="1" PostId="18623" RevisionGUID="fbd780b4-b749-4e7c-a299-2df1a2712daf" CreationDate="2013-03-20T16:55:10.573" UserId="5857" Text="lgith sensor arduino + max + instrument " ContentLicense="CC BY-SA 3.0" />
  <row Id="30149" PostHistoryTypeId="3" PostId="18623" RevisionGUID="fbd780b4-b749-4e7c-a299-2df1a2712daf" CreationDate="2013-03-20T16:55:10.573" UserId="5857" Text="&lt;max-msp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30150" PostHistoryTypeId="2" PostId="18624" RevisionGUID="b517f530-8ee6-467b-8cc4-d4a0ef881094" CreationDate="2013-03-20T18:36:37.760" UserId="6532" Text="While actually recording those sounds would be best (see Michael Manzke's post), I've had success in the past with taking various windy sounds and dopplershifting them quite severely. You could even try varispeeding whooshes." ContentLicense="CC BY-SA 3.0" />
  <row Id="30151" PostHistoryTypeId="2" PostId="18625" RevisionGUID="cfa47056-01d2-4618-b224-8953c6453b9d" CreationDate="2013-03-20T18:58:02.840" UserId="5738" Text="Both Michael &amp; Alex have the right idea. a great start is to use wind tone, add a highly resonant eq to get that sharp singing &quot;note&quot;... then run it through your dopplers as fast as you can. both GRM tools &amp; Waves doppler are very good for this. then I'd also add in some of the flying debris as well. if you set up a mic in a hallway (or long room) you can shoot nuts, bolts, quarters, washers, anything over it (maybe into a towel to soften the impact)... with those two things put together, you should be able to get a wide variety of sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="30152" PostHistoryTypeId="5" PostId="18624" RevisionGUID="2d24eb66-54d2-4022-a492-66747505c844" CreationDate="2013-03-20T20:01:41.093" UserId="6532" Comment="added 106 characters in body" Text="While actually recording those sounds would be best (see Michael Manzke's post), I've had success in the past with taking various windy sounds and dopplershifting them quite severely. You could even try varispeeding whooshes.&#xD;&#xA;&#xD;&#xA;EDIT: If you don't have a doppler plug-in, you can also try automating the frequency of a resonant EQ." ContentLicense="CC BY-SA 3.0" />
  <row Id="30153" PostHistoryTypeId="2" PostId="18626" RevisionGUID="a4cd29f7-dce5-4e24-9b7a-91afa92ad0e8" CreationDate="2013-03-20T20:50:31.863" UserId="5859" Text="Howdy!&#xD;&#xA;&#xD;&#xA;So I have recently started taking my sfx &quot;career&quot; more seriously and want to work towards possibly getting an internship or freelance work. I am interested in working mostly in animation and film. I have no experience so...how can I start practicing and getting material that I could show to someone in that field that could possibly employ me?&#xD;&#xA;&#xD;&#xA;How would I put together a portfolio or something similar besides having a website? (I do plan to have a website). I guess what I mean is, when you apply somewhere or are wanting to get freelance work, how do you show your client or perspective employer all of your work? &#xD;&#xA;&#xD;&#xA;How did you guys put yourself out there and what did you start making at first to get started?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;jocé&#xD;&#xA;&#xD;&#xA;Ps Since I don't have any experience now I am taking on as many collaborative projects with friends in order to practice and add to my future webiste. I am willing to work on anything that I can put sound to. I am currently recording anything and everything in my house in order to build a small sound library. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30154" PostHistoryTypeId="1" PostId="18626" RevisionGUID="a4cd29f7-dce5-4e24-9b7a-91afa92ad0e8" CreationDate="2013-03-20T20:50:31.863" UserId="5859" Text="Getting Started" ContentLicense="CC BY-SA 3.0" />
  <row Id="30155" PostHistoryTypeId="3" PostId="18626" RevisionGUID="a4cd29f7-dce5-4e24-9b7a-91afa92ad0e8" CreationDate="2013-03-20T20:50:31.863" UserId="5859" Text="&lt;career&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30156" PostHistoryTypeId="2" PostId="18627" RevisionGUID="bfa150e0-6e03-4b1b-9b94-93763bf3e4c2" CreationDate="2013-03-20T21:00:23.770" UserId="5859" Text="Hello all!&#xD;&#xA;&#xD;&#xA;I am looking to get a hydrophone and wanted to get some input. I think I narrowed it down to this one:&#xD;&#xA;http://contactmicrophones.com/products-bxh.html&#xD;&#xA;&#xD;&#xA;or this one&#xD;&#xA;http://www.aquarianaudio.com/h2a-hydrophone.html&#xD;&#xA;&#xD;&#xA;I would like to be able to hear more from the cold gold buffered xlr so if anyone has one, mind sharing? Perhaps some of you are thinking that this is a no brainer and I should go with the H2a but I am on a budget so if the cold gold mic can give great quality sound for a little less money then I'm all for it. &#xD;&#xA;&#xD;&#xA;I am open to other suggestions of course and am in no hurry! &#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;&#xD;&#xA;Jocé" ContentLicense="CC BY-SA 3.0" />
  <row Id="30157" PostHistoryTypeId="1" PostId="18627" RevisionGUID="bfa150e0-6e03-4b1b-9b94-93763bf3e4c2" CreationDate="2013-03-20T21:00:23.770" UserId="5859" Text="Hydrophone advice" ContentLicense="CC BY-SA 3.0" />
  <row Id="30158" PostHistoryTypeId="3" PostId="18627" RevisionGUID="bfa150e0-6e03-4b1b-9b94-93763bf3e4c2" CreationDate="2013-03-20T21:00:23.770" UserId="5859" Text="&lt;microphone&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30159" PostHistoryTypeId="2" PostId="18628" RevisionGUID="bf9e50b0-3a1d-41c3-a3cf-918d287aeaf3" CreationDate="2013-03-20T23:25:06.490" UserId="6532" Text="If there are any local film, animation, or art schools, hang out there, get to know the students, and work on their films. There's usually lots of potential smallish projects coming from there, and since they're still learning it's a great way for you to get your feet wet. It's also a first step towards establish connections once they graduate.&#xD;&#xA;&#xD;&#xA;You'll hear many differing opinions on sound reels; some people love them, others claim that they are completely useless. From what I've heard, they are only rarely considered when you apply for a job, but they can make sense for freelance work. I have gotten the occasional gig through my reel, but even then it was usually because I was recommended by somebody else, and the client wanted to see what I had done.&#xD;&#xA;&#xD;&#xA;If you're interested in making a reel, I found this blog post by Kyle Vande Slunt invaluable:&#xD;&#xA;[Guidelines for Making a Sound Design Demo Reel][1] If you don't have enough projects yet, some people use random clips from films, trailers, or games and do sound design on those for their reel. Just make it absolutely clear that you didn't work on the original.&#xD;&#xA;&#xD;&#xA;Overall, I've found that once you start working on projects, have the right attitude and do good work, you will slowly but steadily keep getting more and more gigs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audiocookbook.org/sound_design/guidelines-for-making-a-sound-design-demo-reel/comment-page-1/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30160" PostHistoryTypeId="2" PostId="18629" RevisionGUID="e791a1d5-1b6c-42c5-b460-3d8b2589fbac" CreationDate="2013-03-21T00:17:46.243" UserId="4390" Text="What Alex said.&#xD;&#xA;I have now freelanced as a set builder for a local theatrical company for over three years (got the first gig thru a friend) and they keep hiring me. When I started out, I cold-called all over town, but didn't really draw anyone's interest. Now I have experience and can namedrop other respected people I have worked with, other possible employers suddenly talk me a lot more seriously.&#xD;&#xA;&#xD;&#xA;All this from getting my foot in the door once, working hard, doing what I was told - and being a good colleague and employee (never underestimate the importance of hitting it off with people).&#xD;&#xA;&#xD;&#xA;Currently trying to pull off the same thing with an audio career - we'll see how that goes!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30161" PostHistoryTypeId="2" PostId="18630" RevisionGUID="ac6d3324-a10b-44c0-999e-068966e8584b" CreationDate="2013-03-21T00:34:26.457" UserId="3179" Text="Ask here:&lt;br&gt;&#xD;&#xA;http://arduino.cc/forum/index.php?action=forum&#xD;&#xA;&#xD;&#xA;Also:&lt;br&gt;&#xD;&#xA;http://playground.arduino.cc/interfacing/MaxMSP" ContentLicense="CC BY-SA 3.0" />
  <row Id="30162" PostHistoryTypeId="5" PostId="18628" RevisionGUID="593ffe84-29bf-4567-9c04-57066286be63" CreationDate="2013-03-21T02:13:29.827" UserId="6532" Comment="fixed grammar" Text="If there are any local film, animation, or art schools, hang out there, get to know the students, and work on their films. There's usually lots of potential smallish projects coming from there, and since they're still learning it's a great way for you to get your feet wet. It's also a first step towards establishing connections once they graduate.&#xD;&#xA;&#xD;&#xA;You'll hear many differing opinions on sound reels; some people love them, others claim that they are completely useless. From what I've heard, they are only rarely considered when you apply for a job, but they can make sense for freelance work. I have gotten the occasional gig through my reel, but even then it was usually because I was recommended by somebody else, and the client wanted to see what I had done.&#xD;&#xA;&#xD;&#xA;If you're interested in making a reel, I found this blog post by Kyle Vande Slunt invaluable:&#xD;&#xA;[Guidelines for Making a Sound Design Demo Reel][1] If you don't have enough projects yet, some people use random clips from films, trailers, or games and do sound design on those for their reel. Just make it absolutely clear that you didn't work on the original.&#xD;&#xA;&#xD;&#xA;Overall, I've found that once you start working on projects, have the right attitude and do good work, you will slowly but steadily keep getting more and more gigs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audiocookbook.org/sound_design/guidelines-for-making-a-sound-design-demo-reel/comment-page-1/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30163" PostHistoryTypeId="2" PostId="18631" RevisionGUID="d84342b8-f7cd-441b-9c78-073b141eff22" CreationDate="2013-03-21T02:58:36.273" UserId="3179" Text="Yes, definitely start from what is nearest: students and people of the same age group that are working on something (films, games, other media) that you can contribute to. Practically every young person pursuing those fields struggles with the same kind of problems as you and almost all need a team of people for working on their projects. Now the competition is absolutely ridiculous, especially, if you're trying to look for gigs through the internet. So, quite simply, in the long and short term, you need to know the people that you can work with and be overly active about what you do, otherwise there might not be much to gain in this field of business I'm afraid. There are many people that &quot;can-do&quot; and have the &quot;can-do&quot; attitude, so keep that in mind.&#xD;&#xA;&#xD;&#xA;After you've got something in your portfolio, you may attempt to approach established studios and offer to work for them. It's not a trivial path though, and again, knowing the right people can be very important. As a freelancer, knowing the clients is pretty much a prerequisite for survival.&#xD;&#xA;&#xD;&#xA;Given that you specifically mention &quot;sfx career&quot;, then it could be very beneficial to try to work out few sound effects libraries as well. And that is something that you can work on your own. And maybe in that case you could approach sound effects recordists and companies rather than media and post-production people and studios." ContentLicense="CC BY-SA 3.0" />
  <row Id="30167" PostHistoryTypeId="2" PostId="18633" RevisionGUID="d449d7b4-ea4b-462e-a965-0baf8001f672" CreationDate="2013-03-21T07:16:36.847" UserId="1228" Text="I recommend this thread: http://socialsounddesign.com/questions/15692/self-promotion-advice/15693#15693&#xD;&#xA;&#xD;&#xA;Particularly because my answer to your question would be exactly the way I answered this one.  Do your best work, always, and the work will promote itself and open doors for you.  In brief, this is how I have begun to find my success in weaving through the industry (I say begun because the growth process is years and decades, and it truly never ends).  I gather this is likely a sentiment shared by many peers." ContentLicense="CC BY-SA 3.0" />
  <row Id="30168" PostHistoryTypeId="5" PostId="18633" RevisionGUID="47a4f072-c3f1-4a33-91c1-3408b1943b00" CreationDate="2013-03-21T07:22:45.783" UserId="1228" Comment="added 34 characters in body" Text="I recommend this thread: http://socialsounddesign.com/questions/15692/self-promotion-advice/15693#15693&#xD;&#xA;&#xD;&#xA;Particularly because my answer to your question would be exactly the way I answered this one.  Do your best work, always, and the work will promote itself and open doors for you.  It's about building credibility.  In brief, this is how I have begun to find my success in weaving through the industry (I say begun because the growth process is years and decades, and it truly never ends).  I gather this is likely a sentiment shared by many peers." ContentLicense="CC BY-SA 3.0" />
  <row Id="30169" PostHistoryTypeId="2" PostId="18634" RevisionGUID="9353801d-fadc-4221-bc11-3ba54d14ed38" CreationDate="2013-03-21T08:38:04.440" UserId="6432" Text="If you've not used the Arduino before I suggest looking at [Maxuino][1] as this will take care of the processing code to control the arduino (giving you one less thing to learn). It's still a fairly steep learning curve just for Max, so give yourself plenty of time. Find LDRs ([light dependent resistors][2]) tested by the arduino community so you're sure they are going to work with little fuss.  The [Max forums][3] are pretty good, so have a go and then ask (Max) questions there.&#xD;&#xA;&#xD;&#xA;Sounds like a fun project.. good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.maxuino.org/about&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Photoresistor&#xD;&#xA;  [3]: http://www.cycling74.com/forums/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30170" PostHistoryTypeId="2" PostId="18635" RevisionGUID="b283633a-6580-4724-95c4-a9d0191b6b21" CreationDate="2013-03-21T08:44:05.860" UserId="5824" Text="Another poster started some wonderful tutorials (http://socialsounddesign.com/questions/17435/interactive-audio-learn-how-to-build-web-mobile-audio-applications-using-javas) along the lines of what I'm looking for. But I'm pretty impatient for the next tutorial and would love to dive into this more ASAP. Know of any pointers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30171" PostHistoryTypeId="1" PostId="18635" RevisionGUID="b283633a-6580-4724-95c4-a9d0191b6b21" CreationDate="2013-03-21T08:44:05.860" UserId="5824" Text="Learning JavaScript with sound design techniques?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30172" PostHistoryTypeId="3" PostId="18635" RevisionGUID="b283633a-6580-4724-95c4-a9d0191b6b21" CreationDate="2013-03-21T08:44:05.860" UserId="5824" Text="&lt;tutorial&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30173" PostHistoryTypeId="2" PostId="18636" RevisionGUID="886d596c-3284-4d7a-a46a-f2de12211cee" CreationDate="2013-03-21T11:42:49.973" UserId="5824" Text="I'd check out Peter Elsea's tutorial on Max, Arduino &amp; Firmata.&#xD;&#xA;&#xD;&#xA;ftp://arts.ucsc.edu/pub/ems/MaxTutors/advancedMax/Notes%20on%20Firmata.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="30174" PostHistoryTypeId="2" PostId="18637" RevisionGUID="87f6c8c2-956b-4fb4-b3d7-2c97a1599d2d" CreationDate="2013-03-21T12:05:59.170" UserId="5824" Text="Peter Batchelor's got some good tutorials that got me started in the music arena.&#xD;&#xA;&#xD;&#xA;http://www.peterbatchelor.com/maxTuts.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="30175" PostHistoryTypeId="2" PostId="18638" RevisionGUID="096c8b3a-1033-4ee3-99e2-8256cb9bd30e" CreationDate="2013-03-21T12:10:30.117" UserId="5824" Text="There's a lot of great stuff you can capture from Spotify using Soundflower or another virtual jack of sorts. There's a number of royalty free stuff on the service if you search right." ContentLicense="CC BY-SA 3.0" />
  <row Id="30176" PostHistoryTypeId="2" PostId="18639" RevisionGUID="059f22ee-6bc5-4e7e-a6e6-c17a897eb60e" CreationDate="2013-03-21T14:03:01.890" UserId="1216" Text="Well I just started the same course and would love to get to part 5 :)&#xD;&#xA;So no answer, but a recommendation/bump!&#xD;&#xA;&#xD;&#xA;Nice tutorial!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30178" PostHistoryTypeId="2" PostId="18641" RevisionGUID="6155f242-8dc4-4565-8965-d1cb57834a37" CreationDate="2013-03-21T15:41:15.613" UserId="5856" Text="Thank you all. Your answers are very helpfull.&#xD;&#xA;I've try to process those windy dopplershifting sound with sound of car's engine with high pitch and doppler effect and it works pretty good!!!!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30179" PostHistoryTypeId="2" PostId="18642" RevisionGUID="f8f64f0c-6989-45eb-a999-39ce63cd2ab7" CreationDate="2013-03-21T17:24:01.007" UserId="234" Text="I've been using SC pretty much since it came out. Like any new technology it has it's up side and it's down side. Much like ISDN, it is NOT an install and go type of thing. You do need to have some IT saavy to get it working to peak efficiency- or you can pay Source Elements to help you set it up. If you have a fairly stable internet connection and are willing to spend some time learning it, then you can get excellent results. Both EdNet and Digiphone offer ISDN to SC bridging so you can connect to ISDN studios as well.&#xD;&#xA;&#xD;&#xA;The one down side of SC is that unlike ISDN, you are at the mercy of the IP pathway between you and the other studio. If there's a server along the line that's causing a problem, then the session can quickly sink with lost connections and audio glitches. It's not a common problem, but it can happen and there's very little that can be done. Also SC to SC connections seem to be fraught with more peril, as lots of studios have it installed, but many don't know how to set it up and use it. The only problem I've ever had with a ISDN to SC Bridge was when the receiving ends ISDN box blew up! :) &#xD;&#xA;&#xD;&#xA;So, in a nutshell, if you are willing to spend the time with it (which you would with ISDN as well), and are willing to deal with the fact that many ISDN studios which tried it back in it's early days have written it off as unusable, and have a solid internet connection, then you can get excellent results. ISDN is of course proven, and reasonably reliable, but much more expensive, and frankly, almost impossible to get installed new these days." ContentLicense="CC BY-SA 3.0" />
  <row Id="30180" PostHistoryTypeId="2" PostId="18643" RevisionGUID="807a9151-a661-4e2e-a400-7e7f53296443" CreationDate="2013-03-21T19:51:27.913" UserId="1228" Text="For me it was something I stumbled upon at my family's mountain cabin.  The toilet pump was going bad and needed to be replaced, but after a flush and the tank would refill, if the buoyancy and position was JUST right it would create the most god-awfully ear-bending (more like &quot;:makes your ears fold back on themselves and implode), harmonically-pure ring.  I've designed my share of tinnitus/hi-freq ringing moments - the sound of this thing has nothing on them).  The position and bouyancy had to be so precise that I set up the 702 and spend a good 15 minutes gentle moving its position millimeters and centimeters and carefully applying pressure until I could find the sweet spot and hold it for a few moments.&#xD;&#xA;&#xD;&#xA;Managed to finally get a good 15 sec steady which can be looped relatively easily, and it's now one of my go-to's when ear-bending tinnitus is needed.&#xD;&#xA;&#xD;&#xA;Seriously though, it hurts after just one or two listens!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30181" PostHistoryTypeId="5" PostId="18643" RevisionGUID="c617e47f-90e8-4423-a6a5-3cfb7c49c615" CreationDate="2013-03-21T19:56:34.240" UserId="1228" Comment="added 267 characters in body" Text="For me it was something I stumbled upon at my family's mountain cabin.  The toilet pump was going bad and needed to be replaced, but after a flush and the tank would refill, if the buoyancy and position was JUST right it would create the most god-awfully ear-bending (more like &quot;:makes your ears fold back on themselves and implode), harmonically-pure ring.  I've designed my share of tinnitus/hi-freq ringing moments - the sound of this thing has nothing on them).  The position and bouyancy had to be so precise that I set up the 702 and spend a good 15 minutes gentle moving its position millimeters and centimeters and carefully applying pressure until I could find the sweet spot and hold it for a few moments.&#xD;&#xA;&#xD;&#xA;Managed to finally get a good 15 sec steady which can be looped relatively easily, and it's now one of my go-to's when ear-bending tinnitus is needed.&#xD;&#xA;&#xD;&#xA;Captured in 96k, in hindsight I wish I was recording it 192 with something like an 8020 or 8040.  Would have been epic.  What impressed me the most was that it slammed up against the limiters hard but they took it like a champ, no audible distortion or artifacts.&#xD;&#xA;&#xD;&#xA;Seriously though, it hurts after just one or two listens!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30182" PostHistoryTypeId="2" PostId="18644" RevisionGUID="cceea35a-ccfe-4b1c-a348-ffc914d0c5c2" CreationDate="2013-03-21T20:49:41.970" UserId="235" Text="Re-write the file by consolidating the region.  I've had the same issue and that fixed it for me.  Is this from an OMF?  When you loaded it I did you link to or copy the audio regions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30183" PostHistoryTypeId="2" PostId="18645" RevisionGUID="c012f530-82a4-4623-8f9d-0bee40a52118" CreationDate="2013-03-21T21:01:22.543" UserId="235" Text="  I agree, asking for points is unusual.  What would be the risks of asking for more money?  If they specifically want your work then it sounds like you're in a good position to bargain.  If they're currently low on funds try working some form of deferred payment clause into the license agreement if sales go above a certain amount. I don't know anything about the theatre world but $5000 for indefinite rights for an entire plays worth of sound seems low.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="30184" PostHistoryTypeId="2" PostId="18646" RevisionGUID="00958464-bac4-421a-bb60-e442a232d68e" CreationDate="2013-03-21T21:56:15.380" UserId="6532" Text="This happens when Pro Tools still references the original .mxf files from the AAF. It messes up a couple of other things, too -- for example, Elastic Audio won't work with .mxf files. The easiest way around that is to Force Convert when you Import Session Data." ContentLicense="CC BY-SA 3.0" />
  <row Id="30185" PostHistoryTypeId="2" PostId="18647" RevisionGUID="1e672d9b-231b-43bc-bb57-96716d9ef80d" CreationDate="2013-03-21T22:45:54.847" UserId="527" Text="I feel like this must be a common scenario, but here you go.&#xD;&#xA;&#xD;&#xA;You are approached with a film, as always the Producers/Director tell you the budget is tight as is the deadline.  They immediately go into the sales pitch on how amazing and unique their film is and ask you if you'd like to participate. &#xD;&#xA;&#xD;&#xA;My response is &quot;sure, if you can send over a screener, we can get an idea of what this film really needs sound-wise. We can go from there&quot; &#xD;&#xA;&#xD;&#xA;The screener comes and it is immediately obvious that you have been over sold on the whole thing and you dont think this thing will be a good piece of art or even be something profitable. &#xD;&#xA;&#xD;&#xA;Now they are hounding me for a quote, trying to move the project forward.  I want to be politely, but I really want to tell these guys that they should scape they whole thing. &#xD;&#xA;&#xD;&#xA;What would you say to these guys and how can I avoid this awkward situation in the future?&#xD;&#xA;&#xD;&#xA;Much love, &#xD;&#xA;&#xD;&#xA;CD&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30186" PostHistoryTypeId="1" PostId="18647" RevisionGUID="1e672d9b-231b-43bc-bb57-96716d9ef80d" CreationDate="2013-03-21T22:45:54.847" UserId="527" Text="Politely telling a client that their film is terrible and you don't want to work on it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30187" PostHistoryTypeId="3" PostId="18647" RevisionGUID="1e672d9b-231b-43bc-bb57-96716d9ef80d" CreationDate="2013-03-21T22:45:54.847" UserId="527" Text="&lt;business&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30188" PostHistoryTypeId="2" PostId="18648" RevisionGUID="24f06485-361c-4722-9305-1fe8096adb36" CreationDate="2013-03-21T23:06:50.113" UserId="1185" Text="If they read SSD you'll have already solved that problem.....&#xD;&#xA;&#xD;&#xA;Seriously though.....tell them you're very busy and given them a silly quote to price yourself out of the market." ContentLicense="CC BY-SA 3.0" />
  <row Id="30189" PostHistoryTypeId="2" PostId="18649" RevisionGUID="4e594c29-29b0-4a08-8f4c-de401cce6db6" CreationDate="2013-03-21T23:58:53.640" UserId="3754" Text="How can I pick up the jobs the others decline? ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30191" PostHistoryTypeId="2" PostId="18650" RevisionGUID="71442a5e-6a04-499f-bce1-3146f46ab688" CreationDate="2013-03-22T08:55:34.293" UserId="1216" Text="Quote from Harry Calahan: Well, opinions are like assholes. Everybody has one. &#xD;&#xA;&#xD;&#xA;Or better said:You don't tell them their film is terrible. You tell them you're too busy.&#xD;&#xA;It's a matter of opinion if the movie is good or bad. Your opinion does not matter to them.&#xD;&#xA;&#xD;&#xA;Perhaps a referral will make them happy and gets you of the hook?&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="30192" PostHistoryTypeId="2" PostId="18651" RevisionGUID="f987ad74-6817-4dfd-84a9-9765cd067094" CreationDate="2013-03-22T09:23:47.890" UserId="3567" Text="I'm looking for a comprehensive vocal sounds library that I can purchase royalty free. I'd like it to include various age people recorded when laughing, crying, humming, grunting etc.&#xD;&#xA;&#xD;&#xA;Up to now I've been hiring voice actors to record this stuff for me, and it was more or less all right. I've also found excellent such recordings in Bottle Rocket FX Scream Collection, but it only has recordings done by mature actors.&#xD;&#xA;&#xD;&#xA;Lately I find myself in need of various age kids' laughs, cries and other utterings that makes hiring voice actors too time consuming.&#xD;&#xA;&#xD;&#xA;I know that boutique sound libraries are often hidden on the 10th page of Google search because of poor SEO, and this is why I'm asking this question in here. Do you have any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30193" PostHistoryTypeId="1" PostId="18651" RevisionGUID="f987ad74-6817-4dfd-84a9-9765cd067094" CreationDate="2013-03-22T09:23:47.890" UserId="3567" Text="Vocal sounds library suggestions" ContentLicense="CC BY-SA 3.0" />
  <row Id="30194" PostHistoryTypeId="3" PostId="18651" RevisionGUID="f987ad74-6817-4dfd-84a9-9765cd067094" CreationDate="2013-03-22T09:23:47.890" UserId="3567" Text="&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30198" PostHistoryTypeId="2" PostId="18653" RevisionGUID="d554016c-1b49-47f4-b3d0-370abdd7ea6e" CreationDate="2013-03-22T10:48:05.507" UserId="769" Text="Hi there,&#xD;&#xA;&#xD;&#xA;Apologies in advance for the dull question. I'm seeking some buyer's advice. I've currently got a Roland Juno 6, Korg MS-2000 and Teenage Engineering OP-1 as hardware synthesisers, as well as an Akai MPC-1000 that I use mostly for music.&#xD;&#xA;&#xD;&#xA;I'm looking to possibly shore up my ability to generate more complex timbres and textures in hardware. I can probably afford to spend up to around AUD$2000 (similar to USD), and I prefer to buy secondhand things.&#xD;&#xA;&#xD;&#xA;I know there's a lot of talk of recorders and plugins, but I haven't been able to find much synth advice in other threads. What are your indispensables, or recommendations within that vague price range?  &#xD;&#xA;&#xD;&#xA;I much prefer to have hands-on control of as much as possible. The main things that have crossed my radar to date are the **Waldorf Blofeld**, **Access Virus Ti Polar** (if I can ever find a used one), a **small modular system** (Analogue Solutions Telemetry or similar), **Elektron Analog Four**, **Studiologic Sledge** or (though not a synth, but for processing and sample manipulation) **Elektron Octatrack**.&#xD;&#xA;&#xD;&#xA;Do you have any advice or other recommendations?  I'm just looking for a diverse and somewhat affordable machine that will help me broaden my palette.&#xD;&#xA;&#xD;&#xA;Thank you in advance!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30199" PostHistoryTypeId="1" PostId="18653" RevisionGUID="d554016c-1b49-47f4-b3d0-370abdd7ea6e" CreationDate="2013-03-22T10:48:05.507" UserId="769" Text="All-rounder hardware recommendations for sound design/synthesis" ContentLicense="CC BY-SA 3.0" />
  <row Id="30200" PostHistoryTypeId="3" PostId="18653" RevisionGUID="d554016c-1b49-47f4-b3d0-370abdd7ea6e" CreationDate="2013-03-22T10:48:05.507" UserId="769" Text="&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30201" PostHistoryTypeId="2" PostId="18654" RevisionGUID="661af162-f1f3-4d6a-9b47-302f9d0bb179" CreationDate="2013-03-22T11:16:17.377" UserId="3179" Text="Kyma.&#xD;&#xA;&#xD;&#xA;http://www.symbolicsound.com/cgi-bin/bin/view/Company/WebHome&#xD;&#xA;&#xD;&#xA;Technically not in the specified price range though." ContentLicense="CC BY-SA 3.0" />
  <row Id="30202" PostHistoryTypeId="2" PostId="18655" RevisionGUID="463db9d7-431e-46bb-96e0-08f7a1468867" CreationDate="2013-03-22T13:40:39.397" UserId="194" Text="Agreed with bit depth.  &#xD;&#xA;&#xD;&#xA;work up a legit quote at full studio rate for what it would take to get the film done right.  Then triple your rate and ship the quote.  Don't break it out by line item.&#xD;&#xA;&#xD;&#xA;You'll very rarely be surprised by them coming up with the money to do the work, but if it happens then hey you're getting paid triple.  &#xD;&#xA;&#xD;&#xA;The general rule of thumb is to never work at a discount - only charge full price or free.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="30203" PostHistoryTypeId="2" PostId="18656" RevisionGUID="7d005af9-a46d-4c7f-a113-e500122eadd0" CreationDate="2013-03-22T16:42:33.330" UserId="4272" Text="Blastwave FX has a collection of &quot;Power Packs&quot; priced at $25 each - I believe there are a total of 16 individual packs, each with various types of human elements - coughing, laughing, eating, moaning and groaning, children, babies, etc.  May be what you're looking for.&#xD;&#xA;&#xD;&#xA;http://www.blastwavefx.com/Humans/c66/index.html?osCsid=7gk1jg6ar9plilidob33gtt4r2" ContentLicense="CC BY-SA 3.0" />
  <row Id="30204" PostHistoryTypeId="2" PostId="18657" RevisionGUID="5b24e085-eaf0-422c-8d25-dab209a525b0" CreationDate="2013-03-22T17:58:51.433" UserId="455" Text="Never say no.  Often times, your quotes aren't even over-quotes.  They're just far too much money for independent productions to afford, simply because post sound is too often misunderstood and neglected.  If you are firm about your rate and are polite about it then people will respect you.  Maybe they'll get enough money next time or recommend you if someone they know needs help. These things will not happen if you just say you're too busy. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30205" PostHistoryTypeId="2" PostId="18658" RevisionGUID="9574a68f-1659-45b3-8197-f9ccc0b27aae" CreationDate="2013-03-22T18:16:38.443" UserId="2502" Text="Dan has the best answer so far.  Maybe I'm not as lucky as others but if a client wishes to pay the proper rate to get their project up to snuff sonically, then I'm willing to do it. My personal opinion of the film is not relevant any way. I don't believe in throwing out unjustified jacked up rates just to run them off or get over paid either, that's a bit jerkish.  Chances are if their film sucks then they also don't have the resources to pay to get it sounding proper, but that's not always the case, sometimes they do; so why not take the business?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30206" PostHistoryTypeId="2" PostId="18659" RevisionGUID="0a6c5e55-31af-474a-8c45-6587b61f6db0" CreationDate="2013-03-22T18:34:51.193" UserId="3979" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;What is the best low noise mic preamp for recording foley and Sfx in the studio? I started out working in music, and I have a 2-610 universal audio tube pre, that I haven't really used for 2 years because its coloration and noise floor is to much for...pretty much anything film- including ADR, foley and sound design (unless I'm going for that specific tone which isn't often).&#xD;&#xA;&#xD;&#xA;I have a buddy that is willing to trade a 4-710d which I tested and it has a WAY better sound/noise ratio. Any suggestions?&#xD;&#xA;&#xD;&#xA;Thanks!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30207" PostHistoryTypeId="1" PostId="18659" RevisionGUID="0a6c5e55-31af-474a-8c45-6587b61f6db0" CreationDate="2013-03-22T18:34:51.193" UserId="3979" Text="Best low noise mic pre?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30208" PostHistoryTypeId="3" PostId="18659" RevisionGUID="0a6c5e55-31af-474a-8c45-6587b61f6db0" CreationDate="2013-03-22T18:34:51.193" UserId="3979" Text="&lt;pre-amp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30209" PostHistoryTypeId="2" PostId="18660" RevisionGUID="64cd8bf2-2aa1-48c5-8f9c-84f6b4d632c6" CreationDate="2013-03-22T19:29:24.933" UserId="6532" Text="I've seen quite a few Avalons in ADR studios. Very quiet units." ContentLicense="CC BY-SA 3.0" />
  <row Id="30210" PostHistoryTypeId="2" PostId="18661" RevisionGUID="1151cecd-0577-4c3b-901b-3002ee0f7c1d" CreationDate="2013-03-22T19:46:27.873" UserId="5862" Text="Hi Jocé,&#xD;&#xA;&#xD;&#xA;I have had H2a's for a few years now and I'm very happy with them. They are very low-noise and very wide-range in terms of frequency. Often I use them as contact microphones / stethoscopes. I noticed a problem though using them with a sound devices 744. They seem to pick up interference from the internal hard disk. With other recorders (zoom, edirol, fostext) I never noticed this, but that could be because the mic pre's are noisier anyway. And I should have bought longer cables, as they often turn out to be too short. &#xD;&#xA;&#xD;&#xA;recently the place I work (www.sonology.org) noticed that one that they had had started crackling, but they have been (mis)used by students for 3 years, so that could be expected!&#xD;&#xA;&#xD;&#xA;best, Justin." ContentLicense="CC BY-SA 3.0" />
  <row Id="30211" PostHistoryTypeId="2" PostId="18662" RevisionGUID="56258772-074c-409c-ac69-778e7cc32932" CreationDate="2013-03-22T19:56:40.490" UserId="3979" Text="+ 1 for the Aquarian audio h2a!! And the owner rob is a really awesome guy who will make sure you're happy. I've recorded hundreds of amazing sounds with it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30212" PostHistoryTypeId="2" PostId="18663" RevisionGUID="8cabae10-8c26-4b21-90c3-08089a8eb401" CreationDate="2013-03-22T20:18:08.273" UserId="61" Text="Another positive review for the H2a here, both as a hydrophone as well as a contact mic. My only heads-up is that the cables themselves are microphonic, meaning that when you touch them / move them, that signal is carried along as well. So I've gotten into the practice of staying very very still when recording with them, or better yet, setting them up and leaving for a while so as not to accidentally disturb the recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="30213" PostHistoryTypeId="2" PostId="18664" RevisionGUID="b36af112-f495-4e62-acd3-558c46d74875" CreationDate="2013-03-23T00:11:40.250" UserId="315" Text=" - Millennia HV-3&#xD;&#xA; - John Hardy M1&#xD;&#xA; - Grace Design m201&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30214" PostHistoryTypeId="5" PostId="18644" RevisionGUID="e9463018-9d64-4fc4-b61b-6ba0b01ce90e" CreationDate="2013-03-23T01:22:33.613" UserId="235" Comment="deleted 2 characters in body" Text="Re-write the file by consolidating the region.  I've had the same issue and that fixed it for me.  Is this from an OMF?  When you loaded it did you link to or copy the audio regions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30215" PostHistoryTypeId="2" PostId="18665" RevisionGUID="0f17075e-ec71-4eac-96a9-f1dd086a6f77" CreationDate="2013-03-23T04:03:48.043" UserId="5863" Text="The Good, the Bad and the Ugly.  I'm astounded no one mentioned it in this thread for as long as it's been up.  There are ambient background noises but no dialogue for about 10 minutes at the beginning, and throughout the movie silence is used to add a sense of desolation to the wide open spaces or shift the focus to visual minutiae and add suspense.  An incredible movie!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30216" PostHistoryTypeId="16" PostId="18665" RevisionGUID="0f17075e-ec71-4eac-96a9-f1dd086a6f77" CreationDate="2013-03-23T04:03:48.043" UserId="-1" />
  <row Id="30217" PostHistoryTypeId="2" PostId="18666" RevisionGUID="3a0ff47a-8e60-4c0c-908e-c7bce88c085c" CreationDate="2013-03-23T06:03:16.983" UserId="4385" Text="Absolutely agree - great film and fantastic sound.&#xD;&#xA;&#xD;&#xA;I especially loved the sound of the eggshell cracking." ContentLicense="CC BY-SA 3.0" />
  <row Id="30218" PostHistoryTypeId="2" PostId="18667" RevisionGUID="d03afc0b-59e1-42d8-9a33-614f3f4530b7" CreationDate="2013-03-23T06:53:44.867" UserDisplayName="user80" Text="We actually use a Sound Devices MP-1, which works great as a quiet preamp.  It is battery powered, but it is worth the extra effort.  We also have some focusrites and an avid pre, but the MP-1 works a treat." ContentLicense="CC BY-SA 3.0" />
  <row Id="30219" PostHistoryTypeId="5" PostId="18667" RevisionGUID="f615b71a-94fa-4329-81d2-aa68a2cb27f9" CreationDate="2013-03-23T07:01:57.137" UserDisplayName="user80" Comment="added 147 characters in body; deleted 1 characters in body" Text="We actually use a Sound Devices MP-1, which works great as a quiet preamp.  It is battery powered, but it is worth the extra effort.  We also have some focusrites and an avid pre, but the MP-1 works a treat.&#xD;&#xA;&#xD;&#xA;Next time we have some money to spare we plan to upgrade to a Marenius, which is truly excellent.&#xD;&#xA;&#xD;&#xA;http://www.marenius.se/products/smf5.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="30220" PostHistoryTypeId="2" PostId="18668" RevisionGUID="2abbf0dc-ea2e-435f-8c3b-e66e438993bf" CreationDate="2013-03-23T07:37:04.457" UserId="3179" Text="Have you ever been questioned about what you do? How did/do you respond?&#xD;&#xA;&#xD;&#xA;Ex. &#xD;&#xA;&#xD;&#xA; - &quot;Oh so you work on sound for&#xD;&#xA;   advertisements? Aren't advertisements&#xD;&#xA;   rather useless?&quot;&#xD;&#xA; - &quot;Oh so you work on x. It's nice and all, but how's that helping anyone / solving/advancing anything?&quot;&#xD;&#xA; - etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="30221" PostHistoryTypeId="1" PostId="18668" RevisionGUID="2abbf0dc-ea2e-435f-8c3b-e66e438993bf" CreationDate="2013-03-23T07:37:04.457" UserId="3179" Text="Ever been questioned about your job / what you do?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30222" PostHistoryTypeId="3" PostId="18668" RevisionGUID="2abbf0dc-ea2e-435f-8c3b-e66e438993bf" CreationDate="2013-03-23T07:37:04.457" UserId="3179" Text="&lt;question&gt;&lt;job&gt;&lt;critique&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30223" PostHistoryTypeId="5" PostId="18668" RevisionGUID="0666e0db-55c4-4f3e-8998-2b529d79e9ab" CreationDate="2013-03-23T07:51:31.777" UserId="3179" Comment="edited body; edited title" Text="Has your job / what you do ever been questioned? How did/do you respond?&#xD;&#xA;&#xD;&#xA;Ex. &#xD;&#xA;&#xD;&#xA; - &quot;Oh so you work on sound for&#xD;&#xA;   advertisements? Aren't advertisements&#xD;&#xA;   rather useless?&quot;&#xD;&#xA; - &quot;Oh so you work on x. It's nice and all, but how's that helping anyone / solving/advancing anything?&quot;&#xD;&#xA; - etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="30224" PostHistoryTypeId="4" PostId="18668" RevisionGUID="0666e0db-55c4-4f3e-8998-2b529d79e9ab" CreationDate="2013-03-23T07:51:31.777" UserId="3179" Comment="edited body; edited title" Text="Has your job / what you do ever been questioned?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30225" PostHistoryTypeId="2" PostId="18669" RevisionGUID="e1f9fafc-20d6-4b6f-b0a2-df1454638fb3" CreationDate="2013-03-23T12:00:11.403" UserId="999" Text="I struggled myself for a while after working on a few adverts- but I was so pleased to have &quot;made it&quot; and get full rate pay for a few days that it completely made it worthwhile. The way I see it, a few days of advert work enables me to do more meaningful work for the next while, meet new crew and learn.&#xD;&#xA;&#xD;&#xA;The trick for me has been trying to get involved in documentaries and shorts that also really do mean something to me, so I feel as if I am making a positive impact on the world.&#xD;&#xA;&#xD;&#xA;Perhaps not fully answering your question as I've not really been externally critized, but i'm definitely my own biggest critic!&#xD;&#xA;&#xD;&#xA;I imagine most people's day jobs could be easily criticized on some level, but you need to live!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30226" PostHistoryTypeId="2" PostId="18670" RevisionGUID="1ffd9e4b-2b54-4567-b7b9-f83a317faa77" CreationDate="2013-03-23T12:32:53.673" UserId="3567" Text="Indeed, it has happened. On this very community too. There still are plenty of people who question the use of video games, and being a video game sound designer/composer seems utter insanity to them.&#xD;&#xA;&#xD;&#xA;There's two answers that I can give these people:&#xD;&#xA;&#xD;&#xA; - First of all, look at the figures. Video game sales are on the rise, surpassing movies sales recently ( http://metro.co.uk/2012/03/22/uk-game-sales-beat-film-and-tv-for-the-first-time-361236/ ). Moreover, it's been increasingly difficult for me to find a really good Hollywood flick lately, whereas AAA titles keep delivering what they promise;&#xD;&#xA; - I thoroughly enjoy doing my job every day. At times I work 14 hours a day, 7 days a week, and when I'm finished I relax by going out and recording some stuff for my next project (or personal library)." ContentLicense="CC BY-SA 3.0" />
  <row Id="30227" PostHistoryTypeId="2" PostId="18671" RevisionGUID="623fd131-7dd0-47ca-b4e9-beda30b72e9c" CreationDate="2013-03-23T14:32:29.933" UserId="6454" Text="To be completely honest, I sometimes have thought this about myself, but I would NEVER say it to others - no matter what their job. I do a lot of advertising and promos along with TV and film. I find more personal satisfaction in the latter - though there have been spots I have done which have been extremely fun and/or challenging - but it is important to find satisfaction in all of it. My frustration comes when I have very difficult clients with crazy deadlines (happens in film/TV too of course) and I will say to MYSELF - I can't believe I am putting myself through all this for something that doesn't matter. But it does matter, as both creative work and paying work. The number of people working and time and money spent on a TV spot can be astounding. I have worked on big add campaigns with 4 x :30 second spots which have higher budgets that feature indie films with reputable/successful actors and directors. &#xD;&#xA;&#xD;&#xA;I always dreamed of being one of those people who wakes up everyday so excited to go to work and HONESTLY say, &quot;Man, I love my job.&quot; But there are days when I am reminded it is a job. That doesn't diminish it and I wouldn't change it for anything. I can still step back and say how awesome it is that I get to play with sound every day, be creative, fix problems, and hopefully be part of something enjoyable. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30228" PostHistoryTypeId="2" PostId="18672" RevisionGUID="2cbdb987-d5bd-4bb0-92d2-d939b1f2b65d" CreationDate="2013-03-23T15:42:37.917" UserId="4019" Text="I'm a sound designer on a AAA title. It is very fulfilling and a job that I look forward to almost everyday.&#xD;&#xA;&#xD;&#xA;I haven't had anybody ask me if what I'm doing is advancing anything. However, from time to time I find myself asking if what I'm doing is really benefiting humanity. The way I see it, I'm working on a game, a luxury product that IMO does not contribute much towards life other than it being an escape from reality for some people.&#xD;&#xA;&#xD;&#xA;The grass being greener on the other side, I admire folks doing location audio for documentaries - I feel it's something much more meaningful and noble then say, making sounds for a bunch of virtual polygons.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30229" PostHistoryTypeId="2" PostId="18673" RevisionGUID="fd33395f-c628-4477-92c6-f037c066231e" CreationDate="2013-03-23T19:15:54.873" UserId="1189" Text="I haven't necessarily had the *purpose* of what I do questioned, but I do seem to find that - even though the term sound designer can be traced back decades and decades in cinema alone - people still have an issue grasping what my work actually entails.&#xD;&#xA;&#xD;&#xA;Now naturally, I'm perfectly at ease explaining what I do - I love my work and my enthusiasm practically exhudes out of me - but it does get to me that with all the advances our medium has made, there still seems to be a real ignorance on the very basis of our work. There's never any doubt as to what the composer does. Perhaps anyone else feels similarly?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30230" PostHistoryTypeId="2" PostId="18674" RevisionGUID="434f85aa-9c70-4776-8c82-d29f9c8c6084" CreationDate="2013-03-23T19:30:28.953" UserId="5867" Text="I have a pair of these Binaural microphones from Roland which have monitors built in to the earphone. The only time I've ever dealt with feedback issues is if the monitoring level is very high.  I've use them quite a bit for field recording and recording impulse reponses and really enjoy them.  The price is right too. Email me if you'd like to hear some test recordings. phil dot lichti at gmail dot com.&#xD;&#xA;&#xD;&#xA;http://www.roland.com/products/en/CS-10EM/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30231" PostHistoryTypeId="2" PostId="18675" RevisionGUID="546cc15e-c3ec-4cbb-b38c-c343f2a82f9c" CreationDate="2013-03-23T20:20:32.727" UserId="253" Text="Interesting question! I always joke about my job not adding anything to society/humanity, but that's not what i really think...&#xD;&#xA;&#xD;&#xA;I think that storytelling has been an important part of human life for a long time, and that our jobs largely feed into that. As living has become easier (eg. not needing to forage/hunt for food every day), and we've found ourselves with more spare time on our hands, the demand for storytelling has increased dramatically. Stories have evolved into music, plays, films. tv shows and games. So, while we're not saving lives or building rockets, we're contributing to a vital part of society. &#xD;&#xA;&#xD;&#xA;It's pretty crazy that what was once done by someone sitting at a fire, with only their voice, is now done with a crew of hundreds, all in specialised roles.&#xD;&#xA;&#xD;&#xA;That's my answer when i question myself anyway. I think it'd sound pretty pompous to a stranger, and it may not be as important as some things, but i think story-telling is vital to society." ContentLicense="CC BY-SA 3.0" />
  <row Id="30232" PostHistoryTypeId="2" PostId="18676" RevisionGUID="e585c02d-9a81-4316-87a0-d4796c375377" CreationDate="2013-03-23T20:54:40.913" UserId="817" Text="My career in sound has been questioned by almost everybody that I know personally outside of the film and television industry; with a handful of colleagues in the industry who just didn't want me to excel. It doesn't make much of a difference to me though, because I know this is my purpose. &#xD;&#xA;&#xD;&#xA;The trouble comes when rates are lower than normal due to varied project budgets or when problems occur in post that are usually relegated to lack of system experience by a late night intern at a transfer house; location sound mixers and our equipment almost always get the blame for these problems even after we call the transfer house and explain to them how to properly transfer the files. &#xD;&#xA;&#xD;&#xA;The fact is that we do work in a particularly obscure subset of major industries, be it sound for film, television &amp; radio or sound for games. Our work is gaining more interest but it doesn't have the same exposure as a director, camera operator, music composer or visual effects artist. Most often I have to give people who ask a very simple explanation of what I do; I record the dialogue of all the actors on set or conversations for documentaries. Then I'm usually asked about the personalities of the actors I've met or the people I've recorded for documentaries. &#xD;&#xA;&#xD;&#xA;Just above this reply one of our other members named ADSR mentioned his admiration for the work I do as a location sound mixer when shooting meaningful footage for documentaries. It's true that I've had great experiences while on doc shoots and even scripted film and network shoots, but I have a long time dream of sitting at my production suite at home producing soundscapes and audible imagery for major game titles or feature films. I guess the grass is greener on the other side, but I'm very glad that while I look to the other side I find other people as dedicated to and in love with their craft as I am with mine.&#xD;&#xA;&#xD;&#xA;My hope is that I might have the opportunity to meet you guys on the other side some day and make some great sound.&#xD;&#xA;&#xD;&#xA;Have fun fulfilling your purpose,&#xD;&#xA;&#xD;&#xA;E. Santiago" ContentLicense="CC BY-SA 3.0" />
  <row Id="30233" PostHistoryTypeId="16" PostId="18676" RevisionGUID="e585c02d-9a81-4316-87a0-d4796c375377" CreationDate="2013-03-23T20:54:40.913" UserId="817" />
  <row Id="30234" PostHistoryTypeId="2" PostId="18677" RevisionGUID="b9aabfca-6bf9-48e7-95f4-56f960e00d67" CreationDate="2013-03-23T21:55:06.630" UserId="5697" Text="I am approaching to a new project,  and have one scene very noisy, &#xD;&#xA;I splitter tracks, placed correctly roomtone, smoothed the transition,etc etc, ( applyed many john purcell advises)&#xD;&#xA;now i need to reduce the overall noise fro the whole scene, how to do  that, routing the tracks on an aux track with denoiser inserted to it? or via audiosuite and working on region by region, what is the correct workflow?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30235" PostHistoryTypeId="1" PostId="18677" RevisionGUID="b9aabfca-6bf9-48e7-95f4-56f960e00d67" CreationDate="2013-03-23T21:55:06.630" UserId="5697" Text="how to apply a denoiser  on a noisy scene" ContentLicense="CC BY-SA 3.0" />
  <row Id="30236" PostHistoryTypeId="3" PostId="18677" RevisionGUID="b9aabfca-6bf9-48e7-95f4-56f960e00d67" CreationDate="2013-03-23T21:55:06.630" UserId="5697" Text="&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30237" PostHistoryTypeId="5" PostId="18677" RevisionGUID="4df2f03d-0043-4d9d-bf23-5707b55e09ea" CreationDate="2013-03-23T23:05:27.780" UserId="5697" Comment="added 1 characters in body" Text="I am approaching to a new project,  and have one scene very noisy, &#xD;&#xA;I splitted tracks, placed correctly roomtone, smoothed the transition,etc etc, ( applyed many john purcell advises)&#xD;&#xA;now i need to reduce the overall noise from the whole scene, how to do  that? routing the tracks on an aux track with denoiser inserted to it? or via audiosuite and working on region by region, what is the correct workflow?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30238" PostHistoryTypeId="2" PostId="18678" RevisionGUID="0a7eb183-2dd4-4eac-80c9-54ea5497c819" CreationDate="2013-03-23T23:22:00.593" UserId="6532" Text="Are you mixing the project as well? If not, you should consult the mixer first before you denoise anything, as that is traditionally the mixer's responsibility, and chances are they have their own specific ways they go about it. The lines are getting blurry, though.&#xD;&#xA;&#xD;&#xA;My personal workflow is as follows:&#xD;&#xA;&#xD;&#xA;1) Do all dialogue editing without any denoising.&#xD;&#xA;&#xD;&#xA;2) Duplicate all dialogue tracks (or, alternatively, just duplicate the playlists). I can't emphasize this enough; you never want to do any denoising on your original dialogue tracks. There's nothing worse than listening to your stuff on the dub stage and realizing that you overdid it without any way to go back to the original.&#xD;&#xA;&#xD;&#xA;3) Go region by region and apply denoising via AudioSuite (I use iZotope RX). If you set your AS settings correctly (&quot;create individual files&quot; and &quot;clip by clip&quot;) Pro Tools will keep all of your fades. Chances are you will have to massage them a bit after denoising, so this step is very important. Also make sure you give yourself enough handles.&#xD;&#xA;&#xD;&#xA;Sometimes, if there is just a bit of noise and it's very consistent across setups, you can get away with routing everything to a bus and then doing gentle denoising there, for example with Cedar. However, this only works if you're also the mixer on the project.&#xD;&#xA;&#xD;&#xA;One more word of advice: it is very easy to go overboard with denoising, especially at the beginning. Listen very closely, preferably with good headphones, for any artifacts or coloration in the voice, and then back off a bit. Don't try to get rid of all the noise -- it'll leave your dialogue sounding very empty, sterile, and artificial." ContentLicense="CC BY-SA 3.0" />
  <row Id="30239" PostHistoryTypeId="2" PostId="18679" RevisionGUID="c4ed7ebe-95bc-4eed-8ad8-a7c3213deccd" CreationDate="2013-03-23T23:45:48.793" UserId="1228" Text="If you're the one doing the predubs/mix, check this out: http://www.stavrosound.com/blog/wordpress/2011/07/dialogue-clean-out-the-noise/&#xD;&#xA;&#xD;&#xA;THis is effectively what a dub stage will do (with either C4, Dolby CAT 43, CEDAR, etc), only using something like RX or X-Noise on isolated individual basis &#xD;&#xA;&#xD;&#xA;Routing is a must in my opinion, **all DX edit tracks (EQ, trims, etc) -&gt; DX sidechain (compressor, de-esser, noise suppressor) -&gt; DX submaster (1:1 passthrough, maybe a brickwall limiter) -&gt; DX Stem (print track)**&#xD;&#xA;&#xD;&#xA;(I'd go into more detail, but I've posted this link on SSD about half a dozen times to almost the same question you asked - I'm glad the blog post has been helpful to people and share with them some insight into one noise suppression technique, I'm thankful for that, however I prefer not to re-phrase a detailed answer when the link itself should cover everything you need.  I don't mean my answer to come across short or rude either, I just feel this question has been asked here many times over a search on SSD will reveal a lot of detailed answers)&#xD;&#xA;&#xD;&#xA;Hope this helps and good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30240" PostHistoryTypeId="2" PostId="18680" RevisionGUID="40007c99-4a30-42d9-8404-51faf5074b6f" CreationDate="2013-03-24T01:49:45.813" UserId="5868" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;I will be very thankful for any advice of yours concerning the following-&#xD;&#xA;&#xD;&#xA;I look for the simplest synth software(with the not so many knobs) that can also generate random sounds (not only the waves, but for all of the other parameters as well), but all done via the use of the algorithm of the software only and without the use of any recordings or pre-made samples/patches.&#xD;&#xA;&#xD;&#xA;The synth should provide the option to generate new random sounds as well as to be able to adjust them afterwards or to create sounds from zero.&#xD;&#xA;&#xD;&#xA;I will also be happy for a software that is regularly updated, so I can keep working with in the future( I am looking for a payed software, so I could also have some support and ongoing maintenance)&#xD;&#xA;I also look for an option to record the sessions of creating the sounds, if possible.&#xD;&#xA;I do not have any MIDI, and look for a simple, standalone option for PC (windows)&#xD;&#xA;&#xD;&#xA;Any idea is mostly and thankfully welcome.&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="30241" PostHistoryTypeId="1" PostId="18680" RevisionGUID="40007c99-4a30-42d9-8404-51faf5074b6f" CreationDate="2013-03-24T01:49:45.813" UserId="5868" Text="Simple soft synth with a random sounds generator advice." ContentLicense="CC BY-SA 3.0" />
  <row Id="30242" PostHistoryTypeId="3" PostId="18680" RevisionGUID="40007c99-4a30-42d9-8404-51faf5074b6f" CreationDate="2013-03-24T01:49:45.813" UserId="5868" Text="&lt;random&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30243" PostHistoryTypeId="2" PostId="18681" RevisionGUID="9f5fdbcb-c069-481a-a520-9c7f33de7ae6" CreationDate="2013-03-24T05:17:43.200" UserId="28" Text="[MaxMSP][1]?&#xD;&#xA;&#xD;&#xA;It passes all criteria except for &quot;simple.&quot;&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://cycling74.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="30244" PostHistoryTypeId="2" PostId="18682" RevisionGUID="58531184-2894-463c-b9c8-b074fbd072a2" CreationDate="2013-03-24T07:54:42.487" UserId="5697" Text="Yes I have to mix as well!&#xD;&#xA;I have already read you article, was very useful, thank you, my question is more about the session setting and work flow. Assuming a tipical basic situation of indipendent movie with one boom directly in camera,  the pictire editor have finished his editing and sent to me one dialogue track OMF file.&#xD;&#xA;Now many scenes have on differents angles same ROOM TONE and I leave them on same track, other scenes have angles with very different RT and I split them om different tracks. In  all cases I first do the job of cleaning removing extra noises smoothing etc, &#xD;&#xA;After that the 75% of scenes  have a loud broadband noise on them ( traffic, car noise hiss), so how do I route tracks and ho apply plug in, scene by scene on an aux  output, via audio suite region by region and render? Consider that unfortunaly  times are short. &#xD;&#xA;&#xD;&#xA;Thanks for your patience. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30245" PostHistoryTypeId="5" PostId="18679" RevisionGUID="64a15277-b6f0-48c0-a73e-f3f559472e6c" CreationDate="2013-03-24T08:17:53.413" UserId="1228" Comment="deleted 207 characters in body" Text="If you're the one doing the predubs/mix, check this out: http://www.stavrosound.com/blog/wordpress/2011/07/dialogue-clean-out-the-noise/&#xD;&#xA;&#xD;&#xA;THis is effectively what a dub stage will do (with either C4, Dolby CAT 43, CEDAR, etc), only using something like RX or X-Noise on isolated individual basis &#xD;&#xA;&#xD;&#xA;Routing is a must in my opinion, **all DX edit tracks (EQ, trims, etc) -&gt; DX sidechain (compressor, de-esser, noise suppressor) -&gt; DX submaster (1:1 passthrough, maybe a brickwall limiter) -&gt; DX Stem (print track)**&#xD;&#xA;&#xD;&#xA;(I'm glad the blog post has been helpful to people and share with them some insight into one noise suppression technique, I'm thankful for that, and I don't mean my answer to come across short or rudely succinct either, however I just feel this question has been asked here many times over, a search on SSD will reveal a lot of detailed answers)&#xD;&#xA;&#xD;&#xA;Hope this helps and good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30246" PostHistoryTypeId="2" PostId="18683" RevisionGUID="b2c39d5e-5397-40f3-95d5-66a2f15ccedc" CreationDate="2013-03-24T11:33:14.960" UserId="3835" Text="Reaktor. If you know any DSP whatsoever you could make it in about an hour." ContentLicense="CC BY-SA 3.0" />
  <row Id="30252" PostHistoryTypeId="2" PostId="18685" RevisionGUID="e3d28e91-9c2c-4aaf-a29c-cf3acf70e4f1" CreationDate="2013-03-24T12:55:59.213" UserId="4010" Text="At the beginning of this [video][1] clip, robot &quot;H.E.R.B.I.E's&quot; voice  ...I know it's a very generic sound now a days, but yet so hard to recreate...To me it sounds like one of the IR responses from Altiverbs speakerphone, but I couldn't nail it down...and if you insist it's a high passed short delay with high feedback, it is not...I would appreciate if you take the challenge and recreate it and post it with your answer...let's not make suggestions that can't be backed up with a recreated sample and a step by step process...since they only confuse the rest of the readers...I am not trying to sound rude, I just want this one to be more to the point and simply helpful to me as mch as to others...thank you all in advance...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=BGZkuueVOR4" ContentLicense="CC BY-SA 3.0" />
  <row Id="30253" PostHistoryTypeId="1" PostId="18685" RevisionGUID="e3d28e91-9c2c-4aaf-a29c-cf3acf70e4f1" CreationDate="2013-03-24T12:55:59.213" UserId="4010" Text="help me find out this &quot;robot/inside helmet type of&quot; voice processing " ContentLicense="CC BY-SA 3.0" />
  <row Id="30254" PostHistoryTypeId="3" PostId="18685" RevisionGUID="e3d28e91-9c2c-4aaf-a29c-cf3acf70e4f1" CreationDate="2013-03-24T12:55:59.213" UserId="4010" Text="&lt;robot&gt;&lt;voice&gt;&lt;impulse-response&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30255" PostHistoryTypeId="5" PostId="18685" RevisionGUID="99012159-6186-4161-a2c7-857313c835cd" CreationDate="2013-03-24T13:02:32.150" UserId="4010" Comment="deleted 27 characters in body" Text="At the beginning of this [video][1] clip, robot &quot;H.E.R.B.I.E's&quot; voice  ...I know it's a very generic sound now a days, but yet so hard to recreate...To me it sounds like one of the IR responses from Altiverbs speakerphone, but I couldn't nail it down...and if you insist it's a high passed short delay with high feedback, it is not...I would appreciate if you take the challenge and recreate it and post it with your answer...let's not make suggestions that can't be backed up with a recreated sample...since they only confuse the rest of the readers...I am not trying to sound rude, I just want this one to be more to the point and simply helpful to me as mch as to others...thank you all in advance...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=BGZkuueVOR4" ContentLicense="CC BY-SA 3.0" />
  <row Id="30256" PostHistoryTypeId="5" PostId="18685" RevisionGUID="0d650887-84b4-4c5d-9d39-95b939bffc69" CreationDate="2013-03-24T13:10:15.697" UserId="4010" Comment="added 3 characters in body; added 149 characters in body" Text="At the beginning of this [video][1] clip, robot &quot;H.E.R.B.I.E's&quot; voice  ...I know it's a very generic sound now a days, but yet so hard to recreate...To me it sounds like one of the IR responses from Altiverbs speakerphone, but I couldn't nail it down...and if you insist it's a high passed short delay with high feedback, it is not...I would appreciate if you take the challenge and recreate it and post it with your answer...please don't make suggestions that can't be backed up with a recreated sample...since they only confuse the rest of the readers...I am not trying to sound rude, I just want this one to be more to the point and simply helpful to me as mch as to others...thank you all in advance...`&lt;iframe width=&quot;640&quot; height=&quot;360&quot; src=&quot;http://www.youtube.com/embed/BGZkuueVOR4?feature=player_detailpage&quot; frameborder=&quot;0&quot; allowfullscreen&gt;&lt;/iframe&gt;`&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=BGZkuueVOR4" ContentLicense="CC BY-SA 3.0" />
  <row Id="30257" PostHistoryTypeId="5" PostId="18685" RevisionGUID="6b1d3be1-fd54-41f6-b935-b7f08df6eb53" CreationDate="2013-03-24T13:15:17.663" UserId="4010" Comment="deleted 151 characters in body; added 147 characters in body; deleted 147 characters in body; added 44 characters in body; deleted 44 characters in body" Text="At the beginning of this [video][1] clip, robot &quot;H.E.R.B.I.E's&quot; voice  ...I know it's a very generic sound now a days, but yet so hard to recreate...To me it sounds like one of the IR responses from Altiverbs speakerphone, but I couldn't nail it down...and if you insist it's a high passed short delay with high feedback, it is not...I would appreciate if you take the challenge and recreate it and post it with your answer...please don't make suggestions that can't be backed up with a recreated sample...since they only confuse the rest of the readers...I am not trying to sound rude, I just want this one to be more to the point and simply helpful to me as mch as to others...thank you all in advance...&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=BGZkuueVOR4" ContentLicense="CC BY-SA 3.0" />
  <row Id="30258" PostHistoryTypeId="5" PostId="18685" RevisionGUID="cff0bd04-b67d-42d9-b4a9-d00eb1bac8ab" CreationDate="2013-03-24T13:23:38.823" UserId="4010" Comment="added 93 characters in body; deleted 1 characters in body" Text="At the beginning of this [video][1] clip, robot &quot;H.E.R.B.I.E's&quot; voice  ...I know it's a very generic sound now a days, but yet so hard to recreate...To me it sounds like one of the IR responses from Altiverbs speakerphone, but I couldn't nail it down...and if you insist it's a high passed short delay with high feedback, it is not...I would appreciate if you take the challenge and recreate it and post it with your answer...please don't make suggestions that can't be backed up with a recreated sample...since they only confuse the rest of the readers...I am not trying to sound rude, I just want this one to be more to the point and simply helpful to me as mch as to others...thank you all in advance...&#xD;&#xA;ps: here is one more [clip][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=BGZkuueVOR4&#xD;&#xA;  [2]: https://soundcloud.com/user8930308/fx-scifi-voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="30259" PostHistoryTypeId="2" PostId="18686" RevisionGUID="c69bb082-f3dc-4589-8cf4-1f7df393cd86" CreationDate="2013-03-24T17:52:05.113" UserId="1189" Text="A bit late to that party here but, in reference to @Kurt and his post on guidelines, you might want to check out this [relevant page on the Motion Picture Editor's Guild.][1]&#xD;&#xA;&#xD;&#xA;From what you say on your background as a novice sound designer, I think the most relevant contract and classification is &quot;Post Production (Independent)&quot; and &quot;Sound Editor [Z-2]&quot;. Hope that's useful!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.editorsguild.com/Wages2.cfm" ContentLicense="CC BY-SA 3.0" />
  <row Id="30260" PostHistoryTypeId="5" PostId="18673" RevisionGUID="a76b6652-88f5-4351-8219-140c99e2b672" CreationDate="2013-03-24T18:10:02.983" UserId="1189" Comment="corrected spelling" Text="I haven't necessarily had the *purpose* of what I do questioned, but I do seem to find that - even though the term sound designer can be traced back decades and decades in cinema alone - people still have an issue grasping what my work actually entails.&#xD;&#xA;&#xD;&#xA;Now naturally, I'm perfectly at ease explaining what I do - I love my work and my enthusiasm practically exudes out of me - but it does get to me that with all the advances our medium has made, there still seems to be a real ignorance on the very basis of our work. There's never any doubt as to what the composer does. Perhaps anyone else feels similarly?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30261" PostHistoryTypeId="5" PostId="18685" RevisionGUID="58f36f02-a41b-47e5-a7e9-ba92b52cbaa9" CreationDate="2013-03-24T18:48:26.193" UserId="4010" Comment="deleted 86 characters in body" Text="At the beginning of this [video][1] clip, robot &quot;H.E.R.B.I.E's&quot; voice  ...I know it's a very generic sound now a days, but yet so hard to recreate...To me it sounds like one of the IR responses from Altiverbs speakerphone, but I couldn't nail it down...and if you insist it's a high passed short delay with high feedback, it is not...I would appreciate if you take the challenge and recreate it and post it with your answer...please only make suggestions that can be backed up with a recreated sample...just want this one to be more to the point and simply helpful to me as mch as to others...thank you all in advance...&#xD;&#xA;ps: here is one more [clip][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=BGZkuueVOR4&#xD;&#xA;  [2]: https://soundcloud.com/user8930308/fx-scifi-voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="30262" PostHistoryTypeId="2" PostId="18687" RevisionGUID="84fca59c-8180-46c9-a7e5-3c381c48f278" CreationDate="2013-03-24T20:43:41.683" UserId="5869" Text="The National Danish Filmschool -Studied Production Sound &amp; Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="30263" PostHistoryTypeId="16" PostId="18687" RevisionGUID="84fca59c-8180-46c9-a7e5-3c381c48f278" CreationDate="2013-03-24T20:43:41.683" UserId="-1" />
  <row Id="30266" PostHistoryTypeId="5" PostId="18685" RevisionGUID="1073d1d4-ec7d-429b-a43c-3c6e6325a77d" CreationDate="2013-03-24T20:59:27.470" UserId="4010" Comment="added 1 characters in body" Text="At the beginning of this [video][1] clip, robot &quot;H.E.R.B.I.E's&quot; voice  ...I know it's a very generic sound now a days, but yet so hard to recreate...To me it sounds like one of the IR responses from Altiverbs speakerphone, but I couldn't nail it down...and if you insist it's a high passed short delay with high feedback, it is not...I would appreciate if you take the challenge and recreate it and post it with your answer...please only make suggestions that can be backed up with a recreated sample...just want this one to be more to the point and simply helpful to me as much as to others...thank you all in advance...&#xD;&#xA;ps: here is one more [clip][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=BGZkuueVOR4&#xD;&#xA;  [2]: https://soundcloud.com/user8930308/fx-scifi-voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="30267" PostHistoryTypeId="2" PostId="18689" RevisionGUID="145814d9-f61d-4cfd-a208-22209e86568e" CreationDate="2013-03-24T21:11:03.223" UserId="5870" Text="You might want to try an eq with several tighly notched bands, but boosted. Try giving them a harmonic relation.&#xD;&#xA;You could try using a dehum plugin inthropposite way.&#xD;&#xA;Maybe some chorus or delays for that mechanic futuristic speaker touch.&#xD;&#xA;If it doesn't ring long enough, some reverb on the processed signal?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30268" PostHistoryTypeId="2" PostId="18690" RevisionGUID="c9d33faa-1385-4c91-b214-2f883bfb1367" CreationDate="2013-03-25T03:22:13.213" UserId="5824" Text="BS from Cornell in Communication (Media &amp; Technology focus) &amp; Computing in the Arts minor.  &#xD;&#xA;Working on MFA at UC Santa Cruz - Digital Art &amp; New Media." ContentLicense="CC BY-SA 3.0" />
  <row Id="30269" PostHistoryTypeId="16" PostId="18690" RevisionGUID="c9d33faa-1385-4c91-b214-2f883bfb1367" CreationDate="2013-03-25T03:22:13.213" UserId="-1" />
  <row Id="30270" PostHistoryTypeId="2" PostId="18691" RevisionGUID="b2aec989-018f-44e0-8d54-f8d9572b0cc5" CreationDate="2013-03-25T06:59:55.223" UserId="5697" Text="I am new at protools, and just exploring the snapshot function of automation, unfortunately does not works with pt 10 but  I can in real time make and store any variation to any plug in parameter  along the tracks it is applied, &#xD;&#xA;what is not clear to me is &#xD;&#xA;&quot;Then all of these tracks get summed through your sidechain aux&quot; , what do you mean for side chain,  have used sidechain to drive for ex, a compressor on a kick drum with the bass guitar input, did you mean something like that or just submaster tracks to an aux stereo tracks and there applying all rtas plug in needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="30273" PostHistoryTypeId="2" PostId="18694" RevisionGUID="557e72e5-a78c-4644-9a8e-159643484708" CreationDate="2013-03-25T09:02:35.840" UserId="1216" Text="Well at least there is a very short delay on it with a high feedback into the original signal. This makes the voice get so &quot;metallic box&quot; sounding. It's dead simple actually.&#xD;&#xA;Experiment from that point onwards, have fun!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30274" PostHistoryTypeId="5" PostId="18689" RevisionGUID="1b40f467-f7a3-47da-84b9-23bfff4e8eff" CreationDate="2013-03-25T09:03:51.617" UserId="5870" Comment="added 2 characters in body" Text="You might want to try an eq with several tighly notched bands, but boosted. Try giving them a harmonic relation.&#xD;&#xA;You could try using a dehum plugin in the opposite way.&#xD;&#xA;Maybe some chorus or delays for that mechanic futuristic speaker touch.&#xD;&#xA;If it doesn't ring long enough, some reverb on the processed signal?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30276" PostHistoryTypeId="2" PostId="18695" RevisionGUID="49556b8f-f833-4f1f-9267-bdcafa08b858" CreationDate="2013-03-25T09:45:40.923" UserId="1225" Text="I love when a synthesizer has the &quot;random&quot; button.&#xD;&#xA;You could try Atlantis (http://jeremyevers.com/atlantis/). I found it just wonderful." ContentLicense="CC BY-SA 3.0" />
  <row Id="30277" PostHistoryTypeId="2" PostId="18696" RevisionGUID="2bbb18ba-f949-4782-a71c-aebe6301681b" CreationDate="2013-03-25T09:57:11.450" UserId="261" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I cam across this clip on YouTube and what I saw puzzled me.&#xD;&#xA;an this be true at all. (I'm keeping my skeptic face on, for the moment)&#xD;&#xA;&#xD;&#xA;[Amazing Water Experiment][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?feature=player_detailpage&amp;v=uENITui5_jU" ContentLicense="CC BY-SA 3.0" />
  <row Id="30278" PostHistoryTypeId="1" PostId="18696" RevisionGUID="2bbb18ba-f949-4782-a71c-aebe6301681b" CreationDate="2013-03-25T09:57:11.450" UserId="261" Text="An Experiment with Sine Waves and Water-" ContentLicense="CC BY-SA 3.0" />
  <row Id="30279" PostHistoryTypeId="3" PostId="18696" RevisionGUID="2bbb18ba-f949-4782-a71c-aebe6301681b" CreationDate="2013-03-25T09:57:11.450" UserId="261" Text="&lt;experimental&gt;&lt;physical-reaction&gt;&lt;illusion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30280" PostHistoryTypeId="2" PostId="18697" RevisionGUID="d648c175-2038-4087-acba-81903d6b767d" CreationDate="2013-03-25T10:45:23.960" UserId="1185" Text="This was discussed on SSD recently.  A search should find the discussion." ContentLicense="CC BY-SA 3.0" />
  <row Id="30281" PostHistoryTypeId="2" PostId="18698" RevisionGUID="db94796b-c814-4188-9693-9c401fd73c80" CreationDate="2013-03-25T10:47:39.590" UserId="3179" Text="Do you compete with someone or something (in the line of work that you do or in the business that you run)? Can you name your competitors (not meaning 'list them here', but whether the competitors have names)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30282" PostHistoryTypeId="1" PostId="18698" RevisionGUID="db94796b-c814-4188-9693-9c401fd73c80" CreationDate="2013-03-25T10:47:39.590" UserId="3179" Text="Do you have competitors?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30283" PostHistoryTypeId="3" PostId="18698" RevisionGUID="db94796b-c814-4188-9693-9c401fd73c80" CreationDate="2013-03-25T10:47:39.590" UserId="3179" Text="&lt;competition&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30284" PostHistoryTypeId="5" PostId="18697" RevisionGUID="a1c70a46-7e49-4faf-bdda-6f2dd5fb29b0" CreationDate="2013-03-25T11:06:00.400" UserId="1185" Comment="added 233 characters in body" Text="This was discussed on SSD recently.  A search should find the discussion.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT:  Here is the previous post:  [http://socialsounddesign.com/questions/18548/sending-low-tone-frequencies-through-water][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/18548/sending-low-tone-frequencies-through-water" ContentLicense="CC BY-SA 3.0" />
  <row Id="30285" PostHistoryTypeId="5" PostId="18697" RevisionGUID="cce0336e-8cff-41db-8394-006362ad555c" CreationDate="2013-03-25T11:15:33.617" UserId="1185" Comment="added 9 characters in body" Text="This was discussed on SSD recently.  A search should find the previous discussion.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT:  Here is the previous post:  [http://socialsounddesign.com/questions/18548/sending-low-tone-frequencies-through-water][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/18548/sending-low-tone-frequencies-through-water" ContentLicense="CC BY-SA 3.0" />
  <row Id="30286" PostHistoryTypeId="5" PostId="18698" RevisionGUID="5fdfe46c-db60-426e-8766-1ed8ec0827d0" CreationDate="2013-03-25T11:19:12.653" UserId="3179" Comment="added 64 characters in body; added 4 characters in body" Text="Do you compete with someone or something (in the line of work that you do or in the business that you run)? Can you name your competitors (not meaning 'list them here', but whether the competitors have names)?&#xD;&#xA;&#xD;&#xA;Competing against or with?&lt;br&gt;&#xD;&#xA;http://www.elew.com/competit.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="30287" PostHistoryTypeId="2" PostId="18699" RevisionGUID="8591259b-9c7e-4a77-891f-1a8ab0546111" CreationDate="2013-03-25T13:45:54.077" UserId="993" Text="What DAW are you using? If you're using Pro Tools, take a look at the AIR Reverb plugin (which comes bundled) as it has preset called &quot;inside tank&quot; (or something similar) which you can adjust to your liking." ContentLicense="CC BY-SA 3.0" />
  <row Id="30288" PostHistoryTypeId="2" PostId="18700" RevisionGUID="9d0a3e27-aaff-485c-a4e6-7f104c8dc642" CreationDate="2013-03-25T13:49:13.243" UserId="194" Text="I went through this same process a while back when I realized that I couldn't afford a good fig 8 either.  I tried every setup in the book, but in the end you really do just need a good figure 8.  :)&#xD;&#xA;&#xD;&#xA;You'll note that you're losing one of the primary MS benefits with this setup - the fig 8 mics wont cancel out when you sum to mono any more.  If anything summing to mono will *add* weirdness.  this is because you're now dealing with two capsules instead of one for that channel, and they're in slightly different physical spaces.&#xD;&#xA;&#xD;&#xA;In the end I found that I much preferred the sound of just aiming the mics at in the different directions and calling it a day.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="30289" PostHistoryTypeId="6" PostId="18698" RevisionGUID="07344354-9b01-4ae6-8ea6-61897a4199e9" CreationDate="2013-03-25T14:18:21.837" UserId="3179" Comment="edited tags" Text="&lt;competition&gt;&lt;industry&gt;&lt;business&gt;&lt;professional-practice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30290" PostHistoryTypeId="2" PostId="18701" RevisionGUID="52570577-2097-4317-b480-4a97ce43021b" CreationDate="2013-03-25T15:52:00.183" UserId="6460" Text="I think this is a perfectly legitimate question, and one we've all probably thought about at some point. &#xD;&#xA;&#xD;&#xA;I can't say that I've worked in the field for long enough to have discovered a particular competitor as of yet, but that does not mean that I cannot be motivated by my future competitors. I've been told some version of the same magical list by many sources, including some on this forum: &#xD;&#xA;&#xD;&#xA;There is always someone ...&#xD;&#xA;&#xD;&#xA; - with a shorter drive to the gig than you&#xD;&#xA; - who's willing to sleep less than you&#xD;&#xA; - who knows more software than you&#xD;&#xA; - who works quicker than you&#xD;&#xA; - who's willing to work for less payment than you&#xD;&#xA; - ...etc&#xD;&#xA;&#xD;&#xA;Not the cheeriest messages, but they can be summed up in one sentence: &lt;b&gt; You will always be a student in your craft.&lt;/b&gt; Kinda tames the idea of competition for me, at least psychologically. &#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&lt;br&gt;Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="30292" PostHistoryTypeId="2" PostId="18703" RevisionGUID="de192d85-85f2-496d-a28e-11c560663f32" CreationDate="2013-03-25T17:36:27.157" UserId="1185" Text="I have to say that I strongle agree with @Arnoud's comment about trying it yourself.  Having said that I'm not sure you're currently heading in the right direction.  I think this is a modulated filter (cut-off) effect with high resonance value and modulating frequency.&#xD;&#xA;&#xD;&#xA;Cubase (so I assume Nuendo) cames with a plug-in in the Modulation effects call &quot;Metalizer&quot; that implments a modulated filter effect that can be used to give this exact effect.  Obviously you will need to play parameters to get exactly what you are after.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30293" PostHistoryTypeId="5" PostId="18703" RevisionGUID="eee17a7e-2b75-4870-b99a-cba8ed5a6f84" CreationDate="2013-03-25T17:55:59.590" UserId="1185" Comment="added 4 characters in body" Text="I have to say that I strongle agree with @Arnoud's comment about trying it yourself.  Having said that I'm not sure you're currently heading in the right direction.  I think this is a modulated filter (cut-off) effect with high resonance value, feedback and modulating frequency.&#xD;&#xA;&#xD;&#xA;Cubase (so I assume Nuendo) cames with a plug-in in the Modulation effects call &quot;Metalizer&quot; that implments a modulated filter effect that can be used to give this effect.  Obviously you will need to play parameters to get exactly what you are after.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30294" PostHistoryTypeId="2" PostId="18704" RevisionGUID="d5220604-96fe-4472-a601-f3a2bfdb78cf" CreationDate="2013-03-25T18:01:32.320" UserId="4358" Text="I know you can record IRs with transient sounds but since recording the sweeps is the best way to go about I was wondering if playing the sweep through small computer monitors work in case I am recording IR for a wine bottle? Or do I need to have a professional set of monitors to play it? Will the choice of monitors have an effect on the final IR? I haven't recorded IRs before and I am planning to record a few soon. So wanted to be sure before I started. &#xD;&#xA;Thank You." ContentLicense="CC BY-SA 3.0" />
  <row Id="30295" PostHistoryTypeId="1" PostId="18704" RevisionGUID="d5220604-96fe-4472-a601-f3a2bfdb78cf" CreationDate="2013-03-25T18:01:32.320" UserId="4358" Text="Monitors used for Recording IRs for Small Objects. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30296" PostHistoryTypeId="3" PostId="18704" RevisionGUID="d5220604-96fe-4472-a601-f3a2bfdb78cf" CreationDate="2013-03-25T18:01:32.320" UserId="4358" Text="&lt;impulse-response&gt;&lt;small&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30297" PostHistoryTypeId="2" PostId="18705" RevisionGUID="db0773d0-2120-4fc3-bc16-68f8c26c50c1" CreationDate="2013-03-25T19:13:12.597" UserId="708" Text="As @Arnoud mentioned, it sounds like a short delay with a high feedback setting (which is where the tonal aspect comes from). The first thing that comes to mind would be to play with a Flanger plugin and try short delays with a high(ish) feedback setting.&#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="30298" PostHistoryTypeId="2" PostId="18706" RevisionGUID="bc1a2abb-23bd-47bd-bd78-b4f94e9035e6" CreationDate="2013-03-25T19:56:42.390" UserId="5873" Text="I'm interested introducing sound design (which could wind up being noise masking) into urban spaces with the intent to improve brain health. There is research out there on tinnitus and stress as related to sound/noise. I'm wondering if anyone has run across information (books, articles, websites, etc) that deal with the connection between sound and brain health in general. The simplest way I can ask this is &quot;What impact, positive or negative, does sound have on brain health?&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30299" PostHistoryTypeId="1" PostId="18706" RevisionGUID="bc1a2abb-23bd-47bd-bd78-b4f94e9035e6" CreationDate="2013-03-25T19:56:42.390" UserId="5873" Text="sound design, noise masking and brain health" ContentLicense="CC BY-SA 3.0" />
  <row Id="30300" PostHistoryTypeId="3" PostId="18706" RevisionGUID="bc1a2abb-23bd-47bd-bd78-b4f94e9035e6" CreationDate="2013-03-25T19:56:42.390" UserId="5873" Text="&lt;mental-health&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30301" PostHistoryTypeId="2" PostId="18707" RevisionGUID="8d209ea6-bb15-41e3-a59d-1be78e734b0d" CreationDate="2013-03-25T20:40:08.563" UserId="3179" Text="Are you sure it's &quot;brain health&quot; that you're trying to cure?&#xD;&#xA;&#xD;&#xA;This sounds very reminiscent of the many attempts to bring sound to public spaces, so I would start researching the cases where music has been bought to public spaces in order to create comfort and &quot;increase well-being&quot; (or to manipulate people like they do in shopping malls).&#xD;&#xA;&#xD;&#xA;Now if you put &quot;sound design&quot; in that then I guess you're just approaching it from a bit more freeform angle musically.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30302" PostHistoryTypeId="2" PostId="18708" RevisionGUID="b8372079-8396-42b8-adce-28713e3881f3" CreationDate="2013-03-25T21:55:13.320" UserId="5874" Text="Art is useless, just like absurd. And people have to think about and understand this by themsleves; trying to explain this and how essential it is is too... absurd IMHO.&#xD;&#xA;I'm not saying &quot;let the stupid mass being a stupid mass&quot;. Just that this is such a primitive feeling that we can't explain it, it has to be &quot;revealed&quot;, felt. I think when someone realises that live is absolutely absurd by nature, only then the ultime importance of art becomes THE evidence. It's the only thing we can do as human being which can be claimed and thought/admited as useless, for the inutility of it. For all the rest, everyone stupidly tends to think that there's a necessity, a sense. And I think it's getting worst within our ultra-capitalistic way of thinking/living." ContentLicense="CC BY-SA 3.0" />
  <row Id="30303" PostHistoryTypeId="2" PostId="18709" RevisionGUID="1a8307a2-81c6-4e98-a8d6-facd95cca1f0" CreationDate="2013-03-25T22:44:22.900" UserId="5824" Text="YES. Starting points: The Auditory Culture Reader, The Sound Studies Reader, The Oxford Handbook of Sound Studies." ContentLicense="CC BY-SA 3.0" />
  <row Id="30304" PostHistoryTypeId="2" PostId="18710" RevisionGUID="08487eda-7840-4081-b9ab-2149b1c2febd" CreationDate="2013-03-25T22:47:00.157" UserId="5853" Text="As far as the question of &quot;competing with or against&quot; there must be some of each, but this website strikes me as a great example of &quot;competing with&quot; in that by posting here, sound designers are helping each other out.  I am only starting out in this field but in my experience, it's a competitive field, but sound guys are by and large not competitive in nature.  Perhaps because of all the creative types, sound people are the least likely to be fame-seeking, so that takes a certain amount of ego out of the equation...&#xD;&#xA;&#xD;&#xA;Well, I hate generalizing, but these are the thoughts that occurred to me when I read this question.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="30305" PostHistoryTypeId="2" PostId="18711" RevisionGUID="f42344cb-94f2-495d-b74e-c746317a43bf" CreationDate="2013-03-26T03:21:31.620" UserId="1259" Text="My mother still has no idea what I do." ContentLicense="CC BY-SA 3.0" />
  <row Id="30306" PostHistoryTypeId="5" PostId="18704" RevisionGUID="27f417a6-fc38-4743-bfcc-eb77f64468b1" CreationDate="2013-03-26T03:29:24.963" UserId="4358" Comment="added 28 characters in body" Text="I know you can record IRs with transient sounds but since recording the sine sweeps is the best way to go about I was wondering if playing the sine sweep through small computer monitors work in case I am recording IR for a wine bottle or a tin can etc.? Or do I need to have a professional set of monitors to play it? Will the choice of monitors have an effect on the final IR? I haven't recorded IRs before and I am planning to record a few soon. So wanted to be sure before I started. &#xD;&#xA;Thank You." ContentLicense="CC BY-SA 3.0" />
  <row Id="30307" PostHistoryTypeId="2" PostId="18712" RevisionGUID="c762706c-8818-47cb-b2d3-c4a85a10ce6a" CreationDate="2013-03-26T04:42:12.650" UserId="5654" Text="Hello,&#xD;&#xA;&#xD;&#xA;I know that mono compatibility is more of an issue with XY stereo techniques than say MS.  I currently own a Schoeps CMC641 and will one day upgrade to an MS setup by adding the Fig-8 capsule.  However, I don't want to waste anymore time; I would like to add stereo recordings to my SFX library by purchasing either the RODE NT4 or buying back a matched pair of Beyerdynamic MC930s.&#xD;&#xA;&#xD;&#xA;I have heard both of these mics and I like them both, but never have done a side by side comparison.  I'm not really asking which mic to buy/which one sounds better; more so if there are any added benefits by getting a single housed stereo mic such as the NT4 as opposed to the MC930s?  Will it help mono compatibility? Less room for error upon setup?&#xD;&#xA;&#xD;&#xA;With the 930's I would be able to use them for additional setups such as ORTF so I'm leaning in that direction.  However, if anyone can point out any factors I may be overlooking in the NT4 concerning mono compatibility or otherwise I would greatly appreciate it.&#xD;&#xA;&#xD;&#xA;Also, any wisdom on how to avoid phase problems with the 930s in XY or AB?  Also, when recording stereo I usually pan Ch1 hard left and Ch2 hard right.  Is this common practice, or do many people leave the pan centered on each channel?&#xD;&#xA;&#xD;&#xA;Thanks &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30308" PostHistoryTypeId="1" PostId="18712" RevisionGUID="c762706c-8818-47cb-b2d3-c4a85a10ce6a" CreationDate="2013-03-26T04:42:12.650" UserId="5654" Text="Single Stereo Mic vs. Matched Pair for mono compatibility." ContentLicense="CC BY-SA 3.0" />
  <row Id="30309" PostHistoryTypeId="3" PostId="18712" RevisionGUID="c762706c-8818-47cb-b2d3-c4a85a10ce6a" CreationDate="2013-03-26T04:42:12.650" UserId="5654" Text="&lt;rode&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30310" PostHistoryTypeId="2" PostId="18713" RevisionGUID="5e45fd2f-765d-414f-82f0-18de24c4ef8b" CreationDate="2013-03-26T04:56:32.143" UserId="6532" Text="Yes, the choice of speaker will definitely have an impact on the resulting IR. You can think of your speaker as a filter in the signal chain; all irregularities in the frequency response of the speaker will be present in the final IR as well. Distortion will complicate the matter even more. That's why Altiverb has different import settings depending on what speaker or slate you used to record the sweep or impulse -- they analyzed sweeps/impulses from those sources and are therefore able to compensate.&#xD;&#xA;&#xD;&#xA;That, however, doesn't mean that you can't get awesome results with less than stellar speakers. It just means that the IR will not be a faithful representation of the space (unless you compensate for it, as Altiverb does). " ContentLicense="CC BY-SA 3.0" />
  <row Id="30311" PostHistoryTypeId="2" PostId="18714" RevisionGUID="4229481c-ba82-4481-a9ac-5aec7812f2d1" CreationDate="2013-03-26T07:41:31.707" UserId="5765" Text="What this question usually comes back to is the answer that what we are doing is an art form. From there you can only talk about the importance of art in the history of human culture. Honestly from a personal, and I think quite correct point of view, is that art could possibly be the reason that we have progressed in many things: science, politics, ect. so rapidly and so expansively. Take the modern TV for example. The idea of projecting an image to a screen out of 'thin air' was an idea from an artist who had drawn it, and also wrote of it (science fiction) So if we had never had that artist, scientists could have possibly never thought of the idea and just stuck with radio. Now taking that story into our context is that we are still creating art. An act that can inspire minds of other creators which can lead to inventions that can change the course of human history. Hence, keep on being your artistic self, and keep creating. You never know who you might inspire.&#xD;&#xA;&#xD;&#xA;TLTR: What we do is art, and art evolved the human race; and if they don't like they can go back to living in fucking caves for all we care.&#xD;&#xA;&#xD;&#xA;Cheers! &#xD;&#xA;&#xD;&#xA;Michael" ContentLicense="CC BY-SA 3.0" />
  <row Id="30312" PostHistoryTypeId="2" PostId="18715" RevisionGUID="e4171ed0-1888-4210-a8a0-c9d0524c411f" CreationDate="2013-03-26T08:47:32.763" UserId="1178" Text="spectral feedback delay/chorus will do just the kind of post-effect you are looking for." ContentLicense="CC BY-SA 3.0" />
  <row Id="30313" PostHistoryTypeId="2" PostId="18716" RevisionGUID="0ef6b140-949c-4aee-a646-d01fa6cec8df" CreationDate="2013-03-26T18:08:44.410" UserId="4272" Text="You might also wish to look into the concept of binaural beats.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;textarea[wikipedia article on binaural beats][1]textarea&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Binaural_beats" ContentLicense="CC BY-SA 3.0" />
  <row Id="30315" PostHistoryTypeId="2" PostId="18717" RevisionGUID="1f8d1239-9b6a-482c-afa0-4be7f212ce4f" CreationDate="2013-03-26T19:04:32.207" UserId="5563" Text="Hello Friends&#xD;&#xA;&#xD;&#xA;I have one program ( Reason ) that says they are going to make me upgrade from 10.6.8 to 10.7 if I buy their newest version.&#xD;&#xA;&#xD;&#xA;My other commonly used programs/instruments/samplers ( PT10, Logic 9, Play, Omnisphere ) say 10.6.8 is fine. Kontakt tells me 10.7 but I have never had a problem using it in 10.6.&#xD;&#xA;&#xD;&#xA;I have heard 10.7 ( and 10.8 ) is/are more of an apple marketing upgrade and media producers are avoiding it as it is resulting in lower performance than 10.6.&#xD;&#xA;&#xD;&#xA;I guess my question is if anyone has taken the 10.7 plunge and seen adverse performance in regard to any of their audio processes.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Matt&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30316" PostHistoryTypeId="1" PostId="18717" RevisionGUID="1f8d1239-9b6a-482c-afa0-4be7f212ce4f" CreationDate="2013-03-26T19:04:32.207" UserId="5563" Text="10.6.8 vs 10.7 in regards to pro audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="30317" PostHistoryTypeId="3" PostId="18717" RevisionGUID="1f8d1239-9b6a-482c-afa0-4be7f212ce4f" CreationDate="2013-03-26T19:04:32.207" UserId="5563" Text="&lt;pro-tools&gt;&lt;upgrade&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30318" PostHistoryTypeId="2" PostId="18718" RevisionGUID="99e23c14-af96-40f2-a55e-f5b7fe8115f6" CreationDate="2013-03-26T19:21:40.350" UserId="6454" Text="I got a BM from Berklee School of Music with a dual-major in *Music Production and Engineering* and *Music Synthesis* (I think now called *Electronic Production and Design*). This had the best of both worlds (recording/engineering and computer music/sound design). One of the best parts about going to a music school was that while learning all the technical components of audio engineering and sound design, I was also learning the fundamentals of sound and music which is such a strong attribute when it comes to sound design. It may sound overly &quot;poetic&quot; but sound design can be very melodic and harmonic if not tonal. I have learned SO much since I started working professionally about 6 years ago, but school is a great place to experiment, make mistakes (of which you will continue to do), and give you the basics when you enter the working world. Also, there is no denying the value of networking, both with faculty and guest speakers along with other students. I went to an arts High School majoring in something not related to music or sound. The school had just started a film program. Three of the last films I worked on came through people from that program who I either new directly or via other friends. There is something to be said of learning in the &quot;real world&quot; but I think school is a great option as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="30319" PostHistoryTypeId="16" PostId="18718" RevisionGUID="99e23c14-af96-40f2-a55e-f5b7fe8115f6" CreationDate="2013-03-26T19:21:40.350" UserId="-1" />
  <row Id="30321" PostHistoryTypeId="6" PostId="18717" RevisionGUID="92f7093b-1bd8-47bb-9095-748d6513965c" CreationDate="2013-03-26T21:30:46.073" UserId="5563" Comment="edited tags" Text="&lt;pro-tools&gt;&lt;upgrade&gt;&lt;osx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30322" PostHistoryTypeId="2" PostId="18719" RevisionGUID="329687b4-fa54-4866-8f70-2eb16493190d" CreationDate="2013-03-26T21:43:56.457" UserId="6411" Text="Using Soundminer v4Pro with PT10 and MBox 3 Pro here and I have no problems using rewire or going out the Core Audio driver (Both of which output through the MBox).&#xD;&#xA;&#xD;&#xA;However, from the Help&gt;Soundminer Help menu. A quick search for &quot;rewire&quot; turns up this chunk of useful info from page 16, start here. There are also a number of helpful pictures that I'm not going to bother posting because they're in the SMV4_manual.pdf that the help menu should direct you to.&#xD;&#xA;&#xD;&#xA;The last few paragraphs in particular are possibly most important in your situation. &#xD;&#xA;&#xD;&#xA;&gt; Pro Tools and REWIRE - The one known exception to using Coreaudio is AVID/Digidesign Pro Tools. The AVID/Digidesign hardware cannot be accessed when the Pro Tools software is running. In response to this change, Soundminer developed a Rewire based connection option. When Pro Tools is running, playback via the AVID/Digidesign hardware is only possible through Rewire as Pro Tools does not allow sharing of their hardware. Rewire is a third party connectivity platform. To use Rewire, make sure your sound control preferences is set to ‘Built-in’. Do the same in your Audio/Midi Utility application(Application/Utilities). As a final preparation, make sure your Pro Tools DAE H/W buffer is set to a size compatible with the speed of your computer – the faster the computer, the smaller you can make the buffer size (accessible in your Pro Tools playback engine menu).&#xD;&#xA;&gt;&#xD;&#xA;Each Soundminer version has a very specific sm4rewire bundle. Do not mix them up. Soundminer will automatically install the correct smv4rewire.bundle when you first launch.&#xD;&#xA;To use REWIRE connectivity, the DAW host(Pro Tools in this example) must be launched first. You must then open a track (AUX) in Pro Tools and insert the Soundminer Engine from your multi-channel RTAS instrument plug-in options.&#xD;&#xA;&gt;&#xD;&#xA;Assign the Soundminer Left/Right outputs to your channel/Aux and route that Channel/Aux to an available hardware output(V4pro will have multi- channel options enabled via multiple plug-in instantiation).&#xD;&#xA;&gt;&#xD;&#xA;Then launch Soundminer. If connection has been successful, you will be notified and your rewire connection automatically turned on(toggle on/off is at the bottom left of the v4 interface).&#xD;&#xA;&gt;&#xD;&#xA;In Soundminer, the toggle on/off is now active and audio played in Soundminer will be passed through the Rewire connectivity interface and routed through the DAW’s hardware and outputs:&#xD;&#xA;&gt;&#xD;&#xA;TROUBLESHOOTING: If your cursor does not play, this would be a good indication that your Sound system Preferences have been set to the Digidesign Core Audio driver and is conflicting with Pro Tools. While this driver works fine to route audio through Digidesign/AVID hardware when Pro Tools is not running, it becomes problematic if enabled and you try to run both Pro Tools and Soundminer. Please turns this off and set it to ‘Built-in’.&#xD;&#xA;&gt;&#xD;&#xA;REWIRE – For reference, the rewire components are installed in this location:&#xD;&#xA;&gt;&#xD;&#xA;~/Library/Application Support/Propellerhead Software/ReWire/SM4Rewire.bundle&#xD;&#xA;&gt;&#xD;&#xA;** Rewire is a third party standard created by Propellerheads (makers of Reason). It requires a rewire host (Pro Tools) and a rewire slave(Soundminer). As a slave we have limited control over the connection. V4pro has multi-channel Rewire operation, linked playback and transport control(not yet enabled). V4 has basic two channel stereo rewire only. Use of Rewire for other applications is for the most part similar. Host must always be launched first and quit last. Digidesign Pro Tools installs the necessary RTAS plug-in that allows the host bundle to connect to our slave bundle. If you need to access the Rewire host bundle, go directly to Propellerheads.com(makers of Rewire)." ContentLicense="CC BY-SA 3.0" />
  <row Id="30323" PostHistoryTypeId="2" PostId="18720" RevisionGUID="fccbd123-56d5-44e7-a2c7-7258cd3c4017" CreationDate="2013-03-26T22:06:24.593" UserId="5876" Text="Hi,&#xD;&#xA;&#xD;&#xA;MS, XY and ORTF (or NOS) and AB all need an fairly exact setup. All have pros and cons.&#xD;&#xA;&#xD;&#xA;I'll sum up the most obvious.&#xD;&#xA;&#xD;&#xA;MS:&#xD;&#xA;Pro: excellent mono compatability, control over width. Great for widening musical instruments, or capturing speech in ENG.&#xD;&#xA;Cons: need special fig 8 mic and a cardioid. Preferably both of same brand and type. Precise setup and often bulky setup (depends on brand/type). Very sensitive to setup errors.&#xD;&#xA;&#xD;&#xA;XY:&#xD;&#xA;Pro: Easier setup, better centered soundfield, less stereo image. Also available as 1 mic (eg. Rode NT4)&#xD;&#xA;cons: Less stereo image. Not easy to put in blimp.&#xD;&#xA;&#xD;&#xA;ORTF/NOS&#xD;&#xA;Pro: Wider soundfield, less center in your soundfield. Easy setup, most forgiving when not precise. Also available as 1 mic (schoeps)&#xD;&#xA;cons: Can leave a 'hole' in the center. Always 2 mics on a traverse. Not easy to setup in a blimp.&#xD;&#xA;&#xD;&#xA;AB:&#xD;&#xA;Pro: sounds great with cardioids, but much better with omnis! Typical AB setups range from 50 to 1 meter width. Also works brilliant on classical music.&#xD;&#xA;cons: bulky. Works best with high class mics due to distance to source and you need 2 stands to setup, which means you'll have to care more stuff with you. Works best on bigger distances.&#xD;&#xA;When used in close micing: try to keep 3:1 ratio between the mics and the object your recording.&#xD;&#xA;&#xD;&#xA;Panning hard left and right with AB/XY/ORTF is fine. Just keep in mind that by NOT panning 'em hard you could get MORE phase problems due to summing. Some frequencys tend to mute or other tend to get ouder. This is why you'd want to be precise on setups.&#xD;&#xA;&#xD;&#xA;The NT4 sound is ok, but less versatile than two seperate mics that can achieve the same just by setting up correctly.&#xD;&#xA;&#xD;&#xA;Also, why worry about monocompatability that much? If all is well you'd have a phase meter to help you out. Also a mono listen button on your console (or daw) is available. You are obviously going for a stereo setup. As long stereo recordings are not stressed to their limits (eg. overwidening), stereo recordings can hold up pretty good when played mono. &#xD;&#xA;&#xD;&#xA;For music: bass freqs tend to translate best when kept mono. Especially on PA systems and radio.&#xD;&#xA;For radio: keep in mind that stereo information (L-R) is separated from the summed signal (L+R); then the previous also applies. &#xD;&#xA;&#xD;&#xA;Above would also imply that ORTF would sound less good in mono than XY. But most of the time this does not really poses a problem, due to your recording and mixing qualities. You are able to detect these problems by using the previously stated mono button and phase meter. Oh, and your ears.&#xD;&#xA;&#xD;&#xA;Personal: I'd go for two mics. Why? The other day I had a commercial to record. A class full of kids an 1 teacher as a single voice over. The setup was easily converted from stereo(ORTF) to mono. Works fast and the client was happy.&#xD;&#xA;&#xD;&#xA;Hope this helps a bit.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30324" PostHistoryTypeId="2" PostId="18721" RevisionGUID="17c23702-5aa3-44ec-829b-e6f887b0498f" CreationDate="2013-03-26T22:12:09.343" UserId="5876" Text="contact the radio station and ask. Look on their website etc. Look for eg. audio specification " ContentLicense="CC BY-SA 3.0" />
  <row Id="30325" PostHistoryTypeId="2" PostId="18722" RevisionGUID="5abcc460-8f82-4a6b-89a5-921f3233a223" CreationDate="2013-03-27T03:11:07.637" UserId="5859" Text="Hello all!&#xD;&#xA;&#xD;&#xA; I am looking to build some acoustic panels and a small sound booth. At first I thought about buying Owens Corning but am unsure about how safe it is. I would be installing them in my home so my housemates and I would be around them 24/7. As for the booth, well, I would be locked in there for long periods of time. I have thought about getting Acoustical cotton batts instead so that I don't have to worry about health risks. &#xD;&#xA;&#xD;&#xA;If I were to get Owens Corning do I need to wrap it in a special material? One of my instructors said he wrapped his in burlap but would this be sufficient if I were to get it for my small house?&#xD;&#xA;&#xD;&#xA;Are cotton panels just as good or better? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks in advance,&#xD;&#xA;&#xD;&#xA;Jocé" ContentLicense="CC BY-SA 3.0" />
  <row Id="30326" PostHistoryTypeId="1" PostId="18722" RevisionGUID="5abcc460-8f82-4a6b-89a5-921f3233a223" CreationDate="2013-03-27T03:11:07.637" UserId="5859" Text="Owens Corning vs Cotton Batts" ContentLicense="CC BY-SA 3.0" />
  <row Id="30327" PostHistoryTypeId="3" PostId="18722" RevisionGUID="5abcc460-8f82-4a6b-89a5-921f3233a223" CreationDate="2013-03-27T03:11:07.637" UserId="5859" Text="&lt;recommendations&gt;&lt;home-studio&gt;&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30328" PostHistoryTypeId="2" PostId="18723" RevisionGUID="6841dacf-bb07-494a-848b-94834b022572" CreationDate="2013-03-27T03:31:17.273" UserId="4358" Text="Well as far as I know, Gary Rydstrom is the one who has won the most number of Oscars for achievement in Sound. But still if you wan to know more about others too, you can look up [here][1]. Hope that helps!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://awardsdatabase.oscars.org/ampas_awards/BasicSearchInput.jsp" ContentLicense="CC BY-SA 3.0" />
  <row Id="30329" PostHistoryTypeId="2" PostId="18724" RevisionGUID="6c8314db-a0c3-4127-954f-c202578bdbc8" CreationDate="2013-03-27T06:53:31.513" UserId="3179" Text="This could help:&#xD;&#xA;&#xD;&#xA;Fiberglass, Rockwool, Polyester, Cotton, and Sheep Absorption Coefficients&lt;br&gt;&#xD;&#xA;http://www.bobgolds.com/AbsorptionCoefficients.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="30330" PostHistoryTypeId="5" PostId="18720" RevisionGUID="bd54e41c-4096-480c-b047-a84a045b5772" CreationDate="2013-03-27T07:43:02.663" UserId="5876" Comment="added note." Text="Hi,&#xD;&#xA;&#xD;&#xA;MS, XY and ORTF (or NOS) and AB all need an fairly exact setup. All have pros and cons.&#xD;&#xA;&#xD;&#xA;I'll sum up the most obvious.&#xD;&#xA;&#xD;&#xA;MS:&#xD;&#xA;Pro: excellent mono compatability, control over width. Great for widening musical instruments, or capturing speech in ENG.&#xD;&#xA;Cons: need special fig 8 mic and a cardioid. Preferably both of same brand and type. Precise setup and often bulky setup (depends on brand/type). Very sensitive to setup errors.&#xD;&#xA;&#xD;&#xA;XY:&#xD;&#xA;Pro: Easier setup, better centered soundfield, less stereo image. Also available as 1 mic (eg. Rode NT4)&#xD;&#xA;cons: Less stereo image. Not easy to put in blimp.&#xD;&#xA;&#xD;&#xA;ORTF/NOS&#xD;&#xA;Pro: Wider soundfield, less center in your soundfield. Easy setup, most forgiving when not precise. Also available as 1 mic (schoeps)&#xD;&#xA;cons: Can leave a 'hole' in the center. Always 2 mics on a traverse. Not easy to setup in a blimp.&#xD;&#xA;&#xD;&#xA;AB:&#xD;&#xA;Pro: sounds great with cardioids, but much better with omnis! Typical AB setups range from 50 to 1 meter width. Also works brilliant on classical music.&#xD;&#xA;cons: bulky. Works best with high class mics due to distance to source and you need 2 stands to setup, which means you'll have to care more stuff with you. Works best on bigger distances.&#xD;&#xA;When used in close micing: try to keep 3:1 ratio between the mics and the object your recording.&#xD;&#xA;&#xD;&#xA;Panning hard left and right with AB/XY/ORTF is fine. Just keep in mind that by NOT panning 'em hard you could get MORE phase problems due to summing. Some frequencys tend to mute or other tend to get ouder. This is why you'd want to be precise on setups.&#xD;&#xA;&#xD;&#xA;The NT4 sound is ok, but less versatile than two seperate mics that can achieve the same just by setting up correctly.&#xD;&#xA;&#xD;&#xA;Also, why worry about monocompatability that much? If all is well you'd have a phase meter to help you out. Also a mono listen button on your console (or daw) is available. You are obviously going for a stereo setup. As long stereo recordings are not stressed to their limits (eg. overwidening), stereo recordings can hold up pretty good when played mono. &#xD;&#xA;&#xD;&#xA;For music: bass freqs tend to translate best when kept mono. Especially on PA systems and radio.&#xD;&#xA;For radio: keep in mind that stereo information (L-R) is separated from the summed signal (L+R); then the previous also applies. &#xD;&#xA;&#xD;&#xA;Above would also imply that ORTF would sound less good in mono than XY. But most of the time this does not really poses a problem, due to your recording and mixing qualities. You are able to detect these problems by using the previously stated mono button and phase meter. Oh, and your ears.&#xD;&#xA;&#xD;&#xA;Personal: I'd go for two mics. Why? The other day I had a commercial to record. A class full of kids an 1 teacher as a single voice over. The setup was easily converted from stereo(ORTF) to mono. Works fast and the client was happy.&#xD;&#xA;&#xD;&#xA;Hope this helps a bit.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Note: The panning issue is not as big a problem as you might think though. Some freqs will phase out, but that also has to do with which setup you are using. Also, the combeffect might hardly be noticable, all depends on the situation and type of setup. Retaining the maximum recorded width you should pan hard L and R. But also, for effect, you could make one sound narrower than the base sound, by not panning hard L and R. Listen carefully to the changes as you go.&#xD;&#xA;&#xD;&#xA;Regarding SFX Libraries: Keep in mind/view the phase/correlation meter as you are developing your library. Most FX that are overwidened are 'out-of-phase', will null when played on a mono system. Although I'm not sure what you consider mono playback. A Mac Laptop, although tiny and small, is not mono. Or any other laptop for that matter. Also not all playback system actually add up L+R to create mono. Only one channel is played. Depends really on what you consider to be the playback system. To be sure that your SFX will play everywhere correctly, the best way to go is to check the phase/correlation meter and not hit -1.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30331" PostHistoryTypeId="2" PostId="18725" RevisionGUID="f2bee91f-a78b-48a4-8b3a-5b19ebfadea7" CreationDate="2013-03-27T08:04:26.640" UserId="5876" Text="Totally agree that a true MS really needs a true fig 8, but as a test setup, or 'cheap' MS solution, the method in the OP could do the trick though." ContentLicense="CC BY-SA 3.0" />
  <row Id="30332" PostHistoryTypeId="2" PostId="18726" RevisionGUID="d9d36588-9f53-40bc-93ab-6e4fd93ab7fc" CreationDate="2013-03-27T11:00:59.883" UserId="5877" Text="No sound school, too expensive. I learned all by myself, but i went to music university in france." ContentLicense="CC BY-SA 3.0" />
  <row Id="30333" PostHistoryTypeId="16" PostId="18726" RevisionGUID="d9d36588-9f53-40bc-93ab-6e4fd93ab7fc" CreationDate="2013-03-27T11:00:59.883" UserId="-1" />
  <row Id="30334" PostHistoryTypeId="2" PostId="18727" RevisionGUID="eb2ecd2a-347a-4954-a06f-88152f63f062" CreationDate="2013-03-27T12:13:53.397" UserId="1178" Text="Did BA in the polytechnic school whith honors (international AV prodcuts), graduated in 2010." ContentLicense="CC BY-SA 3.0" />
  <row Id="30335" PostHistoryTypeId="16" PostId="18727" RevisionGUID="eb2ecd2a-347a-4954-a06f-88152f63f062" CreationDate="2013-03-27T12:13:53.397" UserId="-1" />
  <row Id="30336" PostHistoryTypeId="2" PostId="18728" RevisionGUID="bd038589-9d1a-45e9-9701-60deb1c8a689" CreationDate="2013-03-27T15:02:38.437" UserId="37" Text="10.8 is a very polished OS but not all of its bugs have been ironed out. 10.6.8 is the last iteration of a still very mature OS that hasn't got the latest and greatest software you most likely wouldn't need.&#xD;&#xA;&#xD;&#xA;The performance of both, regarding audio, is roughly the same. However the stability of audio software that relies on older APIs (Pro Tools and Logic are among these, and so is Live in older versions) can be degraded on 10.7 or 10.8.&#xD;&#xA;&#xD;&#xA;The software vendors usually draw the line regarding what they are happy to support, not really what the minimum requirements are. &#xD;&#xA;&#xD;&#xA;I currently run OSX 10.8 and use Logic, Pro Tools, Ableton Live, Adobe Audition, and Renoise, and feel with 10.8.3 Apple have managed to iron out a lot of issues. Logic still has its graphics problems, but I can live with that since it has gone back to fairly responsive.&#xD;&#xA;&#xD;&#xA;If this was two weeks ago I would have said stay on 10.6.8. Now 10.6.8 vs 10.8.3 is fairly level, but that says a lot more about 10.6 than about 10.8. If you're not prepared for the hassle, I say stay on 10.6 for some more time.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30340" PostHistoryTypeId="2" PostId="18730" RevisionGUID="bd35db46-16e1-45ed-8a8f-68ab9e4c1913" CreationDate="2013-03-27T17:19:53.107" UserId="2906" Text="Hi, everyone, the title of this question cannot say exactly what I'd like to discuss here, but here I go:&#xD;&#xA;&#xD;&#xA;Lately I started to work as a sound designer for games and been more attentive on companies who create apps and games mostly for mobile platforms, in Portugal.&#xD;&#xA;&#xD;&#xA;There are some question I ask myself that make me feel very confused and actually sad about the way people would disregard sound in a minute. As an example, one case I 'studied' had the programmer doing music and sfx because it is something he / she enjoys; are the music and sfx good? No! Would it sell more if there was a dedicated sound person doing it? I actually don't know.&#xD;&#xA;Another example is that on a tight budget or if there is the need to reduce staff who would go first? It's so easy to think that the sound designer is disposable and someone else would take some days to get sfx from freesound or something. &#xD;&#xA;&#xD;&#xA;I know this is a cruel and cold vision - I don't believe in this and I personally have a pretty straight idea about our role - but how can a sound designer make him/herself indispensable in a project? (please, beyond the obvious of doing a great work , being cooperative and having human skills) I think that a certain mentality change is needed, how to achieve this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30341" PostHistoryTypeId="1" PostId="18730" RevisionGUID="bd35db46-16e1-45ed-8a8f-68ab9e4c1913" CreationDate="2013-03-27T17:19:53.107" UserId="2906" Text="The importance of sound in a game or app production and how people look at it." ContentLicense="CC BY-SA 3.0" />
  <row Id="30342" PostHistoryTypeId="3" PostId="18730" RevisionGUID="bd35db46-16e1-45ed-8a8f-68ab9e4c1913" CreationDate="2013-03-27T17:19:53.107" UserId="2906" Text="&lt;sound-design&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30343" PostHistoryTypeId="2" PostId="18731" RevisionGUID="c782d854-e45d-47c7-be1e-5842497471d4" CreationDate="2013-03-27T17:47:39.040" UserId="3179" Text="Game development is actually slightly more harsher to the programmers, because few people care about how the technology behind the game is constructed. All they care, for a reason, is the game: what they see, hear, read and can feel. Thus, the work of the programmers is generally not noticed or studied, because it's simply not apparent to those that aren't programmers and of course it's not the reason for why games are played.&#xD;&#xA;&#xD;&#xA;Gameplay/game design and visuals/graphics are what sell games. Then comes the soundtrack. Sound design might not itself add noticeable value apart from what is required to support the gameplay and graphics, but a good, enjoyable OST will definitely generate more value for the player. Look at all the game scores that you can enjoy, even if they're not running in the game.&#xD;&#xA;&#xD;&#xA;If you're worried that (small) games can do without dedicated sound guys/gals, then you might want to do something about it. For example, do better work than what's available with downloaded sound packs, hobbyist DAW experience and a microphone. But I bet that when the project is just large enough (and not a one-man or say a 5-man project), most people begin to stray away from being jack's of all trades and begin to appreciate, if they can hire someone to get those 10000 sound files for them." ContentLicense="CC BY-SA 3.0" />
  <row Id="30344" PostHistoryTypeId="5" PostId="18731" RevisionGUID="2f50d23e-cd92-4535-ac9f-c906954f0be4" CreationDate="2013-03-27T17:52:45.280" UserId="3179" Comment="added 4 characters in body; added 28 characters in body; added 28 characters in body" Text="Game development is actually slightly more harsher to the programmers, because few people care about how the technology behind the game is constructed. All they care, for a reason, is the game: what they see, hear, read and can feel. Thus, the work of the programmers is generally not noticed or studied, because it's simply not apparent to those that aren't programmers and of course it's not the reason for why games are played.&#xD;&#xA;&#xD;&#xA;Gameplay/game design and visuals/graphics are what sell games. Then comes the soundtrack. Sound design might not itself add noticeable value apart from what is required to support the gameplay and graphics, but a good, enjoyable OST will definitely generate more value for the player. Look at all the game scores that you can enjoy, even if they're not running in the game.&#xD;&#xA;&#xD;&#xA;If you're worried that (small) games can do without dedicated sound guys/gals, then you might want to do something about it. For example, do better work than what's available with downloaded sound packs, production music libraries, hobbyist DAW experience and a microphone. But I bet that when the project is just large enough (and not a one-man or say a 5-man project with a minimal or no budget), most people begin to stray away from being jack's of all trades and begin to appreciate, if they can get someone to focus on those 10000 sound files for them." ContentLicense="CC BY-SA 3.0" />
  <row Id="30345" PostHistoryTypeId="5" PostId="18731" RevisionGUID="de4d414f-fe02-4e3f-a626-3ed0e5bf70dc" CreationDate="2013-03-27T18:03:22.937" UserId="3179" Comment="added 336 characters in body; added 95 characters in body; added 8 characters in body; added 20 characters in body" Text="Game development is actually slightly more harsher to the programmers, because few people care about how the technology behind the game is constructed. All they care, for a reason, is the game: what they see, hear, read and can feel. Thus, the work of the programmers is generally not noticed or studied, because it's simply not apparent to those that aren't programmers and of course it's not the reason for why games are played.&#xD;&#xA;&#xD;&#xA;Gameplay/game design and visuals/graphics are what sell games. Then comes the soundtrack. Sound design might not itself add noticeable value apart from what is required to support the gameplay and graphics, but a good, enjoyable OST will definitely generate more value for the player. Look at all the game scores that you can enjoy, even if they're not running in the game.&#xD;&#xA;&#xD;&#xA;If you're worried that (small) games can do without dedicated sound guys/gals, then you might want to do something about it. For example, do better work than what's available with downloaded sound packs, production music libraries, hobbyist DAW experience and a microphone. But I bet that when the project is just large enough (and not a one-man or say a 5-man project with a minimal or no budget), most people begin to stray away from being jack's of all trades and begin to appreciate, if they can get someone to focus on those 10000 sound files for them.&#xD;&#xA;&#xD;&#xA;Oh, and it's very possible that some developers may be ignorant about what would be the best or the need for their game in terms of art content (especially if they're not &quot;art-inclined&quot; at all). After all, there are some, mainly mobile/browser games around that have horrendous graphics and sound, but the code works. If you're working with someone who doesn't see the value that you can bring, but which you see, then you'll have to show what you can do." ContentLicense="CC BY-SA 3.0" />
  <row Id="30346" PostHistoryTypeId="5" PostId="18731" RevisionGUID="23e8d665-f36d-45a5-a9dd-5116c2bc21d4" CreationDate="2013-03-27T18:09:16.930" UserId="3179" Comment="added 114 characters in body; added 125 characters in body; added 17 characters in body" Text="Game development is actually slightly more harsher to the programmers, because few people care about how the technology behind the game is constructed. All they care, for a reason, is the game: what they see, hear, read and can feel. Thus, the work of the programmers is generally not noticed or studied, because it's simply not apparent to those that aren't programmers and of course it's not the reason for why games are played.&#xD;&#xA;&#xD;&#xA;Gameplay/game design and visuals/graphics are what sell games. Then comes the soundtrack. Sound design might not itself add noticeable value apart from what is required to support the gameplay and graphics, but a good, enjoyable OST will definitely generate more value for the player. Look at all the game scores that you can enjoy, even if they're not running in the game.&#xD;&#xA;&#xD;&#xA;If you're worried that (small) games can do without dedicated sound guys/gals, then you might want to do something about it. For example, do better work than what's available with downloaded sound packs, production music libraries, hobbyist DAW experience and a microphone. But I bet that when the project is just large enough (and not a one-man or say a 5-man project with a minimal or no budget), most people begin to stray away from being jack's of all trades and begin to appreciate, if they can get someone to focus on those 10000 sound files for them. When the budget is bigger, then there's definitely more focus on audio, which can generally receive the least consideration, as sad as it is.&#xD;&#xA;&#xD;&#xA;Oh, and it's very possible that some developers may be ignorant about what would be the best or the need for their game in terms of art content (especially if they're not &quot;art-inclined&quot; at all). After all, there are some, mainly mobile/browser games around that have horrendous graphics and sound, but the code works. Or then it might just be that they prefer to have their own take on sound as well (e.g. if it's their game idea). If you're working with someone who doesn't see the value that you can bring, but which you see, then you'll have to show what you can do." ContentLicense="CC BY-SA 3.0" />
  <row Id="30347" PostHistoryTypeId="5" PostId="18731" RevisionGUID="7ba37290-1519-4489-824c-47389be47f68" CreationDate="2013-03-27T18:31:00.010" UserId="3179" Comment="added 156 characters in body" Text="Game development is actually slightly more harsher to the programmers, because few people care about how the technology behind the game is constructed. All they care, for a reason, is the game: what they see, hear, read and can feel. Thus, the work of the programmers is generally not noticed or studied, because it's simply not apparent to those that aren't programmers and of course it's not the reason for why games are played.&#xD;&#xA;&#xD;&#xA;Gameplay/game design and visuals/graphics are what sell games. Then comes the soundtrack. Sound design might not itself add noticeable value apart from what is required to support the gameplay and graphics, but a good, enjoyable OST will definitely generate more value for the player. Look at all the game scores that you can enjoy, even if they're not running in the game.&#xD;&#xA;&#xD;&#xA;If you're worried that (small) games can do without dedicated sound guys/gals, then you might want to do something about it. For example, do better work than what's available with downloaded sound packs, production music libraries, hobbyist DAW experience and a microphone. But I bet that when the project is just large enough (and not a one-man or say a 5-man project with a minimal or no budget), most people begin to stray away from being jack's of all trades and begin to appreciate, if they can get someone to focus on those 10000 sound files for them. When the budget is bigger, then there's definitely more focus on audio, which can generally receive the least consideration, as sad as it is.&#xD;&#xA;&#xD;&#xA;Oh, and it's very possible that some developers may be ignorant about what would be the best or the need for their game in terms of art content (especially if they're not &quot;art-inclined&quot; at all). After all, there are some, mainly mobile/browser games around that have horrendous graphics and sound, but the code works. Or then it might just be that they prefer to have their own take on sound as well (e.g. if it's their game idea). If you're working with someone who doesn't see the value that you can bring, but which you see, then you'll have to show what you can do.&#xD;&#xA;&#xD;&#xA;What comes to the general question of the importance of sound in an app/game (or anything for that matter) and how people look at it, that's subjective." ContentLicense="CC BY-SA 3.0" />
  <row Id="30349" PostHistoryTypeId="2" PostId="18733" RevisionGUID="19114558-556f-4033-b7a4-69202ee8eddb" CreationDate="2013-03-27T19:13:43.000" UserId="730" Text="Hey guys!&#xD;&#xA;&#xD;&#xA;I have another cool technique that I discovered.&#xD;&#xA;&#xD;&#xA;We had a client project that had heavy animation and techie movements with text. &#xD;&#xA;&#xD;&#xA;So I uploaded dozens of my already made sound recordings into my sound devices 702 set my boom mic to record the output of the 702 (from the headphones).  I would then hit rewind / fast forward on various parts and record that real time into protools.  That produced a really nice scifi glitch text type of sound.  Keep in mind long airy sweeps don't work well, its best to have a sound with a lot of movoement and random parts to it.  Also since your fast forwarding and rewinding the playback is going to faster and much shorter.  I averaged about 4-5 solid seconds of good sound per minute of audio.  So its best to use tracks 5-10 minutes in length.  That way you can get a good 20-30 seconds of sound that is usable.  &#xD;&#xA;&#xD;&#xA;The link below is the bundle that I created with those sounds, and the second link is the client video that we did the sound on using those recordings that I had made.  &#xD;&#xA;&#xD;&#xA;Thanks for listening and I hope you enjoy!&#xD;&#xA;&#xD;&#xA;(sound bundle)&#xD;&#xA;https://getsoundeffects.com/#/products-page/sound-effects/rewind/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(full client video)&#xD;&#xA;http://www.youtube.com/watch?feature=player_embedded&amp;v=nHFs6jPZGqU#!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;silverboxaudio.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="30350" PostHistoryTypeId="5" PostId="18733" RevisionGUID="e98907fd-95b6-414b-aeff-111659956465" CreationDate="2013-03-27T19:20:28.680" UserId="730" Comment="deleted 3 characters in body; deleted 1 characters in body" Text="Hey guys!&#xD;&#xA;&#xD;&#xA;I have another cool technique that I discovered.&#xD;&#xA;&#xD;&#xA;We had a client project that had heavy animation and techie movements with text. &#xD;&#xA;&#xD;&#xA;So I uploaded dozens of my already made sound recordings into my sound devices 702 set my boom mic to record the output of the 702 (from the headphones).  I would then hit rewind / fast forward on various parts and record that real time into ProTools.  That produced a really nice scifi glitch text type of sound.  Keep in mind long airy sweeps don't work well, its best to have a sound with a lot of movement and random parts to it.  Also since your fast forwarding and rewinding the playback time is going to be much shorter.  I averaged about 4-5 solid seconds of good sound per minute of audio.  So its best to use tracks 5-10 minutes in length.  That way you can get a good 20-30 seconds of sound that is usable.  &#xD;&#xA;&#xD;&#xA;The link below is the bundle that I created with those sounds, and the second link is the client video that we did the sound on using those recordings that I had made.  &#xD;&#xA;&#xD;&#xA;Thanks for listening and I hope you enjoy!&#xD;&#xA;&#xD;&#xA;(sound bundle)&#xD;&#xA;https://getsoundeffects.com/#/products-page/sound-effects/rewind/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(full client video)&#xD;&#xA;http://www.youtube.com/watch?feature=player_embedded&amp;v=nHFs6jPZGqU#!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;silverboxaudio.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="30351" PostHistoryTypeId="6" PostId="14072" RevisionGUID="4959b94c-8356-4fe0-8109-00945be3ebcb" CreationDate="2013-03-27T19:42:44.293" UserId="730" Comment="edited tags; edited tags" Text="&lt;sound-effects-recording&gt;&lt;foley&gt;&lt;sound-design&gt;&lt;getsoundeffects.com&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30352" PostHistoryTypeId="2" PostId="18734" RevisionGUID="e1b81769-35e3-4fca-ab40-249a4a565a82" CreationDate="2013-03-27T19:44:58.137" UserId="6432" Text="It's an interesting question, and I agree with you that it is sometimes very depressing that sound is forgotten on low budget games. On the other hand there are some fantastic breakthroughs being made in game sound, from the minimal electro-acoustic score of Limbo to the BAFTA nominated The Nightjar trying to teach the public how to listen (like we do). &#xD;&#xA;&#xD;&#xA;Just like in film there are always going to be releases with bad sound, but most really great films or games have good sound. Good game developers know that. &#xD;&#xA;&#xD;&#xA;Not really an answer to your question, but I think the mental shift towards the importance of sound is happening, it's just happening slowly. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30353" PostHistoryTypeId="2" PostId="18735" RevisionGUID="7fb309c2-6200-433e-8ba4-6dd06aeb6b34" CreationDate="2013-03-27T23:31:45.877" UserId="5717" Text="Approach your explanation of the importance of sound from a marketing and branding perspective--that is what is important to developers. Sounds applications make shape how the application is perceived--if skype's message alert sound wasn't carefully created it could have a serious negative effect on their branding.  This is why there's outcry about the irritating new Facebook alert sound.  Harsh sound design has a negative effect on user experience. &#xD;&#xA;&#xD;&#xA;Also, in the touch-screen world, sound provides us the feedback that buttons used to provide.  People don't realize how much work and research goes into making buttons satisfying to push. It is now the job of sound to take that role.  Proper sound is an important subconscious seller.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="30355" PostHistoryTypeId="2" PostId="18736" RevisionGUID="781f7483-35e8-4f09-8480-e2f52808883e" CreationDate="2013-03-28T14:13:31.390" UserId="5880" Text="In my final year of BA Film and Screen Production at Griffith Film School, Australia.  I haven't learned as much as I would have liked sound-wise, the sound department is pretty undercooked compared with the other departments, but it has given me more opportunities and put me in contact with more industry professionals than I could have ever hoped to by my own efforts." ContentLicense="CC BY-SA 3.0" />
  <row Id="30356" PostHistoryTypeId="16" PostId="18736" RevisionGUID="781f7483-35e8-4f09-8480-e2f52808883e" CreationDate="2013-03-28T14:13:31.390" UserId="-1" />
  <row Id="30357" PostHistoryTypeId="2" PostId="18737" RevisionGUID="675f4d93-c212-4732-8151-04c746925d05" CreationDate="2013-03-28T17:58:16.840" UserId="4358" Text="Also I think it'd be great if you wait a while. PT11 is rumoured to be released in April. I'd wait and check out what's different between 10 and 11. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30358" PostHistoryTypeId="5" PostId="18737" RevisionGUID="9014f403-1114-473a-b17c-546ed24f1f43" CreationDate="2013-03-28T18:19:57.203" UserId="4358" Comment="added 4 characters in body" Text="Also I think it'd be great if you wait for a while. PT11 is rumoured to be released in April. I'd wait and check out what's different between 10 and 11. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30359" PostHistoryTypeId="2" PostId="18738" RevisionGUID="0b118e92-8d2b-4c2e-86a1-7740b2301aff" CreationDate="2013-03-28T20:03:16.913" UserId="5882" Text="The main concern with 703 is when you're actually physically handling them. Otherwise them sitting behind fabric should be okay. In my room I use Roxul AFB. Rather than it being rigid fiberglass, it's a mineral wool. All my panels are 4' x 2' x 4&quot;. I went to the fashion district in my city (Los Angeles), and picked up a few rolls of cotton fabric to place over the panels. &#xD;&#xA;&#xD;&#xA;Cotton doesn't have the same absorption coefficients that the Owens Corning 703 has. But Owens Corning can be pricey, so consider Roxul AFB. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30360" PostHistoryTypeId="5" PostId="18724" RevisionGUID="32b3aa16-1c34-49d0-a9d4-541d1aa5a630" CreationDate="2013-03-28T20:15:27.263" UserId="3179" Comment="added 151 characters in body" Text="This could help:&#xD;&#xA;&#xD;&#xA;Fiberglass, Rockwool, Polyester, Cotton, and Sheep Absorption Coefficients&lt;br&gt;&#xD;&#xA;http://www.bobgolds.com/AbsorptionCoefficients.htm&#xD;&#xA;&#xD;&#xA;Also&#xD;&#xA;&#xD;&#xA;http://www.gearslutz.com/board/bass-traps-acoustic-panels-foam-etc/347314-comparative-safety-rockwool-fiberglass-organic-fibers-review.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="30361" PostHistoryTypeId="2" PostId="18739" RevisionGUID="0ba2db59-e107-44e5-85f7-cd19b5ca45f1" CreationDate="2013-03-28T23:48:44.940" UserId="5884" Text="Sounds like you might be interested in the neuroscience of how our brain processes music and sound.  I recommend Daniel J. Levitin's &quot;This is Your Brain on Music&quot;.  He's a neuroscientist who used to be an audio engineer so he does a good job of relating both of those worlds.  Fascinating read." ContentLicense="CC BY-SA 3.0" />
  <row Id="30362" PostHistoryTypeId="2" PostId="18740" RevisionGUID="dc6441ea-bfa0-4c14-a807-bfb84a963ecd" CreationDate="2013-03-28T23:49:55.453" UserId="5565" Text="Unfortunately, that's the current situation. Furthermore, i see you live in Portugal aswell, and that just seems to make it a lot harder, since the society could not care less about artist within the country.&#xD;&#xA;So, my answer is based on what filmmakers usually tell me: create a great reel and practice your speech when it comes to making them realize that foley work/sound design is more than free sound fx.&#xD;&#xA;&#xD;&#xA;PS: uma sound designer de portugal, por aqui? nem acredito :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30363" PostHistoryTypeId="2" PostId="18741" RevisionGUID="02e9b38a-11ed-477d-a4ab-50c8ffeff525" CreationDate="2013-03-29T07:44:19.010" UserId="3396" Text="Nope and it hasn't hurt my career at all.&#xD;&#xA;&#xD;&#xA;I often say, &quot;College was the best twenty weeks of my life&quot;. As far as sound goes either you've got that creative spark or you don't. If you don't then no amount of school is going to help you. The vast majority of my favorite sound designers and FX editors have little or no formal schooling at all.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30364" PostHistoryTypeId="16" PostId="18741" RevisionGUID="02e9b38a-11ed-477d-a4ab-50c8ffeff525" CreationDate="2013-03-29T07:44:19.010" UserId="-1" />
  <row Id="30365" PostHistoryTypeId="2" PostId="18742" RevisionGUID="16e3ddca-1dc1-4096-a15c-39185552b7f5" CreationDate="2013-03-29T08:16:41.200" UserId="6411" Text="First, [I don't use h264 videos in Pro Tools to determine any kind of sync][1].&#xD;&#xA;&#xD;&#xA;Also, if you are using the Syncheck device, test every codec / frame rate combination that you use.  They provide you with numerous test videos of different codecs and frame rates. Most will fall into a 1-2 frame ballpark of each other. However, some tax the system more heavily ( like those DNxHD files) and require a shift of 4-5 additional 1/4 frames.&#xD;&#xA; &#xD;&#xA;  [1]: http://randycoppinger.com/2012/06/13/protools-and-h264-video/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30367" PostHistoryTypeId="2" PostId="18743" RevisionGUID="52a8a25d-489d-41b8-b5ac-84f2b8cd75a2" CreationDate="2013-03-29T15:11:26.307" UserId="3835" Text="It's an extremely difficult read and not directly related to what you want to study but i recommend this book to every person i meet who is interested in sound and music.&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Noise:_The_Political_Economy_of_Music" ContentLicense="CC BY-SA 3.0" />
  <row Id="30368" PostHistoryTypeId="2" PostId="18744" RevisionGUID="c39bcb51-6575-4c32-ad54-9ce6cfdc92ae" CreationDate="2013-03-29T15:31:44.510" UserId="1014" Text="Here's a technique I'm using lately: layering a natural recorded sound with a phase inverted noise floor extracted from the same sound. This is the best way I found to have a good noise reduction without loosing too much of the original feature." ContentLicense="CC BY-SA 3.0" />
  <row Id="30369" PostHistoryTypeId="2" PostId="18745" RevisionGUID="d170977e-2d31-47db-a02c-e6ed3ee1177b" CreationDate="2013-03-30T05:57:06.147" UserId="5880" Text="Hi all!  I'm about to enter production for a WW2 era short, but I'm somewhat limited by both the budget and my location (Australia) as far as recording original audio for vehicles and weaponry for post production (which I will also be doing).&#xD;&#xA;&#xD;&#xA;I was wondering if anybody can recommend some SFX libraries for purchase that will allow me to maintain some level of period authenticity in my sound design?  &#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30370" PostHistoryTypeId="1" PostId="18745" RevisionGUID="d170977e-2d31-47db-a02c-e6ed3ee1177b" CreationDate="2013-03-30T05:57:06.147" UserId="5880" Text="Recommended Sound Libraries - WW2 Vehicles and Weapons" ContentLicense="CC BY-SA 3.0" />
  <row Id="30371" PostHistoryTypeId="3" PostId="18745" RevisionGUID="d170977e-2d31-47db-a02c-e6ed3ee1177b" CreationDate="2013-03-30T05:57:06.147" UserId="5880" Text="&lt;sfx&gt;&lt;sound-libraries&gt;&lt;sound-effects&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30372" PostHistoryTypeId="2" PostId="18746" RevisionGUID="74bfa995-dfce-485c-980a-d79961d093b6" CreationDate="2013-03-30T07:15:24.330" UserId="1014" Text="Here are a couple of mine I used while recording sources for one of my kontakt libs:&#xD;&#xA;- using a guitar pickup to record EM fields&#xD;&#xA;- toilet flushing water during a storm. This was a very cool noise, since the strong wind caused some sort of suction of toilet water :)&#xD;&#xA;- the stethosphone i built years ago: a couple of electret capsules inside stethoscope pipes. Great for recording low ends.&#xD;&#xA;&#xD;&#xA;Just yesterday I made a new discover: inflatable punching balls makes a great bass sound! I'll definitively put this one in my upcoming hybrid percussions library :D&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30373" PostHistoryTypeId="2" PostId="18747" RevisionGUID="8b3e9d08-d54b-4ccb-9e9b-e64cefced1f7" CreationDate="2013-03-30T07:23:12.377" UserId="1014" Text="you could also try to find a used Nord Modular G2X or a Kurzweil K2500/K2600 (with KDFX included). Both are great synth with huge sonic capabilities. I used to own both long time ago and both are amazing machines :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30374" PostHistoryTypeId="2" PostId="18748" RevisionGUID="ea523317-8744-40fb-8c24-eb3adccc774f" CreationDate="2013-03-30T13:37:25.330" UserId="4442" Text="I think Blastwave FX has a period combat and also Boom Library." ContentLicense="CC BY-SA 3.0" />
  <row Id="30375" PostHistoryTypeId="2" PostId="18749" RevisionGUID="6e1becb8-b375-4a06-9e3c-08f851f545f3" CreationDate="2013-03-30T15:05:02.240" UserId="993" Text="Hey, a fellow Australian sound editor. First up Rabbit Ears Audio have a bunch of tank libraries. You can buy them separately or in a bundle here: http://rabbitearsaudio.com/rea005-military-vehicles/&#xD;&#xA;&#xD;&#xA;Are you in Victoria per chance? I was actually out at a track that has WW2 era Centurion tank. Though the Rabbit Ears library doesn't any recording of the Centurion tank, they do have other WW2 era tanks - including ones that sound pretty similar to the Centurion. However, I unfortunately got to the track too late to record the Centurion. Their website is http://melbourne4x4.com.au/?page_id=38 if you'd like to swing by and record it yourself. Or if you're not in Victoria, maybe we could come to some kind of arrangement? &#xD;&#xA;&#xD;&#xA;For planes, the Sound Librarian has a couple of period/WW2 planes in their collection: http://www.prosoundeffects.com/the-aviation-collection.html&#xD;&#xA;&#xD;&#xA;And here's the Boom Library historical firearms library mentioned before: http://www.boomlibrary.com/boomlibrary/products/historical-firearms&#xD;&#xA;&#xD;&#xA;And the Blastwave warfare packs that were also mentioned : http://www.blastwavefx.com/Warfare/c59/index.html&#xD;&#xA;&#xD;&#xA;Some of these packs are pretty expensive though - but they do appear to be pretty comprehensive. Lastly, for reference material, Youtube is a good starting point for finding videos of period vehicles/weapons. After hearing what they sound like there, you may even find you can design convincing effects using your existing sound library. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30376" PostHistoryTypeId="2" PostId="18750" RevisionGUID="501a97f8-486d-4d4a-81d3-55307b7091c6" CreationDate="2013-03-30T17:09:28.410" UserId="3179" Text="The difference is that there are some digital audio folks who think that there's some fundamental difference between sampling and writing music and some that understand that the division is arbitary.&#xD;&#xA;&#xD;&#xA;We can go as far to say that none of the sound production roles/terms have meaningful differences in machine-assisted sound production. The machinery is the same, the processes are the same and at the disposal of everyone. There's no fundamental difference between any of the activies or terms (the difference is in one's head) as it's all just structuring sound with machinery. If we'd forget the machinery, we could perhaps draw more meaningful differences in what the different types of work and roles entail.&#xD;&#xA;&#xD;&#xA;The modern computer-assisted &quot;composer&quot; is probably the most misapplied term ever as there's no practical difference to say &quot;a computer musician&quot;, which means what it says (&quot;a composer&quot; does more than that). &quot;Sound designer&quot; is one of the most extravagant specializations coined, because every kind of creative or planning activity is design. It follows that one cannot produce sound without &quot;design&quot; and therefore everyone does &quot;sound design&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="30377" PostHistoryTypeId="5" PostId="18750" RevisionGUID="6c81273e-dbf1-4c6a-a389-90f067a4704a" CreationDate="2013-03-30T17:16:27.590" UserId="3179" Comment="deleted 3 characters in body; deleted 2 characters in body; added 15 characters in body; deleted 4 characters in body; added 19 characters in body" Text="The difference is that there are some digital audio folks who think that there's some fundamental difference between sampling and writing music and some that understand that the division is arbitary.&#xD;&#xA;&#xD;&#xA;We can go as far to say that none of the sound production roles/terms have meaningful differences in machine-assisted sound production. The machinery is the same, the processes are the same and at the disposal of everyone. There's no fundamental difference between any of the activies or terms (the difference is in one's head) as it's all just structuring sound with machinery. If we'd forget the machinery, we could perhaps draw more meaningful differences in what the different types of work and roles entail.&#xD;&#xA;&#xD;&#xA;The modern computer and sample library assisted &quot;composer&quot; can be a fairly misapplied term as there may not be a practical difference to say &quot;a computer musician&quot;, which means what it says. A composer does and can do more than that. &quot;Sound designer&quot; is one of the most extravagant specializations coined, because every kind of creative or planning activity is design. It follows that one cannot produce sound without &quot;design&quot; and therefore everyone does &quot;sound design&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="30378" PostHistoryTypeId="5" PostId="18750" RevisionGUID="fed4ac8a-810c-419d-acbf-c70a3f32e0d2" CreationDate="2013-03-30T19:00:13.970" UserId="3179" Comment="added 2 characters in body" Text="The difference is that there are some digital audio folks who think that there's some fundamental difference between sampling and writing music and some that understand that the division is arbitary.&#xD;&#xA;&#xD;&#xA;We can go as far to say that none of the sound production roles/terms have meaningful differences in machine-assisted sound production. The machinery is the same, the processes are the same and at the disposal of everyone. There's no fundamental difference between any of the activities or terms (the difference is in one's head) as it's all just structuring sound with machinery. If we'd forget the machinery, we could perhaps draw more meaningful differences in what the different types of work and roles entail.&#xD;&#xA;&#xD;&#xA;The modern computer and sample library assisted &quot;composer&quot; can be a fairly misapplied term as there may not be a practical difference to say &quot;a computer musician&quot;, which means what it says. A composer does and can do more than that. &quot;Sound designer&quot; is one of the most extravagant specializations coined, because every kind of creative or planning activity is design. It follows that one cannot produce sound without &quot;design&quot; and therefore everyone does &quot;sound design&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="30379" PostHistoryTypeId="2" PostId="18751" RevisionGUID="cadc780d-c1e9-43d9-9958-48a1414445fd" CreationDate="2013-03-30T19:07:07.663" UserId="362" Text="I'm trying to find some really nice sharp thunder cracks, but it's quite difficult to find good ones. Any tips on how to either make one or a good small affordable library with some good ones. I'm looking for quality over quantity " ContentLicense="CC BY-SA 3.0" />
  <row Id="30380" PostHistoryTypeId="1" PostId="18751" RevisionGUID="cadc780d-c1e9-43d9-9958-48a1414445fd" CreationDate="2013-03-30T19:07:07.663" UserId="362" Text="Really good thunder claps" ContentLicense="CC BY-SA 3.0" />
  <row Id="30381" PostHistoryTypeId="3" PostId="18751" RevisionGUID="cadc780d-c1e9-43d9-9958-48a1414445fd" CreationDate="2013-03-30T19:07:07.663" UserId="362" Text="&lt;thunder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30382" PostHistoryTypeId="2" PostId="18752" RevisionGUID="bbd11151-b997-444a-8222-cd43641f4636" CreationDate="2013-03-30T21:30:53.337" UserId="208" Text="Shameless self promotion here :D&#xD;&#xA;I have recorded quite alot of thunder last summer.&#xD;&#xA;Demos including some of them are here http://snd.sc/YKDH1h and here http://snd.sc/121Obcl&#xD;&#xA;Leave a message, if I can help.&#xD;&#xA;&#xD;&#xA;Best wishes, &#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="30383" PostHistoryTypeId="2" PostId="18753" RevisionGUID="f70d7cb9-86a6-4209-a735-4abb59f60151" CreationDate="2013-03-31T00:05:18.017" UserId="1011" Text="Check out these libraries from therecordist.com.&#xD;&#xA;&#xD;&#xA;His technique and equipment are top-notch. The quality of his libraries are excellent.&#xD;&#xA;&#xD;&#xA;http://www.therecordist.com/category/soundbox-hd-pro-sfx/thunder-hd&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30384" PostHistoryTypeId="2" PostId="18754" RevisionGUID="68ccd1e2-ac44-4520-a066-1bf39bf14ece" CreationDate="2013-03-31T00:11:21.103" UserId="1011" Text="Rob Nokes of Sounddogs.com recorded extensive coverage of an M5A1 Stuart tank.&#xD;&#xA;&#xD;&#xA;Highly recommended.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.sounddogs.com/extendedsearch.asp?Keyword=nokes%20tanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="30385" PostHistoryTypeId="2" PostId="18755" RevisionGUID="103578c0-8e8e-467d-9251-a98f63fb5e5f" CreationDate="2013-03-31T02:52:49.543" UserId="6512" Text="If you need it on the spot, or in fact, anytime soon, go with a library. The Recordist libraries are, as @Airborne says, pretty great. If you have (a lot of) time, I'd suggest recording your own. You have to take storms as they come to you, but it's worth it. &#xD;&#xA;&#xD;&#xA;I've found that pretty much every thunderclap has a different character to it. &#xD;&#xA;I uploaded a couple of plain examples to soundcloud a while ago. Both have come in handy for me: http://snd.sc/10ojN9j and http://snd.sc/YKZfee&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30386" PostHistoryTypeId="2" PostId="18756" RevisionGUID="1297165c-9444-4944-82d6-4bfaa06f0fc2" CreationDate="2013-03-31T14:14:06.630" UserId="4162" Text="Hello everyone, &#xD;&#xA;&#xD;&#xA;I am looking for an experienced sound designer for helping me in evaluating my final uni project. It would take no more than one hour to meet up on Skype and talk about the sound I have created for a short dramatic film. &#xD;&#xA;&#xD;&#xA;I will be grateful for your help.&#xD;&#xA;&#xD;&#xA;Happy Easter!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30387" PostHistoryTypeId="1" PostId="18756" RevisionGUID="1297165c-9444-4944-82d6-4bfaa06f0fc2" CreationDate="2013-03-31T14:14:06.630" UserId="4162" Text="Experienced sound designer needed for evaluating uni project" ContentLicense="CC BY-SA 3.0" />
  <row Id="30388" PostHistoryTypeId="3" PostId="18756" RevisionGUID="1297165c-9444-4944-82d6-4bfaa06f0fc2" CreationDate="2013-03-31T14:14:06.630" UserId="4162" Text="&lt;evaluation&gt;&lt;university&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30389" PostHistoryTypeId="2" PostId="18757" RevisionGUID="cec1a2a1-0695-47e0-80d9-7f625b784ca5" CreationDate="2013-03-31T17:55:03.067" UserId="5889" Text="http://www.rodemic.com/news/new-rode-i16-offer-360-surround-recording-for-ios-devices" ContentLicense="CC BY-SA 3.0" />
  <row Id="30390" PostHistoryTypeId="1" PostId="18757" RevisionGUID="cec1a2a1-0695-47e0-80d9-7f625b784ca5" CreationDate="2013-03-31T17:55:03.067" UserId="5889" Text="New RØDE i16. Is it an april fool?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30391" PostHistoryTypeId="3" PostId="18757" RevisionGUID="cec1a2a1-0695-47e0-80d9-7f625b784ca5" CreationDate="2013-03-31T17:55:03.067" UserId="5889" Text="&lt;rode&gt;&lt;surround-sound&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30392" PostHistoryTypeId="2" PostId="18758" RevisionGUID="08261b90-247a-4c5b-952d-acfd868b4754" CreationDate="2013-03-31T19:22:12.213" UserId="3316" Text="After 15ms of just astounding joy,      yeh it must be :P &#xD;&#xA;Although what really annoyed me, was they went to the lengths of saying its a lightening adapter, which isn't even true for the iXY (and god I want it to be)   " ContentLicense="CC BY-SA 3.0" />
  <row Id="30393" PostHistoryTypeId="2" PostId="18759" RevisionGUID="f4a8cf39-adc7-4b28-bb51-2d1b0089cb69" CreationDate="2013-03-31T19:24:17.360" UserDisplayName="user80" Text="Definitely an April fool." ContentLicense="CC BY-SA 3.0" />
  <row Id="30394" PostHistoryTypeId="2" PostId="18760" RevisionGUID="e3e9acd4-a062-48f7-80e6-e545ba04fb87" CreationDate="2013-03-31T21:05:45.223" UserId="842" Text="Naaaaaaah...looks legit to me ;-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30395" PostHistoryTypeId="2" PostId="18761" RevisionGUID="e5977d07-2b3b-4e8b-ba51-87e903cb6641" CreationDate="2013-04-01T03:41:07.470" UserId="730" Text="Check out my rain and thunder collection.  There are a bunch of nice thunder hits.  Hope this helps.&#xD;&#xA;&#xD;&#xA;https://getsoundeffects.com/#/products-page/collections/rain-thunder-collection/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30396" PostHistoryTypeId="2" PostId="18762" RevisionGUID="1a41d48b-92a3-4e2b-8f60-d1cd25153209" CreationDate="2013-04-01T05:08:46.037" UserId="4358" Text="They release this video 1 day before the April Fools, it has to be one!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30397" PostHistoryTypeId="2" PostId="18763" RevisionGUID="d8259125-f752-459f-96a8-d96380ff6e73" CreationDate="2013-04-01T07:31:27.880" UserId="5889" Text="They have achieved their goal: We talk about it." ContentLicense="CC BY-SA 3.0" />
  <row Id="30398" PostHistoryTypeId="2" PostId="18764" RevisionGUID="3e657a2a-6053-44d5-af85-5cffa67f7963" CreationDate="2013-04-01T08:00:27.967" UserId="5583" Text="Thanks all for your responses. This really helped me :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30402" PostHistoryTypeId="2" PostId="18766" RevisionGUID="8db9dcf1-09b6-41d7-bd42-28cd6a9d3e38" CreationDate="2013-04-01T10:48:22.233" UserId="3179" Text="Perhaps a bit broad question, but definitely one of the things that probably everyone is consciously either intuitively defining or trying to define, or has already found some solution / definition to this question.&#xD;&#xA;&#xD;&#xA;So, what do you think is an effective measurement for the impact or effectiveness of sound?&#xD;&#xA;Your own judgement? A colleague's judgement? A test audience's feedback? A director's feedback? An employer's feedback?&lt;br&gt;&lt;br&gt;What is the thing that gives you the certainty that what you've done is appropriate and will have the desired impact? If you compare your work to others' work, what kind of criteria do you use in the assessment? What defines &quot;effectiveness&quot; and &quot;appropriateness&quot; in sound? Is there even such thing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30403" PostHistoryTypeId="1" PostId="18766" RevisionGUID="8db9dcf1-09b6-41d7-bd42-28cd6a9d3e38" CreationDate="2013-04-01T10:48:22.233" UserId="3179" Text="How do you measure the impact/effectiveness of sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30404" PostHistoryTypeId="3" PostId="18766" RevisionGUID="8db9dcf1-09b6-41d7-bd42-28cd6a9d3e38" CreationDate="2013-04-01T10:48:22.233" UserId="3179" Text="&lt;sound&gt;&lt;effective&gt;&lt;appropriate&gt;&lt;meaning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30405" PostHistoryTypeId="5" PostId="18766" RevisionGUID="679e6efa-485c-4062-a5f5-137f7e524183" CreationDate="2013-04-01T10:53:52.167" UserId="3179" Comment="added 59 characters in body; added 33 characters in body" Text="Perhaps a bit broad question, but definitely one of the things that probably everyone is consciously either intuitively defining or trying to define, or has already found some solution / definition to this question.&#xD;&#xA;&#xD;&#xA;So, what do you think is an effective measurement for the impact or effectiveness of sound?&#xD;&#xA;Your own judgement? A colleague's judgement? A test audience's feedback? A director's feedback? An employer's feedback?&lt;br&gt;&lt;br&gt;What is the thing that gives you the certainty that what you've done is appropriate and will have the desired impact? Or that an approach B or a soundtrack B is &quot;more effective&quot; than approach A / soundtrack A. If you compare your work to others' work, what kind of criteria do you use in the assessment? What defines &quot;effectiveness&quot; and &quot;appropriateness&quot; in sound? Is there even such thing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30406" PostHistoryTypeId="5" PostId="18766" RevisionGUID="79412739-569f-4daf-8c9b-c3d58e53a200" CreationDate="2013-04-01T11:17:52.180" UserId="3179" Comment="added 22 characters in body; added 69 characters in body; added 16 characters in body" Text="Perhaps a bit broad question, but definitely one of the things that probably everyone is consciously either intuitively defining or trying to define, or has already found some solution / definition to this question.&#xD;&#xA;&#xD;&#xA;So, what do you think is an effective measurement for the impact or effectiveness of sound?&#xD;&#xA;Your own judgement? A colleague's judgement? A test audience's feedback? A director's feedback? An employer's feedback?&lt;br&gt;&lt;br&gt;What is the thing that gives you the certainty that what you've done is appropriate and will have the desired impact? Or that an approach B or a soundtrack B is &quot;more effective&quot; than approach A / soundtrack A. If you compare your work to others' work, what kind of criteria do you use in the assessment? What defines &quot;effectiveness&quot; and &quot;appropriateness&quot; in sound? Do some criteria for measuring them even exist? &#xD;&#xA;&#xD;&#xA;Bonus:&lt;br&gt;&#xD;&#xA;What would/do terms like &quot;cutting-edge&quot; or &quot;advanced&quot; mean in sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30407" PostHistoryTypeId="5" PostId="18766" RevisionGUID="b5eda5b6-4eab-4f16-ac6c-c027041bdda9" CreationDate="2013-04-01T11:24:19.553" UserId="3179" Comment="added 20 characters in body; edited body" Text="Perhaps a bit broad question, but definitely one of the things that probably everyone is consciously either intuitively defining or trying to define, or has already found some solution / definition to this question.&#xD;&#xA;&#xD;&#xA;So, what do you think is an effective measurement for the impact or effectiveness of sound?&#xD;&#xA;Your own judgement? A colleague's judgement? A test audience's feedback? A director's feedback? An employer's feedback?&lt;br&gt;&lt;br&gt;What is the thing that gives you the certainty that what you've done is appropriate and will have the desired impact? Or that an approach B or a soundtrack B is &quot;more effective&quot; than approach A / soundtrack A. If you compare your work to others' work, what kind of criteria do you use in the assessment? What defines &quot;effectiveness&quot; and &quot;appropriateness&quot; in sound? Do some criteria for measuring them even exist? &#xD;&#xA;&#xD;&#xA;Bonus:&lt;br&gt;&#xD;&#xA;What would/do terms like &quot;cutting edge&quot;, &quot;state of the art&quot; or &quot;advanced&quot; mean in sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30408" PostHistoryTypeId="2" PostId="18767" RevisionGUID="72cd06ed-97b0-40ce-9d69-b6bbe0611494" CreationDate="2013-04-01T14:02:06.307" UserId="37" Text="I don't think hard measuring criteria exist. Also I don't think measuring is necessary. You can &quot;measure&quot; with your own stick, it pays off to be critical, and push yourself on the next project. Then nothing skews your measurements except yourself. &quot;Effective&quot; maybe refers to how your sound collage conveys emotion in telling the story, while still remaining &quot;appropriate&quot; for the style of the production, i.e. not too out of touch with the style and the intention. That said, those lines are so blurry and subjective nowadays, theorising can do more harm than good. In fact, I'm seeing people left and right elaborate on things I then find have very little impact according to my taste. So again, it's subjective.&#xD;&#xA;&#xD;&#xA;I like it when a soundtrack is simple, but achieves the same a vast and complex one would. In addition to that seeming too good to be true, it also carries the danger that eventually everything will get too stripped down, too &quot;effective&quot;.&#xD;&#xA;&#xD;&#xA;Don't trust the audience when it comes to measurement. They never criticise, or do so in a constructive way. You can measure the impact long term, judging by their actions, but behind their intentions may be other things, not just the soundtrack. With employers it's very simple. If they give you the next job, the sound and process worked for them (not necessarily for you). If they don't, regardless of what they say, it didn't work, but, it being subjective, you can't tell what didn't work. Maybe the sound was great but not greater than the cost.&#xD;&#xA;&#xD;&#xA;I like if a soundtrack stands a test of time. If you can bear looking at the thing and hearing the sounds again in two years then that's a start.. &#xD;&#xA;&#xD;&#xA;I consider cutting edge, state of the art, and advanced, to be all relative. You can add &quot;according to who?&quot; to each of them.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30409" PostHistoryTypeId="2" PostId="18768" RevisionGUID="a92000af-b07e-4cd7-ac4c-5cf78d5cec2e" CreationDate="2013-04-01T14:33:47.967" UserId="37" Text="see http://socialsounddesign.com/questions/18717/10-6-8-vs-10-7-in-regards-to-pro-audio/18728" ContentLicense="CC BY-SA 3.0" />
  <row Id="30411" PostHistoryTypeId="2" PostId="18770" RevisionGUID="d2a0ba7a-533e-48b2-b383-f88d8a424142" CreationDate="2013-04-01T17:17:18.717" UserId="4272" Text="In many ways, the most important opinion is that of the actual audience, but it's important to be able to predict what that reaction will be and tailor your sound design to the desired reaction.  Honestly, for me the only true &quot;measurement&quot; of my sound design's effectiveness is trusting my own instincts.  If you don't have the right instincts, that's something you need to work on as it's an important part of the craft/art of sound design, and is in many ways more important than the technical know-how.&#xD;&#xA;&#xD;&#xA;But there are definitely moments when you might need a sanity check or a second opinion, in which case I might ask a friend, a fellow sound designer, etc. to act as a test audience.  In the end though, it's still your own instincts and artistic vision that should prevail when handing off your sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="30412" PostHistoryTypeId="2" PostId="18771" RevisionGUID="3b5f5754-a213-4c96-bfbf-af9a083e9c51" CreationDate="2013-04-01T21:06:16.053" UserDisplayName="user49" Text="It is your own instincts, aesthetics, taste, &amp; experience (in life and in work) that makes you create/edits sound design the way you do, but I think it is the directors intent &amp; direction that matters most. For better or worse, the elements &amp; the final mix are their decision - moment by moment &amp; overall, it is their concepts and execution. But prior to that it is all also a constantly evolving group decision: every person on the team is using their sensibilities to present what they think is appropriate, which is then shaped by the sensibilities of the re-recording mixers.... But again all of this is formed to follow or support the directors intent, and their purpose is to tell a story and engage the audience.&#xD;&#xA;&#xD;&#xA;I agree with georgi re 'cutting edge' etc - its a dreadful term imho, take Transformers for example, I would consider those films (&amp; their sound design) some of the worst film making in film history - overt, crassly manipulative, juvenile, with about as much emotional nutrition as candy floss. But plenty of people consider(ed) them 'cutting edge'&#xD;&#xA;&#xD;&#xA;Beauty is in the eye (&amp; ear) of the beholder&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30417" PostHistoryTypeId="2" PostId="18773" RevisionGUID="b312783b-d156-42df-bccc-e33ff5c49877" CreationDate="2013-04-02T01:00:25.030" UserId="362" Text="Hi, &#xD;&#xA;&#xD;&#xA;I remember coming across a small boutique recording company that releases sample libraries of otherworldly sounds produced by placing contact mics on standard instruments or using alternative techniques reminiscent of &quot;prepared-piano&quot; etc...&#xD;&#xA;&#xD;&#xA;Does anyone know the name of that company I'm thinking of?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30418" PostHistoryTypeId="1" PostId="18773" RevisionGUID="b312783b-d156-42df-bccc-e33ff5c49877" CreationDate="2013-04-02T01:00:25.030" UserId="362" Text="Which Sample Library was that? (Alternative sounds from conventional instruments)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30419" PostHistoryTypeId="3" PostId="18773" RevisionGUID="b312783b-d156-42df-bccc-e33ff5c49877" CreationDate="2013-04-02T01:00:25.030" UserId="362" Text="&lt;samples&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30420" PostHistoryTypeId="2" PostId="18774" RevisionGUID="fc1610ef-2e22-4e56-96f5-ed9bf78763de" CreationDate="2013-04-02T01:35:37.047" UserDisplayName="user49" Text="was it Tonehammer?&#xD;&#xA;&#xD;&#xA;they split into two companies:&#xD;&#xA;&#xD;&#xA;8Dio&#xD;&#xA;http://8dio.com/&#xD;&#xA;&#xD;&#xA;Soundiron&#xD;&#xA;http://www.soundiron.com/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30421" PostHistoryTypeId="5" PostId="18774" RevisionGUID="c72a91df-a839-4af5-b51d-e55372b5f127" CreationDate="2013-04-02T01:46:35.160" UserDisplayName="user49" Comment="added 60 characters in body" Text="Sonic Couture?&#xD;&#xA;&#xD;&#xA;http://www.soniccouture.com/en/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;or was it Tonehammer?&#xD;&#xA;&#xD;&#xA;they split into two companies:&#xD;&#xA;&#xD;&#xA;8Dio&#xD;&#xA;http://8dio.com/&#xD;&#xA;&#xD;&#xA;Soundiron&#xD;&#xA;http://www.soundiron.com/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30423" PostHistoryTypeId="2" PostId="18775" RevisionGUID="ef31f7ca-cbad-4309-a00d-f0252116ce72" CreationDate="2013-04-02T04:13:39.433" UserId="3746" Text="&#xD;&#xA;Weather Sounds: Rain Hail and Thunder&#xD;&#xA;&#xD;&#xA;Sound Effect, Pack 14A Weather Sounds: Rain Hail and Thunder&#xD;&#xA;&#xD;&#xA;http://rocksuresoundz.com/store/sfx-pks/se10817/&#xD;&#xA;&#xD;&#xA;The pack of 112 sound effects is just $6-95. Not all of the sounds are thunder. The pack also includes rain and hail...but there's plenty of thunder in there too.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30424" PostHistoryTypeId="2" PostId="18776" RevisionGUID="553192fe-5d21-4ed1-a3a9-c15d46e9e3bf" CreationDate="2013-04-02T04:44:53.337" UserId="6512" Text="I find it interesting that this one keeps coming back from time to time. &#xD;&#xA;&#xD;&#xA;There are two distinctions at play here. As far as titles go, there's normally a pretty clear difference between the composer and sound designer. On small films especially, I see sound designers also being the composer. The title is usually changed or they are givenultiple credits to reflect that (again, that I've seen). &#xD;&#xA;So, yeah, combining the roles happens, but you should've received credit for the music.&#xD;&#xA;&#xD;&#xA;The second distinction here is between composition and sound design. This one is significantly less clear. Part of it has to do with your methods. The line there is very blurred for me. When I've worked on a project, especially a more abstract one, I normally approach sound design at least partially from a musical point of view (consonance vs. dissonance is a big thing). On the other hand, since the end of my undergrad music degree, I've looked at music as more of a sonic creation (when I have the luxury). &#xD;&#xA;&#xD;&#xA;There are a few examples where the two definitely blend together. The soundtrack/sound design of *Eraserhead* comes to mind." ContentLicense="CC BY-SA 3.0" />
  <row Id="30425" PostHistoryTypeId="2" PostId="18777" RevisionGUID="bb7bbfbe-4315-4937-a1f6-50efd85aa37d" CreationDate="2013-04-02T05:30:48.893" UserId="3746" Text="http://rocksuresoundz.com has production music in a wide range of styles. There is some on there that is free, and the rest of the range starts from $5-95 a track." ContentLicense="CC BY-SA 3.0" />
  <row Id="30426" PostHistoryTypeId="2" PostId="18778" RevisionGUID="da9bbacf-3671-44b0-bc0b-d78547c15d7c" CreationDate="2013-04-02T05:36:59.623" UserId="3746" Text="It can be really dis-advantageous to have your name put to any sort of substandard work. If something is really badly made, or if the content goes against one's conscience it's best to avoid doing it in my opinion. Sometimes you have to be honest, but diplomatic with people." ContentLicense="CC BY-SA 3.0" />
  <row Id="30427" PostHistoryTypeId="2" PostId="18779" RevisionGUID="c36ebb33-7457-4576-9836-b81b5387d9c7" CreationDate="2013-04-02T13:41:27.780" UserId="1014" Text="I'm using same techniques too: [www.audiority.com][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiority.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="30428" PostHistoryTypeId="2" PostId="18780" RevisionGUID="91255c6e-f5aa-4dc1-9bcc-3e80a2f62776" CreationDate="2013-04-02T15:34:26.543" UserId="407" Text="&quot;get a man bag&quot; classic - has to be a joke ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30430" PostHistoryTypeId="2" PostId="18781" RevisionGUID="fef885c7-b0b8-4367-a47a-2a08fb5c1e95" CreationDate="2013-04-02T23:51:13.313" UserId="362" Text="It's certainly VERY similar to the aforementioned hissandroar tortured piano, but it's not that. There are maybe only 2 or 3 libraries available from this company and they are all similar in vein to the tortured piano " ContentLicense="CC BY-SA 3.0" />
  <row Id="30431" PostHistoryTypeId="2" PostId="18782" RevisionGUID="b24432ef-2d4c-4e92-abd5-edf766f9bbcf" CreationDate="2013-04-03T03:43:38.720" UserId="5898" Text="I've been working professionally as a sound editor/designer for various TV shows and movies for the past couple of years.  My absolute dream however, is to design the sound for disney theme parks and Disney movies. I've always been taken aback by the detail in the sound and the creation in general of Disney theme parks and their entertainment.  Even to this day, I get chills just being in the company of products of that creativity. &#xD;&#xA;&#xD;&#xA;I'd love to pick someone's brain, hear their stories and take any advice you are willing to give, to ultimately become a Disney Imagineer. Thank you for your time!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30432" PostHistoryTypeId="1" PostId="18782" RevisionGUID="b24432ef-2d4c-4e92-abd5-edf766f9bbcf" CreationDate="2013-04-03T03:43:38.720" UserId="5898" Text="Getting into the Sound Design Department of Disney Imagineering...?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30433" PostHistoryTypeId="3" PostId="18782" RevisionGUID="b24432ef-2d4c-4e92-abd5-edf766f9bbcf" CreationDate="2013-04-03T03:43:38.720" UserId="5898" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30434" PostHistoryTypeId="2" PostId="18783" RevisionGUID="c4feceb4-e1c8-4c28-9a60-982bf31d6fa9" CreationDate="2013-04-03T08:44:42.703" UserId="3179" Text="Get to personally know people who work there. And ask them these questions." ContentLicense="CC BY-SA 3.0" />
  <row Id="30435" PostHistoryTypeId="2" PostId="18784" RevisionGUID="8f28fefc-fc16-4628-825f-ea0271a6a63c" CreationDate="2013-04-03T09:04:48.930" UserId="5900" Text="hey there.&#xD;&#xA;&#xD;&#xA;i'll give it a go if you're still up for it...&#xD;&#xA;&#xD;&#xA;mail me at daniel@dcbelle.se&#xD;&#xA;&#xD;&#xA;greets.&#xD;&#xA;/danny" ContentLicense="CC BY-SA 3.0" />
  <row Id="30436" PostHistoryTypeId="2" PostId="18785" RevisionGUID="ada96da7-8484-4376-96e0-b770d266ccb7" CreationDate="2013-04-03T09:06:38.010" UserId="4390" Text="Any kind of mineral wool and such is usable. I made panels from 10cm (4inch) thick Rockwool batts, put them in a frame made of 1x4 inch fir boards, and stapled some cotton cloth (bed sheet material basically) to front and back. This keeps any fibers contained - just make sure you use acoustically transparent material; meaning that if you hold it up to your mouth, you can easily breathe through it.&#xD;&#xA;&#xD;&#xA;Guildford of Maine is &quot;The&quot; material to use - but bed sheets are a lot cheaper. And if you buy it by the yard, you can get it in pretty much any color you like.&#xD;&#xA;&#xD;&#xA;And yeah - read up on Ethan Winer and John Sayers.&#xD;&#xA;With just a few panels, I made some very dry recordings of various props in a rather small room. DIY panels are not just cheap to make, they're also pretty much the best way to go. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30437" PostHistoryTypeId="2" PostId="18786" RevisionGUID="22793208-a6b9-4f3a-a951-9db9ed68ede5" CreationDate="2013-04-03T14:37:08.070" UserId="3835" Text="I have been looking at website template sites to start putting together a website for when i graduate. I want something really easy to use that is clean and affordable and allows multimedia to be uploaded and showcased professionally. I'm terrible with code, especially HTML so i need it to do everything for me!&#xD;&#xA;&#xD;&#xA;The sites i find the most aesthetically pleasing are photography portfolio templates and don't offer video / audio.&#xD;&#xA;&#xD;&#xA;I'm aware of Wordpress but am wondering what all you guys out there are using?&#xD;&#xA;&#xD;&#xA;Any feedback greatly appreciated.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="30438" PostHistoryTypeId="1" PostId="18786" RevisionGUID="22793208-a6b9-4f3a-a951-9db9ed68ede5" CreationDate="2013-04-03T14:37:08.070" UserId="3835" Text="What are you using for Website Creation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30439" PostHistoryTypeId="3" PostId="18786" RevisionGUID="22793208-a6b9-4f3a-a951-9db9ed68ede5" CreationDate="2013-04-03T14:37:08.070" UserId="3835" Text="&lt;websites&gt;&lt;portfolio&gt;&lt;showreel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30440" PostHistoryTypeId="2" PostId="18787" RevisionGUID="ff3d9b01-a932-4f37-b991-096bbfa11442" CreationDate="2013-04-03T15:05:16.837" UserId="3179" Text="http://www.weebly.com/&lt;br&gt;&#xD;&#xA;http://imcreator.com/&lt;br&gt;&#xD;&#xA;+ Other &quot;real&quot; WYSIWYG editors&#xD;&#xA;&#xD;&#xA;Wordpress is some sort of &quot;de facto&quot; for people who don't want to learn simple website coding, but it will be very limiting without wanting to understand the Wordpress framework, which is honestly more appealing to &quot;serious&quot; web developers/designers than a person who just wants a manageable website. You can't customize it properly and there's a high chance that you'll break something and won't understand why it broke or how to fix it. Unless you stick very tightly to the template and don't desire other than out-of-the-box and other trivial customizations." ContentLicense="CC BY-SA 3.0" />
  <row Id="30441" PostHistoryTypeId="5" PostId="18768" RevisionGUID="c83b537e-798b-4e99-ba6f-5a026b0fe12c" CreationDate="2013-04-03T15:15:38.193" UserId="37" Comment="added link to osx fragmentation chart" Text="see http://socialsounddesign.com/questions/18717/10-6-8-vs-10-7-in-regards-to-pro-audio/18728&#xD;&#xA;&#xD;&#xA;edit: also see: http://www.patentlyapple.com/patently-apple/2013/04/snow-leopard-remains-the-most-popular-version-of-os-x.html (3 apr 2013)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30442" PostHistoryTypeId="2" PostId="18788" RevisionGUID="882be3fc-d204-46c7-926a-fa790a44e384" CreationDate="2013-04-03T15:31:45.060" UserId="1049" Text="I'd vouch for Wordpress to be honest. I've had a very good experience using it. There are plenty of Professional Themes you can get that are perfect for (video) portfolios, and these themes often have built in customisation features. You can get 'plugins' for Soundcloud and the like too. &#xD;&#xA;&#xD;&#xA;I'd say have a browse online through Professional Wordpress Themes, and if you see one you really like, set up a Wordpress account and buy the theme. A Pro theme will cost around £30." ContentLicense="CC BY-SA 3.0" />
  <row Id="30443" PostHistoryTypeId="2" PostId="18789" RevisionGUID="c6d9b11c-a48a-4fc1-947f-daa0d927184c" CreationDate="2013-04-03T17:21:36.880" UserId="4272" Text="I would also recommend Wordpress but would keep in mind the same considerations that Internet Human pointed out, ie: it will be limiting without learning the wordpress framework unless you stick tightly to the template.  But the great thing about wordpress is that it's highly customizable without the need for any fancy html skills.  There are a ton of free plugins and widgets that allow for easy customization without any advanced skill, although you still have the option to implement more advanced stuff if you do have the skill (or as your skills improve).&#xD;&#xA;&#xD;&#xA;[Here's my website, as an example.][1]&#xD;&#xA;I used a custom theme from themeforest.net which has a ton of reasonably priced pro wordpress themes.  I also used a ton of plugins: WP Twitter Timeline, WP Float (for the floating contact box), qTranslate (so I can have a french version of my site), and Easy Fancybox (so my videos can show up in a fancy lightbox)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.brycerafflesound.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30444" PostHistoryTypeId="2" PostId="18790" RevisionGUID="f3985d1e-12c5-43a6-aff4-fa5f9f7bc893" CreationDate="2013-04-03T18:53:37.447" UserId="194" Text="I use wordpress for [dallasaudiopost.com][1] and [echocollectivefx.com][2] - I'm also in the process of putting together a third website that we'll launch sometime in the next few months.&#xD;&#xA;&#xD;&#xA;I've found it to be a good looking, flexible and powerful framework with tons of support and users.  Its generally iphone and ipad compliant, which is important.  Also, wordpress has a number of plugins (like [gravity forms][3], paypal, etc) that further expand and customize the site you're trying to put together.&#xD;&#xA;&#xD;&#xA;You *do* have to be careful to choose a well-written template from a reputable designer, but if you do so you'll usually be in good shape.  I've had no issues modifying the css and have had good support from my template designers on both of those sites.  &#xD;&#xA;&#xD;&#xA;If you're just putting together a site that hosts a portfolio and contact info, I don't know why you'd need anything else.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://dallasaudiopost.com&#xD;&#xA;  [2]: http://echocollectivefx.com&#xD;&#xA;  [3]: http://www.gravityforms.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30445" PostHistoryTypeId="5" PostId="18787" RevisionGUID="ea85fc98-b4f7-4db6-a431-50d06fcc4021" CreationDate="2013-04-03T20:13:43.270" UserId="3179" Comment="added 21 characters in body; added 4 characters in body" Text="http://www.weebly.com/&lt;br&gt;&#xD;&#xA;http://imcreator.com/&lt;br&gt;&#xD;&#xA;http://www.wix.com/&lt;br&gt;&#xD;&#xA;+ Other &quot;real&quot; WYSIWYG editors&#xD;&#xA;&#xD;&#xA;Wordpress is some sort of &quot;de facto&quot; for people who don't want to learn simple website coding, but it will be very limiting without wanting to understand the Wordpress framework, which is honestly more appealing to &quot;serious&quot; web developers/designers than a person who just wants a manageable website. You can't customize it properly and there's a high chance that you'll break something and won't understand why it broke or how to fix it. Unless you stick very tightly to the template and don't desire other than out-of-the-box and other trivial customizations." ContentLicense="CC BY-SA 3.0" />
  <row Id="30446" PostHistoryTypeId="2" PostId="18791" RevisionGUID="149c6916-5766-4824-8c8e-6e4b20a3aa6e" CreationDate="2013-04-03T23:49:39.627" UserId="5824" Text="Flavors.me and utilize your social networks within it. That's what I used to use for my portfolio before I learned how to code." ContentLicense="CC BY-SA 3.0" />
  <row Id="30447" PostHistoryTypeId="2" PostId="18792" RevisionGUID="5c0edbf9-e87d-4aa9-b144-28590a1a8bf9" CreationDate="2013-04-04T00:27:17.447" UserId="5903" Text="&#xD;&#xA;I may be cutting some foley (unfortunately no budget for a walker) for a few low budget horror films, so I'm thinking of purchasing The Art of Foley collection from Sound Ideas. It's on sale for something like half off and it looks like it will have everything I need, but I'm really hesitant to spend any money on 16/44.1 effects, even if it is thousands of them. I'm guessing that for foley applications, it should work fine, but does anyone have any experience working with this library?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30448" PostHistoryTypeId="1" PostId="18792" RevisionGUID="5c0edbf9-e87d-4aa9-b144-28590a1a8bf9" CreationDate="2013-04-04T00:27:17.447" UserId="5903" Text="The Art of Foley library" ContentLicense="CC BY-SA 3.0" />
  <row Id="30449" PostHistoryTypeId="3" PostId="18792" RevisionGUID="5c0edbf9-e87d-4aa9-b144-28590a1a8bf9" CreationDate="2013-04-04T00:27:17.447" UserId="5903" Text="&lt;foley-editing&gt;&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30450" PostHistoryTypeId="2" PostId="18793" RevisionGUID="c777e260-9b1a-4f94-a555-7ee3dfd57d2b" CreationDate="2013-04-04T02:39:22.370" UserId="5904" Text="I use it often. No worry about the 16/44.1" ContentLicense="CC BY-SA 3.0" />
  <row Id="30451" PostHistoryTypeId="2" PostId="18794" RevisionGUID="7532ccca-9440-49ca-864d-f482f91fc252" CreationDate="2013-04-04T03:28:53.543" UserId="4442" Text="This guy has a pretty sick Max patch that he has for vocalizations. Check out [Dehumanizer Here.][1] Are there any max users that are able to pick that apart and possibly give some pointers as to how you can make that in reaktor? It looks like it has 4 pitch sliders and some spectral controls. It's hard to tell if the spectral fx are affecting the pitch sliders, or if they're just straight pitch. Even a screenshot of the patch would be cool. Enjoy to those that can use it!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://orfeasboteas.com/dehumaniser/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30452" PostHistoryTypeId="1" PostId="18794" RevisionGUID="7532ccca-9440-49ca-864d-f482f91fc252" CreationDate="2013-04-04T03:28:53.543" UserId="4442" Text="Pretty sick thing for monster vocalization, but I have a question" ContentLicense="CC BY-SA 3.0" />
  <row Id="30453" PostHistoryTypeId="3" PostId="18794" RevisionGUID="7532ccca-9440-49ca-864d-f482f91fc252" CreationDate="2013-04-04T03:28:53.543" UserId="4442" Text="&lt;monster&gt;&lt;voice&gt;&lt;max-msp&gt;&lt;reaktor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30454" PostHistoryTypeId="2" PostId="18795" RevisionGUID="59d2e62d-f93f-4d7d-9c0c-f509f310fd99" CreationDate="2013-04-04T05:38:32.650" UserDisplayName="user49" Text="The answer really depends how long term you are thinking, how simple the site you're wanting to create is, and how often &amp; easily you want to update it... A website is about content so its the means by which you can easily update it that matters most imho.&#xD;&#xA;&#xD;&#xA;I started off using Dreamweaver for a few years but dislike the workflow of updating sites via such environments.... I have used Wordpress ever since, for half a dozen sites, some of which you would be hard pressed to ever know they were based on wordpress, such is the degree of easily customizing them.... The most important aspect of Wordpress is that it requires some work on your side to research to find a theme that is as customizable as you require (I haven't had any of the problems @Internet Human identifies with wordpress)&#xD;&#xA;From then on it is a pleasure to work with, and best of all, it is SIMPLE to update with new content - whether its a portfolio, ecommerce site, blog or whatever....&#xD;&#xA;&#xD;&#xA;If you are considering wordpress, my advice would be don't waste time with free themes - find a premium theme that offers what you need - its not a big cost (US$25-US$50), you're supporting the developer &amp; you have someone to get support from...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30455" PostHistoryTypeId="2" PostId="18796" RevisionGUID="9db83e61-fa83-4475-9d1e-0114834b696a" CreationDate="2013-04-04T07:00:06.137" UserId="1228" Text="It's an all around good (starter) library - while some stuff is canned since it's been around for so long, it has decent variety and there's a few gems in there.  The content is by [Dan O'Connell][1], as well-known for his Foley work as [John Roesch][2].  But like I said, the set's been around for a while so it's slightly dated/canned and doesn't quite have the breadth that many Hard drive/download libraries might offer if there were ones for Foley in the same vain as what the Art of Foley set is all aboout.&#xD;&#xA;&#xD;&#xA;44.1/16 should be fine, never been much of an issue for me.  I also don't find myself doing such drastic pitching of Foley stuff anyways, so it's never been a big deal.&#xD;&#xA;&#xD;&#xA;I believe you may be taking the &quot;quality&quot; thing too literally on this, sounds audiophile-ish to me (as in, scoffing anything less than 96/24).  44.1/16 WAV is stuff good and usable, it's not like we're talking MP3s here.  Many who have spent decades within this industry have amassed custom libraries of stuff that was often recorded in 44.1/16 or 48/16 (stored in SD2 even!) and they still use those same FX elements today, even though they're not &quot;HD&quot;.  They are still sufficient tools to get the job done.  I'm certain they wouldn't NOT use something because it was 44.1 or 48.  Anything below, yes it would be an issue because of the Nyquist limit, but sound elements at 44.1/16 and above is still perfectly applicable to today's technology/standards and in the eyes of any sound professional, fair game to cut with.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/name/nm0640006/&#xD;&#xA;  [2]: http://www.imdb.com/name/nm0736430/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30456" PostHistoryTypeId="2" PostId="18797" RevisionGUID="e8ff9dc0-8fee-4eea-9bdd-743d7160d8a8" CreationDate="2013-04-04T09:31:32.143" UserId="5583" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I'm looking for scenes of helicopter on animated movie or movie. &#xD;&#xA;I would try the synthesis of this. So I need to impregnate the sounds with several scenes, several views, several sounds .....&#xD;&#xA;&#xD;&#xA;Any exemples? Tips?&#xD;&#xA;&#xD;&#xA;Thanks for your help" ContentLicense="CC BY-SA 3.0" />
  <row Id="30457" PostHistoryTypeId="1" PostId="18797" RevisionGUID="e8ff9dc0-8fee-4eea-9bdd-743d7160d8a8" CreationDate="2013-04-04T09:31:32.143" UserId="5583" Text="Scenes of helicopter" ContentLicense="CC BY-SA 3.0" />
  <row Id="30458" PostHistoryTypeId="3" PostId="18797" RevisionGUID="e8ff9dc0-8fee-4eea-9bdd-743d7160d8a8" CreationDate="2013-04-04T09:31:32.143" UserId="5583" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;helicopter&gt;&lt;inspiration&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30459" PostHistoryTypeId="2" PostId="18798" RevisionGUID="7c533196-947d-4e1d-85b4-bb50cc99ca08" CreationDate="2013-04-04T10:23:50.453" UserId="1185" Text="The one that immediately spring to mind is Apocalypse Now.  Walter Murch used helicpotor recordings, but also synthesised elements of helicopter sound. He then mixed between the acoustic and synthesised sounds, particularly in the dream like sequences.  IMO worth a look and evaluation.&#xD;&#xA;&#xD;&#xA;[http://www.salon.com/2000/04/27/murch/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.salon.com/2000/04/27/murch/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30460" PostHistoryTypeId="2" PostId="18799" RevisionGUID="64aebd44-52ef-436e-a406-8ff2a291b3ec" CreationDate="2013-04-04T10:53:05.777" UserId="1185" Text="I don't have time at the moment to download the patch, but looking at the video I think the &quot;simple&quot; implementation is using convolution where different &quot;monster&quot; impulse responses are chosen.  The advanced engine then just adds additional processing.  A bit of research of convolution should point you in the right direction.&#xD;&#xA;&#xD;&#xA;BTW you can also create some good monster vocalisations with a vocoder and animal sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="30464" PostHistoryTypeId="2" PostId="18801" RevisionGUID="19bc49b0-bc20-45c9-8265-b1ba65513bee" CreationDate="2013-04-04T14:03:23.303" UserId="4162" Text="Dear Danny, thank you for your response. I will email you shortly.&#xD;&#xA;Best " ContentLicense="CC BY-SA 3.0" />
  <row Id="30465" PostHistoryTypeId="2" PostId="18802" RevisionGUID="81dc06d2-e482-48cd-bf9c-2b518fc6de61" CreationDate="2013-04-04T15:40:37.893" UserId="3835" Text="Thanks for all the replies. Looks like the majority vote is in favour of Wordpress so i may just have to check it out properly. Thanks for all your replies, SSD is an awesome place." ContentLicense="CC BY-SA 3.0" />
  <row Id="30466" PostHistoryTypeId="2" PostId="18803" RevisionGUID="d2533174-34ac-4763-83cf-4b743578d19d" CreationDate="2013-04-04T15:47:50.090" UserId="3740" Text="Hi Michael,&#xD;&#xA;&#xD;&#xA;Overall its not too bad. However, it feels very thin and empty. Music will help by setting the mood and feel of the situation of course. What you need next is ambience. Some wind cause its outdoors. And then manipulate, time stretch it to further enhance your sound design during the slow motion scenes. Ambience to me is what helps to put the audience in the same location as to what they see on screen. Basically what you've got is the icing on the cake. Try to build up your SFX on a good base of foley, dialogue, music and ambience in your next project. And Kudos to you putting up your video here and getting feedback." ContentLicense="CC BY-SA 3.0" />
  <row Id="30468" PostHistoryTypeId="2" PostId="18805" RevisionGUID="048fd7c8-deaa-4157-ae04-bb597db836bd" CreationDate="2013-04-04T18:27:41.560" UserId="362" Text="I use and highly recommend squarespace. ( My site is jeremyb.com )" ContentLicense="CC BY-SA 3.0" />
  <row Id="30469" PostHistoryTypeId="2" PostId="18806" RevisionGUID="c0f656a8-d698-4740-8deb-e8cd74311697" CreationDate="2013-04-04T19:06:20.540" UserId="730" Text="thanks for sharing this.  very cool!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30470" PostHistoryTypeId="2" PostId="18807" RevisionGUID="d9361f55-53c3-4ff0-af07-0ac00a43b87b" CreationDate="2013-04-04T20:02:28.930" UserId="1185" Text="If it's that good, don't forget to donate.......sound designers have got to earn a living ;-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30471" PostHistoryTypeId="2" PostId="18808" RevisionGUID="20c0fe8c-ab70-4977-9565-7fb2b825d4a2" CreationDate="2013-04-04T20:08:02.773" UserId="6435" Text="I made I have a few, but one that gets used pretty frequently at the moment is a recording of a 12&quot; speaker being fed a 5Hz square wave with a 100 watt amplifier. The mechanics of the speaker cone flapping all over the place and the higher sounds that start to creep in over time give me a great &quot;breakup&quot; layer to lots of different things I have to build. I did it originally to underscore a particularly tense scene in a production of &quot;Buried Child,&quot; and I'm currently using it for some of the big effects at the end of &quot;Angels in America Part One.&quot; But it's also been part of spaceship noises, force fields and a whole bunch of other stuff.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30472" PostHistoryTypeId="2" PostId="18809" RevisionGUID="14fd50d7-72ce-42ce-9ef1-3fb2ec037c49" CreationDate="2013-04-05T00:25:55.093" UserDisplayName="user6513" Text="I use [indexhibit][1] but you need to pick up some CSS coding knowledge along the way. Its not so difficult, just a lot of cutting and pasting. Learning curve was steep for me but I like how I could keep things simple. Didn't quite like any of the wordpress and wix templates. [Cargo Collective][2] is another interesting website creator. At the end of the day, I personally prefer a cleaner, minimalist, less visual kind of site for my works since it's a listening experience that I'm trying to get across.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.indexhibit.org/&#xD;&#xA;  [2]: http://cargocollective.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30473" PostHistoryTypeId="2" PostId="18810" RevisionGUID="0edb2ec8-0cd3-4a3f-8fd4-3988a0754031" CreationDate="2013-04-05T02:16:20.153" UserId="3545" Text="Take a look [HERE][1]&#xD;&#xA;&#xD;&#xA;cheers&#xD;&#xA;&#xD;&#xA;  [1]: http://www.signo-sfx-instruments.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30474" PostHistoryTypeId="2" PostId="18811" RevisionGUID="0bd9ac65-fb0d-4638-a3e0-c12de7a34144" CreationDate="2013-04-05T06:38:52.247" UserId="4358" Text="I am, at present, working on my own website and [THIS][1] guy helped me a lot. He talks step-by-step about how you can make your website using WordPress. &#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=8Jv47_VIBOQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="30475" PostHistoryTypeId="2" PostId="18812" RevisionGUID="4dfa7311-1eef-4a88-bdcf-cfc868947061" CreationDate="2013-04-05T07:15:54.023" UserId="6748" Text="Hi lili&#xD;&#xA;&#xD;&#xA;Sounds for a cool job, helicopters makes fun.&#xD;&#xA;As bit depth said before, try to separate blades from engine. If you need fx for the blades, use a kind of pitched down sword-swishes or whooshes. Try to experiment with the pitch to find something who works. Also helicopters makes some great noise if they are in distant and there is only the low swapping sounds from the blades. Similar than: https://www.soundeffects.ch/soundeffectstracksheet.php?prodid=90026&#xD;&#xA;More helicopter sounds you can find: https://www.soundeffects.ch/soundeffects/sound-effects-categories/sound-effects-helicopter.php&#xD;&#xA;&#xD;&#xA;If you need helicopter sounds, I can make you a package up from $50 to $...&#xD;&#xA;&#xD;&#xA;As an inspiration, the 80 tv series Airwolve came in my mind&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Guido" ContentLicense="CC BY-SA 3.0" />
  <row Id="30476" PostHistoryTypeId="2" PostId="18813" RevisionGUID="a11f38ed-cd93-4ce9-a901-60b55d38275f" CreationDate="2013-04-05T14:27:07.670" UserId="5908" Text="&#xD;&#xA;Hello everyone,&#xD;&#xA;&#xD;&#xA;I am a 3D artist who is undertaking a few independent projects in the area of app development. As such, I am now exploring the world of audio production for the first time.&#xD;&#xA;&#xD;&#xA;The first iterations of my work where I was responsible for all areas of production utilized sounds that were primarily sourced from the Internet along with a few purchased tracks from sound libraries. So far the audio clips I have obtained remain unmodified from the originals although I am starting to delve into the editing phase with help from resources found online.&#xD;&#xA;&#xD;&#xA;In an effort to produce original content, I invested in a TASCAM DR-100 MKII field recorder. The results so far are mixed with a lot of poor recordings along with the occasional happy accident where I nailed the sound effect I had hoped to pick up. I attributed most of the poor results to the recorder's operator, of course. &#xD;&#xA;&#xD;&#xA;Although my work is steadily improving as I experiment with various different placement options, I’m a very long way from producing a personal effects library that compares with that of commercial offerings. Albeit a bit flat sounding, most of my recordings are serviceable however.&#xD;&#xA;&#xD;&#xA;From the outset I left open the possibility of purchasing separate microphones to improve my recordings which is what initially led me toward purchasing that particular TASCAM model and hence, my question(s):&#xD;&#xA;&#xD;&#xA;Will I be served best by purchasing some good quality microphones and learning to produce better recordings with those in tandem with my DR-100 MKII? Or would the absence of a better recording device negate any appreciable gain in quality to be had with external mics?&#xD;&#xA;&#xD;&#xA;My needs focus on achieving realistic sound effects such as footsteps, doors opening and closing, plumbing, vehicle sounds, machinery, ambient noises both indoors and outdoors, etc. I don’t foresee any need to record dialogue at this time.&#xD;&#xA;&#xD;&#xA;Two locations in particular that I have access to for recording are a construction site and a Pratt and Whitney manufacturing plant.&#xD;&#xA;&#xD;&#xA;Assuming I would go with an external microphone, what suggests would you have for a make/model? Anything that would fit in a backpack (ThinkTank Shapshifter) would be a huge bonus.&#xD;&#xA;&#xD;&#xA;As for software, I have Adobe’s Audition, which I am now learning to use. Should I considering looking at anything else?&#xD;&#xA;&#xD;&#xA;My set budget is around $1000 (USD).&#xD;&#xA;&#xD;&#xA;Thanks in advance.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30477" PostHistoryTypeId="1" PostId="18813" RevisionGUID="a11f38ed-cd93-4ce9-a901-60b55d38275f" CreationDate="2013-04-05T14:27:07.670" UserId="5908" Text="Will an external microphone make a tremendous difference in my work?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30478" PostHistoryTypeId="3" PostId="18813" RevisionGUID="a11f38ed-cd93-4ce9-a901-60b55d38275f" CreationDate="2013-04-05T14:27:07.670" UserId="5908" Text="&lt;microphone&gt;&lt;foley&gt;&lt;portable-recorder&gt;&lt;sound-effects-recording&gt;&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30479" PostHistoryTypeId="2" PostId="18814" RevisionGUID="f9da2240-a82d-45b4-9561-d3eb3ebe0ede" CreationDate="2013-04-05T14:50:11.480" UserId="3179" Text="It depends.&#xD;&#xA;&#xD;&#xA;Main concerns in portable recorders and their internal mics:&#xD;&#xA;&#xD;&#xA; - Suboptimal/poor&#xD;&#xA;   signal-to-noise ratio, which may or&#xD;&#xA;   may not lead to recordings with too&#xD;&#xA;   much noise depending on how quiet&#xD;&#xA;   sources you're recording.&#xD;&#xA;&#xD;&#xA; - Limited polar patterns or polar patterns of the wrong type and the general inability to record in mono or spread the capsules apart for a good stereo image.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;You can get &quot;usable&quot; recordings with portable recorders, depending on the sound source and how well you place the recorder, but the aforementioned things are what will cause problems when you'd like to record in a way which is not practical with the portable recorder or with better frequency balance or S/N ratio.&#xD;&#xA;&#xD;&#xA;Not all &quot;external&quot; microphones will offer better sound (because if they're cheap, they can perform poorer than the recorder's internal microphones), but good microphones will offer much more flexibility and better sound quality, at the small expense of having to carry them around and rig them up. I would advise using something in the range of e.g. Rode microphones as the standard for usable and practical recording and leave the internal microphones of portable recorders to other user groups than sound recordists and for the occasional use, where you know what you're getting. It really pays off to get the recordings right, rather than have the gear ruin them or limit what you'd really want to pick up.&#xD;&#xA;&#xD;&#xA;As for software, &quot;everything works&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="30480" PostHistoryTypeId="2" PostId="18815" RevisionGUID="e7587d4e-b43b-4fbe-aaa3-45f077fa2156" CreationDate="2013-04-05T16:42:36.770" UserId="3754" Text="My view, is you can get brilliant SFX from location recording ( although definitely invest in the tascam rode Windjammer ) - however the sounds will be very real. brutally real.&#xD;&#xA;&#xD;&#xA;In order to create something more iconic and stand out,( like app sfx ) you'd need to edit and layer numerous things." ContentLicense="CC BY-SA 3.0" />
  <row Id="30481" PostHistoryTypeId="5" PostId="18815" RevisionGUID="34f341ae-4af1-4664-a617-daa0d25512fc" CreationDate="2013-04-05T18:46:42.040" UserId="3754" Comment="added 275 characters in body" Text="My view, is you can get brilliant SFX from location recording ( although definitely invest in the tascam rode Windjammer ) - however the sounds will be very real. brutally real.&#xD;&#xA;&#xD;&#xA;In order to create something more iconic and stand out,( like app sfx ) you'd need to edit and layer numerous things.&#xD;&#xA;&#xD;&#xA;As an owner of a DR100, and a owner of a posh schoeps, I still think you can get good audio without falling into the better kit obsession. I like the tascam and I think if you learn about location recording and processing after you can get good sounds without an external" ContentLicense="CC BY-SA 3.0" />
  <row Id="30482" PostHistoryTypeId="2" PostId="18816" RevisionGUID="e6cd795b-1463-4e55-a2c6-ba148620395f" CreationDate="2013-04-05T18:59:48.107" UserId="37" Text="You're missing out on a nice opportunity to team up with a sound person here. You can cover twice the area and stick to doing whatever it is you (and they) do best.&#xD;&#xA;&#xD;&#xA;That said, it is possible to get sound effects with just your DR-100. Mind that most of the time a good sound effect has undergone some processing before you find it in a finished product. This can vary from simple cleanup, through EQ, compression, all the way to layering and doing all sorts of other processing (and then layering those in). &#xD;&#xA;&#xD;&#xA;So tl;dr: not necessarily.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30483" PostHistoryTypeId="2" PostId="18817" RevisionGUID="e0318827-68c3-4f73-be90-9785ebf682a7" CreationDate="2013-04-05T19:10:46.240" UserId="18160" Text="Sorry for the short answer, but perspective is key, here.&#xD;&#xA;&#xD;&#xA;Try to get many different perspectives so that the camera cuts are made more interesting and sonically different so that it doesn't sound like a plopped long helicopter sound was thrown in.&#xD;&#xA;&#xD;&#xA;Good examples of wonderful helicopter design:&#xD;&#xA;&#xD;&#xA;A good day to Die Hard (most recent movie - not sure if that is the &quot;official&quot; title or not)&#xD;&#xA;&#xD;&#xA;Mission Impossible 1 (helicopter and train scene at the end)&#xD;&#xA;&#xD;&#xA;Day After Tomorrow (helicopter crash scene, which also on the DVD has a special feature with a breakdown of the stems)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30484" PostHistoryTypeId="5" PostId="18817" RevisionGUID="5425e563-c68c-46be-9633-228030236c1f" CreationDate="2013-04-05T19:16:23.643" UserId="18160" Comment="added 50 characters in body" Text="Sorry for the short answer, but perspective is key, here.&#xD;&#xA;&#xD;&#xA;Try to get many different perspectives so that the camera cuts are made more interesting and sonically different so that it doesn't sound like a plopped long helicopter sound was thrown in.&#xD;&#xA;&#xD;&#xA;Good examples of wonderful helicopter design:&#xD;&#xA;&#xD;&#xA;Black Hawk Down - cliche good helicopter movie&#xD;&#xA;&#xD;&#xA;A good day to Die Hard (most recent movie - not sure if that is the &quot;official&quot; title or not)&#xD;&#xA;&#xD;&#xA;Mission Impossible 1 (helicopter and train scene at the end)&#xD;&#xA;&#xD;&#xA;Day After Tomorrow (helicopter crash scene, which also on the DVD has a special feature with a breakdown of the stems)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30485" PostHistoryTypeId="2" PostId="18818" RevisionGUID="70e19c98-b01d-4042-9b4d-3dd191dabb61" CreationDate="2013-04-05T20:40:04.130" UserId="5854" Text="Hi folks.&#xD;&#xA;&#xD;&#xA;I’m currently writing my dissertation on sound design for animation for my university honours project. I’ve got more than 30000 words would you believe.&#xD;&#xA;&#xD;&#xA;Anyway, in the last chapter which I’m currently writing, I have to compare my sound design to the work of others. I have no idea how to about this, my brain has gone blank and I need some inspiration.&#xD;&#xA;&#xD;&#xA;So my question is, If you had to write about 3 pages comparing a sound design you did for a film or animation to somebody else’s, how would you go about it? What criteria would you choose to compare your work?&#xD;&#xA;&#xD;&#xA;Go for it and brainstorm for me!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30486" PostHistoryTypeId="1" PostId="18818" RevisionGUID="70e19c98-b01d-4042-9b4d-3dd191dabb61" CreationDate="2013-04-05T20:40:04.130" UserId="5854" Text="Comparing your sound design to other peoples'" ContentLicense="CC BY-SA 3.0" />
  <row Id="30487" PostHistoryTypeId="3" PostId="18818" RevisionGUID="70e19c98-b01d-4042-9b4d-3dd191dabb61" CreationDate="2013-04-05T20:40:04.130" UserId="5854" Text="&lt;design&gt;&lt;animation&gt;&lt;honours&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30488" PostHistoryTypeId="2" PostId="18819" RevisionGUID="86d97536-48f0-49e6-81f7-eb19383eb091" CreationDate="2013-04-05T21:09:32.853" UserId="1049" Text="I'd say simply comparing your work to someone else's is a very broad topic. &#xD;&#xA;&#xD;&#xA;The first thing I would do would be to pick a piece of mine from a common genre, or a genre of particular interest to myself, eg. suspense-based horror. I then would choose a few particular films, or sound designers renown for their work in these genres who I gained inspiration from, and start from there.&#xD;&#xA;&#xD;&#xA;Pick apart your own piece, layer by layer, describing what you were thinking and where you drew inspiration from, for each part. Describe your process and methods and continually cross-reference with the 'case study' films and artists you've chosen, discussing how similar things were achieved in these other pieces, eg. particularly effective off-screen effects, use of silence, ambient backgrounds etc.&#xD;&#xA;&#xD;&#xA;You will not be able to discuss everything in each piece, so plan and structure what you intend to write about well. Don't compare *all* of your piece with *all* of another three pieces; simply compare where appropriate: &quot;in scene ABC I left a period of silence because XYZ. A similar technique was used by Joe Bloggs in Horror Movie...&quot; and so on.&#xD;&#xA;&#xD;&#xA;Wrap the whole thing up with a conclusion on your own methods and techniques, and possibly some self-crtitique and thoughts for the future.&#xD;&#xA;&#xD;&#xA;I think it's important to remember, on pieces like this, that there's no real right or wrong answer. As long as you back up your discussion and opinions with plenty of referenced material then you should be safe!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30489" PostHistoryTypeId="5" PostId="18816" RevisionGUID="ae078a7f-c0b3-4bc1-a981-1066ae1348c0" CreationDate="2013-04-05T21:57:54.100" UserId="37" Comment="added 2 characters in body" Text="You're missing out on a nice opportunity to team up with a sound person here. You can cover twice the ground and stick to doing whatever it is you (and they) do best.&#xD;&#xA;&#xD;&#xA;That said, it is possible to get sound effects with just your DR-100. Mind that most of the time a good sound effect has undergone some processing before you find it in a finished product. This can vary from simple cleanup, through EQ, compression, all the way to layering and doing all sorts of other processing (and then layering those in). &#xD;&#xA;&#xD;&#xA;So tl;dr: not necessarily.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30491" PostHistoryTypeId="2" PostId="18821" RevisionGUID="b21752f6-e4de-4b38-b6ca-6edaa2ac32a5" CreationDate="2013-04-06T00:34:15.160" UserId="194" Text="I think you'll get the best results with a litle structure:&#xD;&#xA;&#xD;&#xA;First off, choose a specific work both of your own and of someone else's to compare.  This limits the scope and offers a degree of focus that you won't find elsewhere.  If you try to compare your general style to that of Chris Boyes then you're just going down a rabbit hole.  Put your best work up against a specific work that's in a comprable genre.&#xD;&#xA;&#xD;&#xA;Second, define the things that you'll compare.  You may not have to do this overtly in the paper, but at least have the list in bullet points next to where you're doing the actual writing. Some suggestions:&#xD;&#xA;&#xD;&#xA; - technical proficiency&#xD;&#xA; - non-literal design (elements and moments that don't match picture directly)&#xD;&#xA; - emotional impact&#xD;&#xA; - negative space&#xD;&#xA;&#xD;&#xA;Last, wrap up and critique.  The more honest you are the better.&#xD;&#xA;&#xD;&#xA;my .02" ContentLicense="CC BY-SA 3.0" />
  <row Id="30492" PostHistoryTypeId="2" PostId="18822" RevisionGUID="442dbc10-1bbe-48e2-aabd-e1c787174dcf" CreationDate="2013-04-06T14:04:09.617" UserId="3835" Text="Was already 'stoked' about watching this ;) now im even more excited!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30493" PostHistoryTypeId="10" PostId="15999" RevisionGUID="cd09f9a6-3f0f-4787-8833-d4a361691682" CreationDate="2013-04-06T15:36:55.827" UserDisplayName="user80" Comment="6" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="30494" PostHistoryTypeId="11" PostId="15999" RevisionGUID="8c7d0359-3ef7-4683-b761-3a8f6b287fdb" CreationDate="2013-04-06T15:37:26.373" UserDisplayName="user80" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="30495" PostHistoryTypeId="2" PostId="18823" RevisionGUID="a372b649-ac48-4a03-b4e3-ebbdbdca9220" CreationDate="2013-04-07T00:25:57.883" UserId="5914" Text="I'm just starting on the audio post for a film and was wondering if there was somewhere I could go and look up the different options that people have tried with success to replicate different sounds?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="30496" PostHistoryTypeId="1" PostId="18823" RevisionGUID="a372b649-ac48-4a03-b4e3-ebbdbdca9220" CreationDate="2013-04-07T00:25:57.883" UserId="5914" Text="Is there a foley directory where I can look up tips for making specific sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30497" PostHistoryTypeId="3" PostId="18823" RevisionGUID="a372b649-ac48-4a03-b4e3-ebbdbdca9220" CreationDate="2013-04-07T00:25:57.883" UserId="5914" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30498" PostHistoryTypeId="2" PostId="18824" RevisionGUID="e042749b-30b1-4edf-a34d-9e1c553dff0b" CreationDate="2013-04-07T01:22:11.727" UserId="3179" Text="http://www.epicsound.com/sfx" ContentLicense="CC BY-SA 3.0" />
  <row Id="30499" PostHistoryTypeId="2" PostId="18825" RevisionGUID="0233562e-63ed-4fac-b40d-e37715028da8" CreationDate="2013-04-07T01:48:50.940" UserId="235" Text="This sounds a lot like the libraries I made for Vir2 instruments &quot;Fractured&quot; and &quot;Violence&quot;&#xD;&#xA;http://www.vir2.com/instruments/fractured-prepared-acoustic-guitar&#xD;&#xA;http://www.vir2.com/instruments/violence" ContentLicense="CC BY-SA 3.0" />
  <row Id="30500" PostHistoryTypeId="2" PostId="18826" RevisionGUID="b2d063fd-ede7-46b1-80d5-0141fbb217ad" CreationDate="2013-04-07T10:27:20.893" UserId="3933" Text="I haven't used either of the suggestions, but thought I would chip in my 2 cents...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I would recommend the D series hydrophone from JrF (Jez). Great quality microphone for the price. I don't have one myself (yet) but I have heard and used it in person.&#xD;&#xA;&#xD;&#xA;http://hydrophones.blogspot.co.uk/2011/05/c-series-pro-hydrophones-new-addition.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;While your at it get a C series contact microphone too, I have one and they are amazing. Chris Watson (sound recordist for many BBC wildlife programs) swears by them." ContentLicense="CC BY-SA 3.0" />
  <row Id="30501" PostHistoryTypeId="2" PostId="18827" RevisionGUID="1d927ca9-2dd7-4f98-ae4b-bad3678d9ce1" CreationDate="2013-04-07T16:00:41.757" UserId="4390" Text="Codecademy is not bad, but some of the lessons have problems with the online interpreter not working real well. Well, I had problems with the Python course anyway. Just a heads up." ContentLicense="CC BY-SA 3.0" />
  <row Id="30502" PostHistoryTypeId="2" PostId="18828" RevisionGUID="226787f1-3e87-470d-9716-88d98abd389a" CreationDate="2013-04-07T18:14:35.880" UserId="6411" Text="While I think Alex has the right answer to your specific problem, the pencil tool is also wonky on any region that has any amount of clip gain. Clear or render the clip gain, pencil out your problems, then adjust clip gain as needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="30503" PostHistoryTypeId="2" PostId="18829" RevisionGUID="93df0d32-4454-4f6f-aff6-b840f3540a02" CreationDate="2013-04-07T18:43:29.037" UserId="5860" Text="I'm looking for academic papers on the subject of film sound and sound design. Does anyone know of any good online resources for such things?&#xD;&#xA;&#xD;&#xA;I'm a masters student and I'm basically just looking for inspiration at this point so the topic can be almost anything. Any suggestions of particular papers or essays would be greatly appreciated. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="30504" PostHistoryTypeId="1" PostId="18829" RevisionGUID="93df0d32-4454-4f6f-aff6-b840f3540a02" CreationDate="2013-04-07T18:43:29.037" UserId="5860" Text="Academic Papers" ContentLicense="CC BY-SA 3.0" />
  <row Id="30505" PostHistoryTypeId="3" PostId="18829" RevisionGUID="93df0d32-4454-4f6f-aff6-b840f3540a02" CreationDate="2013-04-07T18:43:29.037" UserId="5860" Text="&lt;academic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30506" PostHistoryTypeId="2" PostId="18830" RevisionGUID="1a31382d-85ab-478a-bc2c-d2fab36693b6" CreationDate="2013-04-07T19:45:12.100" UserId="3179" Text="http://socialsounddesign.com/questions/12878/interesting-sound-journals&lt;br&gt;&#xD;&#xA;http://www.soundstudies.eu/journals/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30507" PostHistoryTypeId="2" PostId="18831" RevisionGUID="3fab659e-872a-4fc2-af39-36a92b4be055" CreationDate="2013-04-07T22:00:20.933" UserId="135" Text="I'm not so agree with some comments, because they are mainly based on the uniqueness of the work of the sound designer. And it's not true, even if we would like to.&#xD;&#xA;&#xD;&#xA;Sound design is not different from graphic design or UX design or others branches of modern works, so there are always some techniques which can be used to measure effectiveness and also efficiency of your production.&#xD;&#xA;&#xD;&#xA;When you create something (a sound, a logo, etc.), you create that something for a group of people (the target) with a precise goal (in the case of sound: to convey an emotion). &#xD;&#xA;&#xD;&#xA;Surely the first stage is the &quot;instincts, aesthetics, taste &amp; experience&quot; of the sound professional himself/herself, who builds a solid ground. But a second step is optimising, that's to say moving to the goal direction, thanks to the feedback of someone else, who must be external and give judges on what he/she is listening and the feeling. He/she could be a director, a coworker, a skateholder, a tester, a listener chosen carefully among the ones in the group of targets people.&#xD;&#xA;&#xD;&#xA;I know that this is not so common in the sound field, but I guess that many from UX design and Product design techniques should be derived and applied here. In some cases they are called usability tests or focus groups, but the goal is the same: to have feedback by targeted people in order to figure out the right direction of a product.&#xD;&#xA;&#xD;&#xA;Professionals working in the Audio Branding field are experimenting with this now and I guess this is a very important direction. Did you ever read something fromt he work of Charles Spence? You should google it.&#xD;&#xA;&#xD;&#xA;As you can understand, I' very interested in this topic because just in these days I'm studying and planning an experiment to measure effectiveness with music." ContentLicense="CC BY-SA 3.0" />
  <row Id="30509" PostHistoryTypeId="2" PostId="18832" RevisionGUID="7555221d-89a3-42de-9277-97b9c714dda2" CreationDate="2013-04-07T23:50:56.200" UserId="5915" Text="NHL standard is 10 Crown PLL160 mics around the rink.   blue lines on both sides, red lines on both sides, and behind each goal.   Some A1's spec two mics mounted a pane or two apart behind the goal for a bit of a stereo image.    Add to that an x-y pair of short shotguns for crowd mounted up high in the arena and that's how most NHL broadcasts are mic'd" ContentLicense="CC BY-SA 3.0" />
  <row Id="30510" PostHistoryTypeId="2" PostId="18833" RevisionGUID="299f04b2-f458-4669-a0df-390ba28da197" CreationDate="2013-04-08T01:56:46.177" UserId="5624" Text="I recently purchased a pair of H2a's and have been loving them so far. I haven't had a huge amount of time to experiment but from what I've done so far i'm loving the sound, especially for the price." ContentLicense="CC BY-SA 3.0" />
  <row Id="30511" PostHistoryTypeId="2" PostId="18834" RevisionGUID="2ed02f97-0061-4b07-9a58-897900cd453f" CreationDate="2013-04-08T08:09:46.940" UserId="1014" Text="I used to have a pair of KRK VXT6 and i've noticed that everything sounds too good on them.. so I replaced them with a pair of Dynaudio BM15A, which are massive in both sound and size :D&#xD;&#xA;&#xD;&#xA;They are very far from your budget, so I can suggest you Adam A7X (which I use on my synthesis classroom). Perfect response, even on low end.&#xD;&#xA;&#xD;&#xA;Bests,&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="30512" PostHistoryTypeId="2" PostId="18835" RevisionGUID="44c9da97-936c-4195-8cfb-23e78586a7c2" CreationDate="2013-04-08T15:36:47.967" UserId="6432" Text="You may also enjoy [Metaphysical function][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.native-instruments.com/index.php?id=userlibrary&amp;L=1&amp;type=0&amp;ulbr=1&amp;plview=detail&amp;patchid=9575" ContentLicense="CC BY-SA 3.0" />
  <row Id="30513" PostHistoryTypeId="2" PostId="18836" RevisionGUID="9a50a237-00dc-408a-8ec7-7a0dc8ace349" CreationDate="2013-04-08T15:54:09.713" UserId="310" Text="You can use **free** alternative of Max/MSP (mentioned by Joel Corriveau) called Pd (Pure Data - http://puredata.info) " ContentLicense="CC BY-SA 3.0" />
  <row Id="30514" PostHistoryTypeId="2" PostId="18837" RevisionGUID="593f2f22-3efa-42ec-b962-d0aa1a6b9eaf" CreationDate="2013-04-08T16:03:41.837" UserId="5916" Text="has anyone got a simple solution on how to take the signal from the ADC (inbuilt microphone) and have the signal trigger a sample in Max MSP?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30515" PostHistoryTypeId="1" PostId="18837" RevisionGUID="593f2f22-3efa-42ec-b962-d0aa1a6b9eaf" CreationDate="2013-04-08T16:03:41.837" UserId="5916" Text="Max MSP ADC to trigger samples" ContentLicense="CC BY-SA 3.0" />
  <row Id="30516" PostHistoryTypeId="3" PostId="18837" RevisionGUID="593f2f22-3efa-42ec-b962-d0aa1a6b9eaf" CreationDate="2013-04-08T16:03:41.837" UserId="5916" Text="&lt;max-msp&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30517" PostHistoryTypeId="2" PostId="18838" RevisionGUID="da07a336-ed68-4e57-9d04-f117205480d0" CreationDate="2013-04-08T16:59:07.117" UserId="4332" Text="One way to approach this could be to use the meter~ object attached to a float and use an if statement to send a bang that would trigger a clip when it exceeds a certain level." ContentLicense="CC BY-SA 3.0" />
  <row Id="30518" PostHistoryTypeId="2" PostId="18839" RevisionGUID="985f6042-db33-400e-9722-2a4f4ad5b1e9" CreationDate="2013-04-08T21:04:31.143" UserId="4259" Text="I literally JUST got PT10. Doh! Looks like 64 bit is the big change. Anyone considering making the switch?&#xD;&#xA;&#xD;&#xA;[link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://apps.avid.com/protools11/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30519" PostHistoryTypeId="1" PostId="18839" RevisionGUID="985f6042-db33-400e-9722-2a4f4ad5b1e9" CreationDate="2013-04-08T21:04:31.143" UserId="4259" Text="Pro Tools 11 here already?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30520" PostHistoryTypeId="3" PostId="18839" RevisionGUID="985f6042-db33-400e-9722-2a4f4ad5b1e9" CreationDate="2013-04-08T21:04:31.143" UserId="4259" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30521" PostHistoryTypeId="2" PostId="18840" RevisionGUID="dca13f25-6c84-4b0a-990d-a3e7cb2ab9e4" CreationDate="2013-04-08T21:09:35.840" UserDisplayName="user49" Text="No rush - ProTools vX.0 is always buggy/semi stable....&#xD;&#xA;&#xD;&#xA;and this sucks:&#xD;&#xA;apparently PT11 is only stereo, if you want multichannel you have to upgrade to PT11HD&#xD;&#xA;and there is no COMPLETE Toolkit anymore... &amp; cost of CPTK to 11HD upgrade is 999$!?!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30522" PostHistoryTypeId="2" PostId="18841" RevisionGUID="c725bb2b-3fc9-4eaf-bfad-db287d222259" CreationDate="2013-04-08T22:52:20.647" UserId="3835" Text="Just quickly made a patch. Hope this helps.&#xD;&#xA;&#xD;&#xA;DL @&#xD;&#xA;&#xD;&#xA;https://www.dropbox.com/s/7skelt7rulb4avg/MSP%20ADC%20Trigger.maxpat" ContentLicense="CC BY-SA 3.0" />
  <row Id="30523" PostHistoryTypeId="2" PostId="18842" RevisionGUID="470a27c9-006a-482a-81b7-60376e8afc98" CreationDate="2013-04-09T00:32:55.150" UserId="5824" Text="Was also going to say what powblock said." ContentLicense="CC BY-SA 3.0" />
  <row Id="30524" PostHistoryTypeId="2" PostId="18843" RevisionGUID="0242c447-4acf-43e0-92e7-854610a05c5e" CreationDate="2013-04-09T05:17:58.527" UserId="5918" Text="Hi there, &#xD;&#xA;I am wondering how the fight sound effects are designed? Are they played using the midi keyboards using the VSTi's? &#xD;&#xA;please tell me all the possible ways of how they are made. Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30525" PostHistoryTypeId="1" PostId="18843" RevisionGUID="0242c447-4acf-43e0-92e7-854610a05c5e" CreationDate="2013-04-09T05:17:58.527" UserId="5918" Text="Fighting sound effects" ContentLicense="CC BY-SA 3.0" />
  <row Id="30526" PostHistoryTypeId="3" PostId="18843" RevisionGUID="0242c447-4acf-43e0-92e7-854610a05c5e" CreationDate="2013-04-09T05:17:58.527" UserId="5918" Text="&lt;handheld&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30527" PostHistoryTypeId="2" PostId="18844" RevisionGUID="19ff1e28-5558-40e6-9b16-9842aa3c57a1" CreationDate="2013-04-09T07:22:51.390" UserId="1228" Text="Personally, I find that creature vocals are one of the most challenging things to creature.  Alexandre is on the same path I would like to touch on, however maybe elaborate a little further.&#xD;&#xA;&#xD;&#xA;To me, creature vocals boil down to two specific, but broad concepts - that of dialogue editorial, and that of vehicle sound effects editorials:&#xD;&#xA;&#xD;&#xA;- When it comes down to the essence of a creature vocal I find that I have to dissociate it from being a sound effect event And instead look at it as a dialogue event - instead of being English, it's just gibberish.  The thing about dialogue editorial experience is that it develops one's hearing sensitivity toward the nuances of the voice which most of us take for granted.  Nuances like cadence, inflection, rhythm and so forth.  This all converge on the term 'emotion', because each of these characteristics, among others as well, serve as a vocal body language to express to our peers what we're feeling.  The challenge is figuring out how to lift the emotive abstract from spoken language and imprint that onto a combination of sound effects to create a voice.  The tranlation is not an easy one, but this is where I believe having background experience in dialogue is key - because it has taught you how to properly critique the voice in abstract (as in, critiquing and analyzing the 'sound' of the voice, not the 'content' of what's being spoken).&#xD;&#xA;&#xD;&#xA;- Now what could creature vocals have to do with vehicles?  Vehicles are a precision process.  it's all about using the right combination of source, but careful to not create a &quot;doubling up' of multiple engine types (so as to ensure the engine sounds as if it's a singular unit), and blending in and out of multiple source files at the correct pitch cross point so the move is fluid.  This is what I find applies to successful creature vocals.  The difference between 'blurry' creature vocal elements versus those which have had great care taken to their alignment a la a car engine edit is a night and day difference.  The difference is that when all of these vox elements are careful working together as one unit, the vox feels to us as being a believable organic entity which is emotively expressive.  It doesn't mean all elements of a growl should be aligned perfectly, but understanding the cadence of a growl - the pitch arc and roll from throat at the top to guttural at the tail (just one example).  So much like cutting vehicle engine rev out and away, it's about selecting the right combination of elements which blend to create this arc, but have the illusion of being one sound&#xD;&#xA;&#xD;&#xA;When it eventually comes to cutting these emotive creature situations, this is where the dialogue background comes in - by knowing what the abstract emotive quality is that you want to express, knowing through dialogue editorial experience how this emotive quality is imparted through dialogue/vocals, and thus being able to analyze source material to find what intuitively feels right.  Sometimes you can find some stuff which hits the emotion on the nose, other times you may spend a few hours throwing things at the wall to see what sticks.  Sometimes even, you have all the right elements, but all it takes is some careful nudging to hit that suite spot where they marry perfectly.  And this building part is where I feel dialogue further comes in - being able to listen to what you've cut, and think in terms the rhythm of breathing, whether this particular moment is missing a vowel like roundish element, whether the growls sound great but stale (because maybe we need some air-like larynx texture just to help glue the percussive/vocal elements together to give it a natural air-moving vocal chord quality).  Basically, being able to do a mental spectral break down your final sound in your minds eye into the parts you think you need to achieve it (air, throat, chest, etc).&#xD;&#xA;&#xD;&#xA;So I believe dialogue editorial experience will help you to analyze vocal emotion in the abstract, and vehicle experience will help you to be able to articulate these emotive abstracts into a final creature voice.&#xD;&#xA;&#xD;&#xA;Just my 2 cents." ContentLicense="CC BY-SA 3.0" />
  <row Id="30528" PostHistoryTypeId="5" PostId="18844" RevisionGUID="6b018490-17cc-4813-933b-743158508598" CreationDate="2013-04-09T07:29:24.087" UserId="1228" Comment="added 705 characters in body" Text="Personally, I find that creature vocals are one of the most challenging things to creature.  Alexandre is on the same path I would like to touch on, however maybe elaborate a little further.&#xD;&#xA;&#xD;&#xA;To me, creature vocals boil down to two specific, but broad concepts - that of dialogue editorial, and that of vehicle sound effects editorials:&#xD;&#xA;&#xD;&#xA;- When it comes down to the essence of a creature vocal I find that I have to dissociate it from being a sound effect event And instead look at it as a dialogue event - instead of being English, it's just gibberish.  The thing about dialogue editorial experience is that it develops one's hearing sensitivity toward the nuances of the voice which most of us take for granted.  Nuances like cadence, inflection, rhythm and so forth.  This all converge on the term 'emotion', because each of these characteristics, among others as well, serve as a vocal body language to express to our peers what we're feeling (such as downward pitch for sadness often, abruptness for surprise, wheezing for pain or strain, and so on).  The challenge is figuring out how to lift the emotive abstract from spoken language and imprint that onto a combination of sound effects to create a voice.  The translation is not an easy one, but this is where I believe having background experience in dialogue is key - because it has taught you how to properly critique the voice in abstract (as in, critiquing and analyzing the 'sound' of the voice, not the 'content' of what's being spoken).&#xD;&#xA;&#xD;&#xA;- Now what could creature vocals have to do with vehicles?  Vehicles are a precision process.  it's all about using the right combination of source, but careful to not create a &quot;doubling up' of multiple engine types (so as to ensure the engine sounds as if it's a singular unit), and blending in and out of multiple source files at the correct pitch cross point so the move is fluid.  This is what I find applies to successful creature vocals.  The difference between 'blurry' creature vocal elements versus those which have had great care taken to their alignment a la a car engine edit is a night and day difference.  The difference is that when all of these vox elements are careful working together as one unit, the vox feels to us as being a believable organic entity which is emotively expressive.  It doesn't mean all elements of a growl should be aligned perfectly, but understanding the cadence of a growl - the pitch arc and roll from throat at the top to guttural at the tail (just one example).  So much like cutting vehicle engine rev out and away, it's about selecting the right combination of elements which blend to create this arc, but have the illusion of being one sound&#xD;&#xA;&#xD;&#xA;When it eventually comes to cutting these emotive creature situations, this is where the dialogue background comes in - by knowing what the abstract emotive quality is that you want to express, knowing through dialogue editorial experience how this emotive quality is imparted through dialogue/vocals, and thus being able to analyze source material to find what intuitively feels right.  Sometimes you can find some stuff which hits the emotion on the nose, other times you may spend a few hours throwing things at the wall to see what sticks.  Sometimes even, you have all the right elements, but all it takes is some careful nudging to hit that suite spot where they marry perfectly.  For me, I work intuitively on this stuff in terms of the actual building - trying to reach that point where I'm connecting with what I'm hearing like sharing in the pain I feel for this creature whose dying and choking/growling lightly in the process.  Sort of like cutting a fight - you try to build up your elements so that what you're hearing in the edit feels like it's hitting you square in the chest.  Same sort of idea for creature vocals - when you find yourself beginning to empathize with what your hearing, you're beginning to give that abstract emotive a grounded, sonic identity.&#xD;&#xA;&#xD;&#xA;And this building part is where I feel dialogue further comes in - being able to listen to what you've cut, and think in terms the rhythm of breathing, whether this particular moment is missing a vowel like roundish element, whether the growls sound great but stale (because maybe we need some air-like larynx texture just to help glue the percussive/vocal elements together to give it a natural air-moving vocal chord quality).  Basically, being able to do a mental spectral break down your final sound in your minds eye into the parts you think you need to achieve it (air, throat, chest, etc).&#xD;&#xA;&#xD;&#xA;So I believe dialogue editorial experience will help you to analyze vocal emotion in the abstract, and vehicle experience will help you to be able to articulate these emotive abstracts into a final creature voice.&#xD;&#xA;&#xD;&#xA;Just my 2 cents." ContentLicense="CC BY-SA 3.0" />
  <row Id="30529" PostHistoryTypeId="2" PostId="18845" RevisionGUID="cb551b65-fbc9-4cec-bb94-3a2c4ce975b1" CreationDate="2013-04-09T10:39:12.483" UserId="5583" Text="Hello,&#xD;&#xA;&#xD;&#xA;Thanks for all. Your examples are great. So I found what I wanted. Many scenes with different views and sounds. &#xD;&#xA;That's true that for a good chase with helicopter, we have to have sounds very differents to each plans. &#xD;&#xA;So I have the intention to use synthetic sounds and real sounds, as Apocalypse now. &#xD;&#xA;&#xD;&#xA;Thanks for your help&#xD;&#xA;&#xD;&#xA;Lili&#xD;&#xA;&#xD;&#xA;Ps: sorry for my bad english" ContentLicense="CC BY-SA 3.0" />
  <row Id="30530" PostHistoryTypeId="2" PostId="18846" RevisionGUID="28caab1e-da0c-480f-8e57-8437b7deee7c" CreationDate="2013-04-09T11:17:36.750" UserId="3567" Text="Fight sounds are recorded, not synthesized. Here's a library I just purchased and would recommend:&#xD;&#xA;&#xD;&#xA;http://www.boomlibrary.com/boomlibrary/products/close-combat" ContentLicense="CC BY-SA 3.0" />
  <row Id="30531" PostHistoryTypeId="2" PostId="18847" RevisionGUID="21341d81-b0ab-44aa-bf7b-352fb4f58034" CreationDate="2013-04-09T12:30:57.427" UserId="1185" Text="Maybe if you give a bit more detail of what you are trying to achieve, you'll get more responses.  What kind of fight scene is it? (Fist, kick, boxing, gun, sword, sword, etc.)  What kind of results are you after?  Also if you use the search/tags you should be able to find some good information.  For example:&#xD;&#xA;&#xD;&#xA;[http://socialsounddesign.com/questions/14007/sounds-for-killing-people-chainsaw-and-hammer/][1]&#xD;&#xA;[http://socialsounddesign.com/questions/3127/body-falls-punches-and-the-like][2]&#xD;&#xA;[http://socialsounddesign.com/questions/12408/boxing-fight-sound-design][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/14007/sounds-for-killing-people-chainsaw-and-hammer/&#xD;&#xA;  [2]: http://socialsounddesign.com/questions/3127/body-falls-punches-and-the-like&#xD;&#xA;  [3]: http://socialsounddesign.com/questions/12408/boxing-fight-sound-design" ContentLicense="CC BY-SA 3.0" />
  <row Id="30532" PostHistoryTypeId="2" PostId="18848" RevisionGUID="cc323d3b-a71c-4c13-8506-76eee937c4ed" CreationDate="2013-04-09T13:29:02.413" UserId="993" Text="Also take a look at the video from Tonstrum &quot;The Fight&quot; library - it gives a lot of great visual examples of how they produced some solid source material.&#xD;&#xA;http://vimeo.com/63106064" ContentLicense="CC BY-SA 3.0" />
  <row Id="30533" PostHistoryTypeId="2" PostId="18849" RevisionGUID="f9e81c5b-110d-442f-a8f6-197257b2769e" CreationDate="2013-04-09T13:32:39.967" UserId="993" Text="That Epic Sound link is gold! Ric Vier's book The Sound Effects Bible is worth a read too. It cover a lot of technique, as well as a good few pages on suggested solutions for common effects.&#xD;&#xA;http://www.ricviers.com/#!sound-effects-bible/cukm" ContentLicense="CC BY-SA 3.0" />
  <row Id="30538" PostHistoryTypeId="2" PostId="18851" RevisionGUID="29b3659f-8124-4b28-bd87-c613c87b8e39" CreationDate="2013-04-09T15:35:28.037" UserId="5918" Text="Hand to hand Fight scenes mostly. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30539" PostHistoryTypeId="2" PostId="18852" RevisionGUID="ef8a0ecf-3e46-44cb-ba3c-3bac4036ab56" CreationDate="2013-04-09T16:46:39.160" UserId="5920" Text="S.H.A.F.T.E.D. For those of us who own Pro Tools and the CPTK 2, we now have to spend a huge amount of money AGAIN to re-purchase the features we have already paid $2000 for. Ludicrous. Not only that, it's also 40% more for our upgrade than anyone else will be paying, just to keep the same feature set. The reason we bought the CPTK 2 is because we can't afford to spring for the high end HD set-up's like the big facilities so the vastly higher upgrade price for all of us freelance/home based Pro Tools users seems really unfair. I would happily pay the $599 for the HD upgrade seeing as that is essentially the system we are upgrading from but to add another $400 on top of that just seems a bit greedy. Anyone from Avid care to comment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30540" PostHistoryTypeId="2" PostId="18853" RevisionGUID="84de87ac-387e-4c30-bd90-b88014de6d59" CreationDate="2013-04-09T20:37:28.360" UserId="5853" Text="To get the sense of movement from the helicopter (if you are using synthesized sounds, they will probably start out feeling motionless) adding doppler effects can be really fun!  There are various plugins that can do this including at least one for free:&#xD;&#xA;&#xD;&#xA;http://www.vst4free.com/free_vst.php?plugin=ADopplerEn&amp;id=517&#xD;&#xA;&#xD;&#xA;I have heard helicopter sounds made from a noise source and an automated filter producing that distinctive envelope...not as realistic an effect on its own but can be cool sounding.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="30541" PostHistoryTypeId="2" PostId="18854" RevisionGUID="64ee3fdc-2330-4def-b1d3-6e9efd0695cb" CreationDate="2013-04-09T21:45:22.480" UserId="5921" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am wondering if anyone has any tips on how to create nice &quot;natural&quot; sounding low end impact/thud type sounds to use as all purpose sweetener layers in impacts and so forth. &#xD;&#xA;&#xD;&#xA;I have had some success with processed kickdrums and various bits from sound libraries but would love some ideas on how to create more of my own.&#xD;&#xA;&#xD;&#xA;I heard one technique some people did is to bury a mic in the ground then jump on it, this sounds like it would give some good results, what kind of mic would you use for that? Contact mic?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30542" PostHistoryTypeId="1" PostId="18854" RevisionGUID="64ee3fdc-2330-4def-b1d3-6e9efd0695cb" CreationDate="2013-04-09T21:45:22.480" UserId="5921" Text="Low end impacts/thuds" ContentLicense="CC BY-SA 3.0" />
  <row Id="30543" PostHistoryTypeId="3" PostId="18854" RevisionGUID="64ee3fdc-2330-4def-b1d3-6e9efd0695cb" CreationDate="2013-04-09T21:45:22.480" UserId="5921" Text="&lt;bass&gt;&lt;thud&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30544" PostHistoryTypeId="2" PostId="18855" RevisionGUID="649716c2-a00d-4737-8152-d30350d5a46f" CreationDate="2013-04-09T22:14:37.010" UserId="6420" Text="I'd be wary with processing too much low end stuff and layering lots of similar sounding stuff together as it can get very muddy and undefined very quickly. Keep it fairly simple with the tracklaying, perhaps add some sine wave stuff at a very low frequency in there. You might get more useful stuff using a something like a dynamic/condenser mic than a contact mic? Try sticking a D112 in the dirt and seeing what success you get with that ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30545" PostHistoryTypeId="2" PostId="18856" RevisionGUID="67cd7cf3-28a8-45eb-b97e-ddfc312940ca" CreationDate="2013-04-09T22:21:15.273" UserId="6420" Text="Came across http://www.ruyasonic.com/sfx_catalog.htm recently. Some good general sfx info there seeing as its based on radio drama mainly!&#xD;&#xA;http://www.ruyasonic.com/sfx_closet.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="30546" PostHistoryTypeId="2" PostId="18857" RevisionGUID="8e57a3d4-4562-46f1-a164-a882a6b5a4fc" CreationDate="2013-04-10T01:32:45.423" UserId="6532" Text="While I understand some of the complaints about pricing, I think it is important to keep in mind that this is a huge upgrade -- potentially the biggest one ever. Contrary to popular belief, 64-bit is not the biggest change; among other things, Avid completely rewrote the entire audio engine (goodbye DAE) and finally ditched QuickTime in favor of the new Avid Video Engine. Add to that new features such as dynamic host processing (which can save a lot of resources especially with checkerboarding) and offline bouncing (which, granted, most DAWs have had for years), and you realize that we're essentially looking at a completely different Pro Tools under the hood. I can't even begin to imagine how much that cost in R&amp;D." ContentLicense="CC BY-SA 3.0" />
  <row Id="30547" PostHistoryTypeId="2" PostId="18858" RevisionGUID="b8f6c891-7cf2-4bd4-97f4-54492ff3895a" CreationDate="2013-04-10T02:52:54.607" UserId="4442" Text="Andy is right on most of those accounts. One of the tricks I like is the Sub Generator. Have a sine wave tone generator and a noise gate on the same channel strip, and side chain whatever you want to be beefed up into the noise gate. When your sound plays, it will open the gate allowing the looow sine wave through." ContentLicense="CC BY-SA 3.0" />
  <row Id="30549" PostHistoryTypeId="2" PostId="18860" RevisionGUID="a94f1409-5554-4d8d-bdc4-590757c18abe" CreationDate="2013-04-10T06:23:03.653" UserId="5605" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;I've ran into a bit of trouble. I have 20-minute clips of the film I'm working on, exported by the director (who is also the picture editor). I've also got audio separated on 3 tracks, again directly exported from Vegas.&#xD;&#xA;&#xD;&#xA;Now, what happens is that they don't match up perfectly. I've tried looking at it in both Pro Tools and Reaper, the result is baffling.&#xD;&#xA;&#xD;&#xA;In Reaper, the audio track is shorter than the video+audio track (Reaper combines video + audio on 1 track).&#xD;&#xA;&#xD;&#xA;In Pro Tools, which puts the original's audio on a separate track, the original audio is far longer than the video, while the exported audio is shorter than the video.&#xD;&#xA;What's happening here? It's an MP4 file, 25 frames per sec.&#xD;&#xA;&#xD;&#xA;Here's a screenshot in PT: &#xD;&#xA;https://dl.dropbox.com/u/48858350/len/video-len.png &#xD;&#xA;&#xD;&#xA;Here's a screenshot in REAPER: &#xD;&#xA;https://dl.dropbox.com/u/48858350/len/video-length.JPG&#xD;&#xA;&#xD;&#xA;This is what GSpot has to say about the video file: https://dl.dropbox.com/u/48858350/len/gspot.PNG&#xD;&#xA; &#xD;&#xA;My sample rate matches up, all files are 48 kHz. The sessions I'm importing in are 48 kHz. I've tried playing with Pro Tools Pull up/down setting, seems like it's not that.&#xD;&#xA;&#xD;&#xA;I'm stumped! Could it be some kind of encoding problem on the director's side?&#xD;&#xA;&#xD;&#xA;Thanks, I appreciate your time and help a lot!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30550" PostHistoryTypeId="1" PostId="18860" RevisionGUID="a94f1409-5554-4d8d-bdc4-590757c18abe" CreationDate="2013-04-10T06:23:03.653" UserId="5605" Text="Audio length and video length don't match up?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30551" PostHistoryTypeId="3" PostId="18860" RevisionGUID="a94f1409-5554-4d8d-bdc4-590757c18abe" CreationDate="2013-04-10T06:23:03.653" UserId="5605" Text="&lt;sync&gt;&lt;problems&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30552" PostHistoryTypeId="2" PostId="18861" RevisionGUID="ed994f10-1848-418f-b682-8d048c299b13" CreationDate="2013-04-10T07:26:49.737" UserDisplayName="user49" Text="subharmonic synth, &#xD;&#xA;either the outboard dbx120 or the LowEnder plugin" ContentLicense="CC BY-SA 3.0" />
  <row Id="30553" PostHistoryTypeId="2" PostId="18862" RevisionGUID="d78314b3-77f5-4f96-a893-7e6504014655" CreationDate="2013-04-10T08:22:58.937" UserId="5654" Text="I've been using the Beyerdynamic MC930's (for nature recordings) into a SD664.  I've never had to use anything but the standard stock windscreens it comes with.  Considering the BBG if I come into problems in the future.  Very underrated mics.  I use them in both XY and ORTF config." ContentLicense="CC BY-SA 3.0" />
  <row Id="30554" PostHistoryTypeId="2" PostId="18863" RevisionGUID="c7777518-b77a-4525-945c-3740c1a360fe" CreationDate="2013-04-10T09:00:23.697" UserId="1185" Text="The strap line of Avid's own [press release][1] is &quot;Sets New Standard for Audio Production&quot;.  I don't mean to sound cynical, but reading the feature list there is nothing new here that is not already available from other vendors.  Even when it comes to the supposed performance increase they are very vague, stating &quot;Delivers multiple times the processing power of Pro Tools 10 on the same hardware configurations.&quot;  What is the multiple? x1.1? x1.2? x1.3? etc.  Has anyone seen any precise performance figures?&#xD;&#xA;&#xD;&#xA;Given the cost of upgrading again (less than 8 months since we upgraded to 10) we will be looking at alternative vendors.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/US/press-room/Avid-Pro-Tools-11-Sets-New-Standard-for-Audio-Production" ContentLicense="CC BY-SA 3.0" />
  <row Id="30556" PostHistoryTypeId="2" PostId="18865" RevisionGUID="3fdc8184-92b0-41ad-8581-59261cf1bdf2" CreationDate="2013-04-10T12:04:26.550" UserId="5923" Text="Thank you!!!!&#xD;&#xA;&#xD;&#xA;This is very helpful.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30557" PostHistoryTypeId="2" PostId="18866" RevisionGUID="a87589d2-e55b-457b-b977-18acf9129edc" CreationDate="2013-04-10T12:24:27.370" UserId="5924" Text="I use Neumann km 184 with very good results." ContentLicense="CC BY-SA 3.0" />
  <row Id="30558" PostHistoryTypeId="2" PostId="18867" RevisionGUID="09142424-fca9-4f70-bcf8-5208633d255d" CreationDate="2013-04-10T13:18:53.863" UserId="4442" Text="Anyone have any idea what their workflow is like? I would LOVE to just see a dissection of like, a single patch even just to see how much of it is straight audio, how much is script, whatever. Would be so insightful." ContentLicense="CC BY-SA 3.0" />
  <row Id="30559" PostHistoryTypeId="1" PostId="18867" RevisionGUID="09142424-fca9-4f70-bcf8-5208633d255d" CreationDate="2013-04-10T13:18:53.863" UserId="4442" Text="Heavyocity evolve sound design" ContentLicense="CC BY-SA 3.0" />
  <row Id="30560" PostHistoryTypeId="3" PostId="18867" RevisionGUID="09142424-fca9-4f70-bcf8-5208633d255d" CreationDate="2013-04-10T13:18:53.863" UserId="4442" Text="&lt;sampling&gt;&lt;kontakt&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30561" PostHistoryTypeId="5" PostId="18867" RevisionGUID="1aebf2b1-5b58-4699-9d82-c03fcafa9027" CreationDate="2013-04-10T15:39:46.200" UserId="4442" Comment="clarity" Text="Anyone have any idea what their workflow is like? I would LOVE to just see a dissection of like, a single patch even just to see how much of it is straight audio, how much is script, whatever. Would be so insightful.&#xD;&#xA;&#xD;&#xA;EDIT: I was more just talking about how they make their source stuff, if I was unclear." ContentLicense="CC BY-SA 3.0" />
  <row Id="30562" PostHistoryTypeId="2" PostId="18868" RevisionGUID="7ea9df21-79d1-49b5-bf5b-22bcc546111e" CreationDate="2013-04-10T17:00:56.050" UserId="629" Text="Hello folks&#xD;&#xA;&#xD;&#xA;Had a sound job this week where I tried to use an SQN mixer into a H4n only to find out sending any kind of signal just limited the H4n dB meter. Padding the SQN with -20dB resulted in horrendous sound quality so I gave up.&#xD;&#xA;&#xD;&#xA;In the end I just put mics directly into the H4n which restricted my audio tracks to just two. As I was looking to invest in a SQN or similar I'm now thinking it would be a waste of money.&#xD;&#xA;&#xD;&#xA;Anyone had a similar problem with using external mixers/pres into the H4n and do you have a way to combat them?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="30563" PostHistoryTypeId="1" PostId="18868" RevisionGUID="7ea9df21-79d1-49b5-bf5b-22bcc546111e" CreationDate="2013-04-10T17:00:56.050" UserId="629" Text="Using SQN into a H4n, issues!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30564" PostHistoryTypeId="3" PostId="18868" RevisionGUID="7ea9df21-79d1-49b5-bf5b-22bcc546111e" CreationDate="2013-04-10T17:00:56.050" UserId="629" Text="&lt;zoom-h4n&gt;&lt;location-recording&gt;&lt;mixer&gt;&lt;pre-amp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30565" PostHistoryTypeId="2" PostId="18869" RevisionGUID="1b12c4df-fa42-46d2-b479-3c7bcbd47832" CreationDate="2013-04-10T17:46:39.090" UserId="5924" Text="I never had problems with coldness or humidity, unlike with Schoeps for example,I did many recordings in winter, early morning, and near the sea. And I have never been limited by the sensitivity level.&#xD;&#xA;I put pieces of recordings here :&#xD;&#xA;https://www.wetransfer.com/downloads/c713a5cf7ae95c7e783ac9d0a497b30a20130410174033/86a1862d24405a31ebe8118e180e10a620130410174033/6673ff" ContentLicense="CC BY-SA 3.0" />
  <row Id="30566" PostHistoryTypeId="2" PostId="18870" RevisionGUID="ea1b9493-db29-43a9-b26e-49186ab31cb5" CreationDate="2013-04-10T17:47:40.047" UserId="1228" Text="Borrowed from a comment I made to another answer asking a similar question: &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There's known line-level issues with the H4n, so unfortunately it's not quite that simple (thanks to Samson's/Zoom's fault here). It's a Hi-Z (unbalanced, high-impedance) which still feeds thru the preamp instead of being a direct, true professional line level. Leads to distortion problems even with the input on the Zoom set at below 1.0 (newer firmware actually allows you to set it below 1.0 - it used to not be able to). Word is that an inline attenuator of 10-20dB is needed between an out-board preamp and the H4n line-in if you want to get the most robust gain stage.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I don't remember the link but do a Google search about this and you'll find a step by step for creating the correct signal chain to get a decent Line level signal through the H4n.&#xD;&#xA;&#xD;&#xA;The problem with the H4n is that the line truly isn't Line at all - both Mic and &quot;line&quot; level are routed through the preamps, whereas true Line Level bypasses it.  So any way you slice it, the signal has to ho through its pre's.  Poor design in my opinion.&#xD;&#xA;&#xD;&#xA;So that being said, your mixer is probably fine - just seek out a different recorder which actually offers true Line level throughput - there's many other recorders out there in the same general price point/style as the H4n but actually do offer true Line Level.  If anything, they **should** all offer Line Level because it requires effectively zero cost to implement (so why this not the case on the h4n is beyond me) - its the pre's for mic level that the cost/engineering comes in for a recorder." ContentLicense="CC BY-SA 3.0" />
  <row Id="30567" PostHistoryTypeId="2" PostId="18871" RevisionGUID="b54e5fab-25f9-436c-912b-c015afff10c2" CreationDate="2013-04-10T19:58:11.950" UserId="5654" Text="I hate idiosyncrasies like this.  First things first:&#xD;&#xA;&#xD;&#xA;1.  How many frames is it off?&#xD;&#xA;&#xD;&#xA;2.  Have you asked the director how he rendered?&#xD;&#xA;&#xD;&#xA;3.  Are you working from his rendered files or something like an OMF?&#xD;&#xA;&#xD;&#xA;I've had similar issues where the audio will be about 1 frame longer than the video (when going from a Pro Tools audio render to a Premiere video render).  Sometimes it would happen, sometimes it wouldn't, very erratic.  If it's only a frame or two I would say just mark it to a software problem and don't worry about it, but you say &quot;far longer&quot; so I'm assuming it's off by a few seconds.&#xD;&#xA;&#xD;&#xA;You've done a lot of troubleshooting yourself making sure the sample rates and frame rates are the same.  I'm sure you'll weed out the problem; any other Vegas users experiencing this?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30568" PostHistoryTypeId="2" PostId="18872" RevisionGUID="12c15e52-a965-4a7c-bf19-cabe312d6ca3" CreationDate="2013-04-11T00:36:59.357" UserDisplayName="user49" Text="The most important thing is to find out is do you have the correct video?&#xD;&#xA;&#xD;&#xA;if you **import the audio from the video** and compare it to **the exported audio you were given**&#xD;&#xA;Does the audio drift out of sync (ie there is a ratio problem) &#xD;&#xA;or does it suddenly become out of sync (ie the audio &amp; video are from different pic cuts)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If its a ratio/drift issue&#xD;&#xA;&#xD;&#xA;Put the timeline in ProTools to display samples (not timecode or minutes/seconds or bars/beats etc)&#xD;&#xA;&#xD;&#xA; - Measure the length of the video, note the number of samples (it will be a large number)&#xD;&#xA; - Measure the length of the audio, note the number of samples (it will be a large number)&#xD;&#xA;&#xD;&#xA;Now get a calculator and work out what the percentage difference is&#xD;&#xA;ie divide short length by long length, does this ratio look familiar?&#xD;&#xA;&#xD;&#xA;Now do a bunch of calculations to see if that result is same as&#xD;&#xA;44100/48000?&#xD;&#xA;23.976/24?&#xD;&#xA;23.976/25?&#xD;&#xA;24/25?&#xD;&#xA;25/29.97?&#xD;&#xA;23.976/29.97?&#xD;&#xA;24/29.97?&#xD;&#xA;&#xD;&#xA;I once had this problem and it turned out they had somehow speed changed the audio twice,&#xD;&#xA;so in my case it was the 24/25 ratio, but doubled!?!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30572" PostHistoryTypeId="2" PostId="18874" RevisionGUID="ec4640ad-d767-4e1b-8d27-e7612779ad44" CreationDate="2013-04-11T03:10:13.080" UserId="5928" Text="Hi,&#xD;&#xA;&#xD;&#xA;I want to make my own bass trap and i can not find rock wool in 10 cm thickness.&#xD;&#xA;In terms of absorption quality is there any difference to stack two 5cm rock wool plates together to form a 10cm rock wool thickness ? It's hard to find 10 cm rock wool really :(&#xD;&#xA;&#xD;&#xA;Thanks.." ContentLicense="CC BY-SA 3.0" />
  <row Id="30573" PostHistoryTypeId="1" PostId="18874" RevisionGUID="ec4640ad-d767-4e1b-8d27-e7612779ad44" CreationDate="2013-04-11T03:10:13.080" UserId="5928" Text="rock wool absorption" ContentLicense="CC BY-SA 3.0" />
  <row Id="30574" PostHistoryTypeId="3" PostId="18874" RevisionGUID="ec4640ad-d767-4e1b-8d27-e7612779ad44" CreationDate="2013-04-11T03:10:13.080" UserId="5928" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30575" PostHistoryTypeId="2" PostId="18875" RevisionGUID="1c145cc8-5f3a-4595-b589-06f8dd09a699" CreationDate="2013-04-11T06:10:39.027" UserId="1049" Text="Two 5cm should be the same as 10cm. You could work a way of leaving an air-gap between the two 5cm layers though; that should make the sound 'absorption' higher than one 10cm layer." ContentLicense="CC BY-SA 3.0" />
  <row Id="30576" PostHistoryTypeId="2" PostId="18876" RevisionGUID="bec5b41d-8f06-4730-a93a-152a861d8f93" CreationDate="2013-04-11T09:07:50.523" UserId="1014" Text="My 2 cents as Kontakt library deveper:&#xD;&#xA;As far as I can see from Evolve demos and videos, seems there's isn't much of &quot;script magic&quot; there. Seems to be a very basic script to control filter, EG parameters and FX triggering. I can guess all samples has been pre-processed and mapped to Kontakt for further mangling using the provided interface.&#xD;&#xA;&#xD;&#xA;About source stuff: I can guess is almost &quot;standard&quot; techniques used to make SD impacts, whooshes, big booms and so on. (record, layer, process, goto 1)&#xD;&#xA;&#xD;&#xA;IMHO ;)&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="30577" PostHistoryTypeId="2" PostId="18877" RevisionGUID="56cd947d-03f0-4605-82b7-d4f26d7b3e94" CreationDate="2013-04-11T13:13:57.613" UserId="1185" Text="I thought it would be worth posting an update incase anyone else is planning a similar purchase.&#xD;&#xA;&#xD;&#xA;Following my research and the received advice, I put in an order request an iPad3 and the Alesis iO Dock (unfortunately I don't actually do the purchasing myself).  The dock arrived earlier this week and yesterday an iPad4 was delivered. Unfortunately, on the latest iPad the traditional 30-pin connection has been replaced by a Lighting connector and the iO Dock is not compatible as it has the 30-pin connection....Doh!!!!  &#xD;&#xA;&#xD;&#xA;From the [Alesis support site][1] it appears that the Apple 30-pin to Lightning converter may offer a solution......I shall keep you posted.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://community.alesis.com/alesis/topics/ipad4_and_existing_alesis_io_dock" ContentLicense="CC BY-SA 3.0" />
  <row Id="30578" PostHistoryTypeId="2" PostId="18878" RevisionGUID="e210a71f-44a8-4c1b-b6e9-69969cdbf7b1" CreationDate="2013-04-11T15:17:23.903" UserId="5925" Text="For academic works, try [Google Scholar][1], an excellent search engine that has indexed a cornucopia of academic publications. In addition, if you're enrolled at a college or university, don't hesitate to take advantage of the research librarian(s). &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://scholar.google.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="30579" PostHistoryTypeId="5" PostId="18596" RevisionGUID="a0546f24-ff88-4b62-a45b-e329f083ee7b" CreationDate="2013-04-11T17:10:56.553" UserId="4272" Comment="Added updates to Wing Instruments, need Kontakt KSP help for a few issues" Text="Who wants a free Kontakt instrument?&#xD;&#xA;&#xD;&#xA;This one is a &quot;Wing Machine&quot; I built and decided to share.  It's useful for designing the sound of small winged creatures - dragonflies, beetles, fairies, etc.&#xD;&#xA;&#xD;&#xA;With apologies if this sounds like self-promotion or spam - I am giving this away for free, and would love to hear feedback on how this instrument could be improved.  I have heard the question come up on several occasions - how to design winged insects and fairies, so this is more of a solution than a question, but I hope some of you will find it helpful.&#xD;&#xA;&#xD;&#xA;[Edit]&#xD;&#xA;I have taken several of Brad Dale's suggestions in the hopes of improving the Wing Machine and have uploaded the new and improved version.&#xD;&#xA;Updates include: Presets Menu, Sample Menu and keyswitches (choose different samples without needing multiple .nki files), adjusted HPF range, LFO menu for multiple flutter types, and surround panner functionality on the GUI.&#xD;&#xA;&#xD;&#xA;If there are any Kontakt guru's here that can help me with a few of the instrument's issues, that would be great.&#xD;&#xA;&#xD;&#xA;1. When you load the instrument, you won't get any sound out of it until you choose a preset or a sample.  I can't seem to figure out a fix for that issue.&#xD;&#xA;2. The HPF knob, or &quot;Size&quot; knob is somewhat counter-intuitive, with &quot;Large&quot; on the left and &quot;Small&quot; on the right.  If anyone has an easy solution to that problem, I'd be much obliged.&#xD;&#xA;3. Any other suggestions or feedback?&#xD;&#xA;&#xD;&#xA;[Download here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://brycerafflesound.com/WingMachine.zip" ContentLicense="CC BY-SA 3.0" />
  <row Id="30580" PostHistoryTypeId="2" PostId="18879" RevisionGUID="cd2a1339-572d-4ef7-871a-de3b94a94ef5" CreationDate="2013-04-11T17:52:23.703" UserId="310" Text="Good source is AES (Audio Engineering Society - http://www.aes.org) - If you are Student you have very interesting pricing options." ContentLicense="CC BY-SA 3.0" />
  <row Id="30581" PostHistoryTypeId="2" PostId="18880" RevisionGUID="b457ca8b-bf34-42b0-aac0-80e49c4c3b92" CreationDate="2013-04-11T23:26:36.017" UserId="936" Text="Cantabile can randomise any value in a VST and there's a free version.&#xD;&#xA;&#xD;&#xA;http://www.cantabilesoftware.com/lite/&#xD;&#xA;&#xD;&#xA;Try a bunch of random synths with it, I find it a very useful tool.&#xD;&#xA;&#xD;&#xA;Absynth and Massive (like with Reaktor) also have random patch generators." ContentLicense="CC BY-SA 3.0" />
  <row Id="30582" PostHistoryTypeId="2" PostId="18881" RevisionGUID="397b8db0-93a9-4782-913c-db30802854c8" CreationDate="2013-04-11T23:27:52.920" UserId="5575" Text="Tutorial 4 &amp; 5 have been up for awhile.&#xD;&#xA;&#xD;&#xA;http://interactiveaudio.wikiaudio.org/how-to/javascript-variables-primitive-data-types-part-1/&#xD;&#xA;&#xD;&#xA;http://interactiveaudio.wikiaudio.org/how-to/javascript-variables-primitive-data-types-part-2/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30583" PostHistoryTypeId="2" PostId="18882" RevisionGUID="3fdb5820-f585-4fe5-8e98-88ca93bb2f9b" CreationDate="2013-04-12T00:23:15.820" UserId="517" Text="A show that I'll be starting on soon is cutting picture with a 48 timecode base because the action sequences were all shot at 48 or 96 FPS, with the intention of projecting the finished project at 48 FPSlike the first Hobbit film. &#xD;&#xA;&#xD;&#xA;Has anyone had to deal with a 48 FPS workflow in Pro Tools yet? I'm worried about conforms that involve odd-numbered frame changes that won't translate to a 23.98 TC environment in Pro Tools for one thing.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Paul" ContentLicense="CC BY-SA 3.0" />
  <row Id="30584" PostHistoryTypeId="1" PostId="18882" RevisionGUID="3fdb5820-f585-4fe5-8e98-88ca93bb2f9b" CreationDate="2013-04-12T00:23:15.820" UserId="517" Text="48 FPS Video and Pro Tools" ContentLicense="CC BY-SA 3.0" />
  <row Id="30585" PostHistoryTypeId="3" PostId="18882" RevisionGUID="3fdb5820-f585-4fe5-8e98-88ca93bb2f9b" CreationDate="2013-04-12T00:23:15.820" UserId="517" Text="&lt;pro&gt;&lt;tools&gt;&lt;fps&gt;&lt;video&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30586" PostHistoryTypeId="2" PostId="18883" RevisionGUID="93ddde82-d30d-4d62-abb0-ebb943676344" CreationDate="2013-04-12T02:06:46.823" UserId="1228" Text="Can't you just ask them to print you a 24 FPS version in every version they send you?  sort of like for a 3d film only receinving one &quot;side&quot; of the stereo image for the workprint.  Basically every other frame, I can't imagine much of a sync difference between 24 and 48.  quarter frames are high enough resolution for judging sync in my opinion, beyond that you're splitting hairs.  I've never loaded such framerates into PT, but I gather that you can and just set Timecode 2 to display 48 (even though the session main timecode runs 24).  I think 48 is an option for Timecode 2." ContentLicense="CC BY-SA 3.0" />
  <row Id="30587" PostHistoryTypeId="2" PostId="18884" RevisionGUID="d898c77e-c22a-4060-a595-194ff44afb88" CreationDate="2013-04-12T11:33:42.537" UserId="6519" Text="[H6 Handy Recorder][1]&lt;br&gt;&#xD;&#xA;Someone knows more information?![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.zoom.co.jp/news/article/548&#xD;&#xA;  [2]: http://zoom.co.jp/img/text_img/text_img_3782.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="30588" PostHistoryTypeId="1" PostId="18884" RevisionGUID="d898c77e-c22a-4060-a595-194ff44afb88" CreationDate="2013-04-12T11:33:42.537" UserId="6519" Text="Awesome solution - Zoom H6 Handy Recorder !!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30589" PostHistoryTypeId="3" PostId="18884" RevisionGUID="d898c77e-c22a-4060-a595-194ff44afb88" CreationDate="2013-04-12T11:33:42.537" UserId="6519" Text="&lt;zoom&gt;&lt;h6&gt;&lt;recorder&gt;&lt;portable&gt;&lt;interchangeable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30590" PostHistoryTypeId="2" PostId="18885" RevisionGUID="077f786b-dafd-4312-999c-e4c0c603708a" CreationDate="2013-04-12T13:13:28.377" UserId="3754" Text="It looks insane, and like it should cost a bit too much for the hobbyist. Also the buttons seems very limited, like menu navigation. However if the preamps are good, could be a winner." ContentLicense="CC BY-SA 3.0" />
  <row Id="30592" PostHistoryTypeId="2" PostId="18886" RevisionGUID="1a38fe41-2a04-4bc4-8b0d-f772ee319cc1" CreationDate="2013-04-12T14:28:15.237" UserId="4442" Text="I also would like to know if they've upgraded pres and if they have a better line level design. Think looks wild though! also, it's finally a viable interface rather than just a two in!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30593" PostHistoryTypeId="2" PostId="18887" RevisionGUID="b6715ee9-0db7-4acd-b9c6-dc9565b2db8d" CreationDate="2013-04-12T14:39:37.883" UserId="1216" Text="i think it looks like a frankenstein recorder. &#xD;&#xA;plastic housing, volume knobs on the mic's (!?).. &#xD;&#xA;this cannot be of very good construction quality. &#xD;&#xA;best thing is de dedicated rec level knobs and tracks buttons.&#xD;&#xA;&#xD;&#xA;it could be useful for a novice recordist/student.&#xD;&#xA;lot's of recording methods to choose from and learn to work with.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30594" PostHistoryTypeId="5" PostId="18885" RevisionGUID="fb299048-2286-468b-995b-7fece85fcb3a" CreationDate="2013-04-12T22:46:54.953" UserId="3754" Comment="added 8 characters in body" Text="It looks like it'd be too expensive for the amateur, and too crazy for the pro :/ Also the buttons seems very limited, like menu navigation. However if the preamps are good, could be a winner." ContentLicense="CC BY-SA 3.0" />
  <row Id="30598" PostHistoryTypeId="2" PostId="18889" RevisionGUID="5e51328f-29e3-4ae3-879a-8dca57e022f4" CreationDate="2013-04-13T16:42:52.080" UserId="5880" Text="A *very* quick hands-on with it.. http://www.youtube.com/watch?v=fuxzq20uduI&#xD;&#xA;Seems less.. disposable than the H4.  The make or break will be the pricetag." ContentLicense="CC BY-SA 3.0" />
  <row Id="30599" PostHistoryTypeId="2" PostId="18890" RevisionGUID="17bcad26-e307-42dc-81dd-8e1e71f9b9d5" CreationDate="2013-04-13T16:54:31.677" UserId="6460" Text="It's a cool idea, but with that many options and channels I hope the price is fittingly high. If each mic capsule is built with quality then it might be a great add-on to our kits — here's to hoping each mic sounds like more than an H4n with a different polar pattern, otherwise I'd say Zoom will have wasted an opportunity. A quality analog limiter would be a good addition, too..." ContentLicense="CC BY-SA 3.0" />
  <row Id="30600" PostHistoryTypeId="2" PostId="18891" RevisionGUID="e9fff17f-b50d-4401-a367-9d08094b077f" CreationDate="2013-04-13T17:58:19.773" UserDisplayName="user80" Text="A really interesting concept.  If the mic preamps are quiet enough then it should prove useful." ContentLicense="CC BY-SA 3.0" />
  <row Id="30601" PostHistoryTypeId="2" PostId="18892" RevisionGUID="960387f4-97fe-479b-addd-42b4e6c9fff2" CreationDate="2013-04-13T19:15:36.220" UserId="5882" Text="You won't find rockwool in 10cm slabs because they come cut in 5cm. What everyone does is stack two of them together. There's no difference at all!&#xD;&#xA;&#xD;&#xA;Or as Skarik mentioned, you could put an airgap. I personally put the airgap behind my panels. If you do this, make sure the back doesn't have anything aside from your cloth. If you put a piece of wood, or some kind of membrane, it becomes pointless." ContentLicense="CC BY-SA 3.0" />
  <row Id="30602" PostHistoryTypeId="2" PostId="18893" RevisionGUID="964d7d9a-c5d5-42d1-9479-6d321b7d6218" CreationDate="2013-04-13T19:16:39.263" UserId="5935" Text="I am looking for a hardware EQ just to shape the room any opinions on brand,&#xD;&#xA;&#xD;&#xA;model?&#xD;&#xA;&#xD;&#xA;Thanx " ContentLicense="CC BY-SA 3.0" />
  <row Id="30603" PostHistoryTypeId="1" PostId="18893" RevisionGUID="964d7d9a-c5d5-42d1-9479-6d321b7d6218" CreationDate="2013-04-13T19:16:39.263" UserId="5935" Text="EQ opinions for room shaping" ContentLicense="CC BY-SA 3.0" />
  <row Id="30604" PostHistoryTypeId="3" PostId="18893" RevisionGUID="964d7d9a-c5d5-42d1-9479-6d321b7d6218" CreationDate="2013-04-13T19:16:39.263" UserId="5935" Text="&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30606" PostHistoryTypeId="2" PostId="18895" RevisionGUID="4a60e2d4-4059-47d5-96ef-9c5b08768403" CreationDate="2013-04-13T23:55:02.297" UserId="900" Text="Outshone some of the acting in my opinion... Drone sounds were so powerful, functional, also had such an air of menace... Brilliant work.&#xD;&#xA;&#xD;&#xA;Anywhere I can read about this?&#xD;&#xA;&#xD;&#xA;Kind of reminds me of the siren call from War of the Worlds, but with huge balls." ContentLicense="CC BY-SA 3.0" />
  <row Id="30607" PostHistoryTypeId="1" PostId="18895" RevisionGUID="4a60e2d4-4059-47d5-96ef-9c5b08768403" CreationDate="2013-04-13T23:55:02.297" UserId="900" Text="Oblivion - Drone sound design...WOW" ContentLicense="CC BY-SA 3.0" />
  <row Id="30608" PostHistoryTypeId="3" PostId="18895" RevisionGUID="4a60e2d4-4059-47d5-96ef-9c5b08768403" CreationDate="2013-04-13T23:55:02.297" UserId="900" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30612" PostHistoryTypeId="2" PostId="18897" RevisionGUID="2d08f8d6-a1d1-4ca5-b643-3f789388e7ea" CreationDate="2013-04-14T00:12:00.877" UserId="629" Text="If it's room correction you're looking for, I'm using a KRK Ergo at home, works very well in my opinion. Considering the price of sound proofing/acoustic treatment it's a decent option (especially if you can get one 2nd hand) Have a look - http://www.krksys.com/krk-ergo.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="30613" PostHistoryTypeId="5" PostId="14687" RevisionGUID="49d88b69-c8fa-480a-9641-7e13807f5272" CreationDate="2013-04-14T05:43:01.097" UserId="61" Comment="added 312 characters in body; added 1 characters in body" Text="Although [this][1] thread has touched upon the topic, I would like to explore it further.&#xD;&#xA;&#xD;&#xA;Everybody and their brother credits themselves as a Sound Designer. But what have they done to actually **earn** the title?&#xD;&#xA;&#xD;&#xA;It is undisputed that the likes of Walter Murch, Ben Burtt and Gary Rydstrom (among others) are the fathers of sound design for the world of modern cinema, creating some of the most iconic sounds in the history of film. But what is it that they've accomplished that makes them more than a sound editor, sound effects editor, or supervising sound editor? Is it the alien  language they created? The horrifying roar of an unknown creature? A subtle interweaving of atmospheres and ambiences that tell the story of an entire generation? &#xD;&#xA;&#xD;&#xA;What about the simple sound of a door creaking and closing, and yet telling a part of the film's story that may otherwise go unnoticed? What about a gentle wind through conifer trees, or gentle waves upon a deserted island beach that ominously transform into ferocious reef breakers that will not be crossed? &#xD;&#xA;&#xD;&#xA;Have you ever created sounds like that? And does that make YOU a sound designer?&#xD;&#xA;&#xD;&#xA;Let the discussion commence.&#xD;&#xA;&#xD;&#xA;**UPDATE:** &#xD;&#xA;&#xD;&#xA;Lately I've noticed more and more people crediting themselves as sound designers, to the point where my ears barely perk up anymore. I'd like to hear more from the forum regarding this title and whether perhaps it needs to be amended / abandoned / etc. How about *Sound Director*? Or just *Sound*?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/12586/audio-designer-vs-sound-designer" ContentLicense="CC BY-SA 3.0" />
  <row Id="30616" PostHistoryTypeId="2" PostId="18899" RevisionGUID="69fee015-85ad-45a6-9aff-c14944c596af" CreationDate="2013-04-14T08:49:21.133" UserId="5939" Text="Thank you.&#xD;&#xA;&#xD;&#xA;It is a very good idea!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30617" PostHistoryTypeId="2" PostId="18900" RevisionGUID="e8b0f11c-15df-4c89-b469-22d611c50c25" CreationDate="2013-04-14T11:57:28.993" UserId="3754" Text="Industry is interesting. Because I'm a sound designer, but I work in theatre. This involves SFX creation for playback, with all the usual recording/mixing skills. &#xD;&#xA;&#xD;&#xA;However, in theatre, part of my job is to design the system, plan the FOH rig, on stage foldbacks, the signal flow to the desk etc. Am I a sound designer, yes. Have I worked in film or TV? No." ContentLicense="CC BY-SA 3.0" />
  <row Id="30619" PostHistoryTypeId="2" PostId="18901" RevisionGUID="8cc29cdb-a31d-4e29-ab2e-08ad2b45a82f" CreationDate="2013-04-14T18:37:02.290" UserId="5941" Text="Nice topic, i dont known exacly what qualifies anyone to tell if is a sound designer or not&#xD;&#xA;&#xD;&#xA;i think a sound designer might be anyone with the hability to shape sound in a way that fits the purpose or description requested.&#xD;&#xA;&#xD;&#xA;anyone who is given a task and finds the best sound to fill it... it might be an ambience for a scene, the right accoustic´s, incluiding also to adapt to the moment&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30622" PostHistoryTypeId="2" PostId="18904" RevisionGUID="a76145dc-393a-4e7f-b306-de2bfe986be5" CreationDate="2013-04-15T15:41:47.430" UserId="4358" Text="I am pretty sure sound works collection will release a video about Oblivion real soon. I haven't seen the film as yet, but I heard a lot of great reviews about its sound design. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30623" PostHistoryTypeId="2" PostId="18905" RevisionGUID="e31c739c-8dea-4182-98d0-1a8d849ba857" CreationDate="2013-04-15T20:20:06.143" UserId="4390" Text="We-heell, in my part of the world, Rockwool comes in 100, even 150mm thickness - ne ne neh!&#xD;&#xA;Sorry - that aside, just make sure you don't accidentally compress the two 50mm slabs in your bass trap - or you will diminish the absorption effect. For that reason alone, making an air gap isn't a bad idea, even if it may be fiddly to actually implement." ContentLicense="CC BY-SA 3.0" />
  <row Id="30624" PostHistoryTypeId="2" PostId="18906" RevisionGUID="cc61fe93-3891-4020-a614-1f8c9f4a9ff5" CreationDate="2013-04-15T20:28:18.673" UserId="4390" Text="Hmm...I do like the slightly slanted meter display though...but I have a feeling it will be a &quot;do-it-all-for-too-little&quot; piece of kit. I certainly don't see myself &quot;upgrading&quot; from my Sony PCM M10." ContentLicense="CC BY-SA 3.0" />
  <row Id="30625" PostHistoryTypeId="2" PostId="18907" RevisionGUID="903fa85b-b366-475f-8c25-e3f59ae5d4c6" CreationDate="2013-04-16T00:28:16.850" UserId="4418" Text="Not interested in switchcraft or bittree (nice but out of budget)&#xD;&#xA;&#xD;&#xA;Looking for soem advice and suggestions on lower end market bays - specifically from those with experience with them.&#xD;&#xA;&#xD;&#xA;Thinking the behringer model is nice, switchable on top for normalling options and 1/4 trs standard cables throughout.&#xD;&#xA;&#xD;&#xA;Any help?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30626" PostHistoryTypeId="1" PostId="18907" RevisionGUID="903fa85b-b366-475f-8c25-e3f59ae5d4c6" CreationDate="2013-04-16T00:28:16.850" UserId="4418" Text="Patchbay Advice" ContentLicense="CC BY-SA 3.0" />
  <row Id="30627" PostHistoryTypeId="3" PostId="18907" RevisionGUID="903fa85b-b366-475f-8c25-e3f59ae5d4c6" CreationDate="2013-04-16T00:28:16.850" UserId="4418" Text="&lt;patchbay&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30628" PostHistoryTypeId="2" PostId="18908" RevisionGUID="025eb08f-3704-4c11-a591-92889613babc" CreationDate="2013-04-16T04:27:16.370" UserId="5678" Text="How to open a ProTools 10 session in Protools 9 when u don't have the higher version of Protools 10 to convert the session from .ptx to .ptf ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30629" PostHistoryTypeId="1" PostId="18908" RevisionGUID="025eb08f-3704-4c11-a591-92889613babc" CreationDate="2013-04-16T04:27:16.370" UserId="5678" Text="Protocols 10 to Protools 9" ContentLicense="CC BY-SA 3.0" />
  <row Id="30630" PostHistoryTypeId="3" PostId="18908" RevisionGUID="025eb08f-3704-4c11-a591-92889613babc" CreationDate="2013-04-16T04:27:16.370" UserId="5678" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30631" PostHistoryTypeId="2" PostId="18909" RevisionGUID="c45a7084-ac3b-4d7b-8031-d0869798b973" CreationDate="2013-04-16T05:20:13.143" UserId="6532" Text="Unfortunately, you can't. Somebody will have to convert it for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="30632" PostHistoryTypeId="2" PostId="18910" RevisionGUID="76aa800a-59fa-49e7-91d2-c7dd4be255ab" CreationDate="2013-04-16T05:28:21.077" UserId="1228" Text="I'm on 8 and work with an editor regularly who is on 10, and he generates a PTF for me.  No way to open a PTX on 9 or lower.  Something about the file coding is completely different, no way to convert it unless it's done via PT 10 or 11 (and notice how identical sessions in PTX and PTF have drastically different sizes, even on 'blank' sessions.. big tell tale sign that PTX is a whole different animal, especially in that you definitely can't alter the extension to trick it and have it work)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30633" PostHistoryTypeId="2" PostId="18911" RevisionGUID="3b9b5cd8-9626-4f5e-9b45-1ac9ebb48384" CreationDate="2013-04-16T08:27:09.347" UserId="1185" Text="We use Signex entry-level patchbays (QPP48), but we have never had a problem with them.  We don't use then day-in-day-out, but have been using them fairly regularly for four years now." ContentLicense="CC BY-SA 3.0" />
  <row Id="30634" PostHistoryTypeId="2" PostId="18912" RevisionGUID="2f1cdaad-cf19-4b28-8753-9c91af90c195" CreationDate="2013-04-16T11:58:00.013" UserId="413" Text="Hi,&#xD;&#xA;I'm an independent sound designer and I've worked on several projects with other sound mixers already but all these projects had stereo soundtracks.&#xD;&#xA;I'm kind of a newbie when it come to surround mix. I can't do surround so I'd have to give my sound design to a mixer who would have the right equipment.&#xD;&#xA;&#xD;&#xA;Let's imagine that the mixer works on pro tools and I work on Reaper. How does that work ? What do I give him in order for him to do a proper surround mix ?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30635" PostHistoryTypeId="1" PostId="18912" RevisionGUID="2f1cdaad-cf19-4b28-8753-9c91af90c195" CreationDate="2013-04-16T11:58:00.013" UserId="413" Text="Stereo sound design to surround mix" ContentLicense="CC BY-SA 3.0" />
  <row Id="30636" PostHistoryTypeId="3" PostId="18912" RevisionGUID="2f1cdaad-cf19-4b28-8753-9c91af90c195" CreationDate="2013-04-16T11:58:00.013" UserId="413" Text="&lt;mixing&gt;&lt;5.1&gt;&lt;reaper&gt;&lt;pro-tools&gt;&lt;surround-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30637" PostHistoryTypeId="2" PostId="18913" RevisionGUID="01bf3e18-0415-417f-8d90-6e8b7fd39a08" CreationDate="2013-04-16T12:07:29.333" UserId="1216" Text="Didn't see the movie yet, but the trailer looks spectacular. Hopefully it's not the same as with Prometheus which dissapointed as actual film, whilst the trailer was great.&#xD;&#xA;Here's a link to the soundtrack by M83 (french musician/composer). http://3voor12.vpro.nl/luisterpaal/albums/M83.html&#xD;&#xA;Maybe he also worked on the drones your talking about?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30638" PostHistoryTypeId="2" PostId="18914" RevisionGUID="e543fd47-331c-4907-9797-909e1fa79d6d" CreationDate="2013-04-16T12:15:14.957" UserId="5624" Text="REAPER user here. As far as I know REAPER doesn't have this function, unfortunately. Create a request on the forum and they might create it for you though! I know I'd use it too!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30639" PostHistoryTypeId="2" PostId="18915" RevisionGUID="3a709b7b-912a-4cd9-b622-51d2365d7db5" CreationDate="2013-04-16T12:21:07.983" UserId="5624" Text="You'll have to export stems for him. Or a whole bunch of consolidated audio files of each track.&#xD;&#xA;&#xD;&#xA;I use REAPER as well and if I was doing something like this I'd look at doing stems. Something along the lines of:&#xD;&#xA;- Dialogue&#xD;&#xA;- Atmos&#xD;&#xA;- Foley&#xD;&#xA;- SFX (possibly multiple stems here depending on the complexity of your design)&#xD;&#xA;- Music&#xD;&#xA;&#xD;&#xA;I'd ask him what he would like and if you can sit in during the mix. If you're able to take in your REAPER project on a laptop during the mix you'll be able to export any individual elements that you need from a stem to mix separately." ContentLicense="CC BY-SA 3.0" />
  <row Id="30640" PostHistoryTypeId="2" PostId="18916" RevisionGUID="4926607c-e563-4d0d-8bb5-5ebc15ca322d" CreationDate="2013-04-16T12:24:04.303" UserId="5624" Text="The old lavs in the sun visors rig works a treat. I've also gotten great results rigging them to the head rests (if characters turn to talk to people in the back seats) and around the side windows (if characters are talking to people outside the car)." ContentLicense="CC BY-SA 3.0" />
  <row Id="30641" PostHistoryTypeId="2" PostId="18917" RevisionGUID="ae1025ea-4eb6-47cf-915a-c66c165d9520" CreationDate="2013-04-16T14:55:25.850" UserId="3238" Text="Hey folks, I've read a number of great posts here regarding library sfx usage and legal issues (such as [this one][1], but wanted to focus on an aspect that hasn't come up so far in my readings.&#xD;&#xA;&#xD;&#xA;I find on a number of freelance projects, the client wants some standard contract signed to some effect with a &quot;work-for-hire&quot; type clause in it - essentially stating any design work you do and audio materials you provide will be owned by them.  Obviously this is something I avoid in general, unless the price is right, but the big question is how does use of library sfx in your work (either in whole or in part) effect one's ability to even officially sign something like this?  &#xD;&#xA;&#xD;&#xA;My typical response to clients in these situations is to try to explain to them that the nature of the work and source material prevents a &quot;work-for-hire&quot; agreement from being valid, being that I don't actually &quot;own&quot; the audio source material and therefore cannot transfer ownership to them even if I wanted to.  This usually confuses and/or frustrates them, as they're typically used to dealing with visual artists or developers that aren't as library-centric, or worse other sound designers in the past who haven't made a fuss about this issue and probably signed off &quot;ownership&quot; of audio files consisting of some library sfx material.&#xD;&#xA;&#xD;&#xA;My understanding is that even if a single snippet of library material is used in a sound/soundscape, that audio technically becomes an extension of the library sound and the library EULA applies.  Obviously the way it is designed/utilized may be original, but you don't have the rights to do anything with that sound other than use it in a synced work, and are certainly not able to grant someone else the rights to use it as they please.&#xD;&#xA;&#xD;&#xA;The other part of this issue is that the work-for-hire bit isn't simply to protect the client's exclusivity of the design materials, which is much more reasonable/realistic, but it's also to allow them to modify and reuse the provided material as they see fit in this/other/future projects.  This perhaps isn't as big an issue in film/video projects where the deliverable is typically a fully synced soundscape or individual stems at the most, but in gaming projects with more individualized assets it presents a much larger concern.&#xD;&#xA;&#xD;&#xA;I've turned down these projects in the past, and in some cases I've had clients willing to add a contract clause to the effect of &quot;anything we can't own is properly licensed for use, but everything else we do own&quot;.  Of course this just widens the potential for confusion and misuse in my opinion and I still try to avoid it entirely where possible.&#xD;&#xA;&#xD;&#xA;So what do you all do when something like this comes up?  Am I being overzealous in my interpretation?  Anyone have any standard clauses or client disclaimers of their own that have proven effective and would be willing to share?  Any good reading/articles out there that you point clients to in an effort to raise awareness and clarify the issues?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/17089/sound-library-usage-for-freelancers" ContentLicense="CC BY-SA 3.0" />
  <row Id="30642" PostHistoryTypeId="1" PostId="18917" RevisionGUID="ae1025ea-4eb6-47cf-915a-c66c165d9520" CreationDate="2013-04-16T14:55:25.850" UserId="3238" Text="&quot;Work For Hire&quot; legal issues with sound design (specifically involving library sfx)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30643" PostHistoryTypeId="3" PostId="18917" RevisionGUID="ae1025ea-4eb6-47cf-915a-c66c165d9520" CreationDate="2013-04-16T14:55:25.850" UserId="3238" Text="&lt;work-for-hire&gt;&lt;legal&gt;&lt;contracts&gt;&lt;sfx&gt;&lt;library&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30644" PostHistoryTypeId="2" PostId="18918" RevisionGUID="1e6aa9a1-d4ae-4650-86ce-243e9f740286" CreationDate="2013-04-16T15:20:50.953" UserId="3179" Text="&gt; I find on a number of freelance&#xD;&#xA;&gt; projects, the client wants some&#xD;&#xA;&gt; standard contract signed to some&#xD;&#xA;&gt; effect with a &quot;work-for-hire&quot; type&#xD;&#xA;&gt; clause in it - essentially stating any&#xD;&#xA;&gt; design work you do and audio materials&#xD;&#xA;&gt; you provide will be owned by them.&#xD;&#xA;&gt; Obviously this is something I avoid in&#xD;&#xA;&gt; general, unless the price is right,&#xD;&#xA;&gt; but the big question is how does use&#xD;&#xA;&gt; of library sfx in your work (either in&#xD;&#xA;&gt; whole or in part) effect one's ability&#xD;&#xA;&gt; to even officially sign something like&#xD;&#xA;&gt; this?&#xD;&#xA;&#xD;&#xA;You must preserve all rights that exist prior to you using the rights. If you use material that has its copyright attributed to someone else and the material's license doesn't include an &quot;attribution free&quot; claim, you must preserve that copyright and cannot claim it to yourself by stating that something is yours, when it really isn't.&#xD;&#xA;&#xD;&#xA;&gt; My typical response to clients in&#xD;&#xA;&gt; these situations is to try to explain&#xD;&#xA;&gt; to them that the nature of the work&#xD;&#xA;&gt; and source material prevents a&#xD;&#xA;&gt; &quot;work-for-hire&quot; agreement from being&#xD;&#xA;&gt; valid, being that I don't actually&#xD;&#xA;&gt; &quot;own&quot; the audio source material and&#xD;&#xA;&gt; therefore cannot transfer ownership to&#xD;&#xA;&gt; them even if I wanted to. This usually&#xD;&#xA;&gt; confuses and/or frustrates them, as&#xD;&#xA;&gt; they're typically used to dealing with&#xD;&#xA;&gt; visual artists or developers that&#xD;&#xA;&gt; aren't as library-centric, or worse&#xD;&#xA;&gt; other sound designers in the past who&#xD;&#xA;&gt; haven't made a fuss about this issue&#xD;&#xA;&gt; and probably signed off &quot;ownership&quot; of&#xD;&#xA;&gt; audio files consisting of some library&#xD;&#xA;&gt; sfx material.&#xD;&#xA;&#xD;&#xA;You can transfer rights to everything you've done and used, if your own work fulfills the requirements of the copyright notices of the 3rd party material that you've used. Many licenses of sounds and sound libraries state that it's ok to use the material for your own work and present the results as your own work, if your own work is something larger than repackaging those same sounds or presenting them as they are. You need to consult all of the licenses/copyright notices separately to know what your rights to use them are, but in general the licenses state that it's ok to use the material however you want as long as you aren't simply presenting them &quot;as they are&quot; or outside of a project context.&#xD;&#xA;&#xD;&#xA;&gt; The other part of this issue is that&#xD;&#xA;&gt; the work-for-hire bit isn't simply to&#xD;&#xA;&gt; protect the client's exclusivity of&#xD;&#xA;&gt; the design materials, which is much&#xD;&#xA;&gt; more reasonable/realistic, but it's&#xD;&#xA;&gt; also to allow them to modify and reuse&#xD;&#xA;&gt; the provided material as they see fit&#xD;&#xA;&gt; in this/other/future projects. This&#xD;&#xA;&gt; perhaps isn't as big an issue in&#xD;&#xA;&gt; film/video projects where the&#xD;&#xA;&gt; deliverable is typically a fully&#xD;&#xA;&gt; synced soundscape or individual stems&#xD;&#xA;&gt; at the most, but in gaming projects&#xD;&#xA;&gt; with more individualized assets it&#xD;&#xA;&gt; presents a much larger concern.&#xD;&#xA;&#xD;&#xA;The main concern for the client is to verify that the IP has been cleared of any 3rd party copyrights (it's basically made your responsibility by using a contract) and to get and verify the exclusivity to the IP, so that it doesn't get used by anyone else or for anything else. Whether you want to give that kind of rights is up to you, but it's a rather standard procedure and it protects the client." ContentLicense="CC BY-SA 3.0" />
  <row Id="30645" PostHistoryTypeId="5" PostId="18918" RevisionGUID="a341e5a0-6b35-4288-9f28-b50b187650af" CreationDate="2013-04-16T15:28:38.983" UserId="3179" Comment="added 12 characters in body; added 4 characters in body; deleted 1 characters in body; added 2 characters in body; deleted 9 characters in body; added 11 characters in body" Text="&gt; I find on a number of freelance&#xD;&#xA;&gt; projects, the client wants some&#xD;&#xA;&gt; standard contract signed to some&#xD;&#xA;&gt; effect with a &quot;work-for-hire&quot; type&#xD;&#xA;&gt; clause in it - essentially stating any&#xD;&#xA;&gt; design work you do and audio materials&#xD;&#xA;&gt; you provide will be owned by them.&#xD;&#xA;&gt; Obviously this is something I avoid in&#xD;&#xA;&gt; general, unless the price is right,&#xD;&#xA;&gt; but the big question is how does use&#xD;&#xA;&gt; of library sfx in your work (either in&#xD;&#xA;&gt; whole or in part) effect one's ability&#xD;&#xA;&gt; to even officially sign something like&#xD;&#xA;&gt; this?&#xD;&#xA;&#xD;&#xA;You must preserve all rights that exist prior to you using the material. If you use material that has its copyright attributed to someone else and the material's license doesn't include an &quot;attribution free&quot; statement, you must preserve the copyright and cannot claim it to yourself by stating that something is yours, when it really isn't.&#xD;&#xA;&#xD;&#xA;&gt; My typical response to clients in&#xD;&#xA;&gt; these situations is to try to explain&#xD;&#xA;&gt; to them that the nature of the work&#xD;&#xA;&gt; and source material prevents a&#xD;&#xA;&gt; &quot;work-for-hire&quot; agreement from being&#xD;&#xA;&gt; valid, being that I don't actually&#xD;&#xA;&gt; &quot;own&quot; the audio source material and&#xD;&#xA;&gt; therefore cannot transfer ownership to&#xD;&#xA;&gt; them even if I wanted to. This usually&#xD;&#xA;&gt; confuses and/or frustrates them, as&#xD;&#xA;&gt; they're typically used to dealing with&#xD;&#xA;&gt; visual artists or developers that&#xD;&#xA;&gt; aren't as library-centric, or worse&#xD;&#xA;&gt; other sound designers in the past who&#xD;&#xA;&gt; haven't made a fuss about this issue&#xD;&#xA;&gt; and probably signed off &quot;ownership&quot; of&#xD;&#xA;&gt; audio files consisting of some library&#xD;&#xA;&gt; sfx material.&#xD;&#xA;&#xD;&#xA;You can transfer rights to everything you've done, if your own work fulfills the requirements of the copyright notices of the 3rd party material that you've used. Many licenses of sounds and sound libraries state that it's ok to use the material for your own work and present the results as your own work, if your own work is something larger than repackaging those same sounds or presenting them as they are. You need to consult all of the licenses/copyright notices separately to know what your rights to use the sounds are, but in general the licenses state that it's ok to use the material however you want as long as you aren't simply presenting the sounds &quot;as they are&quot; or outside of a project/production context.&#xD;&#xA;&#xD;&#xA;&gt; The other part of this issue is that&#xD;&#xA;&gt; the work-for-hire bit isn't simply to&#xD;&#xA;&gt; protect the client's exclusivity of&#xD;&#xA;&gt; the design materials, which is much&#xD;&#xA;&gt; more reasonable/realistic, but it's&#xD;&#xA;&gt; also to allow them to modify and reuse&#xD;&#xA;&gt; the provided material as they see fit&#xD;&#xA;&gt; in this/other/future projects. This&#xD;&#xA;&gt; perhaps isn't as big an issue in&#xD;&#xA;&gt; film/video projects where the&#xD;&#xA;&gt; deliverable is typically a fully&#xD;&#xA;&gt; synced soundscape or individual stems&#xD;&#xA;&gt; at the most, but in gaming projects&#xD;&#xA;&gt; with more individualized assets it&#xD;&#xA;&gt; presents a much larger concern.&#xD;&#xA;&#xD;&#xA;The main concern for the client is to verify that the IP has been cleared of any 3rd party copyrights (it's basically made your responsibility by using a contract) and to get and verify the exclusivity to the IP, so that it doesn't get used by anyone else or for anything else. Whether you want to give that kind of rights is up to you, but it's a rather standard procedure and it protects the client." ContentLicense="CC BY-SA 3.0" />
  <row Id="30646" PostHistoryTypeId="5" PostId="18918" RevisionGUID="f3f8afb8-9228-467c-b775-48ff34c1ef4b" CreationDate="2013-04-16T17:27:37.993" UserId="3179" Comment="added 103 characters in body" Text="&gt; I find on a number of freelance&#xD;&#xA;&gt; projects, the client wants some&#xD;&#xA;&gt; standard contract signed to some&#xD;&#xA;&gt; effect with a &quot;work-for-hire&quot; type&#xD;&#xA;&gt; clause in it - essentially stating any&#xD;&#xA;&gt; design work you do and audio materials&#xD;&#xA;&gt; you provide will be owned by them.&#xD;&#xA;&gt; Obviously this is something I avoid in&#xD;&#xA;&gt; general, unless the price is right,&#xD;&#xA;&gt; but the big question is how does use&#xD;&#xA;&gt; of library sfx in your work (either in&#xD;&#xA;&gt; whole or in part) effect one's ability&#xD;&#xA;&gt; to even officially sign something like&#xD;&#xA;&gt; this?&#xD;&#xA;&#xD;&#xA;You must preserve all rights that exist prior to you using the material. If you use material that has its copyright attributed to someone else and the material's license doesn't include an &quot;attribution free&quot; statement, you must preserve the copyright and cannot claim it to yourself by stating that something is yours, when it really isn't.&#xD;&#xA;&#xD;&#xA;&gt; My typical response to clients in&#xD;&#xA;&gt; these situations is to try to explain&#xD;&#xA;&gt; to them that the nature of the work&#xD;&#xA;&gt; and source material prevents a&#xD;&#xA;&gt; &quot;work-for-hire&quot; agreement from being&#xD;&#xA;&gt; valid, being that I don't actually&#xD;&#xA;&gt; &quot;own&quot; the audio source material and&#xD;&#xA;&gt; therefore cannot transfer ownership to&#xD;&#xA;&gt; them even if I wanted to. This usually&#xD;&#xA;&gt; confuses and/or frustrates them, as&#xD;&#xA;&gt; they're typically used to dealing with&#xD;&#xA;&gt; visual artists or developers that&#xD;&#xA;&gt; aren't as library-centric, or worse&#xD;&#xA;&gt; other sound designers in the past who&#xD;&#xA;&gt; haven't made a fuss about this issue&#xD;&#xA;&gt; and probably signed off &quot;ownership&quot; of&#xD;&#xA;&gt; audio files consisting of some library&#xD;&#xA;&gt; sfx material.&#xD;&#xA;&#xD;&#xA;You can transfer rights to everything you've done using 3rd party material (though of course you can't transfer rights to the 3rd party material itself), if your own work fulfills the requirements of the copyright notices of the 3rd party material that you've used. Many licenses of sounds and sound libraries state that it's ok to use the material for your own work and present the results as your own work, if your own work is something larger than repackaging those same sounds or presenting them as they are. You need to consult all of the licenses/copyright notices separately to know what your rights to use the sounds are, but in general the licenses state that it's ok to use the material however you want as long as you aren't simply presenting the sounds &quot;as they are&quot; or outside of a project/production context.&#xD;&#xA;&#xD;&#xA;&gt; The other part of this issue is that&#xD;&#xA;&gt; the work-for-hire bit isn't simply to&#xD;&#xA;&gt; protect the client's exclusivity of&#xD;&#xA;&gt; the design materials, which is much&#xD;&#xA;&gt; more reasonable/realistic, but it's&#xD;&#xA;&gt; also to allow them to modify and reuse&#xD;&#xA;&gt; the provided material as they see fit&#xD;&#xA;&gt; in this/other/future projects. This&#xD;&#xA;&gt; perhaps isn't as big an issue in&#xD;&#xA;&gt; film/video projects where the&#xD;&#xA;&gt; deliverable is typically a fully&#xD;&#xA;&gt; synced soundscape or individual stems&#xD;&#xA;&gt; at the most, but in gaming projects&#xD;&#xA;&gt; with more individualized assets it&#xD;&#xA;&gt; presents a much larger concern.&#xD;&#xA;&#xD;&#xA;The main concern for the client is to verify that the IP has been cleared of any 3rd party copyrights (it's basically made your responsibility by using a contract) and to get and verify the exclusivity to the IP, so that it doesn't get used by anyone else or for anything else. Whether you want to give that kind of rights is up to you, but it's a rather standard procedure and it protects the client." ContentLicense="CC BY-SA 3.0" />
  <row Id="30647" PostHistoryTypeId="2" PostId="18919" RevisionGUID="efae1302-5491-477d-9c3a-96eaf288e2b1" CreationDate="2013-04-16T20:44:22.700" UserId="91" Text="as a web designer &amp; musician for many years, i use wordpress, but spent a lot of time learning it and was already familiar with coding.  personally i would say wordpress is the best, but you won't get the most you can out of it unless you learn coding &amp; the framework, etc, as mentioned by others.  it is possible to get quite far using a pro theme with minimal knowledge, but customization is limited (especially from a design perspective) and you will eventually get to a point where you want it to do something it doesn't out of the box.&#xD;&#xA;&#xD;&#xA;imo, the best tool out there for non-coders / non-designers is [Flavors.me][2].  one of the problems with these types of services are that you're limited to pre-built templates &amp; you're tied to their hosting and domain.  if you want to go eventually go somewhere else, you'll lose the design, data, and domain.  good in the short term, but best to learn wordpress &amp; coding in the long term.&#xD;&#xA;&#xD;&#xA;  [2]: http://flavors.me/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30655" PostHistoryTypeId="2" PostId="18924" RevisionGUID="a47f6d91-3fc0-4895-b126-a61f7a96e9e9" CreationDate="2013-04-17T07:27:46.863" UserId="142" Text="Very pleased with mine, use it with my MKH 50 and Invision bracket." ContentLicense="CC BY-SA 3.0" />
  <row Id="30661" PostHistoryTypeId="2" PostId="18927" RevisionGUID="2098b301-ed02-4b2e-ac11-ffdbf7575795" CreationDate="2013-04-17T14:52:36.120" UserId="4423" Text="Hey guys, I'm about to go on a Television shoot in the wild and I was wondering if you could give me tips or hints that could help me out with one of the set ups that I will be using&#xD;&#xA;&#xD;&#xA;The set up will consist of a Rode NT-2 mic which will be connected to an Azden fmx-22 mixer and from the mixer into a Panasonic HDC-Z10000 camera.&#xD;&#xA;&#xD;&#xA;Are there any tips, hints or opinions on this set up which will help me record good sound???&#xD;&#xA;&#xD;&#xA;Thanks :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30662" PostHistoryTypeId="1" PostId="18927" RevisionGUID="2098b301-ed02-4b2e-ac11-ffdbf7575795" CreationDate="2013-04-17T14:52:36.120" UserId="4423" Text="Tips on field recording set up" ContentLicense="CC BY-SA 3.0" />
  <row Id="30663" PostHistoryTypeId="3" PostId="18927" RevisionGUID="2098b301-ed02-4b2e-ac11-ffdbf7575795" CreationDate="2013-04-17T14:52:36.120" UserId="4423" Text="&lt;field-recording&gt;&lt;rode&gt;&lt;television&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30664" PostHistoryTypeId="2" PostId="18928" RevisionGUID="b1223876-aef8-46f4-9e22-0b113aad3b4c" CreationDate="2013-04-17T15:25:45.580" UserId="3567" Text="I assume you're talking about the  Rode NTG-2. If so, be careful with it as it's not as sturdy as the NTG-3. Don't use it in freezing temperatures and generally treat it as something easily breakable." ContentLicense="CC BY-SA 3.0" />
  <row Id="30665" PostHistoryTypeId="2" PostId="18929" RevisionGUID="930904d9-6c50-4351-931e-6ebcf68d4a12" CreationDate="2013-04-17T15:44:36.893" UserId="432" Text="Monitor audio from the camera, not the mixer. All too often, people set perfectly usable levels on the mixer and screw it up at the camera. Monitoring from the final device in the chain will help ensure that you get good audio. Make sure you use a reference tone when setting your headphone levels as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="30666" PostHistoryTypeId="2" PostId="18930" RevisionGUID="6d0f694f-4bf6-4ba6-bdbc-587029b52f17" CreationDate="2013-04-17T17:33:42.587" UserId="5954" Text="I would say I am a sound mixer. I have been mixing television shows for the last 8 years for a fairly large production company. While I do add my own elements into each show, the majority of it is put together by the offline editor. Then it comes to me. I clean up the narration, dialogue, add nats or sfx, mix the music to correct levels, and most importantly make sure the show follows the networks specs and get them all the stems they need. I work under tight deadlines, so sadly, I often have to spend less time on things that others would would need a full day on. I have 8 hours to mix a 22 minute show and 16 for a 45. While I enjoy playing around and coming up with new sfx for shows, I wouldn't call myself a sound designer. I have much to learn still, and many sounds to create before I earn that title. Until then, I'm a good old audio engineer who mixes sound for television :) " ContentLicense="CC BY-SA 3.0" />
  <row Id="30667" PostHistoryTypeId="2" PostId="18931" RevisionGUID="b35a6f35-0de9-4be1-9746-012e64b29354" CreationDate="2013-04-17T17:38:15.267" UserId="4442" Text="Things i've been experimenting with&#xD;&#xA;&#xD;&#xA; - Izotope vinyl&#xD;&#xA; - boscomac The cornet reaktor ensemble&#xD;&#xA; - flexing individual words in logic flex time set to speed&#xD;&#xA; - the obvious hi/lo cut&#xD;&#xA; - mild distortion&#xD;&#xA;&#xD;&#xA;What are some other ways you all go about antiquing recordings? Trying to find the thing that I like and i'm still poking around." ContentLicense="CC BY-SA 3.0" />
  <row Id="30668" PostHistoryTypeId="1" PostId="18931" RevisionGUID="b35a6f35-0de9-4be1-9746-012e64b29354" CreationDate="2013-04-17T17:38:15.267" UserId="4442" Text="Old antique style recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="30669" PostHistoryTypeId="3" PostId="18931" RevisionGUID="b35a6f35-0de9-4be1-9746-012e64b29354" CreationDate="2013-04-17T17:38:15.267" UserId="4442" Text="&lt;old&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30670" PostHistoryTypeId="2" PostId="18932" RevisionGUID="5d97343e-d9b2-4b21-8fe7-f92f4f544f37" CreationDate="2013-04-17T17:57:09.123" UserId="208" Text="Hi all&#xD;&#xA;&#xD;&#xA;Any of you having any experience with the Gorillapod tripods, used as a mount for a Rycote or similar microphone handle?&#xD;&#xA;I have an upcoming session where an usual mic stand wont be able to stand securely.&#xD;&#xA;Some of the Gorilla pods can hold as much as 5 kilos.&#xD;&#xA;&#xD;&#xA;Best wishes&#xD;&#xA;&#xD;&#xA;Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="30671" PostHistoryTypeId="1" PostId="18932" RevisionGUID="5d97343e-d9b2-4b21-8fe7-f92f4f544f37" CreationDate="2013-04-17T17:57:09.123" UserId="208" Text="Gorillapod tripod for microphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="30672" PostHistoryTypeId="3" PostId="18932" RevisionGUID="5d97343e-d9b2-4b21-8fe7-f92f4f544f37" CreationDate="2013-04-17T17:57:09.123" UserId="208" Text="&lt;microphone-stand&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30673" PostHistoryTypeId="2" PostId="18933" RevisionGUID="0e323d65-96a4-4d96-9c06-b55dfcc094ff" CreationDate="2013-04-17T18:08:48.753" UserId="5955" Text="Hello,&#xD;&#xA;&#xD;&#xA;I am working on a film that have a lot of zombies. &#xD;&#xA;&#xD;&#xA;Do you have any advice on making the voice of the zombies (they are non actually speaking)?&#xD;&#xA;&#xD;&#xA;I tried to make few sounds that are not bad, (I layered some lion growls passed in a vocoder plus my voice pitched down) , but for the director it is too aggressive. I have to make something that is more dead (more moaning in the sound).&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30674" PostHistoryTypeId="1" PostId="18933" RevisionGUID="0e323d65-96a4-4d96-9c06-b55dfcc094ff" CreationDate="2013-04-17T18:08:48.753" UserId="5955" Text="Zombie Voice How To?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30675" PostHistoryTypeId="3" PostId="18933" RevisionGUID="0e323d65-96a4-4d96-9c06-b55dfcc094ff" CreationDate="2013-04-17T18:08:48.753" UserId="5955" Text="&lt;zombies&gt;&lt;monster&gt;&lt;creature-vocalizations&gt;&lt;creature&gt;&lt;horror&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30676" PostHistoryTypeId="2" PostId="18934" RevisionGUID="9cc001cc-bd3d-4b71-8bbd-46ed3f389ebe" CreationDate="2013-04-17T18:19:55.207" UserId="194" Text="in before speakerphone!&#xD;&#xA;&#xD;&#xA;other things:&#xD;&#xA;&#xD;&#xA; - reamp through an old speaker&#xD;&#xA; - reamp and record through a ribbon mic&#xD;&#xA; - reamp through a [copperphone][1]&#xD;&#xA; - convolution with samples of old devices&#xD;&#xA; - overdo a tape emulator plugin&#xD;&#xA; - overdo a console emulator plugin&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.placidaudio.com/the-copperphone/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30677" PostHistoryTypeId="2" PostId="18935" RevisionGUID="b2fec80b-9c2a-4cca-82b4-64e7465c516e" CreationDate="2013-04-17T19:28:53.700" UserId="1049" Text="I think you've already hit the nail on the head in your question; just do some moaning, and various types of breathing yourself and pitch that down too; scrap the lion growls! But don't just pitch it down, stretch it too, long and slow. &#xD;&#xA;&#xD;&#xA;If you want to layer it up even more though, then you could add some wet slurping squelching sounds etc. for 'freshly dead' zombie, or some dry raspy breathing etc. for a 'long-dead' zombie. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30678" PostHistoryTypeId="2" PostId="18936" RevisionGUID="0153d7f5-8e28-44a2-9268-fc8748315a8b" CreationDate="2013-04-17T19:30:56.937" UserId="234" Text="Also... get some friends and do both single and group zombie sounds... Groups always sound better than layered singles. And you might also want to play around with this app: http://orfeasboteas.com/dehumaniser/. I tend to process the sound and then layer it against the original for best flexibility.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30679" PostHistoryTypeId="2" PostId="18937" RevisionGUID="888d1245-be32-4815-b509-96f24f777904" CreationDate="2013-04-17T19:32:39.770" UserId="6392" Text="My suggestion would be to get a bunch of people together and do a voice record session.  You can record as a group as well as individuals and then build up a library for you to use.  The moaning will be more convincing with a human voice and you can always augment any specific attacks with more layered sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="30680" PostHistoryTypeId="2" PostId="18938" RevisionGUID="eefe4580-b479-441c-aead-c8d112b60d52" CreationDate="2013-04-17T19:34:06.333" UserId="234" Text="In Protools, try the built in &quot;Lofi&quot; and &quot;Vintage Filter&quot; plugs as well...Oh and if you have Waves, check out the Kings Microphone plug-in. Fun if a little heavy handed." ContentLicense="CC BY-SA 3.0" />
  <row Id="30681" PostHistoryTypeId="2" PostId="18939" RevisionGUID="367f8c08-331a-4e26-bfae-e9e280c96ecc" CreationDate="2013-04-17T20:13:30.067" UserId="3754" Text="They're a lighting accessory, but im a massive fan of manfrotto super clamps. About £25, super strong, buy the right screw adaptors, and then you can mount on anything. And when you own a few, you'll find ways to keep using them. Great investment." ContentLicense="CC BY-SA 3.0" />
  <row Id="30682" PostHistoryTypeId="2" PostId="18940" RevisionGUID="6bfbcfa6-4929-43f4-b6cd-6f105a6d6dc5" CreationDate="2013-04-17T20:31:10.743" UserId="629" Text="The Panasonic HDC-Z10000 only does 16bit, in post remember this if you have to change everything to 24bit.&#xD;&#xA;&#xD;&#xA;With the Rode, use a battery in the shotgun rather than Phantom off the device (if it has it) I find you get a better reading in my experience.&#xD;&#xA;&#xD;&#xA;In regards to @Shaun comment definitely read you're levels off the camera, if you have no visual aid just make sure you're not peaking from your mixer and it sounds okay from the camera output." ContentLicense="CC BY-SA 3.0" />
  <row Id="30683" PostHistoryTypeId="2" PostId="18941" RevisionGUID="56e0cb9a-9498-451f-8316-c691df66de1d" CreationDate="2013-04-17T21:11:30.127" UserId="4423" Text="Hey guys, &#xD;&#xA;&#xD;&#xA;I have a Azden fmx-22 mixer that I will connect a NTG-2 to and from there it will go into a Panasonic HDC Z10000 camera.&#xD;&#xA;&#xD;&#xA;How do I set the levels of the camera to the mixer if the mixer doesn't have a reference tone generator?&#xD;&#xA;&#xD;&#xA;Thanks :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30684" PostHistoryTypeId="1" PostId="18941" RevisionGUID="56e0cb9a-9498-451f-8316-c691df66de1d" CreationDate="2013-04-17T21:11:30.127" UserId="4423" Text="How to set levels of camera to the mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30685" PostHistoryTypeId="3" PostId="18941" RevisionGUID="56e0cb9a-9498-451f-8316-c691df66de1d" CreationDate="2013-04-17T21:11:30.127" UserId="4423" Text="&lt;mixer&gt;&lt;tone&gt;&lt;field-recording&gt;&lt;camera&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30686" PostHistoryTypeId="5" PostId="18917" RevisionGUID="a7ee15b9-e3b6-4c69-8d3d-d7170c22dd67" CreationDate="2013-04-17T21:40:07.137" UserId="3238" Comment="added 262 characters in body" Text="Hey folks, I've read a number of great posts here regarding library sfx usage and legal issues (such as [this one][1], but wanted to focus on an aspect that hasn't come up so far in my readings.&#xD;&#xA;&#xD;&#xA;I find on a number of freelance projects, the client wants some standard contract signed to some effect with a &quot;work-for-hire&quot; type clause in it - essentially stating any design work you do and audio materials you provide will be owned by them.  Obviously this is something I avoid in general, unless the price is right, but the big question is how does use of library sfx in your work (either in whole or in part) effect one's ability to even officially sign something like this?  &#xD;&#xA;&#xD;&#xA;My typical response to clients in these situations is to try to explain to them that the nature of the work and source material prevents a &quot;work-for-hire&quot; agreement from being valid, being that I don't actually &quot;own&quot; the audio source material and therefore cannot transfer ownership to them even if I wanted to.  This usually confuses and/or frustrates them, as they're typically used to dealing with visual artists or developers that aren't as library-centric, or worse other sound designers in the past who haven't made a fuss about this issue and probably signed off &quot;ownership&quot; of audio files consisting of some library sfx material.&#xD;&#xA;&#xD;&#xA;My understanding is that even if a single snippet of library material is used in a sound/soundscape, that audio technically becomes an extension of the library sound and the library EULA applies.  Obviously the way it is designed/utilized may be original and &quot;your own&quot;, but you don't have the rights to do anything with that sound other than use it in a synced work, and are certainly not able to grant someone else (the client) the rights to use it as they please - to me that would clearly violate the repackaging/redistribution clause pretty much found in every sfx library EULA.&#xD;&#xA;&#xD;&#xA;The other part of this issue is that the work-for-hire bit isn't simply to protect the client's exclusivity of the design materials, which is much more reasonable/realistic, but it's also to allow them to modify and reuse the provided material as they see fit in this/other/future projects.  This perhaps isn't as big an issue in film/video projects where the deliverable is typically a fully synced soundscape or individual stems at the most, but in gaming projects with more individualized assets it presents a much larger concern.&#xD;&#xA;&#xD;&#xA;I've turned down these projects in the past, and in some cases I've had clients willing to add a contract clause to the effect of &quot;anything we can't own is properly licensed for use, but everything else we do own&quot;.  Of course this just widens the potential for confusion and misuse in my opinion and I still try to avoid it entirely where possible.&#xD;&#xA;&#xD;&#xA;So what do you all do when something like this comes up?  Do you agree that under a work-for-hire contract you would be unable to utilize any library sourced audio material?  Am I being overzealous in my interpretation?  Anyone have any standard clauses or client disclaimers of their own that have proven effective and would be willing to share?  Any good reading/articles out there that you point clients to in an effort to raise awareness and clarify the issues?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/17089/sound-library-usage-for-freelancers" ContentLicense="CC BY-SA 3.0" />
  <row Id="30687" PostHistoryTypeId="2" PostId="18942" RevisionGUID="8cc4f8b4-96a3-4daf-9795-e05181a55776" CreationDate="2013-04-17T22:58:26.460" UserDisplayName="user6508" Text="I've used my Gorillapod (The one for SLR's) and a Rycote S-series/ Shotgun combo no problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="30688" PostHistoryTypeId="2" PostId="18943" RevisionGUID="29891951-7653-4a9b-96ee-a39ff6562747" CreationDate="2013-04-18T11:06:08.830" UserId="542" Text="Hi,&#xD;&#xA;&#xD;&#xA;right now I'm writing on my thesis and I try to find out the main differences between the Interop- and SMPTE-DCP specifications regarding the amount of audio-channels that are available. &#xD;&#xA;The problem I ran into is that the SMPTE specs are only sold via the SPMTE store and I don't even know which *.pdf I should buy to get the desired informations.&#xD;&#xA;&#xD;&#xA;So far, I've only found out, that an Interop-DCP allows 16 channels of audio for each channel-configuration (5.1 / 7.1SDDS / 7.1DS) in up to 24Bit and 96kHz.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So my question right now are:&#xD;&#xA;&#xD;&#xA;-Does anybody of you know, if a SMPTE-DCI allows more than these 16 channels? &#xD;&#xA;&#xD;&#xA;-And are there more channel-configurations than 5.1, 7.1SDDS and 7.1DS available? &#xD;&#xA;&#xD;&#xA;-And can you think about a way to implement more than 16 channels into a DCP?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="30689" PostHistoryTypeId="1" PostId="18943" RevisionGUID="29891951-7653-4a9b-96ee-a39ff6562747" CreationDate="2013-04-18T11:06:08.830" UserId="542" Text="Differences between Interop DCP and SMPTE DCP" ContentLicense="CC BY-SA 3.0" />
  <row Id="30690" PostHistoryTypeId="3" PostId="18943" RevisionGUID="29891951-7653-4a9b-96ee-a39ff6562747" CreationDate="2013-04-18T11:06:08.830" UserId="542" Text="&lt;smpte&gt;&lt;dcp&gt;&lt;cinema&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30691" PostHistoryTypeId="2" PostId="18944" RevisionGUID="7226930e-8603-4319-9ae6-4849acf2f6a6" CreationDate="2013-04-18T11:19:40.187" UserId="194" Text="If you have enough time in advance you could pick up a cable tester that has a tone generator in it for about $20.  [Here's one.][1]  Pull it into the studio, run it through your mixer, and mark the point at which its output = -20 dbfs.  It'll probably be close to unity gain. Then when you're out in the field you can just plug the tester into the mixer, set the gain to the same spot, and calibrate your camera input.&#xD;&#xA;&#xD;&#xA;an alternative to this method would be to render a sine wave at -20 dbfs in your DAW and put that file on your phone.  Turn your phone's volume all the way up, plug it into your mixer (you'll probably need a 35mm to xlr adapter) and repeat the same steps as above.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/245573-REG/Behringer_CT100_CT_100_Cable_Tester.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="30692" PostHistoryTypeId="2" PostId="18945" RevisionGUID="7538f55e-e44f-4aca-a997-2956e0a1b189" CreationDate="2013-04-18T11:38:39.757" UserId="5957" Text="I'm working on a suite of around 25 interface sounds for a Facebook game, and wondering what kind of level to bounce the sounds out. There is no musical or ambient bed to mix the sounds against, so I'm setting the standard myself.&#xD;&#xA;&#xD;&#xA;I usually mix music, and if I'm mastering my tracks, I'll place a limiter on the master channel and push it to 0db digital. (Let's not get into a loudness war argument here!)&#xD;&#xA;&#xD;&#xA;In the case of the game, let's say I take what I consider to be the most important sound - the one that needs to be loudest in relation to all the other sounds - what level should this sound come out as? Should I go for full scale digital to maximise loudness, mixing the others lower in relation to this high point, or should I choose lower levels for everything so I won't risk the sounds being alarmingly loud? &#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30693" PostHistoryTypeId="1" PostId="18945" RevisionGUID="7538f55e-e44f-4aca-a997-2956e0a1b189" CreationDate="2013-04-18T11:38:39.757" UserId="5957" Text="Mix levels for Facebook game interface sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="30694" PostHistoryTypeId="3" PostId="18945" RevisionGUID="7538f55e-e44f-4aca-a997-2956e0a1b189" CreationDate="2013-04-18T11:38:39.757" UserId="5957" Text="&lt;facebook&gt;&lt;gameaudio&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30698" PostHistoryTypeId="2" PostId="18947" RevisionGUID="799223e7-ed16-4670-a807-10479f4df51a" CreationDate="2013-04-18T12:16:51.813" UserId="3420" Text="Hey everyone, &#xD;&#xA;&#xD;&#xA;In movies like Mission Impossible, and Die Hard 4.0 there are a TON of nice little technological beeps, whirs, servo's, and synthesised sounds that really make the whole thing sound very tech advanced. &#xD;&#xA;&#xD;&#xA;What do you think is the best library for replicating these kind of beeps and tones?&#xD;&#xA;&#xD;&#xA;I know there is the Hollywood Edge Hi-Tech SFX library - but being released in 2000. . .it's REALLY showing it's age and is quite poor by todays standards.&#xD;&#xA;&#xD;&#xA;I'm looking everything from computer beeps. . .to key card swiping. . .to door air locks . . and ascending / descending computer noises and servos, but am having trouble finding a decent library!&#xD;&#xA;&#xD;&#xA;Any particular favourites?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30699" PostHistoryTypeId="1" PostId="18947" RevisionGUID="799223e7-ed16-4670-a807-10479f4df51a" CreationDate="2013-04-18T12:16:51.813" UserId="3420" Text="Best SFX for hi tech futuristic environments?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30700" PostHistoryTypeId="3" PostId="18947" RevisionGUID="799223e7-ed16-4670-a807-10479f4df51a" CreationDate="2013-04-18T12:16:51.813" UserId="3420" Text="&lt;library&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30701" PostHistoryTypeId="2" PostId="18948" RevisionGUID="7743ced5-6565-46c5-875e-3dd5dade8c5f" CreationDate="2013-04-18T13:46:21.157" UserId="5958" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm currently writing a comparative sound design study for university on the differences of live action films and animations. As one of the chapters i am analysing a number of films on each side before i compare and show contrast between them or explain why there isn't much difference.&#xD;&#xA;&#xD;&#xA;However, what i need advice with is factors with in the film i need to be paying attention to and writing about... Some of the things i have thought of:&#xD;&#xA;&#xD;&#xA;the level of exaggeration used?&#xD;&#xA;if any &quot;mickey mouse&quot; effects have been used?&#xD;&#xA;are the sound effects made as realistic as possible?&#xD;&#xA;&#xD;&#xA;If there are any others you could think of it would be greatly appreciated.&#xD;&#xA;&#xD;&#xA;So far the film list for analysis are (will only be analysing 2 or 3 for each genre):&#xD;&#xA;&#xD;&#xA;**ANIMATION**&#xD;&#xA;&#xD;&#xA;KUNG FU PANDA &#xD;&#xA; &#xD;&#xA;THE INCREDIBLES&#xD;&#xA;&#xD;&#xA;HOW TO TRAIN YOUR DRAGON&#xD;&#xA;&#xD;&#xA;WALL-E&#xD;&#xA;&#xD;&#xA;SNOW WHITE AND THE SEVEN DWARVES&#xD;&#xA;&#xD;&#xA;TOY STORY&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**LIVE ACTION**&#xD;&#xA;&#xD;&#xA;STAR WARS IV&#xD;&#xA;&#xD;&#xA;JURASSIC PARK&#xD;&#xA;&#xD;&#xA;SAVING PRIVATE RYAN&#xD;&#xA;&#xD;&#xA;LORD OF THE RINGS&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30702" PostHistoryTypeId="1" PostId="18948" RevisionGUID="7743ced5-6565-46c5-875e-3dd5dade8c5f" CreationDate="2013-04-18T13:46:21.157" UserId="5958" Text="Tips on analysing sound design on films?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30703" PostHistoryTypeId="3" PostId="18948" RevisionGUID="7743ced5-6565-46c5-875e-3dd5dade8c5f" CreationDate="2013-04-18T13:46:21.157" UserId="5958" Text="&lt;animation&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30705" PostHistoryTypeId="2" PostId="18950" RevisionGUID="9123db34-ac82-4713-bbc2-8ea0cc069c3d" CreationDate="2013-04-18T14:33:00.693" UserId="5960" Text="Interesting topic. My first thought is to look at how visual cues is translated or amplified into audio - how the sound relates to the visuals to give them certain properties, and how that differs between animation and live-action. What aspects of the films differs from a &quot;realistic&quot; world, and how does it sound?&#xD;&#xA;You could also try to categorize different elements for further comparisons, like impacts, ambience, character-specific sounds etc.&#xD;&#xA;Another interesting question, is if the sound design might differ between them because they have different target groups (children/family vs adults)." ContentLicense="CC BY-SA 3.0" />
  <row Id="30706" PostHistoryTypeId="2" PostId="18951" RevisionGUID="cb6b5589-0edc-427a-a3db-158c8779fc9b" CreationDate="2013-04-18T15:22:48.330" UserId="5605" Text="I think it depends on the game. Is it running in the background or does it require your attention non-stop? That's the first thing I would consider.&#xD;&#xA;&#xD;&#xA;Are the sounds going to be played at the level you render them at or are they going to be attenuated by the game engine? If it's the first - mixing them for loudness is a no no. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30707" PostHistoryTypeId="2" PostId="18952" RevisionGUID="5933c88c-a86a-4397-98d9-b8d776187b1e" CreationDate="2013-04-18T15:25:38.360" UserId="3420" Text="Found this and it's exactly what I was looking for! &#xD;&#xA;&#xD;&#xA;http://boomlibrary.com/boomlibrary/products/sci-fi&#xD;&#xA;&#xD;&#xA;Hopefully this helps someone! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30708" PostHistoryTypeId="2" PostId="18953" RevisionGUID="9c8dc036-f8fb-42ec-98bc-fe774543a190" CreationDate="2013-04-18T15:43:18.897" UserId="4442" Text="So i'm dealing with the C4 engine right now, and its audio capabilities are pretty spartan. For compressed streams, the only codec it allows is ADPCM. Most of the information i can find on this codec is very dated and doesn't seem to be widely used (from what I can tell). Almost all of the converters deal with the container, not the codec (ie wav -&gt; .xyz, not how it gets there). &#xD;&#xA;&#xD;&#xA;Any tips on this are welcome.&#xD;&#xA;&#xD;&#xA;I'm using a mac. I have boot camp but it would be a serious workflow cramp to have to use it just to convert audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="30709" PostHistoryTypeId="1" PostId="18953" RevisionGUID="9c8dc036-f8fb-42ec-98bc-fe774543a190" CreationDate="2013-04-18T15:43:18.897" UserId="4442" Text="ADPCM codec info, mac converter, etc" ContentLicense="CC BY-SA 3.0" />
  <row Id="30710" PostHistoryTypeId="3" PostId="18953" RevisionGUID="9c8dc036-f8fb-42ec-98bc-fe774543a190" CreationDate="2013-04-18T15:43:18.897" UserId="4442" Text="&lt;converter&gt;&lt;wav&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30712" PostHistoryTypeId="2" PostId="18955" RevisionGUID="3a95c1d1-4916-40fa-898c-317ab7411c0f" CreationDate="2013-04-18T18:19:59.603" UserId="5962" Text="Summer is coming up and I need some projects! I've taken the only 'sound design' and 'computer tech music' courses at my university, so unless I decide to pursue a specialty school after I finish my undergrad, I'm on my own to learn more.&#xD;&#xA;&#xD;&#xA;This summer, I'll have some time. What's the best way to spend it to learn more and become a better designer?&#xD;&#xA;&#xD;&#xA;I have a few books, a Zoom H4n, and I'll have access to some Rode shotgun mics and a decent tascam. Game mods? Online courses? Software to learn? Problems to solve? Record 100 sounds? &#xD;&#xA;&#xD;&#xA;I've done some digging for internships but they are nonexistent in my state and scarce outside from what I can find, especially with little to no experience." ContentLicense="CC BY-SA 3.0" />
  <row Id="30713" PostHistoryTypeId="1" PostId="18955" RevisionGUID="3a95c1d1-4916-40fa-898c-317ab7411c0f" CreationDate="2013-04-18T18:19:59.603" UserId="5962" Text="Student/Beginner Summer Projects" ContentLicense="CC BY-SA 3.0" />
  <row Id="30714" PostHistoryTypeId="3" PostId="18955" RevisionGUID="3a95c1d1-4916-40fa-898c-317ab7411c0f" CreationDate="2013-04-18T18:19:59.603" UserId="5962" Text="&lt;projects&gt;&lt;learning&gt;&lt;education&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30715" PostHistoryTypeId="2" PostId="18956" RevisionGUID="1def3f6f-bcd7-4a53-9a1f-a2c2c38c259f" CreationDate="2013-04-18T19:10:35.167" UserId="3179" Text="Depends on your interests. Game mods are pretty easy to find and join, because you can do that using the internet. There are also a few sites where you might look for short film projects. It might not be useful to work on sound libraries though, unless you're particularly interested in them or have ideas for something extraordinary, because you'd be spending a lot of time on the library, rather than working on projects and meeting new people. In any way I would suggest anything that gets you know people from your own field and from other relevant fields (people working on films, people working on games, people working on TV, people working on anything to which you want to/could contribute to).&#xD;&#xA;&#xD;&#xA;Don't bother digging for interships in other ways than actually meeting with people in person. It doesn't pay off and most people and studios aren't simply bothering to advertise about internships that they could offer, but it's more like &quot;Oh you're a good guy and you're interested in what we do. We'll let you work and learn with us.&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="30716" PostHistoryTypeId="5" PostId="18956" RevisionGUID="6e91b2d9-aad2-458d-ac81-f2508b51188a" CreationDate="2013-04-18T19:16:11.070" UserId="3179" Comment="added 2 characters in body; added 3 characters in body" Text="Depends on your interests. Game mods are pretty easy to find and join, because you can do that using the internet. There are also a few sites where you might look for short film projects. It might not be useful to work on sound libraries though, unless you're particularly interested in them or have ideas for something extraordinary, because you'd be spending a lot of time on the library, rather than working on projects and meeting new people. In any case, I would suggest anything that gets you to know people from your own field and from other relevant fields (people working on films, people working on games, people working on TV, people working on anything to which you want to/could contribute to).&#xD;&#xA;&#xD;&#xA;Don't bother digging for interships in other ways than actually meeting with people in person. It doesn't pay off and most people and studios aren't simply bothering to advertise about internships that they could offer, but it's more like &quot;Oh you're a good guy and you're interested in what we do. We'll let you work and learn with us.&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="30717" PostHistoryTypeId="2" PostId="18957" RevisionGUID="5a57800a-9c6a-4377-9492-9a32e383ae81" CreationDate="2013-04-18T20:23:15.747" UserId="234" Text="Sound Converter (available on the App Store) does adpcm encoding under a few formats for Mac." ContentLicense="CC BY-SA 3.0" />
  <row Id="30718" PostHistoryTypeId="2" PostId="18958" RevisionGUID="ceb8edd2-70fe-4672-8fba-b164a93d977b" CreationDate="2013-04-19T02:03:37.073" UserId="5624" Text="Some additional things I'd be looking at are:&#xD;&#xA;&#xD;&#xA; - Level of detail. How does it sound? eg. Does it just sound like a lever being pulled or is every little nuance of the sound audible?&#xD;&#xA;&#xD;&#xA; - Level of layering. How much sound is going on. Can you just hear what is happening in the action right in front of you or is a whole world being created? Can you hear off screen action? If something is making a sound, is it a single sound or can you hear different elements in play?&#xD;&#xA;&#xD;&#xA; - In extension to the &quot;Mickey Mouse FX&quot; question; Are the sounds being used to emote an emotional response or give a certain design aesthetic? Or are they just realistic, true to life sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="30719" PostHistoryTypeId="2" PostId="18959" RevisionGUID="c7a4ce34-5e15-4654-ae63-f60c45052abf" CreationDate="2013-04-19T02:12:51.077" UserId="3179" Text="Perhaps in the case of animations and live action it could be a valid point to figure out how much of the sound has been consciously &quot;made&quot; and how much of it either occurs in, naturally belongs to or is intuitively implied by the scenes. In live action you obviously have the possibility to use location sound as well as real points of reference (like life-like locations), whereas that's never the case in animations. It's not that interesting point for the viewer, but rather important point for a sound artist. Although as these are big feature films, then they're mostly post-produced and ADRd.&#xD;&#xA;&#xD;&#xA;I think the target group and how it's heard in the soundtrack is a good thing to analyze as well. Were the target group specified differently in some film, it might affect how the overall soundtrack is stylized." ContentLicense="CC BY-SA 3.0" />
  <row Id="30720" PostHistoryTypeId="2" PostId="18960" RevisionGUID="9e38ae96-7a26-44b7-b541-5e134823077b" CreationDate="2013-04-19T02:14:38.923" UserId="465" Text="I just downloaded an app called &quot;Touch The Video&quot;- Was a couple bucks, works very well for what I need.  It allows you to add markers and gives you more control over the transport.  I also love the ipad for recording foley in the field.  I've got my ipad wirelessly transmitting guide track to my recorder, which makes it very easy to sync the recordings with my session." ContentLicense="CC BY-SA 3.0" />
  <row Id="30721" PostHistoryTypeId="5" PostId="18959" RevisionGUID="5786193f-f269-4ba8-86f3-7cbb90b98e42" CreationDate="2013-04-19T02:23:27.130" UserId="3179" Comment="added 398 characters in body; added 82 characters in body; added 15 characters in body; added 3 characters in body; added 51 characters in body" Text="Perhaps in the case of animations and live action it could be a valid point to figure out how much of the sound has been consciously &quot;made&quot; and how much of it either occurs in, naturally belongs to or is intuitively implied by the scenes. In live action you obviously have the possibility to use location sound as well as real points of reference (like life-like locations), whereas that's never the case in animations. It's not that interesting point for the viewer, but rather important point for a sound artist. Although as these are big feature films, then they're mostly post-produced and ADRd.&#xD;&#xA;&#xD;&#xA;I think the target group and how it's heard in the soundtrack is a good thing to analyze as well. Were the target group specified differently in some film, it might affect how the overall soundtrack is stylized.&#xD;&#xA;&#xD;&#xA;You could perhaps find something in comparing how much off-screen and background sound gets used in live action vs animations as well. I don't know if there's any noticeable difference, but you could expect that animations could see much scarcer use of off-screen sound (perhaps to make the overall sound more plain and less life-like and more fictional and story-like), whereas in live action there could be off-screen sound that just &quot;has to be there&quot; in order to make it seem more life-like or to meet some kind of convention in expectations." ContentLicense="CC BY-SA 3.0" />
  <row Id="30722" PostHistoryTypeId="2" PostId="18961" RevisionGUID="6a025c02-b1a0-4c44-a88f-d802108e131f" CreationDate="2013-04-19T02:26:31.640" UserId="37" Text="Shame afconvert only writes out CAFF ima4 files, otherwise it comes on the osx terminal..&#xD;&#xA;I seem to remember a time when Windows Sound Recorder used to do adpcm files..&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30723" PostHistoryTypeId="5" PostId="18959" RevisionGUID="e90e8693-a8de-48ed-af5c-9d7a9efc5b9c" CreationDate="2013-04-19T02:34:54.337" UserId="3179" Comment="added 225 characters in body; added 79 characters in body; added 10 characters in body; edited body" Text="Perhaps in the case of animations and live action it could be a valid point to figure out how much of the sound has been consciously &quot;made&quot; and how much of it either occurs in, naturally belongs to or is intuitively implied by the scenes. In live action you obviously have the possibility to use location sound as well as real points of reference (like life-like locations), whereas that's never the case in animations. It's not that interesting point for the viewer, but rather important point for a sound artist. Although as these are big feature films, then they're mostly post-produced and ADRd.&#xD;&#xA;&#xD;&#xA;I think the target group and how it's heard in the soundtrack is a good thing to analyze as well. Were the target group specified differently in some film, it might affect how the overall soundtrack is stylized.&#xD;&#xA;&#xD;&#xA;You could perhaps find something in comparing how much off-screen and background sound gets used in live action vs animations as well. I don't know if there's any noticeable difference, but you could expect that animations could see much scarcer use of off-screen sound (perhaps to make the overall sound more plain and less life-like and more fictional and story-like), whereas in live action there could be off-screen sound that just &quot;has to be there&quot; in order to make it seem more life-like or to meet some kind of convention in expectations.&#xD;&#xA;&#xD;&#xA;Also, are there more sound cues in animations which can be left out and which don't make any sound than in live action films? Does live action automatically call for more sounds, because it has to take realism in account? How well does scarcity of sounds and a simplistic soundtrack work in live action scenes?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30724" PostHistoryTypeId="5" PostId="18959" RevisionGUID="e510ba3e-c70c-401e-bd82-3ff030106a75" CreationDate="2013-04-19T02:40:17.863" UserId="3179" Comment="added 30 characters in body; added 153 characters in body" Text="Perhaps in the case of animations and live action it could be a valid point to figure out how much of the sound has been consciously &quot;made&quot; and how much of it either occurs in, naturally belongs to or is intuitively implied by the scenes. In live action you obviously have the possibility to use location sound as well as real points of reference (like life-like locations), whereas that's never the case in animations. It's not that interesting point for the viewer, but rather important point for a sound artist. Although as these are big feature films, then they're mostly post-produced and ADRd.&#xD;&#xA;&#xD;&#xA;I think the target group and how it's heard in the soundtrack is a good thing to analyze as well. Were the target group specified differently in some film, it might affect how the overall soundtrack is stylized.&#xD;&#xA;&#xD;&#xA;You could perhaps find something in comparing how much off-screen and background sound gets used in live action vs animations as well. I don't know if there's any noticeable difference, but you could expect that animations could see much scarcer use of off-screen sound (perhaps to make the overall sound more plain and less life-like and more fictional and story-like or &quot;plasticy&quot;/highly stylized), whereas in live action there could be off-screen sound that just &quot;has to be there&quot; in order to make it seem more life-like or to meet some kind of convention in expectations.&#xD;&#xA;&#xD;&#xA;Also, are there more sound cues in animations which can be left out and which don't make any sound than in live action films? Does live action automatically call for more sounds, because it has to take realism in account? How well does scarcity of sounds and a simplistic soundtrack work in live action scenes?&#xD;&#xA;&#xD;&#xA;Is there noticeable difference in what type of sound is used to create and emphasize emotions in animations vs live action? Music, sfx, voice acting?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30725" PostHistoryTypeId="5" PostId="18959" RevisionGUID="764ff1c3-ae0e-4321-a434-98fe271b6968" CreationDate="2013-04-19T02:50:52.337" UserId="3179" Comment="added 302 characters in body; added 13 characters in body; added 48 characters in body" Text="Perhaps in the case of animations and live action it could be a valid point to figure out how much of the sound has been consciously &quot;made&quot; and how much of it either occurs in, naturally belongs to or is intuitively implied by the scenes. In live action you obviously have the possibility to use location sound as well as real points of reference (like life-like locations and somewhat realistic humans/creatures/objects), whereas that's never the case in animations. It's not that interesting point for the viewer, but rather important point for a sound artist. Although as these are big feature films, then they're mostly post-produced and ADRd.&#xD;&#xA;&#xD;&#xA;I think the target group and how it's heard in the soundtrack is a good thing to analyze as well. Were the target group specified differently in some film, it might affect how the overall soundtrack is stylized.&#xD;&#xA;&#xD;&#xA;You could perhaps find something in comparing how much off-screen and background sound gets used in live action vs animations as well. I don't know if there's any noticeable difference, but you could expect that animations could see much scarcer use of off-screen sound (perhaps to make the overall sound more plain and less life-like and more fictional and story-like or &quot;plasticy&quot;/highly stylized), whereas in live action there could be off-screen sound that just &quot;has to be there&quot; in order to make it seem more life-like or to meet some kind of convention in expectations.&#xD;&#xA;&#xD;&#xA;Also, are there more sound cues in animations which can be left out and which don't make any sound than in live action films? Does live action automatically call for more sounds, because it has to take realism in account? How well does scarcity of sounds and a simplistic soundtrack work in live action scenes?&#xD;&#xA;&#xD;&#xA;Is there noticeable difference in what type of sound is used to create and emphasize emotions in animations vs live action? Music, sfx, voice acting?&#xD;&#xA;&#xD;&#xA;Finally, did you find anything that you think shows some kind of actual resemblances, conventions or differences or was your comparison random and pointless and one can't actually group and analyze films in this way, but rather there would need to be different criteria altogether or no overall criteria at all?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30726" PostHistoryTypeId="2" PostId="18962" RevisionGUID="f1f773e1-532f-4a69-be1e-a6ffc8b899e8" CreationDate="2013-04-19T11:52:22.570" UserId="432" Text="I'm going to come at this from a different angle. Since that's your list of potential films, I think you're severely limiting yourself as far as potential learning opportunities. Granted, there's a lot of interesting sound design in the modern blockbusters/action films you've compiled (Snow White being the only exception)...but there's a much larger world out there that you should give yourself exposure to. The &quot;art&quot; in sound design comes from the **why**, not the **how**.&#xD;&#xA;&#xD;&#xA;I think you should re-evaluate what kinds of pairings will give you a strong opportunity to compare approaches. Maybe you pick an animated and a live action film that have the same sound designer (Randy Thom on &quot;How to Train Your Dragon&quot; and &quot;Cast Away&quot; would be a good example). Perhaps you compare approaches to animated films between two different cultures; something like a Studio Ghibli film vs. Disney...or maybe something more independent like &quot;Triplets of Bellville&quot;. Pick a foreign Director/Sound Editor pair that have worked on multiple films together...Jean-Pierre Jeunet and Gerard Hardy immediately come to mind. They did some very interesting things in &quot;Amélie&quot; and &quot;Micmacs.&quot;&#xD;&#xA;&#xD;&#xA;My point is this...&#xD;&#xA;&#xD;&#xA;First, expand your view a bit. Then, think about the possible links between films that will provide opportunities for comparison. It will prepare you to think a bit more critically about the use of sound, and is more likely to lead you down the road of creative sound use...which, in my opinion, is more important than sound generation." ContentLicense="CC BY-SA 3.0" />
  <row Id="30730" PostHistoryTypeId="2" PostId="18964" RevisionGUID="bac17055-8aeb-4888-94f5-28671c354195" CreationDate="2013-04-19T14:09:18.830" UserId="1055" Text="http://soundworkscollection.com/videos/oblivion&#xD;&#xA;&#xD;&#xA;;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30731" PostHistoryTypeId="5" PostId="18964" RevisionGUID="cac61683-6bb4-4ac4-b8b4-f5f65b334157" CreationDate="2013-04-19T14:16:45.860" UserId="1055" Comment="added 72 characters in body" Text="http://soundworkscollection.com/videos/oblivion&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;edit: they don't show anything on sound design actually in this video :/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30732" PostHistoryTypeId="2" PostId="18965" RevisionGUID="e4eae801-c7cf-43ad-a684-3845c08977fe" CreationDate="2013-04-20T16:56:19.010" UserId="5958" Text="Hi,&#xD;&#xA;&#xD;&#xA;Just looking for some opinions on the best sounds to pitch down and/or slow down, which give the best interesting results? I need them for an example of how pitching and altering the speed of a sound can be used. &#xD;&#xA;&#xD;&#xA;Originally i was going to use bird recordings, any one have any suggestions?&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="30733" PostHistoryTypeId="1" PostId="18965" RevisionGUID="e4eae801-c7cf-43ad-a684-3845c08977fe" CreationDate="2013-04-20T16:56:19.010" UserId="5958" Text="Best sounds to pitch down and time stretch?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30734" PostHistoryTypeId="3" PostId="18965" RevisionGUID="e4eae801-c7cf-43ad-a684-3845c08977fe" CreationDate="2013-04-20T16:56:19.010" UserId="5958" Text="&lt;pitch-shifting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30735" PostHistoryTypeId="2" PostId="18966" RevisionGUID="490325b6-19ea-49ba-b280-1c902a085e79" CreationDate="2013-04-20T18:31:47.350" UserId="3835" Text="White Noise. Pitching white noise should theoretically give the same result however it will not as it will contain artifacts of the processing depending on the algorithm, thus evidencing the perceived negatives of digital processing.&#xD;&#xA;&#xD;&#xA;The same applies to Time-Stretching. Depending on the algorithm used, it is possible to create 'tone' from noise as the window size or grain size will eventually create a perceived pitch due to the wavelets.&#xD;&#xA;&#xD;&#xA;This is really an example of over-processing or digital destruction and is delving into the 'Post-Digital' Territory." ContentLicense="CC BY-SA 3.0" />
  <row Id="30736" PostHistoryTypeId="2" PostId="18967" RevisionGUID="591d53bf-8a49-4344-bc08-fee5c65b793b" CreationDate="2013-04-20T21:58:33.790" UserDisplayName="user49" Text="just two examples:&#xD;&#xA;&#xD;&#xA;for pitch shifting, look for sounds that are resonant in mid frequencies - pitching them down an octave or two shifts them into bass frequencies &amp; can make for a dramatic contrast with the original sound....&#xD;&#xA;&#xD;&#xA;i've always been impressed with time stretched bell sounds (you'll want to use a spectral time stretch like AudioSculpt so grain doesnt become an issue) - slow modulations become apparent that you cant hear/dont notice in the original sound due to the speed....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30737" PostHistoryTypeId="2" PostId="18968" RevisionGUID="e960769a-4868-4f07-957a-a69c065eb9e1" CreationDate="2013-04-21T02:47:56.400" UserId="577" Text="Bowed or otherwise tortured metal:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/04/chuck-russom-special-recording-dry-ice/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30738" PostHistoryTypeId="2" PostId="18969" RevisionGUID="c28b59c4-28b3-4a4b-8311-79369175641c" CreationDate="2013-04-21T14:13:48.277" UserId="3754" Text="If recorded well at high quality, I'm a big fan of rubber and duct tape being pulled. Lots of interesting noises appear" ContentLicense="CC BY-SA 3.0" />
  <row Id="30739" PostHistoryTypeId="2" PostId="18970" RevisionGUID="dc6a5827-1cff-4b34-8dc0-d2c0bcebadb1" CreationDate="2013-04-21T18:24:48.560" UserId="4442" Text="Springs of varying types. Really, everything sounds awesome time and pitched. Just the greatest. If it doesn't already sound totally awesome, it at least will give you ideas of how different some things can sound, expanding your palette. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30740" PostHistoryTypeId="2" PostId="18971" RevisionGUID="a2ff74b2-04ab-4afa-8a7a-95c1c3a4b799" CreationDate="2013-04-21T18:51:17.837" UserId="6460" Text="The human voice. Channel your inner child and sit in front of a good mic (in a good room) for a bit and make the weirdest sounds you can think of. Roar, moan, cough, flutter your tongue. Put the mic againt your throat...whistle...blow raspberries... Make as much material as possible.&#xD;&#xA;&#xD;&#xA;Now repeat all of this with a friend of yours who is the opposite gender, or just has a very different voice. &#xD;&#xA;&#xD;&#xA;If you can, record all of this at 24bit 192Khz — or at least the highest sample rate your gear can muster.&#xD;&#xA;&#xD;&#xA;The perk: you don't have to leave the studio, buy any props, or lay out newspaper :).&#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="30741" PostHistoryTypeId="2" PostId="18972" RevisionGUID="04ffe80c-5782-492c-8f92-296aac1d8f16" CreationDate="2013-04-21T20:33:38.533" UserId="5826" Text="you can also have a look at &quot;Computer Noises&quot;&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=qCShxV7HghA" ContentLicense="CC BY-SA 3.0" />
  <row Id="30742" PostHistoryTypeId="2" PostId="18973" RevisionGUID="e0512d72-a601-4a72-9ac9-0b9eed412733" CreationDate="2013-04-22T06:51:18.977" UserId="3567" Text="This is something I purchased recently and find very useful for sci-fi stuff:&#xD;&#xA;&#xD;&#xA;http://www.therecordist.com/motorz-elektrix-hd-pro-sfx" ContentLicense="CC BY-SA 3.0" />
  <row Id="30743" PostHistoryTypeId="2" PostId="18974" RevisionGUID="cc4ca81f-8544-4e71-b7c4-347c8820d4e1" CreationDate="2013-04-22T13:30:55.517" UserId="3519" Text="Try fireworks or similar stuff.&#xD;&#xA;They make a great &quot;distant war&quot; ambience." ContentLicense="CC BY-SA 3.0" />
  <row Id="30744" PostHistoryTypeId="2" PostId="18975" RevisionGUID="225e4bf4-b38f-4e67-9aa6-d633557849ba" CreationDate="2013-04-22T15:57:02.647" UserId="5583" Text="Sewing machine. When you pitch down, the sound becomes a low pulley with regular mechanic sound.&#xD;&#xA;Voice is excellent to create big beast or monster, or little creature.&#xD;&#xA;The rubber is nice too for little creature.&#xD;&#xA;&#xD;&#xA;There are many and many examples ....." ContentLicense="CC BY-SA 3.0" />
  <row Id="30745" PostHistoryTypeId="2" PostId="18976" RevisionGUID="ee506da9-ec0e-4ccc-aced-498f370cd57a" CreationDate="2013-04-22T16:44:59.233" UserId="5966" Text="Hi, a lot of debate on plug ins / software for sound design. But what hardware does everyone love, for creating sounds  - tearing recorded sounds apart - manipulating etc. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks guys&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30746" PostHistoryTypeId="1" PostId="18976" RevisionGUID="ee506da9-ec0e-4ccc-aced-498f370cd57a" CreationDate="2013-04-22T16:44:59.233" UserId="5966" Text="Hardware for Sound design" ContentLicense="CC BY-SA 3.0" />
  <row Id="30747" PostHistoryTypeId="3" PostId="18976" RevisionGUID="ee506da9-ec0e-4ccc-aced-498f370cd57a" CreationDate="2013-04-22T16:44:59.233" UserId="5966" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30748" PostHistoryTypeId="2" PostId="18977" RevisionGUID="4f650366-60d8-4807-87b9-fcfb0791fad2" CreationDate="2013-04-22T16:55:35.737" UserId="3179" Text="A microphone and a recorder or a computer with recording software.&#xD;&#xA;&#xD;&#xA;Now if you want to get fancy with &quot;(hardware) processing&quot;, then http://www.symbolicsound.com/cgi-bin/bin/view/Company/WebHome" ContentLicense="CC BY-SA 3.0" />
  <row Id="30749" PostHistoryTypeId="5" PostId="18977" RevisionGUID="013860fb-03db-4eee-bc36-d234725eb1ae" CreationDate="2013-04-22T17:01:18.823" UserId="3179" Comment="added 243 characters in body; added 17 characters in body" Text="A microphone and a recorder or a computer with recording software.&#xD;&#xA;&#xD;&#xA;Now if you want to get fancy with &quot;(hardware) processing&quot;, then http://www.symbolicsound.com/cgi-bin/bin/view/Company/WebHome&#xD;&#xA;&#xD;&#xA;There are very few digital audio processes that can't be done in software running on a general-purpose computer, but e.g. Kyma is one of the rarer cases where not having a general-purpose operating system does give an advantage in what the software can do." ContentLicense="CC BY-SA 3.0" />
  <row Id="30750" PostHistoryTypeId="2" PostId="18978" RevisionGUID="0097bab1-0247-4480-8aed-5f0e118a6657" CreationDate="2013-04-22T21:15:11.367" UserId="37" Text=" - microphones, obviously..&#xD;&#xA; - contact transducers&#xD;&#xA; - springs and wires - they make beautiful sounds and you can process other sounds with them.&#xD;&#xA; - powered speakers and any sort of resonant containers, for re-amping sounds. i've heard sounds re-amped in a washing machine.&#xD;&#xA; - the eventide h3000&#xD;&#xA;&#xD;&#xA;...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30751" PostHistoryTypeId="2" PostId="18979" RevisionGUID="d908dbca-b262-4bbe-b0b7-8c388037e860" CreationDate="2013-04-22T23:01:15.053" UserDisplayName="user49" Text="hardware for creating sounds?&#xD;&#xA;&#xD;&#xA; - Props!&#xD;&#xA; - Vehicles!&#xD;&#xA; - are animals hardware or software?&#xD;&#xA;&#xD;&#xA;the older &amp; more characterful the better, but as with foley its all in the performance!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I've been in a few big, well used foley rooms &amp; they are like prop heaven!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30752" PostHistoryTypeId="2" PostId="18980" RevisionGUID="e555c74f-a234-4308-aade-204e3ed21edb" CreationDate="2013-04-23T00:52:10.940" UserId="6566" Text="-I'm a big fan of Eurorack synth modules. I've chosen to focus my Eurorack rig on modules that process external signals as opposed to creating a traditional synthesizer.&#xD;&#xA;&#xD;&#xA;-Eventide H8000 is a serious rabbit hole.&#xD;&#xA;&#xD;&#xA;-Kyma/Pacarana, even bigger rabbit hole.&#xD;&#xA;&#xD;&#xA;-The world of stompboxes is on fire. Nowadays there are countless manufacturers out there making all sorts of interesting choices. Get yourself a Pigtronix Keymaster (or other impedance matching device) and some stompboxes and open up a whole new world of possibilities.&#xD;&#xA;&#xD;&#xA;-Head down to your local band instrument rental shop. You can usually find lots of returned  used instruments you can pickup for next to nothing, violins, trumpets, cellos etc. Play them, abuse them. They can be a great resource for creating interesting source.&#xD;&#xA;&#xD;&#xA;-A Bow. Get one and bow everything. Don't forget some rosin.&#xD;&#xA;&#xD;&#xA;-Older, cheaper multi FX rack units: Kurzweil Rumor/Mangler, Lexicon MPX1 etc&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30753" PostHistoryTypeId="2" PostId="18981" RevisionGUID="c401d6be-7202-4682-9a50-82326b44a00c" CreationDate="2013-04-23T06:50:43.080" UserId="1049" Text="Hi guys.&#xA;&#xA;Ok, so there are quite a few apps out there of the iPad and Android tablets that allow you to use them as a control interface for DAWs, plugins, etc. Has anyone found any good apps that are available that could be used on a Windows 8 tablet?&#xA;&#xA;I've had a little look around online but could find much. I don't have a tablet yet, I'm just curious. I guess in theory you could install MaxMSP on it and build your own interface, and route the 'MIDI Outs' across wifi to your PC/Mac...&#xA;&#xA;&#xA;Anyone seen anything good, or made something of their own?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30754" PostHistoryTypeId="1" PostId="18981" RevisionGUID="c401d6be-7202-4682-9a50-82326b44a00c" CreationDate="2013-04-23T06:50:43.080" UserId="1049" Text="Windows 8 tablet 'MIDI' Controller app? Home made Max/MSP control interface?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30755" PostHistoryTypeId="3" PostId="18981" RevisionGUID="c401d6be-7202-4682-9a50-82326b44a00c" CreationDate="2013-04-23T06:50:43.080" UserId="1049" Text="&lt;max-msp&gt;&lt;controller&gt;&lt;midi&gt;&lt;interface&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30756" PostHistoryTypeId="2" PostId="18982" RevisionGUID="af8b1df0-413b-4382-8830-acb98d3f6dc2" CreationDate="2013-04-23T07:46:22.890" UserId="1145" Text="iPad. Lots of great and cheap apps to be creative with today, both samplers and synths for treatments or live manipulating.&#xD;&#xA;&#xD;&#xA;I also like to put contact mirophones on everything and run it through guitar pedals and loopers." ContentLicense="CC BY-SA 3.0" />
  <row Id="30757" PostHistoryTypeId="2" PostId="18983" RevisionGUID="6c2131f1-dc66-4a59-aa26-24d50ca298dd" CreationDate="2013-04-23T08:46:11.937" UserId="1185" Text="Given the number of apps that are already available for other devices why do you want a Windows 8 tablet?  Is there any technical reason for your choice?  As you have not yet bought the device would you not be better to go for the device that offers existing solutions?  Just a thought......" ContentLicense="CC BY-SA 3.0" />
  <row Id="30758" PostHistoryTypeId="2" PostId="18984" RevisionGUID="624467d3-48c3-45c0-90e7-95ffff6e9a11" CreationDate="2013-04-23T11:33:14.740" UserId="4244" Text="Here's the budget answer..&#xD;&#xA;Assuming the mixer has some sort of level meter, of course.&#xD;&#xA;Hum into the mic ( yep, really!), adjust so both meters read -20dB.&#xD;&#xA;Done!&#xD;&#xA;&#xD;&#xA;Regards,&#xD;&#xA;Grant.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="30760" PostHistoryTypeId="2" PostId="18986" RevisionGUID="951e03e0-7349-4933-a046-f8b6d39f828b" CreationDate="2013-04-23T16:32:02.800" UserId="5960" Text="Grant's solution works, but what I often do if the mixer has a limiter, is to simply crank up the gain, do some noise that makes the signal bounce against the limiter (which is then the mixers highest output) and then adjust the cam so that signal is just below 0. Now, everything should hit the limiter before they can distort the cam." ContentLicense="CC BY-SA 3.0" />
  <row Id="30761" PostHistoryTypeId="2" PostId="18987" RevisionGUID="e8c35fae-08fa-4bd8-a8e4-e558a73910ca" CreationDate="2013-04-23T17:55:37.307" UserId="182" Text="If super fast response times is not my first priority (as would be the case for live on stage performances), the easiest, most flexible solution that works well for me is a simple VNC remote desktop app running on any tablet that is connected to my main audio pc or laptop. It shows either a custom interface I built with Max/MSP (which runs on the main audio pc/laptop), or a window of the DAW I'm using.&#xD;&#xA;&#xD;&#xA;With a windows 8 tablet, installing Max/MSP on it would be very nice, but creating max-patches on the tablet is not convenient. Fast patching requires one hand on the mouse, and the other hand flying from shortcut-key to shortcut-key.&#xD;&#xA;So you could build the patch on a computer and then transfer it to the tablet, which would only need the max-runtime unless you want to make small changes in the positioning of the elements on the tablet." ContentLicense="CC BY-SA 3.0" />
  <row Id="30764" PostHistoryTypeId="2" PostId="18988" RevisionGUID="e31823e5-b8f7-4b9c-8041-0a6ed437fe45" CreationDate="2013-04-23T22:02:33.843" UserId="5824" Text="Your best bet is probably the Open Sound Control protocol. But you'll have to look around since I'm unfamiliar with Windows 8 applications. If it's backwards compatible with Windows 7 stuff you may be in luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="30765" PostHistoryTypeId="2" PostId="18989" RevisionGUID="08cdccee-e748-49b8-9ae6-a90d3e9111fd" CreationDate="2013-04-23T22:42:24.340" UserId="5968" Text="Have a look at [Usine][1], it's designed to be used for touch interfaces on windows and is a fair bit friendlier than Max for building with. Don't think it'll run under WinRT, but full Win8 on a tablet shouldn't be a problem.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sensomusic.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="30767" PostHistoryTypeId="2" PostId="18990" RevisionGUID="977e033e-cbac-4440-a451-d24efe83d94a" CreationDate="2013-04-24T00:04:37.843" UserId="5969" Text="I absolutely agree with you guys. The sound design was awesome. And yeah, really reminded me on the &quot;sirens-call&quot; sounds from &quot;war of the worlds&quot;.&#xD;&#xA;sounds pretty like granular synthesis and resonance-gain.&#xD;&#xA;I experimented with an EQ and created a resonance, which I have automated.&#xD;&#xA;Thats comes pretty close to some of the Drone Sounds.&#xD;&#xA;Hope they are releasing a sound design making of soon.." ContentLicense="CC BY-SA 3.0" />
  <row Id="30768" PostHistoryTypeId="2" PostId="18991" RevisionGUID="2b08d2ca-392e-44e1-a6b1-109864af1d4b" CreationDate="2013-04-24T00:36:24.033" UserId="6487" Text="What libraries would you recommend to a new audio start up as a good general base library?  I was thinking Sonopedia or Soundstorm. Thoughts?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30769" PostHistoryTypeId="1" PostId="18991" RevisionGUID="2b08d2ca-392e-44e1-a6b1-109864af1d4b" CreationDate="2013-04-24T00:36:24.033" UserId="6487" Text="SFX General Libraries" ContentLicense="CC BY-SA 3.0" />
  <row Id="30770" PostHistoryTypeId="3" PostId="18991" RevisionGUID="2b08d2ca-392e-44e1-a6b1-109864af1d4b" CreationDate="2013-04-24T00:36:24.033" UserId="6487" Text="&lt;sfx&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30771" PostHistoryTypeId="2" PostId="18992" RevisionGUID="fd2a62a7-524d-43c0-9072-e4bbb74d660d" CreationDate="2013-04-24T01:14:26.733" UserDisplayName="user6513" Text="Sounds good if you have ready cash. Other than the Foley SFX, I actually pass Sonopedia's collection while working because it seems to have a bit of a darker under-tow with the sound designed SFX and ambiences. This is purely my preference. I do think it is a great library and  have recommended friends starting out to buy it.&#xD;&#xA;&#xD;&#xA;For a more budget friendly approach:&#xD;&#xA;&#xD;&#xA;Started off with a monthly subscription to the now defunct Sonomic.com. I reckon tho, if you go down that route, to buy the library you often use after a year, else what you pay for just becomes expensive.&#xD;&#xA;&#xD;&#xA;I also managed to survive with the free sfx library that came with Logic Studio for a while before I started buying a mishmash of stuff. It covers a decent base that you will need.&#xD;&#xA;&#xD;&#xA;Digital Juice's SFX IV is pretty comprehensive and not too bad for its price. I paid $19 for it and didn't used it because I didn't like it's search engine. Recently tho, I've taken quite a number of sounds from it for a kids drama." ContentLicense="CC BY-SA 3.0" />
  <row Id="30775" PostHistoryTypeId="2" PostId="18994" RevisionGUID="0e886fa3-bec0-49cb-bff2-be34a65c1f23" CreationDate="2013-04-24T07:27:32.050" UserId="5971" Text="Whether you believe in standing desks or not, if you are spending 40+ hours a week sitting behind a computer there is no way that is going to be good for you. You will end up wrecking your body eventually. &#xD;&#xA;&#xD;&#xA;Sitting always leads to a slumping posture and a curved back. If you stand for at least a few hours a day, you give your body a chance to recover. No one is saying we should be standing all day, rather a few hours a day will definitely help our bodies. &#xD;&#xA;&#xD;&#xA;An anti-fatigue mat will help with the leg pain. Also as mentioned a high stool to rest.&#xD;&#xA;&#xD;&#xA;I don't believe its a fad. If you look at the people who are standing, the vast majority of them would say that they would never go back to sitting. That tells you a lot about whether or not standing desks are going to be a fad or or something more permanent.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="30776" PostHistoryTypeId="2" PostId="18995" RevisionGUID="4a1ad822-2ac8-4e02-9a3d-74025589725e" CreationDate="2013-04-24T07:36:26.393" UserId="1055" Text="i actually kinda liked alloy 1  better than 2nd..." ContentLicense="CC BY-SA 3.0" />
  <row Id="30777" PostHistoryTypeId="5" PostId="18994" RevisionGUID="72d232d3-1a0c-4f39-9d0c-3dbdbf77bed8" CreationDate="2013-04-24T12:09:05.997" UserId="5971" Comment="added 118 characters in body" Text="Whether you believe in [standing desks][1] or not, if you are spending 40+ hours a week sitting behind a computer there is no way that is going to be good for you. You will end up wrecking your body eventually. &#xD;&#xA;&#xD;&#xA;Sitting always leads to a slumping posture and a curved back. If you stand for at least a few hours a day, you give your body a chance to recover. No one is saying we should be standing all day, rather a few hours a day will definitely help our bodies. &#xD;&#xA;&#xD;&#xA;An anti-fatigue mat will help with the leg pain. Also as mentioned a high stool to rest.&#xD;&#xA;&#xD;&#xA;I don't believe its a fad. If you look at the people who are standing, the vast majority of them would say that they would never go back to sitting. That tells you a lot about whether or not standing desks are going to be a fad or or something more permanent.   &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jpofficeworkstations.com.au/ergonomic-standing-desk-electric-height-adjustable-desk-cecil" ContentLicense="CC BY-SA 3.0" />
  <row Id="30778" PostHistoryTypeId="2" PostId="18996" RevisionGUID="c2a5ab97-1a92-4d8b-9e60-a1434d6eb6cd" CreationDate="2013-04-24T13:15:40.240" UserId="1014" Text="vocoding using your voice as modulator and some animal/creature voice as carrier" ContentLicense="CC BY-SA 3.0" />
  <row Id="30779" PostHistoryTypeId="2" PostId="18997" RevisionGUID="6d86d2ea-bee7-4b1e-8765-731214ea8bce" CreationDate="2013-04-24T13:24:42.240" UserId="5973" Text="Exclusive SoundWorks Collection profile we talk with Director Joe Kosinski about the sound and music of his new film &quot;Oblivion&quot;.…&#xD;&#xA;&#xD;&#xA;https://vimeo.com/64213430" ContentLicense="CC BY-SA 3.0" />
  <row Id="30780" PostHistoryTypeId="2" PostId="18998" RevisionGUID="df33f1ef-a60a-4c0b-9109-49815090763c" CreationDate="2013-04-24T13:49:24.793" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;I have a question about mentorship which I am sure will have a variety of answers based on the fact that many of us are from different cultures, different parts of the world which means that the industry is run somewhat differently. &#xD;&#xA;&#xD;&#xA;I am originally from Canada where mentor-ship is crucial when entering the industry after finishing your studies. I believe, for me at least, that  it is imperative that a person, regardless of their role in the film making process, mentors under a veteran for a few years at least in order to understand the politics of the business, building relationships, dealing with problems without losing your mind etc. As I am a veteran and I encourage all young people not to jump in upon graduation and take on roles that they have little or no experience in. &#xD;&#xA;&#xD;&#xA;What are your thoughts on this? as I am a veteran and I encourage all young people not to jump in upon graduation and take on roles that they have little or no experience in.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="30781" PostHistoryTypeId="1" PostId="18998" RevisionGUID="df33f1ef-a60a-4c0b-9109-49815090763c" CreationDate="2013-04-24T13:49:24.793" UserId="348" Text="The issue of Mentorship for entering the industry for the 1st time" ContentLicense="CC BY-SA 3.0" />
  <row Id="30782" PostHistoryTypeId="3" PostId="18998" RevisionGUID="df33f1ef-a60a-4c0b-9109-49815090763c" CreationDate="2013-04-24T13:49:24.793" UserId="348" Text="&lt;mentorship&gt;&lt;learning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30783" PostHistoryTypeId="2" PostId="18999" RevisionGUID="16a11227-05ee-4cab-91f1-e3ecdd841a98" CreationDate="2013-04-24T14:17:52.400" UserId="348" Text="I believe that authenticity is crucial in some areas and suspension of disbelief is crucial in other areas where authenticity is not recommended. In the case of a location, for example, where the genre is a a doccie or a straight up talkie drama or comedy, the sound of that location should reflect where we are if there is no contextual subtext that asks that the space be altered for emotional response reasons. In the case of guns, I have this discussion before and I always use elements of the gun that is in shot but I then add in layers to make it bigger/more impactful. As far as cars are concerned, unless the director asks for a specific feel to the car, I always source the right car and hopefully in the same condition. &#xD;&#xA;&#xD;&#xA;For animal life, I definitely try to source the right bird/animal life because, and yes I know, most audience members do not know the difference, for myself, I feel it is my obligation to make sure that I have accurately covered the scene to the best of my abilities instead of throwing on any generic effect or ambience for the sake of filling in a hole. &#xD;&#xA;&#xD;&#xA;But I agree also with what many have said- it is contextual based and narrative dependent. If the director wants to make a space sound a little different from where we are they we have to throw authenticity out the window for the sake of the sonic narrative.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="30784" PostHistoryTypeId="2" PostId="19000" RevisionGUID="429f0095-ac84-4016-852e-b1f78161d137" CreationDate="2013-04-24T14:19:51.510" UserId="234" Text="I'm going to chime in and agree 100%. Mentoring is crucial. I certainly would not have made it to where I am without the mentorship and help of a good many people in a good many things. Sadly, it's something we see less and less of these days. &quot;Once upon a time&quot; (really not THAT long ago) there was no such thing as a &quot;Recording Arts Progam&quot;. If you were interested in working in audio (music or post) you started at the very bottom (usually Runner) and worked your way up. In doing so, you had a chance to watch older and more experienced people at work, and learn both things to do and to NOT do. By the time you were actually allowed to go at it on your own, you had a firm base.&#xD;&#xA;&#xD;&#xA;Today, we see 20 year olds graduating from Recording Arts programs and hanging up their shingles without any real clue of what's involved in the &quot;really real world&quot;. This is not to slam those programs. They serve a number of very useful functions, but they are the BEGINNING, not the END of the learning process. But it's important for people beginning in the industry to realize that the more battle scarred among us have lots to teach, and generally are willing to teach it - IF you drop the notion that you know everything because you have a piece of paper from a recording school. Good mentors will teach you more in a month than you learned in two years of school. Good mentors will call BS when needed and will tell you when you HAVE come up with a brilliant new idea. Finally a good mentor will tell you when you've learned everything that they have to teach, and it's time to find a new mentor! And to the more seasoned amongst us... don't forget to find NEW mentors. Even though I now act as a mentor for younger folks, I still seek those who know more than I (and there's always SOMEONE) to act as mentors.&#xD;&#xA;&#xD;&#xA;Here endeth the rant! :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30785" PostHistoryTypeId="2" PostId="19001" RevisionGUID="d449f56f-772d-4d5f-9f4a-7590afd18eb2" CreationDate="2013-04-24T14:22:18.530" UserId="3179" Text="Today's world is more connected (the internet etc.) so that it's not necessary anymore to seek mentoring in order to understand or practice something, because there are other ways for finding information and collaborating. Gaining and seeking mentorship can however serve an important step into meeting the today's professionals and businesses and learning from their experiences. That's something that one cannot find by just hanging out with people belonging to the same age group, practicing alone, attending a school where the lecturer isn't a practicing professional or by reading. Thus I think mentoring should be encouraged, rather than seeing it as something that one has to compete for or seek laborously." ContentLicense="CC BY-SA 3.0" />
  <row Id="30786" PostHistoryTypeId="5" PostId="19001" RevisionGUID="04335a09-38dd-49c9-b64b-04060a0a3a33" CreationDate="2013-04-24T14:38:23.617" UserId="3179" Comment="added 455 characters in body; added 3 characters in body; edited body" Text="Today's world is more connected (the internet etc.) so that it's not necessary anymore to seek mentoring in order to understand or practice something, because there are other ways for finding information and collaborating. Gaining and seeking mentorship can however serve an important step into meeting the today's professionals and businesses and learning from their experiences. That's something that one cannot find by just hanging out with people belonging to the same age group, practicing alone, attending a school where the lecturer isn't a practicing professional or by reading. Thus I think mentoring should be encouraged, rather than seeing it as something that one has to compete for or seek laborously.&#xD;&#xA;&#xD;&#xA;Also, I'd replace formal schooling with mentoring and learning-on-the-job any day. I think most formal programs are &quot;kind of&quot; trying to serve the function of mentoring (which is teaching), but they're a lot more inefficient in as practical fields as this one. If sound production had some actual academic substance, then it would be fine, but I think this field/speciality is really too practical to be taught well with an academic approach and schedule." ContentLicense="CC BY-SA 3.0" />
  <row Id="30787" PostHistoryTypeId="5" PostId="19001" RevisionGUID="2f091a11-7539-4f76-8714-e0c8cd352502" CreationDate="2013-04-24T14:43:42.830" UserId="3179" Comment="added 107 characters in body; added 25 characters in body; added 59 characters in body" Text="Today's world is more connected (the internet etc.) so that it's not necessary anymore to seek mentoring in order to understand or practice something, because there are other ways for finding information and collaborating. Gaining and seeking mentorship can however serve an important step into meeting the today's professionals and businesses and learning from their experiences. That's something that one cannot find by just hanging out with people belonging to the same age group, practicing alone, attending a school where the lecturer isn't a practicing professional or by reading. Thus I think mentoring should be encouraged, rather than seeing it as something that one has to compete for or seek laborously.&#xD;&#xA;&#xD;&#xA;Also, I'd replace formal schooling with mentoring and learning-on-the-job any day. I think most formal programs are &quot;kind of&quot; trying to serve the function of mentoring (which is teaching), but they're a lot more inefficient in as practical fields as this one and the teaching may be unnecessarily theorized and focus on loose concepts, rather than the whole reality of professional practice. If sound production had some actual academic substance, then it would be fine, but I think this field/speciality is really too practical, not to mention that it's also creative and very freeform, to be taught well with an academic approach and schedule." ContentLicense="CC BY-SA 3.0" />
  <row Id="30788" PostHistoryTypeId="5" PostId="19001" RevisionGUID="7384b608-e8ea-4add-a1b6-a3fcca67e477" CreationDate="2013-04-24T15:04:42.220" UserId="3179" Comment="added 13 characters in body; added 228 characters in body" Text="Today's world is more connected (the internet etc.) so that it's not necessary anymore to seek mentoring in order to understand or practice something, because there are other ways for finding information and collaborating. Gaining and seeking mentorship can however serve an important step into meeting the today's professionals and businesses and learning from their experiences. That's something that one cannot find by just hanging out with people belonging to the same age group, practicing alone, attending a school where the lecturer isn't a practicing professional or by reading. Thus I think mentoring should be encouraged, rather than seeing it as something that one has to compete for or seek laborously and thus I think it's a responsibility of every practicioning professional at some point. It's function is to pass relevant information to newer generations or alternatively train &quot;the apprentice&quot; for a possible future position.&#xD;&#xA;&#xD;&#xA;Also, I'd replace formal schooling with mentoring and learning-on-the-job any day. I think most formal programs are &quot;kind of&quot; trying to serve the function of mentoring (which is teaching), but they're a lot more inefficient in as practical fields as this one and the teaching may be unnecessarily theorized and focus on loose concepts, rather than the whole reality of professional practice. If sound production had some actual academic substance, then it would be fine, but I think this field/speciality is really too practical, not to mention that it's also creative and very freeform, to be taught well with an academic or classroom approach and schedule." ContentLicense="CC BY-SA 3.0" />
  <row Id="30789" PostHistoryTypeId="5" PostId="19001" RevisionGUID="06f817ab-aa71-42db-a196-15373efb3dad" CreationDate="2013-04-24T15:09:55.667" UserId="3179" Comment="added 28 characters in body; deleted 29 characters in body; added 15 characters in body; added 18 characters in body; added 5 characters in body" Text="Today's world is more connected (the internet etc.) so that it's not necessary anymore to seek mentoring in order to understand or practice something, because there are other ways for finding information and collaborating. Gaining and seeking mentorship can however serve an important step into meeting the today's professionals and businesses and learning from their experiences. That's something that one cannot find by just hanging out with people belonging to the same age group, practicing alone, attending a school where the lecturer isn't a practicing professional or by reading. Thus I think mentoring should be encouraged, rather than seeing it as something that one has to compete for or seek laborously and thus I think that offering mentorship is a responsibility of every practicioning professional at some point. Its function is to pass relevant information to newer generations or alternatively train &quot;the apprentice&quot; for a possible future position.&#xD;&#xA;&#xD;&#xA;Also, I'd replace formal schooling with mentoring and learning-on-the-job any day. I think most formal programs are &quot;kind of&quot; trying to serve the function of mentoring (which is teaching), but they're a lot more inefficient in as practical fields as this one and the teaching may be unnecessarily theorized and focus on loose concepts, rather than the whole reality of professional practice. If sound production had some actual academic substance, then it would be fine, but I think this field/speciality is really too practical, not to mention that it's also creative, interpersonal and very freeform, to be taught well with an academic or classroom approach and schedule." ContentLicense="CC BY-SA 3.0" />
  <row Id="30790" PostHistoryTypeId="5" PostId="19001" RevisionGUID="c55fa5d0-0079-4d82-aef4-45c37246efde" CreationDate="2013-04-24T15:16:03.223" UserId="3179" Comment="deleted 3 characters in body" Text="Today's world is more connected (the internet etc.) so that it's not necessary anymore to seek mentoring in order to understand or practice something, because there are other ways for finding information and collaborating. Gaining and seeking mentorship can however serve an important step into meeting the today's professionals and businesses and learning from their experiences. That's something that one cannot find by just hanging out with people belonging to the same age group, practicing alone, attending a school where the lecturer isn't a practicing professional or by reading. Thus I think mentoring should be encouraged, rather than seeing it as something that one has to compete for or seek laborously and thus I think that offering mentorship is a responsibility of every practicing professional at some point. Its function is to pass relevant information to newer generations or alternatively train &quot;the apprentice&quot; for a possible future position.&#xD;&#xA;&#xD;&#xA;Also, I'd replace formal schooling with mentoring and learning-on-the-job any day. I think most formal programs are &quot;kind of&quot; trying to serve the function of mentoring (which is teaching), but they're a lot more inefficient in as practical fields as this one and the teaching may be unnecessarily theorized and focus on loose concepts, rather than the whole reality of professional practice. If sound production had some actual academic substance, then it would be fine, but I think this field/speciality is really too practical, not to mention that it's also creative, interpersonal and very freeform, to be taught well with an academic or classroom approach and schedule." ContentLicense="CC BY-SA 3.0" />
  <row Id="30794" PostHistoryTypeId="2" PostId="19003" RevisionGUID="77f731b9-ea50-41cb-a6d3-5fb4dfcd1ed2" CreationDate="2013-04-24T20:23:31.880" UserId="5974" Text="I have just made a post to see if any sound desingers wanted to get involved on a grad film im making, Specifically to design sci-fi sound effects.&#xD;&#xA;&#xD;&#xA;After a lock at the sci-fic construction kit I think i may be ok all by myself.&#xD;&#xA;&#xD;&#xA;Thankyou!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30795" PostHistoryTypeId="2" PostId="19004" RevisionGUID="cfe375e8-a2f0-4eec-84d1-305b42e271be" CreationDate="2013-04-24T22:41:02.953" UserId="5717" Text="As someone new to the wild and--I feel--doing alright in the industry for how long I've been at it, my mentors have been absolutely invaluable.  Without mentoring I'd have fewer jobs, my improvement and learning would stagnate, and I'm sure I'd be simply having less fun with it and wasting way more time.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="30796" PostHistoryTypeId="2" PostId="19005" RevisionGUID="d901bfec-c01b-4cd2-bfc3-de6b87ddafb4" CreationDate="2013-04-25T02:15:48.937" UserId="5859" Text="@Sonsey I have only started in this field and would like to share my perspective. Forgive me if this is too off topic. I recently took a recording class at a local Dj academy and since I was the only person who signed up for it, I was able to take the course into a sound design/foley route rather than what it was originally intended to be. The instructor was able to teach me some of the basics of audio and gave me a project to work on. Since, I have kept e-mailing him with questions and looking to him for some advice. I don't consider him a mentor but have found it helpful to contact him and find it really important to have someone you can have help you along the way. Especially when you are going at it alone and with no prior experience. I would love to have a mentor! However, it is hard to come by someone who is willing to take you under their wing. Particularly to find someone who is involved in post audio and is willing to mentor you(at least in my neck of the woods). So this brings me to why I think school for audio is a great option....&#xD;&#xA;&#xD;&#xA;I am a year away from completing my undergrad and am putting it off for the opportunity to go to an institute for sound design. The way I look at it is, I can spend time finishing a degree in which I have no interest in or I can go to an institute (which cost a lot of money, I know) where I can surround myself with people who share the similar goals and interests. I can, along the way,build invaluable friendships/connections and hopefully find someone who I can consider a mentor. It's an investment that I plan to make and make the most of. I know it won't teach me everything and I  will not be fully equipped for everything that may come my way but its at least a foundation I can have. A close friend of mine who is a visual designer, learned everything on his own. He got a job at a respected company that many people would kill for.I know this is a different vocation but I mention it because unfortunately, he was laid off and missed a great opportunity with another company because he lacked certain skills. Now he realizes that he lacked a lot of the fundamental knowledge that he probably would have had if he had gone to school. Only now is he learning these rudimentary skills in order to apply for the next job. In the company he was in there were a lot of people who knew each other through school and were able to have better connections and are doing a lot with their career. These are the people who made the most of their time in school and that's the point I'm trying to make. I think that it is important to have the opportunity to go to school for anything it is you are interested in if at least for the environment and experience. What you do with it DURING and AFTERWARDS is completely up to you. Then hopefully along the way you can find a mentor(s) that will teach you a lot and later mentor someone!&#xD;&#xA;&#xD;&#xA;Sorry, long rant." ContentLicense="CC BY-SA 3.0" />
  <row Id="30797" PostHistoryTypeId="2" PostId="19006" RevisionGUID="3f8ec2ee-a2d4-47a6-9b39-86f5231364d3" CreationDate="2013-04-25T06:10:14.267" UserId="6748" Text="Hi&#xD;&#xA;&#xD;&#xA;if you are interested in the Soundstrom library, it is reduced now for a short time: https://www.soundeffects.ch/sound-libraries/sounddogs-sound-libraries/soundstorm-motion-picture-sound-library.php&#xD;&#xA;&#xD;&#xA;Both of them are great libraries, Soundstorm contains a bit more of background and atmosphere tracks while Sonopedia has the newer/fresher sounds. The great thing about a large sound library: If you search something, in most cases you don't find exactly what you want, but you find enough similar results to create what you want. In some cases, you find exactly what you want.&#xD;&#xA;This is the advantage of a large general sound library to find a basic range of sounds for a fluent editing-workflow and not spending a lot of times for searching. But it's a matter or price and taste. Both libraries are lifetime investments. And: some of the libraries are lifework.&#xD;&#xA;And please also respect to the end-user license agreement, which allows you to use the libraries for one single user. for more users, for most of the libraries you need a multiuser license.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;You can browse Soundstorms online index here: https://www.soundeffects.ch/soundstorm_sfx.php?SelectCategory=Air&#xD;&#xA;&#xD;&#xA;and Sonopedias here: https://www.soundeffects.ch/sound-libraries/bwfx-sound-libraries/bw_sonopedia_sfx.php?SelectCategory=AMBIENCE&#xD;&#xA;&#xD;&#xA;contact me if you have any question&#xD;&#xA;&#xD;&#xA;best&#xD;&#xA;&#xD;&#xA;guido&#xD;&#xA;https://www.soundeffects.ch" ContentLicense="CC BY-SA 3.0" />
  <row Id="30798" PostHistoryTypeId="2" PostId="19007" RevisionGUID="5a7e5fe7-320e-40e2-954b-d33e5866cf54" CreationDate="2013-04-25T07:50:23.297" UserId="5977" Text="SMPTE DCP2000 = 24 audio channels&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30799" PostHistoryTypeId="2" PostId="19008" RevisionGUID="982311fd-47e2-45e9-8e8e-8a2c9e06c195" CreationDate="2013-04-25T08:00:18.637" UserId="5977" Text="support for new immersive sound formats like Auro3D (11.1 -15.1) and Atmos 7.1 and 9.1 ('Objects' will be stored in an additional auxillary part of the DCP).  " ContentLicense="CC BY-SA 3.0" />
  <row Id="30800" PostHistoryTypeId="2" PostId="19009" RevisionGUID="191c88d8-c61a-4839-9376-b6a93d35eb3a" CreationDate="2013-04-25T11:41:08.040" UserId="432" Text="I haven't worked with the Soundstorm library, but I can comment on Sonopedia/Blastdrive. Sonopedia is a great overall library, but I do sometimes find that it lacks in terms of variations/multiple cuts. I've always been surprised that Ric didn't include more variations in some of his sound files. The library will cover most of your basic needs though, and there are a ton of &quot;designed&quot; effects or constructed sequences...plenty of production elements/stingers too.&#xD;&#xA;&#xD;&#xA;You may want to look into the [Hyrbid Library][1] that Pro Sound Effects offers (it's about the same cost). I did a review of it for DS, and the other libraries included fill out the few deficiencies in the Sonopedia/Blastdrive that occasionally drive me nuts. You or Steve can always e-mail me if you want any additional impressions of either library.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.prosoundeffects.com/hybrid-sound-effects-library.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="30801" PostHistoryTypeId="2" PostId="19010" RevisionGUID="39c61a3a-98a9-49dc-b72d-002e0745de03" CreationDate="2013-04-25T13:43:01.603" UserId="194" Text="To add to what's been mentioned above:&#xD;&#xA;&#xD;&#xA;Go check out [thesoundcollectorsclub.com][1].  It's a nominal fee (£20.00GBP) and it requires you to contribute to each theme, but once you get access to a few of the libraries you'll find yourself very very covered with regards to bgfx type things.&#xD;&#xA;&#xD;&#xA;Its not broad enough to be a base library, but its an excellent and continually updated complimentary bgfx one.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://thesoundcollectorsclub.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30802" PostHistoryTypeId="2" PostId="19011" RevisionGUID="3728c288-439f-4073-bb64-4a0e24dbfb02" CreationDate="2013-04-25T17:51:01.827" UserId="7642" Text="If you are really writing a thesis on filmsound that describes the differences between the different DCP standards, then Insuggest you start by reading the info on the DCI site. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30803" PostHistoryTypeId="2" PostId="19012" RevisionGUID="1838b24e-6660-44aa-ac41-451168aeaf18" CreationDate="2013-04-25T17:56:43.380" UserId="5978" Text="With Floating point all recordings are saved usually using fractional values only between  -1 and +1 so like when you say -10 DB that will be related to 1.00 as zero Db. so like yopu want to know the numerical value of -10 DB it is like Log-1(-10 / 20) or by a calculator the answer is + or - 0.31622776(period end of sentence) NOW, since there are no A/D converters with greater than 24 bit precision the normal form would be like 24 bits per channel, BUT since we now have 64 bit data in our CPUs it now makes best sense to represent a single stereo channel as two 32 bit numbers in a single register. BUT, that 32 bits will only have t6he resolution of the original 24 bit sample taken by the sound device. In the old 16 bit DWORD format the numbers were like +/- 2^(16 - 1) which was like +/-32768 or +/-32767. Floating point makes much better sense since mathematics within computers are generally carried out with floating point numbers and already the data is in the correct form, in most instances that is." ContentLicense="CC BY-SA 3.0" />
  <row Id="30807" PostHistoryTypeId="2" PostId="19015" RevisionGUID="d809a40d-bbb8-460d-a0e9-5184e0235f49" CreationDate="2013-04-26T00:53:06.113" UserId="4135" Text="I am trying to create an M4A (MP3) audio track which must loop without audible gap.&#xD;&#xA;&#xD;&#xA;I've heard that compressed audio is padded with silence at the end to fill up missing samples in a block of compression. In order to loop perfectly the file must have a multiple of 1024 samples before it gets compressed.&#xD;&#xA;&#xD;&#xA;Which program for the Mac supports making audio loop perfectly?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30808" PostHistoryTypeId="1" PostId="19015" RevisionGUID="d809a40d-bbb8-460d-a0e9-5184e0235f49" CreationDate="2013-04-26T00:53:06.113" UserId="4135" Text="How to make compressed audio loop without audible gap?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30809" PostHistoryTypeId="3" PostId="19015" RevisionGUID="d809a40d-bbb8-460d-a0e9-5184e0235f49" CreationDate="2013-04-26T00:53:06.113" UserId="4135" Text="&lt;looping&gt;&lt;loop&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30810" PostHistoryTypeId="2" PostId="19016" RevisionGUID="c022a173-6e33-4c70-ba42-11c575978bbd" CreationDate="2013-04-26T01:24:00.360" UserId="4442" Text="Most compressed audio codecs (for listening anyway) I don't think will. MP3 probably supports that in game engines or something though.&#xD;&#xA;&#xD;&#xA;Can you give an example of whaty ou're trying to do? Maybe there may be a better answer." ContentLicense="CC BY-SA 3.0" />
  <row Id="30811" PostHistoryTypeId="2" PostId="19017" RevisionGUID="88707862-036e-4127-849a-4d5942c47b5d" CreationDate="2013-04-26T02:40:53.790" UserId="3179" Text="You can use the LAME MP3 encoding, which supports seamless looping&lt;br&gt; http://lame.sourceforge.net/index.php&#xD;&#xA;&#xD;&#xA;Or given that MP3 is not a must, you could also use Ogg Vorbis." ContentLicense="CC BY-SA 3.0" />
  <row Id="30812" PostHistoryTypeId="5" PostId="19017" RevisionGUID="694a1000-48d5-451d-93e5-a2c126d80687" CreationDate="2013-04-26T02:57:57.380" UserId="3179" Comment="added 60 characters in body; added 4 characters in body; added 17 characters in body" Text="You can use the LAME MP3 encoding, which supports seamless looping&lt;br&gt; http://lame.sourceforge.net/index.php&lt;br&gt;&#xD;&#xA;(LAME has to be supported by the playback software though for this to work)&#xD;&#xA;&#xD;&#xA;Or given that MP3 is not a must, you could also use Ogg Vorbis." ContentLicense="CC BY-SA 3.0" />
  <row Id="30813" PostHistoryTypeId="2" PostId="19018" RevisionGUID="8b290ba3-06a1-4c0b-81b4-c29f122c9c0a" CreationDate="2013-04-26T06:05:01.353" UserId="5981" Text="I'm looking to record some samples of both singing/musical saw SFX, as well as that wiggle effect you hear in cartoons (something like this: http://www.pond5.com/sound-effects/1/cartoon-saw-wiggle.html).  &#xD;&#xA;&#xD;&#xA;Is there a particular saw/kind of saw anyone can recommend?  After a tiny bit of digging, I found these: https://www.musicalsaw.com/catalog/order1.php.  Is something like this needed to produce a good sound, or are there less expensive options that might work just as well?&#xD;&#xA;&#xD;&#xA;Any other insight into how to best produce these effects is also greatly appreciated!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30814" PostHistoryTypeId="1" PostId="19018" RevisionGUID="8b290ba3-06a1-4c0b-81b4-c29f122c9c0a" CreationDate="2013-04-26T06:05:01.353" UserId="5981" Text="Saw SFX Question" ContentLicense="CC BY-SA 3.0" />
  <row Id="30815" PostHistoryTypeId="3" PostId="19018" RevisionGUID="8b290ba3-06a1-4c0b-81b4-c29f122c9c0a" CreationDate="2013-04-26T06:05:01.353" UserId="5981" Text="&lt;sound-design&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30816" PostHistoryTypeId="2" PostId="19019" RevisionGUID="d5fc6bf5-f3d8-438d-afff-d81ed787c8bb" CreationDate="2013-04-26T07:30:30.757" UserId="61" Text="@tgormly, welcome to SSD.&#xD;&#xA;&#xD;&#xA;I don't know if I'm the only one thinking this, but that 'musical saw' you posted is basically…just a saw. That you can buy at a hardware store. I can't imagine there's anything too special or unique about it. The bow and rosin are more than likely the same as what you can get at a music store or on Craigslist. The entire 'musical saw' kit seems to be nothing more than a bunch of everyday items bundled up in a cheap case and overpriced for your consumption.&#xD;&#xA;&#xD;&#xA;The sound artists and foley folks that originally used saws (and lots of other run of the mill items) in the early Warner Bros cartoons didn't have specialty items, they just used what was available and on-hand. It was HOW they used them that was magical. And that's what you'll need to do -- LEARN how to use them.&#xD;&#xA;&#xD;&#xA;So, my advice is for you to do some researching, some reading and some listening to the early works. Listen to Bugs Bunny and Hanna Barbera soundtracks. Try to figure out what they were using and how they did it. And then WRITE US BACK so we can all get the knowledge bomb dropped on us.&#xD;&#xA;&#xD;&#xA;Best of luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30817" PostHistoryTypeId="2" PostId="19020" RevisionGUID="0f7319ad-762b-441d-9e22-ebbd741c4d53" CreationDate="2013-04-26T10:08:16.277" UserId="5982" Text="http://www.compuphase.com/mp3/mp3loops.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="30818" PostHistoryTypeId="2" PostId="19021" RevisionGUID="81bafdeb-53a9-4875-813f-d0c516d2a9a4" CreationDate="2013-04-26T19:16:15.887" UserId="315" Text="I recorded David Weiss, [this guy][1] once. He's really talented, and coaxes amazing sounds out of his axe, I mean saw (har har).&#xD;&#xA;&#xD;&#xA;From what I can tell, the key is finding a thin saw that bends easily so you can manipulate the pitch. Then use a violin bow with a ton of rosin. But getting nice intervals, a good vibrato, and a steady pitch is probably much harder than David makes it look in the video. Good luck.&#xD;&#xA;&#xD;&#xA;Here's David's album with the LA Philharmonic:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/Virtuoso-Saw-David-Weiss/dp/B000CA9W16&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=EqNzF4rYqlQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="30819" PostHistoryTypeId="2" PostId="19022" RevisionGUID="7072da23-1994-4c85-b141-9895682db53a" CreationDate="2013-04-27T05:12:13.600" UserId="362" Text="For that kind of [flexitone][1] twang sound I like to use [japanese saws][2] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Flexatone&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Japanese_saw" ContentLicense="CC BY-SA 3.0" />
  <row Id="30820" PostHistoryTypeId="2" PostId="19023" RevisionGUID="be30ca3b-c682-4c1c-abcb-77a501807304" CreationDate="2013-04-27T07:16:39.273" UserId="6435" Text="A friend of mine who plays saw uses both specially-made musical saws and saws off the shelf from hardware stores. She's told me that some off-the-shelf saws are very good for bowing, some are not, and she has to tap them, bend them, play with them a bit to find the ones that sing to her the right way.&#xD;&#xA;&#xD;&#xA;All that said: as with many things we record, it might be in your interest to find someone who plays the saw and arrange for them to perform the sounds you want to create, and you just worry about capturing them. And, having recorded my friend a few times, I can tell you that's its own challenge." ContentLicense="CC BY-SA 3.0" />
  <row Id="30821" PostHistoryTypeId="2" PostId="19024" RevisionGUID="83f9b9d7-4056-4465-a074-e1725e30f6ae" CreationDate="2013-04-27T17:23:47.067" UserId="5984" Text="A belated answer that may be helpful to anyone searching in the future...  Disclaimer:  I have not read through other posts here, so this answer may repeat information discussed in more detail elsewhere.&#xD;&#xA;&#xD;&#xA;I have been using the PCM-D50 + Mic2496 combination for over 4 years to make stealth recordings of rock shows in clubs and concert venues.  I also bought the DPA-4061 microphones that Core Sound recommends for use with the Mic2496 in high-volume settings.  (Core Sound hand-matches the microphone pairs and wires them with an XLR connector.)  I put the D50 and the Mic2496 back-to-back and use a custom-made optical link in the shape of a rectangular jumper.  The result is the size of a brick but still something you can hide under your coat.&#xD;&#xA;&#xD;&#xA;The results that I have gotten with this combo are excellent, IMHO.  Many of the recordings I have made compare favorably with other audience recordings made at the same events with higher-cost equipment (e.g., $3K microphones and a $2K pre-amp).  It is also more portable and does not require set-up at the venue.  IMO, with this combination the electronics are not a limiting factor in the quality of the end result.  The main determinants of the outcome are the recorder's location, the venue sound system and the venue acoustics.&#xD;&#xA;&#xD;&#xA;I only have used the D50’s built-in microphones infrequently, usually for recording lectures.  They seem to work well for that purpose.  For music and other situations where higher fidelity is desired, they are good but can never yield results as good as dedicated microphones.  There is only so much quality that can be built in for a given price point.&#xD;&#xA;&#xD;&#xA;Another limitation of the handheld units is noise.  The dirty little secret of these units is that the signal-to-noise ratio (SNR) of their electronics is not as high as it should be.  For instance, I believe the SNR of the D50 is 93 dB.  Since the rule of thumb is 6 dB per bit, this is merely adequate for 16-bit recordings, and not good at all for 24-bit recordings.  In practice, what this means is that the noise inherent in the electronics will make its way into the low bits of the digital samples.  Amplifying the recording will also amplify the noise.  24-bit recordings require an SNR of 144 dB (6x24).  The Mic2496 has an SNR of 140 dB, which is nearly perfect for 24-bit recording and far beyond what is required for 16-bit recordings.  In my experience the noise in 24-bit recording is undetectable.  I usually amplify the results by 6-12 dB and I do not hear noise.&#xD;&#xA;&#xD;&#xA;I use the same configuration for all recordings.  In fact, I have taped over the switches so that I cannot accidentally change them.  I have the Mic2496 set to a 96kHz 24-bit conversion rate (48 kHz sample rate and 2x multiplier), a fixed gain of 60 dB, the level LEDs off, and 48V power off.  As mentioned, I use an optical link to feed the digital samples to the D50.  The D50 is only used as a sample recorder in this configuration and any other sample recorder with an optical link could be substituted.  However, the D50 is a very nice little unit with a great selection of features.&#xD;&#xA;&#xD;&#xA;Core Sound does not specifically advertise the Mic2496 for use in stealth recording, but many of its features seem to have been chosen for that purpose; e.g., the lights-out setting for the level LEDs.  Likewise, the fixed gain setting removes the need to adjust the levels when the performance starts.  The recordings usually come out with quite a bit of head room and are nowhere near clipping, even in very loud settings.  In 4+ years I have seen clipping only once, and that was only on infrequent isolated peaks.&#xD;&#xA;&#xD;&#xA;I also bought the wired remote for the D50.  This makes it easy to start and stop the recording without having to find the right buttons on the D50 itself.  This is very helpful when making recordings in clubs and other venues where the lights are out during the show.&#xD;&#xA;&#xD;&#xA;The net result is a combination that is perfect for stealth recording in high-volume situations.  It is only necessary to turn on the Mic2496 and the D50 when the show is close to starting, then press record-pause and pause on the remote to start recording.  As mentioned, the fixed-gain setting on the Mic2496 means that no adjustment of levels is required.  The recording will have quite a bit of headroom, but due to the high SNR it can be amplified to the desired levels in post-processing without noticeable noise.&#xD;&#xA;&#xD;&#xA;The Mic2496 does seem to draw a fair amount of power.  A fully-charged pair of the Lithium-Polymer batteries that Core Sound recommends will last about 2 hours.  If I am recording two sets, I bring a separate set of batteries and switch them between sets.  Again, Core Sound has made this relatively easy to do in a stealth recording situation by putting the batteries in a carrier that plugs into an external connection on the unit.  (It is also necessary to change between 4GB memory banks on the D50, which unfortunately cannot be done via the remote.)&#xD;&#xA;&#xD;&#xA;FYI, for post-processing, I copy the data from the D50 to a PC using the USB connector and process the results using Adobe Audition.  Audition is more than adequate for the editing that I do; there are many other digital editors that would work just as well.  The Mic2496 has no built-in bass roll-off, so it is usually necessary to reduce the levels at the bottom end.  I also put a V notch in the mid range to separate the bass and drums from the other instruments, and boost the high end a bit.  The exact adjustments vary from recording to recording.  I then boost the entire recording to  -0.1 dB to get the maximum volume without clipping.&#xD;&#xA;&#xD;&#xA;I hope people find this information useful.  I have been very satisfied with the Mic2496 + DPA 4061 combination.  If my equipment were stolen I would buy them again.  I might look for a PCM that is smaller than the D50.  If you already have a D50, as I did, the Mic2496 is a great front-end that will boost the quality of your recordings immensely.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30822" PostHistoryTypeId="2" PostId="19025" RevisionGUID="416023f0-0a19-4b6f-b341-b8a83fd8fd5c" CreationDate="2013-04-27T17:36:42.663" UserId="5983" Text="Hello from Atlanta, GA.&#xD;&#xA;&#xD;&#xA;Freelance Sound Designer/Location Mixer with music performance/composition on the side. Over the past few years, I spent a lot of time filming in central america and now focusing on post sound for film/television. Always looking to strike a balance between field recording and working behind monitors!&#xD;&#xA;&#xD;&#xA;[www.stevehornesound.com][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.stevehornesound.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="30823" PostHistoryTypeId="16" PostId="19025" RevisionGUID="416023f0-0a19-4b6f-b341-b8a83fd8fd5c" CreationDate="2013-04-27T17:36:42.663" UserId="-1" />
  <row Id="30824" PostHistoryTypeId="2" PostId="19026" RevisionGUID="076cf82d-f199-4eed-9938-223d3028c663" CreationDate="2013-04-27T21:10:53.543" UserId="3238" Text="*Supposedly* LAME has a seamless looping feature using the &quot;--nogap&quot; command, but I haven't had much success with it in the past.  Here's some additional info on it:&#xD;&#xA;&#xD;&#xA;http://www.rockbox.org/wiki/GaplessHowTo&#xD;&#xA;&#xD;&#xA;From what I've gathered the &quot;--nogap&quot; command was intended to take a set of multiple files (i.e. a CD album) and encode each one while taking into account the beginning frames of the subsequent file, providing overlap data that should make the transition seamless.  So the trick is rather than using multiple different tracks, you make a COPY of the seamless looping file, and specify both of those so that the overlap data from the start of the second track happens to be identical to the start of the looping track.  &#xD;&#xA;&#xD;&#xA;The command line call you would use to perform this looks something like:&#xD;&#xA;&#xD;&#xA;lame -v --nogapout output --nogap loop.wav loopcopy.wav&#xD;&#xA;&#xD;&#xA;Which would create loop.mp3 and loopcopy.mp3, and you would simply discard loopcopy.mp3 (I've also tried this using three copies, keeping only the middle MP3, with no difference in result).&#xD;&#xA;&#xD;&#xA;While I will say this command seems to work better for looping than the standard encoding of MP3, I find there's usually still a slight pop at the loop point and it's rarely truly seamless.&#xD;&#xA;&#xD;&#xA;Really the only times MP3 looping is consistently successful, is when the playback platform supports seamless looping and applies the MP3 conversion itself.  In other words even if you were to convert a looped audio file to a &quot;gapless&quot; MP3 yourself and load it into these platforms, the seamless looping likely wouldn't work.  For example both FMOD and Unity (powered by FMOD) have the ability to provide seamless looping using the MP3 format, however in order for this to work you must still use the uncompressed asset (WAV/AIF) in the build, and let the platform create the MP3 itself in the build process (in Unity you have to additionally enable the Gapless MP3 algorithm for each individual asset).  In Adobe Flash, importing the looped WAV file and using the publish settings to compress it to MP3 gives a much more successful result than loading and looping an MP3 file externally.  In all of these cases the length/samples of the looped file has never made a difference in my experience, as a loop capable platform usually employs a special compression algorithm that accounts the frame size and encoding delay issues." ContentLicense="CC BY-SA 3.0" />
  <row Id="30825" PostHistoryTypeId="2" PostId="19027" RevisionGUID="376cb129-19a9-4df7-9094-1792b60e7723" CreationDate="2013-04-27T21:51:27.383" UserId="3396" Text="Jay, Jay, Jay ...&#xD;&#xA;&#xD;&#xA;Remember when we were all &quot;sound editors&quot; and proud of it? &#xD;&#xA;&#xD;&#xA;Remember when that meant knowing how to cut sound FX, cut dialogue, cue and cut foley, cue and cut ADR, conform pre-dubs &amp; stems? It meant knowing how to do it all. I now know fx editors/designers who have never cut dialogue (and don't know how), dialogue editors who can't do FX, foley editors who only know foley. ADR editors were always a little different and have been specialized for a long time.&#xD;&#xA;&#xD;&#xA;We all know the Sound Designer jokes - &quot;A sound designer is someone who has never cut on film&quot;, &quot;Sound design is sub-rumble and rubbery sync&quot;, &quot;Sound design is something that can be moved a foot in either direction and still work&quot;, &quot;Sound Editors became Sound Designers around the same time Foley Walkers became Foley Artists&quot; ...&#xD;&#xA;&#xD;&#xA;Way back when it was microphones, razor blades and tape. Next most places had one or two guys who had a Synclav or the like and could actually manipulate sound. The rest of us became friends with the transfer guy and with a little sweet talk we could get them to transfer something backwards, slowed down, cel side down (for underwater or distant sounds) or physically put their hand on the reels on the transfer machine to create drag. We could also ask the Synthesizer guy to create specific things then spin them off to 35mm which we would then cut on film.&#xD;&#xA;&#xD;&#xA;None of us &quot;just pulled from the library to cover the sounds&quot;. I've always hated that narrow minded view that always seems to come from people who never really did what we did. We would search for the right sound, combine sounds to get what we wanted. It was much more difficult as you could only hear one sound and have to imagine what things would sound like together. You could play multiple sounds on your synchronizer using your hand to turn the wheel and approximate the correct speed. For a while I had an &quot;over-under&quot; moviola where you could actually hear two sounds at once (WOO-HOO!)&#xD;&#xA;&#xD;&#xA;I work on a crew that for a long time never credited a &quot;sound designer&quot;. The reason being was that it would artificially elevate one of us above the others. Most read the credit &quot;sound designer&quot; and think that this is the person whose vision we followed to create the whole audio worldview of the film. The person we went to for ideas and approval. You and I know that this is rarely true. &#xD;&#xA;&#xD;&#xA;Once we went digital we all started manipulating sounds more and more. I think it was WaveFrame first although at times I have also used Fostex, Fairlight and finally the new industry standard ProTools.&#xD;&#xA;&#xD;&#xA;On our crew it is always a team effort. We spot the film together and everybody's ideas are encouraged.&#xD;&#xA;&quot;Gladiator&quot;, &quot;Braveheart&quot;, &quot;The Bourne Ultimatum &quot;, &quot;Seabiscuit&quot;, &quot;Hannibal&quot;, none of them have a &quot;sound designer&quot; credited. We all did sound design. I remember &quot;The Devil's Advocate&quot; where the music editor complained that with my weird otherworldly FX we were crossing into music's territory. Taylor Hackford loved and defended our stuff (it was his film) and my sound lived. Listen to it. It IS sound design although no sound designer is credited.&#xD;&#xA;&#xD;&#xA;It seems that this new generation of digital sound editors all wanted the designation &quot;sound designer&quot;. We all thought and said, &quot;pretentious assholes&quot;.&#xD;&#xA;&#xD;&#xA;As the credit &quot;sound designer&quot; became more common film-makers would come to us and ask, &quot;Who is your sound designer?&quot;&#xD;&#xA;Our supervisor (Per Hallberg that blonde guy at the Oscars) would always answer honestly, &quot;All my people are sound designers.&quot;&#xD;&#xA;&#xD;&#xA;They wanted to see that credit so we gave in. The people responsible for the big ticket sequences, the strange sequences, flashbacks, transitions, monsters aliens &amp; creatures, weapons, big chase scenes, vehicles (flying &amp; earthbound, old, new &amp; from the future) would now be credited as &quot;sound designers&quot;.&#xD;&#xA;People who cut the more real life everyday sounds would still be &quot;sound editors&quot; even though they put as much care, thought and creativity into what they did. The next time you hear someone refer to sound editors as someone who &quot;Just pulls from the library to cover stuff&quot; tell them that they are full of crap and speaking from inexperience. The arrogance of that thinking has no place in the films I work on or the crews I work with. Nobody talks like that. Everybody knows.&#xD;&#xA;&#xD;&#xA;&quot;Sound Designer&quot; can mean everything and it can mean nothing. I worked on a &quot;walk and talk&quot; film where the supervisor's regular sound editor was credited as &quot;sound designer&quot; because that was the deal they had worked out. There was no sound design (in the way that the title implies) in that film.&#xD;&#xA;&#xD;&#xA;These days with digital editing and all the sound manipulation tools readily available we do a LOT more than we used to do. I don't know a single &quot;editor&quot; that does not use these tools. Some more than others.&#xD;&#xA;&#xD;&#xA;I am a &quot;sound designer&quot; and have been for a long time although not credited as such until the last few years. What makes me a sound designer?&#xD;&#xA;&#xD;&#xA;In &quot;Gladiator&quot; listen to the fireballs coming in where I used fire, jets, human voices and outboard gear to create those sounds. Was it &quot;sound design&quot;? I think yes but my credit was &quot;sound editor&quot; and I was happy with it. I was one with my fellow editors like Dino DiMuro who did all that wonderful slo-mo fight stuff. All those &quot;Bourne&quot; car chases where I used different cars, recordings and gear to create a &quot;new&quot; car. Sound design? You decide. Those weird-ass futuristic military vehicles in that first &quot;G.I. Joe&quot;? Maybe. The many flashback and dream sequences I have cut are probably most identifiable as &quot;sound design&quot; because of the strange sounds involved. People hear a whoosh and think &quot;Sound Design&quot;. &#xD;&#xA;Listen to the new &quot;Blade Runner&quot; mix where I had to recreate the &quot;spinners&quot; so that we could bring them in from the surrounds, listen to the new guns, punches etc. Listen to the new 5.1 all enveloping atmospheres that Dan Hegeman created. &quot;Sound design&quot;? Our credit - sound editors. &#xD;&#xA;&#xD;&#xA;The sound world has changed. It has become more sophisticated and so have we.&#xD;&#xA;The first time I sweetened a carby with an animal roar or a jet fighter and I took a sound not associated with the real-world to create drama, excitement or tension, that was sound design even though it was physically cut on film without any outboard gear. When Dan slows down and treats a fetal heartbeat and bakes it into the backgrounds to create a sense of unease or anxiety that is sound design. When one of our dialogue editors takes alternate takes to create new line readings or change the emotion of a line is that sound design? Perhaps. Maybe that's the next new credit we will see &quot;Dialogue Sound Designer&quot;. It's valid and kinda makes sense. When our foley guy manipulates objects and signal on the Foley stage to create something brand new is that sound design? It kind of is and in it's purest form. &quot;Foley Sound Designer&quot;, I like the sound of that.&#xD;&#xA;&#xD;&#xA;Whenever some new fresh-faced, bright-eyed and shiny new person right out of school comes aboard and proudly proclaims &quot;I am a sound designer&quot; we all just roll our eyes and leave unsaid, &quot;pay your dues, embrace humility and team play&quot;. Just because you know what buttons to push and have the latest gear it does not make you a sound designer. There's talent, creativity and the ability to know what to cut and what NOT to cut, the ability to see how what you are creating fits with dialogue and story. Some of these things cannot be taught. Some of these things are just part of who you are. I've seen &quot;designers&quot; with all the coolest and newest gear who create big ambitious sound that does not glue to the picture and kind of floats above it waving it's arms shouting &quot;I'm Sound Design! Look how cool I am!&quot;&#xD;&#xA;&#xD;&#xA;I think you are going to see the credit &quot;sound editor&quot; slowly disappear and be replaced by &quot;sound designer&quot;. All you new &quot;sound designers&quot; should remember where it all started and how difficult it was to do with just a microphone, a razor blade and tape.&#xD;&#xA;&#xD;&#xA;The next time you think you are better or more creative than a sound editor because you are a &quot;sound designer&quot; remember this - I will be waiting for you at the bike racks with a broken rewind shaft in one hand and swinging a Finley-Hill by its cord in the other hand ready to talk sense to you.&#xD;&#xA;&#xD;&#xA;My new favorite credit is &quot;Supervising First Assistant Sound Editor&quot;. Who made that one up? I'm sure it does wonders for self-esteem." ContentLicense="CC BY-SA 3.0" />
  <row Id="30826" PostHistoryTypeId="5" PostId="19025" RevisionGUID="437f8f1d-bd80-43b8-bf80-3b80a7ab03ec" CreationDate="2013-04-27T22:40:07.003" UserId="5983" Comment="deleted 2 characters in body" Text="Hello from Atlanta, GA.&#xD;&#xA;&#xD;&#xA;Freelance Sound Editor/Location Mixer with music performance/composition on the side. Over the past few years, I spent a lot of time filming in central america and now focusing on post sound for film/television. Always looking to strike a balance between field recording and working behind monitors!&#xD;&#xA;&#xD;&#xA;[www.stevehornesound.com][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.stevehornesound.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="30827" PostHistoryTypeId="2" PostId="19028" RevisionGUID="77431505-28fb-4320-b682-d30ead0dc00c" CreationDate="2013-04-27T22:44:17.250" UserDisplayName="user5985" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;I am a soon to be graduate from BA Film.&#xD;&#xA;&#xD;&#xA;For my final year I have decided to work as a sound designer (my second year I did this as I have a musical background and seen the opportunity to blend these together).&#xD;&#xA;&#xD;&#xA;So one film I am sound designing for I am coming to quite tense moments with my director (evidently they have the final say).&#xD;&#xA;&#xD;&#xA;I have been mixing in a calibrated room - sitting dialogue between -24db to -20db with peaks around -16db.&#xD;&#xA;&#xD;&#xA;I then built my design of sound effects and atmos etc around this foundation.&#xD;&#xA;&#xD;&#xA;To be honest, I am very happy with the mix. But my director says it is too quiet.&#xD;&#xA;&#xD;&#xA;After much discussion (including me telling them to turn up their speakers) - I did a louder mix with dialogue hitting -12db average - peaks at -6db.. leaving anything above for sound effects that were louder, such as a gun shot.&#xD;&#xA;&#xD;&#xA;They are still very unhappy.&#xD;&#xA;&#xD;&#xA;At this point I must vouch that all my other projects have gone swimmingly - hence my confusion.&#xD;&#xA;&#xD;&#xA;I have attempted to explain dynamics and translation to theatrical releases and music mixing being different - as they seem to want it all near the red. Which I know I am still learning, but I know the red is not the place to be.&#xD;&#xA;&#xD;&#xA;Am I completely off target or is my director just not with it and I'm losing a battle?!&#xD;&#xA;&#xD;&#xA;Please help, kind regards to any responses." ContentLicense="CC BY-SA 3.0" />
  <row Id="30828" PostHistoryTypeId="1" PostId="19028" RevisionGUID="77431505-28fb-4320-b682-d30ead0dc00c" CreationDate="2013-04-27T22:44:17.250" UserDisplayName="user5985" Text="Am I in the wrong? - mixing help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30829" PostHistoryTypeId="3" PostId="19028" RevisionGUID="77431505-28fb-4320-b682-d30ead0dc00c" CreationDate="2013-04-27T22:44:17.250" UserDisplayName="user5985" Text="&lt;mixing&gt;&lt;directors&gt;&lt;levels&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30830" PostHistoryTypeId="2" PostId="19029" RevisionGUID="7ef4d4ce-0d9e-4a1c-9232-087adfa9de32" CreationDate="2013-04-27T23:18:08.843" UserId="3179" Text="How does it sound? Is there no reason how it could actually be &quot;too quiet&quot;? If everything is audible and the play with dynamics sounds good and is reasonable, then I don't see a problem.&#xD;&#xA;&#xD;&#xA;How about asking them to specify, what exactly is too quiet. Everything or specific parts? I find that that's the only way to understand what they're really hearing. It also helps to know what they're comparing to (because something is always quiet relative to something else, which is louder), so you can hear how it really is.&#xD;&#xA;&#xD;&#xA;Of course there's no need to leave digital headroom unused, at the peak points that is." ContentLicense="CC BY-SA 3.0" />
  <row Id="30831" PostHistoryTypeId="2" PostId="19030" RevisionGUID="51fe7da8-6506-4377-8adc-f87919451f1a" CreationDate="2013-04-27T23:33:17.757" UserId="3299" Text="What format are you mixing for? e.g. A Hollywood theatrical release is going to be louder than an indie DVD release.&#xD;&#xA;&#xD;&#xA;I'd try and get my hands on a similar level of film release and compare. If the levels are similar then use it as evidence that you are working to a suitable level. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30832" PostHistoryTypeId="2" PostId="19031" RevisionGUID="e910f2b5-c2c2-4c7d-a80a-70af6cd98a13" CreationDate="2013-04-28T10:38:47.550" UserId="5986" Text="Just joined this site, so thought I'd give my first question - which I'll try and keep short!&#xD;&#xA;&#xD;&#xA;I've done Sound Design in theatre for a few years now and am looking to working in film and other media. Really, my theatre work has comprised of mostly creating and recording soundtrack music to go with the plays and some minor sound fx when needed. &#xD;&#xA;&#xD;&#xA;What I was wondering is, what's the best way to present yourself as a Sound Designer for film? Is it best to create a short film or showreel demonstrating sound fx and music? I've seen some Sound Designers have taken trailers for modern films and dubbed their own FX on to them as a way to show what they can do. &#xD;&#xA;&#xD;&#xA;I do have a website for my music and soundtracks, but not a showreel or anything visual just yet (though I have got a YouTube channel.)&#xD;&#xA;&#xD;&#xA;Sorry for the newbie question...!&#xD;&#xA;&#xD;&#xA;Thanks in advance.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30833" PostHistoryTypeId="1" PostId="19031" RevisionGUID="e910f2b5-c2c2-4c7d-a80a-70af6cd98a13" CreationDate="2013-04-28T10:38:47.550" UserId="5986" Text="New To Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="30834" PostHistoryTypeId="3" PostId="19031" RevisionGUID="e910f2b5-c2c2-4c7d-a80a-70af6cd98a13" CreationDate="2013-04-28T10:38:47.550" UserId="5986" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30835" PostHistoryTypeId="4" PostId="19031" RevisionGUID="c6603046-4c65-48f8-bccc-9c2f3024bfbc" CreationDate="2013-04-28T12:05:13.017" UserId="37" Comment="changed title to reflect question" Text="what's the best way to present yourself as a Sound Designer for film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30836" PostHistoryTypeId="2" PostId="19032" RevisionGUID="943dd6d3-d184-41f9-af32-c5f564996daf" CreationDate="2013-04-28T12:14:46.110" UserId="3179" Text="Depends. I, for example, can listen to just audio and decide, whether I like what someone is doing or whether I don't. Some prefer to see the sound working with a visual media, because that's what you're basically looking to do and should demonstrate experience specifically in matching sound to picture.&#xD;&#xA;&#xD;&#xA;You should &quot;always&quot; have a demo reel containing your best work or at least a portfolio (e.g. in the web), especially when you're starting out (or trying to). That's what you present to all new people that you meet and the reel is what ought to be the thing that impresses the people that you show it to, which in turn may bring you gigs." ContentLicense="CC BY-SA 3.0" />
  <row Id="30837" PostHistoryTypeId="2" PostId="19033" RevisionGUID="91f5b55f-c2bf-4699-9027-8d0a0f6e768f" CreationDate="2013-04-28T14:26:48.803" UserId="5960" Text="Just to develop a bit on the &quot;high price spread&quot;. Besides the Schoeps collette series, notably the MK41 hypercardioid capsule, another widely used series is Sennheiser's MKH line, such as the classic MKH416 shotgun or the newer 8000 modular series. The Senneheisers have the advantage of being RF-based, which makes them extremely rugged and almost impervious to humidity.&#xD;&#xA;&#xD;&#xA;Other popular choices include the Neumann's, and some of the Sanken shotguns like the CS3e.&#xD;&#xA;&#xD;&#xA;One thing you may want to think about, is how much flexibility you think you need in regards to pick up patterns. The bases for most sound work is a shotgun and a hypercardioid, and you can get very far with one quality mic of each (for use with a boom).&#xD;&#xA;&#xD;&#xA;Also, don't forget about shockmounts and wind protection.&#xD;&#xA;&#xD;&#xA;How many channels do you think you need? The DR680 is a good machine for the price, but may be overkill if most of what you need is 1-3 channels. A small mixer or two channel recorder may be a better choice." ContentLicense="CC BY-SA 3.0" />
  <row Id="30838" PostHistoryTypeId="2" PostId="19034" RevisionGUID="67ab1064-ef12-4bb2-8749-350af90e0c42" CreationDate="2013-04-28T16:06:12.537" UserId="726" Text="Hi all!!&#xD;&#xA;&#xD;&#xA;For all those production sound mixers/recorders out there, I'm just after some general input/tips into radio mic selection and techniques?&#xD;&#xA;&#xD;&#xA;From my experience, most sound mixers I've come across like to use the Tram Lavalier or the Sanken Cos-11 lav (the latter favoured due to the smaller capsule being easier to hide). Has anybody any other radio mics they prefer to use for production sound/capturing dialogue?&#xD;&#xA;&#xD;&#xA;I'm also curious to hear of people's radio micing techniques that are used to optimise dialogue recording but minimising the dreaded clothing/rustling noise! It seems like a rather dark art!&#xD;&#xA;&#xD;&#xA;Many thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30839" PostHistoryTypeId="1" PostId="19034" RevisionGUID="67ab1064-ef12-4bb2-8749-350af90e0c42" CreationDate="2013-04-28T16:06:12.537" UserId="726" Text="Radio Mic Comparisons...." ContentLicense="CC BY-SA 3.0" />
  <row Id="30840" PostHistoryTypeId="3" PostId="19034" RevisionGUID="67ab1064-ef12-4bb2-8749-350af90e0c42" CreationDate="2013-04-28T16:06:12.537" UserId="726" Text="&lt;radiomics&gt;&lt;microphone-technique&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30841" PostHistoryTypeId="2" PostId="19035" RevisionGUID="7e92ac58-eb75-40e3-ac3c-2486c50efd8e" CreationDate="2013-04-28T19:05:53.103" UserId="1228" Text="http://socialsounddesign.com/questions/15692/self-promotion-advice/15693#15693&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/14687/what-makes-you-think-youre-a-sound-designer" ContentLicense="CC BY-SA 3.0" />
  <row Id="30842" PostHistoryTypeId="2" PostId="19036" RevisionGUID="3fcc7106-dc0d-4b8e-a8e5-7234db8f2a4e" CreationDate="2013-04-28T19:19:08.753" UserId="5960" Text="Besides the COS-11 and the Tram 50, other popular choices are the Countryman B6 and the DPA lavs (some also like the smaller Sennheiser models).&#xD;&#xA;&#xD;&#xA;As to technique, the best source I know is jwsoundgroup.net. It has an abundance of knowledge on this kind of area, and I know there are even some threads containing links to the biggest discussions about it. Don't use the sites own search engine though, just search within the webpage from google or similar.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30843" PostHistoryTypeId="2" PostId="19037" RevisionGUID="12236cc8-d9df-4bbc-8753-3d702c50840d" CreationDate="2013-04-28T20:55:11.757" UserId="5855" Text="Some great recommendations here, I know the Focusrite 428 very well, very nice.&#xD;&#xA;&#xD;&#xA;The Sound Devices Mixpre-D mentioned above is fantastic too for ADR, we used a couple of these recently - one in the UK and the other in Germany on a project sending parts back and forward and they're incredible, as someone mentioned above, a great portable mixer and perfect for laptop/DAW - But it's a good idea to buy a power adapter for it, rather than go from batteries when using it with your DAW/ NLE, however the sound devices branded Hirose AC adapter in the UK is around £120.00, which is pretty steep.&#xD;&#xA;&#xD;&#xA;I asked our I.T. department for an old HP Laptop AC adapter and sent Sound Devices an email asking if the HP adapter spec was suitable as it was around 18.5v (over the 17v SD spec), they tested and said no problem just buy the Hirose adapter and put it on the end, gotta love the Sound Devices crew!&#xD;&#xA;&#xD;&#xA;I sent the HP adapter to www.designacable.com (awesome company) who have made me loads of pro cables, anyway Adam at Designacable supplied the Hirose, connected/soldered it tested etc and couriered it back to me for £19! which is great considering the Hirose connector alone costs over £20 here anyway.&#xD;&#xA;&#xD;&#xA;So if you do go the MixPre-D route for your ADR or VO and want to save some money on batteries  give Adam at designacable a facebook message/call etc - awesome company for specialist quality &quot;Sound&quot; custom cables and great prices/free return post, he cooks using the best quality ingredients - neutrik,switchcraft,van damme etc.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30844" PostHistoryTypeId="2" PostId="19038" RevisionGUID="fc842d47-6b20-4886-bb22-fa0242088a43" CreationDate="2013-04-29T00:42:57.783" UserId="235" Text="Heh.  Welcome to the rest of your career.  :)  I fall more into the &quot;client is always right&quot; camp.  I think it's my job to speak up when I disagree and educate the clients just as you have done but at the end of the day, they're the ones who have sweat blood over this film for months, if not years on end, and the director always always gets the last word.  &quot;No&quot; is not in my vocabulary.  Do a &quot;save as&quot;, do a vanity mix for your reel and then let the clients destroy all your hard work.  Other sound engineers will judge you on the quality of your work but clients will judge you on the quality of their experience with you and the relationship you have developed. &#xD;&#xA;  Now, this all assumes that a louder, less dynamic mix will make them happy.  It sounds like your mix should be plenty loud and I wonder if there's something happening between your system and the clients home system.  Who is doing the layback to DVD?  Have you played back the DVD on another system yourself, referencing against other DVDs?  Have you checked your finished and bounced mix in reference to other mixes?&#xD;&#xA;  Of course it could be that your clients are just temporarily insane.  That happens too.  I once had a client tell me they couldn't hear a certain line at all.  I turned it up 2 db and gave it back to him and he was happy.  Seriously, 2db made the difference between &quot;I can't hear this at all!&quot; and &quot;perfect! That's great!&quot;.  Another time I was playing the 'louder louder' game with clients and finally realized that the video editors mix was clipping and distorted and that's what they equated with loudness.  Clients.  Stay profesional and do your best to figure out what they want.  It's a tricky thing to have pride in your work and also be unattached but that's what you have to do.  I always think about the Tibetan monks who make those incredible sand paintings then destroy them as soon as they're done.  Anyway, definitely investigate the layback stage.  If you say they're happy with the mix in your studio and then have to crank their home system twice as loud as normal then something is amiss.  Best of luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30846" PostHistoryTypeId="2" PostId="19040" RevisionGUID="c04521b7-8525-42ba-b8e6-3d28e0d42e8a" CreationDate="2013-04-29T06:41:30.860" UserId="5988" Text="I've had a few happy surprises where clients use laptop speakers to monitor their sound. Even when the system volume is turned all the way up you can barely hear what's being said. In such cases, there may not be much room for dynamics.&#xD;&#xA;&#xD;&#xA;It shouldn't hurt too much to ask what monitoring setup they are at, right?&#xD;&#xA;Could it be that the setup your client uses is unable to deliver any power from their speakers?&#xD;&#xA;It's important to know and discuss where the sound shall be presented and compare it with what's currently being used to present it." ContentLicense="CC BY-SA 3.0" />
  <row Id="30847" PostHistoryTypeId="2" PostId="19041" RevisionGUID="4ab3392f-7c01-4152-809c-bdf491bc446e" CreationDate="2013-04-29T10:45:07.343" UserId="5989" Text="I must have got some concept of how computer audio pipeline works WRONG for sure, so please point me out!&#xD;&#xA;&#xD;&#xA;I'm not an audio enginner but I'm trying to balance sounds for my game. The game uses XNA so XACT auditioning tool will be used to control audio content.&#xD;&#xA;&#xD;&#xA;I'm now considering what is the 'normal' volume of my game? Currently I go listen to a music at my comfortable level (Volume settings of computer is at  25% and volume setting of foobar2000 I used to listen is at 100%) and try to make overall volume of my game at this level. Is I am doing right if I used this kind of reference for my game? The reference music I listened to are well-mastered by commercial studio of course, so the volume will be around 0dB, correct?&#xD;&#xA;&#xD;&#xA;Now here is the problem, I think I should make my total sound of my game not exceeding 0dB or that will be clipping.&#xD;&#xA;&#xD;&#xA;I'm developing a side scrolling game. I have one weapon which produce loud continuous sound. Currently when I set the in-game SFX setting to 100% the volume is alright, but I think the default SFX setting have to be about 70% so player have a choice of increase or decrease the volume. (correct?) Well, 100% sounds alright now so if I set the default to 70% it will be too quiet. So after I set the default in-game SFX level to 70% I went to XACT and increase the mixer of my SFX category from 0dB to 6dB. So my 70% will be equivalent to my old 100% and allowing player to go louder.&#xD;&#xA;&#xD;&#xA;The problem arises, when I'm shooting that loud weapon and press a button to bring up pause screen. Normally the 'ding' SFX will be played when pause, but I've noticed that **my 'ding' sound is noticeably quieter when pause the game while firing weapon!** If I'm not doing anything the 'ding' sound will be louder. This is not happening with my previous 100% sound and 0dB gain on my SFX category setting. Is this called clipping? If I were to describe, the 'ding' sound were muffled by shot sound.&#xD;&#xA;&#xD;&#xA;When I turned down a volume of **computer** the clipping is still there. It's just hearing the problem quieter. This leads me to thinking that the clipping is happening in game application before sending out to computer. The computer has more headroom? If I listen to lady gaga while playing my clipped game sound, my lady gaga will be in the perfect form? (Well, I don't really listened to lady gaga but that's an example)&#xD;&#xA;&#xD;&#xA;Now talking about BGM. With my understanding of clipping I think game BGM have to be much lower than 0dB (unlike track for listening) because you have to leave some room for SFX to add up to 0dB is that correct? If that so can I calculate what my average SFX volume should be based on average BGM volume so they add up nicely to 0dB?&#xD;&#xA;&#xD;&#xA;The solution I can think of is to mix the overall sound in the game in somewhat low volume (Even in 100% BGM and SFX in-game settings) and then let player turn up the volume of their computer (or TV) them self. With this setting every time playing this game you must turn up the volume... which I think is not right.&#xD;&#xA;&#xD;&#xA;How come many commercial games that fires a lot of weapons and each SFX is still in their correct form?&#xD;&#xA;&#xD;&#xA;The XACT tool supports adjusting the gain level. Is it the best practice that I mix all SFX in my games around 0dB and then setting negative gain in XACT? (and never set a positive gain)&#xD;&#xA;&#xD;&#xA;It's a lot of question here but I don't have any luck searching for solution so far..&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30848" PostHistoryTypeId="1" PostId="19041" RevisionGUID="4ab3392f-7c01-4152-809c-bdf491bc446e" CreationDate="2013-04-29T10:45:07.343" UserId="5989" Text="Balancing sounds for computer game. Please review my workflow." ContentLicense="CC BY-SA 3.0" />
  <row Id="30849" PostHistoryTypeId="3" PostId="19041" RevisionGUID="4ab3392f-7c01-4152-809c-bdf491bc446e" CreationDate="2013-04-29T10:45:07.343" UserId="5989" Text="&lt;gameaudio&gt;&lt;clipping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30850" PostHistoryTypeId="2" PostId="19042" RevisionGUID="bd435c72-1b33-4b72-b3dd-ce7120d8c019" CreationDate="2013-04-29T12:15:35.990" UserId="3179" Text="&gt; I'm now considering what is the&#xD;&#xA;&gt; 'normal' volume of my game? Currently&#xD;&#xA;&gt; I go listen to a music at my&#xD;&#xA;&gt; comfortable level (Volume settings of&#xD;&#xA;&gt; computer is at 25% and volume setting&#xD;&#xA;&gt; of foobar2000 I used to listen is at&#xD;&#xA;&gt; 100%) and try to make overall volume&#xD;&#xA;&gt; of my game at this level. Is I am&#xD;&#xA;&gt; doing right if I used this kind of&#xD;&#xA;&gt; reference for my game? The reference&#xD;&#xA;&gt; music I listened to are well-mastered&#xD;&#xA;&gt; by commercial studio of course, so the&#xD;&#xA;&gt; volume will be around 0dB, correct?&#xD;&#xA;&#xD;&#xA;I don't fully understand what you're saying (&quot;the volume will be around 0dB&quot;). But basically, if you can find a reference and your listening is uncalibrated (i.e. you don't have a standard listening level at which you work everything), then you'll use the reference to gain a reference point for the mix and loudness, but forget the numbers. However, you should use a reference that's realistic, so don't use something that's been mastered red hot or which is a completely different style that you're doing, because it may not be what you're looking for. Generally, use your ears!&#xD;&#xA;&#xD;&#xA;&gt; Now here is the problem, I think I&#xD;&#xA;&gt; should make my total sound of my game&#xD;&#xA;&gt; not exceeding 0dB or that will be&#xD;&#xA;&gt; clipping.&#xD;&#xA;&#xD;&#xA;Yes sure. It should be limited to 0.0dBFS, or e.g. -0.3dBFS to prevent overloading.&#xD;&#xA;&#xD;&#xA;&gt; I'm developing a side scrolling game.&#xD;&#xA;&gt; I have one weapon which produce loud&#xD;&#xA;&gt; continuous sound. Currently when I set&#xD;&#xA;&gt; the in-game SFX setting to 100% the&#xD;&#xA;&gt; volume is alright, but I think the&#xD;&#xA;&gt; default SFX setting have to be about&#xD;&#xA;&gt; 70% so player have a choice of&#xD;&#xA;&gt; increase or decrease the volume.&#xD;&#xA;&gt; (correct?) Well, 100% sounds alright&#xD;&#xA;&gt; now so if I set the default to 70% it&#xD;&#xA;&gt; will be too quiet. So after I set the&#xD;&#xA;&gt; default in-game SFX level to 70% I&#xD;&#xA;&gt; went to XACT and increase the mixer of&#xD;&#xA;&gt; my SFX category from 0dB to 6dB. So my&#xD;&#xA;&gt; 70% will be equivalent to my old 100%&#xD;&#xA;&gt; and allowing player to go louder.&#xD;&#xA;&#xD;&#xA;No, you shouldn't leave digital headroom unused. A finished mix should have its loudest parts at 0.0dBFS or very close to that, not lower, because that would be leaving digital headroom unused and it's guaranteed to be quieter than everything else, so it can't match with the sound level of other media. And you don't want the listener to have to drastically adjust the system volume, when switching from game to game, media to media.&#xD;&#xA;&#xD;&#xA;&gt; The problem arises, when I'm shooting&#xD;&#xA;&gt; that loud weapon and press a button to&#xD;&#xA;&gt; bring up pause screen. Normally the&#xD;&#xA;&gt; 'ding' SFX will be played when pause,&#xD;&#xA;&gt; but I've noticed that my 'ding' sound&#xD;&#xA;&gt; is noticeably quieter when pause the&#xD;&#xA;&gt; game while firing weapon! If I'm not&#xD;&#xA;&gt; doing anything the 'ding' sound will&#xD;&#xA;&gt; be louder. This is not happening with&#xD;&#xA;&gt; my previous 100% sound and 0dB gain on&#xD;&#xA;&gt; my SFX category setting. Is this&#xD;&#xA;&gt; called clipping? If I were to&#xD;&#xA;&gt; describe, the 'ding' sound were&#xD;&#xA;&gt; muffled by shot sound.&#xD;&#xA;&#xD;&#xA;It sounds like it's clipping or hitting to a master limiter, which forces the overloaded part of the sound down. Excessive clipping is accompanied by harsh distortion and you can ALWAYS see it from any volume meter (if it's peaking at full or there's a red warning light, then it's clipping or has been clipped).&#xD;&#xA;&#xD;&#xA;&gt; When I turned down a volume of&#xD;&#xA;&gt; computer the clipping is still there.&#xD;&#xA;&gt; It's just hearing the problem quieter.&#xD;&#xA;&gt; This leads me to thinking that the&#xD;&#xA;&gt; clipping is happening in game&#xD;&#xA;&gt; application before sending out to&#xD;&#xA;&gt; computer. The computer has more&#xD;&#xA;&gt; headroom? If I listen to lady gaga&#xD;&#xA;&gt; while playing my clipped game sound,&#xD;&#xA;&gt; my lady gaga will be in the perfect&#xD;&#xA;&gt; form? (Well, I don't really listened&#xD;&#xA;&gt; to lady gaga but that's an example)&#xD;&#xA;&#xD;&#xA;Yes. &quot;Clipping&quot; never occurs when the sound has left the computer system, it happens before it's outputted. Practically it's created using the applications where you adjust the sound volume and therefore you should not clip the audio, but keep it under 0.0dBFS or limited to 0.0dBFS, but not over, because that part going over 0.0dBFS is clipped.&#xD;&#xA;&#xD;&#xA;&gt; Now talking about BGM. With my&#xD;&#xA;&gt; understanding of clipping I think game&#xD;&#xA;&gt; BGM have to be much lower than 0dB&#xD;&#xA;&gt; (unlike track for listening) because&#xD;&#xA;&gt; you have to leave some room for SFX to&#xD;&#xA;&gt; add up to 0dB is that correct? If that&#xD;&#xA;&gt; so can I calculate what my average SFX&#xD;&#xA;&gt; volume should be based on average BGM&#xD;&#xA;&gt; volume so they add up nicely to 0dB?&#xD;&#xA;&#xD;&#xA;Yes. You need to balance all sounds that you're adding to a mix so that they use the headroom wisely and don't overload/clip the system. Therefore you place the sounds that are to be loudest to be the loudest and balance other sounds to accompany them at lower levels. However, there's much much more to mixing (EQ, dynamics control etc.) than balancing the volumes of tracks/sounds, but setting the basic balance of tracks/sounds is a good start.&#xD;&#xA;&#xD;&#xA;&gt; The solution I can think of is to mix&#xD;&#xA;&gt; the overall sound in the game in&#xD;&#xA;&gt; somewhat low volume (Even in 100% BGM&#xD;&#xA;&gt; and SFX in-game settings) and then let&#xD;&#xA;&gt; player turn up the volume of their&#xD;&#xA;&gt; computer (or TV) them self. With this&#xD;&#xA;&gt; setting every time playing this game&#xD;&#xA;&gt; you must turn up the volume... which I&#xD;&#xA;&gt; think is not right.&#xD;&#xA;&#xD;&#xA;You should mix at a level where you know what kind of mix you're targeting, i.e. the listening level helps you know how to mix the sound. This is also why you can use reference audio/mixes, because you can compare your mix to those and hear whether what you're doing is in the ballpark of other reasonably similar mixes.&#xD;&#xA;&#xD;&#xA;&gt; How come many commercial games that&#xD;&#xA;&gt; fires a lot of weapons and each SFX is&#xD;&#xA;&gt; still in their correct form?&#xD;&#xA;&#xD;&#xA;Because they've been mixed so that they maximize clarity and impact without overloading the system. That's what sound mixing is about. Making the available sounds sound clear and fitting them together in the mix and using the limited headroom in a way that maximizes clarity and impact.&#xD;&#xA;&#xD;&#xA;&gt; The XACT tool supports adjusting the&#xD;&#xA;&gt; gain level. Is it the best practice&#xD;&#xA;&gt; that I mix all SFX in my games around&#xD;&#xA;&gt; 0dB and then setting negative gain in&#xD;&#xA;&gt; XACT? (and never set a positive gain)&#xD;&#xA;&#xD;&#xA;You can do either way, either premixing the sound before bringing it to XACT or setting the levels in XACT. Most game audio people juggle between the implementation tool and a DAW, because you cannot do many adjustments in the implementation tools or it's cumbersome, so it's better to have the mix balance in the ballpark, before importing them to implementation tool, because all you can do there is adjust volume and effects.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30851" PostHistoryTypeId="5" PostId="19042" RevisionGUID="72272bc7-71b9-4335-a169-c3e268f3e9cb" CreationDate="2013-04-29T12:21:26.000" UserId="3179" Comment="added 25 characters in body; added 21 characters in body; added 24 characters in body" Text="&gt; I'm now considering what is the&#xD;&#xA;&gt; 'normal' volume of my game? Currently&#xD;&#xA;&gt; I go listen to a music at my&#xD;&#xA;&gt; comfortable level (Volume settings of&#xD;&#xA;&gt; computer is at 25% and volume setting&#xD;&#xA;&gt; of foobar2000 I used to listen is at&#xD;&#xA;&gt; 100%) and try to make overall volume&#xD;&#xA;&gt; of my game at this level. Is I am&#xD;&#xA;&gt; doing right if I used this kind of&#xD;&#xA;&gt; reference for my game? The reference&#xD;&#xA;&gt; music I listened to are well-mastered&#xD;&#xA;&gt; by commercial studio of course, so the&#xD;&#xA;&gt; volume will be around 0dB, correct?&#xD;&#xA;&#xD;&#xA;I don't fully understand what you're saying (&quot;the volume will be around 0dB&quot;). But basically, if you can find a reference and your listening is uncalibrated (i.e. you don't have a standard listening level at which you work everything), then you'll use the reference to gain a reference point for the mix and loudness, but forget the numbers. However, you should use a reference that's realistic, so don't use something that's been mastered red hot or which is a completely different style that you're doing, because it may not be what you're looking for. Generally, use your ears!&#xD;&#xA;&#xD;&#xA;&gt; Now here is the problem, I think I&#xD;&#xA;&gt; should make my total sound of my game&#xD;&#xA;&gt; not exceeding 0dB or that will be&#xD;&#xA;&gt; clipping.&#xD;&#xA;&#xD;&#xA;Yes sure. It should be limited to 0.0dBFS, or e.g. -0.3dBFS to prevent overloading.&#xD;&#xA;&#xD;&#xA;&gt; I'm developing a side scrolling game.&#xD;&#xA;&gt; I have one weapon which produce loud&#xD;&#xA;&gt; continuous sound. Currently when I set&#xD;&#xA;&gt; the in-game SFX setting to 100% the&#xD;&#xA;&gt; volume is alright, but I think the&#xD;&#xA;&gt; default SFX setting have to be about&#xD;&#xA;&gt; 70% so player have a choice of&#xD;&#xA;&gt; increase or decrease the volume.&#xD;&#xA;&gt; (correct?) Well, 100% sounds alright&#xD;&#xA;&gt; now so if I set the default to 70% it&#xD;&#xA;&gt; will be too quiet. So after I set the&#xD;&#xA;&gt; default in-game SFX level to 70% I&#xD;&#xA;&gt; went to XACT and increase the mixer of&#xD;&#xA;&gt; my SFX category from 0dB to 6dB. So my&#xD;&#xA;&gt; 70% will be equivalent to my old 100%&#xD;&#xA;&gt; and allowing player to go louder.&#xD;&#xA;&#xD;&#xA;No, you shouldn't leave digital headroom unused. A finished mix should have its loudest parts at 0.0dBFS or very close to that, not lower, because that would be leaving digital headroom unused and it's guaranteed to be quieter than everything else, so it can't match with the sound level of other media. And you don't want the listener to have to drastically adjust the system volume, when switching from game to game, media to media.&#xD;&#xA;&#xD;&#xA;&gt; The problem arises, when I'm shooting&#xD;&#xA;&gt; that loud weapon and press a button to&#xD;&#xA;&gt; bring up pause screen. Normally the&#xD;&#xA;&gt; 'ding' SFX will be played when pause,&#xD;&#xA;&gt; but I've noticed that my 'ding' sound&#xD;&#xA;&gt; is noticeably quieter when pause the&#xD;&#xA;&gt; game while firing weapon! If I'm not&#xD;&#xA;&gt; doing anything the 'ding' sound will&#xD;&#xA;&gt; be louder. This is not happening with&#xD;&#xA;&gt; my previous 100% sound and 0dB gain on&#xD;&#xA;&gt; my SFX category setting. Is this&#xD;&#xA;&gt; called clipping? If I were to&#xD;&#xA;&gt; describe, the 'ding' sound were&#xD;&#xA;&gt; muffled by shot sound.&#xD;&#xA;&#xD;&#xA;It sounds like it's clipping or hitting to a master limiter, which forces the overloaded part of the sound down. Excessive clipping is accompanied by harsh distortion and you can ALWAYS see it from any volume meter (if it's peaking at full or there's a red warning light, then it's clipping or has been clipped).&#xD;&#xA;&#xD;&#xA;&gt; When I turned down a volume of&#xD;&#xA;&gt; computer the clipping is still there.&#xD;&#xA;&gt; It's just hearing the problem quieter.&#xD;&#xA;&gt; This leads me to thinking that the&#xD;&#xA;&gt; clipping is happening in game&#xD;&#xA;&gt; application before sending out to&#xD;&#xA;&gt; computer. The computer has more&#xD;&#xA;&gt; headroom? If I listen to lady gaga&#xD;&#xA;&gt; while playing my clipped game sound,&#xD;&#xA;&gt; my lady gaga will be in the perfect&#xD;&#xA;&gt; form? (Well, I don't really listened&#xD;&#xA;&gt; to lady gaga but that's an example)&#xD;&#xA;&#xD;&#xA;Yes. &quot;Clipping&quot; never occurs when the sound has left the computer system, it happens before it's outputted. Practically it's created during recording or when using the applications where you adjust the sound volume and therefore you should not clip the audio, but keep it under 0.0dBFS or limited to 0.0dBFS in all cases, but not over 0.0dBFS, because that part going over 0.0dBFS is clipped.&#xD;&#xA;&#xD;&#xA;&gt; Now talking about BGM. With my&#xD;&#xA;&gt; understanding of clipping I think game&#xD;&#xA;&gt; BGM have to be much lower than 0dB&#xD;&#xA;&gt; (unlike track for listening) because&#xD;&#xA;&gt; you have to leave some room for SFX to&#xD;&#xA;&gt; add up to 0dB is that correct? If that&#xD;&#xA;&gt; so can I calculate what my average SFX&#xD;&#xA;&gt; volume should be based on average BGM&#xD;&#xA;&gt; volume so they add up nicely to 0dB?&#xD;&#xA;&#xD;&#xA;Yes. You need to balance all sounds that you're adding to a mix so that they use the headroom wisely and don't overload/clip the system. Therefore you place the sounds that are to be loudest to be the loudest and balance other sounds to accompany them at lower levels. However, there's much much more to mixing (EQ, dynamics control etc.) than balancing the volumes of tracks/sounds, but setting the basic balance of tracks/sounds is a good start.&#xD;&#xA;&#xD;&#xA;&gt; The solution I can think of is to mix&#xD;&#xA;&gt; the overall sound in the game in&#xD;&#xA;&gt; somewhat low volume (Even in 100% BGM&#xD;&#xA;&gt; and SFX in-game settings) and then let&#xD;&#xA;&gt; player turn up the volume of their&#xD;&#xA;&gt; computer (or TV) them self. With this&#xD;&#xA;&gt; setting every time playing this game&#xD;&#xA;&gt; you must turn up the volume... which I&#xD;&#xA;&gt; think is not right.&#xD;&#xA;&#xD;&#xA;You should mix at a level where you know what kind of mix you're targeting, i.e. the listening level helps you know how to mix the sound. This is also why you can use reference audio/mixes, because you can compare your mix to those and hear whether what you're doing is in the ballpark of other reasonably similar mixes.&#xD;&#xA;&#xD;&#xA;&gt; How come many commercial games that&#xD;&#xA;&gt; fires a lot of weapons and each SFX is&#xD;&#xA;&gt; still in their correct form?&#xD;&#xA;&#xD;&#xA;Because they've been mixed so that they maximize clarity and impact without overloading the system. That's what sound mixing is about. Making the available sounds sound clear and fitting them together in the mix and using the limited volume range and frequency range in a way that maximizes clarity and impact.&#xD;&#xA;&#xD;&#xA;&gt; The XACT tool supports adjusting the&#xD;&#xA;&gt; gain level. Is it the best practice&#xD;&#xA;&gt; that I mix all SFX in my games around&#xD;&#xA;&gt; 0dB and then setting negative gain in&#xD;&#xA;&gt; XACT? (and never set a positive gain)&#xD;&#xA;&#xD;&#xA;You can do either way, either premixing the sound before bringing it to XACT or setting the levels in XACT. Most game audio people juggle between the implementation tool and a DAW, because you cannot do many adjustments in the implementation tools or it's cumbersome, so it's better to have the mix balance in the ballpark, before importing them to implementation tool, because all you can do there is adjust volume and effects.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30852" PostHistoryTypeId="5" PostId="19042" RevisionGUID="6043db9e-e3a8-4940-883c-cf8ee657aeed" CreationDate="2013-04-29T12:30:45.857" UserId="3179" Comment="added 186 characters in body; deleted 34 characters in body" Text="&gt; I'm now considering what is the&#xD;&#xA;&gt; 'normal' volume of my game? Currently&#xD;&#xA;&gt; I go listen to a music at my&#xD;&#xA;&gt; comfortable level (Volume settings of&#xD;&#xA;&gt; computer is at 25% and volume setting&#xD;&#xA;&gt; of foobar2000 I used to listen is at&#xD;&#xA;&gt; 100%) and try to make overall volume&#xD;&#xA;&gt; of my game at this level. Is I am&#xD;&#xA;&gt; doing right if I used this kind of&#xD;&#xA;&gt; reference for my game? The reference&#xD;&#xA;&gt; music I listened to are well-mastered&#xD;&#xA;&gt; by commercial studio of course, so the&#xD;&#xA;&gt; volume will be around 0dB, correct?&#xD;&#xA;&#xD;&#xA;I don't fully understand what you're saying. But basically, if you can find a reference and your listening is uncalibrated (i.e. you don't have a standard listening level at which you work everything), then you'll use the reference to gain a reference point for the mix and loudness, but forget the numbers. However, you should use a reference that's realistic, so don't use something that's been mastered red hot or which is a completely different style that you're doing, because it may not be what you're looking for. Generally, use your ears!&#xD;&#xA;&#xD;&#xA;&gt; Now here is the problem, I think I&#xD;&#xA;&gt; should make my total sound of my game&#xD;&#xA;&gt; not exceeding 0dB or that will be&#xD;&#xA;&gt; clipping.&#xD;&#xA;&#xD;&#xA;Yes sure. It should be limited to 0.0dBFS, or e.g. -0.3dBFS to prevent overloading.&#xD;&#xA;&#xD;&#xA;&gt; I'm developing a side scrolling game.&#xD;&#xA;&gt; I have one weapon which produce loud&#xD;&#xA;&gt; continuous sound. Currently when I set&#xD;&#xA;&gt; the in-game SFX setting to 100% the&#xD;&#xA;&gt; volume is alright, but I think the&#xD;&#xA;&gt; default SFX setting have to be about&#xD;&#xA;&gt; 70% so player have a choice of&#xD;&#xA;&gt; increase or decrease the volume.&#xD;&#xA;&gt; (correct?) Well, 100% sounds alright&#xD;&#xA;&gt; now so if I set the default to 70% it&#xD;&#xA;&gt; will be too quiet. So after I set the&#xD;&#xA;&gt; default in-game SFX level to 70% I&#xD;&#xA;&gt; went to XACT and increase the mixer of&#xD;&#xA;&gt; my SFX category from 0dB to 6dB. So my&#xD;&#xA;&gt; 70% will be equivalent to my old 100%&#xD;&#xA;&gt; and allowing player to go louder.&#xD;&#xA;&#xD;&#xA;No, you shouldn't leave digital headroom unused. A finished mix should have its loudest parts at 0.0dBFS or very close to that, not lower, because that would be leaving digital headroom unused and it's guaranteed to be quieter than everything else, so it can't match with the sound level of other media. And you don't want the listener to have to drastically adjust the system volume, when switching from game to game, media to media. Sure, the listener can adjust the system volume, but that's a separate thing from setting the maximum level of a sound mix, which should use all available headroom in its loudest parts.&#xD;&#xA;&#xD;&#xA;&gt; The problem arises, when I'm shooting&#xD;&#xA;&gt; that loud weapon and press a button to&#xD;&#xA;&gt; bring up pause screen. Normally the&#xD;&#xA;&gt; 'ding' SFX will be played when pause,&#xD;&#xA;&gt; but I've noticed that my 'ding' sound&#xD;&#xA;&gt; is noticeably quieter when pause the&#xD;&#xA;&gt; game while firing weapon! If I'm not&#xD;&#xA;&gt; doing anything the 'ding' sound will&#xD;&#xA;&gt; be louder. This is not happening with&#xD;&#xA;&gt; my previous 100% sound and 0dB gain on&#xD;&#xA;&gt; my SFX category setting. Is this&#xD;&#xA;&gt; called clipping? If I were to&#xD;&#xA;&gt; describe, the 'ding' sound were&#xD;&#xA;&gt; muffled by shot sound.&#xD;&#xA;&#xD;&#xA;It sounds like it's clipping or hitting to a master limiter, which forces the overloaded part of the sound down. Excessive clipping is accompanied by harsh distortion and you can ALWAYS see it from any volume meter (if it's peaking at full or there's a red warning light, then it's clipping or has been clipped).&#xD;&#xA;&#xD;&#xA;&gt; When I turned down a volume of&#xD;&#xA;&gt; computer the clipping is still there.&#xD;&#xA;&gt; It's just hearing the problem quieter.&#xD;&#xA;&gt; This leads me to thinking that the&#xD;&#xA;&gt; clipping is happening in game&#xD;&#xA;&gt; application before sending out to&#xD;&#xA;&gt; computer. The computer has more&#xD;&#xA;&gt; headroom? If I listen to lady gaga&#xD;&#xA;&gt; while playing my clipped game sound,&#xD;&#xA;&gt; my lady gaga will be in the perfect&#xD;&#xA;&gt; form? (Well, I don't really listened&#xD;&#xA;&gt; to lady gaga but that's an example)&#xD;&#xA;&#xD;&#xA;Yes. &quot;Clipping&quot; never occurs when the sound has left the computer system, it happens before it's outputted. Practically it's created during recording or when using the applications where you adjust the sound volume and therefore you should not clip the audio, but keep it under 0.0dBFS or limited to 0.0dBFS in all cases, but not over 0.0dBFS, because that part going over 0.0dBFS is clipped.&#xD;&#xA;&#xD;&#xA;&gt; Now talking about BGM. With my&#xD;&#xA;&gt; understanding of clipping I think game&#xD;&#xA;&gt; BGM have to be much lower than 0dB&#xD;&#xA;&gt; (unlike track for listening) because&#xD;&#xA;&gt; you have to leave some room for SFX to&#xD;&#xA;&gt; add up to 0dB is that correct? If that&#xD;&#xA;&gt; so can I calculate what my average SFX&#xD;&#xA;&gt; volume should be based on average BGM&#xD;&#xA;&gt; volume so they add up nicely to 0dB?&#xD;&#xA;&#xD;&#xA;Yes. You need to balance all sounds that you're adding to a mix so that they use the headroom wisely and don't overload/clip the system. Therefore you place the sounds that are to be loudest to be the loudest and balance other sounds to accompany them at lower levels. However, there's much much more to mixing (EQ, dynamics control etc.) than balancing the volumes of tracks/sounds, but setting the basic balance of tracks/sounds is a good start.&#xD;&#xA;&#xD;&#xA;&gt; The solution I can think of is to mix&#xD;&#xA;&gt; the overall sound in the game in&#xD;&#xA;&gt; somewhat low volume (Even in 100% BGM&#xD;&#xA;&gt; and SFX in-game settings) and then let&#xD;&#xA;&gt; player turn up the volume of their&#xD;&#xA;&gt; computer (or TV) them self. With this&#xD;&#xA;&gt; setting every time playing this game&#xD;&#xA;&gt; you must turn up the volume... which I&#xD;&#xA;&gt; think is not right.&#xD;&#xA;&#xD;&#xA;You should mix at a level where you know what kind of mix you're targeting, i.e. the listening level helps you know how to mix the sound. This is also why you can use reference audio/mixes, because you can compare your mix to those and hear whether what you're doing is in the ballpark of other reasonably similar mixes.&#xD;&#xA;&#xD;&#xA;&gt; How come many commercial games that&#xD;&#xA;&gt; fires a lot of weapons and each SFX is&#xD;&#xA;&gt; still in their correct form?&#xD;&#xA;&#xD;&#xA;Because they've been mixed so that they maximize clarity and impact without overloading the system. That's what sound mixing is about. Making the available sounds sound clear and fitting them together in the mix and using the limited volume range and frequency range in a way that maximizes clarity and impact.&#xD;&#xA;&#xD;&#xA;&gt; The XACT tool supports adjusting the&#xD;&#xA;&gt; gain level. Is it the best practice&#xD;&#xA;&gt; that I mix all SFX in my games around&#xD;&#xA;&gt; 0dB and then setting negative gain in&#xD;&#xA;&gt; XACT? (and never set a positive gain)&#xD;&#xA;&#xD;&#xA;You can do either way, either premixing the sound before bringing it to XACT or setting the levels in XACT. Most game audio people juggle between the implementation tool and a DAW, because you cannot do many adjustments in the implementation tools or it's cumbersome, so it's better to have the mix balance in the ballpark, before importing them to implementation tool, because all you can do there is adjust volume and effects.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30853" PostHistoryTypeId="5" PostId="19042" RevisionGUID="f71597b9-98e1-42d8-8bab-b632ba9c9d7b" CreationDate="2013-04-29T12:35:59.130" UserId="3179" Comment="added 14 characters in body" Text="&gt; I'm now considering what is the&#xD;&#xA;&gt; 'normal' volume of my game? Currently&#xD;&#xA;&gt; I go listen to a music at my&#xD;&#xA;&gt; comfortable level (Volume settings of&#xD;&#xA;&gt; computer is at 25% and volume setting&#xD;&#xA;&gt; of foobar2000 I used to listen is at&#xD;&#xA;&gt; 100%) and try to make overall volume&#xD;&#xA;&gt; of my game at this level. Is I am&#xD;&#xA;&gt; doing right if I used this kind of&#xD;&#xA;&gt; reference for my game? The reference&#xD;&#xA;&gt; music I listened to are well-mastered&#xD;&#xA;&gt; by commercial studio of course, so the&#xD;&#xA;&gt; volume will be around 0dB, correct?&#xD;&#xA;&#xD;&#xA;I don't fully understand what you're saying. But basically, if you can find a reference and your listening is uncalibrated (i.e. you don't have a standard listening level at which you work everything), then you'll use the reference to gain a reference point for the mix and loudness, but forget the numbers. However, you should use a reference that's realistic, so don't use something that's been mastered red hot or which is a completely different style that you're doing, because it may not be what you're looking for. Generally, use your ears!&#xD;&#xA;&#xD;&#xA;&gt; Now here is the problem, I think I&#xD;&#xA;&gt; should make my total sound of my game&#xD;&#xA;&gt; not exceeding 0dB or that will be&#xD;&#xA;&gt; clipping.&#xD;&#xA;&#xD;&#xA;Yes sure. It should be limited to / not go over 0.0dBFS, or e.g. -0.3dBFS to prevent overloading.&#xD;&#xA;&#xD;&#xA;&gt; I'm developing a side scrolling game.&#xD;&#xA;&gt; I have one weapon which produce loud&#xD;&#xA;&gt; continuous sound. Currently when I set&#xD;&#xA;&gt; the in-game SFX setting to 100% the&#xD;&#xA;&gt; volume is alright, but I think the&#xD;&#xA;&gt; default SFX setting have to be about&#xD;&#xA;&gt; 70% so player have a choice of&#xD;&#xA;&gt; increase or decrease the volume.&#xD;&#xA;&gt; (correct?) Well, 100% sounds alright&#xD;&#xA;&gt; now so if I set the default to 70% it&#xD;&#xA;&gt; will be too quiet. So after I set the&#xD;&#xA;&gt; default in-game SFX level to 70% I&#xD;&#xA;&gt; went to XACT and increase the mixer of&#xD;&#xA;&gt; my SFX category from 0dB to 6dB. So my&#xD;&#xA;&gt; 70% will be equivalent to my old 100%&#xD;&#xA;&gt; and allowing player to go louder.&#xD;&#xA;&#xD;&#xA;No, you shouldn't leave digital headroom unused. A finished mix should have its loudest parts at 0.0dBFS or very close to that, not lower, because that would be leaving digital headroom unused and it's guaranteed to be quieter than everything else, so it can't match with the sound level of other media. And you don't want the listener to have to drastically adjust the system volume, when switching from game to game, media to media. Sure, the listener can adjust the system volume, but that's a separate thing from setting the maximum level of a sound mix, which should use all available headroom in its loudest parts.&#xD;&#xA;&#xD;&#xA;&gt; The problem arises, when I'm shooting&#xD;&#xA;&gt; that loud weapon and press a button to&#xD;&#xA;&gt; bring up pause screen. Normally the&#xD;&#xA;&gt; 'ding' SFX will be played when pause,&#xD;&#xA;&gt; but I've noticed that my 'ding' sound&#xD;&#xA;&gt; is noticeably quieter when pause the&#xD;&#xA;&gt; game while firing weapon! If I'm not&#xD;&#xA;&gt; doing anything the 'ding' sound will&#xD;&#xA;&gt; be louder. This is not happening with&#xD;&#xA;&gt; my previous 100% sound and 0dB gain on&#xD;&#xA;&gt; my SFX category setting. Is this&#xD;&#xA;&gt; called clipping? If I were to&#xD;&#xA;&gt; describe, the 'ding' sound were&#xD;&#xA;&gt; muffled by shot sound.&#xD;&#xA;&#xD;&#xA;It sounds like it's clipping or hitting to a master limiter, which forces the overloaded part of the sound down. Excessive clipping is accompanied by harsh distortion and you can ALWAYS see it from any volume meter (if it's peaking at full or there's a red warning light, then it's clipping or has been clipped).&#xD;&#xA;&#xD;&#xA;&gt; When I turned down a volume of&#xD;&#xA;&gt; computer the clipping is still there.&#xD;&#xA;&gt; It's just hearing the problem quieter.&#xD;&#xA;&gt; This leads me to thinking that the&#xD;&#xA;&gt; clipping is happening in game&#xD;&#xA;&gt; application before sending out to&#xD;&#xA;&gt; computer. The computer has more&#xD;&#xA;&gt; headroom? If I listen to lady gaga&#xD;&#xA;&gt; while playing my clipped game sound,&#xD;&#xA;&gt; my lady gaga will be in the perfect&#xD;&#xA;&gt; form? (Well, I don't really listened&#xD;&#xA;&gt; to lady gaga but that's an example)&#xD;&#xA;&#xD;&#xA;Yes. &quot;Clipping&quot; never occurs when the sound has left the computer system, it happens before it's outputted. Practically it's created during recording or when using the applications where you adjust the sound volume and therefore you should not clip the audio, but keep it under 0.0dBFS or limited to 0.0dBFS in all cases, but not over 0.0dBFS, because that part going over 0.0dBFS is clipped.&#xD;&#xA;&#xD;&#xA;&gt; Now talking about BGM. With my&#xD;&#xA;&gt; understanding of clipping I think game&#xD;&#xA;&gt; BGM have to be much lower than 0dB&#xD;&#xA;&gt; (unlike track for listening) because&#xD;&#xA;&gt; you have to leave some room for SFX to&#xD;&#xA;&gt; add up to 0dB is that correct? If that&#xD;&#xA;&gt; so can I calculate what my average SFX&#xD;&#xA;&gt; volume should be based on average BGM&#xD;&#xA;&gt; volume so they add up nicely to 0dB?&#xD;&#xA;&#xD;&#xA;Yes. You need to balance all sounds that you're adding to a mix so that they use the headroom wisely and don't overload/clip the system. Therefore you place the sounds that are to be loudest to be the loudest and balance other sounds to accompany them at lower levels. However, there's much much more to mixing (EQ, dynamics control etc.) than balancing the volumes of tracks/sounds, but setting the basic balance of tracks/sounds is a good start.&#xD;&#xA;&#xD;&#xA;&gt; The solution I can think of is to mix&#xD;&#xA;&gt; the overall sound in the game in&#xD;&#xA;&gt; somewhat low volume (Even in 100% BGM&#xD;&#xA;&gt; and SFX in-game settings) and then let&#xD;&#xA;&gt; player turn up the volume of their&#xD;&#xA;&gt; computer (or TV) them self. With this&#xD;&#xA;&gt; setting every time playing this game&#xD;&#xA;&gt; you must turn up the volume... which I&#xD;&#xA;&gt; think is not right.&#xD;&#xA;&#xD;&#xA;You should mix at a level where you know what kind of mix you're targeting, i.e. the listening level helps you know how to mix the sound. This is also why you can use reference audio/mixes, because you can compare your mix to those and hear whether what you're doing is in the ballpark of other reasonably similar mixes.&#xD;&#xA;&#xD;&#xA;&gt; How come many commercial games that&#xD;&#xA;&gt; fires a lot of weapons and each SFX is&#xD;&#xA;&gt; still in their correct form?&#xD;&#xA;&#xD;&#xA;Because they've been mixed so that they maximize clarity and impact without overloading the system. That's what sound mixing is about. Making the available sounds sound clear and fitting them together in the mix and using the limited volume range and frequency range in a way that maximizes clarity and impact.&#xD;&#xA;&#xD;&#xA;&gt; The XACT tool supports adjusting the&#xD;&#xA;&gt; gain level. Is it the best practice&#xD;&#xA;&gt; that I mix all SFX in my games around&#xD;&#xA;&gt; 0dB and then setting negative gain in&#xD;&#xA;&gt; XACT? (and never set a positive gain)&#xD;&#xA;&#xD;&#xA;You can do either way, either premixing the sound before bringing it to XACT or setting the levels in XACT. Most game audio people juggle between the implementation tool and a DAW, because you cannot do many adjustments in the implementation tools or it's cumbersome, so it's better to have the mix balance in the ballpark, before importing them to implementation tool, because all you can do there is adjust volume and effects.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30854" PostHistoryTypeId="5" PostId="19042" RevisionGUID="34d733b7-d172-49c2-86e9-7b5ae63e176b" CreationDate="2013-04-29T12:41:25.640" UserId="3179" Comment="added 1 characters in body" Text="&gt; I'm now considering what is the&#xD;&#xA;&gt; 'normal' volume of my game? Currently&#xD;&#xA;&gt; I go listen to a music at my&#xD;&#xA;&gt; comfortable level (Volume settings of&#xD;&#xA;&gt; computer is at 25% and volume setting&#xD;&#xA;&gt; of foobar2000 I used to listen is at&#xD;&#xA;&gt; 100%) and try to make overall volume&#xD;&#xA;&gt; of my game at this level. Is I am&#xD;&#xA;&gt; doing right if I used this kind of&#xD;&#xA;&gt; reference for my game? The reference&#xD;&#xA;&gt; music I listened to are well-mastered&#xD;&#xA;&gt; by commercial studio of course, so the&#xD;&#xA;&gt; volume will be around 0dB, correct?&#xD;&#xA;&#xD;&#xA;I don't fully understand what you're saying. But basically, if you can find a reference and your listening is uncalibrated (i.e. you don't have a standard listening level at which you work everything), then you'll use the reference to gain a reference point for the mix and loudness, but forget the numbers. However, you should use a reference that's realistic, so don't use something that's been mastered red hot or which is a completely different style that you're doing, because it may not be what you're looking for. Generally, use your ears!&#xD;&#xA;&#xD;&#xA;&gt; Now here is the problem, I think I&#xD;&#xA;&gt; should make my total sound of my game&#xD;&#xA;&gt; not exceeding 0dB or that will be&#xD;&#xA;&gt; clipping.&#xD;&#xA;&#xD;&#xA;Yes sure. It should be limited to / not go over 0.0dBFS, or e.g. -0.3dBFS to prevent overloading.&#xD;&#xA;&#xD;&#xA;&gt; I'm developing a side scrolling game.&#xD;&#xA;&gt; I have one weapon which produce loud&#xD;&#xA;&gt; continuous sound. Currently when I set&#xD;&#xA;&gt; the in-game SFX setting to 100% the&#xD;&#xA;&gt; volume is alright, but I think the&#xD;&#xA;&gt; default SFX setting have to be about&#xD;&#xA;&gt; 70% so player have a choice of&#xD;&#xA;&gt; increase or decrease the volume.&#xD;&#xA;&gt; (correct?) Well, 100% sounds alright&#xD;&#xA;&gt; now so if I set the default to 70% it&#xD;&#xA;&gt; will be too quiet. So after I set the&#xD;&#xA;&gt; default in-game SFX level to 70% I&#xD;&#xA;&gt; went to XACT and increase the mixer of&#xD;&#xA;&gt; my SFX category from 0dB to 6dB. So my&#xD;&#xA;&gt; 70% will be equivalent to my old 100%&#xD;&#xA;&gt; and allowing player to go louder.&#xD;&#xA;&#xD;&#xA;No, you shouldn't leave digital headroom unused. A finished mix should have its loudest parts at 0.0dBFS or very close to that, not lower, because that would be leaving digital headroom unused and it's guaranteed to be quieter than everything else, so it can't match with the sound level of other media. And you don't want the listener to have to drastically adjust the system volume, when switching from game to game, media to media. Sure, the listener can adjust the system volume, but that's a separate thing from setting the maximum level of a sound mix, which should use all available headroom in its loudest parts.&#xD;&#xA;&#xD;&#xA;&gt; The problem arises, when I'm shooting&#xD;&#xA;&gt; that loud weapon and press a button to&#xD;&#xA;&gt; bring up pause screen. Normally the&#xD;&#xA;&gt; 'ding' SFX will be played when pause,&#xD;&#xA;&gt; but I've noticed that my 'ding' sound&#xD;&#xA;&gt; is noticeably quieter when pause the&#xD;&#xA;&gt; game while firing weapon! If I'm not&#xD;&#xA;&gt; doing anything the 'ding' sound will&#xD;&#xA;&gt; be louder. This is not happening with&#xD;&#xA;&gt; my previous 100% sound and 0dB gain on&#xD;&#xA;&gt; my SFX category setting. Is this&#xD;&#xA;&gt; called clipping? If I were to&#xD;&#xA;&gt; describe, the 'ding' sound were&#xD;&#xA;&gt; muffled by shot sound.&#xD;&#xA;&#xD;&#xA;It sounds like it's clipping or hitting to a master limiter, which forces the overloaded part of the sound down. Excessive clipping is accompanied by harsh distortion and you can ALWAYS see it from any volume meter (if it's peaking at full or there's a red warning light, then it's clipping or has been clipped).&#xD;&#xA;&#xD;&#xA;&gt; When I turned down a volume of&#xD;&#xA;&gt; computer the clipping is still there.&#xD;&#xA;&gt; It's just hearing the problem quieter.&#xD;&#xA;&gt; This leads me to thinking that the&#xD;&#xA;&gt; clipping is happening in game&#xD;&#xA;&gt; application before sending out to&#xD;&#xA;&gt; computer. The computer has more&#xD;&#xA;&gt; headroom? If I listen to lady gaga&#xD;&#xA;&gt; while playing my clipped game sound,&#xD;&#xA;&gt; my lady gaga will be in the perfect&#xD;&#xA;&gt; form? (Well, I don't really listened&#xD;&#xA;&gt; to lady gaga but that's an example)&#xD;&#xA;&#xD;&#xA;Yes. &quot;Clipping&quot; never occurs after the sound has left the computer system, it happens before it's outputted. Practically it's created during recording or when using the applications where you adjust the sound volume and therefore you should not clip the audio, but keep it under 0.0dBFS or limited to 0.0dBFS in all cases, but not over 0.0dBFS, because that part going over 0.0dBFS is clipped.&#xD;&#xA;&#xD;&#xA;&gt; Now talking about BGM. With my&#xD;&#xA;&gt; understanding of clipping I think game&#xD;&#xA;&gt; BGM have to be much lower than 0dB&#xD;&#xA;&gt; (unlike track for listening) because&#xD;&#xA;&gt; you have to leave some room for SFX to&#xD;&#xA;&gt; add up to 0dB is that correct? If that&#xD;&#xA;&gt; so can I calculate what my average SFX&#xD;&#xA;&gt; volume should be based on average BGM&#xD;&#xA;&gt; volume so they add up nicely to 0dB?&#xD;&#xA;&#xD;&#xA;Yes. You need to balance all sounds that you're adding to a mix so that they use the headroom wisely and don't overload/clip the system. Therefore you place the sounds that are to be loudest to be the loudest and balance other sounds to accompany them at lower levels. However, there's much much more to mixing (EQ, dynamics control etc.) than balancing the volumes of tracks/sounds, but setting the basic balance of tracks/sounds is a good start.&#xD;&#xA;&#xD;&#xA;&gt; The solution I can think of is to mix&#xD;&#xA;&gt; the overall sound in the game in&#xD;&#xA;&gt; somewhat low volume (Even in 100% BGM&#xD;&#xA;&gt; and SFX in-game settings) and then let&#xD;&#xA;&gt; player turn up the volume of their&#xD;&#xA;&gt; computer (or TV) them self. With this&#xD;&#xA;&gt; setting every time playing this game&#xD;&#xA;&gt; you must turn up the volume... which I&#xD;&#xA;&gt; think is not right.&#xD;&#xA;&#xD;&#xA;You should mix at a level where you know what kind of mix you're targeting, i.e. the listening level helps you know how to mix the sound. This is also why you can use reference audio/mixes, because you can compare your mix to those and hear whether what you're doing is in the ballpark of other reasonably similar mixes.&#xD;&#xA;&#xD;&#xA;&gt; How come many commercial games that&#xD;&#xA;&gt; fires a lot of weapons and each SFX is&#xD;&#xA;&gt; still in their correct form?&#xD;&#xA;&#xD;&#xA;Because they've been mixed so that they maximize clarity and impact without overloading the system. That's what sound mixing is about. Making the available sounds sound clear and fitting them together in the mix and using the limited volume range and frequency range in a way that maximizes clarity and impact.&#xD;&#xA;&#xD;&#xA;&gt; The XACT tool supports adjusting the&#xD;&#xA;&gt; gain level. Is it the best practice&#xD;&#xA;&gt; that I mix all SFX in my games around&#xD;&#xA;&gt; 0dB and then setting negative gain in&#xD;&#xA;&gt; XACT? (and never set a positive gain)&#xD;&#xA;&#xD;&#xA;You can do either way, either premixing the sound before bringing it to XACT or setting the levels in XACT. Most game audio people juggle between the implementation tool and a DAW, because you cannot do many adjustments in the implementation tools or it's cumbersome, so it's better to have the mix balance in the ballpark, before importing them to implementation tool, because all you can do there is adjust volume and effects.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30855" PostHistoryTypeId="5" PostId="19042" RevisionGUID="049779e7-4a0e-446a-b386-3575e988ef01" CreationDate="2013-04-29T14:24:32.800" UserId="3179" Comment="deleted 3 characters in body" Text="&gt; I'm now considering what is the&#xD;&#xA;&gt; 'normal' volume of my game? Currently&#xD;&#xA;&gt; I go listen to a music at my&#xD;&#xA;&gt; comfortable level (Volume settings of&#xD;&#xA;&gt; computer is at 25% and volume setting&#xD;&#xA;&gt; of foobar2000 I used to listen is at&#xD;&#xA;&gt; 100%) and try to make overall volume&#xD;&#xA;&gt; of my game at this level. Is I am&#xD;&#xA;&gt; doing right if I used this kind of&#xD;&#xA;&gt; reference for my game? The reference&#xD;&#xA;&gt; music I listened to are well-mastered&#xD;&#xA;&gt; by commercial studio of course, so the&#xD;&#xA;&gt; volume will be around 0dB, correct?&#xD;&#xA;&#xD;&#xA;I don't fully understand what you're saying. But basically, if you can find a reference and your listening is uncalibrated (i.e. you don't have a standard listening level at which you work everything), then you'll use the reference to gain a reference point for the mix and loudness, but forget the numbers. However, you should use a reference that's realistic, so don't use something that's been mastered red hot or which is a completely different style that you're doing, because it may not be what you're looking for. Generally, use your ears!&#xD;&#xA;&#xD;&#xA;&gt; Now here is the problem, I think I&#xD;&#xA;&gt; should make my total sound of my game&#xD;&#xA;&gt; not exceeding 0dB or that will be&#xD;&#xA;&gt; clipping.&#xD;&#xA;&#xD;&#xA;Yes sure. It should be limited to / not go over 0.0dBFS, or e.g. -0.3dBFS to prevent overloading.&#xD;&#xA;&#xD;&#xA;&gt; I'm developing a side scrolling game.&#xD;&#xA;&gt; I have one weapon which produce loud&#xD;&#xA;&gt; continuous sound. Currently when I set&#xD;&#xA;&gt; the in-game SFX setting to 100% the&#xD;&#xA;&gt; volume is alright, but I think the&#xD;&#xA;&gt; default SFX setting have to be about&#xD;&#xA;&gt; 70% so player have a choice of&#xD;&#xA;&gt; increase or decrease the volume.&#xD;&#xA;&gt; (correct?) Well, 100% sounds alright&#xD;&#xA;&gt; now so if I set the default to 70% it&#xD;&#xA;&gt; will be too quiet. So after I set the&#xD;&#xA;&gt; default in-game SFX level to 70% I&#xD;&#xA;&gt; went to XACT and increase the mixer of&#xD;&#xA;&gt; my SFX category from 0dB to 6dB. So my&#xD;&#xA;&gt; 70% will be equivalent to my old 100%&#xD;&#xA;&gt; and allowing player to go louder.&#xD;&#xA;&#xD;&#xA;No, you shouldn't leave digital headroom unused. A finished mix should have its loudest parts at 0.0dBFS or very close to that, not lower, because that would be leaving digital headroom unused and it's guaranteed to be quieter than everything else, so it can't match with the sound level of other media. And you don't want the listener to have to drastically adjust the system volume, when switching from game to game, media to media. Sure, the listener can adjust the system volume, but that's a separate thing from setting the maximum level of a sound mix, which should use all available headroom in its loudest parts.&#xD;&#xA;&#xD;&#xA;&gt; The problem arises, when I'm shooting&#xD;&#xA;&gt; that loud weapon and press a button to&#xD;&#xA;&gt; bring up pause screen. Normally the&#xD;&#xA;&gt; 'ding' SFX will be played when pause,&#xD;&#xA;&gt; but I've noticed that my 'ding' sound&#xD;&#xA;&gt; is noticeably quieter when pause the&#xD;&#xA;&gt; game while firing weapon! If I'm not&#xD;&#xA;&gt; doing anything the 'ding' sound will&#xD;&#xA;&gt; be louder. This is not happening with&#xD;&#xA;&gt; my previous 100% sound and 0dB gain on&#xD;&#xA;&gt; my SFX category setting. Is this&#xD;&#xA;&gt; called clipping? If I were to&#xD;&#xA;&gt; describe, the 'ding' sound were&#xD;&#xA;&gt; muffled by shot sound.&#xD;&#xA;&#xD;&#xA;It sounds like it's clipping or hitting to a master limiter, which forces the overloaded part of the sound down. Excessive clipping is accompanied by harsh distortion and you can ALWAYS see it from any volume meter (if it's peaking at full or there's a red warning light, then it's clipping or has been clipped).&#xD;&#xA;&#xD;&#xA;&gt; When I turned down a volume of&#xD;&#xA;&gt; computer the clipping is still there.&#xD;&#xA;&gt; It's just hearing the problem quieter.&#xD;&#xA;&gt; This leads me to thinking that the&#xD;&#xA;&gt; clipping is happening in game&#xD;&#xA;&gt; application before sending out to&#xD;&#xA;&gt; computer. The computer has more&#xD;&#xA;&gt; headroom? If I listen to lady gaga&#xD;&#xA;&gt; while playing my clipped game sound,&#xD;&#xA;&gt; my lady gaga will be in the perfect&#xD;&#xA;&gt; form? (Well, I don't really listened&#xD;&#xA;&gt; to lady gaga but that's an example)&#xD;&#xA;&#xD;&#xA;Yes. &quot;Clipping&quot; never occurs after the sound has left the computer system, it happens before it's output. Practically it's created during recording or when using the applications where you adjust the sound volume and therefore you should not clip the audio, but keep it under 0.0dBFS or limited to 0.0dBFS in all cases, but not over 0.0dBFS, because that part going over 0.0dBFS is clipped.&#xD;&#xA;&#xD;&#xA;&gt; Now talking about BGM. With my&#xD;&#xA;&gt; understanding of clipping I think game&#xD;&#xA;&gt; BGM have to be much lower than 0dB&#xD;&#xA;&gt; (unlike track for listening) because&#xD;&#xA;&gt; you have to leave some room for SFX to&#xD;&#xA;&gt; add up to 0dB is that correct? If that&#xD;&#xA;&gt; so can I calculate what my average SFX&#xD;&#xA;&gt; volume should be based on average BGM&#xD;&#xA;&gt; volume so they add up nicely to 0dB?&#xD;&#xA;&#xD;&#xA;Yes. You need to balance all sounds that you're adding to a mix so that they use the headroom wisely and don't overload/clip the system. Therefore you place the sounds that are to be loudest to be the loudest and balance other sounds to accompany them at lower levels. However, there's much much more to mixing (EQ, dynamics control etc.) than balancing the volumes of tracks/sounds, but setting the basic balance of tracks/sounds is a good start.&#xD;&#xA;&#xD;&#xA;&gt; The solution I can think of is to mix&#xD;&#xA;&gt; the overall sound in the game in&#xD;&#xA;&gt; somewhat low volume (Even in 100% BGM&#xD;&#xA;&gt; and SFX in-game settings) and then let&#xD;&#xA;&gt; player turn up the volume of their&#xD;&#xA;&gt; computer (or TV) them self. With this&#xD;&#xA;&gt; setting every time playing this game&#xD;&#xA;&gt; you must turn up the volume... which I&#xD;&#xA;&gt; think is not right.&#xD;&#xA;&#xD;&#xA;You should mix at a level where you know what kind of mix you're targeting, i.e. the listening level helps you know how to mix the sound. This is also why you can use reference audio/mixes, because you can compare your mix to those and hear whether what you're doing is in the ballpark of other reasonably similar mixes.&#xD;&#xA;&#xD;&#xA;&gt; How come many commercial games that&#xD;&#xA;&gt; fires a lot of weapons and each SFX is&#xD;&#xA;&gt; still in their correct form?&#xD;&#xA;&#xD;&#xA;Because they've been mixed so that they maximize clarity and impact without overloading the system. That's what sound mixing is about. Making the available sounds sound clear and fitting them together in the mix and using the limited volume range and frequency range in a way that maximizes clarity and impact.&#xD;&#xA;&#xD;&#xA;&gt; The XACT tool supports adjusting the&#xD;&#xA;&gt; gain level. Is it the best practice&#xD;&#xA;&gt; that I mix all SFX in my games around&#xD;&#xA;&gt; 0dB and then setting negative gain in&#xD;&#xA;&gt; XACT? (and never set a positive gain)&#xD;&#xA;&#xD;&#xA;You can do either way, either premixing the sound before bringing it to XACT or setting the levels in XACT. Most game audio people juggle between the implementation tool and a DAW, because you cannot do many adjustments in the implementation tools or it's cumbersome, so it's better to have the mix balance in the ballpark, before importing them to implementation tool, because all you can do there is adjust volume and effects.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30856" PostHistoryTypeId="5" PostId="19042" RevisionGUID="dac4b3be-1b98-422a-b606-1a64d55f5ff3" CreationDate="2013-04-29T14:35:22.473" UserId="3179" Comment="added 307 characters in body; deleted 4 characters in body; deleted 5 characters in body" Text="&gt; I'm now considering what is the&#xD;&#xA;&gt; 'normal' volume of my game? Currently&#xD;&#xA;&gt; I go listen to a music at my&#xD;&#xA;&gt; comfortable level (Volume settings of&#xD;&#xA;&gt; computer is at 25% and volume setting&#xD;&#xA;&gt; of foobar2000 I used to listen is at&#xD;&#xA;&gt; 100%) and try to make overall volume&#xD;&#xA;&gt; of my game at this level. Is I am&#xD;&#xA;&gt; doing right if I used this kind of&#xD;&#xA;&gt; reference for my game? The reference&#xD;&#xA;&gt; music I listened to are well-mastered&#xD;&#xA;&gt; by commercial studio of course, so the&#xD;&#xA;&gt; volume will be around 0dB, correct?&#xD;&#xA;&#xD;&#xA;I don't fully understand what you're saying. But basically, if you can find a reference and your listening is uncalibrated (i.e. you don't have a standard listening level at which you work everything), then you'll use the reference to gain a reference point for the mix and loudness, but forget the numbers. However, you should use a reference that's realistic, so don't use something that's been mastered red hot or which is a completely different style that you're doing, because it may not be what you're looking for. Generally, use your ears!&#xD;&#xA;&#xD;&#xA;&gt; Now here is the problem, I think I&#xD;&#xA;&gt; should make my total sound of my game&#xD;&#xA;&gt; not exceeding 0dB or that will be&#xD;&#xA;&gt; clipping.&#xD;&#xA;&#xD;&#xA;Yes sure. It should be limited to / not go over 0.0dBFS, or e.g. -0.3dBFS to prevent overloading.&#xD;&#xA;&#xD;&#xA;&gt; I'm developing a side scrolling game.&#xD;&#xA;&gt; I have one weapon which produce loud&#xD;&#xA;&gt; continuous sound. Currently when I set&#xD;&#xA;&gt; the in-game SFX setting to 100% the&#xD;&#xA;&gt; volume is alright, but I think the&#xD;&#xA;&gt; default SFX setting have to be about&#xD;&#xA;&gt; 70% so player have a choice of&#xD;&#xA;&gt; increase or decrease the volume.&#xD;&#xA;&gt; (correct?) Well, 100% sounds alright&#xD;&#xA;&gt; now so if I set the default to 70% it&#xD;&#xA;&gt; will be too quiet. So after I set the&#xD;&#xA;&gt; default in-game SFX level to 70% I&#xD;&#xA;&gt; went to XACT and increase the mixer of&#xD;&#xA;&gt; my SFX category from 0dB to 6dB. So my&#xD;&#xA;&gt; 70% will be equivalent to my old 100%&#xD;&#xA;&gt; and allowing player to go louder.&#xD;&#xA;&#xD;&#xA;No, you shouldn't leave digital headroom unused. A finished mix should have its loudest parts at 0.0dBFS or very close to that, not lower, because that would be leaving digital headroom unused and it's guaranteed to be quieter than everything else, so it can't match with the sound level of other media. And you don't want the listener to have to drastically adjust the system volume, when switching from game to game, media to media. Sure, the listener can adjust the system volume, but that's a separate thing from setting the maximum level of a sound mix, which should use all available headroom in its loudest parts.&#xD;&#xA;&#xD;&#xA;&gt; The problem arises, when I'm shooting&#xD;&#xA;&gt; that loud weapon and press a button to&#xD;&#xA;&gt; bring up pause screen. Normally the&#xD;&#xA;&gt; 'ding' SFX will be played when pause,&#xD;&#xA;&gt; but I've noticed that my 'ding' sound&#xD;&#xA;&gt; is noticeably quieter when pause the&#xD;&#xA;&gt; game while firing weapon! If I'm not&#xD;&#xA;&gt; doing anything the 'ding' sound will&#xD;&#xA;&gt; be louder. This is not happening with&#xD;&#xA;&gt; my previous 100% sound and 0dB gain on&#xD;&#xA;&gt; my SFX category setting. Is this&#xD;&#xA;&gt; called clipping? If I were to&#xD;&#xA;&gt; describe, the 'ding' sound were&#xD;&#xA;&gt; muffled by shot sound.&#xD;&#xA;&#xD;&#xA;It sounds like it's clipping or hitting to a master limiter, which forces the overloaded part of the sound down. Excessive clipping is accompanied by harsh distortion and you can ALWAYS see it from any volume meter (if it's peaking at full or there's a red warning light, then it's clipping or has been clipped).&#xD;&#xA;&#xD;&#xA;&gt; When I turned down a volume of&#xD;&#xA;&gt; computer the clipping is still there.&#xD;&#xA;&gt; It's just hearing the problem quieter.&#xD;&#xA;&gt; This leads me to thinking that the&#xD;&#xA;&gt; clipping is happening in game&#xD;&#xA;&gt; application before sending out to&#xD;&#xA;&gt; computer. The computer has more&#xD;&#xA;&gt; headroom? If I listen to lady gaga&#xD;&#xA;&gt; while playing my clipped game sound,&#xD;&#xA;&gt; my lady gaga will be in the perfect&#xD;&#xA;&gt; form? (Well, I don't really listened&#xD;&#xA;&gt; to lady gaga but that's an example)&#xD;&#xA;&#xD;&#xA;Yes. &quot;Clipping&quot; never occurs after the sound has left the computer system, it happens when it's captured or before it's output. Precisely it happens, because the sound level exceeds the highest value that can be represented digitally and the amplitude values that go over that maximum value are simply truncated to the maximum value, which then distorts the overall signal. Practically clipping is created if recording at a too high level or by letting the sound digitally exceed the maximum level (0.0dBFS in level meters). You should not clip the audio, but keep it under 0.0dBFS or limited to 0.0dBFS in all cases, but not over 0.0dBFS, because that part going over 0.0dBFS is clipped.&#xD;&#xA;&#xD;&#xA;&gt; Now talking about BGM. With my&#xD;&#xA;&gt; understanding of clipping I think game&#xD;&#xA;&gt; BGM have to be much lower than 0dB&#xD;&#xA;&gt; (unlike track for listening) because&#xD;&#xA;&gt; you have to leave some room for SFX to&#xD;&#xA;&gt; add up to 0dB is that correct? If that&#xD;&#xA;&gt; so can I calculate what my average SFX&#xD;&#xA;&gt; volume should be based on average BGM&#xD;&#xA;&gt; volume so they add up nicely to 0dB?&#xD;&#xA;&#xD;&#xA;Yes. You need to balance all sounds that you're adding to a mix so that they use the headroom wisely and don't overload/clip the system. Therefore you place the sounds that are to be loudest to be the loudest and balance other sounds to accompany them at lower levels. However, there's much much more to mixing (EQ, dynamics control etc.) than balancing the volumes of tracks/sounds, but setting the basic balance of tracks/sounds is a good start.&#xD;&#xA;&#xD;&#xA;&gt; The solution I can think of is to mix&#xD;&#xA;&gt; the overall sound in the game in&#xD;&#xA;&gt; somewhat low volume (Even in 100% BGM&#xD;&#xA;&gt; and SFX in-game settings) and then let&#xD;&#xA;&gt; player turn up the volume of their&#xD;&#xA;&gt; computer (or TV) them self. With this&#xD;&#xA;&gt; setting every time playing this game&#xD;&#xA;&gt; you must turn up the volume... which I&#xD;&#xA;&gt; think is not right.&#xD;&#xA;&#xD;&#xA;You should mix at a level where you know what kind of mix you're targeting, i.e. the listening level helps you know how to mix the sound. This is also why you can use reference audio/mixes, because you can compare your mix to those and hear whether what you're doing is in the ballpark of other reasonably similar mixes.&#xD;&#xA;&#xD;&#xA;&gt; How come many commercial games that&#xD;&#xA;&gt; fires a lot of weapons and each SFX is&#xD;&#xA;&gt; still in their correct form?&#xD;&#xA;&#xD;&#xA;Because they've been mixed so that they maximize clarity and impact without overloading the system. That's what sound mixing is about. Making the available sounds sound clear and fitting them together in the mix and using the limited volume range and frequency range in a way that maximizes clarity and impact.&#xD;&#xA;&#xD;&#xA;&gt; The XACT tool supports adjusting the&#xD;&#xA;&gt; gain level. Is it the best practice&#xD;&#xA;&gt; that I mix all SFX in my games around&#xD;&#xA;&gt; 0dB and then setting negative gain in&#xD;&#xA;&gt; XACT? (and never set a positive gain)&#xD;&#xA;&#xD;&#xA;You can do either way, either premixing the sound before bringing it to XACT or setting the levels in XACT. Most game audio people juggle between the implementation tool and a DAW, because you cannot do many adjustments in the implementation tools or it's cumbersome, so it's better to have the mix balance in the ballpark, before importing them to implementation tool, because all you can do there is adjust volume and effects.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30860" PostHistoryTypeId="2" PostId="19044" RevisionGUID="8b2e4502-0ce3-46e5-8647-526f48041337" CreationDate="2013-04-30T07:25:42.003" UserId="1014" Text="I watch a lot of tv series and, sometimes, I focus on their sound design. I have to say that GoT have some great stuff! At the beginning I didn't liked the baby dragons voices, but in these latest episodes I found a great improvement in both sfx and overall design. Some fight scenes are just so great, like on episode 3x05 between The Hound and Dondarrion &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=cJ9l56xAlNA&#xD;&#xA;&#xD;&#xA;I love the sound of that fire sword and how all sound elements on this scene are balanced. I found it very emotional since I felt myself like I was actually there :)&#xD;&#xA;&#xD;&#xA;Share you opinions!&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="30861" PostHistoryTypeId="1" PostId="19044" RevisionGUID="8b2e4502-0ce3-46e5-8647-526f48041337" CreationDate="2013-04-30T07:25:42.003" UserId="1014" Text="Sound design in A Game of Thrones (and TV Series)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30862" PostHistoryTypeId="3" PostId="19044" RevisionGUID="8b2e4502-0ce3-46e5-8647-526f48041337" CreationDate="2013-04-30T07:25:42.003" UserId="1014" Text="&lt;sound-design&gt;&lt;television&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30863" PostHistoryTypeId="2" PostId="19045" RevisionGUID="2758d26b-eb43-4cb7-bf5b-7a5faf363719" CreationDate="2013-04-30T09:35:28.107" UserId="1014" Text="Tons of mallets and mics. :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="30864" PostHistoryTypeId="2" PostId="19046" RevisionGUID="c7fafd18-f0ce-4877-9bb8-0f617839ad6f" CreationDate="2013-04-30T09:41:32.963" UserId="5991" Text="Absynth, Pure Data, Adobe Audition. And my Rode NTG-3" ContentLicense="CC BY-SA 3.0" />
  <row Id="30865" PostHistoryTypeId="2" PostId="19047" RevisionGUID="dd24846b-adee-4674-96bd-fc7b1d693210" CreationDate="2013-04-30T12:16:49.310" UserId="4442" Text="Yes, Paula Fairfield is really a great talent. She brings that stuff to life so well. They do a great justice to the books for the readers, while still keeping it interesting and balanced." ContentLicense="CC BY-SA 3.0" />
  <row Id="30866" PostHistoryTypeId="2" PostId="19048" RevisionGUID="d53a902a-fd53-4323-b776-a62dde37e744" CreationDate="2013-04-30T18:11:41.377" UserId="1228" Text="I haven't had an opportunity to watch it yet, however I do personally know some of the sound crew and have heard it's a very great-sounding show - and I imagine that from seeing hat's it's aesthetic is like, it is a highly-demanding show as far as sound.&#xD;&#xA;&#xD;&#xA;The earlier seasons were helmed by Peter Brown over at Soundelux, which they recently garnered a Golden Reel for, and more recently helmed by Paula Fairfield and Tim Kimmel at Todd-AO.&#xD;&#xA;&#xD;&#xA;There was a great article I read somewhere that shed some light into the post process that Fairfield and Kimmel go through on the show, down to creating walla tracks using group ADR recorded with specific linguistic dialects to match the show.  And what I was very surprised by was that they had the whole season delivered up front, so they could treat the post process almost like a really long feature film (but essentially in episodes instead of reels). &#xD;&#xA;&#xD;&#xA;I wouldn't say this is unprecedented or unheard of, but it does seem abnormal for primetime TV and it probably does owe to why the sound design is so cohesive and well-thought out and always a top contender.  They've had the wonderful opportunity to embrace the entire season at hand in the way you might approach a feature.  Primetime TV usually has 1 week of sound editorial per 1 hr episode - even on the high-action shows, so sadly we don't often have the time we want to really do something special each and every time like we would on a feature.  We sort of have to pick our moments and work strategically.  It's not to say we do less or a worse job or anything like that.  It's simply to state that this is just not the norm.  I'll have to check it out sometime.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30867" PostHistoryTypeId="2" PostId="19049" RevisionGUID="146c18a7-1e78-4c63-a976-9e1f1b9a119d" CreationDate="2013-04-30T18:32:25.033" UserId="6396" Text="I've come upon my second project for which I need a somewhat hyper-real popcorn popping sound and I would like to improve on my previous attempt.  The closest I could get was pitched up balloons but the end result of that was a bit sterile.  Would appreciate any suggestions!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30868" PostHistoryTypeId="1" PostId="19049" RevisionGUID="146c18a7-1e78-4c63-a976-9e1f1b9a119d" CreationDate="2013-04-30T18:32:25.033" UserId="6396" Text="What to use for a decent popcorn sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="30869" PostHistoryTypeId="3" PostId="19049" RevisionGUID="146c18a7-1e78-4c63-a976-9e1f1b9a119d" CreationDate="2013-04-30T18:32:25.033" UserId="6396" Text="&lt;pop&gt;&lt;hyper-realism&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30870" PostHistoryTypeId="2" PostId="19050" RevisionGUID="3f856555-3c2a-4574-b002-d3950fc7cdb4" CreationDate="2013-04-30T20:48:24.623" UserId="6432" Text="I expect recording real popcorn is going to be the base of your sound. It's also such a great sound, so why not use it? &#xD;&#xA;&#xD;&#xA;I often find that recording something at a close proximity captures a totally different sound - more layers of detail, and may give you the sound you're after. Carefully recording individual pops is also a must. If you then need more of a full range sound you could edit out small sections, pitch them down and layer them in with those at the normal speed.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="30871" PostHistoryTypeId="2" PostId="19051" RevisionGUID="47528221-da27-47c1-8967-cb690e555c7f" CreationDate="2013-04-30T21:11:30.590" UserId="3396" Text="Bubblewrap. You can finally pop those suckers for something besides fun. You might have to slightly pitch a pass or two because like snowflakes no two kernels pop exactly the same.&#xD;&#xA;You'll need to sweeten it with metal pings for the popped corn hitting the lid (depending how you are popping it).&#xD;&#xA;&#xD;&#xA;This is getting way too complicated. Proper miking and recording the real thing is the obvious answer.&#xD;&#xA;&#xD;&#xA;When I first started I was told the KISS rule. Keep It Simple Stupid. Sometimes we think too much.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30872" PostHistoryTypeId="2" PostId="19052" RevisionGUID="797efc62-40e0-4dd2-a291-389eeceb8f0a" CreationDate="2013-04-30T21:24:53.783" UserId="61" Text="Firecrackers???" ContentLicense="CC BY-SA 3.0" />
  <row Id="30873" PostHistoryTypeId="2" PostId="19053" RevisionGUID="16a4e608-48ae-4229-b0b2-decc233c810c" CreationDate="2013-05-01T00:22:25.313" UserId="5955" Text="I say Neutrik&#xD;&#xA;http://www.neutrik.com/en/products/audio/patch-panels/1/4-patch-panel/nys-spp-l1&#xD;&#xA;&#xD;&#xA;They are a leaders in the industry of connectors and this model is really cheap, I like mine, surely it is better then behringer," ContentLicense="CC BY-SA 3.0" />
  <row Id="30874" PostHistoryTypeId="2" PostId="19054" RevisionGUID="89368444-87e7-4ef3-b807-81ab7b2fc778" CreationDate="2013-05-01T01:14:54.793" UserId="5955" Text="use a lot of:&#xD;&#xA;&#xD;&#xA;http://www.atsacoustics.com/item--Owens-Corning-703-Case-of-6--1004.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;You cannot correct room resonances or modes with EQ, it is really the wrong approach, you can use an EQ just to fine tune the room balance. &#xD;&#xA;If your problem is your room sounding bad, do not buy any kind of room correction tool it will not solve the problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="30875" PostHistoryTypeId="2" PostId="19055" RevisionGUID="b952f9a2-b39b-43da-bf03-8a6e0d727cf3" CreationDate="2013-05-01T13:19:08.320" UserId="6579" Text="Hi community,&#xD;&#xA;&#xD;&#xA;I'm doing the audio post for a short film. It's a graduation film project. I want to record a TV set while a soap opera is broadcasted to use it as background sound for a scene where the character interacts with the TV: she talks to it. So it's a very important part of the script.&#xD;&#xA;&#xD;&#xA;Now the director tells me that there will be copyright issues if we use the recording. I really had no idea because I did this before with documentaries and it was fine. We're talking about a British film project that will be going to festivals around the world, hopefully ;)&#xD;&#xA;&#xD;&#xA;What do you guys/girls know about this? Are there copyright issues and when?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;Elena" ContentLicense="CC BY-SA 3.0" />
  <row Id="30876" PostHistoryTypeId="1" PostId="19055" RevisionGUID="b952f9a2-b39b-43da-bf03-8a6e0d727cf3" CreationDate="2013-05-01T13:19:08.320" UserId="6579" Text="copyright issues with recording a broadcast from TV set for sound design" ContentLicense="CC BY-SA 3.0" />
  <row Id="30877" PostHistoryTypeId="3" PostId="19055" RevisionGUID="b952f9a2-b39b-43da-bf03-8a6e0d727cf3" CreationDate="2013-05-01T13:19:08.320" UserId="6579" Text="&lt;copyright&gt;&lt;field-recording&gt;&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30878" PostHistoryTypeId="2" PostId="19056" RevisionGUID="756e0591-2135-4b4e-85e4-c947d2c6797f" CreationDate="2013-05-01T13:41:33.230" UserId="3179" Text="It would be sampling and it's technically a copyright infringement and illegal (even though e.g. many music artists do just that).&#xD;&#xA;&#xD;&#xA;If you'd want to get around it, you could try to find public domain recordings ([http://archive.org/details/audio][1]) and sample from them. Or then take a (fairly small, unless the sample is identifiable) risk with sampling from copyrighted material. Also, you could ask for use rights directly from the copyright holders, if it's possible, even though that could be cumbersome or they could be impossible to contact (and if it's a small project and the sample is in a very minor role in the production, then they likely would not even care).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://archive.org/details/audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="30879" PostHistoryTypeId="5" PostId="19056" RevisionGUID="4a6f8700-1ebd-4448-aeb3-f6e2c39c247b" CreationDate="2013-05-01T13:49:09.633" UserId="3179" Comment="added 22 characters in body; deleted 22 characters in body" Text="It would be sampling and it's technically a copyright infringement and illegal (even though e.g. many music artists do just that).&#xD;&#xA;&#xD;&#xA;If you'd want to get around it, you could try to find public domain recordings ([http://archive.org/details/audio][1]) and sample from them. Or then take a (fairly small, unless the sample is identifiable) risk with sampling from copyrighted material. Also, you could ask for use rights directly from the copyright holders, if it's possible, even though that could be cumbersome or they could be impossible to contact (and if it's a small project and the sample is in a very minor role in the production, then they likely would not even care).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://archive.org/details/audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="30880" PostHistoryTypeId="2" PostId="19057" RevisionGUID="3a113610-3ebe-4fd3-895a-bf25cc2e7be5" CreationDate="2013-05-01T16:21:29.867" UserId="6460" Text="Have you ever cooked popcorn in a frying pan? As long as you use an electric burner and don't add anything like oil or cooking spray, it should be pretty quiet and allow you to isolate the pops themselves. At the very least, it will allow you to get a sample recording to see if the actual sound is interesting enough for your purposes.&#xD;&#xA;&#xD;&#xA;Cheers,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="30881" PostHistoryTypeId="2" PostId="19058" RevisionGUID="403a4675-fec9-47dd-952f-269170258a8c" CreationDate="2013-05-01T17:03:21.127" UserDisplayName="user6508" Text="There will definitely be copyright issues if you grab the audio with out getting clearance.  The simple answer around this is to create one from scratch.  If it's an important part of the script and the Actor is talking and interacting with the soap opera, I'd imagine it needs to be pretty specific and should be written and performed.  Even if it doesn't need to be specific it should be created.  That will solve your copyright issues.  &#xD;&#xA;&#xD;&#xA;In the past, I've had to create sit-coms, game shows, sports broadcasts and video games which characters on screen are watching/playing.  Most of the time you never actually see the tv screen.  Although I've had to recreate commercials where they have clearance on the picture but not for the music, so the audio needs to be re-built having a composer create a cue for the commercial. For the dialogue material we'll record Loop Group and build sound effects around the &quot;show&quot;.&#xD;&#xA;&#xD;&#xA;To me, this is all part of the fun in doing post sound.  Good luck!     " ContentLicense="CC BY-SA 3.0" />
  <row Id="30882" PostHistoryTypeId="2" PostId="19059" RevisionGUID="c98f1122-21dc-49be-b95d-f6b764d47fbd" CreationDate="2013-05-01T20:18:18.863" UserDisplayName="user49" Text="&quot;the character interacts with the TV: she talks to it. So it's a very important part of the script.&quot;&#xD;&#xA;&#xD;&#xA;If this is true, why not also film/record your own actors performing your own soap opera? Owning the rights via it being your own work is the best solution to avoiding copyright issues :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30883" PostHistoryTypeId="2" PostId="19060" RevisionGUID="026086fd-4a07-4513-a36a-68f4fca515e5" CreationDate="2013-05-01T21:25:50.510" UserId="3784" Text="Anyone know of a current library that caters to more smartphone tones? In a pinch and wish I had the time to work up my own.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30884" PostHistoryTypeId="1" PostId="19060" RevisionGUID="026086fd-4a07-4513-a36a-68f4fca515e5" CreationDate="2013-05-01T21:25:50.510" UserId="3784" Text="Modern Cell phone ringtones" ContentLicense="CC BY-SA 3.0" />
  <row Id="30885" PostHistoryTypeId="3" PostId="19060" RevisionGUID="026086fd-4a07-4513-a36a-68f4fca515e5" CreationDate="2013-05-01T21:25:50.510" UserId="3784" Text="&lt;effects&gt;&lt;phone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30886" PostHistoryTypeId="2" PostId="19061" RevisionGUID="67ec68de-e173-49e2-b9dd-11edcfd09fa3" CreationDate="2013-05-01T21:27:00.387" UserId="235" Text="I made some popcorn sounds for a video last year.  http://vimeo.com/49029348#  I recorded a bunch of variations of 'popping' and snapping small pieces of paper.  Basically folding them in half, holding each end and snapping it back open.  Then I loaded those variations into Kontakt and had them cycle randomly and played them at in lower register.  So pitched down.  I think I also messed with some transient shaping.  It worked pretty well for my purposes.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="30887" PostHistoryTypeId="2" PostId="19062" RevisionGUID="1bc79b85-004a-4779-8426-020c8bafbde7" CreationDate="2013-05-01T23:18:42.107" UserId="235" Text="I agree the Purcell book is a great start but the typical indie film budget requires something a bit more streamlined.  For a quick mix, I try to keep my session limited to 6 or 8 dialog tracks. I checkerboard regions for characters, scenes and any big change in background tone.  I don't have a completely new set of tracks for each scene though. Then I route everything to a dialog track with light compression, WNS, C4 and an EQ.  I automate parameters on all these plugins by looping a section, suspending automation, dialing in everything the way I want it then either writing automation to selection (HD or CPTK only) or putting the track into automation write mode and playing through that section.  Occasionally I'll have dedicated tracks for phones or Naration or monsters or anything that needs an especially unique set of plugins.  I hope that all made sense." ContentLicense="CC BY-SA 3.0" />
  <row Id="30888" PostHistoryTypeId="2" PostId="19063" RevisionGUID="2e1ed413-2148-4dc8-8be2-9e09ce109782" CreationDate="2013-05-02T07:19:41.767" UserId="5989" Text="I learned that in computer there is a limit of amplitude that you can store of a sample. (0 dB) If you boost the sound past that point then clipping occurs.&#xD;&#xA;&#xD;&#xA;In my game I have 1 BGM (no clipping, average loudness -0.3dB) and 1 SFX (no clipping, average loudness -0.3dB) now why when I play these two file at the same time, it sounds like clipping occurs? It's like two waveform adds up each other and resulting in over 0 dB. But this is a playback, not storing in a limited space so clipping should not happen at all?&#xD;&#xA;&#xD;&#xA;Another question, is it impossible to create a clipping-free game? Because unlike conventional music which you carefully mix things to a perfect shape, in a game you never know that your player will or won't do something outrageous and make a really loud sound like gather 100 enemies and destroy them at the same time." ContentLicense="CC BY-SA 3.0" />
  <row Id="30889" PostHistoryTypeId="1" PostId="19063" RevisionGUID="2e1ed413-2148-4dc8-8be2-9e09ce109782" CreationDate="2013-05-02T07:19:41.767" UserId="5989" Text="Clipping in game's sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="30890" PostHistoryTypeId="3" PostId="19063" RevisionGUID="2e1ed413-2148-4dc8-8be2-9e09ce109782" CreationDate="2013-05-02T07:19:41.767" UserId="5989" Text="&lt;gameaudio&gt;&lt;clipping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30891" PostHistoryTypeId="2" PostId="19064" RevisionGUID="d7d77d07-2b01-46c1-bc85-1c997350c1cb" CreationDate="2013-05-02T07:42:24.557" UserId="6432" Text="Yes, it will clip. The waves are **summed** together, so at the points where both waves are in phase, the system is adding the signals together and it goes over the maximum. Try putting the two sounds on two tracks in your DAW and playing them - it will also clip. Exactly the same thing happens in your game.&#xD;&#xA;&#xD;&#xA;I find it simplifies the concept to think in normalised values. The baseline is 0, fully below the baseline is -1, fully above is 1. Anything above 1 clips. Summing 2 sounds which are within -0.5 and 0.5 will not clip because they can never go over 1, summing two sounds which are over that will clip the system.&#xD;&#xA;&#xD;&#xA;And yes, it is possible to create a clip free game. Careful setting of levels and use of dynamics processing (limiting, compressing) is the answer." ContentLicense="CC BY-SA 3.0" />
  <row Id="30892" PostHistoryTypeId="5" PostId="19064" RevisionGUID="c98877ca-852d-4bed-bbc3-d31bca8fbc9d" CreationDate="2013-05-02T09:20:03.747" UserId="6432" Comment="added 52 characters in body" Text="Yes, it will clip. The waves are **summed** together, so at the points where both waves are in phase, the system is adding the signals together and it goes over the maximum. Try putting the two sounds on two tracks in your DAW and playing them - it will also clip. Exactly the same thing happens in your game.&#xD;&#xA;&#xD;&#xA;I find it simplifies the concept to think in normalised values. The baseline is 0, fully below the baseline is -1, fully above is 1. Anything above 1 clips. Summing 2 sounds which are within -0.5 and 0.5 will not clip because they can never go over 1, summing two sounds which are over that will clip the system.&#xD;&#xA;&#xD;&#xA;And yes, it is possible to create a clip free game. Careful setting of levels and use of dynamics processing (limiting, compressing) is the answer. Generally though, you need to leave more headroom. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30893" PostHistoryTypeId="2" PostId="19065" RevisionGUID="65d55e89-994c-449e-80cd-757e123634dd" CreationDate="2013-05-02T09:25:43.990" UserId="5960" Text="Lower both sounds - there's not much reason why they need to be just below clipping.&#xD;&#xA;&#xD;&#xA;Another way is using a limiter." ContentLicense="CC BY-SA 3.0" />
  <row Id="30894" PostHistoryTypeId="2" PostId="19066" RevisionGUID="889f39c2-48f1-4fcf-92eb-a20a2465c2fd" CreationDate="2013-05-02T09:52:20.003" UserId="6432" Text="I'm wondering if anyone has any simple methods for convolving two audio files? &#xD;&#xA;&#xD;&#xA;This used to be very simple with Audition 3.0, but they have removed the feature in CS6 (very happy to be proved wrong if I am, but I can't find it). I know how to do this sort of thing in Max, but need a more off-the-shelf solution. Free or open source is even better.&#xD;&#xA;&#xD;&#xA;Just to confirm, I'm not talking about convolution reverb here, but basic two file, sample by sample convolution. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30895" PostHistoryTypeId="1" PostId="19066" RevisionGUID="889f39c2-48f1-4fcf-92eb-a20a2465c2fd" CreationDate="2013-05-02T09:52:20.003" UserId="6432" Text="Basic convolution of two sound files" ContentLicense="CC BY-SA 3.0" />
  <row Id="30896" PostHistoryTypeId="3" PostId="19066" RevisionGUID="889f39c2-48f1-4fcf-92eb-a20a2465c2fd" CreationDate="2013-05-02T09:52:20.003" UserId="6432" Text="&lt;convolution&gt;&lt;offline&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30897" PostHistoryTypeId="2" PostId="19067" RevisionGUID="4a4aa65e-463a-42ff-bb4f-976b9e252f97" CreationDate="2013-05-02T10:08:55.323" UserId="3835" Text="Soundhack..&#xD;&#xA;&#xD;&#xA;http://www.macupdate.com/app/mac/5891/soundhack&#xD;&#xA;&#xD;&#xA;Old school bit of kit. The dude that programs it is awesome too real friendly guy. User manual can be found here&#xD;&#xA;&#xD;&#xA;http://emu.music.ufl.edu/sndhckdoc/SndHckDoc.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="30899" PostHistoryTypeId="2" PostId="19069" RevisionGUID="55a18772-a351-46d3-9ceb-dbb42ed66fb4" CreationDate="2013-05-02T11:31:21.370" UserId="5982" Text="agree with Danny.Q, soundhack is the way to go provided you have access to an OSX machine.&#xD;&#xA;&#xD;&#xA;If you have access to max/MSP you might want to look at this http://www.cycling74.com/docs/max5/refpages/msp-ref/buffir~.html object (see the example near the bottom).&#xD;&#xA;&#xD;&#xA;I have recently completed a series of command line programs that do sample by sample convolution for uni which sounds like exactly what you need, much simpler than soundhack but cross platform. Once they're marked they'll be on github. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30900" PostHistoryTypeId="2" PostId="19070" RevisionGUID="ce9bc6ef-bc47-4924-a5b0-febbb37896b7" CreationDate="2013-05-02T15:59:46.563" UserId="4332" Text="The pfft~ object it Max/MSP makes this very simple." ContentLicense="CC BY-SA 3.0" />
  <row Id="30901" PostHistoryTypeId="2" PostId="19071" RevisionGUID="6cf76df8-f6c1-4a32-9ee9-1b7c9532c4a7" CreationDate="2013-05-02T16:05:09.027" UserId="234" Text="LA Convolver... free and useful AU: http://audio.lernvall.com/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30902" PostHistoryTypeId="2" PostId="19072" RevisionGUID="336e7e82-d184-4754-85dd-35dddb1ee691" CreationDate="2013-05-02T19:19:59.107" UserId="930" Text="Hey guys (and gals!),&#xD;&#xA;&#xD;&#xA;My first 'straight to DVD' mix is approaching and thought I'd do some research on the delivery spec for DVD. Because it's not for a broadcaster, and there isn't a publisher behind it, there isn't a spec per se (It's a guy on his own directing, editing and funding it) and I'm struggling to find anything as all my searches turn up with results for 'DVD-Audio/DVD-A'. I've asked him for specs, but he doesn't seem to sure on any of it so I thought I'd ask here.&#xD;&#xA;&#xD;&#xA;Are there any specs that are common to a DVD release? Any guidelines I should be following (dialnorm/Peak Level/etc.) - or should I just mix as I would for a non-spec project (think student/ generic film festival film)?&#xD;&#xA;&#xD;&#xA;Any advice, help or links to info would be amazing.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Fred" ContentLicense="CC BY-SA 3.0" />
  <row Id="30903" PostHistoryTypeId="1" PostId="19072" RevisionGUID="336e7e82-d184-4754-85dd-35dddb1ee691" CreationDate="2013-05-02T19:19:59.107" UserId="930" Text="DVD Mix Specifications" ContentLicense="CC BY-SA 3.0" />
  <row Id="30904" PostHistoryTypeId="3" PostId="19072" RevisionGUID="336e7e82-d184-4754-85dd-35dddb1ee691" CreationDate="2013-05-02T19:19:59.107" UserId="930" Text="&lt;dvd&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30905" PostHistoryTypeId="2" PostId="19073" RevisionGUID="73ff6b79-dc68-4041-8f15-85b77b478cb2" CreationDate="2013-05-02T19:31:58.360" UserId="432" Text="There aren't really any specs for the straight to video market that I'm aware of. I typically go for a film style/non-spec mix with a smidge less dynamic range; since it's primary viewing location is a living room, not a theater. I'm interested to hear what other people do. So, thanks for bringing this topic up." ContentLicense="CC BY-SA 3.0" />
  <row Id="30906" PostHistoryTypeId="2" PostId="19074" RevisionGUID="a19a3647-77af-4900-944a-8487019daa22" CreationDate="2013-05-02T20:11:54.290" UserId="37" Text="2 more cents: DVDs have dialnorm too.. 27 is standard but I think that's a tad too dynamic for a home system, and that 24 works better. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30907" PostHistoryTypeId="2" PostId="19075" RevisionGUID="83186441-16cf-452f-9e7a-0bfdb10a19fb" CreationDate="2013-05-02T22:23:46.903" UserId="6487" Text="If the client happens to be approving the mix via web or on his laptop....master it for this media really quickly and save the full dynamic session to your hard drive for the final print master of the film.  Often times the client is approving the mix via laptop after listening to hulu or another &quot;mastered for internet&quot; format.  While there will be more limiting of your master for internet approval, you will retain the ratio of elements and this could get you an approval.&#xD;&#xA;&#xD;&#xA;BTW, when I mix features I typical sit my dialogue around -27 LKFS.  I would think -24 LKFS would be plenty loud. Are you talking LKFS? &#xD;&#xA;&#xD;&#xA;Ask him about a movie he thinks sounds good or one that inspired this film.  Worst comes to worse you can mirror that mix.  Good luck.  The client is always right." ContentLicense="CC BY-SA 3.0" />
  <row Id="30908" PostHistoryTypeId="2" PostId="19076" RevisionGUID="82b4edaa-e58c-46e3-8eb0-4e6d942948aa" CreationDate="2013-05-02T22:30:14.340" UserId="5997" Text="This question has been asked in various forms but not yet completely in my view.  I'm trying to find a good mastering chain for a sound effects library using say Waves plugins in pro tools.  I see this project as different than a field recordings library where no mastering might be preferable, but these are heavily processed effects.  I've run them through various chains but can't seem to get them to sound good enough to be released.  Most cases the eq seems off or overly mastered.  Anyone care to share their mastering chain, technique for an effects library and/or a good way to take an eq curve from a different library as guidance?  I'm a bit green on the engineering side and could use some advice from more seasoned professionals.  Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30909" PostHistoryTypeId="1" PostId="19076" RevisionGUID="82b4edaa-e58c-46e3-8eb0-4e6d942948aa" CreationDate="2013-05-02T22:30:14.340" UserId="5997" Text="Mastering sound effects " ContentLicense="CC BY-SA 3.0" />
  <row Id="30910" PostHistoryTypeId="3" PostId="19076" RevisionGUID="82b4edaa-e58c-46e3-8eb0-4e6d942948aa" CreationDate="2013-05-02T22:30:14.340" UserId="5997" Text="&lt;pro-tools&gt;&lt;sound-libraries&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30911" PostHistoryTypeId="2" PostId="19077" RevisionGUID="255792e6-ea7d-407c-b38d-57fe8ef7f56f" CreationDate="2013-05-03T00:36:18.147" UserId="18" Text="Using an EQ for mastering should be a corrective process; so you need to know what you are trying to correct in the sound.  Don't just use EQ or dynamics because that's what you think mastering is.  If the sound is working, then leave it alone.  If it isn't working, then you need to figure out what is wrong and what tool you need to use to fix it.&#xD;&#xA;&#xD;&#xA;If your mastering sounds overly processed, then you are over-doing it. When mastering, I tend to prefer cutting frequencies rather than boosting.  Not to say I never boost something, but if you find yourself constantly adding high end or low end, then maybe the sound isn't right in the first place or you made some bad choices during mixing.  Mastering should be used to do a final clean up.  How many db are you cutting/boosting of each band?   If you're cutting/boosting more than a few db, you're probably overdoing it.  How wide is you Q?  You're probably tackling too wide a freq range and not focusing in on the bands that really need help.  &#xD;&#xA;&#xD;&#xA;There are no templates you can use.  Every sound is unique and requires it's own process.  Any of the Waves EQs (Ren, Q10, etc) will work for mastering, it just depends on how much fine tuning you need." ContentLicense="CC BY-SA 3.0" />
  <row Id="30912" PostHistoryTypeId="2" PostId="19078" RevisionGUID="d28a8d54-90c3-4ffe-a9cf-6565f065fff7" CreationDate="2013-05-03T10:19:38.573" UserId="5955" Text="Hello,&#xD;&#xA;&#xD;&#xA;I need to make a sound for the 'intro' of various characters. I posted a link to 'The Snatch' where there is no sound (just music) but explains well the kind of reference I am talking about. This is a quite common stile to introduce characters, do you have any other film reference where I can get inspiration from?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="30913" PostHistoryTypeId="1" PostId="19078" RevisionGUID="d28a8d54-90c3-4ffe-a9cf-6565f065fff7" CreationDate="2013-05-03T10:19:38.573" UserId="5955" Text="Character Intro Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="30914" PostHistoryTypeId="3" PostId="19078" RevisionGUID="d28a8d54-90c3-4ffe-a9cf-6565f065fff7" CreationDate="2013-05-03T10:19:38.573" UserId="5955" Text="&lt;sound-effects&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30915" PostHistoryTypeId="5" PostId="19078" RevisionGUID="01ee432a-4872-4ca3-ac21-0ed85a87cc55" CreationDate="2013-05-03T10:52:11.027" UserId="5955" Comment="added 39 characters in body" Text="Hello,&#xD;&#xA;&#xD;&#xA;I need to make a sound for the 'intro' of various characters. &#xD;&#xA;&#xD;&#xA;I posted a link to 'The Snatch' where there is no sound (just music) but explains well the kind of reference I am talking about. &#xD;&#xA;&#xD;&#xA;http://youtu.be/uvMYltA3A48&#xD;&#xA;&#xD;&#xA;This is a quite common stile to introduce characters, do you have any other film reference where I can get inspiration from?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="30917" PostHistoryTypeId="2" PostId="19080" RevisionGUID="b9fec01d-9485-4ee5-ba6b-365de82a756b" CreationDate="2013-05-03T15:58:51.187" UserId="596" Text="hello, &#xD;&#xA;&#xD;&#xA;i am considering shifting my career path towards working in acoustics. in particular architectural acoustics, environmental acoustics and noise control. however, my academic background is in music technology and sound design. is it cardinal to have background in math/physics/engineering in order to be able to work professionally in acoustics? " ContentLicense="CC BY-SA 3.0" />
  <row Id="30918" PostHistoryTypeId="1" PostId="19080" RevisionGUID="b9fec01d-9485-4ee5-ba6b-365de82a756b" CreationDate="2013-05-03T15:58:51.187" UserId="596" Text="career in acoustics" ContentLicense="CC BY-SA 3.0" />
  <row Id="30919" PostHistoryTypeId="3" PostId="19080" RevisionGUID="b9fec01d-9485-4ee5-ba6b-365de82a756b" CreationDate="2013-05-03T15:58:51.187" UserId="596" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30920" PostHistoryTypeId="2" PostId="19081" RevisionGUID="00010a75-640e-4b0d-8174-dcf6ca51eeab" CreationDate="2013-05-03T16:04:18.330" UserId="1228" Text="Check out a film I worked on called 'El Gringo'.  We did exactly this with designed character titles, each with an added special subjective sonic identifier for the character in question.&#xD;&#xA;&#xD;&#xA;I'm not one to usually promote my work like this, however it's worth mentioning in this instance because it seems to fit the bill for exactly what you're asking - and I can't think of another movie off the top of my head which has character titles in a similar fashion to what you mention." ContentLicense="CC BY-SA 3.0" />
  <row Id="30921" PostHistoryTypeId="2" PostId="19082" RevisionGUID="98f8df1e-c820-4a0d-9e1e-6bcbb8ceb119" CreationDate="2013-05-03T16:29:03.327" UserId="1185" Text="I did see a good example a little while ago in a mercenary film, but now I'm struggling to remember the details. I'll update is I remember.&#xD;&#xA;&#xD;&#xA;Will your sound motifs continue through the film or are they just used for the introductions?   If they are used through the film think about making them fairly distinct, but based on some aspect of the character.  That way the audience will be able to make the connection between the motif and the characters appearance.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="30922" PostHistoryTypeId="2" PostId="19083" RevisionGUID="08a060cb-1676-4244-b3cc-639e3450e112" CreationDate="2013-05-03T16:41:37.393" UserId="3179" Text="&gt; Is it cardinal to have background in math/physics/engineering in order to be able to work professionally in acoustics? &#xD;&#xA;&#xD;&#xA;It depends, because I've heard some sound technicians working on studio acoustics with good results. But I'm quite positive that even they've done some reading to do it properly.&#xD;&#xA;&#xD;&#xA;However, for more something more complex than a small studio space (imagine designing a concert hall or a museum space for example, or anything for which there are no &quot;simple formulas&quot;), I'd say that it's mandatory to understand sound's physical principles in order to acoustically design and treat spaces. You would be involved in the building phase already, so it's not just about &quot;acoustically treating existing spaces&quot;, but it could be about building spaces for the correct acoustics. It's not guesswork, but deeply rooted in known physical phenomena (waves, signals, mechanics, structures, materials)." ContentLicense="CC BY-SA 3.0" />
  <row Id="30923" PostHistoryTypeId="5" PostId="19083" RevisionGUID="ff33dd89-b138-4b2d-abad-3f4b016be8a5" CreationDate="2013-05-03T16:46:50.980" UserId="3179" Comment="deleted 5 characters in body" Text="&gt; Is it cardinal to have background in math/physics/engineering in order to be able to work professionally in acoustics? &#xD;&#xA;&#xD;&#xA;It depends, because I've heard some sound technicians working on studio acoustics with good results. But I'm quite positive that even they've done some reading to do it properly.&#xD;&#xA;&#xD;&#xA;However, for something more complex than a small studio space (imagine designing a concert hall or a museum space for example, or anything for which there are no &quot;simple formulas&quot;), I'd say that it's mandatory to understand sound's physical principles in order to acoustically design and treat spaces. You would be involved in the building phase already, so it's not just about &quot;acoustically treating existing spaces&quot;, but it could be about building spaces for the correct acoustics. It's not guesswork, but deeply rooted in known physical phenomena (waves, signals, mechanics, structures, materials)." ContentLicense="CC BY-SA 3.0" />
  <row Id="30924" PostHistoryTypeId="2" PostId="19084" RevisionGUID="73cf3046-ba81-4a88-b99c-be8f592661d4" CreationDate="2013-05-03T16:53:03.650" UserId="3754" Text="Basically yes. A solid foundation in maths and physics is essential. Acoustics is a vast subject within itself, and if you haven't got the basics sorted, you'll never progress to the more in depth stuff.&#xD;&#xA;&#xD;&#xA;A musical/technical knowledge base would be attractive to an employer, but really it's a science more than an art." ContentLicense="CC BY-SA 3.0" />
  <row Id="30925" PostHistoryTypeId="5" PostId="19083" RevisionGUID="ae9fef46-7b23-4339-9d55-02c41a780b7e" CreationDate="2013-05-03T16:59:55.437" UserId="3179" Comment="added 318 characters in body" Text="&gt; Is it cardinal to have background in math/physics/engineering in order to be able to work professionally in acoustics? &#xD;&#xA;&#xD;&#xA;It depends, because I've heard some sound technicians working on studio acoustics with good results. But I'm quite positive that even they've done some reading to do it properly.&#xD;&#xA;&#xD;&#xA;However, for something more complex than a small studio space (imagine designing a concert hall or a museum space for example, or anything for which there are no &quot;simple formulas&quot;), I'd say that it's mandatory to understand sound's physical principles in order to acoustically design and treat spaces. You would be involved in the building phase already, so it's not just about &quot;acoustically treating existing spaces&quot;, but it could be about building spaces for the correct acoustics. It's not guesswork, but deeply rooted in known physical phenomena (waves, signals, mechanics, structures, materials).&#xD;&#xA;&#xD;&#xA;Edit: also, if you're thinking about doing contract work, then not having an appropriate educational background (e.g. acoustics or structural engineering, math or physics) might severely limit your scope of work or it might be even externally restricted (&quot;professional engineering&quot; is regulated in some countries)." ContentLicense="CC BY-SA 3.0" />
  <row Id="30926" PostHistoryTypeId="2" PostId="19085" RevisionGUID="b3d412fb-5df7-4303-ad7e-d84833a83654" CreationDate="2013-05-03T17:14:53.167" UserId="18160" Text="There is a short film I'm working on that has a 6 year-old child in a forest that's supposed to sound a little magical (not extremely magical, but the amount of magic you thought forests had when you were 6) and then a contrast later in the film when the kid grows up and comes back and is about 30 years old.&#xD;&#xA;&#xD;&#xA;I wanted to use the tip of Randy Thom's where you place in ambiences as the character's viewpoint would hear them.&#xD;&#xA;&#xD;&#xA;What sorts of sounds would you consider putting in for a &quot;magical forest&quot; ambience heard through the ears of a 6 year-old?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30927" PostHistoryTypeId="1" PostId="19085" RevisionGUID="b3d412fb-5df7-4303-ad7e-d84833a83654" CreationDate="2013-05-03T17:14:53.167" UserId="18160" Text="How does a forest sound through a 6 year-olds ears?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30928" PostHistoryTypeId="3" PostId="19085" RevisionGUID="b3d412fb-5df7-4303-ad7e-d84833a83654" CreationDate="2013-05-03T17:14:53.167" UserId="18160" Text="&lt;forest&gt;&lt;viewpoint&gt;&lt;child&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30929" PostHistoryTypeId="2" PostId="19086" RevisionGUID="2e149b6b-ef5a-405f-95cf-be3c10cd2da0" CreationDate="2013-05-03T18:09:52.383" UserId="234" Text="Both Sean and Georgi have valid points... a couple more to add.&#xD;&#xA;&#xD;&#xA;1. Have you calibrated your mix room? Check out the Room Calibration Sticky at the DUC. For DVD, like Georgi, I tend to calibrate more in the TV area... I just don't have to worry about staying inside that constrictive little dynamics box that TV imposes.&#xD;&#xA;&#xD;&#xA;2. While THEORETICALLY you can go to &quot;0&quot;(0dbFS) on a DVD, it pays to leave a little headroom. Discussion abounds, but -3dbFS or -6dbFS are both popular. This accommodates a wide variety of downmix and compression scenarios.&#xD;&#xA;&#xD;&#xA;3. Finally, it never hurts to be forearmed. Creating AC3's can be fraught with peril. When the Director is suddenly calling back saying &quot;It sounds really quiet on my DVD player. &quot;Star Wars&quot; seemed much louder!&quot; it pays to know about Dialnorm, and all the wonderful Dymnamic Range functions that can go awry. Dolby.com has some rather dry, but informative technical documents on the format. Gearslutz and the DUC also have posts on the topic. &#xD;&#xA;&#xD;&#xA;Hopefully if you're having the DVD encoding done at a reliable transfer house you won't ahve to deal with any of the last, but so many of these lo budget things are done by the filmmaker and it's really easy to screw up if you're not paying attention! " ContentLicense="CC BY-SA 3.0" />
  <row Id="30930" PostHistoryTypeId="2" PostId="19087" RevisionGUID="cf1a4526-bf41-47ae-b8ac-41344b7d1dfb" CreationDate="2013-05-03T18:20:29.900" UserId="234" Text="Oooohhh... I like these sort of questions. Makes you open your mind! :)&#xD;&#xA;&#xD;&#xA;OK... My take. The sounds themselves wouldn't be &quot;magical&quot; in nature... i.e twinkly, or shimmery, but I would think that would all be hyper-real natural sounds that tend to align themselves with whatever emotion the &quot;magic&quot; is evoking. &#xD;&#xA;&#xD;&#xA;For example if it's magical in the sense of wonder, than all the birds would be VERY bright and melodic... no crows for example. The water would always be babbling, the sound through the trees very light and melodic.&#xD;&#xA;&#xD;&#xA;Conversely ( I don't think this is the case) if the magic was &quot;dangerous&quot; or &quot;dark&quot;... like thinking there's a monster in the woods, then the sounds would be natural, but very dark... Harsh birds, moaning wind in the trees, rustlings and so forth.&#xD;&#xA;&#xD;&#xA;When the child returns as an adult, everything would just be &quot;normal&quot;.&#xD;&#xA;&#xD;&#xA;Curious what others might think of." ContentLicense="CC BY-SA 3.0" />
  <row Id="30931" PostHistoryTypeId="5" PostId="19083" RevisionGUID="3e799ea2-f0bc-4655-ac4d-61c4e6822123" CreationDate="2013-05-03T18:38:03.207" UserId="3179" Comment="added 113 characters in body" Text="&gt; Is it cardinal to have background in math/physics/engineering in order to be able to work professionally in acoustics? &#xD;&#xA;&#xD;&#xA;It depends, because I've heard some sound technicians working on studio acoustics with good results. But I'm quite positive that even they've done some reading to do it properly.&#xD;&#xA;&#xD;&#xA;However, for something more complex than a small studio space (imagine designing a concert hall or a museum space for example, or anything for which there are no &quot;simple formulas&quot;), I'd say that it's mandatory to understand sound's physical principles in order to acoustically design and treat spaces. You would be involved in the building phase already, so it's not just about &quot;acoustically treating existing spaces&quot;, but it could be about building spaces for the correct acoustics. It's not guesswork, but deeply rooted in known physical phenomena (waves, signals, mechanics, structures, materials) and possibly also to following some regulations (e.g. sound levels, permitted materials, structural regulations).&#xD;&#xA;&#xD;&#xA;Edit: also, if you're thinking about doing contract work, then not having an appropriate educational background (e.g. acoustics or structural engineering, math or physics) might severely limit your scope of work or it might be even externally restricted (&quot;professional engineering&quot; is regulated in some countries)." ContentLicense="CC BY-SA 3.0" />
  <row Id="30932" PostHistoryTypeId="2" PostId="19088" RevisionGUID="0335f1b6-924f-46b6-90fb-77fb25be63cd" CreationDate="2013-05-03T19:43:30.370" UserId="3835" Text="From my memory it was always 'scale' that impressed itself on me when i was younger.. Perhaps make things sound bigger with hyper-real recordings and subtle reverb play. I remember thinking that the forest was like one big animal and all the wildlife were extensions of that 'one' animal. Maybe give the forest a voice, like a groan.. Drop some twisted wood in the mix so the trees are 'talking' to each other.&#xD;&#xA;&#xD;&#xA;Then when he returns everything sounds 'separate' and dissociated from itself (maybe you can play with this in the way you mix down the two different scenes)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30933" PostHistoryTypeId="2" PostId="19089" RevisionGUID="80a1e4ea-d399-4198-928d-09bd3b004005" CreationDate="2013-05-03T20:44:23.103" UserId="194" Text="I think the hyper real and scale angle mentioned by Danny is the correct one.  I'll bet you could accomplish quite a bit by completely removing all bgfx and just going in your face big and dry.  &#xD;&#xA;&#xD;&#xA;Nothing washy - only focused, punchy, one off effects.  No wind unless its a specific moment when the wind is in the foreground.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;This will make the mix much more contrasty in nature, and will give you a simple mechanism to revert to when the adult returns to the forest.  as an adult he can just hear normal washy and even kind of flat bgfx.  The audience may both recognize this as their own current perception of the forest and simultaneously be disappointed by that fact.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30934" PostHistoryTypeId="2" PostId="19090" RevisionGUID="d5f61e14-b7ee-4cac-bf54-0b644e262ef9" CreationDate="2013-05-03T20:50:12.257" UserId="37" Text="Big and detailed to a pair of very young ears, singing insects, rustling leaves, almost a hiss in the air. A quiet stillness to the mature person. An appreciation for all that detail 25 years later doesn't happen to everyone. Plus you can bring some of the magic back later in the mix if your narrative allows it?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30935" PostHistoryTypeId="2" PostId="19091" RevisionGUID="8589a117-a918-4b9d-b8cc-83022ac34c60" CreationDate="2013-05-03T21:01:35.837" UserDisplayName="user49" Text="VERY complex delays occur in a forest due to the reflections off individual trees &amp; the canopy overhead - you could def use this to accentuate moments of pov....&#xD;&#xA;&#xD;&#xA;But you could also potentially set up some contrasts when you actually are point of view (ie seeing through the kids eyes) versus wider shots where the audience see the kid in the forest..... So eg maybe when it is wide shots, have interesting textured sounds eg gentle wind through trees, discretely panned trees creaking etc... but when pov try layering slightly stranger sounds into the tree creaks, try convolving whispers into the winds, and play with very complex delays on more percussive distant bird calls, treat it all as though a little slow motion....&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30936" PostHistoryTypeId="5" PostId="19084" RevisionGUID="f84772e5-55da-4be4-98a8-2ca4fa046a94" CreationDate="2013-05-03T22:29:39.920" UserId="3754" Comment="added 99 characters in body" Text="Basically yes. A solid foundation in maths and physics is essential. Acoustics is a vast subject within itself, and if you haven't got the basics sorted, you'll never progress to the more in depth stuff.&#xD;&#xA;&#xD;&#xA;A musical/technical knowledge base would be attractive to an employer, but really it's a science more than an art.&#xD;&#xA;&#xD;&#xA;*edit* However my friend is an acoustic consultant at http://www.arup.com if you need a contact" ContentLicense="CC BY-SA 3.0" />
  <row Id="30937" PostHistoryTypeId="2" PostId="19092" RevisionGUID="a07d7e4a-b192-4ba5-ab6e-f9f80eba4d23" CreationDate="2013-05-03T23:50:34.810" UserId="61" Text="I went through this exercise on &quot;Road To Perdition&quot;. In R1 the little boy is walking through the halls of this huge house where his dad's boss lives. The director wanted us to come up with that sound as the boy would have remembered it in his memories, versus what it really sounded like at the time. What we ended up doing was focusing in on individual events, ie. a floor creak, a distant laugh from someone at the party, a teaspoon stirring coffee and being set down on the saucer from the other room. Once isolated, each event was put into a pretty deep (but still appropriate) reverb. The results, I think, were convincing and nostalgic.&#xD;&#xA;&#xD;&#xA;In your case, when you return to the forest, I would try introducing sounds that are not so &quot;magical&quot;, ie. air traffic, road noise, distant construction or logging operations, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="30938" PostHistoryTypeId="2" PostId="19093" RevisionGUID="ddca8c8e-e13a-47f7-8d2e-ade724485256" CreationDate="2013-05-04T00:27:54.363" UserId="5999" Text="Hello,&#xD;&#xA;Does anyone have experience here?  I know that i can connect to the nagra with a bannana to 1/4 adapter...but will the quality suffer?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30939" PostHistoryTypeId="1" PostId="19093" RevisionGUID="ddca8c8e-e13a-47f7-8d2e-ade724485256" CreationDate="2013-05-04T00:27:54.363" UserId="5999" Text="is it possible to connect a zoom h1 to nagra 4.2 to digitze reels?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30940" PostHistoryTypeId="3" PostId="19093" RevisionGUID="ddca8c8e-e13a-47f7-8d2e-ade724485256" CreationDate="2013-05-04T00:27:54.363" UserId="5999" Text="&lt;nagra&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30941" PostHistoryTypeId="2" PostId="19094" RevisionGUID="d5e966d0-f8b6-4484-b88a-08ca1d853bd8" CreationDate="2013-05-04T14:46:12.703" UserId="3179" Text="The &quot;quality suffering&quot; is not really something to be worried about in line level signals (or audio transferred at line level over short distances). Besides, if you're stuck with having only a H1, then there aren't any options for &quot;better A/D conversion&quot; etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="30942" PostHistoryTypeId="2" PostId="19095" RevisionGUID="d3361e95-a950-45a5-a8f2-6d2b49d571e6" CreationDate="2013-05-04T16:52:28.710" UserId="6000" Text="Hi, I have recently prototyped a sound spatialisation tool using max/msp as part of a university project. It allows you to load a sound and animate it in a virtual 3d space to add doppler shift, panning, amplitude and high frequency attenuation. It's not quite finished yet but I would grateful if I could get some opinions on the concept, whether it would be useful as a sound design tool, the interface design and workflow.&#xD;&#xA;&#xD;&#xA;Here's a link to the .app (Mac only) if anyone wants to try it out:&#xD;&#xA;&#xD;&#xA;https://dl.dropboxusercontent.com/u/2579213/Spatial%20Tool.zip" ContentLicense="CC BY-SA 3.0" />
  <row Id="30943" PostHistoryTypeId="1" PostId="19095" RevisionGUID="d3361e95-a950-45a5-a8f2-6d2b49d571e6" CreationDate="2013-05-04T16:52:28.710" UserId="6000" Text="Sound spatialisation tool. Would this be useful?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30944" PostHistoryTypeId="3" PostId="19095" RevisionGUID="d3361e95-a950-45a5-a8f2-6d2b49d571e6" CreationDate="2013-05-04T16:52:28.710" UserId="6000" Text="&lt;software&gt;&lt;panning&gt;&lt;doppler&gt;&lt;sound-design&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30945" PostHistoryTypeId="5" PostId="19095" RevisionGUID="ce3c99da-8217-4405-9b9a-c4c8fa33c527" CreationDate="2013-05-04T17:01:59.380" UserId="6000" Comment="Added screenshot link" Text="Hi, I have recently prototyped a sound spatialisation tool using max/msp as part of a university project. It allows you to load a sound and animate it in a virtual 3d space to add doppler shift, panning, amplitude and high frequency attenuation. It's not quite finished yet but I would grateful if I could get some opinions on the concept, whether it would be useful as a sound design tool, the interface design and workflow.&#xD;&#xA;&#xD;&#xA;Here's a link to the .app (Mac only) if anyone wants to try it out:&#xD;&#xA;&#xD;&#xA;https://dl.dropboxusercontent.com/u/2579213/Spatial%20Tool.zip&#xD;&#xA;&#xD;&#xA;Screenshot:&#xD;&#xA;&#xD;&#xA;https://dl.dropboxusercontent.com/u/2579213/1.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="30946" PostHistoryTypeId="2" PostId="19096" RevisionGUID="24a87191-295a-4f07-99f8-b0eb863779de" CreationDate="2013-05-04T17:18:45.860" UserId="3179" Text="I think the sound file loader is broken (the top row &quot;Mic&quot;, &quot;1&quot;.. from where you can add them)?&#xD;&#xA;&#xD;&#xA;Good start, but I'm positive that you'd need to make it into a VST for it to be useful. The user interface might also be too cumbersome (too many parameters and views), given that the staple is this: http://www.waves.com/Content.aspx?id=244" ContentLicense="CC BY-SA 3.0" />
  <row Id="30947" PostHistoryTypeId="5" PostId="19096" RevisionGUID="1fd4040a-65f7-41b3-9bdc-7334f70dc07c" CreationDate="2013-05-04T17:26:17.043" UserId="3179" Comment="added 124 characters in body" Text="I think the sound file loader is broken (the top row &quot;Mic&quot;, &quot;1&quot;.. from where you can add them)?&#xD;&#xA;&#xD;&#xA;Good start, but I'm positive that you'd need to make it into a VST for it to be useful. The user interface might also be too cumbersome (too many parameters and views), given that the staple is this: http://www.waves.com/Content.aspx?id=244, and the user interface can be as simple as this: http://www.sensomusic.com/wiki/doku.php?id=manual:modules:patches:doppler" ContentLicense="CC BY-SA 3.0" />
  <row Id="30948" PostHistoryTypeId="2" PostId="19097" RevisionGUID="895be153-7ba6-47e5-b21e-57ff7b2658be" CreationDate="2013-05-06T01:29:30.463" UserId="6001" Text="Hello,&#xD;&#xA;&#xD;&#xA;I am experiencing some issues with my Avantone CK-1. &#xD;&#xA;Whenever I connect it for the first time in the session it gets a static noise that doesn't disappear until I unscrew the capsule from the pre and put it back again. &#xD;&#xA;When this problem disappears, after this annoying stage, I am able to record everything with pretty decent s/n ratio.&#xD;&#xA;I'm quite happy with this mic, in terms of overall performance in all three capsules but If someone could help me with this noise issue I would be much appreciated.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="30949" PostHistoryTypeId="1" PostId="19097" RevisionGUID="895be153-7ba6-47e5-b21e-57ff7b2658be" CreationDate="2013-05-06T01:29:30.463" UserId="6001" Text="Avantone CK-1 pencil condenser Microphone NOISE" ContentLicense="CC BY-SA 3.0" />
  <row Id="30950" PostHistoryTypeId="3" PostId="19097" RevisionGUID="895be153-7ba6-47e5-b21e-57ff7b2658be" CreationDate="2013-05-06T01:29:30.463" UserId="6001" Text="&lt;microphone&gt;&lt;gear&gt;&lt;troubleshooting&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30953" PostHistoryTypeId="2" PostId="19100" RevisionGUID="9dd8ad87-0a08-4490-8968-a646f23bde00" CreationDate="2013-05-06T10:47:48.767" UserId="6005" Text="Sound Miner Pro v.4 can do this for sound files. Unfortunately, it's $400" ContentLicense="CC BY-SA 3.0" />
  <row Id="30954" PostHistoryTypeId="2" PostId="19101" RevisionGUID="8cef31cd-65b3-46d0-bdae-b3e933ab5fb3" CreationDate="2013-05-06T13:58:29.843" UserId="3104" Text="I want to ask to see when people feel its an appropriate time to record room tone on set. I typically wait until the end of the day to get all of my room tone recordings, even if I have to run around and record multiple rooms in a single location. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30955" PostHistoryTypeId="1" PostId="19101" RevisionGUID="8cef31cd-65b3-46d0-bdae-b3e933ab5fb3" CreationDate="2013-05-06T13:58:29.843" UserId="3104" Text="When do you record room tone on set?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30956" PostHistoryTypeId="3" PostId="19101" RevisionGUID="8cef31cd-65b3-46d0-bdae-b3e933ab5fb3" CreationDate="2013-05-06T13:58:29.843" UserId="3104" Text="&lt;location-recording&gt;&lt;room&gt;&lt;tone&gt;&lt;etiquette&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30957" PostHistoryTypeId="2" PostId="19102" RevisionGUID="4d52d66e-dbf1-465f-941d-088c64e59c10" CreationDate="2013-05-06T14:11:49.590" UserId="6396" Text="Thanks for the advice guys!  I ended up borrowing a popcorn machine from a friend and recording that.  Turned out pretty well!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30958" PostHistoryTypeId="2" PostId="19103" RevisionGUID="a4c3ed19-0b35-4750-9bc0-3709f49c9902" CreationDate="2013-05-06T14:38:42.887" UserId="5960" Text="Look up this topic on jwsoundgroup.net, there are several quite long discussions about it by top professionals in the business." ContentLicense="CC BY-SA 3.0" />
  <row Id="30959" PostHistoryTypeId="2" PostId="19104" RevisionGUID="5aa2e415-f79a-410d-91b0-2a5eaab303e7" CreationDate="2013-05-06T14:56:47.290" UserId="990" Text="Sometimes I ask that the Director to wait a few seconds after frame is called by the cam operator. If there's not enough time there. I ask for 15 seconds to 30 seconds of quiet before cut is called on the 'final' take of a scene.&#xD;&#xA;&#xD;&#xA;The truth is room tone is mostly used from the takes themselves.. not from the separate room tone recording. The only time you really need room tone on a separate recording is if the ambiance is inconsistent or noisy.&#xD;&#xA;&#xD;&#xA;Getting room tone at the end of the day usually doesn't work and a PITA to get." ContentLicense="CC BY-SA 3.0" />
  <row Id="30960" PostHistoryTypeId="2" PostId="19105" RevisionGUID="796bdc42-883b-4011-bf34-da54fe3322e0" CreationDate="2013-05-06T15:16:48.587" UserId="4135" Text="I need to convert a normal voice to a more interesting sounding high tech Science Fiction computer voice.&#xD;&#xA;&#xD;&#xA;I suppose there are dedicated tools for this task that go beyond a simple flanger?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30961" PostHistoryTypeId="1" PostId="19105" RevisionGUID="796bdc42-883b-4011-bf34-da54fe3322e0" CreationDate="2013-05-06T15:16:48.587" UserId="4135" Text="Which tools can create a Star Trek / Iron Man computer voice effect from a normal voice?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30962" PostHistoryTypeId="3" PostId="19105" RevisionGUID="796bdc42-883b-4011-bf34-da54fe3322e0" CreationDate="2013-05-06T15:16:48.587" UserId="4135" Text="&lt;voice&gt;&lt;computer&gt;&lt;scifi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30963" PostHistoryTypeId="2" PostId="19106" RevisionGUID="349a8e88-d946-4453-9495-fc5f39394955" CreationDate="2013-05-06T15:24:41.787" UserId="6420" Text="Check out a YouTube vid on how they got the GLADOS voice sound for the game Portal using Melodyne. Should give you some ideas. Also if you check out the trailer for Pacific Rim you'll notice it there too!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30964" PostHistoryTypeId="2" PostId="19107" RevisionGUID="51424df7-99ec-4f7a-aa11-1aa369ffa175" CreationDate="2013-05-06T16:43:39.230" UserId="6460" Text="My suggestion: focus on the performance. It's the one aspect of the sound that no piece of software can touch (or fix), so see if you can get 90% of the way there with your voice actor alone. These computerized voices all seem to have a layer of performance magic, whether it be a gentle clarity of the star trek computer voice or the sarcastic monotone of Jarvis in Ironman. &#xD;&#xA;&#xD;&#xA;Once you've got that, there are plenty of tricks like vocoding, pitch shifting, utilizing granular synthesis, melodyne (as Andy said), and probably other specialized plugins for the task. There's also the speaker which produces the voice—not to be forgotten. A youtube search for any of these will provide tutorials.&#xD;&#xA;&#xD;&#xA;Try to have a clear idea of the sound you're going for before you do a recording session. It will help you coach the performer(s) to give you what you need the first time around.&#xD;&#xA;&#xD;&#xA;Have fun,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="30965" PostHistoryTypeId="2" PostId="19108" RevisionGUID="db7294cc-e020-45df-abbb-0fa5dfe886c7" CreationDate="2013-05-06T16:48:28.057" UserId="6460" Text="Flipstar gave a good explanation—I'll add that I've worked with a couple of directors who actually like to have a long silence on set right before the first take of a scene. It's a moment for everyone to relax and think about what they are about to do for the shot. Plus, no one is trying to &quot;pack up silently&quot; while you linger and curse them for every floor creak you hear.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30966" PostHistoryTypeId="2" PostId="19109" RevisionGUID="fd1e6fb2-6658-48d2-8ed9-e94865a936a3" CreationDate="2013-05-06T17:25:19.050" UserId="407" Text="I was just at a shoot where after the last take the director himself asked everyone to stay in place for 30 seconds for room tone - brilliant" ContentLicense="CC BY-SA 3.0" />
  <row Id="30967" PostHistoryTypeId="2" PostId="19110" RevisionGUID="9fc2d4e0-7d3e-4279-a880-8d540f0669c9" CreationDate="2013-05-06T19:54:54.257" UserId="5941" Text="hello, i think personaly the sounds are too sharp, you need to smoth the mix out...&#xD;&#xA;&#xD;&#xA;the reverb doesnt sound proper on the crow... you need a more bigger &quot;plate&quot; &#xD;&#xA;&#xD;&#xA;basicly i think for the cut scene your sound is too much detailed in a way like it was a close up of something, that kind of detailed mix, is nice to capture a certain type of scenes in detail, but in this case its a fight scene, if somehow you could oscilate between a detailed parts with other not so much moments in the mix, that would be perfect...&#xD;&#xA;&#xD;&#xA;i eard your mix in the ATH M50 headphones&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30968" PostHistoryTypeId="2" PostId="19111" RevisionGUID="5b2a8bd5-a00e-43a5-a349-a6aceaa00f14" CreationDate="2013-05-06T20:10:38.500" UserId="6005" Text="I need room tone by microphone angle for dialog editing. I usually make fill with pauses between breaths, but if I can even get 10 seconds per angle, then I'm pretty happy.&#xD;&#xA;&#xD;&#xA;A general room tone is really helpful when I'm backfilling MOS shots, then I don't have to try to make a fill from other takes, or the take prior.&#xD;&#xA;&#xD;&#xA;A trick that I've been using on sets is pressing the record button, then acting like it takes 3-5 seconds to start my recorder. Everyone stays quiet for that long, so I get a little bit of &#xD;&#xA;fill" ContentLicense="CC BY-SA 3.0" />
  <row Id="30969" PostHistoryTypeId="2" PostId="19112" RevisionGUID="e82b98a3-0931-45a1-88e8-0f8c63e08af7" CreationDate="2013-05-06T20:13:09.880" UserId="4358" Text="Well usually what is expected from the director and the other members of the crew is roughly 5-10 sec of silence before the Director says ACTION and 5-10 sec silence after the Director says cut. That's what I request my director to do. Some of them follow, some of them just disregard it and think that everything can be FIXED in post. If you are freelancing and working mostly on indie films (like me), it completely depends on you on how seriously you want the director to take sound. Talk to the director about WHY you need the silence that you are asking for. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30970" PostHistoryTypeId="2" PostId="19113" RevisionGUID="12735db1-0d76-4954-b8f3-8b9b6fd0cfa9" CreationDate="2013-05-07T01:03:45.420" UserId="517" Text="It's very important to establish a routine with the 1st AD (if there is one) as well, as he or she  is most often the one who handles the scheduling of the day and calls the roll. On the first production day, make sure you let the AD know what you need (room tone as well as wild sound) so that recording room tone is an expected and integral part of the day. Asking for room tone when the G &amp; E crew have already started to break down lights and rigging is usually too late. &#xD;&#xA;&#xD;&#xA;Another point to make is that the presence of lights, camera and people will (usually subtly) change the room tone, so going back after the fact at the end of the day might not produce the results you need. If you have buzzy HMI lights during every take, that's what you'll need in your room tone. If they're not there at the end of the day, your recorded tone won't match. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30971" PostHistoryTypeId="2" PostId="19114" RevisionGUID="c4f9b5ea-29f9-4d34-b700-0916e21a3090" CreationDate="2013-05-07T01:11:07.977" UserId="6532" Text="I'm trying to figure out a better workflow for designing more complex effects with multiple layers of heavily-processed sounds. So far I've just been using AudioSuite for processing or, if I have to automate a plug-in, I put it in an insert and then print it. All in my FX session. This works, but it's not a very fluid workflow and makes it hard to change things after the fact; if I use AudioSuite, I'll have to remember/store somehow what settings I used, go back to the unprocessed version and process it again; if I use dedicated tracks for each composite effect with inserts, I retain all the plug-in settings but end up with a huge number of tracks.&#xD;&#xA;&#xD;&#xA;So I'm curious to hear what you guys do. Do you have a dedicated session for each effect, or one big master session, do you save plug-in settings so you can come back to them later, or do you just forget about it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="30972" PostHistoryTypeId="1" PostId="19114" RevisionGUID="c4f9b5ea-29f9-4d34-b700-0916e21a3090" CreationDate="2013-05-07T01:11:07.977" UserId="6532" Text="Workflow: Keeping Track of Your Designs" ContentLicense="CC BY-SA 3.0" />
  <row Id="30973" PostHistoryTypeId="3" PostId="19114" RevisionGUID="c4f9b5ea-29f9-4d34-b700-0916e21a3090" CreationDate="2013-05-07T01:11:07.977" UserId="6532" Text="&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30974" PostHistoryTypeId="2" PostId="19115" RevisionGUID="9aed9efc-a9d0-489e-a2c9-ca9f2e644c95" CreationDate="2013-05-07T01:56:41.110" UserId="6411" Text="Good question, I'm interested to hear how others chime in on this.&#xD;&#xA;&#xD;&#xA;First off, I almost always have a build session and a stem session. The build is what I edit/create in, the stem is what I deliver to the stage for mix (a tidied-up build session). I'll talk with the super/mixer before I deliver in order to know just how much unwinding he/she would like to be able to do, and not over-deliver a bunch of tracks they'll never use that will only confuse them.&#xD;&#xA;&#xD;&#xA;In the build session, if I have a heavily layered/processed sound that I anticipate either having to make derivatives of later down the timeline, or wanting the ability to roll back a step or two in the design process. I will cut the sound on &quot;design&quot; tracks, using all the plug-ins I desire, automate, and then print to an FX or BG track and then hide &amp; make inactive those design tracks.&#xD;&#xA;&#xD;&#xA;On the other hand, if it's an Audiosuite process, or rather a string of static (un-automated) plug-in instances on a single effect, I usually create and save a VST Rack preset in Soundminer and will name it using a &quot;project name abbreviation - obvious description&quot; scheme. For example &quot;RoKS - Insect Feet&quot;, occasionally I'll append that with search terms as well as pitch speed so I know my source material later on. If I'm processing way outside the lines, I'll drop the source file unprocessed in the timeline below the processed one, cut both together and mute the unprocessed clip. The VST Rack Presets are great because they not only save the rack position of each plug-in, but also the state of each plug-in whether it's a saved preset or not." ContentLicense="CC BY-SA 3.0" />
  <row Id="30976" PostHistoryTypeId="2" PostId="19116" RevisionGUID="8eeb9372-4687-48c8-bf77-b3262711beae" CreationDate="2013-05-07T04:13:42.677" UserId="5859" Text="So I just picked up a record at my local record shop called &quot;Environments.&quot; It was recorded by field recordist Irving Solomon Teible. I came to find out that this was a whole series(11 to be exact). I have the first one which has &quot;The Physiologically Ultimate Seashore&quot; recorded at Coney Island and &quot;Optimum Aviary&quot; recorded at the Bronx Zoo, both 30mins long. I just ordered Environments 2 which I am really excited about and was wondering if you guys have any favorite field recordist records/cd's/mp3's that you like to listen to on your off time?&#xD;&#xA;&#xD;&#xA;Here's the wiki link for more info on &quot;Environments&quot; if any of you are interested!&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Environments_(series)#Environments_2_.281970.29&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;jocé" ContentLicense="CC BY-SA 3.0" />
  <row Id="30977" PostHistoryTypeId="1" PostId="19116" RevisionGUID="8eeb9372-4687-48c8-bf77-b3262711beae" CreationDate="2013-05-07T04:13:42.677" UserId="5859" Text="Field Recordings on vinyl" ContentLicense="CC BY-SA 3.0" />
  <row Id="30978" PostHistoryTypeId="3" PostId="19116" RevisionGUID="8eeb9372-4687-48c8-bf77-b3262711beae" CreationDate="2013-05-07T04:13:42.677" UserId="5859" Text="&lt;field-recording&gt;&lt;inspiration&gt;&lt;sound-art&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30979" PostHistoryTypeId="2" PostId="19117" RevisionGUID="0e75428e-da55-476f-8248-1e6dfdb57ddd" CreationDate="2013-05-07T04:43:20.423" UserDisplayName="user49" Text="All my editing &amp; layering happens in one big super session (ie all reels of the film, each reel starts on the hour etc) which doesn't have any live plugins running sicne I dont want to be relying on them when migrate to the dub stage for predubs (although I do have a few inactive source &amp; destination tracks in that session for printing simple processing eg doppler, IRs etc)&#xD;&#xA;&#xD;&#xA;Anything involving a lot of processing I do in seperate sessions (eg Weresheep Vox is one session, WereLamb another etc) so I have a chronological archive of versions of each session &amp; the plugin setup/routing etc remains intact... But also that work is often done 96k whereas my main edit session is 48k....&#xD;&#xA;&#xD;&#xA;As with score cues it can be very important to be able to revert to an earlier version, and potentially continue developing it in a different direction... Same goes for the super session eg when a scene is dropped, but then returns 3 cuts later.. Need to be able to conform between versions of the cuts....&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30980" PostHistoryTypeId="2" PostId="19118" RevisionGUID="b3abddb0-dab0-40fd-a95f-149babbbc03b" CreationDate="2013-05-07T06:27:48.167" UserId="6007" Text="Elephant- Gus Van Sant&#xD;&#xA;:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="30981" PostHistoryTypeId="2" PostId="19119" RevisionGUID="fd268051-e382-4500-8a25-b621789d30d1" CreationDate="2013-05-07T08:48:12.630" UserId="5583" Text="To create a robotic voice quickly, the trick is to duplicate your voice, and move the second voice of an image to the right. Listen to the result.&#xD;&#xA;Otherwise, the plug mentioned above are good. You can also use a vocoder." ContentLicense="CC BY-SA 3.0" />
  <row Id="30982" PostHistoryTypeId="2" PostId="19120" RevisionGUID="d28594ef-fc7a-4675-b023-f7e4b18bb202" CreationDate="2013-05-07T09:26:08.953" UserId="6460" Text="When I work with audiosuite processing I rely heavily on track playlists and deactivating plugins. &#xD;&#xA;&#xD;&#xA;Let's say, for instance, that I am working with a single piece of dialog that I want to expand and de-ess: I start out by inserting and programming the an RTAS version of each plugin on the track. I then &quot;Duplicate Playlist&quot; and name the new playlist something like &quot;[DLG]proc1&quot; to tell myself that this is the first round of processing done to the file. I then copy and paste the settings from the RTAS expander/de-esser into the Audiosuite verison and render the effects onto the track. Once this is done, I deactivate the RTAS plugins by COMMAND-CONTROL clicking them—I don't delete the RTAS plugs off of the track.&#xD;&#xA;&#xD;&#xA;I'm drawn to this method because it's easy, not only to return to earlier versions of the audio, but also to re-visit the plugin settings that you used to get there. &#xD;&#xA;&#xD;&#xA;In the track comments I sometimes put a note about the contents of each playlist, though this usually isn't necessary for most material. Still, it can be nice to know what you did on each pass, as well as the date, should the director or your supervisor wish to return to a particular version.&#xD;&#xA;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="30983" PostHistoryTypeId="2" PostId="19121" RevisionGUID="7c65c361-f28e-4d32-86e4-05a0e5ff5c54" CreationDate="2013-05-07T11:50:18.517" UserId="432" Text="I've done a couple of post on DS about this subject. [Just put up one yesterday][1], and covered a few other films in a two part article: [part 1][2], [part 2][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2013/05/sonic-temporal-ambiguity-as-evidence-of-psychosis-in-martha-marcy-may-marlene/&#xD;&#xA;  [2]: http://designingsound.org/2012/02/ideas-in-sound-design-deprivation-and-barriers-part-1/&#xD;&#xA;  [3]: http://designingsound.org/2012/03/ideas-in-sound-design-deprivation-and-barriers-part-2/" ContentLicense="CC BY-SA 3.0" />
  <row Id="30985" PostHistoryTypeId="2" PostId="19122" RevisionGUID="77917b0a-b1b4-48a8-a998-c4605c899adb" CreationDate="2013-05-07T15:42:10.693" UserId="5855" Text="I don't think the quality will suffer, when they're digital atleast you can readily access them.&#xD;&#xA;But there isn't a true line level input on the Zoom H1 so you may find you clip, try lowering the level on the H1 first considerably gage it from there where you'll need to be 6db 12db etc/.&#xD;&#xA;The H1 is a great little unit, nice and light, durable (abs plastic) which makes sense no moving parts so it doesn't need to be metal, the X/Y mics are nice and handy and I've dropped mine half a dozen times and it works flawlessly and I can't see where it hit.&#xD;&#xA;But if you haven't yet bought it then I'd pay a little more for the Sony PCM-M10 which does have a true pro line level input so what you get out of the Nagra you're going to capture correctly" ContentLicense="CC BY-SA 3.0" />
  <row Id="30986" PostHistoryTypeId="2" PostId="19123" RevisionGUID="aa279441-f2de-4ad0-b712-252d3444433f" CreationDate="2013-05-07T15:43:23.027" UserId="4358" Text="Apocalypse Now&#xD;&#xA;Gangs Of Wasseypur (2012) (Indian Film)&#xD;&#xA;The opening dream sequence in Ingmar Bergman's Wild Strawberries (1957)&#xD;&#xA;Enter the Void&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30987" PostHistoryTypeId="2" PostId="19124" RevisionGUID="eb66bcc7-42be-4560-a31c-5c0cad557b37" CreationDate="2013-05-07T16:03:41.383" UserId="5855" Text="That H1 is an awesome little mic/recorder -  I had one but since moved on to some different handheld options but I miss it's convenience, infact this weekend I bought a Rode iXY which plugs into the iPhone - it's very cool but doesn't sound as good as the H1 and the zero menus of the H1 were their best feature, the X/Y mics on the H1 sound great not quite as nice as the H4n which I own and like the sound of better than our Sony PCM-D50 (which I do love too.&#xD;&#xA;&#xD;&#xA;Even with a dedicated X/Y mic or a X/Y setup with 2 mics it's hard to get perfect levels on both channels, if you're not happy maybe return for a refund then buy another again, I find doing that always better than just swapping personally less hassle, great returns policy if you bought from amazon direct.&#xD;&#xA;This recorder wasn't designed for amatueurs! it's designed for anybody that wants to record sound. I'm far from an amateur I make my living in sound and portable handheld recorders are the only alternative to carrying around a load of gear sometimes and for on the fly stuff they're great - they're point and shoot convenience.&#xD;&#xA;&#xD;&#xA;No one is an amateur, that's a redundant word in this affordable tech era we're in, I believe anyone with talent is a professional, professional there's another redundant word, once upon a time I used to hire photographers for events because I liked their shots, then I realised it wasn't the shots I liked it was the lens they used, that was where the look was coming from, they weren't &quot;professional&quot; they just had the equipment, the bank loan to buy it, anyone ANYONE is a photographer buy a Canon + 24-70, 70-200 you got the bases covered and the look, I'm sure you have the talent - it's not rocket science and this is the time for reinvention forget everything that came before interms of framing etc, likewise for audio - I see people I work with berating young kids because they're using small handhelds but nothing wrong with that it's all mic placement and you can learn alot with something as simple and fanastic as a Zoom H1, then move on to better bigger more cumbersome alternatives, you can learn alot from other people in the industry but be careful because alot of them just feel threatened and redundant and with certain attitudes they are redundant - you guys are the NEW, graduate on a small recorder with awesome results and imagine what you'll acomplish with an asenal of microphones.&#xD;&#xA;H1 is an awesome tool in the right hands and I hope yours isn't faulty.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30988" PostHistoryTypeId="2" PostId="19125" RevisionGUID="9a163ebd-6c0a-4a89-a609-a77694baccfd" CreationDate="2013-05-07T16:12:23.753" UserId="5855" Text="Before buying different mics which is still a great idea I'd say +1 for Audioease Speakerphone I bought it in 2008 and use it daily at work and it's just amazing! as is Altiverb also from Audioease, this is the best reverb suite there is! try their stuff - send Aram an email ask if you can give these a go and if you have an iLOK he'll likely give you a 30 day demo (full working demo) try it in your projects and you might even want to buy it, I did but atleast you get to use it for 30 days.&#xD;&#xA;He has another indespensible piece of software called Snapper this is a 100 day demo - which you can get right now it won't give you a Mad Men sound but will help out your workflow.&#xD;&#xA;Who gives a 100 day demo?......someone selling something they know you will absolutely want to own, Audioease are amazing!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30989" PostHistoryTypeId="2" PostId="19126" RevisionGUID="12f1dfd9-f757-4605-aac8-5b00cd844cd6" CreationDate="2013-05-07T16:23:00.583" UserId="1303" Text="Sort of on-topic, the Pain and Gain sound crew printed sound effects onto vinyl and hired a DJ to scratch the sounds.&#xD;&#xA;&#xD;&#xA;http://soundworkscollection.com/videos/the-sound-of-pain-and-gain&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30990" PostHistoryTypeId="2" PostId="19127" RevisionGUID="6b89f2b2-19ab-4157-ac99-0c851e9db3f9" CreationDate="2013-05-07T19:30:40.607" UserId="994" Text="If you know Max/msp it's very straight forward. Just Transform your samples with fft, than multiply them and make an inverse fft of it, and you've got it. cheers." ContentLicense="CC BY-SA 3.0" />
  <row Id="30991" PostHistoryTypeId="2" PostId="19128" RevisionGUID="cfab714b-ca18-49b4-85f7-e660a01417c4" CreationDate="2013-05-07T19:43:26.500" UserId="1035" Text="Killing Them Softly has an amazing soundtrack overall, and some fantastic POV scenes." ContentLicense="CC BY-SA 3.0" />
  <row Id="30992" PostHistoryTypeId="2" PostId="19129" RevisionGUID="d9a06d70-acb0-4fbf-9c0e-43f7b2b96dd4" CreationDate="2013-05-07T20:18:33.960" UserId="1049" Text="Just to add a couple of other suggestions: the SciFi bundled Pro Tools plugin would work to get the computerised 'twang'  of Jarvis, if used in moderation, or even Adobe Audition has a 'Robotic' preset for the Echo effect, I think..!" ContentLicense="CC BY-SA 3.0" />
  <row Id="30993" PostHistoryTypeId="2" PostId="19130" RevisionGUID="9a144805-8622-4115-8097-5093722ea6ec" CreationDate="2013-05-07T23:43:33.907" UserDisplayName="user49" Text="Back in the day, it was an all analogue path - recording on Nagra 1/4&quot; tape, transferring to 35mm sep mag and then sound editing via cutting that mag (I know a semi-retired local who was infamous for doing fades either by scratching off the mag, or using sweeps with a head demagnetizer  to erase some of the signal!) All those rolls of sep mag feeding an analogue desk, using lots of very high quality analogue outboard... all with no automation!&#xD;&#xA;But apart from technology it was also a very different creative process, decision making could not be put off until the mix - priorities had to be established early on....&#xD;&#xA;&#xD;&#xA;btw for some excellent recreation of vintage film sound techniques, check out this film: **Berberian Sound Studio** - it is so great!!!&#xD;&#xA;&#xD;&#xA;http://www.imdb.com/title/tt1833844&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Berberian_Sound_Studio&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=GlNCiGVQsd0" ContentLicense="CC BY-SA 3.0" />
  <row Id="30994" PostHistoryTypeId="2" PostId="19131" RevisionGUID="882b6f86-7254-4108-b4cc-7de1095efaa5" CreationDate="2013-05-08T02:37:54.077" UserId="6524" Text="Raindrops on an umbrella. I stole that idea from Mr. Tim Waltson from one of his articles on Designing Sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="30995" PostHistoryTypeId="2" PostId="19132" RevisionGUID="8578996b-57cb-4a01-aabd-133dd1ec62a8" CreationDate="2013-05-08T07:14:00.237" UserId="6010" Text="i have no sound card, it is posibal proper installation with out sound card for windowes 7.&#xD;&#xA;plz reply me asap.&#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;Nitin" ContentLicense="CC BY-SA 3.0" />
  <row Id="30996" PostHistoryTypeId="1" PostId="19132" RevisionGUID="8578996b-57cb-4a01-aabd-133dd1ec62a8" CreationDate="2013-05-08T07:14:00.237" UserId="6010" Text="I have pro tool 10 " ContentLicense="CC BY-SA 3.0" />
  <row Id="30997" PostHistoryTypeId="3" PostId="19132" RevisionGUID="8578996b-57cb-4a01-aabd-133dd1ec62a8" CreationDate="2013-05-08T07:14:00.237" UserId="6010" Text="&lt;pro&gt;&lt;tools&gt;&lt;10&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="30998" PostHistoryTypeId="2" PostId="19133" RevisionGUID="f33be6bb-9628-4079-bd79-f933c6ad5ace" CreationDate="2013-05-08T07:22:51.357" UserDisplayName="user80" Text="There was also an issue with generation loss.  Sometimes by the end of the re-recording session you could be on anything up to the 7th generation of the sound, I've also heard of higher figures.  That means that there were multiple chances for the sound to be altered by the medium it was stored on, such as saturation, print through or even physical damage. This effect was cumulative and gives films that used analogue sound a &quot;colouration&quot; that is not present with modern digital sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="30999" PostHistoryTypeId="2" PostId="19134" RevisionGUID="47c4dbec-1c8e-41d7-a2d2-e25c313763b5" CreationDate="2013-05-08T07:29:54.640" UserId="3179" Text="Not without any sound card, but the internal/built-in sound card can/should work, given that you don't run into incompatibility problems with device drivers (I believe there have been some). Just use the official manufacturer supplied device drivers for the sound card or ASIO4ALL, (only) if the official drivers don't work.&#xD;&#xA;&#xD;&#xA;kthxbye" ContentLicense="CC BY-SA 3.0" />
  <row Id="31000" PostHistoryTypeId="2" PostId="19135" RevisionGUID="bb448cfe-5324-4e9b-bddd-f7930be4514b" CreationDate="2013-05-08T07:45:44.060" UserId="3179" Text="I would say that it's not anything specifically, but all the limitations combined. Thus I think that the best way to approach understanding the situation and techniques back in the days is to limit yourself to tools and possibilities that were available back then. Limited track counts, lower fidelity recording equipment, expensive equipment (which means that perhaps you couldn't afford buying 20 mics for each purpose or individual sound source, but one or two mics), slow/cumbersome editing and playback procedures and no undo (which meant that you wanted to screw up or play around less and focus more on making recordings, edits and everything &quot;just right&quot; in first tries or that you focused more on good practices than what the gear does or doesn't do for you).&#xD;&#xA;&#xD;&#xA;Technologically I think that tape (and tape recorders) is a major contributor to the sound quality. Possibly vintage mics also and only after that other gear (think for example not having parametric EQs that have 10 freely sweepable bands)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31001" PostHistoryTypeId="5" PostId="19135" RevisionGUID="be2c1ef1-a752-4d67-8235-b70ec4ec1e49" CreationDate="2013-05-08T07:51:00.610" UserId="3179" Comment="added 49 characters in body" Text="I would say that it's not anything specifically, but all the limitations combined. Thus I think that the best way to approach understanding the situation and techniques back in the days is to limit yourself to tools and possibilities that were available back then. Limited track counts, lower fidelity recording equipment, expensive equipment (which means that perhaps you couldn't afford buying 20 mics for each purpose or individual sound source, but one or two mics), slow/cumbersome editing and playback procedures and no undo (which meant that you wanted to screw up or play around less and focus more on making recordings, edits and everything &quot;just right&quot; in first tries or that you focused more on good practices than what the gear does or doesn't do for you).&#xD;&#xA;&#xD;&#xA;Technologically I think that tape (and tape recorders) is a major contributor to the sound quality. Possibly vintage mics also and only after that other gear (think for example not having parametric EQs that have 10 freely sweepable bands or not having &quot;unlimited instances&quot; of those EQs)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31002" PostHistoryTypeId="5" PostId="19092" RevisionGUID="0e25a86c-3279-4aae-8388-f3871ff29e29" CreationDate="2013-05-08T07:53:10.177" UserId="61" Comment="added 15 characters in body" Text="I went through this exercise on &quot;Road To Perdition&quot;. In R1 the young boy is walking through the halls of the huge house where Paul Newman's character lives. The director wanted us to create that sound as the boy would have remembered it from his memories versus what it really would have sounded like at the time. What we ended up doing was focusing in on *individual events*, ie. a floor creak, a distant laugh from someone at the party, a teaspoon stirring coffee and being set down on the saucer from the other room. Once isolated, each event was put into a pretty deep (but still appropriate) reverb. The results, I think, were convincing and nostalgic.&#xD;&#xA;&#xD;&#xA;In your case, when you return to the forest, I would try introducing sounds that are not so &quot;magical&quot;, ie. air traffic, road noise, distant construction or logging operations, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="31003" PostHistoryTypeId="2" PostId="19136" RevisionGUID="68fd4e5e-8690-4fb4-bed2-964c75318f70" CreationDate="2013-05-08T07:56:31.830" UserId="5880" Text="I had compatibility issues with my onboard sound card, and can vouch for ASIO4ALL as working well as a solution.&#xD;&#xA;Just keep in mind that, while ASIO4ALL is running (i.e, while you're running Pro Tools) it will take the place of your onboard audio, and you probably won't have working audio on any applications that AREN'T Pro Tools.. and vice versa; if you've got other applications running that are engaging the onboard audio when ASIO4ALL starts up, you won't hear anything in Pro Tools.  At least, that's been my experience thus far." ContentLicense="CC BY-SA 3.0" />
  <row Id="31004" PostHistoryTypeId="5" PostId="19135" RevisionGUID="d9f72642-cc49-45e4-8bcc-e7b5ad45c5b1" CreationDate="2013-05-08T08:01:40.313" UserId="3179" Comment="added 54 characters in body; added 11 characters in body; added 4 characters in body; added 7 characters in body" Text="I would say that it's not anything specifically, but all the limitations combined. Thus I think that the best way to approach understanding the situation and techniques back in the days is to limit yourself to tools and possibilities that were available back then. Limited track counts, lower fidelity recording equipment and medium that degrades and varies during playback/handling/storage, expensive equipment (which means that perhaps you couldn't afford buying 20 mics for different purposes or individual sound sources, but one or two mics), slow/cumbersome editing and playback procedures and no undo (which meant that you wanted to screw up or play around less and focus more on making recordings, edits and everything &quot;just right&quot; in first tries or that you focused more on good practices than what the gear does or doesn't do for you).&#xD;&#xA;&#xD;&#xA;Technologically I think that tape (and tape recorders) is a major contributor to the sound quality. Possibly vintage mics also and only after that other gear (think for example not having parametric EQs that have 10 freely sweepable bands or not having &quot;unlimited instances&quot; of those EQs)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31005" PostHistoryTypeId="5" PostId="19135" RevisionGUID="05de1e44-c9fd-4316-876e-79c7de11a43e" CreationDate="2013-05-08T08:09:37.103" UserId="3179" Comment="edited body" Text="I would say that it's not anything specifically, but all the limitations combined. Thus I think that the best way to approach understanding the situation and techniques back in the days is to limit yourself to tools and possibilities that were available back then. Limited track counts, lower fidelity recording equipment and medium that degrades and varies during playback/handling/storage, expensive equipment (which means that perhaps you couldn't afford buying 20 mics for different purposes or individual sound sources, but one or two mics), slow/cumbersome editing and playback procedures and no undo (which meant that you wanted to screw up or play around less and focus more on making recordings, edits and everything &quot;just right&quot; on first tries or that you focused more on good practices than what the gear does or doesn't do for you).&#xD;&#xA;&#xD;&#xA;Technologically I think that tape (and tape recorders) is a major contributor to the sound quality. Possibly vintage mics also and only after that other gear (think for example not having parametric EQs that have 10 freely sweepable bands or not having &quot;unlimited instances&quot; of those EQs)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31008" PostHistoryTypeId="2" PostId="19139" RevisionGUID="b0f1c441-3571-4b3f-bc8d-9746889fbfff" CreationDate="2013-05-08T16:30:38.770" UserId="194" Text="Mr T gave a great answer.&#xD;&#xA;&#xD;&#xA;In addition to that, I'd say the other big consideration will be wind protection.  The NT4 will fit in a rode blimp and allow you to record outdoors.  The matched Beyer pair will require either two baby ball gags or some type of foam wind protection to get anything happening outdoors.  &#xD;&#xA;&#xD;&#xA;On my SDCs I tend to use these [DPA foam windscreens][1] which are very transparent and can at least get me out of doors on a non-gusty day.  They're very clean until the wind gets up around 10-15mph.&#xD;&#xA;&#xD;&#xA;I'd personally probably still vote for the matched pair just for the purposes of shooting on ORTF, which I much prefer to XY in most cases.  &#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/bnh/controller/home?O=&amp;sku=282455&amp;Q=&amp;is=REG&amp;A=details" ContentLicense="CC BY-SA 3.0" />
  <row Id="31009" PostHistoryTypeId="2" PostId="19140" RevisionGUID="fa9a10d2-b41c-429d-b68a-7997eba246d3" CreationDate="2013-05-08T18:25:41.370" UserId="5998" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I've been lurking for a while and have seen similar questions but not exactly the feedback I'm hoping to solicit. I'm transitioning over to the world of audio for film and I'm looking into a good sound kit. I have some funds and plan on building a good one over time, but I'm curious where you would recommend investing first if choosing between either a quality recorder or mics.&#xD;&#xA;&#xD;&#xA;I come from a studio background and when we first built up our space we had a couple very nice microphones but our recorder wasn't great -- we compromised ease of capturing takes for having the takes be really good going in. When we finally got a good recorder it was a serious improvement to our workflow, and we already knew our mics really well. Should I take a similiar approach with my kit?&#xD;&#xA;&#xD;&#xA;I'm looking at picking up a quality boom mic and rycote, some quality lavs and a wireless system...then maybe an h4n to start?&#xD;&#xA;&#xD;&#xA;Or should I bite the bullet and get a really nice recorder up front, get some middle of the road mics and know the recorder inside and out? &#xD;&#xA;&#xD;&#xA; If I'm working on a production I'd imagine if they desire higher quality than the zoom they'll be open to renting an SD 722 or something in lieu of me having one if I have quality mics to plug into it, right?&#xD;&#xA;&#xD;&#xA;I don't want to buy twice, so I want to be smart up front in choosing where I sink my initial funds. Just based on my previous experience I'm leaning towards having quality mics that I know how to use and acquiring a great recorder and pre's later on, but I've never had to be on site capturing sound -- is a more reliable field recorder wiser?&#xD;&#xA;&#xD;&#xA;What would you do? What did you do? Any and all feedback is deeply appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="31010" PostHistoryTypeId="1" PostId="19140" RevisionGUID="fa9a10d2-b41c-429d-b68a-7997eba246d3" CreationDate="2013-05-08T18:25:41.370" UserId="5998" Text="First big investment for my sound kit - microphone or recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31011" PostHistoryTypeId="3" PostId="19140" RevisionGUID="fa9a10d2-b41c-429d-b68a-7997eba246d3" CreationDate="2013-05-08T18:25:41.370" UserId="5998" Text="&lt;newbie&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31012" PostHistoryTypeId="2" PostId="19141" RevisionGUID="dc0ce77d-e148-4f9f-96be-af1d2cd2a9f9" CreationDate="2013-05-08T18:29:23.467" UserId="4390" Text="Not much to add, except for a small cheat I like to employ sometimes:&#xD;&#xA;&#xD;&#xA;- When I want to create mono files from a stereo source I recorded close range (if, say, I used a portable recorder with built in mics in X/Y or AB), I just pan to either L or R, and render the side that sounds the best - to a mono file. No phasing problems that way." ContentLicense="CC BY-SA 3.0" />
  <row Id="31013" PostHistoryTypeId="2" PostId="19142" RevisionGUID="4f113d93-d87c-403e-a114-d5913a2f0083" CreationDate="2013-05-08T18:36:05.283" UserId="4390" Text="Hello there!&#xD;&#xA;Well, I would go for great mics first, then splash on a recorder later. I mean, great mics have been pretty much the same (makes, models, technology) for decades, while recorders keep getting better, smaller, cheaper every year.&#xD;&#xA;&#xD;&#xA;OTOH, if working on a production requires a recorder with timecode, then a Zoom won't cut it..." ContentLicense="CC BY-SA 3.0" />
  <row Id="31014" PostHistoryTypeId="2" PostId="19143" RevisionGUID="d4ea0263-5729-4fb1-aabb-d0b1263dbb33" CreationDate="2013-05-08T18:47:21.723" UserId="3179" Text="Mic &gt; recorder in most cases. Mics have more variation in quality and price:quality correlation and you generally get what you pay for and you get your money's worth. Many/all recorders above a certain threshold are all very good quality or &quot;good enough&quot; and in that case the recorder won't matter as much as what the mic connected to it is. Mics also come in different shapes (polar patterns etc.), whereas recorders are &quot;universal&quot;. Mics are also long lasting. If you treat them well, they'll last and can even hold their monetary value pretty well.&#xD;&#xA;&#xD;&#xA;Even when money is the issue, mics over recorders:&#xD;&#xA;&#xD;&#xA;Practical example:&lt;br&gt;&#xD;&#xA;1. SD702 and a cheap mic.&lt;br&gt;&#xD;&#xA;OR&lt;br&gt;&#xD;&#xA;2. Fostex FR2-LE&#xD;&#xA;   and an excellent mic (or multiple mics) for the price&#xD;&#xA;   difference between SD702 and the&#xD;&#xA;   FR2-LE.&#xD;&#xA;&#xD;&#xA;-&gt; 2. is better.&#xD;&#xA;&#xD;&#xA;The only issues are if you immediately require features like timecode or more than two channels, which tend to be features of more expensive non-pocket recorders." ContentLicense="CC BY-SA 3.0" />
  <row Id="31015" PostHistoryTypeId="5" PostId="19143" RevisionGUID="6477a933-14a6-4418-a177-b4a0ae095523" CreationDate="2013-05-08T18:53:03.883" UserId="3179" Comment="added 13 characters in body; added 83 characters in body; added 5 characters in body" Text="Mic &gt; recorder in most cases. Mics have more variation in quality and price:quality correlation and you generally get what you pay for and you get your money's worth. Many/all recorders above a certain threshold are all very good quality or &quot;good enough&quot; and in that case the recorder won't matter as much as what the mic connected to it is. Mics also come in different shapes (polar patterns etc.), whereas recorders are &quot;universal&quot;. Mics are also long lasting. If you treat them well, they'll last and can even hold their monetary value pretty well.&#xD;&#xA;&#xD;&#xA;Even when money is the issue, mics over recorders:&#xD;&#xA;&#xD;&#xA;Practical example:&lt;br&gt;&#xD;&#xA;1. SD702 and a cheap mic and perhaps no accessories (booms poles, wind protection etc.).&lt;br&gt;&#xD;&#xA;OR&lt;br&gt;&#xD;&#xA;2. Fostex FR2-LE&#xD;&#xA;   and an excellent mic (or multiple mics or including accessories) for the price&#xD;&#xA;   difference between SD702 and the&#xD;&#xA;   FR2-LE.&#xD;&#xA;&#xD;&#xA;-&gt; 2. is better.&#xD;&#xA;&#xD;&#xA;The only issues in recorders are if you immediately require features like timecode or more than two channels, which tend to be features of more expensive non-pocket recorders." ContentLicense="CC BY-SA 3.0" />
  <row Id="31016" PostHistoryTypeId="5" PostId="19143" RevisionGUID="70f342b8-d25f-45bd-8b28-4a74b5a6e676" CreationDate="2013-05-08T19:04:57.763" UserId="3179" Comment="added 33 characters in body; added 101 characters in body" Text="Mic &gt; recorder in most cases. Mics have more variation in quality and price:quality correlation and you generally get what you pay for and you get your money's worth. Many/all recorders above a certain threshold are all very good quality or &quot;good enough&quot; and in that case the recorder won't matter as much as what the mic connected to it is and investing more money to recorders won't bring as drastic differences as it brings in microphones. Mics also come in different shapes (polar patterns etc.), whereas recorders are &quot;universal&quot; (get one and it serves all uses). Mics are also long lasting. If you treat them well, they'll last and can even hold their monetary value pretty well.&#xD;&#xA;&#xD;&#xA;Even when money is the issue, mics over recorders:&#xD;&#xA;&#xD;&#xA;Practical example:&lt;br&gt;&#xD;&#xA;1. SD702 and a cheap mic and perhaps no accessories (booms poles, wind protection etc.).&lt;br&gt;&#xD;&#xA;OR&lt;br&gt;&#xD;&#xA;2. Fostex FR2-LE&#xD;&#xA;   and an excellent mic (or multiple mics or including accessories) for the price&#xD;&#xA;   difference between SD702 and the&#xD;&#xA;   FR2-LE.&#xD;&#xA;&#xD;&#xA;-&gt; 2. is better.&#xD;&#xA;&#xD;&#xA;The only issues in recorders are if you immediately require features like timecode or more than two channels, which tend to be features of more expensive non-pocket recorders." ContentLicense="CC BY-SA 3.0" />
  <row Id="31017" PostHistoryTypeId="2" PostId="19144" RevisionGUID="bb763d33-abc8-4235-adfa-e84901e7db48" CreationDate="2013-05-08T20:39:04.003" UserId="37" Text="Is it for location sound e.g. shoots? Sound/effect acquisition? Voice work?&#xD;&#xA;&#xD;&#xA;If 1 then a set of mics and preamp, if 2 then maybe a good portable recorder.&#xD;&#xA;&#xD;&#xA;Some of us do: affordable but carefully picked [recorder][1], good portable preamp/mixer, good value [microphone(s)][2]. Enough separate pieces and you can start combining them as the situation demands. On smaller/DSLR shoots you [can][3] run cables from the mixer to the camera and forgo timecode. Then there's recording direct to laptop. So you have options.&#xD;&#xA;&#xD;&#xA;p.s. Beats me why Zoom H4n and not Sony PCM-D50.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avisoft.com/recordertests.htm&#xD;&#xA;  [2]: http://recordinghacks.com/microphones&#xD;&#xA;  [3]: http://www.sounddevices.com/download/photos/mixpre-d-in-out-1800px.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="31019" PostHistoryTypeId="2" PostId="19146" RevisionGUID="4ea57cbf-e0f5-4abd-9022-0a0f13edc958" CreationDate="2013-05-09T00:38:52.163" UserId="6001" Text="Hi,&#xD;&#xA;&#xD;&#xA;What is the main purpose of recording an impulse response?&#xD;&#xA;&#xD;&#xA;Is it just to have an idea of the kind of reflections of the room you're recording on?&#xD;&#xA;&#xD;&#xA;When to do it in a production?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="31020" PostHistoryTypeId="1" PostId="19146" RevisionGUID="4ea57cbf-e0f5-4abd-9022-0a0f13edc958" CreationDate="2013-05-09T00:38:52.163" UserId="6001" Text="Impulse response and room tone" ContentLicense="CC BY-SA 3.0" />
  <row Id="31021" PostHistoryTypeId="3" PostId="19146" RevisionGUID="4ea57cbf-e0f5-4abd-9022-0a0f13edc958" CreationDate="2013-05-09T00:38:52.163" UserId="6001" Text="&lt;impulse-response&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31022" PostHistoryTypeId="2" PostId="19147" RevisionGUID="9ed2c2dd-aacb-4cc4-9197-fb5898e30114" CreationDate="2013-05-09T01:54:01.777" UserId="5982" Text="an impulse response perfectly describes how an impulse behaves in a room.&#xD;&#xA;&#xD;&#xA;if you know how an impulse behaves in a room you can accurately describe the behavioral of any sound in that space, using a technique called convolution.&#xD;&#xA;&#xD;&#xA;http://www.audioease.com/Pages/Altiverb/sampling.php this is a really great video for explaining the basics.&#xD;&#xA;&#xD;&#xA;the main purpose of recording an impulse response to is be able to simulate the acoustics of a space on another sound (either from somewhere you've been, or somewhere someone else has been).&#xD;&#xA;&#xD;&#xA;impulse responses don't just have to be taken in rooms. any system (where you can record the difference between the input and output) can produce an impulse response, like a filter for example.&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Impulse_response&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Convolution_reverb&#xD;&#xA;&#xD;&#xA;http://freeverb3.sourceforge.net/&#xD;&#xA;&#xD;&#xA;http://www.audioease.com/Pages/Altiverb/index.php&#xD;&#xA;&#xD;&#xA;http://www.waves.com/Content.aspx?id=250&#xD;&#xA;&#xD;&#xA;as for when to do it during the course of a production, i can't really comment from a professional point of view. however, it is my understand that it is common practice to record impulse responses of any space where production sound is recorded." ContentLicense="CC BY-SA 3.0" />
  <row Id="31023" PostHistoryTypeId="4" PostId="19097" RevisionGUID="162852e0-8081-4b6f-ad92-536df0ab7aad" CreationDate="2013-05-09T02:24:02.880" UserId="6001" Comment="edited title" Text="Avantone CK-1 Mic" ContentLicense="CC BY-SA 3.0" />
  <row Id="31024" PostHistoryTypeId="2" PostId="19148" RevisionGUID="fb3a8f34-1274-409c-8dbd-2a31fb164ab9" CreationDate="2013-05-09T06:23:34.980" UserId="5624" Text="I would say go with two mics for versatility. I use a Schoeps MS set up and love it but there are situations where I would rather use an XY or ORTF configuration if I had the option.&#xD;&#xA;&#xD;&#xA;Another thought to consider is when summing a decoded MS recording back to mono you are cancelling out the figure 8 or side component completely. Essentially this means you've just recorded in mono as there is no stereo information left. An XY recording will have slight phase cancellations when summed back but you are retaining the stereo information.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31025" PostHistoryTypeId="6" PostId="19140" RevisionGUID="ce8031fb-f0fd-4867-941f-70c2edeaad15" CreationDate="2013-05-09T07:47:27.737" UserId="1228" Comment="edited tags; edited tags" Text="&lt;gear&gt;&lt;field-recording&gt;&lt;recommendations&gt;&lt;microphone&gt;&lt;purchase-advice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31026" PostHistoryTypeId="2" PostId="19149" RevisionGUID="261ffa65-e827-43e1-a114-4e0260f32125" CreationDate="2013-05-09T08:16:41.373" UserId="1014" Text="I recently made the same decision, investing some money on recording gear to increase overall quality of my recordings. I bought a SD702, a Sennheiser MHK416, a Rode Blimp and a boom pole, spending around 3k euros. My opinion (based on my experience) is that a good quality recorder, with excellent preamps and converters, makes the difference. I compared two recordings made with a cheap SE2200A using a MOTU 828MKII and SD702, where SD702 wins without any doubt.&#xD;&#xA;&#xD;&#xA;My 2c,&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="31027" PostHistoryTypeId="2" PostId="19150" RevisionGUID="d7e6a21a-dbe4-467b-99aa-4e9e41ac4663" CreationDate="2013-05-09T15:55:48.293" UserId="6460" Text="A couple poeple touched on this indirectly, but I think it's worth emphasizing that not all recorders produce a true '48V' phantom power at the preamp. While some mics function fine in any situation, high-quality condensers that expect the full drive will perform strangely with the lessened voltage. This has been a problem with the Zoom H4 series before. Preamp circuitry (and overall build) quality is the reason I sprung for a Sound Devices recorder off-the-bat. &#xD;&#xA;&#xD;&#xA;An external preamp is also always an option—an H4n with a Sound Devices MP-1 is quite affordable compared to the 702.&#xD;&#xA;&#xD;&#xA;My $.02,&#xD;&#xA;&lt;br&gt; ~Matt&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31028" PostHistoryTypeId="2" PostId="19151" RevisionGUID="e5d5b424-df7c-4df7-9d96-e73c932e0623" CreationDate="2013-05-09T18:40:34.990" UserId="5974" Text="Does anyone have any advice on recording impulse responses from their own experiences?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31029" PostHistoryTypeId="2" PostId="19152" RevisionGUID="8cb8bc05-da67-4062-ac65-19d95a89fa5f" CreationDate="2013-05-09T19:51:07.060" UserId="6017" Text="Also, I have found that if you plug a very sensitive mic into the xlr instead you get a much lower noise floor. For eg, I used the H4n as an audio interface with an SM58 in the xlr input then i tried my Rode condenser and the noise floor was lower by the amount of the difference in mic sensitivities. It's not convenient, but i guess it supports the theory that a mic pre would do the same thing" ContentLicense="CC BY-SA 3.0" />
  <row Id="31030" PostHistoryTypeId="2" PostId="19153" RevisionGUID="2d107bd5-6382-4baa-884e-bab11f957609" CreationDate="2013-05-09T20:22:06.983" UserId="6018" Text="I do audiobook editing for a local library. I am using sound forge currently. Are there any recommendations for other editors? I get a lot of pops and lip smacking. It seems to take forever to finish. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31031" PostHistoryTypeId="1" PostId="19153" RevisionGUID="2d107bd5-6382-4baa-884e-bab11f957609" CreationDate="2013-05-09T20:22:06.983" UserId="6018" Text="Best software to use for editing audiobooks?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31032" PostHistoryTypeId="3" PostId="19153" RevisionGUID="2d107bd5-6382-4baa-884e-bab11f957609" CreationDate="2013-05-09T20:22:06.983" UserId="6018" Text="&lt;audiobook&gt;&lt;wave-editor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31033" PostHistoryTypeId="2" PostId="19154" RevisionGUID="acf5740f-9f87-4668-b0f3-4ecbeba25d50" CreationDate="2013-05-09T20:48:03.627" UserId="1228" Text="This post may be insightful: http://www.stavrosound.com/blog/wordpress/2012/02/the-rice-crispies-mix-snap-crackle-pop/&#xD;&#xA;&#xD;&#xA;The deal is, with what you mention, is that it really doesn't matter what software tool you use at all - there is no magic bullet to this stuff.  it's about rolling up your sleeves and getting dirty like how professional dialogue editors for film/tv do (the above post goes into details).  Sometimes plugins from Waves or iZotope can help but it's like that old phrase of &quot;the tools always change but the process stays the same&quot;.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31036" PostHistoryTypeId="2" PostId="19157" RevisionGUID="f1320415-4b7e-4ed0-8418-c91d9d9bfb6d" CreationDate="2013-05-10T03:16:36.230" UserId="4442" Text="@Gaz&#xD;&#xA;&#xD;&#xA;A tool like Apple's IR Utility included with Logic actually does most of the work for you. It assists you with the setup and where to place your mics, you feed it the information and measurements and provide it with a short sound like a whip crack or starter pistol or sine sweep and it deconvolves it all for you. Check out this link below for a little more info. It talks speciifically about space designer, but the method is really the same.&#xD;&#xA;[IR Utility manual][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://help.apple.com/impulseresponseutility/mac/1.0.3/en/impulseresponseutility/usermanual/Impulse%20Response%20Utility%20User%20Manual%20(en).pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="31039" PostHistoryTypeId="2" PostId="19160" RevisionGUID="cfe8db04-74c5-4a6e-9c01-5f9fbf5a238e" CreationDate="2013-05-10T06:57:14.243" UserId="6022" Text="I have the waves plugin IR-1 Convolution Reverb.  They have a frequency sweep file on their website too that you can download along with instructions on how to do everything.&#xD;&#xA;&#xD;&#xA;http://waves.com/content.aspx?id=96  &gt;  At the bottom of the page, you have to make an account to download it though." ContentLicense="CC BY-SA 3.0" />
  <row Id="31040" PostHistoryTypeId="2" PostId="19161" RevisionGUID="6755a53b-60c0-439f-bd59-8456fcba1d4b" CreationDate="2013-05-10T07:19:51.700" UserId="5989" Text="In your normal work routine as a sound engineer is there anything to look out for? I began to fear about my hearing ability. I don't even know that right now am I hearing the same thing as others? (compared to same age range)&#xD;&#xA;&#xD;&#xA;I began to question my self after my friend lend me his Yuin PK1 earbud, which he tell me it's the best earbud everyone using. But I think it's sound is no match for my WAY cheaper AKG K313 earbud. Am I missing something in my ears?&#xD;&#xA;&#xD;&#xA;I generally don't exposed to obviously dangerous sound like construction site or factory but I'm still in doubt." ContentLicense="CC BY-SA 3.0" />
  <row Id="31041" PostHistoryTypeId="1" PostId="19161" RevisionGUID="6755a53b-60c0-439f-bd59-8456fcba1d4b" CreationDate="2013-05-10T07:19:51.700" UserId="5989" Text="How to preserve your hearing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31042" PostHistoryTypeId="3" PostId="19161" RevisionGUID="6755a53b-60c0-439f-bd59-8456fcba1d4b" CreationDate="2013-05-10T07:19:51.700" UserId="5989" Text="&lt;hearing&gt;&lt;hearing-damage&gt;&lt;earbuds&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31043" PostHistoryTypeId="5" PostId="18494" RevisionGUID="6f36af7a-0d87-487c-9357-46990053d54d" CreationDate="2013-05-10T07:22:17.093" UserId="1178" Comment="Added new website" Text="http://www.soundjay.com/&#xD;&#xA;&#xD;&#xA;Few gigs of high quality sound efffects for free, terms of use as followed: &#xD;&#xA;&#xD;&#xA;&quot;Sound Effects&#xD;&#xA;You are allowed to use the sounds free of charge and royalty free in your projects (such as films, videos, games, presentations, animations, stage plays, radio plays, audio books, apps) be it for commercial or non-commercial purposes.&quot;&#xD;&#xA;&#xD;&#xA;http://www.soundmorph.com/index.php?page=free&#xD;&#xA;&#xD;&#xA;&quot;All CONTENT in this product is licensed, but not sold, to you by SoundMorph. for commercial and non-commercial use in music, sound-effect, audio/video post-production, performance, broadcast or similar finished content-creation and production use.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31044" PostHistoryTypeId="2" PostId="19162" RevisionGUID="dc3e4ddc-fece-4aec-b659-952570f516c3" CreationDate="2013-05-10T07:46:05.490" UserId="18" Text="If you think you're hearing is not as good as it should be for your age range, then get checked out by a hearing specialist.&#xD;&#xA;&#xD;&#xA;To try and maintain your hearing: Limit exposure to loud sounds as much as possible.  Calibrate your monitor system to a sane level.  When working, monitor at low levels as much as possible.  Wear earplugs in loud environments (concerts, clubs, bars, ext).  And don't wear ear buds and limit headphone use, people tend to overdo the volume levels and exposure times when using ear buds and headphones." ContentLicense="CC BY-SA 3.0" />
  <row Id="31045" PostHistoryTypeId="2" PostId="19163" RevisionGUID="4f6abd8d-090f-4938-8025-e83670e6ab65" CreationDate="2013-05-10T08:43:58.307" UserId="3179" Text="&gt; In your normal work routine as a sound&#xD;&#xA;&gt; engineer is there anything to look out&#xD;&#xA;&gt; for? I began to fear about my hearing&#xD;&#xA;&gt; ability. I don't even know that right&#xD;&#xA;&gt; now am I hearing the same thing as&#xD;&#xA;&gt; others? (compared to same age range)&#xD;&#xA;&gt; &#xD;&#xA;&gt; I began to question my self after my&#xD;&#xA;&gt; friend lend me his Yuin PK1 earbud,&#xD;&#xA;&gt; which he tell me it's the best earbud&#xD;&#xA;&gt; everyone using. But I think it's sound&#xD;&#xA;&gt; is no match for my WAY cheaper AKG&#xD;&#xA;&gt; K313 earbud. Am I missing something in&#xD;&#xA;&gt; my ears?&#xD;&#xA;&#xD;&#xA;To me that sounds more like individual preference. I cannot claim to know the medical or biological basis, but we could informally state or believe that everyone's hearing is (physically) different. And it's easy to see empirically that e.g. people working on sound prefer different types of music and sound, playback systems and gear. Some things just sound better/best to some people, but not for everyone.&#xD;&#xA;&#xD;&#xA;&gt; I generally don't exposed to obviously&#xD;&#xA;&gt; dangerous sound like construction site&#xD;&#xA;&gt; or factory but I'm still in doubt.&#xD;&#xA;&#xD;&#xA;As Chuck says, avoid environments where you might be exposed to loud sounds (e.g. loud concerts, clubs, places with loud machinery) or if you do go to such places, then always bring hearing protection with you and use it.&#xD;&#xA;&#xD;&#xA;Also, do some reading about hearing safety when exposed to loud or prolonged sound, because the sound profession entails that you might be working 8-12 hours or more on an almost daily basis and there are guidelines and scientific knowledge or estimations regarding how loud sounds are safe, how long is it safe to be exposed to a certain loudness level and how much time your ears need to recover from the exposition. Knowing how the human hearing works should also benefit your own work, because you'll be able to calibrate the loudness of your listening system, take appropriate breaks and work in a way that doesn't exhaust your hearing (after which you don't hear clearly until your ears recover [unless of course you've caused permanent damage]) and lead to fallacious decisions in sound production and especially sound mixing.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31046" PostHistoryTypeId="5" PostId="19163" RevisionGUID="f8f369df-adc4-4307-b347-c932360c99bc" CreationDate="2013-05-10T08:53:55.340" UserId="3179" Comment="added 11 characters in body" Text="&gt; In your normal work routine as a sound&#xD;&#xA;&gt; engineer is there anything to look out&#xD;&#xA;&gt; for? I began to fear about my hearing&#xD;&#xA;&gt; ability. I don't even know that right&#xD;&#xA;&gt; now am I hearing the same thing as&#xD;&#xA;&gt; others? (compared to same age range)&#xD;&#xA;&gt; &#xD;&#xA;&gt; I began to question my self after my&#xD;&#xA;&gt; friend lend me his Yuin PK1 earbud,&#xD;&#xA;&gt; which he tell me it's the best earbud&#xD;&#xA;&gt; everyone using. But I think it's sound&#xD;&#xA;&gt; is no match for my WAY cheaper AKG&#xD;&#xA;&gt; K313 earbud. Am I missing something in&#xD;&#xA;&gt; my ears?&#xD;&#xA;&#xD;&#xA;To me that sounds more like individual preference. I cannot claim to know the medical or biological basis, but we could informally state or believe that everyone's hearing is (physically) different. And it's easy to see empirically that e.g. people working on sound prefer different types of music and sound, playback systems and gear. Some things just sound better/best to some people, but not for everyone.&#xD;&#xA;&#xD;&#xA;&gt; I generally don't exposed to obviously&#xD;&#xA;&gt; dangerous sound like construction site&#xD;&#xA;&gt; or factory but I'm still in doubt.&#xD;&#xA;&#xD;&#xA;As Chuck says, avoid environments where you might be exposed to loud sounds (e.g. loud concerts, clubs, places with loud machinery) or if you do go to such places, then always bring hearing protection with you and use it.&#xD;&#xA;&#xD;&#xA;Also, do some reading about hearing safety when exposed to loud or prolonged sound, because the sound profession entails that you might be working with sound 8-12 hours or more on an almost daily basis and there are guidelines and scientific knowledge or estimations regarding how loud sounds are safe, how long is it safe to be exposed to a certain loudness level and how much time your ears need to recover from the exposition. Knowing how the human hearing works should also benefit your own work, because you'll be able to calibrate the loudness of your listening system, take appropriate breaks and work in a way that doesn't exhaust your hearing (after which you don't hear clearly until your ears recover [unless of course you've caused permanent damage]) and lead to fallacious decisions in sound production and especially sound mixing.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31047" PostHistoryTypeId="2" PostId="19164" RevisionGUID="887888f9-cece-4535-bea3-717ff349cdf1" CreationDate="2013-05-10T10:22:08.970" UserId="37" Text="I think you should look at the frequency response curves of headphones.. Might drop a fair chunk of your worries..&#xD;&#xA;&#xD;&#xA; ![frequency response][2]&#xD;&#xA;&#xD;&#xA;common sense regarding loudness (you only get one pair of eardrums) and watch out for emergency vehicles passing by close.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [2]: http://graphs.headphone.com/graphCompare.php?graphType=0&amp;graphID[]=4031&amp;graphID[]=1083&amp;graphID[]=1893&amp;graphID[]=753&amp;scale=20" ContentLicense="CC BY-SA 3.0" />
  <row Id="31049" PostHistoryTypeId="2" PostId="19166" RevisionGUID="35153260-baf0-47cb-8837-94ee348d425c" CreationDate="2013-05-10T19:50:30.093" UserId="5989" Text="Back when I'm still studying in high school I remembered I have this very weird problem, but have no one to turn to at that time. I played music games on my computer a lot. One day I notice that in the morning I launch my music games again like everyday but every song is now slowed down! &#xD;&#xA;&#xD;&#xA;I'm not sure that last night I played so much that the song speed up in my head and when resting the brain somehow recovered so the next day I have the impression of song slowed down... or if you listen to music in the morning when your brain isn't fully activated the song will appears to have lower BPM?&#xD;&#xA;&#xD;&#xA;Pretty weird, not sure someone had this or not and it's not easy to search for in the internet. There might be some theories I think people here might know..&#xD;&#xA;&#xD;&#xA;Off-topic : I had this strange thing in my eyes that is when I looked at white wall and try rolling my eyeballs there will be some semi-transparent thing float around! Of course like this problem, I don't know what terms to search for on Google lol. (Luckily I found out that it's called &quot;Floater&quot; not &quot;Amoeba in eyes&quot; that I searched for.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31050" PostHistoryTypeId="1" PostId="19166" RevisionGUID="35153260-baf0-47cb-8837-94ee348d425c" CreationDate="2013-05-10T19:50:30.093" UserId="5989" Text="Sound perception slowed down in the morning?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31051" PostHistoryTypeId="3" PostId="19166" RevisionGUID="35153260-baf0-47cb-8837-94ee348d425c" CreationDate="2013-05-10T19:50:30.093" UserId="5989" Text="&lt;perception&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31052" PostHistoryTypeId="2" PostId="19167" RevisionGUID="63bfc3ef-8798-4c94-b2bc-4efed9210660" CreationDate="2013-05-10T20:01:45.080" UserId="4390" Text="I liked mine a lot too when I first got it. But I sure haven't missed the INSANE amount of handling noise from the H1, since I upgraded to a Sony PCM M10..." ContentLicense="CC BY-SA 3.0" />
  <row Id="31053" PostHistoryTypeId="2" PostId="19168" RevisionGUID="1cbf573c-b95b-4d58-8c92-d6293eb13ea3" CreationDate="2013-05-10T20:26:59.053" UserId="3179" Text="&gt; I played music games on my computer **a lot.**&#xD;&#xA;&#xD;&#xA;This might explain something. I don't find it extraordinary that if you focus on some activity (which may involve deep concentration) for prolonged periods that your &quot;brain and senses&quot; kind of get &quot;locked&quot; into those sensations that are sensed during that prolonged activity. Also, I don't find it particularly difficult to sometimes &quot;trick&quot; your senses, when you assume/expect something to be something (e.g. in your case a song to have a certain tempo) and it &quot;turns out to be/feel different than what you expected&quot;. Suggestion is a powerful tool.&#xD;&#xA;&#xD;&#xA;Sensory hallucinations tend to be more random (and if they're of an uncommon type, then they're usually a symptom of some serious illness). As long they're not something different than the common types like those floaters, then it should be &quot;normal&quot;.&#xD;&#xA;&#xD;&#xA;Btw, I don't think this is the right or best place to ask for medical advice." ContentLicense="CC BY-SA 3.0" />
  <row Id="31054" PostHistoryTypeId="5" PostId="19168" RevisionGUID="bd83f36a-2ccf-4846-addb-34f9ffe4776a" CreationDate="2013-05-10T20:32:44.310" UserId="3179" Comment="added 40 characters in body" Text="&gt; I played music games on my computer **a lot.**&#xD;&#xA;&#xD;&#xA;This might explain something. I don't find it extraordinary that if you focus on some activity (which may involve deep concentration) for prolonged periods that your &quot;brain and senses&quot; kind of get &quot;locked&quot; into those sensations that are sensed during that prolonged activity. Also, I don't find it particularly difficult to sometimes &quot;trick&quot; your senses, when you assume/expect something to be something (e.g. in your case a song to have a certain tempo) and it &quot;turns out to be/feel different than what you expected&quot;. Suggestion is a powerful tool.&#xD;&#xA;&#xD;&#xA;Sensory hallucinations tend to be more random (and if they're of an uncommon type, last long or are very believable/strong then they're usually a symptom of some serious illness). As long they're not something different than the common types like those floaters, then it should be &quot;normal&quot;.&#xD;&#xA;&#xD;&#xA;Btw, I don't think this is the right or best place to ask for medical advice." ContentLicense="CC BY-SA 3.0" />
  <row Id="31055" PostHistoryTypeId="2" PostId="19169" RevisionGUID="40f5eb17-f500-4f28-9084-1ec10afc7359" CreationDate="2013-05-10T20:52:38.533" UserId="37" Text="Sometimes you can play a track that sounds slower on headphones than on speakers. The more detail your brain is able to lock onto, the more time resolution you can get, and things _sound_ at quicker or slower tempos. &quot;Real time&quot; becomes subjective. &#xD;&#xA;&#xD;&#xA;One _supposedly_ concentrates better before noon. &#xD;&#xA;&#xD;&#xA;In moments of very intense concentration, like risk situations requiring quick reactions, things almost seem to roll in slow motion. See http://en.wikipedia.org/wiki/Slow_motion_perception&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31056" PostHistoryTypeId="2" PostId="19170" RevisionGUID="d7fc4321-77d9-429f-9c56-acd5ac19e661" CreationDate="2013-05-11T01:44:15.923" UserId="5738" Text="I'm working on a film that takes place on a passenger jet that is modified to fly at high altitudes. black ops kind of thing. in the script, the pilot fights off a cockpit invasion by firing off a flurry of shots. one of which hits a character in the face; ouch. But the rest ricochet/embed themselves somewhere in the plane. they do not pierce the fuselage, which I assume is correct for a gun designed to be used for airplane security...&#xD;&#xA;&#xD;&#xA;my questions are, what caliber might that be? should there be soft metal impacts, assuming the bullets are made to smash or crush? would there be a crazy tight high feedback/hard delay effect, like shooting a gun in a basement?&#xD;&#xA;&#xD;&#xA;I suppose the other question would be about the cockpit/cabin atmosphere. what effect would higher than normal altitudes have on the typical sound we're used to? higher pitched? or more pressurized, so possibly... quieter? what do you guys and gals think?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31057" PostHistoryTypeId="1" PostId="19170" RevisionGUID="d7fc4321-77d9-429f-9c56-acd5ac19e661" CreationDate="2013-05-11T01:44:15.923" UserId="5738" Text="Design for a handgun fired on a high altitude passenger jet" ContentLicense="CC BY-SA 3.0" />
  <row Id="31058" PostHistoryTypeId="3" PostId="19170" RevisionGUID="d7fc4321-77d9-429f-9c56-acd5ac19e661" CreationDate="2013-05-11T01:44:15.923" UserId="5738" Text="&lt;film-sound-design&gt;&lt;sound-design&gt;&lt;guns&gt;&lt;gunshot&gt;&lt;airplane&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31059" PostHistoryTypeId="2" PostId="19171" RevisionGUID="8c8521b1-7ddb-4122-934b-787b026196fd" CreationDate="2013-05-11T02:30:48.983" UserId="1228" Text="You say Black Ops, so I would guess likely something like a Glock 17 or 26, or SIG-Sauer variety, maybe even a Beretta 92 if you're talking handguns (especially silencers).  If they have assault rifles, my guess would be something more like an M4, H&amp;K MP5, maybe an FN P90, or an AK74.&#xD;&#xA;&#xD;&#xA;Check this out too:&#xD;&#xA;&#xD;&#xA;[Internet Movie Firearm Database][1]&#xD;&#xA;&#xD;&#xA;In the end though, the sound can be whatever you want it to be as long as it fits the style of gun (pistol versus rifle) and feels right - some guns may look like you'd hear more of the mechanics, whereas others you see may feel more like a solid 'boom'.  It's a taste thing, designing the sound of each one so the feel right and fit the character.  I'd opt for the idea of not taking it quite so literally as long as you follow the above mentioned general ideas.&#xD;&#xA;&#xD;&#xA;Same goes for the ricos/impacts.  giving the ricos an interesting character could flavor up the scene and give it a more claustrophobic feel.  If we see the metal chassis, maybe play them bigger sharper metal with interesting decays (like in a submarine), but if it's a more finished interior with carpeting, etc it might be good to play more muted but thumps, with some metal showing throw on occasion.  Again, going by what you see and what feels right.  It's the kind of thing nobody can really teach, you have to feel it out - some can and some have trouble.  Studying films of similar nature might give you some ideas to elaborate upon too.&#xD;&#xA;&#xD;&#xA;As for the interior, definitely pressurized - a very distinctive sound compared to a house room.  It's going to usually have a thich (mid-hi) air quality and usually some sort of distinctive air whine, often with a slight metallic quality.  Think of a server room, but just the air/fans.  Frank Bry has an outstanding set of well-recorded Airplane interiors on his Recordist site.  In my opinion I would never just drop one of those in and call it a day, but it serves as fantastic source material palette to build upon and layer.  Think of other source material for which air moves or has an interesting whine - fans (even small ones), jets, HVAC units, hiss, roadside electrical boxes (these have such interesting sounds!), blow dryers, fridge int air.  Lots of source material to pull from.&#xD;&#xA;&#xD;&#xA;I think you are not suffering from uncertainty, but rather not committing to trying a specific idea ;)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imfdb.org/wiki/Main_Page" ContentLicense="CC BY-SA 3.0" />
  <row Id="31060" PostHistoryTypeId="5" PostId="19171" RevisionGUID="743ad13c-ad27-4696-aebf-e08420042c54" CreationDate="2013-05-11T02:40:54.797" UserId="1228" Comment="added 442 characters in body" Text="You say Black Ops, so I would guess likely something like a Glock 17 or 26, or SIG-Sauer variety, maybe even a Beretta 92 if you're talking handguns (especially silencers).  If they have assault rifles, my guess would be something more like an M4, H&amp;K MP5, maybe an FN P90, or an AK74.&#xD;&#xA;&#xD;&#xA;Check this out too:&#xD;&#xA;&#xD;&#xA;[Internet Movie Firearm Database][1]&#xD;&#xA;&#xD;&#xA;In the end though, the sound can be whatever you want it to be as long as it fits the style of gun (pistol versus rifle) and feels right - some guns may look like you'd hear more of the mechanics, whereas others you see may feel more like a solid 'boom'.  It's a taste thing, designing the sound of each one so the feel right and fit the character.  I'd opt for the idea of not taking it quite so literally as long as you follow the above mentioned general ideas.&#xD;&#xA;&#xD;&#xA;Same goes for the ricos/impacts.  giving the ricos an interesting character could flavor up the scene and give it a more claustrophobic feel.  If we see the metal chassis, maybe play them bigger sharper metal with interesting decays (like in a submarine), but if it's a more finished interior with carpeting, etc it might be good to play more muted but thumps, with some metal showing throw on occasion.  Again, going by what you see and what feels right.  It's the kind of thing nobody can really teach, you have to feel it out - some can and some have trouble.  Studying films of similar nature might give you some ideas to elaborate upon too.&#xD;&#xA;&#xD;&#xA;As for the interior, definitely pressurized - a very distinctive sound compared to a house room.  It's going to usually have a thich (mid-hi) air quality and usually some sort of distinctive air whine, often with a slight metallic quality.  Think of a server room, but just the air/fans.  Frank Bry has an outstanding set of well-recorded Airplane interiors on his Recordist site.  In my opinion I would never just drop one of those in and call it a day, but it serves as fantastic source material palette to build upon and layer.  Think of other source material for which air moves or has an interesting whine - fans (even small ones), jets, HVAC units, hiss, roadside electrical boxes (these have such interesting sounds!), blow dryers, fridge int air.  Lots of source material to pull from.&#xD;&#xA;&#xD;&#xA;I think you are not suffering from uncertainty, but rather not committing to trying a specific idea ;)&#xD;&#xA;&#xD;&#xA;P.S. Please, for the love of God, avoid the well-over-used silencer zip! ;)  If there are silencers going on, make it your own and design something special.  It will be worth it!  Inception has an interesting take on a silencer at the beginning which is very different than the cliche sound, as do the silencer(s) in The Iceman and the TV show Nikita.  I'm sure there are many other examples too, but.... please don't use that zip silencer!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imfdb.org/wiki/Main_Page" ContentLicense="CC BY-SA 3.0" />
  <row Id="31061" PostHistoryTypeId="2" PostId="19172" RevisionGUID="6938fd1a-4b98-4912-abcf-b2f9febb18ea" CreationDate="2013-05-11T03:57:43.847" UserId="6532" Text="So I just started work on a 23.976fps project that has some scenes that were accidentally shot in 24fps (of course, these scenes are sprinkled throughout every reel...). Sound was recorded at 23.976fps throughout -- at least that's what I was told. The editor also told me that they didn't convert any of the footage, so the Media Composer sequence has mixed frame rates.&#xD;&#xA;&#xD;&#xA;Got the AAF today. Of course, all 24fps scenes are majorly out of sync. There are two workarounds I can think of, but if those don't work I'm out of options:&#xD;&#xA;&#xD;&#xA;a) Perform a video mixdown in Avid prior to exporting, so at least all the video is in 23.976.&#xD;&#xA;&#xD;&#xA;b) Export two AAFs: one from the regular sequence at 23.976fps, another from the same sequence reinterpreted as 24fps. Then combine both in Pro Tools.&#xD;&#xA;&#xD;&#xA;Of course, neither workaround solves the drift issue, but I'm hoping that at least the In points for each clip will sync up. And most clips are short enough for the drift to not matter. For longer clips I guess I'll just manually slow audio down by 0.1%...&#xD;&#xA;&#xD;&#xA;Do any of you have experience with this sort of problem? Any ideas? I heard that Titan can deal with these types of problems, but that's definitely not in the budget.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31062" PostHistoryTypeId="1" PostId="19172" RevisionGUID="6938fd1a-4b98-4912-abcf-b2f9febb18ea" CreationDate="2013-05-11T03:57:43.847" UserId="6532" Text="23.976fps vs 24fps nightmare" ContentLicense="CC BY-SA 3.0" />
  <row Id="31063" PostHistoryTypeId="3" PostId="19172" RevisionGUID="6938fd1a-4b98-4912-abcf-b2f9febb18ea" CreationDate="2013-05-11T03:57:43.847" UserId="6532" Text="&lt;timecode&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31064" PostHistoryTypeId="2" PostId="19173" RevisionGUID="e1adce4b-1413-4633-b5dd-9839e43fe31a" CreationDate="2013-05-11T04:01:11.777" UserId="5607" Text="I have noticed something similar to this when listening to a MP3 on my computer vs in the car. It often sounds slower in the vehicle. I have no explanation as to why, but find it interesting none the less." ContentLicense="CC BY-SA 3.0" />
  <row Id="31065" PostHistoryTypeId="5" PostId="18494" RevisionGUID="f5281af5-3127-440c-a636-43ac9c9dc57d" CreationDate="2013-05-11T04:40:23.927" UserId="1178" Comment="Added new website" Text="http://www.soundjay.com/&#xD;&#xA;&#xD;&#xA;Few gigs of high quality sound efffects for free, terms of use as followed: &#xD;&#xA;&#xD;&#xA;&quot;Sound Effects&#xD;&#xA;You are allowed to use the sounds free of charge and royalty free in your projects (such as films, videos, games, presentations, animations, stage plays, radio plays, audio books, apps) be it for commercial or non-commercial purposes.&quot;&#xD;&#xA;&#xD;&#xA;http://www.soundmorph.com/index.php?page=free&#xD;&#xA;&#xD;&#xA;&quot;All CONTENT in this product is licensed, but not sold, to you by SoundMorph. for commercial and non-commercial use in music, sound-effect, audio/video post-production, performance, broadcast or similar finished content-creation and production use.&quot;&#xD;&#xA;&#xD;&#xA;http://www.blastwavefx.com/Free-SFX-Download-Pack-%231/t3/articles.html&#xD;&#xA;&#xD;&#xA;&quot;You have the right to synchronize the audio content from any Blastwave FX royalty free product with audio and/or visual productions or applications such as: film &amp; video productions - training and marketing presentations - corporate videos - on hold messages - radio presentations or commercials - television presentations or commercials - musical recordings - live performances - Web pages - multimedia presentations - interactive programs - computer games - audio-visual or computer generated displays, programs or presentations which may incorporate streaming audio or podcasts (hereinafter referred to as &quot;the Production&quot;).&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31066" PostHistoryTypeId="2" PostId="19174" RevisionGUID="6ec64f56-7db4-48dc-9361-766c9242a84b" CreationDate="2013-05-11T05:05:02.467" UserId="1178" Text="At least for me it was first introduced in the Transformer movies, but it has now found its way also into game titles such as Mass Effect series and Injustice. Now I know this question has been asked like kazilion times, but I think someone here knows exactly what piece of software / hardware people use to get that synthetic signature sound that seems to be so ever popular among professional sound designers? &#xD;&#xA;&#xD;&#xA;Obviously Trasnformers sound design is more than just those synthetic transforming sound, but I do not want to concentrate on the over all sound design of that franchise. I´m more keen on understanding the core-signal chain behind that synthetic sound they on the franchise. Now I´ve been doing some research on the topic, the Transformers Fall of Cybertron used guitar sounds to emulate the transform sound, Jean-Edouard Miclot seems to be an avid Kyma user and to top it off some say those sounds can be re-created with a pure synthesis with a synths like Native Instrument FM8. Sooo... I would like you to discuss this thing with fact not assumptions if it´s alright to you all?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31067" PostHistoryTypeId="1" PostId="19174" RevisionGUID="6ec64f56-7db4-48dc-9361-766c9242a84b" CreationDate="2013-05-11T05:05:02.467" UserId="1178" Text="That modern FM / Granular synthesis sound ...?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31068" PostHistoryTypeId="3" PostId="19174" RevisionGUID="6ec64f56-7db4-48dc-9361-766c9242a84b" CreationDate="2013-05-11T05:05:02.467" UserId="1178" Text="&lt;transformers&gt;&lt;kyma&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31069" PostHistoryTypeId="6" PostId="19174" RevisionGUID="2a2c1a3c-d784-481d-b499-bc46e10f93d3" CreationDate="2013-05-11T05:12:12.820" UserId="1178" Comment="Typos" Text="&lt;transformers&gt;&lt;kyma&gt;&lt;synthesis&gt;&lt;granular-synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31070" PostHistoryTypeId="5" PostId="19174" RevisionGUID="2a2c1a3c-d784-481d-b499-bc46e10f93d3" CreationDate="2013-05-11T05:12:12.820" UserId="1178" Comment="Typos" Text="At least for me it was first introduced in the Transformer movies, but it has now found its way also into game titles such as Mass Effect series and Injustice. Now I know this question has been asked like kazilion times, but I think someone here knows exactly what piece of software / hardware people use to get that synthetic signature sound that seems to be so ever popular among professional sound designers? &#xD;&#xA;&#xD;&#xA;Obviously Transformers sound design is more than just those synthetic transforming sound, but I do not want to concentrate on the over all sound design of that franchise. I´m more keen on understanding the core-signal chain behind that synthetic sound they on the franchise. Now I´ve been doing some research on the topic, the Transformers Fall of Cybertron used guitar sounds to emulate the transform sound, Jean-Edouard Miclot seems to be an avid Kyma user and to top it off some say those sounds can be re-created with a pure synthesis with a synths like Native Instrument FM8. Sooo... I would like you to discuss this thing with facts not assumptions if it´s alright to you all?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31071" PostHistoryTypeId="2" PostId="19175" RevisionGUID="f39fdda0-ddfa-4586-b719-6ad4a2ba8da7" CreationDate="2013-05-11T05:21:11.460" UserId="1178" Text="Ok, for those who ever might need the similar kind of mechanism, we used 70 ton crane to pull cars up to 20 meters and a Henriksen hook and a rope worked just fine. I`m sure there are similar companies that build these kinds of maritime hooks all over the world and I suggest you try to either lend them or rent them as they seem to be extremely costly.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="31072" PostHistoryTypeId="5" PostId="19175" RevisionGUID="4250af9c-91e9-4649-a033-58238832da0d" CreationDate="2013-05-11T05:32:48.867" UserId="1178" Comment="minor improvements" Text="Ok, for those who ever might need the similar kind of mechanism, we used 70 ton crane to pull cars up to 20 meters and a Henriksen hook and a rope worked just fine. I`m sure there are similar companies that build these kinds of maritime hooks all over the world and I suggest you try to either lend them or rent them as they seem to be extremely costly.  &#xD;&#xA;&#xD;&#xA;Its also worth mentioning that drops beyond 10 meters seem to have less texture and more of a less interesting &quot;bang&quot; due to the force of impact. Its also better to drop them to another car rather tahn pavement or metal plates, it also gives more detail to the impacts." ContentLicense="CC BY-SA 3.0" />
  <row Id="31073" PostHistoryTypeId="2" PostId="19176" RevisionGUID="9cfe1ad3-251c-4f53-b204-b8c87814fd8b" CreationDate="2013-05-11T06:06:14.927" UserId="1014" Text="I achieve those sounds in different ways. Ableton Operator, Reaktor, short resonant delay lines and so on. You may start with a simple FM synth and a square LFO on amplitude." ContentLicense="CC BY-SA 3.0" />
  <row Id="31074" PostHistoryTypeId="5" PostId="19176" RevisionGUID="d5a43394-42c4-4552-b5ee-933210dd36bb" CreationDate="2013-05-11T06:12:22.400" UserId="1014" Comment="added 131 characters in body" Text="I achieve those sounds in different ways. Ableton Operator, Reaktor, short resonant delay lines and so on. You may start with a simple FM synth and a square LFO on amplitude. Here is a simple raw example made with Operator: http://soundcloud.com/lucacapozzi/ableton-fun-transformers-sound&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="31075" PostHistoryTypeId="5" PostId="19176" RevisionGUID="ae29c5f0-859e-4d57-b7c4-c7dcab717c9c" CreationDate="2013-05-11T06:18:23.603" UserId="1014" Comment="added 33 characters in body" Text="I achieve those sounds in different ways. Ableton Operator, Reaktor, short resonant delay lines and so on. You may start with a simple FM synth, just a carrier and a modulator, and a square LFO on amplitude. Here is a simple raw example made with Operator: http://soundcloud.com/lucacapozzi/ableton-fun-transformers-sound&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="31076" PostHistoryTypeId="2" PostId="19177" RevisionGUID="442a1966-8ea8-45e3-8956-bca47929dd28" CreationDate="2013-05-11T07:59:03.033" UserId="37" Text="the sound design of dubstep is fast becoming the dubstep of sound design. just saying.." ContentLicense="CC BY-SA 3.0" />
  <row Id="31079" PostHistoryTypeId="2" PostId="19180" RevisionGUID="6d083816-2f0b-4a31-be66-3dac5ac1d463" CreationDate="2013-05-11T16:59:56.133" UserId="6027" Text="Hello&#xD;&#xA;I started with music about 4 years ago and then took it more seriously.&#xD;&#xA;I started to learn music theory, i play guitar and started reading some books about sound synthesis, different tutorials, etc.&#xD;&#xA;I would love to make my own songs but the problem is that I have no experience.&#xD;&#xA;I know how to use a DAW , VST, VSTi and I don't have problems with the music being disharmonic.&#xD;&#xA;My problem is that I don't know much about synthesis, how to design sounds that I want or recreate sounds that I know from other songs.&#xD;&#xA;My music is simply boring. I want to understand the theory behind music and sound design but I can't find any books that cover these things...&#xD;&#xA;Where do I learn what do I need to make a good song ?&#xD;&#xA;Where do I learn to make catchy, interesting melodies ?&#xD;&#xA;Are there any good books, tutorials or anything to teach me how to understand music, recreate sounds, create a sound that I imagined, really understand what I'm doing.&#xD;&#xA;The problem with books and tutorials is that I get a book that is too complex, and I don't like tutorials because I feel that it only teaches me to do one thing and not to understand what I'm doing ( not all tutorials, some are really helpfull )&#xD;&#xA;&#xD;&#xA;Could anyone recommend me some books or websites ?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31080" PostHistoryTypeId="1" PostId="19180" RevisionGUID="6d083816-2f0b-4a31-be66-3dac5ac1d463" CreationDate="2013-05-11T16:59:56.133" UserId="6027" Text="Music Composition" ContentLicense="CC BY-SA 3.0" />
  <row Id="31081" PostHistoryTypeId="3" PostId="19180" RevisionGUID="6d083816-2f0b-4a31-be66-3dac5ac1d463" CreationDate="2013-05-11T16:59:56.133" UserId="6027" Text="&lt;help&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31082" PostHistoryTypeId="2" PostId="19181" RevisionGUID="dcc22e64-720a-4692-ab57-9c5414922305" CreationDate="2013-05-11T17:46:57.663" UserId="1049" Text="Hi Akachi, welcome to SSD!&#xD;&#xA;&#xD;&#xA;This site is more focused on film, computer game and theatre sound design, rather than the 'synth programming' type of sound design. However, there are many in this great community who also dabble in music, and use synths regularly in their work, so you should hopefully still get some good answers!&#xD;&#xA;&#xD;&#xA;I myself would point you straight to Youtube. There are plenty of videos on there that can help you get going in creating your own synth patches from scratch. Just search for a plugin of your choice followed by the word &quot;tutorial&quot; and tonnes of stuff will pop up.&#xD;&#xA;&#xD;&#xA;[Here's a good one for Absynth to get you started][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=yRquiQYro7M" ContentLicense="CC BY-SA 3.0" />
  <row Id="31083" PostHistoryTypeId="2" PostId="19182" RevisionGUID="79fb35d5-eb9d-4d8b-9c11-8d20c4c372f6" CreationDate="2013-05-11T18:43:09.487" UserId="3979" Text="Hey Guys,&#xD;&#xA;&#xD;&#xA;So I've recorded some ADR, (I wasn't able to do it outdoors at the time) and now I need it to sound outdoors. In the past I've ran the signal through a speaker outside (worldizing) and re-recorded it, but it's REALLY difficult to find a distant, quiet place outdoors with a near by power supply. I don't own an 'outside' impulse like the one that comes with Altiverb either.&#xD;&#xA;&#xD;&#xA;Any recommendations? To my ear, it sounds like EQ'ing out a lot of the 'body' or low end of the voice is the first step. Any other suggestions?&#xD;&#xA;&#xD;&#xA;Thanks in advance!!!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31084" PostHistoryTypeId="1" PostId="19182" RevisionGUID="79fb35d5-eb9d-4d8b-9c11-8d20c4c372f6" CreationDate="2013-05-11T18:43:09.487" UserId="3979" Text="ADR- Sound Outdoors?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31085" PostHistoryTypeId="3" PostId="19182" RevisionGUID="79fb35d5-eb9d-4d8b-9c11-8d20c4c372f6" CreationDate="2013-05-11T18:43:09.487" UserId="3979" Text="&lt;adr&gt;&lt;outdoors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31086" PostHistoryTypeId="5" PostId="19181" RevisionGUID="68ab6aae-7ccb-463a-be6d-8389f22abfe9" CreationDate="2013-05-11T18:49:10.243" UserId="1049" Comment="added 294 characters in body" Text="Hi Akachi, welcome to SSD!&#xD;&#xA;&#xD;&#xA;This site is more focused on film, computer game and theatre sound design, rather than the 'synth programming' type of sound design. However, there are many in this great community who also dabble in music, and use synths regularly in their work, so you should hopefully still get some good answers!&#xD;&#xA;&#xD;&#xA;I myself would point you straight to Youtube. There are plenty of videos on there that can help you get going in creating your own synth patches from scratch. Just search for a plugin of your choice followed by the word &quot;tutorial&quot; and tonnes of stuff will pop up.&#xD;&#xA;&#xD;&#xA;[Here's a good one for Absynth to get you started][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I personally also use the IDM Forums which has a &quot;Music Production Tutorials&quot; section, full of a collection of links tips people have posted. It's aimed at electronic music, but the principles work for many genres.&#xD;&#xA;&#xD;&#xA;[IDM Forums][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=yRquiQYro7M&#xD;&#xA;  [2]: http://www.idmforums.com/forumdisplay.php?f=81" ContentLicense="CC BY-SA 3.0" />
  <row Id="31087" PostHistoryTypeId="2" PostId="19183" RevisionGUID="1f83b1fa-3a7e-4aa6-a4f2-86f41ecd62a0" CreationDate="2013-05-11T21:48:48.407" UserId="994" Text="Distant perspective is one of the most difficult things to &quot;fake&quot; for dialogue, or for sound effects, that's why often, you need a real recording. &#xD;&#xA;&#xD;&#xA;If you really need to use what you got, try eq, like you said, and experiment with short delay times and some short reverb, with lo-pass filters on them. If you could worldilize it, it would propably be in this case best approach.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Maybe next time, while recording ADR for outdoor sound try using these technique - put some additional mics in corners of the room. And I guess, what is most important in ADR overall - don't afraid to put mic back. The goal here is to match production, so usually to get proper perspective and boom alike sound - you need to put mic farther away." ContentLicense="CC BY-SA 3.0" />
  <row Id="31088" PostHistoryTypeId="5" PostId="10860" RevisionGUID="b6a9bf27-a63e-45f3-b94d-f0a68ec233bf" CreationDate="2013-05-11T23:12:56.773" UserId="1228" Comment="added 158 characters in body" Text="For me, it's simply a matter of not thinking about it - i shoot from the hip on on this stuff, gut intuition.  I play the scene segments over and over (as I move along the timeline with my editing duties) and drop things in and shuffle them around, replay a section here or there, tweak it etc.  There's an innate musicality and rhythm to doing spotted effects.  Great places are spots between dialogue where they can be massaged in, other times it's fun to play off of dialogue (or a funny offstage sound right after somebody shuts the other person down with a joke), and usually at the top or tail of scene when there's that brief moment of no dialogue there's golden moments to squeeze something in.&#xD;&#xA;&#xD;&#xA;Also, they can be a saving grace with ADR lines - pop a spotted effect between the production line and ADR lines (or better yet, slightly overlapping naturally into the ADR line itself), and it helps detract the ears from focusing on a bad ADR match.  BG phone rings in &quot;ring-and-half&quot; and &quot;2-rings-and-half&quot; style edits are great for this.  Computer beep sequences/devices work well too for this, for exterior situations OS car horns or a car by of some nature (even dog barks) work.  Just something to slightly distract.&#xD;&#xA;&#xD;&#xA;Almost always I stretch reality in BGz for emotive content and richness, and sometimes you have to for fixing visual continuity or establishing a precedent.  Honestly, sonic reality equates to the word &quot;boring&quot; for my ears.  It's all about being tasteful and rich, whether the situation call for dense or minimal BGz.&#xD;&#xA;&#xD;&#xA;A common situation with this is moaning winds inside scary spaces, albeit edited at very subtle levels so that it weaves in and out of the roomtone.  I cut BGz on Killer Joe and during the final scene (a 20+ minute scene) we were inside a house during a rainstorm - yes, literally, 20+ minutes within the same one room.  It's a very stong scene for dialogue/story so it actually holds its own very well.  Now I could just play a steady, light rain like we see at the top of the scene's establishing shot - but 20 minutes of it would be boring and leave the sonical landscape incredibly flat.  So instead, to push the emotive envelope of the scene, I gradually started with a light pitter-patter and over about 8 minutes built up a gale-force storm with windows rattling and wind blowing internally, stronger rain tracks.  It builds up over such a long duration you aren't even aware of the change in BGz.  Then after the climax of the scene, I gently pulled back the energy of the rainstorm to a middle level, while still retaining some of intensity of the strongest moment.  It's one way to give a dynamic flow to especially long scenes and reinforce the story/emotive content (because even to some audiences, painfully obvious moments still need a gentle support by other non-dialogue means to sell effectively).&#xD;&#xA;&#xD;&#xA;EDIT: Eventually I heard the mix and they didn't end up going with the storm build up.  Oh well, unfortunate, but thats the way these things go sometimes." ContentLicense="CC BY-SA 3.0" />
  <row Id="31089" PostHistoryTypeId="2" PostId="19184" RevisionGUID="0fa24c2f-e4ac-4150-b9da-673667c5f105" CreationDate="2013-05-12T03:37:33.253" UserId="3179" Text="Skarik's tips are good, but I would like to add:&#xD;&#xA;&#xD;&#xA;Practice and play with your instruments and write music (even short compositions or loops). In synths practice means really exhausting the synth's features so you know what it's composed of and form a sense of its &quot;tonal range&quot;, so to speak. While other resources may give you tips about different things that exist in music or describe how a certain technique works, it may or may not help you write your own music and it may or may not help you make something that satisfies you. That I believe is a combination of having the experience to think forward (&quot;I'd like this sound to be like this, so to do it I need to do this or try this.&quot;, &quot;This beat sounds a bit too dull/uninteresting, to make it more interesting I could try this.&quot; etc.). &#xD;&#xA;&#xD;&#xA;That's just how I know a synth at least. Dial through the synth's waveform options and all other features and then form a sense of what it sounds like or what sounds it's suitable for and then you'll always know a starting point or a few starting points, when it comes to making a synth sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="31090" PostHistoryTypeId="5" PostId="19184" RevisionGUID="e070ef6c-2da1-4847-8fc3-4ff4b10ac1ae" CreationDate="2013-05-12T03:45:03.857" UserId="3179" Comment="added 401 characters in body; added 1 characters in body; deleted 4 characters in body; added 92 characters in body" Text="Skarik's tips are good, but I would like to add:&#xD;&#xA;&#xD;&#xA;Practice and play with your instruments and write music (even short compositions or loops). In synths practice means really exhausting the synth's features so you know what it's composed of and form a sense of its &quot;tonal range&quot;, so to speak. While other resources may give you tips about different things that exist in music or describe how a certain technique works, it may or may not help you write your own music and it may or may not help you make something that satisfies you. That I believe is a combination of having the experience to think forward (&quot;I'd like this sound to be like this, so to do it I need to do this or try this.&quot;, &quot;This beat sounds a bit too dull/uninteresting, to make it more interesting I could try this.&quot; etc.). &#xD;&#xA;&#xD;&#xA;That's just how I know a synth at least. Dial through the synth's waveform options and all other features and then form a sense of what it sounds like or what sounds it's suitable for and then you'll always know a starting point or a few starting points, when it comes to making a synth sound. Also, studying presets in synths is a great way to see how someone else made a synth sound.&#xD;&#xA;&#xD;&#xA;Also, if you really want literature, then this is a pretty interesting book: http://www.synthesizer-cookbook.com/. As is the Computer Music Tutorial by C. Roads.&#xD;&#xA;&#xD;&#xA;And this is a good introductory video series, although it doesn't go to much depth into how many ways you really have for shaping a sound (e.g. by adding effects, using a vocoder etc.):&#xD;&#xA;http://www.youtube.com/watch?v=atvtBE6t48M" ContentLicense="CC BY-SA 3.0" />
  <row Id="31091" PostHistoryTypeId="5" PostId="19184" RevisionGUID="a41cb07e-ced5-4e3d-8538-02b8b02501dd" CreationDate="2013-05-12T03:50:20.473" UserId="3179" Comment="deleted 6 characters in body; added 81 characters in body" Text="Skarik's tips are good, but I would like to add:&#xD;&#xA;&#xD;&#xA;Practice and play with your instruments and write music (even short compositions or loops). In synths practice means really exhausting the synth's features so you know what it's composed of and form a sense of its &quot;tonal range&quot;, so to speak. While other resources may give you tips about different things that exist in music or describe how a certain technique works, it may or may not help you write your own music and it may or may not help you make something that satisfies you. That I believe is a combination of having the experience to think forward (&quot;I'd like this sound to be like this, so to do it I need to do this or try this.&quot;, &quot;This beat sounds a bit too dull/uninteresting, to make it more interesting I could try this.&quot; etc.), knowing the tools that you have and having written music and done sounds before. &#xD;&#xA;&#xD;&#xA;That's just how I know a synth at least. Dial through the synth's waveform options and all other features and then form a sense of what it sounds like or what sounds it's suitable for and then you'll always know a starting point or a few starting points, when it comes to making a synth sound. Also, studying presets in synths is a great way to see how someone else made a synth sound.&#xD;&#xA;&#xD;&#xA;If you really want literature, then this is a pretty interesting book: http://www.synthesizer-cookbook.com/. As is the Computer Music Tutorial by C. Roads.&#xD;&#xA;&#xD;&#xA;And this is a good introductory video series, although it doesn't go to much depth into how many ways you really have for shaping a sound (e.g. by adding effects, using a vocoder etc.):&#xD;&#xA;http://www.youtube.com/watch?v=atvtBE6t48M" ContentLicense="CC BY-SA 3.0" />
  <row Id="31092" PostHistoryTypeId="2" PostId="19185" RevisionGUID="1aa8cf1b-a716-48be-b328-8fb99381e634" CreationDate="2013-05-12T04:14:45.463" UserId="994" Text="Well, propably going for your option b), or manually syncing/slowing down, would work around this issue, but I think it will be better suggest to editing deparment, producer?, di supervisor, if there is any (it doesn't look like there is...), anyone, that keeping mixed frame rates is the very, very, very, VERY, problematic idea. There's no such standard like mixed frame rates for any distribution/broadcast. I don't understand why they made it that way, it's just wrong. If they would like to convert it at the end, syncing full mix, it also will generate problems. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31093" PostHistoryTypeId="5" PostId="19184" RevisionGUID="10a2041b-91bd-4323-b1d9-f42b5fafcec4" CreationDate="2013-05-12T04:44:08.540" UserId="3179" Comment="added 771 characters in body; added 37 characters in body; added 39 characters in body; added 9 characters in body" Text="Skarik's tips are good, but I would like to add:&#xD;&#xA;&#xD;&#xA;Practice and play with your instruments and write music (even short compositions or loops). In synths practice means really exhausting the synth's features so you know what it's composed of and form a sense of its &quot;tonal range&quot;, so to speak. While other resources may give you tips about different things that exist in music or describe how a certain technique works, it may or may not help you write your own music and it may or may not help you make something that satisfies you. That I believe is a combination of having the experience to think forward (&quot;I'd like this sound to be like this, so to do it I need to do this or try this.&quot;, &quot;This beat sounds a bit too dull/uninteresting, to make it more interesting I could try this.&quot; etc.), knowing the tools that you have and having written music and done sounds before. &#xD;&#xA;&#xD;&#xA;That's just how I know a synth at least. Dial through the synth's waveform options and all other features and then form a sense of what it sounds like or what sounds it's suitable for and then you'll always know a starting point or a few starting points, when it comes to making a synth sound. Also, studying presets in synths is a great way to see how someone else made a synth sound.&#xD;&#xA;&#xD;&#xA;If you really want literature, then this is a pretty interesting book: http://www.synthesizer-cookbook.com/. As is the Computer Music Tutorial by C. Roads.&#xD;&#xA;&#xD;&#xA;And this is a good introductory video series, although it doesn't go to much depth into how many ways you really have for shaping a sound (e.g. by adding effects, using a vocoder etc.):&#xD;&#xA;http://www.youtube.com/watch?v=atvtBE6t48M&#xD;&#xA;&#xD;&#xA;Also, maybe a bit of a warning:&#xD;&#xA;&#xD;&#xA;&gt;how to understand music, recreate sounds, create a sound that I imagined, really understand what I'm doing.&#xD;&#xA;&#xD;&#xA;Don't get into the mindset of thinking that making music or sounds have certain formal rules or that there's some underlying theory or grammar that explains everything, because as an art it has none of that (apart from e.g. basic music theory that explains notes, chords and rhythm). Getting fixed to a certain style might have certain &quot;characteristics&quot; that you need to fill in to fit into that style and there might be some good &quot;rules of thumbs&quot;, but they are not fixed rules and there might not be words to describe them, nor an actual need to specify them. Many computer musicians and sound producers simply do what sounds right to them and they use the tools as they like (or what they're made for)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31094" PostHistoryTypeId="5" PostId="19184" RevisionGUID="309a3ae5-91c4-465c-b0dc-818c955b2393" CreationDate="2013-05-12T04:50:21.130" UserId="3179" Comment="added 8 characters in body" Text="Skarik's tips are good, but I would like to add:&#xD;&#xA;&#xD;&#xA;Practice and play with your instruments and write music (even short compositions or loops). In synths practice means really exhausting the synth's features so you know what it's composed of and form a sense of its &quot;tonal range&quot;, so to speak. While other resources may give you tips about different things that exist in music or describe how a certain technique works, it may or may not help you write your own music and it may or may not help you make something that satisfies you. That I believe is a combination of having the experience to think forward (&quot;I'd like this sound to be like this, so to do it I need to do this or try this.&quot;, &quot;This beat sounds a bit too dull/uninteresting, to make it more interesting I could try this.&quot; etc.), knowing the tools that you have and having written music and done sounds before. &#xD;&#xA;&#xD;&#xA;That's just how I know a synth at least. Dial through the synth's waveform options and all other features and then form a sense of what it sounds like or what sounds it's suitable for and then you'll always know a starting point or a few starting points, when it comes to making a synth sound. Also, studying presets in synths is a great way to see how someone else made a synth sound.&#xD;&#xA;&#xD;&#xA;If you really want literature, then this is a pretty interesting book: http://www.synthesizer-cookbook.com/. As is the Computer Music Tutorial by C. Roads.&#xD;&#xA;&#xD;&#xA;And this is a good introductory video series, although it doesn't go to much depth into how many ways you really have for shaping a sound (e.g. by adding effects, using a vocoder etc.):&#xD;&#xA;http://www.youtube.com/watch?v=atvtBE6t48M&#xD;&#xA;&#xD;&#xA;Also, maybe a bit of a warning:&#xD;&#xA;&#xD;&#xA;&gt;how to understand music, recreate sounds, create a sound that I imagined, really understand what I'm doing.&#xD;&#xA;&#xD;&#xA;Don't get into the mindset of thinking that making music or sounds have certain formal rules or that there's some underlying theory or grammar that explains everything, because as an art it has none of that (apart from e.g. basic music theory that explains notes, scales, chords and rhythm). Getting fixed to a certain style might have certain &quot;characteristics&quot; that you need to fill in to fit into that style and there might be some good &quot;rules of thumbs&quot;, but they are not fixed rules and there might not be words to describe them, nor an actual need to specify them. Many computer musicians and sound producers simply do what sounds right to them and they use the tools as they like (or what they're made for)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31095" PostHistoryTypeId="2" PostId="19186" RevisionGUID="899c5102-b50b-45e1-ad5f-1a8e813766f1" CreationDate="2013-05-12T04:53:52.633" UserDisplayName="user49" Text="presuming you are working to the offline picture edit, you are also going to have to very carefully check sync against the online graded master, as that picture conform may have sync issues too&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31096" PostHistoryTypeId="5" PostId="19184" RevisionGUID="9b905696-6dd1-4eed-a342-1b2318254f9a" CreationDate="2013-05-12T04:56:37.810" UserId="3179" Comment="added 4 characters in body; deleted 5 characters in body; added 18 characters in body" Text="Skarik's tips are good, but I would like to add:&#xD;&#xA;&#xD;&#xA;Practice and play with your instruments and write music (even short compositions or loops). In synths practice means really exhausting the synth's features so you know what it's composed of and form a sense of its &quot;tonal range&quot;, so to speak. While other resources may give you tips about different things that exist in music or describe how a certain technique works, it may or may not help you write your own music and it may or may not help you make something that satisfies you. That I believe is a combination of having the experience to think forward (&quot;I'd like this sound to be like this, so to do it I need to do this or try this.&quot;, &quot;This beat sounds a bit too dull/uninteresting, to make it more interesting I could try this.&quot; etc.), knowing the tools that you have and having written music and done sounds before. &#xD;&#xA;&#xD;&#xA;That's just how I know a synth at least. Dial through the synth's waveform options and all other features and then form a sense of what it sounds like or what sounds it's suitable for and then you'll always know a starting point or a few starting points, when it comes to making a synth sound. Also, studying presets in synths is a great way to see how someone else made a synth sound.&#xD;&#xA;&#xD;&#xA;If you really want literature, then this is a pretty interesting book: http://www.synthesizer-cookbook.com/. As is the Computer Music Tutorial by C. Roads.&#xD;&#xA;&#xD;&#xA;And this is a good introductory video series, although it doesn't go to much depth into how many ways you really have for shaping a sound (e.g. by adding effects, using a vocoder etc.):&#xD;&#xA;http://www.youtube.com/watch?v=atvtBE6t48M&#xD;&#xA;&#xD;&#xA;Also, maybe a bit of a warning:&#xD;&#xA;&#xD;&#xA;&gt;how to understand music, recreate sounds, create a sound that I imagined, really understand what I'm doing.&#xD;&#xA;&#xD;&#xA;Don't get into the mindset of thinking that making music or sounds have certain formal rules or that there's some underlying theory or grammar that explains everything or even something, because as an art it has none of that (apart from e.g. basic music theory that explains notes, scales, chords and rhythm). Fitting into a certain style might include certain &quot;characteristics&quot; that you need to fill in to fit into that style and there might be some good &quot;rules of thumbs&quot;, but they are not fixed rules and there might not be words to describe them, nor an actual need to specify them. Many computer musicians and sound producers simply do what sounds right to them and they use the tools as they like (or what they're made for)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31097" PostHistoryTypeId="2" PostId="19187" RevisionGUID="b77b5b8e-36a9-4180-a275-5f89a82e7bae" CreationDate="2013-05-12T11:49:33.253" UserId="3179" Text="Uh oh. It sounds like something that I and probably not many would like nor think to even try, because it gets really close to &quot;misusing and trusting plug-ins for what they're really not made for&quot;. &#xD;&#xA;&#xD;&#xA;If we had a worldizer plug-in, then sure, but if you're trying to &quot;make a speech sound like the speaker is outdoors&quot; using EQ and reverbs, then it's going to sound like an equalized voice with reverb (likely sounds like the speaker is in a cave or a [digital] room). Convolution reverbs are the best call here, but even they will likely sound fake (depends on the other sounds in the mix and whether they create the outdoor illusion for the entire mix with a suboptimally &quot;fixed&quot; voice)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31098" PostHistoryTypeId="2" PostId="19188" RevisionGUID="ab21f74c-2fff-4a59-b544-643baa6535e2" CreationDate="2013-05-12T16:28:33.990" UserId="990" Text="Agreed to all above. Mixed frame rates is not a good idea. I'm not even sure how they can do a proper edit with all the audio out of sync? They probably said, oh let audio post fix it, when they could have at least changed the audio tc and then sync'ed it first.&#xD;&#xA;&#xD;&#xA;I'd be surprised if the producer is fine with this, if they are, just bill them for the extra time it'll take to manually sync all the clips. Even a syncing patch job is a bad idea." ContentLicense="CC BY-SA 3.0" />
  <row Id="31099" PostHistoryTypeId="2" PostId="19189" RevisionGUID="bd4f18f2-655e-4d16-9bd5-6cd938ac9375" CreationDate="2013-05-12T22:36:03.223" UserId="5882" Text="The short is about a coach who's trying to teach his players how to play baseball. All of the players are wearing vans in the scenes and the surfaces range from the dirt on a baseball, concrete, and grass.&#xD;&#xA;&#xD;&#xA;Would you guys use different pairs of vans for each actor even though they're the same on picture? I don't want the foot steps to walk over each other, no pun intended. &#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31100" PostHistoryTypeId="1" PostId="19189" RevisionGUID="bd4f18f2-655e-4d16-9bd5-6cd938ac9375" CreationDate="2013-05-12T22:36:03.223" UserId="5882" Text="I'm working on a short where there are three actors, all wearing VANS shoes. Would you use a different pair of vans for each actor?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31101" PostHistoryTypeId="3" PostId="19189" RevisionGUID="bd4f18f2-655e-4d16-9bd5-6cd938ac9375" CreationDate="2013-05-12T22:36:03.223" UserId="5882" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31102" PostHistoryTypeId="6" PostId="19189" RevisionGUID="95159efb-5a6d-4ac5-9485-0188c7267224" CreationDate="2013-05-12T23:22:34.880" UserId="1228" Comment="edited tags" Text="&lt;foley&gt;&lt;recording&gt;&lt;footsteps&gt;&lt;group&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31103" PostHistoryTypeId="2" PostId="19190" RevisionGUID="e402f2a6-1061-4f70-aac1-87fcf5654666" CreationDate="2013-05-12T23:46:29.737" UserId="6029" Text="I'm getting incredible results with these http://microphonemadness.com/products/mmbinstermic.htm and my sony pcm m10 - and they work with on board phantom (plug in) power on the unit. Extremely quiet and lovely. I am attempting to disguise them and failing though!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31104" PostHistoryTypeId="2" PostId="19191" RevisionGUID="198e5068-819f-4257-a3bf-772853441ab5" CreationDate="2013-05-13T01:52:08.340" UserId="6031" Text="Hi, my friends. let me explain my problem (please do not pay atention in my english, i don't speak very well)&#xD;&#xA;&#xD;&#xA;i'm a dj and starting to produce house music, but, the videos or the &quot;tip videos&quot; are more pratical and i need some basic knowledge, starting from the begining: what its a compressor, what is a wave form, oscilators, wahtever, audio basics. &#xD;&#xA;&#xD;&#xA;Can you, guys, introduce me some books, videos that can help me to start being a real professional producer? i want do study before starting to produce. &#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31105" PostHistoryTypeId="1" PostId="19191" RevisionGUID="198e5068-819f-4257-a3bf-772853441ab5" CreationDate="2013-05-13T01:52:08.340" UserId="6031" Text="Newbie one producing, needing some tips?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31106" PostHistoryTypeId="3" PostId="19191" RevisionGUID="198e5068-819f-4257-a3bf-772853441ab5" CreationDate="2013-05-13T01:52:08.340" UserId="6031" Text="&lt;producer&gt;&lt;newbie&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31107" PostHistoryTypeId="4" PostId="19191" RevisionGUID="b715668d-92f6-4ae5-ae2a-2d6ca298d37c" CreationDate="2013-05-13T02:03:59.237" UserId="1228" Comment="edited title" Text="Newbie on producing, needing some tips?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31108" PostHistoryTypeId="2" PostId="19192" RevisionGUID="983f37bf-4096-4a99-a95a-d1913895ab9a" CreationDate="2013-05-13T05:53:48.347" UserId="5882" Text="If you decide to use a convolution reverb, you could try sending some backgrounds into the reverb as well so it naturally glues itself." ContentLicense="CC BY-SA 3.0" />
  <row Id="31109" PostHistoryTypeId="2" PostId="19193" RevisionGUID="47048330-fd02-4352-9431-fef97ea2c665" CreationDate="2013-05-13T06:22:02.373" UserId="6032" Text="Here is an option.  http://www.boomlibrary.com/boomlibrary/products/outdoor-impulse-responses&#xD;&#xA;&#xD;&#xA;There are a few freeware/cheap IR reverb plugins out there that you could use to run these IRs. These impulses are really great for outdoors stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="31110" PostHistoryTypeId="2" PostId="19194" RevisionGUID="b3c057e2-1438-40f2-92d6-e74a2e08b0ca" CreationDate="2013-05-13T06:32:57.233" UserId="6032" Text="http://www.boomlibrary.com/boomlibrary/products/outdoor-impulse-responses&#xD;&#xA;&#xD;&#xA;This could also help for Exterior scenes when ADR is recorded in a studio." ContentLicense="CC BY-SA 3.0" />
  <row Id="31111" PostHistoryTypeId="2" PostId="19195" RevisionGUID="27478a5e-1e05-446d-bd8e-7e7c8d725f3a" CreationDate="2013-05-13T08:31:07.143" UserId="3567" Text="I think you can still enroll in this Coursera classes and check out the videos:&#xD;&#xA;https://class.coursera.org/digitalsounddesign-001/class/index&#xD;&#xA;https://class.coursera.org/musicproduction-001/class/index" ContentLicense="CC BY-SA 3.0" />
  <row Id="31112" PostHistoryTypeId="2" PostId="19196" RevisionGUID="72be2433-d0d0-4d84-8a56-8ad3fbf7f376" CreationDate="2013-05-13T12:46:09.973" UserId="6030" Text="Find a book by Bob Katz called, &quot;*Mastering Audio*&quot;.&#xD;&#xA;&quot;*Master Handbook of Acoustics*&quot; is another great resource though longer.&#xD;&#xA;You get through both of those and you'll have a head full of science.&#xD;&#xA;&#xD;&#xA;http://www.pdfmagazines.org/tutorials/34579-master-handbook-of-acoustics.html&#xD;&#xA;&#xD;&#xA;Go to the download via novafile, do the 'slow' free download - they almost hide the button but it's at the bottom of the Free column. I am not associated with novafile.com haha.&#xD;&#xA;&#xD;&#xA;Go forth and science my friend.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31113" PostHistoryTypeId="2" PostId="19197" RevisionGUID="2bea46a9-2d2e-4ad6-bcfa-2c376a17aea9" CreationDate="2013-05-13T15:04:29.403" UserId="5539" Text="i'm using these:&#xD;&#xA;DPA4060: very good sound, you need phantom power (XLR adaptor), but you can use them also with a cheap 9V DIY battery box on any 3.5mm mic in, i.e. sony m10 etc. they're a bit expensive...&#xD;&#xA;&#xD;&#xA;OKM2: nice fit, easy to handle, nice sound if it's not to quiet, they have a pretty high noise floor.&#xD;&#xA;&#xD;&#xA;Primo EM172: that's basically a capsule, use 2 and make your own binaural set. i got them from the factory, 10€ each. very low noise floor and a nice sound. i prefer them over the OKMs.&#xD;&#xA;&#xD;&#xA;udo&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31114" PostHistoryTypeId="2" PostId="19198" RevisionGUID="5b031097-7b04-480c-938e-86b4161af915" CreationDate="2013-05-13T15:20:50.257" UserId="5539" Text="hi, i'm looking for a low noise HQ setup which i can use in the field. i'd prefer omni mics like he mkh8020, but am distracted by the usual setup, i.e. a tripod, mic clamps, rycote baby balls etc.&#xD;&#xA;i wonder if someone has experience with putting two small omnis into a rycote or rode blimp?&#xD;&#xA;the spacing of about 30cm would be ok. recommendations appreciated, thanks, udo" ContentLicense="CC BY-SA 3.0" />
  <row Id="31115" PostHistoryTypeId="1" PostId="19198" RevisionGUID="5b031097-7b04-480c-938e-86b4161af915" CreationDate="2013-05-13T15:20:50.257" UserId="5539" Text="sennheiser mkh(80)20 spaced omni in blimp, anyone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31116" PostHistoryTypeId="3" PostId="19198" RevisionGUID="5b031097-7b04-480c-938e-86b4161af915" CreationDate="2013-05-13T15:20:50.257" UserId="5539" Text="&lt;omni&gt;&lt;blimp&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31117" PostHistoryTypeId="2" PostId="19199" RevisionGUID="ab57204b-3e0a-46a1-9499-351263c052ca" CreationDate="2013-05-13T15:39:43.147" UserId="194" Text="depending on the wind conditions I've had good luck with the DPA foam windscreens.  sound very transparent, lower profile and cost than a baby ball gag, and can get clean audio up to about 10-15 mph winds.  &#xD;&#xA;&#xD;&#xA;not for extreme conditions obviously, but they can at least get you outside." ContentLicense="CC BY-SA 3.0" />
  <row Id="31118" PostHistoryTypeId="2" PostId="19200" RevisionGUID="978cf4a2-6e91-4541-8df1-e997a084244f" CreationDate="2013-05-13T16:29:13.200" UserId="3835" Text="Just to check.. You haven't changed the sample rate right!?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31119" PostHistoryTypeId="2" PostId="19201" RevisionGUID="a9340e64-9939-44e1-9725-15f06c0ff470" CreationDate="2013-05-13T16:39:15.127" UserId="6025" Text="I have done some IR's in the past couple of months. In my experience, it would be used mainly for production (matching ADR to production sound).&#xD;&#xA;&#xD;&#xA;If you are on a production set and want to record some IR's, there are several ways to do it. &#xD;&#xA;&#xD;&#xA;1. Using the sweep file (varying lengths) and recording the sweep tone in the environment (most accurate)&#xD;&#xA;2. Recording the slate clap&#xD;&#xA;&#xD;&#xA;Since production sets are kind of chaotic, setting up a speaker and recording the sweep may not always be a viable option. The easier solution would be to use the sound of the slate clap. However, this may not be as accurate as recording the sweep. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31120" PostHistoryTypeId="5" PostId="19195" RevisionGUID="6b794818-f70b-484d-a363-07ca6ed2661c" CreationDate="2013-05-13T17:10:13.997" UserId="3567" Comment="added 1 characters in body" Text="I think you can still enroll in these Coursera classes and check out the videos:&#xD;&#xA;https://class.coursera.org/digitalsounddesign-001/class/index&#xD;&#xA;https://class.coursera.org/musicproduction-001/class/index" ContentLicense="CC BY-SA 3.0" />
  <row Id="31121" PostHistoryTypeId="2" PostId="19202" RevisionGUID="55d8f3f3-8542-4dfd-b863-194e9f20eb92" CreationDate="2013-05-13T17:24:24.337" UserId="1049" Text="Hi João,&#xD;&#xA;&#xD;&#xA;This is a Sound Design forum. You'll probably have better luck finding tips on house music production on a Music forum, like [IDM Forums][1] or [Subsekt][2]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.idmforums.com&#xD;&#xA;  [2]: http://www.subsekt.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="31122" PostHistoryTypeId="2" PostId="19203" RevisionGUID="c830c429-529a-4e5f-b63b-d7d78796e778" CreationDate="2013-05-13T18:09:12.020" UserId="315" Text="I think you'll find that 30 cm between omnis will produce too narrow a stereo field. It's much better to use two zeppelins so you can vary the mic spacing to taste. If you want to get two spaced mics into a zeppelin, I recommend going with cardiods and recording in ORTF. Rycote makes a great mount for that, which I'm using with two sennheiser MKH 8040s. Another option would be to experiment with a Jecklin Disc in between the two omnis.&#xD;&#xA;&#xD;&#xA;I recommend reading [The Stereophonic Zoom by Michael Williams][1] for more info about AB stereo mic placement. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rycote.com/images/uploads/The_Stereophonic_Zoom.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="31123" PostHistoryTypeId="2" PostId="19204" RevisionGUID="71f4c31e-ccae-44ea-be1f-7ea2366e1d9b" CreationDate="2013-05-13T19:16:46.650" UserId="407" Text="It's spring here and the birds are singing - but sometimes you just don't want them in your recordings ... so my question to you is what are your tricks for getting rid of those birds in your recordings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31124" PostHistoryTypeId="1" PostId="19204" RevisionGUID="71f4c31e-ccae-44ea-be1f-7ea2366e1d9b" CreationDate="2013-05-13T19:16:46.650" UserId="407" Text="How do you get rid of the birds in your recordings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31125" PostHistoryTypeId="3" PostId="19204" RevisionGUID="71f4c31e-ccae-44ea-be1f-7ea2366e1d9b" CreationDate="2013-05-13T19:16:46.650" UserId="407" Text="&lt;field-recording&gt;&lt;recording&gt;&lt;birds&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31126" PostHistoryTypeId="2" PostId="19205" RevisionGUID="a73a547b-a795-4dbe-b74b-73cb150d388c" CreationDate="2013-05-13T19:32:46.623" UserId="6033" Text="I feel like people over-think stuff like this all the time. Does it sound cool? If the answer is no then experiment until it does. Doesn't have to be literal.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="31127" PostHistoryTypeId="2" PostId="19206" RevisionGUID="e6bb892d-8905-4501-91d4-e526a3a64454" CreationDate="2013-05-13T20:07:34.010" UserId="3179" Text="iZotope RX 2:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=2hFpil2x8T0" ContentLicense="CC BY-SA 3.0" />
  <row Id="31128" PostHistoryTypeId="2" PostId="19207" RevisionGUID="2fd32fee-f8b5-4eac-80d8-cbc07af21dfe" CreationDate="2013-05-13T20:11:44.173" UserId="930" Text="Wait till winter haha! &#xD;&#xA;&#xD;&#xA;In all seriousness though, Internet Human's suggestion is a good one. RX2 is an incredible piece of software and brilliant for fixing problems where you can't re-record sounds.&#xD;&#xA;&#xD;&#xA;I've come across the same problem here in the last few days, and I've decided to record my source at night. If you're about to record rather than trying to fix already recorded sounds, then I'd keep going back to your location and find the quietest time (or take an educated guess and turn up). If it's not viable to record/re-record, RX2 is the way to go.&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="31129" PostHistoryTypeId="2" PostId="19208" RevisionGUID="416ada40-d1ba-4a42-8c79-542f6b464125" CreationDate="2013-05-14T14:02:03.843" UserId="348" Text="Hi there,&#xD;&#xA;&#xD;&#xA;Being the wonderous age of the internet, there are loads of videos in assorted languages that can fully explain your queries as well as the above mentioned books and links. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31130" PostHistoryTypeId="2" PostId="19209" RevisionGUID="c7c896a7-e596-4fdf-915c-3da80d11b20f" CreationDate="2013-05-14T14:07:54.820" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;You can try Sonic No Noise or Waves WNS- both are pretty and not too pricy compared to something like the Cedar. &#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=5nQn9KYSIdM&#xD;&#xA;https://www.youtube.com/watch?v=PjLF62WQejY" ContentLicense="CC BY-SA 3.0" />
  <row Id="31131" PostHistoryTypeId="2" PostId="19210" RevisionGUID="6fab89c8-5e6f-4622-bfbe-75d44c16d72f" CreationDate="2013-05-14T15:35:07.813" UserId="37" Text="iZotope RX2 and Adobe Audition have spectral healing powers. You can lasso birds out." ContentLicense="CC BY-SA 3.0" />
  <row Id="31132" PostHistoryTypeId="2" PostId="19211" RevisionGUID="61c94821-75c5-408f-9922-396705e4caac" CreationDate="2013-05-14T16:15:25.127" UserId="234" Text="If I might... I think perhaps you're barking up the wrong tree (no pun intended). It's been my experience that &quot;outdoor&quot; ADR doesn't sound right, not because of the space, but because of the PERFORMANCE. Think about it... when you're outside, you're projecting over whatever ambience is there... birds, traffic, people... When you get into an ADR booth, you don't really need to do that, so the actor tends to project less, thereby changing both the timbre and pitch of the voice. Things I've found that can help are:&#xD;&#xA;&#xD;&#xA;1. Direction during the ADR record. The most important... the ADR director needs to make sure the Actors are projecting and performing just like they were &quot;on the day&quot;... Sadly seldom done.. is it in sync? Yes, Does it suck? No... moving on... &#xD;&#xA;&#xD;&#xA;2. I've often had success feeding loud ambience into the cans when actors are performing, thereby forcing them to project over it... oh and turn down the cans too! A good example is here at 7:25 http://www.zedfilmworks.com/films_interchange.php &#xD;&#xA;&#xD;&#xA;3. Sounds like you've already recorded it, so if a re-record isn't possible, try a little gentle pitch shift... going 10 or 25 cents up can make a performance seem more &quot;energetic&quot; - the human voice tends to go up in pitch as we get louder. It also changes the timbre because the formants shift, which can help too." ContentLicense="CC BY-SA 3.0" />
  <row Id="31133" PostHistoryTypeId="2" PostId="19212" RevisionGUID="8c07d803-7f69-4610-88e8-2d7b4a88fca6" CreationDate="2013-05-14T17:55:15.323" UserId="6420" Text="Hi all,&#xD;&#xA;&#xD;&#xA;Just wondered if anyone knew of a simple bit of software that can add an audio 'watermark' ident onto an audio file easily, for OSX? Something that I can mix to a certain volume level and decide the spacing of the repeats would be useful. I think there's something for PC but not sure of anything for OSX. &#xD;&#xA;&#xD;&#xA;Any help appreciated!&#xD;&#xA;Cheers&#xD;&#xA;Andy" ContentLicense="CC BY-SA 3.0" />
  <row Id="31134" PostHistoryTypeId="1" PostId="19212" RevisionGUID="8c07d803-7f69-4610-88e8-2d7b4a88fca6" CreationDate="2013-05-14T17:55:15.323" UserId="6420" Text="Batch audio 'watermark' adding for OSX?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31135" PostHistoryTypeId="3" PostId="19212" RevisionGUID="8c07d803-7f69-4610-88e8-2d7b4a88fca6" CreationDate="2013-05-14T17:55:15.323" UserId="6420" Text="&lt;batch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31136" PostHistoryTypeId="2" PostId="19213" RevisionGUID="19ec78e6-b3d9-45a3-86ab-ec03c6da8dc4" CreationDate="2013-05-15T00:13:37.997" UserId="4442" Text="i believe both Sound Studio and Twisted wave will do batch stuff like that, but you'll have to check i'm away from my desk. &#xD;&#xA;&#xD;&#xA;I like twisted wave, but sound studio is also good. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31141" PostHistoryTypeId="2" PostId="19216" RevisionGUID="ce59a60f-98fe-45a4-a58d-9ffba6991c55" CreationDate="2013-05-15T12:48:52.727" UserId="300" Text="So, this isn't news, but ProTools keeping the door welded shut on 3rd party controllers which haven't kissed the ring is .. frustrating.&#xD;&#xA;&#xD;&#xA;After spending a week experimenting with combinations of my iPad running TouchOSC---&gt;Osculator, and using Ableton like a big FX pedal for ProTools (sending and returning audio using SoundFlower) I've come to the conclusion that it's just too unstable and unwielding to make it practical in a working context. (Please convince me otherwise!)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Which is a shame, because the beauty of TouchOSC and the iPad is that you can tweak your controller as you figure out new uses on a daily basis.&#xD;&#xA;&#xD;&#xA;And again.. this isn't news for you folks who don't use ProTools at all (laugh away) as pretty much every other DAW makes the effort, but the reality is that I need to work in ProTools.&#xD;&#xA;&#xD;&#xA;(Note: Rewire cripples Ableton when it's a slave.. otherwise this wouldn't be an issue.)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;SO ---------- and this is specifically about sound effects design, not mixing --&#xD;&#xA;&#xD;&#xA;As I am soon to kiss goodbye to the use of a Dcontrol + Dcommand, other than buying an Artist Mix (which as far as I can tell still doesn't let you customize the specific automation functions to the faders you WANT ... ?!?!?) The only other option as far as I can tell is to seek out ProTools plugins which include their own inbuilt MIDI Learn functionality, and then have them listen to what TouchOSC\Osculator tells them to do.&#xD;&#xA;&#xD;&#xA;Which is all a roundabout way of getting to my question:&#xD;&#xA;&#xD;&#xA;Which plugins do you know of (RTAS or AAX) that have MIDI control functionality inbuilt by the manufacturer? I'm not talking so much about Instruments, more FX --- EQ \ Reverbs \ Delays \ Etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The ones I know about so far&#xD;&#xA;&#xD;&#xA;-Fab Filter plugins (which are pretty cool)&#xD;&#xA;http://www.fabfilter.com/&#xD;&#xA;&#xD;&#xA;-Blue Cat Audio&#xD;&#xA;http://www.bluecataudio.com/Products/Bundle_AllPluginsPack/&#xD;&#xA;&#xD;&#xA;-Massive&#xD;&#xA;http://www.native-instruments.com/en/products/komplete/synths-samplers/massive/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Suggestions?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And this is a separate question\can of worms\Avid reps close your eyes, but has anyone reverse-engineered the Ethernet controller protocol..?&#xD;&#xA;&#xD;&#xA;I.. just.. want... to automate.. plugins.. with my iPad.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31142" PostHistoryTypeId="1" PostId="19216" RevisionGUID="ce59a60f-98fe-45a4-a58d-9ffba6991c55" CreationDate="2013-05-15T12:48:52.727" UserId="300" Text="ProTools plugins which have MIDI 'learn' functionality." ContentLicense="CC BY-SA 3.0" />
  <row Id="31143" PostHistoryTypeId="3" PostId="19216" RevisionGUID="ce59a60f-98fe-45a4-a58d-9ffba6991c55" CreationDate="2013-05-15T12:48:52.727" UserId="300" Text="&lt;pro-tools&gt;&lt;midi&gt;&lt;learn&gt;&lt;automation&gt;&lt;ipad&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31144" PostHistoryTypeId="2" PostId="19217" RevisionGUID="6ff30e3d-d6d9-4e59-9786-6905ea8178ab" CreationDate="2013-05-15T13:05:01.560" UserId="300" Text="I'd tend to think more about the characters than what they are literally wearing. Is one dude goofy and heavy-footed? Is one more nimble? Does Jimmy only have one leg? etc" ContentLicense="CC BY-SA 3.0" />
  <row Id="31145" PostHistoryTypeId="2" PostId="19218" RevisionGUID="a0fbcfc2-5f3e-48ae-bd0c-cb20236d0f68" CreationDate="2013-05-15T16:32:05.133" UserId="6032" Text="Any suggestions on how to achieve an &quot;Anonymous Vocal Disguise&quot; Effect?&#xD;&#xA;Along the lines of: &quot;Ransom Phone Calls&quot; or &quot;Anonymous TV Interviewee&quot;.&#xD;&#xA;&#xD;&#xA;I haven't started to experiment yet, seems to be a bit of &quot;Pitch modulation&quot; correction (ie making it mono-tone, so maybe melodyne for this) there is also some pitch shift, doubling and distortion. &#xD;&#xA;&#xD;&#xA;If you have any suggestions to speed me to my goal I would really appreciate it!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31146" PostHistoryTypeId="1" PostId="19218" RevisionGUID="a0fbcfc2-5f3e-48ae-bd0c-cb20236d0f68" CreationDate="2013-05-15T16:32:05.133" UserId="6032" Text="Vocal Disguise Effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="31147" PostHistoryTypeId="3" PostId="19218" RevisionGUID="a0fbcfc2-5f3e-48ae-bd0c-cb20236d0f68" CreationDate="2013-05-15T16:32:05.133" UserId="6032" Text="&lt;vocals&gt;&lt;effects&gt;&lt;signal-processing&gt;&lt;voice&gt;&lt;voice-over&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31148" PostHistoryTypeId="2" PostId="19219" RevisionGUID="20ff9b17-7dc4-48a4-91d4-9ec489b291dc" CreationDate="2013-05-15T17:29:47.707" UserId="4272" Text="There are tons of apps for this.  From wikipedia:&#xD;&#xA;&#xD;&#xA;AthTek Free Voice Changer, Skype Voice Changer, AV Voice Changer Software Diamond 7.0, MorphVOX of Screaming Bee INC, Fake Voice&#xD;&#xA;&#xD;&#xA;Or maybe try [Avox Mutator][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.antarestech.com/products/avox2.shtml" ContentLicense="CC BY-SA 3.0" />
  <row Id="31149" PostHistoryTypeId="2" PostId="19220" RevisionGUID="3e69be10-977d-4d56-b6c0-9016337c49f0" CreationDate="2013-05-15T19:48:40.207" UserId="6035" Text="Hello,&#xD;&#xA;&#xD;&#xA;I've got a quick question that i wonder if someone could help me with. Now i'm fairly comfortable with most interface/menu/hud sounds, however there is one in particular that is proving problematic. Its the sound of a stream of information cascading on a screen. I've put a few examples below. Its a digital chattering type of sound.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=pqqEriE0ogc    @ 1:00&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Bqr4i1dmNTY    @ 1:29&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=mbj3XSvDyw8    @ 2:09 in the background&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;IS it merely a case of micro editing a sequence or arpeggiating high passed glitch sounds or is there another wya im missing?&#xD;&#xA;&#xD;&#xA;I've had a look at the other threads on this subject and theyve been veyr helpful, im just having issues with this specific sound!&#xD;&#xA;&#xD;&#xA;many thanks in advance&#xD;&#xA;&#xD;&#xA;Tom&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31150" PostHistoryTypeId="1" PostId="19220" RevisionGUID="3e69be10-977d-4d56-b6c0-9016337c49f0" CreationDate="2013-05-15T19:48:40.207" UserId="6035" Text="Specific Interface Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="31151" PostHistoryTypeId="3" PostId="19220" RevisionGUID="3e69be10-977d-4d56-b6c0-9016337c49f0" CreationDate="2013-05-15T19:48:40.207" UserId="6035" Text="&lt;glitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31152" PostHistoryTypeId="2" PostId="19221" RevisionGUID="9ec18d82-cefa-4c19-8424-89107cf1c5bf" CreationDate="2013-05-15T20:19:42.717" UserId="1049" Text="Granular synthesis will be your best bet. Take a look at [this][1].&#xD;&#xA;&#xD;&#xA;Use a bunch of bleeps and electronic noises in the programme used in the video and you should have a great basis for &quot;digital chattering&quot; or data stream type noises.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=sWWbEjlPQjo" ContentLicense="CC BY-SA 3.0" />
  <row Id="31153" PostHistoryTypeId="2" PostId="19222" RevisionGUID="b649d1b2-f548-4295-89ea-8b7c7c6ea843" CreationDate="2013-05-15T20:37:12.817" UserId="4358" Text="Have you tried doing it on Kontakt" ContentLicense="CC BY-SA 3.0" />
  <row Id="31154" PostHistoryTypeId="5" PostId="19221" RevisionGUID="54c7af53-fe8d-4ae5-8604-e64d11cecd45" CreationDate="2013-05-15T20:50:22.900" UserId="1049" Comment="added 13 characters in body" Text="Welcome to SSD!&#xA;&#xA;Granular synthesis will be your best bet. Take a look at [this][1].&#xA;&#xA;Use a bunch of bleeps and electronic noises in the programme used in the video and you should have a great basis for &quot;digital chattering&quot; or data stream type noises.&#xA;&#xA;  [1]: http://www.youtube.com/watch?v=sWWbEjlPQjo" ContentLicense="CC BY-SA 3.0" />
  <row Id="31156" PostHistoryTypeId="2" PostId="19223" RevisionGUID="cf6cf5b3-ade2-4fcf-8e55-bd9a57155c37" CreationDate="2013-05-15T23:15:16.260" UserId="1159" Text="I recently picked up the Electro-Harmonix RTG pedal for just this sort of sound. Played with right it has a real 60's kind of vibe for data stream stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="31157" PostHistoryTypeId="2" PostId="19224" RevisionGUID="1a662dfc-d8c6-4f45-a4ec-ab3c2dd19939" CreationDate="2013-05-16T04:17:47.800" UserId="994" Text="Honestly, I loved John's Purcell's book, but track layout from this book is a little bit different than what I've seen in real life done by prof. dx editors. Well, actually, it depends on mixers to, what track layout they like.&#xD;&#xA;&#xD;&#xA;4 Dial tracks is enough for production audio, 2 for a scene, than checkerboard to another pair of tracks, it's not necessary to cut every character for different track. Cut for problem in a speciffic angle, keep it as simple and as logical as possible. Than you may want to have a pfx track, 2 adr track, 2 fill tracks. And make dial tracks work on they're own - you don't need to have a seperate track for room tone only - you can put it on dial tracks, use fill tracks (room tones track) only underneath adr.&#xD;&#xA;&#xD;&#xA;Good approach is to go through a scene first and put a marker on every single problem you hear - pops, clicks, wind noise, cloth noise, noisy, low lines, stuff you would like to replace with different takes. The fastest way to look for a different take is to grab it from different angle/take from a regions around it.&#xD;&#xA;&#xD;&#xA;And don't put plugins, noise reduction, and stuff, focus on clear and smooth edit first. While mixing you can automate the plugins for any region you want, you will req. a lot of different eq settings from region to region.&#xD;&#xA;&#xD;&#xA;cheers." ContentLicense="CC BY-SA 3.0" />
  <row Id="31158" PostHistoryTypeId="2" PostId="19225" RevisionGUID="d4ebf284-06a4-402f-b263-2ab14db8f708" CreationDate="2013-05-16T04:23:50.070" UserId="1178" Text="You can either use granular, frequency modulation or substractive synthesis to create that sound. Just create a long midi note with constant tone and modualte the pitch of that tone wth modulation wheel to up which means that the information flow is increasing or down which means that the flow is decreasing. After this use either the synthesisers amplitude modulator with square modulation waveform and change the speed of the modulation with modulationwheel to emulate the bitflow to your liking. Same amplitude modulation can be also done with a a tremolo plugin or with classic waves mondomod plugin. you can also spice up the sound with digital glithes that you can easile do with Izotope stutter." ContentLicense="CC BY-SA 3.0" />
  <row Id="31159" PostHistoryTypeId="2" PostId="19226" RevisionGUID="7f967ae6-ff38-46e6-b862-001f240cc494" CreationDate="2013-05-16T07:18:55.440" UserId="6748" Text="-&gt; Wait till winter haha!&#xD;&#xA;&#xD;&#xA;As a sound recordist, you need to plan your records over the year. You can't expect to go out in summer to make some snow records (here in switzerland you can, you have to go up to 4000 meter) or also you can't expect to got to a air show, record some great air-plane loopings without having all the stupid crowd and PA's on it. I made all this experiences! But for the Air-show, I realized that if I go 1km left or right you have a great place without people and the aircraft needs space and also pass you beside the runway.&#xD;&#xA;&#xD;&#xA;Tools like RX2 or other plugins are (from my point) of view surgical tools and makes lot's of artefacts and should only be used last. Think about how large you need to rise the levels if you want to put out birds! RX2 is a tool, not a solution.&#xD;&#xA;&#xD;&#xA;Here are some way's to make records without birds or bugs.&#xD;&#xA;&#xD;&#xA;Summertime: Depending on your location, summer is ok to record birds, cricket and in switzerland cowbells. This starts from april to september. In this time, you can forget making clean records.&#xD;&#xA;&#xD;&#xA;November-Feb: birds are away, bugs are dead, it is silent&#xD;&#xA;&#xD;&#xA;Daytime: from 6.00-23.00: Airtraffic: a horrible problem for us recordists. Forget making records in a circle from 100km around an airport.&#xD;&#xA;&#xD;&#xA;Nighttime: No other folks, no birds, great for recording&#xD;&#xA;&#xD;&#xA;Sunday: Is great to make records, no construction works, but lot's of people -&#xD;&#xA;&#xD;&#xA;Make the test: try to make a good record from a train stops/depart at the station without people on the record. Rushour is probably not the best time to do it.&#xD;&#xA;&#xD;&#xA;So: It's always worth to think/plan before recording, it safes lot's of time and frustrations.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Guido&#xD;&#xA;&#xD;&#xA;https://www.soundeffects.ch&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31160" PostHistoryTypeId="2" PostId="19227" RevisionGUID="ed981054-0805-490e-be7c-1a6d0f1fe543" CreationDate="2013-05-16T08:25:26.933" UserId="6036" Text="hello!&#xD;&#xA;&#xD;&#xA;my boyfriend is graduating in a few weeks and will soon apply to a sound design program. i want to get him a basic starter kit with different tools he can use as he works on his portfolio. i've been reading some posts here, and i ordered the vmeter usb midi controller and zoom h1 recorder. i'm thinking about ordering the korg monotron as well.&#xD;&#xA;&#xD;&#xA;are there other fun and useful gadgets out there that you suggest? or any comments about the items i already mentioned? i'm a noob, and i want to get some great stuff for him, though my budget is $200.&#xD;&#xA;&#xD;&#xA;he checks this site often, so i'm worried he'll see this...&#xD;&#xA;&#xD;&#xA;anyway, any recommendation/suggestion would be appreciated! thank you so very much!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31161" PostHistoryTypeId="1" PostId="19227" RevisionGUID="ed981054-0805-490e-be7c-1a6d0f1fe543" CreationDate="2013-05-16T08:25:26.933" UserId="6036" Text="gift ideas for an aspiring sound designer" ContentLicense="CC BY-SA 3.0" />
  <row Id="31162" PostHistoryTypeId="3" PostId="19227" RevisionGUID="ed981054-0805-490e-be7c-1a6d0f1fe543" CreationDate="2013-05-16T08:25:26.933" UserId="6036" Text="&lt;gift&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31163" PostHistoryTypeId="2" PostId="19228" RevisionGUID="7134c208-69f4-45ad-a786-2ffa878fba2e" CreationDate="2013-05-16T09:41:48.987" UserId="1228" Text="This should fit on your budget just fine :D&#xD;&#xA;&#xD;&#xA;http://www.zazzle.com/well_fix_it_in_post_button-145659223402657610&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But all kidding aside, I'd say focus on the sorts of stuff which empower him to explore sound in his own way (such as a recorder, etc) like it sounds that you're doing.  Everyone's journey in sound is different, and sometimes the best gift is the one which offer them the opportunity to be empowered to explore their inspiration (case in point: having a means and medium to record any sounds to begin with opens up the entire world to explore, things to capture and listen to, how to creatively make new sounds, etc.  I know my path just got that much more &quot;cheerier&quot; and fun when I could finally walk around with a means not only to say &quot;oh, that sounds cool&quot; but actually press the button and say &quot;awesome, let's record this - I can use it for something&quot; (well, not in that order because you'd ruin the take hah)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31165" PostHistoryTypeId="2" PostId="19230" RevisionGUID="1b7d34eb-211e-46b8-95a5-99c3fb274a96" CreationDate="2013-05-16T13:09:03.290" UserId="6748" Text="As a girlfriend of a sound engineer (post, live, whatever) the biggest gift you can give is understanding and tolerance.&#xD;&#xA;&#xD;&#xA;Understanding: sometimes it is hard for a partner to accept that the sound-guy/girl is lot's of time on the run. For a soundguy/girl it's also hard to be away or in the studio all the time but it's harder to know that the partner is not accepting this.&#xD;&#xA;&#xD;&#xA;Tolerance: be tolerant if he/she falls asleep at you're parents sunday morning lunch because he worked until 4 o'clock in a dark/dirty/loud rock-club/studio and has a big headache.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Don't buy him any tools. The good one are expansive.&#xD;&#xA;&#xD;&#xA;Invite him in the cinema. Or: Give him a box of beer, men likes beer.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Guido" ContentLicense="CC BY-SA 3.0" />
  <row Id="31166" PostHistoryTypeId="2" PostId="19231" RevisionGUID="6be7e101-4d96-45f0-aab9-fc42d88dc56f" CreationDate="2013-05-16T13:38:45.247" UserId="37" Text="From experience, the best gift you can do is a simple &quot;long hours are OK&quot; statement, and to really mean it. That costs $0 of money. &#xD;&#xA;&#xD;&#xA;If you wish to gift an experience, arrange a visit to an anechoic chamber or any other sound/signal lab.&#xD;&#xA;&#xD;&#xA;Gifting a &quot;thing&quot;? How about a Jezz Riley French hydrophone?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31167" PostHistoryTypeId="2" PostId="19232" RevisionGUID="3217d80c-2102-4092-b126-b26860e10278" CreationDate="2013-05-16T14:13:17.547" UserDisplayName="user80" Text="The Sounds of Star Wars makes a great gift, my wife bought me a copy when I graduated.&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/The-Sounds-Star-Wars-Rinzler/dp/0811875466/ref=sr_1_1?ie=UTF8&amp;qid=1368713491&amp;sr=8-1&amp;keywords=The+Sounds+of+Star+Wars&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31168" PostHistoryTypeId="2" PostId="19233" RevisionGUID="03c64110-df25-4a07-9b6c-c5d2d85aaa3a" CreationDate="2013-05-16T14:57:44.137" UserId="6037" Text="How do I cancel the leftover echos after I pause a track?  I can mute the track but when I un-mute it's still there." ContentLicense="CC BY-SA 3.0" />
  <row Id="31169" PostHistoryTypeId="1" PostId="19233" RevisionGUID="03c64110-df25-4a07-9b6c-c5d2d85aaa3a" CreationDate="2013-05-16T14:57:44.137" UserId="6037" Text="Logic Pro - Remove Leftover Echo" ContentLicense="CC BY-SA 3.0" />
  <row Id="31170" PostHistoryTypeId="3" PostId="19233" RevisionGUID="03c64110-df25-4a07-9b6c-c5d2d85aaa3a" CreationDate="2013-05-16T14:57:44.137" UserId="6037" Text="&lt;logic&gt;&lt;echo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31171" PostHistoryTypeId="5" PostId="19225" RevisionGUID="ec50b747-e1db-4f09-9682-e73389eceb0c" CreationDate="2013-05-16T15:57:17.493" UserId="1178" Comment="typos" Text="You can either use granular, frequency modulation or substractive synthesis to create that sound. Just create a long midi note with constant tone and modulate the pitch of that tone with modulation wheel to up which means that the information flow is increasing or down which means that the flow is decreasing. After this use the synthesisers amplitude modulator with square modulation waveform and change the speed of the modulation with modulation wheel to emulate the bitflow to your liking. Same amplitude modulation can be also done with a a tremolo plugin or with classic waves mondomod plugin. you can also spice up the sound with digital glithes that you can easily do with plugins such as Izotope stutter." ContentLicense="CC BY-SA 3.0" />
  <row Id="31172" PostHistoryTypeId="2" PostId="19234" RevisionGUID="a273eb8d-ee5e-4bb1-8e8c-f1153155591d" CreationDate="2013-05-16T16:02:32.603" UserId="1178" Text="You need to be more specific with your question." ContentLicense="CC BY-SA 3.0" />
  <row Id="31174" PostHistoryTypeId="2" PostId="19236" RevisionGUID="928e228a-86dc-40c5-b3d3-29f95425a9cf" CreationDate="2013-05-16T17:18:40.447" UserId="37" Text="You can micro-edit the notes to a virtual analog synth, very short, at very high pitch, in very high numbers and really dense. Have some variety in their triggering -- in, say, Logic you can use Humanize. Copy that, shift it a few semitones, mix while still as midi, with the original. Then repeat one more time. Once it sounds like a digital mess, grab the Glide parameter of the synth and up it a little. &#xD;&#xA;&#xD;&#xA;You retain full control over it, unlike granular. Granular will, however, sound more unusual.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31175" PostHistoryTypeId="2" PostId="19237" RevisionGUID="cec64785-2fa4-4eed-a976-0dcec2afaa3b" CreationDate="2013-05-16T18:06:49.940" UserId="28" Text="Turn the feedback amount down." ContentLicense="CC BY-SA 3.0" />
  <row Id="31179" PostHistoryTypeId="2" PostId="19240" RevisionGUID="7a6b92e7-6515-424c-8864-fd3d7b26c1c2" CreationDate="2013-05-16T20:29:01.813" UserId="362" Text="I understand this question although don't know of a way to solve it. Basically the OP wants to bypass live processing in the channel strip when the playhead isn't running. . . " ContentLicense="CC BY-SA 3.0" />
  <row Id="31181" PostHistoryTypeId="2" PostId="19241" RevisionGUID="20a56b3d-d00a-41ef-a688-678aee002c23" CreationDate="2013-05-16T22:33:57.353" UserId="130" Text="You could go in another direction, instead of gear you could give him a &quot;cool sound stuff kit&quot;. I don't think that buying gear is a good choice because these things can get really expensive and useless in a short time. But if your boyfriend is into sound design he probably will love to receive stuff that might look ridiculous (like some cellophane paper, bells and a broken tv he can smash and record later!) to everyone else, but are precious to a sound designer.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31182" PostHistoryTypeId="2" PostId="19242" RevisionGUID="958fbf03-4a04-428d-8af3-85881e43dcca" CreationDate="2013-05-16T22:58:05.907" UserDisplayName="user49" Text="books are a great practical present eg&#xD;&#xA;&#xD;&#xA;The Practical Art of Motion Picture Sound by David Lewis Yewdall &#xD;&#xA;http://www.amazon.com/Practical-Motion-Picture-Sound-Third/dp/0240808657/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1257540228&amp;sr=8-1m&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And if you got him a  recorder, then some fun physical sound props is a great idea&#xD;&#xA;&#xD;&#xA;eg a thunder drum? (small drum with spring attached)&#xD;&#xA;http://www.ebay.com/bhp/thunder-drum&#xD;&#xA;&#xD;&#xA;or maybe a cheap violin bow&#xD;&#xA;&#xD;&#xA;Plus some wind protection for the H1&#xD;&#xA;&#xD;&#xA;http://www.rycote.com/products/mini_windjammer/mini_windjammer_for_portable_recorder/&#xD;&#xA;&#xD;&#xA;http://www.rodemic.com/accessories/deadkitten&#xD;&#xA;&#xD;&#xA;http://www.redheadwindscreens.com/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31183" PostHistoryTypeId="2" PostId="19243" RevisionGUID="3cb98259-1ece-4af3-8ca7-f1ba674430a8" CreationDate="2013-05-17T02:00:03.367" UserId="6532" Text="Just wanted to follow up on this in case anybody stumbles across this question. Using two separate AAFs (as outlined in my initial post) did indeed do the trick. Of course, the only hassle is to manually combine the two, but since the framerate changes are confined to entire scenes and not just individual clips here and there that's not a big issue.&#xD;&#xA;&#xD;&#xA;Next step is to test importing into and exporting out of DaVinci and see if that's still in sync with sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="31184" PostHistoryTypeId="2" PostId="19244" RevisionGUID="9e138537-8c33-4fcd-b41d-2d5c227c0336" CreationDate="2013-05-17T06:07:24.493" UserId="769" Text="Turn the speakers off." ContentLicense="CC BY-SA 3.0" />
  <row Id="31185" PostHistoryTypeId="2" PostId="19245" RevisionGUID="0460f153-745d-42e7-addf-e428e0a043c3" CreationDate="2013-05-17T08:19:14.297" UserId="6040" Text="When I import an OMF into Pro Tools they enter as two mono tracks, panned left and right as opposed to one stereo track - any ideas as to why this is the case?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31186" PostHistoryTypeId="1" PostId="19245" RevisionGUID="0460f153-745d-42e7-addf-e428e0a043c3" CreationDate="2013-05-17T08:19:14.297" UserId="6040" Text="Importing OMFs into Pro Tools; 2 mono tracks instead of one stereo..." ContentLicense="CC BY-SA 3.0" />
  <row Id="31187" PostHistoryTypeId="3" PostId="19245" RevisionGUID="0460f153-745d-42e7-addf-e428e0a043c3" CreationDate="2013-05-17T08:19:14.297" UserId="6040" Text="&lt;pro&gt;&lt;tools&gt;&lt;omf&gt;&lt;stereo&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31188" PostHistoryTypeId="2" PostId="19246" RevisionGUID="08cdc81f-4959-442b-9402-2b5a82e83269" CreationDate="2013-05-17T09:17:51.587" UserId="221" Text="It is a constraint of the OMF format and/or the video editor it came from. One of the first things I do is move them onto stereo tracks in Pro Tools. In fact I have a set of template sessions, so I will open the most appropriate template session, then import the OMF into my template onto new tracks rather than open the OMF directly in Pro Tools. Then move up the content onto the most appropriate tracks in my template as I find that video editors try and use as few tracks as possible to save screen space but it does mean that a track could have music one moment and sync sound the next voiceover the next. Also I tend to find a mix of mono and stereo tracks so I uncheck the panning even &amp; odd tracks left &amp; right so that I can choose what panning to use when I move them up onto my tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="31189" PostHistoryTypeId="2" PostId="19247" RevisionGUID="254291bf-d548-4728-8224-ab6e3ca3f80e" CreationDate="2013-05-17T10:48:44.800" UserId="348" Text="I agree with Guido. Another thing you can do is try and take an interest in the world of sound and learn about this wonderful world and why we spend hours locked away on projects. You'd be surprised how inspirational it can be to have the one you love take an interest and share in your passion. &#xD;&#xA;&#xD;&#xA;I am so glad you posted this. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31190" PostHistoryTypeId="2" PostId="19248" RevisionGUID="1f9fa5c6-7ae2-4744-a708-1fa755159667" CreationDate="2013-05-17T13:37:53.637" UserId="6032" Text="I have some Rural + Bush type Atmos recordings, mostly from KZN one or two form JHB. Sennheiser MS/ SD702  192/24. Edited and Labeled. What do you need? Can never have enough Atmos tracks.... an Atmos/Amb Swap-meet sounds like a fine Idea. Cheers!!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31191" PostHistoryTypeId="2" PostId="19249" RevisionGUID="bf91ca6b-e9e4-4536-9723-a53e1fe839b6" CreationDate="2013-05-17T14:38:06.683" UserId="6041" Text="Go to a big toyshop and buy some sound making toys: voice changers, megaphones etc. - anything that'll make interesting sounds.&#xD;&#xA;&#xD;&#xA;Oh and the little Korg is great fun." ContentLicense="CC BY-SA 3.0" />
  <row Id="31193" PostHistoryTypeId="2" PostId="19251" RevisionGUID="dadb1501-469c-4f05-be8d-c6640a6444e8" CreationDate="2013-05-17T17:53:53.650" UserId="3754" Text="I agree that presents can get very expensive very quickly. These are my 'dont break the bank' ideas :)&#xD;&#xA;&#xD;&#xA;• Small Peli micro case, or any small, tough case to store stuff&#xD;&#xA;&#xD;&#xA;• Vecro straps and cable management gear&#xD;&#xA;&#xD;&#xA;• Griddit organiser&#xD;&#xA;&#xD;&#xA;• In-line attentuators&#xD;&#xA;&#xD;&#xA;• piezo transducers&#xD;&#xA;&#xD;&#xA;• old ebay mics he can trash in the line of duty&#xD;&#xA;&#xD;&#xA;• and at £25 each, I still cant praise manfrotto super clamps enough. Very handy." ContentLicense="CC BY-SA 3.0" />
  <row Id="31194" PostHistoryTypeId="2" PostId="19252" RevisionGUID="e9b60c36-f37a-4bb2-b0be-0c68c7f2a9fc" CreationDate="2013-05-17T18:39:17.890" UserId="6042" Text="Just had the same problem last Sunday. Zoom H4N and Rode NTG2, low levels. We had it on mono mix. I used it with the battery and not with phantom power (whoops). Anyone get any ideas on what to record with using a rode NTG2 instead of a Zoom?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31195" PostHistoryTypeId="2" PostId="19253" RevisionGUID="5b6da970-670a-438d-a926-ff2fd1e5d578" CreationDate="2013-05-17T19:07:45.077" UserId="4272" Text="Just wondering if any of you have any tried and true techniques or suggestions for designing lava and/or volcano sounds (anything from volcanic eruption, flowing lava, molten volcanic rock movement, etc)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31196" PostHistoryTypeId="1" PostId="19253" RevisionGUID="5b6da970-670a-438d-a926-ff2fd1e5d578" CreationDate="2013-05-17T19:07:45.077" UserId="4272" Text="How to design lava/volcano sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="31197" PostHistoryTypeId="3" PostId="19253" RevisionGUID="5b6da970-670a-438d-a926-ff2fd1e5d578" CreationDate="2013-05-17T19:07:45.077" UserId="4272" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31198" PostHistoryTypeId="2" PostId="19254" RevisionGUID="e1e569bd-d0e6-4d34-a6cc-95f6377cdc9a" CreationDate="2013-05-17T20:49:12.013" UserId="4442" Text="I would think mixing some earthquake/LFE sounds with some way pitched down concrete debris being moved and some low bubbling? Like pitching down some slow boiling syrup or sugar water so you don't get the rolling popping boil but the sludgy kind?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31199" PostHistoryTypeId="2" PostId="19255" RevisionGUID="22137d6c-93d3-444d-9451-8c8d4e57e45d" CreationDate="2013-05-17T22:53:42.643" UserId="5762" Text="i've had success pitching down recordings of polenta, chili, thick stews to get that gloopy sound. Layer low frequency rumble, debris and rocks etc" ContentLicense="CC BY-SA 3.0" />
  <row Id="31200" PostHistoryTypeId="2" PostId="19256" RevisionGUID="30a8bb16-cc77-40f4-a30d-775decb4d5f8" CreationDate="2013-05-17T23:06:27.180" UserId="6043" Text="This may be a noob question but when exporting clips out of Pro Tools, say with fades and what not, does anyone know if the sound card is engaged at all?  The reason I ask is I have some sounds I've recorded using some pretty high-end conversion via firewire and I don't want those sounds degraded if I do some editing to the files when not hooked up to the firewire sound card and just editing on my laptop, and then exporting the clips/regions out.  Hope that makes sense and isn't too ridiculous a question to ask. thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="31201" PostHistoryTypeId="1" PostId="19256" RevisionGUID="30a8bb16-cc77-40f4-a30d-775decb4d5f8" CreationDate="2013-05-17T23:06:27.180" UserId="6043" Text="Exporting clips in Pro Tools and sound card conversion" ContentLicense="CC BY-SA 3.0" />
  <row Id="31202" PostHistoryTypeId="3" PostId="19256" RevisionGUID="30a8bb16-cc77-40f4-a30d-775decb4d5f8" CreationDate="2013-05-17T23:06:27.180" UserId="6043" Text="&lt;pro-tools&gt;&lt;exporting&gt;&lt;clips&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31203" PostHistoryTypeId="2" PostId="19257" RevisionGUID="ea3b49b3-19e7-4e12-a698-536997f02d16" CreationDate="2013-05-18T03:24:37.553" UserId="5624" Text="In short, no. The sound card is only engaged in the listening back of the audio. The processing of the sound is purely mathematical and done by your DAW much like a calculator." ContentLicense="CC BY-SA 3.0" />
  <row Id="31204" PostHistoryTypeId="2" PostId="19258" RevisionGUID="d25b3b7f-260b-45cc-be30-bbad41728e78" CreationDate="2013-05-18T06:40:10.073" UserId="3179" Text="I guess what you're asking is whether audio passes an A/D or D/A converter and conversion when it's exported from a software e.g. Pro Tools. No it doesn't, because it's digital while it's stored (it's an audio file) and handled by the computer (it can be opened and edited with software programs), so there's no need to convert it at all or convert it in other ways than digitally.&#xD;&#xA;&#xD;&#xA;On another note, whether the sound card is &quot;engaged at all&quot; or &quot;reserved&quot; depends on how Pro Tools handles the audio card. It's possible that it's reserved at all times when Pro Tools is open and disconnecting the card while Pro Tools is open may cause Pro Tools to throw an error or crash. Respectively, it's possible that Pro Tools chooses when it accesses the sound card and when it doesn't, but doesn't reserve it all the time while running." ContentLicense="CC BY-SA 3.0" />
  <row Id="31205" PostHistoryTypeId="5" PostId="19258" RevisionGUID="56d76278-d3f4-488e-9237-090df99805da" CreationDate="2013-05-18T06:46:17.787" UserId="3179" Comment="added 223 characters in body; edited body" Text="I guess what you're asking is whether audio passes an A/D or D/A converter and conversion when it's exported from a software e.g. Pro Tools. No it doesn't, because it's digital while it's stored (it's an audio file) and handled by the computer (it can be opened and edited with software programs), so there's no need to convert it at all or convert it in other ways than digitally (which can only induce digital calculation errors, but is not related to the sound cards converters. Practically digital-to-digital conversion is &quot;lossless&quot;, depending on whether you do something that you shouldn't or not).&#xD;&#xA;&#xD;&#xA;On another note, whether the sound card is &quot;engaged at all&quot; or &quot;reserved&quot; depends on how Pro Tools handles the audio card. It's possible that it's reserved at all times when Pro Tools is open and disconnecting the card while Pro Tools is open may cause Pro Tools to throw an error or crash. Respectively, it's possible that Pro Tools chooses when it accesses the sound card and when it doesn't, but doesn't reserve it all the time while running." ContentLicense="CC BY-SA 3.0" />
  <row Id="31206" PostHistoryTypeId="5" PostId="19258" RevisionGUID="9ab480fb-2d40-45c3-bf10-121761f6d1b2" CreationDate="2013-05-18T07:12:37.497" UserId="3179" Comment="added 8 characters in body" Text="I guess what you're asking is whether audio passes through an A/D or D/A converter and conversion when it's exported from a software e.g. Pro Tools. No it doesn't, because it's digital while it's stored (it's an audio file) and handled by the computer (it can be opened and edited with software programs), so there's no need to convert it at all or convert it in other ways than digitally (which can only induce digital calculation errors, but is not related to the sound cards converters. Practically digital-to-digital conversion is &quot;lossless&quot;, depending on whether you do something that you shouldn't or not).&#xD;&#xA;&#xD;&#xA;On another note, whether the sound card is &quot;engaged at all&quot; or &quot;reserved&quot; depends on how Pro Tools handles the audio card. It's possible that it's reserved at all times when Pro Tools is open and disconnecting the card while Pro Tools is open may cause Pro Tools to throw an error or crash. Respectively, it's possible that Pro Tools chooses when it accesses the sound card and when it doesn't, but doesn't reserve it all the time while running." ContentLicense="CC BY-SA 3.0" />
  <row Id="31207" PostHistoryTypeId="2" PostId="19259" RevisionGUID="c96efe15-c7e9-4f44-80e3-cb9682bc4c7a" CreationDate="2013-05-18T08:33:22.293" UserId="6044" Text="Hello all!&#xD;&#xA;&#xD;&#xA;i'm not new to sound, but new to this site and i must say this place is a dream come true! amazing things on here! &#xD;&#xA;&#xD;&#xA;So my Q is a little long, but plz bare with me. also my spellings not the best in the world due to my dyslexia. but thank god for spell checker! &#xD;&#xA;&#xD;&#xA;My Q is to do with Pre Dubbing. and what you commit to at this stage. IE stereo sounds. how do you know what will work or not work later down the line when you come to do the finale mix? is it a gut thing? or is it more planned out? (keeping some sounds out of the pre dub mix cos you know they will be a ''feature'' sound)&#xD;&#xA;&#xD;&#xA;My fear is i will commit to something and ''bake'' the sound in. then later down the line in the mix i will be like ''ahhgg, that sound is too wide, but not alot i can do about it now'' &#xD;&#xA;&#xD;&#xA;hope you get me! lol. &#xD;&#xA;&#xD;&#xA;thanks in advance for advice. jx" ContentLicense="CC BY-SA 3.0" />
  <row Id="31208" PostHistoryTypeId="1" PostId="19259" RevisionGUID="c96efe15-c7e9-4f44-80e3-cb9682bc4c7a" CreationDate="2013-05-18T08:33:22.293" UserId="6044" Text="Pre Dub mix question. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31209" PostHistoryTypeId="3" PostId="19259" RevisionGUID="c96efe15-c7e9-4f44-80e3-cb9682bc4c7a" CreationDate="2013-05-18T08:33:22.293" UserId="6044" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31210" PostHistoryTypeId="2" PostId="19260" RevisionGUID="bc65e174-93ed-4a34-9ea3-aa1e05615d0c" CreationDate="2013-05-18T10:54:42.867" UserId="432" Text="My workflow may be different from others, as I'm primarily a one man band, but I don't see the point of &quot;baking&quot; the pre-dubs anymore. With the flexibility of non-linear DAWs and (relatively) low cost of storage space, my finished &quot;pre-dubs&quot; are simply Pro Tools sessions that I compile into one larger session. It may be necessary to bounce multiple tracks together if there's a shortage of voices, of course, but I do my utmost to compact in such a way that I am not locked into a decision. When I get into the full mix session.&#xD;&#xA;&#xD;&#xA;Following on from that, I do a lot of work at the pre-dub/pre-mix phase. I'll do leveling, relatively precise panning, basic noise reduction, EQ for matching between takes, transient compression and enhancement wherever necessary, etc. I do the bulk of my processing as inserts on tracks, and will revise as necessary once I hear everything in context. That usually means I'm pushing a bit of processing a little harder, not backing off. For me, the point of the pre-dub is to simplify the work left during the mix; strip away the low-level sound decisions and focus on specific moments. When I pull all of the pre-dub sessions into the master mix session, everything should behave similar to how I feel the rough mix needs to sound. Then we can spend time evaluating what works and what needs to be amended. Using sessions instead of traditional pre-dub files leaves a ton of flexibility for that process." ContentLicense="CC BY-SA 3.0" />
  <row Id="31211" PostHistoryTypeId="2" PostId="19261" RevisionGUID="9dab0431-93aa-45ec-a20b-a12769d3d92f" CreationDate="2013-05-18T15:54:00.443" UserId="6045" Text="YES !!&#xD;&#xA;VORTEX had a big mouth and nothing behind.&#xD;&#xA;Vortex surrounnd soft, especially for ZOOM H2N, is only GIMMICK _!!&#xD;&#xA;The company answer never of emails.&#xD;&#xA;&#xD;&#xA;We have now contacted ZOOM in japan, perhaps we get a solution&#xD;&#xA;&#xD;&#xA;Sebastian Tropp&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31212" PostHistoryTypeId="2" PostId="19262" RevisionGUID="74fc9779-1953-4df9-ac66-36399794799d" CreationDate="2013-05-18T22:52:00.830" UserDisplayName="user49" Text="You'll need a soundcard to work at 192kHz - Protools without any hardware will only run at 96kHz maximum (and obviously only some PT hardware options support 192kHz)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31213" PostHistoryTypeId="2" PostId="19263" RevisionGUID="0c05cf27-940b-4ad5-99d7-eb8454c967b4" CreationDate="2013-05-18T23:13:38.880" UserId="1303" Text="One argument in favor of predubbing &quot;traditionally&quot; as in printing pre-mixes, would be archiving. You would never have to worry about corrupt session files or Pro Tools v20ish not being able to open up your R3 predub session for some remix/remaster something down the line. You'll have complete audio files that can be dropped into any DAW.&#xD;&#xA;&#xD;&#xA;To answer you question more directly, the more planning the better. Also plan on as many fix tracks during the final as you can because inevitably you'll have to unwind something at the last minute.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31214" PostHistoryTypeId="2" PostId="19264" RevisionGUID="9984aa2f-9624-43c6-b522-920bad9a4e0f" CreationDate="2013-05-18T23:14:34.083" UserDisplayName="user49" Text="1. When printing stems you need to think through what you will want seperate control over in the final mix, as this dictates the number of stems you will want to predub to. Most films I work on (&amp; many are not big films) I will still plan to predub to eight or ten 5.1 stems, so I can keep elements split to enough of a degree to rebalance. The aim is to make each stem to be balanced &amp; work well as an element... but not stitch you up in the final mix.&#xD;&#xA;&#xD;&#xA;2. if you know an element is subjective/contentious/open to interpretation or the director is not 100% sure of what they want or its VFX dependent &amp; will change with updates, it is often better to not predub it, and run it live into the final mix as a virtual predub. So it is balanced &amp; panned but not printed. I always do this with eg creature vox, and any stings &amp; tones as they may need tweaking (timing/pitch etc) to work with score.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;3. As to your concern about a stem not being right eg panning, the re-recording mixers still have control over the stem eg to change its divergence or spread, or even repan it to a degree - obviously the whole stem is changed, which is why my point 1 is so important ie to not lock together seperate diverse elements into the same predub stem.&#xD;&#xA;&#xD;&#xA;Each film has unique requirements but a starting point for me with FX stems is: &#xD;&#xA;&#xD;&#xA; - FXA General FX&#xD;&#xA; - FXB General FX&#xD;&#xA; - FXC Movement&#xD;&#xA; - FXD Movement&#xD;&#xA; - FXE Impacts&#xD;&#xA; - FXF Impacts&#xD;&#xA; - FXG Vehicles&#xD;&#xA; - FXH Vehicles&#xD;&#xA;&#xD;&#xA;So something simple like a door open, I might still split/print the door open/close onto FXA stem and the creak onto FXB so if someone says 'lets lose the creak' we can...&#xD;&#xA;Or vehicles I might split the engine sounds from the tyre/movement sounds&#xD;&#xA;I'll also borrow stems to split wider eg say i want a vehicle split across 3 or 4 stems - if there is nothing on Impacts then I'll use that stem to split extra elements to (&amp; make sure I name it as such/colour code it)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31215" PostHistoryTypeId="2" PostId="19265" RevisionGUID="317508b1-5a45-435a-80c8-8c1d694ae006" CreationDate="2013-05-18T23:37:34.683" UserDisplayName="user49" Text="A few ideas:&#xD;&#xA;&#xD;&#xA;- access the real thing! There are plenty of geothermal areas in the world which people have recorded... eg theres 58 geysers on sounddogs - use them and/or youtube as a reference if nothing else&#xD;&#xA;&#xD;&#xA;- snow, ice, avalanche, water &amp; explosion sounds are all good source material for manipulation eg completely take the attack off an explosion and you have an element of a geyser - layer it with eg a pitched down water burst/hose gush... I've also in the past taken single ocean wave breaks, pitched it down/EQ'd it &amp; then created a doppler/pitch curve on it, since the water spraying out of a geyser is going to doppler to a degree from your pov.... &#xD;&#xA;&#xD;&#xA;- perform EQ sweeps rolling most of the high freq off snow or ice movement &amp; you can get some good murky gritty movement that could work for lava...&#xD;&#xA;&#xD;&#xA;- for volcanic rock movement, an obvious starting point is rock movement, so try close micing grinding heavy rocks together &amp; add subharmonic synth processing (LowEnder plugin or dbx120 outboard) - doing pitch curves on these may help evoke their movement&#xD;&#xA;&#xD;&#xA;- i have some sounds in my library called 'erratic pass' that I made years ago in Metasynth using white noise as a source &amp; applying lots of pitch modulation to it so its kind of bubbly and erratic... Then I processed those with doppler plugin and EQ sweeps to provide movement &amp; create lots of variations.. its useful as a layer as its bright/cuts through, but when layered under real sounds you definitely dont 'read' it as synthetic or artificial... Could be useful under a geyser spray, just for a brief moment, as effectively water is spraying everywhere, so it is an erratic burst of hiss :)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31216" PostHistoryTypeId="2" PostId="19266" RevisionGUID="fd88eff8-0e19-4ab0-8bca-2f5cf3147f79" CreationDate="2013-05-19T01:08:44.823" UserId="3230" Text="Fellow Sound-Designers, I have a sound to share...via, ahem, the cloud.   &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Now, despite Jay's delicously audible description above and the rest of your input and ideas about an elevator accident, the featured elevator sounds in this production turned out to be a less climactic.  Groaning, screeching, creaking (throughout), with a few start-up/slow-down effects were the theme of the day.  &#xD;&#xA;&#xD;&#xA;To create the sound, we went on-site to a few locations in St. Paul to record the exact, living version of what we were trying to create - a 1920's, 30's elevator.   Throw in some freight elevator sounds, a rail cart crashing into a stack of wood, a stock train recording; apply EQ, pitch-shift, fancy fades, and a few Varispeed edits (for the startup/slow down effect) and you can hear the result.   On-site gear was nothing more than the versatile Zoom H4n (internal stereo pair) mounted on a tripod (the only way that H4 likes to ride) and a standard shotgun. &#xD;&#xA;&#xD;&#xA;Here is the piece itself: https://soundcloud.com/highcue-production/the-lost-elevator-web-cut    The best sounds are at the 1:28 and 19:22 mark.   &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;On-site recording behind-the-scenes: http://youtu.be/lHCe_8s6w6o&#xD;&#xA;&#xD;&#xA;Full description of the project: http://thelostelevator.com/news-and-happenings/&#xD;&#xA;&#xD;&#xA;Enjoy!&#xD;&#xA;&#xD;&#xA;--Phil " ContentLicense="CC BY-SA 3.0" />
  <row Id="31217" PostHistoryTypeId="2" PostId="19267" RevisionGUID="7bc51a5d-91d8-4b4c-a950-7e8d5e87ba01" CreationDate="2013-05-19T02:12:33.003" UserId="4426" Text="I was looking for any posts on waves S360 and R360 used together for room emulation and couldn't find anything...&#xD;&#xA;&#xD;&#xA;I'm using them on a feature right now and I'm really thrown off by some of the design in S360.&#xD;&#xA;The Room Size in the S360 has a minimum number of 1200. In the manual it states that this is a measurement of square meters, which would make that room roughly 3960 sq. ft. So even at a Distance setting of 1.5 meters, there seems to me to be large amounts of the early reflections mixed into the signal for say a bedroom where the source sound is 1.5 meters into the scene. &#xD;&#xA;&#xD;&#xA;I like the R360, but the room size in that is just a number from 46 to 100. &#xD;&#xA;In the manual it doesn't state that it relates to any measurements.&#xD;&#xA;&#xD;&#xA;Am I missing something? I'd like to model smaller rooms. Right now it's also working pretty well to balance echoey production with ADR the client could afford to do, but I feel like for that purpose it spreads the ADR to the left and right too much. Kind of wish there was a negative width setting, too.&#xD;&#xA;&#xD;&#xA;I really liked the S360 when I first started using it, but I keep second guessing myself and turning down the distance more and more. It does sound pretty awesome even at a minimum setting though. It gives a sweet divergent spread that really makes the dialog pop&#xD;&#xA;&#xD;&#xA;Do you use S360? and if so what do you feel works best? pointers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31218" PostHistoryTypeId="1" PostId="19267" RevisionGUID="7bc51a5d-91d8-4b4c-a950-7e8d5e87ba01" CreationDate="2013-05-19T02:12:33.003" UserId="4426" Text="Waves S360 R360 Room Emulation" ContentLicense="CC BY-SA 3.0" />
  <row Id="31219" PostHistoryTypeId="3" PostId="19267" RevisionGUID="7bc51a5d-91d8-4b4c-a950-7e8d5e87ba01" CreationDate="2013-05-19T02:12:33.003" UserId="4426" Text="&lt;waves&gt;&lt;reverb&gt;&lt;room&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31220" PostHistoryTypeId="2" PostId="19268" RevisionGUID="f829d5b2-4f57-440b-9657-9a46e7862cd5" CreationDate="2013-05-19T05:35:10.827" UserId="6046" Text="Can't seem to find the video but i saw a one yesterday with Ben Burtt discussing the new Star Trek which he created some 1500 sounds for. Some of which was lava and volcano. For lava he said they dropped blocks of dry ice in water." ContentLicense="CC BY-SA 3.0" />
  <row Id="31222" PostHistoryTypeId="2" PostId="19269" RevisionGUID="0797e4d1-7603-4d7e-a557-0502c4ba147a" CreationDate="2013-05-19T15:41:31.600" UserId="6048" Text="If you have a track with a long reverb or delay with lot of feedback which keeps playing after you press stop, you have to go to a empty place in the arrange window and press play." ContentLicense="CC BY-SA 3.0" />
  <row Id="31227" PostHistoryTypeId="2" PostId="19272" RevisionGUID="e937450f-f601-474f-b58b-8b3444a28555" CreationDate="2013-05-19T18:16:25.603" UserId="6050" Text="Hi there!&#xD;&#xA;I'm moving my first steps into sfx recording and I have some questions about car pass by recording techniques.&#xD;&#xA;&#xD;&#xA;I saw in many videos people pointing their pistol grips at car arriving (let's say left) and then following it with the mic to the right, doing a fast movement with the arm.&#xD;&#xA;&#xD;&#xA;- Now, if they're using a stereo mic to capture that pass by, why they need to move the mic? I wouldn't sound better with the mic still pointing at the centre of the road (between left and right)?&#xD;&#xA;&#xD;&#xA;- If they're using a mono mic it would make sense moving it following the source of the sound, but why recording a car pass by in mono? Maybe to automatize the pan in post and make recording fit with various footage?&#xD;&#xA;&#xD;&#xA;- Last question: recording a car pass by using a stereo recorder with no XY position, but just with the two mics pointing one left and one right (like olympus LS-100), would cause some spatial listening isssue?&#xD;&#xA;&#xD;&#xA;Thanks for answering ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31228" PostHistoryTypeId="1" PostId="19272" RevisionGUID="e937450f-f601-474f-b58b-8b3444a28555" CreationDate="2013-05-19T18:16:25.603" UserId="6050" Text="Some questions about car pass by techniques" ContentLicense="CC BY-SA 3.0" />
  <row Id="31229" PostHistoryTypeId="3" PostId="19272" RevisionGUID="e937450f-f601-474f-b58b-8b3444a28555" CreationDate="2013-05-19T18:16:25.603" UserId="6050" Text="&lt;cars&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31230" PostHistoryTypeId="2" PostId="19273" RevisionGUID="4deb8c7e-59c9-4b82-a5bf-5199f794a310" CreationDate="2013-05-19T18:53:39.067" UserId="142" Text="Hi, the recordists would have been using a mono microphone following the source of the sound as I would do with most passes of vehicles or aircraft. The Olympus you mention as far as I know from my LS11 essentially is an xy position mic placement and whilst fine for quick recordings on the go, the built in mics are not really of a great quality if you are planning to record sfx for a library.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31231" PostHistoryTypeId="2" PostId="19274" RevisionGUID="44fac316-47f9-4033-86d1-5e84bd7989a9" CreationDate="2013-05-19T19:59:16.990" UserId="3179" Text="&gt; Now, if they're using a stereo mic to capture that pass by, why they need&#xD;&#xA;&gt; to move the mic? I wouldn't sound&#xD;&#xA;&gt; better with the mic still pointing at&#xD;&#xA;&gt; the centre of the road (between left&#xD;&#xA;&gt; and right)?&#xD;&#xA;&#xD;&#xA;Perhaps, unless one would be capturing the sound as it would be captured with a mono microphone, but wants added liveliness/naturalness to the recording by using a stereo microphone or perhaps a Mid-Side configuration. Mono tends to sound too dead on many sources.&#xD;&#xA;&#xD;&#xA;&gt; If they're using a mono mic it would make sense moving it following&#xD;&#xA;&gt; the source of the sound, but why&#xD;&#xA;&gt; recording a car pass by in mono? Maybe&#xD;&#xA;&gt; to automatize the pan in post and make&#xD;&#xA;&gt; recording fit with various footage?&#xD;&#xA;&#xD;&#xA;Yes.&#xD;&#xA;&#xD;&#xA;&gt; Last question: recording a car pass by using a stereo recorder with&#xD;&#xA;&gt; no XY position, but just with the two&#xD;&#xA;&gt; mics pointing one left and one right&#xD;&#xA;&gt; (like olympus LS-100), would cause&#xD;&#xA;&gt; some spatial listening isssue?&#xD;&#xA;&#xD;&#xA;Not necessarily, but the spacing of the microphones in pocket recorders is so small that it's impossible to get a good stereo image.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31233" PostHistoryTypeId="2" PostId="19275" RevisionGUID="3b14bab5-617d-422a-b74d-c71e090e6bc8" CreationDate="2013-05-19T22:26:06.833" UserId="5669" Text="Hey hello!!&#xD;&#xA;&#xD;&#xA;I'm looking for a good pair of headphones under $200 for mastering field recordings.&#xD;&#xA;&#xD;&#xA;I was told that the Ultrasone Pro 550 and Audio-Technica ATH-M50 are very good options.&#xD;&#xA;&#xD;&#xA;What do you guys use or recommend?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(I already own a Xone XD-40 and a Sony MDR-7506)&#xD;&#xA;&#xD;&#xA;Thanks a lot.." ContentLicense="CC BY-SA 3.0" />
  <row Id="31234" PostHistoryTypeId="1" PostId="19275" RevisionGUID="3b14bab5-617d-422a-b74d-c71e090e6bc8" CreationDate="2013-05-19T22:26:06.833" UserId="5669" Text="Headphones for Mastering ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31235" PostHistoryTypeId="3" PostId="19275" RevisionGUID="3b14bab5-617d-422a-b74d-c71e090e6bc8" CreationDate="2013-05-19T22:26:06.833" UserId="5669" Text="&lt;headphones&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31236" PostHistoryTypeId="2" PostId="19276" RevisionGUID="77c6c5bd-ed16-4799-b885-5d73b0229fc1" CreationDate="2013-05-19T23:23:04.677" UserId="6532" Text="Moving the mic vs. holding it steady also changes the perceived speed/intensity of the car by. If you pan with the car you get a longer and less extreme by; holding the mic steady gives you more of a zip by, especially at higher speeds. For really extreme zip bys you can even move the mic in the opposite direction right when the car passes you." ContentLicense="CC BY-SA 3.0" />
  <row Id="31237" PostHistoryTypeId="2" PostId="19277" RevisionGUID="2878e8ea-5919-46eb-8797-3a1857462539" CreationDate="2013-05-20T01:23:11.147" UserId="5624" Text="I highly recommend the M50s. I use them myself for recording and for causal music listening. Fantastic headphones with a very natural response.&#xD;&#xA;&#xD;&#xA;However, I wouldn't recommend using headphones for mastering, that should be done on high quality speakers. Mastering on headphones wont give you an accurate representation of the sound as they give you a very isolated acoustic environment." ContentLicense="CC BY-SA 3.0" />
  <row Id="31238" PostHistoryTypeId="2" PostId="19278" RevisionGUID="3a9a5209-044e-4523-8c30-29437dc205e2" CreationDate="2013-05-20T02:56:44.540" UserId="1228" Text="I'm at crossroads and would love some insight across the Mac/PC spectrum on this:&#xD;&#xA;&#xD;&#xA;Currently I work in a PC environment, however I am preparing to invest in a Macbook within the near future - to run PT and be portable for being at the stage and so forth.  The PC remains my primary work station, the Macook to be a secondary, mobile workstation, but still retaining all necessary capabilities such as plugins and FX library.  The PC has MacDrive 9 Pro installed.  A major reason for having this Macbook as a secondary system is that it gives my internal workflow ecosystem the full spectrum of Mac-PC interoperability.&#xD;&#xA;&#xD;&#xA;So, I'm preparing to migrate my FX library to a new 3 TB external (to future-proof it as far as disk space, ruggedness, and USB 3.0 ability are concerned).  I currently have a copy of it on a 2TB drive formatted as NTFS (this will become a backup, to incrementally updated).&#xD;&#xA;&#xD;&#xA;The crossroads I'm at are, do I format this new 3TB as NTFS or HFS+ (Journaled)?  And subsequently, if I go with NTFS, how reliable and robust is Paragon NTFS?  As in, can you actually trust Paragon with your data or has there been situations which have left you permanently calling into question how secure/reliable it is at not taking your drive partition down or something.  Or one step further, would it be even better that my main FX drive ben HFSJ, and the primary backup be NTFS, just so there's some level of redundancy?  In the vain of how you never want to buy HDs of the same &quot;batch&quot; for a RAID since they're all likely to fail at the same time.&#xD;&#xA;&#xD;&#xA;Unfrtunately, I have had the reliability of MacDrive called into question - a few months ago, a bug which was discovered to be leaving the partition header/catalog open to system access during read/write leaft the entire drive vulnerable and caused I/O instability.  Thus, when it would become too unstable during a transfer, and the system would BSOD mid-transfer, the drive would be dead on re-boot (not physically dead, but the partition wiped out).  Diskwarrior on a colleague's system couldn't even repair it it had been so corrupted.  After a very intense discussion with Mediafour and many dump logs later, it appears the bug was isolated and resolved.  In hindsight I had realized that the HFS drive which went down was not actually Journaled, since I had long-ago formatted it with MacDrive (versus on OSX) and never knew that MacDrive formatting never supported Juornaling.  So to some degree, this drive was a sitting duck, and I am partially culpable for what had occurred.&#xD;&#xA;&#xD;&#xA;However, even though this has been fixed and having since transferred TB's of data to and from HFS drives without a single reliability problem, this ONE situation has left me permanently on-edge and extremely apprehensive of setting this main FX drive as HFSJ.  However I also want this drive to be easily usable (or native in an HFSJ-sense) on the Macbook in a future-proof sense, but alas I have no track record with Paragon NTFS for the demands of post production.&#xD;&#xA;&#xD;&#xA;I'd love some thoughts on this, especially from those who have used Paragon HFS.  My head is spinning a little bit - probably over thinking it.  Unfortunately thanks to the MacDrive snafu it has become more than an easy, no-questions-asked decision for me (run it as HFSJ).&#xD;&#xA;&#xD;&#xA;Note: I have zero interest in FAT and exFAT.  I'm strictly speaking between NTFS and HFSJ" ContentLicense="CC BY-SA 3.0" />
  <row Id="31239" PostHistoryTypeId="1" PostId="19278" RevisionGUID="3a9a5209-044e-4523-8c30-29437dc205e2" CreationDate="2013-05-20T02:56:44.540" UserId="1228" Text="Future-proof cross-comptability har drive considerations" ContentLicense="CC BY-SA 3.0" />
  <row Id="31240" PostHistoryTypeId="3" PostId="19278" RevisionGUID="3a9a5209-044e-4523-8c30-29437dc205e2" CreationDate="2013-05-20T02:56:44.540" UserId="1228" Text="&lt;compatibility&gt;&lt;mac&gt;&lt;windows&gt;&lt;hard-drive&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31241" PostHistoryTypeId="5" PostId="19278" RevisionGUID="1f6e1bf4-252b-41ca-97b6-dfee5239bf96" CreationDate="2013-05-20T03:02:44.833" UserId="1228" Comment="added 193 characters in body" Text="I'm at crossroads and would love some insight across the Mac/PC spectrum on this:&#xD;&#xA;&#xD;&#xA;Currently I work in a PC environment, however I am preparing to invest in a Macbook within the near future - to run PT and be portable for being at the stage and so forth.  The PC remains my primary work station, the Macook to be a secondary, mobile workstation, but still retaining all necessary capabilities such as plugins and FX library.  The PC has MacDrive 9 Pro installed.  A major reason for having this Macbook as a secondary system is that it gives my internal workflow ecosystem the full spectrum of Mac-PC interoperability.&#xD;&#xA;&#xD;&#xA;So, I'm preparing to migrate my FX library to a new 3 TB external (to future-proof it as far as disk space, ruggedness, and USB 3.0 ability are concerned).  I currently have a copy of it on a 2TB drive formatted as NTFS (this will become a backup, to incrementally updated).&#xD;&#xA;&#xD;&#xA;The crossroads I'm at are, do I format this new 3TB as NTFS or HFS+ (Journaled)?  And subsequently, if I go with NTFS, how reliable and robust is Paragon NTFS?  As in, can you actually trust Paragon with your data or has there been situations which have left you permanently calling into question how secure/reliable it is at not taking your drive partition down or something.  Or one step further, would it be even better that my main FX drive ben HFSJ, and the primary backup be NTFS, just so there's some level of redundancy?  In the vain of how you never want to buy HDs of the same &quot;batch&quot; for a RAID since they're all likely to fail at the same time.&#xD;&#xA;&#xD;&#xA;Unfrtunately, I have had the reliability of MacDrive called into question - a few months ago, a bug which was discovered to be leaving the partition header/catalog open to system access during read/write leaft the entire drive vulnerable and caused I/O instability.  Thus, when it would become too unstable during a transfer, and the system would BSOD mid-transfer, the drive would be dead on re-boot (not physically dead, but the partition wiped out).  Diskwarrior on a colleague's system couldn't even repair it it had been so corrupted.  After a very intense discussion with Mediafour and many dump logs later, it appears the bug was isolated and resolved.  In hindsight I had realized that the HFS drive which went down was not actually Journaled, since I had long-ago formatted it with MacDrive (versus on OSX) and never knew that MacDrive formatting never supported Juornaling.  So to some degree, this drive was a sitting duck, and I am partially culpable for what had occurred.&#xD;&#xA;&#xD;&#xA;However, even though this has been fixed and having since transferred TB's of data to and from HFS drives without a single reliability problem, this ONE situation has left me permanently on-edge and extremely apprehensive of setting this main FX drive as HFSJ.  However I also want this drive to be easily usable (or native in an HFSJ-sense) on the Macbook in a future-proof sense, but alas I have no track record with Paragon NTFS for the demands of post production.&#xD;&#xA;&#xD;&#xA;I'd love some thoughts on this, especially from those who have used Paragon NTFS.  My head is spinning a little bit - probably over thinking it.  You mioght call be obsessive about it, but as I'm sure many of you know first-hand, your FX library is your &quot;job security&quot;.  Unfortunately thanks to the MacDrive snafu it has become more than an easy, no-questions-asked decision for me (run it as HFSJ) of how to maintain and future-proof this FX library &quot;job security&quot;.&#xD;&#xA;&#xD;&#xA;Note: I have zero interest in FAT and exFAT.  I'm strictly speaking between NTFS and HFSJ" ContentLicense="CC BY-SA 3.0" />
  <row Id="31242" PostHistoryTypeId="4" PostId="19278" RevisionGUID="83d7fc54-bc0f-4574-98ab-7083c449fc18" CreationDate="2013-05-20T03:19:51.507" UserId="1228" Comment="edited title" Text="Future-proof cross-comptability hard drive considerations" ContentLicense="CC BY-SA 3.0" />
  <row Id="31243" PostHistoryTypeId="2" PostId="19279" RevisionGUID="67a697f1-0ef9-4a14-aa98-f11f6f2031eb" CreationDate="2013-05-20T06:08:25.137" UserDisplayName="user49" Text="&#xD;&#xA;I dont use them for masting but LOVE my Sennheiser HD650 headphones!!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31244" PostHistoryTypeId="2" PostId="19280" RevisionGUID="ebbb4a42-2b8f-427a-ba3c-68e36632f850" CreationDate="2013-05-20T06:29:55.093" UserId="3179" Text="I've met no problems with Paragon software, but neither have with [Tuxera NTFS-3G][1].&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tuxera.com/community/ntfs-3g-download/&#xD;&#xA;&#xD;&#xA;If your main computer runs Windows, then it's probably easier to have the drive use NTFS and have the Mac access it (NTFS drives can be read, but not written to out-of-the-box. Write-support comes with those 3rd party software.)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31245" PostHistoryTypeId="2" PostId="19281" RevisionGUID="cc324ccf-703b-4494-835d-f371dd0ae9c3" CreationDate="2013-05-20T07:53:07.947" UserId="769" Text="I've got to say, this is fraught territory. At work I'm shuffling video files between a Mac, a PC and five FAT32 hard disk recorders. The Mac plays well with the FAT32 drives, but two of our NTFS drives have become munted whilst transferring with Paragon NTFS, and they are currently at the data recovery shop being scanned for salvageable material. Working with NTFS drives has been the nadir of my professional workflow.&#xD;&#xA;&#xD;&#xA;I'm not really sure what the solution is, though, as I haven't come across it yet. I think either funnelling transfers through Ethernet or transferring to a drive split into NTFS/HFSJ partitions and then transferring between them could have something to it, but to be honest, who can be bothered going through the stress? At least with audio files you're looking at tens of Gb rather than hundreds, though!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31246" PostHistoryTypeId="2" PostId="19282" RevisionGUID="41c2f919-2bb4-4ca8-8bdf-f0348524adea" CreationDate="2013-05-20T12:18:46.970" UserId="37" Text="I hate to bring bad news but I don't think you can have a single NTFS or HFS+J/HFSX filesystem that will work stable to read _and_ write data across both Windows and OS X computers. In 15 years of fiddling with drives and all sorts of filesystems I haven't once found a software solution that would _write_ in a reliable way to a non-native FS, especially long term. I've used Paragon HFS (no fun memory) and OSX Fuse (then MacFuse) I wouldn't trust either with writes, only reads.&#xD;&#xA;&#xD;&#xA;Both NTFS and HFSJ are updated on a regular basis, behind closed doors, so there's no guarantee of trouble-free operation, with any software solution. A RAID-like box may abstract the filesystem away but is a hardware unit (slower and failures are very painful).&#xD;&#xA;&#xD;&#xA;How often do you &quot;kick the drive from the workstation then head to the stage?&quot;. At the cost of hard drives these days I think a mirror drive of the other filesystem kind would be mandatory. &#xD;&#xA;&#xD;&#xA;I like Macs so I like HFSJ more than NTFS, but they are both robust and mature filesystems. If your main workstation is a PC then go with NTFS and simply sync to an HFSJ volume once a week.&#xD;&#xA;&#xD;&#xA;If I'm not wrong, OSX has native read support for NTFS drives (Windows can't read HFS ones). That should be enough for your Mac system to 1) synchronise to a HFS+ volume, and 2) access the NTFS volume in case of failure with the HFS+ one. &#xD;&#xA;&#xD;&#xA;One thing you probably won't want to do is split your big drive into smaller partitions. It becomes a pain in the long term." ContentLicense="CC BY-SA 3.0" />
  <row Id="31247" PostHistoryTypeId="2" PostId="19283" RevisionGUID="36ddee90-11f2-42e5-95e7-c7b9ce9a347c" CreationDate="2013-05-20T13:07:00.187" UserId="182" Text="I suggest you eliminate from the single-point-of-failure of one external hard drive to something more robust. The question is not whether your hard drive will fail, but when. Messing around with filesystems will never rule out physical failures or an OS writing corrupt data.&#xD;&#xA;&#xD;&#xA;Option 1 - the external drives don't cost a lot, so why not buy two? There will be some increased overhead in handling the synchronicity between the drives, but that can be automated and done at night.&#xD;&#xA;Option 2 - invest in a Network-attached RAID system: across the network, there are no issues with filesystems as that's taken care of by the NAS, you can do backups and synchronization across multiple computers, and even make your data available over the internet (only to you, of course). Synology and Qnap make systems that are robust and easy to configure. You can keep your usb-drive for portable gigs of course.&#xD;&#xA;&#xD;&#xA;Regarding the filesystem: The portable drive is mainly for use on the road, with your mac, right? So I would treat it as a mac-accessory and format it as hfs+ (journaled). You can exchange data between mac and pc over ethernet, and perhaps keep a small ntfs partition on the portable drive just for quick transfers (temporary, not used as storage). Give the pc its own storage, and keep it synchronized." ContentLicense="CC BY-SA 3.0" />
  <row Id="31248" PostHistoryTypeId="2" PostId="19284" RevisionGUID="48b96739-3964-4878-8311-9305f1e0e87e" CreationDate="2013-05-20T13:40:05.750" UserId="37" Text="I think a mono car pass, following the source, makes for a better editing material later. Not only can you pan it any way you like,but you also have more &quot;full&quot; sound to take away from, when attenuating for distance and movement. If it needs a bit of extra &quot;speed&quot; and doppler effect, stereo material will already have much more of the dynamics &quot;baked in&quot; .&#xD;&#xA;&#xD;&#xA;Some issues with stereo mics are not apparent until you actually grab the mic and try to record broadband sound sources such as car passbys, water/waves, etc. There's complex filtering (mics are not ears), and the difference in the capsules' angles on a stereo recording makes that more apparent.&#xD;&#xA;&#xD;&#xA;Vehicle passbys may need compression and that brings out noise, be it system or ambient. Hence the directional microphones, hence the need to follow.. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31249" PostHistoryTypeId="5" PostId="19278" RevisionGUID="2273511e-f704-47bc-8e56-46f46c41a294" CreationDate="2013-05-20T15:54:13.813" UserId="1228" Comment="edited body" Text="I'm at crossroads and would love some insight across the Mac/PC spectrum on this:&#xD;&#xA;&#xD;&#xA;Currently I work in a PC environment, however I am preparing to invest in a Macbook within the near future - to run PT and be portable for being at the stage and so forth.  The PC remains my primary work station, the Macbook to be a secondary, mobile workstation, but still retaining all necessary capabilities such as plugins and FX library.  The PC has MacDrive 9 Pro installed.  A major reason for having this Macbook as a secondary system is that it gives my internal workflow ecosystem the full spectrum of Mac-PC interoperability.&#xD;&#xA;&#xD;&#xA;So, I'm preparing to migrate my FX library to a new 3 TB external (to future-proof it as far as disk space, ruggedness, and USB 3.0 ability are concerned).  I currently have a copy of it on a 2TB drive formatted as NTFS (this will become a backup, to incrementally updated).&#xD;&#xA;&#xD;&#xA;The crossroads I'm at are, do I format this new 3TB as NTFS or HFS+ (Journaled)?  And subsequently, if I go with NTFS, how reliable and robust is Paragon NTFS?  As in, can you actually trust Paragon with your data or has there been situations which have left you permanently calling into question how secure/reliable it is at not taking your drive partition down or something.  Or one step further, would it be even better that my main FX drive ben HFSJ, and the primary backup be NTFS, just so there's some level of redundancy?  In the vain of how you never want to buy HDs of the same &quot;batch&quot; for a RAID since they're all likely to fail at the same time.&#xD;&#xA;&#xD;&#xA;Unfrtunately, I have had the reliability of MacDrive called into question - a few months ago, a bug which was discovered to be leaving the partition header/catalog open to system access during read/write leaft the entire drive vulnerable and caused I/O instability.  Thus, when it would become too unstable during a transfer, and the system would BSOD mid-transfer, the drive would be dead on re-boot (not physically dead, but the partition wiped out).  Diskwarrior on a colleague's system couldn't even repair it it had been so corrupted.  After a very intense discussion with Mediafour and many dump logs later, it appears the bug was isolated and resolved.  In hindsight I had realized that the HFS drive which went down was not actually Journaled, since I had long-ago formatted it with MacDrive (versus on OSX) and never knew that MacDrive formatting never supported Juornaling.  So to some degree, this drive was a sitting duck, and I am partially culpable for what had occurred.&#xD;&#xA;&#xD;&#xA;However, even though this has been fixed and having since transferred TB's of data to and from HFS drives without a single reliability problem, this ONE situation has left me permanently on-edge and extremely apprehensive of setting this main FX drive as HFSJ.  However I also want this drive to be easily usable (or native in an HFSJ-sense) on the Macbook in a future-proof sense, but alas I have no track record with Paragon NTFS for the demands of post production.&#xD;&#xA;&#xD;&#xA;I'd love some thoughts on this, especially from those who have used Paragon NTFS.  My head is spinning a little bit - probably over thinking it.  You might call me obsessive about it, but as I'm sure many of you know first-hand, your FX library is your &quot;job security&quot;.  Unfortunately thanks to the MacDrive snafu it has become more than an easy, no-questions-asked decision for me (run it as HFSJ) of how to maintain and future-proof this FX library &quot;job security&quot;.&#xD;&#xA;&#xD;&#xA;Note: I have zero interest in FAT and exFAT.  I'm strictly speaking between NTFS and HFSJ" ContentLicense="CC BY-SA 3.0" />
  <row Id="31250" PostHistoryTypeId="5" PostId="19283" RevisionGUID="4d1bd2f4-8b23-4ed1-91e6-a19d804fe904" CreationDate="2013-05-20T16:19:15.767" UserId="182" Comment="formatting" Text="I suggest you eliminate from the single-point-of-failure of one external hard drive to something more robust. The question is not whether your hard drive will fail, but when. Messing around with filesystems will never rule out physical failures or an OS writing corrupt data.&#xD;&#xA;&#xD;&#xA;Option 1 - the external drives don't cost a lot, so why not buy two? There will be some increased overhead in handling the synchronicity between the drives, but that can be automated and done at night.&#xD;&#xA;&#xD;&#xA;Option 2 - invest in a Network-attached RAID system: across the network, there are no issues with filesystems as that's taken care of by the NAS, you can do backups and synchronization across multiple computers, and even make your data available over the internet (only to you, of course). Synology and Qnap make systems that are robust and easy to configure. You can keep your usb-drive for portable gigs of course.&#xD;&#xA;&#xD;&#xA;Regarding the filesystem: The portable drive is mainly for use on the road, with your mac, right? So I would treat it as a mac-accessory and format it as hfs+ (journaled). You can exchange data between mac and pc over ethernet, and perhaps keep a small ntfs partition on the portable drive just for quick transfers (temporary, not used as storage). Give the pc its own storage, and keep it synchronized." ContentLicense="CC BY-SA 3.0" />
  <row Id="31251" PostHistoryTypeId="5" PostId="19278" RevisionGUID="078c3630-91ee-4e29-a1e2-0322c069e136" CreationDate="2013-05-20T18:05:38.690" UserId="1228" Comment="added 871 characters in body" Text="I'm at crossroads and would love some insight across the Mac/PC spectrum on this:&#xD;&#xA;&#xD;&#xA;Currently I work in a PC environment, however I am preparing to invest in a Macbook within the near future - to run PT and be portable for being at the stage and so forth.  The PC remains my primary work station, the Macbook to be a secondary, mobile workstation, but still retaining all necessary capabilities such as plugins and FX library.  The PC has MacDrive 9 Pro installed.  A major reason for having this Macbook as a secondary system is that it gives my internal workflow ecosystem the full spectrum of Mac-PC interoperability.&#xD;&#xA;&#xD;&#xA;So, I'm preparing to migrate my FX library to a new 3 TB external (to future-proof it as far as disk space, ruggedness, and USB 3.0 ability are concerned).  I currently have a copy of it on a 2TB drive formatted as NTFS (this will become a backup, to incrementally updated).&#xD;&#xA;&#xD;&#xA;The crossroads I'm at are, do I format this new 3TB as NTFS or HFS+ (Journaled)?  And subsequently, if I go with NTFS, how reliable and robust is Paragon NTFS?  As in, can you actually trust Paragon with your data or has there been situations which have left you permanently calling into question how secure/reliable it is at not taking your drive partition down or something.  Or one step further, would it be even better that my main FX drive ben HFSJ, and the primary backup be NTFS, just so there's some level of redundancy?  In the vain of how you never want to buy HDs of the same &quot;batch&quot; for a RAID since they're all likely to fail at the same time.&#xD;&#xA;&#xD;&#xA;Unfrtunately, I have had the reliability of MacDrive called into question - a few months ago, a bug which was discovered to be leaving the partition header/catalog open to system access during read/write leaft the entire drive vulnerable and caused I/O instability.  Thus, when it would become too unstable during a transfer, and the system would BSOD mid-transfer, the drive would be dead on re-boot (not physically dead, but the partition wiped out).  Diskwarrior on a colleague's system couldn't even repair it it had been so corrupted.  After a very intense discussion with Mediafour and many dump logs later, it appears the bug was isolated and resolved.  In hindsight I had realized that the HFS drive which went down was not actually Journaled, since I had long-ago formatted it with MacDrive (versus on OSX) and never knew that MacDrive formatting never supported Juornaling.  So to some degree, this drive was a sitting duck, and I am partially culpable for what had occurred.&#xD;&#xA;&#xD;&#xA;However, even though this has been fixed and having since transferred TB's of data to and from HFS drives without a single reliability problem, this ONE situation has left me permanently on-edge and extremely apprehensive of setting this main FX drive as HFSJ.  However I also want this drive to be easily usable (or native in an HFSJ-sense) on the Macbook in a future-proof sense, but alas I have no track record with Paragon NTFS for the demands of post production.&#xD;&#xA;&#xD;&#xA;I'd love some thoughts on this, especially from those who have used Paragon NTFS.  My head is spinning a little bit - probably over thinking it.  You might call me obsessive about it, but as I'm sure many of you know first-hand, your FX library is your &quot;job security&quot;.  Unfortunately thanks to the MacDrive snafu it has become more than an easy, no-questions-asked decision for me (run it as HFSJ) of how to maintain and future-proof this FX library &quot;job security&quot;.&#xD;&#xA;&#xD;&#xA;Note: I have zero interest in FAT and exFAT.  I'm strictly speaking between NTFS and HFSJ&#xD;&#xA;&#xD;&#xA;**UPDATE:** Thanks everybody for the input and insight, invaluable points of view and situations to consider.  I'll be getting Mediafour on the horn to see what they have to say about the bug fix (whether it truly was the antidote - the voicemail they left for me last week wasn't reassuring, hence the consideration) or whether it still remains too risky for my liking.  Definitely liking the mirrored-copy-in-different-filesystems idea to implement over the next few months as a primer to investing in the Mac. I handn't directly thought about having two &quot;live&quot; FX drives synced but tied to each individual system instead of the hassle of trying to share one &quot;live&quot; the whole way around.  It makes perfect sense actually.  Keep it simple.  If anyone has further insight, by all means please feel welcome to share it!  Thanks so far everyone, I appreciate the ideas." ContentLicense="CC BY-SA 3.0" />
  <row Id="31252" PostHistoryTypeId="2" PostId="19285" RevisionGUID="7b50587e-e693-4976-92ae-e02f0c9d9cf4" CreationDate="2013-05-20T20:00:02.430" UserId="6044" Text="any good videos out there on sound design or mixing on a sound stage? i've seen most of the ones on you tube. are there any DVDs or anything like that? &#xD;&#xA;&#xD;&#xA;jx" ContentLicense="CC BY-SA 3.0" />
  <row Id="31253" PostHistoryTypeId="1" PostId="19285" RevisionGUID="7b50587e-e693-4976-92ae-e02f0c9d9cf4" CreationDate="2013-05-20T20:00:02.430" UserId="6044" Text="Good Videos on SD/Mixing." ContentLicense="CC BY-SA 3.0" />
  <row Id="31254" PostHistoryTypeId="3" PostId="19285" RevisionGUID="7b50587e-e693-4976-92ae-e02f0c9d9cf4" CreationDate="2013-05-20T20:00:02.430" UserId="6044" Text="&lt;mixing&gt;&lt;video&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31255" PostHistoryTypeId="2" PostId="19286" RevisionGUID="32cda9d2-c62c-45ba-a0d4-14a49d4a2ce4" CreationDate="2013-05-20T21:31:05.807" UserId="6052" Text="http://vimeo.com/37278827" ContentLicense="CC BY-SA 3.0" />
  <row Id="31256" PostHistoryTypeId="1" PostId="19286" RevisionGUID="32cda9d2-c62c-45ba-a0d4-14a49d4a2ce4" CreationDate="2013-05-20T21:31:05.807" UserId="6052" Text="any tips on creating tech based sounds like this" ContentLicense="CC BY-SA 3.0" />
  <row Id="31257" PostHistoryTypeId="3" PostId="19286" RevisionGUID="32cda9d2-c62c-45ba-a0d4-14a49d4a2ce4" CreationDate="2013-05-20T21:31:05.807" UserId="6052" Text="&lt;design&gt;&lt;film&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31258" PostHistoryTypeId="2" PostId="19287" RevisionGUID="2df3abd1-3aac-4054-a985-d17f3493f6fe" CreationDate="2013-05-20T21:46:51.713" UserId="1185" Text="Your questions really need to be more specific if you want answers.  Take a look at the FAQ." ContentLicense="CC BY-SA 3.0" />
  <row Id="31259" PostHistoryTypeId="2" PostId="19288" RevisionGUID="e14896c0-5235-4e5f-bd8a-459a960ca64d" CreationDate="2013-05-20T21:51:05.877" UserId="1185" Text="This previous post should get you started:&#xD;&#xA;&#xD;&#xA;[http://socialsounddesign.com/questions/17767/video-courses-on-sound-design-for-film-tv][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/17767/video-courses-on-sound-design-for-film-tv" ContentLicense="CC BY-SA 3.0" />
  <row Id="31261" PostHistoryTypeId="2" PostId="19289" RevisionGUID="36f38865-513d-4ac7-9f98-57a4b77634af" CreationDate="2013-05-20T22:13:41.063" UserId="37" Text="The majority of that video sounds like granular synthesis. You can find components that do this in Ableton Live, Reaktor, or Max/MSP. I think MOTU ship an awesome granular in MachFive. Or you can google Imperial Grains or a PC equivalent. &#xD;&#xA;&#xD;&#xA;Re the little sounds sprinkled all over the video, many are microsampled bits such as metal and glass particles (or you can kill your wrists designing the same in a modelling synth), and others you can edit by hand with a virtual analog synth. &#xD;&#xA;&#xD;&#xA;It really takes a lot of time to get these to sound like that. There's no magic bullet. &#xD;&#xA;And thanks for the video. Some nice stuff in there.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31262" PostHistoryTypeId="6" PostId="19286" RevisionGUID="a0bb3952-ba64-4796-b9d9-d8cc7c188b66" CreationDate="2013-05-20T22:14:08.547" UserId="37" Comment="edited tags" Text="&lt;design&gt;&lt;sfx&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31263" PostHistoryTypeId="2" PostId="19290" RevisionGUID="3f1be43f-017d-4e8a-b767-1b6aaf728070" CreationDate="2013-05-20T22:49:30.363" UserId="4358" Text="Hey guys,&#xD;&#xA;So I was planning to buy an interface for myself &amp; I had boiled down to the MOTU 4pre. But the dealer from whom I was planning to buy told me that I could get a Focusrite Saffire Pro 40 8in/8out interface for less price compared to the 4pre.&#xD;&#xA;The thing I want to know is would you ever need so many channels in an interface when you are dealing with film sound? My work mostly consists of sound editing and occasional ADR.&#xD;&#xA;I was looking for something portable but the price factor put me on hold. I'd go for the Pro 40 only if those many channels are useful. What do you think?&#xD;&#xA;Thank You." ContentLicense="CC BY-SA 3.0" />
  <row Id="31264" PostHistoryTypeId="1" PostId="19290" RevisionGUID="3f1be43f-017d-4e8a-b767-1b6aaf728070" CreationDate="2013-05-20T22:49:30.363" UserId="4358" Text="Focusrite Saffire Pro 40 query" ContentLicense="CC BY-SA 3.0" />
  <row Id="31265" PostHistoryTypeId="3" PostId="19290" RevisionGUID="3f1be43f-017d-4e8a-b767-1b6aaf728070" CreationDate="2013-05-20T22:49:30.363" UserId="4358" Text="&lt;audio-interfaces&gt;&lt;motu&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31266" PostHistoryTypeId="2" PostId="19291" RevisionGUID="7fe43191-5367-4b5e-8b99-45c3331083de" CreationDate="2013-05-20T23:06:04.123" UserId="37" Text="4pre has 4 outputs. If you ever have to do a 5.1 tracklay, you will need the outputs (especially with 5.1 + 2.0). So you may not need the 8 inputs, but the 8 outs of the Pro 40 make it more appealing for post. The sales guy may be thinking: if you use this for music, certainly you'd appreciate the extra inputs on a drum kit, otherwise - the outputs. That said, I'd still prefer the MOTU, maybe just another model. Some companies have better reputation than others..." ContentLicense="CC BY-SA 3.0" />
  <row Id="31267" PostHistoryTypeId="2" PostId="19292" RevisionGUID="326fb072-d92f-4958-b84b-3713464b178b" CreationDate="2013-05-21T00:06:52.003" UserId="6053" Text="Sounds like that are mostly granular synthesis and wavetables. &#xD;&#xA;&#xD;&#xA;Fast/fun easy way is to convert .exe files into .pcm files then open them with audacity. Probably not quite what you have in mind though." ContentLicense="CC BY-SA 3.0" />
  <row Id="31268" PostHistoryTypeId="2" PostId="19293" RevisionGUID="2ff7d191-3b6b-4cd9-9cf5-62351a85337c" CreationDate="2013-05-21T03:01:22.780" UserId="311" Text="I have many pairs of Vans shoes and quite honestly I can not audibly tell them apart. As James said, I would focus more on the characters than the shoes." ContentLicense="CC BY-SA 3.0" />
  <row Id="31269" PostHistoryTypeId="2" PostId="19294" RevisionGUID="0725bd64-c322-4e64-8fdc-518a3f63927c" CreationDate="2013-05-21T03:40:33.673" UserId="3567" Text="Robert Henke's Granulator 2 M4L device does wonders. I find myself using it more and more, even for stuff that doesn't require granular synthesis.&#xD;&#xA;https://www.ableton.com/en/blog/granulator-ii-robert-henkes-max-live-instrument-updated-live-9/&#xD;&#xA;&#xD;&#xA;Also, Spectrum Sampler: http://www.amazingnoises.com/am/?p=78" ContentLicense="CC BY-SA 3.0" />
  <row Id="31270" PostHistoryTypeId="2" PostId="19295" RevisionGUID="40338021-366a-47d9-9340-77395f755320" CreationDate="2013-05-21T03:47:07.643" UserId="4259" Text="I've used to Pro 40 a bit, and it has great features for the price. The MixControl software can be a pretty powerful tool and you will likely find a use for all those outputs (and inputs). The preamps are pretty decent. The only issue I've had with it is a communication glitch between it and Pro Tools. There doesn't seem to be any way to fix it other than restarting the Pro 40. Annoying! But, for what you pay, this is probably tolerable." ContentLicense="CC BY-SA 3.0" />
  <row Id="31271" PostHistoryTypeId="2" PostId="19296" RevisionGUID="b65377d8-81b8-414d-be56-d38cf0da5f93" CreationDate="2013-05-21T07:08:32.457" UserId="5882" Text="Im going to say go with the Pro 40 because you can do more with it. You may not have a need for all 8 mic pre's, but in the future that could come in handy very easily.&#xD;&#xA;&#xD;&#xA;The Motu isn't going to walk circles around the focusrite." ContentLicense="CC BY-SA 3.0" />
  <row Id="31274" PostHistoryTypeId="2" PostId="19299" RevisionGUID="27ba637e-cbf4-4005-acef-435840c48f0c" CreationDate="2013-05-21T09:52:12.163" UserId="5882" Text="The Audio Technica ATH-M50's are great headphones, but they grip your head like no tomorrow and after about an hour of wearing them, you'll be left feeling very uncomfortable.&#xD;&#xA;&#xD;&#xA;Also, I would recommend looking into an open back headphone as closed backs leave the users with head aches, myself included. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31275" PostHistoryTypeId="2" PostId="19300" RevisionGUID="0de16149-3905-494d-80cb-73f20d6f7c49" CreationDate="2013-05-21T10:00:47.210" UserId="1185" Text="I recently bought an iPad for doing some sound/control research and used the original post as my starting point for apps to look at.  However, as you pointed out there are now new apps on the market.  These are the ones I've used so far that have not already been mentioned:&#xD;&#xA;&#xD;&#xA;Animoog - great sounding and offers interesting control&#xD;&#xA;&#xD;&#xA;Cubasis - cut down version of full DAW is a excellent sketchpad and compatible with Cubase&#xD;&#xA;&#xD;&#xA;Korg iPolysix - continues the great work by Korg&#xD;&#xA;&#xD;&#xA;Loopy HD - interesting sample control&#xD;&#xA;&#xD;&#xA;NodeBeat HD - similar concept to Bloom, but I prefer the output (my kids also love this one)&#xD;&#xA;&#xD;&#xA;MorphWiz - Jordan's latest offering really pushes touchscreen control&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I have also found the following utilities really useful and help turn the ipad into a usable sound platform:&#xD;&#xA;&#xD;&#xA;Audiobus - how did you work before this utility was available?&#xD;&#xA;&#xD;&#xA;MIDIBridge - define your own Virtual MIDI networks&#xD;&#xA;&#xD;&#xA;MIDI Monitor - useful for debugging&#xD;&#xA;&#xD;&#xA;Control (OSC + MIDI) - similar to TouchOSC&#xD;&#xA;&#xD;&#xA;Fantastick - create your own control graphical interfaces&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Same as @Jay, I'm interested to hear of any other apps that I may have missed. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31276" PostHistoryTypeId="5" PostId="19300" RevisionGUID="bfbd1378-37fd-494e-b0cb-3aaf155cee69" CreationDate="2013-05-21T10:50:21.917" UserId="1185" Comment="added 69 characters in body" Text="I recently bought an iPad for doing some sound/control research and used the original post as my starting point for apps to look at.  However, as you pointed out there are now new apps on the market.  These are the ones I've used so far that have not already been mentioned:&#xD;&#xA;&#xD;&#xA;Animoog - great sounding and offers interesting control&#xD;&#xA;&#xD;&#xA;Cubasis - cut down version of full DAW is a excellent sketchpad and compatible with Cubase&#xD;&#xA;&#xD;&#xA;Korg iPolysix - continues the great work by Korg&#xD;&#xA;&#xD;&#xA;Loopy HD - interesting sample control&#xD;&#xA;&#xD;&#xA;NodeBeat HD - similar concept to Bloom, but I prefer the output (my kids also love this one)&#xD;&#xA;&#xD;&#xA;MorphWiz - Jordan's latest offering really pushes touchscreen control&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I have also found the following utilities really useful and help turn the ipad into a usable sound platform:&#xD;&#xA;&#xD;&#xA;Audiobus - how did you work before this utility was available?&#xD;&#xA;&#xD;&#xA;MIDIBridge - define your own Virtual MIDI networks&#xD;&#xA;&#xD;&#xA;MIDI Monitor - useful for debugging&#xD;&#xA;&#xD;&#xA;C74 - Max external that allows device to act as a control surface&#xD;&#xA;&#xD;&#xA;Control (OSC + MIDI) - similar to TouchOSC&#xD;&#xA;&#xD;&#xA;Fantastick - create your own control graphical interfaces&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Same as @Jay, I'm interested to hear of any other apps that I may have missed. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31277" PostHistoryTypeId="5" PostId="19300" RevisionGUID="e280044d-2c90-4527-bc81-9369c47e7d0f" CreationDate="2013-05-21T10:56:07.550" UserId="1185" Comment="added 13 characters in body" Text="I recently bought an iPad for doing some sound/control research and used the original post as my starting point for apps to look at.  However, as you pointed out there are now new apps on the market.  These are the ones I've used so far that have not already been mentioned:&#xD;&#xA;&#xD;&#xA;Animoog - great sounding and offers interesting control&#xD;&#xA;&#xD;&#xA;Cubasis - cut down version of full DAW is a excellent sketchpad and compatible with Cubase&#xD;&#xA;&#xD;&#xA;Korg iPolysix - continues the great work by Korg&#xD;&#xA;&#xD;&#xA;Loopy HD - interesting sample control&#xD;&#xA;&#xD;&#xA;NodeBeat HD - similar concept to Bloom, but I prefer the output (my kids also love this one)&#xD;&#xA;&#xD;&#xA;MorphWiz - Jordan's latest offering really pushes touchscreen control&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I have also found the following utilities really useful and help turn the ipad into a usable sound platform:&#xD;&#xA;&#xD;&#xA;Audiobus - how did you work before this utility was available?&#xD;&#xA;&#xD;&#xA;MIDIBridge - define your own Virtual MIDI networks&#xD;&#xA;&#xD;&#xA;MIDI Monitor - useful for debugging&#xD;&#xA;&#xD;&#xA;C74 - Max external that allows control data to be sent from device back to Max&#xD;&#xA;&#xD;&#xA;Control (OSC + MIDI) - similar to TouchOSC&#xD;&#xA;&#xD;&#xA;Fantastick - create your own control graphical interfaces&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Same as @Jay, I'm interested to hear of any other apps that I may have missed. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31278" PostHistoryTypeId="2" PostId="19301" RevisionGUID="444e0a3c-1080-45ed-8d50-9ece3ec1510e" CreationDate="2013-05-21T12:49:18.923" UserId="6055" Text="Hey guys and gals&#xD;&#xA;&#xD;&#xA;We recently gave [The Guide To Sound Effects][1] a major overhaul, with a new look, search and more -  and now we're looking to add more sfx ideas to the list. &#xD;&#xA;&#xD;&#xA;So if you've got any ideas to share on ways of making specific sfx, please submit them using the form on the site and we'll add them.&#xD;&#xA;&#xD;&#xA;The Guide is at http://www.epicsound.com/sfx - hope you find it useful and we look forward to your ideas!&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;-Asbjoern and David&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.epicsound.com/sfx" ContentLicense="CC BY-SA 3.0" />
  <row Id="31279" PostHistoryTypeId="1" PostId="19301" RevisionGUID="444e0a3c-1080-45ed-8d50-9ece3ec1510e" CreationDate="2013-05-21T12:49:18.923" UserId="6055" Text="Call for SFX ideas for 'The Guide To Sound Effects'" ContentLicense="CC BY-SA 3.0" />
  <row Id="31280" PostHistoryTypeId="3" PostId="19301" RevisionGUID="444e0a3c-1080-45ed-8d50-9ece3ec1510e" CreationDate="2013-05-21T12:49:18.923" UserId="6055" Text="&lt;effect&gt;&lt;guide&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31281" PostHistoryTypeId="2" PostId="19302" RevisionGUID="0354d2d1-6eb2-4ad5-9c2b-125427a5c96c" CreationDate="2013-05-21T12:58:40.257" UserId="69" Text="If you have Reaktor, then try S-Layer:&#xD;&#xA;http://twistedtools.com/shop/reaktor/s-layer/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31282" PostHistoryTypeId="2" PostId="19303" RevisionGUID="68a7751f-2a5f-4b26-8702-e1c945394264" CreationDate="2013-05-21T16:55:25.000" UserId="4272" Text="Check out the new Soundmorph library - Users of Tomorrow, which comes with a Max/MSP patch designed for making all sorts of techy sounds.&#xD;&#xA;&#xD;&#xA;You can also build these kinds of sounds using izotope Iris and/or Kontakt - try creating really small loops, adding delays, and adjusting the envelopes.  Use pitch modulation in combination with other effects.  You might also try using synthesisers like Razor or Massive.  And there are plenty of Reaktor synths you could use - I would recommend [GrainCube][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/05/graincube-a-free-reaktor-instrument-for-granular-sound-manipulation/" ContentLicense="CC BY-SA 3.0" />
  <row Id="31283" PostHistoryTypeId="2" PostId="19304" RevisionGUID="1bea4536-4298-4d89-8003-a473d4b14f93" CreationDate="2013-05-21T17:56:30.287" UserId="1049" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;Just wondering what Tascam DR-100 / DR-100MkII users are using for a carry case? I'm looking at the [PortaBrace AR-100][1] or the [Petrol Bags PS615][2], or finding a suitable camera case as people have suggested in other threads on here.&#xD;&#xA;&#xD;&#xA;The AR-100 is fairly expensive for what it is, but it does have the strap clips at the bottom, so when you have it on the strap it's &quot;upside-down&quot;; the right way up for the user. The PS615 looks a little nicer and is a little cheaper, but the clips are on the top, meaning it'd be upside-down for the user...&#xD;&#xA;&#xD;&#xA;Anyone have any suggestion or experience with either? Are the controls easy to access through the plastic cover? The main problem I can see at the moment is trying to use the dial control on the front of the DR-100 through the plastic, but that's always going to be the case with such a design! &#xD;&#xA;&#xD;&#xA;Thanks in advance! &#xD;&#xA;&#xD;&#xA;  [1]: http://www.portabrace.com/products/audio/recorders/733-audio-recorder-case-for-tascam-dr100mkii&#xD;&#xA;  [2]: http://www.petrolbags.com/product/PS615" ContentLicense="CC BY-SA 3.0" />
  <row Id="31284" PostHistoryTypeId="1" PostId="19304" RevisionGUID="1bea4536-4298-4d89-8003-a473d4b14f93" CreationDate="2013-05-21T17:56:30.287" UserId="1049" Text="Tascam DR-100 carry case: PortaBrace AR-100, Petrol PS615 or a camera case?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31285" PostHistoryTypeId="3" PostId="19304" RevisionGUID="1bea4536-4298-4d89-8003-a473d4b14f93" CreationDate="2013-05-21T17:56:30.287" UserId="1049" Text="&lt;petrol&gt;&lt;portable-recorder&gt;&lt;cases&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31286" PostHistoryTypeId="2" PostId="19305" RevisionGUID="ca3870a4-b47d-4749-ab4d-009d12ee384e" CreationDate="2013-05-21T18:08:36.657" UserId="4390" Text="Grain Science is a great granular synth-job as well. 2 grain osc, lots of modulation mapping, x/y pads, multieffects, etc. I really like the sounds coming from that..." ContentLicense="CC BY-SA 3.0" />
  <row Id="31287" PostHistoryTypeId="2" PostId="19306" RevisionGUID="3b890d2a-d78e-46b7-80b4-7f899fdced00" CreationDate="2013-05-21T18:53:55.633" UserId="3179" Text="Granular (+ automation obviously), microediting and creating stutters/rolls (optionally automate their volume and pitch) and careful layering of different clicks and pops for the full-sounding and moving crumbling.&#xD;&#xA;&#xD;&#xA;As mentioned, there's no magic bullet, because there's a lot of variation and one needs a lot of different samples here and there, so it takes some trial and error, patience(!) and familiarity with the tools and techniques. Generally those &quot;auto glitch/stutter&quot; effects won't give you enough (musical) control to have them create what you need (although you may get some usable samples out of them)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31288" PostHistoryTypeId="2" PostId="19307" RevisionGUID="0b9f503c-3204-4321-9b07-e653608325ea" CreationDate="2013-05-21T19:47:36.080" UserId="5605" Text="Immediately thought of Autechre when I saw this.&#xD;&#xA;&#xD;&#xA;Autechre - Gantz Graf &#xD;&#xA;http://www.youtube.com/watch?v=AyJfHU4GoOQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="31289" PostHistoryTypeId="5" PostId="19306" RevisionGUID="7f6be651-d7ed-4415-8f4d-80513e3986c2" CreationDate="2013-05-21T20:22:54.490" UserId="3179" Comment="added 254 characters in body; added 10 characters in body; added 6 characters in body; added 6 characters in body; added 20 characters in body" Text="Granular (+ automation obviously), microediting and creating stutters/rolls (optionally automate their volume and pitch) and careful layering of different clicks and pops for the full-sounding and moving crumbling.&#xD;&#xA;&#xD;&#xA;As mentioned, there's no magic bullet, because there's a lot of variation and one needs a lot of different samples here and there, so it takes some trial and error, patience(!) and familiarity with the tools and techniques. Also, a good ear/taste for the samples as well as what to try/use as starting points (electronic drum or drum-like sounds [e.g. 808's sounds] are pretty good and somewhat common, because of their clear differences in frequency content and their cleaniness, even when pitch-shifted drastically.). Generally those &quot;auto glitch/stutter&quot; effects won't give you enough (musical) control to have them create what you need (although you may get some usable samples out of them)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31290" PostHistoryTypeId="5" PostId="19306" RevisionGUID="99db6f98-50e4-4f42-98be-ac36f81f4e21" CreationDate="2013-05-21T20:40:47.463" UserId="3179" Comment="added 137 characters in body; added 6 characters in body" Text="Granular (+ automation obviously), microediting and creating stutters/rolls (optionally automate their volume and pitch) and careful layering of different clicks and pops for the full-sounding and moving crumbling.&#xD;&#xA;&#xD;&#xA;As mentioned, there's generally no magic bullet, because there's a lot of variation and one needs a lot of different samples here and there, so it takes some trial and error, patience(!) and familiarity with the tools and techniques. Also, a good ear/taste for the samples as well as what to try/use as starting points (electronic drum or drum-like sounds [e.g. 808's sounds] are pretty good and somewhat common, because of their clear differences in frequency content and their cleaniness, even when pitch-shifted drastically.). Generally those &quot;auto glitch/stutter&quot; effects won't give you enough (musical) control to have them create what you need (although you may get some usable samples out of them).&#xD;&#xA;&#xD;&#xA;Opening files that you shouldn't open in audio programs (as well as other glitch tricks) may also prove to be worthy/interesting." ContentLicense="CC BY-SA 3.0" />
  <row Id="31291" PostHistoryTypeId="2" PostId="19308" RevisionGUID="28076ba4-a8d5-42d3-b4cf-3162a453188c" CreationDate="2013-05-22T03:43:56.753" UserId="300" Text="following the advice of someone on this board I got Reaktor cranking inside ProTools.... Ended up buying it... incredibly powerful way of getting ipad control of FX inside Tools.&#xD;&#xA;&#xD;&#xA;I use Osculator to interface between TouchOSC on my iPad, and Reaktor.&#xD;&#xA;Osculator can also do all sorts of very handy things like key-combo's, triggering applescripts etc etc.. &#xD;&#xA;&#xD;&#xA;too much fun&#xD;&#xA;&#xD;&#xA;For those of you who have templates for shows and are often recalling marker selections for amb \ fx within ProTools, you can make a custom TouchOSC page to call all those selections up by way of a key combo thats triggered by a single press on your iPad..&#xD;&#xA;&#xD;&#xA;eg.&#xD;&#xA;&#xD;&#xA;'.'&#xD;&#xA;&#xD;&#xA;'4'&#xD;&#xA;&#xD;&#xA;'0'&#xD;&#xA;&#xD;&#xA;'0'&#xD;&#xA;&#xD;&#xA;'.'&#xD;&#xA;&#xD;&#xA;calls up marker location 400.&#xD;&#xA;&#xD;&#xA;&quot;AMB Bar&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;beers.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31292" PostHistoryTypeId="2" PostId="19309" RevisionGUID="fcfba896-2b9d-418a-ad4c-6b19b117e0b1" CreationDate="2013-05-22T05:18:02.227" UserId="3176" Text="I have a real close up on a wave crashing on a short I'm working on. I'm trying to make as precise as possible but I'm not satisfied yet.&#xD;&#xA;&#xD;&#xA;I have good real big wave sounds as source that I tried to pitch down and mix with things like cannon roars... but it's hard to make something really powerfull and convincing at the same time. The fall is not so hard to make as the sound of the wave rising, I guess (the cannon roar has worked reasonably for the first). It's a mad man's job trying to &quot;shape&quot; water, really." ContentLicense="CC BY-SA 3.0" />
  <row Id="31293" PostHistoryTypeId="1" PostId="19309" RevisionGUID="fcfba896-2b9d-418a-ad4c-6b19b117e0b1" CreationDate="2013-05-22T05:18:02.227" UserId="3176" Text="BIG wave rise and crash sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="31294" PostHistoryTypeId="3" PostId="19309" RevisionGUID="fcfba896-2b9d-418a-ad4c-6b19b117e0b1" CreationDate="2013-05-22T05:18:02.227" UserId="3176" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31295" PostHistoryTypeId="2" PostId="19310" RevisionGUID="07230c6e-b2da-4baf-8a89-9d3a8c827dbe" CreationDate="2013-05-22T05:58:25.090" UserId="300" Text="first thing I'd say is - grab hold of some faders if you can, make some room around your big moments by pulling elements back a bit. Along with your cannon roar perhaps you could layer in some eg. earthquake type sounds to fatten out the big ones? Either that or automate some sub harmonizer like Lowender to help give it some caboose. &#xD;&#xA;&#xD;&#xA;Again.. dynamics are key, if it all piles up then nothing is big any more. See what you can make smaller without killing the energy" ContentLicense="CC BY-SA 3.0" />
  <row Id="31296" PostHistoryTypeId="5" PostId="19306" RevisionGUID="40040e4c-3f2b-4530-a6e0-95201258287e" CreationDate="2013-05-22T09:37:42.120" UserId="3179" Comment="added 173 characters in body; deleted 1 characters in body; added 13 characters in body" Text="Granular (+ automation obviously), microediting and creating stutters/rolls (by hand or e.g. by automating sample start and end points in samplers in loop mode. Optionally automate their volume and pitch to create movement and adjust their timing or try reversing the rolls or individual samples in them.) and careful layering of different clicks and pops for the full-sounding and moving crumbling.&#xD;&#xA;&#xD;&#xA;As mentioned, there's generally no magic bullet, because there's a lot of variation and one needs a lot of different samples here and there, so it takes some trial and error, patience(!) and familiarity with the tools and techniques. Also, a good ear/taste for the samples as well as what to try/use as starting points (electronic drum or drum-like sounds [e.g. 808's sounds] are pretty good and somewhat common, because of their clear differences in frequency content and their cleaniness, even when pitch-shifted drastically.). Generally those &quot;auto glitch/stutter&quot; effects won't give you enough (musical) control to have them create what you need (although you may get some usable samples out of them).&#xD;&#xA;&#xD;&#xA;Opening files that you shouldn't open in audio programs (as well as other glitch tricks) may also prove to be worthy/interesting." ContentLicense="CC BY-SA 3.0" />
  <row Id="31297" PostHistoryTypeId="2" PostId="19311" RevisionGUID="25d4785e-797a-470d-b72e-0bed3d390165" CreationDate="2013-05-22T11:42:34.770" UserId="432" Text="James has given you a good point on dynamics. There's also the issue of creating detail and individual moments. The problem you may be having is that the sound is too uniform. If there's no change in character (a simple volume swell isn't really much of a change), then there's nothing &quot;dynamic&quot; about the sound. It will end up just feeling flat. Try layering smaller waves together and adjusting the balance between them. Little &quot;crashes&quot; in the build-up may give you the sound you're looking for.&#xD;&#xA;&#xD;&#xA;Another trick I've found useful making broadband sounds appear &quot;larger&quot; is to layer in some filtered pink noise underneath; using it to fill out the spectrum. It might work well with an automated EQ to give your wave a bit more life." ContentLicense="CC BY-SA 3.0" />
  <row Id="31298" PostHistoryTypeId="2" PostId="19312" RevisionGUID="cb74e830-b359-457a-bfc8-ab75893df0bd" CreationDate="2013-05-22T18:48:52.930" UserId="6056" Text="Hi..&#xD;&#xA;i need to record all the sounds of iron man 3 trailer, its homework,, i just need some ideas of how to record the sounds or design them :D.&#xD;&#xA;&#xD;&#xA;Here is the video:&#xD;&#xA;https://www.youtube.com/watch?v=Ke1Y3P9D0Bc&#xD;&#xA;&#xD;&#xA;i would appreciate all ur anwswers.&#xD;&#xA;&#xD;&#xA;Atte:&#xD;&#xA;Luis ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31299" PostHistoryTypeId="1" PostId="19312" RevisionGUID="cb74e830-b359-457a-bfc8-ab75893df0bd" CreationDate="2013-05-22T18:48:52.930" UserId="6056" Text="How to make iron man Sounds? :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31300" PostHistoryTypeId="3" PostId="19312" RevisionGUID="cb74e830-b359-457a-bfc8-ab75893df0bd" CreationDate="2013-05-22T18:48:52.930" UserId="6056" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31301" PostHistoryTypeId="2" PostId="19313" RevisionGUID="66efbe20-b2ce-4ba2-aec2-2cc379975e75" CreationDate="2013-05-22T20:10:01.947" UserId="1228" Text="I'm going to defer to Tim Prebble's answer here: http://socialsounddesign.com/questions/934/jurassic-park-classic-roar&#xD;&#xA;&#xD;&#xA;Especially so because you mention that this is homework.  Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31302" PostHistoryTypeId="2" PostId="19314" RevisionGUID="2eddd89a-2213-4d4b-9cc4-df6ca7b32699" CreationDate="2013-05-22T20:10:47.720" UserId="6057" Text="For the sound of his hand laser weapon it starts with the sound of a camera's flash charging up. Then uses basic mechanical sounds to match his movements as well as metal bangs for impact. What are you looking for exactly?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31303" PostHistoryTypeId="2" PostId="19315" RevisionGUID="3ac90a78-d306-4f14-b82f-6f22e8010a4d" CreationDate="2013-05-22T21:46:43.763" UserId="6035" Text="i had to do a similar thing whilst in University. The best advice i can give you is to listen critically to what you are trying to recreate. Try and work out how these sounds are achieved, and what they could be obtained from. Then experiment recording different mechanical and electrical sounds; printers, windows, microwaves, oven doors slamming literally anything you can find. Once you've done this, start pitching the sounds you have recorded up and down, layer them, combine them with synthesized elements, run them through different effect chains. &#xD;&#xA;&#xD;&#xA;I hope this helps!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31304" PostHistoryTypeId="2" PostId="19316" RevisionGUID="d237d19e-944d-41da-8490-33f715b636c8" CreationDate="2013-05-23T02:52:58.133" UserDisplayName="user49" Text="I'd also consider approaching it as a metaphor - maybe try approaching it as though its a huge intake of breath &amp; the wave crash is an exhale... shaping the envelope &amp; energy build of the wave intake/build will be crucial, as will reducing it immediately prior to the crash... I have a wave break i recorded years ago, down south labelled 'Wave Explosion' - its just one wave break taken from about 5 minutes of recording, but just prior to the break it is very quiet (relatively)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31305" PostHistoryTypeId="2" PostId="19317" RevisionGUID="90084308-f019-437c-8d49-6616e677ddb5" CreationDate="2013-05-23T03:26:50.837" UserId="6058" Text="I've had a AT2020 USB mic for a while but I recently bought a Scarlett 2i2 and a MXL 990. Is it possible for me to record both microphones in Reaper? If so how? I know it'd be ideal to just get another xlr microphone and I will eventually, but for now I'd like to utilize what I have if at all possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="31306" PostHistoryTypeId="1" PostId="19317" RevisionGUID="90084308-f019-437c-8d49-6616e677ddb5" CreationDate="2013-05-23T03:26:50.837" UserId="6058" Text="Recording Multiple Kinds Of Microphones In Reaper" ContentLicense="CC BY-SA 3.0" />
  <row Id="31307" PostHistoryTypeId="3" PostId="19317" RevisionGUID="90084308-f019-437c-8d49-6616e677ddb5" CreationDate="2013-05-23T03:26:50.837" UserId="6058" Text="&lt;microphone&gt;&lt;reaper&gt;&lt;input&gt;&lt;usb&gt;&lt;xlr-input&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31308" PostHistoryTypeId="2" PostId="19318" RevisionGUID="90e69645-d4a9-40d2-8d76-34643034e022" CreationDate="2013-05-23T04:33:51.217" UserId="769" Text="You can do this, I think, using Mac OS X's aggregate audio devices. Some advice on how these work and how you can set one up is found at the following links:&#xD;&#xA;&#xD;&#xA;http://support.apple.com/kb/HT1215?viewlocale=en_US&amp;locale=en_US&#xD;&#xA;http://www.loopblog.net/tutorials/studio-and-gear/studio-techniques/use-multiple-audio-interfaces-on-mac-os-x/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The Reaper Blog says this is 'ok overall but not reliable enough for professional studio work' due to some latency and timing issues. Fair enough.&#xD;&#xA;&#xD;&#xA;http://reaperblog.net/2013/01/using-multiple-audio-devices-in-reaper-osx/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31309" PostHistoryTypeId="2" PostId="19319" RevisionGUID="31939759-3eaa-49a7-a769-5edd481bd7ee" CreationDate="2013-05-23T10:02:24.777" UserId="6060" Text="I'm currently doing a music tech course in London and looking for further education. I want to study sound design for games and movies but I'm not sure which are the best universities to consider. If someone could offer advise that would be great, they need to be in London or easily accessible by train from London." ContentLicense="CC BY-SA 3.0" />
  <row Id="31310" PostHistoryTypeId="1" PostId="19319" RevisionGUID="31939759-3eaa-49a7-a769-5edd481bd7ee" CreationDate="2013-05-23T10:02:24.777" UserId="6060" Text="Game sound design studys?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31311" PostHistoryTypeId="3" PostId="19319" RevisionGUID="31939759-3eaa-49a7-a769-5edd481bd7ee" CreationDate="2013-05-23T10:02:24.777" UserId="6060" Text="&lt;sound-design&gt;&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31312" PostHistoryTypeId="2" PostId="19320" RevisionGUID="9528ef5a-97b4-4d8c-a469-32f270c25603" CreationDate="2013-05-23T10:33:13.867" UserId="3179" Text="&gt; I'm not sure which are the best universities to consider. &#xD;&#xA;&#xD;&#xA;I'd say none, because I think most formal courses in sound are either about studying trivial BS or a valuable business for its staff, or both. You can do so much more, if you just have a look and a go at it yourself, because there's really nothing preventing one from self-studying and it's also a rather non-painful process (even more so when you can use the best resources and the most motivating practices you can find), because the field is simple and concise in technical practice as well as in theory.&#xD;&#xA;&#xD;&#xA;Now if you'd like to do something formally, then you could probably try applying here: http://nftsfilm-tv.ac.uk/our-courses/diploma/sound-recording-film-television, as it's decently appreciated by industry professionals. For game audio I'd probably look at http://school.videogameaudio.com/apply/ as it's an online course and covers only the things that are particularly different in game audio compared to linear media." ContentLicense="CC BY-SA 3.0" />
  <row Id="31313" PostHistoryTypeId="5" PostId="19320" RevisionGUID="530ba5b6-aed2-49d5-b793-8ed7fe8842cd" CreationDate="2013-05-23T10:41:59.243" UserId="3179" Comment="added 101 characters in body" Text="&gt; I'm not sure which are the best universities to consider. &#xD;&#xA;&#xD;&#xA;I'd say none, because I think most formal courses in sound are either about studying trivial BS or a valuable business for its staff, or both. You can do so much more, if you just have a look and a go at it yourself, because there's really nothing preventing one from self-studying and it's also a rather non-painful process (even more so when you can use the best resources and the most motivating practices you can find), because the field is simple and concise in technical practice as well as in theory.&#xD;&#xA;&#xD;&#xA;Now if you'd like to do something formally, then you could probably try applying here: http://nftsfilm-tv.ac.uk/our-courses/diploma/sound-recording-film-television, as it's decently appreciated by industry professionals. For game audio I'd probably look at http://school.videogameaudio.com/apply/ as it's an online course and covers only the things that are particularly different in game audio compared to linear media. For a different take on game audio, I'd suggest computer science / IT over sound production courses." ContentLicense="CC BY-SA 3.0" />
  <row Id="31314" PostHistoryTypeId="2" PostId="19321" RevisionGUID="b7bf1e01-74d7-4aa4-9176-fc3e5c6c1cc5" CreationDate="2013-05-23T10:45:21.923" UserId="4442" Text="WOuld probaly second what @Internet Human said, you will pay thousands to get MAYBE a handful of courses tailored to you. For (I believe) less that 300 USD you can get a fairly in-depth (based on things that I've heard) learning experience from video game audio school at least to get a start. Fmod has a wealth of tutorial videos up on that program as well. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31315" PostHistoryTypeId="2" PostId="19322" RevisionGUID="94947028-d703-43b1-ab69-490eecdfe6b4" CreationDate="2013-05-23T15:19:06.737" UserId="29" Text="All responses are great so far. Tim's right, when a wave rises, it doesn't make much noise. That's both your challenge and your opportunity for dynamics. I've been in the maw of some waves that crashed right on top of me, and the only things you can hear before the wave collapses is the environment and maybe a slight high-end hiss of the aerated water as it rises and starts to fall. For the crash, sure, you'll need low end and layering, but don't forget to shape that amplitude envelope. Waves crack then rumble and hiss, but the attack is nowhere near as sharp as a cannon or thunderclap." ContentLicense="CC BY-SA 3.0" />
  <row Id="31316" PostHistoryTypeId="2" PostId="19323" RevisionGUID="a8bef582-b077-4c32-87d8-d63740c44c01" CreationDate="2013-05-23T17:51:07.293" UserId="5989" Text="For games you can consider joining a game development team/company instead of enrolling in the university. Choose small ones so you can be directly involving and talking with senior sound designers there." ContentLicense="CC BY-SA 3.0" />
  <row Id="31319" PostHistoryTypeId="2" PostId="19325" RevisionGUID="03f782dd-9c45-41ef-a892-bc7ecf88e4d6" CreationDate="2013-05-24T06:59:35.193" UserId="348" Text="Hi there,&#xD;&#xA;&#xD;&#xA;Another good link on how they got some of the sounds for the film is:&#xD;&#xA;&#xD;&#xA;http://www.soundworkscollection.com/news/why-the-iron-man-3-sound-department-went-to-toys-r-us&#xD;&#xA;&#xD;&#xA;Quite an interesting article on how they got the sounds for the characters.&#xD;&#xA;&#xD;&#xA;Good luck&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31327" PostHistoryTypeId="2" PostId="19328" RevisionGUID="73e9ae5b-92ef-4a14-b0dc-765b358aaef6" CreationDate="2013-05-24T12:37:17.473" UserId="6579" Text="Here's a recent article about Jurassic Park sound design:&#xD;&#xA;&#xD;&#xA;http://www.vulture.com/2013/04/how-the-dino-sounds-in-jurassic-park-were-made.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="31328" PostHistoryTypeId="2" PostId="19329" RevisionGUID="1eeb04af-bcd6-4419-a444-f2b04856f93e" CreationDate="2013-05-24T12:56:36.120" UserId="6064" Text="here is it )&#xD;&#xA;[link text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://soundcloud.com/demsoff/drone-sound-from-oblivion" ContentLicense="CC BY-SA 3.0" />
  <row Id="31329" PostHistoryTypeId="2" PostId="19330" RevisionGUID="8601bbd0-a3e5-4d46-80f5-74e127195845" CreationDate="2013-05-24T13:59:08.977" UserId="6065" Text="so the NT5 is going to be better indoors for dialogue it's basically modelled lon that &#xD;&#xA;famous little scheops" ContentLicense="CC BY-SA 3.0" />
  <row Id="31330" PostHistoryTypeId="2" PostId="19331" RevisionGUID="c02cca2c-5df7-46f4-82b6-15369732b5fe" CreationDate="2013-05-24T14:05:27.783" UserId="6065" Text="yeah you're using 1/4 which the zoom thinks are instrument, use XLR take out the battery and use zoom 24volt instead of 48 phantom (in zoom menu) save on battery. recommend Stamina mode too, yeah I know it's 24/44.1 no problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="31332" PostHistoryTypeId="2" PostId="19333" RevisionGUID="636080d5-6fcb-4bed-87ef-955fcceca799" CreationDate="2013-05-24T22:01:13.693" UserId="6068" Text="Stereo effect is highly dependent on placement of microphones. Even a great microphone can have poor stereo if it is not in the right spot. &#xD;&#xA;&#xD;&#xA;If you experiment, you might be surprised. &#xD;&#xA;&#xD;&#xA;To me, the great problem with most stereo microphones is the difficulty in going to mono. &#xD;&#xA;&#xD;&#xA;MS stereo solves this (I use an ECM-989 or 999).  " ContentLicense="CC BY-SA 3.0" />
  <row Id="31336" PostHistoryTypeId="2" PostId="19335" RevisionGUID="28e3bf67-fc87-49e4-b49c-ef65a6a5b27c" CreationDate="2013-05-25T12:21:40.943" UserId="6070" Text="Bicycle tube.  Use thin road tyres. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31337" PostHistoryTypeId="2" PostId="19336" RevisionGUID="46fc4ad7-85a1-4073-a6d6-3b19cbfa278f" CreationDate="2013-05-25T18:26:49.733" UserId="6071" Text="Audix SCX/HC-1 for indoor dialogue" ContentLicense="CC BY-SA 3.0" />
  <row Id="31341" PostHistoryTypeId="2" PostId="19338" RevisionGUID="c3bd19a4-1446-4bb0-a922-d27cf251544a" CreationDate="2013-05-26T02:38:46.390" UserId="6048" Text="Ville, have you read this excellent article about Transformers sound design?&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2010/03/erik-aadahl-special-the-sound-design-of-transformers-exclusive-interview/&#xD;&#xA;&#xD;&#xA;It gives some clues, but not much. What surprises me is that I have not seen Kyma mentioned in any interviews about the Transformers sound design. The movie has a lot of &quot;Kymaish&quot; metallic sounds, but of course they could have done it in other ways too. &#xD;&#xA;&#xD;&#xA;Has anyone seen any mention of using Kyma from the actual Sound Designers of the film? Jed has told that he used Kyma heavily to make his library and it sounds really good and close to the real thing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31342" PostHistoryTypeId="2" PostId="19339" RevisionGUID="c3f7389a-ed14-4160-88f1-b12acbeaed26" CreationDate="2013-05-26T11:22:50.700" UserId="6072" Text="Hi + 1 for the delay lines and FM synthesis (I'd use Fm8). Kyma can do just anything so you could replicate a technique or a synth just knowing where to go." ContentLicense="CC BY-SA 3.0" />
  <row Id="31343" PostHistoryTypeId="2" PostId="19340" RevisionGUID="fce62d50-7084-44f5-891d-2af140ce1823" CreationDate="2013-05-26T15:34:01.907" UserId="6048" Text="Good job, with dynamic foley. I agree that it could benefit from some abstract ambience, especially in the &quot;slo mo&quot; moments or a music score.&#xD;&#xA;&#xD;&#xA;There is a repeating sword sound that has a distinct pitch. It could use some slight variation. Started to sound repetitious. (is that a word? ) :)&#xD;&#xA;&#xD;&#xA;You should lowpass some of the foley e.g. in the beginning. With full bandwidth it sound too close. Maybe add some armor movement that is heard when the you see the legion in the cliff. &#xD;&#xA;After all he is wearing some kind of metal sheets and all kind of belts with metal buckles plus a sword in scabbard. Pure leather foley makes too squishy sound in this case.&#xD;&#xA;&#xD;&#xA;Who did the character voices? Nice hoarse yell at 00:31&#xD;&#xA;&#xD;&#xA;-Miska&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31344" PostHistoryTypeId="2" PostId="19341" RevisionGUID="caa746dc-f4d4-49eb-8bfa-04d7c33fc650" CreationDate="2013-05-26T15:48:34.457" UserId="6048" Text="Who is recording them? &#xD;&#xA;You should try to minimize pops and smacks in the recording phase. Of course some speakers, older people especially, are more prone to making extra cicks and smacks, but you should maybe record from a little bit further away and keep the speakers hydrated with a jug of water etc.&#xD;&#xA;Take enough breaks.&#xD;&#xA;&#xD;&#xA;The audiobook guys usually are very sensitive about background noise and s/n-ratio. In many cases the speaker records himself, at least in the lower budget audiobooks. &#xD;&#xA;&#xD;&#xA;I'm not too familiar with Sound Forge, but i think that this problem should be at the recording session. It doesn't matter which software you use. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31345" PostHistoryTypeId="2" PostId="19342" RevisionGUID="d95334ee-2918-4b81-8dcd-82cf578b3529" CreationDate="2013-05-26T16:37:57.267" UserId="6035" Text="Hello all,&#xD;&#xA;&#xD;&#xA;i've recently purchased alchemy. Im blown away by its power and capabilities but I was wondering if anyone on here uses it and can share some of their techniques and work flow and what they use alchemy for? &#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;&#xD;&#xA;Tom" ContentLicense="CC BY-SA 3.0" />
  <row Id="31346" PostHistoryTypeId="1" PostId="19342" RevisionGUID="d95334ee-2918-4b81-8dcd-82cf578b3529" CreationDate="2013-05-26T16:37:57.267" UserId="6035" Text="Camel Audio Alchemy" ContentLicense="CC BY-SA 3.0" />
  <row Id="31347" PostHistoryTypeId="3" PostId="19342" RevisionGUID="d95334ee-2918-4b81-8dcd-82cf578b3529" CreationDate="2013-05-26T16:37:57.267" UserId="6035" Text="&lt;sample&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31348" PostHistoryTypeId="2" PostId="19343" RevisionGUID="1779d31a-7348-4fd5-9b46-f51c68564c75" CreationDate="2013-05-26T17:25:57.963" UserId="3179" Text="I think Alchemy is best used for:&#xD;&#xA;&#xD;&#xA;granular &#xD;&#xA;-&#xD;&#xA;very easy to control in Alchemy and the various algorithms and the parameters offer the ability to tune the best sound quality for the sound you're granulating.&#xD;&#xA;additive&#xD;&#xA;-&#xD;&#xA;It's not the best implementation around as it's pretty painful to use/control from scratch, because there's no option to control groups of harmonics, and it can be slow/buggy, but the additive editor is still a killer in e.g. resynthesis&#xD;&#xA;resynthesis.&#xD;&#xA;-&#xD;&#xA;which can give you very clear and wide-range real-time pitch and time stretching and gives the ability to tune individual harmonics of the sound in the additive editor that basically allows one to modify/transform the sound without much limitations (although the editor is a bit limiting).&#xD;&#xA;and subtractive&#xD;&#xA;-&#xD;&#xA; because the breadth of available filters gives a lot of variation there. As well as the extensive modulation options.&#xD;&#xA;&#xD;&#xA;Also,&#xD;&#xA;&#xD;&#xA;The ability to use samples and synthesized waveforms (which can also be custom drawn by the user) interchangeably is pretty wicked for all kinds of sounds and especially pads, sequenced stuff and arpeggios.&#xD;&#xA;&#xD;&#xA;The easy and route-anything-anywhere routing matrix is also powerful and can be used for creating all kinds of movement. The performance controllers including the XY-pads are also nice.&#xD;&#xA;&#xD;&#xA;Minuses:&#xD;&#xA;&#xD;&#xA;- No FM synthesis.&#xD;&#xA;- The additive editor is cumbersome.&#xD;&#xA;- The modulation matrix could be easier to view, it becomes hard to control and recall what modulates what when there are loads of modulations.&#xD;&#xA;- The spectral editor is pretty cumbersome and difficult to use (compared to e.g. Metasynth)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31349" PostHistoryTypeId="5" PostId="19343" RevisionGUID="12f12b79-dee5-44fe-a8f4-5c656428de09" CreationDate="2013-05-26T17:43:24.567" UserId="3179" Comment="added 31 characters in body; added 140 characters in body; added 2 characters in body; added 24 characters in body" Text="I think Alchemy is best used for:&#xD;&#xA;&#xD;&#xA;granular &#xD;&#xA;-&#xD;&#xA;Very easy to control in Alchemy and the various algorithms and the parameters offer the ability to tune the best sound quality for the sound you're granulating.&#xD;&#xA;additive&#xD;&#xA;-&#xD;&#xA;It's not the best implementation around as it's pretty painful to use/control from scratch, because there's no option to control groups of harmonics, and it can be slow/buggy, but the additive editor is still nice/useful in e.g. resynthesis.&#xD;&#xA;resynthesis&#xD;&#xA;-&#xD;&#xA;which can give you very clear and wide-range real-time pitch and time stretching and gives the ability to tune individual harmonics of the sound in the additive editor that basically allows one to modify/transform the sound without much limitations (although the editor is a bit limiting).&#xD;&#xA;and subtractive&#xD;&#xA;-&#xD;&#xA; because the breadth of available filters gives a lot of variation there. As well as the extensive modulation options.&#xD;&#xA;&#xD;&#xA;Also,&#xD;&#xA;&#xD;&#xA;The ability to use samples and synthesized waveforms (which can also be custom drawn by the user) interchangeably is pretty wicked for all kinds of sounds and especially pads, sequenced stuff and arpeggios. But combining samples and synthesized waveforms really gives a lot of options in tuning any kind of musical or non-musical sound by layering.&#xD;&#xA;&#xD;&#xA;The route-anything-anywhere modulation as well as the various modulator options is also powerful and can be used for creating all kinds of movement. The performance controllers including the XY-pads are also nice.&#xD;&#xA;&#xD;&#xA;Minuses:&#xD;&#xA;&#xD;&#xA;- No FM synthesis.&#xD;&#xA;- No multiple outputs.&#xD;&#xA;- The additive editor is cumbersome.&#xD;&#xA;- The modulation matrix could be easier to view, it becomes hard to control and recall what modulates what when there are loads of modulations.&#xD;&#xA;- The spectral editor is pretty cumbersome and difficult to use (compared to e.g. Metasynth)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31350" PostHistoryTypeId="5" PostId="19343" RevisionGUID="d80c4184-756e-4eb4-b263-218dde058072" CreationDate="2013-05-26T17:51:12.050" UserId="3179" Comment="added 1 characters in body" Text="I think Alchemy is best used for:&#xD;&#xA;&#xD;&#xA;granular &#xD;&#xA;-&#xD;&#xA;Very easy to control in Alchemy and the various algorithms and the parameters offer the ability to tune the best sound quality for the sound you're granulating.&#xD;&#xA;additive&#xD;&#xA;-&#xD;&#xA;It's not the best implementation around as it's pretty painful to use/control from scratch, because there's no option to control groups of harmonics, and it can be slow/buggy, but the additive editor is still nice/useful in e.g. resynthesis.&#xD;&#xA;resynthesis&#xD;&#xA;-&#xD;&#xA;which can give you very clear and wide-range real-time pitch and time stretching and gives the ability to tune individual harmonics of the sound in the additive editor that basically allows one to modify/transform the sound without much limitations (although the editor is a bit limiting).&#xD;&#xA;and subtractive&#xD;&#xA;-&#xD;&#xA; because the breadth of available filters gives a lot of variation there. As well as the extensive modulation options.&#xD;&#xA;&#xD;&#xA;Also,&#xD;&#xA;&#xD;&#xA;The ability to use samples and synthesized waveforms (which can also be custom drawn by the user) interchangeably is pretty wicked for all kinds of sounds and especially pads, sequenced stuff and arpeggios. But combining samples and synthesized waveforms really gives a lot of options in tuning any kind of musical or non-musical sound by layering.&#xD;&#xA;&#xD;&#xA;The route-anything-anywhere modulation as well as the various modulator options are also powerful and can be used for creating all kinds of movement. The performance controllers including the XY-pads are also nice.&#xD;&#xA;&#xD;&#xA;Minuses:&#xD;&#xA;&#xD;&#xA;- No FM synthesis.&#xD;&#xA;- No multiple outputs.&#xD;&#xA;- The additive editor is cumbersome.&#xD;&#xA;- The modulation matrix could be easier to view, it becomes hard to control and recall what modulates what when there are loads of modulations.&#xD;&#xA;- The spectral editor is pretty cumbersome and difficult to use (compared to e.g. Metasynth)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31351" PostHistoryTypeId="2" PostId="19344" RevisionGUID="99e7cba0-0c7d-49e7-9275-337cebd50246" CreationDate="2013-05-26T18:50:22.020" UserId="3179" Text="You can edit out all sorts of noises with iZotope RX 2 and e.g. Adobe Audition's spectral editor, but that'll take ages and is not worth it, if there are constant mouth noises. Follow Miska Seppa's advice and try to solve the problems as well as you can during recording and minimize the amount of editing. Spectral editors and &quot;audio repair&quot; tools are nice for occasional fixes, but you don't want to rely on them and you don't want to spend your time on editing problems that could be solved and minimized during recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="31352" PostHistoryTypeId="2" PostId="19345" RevisionGUID="79f9487a-8822-4ffb-a240-9f67af90a7c0" CreationDate="2013-05-26T18:52:50.070" UserId="1228" Text="The other thing to mention is that if the mic and preamp and A/D support higher than 20-20kHz (such as a SD 7-series and a mic like the MKH8040, it means that by recording in 96k, you WILL capture content extending to the upper harmonics which cannot be heard by our ears normally.  So when you varispeed these sounds, it means that there's a plethora of sound content in there which will be audible.  For example, bat sonar or birds." ContentLicense="CC BY-SA 3.0" />
  <row Id="31353" PostHistoryTypeId="5" PostId="19343" RevisionGUID="a6c4dddb-a00c-4730-87ec-96c49d9a6196" CreationDate="2013-05-26T20:00:37.800" UserId="3179" Comment="added 195 characters in body; deleted 2 characters in body" Text="I think Alchemy is best used for:&#xD;&#xA;&#xD;&#xA;granular &#xD;&#xA;-&#xD;&#xA;Very easy to control in Alchemy and the various algorithms and the parameters offer the ability to tune the best sound quality for the sound you're granulating.&#xD;&#xA;additive&#xD;&#xA;-&#xD;&#xA;It's not the best implementation around as it's pretty painful to use/control from scratch, because there's no option to control groups of harmonics, and it can be slow/buggy, but the additive editor is still nice/useful in e.g. resynthesis.&#xD;&#xA;resynthesis&#xD;&#xA;-&#xD;&#xA;which can give you very clear and wide-range real-time pitch and time stretching and gives the ability to tune individual harmonics of the sound in the additive editor that basically allows one to modify/transform the sound without much limitations (although the editor is a bit limiting).&#xD;&#xA;and subtractive&#xD;&#xA;-&#xD;&#xA; because the breadth of available filters gives a lot of variation there. As well as the extensive modulation options.&#xD;&#xA;&#xD;&#xA;Also,&#xD;&#xA;&#xD;&#xA;The ability to use samples and synthesized waveforms (which can also be custom drawn by the user) interchangeably is pretty wicked for all kinds of sounds and especially pads, sequenced stuff and arpeggios. But combining samples and synthesized waveforms really gives a lot of options in tuning any kind of musical or non-musical sound by layering.&#xD;&#xA;&#xD;&#xA;The route-anything-anywhere modulation as well as the various modulator options are also powerful and can be used for creating all kinds of movement. The performance controllers including the XY-pads are also nice. The remix pad is a unique feature and can be used for anything where you'd like to sweep through different variations or states (imagine modulating the mix of different ambiences for example).&#xD;&#xA;&#xD;&#xA;Minuses:&#xD;&#xA;&#xD;&#xA;- No FM synthesis.&#xD;&#xA;- No multiple outputs.&#xD;&#xA;- The additive editor is cumbersome.&#xD;&#xA;- The modulation matrix could be easier to view, it becomes hard to control and recall what modulates what when there are loads of modulations.&#xD;&#xA;- The spectral editor is pretty cumbersome and difficult to use (compared to e.g. Metasynth)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31354" PostHistoryTypeId="5" PostId="19343" RevisionGUID="f04df77c-bda4-4834-a620-9fb3287f3900" CreationDate="2013-05-26T20:15:19.777" UserId="3179" Comment="added 360 characters in body" Text="I think Alchemy is best used for:&#xD;&#xA;&#xD;&#xA;granular &#xD;&#xA;-&#xD;&#xA;Very easy to control in Alchemy and the various algorithms and the parameters offer the ability to tune the best sound quality for the sound you're granulating.&#xD;&#xA;additive&#xD;&#xA;-&#xD;&#xA;It's not the best implementation around as it's pretty painful to use/control from scratch, because there's no option to control groups of harmonics, and it can be slow/buggy, but the additive editor is still nice/useful in e.g. resynthesis.&#xD;&#xA;resynthesis&#xD;&#xA;-&#xD;&#xA;which can give you very clear and wide-range real-time pitch and time stretching and gives the ability to tune individual harmonics of the sound in the additive editor that basically allows one to modify/transform the sound without much limitations (although the editor is a bit limiting).&#xD;&#xA;and subtractive&#xD;&#xA;-&#xD;&#xA; because the breadth of available filters gives a lot of variation there. As well as the extensive modulation options.&#xD;&#xA;&#xD;&#xA;Also,&#xD;&#xA;&#xD;&#xA;The ability to use samples and synthesized waveforms (which can also be custom drawn by the user) interchangeably is pretty wicked for all kinds of sounds and especially pads, sequenced stuff and arpeggios. But combining samples and synthesized waveforms really gives a lot of options in tuning any kind of musical or non-musical sound by layering.&#xD;&#xA;&#xD;&#xA;The route-anything-anywhere modulation as well as the various modulator options are also powerful and can be used for creating all kinds of movement. The performance controllers including the XY-pads are also nice. The remix pad is a unique feature and can be used for anything where you'd like to sweep through different variations or states (imagine modulating the mix of different ambiences for example).&#xD;&#xA;&#xD;&#xA;Minuses:&#xD;&#xA;&#xD;&#xA;- No FM synthesis.&#xD;&#xA;- No multiple outputs.&#xD;&#xA;- The additive editor is cumbersome.&#xD;&#xA;- The modulation matrix could be easier to view, it becomes hard to control and recall what modulates what when there are loads of modulations.&#xD;&#xA;- The spectral editor is pretty cumbersome and difficult to use (compared to e.g. Metasynth).&#xD;&#xA;&#xD;&#xA;Summary:&#xD;&#xA;&#xD;&#xA;Best thought as a supercharged sampler (basically it does more than almost any other sampler on single or few samples). Most suited for musical use (it's an instrument), but the granular capabilities, real-time pitch and time stretching with resynthesis and the modulation options are useful for all sounds (i.e. e.g. working on sound effects)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31355" PostHistoryTypeId="5" PostId="19343" RevisionGUID="0b2f21e2-8db3-4a54-a599-724487864520" CreationDate="2013-05-26T20:20:35.613" UserId="3179" Comment="added 59 characters in body; added 1 characters in body; added 117 characters in body; added 4 characters in body; deleted 9 characters in body" Text="I think Alchemy is best used for:&#xD;&#xA;&#xD;&#xA;granular &#xD;&#xA;-&#xD;&#xA;Very easy to control in Alchemy and the various algorithms and the parameters offer the ability to tune the best sound quality for the sound you're granulating.&#xD;&#xA;additive&#xD;&#xA;-&#xD;&#xA;It's not the best implementation around as it's pretty painful to use/control from scratch, because there's no option to control groups of harmonics, nor is there any kind of &quot;musical guidance&quot; so basically you edit (and ought to know how to edit) every partial by hand. The editor can also be slow/buggy, but it's still nice/useful in e.g. resynthesis.&#xD;&#xA;resynthesis&#xD;&#xA;-&#xD;&#xA;which can give you very clear and wide-range real-time pitch and time stretching and gives the ability to tune individual harmonics of the sound in the additive editor that basically allows one to modify/transform the sound without much limitations (although the editor is a bit limiting).&#xD;&#xA;and subtractive&#xD;&#xA;-&#xD;&#xA; because the breadth of available filters gives a lot of variation there. As well as the extensive modulation options.&#xD;&#xA;&#xD;&#xA;Also,&#xD;&#xA;&#xD;&#xA;The ability to use samples and synthesized waveforms (which can also be custom drawn by the user) interchangeably is pretty wicked for all kinds of sounds and especially pads, sequenced stuff and arpeggios. But combining samples and synthesized waveforms really gives a lot of options in tuning any kind of musical or non-musical sound by layering.&#xD;&#xA;&#xD;&#xA;The route-anything-anywhere modulation as well as the various modulator options are also powerful and can be used for creating all kinds of movement. The performance controllers including the XY-pads are also nice. The remix pad is a unique feature and can be used for anything where you'd like to sweep through different variations or states (imagine modulating the mix of different ambiences for example).&#xD;&#xA;&#xD;&#xA;Minuses:&#xD;&#xA;&#xD;&#xA;- No FM synthesis.&#xD;&#xA;- No multiple outputs.&#xD;&#xA;- The additive editor is cumbersome.&#xD;&#xA;- The modulation matrix could be easier to view, it becomes hard to control and recall what modulates what when there are loads of modulations.&#xD;&#xA;- The spectral editor is pretty cumbersome and difficult to use (compared to e.g. Metasynth).&#xD;&#xA;&#xD;&#xA;Summary:&#xD;&#xA;&#xD;&#xA;Best thought as a supercharged sampler (basically it does more than almost any other sampler on single or few samples). Most suited for musical use (it's an instrument), but the granular capabilities, real-time pitch and time stretching with resynthesis and the modulation options are useful for all sounds (i.e. e.g. working on sound effects). For additive and spectral synthesis there are better tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="31356" PostHistoryTypeId="2" PostId="19346" RevisionGUID="61d00049-a3af-44a6-ab96-1171f123f8db" CreationDate="2013-05-26T20:21:19.597" UserDisplayName="user49" Text="Its important to check your preferences in ProTools for sample rate conversion as ProTools uses this preference setting by default sometimes eg when importing via drag &amp; drop or when using save a copy &amp; changing sample rate...&#xD;&#xA;&#xD;&#xA;Preferences/Processing/Sample Rate Conversion Quality&#xD;&#xA;&#xD;&#xA;I always use the best quality (but slightly slower) sample rate conversion setting: Tweakhead&#xD;&#xA;&#xD;&#xA;If using the import audio command, you can set this manually" ContentLicense="CC BY-SA 3.0" />
  <row Id="31357" PostHistoryTypeId="2" PostId="19347" RevisionGUID="ab49d2e3-6c72-42af-96d2-e498232a3ec3" CreationDate="2013-05-27T10:56:07.973" UserId="6073" Text="Hi!&#xD;&#xA;&#xD;&#xA;How to encode 8 mono tracks into one 8-channeled WAV mix (poly wav?) &#xD;&#xA;&#xD;&#xA;Actually, there are no surround system in the customers project, just 8 speakers, placed linearly. And I need to mix two stereo tracks into 8ch for proper playing, because of unusual sound setup/soft.&#xD;&#xA;&#xD;&#xA;Tried with Logic 9 7.1 SDDS, but it seems to be bad way.&#xD;&#xA;&#xD;&#xA;Thank you for any help." ContentLicense="CC BY-SA 3.0" />
  <row Id="31358" PostHistoryTypeId="1" PostId="19347" RevisionGUID="ab49d2e3-6c72-42af-96d2-e498232a3ec3" CreationDate="2013-05-27T10:56:07.973" UserId="6073" Text="How to encode custom multitrack surround WAV in LogicPro9 or Reaper?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31359" PostHistoryTypeId="3" PostId="19347" RevisionGUID="ab49d2e3-6c72-42af-96d2-e498232a3ec3" CreationDate="2013-05-27T10:56:07.973" UserId="6073" Text="&lt;poly-wav&gt;&lt;custom&gt;&lt;surround-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31361" PostHistoryTypeId="2" PostId="19348" RevisionGUID="2d694c54-282b-4b08-aca2-49bd59ee21fc" CreationDate="2013-05-27T14:08:36.880" UserId="37" Text="&quot;but it seems to be bad way.&quot; could you clarify?&#xD;&#xA;&#xD;&#xA;[This might help you][1]. Note that the only difference in discrete WAVs is [the channel order][2]. Other than that, they are ordinary multichannel WAVs, only with more than 2 ch.&#xD;&#xA;&#xD;&#xA;However:&#xD;&#xA;&#xD;&#xA;&gt; Note: The surround format chosen here only alters the layout/routing of channels to speakers in the assignment section. The actual project surround format is determined by the Surround Format setting in Audio project settings&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![logic channel order configuration][3]&#xD;&#xA;&#xD;&#xA;I guess your best bet is to figure out what the channel order on your system is, then adjust your chosen 7.1 format accordingly.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://help.apple.com/logicpro/mac/9.1.6/en/logicpro/usermanual/index.html#chapter=39%26section=1%26tasks=true&#xD;&#xA;  [2]: http://help.apple.com/logicpro/mac/9.1.6/en/logicpro/usermanual/index.html#chapter=39%26section=2&#xD;&#xA;  [3]: http://help.apple.com/logicpro/mac/9.1.6/en/logicpro/usermanual/Art/S11/S1116_SUR_IOAssignments.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="31362" PostHistoryTypeId="2" PostId="19349" RevisionGUID="0546c8fe-e3ff-40d0-978c-eb107374b13b" CreationDate="2013-05-27T15:38:19.827" UserId="5605" Text="Hey,&#xD;&#xA;&#xD;&#xA;I watched Man of Steel's newest trailer and noticed a high pitch whine during the voice over. Did this slip past editors? It's very loud around the 47-48 second mark. &#xD;&#xA;&#xD;&#xA;Or am I missing something and this was in some way intentional?&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=NlOF03DUoWc][1]&#xD;&#xA;&#xD;&#xA;PS. I'm not pointing fingers or anything, I'm just genuinely curious!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=NlOF03DUoWc" ContentLicense="CC BY-SA 3.0" />
  <row Id="31363" PostHistoryTypeId="1" PostId="19349" RevisionGUID="0546c8fe-e3ff-40d0-978c-eb107374b13b" CreationDate="2013-05-27T15:38:19.827" UserId="5605" Text="Man of Steel &quot;Fate of your planet&quot; trailer - high pitch whine?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31364" PostHistoryTypeId="3" PostId="19349" RevisionGUID="0546c8fe-e3ff-40d0-978c-eb107374b13b" CreationDate="2013-05-27T15:38:19.827" UserId="5605" Text="&lt;trailer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31365" PostHistoryTypeId="6" PostId="19349" RevisionGUID="4b0dada3-1231-436d-b4ef-91b185b74d8c" CreationDate="2013-05-27T15:43:21.923" UserId="5605" Comment="edited tags" Text="&lt;trailer&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31366" PostHistoryTypeId="2" PostId="19350" RevisionGUID="af07bcde-ecc4-4df3-8733-3c7f61e32083" CreationDate="2013-05-27T15:57:17.173" UserId="1228" Text="http://socialsounddesign.com/questions/3661/if-youre-a-sound-designer-of-a-movie-do-you-have-total-supervision-over-what-th" ContentLicense="CC BY-SA 3.0" />
  <row Id="31367" PostHistoryTypeId="2" PostId="19351" RevisionGUID="0cf55729-24c9-4a51-a23d-b945c66f777b" CreationDate="2013-05-27T17:14:20.953" UserId="4272" Text="Interesting question and keen observation.  I wonder if it could be an issue with the upload/conversion to YouTube format.  Also, totally off-topic observation, but I just love that synth (40 seconds in) in the music from that trailer." ContentLicense="CC BY-SA 3.0" />
  <row Id="31368" PostHistoryTypeId="2" PostId="19352" RevisionGUID="1c5c1c27-c5c5-4f4c-99a9-3566af7fada2" CreationDate="2013-05-27T20:23:47.383" UserId="6076" Text="@Luca Capozzi I actually don't know how to achieve those really high pitch ones tho. If you know how to please share! ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31369" PostHistoryTypeId="2" PostId="19353" RevisionGUID="4fa7863f-eb13-4b65-bdec-22c3471a9e57" CreationDate="2013-05-27T23:57:56.540" UserId="6001" Text="&#xD;&#xA;I have returned the CK1 and they have already replaced the faulty microphone for a new one and,I must say, this is really a good piece of gear for the price. &#xD;&#xA;I do recommend you to try out this microphone. &#xD;&#xA;It comes with three capsules (cardioid, hyper and omni) and a really nice shock mount.&#xD;&#xA;Really impressed with the low self noise and the smooth high end. &#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="31370" PostHistoryTypeId="2" PostId="19354" RevisionGUID="204a952c-5aeb-4909-a7fa-46016910eb6f" CreationDate="2013-05-28T01:24:01.627" UserId="5624" Text="Hey Guys,&#xD;&#xA;&#xD;&#xA;I'm curious about microphones which feature a wide frequency response, ie. over 20kHz, for recording SFX at 96 or 192 and later pitching down.&#xD;&#xA;&#xD;&#xA;What's out there?&#xD;&#xA;&#xD;&#xA;What have you used/own?&#xD;&#xA;&#xD;&#xA;What do you think of them?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;Jo" ContentLicense="CC BY-SA 3.0" />
  <row Id="31371" PostHistoryTypeId="1" PostId="19354" RevisionGUID="204a952c-5aeb-4909-a7fa-46016910eb6f" CreationDate="2013-05-28T01:24:01.627" UserId="5624" Text="Wide Frequency Response Microphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="31372" PostHistoryTypeId="3" PostId="19354" RevisionGUID="204a952c-5aeb-4909-a7fa-46016910eb6f" CreationDate="2013-05-28T01:24:01.627" UserId="5624" Text="&lt;frequency-response&gt;&lt;pitch-shifting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31373" PostHistoryTypeId="2" PostId="19355" RevisionGUID="2757bcb7-7089-4e89-8a10-9f54faf1447f" CreationDate="2013-05-28T02:19:01.303" UserId="6059" Text="Am doing a film with a lot of gun shots (single, semi-automatic, automatic). Was wondering some ideas on workflows. Drop in single gun shots into kontakt, drop in a marker at each muzzle flash or click sound,  and line up the midi notes? Or perhaps detect hit points, make a midi &quot;groove&quot; and line up the midi notes that way. Or better to just use audio and line up each gunshot that way? Am looking for the fastest, most automated workflow. I'm using Nuendo 6." ContentLicense="CC BY-SA 3.0" />
  <row Id="31374" PostHistoryTypeId="1" PostId="19355" RevisionGUID="2757bcb7-7089-4e89-8a10-9f54faf1447f" CreationDate="2013-05-28T02:19:01.303" UserId="6059" Text="Lining up numerous gunshots" ContentLicense="CC BY-SA 3.0" />
  <row Id="31375" PostHistoryTypeId="3" PostId="19355" RevisionGUID="2757bcb7-7089-4e89-8a10-9f54faf1447f" CreationDate="2013-05-28T02:19:01.303" UserId="6059" Text="&lt;sound-design&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31376" PostHistoryTypeId="2" PostId="19356" RevisionGUID="e918ff90-e39d-4383-a15b-b070f9811cc1" CreationDate="2013-05-28T02:59:14.910" UserId="315" Text="Sennheiser MKH 8020, 8040, and 8050 record out to around 50kHz. They are outstanding, quiet mics.&#xD;&#xA;&#xD;&#xA;Schoeps MK capsules with CMC-6 XT bodies record out to 40kHz. Also amazing mics. A little more self noise than the Sennheisers, but they sound great and handle mid range frequencies very well." ContentLicense="CC BY-SA 3.0" />
  <row Id="31377" PostHistoryTypeId="2" PostId="19357" RevisionGUID="e4d33ee8-1738-4f72-bb16-1c84d353f211" CreationDate="2013-05-28T04:09:09.563" UserDisplayName="user49" Text="Automating it might be good for a first pass, but imho everything needs finessing as individual sound cues - whether background or foreground - and I find that more difficult &amp; less satisfying via MIDI, prefer seeing the waveforms especially when layering elements where the attack has to be acutely accurately aligned...&#xD;&#xA;&#xD;&#xA;I know its not Nuendo but in PT I marked up sync for each scene using memory location markers, and then set the grid to follow/snap to the markers so it became a non linear grid. This amde it faster for a first pass &amp; when layering elements... but still had to get detailed to bring them to life..." ContentLicense="CC BY-SA 3.0" />
  <row Id="31378" PostHistoryTypeId="2" PostId="19358" RevisionGUID="caa80b7b-5f9b-4c34-a2ce-94fb0fd75113" CreationDate="2013-05-28T06:02:17.813" UserId="6077" Text="It is actually a piece of sound design by Eric Norris and Scott Hecker which was incorporated into the score" ContentLicense="CC BY-SA 3.0" />
  <row Id="31379" PostHistoryTypeId="2" PostId="19359" RevisionGUID="9b89a560-8f46-4164-b23a-e7da2bcea455" CreationDate="2013-05-28T07:59:37.883" UserId="6078" Text="Apart from regular tools (DAW, audio editor etc...), it is a common thing for a sound designer-composer to learn/use programming tools (like Unity or FMOD) to be able to implement-test audio myself during the development?&#xD;&#xA;&#xD;&#xA;I already have an answer that is pretty much straight forward and the answer is YES.&#xD;&#xA;balancing volumes between GUI sounds, background sounds, music and other audio events are crucial elements that need to be handled by the audio guy to fine tune his idea before submitting, having a trained ear and mostly being aware of critical listening.&#xD;&#xA;Also seems reasonable to me that having access to the code (audio part only) it'll make it easy to swap files, test different solutions in context..&#xD;&#xA;&#xD;&#xA;delegating all these tasks to the lead programmer doesn't sound right to me.&#xD;&#xA;&#xD;&#xA;Also it makes dev more complicated and longer since there's this ball pass between the lead programmer before the audio guy can actually hear things in context. &#xD;&#xA;&#xD;&#xA;been working on 4 games so far and it doesn't seem it is a common practice. the lead programmer was in charge to do all these things.&#xD;&#xA;I will actually start learning these implementing tools&#xD;&#xA;&#xD;&#xA;but I'm curious to know how it usually works in general so far.&#xD;&#xA;&#xD;&#xA;thanks!!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31380" PostHistoryTypeId="1" PostId="19359" RevisionGUID="9b89a560-8f46-4164-b23a-e7da2bcea455" CreationDate="2013-05-28T07:59:37.883" UserId="6078" Text="Mixing: implementing/testing audio in the builds" ContentLicense="CC BY-SA 3.0" />
  <row Id="31381" PostHistoryTypeId="3" PostId="19359" RevisionGUID="9b89a560-8f46-4164-b23a-e7da2bcea455" CreationDate="2013-05-28T07:59:37.883" UserId="6078" Text="&lt;mixing&gt;&lt;tools&gt;&lt;learning&gt;&lt;programming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31382" PostHistoryTypeId="2" PostId="19360" RevisionGUID="2b0369b6-ec45-448a-a9be-99e5a52428a3" CreationDate="2013-05-28T08:19:41.947" UserId="3179" Text="&gt; Am looking for the fastest, most automated workflow.&#xD;&#xA;&#xD;&#xA;I think the most automated workflow that doesn't have the risk of sounding too bad because of phase cancellation or bad timing is to load all gunshot samples to a sampler, route them to individual outputs, create tracks for recording every output, press record and play a few layered gunshots from the MIDI keyboard. Then select the best one and crop it, do quick adjustments, if needed, and there you have it. No guarantees that it'll result in the best gunshot sound or the kind of gunshot that you'd like though." ContentLicense="CC BY-SA 3.0" />
  <row Id="31383" PostHistoryTypeId="2" PostId="19361" RevisionGUID="b888a610-9a4b-491a-821f-213ec3d36cca" CreationDate="2013-05-28T08:49:36.197" UserId="3179" Text=" &gt; Apart from regular tools (DAW, audio&#xD;&#xA;&gt; editor etc...), it is a common thing&#xD;&#xA;&gt; for a sound designer-composer to&#xD;&#xA;&gt; learn/use programming tools (like&#xD;&#xA;&gt; Unity or FMOD) to be able to&#xD;&#xA;&gt; implement-test audio myself during the&#xD;&#xA;&gt; development?&#xD;&#xA;&#xD;&#xA;The sound person rarely does the actual audio calls or procedures, because doing that requires understanding of how the game code is structured. The sound person may be required to write short scripts (that may have a custom, simplified syntax or that may be an actual programming language e.g. Python, Lua, C#) that specify which sound file plays and how it plays when a certain audio event is called from the game code. The scripts are then linked to the game code in some way. The scripts are short and simple and learning to write them, when they're needed, shouldn't be a problem, but knowing the basics of imperative (or object-oriented) programming in some programming language helps and should make different scripting syntaxes and styles very easy to grasp.&#xD;&#xA;&#xD;&#xA;If the game developer uses an audio middleware (e.g. FMOD, Wwise) or a framework (e.g. XNA) that has a separate &quot;designer&quot; program or view for audio, then you usually don't need to write anything, because everything that you need to handle is handled via the graphical &quot;designer&quot; program that basically works just like any other program.&#xD;&#xA;&#xD;&#xA;&gt; I already have an answer that is&#xD;&#xA;&gt; pretty much straight forward and the&#xD;&#xA;&gt; answer is YES. balancing volumes&#xD;&#xA;&gt; between GUI sounds, background sounds,&#xD;&#xA;&gt; music and other audio events are&#xD;&#xA;&gt; crucial elements that need to be&#xD;&#xA;&gt; handled by the audio guy to fine tune&#xD;&#xA;&gt; his idea before submitting, having a&#xD;&#xA;&gt; trained ear and mostly being aware of&#xD;&#xA;&gt; critical listening. Also seems&#xD;&#xA;&gt; reasonable to me that having access to&#xD;&#xA;&gt; the code (audio part only) it'll make&#xD;&#xA;&gt; it easy to swap files, test different&#xD;&#xA;&gt; solutions in context..&#xD;&#xA;&#xD;&#xA;Remember that every person has ears and most people listen to music and other audio. Anyone is as informed (if not just as experienced) as you to make a decision or to form an opinion regarding sound.&#xD;&#xA;&#xD;&#xA;&gt; delegating all these tasks to the lead&#xD;&#xA;&gt; programmer doesn't sound right to me.&#xD;&#xA;&#xD;&#xA;I'd say it depends on who does most effectively what needs to be done. If everything is handled via code, then it's easier to just do it, than try to teach someone who doesn't know how to program to program the audio. If you did know what to do, then wouldn't you be programming those audio procedures already?&#xD;&#xA;&#xD;&#xA;&gt; Also it makes dev more complicated and&#xD;&#xA;&gt; longer since there's this ball pass&#xD;&#xA;&gt; between the lead programmer before the&#xD;&#xA;&gt; audio guy can actually hear things in&#xD;&#xA;&gt; context.&#xD;&#xA;&#xD;&#xA;That's true and it sucks from audio's part, because audio needs to be worked and listened &quot;in real time&quot; to make decisions and having to wait to hear what you've done is a suboptimal practice. The solution is to use a tool/middleware that allows the sound person to work on the sound and test it independently or almost independently.&#xD;&#xA;&#xD;&#xA;&gt; been working on 4 games so far and it&#xD;&#xA;&gt; doesn't seem it is a common practice.&#xD;&#xA;&gt; the lead programmer was in charge to&#xD;&#xA;&gt; do all these things. I will actually&#xD;&#xA;&gt; start learning these implementing&#xD;&#xA;&gt; tools&#xD;&#xA;&#xD;&#xA;All learning is good, but depending on what you mean by &quot;learning these implementing tools&quot; you may be taking quite a plunge. Learning to program in a programming language, when you're exposed it for the first time, is hard enough for starters and it'll take a while until you can advance to understanding audio middleware libraries for example. I'm just warning that it'll be complicated and it'll take time to grasp, so be prepared to put the time in.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31384" PostHistoryTypeId="5" PostId="19361" RevisionGUID="dde30f4e-b2db-46e5-b05c-b4c96f65cb59" CreationDate="2013-05-28T08:57:00.300" UserId="3179" Comment="added 3 characters in body; added 30 characters in body" Text=" &gt; Apart from regular tools (DAW, audio&#xD;&#xA;&gt; editor etc...), it is a common thing&#xD;&#xA;&gt; for a sound designer-composer to&#xD;&#xA;&gt; learn/use programming tools (like&#xD;&#xA;&gt; Unity or FMOD) to be able to&#xD;&#xA;&gt; implement-test audio myself during the&#xD;&#xA;&gt; development?&#xD;&#xA;&#xD;&#xA;The sound person rarely does the actual audio calls or procedures, because doing that requires understanding of how the game code is structured. The sound person may be required to write short scripts (that may have a custom, simplified syntax or that may be in an actual programming language e.g. Python, Lua, C# or a markup language e.g. XML) that specify which sound file plays and how it plays when a certain audio event is called from the game code. The scripts are then linked to the game code in some way. The scripts are short and simple and learning to write them, when they're needed, shouldn't be a problem, but knowing the basics of imperative (or object-oriented) programming in some programming language helps and should make different scripting syntaxes and styles very easy to grasp.&#xD;&#xA;&#xD;&#xA;If the game developer uses an audio middleware (e.g. FMOD, Wwise) or a framework (e.g. XNA) that has a separate &quot;designer&quot; program or view for audio, then you usually don't need to write anything, because everything that you need to handle is handled via the graphical &quot;designer&quot; program that basically works just like any other program.&#xD;&#xA;&#xD;&#xA;&gt; I already have an answer that is&#xD;&#xA;&gt; pretty much straight forward and the&#xD;&#xA;&gt; answer is YES. balancing volumes&#xD;&#xA;&gt; between GUI sounds, background sounds,&#xD;&#xA;&gt; music and other audio events are&#xD;&#xA;&gt; crucial elements that need to be&#xD;&#xA;&gt; handled by the audio guy to fine tune&#xD;&#xA;&gt; his idea before submitting, having a&#xD;&#xA;&gt; trained ear and mostly being aware of&#xD;&#xA;&gt; critical listening. Also seems&#xD;&#xA;&gt; reasonable to me that having access to&#xD;&#xA;&gt; the code (audio part only) it'll make&#xD;&#xA;&gt; it easy to swap files, test different&#xD;&#xA;&gt; solutions in context..&#xD;&#xA;&#xD;&#xA;Remember that every person has ears and most people listen to music and other audio. Anyone is as informed (if not just as experienced) as you to make a decision or to form an opinion regarding sound.&#xD;&#xA;&#xD;&#xA;&gt; delegating all these tasks to the lead&#xD;&#xA;&gt; programmer doesn't sound right to me.&#xD;&#xA;&#xD;&#xA;I'd say it depends on who does most effectively what needs to be done. If everything is handled via code, then it's easier to just do it, than try to teach someone who doesn't know how to program to program the audio. If you did know what to do, then wouldn't you be programming those audio procedures already?&#xD;&#xA;&#xD;&#xA;&gt; Also it makes dev more complicated and&#xD;&#xA;&gt; longer since there's this ball pass&#xD;&#xA;&gt; between the lead programmer before the&#xD;&#xA;&gt; audio guy can actually hear things in&#xD;&#xA;&gt; context.&#xD;&#xA;&#xD;&#xA;That's true and it sucks from audio's part, because audio needs to be worked and listened &quot;in real time&quot; to make decisions and having to wait to hear what you've done is a suboptimal practice. The solution is to use a tool/middleware that allows the sound person to work on the sound and test it independently or almost independently.&#xD;&#xA;&#xD;&#xA;&gt; been working on 4 games so far and it&#xD;&#xA;&gt; doesn't seem it is a common practice.&#xD;&#xA;&gt; the lead programmer was in charge to&#xD;&#xA;&gt; do all these things. I will actually&#xD;&#xA;&gt; start learning these implementing&#xD;&#xA;&gt; tools&#xD;&#xA;&#xD;&#xA;All learning is good, but depending on what you mean by &quot;learning these implementing tools&quot; you may be taking quite a plunge. Learning to program in a programming language, when you're exposed it for the first time, is hard enough for starters and it'll take a while until you can advance to understanding audio middleware libraries for example. I'm just warning that it'll be complicated and it'll take time to grasp, so be prepared to put the time in.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31385" PostHistoryTypeId="5" PostId="19361" RevisionGUID="d502ab0a-8d12-43d4-8131-61da77e78f9e" CreationDate="2013-05-28T09:06:59.223" UserId="3179" Comment="added 3 characters in body; added 86 characters in body; deleted 38 characters in body" Text=" &gt; Apart from regular tools (DAW, audio&#xD;&#xA;&gt; editor etc...), it is a common thing&#xD;&#xA;&gt; for a sound designer-composer to&#xD;&#xA;&gt; learn/use programming tools (like&#xD;&#xA;&gt; Unity or FMOD) to be able to&#xD;&#xA;&gt; implement-test audio myself during the&#xD;&#xA;&gt; development?&#xD;&#xA;&#xD;&#xA;The sound person rarely does the actual audio calls or procedures, because doing that requires understanding of how the game code is structured. The sound person may be required to write short scripts (that may have a custom, simplified syntax or that may be in an actual programming language e.g. Python, Lua, C# or a markup language e.g. XML) that specify which sound file plays and how it plays when a certain audio event is called from the game code. The scripts are then linked to the game code in some way. The scripts are short and simple and learning to write them, when they're needed, shouldn't be a problem, but knowing the basics of imperative (or object-oriented) programming in some programming language helps and should make different scripting syntaxes and styles very easy to grasp.&#xD;&#xA;&#xD;&#xA;If the game developer uses an audio middleware (e.g. FMOD, Wwise) or a framework (e.g. XNA) that has a separate &quot;designer&quot; program or view for audio, then you usually don't need to write anything, because everything that you need to handle is handled via the graphical &quot;designer&quot; program that basically works just like any other program.&#xD;&#xA;&#xD;&#xA;&gt; I already have an answer that is&#xD;&#xA;&gt; pretty much straight forward and the&#xD;&#xA;&gt; answer is YES. balancing volumes&#xD;&#xA;&gt; between GUI sounds, background sounds,&#xD;&#xA;&gt; music and other audio events are&#xD;&#xA;&gt; crucial elements that need to be&#xD;&#xA;&gt; handled by the audio guy to fine tune&#xD;&#xA;&gt; his idea before submitting, having a&#xD;&#xA;&gt; trained ear and mostly being aware of&#xD;&#xA;&gt; critical listening. Also seems&#xD;&#xA;&gt; reasonable to me that having access to&#xD;&#xA;&gt; the code (audio part only) it'll make&#xD;&#xA;&gt; it easy to swap files, test different&#xD;&#xA;&gt; solutions in context..&#xD;&#xA;&#xD;&#xA;Remember that every person has ears and most people listen to music and other audio. Anyone is as informed (if not just as experienced) as you to make a decision or to form an opinion regarding sound.&#xD;&#xA;&#xD;&#xA;&gt; delegating all these tasks to the lead&#xD;&#xA;&gt; programmer doesn't sound right to me.&#xD;&#xA;&#xD;&#xA;I'd say it depends on who does most effectively what needs to be done. If everything is handled via code, then it's easier to just do it, than try to teach someone who doesn't know how to program to program the audio. If you did know what to do, then wouldn't you be programming those audio procedures already?&#xD;&#xA;&#xD;&#xA;&gt; Also it makes dev more complicated and&#xD;&#xA;&gt; longer since there's this ball pass&#xD;&#xA;&gt; between the lead programmer before the&#xD;&#xA;&gt; audio guy can actually hear things in&#xD;&#xA;&gt; context.&#xD;&#xA;&#xD;&#xA;That's true and it sucks from audio's part, because audio needs to be worked and listened &quot;in real time&quot; to make decisions and having to wait to hear what you've done is a suboptimal practice. The solution is to use a tool/middleware that allows the sound person to work on the sound and test it independently or almost independently.&#xD;&#xA;&#xD;&#xA;&gt; been working on 4 games so far and it&#xD;&#xA;&gt; doesn't seem it is a common practice.&#xD;&#xA;&gt; the lead programmer was in charge to&#xD;&#xA;&gt; do all these things. I will actually&#xD;&#xA;&gt; start learning these implementing&#xD;&#xA;&gt; tools&#xD;&#xA;&#xD;&#xA;All learning is good, but depending on what you mean by &quot;learning these implementing tools&quot; you may be taking quite a plunge. Learning to program in a programming language (especially in a complicated language like C++), when you're exposed to it for the first time, is hard enough for starters and it'll take a while until you can advance to understanding audio middleware libraries for example. I'm just warning that it'll be complicated and it'll take time to grasp, so be prepared to put the time in.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31386" PostHistoryTypeId="5" PostId="19361" RevisionGUID="442d14c9-23e5-4daf-973d-df5f30b75de7" CreationDate="2013-05-28T09:14:28.140" UserId="3179" Comment="added 266 characters in body; deleted 1 characters in body; added 1 characters in body; added 12 characters in body" Text=" &gt; Apart from regular tools (DAW, audio&#xD;&#xA;&gt; editor etc...), it is a common thing&#xD;&#xA;&gt; for a sound designer-composer to&#xD;&#xA;&gt; learn/use programming tools (like&#xD;&#xA;&gt; Unity or FMOD) to be able to&#xD;&#xA;&gt; implement-test audio myself during the&#xD;&#xA;&gt; development?&#xD;&#xA;&#xD;&#xA;The sound person rarely does the actual audio calls or procedures, because doing that requires understanding of how the game code is structured. The sound person may be required to write short scripts (that may have a custom, simplified syntax or that may be in an actual programming language e.g. Python, Lua, C# or a markup language e.g. XML) that specify which sound file plays and how it plays when a certain audio event is called from the game code. The scripts are then linked to the game code in some way. The scripts are short and simple and learning to write them, when they're needed, shouldn't be a problem, but knowing the basics of imperative (or object-oriented) programming in some programming language helps and should make different scripting syntaxes and styles very easy to grasp.&#xD;&#xA;&#xD;&#xA;If the game developer uses an audio middleware (e.g. FMOD, Wwise) or a framework (e.g. XNA) that has a separate &quot;designer&quot; program or view for audio, then you usually don't need to write anything, because everything that you need to handle is handled via the graphical &quot;designer&quot; program that basically works just like any other program.&#xD;&#xA;&#xD;&#xA;If the game uses/is built on a very sophisticated framework that has graphical tools for navigating and editing the entire game build (effectively this is kind of how Unity works), then the sound person can usually adjust the sound and navigate and test builds quite easily.&#xD;&#xA;&#xD;&#xA;&gt; I already have an answer that is&#xD;&#xA;&gt; pretty much straight forward and the&#xD;&#xA;&gt; answer is YES. balancing volumes&#xD;&#xA;&gt; between GUI sounds, background sounds,&#xD;&#xA;&gt; music and other audio events are&#xD;&#xA;&gt; crucial elements that need to be&#xD;&#xA;&gt; handled by the audio guy to fine tune&#xD;&#xA;&gt; his idea before submitting, having a&#xD;&#xA;&gt; trained ear and mostly being aware of&#xD;&#xA;&gt; critical listening. Also seems&#xD;&#xA;&gt; reasonable to me that having access to&#xD;&#xA;&gt; the code (audio part only) it'll make&#xD;&#xA;&gt; it easy to swap files, test different&#xD;&#xA;&gt; solutions in context..&#xD;&#xA;&#xD;&#xA;Remember that every person has ears and most people listen to music and other audio. Anyone is as informed (if not just as experienced) as you to make a decision or to form an opinion regarding sound.&#xD;&#xA;&#xD;&#xA;&gt; delegating all these tasks to the lead&#xD;&#xA;&gt; programmer doesn't sound right to me.&#xD;&#xA;&#xD;&#xA;I'd say it depends on who does most effectively what needs to be done. If everything is handled via code, then it's easier to just do it, than try to teach someone who doesn't know how to program to program the audio. If you did know what to do, then wouldn't you be programming those audio procedures already?&#xD;&#xA;&#xD;&#xA;&gt; Also it makes dev more complicated and&#xD;&#xA;&gt; longer since there's this ball pass&#xD;&#xA;&gt; between the lead programmer before the&#xD;&#xA;&gt; audio guy can actually hear things in&#xD;&#xA;&gt; context.&#xD;&#xA;&#xD;&#xA;That's true and it sucks from audio's part, because audio needs to be worked and listened &quot;in real time&quot; to make decisions and having to wait to hear what you've done is a suboptimal practice. The solution is to use a tool/middleware that allows the sound person to work on the sound and test it independently or almost independently.&#xD;&#xA;&#xD;&#xA;&gt; been working on 4 games so far and it&#xD;&#xA;&gt; doesn't seem it is a common practice.&#xD;&#xA;&gt; the lead programmer was in charge to&#xD;&#xA;&gt; do all these things. I will actually&#xD;&#xA;&gt; start learning these implementing&#xD;&#xA;&gt; tools&#xD;&#xA;&#xD;&#xA;All learning is good, but depending on what you mean by &quot;learning these implementing tools&quot; you may be taking quite a plunge. Learning to program in a programming language (especially in a complicated language like C++), when you're exposed to it for the first time, is hard enough for starters and it'll take a while until you can advance to understanding audio middleware libraries for example. I'm just warning that it'll be complicated and it'll take time to grasp, so be prepared to put the time in.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31390" PostHistoryTypeId="5" PostId="19361" RevisionGUID="19dd1c37-1196-4da3-baeb-26566aa228b3" CreationDate="2013-05-28T09:25:32.640" UserId="3179" Comment="added 17 characters in body" Text=" &gt; Apart from regular tools (DAW, audio&#xD;&#xA;&gt; editor etc...), it is a common thing&#xD;&#xA;&gt; for a sound designer-composer to&#xD;&#xA;&gt; learn/use programming tools (like&#xD;&#xA;&gt; Unity or FMOD) to be able to&#xD;&#xA;&gt; implement-test audio myself during the&#xD;&#xA;&gt; development?&#xD;&#xA;&#xD;&#xA;The sound person rarely does the actual audio calls or procedures, because doing that requires understanding of how the game code is structured. The sound person may be required to write short scripts (that may have a custom, simplified syntax or that may be in an actual programming language e.g. Python, Lua, C# or a markup language e.g. XML) that specify which sound file plays and how it plays when a certain audio event is called from the game code. The scripts are then linked to the game code in some way. The scripts are short and simple and learning to write them, when they're needed, shouldn't be a problem, but knowing the basics of imperative (or object-oriented) programming in some programming language helps and should make different scripting syntaxes and styles very easy to grasp.&#xD;&#xA;&#xD;&#xA;If the game developer uses an audio middleware (e.g. FMOD, Wwise) or a framework (e.g. XNA) that has a separate &quot;designer&quot; program or view for audio, then you usually don't need to write anything, because everything that you need to handle is handled via the graphical &quot;designer&quot; program that basically works just like any other program.&#xD;&#xA;&#xD;&#xA;If the game uses/is built on a very sophisticated framework that has graphical tools for navigating and editing the entire game build (effectively this is kind of how Unity works), then the sound person can usually adjust the sound and navigate and test builds quite easily.&#xD;&#xA;&#xD;&#xA;&gt; I already have an answer that is&#xD;&#xA;&gt; pretty much straight forward and the&#xD;&#xA;&gt; answer is YES. balancing volumes&#xD;&#xA;&gt; between GUI sounds, background sounds,&#xD;&#xA;&gt; music and other audio events are&#xD;&#xA;&gt; crucial elements that need to be&#xD;&#xA;&gt; handled by the audio guy to fine tune&#xD;&#xA;&gt; his idea before submitting, having a&#xD;&#xA;&gt; trained ear and mostly being aware of&#xD;&#xA;&gt; critical listening. Also seems&#xD;&#xA;&gt; reasonable to me that having access to&#xD;&#xA;&gt; the code (audio part only) it'll make&#xD;&#xA;&gt; it easy to swap files, test different&#xD;&#xA;&gt; solutions in context..&#xD;&#xA;&#xD;&#xA;Remember that every person has ears and most people listen to music and other audio. Anyone is as informed (if not just as experienced) as you to make a decision or to form an opinion regarding sound.&#xD;&#xA;&#xD;&#xA;&gt; delegating all these tasks to the lead&#xD;&#xA;&gt; programmer doesn't sound right to me.&#xD;&#xA;&#xD;&#xA;I'd say it depends on who does most effectively what needs to be done. If everything is handled via code, then it's easier to just do it, than try to teach someone who doesn't know how to program to program the audio. If you did know what to do, then wouldn't you be programming those audio procedures already?&#xD;&#xA;&#xD;&#xA;&gt; Also it makes dev more complicated and&#xD;&#xA;&gt; longer since there's this ball pass&#xD;&#xA;&gt; between the lead programmer before the&#xD;&#xA;&gt; audio guy can actually hear things in&#xD;&#xA;&gt; context.&#xD;&#xA;&#xD;&#xA;That's true and it sucks from audio's part, because audio needs to be worked and listened &quot;in real time&quot; to make decisions and having to wait to hear what you've done is a suboptimal practice. The solution is to use a tool/middleware that allows the sound person to work on the sound and test it independently or almost independently.&#xD;&#xA;&#xD;&#xA;&gt; been working on 4 games so far and it&#xD;&#xA;&gt; doesn't seem it is a common practice.&#xD;&#xA;&gt; the lead programmer was in charge to&#xD;&#xA;&gt; do all these things. I will actually&#xD;&#xA;&gt; start learning these implementing&#xD;&#xA;&gt; tools&#xD;&#xA;&#xD;&#xA;All learning is good, but depending on what you mean by &quot;learning these implementing tools&quot; you may be taking quite a plunge. Learning to program in a programming language (especially in a complicated language like C++) and to read code, when you're exposed to it for the first time, is hard enough for starters and it'll take a while until you can advance to understanding audio middleware libraries for example. I'm just warning that it'll be complicated and it'll take time to grasp, so be prepared to put the time in.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31391" PostHistoryTypeId="5" PostId="19361" RevisionGUID="19fed90e-74bf-4faf-82a1-56d5fd0194ad" CreationDate="2013-05-28T10:04:28.387" UserId="3179" Comment="added 330 characters in body; added 99 characters in body; deleted 4 characters in body" Text=" &gt; Apart from regular tools (DAW, audio&#xD;&#xA;&gt; editor etc...), it is a common thing&#xD;&#xA;&gt; for a sound designer-composer to&#xD;&#xA;&gt; learn/use programming tools (like&#xD;&#xA;&gt; Unity or FMOD) to be able to&#xD;&#xA;&gt; implement-test audio myself during the&#xD;&#xA;&gt; development?&#xD;&#xA;&#xD;&#xA;It's not common, because game (and sound) programming requires a certain level of experience in programming to make the person effective in writing code. You'd need to double yourself as a decent programmer for it to be effective for you to write code as well as create sound. Your primary job is to create music and/or sound and to specify its in-game behaviour at some level (usually using tools like FMOD, Wwise etc.).&#xD;&#xA;&#xD;&#xA;The sound person rarely does the actual audio calls or procedures, because doing that requires understanding of how the game code is structured. The sound person may be required to write short scripts (that may have a custom, simplified syntax or that may be in an actual programming language e.g. Python, Lua, C# or a markup language e.g. XML) that specify which sound file plays and how it plays when a certain audio event is called from the game code. The scripts are then linked to the game code in some way. The scripts are short and simple and learning to write them, when they're needed, shouldn't be a problem, but knowing the basics of imperative (or object-oriented) programming in some programming language helps and should make different scripting syntaxes and styles very easy to grasp.&#xD;&#xA;&#xD;&#xA;If the game developer uses an audio middleware (e.g. FMOD, Wwise) or a framework (e.g. XNA) that has a separate &quot;designer&quot; program or view for audio, then you usually don't need to write anything, because everything that you need to handle is handled via the graphical &quot;designer&quot; program that basically works just like any other program.&#xD;&#xA;&#xD;&#xA;If the game uses/is built on a very sophisticated framework that has graphical tools for navigating and editing the entire game build (effectively this is kind of how Unity works), then the sound person can usually adjust the sound and navigate and test builds quite easily.&#xD;&#xA;&#xD;&#xA;&gt; I already have an answer that is&#xD;&#xA;&gt; pretty much straight forward and the&#xD;&#xA;&gt; answer is YES. balancing volumes&#xD;&#xA;&gt; between GUI sounds, background sounds,&#xD;&#xA;&gt; music and other audio events are&#xD;&#xA;&gt; crucial elements that need to be&#xD;&#xA;&gt; handled by the audio guy to fine tune&#xD;&#xA;&gt; his idea before submitting, having a&#xD;&#xA;&gt; trained ear and mostly being aware of&#xD;&#xA;&gt; critical listening. Also seems&#xD;&#xA;&gt; reasonable to me that having access to&#xD;&#xA;&gt; the code (audio part only) it'll make&#xD;&#xA;&gt; it easy to swap files, test different&#xD;&#xA;&gt; solutions in context..&#xD;&#xA;&#xD;&#xA;Remember that every person has ears and most people listen to music and other audio. Anyone is as informed (if not just as experienced) as you to make a decision or to form an opinion regarding sound.&#xD;&#xA;&#xD;&#xA;&gt; delegating all these tasks to the lead&#xD;&#xA;&gt; programmer doesn't sound right to me.&#xD;&#xA;&#xD;&#xA;I'd say it depends on who does most effectively what needs to be done. If everything is handled via code, then it's easier to just do it, than try to teach someone who doesn't know how to program to program the audio. If you did know what to do, then wouldn't you be programming those audio procedures already?&#xD;&#xA;&#xD;&#xA;&gt; Also it makes dev more complicated and&#xD;&#xA;&gt; longer since there's this ball pass&#xD;&#xA;&gt; between the lead programmer before the&#xD;&#xA;&gt; audio guy can actually hear things in&#xD;&#xA;&gt; context.&#xD;&#xA;&#xD;&#xA;That's true and it sucks from audio's part, because audio needs to be worked and listened &quot;in real time&quot; to make decisions and having to wait to hear what you've done is a suboptimal practice. The solution is to use a tool/middleware that allows the sound person to work on the sound and test it independently or almost independently.&#xD;&#xA;&#xD;&#xA;&gt; been working on 4 games so far and it&#xD;&#xA;&gt; doesn't seem it is a common practice.&#xD;&#xA;&gt; the lead programmer was in charge to&#xD;&#xA;&gt; do all these things. I will actually&#xD;&#xA;&gt; start learning these implementing&#xD;&#xA;&gt; tools&#xD;&#xA;&#xD;&#xA;All learning is good, but depending on what you mean by &quot;learning these implementing tools&quot; you may be taking quite a plunge. Learning to program in a programming language (especially in a complicated language like C++) and to read code, when you're exposed to it for the first time, is hard enough for starters and it'll take a while until you can advance to understanding audio middleware libraries for example. I'm just warning that it'll be complicated and it'll take time to grasp, so be prepared to put the time in.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31393" PostHistoryTypeId="2" PostId="19363" RevisionGUID="6fed13fe-7552-4f0d-8309-ec08e915ca01" CreationDate="2013-05-28T11:31:33.677" UserId="6432" Text="I would drop markers for each gunshot and tracklay each one separately. It might take longer, but you will have more control later. The idea of having stuff running through Kontakt sounds like a mixing nightmare (if you have multiple shots coming form one instance), or a waste of processing power (if you run multiple instances). I think any time you save in the tracklay will be lost in the mix when you come to setting up panning, eq and reverb. Also, if you need to return to the session later you are dependent on Kontakt running properly - best to have the audio itself locked in the session. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31394" PostHistoryTypeId="2" PostId="19364" RevisionGUID="abc26431-28ca-4635-aec3-374bfc451773" CreationDate="2013-05-28T12:23:22.713" UserId="622" Text="Good preparation and set-up with Kontakt can be a very effective way. In addition, it can be used for other projects. &#xD;&#xA;&#xD;&#xA;Drop all shots in Kontakt. One instrument for one type of gun. Drop all instruments in a Multi-Instrument, save the Multi, record MIDI on several tracks with the appropriate MIDI channel, edit, bounce to audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="31395" PostHistoryTypeId="2" PostId="19365" RevisionGUID="e10ec229-469f-4923-9115-b58358b02ea7" CreationDate="2013-05-28T13:11:06.923" UserId="4116" Text="Hey folks,&#xD;&#xA;&#xD;&#xA;i am currently working on a (no)low-budget student short movie project which will be shown on a public event.&#xD;&#xA;&#xD;&#xA;Unfortunately its a short action sequence.&#xD;&#xA;&#xD;&#xA;Unfortunately because there is some shooting action in a scene.&#xD;&#xA;&#xD;&#xA;Because i myself do not own a gunshot library yet, and the producer will probably eat me if i  tell him that i need 200$ to buy a complete library to use it for the 5 shots which are fired in this very short sequenze, now my question:&#xD;&#xA;&#xD;&#xA;Has anybody got any suggestions about where i can get quality single small caliber indoor gunshots?&#xD;&#xA;&#xD;&#xA;I am already thankful and looking forward to any suggestions!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31396" PostHistoryTypeId="1" PostId="19365" RevisionGUID="e10ec229-469f-4923-9115-b58358b02ea7" CreationDate="2013-05-28T13:11:06.923" UserId="4116" Text="Suggestions for gunshot libraries" ContentLicense="CC BY-SA 3.0" />
  <row Id="31397" PostHistoryTypeId="3" PostId="19365" RevisionGUID="e10ec229-469f-4923-9115-b58358b02ea7" CreationDate="2013-05-28T13:11:06.923" UserId="4116" Text="&lt;library&gt;&lt;guns&gt;&lt;low-budget&gt;&lt;suggestion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31398" PostHistoryTypeId="2" PostId="19366" RevisionGUID="dc42f693-17de-4a36-b97b-3ddc045deaea" CreationDate="2013-05-28T14:38:00.700" UserId="6047" Text="I have Sennheiser MKH 8040, but after slow down from 192 to 48 there are much more hi frequency noise, than signal, so this trick don't work well with this microphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="31399" PostHistoryTypeId="5" PostId="19349" RevisionGUID="1d91f58b-3aaa-4a6b-b90c-0d6f8059eeaa" CreationDate="2013-05-28T15:35:21.677" UserId="5605" Comment="added information; deleted 115 characters in body" Text="Hey,&#xD;&#xA;&#xD;&#xA;I watched Man of Steel's newest trailer and noticed a high pitch whine during the voice over. Did this slip past editors? It's very loud around the 47-48 second mark. &#xD;&#xA;&#xD;&#xA;Or am I missing something and this was in some way intentional?&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=NlOF03DUoWc][1]&#xD;&#xA;&#xD;&#xA;Here's a screenshot of the voice in Voxengo Span. The high frequency signal is peaking at around 15.7 kHz.&#xD;&#xA;&#xD;&#xA;![Screenshot][2]&#xD;&#xA;&#xD;&#xA;PS. I'm not pointing fingers or anything, I'm just genuinely curious!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=NlOF03DUoWc&#xD;&#xA;  [2]: https://dl.dropboxusercontent.com/u/48858350/man-of-steel.PNG" ContentLicense="CC BY-SA 3.0" />
  <row Id="31400" PostHistoryTypeId="2" PostId="19367" RevisionGUID="6ef318ec-3081-4df5-8d9d-beaa88945a55" CreationDate="2013-05-28T16:15:54.667" UserId="6579" Text="it sounds to me like the beeping of a TV screen that was on during the recording of the voice..." ContentLicense="CC BY-SA 3.0" />
  <row Id="31401" PostHistoryTypeId="2" PostId="19368" RevisionGUID="6a3da530-8f4c-4a61-84a7-360d76805d80" CreationDate="2013-05-28T16:23:41.200" UserId="5605" Text="Did you try http://www.freesound.org/ ? Maybe you could find something useful there. Just check under what license people distribute their sounds. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31402" PostHistoryTypeId="2" PostId="19369" RevisionGUID="1e5c50dd-d252-43b9-9dea-12ad411054a3" CreationDate="2013-05-28T18:41:08.787" UserId="4272" Text="Well, you can get the Boom Library's Designed Guns for $128, which is very reasonable.  If you're looking to spend less than that, I'm afraid you may be sacrificing quality for expense.  Try freesound.org, try recording your own gunshots, or try purchasing single gunshot sound effects from any of the various online libraries that offer single sound effect downloads (prosoundeffects.com, for example).  Those types of libraries charge about $2-3 per sound, so it's a bit pricey per sound but it's cheaper than buying a whole library if you only need a few sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="31403" PostHistoryTypeId="4" PostId="19359" RevisionGUID="5012b558-d4d1-499d-9701-8706b88588d9" CreationDate="2013-05-28T19:35:55.950" UserId="3179" Comment="edited tags; edited title; edited title" Text="Game Audio Mixing: Implementing/testing audio in builds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31404" PostHistoryTypeId="6" PostId="19359" RevisionGUID="5012b558-d4d1-499d-9701-8706b88588d9" CreationDate="2013-05-28T19:35:55.950" UserId="3179" Comment="edited tags; edited title; edited title" Text="&lt;gameaudio&gt;&lt;mixing&gt;&lt;tools&gt;&lt;learning&gt;&lt;programming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31405" PostHistoryTypeId="2" PostId="19370" RevisionGUID="9aa09957-9acb-40ad-bb55-aa2d14e07b6c" CreationDate="2013-05-28T21:52:39.207" UserId="6082" Text="Hi &#xD;&#xA;&#xD;&#xA;Would any Cecilia users out there be willing to give a short overview of its features; strengths/weaknesses etc? &#xD;&#xA;&#xD;&#xA;Also how does one go about installing it - I guess I need to install CSound first but which version is compatible with the current Cecilia build?&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;rich" ContentLicense="CC BY-SA 3.0" />
  <row Id="31406" PostHistoryTypeId="1" PostId="19370" RevisionGUID="9aa09957-9acb-40ad-bb55-aa2d14e07b6c" CreationDate="2013-05-28T21:52:39.207" UserId="6082" Text="Cecilia users ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31407" PostHistoryTypeId="3" PostId="19370" RevisionGUID="9aa09957-9acb-40ad-bb55-aa2d14e07b6c" CreationDate="2013-05-28T21:52:39.207" UserId="6082" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31408" PostHistoryTypeId="2" PostId="19371" RevisionGUID="39d084d8-4053-4607-8d7b-9cf3d765552a" CreationDate="2013-05-28T22:47:17.603" UserId="3179" Text="A considerable time sink. Probably he closest you can get to &quot;(non-real-time) Kyma on a personal computer&quot; (another would be [The Composer's Desktop Project][1]).&#xD;&#xA;&#xD;&#xA;Useful for study purposes in sound synthesis as well as many audio DSP implementations and by having the CSound backend can do really fine and high-quality sounds and sample processing although with the cumbersome manual/non-real-time operation.&#xD;&#xA;&#xD;&#xA;Generally not worth the time investment (depends on how you personally perceive Cecilia's or CSound's &quot;usefulness&quot; though), but if you're determined to use it, well, technically it packs a punch (especially if you look carefully through what CSound is really easy to use for [things involving loads of oscillators, filters and modulation for example] or what DSP effects are quite unique to CSound e.g. [http://www.csounds.com/manual/html/pvsvoc.html][2]).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.composersdesktop.com/&#xD;&#xA;  [2]: http://www.csounds.com/manual/html/pvsvoc.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="31409" PostHistoryTypeId="2" PostId="19372" RevisionGUID="f87eaa02-bc42-49f4-9b39-4e0c3d78c8f8" CreationDate="2013-05-28T22:51:48.100" UserId="6083" Text="@ Glenn &#xD;&#xA;&#xD;&#xA;Often the video editor lays in their own temp SFX during their cut, and, depending on budget/time, these fx can end up in the final version. Depending how good the editor's sound is could determine the quality of the final sound..some editors are actually pretty good sound designers and sometimes not quite so much...It's usually quite easy to spot which trailers had a sound designer pass over them. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31410" PostHistoryTypeId="5" PostId="19371" RevisionGUID="06a5710a-2a67-4da7-ab49-024bdad172fb" CreationDate="2013-05-28T22:53:55.363" UserId="3179" Comment="added 6 characters in body" Text="A considerable time sink. Probably he closest you can get to &quot;(non-real-time) Kyma on a personal computer&quot; (another would be [The Composer's Desktop Project][1]).&#xD;&#xA;&#xD;&#xA;Useful for study purposes in sound synthesis as well as many audio DSP implementations and by having the CSound backend can do really fine and high-quality sounds and sample processing although with the cumbersome manual/non-real-time operation.&#xD;&#xA;&#xD;&#xA;Generally not worth the time investment (depends on how you personally perceive Cecilia's or CSound's &quot;usefulness&quot; though), but if you're determined to use it, well, technically it packs a punch (especially if you look carefully through what CSound is really easy to use for [things involving loads of oscillators, filters and modulation for example] or what audio DSP effects are quite unique to CSound e.g. [http://www.csounds.com/manual/html/pvsvoc.html][2]).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.composersdesktop.com/&#xD;&#xA;  [2]: http://www.csounds.com/manual/html/pvsvoc.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="31411" PostHistoryTypeId="2" PostId="19373" RevisionGUID="6c80d189-4d4a-4923-a3b6-ab49dfeb81de" CreationDate="2013-05-28T22:58:37.917" UserId="6532" Text="I have not used Cecilia in a long time but I am an avid Csound user. If I remember correctly, the latest 4.2 beta comes with csound prepackaged, so theoretically you only need to download cecilia itself:&#xD;&#xA;&#xD;&#xA;[Cecilia Download Page][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://code.google.com/p/cecilia4/downloads/list&#xD;&#xA;&#xD;&#xA;As Internet Human already mentioned, learning csound (which you will need to do in order to use Cecilia successfully) takes time and the learning curve can be quite steep at first. However, I do believe that it's well worth it, and contrary to Internet Human's claim you can actually use Csound in realtime." ContentLicense="CC BY-SA 3.0" />
  <row Id="31412" PostHistoryTypeId="2" PostId="19374" RevisionGUID="badb6100-7b40-426b-b9df-9dec2a029f54" CreationDate="2013-05-29T03:37:13.427" UserId="3784" Text="So I'm switching machines and am using a 3TB internal drive on my new one just for my SFX. I transferred all my SFX from my external drives into the new machine and then in SM im creating a new database (with the same exact SFX as my old database on my older computer.) but I am now getting WAY less finds when I search through the new database. I compared the 2 and im stumped. Wondering if anyone had any pointers on what I may be doing wrong? Its kinda annoying.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="31413" PostHistoryTypeId="1" PostId="19374" RevisionGUID="badb6100-7b40-426b-b9df-9dec2a029f54" CreationDate="2013-05-29T03:37:13.427" UserId="3784" Text="Sound Miner question" ContentLicense="CC BY-SA 3.0" />
  <row Id="31414" PostHistoryTypeId="3" PostId="19374" RevisionGUID="badb6100-7b40-426b-b9df-9dec2a029f54" CreationDate="2013-05-29T03:37:13.427" UserId="3784" Text="&lt;soundminer&gt;&lt;metadata&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31415" PostHistoryTypeId="2" PostId="19375" RevisionGUID="5d6137d1-f2dc-4bd3-8b3d-c402b4880c38" CreationDate="2013-05-29T04:14:12.000" UserId="6532" Text="You might not have embedded all of your metadata into your audio files back when you originally imported and tagged them into your first Sound Miner database. The easiest way to check is to open your original DB and select &quot;Show Dirty Records&quot; from the Database menu. That'll show you all files whose metadata has been changed but has not been written back to the file yet. In order to embed the data just select &quot;Embed Metadata for Browsed Records.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31417" PostHistoryTypeId="5" PostId="19371" RevisionGUID="a475a509-41c5-4fbb-9983-f727b74bbaeb" CreationDate="2013-05-29T06:56:03.513" UserId="3179" Comment="added 1 characters in body; added 110 characters in body" Text="A considerable time sink. Probably the closest you can get to &quot;(non-real-time) Kyma on a personal computer&quot; (another would be [The Composer's Desktop Project][1]).&#xD;&#xA;&#xD;&#xA;Useful for study purposes in sound synthesis as well as many audio DSP implementations and by having the CSound backend can do really fine and high-quality sounds and sample processing although with the cumbersome manual/non-real-time operation.&#xD;&#xA;&#xD;&#xA;Generally not worth the time investment (depends on how you personally perceive Cecilia's or CSound's &quot;usefulness&quot; though), but if you're determined to use it, well, technically it packs a punch (especially if you look carefully through what CSound is really easy to use for [things involving loads of oscillators, filters and modulation for example] or what audio DSP effects are quite unique to CSound e.g. [http://www.csounds.com/manual/html/pvcross.html][2], [http://www.csounds.com/manual/html/pvsvoc.html][3]).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.composersdesktop.com/&#xD;&#xA;  [2]: http://www.csounds.com/manual/html/pvcross.html&#xD;&#xA;  [3]: http://www.csounds.com/manual/html/pvsvoc.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="31418" PostHistoryTypeId="2" PostId="19376" RevisionGUID="c8ab89b1-86f0-48e3-aaba-5fd90ff89422" CreationDate="2013-05-29T07:12:44.093" UserId="804" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;I am a sound designer, looking for inspiration for a poetic art project. I would love to get your input on questions like - &lt;br&gt;&#xD;&#xA;What is your favorite voice over? (Which film/director/actor does it best, in your opinion?)&lt;br&gt;&#xD;&#xA;What are you looking for in a good voice? &lt;br&gt;&#xD;&#xA;How do you prefer to record/edit a voice over? &lt;br&gt;&#xD;&#xA;How do you interact with the voice actor in order to set the right tone in the recording? &lt;br&gt;&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31419" PostHistoryTypeId="1" PostId="19376" RevisionGUID="c8ab89b1-86f0-48e3-aaba-5fd90ff89422" CreationDate="2013-05-29T07:12:44.093" UserId="804" Text="Voice over - looking for inspiration" ContentLicense="CC BY-SA 3.0" />
  <row Id="31420" PostHistoryTypeId="3" PostId="19376" RevisionGUID="c8ab89b1-86f0-48e3-aaba-5fd90ff89422" CreationDate="2013-05-29T07:12:44.093" UserId="804" Text="&lt;voice-over&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31421" PostHistoryTypeId="2" PostId="19377" RevisionGUID="2d4477bc-179a-4b7b-9b9f-32232251c365" CreationDate="2013-05-29T07:16:04.870" UserId="1228" Text="Have you re-indexed your database?  I'll bet this is probably it.  This has been an on-going problem when I scan new files in (it's definitely a bug in SMHD/SMHD+ sill present since the beta test period when I reported it - might be a limitation of the database back end being used on this SM product, and thus, not &quot;correctable&quot;).  You always need to re-index the database (only takes a few minutes - quick bathroom break or coffee break).  Failing to do this it will kick back partial (or no) results where you should be expecting results, even though in the &quot;View All&quot; it shows all records accounted for after the scan.  This goes not only for initially scanning but every time you scan additional material.&#xD;&#xA;&#xD;&#xA;Basically the index terms/records aren't getting updating during scanning, so the boolean search still refers to the 'old' indexing, thus the new data is invisible to search.&#xD;&#xA;&#xD;&#xA;The additional thing to check, depending upon which SM product you have, that you've upped the limit on search results from the default limit or disabled it.  I'm pretty sure its an indexing problem, but this could just be something to check just in case." ContentLicense="CC BY-SA 3.0" />
  <row Id="31422" PostHistoryTypeId="2" PostId="19378" RevisionGUID="6bbc5b53-e43c-401a-85d7-3f877476cc3c" CreationDate="2013-05-29T07:30:52.410" UserId="3179" Text="&gt; What are you&#xD;&#xA;&gt; looking for in a good voice? &#xD;&#xA;&#xD;&#xA;It fits the purpose or matches the character. If it sounds good, it's good.&#xD;&#xA;&#xD;&#xA;&gt; How do&#xD;&#xA;&gt; you prefer to record/edit a voice&#xD;&#xA;&gt; over? &#xD;&#xA;&#xD;&#xA;If it's recorded well with a good microphone then all you need to do is to crop the lines (so that you remove extra noises prior and after the voice take) and place the takes depending on how they need to be aligned in the project. You can also record in-place, so that the takes are aligned correctly or almost correctly already during recording. Process (this means compression and EQ) the voice, if it's needed to fit the purpose.&#xD;&#xA;&#xD;&#xA;&gt; How do you interact with the&#xD;&#xA;&gt; voice actor in order to set the right&#xD;&#xA;&gt; tone in the recording?&#xD;&#xA;&#xD;&#xA;Kindly ask for or discuss about a different kind of expression, if you think the actor could try something differently. Professional and/or experienced voice actors usually know what they do and can do. Remember not to be bossy, they're the artist, not you.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31423" PostHistoryTypeId="5" PostId="19378" RevisionGUID="93cd68f9-0021-4e64-a5c6-13fed21104d7" CreationDate="2013-05-29T08:39:33.703" UserId="3179" Comment="added 162 characters in body" Text="&gt; What are you&#xD;&#xA;&gt; looking for in a good voice? &#xD;&#xA;&#xD;&#xA;It fits the purpose or matches the character. If it sounds good, it's good.&#xD;&#xA;&#xD;&#xA;&gt; How do&#xD;&#xA;&gt; you prefer to record/edit a voice&#xD;&#xA;&gt; over? &#xD;&#xA;&#xD;&#xA;If it's recorded well with a good microphone then all you need to do is to crop the lines (so that you remove extra noises prior and after the voice take) and place the takes depending on how they need to be aligned in the project. You can also record in-place, so that the takes are aligned correctly or almost correctly already during recording. Process (this means compression and EQ) the voice, if it's needed to fit the purpose.&#xD;&#xA;&#xD;&#xA;&gt; How do you interact with the&#xD;&#xA;&gt; voice actor in order to set the right&#xD;&#xA;&gt; tone in the recording?&#xD;&#xA;&#xD;&#xA;Kindly ask for or discuss about a different kind of expression, if you think the actor could try something differently. Professional and/or experienced voice actors usually know what they do and can do. Remember not to be bossy, they're the artist, not you. Make the actors' studio and recording time comfortable. Just like singing, voicing is best performed when the artist is in a positive mood and feels comfortable.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31425" PostHistoryTypeId="2" PostId="19379" RevisionGUID="e9c458b4-349a-4435-bf53-a9fa382b755c" CreationDate="2013-05-29T15:43:47.137" UserId="6084" Text="Im looking for a great stereo shotgun mic within the $1,000-$2,000 range. What can you suggest?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31426" PostHistoryTypeId="1" PostId="19379" RevisionGUID="e9c458b4-349a-4435-bf53-a9fa382b755c" CreationDate="2013-05-29T15:43:47.137" UserId="6084" Text="A great stereo shotgun mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="31427" PostHistoryTypeId="3" PostId="19379" RevisionGUID="e9c458b4-349a-4435-bf53-a9fa382b755c" CreationDate="2013-05-29T15:43:47.137" UserId="6084" Text="&lt;stereo&gt;&lt;shotgun&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31428" PostHistoryTypeId="2" PostId="19380" RevisionGUID="1d34fe68-8be6-4eec-a0a4-20524f6506b2" CreationDate="2013-05-29T15:51:22.920" UserId="1216" Text="What is the intended use? Shotgun implies you want an MS setup.&#xD;&#xA;XY is not possible with a shotgun mic, unless you use 2, but it won't sound great.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31429" PostHistoryTypeId="2" PostId="19381" RevisionGUID="43c2c031-a37c-4fe0-8466-df38f8a039ba" CreationDate="2013-05-29T16:22:07.923" UserId="432" Text="There aren't a ton of options out there. The few that come to mind are the [Audio-Technica AT835ST][1] (right around $1k), [Sanken CSS-5][2] ($2300), and the [Sennheiser MKH418S][3] ($1700). The Audio-Technica can be used in either M/S or XY mode (it's outputting a decoded M/S signal, not true XY) and the Sanken has multiple modes as well. The Sennheiser is M/S only. I haven't used the AT or Sanken personally, but I know a few people who like both microphones. The Sennheiser isn't bad (we have one at work), but it can be noisy and is never my first choice as far as stereo recordings.&#xD;&#xA;&#xD;&#xA;From what I've heard, the AT and the Sanken have similar noise floors. So, that's something to keep in mind regarding use and application. Is there a particular reason you want a &quot;shotgun&quot; style microphone? Would any &quot;single point stereo&quot; mic do, or are you specifically looking for something with an interference tube?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audio-technica.com/cms/wired_mics/b92dc794916f0fa7/index.html&#xD;&#xA;  [2]: http://www.sanken-mic.com/en/product/product.cfm/9.1001600&#xD;&#xA;  [3]: http://en-us.sennheiser.com/stereo-shotgun-microphone-condenser-mkh-418-s" ContentLicense="CC BY-SA 3.0" />
  <row Id="31430" PostHistoryTypeId="2" PostId="19382" RevisionGUID="09565896-c874-418f-bf4e-242ff45f2f05" CreationDate="2013-05-29T17:38:58.080" UserId="362" Text="Hi All, &#xD;&#xA;&#xD;&#xA;Does anyone know of a good biological\ anatomical sound library? Looking for internal human body sounds: perhaps recorded with a stethoscope &#xD;&#xA;&#xD;&#xA;The closest thing I found was the sonivox anatomy library. Has anyone had good\bad experiences with this instrument? " ContentLicense="CC BY-SA 3.0" />
  <row Id="31431" PostHistoryTypeId="1" PostId="19382" RevisionGUID="09565896-c874-418f-bf4e-242ff45f2f05" CreationDate="2013-05-29T17:38:58.080" UserId="362" Text="seeking biological sound library" ContentLicense="CC BY-SA 3.0" />
  <row Id="31432" PostHistoryTypeId="3" PostId="19382" RevisionGUID="09565896-c874-418f-bf4e-242ff45f2f05" CreationDate="2013-05-29T17:38:58.080" UserId="362" Text="&lt;human&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31433" PostHistoryTypeId="2" PostId="19383" RevisionGUID="a38f168a-66fa-4f66-8a68-7b95aad425bf" CreationDate="2013-05-29T18:04:06.563" UserId="6086" Text="Greetings!&#xD;&#xA;&#xD;&#xA;Would love some feedback on my first &quot;demo reel&quot;, an audio rework I made on the first minute of Elder Scrolls Online -trailer. What do you think? Does it &quot;work&quot;?&#xD;&#xA;&#xD;&#xA;I was asked to keep the music side on a small scale.&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=AqGSyjH_8CQ][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=AqGSyjH_8CQ &quot;Audio Rework on Elder Scrolls Online -trrailer&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31434" PostHistoryTypeId="1" PostId="19383" RevisionGUID="a38f168a-66fa-4f66-8a68-7b95aad425bf" CreationDate="2013-05-29T18:04:06.563" UserId="6086" Text="Looking for feedback on an audio rework I made on Elder Scrolls Online -trailer" ContentLicense="CC BY-SA 3.0" />
  <row Id="31435" PostHistoryTypeId="3" PostId="19383" RevisionGUID="a38f168a-66fa-4f66-8a68-7b95aad425bf" CreationDate="2013-05-29T18:04:06.563" UserId="6086" Text="&lt;demo-reel&gt;&lt;demo&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31436" PostHistoryTypeId="2" PostId="19384" RevisionGUID="84819f01-4e5b-4c95-b50d-b7ae62c38683" CreationDate="2013-05-29T19:00:29.853" UserId="6086" Text="With reference monitors, I did not notice anything weird/annoying." ContentLicense="CC BY-SA 3.0" />
  <row Id="31437" PostHistoryTypeId="2" PostId="19385" RevisionGUID="fdaacfa6-6f9c-4ad0-b3b3-cb0f143f719b" CreationDate="2013-05-29T20:23:18.977" UserId="147" Text="[Cleartones][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://cleartones.net&#xD;&#xA;&#xD;&#xA;OK, that's it for my self-promotion ;-)&#xD;&#xA;&#xD;&#xA;- Oh wait, you want factory smartphone tones? Sorry, can't help you there. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31438" PostHistoryTypeId="2" PostId="19386" RevisionGUID="0effea4f-4157-48c6-9bb8-e0e153c29463" CreationDate="2013-05-29T21:09:45.557" UserId="6085" Text="I hav been using a rode ntg2 and a tascam could to not afford a zoom and seemed just the same. I am recording with it but when I go to stero I hear a hissing sound in the left channel when I turn the gain up as well as mono. &#xD;&#xA;&#xD;&#xA;And I am a student in college majoring in film production focus on sound design any tips and tricks as well will be more then welcomely taken. I am beginning to learn a lot I learned a lot from my freshman year. I am loving post production sound design. I am using my kit to build a sound library. &#xD;&#xA;&#xD;&#xA;So ya any tips more then welcome. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31439" PostHistoryTypeId="1" PostId="19386" RevisionGUID="0effea4f-4157-48c6-9bb8-e0e153c29463" CreationDate="2013-05-29T21:09:45.557" UserId="6085" Text="Tascam DR-40 and ntg2 mic noise hissss" ContentLicense="CC BY-SA 3.0" />
  <row Id="31440" PostHistoryTypeId="3" PostId="19386" RevisionGUID="0effea4f-4157-48c6-9bb8-e0e153c29463" CreationDate="2013-05-29T21:09:45.557" UserId="6085" Text="&lt;tascam&gt;&lt;sound-design&gt;&lt;rode&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31441" PostHistoryTypeId="2" PostId="19387" RevisionGUID="bf2813fa-ad72-4154-a8f4-f095173d0879" CreationDate="2013-05-29T21:35:46.833" UserId="69" Text="Maybe new instance isn't searching in the same fields of metadata, or e.g. folder names as the old one?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31443" PostHistoryTypeId="2" PostId="19389" RevisionGUID="7a74747b-3d08-4255-b541-d05044b128a8" CreationDate="2013-05-30T02:35:46.087" UserId="993" Text="The detail work is really nice - especially the armour Foley. Though I think you could exaggerate the footfalls on the big guy in the helment - give him some weight. He sounds pretty like on his feet.&#xD;&#xA;&#xD;&#xA;Though the monster growls are really nice - it's not obvious that it's coming from the creatures at the end of the cave. I actually thought it was the language of the band of warriors because 1) you have the noises occur when we couldn't see their mouths and 2) the noises were occurring dead centre of the stereo field. You need to pan those to the right - and adjust the reverb so it starts distant - then as we get closer we can hear the monster calls more and more clearly. It's about giving a sense of travel. The characters visual perspective should match the audio perspective.&#xD;&#xA;&#xD;&#xA;Oh and crash through the wall at the start is mad distorted. Remember a loud noise isn't about how much it peaks, but the change in the dynamic range and the frequency range it occupies. Maybe play with having a build up - either a ramp or maybe a couple of softer slams before the wall completely falls apart. It's good you've got a bit of after debris in there though.&#xD;&#xA;&#xD;&#xA;I think there's a good opportunity to exaggerate some the drama a bit more - when the hand goes up to tell the party to wait, give it a nice heavy leather whoosh or something. Maybe some soft bass booms on the titles too.&#xD;&#xA;&#xD;&#xA;Also the end makes no sense to me. There's all these eyes around being perfectly still, but the roar makes it sound like a monster is jumping out...but it's not. It feels like the sound is trying to oversell something that the visuals aren't even doing. Maybe go for a creeping tension rather than jump horror for the end bit? Not sure - just play around with some different ideas and see how they play.&#xD;&#xA;&#xD;&#xA;Phew! Good news is that you've got the most difficult parts already sorted. It's super atmospheric and there's all these awesome details in there that make the world feel real." ContentLicense="CC BY-SA 3.0" />
  <row Id="31444" PostHistoryTypeId="2" PostId="19390" RevisionGUID="5ad8a5cd-474d-43bd-b6d8-280c1402af59" CreationDate="2013-05-30T02:43:10.223" UserId="993" Text="I've been pretty happy with EFX's handgun library. It only has a six guns in it (including a couple of clips of a suppressed .22) but it might have all you need. The great thing is that it includes recordings of the guns both outdoor and indoors. Not only that, but you get recordings of individual (what I assume) to be one mic recordings - plus an extra mixed version that has more weight. It gives you that material so that you can mix and match and build the gun sound that you need. Plus it's 20 Euros which isn't too bad at all: http://www.efx-sound.com/hand-gun-pack,us,4,EFX-HAND-P.cfm" ContentLicense="CC BY-SA 3.0" />
  <row Id="31445" PostHistoryTypeId="2" PostId="19391" RevisionGUID="059d6ab8-85a4-4eab-9410-008384d4ee80" CreationDate="2013-05-30T03:10:54.463" UserId="6059" Text="Doing some scenes with radio squelch/futz. Rather than cut out audio, is there of a plugin that would do this intermittently?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31446" PostHistoryTypeId="1" PostId="19391" RevisionGUID="059d6ab8-85a4-4eab-9410-008384d4ee80" CreationDate="2013-05-30T03:10:54.463" UserId="6059" Text="Plugin for drop outs for radio futz?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31447" PostHistoryTypeId="3" PostId="19391" RevisionGUID="059d6ab8-85a4-4eab-9410-008384d4ee80" CreationDate="2013-05-30T03:10:54.463" UserId="6059" Text="&lt;sound-design&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31448" PostHistoryTypeId="2" PostId="19392" RevisionGUID="53b160a5-60f2-4f77-9c80-8ebfe68ecf58" CreationDate="2013-05-30T04:35:50.610" UserId="5853" Text="You could write a device like that fairly easily in Max/MSP or the like. If you are starting with a voice recording I often end up going through, after processing the general sound of the voice itself, adding noise and creating drop-outs in the signal one by one. I have a bunch of radio noises that work for that purpose.  But I do wonder if anyone has any other methods that they use for this kind of thing&#xD;&#xA;&#xD;&#xA;You could also do a more direct &quot;analogue&quot; method, for example playing back the audio into one walkie talkie and recording another walkie talkie.  &#xD;&#xA;&#xD;&#xA;As far as actual plugins...Izotope Vinyl does some of that sort of thing but with the goal of sounding like vinyl.  If you set up a gate that chops off bits of words, those gaps suggest signal is cutting out.  &#xD;&#xA;&#xD;&#xA;Let me know how it goes and what you end up doing.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="31449" PostHistoryTypeId="2" PostId="19393" RevisionGUID="dbfeb0f0-de5f-4bea-b8a8-51060b8f753c" CreationDate="2013-05-30T04:54:44.147" UserId="3179" Text="Perhaps these are of help:&#xD;&#xA;&#xD;&#xA;http://www.modernbeats.com/modernbeats_vst_plugins.php (The Transistor plug-in)&lt;br&gt;&#xD;&#xA;http://www.avid.com/US/products/Cosmonaut-Voice&lt;br&gt;&#xD;&#xA;http://www.vst4free.com/free_vst.php?id=529&amp;id_com2=4648&amp;rep=1" ContentLicense="CC BY-SA 3.0" />
  <row Id="31450" PostHistoryTypeId="2" PostId="19394" RevisionGUID="1e9aa63c-04f4-4c6a-b8d3-cea250229f48" CreationDate="2013-05-30T05:09:02.313" UserId="6532" Text="I often use [Futzbox][1] for these types of things. But if it's just the intermittent dropouts you're after, a gate or expander can get you there. Start with a threshold that's roughly around your signal level, and dial in a fast attack and release. Then play around with the Hold parameter. To add more realism, you can then use that signal as the sidechain input to an inverted gate on some noise signal; that way you get static during the dropouts.&#xD;&#xA;&#xD;&#xA;You could even experiment with using two gates on the voice; one for bigger dropouts that only occur every now and then, and another gate for smaller but more constant dropouts.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mcdsp.com/index.php?option=com_content&amp;task=view&amp;id=317" ContentLicense="CC BY-SA 3.0" />
  <row Id="31451" PostHistoryTypeId="2" PostId="19395" RevisionGUID="724fab67-a022-484e-988d-39f90af3147a" CreationDate="2013-05-30T05:26:41.203" UserId="6087" Text="http://www.audiowatermarker.com/&#xD;&#xA;&#xD;&#xA;With Audio Wartermarker V5, You can use audio watermarking to protect and promote any/all of your MP3 Preview files.&#xD;&#xA;&#xD;&#xA;If you have a web site, music player or store with audio files, Audio Watermarker V5 is the tool that you need.&#xD;&#xA;&#xD;&#xA;Audio watermarking solution is a good method for protecting MP3 files and it is also used for downloading and streaming websites.&#xD;&#xA;&#xD;&#xA;AudioWatermarker V5 Offers Audio Watermarking solutions helping Composers, Producers, Bands, Artists and Digital Music store protect their music, get paid for their music, and distribute their music on the net. use an audio watermark on any of your music that you publish to the web. Our comprehensive and pratical software creates audiowatermarked files .More info&#xD;&#xA;&#xD;&#xA;http://www.audiowatermarker.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="31452" PostHistoryTypeId="2" PostId="19396" RevisionGUID="d72ca819-23ba-4eb7-9d1e-4088ce00c7c1" CreationDate="2013-05-30T05:38:43.940" UserId="6059" Text="Thanks for the suggestions. I'm on PC so I can't use any MAC only plugs. I just thought of adding a midi gate to the track and triggering it with random midi notes to mute the track. I could then just copy more random notes over any part that needed the drop outs. I'll give it a try as well as some of these plugs mentioned. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31453" PostHistoryTypeId="2" PostId="19397" RevisionGUID="7936f538-d50b-4123-904a-b2864a40d765" CreationDate="2013-05-30T05:55:27.757" UserId="1228" Text="If you don't want to do the tried-and-true EQ filtering and hard compression (with reverb and delay to place it in the environment), trie Audio Ease Speakerphone - same makers as Altiverb.  I'm not sure what you can do for dropouts, I'm guessing you can set certain parameters to do so.&#xD;&#xA;&#xD;&#xA;But why not take more simple approach?  Edit out regions you want silent so that you can get the exact feel that your trying to get - this is how I do dropouts." ContentLicense="CC BY-SA 3.0" />
  <row Id="31454" PostHistoryTypeId="2" PostId="19398" RevisionGUID="24668996-0714-414f-85f5-118cff332782" CreationDate="2013-05-30T05:59:11.737" UserId="3396" Text="Never.&#xD;&#xA;&#xD;&#xA;On occasion we will send them a piece of a pre-dub or stem but that's it. While trailers might not sound better than the film they are promoting they ALWAYS seem to sound bigger ... a lot bigger. WHOOSH! BOOM! WHOOSH! WHOOSH! BOOM! BANG! WHOOSH!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31455" PostHistoryTypeId="12" PostId="19366" RevisionGUID="9cd6980f-d8ae-4088-ab3f-59971c7d347f" CreationDate="2013-05-30T07:01:37.193" UserId="6047" Text="[{&quot;Id&quot;:6047,&quot;DisplayName&quot;:&quot;Pavel Doreuli&quot;}]" />
  <row Id="31456" PostHistoryTypeId="13" PostId="19366" RevisionGUID="eba2d236-2799-4c91-a8b1-cd1e6f423c77" CreationDate="2013-05-30T07:01:59.863" UserId="6047" Text="[{&quot;Id&quot;:6047,&quot;DisplayName&quot;:&quot;Pavel Doreuli&quot;}]" />
  <row Id="31457" PostHistoryTypeId="5" PostId="19366" RevisionGUID="c1bbfcbb-a810-48a1-9b30-1117fca62711" CreationDate="2013-05-30T07:05:38.447" UserId="6047" Comment="added 215 characters in body; added 6 characters in body" Text="I have Sennheiser MKH 8040, but after slow down from 192 to 48 there are much more hi frequency noise, than signal, so this trick don't work well with this microphone.&#xD;&#xA;&#xD;&#xA;UDATE:&#xD;&#xA;Just try other recordings at 192 with 8040 and found that they quiet!!!&#xD;&#xA;I will make more research with other recorders, it looks that I am wrong about 8040 and this problem in my SXR4 or I have defected mics." ContentLicense="CC BY-SA 3.0" />
  <row Id="31458" PostHistoryTypeId="2" PostId="19399" RevisionGUID="feea7c34-5f67-4603-b5c3-6b4e7d134e4e" CreationDate="2013-05-30T08:16:59.140" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am not familiar with the sonivox anatomy library but I have made some of these sounds by micing up my own body; swallowing a lapel mic wrapped in a &quot;finger condom??&quot; and I have also put a rifle mic in my mouth and both recording came out amazingly. You can try this and see if it yeilds the results you have been searching for. &#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="31459" PostHistoryTypeId="2" PostId="19400" RevisionGUID="47f9af3a-0135-42a0-b8c9-f938c3c8c7d2" CreationDate="2013-05-30T08:31:12.593" UserId="6048" Text="+1 for Audio Ease Speakerphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="31460" PostHistoryTypeId="2" PostId="19401" RevisionGUID="af6379db-b8e7-43c2-9aa6-1bcd5e3f97bd" CreationDate="2013-05-30T08:38:11.383" UserId="6048" Text="Do you have Native Instruments Kontakt? If you do, you can get Atom Hubs Microbiology.&#xD;&#xA;&#xD;&#xA;It's only 10€.&#xD;&#xA;&#xD;&#xA;http://www.atomhub.net/Microbiology.html&#xD;&#xA;&#xD;&#xA;Human body consists mostly of water, so try to find suitable underwater sounds, drains, squishes...unless your aim is to go totally realistic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31461" PostHistoryTypeId="2" PostId="19402" RevisionGUID="002a3e6f-3024-4a59-aa5c-321334ddbe7b" CreationDate="2013-05-30T10:26:45.460" UserId="2504" Text="Hey guys I was wondering if you could help me I have been getting to know the sound device 302 three channel mixer and what I would really like to do is send three channels separately from it, maybe with two of the channels as a stereo pair and the third on its own, like when one is recording 4channels on a recorder.&#xD;&#xA;Does anyone know if this is possible? Right now all i can get is all three in the same stereo pair, I can send one channel left and a second right but still have a third. &#xD;&#xA;&#xD;&#xA;The device does have a third return slot for mini jack cables but that seams to be made for any extra mixers that one would plug into the 302 and be called the 4th and 5th channel. &#xD;&#xA;Does any one know a solution for me? &#xD;&#xA;&#xD;&#xA;The only way I can think of using it is with on wireless left one wireless right and a boom centre, and in a case where one wireless sound gets ruined by clothes or what ever use the other channel. But I would really like all three microphones to have their own recording.&#xD;&#xA;Thank you for your time. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31462" PostHistoryTypeId="1" PostId="19402" RevisionGUID="002a3e6f-3024-4a59-aa5c-321334ddbe7b" CreationDate="2013-05-30T10:26:45.460" UserId="2504" Text="sound device 302 three channel mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="31463" PostHistoryTypeId="3" PostId="19402" RevisionGUID="002a3e6f-3024-4a59-aa5c-321334ddbe7b" CreationDate="2013-05-30T10:26:45.460" UserId="2504" Text="&lt;mixers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31464" PostHistoryTypeId="5" PostId="19366" RevisionGUID="f11b389f-bac6-4392-9a8c-41de685507f6" CreationDate="2013-05-30T10:32:53.970" UserId="6047" Comment="added 1 characters in body" Text="I have Sennheiser MKH 8040, but after slow down from 192 to 48 there are much more hi frequency noise, than signal, so this trick don't work well with this microphone.&#xD;&#xA;&#xD;&#xA;UPDATE:&#xD;&#xA;Just try other recordings at 192 with 8040 and found that they quiet!!!&#xD;&#xA;I will make more research with other recorders, it looks that I am wrong about 8040 and this problem in my SXR4 or I have defected mics." ContentLicense="CC BY-SA 3.0" />
  <row Id="31465" PostHistoryTypeId="2" PostId="19403" RevisionGUID="7746a2af-4fb7-415c-a440-792f6fbad774" CreationDate="2013-05-30T10:46:48.110" UserId="804" Text="It would be lovely to hear what voice overs you like - - which movies? I am more interested in that than the technical aspects. Thanks! :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31466" PostHistoryTypeId="5" PostId="19366" RevisionGUID="18ab70e9-4781-4645-8383-bb4b9b2f3478" CreationDate="2013-05-30T10:50:45.327" UserId="6047" Comment="added 176 characters in body; added 1 characters in body" Text="I have Sennheiser MKH 8040, but after slow down from 192 to 48 there are much more hi frequency noise, than signal, so this trick don't work well with this microphone.&#xD;&#xA;&#xD;&#xA;UPDATE:&#xD;&#xA;Just try other recordings at 192 with 8040 and found that they quiet!!!&#xD;&#xA;I will make more research with other recorders, it looks that I am wrong about 8040 and this problem in my SXR4 or I have defected mics.&#xD;&#xA;&#xD;&#xA;EXAMPLE OF MY SITUATION:&#xD;&#xA;&#xD;&#xA;ORIGINAL: https://dl.dropboxusercontent.com/u/6674991/example.wav&#xD;&#xA;&#xD;&#xA;SLOWED: https://dl.dropboxusercontent.com/u/6674991/example%20to%2048kHz.wav" ContentLicense="CC BY-SA 3.0" />
  <row Id="31467" PostHistoryTypeId="2" PostId="19404" RevisionGUID="e0a6794a-a285-420c-bffa-c51c98055988" CreationDate="2013-05-30T11:05:10.517" UserId="3285" Text="Hello,&#xD;&#xA;&#xD;&#xA;Sorry, it's no possible, the SD 302 has 3 inputs and only 2 outputs. &#xD;&#xA;It's a mixer not a recorder...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31468" PostHistoryTypeId="5" PostId="19404" RevisionGUID="6e46759b-6d9c-48aa-83c9-c1fc54aae7b4" CreationDate="2013-05-30T11:24:10.833" UserId="3285" Comment="added 1 characters in body" Text="Hello,&#xD;&#xA;&#xD;&#xA;Sorry, it's not possible, the SD 302 has 3 inputs and only 2 outputs. &#xD;&#xA;It's a mixer not a recorder...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31472" PostHistoryTypeId="2" PostId="19406" RevisionGUID="a210c099-66a9-4ea8-b237-0ba064a52abf" CreationDate="2013-05-30T16:25:01.460" UserId="4019" Text="At the dev studio where I work it's pretty much like that.&#xD;&#xA;&#xD;&#xA;We use Wwise with a proprietary game engine that has a pretty powerful node-based scripting tool akin to Unreal's Kismet and a very GUI-driven workflow so it's pretty accessible for our sound designers to implement sounds autonomously without having to rely on programmers all the time.&#xD;&#xA;&#xD;&#xA;However we still do rely on programmers to code us sound hooks for situations that can't be scripted out (AI, systemic stuff, physics etc.)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31473" PostHistoryTypeId="2" PostId="19407" RevisionGUID="cf091dc9-2ff4-45a9-a663-31dddd0ebc25" CreationDate="2013-05-30T19:06:59.770" UserId="1178" Text="Hey guys, searched the forum and noticed we still don´t have a thread that gathers up the very best from sound libraries to a single place accompanied by your recommendation and brief explanation why people should by the library. I´ll start with one of my personal favorite:&#xD;&#xA;&#xD;&#xA;The Recordist libraries - Guns HD&#xD;&#xA;&#xD;&#xA;Absolutely fantastic sounding stuff with a very reasonable price tag between 50-200 dollars is just too good to miss. Good addition to seasoned audio veteran and a good starter library for those who are just starting their audio careers. We´ve got the bullets library and I´m absolutely certain that we will expand our Recordist collection with gunscapes and machine guns libraries. Check out the samples from recordist website. Good stuff.&#xD;&#xA;&#xD;&#xA;http://www.therecordist.com/category/guns-hd&#xD;&#xA;&#xD;&#xA;My rating: 4.5 / 5&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31474" PostHistoryTypeId="1" PostId="19407" RevisionGUID="cf091dc9-2ff4-45a9-a663-31dddd0ebc25" CreationDate="2013-05-30T19:06:59.770" UserId="1178" Text="Your sound library recommendations " ContentLicense="CC BY-SA 3.0" />
  <row Id="31475" PostHistoryTypeId="3" PostId="19407" RevisionGUID="cf091dc9-2ff4-45a9-a663-31dddd0ebc25" CreationDate="2013-05-30T19:06:59.770" UserId="1178" Text="&lt;library&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31476" PostHistoryTypeId="6" PostId="19407" RevisionGUID="499524f8-ce79-4ece-8652-6728dbb11989" CreationDate="2013-05-30T19:15:19.973" UserId="1178" Comment="more tags" Text="&lt;library&gt;&lt;sfx&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31477" PostHistoryTypeId="2" PostId="19408" RevisionGUID="898926fe-2250-4652-99ce-e7b06eee51fd" CreationDate="2013-05-30T19:43:39.433" UserId="1178" Text="I´ve recently encountered many different kind of Pro Tools errors and it really annoys me that the error messages themselves don´t give a whole lot of information what´s wrong in Pro Tools. It would be nice if you could explain me what the common &quot;Dae error 35&quot; means in Pro Tools since it keeps popping up every now and then and crashes Pro Tools. Are there many of these error messages in Pro Tools and what do they mean?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31478" PostHistoryTypeId="1" PostId="19408" RevisionGUID="898926fe-2250-4652-99ce-e7b06eee51fd" CreationDate="2013-05-30T19:43:39.433" UserId="1178" Text="Different Pro Tools errors - and what do they actually mean?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31479" PostHistoryTypeId="3" PostId="19408" RevisionGUID="898926fe-2250-4652-99ce-e7b06eee51fd" CreationDate="2013-05-30T19:43:39.433" UserId="1178" Text="&lt;pro&gt;&lt;tools&gt;&lt;error&gt;&lt;unexpected-error&gt;&lt;problems&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31480" PostHistoryTypeId="2" PostId="19409" RevisionGUID="30090a0a-62fa-43d7-b5c9-efd3389b5883" CreationDate="2013-05-30T19:47:05.343" UserId="3179" Text="Record your own sounds Designed HD&#xD;&#xA;&#xD;&#xA;This flexible library can be specified as you wish and it can contain any sounds you wish. It can be used to create and match any kind of sound you'd like. The library is completely original and therefore anything you use it on will sound absolutely unique.&#xD;&#xA;&#xD;&#xA;I'm keeping it to myself so there are no links to more info about the product or for purchasing the product.&#xD;&#xA;&#xD;&#xA;My rating: 5 / 5&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31481" PostHistoryTypeId="2" PostId="19410" RevisionGUID="4444a225-2dff-410b-b066-167e789d6bd5" CreationDate="2013-05-30T20:15:09.763" UserId="6089" Text="This refers to a drive error...&#xD;&#xA;&#xD;&#xA;Make sure that you are not using a USB hard drive and that you're internal HD runs at 7200rpm.&#xD;&#xA;&#xD;&#xA;If you're internal drive is fast enough and you are not using a USB external, maybe try and repair disk permissions in disk utilities if you're using a Mac, not too sure how you do that on a PC.&#xD;&#xA;&#xD;&#xA;There are also other errors and normally you can find out enough information to troubleshoot i the Avid forums. http://duc.avid.com/index.php&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31482" PostHistoryTypeId="2" PostId="19411" RevisionGUID="f3076112-d3af-482a-a83a-bee7271c710c" CreationDate="2013-05-30T20:40:07.833" UserId="3179" Text="http://www.mixcoach.com/common-dae-errors-and-their-causes/&#xD;&#xA;&#xD;&#xA;Official FAQ about troubleshooting DAE Errors:&lt;br&gt;&#xD;&#xA;http://avid.force.com/pkb/articles/en_US/FAQ/en363439" ContentLicense="CC BY-SA 3.0" />
  <row Id="31483" PostHistoryTypeId="2" PostId="19412" RevisionGUID="eaa0bad9-b67a-44f8-9d89-fc517cc8b4a4" CreationDate="2013-05-31T03:22:43.930" UserId="4019" Text="Hey guys, &#xD;&#xA;&#xD;&#xA;I currently have a Sanken CS-3e for mono sfx recording and a Sony D50 for stereo/ambience recording. I'd like to move on from the D50 to either the MKH8040/30 m/s rig or a 8040ST setup. I haven't had any experience with either and it's impossible to rent either setup in my location (Singapore). &#xD;&#xA;&#xD;&#xA;I'm primarily looking to record stereo effects/ambiences in the field/studio. &#xD;&#xA;&#xD;&#xA;Any feedback, past experience or comments on either rig would be very much appreciated! Thanks in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="31484" PostHistoryTypeId="1" PostId="19412" RevisionGUID="eaa0bad9-b67a-44f8-9d89-fc517cc8b4a4" CreationDate="2013-05-31T03:22:43.930" UserId="4019" Text="MKH 8040/30 m/s rig or MKH8040ST rig" ContentLicense="CC BY-SA 3.0" />
  <row Id="31485" PostHistoryTypeId="3" PostId="19412" RevisionGUID="eaa0bad9-b67a-44f8-9d89-fc517cc8b4a4" CreationDate="2013-05-31T03:22:43.930" UserId="4019" Text="&lt;microphone&gt;&lt;mkh30&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31486" PostHistoryTypeId="2" PostId="19413" RevisionGUID="46699f73-ba4b-4127-ae15-344d531d6490" CreationDate="2013-05-31T03:55:12.900" UserId="18" Text="Since the mkh8030 doesn't exist, you'll need to go with the stereo 8040 setup if you want to stay in the 8000 series.  If you want MS in the MKH series, pick up (2) mkh800's or an mkh40/30 combo.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31487" PostHistoryTypeId="2" PostId="19414" RevisionGUID="1524e192-1580-46c8-b82f-18170891df48" CreationDate="2013-05-31T15:33:34.633" UserId="5960" Text="How flexible and fast does it need to be? Will you be buying dedicated shockmounts and wind protection?&#xD;&#xA;&#xD;&#xA;An MS setup can fit in a single zep that is easy to manage, and record both mono and stereo, the width of the latter is adjustable in post. You also need a mixer or recorder that let you monitor in MS.&#xD;&#xA;&#xD;&#xA;A stereo setup is more flexible because of the many angles and distances you can use, which gives perspectives that many prefer before MS or XY when it comes to ambiance. It can be more troublesome to transport and set up though." ContentLicense="CC BY-SA 3.0" />
  <row Id="31488" PostHistoryTypeId="2" PostId="19415" RevisionGUID="60cdf29b-66d4-4106-83ac-d16abeebab15" CreationDate="2013-05-31T21:25:33.750" UserId="6092" Text="Hello everyone,&#xD;&#xA;&#xD;&#xA;After looking around a bit I haven't seen something that really answers my question.  Our company has been asked to write, cast, record and edit an audio play for a tourist attraction.  Basically the audio will play for 15 minutes as they walk through and experience the visuals.  Having never worked a gig like this (we usually just do video) I've heard so many different opinions on what we should charge that I'm confused.  What do you think this project is worth?  There is a cost to go through this attraction, so it is a for profit enterprise.  More than willing to answer any other detail questions.  Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31489" PostHistoryTypeId="1" PostId="19415" RevisionGUID="60cdf29b-66d4-4106-83ac-d16abeebab15" CreationDate="2013-05-31T21:25:33.750" UserId="6092" Text="Audio play for attraction" ContentLicense="CC BY-SA 3.0" />
  <row Id="31490" PostHistoryTypeId="3" PostId="19415" RevisionGUID="60cdf29b-66d4-4106-83ac-d16abeebab15" CreationDate="2013-05-31T21:25:33.750" UserId="6092" Text="&lt;voice-over&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31491" PostHistoryTypeId="2" PostId="19416" RevisionGUID="a3774f12-82fc-483f-b4b4-81031457169e" CreationDate="2013-05-31T23:40:24.340" UserId="6094" Text="&#xD;&#xA;Chris Marker- Sans Soleil  http://www.youtube.com/watch?v=Nf_ug_805HQ&#xD;&#xA;&#xD;&#xA;Ben Rivers- Origin of the Species http://lux.org.uk/videos/origin-species&#xD;&#xA;&#xD;&#xA;Harun Farocki- As You See  http://www.youtube.com/watch?v=v0AnkKRiPMU&#xD;&#xA;&#xD;&#xA;John Smith- Slow Glass  http://www.contemporaryartdaily.com/2013/02/the-glass-show-at-jonathan-viner/" ContentLicense="CC BY-SA 3.0" />
  <row Id="31492" PostHistoryTypeId="5" PostId="19416" RevisionGUID="3339c8f2-cef2-4e04-98de-5931751e827c" CreationDate="2013-05-31T23:45:58.157" UserId="6094" Comment="added 84 characters in body" Text="Chris Marker- Sans Soleil  http://www.youtube.com/watch?v=Nf_ug_805HQ&#xD;&#xA;&#xD;&#xA;Ben Rivers- Origin of the Species http://lux.org.uk/videos/origin-species&#xD;&#xA;&#xD;&#xA;Harun Farocki- As You See  http://www.youtube.com/watch?v=v0AnkKRiPMU&#xD;&#xA;&#xD;&#xA;John Smith- Slow Glass  http://www.contemporaryartdaily.com/2013/02/the-glass-show-at-jonathan-viner/&#xD;&#xA;&#xD;&#xA;           -and - The Girl Chewing Gum   http://lux.org.uk/videos/girl-chewing-gum" ContentLicense="CC BY-SA 3.0" />
  <row Id="31493" PostHistoryTypeId="2" PostId="19417" RevisionGUID="b18a3ce4-9c17-4b3a-9e10-29b3195b5db4" CreationDate="2013-05-31T23:54:29.967" UserId="6094" Text="I ended up (after much research) having my friend build a pad that provides 26.7 decibels of attenuation.  The Nagra output is much too hot for the zoom... so &quot;internet human&quot; maybe you shouldn't be snarky unless you know what you are talking about?  @Internet   Oh and transferring to the zoom (that I am &quot;stuck with&quot;) works perfectly now." ContentLicense="CC BY-SA 3.0" />
  <row Id="31494" PostHistoryTypeId="2" PostId="19418" RevisionGUID="6c7d88ce-3f3a-4b16-ab6a-0586ca2a8ee1" CreationDate="2013-06-01T01:47:22.470" UserId="6095" Text="Please don't start adding tasks like this to our job description . We have enough of a work load as is . I don't want to have to go back to school just so I can absorb more responsibilitys in the process. Every other department has 20-30 people in it . Audio / music department has THREE and one of those us a producer !" ContentLicense="CC BY-SA 3.0" />
  <row Id="31495" PostHistoryTypeId="2" PostId="19419" RevisionGUID="27084c74-0b0a-455a-91a2-2c15084b95b3" CreationDate="2013-06-01T02:30:16.280" UserId="300" Text="I'm using SoundMiner 4.3pro v88 and recently upgraded to Altiverb7 XL&#xD;&#xA;&#xD;&#xA;Can't seem to get it to run in quad \ 5.1 when using Soundminer&#xD;&#xA;&#xD;&#xA;Can it be done??&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;J" ContentLicense="CC BY-SA 3.0" />
  <row Id="31496" PostHistoryTypeId="1" PostId="19419" RevisionGUID="27084c74-0b0a-455a-91a2-2c15084b95b3" CreationDate="2013-06-01T02:30:16.280" UserId="300" Text="Can you run Altiverb7XL as anything but stereo in SoundMiner?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31497" PostHistoryTypeId="3" PostId="19419" RevisionGUID="27084c74-0b0a-455a-91a2-2c15084b95b3" CreationDate="2013-06-01T02:30:16.280" UserId="300" Text="&lt;altiverb&gt;&lt;soundminer&gt;&lt;5.1&gt;&lt;surround-sound&gt;&lt;stereo-to-surround&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31498" PostHistoryTypeId="2" PostId="19420" RevisionGUID="68fa1fca-d5c4-4117-a67d-05860ce4f9dd" CreationDate="2013-06-01T04:30:20.843" UserId="6048" Text="When you have Morgan Freeman behind the microphone, he could read you the phone book and it would sound good. :)&#xD;&#xA;&#xD;&#xA;Here are few films that use voiceover in a way that I like.&#xD;&#xA;&#xD;&#xA;-A Clockwork Orange&#xD;&#xA;&#xD;&#xA;-Fight Club&#xD;&#xA;&#xD;&#xA;-Shawshank Redemption  (with Morgan Freeman of course)&#xD;&#xA;&#xD;&#xA;Hare are also few voice over skits that everybody has seen, but I'll post them anyway.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=JQRtuxdfQHw&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=fVDzuT0fXro&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31499" PostHistoryTypeId="2" PostId="19421" RevisionGUID="86935ee7-20c7-4f4d-83cb-3c674c0041fc" CreationDate="2013-06-01T05:53:41.757" UserId="6048" Text="&gt;  Our company has been asked to write, cast, record and edit an audio play for a tourist attraction.&#xD;&#xA;&#xD;&#xA;Do you have a hourly price for audio recording/editing? I think this is the easiest part of the equation. Just calculate the hours needed and leave room for changes the client will request or just bill them per hour.&#xD;&#xA;&#xD;&#xA;I assume that your client will want to include the voiceover costs in the deal? You have to be very careful here about the price. Depending on how many speakers and what usage rights you buy, you can end up reaching for your own purse if you don't calculate everything carefully. You can use a voiceover agency or do the casting yourself. Be sure to check the rights of the voiceovers, so you don't get any surprises. Make sure it is a buyout and you don't have to pay any recurring yearly costs.&#xD;&#xA;&#xD;&#xA;It will be easier to you if you have the budget to use an agency, as they have already recorded the talent for you. You don't lose any time fixing the schedules, only to hear the client doesn't approve your choices.&#xD;&#xA;&#xD;&#xA;Writing it is the hardest to estimate. Will you be provided with any material or do you have to write everything from scratch? 15min of voiceover if a lot to write. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31500" PostHistoryTypeId="2" PostId="19422" RevisionGUID="e762f7c2-fc4d-4863-92c3-e41448951a35" CreationDate="2013-06-01T06:42:55.007" UserId="4019" Text="@Origami Audio&#xD;&#xA;&#xD;&#xA;Sounds like your team could use more people...what kinda project are you on?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31501" PostHistoryTypeId="2" PostId="19423" RevisionGUID="9e2baf8b-fc69-42ac-a2aa-bf2ce2a2d035" CreationDate="2013-06-01T10:20:01.853" UserId="300" Text="fwiw -- I have a MKH50+MKH30 M/S combo in a single Rode blimp --&gt; SD744t and I love it. No regrets.. All fits in one big pelican and there's always the option of just using a mono spot. The 50 has a slightly odd bass extension, but I've come to love that too. Great reach and not too ugly off-axis. 5 minutes for the kit to warm up and settle down and the noise floor is incredibly low." ContentLicense="CC BY-SA 3.0" />
  <row Id="31502" PostHistoryTypeId="2" PostId="19424" RevisionGUID="4fee136f-cc40-436d-a2a5-1a92646c9066" CreationDate="2013-06-01T22:19:06.157" UserId="6096" Text="Hi,&#xD;&#xA;&#xD;&#xA;my name's Martin and I'm student of Film Academy of Performing Arts in Prague, Czech Republic. Right now, it's the first time I'm provided with the real Foley tracks. It's fun and everything sounds good but I'm having hard time syncing/editing/mixing clothes. Do you have any suggestions? I know it's about subjective approach and creativity and it depends on material provided but maybe someone experienced may suggest some simple rules, some dos and don'ts...&#xD;&#xA;&#xD;&#xA;Have a good day,&#xD;&#xA;Martin" ContentLicense="CC BY-SA 3.0" />
  <row Id="31503" PostHistoryTypeId="1" PostId="19424" RevisionGUID="4fee136f-cc40-436d-a2a5-1a92646c9066" CreationDate="2013-06-01T22:19:06.157" UserId="6096" Text="CLOTHES - how to mix Foley" ContentLicense="CC BY-SA 3.0" />
  <row Id="31504" PostHistoryTypeId="3" PostId="19424" RevisionGUID="4fee136f-cc40-436d-a2a5-1a92646c9066" CreationDate="2013-06-01T22:19:06.157" UserId="6096" Text="&lt;foley-editing&gt;&lt;mix&gt;&lt;cloth&gt;&lt;pro-tools&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31505" PostHistoryTypeId="2" PostId="19425" RevisionGUID="cd8cdc9f-f6d4-4805-89e5-9f0d8383b3ff" CreationDate="2013-06-02T02:06:33.933" UserId="6098" Text="Hi all, I was following this thread. I love that some of you are as interested as I am in using ambisonics with the visual medium. At this point, my master's thesis may well be redundant and out of date, but hopefully it can be of help. Thanks for the shout out, Daniel! You can find it here: &#xD;&#xA;http://echo-magic.com/NYU_Masters_Thesis/Scott_Hirsch_Integrating_Ambisonics_MastersThesis_NYU.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="31506" PostHistoryTypeId="2" PostId="19426" RevisionGUID="d04ef5f7-69b2-4f80-b4ff-4cf9c160cc6c" CreationDate="2013-06-02T12:28:33.123" UserId="37" Text="2¢:&#xD;&#xA;&#xD;&#xA;I'd say go and watch a good old theatrical play somewhere from the front seats. Listen to how everything sounds. Then, back at home or work, put on a quiet film, (not TV where a master compressor will have crushed everything). There's a difference in levels, EQ, and reverb, so hopefully that can help with your mixing decisions.&#xD;&#xA;&#xD;&#xA;Regarding the dilemma of &quot;4 guys and each of them is moving&quot;, there's an old rule that our brains can follow a maximum of 2.5 simultaneous actions (with enough temporal resolution as to perceive &quot;sync&quot;).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31507" PostHistoryTypeId="2" PostId="19427" RevisionGUID="33c94b90-2976-4677-9ec5-9d156cbef4fa" CreationDate="2013-06-02T18:12:32.880" UserId="6532" Text="Level is very, very important and can make the difference between pink noise polluting the scene and tasteful cloth movement. However, a lot of that is also in the Foley performance; I was fortunate enough to attend a Q&amp;A with [John Roesch][1] and asked him how to avoid that typical noisy cloth track you sometimes get with mediocre Foley. His reply was to be as specific as possible in the movements, and less is often more.&#xD;&#xA;&#xD;&#xA;I'd apply the same specificity to Foley editing; make sure you hit the &quot;big moments&quot; where there is very specific movement (e.g. an actor stretching an arm out across the table), and keep the small stuff (e.g. shifts in chairs) down. And remember that every element serves the story -- if a certain movement is key to a scene, accentuate it a bit.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/name/nm0736430/?ref_=fn_al_nm_1" ContentLicense="CC BY-SA 3.0" />
  <row Id="31513" PostHistoryTypeId="2" PostId="19430" RevisionGUID="a6fe7dce-34af-4c9e-9ab8-ab4a171ce734" CreationDate="2013-06-04T00:24:06.883" UserId="3841" Text="Hi,&#xD;&#xA;&#xD;&#xA;Over the past couple of months I've been putting together a portfolio of sound design projects (http://flavors.me/mritterp) to try and get some work on short student films and such, but I'm concerned about my mixing levels for the portfolio pieces.  I have calibrated (and mixed) to 78 spl giving me 20 db of headroom, and figure that's probably the best way to mix when I'm applying for internships where the listener will be in a studio. But I'm afraid that the student filmmakers who I'm trying to work with can barely hear my work (compared to levels they are used to online) and dismiss me as a candidate.  The other problem is that it doesn't leave me with much consistency in the overall audio levels on my portfolio through different types of projects.&#xD;&#xA;&#xD;&#xA;Should i not bother mixing portfolio pieces to 78 spl? Also general advice on how i could make my portfolio better would be welcome.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="31514" PostHistoryTypeId="1" PostId="19430" RevisionGUID="a6fe7dce-34af-4c9e-9ab8-ab4a171ce734" CreationDate="2013-06-04T00:24:06.883" UserId="3841" Text="Showreel Mixing Levels and General Portfolio Advice" ContentLicense="CC BY-SA 3.0" />
  <row Id="31515" PostHistoryTypeId="3" PostId="19430" RevisionGUID="a6fe7dce-34af-4c9e-9ab8-ab4a171ce734" CreationDate="2013-06-04T00:24:06.883" UserId="3841" Text="&lt;levels&gt;&lt;portfolio&gt;&lt;showreel&gt;&lt;student&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31516" PostHistoryTypeId="2" PostId="19431" RevisionGUID="317f64b9-3448-495c-910e-003d3f3ef40e" CreationDate="2013-06-04T02:09:54.930" UserId="1228" Text="I suggest going with the TV-style mix.  In which, I usually take the 85 SPL theatric mix, boost it by 6dB, slight remixing where necessary, and have a brickwall at -3dB for good measure to ensure nothing clips (TV often brickwalls dialogue around -10dB, but since it's for web-based display, I allow myself up to about -3dB.&#xD;&#xA;&#xD;&#xA;Going about 6dB hotter than theatrical seems to provide the right amount of robustness in volume for web formats (this 6dB bump is often what they do, in a very glossed-over explanation, when a film's DVD/BluRay mix is generated).&#xD;&#xA;&#xD;&#xA;This isn't by all means &quot;the answer&quot;.  But in my experience in generating DVD/Web &quot;mixes&quot; from the theatrical stems, I have had success with the general +6dB rule." ContentLicense="CC BY-SA 3.0" />
  <row Id="31517" PostHistoryTypeId="2" PostId="19432" RevisionGUID="bb7a63a2-4584-4b2b-a878-941bdbefffc7" CreationDate="2013-06-04T04:10:32.543" UserId="3567" Text="I would go even further and compress/limit everything to -1.1 dB. I'm sure a lot of fellows won't agree but I'd rather have one showreel aimed at the web with these specs, and a separate one for the professionals which includes headroom and does not generate any loudness conflicts." ContentLicense="CC BY-SA 3.0" />
  <row Id="31518" PostHistoryTypeId="2" PostId="19433" RevisionGUID="5815f454-9930-4bc9-8a0d-0e05a41b2299" CreationDate="2013-06-04T09:05:34.600" UserId="6078" Text="I illustrate why only implementation - volume tweak should be an imperative skill for me (at least the way I've always experienced so far)&#xD;&#xA;What happens to me is that, say, I'm working on the GUI .. I render the sound at the correct loudness for an SFX and send them to the programmer to be implemented. &#xD;&#xA;This is why I've added the word &quot;mixing&quot; to the title: I'm also a sound engineer and to me it's pretty much like mixing a song..you record all the tracks at their correct volume and the you mix them. and most of the time you'll spend time lowering the volume of lots of tracks to make the &quot;sit in the mix&quot; and blend things beautifully and correctly&#xD;&#xA;&#xD;&#xA;Back to the videogame world, once the programmer has those sounds he has to set the correct volumes to blend those GUI sounds perfectly with the rest (ambience, music, other SFXs etc..). &#xD;&#xA;But they need to be quieter for sure so he's in charge to do find the sweetspot.&#xD;&#xA;And finding the sweetspot doesn't require just a good ear: it requires a well trained ear, and also trained to listen critically..and it requires time..and it's so important since an SFX with a &quot;wrong&quot; volume won't tell if it works or not.. it just sounds wrong...&#xD;&#xA;and every attempt that needs a minor tweak is a new build to be baked and uploaded for me to test...and this has always sounded like a huge waste of time, if only I had the chance to set them myself in first place..&#xD;&#xA;&#xD;&#xA;This can happen with everything else, as long as there are multiple audio assets to be blended/mixed together.&#xD;&#xA;&#xD;&#xA;Again, this is what Iv'e experienced on all 4 games I've been working on and it's something I strongly feel can be improved.. by simply learning those 2 features only:&#xD;&#xA;&#xD;&#xA;- being able to implement sounds in the build&#xD;&#xA;- having access to the volume for every sound&#xD;&#xA;&#xD;&#xA;so that you can test audio in context...which equals better overview, better judgement, better, quicker workflow = everyone's happier. no doubt.&#xD;&#xA;&#xD;&#xA;In this last project I'm working on, I pushed this thing up and now I got access to them and I'm able to work on the build.&#xD;&#xA;I'll see if it improves the workflow the way I suspect.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31519" PostHistoryTypeId="2" PostId="19434" RevisionGUID="38379d72-dd9d-466a-ba0d-fb9997144d33" CreationDate="2013-06-04T10:14:20.860" UserId="6579" Text="as a general advice, i found this post very useful: http://audiocookbook.org/guidelines-for-making-a-sound-design-demo-reel/&#xD;&#xA;&#xD;&#xA;good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31520" PostHistoryTypeId="2" PostId="19435" RevisionGUID="0e0e11df-f04d-49b7-8172-caf38a2ea6b7" CreationDate="2013-06-04T17:18:11.463" UserId="3396" Text="Mark Durham suggested I repost this as an answer ...&#xD;&#xA;&#xD;&#xA;(&quot;... I guess that even good foley artist reacts with some delay etc.&quot;)&#xD;&#xA;&#xD;&#xA;Foley always needs to be edited. You are absolutely correct about delay time. Advancing the track 1 to 3 frames sometimes does the trick but you will still need to do internal editing ... always. &#xD;&#xA;&#xD;&#xA;Bring the volume down and play it with your production and FX tracks and see how it sounds. Sometimes focusing on your cloth pass by itself and listening at an unnatural level can make it sound artificial. Level is a big, big part of it. Don't make yourself crazy. Keep things in perspective. The cloth track is not a big player. It's there to help things seem real. It's not meant to stand alone. &#xD;&#xA;	 &#xD;&#xA;Also don't be afraid to dump something you don't like and copy and paste something you do like in it's place. I love your attention to the small details. That's something the good ones have in common. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31521" PostHistoryTypeId="2" PostId="19436" RevisionGUID="2d045397-db88-4673-b92b-90f75d484850" CreationDate="2013-06-04T18:38:23.007" UserId="6050" Text="I found this: http://designingsound.org/2010/02/charles-deenen-special-100-whooshes-in-2-minutes/&#xD;&#xA;and it seems really awesome for creating great whooshes, but I can't understand the procedure. Everything is clear till the creation of submixes where to route similar kind of sounds, but then I'm lost:D&#xD;&#xA;Is there someone very patient that can describe all steps? :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31522" PostHistoryTypeId="1" PostId="19436" RevisionGUID="2d045397-db88-4673-b92b-90f75d484850" CreationDate="2013-06-04T18:38:23.007" UserId="6050" Text="Someone can explain this Whooshes tutorial?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31523" PostHistoryTypeId="3" PostId="19436" RevisionGUID="2d045397-db88-4673-b92b-90f75d484850" CreationDate="2013-06-04T18:38:23.007" UserId="6050" Text="&lt;whooshes&gt;&lt;whoosh&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31524" PostHistoryTypeId="2" PostId="19437" RevisionGUID="260f2468-94b2-42cb-81ce-b10d95f94d3e" CreationDate="2013-06-04T19:26:58.990" UserId="142" Text="I am just wondering for those of you who regually use boom ops your favoured methods of letting them monitor the audio being recorded. Some I have worked with use their own mixers or mix pre d etc but lots seem to prefer wireless methods or simple wired set ups?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31525" PostHistoryTypeId="1" PostId="19437" RevisionGUID="260f2468-94b2-42cb-81ce-b10d95f94d3e" CreationDate="2013-06-04T19:26:58.990" UserId="142" Text="How do you let your boom op monitor audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="31526" PostHistoryTypeId="3" PostId="19437" RevisionGUID="260f2468-94b2-42cb-81ce-b10d95f94d3e" CreationDate="2013-06-04T19:26:58.990" UserId="142" Text="&lt;boom&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31527" PostHistoryTypeId="2" PostId="19438" RevisionGUID="4e791b77-958d-41fa-9b42-5351f24a93b3" CreationDate="2013-06-04T22:13:18.723" UserId="1228" Text="Wireless is the way to go.  Try feeding the boom op what's coming out of the mains via a Comtek feed.  Have your boom op transmit via a Lectro setup.  That way the boom up is fully unrestrained by cable tethers.  I boom op'd on a feature a long time ago and the mixer preferring working this way - it was fantastic, freedom for both the mixer and boom op to be able to do their jobs best." ContentLicense="CC BY-SA 3.0" />
  <row Id="31528" PostHistoryTypeId="2" PostId="19439" RevisionGUID="5e5e0d94-245c-4db7-a0f0-e4e406b11586" CreationDate="2013-06-04T22:43:27.180" UserId="527" Text="I am noticing a huge gap in my library when it comes to foliage. Mainly nice lush, dense, deciduous leaves. I some good go to recordings that are working for now, but I really want to create a huge surround space where you can hear a few different types of trees from different areas in the 5.0 sound field. &#xD;&#xA;&#xD;&#xA;If there are any recordings out the without the wind (wind noise) element that would be amazing. I realize this might be a tall order, given the nature of the event. &#xD;&#xA;&#xD;&#xA;Any recommendations would be greatly appreciated. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31529" PostHistoryTypeId="1" PostId="19439" RevisionGUID="5e5e0d94-245c-4db7-a0f0-e4e406b11586" CreationDate="2013-06-04T22:43:27.180" UserId="527" Text="Foliage recording/library recommendation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31530" PostHistoryTypeId="3" PostId="19439" RevisionGUID="5e5e0d94-245c-4db7-a0f0-e4e406b11586" CreationDate="2013-06-04T22:43:27.180" UserId="527" Text="&lt;library&gt;&lt;wind&gt;&lt;street&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31531" PostHistoryTypeId="2" PostId="19440" RevisionGUID="f55f6e6d-48e7-47fa-9875-37818c292ffb" CreationDate="2013-06-04T23:42:04.563" UserId="1228" Text="Have you checked out Frank's set?  I like to record where I can, but his is a pretty comprehensive starting point if you need a jump-start on variety.  As far as recording goes, more brittle types of leaves work best I find - palm trees (and other such stalky things like corn fields), and a set of brittle winter maple tree leaves I recorded at my family's house are my favorite go-to's when I need a hearty, pleasant leaf rustle which don't sound white-noisy or washy." ContentLicense="CC BY-SA 3.0" />
  <row Id="31532" PostHistoryTypeId="2" PostId="19441" RevisionGUID="661e65a0-5d79-4cc5-a20b-a88031e8e315" CreationDate="2013-06-05T07:20:18.813" UserId="3730" Text="So here's the thing , movie shot on location but somewhat noisy at times , crickets -birds- wind - . I used a combination of cedar noise reduction and izotope rx2 . I feel this combination yields great clean results . &quot; ps I will note use cedar on a piece then rx it as well but cedar is great at something's rx2 is not and visa versa .. But inevitably I end up with a voice track that is clean but now has lost the natural resonance . In order for the noise reduction to be effective at taking out say crickets the reduction  % is general a bit more than say room ambience which leaves this horrible almost gated voice . I have revibe but my level of experience with reverb use is minimal , I opt for the safer option of not using than using reverb and killing the mix. &#xD;&#xA;&#xD;&#xA;Any suggestions to bring the natural sound without making the voice sound like a bathroom experience.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31533" PostHistoryTypeId="1" PostId="19441" RevisionGUID="661e65a0-5d79-4cc5-a20b-a88031e8e315" CreationDate="2013-06-05T07:20:18.813" UserId="3730" Text="So you use cedar noise reduction and it helps but then where to" ContentLicense="CC BY-SA 3.0" />
  <row Id="31534" PostHistoryTypeId="3" PostId="19441" RevisionGUID="661e65a0-5d79-4cc5-a20b-a88031e8e315" CreationDate="2013-06-05T07:20:18.813" UserId="3730" Text="&lt;noise&gt;&lt;reduction&gt;&lt;cedar&gt;&lt;izotope&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31535" PostHistoryTypeId="2" PostId="19442" RevisionGUID="6f33012d-2b73-4355-9a92-fc3249bbdc8a" CreationDate="2013-06-05T08:39:14.650" UserId="1228" Text="&gt; But inevitably I end up with a voice track that is clean but now has lost the natural resonance &#xD;&#xA;&#xD;&#xA;This is what dialogue mixers spend years, decades, perfecting - as well as dialogue editors, for their properly-prepared tracks make or break a dialogue mix.&#xD;&#xA;&#xD;&#xA;In short, I recommend being more open and accepting of noise.  Used decisively an treated with respect, it can be your best friend.  Treated naively, it can be your worst nightmare.  Always leaving a small bit of noise is okay, and many times necessary to keep the dialogue 'alive'.  And sometimes adding noise can 'remove noise' psychoacoustically.  This part really depends upon how well a dialogue editor has prepared his/her tracks for you beforehand though.&#xD;&#xA;&#xD;&#xA;Noise can actually be your ally if you are willing to allow its voice to be heard.&#xD;&#xA;&#xD;&#xA;As for suggestions to bring the natural sound?  Just let the natural sound have an opportunity to breathe in the first place! ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31536" PostHistoryTypeId="2" PostId="19443" RevisionGUID="88e440b5-8e78-40c3-819a-95909dc2c640" CreationDate="2013-06-05T09:04:31.863" UserId="6105" Text="Hello,&#xD;&#xA;&#xD;&#xA;Any help or advice you could give me would be genuinely appreciated. I'm editing sound for a low budget feature film and I've been given a picture edit in 5 reels with AAFs. I'm in the process of syncing the location sound files to the picture but have been told that because of the way the location sound files have been labelled (exceeding 8 characters) it isn't possible for the editor to export EDLs of the audio from Avid. I don't have the budget to buy an expensive syncing plugin and I don't think it would even work without the EDLs anyway. I'm therefore having to manual sync everything by opening the AAF, identifying individual clips, importing matching polywavs and syncing them up. So far I've done 1 of 5 reels and it's taken about 7 hours. I have a deadline approaching and starting to feel like I'm going to die. Is this my only option for syncing? Knowing this would at least help me to press on through the next 28 hours of syncing with some peace of mind. Again, any help would be really really appreciated. &#xD;&#xA;&#xD;&#xA;Many thanks,&#xD;&#xA;&#xD;&#xA;Troubled Sound designer. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31537" PostHistoryTypeId="1" PostId="19443" RevisionGUID="88e440b5-8e78-40c3-819a-95909dc2c640" CreationDate="2013-06-05T09:04:31.863" UserId="6105" Text="Fastest way to manual sync Audio rushes in Pro Tools 10 *** without EDLs***?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31538" PostHistoryTypeId="3" PostId="19443" RevisionGUID="88e440b5-8e78-40c3-819a-95909dc2c640" CreationDate="2013-06-05T09:04:31.863" UserId="6105" Text="&lt;edl&gt;&lt;sync&gt;&lt;pro&gt;&lt;pro-tools&gt;&lt;aaf&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31539" PostHistoryTypeId="2" PostId="19444" RevisionGUID="f46f4fef-9236-4b1b-9a7d-5ad965344f85" CreationDate="2013-06-05T11:31:06.213" UserId="5880" Text="I can't afford a Comtek feed yet, but wireless feed with Sennheiser G3s works a treat in the meantime." ContentLicense="CC BY-SA 3.0" />
  <row Id="31540" PostHistoryTypeId="2" PostId="19445" RevisionGUID="ccb39067-c362-4784-bd78-4b58e22ce207" CreationDate="2013-06-05T11:39:55.177" UserId="103" Text="I'm a boom and i absolutely hate comteks!! Terrible terrible sound....I've been using the sennheiser EK 2000 and like it much better! Longer range and much better sound.&#xD;&#xA;&#xD;&#xA;If we don't have a wireless transmitter for the boom mic, i prefer using a duplex cable, and have the monitoring trough the cable as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="31541" PostHistoryTypeId="12" PostId="19445" RevisionGUID="84e3ded6-9d24-495b-a095-ec5f86887a87" CreationDate="2013-06-05T11:40:47.443" UserId="103" Text="[{&quot;Id&quot;:103,&quot;DisplayName&quot;:&quot;Filipe Chagas&quot;}]" />
  <row Id="31542" PostHistoryTypeId="13" PostId="19445" RevisionGUID="5bd99fb5-c9fe-46c5-8e03-014ed6ae2ba0" CreationDate="2013-06-05T11:40:54.320" UserId="103" Text="[{&quot;Id&quot;:103,&quot;DisplayName&quot;:&quot;Filipe Chagas&quot;}]" />
  <row Id="31543" PostHistoryTypeId="12" PostId="19445" RevisionGUID="36bd488e-63c3-4bb8-81c8-b76289a8f50a" CreationDate="2013-06-05T11:41:23.757" UserId="103" Text="[{&quot;Id&quot;:103,&quot;DisplayName&quot;:&quot;Filipe Chagas&quot;}]" />
  <row Id="31544" PostHistoryTypeId="13" PostId="19445" RevisionGUID="5156d080-8b96-49c4-a529-ab8a61e7c45a" CreationDate="2013-06-05T11:41:43.817" UserId="103" Text="[{&quot;Id&quot;:103,&quot;DisplayName&quot;:&quot;Filipe Chagas&quot;}]" />
  <row Id="31546" PostHistoryTypeId="2" PostId="19447" RevisionGUID="3a4d15ab-e16c-4bd2-8dbf-4266b44c256a" CreationDate="2013-06-05T13:11:19.817" UserId="6108" Text="I use a Rolls PM55 for the boom op usually. Allows them to monitor easily with their own volume control." ContentLicense="CC BY-SA 3.0" />
  <row Id="31547" PostHistoryTypeId="2" PostId="19448" RevisionGUID="c7351dfb-1133-4ba4-962d-d6be91a80974" CreationDate="2013-06-05T13:18:24.357" UserId="6109" Text="These are two very different things. It is like it belongs to a different area or level of expertise. One cannot overlap the work of another so it is best to designate different people for the tasks." ContentLicense="CC BY-SA 3.0" />
  <row Id="31548" PostHistoryTypeId="2" PostId="19449" RevisionGUID="466c1824-191f-4473-8724-3c77a62d2e91" CreationDate="2013-06-05T13:28:42.680" UserId="4156" Text="For wide ambience recordings MS and XY setups often sound &quot;narrower&quot; than reality, while an ORFT/NOS/AB setup can give you that &quot;widescreen-sound&quot;. Because the latter use a distance between the mics, there can be phasing issues when summed to mono, with passing cars for example. And the setup isn't as easy, like other people pointed out. So I guess it depends on what you'll need most in the beginning. Once you can afford a third mic two MKH4080s plus a side-mic can give you lots of flexibility, like double MS, AB, XY.&#xD;&#xA;&#xD;&#xA;You can try the effect of the distance between the Mike's with your Sony D50, just do the same recording in XY and with the mics spread to the wide setting (sort of a mini ORTF). It can make quite a difference on certain sources." ContentLicense="CC BY-SA 3.0" />
  <row Id="31549" PostHistoryTypeId="2" PostId="19450" RevisionGUID="d7407acc-a2fa-4b4d-8750-6ba7387105e7" CreationDate="2013-06-05T15:24:54.100" UserId="3104" Text="First of all, I agree with @Cédric, there's no way you can do that with any 3 channel mixer. &#xD;&#xA;&#xD;&#xA;Secondly, @Gaelan, you should just take your two lav channels and have those panned to one side and then take your boom mic and have that panned to the other. While its not total separation, it's still separates the boom from the lavs and still makes your signal a bit manageable. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31550" PostHistoryTypeId="2" PostId="19451" RevisionGUID="7a621e4f-ff24-4057-b376-520a45e88153" CreationDate="2013-06-05T15:26:34.290" UserId="234" Text="ASSUMING (and this could be a large assumption) that the Camera and Production audio have matching TimeCode and that the editor hasn't stripped it out in the AVID, you can use the Field Recorder functions of PT using match to Time Code only... You may end up with some clips that have the same timecode but it should shave hours off your workflow. Basically load all the production sound into PT. Select all your AAF clips. Right Click on one and choose Matching Field Recorder Channels -&gt; Match Criteria. Deselect everything (unless you KNOW that some of the data will match - if so then this will make your life even easier, but if you don't know it will cause grief). Close that out. Right click again and select Matching Field Recorder Channels -&gt; Expand Channels to New Tracks -&gt; By Time Code Only. Wait...(this can take a while if you've got 5 reels). You should end up with tracks under your AAF matched by TC. A couple of things. First you can check if this will actually work (that the TC hasn't been stripped out of the AAF) by going to View-&gt;Region-&gt;Original Time Stamp. If all the clips show up as 00;00;00;00 then this won't work. If the TC shows up, then it will. Also I like to consolidate the AAF dialog tracks down to the minimum number necessary (two on my last show) to make it as easy as possible to find false positives. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31551" PostHistoryTypeId="2" PostId="19452" RevisionGUID="cc528ef5-7a38-4339-a026-1f7321f94913" CreationDate="2013-06-05T16:53:24.827" UserId="4272" Text="To be honest, I found this confusing as well when I first tried it, and even still I'm not sure if I'm getting it properly.  Let me see if I can clarify by breaking it down into a few extra steps - and perhaps someone who really knows what they're talking about can correct my errors.&#xD;&#xA;&#xD;&#xA;&quot;Step One&quot;&#xD;&#xA;&#xD;&#xA;1. Create 10 audio tracks&#xD;&#xA;&#xD;&#xA;2. On each track, edit in sounds with the characteristics that you want (growls, tones, distortion, etc)&#xD;&#xA;&#xD;&#xA;3. Use the duplicate command to create 4-5 minutes of continuous sound.&#xD;&#xA;&#xD;&#xA;4. See the video for examples&#xD;&#xA;&#xD;&#xA;&quot;Step Two&quot;&#xD;&#xA;&#xD;&#xA;1. Create 3 Aux Tracks.&#xD;&#xA;&#xD;&#xA;2. Open your I/O, choose the Bus tab and create 3 buses (Choose New Path, make sure the Mapping To Output box is not checked) and name your buses Submix 1, Submix 2, and Submix 3.&#xD;&#xA;&#xD;&#xA;3. Set the Input of each Aux track to a different Submix bus (ie: Submix 1 should be routed to Aux track 1, etc)&#xD;&#xA;&#xD;&#xA;4. Add a number of plugins to the Inserts of each Aux track - Dopplers, Low-End Enhancers, etc&#xD;&#xA;&#xD;&#xA;5. Set the output of each audio track to one of your Submix buses - try to route similar sounds to the same bus&#xD;&#xA;&#xD;&#xA;6. When Charles mentions setting up buses with side-chain ducking, he suggests that &quot;if Submix 1 has the more “agressive” sounds, then Submix 1 should duck down submix 2, etc&quot;.  To achieve this, open your I/O.  Create a new bus, and this time call it &quot;Sidechain Bus&quot;.  &#xD;&#xA;&#xD;&#xA;7. Now, set the output of your first Aux track to Sidechain Bus.&#xD;&#xA;&#xD;&#xA;8. Add a gate/compressor plugin that can be used to duck your audio to the Inserts of Aux 2, and set the Sidechain Input of the plugin to &quot;Sidechain Bus.&quot;  Make sure the plugin is set up properly.&#xD;&#xA;&#xD;&#xA;9. Set the output of Aux 2 and 3 to your main output.  As Charles explains, &quot;Send the main submix signal to a aux gate, so it only opens up at the loudest point...&quot;  So we'll set Aux 1 to go through an aux gate.  Add a new Aux track, set its Input to &quot;Sidechain Bus&quot; (remember we set Aux 1's output as Sidechain Bus) and its output to your Main Output.  Add a Gate Insert (C1 Gate, for example), and set its input to Sidechain Bus as well.  If you've done this properly, Aux 1 is not only used to duck the other aux tracks but it also &quot;only opens up at the loudest point.&quot;&#xD;&#xA;&#xD;&#xA;Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="31552" PostHistoryTypeId="2" PostId="19453" RevisionGUID="0dd22dbe-15a9-4200-9213-fbc69f263955" CreationDate="2013-06-05T18:53:26.740" UserId="3567" Text="Edinburgh Napier has an online Sound Design Master's: http://www.courses.napier.ac.uk/SoundDesign_W56742.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="31553" PostHistoryTypeId="2" PostId="19454" RevisionGUID="d8be4e4a-27a4-4ce9-99d4-283fcdeba72f" CreationDate="2013-06-05T22:48:36.973" UserId="300" Text="Wow.. that sucks&#xD;&#xA;&#xD;&#xA;... Where is the assistant editor?!&#xD;&#xA;Are they sure they can't go through and matchframe their edit clip by clip to give you the full multitrack audio? Quite standard practice in situations where you havent decided on this audio-conforming workflow.&#xD;&#xA;&#xD;&#xA;I'm assuming you're having to go through this process because they have cut with the mix track only? (or.. even worse, the camera feed?)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Adding to what Sonsey has already suggested --&#xD;&#xA;&#xD;&#xA;With the &quot;Field Recorder Guide Track&quot; workflow, you will probably need them to output a new AAF for you. This is how we work in-house here :&#xD;&#xA;&#xD;&#xA;-Ask editor\assistant for a -LINKING- AAF with MXF media. This will keep the SOUND_ROLL metadata in the TAPE_NAME field.&#xD;&#xA;&#xD;&#xA;Avid, ridiculously, can strip or move tape name \ sound roll metadata when exporting an AAF with embedded media like .wav&#xD;&#xA;&#xD;&#xA;-As Sonsey suggested, do an edit pass and reduce your guide tracks down to 1 clip per shot. Careful not to accidentally remove another slate which has been placed at the same timecode though (eg. wild, alt take)&#xD;&#xA;&#xD;&#xA;-Link to all the fieldsound media --- scan the folder and make sure it has completed by keeping an eye on the Task Manager&#xD;&#xA;&#xD;&#xA;-Then in the &quot;field recorder match criteria&quot;, try &quot;Match to Timecode&quot; and &quot;ALL&quot; of the following, and tick &quot;Tape Name to Sound Roll&quot; \ OR \ &quot;Sound Roll to Tape Name&quot;. One should work.. if the editors have put the metadata in.&#xD;&#xA;&#xD;&#xA;-&quot;Name and sort tracks by: Channel Number&quot;&#xD;&#xA;&#xD;&#xA;-NOTE : 'Example_.ca1'     &lt;---- folders named like this won't scan in to protools. We think that they are ignored because they are interpreted as Finder's references. So rename and rescan if you can't find some media.&#xD;&#xA;&#xD;&#xA;once you're finished then untick 'use as field recorder guie track' because Tools has a habbit of rescanning on session opening.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;good luck.. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31554" PostHistoryTypeId="2" PostId="19455" RevisionGUID="58dd547b-1426-4180-bc9d-58e8afc0dd63" CreationDate="2013-06-06T01:00:28.620" UserId="6106" Text="Hi Jay,&#xD;&#xA;&#xD;&#xA;really great info!&#xD;&#xA;do you use the same track, only different parts of the same track or three different tracks of air to fill LR LsRs and 1 pair in the middle?&#xD;&#xA;&#xD;&#xA;do you use any eq? LsRs softer/less bass heavy than LR?&#xD;&#xA;&#xD;&#xA;how are you feeding Center channel?&#xD;&#xA;&#xD;&#xA;with the LR channel or a dedicated Center one?&#xD;&#xA;&#xD;&#xA;What about phasing?&#xD;&#xA;&#xD;&#xA;best&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31561" PostHistoryTypeId="2" PostId="19458" RevisionGUID="49880934-92ad-4522-8f9c-fac41efad4ef" CreationDate="2013-06-06T15:29:35.407" UserId="3835" Text="I know this isn't really allowed and I'm breaking some rules here but i felt the need to thank everyone on this forum for all the knowledge, skills, tips and Yoda level wisdom i have gained since i joined last year. I especially want to thank the high level members including Jay Jennings, Utopia, Stavrosound and many others.. You're dedication to this forum blows my mind and you are extremely appreciated.&#xD;&#xA;&#xD;&#xA;I just finished my first ever proper project working on a 6 minute animation for the Animation Workshop. The film is being played internationally at animation festivals and may even make it to CANNES! It's not paid as it's part of my degree but as a portfolio item and a networking opportunity it's priceless.&#xD;&#xA;&#xD;&#xA;I couldn't of made it through it without this forum. Once again, thank you to everyone. I feel privileged to be part of the online community and i look forward to a healthy, creative career.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Danny " ContentLicense="CC BY-SA 3.0" />
  <row Id="31562" PostHistoryTypeId="1" PostId="19458" RevisionGUID="49880934-92ad-4522-8f9c-fac41efad4ef" CreationDate="2013-06-06T15:29:35.407" UserId="3835" Text="A Huge Thank You" ContentLicense="CC BY-SA 3.0" />
  <row Id="31563" PostHistoryTypeId="3" PostId="19458" RevisionGUID="49880934-92ad-4522-8f9c-fac41efad4ef" CreationDate="2013-06-06T15:29:35.407" UserId="3835" Text="&lt;thank&gt;&lt;social-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31564" PostHistoryTypeId="2" PostId="19459" RevisionGUID="73d022e0-9a79-4db7-a9ec-c1d6a6206bd9" CreationDate="2013-06-06T16:29:10.217" UserId="6113" Text="Take all of your tracks from all of your sessions in all at once and region group them.&#xD;&#xA;&#xD;&#xA;Play them back at the same time as the new guide track. &#xD;&#xA;&#xD;&#xA;Every time you hear the two tracks out of sync, you need to make a change until they go back in sync.&#xD;&#xA;&#xD;&#xA;If you do this in a Pro Tools HD system, you can switch between videos, and can figure out if they added scenes or cut them down." ContentLicense="CC BY-SA 3.0" />
  <row Id="31565" PostHistoryTypeId="2" PostId="19460" RevisionGUID="5f889f91-57a5-457a-afd3-b50c288a27d4" CreationDate="2013-06-06T19:22:45.850" UserId="5605" Text="Yep, I wholeheartedly agree that this community is the beep!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31566" PostHistoryTypeId="5" PostId="19458" RevisionGUID="57afeb6e-2d51-4e6a-9340-e5bc56ebacd6" CreationDate="2013-06-06T21:41:06.867" UserId="3835" Comment="deleted 2 characters in body" Text="I know this isn't really allowed and I'm breaking some rules here but i felt the need to thank everyone on this forum for all the knowledge, skills, tips and Yoda level wisdom i have gained since i joined last year. I especially want to thank the high level members including Jay Jennings, Utopia, Stavrosound and many others.. Your dedication to this forum blows my mind and you are extremely appreciated.&#xD;&#xA;&#xD;&#xA;I just finished my first ever proper project working on a 6 minute animation for the Animation Workshop. The film is being played internationally at animation festivals and may even make it to CANNES! It's not paid as it's part of my degree but as a portfolio item and a networking opportunity it's priceless.&#xD;&#xA;&#xD;&#xA;I couldn't of made it through it without this forum. Once again, thank you to everyone. I feel privileged to be part of the online community and i look forward to a healthy, creative career.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Danny " ContentLicense="CC BY-SA 3.0" />
  <row Id="31567" PostHistoryTypeId="2" PostId="19461" RevisionGUID="6fb03dd5-28b6-4eba-bb51-55db7b39bf71" CreationDate="2013-06-06T21:51:35.977" UserId="4272" Text="Perhaps this should be a somewhat obvious question, but I'm wondering if anyone has any advice regarding footsteps for game audio. Trying to come up with nice-sounding steps for a number of different surface types (stone, dirt, water, grass, wood, and leaves) and a number of foot types (shoes, barefoot, armoured, spider, hooves, rock creature, etc.)&#xD;&#xA;&#xD;&#xA;What I'm wondering is: how many variations of each should I have? do I need to have different sounds for walk/run (besides volume and pacing, what's the difference b/w walking &amp; running footsteps)...? What sorts of things should I be looking for when I'm sorting through my library for sounds (I don't have access to a foley room for this stuff)?&#xD;&#xA;&#xD;&#xA;To be honest, I figured this should be fairly easy but once I've got the sounds in the game I'm finding I'm not quite satisfied with the sounds, and I've been redoing it over and over again trying to get the right footstep sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="31568" PostHistoryTypeId="1" PostId="19461" RevisionGUID="6fb03dd5-28b6-4eba-bb51-55db7b39bf71" CreationDate="2013-06-06T21:51:35.977" UserId="4272" Text="Footsteps in Game Audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="31569" PostHistoryTypeId="3" PostId="19461" RevisionGUID="6fb03dd5-28b6-4eba-bb51-55db7b39bf71" CreationDate="2013-06-06T21:51:35.977" UserId="4272" Text="&lt;gameaudio&gt;&lt;footsteps&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31570" PostHistoryTypeId="2" PostId="19462" RevisionGUID="efe98fac-a1b7-458a-9373-057e5b8a3757" CreationDate="2013-06-06T22:59:23.637" UserId="3179" Text="&gt; What I'm wondering is: how many variations of each should I have?&#xD;&#xA;&#xD;&#xA;3-8 variations (or as a rule of thumb, 5 variations) depending on the speed of movement (at faster speeds you tend to pick up repetition more easily). The pitch variation (and volume) that you can enable in game engines or audio middleware tools often does the rest.&#xD;&#xA;&#xD;&#xA;&gt;do I need to have different sounds for walk/run (besides volume and pacing, what's the difference b/w walking &amp; running footsteps)...?&#xD;&#xA;&#xD;&#xA;Depends on the level of realism you're aiming for (of course it depends on the style of the game). If there are different movement modes and you want there to be corresponding movement sounds, then you'll likely do all possible variations (possibly including all surfaces as well) separately.&#xD;&#xA;&#xD;&#xA;&gt;What sorts of things should I be looking for when I'm sorting through my library for sounds (I don't have access to a foley room for this stuff)?&#xD;&#xA;&#xD;&#xA;Just that they are fit for the use either without modification or after editing (layering, pitching, cutting, equalizing...). You need to test that the files can be played in any possible order (because they will be played in random order in-game for a more natural feel)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31571" PostHistoryTypeId="5" PostId="19462" RevisionGUID="3556787a-6682-481e-9b61-7a982db73650" CreationDate="2013-06-06T23:07:41.073" UserId="3179" Comment="added 303 characters in body; added 26 characters in body; added 80 characters in body" Text="&gt; What I'm wondering is: how many variations of each should I have?&#xD;&#xA;&#xD;&#xA;3-8 variations (or as a rule of thumb, 5 variations) depending on the speed of movement (at faster speeds you tend to pick up repetition more easily). The pitch variation (and volume) that you can enable in game engines or audio middleware tools often does the rest.&#xD;&#xA;&#xD;&#xA;&gt;do I need to have different sounds for walk/run (besides volume and pacing, what's the difference b/w walking &amp; running footsteps)...?&#xD;&#xA;&#xD;&#xA;Depends on the level of realism you're aiming for (of course it depends on the style of the game). If there are different movement modes and you want there to be corresponding movement sounds, then you'll likely do all possible variations (possibly including all surfaces as well) separately.&#xD;&#xA;&#xD;&#xA;For the differences between different modes of movement, read some physiology or listen to what sounds you make yourself (and what parts of your feet or body makes those sounds) when moving in a certain way and use that as a reference point (remembering the level of realism that you're aiming for and the style of the game).&#xD;&#xA;&#xD;&#xA;&gt;What sorts of things should I be looking for when I'm sorting through my library for sounds (I don't have access to a foley room for this stuff)?&#xD;&#xA;&#xD;&#xA;Just that they are fit for the use either without modification or after editing (layering, pitching, cutting, equalizing...). You need to test that the files can be played in any possible order (because they will be played in random order in-game for a more natural feel).&#xD;&#xA;&#xD;&#xA;And as always: if it sounds good, it's good. No need to get scientific here." ContentLicense="CC BY-SA 3.0" />
  <row Id="31572" PostHistoryTypeId="2" PostId="19463" RevisionGUID="df55b9f2-93d0-4392-b676-e20dc03576a2" CreationDate="2013-06-07T07:27:12.910" UserId="348" Text="Hello,&#xD;&#xA;&#xD;&#xA;I am looking at upgrading my PT LE 9 systems to PT 11 and am looking for feedback from those who have used this current system or have heard through the grapevine any positives or negatives regarding the system.&#xD;&#xA;&#xD;&#xA;I have done some research on it and so far there has been no negative feedback. &#xD;&#xA;&#xD;&#xA;Looking forward to hearing from you. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31573" PostHistoryTypeId="1" PostId="19463" RevisionGUID="df55b9f2-93d0-4392-b676-e20dc03576a2" CreationDate="2013-06-07T07:27:12.910" UserId="348" Text="Has anyone used Protools 11 yet?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31574" PostHistoryTypeId="3" PostId="19463" RevisionGUID="df55b9f2-93d0-4392-b676-e20dc03576a2" CreationDate="2013-06-07T07:27:12.910" UserId="348" Text="&lt;protools&gt;&lt;11&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31575" PostHistoryTypeId="2" PostId="19464" RevisionGUID="b84d9a5d-0746-45e5-9301-b2904dfa8ad1" CreationDate="2013-06-07T08:48:00.587" UserId="5882" Text="Haven't used it personally, but I know people who have. Only good things to say on this end as well. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31576" PostHistoryTypeId="2" PostId="19465" RevisionGUID="274f5a2d-ffb3-4e54-a878-c0f879a7347a" CreationDate="2013-06-07T08:57:56.233" UserId="5882" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;Currently working on a student's Baseball short and I'm looking for a sound effect of a baseball bat hitting a baseball. All of the ones I possess don't contain that iconic snap and thwack. Any leads, or if someone has an effect they would be willing to share, it would be great!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31577" PostHistoryTypeId="1" PostId="19465" RevisionGUID="274f5a2d-ffb3-4e54-a878-c0f879a7347a" CreationDate="2013-06-07T08:57:56.233" UserId="5882" Text="Sound Request- Baseball Bat hit" ContentLicense="CC BY-SA 3.0" />
  <row Id="31578" PostHistoryTypeId="3" PostId="19465" RevisionGUID="274f5a2d-ffb3-4e54-a878-c0f879a7347a" CreationDate="2013-06-07T08:57:56.233" UserId="5882" Text="&lt;design&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31579" PostHistoryTypeId="2" PostId="19466" RevisionGUID="c5cc8982-606e-4f20-bc06-2a9f0fc9ff85" CreationDate="2013-06-07T10:11:48.577" UserId="993" Text="OK, this was a fun challenge - I tried to quickly create a baseball smack - but I could only use elements from my own library. Here's what I came up with - you're welcome to it if it does the job. &#xD;&#xA;&#xD;&#xA;http://www.squeakyfish.com.au/shared/wooden%20baseball%20bat%20-%20smack%20hit.wav&#xD;&#xA;&#xD;&#xA;Oh, though I didn't know if the bat was metal or wood. If this sound is in the ballpark for what you need, I can replace the wood smack elements with metal if need be. You may find that you'll want to add a gunshot to this (or maybe even part of an explosion sound) to go for a real dramatic smack.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31580" PostHistoryTypeId="2" PostId="19467" RevisionGUID="7dc59fb6-dfee-403f-946c-233f171f15fe" CreationDate="2013-06-07T13:27:22.517" UserId="3179" Text="As NoiseJockey puts it, sound influences user interfacing and/or user experience, not engineering (which builds up to user interfacing, not the other way around).&#xD;&#xA;&#xD;&#xA;I'm not so sure if the given point about manufacturing costs is the reason (or a reason) for using sound messaging in products, although it's arguable that it does happen to be cheaper to implement. But sound messaging is more intuitively understood simply as a more immediate message that doesn't need to be read to understand, which makes it more suitable for simple messages or messages that need immediate response than a LCD.&#xD;&#xA;&#xD;&#xA;Depending on the product sound can be an important part of the brand and non-tangible appearance of the product (what does the product *feel* like, rather than what *it is*). Few examples include mobile phones and mobile phone application sounds, computer application sounds and car doors." ContentLicense="CC BY-SA 3.0" />
  <row Id="31581" PostHistoryTypeId="2" PostId="19468" RevisionGUID="3f466025-e09f-48fb-8fb0-137a1200b644" CreationDate="2013-06-07T13:32:53.087" UserId="194" Text="I've got some stuff I recorded during bating practice at the ballpark at arlington.  pint me rcoronado1 at gmail" ContentLicense="CC BY-SA 3.0" />
  <row Id="31582" PostHistoryTypeId="5" PostId="19467" RevisionGUID="8450cf0c-e40d-42a7-8773-ff2a18039d00" CreationDate="2013-06-07T13:35:08.823" UserId="3179" Comment="added 442 characters in body" Text="As NoiseJockey puts it, sound influences user interfacing and/or user experience, not engineering (which builds up to user interfacing, not the other way around).&#xD;&#xA;&#xD;&#xA;I'm not so sure if the given point about manufacturing costs is the reason (or a reason) for using sound messaging in products, although it's arguable that it does happen to be cheaper to implement. But sound messaging is more intuitively understood simply as a more immediate message that doesn't need to be read to understand, which makes it more suitable for simple messages or messages that need immediate response than a LCD.&#xD;&#xA;&#xD;&#xA;Depending on the product sound can be an important part of the brand and non-tangible appearance of the product (what does the product *feel* like, rather than what *it is*). Few examples include mobile phones and mobile phone application sounds, computer application sounds and car doors.&#xD;&#xA;&#xD;&#xA;&gt; Which to me begs the question &quot;as audio people, what sounds do we create that have influenced engineering?&quot;&#xD;&#xA;&#xD;&#xA;If you'd like to understand this question, I'd advice looking at movies (e.g. scifi) and seeing, whether you find films that have or may have projected some kind of technological inventions and their usage or consequences. That I think is the most direct way to influence engineering and technology development through sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="31583" PostHistoryTypeId="2" PostId="19469" RevisionGUID="f9b976f2-1df7-423b-86cd-b765a011128e" CreationDate="2013-06-07T15:33:03.520" UserId="4272" Text="After reading this article and watching the video tutorial on designingsound.org, my new software secret weapon is Battery.&#xD;&#xA;&#xD;&#xA;[Link][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2010/10/video-tutorial-using-battery-for-sound-design/" ContentLicense="CC BY-SA 3.0" />
  <row Id="31584" PostHistoryTypeId="16" PostId="19469" RevisionGUID="f9b976f2-1df7-423b-86cd-b765a011128e" CreationDate="2013-06-07T15:33:03.520" UserId="-1" />
  <row Id="31585" PostHistoryTypeId="2" PostId="19470" RevisionGUID="773b4e40-10c8-4582-b520-46e2dec6a4c8" CreationDate="2013-06-07T18:27:34.403" UserId="3179" Text="An artist **is** an artist.&#xD;&#xA;&#xD;&#xA;Yes, you may operate equipment, which is also what technicians do.&#xD;&#xA;&#xD;&#xA;Yes, you may study or be influenced/inspired by human psychology, which is what psychologists do.&#xD;&#xA;&#xD;&#xA;But to consider an artist a technician would be a bad analogy. To consider an artist a psychologist would be a false analogy. **Art is not about equipment, art is about human expression.** Nor is art genuinely (in a scientific way) about human psychology. Technology (and operating and installing it) on the other hand is about equipment and getting useful things done." ContentLicense="CC BY-SA 3.0" />
  <row Id="31586" PostHistoryTypeId="2" PostId="19471" RevisionGUID="e4019f3b-4252-46f4-88f0-516d5127c1ff" CreationDate="2013-06-07T18:41:33.673" UserId="5859" Text="Its definitely about user experience. Now since a lot of the things we interact with require using screens, people want to feel like they are manipulating something &quot;real.&quot; Like when you type a text message you can choose to have both sound and vibration and turn them on and off. Now other appliances are going &quot;digital&quot; and require less and less work from our part but in order to have us feel like we have control over things or can manipulate them, we add sounds. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31587" PostHistoryTypeId="5" PostId="19467" RevisionGUID="563763fe-330d-45e3-a75c-d0c6914f63f6" CreationDate="2013-06-07T19:40:11.280" UserId="3179" Comment="added 353 characters in body; deleted 353 characters in body" Text="As NoiseJockey puts it, sound influences user interfacing and/or user experience, not engineering (which builds up to user interfacing, not the other way around).&#xD;&#xA;&#xD;&#xA;I'm not so sure if the given point about manufacturing costs is the reason (or a reason) for using sound messaging in products, although it's arguable that it does happen to be cheaper to implement. But sound messaging is more intuitively understood simply as a more immediate message that doesn't need to be read to understand, which makes it more suitable for simple messages or messages that need immediate response than a LCD.&#xD;&#xA;&#xD;&#xA;Depending on the product sound can be an important part of the brand and non-tangible appearance of the product (what does the product *feel* like, rather than what *it is*). Few examples include mobile phones and mobile phone application sounds, computer application sounds and car doors.&#xD;&#xA;&#xD;&#xA;&gt; Which to me begs the question &quot;as audio people, what sounds do we create that have influenced engineering?&quot;&#xD;&#xA;&#xD;&#xA;If you'd like to understand this question, I'd advice looking at movies (e.g. scifi) and seeing, whether you find films that have or may have projected some kind of technological inventions and their usage or consequences. That I think is the most direct way to influence engineering and technology development through sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="31588" PostHistoryTypeId="2" PostId="19472" RevisionGUID="e9c57091-f07d-4173-b3a3-ee9adb279d46" CreationDate="2013-06-07T21:02:15.593" UserId="622" Text="I came accidentally on this thread. Interesting comments here. I just finished a sample bank of 61 different texture of rumbles (not only for earthquakes) made ​​almost exclusively with Sculpture in Logic Pro. Amazing what you can do with this instrument presumably obsolete! " ContentLicense="CC BY-SA 3.0" />
  <row Id="31589" PostHistoryTypeId="2" PostId="19473" RevisionGUID="168343ce-2383-4a33-b943-e2be85c94645" CreationDate="2013-06-07T22:41:44.027" UserId="3179" Text="I think it's unnecessary categorizing of sounds and props, if one thinks of in terms of &quot;pro quality&quot; or basically in electrical or mechanical terms. Equipment from different time periods has its own auditive characteristics and its design lends itself to certain production styles and that's still its strongest point, because even as of today, digital does not cut the sound emulation (and why should it?), nowadays the production is basically unlimited by technology and the taste in sound and media has evolved as well, so sound producers of today (and those who focus only on today) tend to look for different things and do different things than in another time period. The richness of sound art is in not undervaluing the ability to source from different time periods, different cultures, different styles and different objects, but to study and take influence from even the more esoteric places and time periods and bring them to the modern time or draw influence from them to produce something new.&#xD;&#xA;&#xD;&#xA;Uniqueness and quality are additionally terms that you can't simply qualify, because they exist in the ears of the listener." ContentLicense="CC BY-SA 3.0" />
  <row Id="31590" PostHistoryTypeId="5" PostId="19473" RevisionGUID="e0d86a17-3ca0-4a1a-bb84-dcc2ab65a653" CreationDate="2013-06-07T23:06:06.550" UserId="3179" Comment="added 218 characters in body" Text="I think it's unnecessary categorizing of sounds and props, if one thinks of in terms of &quot;pro quality&quot; or basically in electrical or mechanical terms. Equipment from different time periods has its own auditive characteristics and its design lends itself to certain production styles and that's still its strongest point, because even as of today, digital does not cut the sound emulation (and why should it?), nowadays the production is basically unlimited by technology and the taste in sound and media has evolved as well, so sound producers of today (and those who focus only on today) tend to look for different things and do different things than in another time period. The richness of sound art is in not undervaluing the ability to source from different time periods, different cultures, different styles and different objects, but to study and take influence from even the more esoteric places and time periods and bring them to the modern time or draw influence from them to produce something new. Also, I think that we can always afford to have more of those who prefer to walk their own path, rather than sign to the generic or mechanical cut and paste styles and approaches that are so prevalent in a given time.&#xD;&#xA;&#xD;&#xA;Uniqueness and quality are additionally terms that you can't simply qualify, because they exist in the ears of the listener." ContentLicense="CC BY-SA 3.0" />
  <row Id="31595" PostHistoryTypeId="2" PostId="19475" RevisionGUID="fbebbc86-b585-48ea-9de4-f4734363d0b3" CreationDate="2013-06-08T00:10:55.450" UserId="993" Text="I've always been fond of the word 'craftsperson.' Implies a  mix of artistry and of technical proficiency." ContentLicense="CC BY-SA 3.0" />
  <row Id="31597" PostHistoryTypeId="2" PostId="19477" RevisionGUID="378ccd05-4335-478f-858f-0349e3b002fc" CreationDate="2013-06-08T08:24:41.657" UserId="3285" Text="Hello,&#xD;&#xA;&#xD;&#xA;In each video game studio where I worked, I used Adam, Genelec, and Mackie speakers.. Ok, they are out from your budget too.&#xD;&#xA;&#xD;&#xA;But for my home studio, I've bought a Focal CMS 40 pair, you should have to try them (or the CMS50) you won't be disappointed!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31598" PostHistoryTypeId="2" PostId="19478" RevisionGUID="575d6f16-4817-41e2-bb2d-d4a6db6aefaf" CreationDate="2013-06-08T09:19:17.280" UserId="3179" Text="Just more power in a smaller package (which though lends itself well for improving real-time audio, which, as you may have noticed, is quite of a resource hog even in today's standards). Quantum computing is mainly a computer technology topic and one of its major motivations is to extend Moore's law to even smaller devices with less power consumption and more power. There's no suggestion that quantum computing would seem any way different to a computer user, eventhough the technology opens up to certain interesting topics (and applications) in how computing is done or what quantum computing can be used to do (as opposed to the current computer architectures), it's just different &quot;under the hood&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="31599" PostHistoryTypeId="4" PostId="14182" RevisionGUID="8e732a77-c78a-421a-bdd1-0cdde4e64f60" CreationDate="2013-06-08T09:21:42.907" UserId="3179" Comment="edited title; added 1 characters in body; edited tags" Text="What is quantum computing going to mean for digital audio/music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31600" PostHistoryTypeId="5" PostId="14182" RevisionGUID="8e732a77-c78a-421a-bdd1-0cdde4e64f60" CreationDate="2013-06-08T09:21:42.907" UserId="3179" Comment="edited title; added 1 characters in body; edited tags" Text="What is quantum computing going to mean for digital audio/music?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31601" PostHistoryTypeId="6" PostId="14182" RevisionGUID="8e732a77-c78a-421a-bdd1-0cdde4e64f60" CreationDate="2013-06-08T09:21:42.907" UserId="3179" Comment="edited title; added 1 characters in body; edited tags" Text="&lt;computer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31602" PostHistoryTypeId="2" PostId="19479" RevisionGUID="715f324d-3476-4281-b214-58a8cf162d07" CreationDate="2013-06-08T09:57:33.480" UserId="3179" Text="Use folders.&#xD;&#xA;&#xD;&#xA;Prior to working on anything, gather the sounds that you already have (paying attention to what you think you'll need/use and what fits the style that you have in mind) and copy them to folders that contain sounds for particular uses or scenes. When you start working, use these folders for the sounds, thus your choices are already limited and you won't have to continuously search through large amounts of sound files repeatedly. Plus, you'll know when you're missing something.&#xD;&#xA;&#xD;&#xA;Also in terms of file searching and organization, have a look at this: http://www.tsugi-studio.com/?page_id=635" ContentLicense="CC BY-SA 3.0" />
  <row Id="31603" PostHistoryTypeId="2" PostId="19480" RevisionGUID="9f7ab136-135e-4f7a-9b2f-41bb38702e3f" CreationDate="2013-06-08T10:53:02.477" UserId="3179" Text="I would say it depends on what projects you pick up (and whether you do it selectively). Your voice (from an objective viewpoint) will be dictated by the projects you take, just like the soundtrack you create is dictated by the project. Comparison to pure music/sound is just not valid, because there you can be anything you want, which effectively means that one really defines the voice of oneself just like a band defines its voice.&#xD;&#xA;&#xD;&#xA;Would you say that certain SFX recordists/producers have their own voice or is it just the libraries that they tend to produce? Would you say that sound artists working on film soundtracks have a certain voice or are they just picking projects that fit to their own interests or their previous work. Or would you ever consider that it's the voice of the sound artists that we hear, rather than the voice of the project/piece? &#xD;&#xA;&#xD;&#xA;Could it be that, in fact, given different people the task of producing a soundtrack for the same media piece, the results would have corresponding elements and voice and the differences could be explained by what sounds and sound sources they happen to have access to, not largely by their editing style? And as a second notion, would it be possible that &quot;the voice&quot; is not actually the sound itself, but *what* sound and *where*? Public sound design competitions are interesting &quot;group studies&quot; for this reason, because I feel that they are a good way to hear how the work of some people happens to be reminiscent of others, whereas some seem to really stand out." ContentLicense="CC BY-SA 3.0" />
  <row Id="31604" PostHistoryTypeId="5" PostId="19480" RevisionGUID="3be3b480-517c-4d5f-b280-11cd7ea32e0b" CreationDate="2013-06-08T11:02:31.077" UserId="3179" Comment="added 4 characters in body; added 64 characters in body" Text="I would say it depends on what projects you pick up (and whether you do it selectively). Your voice (from an objective viewpoint) will be dictated by the projects you take, just like the soundtrack you create is dictated by the project. Comparison to pure music/sound is just not valid, because there you can be anything you want, which effectively means that one really defines the voice of oneself just like a band defines its voice.&#xD;&#xA;&#xD;&#xA;Would you say that certain SFX recordists/producers have their own voice or is it just the libraries that they tend to produce? Would you say that sound artists working on film soundtracks have a certain voice or are they just picking projects that fit to their own interests or their previous work. Or would you ever consider that it's the voice of the sound artists that we hear, rather than the voice of the project/piece? &#xD;&#xA;&#xD;&#xA;Could it be that, in fact, given different people the task of producing a soundtrack for the same media piece, the results would have corresponding elements and the voice and the differences could be explained by what sounds and sound sources they happen to have access to, not largely by their editing style? And as a second notion, would it be possible that &quot;the voice&quot; is not actually the sound itself, but *what* sound and *where*? Public sound design competitions are interesting &quot;group studies&quot; for this reason, because I feel that they are a good way to hear how the work of some people happens to be reminiscent of others, whereas some seem to really stand out (which arguably is possibly a completely subjective perception)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31605" PostHistoryTypeId="5" PostId="19480" RevisionGUID="ba1a4058-0ef0-40ad-94a3-568108f86450" CreationDate="2013-06-08T11:08:26.037" UserId="3179" Comment="added 95 characters in body" Text="I would say it depends on what projects you pick up (and whether you do it selectively). Your voice (from an objective viewpoint) will be dictated by the projects you take, just like the soundtrack you create is dictated by the project. Comparison to pure music/sound is just not valid, because there you can be anything you want, which effectively means that one really defines the voice of oneself just like a band defines its voice. Plus music is not as strictly position- and style-fixed as voice and SFX most of the time are.&#xD;&#xA;&#xD;&#xA;Would you say that certain SFX recordists/producers have their own voice or is it just the libraries that they tend to produce? Would you say that sound artists working on film soundtracks have a certain voice or are they just picking projects that fit to their own interests or their previous work. Or would you ever consider that it's the voice of the sound artists that we hear, rather than the voice of the project/piece? &#xD;&#xA;&#xD;&#xA;Could it be that, in fact, given different people the task of producing a soundtrack for the same media piece, the results would have corresponding elements and the voice and the differences could be explained by what sounds and sound sources they happen to have access to, not largely by their editing style? And as a second notion, would it be possible that &quot;the voice&quot; is not actually the sound itself, but *what* sound and *where*? Public sound design competitions are interesting &quot;group studies&quot; for this reason, because I feel that they are a good way to hear how the work of some people happens to be reminiscent of others, whereas some seem to really stand out (which arguably is possibly a completely subjective perception)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31606" PostHistoryTypeId="5" PostId="19480" RevisionGUID="efbfed8a-3db5-4c34-8f88-5a736195d516" CreationDate="2013-06-08T11:15:16.547" UserId="3179" Comment="added 111 characters in body; edited body" Text="I would say it depends on what projects you pick up (and whether you do it selectively). Your voice (from an objective viewpoint) will be dictated by the projects you take, just like the soundtrack you create is dictated by the project. Comparison to pure music/sound is just not valid, because there you can be anything you want, which effectively means that one really defines the voice of oneself just like a band defines its voice. And to draw an analogy, in pure music/sound you define the sound as well as the imagery/impression it creates. Plus music is not as strictly position- and style-fixed as voice and SFX most of the time are.&#xD;&#xA;&#xD;&#xA;Would you say that certain SFX recordists/producers have their own voice or is it just the libraries that they tend to produce? Would you say that sound artists working on film soundtracks have a certain voice or are they just picking projects that fit to their own interests or their previous work. Or would you ever consider that it's the voice of the sound artists that we hear, rather than the voice of the project/piece? &#xD;&#xA;&#xD;&#xA;Could it be that, in fact, given different people the task of producing a soundtrack for the same media piece, the results would have corresponding elements and the voice and the differences could be explained by what sounds and sound sources they happen to have access to, not largely by their editing style? And as a second notion, would it be possible that &quot;the voice&quot; is not actually the sound itself, but *what* sound and *where*? Public sound design competitions are interesting &quot;group studies&quot; for this reason, because I feel that they are a good way to hear how the work of some people happens to be reminiscent of others, whereas some seem to really stand out (which arguably is possibly a completely subjective perception)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31607" PostHistoryTypeId="2" PostId="19481" RevisionGUID="1f9c79cb-949a-44fb-a130-0882c6a94c1c" CreationDate="2013-06-08T18:37:37.347" UserId="4272" Text="I'm looking for a nice quiet place to do some outdoor recording in the Greater Vancouver Area - obviously the city itself is too loud so I imagine I'd have to take a drive to somewhere quiet.  Are there any other Vancouver sound recordists here with some ideas of where to record?&#xD;&#xA;&#xD;&#xA;For example, I'd like to do a bow &amp; arrow session, but I'd prefer to record outdoors if possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="31608" PostHistoryTypeId="1" PostId="19481" RevisionGUID="1f9c79cb-949a-44fb-a130-0882c6a94c1c" CreationDate="2013-06-08T18:37:37.347" UserId="4272" Text="Where to Record in Greater Vancouver Area" ContentLicense="CC BY-SA 3.0" />
  <row Id="31609" PostHistoryTypeId="3" PostId="19481" RevisionGUID="1f9c79cb-949a-44fb-a130-0882c6a94c1c" CreationDate="2013-06-08T18:37:37.347" UserId="4272" Text="&lt;vancouver&gt;&lt;field-recording&gt;&lt;location&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31611" PostHistoryTypeId="2" PostId="19483" RevisionGUID="07377d37-bc11-4f42-9e6b-a9b2320d1b16" CreationDate="2013-06-09T07:46:23.993" UserDisplayName="user49" Text="i tend to want a lot of options available, for comparison etc... so aside from my editing tracks and stems i tend to also use seperate library tracks in my main work super-session, and i dedicate a track to each library category of whatever i am working on....&#xD;&#xA;&#xD;&#xA;library tracks also get used for bulk importing, and organisation eg when i returned from Samoa with eg 70 ambience quad recordings, they all went on to a set of library tracks... easy to skip thru, locate etc....&#xD;&#xA;&#xD;&#xA;whatever process or setup you use, the main goal is that it makes it easy to find things, and sometimes that is about memory - do you remember where you stashed that particular sound?&#xD;&#xA;&#xD;&#xA;by using library tracks it means you can also colour code files on the tracks, and use markers to locate or tag material&#xD;&#xA;&#xD;&#xA;if i am working on a 6 reel film, the first file on a library track is at 07.00.00.00&#xD;&#xA;&#xD;&#xA;having library tracks also means you can easily transfer them into another session... and ignore them when conforming, and reimport to conformed sess if/when necessary...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31612" PostHistoryTypeId="2" PostId="19484" RevisionGUID="60614c3f-b70d-469e-b8e1-c0fe35af2492" CreationDate="2013-06-09T12:52:07.643" UserId="103" Text="While i was there, me and a friend found a small abandoned airport, one hour southeast of Vancouver. We drove there after dinner just to record torches, we ended up leaving at 2PM, the place was great!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31613" PostHistoryTypeId="2" PostId="19485" RevisionGUID="44f1a873-13f5-4cbf-a197-ef7b0ca732b6" CreationDate="2013-06-09T18:22:17.140" UserId="6116" Text="Hey everyone.  Just joined today, seems like a really cool forum!  I have a question I would love to hear everyone's feedback on.&#xD;&#xA;&#xD;&#xA;I have been working with a production company handling some of their short films and a few commercial specs.  Almost every job I have been underpaid but it has at least been a consistent workflow so I've accepted the fact.  &#xD;&#xA;&#xD;&#xA;They now want me to design the sound for the Logo that will appear on every one of their productions.  &#xD;&#xA;&#xD;&#xA;I am curious if there is standard contract for something like this...  Do I retain any ownership of the audio and get royalties when they use it?  Any contracts out there that I can look at that deal with this?&#xD;&#xA;&#xD;&#xA;I'd hate to design something for a couple hundred bucks that gets used in perpetuity and never see another dime for my efforts.&#xD;&#xA;&#xD;&#xA;Any thoughts???&#xD;&#xA;&#xD;&#xA;Thank You!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31614" PostHistoryTypeId="1" PostId="19485" RevisionGUID="44f1a873-13f5-4cbf-a197-ef7b0ca732b6" CreationDate="2013-06-09T18:22:17.140" UserId="6116" Text="Sound Design for a Company's Logo" ContentLicense="CC BY-SA 3.0" />
  <row Id="31615" PostHistoryTypeId="3" PostId="19485" RevisionGUID="44f1a873-13f5-4cbf-a197-ef7b0ca732b6" CreationDate="2013-06-09T18:22:17.140" UserId="6116" Text="&lt;sound-logos&gt;&lt;logo&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31616" PostHistoryTypeId="2" PostId="19486" RevisionGUID="2167f3a7-4580-44c0-976f-30bae8098cfa" CreationDate="2013-06-09T19:31:56.813" UserId="3179" Text="If it's a large and wealthy company and they use their brand in many media and occasions, then be sure to make clear where and in which context(s) (e.g. as a part of a designated advertisement) the sound that you make is allowed to be used for the fees that you receive. That way it won't be used in ways that you didn't think it would be used so if you're initially making the sound for e.g. to be used in a designated TV advertisement, then when they sometime decide to put that same sound to e.g. on their website or make a new advertisement you'll be able to say: &quot;Aha! Our contract didn't say that using this sound on the website / in a newly produced advertisement was included in the previous fee that I received. Lets make a new contract or modify the current contract and add a new payment for the use the sound on your website / in a new advertisement!&quot;.&#xD;&#xA;&#xD;&#xA;If it's a brand identity, they won't let you own the rights, but want to acquire/license exclusively the sound to be included in their own IP. Otherwise it would be possible that their company sound logo would be used in another context, which they obviously don't want.&#xD;&#xA;&#xD;&#xA;Royalties per use or e.g. per a number of uses may also be negotiable, but depending on how widespread the use is, it may be complicated and cause paperwork (plus they will want to own it, if it's part of their brand). Although if they know themselves, how many uses there will be (e.g. they buy purchase advertisement space or time in numbers), it may be more feasible." ContentLicense="CC BY-SA 3.0" />
  <row Id="31617" PostHistoryTypeId="5" PostId="19486" RevisionGUID="3c8a66c2-2171-4599-b2d0-657a2e3aeab3" CreationDate="2013-06-09T19:39:35.423" UserId="3179" Comment="deleted 4 characters in body; deleted 3 characters in body" Text="If it's a large and wealthy company and they use their brand in many media and occasions, then be sure to make clear where and in which context(s) (e.g. as a part of a designated advertisement) the sound that you make is allowed to be used for the fees that you receive. That way it won't be used in ways that you didn't think it would be used so if you're initially making the sound for e.g. to be used in a designated TV advertisement, then when they sometime decide to put that same sound on e.g. their website or make a new advertisement you'll be able to say: &quot;Aha! Our contract didn't say that using this sound on the website / in a newly produced advertisement was included in the previous fee that I received. Lets make a new contract or modify the current contract and add a new payment for the use the sound on your website / in a new advertisement!&quot;.&#xD;&#xA;&#xD;&#xA;If it's a brand identity, they won't let you own the rights, but want to acquire/license exclusively the sound to be included in their own IP. Otherwise it would be possible that their company sound logo would be used in another context, which they obviously don't want.&#xD;&#xA;&#xD;&#xA;Royalties per use or e.g. per a number of uses may also be negotiable, but depending on how widespread the use is, it may be complicated and cause paperwork (plus they will want to own it, if it's part of their brand). Although if they know themselves, how many uses there will be (e.g. they purchase advertisement space or time in numbers), it may be more feasible." ContentLicense="CC BY-SA 3.0" />
  <row Id="31618" PostHistoryTypeId="5" PostId="19486" RevisionGUID="7e179686-a521-4cc5-a015-bab5eaa3c4fe" CreationDate="2013-06-09T19:52:27.363" UserId="3179" Comment="added 21 characters in body" Text="If it's a large and wealthy company and they use their brand in many media and occasions, then be sure to make clear where and in which context(s) (e.g. as a part of a designated advertisement or during a campaign) the sound that you make is allowed to be used for the fees that you receive. That way it won't be used in ways that you didn't think it would be used so if you're initially making the sound for e.g. to be used in a designated TV advertisement, then when they sometime decide to put that same sound on e.g. their website or make a new advertisement you'll be able to say: &quot;Aha! Our contract didn't say that using this sound on the website / in a newly produced advertisement was included in the previous fee that I received. Lets make a new contract or modify the current contract and add a new payment for the use the sound on your website / in a new advertisement!&quot;.&#xD;&#xA;&#xD;&#xA;If it's a brand identity, they won't let you own the rights, but want to acquire/license exclusively the sound to be included in their own IP. Otherwise it would be possible that their company sound logo would be used in another context, which they obviously don't want.&#xD;&#xA;&#xD;&#xA;Royalties per use or e.g. per a number of uses may also be negotiable, but depending on how widespread the use is, it may be complicated and cause paperwork (plus they will want to own it, if it's part of their brand). Although if they know themselves, how many uses there will be (e.g. they purchase advertisement space or time in numbers), it may be more feasible." ContentLicense="CC BY-SA 3.0" />
  <row Id="31619" PostHistoryTypeId="4" PostId="19485" RevisionGUID="d75d397b-21c3-4a88-92ed-74cd4974a8bb" CreationDate="2013-06-09T20:01:49.947" UserId="3179" Comment="edited title" Text="Company Sound Logo Contracts/Licensing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31620" PostHistoryTypeId="5" PostId="19470" RevisionGUID="183b5fa1-4e96-47cd-8f27-b98993501239" CreationDate="2013-06-09T20:12:50.627" UserId="3179" Comment="added 62 characters in body; added 4 characters in body" Text="An artist **is** an artist.&#xD;&#xA;&#xD;&#xA;Yes, you may operate equipment, which is also what technicians do.&#xD;&#xA;&#xD;&#xA;Yes, you may study or be influenced/inspired by human psychology, which is what psychologists do.&#xD;&#xA;&#xD;&#xA;But to consider an artist a technician would be a bad analogy. To consider an artist a psychologist would be a false analogy. **Art is not about equipment, art is about human expression and/or the creation of beautiful or interesting things.** Nor is art genuinely (in a scientific way) about human psychology. Technology (and designing, operating and installing it) on the other hand is about equipment and getting useful things done." ContentLicense="CC BY-SA 3.0" />
  <row Id="31621" PostHistoryTypeId="5" PostId="19216" RevisionGUID="61162a0c-dd21-4d27-98be-48073a64230d" CreationDate="2013-06-09T20:19:47.280" UserId="300" Comment="Rant removal.." Text="&#xD;&#xA;I'm using touchOSC and Osculator on my iPad.&#xD;&#xA;&#xD;&#xA;Which plugins do you know of (RTAS or AAX) that have OSC or MIDI control functionality inbuilt by the manufacturer? I'm not talking so much about Instruments, more FX --- EQ \ Reverbs \ Delays \ Etc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The ones I know about so far&#xD;&#xA;&#xD;&#xA;-Fab Filter plugins (which are pretty cool)&#xD;&#xA;http://www.fabfilter.com/&#xD;&#xA;&#xD;&#xA;-Blue Cat Audio&#xD;&#xA;http://www.bluecataudio.com/Products/Bundle_AllPluginsPack/&#xD;&#xA;&#xD;&#xA;-Massive&#xD;&#xA;http://www.native-instruments.com/en/products/komplete/synths-samplers/massive/&#xD;&#xA;&#xD;&#xA;-Izotope IRIS&#xD;&#xA;&#xD;&#xA;-NI Reaktor&#xD;&#xA;&#xD;&#xA;Suggestions?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31622" PostHistoryTypeId="2" PostId="19487" RevisionGUID="667d385e-4fa2-4ddc-b6fa-900bc263cd8a" CreationDate="2013-06-09T22:16:32.630" UserId="6105" Text="Thanks for your responses. The answer turned out to be 38 hours of pain." ContentLicense="CC BY-SA 3.0" />
  <row Id="31623" PostHistoryTypeId="2" PostId="19488" RevisionGUID="c5092510-609a-477f-8473-e0d49d2e5f36" CreationDate="2013-06-09T22:55:47.300" UserId="6117" Text="To both you guys if you are looking for an opportunity to do some sound designing, One of our clients needs some basic sound design for a new iphone app about to come to market.&#xD;&#xA;&#xD;&#xA;Check out their needs at: http://contest.vinylmint.com/contest/contest-podium-pro/" ContentLicense="CC BY-SA 3.0" />
  <row Id="31625" PostHistoryTypeId="2" PostId="19490" RevisionGUID="2117d84f-5335-4ce2-9286-d1f1549f37a7" CreationDate="2013-06-10T00:49:11.403" UserId="5880" Text="Last week I was on a WW2 period short where the SS officers were wearing woolen uniforms.  The noise from the wool rubbing on itself was incredibly loud, but fortunately most of the time they were wearing hats.  I was using Lectrasonic transmitters with COS-11 mics, and just taped the mics to the underside of the hat brim - perfect clean audio.  &#xD;&#xA;There were a few scenes where the main character had his hat off, which meant I had to reconsider mic placement.  If the scene allowed I would plant the mic on set instead (office, little actor movement), but for two scenes I had no option but to plant it on the uniform.  I used every trick I knew, but sometimes the costume material just makes too much noise on its own to be able to work around." ContentLicense="CC BY-SA 3.0" />
  <row Id="31626" PostHistoryTypeId="2" PostId="19491" RevisionGUID="85edd77e-78eb-432d-826d-8aab300102d9" CreationDate="2013-06-10T14:58:33.413" UserId="6119" Text="hello everybody.I ask for the first time.&#xD;&#xA;&#xD;&#xA;By a recent movie and game of gun-movement、&#xD;&#xA;How does everybody make a sound?&#xD;&#xA;What kind of material do you do foley?&#xD;&#xA;&#xD;&#xA;Thank you very much for your help." ContentLicense="CC BY-SA 3.0" />
  <row Id="31627" PostHistoryTypeId="1" PostId="19491" RevisionGUID="85edd77e-78eb-432d-826d-8aab300102d9" CreationDate="2013-06-10T14:58:33.413" UserId="6119" Text="How do yo record gun-movement foley?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31628" PostHistoryTypeId="3" PostId="19491" RevisionGUID="85edd77e-78eb-432d-826d-8aab300102d9" CreationDate="2013-06-10T14:58:33.413" UserId="6119" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31629" PostHistoryTypeId="2" PostId="19492" RevisionGUID="72f0b47f-9952-41f8-9e71-f5484e99109c" CreationDate="2013-06-10T16:04:50.310" UserId="29" Text="If you're talking specific sounds like slide racks, mag inserts, and such, you should actually record a real weapon if you have the time and budget. Or, buy someone else's gun foley FX: Chuck Russom had a nice gun foley pack for sale, and *many* others do, too, on both the indie and large-scale commercial sides. Faster, cheaper...and safer.&#xD;&#xA;&#xD;&#xA;If you mean generic weapon movements, my understanding is that the general clackety-clack of weapon movement is a trope of cinema and not at all realistic - which is OK. But this is *sound design*, right? Part of the joy and challenge is to just look and listen for what else would fit the bill. For example, I've made science fiction weapon movement sounds with an [old-style apple corer][1], with great results.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.shutterstock.com/pic-107835/stock-photo-a-stainless-steel-apple-peeler-corer.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="31633" PostHistoryTypeId="2" PostId="19494" RevisionGUID="b9b352d3-16c5-44e8-8e25-2a77a1f21fca" CreationDate="2013-06-10T19:08:47.097" UserId="6435" Text="I use a metal three-hole punch for lots of my wouldn't-happen-in-real-life weapons movement. As NoiseJockey said, for the specific operating sounds try to use the genuine article." ContentLicense="CC BY-SA 3.0" />
  <row Id="31634" PostHistoryTypeId="2" PostId="19495" RevisionGUID="a3065f50-5a45-463e-8c8c-fcda8bb80370" CreationDate="2013-06-10T19:38:40.160" UserId="565" Text="Great question.&#xD;&#xA;&#xD;&#xA;Vancouver is a very noisy place.  I have had some success recording up at the Cypress Bowl parking lot.  You may get some birds in your recordings though if you go at the wrong time (dawn and dusk)  It's a great place to go just as the ski season ends in early March.&#xD;&#xA;&#xD;&#xA;As for other areas, it can be really hit or miss.  Due to the lay of the land, there is either a hiway not far away, or you are in one of the many flight paths for air traffic coming and going to YVR.&#xD;&#xA;&#xD;&#xA;The airport that Filipe mentioned is Boundary Bay Airport in Ladner.  It's not abandonded, just a low traffic small aircraft airport.  You can find some good areas in Ladner away from the roads, but the air traffic is always a concern it you are trying to record ambiences. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31635" PostHistoryTypeId="2" PostId="19496" RevisionGUID="8f9bbfdd-c7ca-4f4a-8e08-43309a8dc3ae" CreationDate="2013-06-10T20:45:55.483" UserId="6059" Text="Director wants a lot of ricochet sounds. Am wondering how your treat these. They are so short. Do you pan them from one speaker to another very quickly, or just drop it in one speaker?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31636" PostHistoryTypeId="1" PostId="19496" RevisionGUID="8f9bbfdd-c7ca-4f4a-8e08-43309a8dc3ae" CreationDate="2013-06-10T20:45:55.483" UserId="6059" Text="Panning gun ricochet sounds in surrounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="31637" PostHistoryTypeId="3" PostId="19496" RevisionGUID="8f9bbfdd-c7ca-4f4a-8e08-43309a8dc3ae" CreationDate="2013-06-10T20:45:55.483" UserId="6059" Text="&lt;sound-effects&gt;&lt;surround-sound&gt;&lt;production-mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31638" PostHistoryTypeId="2" PostId="19497" RevisionGUID="5fb45a48-b7d0-4b17-b349-00e73d4b4e1e" CreationDate="2013-06-10T20:48:02.360" UserId="3979" Text="Adding to what joe said, on no budget in a pinch I've purchased a staple gun ($15) and processed it to make it work as hand gun movement, drops, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="31639" PostHistoryTypeId="2" PostId="19498" RevisionGUID="4eb151ed-1eee-4117-9c69-8fa872dbe9d4" CreationDate="2013-06-10T23:58:39.987" UserId="432" Text="I'd just drop them in one speaker and delays/reverb returns to other channels as necessary to sit them in space. Depending on the length of ricochet sound, I'll sometimes automate a divergence spread (point to wide)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31640" PostHistoryTypeId="2" PostId="19499" RevisionGUID="a1b2b711-0445-47f8-b448-89bb811431b1" CreationDate="2013-06-11T00:00:41.573" UserId="432" Text="Staplers (particularly if you can find an older one that's all metal) and wine bottle cork screws (the kind that has the arms you pull down after screwing into the cork) work great for what you're looking for." ContentLicense="CC BY-SA 3.0" />
  <row Id="31641" PostHistoryTypeId="2" PostId="19500" RevisionGUID="46246543-362d-4ea6-86c8-cbef31f58151" CreationDate="2013-06-11T02:00:44.610" UserDisplayName="user49" Text="I had a heinous scene in Warriors Way, which only made sense once I crawled through placing/panning the shot location, then placing the impact location and then connecting the two with the bullet whizz - the scene went from a mess to be far more dramatic and clearly defined...&#xD;&#xA;&#xD;&#xA;As you say the sound is so fast, the more difficult part is actually make it work so it 'reads' as a bullet by.... Depending on what else is happening you may favour the surround (ie have more of the whizz or ricco in the surrounds for it to rate) &#xD;&#xA;&#xD;&#xA;With bullet doppler whizzes it can work well to chop it in half and having the first half eg in front L and the last half in right surround - so rather than a pan its a jump cut from front to back. Of course the pan placement for the start needs to match where the gun is and placement of the end needs to be where the destination is.... If a ricco is part of the bullet impact at destination then it is likely a discrete location&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31642" PostHistoryTypeId="2" PostId="19501" RevisionGUID="da366a7b-ceee-4e38-8dd8-9775dc95fe57" CreationDate="2013-06-11T02:11:11.620" UserDisplayName="user49" Text="&quot;my wouldn't-happen-in-real-life weapons movement&quot; &lt;- thats a great term!&#xD;&#xA;&#xD;&#xA;I've used a car jack for exactly this - many years ago I owned a Ford Escort and its jack was great as it had enough weight.... A long time after I sold the car I bought a jack from one - handy prop for a foley room!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31643" PostHistoryTypeId="2" PostId="19502" RevisionGUID="7a4f112d-386a-4b8a-a93d-e2528056cf83" CreationDate="2013-06-11T05:18:25.640" UserId="6122" Text="I'm looking for a book that can help me understand every detail on how to make sounds from scratch and not just manipulate presets. I've been producing music for the past 2 years and i've created some really nice pieces, but it just feels impossible to get the extremely dark and massive cinema sounds i want. Thank you! :) This is a really nice community btw." ContentLicense="CC BY-SA 3.0" />
  <row Id="31644" PostHistoryTypeId="1" PostId="19502" RevisionGUID="7a4f112d-386a-4b8a-a93d-e2528056cf83" CreationDate="2013-06-11T05:18:25.640" UserId="6122" Text="What's a really good book to get deep into sound design??" ContentLicense="CC BY-SA 3.0" />
  <row Id="31645" PostHistoryTypeId="3" PostId="19502" RevisionGUID="7a4f112d-386a-4b8a-a93d-e2528056cf83" CreationDate="2013-06-11T05:18:25.640" UserId="6122" Text="&lt;music&gt;&lt;sound-design&gt;&lt;cinema&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31646" PostHistoryTypeId="2" PostId="19503" RevisionGUID="8787e0c0-4c8b-413f-b5b4-8932fdec2ccd" CreationDate="2013-06-11T05:53:45.207" UserId="1228" Text="Metal wine bottle openers work good too - good more more of the smaller ticky-tacky subtleties of a pistol.  One of the old-style ones like this: http://gotsole.files.wordpress.com/2011/12/wine-opener1.jpg&#xD;&#xA;&#xD;&#xA;Might have to play with it to get the right kind of sound.&#xD;&#xA;&#xD;&#xA;Oops, Shaun beat me too it... so in that case, I concur!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31647" PostHistoryTypeId="2" PostId="19504" RevisionGUID="99aec178-bec4-4053-ae81-c1f51301c013" CreationDate="2013-06-11T06:55:35.713" UserDisplayName="user80" Text="You might want to start with Andy Farnell's Designing Sound.&#xD;&#xA;&#xD;&#xA;http://mitpress.mit.edu/books/designing-sound&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31648" PostHistoryTypeId="2" PostId="19505" RevisionGUID="29f38e2e-50fa-4fe2-9893-077da12ae2b9" CreationDate="2013-06-11T06:58:59.190" UserId="348" Text="There are a number of sources you can look into but not all of them are accurate. David Sonnenschien is great for explaining how to set up projects, how to analyze your script, how to create transitions, evoke the emotional energy of a a sonic landscape etc. Other good books or websites are:&#xD;&#xA;&#xD;&#xA;The Foley Grail&#xD;&#xA;www.epicsound.com&#xD;&#xA;www.soundworkscollection.com&#xD;&#xA;&#xD;&#xA;They are very good at explaining how to make sounds, share ideas and watch how the pro's do it. &#xD;&#xA;&#xD;&#xA;Good luck&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31649" PostHistoryTypeId="2" PostId="19506" RevisionGUID="1a5762a2-b170-48ac-8c02-173be3032c54" CreationDate="2013-06-11T07:08:02.653" UserId="3567" Text="I would add this for holstering and unholstering weapons: pulling different clothes out of a backpack until you're satisfied with the result." ContentLicense="CC BY-SA 3.0" />
  <row Id="31650" PostHistoryTypeId="2" PostId="19507" RevisionGUID="c2090b75-cc33-42e5-a038-7988a5279c4a" CreationDate="2013-06-11T08:34:42.747" UserId="348" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I am in a bit of a conundrum. I teach at a film school where we are currently working on PT 9 with 2 MAC's on PT10. I do have the opportunity to upgrade to PT 11 but with all the negative reports floating about I am quite apprehensive to upgrade until I know the system is stable and will accommodate all the plug-in's etc. But I have also read up on PT 10 and there are also issues with this system as well- plug-in upgrades not working, cost of upgrading etc. &#xD;&#xA;&#xD;&#xA;I am still nervous about spending money on a system that will not accommodate what I have on the existing PT 9. &#xD;&#xA;&#xD;&#xA;What are your experiences and what do you think are the risks involved in upgrading?&#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31651" PostHistoryTypeId="1" PostId="19507" RevisionGUID="c2090b75-cc33-42e5-a038-7988a5279c4a" CreationDate="2013-06-11T08:34:42.747" UserId="348" Text="Upgrading to PT 10 or stay on PT 9" ContentLicense="CC BY-SA 3.0" />
  <row Id="31652" PostHistoryTypeId="3" PostId="19507" RevisionGUID="c2090b75-cc33-42e5-a038-7988a5279c4a" CreationDate="2013-06-11T08:34:42.747" UserId="348" Text="&lt;protools&gt;&lt;9&gt;&lt;10&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31653" PostHistoryTypeId="2" PostId="19508" RevisionGUID="08858aea-1976-4203-904c-4065d59ceb82" CreationDate="2013-06-11T09:42:29.240" UserId="3179" Text="I suggest waiting until the software gets appropriate bug fixes, if you don't have immediate needs for upgrading.&#xD;&#xA;&#xD;&#xA;&gt; what do you think are the risks involved in upgrading?&#xD;&#xA;&#xD;&#xA;Wasting time on fighting with incomplete software. Not getting work done.&#xD;&#xA;&#xD;&#xA;&gt; I am still nervous about spending money on a system that will not accommodate what I have on the existing PT 9.&#xD;&#xA;&#xD;&#xA;So there's no backwards compatibility or is it broken in PT11? Or was this the case of dropping RTAS/TDM? If it's the case of dropping RTAS/TDM, then I would not upgrade (possibly at all), because it's possible that AAX versions will not be available or that they won't be provided free of cost." ContentLicense="CC BY-SA 3.0" />
  <row Id="31654" PostHistoryTypeId="5" PostId="19508" RevisionGUID="de88944f-002c-4e98-aa59-d13f9a3404bb" CreationDate="2013-06-11T09:49:14.627" UserId="3179" Comment="added 84 characters in body" Text="I suggest waiting until the software gets appropriate bug fixes, if you don't have immediate needs for upgrading.&#xD;&#xA;&#xD;&#xA;&gt; what do you think are the risks involved in upgrading?&#xD;&#xA;&#xD;&#xA;Wasting time on fighting with incomplete software. Not getting work done.&#xD;&#xA;&#xD;&#xA;&gt; I am still nervous about spending money on a system that will not accommodate what I have on the existing PT 9.&#xD;&#xA;&#xD;&#xA;So there's no backwards compatibility or is it broken in PT11? Or was this the case of dropping RTAS/TDM? If it's the case of dropping RTAS/TDM, then I would not upgrade (possibly at all), because it's possible that AAX versions will not be available or that they won't be provided free of cost. And well, everyone can see that it's just part of Avid's yet another cash cow plan." ContentLicense="CC BY-SA 3.0" />
  <row Id="31655" PostHistoryTypeId="2" PostId="19509" RevisionGUID="957b88f6-100f-47b9-8390-0aed9dfdf2b8" CreationDate="2013-06-11T13:25:18.750" UserId="4442" Text="I haven't read the David Sonnenschein book, but it's on my list.&#xD;&#xA;&#xD;&#xA;Depending on what you planning on doing, Ric Viers The Sound Effects Bible is a 100% must. It's an easy read and really more of a reference book. Incredible though. Changed me after I got through it, I approached everything differently.&#xD;&#xA;&#xD;&#xA;The second if you want to do a lot of field stuff is Ric's Location Sound Bible. There is definitely a lot of overlap with the two books, but when you do the SFX bible, you'll be able to cruise through the first few chapters of LSB.&#xD;&#xA;&#xD;&#xA;I've heard that Paul Vrostek's Field Recording Manual is also very good." ContentLicense="CC BY-SA 3.0" />
  <row Id="31656" PostHistoryTypeId="2" PostId="19510" RevisionGUID="d47d2bae-6082-4053-856a-47cd002adeb1" CreationDate="2013-06-11T13:54:58.803" UserId="6123" Text="I find, certainly with short notification sounds or even power-upesque sounds, that creating a a small arpeggio works. Put some delay on this, then pitch it up so that it affects the speed also, until you find the sweet spot." ContentLicense="CC BY-SA 3.0" />
  <row Id="31657" PostHistoryTypeId="2" PostId="19511" RevisionGUID="c02ff566-3d5e-448c-a62d-8835749e6682" CreationDate="2013-06-11T18:39:10.090" UserId="6420" Text="Hi all,&#xD;&#xA;&#xD;&#xA;Currently working on a project where the use of &quot;off screen&quot; background sounds (ie streets, car passbys, crowds etc)in interior locations is very important. Any interesting tips on effectively making recorded sounds appear more like they're coming through a wall/obstruction?&#xD;&#xA;&#xD;&#xA;Obviously been playing with EQ, volume and reverb, as well as editing the sounds so nothing too transient sticks through, but was wondering people's fave tips were on this?&#xD;&#xA;&#xD;&#xA;Any particular EQ shapes, reverb types/settings that are particular &quot;go to's&quot; would be cool to hear! &#xD;&#xA;&#xD;&#xA;Worldizing isn't an option for me on this though, but I guess that'd be one future option!&#xD;&#xA;Cheers " ContentLicense="CC BY-SA 3.0" />
  <row Id="31658" PostHistoryTypeId="1" PostId="19511" RevisionGUID="c02ff566-3d5e-448c-a62d-8835749e6682" CreationDate="2013-06-11T18:39:10.090" UserId="6420" Text="Making recorded ambient/BG sounds more like they're coming through a wall/window effectively?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31659" PostHistoryTypeId="3" PostId="19511" RevisionGUID="c02ff566-3d5e-448c-a62d-8835749e6682" CreationDate="2013-06-11T18:39:10.090" UserId="6420" Text="&lt;background&gt;&lt;ambience&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31660" PostHistoryTypeId="2" PostId="19512" RevisionGUID="f9f78d43-3300-40c7-acc6-34b8bf20024b" CreationDate="2013-06-11T18:44:13.457" UserId="3567" Text="Lowpass filters usually do the trick. But if you're willing to go the extra mile (and if you have the equipment), you can record some stuff from inside and then compare the spectral analyses." ContentLicense="CC BY-SA 3.0" />
  <row Id="31661" PostHistoryTypeId="2" PostId="19513" RevisionGUID="956e0236-88d8-4af1-8d7e-c069ef078ab9" CreationDate="2013-06-11T19:05:25.090" UserId="315" Text="[Altiverb &quot;Next Door&quot;][1] impulse responses are great for this sort of thing. &#xD;&#xA;&#xD;&#xA;Of course, nothing beats well recorded interior BGs.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=6xqk_T_VXLA" ContentLicense="CC BY-SA 3.0" />
  <row Id="31663" PostHistoryTypeId="2" PostId="19515" RevisionGUID="89971995-2655-485a-90d9-806f16aed7c4" CreationDate="2013-06-11T21:23:23.917" UserId="1228" Text="Does anyone happen to have a recording of Japanese bamboo fountain they might be willing to share/trade?  Unfortunately I'm not in a position to recording one at the moment, although I have wanted to record these for a while in their natural, outdoor environment.&#xD;&#xA;&#xD;&#xA;I'm speaking of this: http://en.wikipedia.org/wiki/Shishi-odoshi&#xD;&#xA;&#xD;&#xA;I would prefer something where you can both hear the hit and water trickles/pours (it's going to play mostly offstage so if it's just the 'hit' by itself it won't read all too well - I can automate the hit transients down a touch to balance if needed).  Only one recording long enough to loop (and not sound loopy) should be fine.&#xD;&#xA;&#xD;&#xA;Overall not a big deal, I can live without it, but if someone might be willing to do a share/trade I would be grateful.  As always, willing to do a trade.  Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31664" PostHistoryTypeId="1" PostId="19515" RevisionGUID="89971995-2655-485a-90d9-806f16aed7c4" CreationDate="2013-06-11T21:23:23.917" UserId="1228" Text="REQUEST: Japanese fountain / Shishi-odoshi" ContentLicense="CC BY-SA 3.0" />
  <row Id="31665" PostHistoryTypeId="3" PostId="19515" RevisionGUID="89971995-2655-485a-90d9-806f16aed7c4" CreationDate="2013-06-11T21:23:23.917" UserId="1228" Text="&lt;ambience&gt;&lt;water&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31666" PostHistoryTypeId="2" PostId="19516" RevisionGUID="247c14a3-be9b-4b9b-8f5c-8544110318fc" CreationDate="2013-06-11T22:02:39.520" UserId="6532" Text="Proper stereo image is also important. One of the reasons many exterior BGs don't seem to work at first for interior locations is that they're too wide. If you pull them in quite a bit (maybe even mono all the way for some) it helps a lot. Same with distant car passes and the like." ContentLicense="CC BY-SA 3.0" />
  <row Id="31668" PostHistoryTypeId="2" PostId="19517" RevisionGUID="b3001237-67d4-4f93-aed1-b0c0baf328e1" CreationDate="2013-06-12T00:29:56.293" UserId="6124" Text="I tend to avoid multi-band compressors.  Why should an instrument have different tone settings, because it got louder in the mix?  They always seem to change the EQ in an unpredictable way.  That being said; are they expensive for just an EQ?  Maybe not to pros; but with Alloy, you also get a number of extras.  Which sounds better?  Both have demos.  I'd suggest listening both on program material you'd like to use it for, and listen very critically.  Try different instruments too, and different plugins on the same material with the same settings; to A/B them.  I've liked Ozone for quite some time pretty well; but for its harmonic exiciter - a very difficult thing to get right, but they do very well.  The Alloy 2 EQ has more features than the Ozone one.  EQ's I like right now: the SPL passive EQ's (I'm still trying to decide how much I like them) and the Sonnox Oxford EQ isn't very flexible, but it clearly won a shootout between several I conducted some time ago.  Another very strong contender: Uniquelizer.  It has several types of EQ for each band, practically unlimited bands, and a unique harmonic EQ, which takes out not only a notch, but also that notch at higher octaves - useful for getting out line hum reportedly." ContentLicense="CC BY-SA 3.0" />
  <row Id="31669" PostHistoryTypeId="5" PostId="19517" RevisionGUID="b6565394-3771-4284-9c63-0700aa25b313" CreationDate="2013-06-12T00:44:46.300" UserId="6124" Comment="added 16 characters in body" Text="I tend to avoid multi-band compressors.  Why should an instrument have different tone settings because it got louder in the mix?  They always seem to change the EQ in an unpredictable way.  That being said; are the two you mentioned expensive for just an EQ?  Maybe not to pros; but with Alloy, you also get a number of extras.  Which sounds better?  Both have demos.  I'd suggest listening both on program material you'd like to use it for, and listen very critically.  Try different instruments too, and different plugins on the same material with the same settings; to A/B them.  I've liked Ozone for quite some time pretty well; but for its harmonic exiciter - a very difficult thing to get right, but they do very well.  The Alloy 2 EQ has more features than the Ozone one.  EQ's I like right now: the SPL passive EQ's (I'm still trying to decide how much I like them) and the Sonnox Oxford EQ isn't very flexible, but it clearly won a shootout between several I conducted some time ago.  Another very strong contender: Uniquelizer.  It has several types of EQ for each band, practically unlimited bands, and a unique harmonic EQ, which takes out not only a notch, but also that notch at higher octaves - useful for getting out line hum reportedly." ContentLicense="CC BY-SA 3.0" />
  <row Id="31670" PostHistoryTypeId="5" PostId="19517" RevisionGUID="361a6f0b-cc37-44d6-97b0-18f79fba041d" CreationDate="2013-06-12T00:49:46.980" UserId="6124" Comment="added 54 characters in body" Text="I tend to avoid multi-band compressors.  Why should an instrument have different tone settings because it got louder in the mix?  They always seem to change the EQ in an unpredictable way.  That being said; are the two you mentioned expensive for just an EQ?  Maybe not to pros; but with Alloy, you also get a number of extras.  Which sounds better?  Both have demos.  I'd suggest listening both on program material you'd like to use it for, and listen very critically.  Try different instruments too, and different plugins on the same material with the same settings; to A/B them.  I've liked Ozone for quite some time pretty well; but for its harmonic exiciter - a very difficult thing to get right, but they do very well.  The Alloy 2 EQ has more features than the Ozone one.  EQ's I like right now: the SPL passive EQ's (I'm still trying to decide how much I like them) and the Sonnox Oxford EQ isn't very flexible, but it clearly won a shootout between several I conducted some time ago.  Another very strong contender: Uniquelizer.  It has several types of EQ for each band, practically unlimited bands, and a unique harmonic EQ, which takes out not only a notch, but also that notch at higher octaves - useful for getting out line hum reportedly.  Finally, SSL has an interesting parallel EQ concept." ContentLicense="CC BY-SA 3.0" />
  <row Id="31671" PostHistoryTypeId="2" PostId="19518" RevisionGUID="b590f447-84b3-4c51-a755-97dbc4008d09" CreationDate="2013-06-12T00:56:12.037" UserId="6124" Text="Think of it this way.  Do you think you could ever EQ Jimmy Durante singing to sound like David Clovedale of Whitesnake, Whitney Houston, Robert Plant, etc.?  Good sound is usually made by having GOOD equipment at each stage of the process; not by having trashy sound that some plugin is trying to make up for.  If you don't put it in in the first place, good EQ is unlikely to make up for it never having been there to begin with." ContentLicense="CC BY-SA 3.0" />
  <row Id="31672" PostHistoryTypeId="5" PostId="19518" RevisionGUID="7c3b9ea1-216f-406a-9737-bbc0ab316c04" CreationDate="2013-06-12T01:04:42.737" UserId="6124" Comment="added 1009 characters in body" Text="Think of it this way.  Do you think you could ever EQ Jimmy Durante singing to sound like David Clovedale of Whitesnake, Whitney Houston, Robert Plant, etc.?  Good sound is usually made by having GOOD equipment at each stage of the process; not by having trashy sound that some plugin is trying to make up for.  If you don't put it in in the first place, good EQ is unlikely to make up for it never having been there to begin with.&#xD;&#xA;&#xD;&#xA;Thought of in terms of bandwidth, can you compress a large text file down to three bytes, and expect to get the original back?  Can you take an eight bit recording, upsample it to 16, and expect the lower eight bits to be of similar quality as if you had recorded it in 16 in the first place?  You are starting with less detail; i.e. less information.  How do you propose to add the missing information?  With static EQ settings?  I have a friend who has been in music for 30+ years; and still cannot see why upsampling a low bit depth signal doen't yield a high quality one.  Save yourself a lot of bad mixes and listen to me: do every part of the process right, if you want high-quality results.  You may be able to leave out some steps and get your result sometimes, but you may never let one step degrade the signal, thereby losing information, and expect to get similar quality to if it had been done right in the first place.  By &quot;polishing a turd&quot;, you will never get a silk purse or a juicy steak." ContentLicense="CC BY-SA 3.0" />
  <row Id="31678" PostHistoryTypeId="2" PostId="19521" RevisionGUID="3e5cfc63-2d8f-4681-8890-676bc17252e7" CreationDate="2013-06-12T07:43:28.927" UserDisplayName="user49" Text="I have one, recorded in Nikko Japan - happy to trade for something equally idiosyncratic :)&#xD;&#xA;email me so i don't forget tim@soundbite.co.nz&#xD;&#xA;&#xD;&#xA;You will have automate levels/layer water trickle with it - the 'klunk' is so much louder than anything else....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/japan-field-trip-shishi-odoshi" ContentLicense="CC BY-SA 3.0" />
  <row Id="31679" PostHistoryTypeId="2" PostId="19522" RevisionGUID="eced0a01-ff97-4c0e-a989-4d4854e7e713" CreationDate="2013-06-12T09:38:11.320" UserId="5605" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;What's your general workflow when treating dialogue recordings that were done with a lav mic? What do you look out for? Any general frequencies that I should be mindful of? Compression?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31680" PostHistoryTypeId="1" PostId="19522" RevisionGUID="eced0a01-ff97-4c0e-a989-4d4854e7e713" CreationDate="2013-06-12T09:38:11.320" UserId="5605" Text="Treating dialogue recorded on a lav mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="31681" PostHistoryTypeId="3" PostId="19522" RevisionGUID="eced0a01-ff97-4c0e-a989-4d4854e7e713" CreationDate="2013-06-12T09:38:11.320" UserId="5605" Text="&lt;lavalier&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31682" PostHistoryTypeId="2" PostId="19523" RevisionGUID="cb0df8ee-d9a1-4316-9665-a0385583ff6c" CreationDate="2013-06-12T09:39:28.553" UserId="3567" Text="Here's a synth tool I just discovered while perusing the DesigningSound Independent SFX Libraries: http://soundmorph.com/index.php?page=soundpacks&amp;spack=ga&#xD;&#xA;&#xD;&#xA;I still have to test it, as I got it along with some 10 GBs of sfx that I need to unpack and organize, but it looks like a great tool for interface sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="31683" PostHistoryTypeId="5" PostId="19522" RevisionGUID="5583733a-4400-4bf4-b901-ecd118d1e6bc" CreationDate="2013-06-12T11:24:51.307" UserId="5605" Comment="added 97 characters in body" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;What's your general workflow when treating dialogue recordings that were done with a lav mic? What do you look out for? Any general frequencies that I should be mindful of? Compression?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;PS. Tried to use the search function, but I only found lav mic placement techniques and tips." ContentLicense="CC BY-SA 3.0" />
  <row Id="31684" PostHistoryTypeId="2" PostId="19524" RevisionGUID="ab6b1894-d4e2-483b-a582-b431619d993b" CreationDate="2013-06-12T14:33:38.943" UserId="194" Text="every recording is different obv, and the source dictates the treatment.  With that said, there are some basic similarities to lav recordings due to the capsule size and the specific usage.  The super small capsules are often very dynamic and clip at lower volumes,  they often require faster compression attack times than VO recordings, but compression can require kid gloves because compression artifacts show up more quickly with fast attack times.  Also, lav placement is typically dictated by looks and clothes more than by the sound, so recordings are often a little further away and more off-axis than a VO record, and they're often resting against the chest.  The net effect is generally a much darker sound than would be achieved with ideal placement.&#xD;&#xA;&#xD;&#xA;In my experience there are broad categories of lav recordings:&#xD;&#xA;&#xD;&#xA; - top-shelf lav recordings:&#xD;&#xA;&#xD;&#xA;the lav is recorded with high end gear (lav-&gt;wireless-&gt;recorder), placed well and exposed to the camera, minimal clothes rustle, gain staged well, and the person on camera is in a controlled acoustic environment.  this is the holy grail, and you'll usually only get it from well-run TV studios and greenscreen soundstages.&#xD;&#xA;&#xD;&#xA;usually only needs some compression and maybe a hi-pass to get it all the way there.&#xD;&#xA;&#xD;&#xA; - well-recorded under the clothes lav recordings:&#xD;&#xA;&#xD;&#xA;the lav is recorded with high end gear, placed well under the clothes, minimal clothes rustle, gain staged well, and often outside or in an otherwise compromised acoustic environment.&#xD;&#xA;&#xD;&#xA;I tend to try scooping out some low and low mid before boosting gain on lavs, because boosted high end can get pretty crispy sounding.  scooping out that chesty part of the recording and then cranking the gain with the compression ends up yielding a more natural high end on most voice recordings, and this is no exception.&#xD;&#xA;&#xD;&#xA; - buried lavs&#xD;&#xA;&#xD;&#xA;lavs buried under too many layers of clothes, and/or placed too far away from the subject's mouth hole.  &#xD;&#xA;&#xD;&#xA;I'll still scoop lows first, but then i'll experiment with boosting upper mids into a hipass.  The location guy probably didn't record much above about 10khz, so use your ears to find the point of diminishing returns with an upper mid boost sweep, and then lowpass right above that to cut out the residual hiss.  these won't sound as good no matter what you do, so rule one is &quot;do no harm&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31685" PostHistoryTypeId="2" PostId="19525" RevisionGUID="14b3508d-0484-423e-927e-1990e5a57109" CreationDate="2013-06-12T14:43:07.083" UserId="244" Text="Hi all, just a quick question.... Working on a live broadcast TV show about gardening with 3 presenters on wireless lapel mics... &#xD;&#xA;&#xD;&#xA;2 of the 3 presenter's sound is all good, the third presenter which so happens to be the main presenter is really heavy in the low end and ive tried the obvious eq-ing to certain extents. rolling off the low end etc.. but his voice for some reason seems to still resonate a huge low end presence.... &#xD;&#xA;&#xD;&#xA;the mic is clipped, visibly, to his polo shirt second button from the top... at the top of his chest...&#xD;&#xA;&#xD;&#xA;Any suggestions would be cool, we're on Episode 9 at the moment, its not a huge issue really that the director or anyone is complaining but you know we all like to be in control of the audio we are responsible for to be as professional as we can.&#xD;&#xA;&#xD;&#xA;If he was presenting on his own actually would be really nice intimate almost.. but its the sheer contrast between the three of them.. &#xD;&#xA;&#xD;&#xA;Thanks for reading...!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31686" PostHistoryTypeId="1" PostId="19525" RevisionGUID="14b3508d-0484-423e-927e-1990e5a57109" CreationDate="2013-06-12T14:43:07.083" UserId="244" Text="Presenter vocal mic low end problems" ContentLicense="CC BY-SA 3.0" />
  <row Id="31687" PostHistoryTypeId="3" PostId="19525" RevisionGUID="14b3508d-0484-423e-927e-1990e5a57109" CreationDate="2013-06-12T14:43:07.083" UserId="244" Text="&lt;lapel&gt;&lt;microphone&gt;&lt;eq&gt;&lt;dynamics&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31688" PostHistoryTypeId="2" PostId="19526" RevisionGUID="e7a04789-c51b-4343-b638-6a4db7f69a27" CreationDate="2013-06-12T17:48:54.740" UserId="6127" Text="The actual version of Cecilia 5 has been recoded in python with the pyo library. It can be found there: https://code.google.com/p/cecilia5/&#xD;&#xA;&#xD;&#xA;You don't really need any coding skill to get it working properly, it is user friendly. &#xD;&#xA;&#xD;&#xA;I use it on occasion for synthesis SFX, the biggest strength, in my opinion, is that you can set automation in time on a lot of parameter of the synthesis/sounds effects attribute. So it can create some pretty unique weird sounds. &#xD;&#xA;And &#xD;&#xA;It is free...&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="31689" PostHistoryTypeId="2" PostId="19527" RevisionGUID="bc04c271-aaa7-440b-ac75-ecc42aa4c90f" CreationDate="2013-06-12T18:34:47.370" UserId="6454" Text="You could also go for a Redco. They have DB25 connectors on the back, are Bantam (not TRS) and quite solidly built. Also, Redco can custom make almost any cable for you, very moderately priced.&#xD;&#xA;&#xD;&#xA;http://www.redco.com/Redco-R196-D25PG.html&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="31690" PostHistoryTypeId="5" PostId="19522" RevisionGUID="96e780ef-cf5c-4e04-9049-c461e18f482f" CreationDate="2013-06-12T21:28:48.943" UserId="5605" Comment="added information" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;What's your general workflow when treating dialogue recordings that were done with a lav mic? What do you look out for? Any general frequencies that I should be mindful of? Compression? Ratio? Do you use a limiter at the end of your dialog chain? &#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;PS. Tried to use the search function, but I only found lav mic placement techniques and tips." ContentLicense="CC BY-SA 3.0" />
  <row Id="31691" PostHistoryTypeId="2" PostId="19528" RevisionGUID="c75c716d-d8dd-4d93-add4-8f9f7826e9a4" CreationDate="2013-06-13T08:11:41.643" UserId="1228" Text="Offstage exterior &quot;bleedthru&quot; sounds I believe are one of the great challenges of backgrounds - up there with wind, ocean/beach textures, and rain.  In terms of how to paint it sonically so it pops, but doesn't draw unwanted attention to itself, while also not sounded like a muddy mess of frequencies with a lack of clear intent.&#xD;&#xA;&#xD;&#xA;The hallmark to doing this kind of &quot;bleedthru&quot; work, in my opinion, begins with properly establishing the correct type of roomtone for the space.  Roomtone may seem like one of those &quot;ah, roomtone, whatever&quot; type sounds - something you just quickly slap in.  I think it couldn't be further from the truth.  Often in a scene I spend time determining what the space should sound like even before painting in 'textures of life'.  No amount of processing or manipulating of bleedthru backgrounds can compensate for having established an inappropriate roomtone.  How big is the space?  Is it reverberant (like a warehouse or rotunda, or dampened like a bedroom)?  What sort of airflow does it have (dead air with a slight clean hiss versus an HVAC vent system, wherein you might hear a light hum or lower frequency content and less of the &quot;quiet' hiss)?  How techy of a room is it?  Could there be fluorescent buzzes or compressors or fans droning?  Whenever I'm establishing a space, even a subjective space like a sci fi operations control room or interrogation room or a generic realistic space, these are the questions I always ask myself before laying in anything - questions I ask while audition source material.  Searching, auditioning until I find the textures which hit my ear right.  Sometimes it only takes 2 tracks to achieve the sound I want for a roomtone, sometimes it can take 5-6 (believe it or not a 'dead quiet' European opera house I recently cut, pre-performance, commanded about 7 particular roomtone layers to achieve just the right kinds of pleasing, crisp, spacious, cavernous, and dead quiet sound I wanted).  But I feel that this is a very important first step.&#xD;&#xA;&#xD;&#xA;Once you've determined this, the bleedthru stuff should play very low - often so it's just barely tickling the ear over the roomtone (which is why the proper roomtone is so important!)  The roomtone serves almost as your &quot;calibration&quot;, so if you have incorrect roomtone, which results in either hearing your bleedthru sounds too crisply/naked, or having to boost them to sound too present in order to cut through the roomtone, then all you're doing is working against yourself.&#xD;&#xA;&#xD;&#xA;98% of the time I use exterior-recorded sounds for bleedthru elements - occasionally applying a touch of reverb if needed, but often I leave this up top the stage to handle.  I almost NEVER do any EQ (except for notch filtering a highly-offending noise band or doing a roll off, such as unnecessary low end rumble on a bird track)  Seeking exterior sounds which have a natural distance and reverb can help, but I even use clean, nearby sounds without much trouble and don't find it bothersome in selling a bleedthru.  It comes down to developing a sensibility for what &quot;feels&quot; right in terms of what source material you choose, but also the balance of your bleedthru sounds against your roomtone, the latter of which needs to be appropriate from the start.  Whenever I strike this balance, what I hear, even clean ext elements, sounds natural to me and always have.&#xD;&#xA;&#xD;&#xA;The stage will usually add the worldizing factor of where the elements get panned within the sound field and what type of a general reverb the BGz will be run through.  But I have experienced times where no reverb treatments are used and you know what, the clean sounds,, just tickling the ear over the roomtone, still sound naturally to me and I buy what I'm hearing.&#xD;&#xA;&#xD;&#xA;So these may be some things to consider, as well as not thinking too hard over this.  BGz are exaggerated for a reason in film/TV, they don't sound right when played as reality would have it - reality is very boring-sounding." ContentLicense="CC BY-SA 3.0" />
  <row Id="31692" PostHistoryTypeId="2" PostId="19529" RevisionGUID="a75b218c-fa8a-4569-b97d-62d76c58ea37" CreationDate="2013-06-13T09:22:48.027" UserId="6432" Text="If you're not familiar with Iannix have a look [here][1]. &#xD;&#xA;&#xD;&#xA;Has anybody done anything cool with this? I've had a bit of a play around with the examples in Max and think there's great potential for some interesting sound design applications, but I cant quite put my finger on *the* best use for it.&#xD;&#xA;&#xD;&#xA;I'm thinking along the lines of object based automated surround panning or some other spatial control or complex control of lots of parameters (of something!).&#xD;&#xA;&#xD;&#xA;Thoughts ??? &#xD;&#xA;&#xD;&#xA;  [1]: http://www.iannix.org/en/presentation.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="31693" PostHistoryTypeId="1" PostId="19529" RevisionGUID="a75b218c-fa8a-4569-b97d-62d76c58ea37" CreationDate="2013-06-13T09:22:48.027" UserId="6432" Text="Can anyone think of any interesting ways of using Iannix?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31694" PostHistoryTypeId="3" PostId="19529" RevisionGUID="a75b218c-fa8a-4569-b97d-62d76c58ea37" CreationDate="2013-06-13T09:22:48.027" UserId="6432" Text="&lt;control&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31695" PostHistoryTypeId="2" PostId="19530" RevisionGUID="ba0f2342-6c72-4ded-9c50-5bb412dd76f3" CreationDate="2013-06-13T09:55:02.083" UserId="3179" Text="Doppler.&#xD;&#xA;&#xD;&#xA;Surround panning.&#xD;&#xA;&#xD;&#xA;WYSIWYG reverb or binauralization.&#xD;&#xA;&#xD;&#xA;Vocal synthesis and processing (control e.g. formants and pitch. Think Kyma and the Wii controller as a reference.).&#xD;&#xA;&#xD;&#xA;Various live performance audio effects.&#xD;&#xA;&#xD;&#xA;..." ContentLicense="CC BY-SA 3.0" />
  <row Id="31696" PostHistoryTypeId="5" PostId="19530" RevisionGUID="61eb4319-5264-47d0-97d0-9b9f283a997d" CreationDate="2013-06-13T10:01:28.297" UserId="3179" Comment="added 98 characters in body; added 3 characters in body" Text="Doppler.&#xD;&#xA;&#xD;&#xA;Surround panning.&#xD;&#xA;&#xD;&#xA;WYSIWYG reverb or binauralization.&#xD;&#xA;&#xD;&#xA;Vocal synthesis and processing (control e.g. formants and pitch. Think Kyma and the Wii controller as a reference.).&#xD;&#xA;&#xD;&#xA;Various live performance audio effects.&#xD;&#xA;&#xD;&#xA;...&#xD;&#xA;&#xD;&#xA;Note: none of this is particularly new, but ofc one could manage to figure out something special." ContentLicense="CC BY-SA 3.0" />
  <row Id="31697" PostHistoryTypeId="2" PostId="19531" RevisionGUID="9ad3de23-01b7-4e1f-ba44-de73e370939f" CreationDate="2013-06-13T12:59:49.633" UserId="6579" Text="@Stavrosound Very interesting answer! Thanks for sharing your workflow.&#xD;&#xA;&#xD;&#xA;I'm curious about how you make use of stereo/mono sounds to build up the room tones and the &quot;bleedthru&quot; backgrounds. Are they mostly mono or stereo?&#xD;&#xA;&#xD;&#xA;Cheers, Elena" ContentLicense="CC BY-SA 3.0" />
  <row Id="31698" PostHistoryTypeId="2" PostId="19532" RevisionGUID="784da338-e1cf-41eb-9523-d3f9a77dd6c9" CreationDate="2013-06-13T15:10:41.960" UserId="4237" Text="DMG Audio Equilibrium.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The creators devoted their lifes to eqs and they certainly now what they are doing. The gui is fully configurable to personal preference + it sounds great. This plugin is really more than we'll ever need.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31699" PostHistoryTypeId="2" PostId="19533" RevisionGUID="be27b022-9195-4bac-9ec1-6793a97887e8" CreationDate="2013-06-13T18:09:13.363" UserId="182" Text="Does making your own impulse response (at home) where you have the mic one room and the speaker in another (or even outside) count as worldizing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31703" PostHistoryTypeId="2" PostId="19535" RevisionGUID="a86aed68-0fcf-4a69-992c-db352a2431b4" CreationDate="2013-06-13T18:48:57.970" UserId="5710" Text="Hey Chris, have you tried notching the 2nd or 3rd harmonic in the presenter's voice? I sometimes find that this creates more boomy-ness than the actual fundamental frequency. You can search for it using a boost with a high Q setting or use an EQ with a spectral analyzer such as Fabfilter Pro-Q. Also try hunting for some vocal clarity just below 2k and giving that a boost (avoid increasing syballance though)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31704" PostHistoryTypeId="2" PostId="19536" RevisionGUID="0c11be88-c21d-4f50-acc5-9e087aa91eba" CreationDate="2013-06-13T19:51:33.910" UserId="3835" Text="I second Jesse's comment. The octave above the fundamental, which usually sits between 200-300 Hz is the 'box' frequency that presents so many problems.&#xD;&#xA;&#xD;&#xA;This simple roll off + Notch should fix the problem. If this is still not working then first of all check the mic is working properly (perhaps swap the mics around the presenters) and if all else fails try some multi-band compression. Using only two bands you can mega compress the low endd while leaving everything else to have a more natural dynamic range.&#xD;&#xA;&#xD;&#xA;Tread carefully with the multi-band. If you're not confident with it you could cause more a problem then you already have.&#xD;&#xA;&#xD;&#xA;Best" ContentLicense="CC BY-SA 3.0" />
  <row Id="31709" PostHistoryTypeId="2" PostId="19538" RevisionGUID="a8134c7a-46d3-4636-a655-ace7ca5acf19" CreationDate="2013-06-13T20:21:26.353" UserDisplayName="user49" Text="If you want to pickup a library Franks just released a new collection:&#xD;&#xA;http://www.therecordist.com/firearm-foley-hd-pro-sfx&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31710" PostHistoryTypeId="2" PostId="19539" RevisionGUID="27ce25d5-da21-4104-8d0c-5b906a30b2ab" CreationDate="2013-06-13T20:59:46.657" UserDisplayName="user49" Text="Just like when we hear dialogue through a phone, you aren't trying to document the actual process (although that may be handy as a reference) - you are trying to evoke the feeling and effect of elements outside the room, in the context of what else is playing in the soundtrack.&#xD;&#xA;&#xD;&#xA;I'm not hassling the OP but its something worth considering: a while back a local young sound editor kept asking me to give him suburban ambiences for a project he was working on - interior and exterior. I would ask him: where do you live? &quot;Suburbia&quot; And you have a mic and recorder right? &quot;Um, yeah&quot; So, what exactly is stopping you from recording them yourself? &quot;Um...&#xD;&#xA; &#xD;&#xA;The only other things you need are effort and time. Do a lot of recording, in different places. And don't forget to use your ears eg record an interior ambience for half an hour, then half open a window, record another half hour, fully open the window record another half hour. Repeat this at different times of the day, and days of the week. Repeat it in every house or building you can access. And remember recording quiet ambiences, it is often better if you aren't there (breathing/rustling etc) So take a good book, set the mics up, hit record and go into another room for half an hour.&#xD;&#xA;&#xD;&#xA;My point with the window is it allows you to go from hermetically sealed room, to practically an EXT perspective depending on where you place the mic...&#xD;&#xA;&#xD;&#xA;And as @Stavrosound said, it will be more about the choices you make, as to what elements you use.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31711" PostHistoryTypeId="2" PostId="19540" RevisionGUID="66aa5227-d3d7-469a-9160-3dffd15133a9" CreationDate="2013-06-14T01:07:28.060" UserId="6130" Text="I'm probably one of the best people to answer this since I did the editorial prep for the trailer, and worked on the feature. (Zack has had us, the feature crew, involved in his trailers since 300. As was mentioned, more typically, feature crews aren't involved in trailers.)&#xD;&#xA;&#xD;&#xA;Zod's dialog was taken directly from the feature dialog stem. In the film, Zod is transmitting this message to Earth. We left in the tone that you refer to because it worked well with the messed up, distorted nature of his transmission. I get that the trailer takes it somewhat out of context so it doesn't work in the same way. But, in short, it's not a mistake.&#xD;&#xA;&#xD;&#xA;And @sound designer is right. The synth tone that @bryce mentioned is a sound that I came up with for the big Kryptonian weapon at the end of the film, that Junkie XL, one of Hans' close collaborators, integrated into the score throughout the film.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31712" PostHistoryTypeId="2" PostId="19541" RevisionGUID="1210860d-cd8b-4cb2-bb87-bb6c87a83549" CreationDate="2013-06-14T07:50:28.930" UserDisplayName="user80" Text="Start by summing the source file to mono, then use EQ create a curve like an extreme S curve.  Most of the low frequencies are transmitted through walls and windows with only limited colouration, whereas the highest frequencies are completely absorbed, this obviously varies according to material.  I use Serato's Rane series Graphic EQ and end up stacking them to achieve sufficient cuts. Once I have done this the output can then be worldized like any other sound source." ContentLicense="CC BY-SA 3.0" />
  <row Id="31716" PostHistoryTypeId="2" PostId="19543" RevisionGUID="463751a4-9745-4d25-b420-81fd188c3a35" CreationDate="2013-06-14T13:48:24.287" UserId="166" Text="Chris, what happens when you move the mic another button down?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31717" PostHistoryTypeId="2" PostId="19544" RevisionGUID="7d9b0d55-6d00-474b-9d2e-3661e784a1ba" CreationDate="2013-06-15T07:08:04.157" UserId="4010" Text="when resampling, I get crosstalk/left and right channels bleeding into each other during auditioning the sounds when the &quot;monitor on&quot; is selected on the emu...Especially when you crank up the ADC gain, to saturate the sound left and right channels bleeding into each other...Even if you have a mono input on the left channel, when you crank up ADC gain when resampling, you can hear little of the left channel on the right channel, Is this normal with emu hardware samplers ? Is this like analog desk crosstalk where channels bleed into each other...to exactly recreate the process: have only one channel connected to your emu, eg. left channel, then when resampling the left channel with monitor on option checked and being on stereo resample mode, crank up the ADC gain you should be hearing the left channel on the right speakers, it even shows on the gain display...Is this like analog desk kinda crosstalk/channel bleed ? and do you get the same results on your emu hardware sampler, too...I am just trying to rule out the hardware failure option...If anybody else experiencing this can you share your thoughts, much obliged.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31718" PostHistoryTypeId="1" PostId="19544" RevisionGUID="7d9b0d55-6d00-474b-9d2e-3661e784a1ba" CreationDate="2013-06-15T07:08:04.157" UserId="4010" Text="Emu E6400 Ultra crosstalk/left and right channels bleeding into each other" ContentLicense="CC BY-SA 3.0" />
  <row Id="31719" PostHistoryTypeId="3" PostId="19544" RevisionGUID="7d9b0d55-6d00-474b-9d2e-3661e784a1ba" CreationDate="2013-06-15T07:08:04.157" UserId="4010" Text="&lt;hardware&gt;&lt;sampler&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31720" PostHistoryTypeId="2" PostId="19545" RevisionGUID="59d54b4f-7b9d-448d-8954-1f2166210078" CreationDate="2013-06-15T10:56:16.413" UserDisplayName="user80" Text="Word of mouth is excellent as well, chat to everyone you know about what they use and why.  I am a huge fan of DPAs, and this is due to their clarity, especially their omni directional mics.  With all mics I find that they have their quirks, such as off axis coloration, clipping levels, or sensitivity to wind/movement.  &#xD;&#xA;&#xD;&#xA;My advice is always purchase the best that you can afford, and then learn how to make it sound as good as you can. Somebody who knows how to use their own equipment well can usually outperform a less skilled person with better equipment." ContentLicense="CC BY-SA 3.0" />
  <row Id="31722" PostHistoryTypeId="2" PostId="19547" RevisionGUID="f29dd8d3-da5b-442b-841d-fbd16d1dadd0" CreationDate="2013-06-16T00:03:30.550" UserId="6059" Text="Am looking for some Arabic walla. Conversations as well as yelling/screaming (as if under attack). Any libraries have these available?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31723" PostHistoryTypeId="1" PostId="19547" RevisionGUID="f29dd8d3-da5b-442b-841d-fbd16d1dadd0" CreationDate="2013-06-16T00:03:30.550" UserId="6059" Text="Arabic Walla Recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="31724" PostHistoryTypeId="3" PostId="19547" RevisionGUID="f29dd8d3-da5b-442b-841d-fbd16d1dadd0" CreationDate="2013-06-16T00:03:30.550" UserId="6059" Text="&lt;film-sound-design&gt;&lt;walla&gt;&lt;foreign&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31725" PostHistoryTypeId="2" PostId="19548" RevisionGUID="9f3f0dc7-7dd9-4120-af31-149db031e89f" CreationDate="2013-06-16T23:43:37.180" UserId="3179" Text="Get it fixed, if it's a problem (I don't know if it's &quot;normal&quot; with the EMU E6400, but crosstalk surely can be and is avoided by electrical design, unless it happens because e.g. the internals have gathered dirt over time)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31726" PostHistoryTypeId="2" PostId="19549" RevisionGUID="b585ec7b-0563-4aaa-80b6-25c2eabf1e73" CreationDate="2013-06-17T06:49:59.643" UserId="6462" Text="I live in Dubai so might be able to find some for you.&#xD;&#xA;Is there anything specific that you need. If I don't have it I might be able to get it for you.&#xD;&#xA;&#xD;&#xA;Let me know." ContentLicense="CC BY-SA 3.0" />
  <row Id="31727" PostHistoryTypeId="2" PostId="19550" RevisionGUID="63bcbdae-aaa0-4789-b179-56729c227544" CreationDate="2013-06-17T07:49:44.483" UserId="618" Text=" In a few days I will have to record dialogue for a short film. The set is build in an old warehouse.&#xD;&#xA;How can I avoid room reverb ? &#xD;&#xA;&#xD;&#xA;Of course I will use radio mics but what type of microphone I need for the boom? &#xD;&#xA;I have a good selection of mics at my disposal. I often use the Schoeps CMIT 5u or Neumann KM150. Is it a good choice for this work ? What about the microphone placement ?&#xD;&#xA;&#xD;&#xA;Thanks in advance for your advices." ContentLicense="CC BY-SA 3.0" />
  <row Id="31728" PostHistoryTypeId="1" PostId="19550" RevisionGUID="63bcbdae-aaa0-4789-b179-56729c227544" CreationDate="2013-06-17T07:49:44.483" UserId="618" Text="Location recording in a warehouse, how to avoid reverb?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31729" PostHistoryTypeId="3" PostId="19550" RevisionGUID="63bcbdae-aaa0-4789-b179-56729c227544" CreationDate="2013-06-17T07:49:44.483" UserId="618" Text="&lt;location&gt;&lt;recording&gt;&lt;reverberant&gt;&lt;booming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31730" PostHistoryTypeId="2" PostId="19551" RevisionGUID="e20fe211-f72f-4797-8603-e711a4f4a763" CreationDate="2013-06-17T09:34:26.083" UserId="37" Text="The frame lines will be crucial, so good communication with DoP. How about hanging some blankets off-camera? You can go wild treating the space, but how much of that will be practical? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31733" PostHistoryTypeId="2" PostId="19553" RevisionGUID="184cbb1a-14d7-4861-8aef-8e1b24e6b2da" CreationDate="2013-06-17T13:18:28.037" UserId="6138" Text="Hey guys :) &#xD;&#xA;&#xD;&#xA;I'm very new to the mixing world, I've got my basics down with Pro Tools so I do know how it works...&#xD;&#xA;&#xD;&#xA;I was wondering if you guys could give me tips on mixing for TV. &#xD;&#xA;&#xD;&#xA;I need to know the basics like, what levels should my dialogue and music not peak over? Should I use an overall compressor and limiter on my auxiliary tracks? Do I need to set a reference tone to calibrate my project and how would I do this?&#xD;&#xA;&#xD;&#xA;I'm using Pro Tools 8 HD :) &#xD;&#xA;&#xD;&#xA;Thanks, any help would be greatly appreciated..." ContentLicense="CC BY-SA 3.0" />
  <row Id="31734" PostHistoryTypeId="1" PostId="19553" RevisionGUID="184cbb1a-14d7-4861-8aef-8e1b24e6b2da" CreationDate="2013-06-17T13:18:28.037" UserId="6138" Text="Television Mix..." ContentLicense="CC BY-SA 3.0" />
  <row Id="31735" PostHistoryTypeId="3" PostId="19553" RevisionGUID="184cbb1a-14d7-4861-8aef-8e1b24e6b2da" CreationDate="2013-06-17T13:18:28.037" UserId="6138" Text="&lt;television&gt;&lt;mixing&gt;&lt;pro-tools&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31736" PostHistoryTypeId="2" PostId="19554" RevisionGUID="3a79e651-357b-47fe-bdb0-e7b190f5a999" CreationDate="2013-06-17T13:20:17.523" UserId="6597" Text="Anyone have experience emulating HRTF (Head Related Transfer Function)?&#xD;&#xA;&#xD;&#xA;HRTF = http://en.wikipedia.org/wiki/Head-related_transfer_function&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There are any rules in terms of EQ to make sounds coming from behind, above and below? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In addition, what are the best plugins for it?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="31737" PostHistoryTypeId="1" PostId="19554" RevisionGUID="3a79e651-357b-47fe-bdb0-e7b190f5a999" CreationDate="2013-06-17T13:20:17.523" UserId="6597" Text="EQ'ing for HRTF" ContentLicense="CC BY-SA 3.0" />
  <row Id="31738" PostHistoryTypeId="3" PostId="19554" RevisionGUID="3a79e651-357b-47fe-bdb0-e7b190f5a999" CreationDate="2013-06-17T13:20:17.523" UserId="6597" Text="&lt;eq&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31739" PostHistoryTypeId="2" PostId="19555" RevisionGUID="48951ce9-f9ad-4c44-86ce-139df1e34660" CreationDate="2013-06-17T14:39:27.293" UserId="253" Text="As georgi said, knowing the frame will be (and actually always is) very important. Being able to get the mic even just 1 foot closer will be a noticeable improvement. &#xD;&#xA;&#xD;&#xA;As for sound blankets/baffles, it depends on the space. If it's huge and open, then putting up baffles and keeping them out of shot might be too much effort for minimal gains. One thing you could try is having some sound blankets on C-stands, and putting them up in front of the surface that'll reflect the most sound to the front of your pickup pattern. So, basically, ignore surfaces that are off mic. This will still involve a lot of dicking around between set ups, so it's up to you to determine if it's worthwhile or not. Maybe you can arrange a visit to the location to record a few tests?&#xD;&#xA;&#xD;&#xA;Mic wise, i'd suggest going with the Schoeps because it's a shotgun. This is a bit beyond my level of experience on set, but i believe a shotgun would be better than a hypercardioid in a large, reflective interior. Also, it would be fantastic if you could get a hold of some radio mics. I know we all like the perspective given by booms, but radio mics will give your sound post people more choices. And choices are good.&#xD;&#xA;&#xD;&#xA;Finally, do your best to get hold of a script marked up with which slate covers what. Like   [this one][1]. I love it when i get these, because when i'm looking for alts, i can see which lines are in which slate. Depending on how consistent the performances are, maybe your dialogue editor can use lines from the CUs for the wide shots (which will have more reflections). Where i'm from, it's usually continuity (aka script supervisor) who'll have these, so if you're on a low budget skeleton crew, it might not be feasible.&#xD;&#xA;&#xD;&#xA;Hope that helps!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sonnyboo.com/images1/script.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="31740" PostHistoryTypeId="5" PostId="19555" RevisionGUID="30d2c66e-6c2b-46e8-9018-fb07375273d5" CreationDate="2013-06-17T14:58:27.290" UserId="253" Comment="added 123 characters in body" Text="As georgi said, knowing the frame will be (and actually always is) very important. Being able to get the mic even just 1 foot closer will be a noticeable improvement. &#xD;&#xA;&#xD;&#xA;As for sound blankets/baffles, it depends on the space. If it's huge and open, then putting up baffles and keeping them out of shot might be too much effort for minimal gains. One thing you could try is having some sound blankets on C-stands, and putting them up in front of the surface that'll reflect the most sound to the front of your pickup pattern. So, basically, ignore surfaces that are off mic. This will still involve a lot of dicking around between set ups, so it's up to you to determine if it's worthwhile or not. Maybe you can arrange a visit to the location to record a few tests?&#xD;&#xA;&#xD;&#xA;Mic wise, i'd suggest going with the Schoeps because it's a shotgun. This is a bit beyond my level of experience on set, but i believe a shotgun would be better than a hypercardioid in a large, reflective interior. Also, it would be fantastic if you could get a hold of some radio mics. I know we all like the perspective given by booms, but radio mics will give your sound post people more choices. And choices are good.&#xD;&#xA;&#xD;&#xA;Finally, do your best to get hold of a script marked up with which slate covers what. Like   [this one][1]. I love it when i get these, because when i'm looking for alts, i can see which lines are in which slate. Depending on how consistent the performances are, maybe your dialogue editor can use lines from the CUs for the wide shots (which will have more reflections). Where i'm from, it's usually continuity (aka script supervisor) who'll have these, so if you're on a low budget skeleton crew, it might not be feasible.&#xD;&#xA;&#xD;&#xA;Also, bring some balloons or a cap gun so you can record IRs for each set up. They'll be super handy for foley and ADR.&#xD;&#xA;&#xD;&#xA;Hope that helps!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sonnyboo.com/images1/script.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="31741" PostHistoryTypeId="5" PostId="19551" RevisionGUID="a7aa8d74-c6a5-4eee-9f53-4fc2af3e94d9" CreationDate="2013-06-17T15:08:45.587" UserId="37" Comment="floor treatment question" Text="The frame lines will be crucial, so good communication with DoP. How about hanging some blankets off-camera? You can go wild treating the space, but how much of that will be practical? &#xD;&#xA;&#xD;&#xA;p.s. can you treat the floor?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31742" PostHistoryTypeId="2" PostId="19556" RevisionGUID="313d91c2-5b0f-4ade-9edc-e03eac8d96be" CreationDate="2013-06-17T15:16:16.177" UserId="3179" Text="Head-related transfer **function**. The &quot;function&quot; here implies a mathematical function and therefore it's well-defined, although there exist different approaches and approximations. In the Wikipedia page see the text under the heading &quot;Technical derivation&quot;.&#xD;&#xA;&#xD;&#xA;If you're interested in &quot;emulating&quot; HRTF, then I would suggest using an existing implementation (a plug-in, a software library component), unless you specifically want to understand what the HRTF is or how to construct one." ContentLicense="CC BY-SA 3.0" />
  <row Id="31743" PostHistoryTypeId="5" PostId="19556" RevisionGUID="0ce4c912-f1a1-4089-9818-2d0daaeb932c" CreationDate="2013-06-17T15:29:58.823" UserId="3179" Comment="added 135 characters in body; deleted 9 characters in body; added 1 characters in body" Text="Head-related transfer **function**. The &quot;function&quot; here implies a mathematical function and therefore it's well-defined, although there exist different approaches and approximations. In the Wikipedia page see the text under the heading &quot;Technical derivation&quot;.&#xD;&#xA;&#xD;&#xA;If you're interested in &quot;emulating&quot; HRTF, then I would suggest using an existing implementation (a plug-in, a software library component), unless you specifically want to understand what the HRTF is or how to construct one.&#xD;&#xA;&#xD;&#xA;Note that HRTFs can be recorded. It's called binaural recording and its results are what the HRTFs approximate or describe." ContentLicense="CC BY-SA 3.0" />
  <row Id="31744" PostHistoryTypeId="2" PostId="19557" RevisionGUID="84deb988-3c59-46ab-aeb5-ca200640f97c" CreationDate="2013-06-17T15:42:34.530" UserId="5710" Text="Hey Tig,&#xD;&#xA;&#xD;&#xA;Check out Audiostage by Longcat audio, H3D also by Longcat and Panorama by Wave Arts. Audiostage is definitely the most powerful and versatile, but see if it fits your needs" ContentLicense="CC BY-SA 3.0" />
  <row Id="31745" PostHistoryTypeId="2" PostId="19558" RevisionGUID="4005d056-1102-43f8-8396-25af177004da" CreationDate="2013-06-17T16:41:12.840" UserId="6139" Text="I recorded the sound of a collapsible metal framed kids garden chair and that gives a reasonably movie-sounding gun handling effect (when processed with a bit of EQ and pitch changing)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31746" PostHistoryTypeId="2" PostId="19559" RevisionGUID="19f7f614-5440-4385-b5dc-3a8a16208b1e" CreationDate="2013-06-17T17:13:33.110" UserId="6141" Text="How do you get a bass player off your front porch? Give him a tip" ContentLicense="CC BY-SA 3.0" />
  <row Id="31747" PostHistoryTypeId="2" PostId="19560" RevisionGUID="d08e483e-6145-4059-9693-90c5010e3201" CreationDate="2013-06-17T18:26:59.690" UserId="432" Text="If you haven't picked up on the idea from the previous two answers, HRTF is far more complicated than simple EQ. It's a complex mathematical system, and it's different for every person. That in turn leads to the issue that HRTF specific data/values do not necessarily work for everyone. There are sets that work well for a large majority of people, but they are not 100% effective across the entire human population. I'm simply stating this to give you a better indication of the complexity of the computations.&#xD;&#xA;&#xD;&#xA;I have heard good things about Panorama by Wave Arts (already mentioned previously), but it's probably worth your time to research what other options are out there...as well as what individual experiences have been with those solutions." ContentLicense="CC BY-SA 3.0" />
  <row Id="31748" PostHistoryTypeId="2" PostId="19561" RevisionGUID="30614754-6636-434e-a2c9-36d243af282c" CreationDate="2013-06-17T18:48:42.207" UserId="432" Text="The basics are thus:&#xD;&#xA;&#xD;&#xA;**&quot;What are the specifications of the broadcaster you're delivering to?&quot;**&#xD;&#xA;&#xD;&#xA;You're asking us to distill a very complex process down into &quot;paint by numbers&quot; process. If it were that easy, there'd be a manual that anyone could follow. I'm not trying to be mean by saying this, only trying to give you an idea of the scope of the question you're asking.&#xD;&#xA;&#xD;&#xA;Most broadcasters currently adhere to either ATSC-RP A/85 (-24 LKFS, +/-2, with no True Peaks over -2 LKFS) or EBU-R128 (-23 LUFS, +/-1, with no True Peaks over -1 LUFS). LKFS and LUFS are pretty much the same thing, by the way, and True Peaks are not the same thing as digital peaks. Older broadcast models required a dialog level of -27 LEQA.&#xD;&#xA;&#xD;&#xA;Depending the broadcaster, there may or may not be a hard limit of -10dB (digital peak). I believe the BBC still uses PPM as their standard.&#xD;&#xA;&#xD;&#xA;Is that confusing to you? If so, then I've just given you a few things that you can research. Broadcast &quot;standards&quot; are standard only to the broadcaster that requires them. Without additional information, it's impossible to tell you what your targets are. How you get to those targets is dictated by the content you're mixing, the type of program it is, the producer/director's desires and CRAFT!&#xD;&#xA;&#xD;&#xA;Do yourself a favor. Use Google to look up your basic questions (i.e. reference tones). Put some effort into finding the answers yourself. Then come back here and ask **specific** questions regarding facets of what you're trying to do. The amount of time it took me to type this response isn't even a fraction of a percent of the time it would take to adequately answer the current question you've asked. Again, I'm not trying to be mean here. Blunt, maybe...but not mean." ContentLicense="CC BY-SA 3.0" />
  <row Id="31750" PostHistoryTypeId="5" PostId="19561" RevisionGUID="8d7ab8bb-423b-41f5-8a48-69cf6d1a8432" CreationDate="2013-06-17T22:35:25.687" UserId="432" Comment="added 2 characters in body; added 3 characters in body" Text="The basics are thus:&#xD;&#xA;&#xD;&#xA;**&quot;What are the specifications of the broadcaster you're delivering to?&quot;**&#xD;&#xA;&#xD;&#xA;You're asking us to distill a very complex process down into a &quot;paint by numbers&quot; process. If it were that easy, there'd be a manual that anyone could follow. I'm not trying to be mean by saying this, only trying to give you an idea of the scope of the question you're asking.&#xD;&#xA;&#xD;&#xA;Most broadcasters currently adhere to either ATSC-RP A/85 (-24 LKFS, +/-2, with no True Peaks over -2 LKFS) or EBU-R128 (-23 LUFS, +/-1, with no True Peaks over -1 LUFS). LKFS and LUFS are pretty much the same thing, by the way, but True Peaks are not the same thing as digital peaks. Older broadcast models required a dialog level of -27 LEQA.&#xD;&#xA;&#xD;&#xA;Depending on the broadcaster, there may or may not be a hard limit of -10dB (digital peak). I believe the BBC still uses PPM as their standard.&#xD;&#xA;&#xD;&#xA;Is that confusing to you? If so, then I've just given you a few things that you can research. Broadcast &quot;standards&quot; are standard only to the broadcaster that requires them. Without additional information, it's impossible to tell you what your targets are. How you get to those targets is dictated by the content you're mixing, the type of program it is, the producer/director's desires and CRAFT!&#xD;&#xA;&#xD;&#xA;Do yourself a favor. Use Google to look up your basic questions (i.e. reference tones). Put some effort into finding the answers yourself. Then come back here and ask **specific** questions regarding facets of what you're trying to do. The amount of time it took me to type this response isn't even a fraction of a percent of the time it would take to adequately answer the current question you've asked. Again, I'm not trying to be mean here. Blunt, maybe...but not mean." ContentLicense="CC BY-SA 3.0" />
  <row Id="31751" PostHistoryTypeId="2" PostId="19562" RevisionGUID="4a79709c-186d-4f1e-ad2b-49bd7e1f0daf" CreationDate="2013-06-18T05:27:59.370" UserId="61" Text="My answer falls under the category of &quot;fix it in post&quot;. If all else fails (and I do hope you exercise all options during production), then UNVEIL from Izotope absolutely works miracles. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31752" PostHistoryTypeId="2" PostId="19563" RevisionGUID="5dee4a63-a1b6-4adf-8525-05458adab54a" CreationDate="2013-06-18T13:54:18.960" UserId="6597" Text="I know that HTRF is pretty complicated. That's why I used the term 'emulate'. I'm researching about techniques that can improve the sense of spatialization. &#xD;&#xA;&#xD;&#xA;About a year ago, I was working in a publicity company and the manager showed me the project below and asked me to do a project like that in 3 days. I didn't had binaural mics on my hands so I had to work my ass off to do something similar. It sounded 3d? No! But it had a pretty good stereo image! &#xD;&#xA;ps: It was made to listen in headphones.  &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=8IXm6SuUigI&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;All I'm asking is, apart from the use of plugins, there are any techniques used to make sounds coming from behind, above and below? How do you make it? Through EQ? Reverb? Phase cancellation? " ContentLicense="CC BY-SA 3.0" />
  <row Id="31753" PostHistoryTypeId="2" PostId="19564" RevisionGUID="356e5cdd-aed4-4ab2-87d5-b38c77b6d3ae" CreationDate="2013-06-18T16:34:52.847" UserId="5853" Text="I don't know what sort of sound designer/sound artist you are but I feel like Iannix is suited to high art applications where the extra difficulty of programming it (added to the extra difficulty of Max when compared to more commercial software) and the extra layers of complexity involved are traded off for more abstract possibilities and more potential real-time control.  In other words, I would be really interested to delve into something like this if I were working on an art installation, similar to the occasions in which I would already use Max.  I don't know that I would be able to efficiently implement it for more common sound design tasks.  Either way you have to be self-directed with it and push the envelope.  &#xD;&#xA;&#xD;&#xA;On a side note, I wonder if there is any possible integration with something like the Max patch that this guy posted on this forum a while back:&#xD;&#xA;http://socialsounddesign.com/questions/19095/sound-spatialisation-tool-would-this-be-useful&#xD;&#xA;&#xD;&#xA;I haven't tried out the patch but I was intrigued by it because I've been considering the possible merit of something like that for theater sound design, where you often have unconventional arrays of speakers but need to spatialize things precisely.  Wouldn't it be cool to have a customizable Max patch for that situation?  &#xD;&#xA;&#xD;&#xA;Just throwing out some thoughts here.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="31754" PostHistoryTypeId="5" PostId="19562" RevisionGUID="93799d47-11b1-4774-95ad-8ace5bcc245d" CreationDate="2013-06-19T03:47:35.510" UserId="61" Comment="added 1 characters in body" Text="My answer falls under the category of &quot;fix it in post&quot;. If all else fails (and I do hope you exercise all options during production), then UNVEIL from Zynaptiq absolutely works miracles. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31755" PostHistoryTypeId="2" PostId="19565" RevisionGUID="b3ba7d87-db09-4a27-9c4e-3df9edaabecb" CreationDate="2013-06-19T07:47:01.230" UserId="244" Text="Hi everyone, just a quick questions on any suggestions for a good, rugged, film shotgun mic, such as the Rode NTG-1 and alternatives costing upto around 500 dollars... &#xD;&#xA;Outdoor filming.&#xD;&#xA;&#xD;&#xA;Thanks for any contributions in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31756" PostHistoryTypeId="1" PostId="19565" RevisionGUID="b3ba7d87-db09-4a27-9c4e-3df9edaabecb" CreationDate="2013-06-19T07:47:01.230" UserId="244" Text="Shotgun film mic suggestions" ContentLicense="CC BY-SA 3.0" />
  <row Id="31757" PostHistoryTypeId="3" PostId="19565" RevisionGUID="b3ba7d87-db09-4a27-9c4e-3df9edaabecb" CreationDate="2013-06-19T07:47:01.230" UserId="244" Text="&lt;shotgun&gt;&lt;microphone&gt;&lt;film&gt;&lt;budget&gt;&lt;suggestions&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31758" PostHistoryTypeId="2" PostId="19566" RevisionGUID="b4c19b3d-b713-417b-acea-9814ac86af16" CreationDate="2013-06-19T08:21:05.780" UserId="6432" Text="If it's for dialogue I'd try and buy a secondhand MKH416. If you had to buy new right away then a K6/ME66. I honestly don't think anything below these is worth owning as they all lack sensitivity and are too noisy. If this wasn't an option I'd hire instead.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31759" PostHistoryTypeId="2" PostId="19567" RevisionGUID="20e2f31b-4035-40b2-8fc3-ab10d2ed5672" CreationDate="2013-06-19T11:42:27.043" UserId="6147" Text="Recently (this week) I saw a plug in demo (video) online.&#xD;&#xA;It made low quality music sound like a good recording through some kind of processing with resonant filters or something.. From what I saw the plugin was quite new and revolutionary.&#xD;&#xA;&#xD;&#xA;I'm looking for this plugin but can't find it any more. Like I said it was quite new..&#xD;&#xA;&#xD;&#xA;The websites that I might have been browsing are:&#xD;&#xA;&#xD;&#xA;matrixsynth.com&#xD;&#xA;pro-tools-experts.com&#xD;&#xA;reddit.com ;)&#xD;&#xA;protoolsisawsome.com&#xD;&#xA;designingsound.org&#xD;&#xA;engaget.com&#xD;&#xA;&#xD;&#xA;I looked on these websites again but can't find the article / plug...&#xD;&#xA;&#xD;&#xA;I'm looking for thisplug in because I have to repair skype sessions :S on short notice :(&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31760" PostHistoryTypeId="1" PostId="19567" RevisionGUID="20e2f31b-4035-40b2-8fc3-ab10d2ed5672" CreationDate="2013-06-19T11:42:27.043" UserId="6147" Text="Looking for audio restore plug in" ContentLicense="CC BY-SA 3.0" />
  <row Id="31761" PostHistoryTypeId="3" PostId="19567" RevisionGUID="20e2f31b-4035-40b2-8fc3-ab10d2ed5672" CreationDate="2013-06-19T11:42:27.043" UserId="6147" Text="&lt;plug-ins&gt;&lt;audio-restoration&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31762" PostHistoryTypeId="2" PostId="19568" RevisionGUID="2b23da0d-fc8d-4834-a558-d6d28f92fe98" CreationDate="2013-06-19T12:26:09.657" UserId="4442" Text="I think it's izotope rx2 that you're looking for?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31763" PostHistoryTypeId="2" PostId="19569" RevisionGUID="ffda06bb-ecb0-4c08-ab71-4c29264dc8dc" CreationDate="2013-06-19T12:35:36.797" UserId="6147" Text="Found it :) works like a charm...&#xD;&#xA;They  have demo for the people who want to try it out..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.zynaptiq.com/products/" ContentLicense="CC BY-SA 3.0" />
  <row Id="31764" PostHistoryTypeId="16" PostId="19569" RevisionGUID="ffda06bb-ecb0-4c08-ab71-4c29264dc8dc" CreationDate="2013-06-19T12:35:36.797" UserId="6147" />
  <row Id="31765" PostHistoryTypeId="2" PostId="19570" RevisionGUID="c91676d2-7c6f-40e0-8057-c740e5566f87" CreationDate="2013-06-19T16:11:25.847" UserId="5960" Text="I would also go for something used with that budget, like a MKH416 or possibly NTG-3." ContentLicense="CC BY-SA 3.0" />
  <row Id="31766" PostHistoryTypeId="2" PostId="19571" RevisionGUID="a85008c8-14b1-4234-aee0-208c14e230f0" CreationDate="2013-06-19T22:27:38.283" UserId="542" Text="I hope this one helps:&#xD;&#xA;&#xD;&#xA;Your hearing localizes the directions of sounds either by interpreting frequency dependent level-differences and/or the interaural time-delay between your ears. &#xD;&#xA;On the horizontal plane, you mostly localize the direction by interpreting time-delays. As far as I remember the highest frequency this works for is near 1,6 kHz. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;On the median-plane you localize the direction of a sound source by interpreting the frequency dependent level-differences. Depending on where the sound comes from, certain frequencies are getting boosted and certain frequencies are lowered due to the shape of the human ear.&#xD;&#xA;&#xD;&#xA;Jens Blauert did some research on these frequencies: in german his results are called &quot;Blauert'sche Bänder&quot;. &#xD;&#xA;According to Blauert, when a sound comes from the front, the frequency around 400Hz and 4kHz are boosted. If the source comes from the back, the frequencies around 1kHz and 15kHz are boosted. Sounds, that are coming from above are boosting the frequencies around 8kHz.&#xD;&#xA;Blauert points out, that this boosts don't automatically let people localize sounds from that direction.&#xD;&#xA;&#xD;&#xA;On the frontal-plane the human ear localizes sounds by a mixture of time-delays and frequency dependent level-changes.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31767" PostHistoryTypeId="5" PostId="19562" RevisionGUID="e48f0f03-330a-4692-b4d7-d1e27fb2abc4" CreationDate="2013-06-20T05:45:03.497" UserId="61" Comment="added 256 characters in body" Text="My answer falls under the category of &quot;fix it in post&quot;. If all else fails (and I do hope you exercise all options during production), then UNVEIL from Zynaptiq absolutely works miracles. &#xD;&#xA;&#xD;&#xA;ADDITIONAL:&#xD;&#xA;&#xD;&#xA;Another &quot;fix it in post&quot; solution is this box, which IMHO is nothing short of straight-up voodoo and black magic:&#xD;&#xA;&#xD;&#xA;http://www.izotope.com/products/audio/anrb/&#xD;&#xA;&#xD;&#xA;I have no idea how it does what it does but I'm so happy that it does it." ContentLicense="CC BY-SA 3.0" />
  <row Id="31768" PostHistoryTypeId="2" PostId="19572" RevisionGUID="45e6b7e2-e90f-4ef6-ace0-cf6e7c024dfd" CreationDate="2013-06-20T10:29:19.003" UserId="985" Text="A musician sitting at the doctors : &quot;You only have one month left to live.&quot; - &quot;Yes, but from what??&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31769" PostHistoryTypeId="2" PostId="19573" RevisionGUID="ff3cea16-ff43-41c8-b3e3-6e98c2957d3a" CreationDate="2013-06-20T16:58:46.390" UserId="362" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm looking for techniques (in Logic Pro) to take a smooth sound and make it sound bubbly.&#xD;&#xA;&#xD;&#xA;Things I've tried:&#xD;&#xA;&#xD;&#xA; - Passing it through bubbles in logics &quot;space designer&quot; convolution reverb which hasn't worked well&#xD;&#xA; - Playing with the autofilter plugin (which admittedly I know less well) and automating the rate&#xD;&#xA; - Spectral gate (which doesn't work so well on such a smooth tone. &#xD;&#xA; - A spectral pulse plugin I have which sounds a little too scifi-like. &#xD;&#xA;&#xD;&#xA;Any tips on how to approach this. I'm going for something more like soap bubbles than underwater bubbles?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31770" PostHistoryTypeId="1" PostId="19573" RevisionGUID="ff3cea16-ff43-41c8-b3e3-6e98c2957d3a" CreationDate="2013-06-20T16:58:46.390" UserId="362" Text="Making a sound bubbly" ContentLicense="CC BY-SA 3.0" />
  <row Id="31771" PostHistoryTypeId="3" PostId="19573" RevisionGUID="ff3cea16-ff43-41c8-b3e3-6e98c2957d3a" CreationDate="2013-06-20T16:58:46.390" UserId="362" Text="&lt;spectral&gt;&lt;logic&gt;&lt;convolution&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31772" PostHistoryTypeId="5" PostId="19529" RevisionGUID="cf011b74-7db2-4f11-a37c-acf84e36d9d2" CreationDate="2013-06-20T17:54:59.763" UserId="6432" Comment="added 421 characters in body; deleted 2 characters in body" Text="If you're not familiar with Iannix have a look [here][1]. &#xD;&#xA;&#xD;&#xA;Has anybody done anything cool with this? I've had a bit of a play around with the examples in Max and think there's great potential for some interesting sound design applications, but I cant quite put my finger on *the* best use for it.&#xD;&#xA;&#xD;&#xA;I'm thinking along the lines of object based automated surround panning or some other spatial control or complex control of lots of parameters (of something!).&#xD;&#xA;&#xD;&#xA;Thoughts ??? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;For anyone interested, here's an HRTF panning example which uses Iannix to control the position of three objects. When you're listening, think of the circle as being left, right, in-front and behind. You also need to listen on headphones for the effect to work.&#xD;&#xA;&#xD;&#xA;[youtube]by5S3g2BjAY[/youtube]&#xD;&#xA;&#xD;&#xA;I'm hoping to put together a more complex solution asap, hopefully with elevation and 3d positioning.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.iannix.org/en/presentation.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="31773" PostHistoryTypeId="5" PostId="19529" RevisionGUID="21e77f3c-0594-4dad-b469-b89d3789678f" CreationDate="2013-06-20T18:11:33.560" UserId="6432" Comment="added 6 characters in body" Text="If you're not familiar with Iannix have a look [here][1]. &#xD;&#xA;&#xD;&#xA;Has anybody done anything cool with this? I've had a bit of a play around with the examples in Max and think there's great potential for some interesting sound design applications, but I cant quite put my finger on *the* best use for it.&#xD;&#xA;&#xD;&#xA;I'm thinking along the lines of object based automated surround panning or some other spatial control or complex control of lots of parameters (of something!).&#xD;&#xA;&#xD;&#xA;Thoughts ??? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;For anyone interested, here's an HRTF panning example which uses Iannix to control the position of three audio objects. When you're listening, think of the circle as being left, right, in-front and behind. You also need to listen on headphones for the effect to work.&#xD;&#xA;&#xD;&#xA;[youtube]by5S3g2BjAY[/youtube]&#xD;&#xA;&#xD;&#xA;I'm hoping to put together a more complex solution asap, hopefully with elevation and 3d positioning.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.iannix.org/en/presentation.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="31774" PostHistoryTypeId="2" PostId="19574" RevisionGUID="a1743d1c-2d21-4bcb-8cf4-ec1dc1fc8920" CreationDate="2013-06-20T18:35:53.780" UserId="2502" Text="I'd try some grainular fx.  GRM Shuffle would get you there or the Grain Delay stock in Ableton.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31777" PostHistoryTypeId="2" PostId="19577" RevisionGUID="c74c1fc7-a584-4054-84f3-05041b42a48d" CreationDate="2013-06-21T00:07:19.317" UserId="6150" Text="You can try [Dehumaniser][1], an application that transforms your voice into monster sounds in real time with many presets and parameters.   &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://orfeasboteas.com/dehumaniser" ContentLicense="CC BY-SA 3.0" />
  <row Id="31779" PostHistoryTypeId="2" PostId="19578" RevisionGUID="82cf1617-6da9-42c7-82e9-8f7a925b124f" CreationDate="2013-06-25T04:04:10.500" UserId="6151" Text="i have used this site effectively for foley before in filmmaking: [http://www.freesound.org/search/?q=gun][1]  Just remember to give credit where is due.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org/search/?q=gun" ContentLicense="CC BY-SA 3.0" />
  <row Id="31780" PostHistoryTypeId="2" PostId="19579" RevisionGUID="81f3e08d-55f2-4598-af3c-9bc8200642c4" CreationDate="2013-06-25T06:33:05.660" UserId="348" Text="I have had serious problems with PT 9 and ML. PT 9 has constant buffering errors despite re-setting them, it crashes on a regular basis and freezes, comes back to life and then freezes again. Very frustrating. The only solution I found was to rn PT off of a Lacie drive which seemed to solve most of the issues. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31781" PostHistoryTypeId="2" PostId="19580" RevisionGUID="d468c97d-e15e-4b68-8ac9-81cf904c0ce8" CreationDate="2013-06-25T08:22:13.087" UserId="6152" Text="if you use multiple short grain delays you'll get exactly what you're looking for.&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/standingwave/everyday-06-23-13-voice-vocal&#xD;&#xA;&#xD;&#xA;all the sfx during the first half were multiple short delays with high feedbacks and varying grain size settings." ContentLicense="CC BY-SA 3.0" />
  <row Id="31782" PostHistoryTypeId="2" PostId="19581" RevisionGUID="1ab0985b-f888-4c9e-aa14-f80bfca50c59" CreationDate="2013-06-25T09:44:20.730" UserDisplayName="user49" Text="I doubt there is any go-to effect to do this, as the source material will dictate the approach and the amount of processing required to make it 'read' as what you wish... For me, a soap bubble popping is likely best emulated with your mouth, making subtle 'plosives eg saying/making only the very first fragment of the letter p from the word pop... almost just a very short lip smack open..&#xD;&#xA;&#xD;&#xA;if instead of breath/pressure change from your mouth you want to use a continuous tone as the source then i would probably experiment with an LFO and/or a tight/fast Envelope generator - first find an LFO speed thats working at a speed that evokes what you are after when applied to something obvious (eg filter cutoff) &amp; then try re-applying it to different parameters eg pitch, filter cutoff/resonance etc.... Some delay with (subtle or not) pitch shift in the feedback path may help too.... Or a tight fast ADSR applied to amplitude or filter cutoff&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31783" PostHistoryTypeId="2" PostId="19582" RevisionGUID="36f7d6cd-3fad-481e-8a1d-7dc62ccf4784" CreationDate="2013-06-25T14:11:06.150" UserId="348" Text="Hi,&#xD;&#xA;&#xD;&#xA;This might a question out of left field but I am looking for examples of interesting sound design for scenes where product placement exists. I have looked into the theory of subliminal messaging through the use of sound to sell a product and I am not entirely convinced that when we hear coke being open and poured that the viewer immediately rushes to the fridge to get a coke. &#xD;&#xA;&#xD;&#xA;In car commercials, or even in films where the character is driving a popular car, I have heard that they manipulate the sound of the car to make it sound a little more powerful. Ie: The recent James Bond. Is this altering of the sound of the car to make Bonds car bigger than life a decision of the director or is it the car company (Jaguar or Maserati)that asks for this to make their product sound bigger and better than everything else around it? &#xD;&#xA;&#xD;&#xA;It would be great if any of you sound folk have some other interesting examples. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="31784" PostHistoryTypeId="1" PostId="19582" RevisionGUID="36f7d6cd-3fad-481e-8a1d-7dc62ccf4784" CreationDate="2013-06-25T14:11:06.150" UserId="348" Text="Sound for scenes where there is product placement" ContentLicense="CC BY-SA 3.0" />
  <row Id="31785" PostHistoryTypeId="3" PostId="19582" RevisionGUID="36f7d6cd-3fad-481e-8a1d-7dc62ccf4784" CreationDate="2013-06-25T14:11:06.150" UserId="348" Text="&lt;product&gt;&lt;placement&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31787" PostHistoryTypeId="2" PostId="19584" RevisionGUID="08d45bf5-7f8e-4882-a00a-53b251a21fc1" CreationDate="2013-06-25T15:47:39.437" UserId="6154" Text="thing is, it was hard to figure out how to do this when I had it in my head and make it work without a loop-back, so I'm sorry that you didn't understand at first. Believe me it puzzled me at first as well :)  I'm glad JohnSoundSnow was able to help you out" ContentLicense="CC BY-SA 3.0" />
  <row Id="31788" PostHistoryTypeId="2" PostId="19585" RevisionGUID="0e5fcc2a-0b62-4c83-a2a8-60365da1bfbc" CreationDate="2013-06-25T16:13:25.123" UserId="6487" Text="I echo (LOL) Tim's recommendation but also suggest the use of Crystalizer after using an LFO. Available for Logic Pro. I also recommend warping and oscillating the pitch a few different ways and then running it through the LFO and Crystalizer in layers at different settings.  It should give you a less electronic and more natural thick bubble sound based on your base material. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31791" PostHistoryTypeId="2" PostId="19587" RevisionGUID="bf5ed2d4-5d09-44b6-a24f-20ae1114bdc0" CreationDate="2013-06-26T01:44:42.317" UserId="432" Text="Not so much an example of sub-liminal, but an example of careful control of representation through sound would be Audi's sound team:&#xD;&#xA;&#xD;&#xA;[youtube]HNQam68x2l8[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="31792" PostHistoryTypeId="2" PostId="19588" RevisionGUID="5f186712-0d2e-49f4-88d1-2e473817e7c4" CreationDate="2013-06-26T06:45:24.067" UserId="6156" Text="I like this version better..&#xD;&#xA;&#xD;&#xA;[youtube]R63Ybfk84rs[/youtube]" ContentLicense="CC BY-SA 3.0" />
  <row Id="31796" PostHistoryTypeId="2" PostId="19590" RevisionGUID="e952e1c1-9f91-4a05-861f-0eb7b63ebd48" CreationDate="2013-06-26T13:27:18.597" UserId="3835" Text="I just finished a job for an animation in denmark. So much dropbox my internet was constantly stuffed with UL / DL. This IS a godsend." ContentLicense="CC BY-SA 3.0" />
  <row Id="31797" PostHistoryTypeId="5" PostId="18527" RevisionGUID="09176af7-948b-47c9-83dc-e65ecd8beeff" CreationDate="2013-06-26T20:35:20.723" UserId="3908" Comment="edited body" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;First I would like to say that I really love this place. As a sounddesign student, social sounddesign has been invaluable and a great inspiration! Thanks to all of you for that!&#xD;&#xA;&#xD;&#xA;Now, on with the subject :-)&#xD;&#xA;&#xD;&#xA;I would like to start a brainstorm on selecting and testing different materials for a DIY Aquaphone. I found one online, but was not really charmed by it. This guy seemed to use very low resonance materials and soldered it as opposed to welding. In the end it produced a scratchy not so charming sound with alsmost no sustain. This could also be functional for a difference purpose of course, but I'm specificly aiming for a nice long ring and good resonance, just a nice round sound. So, I would like to select materials accordingly.&#xD;&#xA;&#xD;&#xA;I have found that the best choice for the base of the aquaphone would probably be compareable to those pans that really give a nice ring when excited by hitting it and also pitch modulate that sound through moving a bit of water inside the pan. Allthough I have no idea what they are made of, some materials proven to do this better than others. I can imagine this has to do with the density of the materials molecules and thus affecting the resistance soundwaves encounter when traveling through it. In my case it is a very cheap little saucepan.&#xD;&#xA;&#xD;&#xA;I plan to buy another one and ask someone with welding experience what the possibilities are as it will most likely be a composite material. The idea is to weld those 2 saucepans together to get the base of the instrument. I also fear that it will be hard to get a neat round hole in one of the pan bottoms, for the handle to be put in later. I imagine using a ironcutter will get kinda messy.&#xD;&#xA;&#xD;&#xA;In the DIY I found online the guy uses straightened clothes hangers soldered on the rim of the base to be bowed or hit. I would like to use somethign thicker, better sounding.&#xD;&#xA;&#xD;&#xA;The thing I'm not sure about is, how I should test different type of metal bars without adding a sound producing element. Can I go to a construction market with my violin bow and just see which materials appear to generate the most friction and vibration? Is this a good criteria without actually hearing anything? &#xD;&#xA;&#xD;&#xA;So my most important question would be: &#xD;&#xA;&#xD;&#xA;How do i test the acoustic properties (relevant to this specific purpose) of different materials without having it welded to the final resonating chamber? &#xD;&#xA;&#xD;&#xA;Are there any tables which give me the speed in which sound can advance through different materials and go with the one that has the least amount of resistance/highest speed/higher density/lower density? How would that relate to thickness/length and welding points. I have so many questions I can't stand it! &#xD;&#xA;&#xD;&#xA;I know it's an ambitious plan but I have faith and thought this forum to be a good place to share ideas on this! Maybe I missed some really important things or some info that will answer some of my questions, so any ideas, recommended reads in particular or help in any way is much appreciated! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks for reading! (english is not my first, so i'm sorry if this was a tough read) &#xD;&#xA;&#xD;&#xA;Tom.&#xD;&#xA;&#xD;&#xA;DIY the way i dont want to do it: http://www.instructables.com/id/The-Aquaharp/&#xD;&#xA;&#xD;&#xA;the real deal: &#xD;&#xA;http://www.youtube.com/watch?v=2n5jIqX63ok&#xD;&#xA;&#xD;&#xA;http://www.waterphone.com/&#xD;&#xA;&#xD;&#xA;Update &#xD;&#xA;&#xD;&#xA;the base is made of stainless steel (kind of obvious now i think of it.) and the rods are made of bronze. I called a metalworker and he told me that those cannot be welded together so it's going to be a mechanical connection. This raises questions, should I use screw-thread with bolts or some other connecting element. The bronze will set me back about 100 euros so its too expensive to just go and screw around. :) I need those questions answered before i start sawing and cuttin into the bronze. This also means i have to know the lengths of the rods before connecting them as i think shortening them after will put too much of a strain on the rest of the construction. This is a bummer because I was hoping to tune them as I go along.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;once again i was misled by my own chaotic mind :) The aquaphone is, in fact welded. As shown on images on the official website. Can't believe i missed that! Luckily i found a metalwork-artist willing to test how strong the connection will be when welding bronze on to stainless steel.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;The metalwork artist I contacted told me that there is special kind of welding wire used to weld bronze onto stainless steel.  I find this hilarious because it shows that you need a fellow art freak to get this kind of information, rather than asking a professional welder, who told me this was not possible at all!&#xD;&#xA;&#xD;&#xA;Sadly this welding wire is also quite expensive, but it is possible! So far my research gives me enough options to actually do this. However, because of the high costs, estimated around 300 euros for the entire project. Im also thinking about a less expensive prototype with different, less expensive materials. I know 300 euros is still way cheaper than buying one (1700,- euros) But I am also saving up for Adam a7x's :p Soooo, yeah.. not really swimming in cash atm :p&#xD;&#xA;&#xD;&#xA;Which brings me back to my first question; How do I find out what other materials have compareable properties to bronze in a waterphone setup? How do i test this without having to make a prototype with all materials included? I can only think of copper to be a good second candidate but copper is not alot cheaper than bronze so thats not a viable option. &#xD;&#xA;&#xD;&#xA;I'm beginning to understand why one would build a crappy version first, getting comfortable with the construction process and than build one with all the fine expensive materials. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31798" PostHistoryTypeId="2" PostId="19591" RevisionGUID="69901fe5-c14c-4a05-88ef-7c801a1f6f1f" CreationDate="2013-06-26T22:56:35.543" UserId="6157" Text="You should check out Voices In The Wind Audio Theatre and their productions.&#xD;&#xA;http://www.voicesinthewind.ca/" ContentLicense="CC BY-SA 3.0" />
  <row Id="31799" PostHistoryTypeId="2" PostId="19592" RevisionGUID="a9e63100-ab0a-4cba-8359-002f927555bd" CreationDate="2013-06-27T06:49:34.450" UserId="1049" Text="I know I know, if someone is having problems logging in then they won't be able to post a reply... But I had to phrase it as a question right?&#xD;&#xA;&#xD;&#xA;But on a serious note I've been encountering problems trying to log in to the site. It just happens that luckily on one of my computers I was still logged in...&#xD;&#xA;&#xD;&#xA;I've emailed Andrew to let him know, if he wasn't already. I know this isn't a Sound Design question but I thought I'd 'flag' it on here so that others having the same problem know it's been reported etc.&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="31800" PostHistoryTypeId="1" PostId="19592" RevisionGUID="a9e63100-ab0a-4cba-8359-002f927555bd" CreationDate="2013-06-27T06:49:34.450" UserId="1049" Text="** Anyone else having trouble logging in to SSD? **" ContentLicense="CC BY-SA 3.0" />
  <row Id="31801" PostHistoryTypeId="3" PostId="19592" RevisionGUID="a9e63100-ab0a-4cba-8359-002f927555bd" CreationDate="2013-06-27T06:49:34.450" UserId="1049" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31803" PostHistoryTypeId="2" PostId="19593" RevisionGUID="4499e348-6fc1-4539-a62d-e2c8ce19d9e8" CreationDate="2013-06-27T09:02:21.630" UserId="769" Text="This is a useful piece of software.&#xD;&#xA;&#xD;&#xA;![http://www.dolphinmusic.co.uk/shop_image/product/8367-se-electronics-pop--large.jpg][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31804" PostHistoryTypeId="2" PostId="19594" RevisionGUID="91c42f44-2e86-422d-bd67-f282035b3d16" CreationDate="2013-06-27T13:30:16.673" UserId="4116" Text="as mentioned above the problem is a result of the high recorders selfnoise. You would have the same problem with the zoom, at least the tascam has a decent line level.&#xD;&#xA;&#xD;&#xA;Have you tried switching of the phantom power on your device and running your røde on battery power? This should help a lot! &#xD;&#xA;&#xD;&#xA;Otherwise if you like post production you can rehearse noise reduction until you have gathered enough money to buy a mixer to put in front of you recorder :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31805" PostHistoryTypeId="2" PostId="19595" RevisionGUID="90ef17a0-abaf-4399-96dd-27f0b943adfa" CreationDate="2013-06-27T16:01:21.923" UserId="6112" Text="Minister of Chance - ministerofchance.com&#xD;&#xA;It's developed more like a movie sans visuals than regular audiodrama, but maybe it'll help." ContentLicense="CC BY-SA 3.0" />
  <row Id="31806" PostHistoryTypeId="2" PostId="19596" RevisionGUID="3305c5ea-3299-47b8-ac8f-36e21df95b77" CreationDate="2013-06-27T17:46:24.010" UserId="4272" Text="I'm doing a little voice design and wondering if you folks might have any suggestions for this one.  It's creature made of rock, and I want to have some of that embodied in his voice.  Already got the dialogue recorded, so just looking for some post processing ideas here." ContentLicense="CC BY-SA 3.0" />
  <row Id="31807" PostHistoryTypeId="1" PostId="19596" RevisionGUID="3305c5ea-3299-47b8-ac8f-36e21df95b77" CreationDate="2013-06-27T17:46:24.010" UserId="4272" Text="Creating Rock Creature Voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="31808" PostHistoryTypeId="3" PostId="19596" RevisionGUID="3305c5ea-3299-47b8-ac8f-36e21df95b77" CreationDate="2013-06-27T17:46:24.010" UserId="4272" Text="&lt;rocks&gt;&lt;dialogue&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31809" PostHistoryTypeId="2" PostId="19597" RevisionGUID="4142d871-9347-4a2f-aee7-e275d12388d7" CreationDate="2013-06-27T18:37:18.083" UserId="4442" Text="Have you already worked with the usual suspects? convolving or vocoding some of the voice with some rock debris?&#xD;&#xA;&#xD;&#xA;I have these heavy cast iron dutch ovens that when you turn the lid sounds like an ancient stone door, a layer like that may help. I would probably do some dirt and debris drops when there is a break in the speaking. Please post when finished! Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="31811" PostHistoryTypeId="2" PostId="19599" RevisionGUID="1ff6e89f-7e4a-44b7-a10b-2a41d7fc7310" CreationDate="2013-06-27T20:07:44.310" UserId="6420" Text="How were the vocals recorded? When I think of a 'rock creature' speaking I have the sound in my head of a guy with a deep, gravelly(no pun intended!) boomy voice speaking quite slow and deliberate. I guess if it was just a little creature it might sound totally different! Just wondering how you approached the recording of the voices in the first place. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31812" PostHistoryTypeId="2" PostId="19600" RevisionGUID="2171ce7e-3ed8-4f17-b429-5e7ba34615c5" CreationDate="2013-06-27T20:17:26.730" UserId="3179" Text="I recall that fantasy rock creature voices in video games e.g. the Warcraft series are often simply fast LFO-controlled (I guess a square wave shape) amplitude modulation (could be also ring modulation) on the voice of a suitable voice actor. It adds the grittiness that makes the &quot;rock&quot; in &quot;rock creature&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="31813" PostHistoryTypeId="2" PostId="19601" RevisionGUID="1d0bf52e-7771-402f-a205-1e2b98c6e5e7" CreationDate="2013-06-27T21:03:43.467" UserId="3979" Text="Hey guys,&#xD;&#xA;&#xD;&#xA;So I don't know if this should be a concern, but it drives me crazy personally.&#xD;&#xA;&#xD;&#xA;So you've mixed your film and everything sounds great. It's a low budget short intended for the festival circuit and online viewing, so you assume at some point someone will watch it in headphones. You put on headphones to check the mix and &quot;WHOA!&quot; Everything is out of balance. All the backgrounds seem way too loud. All the footsteps that you mixed in tastefully are distracting. And all your pan automation seems 100% more dramatic than you thought you mixed it....etc!&#xD;&#xA;&#xD;&#xA;Is this a common thing for you guys? Things that I mix in my studio translate well outside my studio, but could it be a calibration issue or something? Maybe I'm just crazy?&#xD;&#xA;&#xD;&#xA;I'd love any advice you guys can give me...&#xD;&#xA;&#xD;&#xA;Thanks everyone, I REALLY appreciate it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31814" PostHistoryTypeId="1" PostId="19601" RevisionGUID="1d0bf52e-7771-402f-a205-1e2b98c6e5e7" CreationDate="2013-06-27T21:03:43.467" UserId="3979" Text="Mixing - headphone translation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31815" PostHistoryTypeId="3" PostId="19601" RevisionGUID="1d0bf52e-7771-402f-a205-1e2b98c6e5e7" CreationDate="2013-06-27T21:03:43.467" UserId="3979" Text="&lt;film-mixing&gt;&lt;headphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31816" PostHistoryTypeId="2" PostId="19602" RevisionGUID="0a4df254-aed8-4288-86e8-ff1a3ecab8d5" CreationDate="2013-06-27T21:22:38.920" UserId="3179" Text="Mixes don't simply &quot;translate&quot;. You optimize them between different listening systems making the &quot;average&quot; work by correspondingly creating &quot;an average mix&quot;, rather than making the mix work only on a certain configuration. Speakers and headphones are different, but if those are what will be used to listen to the production, then it should work reasonably well on both and not just on one, but not really on the other." ContentLicense="CC BY-SA 3.0" />
  <row Id="31817" PostHistoryTypeId="2" PostId="19603" RevisionGUID="24dff459-1c80-4d6d-8e0e-d517b206ccea" CreationDate="2013-06-27T21:50:31.143" UserId="6161" Text="Keep an eye on your levels whilst mixing.&#xD;&#xA;Playback on many devices as possible making note on what needs altering.&#xD;&#xA;It is common for that to happen, happened to me quite a lot but when you keep doing more sound designs you get better each time. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31818" PostHistoryTypeId="2" PostId="19604" RevisionGUID="9c9543e9-5576-4e53-a42c-d562cb54a5cb" CreationDate="2013-06-28T00:06:47.833" UserId="6162" Text="Hi,&#xD;&#xA;&#xD;&#xA;I have an interview that was recorded in a room with considerable air-con noise. Fortunately it's the kind of noise that's easy to reduce although the trouble I'm having is that throughout the 1hr 30min recording, the gain on the recorder was adjusted a few times. I've taken a good noiseprint and set a good amount of reduction although when the gain goes up, the noise reduction becomes severe. I'm hoping to avoid some kind of automation and I like using the standalone RX2 as opposed to the ProTools plugins. Any advice??&#xD;&#xA;&#xD;&#xA;Thanks, Simon " ContentLicense="CC BY-SA 3.0" />
  <row Id="31819" PostHistoryTypeId="1" PostId="19604" RevisionGUID="9c9543e9-5576-4e53-a42c-d562cb54a5cb" CreationDate="2013-06-28T00:06:47.833" UserId="6162" Text="Noise Reduction help - dealing with a fluctuating gain/noise floor" ContentLicense="CC BY-SA 3.0" />
  <row Id="31820" PostHistoryTypeId="3" PostId="19604" RevisionGUID="9c9543e9-5576-4e53-a42c-d562cb54a5cb" CreationDate="2013-06-28T00:06:47.833" UserId="6162" Text="&lt;noise&gt;&lt;reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31821" PostHistoryTypeId="2" PostId="19605" RevisionGUID="06cbd9b5-0967-4c93-9692-b8ebf448eb28" CreationDate="2013-06-28T00:21:47.367" UserId="6420" Text="What version of RX2 have you got? In the advanced version you can try using the &quot;Adapt to changing noise profiles&quot; which might help with varying gain changes as you seem to have." ContentLicense="CC BY-SA 3.0" />
  <row Id="31822" PostHistoryTypeId="2" PostId="19606" RevisionGUID="eb1f3760-b638-4780-a0a7-02d1fa5ff399" CreationDate="2013-06-28T00:37:16.960" UserId="3179" Text="Fix the volume changing first, then reduce noise.&#xD;&#xA;&#xD;&#xA;RX2 Advanced has an adaptive noise reduction feature (the one Andy Lewis is talking about), but I don't think it knows how to handle considerable gain changes. It's meant for noise that varies i.e. cannot be captured by a single &quot;noise print&quot;.&#xD;&#xA;&#xD;&#xA;Without RX2 Advanced, reduce the noise in parts." ContentLicense="CC BY-SA 3.0" />
  <row Id="31823" PostHistoryTypeId="2" PostId="19607" RevisionGUID="e8392d23-b0e7-416e-b9b8-635ec49734be" CreationDate="2013-06-28T03:17:02.567" UserId="5624" Text="I've found a few threads already which touch on this subject but thought I'd throw out the question in a more general sense.&#xD;&#xA;&#xD;&#xA;I'm starting to build a collection of reference blurays that exhibit the greatest in film sound. If you were doing the same, what would you have to have in your collection and why?&#xD;&#xA;&#xD;&#xA;It could be there for the SFX design, the mixing, the dialogue recording, the atmospheres, the way the sound perfectly holds the tension or makes you empathize with the characters, or any other reason under the sun!&#xD;&#xA;&#xD;&#xA;So far in my list:&#xD;&#xA;&#xD;&#xA; - Star Wars Saga&#xD;&#xA; - Jurassic Park&#xD;&#xA; - Wall-E&#xD;&#xA; - The Social Network&#xD;&#xA; - Alien&#xD;&#xA; - District 9&#xD;&#xA; - Transformers" ContentLicense="CC BY-SA 3.0" />
  <row Id="31824" PostHistoryTypeId="1" PostId="19607" RevisionGUID="e8392d23-b0e7-416e-b9b8-635ec49734be" CreationDate="2013-06-28T03:17:02.567" UserId="5624" Text="Your Ultimate Film Sound Collection" ContentLicense="CC BY-SA 3.0" />
  <row Id="31825" PostHistoryTypeId="3" PostId="19607" RevisionGUID="e8392d23-b0e7-416e-b9b8-635ec49734be" CreationDate="2013-06-28T03:17:02.567" UserId="5624" Text="&lt;film-sound-design&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31826" PostHistoryTypeId="2" PostId="19608" RevisionGUID="d03b4d73-89fd-4eed-a094-1bdb98768269" CreationDate="2013-06-28T05:44:26.920" UserId="1185" Text="If you characterise you blu-rays by genre (sci-fi, action, drama, animation, etc.) then it will help you work out the important aspects of the sound for each.&#xD;&#xA;&#xD;&#xA;PS I always liked the sound in Terminator films (sci-fi/action)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31827" PostHistoryTypeId="2" PostId="19609" RevisionGUID="381e9aae-883f-4a4f-9b6d-82151de464b6" CreationDate="2013-06-28T06:56:34.253" UserId="348" Text="I am sure it will be interesting to see what people list here. I am going to throw in my 2 cents and try and think back to the films where the sound affected me a lot. &#xD;&#xA;&#xD;&#xA;1/Sinister&#xD;&#xA;2/Come and See&#xD;&#xA;3/Inception&#xD;&#xA;4/Wall-E&#xD;&#xA;5/Most of the David Lynch Films&#xD;&#xA;6/Audition&#xD;&#xA;7/Amadeus&#xD;&#xA;8/Saving Private Ryan&#xD;&#xA;9/Mama&#xD;&#xA;10/Pan's Labyrinth&#xD;&#xA;&#xD;&#xA;A bit of an eclectic mix but they are the ones that have stood in a way offering some really interesting sonic alternatives to their established genres. But by no means do I not agree with Joesph's list. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31829" PostHistoryTypeId="2" PostId="19611" RevisionGUID="6f3eadfe-fe88-46b5-bafc-033b2db6608c" CreationDate="2013-06-28T07:31:55.267" UserId="3567" Text="Been locked out of the site for a few days, but looks like it works now." ContentLicense="CC BY-SA 3.0" />
  <row Id="31830" PostHistoryTypeId="5" PostId="19607" RevisionGUID="ab41a02f-88fe-455c-8510-e12c6231422d" CreationDate="2013-06-28T07:43:09.610" UserId="5624" Comment="How could I forget The Matrix!" Text="I've found a few threads already which touch on this subject but thought I'd throw out the question in a more general sense.&#xD;&#xA;&#xD;&#xA;I'm starting to build a collection of reference blurays that exhibit the greatest in film sound. If you were doing the same, what would you have to have in your collection and why?&#xD;&#xA;&#xD;&#xA;It could be there for the SFX design, the mixing, the dialogue recording, the atmospheres, the way the sound perfectly holds the tension or makes you empathize with the characters, or any other reason under the sun!&#xD;&#xA;&#xD;&#xA;So far in my list:&#xD;&#xA;&#xD;&#xA; - Star Wars Saga&#xD;&#xA; - Jurassic Park&#xD;&#xA; - Wall-E&#xD;&#xA; - The Social Network&#xD;&#xA; - Alien&#xD;&#xA; - District 9&#xD;&#xA; - Transformers&#xD;&#xA; - The Matrix" ContentLicense="CC BY-SA 3.0" />
  <row Id="31831" PostHistoryTypeId="2" PostId="19612" RevisionGUID="bb76fc10-0422-4061-b9d6-c1784727e58f" CreationDate="2013-06-28T07:53:35.080" UserId="6432" Text="Here's an idea - if you've got some rock movement noises to mix in with the vocal, you can use an envelope follower on the voice to control the volume of the extra sounds you want to add in. This idea could also be expanded so rock sounds to adapt with the voice; chop the vocal into vowels and consonants, lay them on different tracks and have the envelope of each mix in a different rock sound. Could even be that you use the envelope to mix in some convolution too. I had some success using rock and metal impacts recorded with a contact mic as IR's recently, so you could also try that." ContentLicense="CC BY-SA 3.0" />
  <row Id="31832" PostHistoryTypeId="2" PostId="19613" RevisionGUID="1e056e90-448d-44f8-a81a-22cfe18c2098" CreationDate="2013-06-28T08:03:12.697" UserId="2" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;The issue has been fixed. I'm so sorry about this! When the migration happened there was an error in an SSL proxy in the configuration, but it was found and resolved.&#xD;&#xA;&#xD;&#xA;So now we can all login and out with no worries :-) &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31833" PostHistoryTypeId="2" PostId="19614" RevisionGUID="12b7dbea-145c-424e-9cef-0c814f14fd31" CreationDate="2013-06-28T08:50:14.777" UserDisplayName="user49" Text="kind of as Mark said, try an envelope follower on rock sounds... The crucial part will be cutting the *right* rock movement sounds that match the energy of the dialogue... Maybe a few tracks of rocks are needed, one for plosives, another for general gravel movement, another for breaths etc...&#xD;&#xA;&#xD;&#xA;As for envelope following, this doesn't have to involve plugins - trace the waveform of the dialogue using the pencil tool, then copy that volume automation and paste it (in sync) onto your tightly selected and edited/synced rock sounds.... then delete the automation off the dialogue and you will have rock sounds that follow the volume/energy in sync... You'll have to be careful with the balance of the rocks sounds, so it doesn't negatively effect intelligibility...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(i'd also process the dialogue/breaths with subharmonic processing - dbx120 or LowEnder)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31834" PostHistoryTypeId="2" PostId="19615" RevisionGUID="f0a5d4e1-3ea1-4125-a34e-b44bd01f835d" CreationDate="2013-06-28T18:34:18.583" UserId="285" Text="Hello All&#xD;&#xA;&#xD;&#xA;Some of you may know of the Sound Design focused podcast called The Tonebenders ( http://www.tonebenders.net/ ) that myself, along with Rene Coronado and Dustin Camillari have been putting out for the last while.  We have something planned for our next episode and I was hoping to get a bit of help from the sound community to pull it off.&#xD;&#xA;&#xD;&#xA;We are going to do a case study of the sound design in the film &quot;Martha Mary May Marlene&quot; and we have lined up the film's sound designer, Coll Anderson, to take part.  It would be great if anyone has seen the film to join in the discussion by sending us questions you may have on the film or Coll's career in general.  If you have not seen Martha Mary May Marlene it is worth a look as it is a unique and engrossing film.  It is widely available via standard streaming and online rental outlets.&#xD;&#xA;&#xD;&#xA;If you are interested in joining in on the conversation please feel free to leave questions  for Coll Anderson here or send us an email through info-at-tonebenders-dot-net   &#xD;&#xA;&#xD;&#xA;Here is a link to the film's trailer&#xD;&#xA;http://www.youtube.com/watch?v=ERREgOobLOs&#xD;&#xA;&#xD;&#xA;Here is Coll Anderson's IMDB page if you are not familiar with his background:&#xD;&#xA;http://www.imdb.com/name/nm0026541/&#xD;&#xA;&#xD;&#xA;Finally here is a quick post from Coll's blog on his experience working on the film:&#xD;&#xA;http://www.casoundinc.com/wp/?p=29&#xD;&#xA;&#xD;&#xA;If interested please take part and send in questions, hopefully this can be the start of many case studies to be featured on the podcast.  Also if you know of another film you think we should disect in the future let us know." ContentLicense="CC BY-SA 3.0" />
  <row Id="31835" PostHistoryTypeId="1" PostId="19615" RevisionGUID="f0a5d4e1-3ea1-4125-a34e-b44bd01f835d" CreationDate="2013-06-28T18:34:18.583" UserId="285" Text="Sound Design in Martha Mary May Marlene" ContentLicense="CC BY-SA 3.0" />
  <row Id="31836" PostHistoryTypeId="3" PostId="19615" RevisionGUID="f0a5d4e1-3ea1-4125-a34e-b44bd01f835d" CreationDate="2013-06-28T18:34:18.583" UserId="285" Text="&lt;sound-design&gt;&lt;podcasts&gt;&lt;studies&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31837" PostHistoryTypeId="2" PostId="19616" RevisionGUID="d1cb7472-1ab9-4dbd-b19b-6cf3cb5c3179" CreationDate="2013-06-28T19:24:28.133" UserId="18" Text="Indiana Jones films - Amazing Ben Burtt sound in a non-sci-fi setting&#xD;&#xA;&#xD;&#xA;Once Upon A Time In The West - The use of sound in the opening scene is one of my favorite film sound moments and should be a mandatory viewing for anyone interested in sound&#xD;&#xA;&#xD;&#xA;Fight Club - Great stylized sound design (airplane scene, car crash, gun shot at the end), really cool foley work (I love Marla's footsteps in the old house), cool fight stuff (of course)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31838" PostHistoryTypeId="2" PostId="19617" RevisionGUID="dfaafa93-d4b0-4fd0-ab37-6cbd8ff2b5e6" CreationDate="2013-06-28T22:38:23.360" UserId="6165" Text="Hi everyone!&#xD;&#xA;I'm a newbie in sound generating and currently I'm coding assembly for playing a .wav file. What I have learned by all my searching is that in the structure of a .wav file there is some number &quot;sample rate&quot;. I wanted to know if my understanding of this sample rate is correct. &#xD;&#xA;&#xD;&#xA;Let's assume that the sampling rate, noted in the subchunk of a .wav file is 8000hz. Does it mean that when playing the sound, 8000 of those samples per second should be played? so that this way I can calculate how much time a note (or a sample) shall hold on. &#xD;&#xA;&#xD;&#xA;Is what I have assumed correct?&#xD;&#xA;&#xD;&#xA;thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="31839" PostHistoryTypeId="1" PostId="19617" RevisionGUID="dfaafa93-d4b0-4fd0-ab37-6cbd8ff2b5e6" CreationDate="2013-06-28T22:38:23.360" UserId="6165" Text="sampling rate in .wav file" ContentLicense="CC BY-SA 3.0" />
  <row Id="31840" PostHistoryTypeId="3" PostId="19617" RevisionGUID="dfaafa93-d4b0-4fd0-ab37-6cbd8ff2b5e6" CreationDate="2013-06-28T22:38:23.360" UserId="6165" Text="&lt;sample-rate&gt;&lt;wav&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31841" PostHistoryTypeId="2" PostId="19618" RevisionGUID="ad4bec39-4430-4d5e-b7f6-6b0e95d89496" CreationDate="2013-06-28T23:03:51.233" UserId="3179" Text="Yes.            ." ContentLicense="CC BY-SA 3.0" />
  <row Id="31842" PostHistoryTypeId="2" PostId="19619" RevisionGUID="8840d269-274c-49dc-98a7-c6db4fe6e2e5" CreationDate="2013-06-28T23:52:48.867" UserId="253" Text="I loved the sound post for that film. It seemed really well integrated, and added so much to the mood, i felt. &#xD;&#xA;&#xD;&#xA;Two things that i liked about the sound design were the ambiguous transitions between scenes/times/places; and the use of sound POV to portray character headspace. It seems like the picture was cut with consideration for sound; i'd be keen to know whether there was much interaction between sound and picture post to achieve this.&#xD;&#xA;&#xD;&#xA;Also, i'm a big fan of sound design that, in any other context would seem totally wrong, but works perfectly in the context in which its placed. Like the 2 things i mentioned before: ambiguous aural scene changes would confuse a lot of people, but added so much to the mood in this film; and sound POV can be hard to pull off. I'd like to know if Coll has any philosophies or approaches for/to finding these sound opportunities and making them work. &#xD;&#xA;&#xD;&#xA;Hopefully that all makes sense. It feels a bit convoluted, so just let me know if i should clarify anything.&#xD;&#xA;&#xD;&#xA;Thanks for doing this!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31843" PostHistoryTypeId="5" PostId="19615" RevisionGUID="7c939360-719e-4acc-93fd-888de6690281" CreationDate="2013-06-29T00:29:07.083" UserId="432" Comment="added 1 characters in body; edited title" Text="Hello All&#xD;&#xA;&#xD;&#xA;Some of you may know of the Sound Design focused podcast called The Tonebenders ( http://www.tonebenders.net/ ) that myself, along with Rene Coronado and Dustin Camillari have been putting out for the last while.  We have something planned for our next episode and I was hoping to get a bit of help from the sound community to pull it off.&#xD;&#xA;&#xD;&#xA;We are going to do a case study of the sound design in the film &quot;Martha Marcy May Marlene&quot; and we have lined up the film's sound designer, Coll Anderson, to take part.  It would be great if anyone has seen the film to join in the discussion by sending us questions you may have on the film or Coll's career in general.  If you have not seen Martha Mary May Marlene it is worth a look as it is a unique and engrossing film.  It is widely available via standard streaming and online rental outlets.&#xD;&#xA;&#xD;&#xA;If you are interested in joining in on the conversation please feel free to leave questions  for Coll Anderson here or send us an email through info-at-tonebenders-dot-net   &#xD;&#xA;&#xD;&#xA;Here is a link to the film's trailer&#xD;&#xA;http://www.youtube.com/watch?v=ERREgOobLOs&#xD;&#xA;&#xD;&#xA;Here is Coll Anderson's IMDB page if you are not familiar with his background:&#xD;&#xA;http://www.imdb.com/name/nm0026541/&#xD;&#xA;&#xD;&#xA;Finally here is a quick post from Coll's blog on his experience working on the film:&#xD;&#xA;http://www.casoundinc.com/wp/?p=29&#xD;&#xA;&#xD;&#xA;If interested please take part and send in questions, hopefully this can be the start of many case studies to be featured on the podcast.  Also if you know of another film you think we should disect in the future let us know." ContentLicense="CC BY-SA 3.0" />
  <row Id="31844" PostHistoryTypeId="4" PostId="19615" RevisionGUID="7c939360-719e-4acc-93fd-888de6690281" CreationDate="2013-06-29T00:29:07.083" UserId="432" Comment="added 1 characters in body; edited title" Text="Sound Design in Martha Marcy May Marlene" ContentLicense="CC BY-SA 3.0" />
  <row Id="31845" PostHistoryTypeId="2" PostId="19620" RevisionGUID="f1e9b932-c3aa-4feb-892b-c3839f5316e4" CreationDate="2013-06-30T01:00:43.597" UserId="5654" Text="Hello,&#xD;&#xA;&#xD;&#xA;I've rendered audio content for radio and TV/commercials before, but rendering out a simple wav or mp3 has always been sufficient; as long as the ceiling was set to the appropriate level.  However, today a client asked for the audio to be mixed down to &quot;AES Channels 1 &amp; 2.&quot;  Is this a simple default AES spec or a certain codec?  I've looked online but can't seem to find anything.  Does the AES have a default setting for TV somewhere that I just can't seem to find?&#xD;&#xA;&#xD;&#xA;Any info would be appreciated.&#xD;&#xA;&#xD;&#xA;Thank You" ContentLicense="CC BY-SA 3.0" />
  <row Id="31846" PostHistoryTypeId="1" PostId="19620" RevisionGUID="f1e9b932-c3aa-4feb-892b-c3839f5316e4" CreationDate="2013-06-30T01:00:43.597" UserId="5654" Text="Client asking for AES Channels 1 &amp; 2 render" ContentLicense="CC BY-SA 3.0" />
  <row Id="31847" PostHistoryTypeId="3" PostId="19620" RevisionGUID="f1e9b932-c3aa-4feb-892b-c3839f5316e4" CreationDate="2013-06-30T01:00:43.597" UserId="5654" Text="&lt;mixing&gt;&lt;mastering&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31848" PostHistoryTypeId="2" PostId="19621" RevisionGUID="88bb2f7f-93fa-4f31-b51b-7aed65ac3e1a" CreationDate="2013-06-30T02:53:13.493" UserId="6097" Text="This list could go on forever but besides whats already post, I think Eraser Head and Barton Fink are important films to include and I'd have to say 'seven' as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="31849" PostHistoryTypeId="2" PostId="19622" RevisionGUID="bc93ae1f-d9bc-42ff-a813-ba9a6f3f90ad" CreationDate="2013-06-30T08:57:50.003" UserId="5624" Text="I just finished watching Kill Bill Vol. 1 again and have to add it to the list for being so dynamic, detailed and perfectly over the top. Also a massive fan of the sound design in Tarantino's Inglorious Basterds. Particularly the opening scene for its detail and subtlety." ContentLicense="CC BY-SA 3.0" />
  <row Id="31850" PostHistoryTypeId="2" PostId="19623" RevisionGUID="96b90269-02bf-4c42-8ed9-3a7c4acb3f29" CreationDate="2013-06-30T18:12:49.533" UserId="208" Text="Hi all&#xD;&#xA;&#xD;&#xA;A few years back, I was able to scrub the audio (with my finger) in a youtube vid, when playing back stuff on my android phone.&#xD;&#xA;Unfortunately I updated the phone, and it was suddenly not able to do this anymore.&#xD;&#xA;I have tried to find a way to do this since then, but with no luck.&#xD;&#xA;&#xD;&#xA;The cool thing was, that I was able to scrub fast or slow, and the audio would play back accordingly. &#xD;&#xA;&#xD;&#xA;Any of you can help me figuring out what to do, or know of an app doing this?&#xD;&#xA;&#xD;&#xA;Best wishes, Mikkel" ContentLicense="CC BY-SA 3.0" />
  <row Id="31851" PostHistoryTypeId="1" PostId="19623" RevisionGUID="96b90269-02bf-4c42-8ed9-3a7c4acb3f29" CreationDate="2013-06-30T18:12:49.533" UserId="208" Text="Audio scrub app needed" ContentLicense="CC BY-SA 3.0" />
  <row Id="31852" PostHistoryTypeId="3" PostId="19623" RevisionGUID="96b90269-02bf-4c42-8ed9-3a7c4acb3f29" CreationDate="2013-06-30T18:12:49.533" UserId="208" Text="&lt;app&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31853" PostHistoryTypeId="2" PostId="19624" RevisionGUID="ffb3414c-6963-442f-9021-d302dcddac56" CreationDate="2013-06-30T19:35:12.387" UserId="6597" Text="Did anyone had any experience with Pro Tolls 11? How is it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31854" PostHistoryTypeId="1" PostId="19624" RevisionGUID="ffb3414c-6963-442f-9021-d302dcddac56" CreationDate="2013-06-30T19:35:12.387" UserId="6597" Text="Pro Tools 11: Pros and Cons " ContentLicense="CC BY-SA 3.0" />
  <row Id="31855" PostHistoryTypeId="3" PostId="19624" RevisionGUID="ffb3414c-6963-442f-9021-d302dcddac56" CreationDate="2013-06-30T19:35:12.387" UserId="6597" Text="&lt;pro&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31856" PostHistoryTypeId="5" PostId="19624" RevisionGUID="e8b849f6-4e47-4406-be50-d72b21c2fec7" CreationDate="2013-06-30T20:15:48.797" UserId="3179" Comment="edited body" Text="Has anyone had any experience with Pro Tools 11? How is it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31857" PostHistoryTypeId="2" PostId="19625" RevisionGUID="2415bd75-0ffc-4f96-adbf-631829a39525" CreationDate="2013-07-01T01:01:34.587" UserId="6168" Text="&#xD;&#xA;Ok so, in order to get a Masters degree I have to pass a grad review, in which I flunked once. I have second Graduate review scheduled in Aug and I want to clear it this time for sure.&#xD;&#xA;In the first review test, my professor, asked me many questions looking at my pro tools session. I could answer few question. The first question was, what is your job on this, I was bit stuck, and failed to explain him. I request you all to sort what exactly is my job description upon my interest. &#xD;&#xA;&#xD;&#xA;So my interest in whole audio is, I very much like to put the sound effects for films, animations from the sound libraries and also add some music to it. (I don't Compose music)&#xD;&#xA;&#xD;&#xA;so while working on pro tools for this kind of work, what would be the job description for this and also please give some resources where I can get more familiar for the same.&#xD;&#xA;&#xD;&#xA;Please help me.. Thank you so much.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31858" PostHistoryTypeId="1" PostId="19625" RevisionGUID="2415bd75-0ffc-4f96-adbf-631829a39525" CreationDate="2013-07-01T01:01:34.587" UserId="6168" Text="Some please help me!! " ContentLicense="CC BY-SA 3.0" />
  <row Id="31859" PostHistoryTypeId="3" PostId="19625" RevisionGUID="2415bd75-0ffc-4f96-adbf-631829a39525" CreationDate="2013-07-01T01:01:34.587" UserId="6168" Text="&lt;graduate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31860" PostHistoryTypeId="2" PostId="19626" RevisionGUID="8edb7843-2eec-4f42-bab1-ddee2a10b4a5" CreationDate="2013-07-01T01:50:05.943" UserId="5535" Text="Hi there, sounds like you were doing the job of a Sound Designer." ContentLicense="CC BY-SA 3.0" />
  <row Id="31861" PostHistoryTypeId="2" PostId="19627" RevisionGUID="c57c76e9-4b51-4d5e-a229-0d5e149e9eb1" CreationDate="2013-07-01T01:57:30.303" UserId="654" Text="Just posted all my thoughts on [my blog][1] over the weekend fyi.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.protoolsprofessional.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="31862" PostHistoryTypeId="5" PostId="19625" RevisionGUID="bbd21f60-01a5-45b2-91e6-5f2717242f7c" CreationDate="2013-07-01T02:07:15.460" UserId="3179" Comment="deleted 2 characters in body; edited tags; edited title" Text="Ok so, in order to get a Masters degree I have to pass a grad review, in which I flunked once. I have second Graduate review scheduled in Aug and I want to clear it this time for sure.&#xD;&#xA;In the first review test, my professor, asked me many questions looking at my pro tools session. I could answer few question. The first question was, what is your job on this, I was bit stuck, and failed to explain him. I request you all to sort what exactly is my job description upon my interest. &#xD;&#xA;&#xD;&#xA;So my interest in whole audio is, I very much like to put the sound effects for films, animations from the sound libraries and also add some music to it. (I don't Compose music)&#xD;&#xA;&#xD;&#xA;so while working on pro tools for this kind of work, what would be the job description for this and also please give some resources where I can get more familiar for the same.&#xD;&#xA;&#xD;&#xA;Please help me.. Thank you so much.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31863" PostHistoryTypeId="4" PostId="19625" RevisionGUID="bbd21f60-01a5-45b2-91e6-5f2717242f7c" CreationDate="2013-07-01T02:07:15.460" UserId="3179" Comment="deleted 2 characters in body; edited tags; edited title" Text="Help: What's my role/title?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31864" PostHistoryTypeId="6" PostId="19625" RevisionGUID="bbd21f60-01a5-45b2-91e6-5f2717242f7c" CreationDate="2013-07-01T02:07:15.460" UserId="3179" Comment="deleted 2 characters in body; edited tags; edited title" Text="&lt;graduate&gt;&lt;title&gt;&lt;occupation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31865" PostHistoryTypeId="2" PostId="19628" RevisionGUID="1eaaab66-f044-465e-9c65-e2a39e808c64" CreationDate="2013-07-01T05:37:03.697" UserDisplayName="user80" Text="I am using Pro Tools 11 on my laptop and it is working well for me. I am currently editing dialogue, and there are no glitches, or hanging on a MacBook Pro running 10.8.4.  Visually the software has improved, and the new meters are fun, I have a de-esser running and you can see the gain reduction levels down the side of the track meter.  &#xD;&#xA;&#xD;&#xA;However, I won't be able to upgrade the software at work as we will have to upgrade all of the Avid hardware as well, which is a shame, but I completely understand why. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31866" PostHistoryTypeId="2" PostId="19629" RevisionGUID="6566dd2e-06f0-4132-854a-fd9874862152" CreationDate="2013-07-01T05:58:48.700" UserId="6168" Text="Can I get more detailed answer please? The answer should be very specific, related to the job what Iam doing in a pro tools sessions. Please Please Please. Thank you" ContentLicense="CC BY-SA 3.0" />
  <row Id="31867" PostHistoryTypeId="2" PostId="19630" RevisionGUID="c8705159-d686-4da1-948c-fce5a1676ea0" CreationDate="2013-07-01T08:44:26.080" UserId="6432" Text="Hi Mikkel,&#xD;&#xA;&#xD;&#xA;I built a multipurpose scrubber in max/MSP a while back. You can find it [here][1] if you would like a go (use the download link to *tapehead 1.0* for the program itself). You will need the max runtime for it to function which you can find [here][2]. &#xD;&#xA;&#xD;&#xA;I'd be interested to know if it does what you need it to, so any feedback is welcome!&#xD;&#xA;&#xD;&#xA;  [1]: http://sounddesignwithmax.blogspot.co.uk/2013/04/tapehead-sample-playback-for-sound.html&#xD;&#xA;  [2]: http://cycling74.com/downloads/" ContentLicense="CC BY-SA 3.0" />
  <row Id="31869" PostHistoryTypeId="2" PostId="19632" RevisionGUID="56e40fae-eaea-422c-897c-43e1f4baf242" CreationDate="2013-07-01T12:15:24.253" UserId="6171" Text="Recently I was wondering to create my resume with best format. I met one of the HR, she suggested me to use word format for resume creation. Word format attracts recruiters eye while scanning it. When compared to three formats chronological resume works best." ContentLicense="CC BY-SA 3.0" />
  <row Id="31870" PostHistoryTypeId="2" PostId="19633" RevisionGUID="ce782bf2-5114-40db-bd51-84fc6e539843" CreationDate="2013-07-01T12:32:57.437" UserId="6170" Text="When recording dialogue that involves the actor shouting, how do I avoid distortion without making it sound like it was recorded from across the room?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31871" PostHistoryTypeId="1" PostId="19633" RevisionGUID="ce782bf2-5114-40db-bd51-84fc6e539843" CreationDate="2013-07-01T12:32:57.437" UserId="6170" Text="Recording shouted dialogue" ContentLicense="CC BY-SA 3.0" />
  <row Id="31872" PostHistoryTypeId="3" PostId="19633" RevisionGUID="ce782bf2-5114-40db-bd51-84fc6e539843" CreationDate="2013-07-01T12:32:57.437" UserId="6170" Text="&lt;dialogue&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31873" PostHistoryTypeId="2" PostId="19634" RevisionGUID="c06e0253-796a-4d52-8c40-42fa35faba7d" CreationDate="2013-07-01T12:39:23.250" UserId="6432" Text="You need another microphone. It's good practice to always carry an SM58 around for this sort of thing (or some other mic which can handle high SPL's with ease)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31874" PostHistoryTypeId="5" PostId="19634" RevisionGUID="494cd092-83b8-47ab-96ba-44b4289052b4" CreationDate="2013-07-01T12:52:34.737" UserId="6432" Comment="added 11 characters in body; added 125 characters in body" Text="You need another microphone. It's good practice to always carry around a second mic which can handle high SPL's. I always carry around a dynamic like an SM58 just in case, though I don't really location dialogue (more general field recording). Be curious to know what mics everyone uses for this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31875" PostHistoryTypeId="2" PostId="19635" RevisionGUID="f79942c6-6903-4a9f-a154-de26c21653d3" CreationDate="2013-07-01T17:55:23.430" UserId="6172" Text="Hi,&#xD;&#xA;&#xD;&#xA;You can also use a limiter or hard compressor to avoid clipping. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31876" PostHistoryTypeId="2" PostId="19636" RevisionGUID="31e57e53-a3fb-4c03-a732-8706460e8d26" CreationDate="2013-07-01T18:02:24.763" UserId="6172" Text="Hi,&#xD;&#xA;&#xD;&#xA;I am in the very same shoe. I think the job title is Sound Designer as mentioned above. If you create the sounds in a recording studio you can call yourself a Foley artist.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="31877" PostHistoryTypeId="2" PostId="19637" RevisionGUID="bc37cffe-b091-4104-8aa9-972381a6889b" CreationDate="2013-07-01T18:11:42.840" UserId="3179" Text="If the room is a recording room (i.e. well treated acoustically), then you can usually push the actor back from the microphone enough without getting too much room echo. Increasing the distance between the actor and the microphone leaves more air between, which compresses the voice before it hits the microphone capsule. &#xD;&#xA;&#xD;&#xA;You can also have the actor shout slightly off (e.g. on top of or over) the microphone capsule (so that you also avoid making it too off-axis), rather than directly towards it.&#xD;&#xA;&#xD;&#xA;Picking another mic for the shouting may be problematic, because then you'll get different frequency response, so the voice may sound considerably different than with the other mic used for normal dialogue.&#xD;&#xA;&#xD;&#xA;I'd try to get as much natural compression using the microphone and the distance between the actor, because otherwise the dynamics may prove problematic (you can't necessary compress/limit much or you will mess up the natural gain envelopes)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31878" PostHistoryTypeId="5" PostId="19637" RevisionGUID="dcc2c57b-5b7f-4ccc-a21f-bf9c7a639b36" CreationDate="2013-07-01T18:16:58.357" UserId="3179" Comment="deleted 1 characters in body" Text="If the room is a recording room (i.e. well treated acoustically), then you can usually push the actor back from the microphone enough without getting too much room echo. Increasing the distance between the actor and the microphone leaves more air between, which compresses the voice before it hits the microphone capsule. &#xD;&#xA;&#xD;&#xA;You can also have the actor shout slightly off (e.g. on top of or over) the microphone capsule (so that you also avoid making it too off-axis), rather than directly towards it.&#xD;&#xA;&#xD;&#xA;Picking another mic for the shouting may be problematic, because then you'll get different frequency response, so the voice may sound considerably different than with the other mic used for normal dialogue.&#xD;&#xA;&#xD;&#xA;I'd try to get enough natural compression using the microphone and the distance between the actor, because otherwise the dynamics may prove problematic (you can't necessary compress/limit much or you will mess up the natural gain envelopes)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31879" PostHistoryTypeId="2" PostId="19638" RevisionGUID="11c6a85a-f5ce-4ad9-9612-4f88d163c5ee" CreationDate="2013-07-01T19:22:01.250" UserId="3179" Text="I consider a computer/an audio sequencer an instrument, so yes. I find traditional or real instruments boring (although they can sound good), because their tone options and ways to play them are limited. Also learning to play them well takes a lot of practice. I prefer sampling and sequencing.&#xD;&#xA;&#xD;&#xA;I don't consider there to be a difference between music and sound, when it's worked by utilizing a computer. Real instruments and bands/orchestras vs computers are where there's a clear practical difference." ContentLicense="CC BY-SA 3.0" />
  <row Id="31880" PostHistoryTypeId="5" PostId="19638" RevisionGUID="13b2c069-634c-47e7-b5f5-2c13185efd7b" CreationDate="2013-07-01T19:28:39.653" UserId="3179" Comment="added 339 characters in body; added 41 characters in body" Text="I consider a computer/an audio sequencer an instrument, so yes. I find traditional or real instruments boring (although they can sound good), because their tone options and ways to play them are limited. Also learning to play them well takes a lot of practice. I prefer sampling and sequencing.&#xD;&#xA;&#xD;&#xA;I don't consider there to be a difference between music and sound, when it's worked by utilizing a computer. Real instruments and bands/orchestras vs computers are where there's a clear practical difference.&#xD;&#xA;&#xD;&#xA;The only relevant aspect of music in &quot;sound design&quot; would be the basic understanding of pitch and pitches, because it makes a difference, whether the pitched sounds you have are in a certain interval and don't sound dissonant (or if they do, there's a reason for it). Possibly rhythm and pacing as well, but those aren't really as strict in anywhere else as they are in music." ContentLicense="CC BY-SA 3.0" />
  <row Id="31881" PostHistoryTypeId="2" PostId="19639" RevisionGUID="71b4eadc-74e1-4d5f-aad7-f076dc3e2dc2" CreationDate="2013-07-01T19:36:25.340" UserId="455" Text="There are two main elements to this answer-&#xD;&#xA;&#xD;&#xA;1) Room-  This is VERY important.  I recorded an actor screaming (should've brought my earplugs!) in a wardrobe room.  The room was small but not too small and the hanging clothes worked pretty well for difusion.  We checked out a few different rooms and found this one to be the best.  Not too dead and not too reflective.  This is vital because the actor needs to be a good distance (we did about 17ft) from the mic so as not to distort your preamps.&#xD;&#xA;&#xD;&#xA;2) Directional Mic- You have to use a shotgun microphone.  I record VO in a very nice booth for commercials and TV shows and I ALWAYS use a 416 when recording shouting/ yelling.  If you use a regular cardiod condensor you're going to hear the room.  &#xD;&#xA;&#xD;&#xA;Do your best to capture the performance during the shot.  If you can't, make sure to find some time to do wild lines.  Or, find a similar location and set up a time with the actor(s).  Make sure to have some kind of playback system so that both you and the actor can listen and get as close as possible to what was initially recorded." ContentLicense="CC BY-SA 3.0" />
  <row Id="31882" PostHistoryTypeId="2" PostId="19640" RevisionGUID="0cef2cd3-21c1-43dd-84c2-30dc0ed6943d" CreationDate="2013-07-02T00:06:48.383" UserId="3179" Text="Have you ever thought of impossible sounds or identified such?&#xD;&#xA;&#xD;&#xA;An impossible sound is a sound that's (or at least is perceived as being) impossible to record or create and it may also be a sound that we're not sure whether it even exists (i.e. an impossible sound may be &quot;physically impossible&quot;, so we'd have to think of it as a some kind of &quot;metaphysical sound&quot; or e.g. a sound that can be only created by complex artificial e.g. computational means)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31883" PostHistoryTypeId="1" PostId="19640" RevisionGUID="0cef2cd3-21c1-43dd-84c2-30dc0ed6943d" CreationDate="2013-07-02T00:06:48.383" UserId="3179" Text="Impossible sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="31884" PostHistoryTypeId="3" PostId="19640" RevisionGUID="0cef2cd3-21c1-43dd-84c2-30dc0ed6943d" CreationDate="2013-07-02T00:06:48.383" UserId="3179" Text="&lt;philosophy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31885" PostHistoryTypeId="2" PostId="19641" RevisionGUID="44657091-afbd-480f-83b9-a7594168b19e" CreationDate="2013-07-02T00:29:56.087" UserId="3179" Text="I think that there's a high chance that one wouldn't even need 100s of pres to figure out that there might just be constant and normal ambient noises everywhere around us, even when we think that things are quiet. Given that, one might not be able to extract any kind of &quot;special miniscule sounds&quot; in indoor or outdoor environments, because there's always some greater common sound somewhere (it might be coming from a long distance) that will be picked up with the extreme amplification. I don't think one could expect to hear anything surprising, because whatever that would be, it would be masked by something else. If you'd then try to do the recording in an anechoic chamber, well, you'd hear yourself. If you'd put only the microphone into the anechoic chamber, well, you'd pick up some common sound with the extreme amplification again.&#xD;&#xA;&#xD;&#xA;I think there are only two possibilities here (and no surprises):&lt;br&gt;&lt;br&gt;&#xD;&#xA;1) You'd pick up some common sound with extreme amplification (even if it's picked up from a long distance)&lt;br&gt;&#xD;&#xA;2) You'd pick up absolute silence (given that you try to place the extreme amplified setup in a theoretically silent environment in order to capture something &quot;miniscule&quot;. But total silence is silence, thus you'll pick up silence.)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31886" PostHistoryTypeId="5" PostId="19641" RevisionGUID="a7654c53-d0d8-41c1-8a18-4469eac672e4" CreationDate="2013-07-02T00:43:16.513" UserId="3179" Comment="added 226 characters in body; added 32 characters in body" Text="I think that there's a high chance that one wouldn't even need 100s of pres to figure out that there might just be constant and normal ambient noises everywhere around us, even when we think that things are quiet. Given that, one might not be able to extract any kind of &quot;special miniscule sounds&quot; in indoor or outdoor environments, because there's always some greater common sound somewhere (it might be coming from a long distance) that will be picked up with the extreme amplification. I don't think one could expect to hear anything surprising, because whatever that would be, it would be masked by something else. If you'd then try to do the recording in an anechoic chamber, well, you'd hear yourself. If you'd put only the microphone into the anechoic chamber, well, you'd pick up some common sound with the extreme amplification again.&#xD;&#xA;&#xD;&#xA;I think there are only two possibilities here (and no surprises):&lt;br&gt;&lt;br&gt;&#xD;&#xA;1) You'd pick up some common sound with extreme amplification (even if it's picked up from a long distance)&lt;br&gt;&#xD;&#xA;2) You'd pick up absolute silence (given that you try to place the extreme amplified setup in a theoretically silent environment in order to capture something &quot;miniscule&quot;. But total silence is silence, thus you'll pick up silence.).&#xD;&#xA;&#xD;&#xA;Now if you'd like to record atoms or subatomic particles, then I'd think you'd need to place the setup nearby some nuclear/particle physics experiment, preferably inside the accelerator or whatever they're using. That's a controlled environment at least." ContentLicense="CC BY-SA 3.0" />
  <row Id="31887" PostHistoryTypeId="5" PostId="19641" RevisionGUID="46635633-2d5b-4be5-b953-ecef8945f2f2" CreationDate="2013-07-02T00:48:30.423" UserId="3179" Comment="added 68 characters in body; added 2 characters in body" Text="I think that there's a high chance that one wouldn't even need 100s of pres to figure out that there might just be constant and normal ambient noises everywhere around us, even when we think that things are quiet. Given that, one might not be able to extract any kind of &quot;special miniscule sounds&quot; in indoor or outdoor environments, because there's always some greater common sound somewhere (it might be coming from a long distance) that will be picked up with the extreme amplification. I don't think one could expect to hear anything surprising, because whatever that would be, it would be masked by something else. If you'd then try to do the recording in an anechoic chamber, well, you'd hear yourself. If you'd put only the microphone into the anechoic chamber, well, you'd pick up some common sound with the extreme amplification again.&#xD;&#xA;&#xD;&#xA;I think there are only two possibilities here (and no surprises):&lt;br&gt;&lt;br&gt;&#xD;&#xA;1) You'd pick up some common sound with extreme amplification (even if it's picked up from a long distance)&lt;br&gt;&#xD;&#xA;2) You'd pick up absolute silence (given that you try to place the extreme amplified setup in a theoretically silent environment in order to capture something &quot;miniscule&quot;. But total silence is silence, thus you'll pick up silence.).&#xD;&#xA;&#xD;&#xA;Now if you'd like to record atoms or subatomic particles, then I'd think you'd need to place the setup nearby some nuclear/particle physics experiment, preferably inside the accelerator or whatever they're using. That's a controlled environment at least. Although you'd be still dealing with the previous problems 1) and 2)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31888" PostHistoryTypeId="2" PostId="19642" RevisionGUID="dac3a686-a8ca-4c9f-bb75-7e5c005c9035" CreationDate="2013-07-02T00:55:40.980" UserId="6174" Text="sound of brain frequencies or sound that we hear in dreams or memories..." ContentLicense="CC BY-SA 3.0" />
  <row Id="31889" PostHistoryTypeId="5" PostId="19641" RevisionGUID="1db455eb-87c5-41bd-a4ef-ffc1e47670b8" CreationDate="2013-07-02T00:59:42.207" UserId="3179" Comment="added 449 characters in body; deleted 2 characters in body; deleted 4 characters in body; added 3 characters in body" Text="I think that there's a high chance that one wouldn't even need 100s of pres to figure out that there might just be constant and normal ambient noises everywhere around us, even when we think that things are quiet. Given that, one might not be able to extract any kind of &quot;special miniscule sounds&quot; in indoor or outdoor environments, because there's always some greater common sound somewhere (it might be coming from a long distance) that will be picked up with the extreme amplification. I don't think one could expect to hear anything surprising, because whatever that would be, it would be masked by something else. If you'd then try to do the recording in an anechoic chamber, well, you'd hear yourself. If you'd put only the microphone into the anechoic chamber, well, you'd pick up some common sound with the extreme amplification again.&#xD;&#xA;&#xD;&#xA;I think there are only two possibilities here (and no surprises):&lt;br&gt;&lt;br&gt;&#xD;&#xA;1) You'd pick up some common sound with extreme amplification (even if it's picked up from a long distance)&lt;br&gt;&#xD;&#xA;2) You'd pick up absolute silence (given that you try to place the extreme amplified setup in a theoretically silent environment in order to capture something &quot;miniscule&quot;. But total silence is silence, thus you'll pick up silence.).&#xD;&#xA;&#xD;&#xA;Now if you'd like to record atoms or subatomic particles, then I'd think you'd need to place the setup nearby some nuclear/particle physics experiment, preferably inside the accelerator or whatever they're using. That's a controlled environment at least. Although you'd be still dealing with the previous problems 1) and 2). Also, technically, you could be measuring rather than &quot;recording&quot;, so I'd think you could also &quot;hear&quot; the sound that you're looking for by synthesizing the result of the experiment e.g. the movement of atoms or subatomic particles by using their theories in physics (the quantities would be some sort of frequencies and magnitudes and if there was a way to map that into some system that can play back that sound, then one'd be able to hear it)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31890" PostHistoryTypeId="5" PostId="19641" RevisionGUID="557faf79-cc2c-492c-8b80-3c769b943993" CreationDate="2013-07-02T01:16:30.417" UserId="3179" Comment="added 71 characters in body; deleted 3 characters in body; added 157 characters in body" Text="I think that there's a high chance that one wouldn't even need 100s of pres to figure out that there might just be constant and normal ambient noises everywhere around us, even when we think that things are quiet. Given that, one might not be able to extract any kind of &quot;special miniscule sounds&quot; in indoor or outdoor environments, because there's always some greater common sound somewhere (it might be coming from a long distance) that will be picked up with the extreme amplification. I don't think one could expect to hear anything surprising, because whatever that would be, it would be masked by something else. If you'd then try to do the recording in an anechoic chamber, well, you'd hear yourself. If you'd put only the microphone into the anechoic chamber, well, you'd pick up some common sound with the extreme amplification again.&#xD;&#xA;&#xD;&#xA;I think there are only two possibilities here (and no surprises):&lt;br&gt;&lt;br&gt;&#xD;&#xA;1) You'd pick up some common sound with extreme amplification (even if it's picked up from a long distance)&lt;br&gt;&#xD;&#xA;2) You'd pick up absolute silence (given that you try to place the extreme amplified setup in a theoretically silent environment in order to capture something &quot;miniscule&quot;. But total silence is silence, thus you'll pick up silence.).&#xD;&#xA;&#xD;&#xA;Now if you'd like to record atoms or subatomic particles, then I'd think you'd need to place the setup nearby some nuclear/particle physics experiment, preferably inside the accelerator or whatever they're using. That's a controlled environment at least. Although you'd be still dealing with the previous problems 1) and 2). Also, technically, you could be measuring rather than &quot;recording&quot;, so I'd think you could also &quot;hear&quot; the sound that you're looking for by synthesizing the result of the experiment e.g. the movement of atoms or subatomic particles by using their theories in physics (the quantities would be some sort of frequencies and magnitudes and if there was a way to map that into some system that can play back that sound, e.g. by slowing down the created sound/signal to the audible range, then one could maybe be able to hear it). However, if these quantities are smaller than the molecules of all known mediums that carry sound, then is there any sound at the subatomic level?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31891" PostHistoryTypeId="5" PostId="19641" RevisionGUID="5eb810e9-2ec7-429f-aa11-aec8042f8d1d" CreationDate="2013-07-02T01:22:25.463" UserId="3179" Comment="added 96 characters in body; added 12 characters in body; added 17 characters in body; deleted 5 characters in body" Text="I think that there's a high chance that one wouldn't even need 100s of pres to figure out that there might just be constant and normal ambient noises everywhere around us, even when we think that things are quiet. Given that, one might not be able to extract any kind of &quot;special miniscule sounds&quot; in indoor or outdoor environments, because there's always some greater common sound somewhere (it might be coming from a long distance) that will be picked up with the extreme amplification. I don't think one could expect to hear anything surprising, because whatever that would be, it would be masked by something else. If you'd then try to do the recording in an anechoic chamber, well, you'd hear yourself. If you'd put only the microphone into the anechoic chamber, well, you'd pick up some common sound with the extreme amplification again.&#xD;&#xA;&#xD;&#xA;I think there are only two possibilities here (and no surprises):&lt;br&gt;&lt;br&gt;&#xD;&#xA;1) You'd pick up some common sound with extreme amplification (even if it's picked up from a long distance)&lt;br&gt;&#xD;&#xA;2) You'd pick up absolute silence (given that you try to place the extreme amplified setup in a theoretically silent environment in order to capture something &quot;miniscule&quot;. But total silence is silence, thus you'll pick up silence.).&#xD;&#xA;&#xD;&#xA;Now if you'd like to record atoms or subatomic particles, then I'd think you'd need to place the setup nearby some nuclear/particle physics experiment, preferably inside the accelerator or whatever they're using. That's a controlled environment at least. Although you'd be still dealing with the previous problems 1) and 2). Also, technically, you could be measuring rather than &quot;recording&quot;, so I'd think you could also &quot;hear&quot; the sound that you're looking for by synthesizing the result of the experiment e.g. the movement of atoms or subatomic particles by using their theories in physics (the quantities would be some sort of frequencies and magnitudes and if there was a way to map that into some system that can play back that sound, e.g. by slowing down the created sound/signal to the audible range, then one could maybe be or would be able to hear it). However, if these quantities are smaller than the molecules of all known mediums that carry sound, then is there any &quot;physical&quot; sound at the subatomic level (which means that computationally synthesizing the sound is actually the only way to capture it)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31892" PostHistoryTypeId="5" PostId="19641" RevisionGUID="f80bcd66-3607-4ea7-808e-eceb2f5091a8" CreationDate="2013-07-02T01:38:06.170" UserId="3179" Comment="added 103 characters in body; edited body; added 103 characters in body; added 25 characters in body; added 63 characters in body; added 11 characters in body" Text="I think that there's a high chance that one wouldn't even need 100s of pres to figure out that there might just be constant and normal ambient noises everywhere around us, even when we think that things are quiet. Given that, one might not be able to extract any kind of &quot;special miniscule sounds&quot; in indoor or outdoor environments, because there's always some greater common sound somewhere (it might be coming from a long distance) that will be picked up with the extreme amplification. I don't think one could expect to hear anything surprising, because whatever that would be, it would be masked by something else. If you'd then try to do the recording in an anechoic chamber, well, you'd hear yourself. If you'd put only the microphone into the anechoic chamber, well, you'd pick up some common sound with the extreme amplification again.&#xD;&#xA;&#xD;&#xA;I think there are only two possibilities here (and no surprises):&lt;br&gt;&lt;br&gt;&#xD;&#xA;1) You'd pick up some common sound with extreme amplification (even if it's picked up from a long distance)&lt;br&gt;&#xD;&#xA;2) You'd pick up absolute silence (given that you try to place the extreme amplified setup in a theoretically silent environment in order to capture something &quot;miniscule&quot;. But total silence is silence, thus you'll pick up silence.).&#xD;&#xA;&#xD;&#xA;Now if you'd like to record atoms or subatomic particles, then I'd think you'd need to place the setup nearby some nuclear/particle physics experiment, preferably inside the accelerator or whatever they're using. That's a controlled environment at least. Although you'd be still dealing with the previous problems 1) and 2). Also, technically, you could be measuring rather than &quot;recording&quot;, so I'd think you could also &quot;hear&quot; the sound that you're looking for by synthesizing the result of the experiment e.g. the movement of atoms or subatomic particles by using their theories in physics (the quantities would be some sort of frequencies and magnitudes and if there was a way to map that into some system that can play back that sound, e.g. by slowing down the created sound/signal to the audible range, then one could maybe be or would be able to hear it). However, if these quantities are smaller than the molecules of all known mediums that carry sound, then is there any &quot;physical&quot; sound at the subatomic level? Which means that computationally synthesizing the sound is actually the only way to capture it and you would also be measuring and synthesizing the highest theoretically known ultrasound frequencies, which may or may not prove to be technically impossible to be slowed down and reproduced in the audible range with any known or even realizable equipment (e.g. it may be too computationally intensive)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31893" PostHistoryTypeId="5" PostId="19641" RevisionGUID="fa0bd683-ac98-48c7-b5e2-6ec098f178e7" CreationDate="2013-07-02T01:43:29.863" UserId="3179" Comment="added 103 characters in body; deleted 305 characters in body" Text="I think that there's a high chance that one wouldn't even need 100s of pres to figure out that there might just be constant and normal ambient noises everywhere around us, even when we think that things are quiet. Given that, one might not be able to extract any kind of &quot;special miniscule sounds&quot; in indoor or outdoor environments, because there's always some greater common sound somewhere (it might be coming from a long distance) that will be picked up with the extreme amplification. I don't think one could expect to hear anything surprising, because whatever that would be, it would be masked by something else. If you'd then try to do the recording in an anechoic chamber, well, you'd hear yourself. If you'd put only the microphone into the anechoic chamber, well, you'd pick up some common sound with the extreme amplification again.&#xD;&#xA;&#xD;&#xA;I think there are only two possibilities here (and no surprises):&lt;br&gt;&lt;br&gt;&#xD;&#xA;1) You'd pick up some common sound with extreme amplification (even if it's picked up from a long distance)&lt;br&gt;&#xD;&#xA;2) You'd pick up absolute silence (given that you try to place the extreme amplified setup in a theoretically silent environment in order to capture something &quot;miniscule&quot;. But total silence is silence, thus you'll pick up silence.).&#xD;&#xA;&#xD;&#xA;Now if you'd like to record atoms or subatomic particles, then I'd think you'd need to place the setup nearby some nuclear/particle physics experiment, preferably inside the accelerator or whatever they're using. That's a controlled environment at least. Although you'd be still dealing with the previous problems 1) and 2). Also, technically, you could be measuring rather than &quot;recording&quot;, so I'd think you could also &quot;hear&quot; the sound that you're looking for by synthesizing the result of the experiment e.g. the movement of atoms or subatomic particles by using their theories in physics (the quantities would be some sort of frequencies and magnitudes and if there was a way to map that into some system that can play back that sound, e.g. by slowing down the created sound/signal to the audible range, then one could maybe be or would be able to hear it). However, if these quantities are smaller than the molecules of all known mediums that carry sound, then is there any &quot;physical&quot; sound at the subatomic level? Which means that computationally synthesizing the sound is actually the only way to capture it and you would also be measuring and synthesizing the highest theoretically known ultrasound frequencies." ContentLicense="CC BY-SA 3.0" />
  <row Id="31894" PostHistoryTypeId="16" PostId="19641" RevisionGUID="fa0bd683-ac98-48c7-b5e2-6ec098f178e7" CreationDate="2013-07-02T01:44:26.787" UserId="3179" />
  <row Id="31895" PostHistoryTypeId="2" PostId="19643" RevisionGUID="9fb757ab-726e-4164-a7c8-2efd6b7aeab2" CreationDate="2013-07-02T02:47:54.400" UserId="1228" Text="Silence (as we know it).  Sound as we hear it and as standard microphones pick it up, requires air molecules to propogate.  Without air we die, and while air is present, there truely never is silence.  What we think of traditionally as silence is acrually the sound of everything at rest - go to a desert and listen for. Long time.  You will hear that it really isn't silent at all.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So with our own two ears, in the 'present' we never can experience true silence&#xD;&#xA;&#xD;&#xA;This is my opinion" ContentLicense="CC BY-SA 3.0" />
  <row Id="31899" PostHistoryTypeId="2" PostId="19645" RevisionGUID="a40b27f3-476c-49f6-acc4-78c8e98de2f0" CreationDate="2013-07-02T03:34:30.453" UserId="3567" Text="Sound of electrons spinning inside an atom." ContentLicense="CC BY-SA 3.0" />
  <row Id="31900" PostHistoryTypeId="5" PostId="19643" RevisionGUID="3f53181e-eda0-480a-bbf2-aaa8397ab873" CreationDate="2013-07-02T06:54:35.330" UserId="1228" Comment="edited body" Text="Silence (as we know it).  Sound as we hear it and as standard microphones pick it up, requires air molecules to propagate.  Without air we die, and while air is present, there truly never is silence.  What we think of traditionally as silence is actually the sound of everything at rest - go to a desert and listen for a long time.  You will hear that it really isn't silent at all.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So with our own two ears, in the 'present' we never can experience true silence&#xD;&#xA;&#xD;&#xA;This is my opinion" ContentLicense="CC BY-SA 3.0" />
  <row Id="31901" PostHistoryTypeId="2" PostId="19646" RevisionGUID="c2c5c5d4-c30b-4726-bacf-0f2a77e1c9a0" CreationDate="2013-07-02T07:16:42.307" UserDisplayName="user49" Text="A contact mic on the moon!&#xD;&#xA;&#xD;&#xA;one small step for mere humans, one giant leap for...." ContentLicense="CC BY-SA 3.0" />
  <row Id="31902" PostHistoryTypeId="2" PostId="19647" RevisionGUID="5f9fd75a-1e3d-4505-95f5-27ae3d5bf6ca" CreationDate="2013-07-02T07:37:29.810" UserDisplayName="user49" Text="The short answer is verify your mic choice, placement &amp; gain staging before an actor is anywhere near performing.... Anyone can scream (to varying degrees) so you can surely rope in a few people to audition your choices, but always make sure you have a foolproof mic/gain path available, even if someone steps up with 140dB voice! &#xD;&#xA;As an example on a film years ago we had some ADR recorded at another studio, I warned them some of it was screams, they used a 416 with no other options &amp; distorted every take! Thanks for nothing useable on those cues, FFS... sheesh.... We had a loop group session in my studio the following week, so I set up a bunch of mic options and of the 10 women we asked to scream, the ONLY unclipped option with 2 of them was via a dynamic mic - they overloaded the shotgun &amp; condensor mics I had running in parallel... Check the max SPL of the mics you are using, nowadays I KNOW my 8040 or 8050 can handle 150dB so thats just about gain staging, but not back then... DO NOT rely on a 416 to cope!!&#xD;&#xA;&#xD;&#xA;Also suggest having honey, whisky &amp; milk available for alt takes... Unless they are heavy metal singers then you'll get only a few takes before their voicebox starts to break up....." ContentLicense="CC BY-SA 3.0" />
  <row Id="31903" PostHistoryTypeId="2" PostId="19648" RevisionGUID="033175e1-fe54-4b1b-b79c-73b6f8d18e0a" CreationDate="2013-07-02T08:09:46.403" UserId="6407" Text="Space Wars... pretty epic to think of entire raging battles, but silent. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31904" PostHistoryTypeId="2" PostId="19649" RevisionGUID="b50ec103-b57f-4159-8140-9f04a7df400e" CreationDate="2013-07-02T08:10:22.440" UserId="1241" Text="The sound of the inside of a black hole's event horizon would be my favorite. Or possibly the sound of moments passing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31905" PostHistoryTypeId="2" PostId="19650" RevisionGUID="3ddf458f-19f2-43d7-8727-b8616de8dd90" CreationDate="2013-07-02T08:25:26.560" UserId="2501" Text="The sounds of cell division process.." ContentLicense="CC BY-SA 3.0" />
  <row Id="31906" PostHistoryTypeId="2" PostId="19651" RevisionGUID="faa785c8-64d9-48ba-974d-7c191e18fede" CreationDate="2013-07-02T11:06:50.567" UserId="533" Text="I have a pair of D5s and I absolutely love them. Although they are my first pair that I own, I have used a few others in other studios including Genelecs and Mackies. The Equators are small but really loud. The coaxial design does help in the imaging. Mixes translate well and details are there. &#xD;&#xA;&#xD;&#xA;It is a little light on the extreme low end but its usable without a sub. I do mainly music so I don't always need to have the sub bass. For the low price, it will be extremely hard to find anything to beat it in this price range. Its not flattering and perfect for mixing. &#xD;&#xA;&#xD;&#xA;There's really nothing to complain about it except it was a little difficult to source in Asia. They have a new website to ship to Asia but it is priced higher than US/UK/Europe." ContentLicense="CC BY-SA 3.0" />
  <row Id="31907" PostHistoryTypeId="2" PostId="19652" RevisionGUID="7bae39eb-7549-40a3-9969-d23566e2c691" CreationDate="2013-07-02T16:47:38.143" UserId="6460" Text="In my opinion, your role is defined not only by what you do for a project but by who you work/interact with and with what authority. So a few options:&#xD;&#xA;&#xD;&#xA; - Are you the only &quot;sound person&quot; on your project? Do you interface with the director yourself? Will you be the one in charge of signing off on the final audio product before it is shown/submitted to the director for approval? In this case, you would be the &quot;sound designer&quot;, a title which basically indicates that you control all-things sound for the project. Sometimes this is interchanged with &quot;supervising sound editor&quot;, but that to me indicates that you have others on a team for you to supervise...&#xD;&#xA; - If you do work on a sound team, are you the leader? In that case you can call yourself the &quot;supervising sound editor&quot;. If you work under a team leader, call yourself a &quot;sound editor&quot;.&#xD;&#xA; - If your job also includes mixing all of the elements (Dialog, SFX, and music) together for the final mix, you should tag on &quot;re-recording mixer&quot; to your title. &#xD;&#xA;&#xD;&#xA;This is a very formal set of titles for what is, perhaps, a less formal workflow, and you certainly don't want or need to credit yourself as the &quot;supervising-re-recording-sound-designer-editor&quot; if you did all the work yourself. It's definitely good to understand which of the roles your work falls under, though. It helps me gauge my progress in a design and manage my time. Check out [THIS][1] link for more info on roles in film.&#xD;&#xA;&#xD;&#xA;Hope this helps!&lt;br&gt;&#xD;&#xA;Best,&lt;br&gt;&#xD;&#xA;~Matt&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.media-match.com/usa/jobtypes/job-descriptions.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="31908" PostHistoryTypeId="2" PostId="19653" RevisionGUID="f95a54f2-d791-4f0d-a7fe-6eaea29c85c4" CreationDate="2013-07-02T23:12:05.690" UserId="527" Text="I started as a trombonist and moved through all of the low brass instruments before picking up a bass guitar and eventually a sound effects library! If you are noticing a pattern, I love the timbre of instruments in the bass clef!! &#xD;&#xA;&#xD;&#xA;As to how it relates to Sound Design, it is all about what that experience does to your ability to perceive (and control) sound and what effect that is having on your audience. I wouldn't say that it is a necessity to being a sound designer, but it certainly helps.  my experience as a young musician has very much dictated who I am sonically (and personally). " ContentLicense="CC BY-SA 3.0" />
  <row Id="31909" PostHistoryTypeId="2" PostId="19654" RevisionGUID="81f4cc44-6c74-4b86-9a58-bffe772ea0bb" CreationDate="2013-07-02T23:21:22.923" UserId="527" Text="Of course, that is one of the best parts of being a sound designer!!  Most of the sounds I create start off as (at least in my mind)....&quot;How the hell am I going to pull this off? I think it might be impossible.&quot; &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31913" PostHistoryTypeId="2" PostId="19656" RevisionGUID="04569e51-468b-462a-a8ad-cf2926ccf46a" CreationDate="2013-07-03T17:02:38.983" UserId="125" Text="I would not make a new topic for this, so i'm aski here:&#xD;&#xA;&#xD;&#xA;could you recommend a good sampler for pro tools, where i can pitch down and up the sample maybe more than 1 sent WITHOUT time correction? The iZotope Iris would be the best, but i can't ride the pith with a knob just with lfo." ContentLicense="CC BY-SA 3.0" />
  <row Id="31914" PostHistoryTypeId="5" PostId="19656" RevisionGUID="07e25e84-f689-4a5e-a227-2ef1a9f1bb52" CreationDate="2013-07-03T17:48:56.523" UserId="125" Comment="added 1 characters in body" Text="I would not make a new topic for this, so i'm aski here:&#xD;&#xA;&#xD;&#xA;could you recommend a good sampler for pro tools, where i can pitch down and up the sample maybe more than 1 sent WITHOUT time correction? The iZotope Iris would be the best, but i can't ride the pitch with a knob just with lfo." ContentLicense="CC BY-SA 3.0" />
  <row Id="31915" PostHistoryTypeId="2" PostId="19657" RevisionGUID="05a04c75-b035-4526-bbc7-f9900f2c8ae3" CreationDate="2013-07-03T22:58:22.833" UserId="6177" Text="I was watching the dark knight soundworks video and they walk you through a lot of the process of layering sounds for the bat copter. One layer is called buzz flange and it sounds mean! I've experimented with flanging distorted low frequencies with varying success and was wondering if buzz flange is a commonly used effect and if I'm in track in attempting to recreate it? &#xD;&#xA;&#xD;&#xA;Here is a link to the video &#xD;&#xA;&#xD;&#xA;http://search.yahoo.com/mobile/s?rewrite=72&amp;.tsrc=apple&amp;first=1&amp;p=dark+mnight+aoundworks+collection&amp;pintl=en-gb&amp;pcarrier=EE&amp;pmcc=234&amp;pmnc=30&amp;fr=onesearch&#xD;&#xA;&#xD;&#xA;Thanks !" ContentLicense="CC BY-SA 3.0" />
  <row Id="31916" PostHistoryTypeId="1" PostId="19657" RevisionGUID="05a04c75-b035-4526-bbc7-f9900f2c8ae3" CreationDate="2013-07-03T22:58:22.833" UserId="6177" Text="Buzz flange effect " ContentLicense="CC BY-SA 3.0" />
  <row Id="31917" PostHistoryTypeId="3" PostId="19657" RevisionGUID="05a04c75-b035-4526-bbc7-f9900f2c8ae3" CreationDate="2013-07-03T22:58:22.833" UserId="6177" Text="&lt;dark&gt;&lt;knight&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31918" PostHistoryTypeId="2" PostId="19658" RevisionGUID="9ef566a4-f391-4fc0-8ccf-c2824ab776a8" CreationDate="2013-07-04T01:15:45.773" UserId="6597" Text="http://www.youtube.com/watch?v=fpwVCVVLfcI&#xD;&#xA;Minute: 0:45&#xD;&#xA;&#xD;&#xA;How to make this, sort of, stuttering effect?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="31919" PostHistoryTypeId="1" PostId="19658" RevisionGUID="9ef566a4-f391-4fc0-8ccf-c2824ab776a8" CreationDate="2013-07-04T01:15:45.773" UserId="6597" Text="How to make this effect in Skrillex' song" ContentLicense="CC BY-SA 3.0" />
  <row Id="31920" PostHistoryTypeId="3" PostId="19658" RevisionGUID="9ef566a4-f391-4fc0-8ccf-c2824ab776a8" CreationDate="2013-07-04T01:15:45.773" UserId="6597" Text="&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31921" PostHistoryTypeId="2" PostId="19659" RevisionGUID="2a7a025e-7e26-4465-879b-74ea482eb1a7" CreationDate="2013-07-04T01:52:50.903" UserId="3396" Text="Guitar and all fretted instruments for 40+ years and keyboard noodling.&#xD;&#xA;Always have at least 3 or 4 string instruments in my edit suite for unwinding and decompressing.&#xD;&#xA;Love to play with a couple of my sound buddies Dino DiMuro and Alan Rankin.&#xD;&#xA;&#xD;&#xA;It's funny you ask because years ago I noticed that most of the people I work with are frustrated musicians.&#xD;&#xA;&#xD;&#xA;Almost every REALLY good editor/designer I know is some sort of musician. &#xD;&#xA;Those that aren't might not have had the opportunity to learn an instrument and this whole sound thing is their instrument.&#xD;&#xA;&#xD;&#xA;Does it help? Heck yeah. Is it necessary? No, not at all. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31922" PostHistoryTypeId="2" PostId="19660" RevisionGUID="13719df0-8d8f-4c40-8904-c324367f3cc9" CreationDate="2013-07-04T02:11:00.030" UserId="6179" Text="Hard to tell if the stutter is repeating the first part very quickly or just gateing it rhythmically.  I'm guessing it's the second option.  Check out Audio Damages &quot;Replicant&quot; plug-in or Camel Audio &quot;Camel Space&quot;.  Both killer and useful.  You can probably get somewhere close." ContentLicense="CC BY-SA 3.0" />
  <row Id="31923" PostHistoryTypeId="2" PostId="19661" RevisionGUID="4004c1ad-eb8c-4ad4-8ef0-9ea52ba8b690" CreationDate="2013-07-04T02:14:20.807" UserId="5602" Text="or ... IzoTope stutter Edit or SugarBytes Artillery" ContentLicense="CC BY-SA 3.0" />
  <row Id="31924" PostHistoryTypeId="2" PostId="19662" RevisionGUID="7c9ea956-4fd4-4104-b1e0-e577caa3895a" CreationDate="2013-07-04T02:20:05.047" UserId="3396" Text="I have never seen anybody get a gig from a resume although I'm sure it must have happened at some point.&#xD;&#xA;&#xD;&#xA;It's been my experience that it's who you know. If you are recommended for a job they will sometimes want to see a list of what you've worked on. These days most people just use their IMDB page.&#xD;&#xA;&#xD;&#xA;If you don't have a history to fall back on or personal recommendations good luck.&#xD;&#xA;Crews are getting smaller and smaller and competition for gigs can be fierce. I've seen good, experienced people work only three months out of the year.&#xD;&#xA;&#xD;&#xA;Good luck and never say no. You never know who you're gonna meet on some small minimum rate job and hopefully impress. They will remember you. ALWAYS be kind and respectful to ALL assistants. Sound Supervisors frequently ask their opinion. I've seen people come in for an interview, leave thinking they've got it and then the assistant say, &quot;That person's a dick don't hire 'em.&quot; Then boom, they're crossed off the list. On the flip side I have gotten jobs because an assistant recommended me." ContentLicense="CC BY-SA 3.0" />
  <row Id="31925" PostHistoryTypeId="5" PostId="19661" RevisionGUID="348a0549-a9ed-482d-a477-329768f34618" CreationDate="2013-07-04T02:47:36.490" UserId="5602" Comment="added 308 characters in body; added 21 characters in body; edited body" Text="or ... IzoTope Stutter Edit or SugarBytes Artillery. Pretty much any 'beat slicer' type plug-in should be able to get something like that. If you only need to apply the effect in a limited manner you could even manually edit something like that up by copying and repeatedly inserting/replacing the required audio fragment at rhythmic subdivisions of the timebase (ie 16th -&gt; 32nd)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31926" PostHistoryTypeId="2" PostId="19663" RevisionGUID="1d3c36c4-9d48-4188-b88f-294ebf11c3bf" CreationDate="2013-07-04T05:08:34.067" UserId="125" Text="I'm working on an animation Projekt aboute Robots and they are moving a lot, so i would use servo samples for it.&#xD;&#xA;&#xD;&#xA;Im thinking a lot, and the best way to modulate these samples with pitch without time correction. Naturally you could not do this on an insert point with a pitch plug-in, that's why i looking for a sampler plugin, wich i can pitch the sample MORE than 50 cents up and down without time correction like iZotope Iris or Kontakt. &#xD;&#xA;The last 2 examples are not god: in Iris you pitch it correctly but with an LFO, so you cant automate it, in Kontakt you can set the cents just + or -50, and its not enough. I need more than 1 semitone up and down. The semitone adjustment opportunity is not god because the resolution. Structure plugin it would be good, there you can set the fine tune bit its correct the time unfortunately.&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;any suggestions? thans in advanced:)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://postimg.org/image/bqn7vwxn5/" ContentLicense="CC BY-SA 3.0" />
  <row Id="31927" PostHistoryTypeId="1" PostId="19663" RevisionGUID="1d3c36c4-9d48-4188-b88f-294ebf11c3bf" CreationDate="2013-07-04T05:08:34.067" UserId="125" Text="Sampler in ProTools with Pitch Shift automation but no time correction" ContentLicense="CC BY-SA 3.0" />
  <row Id="31928" PostHistoryTypeId="3" PostId="19663" RevisionGUID="1d3c36c4-9d48-4188-b88f-294ebf11c3bf" CreationDate="2013-07-04T05:08:34.067" UserId="125" Text="&lt;avid&gt;&lt;pitch-shifting&gt;&lt;sampler&gt;&lt;automation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31929" PostHistoryTypeId="2" PostId="19664" RevisionGUID="4f830e26-e67d-4268-9080-54bc46c63830" CreationDate="2013-07-04T05:58:48.797" UserId="6571" Text="I definitely recommend to download and play with such VST-plugins as:&#xD;&#xA;&#xD;&#xA;[Buffer Override][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Glitch 1.3][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://destroyfx.smartelectronix.com/&#xD;&#xA;  [2]: http://illformed.org/plugins/&#xD;&#xA;&#xD;&#xA;Both are absolutely free (or try Glitch 2 which is new and 50 euros, but I hadn't any problems with the old free version since the beginning of 2000's)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31930" PostHistoryTypeId="2" PostId="19665" RevisionGUID="bac205b4-b940-470e-8f3b-50667f110719" CreationDate="2013-07-04T07:30:36.220" UserId="6432" Text="It's from The Dark Knight Rises, [http://soundworkscollection.com/videos/darkknightrises][1] -- 4:45 in.&#xD;&#xA;&#xD;&#xA;No, it's not a standard effect, that's just what they called it. The bit at 3:18 where they talk about using a weed whacker (or strimmer, if you prefer), attaching stuff to it and recording that, well I think these are those sounds - they call them 'buzz flange' and 'bat moan'. Looks like they've made a bunch of different groups of sounds each with different post-processing applied. &#xD;&#xA;&#xD;&#xA;We can only speculate of course, but it sounds like various types of distortion and amplitude modulation with some doppler to add movement. I think much of the character of these sound is in the recordings themselves though, not the processing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/videos/darkknightrises" ContentLicense="CC BY-SA 3.0" />
  <row Id="31931" PostHistoryTypeId="5" PostId="19663" RevisionGUID="af9e4a85-bb5b-4b77-8790-c86b93abcc21" CreationDate="2013-07-04T07:41:35.837" UserId="125" Comment="deleted 63 characters in body" Text="I'm working on an animation Projekt aboute Robots and they are moving a lot, so i would use servo samples for it.&#xD;&#xA;&#xD;&#xA;Im thinking a lot, and the best way to modulate these samples with pitch without time correction. Naturally you could not do this on an insert point with a pitch plug-in, that's why i looking for a sampler plugin, wich i can pitch the sample MORE than 50 cents up and down without time correction like iZotope Iris or Kontakt. &#xD;&#xA;The last 2 examples are not god: in Iris you pitch it correctly but with an LFO, so you cant automate it, in Kontakt you can set the cents just + or -50, and its not enough. I need more than 1 semitone up and down. The semitone adjustment opportunity is not god because the resolution. Structure plugin it would be good, there you can set the fine tune but its correct the time unfortunately.&#xD;&#xA;&#xD;&#xA;any suggestions? thanks in advanced:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31932" PostHistoryTypeId="2" PostId="19666" RevisionGUID="d66b1daa-5460-4e1e-aeb8-90b6f71d16ce" CreationDate="2013-07-04T08:01:38.033" UserId="6432" Text="I'm not sure I totally understand what you're asking. &#xD;&#xA;&#xD;&#xA;But... Iris has two modes - you can choose either to re-sample (change pitch and playback length) or use Radius RT pitch shifting where the length of the sample is preserved across each key, but the pitch is altered. You can then pitch shift across the whole keyboard. &#xD;&#xA;&#xD;&#xA;You can find it in the manual if you want to read more:&#xD;&#xA;&#xD;&#xA;[http://www.izotope.com/products/audio/iris/help/Iris%20English%20Help%20PDF.pdf][1]&#xD;&#xA;&#xD;&#xA;P34&#xD;&#xA;&#xD;&#xA;Perhaps this helps?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]:  http://www.izotope.com/products/audio/iris/help/Iris%20English%20Help%20PDF.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="31933" PostHistoryTypeId="2" PostId="19667" RevisionGUID="800515cc-e50e-4df0-bca0-ff932804803f" CreationDate="2013-07-04T08:36:36.010" UserId="6180" Text="Definitely gated. You can also use a tremolo to get this result, at least on my tremolo (Melda Productions) where the depth of the tremolo can go up to 100% and you could also control the rate of the stutter and even the wave shape of it (sine, square, triangle and everything in between and more). " ContentLicense="CC BY-SA 3.0" />
  <row Id="31936" PostHistoryTypeId="2" PostId="19669" RevisionGUID="320d6ce9-bbf8-4cd1-b2a2-640e48cc11b7" CreationDate="2013-07-04T11:24:41.200" UserId="125" Text="Mark Durham,&#xD;&#xA;&#xD;&#xA;the pitchwheel working well in Iris, i can set up 24 semitones if i would and automate in ProTools with a midi track. THX, you save my day:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31937" PostHistoryTypeId="2" PostId="19670" RevisionGUID="1e344039-4baf-4ac8-8829-e9e96cd87a5a" CreationDate="2013-07-04T13:31:11.203" UserId="6181" Text="Hi guys, am just reaching the final stages of Audio Post production on a short film. It will be one of my first completed jobs, and I was just wondering how do you guys complete it? So it sound good and everything is almost in place. Do I need to place Bleeps at the start/end? I'm readin David Yewdall's 'Practical Art of Motion Picture Sound&quot; and he has alot of bits about places tones in certain places and such. &#xD;&#xA;&#xD;&#xA;This a small production, 100% Digital. Can I just send the Audio File and let the director synch it to the video? What kind of sample rate and bit depth is recommended?&#xD;&#xA;&#xD;&#xA;Thanks alot!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31938" PostHistoryTypeId="1" PostId="19670" RevisionGUID="1e344039-4baf-4ac8-8829-e9e96cd87a5a" CreationDate="2013-07-04T13:31:11.203" UserId="6181" Text="Handing Over Completed Audio after Post Production" ContentLicense="CC BY-SA 3.0" />
  <row Id="31939" PostHistoryTypeId="3" PostId="19670" RevisionGUID="1e344039-4baf-4ac8-8829-e9e96cd87a5a" CreationDate="2013-07-04T13:31:11.203" UserId="6181" Text="&lt;post-production&gt;&lt;complete&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31940" PostHistoryTypeId="2" PostId="19671" RevisionGUID="a3b2cbd6-c4e3-4330-98e3-299d96a3fb44" CreationDate="2013-07-04T15:39:22.510" UserId="963" Text="You need an open / semi open pair of headphones.  While its not very scientific, anything under $350 is usually not suitable for music mastering. &#xD;&#xA;&#xD;&#xA;The best headphones I've had the opportunity to use for music mastering are the Shure 1440s. http://www.sweetwater.com/store/detail/SRH1440" ContentLicense="CC BY-SA 3.0" />
  <row Id="31941" PostHistoryTypeId="2" PostId="19672" RevisionGUID="6fd1e427-b43a-44a6-98fc-68cc16d53940" CreationDate="2013-07-04T15:45:34.330" UserId="963" Text="I recently worked on a film challenge project where I was in charge of post sound.  I can make all the excuses I want, but in the end, I ran out of time and the project suffered severely for it. The ADR didn't blend, didn't have time to do a proper mix pass, and sound effects didn't fit the scene at times.  The only thing I could be proud of is the first scene, which was great. &#xD;&#xA;&#xD;&#xA;My question is how do you mentally recover from such a failure. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31942" PostHistoryTypeId="1" PostId="19672" RevisionGUID="6fd1e427-b43a-44a6-98fc-68cc16d53940" CreationDate="2013-07-04T15:45:34.330" UserId="963" Text="How do you bounce back from a failure?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31943" PostHistoryTypeId="3" PostId="19672" RevisionGUID="6fd1e427-b43a-44a6-98fc-68cc16d53940" CreationDate="2013-07-04T15:45:34.330" UserId="963" Text="&lt;failure&gt;&lt;sound-editing&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31944" PostHistoryTypeId="2" PostId="19673" RevisionGUID="b92268ca-ad2c-47f3-a1b1-25a80aee74a1" CreationDate="2013-07-04T15:55:23.527" UserId="6454" Text="As the old adage says, &quot;You gotta jump right back up on the horse.&quot; We are human and make mistakes - what is most important is to learn from those mistakes. It is easier said than done I know, but the same things your parents, coach, teacher, etc. told you as a kid rings true throughout life. &#xD;&#xA;&#xD;&#xA;The fear of failure is a driving force in good work, both because you want to make your client happy, but also because success feels good. Challenge yourself and you will be a better person for it. Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="31945" PostHistoryTypeId="2" PostId="19674" RevisionGUID="792a037a-5bc3-423c-a30e-0c9ed8e75502" CreationDate="2013-07-04T16:57:38.543" UserDisplayName="user6513" Text="It's all like what Ryan said, but laced with my own experience.&#xD;&#xA;&#xD;&#xA;I went through a similar experience at the start of my career. I took on a tv project that I thought I was prepared to handle but when shit hit the fan, and things didn't go the way I wanted it, I was basically praying/hoping that whatever I did would get through tx without actually knowing if whatever I did was what was needed to get it approved. It got to a point where I was sleep deprived and getting massive panic attacks throughout the day.&#xD;&#xA;&#xD;&#xA;What I got out of the whole horrid experience was that I got better. I didn't finish the project, but I continued to work on others, and slowly my confidence returned. It's like getting into a car accident. We can't stop driving just because we almost died or killed someone. It doesn't make us a better driver to stop. But to continue driving, we'll slowly and surely get better at it, and the fear of getting into another accident will fuel us to be better drivers. So similarly, messing up on a project isn't a life and death situation. Move on by letting it go and taking on new projects.&#xD;&#xA;&#xD;&#xA;A wise gaffer once told me 'we do what we do because it's the only we're good at and can do'. So if you believe in that, then maybe it may be easier to drag yourself through this mess." ContentLicense="CC BY-SA 3.0" />
  <row Id="31946" PostHistoryTypeId="2" PostId="19675" RevisionGUID="1a8d4fff-701b-4a55-a66f-b8cd2cd824f1" CreationDate="2013-07-04T18:56:41.203" UserId="622" Text="Hi, did you try the Time Machine pro mode in Kontakt 5 ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31947" PostHistoryTypeId="2" PostId="19676" RevisionGUID="a421c214-88ee-46f0-8f7c-df11786f7d1e" CreationDate="2013-07-04T23:03:20.130" UserId="234" Text="To quote Thomas Edison &quot;I have not failed. I've just found 10000 ways that won't work.&quot;&#xD;&#xA;&#xD;&#xA;It's always a horrible feeling when you look back at something at realize it wasn't as good as you'd hoped. Look at this as an opportunity to discover some things about yourself. Maybe you don't want to work under those sort of conditions in future projects, so that will help you choose projects accordingly. You've also learned a great deal about how fast you CAN do things. Also take this opportunity to look at what was most important to the project, versus those things you did that made little to no difference. This will help when you do have a tight deadline in prioritizing the things that will make the biggest impact. All of this basically is, as Ryan says, to help you learn from those mistakes.&#xD;&#xA;&#xD;&#xA;Finally this thought. You DID finish... and that counts for something in itself - especially in Film Challenges. I help organize one of those around here, and I guarantee you, for every film that's on the screen - there were 2 or 3 that got started and never finished." ContentLicense="CC BY-SA 3.0" />
  <row Id="31948" PostHistoryTypeId="2" PostId="19677" RevisionGUID="15f62fbb-0d3f-4266-9f9e-c1682114d944" CreationDate="2013-07-04T23:49:42.580" UserDisplayName="user49" Text="i have always thought it is far more dangerous, personally, to under budget a project, than to over budget it. If you over budget, and have good communication with the prodicer then you can find ways to reduce it to a workable budget, and when you do that the producer knows what he isnt getting. But to underestimate means there is the potential to be compromised to the point of the project not being viable, and that sounds a bit like what has happened to you.&#xD;&#xA;&#xD;&#xA;Confidence is good, but it does not replace experience, which is why working in an experienced team, and with a mentor is VERY important. You get to see what works, and what is mission critical. And if someone suggests you compromise those critical aspects and workable time resources, then alarm bells will start ringing!&#xD;&#xA;&#xD;&#xA;Regardless of the outcome you will have learned some lessons you will never forget, and that is not insignificant. We all make mistakes, its only a problem if you dont learn from them and remember to never repeat them. I also try to learn from others mistakes, and you will realise with time you not only learned a lesson but gained an accute awareness that will bode you well forever more. &#xD;&#xA;&#xD;&#xA;As homework, have you worked out what was actually required to do the job? People and time? That would be a valuable thing to do, so if you are ever presented the same scenario, you have a reference as to what is required to make it work.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31949" PostHistoryTypeId="2" PostId="19678" RevisionGUID="50a188a9-f5ab-485c-bcc5-3de812886c7b" CreationDate="2013-07-05T05:32:47.170" UserId="125" Text="here is a sample what i mean: &#xD;&#xA;https://soundcloud.com/bohitomi/servo-pitch-samples&#xD;&#xA;i made it with Iris, and a pitch controlled by LFO and i control the LFO rate. So i would control a pitch like this." ContentLicense="CC BY-SA 3.0" />
  <row Id="31950" PostHistoryTypeId="2" PostId="19679" RevisionGUID="6128c8ab-152b-4bd6-b4a4-6efe95104614" CreationDate="2013-07-05T09:48:39.827" UserId="6432" Text="Ok, so I think I understand the problem now. When you control the pitch with the LFO you're controlling it directly with a signal which (operating at signal rate) has a massive range and resolution, so it can control the pitch very precisely. When you use the pitch-bend wheel or write any automation in Pro Tools you are essentially writing in MIDI information (0-127) and this is not enough resolution for you, ie the control is not fine enough. So if, like I suggested, you use the pitch bender over 2 octaves, you are actually moving through 0.19 of a semitone with each MIDI step. &#xD;&#xA;&#xD;&#xA;Have I got it now?&#xD;&#xA;&#xD;&#xA;If so, I don't think you're going to find a solution in Pro Tools. The problem is that everything still complies with that horribly antiquated standard known as MIDI. Personally, I think it's crazy that we're so attached to it when we have better things like [OSC][1]. &#xD;&#xA;&#xD;&#xA;Perhaps the only suggestion I have is to work outside of Pro Tools and create a palette of sounds to then import. I built a small app in Max/msp which is good at this sort of thing. Here's a video of me mangling a servo sample with it:&#xD;&#xA;&#xD;&#xA;[youtube]rbQs2BB3odg[/youtube]&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=rbQs2BB3odg&amp;feature=youtu.be][2]&#xD;&#xA;&#xD;&#xA;I think you could get some fairly expressive servo noises out of it, then import those into Pro Tools. It's got a resolution of 0-2000, but it interpolates between this range so should sound pretty smooth. If you're interested, read more and download [here][3]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://opensoundcontrol.org/introduction-osc&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=rbQs2BB3odg&amp;feature=youtu.be&#xD;&#xA;  [3]: http://sounddesignwithmax.blogspot.co.uk/2013/04/tapehead-sample-playback-for-sound.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="31951" PostHistoryTypeId="2" PostId="19680" RevisionGUID="21da7eeb-23c2-4beb-9006-28bcbb3d4c93" CreationDate="2013-07-05T14:44:54.410" UserId="6182" Text="I have always used a omidirectional mic, preferably one with extreme SPL handling like Sanken CO 100k, on short screems. In my opinion you will need the room, depending on the room of course but with such short transients you will get a more realistic feel on the screen. Check your recording level and mic handling with a SPL &lt;conductor&gt;, and go for it. By the way sometimes a bit of distorce will make your recording warmer, but  you will have to record with another mic, closer to the subject, and mix it in afterwards. Good Luck " ContentLicense="CC BY-SA 3.0" />
  <row Id="31952" PostHistoryTypeId="2" PostId="19681" RevisionGUID="b2e94de8-39ed-4aab-95bc-0f8a4ffcd368" CreationDate="2013-07-05T15:34:33.010" UserId="6167" Text="Hi all!&#xD;&#xA;&#xD;&#xA;First of all, a BIG thanks to everyone at this forum, I've been learning a lot from you lately.&#xD;&#xA;&#xD;&#xA;Here is a tiny question regarding ambiences and people talking. Do you see to it that it is not heard what people say in a recording of for example a street or do you just leave it in when editing?&#xD;&#xA;&#xD;&#xA;I'm not speaking in a legal sense since that is not really a problem where I come from but more of what would take you out of the moment watching the movie. Maybe a kid walking by whining at his dad to get ice cream witch might be fine in one scene but weird in winter for example. Take it out, leave it in?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31953" PostHistoryTypeId="1" PostId="19681" RevisionGUID="b2e94de8-39ed-4aab-95bc-0f8a4ffcd368" CreationDate="2013-07-05T15:34:33.010" UserId="6167" Text="Ambiences with intelligible speech or not?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31954" PostHistoryTypeId="3" PostId="19681" RevisionGUID="b2e94de8-39ed-4aab-95bc-0f8a4ffcd368" CreationDate="2013-07-05T15:34:33.010" UserId="6167" Text="&lt;ambience&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31955" PostHistoryTypeId="2" PostId="19682" RevisionGUID="090f9564-5ceb-4f3f-8a13-7b0fd0e6d4a9" CreationDate="2013-07-05T15:50:22.700" UserId="1228" Text="Take discernable dialogue out (especially where they don't have a motivated contextual purpose), or mangle it so the words of the callout aren't intelligable. Ensures there's no distraction and that the BGz are fully M&amp;E compatible." ContentLicense="CC BY-SA 3.0" />
  <row Id="31956" PostHistoryTypeId="2" PostId="19683" RevisionGUID="22ffbc2c-e169-4c12-a1e1-5eb012a9f2ee" CreationDate="2013-07-06T00:00:12.183" UserId="2906" Text="Hello all!&#xD;&#xA;&#xD;&#xA;I searched for a question like this and didn't find it here; but if so, please direct me to the link.&#xD;&#xA;&#xD;&#xA;I am trying to understand why - (maybe as a cliché?) - so many many times when in a film there is the intent to show something that belongs to the past, and the visual itself cannot immediately convey this, the dialogue / voices are usually processed in similar ways? Is it merely because with reverberation long tails we may associate distance to it? Or are we just so used to it that we just don't think about it any more and assimilate?&#xD;&#xA;&#xD;&#xA;Do you know any examples that convey this in other way than that? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Looking forward for your answers! Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31957" PostHistoryTypeId="1" PostId="19683" RevisionGUID="22ffbc2c-e169-4c12-a1e1-5eb012a9f2ee" CreationDate="2013-07-06T00:00:12.183" UserId="2906" Text="Portraying the past with sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="31958" PostHistoryTypeId="3" PostId="19683" RevisionGUID="22ffbc2c-e169-4c12-a1e1-5eb012a9f2ee" CreationDate="2013-07-06T00:00:12.183" UserId="2906" Text="&lt;time&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31959" PostHistoryTypeId="2" PostId="19684" RevisionGUID="201b0e88-fe4e-40ea-9082-a896e3456942" CreationDate="2013-07-06T03:12:49.640" UserId="1228" Text="Yeah I think the 'distance' notion is a good observation actually.  To some degree flashback reverb has become a universal pneumonic device for audiences, so it's an 'easy sell' to some degree - and especially in the case of the TV world where subtly doesn't always sell, a dialogue reverb really helps the juxtaposition pop clearly.  This is my though at least. " ContentLicense="CC BY-SA 3.0" />
  <row Id="31960" PostHistoryTypeId="2" PostId="19685" RevisionGUID="2c579690-2201-4f73-9768-00185ec22ab1" CreationDate="2013-07-06T09:48:39.003" UserId="3179" Text="Well, isn't this a case of mainly matching the convention? If it's established, then it's effective, even if it has no rational reason. When you think of it, another way to convey past would be some sounds or music that are recognized as belonging to a certain time period (that's in the past. It can be even the film's past, i.e. the reference is made to an earlier point of time in the film), but then you get the obvious problem that only those viewers that recognize the sounds will understand it. Therefore it's logical that there are more viewer neutral approaches as conventions. And when you think in terms of audio effects, reverb or delay just really stands out as the only rational choice (it doesn't muffle or inhumanly mangle the sound)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31961" PostHistoryTypeId="2" PostId="19686" RevisionGUID="c12cdc71-b7a9-4f6d-8dbb-cdee1d9aa4c1" CreationDate="2013-07-06T16:53:12.347" UserId="6186" Text="I'm about to embark on a shortish film project, 30mins approx, as the sound editor. I'm responsible for the whole post production phase for this film's sound. It may go for a mastering session at some point in the future. I own a Zeppelin Air that I use daily hooked up to my laptop via USB. If anyone here is familiar with the Zeppelin Airs they're pretty decent, high quality speakers with its own powered amps. Will it be ok as monitors for film sound editing or should I consider investing in dedicated monitors? The only issue I see with them is the limited stereo seperation as it's an all in one system, though I have it set up about 5ft away from me under the screen." ContentLicense="CC BY-SA 3.0" />
  <row Id="31962" PostHistoryTypeId="1" PostId="19686" RevisionGUID="c12cdc71-b7a9-4f6d-8dbb-cdee1d9aa4c1" CreationDate="2013-07-06T16:53:12.347" UserId="6186" Text="Will a Bowers &amp; Wilkins Zeppelin Air be adequate monitors for sound editing/mixing on a short film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31963" PostHistoryTypeId="3" PostId="19686" RevisionGUID="c12cdc71-b7a9-4f6d-8dbb-cdee1d9aa4c1" CreationDate="2013-07-06T16:53:12.347" UserId="6186" Text="&lt;monitors&gt;&lt;sound-editing&gt;&lt;mixing&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31964" PostHistoryTypeId="2" PostId="19687" RevisionGUID="0a0459b5-7326-4d1c-84cb-5d7d0266ef53" CreationDate="2013-07-06T17:06:34.033" UserId="3179" Text="Well, it can work, but likely is highly suboptimal (i.e. what you mix will not necessarily sound very good on normal speakers, only on the Zeppelin or similar units). At the very least for stereo mixing I would suggest a speaker system where you have two separate speakers and you can place them so that they form an equilateral triangle to your listening position. Or headphones." ContentLicense="CC BY-SA 3.0" />
  <row Id="31969" PostHistoryTypeId="2" PostId="19690" RevisionGUID="64c4b521-072e-4a53-87dc-f6c7080938ed" CreationDate="2013-07-06T19:01:58.893" UserId="6187" Text="I do not want to start my first contribution by stating the obious but I would start by asking my client what parameters he/she wants.&#xD;&#xA;&#xD;&#xA;As for &quot;standard&quot; that would be 48Khz for digital recordings. Bitrate should be 40Mbit/s.&#xD;&#xA;&#xD;&#xA;I am just shooting from the hip thinking on what I would ask if I was the cutter/director. &#xD;&#xA;&#xD;&#xA;As for the bleeps, yes, initial and end are useful when cutting/editing." ContentLicense="CC BY-SA 3.0" />
  <row Id="31973" PostHistoryTypeId="2" PostId="19692" RevisionGUID="e048ea07-ce1d-4fd6-88c2-39c568d1423b" CreationDate="2013-07-06T22:08:51.487" UserDisplayName="user49" Text="Does the reference QT you have been working to have a SMPTE leader at the heed and tail? (SMPTE Leader is the countdown to the 2 pop) - because THAT is the reason to put a 1 frame long beep on the 2 flashframe - you should always ask for it on your QTs so if there is a sync issue you can check it fast, ie sync to head pop, and check the tail pop....&#xD;&#xA;&#xD;&#xA;When you do hand over your mix, ask if you can be there to check sync when it is synced to the final picture. You dont want to wait until it screens or is online to discover its 3f put of sync! And it can happen, eg a misconform of picture and your sound is out of sync (even though its the picture at fault)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31975" PostHistoryTypeId="2" PostId="19694" RevisionGUID="0c770ce4-faa0-4154-9862-3475a777a8bf" CreationDate="2013-07-07T03:15:37.167" UserId="6190" Text="A sound whose frequencies would be in the megahertz range. Wondering what happens when the wavelength gets close to — and falls below — air molecule size (or any other propagation medium)" ContentLicense="CC BY-SA 3.0" />
  <row Id="31976" PostHistoryTypeId="2" PostId="19695" RevisionGUID="a28ffb1a-deb5-49a4-bf6e-8857b7577e71" CreationDate="2013-07-07T07:35:05.480" UserId="6191" Text="I'm a composer that is looking into recording sound effects and foley in my studio. Right now I've got the Alesis IO2 Express, and the Rode NT1-A as a mic. &#xD;&#xA;I would like to record quiet sounds with it, without getting loads of noise. I realise my interface is cheap and that there are better options out there, so I was wondering if I should buy a preamp or just upgrade my interface. I don't need a lot of in and outputs, so that's why I bought the IO2 Express.&#xD;&#xA;&#xD;&#xA;Also, would the Rode NT1-A be sufficient for recording quiet foley? Or should I look into buying a shotgun mic like the Rode NTG-2?&#xD;&#xA;&#xD;&#xA;Total budget would be around 500 euros, maybe a bit more." ContentLicense="CC BY-SA 3.0" />
  <row Id="31977" PostHistoryTypeId="1" PostId="19695" RevisionGUID="a28ffb1a-deb5-49a4-bf6e-8857b7577e71" CreationDate="2013-07-07T07:35:05.480" UserId="6191" Text="Interface/preamp/mic upgrade options" ContentLicense="CC BY-SA 3.0" />
  <row Id="31978" PostHistoryTypeId="3" PostId="19695" RevisionGUID="a28ffb1a-deb5-49a4-bf6e-8857b7577e71" CreationDate="2013-07-07T07:35:05.480" UserId="6191" Text="&lt;low-budget&gt;&lt;preamp&gt;&lt;interface&gt;&lt;foley&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31979" PostHistoryTypeId="2" PostId="19696" RevisionGUID="4c11e746-75e1-4741-a93b-8070f1630371" CreationDate="2013-07-07T07:35:34.013" UserId="1049" Text="Hi guys,&#xD;&#xA;&#xD;&#xA;Ok, so I'm working on a short film. Very little dialogue was scripted for the piece, but as the actors got more and more into character they started improvising and adding little side-snippets of dialogue (phone conversations etc), and the director let them.&#xD;&#xA;&#xD;&#xA;My dialemma is that as it was completely unscripted, these guys weren't mic'd properly. Now it happens that the producer/editor has decided to use the some shots where one of these guys is in the front of the shot, talking on his phone. The actor isn't available for ADR, and I have no clue what he was saying (as it was improvised) so am finding it difficult to replace myself. It wasn't captured well on any of the production audio (camera or boom). It's otherwise a quiet scene, so the viewer would hear the conversation, or at least snippets of it...&#xD;&#xA;&#xD;&#xA;What would you do in this situation? I was thinking of trying to record mumbled conversations myself, but again am having difficulty with it sounding authentic.&#xD;&#xA;&#xD;&#xA;Any advice would be appreciated!!&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="31980" PostHistoryTypeId="1" PostId="19696" RevisionGUID="4c11e746-75e1-4741-a93b-8070f1630371" CreationDate="2013-07-07T07:35:34.013" UserId="1049" Text="What to use for un-scripted, un-mic'd, ad-libbed dialogue?" ContentLicense="CC BY-SA 3.0" />
  <row Id="31981" PostHistoryTypeId="3" PostId="19696" RevisionGUID="4c11e746-75e1-4741-a93b-8070f1630371" CreationDate="2013-07-07T07:35:34.013" UserId="1049" Text="&lt;adr&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="31982" PostHistoryTypeId="2" PostId="19697" RevisionGUID="67396ec4-5a3d-4ffc-a103-26775e9a22a7" CreationDate="2013-07-07T08:48:47.977" UserId="5624" Text="Oh man, bad move on the sound recordists part and even worse move from the producer to use those sections! Obviously not your fault at all so I'd say explain the situation to the director/producer and let them decide what they want to do" ContentLicense="CC BY-SA 3.0" />
  <row Id="31983" PostHistoryTypeId="2" PostId="19698" RevisionGUID="488a66a1-ecab-4908-8ecf-d384f59e91a8" CreationDate="2013-07-07T09:56:33.540" UserId="6167" Text="There are lot of people on this forum that might know better than me so please correct my if I'm wrong but this is my answer:&#xD;&#xA;&#xD;&#xA;First of, it's usually said that a 1:10 or greater impedance ratio is best for low noise. The Rode NTG-2 has Zout (Z=impedance) at 250 and your interface Zin 600. So that right there is a tuff start. A pre-amp with higher Zin would probably help a lot even though the NTG-2 still has a pretty high Zout&#xD;&#xA;&#xD;&#xA;Secondly, I don't know what kind of room you have. The room always have a big effect on your result even if the source is quiet and a shotgun would reject much of that. But the NTG-1a has lower Zout.&#xD;&#xA;&#xD;&#xA;I would get a shotgun AND a pre-amp but with €500 that can be tricky. Personally I like buy right, buy once. Its cheeper in the long run.&#xD;&#xA;&#xD;&#xA;But listen to some other people before you decide...&#xD;&#xA;&#xD;&#xA;All the best!" ContentLicense="CC BY-SA 3.0" />
  <row Id="31984" PostHistoryTypeId="2" PostId="19699" RevisionGUID="f7bea9c2-a642-41bd-b860-bdb8a3197b5c" CreationDate="2013-07-07T10:06:54.280" UserId="3179" Text="The NT1-A is the world's quietest studio condenser microphone afaik. It should work ok, if the large diaphragm, the sound characteristic and the microphone form factor are otherwise suitable.&#xD;&#xA;&#xD;&#xA;The audio interface or its preamps are not necessarily a problem either. Have you tried recording with what you've got?&#xD;&#xA;&#xD;&#xA;Yes, there are &quot;better&quot; options, have a look at RME (Babyface) for example. But it also pays to see what you can do with your current equipment and whether you need &quot;better&quot; (and what is it that's better) equipment. Also microphones are generally more valued than audio interfaces or preamplifiers, they make more difference (although so do your recording techniques)." ContentLicense="CC BY-SA 3.0" />
  <row Id="31985" PostHistoryTypeId="5" PostId="19699" RevisionGUID="c12aa0dc-4984-4942-b9a7-291b2198ea60" CreationDate="2013-07-07T10:14:22.557" UserId="3179" Comment="added 193 characters in body; added 15 characters in body; added 10 characters in body" Text="The NT1-A is the world's quietest studio condenser microphone afaik. It should work ok, if the large diaphragm, polar pattern, the sound characteristic and the microphone form factor are otherwise suitable (try it!).&#xD;&#xA;&#xD;&#xA;The audio interface or its preamps are not necessarily a problem either. Have you tried recording with what you've got?&#xD;&#xA;&#xD;&#xA;Yes, there are &quot;better&quot; options, have a look at RME (Babyface) for example. But it also pays to see what you can do with your current equipment and whether you need &quot;better&quot; (and what is it that's better) equipment. Also microphones are generally more valued than audio interfaces or preamplifiers, they make more difference (although so do your recording techniques).&#xD;&#xA;&#xD;&#xA;The NTG-2 is a useful (and cheap for what it does!) microphone, eventhough you might not have immediate uses. It's not a bad buy in any way. But of course, there's also always the &quot;better&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="31986" PostHistoryTypeId="2" PostId="19700" RevisionGUID="a51da555-85f2-4b12-a106-e788c2179fbf" CreationDate="2013-07-07T12:16:10.427" UserId="3754" Text="The others have it right, but if you acknowledge the points that went wrong, then you're already on a great path to success." ContentLicense="CC BY-SA 3.0" />
  <row Id="31987" PostHistoryTypeId="2" PostId="19701" RevisionGUID="c2cb5dd1-5ba0-4892-89b0-d828aee96d99" CreationDate="2013-07-07T12:17:40.220" UserId="3754" Text="All of the big cosmic events, like supernova exploding, neutron ray burst, black holes and comets passing by! :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="31988" PostHistoryTypeId="2" PostId="19702" RevisionGUID="9f371f4a-7b81-4d2c-8f6f-4696db9cd1fb" CreationDate="2013-07-07T15:07:05.547" UserId="235" Text="What Joseph said.  I think your best option would be to suggest playing the scene with music and no other sound, or maybe sound really low so only the loudest things pop through and it makes sense you can't hear the talking.  Your next option would be to lip read or get someone who can lip read and have another actor overdub the lines.  &#xD;&#xA;&#xD;&#xA;I was in a similar situation once where the director and producer originally planned for a scene to be all music and shot it MOS and then later decided they wanted sound.  Actor not available, hard to figure out what they said, hard to match other actors voice with the way the original actor looked etc.  Same sitch.  Great examples of why no one should never ever shoot MOS.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="32000" PostHistoryTypeId="2" PostId="19714" RevisionGUID="9eccde49-b7cd-4d88-9395-c6fc273074a2" CreationDate="2013-07-08T15:47:22.093" UserId="4442" Text="I understand what DC offset it. It's moving the center of the waveform off of the zero crossing line. Not really sure when you would use it. Is it more of a means to fix things or is it used for other reasons? Is it a common thing to have to use in most people's setups?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32001" PostHistoryTypeId="1" PostId="19714" RevisionGUID="9eccde49-b7cd-4d88-9395-c6fc273074a2" CreationDate="2013-07-08T15:47:22.093" UserId="4442" Text="When would you use DC Offset?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32002" PostHistoryTypeId="3" PostId="19714" RevisionGUID="9eccde49-b7cd-4d88-9395-c6fc273074a2" CreationDate="2013-07-08T15:47:22.093" UserId="4442" Text="&lt;offsets&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32003" PostHistoryTypeId="2" PostId="19715" RevisionGUID="6e8f28ec-9eea-4ebd-9191-28a691ebee27" CreationDate="2013-07-08T16:54:45.820" UserDisplayName="user80" Text="Fortunately DC offset is rarely needed, but if occasionally you get files that have been captured on poorly calibrated sound cards, or poor quality recorders then DC offset repair can help, although I haven't had to use it for at least 2 years.  &#xD;&#xA;&#xD;&#xA;In severe cases the DC offset will shift during the file, then you have to break the signal up into smaller regions before repair, but this is very rare.&#xD;&#xA;&#xD;&#xA;In short, if you are using professional maintained equipment then DC offset should be rare, however if you are working with archive material without calibrating the reproduction hardware, then you will use it a lot." ContentLicense="CC BY-SA 3.0" />
  <row Id="32004" PostHistoryTypeId="2" PostId="19716" RevisionGUID="02daeb5f-2217-43da-a314-b2b4834e8ce2" CreationDate="2013-07-08T17:22:59.790" UserId="362" Text="Hi All,&#xD;&#xA;&#xD;&#xA;I recently got feedback from a client that they prefer an in-person approach for sound design, preferring to be in the room as the sounds are created. This is something I understand from a composition perspective, improvising on a keyboard to hone in on what they're looking for. It seems more difficult for sound design though. &#xD;&#xA;&#xD;&#xA;Any tips on processes that work where the client can be more present? " ContentLicense="CC BY-SA 3.0" />
  <row Id="32005" PostHistoryTypeId="1" PostId="19716" RevisionGUID="02daeb5f-2217-43da-a314-b2b4834e8ce2" CreationDate="2013-07-08T17:22:59.790" UserId="362" Text="Live collaboration with client?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32006" PostHistoryTypeId="3" PostId="19716" RevisionGUID="02daeb5f-2217-43da-a314-b2b4834e8ce2" CreationDate="2013-07-08T17:22:59.790" UserId="362" Text="&lt;clients&gt;&lt;collaboration&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32007" PostHistoryTypeId="2" PostId="19717" RevisionGUID="8e2b0d4f-6d38-46fd-9669-b1147c3848a2" CreationDate="2013-07-08T17:33:54.320" UserId="3176" Text="This situation is recurrent in a series of small cartoons for which I'm editing sound right now. It shows something shaking (a refrigerator in this case) just before it bursts: http://www.youtube.com/watch?v=nwYSx3EP2t4&amp;feature=youtu.be. I've tried several hings but the result was not satisfying:&#xD;&#xA;&#xD;&#xA;- A rumble - the low end informaiton is not the most important thing in this case and it lacks definition. I`ll put something in but it`ll be only one layer of sound among others more important ones&#xD;&#xA;&#xD;&#xA;- Music percussion sounds - too regular. And I`m not trying to be musical in that explicit way. This cartoons should sound  more like Treg Brown\Warner Brothers stuff than classic Disney...&#xD;&#xA;&#xD;&#xA;- Machine guns varispeeded - too regular also... The sound should rythmic and defined but not like a metronome&#xD;&#xA;&#xD;&#xA;Any suggestions? It`s my first animation job. Having lots of fun doing it but it's not an easy task as it may seem&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32008" PostHistoryTypeId="1" PostId="19717" RevisionGUID="8e2b0d4f-6d38-46fd-9669-b1147c3848a2" CreationDate="2013-07-08T17:33:54.320" UserId="3176" Text="Cartoon sound &quot;shaking about to burst&quot; sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="32009" PostHistoryTypeId="3" PostId="19717" RevisionGUID="8e2b0d4f-6d38-46fd-9669-b1147c3848a2" CreationDate="2013-07-08T17:33:54.320" UserId="3176" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32010" PostHistoryTypeId="5" PostId="19717" RevisionGUID="c6ae1ff7-74de-4771-839f-baa964c70f8b" CreationDate="2013-07-08T17:46:43.373" UserId="3176" Comment="added 397 characters in body" Text="This situation is recurrent in a series of small cartoons for which I'm editing sound right now. It shows something shaking (a refrigerator in this case) just before it bursts: http://www.youtube.com/watch?v=nwYSx3EP2t4&amp;feature=youtu.be. I've tried several hings but the result was not satisfying:&#xD;&#xA;&#xD;&#xA;- A rumble - the low end informaiton is not the most important thing in this case and it lacks definition. I`ll put something in but it`ll be only one layer of sound among others more important ones&#xD;&#xA;&#xD;&#xA;- Music percussion sounds - too regular. And I`m not trying to be musical in that explicit way. This cartoons should sound  more like Treg Brown\Warner Brothers stuff than classic Disney...&#xD;&#xA;&#xD;&#xA;- Machine guns varispeeded - too regular also... The sound should rythmic and defined but not like a metronome&#xD;&#xA;&#xD;&#xA;Any suggestions? It`s my first animation job. Having lots of fun doing it but it's not an easy task as it may seem&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Maybe this video is not the best example. A metal rattle would maybe do most of the job. But there are other examples without this metal element. And I think that maybe a metal rattle should be accompanied by other sounds in this one as well, I just don't know which exactly. Here`s another &quot;about to burst&quot; example, a non-metal one: http://www.youtube.com/watch?v=mWkvZHQb-4s&amp;feature=youtu.be&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32011" PostHistoryTypeId="2" PostId="19718" RevisionGUID="94474ca0-61ac-4b34-8c61-455798ec2b1e" CreationDate="2013-07-08T17:55:16.987" UserId="3179" Text="So you mean that the client cannot sit in the same room as you?&#xD;&#xA;&#xD;&#xA;I think you need to define that you cannot simply come up with sounds at given times, but rather, you need some time to prepare them. Then you can have meetings where you can play the stuff that you've come up with.&#xD;&#xA;&#xD;&#xA;You may also explain to the client that your job is not about sounds (it would be, if it's e.g. a sound logo, but generally no), it's about the whole (or the segments of the whole). Therefore instead of having some fairly useless &quot;lets hear the sounds&quot; -meetings, how about having regular meetings where they can approve the parts that you've already done (and if they don't approve, then you can make changes). It makes a whole lot more sense to be interested in the wholes than be interested in the sounds, plus it's more effective (= fewer meetings) that way. Besides, creative work entails that certain freedom is given, i.e. the client trusts you to do your job the best you can, and there's generally no need to have the watchdog attitude in making sure that you do your job the best you can, because what matters is the results." ContentLicense="CC BY-SA 3.0" />
  <row Id="32012" PostHistoryTypeId="2" PostId="19719" RevisionGUID="7bb11b88-19eb-4b3d-a91b-a30b3efe6ef9" CreationDate="2013-07-08T18:44:56.553" UserId="542" Text="I'd try the 'rattling sound' for the fridge and that cookies box. &#xD;&#xA;for the fridge it should be something metallic with some sounds of bottles and plastic boxes shaken. Try to include some kind of crescendo into the sound. This could be done by volume or by some pitch-bended sound goong up.&#xD;&#xA;&#xD;&#xA;Same goes for the cookies box: try some shaking-sounds of a cookies-box. For that 'explosion' you could use some volcano-eroption sounds layered with some grabbling in cookies.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32013" PostHistoryTypeId="5" PostId="19718" RevisionGUID="22fae4ea-89d4-4e8d-8837-4ac632e6bef5" CreationDate="2013-07-08T18:56:33.233" UserId="3179" Comment="added 177 characters in body" Text="So you mean that the client cannot sit in the same room as you?&#xD;&#xA;&#xD;&#xA;I think you need to define that you cannot simply come up with sounds at given times, but rather, you need some time to prepare them. Then you can have meetings where you can play the stuff that you've come up with.&#xD;&#xA;&#xD;&#xA;You may also explain to the client that your job is not about sounds (it would be, if it's e.g. a sound logo, but generally no), it's about the whole (or the segments of the whole). Therefore instead of having some fairly useless &quot;lets hear the sounds&quot; -meetings, how about having regular meetings where they can approve the parts that you've already done (and if they don't approve, then you can make changes). It makes a whole lot more sense to be interested in the wholes than be interested in the sounds, plus it's more effective (= fewer meetings) that way, plus it may result in fewer adjustments (everything always sounds different when in the context, rather than when extracted from the context, for which there's no good reason). Besides, creative work entails that certain freedom is given, i.e. the client trusts you to do your job the best you can, and there's generally no need to have the watchdog attitude in making sure that you do your job the best you can, because what matters is the results." ContentLicense="CC BY-SA 3.0" />
  <row Id="32014" PostHistoryTypeId="2" PostId="19720" RevisionGUID="a7f00055-eadc-4a99-aa60-2f59642b42ca" CreationDate="2013-07-08T19:05:54.617" UserId="69" Text="Try Mikkel Nielsens *Shake, Rattle and Rumble* library or techniques he used for creating those sounds.&#xD;&#xA;&#xD;&#xA;http://www.sonicsalute.com/portfolio/shake-rattle-and-rumble/&#xD;&#xA;&#xD;&#xA;Best," ContentLicense="CC BY-SA 3.0" />
  <row Id="32016" PostHistoryTypeId="2" PostId="19722" RevisionGUID="464e383b-d96b-447f-b3ab-91b5ae828cad" CreationDate="2013-07-09T06:32:31.410" UserDisplayName="user49" Text="analogsynth oscillator &gt; subwoofer and lie props on subwoofer, &#xD;&#xA;perform pitch bends on oscillator and re-record prop resonating&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32017" PostHistoryTypeId="2" PostId="19723" RevisionGUID="8b27d9a1-a1b9-4544-b17c-7ec60a9ae385" CreationDate="2013-07-09T11:14:04.477" UserId="5854" Text="Hi I wonder if you folks on this site can help me out. I just graduated from university doing Digital Media. For my honours project I did sound design for a short animated film and it’s given me the idea that this is what I want to pursue as a career path. The thing is I don’t really have a clue where to begin. What’s the first step I should take? Please any advice is much appreciated.&#xD;&#xA;&#xD;&#xA;This is the sound design I did for my honours project so you know the kind of level I’m on.&#xD;&#xA;https://vimeo.com/65973338&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32018" PostHistoryTypeId="1" PostId="19723" RevisionGUID="8b27d9a1-a1b9-4544-b17c-7ec60a9ae385" CreationDate="2013-07-09T11:14:04.477" UserId="5854" Text="Where do I Begin in Sound Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32019" PostHistoryTypeId="3" PostId="19723" RevisionGUID="8b27d9a1-a1b9-4544-b17c-7ec60a9ae385" CreationDate="2013-07-09T11:14:04.477" UserId="5854" Text="&lt;career&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32020" PostHistoryTypeId="2" PostId="19724" RevisionGUID="a18475a4-c0d4-4ffa-9d35-7d106f3f2497" CreationDate="2013-07-09T12:43:11.357" UserId="5682" Text="I will be recording on-location sound for a movie in a few weeks. There is a scene with dialogue that takes place in a car that is parked on the side of a very busy street inside of a tunnel (there are railway tracks on top of that tunnel). The trains will be manageable I guess, we'll just have to stop recording every now and then. &#xD;&#xA;Of course I can and probably will have to use lavs. I will have Sennheiser MKE2 Golds on a Micron Audio Engineering Explorer 100 Series System to work with.&#xD;&#xA;&#xD;&#xA;My question is: What do you think about the traffic situation ? On a scale of let's say &#xD;&#xA;manageable to don't even think about recording anything there.. &#xD;&#xA;Is there anyone who succesfully handled such a situation before? Any good advice?&#xD;&#xA;Thanks in advance!   " ContentLicense="CC BY-SA 3.0" />
  <row Id="32021" PostHistoryTypeId="1" PostId="19724" RevisionGUID="a18475a4-c0d4-4ffa-9d35-7d106f3f2497" CreationDate="2013-07-09T12:43:11.357" UserId="5682" Text="Recording Dialogue in a tunnel" ContentLicense="CC BY-SA 3.0" />
  <row Id="32022" PostHistoryTypeId="3" PostId="19724" RevisionGUID="a18475a4-c0d4-4ffa-9d35-7d106f3f2497" CreationDate="2013-07-09T12:43:11.357" UserId="5682" Text="&lt;location-recording&gt;&lt;tunnel&gt;&lt;lavalier&gt;&lt;dialogue-recording&gt;&lt;traffic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32023" PostHistoryTypeId="2" PostId="19725" RevisionGUID="beb3da8f-827c-4b64-9c7f-c61a919af69c" CreationDate="2013-07-09T12:51:01.553" UserId="4442" Text="I mean, your demo material is really pretty terrific man. Start seeking some full scale and/or short films or start searching out some game devs if that's a path you want to pursue. It looks like you have the technical end of it together, the business end of it is sort of the hard part. In Philadephia, we have a film office that will occasionally host panels and mixer events where you can meet people of different disciplines. Maybe see if your area has an equivalent." ContentLicense="CC BY-SA 3.0" />
  <row Id="32024" PostHistoryTypeId="2" PostId="19726" RevisionGUID="e2aa0904-f6be-46dd-8bf3-6038d4b60251" CreationDate="2013-07-09T13:35:52.140" UserId="1216" Text="I've never recorded in this typical situation but i could be done. Espesecially if the image (shot and frame) show the actual location and the listener is supposed to feel this space.&#xD;&#xA;&#xD;&#xA;On loudness/heaviness of background noises. It depends on the time of day (evenings will have less traffic), but also the car model and if windows or doors are being opened during takes.&#xD;&#xA;A 5 series BMW will be adequately isolated, a Fiat UNO will be a disaster to record in.&#xD;&#xA;Whatever you do, try to keep the mic's clear from cloth sounds and take care to record enough set sound. &#xD;&#xA;&#xD;&#xA;You can at least always ask the director why the car needs to be there. If he wants a loud moment with heavy traffic you also want to record the ambience outside the car. Just in case...&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32025" PostHistoryTypeId="2" PostId="19727" RevisionGUID="0fcf3c99-dbc8-4f91-81d8-c84136a8142e" CreationDate="2013-07-09T14:44:30.317" UserId="2502" Text="&quot;Any tips on processes that work where the client can be more present?&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; - Listen to your client on the front end. Get in their head and figure out what they are trying to communicate to you even if they are not familiar with the language of sound design. Ask yourself how that directly applies to how you will go about the session.&#xD;&#xA;&#xD;&#xA; - If you feel that your client is rushing to judgement on your work (this will happen because design takes time) explain to the client that the first thing they hear out of the speakers is not the final result. Tell them, &quot;let me take a moment to build whats in my head for this and then chime in on direction.&quot; This is key because otherwise you can let your client derail your creative flow without seeing/hearing the big picture.&#xD;&#xA;&#xD;&#xA; - If you need to, explain to your client that sound design like any other creative art takes trial and error and not everything tried will work but that's ok and part of the process.&#xD;&#xA;&#xD;&#xA; - Don't fear taking risks just because you have a client behind you. Have the same guts and courage you do as when you are working all alone.&#xD;&#xA;&#xD;&#xA; - Feed off your clients reactions and learn from their input. You can learn so many things by listening to others feedback and allowing yourself to be open to criticism, critique or different direction even by those not experienced in sound. At the end of many sessions with clients present I've found myself surprised at the end result. I'll realize that even though the work may not be exactly what I would have created on my own, it's a great collaboration in it's own regard and I've been pushed into directions otherwise not explored on my own and have learned from it.&#xD;&#xA;&#xD;&#xA; - Working with clients present is a different skill set than working alone. It takes years to get good at and comfortable with but you will grow as a professional from it." ContentLicense="CC BY-SA 3.0" />
  <row Id="32026" PostHistoryTypeId="2" PostId="19728" RevisionGUID="412d319a-62e4-4b5d-bdb7-948e7228a679" CreationDate="2013-07-09T16:53:54.853" UserId="234" Text="Assuming it's a &quot;standard&quot; sort of scene... Two Shot (won't really get wide in a car), OTS, OTS and a couple of CU's, then the most important thing you can do is to make sure you get LOTS of room tone (ie background sound) for each setup. Inevitably the noise is going to be different from one side to the other, and an editor(you or another) will need that tone to help smooth and even the cuts. This is easier said then done! Make sure you discuss this THOROUGHLY with both the director and the DP IN ADVANCE. Explain to the director and DP that this is a difficult sound situation, that you want the best for his film, and that you may need some time to make adjustments. The trick is to try and make sure the voice is always clearly audible over the noise... if that's done, and there's lots for an editor to cut with, then ADR won't be necessary for tech reasons anyway. Oh, and if possible request that both actors do both sides of the conversation ALL THE TIME - you never know when you'll get gold from the other character in conversation that can be cut in. &#xD;&#xA;&#xD;&#xA;I once had to cut a very tender love scene that was shot on a pedestrian bridge next to a very busy highway. The director and producer had both figured this scene would need ADR. Since the sound mixer made sure to get me all of the above, I was able to create a very even scene that needed no ADR.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32027" PostHistoryTypeId="2" PostId="19729" RevisionGUID="8f9983aa-c3aa-4be8-aeac-e5c811f4353f" CreationDate="2013-07-09T17:37:25.577" UserId="362" Text="Maybe more precise FFT resynthesis? " ContentLicense="CC BY-SA 3.0" />
  <row Id="32028" PostHistoryTypeId="2" PostId="19730" RevisionGUID="5c5fb13a-e358-4b3b-acb0-f47e32cf7121" CreationDate="2013-07-09T18:51:47.483" UserId="5960" Text="I've heard very good things about the Audix SCX/HC-1, so if you can stretch your budget or find one used, I would go for that. Another good choice is the at4053b, which might be within your budget if you get it used. Don't forget that you also need a shockmount and perhaps also some wind protection, so add that to the price.&#xD;&#xA;&#xD;&#xA;The CK93 is supposedly quite good, but I've also read about several who think it's a bit hissy for quiet stuff (it's output and self-noise isn't worse than the oktava though).&#xD;&#xA;&#xD;&#xA;I own and have used an oktava many times as a boom mic. It's true that it's very sensitive, but it can be dealt with by having a good shockmount (such as a rycote lyre) and decent wind protection, and it will work fine for indoor use (at least for things where you don't need to make big or very fast movements). For those who have never tried it and want something they are sure will do the job, I usually don't recommend it though." ContentLicense="CC BY-SA 3.0" />
  <row Id="32029" PostHistoryTypeId="5" PostId="19615" RevisionGUID="732df20c-a66c-4934-b4ec-9de562a6e0a4" CreationDate="2013-07-09T19:00:07.130" UserId="285" Comment="added 73 characters in body" Text="********Questions should be in by end of day Saturday July 14th******&#xD;&#xA;&#xD;&#xA;Hello All&#xD;&#xA;&#xD;&#xA;Some of you may know of the Sound Design focused podcast called The Tonebenders ( http://www.tonebenders.net/ ) that myself, along with Rene Coronado and Dustin Camillari have been putting out for the last while.  We have something planned for our next episode and I was hoping to get a bit of help from the sound community to pull it off.&#xD;&#xA;&#xD;&#xA;We are going to do a case study of the sound design in the film &quot;Martha Marcy May Marlene&quot; and we have lined up the film's sound designer, Coll Anderson, to take part.  It would be great if anyone has seen the film to join in the discussion by sending us questions you may have on the film or Coll's career in general.  If you have not seen Martha Mary May Marlene it is worth a look as it is a unique and engrossing film.  It is widely available via standard streaming and online rental outlets.&#xD;&#xA;&#xD;&#xA;If you are interested in joining in on the conversation please feel free to leave questions  for Coll Anderson here or send us an email through info-at-tonebenders-dot-net   &#xD;&#xA;&#xD;&#xA;Here is a link to the film's trailer&#xD;&#xA;http://www.youtube.com/watch?v=ERREgOobLOs&#xD;&#xA;&#xD;&#xA;Here is Coll Anderson's IMDB page if you are not familiar with his background:&#xD;&#xA;http://www.imdb.com/name/nm0026541/&#xD;&#xA;&#xD;&#xA;Finally here is a quick post from Coll's blog on his experience working on the film:&#xD;&#xA;http://www.casoundinc.com/wp/?p=29&#xD;&#xA;&#xD;&#xA;If interested please take part and send in questions, hopefully this can be the start of many case studies to be featured on the podcast.  Also if you know of another film you think we should disect in the future let us know." ContentLicense="CC BY-SA 3.0" />
  <row Id="32030" PostHistoryTypeId="2" PostId="19731" RevisionGUID="8082acc2-dc56-459f-941e-19a705f6737d" CreationDate="2013-07-09T20:06:05.073" UserId="3179" Text="Get a job.&#xD;&#xA;&#xD;&#xA;Echoing what Dave said, the craft is not really the difficult part of this business, it's the business. If you're thinking of doing sound design for longer as your main pursuit, then you need to find someone or something that's willing to pay for your services and continue to look for opportunities, because many projects are temporary. I.e. you need to find a way that enables you to do sound design for others. You can look for positions in  established studios (unlikely), look for gigs as a freelancer (difficult, but the most usual option), look for positions in media companies (the most secure/profitable, but usually loads of applicants and very few positions) or just work on sound on the side while doing something else to get food on the table.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="32031" PostHistoryTypeId="5" PostId="19731" RevisionGUID="1f18e985-02a0-484c-8199-57a2e81810a8" CreationDate="2013-07-09T20:12:07.643" UserId="3179" Comment="added 285 characters in body; added 9 characters in body; edited body; added 5 characters in body; added 8 characters in body" Text="Get a job.&#xD;&#xA;&#xD;&#xA;Echoing what Dave said, the craft is not really the difficult part of this business, it's the business. If you're thinking of doing sound design for longer as your main pursuit, then you need to find someone or something that's willing to pay for your services and continue to look for opportunities, because many projects are temporary. I.e. you need to find a way that enables you to do sound design for others. You can look for positions in  established studios (unlikely), look for gigs as a freelancer (difficult, but the most usual option), look for positions in media companies (the most secure/profitable, but usually loads of equally good applicants and very few positions) or just work on sound on the side while doing something else to get food on the table.&#xD;&#xA;&#xD;&#xA;Also, you need to create a presence (in the public, in the web, among your friends). You need to get your voice out there that says &quot;I'm a sound guy, I can do sound for your project!&quot;. That's a start into making yourself a person that people who need sound design services start to contact.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="32032" PostHistoryTypeId="5" PostId="19731" RevisionGUID="b3a2c654-ac1e-4286-90b3-3f95328617fa" CreationDate="2013-07-09T20:17:32.960" UserId="3179" Comment="added 204 characters in body; added 16 characters in body; added 195 characters in body" Text="Get a job.&#xD;&#xA;&#xD;&#xA;Echoing what Dave said, the craft is not really the difficult part of this business, it's the business. If you're thinking of doing sound design for longer as your main pursuit, then you need to find someone or something that's willing to pay for your services and continue to look for opportunities, because many projects are temporary. I.e. you need to find a way that enables you to do sound design for others. You can look for positions in  established studios (unlikely), look for gigs as a freelancer (difficult, but the most usual option), look for positions in media companies (the most secure/profitable, but usually loads of equally good applicants and very few positions) or just work on sound on the side while doing something else to get food on the table.&#xD;&#xA;&#xD;&#xA;Also, you need to create a presence (in the public, in the web, among your friends). You need to get your voice out there that says &quot;I'm a sound guy, I can do sound for your project!&quot;. That's a start into making yourself a person that people who need sound design services start to contact.&#xD;&#xA;&#xD;&#xA;Also, when you start to do projects with/for others: always do your best work, always give the best service that you can. Your reputation will be built on how good work you do and how easy or fun you're to work with. Remember that there's nothing more to your work than how good it sounds, was it delivered on time and on budget and how easy you were to work with, that's what generally matters for the clients.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="32033" PostHistoryTypeId="2" PostId="19732" RevisionGUID="71e8c40e-c657-47b3-9349-8c67f8b85aee" CreationDate="2013-07-09T20:58:32.300" UserId="6194" Text="Hey Audio pals - in addition to forums and peers, are there sites that you trust most regarding reviews for sound design/audio/music apps?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32034" PostHistoryTypeId="1" PostId="19732" RevisionGUID="71e8c40e-c657-47b3-9349-8c67f8b85aee" CreationDate="2013-07-09T20:58:32.300" UserId="6194" Text="Trustworthy Audio App Review Sites?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32035" PostHistoryTypeId="3" PostId="19732" RevisionGUID="71e8c40e-c657-47b3-9349-8c67f8b85aee" CreationDate="2013-07-09T20:58:32.300" UserId="6194" Text="&lt;sound-design&gt;&lt;iphone&gt;&lt;music&gt;&lt;composition&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32036" PostHistoryTypeId="5" PostId="19731" RevisionGUID="7927735a-d78e-4576-820b-c14cf8ac4d1e" CreationDate="2013-07-09T21:06:17.160" UserId="3179" Comment="added 247 characters in body" Text="Get a job.&#xD;&#xA;&#xD;&#xA;Echoing what Dave said, the craft is not really the difficult part of this business, it's the business. If you're thinking of doing sound design for longer as your main pursuit, then you need to find someone or something that's willing to pay for your services and continue to look for opportunities, because many projects are temporary. I.e. you need to find a way that enables you to do sound design for others. You can look for positions in  established studios (unlikely), look for gigs as a freelancer (difficult, but the most usual option), look for positions in media companies (the most secure/profitable, but usually loads of equally good applicants and very few positions) or just work on sound on the side while doing something else to get food on the table.&#xD;&#xA;&#xD;&#xA;Also, you need to create a presence (in the public, in the web, among your friends). You need to get your voice out there that says &quot;I'm a sound guy, I can do sound for your project!&quot;. That's a start into making yourself a person that people who need sound design services start to contact.&#xD;&#xA;&#xD;&#xA;Also, when you start to do projects with/for others: always do your best work, always give the best service that you can. Your reputation will be built on how good work you do and how easy or fun you're to work with. Remember that there's nothing more to your work than how good it sounds, was it delivered on time and on budget and how easy you were to work with, that's what generally matters to the clients.&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;Also, build a portfolio from the work that you've done and put it in the web. Keep updating it when new work gets done. The portfolio is what you use to sell your services to people or what a prospective employer will be interested in." ContentLicense="CC BY-SA 3.0" />
  <row Id="32037" PostHistoryTypeId="2" PostId="19733" RevisionGUID="3f0ca1cf-cc55-4a20-a7fd-d54e1acda280" CreationDate="2013-07-09T21:11:46.483" UserId="3179" Text="http://www.musicradar.com/tech&#xD;&#xA;&#xD;&#xA;and &#xD;&#xA;&#xD;&#xA;http://www.soundonsound.com/&#xD;&#xA;&#xD;&#xA;To me these have been the most neutral and most knowledgeable (i.e. the reviewers have actually studied the technological aspects and other similar products in the market and not just usability aspects to know what they're speaking of)." ContentLicense="CC BY-SA 3.0" />
  <row Id="32038" PostHistoryTypeId="5" PostId="19733" RevisionGUID="a80a7609-7669-40fc-a65d-894e9580cb19" CreationDate="2013-07-09T21:17:43.890" UserId="3179" Comment="added 139 characters in body" Text="http://www.musicradar.com/tech&#xD;&#xA;&#xD;&#xA;and &#xD;&#xA;&#xD;&#xA;http://www.soundonsound.com/&#xD;&#xA;&#xD;&#xA;To me these have been the most neutral and most knowledgeable (i.e. the reviewers have actually studied the technological aspects and other similar products in the market and not just usability aspects to know what they're speaking of).&#xD;&#xA;&#xD;&#xA;Although, I'm a bit vary of what you mean by &quot;trustworthy&quot;. When it comes to audio/media product reviews, it's all subjective/opinions." ContentLicense="CC BY-SA 3.0" />
  <row Id="32039" PostHistoryTypeId="2" PostId="19734" RevisionGUID="b6d6bd48-b4f8-400f-90a0-ef83f9a56e8b" CreationDate="2013-07-09T23:08:40.020" UserId="6432" Text="[http://www.soundonsound.com/][1]&#xD;&#xA;&#xD;&#xA;as mentioned,&#xD;&#xA;&#xD;&#xA;[http://mixonline.com/][2]&#xD;&#xA;&#xD;&#xA;[http://designingsound.org/][3]&#xD;&#xA;&#xD;&#xA;For a more sound design specific opinion&#xD;&#xA;&#xD;&#xA;[http://createdigitalmusic.com/][4]&#xD;&#xA;&#xD;&#xA;As I think they have a good take on things. Not so... rigorous, but fun!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/&#xD;&#xA;  [2]: http://mixonline.com/&#xD;&#xA;  [3]: http://designingsound.org/&#xD;&#xA;  [4]: http://createdigitalmusic.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="32040" PostHistoryTypeId="5" PostId="19722" RevisionGUID="4f4b012e-9e35-4ab9-b9dc-b6f7e584e7b3" CreationDate="2013-07-09T23:50:09.453" UserDisplayName="user49" Comment="added 116 characters in body" Text="analogsynth oscillator &gt; subwoofer and lie props on subwoofer, &#xD;&#xA;perform pitch bends on oscillator and re-record prop resonating&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Some audio examples of this technique from a film I did in 2011&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/sub-rattlers" ContentLicense="CC BY-SA 3.0" />
  <row Id="32041" PostHistoryTypeId="2" PostId="19735" RevisionGUID="0f6acd9a-85a6-4303-b96e-b663dabea6c3" CreationDate="2013-07-09T23:53:43.723" UserDisplayName="user49" Text="using the search function might be a good starting point, for example:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/284&#xD;&#xA;&#xD;&#xA;which motivated me to write this:&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/career-advice-part-2&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32042" PostHistoryTypeId="10" PostId="9250" RevisionGUID="ebffb3a8-c56b-47a6-a737-244142d0a926" CreationDate="2013-07-10T06:06:10.300" UserDisplayName="user80" Comment="6" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="32049" PostHistoryTypeId="2" PostId="19737" RevisionGUID="e40c9123-69ed-4cd3-8dcf-67d9c69726be" CreationDate="2013-07-10T13:08:05.040" UserId="1049" Text="Just thought I'd add the outcome: I've ended up plugging the gap with some snippets of the actors ad-libbing from other takes. Works fairly well, time-wise, and you'd only notice the lip-sync issues if you were really looking. It is only about a second long though so doesn't look too bad. Best that could be done in these circumstances with the timeframe I have!&#xD;&#xA;&#xD;&#xA;Thanks for the suggestions guys. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32050" PostHistoryTypeId="2" PostId="19738" RevisionGUID="571ffc3a-be0c-4a7d-ab5d-5c523b4f8662" CreationDate="2013-07-10T17:56:35.563" UserId="6196" Text="Out of curiosity, I was noticing hi-pitched sweep in some old Japanese animation (Serial Experiments LAin; Fushigi no Umi no Nadia; Kimagure Orange). Example voiceprint: http://i.imgur.com/G7dGgV2.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="32051" PostHistoryTypeId="1" PostId="19738" RevisionGUID="571ffc3a-be0c-4a7d-ab5d-5c523b4f8662" CreationDate="2013-07-10T17:56:35.563" UserId="6196" Text="Why some old voice recordings in Anime has ~15.7KHz  sweep?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32052" PostHistoryTypeId="3" PostId="19738" RevisionGUID="571ffc3a-be0c-4a7d-ab5d-5c523b4f8662" CreationDate="2013-07-10T17:56:35.563" UserId="6196" Text="&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32053" PostHistoryTypeId="2" PostId="19739" RevisionGUID="8da56f46-363b-402f-a08e-be15b3ffe73f" CreationDate="2013-07-10T18:51:32.080" UserId="1228" Text="Possibly noise from a TV used in the ADR studio?  That freq sounds on-point for a TV being the source.  For what its worth, on older Foley recodings I find this a lot, especially when you start pitching things down and thus exposing the tone more easily.  Usually just a matter of notching it out." ContentLicense="CC BY-SA 3.0" />
  <row Id="32054" PostHistoryTypeId="2" PostId="19740" RevisionGUID="d6f2f240-7479-44b9-8fbe-9ba09f348d0b" CreationDate="2013-07-10T19:36:28.813" UserId="6197" Text="Hi chkktri, Stavrosound is right, the high frequency you can hear is most probably due to the fact that they used an old CRT TV in the studio. The CRT tube creates what's known as 'line whistle' which is a single tone at a frequency of 15.625kHz for PAL territories and 15.734kHz for NTSC. This can easily be notched out by using a very narrow notch filter on max attenuation. It's probably best to gain the notch and sweep around the frequency, until the whistle is amplified, then at maximum level, cut the frequency to max which will get rid of this annoying high frequency." ContentLicense="CC BY-SA 3.0" />
  <row Id="32055" PostHistoryTypeId="2" PostId="19741" RevisionGUID="d3bcd5d8-c522-49fa-a318-4971bb52e547" CreationDate="2013-07-10T20:17:28.157" UserId="6407" Text="I been reading this question: [Where Do I Begin In Sound Design?][1] and it got me to thinking not about 'starting' a career in sound but 'progressing', or more accurately, staying afloat in sound design?&#xD;&#xA;&#xD;&#xA;I've been working for the last three years after university, however I've found that I need to diversify to put food on the table. I was reading [Tim Prebble's article][2], very interesting it was, and he calls for finding your niche in the sound arena. I'd love to agree but I've found that if I wholly stick to sound (and not things like video editing, colouring etc what I do 'on top') then there's not enough work to go around. At least, yet. &#xD;&#xA;&#xD;&#xA;I have recently moved from Manchester, UK to back to where I am originally from, Edinburgh. Perhaps this is partly the problem due to a shortage of need for sound editors/dubbing mixers in Scotland. From my limited three years I have found that sound design (all aspects) tends to be on student or very low budget films, also fuelled by passionate people, or big budget features which very rarely leave the comforts of Pinewood or Soho (in the UK at least). &#xD;&#xA;&#xD;&#xA;So my question is, apologies for rambling, is how do people survive doing sound (before they become 'established')? Do you have extra curricular businesses (cafes, shops, jobs)? Do you diversify your skill-set, or narrow to a niche? Would love to hear your responses. &#xD;&#xA;&#xD;&#xA;Best, Nicol&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/19723/where-do-i-begin-in-sound-design&#xD;&#xA;  [2]: http://www.musicofsound.co.nz/blog/career-advice-part-2" ContentLicense="CC BY-SA 3.0" />
  <row Id="32056" PostHistoryTypeId="1" PostId="19741" RevisionGUID="d3bcd5d8-c522-49fa-a318-4971bb52e547" CreationDate="2013-07-10T20:17:28.157" UserId="6407" Text="How Do I Progress in Sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32057" PostHistoryTypeId="3" PostId="19741" RevisionGUID="d3bcd5d8-c522-49fa-a318-4971bb52e547" CreationDate="2013-07-10T20:17:28.157" UserId="6407" Text="&lt;sound-designer&gt;&lt;career&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32058" PostHistoryTypeId="2" PostId="19742" RevisionGUID="eac23e3a-3ff0-4e6f-9b3c-0e787b52fd9c" CreationDate="2013-07-10T20:38:06.967" UserId="4358" Text="I am currently editing SFX for a trailer. There is a scene in the trailer where the lead character opens fire, but we see this through a video camera that he is using to record what he sees. The question I have is that is there any point in adding multiple layers (like low frequency hits) for the gunshot if its gonna be futz later on? Thank You in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="32059" PostHistoryTypeId="1" PostId="19742" RevisionGUID="eac23e3a-3ff0-4e6f-9b3c-0e787b52fd9c" CreationDate="2013-07-10T20:38:06.967" UserId="4358" Text="Futz Gunshot Question" ContentLicense="CC BY-SA 3.0" />
  <row Id="32060" PostHistoryTypeId="3" PostId="19742" RevisionGUID="eac23e3a-3ff0-4e6f-9b3c-0e787b52fd9c" CreationDate="2013-07-10T20:38:06.967" UserId="4358" Text="&lt;gunshot&gt;&lt;sfx&gt;&lt;futz&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32061" PostHistoryTypeId="2" PostId="19743" RevisionGUID="8b75fe64-2165-453e-a89a-bd7187ad9f61" CreationDate="2013-07-10T20:59:17.023" UserId="4442" Text="If the only place you're ever seeing/hearing that shot from is the video camera, I would make it sound like that. I wouldn't personally make a hollywood gun for that." ContentLicense="CC BY-SA 3.0" />
  <row Id="32062" PostHistoryTypeId="2" PostId="19744" RevisionGUID="2b79bfb9-6b78-4404-b92e-9d10c49eff34" CreationDate="2013-07-10T21:25:37.753" UserId="3179" Text="Most people don't make it full-time ever. Or if they make, it's a very long, stubborn and incremental process. Basically, one sticks to it for as long as it takes until one has been in the field long enough to be considered &quot;established&quot; (i.e. this guy/gal is really about doing sound). I think it's also a said that most (at least interesting and changing) sound work is project-based, rather than full-time.&#xD;&#xA;&#xD;&#xA;I think there's no easy answer. You can't do sound if there's nothing to do sound for or, practically, if you don't have anyone to pay for your sound. How one gets there (or doesn't), varies. If you want to make a decent and better secured income on the side, then you'd better have some real skills in a totally different job/field that has more to do with actual needs, means of production or highly-skilled or specialized labor, I'd say. I don't know how that really works in the sound field, because all the &quot;specializations&quot; are so inherently tied together and fairly trivial to adopt so that I find it difficult to even consider them &quot;specializations&quot;, more like roles that some people tend to hold more often than some other roles.&#xD;&#xA;&#xD;&#xA;As with art occupations in general, I'd say that what things really boil down is: how interesting your work is and how interesting you are." ContentLicense="CC BY-SA 3.0" />
  <row Id="32063" PostHistoryTypeId="5" PostId="19744" RevisionGUID="9a65b7ce-f22a-43fd-ae16-b68eb0fa6a30" CreationDate="2013-07-10T21:35:15.640" UserId="3179" Comment="added 91 characters in body; added 143 characters in body; added 8 characters in body" Text="Most people don't make it full-time ever. Or if they make, it's a very long, stubborn and incremental process. Basically, one sticks to it for as long as it takes until one has been in the field long enough to be considered &quot;established&quot; (i.e. this guy/gal is really about doing sound). I think it's also a said that most (at least interesting and changing) sound work is project-based, rather than full-time.&#xD;&#xA;&#xD;&#xA;I think there's no easy answer. You can't do sound if there's nothing to do sound for or, practically, if you don't have anyone to pay for your sound. How one gets there (or doesn't), varies. If you want to make a decent and better secured income on the side, then you'd better have some real skills in a totally different job/field that has more to do with actual needs, means of production or highly-skilled or specialized labor, I'd say. I don't know how that really works in the sound field, because all the &quot;specializations&quot; are so inherently tied together and fairly trivial to adopt so that I find it difficult to even consider them &quot;specializations&quot;, more like roles that some people tend to hold more often than some other roles. The best position financially is to be in a production company as an &quot;in-house&quot; sound guy, because the issue of gathering/initiating projects tends to be outsourced to other people and you're working under the company's brand and reputation.&#xD;&#xA;&#xD;&#xA;As with art occupations in general, I'd say that what things really boil down is: how interesting your work is and how interesting you are." ContentLicense="CC BY-SA 3.0" />
  <row Id="32064" PostHistoryTypeId="5" PostId="19744" RevisionGUID="8adc89eb-bc73-4f98-ba2f-a7542e7a934d" CreationDate="2013-07-10T21:44:28.360" UserId="3179" Comment="added 184 characters in body; added 178 characters in body" Text="Most people don't make it full-time ever. Or if they make, it's a very long, stubborn and incremental process. Basically, one sticks to it for as long as it takes until one has been in the field long enough to be considered &quot;established&quot; (i.e. this guy/gal is really about doing sound). I think it's also a said that most (at least interesting and changing) sound work is project-based, rather than full-time.&#xD;&#xA;&#xD;&#xA;I think there's no easy answer. You can't do sound if there's nothing to do sound for or, practically, if you don't have anyone to pay for your sound. How one gets there (or doesn't), varies. If you want to make a decent and better secured income on the side, then you'd better have some real skills in a totally different job/field that has more to do with actual needs, means of production or highly-skilled or specialized labor, I'd say. I don't know how that really works in the sound field, because all the &quot;specializations&quot; are so inherently tied together and fairly trivial to adopt so that I find it difficult to even consider them &quot;specializations&quot;, more like roles that some people tend to hold more often than some other roles. The best position financially is to be in a production company as an &quot;in-house&quot; sound guy, because the issue of gathering/initiating projects tends to be outsourced to other people and you're working under the company's brand and reputation.&#xD;&#xA;&#xD;&#xA;As with art occupations in general, I'd say that what things really boil down is: how interesting your work is and how interesting you are.&#xD;&#xA;&#xD;&#xA;Don't forget that there are also some ways to generate additional work around the sound work (e.g. teaching, workshops), if you can offer something that interests some individuals. As well as some jobs where you're dealing with sound (e.g. archiving, digitizing, record collections of public libraries and organizations etc.), not just in the artistic sense." ContentLicense="CC BY-SA 3.0" />
  <row Id="32065" PostHistoryTypeId="2" PostId="19745" RevisionGUID="feebefa4-baee-445a-9413-1a504938f5b7" CreationDate="2013-07-11T01:27:35.010" UserId="6198" Text="I'm in a somewhat similar situation and I feel like I'm at a crossroads at the moment. I finished my sound-post course at the end of last year and I have yet to score a proper gig (I nearly got a 4 month entry-level gig on Masterchef, however the role was given to another candidate.) I've sent out numerous emails and I've had one facility tour so far, but I guess it's a given that most people are too busy to reply, but I'm still being persistent. I've just been chipping away on lo/no-paid short films at home to keep my mind occupied and also been working inconsistently at my local supermarket as a checkout operator (hate, hate, hate, plus the hours are too sporadic, so I've been forced to rely on benefits as well to make up the difference each week.) &#xD;&#xA;&#xD;&#xA;I didn't have a gap year after I finished high school, so this is my first year out in the real world and it's made me grow up pretty fast. Since the Australian industry isn't looking too good at the moment, I'm considering applying for internships/positions in LA and New York, but I need some advice from you guys beforehand. What is the amount of work available like over there? I also feel this would be a great opportunity to combine it with my desire to travel as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="32066" PostHistoryTypeId="2" PostId="19746" RevisionGUID="a7d567a3-aa59-44a3-b207-172b043d6179" CreationDate="2013-07-11T02:15:52.870" UserId="5682" Text="Thanks everyone for the good advice! &#xD;&#xA;What kind of setup in car-interior situations did work best for you in the past? I was thinking one lav on each sunscreen and a cardio mic in the gearshift area, if the outside noise allows it. I'm not sure about going handheld, seems a bit complicated to me, space-wise. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32068" PostHistoryTypeId="2" PostId="19747" RevisionGUID="edf88d0c-3534-4836-8df9-85934b9a40df" CreationDate="2013-07-11T08:32:08.117" UserId="3396" Text="Go where the work is.&#xD;&#xA;&#xD;&#xA;Get any job you can at a studio or sound house even if it's not the job you want.&#xD;&#xA;I have seen many people make lateral moves. From driver to editor, assistant to editor, techie to editor, library to editor ... I started as a driver/apprentice.&#xD;&#xA;&#xD;&#xA;You need to get your foot in the door. You will meet people and you will hopefully impress people. Most places do freebies or very, very low budget projects helping with student films, low-budget indies and the like. Volunteer for those and people will hear your work, they will get to know you, they will talk about you and if you're good they will hopefully start using you.&#xD;&#xA;&#xD;&#xA;It's a small community compared to other ways of making a living. Crews are getting smaller. A lot of good editors/designers with a lot of experience and connections spend a lot of time unemployed. I'm lucky, I hooked up with the right people and have been doing this steady since the 80's. I never had to even think about getting another job.&#xD;&#xA;&#xD;&#xA;If you're talented, enthusiastic and a good person you have shot. I tell people, &quot;Hell, if I could do it so could you.&quot;&#xD;&#xA;&#xD;&#xA;So there you go, for what it's worth. I'm sure somebody else has a different approach that is just as valid and just as effective. A combination of luck, meeting the right people, a willingness to work for almost nothing or for free (at first) and maybe just a little talent is what worked for me.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="32069" PostHistoryTypeId="2" PostId="19748" RevisionGUID="ff3d8aea-1219-422a-b30e-9b618bb73042" CreationDate="2013-07-11T13:58:08.727" UserId="6200" Text="Can some help me please..&#xD;&#xA;&#xD;&#xA;Im doing the sound editing for small animation, I want to use the sound effects which are in stereo, on to the mono track.. I dont want to use the splitted channels of the stereo track onto the mono track..&#xD;&#xA;&#xD;&#xA;So can any body tell me how to sum the stereo to mono before I put them onto mono track?&#xD;&#xA;&#xD;&#xA;Im using pro tools.." ContentLicense="CC BY-SA 3.0" />
  <row Id="32070" PostHistoryTypeId="1" PostId="19748" RevisionGUID="ff3d8aea-1219-422a-b30e-9b618bb73042" CreationDate="2013-07-11T13:58:08.727" UserId="6200" Text="Summing Stereo to mono?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32071" PostHistoryTypeId="3" PostId="19748" RevisionGUID="ff3d8aea-1219-422a-b30e-9b618bb73042" CreationDate="2013-07-11T13:58:08.727" UserId="6200" Text="&lt;stereo&gt;&lt;to&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32072" PostHistoryTypeId="2" PostId="19749" RevisionGUID="3a686170-57d5-47c6-874c-09944b4da160" CreationDate="2013-07-11T16:47:38.797" UserId="517" Text="If you assign the output of your stereo tracks to a mono bus, set the input of a mono track to the bus and then record to the mono track, you will get a stereo to mono downmix. However, you should be careful to monitor the mono track, as it's very possible that the combination of the L and R channels will cause phasing. &#xD;&#xA;&#xD;&#xA;I'd recommend using a single channel from the stereo pair on the mono track instead. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32073" PostHistoryTypeId="2" PostId="19750" RevisionGUID="060bfe6a-cb5e-4e6a-b6cf-b6d35e128795" CreationDate="2013-07-11T20:31:45.020" UserId="3979" Text="Hey Everyone,&#xD;&#xA;&#xD;&#xA;I just wanted to get some advice on the subject. I just got my hands on TL Space &amp; I'm going into my next project which is a feature that I'll be mixing, and I'd like to capture some IR's for it.&#xD;&#xA;&#xD;&#xA;So Question 1 is : Any deconvolution software recommendations for TL Space on Mac? Cheap would be awesome, but I understand quality doesn't come cheap in most cases.&#xD;&#xA;&#xD;&#xA;I can't seem to find a good deconvolution software to use with TL Spaces. I'd like to use a sine sweep to capture my IR's since its more accurate. I wish there was a budget to purchase Altiverb, but it's a no go. Although TL Spaces is sounding pretty good.&#xD;&#xA;&#xD;&#xA;Question 2 : I noticed that the IR library for TL Space on avid's site is very small and impractical. Under &quot;Post&quot; there was just a 2 car garage, a van int, kitchen, Nuclear Cooling tower &amp; Meadows. Am I missing something? Any recommendations for good IR libraries compatible with TL Space?&#xD;&#xA;&#xD;&#xA;Question 3: If I go with the Transient Method for recording IR's, what have you got the best results with? I hear balloons are not so great because they lack some low end. Is a gun shot the best? If so, do you generally play back a gun shot recording through a speaker at a high volume for the best result? (depending on the speaker's frequency range I imagine. Right?)&#xD;&#xA;&#xD;&#xA;Thanks guys! I'm really eager to dive into creating my own IR library and I really appreciate the help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32074" PostHistoryTypeId="1" PostId="19750" RevisionGUID="060bfe6a-cb5e-4e6a-b6cf-b6d35e128795" CreationDate="2013-07-11T20:31:45.020" UserId="3979" Text="TL Spaces &amp; IR Recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="32075" PostHistoryTypeId="3" PostId="19750" RevisionGUID="060bfe6a-cb5e-4e6a-b6cf-b6d35e128795" CreationDate="2013-07-11T20:31:45.020" UserId="3979" Text="&lt;impulse-response&gt;&lt;convolution&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32076" PostHistoryTypeId="2" PostId="19751" RevisionGUID="35ea430b-39d9-44d7-864f-171991c7a1a0" CreationDate="2013-07-11T22:03:54.497" UserId="6432" Text="If you haven't already, read this:&#xD;&#xA;&#xD;&#xA;[http://designingsound.org/2012/12/recording-impulse-responses/][1]&#xD;&#xA;&#xD;&#xA;Some great info in there.&#xD;&#xA;&#xD;&#xA;I don't actually use TL Space, but I believe you can load impulses into TL Space in .Wav format? At least that's what it says in the manual. OSX has the impulse response utility built into it - have a look in Applications/Utilities and you should find it. It's marketed to work with Space Designer, but actually it just creates regular IR's using the sine sweep method and then packages them into Space Designer's format and SDIR project files. Have a go with it and create an SDIR project (find the apple manual if you're not sure how it works). When you've finished, right click on the SDIRproject and choose 'show package contents' you can then get to the .Wav impulses and load them into another IR reverb plugin. So if you take a stereo impulse the files will be called 1.wav and 2.wav, one for each channel. Unfortunately, Apple do not explain this in the manual as they only want you to use Logic and Space Designer, but you can import the impulses into most IR reverb plugins. &#xD;&#xA;&#xD;&#xA;So if you've got a soundcard, mic and OSX laptop you are pretty much ready to go.&#xD;&#xA;&#xD;&#xA;It's worth testing this against the transient method though, as sometimes it seems to work better. If you're taking IR's on set then you pretty much have to use the transient method anyway as there's not enough time to set up speakers etc.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2012/12/recording-impulse-responses/" ContentLicense="CC BY-SA 3.0" />
  <row Id="32077" PostHistoryTypeId="2" PostId="19752" RevisionGUID="711ca0c6-7096-4424-8720-79f42276ff67" CreationDate="2013-07-11T23:21:57.337" UserId="654" Text="I used voxengo deconvolver to work with captured sine sweeps in tl space but think its win32, sorry. Bootcamp makes that stuff easy however." ContentLicense="CC BY-SA 3.0" />
  <row Id="32081" PostHistoryTypeId="2" PostId="19754" RevisionGUID="8686ede4-c79b-433b-a36f-19201f29d923" CreationDate="2013-07-11T23:51:13.817" UserDisplayName="3rdWheelPost" Text="I'm currently a sound editor and sound designer in the Los Angeles area and I've worked on various shows that have aired on Nickelodeon, E! Channel, YouTube and Cartoon Network, including Kung Fu Panda: Legends of Awesomeness for which I was nominated for a 2013 Daytime Emmy; and SpongeBob SquarePants, for which I was nominated for a 2013 MPSE Golden Reel Award.&#xD;&#xA;&#xD;&#xA;I'm trying to find a way to break into working on bigger TV shows and eventually larger budgeted feature films. And I know there isn't a sure-fire way to go about it but any suggestions would be of much help!&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32082" PostHistoryTypeId="1" PostId="19754" RevisionGUID="8686ede4-c79b-433b-a36f-19201f29d923" CreationDate="2013-07-11T23:51:13.817" UserDisplayName="3rdWheelPost" Text="Where to go from here? How to go about working on bigger shows?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32083" PostHistoryTypeId="3" PostId="19754" RevisionGUID="8686ede4-c79b-433b-a36f-19201f29d923" CreationDate="2013-07-11T23:51:13.817" UserDisplayName="3rdWheelPost" Text="&lt;film&gt;&lt;sound-design&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32084" PostHistoryTypeId="2" PostId="19755" RevisionGUID="3226b5c8-48ca-44d5-b209-f0869c16a758" CreationDate="2013-07-12T04:33:20.177" UserId="6202" Text="I think a earthquake rumble (better if from in a house w rattle embedded),&#xD;&#xA;Train approaching(just as it passes), &#xD;&#xA;&#xD;&#xA;Superman can:&#xD;&#xA;&#xD;&#xA;Metal impact,&#xD;&#xA;Pressure valve release  &#xD;&#xA;&#xD;&#xA;Cool animation, have fun!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32085" PostHistoryTypeId="2" PostId="19756" RevisionGUID="46224f4a-e114-4adf-9570-a0fade5e27d9" CreationDate="2013-07-12T05:12:41.717" UserId="6203" Text="Good question Jessey.  I am in no way any further than yourself by the sounds of it but it all just seems to be about who you know and if people like working with you (apart from having the goods to begin with).  A friend of mine just got picked up by a big post production house as head of SFX and she's much younger than I am, but really very talented.  From what I can tell it started off by one guy hiring her for all of his projects.  From moving from city to city for each film, she at one point worked in the studio in which ultimately offered her the position overseas.  So again, I don't know but I think personal relations is a huge part of any success.  At the same time a good director friend has said he can track all of his current work back to one single guy he met at uni.  So, I think nurture what relations you have around you and people will be attracted to you in turn.  Hope that helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32086" PostHistoryTypeId="2" PostId="19757" RevisionGUID="db3ad5cd-2b41-46e7-a841-6e3d2d1c9ae3" CreationDate="2013-07-12T05:33:39.203" UserId="1228" Text="To be perfectly honest, this question rubs me the wrong way - a first actually.&#xD;&#xA;&#xD;&#xA;What rubs me the wrong way, and this is merely an observation of principal and NOT a judgement of personality/character... is that **I sense a lack of gratitude**, a lack of appreciation for what has been had and materialized thusfar.  At this young in ones career (I did look you up on IMDB), those are outstanding projects to be working on let alone garnering nominations for as well.  It truly is a great start.  A greater start than even some who work for their entire lives in this industry might be able to achieve recognition for.  Again, not a judgement - just an observation of the facts.  Emmys and MPSEs aren't some Jelly-of-the-month club award either, they carry some professional weight and have the potential to open doors for you.&#xD;&#xA;&#xD;&#xA;I am a big believer of both karmic debt as well as allowing ones credibility to promote itself through their body of work and dedication to the craft - do good work, the work speaks for itself and opens you doors.  To this end, I find that when I appreciate what I do have, and strive to do good deeds for others (whether it be keeping my head down on the job at hand, always providing my best effort, sharing ideas with others and not squandering them to myself, etc), the doors open themselves through the laws of attraction, and some amazing things have happened within my own journey - relationships forged, coincidences, connections I never know existed, ways into landing a certain gig I never even expected was possible and felt like luck.&#xD;&#xA;&#xD;&#xA;This is a very small world in this industry, so incredibly small with each passing day, and (as I've said many times) word gets around fast, both good and bad, positive and negative.  As does your body of work and your reputation, your appreciation and gratitude for what you have and being known for being kind and generous in return.  Some of the top-regarded talent I have had the opportunity to meet are some of the nicest and most humble people I know.  They are hungry for the gig yes, but do not seek recognition(some even shy away from it), are not greedy, and most of all, are extremely grateful for what they have in their &quot;feather cap&quot; and are willing to share with others in kind, especially willing to share and help those who share their same values and desire to work humbly and grow into their craft.&#xD;&#xA;&#xD;&#xA;This is how one moves forward.  Always putting out their best effort in out body of work, always having the desire to grow, always being humble and truthful, ALWAYS possessing the gratitude for what they have.  What shows we have worked on or awards or nominations garnered, one earns those - they cannot be taken away.  **But** the very second one loses gratitude for these things very things, they CAN actually be taken away by the outside, universal circumstances of life.&#xD;&#xA;&#xD;&#xA;And once again, this is merely observation of principal and NOT a judgement of personality/character.  One in which I truly feel I need to share my thoughts on because of how adverse the question makes me feel." ContentLicense="CC BY-SA 3.0" />
  <row Id="32087" PostHistoryTypeId="2" PostId="19758" RevisionGUID="31b8a224-3b55-444f-94f5-fc11cd7b363a" CreationDate="2013-07-12T17:52:16.293" UserId="3179" Text="If you had a chance to set up a set of rules or a set of guidelines (much in the way as some fields e.g. medicine and engineering share a common Code of Ethics) that you'd wish every person working in the field of sound production (or as well media in general) would have been exposed to and perhaps was even concerned to follow, what would the guidelines/rules be?&#xD;&#xA;&#xD;&#xA;Examples:&lt;br&gt;&#xD;&#xA;http://www.nspe.org/Ethics/CodeofEthics/index.html&lt;br&gt;&#xD;&#xA;http://www.socialworkers.org/pubs/code/code.asp&#xD;&#xA;..." ContentLicense="CC BY-SA 3.0" />
  <row Id="32088" PostHistoryTypeId="1" PostId="19758" RevisionGUID="31b8a224-3b55-444f-94f5-fc11cd7b363a" CreationDate="2013-07-12T17:52:16.293" UserId="3179" Text="If there was a Code of Professional Practice or a Code of Ethics, what would it look like?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32089" PostHistoryTypeId="3" PostId="19758" RevisionGUID="31b8a224-3b55-444f-94f5-fc11cd7b363a" CreationDate="2013-07-12T17:52:16.293" UserId="3179" Text="&lt;rule&gt;&lt;professional-practice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32090" PostHistoryTypeId="4" PostId="19758" RevisionGUID="c3566f11-16af-45ed-b33b-84619ada8d5d" CreationDate="2013-07-12T17:59:08.033" UserId="3179" Comment="edited title" Text="If there was a Code of Professional Conduct or a Code of Ethics, what would it look like?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32091" PostHistoryTypeId="5" PostId="19754" RevisionGUID="0bff9d75-0d74-4840-a599-dcc1fe763028" CreationDate="2013-07-13T00:19:11.733" UserDisplayName="3rdWheelPost" Comment="deleted 221 characters in body; edited title" Text="I'm currently a sound editor and sound designer in the Los Angeles area and I've worked on various shows that have aired on different networks.&#xD;&#xA;&#xD;&#xA;I'm trying to find a way to break into working on bigger TV shows and eventually larger budgeted feature films. And I know there isn't a sure-fire way to go about it but any suggestions would be of much help!&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32092" PostHistoryTypeId="4" PostId="19754" RevisionGUID="0bff9d75-0d74-4840-a599-dcc1fe763028" CreationDate="2013-07-13T00:19:11.733" UserDisplayName="3rdWheelPost" Comment="deleted 221 characters in body; edited title" Text="Where to go from here? How to Progress?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32093" PostHistoryTypeId="5" PostId="19757" RevisionGUID="3b2cb76d-cf93-496d-9d88-8d30ef7da4ff" CreationDate="2013-07-13T00:23:17.300" UserId="1228" Comment="added 72 characters in body" Text="NOTE: this response was to the original iteration of the question.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;To be perfectly honest, this question rubs me the wrong way - a first actually.&#xD;&#xA;&#xD;&#xA;What rubs me the wrong way, and this is merely an observation of principal and NOT a judgement of personality/character... is that **I sense a lack of gratitude**, a lack of appreciation for what has been had and materialized thusfar.  At this young in ones career (I did look you up on IMDB), those are outstanding projects to be working on let alone garnering nominations for as well.  It truly is a great start.  A greater start than even some who work for their entire lives in this industry might be able to achieve recognition for.  Again, not a judgement - just an observation of the facts.  Emmys and MPSEs aren't some Jelly-of-the-month club award either, they carry some professional weight and have the potential to open doors for you.&#xD;&#xA;&#xD;&#xA;I am a big believer of both karmic debt as well as allowing ones credibility to promote itself through their body of work and dedication to the craft - do good work, the work speaks for itself and opens you doors.  To this end, I find that when I appreciate what I do have, and strive to do good deeds for others (whether it be keeping my head down on the job at hand, always providing my best effort, sharing ideas with others and not squandering them to myself, etc), the doors open themselves through the laws of attraction, and some amazing things have happened within my own journey - relationships forged, coincidences, connections I never know existed, ways into landing a certain gig I never even expected was possible and felt like luck.&#xD;&#xA;&#xD;&#xA;This is a very small world in this industry, so incredibly small with each passing day, and (as I've said many times) word gets around fast, both good and bad, positive and negative.  As does your body of work and your reputation, your appreciation and gratitude for what you have and being known for being kind and generous in return.  Some of the top-regarded talent I have had the opportunity to meet are some of the nicest and most humble people I know.  They are hungry for the gig yes, but do not seek recognition(some even shy away from it), are not greedy, and most of all, are extremely grateful for what they have in their &quot;feather cap&quot; and are willing to share with others in kind, especially willing to share and help those who share their same values and desire to work humbly and grow into their craft.&#xD;&#xA;&#xD;&#xA;This is how one moves forward.  Always putting out their best effort in out body of work, always having the desire to grow, always being humble and truthful, ALWAYS possessing the gratitude for what they have.  What shows we have worked on or awards or nominations garnered, one earns those - they cannot be taken away.  **But** the very second one loses gratitude for these things very things, they CAN actually be taken away by the outside, universal circumstances of life.&#xD;&#xA;&#xD;&#xA;And once again, this is merely observation of principal and NOT a judgement of personality/character.  One in which I truly feel I need to share my thoughts on because of how adverse the question makes me feel." ContentLicense="CC BY-SA 3.0" />
  <row Id="32094" PostHistoryTypeId="2" PostId="19759" RevisionGUID="c0b79c2c-49a2-4877-a413-b7d5cb214ec7" CreationDate="2013-07-13T01:58:49.823" UserId="517" Text="I'm mastering some 96KHz material that has a nasty hum running around 32KHz, which mostly I can only hear when playing back at half speed or scrubbing. As a last step of the mastering process, I'm doing some light denoising using Izotope RX2. If I tweak the envelope for RX's Denoiser, I can pull down the offending frequency a bit, but I'd prefer to notch it out with a sharp EQ. &#xD;&#xA;&#xD;&#xA;The problem I'm running into is that my plugins only allow a maximum frequency setting of around 21 KHz. Does anyone have any suggestions for an EQ that can pull down frequencies above the human hearing spectrum or a workaround?&#xD;&#xA;&#xD;&#xA;This obviously isn't a major problem, but now that I've realized the limitation, I'm curious if there's an easy solution." ContentLicense="CC BY-SA 3.0" />
  <row Id="32095" PostHistoryTypeId="1" PostId="19759" RevisionGUID="c0b79c2c-49a2-4877-a413-b7d5cb214ec7" CreationDate="2013-07-13T01:58:49.823" UserId="517" Text="96 KHz EQ Plugin" ContentLicense="CC BY-SA 3.0" />
  <row Id="32096" PostHistoryTypeId="3" PostId="19759" RevisionGUID="c0b79c2c-49a2-4877-a413-b7d5cb214ec7" CreationDate="2013-07-13T01:58:49.823" UserId="517" Text="&lt;96k&gt;&lt;eq&gt;&lt;hum&gt;&lt;removal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32097" PostHistoryTypeId="2" PostId="19760" RevisionGUID="c0382e2c-50e8-49a8-9e3d-6da9d40bbf96" CreationDate="2013-07-13T02:57:28.773" UserId="3179" Text="It's probably because most equalizers are meant for audio that's in the human hearing range! I bet it's just left out of the implementations, because it would be an useless feature for most users.&#xD;&#xA;&#xD;&#xA;iZotope RX 2's spectral view for example does adjust to the sample rate of the source, IIRC. But that's a different type of tool in a sense, made for audio restoration." ContentLicense="CC BY-SA 3.0" />
  <row Id="32098" PostHistoryTypeId="2" PostId="19761" RevisionGUID="efa4591d-dad9-4da5-b0c4-c6f14534f217" CreationDate="2013-07-13T03:06:31.217" UserDisplayName="user49" Text="If you're working in ProTools you could import the audio into a 48k session without sample rate conversion, so its playing at half speed, then notch the whine out, and process/print it &amp; then export it at 48kHz... Then reset/hack the sample rate back to 96kHz&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32100" PostHistoryTypeId="2" PostId="19763" RevisionGUID="cf5ce48c-4453-4e88-abff-06862e01c71f" CreationDate="2013-07-13T08:46:28.690" UserId="1014" Text="I had the same issue with a recording I made some months ago, where an harmonic hum were present over 20KHz, with at least 3 harmonics. I used Hum Removal on RX2 to successfully get rid of them. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32103" PostHistoryTypeId="2" PostId="19765" RevisionGUID="ddfc5e71-50ff-4d18-a8aa-e9c0e6339ca6" CreationDate="2013-07-13T17:29:15.307" UserId="6206" Text="i am presently using pt8.04 that was packaged with several plug in. I have the opportunity to purchase pt9 with many plug ins, will these plug-ins work in pt10 too? " ContentLicense="CC BY-SA 3.0" />
  <row Id="32104" PostHistoryTypeId="1" PostId="19765" RevisionGUID="ddfc5e71-50ff-4d18-a8aa-e9c0e6339ca6" CreationDate="2013-07-13T17:29:15.307" UserId="6206" Text="will pt9 plugins work on pt10" ContentLicense="CC BY-SA 3.0" />
  <row Id="32105" PostHistoryTypeId="3" PostId="19765" RevisionGUID="ddfc5e71-50ff-4d18-a8aa-e9c0e6339ca6" CreationDate="2013-07-13T17:29:15.307" UserId="6206" Text="&lt;pro&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32106" PostHistoryTypeId="2" PostId="19766" RevisionGUID="180f40e4-dae4-45d4-903c-c7324e48acd0" CreationDate="2013-07-13T18:27:59.747" UserId="1228" Text="http://hofa-plugins.de/pages/start_en/hofa-iq-eq_en.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="32107" PostHistoryTypeId="2" PostId="19767" RevisionGUID="b3dcfc53-5f34-45d2-a485-63740569ac3f" CreationDate="2013-07-13T21:30:33.227" UserId="432" Text="Yes. They will work in Pro Tools 10. It's Pro Tools 11 that will not use the older format plug-ins." ContentLicense="CC BY-SA 3.0" />
  <row Id="32111" PostHistoryTypeId="2" PostId="19769" RevisionGUID="9c965724-bcba-4a8f-a87c-45806b9e3e2f" CreationDate="2013-07-14T17:50:50.067" UserId="6208" Text="Hello everybody my first Question here, so please tell me if I do something wrong.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=93ASUImTedo&#xD;&#xA;&#xD;&#xA;I love the Kickdrum of Disclosure, which and tried to replicate it, but failed horribly.&#xD;&#xA;I think they use the same Bassdrum in their track white noise too.&#xD;&#xA;&#xD;&#xA;I know that they use Drum Machines (analogue imo) and samples.&#xD;&#xA;&#xD;&#xA;My first idea was to use a 808 Kick sample with a pitch envelope of ca. 12 semitones in the first 200 ms or so. I played around with the values and equed out some knocking in the low mids and boosted the punchy 80 hz area. After that i used some Opto type compressor to bring out the initial punch a bit more. I tried to soften the initial click of the 808 by using a 10-20 ms amp envelope. The reason why i did this, is because their drums are deep and have a really nice pitch shift form in the frequency analyzer.&#xD;&#xA;&#xD;&#xA;The problem is =&gt; my attempts always lead to a way to high aggressive punch/attack compared to Disclosures kicks. I used all sort of basic samples, saturated, clean eq-ed 808s 909s etc. (a lot of urban coockbook 2)&#xD;&#xA;&#xD;&#xA;I dont think they use vengeance drums because their sound is so warm and feels &quot;uncompressed&quot;, &quot;breathing&quot; and soft&#xD;&#xA;&#xD;&#xA;Can you please please help me how to get this sound, or tell me what drum machine they use for that kick.&#xD;&#xA;&#xD;&#xA;Thanks and regards.&#xD;&#xA;Tobias&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32112" PostHistoryTypeId="1" PostId="19769" RevisionGUID="9c965724-bcba-4a8f-a87c-45806b9e3e2f" CreationDate="2013-07-14T17:50:50.067" UserId="6208" Text="How to design this bass drum?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32113" PostHistoryTypeId="3" PostId="19769" RevisionGUID="9c965724-bcba-4a8f-a87c-45806b9e3e2f" CreationDate="2013-07-14T17:50:50.067" UserId="6208" Text="&lt;music&gt;&lt;electronic-music&gt;&lt;drum&gt;&lt;kick&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32114" PostHistoryTypeId="2" PostId="19770" RevisionGUID="8e2b2e09-53c5-4e8d-869f-04c06ef7df4e" CreationDate="2013-07-14T18:27:14.617" UserId="3179" Text="If by &quot;to design&quot; you mean &quot;to create&quot;, then..&#xD;&#xA;&#xD;&#xA;It sounds very much of a Roland 909 kick, with possible alterations (e.g. compression). It's clearly compressed but mixed low so that it doesn't sound big.&#xD;&#xA;&#xD;&#xA;It's not a surprise, but rather a known fact that many kick sounds in electronic music are based on either the Roland 808 (= very pure sine-ish tone) or 909 kick (= the classic &quot;house&quot; kick with a nice snap/attack), which may have been pitched, enveloped and layered with duplicates or other samples.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32116" PostHistoryTypeId="2" PostId="19772" RevisionGUID="b5a0d1d3-9bab-49c0-8ef0-b6331c0b476c" CreationDate="2013-07-14T19:30:00.057" UserId="6208" Text="Also check in on dogsonacid (the grit) forum. There you will learn how to &quot;resample&quot; sounds like these, a technik often used in dnb. Often tech based sounds are based on a neurofunk reese bass layered with granulized real world sounds like breaking glass or wooden hits. Omnisphere hase great textures and an inbuilt granulized you could try that.&#xD;&#xA;&#xD;&#xA;Some cool randomness can also be crated by transforming audio material. jogs to wav for example. Using a Wav, transform it to jpeg apply filters in photoshop and transform back can have extreme results and so on. A nice plugin to get strange sound effects is a granular delay wich for example is in the daw ableton. Together with random delays/ filter delays on high feedback and cross-feed settings feed into short reverbs or delay can give realy wide glitchy sound fields." ContentLicense="CC BY-SA 3.0" />
  <row Id="32117" PostHistoryTypeId="2" PostId="19773" RevisionGUID="b80f5d12-2de7-4c8f-a564-67b37d983b62" CreationDate="2013-07-14T20:28:30.707" UserId="6208" Text="Did you think of a figure of 8 mic? Maybe positioning it right helps to get the dialogue of both. Especially in a car where you have hardly no place to boom" ContentLicense="CC BY-SA 3.0" />
  <row Id="32118" PostHistoryTypeId="2" PostId="19774" RevisionGUID="791e6ade-903d-454e-b4f1-bc911f27b0bd" CreationDate="2013-07-14T22:49:46.810" UserId="6208" Text="1. Do not work for free!&#xD;&#xA;2. Do not offer work for little money!&#xD;&#xA;3. If you want workers do not recruit them as trainees!&#xD;&#xA;4. Do not join the loudness war!&#xD;&#xA;&#xD;&#xA;:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32119" PostHistoryTypeId="2" PostId="19775" RevisionGUID="bb1fcaee-8eec-49a3-8f67-964c975dc097" CreationDate="2013-07-14T22:56:27.430" UserId="6208" Text="Two things i learned = Good Convolution Reverb that fits to the scene with a De-esser and high pass in front of the plug makes it sound great.&#xD;&#xA;Opto COmpressors like the CLA 2A from Waves work great with Dialogue" ContentLicense="CC BY-SA 3.0" />
  <row Id="32120" PostHistoryTypeId="2" PostId="19776" RevisionGUID="8267b446-de13-44ba-9ad4-b5cf16a5d573" CreationDate="2013-07-14T23:54:03.787" UserId="6435" Text="5) Don't put sirens or car crash noises in radio commercials." ContentLicense="CC BY-SA 3.0" />
  <row Id="32121" PostHistoryTypeId="2" PostId="19777" RevisionGUID="796f6d59-cbb4-4734-a04c-dc310614ae65" CreationDate="2013-07-15T02:26:16.947" UserId="3979" Text="Thanks Guys!!&#xD;&#xA;&#xD;&#xA;I'll be taking Impulses on set via the Transient method (the director and producer are on board with the idea, and will try to ensure I get quite time in each location to snag the IR), since I'm using TL Spaces (Altiverb is my next purchase FOR SURE). So here's my next question : &#xD;&#xA;&#xD;&#xA;Q : I figure the best Transient sound source will be white noise. I have a small keyboard amp and my iPod. I'm thinking of playing a quick clip of white noise on my iPod through the amp at a loud volume and recording the &quot;room&quot; with a large diaphragm condenser via my Sound Devices 722. Do you suppose this would work well? If not, what are your suggestions for a transient with a wide frequency range? A RECORDING of a starter pistol? Again, I'd love to use a sign sweep, but don't have the budget for a deconvolution software.&#xD;&#xA;&#xD;&#xA;Thanks guys!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32122" PostHistoryTypeId="2" PostId="19778" RevisionGUID="92d956eb-8814-4fe6-81db-52fc3f68dd56" CreationDate="2013-07-15T09:23:20.533" UserId="1272" Text="It's a 5 minute job in Rob Papen's Punch. Try it." ContentLicense="CC BY-SA 3.0" />
  <row Id="32127" PostHistoryTypeId="2" PostId="19780" RevisionGUID="70531d99-8fa1-4034-a7e5-ab7fb2f11112" CreationDate="2013-07-15T15:50:56.397" UserId="6213" Text="i need a hand with this. i'm cutting a tv series at the moment and all i want is to replace all the edited clips of a certain recording in my session with an eq'd version of the same clip. specifically a sound in my ambiance tracks.&#xD;&#xA;&#xD;&#xA;i want the sames parts of the original clip to be replaced with the same parts of the replacement clip. this is essential.&#xD;&#xA;&#xD;&#xA;no matter what combination i choose from the &quot;replace clip dialog options&quot; box, it will not do this for me. it only effects the highlighted clip and never replaces all the clips in the session, and never chooses the same edit points as my original clip.&#xD;&#xA;&#xD;&#xA;can i have a chat with someone here, preferably on the phone, to work this out. my ambs editor is delivering his tracks and i'd like to have him switch out sounds without having to individually fix all the sounds i need replaced.&#xD;&#xA;&#xD;&#xA;and if you can't help me and know someone that could, please let me know as well.    &#xD;&#xA;cheers,   &#xD;&#xA;P." ContentLicense="CC BY-SA 3.0" />
  <row Id="32128" PostHistoryTypeId="1" PostId="19780" RevisionGUID="70531d99-8fa1-4034-a7e5-ab7fb2f11112" CreationDate="2013-07-15T15:50:56.397" UserId="6213" Text="who uses &quot;replace audio clip&quot; in protools 10?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32129" PostHistoryTypeId="3" PostId="19780" RevisionGUID="70531d99-8fa1-4034-a7e5-ab7fb2f11112" CreationDate="2013-07-15T15:50:56.397" UserId="6213" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32130" PostHistoryTypeId="2" PostId="19781" RevisionGUID="41361de1-baa5-41c0-a6f9-9eddc17d6b39" CreationDate="2013-07-15T20:26:47.423" UserId="999" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;I own an SQN 4-s early series mixer. I have been experimenting with the mixer prior to a shoot where I will be using the mixer to send audio to the camera. Basically I am using the mixer with a boom and two Radio mics on channels 1 and 2+3 respectively.&#xD;&#xA;&#xD;&#xA;Using the tails I am sending my output into my 702 and monitoring the signal on return to the mixer. Now, I have set up the line up tone at -20d and continue to monitor the signal that is returning from my 702. (In other words, the 702 is replacing the camera for experimentation purposes). However, as I switch from monitoring the return feed from the 702 and the actual input into the SQN mixer the two signals sound quite dramatically different. The return feed from the 702 is thin and lacks the bass in the signal I am getting monitoring the signal in the mixer.&#xD;&#xA;&#xD;&#xA;I have checked all high-pass filters, headphone volumes, limiters etc on both devices.&#xD;&#xA;&#xD;&#xA;My suspicion is that the outputs on the old SQN are simply not very good. Does anyone else have experience of this? It seems odd the outputs on the tail are not of great quality as this is obviously the main purpose of the mixer.&#xD;&#xA;&#xD;&#xA;Any help much appreciated :)&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32131" PostHistoryTypeId="1" PostId="19781" RevisionGUID="41361de1-baa5-41c0-a6f9-9eddc17d6b39" CreationDate="2013-07-15T20:26:47.423" UserId="999" Text="Different sound quality through mixer output than in mixer." ContentLicense="CC BY-SA 3.0" />
  <row Id="32132" PostHistoryTypeId="3" PostId="19781" RevisionGUID="41361de1-baa5-41c0-a6f9-9eddc17d6b39" CreationDate="2013-07-15T20:26:47.423" UserId="999" Text="&lt;location-recording&gt;&lt;recorder-mixer&gt;&lt;camera&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32133" PostHistoryTypeId="2" PostId="19782" RevisionGUID="03866487-8266-4565-a132-8b9fa5ba6ae0" CreationDate="2013-07-15T21:13:47.350" UserId="2502" Text="certainly 909ish.  the rest of the drums are certainly 909/808 inspired and Disclosure's production in general is highly influenced by the classic 90s house/2-step sound.&#xD;&#xA;&#xD;&#xA;the kick and snare sound tape saturated to me. also sounds like the whole track is 2bussed through an SSL Comp." ContentLicense="CC BY-SA 3.0" />
  <row Id="32134" PostHistoryTypeId="2" PostId="19783" RevisionGUID="ff76a923-7ddf-416d-b86f-ce8d29339ac1" CreationDate="2013-07-15T21:20:42.157" UserId="6464" Text="Hi guys &#xD;&#xA;&#xD;&#xA;Does anyone know of any good websites or community pages for finding freelance work or making contacts in Spain?&#xD;&#xA;&#xD;&#xA;I'll be moving there from the UK September to May. I know of sites like mandy.com but does anyone know of any others? Or have any advice?&#xD;&#xA;&#xD;&#xA;Any comments would be greatly appreciated, my first question! :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32135" PostHistoryTypeId="1" PostId="19783" RevisionGUID="ff76a923-7ddf-416d-b86f-ce8d29339ac1" CreationDate="2013-07-15T21:20:42.157" UserId="6464" Text="Finding work abroad" ContentLicense="CC BY-SA 3.0" />
  <row Id="32136" PostHistoryTypeId="3" PostId="19783" RevisionGUID="ff76a923-7ddf-416d-b86f-ce8d29339ac1" CreationDate="2013-07-15T21:20:42.157" UserId="6464" Text="&lt;sound-design&gt;&lt;freelance&gt;&lt;finding-work&gt;&lt;networking&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32137" PostHistoryTypeId="2" PostId="19784" RevisionGUID="eb224700-1ecb-49ef-ad57-7d099821a66d" CreationDate="2013-07-15T21:58:09.013" UserId="1216" Text="Curious, this type of mixer is sturdy and doesn't start acting up suddenly (in my experience at least).&#xD;&#xA;What do you mean with 'tails' is that the multipin output on your mixer, with the screw on plug? If so, have you tested the XLR outputs? How do they sound? Also can you listen to both outputs without the SD702 in between?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32138" PostHistoryTypeId="2" PostId="19785" RevisionGUID="7e3f335c-f2b0-4500-adc6-977d2fdd45bc" CreationDate="2013-07-15T21:58:13.663" UserId="3179" Text="If the bass is lacking, then it sounds like there's a phase issue, i.e. a false connection or bleeding of channels. Quite unexpected though and not something I'd consider a feature of &quot;a bad quality mixer&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="32139" PostHistoryTypeId="2" PostId="19786" RevisionGUID="79c0db23-2635-4bf8-bb06-abf00e962bf9" CreationDate="2013-07-15T21:58:16.423" UserId="618" Text="Maybe a phasing issue between radio mics ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32140" PostHistoryTypeId="2" PostId="19787" RevisionGUID="b937979a-3f65-45c2-b344-eff5669b33a7" CreationDate="2013-07-16T03:19:04.790" UserId="6214" Text="Let's see if I can help you with this...  You can try relinking the current files to the new files... Pull out the original track in its entirety with no edits to a new track, and rename with the exact same name as the file you're trying to replace it with (the file cannot be already in the session or it will not let you rename it. If it's already in the session remove it from the session but do not delete),then &quot;save as&quot; your session with a new name (so that you can go back to your previous version if things go wrong) and close it. Now remove the original file from the Audio Files folder (move it somewhere safe in case your need back later) and keep the new file in the Audio Files folder, now when you reopen the session it should link the renamed clip to the new file, and all the other versions that are on your session. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32141" PostHistoryTypeId="2" PostId="19788" RevisionGUID="1d0479fb-bc89-41b4-8767-2681f737e1be" CreationDate="2013-07-16T07:04:52.713" UserId="3519" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm Spanish. Some webs I know:&#xD;&#xA;&#xD;&#xA;http://bolsadetrabajoencineyafines.blogspot.com.es/&#xD;&#xA;&#xD;&#xA;http://doncasting.com/&#xD;&#xA;&#xD;&#xA;http://www.filmutea.com/trabajos/&#xD;&#xA;&#xD;&#xA;http://www.quientv.es/index.php?option=com_jumi&amp;fileid=22&amp;Itemid=97&#xD;&#xA;&#xD;&#xA;http://www.adtriboo.com/es/&#xD;&#xA;&#xD;&#xA;I'm just curious, why are you coming here?&#xD;&#xA;Things are quite bad and we are trying to get out the country (UK is a popular option).&#xD;&#xA;&#xD;&#xA;If you have any other question, just ask." ContentLicense="CC BY-SA 3.0" />
  <row Id="32157" PostHistoryTypeId="2" PostId="19793" RevisionGUID="4bece6ec-3dca-4e03-9141-b50e0df81397" CreationDate="2013-07-16T14:00:37.377" UserId="5762" Text="Here's my input&#xD;&#xA;&#xD;&#xA; - Wall e&#xD;&#xA; - Upstream colour&#xD;&#xA; - Stoker&#xD;&#xA; - We need to talk about Kevin&#xD;&#xA; - No country for old men &#xD;&#xA; - There will be blood &#xD;&#xA; - Berberian sound studio &#xD;&#xA; - Inception &#xD;&#xA; - District 9 &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32158" PostHistoryTypeId="2" PostId="19794" RevisionGUID="89343b46-1716-4d34-a7fc-710c24a0a370" CreationDate="2013-07-16T16:10:15.567" UserDisplayName="user6513" Text="have you tried monitoring directly from the headphone output of your 702? Bear in mind that most headphone output are unbalanced signals, and depending on the wiring of your return cable, that may be causing some phase issues.&#xD;&#xA;&#xD;&#xA;On the other hand, I have the same problem whenever I take a return and run it through a separate headphone amp instead of the returns of my SD mixers. Its a major difference like what you have described and I never really figured out why." ContentLicense="CC BY-SA 3.0" />
  <row Id="32159" PostHistoryTypeId="2" PostId="19795" RevisionGUID="9218bf89-67a7-4f1e-9170-98396a3a2b3b" CreationDate="2013-07-16T18:28:18.770" UserId="3346" Text="Dear friends. &#xD;&#xA;As you may know, i´m running a sound fx company since about one year. www.thesoundcatcher.com&#xD;&#xA;These days, the first time a customer asked for a 10 - multi-user license and i don´t really know how to handle this question. Should i sell my product 10 times to the client or should i make a special deal with him ?&#xD;&#xA;&#xD;&#xA;How do you think about and what is a good way to handle this ?&#xD;&#xA;&#xD;&#xA;regards Andreas&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32160" PostHistoryTypeId="1" PostId="19795" RevisionGUID="9218bf89-67a7-4f1e-9170-98396a3a2b3b" CreationDate="2013-07-16T18:28:18.770" UserId="3346" Text="Multi User Licenses" ContentLicense="CC BY-SA 3.0" />
  <row Id="32161" PostHistoryTypeId="3" PostId="19795" RevisionGUID="9218bf89-67a7-4f1e-9170-98396a3a2b3b" CreationDate="2013-07-16T18:28:18.770" UserId="3346" Text="&lt;sound-effects&gt;&lt;library&gt;&lt;licensing&gt;&lt;multiple&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32162" PostHistoryTypeId="2" PostId="19796" RevisionGUID="2e18229d-18f5-4611-9598-87b79ae98838" CreationDate="2013-07-16T19:10:11.850" UserId="6432" Text="Well, it's up to you of course. But from the point of view of the consumer, I think it's reasonable to expect some kind of discount for buying 10+ units. Perhaps you need to have a special rate for 5+, 10+, 25+ and quote a discount for them.  &#xD;&#xA;&#xD;&#xA;It's generally good to keep the customer happy. If you think you got a good deal somewhere you are much more likely to return." ContentLicense="CC BY-SA 3.0" />
  <row Id="32163" PostHistoryTypeId="2" PostId="19797" RevisionGUID="a3300e90-f767-4443-89a1-b3c64a584bac" CreationDate="2013-07-16T20:48:57.427" UserId="243" Text="Greetings jedis how would I go about creating a vocoder with just pro tools 9 plugins, can it be done without downloading plugins? I recon it is just a matter of linking an audio track to a midi track via an aux? I haven't tried this before and was wondering how the social sound design samurai would and if you have any suggestions? &#xD;&#xA;&#xD;&#xA;may the force be with you" ContentLicense="CC BY-SA 3.0" />
  <row Id="32164" PostHistoryTypeId="1" PostId="19797" RevisionGUID="a3300e90-f767-4443-89a1-b3c64a584bac" CreationDate="2013-07-16T20:48:57.427" UserId="243" Text="vocoder challenge" ContentLicense="CC BY-SA 3.0" />
  <row Id="32165" PostHistoryTypeId="3" PostId="19797" RevisionGUID="a3300e90-f767-4443-89a1-b3c64a584bac" CreationDate="2013-07-16T20:48:57.427" UserId="243" Text="&lt;vocoder&gt;&lt;design&gt;&lt;protools9&gt;&lt;technology&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32166" PostHistoryTypeId="2" PostId="19798" RevisionGUID="23fc75b0-4698-4bdf-b268-cebbbd2b96a8" CreationDate="2013-07-16T20:58:58.407" UserId="5762" Text="hello SSD.&#xD;&#xA;&#xD;&#xA;I've had a relative amount of success doing sound design and editing for short films and feature lengths, however i am looking to break into the mobile app sound design market and i was wondering if anyone had any experience or advice they would be willing to share?&#xD;&#xA;&#xD;&#xA;many thanks in advance&#xD;&#xA;&#xD;&#xA;Tom&#xD;&#xA;&#xD;&#xA;www.teejsound.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="32167" PostHistoryTypeId="1" PostId="19798" RevisionGUID="23fc75b0-4698-4bdf-b268-cebbbd2b96a8" CreationDate="2013-07-16T20:58:58.407" UserId="5762" Text="Mobile App Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="32168" PostHistoryTypeId="3" PostId="19798" RevisionGUID="23fc75b0-4698-4bdf-b268-cebbbd2b96a8" CreationDate="2013-07-16T20:58:58.407" UserId="5762" Text="&lt;app&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32170" PostHistoryTypeId="2" PostId="19800" RevisionGUID="ee4b47b8-4e02-4794-bf28-816aa47a67c0" CreationDate="2013-07-16T21:22:41.440" UserId="3179" Text="Know some developers.&#xD;&#xA;&#xD;&#xA;I don't know how most acquire their audio, but many use stock sounds, because they're cheap and easy to audition and download, or they may have a contact or they may just do the sounds themselves or they may seek someone from Google. But contacts to mobile app developers are surely a key.&#xD;&#xA;&#xD;&#xA;There's nothing technically surprising. Only that the devices have small mono speakers and thus it's advisable to use reference monitoring while deciding on EQ and loudness." ContentLicense="CC BY-SA 3.0" />
  <row Id="32171" PostHistoryTypeId="5" PostId="19800" RevisionGUID="8d259e52-a750-461a-a816-e1df873a55d6" CreationDate="2013-07-16T21:28:03.477" UserId="3179" Comment="added 156 characters in body; added 1 characters in body; added 1 characters in body" Text="Know some developers.&#xD;&#xA;&#xD;&#xA;I don't know how most acquire their audio, but many use stock sounds, because they're cheap and easy to audition and download, or they may have a contact or they may just do the sounds themselves or they may seek someone from Google. But contacts to mobile app developers are surely a key.&#xD;&#xA;&#xD;&#xA;There's nothing technically surprising. Only that the devices have small mono speakers and thus it's advisable to use reference monitoring while deciding on EQ and loudness.&#xD;&#xA;&#xD;&#xA;Also, &quot;mobile apps&quot; is not really that big of a market. Most apps don't even have sound.&#xD;&#xA;Mobile games would be a different and a more substantial market." ContentLicense="CC BY-SA 3.0" />
  <row Id="32175" PostHistoryTypeId="2" PostId="19802" RevisionGUID="cf3fe63a-177a-4845-bab6-b1faf078b4a5" CreationDate="2013-07-16T23:45:14.687" UserId="6208" Text="With a lot of channels you can imitate a vocoder: You need to split the carrier and modulation signal into  frequency bands as Internet Human stated. For each frequency band you need 3 tracks with the exact same filter setup for example for band 1 you chose lowpass at 100 hz and highpass at 50 hz. One channel has the modulator as its input signal, the other to have the carrier signal.&#xD;&#xA;&#xD;&#xA;on one of the carrier signals you deploy a compressor and you choose the correlating modulator frequency band channel as a side chain signal in the key in. After the compressor plugin you need to invert the phase of this channel. I think protools eq has a phase invert button which looks like O combined with a /. &#xD;&#xA;&#xD;&#xA;The idea of this is to imitate an envelope follower via phase cancelation. No modulation signal -&gt; no gain reduction in the side chain compressor = complete phase cancelation. when gain reduction happens the carrier frequency band is not canceled out completely = you will hear that frequency band respond to the frequency bad of the modulator.&#xD;&#xA;&#xD;&#xA;You need to activate delay compensation in protools, else the phase cancelation will not work." ContentLicense="CC BY-SA 3.0" />
  <row Id="32176" PostHistoryTypeId="2" PostId="19803" RevisionGUID="1a620f22-8f37-4198-a95f-6e60d25fd64d" CreationDate="2013-07-17T01:02:47.203" UserId="3979" Text="Here are a few off the top of my head. I'll try not to list ones already mentioned unless my reason is different.&#xD;&#xA;&#xD;&#xA;- Kung Fu Panda : Dialog Recording, Mix &amp; Sound Design. (watch in headphones without looking at the picture too. It's incredible)&#xD;&#xA;- No Country for Old Men : Dialog, Foley &amp; Ambience. Mostly I like to reference for foley.&#xD;&#xA;- The Impossible : the sound design is AWESOME&#xD;&#xA;- Blade Runner : Ambiences...wow.&#xD;&#xA;- Forest Gump : Randy Thom, enough said  :)&#xD;&#xA;- Toy Story : EVERYTHING&#xD;&#xA;- The English Patient : Ambiences were very effective in my opinion.&#xD;&#xA;- Das Boot : Ambiences, Sound Design&#xD;&#xA;- Requiem for a Dream : Sound Design&#xD;&#xA;- Ratatouille - Everything, but specifically I like to reference this for dialog, they did a GREAT job getting the dialog in the right 'space'. Outside, alleyways, in the kitchen, offices, etc.&#xD;&#xA;- The Lord of the Rings : Again, the biggest thing I get out of this is Dialog. It was all ADR'd using the VoiceQ software. Pay close attention to the use of reverb and delay to create the right space. hill sides, mountains, stones, interiors. The mixing techniques used to mix the dialog BLOW MY MIND. I have no idea how they do it. Its frustrating when you're self taught and live in a small town like myself...&#xD;&#xA;- How to Train Your Dragon : Sound Design. Each 'class' of dragon sounds different. Very well done.&#xD;&#xA;- The Matrix : Of course sound design, but why? Notice the 'blue-ish' coloring when they're in the &quot;real&quot; world and the &quot;greenish&quot; when they're in the Matrix? Much like that, the sound is also different. Sound in the matrix is much harsher, digital. Watch the film in headphones and notice intensional glitches in the sound each time Neo does something to breach the rules. It's quite impressive. Sound and music also work VERY well together as the Davis brothers both worked on the film, and I imagine closely at that.&#xD;&#xA;- Big Fish : Enough Said&#xD;&#xA;- The Kings Speech : Dialog, ambience.&#xD;&#xA;- Tinker Toy Sailer Spy : Ambiences, Foley, dialog, MIX. It took them 3 days to get the right sound and feel of the soundproof room during mixing. It paid off.&#xD;&#xA;- Zero Dark Thirty &amp; The Hurt Locker : Same team, they go hand in hand for me. It's the realism that's so beautiful here. The sound at times gives me a stomach ache. Note the scene in Hurt Locker when he opens the old car truck and finds the bombs. There's this sound that old cars and metal make, like this creaking that truly makes it believable. Paul Ottoman is insanely talented.&#xD;&#xA;- Argo : accurate, believable ambiences, tension in sound and music.&#xD;&#xA;- Flight : Awesome Sound Design&#xD;&#xA;- Take Shelter : Awesome Sound Design&#xD;&#xA;- Drive : Sound Design and Ambience. The main character doesn't speak much. A lot of the tension, what he's thinking, and how the story flows is lead by sound.&#xD;&#xA;- The Social Network : if you haven't watched Michael Semanick's masterclass DO IT NOW!! He breaks down music, sound and dialog for two scenes and it's awesome to hear how much work was put into it. http://www.soundworkscollection.com/videos/michaelsemanick&#xD;&#xA;- Black Swam : Sound was a HUGE instigator of story here. Dang its creepy at times.&#xD;&#xA;- Avatar : like the movie or not, what Christopher Boyes and his team did here is amazing.&#xD;&#xA;- ET : duh! haha&#xD;&#xA;- The Godfather : Walter Murch...that's why&#xD;&#xA;- The Good Fellas - classic&#xD;&#xA;&#xD;&#xA;I'm out of time, but I'll post more when they come to mind....&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="32177" PostHistoryTypeId="2" PostId="19804" RevisionGUID="02b82489-90fc-4a21-ae57-02c370a7235b" CreationDate="2013-07-17T02:44:25.450" UserId="6219" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I have applied for 3 masters courses in total. &#xD;&#xA;&#xD;&#xA;I want to get into sound design / composition for interactive media (games / mobile apps) as well as multimedia. &#xD;&#xA;&#xD;&#xA;MA Audio Production at the University of Westminster.&#xD;&#xA;http://www.westminster.ac.uk/courses...dio-production&#xD;&#xA;Alumni:&#xD;&#xA;http://www.westminster.ac.uk/alumni/...duction-alumni&#xD;&#xA;&#xD;&#xA;MA Postproduction with Sound Design at the University of York. &#xD;&#xA;http://www.york.ac.uk/tftv/postgradu...duction-sound/&#xD;&#xA;&#xD;&#xA;MSc Sound Design at the University of Edinburgh. &#xD;&#xA;http://www.ed.ac.uk/schools-departme...mme/curriculum&#xD;&#xA;Alumni (click in the years of &quot;more information&quot;)&#xD;&#xA;http://sd.caad.ed.ac.uk/mscsounddesign/&#xD;&#xA;&#xD;&#xA;I'm still waiting to hear back from Edinburgh. Have offers from the other 2. &#xD;&#xA;&#xD;&#xA;Which do you think will be best for me?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;Kabir" ContentLicense="CC BY-SA 3.0" />
  <row Id="32178" PostHistoryTypeId="1" PostId="19804" RevisionGUID="02b82489-90fc-4a21-ae57-02c370a7235b" CreationDate="2013-07-17T02:44:25.450" UserId="6219" Text="Audio / sound masters course. Which to go for?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32179" PostHistoryTypeId="3" PostId="19804" RevisionGUID="02b82489-90fc-4a21-ae57-02c370a7235b" CreationDate="2013-07-17T02:44:25.450" UserId="6219" Text="&lt;course&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32180" PostHistoryTypeId="2" PostId="19805" RevisionGUID="2f355851-b301-4839-96dd-526d82dc7f72" CreationDate="2013-07-17T04:09:11.193" UserId="2906" Text="That could depend on the impact and POV you'd like to achieve. &#xD;&#xA;Sound tells what the visuals cannot. &#xD;&#xA;The character may be looking through the camera, but he's still hearing from his own ears, I assume(?).&#xD;&#xA;Without knowing the trailer, I would ask myself these questions:&#xD;&#xA;Is the entire trailer seen through the camera?&#xD;&#xA;Is it clear that it must exist a distinction between his POV and some other's?&#xD;&#xA;What happens before and after? Do you need to enhance any contrast between scenes?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32181" PostHistoryTypeId="2" PostId="19806" RevisionGUID="3c06da74-9a8e-43b3-9f50-41957dbf8f2a" CreationDate="2013-07-17T08:28:54.840" UserId="3179" Text="They'll all be similar. I'd focus on the location and tuition fees, rather than the specific course content." ContentLicense="CC BY-SA 3.0" />
  <row Id="32183" PostHistoryTypeId="2" PostId="19807" RevisionGUID="705d1b7d-9173-40a7-b9a1-99bcf99c9b9f" CreationDate="2013-07-17T09:09:43.823" UserId="1185" Text="One thing to consider is the difference between MSc and MA (Master of Science and Master of Arts, respectively).  Clearly the MSc will focus on more scientific content and the MA will concentrate on artistic content.  In very simple terms the MSc is about HOW and the MA is about WHY, although clearly you will need some of both in each course and this would be typical in the course content.  Make sure you choose the content that is right for you.&#xD;&#xA;&#xD;&#xA;We also offer a couple of postgraduate courses that you may want to look at as well, although I'm not sure if the MSc will run next year:&#xD;&#xA;&#xD;&#xA;Sound Production for Film and Television MA ([http://courses.bournemouth.ac.uk/courses/postgraduate-degree/sound-production-for-film-television/ma/1935/][1])&#xD;&#xA;&#xD;&#xA;Digital Music and Audio Production MSc ([http://courses.bournemouth.ac.uk/courses/postgraduate-degree/digital-music-audio-production/none/1081/][2])&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://courses.bournemouth.ac.uk/courses/postgraduate-degree/sound-production-for-film-television/ma/1935/&#xD;&#xA;  [2]: http://courses.bournemouth.ac.uk/courses/postgraduate-degree/digital-music-audio-production/none/1081/" ContentLicense="CC BY-SA 3.0" />
  <row Id="32184" PostHistoryTypeId="2" PostId="19808" RevisionGUID="a1ae8501-d729-4d63-bfe2-94de6692e55c" CreationDate="2013-07-17T09:14:53.457" UserId="6432" Text="I think you need to speak to the people running the courses. Write down what you need to get out of this for you, then go and have a chat with each of them. Some people believe that universities just want to get as many students as they can on their courses, but it's really not like that - they will be just as concerned that you are making the right choice (for your needs) as you are, and will tell you if the course is not going to fulfill these.  &#xD;&#xA;&#xD;&#xA;As you're interested in games etc, perhaps you need to find out whether there are other students around generating that sort of content for you to work on, and who could also be collaborators when you leave.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="32185" PostHistoryTypeId="2" PostId="19809" RevisionGUID="20267b88-6b76-453f-a73a-3abff53b7b43" CreationDate="2013-07-17T22:00:10.347" UserId="3250" Text="Are there any good relatively-flat surround headphones out there?&#xD;&#xA;&#xD;&#xA;I started doing research but came across alot of gaming headsets which usually are never flat. I've actually never tried surround headphones and am somewhat suspicious of the technology anyway. Perhaps it's a sign that no &quot;audio&quot; companies seem to make surround headphones. I certainly don't want any of the faux surround stuff from 2 drivers. I'm looking for headsets with multiple drivers in each ear. &#xD;&#xA;&#xD;&#xA;These would be used for playing games and to reference other games. I wouldn't try to mix on them. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32186" PostHistoryTypeId="1" PostId="19809" RevisionGUID="20267b88-6b76-453f-a73a-3abff53b7b43" CreationDate="2013-07-17T22:00:10.347" UserId="3250" Text="Recommendations for 5.1 Surround Headphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32187" PostHistoryTypeId="3" PostId="19809" RevisionGUID="20267b88-6b76-453f-a73a-3abff53b7b43" CreationDate="2013-07-17T22:00:10.347" UserId="3250" Text="&lt;surround-sound&gt;&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32188" PostHistoryTypeId="2" PostId="19810" RevisionGUID="ea022c8d-dc73-41d6-afce-377e696d2241" CreationDate="2013-07-17T23:08:28.403" UserId="6221" Text="Not sure why you use the term &quot;faux&quot; to characterize surround sound using two drivers, as it is actually a big research subject not only by academics but also by audio companies such as DTS. Have a listen to the Z+ Music app, by DTS, which was developed using a new technology they call Headphone X. It's far from perfect, but it sounds promising. Some researchers are trying something like binaural synthesis of 5.1 streams using HRTFs and head-tracking to adapt the HRTFs to the position of the head in real time.&#xD;&#xA;Sorry for not being that helpful, just sharing some thoughts." ContentLicense="CC BY-SA 3.0" />
  <row Id="32195" PostHistoryTypeId="2" PostId="19813" RevisionGUID="104c3c4f-0474-426c-91dc-0efe0075d054" CreationDate="2013-07-18T11:05:04.093" UserDisplayName="user80" Text="Multi-user licenses are an excellent way of generating business.  &#xD;&#xA;&#xD;&#xA;We have to purchase 25 licenses each time, and there is rarely a discount. &#xD;&#xA;&#xD;&#xA;I suggest a scale such as this 5 licenses = 90% total cost, 10 = 80%, 25 = 70%, 50 = 60%, 100 = 50%&#xD;&#xA;&#xD;&#xA;The increment does not have to be 10%, it could be 5%, or even 3%, but it would definitely be worth considering.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32196" PostHistoryTypeId="5" PostId="19813" RevisionGUID="7b8a5e3d-1799-44c1-985a-f5b3ec347b76" CreationDate="2013-07-18T11:15:21.633" UserDisplayName="user80" Comment="added 1 characters in body" Text="Multi-user licenses are an excellent way of generating business.  &#xD;&#xA;&#xD;&#xA;We have to purchase 25 licenses each time, and there is rarely a discount. &#xD;&#xA;&#xD;&#xA;I suggest a scale such as this: 5 licenses = 90% total cost, 10 = 80%, 25 = 70%, 50 = 60%, 100 = 50%&#xD;&#xA;&#xD;&#xA;The increment does not have to be 10%, it could be 5%, or even 3%, but it would definitely be worth considering.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32197" PostHistoryTypeId="2" PostId="19814" RevisionGUID="c081993f-24d7-41fe-8cd8-ca65ce9c7de2" CreationDate="2013-07-18T11:44:52.887" UserId="432" Text="Something else to keep in mind is the participation of lawyers in the sale. Depending on the &quot;size&quot; of the customer, it's entirely possible they will have a staff lawyer that will want to review, and possibly amend, your licensing agreement. If that happens, and you aren't confident in your understanding of the ramifications of those changes, you may want a lawyer of your own to represent your interests. That's something you'll want to factor into the cost of the sale." ContentLicense="CC BY-SA 3.0" />
  <row Id="32201" PostHistoryTypeId="2" PostId="19816" RevisionGUID="d6079121-b5f0-431b-bb5d-d7f6fe0f73d9" CreationDate="2013-07-18T18:43:43.003" UserId="1199" Text="featured in this month's **Sound On Sound** :&#xD;&#xA;*a rather high end approach...*&#xD;&#xA;&#xD;&#xA;http://smyth-research.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="32202" PostHistoryTypeId="2" PostId="19817" RevisionGUID="d5463fd9-5ddd-43db-ab32-de212bd1156f" CreationDate="2013-07-18T21:04:33.320" UserId="4003" Text="hi everyone,&#xD;&#xA;&#xD;&#xA;i'm currently using a sennheiser mkh-416 to record audio for an independent film. &#xD;&#xA;&#xD;&#xA;the microphone is housed within a blimp, and is connected to a zoom h4n. i'm currently using the phantom power +48V, but the audio levels seem to be quite low... am i doing something wrong?&#xD;&#xA;&#xD;&#xA;currently, i can think of two possibilities:&#xD;&#xA;1. we are not placing the microphone in the correct location/distance from the actors.&#xD;&#xA;2. the zoom h4n is not sufficient in powering the microphone, or there is a problem with the settings.&#xD;&#xA;&#xD;&#xA;what are some of your thoughts? thanks for the help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32203" PostHistoryTypeId="1" PostId="19817" RevisionGUID="d5463fd9-5ddd-43db-ab32-de212bd1156f" CreationDate="2013-07-18T21:04:33.320" UserId="4003" Text="Sennheiser MKH-416 Recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="32204" PostHistoryTypeId="3" PostId="19817" RevisionGUID="d5463fd9-5ddd-43db-ab32-de212bd1156f" CreationDate="2013-07-18T21:04:33.320" UserId="4003" Text="&lt;sennheiser&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32205" PostHistoryTypeId="2" PostId="19818" RevisionGUID="bfa81403-76b2-47d4-bf54-24d22baf32c9" CreationDate="2013-07-18T22:11:18.327" UserId="4442" Text="Well the first and most obvious solution would be to move it closer, as you mentioned. The 48v will drain the zoom much faster, but i don't think that will affect the volume that soon. The other thing is to check your gain on the zoom. select the input with the mic on the front, and use the side volume buttons while in record mode to increase the gain." ContentLicense="CC BY-SA 3.0" />
  <row Id="32206" PostHistoryTypeId="2" PostId="19819" RevisionGUID="fb46300f-33d4-48f2-93a7-0fd10939f2b7" CreationDate="2013-07-18T22:47:55.630" UserId="1228" Text="Just a quick question here, I'd love for some feedback and to see what we can do about it.&#xD;&#xA;&#xD;&#xA;It's about SPAM.&#xD;&#xA;&#xD;&#xA;As SSD has been getting more known throughout the internet and worldwide and more widely received over time (which is fantastic!), it appears lately that the site has been bombarded with an incredible amount of SPAM questions and responses.  I'm wondering if we're reaching a tipping point on SSD wherein we need to begin setting all posting of any sort to reCAPTCHA confirmation.&#xD;&#xA;&#xD;&#xA;While it won't necessarily kill off all SPAM, it will likely have a huge positive effect and prevent clogging of the Q&amp;A boards.&#xD;&#xA;&#xD;&#xA;Personally, I don't mind typing in a little code every time if, in the big picture, it ensure the site stays relatively clean of outside infestation.  Is there anything we can do?&#xD;&#xA;&#xD;&#xA;I'd love to hear some thoughts on what we can do.  I'm finding the SPAM flagging process to be a real nuisance - **and furthermore I feel really bad for our admins who have to sort through all the requests, much more than they had to in the past (likely requests they're getting from many of us about the same posts too).**" ContentLicense="CC BY-SA 3.0" />
  <row Id="32207" PostHistoryTypeId="1" PostId="19819" RevisionGUID="fb46300f-33d4-48f2-93a7-0fd10939f2b7" CreationDate="2013-07-18T22:47:55.630" UserId="1228" Text="Site Security/SPAM Question" ContentLicense="CC BY-SA 3.0" />
  <row Id="32208" PostHistoryTypeId="3" PostId="19819" RevisionGUID="fb46300f-33d4-48f2-93a7-0fd10939f2b7" CreationDate="2013-07-18T22:47:55.630" UserId="1228" Text="&lt;ssd&gt;&lt;websites&gt;&lt;security&gt;&lt;etiquette&gt;&lt;settings&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32209" PostHistoryTypeId="2" PostId="19820" RevisionGUID="a6641699-255f-4c1c-966c-a5ca8ab24cd7" CreationDate="2013-07-19T00:04:39.920" UserId="3396" Text="Hard work, talent and a good attitude ...&#xD;&#xA;&#xD;&#xA;Your reputation well precede you. If you are good people will find out. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32210" PostHistoryTypeId="2" PostId="19821" RevisionGUID="a5af7478-75ef-425f-9879-cdfaf306c85f" CreationDate="2013-07-19T00:45:54.330" UserId="3179" Text="Actually, a good picture CAPTCHA is very solid. The only way a robot/program could interpret a good picture CAPTCHA is using optical character recognition or some other computer vision method. Now, computer vision simply isn't that advanced and likely never will be (the logic would be extremely complex).&#xD;&#xA;&#xD;&#xA;The one used here might be too simple (not messed up enough) or it's not requested every single time." ContentLicense="CC BY-SA 3.0" />
  <row Id="32211" PostHistoryTypeId="5" PostId="19821" RevisionGUID="2563a99b-d49d-4af0-ac86-9ef217c0c762" CreationDate="2013-07-19T00:53:42.997" UserId="3179" Comment="deleted 8 characters in body; deleted 37 characters in body" Text="Actually, a good picture CAPTCHA is very solid. The only way a robot/program could interpret a good picture CAPTCHA is using character recognition. Now, computer vision simply isn't that advanced and likely never will be (the logic would be extremely complex).&#xD;&#xA;&#xD;&#xA;The one used here might be too simple (not messed up enough) or it's not requested every single time." ContentLicense="CC BY-SA 3.0" />
  <row Id="32212" PostHistoryTypeId="2" PostId="19822" RevisionGUID="d58c2a1e-f657-413e-a432-609a6dfd27ef" CreationDate="2013-07-19T03:33:54.623" UserId="6524" Text="I can't afford good monitors currently so I'm just curious." ContentLicense="CC BY-SA 3.0" />
  <row Id="32213" PostHistoryTypeId="1" PostId="19822" RevisionGUID="d58c2a1e-f657-413e-a432-609a6dfd27ef" CreationDate="2013-07-19T03:33:54.623" UserId="6524" Text="Would you rather Mix/Edit with decent headphones or cheap inexpensive monitors?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32214" PostHistoryTypeId="3" PostId="19822" RevisionGUID="d58c2a1e-f657-413e-a432-609a6dfd27ef" CreationDate="2013-07-19T03:33:54.623" UserId="6524" Text="&lt;monitors&gt;&lt;mixing&gt;&lt;studio&gt;&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32215" PostHistoryTypeId="16" PostId="19819" RevisionGUID="29f91238-38b1-40f2-b251-eb397f9e15c2" CreationDate="2013-07-19T04:28:37.037" UserId="1228" />
  <row Id="32216" PostHistoryTypeId="2" PostId="19823" RevisionGUID="00eae89a-553b-4fe0-b5a3-e969a802604c" CreationDate="2013-07-19T04:51:11.417" UserId="18" Text="Good headphones for sure over bad monitors. &#xD;&#xA;&#xD;&#xA;When I worked on God of War 2, I hated the Genelec 1029's that Sony had set my room up with.  I tried to use them for over a year and just could not get used to them.  So, I gave up and designed most of God of War 2 using my Sennheiser HD600 headphones.&#xD;&#xA;&#xD;&#xA;These days, it is the total opposite.  I am very happy with the sound of my room and my JBL LSR 6328/6312 system.  I never use headphones, unless I'm recording something." ContentLicense="CC BY-SA 3.0" />
  <row Id="32217" PostHistoryTypeId="2" PostId="19824" RevisionGUID="466752f5-e72f-4397-8e72-a357e0e35b12" CreationDate="2013-07-19T06:53:46.910" UserId="5607" Text="Headphones for a short period of time, but you will find that your ears become much more fatigued with headphones as opposed to monitors." ContentLicense="CC BY-SA 3.0" />
  <row Id="32218" PostHistoryTypeId="2" PostId="19825" RevisionGUID="8bfbadd5-cc12-4507-aea0-4d15d414646d" CreationDate="2013-07-19T09:15:57.817" UserId="3179" Text="Headphones are workable, if you &quot;calibrate&quot; yourself to how the stereo spectrum can be used (as in, how it needs to sound to sound somewhat correct and not &quot;crooked&quot; from a stereo speaker setup). Calibration can be simply done by listening to well-mixed material using the headphones and paying attention to the pannings and stereo image. The biggest difficulties are extreme pans, i.e. finding out how far is too far, and how all sorts of phase differences and the use of stereo expanders will be exaggerated in speakers.&#xD;&#xA;&#xD;&#xA;In frequency response headphones usually beat monitors in an uncalibrated (i.e. acoustically uncorrected) environment." ContentLicense="CC BY-SA 3.0" />
  <row Id="32219" PostHistoryTypeId="5" PostId="19825" RevisionGUID="f968d532-eae1-444c-8ec6-b80030dc8228" CreationDate="2013-07-19T09:21:29.140" UserId="3179" Comment="added 37 characters in body" Text="Headphones are workable, if you &quot;calibrate&quot; yourself to how the stereo spectrum can be used (as in, how it needs to sound to sound somewhat correct and not &quot;crooked&quot; from a stereo speaker setup). Calibration can be simply done by listening to well-mixed material using the headphones and paying attention to the pannings and stereo image. The biggest difficulties are extreme pans, i.e. finding out how far is too far, and how all sorts of phase differences and the use of stereo expanders will be exaggerated (to the point of sounding &quot;crooked&quot;) in speakers.&#xD;&#xA;&#xD;&#xA;In frequency response headphones usually beat monitors in an uncalibrated (i.e. acoustically uncorrected) environment." ContentLicense="CC BY-SA 3.0" />
  <row Id="32220" PostHistoryTypeId="2" PostId="19826" RevisionGUID="18fd1345-c226-4afa-afaa-d47e357d012e" CreationDate="2013-07-19T13:50:50.187" UserId="194" Text="speaker monitoring is as much about the room as it is about the speakers.  Cheap monitors can still give decent mixes in good sounding rooms, and excellent monitors will still lie to you in poorly treated rooms - especially in the low end.&#xD;&#xA;&#xD;&#xA;headphones will lie to you with regards to relative balances and stereo fields - even good ones - because you're plugging speakers right into your ears.  Headphones also have wild swings in the midranges.  Check out the frequency plots of your prospective cans at [this site][1]:&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;My advice would be to settle on the cheap monitors, and spend a lot of sweat equity treating out your room to sound flat.  Compressed fiberglass and fabric can go a long way.  Later on you can upgrade your speakers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.headphone.com/learning-center/build-a-graph.php&#xD;&#xA;  [2]: http://graphs.headphone.com/graphCompare.php?graphType=&amp;graphID[]=4061&amp;scale=30" ContentLicense="CC BY-SA 3.0" />
  <row Id="32221" PostHistoryTypeId="2" PostId="19827" RevisionGUID="5963f965-0ea8-4b19-8449-95810f759f90" CreationDate="2013-07-19T13:53:51.493" UserId="5663" Text="Watch out for the base! I've heard so many mixes done with headphones where the panning is quite good but the sub is working like non stop. I use headphones at home and the studio for the final mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="32226" PostHistoryTypeId="2" PostId="19830" RevisionGUID="7b44a218-6697-4742-9ed2-bc54c7127632" CreationDate="2013-07-19T16:14:16.160" UserId="4442" Text="What @Internet Human said works fine, there is also the very specific question that you could ask, or a simple math problem. Sometimes those captchas can really be brutal." ContentLicense="CC BY-SA 3.0" />
  <row Id="32227" PostHistoryTypeId="16" PostId="19830" RevisionGUID="7b44a218-6697-4742-9ed2-bc54c7127632" CreationDate="2013-07-19T16:14:16.160" UserId="-1" />
  <row Id="32228" PostHistoryTypeId="2" PostId="19831" RevisionGUID="d938d496-3ae5-48a7-bb90-f4ba7cd90893" CreationDate="2013-07-19T19:02:50.080" UserId="6226" Text="I want to take some spoken word recordings I did on a decent mic in my home studio and make them sound like they are coming from a car radio.  I have played with EQ and distortion in Pro Tools, but I'm not quite satisfied with the results.  Anybody have any tips or tricks for achieving this effect?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32229" PostHistoryTypeId="1" PostId="19831" RevisionGUID="d938d496-3ae5-48a7-bb90-f4ba7cd90893" CreationDate="2013-07-19T19:02:50.080" UserId="6226" Text="Car radio sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="32230" PostHistoryTypeId="3" PostId="19831" RevisionGUID="d938d496-3ae5-48a7-bb90-f4ba7cd90893" CreationDate="2013-07-19T19:02:50.080" UserId="6226" Text="&lt;radio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32231" PostHistoryTypeId="2" PostId="19832" RevisionGUID="f5f30313-9d94-4a4f-8993-4e330a71cd70" CreationDate="2013-07-19T19:16:34.530" UserId="6001" Text="Hi,&#xD;&#xA;&#xD;&#xA;Does anyone have any experience with this mixer that can share the pros and cons of recording with it? (preamps, noise and other features...)&#xD;&#xA;I'm thinking of buying one field mixer and there are two that I'm trying to compare the Fostex FM3 and the Sound Devices 302. If anyone could help me with this I would be much appreciated.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Eduardo" ContentLicense="CC BY-SA 3.0" />
  <row Id="32232" PostHistoryTypeId="1" PostId="19832" RevisionGUID="f5f30313-9d94-4a4f-8993-4e330a71cd70" CreationDate="2013-07-19T19:16:34.530" UserId="6001" Text="Fostex FM3 Field Mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="32233" PostHistoryTypeId="3" PostId="19832" RevisionGUID="f5f30313-9d94-4a4f-8993-4e330a71cd70" CreationDate="2013-07-19T19:16:34.530" UserId="6001" Text="&lt;field-recording&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32234" PostHistoryTypeId="2" PostId="19833" RevisionGUID="1324e429-bc92-4166-b69a-43a6d1bea4ab" CreationDate="2013-07-19T19:44:31.240" UserId="6432" Text="I think the most elegant way would be to take an impulse response of a car stereo and run it through that. That way you will not only capture the characteristics of the speakers, but also the space of the car. Worth reading this:&#xD;&#xA;&#xD;&#xA;[http://designingsound.org/2012/12/recording-impulse-responses/][1]&#xD;&#xA;&#xD;&#xA;There is also a plugin called speakerphone which models various speakers and spaces. Not sure if they have a car interior (anyone?), but you could use that. It's expensive, but good.&#xD;&#xA;&#xD;&#xA;You could also check out Futzbox:&#xD;&#xA;&#xD;&#xA;[http://www.mcdsp.com/index.php?option=com_content&amp;task=view&amp;id=317][2]&#xD;&#xA;&#xD;&#xA;They have a demo available. I expect that getting the reverb right may be a big factor here, so you may need to work on that.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://designingsound.org/2012/12/recording-impulse-responses/&#xD;&#xA;  [2]: http://www.mcdsp.com/index.php?option=com_content&amp;task=view&amp;id=317" ContentLicense="CC BY-SA 3.0" />
  <row Id="32235" PostHistoryTypeId="2" PostId="19834" RevisionGUID="f084a578-47db-4af4-a59c-d275120fea10" CreationDate="2013-07-19T19:46:49.243" UserId="6420" Text="Trying out the plugin Speakerphone would be the obvious answer...." ContentLicense="CC BY-SA 3.0" />
  <row Id="32236" PostHistoryTypeId="2" PostId="19835" RevisionGUID="b2231b2e-d76b-4de1-bfec-e851bc4cd8f2" CreationDate="2013-07-19T19:51:13.777" UserId="3933" Text="heavy use of a high and low pass filters on an EQ should help do the job. Then adding the infamous smiley face EQ curve by removing the mid range a little.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I personally like using an impulse response of a terrible speaker... Like poundshop/dollar store? toy speakers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I generally keep my speaker IR's clean so then for the car I would add a tiny bit of dull delay to use as the reverb. Or even think about reamping in a closet. Though if its available, reamping using an actual car speaker system would take less work." ContentLicense="CC BY-SA 3.0" />
  <row Id="32237" PostHistoryTypeId="2" PostId="19836" RevisionGUID="36799fac-ad5c-4ee0-8797-e5903e7a37a7" CreationDate="2013-07-19T20:37:19.077" UserId="6224" Text="Source Connect has loop back sites, termed &quot;Echo&quot;, that allow you to perform tests.  You can do the testing with the demo version as well.  &#xD;&#xA;&#xD;&#xA;ISDN is much more reliable.  When I use it, I always have the talent side run a back-up recording available via FTP.  It is very useful for quality distance monitoring of sessions.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32238" PostHistoryTypeId="2" PostId="19837" RevisionGUID="c4f64adf-067d-42cb-8d06-6c763eea8524" CreationDate="2013-07-20T05:43:32.323" UserId="6227" Text="Hey guys, I'm working on a 3D animated film that contains a fight scene between two people. I've always been a huge fan of Robert Hargreaves and his work (he does the sound design for all of the DC comic animated films/shows). &#xD;&#xA;&#xD;&#xA;However, I'm having trouble replicating his punching sounds. They don't sound like your typical &quot;punch some meat / crunch some celery&quot; combo that most realistic punches are. Anyone have some insight on what they think I can record to replicate this sound?&#xD;&#xA;&#xD;&#xA;Here is a sample of his work: http://www.youtube.com/watch?v=dmTg7ROPssc&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32239" PostHistoryTypeId="1" PostId="19837" RevisionGUID="c4f64adf-067d-42cb-8d06-6c763eea8524" CreationDate="2013-07-20T05:43:32.323" UserId="6227" Text="Animated Punching Sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="32240" PostHistoryTypeId="3" PostId="19837" RevisionGUID="c4f64adf-067d-42cb-8d06-6c763eea8524" CreationDate="2013-07-20T05:43:32.323" UserId="6227" Text="&lt;animation&gt;&lt;sound-design&gt;&lt;sound-effects&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32244" PostHistoryTypeId="2" PostId="19839" RevisionGUID="14831175-b5f1-4885-80cb-c4f99a51a757" CreationDate="2013-07-20T06:08:02.787" UserId="18" Text="It almost sounds like some gunshots or thunder, with short decays, layered in with the punch sounds.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="32251" PostHistoryTypeId="2" PostId="19844" RevisionGUID="ac1cc88a-5e41-4573-839c-55edcfea6dfb" CreationDate="2013-07-20T20:38:50.423" UserId="6232" Text="Sometimes when the deadline is coming or somebody is stepping on my foot in the subway I think that my job is the worst profession in the world. Seriously, I have even collected some facts that prove it. Here it is:&#xD;&#xA;&#xD;&#xA;(I apologize for my clumsy English)&#xD;&#xA;&#xD;&#xA;№1 (costs) A programmer can work with a cheapest laptop in a coffee house. An artist or  writer can work with a piece of paper and pen. But only a sound designer, even for the simplest job, have to have a whole lot of equipment and an isolated placement.&#xD;&#xA;&#xD;&#xA;№2 (health): All our colleagues in the industry work with computers and all of them have problems with an excessive load with backbone, wrists and eyes. But only sound man have an additional load with ear.&#xD;&#xA;&#xD;&#xA;№3 (employment) Sound teams are always small. Very small in the comparison with others departments. The simple prove – go to the job search site, put the words “sound designer” and I bet that you will find zero result. Put the word “artist” or “programmer” and there will be dozens or even hundreds of findings.&#xD;&#xA;&#xD;&#xA;№4 (call of duty) To be a good worker, you always have to carry with you a recorder. And I bet, that your girlfriend, wife or kids are already hate you for that.&#xD;&#xA;&#xD;&#xA;№5 (feedback) Have you ever heard from someone that he liked a movie or game not because of the plot, graphics or music but because of sound effects? I don't think so. Nobody in the world, except you, cares about the sound.&#xD;&#xA;&#xD;&#xA;№6 (the main): You cannon control your work completely. Like an artist with paper and pen or a composer with his instrument. The sound is like a wild animal and you, only can show it its pass and that it. Even more, there is some unwritten law that the best sound effect that you have ever created was created by accident. Sometimes it is really frustrating.&#xD;&#xA;&#xD;&#xA;If you have an additional prove that our profession is the worst profession in the world please write it in the comments." ContentLicense="CC BY-SA 3.0" />
  <row Id="32252" PostHistoryTypeId="1" PostId="19844" RevisionGUID="ac1cc88a-5e41-4573-839c-55edcfea6dfb" CreationDate="2013-07-20T20:38:50.423" UserId="6232" Text="Why do you hate being sound designer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32253" PostHistoryTypeId="3" PostId="19844" RevisionGUID="ac1cc88a-5e41-4573-839c-55edcfea6dfb" CreationDate="2013-07-20T20:38:50.423" UserId="6232" Text="&lt;sound-design&gt;&lt;job&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32254" PostHistoryTypeId="2" PostId="19845" RevisionGUID="c76f4626-8555-4705-8ab8-a5478ffb74ca" CreationDate="2013-07-20T21:10:11.160" UserId="3179" Text="Your points are valid, but in general I think that anyone, who chooses to be a sound designer or an artist or in some other profession that has or may have some practical issues either with the general public/society or what doing the art/job requires, is aware of the issues, but they're not really issues, it's a price to pay or the issues are issues that cannot be solved.&#xD;&#xA;&#xD;&#xA;&gt; №1 (costs) A programmer can work with&#xD;&#xA;&gt; a cheapest laptop in a coffee house.&#xD;&#xA;&gt; An artist or writer can work with a&#xD;&#xA;&gt; piece of paper and pen. But only a&#xD;&#xA;&gt; sound designer, even for the simplest&#xD;&#xA;&gt; job, have to have a whole lot of&#xD;&#xA;&gt; equipment and an isolated placement.&#xD;&#xA;&#xD;&#xA;Yes and no. Yes the equipment and sound libraries and everything can get very expensive, but one doesn't necessarily need to get the most expensive stuff there is. Be creative. Computers are cheap, software is cheap, recording gear can be affordable.&#xD;&#xA;&#xD;&#xA;&gt; №2 (health): All our colleagues in the&#xD;&#xA;&gt; industry work with computers and all&#xD;&#xA;&gt; of them have problems with an&#xD;&#xA;&gt; excessive load with backbone, wrists&#xD;&#xA;&gt; and eyes. But only sound man have an&#xD;&#xA;&gt; additional load with ear.&#xD;&#xA;&#xD;&#xA;And you haven't figured out ways to cope with the issues? E.g. mostly use quiet listening levels that don't cause ear fatigue? Take breaks appropriately? Some people stand while they work, because sitting is known to cause problems over long periods and in the long term.&#xD;&#xA;&#xD;&#xA;&gt; №3 (employment) Sound teams are always&#xD;&#xA;&gt; small. Very small in the comparison&#xD;&#xA;&gt; with others departments. The simple&#xD;&#xA;&gt; prove – go to the job search site, put&#xD;&#xA;&gt; the words “sound designer” and I bet&#xD;&#xA;&gt; that you will find zero result. Put&#xD;&#xA;&gt; the word “artist” or “programmer” and&#xD;&#xA;&gt; there will be dozens or even hundreds&#xD;&#xA;&gt; of findings.&#xD;&#xA;&#xD;&#xA;So happens the work and job market be divided? I guarantee that most people understand that the art and entertainment fields are very job insecure anyways (but in many cases people don't go there, because of the job market, but personal fulfillment). Regarding jobs in general, there are also many jobs that have machines doing them nowadays (and people have lost their jobs because of that).&#xD;&#xA;&#xD;&#xA;&gt; №4 (call of duty) To be a good worker,&#xD;&#xA;&gt; you always have to carry with you a&#xD;&#xA;&gt; recorder. And I bet, that your&#xD;&#xA;&gt; girlfriend, wife or kids are already&#xD;&#xA;&gt; hate you for that.&#xD;&#xA;&#xD;&#xA;Sounds that your relatives just don't understand why you do what you do.&#xD;&#xA;&#xD;&#xA;&gt; №5 (feedback) Have you ever heard from&#xD;&#xA;&gt; someone that he liked a movie or game&#xD;&#xA;&gt; not because of the plot, graphics or&#xD;&#xA;&gt; music but because of sound effects? I&#xD;&#xA;&gt; don't think so. Nobody in the world,&#xD;&#xA;&gt; except you, cares about the sound.&#xD;&#xA;&#xD;&#xA;Most people listen to music. Some may even play or produce it. Most people also understand what sound is.&#xD;&#xA;&#xD;&#xA;Most people also get that a piece of media includes sound, but they won't pay attention to its intricacies, because our senses naturally emphasize visual content when it's paired with sound. Sound just happens to naturally be a secondary sense for us (except for blind people). I don't see a (solvable) problem.&#xD;&#xA;&#xD;&#xA;&gt; №6 (the main): You cannot control your&#xD;&#xA;&gt; work completely. Like an artist with&#xD;&#xA;&gt; paper and pen or a composer with his&#xD;&#xA;&gt; instrument. The sound is like a wild&#xD;&#xA;&gt; animal and you, only can show it its&#xD;&#xA;&gt; pass and that it. Even more, there is&#xD;&#xA;&gt; some unwritten law that the best sound&#xD;&#xA;&gt; effect that you have ever created was&#xD;&#xA;&gt; created by accident. Sometimes it is&#xD;&#xA;&gt; really frustrating.&#xD;&#xA;&#xD;&#xA;Disagree. The key is to simply accept that that's how sound as a physical phenomenon works (especially when we want to capture it electronically and it becomes fixed), unless it's electrically generated. All other art forms (e.g. drawing, painting, sculpture, computer programming etc.) are concrete in the sense that you have total (well not really, but it may seem as there's pretty unlimited malleability) malleability over what you're doing and the &quot;thing&quot; that you're creating is also visually and conceptually very exposed (e.g. you can draw a tree and identify that it's a tree that you've drawn, whereas sounds can be difficult to identify as intuitively). And again, *it just happens to be so*." ContentLicense="CC BY-SA 3.0" />
  <row Id="32255" PostHistoryTypeId="2" PostId="19846" RevisionGUID="0603634e-610d-4614-b48c-f8a8227658ef" CreationDate="2013-07-20T21:16:09.813" UserId="930" Text="Hey all,&#xD;&#xA;&#xD;&#xA;I'm currently working on a project where some of the dial contains this noise and it's driving me nuts. &#xD;&#xA;&#xD;&#xA;I've expanded, de-noised and EQ'd, but I can't get rid of it without the quality of the dial suffering.&#xD;&#xA;&#xD;&#xA;Here's a sample: [click here][1]&#xD;&#xA;&#xD;&#xA;Does anyone know what it might be, or any suggestions on how to remove it? I'd be really grateful for any help!&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Fred&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fred-pearson.com/Files/Noise.wav" ContentLicense="CC BY-SA 3.0" />
  <row Id="32256" PostHistoryTypeId="1" PostId="19846" RevisionGUID="0603634e-610d-4614-b48c-f8a8227658ef" CreationDate="2013-07-20T21:16:09.813" UserId="930" Text="What is this noise?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32257" PostHistoryTypeId="3" PostId="19846" RevisionGUID="0603634e-610d-4614-b48c-f8a8227658ef" CreationDate="2013-07-20T21:16:09.813" UserId="930" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32258" PostHistoryTypeId="2" PostId="19847" RevisionGUID="eb158b86-227c-47b1-8c68-90865aa53797" CreationDate="2013-07-20T21:20:07.227" UserDisplayName="user49" Text="All these 'problems' exist only inside YOUR head, not mine and not a lot of other people I know who love what they do. Your world is as YOU see it and no one else - you create your own reality.&#xD;&#xA;&#xD;&#xA;But such potential problems are valuable for weeding out the weak, uncommitted, cynical or those who pursue an artform without being fully informed of what is involved.... &#xD;&#xA;&#xD;&#xA;If you don't love it, you should step aside &amp; find soemthing else to do, and thereby create an opportunity for someone who does love it!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32259" PostHistoryTypeId="2" PostId="19848" RevisionGUID="402da3c5-ea16-47eb-a54e-ae065684efb4" CreationDate="2013-07-20T21:59:46.953" UserId="3179" Text="RX2 is your best bet. Treat the crackle and the noise separately. Decrackle the crackles first (you can use decrackle locally to the offending areas) and you're left with noise.&#xD;&#xA;&#xD;&#xA;I don't know what it is, but something (well, that something is that there's some sort of signal modulation going on) tells me it has to do with electronic interference (i.e. another electronic gadget or a signal is being picked up somewhere in the signal chain)." ContentLicense="CC BY-SA 3.0" />
  <row Id="32261" PostHistoryTypeId="5" PostId="19844" RevisionGUID="f24068ef-0fa0-4ac0-8381-0985d3789605" CreationDate="2013-07-20T22:26:23.113" UserId="6232" Comment="added 120 characters in body; added 1 characters in body" Text="Sometimes when the deadline is coming or somebody is stepping on my foot in the subway I think that my job is the worst profession in the world. Seriously, I have even collected some facts that prove it. Here it is:&#xD;&#xA;&#xD;&#xA;(I apologize for my clumsy English)&#xD;&#xA;&#xD;&#xA;№1 (costs) A programmer can work with a cheapest laptop in a coffee house. An artist or  writer can work with a piece of paper and pen. But only a sound designer, even for the simplest job, have to have a whole lot of equipment and an isolated placement.&#xD;&#xA;&#xD;&#xA;№2 (health): All our colleagues in the industry work with computers and all of them have problems with an excessive load with backbone, wrists and eyes. But only sound man have an additional load with ear.&#xD;&#xA;&#xD;&#xA;№3 (employment) Sound teams are always small. Very small in the comparison with others departments. The simple prove – go to the job search site, put the words “sound designer” and I bet that you will find zero result. Put the word “artist” or “programmer” and there will be dozens or even hundreds of findings.&#xD;&#xA;&#xD;&#xA;№4 (call of duty) To be a good worker, you always have to carry with you a recorder. And I bet, that your girlfriend, wife or kids are already hate you for that.&#xD;&#xA;&#xD;&#xA;№5 (feedback) Have you ever heard from someone that he liked a movie or game not because of the plot, graphics or music but because of sound effects? I don't think so. Nobody in the world, except you, cares about the sound.&#xD;&#xA;&#xD;&#xA;№6 (the main): You cannon control your work completely. Like an artist with paper and pen or a composer with his instrument. The sound is like a wild animal and you, only can show it its pass and that it. Even more, there is some unwritten law that the best sound effect that you have ever created was created by accident. Sometimes it is really frustrating.&#xD;&#xA;&#xD;&#xA;If you have an additional prove that our profession is the worst profession in the world please write it in the comments.&#xD;&#xA;&#xD;&#xA;UPD&#xD;&#xA;Provided to be that my English is worse than I thought. So, for any misunderstanding - this post is just a joke." ContentLicense="CC BY-SA 3.0" />
  <row Id="32263" PostHistoryTypeId="2" PostId="19850" RevisionGUID="a617287f-e620-4060-a537-5b63b6fddb82" CreationDate="2013-07-20T22:54:24.287" UserId="3396" Text="My favorite moment was also my most terrifying.&#xD;&#xA;&#xD;&#xA;I was working on a little film called &quot;Gladiator&quot;. We were mixing the big battle in Reel 1. Not only had I cut it I was also the stage editor. It was playback time and joining Sir Ridley Scott for the viewing was Steven Spielberg ... f*ck. Nervous? Oh yeah.&#xD;&#xA;&#xD;&#xA;This was my first Ridley Scott film and I was still getting a handle on being in his presence, having him review my stuff and cutting fixes that he would suggest. For me this man was one of those &quot;I bow in your presence&quot; guys AND Spielberg was with him! The picture editor was a talented, driven, demanding yet friendly guy named Pietro Scalia. Hans Zimmer was the composer and also there (he's a sweetheart). These guys were (are) artists.&#xD;&#xA;&#xD;&#xA;To make a long story short the playback went great. Sir Scott particularly liked my flying and exploding fireballs FX (we all call it &quot;design&quot; now). There were fixes to be done but they were all minor. The relief I felt ... well you can imagine. I ended up not wetting my pants.&#xD;&#xA;&#xD;&#xA;I was also lucky enough to be on the &quot;Blade Runner&quot; remix. Yeah I know! I couldn't believe it either! I was able to replace those goofy old-school face punches and gunshots and add or re-imagine other existing FX. AND we mixed it on the Warner Burbank lot where he shot a bunch of it. &#xD;&#xA;&#xD;&#xA;&quot;Black Hawk Down&quot; (very proud of that one, the release date moved up 2 or 3 months and we were under the gun, it was so intense that we had two FX stage editors, Jon Title and I as well as the talented Chris Jargo on the dialogue ADR side) I did 6 or 7 more Ridley films and with each film I grew more comfortable but I never did get over that sense of awe I had when I first worked with him.&#xD;&#xA;&#xD;&#xA;So YES it is the best job ever. You get to be creative, work with legends, get a bit of immortality with your name up there on the screen AND there's no dress code! &#xD;&#xA;&#xD;&#xA;I LOVE MY JOB!!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="32264" PostHistoryTypeId="2" PostId="19851" RevisionGUID="9664a737-7fe1-4475-9f9d-6b3a9c5ab0e0" CreationDate="2013-07-21T01:00:11.250" UserId="6234" Text="The Big Sound Effects Project: http://soundcloud.com/matt-price-sound/dropbox &#xD;&#xA;&#xD;&#xA;I am looking for collaborators, Sound Designers and Sound Enthusiasts to help me build the biggest resource for Original Quality Sound Effects on the internet and want your help. &lt;br&gt;&lt;br&gt;Simply follow these steps:&#xD;&#xA;&#xD;&#xA;Step 1: Click The Link Below&lt;br&gt;&#xD;&#xA;Step 2: Upload A Sound Effect&lt;br&gt;&#xD;&#xA;Step 3: Enter A Few Tags And Rough Description&lt;br&gt;&#xD;&#xA;Step 4: Make The Licence Creative Commons&lt;br&gt;&#xD;&#xA;Step 5: Send a Personal Note With Your Name/Alias and Website So I Can Credit You&#xD;&#xA;&#xD;&#xA;Then Wal-Ah I will place it and add more tags and descriptions after verifying the quality and add it to www.soundrolling.com&#xD;&#xA;&#xD;&#xA;Large Contributors May Also Get Money Down The Line From Any Revenue the Site Generates. &#xD;&#xA;&#xD;&#xA;So Get Started Now" ContentLicense="CC BY-SA 3.0" />
  <row Id="32265" PostHistoryTypeId="1" PostId="19851" RevisionGUID="9664a737-7fe1-4475-9f9d-6b3a9c5ab0e0" CreationDate="2013-07-21T01:00:11.250" UserId="6234" Text="Can you help make the biggest quality effects library ever?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32266" PostHistoryTypeId="3" PostId="19851" RevisionGUID="9664a737-7fe1-4475-9f9d-6b3a9c5ab0e0" CreationDate="2013-07-21T01:00:11.250" UserId="6234" Text="&lt;sound-design&gt;&lt;sound-libraries&gt;&lt;sound-effects&gt;&lt;royalty-free&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32267" PostHistoryTypeId="2" PostId="19852" RevisionGUID="f315addd-2f2c-4af1-9168-cf12c0913a0e" CreationDate="2013-07-21T05:25:14.213" UserId="6411" Text="Save your money. Put them on CD, play them on your car stereo, re-record it with that decent mic.&#xD;&#xA;&#xD;&#xA;Unless you really need Speakerphone or Futzbox." ContentLicense="CC BY-SA 3.0" />
  <row Id="32271" PostHistoryTypeId="2" PostId="19854" RevisionGUID="65a755af-6175-43c5-aeee-d00f32a23138" CreationDate="2013-07-21T09:28:23.880" UserId="1216" Text="I feel the agony of Internet Human. However, perhaps Matt is just a very enthousiastic sound recordist. &#xD;&#xA;@Matt: can you explain the setup for this project of yours? The way you're 'selling it' now doesn't invite me too share any sounds with you. &#xD;&#xA;How will you manage the upload of copyrighted/commercial recordings?&#xD;&#xA;Will you be making money and how do you plan to get money to other contributors?&#xD;&#xA;&#xD;&#xA;Eagerly awaiting..." ContentLicense="CC BY-SA 3.0" />
  <row Id="32275" PostHistoryTypeId="2" PostId="19857" RevisionGUID="fd0b618d-2b3e-4493-a583-914535ba209c" CreationDate="2013-07-21T18:56:47.533" UserId="253" Text="Agh, what a nightmare of a noise. There's definitely something weird going on there. Is it on everything?&#xD;&#xA;&#xD;&#xA;I'm afraid, in my experience, something like that is impossible to totally eliminate. You can denoise and use a multiband expander (like Waves C4 or W43) to start with. It sounds like your dialogue is pretty well miked, so that helps you.&#xD;&#xA;&#xD;&#xA;Beyond that, i wouldn't try too much with eq, as you'll cut into the dialogue. You could get into your volume automation and ride it as hard as you can. You then *maybe* cover the rest with a pretty broadband atmos track.&#xD;&#xA;&#xD;&#xA;I'd seriously consider ADR, if it's an option. This interference is insidious in that it's broadband, contains a lot of energy in higher frequencies vital to dialogue, AND is made up of a whole heap of tiny transients.&#xD;&#xA;&#xD;&#xA;Best of luck with it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32277" PostHistoryTypeId="2" PostId="19859" RevisionGUID="90b7c97c-f7d7-4d75-a89c-7777a28ef388" CreationDate="2013-07-22T03:33:58.507" UserId="4442" Text="My fondest memory so far is when I was making a giant rubber tire sound, but the futuristic bot in the game didn't have any sort of combustion, so car was out of the question. I used this big wheel barrow with these giant chunky tires on it. Well, it was the middle of December, and I had all type of weight (soil bags and stuff) in it, and i'm pushing it around in the middle of my driveway. My shoes were making noise, so then I had to go down to socks. New Jersey winter, pushing a wheelbarrow around in circles with no shoes on, my neighbor stepped out and said, &quot;Do I want to know?&quot;&#xD;&#xA;&#xD;&#xA;Fun stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="32278" PostHistoryTypeId="2" PostId="19860" RevisionGUID="6dd59943-8e03-491f-a53b-41c22c82183f" CreationDate="2013-07-22T04:03:13.400" UserId="6237" Text="Hey There! This is my first post here so, please forgive me if I am asking obvious questions or just stating the obvious. ;)&#xD;&#xA;I am a 20 year veteran of the Television industry as an Editor (Avid) and a musician/remixer in my free-time, (I am also a father of twin boys and have a 6 month old daughter,) so really, I have no free time. Ha Ha&#xD;&#xA;&#xD;&#xA;That said, for the last year or so, I have been creating, building and refining an ongoing library of Science Fiction themed sound effects that I would like to release at some point in the future and make mountains of money doing it. Easy, right?&#xD;&#xA;In all seriousness, does anyone here have any words of advice, encouragement or just an idea on where I should start?&#xD;&#xA;I have seem some big company aggregate websites that basically do the leg-work &amp; sell for you, but then take a cut of the licensing to independent groups just doing it all themselves. &#xD;&#xA;As simple &amp; attractive as &quot;doing it all yourself&quot; sounds, I can only imagine how tough that could be. How do you target your niche end user when you don't have an &quot;in&quot; the way larger Distribution companies do?&#xD;&#xA;&#xD;&#xA;If there are any resources that could help me get started, I'd appreciate any insight anyone might give.&#xD;&#xA;Thanks all!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32279" PostHistoryTypeId="1" PostId="19860" RevisionGUID="6dd59943-8e03-491f-a53b-41c22c82183f" CreationDate="2013-07-22T04:03:13.400" UserId="6237" Text="Noob SCI-FI Sound Designer..." ContentLicense="CC BY-SA 3.0" />
  <row Id="32280" PostHistoryTypeId="3" PostId="19860" RevisionGUID="6dd59943-8e03-491f-a53b-41c22c82183f" CreationDate="2013-07-22T04:03:13.400" UserId="6237" Text="&lt;noob&gt;&lt;sound-design&gt;&lt;selling&gt;&lt;scifi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32282" PostHistoryTypeId="2" PostId="19862" RevisionGUID="644545c7-460d-4153-aabe-1ce4fe36652a" CreationDate="2013-07-22T07:34:04.153" UserId="348" Text="There is no job like it! I always get nervous before starting a new film and sometimes during the project. I am always challenged by new sounds that have to be created or I challenge myself to find a new way to make a sound and improve on it. I love a good accident when you are designing something and something else happens which is unique and beautiful. &#xD;&#xA;&#xD;&#xA;One of the most interesting/funny recording moments was in Mpumalanga South Africa where we were field recording for animals. The owners of animal sanctuary set up a whole whack of meat for the vultures who were circling overhead- about 150 white winged vultures. I was micing from quite far away so I was scared that I wouldn't get a decent recording. The result was amazing. The surreal movement of the wings, the pecking at the food etc all resulted in a sound that I never expected. Wonderful. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32283" PostHistoryTypeId="2" PostId="19863" RevisionGUID="0626747e-050f-4c1f-91a4-f417af43a0fa" CreationDate="2013-07-22T08:29:24.883" UserId="3179" Text="If the product is high quality, large enough in content and the price is less than what the bigger distributors ask, then I only see a marketing problem (i.e. letting people know that such library exists). You can set up a website/server for sharing it and Paypal/Google Payments/other for the payments.&#xD;&#xA;&#xD;&#xA;In general, I would say that selling sound effects is not rocket science, unless it's done by the bigger distributors (more content, more worries).&#xD;&#xA;&#xD;&#xA;The only substantial benefit in bigger distributors is that they have a somewhat established consumer base, which even get their email newsletters etc. But they also have loads of content, i.e. your library might be a needle in a haystack." ContentLicense="CC BY-SA 3.0" />
  <row Id="32284" PostHistoryTypeId="5" PostId="19863" RevisionGUID="57cf3fd7-b658-4da6-95d4-aaa7368507e8" CreationDate="2013-07-22T08:34:54.910" UserId="3179" Comment="added 167 characters in body; added 204 characters in body; added 5 characters in body" Text="If the product is high quality, large enough in content and the price is less than what the bigger distributors ask, then I only see a marketing problem (i.e. letting people know that such library exists). You can set up a website/server for sharing it and Paypal/Google Payments/other for the payments. I think it's very easy to see how such marketing can be done (sound-related websites, blogs, forums, referrals from people who have their own websites with visitors).&#xD;&#xA;&#xD;&#xA;In general, I would say that selling sound effects is not rocket science, unless it's done by the bigger distributors (more content, more worries).&#xD;&#xA;&#xD;&#xA;The only substantial benefit in bigger distributors is that they have a somewhat established consumer base, which even get their email newsletters etc. But they also have loads of content, i.e. your library might be a needle in a haystack.&#xD;&#xA;&#xD;&#xA;http://www.creativefieldrecording.com/2011/02/18/selling-sound-effects-how-to-choose-where-to-sell-part-1/ &lt;br&gt;&#xD;&#xA;http://www.creativefieldrecording.com/2013/03/06/four-ways-to-sell-sound-effects-the-future/" ContentLicense="CC BY-SA 3.0" />
  <row Id="32285" PostHistoryTypeId="2" PostId="19864" RevisionGUID="06cf109b-2a8e-41f1-aaca-3c4680d42ad2" CreationDate="2013-07-22T09:18:58.860" UserId="6420" Text="Morning,&#xD;&#xA;&#xD;&#xA;My girlfriend and I finished watching the horror film Mama the other day. Obviously, one of the key devices used to make the viewer 'scared' is via the use of sound and score to make us 'jump' in certain parts. &#xD;&#xA;&#xD;&#xA;We've all seen it and experienced it in countless films before where a loud noise or orchestral sting accompanies a scary moment. My girlfriend asked me the question after, as to where did this use of sound/score come from? Is it just now a 'convention' that is used in horror film now, and was there a particular film that first used this to effect and has been copied since? Just why is it so successful and making us feel jumpy, and on edge? Does it just boil down to an evolutionary thing where we are programmed to react to loud/sudden noises, and why are certain instruments and frequencies more effective at making us feel this way than others?&#xD;&#xA;&#xD;&#xA;Any thoughts would be very interesting to hear... ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32286" PostHistoryTypeId="1" PostId="19864" RevisionGUID="06cf109b-2a8e-41f1-aaca-3c4680d42ad2" CreationDate="2013-07-22T09:18:58.860" UserId="6420" Text="&quot;Jumpy&quot; horror film sounds/score" ContentLicense="CC BY-SA 3.0" />
  <row Id="32287" PostHistoryTypeId="3" PostId="19864" RevisionGUID="06cf109b-2a8e-41f1-aaca-3c4680d42ad2" CreationDate="2013-07-22T09:18:58.860" UserId="6420" Text="&lt;horror&gt;&lt;psychology&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32288" PostHistoryTypeId="2" PostId="19865" RevisionGUID="e7e85c12-b885-40e5-9d21-f94866a3b820" CreationDate="2013-07-22T09:23:05.010" UserId="3179" Text="No, maybe, but why would it be?&#xD;&#xA;&#xD;&#xA;Think about this one for example:&#xD;&#xA;&#xD;&#xA;Does/can it provide any insight into what we are, what the world is and why are they so?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32289" PostHistoryTypeId="2" PostId="19866" RevisionGUID="22b26f28-f058-4393-9022-ad218231cf02" CreationDate="2013-07-22T15:12:38.967" UserId="4442" Text="Yea what Human said is pretty much on, you can even look at things like zencart or those competitors for automatic digital goods distribution so while you sleep you can get paid and deliver. Then I would just go around to some of the sites like designing sound or forums and start announcing. good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="32290" PostHistoryTypeId="2" PostId="19867" RevisionGUID="f70b60b6-09d3-46cd-88f6-18b5425e2403" CreationDate="2013-07-22T15:42:13.700" UserId="4442" Text="It's not shipping yet, but i didn't know if anyone got to check out a pre-release or press release that was about to say anything about. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32291" PostHistoryTypeId="1" PostId="19867" RevisionGUID="f70b60b6-09d3-46cd-88f6-18b5425e2403" CreationDate="2013-07-22T15:42:13.700" UserId="4442" Text="Anyone get the Zoom H6 yet?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32292" PostHistoryTypeId="3" PostId="19867" RevisionGUID="f70b60b6-09d3-46cd-88f6-18b5425e2403" CreationDate="2013-07-22T15:42:13.700" UserId="4442" Text="&lt;zoom&gt;&lt;handheld&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32293" PostHistoryTypeId="5" PostId="19850" RevisionGUID="c58444b3-c2a1-4284-9ea3-628dcc79172b" CreationDate="2013-07-22T16:32:10.093" UserId="3396" Comment="deleted 17 characters in body" Text="My favorite moment was also my most terrifying.&#xD;&#xA;&#xD;&#xA;I was working on a little film called &quot;Gladiator&quot;. We were mixing the big battle in Reel 1. Not only had I cut it I was also the stage editor. It was playback time and joining Sir Ridley Scott for the viewing was Steven Spielberg ... f*ck. Nervous? Oh yeah.&#xD;&#xA;&#xD;&#xA;This was my first Ridley Scott film and I was still getting a handle on being in his presence, having him review my stuff and cutting fixes that he would suggest. For me this man was one of those &quot;I bow in your presence&quot; guys AND Spielberg was with him! The picture editor was a talented, driven, demanding yet friendly guy named Pietro Scalia. Hans Zimmer was the composer and also there (he's a sweetheart). These guys were (are) artists.&#xD;&#xA;&#xD;&#xA;To make a long story short the playback went great. Sir Scott particularly liked my flying and exploding fireballs FX (we all call it &quot;design&quot; now). There were fixes to be done but they were all minor. The relief I felt ... well you can imagine. I ended up not wetting my pants.&#xD;&#xA;&#xD;&#xA;I was also lucky enough to be on the &quot;Blade Runner&quot; remix. Yeah I know! I couldn't believe it either! I was able to replace those goofy old-school face punches and gunshots and add or re-imagine other existing FX. AND we mixed it on the Warner Burbank lot where he shot a bunch of it. &#xD;&#xA;&#xD;&#xA;&quot;Black Hawk Down&quot; (very proud of that one, the release date moved up 2 or 3 months and we were under the gun, it was so intense that we had two FX stage editors, Jon Title and I as well as the talented Chris Jargo on the dialogue ADR side) I did 6 or 7 more Ridley films and with each film I grew more comfortable but I never did get over that sense of awe I had when I first worked with him.&#xD;&#xA;&#xD;&#xA;So YES it is the best job ever. You get to be creative, work with legends, get a bit of immortality with your name up there on the screen AND there's no dress code! &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32294" PostHistoryTypeId="2" PostId="19868" RevisionGUID="dfc9f94f-da47-4148-8786-667aac93bee1" CreationDate="2013-07-22T20:35:51.520" UserId="6239" Text="GiveMeApps - http://www.givemeapps.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="32295" PostHistoryTypeId="2" PostId="19869" RevisionGUID="dade9d04-8c25-4f09-936a-4428c6e50ba7" CreationDate="2013-07-23T09:00:52.763" UserId="6240" Text="I'm in the middle of redoing some of my pro toosl templates and was wondering if anyone could explain the advantages of using a VCA over an aux track to route my submixes to?&#xD;&#xA;&#xD;&#xA;many thanks &#xD;&#xA;&#xD;&#xA;Tom" ContentLicense="CC BY-SA 3.0" />
  <row Id="32296" PostHistoryTypeId="1" PostId="19869" RevisionGUID="dade9d04-8c25-4f09-936a-4428c6e50ba7" CreationDate="2013-07-23T09:00:52.763" UserId="6240" Text="Aux vs VCA in Pro Tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32297" PostHistoryTypeId="3" PostId="19869" RevisionGUID="dade9d04-8c25-4f09-936a-4428c6e50ba7" CreationDate="2013-07-23T09:00:52.763" UserId="6240" Text="&lt;pro&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32298" PostHistoryTypeId="2" PostId="19870" RevisionGUID="3ad7509c-b027-4791-bc1c-7a03c390bd40" CreationDate="2013-07-23T09:08:56.783" UserId="1185" Text="I personnel don't use PT much, but I did recently see this video that I think answers your question and gives some good examples of the differences:&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=cALPW8kK4Pw][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=cALPW8kK4Pw" ContentLicense="CC BY-SA 3.0" />
  <row Id="32299" PostHistoryTypeId="5" PostId="19870" RevisionGUID="ff41b441-af7b-4734-b023-29f2d5449a2c" CreationDate="2013-07-23T09:21:26.460" UserId="1185" Comment="added 1 characters in body" Text="I personally don't use PT much, but I did recently see this video that I think answers your question and gives some good examples of the differences:&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=cALPW8kK4Pw][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=cALPW8kK4Pw" ContentLicense="CC BY-SA 3.0" />
  <row Id="32300" PostHistoryTypeId="2" PostId="19871" RevisionGUID="d1dde6c9-4458-4c16-b803-95f73407b9c2" CreationDate="2013-07-23T09:42:16.473" UserDisplayName="user49" Text="audio isnt actually routed thru a vca, its essentially virtual but you can automate a vca and later choose whether to merge the vca automation into all of the source tracks or not...&#xD;&#xA;&#xD;&#xA;on some systems you cannot scrub or varispeed audio when it is routed thru an aux, whereas you can when its controlled by a vca - i find this very handy when editing" ContentLicense="CC BY-SA 3.0" />
  <row Id="32301" PostHistoryTypeId="2" PostId="19872" RevisionGUID="a1784570-4a41-4ea9-80c1-b3aac7327d83" CreationDate="2013-07-23T09:43:50.543" UserId="6460" Text="Using an aux track would require you to re-route the audio of each track involved into the aux, and recording automation on the aux track wouldn't affect the automation of the sub-tracks. The VCA is purely a control- and automation-based system, meaning 2 things:&#xD;&#xA;&#xD;&#xA; 1. Assigning tracks to a VCA has no bering whatsoever on their audio input/output routing. In pro tools, it simply means the tracks all belong to the same mix group.&#xD;&#xA; 2. Moving a VCA master fader with any or all of the sub-tracks in an automation write mode will record the relative information on the track. &#xD;&#xA;&#xD;&#xA;Your choice should depend a lot on a your workflow and preferences for signal routing. In my experience, VCAs are great for categorizing numerous independent tracks and giving you a single handle for that &quot;category&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="32302" PostHistoryTypeId="2" PostId="19873" RevisionGUID="623b957a-e8be-41c0-9060-1ecfa9d3173a" CreationDate="2013-07-23T12:08:51.403" UserId="6241" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I'm looking into getting a projector for my studio so that I can have a big picture to edit and mix to, but I know literally nothing about them so I was wondering if anyone had any recommendations?&#xD;&#xA;&#xD;&#xA;My main worry is getting one that doesn't make a lot of noise (as I can't install it in another room) and can have the image size adjusted enough so that I can mount it where I want.&#xD;&#xA;&#xD;&#xA;The distance between the back wall where I was hoping to mount the projector and the wall the image would be projected on is 5.3 m (17.4 ft) and it needs to be adjustable so that it projects an image height of no bigger than 84 cm (33 ins), otherwise I'll lose the bottom of the image behind the speakers and computer monitors.&#xD;&#xA;&#xD;&#xA;Budget on this would be ideally no more than £500 (currently around $770 / €580), but I have a feeling that may be wishful thinking!&#xD;&#xA;&#xD;&#xA;Thanks for your help in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32303" PostHistoryTypeId="1" PostId="19873" RevisionGUID="623b957a-e8be-41c0-9060-1ecfa9d3173a" CreationDate="2013-07-23T12:08:51.403" UserId="6241" Text="Projector Recommendations?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32304" PostHistoryTypeId="3" PostId="19873" RevisionGUID="623b957a-e8be-41c0-9060-1ecfa9d3173a" CreationDate="2013-07-23T12:08:51.403" UserId="6241" Text="&lt;projectors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32306" PostHistoryTypeId="2" PostId="19874" RevisionGUID="9ddc4a60-4652-4408-923d-cf6287e43031" CreationDate="2013-07-23T12:42:31.967" UserId="1216" Text="with the smallish size room that you seem to have your studio in. have you considered gettng a lcd screen? it's silent, sync (you can check if you need with measurement device) and it's easy to install. most important it's relatively cheaper than beamers/projectors.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32307" PostHistoryTypeId="2" PostId="19875" RevisionGUID="3c554f36-385a-4a80-91f2-be5aea082fc7" CreationDate="2013-07-23T12:59:14.683" UserId="6208" Text="Of it is periodic, you can try to eliminate it with phase cancelation." ContentLicense="CC BY-SA 3.0" />
  <row Id="32308" PostHistoryTypeId="2" PostId="19876" RevisionGUID="949f6799-f840-4d6b-80b2-7650c8c8d2ad" CreationDate="2013-07-23T14:13:37.443" UserId="6242" Text="Some smaller projectors are pretty quiet though there will be some noise.  Which one depends on lots of factors, but look for what inputs you get and what the lumens are.  I would avoid the cheaper brands, though with a budget of £500 that may be difficult!  Barco, panasonic, chrisite, canon, nec are all good brands and there are plenty more." ContentLicense="CC BY-SA 3.0" />
  <row Id="32309" PostHistoryTypeId="2" PostId="19877" RevisionGUID="bd667936-b16a-4423-9fb5-b21a8750ce73" CreationDate="2013-07-23T14:42:57.010" UserId="343" Text="&#xD;&#xA;VCA Master changes will affect to Volume-fader values for each track in the group, so Send Levels wich are in post-fader will be affected too.&#xD;&#xA;&#xD;&#xA;You cannot add inserts to a VCA since there is no signal routing happening, so if you need group processing you I´d use Aux Tracks.&#xD;&#xA;&#xD;&#xA;You can use both: that is, group tracks levels into a VCA Track and route their outputs through an Aux Track. This way you can add inserts and while you have control over their fader values." ContentLicense="CC BY-SA 3.0" />
  <row Id="32310" PostHistoryTypeId="5" PostId="19877" RevisionGUID="d0a166ac-be9f-477f-8466-5bca4890330d" CreationDate="2013-07-23T18:59:45.683" UserId="343" Comment="deleted 6 characters in body; added 8 characters in body" Text="VCA Master changes will affect to Volume-fader values for each track in the group, so Send Levels wich are in post-fader will be affected too.&#xD;&#xA;&#xD;&#xA;You cannot add inserts to a VCA since there is no signal routing happening, so if you need group processing I´d use Aux Tracks.&#xD;&#xA;&#xD;&#xA;Or you may use both: that is, just group tracks levels into a VCA Track and route their outputs through an Aux Track. This way you can add inserts and while you have control over their fader values." ContentLicense="CC BY-SA 3.0" />
  <row Id="32311" PostHistoryTypeId="2" PostId="19878" RevisionGUID="3044024b-b140-409c-bb82-66e453a98ba3" CreationDate="2013-07-23T19:19:49.283" UserId="234" Text="The BBC did a cool documentary on this a while back which you can find [here][1]. They delve into questions of context, and well as cultural triggers. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.bbc.co.uk/programmes/b015zpf5" ContentLicense="CC BY-SA 3.0" />
  <row Id="32319" PostHistoryTypeId="2" PostId="19882" RevisionGUID="2571ef48-aa3e-4dc5-bcdf-a179fd1e81d8" CreationDate="2013-07-24T07:27:16.110" UserId="6249" Text="I created an iPhone and iPad impulse response to simulate their speakers in a DAW. It will work in any convolution reverb that imports wav files. Enjoy :)&#xD;&#xA;&#xD;&#xA;http://www.aaronbrownsound.com/free-impulse-responses-from-the-ipad-iphone-and-behritone-speakers/" ContentLicense="CC BY-SA 3.0" />
  <row Id="32320" PostHistoryTypeId="2" PostId="19883" RevisionGUID="08994929-f3e4-4673-b39c-c2c1ea956113" CreationDate="2013-07-24T07:50:43.813" UserId="6250" Text="Dear Eduardo,&#xD;&#xA;I have just got my FM-3 inhouse, but haven't used it yet in the field, so please tak the following as a first expresssion.&#xD;&#xA;&#xD;&#xA;It looks extremely delicate, very well build and with a lot of relevant inputs and outputs. Testing with DPA miniatures (through DPA's own 3V phantom &quot;cigar&quot;-connector), NAGRA SD recorder and Shure SE535 earphones it gives sound as expected from a quality gear. &#xD;&#xA;&#xD;&#xA;You can apparently cascade another FM-3 in three resulting input channels, you can output to another balanced device and to other unbalanced. Two earphones possibility, return for checking. DC inputs and outputs for external powering - and feeding. Test tone and inbuild slate mic for commands and editing instructions, good preamp gain and low cut filters for each channel, limiters on/off.&#xD;&#xA;&#xD;&#xA;What more can one wish. I am happy with the gear and look forward to use it with muy Nagra SD and my AG-HMC151E camera.&#xD;&#xA;&#xD;&#xA;But some must have used this in real life. What are your experiences and advices?&#xD;&#xA;&#xD;&#xA;All the best&#xD;&#xA;Knud&#xD;&#xA;Copenhagen" ContentLicense="CC BY-SA 3.0" />
  <row Id="32321" PostHistoryTypeId="5" PostId="19819" RevisionGUID="19801c11-d7af-49e2-80c6-63cecd0a819d" CreationDate="2013-07-24T09:11:12.033" UserId="1228" Comment="added 173 characters in body" Text="**NOTE: This isn't so much about spitballing about spam-prevention techniques - it's more of a question/plea specifically to Andrew: can we implement something on SSD?**&#xD;&#xA;&#xD;&#xA;Just a quick question here, I'd love for some feedback and to see what we can do about it.&#xD;&#xA;&#xD;&#xA;It's about SPAM.&#xD;&#xA;&#xD;&#xA;As SSD has been getting more known throughout the internet and worldwide and more widely received over time (which is fantastic!), it appears lately that the site has been bombarded with an incredible amount of SPAM questions and responses.  I'm wondering if we're reaching a tipping point on SSD wherein we need to begin setting all posting of any sort to reCAPTCHA confirmation.&#xD;&#xA;&#xD;&#xA;While it won't necessarily kill off all SPAM, it will likely have a huge positive effect and prevent clogging of the Q&amp;A boards.&#xD;&#xA;&#xD;&#xA;Personally, I don't mind typing in a little code every time if, in the big picture, it ensure the site stays relatively clean of outside infestation.  Is there anything we can do?&#xD;&#xA;&#xD;&#xA;I'd love to hear some thoughts on what we can do.  I'm finding the SPAM flagging process to be a real nuisance - **and furthermore I feel really bad for our admins who have to sort through all the requests, much more than they had to in the past (likely requests they're getting from many of us about the same posts too).**" ContentLicense="CC BY-SA 3.0" />
  <row Id="32322" PostHistoryTypeId="2" PostId="19884" RevisionGUID="13c16878-5d55-4f76-9877-1e7f732fccee" CreationDate="2013-07-24T10:00:57.840" UserId="6432" Text="There was a thread about it on the C74 forums who had the same problem. &#xD;&#xA;&#xD;&#xA;http://cycling74.com/forums/topic/spam-becoming-a-problem-on-forum/&#xD;&#xA;&#xD;&#xA;Some interesting ideas in there. Perhaps it depends on how customisable the forum software is.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;How about if a post was marked as spam by 3 users with 1000+ reputation it would be immediately trashed.&#xD;&#xA;&#xD;&#xA;Moderating all posts from first time users might be the only watertight way to go. you may then need to appoint more moderators, but I'm sure there are a bunch of us who would be up for chipping in to help, myself included.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32323" PostHistoryTypeId="16" PostId="19884" RevisionGUID="13c16878-5d55-4f76-9877-1e7f732fccee" CreationDate="2013-07-24T10:00:57.840" UserId="-1" />
  <row Id="32324" PostHistoryTypeId="2" PostId="19885" RevisionGUID="07e58890-5a42-4e87-ba27-3c1f1bc6d363" CreationDate="2013-07-24T10:11:49.673" UserId="6251" Text="chances are it does work since its a top of the line device&#xD;&#xA;&#xD;&#xA;i have been looking into using microphones with android, i was able to plug in a guitar straight in through the headphone jack and record it as well as use a microphone to record using several patch cables so you really dont even need a usb soundcard" ContentLicense="CC BY-SA 3.0" />
  <row Id="32325" PostHistoryTypeId="5" PostId="19883" RevisionGUID="8b6df863-23a2-4753-8506-8702edd94ac1" CreationDate="2013-07-24T10:27:15.673" UserId="6250" Comment="deleted 2 characters in body; added 1 characters in body" Text="Dear Eduardo,&#xD;&#xA;I have just got my FM-3 inhouse, but haven't used it yet in the field, so please tak the following as a first expresssion.&#xD;&#xA;&#xD;&#xA;It looks extremely delicate, very well build and with a lot of relevant inputs and outputs. Testing with DPA miniatures (through DPA's own 3V phantom &quot;cigar&quot;-connector), NAGRA SD recorder and Shure SE535 earphones it gives sound as expected from a quality gear. &#xD;&#xA;&#xD;&#xA;You can apparently cascade another FM-3 in six resulting input channels, you can output to another balanced device and two other unbalanced. Two earphones possibility, return for checking. DC inputs and outputs for external powering - and feeding. Test tone and inbuild slate mic for commands and editing instructions, good preamp gain and low cut filters for each channel, limiters on/off.&#xD;&#xA;&#xD;&#xA;What more can one wish. I am happy with the gear and look forward to use it with muy Nagra SD and my AG-HMC151E camera.&#xD;&#xA;&#xD;&#xA;But some must have used this in real life. What are your experiences and advices?&#xD;&#xA;&#xD;&#xA;All the best&#xD;&#xA;Knud&#xD;&#xA;Copenhagen" ContentLicense="CC BY-SA 3.0" />
  <row Id="32330" PostHistoryTypeId="2" PostId="19888" RevisionGUID="fdfa9d12-4688-4cda-963f-170bad8b4d3b" CreationDate="2013-07-25T06:37:44.017" UserId="6208" Text="Hey! What is the correct Title of someome that records Voice-overs for films/ads... The technical Job!&#xD;&#xA;&#xD;&#xA;Thx!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32331" PostHistoryTypeId="1" PostId="19888" RevisionGUID="fdfa9d12-4688-4cda-963f-170bad8b4d3b" CreationDate="2013-07-25T06:37:44.017" UserId="6208" Text="Voice-over Recordist correct Title?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32332" PostHistoryTypeId="3" PostId="19888" RevisionGUID="fdfa9d12-4688-4cda-963f-170bad8b4d3b" CreationDate="2013-07-25T06:37:44.017" UserId="6208" Text="&lt;title&gt;&lt;job-description&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32333" PostHistoryTypeId="5" PostId="19888" RevisionGUID="de820216-c65e-45f9-9cf3-cc5229cbc8c7" CreationDate="2013-07-25T06:58:00.480" UserId="6208" Comment="added 47 characters in body" Text="Hey! What is the correct Title of someome that records Voice-overs for films/ads... The technical Job! And the One that you would read in the Credits&#xD;&#xA;&#xD;&#xA;Thx!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32334" PostHistoryTypeId="2" PostId="19889" RevisionGUID="7160c1e9-4817-4e21-869c-a2cc921cfba4" CreationDate="2013-07-25T08:10:11.583" UserId="5508" Text="'Narrator', or 'narration by' or narration&#xD;&#xA;&#xD;&#xA;Sometimes 'commentary by' or 'commentary'&#xD;&#xA;&#xD;&#xA;Or as a job title 'voice-over artist'," ContentLicense="CC BY-SA 3.0" />
  <row Id="32336" PostHistoryTypeId="2" PostId="19891" RevisionGUID="c1781a25-a252-4b20-a120-7f24fef87c34" CreationDate="2013-07-25T10:19:10.590" UserId="6254" Text="If you mean the soundie manning the controls then voice over recordist would do just nicely!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32338" PostHistoryTypeId="2" PostId="19893" RevisionGUID="1db1287e-b06c-4854-a85e-6fd665c3fc0c" CreationDate="2013-07-25T16:23:18.070" UserId="234" Text="One thing I've found is that the Rode do NOT like 24v phantom... using them results in higher noise and generally reduced performance. Set the phantom power to 48v. This will result in your battery draining a lot faster, but will probably reduce the hiss. Alternately use the battery in the Mic as FAO suggested. I've used the NT's with a few things and found it to be a problem (even with my trusty FP33 as a front end). In all fairness, it's also an issue with my AKG C451's as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="32341" PostHistoryTypeId="2" PostId="19895" RevisionGUID="9cc695b7-b6ef-4f7e-85af-a05801d7f6ca" CreationDate="2013-07-26T03:42:18.987" UserId="6435" Text="Voice-over recordist or Recording engineer is fine. I record VOs for TV and radio spots and am called a recording engineer. However, I can't remember ever appearing in any credits for it." ContentLicense="CC BY-SA 3.0" />
  <row Id="32343" PostHistoryTypeId="2" PostId="19897" RevisionGUID="20bc5fa6-2016-4832-b1bf-78f6a90f8b5f" CreationDate="2013-07-26T23:18:54.783" UserId="4358" Text="Hey guys,&#xD;&#xA;I will be starting work on a film which is set in a 1930's in two weeks. The director wants the dialogue to have a '***film***' like quality to it. I suggested passing the stems through a tape and back in pro tools just to get the warmth and the quality of the tape. But due to budget constrains, it was not possible. A few of my colleagues suggested that you can achieve that similar quality with the VCR. Although I have never tried such a process with either the tape or a VCR, I was wondering if any of you guys know how to go about or have done anything like this before. Are there any specific sites I might look up to find how to achieve this. I could just use a plugin which might help me achieve this effect, but since I have the time, resources and control over the sound department on this film, I thought its worth trying. Thank You in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="32344" PostHistoryTypeId="1" PostId="19897" RevisionGUID="20bc5fa6-2016-4832-b1bf-78f6a90f8b5f" CreationDate="2013-07-26T23:18:54.783" UserId="4358" Text="Pro Tools to VCR to Pro Tools" ContentLicense="CC BY-SA 3.0" />
  <row Id="32345" PostHistoryTypeId="3" PostId="19897" RevisionGUID="20bc5fa6-2016-4832-b1bf-78f6a90f8b5f" CreationDate="2013-07-26T23:18:54.783" UserId="4358" Text="&lt;tape&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32346" PostHistoryTypeId="2" PostId="19898" RevisionGUID="6dc0feef-3542-43d3-8aeb-57af51ff8c88" CreationDate="2013-07-27T00:38:16.813" UserId="6256" Text="have you tried eq + izotope vynil?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32347" PostHistoryTypeId="2" PostId="19899" RevisionGUID="b0857cd6-b653-48b2-a9c8-3a3086cbf592" CreationDate="2013-07-27T02:16:13.093" UserId="61" Text="Great question!&#xD;&#xA;&#xD;&#xA;It's encouraging to see that sound people are still thinking outside the &quot;plug ins&quot; box. The concept of using outboard gear in an attempt to alter your source material is certainly worth pursuing, and what you would capture might indeed be something quite special and unique. I wholeheartedly recommend that you undertake the effort!&#xD;&#xA;&#xD;&#xA;Bear in mind that, using this type of process, you will be limiting your ability to &quot;untreated&quot; the dialog and go back to something cleaner or less processed. This, of course, is the wonderful thing about plug ins; that you can go back non-destructively to the original source and start fresh, if need be. But there's something to be said for committing to an approach, right?&#xD;&#xA;&#xD;&#xA;Getting a 1930s sound from a videotape transfer may not be ideal. You're talking about two very different eras and technology - but both are analog, so that's a step in the right direction. Maybe VHS has too high headroom and too low noise floor? It may not give you the tape saturation you're looking for. As an alternative, try to gain access to some other analog machines (aka. a cassette deck) and maybe create for yourself a daisy chain, passing through one and then directly into another, and then back into Pro Tools. That will get your noise floor up and possibly increase any tape saturation. Also, don't forget about Craigslist - depending on where you live, you might find someone selling (or giving away) an old reel-to-reel deck complete with some old tapes that you can re-record over.&#xD;&#xA;&#xD;&#xA;Sounds like fun - have a blast experimenting!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32348" PostHistoryTypeId="2" PostId="19900" RevisionGUID="0db644f6-658a-4032-aba5-98f6c1fdf97f" CreationDate="2013-07-27T02:19:46.397" UserId="3179" Text="AFAIK (well it's not even a guess, but almost a certainty), VCR does not do the kind of lo-fi that you're looking for. It's too hi-tech and you can see the specs to verify that. The &quot;real&quot; choice for old audio quality would be a reel to reel tape recorder or (but you may lose quality in this) a cassette recorder.&#xD;&#xA;&#xD;&#xA;I would suggest trying tape emulation plug-ins and &quot;vinylizer&quot; plug-ins. Grungelizer that comes with Cubase works pretty well if you equalize the &quot;wet&quot; signal (because the plug-in on it's own can sound harsh). Reason has the Scream unit with a good tape emulation. iZotope Vinyl is useful. Also: http://www.toneboosters.com/tb-reelbus/ [http://www.toneboosters.com/tb-ferox/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.toneboosters.com/tb-ferox/" ContentLicense="CC BY-SA 3.0" />
  <row Id="32349" PostHistoryTypeId="5" PostId="19900" RevisionGUID="b10d4fc6-4318-4734-8779-cf2f2e58cdb7" CreationDate="2013-07-27T02:26:47.580" UserId="3179" Comment="added 114 characters in body; added 24 characters in body" Text="AFAIK (well it's not even a guess, but almost a certainty), VCR does not do the kind of lo-fi that you're looking for. It's too hi-tech and you can see the specs to verify that. The &quot;real&quot; choice for old audio quality would be a reel to reel tape recorder or (but you may lose quality in this) a cassette recorder.&#xD;&#xA;&#xD;&#xA;I would suggest trying tape emulation plug-ins and &quot;vinylizer&quot; plug-ins. Grungelizer that comes with Cubase works pretty well if you equalize the &quot;wet&quot; signal (because the plug-in on it's own can sound harsh). Reason has the Scream unit with a good tape emulation. iZotope Vinyl is useful. Also: http://www.toneboosters.com/tb-reelbus/ [http://www.toneboosters.com/tb-ferox/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.toneboosters.com/tb-ferox/&#xD;&#xA;&#xD;&#xA;Also, bass and guitar pedals/amp simulations may work for what you need (when applied sparsely), depending on what you're looking for." ContentLicense="CC BY-SA 3.0" />
  <row Id="32350" PostHistoryTypeId="5" PostId="19900" RevisionGUID="d0465197-68ef-44b0-8ed1-1fc8e5ee8994" CreationDate="2013-07-27T02:32:11.663" UserId="3179" Comment="added 383 characters in body; added 12 characters in body; added 48 characters in body" Text="AFAIK (well it's not even a guess, but almost a certainty), VCR does not do the kind of lo-fi that you're looking for. It's too hi-tech and you can see the specs to verify that. The &quot;real&quot; choice (without stretching to carving your own record) for old audio quality would be a reel to reel tape recorder or (but you may lose quality in this) a cassette recorder.&#xD;&#xA;&#xD;&#xA;I would suggest trying tape emulation plug-ins and &quot;vinylizer&quot; plug-ins. Grungelizer that comes with Cubase works pretty well if you equalize the &quot;wet&quot; signal (because the plug-in on it's own can sound harsh). Reason has the Scream unit with a good tape emulation. iZotope Vinyl is useful. Also: http://www.toneboosters.com/tb-reelbus/ [http://www.toneboosters.com/tb-ferox/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.toneboosters.com/tb-ferox/&#xD;&#xA;&#xD;&#xA;Also, bass and guitar pedals/amp simulations may work for what you need (when applied sparsely), depending on what you're looking for.&#xD;&#xA;&#xD;&#xA;Remiking (or miking) could also be an option, maybe even a good one. Given that the dialog sound of 1930s is most likely caused mostly by the microphones that were available, not that much the recording equipment, which although is important as well. Go read some history and see if you can find out what kind of recording gear was used in the time period and how the technology was limited." ContentLicense="CC BY-SA 3.0" />
  <row Id="32351" PostHistoryTypeId="5" PostId="19900" RevisionGUID="d0a6c7b8-381b-4d34-92ac-d561b2eb1124" CreationDate="2013-07-27T02:43:46.073" UserId="3179" Comment="added 150 characters in body" Text="AFAIK (well it's not even a guess, but almost a certainty), VCR does not do the kind of lo-fi that you're looking for. It's too hi-tech and you can see the specs to verify that. The &quot;real&quot; choice (without stretching to carving your own record) for old audio quality would be a reel to reel tape recorder or (but you may lose quality in this) a cassette recorder.&#xD;&#xA;&#xD;&#xA;I would suggest trying tape emulation plug-ins and &quot;vinylizer&quot; plug-ins. Grungelizer that comes with Cubase works pretty well if you equalize the &quot;wet&quot; signal (because the plug-in on it's own can sound harsh). Reason has the Scream unit with a good tape emulation. iZotope Vinyl is useful. Also: http://www.toneboosters.com/tb-reelbus/ [http://www.toneboosters.com/tb-ferox/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.toneboosters.com/tb-ferox/&#xD;&#xA;&#xD;&#xA;Also, bass and guitar pedals/amp simulations may work for what you need (when applied sparsely), depending on what you're looking for. Even a bit crusher can work for your favor (it can actually sound not that digital, depending on what's fed to it or if you equalize the wet signal).&#xD;&#xA;&#xD;&#xA;Remiking (or miking) could also be an option, maybe even a good one. Given that the dialog sound of 1930s is most likely caused mostly by the microphones that were available, not that much the recording equipment, which although is important as well. Go read some history and see if you can find out what kind of recording gear was used in the time period and how the technology was limited." ContentLicense="CC BY-SA 3.0" />
  <row Id="32356" PostHistoryTypeId="5" PostId="19878" RevisionGUID="f1d3eed0-38a9-4208-b7e0-5bcdaca316b5" CreationDate="2013-07-27T14:38:53.427" UserId="234" Comment="Added new link" Text="The BBC did a cool documentary on this a while back which you can find [here][1]. They delve into questions of context, and well as cultural triggers. &#xD;&#xA;&#xD;&#xA;Edit: [This][2] just appeared in my RSS... Specifically talking about game audio, but the science is the same.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bbc.co.uk/programmes/b015zpf5&#xD;&#xA;  [2]: http://feedly.com/k/11gb65B" ContentLicense="CC BY-SA 3.0" />
  <row Id="32357" PostHistoryTypeId="2" PostId="19903" RevisionGUID="e6e0f96c-387c-40e6-94a2-4ff098502a76" CreationDate="2013-07-27T14:55:13.380" UserId="517" Text="It seems to me that a good choice would be a Nagra tape recorder, which was a recorder very much used starting in the 1950's until digital recording took over in the 1980's and 1990's. While this technology would be significantly better than the optical soundtrack you'd find in the 1930's, I think it would be a pretty flexible option. Since Nagras are designed for professional recording, they have VU meters on them and an I/O that could be adapted to your Pro Tools interface. You would have to record into the Nagra and then play it back into Pro Tools to a record-armed track there.&#xD;&#xA;&#xD;&#xA;While Nagras aren't used anymore, I'd imagine that you should be able to find one with a little digging, as they were a really dominant recording format for so long in the film industry. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32358" PostHistoryTypeId="2" PostId="19904" RevisionGUID="5a9707fc-f9e6-4c5c-8148-1b2b2ccda75e" CreationDate="2013-07-27T17:50:29.703" UserId="6246" Text="Hi everyone,&#xD;&#xA;&#xD;&#xA;I have to give a quote of a flat rate for a small Independent Video game. I am primarily a musical composer, but going to be doing some basic sound design on this one. I need a flat rate quote that will be reasonable for a small video game start up and still reasonable for my time. There will be a small musical element as well, but I will ask for your input on the sound design side of things. I will put a list of sounds below, please let me know what you think. I was thinking a couple of grand, but really value any input from you all.. thanks a lot for your time..&#xD;&#xA;&#xD;&#xA;	Debris falling&#xD;&#xA;&#xD;&#xA;	Two materials hitting each other (around 10 – 20 sounds, generic, can be used for different objects of same material, e.g. wood on metal)&#xD;&#xA;&#xD;&#xA;	Glass breaking&#xD;&#xA;&#xD;&#xA;	Opening doors&#xD;&#xA;&#xD;&#xA;	Slamming doors&#xD;&#xA;&#xD;&#xA;	Door knob turning&#xD;&#xA;&#xD;&#xA;	Windows opening&#xD;&#xA;&#xD;&#xA;	Running water (tap)&#xD;&#xA;&#xD;&#xA;	Fire crackling&#xD;&#xA;&#xD;&#xA;	Fire extinguisher spray (starting the spray, full/strong spray loop, running out spray, stop spray without running out)&#xD;&#xA;&#xD;&#xA;	Break and pulling out fire extinguisher pin&#xD;&#xA;&#xD;&#xA;	Footsteps&#xD;&#xA;&#xD;&#xA;	Crawling&#xD;&#xA;&#xD;&#xA;	Crouching&#xD;&#xA;&#xD;&#xA;	Breathing (normal, medium, heavy)&#xD;&#xA;&#xD;&#xA;	Coughing (light, medium, heavy)&#xD;&#xA;&#xD;&#xA;	Hurt/Gasp (for when the character gets too close to the fire)&#xD;&#xA;&#xD;&#xA;	Hurt/Yell/Grunt (for when the character is touching the fire)&#xD;&#xA;&#xD;&#xA;	Climbing down rope ladder&#xD;&#xA;&#xD;&#xA;	Rope ladder unfolding (and crash against side of house)&#xD;&#xA;&#xD;&#xA;	Phone dial tone&#xD;&#xA;&#xD;&#xA;	Phone button press&#xD;&#xA;&#xD;&#xA;	Voice saying “911.. What’s your emergency?”&#xD;&#xA;&#xD;&#xA;	Water glass klink&#xD;&#xA;&#xD;&#xA;	Water splash&#xD;&#xA;&#xD;&#xA;	Fire explosion http://www.youtube.com/watch?v=DhM8_wqd9CE (water poured on fire)&#xD;&#xA;https://www.youtube.com/watch?v=E0RgdYkc_Po 2:00&#xD;&#xA;	Baking soda box shaking&#xD;&#xA;&#xD;&#xA;	Turning knob on stove to off&#xD;&#xA;&#xD;&#xA;	Fire truck engine (idling, constant driving, accelerating)&#xD;&#xA;&#xD;&#xA;	Fire truck braking&#xD;&#xA;&#xD;&#xA;	Squealing tires&#xD;&#xA;&#xD;&#xA;	All 3 fire truck horns http://www.youtube.com/watch?v=MiK0M2dOSp0&#xD;&#xA;&#xD;&#xA;	Fire truck sirens&#xD;&#xA;&#xD;&#xA;	Radio noise, background muffled people speaking&#xD;&#xA;&#xD;&#xA;	Button clicks for menu (approximately 1 – 3 different noises&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32359" PostHistoryTypeId="1" PostId="19904" RevisionGUID="5a9707fc-f9e6-4c5c-8148-1b2b2ccda75e" CreationDate="2013-07-27T17:50:29.703" UserId="6246" Text="flat rate Quote for indy video game" ContentLicense="CC BY-SA 3.0" />
  <row Id="32360" PostHistoryTypeId="3" PostId="19904" RevisionGUID="5a9707fc-f9e6-4c5c-8148-1b2b2ccda75e" CreationDate="2013-07-27T17:50:29.703" UserId="6246" Text="&lt;quote&gt;&lt;video&gt;&lt;video-games&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32361" PostHistoryTypeId="2" PostId="19905" RevisionGUID="7cb5cef4-98ce-466b-9fa4-05da04b798b6" CreationDate="2013-07-27T20:06:16.597" UserId="3179" Text="Price it per sound effect (individual variations are also individual sound effects), multiply by the amount of sound effects to get the sum.&#xD;&#xA;&#xD;&#xA;Couple of grand is not an easy price for only those sound effects that you mention, unless the game is publishable and the developers have an idea of how much revenue it may generate. It may be too large price for the audio, compared to what other costs they may have (software, art). Depends entirely on how considerable title or developer is in question." ContentLicense="CC BY-SA 3.0" />
  <row Id="32364" PostHistoryTypeId="5" PostId="19905" RevisionGUID="1376726c-d8eb-43af-9db2-a30667633cde" CreationDate="2013-07-27T20:22:32.840" UserId="3179" Comment="added 123 characters in body; edited body" Text="Price it per sound effect (individual variations are also individual sound effects), multiply by the amount of sound effects to get the sum.&#xD;&#xA;&#xD;&#xA;Couple of grand is not an easy price for only those sound effects that you mention, unless the game is publishable and the developers have an idea of how much revenue it may generate. It may be too large price for the audio, compared to what other costs they may have (software, art). Depends entirely on how considerable title or developer is in question.&#xD;&#xA;&#xD;&#xA;E.g. if it's a mobile game that costs $0.99, then they'd need 1000-2000 downloads to break even just the cost of audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="32365" PostHistoryTypeId="2" PostId="19907" RevisionGUID="316eeb6c-4655-4d4d-94f3-c3dab9af3973" CreationDate="2013-07-28T04:20:42.123" UserId="6259" Text="Pretty Good quality 55 second splice of various drone sounds, search the 'ol 'Tube for:&#xD;&#xA;&#xD;&#xA; Oblivion Drone Sounds HIGH QUALITY.&#xD;&#xA;&#xD;&#xA;Never been here before but I'm guessing you guys know how to capture &amp; cut/splice/loop whatever you want from it. I prefer sound forge for that sort of stuff.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;REALLY hoping for a legit, clean share of the various drone audios from the developer, instead of having to rely on what others have pulled from the film.  Have looked exhaustively. Maybe some hope when the film actually releases to disc? Maybe someone has the ability to contact the right person?&#xD;&#xA;&#xD;&#xA;Keep looking guys. Are we such a marginal group to want access to this stuff?&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32366" PostHistoryTypeId="2" PostId="19908" RevisionGUID="d98fb064-dcb6-41b8-8331-9af7985dd984" CreationDate="2013-07-28T12:25:50.537" UserId="6464" Text="Hi guys&#xD;&#xA;&#xD;&#xA;Something that has a always perplexed me about wildlife documentaries is the sound design.&#xD;&#xA;&#xD;&#xA;Specifically David Attenborough ones such as Life and Frozen Planet - how do they record the sounds of the tiniest animals known to man? It literally amazes me when I watch them.&#xD;&#xA;&#xD;&#xA;I'd love to find out about the audio process in terms of location recording and post - but I can never find any information about it.&#xD;&#xA;&#xD;&#xA;Just wanted to share this and see what everyones thoughts are..." ContentLicense="CC BY-SA 3.0" />
  <row Id="32367" PostHistoryTypeId="1" PostId="19908" RevisionGUID="d98fb064-dcb6-41b8-8331-9af7985dd984" CreationDate="2013-07-28T12:25:50.537" UserId="6464" Text="BBC Documentary Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="32368" PostHistoryTypeId="3" PostId="19908" RevisionGUID="d98fb064-dcb6-41b8-8331-9af7985dd984" CreationDate="2013-07-28T12:25:50.537" UserId="6464" Text="&lt;documentary&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32369" PostHistoryTypeId="2" PostId="19909" RevisionGUID="4098e4a3-fb83-4ab1-865d-7a78971974a3" CreationDate="2013-07-28T12:34:08.537" UserId="3179" Text="Scientists/engineers have developed better microphones than what the pro audio market sees (although those are totally usable for most types of recording).&#xD;&#xA;&#xD;&#xA;Also, I believe some nature documentaries have fake animal sounds. I.e. it's the same gimmick as in films, believable sound, not realistic sound.&#xD;&#xA;&#xD;&#xA;Also, this is a common piece of technology in nature recording: http://en.wikipedia.org/wiki/Parabolic_microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="32370" PostHistoryTypeId="2" PostId="19910" RevisionGUID="5b8cc8e7-4d2e-44dc-85fe-6fc0c6707005" CreationDate="2013-07-28T13:11:23.860" UserId="834" Text="There are a number of techniques and mics that can be used.  Spaced omnis, reflectors, hydrophones, contact mics, soundfield mics to name a few are used to capture individual calls and ambiences. &#xD;&#xA;&#xD;&#xA;The Natural History Unit used to have a sound department until 2001 for capturing location sound but alas these days most of it seems to be stock sound, Foley or drenched in music.  They may send a sound recordist out for a couple of weeks throughout production to capture any special sounds for the program, or a producer will do it.  &#xD;&#xA;&#xD;&#xA;Bring back the NHU Sound Department that's what I say!&#xD;&#xA;&#xD;&#xA;See the works of Chris Watson, he's one of the leading recordists for a lot of these docs.  Won a few awards too!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32371" PostHistoryTypeId="2" PostId="19911" RevisionGUID="c1e28c19-c9a6-4842-86dc-21937d6e8bf6" CreationDate="2013-07-28T13:18:01.517" UserId="4057" Text="I'm interested to understand how people view the creative process that is Sound Design. Specifically, how it relates to Production Design and Audio Post Production activities. Also - what are the specific inputs to the creative process and what are the outputs. How do those outputs feed into Audio Post Production and other elements of the sound production process such as Soundtrack Composition?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Mark." ContentLicense="CC BY-SA 3.0" />
  <row Id="32372" PostHistoryTypeId="1" PostId="19911" RevisionGUID="c1e28c19-c9a6-4842-86dc-21937d6e8bf6" CreationDate="2013-07-28T13:18:01.517" UserId="4057" Text="Sound Design Creative Process - Inputs and Outputs" ContentLicense="CC BY-SA 3.0" />
  <row Id="32373" PostHistoryTypeId="3" PostId="19911" RevisionGUID="c1e28c19-c9a6-4842-86dc-21937d6e8bf6" CreationDate="2013-07-28T13:18:01.517" UserId="4057" Text="&lt;sound-design&gt;&lt;process&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32374" PostHistoryTypeId="2" PostId="19912" RevisionGUID="f52c94b9-afa9-4ffc-9332-ffbbc458ca8c" CreationDate="2013-07-28T16:32:25.707" UserId="1049" Text="Hi guys, more of a discussion than a question...&#xD;&#xA;&#xD;&#xA;Just watched a great little documentary &quot;When Bjork met Attenborough&quot;. Was a Channel 4 programme here in the UK. Not sure if it'll be available to those outside the UK but it's [on 4oD here][1]. Thought I'd mention it in case anyone had missed it; it's a perfect little programme for us soundies!!&#xD;&#xA;&#xD;&#xA;Essentially talks about how nature and the science of sound inspired Bjorks 'Biophilia' album and has some discussion of sound and nature between her and David Attenborough. &#xD;&#xA;&#xD;&#xA;There are some really interesting 'experimental instruments' used on her tours, such as pendulum-driven harps, and a tesla coil used to create a bassline. Bjork also had some aps developed to go alongside the album as a way of teaching and exploring sound and interacting with her music. &#xD;&#xA;&#xD;&#xA;Has anyone encountered these Biophilia aps, or used them in any sound design work? Anyone created their own bizarre sound-making machines?! Would love to know if anyone's created some device that they use regularly in their sound design work!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.channel4.com/programmes/when-bjork-met-attenborough/4od" ContentLicense="CC BY-SA 3.0" />
  <row Id="32375" PostHistoryTypeId="1" PostId="19912" RevisionGUID="f52c94b9-afa9-4ffc-9332-ffbbc458ca8c" CreationDate="2013-07-28T16:32:25.707" UserId="1049" Text=" When Bjork met Attenborough, Biophilia, the science of sound, and crazy home-made devices ! (?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32376" PostHistoryTypeId="3" PostId="19912" RevisionGUID="f52c94b9-afa9-4ffc-9332-ffbbc458ca8c" CreationDate="2013-07-28T16:32:25.707" UserId="1049" Text="&lt;app&gt;&lt;machine&gt;&lt;science&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32377" PostHistoryTypeId="2" PostId="19913" RevisionGUID="0faf021b-0d19-442f-b72b-d0ebf17b7ad5" CreationDate="2013-07-28T18:54:17.403" UserId="3179" Text="&gt; I'm interested to understand how&#xD;&#xA;&gt; people view the creative process that&#xD;&#xA;&gt; is Sound Design.&#xD;&#xA;&#xD;&#xA;I think &quot;creative process&quot; is undefined or varies from person to person and therefore may not be a very interesting or at least not a &quot;certainly answerable&quot; question.&#xD;&#xA;&#xD;&#xA;&gt; Specifically, how it&#xD;&#xA;&gt; relates to Production Design and Audio&#xD;&#xA;&gt; Post Production activities.&#xD;&#xA;&#xD;&#xA;I think that production design and sound design are two separate things and there are different people or teams designated to them. I also claim that production design precedes everything, it defines &quot;what the production is about and what everyone else will be doing&quot;, i.e. sets the thematic and stylistic groundwork for the whole production.&#xD;&#xA;&#xD;&#xA;Sound design can be thought to equal &quot;audio post production&quot;. Or it may be seen as a part of the overall &quot;audio post production activity&quot;. I think this is not a relevant question and may need to be specified more (i.e. what do you really want to know?).&#xD;&#xA;&#xD;&#xA;&gt; Also -&#xD;&#xA;&gt; what are the specific inputs to the&#xD;&#xA;&gt; creative process and what are the&#xD;&#xA;&gt; outputs. &#xD;&#xA;&#xD;&#xA;As of now I don't think anyone has been able to define &quot;creativity&quot;. It's a philosophical or an opinionated question. Unless we stick strictly to the &quot;dictionary definition&quot;.&#xD;&#xA;&#xD;&#xA;&gt; How do those outputs feed&#xD;&#xA;&gt; into Audio Post Production and other&#xD;&#xA;&gt; elements of the sound production&#xD;&#xA;&gt; process such as Soundtrack&#xD;&#xA;&gt; Composition?&#xD;&#xA;&#xD;&#xA;I think these both and all are human activities that work on a set specification and aim for a certain goal (a completed production).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32378" PostHistoryTypeId="2" PostId="19914" RevisionGUID="1816b2e9-b29e-4d9c-892d-8c43ae989994" CreationDate="2013-07-28T19:39:14.860" UserId="3396" Text="I am very confused ..." ContentLicense="CC BY-SA 3.0" />
  <row Id="32379" PostHistoryTypeId="2" PostId="19915" RevisionGUID="473ea4e6-b210-4798-b58c-8d492146a50d" CreationDate="2013-07-28T21:02:42.147" UserId="6407" Text="A lot of what you hear on Life, in particular, is foley and library sounds. Specifically the small animals as you mentioned and things like slow-mo sequences and long-range close-ups. There is a great deal of effort that goes into getting great location sound (parabolic mics etc), but the gloss is really made in post. Like Internet Human says, a lot of the sound is for effect and impact, so can be pretty unrealistic sometimes, but I'd argue it makes the programmes better. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32380" PostHistoryTypeId="2" PostId="19916" RevisionGUID="57285b07-c5bc-4e4e-8bc4-0f62d920ccd9" CreationDate="2013-07-28T21:54:32.860" UserId="6262" Text="I am curious what specific wire did the metalwork artist recommend to you?  To join bronze rods to stainless steel I would try one of two different ways: silver soldering via torch or bronze brazing via TIG.  I've used regular Silicon Bronze extensively to braze weld steel using TIG, but have read that you need a flux to braze/braze weld to stainless due to the chromium oxide layer present.&#xD;&#xA;&#xD;&#xA;As both a sound designer/engineer and a metal fabricator I've been wanting to build my own waterphone for a while now.  I'm just now starting the research phase, but these devices are rather simple in construction.  The main challenge seems to be joining the bronze to SS of course.  As always it's best to do some tester pieces before starting on a full size prototype.  No sense in wasting expensive materials on your first go around.&#xD;&#xA;&#xD;&#xA;Also copper rods would be a poor choice to replace bronze in this application.  It's way too soft and does not resonate very well at all.  Not to mention it gets dead soft when you heat it up enough to solder/braze/weld it, so the rods would probably bend too easily when playing.&#xD;&#xA;&#xD;&#xA;One thing to keep in mind about professional welders is that most of them only specialize in one area.  Like guys that do structural steel welding with wire feed/stick welders, or guys that only do aluminum with spool guns, or stainless steel with TIG only.  They work from prints and use the same machines/processes day in and day out because it's both what they know and what makes them money.  Now a metal artist on the other hand will typically work with every metal on the planet at some point.  As such they are much more versed on how to join dissimilar metals and via the various different processes.  Just different worlds as far as metal fab goes." ContentLicense="CC BY-SA 3.0" />
  <row Id="32381" PostHistoryTypeId="16" PostId="19916" RevisionGUID="57285b07-c5bc-4e4e-8bc4-0f62d920ccd9" CreationDate="2013-07-28T21:54:32.860" UserId="-1" />
  <row Id="32382" PostHistoryTypeId="4" PostId="19912" RevisionGUID="4ac070a7-f6ae-4aac-873d-3906b0dbff75" CreationDate="2013-07-29T12:16:36.347" UserId="1049" Comment="edited title" Text=" When Bjork met Attenborough, Biophilia, and crazy home-made devices ! (?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32383" PostHistoryTypeId="2" PostId="19917" RevisionGUID="065431c7-c146-43e0-8960-1f8e75111df9" CreationDate="2013-07-29T14:59:33.383" UserId="4442" Text="There are some pretty cool Things in here, but I feel like a lot of these do what Michael Norris spectral magic plug-ins do. They are free. I'm sure it is in no small part due to my very limited bag of tricks. It just seems that the price is very high for these. Thoughts from users or from those that chose other products? On OS X. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32384" PostHistoryTypeId="1" PostId="19917" RevisionGUID="065431c7-c146-43e0-8960-1f8e75111df9" CreationDate="2013-07-29T14:59:33.383" UserId="4442" Text="Is it me or are GRM tools really expensive?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32385" PostHistoryTypeId="3" PostId="19917" RevisionGUID="065431c7-c146-43e0-8960-1f8e75111df9" CreationDate="2013-07-29T14:59:33.383" UserId="4442" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32386" PostHistoryTypeId="2" PostId="19918" RevisionGUID="6c7cfc07-d851-4e05-976d-8b907a3c3668" CreationDate="2013-07-29T15:03:47.547" UserId="3179" Text="They are expensive, because they're a rarity in the plug-in market. I.e. it just happens to be that they've got a set of plug-ins that barely anyone else has considered replicating or just hasn't done it as well as the GRM plug-ins (there are some plug-ins that may be &quot;sort of&quot; the same, but not the same. The Michael Norris plug-in pack is exceptional in the sense that it's been made available completely free, when it could be as well sold for e.g. 50% of the price of the GRM pack, and people would probably buy it.). In the case that the product is unique or a rarity it's very easy to set a premium price for the product.&#xD;&#xA;&#xD;&#xA;For the same reason Pro Tools is expensive, because &quot;it's considered to be&quot; an exceptional piece of software (used by everyone etc.), thus a premium price." ContentLicense="CC BY-SA 3.0" />
  <row Id="32387" PostHistoryTypeId="2" PostId="19919" RevisionGUID="7915cde7-c13b-4e3c-9311-8612d69d52be" CreationDate="2013-07-29T17:03:48.783" UserId="6265" Text="They may be somewhat expensive, but I could never live without them. I've gotten more sounds out of, say, GRM Freeze than just about any other plug-in I own (and I own quite a few), and while I haven't quite fallen for the new spectral tools, classics like GRM Delays, GRM Doppler and GRM PitchAccum are, to me, indispensable. I also really like their Bandpass filter, and have gotten some pretty unusual stuff out of GRM Contrast.&#xD;&#xA;&#xD;&#xA;In short: I think I'd just about pay the full price for Freeze alone. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32388" PostHistoryTypeId="2" PostId="19920" RevisionGUID="6259c39a-0d8e-44ad-b4e7-0853b2c608df" CreationDate="2013-07-29T18:48:14.123" UserId="5526" Text="I have long adored the GRM Tools Classic Tools plug-ins. Bandpass has a wonderful resonance at the cutoff frequencies and is very useful. Doppler is still the best for automating movements. Shuffle is a very nice texture-izer. Freeze is unique. Among the more recent releases I've been using Contrast a lot lately too. They are well worth their cost, the Classic Tools from dontcrack.com are $289." ContentLicense="CC BY-SA 3.0" />
  <row Id="32389" PostHistoryTypeId="2" PostId="19921" RevisionGUID="8636c15b-b6f5-42e3-a6cf-78ad09114003" CreationDate="2013-07-29T21:24:27.050" UserId="930" Text="I've got to agree with the consesus here, and say that they may be expensive, but they are worth it.&#xD;&#xA;&#xD;&#xA;They can give you the ability to create some truly unique sounds that can not be created using other plug ins. &#xD;&#xA;&#xD;&#xA;Their unique take on the automation settings as well deserve a mention here too, as they make it so easy to glide between snapshots and create sounds with more movement/variation in them.&#xD;&#xA;&#xD;&#xA;Amazing stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="32390" PostHistoryTypeId="2" PostId="19922" RevisionGUID="72ad20a0-865e-46d0-8e1d-bd257c30d201" CreationDate="2013-07-29T22:42:52.177" UserId="243" Text="Hi guys I struggling to think of how to create the sound of horses galloping, I can create the sounds individually by banging two objects together in cycles of threes to create that &quot;doo doo doof&quot; thud. Any ideas? I need to recreate a tumble drier so I was thinking of using a swimming pool pie and swinging it around to create the whirry sound and taking a metal box and put 2 loose objects inside and swirling the box around to create the sound of objects in the drum. I don't know how I'm going to record a laser blast or beam! also the sound of a tree cracking before it falls?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32391" PostHistoryTypeId="1" PostId="19922" RevisionGUID="72ad20a0-865e-46d0-8e1d-bd257c30d201" CreationDate="2013-07-29T22:42:52.177" UserId="243" Text="foley sounds need advice" ContentLicense="CC BY-SA 3.0" />
  <row Id="32392" PostHistoryTypeId="3" PostId="19922" RevisionGUID="72ad20a0-865e-46d0-8e1d-bd257c30d201" CreationDate="2013-07-29T22:42:52.177" UserId="243" Text="&lt;foley&gt;&lt;sound-effects-recording&gt;&lt;horses&gt;&lt;recording&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32393" PostHistoryTypeId="2" PostId="19923" RevisionGUID="63064d79-3334-48ae-9f86-949fc3b5277f" CreationDate="2013-07-29T23:20:34.313" UserId="315" Text="As for the horse, you can watch a top artist doing it [here][1].&#xD;&#xA;&#xD;&#xA;The dryer, why not record a real dryer drum. Just open one up and spin by hand. I've done this before. Sweeten it with the metal box idea. Usually the simplest idea is the best.&#xD;&#xA;&#xD;&#xA;Laser beam...you should probably do something that no one suggests...that way it's original :) Old school method would be to contact mic a very large spring or cable.&#xD;&#xA;&#xD;&#xA;The sound of a tree cracking: soak a towel in water, put it in the freezer overnight and crack away. Pitch shift real wood/bark cracks. Go out in the woods and find a large tree branch that has fallen, pick it up and drop it again.&#xD;&#xA;&#xD;&#xA;Don't be afraid to experiment, I usually end up recording a ton of stuff before I stumble upon the right sound. Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/11436985" ContentLicense="CC BY-SA 3.0" />
  <row Id="32394" PostHistoryTypeId="2" PostId="19924" RevisionGUID="154ec233-0a6b-433e-a922-a2944b927f20" CreationDate="2013-07-29T23:32:54.757" UserId="3979" Text="Hey Everyone, I could REALLY use some help with this one. I've just started working on my first real feature film, and unfortunately the sound in the OMF given to me is a WRECK. My biggest issue is some audio files are EXTREMELY quiet and when I try to gain stage them (PT 10 using the clip gain feature) the audio wave only expands downward, the top seems to 'flat line' (like clipping) right at the zero crossing line and in some cases I can clearly see the zero crossing line above the wave form.&#xD;&#xA;&#xD;&#xA;Is this DC offset? I've NEVER had to deal with DC offset before....&#xD;&#xA;&#xD;&#xA;If so, how can I fix this is Pro Tools 10?&#xD;&#xA;&#xD;&#xA;Thanks guys!!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32395" PostHistoryTypeId="1" PostId="19924" RevisionGUID="154ec233-0a6b-433e-a922-a2944b927f20" CreationDate="2013-07-29T23:32:54.757" UserId="3979" Text="Urgent Issue - DC Offset?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32396" PostHistoryTypeId="3" PostId="19924" RevisionGUID="154ec233-0a6b-433e-a922-a2944b927f20" CreationDate="2013-07-29T23:32:54.757" UserId="3979" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32397" PostHistoryTypeId="5" PostId="19923" RevisionGUID="bf989f7c-8914-441f-93e2-1dd4928bd9ac" CreationDate="2013-07-29T23:43:03.310" UserId="315" Comment="added 68 characters in body; added 12 characters in body" Text="As for the horse, you can watch a top artist doing it [here][1].&#xD;&#xA;&#xD;&#xA;The dryer, why not record a real dryer drum. Just open one up and spin by hand. I've done this before. Sweeten it with the metal box idea. Usually the simplest idea is the best.&#xD;&#xA;&#xD;&#xA;Laser beam...you should probably do something that no one suggests...that way it's original :) Old school method would be to contact mic a very large spring or cable. Usually this sort of design work isn't covered by Foley by the way.&#xD;&#xA;&#xD;&#xA;The sound of a tree cracking: soak a towel in water, put it in the freezer overnight and crack away. Pitch shift real wood/bark cracks. Go out in the woods and find a large tree branch that has fallen, pick it up and drop it again.&#xD;&#xA;&#xD;&#xA;Don't be afraid to experiment, I usually end up recording a ton of stuff before I stumble upon the right (hopefully) sound. Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/11436985" ContentLicense="CC BY-SA 3.0" />
  <row Id="32398" PostHistoryTypeId="5" PostId="19923" RevisionGUID="aa9485dd-9526-428e-b596-9c76a591dcc2" CreationDate="2013-07-29T23:48:44.820" UserId="315" Comment="added 86 characters in body" Text="As for the horse, you can watch a top artist doing it [here][1].&#xD;&#xA;&#xD;&#xA;The dryer, why not record a real dryer drum. Just open one up and spin by hand. I've done this before. Sweeten it with the metal box idea. Usually the simplest idea is the best.&#xD;&#xA;&#xD;&#xA;Laser beam...you should probably do something that no one suggests...that way it's original :) Old school method would be to contact mic a very large spring or cable. Usually this sort of design work isn't covered by Foley by the way.&#xD;&#xA;&#xD;&#xA;The sound of a tree cracking: soak a towel in water, put it in the freezer overnight and crack away. Pitch shift real wood/bark cracks. Go out in the woods and find a large tree branch that has fallen, pick it up and drop it again.&#xD;&#xA;&#xD;&#xA;Don't be afraid to experiment, I usually end up recording a ton of stuff before I stumble upon the right (hopefully) sound. There is so much trial and error in this field, and your can learn a lot from errors. Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/11436985" ContentLicense="CC BY-SA 3.0" />
  <row Id="32399" PostHistoryTypeId="2" PostId="19925" RevisionGUID="97a6f1c1-1bc5-48a2-b43d-7cfb84abdd85" CreationDate="2013-07-30T00:07:09.343" UserId="1228" Text="It may be extreme DC offset, or a rectified waveform.  Hard to tell unless you link to a picture.&#xD;&#xA;&#xD;&#xA;Depending upon what the situation is there may be options, but first we need to see the waveform to find out what's really going in in my opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="32400" PostHistoryTypeId="2" PostId="19926" RevisionGUID="6792fee0-2581-4458-b490-7e64674cc7f6" CreationDate="2013-07-30T02:29:22.783" UserDisplayName="user49" Text="How do you decide what a fair price is for a set of plugins? Comparing them to a free set isn't really fair, as there is no obligation for the developer to update or support free plugs... Plugins are an investment, ideally you buy the ones that you will actually use and at least with software as far as accounting goes they are a good tax write off! And as others have said, there is a lot of unique value in GRM Tools. I've been using them since when they were TDM only, now THAT was cost prohibitive!!&#xD;&#xA;&#xD;&#xA;Also GREAT to see they have abandoned iLok! So far it only applies to new purchases but I understand it will be applied to previously purchased plugs too! Excellent - good riddance iLok!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32401" PostHistoryTypeId="2" PostId="19927" RevisionGUID="0f9167ad-823e-4985-bd0b-f1d1c72b1adc" CreationDate="2013-07-30T02:38:58.147" UserDisplayName="user49" Text="If considering going to tape, one option might be to use a Tape Echo e.g. a Roland 201 Space Echo, but use it with no delay &amp; no feedback, so the dialogue is effectively being printed to tape &amp; replayed - there will be some delay, between record head &amp; replay head, so you would have to print it &amp; then resync it, but the delay should be consistent. Might be worth renting a 201 space echo for a week, each tape loop is meant to be good for 300 hours...." ContentLicense="CC BY-SA 3.0" />
  <row Id="32402" PostHistoryTypeId="2" PostId="19928" RevisionGUID="73f6217f-25e2-4955-81a5-733fb5f944a0" CreationDate="2013-07-30T05:28:50.687" UserId="182" Text="This could also be a faulty cable, where the positive (hot) part of a balanced signal did not arrive at the recorder.&#xD;&#xA;&#xD;&#xA;Typically, DC offset means a signal is centered around a value other than 0, so when looking at the waveform, you see that even when nothing is playing, the waveform is consistently higher than 0 in case of a positive offset, or lower in case of a negative offset.&#xD;&#xA;&#xD;&#xA;There are DC-offset filters that don't harm the sound otherwise, essentially it's a high-pass filter set to 0 Hz - DC offset is a 0 Hz signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="32403" PostHistoryTypeId="2" PostId="19929" RevisionGUID="5e3b70be-86f3-41a5-b044-9d6b88090990" CreationDate="2013-07-30T05:52:46.970" UserId="5526" Text="Good discussion about DC Offset here on the DUC:&#xD;&#xA;&#xD;&#xA;http://duc.avid.com/showthread.php?t=193739&#xD;&#xA;&#xD;&#xA;There could be something wrong with the preamp or mic wiring. &#xD;&#xA;&#xD;&#xA;Try using the AudioSuite plug-in to remove the offset. If it doesn't do the trick, maybe it's not strictly a DC offset. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32404" PostHistoryTypeId="2" PostId="19930" RevisionGUID="ba85d283-a595-4040-93f3-78ad629fe938" CreationDate="2013-07-30T09:00:08.727" UserId="6464" Text="As for the laser sound - try out the slinky trick. Get a metal (not plastic) slinky and stretch it out either horizontally or vertically and place a mic just in-between one of the coils and tap one of the stretched out ends. Zoooom :-) I've used this trick for my dissertation project - check it our [here][1] &#xD;&#xA;&#xD;&#xA;As for the tree falling sound, I managed to create a very cool sound completely by accident. Get a roll of Sellotape - record a few seconds of it being stretched out - time stretch it about 100% (experiment with the amount) and it should start to sound like tree snapping and falling :-) let me know if this works for you. Have fun with it!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/65374602" ContentLicense="CC BY-SA 3.0" />
  <row Id="32405" PostHistoryTypeId="2" PostId="19931" RevisionGUID="9a84abf3-3023-486e-aa0c-8262652d09b2" CreationDate="2013-07-30T09:01:29.703" UserId="6268" Text="Exactly what you guys want.. Download direct from my Google drive&#xD;&#xA;&#xD;&#xA;https://docs.google.com/folder/d/0B5LOh5HYjbe2N2ZGZE01c1BncTQ/edit " ContentLicense="CC BY-SA 3.0" />
  <row Id="32406" PostHistoryTypeId="2" PostId="19932" RevisionGUID="ea19a2e0-244d-49b3-babd-eaa07a583f49" CreationDate="2013-07-30T09:44:27.500" UserId="6407" Text="Hey JM,&#xD;&#xA;&#xD;&#xA;The horse is a classic! If you've not seen Monty Python and the Holy Grail then I highly recommend it. For many reasons, but the constant gag of using coconut shells as horse hooves is brilliant. And for us foley folk, practical.&#xD;&#xA;&#xD;&#xA;Like Justin says the dryer seems like a no brainer, record a real one and perhaps layer it with the ideas you've mentioned. &#xD;&#xA;&#xD;&#xA;Lazer. This one is much more ambiguous and lots of people would argue a thousand ways of starting it. To be honest I would go down a synthesised route and not really do it with foley (but I'm sure many people would argue with that).&#xD;&#xA;&#xD;&#xA;Tree cracking. Get some branches/bark and crack slowly into a foley pit with earth in it. Also maybe try it with celery and pitch that down for extra 'crack'.&#xD;&#xA;&#xD;&#xA;Best of luck with it, some awesome/classic sounds to get there.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="32407" PostHistoryTypeId="2" PostId="19933" RevisionGUID="b7d721da-8c0d-475f-a446-e7c94f2e4bf2" CreationDate="2013-07-30T10:20:05.803" UserId="5957" Text="I used Ableton Live 8 for some dialogue editing for an iPad game and now I'm coming up to the stage where I'll need to render the edits as individual WAVs.&#xD;&#xA;&#xD;&#xA;The sounds are very short (quick &quot;oohs&quot; and &quot;aahs&quot; generally), but there are a lot of them (315) and I'm shuddering at the though of going File&gt;Export&gt;Render Settings&gt;Name File&gt;Export 315 times.&#xD;&#xA;&#xD;&#xA;I want to be able to render the many clips separately, with automatic file naming if possible (ooh 1, ooh 2, ooh 3 etc).&#xD;&#xA;&#xD;&#xA;Any suggestions? Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32408" PostHistoryTypeId="1" PostId="19933" RevisionGUID="b7d721da-8c0d-475f-a446-e7c94f2e4bf2" CreationDate="2013-07-30T10:20:05.803" UserId="5957" Text="Render Multiple Clips Simultaneously" ContentLicense="CC BY-SA 3.0" />
  <row Id="32409" PostHistoryTypeId="3" PostId="19933" RevisionGUID="b7d721da-8c0d-475f-a446-e7c94f2e4bf2" CreationDate="2013-07-30T10:20:05.803" UserId="5957" Text="&lt;ableton-live&gt;&lt;dialogue&gt;&lt;exporting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32410" PostHistoryTypeId="2" PostId="19934" RevisionGUID="02a69c97-a887-40c0-89f4-0b506d0e628a" CreationDate="2013-07-30T14:05:21.337" UserId="6208" Text="Hey there!&#xD;&#xA;&#xD;&#xA;If you have Protools:&#xD;&#xA;&#xD;&#xA;Export all the files in one sample.&#xD;&#xA;Import them in protools and use strip silence ore tap to transient to cut out the needed samples. then use the export function in the filebrowser of protools to export the 315 samples.&#xD;&#xA;&#xD;&#xA;If you do not have Protools: you have troubles! Workaround:&#xD;&#xA;&#xD;&#xA;You could try to treat the samples in a small way. for example reverse them twice. then you will find them in the temporary file browser as far as i know.&#xD;&#xA;&#xD;&#xA;good luck, and get a cheap version of protools if you do not have (m powered version is like 40 euro)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32411" PostHistoryTypeId="2" PostId="19935" RevisionGUID="15f2b9ad-176a-42ad-9cb9-7ea10e2ad72a" CreationDate="2013-07-30T14:24:08.037" UserId="6208" Text="If you want to synt the laser:&#xD;&#xA;&#xD;&#xA;If it is a shooting laser:&#xD;&#xA;&#xD;&#xA;Get a mettalic, somewhat dissonant soundsource with fm or wavetable synth. Use a pitch envelope the get the piuuu. Then use a filter lp/bp with another decaying envelope. experiemnt with resoanze till you get a pleasant piuuu.&#xD;&#xA;Try to layer it with some textures out of Omnisphere or whatever if it need some more life.&#xD;&#xA;Granulize and autoamte fitlers to let the shot disolve at the end.&#xD;&#xA;&#xD;&#xA;To treat the sample you should go for a Doubbler Effect. it can work wonders! Especially the Wave Doubbler has some cool presets as a starting point.&#xD;&#xA;&#xD;&#xA;Instead of envelopes you can use Sawtooth alike LFOs. so you can get the effect of a &quot;railgun laser&quot;&#xD;&#xA;&#xD;&#xA;then use reverb and shelfing eqs to get the desired distance to position it in the sound field!&#xD;&#xA;&#xD;&#xA;If it is a static laser you want to synth a sustained/modulated sound:&#xD;&#xA;&#xD;&#xA;Get a synth and build a dissonant metallic soudnsource, double it and slighty hcange the pitch to get some phasing. Get tons of  unsynced modulation on pitch, filter and maybe vibrato.&#xD;&#xA;&#xD;&#xA;find nice organic textures that have a bright, shining feel to it. and layer them over the sound. treat with doubbler and reverb and remove any heave bass.&#xD;&#xA;&#xD;&#xA;i hope this gives you a starting point to get a laser. gl&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32412" PostHistoryTypeId="5" PostId="18527" RevisionGUID="e5924d57-6721-4df5-ac2a-2f84f66433ce" CreationDate="2013-07-30T15:53:35.593" UserId="3908" Comment="added 3061 characters in body; added 1 characters in body" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;First I would like to say that I really love this place. As a sounddesign student, social sounddesign has been invaluable and a great inspiration! Thanks to all of you for that!&#xD;&#xA;&#xD;&#xA;Now, on with the subject :-)&#xD;&#xA;&#xD;&#xA;I would like to start a brainstorm on selecting and testing different materials for a DIY Aquaphone. I found one online, but was not really charmed by it. This guy seemed to use very low resonance materials and soldered it as opposed to welding. In the end it produced a scratchy not so charming sound with alsmost no sustain. This could also be functional for a difference purpose of course, but I'm specificly aiming for a nice long ring and good resonance, just a nice round sound. So, I would like to select materials accordingly.&#xD;&#xA;&#xD;&#xA;I have found that the best choice for the base of the aquaphone would probably be compareable to those pans that really give a nice ring when excited by hitting it and also pitch modulate that sound through moving a bit of water inside the pan. Allthough I have no idea what they are made of, some materials proven to do this better than others. I can imagine this has to do with the density of the materials molecules and thus affecting the resistance soundwaves encounter when traveling through it. In my case it is a very cheap little saucepan.&#xD;&#xA;&#xD;&#xA;I plan to buy another one and ask someone with welding experience what the possibilities are as it will most likely be a composite material. The idea is to weld those 2 saucepans together to get the base of the instrument. I also fear that it will be hard to get a neat round hole in one of the pan bottoms, for the handle to be put in later. I imagine using a ironcutter will get kinda messy.&#xD;&#xA;&#xD;&#xA;In the DIY I found online the guy uses straightened clothes hangers soldered on the rim of the base to be bowed or hit. I would like to use somethign thicker, better sounding.&#xD;&#xA;&#xD;&#xA;The thing I'm not sure about is, how I should test different type of metal bars without adding a sound producing element. Can I go to a construction market with my violin bow and just see which materials appear to generate the most friction and vibration? Is this a good criteria without actually hearing anything? &#xD;&#xA;&#xD;&#xA;So my most important question would be: &#xD;&#xA;&#xD;&#xA;How do i test the acoustic properties (relevant to this specific purpose) of different materials without having it welded to the final resonating chamber? &#xD;&#xA;&#xD;&#xA;Are there any tables which give me the speed in which sound can advance through different materials and go with the one that has the least amount of resistance/highest speed/higher density/lower density? How would that relate to thickness/length and welding points. I have so many questions I can't stand it! &#xD;&#xA;&#xD;&#xA;I know it's an ambitious plan but I have faith and thought this forum to be a good place to share ideas on this! Maybe I missed some really important things or some info that will answer some of my questions, so any ideas, recommended reads in particular or help in any way is much appreciated! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks for reading! (english is not my first, so i'm sorry if this was a tough read) &#xD;&#xA;&#xD;&#xA;Tom.&#xD;&#xA;&#xD;&#xA;DIY the way i dont want to do it: http://www.instructables.com/id/The-Aquaharp/&#xD;&#xA;&#xD;&#xA;the real deal: &#xD;&#xA;http://www.youtube.com/watch?v=2n5jIqX63ok&#xD;&#xA;&#xD;&#xA;http://www.waterphone.com/&#xD;&#xA;&#xD;&#xA;Update &#xD;&#xA;&#xD;&#xA;the base is made of stainless steel (kind of obvious now i think of it.) and the rods are made of bronze. I called a metalworker and he told me that those cannot be welded together so it's going to be a mechanical connection. This raises questions, should I use screw-thread with bolts or some other connecting element. The bronze will set me back about 100 euros so its too expensive to just go and screw around. :) I need those questions answered before i start sawing and cuttin into the bronze. This also means i have to know the lengths of the rods before connecting them as i think shortening them after will put too much of a strain on the rest of the construction. This is a bummer because I was hoping to tune them as I go along.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;once again i was misled by my own chaotic mind :) The aquaphone is, in fact welded. As shown on images on the official website. Can't believe i missed that! Luckily i found a metalwork-artist willing to test how strong the connection will be when welding bronze on to stainless steel.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;The metalwork artist I contacted told me that there is special kind of welding wire used to weld bronze onto stainless steel.  I find this hilarious because it shows that you need a fellow art freak to get this kind of information, rather than asking a professional welder, who told me this was not possible at all!&#xD;&#xA;&#xD;&#xA;Sadly this welding wire is also quite expensive, but it is possible! So far my research gives me enough options to actually do this. However, because of the high costs, estimated around 300 euros for the entire project. Im also thinking about a less expensive prototype with different, less expensive materials. I know 300 euros is still way cheaper than buying one (1700,- euros) But I am also saving up for Adam a7x's :p Soooo, yeah.. not really swimming in cash atm :p&#xD;&#xA;&#xD;&#xA;Which brings me back to my first question; How do I find out what other materials have compareable properties to bronze in a waterphone setup? How do i test this without having to make a prototype with all materials included? I can only think of copper to be a good second candidate but copper is not alot cheaper than bronze so thats not a viable option. &#xD;&#xA;&#xD;&#xA;I'm beginning to understand why one would build a crappy version first, getting comfortable with the construction process and than build one with all the fine expensive materials. &#xD;&#xA;&#xD;&#xA;update 30-07-13&#xD;&#xA;&#xD;&#xA;I have to say guys, I am not done with this project by a long shot. It is really ambitious and naive to think one can do this from scratch without any knowledge on metalworking. It is awesome to find out all these things about metal working I have never heard of though. I definitely found myself a new interest. I do plan on starting practice with forming metal sheets and torch welding. So someday I MIGHT be able to learn and make something that comes in the vicinity of the video that Lenny Paul posted. &#xD;&#xA;&#xD;&#xA;For now I have planned on doing it budget style and I am looking for SS materials that come as close to what I find suiting. The best option for the base I have found so far are SS feeding bowls for dogs. I found some that seem to have a suitable rim and, if not too thick, resonate quite nice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I listened to alot of SS bowls/dishes and similar kitchen stuff and I think most of them showed the needed properties. The thing with bowls/dishes was that most of em have a curved or unequal rim and I figured it would be a problem getting the rods on that. Also, I would prefer to have the top flattened and the bottom rounded. I am still looking for something that will fit on the bottom that has the same diameter and also suitable rim. If I cannot find that I will just place two of the same on top of each other and deal with that.&#xD;&#xA;&#xD;&#xA;There are prettier options but I feel that if I'm becoming picky I might as well make a computer model and put in a custom order. I might still do that, but only if its not too expensive. If it is I will postpone that option for when I really want to invest and also do the bronze rods. By then, I might even have the ability to get my freak on with some metal sheets and make it a fully autonomous hobby project..&#xD;&#xA;&#xD;&#xA;Concerning the SS materials; Making the hole in the top will not be a problem I think. I need to find the right saw for that but that seems not to hard to accomplish. For fixing the rods I will try a similar approach as the metal worker did in the video that was posted. I thought of slightly flattening the rods on one side so when hanging them through the holes in the rim of the base they won't fall through. And then just weld them..&#xD;&#xA;&#xD;&#xA;The material for the rods will probably also just be SS. I have not thought of any good alternative other than bronze and I am definitely not using that this first go.&#xD;&#xA;&#xD;&#xA;lingering questions; &#xD;&#xA;&#xD;&#xA;1. I would like to find some length indications for the rods.&#xD;&#xA;2. I wonder if SS rods will work. Should test one when I have the base ready. which emphasizes my wish for my own torch welder and the ability to practice that because now I would have to visit a metalworker for every single thing I'd like to test. I find that a bit awkward and is probably also expensive.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Well, I thought I'd update a bit. Also hoping that some may have some feedback on my findings/questions.&#xD;&#xA;&#xD;&#xA;So far, all your responses where very helpful and cleared a lot of things up for me. I am very glad to have posted this here. &#xD;&#xA;Thanks to all of you!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32413" PostHistoryTypeId="5" PostId="18527" RevisionGUID="7f1cc077-5e3d-49c7-8363-2fa9c21bcb2f" CreationDate="2013-07-30T16:01:12.827" UserId="3908" Comment="deleted 8 characters in body" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;First I would like to say that I really love this place. As a sounddesign student, social sounddesign has been invaluable and a great inspiration! Thanks to all of you for that!&#xD;&#xA;&#xD;&#xA;Now, on with the subject :-)&#xD;&#xA;&#xD;&#xA;I would like to start a brainstorm on selecting and testing different materials for a DIY Aquaphone. I found one online, but was not really charmed by it. This guy seemed to use very low resonance materials and soldered it as opposed to welding. In the end it produced a scratchy not so charming sound with alsmost no sustain. This could also be functional for a difference purpose of course, but I'm specificly aiming for a nice long ring and good resonance, just a nice round sound. So, I would like to select materials accordingly.&#xD;&#xA;&#xD;&#xA;I have found that the best choice for the base of the aquaphone would probably be compareable to those pans that really give a nice ring when excited by hitting it and also pitch modulate that sound through moving a bit of water inside the pan. Allthough I have no idea what they are made of, some materials proven to do this better than others. I can imagine this has to do with the density of the materials molecules and thus affecting the resistance soundwaves encounter when traveling through it. In my case it is a very cheap little saucepan.&#xD;&#xA;&#xD;&#xA;I plan to buy another one and ask someone with welding experience what the possibilities are as it will most likely be a composite material. The idea is to weld those 2 saucepans together to get the base of the instrument. I also fear that it will be hard to get a neat round hole in one of the pan bottoms, for the handle to be put in later. I imagine using a ironcutter will get kinda messy.&#xD;&#xA;&#xD;&#xA;In the DIY I found online the guy uses straightened clothes hangers soldered on the rim of the base to be bowed or hit. I would like to use somethign thicker, better sounding.&#xD;&#xA;&#xD;&#xA;The thing I'm not sure about is, how I should test different type of metal bars without adding a sound producing element. Can I go to a construction market with my violin bow and just see which materials appear to generate the most friction and vibration? Is this a good criteria without actually hearing anything? &#xD;&#xA;&#xD;&#xA;So my most important question would be: &#xD;&#xA;&#xD;&#xA;How do i test the acoustic properties (relevant to this specific purpose) of different materials without having it welded to the final resonating chamber? &#xD;&#xA;&#xD;&#xA;Are there any tables which give me the speed in which sound can advance through different materials and go with the one that has the least amount of resistance/highest speed/higher density/lower density? How would that relate to thickness/length and welding points. I have so many questions I can't stand it! &#xD;&#xA;&#xD;&#xA;I know it's an ambitious plan but I have faith and thought this forum to be a good place to share ideas on this! Maybe I missed some really important things or some info that will answer some of my questions, so any ideas, recommended reads in particular or help in any way is much appreciated! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks for reading! (english is not my first, so i'm sorry if this was a tough read) &#xD;&#xA;&#xD;&#xA;Tom.&#xD;&#xA;&#xD;&#xA;DIY the way i dont want to do it: http://www.instructables.com/id/The-Aquaharp/&#xD;&#xA;&#xD;&#xA;the real deal: &#xD;&#xA;http://www.youtube.com/watch?v=2n5jIqX63ok&#xD;&#xA;&#xD;&#xA;http://www.waterphone.com/&#xD;&#xA;&#xD;&#xA;Update &#xD;&#xA;&#xD;&#xA;the base is made of stainless steel (kind of obvious now i think of it.) and the rods are made of bronze. I called a metalworker and he told me that those cannot be welded together so it's going to be a mechanical connection. This raises questions, should I use screw-thread with bolts or some other connecting element. The bronze will set me back about 100 euros so its too expensive to just go and screw around. :) I need those questions answered before i start sawing and cuttin into the bronze. This also means i have to know the lengths of the rods before connecting them as i think shortening them after will put too much of a strain on the rest of the construction. This is a bummer because I was hoping to tune them as I go along.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;once again i was misled by my own chaotic mind :) The aquaphone is, in fact welded. As shown on images on the official website. Can't believe i missed that! Luckily i found a metalwork-artist willing to test how strong the connection will be when welding bronze on to stainless steel.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;The metalwork artist I contacted told me that there is special kind of welding wire used to weld bronze onto stainless steel.  I find this hilarious because it shows that you need a fellow art freak to get this kind of information, rather than asking a professional welder, who told me this was not possible at all!&#xD;&#xA;&#xD;&#xA;Sadly this welding wire is also quite expensive, but it is possible! So far my research gives me enough options to actually do this. However, because of the high costs, estimated around 300 euros for the entire project. Im also thinking about a less expensive prototype with different, less expensive materials. I know 300 euros is still way cheaper than buying one (1700,- euros) But I am also saving up for Adam a7x's :p Soooo, yeah.. not really swimming in cash atm :p&#xD;&#xA;&#xD;&#xA;Which brings me back to my first question; How do I find out what other materials have compareable properties to bronze in a waterphone setup? How do i test this without having to make a prototype with all materials included? I can only think of copper to be a good second candidate but copper is not alot cheaper than bronze so thats not a viable option. &#xD;&#xA;&#xD;&#xA;I'm beginning to understand why one would build a crappy version first, getting comfortable with the construction process and than build one with all the fine expensive materials. &#xD;&#xA;&#xD;&#xA;update 30-07-13&#xD;&#xA;&#xD;&#xA;I have to say guys, I am not done with this project by a long shot. It is really ambitious and naive to think one can do this from scratch without any knowledge on metalworking. It is awesome to find out all these things about metal working I have never heard of though. I definitely found myself a new interest. I do plan on starting practice with forming metal sheets and torch welding. So someday I MIGHT be able to learn and make something that comes in the vicinity of the video that Lenny Paul posted. &#xD;&#xA;&#xD;&#xA;For now I have planned on doing it budget style and I am looking for SS materials that come as close to what I find suiting. The best option for the base I have found so far are SS feeding bowls for dogs. I found some that seem to have a suitable rim and, if not too thick, resonate quite nice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I listened to alot of SS bowls/dishes and similar kitchen stuff and I think most of them showed the needed properties. The thing with bowls/dishes was that most of em have a curved or unequal rim and I figured it would be a problem getting the rods on that. Also, I would prefer to have the top flattened and the bottom rounded. I am still looking for something that will fit on the bottom that has the same diameter and also suitable rim. If I cannot find that I will just place two of the same on top of each other and deal with that.&#xD;&#xA;&#xD;&#xA;There are prettier options but I feel that if I'm becoming picky I might as well make a computer model and put in a custom order. I might still do that, but only if its not too expensive. If it is I will postpone that option for when I really want to invest and also do the bronze rods. By then, I might even have the ability to get my freak on with some metal sheets and make it a fully autonomous hobby project..&#xD;&#xA;&#xD;&#xA;Concerning the SS materials; Making the hole in the top will not be a problem I think. I need to find the right saw for that but that seems not to hard to accomplish. For fixing the rods I will try a similar approach as the metal worker did in the video that was posted. I thought of slightly flattening the rods on one side so when hanging them through the holes in the rim of the base they won't fall through. And then just weld them..&#xD;&#xA;&#xD;&#xA;The material for the rods will probably also just be SS. I have not thought of any good alternative other than bronze and I am definitely not using that this first go.&#xD;&#xA;&#xD;&#xA;lingering questions; &#xD;&#xA;&#xD;&#xA;1. I would like to find some length indications for the rods.&#xD;&#xA;2. I wonder if SS rods will work. Should test one when I have the base ready. which emphasizes my wish for my own torch welder and the ability to practice that because now I would have to visit a metalworker for every single thing I'd like to test. I find that a bit awkward and is probably also expensive.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Well, I thought I'd update a bit. Also hoping that some may have some feedback on my findings/questions.&#xD;&#xA;&#xD;&#xA;All your responses where very helpful and cleared a lot of things up for me. I am very glad to have posted this here. &#xD;&#xA;Thanks to all of you!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32414" PostHistoryTypeId="2" PostId="19936" RevisionGUID="ae291802-1129-406c-81f9-d966de47e55b" CreationDate="2013-07-30T16:45:56.017" UserId="6460" Text="I took a look through Ableton and it is possible, though potentially more time-consuming depending upon how you have your session set up. &#xD;&#xA;&#xD;&#xA;If your edits are clean and each &quot;ooh&quot;, &quot;aah&quot;, etc. is its own separate region, bring all of the regions into the &quot;session&quot; view as clips. Make sure they are edited with proper start/end times using the start/stop markers in Live's clip view (leave some silence at the end, if possible). &#xD;&#xA;&#xD;&#xA;Make sure 'warp' is turned off on all of the cues, unless you somehow used it—this can be done by selecting all of the clips and turning off the warp button in clip view. &#xD;&#xA;&#xD;&#xA;Once they are edited, select all of the clips, right click and select &quot;crop clips&quot;—this will make each clip an individual audio file. All you need to do afterward is select all of the clips and drag them onto your desktop or into a folder.&#xD;&#xA;&#xD;&#xA;As for the issue of file naming, there are a couple of steps you can take. The name you place on the Ableton clip doesn't necessarily reflect the name that is assigned to the file once you drag it. Check out a really handy piece of software called &quot;Rename It&quot; (or any other batch renaming software). If you work in game audio, you will most definitely find use for batch renaming. It allows you to add, remove, or alter text across hundreds of files by defining simple rules. For your task, I would recommend dragging the files out of Live by category: for instance, drag out the 'oohs' and batch rename them to &quot;ooh_1&quot;, &quot;ooh_2&quot;, etc... then repeat with the 'aahs'.&#xD;&#xA;&#xD;&#xA;MrToBe is somewhat right that this would be somewhat easier in Pro Tools, which has an 'export regions to audio files' function, but we all have our workflows and it's worth making Live work for you if that is your preferred software. &#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;&lt;br&gt;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="32415" PostHistoryTypeId="2" PostId="19937" RevisionGUID="630046f2-aafe-4eee-b8bb-56ed1c6ace79" CreationDate="2013-07-30T17:14:08.017" UserId="234" Text="All of these are excellent suggestions, but if I make one more relating to workflow... Whatever method you use (re-record, pass through old analog gear, amps, plug in chain, etc), try doing a pass where you push that to it's ultimate limit... make it the grungiest, nastiest, ugliest version of that particular chain. Now bring that back in WITH the original untreated dialog (either by re-recording it or via auxes depending on the method)... you can now bring in JUST the right amount of grunge for the particular project... kind of a play on the old &quot;dual compression&quot; trick. You'll want to be very aware of the delay of the grunge track... start with it lined up exactly, but you can also play with varying it slightly to get interesting effects when the phasing starts." ContentLicense="CC BY-SA 3.0" />
  <row Id="32416" PostHistoryTypeId="2" PostId="19938" RevisionGUID="31257f71-491e-49e0-85d1-e3eb14360bdf" CreationDate="2013-07-30T19:55:15.287" UserId="6270" Text="Stelios knows whats up.... this has been a really popular effect in glitch-hop and dubstep lately... I know of three ways that some of these big producers are using to achieve this effect... The most common is Stutter Edit, play around with the loop/gating effects over a synth bass and you should figure it out. Another common way (usually in ableton), which is a bit more difficult, is with a gate sidechained to a muted drum rack. The last one is a  crazy way you can play around with the clip envelopes if it's an audio clip- I know this group 2nutz does this, and I can't remember exactly how it works... I will have my friend show me how he did it again and I'll post it if anybody is interested :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="32417" PostHistoryTypeId="2" PostId="19939" RevisionGUID="f6487093-fb20-4be2-acbe-d02a991f9326" CreationDate="2013-07-30T20:19:28.787" UserId="2502" Text="might also consider sourcing some old film sound that has what you are going for and using a match eq function with something like ozone5. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32418" PostHistoryTypeId="5" PostId="18527" RevisionGUID="0b892b53-65c9-4d73-9361-b35ea826c322" CreationDate="2013-07-30T22:54:25.313" UserId="3908" Comment="deleted 1 characters in body" Text="Hi guys, &#xD;&#xA;&#xD;&#xA;First I would like to say that I really love this place. As a sounddesign student, social sounddesign has been invaluable and a great inspiration! Thanks to all of you for that!&#xD;&#xA;&#xD;&#xA;Now, on with the subject :-)&#xD;&#xA;&#xD;&#xA;I would like to start a brainstorm on selecting and testing different materials for a DIY Aquaphone. I found one online, but was not really charmed by it. This guy seemed to use very low resonance materials and soldered it as opposed to welding. In the end it produced a scratchy not so charming sound with alsmost no sustain. This could also be functional for a difference purpose of course, but I'm specificly aiming for a nice long ring and good resonance, just a nice round sound. So, I would like to select materials accordingly.&#xD;&#xA;&#xD;&#xA;I have found that the best choice for the base of the aquaphone would probably be compareable to those pans that really give a nice ring when excited by hitting it and also pitch modulate that sound through moving a bit of water inside the pan. Allthough I have no idea what they are made of, some materials proven to do this better than others. I can imagine this has to do with the density of the materials molecules and thus affecting the resistance soundwaves encounter when traveling through it. In my case it is a very cheap little saucepan.&#xD;&#xA;&#xD;&#xA;I plan to buy another one and ask someone with welding experience what the possibilities are as it will most likely be a composite material. The idea is to weld those 2 saucepans together to get the base of the instrument. I also fear that it will be hard to get a neat round hole in one of the pan bottoms, for the handle to be put in later. I imagine using a ironcutter will get kinda messy.&#xD;&#xA;&#xD;&#xA;In the DIY I found online the guy uses straightened clothes hangers soldered on the rim of the base to be bowed or hit. I would like to use somethign thicker, better sounding.&#xD;&#xA;&#xD;&#xA;The thing I'm not sure about is, how I should test different type of metal bars without adding a sound producing element. Can I go to a construction market with my violin bow and just see which materials appear to generate the most friction and vibration? Is this a good criteria without actually hearing anything? &#xD;&#xA;&#xD;&#xA;So my most important question would be: &#xD;&#xA;&#xD;&#xA;How do i test the acoustic properties (relevant to this specific purpose) of different materials without having it welded to the final resonating chamber? &#xD;&#xA;&#xD;&#xA;Are there any tables which give me the speed in which sound can advance through different materials and go with the one that has the least amount of resistance/highest speed/higher density/lower density? How would that relate to thickness/length and welding points. I have so many questions I can't stand it! &#xD;&#xA;&#xD;&#xA;I know it's an ambitious plan but I have faith and thought this forum to be a good place to share ideas on this! Maybe I missed some really important things or some info that will answer some of my questions, so any ideas, recommended reads in particular or help in any way is much appreciated! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks for reading! (english is not my first, so i'm sorry if this was a tough read) &#xD;&#xA;&#xD;&#xA;Tom.&#xD;&#xA;&#xD;&#xA;DIY the way i dont want to do it: http://www.instructables.com/id/The-Aquaharp/&#xD;&#xA;&#xD;&#xA;the real deal: &#xD;&#xA;http://www.youtube.com/watch?v=2n5jIqX63ok&#xD;&#xA;&#xD;&#xA;http://www.waterphone.com/&#xD;&#xA;&#xD;&#xA;Update &#xD;&#xA;&#xD;&#xA;the base is made of stainless steel (kind of obvious now i think of it.) and the rods are made of bronze. I called a metalworker and he told me that those cannot be welded together so it's going to be a mechanical connection. This raises questions, should I use screw-thread with bolts or some other connecting element. The bronze will set me back about 100 euros so its too expensive to just go and screw around. :) I need those questions answered before i start sawing and cuttin into the bronze. This also means i have to know the lengths of the rods before connecting them as i think shortening them after will put too much of a strain on the rest of the construction. This is a bummer because I was hoping to tune them as I go along.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;once again i was misled by my own chaotic mind :) The aquaphone is, in fact welded. As shown on images on the official website. Can't believe i missed that! Luckily i found a metalwork-artist willing to test how strong the connection will be when welding bronze on to stainless steel.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;The metalwork artist I contacted told me that there is special kind of welding wire used to weld bronze onto stainless steel.  I find this hilarious because it shows that you need a fellow art freak to get this kind of information, rather than asking a professional welder, who told me this was not possible at all!&#xD;&#xA;&#xD;&#xA;Sadly this welding wire is also quite expensive, but it is possible! So far my research gives me enough options to actually do this. However, because of the high costs, estimated around 300 euros for the entire project. Im also thinking about a less expensive prototype with different, less expensive materials. I know 300 euros is still way cheaper than buying one (1700,- euros) But I am also saving up for Adam a7x's :p Soooo, yeah.. not really swimming in cash atm :p&#xD;&#xA;&#xD;&#xA;Which brings me back to my first question; How do I find out what other materials have compareable properties to bronze in a waterphone setup? How do i test this without having to make a prototype with all materials included? I can only think of copper to be a good second candidate but copper is not alot cheaper than bronze so thats not a viable option. &#xD;&#xA;&#xD;&#xA;I'm beginning to understand why one would build a crappy version first, getting comfortable with the construction process and than build one with all the fine expensive materials. &#xD;&#xA;&#xD;&#xA;update 30-07-13&#xD;&#xA;&#xD;&#xA;I have to say guys, I am not done with this project by a long shot. It is really ambitious and naive to think one can do this from scratch without any knowledge on metalworking. It is awesome to find out all these things about metal working I have never heard of though. I definitely found myself a new interest. I do plan on starting practice with forming metal sheets and torch welding. So someday I MIGHT be able to learn and make something that comes in the vicinity of the video that Lenny Paul posted. &#xD;&#xA;&#xD;&#xA;For now I have planned on doing it budget style and I am looking for SS materials that come as close to what I find suiting. The best option for the base I have found so far are SS feeding bowls for dogs. I found some that seem to have a suitable rim and, if not too thick, resonate quite nice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I listened to alot of SS bowls/dishes and similar kitchen stuff and I think most of them showed the needed properties. The thing with bowls/dishes was that most of em have a curved or unequal rim and I figured it would be a problem getting the rods on that. Also, I would prefer to have the top flattened and the bottom rounded. I am still looking for something that will fit on the bottom that has the same diameter and also suitable rim. If I cannot find that I will just place two of the same on top of each other and deal with that.&#xD;&#xA;&#xD;&#xA;There are prettier options but I feel that if I'm becoming picky I might as well make a computer model and put in a custom order. I might still do that, but only if its not too expensive. If it is I will postpone that option for when I really want to invest and also do the bronze rods. By then, I might even have the ability to get my freak on with some metal sheets and make it a fully autonomous hobby project..&#xD;&#xA;&#xD;&#xA;Concerning the SS materials; Making the hole in the top will not be a problem I think. I need to find the right saw for that but that seems not to hard to accomplish. For fixing the rods I will try a similar approach as the metal worker did in the video that was posted. I thought of slightly flattening the rods on one side so when hanging them through the holes in the rim of the base they won't fall through. And then just weld them..&#xD;&#xA;&#xD;&#xA;The material for the rods will probably also just be SS. I have not thought of any good alternative other than bronze and I am definitely not using that this first go.&#xD;&#xA;&#xD;&#xA;lingering questions; &#xD;&#xA;&#xD;&#xA;1. I would like to find some length indications for the rods.&#xD;&#xA;2. I wonder if SS rods will work. Should test one when I have the base ready. which emphasizes my wish for my own torch welder and the ability to practice that because now I would have to visit a metalworker for every single thing I'd like to test. I find that a bit awkward and is probably also expensive.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Well, I thought I'd update a bit. Also hoping that some may have some feedback on my findings/questions.&#xD;&#xA;&#xD;&#xA;All your responses were very helpful and cleared a lot of things up for me. I am very glad to have posted this here. &#xD;&#xA;Thanks to all of you!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32420" PostHistoryTypeId="10" PostId="14215" RevisionGUID="05517142-10d8-416c-9afb-42eadf5506e6" CreationDate="2013-07-31T08:16:07.833" UserDisplayName="user80" Comment="6" Text="[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]" />
  <row Id="32421" PostHistoryTypeId="2" PostId="19940" RevisionGUID="72f159e6-f7b4-4b32-8052-18967c3662d6" CreationDate="2013-07-31T11:30:43.480" UserId="6271" Text="You can do a freeze then flatten process on each track, it will render your clips with all your fx, but you'll still have 1 problem:&#xD;&#xA;-you'll miss your master track fx chain&#xD;&#xA;(and all your clips will be rendered as stereo files, which could be a problem)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32422" PostHistoryTypeId="2" PostId="19941" RevisionGUID="aa9bc95c-9641-4d23-9492-54dbe7aa916d" CreationDate="2013-07-31T11:45:39.743" UserId="1178" Text="manual chopping, gating, glitch plugins or combination of all of these." ContentLicense="CC BY-SA 3.0" />
  <row Id="32423" PostHistoryTypeId="5" PostId="19940" RevisionGUID="d0901021-95f0-4417-806b-4f74a09658eb" CreationDate="2013-07-31T11:58:51.860" UserId="6271" Comment="added 56 characters in body" Text="You can do a freeze then flatten process on each track, then select all the clips and right-click to crop them, it will render your clips with all your fx, but you'll still have 1 problem:&#xD;&#xA;-you'll miss your master track fx chain&#xD;&#xA;(and all your clips will be rendered as stereo files, which could be a problem)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32424" PostHistoryTypeId="2" PostId="19942" RevisionGUID="81f10cc1-25f5-43f9-9651-ab0ff08e2cca" CreationDate="2013-07-31T17:06:18.460" UserId="6499" Text="Looking for ideas of housing a DPA 5100 While in transit.  Currently have it sitting in the mfg cardboard box inside of my larger FX kit pelican.  Looking for something new and more sturdy as the cardboard box is getting old.  I would like it to nest within the 1650.&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="32425" PostHistoryTypeId="1" PostId="19942" RevisionGUID="81f10cc1-25f5-43f9-9651-ab0ff08e2cca" CreationDate="2013-07-31T17:06:18.460" UserId="6499" Text="Looking for DPA 5100 Case Suggestions" ContentLicense="CC BY-SA 3.0" />
  <row Id="32426" PostHistoryTypeId="3" PostId="19942" RevisionGUID="81f10cc1-25f5-43f9-9651-ab0ff08e2cca" CreationDate="2013-07-31T17:06:18.460" UserId="6499" Text="&lt;bag&gt;&lt;dpa&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32427" PostHistoryTypeId="2" PostId="19943" RevisionGUID="3f703fef-8a08-48f9-9df9-28654f8f4747" CreationDate="2013-07-31T20:44:53.150" UserId="6272" Text="This basically is the age old problem of sing-operator video run-and-gun situations.&#xD;&#xA;&#xD;&#xA;My employer has given me 2 lav mics and wants documentary style 3-person interviews to be done with them, I have no budget to purchase an audio recorder, additional mics or anything for that matter but I do have a boom attachment that can fit onto the tripod.&#xD;&#xA;&#xD;&#xA;The 3rd person is actually myself as the interviewer behind the camera with 2-people in front, so I can pin a mic to myself no problem. The mics actually work surprisingly well when placed up to around 2 meters from the sound source but of course they will need to be much closer in the field. &#xD;&#xA;&#xD;&#xA;So the only thing I can work out is to attach 1 of the lav mics to the boom pole attached to the tripod but I cannot find an elegant way to attach the lav mic to the boom pole or traditional mic holder that goes with the boom pole. &#xD;&#xA;I am not allowed to use any tape or cable ties and the mount must look professional. &#xD;&#xA;&#xD;&#xA;Does anyone know of any technique or accessory that can do this? I'm thinking some clamps will do the trick but I'm pretty sure the boss will tell me to take them off so before I go down this path I want a better solution or at least a back up solution. &#xD;&#xA;&#xD;&#xA;Thanks for your help! " ContentLicense="CC BY-SA 3.0" />
  <row Id="32428" PostHistoryTypeId="1" PostId="19943" RevisionGUID="3f703fef-8a08-48f9-9df9-28654f8f4747" CreationDate="2013-07-31T20:44:53.150" UserId="6272" Text="Attaching a lav mic to a boom" ContentLicense="CC BY-SA 3.0" />
  <row Id="32429" PostHistoryTypeId="3" PostId="19943" RevisionGUID="3f703fef-8a08-48f9-9df9-28654f8f4747" CreationDate="2013-07-31T20:44:53.150" UserId="6272" Text="&lt;lavalier&gt;&lt;microphone&gt;&lt;boom-pole&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32430" PostHistoryTypeId="2" PostId="19944" RevisionGUID="fbe326a6-4f62-4a91-92a7-a8003e3a4bca" CreationDate="2013-07-31T21:02:28.697" UserId="542" Text="Is there an chance that you can ADR your questions later (in post)? &#xD;&#xA;&#xD;&#xA;If yes, I'd attach the two lavs to the 2 people in front of the camera, since they are the point of interest and record your questions in post production. &#xD;&#xA;While doing the actual interview you could place a smartphone (or dictaphone,etc.) unobtrusive nearby yourself. Nobody will notice that.The audio quality won't be good, but that way you make sure, that you don't forget your lines later in the post.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32431" PostHistoryTypeId="2" PostId="19945" RevisionGUID="f2e79a6b-aea0-4b90-9363-8e505ca9603b" CreationDate="2013-07-31T21:35:44.110" UserId="6274" Text="for 1/3 octave steps, multiply the previous band by 2^(1/3) (that's 2 to the power of 1/3 = 1.259921049895).  Starting with 20Hz, you'll get 20,25.198,31.748,40,50.397,etc, up to 20480.  The 'standard' frequency bands  for a 1/3 octave (20,25,31.5,40,50,63,etc) are essentially just for labelling - any practical application would use the calculated frequencies to ensure each band is spaced exactly 1/3 octave apart." ContentLicense="CC BY-SA 3.0" />
  <row Id="32432" PostHistoryTypeId="2" PostId="19946" RevisionGUID="c7856557-5535-4a16-b623-35f565a6b9b3" CreationDate="2013-07-31T22:33:20.180" UserDisplayName="user5985" Text="How necessary is it to have your questions recorded and a part of the final product?&#xD;&#xA;Can the interviewee's not answer the question by repeating the question within their answer (if that makes sense, I have forgotten the term)?&#xD;&#xA;&#xD;&#xA;Maybe it is just me, but it feels a bit odd to have your questions recorded and you not on camera.&#xD;&#xA;&#xD;&#xA;Alternatively, shoot yourself for reaction/question shots afterwards, using your smartphone/dictaphone for word-by-word reference with a lav hooked on you?&#xD;&#xA;This is assuming ADR is not an option and you are just sending the materials elsewhere for post work." ContentLicense="CC BY-SA 3.0" />
  <row Id="32433" PostHistoryTypeId="2" PostId="19947" RevisionGUID="92c55349-37b7-4018-b652-fc9c6662f16f" CreationDate="2013-07-31T23:15:25.247" UserId="6275" Text="I've been looking for a good description of how to audition monitors for my new studio.  I haven't found anything that describes a systematic process I can follow and also evaluation criteria at each stage.  I have heard that BBC and others have their own internal processes that they follow for these decisions where they conduct blindfold tests among many recording engineers and would enjoy learning more about how to do this.&#xD;&#xA;&#xD;&#xA;Any guidance/links to articles would be appreciated.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;Fred Speckeen" ContentLicense="CC BY-SA 3.0" />
  <row Id="32434" PostHistoryTypeId="1" PostId="19947" RevisionGUID="92c55349-37b7-4018-b652-fc9c6662f16f" CreationDate="2013-07-31T23:15:25.247" UserId="6275" Text="How do I conduct a audition/blindfold test of audio monitors ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32435" PostHistoryTypeId="3" PostId="19947" RevisionGUID="92c55349-37b7-4018-b652-fc9c6662f16f" CreationDate="2013-07-31T23:15:25.247" UserId="6275" Text="&lt;speakers&gt;&lt;monitors&gt;&lt;studio-monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32436" PostHistoryTypeId="2" PostId="19948" RevisionGUID="ca5bd733-e5a4-4c80-8c2e-9293934f7d6d" CreationDate="2013-08-01T05:55:45.083" UserId="6277" Text="The Serge modular has a 10 band EQ which has an irregular spacing between the bands.  The idea is that it won't emphasize a particular note or key in the same way an octave or 1/3 octave eq would (although I suspect it may have also been to do with using easily available component values)." ContentLicense="CC BY-SA 3.0" />
  <row Id="32437" PostHistoryTypeId="2" PostId="19949" RevisionGUID="67d74684-acbd-486d-a981-53e44cabb9c4" CreationDate="2013-08-01T06:00:56.733" UserId="6277" Text="If you use linux then sweep is all about scrubbing... http://www.metadecks.org/software/sweep/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32438" PostHistoryTypeId="2" PostId="19950" RevisionGUID="667088ee-eecc-40c8-9832-fa352d0d2b7c" CreationDate="2013-08-01T06:48:24.920" UserId="182" Text="I know it's an older question, but this site provides a guaranteed answer for those sorts of questions:&#xD;&#xA;&#xD;&#xA;[http://www.sengpielaudio.com/calculator-octave.htm][1]&#xD;&#xA;&#xD;&#xA;As its index is rather chaotic, the best I found way to actually find the information you're looking for is to google for the term you want to know more about, and add &quot;sengpiel&quot; to the search terms. So in this case, I googled for &quot;sengpiel third octave&quot; (without the quotes).&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sengpielaudio.com/calculator-octave.htm&#xD;&#xA;  [2]: http://s22.postimg.org/a2fnic5q9/Screen_Shot_2013_08_01_at_08_46_37.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="32439" PostHistoryTypeId="2" PostId="19951" RevisionGUID="2fcae960-7448-4f0c-a476-db9a7fa4757a" CreationDate="2013-08-01T08:00:37.293" UserDisplayName="user49" Text="I bought a smallish psuedo pelican case locally quite cheaply, which fits both my TR606 and Bassbot and it has that foam which you can form by plucking to fit... Not really an answer, its probably a bit big to have inside a larger pelican case..... but a related question: what do you think of the DPA 5100 in use? Whats been your favourite use of it so far with great results?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32440" PostHistoryTypeId="2" PostId="19952" RevisionGUID="68e6fc33-1dd8-4656-bbec-d15a7aa42e34" CreationDate="2013-08-01T12:48:29.660" UserId="5854" Text="i have a quick question. if you are working as a freelance boom mic operator recording dialogue for production companies or even just student film makers, do you need any special kind of insurance such as liability insurance in case you injure someone or insurance to protect your equipment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32441" PostHistoryTypeId="1" PostId="19952" RevisionGUID="68e6fc33-1dd8-4656-bbec-d15a7aa42e34" CreationDate="2013-08-01T12:48:29.660" UserId="5854" Text="Boom Mic Operator Insurance" ContentLicense="CC BY-SA 3.0" />
  <row Id="32442" PostHistoryTypeId="3" PostId="19952" RevisionGUID="68e6fc33-1dd8-4656-bbec-d15a7aa42e34" CreationDate="2013-08-01T12:48:29.660" UserId="5854" Text="&lt;insurance&gt;&lt;boom&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32443" PostHistoryTypeId="2" PostId="19953" RevisionGUID="8c150b8b-bb00-4da2-837b-e43ddfb33752" CreationDate="2013-08-01T14:04:56.177" UserId="990" Text="You can always buy your own insurance for liability and/or equipment, but most production companies have their own insurance that will cover you." ContentLicense="CC BY-SA 3.0" />
  <row Id="32444" PostHistoryTypeId="2" PostId="19954" RevisionGUID="c78aeac4-82b4-4c54-a7ff-81d7e26dd593" CreationDate="2013-08-02T06:47:57.340" UserId="6208" Text="What was your Distance? And what was your dB FS? And what was your inputgain? &#xD;&#xA;&#xD;&#xA;That might help to give you an answer!&#xD;&#xA;&#xD;&#xA;Moreover did you adjust the direction on the mouth?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32445" PostHistoryTypeId="2" PostId="19955" RevisionGUID="40d84a8c-ceeb-4c4e-b67b-cbb36f18ee23" CreationDate="2013-08-02T06:54:20.827" UserId="5880" Text="With regards to student films, most universities should also have their own liability policies that cover injury;, equipment might be a bit more of a grey area." ContentLicense="CC BY-SA 3.0" />
  <row Id="32446" PostHistoryTypeId="2" PostId="19956" RevisionGUID="67d496a8-b616-4805-a142-3cda8ef5cd93" CreationDate="2013-08-03T00:38:18.500" UserId="4468" Text="Hello fellow designers/recordists.&#xD;&#xA;&#xD;&#xA;I am covering some old ground, but I'm looking to 'upgrade' from the H4n to something a little more semi-professional, without a sound devices pricetag.&#xD;&#xA;&#xD;&#xA;For the under $1000 mark, I'm debating getting the H6, for its dual recording/ducking feature and multipleinputs, however rather than getting another handheld device, I'm wanting a slightly larger unit, which is where the Tascam DR-680 and Fostex FR-2LE become options, however t he main reason I have for upgrading is (unsurprisingly) improved pre's with further inputs, and I've heard everything from pre's are fine to terrible on the Tascam and Fostex.  And when you have no retailers in town, you can't ask for a demonstration.&#xD;&#xA;&#xD;&#xA;FFor the purposes of short film and live event location recording, if you have had experience with any or all of the devices, please let me know your opinion.&#xD;&#xA;&#xD;&#xA;To add to the dilemma, the device with better pre's, ducking/back up recording/seperate camera out feed/timecode equipped or connection in that order of preferance (though understandibly not including all) is preferable.&#xD;&#xA;&#xD;&#xA;On a final note, I am leaning toward the Tascam, hunowever have heard rumours of recording errors, no back-up recording and in practice, is the level meter difficult to read (with its 1 -12db mark)?&#xD;&#xA;&#xD;&#xA;Thoughts, comments, or is there a 'holy budget grail' I have missed?&#xD;&#xA;&#xD;&#xA;Thanks in advance...the debate is open...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32447" PostHistoryTypeId="1" PostId="19956" RevisionGUID="67d496a8-b616-4805-a142-3cda8ef5cd93" CreationDate="2013-08-03T00:38:18.500" UserId="4468" Text="Field recorder advice (again)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32448" PostHistoryTypeId="3" PostId="19956" RevisionGUID="67d496a8-b616-4805-a142-3cda8ef5cd93" CreationDate="2013-08-03T00:38:18.500" UserId="4468" Text="&lt;field&gt;&lt;recorder&gt;&lt;portable&gt;&lt;budget&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32449" PostHistoryTypeId="2" PostId="19957" RevisionGUID="fa79fff8-8137-4a0a-b0d9-96f0d2c6c241" CreationDate="2013-08-03T02:03:39.753" UserId="3172" Text="I moved from the H4 to the edirol R-44 (4 channel SSD mixer). It's been great for the price and worth considering alongside the other options in your price range." ContentLicense="CC BY-SA 3.0" />
  <row Id="32450" PostHistoryTypeId="2" PostId="19958" RevisionGUID="a7d8b6d6-1fe5-4128-acb1-29da94d8dcb4" CreationDate="2013-08-03T07:56:30.200" UserId="400" Text="I always think Michael Raphael's blog about his location recorder trajectory is a useful read when thinking about what recorder you want to buy. I'm not suggesting you copy him exactly, but his notes on why the Fostex wasn't necessarily the best for him are interesting.&#xD;&#xA;&#xD;&#xA;http://www.noisejockey.net/blog/2009/07/05/the-gateway-drug-samson-zoom-h2/" ContentLicense="CC BY-SA 3.0" />
  <row Id="32451" PostHistoryTypeId="2" PostId="19959" RevisionGUID="00bb0b00-72d3-4b46-ac0d-0d8c6532e760" CreationDate="2013-08-03T11:25:19.627" UserId="3179" Text="I think the Fostex FR2-LE IS the budget (depending on budget) holy grail. Yes it's plastic and it's headphone output is noisy, but the recordings will be crystal. While it may be awkward to potentially have to invest into a separate headphone amplifier to get a clean headphone output, the recordings are still crystal.&#xD;&#xA;&#xD;&#xA;Yes, the DR-680 is better, but it's double the price, i.e. non-comparable." ContentLicense="CC BY-SA 3.0" />
  <row Id="32452" PostHistoryTypeId="2" PostId="19960" RevisionGUID="b2c331fd-6144-4a87-975c-8580811e0857" CreationDate="2013-08-03T16:00:13.127" UserId="5605" Text="Take a high quality copy of a song that you know to death and listen to it on a selection of monitors." ContentLicense="CC BY-SA 3.0" />
  <row Id="32453" PostHistoryTypeId="2" PostId="19961" RevisionGUID="d1e58f27-8aa3-4ec2-a194-ca3b596f4c6d" CreationDate="2013-08-03T16:27:34.553" UserId="4368" Text="My advice is the Marantz PMD 661 MK II. He has 2 XLR inputs and the sound is clear and nearly objective. Preamps nearly without noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="32454" PostHistoryTypeId="2" PostId="19962" RevisionGUID="d0456f06-762f-49e3-8634-0edf2d344981" CreationDate="2013-08-03T17:17:11.327" UserId="6278" Text="Cat-Ears, LLC (www.cat-ears.com) makes a number of products that reduce wind noise while cycling. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32455" PostHistoryTypeId="2" PostId="19963" RevisionGUID="84265cb6-ec26-42b4-9da6-05968feae45c" CreationDate="2013-08-03T18:21:54.330" UserId="5860" Text="I'm working on a max msp patch that will allow the transition from calm weather through to breezy/ light right right through to a heavy storm as part of some kind of &quot;ambience engine&quot;.&#xD;&#xA;&#xD;&#xA;I'm basically doing this by crossfading between samples of light rain, heavy rain, storms etc. But it's quite obvious that these samples were not recorded in the same place during the same storm so the transitions are jarring. &#xD;&#xA;&#xD;&#xA;Are there any particularly good recordings of weather out there? Ideally one long recording of a real storm running its course. &#xD;&#xA;&#xD;&#xA;Looking at the clouds outside my window it's a shame I don't have anything I could record with right now...&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="32456" PostHistoryTypeId="1" PostId="19963" RevisionGUID="84265cb6-ec26-42b4-9da6-05968feae45c" CreationDate="2013-08-03T18:21:54.330" UserId="5860" Text="Samples of a single storm building wanted" ContentLicense="CC BY-SA 3.0" />
  <row Id="32457" PostHistoryTypeId="3" PostId="19963" RevisionGUID="84265cb6-ec26-42b4-9da6-05968feae45c" CreationDate="2013-08-03T18:21:54.330" UserId="5860" Text="&lt;rain&gt;&lt;ambience&gt;&lt;max-msp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32458" PostHistoryTypeId="2" PostId="19964" RevisionGUID="ade66618-216b-45e1-9b69-1389bb89d28e" CreationDate="2013-08-03T18:56:18.590" UserId="5682" Text="Hello fellow boom operators. I was wondering if you had any advice on how to memorize dialogue. During my last shoot we had 5 kid protagonists and a few other actors talking in one scene. While preparing for the master shot I had to memorize more than one page of script Dialogue with everyone speaking in no particular order. I managed to do that by memorizing words that were build with the first letters of each actors name. It was very hard not to switch letters around with words like MNMEMTAM.. &#xD;&#xA;How do you do it?   " ContentLicense="CC BY-SA 3.0" />
  <row Id="32459" PostHistoryTypeId="1" PostId="19964" RevisionGUID="ade66618-216b-45e1-9b69-1389bb89d28e" CreationDate="2013-08-03T18:56:18.590" UserId="5682" Text="Tricks that help boom operators to memorize lines of dialogue " ContentLicense="CC BY-SA 3.0" />
  <row Id="32460" PostHistoryTypeId="3" PostId="19964" RevisionGUID="ade66618-216b-45e1-9b69-1389bb89d28e" CreationDate="2013-08-03T18:56:18.590" UserId="5682" Text="&lt;boom-operator&gt;&lt;dialogue-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32461" PostHistoryTypeId="2" PostId="19965" RevisionGUID="e2ff4d45-23c3-4a35-8674-b4b8c311b2c8" CreationDate="2013-08-03T19:05:15.370" UserId="5682" Text="Here in Germany, many production sound mixers in film get booked directly by production companies. They often bring along their boom operator of choice. They seldom offer rookie trainig or internships. As this system makes it very difficult for a newbie to get paid work, I was wondering if you had any strategies to share. I would also like to know how the system in your country works, with special interest for USA and Australia. &#xD;&#xA;Thanks in advance!  " ContentLicense="CC BY-SA 3.0" />
  <row Id="32462" PostHistoryTypeId="1" PostId="19965" RevisionGUID="e2ff4d45-23c3-4a35-8674-b4b8c311b2c8" CreationDate="2013-08-03T19:05:15.370" UserId="5682" Text="How to get into business as a boom operator" ContentLicense="CC BY-SA 3.0" />
  <row Id="32463" PostHistoryTypeId="3" PostId="19965" RevisionGUID="e2ff4d45-23c3-4a35-8674-b4b8c311b2c8" CreationDate="2013-08-03T19:05:15.370" UserId="5682" Text="&lt;job-opportunities&gt;&lt;work&gt;&lt;boom-operator&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32464" PostHistoryTypeId="2" PostId="19966" RevisionGUID="51a8ecde-eb34-48f4-9f23-df86d0d7cf7c" CreationDate="2013-08-03T20:51:26.487" UserId="1035" Text="I've found that somehow just really digging into the scene and story helps with that. If you get really involved in the story, and the conversation, then the cues are often fairly natural. Bill asks Clara a question, Clara responds, etc. There are always the hard to remember ones, interjections, stuff like that. And of course when the actors are ad libbing a bit, it gets tricky. If you can keep an eye on the actors' chins in your peripheral vision (no staring head on, that's weird :p), that can often also be a good cue for when someone is about to speak. Aside from that, script-wise, try to focus on the beginning and ending of the lines. That's the important part for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="32465" PostHistoryTypeId="2" PostId="19967" RevisionGUID="21d70e8a-718d-48a1-8b03-007cc67e3da6" CreationDate="2013-08-03T21:10:37.950" UserId="726" Text="If you're based in the UK, BECTU members are granted public liability insurance as part of their membership http://www.bectu.org.uk/get-involved/join-bectu" ContentLicense="CC BY-SA 3.0" />
  <row Id="32466" PostHistoryTypeId="2" PostId="19968" RevisionGUID="68f8a09d-767c-4fa2-a950-5176c6636bdb" CreationDate="2013-08-04T01:03:38.917" UserId="4442" Text="What human said is probably a better idea for this size project. Set an amount that you want to make &quot;per sound&quot;. Some things may take you longer than others, but it will wash with the handful of fx that you just have to record and put fades on.&#xD;&#xA;&#xD;&#xA;Don't forget that if you're purchasing fx or props to break for foley that they are all things that are billable. Keep an itemized list when you invoice.Peace." ContentLicense="CC BY-SA 3.0" />
  <row Id="32467" PostHistoryTypeId="2" PostId="19969" RevisionGUID="86b67a89-5182-46eb-8a87-5ef2512d854b" CreationDate="2013-08-04T09:35:06.613" UserDisplayName="user49" Text="Not an answer to your question, but a perspective on it: if I had to construct what you describe for a film I could well imagine using a lot of layers eg 50-100 mono &amp; stereo tracks, especially if it was for 5.1 predub/output.... &#xD;&#xA;&#xD;&#xA;Some gale force wind elements here:&#xD;&#xA;http://hissandaroar.com/amb004-gale-force-wind&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32468" PostHistoryTypeId="2" PostId="19970" RevisionGUID="c0d866dd-5bdd-4ba0-aba1-e4480a416682" CreationDate="2013-08-04T09:37:37.843" UserDisplayName="user49" Text="Surprised Rycote dont make ear shaped wind protectors - would be a likely viral hit, choose your style: Vulcan, Cat etc...." ContentLicense="CC BY-SA 3.0" />
  <row Id="32469" PostHistoryTypeId="2" PostId="19971" RevisionGUID="123b0e24-3dff-4c81-b2e7-2c1df0acc6e6" CreationDate="2013-08-04T14:50:22.747" UserId="194" Text="I've got one, but its rain on a carport.  Not sure if that would be useful to you or not." ContentLicense="CC BY-SA 3.0" />
  <row Id="32470" PostHistoryTypeId="2" PostId="19972" RevisionGUID="f7cce8db-8a1e-4117-8731-cb5586196f30" CreationDate="2013-08-04T17:58:14.797" UserId="726" Text="Hi &#xD;&#xA;&#xD;&#xA;Not sure of the system in other countries, but here in the UK more often or not there are 3 members in the Sound Dept; Mixer, Boom Op and Sound Assistant. The assistant is basically a rookie boom op who routes cables, sorts maintenance, hands out headsets to director etc, but also gets experience on the pole grabbing &quot;off lines&quot; and dialogue that the boom op can't get to. Once you are experienced and trusted by the mixer he could ask you to boom for him if his other boom op can't make a shoot for whatever reason. &#xD;&#xA;&#xD;&#xA;You can get into an assistant role by possibly applying for a runner role at the production company and getting pally with the sound dept and show your keen ;)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32472" PostHistoryTypeId="2" PostId="19974" RevisionGUID="805eb124-11ec-4a1c-866b-1ee9d5aa4feb" CreationDate="2013-08-05T10:02:37.930" UserId="6208" Text="I am not primary a boom operator, but this is how i got the first projects: (in Germany)&#xD;&#xA;&#xD;&#xA;I went to a small movie production company and talked with them. i asked if i could go to some sets for free to learn recording. Then they showed me how to boom 1-2 days and form that on i was the boom opertator for a lot of productions.&#xD;&#xA;&#xD;&#xA;So my advice, get in touch with small startup movie production companys.&#xD;&#xA;&#xD;&#xA;another thing that i figuered out -&gt; small EB-Teams from &quot;galileo&quot; etc. have mostly one guy who wants to become a camera man. and mostly he needs to boom first. so if you get in touch with those eb teams you could get some jobs too on the long run." ContentLicense="CC BY-SA 3.0" />
  <row Id="32473" PostHistoryTypeId="2" PostId="19975" RevisionGUID="eeb4bfcd-a0cd-4141-9d1c-87c7eeb7bf28" CreationDate="2013-08-05T13:22:03.393" UserId="244" Text="Hello, &#xD;&#xA;Just a quick question for anyone with any relative experience: &#xD;&#xA;&#xD;&#xA;How to reduce the sound of the rain on the microphone when recording in the rain on set, also what protection we can use for the mic, blimp and wind shield itself?&#xD;&#xA;&#xD;&#xA;Many thanks for any suggestions in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32474" PostHistoryTypeId="1" PostId="19975" RevisionGUID="eeb4bfcd-a0cd-4141-9d1c-87c7eeb7bf28" CreationDate="2013-08-05T13:22:03.393" UserId="244" Text="location film boom mic rain" ContentLicense="CC BY-SA 3.0" />
  <row Id="32475" PostHistoryTypeId="3" PostId="19975" RevisionGUID="eeb4bfcd-a0cd-4141-9d1c-87c7eeb7bf28" CreationDate="2013-08-05T13:22:03.393" UserId="244" Text="&lt;film&gt;&lt;boom&gt;&lt;microphone&gt;&lt;rain&gt;&lt;protection&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32476" PostHistoryTypeId="2" PostId="19976" RevisionGUID="2a616bec-e04d-4f9f-8e50-0736bf24a059" CreationDate="2013-08-05T14:34:19.240" UserId="1216" Text="I've no experiencewith this, and am not affiliated with rycote:&#xD;&#xA;http://www.rycote.com/products/rycote_duck_rain_cover/&#xD;&#xA;&#xD;&#xA;You could probably rent it to check the usage and protection value.&#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="32477" PostHistoryTypeId="2" PostId="19977" RevisionGUID="1cef51ba-cea3-462c-9974-b0dd78980fc2" CreationDate="2013-08-05T15:23:37.330" UserId="348" Text="I have had experience with the rain jammer by rycote and found it to be an amazing addition to your kit. I am not affiliated with rycote but do like their products. &#xD;&#xA;&#xD;&#xA;http://store.locationsoundcrew.com/en/remote-audio/127-remote-audio-rainman-boom-mic-rain-cover-for-zepplin-rycote-kit-4.html&#xD;&#xA;&#xD;&#xA;Gets kinda heavy under rain machines but your mic is completely safe. &#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="32478" PostHistoryTypeId="2" PostId="19978" RevisionGUID="851b5dba-9bc8-485e-86ee-b79f8e956325" CreationDate="2013-08-05T15:30:20.487" UserId="6280" Text="My daughter will be preparing a solo viola recording to include with her college applications. We are hoping for good sound quality without spending too much money, and know little or nothing about making recordings so simple advice for newbies would be appreciated. We have a windowless, very quiet room in our basement where there should be little or no background noise for recording. We have a PC, an iPad, and access to other Mac laptops. We were thinking of using a Mac in order to be able to use Garage Band. Here are my questions:&#xD;&#xA;&#xD;&#xA;1. Can someone recommend a good, but inexpensive mic, preferable that we can plug right into the computer via its USB port or audio inputs. I have been told we want something with a &quot;flat frequency response&quot; for strings. We were hoping to keep  it to about $100, but would go higher if it's really necessary. One's we've looked at are:&#xD;&#xA;     Shure PG 27 USB---$$$, as well as other Shure products&#xD;&#xA;     Samson Meteor Mic and C01U&#xD;&#xA;     Blue Yeti&#xD;&#xA;If one of those is good enough or best, or if there is something else better, please let us know.&#xD;&#xA;&#xD;&#xA;2. At our local music store, they had small mics that you attach right to the instrument.  I was concerned that these might not pick up the fullness of the sound, as one might hear when sitting in the audience.  Am I wrong on this one? &#xD;&#xA;&#xD;&#xA;3. Will we need anything besides a mic, the stand, and some sort of adaptor if it is not USB-ready? We are going with simple and inexpensive. If we do need an adaptor of some sort for a non-USB mic, what exactly will this adaptor be called, lol? &#xD;&#xA;&#xD;&#xA;4. Any recommendations on mic placement when recording? &#xD;&#xA;&#xD;&#xA;Thanks so much in advance for the help and I hope I didn't phrase anything in a way that sounded too dumb :-)!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32479" PostHistoryTypeId="1" PostId="19978" RevisionGUID="851b5dba-9bc8-485e-86ee-b79f8e956325" CreationDate="2013-08-05T15:30:20.487" UserId="6280" Text="Choosing a mic for laptop viola recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="32480" PostHistoryTypeId="3" PostId="19978" RevisionGUID="851b5dba-9bc8-485e-86ee-b79f8e956325" CreationDate="2013-08-05T15:30:20.487" UserId="6280" Text="&lt;microphone&gt;&lt;strings&gt;&lt;suggestions&gt;&lt;laptop&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32481" PostHistoryTypeId="2" PostId="19979" RevisionGUID="7e8501b2-6b91-48f4-b5ef-d04756d16cbb" CreationDate="2013-08-05T17:58:22.343" UserId="6432" Text="In short...&#xD;&#xA;&#xD;&#xA;Q1. I've never used a usb microphone, but have never heard good things about them from anyone who has a good understanding of audio. Here's a review of the Samson from Sound on Sound (who are a good trustworthy source for audio advice, incidentally):&#xD;&#xA;&#xD;&#xA;[http://www.soundonsound.com/sos/jul11/articles/samson-meteor.htm][1]&#xD;&#xA;&#xD;&#xA;The third paragraph from the end is the one which really puts me off:&#xD;&#xA;&#xD;&#xA;&quot;this problem is typical of USB microphones, and tends to occur in different amounts on different machines. It’s really the luck of the draw whether or not you’re affected.&quot;&#xD;&#xA;&#xD;&#xA;Another problem with the usb mic is that you can never upgrade and are asking for your gear to be obsolete when we move from usb. So if you can stretch to it get a separate interface and microphone. The [SE X1][2] is a superb mic for the money and will last you for years if you treat it well. Then get a cheap audio interface like this [Yamaha Audiogram 3][3] for instance. I've not tried it before, but any cheap interface from the big manufactures (Yamaha, Tascam etc) should do. It's a bit more than you are wanting to spend, but it should be worth it in the future. If you can find one with two mic inputs then even better - you could then upgrade to a stereo setup in the future.&#xD;&#xA;&#xD;&#xA;Q2. Those are probably more aimed at live sound or orchestral recording where feedback or isolation of individual instruments is a problem. With all recording you need to find the perspective which gets the sound you are after. Proximity of the microphone is one of the key factors, adjusting which frequencies are present and controlling the mix of direct and reflected sound. You may find that your room does not have a flattering sound when recorded and may want to record more direct sound (closer in). Best thing to do is experiment. &#xD;&#xA;&#xD;&#xA;Definitely read this:&#xD;&#xA;&#xD;&#xA;[http://www.soundonsound.com/sos/apr99/articles/recstrings.htm][4]&#xD;&#xA;&#xD;&#xA;You may also want to go down to your local church and ask if you can record there with the natural reverb of the space.&#xD;&#xA;&#xD;&#xA;Q3. Depends what you buy. A mic stand is essential, as is a cable if you don't go with the usb. Another advantage of not using the usb (now I think of it) is that with a regular mic you could also use a long cable and have your computer away from the microphone.. they tend to make a bit of unwanted noise too. To attach the mic you can use a mic clip. Most come with one. Another option is the shockmount which further isolates the mic. &#xD;&#xA;&#xD;&#xA;Q4. Start with directly in front or slightly off to the players right (1 o'clock) and not too close, strings sound a bit scratchy close miked. Experimentation here is the key though (and the fun bit!). Remember that there are guidelines, but nothing is really 'wrong', if it sounds good then it is good.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/jul11/articles/samson-meteor.htm&#xD;&#xA;  [2]: http://www.seelectronics.com/se-x1-microphone&#xD;&#xA;  [3]: http://usa.yamaha.com/products/music-production/interfaces/audiogram/audiogram3/?mode=model#tab=product_lineup&#xD;&#xA;  [4]: http://www.soundonsound.com/sos/apr99/articles/recstrings.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="32482" PostHistoryTypeId="2" PostId="19980" RevisionGUID="388e36c8-063d-4a1c-bfe8-c936b0cfae1e" CreationDate="2013-08-05T18:23:23.083" UserId="6281" Text="Mark,&#xD;&#xA;&#xD;&#xA;Thanks so much for taking the time to answer. So, no on the USB mics then. I will check out the mic and interface you recommend. In the meantime, for our pretty rudimentary purposes here, what do you think of Zoom recorders? My local music store just pointed me toward the Zoom H1. I know it wouldn't be replicating recording studio sound, but do you think they have pretty decent sound quality? They certainly sound easy to use, handy, and cost-effective, satisfying 75% of my criteria. However, good sound is the primary issue.&#xD;&#xA;&#xD;&#xA;I also appreciate the suggestions on mic placement." ContentLicense="CC BY-SA 3.0" />
  <row Id="32483" PostHistoryTypeId="2" PostId="19981" RevisionGUID="d14d4fed-4be3-4d92-b74e-3bc34acef431" CreationDate="2013-08-05T19:06:09.097" UserId="407" Text="I was in La Porge in France last week and there was an almighty storm which I was lucky enough to record for a couple of hours, I've not listened back to the recordings yet let alone edited, but would be happy to share them with you if you are interested, you might be able to get something interesting out if it." ContentLicense="CC BY-SA 3.0" />
  <row Id="32484" PostHistoryTypeId="2" PostId="19982" RevisionGUID="db0d6fb9-a7e6-4889-b089-d2c4596652f0" CreationDate="2013-08-05T22:19:11.337" UserId="6282" Text="I graduated from SCAD and had a job offer before I graduated. The Cons of SCAD are its location (not in or near an industry hub), the time (full four year BFA vs a one or two year technical college), and there insistence on linear post audio (film, television, etc). Not a lot of opportunities to explore game audio, or experimental sound at least in the classroom space. The Pros to SCAD's program, are its faculty, reputation and alumni in the industry that really help get you started, the facilities, and the fact that it is part of an art school, with students in many different disciplines to collaborate with. The above con I mentioned about not having game audio classes, or really anything outside of film post, is countered by the fact that if you want to do game audio, you can minor in game design, or just join student projects to get your feet wet. I don't think I put any of my classroom work on my reel that got me a job, because I had that much material to pick from over the four year period I was there. There is a downside to that, not everyone that graduates from the Sound Design program is as proactive and prepared, and don't get jobs. It really is kind of all on you and what you choose to do with your time. I also benefited from a new Music Composition minor. You can actually align all your electives to be music composition classes, and not have to take anything extra in your time there and have an extra little tid bit on your degree. Never hurts when networking with musicians and composers. Good luck with your decision." ContentLicense="CC BY-SA 3.0" />
  <row Id="32488" PostHistoryTypeId="2" PostId="19984" RevisionGUID="16a6507f-01ce-4903-bbeb-3d5490e14396" CreationDate="2013-08-06T05:17:26.080" UserId="6283" Text="alternately you could try another pre/recorder and see if it makes a diff. it's possible the gain isn't high enough for the 416" ContentLicense="CC BY-SA 3.0" />
  <row Id="32489" PostHistoryTypeId="2" PostId="19985" RevisionGUID="6859a5f7-a87a-4a55-863b-8d811a9f9aab" CreationDate="2013-08-06T09:34:22.477" UserDisplayName="user80" Text="I use my Zoom H2 to record my cello lessons.  It can work as a USB mic or a stand alone recorder.  You will also find it useful for rehearsals.  It is a little bit noisy but well worth the price." ContentLicense="CC BY-SA 3.0" />
  <row Id="32493" PostHistoryTypeId="2" PostId="19987" RevisionGUID="0e159ca2-f29a-451a-864e-7bf9f53e2371" CreationDate="2013-08-06T14:20:46.583" UserId="6285" Text="Hi everyone!&#xD;&#xA;I'm an italian Electronic Music student and I'm about to start writing my final thesis for the course.&#xD;&#xA;Sound design &amp; foley are a new subject for me, they do not teach me anything about that but I am fascinated by the whole thing.&#xD;&#xA;I wanna know more about this and make this the topic of my thesis.  &#xD;&#xA;&#xD;&#xA;I've got 2 request/questions for you guys:&#xD;&#xA;&#xD;&#xA;1) I need books on the subject - what do you suggest to buy? I'm already reading **The Sound Effects Bible by R. Rivers** which is cool, pretty pratical approach and easy to understand (but I'm also searching for something more technical and scientific, if exist)&#xD;&#xA;&#xD;&#xA;2) Do you know about school/master/course about sound design and foley in EU or AUSTRALIA?&#xD;&#xA;&#xD;&#xA;Thank you all for your time,&#xD;&#xA;Matteo " ContentLicense="CC BY-SA 3.0" />
  <row Id="32494" PostHistoryTypeId="1" PostId="19987" RevisionGUID="0e159ca2-f29a-451a-864e-7bf9f53e2371" CreationDate="2013-08-06T14:20:46.583" UserId="6285" Text="Sound Design &amp; Foley thesis" ContentLicense="CC BY-SA 3.0" />
  <row Id="32495" PostHistoryTypeId="3" PostId="19987" RevisionGUID="0e159ca2-f29a-451a-864e-7bf9f53e2371" CreationDate="2013-08-06T14:20:46.583" UserId="6285" Text="&lt;foley&gt;&lt;design&gt;&lt;thesis&gt;&lt;degree&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32496" PostHistoryTypeId="2" PostId="19988" RevisionGUID="5be92536-0356-4f1c-a5c3-96279b626174" CreationDate="2013-08-06T15:23:53.760" UserId="1216" Text="Hi Matteo,&#xD;&#xA;&#xD;&#xA;You could contact your future colleague Matteo Milani&#xD;&#xA;http://usoproject.blogspot.nl/p/about.html&#xD;&#xA;Maybe he knows more books/courses in your area or nearby, he seems very knowledgable.&#xD;&#xA;&#xD;&#xA;Concerning books on sound design and or foley, here is a list of some classics posted&#xD;&#xA;by misazam:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2009/06/sound-design-essentials-books/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Regarding courses: i studied sound design in the Netherlands. You can go to:&#xD;&#xA;www.filmacademie.nl (more difficult to get in)&#xD;&#xA;or were I went:&#xD;&#xA;http://www.hku.nl/web/English/English/HKUUtrechtSchoolOfTheArts/Faculties/FacultyOfArtMediaTechnology.htm&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="32509" PostHistoryTypeId="5" PostId="2649" RevisionGUID="fe524610-1f07-489d-8c2b-b315e2c5d810" CreationDate="2013-08-06T18:35:02.593" UserId="395" Comment="deleted 1 characters in body" Text="I'm with Miguel here.. &#xD;&#xA;&#xD;&#xA;RenQ it's one of the most responsive EQ plug-ins for me.. I used digidesign plug-ins for a long time and when I tried RenQ for the first time I couldn't believe how sensitive it was. I personally love it.&#xD;&#xA;The Q series have a great quality factor which is ideal for some precise frequency cuts. &#xD;&#xA;About the Waves emulations.. I like the SSL emulation for certain specific purposes." ContentLicense="CC BY-SA 3.0" />
  <row Id="32514" PostHistoryTypeId="2" PostId="19990" RevisionGUID="65e5b5dc-0752-448b-83d1-fbfa70384a26" CreationDate="2013-08-06T21:06:54.787" UserId="6140" Text="Hi all!&#xD;&#xA; &#xD;&#xA;I have a question relating to the mixing and mastering levels of a film's audio soundtrack and problems I have since noticed after a project have been completed. &#xD;&#xA;&#xD;&#xA;I have been freelancing in sound editing and design for short films for a while now and I am confident that my home audio setup suitable for independent films. When I finalise a films audio soundtrack, I can see and hear that the levels are not peaking or distorting on any of the tracks. I listen to the audio on my BX-5 monitors, laptop speakers and headphones so I can feel comfortable that the important aspects of the mix is sounding the best as it can from a variety of sources.&#xD;&#xA;&#xD;&#xA;My problem is this; two films that I have worked on have had peaking/distorting audio at the loudest points of the films when screened through DVD's on different viewing platforms. &#xD;&#xA;&#xD;&#xA;Film 1 was played back on my home TV and distorted at the loudest point on hearing an ambulance siren, and Film 2 was shown at a premier event screening and distorted when a final 'boss fight' erupted. I've since checked back at my sessions I can't seem to understand why it's happened. I feel satisfied that I checked my levels in Pro Tools as well as different sound sources correctly before signing off on a project.&#xD;&#xA;&#xD;&#xA;Does this sound familiar to anyone, or does this sound like mixing/mastering faux-pas? Am I mixing too loudly or too quietly? Is there something that I missing entirely when listening to my levels or exporting the final audio stems? I am struggling to work out why the levels sound fine on my home computer network (inside and outside of Pro Tools), yet the films appear to peak/distort at the loudest points when played back on DVD's.&#xD;&#xA;&#xD;&#xA;I will admit that, with Film 2, the completion deadline caught me by surprise and so I wasn't able to test on more sources that I would have liked. But Film 1 was screened at a cinema last year and I noticed no problems what so ever, only playing it back on a home TV that I noticed said problem.&#xD;&#xA;&#xD;&#xA;Thank you all very much for your time, I look forward to hearing any advice or tips that you may have.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;&#xD;&#xA;James" ContentLicense="CC BY-SA 3.0" />
  <row Id="32515" PostHistoryTypeId="1" PostId="19990" RevisionGUID="65e5b5dc-0752-448b-83d1-fbfa70384a26" CreationDate="2013-08-06T21:06:54.787" UserId="6140" Text="Advice on Mixing and Mastering levels - Peaking/distortion when playing through DVD players? (non PC)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32516" PostHistoryTypeId="3" PostId="19990" RevisionGUID="65e5b5dc-0752-448b-83d1-fbfa70384a26" CreationDate="2013-08-06T21:06:54.787" UserId="6140" Text="&lt;mixing&gt;&lt;mastering&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32517" PostHistoryTypeId="2" PostId="19991" RevisionGUID="775e456e-9fa8-4e23-ac6e-27920141f4e1" CreationDate="2013-08-06T21:26:26.570" UserId="3179" Text="&gt; 1) I need books on the subject - what&#xD;&#xA;&gt; do you suggest to buy? I'm already&#xD;&#xA;&gt; reading The Sound Effects Bible by R.&#xD;&#xA;&gt; Rivers which is cool, pretty pratical&#xD;&#xA;&gt; approach and easy to understand (but&#xD;&#xA;&gt; I'm also searching for something more&#xD;&#xA;&gt; technical and scientific, if exist)&#xD;&#xA;&#xD;&#xA;I think David Sonnenschein's &quot;Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema&quot; is one of the most approachable (meaning, not overly theoretical or detached from the practice and reality) and informative books on the practice of &quot;sound design&quot; as it's performed for film, which I think many would agree, is the &quot;mother medium&quot; for the essence of what this &quot;sound storytelling&quot; called &quot;sound design&quot; is about.&#xD;&#xA;&#xD;&#xA;There are other books that go into &quot;specifics&quot; such as sound effects recording, like the Viers book you mention, but I think it's not really on the same page as what I would consider &quot;sound design&quot; (explaining a piece of art e.g. film in sound) to be about. Maybe you see it differently and are looking for something different for your thesis?&#xD;&#xA;&#xD;&#xA;I don't know what you're looking for, if you're looking for &quot;technical and scientific&quot; information, because those are two terms whose connection to &quot;sound design&quot; I don't really understand. Care to elaborate?&#xD;&#xA;&#xD;&#xA;&gt; 2) Do you know about&#xD;&#xA;&gt; school/master/course about sound&#xD;&#xA;&gt; design and foley in EU or AUSTRALIA?&#xD;&#xA;&#xD;&#xA;Loads, thus I would suggest doing a Google search and seeing the sites and courses by yourself.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32518" PostHistoryTypeId="5" PostId="19991" RevisionGUID="65cc0455-9de7-4483-a443-650c90c03339" CreationDate="2013-08-06T21:31:53.460" UserId="3179" Comment="added 267 characters in body; deleted 1 characters in body; added 48 characters in body" Text="&gt; 1) I need books on the subject - what&#xD;&#xA;&gt; do you suggest to buy? I'm already&#xD;&#xA;&gt; reading The Sound Effects Bible by R.&#xD;&#xA;&gt; Rivers which is cool, pretty pratical&#xD;&#xA;&gt; approach and easy to understand (but&#xD;&#xA;&gt; I'm also searching for something more&#xD;&#xA;&gt; technical and scientific, if exist)&#xD;&#xA;&#xD;&#xA;I think David Sonnenschein's &quot;Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema&quot; is one of the most approachable (meaning, not overly theoretical or detached from the practice and reality) and informative books on the practice of &quot;sound design&quot; as it's performed for film, which I think many would agree is the &quot;mother medium&quot; for the essence of what this &quot;sound storytelling&quot; called &quot;sound design&quot; is about.&#xD;&#xA;&#xD;&#xA;There are other books that go into &quot;specifics&quot; such as sound effects recording, like the Viers book you mention, but I think it's not really on the same page as what I would consider &quot;sound design&quot; (explaining a piece of art e.g. film in sound) to be about. Because for that, all specific techniques are just &quot;slaves&quot; to the overall task and vision and the techniques are entirely free form (Seriously. You can do anything you want, you can record anything you want, put any sound anywhere you want. That's why it's &quot;art&quot;. As long as it makes sense to a viewer/listener.). Maybe you see it differently and are looking for something different for your thesis?&#xD;&#xA;&#xD;&#xA;I don't know what you're looking for, if you're looking for &quot;technical and scientific&quot; information, because those are two terms whose connection to &quot;sound design&quot; I don't really understand. Care to elaborate?&#xD;&#xA;&#xD;&#xA;&gt; 2) Do you know about&#xD;&#xA;&gt; school/master/course about sound&#xD;&#xA;&gt; design and foley in EU or AUSTRALIA?&#xD;&#xA;&#xD;&#xA;Loads, thus I would suggest doing a Google search and seeing the sites and courses by yourself.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32519" PostHistoryTypeId="5" PostId="19991" RevisionGUID="d8aed04d-eb24-4cdf-b9d8-cfce0c593099" CreationDate="2013-08-06T21:39:53.570" UserId="3179" Comment="added 16 characters in body; added 24 characters in body; added 39 characters in body" Text="&gt; 1) I need books on the subject - what&#xD;&#xA;&gt; do you suggest to buy? I'm already&#xD;&#xA;&gt; reading The Sound Effects Bible by R.&#xD;&#xA;&gt; Rivers which is cool, pretty pratical&#xD;&#xA;&gt; approach and easy to understand (but&#xD;&#xA;&gt; I'm also searching for something more&#xD;&#xA;&gt; technical and scientific, if exist)&#xD;&#xA;&#xD;&#xA;I think David Sonnenschein's &quot;Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema&quot; is one of the most approachable (meaning, not overly theoretical or detached from the practice and reality) and informative books on the practice of and reasons for &quot;sound design&quot; as it's performed for film, which I think many would agree is the &quot;mother medium&quot; for the essence of what this &quot;sound storytelling&quot; called &quot;sound design&quot; is about.&#xD;&#xA;&#xD;&#xA;There are other books that go into &quot;specifics&quot; such as sound effects recording, like the Viers book you mention, but I think it's not really on the same page as what I would consider &quot;sound design&quot; (the art and practice of explaining a piece of art e.g. film in sound) to be about. Because for that, all specific techniques are just &quot;slaves&quot; to the overall task and vision and the techniques are entirely free form (Seriously. You can basically do anything you want, you can record anything you want, put any sound anywhere you want. That's why it's &quot;art&quot;. As long as it makes sense to a viewer/listener and portrays what's intended.). Maybe you see it differently and are looking for something different for your thesis?&#xD;&#xA;&#xD;&#xA;I don't know what you're looking for, if you're looking for &quot;technical and scientific&quot; information, because those are two terms whose connection to &quot;sound design&quot; I don't really understand. Care to elaborate?&#xD;&#xA;&#xD;&#xA;&gt; 2) Do you know about&#xD;&#xA;&gt; school/master/course about sound&#xD;&#xA;&gt; design and foley in EU or AUSTRALIA?&#xD;&#xA;&#xD;&#xA;Loads, thus I would suggest doing a Google search and seeing the sites and courses by yourself.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32520" PostHistoryTypeId="2" PostId="19992" RevisionGUID="559761b9-ab68-42b9-b43f-6227c4a7632f" CreationDate="2013-08-07T02:02:24.827" UserId="1228" Text="For #1:  'The Foley Grail' by Vanesse Theme-Ament" ContentLicense="CC BY-SA 3.0" />
  <row Id="32521" PostHistoryTypeId="2" PostId="19993" RevisionGUID="bd6bf1c5-3801-4bf5-b824-dca745188e13" CreationDate="2013-08-07T02:20:47.020" UserId="6267" Text="Short of sticking my recorder in the freezer (really really prefer not to), what sort of sounds can you combine to get the sound of something freezing into an ice statue?&#xD;&#xA;&#xD;&#xA;I've recorded cracking ice out of an icetray, but I'm wondering what else you can layer it with to get that kind of sound.&#xD;&#xA;&#xD;&#xA;Ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32522" PostHistoryTypeId="1" PostId="19993" RevisionGUID="bd6bf1c5-3801-4bf5-b824-dca745188e13" CreationDate="2013-08-07T02:20:47.020" UserId="6267" Text="The sound of things freezing" ContentLicense="CC BY-SA 3.0" />
  <row Id="32523" PostHistoryTypeId="3" PostId="19993" RevisionGUID="bd6bf1c5-3801-4bf5-b824-dca745188e13" CreationDate="2013-08-07T02:20:47.020" UserId="6267" Text="&lt;cold&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32524" PostHistoryTypeId="2" PostId="19994" RevisionGUID="c3810e7a-eff8-47c6-962d-373cd70db358" CreationDate="2013-08-07T02:42:16.553" UserId="1228" Text="Try a frozen, wet cloth?  Then wring it out in front of the mic.  Also record the ice crystals popping you hear when you open the freezer.  A recording I did of those is always a go-to icey swntr I like.  Try glass sounds too... Glass cracking, fine glass debris (to create a more hightened version of ice crystal pops.&#xD;&#xA;&#xD;&#xA;Think not just of the ice, but of the mist/cold element too." ContentLicense="CC BY-SA 3.0" />
  <row Id="32525" PostHistoryTypeId="2" PostId="19995" RevisionGUID="bbd9e05f-1a6c-41c4-94ea-149e68b271d2" CreationDate="2013-08-07T03:59:14.913" UserId="1013" Text="I've had some success with using styrofoam, like the stuff electrical good are packed in. You sort of twist it in your hands, and as you fingers mover over it, you get that cracking kind of noise.&#xD;&#xA;&#xD;&#xA;Ice age, the animated feature, has some good ice sounds in it, as cliched as it sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="32526" PostHistoryTypeId="2" PostId="19996" RevisionGUID="f7ebc272-6cf2-4779-9606-7aabbd54c3e0" CreationDate="2013-08-07T04:14:41.347" UserId="6435" Text="I got some great ice cracks by holding a stack of about 40 blank CDs tightly and twisting them. You get a good ice-crystals-popping sound like Stavrosound mentions. The CDs should probably not be used for data or music after doing this, however." ContentLicense="CC BY-SA 3.0" />
  <row Id="32527" PostHistoryTypeId="2" PostId="19997" RevisionGUID="3ace1250-6b93-4b78-83eb-39c3c3b59f03" CreationDate="2013-08-07T09:41:14.260" UserId="3336" Text="I'm designing a soundscape piece that will accompany an outdoor theatre performance. Around 40 audience members will wear headphones and follow the actors around a collection of local streets whilst experiencing the soundscape in some sort of rough sync to the performance. The performance will be around 45 minutes long and will visit various points along the route with the audience stopping to see each scene. The idea is that the soundscape runs the entire length, including when the audience walk between scenes. Kind of based on the idea of a sound walk.&#xD;&#xA;&#xD;&#xA;My question is about how to implement this. At the moment my solution is for everyone to have an mp3 player with a single track for the whole performance. Then literally have everyone press play at the same time then leave it running with an audience guide leading the group around at the right time.&#xD;&#xA;&#xD;&#xA;At the moment this feels kind of crude and was wondering if anyone else had done anything similar in the past like a sound walk, or had an awesome idea to deliver the audio to the audience?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32528" PostHistoryTypeId="1" PostId="19997" RevisionGUID="3ace1250-6b93-4b78-83eb-39c3c3b59f03" CreationDate="2013-08-07T09:41:14.260" UserId="3336" Text="Sound Walk implementation - anybody with any experience?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="32529" PostHistoryTypeId="3" PostId="19997" RevisionGUID="3ace1250-6b93-4b78-83eb-39c3c3b59f03" CreationDate="2013-08-07T09:41:14.260" UserId="3336" Text="&lt;theatre-sound-design&gt;&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32530" PostHistoryTypeId="2" PostId="19998" RevisionGUID="e6b37d4b-d967-4f2a-8013-0139fc910397" CreationDate="2013-08-07T09:50:37.013" UserId="5816" Text="Hi,&#xD;&#xA;&#xD;&#xA;What are your favourite techniques for creating insect type monster/creature sounds?&#xD;&#xA;I mean like larger than life, big chittering monstrosity type things. I think this is one of the areas I consistently find challenging to come up with good original sounds, especially around the low/mid frequency range.&#xD;&#xA;&#xD;&#xA;I have had some success with various things... xoxos has a good plug-in (http://www.xoxos.net/vst/nature/birdsandinsects.html) which can add some nice high frequency elements, and I've found polishing glass with a paper towel gives some good squeaky type sounds, but I would love to hear your ideas!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32531" PostHistoryTypeId="1" PostId="19998" RevisionGUID="e6b37d4b-d967-4f2a-8013-0139fc910397" CreationDate="2013-08-07T09:50:37.013" UserId="5816" Text="Insect monster/creature type sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="32532" PostHistoryTypeId="3" PostId="19998" RevisionGUID="e6b37d4b-d967-4f2a-8013-0139fc910397" CreationDate="2013-08-07T09:50:37.013" UserId="5816" Text="&lt;monster&gt;&lt;creature&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32533" PostHistoryTypeId="2" PostId="19999" RevisionGUID="4d92a2b1-2d44-4651-a298-41a6c63edb01" CreationDate="2013-08-07T10:13:19.517" UserId="1013" Text="I agree, I find those sorts of sounds challenging too. I've had some success with close micing my hands running over a few days worth of stubble on my chin. Gives a kind of creeping tentacle like sound. I read about that somewhere. Of course you have to watch your breathing." ContentLicense="CC BY-SA 3.0" />
  <row Id="32534" PostHistoryTypeId="2" PostId="20000" RevisionGUID="3e3b47ec-6ff4-4d51-b849-66bf2a53513a" CreationDate="2013-08-07T10:22:53.053" UserId="1216" Text="Hi Phil,&#xD;&#xA;&#xD;&#xA;I've done this in a project where everything had to be totally sync for the same length.&#xD;&#xA;We have tested a lot of setups and possibilities and ended up building a physical machine.&#xD;&#xA;This was a sort of &quot;hole puncher&quot; where all mp3 players fitted in slots. Above the play button was &#xD;&#xA;a small 'finger' that could press the button. This worked out great!&#xD;&#xA;But it's very important not to use absolute silence in any part of the soundscape. Why?&#xD;&#xA;Because every mp3player will handle the processing/decoding of the mp3 file in a different way.&#xD;&#xA;This creates possible time jumps of several minutes. You can bypass this by inserting very low frequencies. But test the setup several times!&#xD;&#xA;&#xD;&#xA;If you have enough budget I could also bring you in contact with a developer I work with a lot. He's recently created a smart way to use iPod touch (with wifi) and sync them to the millisecond.&#xD;&#xA;He's not cheap and very busy, but he'll make it work!&#xD;&#xA;&#xD;&#xA;If you're going the &quot;analog&quot; sync machine route, i could maybe arrange a photo of our setup.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="32535" PostHistoryTypeId="2" PostId="20001" RevisionGUID="588128d1-694e-42f4-a5a0-56f6684b121e" CreationDate="2013-08-07T10:30:50.347" UserId="202" Text="Ciao Matteo,&#xD;&#xA;&#xD;&#xA;Regarding books, the one that Stavrosound mentioned is good.&#xD;&#xA;You can find a lot of resources online nowadays, one great blog is designingsound.org another one is http://www.musicofsound.co.nz/blog/ &#xD;&#xA;Tim is the writer of the latter one, and you can find a lot of informations like this http://www.musicofsound.co.nz/blog/sound-design-book-list or http://www.musicofsound.co.nz/blog/career-advice-part-1&#xD;&#xA;&#xD;&#xA;Now, that's the theory, and theory outside Italy. I'm a sound editor based in Rome and the reality, in italy, especially in the last few years, couldn't be more different than what you will read online. &#xD;&#xA;It's super fascinating, exciting, interesting and fun world, don't get me wrong, but today the italian film industry is really behind a lot of other countries in this field.&#xD;&#xA;&#xD;&#xA;As you wrote there isn't any school that teaches sound fx editing or foley or even sound editing. Il Centro Sperimentale di Cinematografia (in Rome) http://www.snc.it/ (that should be the most prestigious cinema school in italy) doesn't even mention sound fx or foley in the sound course description http://www.snc.it/context.jsp?ID_LINK=103&amp;area=7 &#xD;&#xA;&#xD;&#xA;They only mention &quot;Realizzazione della colonna internazionale&quot; that is (for our english reader) the M&amp;E Track. That's it... That's all a Sound Fx Editor should do, for them... Unbelievable! (this make me so sad...) &#xD;&#xA;&#xD;&#xA;My advise: read a lot and experiment (sound kits are very cheap now, and pro tools is on the cheap side too) and get in touch with professionals (online or in real life); if you want to study, go abroad, and if you want to work in Italy, move to Rome.&#xD;&#xA;&#xD;&#xA;If you have any other more specific question, just write me.&#xD;&#xA;&#xD;&#xA;Ciao&#xD;&#xA;&#xD;&#xA;Davide " ContentLicense="CC BY-SA 3.0" />
  <row Id="32536" PostHistoryTypeId="2" PostId="20002" RevisionGUID="342961d4-3c5e-43a5-b997-24ff9fc47abf" CreationDate="2013-08-07T10:34:22.907" UserId="1216" Text="&quot;Film 1 was played back on my home TV and distorted at the loudest point on hearing an ambulance siren, and Film 2 was shown at a premier event screening and distorted when a final 'boss fight' erupted.&quot;&#xD;&#xA;&#xD;&#xA;Did you test this with a dvd or a direct connection from you laptop/computer? Dvd programmes can be fiddly so always burn a dvd if you want to test the soundtrack on dynamics and such. Another question: did you have the 'Dialog normalisation' turned on? At what level?&#xD;&#xA;&#xD;&#xA;Check this link: http://forum.doom9.org/showthread.php?t=56020&#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="32537" PostHistoryTypeId="2" PostId="20003" RevisionGUID="36f3bc07-93df-4aa6-b7a3-5773b9d6ca11" CreationDate="2013-08-07T11:20:40.890" UserDisplayName="user49" Text="I thought Dave Whiteheads work on D9 was excellent, especially scenes where the only dialog was from the non-humans... worth a re-read:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2009/11/exclusive-interview-with-dave-whitehead-sound-designer-of-district-9/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32538" PostHistoryTypeId="2" PostId="20004" RevisionGUID="3c95bfb6-eb98-448a-915a-f4ddb15058f8" CreationDate="2013-08-07T12:28:55.693" UserId="6287" Text="check out http://thefoleydiaries.wordpress.com/ a great source of foley info" ContentLicense="CC BY-SA 3.0" />
  <row Id="32539" PostHistoryTypeId="2" PostId="20005" RevisionGUID="6584f012-1559-4f5f-abd3-b8168ed4600c" CreationDate="2013-08-07T13:41:26.970" UserId="285" Text="Check out the answers to previously asked similar questions:&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/7691/tips-on-creating-frozen-bodypart-ripped-apart&#xD;&#xA;&#xD;&#xA;http://socialsounddesign.com/questions/15126/iceberg-crackling&#xD;&#xA;&#xD;&#xA;They should help" ContentLicense="CC BY-SA 3.0" />
  <row Id="32540" PostHistoryTypeId="2" PostId="20006" RevisionGUID="fa45be04-25ab-4d48-bb10-1e2f0be41e82" CreationDate="2013-08-07T15:20:55.980" UserId="4442" Text="I always liked the hipass tapping on desk, and i love making some weird insect like sounds with my mouth and pitching them up and stretching. I usually will try things like tongue clicking, fluttering, or (sorry to be gross) getting some liquidy noises." ContentLicense="CC BY-SA 3.0" />
  <row Id="32541" PostHistoryTypeId="2" PostId="20007" RevisionGUID="f1962c9a-6739-4661-88ce-2d675eb067be" CreationDate="2013-08-07T15:26:26.177" UserId="4442" Text="I like dropping a bunch of ice into some warm water, but you have to mic it hot in a ridiculously quiet room, it's very quiet. It will give you those initial cracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="32542" PostHistoryTypeId="5" PostId="19992" RevisionGUID="0a3c1fed-2648-47e0-8829-911e3802197f" CreationDate="2013-08-07T15:27:44.490" UserId="1228" Comment="edited body" Text="For #1:  'The Foley Grail' by Vanessa Theme-Ament" ContentLicense="CC BY-SA 3.0" />
  <row Id="32543" PostHistoryTypeId="2" PostId="20008" RevisionGUID="94af5981-0a20-437b-ab8c-6694669fa315" CreationDate="2013-08-07T15:58:36.550" UserId="6208" Text="If you realy want a monster use horse and other animals:&#xD;&#xA;&#xD;&#xA;Pitch them down, use granular stuff on them, vocode them with other animal sounds.&#xD;&#xA;&#xD;&#xA;Remove bottom end a bit if it gets to bass heavy on extream pitch shifts. at the end you cna alos use eq-notch sweeps or formant filters to give some more definition.&#xD;&#xA;&#xD;&#xA;That could help if you want to make them growl.&#xD;&#xA;&#xD;&#xA;if yo uwant fly sounds you can use all sort of source soudns and apply filter and amp lfos to make them rhythmic" ContentLicense="CC BY-SA 3.0" />
  <row Id="32544" PostHistoryTypeId="2" PostId="20009" RevisionGUID="c1c05eff-6bb5-49f2-ad62-fc0d86c3cb64" CreationDate="2013-08-07T16:01:40.947" UserId="6208" Text="Using rubbing sand with sand gives some great gritty layers. be sure to use a carped so you dont get the soudn of the sand you drop." ContentLicense="CC BY-SA 3.0" />
  <row Id="32545" PostHistoryTypeId="2" PostId="20010" RevisionGUID="4151f400-6fc0-4584-b3b8-577e25baa0d5" CreationDate="2013-08-07T16:25:28.587" UserId="61" Text="To tag onto what @Dave offered up, try micing ice cubes dropped into warm water with a hydrophone. You'll get a different perspective of the thawing, crackling sound without all the room noise/potential preamp hiss." ContentLicense="CC BY-SA 3.0" />
  <row Id="32546" PostHistoryTypeId="2" PostId="20011" RevisionGUID="aeac057f-9782-4f59-9c93-2702aef5982c" CreationDate="2013-08-07T19:54:20.637" UserId="3299" Text="Hi folks,&#xD;&#xA;&#xD;&#xA;How cautious do you find yourself having to be when recording in the city? I'd love to be out recording more with by mics and pres, but am just so concerned about getting gear grabbed while I'm engrossed in the recording! &#xD;&#xA;&#xD;&#xA;Anyone here ever been mugged while recording? &#xD;&#xA;&#xD;&#xA;Another thought is that recording gear generally doesn't 'look' expensive once it's in a battered portabrace and a mic in a furry just looks unappealing - so do we think thieves might not be aware of the value?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32547" PostHistoryTypeId="1" PostId="20011" RevisionGUID="aeac057f-9782-4f59-9c93-2702aef5982c" CreationDate="2013-08-07T19:54:20.637" UserId="3299" Text="Not getting mugged!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32548" PostHistoryTypeId="3" PostId="20011" RevisionGUID="aeac057f-9782-4f59-9c93-2702aef5982c" CreationDate="2013-08-07T19:54:20.637" UserId="3299" Text="&lt;safety&gt;&lt;stealing&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32549" PostHistoryTypeId="2" PostId="20012" RevisionGUID="4816220a-3dc5-487a-a626-4c8d2401d557" CreationDate="2013-08-07T20:10:41.407" UserId="1216" Text="Interesting question, where do you live? I live in Amsterdam, which is not considered a very violent city.&#xD;&#xA;Getting mugged here is not a normal thing to happen in most neirbourhoods.&#xD;&#xA;I have recorded here, in china, tunesia, greece and several other european countries without any fear.&#xD;&#xA;&#xD;&#xA;Getting mugged is not a thing i'm worried about, simply because i tend to isolate myself from a scene. &#xD;&#xA;Or I have a stealth setup and nobody notices the gear. But I don't go into neighbourhoods where i wouldn't&#xD;&#xA;feel safe, with or without gear.&#xD;&#xA;&#xD;&#xA;The only situation i fear is having my gear stolen on trains, but i always keep them close.&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="32550" PostHistoryTypeId="2" PostId="20013" RevisionGUID="f42c35c6-2c57-479f-86c2-74308b944cd6" CreationDate="2013-08-07T20:11:42.840" UserId="18" Text="I did a lot of night shooting in Downtown Los Angeles for a photo project a while back.  I was concerned someone might jump me for my camera gear, so I brought someone along to watch my back as I shot.  If you are concerned about your safety, bring a friend along." ContentLicense="CC BY-SA 3.0" />
  <row Id="32551" PostHistoryTypeId="2" PostId="20014" RevisionGUID="0b375319-a9f5-4de9-92e4-822f75ef7d29" CreationDate="2013-08-07T21:30:23.597" UserDisplayName="user6513" Text="I reckon you're probably too prominent a target whenever a boom is involved. Don't forget, that however much attention you are attracting from thieves, you are also doing so from the general public, and that is probably more of a deterrent. At least it is in my head. I'm usually more worried about someone calling the cops and making it a hassle for me to explain what I'm doing.&#xD;&#xA;&#xD;&#xA;As a general rule though, I wouldn't even go about recording in a space if I felt that my personal safety was being threatened. It would probably mess me up too much just thinking about it and I'll be too worried to concentrate on the recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="32552" PostHistoryTypeId="2" PostId="20015" RevisionGUID="33bf0aba-d134-4496-b9a0-e2995f844013" CreationDate="2013-08-08T02:57:58.570" UserId="6289" Text="I've found that most of the best sound designers for film and games start with real animals and insect vocals and layer and manipulate from there.  Just to let you guys know,&#xD;&#xA;I have a HUGE collection of unusual creature vocs that have been used on many many well known games and movies. And since they can be used in so many different combinations and ways of processing everyone's monsters sound different.  I'm happy to put a package together to fit your particular needs and budget. (It does not have to  be a big budget project!) Love to help.&#xD;&#xA;&#xD;&#xA;annk@soundmountain.com &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32553" PostHistoryTypeId="2" PostId="20016" RevisionGUID="109ebdfd-0743-41e8-9a59-7cad90ad1031" CreationDate="2013-08-08T03:13:34.307" UserId="6001" Text="Hi,&#xD;&#xA;&#xD;&#xA;What makes you decide to record a sound as loud as possible or either to record it with a lower level, as you will probably going to hear it in post?&#xD;&#xA;&#xD;&#xA;Is it the type of sound? Is it the project where you're going to use it?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Eduardo" ContentLicense="CC BY-SA 3.0" />
  <row Id="32554" PostHistoryTypeId="1" PostId="20016" RevisionGUID="109ebdfd-0743-41e8-9a59-7cad90ad1031" CreationDate="2013-08-08T03:13:34.307" UserId="6001" Text="Choosing the right gain at the right place for the right thing" ContentLicense="CC BY-SA 3.0" />
  <row Id="32555" PostHistoryTypeId="3" PostId="20016" RevisionGUID="109ebdfd-0743-41e8-9a59-7cad90ad1031" CreationDate="2013-08-08T03:13:34.307" UserId="6001" Text="&lt;field-recording&gt;&lt;sound-effects-recording&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32556" PostHistoryTypeId="2" PostId="20017" RevisionGUID="4fb61910-052e-4cae-924a-ba517cf06614" CreationDate="2013-08-08T04:21:22.307" UserId="5624" Text="Generally when recording you're looking for the best signal to noise ratio possible. If you record something too low then need to turn it up later in post, you're also going to be turning up all the unwanted noise.&#xD;&#xA;&#xD;&#xA;Personally I try to record as hot as possible without clipping or activating limiters. This may mean initially backing off the gain a little in anticipation of a particularly loud sound (before you hit record that is, I rarely adjust levels during a take). If you've got good gear with low self noise then this is far less of an issue and even quiet recordings can be turned way up before it gets unusable.&#xD;&#xA;&#xD;&#xA;It's always better to have to turn something down then turn it way up.&#xD;&#xA;&#xD;&#xA;Later in post, when I'm editing and mixing my recordings into usable files, I try to mix them to the level that I think they'll be used in a project or to a comfortable listening level. This makes it easier when auditioning SFX. It's a huge time-waster having to constantly turn levels up and down when you want to quickly audition a bunch of SFX." ContentLicense="CC BY-SA 3.0" />
  <row Id="32557" PostHistoryTypeId="2" PostId="20018" RevisionGUID="7f115476-5d47-4de9-9360-2f930670e2e0" CreationDate="2013-08-08T04:54:28.297" UserId="6487" Text="I have been focusing and training to become a DX/MX mixer of a two man team and have recently been given the opportunity to audition for an FX chair.  I want to go for it because I feel to be a great DX/MX mixer I need to watch and observe one closely and regularly. The best way to do this would be to work with one as a partner. But, as my focus has been watching the DX/MX guy, I want to make sure I would do a good job and be a honorable, hardworking, productive partner on stage.  I want to be an invaluable asset to the team in the role I would currently be occupying. I have been mixing FX throughout my career as I have been a 1 man post mixer for 13 years. But, I don't want to miss any expectations on stage. So, any advice on being a FX mixer? Any, panning conventions, reverb dos and don't....I know I will no longer be &quot;Mistress of the playback button.&quot;  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32558" PostHistoryTypeId="1" PostId="20018" RevisionGUID="7f115476-5d47-4de9-9360-2f930670e2e0" CreationDate="2013-08-08T04:54:28.297" UserId="6487" Text="FX Mixer Duties on a 2 man mix" ContentLicense="CC BY-SA 3.0" />
  <row Id="32559" PostHistoryTypeId="3" PostId="20018" RevisionGUID="7f115476-5d47-4de9-9360-2f930670e2e0" CreationDate="2013-08-08T04:54:28.297" UserId="6487" Text="&lt;fx&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32560" PostHistoryTypeId="2" PostId="20019" RevisionGUID="403d620b-7114-427f-948e-2b922e16a93d" CreationDate="2013-08-08T05:22:31.280" UserId="6487" Text="Since moving to LA I have found two types of houses for mixing.....houses that want you to creatively tell a story and work with the producers to realize a vision not yet manifested and houses that want you to not mess with the already mixed material and design they have approved coming out of an AVID suite.  They simply want you to take that mix and &quot;make it legal&quot; for air. One views audio as a fun wonderland of interpretation and possibility, while the other sees a mixer as a technical position created to optimize things for broadcast and clean unwanted noise. I literally had a producer say to me this week &quot;It is basically already mixed, just run the limiter thing on it.&quot;&#xD;&#xA;&#xD;&#xA;Has anyone had this experience as well? Is this a growing epidemic? When did an AVID editor become a sound designer and pre-dubber? Are they really given time like that to cut? I was stunned." ContentLicense="CC BY-SA 3.0" />
  <row Id="32561" PostHistoryTypeId="1" PostId="20019" RevisionGUID="403d620b-7114-427f-948e-2b922e16a93d" CreationDate="2013-08-08T05:22:31.280" UserId="6487" Text="Mixing: Technical Only???" ContentLicense="CC BY-SA 3.0" />
  <row Id="32562" PostHistoryTypeId="3" PostId="20019" RevisionGUID="403d620b-7114-427f-948e-2b922e16a93d" CreationDate="2013-08-08T05:22:31.280" UserId="6487" Text="&lt;mixing&gt;&lt;producer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32563" PostHistoryTypeId="2" PostId="20020" RevisionGUID="9fe17fab-3a2e-4ff1-acec-d19ebc83b7ad" CreationDate="2013-08-08T11:02:44.937" UserId="3179" Text="I think the question generalizes too much (to assume that all mixers and mixing would be of one &quot;type&quot;).&#xD;&#xA;&#xD;&#xA;But in general I'd think that mixing and especially mastering are mainly technical endevours. Yes you can shape what you're given, but what you're given can already be &quot;pre-mixed&quot; to a very high standard. Everyone knows that a masterer doesn't adjust anything, if the mix coming in is good :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32564" PostHistoryTypeId="2" PostId="20021" RevisionGUID="81d9b482-c48f-4ed9-8a36-b11ea1dbed99" CreationDate="2013-08-08T12:27:06.790" UserId="6208" Text="Hello everybody!&#xD;&#xA;&#xD;&#xA;I will record a rock n roll band. My goal is to get the classic sound of the 1950s-1960s with a polished feel. I mapped the following recording setup, but i have a fear that it will sound to POPish, plz critize my buildup and give some recording tips if possible.&#xD;&#xA;Thx&#xD;&#xA;&#xD;&#xA;Recording Setup:&#xD;&#xA;&#xD;&#xA;Band:&#xD;&#xA;male vocals (very clean voice with a mid twenty boy softer sound)&#xD;&#xA;drumkit (full acoustic, i do not know which jet)&#xD;&#xA;electric guitar (i do not know which amp jet, 4x12 Marshall 16 Ohm box in seperat amp chamber)&#xD;&#xA;upright bass (ampeg svt-III bassamp, 4x10 + 1x15 trace eliot box)&#xD;&#xA;digital piano :/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Channels:&#xD;&#xA;I planned to record everything over a ssl duality se console but the voice.&#xD;&#xA;The voice I planed to record via a avalon channel surpassing the ssl sound to create contrast to the backing track.&#xD;&#xA;As i want use somewhat no eq in postproduction to give it that olds cool vibe i want to use ssl and avalon eq and compressors as much as possible.&#xD;&#xA;&#xD;&#xA;Microphones:&#xD;&#xA;Vocals: Neumann U87 or C4000B (i think i try them both and see what works best)&#xD;&#xA;Drumkit: Kick: AKG D112&#xD;&#xA;         Sanre: Shure SM57 top AKG C4000B or AKG C391B Fig8 Body&#xD;&#xA;         Overheads: 2x AKG C451 B or 2 Neumann U87 ORTF or AB not sure jet&#xD;&#xA;         Hi-Hat: Beyerdynamics CK703&#xD;&#xA;         Toms: 3x SM 58?&#xD;&#xA;E-Guittar: AKG c414 + AKG C391 B for MS&#xD;&#xA;Upright bass: Shute Beata 91 + Sennheiser MKH-40 for Pickups + Amped D112? + Di  i am so not sure here&#xD;&#xA;Keybord direct into SLL + heavy convolution reverb in postproduction&#xD;&#xA;&#xD;&#xA;Thank you for your help!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32565" PostHistoryTypeId="1" PostId="20021" RevisionGUID="81d9b482-c48f-4ed9-8a36-b11ea1dbed99" CreationDate="2013-08-08T12:27:06.790" UserId="6208" Text="Rock n Roll Band Recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="32566" PostHistoryTypeId="3" PostId="20021" RevisionGUID="81d9b482-c48f-4ed9-8a36-b11ea1dbed99" CreationDate="2013-08-08T12:27:06.790" UserId="6208" Text="&lt;recording&gt;&lt;microphone&gt;&lt;microphone-positioning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32567" PostHistoryTypeId="2" PostId="20022" RevisionGUID="fd9f3b00-99f5-4c6a-80d8-ab122caa3912" CreationDate="2013-08-08T12:39:18.983" UserId="6208" Text="What i discovered in Germany:&#xD;&#xA;&#xD;&#xA;There is like no money in advertising and corporate movies for audio in smaller companies + the recoding equipment became much better and the software just to easy to use.&#xD;&#xA;&#xD;&#xA;So more and more movie cutters start to %&amp;/() around with audio and fade from left to right thinking they know exactly what they do.&#xD;&#xA;&#xD;&#xA;Then it sounds pretty ok but not as it could be. SO they do not wanna pay 100-200 € more on professional sound mixing since the equipment and &amp;/()&amp; &quot;premix&quot; sounds okay. &#xD;&#xA;&#xD;&#xA;Furthermore more and more movie cutters start to record the voice overs. They often give a /%&amp;/( if the sound is not as it could be. &#xD;&#xA;&#xD;&#xA;This leaves the companies calling me just to &quot;check&quot; the audio and applying some compression on the master channel and adjust the volume for broadcasting. So i can only charge 1-2 hours of work. &#xD;&#xA;&#xD;&#xA;And people accept the sound since more and more people just don't care about good sound anymore. Listen to the top 100s. And moreover people get used to overcompeessed and degraded sound from youtube on /()&amp;&amp; iphone speakers :D&#xD;&#xA;&#xD;&#xA;I think audio became to easy to use...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32568" PostHistoryTypeId="2" PostId="20023" RevisionGUID="7eff83cd-87e4-4858-a1f8-38873bf7a0cb" CreationDate="2013-08-08T13:16:50.590" UserId="285" Text="I am currently working on an animated series where the director and picture editor do a lot sound effects editing as they go.  I get an OMF with 15 tracks of precut SFX already in place.  But I barely keep any of it, most of the time none of it all.  The director and I look at the effects as a first pass or guide track.  He knows I can make the soundtrack much better because of the much much larger sound library I have, and the ability to record custom sounds for each unique scene when needed.  He encourages me to take the concepts he and the picture editor laid out and to make them more dramatic/funny/heartbreaking as is necessary.&#xD;&#xA;&#xD;&#xA;Also with most of the sounds they source in the course of the picture edit, they do not actually have broadcast rights for. So legally they put them selves at risk if I don't go and replace the temp sounds with new SFX from my library.&#xD;&#xA;&#xD;&#xA;We look at the ability of the picture editor to do a more elaborate sound edit as a tool for the director to communicate quite effectively the mood he wants me to create in a given scene.&#xD;&#xA;&#xD;&#xA;Granted not every project treats things this way, but it might be worth while to encourage clients to look at things this way.  Maybe even take one of their projects and do a full proper pass on it and let them hear the difference between the more crude pass done by a video editor and the more nuanced version a true audio post professional can provide.  I think too many producers have trouble relating to the whole audio process and thus devalue it.  Its in some ways up to us to try to educate them on the value we provide.  Easier said then done though.    " ContentLicense="CC BY-SA 3.0" />
  <row Id="32569" PostHistoryTypeId="5" PostId="20020" RevisionGUID="39165f51-86f9-4e0d-926d-ad856e10a626" CreationDate="2013-08-08T14:04:21.863" UserId="3179" Comment="added 335 characters in body; added 39 characters in body" Text="I think the question generalizes too much (to assume that all mixers and mixing would be of one &quot;type&quot;).&#xD;&#xA;&#xD;&#xA;But in general I'd think that mixing and especially mastering are mainly technical endevours. A mixer's or masterer's main responsibility is to have the final word on what comes to &quot;sound quality&quot; or &quot;what sounds good&quot; and make the given tracks work in as good or appropriate way (e.g. for a certain playback system) as possible. Yes you can shape what you're given, but what you're given can already be &quot;pre-mixed&quot; to a very high standard or it might just be recorded very well. Everyone also knows that a masterer doesn't adjust anything, if the mix coming in is good :) It's just a different focus that they have and different aspect that they are concerned with." ContentLicense="CC BY-SA 3.0" />
  <row Id="32570" PostHistoryTypeId="2" PostId="20024" RevisionGUID="36535737-a627-4a8f-9103-c9aa9c45c16c" CreationDate="2013-08-08T15:04:15.297" UserId="2502" Text="Every client and project I have worked on has varied somewhere on that scale. Sometimes our job is purely technical and sometimes our job is largely creative with the technical aspect being an expected addition.&#xD;&#xA;&#xD;&#xA;On any job it is important to understand your role and accomplish it.&#xD;&#xA;&#xD;&#xA;Same goes for mastering. The best mastering engineers I have worked with see themselves as artists as well as technicians just like mixers and producers. They &quot;color&quot; sound much like a colorist does in picture finishing. You hire them for their artistic aesthetic as well as technical expertise.&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="32571" PostHistoryTypeId="2" PostId="20025" RevisionGUID="bc84682b-afd9-41b6-8648-0411c244ccf1" CreationDate="2013-08-08T16:04:14.957" UserId="6392" Text="Ah the perils of temp love. In my experience you run into some directors/producers that want to keep it close to the Avid tracks and no amount of discussion will change their minds.  I take the approach that if thats what they want then its your job to make it the best you can for them.  However that doesn't mean you should just push the faders, make it legal and call it a day.  As a mixer its your job to establish a dialogue with them and hopefully together you can make the project better.  I usually know before a show hits the stage how strongly they are married to the temp tracks and will adjust accordingly.  You can approach it different ways:&#xD;&#xA;&#xD;&#xA;1) Use the temp tracks as a guide and mimic with a fuller sound design.&#xD;&#xA;&#xD;&#xA;2) Take the best sounds in the Avid tracks and use them and augment.&#xD;&#xA;&#xD;&#xA;3) Do a full sound cut but carry the Avid tracks in the bottom of the session and if they don't like something you can always bring up the sounds and replace what you've done.&#xD;&#xA;&#xD;&#xA;I find the majority of the time the parties involved will use the new tracks and will only go back to their tracks in places where they had spent a large amount of time working on them to get them just right.  I find it usually ends up being just a couple of elements that they feel strongly about." ContentLicense="CC BY-SA 3.0" />
  <row Id="32572" PostHistoryTypeId="5" PostId="2890" RevisionGUID="e60306e3-cac4-44f0-b244-8d42f7add284" CreationDate="2013-08-08T16:35:19.127" UserId="61" Comment="deleted 10 characters in body" Text="Great question. I use the 5.1 panners in Pro Tools for every project, whether I'm designing backgrounds or FX. It's really the only way to go for maximum flexibility and efficiency. &#xD;&#xA;&#xD;&#xA;To address your question specifically, a good approach is to design the track as if you are not only assembling the backgrounds but also predubbing them, taking responsibility for everything from leveling to panning, EQ (mostly corrective) and even reverbs (virtual or rendered). When you're done, you have a finely honed bed of backgrounds that are ready to be incorporated into the final mix.&#xD;&#xA;&#xD;&#xA;This technique becomes really powerful when you take control of your layers and pan them thoughtfully. Example: A nighttime forest scene may have:&#xD;&#xA;&#xD;&#xA; - 3 stereo tracks of air; 1 pair LR, 1&#xD;&#xA;   pair LsRs, 1 pair somewhere in the&#xD;&#xA;   middle&#xD;&#xA; - 2 stereo tracks of wind; 1 pair LR, 1&#xD;&#xA;   pair LsRs&#xD;&#xA; - 3 stereo tracks of insects; 1 pair&#xD;&#xA;   L+Ls, 1 pair R+Rs, 1 pair C+Rear C&#xD;&#xA; - 5 mono tracks of spotted BGs (owls,&#xD;&#xA;   nightbirds, cicada, etc); discretely&#xD;&#xA;   panned wherever you want them&#xD;&#xA;&#xD;&#xA;When grouped together in &quot;food groups&quot; and bussed out to the appropriate auxes, you've just created your first virtual predub. This method, by the way, is fast becoming the norm in feature post-sound here in LA and has been successful for many years now.&#xD;&#xA;&#xD;&#xA;Regarding issues with LtRt fold downs, I'd just be aware of any potential phase problems in the recordings you are using. Other than that, you should be good to go." ContentLicense="CC BY-SA 3.0" />
  <row Id="32578" PostHistoryTypeId="2" PostId="20028" RevisionGUID="8cefad3e-f53f-4f06-a394-91588c8b4a9f" CreationDate="2013-08-08T20:46:46.060" UserId="6462" Text="I think you should look into portable tour guide systems, like you see in museums, tour busses etc. This means that everyone has a receiver and you have 1 base station that you plug into the source.&#xD;&#xA;&#xD;&#xA;There are different ones and most are stereo, which I assume is what you will need.&#xD;&#xA;&#xD;&#xA;I'm not sure where you are based but contact event and hire companies to see if they have any of these systems, you should be able to hire them for not much money, probably cheaper than 50 MP3 players.&#xD;&#xA;&#xD;&#xA;Two manufacturers I know of that make these are JTS and Anchor.&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="32580" PostHistoryTypeId="2" PostId="20029" RevisionGUID="d75f6cf0-fbba-4001-b12b-4f5d1c74fe6f" CreationDate="2013-08-09T05:09:54.700" UserId="6290" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I'm thinking of getting Sound Device's USBPre 2 as I need a new audio interface at home and would also like to start recording in the field (I heard this interface is portable). &#xD;&#xA;&#xD;&#xA;So my question is, what do you recommend as a good audio recorder that can hook up to an external pre? I was originally thinking of the H4n but have since discovered that its line inputs are High -Z unbalanced inputs. What would be similar to the h4n but with low impedance line inputs?&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="32581" PostHistoryTypeId="1" PostId="20029" RevisionGUID="d75f6cf0-fbba-4001-b12b-4f5d1c74fe6f" CreationDate="2013-08-09T05:09:54.700" UserId="6290" Text="good portable recorder using an external pre" ContentLicense="CC BY-SA 3.0" />
  <row Id="32582" PostHistoryTypeId="3" PostId="20029" RevisionGUID="d75f6cf0-fbba-4001-b12b-4f5d1c74fe6f" CreationDate="2013-08-09T05:09:54.700" UserId="6290" Text="&lt;portable&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32583" PostHistoryTypeId="2" PostId="20030" RevisionGUID="176a4b63-40f7-4bc6-b77c-e1719e333f9f" CreationDate="2013-08-09T07:35:24.590" UserId="5960" Text="The options are quite wide as there's not only the XLR outputs, but also the tape out which is 3,5mm. If you want to use XLR, then the tascam DR-40 or DR-100mkII are the most common choices. For the tape out, I would recommend the Sony M10, Roland R-05, or any of the Olympus LS-series.&#xD;&#xA;&#xD;&#xA;If you want something with decent internal mics, then the Sony D50 is the way to go. A very fine machine, but a bit more expensive." ContentLicense="CC BY-SA 3.0" />
  <row Id="32584" PostHistoryTypeId="2" PostId="20031" RevisionGUID="5f8226a9-d439-49a7-a83a-0d5730c0e665" CreationDate="2013-08-09T10:49:36.383" UserId="6291" Text="I would suggest using RF broadcast and give everyone a portable radio with headphones. You could have a crew/cast member following each group of people with the localised transmitter and that way everyone gets the sound at exactly the same time.&#xD;&#xA;&#xD;&#xA; I've not implemented this myself but have been on a guided street theatre piece that used this method and it worked great as long as the group of receivers isn't too big." ContentLicense="CC BY-SA 3.0" />
  <row Id="32585" PostHistoryTypeId="2" PostId="20032" RevisionGUID="becc739d-c9da-48cf-acca-7a4879fbfcdd" CreationDate="2013-08-09T11:55:07.833" UserId="1216" Text="Hi Everyone,&#xD;&#xA;&#xD;&#xA;Not necessarilly a sound design question..&#xD;&#xA;Everyone probably runs a multicore computer and since we are in the business of sound, we need to create a lot of mp3 files. Now this is something that has been available for years but and I don't want to think about the cummulated hours I've waited for mp3 conversions. &#xD;&#xA;&#xD;&#xA;With the advent of faster cpu's encoding jumped down to a few minutes for long files.&#xD;&#xA;But still I find myself waiting for mp3 encodes more than I want to.&#xD;&#xA;&#xD;&#xA;Today i noticed that Logics' mp3 encoder only utilises 1 core in my cpu (i5), why?&#xD;&#xA;&#xD;&#xA;Does anyone know a software package/codec that's available for pro tools and logic, that allows for multicore encoding on a mac?&#xD;&#xA;&#xD;&#xA;Ps. Just to be clear. I'm not looking for a batch converter that utilises multiple cores, i want a codec that utilises them.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32586" PostHistoryTypeId="1" PostId="20032" RevisionGUID="becc739d-c9da-48cf-acca-7a4879fbfcdd" CreationDate="2013-08-09T11:55:07.833" UserId="1216" Text="Multicore Mp3 encoder for OSX, is it available? Why not?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32587" PostHistoryTypeId="3" PostId="20032" RevisionGUID="becc739d-c9da-48cf-acca-7a4879fbfcdd" CreationDate="2013-08-09T11:55:07.833" UserId="1216" Text="&lt;mp3&gt;&lt;multicore&gt;&lt;i5&gt;&lt;encoding&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32589" PostHistoryTypeId="2" PostId="20034" RevisionGUID="e4fa2824-3dfe-4b51-8799-d67d3509b866" CreationDate="2013-08-09T14:48:20.663" UserId="37" Text="lame does high quality MP3 using multicore, it's on the command line and so is naturally scriptable. just make sure you grab a recent version.&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="32590" PostHistoryTypeId="2" PostId="20035" RevisionGUID="90d074cb-03ee-4f73-8209-64ea66ff8f0d" CreationDate="2013-08-09T15:18:39.463" UserId="3346" Text="I want to try a pair of Km184 for field recording next week and can´t find any informations about packing them inside a Røde Blimp in ORTF Setup. Does anyone of you found a way to do this ?&#xD;&#xA;&#xD;&#xA;thanks for your help &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32591" PostHistoryTypeId="1" PostId="20035" RevisionGUID="90d074cb-03ee-4f73-8209-64ea66ff8f0d" CreationDate="2013-08-09T15:18:39.463" UserId="3346" Text="Neumann KM 184 ORTF Røde Blimp" ContentLicense="CC BY-SA 3.0" />
  <row Id="32592" PostHistoryTypeId="3" PostId="20035" RevisionGUID="90d074cb-03ee-4f73-8209-64ea66ff8f0d" CreationDate="2013-08-09T15:18:39.463" UserId="3346" Text="&lt;neumann&gt;&lt;rode&gt;&lt;blimp&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32593" PostHistoryTypeId="2" PostId="20036" RevisionGUID="eb493196-6e9a-46fe-8bf0-d7a77e0f34c1" CreationDate="2013-08-09T16:39:02.353" UserId="6293" Text="The Roland R26 is a good option for a portable recorder with XLR line inputs (the pres can be bypassed).  The inbuilt mics are decent, but if that's a sticking point for you then definitely consider the D50.  The only issue in that setup is that the D50 does not have XLR connectors.  IMO, the R26 or DR100mkii is the way to go in that price range." ContentLicense="CC BY-SA 3.0" />
  <row Id="32594" PostHistoryTypeId="2" PostId="20037" RevisionGUID="ff769bbc-93c7-48d4-adca-6e857e19a0d1" CreationDate="2013-08-09T19:10:36.810" UserId="542" Text="Not KM184s, but it's kinda the same setup I guess:&#xD;&#xA;http://thesoundmyheadmakes.blogspot.de/2011/10/semi-stealth-recording-with-my-new-cm3s.html&#xD;&#xA;&#xD;&#xA;I did the same thing with CM3s in a Rycote windshield a few days ago and have to say, that the mics were pretty vulnerable to wind. I guess this comes from the small distance between the capsules and the windshield. &#xD;&#xA;Therefore you should strongly try to avoid wind.&#xD;&#xA;&#xD;&#xA;You might want to build yourself some shortened XLR-plugs, so that you are a bit more flexible in adjusting the angle of the mics (don't know how long the KM184s are compared to the CM3).&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;I cut away the ends of a XLR-plug, which looks kinda like this:&#xD;&#xA;&#xD;&#xA;![XLR connector][2] &#xD;&#xA;&#xD;&#xA;Hope, that this helps you a bit.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://dl.dropboxusercontent.com/u/3544140/Foto%202.JPG&#xD;&#xA;  [2]: https://dl.dropboxusercontent.com/u/3544140/Foto%201.JPG" ContentLicense="CC BY-SA 3.0" />
  <row Id="32595" PostHistoryTypeId="2" PostId="20038" RevisionGUID="92de8d51-afa7-4ca0-be28-a8566fe0df94" CreationDate="2013-08-09T22:03:03.683" UserId="6294" Text="Hi,&#xD;&#xA;&#xD;&#xA;I'm looking for WW1 weapon recordings.&#xD;&#xA;I've tried all major soundlibraries ( SI, HE, etc.) but i can't seem to find these :&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;MAUSER MG08&#xD;&#xA;&#xD;&#xA;MAUSER G98&#xD;&#xA;&#xD;&#xA;CHAUCHAT (Machine Rifle Model 1915 CSRG)&#xD;&#xA;&#xD;&#xA;Hotchkiss M1909 machine gun&#xD;&#xA;&#xD;&#xA;Vickers machine gun&#xD;&#xA;&#xD;&#xA;Browning BAR&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm willing to pay a decent price for good recordings.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any help is welcome.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;JAN.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32596" PostHistoryTypeId="1" PostId="20038" RevisionGUID="92de8d51-afa7-4ca0-be28-a8566fe0df94" CreationDate="2013-08-09T22:03:03.683" UserId="6294" Text="I'm looking for WW1 weapon recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="32597" PostHistoryTypeId="3" PostId="20038" RevisionGUID="92de8d51-afa7-4ca0-be28-a8566fe0df94" CreationDate="2013-08-09T22:03:03.683" UserId="6294" Text="&lt;weapon&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32598" PostHistoryTypeId="2" PostId="20039" RevisionGUID="50cd0e4b-9672-43de-b17a-a86a577e2402" CreationDate="2013-08-10T05:49:51.817" UserId="568" Text="Wish I had replied earlier, but I would base them relative to the windows native sounds.&#xD;&#xA;&#xD;&#xA;How I think is people tend to tune their speakers to the UI error sounds on windows. So calibrate your sounds in comparison to those.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32599" PostHistoryTypeId="2" PostId="20040" RevisionGUID="9699266d-d131-4c74-ab53-b67d4d71d1b4" CreationDate="2013-08-10T05:57:28.223" UserId="1225" Text="Hi Jan,&#xD;&#xA;&#xD;&#xA;It's very unlikely you'll find recordings of these weapons. They're probably exist now only as museum showpieces.&#xD;&#xA;&#xD;&#xA;The BOOM Library team released some sound packs dedicated to modern and historical weapon (for example, http://www.boomlibrary.com/boomlibrary/products/historical-firearms). You could ask them or Ric Viers (Blastwave FX) about possibilities of recording the guns you need.  &#xD;&#xA;&#xD;&#xA;You also can try to imitate them with sound design, constructing from other elements. It'll take much more time though." ContentLicense="CC BY-SA 3.0" />
  <row Id="32600" PostHistoryTypeId="2" PostId="20041" RevisionGUID="0b6031d6-72ca-4daf-bb33-ec22463e69e9" CreationDate="2013-08-10T06:07:35.100" UserId="568" Text="I've used a number of techniques to design a lot of huge insect like sounds on a project.&#xD;&#xA;&#xD;&#xA;Screeches and screams work nicely for insects. &#xD;&#xA;Gapper Snippers and Ampitude Modulation are good go to techniques to get that chittery sound.&#xD;&#xA;&#xD;&#xA;Try to think how an insect when it feels a certain way would sound with it's chittering. What would it's base sound contain.&#xD;&#xA;&#xD;&#xA;Layering in your own mouth sounds and voice is very rewarding. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32601" PostHistoryTypeId="2" PostId="20042" RevisionGUID="38749b14-86af-4fb5-bc5f-376d510a3299" CreationDate="2013-08-10T06:35:22.713" UserId="568" Text="Construct a CD with 5-8 songs of different genres. Ones you really like the mix in and that you know well. &#xD;&#xA;&#xD;&#xA;Listen how each song performs on the monitors. &#xD;&#xA;&#xD;&#xA;Make sure the monitors are in a room that is also treated when you test them. &#xD;&#xA;&#xD;&#xA;I see the word studio, so I will assume that there is acoustic wall treatment then." ContentLicense="CC BY-SA 3.0" />
  <row Id="32602" PostHistoryTypeId="2" PostId="20043" RevisionGUID="fbc55eb7-14cc-43c4-a719-8c6fab10c21d" CreationDate="2013-08-10T09:18:23.343" UserId="125" Text="i have a friend who have a lot WW1 weapon, he collect them, and most of them are working.&#xD;&#xA;Contact me if u r interested, we could record for u.&#xD;&#xA;&#xD;&#xA;bohitomi@gmail.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="32603" PostHistoryTypeId="2" PostId="20044" RevisionGUID="3f2ce72e-eb5d-4fc4-8323-265a6082dc6b" CreationDate="2013-08-10T10:47:51.380" UserId="826" Text="Max uses many threads so it can encode an mp3 on single and each core.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://sbooth.org/Max/" ContentLicense="CC BY-SA 3.0" />
  <row Id="32605" PostHistoryTypeId="2" PostId="20046" RevisionGUID="45adbbe1-2673-4a78-99ce-308b31263a6a" CreationDate="2013-08-11T12:39:23.447" UserId="5957" Text="**Figured out a solution to this, can't believe it didn't hit me before:**&#xD;&#xA;&#xD;&#xA;**1.** Mix and edit the sounds with processing on individual channels, and master channel if necessary&#xD;&#xA;&#xD;&#xA;**2.** Render the entire sequence, taking the output from the master channel.&#xD;&#xA;&#xD;&#xA;**3.** Add this rendered file back into the set on a new audio channel. Right click this audio clip and choose 'Crop Samples'. Hey presto, it cuts 'em up into individual files, stored in the directory Project/Samples/Processed/Crop (or something similar)&#xD;&#xA;&#xD;&#xA;**4.** Use batch renaming software (NameChanger works for me) to rename the files. &#xD;&#xA;&#xD;&#xA;**DONE!**" ContentLicense="CC BY-SA 3.0" />
  <row Id="32606" PostHistoryTypeId="2" PostId="20047" RevisionGUID="c66f78cf-8e53-4cb4-9d93-b8d165793116" CreationDate="2013-08-11T16:43:46.573" UserId="3299" Text="This is a very music recording orientated question, so you might fare better asking on Gearslutz. I'll offer my thoughts anyway.&#xD;&#xA;&#xD;&#xA;Your equipment set up sounds excellent, BUT I think you'll find it very hard work to get a 50s/60s sound with such modern mics, mic technique (you mention M/S), mic pres, and instruments and amps.&#xD;&#xA;&#xD;&#xA;Your whole production seems geared towards making an exclusively modern sounding recording.&#xD;&#xA;&#xD;&#xA;Understood, you do mention wanting to make a 'polished' sounding version of a 50s recording style but I think the 'polished' sound will come from the very fact that recording today has become such a controllable environment if you manage it correctly.&#xD;&#xA;&#xD;&#xA;First, I would research into 50s instruments and amps, and beg or borrow or hire their equivalent. You will not be able to make a Marshall stack sound old. (Unless you put an inordinate amount of effort in after)&#xD;&#xA;&#xD;&#xA;Second: Research mics. You need to look at tube or ribbon mics if you want any hope of the retro sound. A modern U87 or 414 is going to sound far too modern on vocals.&#xD;&#xA;&#xD;&#xA;Third: Mic technique; again research technique to find one suitable to the genre you're looking to record. Sometimes only one mic was used in a recording, and the band were arranged around that to get the balance of the mix.&#xD;&#xA;&#xD;&#xA;If you get all that right, then you will be on your way to having an authentic sounding recording. Your nice preamps and converters will lend it a nice polish.&#xD;&#xA;&#xD;&#xA;In your mix you will have to choose plugins cleverly to maintain the vibe of the recording. Some nice saturation or emulators for example. &#xD;&#xA;&#xD;&#xA;You mention 'heavy convolution reverb' - if you're going for convolution, again make sure you use the right IRs - like proper reverb chambers or spring reverbs. Again, research what was being used in the genre you're looking to emulate." ContentLicense="CC BY-SA 3.0" />
  <row Id="32610" PostHistoryTypeId="2" PostId="20049" RevisionGUID="ad6b9a61-736b-4800-8724-9f34f1f461af" CreationDate="2013-08-11T17:53:32.707" UserId="3299" Text="Does anyone have any experience using the [Telinga EM-23][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.telinga.com/products/pro-series/microphones/stand-alone/em-23-pair/&#xD;&#xA;&#xD;&#xA;The DPA 4060 is so ubiquitous now, I was surprised to find that the EM-23 has 14 - 16dB(A) self noise, compared to the 4060s 23dB(A). Interested to hear any opinions on the actual sound and tone of the EM-23 as I would snap this up in an instant! " ContentLicense="CC BY-SA 3.0" />
  <row Id="32611" PostHistoryTypeId="1" PostId="20049" RevisionGUID="ad6b9a61-736b-4800-8724-9f34f1f461af" CreationDate="2013-08-11T17:53:32.707" UserId="3299" Text="Any opinions of Telinga EM-23" ContentLicense="CC BY-SA 3.0" />
  <row Id="32612" PostHistoryTypeId="3" PostId="20049" RevisionGUID="ad6b9a61-736b-4800-8724-9f34f1f461af" CreationDate="2013-08-11T17:53:32.707" UserId="3299" Text="&lt;self-noise&gt;&lt;nature-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32613" PostHistoryTypeId="2" PostId="20050" RevisionGUID="fc6ad0da-d982-4ad9-a297-237d4f23da47" CreationDate="2013-08-11T17:57:01.257" UserId="6460" Text="Before you make all of these decisions about the signal chain, think about what made 50s-60s rocknroll and pop music sound the way it did—it's so much more than just the mics and preamps. Do some reading about the sessions themselves, the equipment available, and the limitations that studios and bands faced in terms of gear and time.&#xD;&#xA;&#xD;&#xA;The musical groups recorded together in the room with each other...there was almost never time or sufficient track counts for overdubbing. As such, the room counts A LOT when deciding on your sound. Even in modern recordings, drums get their tone from the mics in the room FAR more than from the close mics. &#xD;&#xA;&#xD;&#xA;Most music was recorded directly to 2-, 4- or later 8-track tape machines...not only did the tape give the music a *very* distinctive sound, but it also limited the the number of mics that an engineer could place on a given instrument. When I toured Sun Studios in Nashville, they described their original drum miking technique as having 3 mics: one on the kick, one figure-8 between the snare and the high hat, and one overhead.&#xD;&#xA;&#xD;&#xA;Back to the tape: tape saturation is an inherent signature mid-to-late 20th century recordings. While it's more work and money to run a recording session on tape, it's FAR more difficult, nay impossible, to mimic the sounds of tape in post using plugins. I think recording on tape, even if you do a tape transfer to a DAW for mixing afterward, will put you leaps and bounds closer to the original sound than if you recorded digitally.&#xD;&#xA;&#xD;&#xA;Also, think about employing ribbon mics, especially on your drums, guitars, and maybe vocals. Good ribbon mics can do incredible things to singers and instruments in terms of smoothing out dynamics and coloring the sound. Mics like RCA's 77 and 44, Coles mics, and the Royer line are some of my favorite mics to use when I want a highly-colored, &quot;interesting&quot; sound to my recordings.&#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;&lt;br&gt; Matt&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32615" PostHistoryTypeId="2" PostId="20051" RevisionGUID="5228e562-c649-404c-9c43-15cce4f0d5d9" CreationDate="2013-08-11T20:41:09.143" UserId="4390" Text="Well...haven't used them, but supposedly, they use Primo electret capsules, which can Be had for just a few Bucks each. The Sony pcm m10 uses primo capsules with a noise floor similar to that of Telinga. So if you can solder, look for primo em23. Also, search taperssection.com for telinga em23 pip for more info." ContentLicense="CC BY-SA 3.0" />
  <row Id="32616" PostHistoryTypeId="2" PostId="20052" RevisionGUID="02e58364-0435-4f15-90ce-138740bbfa94" CreationDate="2013-08-11T21:41:32.057" UserId="6289" Text="Jan, I have a huge, unique, collection of vintage weapons...many from WWI. Would be happy to help, if I can.  Please let me know how I can get in touch with you.  annk@soundmountain.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="32617" PostHistoryTypeId="2" PostId="20053" RevisionGUID="659882c1-1d54-468b-be28-5f2e1855ce1d" CreationDate="2013-08-12T02:31:06.170" UserId="6299" Text="I have just been told that the district is going to move my booth from the balcony (where we took out seats and set up tables) and build a room for it on the main floor, under the balcony. It will be about 12' deep and 15' wide and will be situated between two support beams. They want me to tell them what and how I want it built. I'm thinking sound dampened walls, a widow  that opens at both ends and that is tilted to stop the glare, that the sound equipment be on the house left side of the booth and the lighting console on the house right side of the booth. Interior surfaces should be flat black, dimmable work lights for the lighting console, the sound system controls, and a general dimmable work light system. Monitor speakers, headset jacks built into the edge of the work table, and storage and work bench on the back wall. A locking door, of course. All sound system wiring on its side, all lighting wiring on its side, school PA speaker, A/C and heating, and carpeting. Every position should be wheel chair accessible. &#xD;&#xA;&#xD;&#xA;What am I missing? Any idea where I can find some good booth plans?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32618" PostHistoryTypeId="1" PostId="20053" RevisionGUID="659882c1-1d54-468b-be28-5f2e1855ce1d" CreationDate="2013-08-12T02:31:06.170" UserId="6299" Text="Sound and Light Booth" ContentLicense="CC BY-SA 3.0" />
  <row Id="32619" PostHistoryTypeId="3" PostId="20053" RevisionGUID="659882c1-1d54-468b-be28-5f2e1855ce1d" CreationDate="2013-08-12T02:31:06.170" UserId="6299" Text="&lt;booth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32620" PostHistoryTypeId="2" PostId="20054" RevisionGUID="5b913a4f-f932-4bde-807f-aa8d6497863d" CreationDate="2013-08-13T18:27:27.480" UserId="6407" Text="Hi,&#xD;&#xA;&#xD;&#xA;Been searching for the right ambience for this scene and all my car park ambiences are too busy, or in the daytime, or just not right. &#xD;&#xA;&#xD;&#xA;I'm wondering if anyone knows a sample library that has good car park ambiences, at night, without too much traffic.&#xD;&#xA;&#xD;&#xA;(have a look at the picture to see what I mean)&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Appreciate the advice.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Nicol&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ear-trumpet.net/images/Screen%20shot%202013-08-13%20at%2019.16.48.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="32621" PostHistoryTypeId="1" PostId="20054" RevisionGUID="5b913a4f-f932-4bde-807f-aa8d6497863d" CreationDate="2013-08-13T18:27:27.480" UserId="6407" Text="Looking for right Car Park ambience..." ContentLicense="CC BY-SA 3.0" />
  <row Id="32622" PostHistoryTypeId="3" PostId="20054" RevisionGUID="5b913a4f-f932-4bde-807f-aa8d6497863d" CreationDate="2013-08-13T18:27:27.480" UserId="6407" Text="&lt;ambience&gt;&lt;samples&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32623" PostHistoryTypeId="2" PostId="20055" RevisionGUID="e652b398-e50d-4503-a6d8-c4d1e0c256b1" CreationDate="2013-08-13T18:35:31.390" UserId="1228" Text="Likely (and this may not be the answer you want to hear) you'll have to roll up your sleeves and build it.  It's the hallmark of good BGz actually, building from the ground up.  Finding some thick and dense air tones which create the right mood, a nice rumble, some HVAC tones and fluorescent buzzing, maybe OS alley drips if it's a wet scene, some OS tire skids and spotted car moves (including doors), maybe some OS walla here and there and spotted reverberant F/S bys.&#xD;&#xA;&#xD;&#xA;I've actually recorded some rather empty garages and to be honest, they are incredibly boring sounding.&#xD;&#xA;&#xD;&#xA;I can personally say that when posed with the exact situation you speak of, and show an example of, this is the approach I would take 100% of the time.  You never will find 1 or 2 sounds which work as-is for a BG.  It's all about breaking down what the scene calls for, not just literally but figuratively as well, and layering it together the right combination of elements to act as one cohesive environment." ContentLicense="CC BY-SA 3.0" />
  <row Id="32624" PostHistoryTypeId="2" PostId="20056" RevisionGUID="de63b7f1-e729-49a4-8463-31d75a3d6189" CreationDate="2013-08-13T20:11:47.413" UserId="5774" Text="You've clearly put a lot of thought into this!  I can't tell from your post what the venue and function of the room is... High School theater booth?  (I'm going to go with that assumption, but if it ends up being some kind of film/tv thing... just ignore me ;) You can also try asking on the theater-sound-list google group (as long as you're okay with highly opinionated discord).&#xD;&#xA;&#xD;&#xA;Try to get equipment in server room, or at least get booth its own A/C control separate from the house.  I've been in many booths that are either uncomfortably warm or cold because of equipment or just because there was no independent temp control (venue temp requirements are quite different from small boxes, surprise surprise).&#xD;&#xA;&#xD;&#xA;Noise isolation is important so the audience doesn't hear all the stage manager &quot;GOs.&quot; But having windows that can open is good when the booth and stage need to easily talk to each other.  Putting in a talk-back system at each station would also be helpful.&#xD;&#xA;&#xD;&#xA;If you do musicals, let the administration know you still need to move the sound desk out into the house during these shows.  It's imperative that you're mixing in a similar zone (acoustically and system coverage-wise) as the audience.  Even if you only do lectures or events with a few live sound elements, you might want to look into a console that can be controlled by an iPad or similar remote.&#xD;&#xA;&#xD;&#xA;Keep in mind your console dimensions when designing the room, so you have enough room to take the console in and out easily enough.  I've been in one booth where the desk position was elevated, so they needed to install a handicap ramp, and then there was almost no useable floor space left.&#xD;&#xA;&#xD;&#xA;See if you can get the school to spring for rheostat dimmers.  I see them in booths sometimes (they are the iconic huge retro control knobs). They're great since they change the resistance, instead of sawing the waveform (which can induce filament whine).&#xD;&#xA;&#xD;&#xA;If it's not a safety/security issue, maybe a volume knob on the PA speaker?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32625" PostHistoryTypeId="2" PostId="20057" RevisionGUID="85134d8b-2bc3-41a8-b43a-c4a0389e3328" CreationDate="2013-08-13T23:46:15.830" UserDisplayName="user49" Text="What @stavrosound said, plus it sounds like an excellent excuse for a late night recording session! rig mics etc so recorder can stay in your car, drive around carpark buildings, listening... and when you find a good quiet level, put the mic stand beside your car and hit record! Distant verby activity, even very sparsely will help sell the actuality if the location...." ContentLicense="CC BY-SA 3.0" />
  <row Id="32626" PostHistoryTypeId="2" PostId="20058" RevisionGUID="d6207777-6e3e-4335-8d79-c56be37d3215" CreationDate="2013-08-14T03:24:13.927" UserId="6301" Text="Try Switch from NCH.com.au &#xD;&#xA;&#xD;&#xA;regards&#xD;&#xA;Mark" ContentLicense="CC BY-SA 3.0" />
  <row Id="32627" PostHistoryTypeId="2" PostId="20059" RevisionGUID="3703096a-718b-4b0e-b654-cf0ce9d7e309" CreationDate="2013-08-14T03:38:13.920" UserId="6302" Text="Hello everybody,&#xD;&#xA;&#xD;&#xA;I will be thankful for your advice-&#xD;&#xA;&#xD;&#xA;I purchased an instrument vst plugin.&#xD;&#xA;&#xD;&#xA;I am looking for a window (32 bit) software that will host the plugin, and-&#xD;&#xA;&#xD;&#xA;1. Will be able to record the sounds, created with the hosted instrument plugin.&#xD;&#xA;2. will be able to export the files to *FLAC or/and OGG* format and in HD( like 96.000 Hz , 32-bit) directly from the software (without any converting)&#xD;&#xA;3. That the price of the software will be up to 100$ if possible(I am willing to buy the software and not looking for free ones)&#xD;&#xA;4. Easy to use software.&#xD;&#xA;&#xD;&#xA;Any suggestions will be thankfully welcome.&#xD;&#xA;&#xD;&#xA;*Thank you* :-)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32628" PostHistoryTypeId="1" PostId="20059" RevisionGUID="3703096a-718b-4b0e-b654-cf0ce9d7e309" CreationDate="2013-08-14T03:38:13.920" UserId="6302" Text="Looking for a window (32 bit) software that will host a VST plugin." ContentLicense="CC BY-SA 3.0" />
  <row Id="32629" PostHistoryTypeId="3" PostId="20059" RevisionGUID="3703096a-718b-4b0e-b654-cf0ce9d7e309" CreationDate="2013-08-14T03:38:13.920" UserId="6302" Text="&lt;plugin&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32630" PostHistoryTypeId="2" PostId="20060" RevisionGUID="2b8d37df-545e-45e2-bd31-57cdbe5daabf" CreationDate="2013-08-14T03:45:15.663" UserId="5624" Text="REAPER - http://www.reaper.fm/" ContentLicense="CC BY-SA 3.0" />
  <row Id="32631" PostHistoryTypeId="2" PostId="20061" RevisionGUID="467e3e2a-4700-4281-8c4b-9747ca8c002a" CreationDate="2013-08-14T09:18:49.123" UserId="6303" Text="2nd Reaper for that price range. I use reaper alongside my Cubase7 DAW and find it's features very useful for recording the loop back on my sound card. I can also use it in rewire mode within Cubase should I need to. For the money it's a really great program. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32632" PostHistoryTypeId="2" PostId="20062" RevisionGUID="4bf65d0d-0633-418f-b873-ca515a569928" CreationDate="2013-08-14T15:21:57.823" UserId="6304" Text="Thanks for the thoughts, @Stephen and @Skarik. Yes, it is a high school. We seat about 900 on the main floor and about 400 in the balcony. 1960's brick shoe box of a theatre. You're right, Skarik, the way I typed it was odd. I have seen booth windows that have a center panel that it stationary and a right panel and left panel that moved to center when they opened. Stephen, &quot;highly opinionated discord&quot;? I teach a fine art in Texas. More money for theatre means less money for foot ball. You ought to have sat in on that meeting! I'm not sure what you mean by server room. Here it is the room where they have all the routers for the computers. I was hoping to get them to put one of the small a/c units like they have over the door in the router/server room to cool the new booth. I don't think I can get a dedicated heating unit, but the auditorium is usually very toasty in the winter, so I'm not too concerned with heat. We have a Theatre production brand intercom system, but I'm told they are no longer in business, so I'll try and get a new system with a few wireless sets for the adults so we're not tethered to the wall plates. Moving the sound desk out is a good idea. When I talk with the wiring people, I'll get them to put a connection box on the outside of the booth. That way we won't have wires running through the open window. I put a toggle switch on the PA speaker years ago, so I could turn it off during night performances. They office had this habit of calling for the head custodian on the PA when they needed anything. You can imagine the laughs when &quot;Mr. Wright, the faculty lounge on the third floor needs more toilet paper.&quot; is announced just as the ghost of Hamlet's Father enters the stage. I'll switch out the toggle for a volume knob. Good idea for the dimmable lights. Thought we might try to have them install some LED fixtures. Anybody know how to tell what the correct angle for the windows should be? Also, I was thinking that the door to the booth should open out, under the idea that it would be harder for a student to break in a door that opens out. Can't put your shoulder into it. The hinge would be on the stage side, that way any light leakage from the booth would hit the back wall of the house instead of the stage and audience.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;James Smethers" ContentLicense="CC BY-SA 3.0" />
  <row Id="32633" PostHistoryTypeId="2" PostId="20063" RevisionGUID="64ae2fdd-269f-4ca4-9959-c1361d632ea2" CreationDate="2013-08-14T15:36:51.217" UserId="6305" Text="@Skarik, I had to read it twice before I saw what you were talking about. Ouch! I don't think I'll tell my wife. I don't think she would find it funny, although, it is funnier than you think. See, she was a widow when I met her.&#xD;&#xA;&#xD;&#xA;JS" ContentLicense="CC BY-SA 3.0" />
  <row Id="32634" PostHistoryTypeId="2" PostId="20064" RevisionGUID="d3f92e8b-56c3-4aba-8187-30f791bb5c73" CreationDate="2013-08-14T16:19:42.227" UserId="3179" Text="So, the general thread for answering about the &quot;ultimate reason&quot; for being in this field:&#xD;&#xA;&#xD;&#xA;- Why do you do what you do?&#xD;&#xA;- Why is it important?&#xD;&#xA;- What is it for?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32635" PostHistoryTypeId="1" PostId="20064" RevisionGUID="d3f92e8b-56c3-4aba-8187-30f791bb5c73" CreationDate="2013-08-14T16:19:42.227" UserId="3179" Text="What motivates you in your work?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32636" PostHistoryTypeId="3" PostId="20064" RevisionGUID="d3f92e8b-56c3-4aba-8187-30f791bb5c73" CreationDate="2013-08-14T16:19:42.227" UserId="3179" Text="&lt;ultimate&gt;&lt;reason&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32637" PostHistoryTypeId="2" PostId="20065" RevisionGUID="77b290bc-d621-4f80-bfff-f9de9d254e8f" CreationDate="2013-08-14T19:07:33.410" UserId="6306" Text="Hello again and *many thanks* for the info.&#xD;&#xA;&#xD;&#xA;If any other software (under 100$) comes to mind, I will&#xD;&#xA;be thankful to also know about it.&#xD;&#xA;&#xD;&#xA;Thank you! :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32638" PostHistoryTypeId="2" PostId="20066" RevisionGUID="1f8ac798-7848-47ed-8fe3-b772563bacca" CreationDate="2013-08-14T19:32:17.820" UserId="6307" Text="I'm working on a film right now where there are only 3-4 people left on earth and everything else is dead, but I'm having trouble finding the right ambiances for this piece because it's really unnatural to not hear bugs or birds in the environments I'm editing for.&#xD;&#xA;&#xD;&#xA;I've been trying to fake it by using studio winds, then foly-ing the specifics of the environments, but with limited success. &#xD;&#xA;&#xD;&#xA;Does anyone have suggestions how I can find BGs like this, or how to make/fake them from scratch?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32639" PostHistoryTypeId="1" PostId="20066" RevisionGUID="1f8ac798-7848-47ed-8fe3-b772563bacca" CreationDate="2013-08-14T19:32:17.820" UserId="6307" Text="BGs with no birds, bugs, or any other animals (make/fake/or break the bank)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32640" PostHistoryTypeId="3" PostId="20066" RevisionGUID="1f8ac798-7848-47ed-8fe3-b772563bacca" CreationDate="2013-08-14T19:32:17.820" UserId="6307" Text="&lt;ambience&gt;&lt;background&gt;&lt;field-recording&gt;&lt;buying&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32641" PostHistoryTypeId="2" PostId="20067" RevisionGUID="1e9c7a12-cde3-44c3-906f-574a7fa97686" CreationDate="2013-08-14T21:27:53.017" UserId="61" Text="It's not impossible to record ambiences that are near-silent, if you choose to go that route. You'll have to go out of your way to find them, probably very late at night or very early on a Sunday morning when the urban noise is at its lowest, but it can be achieved.&#xD;&#xA;&#xD;&#xA;Even with a pristine recording of a silent background, you're going to have to manufacture the exact soundscape you're hearing in your head. No 1 recording is going to get you there. On many of the films that I've worked on that have a similar storyline, either I or someone else on the crew will go to great lengths creating the sound of a [dead city][1]. Depending on the environment around your characters, give some thought to what the trees, winds and abandoned buildings would sound like without human interference.&#xD;&#xA;&#xD;&#xA;Or you could just go to Detroit and record anywhere.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/3294/backgrounds-for-a-dead-city" ContentLicense="CC BY-SA 3.0" />
  <row Id="32642" PostHistoryTypeId="2" PostId="20068" RevisionGUID="a839d62a-5d87-4949-b8e8-9a5fe4287c87" CreationDate="2013-08-14T22:17:47.317" UserId="6308" Text="Hello everybody,&#xD;&#xA;&#xD;&#xA;I'm not sure if this forum allow this kind of question, but we want participate to a game jam ( ludumdare#27  ) and we are looking for a game sound designer to come in ur team.&#xD;&#xA;&#xD;&#xA;If someone can give us some forums/community it will be great :)&#xD;&#xA;&#xD;&#xA;Thanks !" ContentLicense="CC BY-SA 3.0" />
  <row Id="32643" PostHistoryTypeId="1" PostId="20068" RevisionGUID="a839d62a-5d87-4949-b8e8-9a5fe4287c87" CreationDate="2013-08-14T22:17:47.317" UserId="6308" Text="Where find sound designer for game jam" ContentLicense="CC BY-SA 3.0" />
  <row Id="32644" PostHistoryTypeId="3" PostId="20068" RevisionGUID="a839d62a-5d87-4949-b8e8-9a5fe4287c87" CreationDate="2013-08-14T22:17:47.317" UserId="6308" Text="&lt;job&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32645" PostHistoryTypeId="2" PostId="20069" RevisionGUID="42cd34d7-aa7b-4b48-85bc-8c1e0296a163" CreationDate="2013-08-15T01:26:26.120" UserId="6309" Text="Audio ecologist Gordon Hempton puts a new spin on the old phrase, &quot;Silence is Golden&quot; in his fight to preserve naturally quiet spaces.&#xD;&#xA;&#xD;&#xA;For the past 25 years Gordon Hempton has made it his job to record the sounds of silence. The search for places of natural quiet has taken Hempton around the world three times over. Places in which the soft lapping of water rolling over river stones, the hum of crickets chirping in the night, and the tender flap of a butterfly’s wing can be recorded without the interference of mechanical vibrations are like gold to the audio ecologist. Unfortunately finding these areas is as rare as finding mines of profitable precious metals. Yet the benefits of finding a place to enjoy nature’s greatest symphony are priceless, and can be as effective as medicine in the treatment of disorders such as autism.&#xD;&#xA;&#xD;&#xA;The increase in man’s mobility through the skies ruins quiet even in undeveloped areas. According to Hempton’s research, in 1984 Washington State had 21 places in which noise free intervals ran 15 minutes or longer--today there are only three. Additionally, the average noise free interval--if it exists at all--is 2.5 to 3.5 minutes.  Despite the fact that natural quiet is a protected natural resource in accordance with the Organic Act of 1916 and the creation of the National Parks Service, thousands of air tours buzz over these areas each year. Hempton urges citizens to campaign for quiet by voicing concerns to congressmen and airline companies.&#xD;&#xA;&#xD;&#xA;There are only 12 places left in the United States in which to experience natural quiet. Check out www.onesquareinch.org to find the coordinates of one such spot. The remaining locations remain anonymous for their own protection.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32646" PostHistoryTypeId="2" PostId="20070" RevisionGUID="3d6a67af-57db-4f54-b7e5-54e920e698ed" CreationDate="2013-08-15T03:49:59.873" UserDisplayName="user49" Text="Presumably its not a documentary, so what you are aiming to do is evoke the emptiness rather than document it. I would would work with winds, layers of sparse winds played quietly so they just feel like air, and maybe pitch shifting some ie slowing them down to evoke bleakness... Then add lifeless elements in the distance, slow creaking metal swaying in the wind, trees creaking etc.... spot ambiences (spotmos as some people call it) will contribute detail (cut it around dialogue) and will require localising ie panning and distancizing.... what a fun challenge!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32647" PostHistoryTypeId="2" PostId="20071" RevisionGUID="957bcfc7-7392-4c85-8e06-f3052380a791" CreationDate="2013-08-15T07:25:12.753" UserId="6310" Text="https://www.facebook.com/scott.bradley.5492&#xD;&#xA;&#xD;&#xA;please contact me and we may talk about&#xD;&#xA;&#xD;&#xA;hi mate" ContentLicense="CC BY-SA 3.0" />
  <row Id="32648" PostHistoryTypeId="2" PostId="20072" RevisionGUID="cc60fbde-aca0-4781-98c0-8a2187ea9171" CreationDate="2013-08-15T08:59:37.530" UserId="6078" Text="hey everyone&#xD;&#xA;&#xD;&#xA;at the moment I'm playing this game on my 3DS and I'm quite amazed by its sound FXs since they sound so clear, juicy and compact&#xD;&#xA;&#xD;&#xA;I should point that I'm leaving outside those reminescent 8Bit memorabilia...&#xD;&#xA;I'm only referring to the more realistic ones like footsteps, breaking the blocks etc...and also to those modern textures...in few words: any SFX that doesn't sound 8bit&#xD;&#xA;&#xD;&#xA;and I'm curious to know more about how they're done..&#xD;&#xA;&#xD;&#xA;what makes me curious is that the SFXs sound realistic .. if you hear the SFX of when you grab the flag pole, there's a realistic flapping sound&#xD;&#xA;thing is that, it sounds tiny .. like one of those photo FX that turn a normal picture into a miniature ... the FX is subtle but noticeable.. &#xD;&#xA;this is one of the things I want to research on a bit...&#xD;&#xA;&#xD;&#xA;did some googling about Nintendo's audio team with no luck so far&#xD;&#xA;&#xD;&#xA;any input is appreciated" ContentLicense="CC BY-SA 3.0" />
  <row Id="32649" PostHistoryTypeId="1" PostId="20072" RevisionGUID="cc60fbde-aca0-4781-98c0-8a2187ea9171" CreationDate="2013-08-15T08:59:37.530" UserId="6078" Text="Super Mario 3D Land Sound Design: techniques" ContentLicense="CC BY-SA 3.0" />
  <row Id="32650" PostHistoryTypeId="3" PostId="20072" RevisionGUID="cc60fbde-aca0-4781-98c0-8a2187ea9171" CreationDate="2013-08-15T08:59:37.530" UserId="6078" Text="&lt;video-games&gt;&lt;sound-design&gt;&lt;sfx&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32651" PostHistoryTypeId="2" PostId="20073" RevisionGUID="df63e34c-3455-4762-af4a-0550b376ff25" CreationDate="2013-08-15T10:44:37.590" UserId="4140" Text="Facebook.com/soundsrealproductions&#xD;&#xA;&#xD;&#xA;Contact me as well. &#xD;&#xA;&#xD;&#xA;Thank you" ContentLicense="CC BY-SA 3.0" />
  <row Id="32652" PostHistoryTypeId="2" PostId="20074" RevisionGUID="12f0e417-cf12-40a5-bb18-93cc1ef1ff9d" CreationDate="2013-08-15T11:07:02.410" UserId="3179" Text="Here's a sub-forum at IndieGamer where you can search for a person / read classifieds:&lt;br&gt;&#xD;&#xA;http://forums.indiegamer.com/forumdisplay.php?13-Music-amp-Sound-Portfolios" ContentLicense="CC BY-SA 3.0" />
  <row Id="32654" PostHistoryTypeId="2" PostId="20076" RevisionGUID="62b1ce82-0f51-475d-bb7e-63f63e60e575" CreationDate="2013-08-15T17:46:16.440" UserId="6289" Text="Kai, I have a vast collection of evocative winds and tonal backgrounds. if you'd like to get in touch, will tell you more. Would be happy to help.&#xD;&#xA;&#xD;&#xA;annk@soundmountain.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="32655" PostHistoryTypeId="2" PostId="20077" RevisionGUID="97d0b443-8408-45ba-8ace-2b65f551df1b" CreationDate="2013-08-15T20:53:44.737" UserId="6312" Text="A friend of mine who lives in Thailand helps me to translate phrases in thai. Today he sent me some audiofiles that I opened in audacity for analyzing. His voice seems to be in some way distorted, or at least not clear. He has been using x-touch tab to record. &#xD;&#xA;&#xD;&#xA;Here in Sweden my girlfriend helps me to record a womans voice and we are using samsung galaxy s3. Here the voice is almost perfect. &#xD;&#xA;&#xD;&#xA;What I could see in audacity is that the files where the sound is not clear has a sample rate of 8000 Hz, compared to the clear soundfiles from samsung which is 44100 HZ.&#xD;&#xA;&#xD;&#xA;Does the lower samplingrate produce low quality soundfiles? I read that if one record speech, a  lower sampling rate is ok.&#xD;&#xA;&#xD;&#xA;In both cases - the amplitude resolution is the same - that is a 32 bit float.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="32656" PostHistoryTypeId="1" PostId="20077" RevisionGUID="97d0b443-8408-45ba-8ace-2b65f551df1b" CreationDate="2013-08-15T20:53:44.737" UserId="6312" Text="sampling frequenzy" ContentLicense="CC BY-SA 3.0" />
  <row Id="32657" PostHistoryTypeId="3" PostId="20077" RevisionGUID="97d0b443-8408-45ba-8ace-2b65f551df1b" CreationDate="2013-08-15T20:53:44.737" UserId="6312" Text="&lt;android&gt;&lt;sampling&gt;&lt;recording&gt;&lt;sound-quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32658" PostHistoryTypeId="2" PostId="20078" RevisionGUID="84c68cc0-1508-4aa9-8381-02966bb03efc" CreationDate="2013-08-15T21:02:51.053" UserId="3179" Text="Lowering the sampling rate affects directly the highest frequency that is captured or played back, in line with Nyquist's sampling theorem, which defines the phenomenon.&#xD;&#xA;&#xD;&#xA;The sampling theorem states that:&lt;br&gt;&#xD;&#xA;sampling frequency / 2 = highest frequency in the captured/played digital signal&#xD;&#xA;&#xD;&#xA;A voice needs around 4-5kHz of bandwidth (around 1kHz-6kHz in audio frequencies) to be tangible. Therefore an 8kHz sample rate (divided by 2 gives 4kHz of bandwidth) suffices and minimizes the need of bandwidth, therefore it needs less storage space and is faster and more efficient (by electrical means) to transfer and thus a low sampling rate such as 8kHz is suitable for mobile phones and other transmission by radio waves." ContentLicense="CC BY-SA 3.0" />
  <row Id="32659" PostHistoryTypeId="5" PostId="20078" RevisionGUID="f6a4cd55-95ac-4b5c-981d-95a923106950" CreationDate="2013-08-15T21:09:52.920" UserId="3179" Comment="added 8 characters in body" Text="Lowering the sampling rate affects directly the highest frequency that is captured or played back, in line with Nyquist's sampling theorem, which defines the phenomenon.&#xD;&#xA;&#xD;&#xA;The sampling theorem states that:&lt;br&gt;&#xD;&#xA;sampling frequency / 2 = highest audible frequency in the captured/played digital signal&#xD;&#xA;&#xD;&#xA;A voice needs around 4-5kHz of bandwidth (around 1kHz-6kHz in audio frequencies) to be tangible. Therefore an 8kHz sample rate (divided by 2 gives 4kHz of bandwidth) suffices and minimizes the need of bandwidth, therefore it needs less storage space and is faster and more efficient (by electrical means) to transfer and thus a low sampling rate such as 8kHz is suitable for mobile phones and other transmission by radio waves." ContentLicense="CC BY-SA 3.0" />
  <row Id="32660" PostHistoryTypeId="2" PostId="20079" RevisionGUID="9dc68cf0-11f0-4227-89c5-b644fd2b1519" CreationDate="2013-08-15T21:32:58.667" UserId="3179" Text="I'd expect you to get best answers by trying to contact someone who's actually worked for Nintendo. An internet search may bring up something. I know what you're speaking about though. Nintendo's games have tended to be crystal clear as well as highly inventive (to the point that the sounds are very &quot;magical&quot;) in their sound (those talented perfectionist Japanese).&#xD;&#xA;&#xD;&#xA;Not that there are particular secrets to recording or sound handling, but I'd guess experience and a perfectionist attention to detail (the Japanese are known for this in general) probably play the biggest roles. Even if you'd contact someone who's worked on Nintendo's sound, the answers you'd get would likely not be surprising at all, we all know how recording works or how MIDI works. The key is just in how many takes one's willing to make and how one maximizes the potential of every sound that's included. And having a taste for good/perfect sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="32661" PostHistoryTypeId="5" PostId="20079" RevisionGUID="522187af-c446-43e8-9760-f691f4177d84" CreationDate="2013-08-15T21:38:07.417" UserId="3179" Comment="added 37 characters in body; added 25 characters in body; added 29 characters in body" Text="I'd expect you to get best answers by trying to contact someone who's actually worked for Nintendo (or on that particular game). An internet search may bring up something. I know what you're speaking about though. Nintendo's games have tended to be crystal clear as well as highly inventive (to the point that the sounds are very &quot;magical&quot;) in their sound (those talented perfectionist Japanese).&#xD;&#xA;&#xD;&#xA;Not that there are particular secrets to recording or sound handling, but I'd guess experience and a perfectionist attention to detail (the Japanese are known for this in general) probably play the biggest roles. Even if you'd contact someone who's worked on Nintendo's sound, the answers you'd get would likely not be surprising at all, we all know how recording works, how MIDI works or how sound editing works. The key is just in how many takes one's willing to make and how one maximizes the potential of every sound that's included, and does not include mediocre sound. And having a taste for good/perfect sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="32662" PostHistoryTypeId="5" PostId="20079" RevisionGUID="6fb957b3-253e-44aa-9021-ee408522223f" CreationDate="2013-08-15T21:44:42.140" UserId="3179" Comment="added 114 characters in body" Text="I'd expect you to get best answers by trying to contact someone who's actually worked for Nintendo (or on that particular game). An internet search may bring up something. I know what you're speaking about though. Nintendo's games have tended to be crystal clear as well as highly inventive (to the point that the sounds are very &quot;magical&quot;) in their sound (those talented perfectionist Japanese).&#xD;&#xA;&#xD;&#xA;Not that there are particular secrets to recording or sound handling, but I'd guess experience and a perfectionist attention to detail (the Japanese are known for this in general) probably play the biggest roles. Even if you'd contact someone who's worked on Nintendo's sound, the answers you'd get would likely not be surprising at all, we all know how recording works, how MIDI works or how sound editing works. The key is just in how many takes one's willing to make and how one maximizes the potential of every sound that's included, and does not include mediocre sound. And having a taste for good/perfect sound with strong themes (I think the Japanese are really good at achieving integrity and in creating thematic content)." ContentLicense="CC BY-SA 3.0" />
  <row Id="32663" PostHistoryTypeId="5" PostId="20079" RevisionGUID="474999da-9752-456e-9d28-3ce61219f09b" CreationDate="2013-08-15T22:20:36.397" UserId="3179" Comment="added 72 characters in body" Text="I'd expect you to get best answers by trying to contact someone who's actually worked for Nintendo (or on that particular game). An internet search may bring up something. I know what you're speaking about though. Nintendo's games have tended to be crystal clear as well as highly inventive (to the point that the sounds are very &quot;magical&quot;) in their sound (those talented perfectionist Japanese).&#xD;&#xA;&#xD;&#xA;Not that there are particular secrets to recording or sound handling, but I'd guess experience and a perfectionist attention to detail (the Japanese are known for this in general) probably play the biggest roles. Even if you'd contact someone who's worked on Nintendo's sound, the answers you'd get would likely not be surprising at all, we all know how recording works, how MIDI works or how sound editing works. The key is just in how many takes one's willing to make and how one maximizes the potential of every sound that's included, and does not include mediocre sound. And having a taste for good/perfect sound with strong themes (I think the Japanese are really good at achieving integrity and in creating thematic content).&#xD;&#xA;&#xD;&#xA;Credits:&#xD;&#xA;http://nintendo.wikia.com/wiki/Super_Mario_3D_Land/credits" ContentLicense="CC BY-SA 3.0" />
  <row Id="32664" PostHistoryTypeId="2" PostId="20080" RevisionGUID="14064ca3-90cd-4eda-91d4-ba6238f97ca0" CreationDate="2013-08-15T23:16:23.313" UserId="6314" Text="I had the same thing very low line in level - make sure you change the PCMM10 to High Sensitivity it's probably set to Low on the back of the unit and turn off the PCMM10 limiter if it is engaged, I did this and when I toggle the headphone monitor return on the mix pre-d between what the pcmm10 is recording and what the mixpre is capturing it sounds about the same , pcmm10 volume set to 8.&#xD;&#xA;Some people have said how great the pcmm10 and the mix pre-d gel together but I find the H4n with it's lack of true line level in works better that the above pita." ContentLicense="CC BY-SA 3.0" />
  <row Id="32665" PostHistoryTypeId="2" PostId="20081" RevisionGUID="a2b097c6-c5bb-4a75-bf69-3b25b8a0f008" CreationDate="2013-08-15T23:28:07.177" UserId="6314" Text="the D50 is a fantastic recorder if you can afford to buy it over the H4n, the mics don't sound any better and the noise floor fairly similar with both using XY electret mics which always exhibit noise, the D50 is a tad quieter but I doubt in real world scenarios you'll find yourself in a quiet room recording nothing with built in mics.&#xD;&#xA;the preamps in the H4n cost around $6 and the preamps in the D50 cost around $8.00 they're very similar everybody uses these apogee, apple, sound devices, kindof p isses you off but I guess it's the R&amp;D we pay for in this tech.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32666" PostHistoryTypeId="2" PostId="20082" RevisionGUID="280147e8-80c9-405f-a9d3-e9c05edd75b0" CreationDate="2013-08-16T08:54:26.000" UserId="6315" Text="Old thread, but anyway...I've been using the H4 and now H1, because of its portability, for interviews, ambient sound and simple video sequences. As a former radio producer i've also worked with more high-level (and definitely high-priced) gear.&#xD;&#xA;I've find the zoom series (I've also tried the H2) good when it comes to sound quality. And especially the H1 is a bargain for its price.&#xD;&#xA;&#xD;&#xA;Some drawbacks, though.&#xD;&#xA;1) The H4 and indeed the H1 is VERY sensitive for handling sounds. You have to have a delicate sense of handling if you are using the H1 as a interview microphone &quot;on the street&quot;. If you are putting it on a microphone stand on a decent surface it is ok. Just using the handle in the accessory pack is just slightly better. I put the H1 in a rubberband microphone holder on a mic boom, which does the job.&#xD;&#xA;&#xD;&#xA;2) The microphones in the H1 catches every sound. Fine for ambience, bad when it comes to wind or breathing sounds. Use a microphone windscreen as the one in the accessory pack. And for voiceovers etc - talk close to the microphones in a quiet and soft area (a wardrobe filled with clothes is just fine!)&#xD;&#xA;&#xD;&#xA;3) The H1 i very plastic. Its a pity that it makes the thing feel cheapish. But it also feels a little fragile, for example in the mic stand mounter. I do not use it fulltime, and try to be careful, but it is something to keep in mind.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32667" PostHistoryTypeId="2" PostId="20083" RevisionGUID="c0736d55-d5bb-4156-8184-83e71d0465f9" CreationDate="2013-08-16T11:07:46.463" UserId="684" Text="Hi!&#xD;&#xA;I use USBPre 2 with D-50.&#xD;&#xA;Check out my setup for binaural recording:&#xD;&#xA;http://instagram.com/p/X9ahgnii-l/&#xD;&#xA;&#xD;&#xA;Have a look at MixPre-D if you want more easy-to-use device in field http://www.sounddevices.com/products/mixpred/&#xD;&#xA;&quot;The MixPre-D is also a class compliant USB portable audio hardware interface for Mac OS, Windows or Linux computers&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32673" PostHistoryTypeId="2" PostId="20086" RevisionGUID="7c5b689f-e1c6-4a5d-b3c7-91972941127e" CreationDate="2013-08-16T14:38:45.503" UserId="244" Text="Hello,&#xD;&#xA;Is it possible to transmit a STEREO LINE signal through a wireless mic system.&#xD;&#xA;Im using the Sennheiser ew 100 G3 system. &#xD;&#xA;I can actually send/receive successfully the signal but my problem is that I can only hear the received signal in one channel...&#xD;&#xA;&#xD;&#xA;Please advise or shed some light on the subject if you know, much thanks in advance! :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="32674" PostHistoryTypeId="1" PostId="20086" RevisionGUID="7c5b689f-e1c6-4a5d-b3c7-91972941127e" CreationDate="2013-08-16T14:38:45.503" UserId="244" Text="Wireless Mic &amp; Line Signals" ContentLicense="CC BY-SA 3.0" />
  <row Id="32675" PostHistoryTypeId="3" PostId="20086" RevisionGUID="7c5b689f-e1c6-4a5d-b3c7-91972941127e" CreationDate="2013-08-16T14:38:45.503" UserId="244" Text="&lt;wireless&gt;&lt;line-level&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32676" PostHistoryTypeId="2" PostId="20087" RevisionGUID="732b9ad8-da9d-4ecf-86d4-ae2d20c1b368" CreationDate="2013-08-16T15:13:22.483" UserId="5957" Text="Hi game audio professionals, I'd love to get your opinions on this. &#xD;&#xA;&#xD;&#xA;When rendering final mixes for game audio, how loud do you mix? Let's take an example of an iPad game that includes a street ambience, SFX and voice-over. &#xD;&#xA;&#xD;&#xA;My old music mixing/mastering habits tell me to insert a limiter at the end of the chain on the master channel and aim for max loudness, then solo each stem (ambience, SFX and dialogue) and render each one. It is an iPad game after all, and I want to make sure I'm getting plenty of bang for my buck out of that little speaker! &#xD;&#xA;&#xD;&#xA;However, considering that the three streams may all play at once at some point (it's interactive audio, so I don't choose what plays or when), and we've rendered each separately, when the three are summed in the game engine we might overshoot 0dB and cause nasty distortion.&#xD;&#xA;&#xD;&#xA;How do you get around this problem?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32677" PostHistoryTypeId="1" PostId="20087" RevisionGUID="732b9ad8-da9d-4ecf-86d4-ae2d20c1b368" CreationDate="2013-08-16T15:13:22.483" UserId="5957" Text="Mastering Levels for Interactive Audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="32678" PostHistoryTypeId="3" PostId="20087" RevisionGUID="732b9ad8-da9d-4ecf-86d4-ae2d20c1b368" CreationDate="2013-08-16T15:13:22.483" UserId="5957" Text="&lt;gameaudio&gt;&lt;mastering&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32679" PostHistoryTypeId="2" PostId="20088" RevisionGUID="bf3ac534-52d5-4aa4-b919-36d2adc3bdf9" CreationDate="2013-08-16T16:10:21.840" UserId="3179" Text="&gt; &quot;My old music mixing/mastering habits&#xD;&#xA;&gt; tell me to insert a limiter at the end&#xD;&#xA;&gt; of the chain on the master channel and&#xD;&#xA;&gt; aim for max loudness, then solo each&#xD;&#xA;&gt; stem (ambience, SFX and dialogue) and&#xD;&#xA;&gt; render each one. It is an iPad game&#xD;&#xA;&gt; after all, and I want to make sure I'm&#xD;&#xA;&gt; getting plenty of bang for my buck out&#xD;&#xA;&gt; of that little speaker!&quot;&#xD;&#xA;&#xD;&#xA;What if someone wants to play with headphones?&#xD;&#xA;&#xD;&#xA;Use your ears, use your ears, always use your ears.&#xD;&#xA;&#xD;&#xA;Mobile audio is nothing special, although you may want to avoid bass heavy mixes (because they distort and sound crap) and making a mix that's more mid-rangeish (without being piercing or fatiguing, use e.g. a limiter or a multiband-compressor to flatten it) for more clarity. Pay attention to the use of dynamics, because even in mobile audio no-one wants to hear a flat, non-dynamic mix.&#xD;&#xA;&#xD;&#xA;Listening to some references and using reference monitoring is a good and a common way to go.&#xD;&#xA;&#xD;&#xA;&gt; &quot;However, considering that the three&#xD;&#xA;&gt; streams may all play at once at some&#xD;&#xA;&gt; point (it's interactive audio, so I&#xD;&#xA;&gt; don't choose what plays or when), and&#xD;&#xA;&gt; we've rendered each separately, when&#xD;&#xA;&gt; the three are summed in the game&#xD;&#xA;&gt; engine we might overshoot 0dB and&#xD;&#xA;&gt; cause nasty distortion.&quot;&#xD;&#xA;&#xD;&#xA;Either:&#xD;&#xA;&#xD;&#xA;1) Mix everything before loading the sound into the game engine, thus you don't have to touch any of the game engine's sound parameters.&#xD;&#xA;&#xD;&#xA;2) Set up ducking in the game engine or audio authoring program (e.g. FMOD, Wwise or such), so that one-hit effects duck down audio that's playing in the background and thus you gain extra clarity and separation as well as avoid overloading the mix.&#xD;&#xA;&#xD;&#xA;3) Mix everything using the game engine's audio volume parameters (may be difficult / non-feasible, if no audio authoring program is used).&#xD;&#xA;&#xD;&#xA;Do a google search about game audio mixing, if you need more information.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32680" PostHistoryTypeId="5" PostId="20088" RevisionGUID="1a53e597-36fb-40cf-9a6c-b0730fb389a5" CreationDate="2013-08-16T16:21:19.287" UserId="3179" Comment="added 25 characters in body" Text="&gt; &quot;My old music mixing/mastering habits&#xD;&#xA;&gt; tell me to insert a limiter at the end&#xD;&#xA;&gt; of the chain on the master channel and&#xD;&#xA;&gt; aim for max loudness, then solo each&#xD;&#xA;&gt; stem (ambience, SFX and dialogue) and&#xD;&#xA;&gt; render each one. It is an iPad game&#xD;&#xA;&gt; after all, and I want to make sure I'm&#xD;&#xA;&gt; getting plenty of bang for my buck out&#xD;&#xA;&gt; of that little speaker!&quot;&#xD;&#xA;&#xD;&#xA;What if someone wants to play with headphones?&#xD;&#xA;&#xD;&#xA;Use your ears, use your ears, always use your ears.&#xD;&#xA;&#xD;&#xA;Mobile audio is nothing special, although you may want to avoid bass heavy mixes (because they distort and sound crap) and making a mix that's more mid-rangeish (without being piercing or fatiguing, use e.g. a limiter or a multiband-compressor to flatten it, or shelve down the bass) for more clarity. Pay attention to the use of dynamics, because even in mobile audio no-one wants to hear a flat, non-dynamic mix.&#xD;&#xA;&#xD;&#xA;Listening to some references and using reference monitoring is a good and a common way to go.&#xD;&#xA;&#xD;&#xA;&gt; &quot;However, considering that the three&#xD;&#xA;&gt; streams may all play at once at some&#xD;&#xA;&gt; point (it's interactive audio, so I&#xD;&#xA;&gt; don't choose what plays or when), and&#xD;&#xA;&gt; we've rendered each separately, when&#xD;&#xA;&gt; the three are summed in the game&#xD;&#xA;&gt; engine we might overshoot 0dB and&#xD;&#xA;&gt; cause nasty distortion.&quot;&#xD;&#xA;&#xD;&#xA;Either:&#xD;&#xA;&#xD;&#xA;1) Mix everything before loading the sound into the game engine, thus you don't have to touch any of the game engine's sound parameters.&#xD;&#xA;&#xD;&#xA;2) Set up ducking in the game engine or audio authoring program (e.g. FMOD, Wwise or such), so that one-hit effects duck down audio that's playing in the background and thus you gain extra clarity and separation as well as avoid overloading the mix.&#xD;&#xA;&#xD;&#xA;3) Mix everything using the game engine's audio volume parameters (may be difficult / non-feasible, if no audio authoring program is used).&#xD;&#xA;&#xD;&#xA;Do a google search about game audio mixing, if you need more information.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32681" PostHistoryTypeId="2" PostId="20089" RevisionGUID="5594be67-6a3d-4c98-a57f-2284ebca5780" CreationDate="2013-08-16T17:08:53.017" UserId="5774" Text="@James Oh yeah, connection panel and/or built in pass-thru are wonderful things. I think the glare comes down to angle of incidence and reflection math. The one booth I remember having an angled window, the angle seemed to be around 30° (top of window being further away from operator than bottom). Most booth windows I've been in were flat.&#xD;&#xA;&#xD;&#xA;Bigger problem I've noticed is if the windows are recessed. It always seems like the further away from the window the operator position is, the harder it is to see the full stage.&#xD;&#xA;&#xD;&#xA;I was thinking of your amplifiers, outboard processing gear, etc. It all creates a lot of heat and noise, and is not fun to be stuck next to during tech. One place was smart to put all that gear in a separate closet with A/C control to keep it at 68° F, which makes me think of it as a server room.&#xD;&#xA;&#xD;&#xA;(Mods: Sorry for the dup answer, I couldn't figure out how to do the comment reply)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32682" PostHistoryTypeId="2" PostId="20090" RevisionGUID="84723909-cd4f-487a-8dd8-7b9b5249fc1a" CreationDate="2013-08-16T17:27:24.347" UserId="5774" Text="If the sampling rate was reduced to reduce filesize for transfer, I would suggest looking at bit-rate instead. A lot of podcasts I listen to can get away with 64 kbps mp3s, but I would suggest higher for translation purposes. Still, a 256 kbps mp3 would be a big space saver compared to uncompressed WAV.&#xD;&#xA;&#xD;&#xA;@Internet Human, true those are the most important frequencies, but I think 8 kHz is cutting it a bit close. There's still a lot of information being lost. If you're listening to a foreign language or a thick accent, your brain will probably be less likely to fill in the gaps. I would opt for a 22 kHz sampling rate, or record uncompressed and use MP3 encoding." ContentLicense="CC BY-SA 3.0" />
  <row Id="32683" PostHistoryTypeId="2" PostId="20091" RevisionGUID="f8db2208-69ef-45c7-acc0-cd4c83821303" CreationDate="2013-08-16T18:47:27.787" UserId="6318" Text="I'm recording in London next week. All my wireless systems run from 500.00-560.000. Will I have any problems in that area of the UK with these frequencies?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32684" PostHistoryTypeId="1" PostId="20091" RevisionGUID="f8db2208-69ef-45c7-acc0-cd4c83821303" CreationDate="2013-08-16T18:47:27.787" UserId="6318" Text="Need help with frequencies in the UK" ContentLicense="CC BY-SA 3.0" />
  <row Id="32685" PostHistoryTypeId="3" PostId="20091" RevisionGUID="f8db2208-69ef-45c7-acc0-cd4c83821303" CreationDate="2013-08-16T18:47:27.787" UserId="6318" Text="&lt;uk&gt;&lt;frequencies&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32686" PostHistoryTypeId="2" PostId="20092" RevisionGUID="57a2c1a7-7f55-4f8e-9f3b-a85e899b7178" CreationDate="2013-08-16T20:26:41.320" UserId="6319" Text="Channel 38 and 70 are the only legal channels in the UK. Additional frequencies, like the ones you mention can be purchased as a special short licence. Check out the licensing authority website http://www.jfmg.co.uk/ to get your licence and more info. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32687" PostHistoryTypeId="2" PostId="20093" RevisionGUID="0e8b0d6b-2bca-4efc-8bb5-ece3e63054b9" CreationDate="2013-08-17T06:38:59.147" UserId="6462" Text="Hi&#xD;&#xA;Would be great if it were possible, but as far as I know the output from the receiver is mono and there is no way of getting a stereo signal from it.&#xD;&#xA;&#xD;&#xA;You would need to look into the Sennheiser IEM systems as these are stereo." ContentLicense="CC BY-SA 3.0" />
  <row Id="32688" PostHistoryTypeId="2" PostId="20094" RevisionGUID="f80e81b3-2d7f-4237-b457-414becf65a21" CreationDate="2013-08-17T06:40:36.810" UserId="4390" Text="There is also the question of the quality of hardware (built in MIC and preamp). On my laptop, the built in electret MIC produces horrible, distorted, garbled sound - even when recording to 16bit/44.1kHz. There is all sorts of interference too, like whining from the HD,etc. Bad preamp, dirty power supply. This might be the case with tour friends recording too." ContentLicense="CC BY-SA 3.0" />
  <row Id="32689" PostHistoryTypeId="5" PostId="20077" RevisionGUID="aa3bb3b5-6998-45fe-a90d-0d395714f718" CreationDate="2013-08-17T09:12:01.343" UserDisplayName="user80" Comment="Spelling" Text="A friend of mine who lives in Thailand helps me to translate phrases in Thai. Today he sent me some audiofiles that I opened in Audacity for analyzing. His voice seems to be in some way distorted, or at least not clear. He has been using X-touch tab to record. &#xD;&#xA;&#xD;&#xA;Here in Sweden my girlfriend helps me to record a woman's voice and we are using a Samsung Galaxy S3. Here the voice is almost perfect. &#xD;&#xA;&#xD;&#xA;What I could see in Audacity is that the files where the sound is not clear have a sample rate of 8000 Hz, compared to the clear soundfiles from samsung which is 44100 Hz.&#xD;&#xA;&#xD;&#xA;Does the lower sampling rate produce low quality sound files? I read that if one records speech, a  lower sampling rate is ok.&#xD;&#xA;&#xD;&#xA;In both cases - the amplitude resolution is the same - that is a 32 bit float.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="32690" PostHistoryTypeId="4" PostId="20077" RevisionGUID="aa3bb3b5-6998-45fe-a90d-0d395714f718" CreationDate="2013-08-17T09:12:01.343" UserDisplayName="user80" Comment="Spelling" Text="Sampling frequency" ContentLicense="CC BY-SA 3.0" />
  <row Id="32691" PostHistoryTypeId="2" PostId="20095" RevisionGUID="5581692a-317c-4b91-9f8c-0cec593c6f0c" CreationDate="2013-08-17T09:14:37.643" UserId="37" Text="To help with intelligibility, sampling at such low rates would require some emphasis (pre- or de-), though i doubt any of these devices apply it. The other thing to watch out for is aliasing. Here's an interesting paper for more details: http://www.wescottdesign.com/articles/Sampling/sampling.pdf&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32692" PostHistoryTypeId="2" PostId="20096" RevisionGUID="d3c76a62-0997-48e5-bdf7-d429dd42dfb6" CreationDate="2013-08-17T09:21:00.337" UserDisplayName="user80" Text="The main difficulty is going to be learning to mix live sound from a separate room.  If you can, split the room in two.  One half fully enclosed for the lighting and the other half with a really large window that can slide out of the way, so that you can hear as much of the stage as possible.  Within the room you want it to be as acoustically dead as possible, so that all you hear is what comes through the open window rather than the reflections from your own room." ContentLicense="CC BY-SA 3.0" />
  <row Id="32693" PostHistoryTypeId="5" PostId="19584" RevisionGUID="0b0a3d5e-17f3-4fa1-98b8-bf94da332f03" CreationDate="2013-08-17T10:26:47.847" UserId="61" Comment="added 1 characters in body" Text="thing is, it was hard to figure out how to do this when I had it in my head and make it work without a loop-back, so I'm sorry that you didn't understand at first. Believe me it puzzled me at first as well :)  I'm glad @JohnSoundSnow was able to help you out" ContentLicense="CC BY-SA 3.0" />
  <row Id="32694" PostHistoryTypeId="2" PostId="20097" RevisionGUID="5f3ced5c-09c4-4b66-b68e-8df5990882b3" CreationDate="2013-08-17T21:46:44.190" UserId="3754" Text="Im pretty sure the feed is summed to send wirelessly. But you can always use two TXU / RXU and make it stereo the long way." ContentLicense="CC BY-SA 3.0" />
  <row Id="32695" PostHistoryTypeId="2" PostId="20098" RevisionGUID="75fac01a-6572-4ae1-99b2-a538f8beccee" CreationDate="2013-08-18T09:21:00.397" UserId="999" Text="I assign the actors numbers from left to right and then memorize the number sequence! So you can end up with something like 3,1,3,2,3,1 and I find that easier than looking for cues. Other than that, knowing the script like the back of your hand!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32696" PostHistoryTypeId="2" PostId="20099" RevisionGUID="1016374a-49a5-4f95-8994-f3eaf33e0adc" CreationDate="2013-08-18T11:37:37.210" UserId="6286" Text="Hello,&#xD;&#xA;&#xD;&#xA;I have been recording alot of ambient sounds the last weeks and now i got over 100 of 1-2 min clips that im going to edit into useble ambient sounds in 48.1kHz/16bit from 48.1kHz/24. What DAW do sound designers use? And if for example ProTools, what method is used?&#xD;&#xA;&#xD;&#xA;I use PT myself and I am asking myself the question: How could I edit all these files and let the DAW bounce each file separately and have each clip being given its original name (like the date).&#xD;&#xA;&#xD;&#xA;Also, i am new to editing ambient sounds, what is usually done? Is there anything special i should keep in mind?&#xD;&#xA;&#xD;&#xA;P.S i also wonder how i can apply dither (and what dither to prefer) to all edited ambient sounds while bouncing them (24 to 16 bits quantization).&#xD;&#xA;&#xD;&#xA;Kind regards&#xD;&#xA;Johan" ContentLicense="CC BY-SA 3.0" />
  <row Id="32697" PostHistoryTypeId="1" PostId="20099" RevisionGUID="1016374a-49a5-4f95-8994-f3eaf33e0adc" CreationDate="2013-08-18T11:37:37.210" UserId="6286" Text="Which DAW should I use when editing ambience recordings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32698" PostHistoryTypeId="3" PostId="20099" RevisionGUID="1016374a-49a5-4f95-8994-f3eaf33e0adc" CreationDate="2013-08-18T11:37:37.210" UserId="6286" Text="&lt;design&gt;&lt;editing&gt;&lt;ambience&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32700" PostHistoryTypeId="2" PostId="20101" RevisionGUID="b1b40b8d-4c5a-402a-a6a2-4450c3e0b298" CreationDate="2013-08-18T17:24:44.130" UserId="37" Text="1. stick with 48/24 without applying any dither? Dither adds noise. Noise * 100 tracks = more noise&#xD;&#xA;2. Use any DAW. Literally any DAW. They all allow varying degrees of automation, but there is no DAW &quot;sound designers use&quot; (pro tip: everyone uses two or more) - whatever you, yourself, can do it quickest or easiest in, is what you should be using. I'd use a two-track editor like Audition if no rush, or Pro Tools if really in a hurry. There are basic sound editing apps out there that would allow you to set markers and export clips by marker. So it's down to your own workflow.&#xD;&#xA;3. 1-2 minute clips may be too short for your needs down the line. Consider 5-6 minutes better length for a clip you will edit down later.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32701" PostHistoryTypeId="2" PostId="20102" RevisionGUID="5342d55b-9e03-4289-a117-6b9ac51a2b48" CreationDate="2013-08-18T17:51:49.287" UserId="3179" Text="&gt; I have been recording alot of ambient sounds the last weeks and now i got over 100 of 1-2 min clips that im going to edit into useble ambient sounds in 48.1kHz/16bit from 48.1kHz/24. What DAW do sound designers use? And if for example ProTools, what method is used?&#xD;&#xA;&#xD;&#xA;&gt; I use PT myself and I am asking myself the question: How could I edit all these files and let the DAW bounce each file separately and have each clip being given its original name (like the date).&#xD;&#xA;&#xD;&#xA;It wasn't until PT11 that batch export became feasible, in prior versions there's no option to do batch bounces of tracks or files/regions. It might be even that it's just in PT11 HD and not the normal version (great job, Avid).&#xD;&#xA;&#xD;&#xA;&gt; Also, i am new to editing ambient sounds, what is usually done? Is there anything special i should keep in mind?&#xD;&#xA;&#xD;&#xA;Not really. There are some topics about &quot;mastering&quot; sound effects, if they're for distribution. Generally it's advisable to leave the recordings as they are and only do small fixes, if there's something to fix (e.g. too much mic noise or small EQ adjustments).&#xD;&#xA;&#xD;&#xA;&gt; P.S i also wonder how i can apply dither (and what dither to prefer) to all edited ambient sounds while bouncing them (24 to 16 bits quantization).&#xD;&#xA;&#xD;&#xA;Again, not feasible in PT (expect for PT11 perhaps).&#xD;&#xA;&#xD;&#xA;Reaper is the easiest to acquire DAW that does everything you need." ContentLicense="CC BY-SA 3.0" />
  <row Id="32702" PostHistoryTypeId="5" PostId="20102" RevisionGUID="3dca7b42-4ce2-4ccc-aadb-8fd6b6721193" CreationDate="2013-08-18T17:59:26.067" UserId="3179" Comment="added 44 characters in body; added 278 characters in body" Text="&gt; I have been recording alot of ambient sounds the last weeks and now i got over 100 of 1-2 min clips that im going to edit into useble ambient sounds in 48.1kHz/16bit from 48.1kHz/24. What DAW do sound designers use? And if for example ProTools, what method is used?&#xD;&#xA;&#xD;&#xA;Why do you need to reduce the bit depth?&#xD;&#xA;&#xD;&#xA;&gt; I use PT myself and I am asking myself the question: How could I edit all these files and let the DAW bounce each file separately and have each clip being given its original name (like the date).&#xD;&#xA;&#xD;&#xA;It wasn't until PT11 that batch export became feasible, in prior versions there's no option to do batch bounces of tracks or files/regions. It might be even that it's just in PT11 HD and not the normal version (great job, Avid).&#xD;&#xA;&#xD;&#xA;&gt; Also, i am new to editing ambient sounds, what is usually done? Is there anything special i should keep in mind?&#xD;&#xA;&#xD;&#xA;Not really. There are some topics about &quot;mastering&quot; sound effects, if they're for distribution. Generally it's advisable to leave the recordings as they are and only do small fixes, if there's something to fix (e.g. too much mic noise or small EQ adjustments).&#xD;&#xA;&#xD;&#xA;Also, you may want to cut out parts that don't belong to the ambience (e.g. if there are car pass-bys or an aeroplane flying over or people talking etc. that doesn't really &quot;belong&quot; to the ambience, although a good recordist would've avoided these already during recording).&#xD;&#xA;&#xD;&#xA;&gt; P.S i also wonder how i can apply dither (and what dither to prefer) to all edited ambient sounds while bouncing them (24 to 16 bits quantization).&#xD;&#xA;&#xD;&#xA;Again, not feasible in PT (expect for PT11 perhaps).&#xD;&#xA;&#xD;&#xA;Reaper is the easiest to acquire DAW that does everything you need." ContentLicense="CC BY-SA 3.0" />
  <row Id="32703" PostHistoryTypeId="2" PostId="20103" RevisionGUID="0fd685a5-65d4-4e0b-9fc0-fd68c9d52b09" CreationDate="2013-08-18T18:02:48.340" UserId="6322" Text="Hello to everyone,&#xD;&#xA;I have own some studio speakers,Klein and Hummel 0300 in january 2012.And really,it blowned my head.With whits nights spended.Not because i regret of my purchase,but i steel have severals problems with them.&#xD;&#xA;For the begining,when i receive them at my home.When oppened the left boxe surprisly i found a mid driver pulled down.Probably this was happen by transportation.I send them to Sennhezer for a fix.The answer to the problem was:&#xD;&#xA;-Mid driver remplacement.&#xD;&#xA;After that repairing,i found several other problems with theses monitor speakers.&#xD;&#xA;For example,the two boxes was decalibrated;&#xD;&#xA;One(the Right)was played less loud than than another(the Left).&#xD;&#xA;And,i need your help there,when i playing Reason (propellerheads)easy to understand software.&#xD;&#xA;The ''kicks'' and basses is drown out.Dommaged or like when the audio is clipping.&#xD;&#xA;I can't understand,if this happen from speakers,sound card or&#xD;&#xA;(source) Reason?&#xD;&#xA;Which one is faulty?&#xD;&#xA;I am very worrying&#xD;&#xA;Speakers is under waranty&#xD;&#xA;&#xD;&#xA;Please help&#xD;&#xA;&#xD;&#xA;My Gear:&#xD;&#xA;&#xD;&#xA;Sound Card:Motu 828 Krk&#xD;&#xA;Computer:Mac OS Leopard&#xD;&#xA;Software:Reason 5.0&#xD;&#xA;Monitors:KH 0300&#xD;&#xA;&#xD;&#xA;And sorry for my english" ContentLicense="CC BY-SA 3.0" />
  <row Id="32704" PostHistoryTypeId="1" PostId="20103" RevisionGUID="0fd685a5-65d4-4e0b-9fc0-fd68c9d52b09" CreationDate="2013-08-18T18:02:48.340" UserId="6322" Text="KH 0300 or Reason" ContentLicense="CC BY-SA 3.0" />
  <row Id="32705" PostHistoryTypeId="3" PostId="20103" RevisionGUID="0fd685a5-65d4-4e0b-9fc0-fd68c9d52b09" CreationDate="2013-08-18T18:02:48.340" UserId="6322" Text="&lt;help&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32706" PostHistoryTypeId="5" PostId="20102" RevisionGUID="4932cf15-3872-41aa-b220-b6cf6f9a1a21" CreationDate="2013-08-18T18:04:38.900" UserId="3179" Comment="added 188 characters in body; added 1 characters in body; deleted 12 characters in body" Text="&gt; I have been recording alot of ambient sounds the last weeks and now i got over 100 of 1-2 min clips that im going to edit into useble ambient sounds in 48.1kHz/16bit from 48.1kHz/24. What DAW do sound designers use? And if for example ProTools, what method is used?&#xD;&#xA;&#xD;&#xA;Why do you need to reduce the bit depth?&#xD;&#xA;&#xD;&#xA;&gt; I use PT myself and I am asking myself the question: How could I edit all these files and let the DAW bounce each file separately and have each clip being given its original name (like the date).&#xD;&#xA;&#xD;&#xA;It wasn't until PT11 that batch export became feasible, in prior versions there's no option to do batch bounces of tracks or files/regions. It might be even that it's just in PT11 HD and not the normal version (great job, Avid).&#xD;&#xA;&#xD;&#xA;&gt; Also, i am new to editing ambient sounds, what is usually done? Is there anything special i should keep in mind?&#xD;&#xA;&#xD;&#xA;Not really. There are some topics about &quot;mastering&quot; sound effects, if they're for distribution. Generally it's advisable to leave the recordings as they are and only do small fixes, if there's something to fix (e.g. too much mic noise or small EQ adjustments).&#xD;&#xA;&#xD;&#xA;Also, you may want to cut out parts that don't belong to the ambience (e.g. if there are car pass-bys or an aeroplane flying over or people talking etc. that doesn't really &quot;belong&quot; to the ambience, although a good recordist would've avoided these already during recording). It's probably advisable to not try to stitch together cut parts by cross-fading (it would be done by the editor using the ambience, if needed. And it doesn't necessarily work).&#xD;&#xA;&#xD;&#xA;&gt; P.S i also wonder how i can apply dither (and what dither to prefer) to all edited ambient sounds while bouncing them (24 to 16 bits quantization).&#xD;&#xA;&#xD;&#xA;Again, not feasible in PT (expect for PT11 perhaps).&#xD;&#xA;&#xD;&#xA;Reaper is the easiest to acquire DAW that does everything you need." ContentLicense="CC BY-SA 3.0" />
  <row Id="32707" PostHistoryTypeId="2" PostId="20104" RevisionGUID="60643947-ae9d-4013-a1a3-c6422032ca51" CreationDate="2013-08-18T18:20:43.193" UserId="3179" Text="If your level meters are in red or there's a &quot;clip warning&quot; light on, then the audio is clipping or has been clipped. When digital clipping occurs it works like an absolute or ideal limiter, everything going over is limited to the maximum amplitude level and it distorts the entire signal during the clipping (basically it transforms the signal during the clipping to include some properties of a square wave, which sounds harsh) as well as limits the amplitude (the sound &quot;pumps&quot;).&#xD;&#xA;&#xD;&#xA;Software is absolute, so if there are no warnings (e.g. clip warning or red light over a level meter) or errors, then it doesn't do anything that you (or the default settings) haven't told it to do.&#xD;&#xA;&#xD;&#xA;The proper functioning of speakers can only be determined by technicians or the manufacturer.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32708" PostHistoryTypeId="2" PostId="20105" RevisionGUID="4655f9f2-d609-4c17-9ab9-ef3f3d41dce4" CreationDate="2013-08-18T21:39:11.920" UserId="3179" Text="Yeah, as sort of pointed out in the previous messages, the idea that a computer that's used for &quot;productive&quot; work should be disconnected from the internet is at most psychological, or then it's pseudopractice.&#xD;&#xA;&#xD;&#xA;The common concern around has been that software updates (mainly full OS updates or something related to audio/media drivers) may break audio software and then prevent one from completing work. But to avoid that risk, one simply doesn't install any OS updates or any updates at all (unless sure that nothing will break). And doesn't use the newest (non-stable) versions of audio (or any) software. And if the person understands anything about computers then there's a very small subset of programs that may mess up stuff (mostly on Windows systems, or Linux in a beginner's hands).&#xD;&#xA;&#xD;&#xA;Another concern is that using internet causes &quot;garbage&quot; to pile on the computer, which is not accurate. Yes stuff is cached, but it has no connection whatsoever to other applications. And the data doesn't take up that much space.&#xD;&#xA;&#xD;&#xA;Even computer viruses are predominantly a Windows thing." ContentLicense="CC BY-SA 3.0" />
  <row Id="32709" PostHistoryTypeId="2" PostId="20106" RevisionGUID="52cd4e73-a17b-4ac2-81b5-d4c27316b8fc" CreationDate="2013-08-18T21:48:57.033" UserId="3179" Text="Just see what Nuendo is doing. That's where it's (or should be) at.&#xD;&#xA;&#xD;&#xA;Products like Reaper are also nice, where the developers are actually interested in implementing features that are requested (if they are well-argued ideas). Or they allow a range of customizations to be performed by the user." ContentLicense="CC BY-SA 3.0" />
  <row Id="32710" PostHistoryTypeId="5" PostId="20106" RevisionGUID="d51bf254-2f39-4f8e-850a-266509882829" CreationDate="2013-08-18T21:55:26.950" UserId="3179" Comment="added 34 characters in body; added 24 characters in body; deleted 5 characters in body" Text="Just see what Nuendo is doing. That's where it's (or should be) at.&#xD;&#xA;&#xD;&#xA;Products like Reaper are also nice, where the developers are actually interested in implementing features that are requested (if they are well-argued ideas). Or they allow a range of customizations to be performed by the user or 3rd party developers (via a plug-in system / API)." ContentLicense="CC BY-SA 3.0" />
  <row Id="32712" PostHistoryTypeId="2" PostId="20108" RevisionGUID="430132f7-4d23-4b40-978f-6b884f16fed0" CreationDate="2013-08-19T04:47:55.493" UserDisplayName="user80" Text="For your budget the NT1-A is an ideal foley mic.  We have three and they are ideal for quiet foley.  If you want a quieter preamp then I can thoroughly recommend the sound devices MP-1 it is battery powered, but well worth the hassle, and it should be within your budget.&#xD;&#xA;&#xD;&#xA;http://www.sounddevices.com/products/mp1/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32714" PostHistoryTypeId="2" PostId="20109" RevisionGUID="67aff179-1c51-4b5d-a7a9-f6b9e254915a" CreationDate="2013-08-19T08:20:01.563" UserId="6324" Text="I wrote a blog post on that exact topic. It's an in depth look at breaking in based on my experiences and many others that gave me tips along the way. Here is a link. Please comment on the blog if you found it helpful. It's nice to hear that the posts are making a difference :)&#xD;&#xA;&#xD;&#xA;http://www.aaronbrownsound.com/advice-how-to-break-into-the-professional-audio-industry/" ContentLicense="CC BY-SA 3.0" />
  <row Id="32715" PostHistoryTypeId="2" PostId="20110" RevisionGUID="5cbcf6ca-fecd-4069-88fe-9a4984841e86" CreationDate="2013-08-19T22:22:32.577" UserId="6286" Text="Is Kyma always used with the hardware? Or can it be downloaded as a software interface? Or is it more like a programming languish that is used in any programming tool?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32716" PostHistoryTypeId="2" PostId="20111" RevisionGUID="dcba8e30-c464-4b75-8c77-01327910b9a9" CreationDate="2013-08-20T05:55:32.440" UserDisplayName="user6508" Text="The zoom should be fine for powering the 416. I've used the zoom with my 418 (stereo shotgun)many times, with no problem level wise. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32717" PostHistoryTypeId="2" PostId="20112" RevisionGUID="7c4b558c-f98a-41ae-9652-e10d2dc4592f" CreationDate="2013-08-20T06:39:51.063" UserId="5880" Text="Ideally you should have your input gain set somewhere between 70-80 on the zoom for dialogue, there's a bit of a noise floor but that's the limitations of the gear.  If your levels are still too low then it's likely you're not close enough to the action with your mic.  &#xD;&#xA;Make sure the mic is seated reasonably far forward in the blimp, I've found that when you're fighting the zoom's inherent noise every inch counts.&#xD;&#xA;And get your hands on a mixer when you can, running line level into the zoom gives you a lot more to play with." ContentLicense="CC BY-SA 3.0" />
  <row Id="32718" PostHistoryTypeId="2" PostId="20113" RevisionGUID="4401aa6e-bace-4e07-b889-40fbd7c17d8e" CreationDate="2013-08-20T07:24:36.377" UserId="348" Text="As both Georgi and Internet Human has mentioned, any DAW is possible but of course not all DAW's are the same. I use PT 10 and edit and master on this and I find it absolutely fine. &#xD;&#xA;&#xD;&#xA;As far as the sample rate conversion, I am wondering why you are going from 48kHz 24 bit to 16 bit. When mastering, this can pose a few problems. Also, I and many field recordists record at 96kHz 24 bit and stay this way until it has been mastered. More room to play without compromising quality. &#xD;&#xA;&#xD;&#xA;Also, I have found that a minimum of 10 minutes recording length is required to remove any unwanted discrepancies that inevitably crop up. On many sound libraries, the final mastered deliverable is 5 minutes of smooth ambiance. In the future, record as much as you can and when mastering, make it smooth as possible so if you need to make it longer, the are clean places to make your ambient transitions. &#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="32719" PostHistoryTypeId="2" PostId="20114" RevisionGUID="d0778c9c-0774-43f2-bf00-e635c334f1d6" CreationDate="2013-08-20T11:19:19.743" UserId="6329" Text="I'm asking this question here because I don't really know any other sound designers, or where to meet them in person. &#xD;&#xA;&#xD;&#xA;I graduated in Music Technology from Kent, and then started working on short films by going to London film schools and offering to work for free. I did anything they needed - boom op, dialogue editing, sound design, composing. One of the pupils at one of these schools got £100,000 of investment to make a feature. I had worked with him on a couple of shorts and he put me in charge of sound. Yay! I handled the production and post production sound, all except the mix which we did at Pinewood (he secured further investment for the grade and mix). I loved the work, the sound turned out great, the film has done well at festivals and raised £6000 for the Red Cross at a special screening we arranged. &#xD;&#xA;&#xD;&#xA;Because I was mostly the only sound guy (occasionally I had a boom operator), I didn't really make any sound contacts. Everybody involved with the film was young like me and are also trying to kickstart their careers, so I didn't make any established contacts at all really. I was hoping the director would make more films and get me on board, but he has got a job in advertising now. &#xD;&#xA;&#xD;&#xA;I have since realised to my dismay that there are no sound editing jobs advertised anywhere like normal jobs are. Occasionally one appears on Mandy.com which I apply for, but I guess so do 10,000 other people as I never hear back. I can't really work for free anymore, though I have been doing so occasionally to keep my hand in. I have been to Soho a couple of times with my demo reel on DVDs to ask at post-pro houses there for work experience, but have had no luck so far. &#xD;&#xA;&#xD;&#xA;I wonder if anybody can offer me any advice on how to go about getting paid sound work? It doesn't have to be well paid. I am doing web design at the moment to pay the rent, which is thankfully very low, but I don't like this work. After all this I don't want to give up on sound design/editing because I love it, but I'm not sure how to proceed and don't know who to ask. There don't even seem to be any UK sound post production forums to ask on, though maybe I am missing one.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Joe " ContentLicense="CC BY-SA 3.0" />
  <row Id="32720" PostHistoryTypeId="1" PostId="20114" RevisionGUID="d0778c9c-0774-43f2-bf00-e635c334f1d6" CreationDate="2013-08-20T11:19:19.743" UserId="6329" Text="Where to go from here?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32721" PostHistoryTypeId="3" PostId="20114" RevisionGUID="d0778c9c-0774-43f2-bf00-e635c334f1d6" CreationDate="2013-08-20T11:19:19.743" UserId="6329" Text="&lt;finding-work&gt;&lt;career-advice&gt;&lt;contact&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32722" PostHistoryTypeId="2" PostId="20115" RevisionGUID="2d1529d8-8cd0-467f-b916-758a8dffcf3b" CreationDate="2013-08-20T11:34:23.023" UserId="37" Text="looks like post houses hire runners and promote them internally when they need. yes if they're unpaid it's unethical, but there are tens of reasons in support of this too, and it seems to be the preferred way of screening candidates for full-time positions. &#xD;&#xA;&#xD;&#xA;occasionally houses like Radium offer sound designer internships (again, unpaid), at least they're about something other than shuttling drives and doing coffee.&#xD;&#xA;&#xD;&#xA;on your own you're freelancing in the small and seemingly overcrowded world of sound post. film projects tend to assemble teams based on contacts, so you're after creating as many as you can, especially directors and editors.. i can't say much about &quot;producers&quot;, there seems to be a semi-permanent stand-off between them and the production/post crews.&#xD;&#xA;&#xD;&#xA;that, above, runs contrary to any wish to have fewer contacts with better quality relationships. i haven't found a solution to this, if anyone has, (other than lowering the bar that is), please share them.&#xD;&#xA;&#xD;&#xA;bigger film productions are subject to the status quo. high budgets = perceived high risk for the production, and more candidates to get to work on the title. =&gt; chances of getting into one without being known = nil.&#xD;&#xA;&#xD;&#xA;the UK sound professional societies are kind of closed circles so, as much as I hate to say it, consider becoming a member.. though that may bring you very little in return.&#xD;&#xA;&#xD;&#xA;that's all the experience i can share. you're not alone in this boat. don't give up.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32723" PostHistoryTypeId="2" PostId="20116" RevisionGUID="72009ebe-fd49-4b68-9348-ca29f7b3a058" CreationDate="2013-08-20T11:38:47.093" UserId="3179" Text="The sound market is crap. I don't specifically know why it's so, but mostly a) because sound can for some reason be worked out fast and with a small personnel (even one guy), b) because sound can in many cases be worked externally (you don't have to meet the crew that produced the thing you're laying out sound for), c) sound sometimes comes the last and d) established studios that work fast and hard. And maybe there are just too many people.&#xD;&#xA;&#xD;&#xA;**But, what's sure is that everything boils down to contacts. Or/and being of service to more experienced sound people or people from other media disciplines.** The field is insecure for everyone, but that's what reinforces relationships, but it can also lead to shallow and untrustworthy &quot;professional friendships&quot;. Like the moment someone gets &quot;that gig&quot;, possibly right in front of your nose, there's no friendship, because &quot;friendship&quot; might escalate to just trying to take advantage (because what many are really looking for is &quot;that secure, awesome artsy job&quot;, not cooperation that doesn't lead to anything / job prospects / financial gain)." ContentLicense="CC BY-SA 3.0" />
  <row Id="32724" PostHistoryTypeId="5" PostId="20116" RevisionGUID="0f34cb82-6053-4494-8cb2-ddb8ba559d45" CreationDate="2013-08-20T11:44:20.130" UserId="3179" Comment="added 184 characters in body; added 36 characters in body; added 108 characters in body" Text="The sound market is crap. I don't specifically know why it's so, but mostly a) because sound can for some reason be worked out fast and with a small personnel (even one guy), b) because sound can in many cases be worked externally (you don't have to meet the crew that produced the thing you're laying out sound for. You can work from home and online.), c) sound sometimes comes the last and d) established studios that work fast and hard. And maybe there are just too many people.&#xD;&#xA;&#xD;&#xA;**But, what's sure is that everything boils down to contacts. Or/and being of service to more experienced sound people or people from other media disciplines.** Or exceptionally exceptional work (there's not much of &quot;exceptional&quot; work that really sticks out nowadays). The field is insecure for everyone, but that's what reinforces relationships, but it can also lead to shallow and untrustworthy &quot;professional friendships&quot;. Like the moment someone gets &quot;that gig&quot;, possibly right in front of your nose, there's no friendship, because &quot;friendship&quot; might escalate to just trying to take advantage (because what many are really looking for is &quot;that secure, awesome artsy job&quot;, not cooperation that doesn't lead to anything / job prospects / financial gain).&#xD;&#xA;&#xD;&#xA;The reason why the market sucks is just because there's too much to pick from, you're a product in the pool of *n* seemingly very similar (as well as subjectively valued) products." ContentLicense="CC BY-SA 3.0" />
  <row Id="32725" PostHistoryTypeId="5" PostId="20116" RevisionGUID="0a4c0a15-c74b-4413-8973-49ff37e61de1" CreationDate="2013-08-20T11:54:08.827" UserId="3179" Comment="added 150 characters in body" Text="The sound market is crap. I don't specifically know why it's so, but mostly a) because sound can for some reason be worked out fast and with a small personnel (even one guy), b) because sound can in many cases be worked externally (you don't have to meet the crew that produced the thing you're laying out sound for. You can work from home and online.), c) sound sometimes comes the last and d) established studios that work fast and hard. And maybe there are just too many people.&#xD;&#xA;&#xD;&#xA;**But, what's sure is that everything boils down to contacts. Or/and being of service to more experienced sound people or people from other media disciplines.** Or exceptionally exceptional work (there's not much of &quot;exceptional&quot; work that really sticks out nowadays). The field is insecure for everyone, but that's what reinforces relationships, but it can also lead to shallow and untrustworthy &quot;professional friendships&quot;. Like the moment someone gets &quot;that gig&quot;, possibly right in front of your nose, there's no friendship, because &quot;friendship&quot; might escalate to just trying to take advantage (because what many are really looking for is &quot;that secure, awesome artsy job&quot;, not cooperation that doesn't lead to anything / job prospects / financial gain).&#xD;&#xA;&#xD;&#xA;The reason why the market sucks is just because there's too much to pick from, you're a product in the pool of *n* seemingly very similar (as well as subjectively valued) products.&#xD;&#xA;&#xD;&#xA;Maybe you'd want to do some marketing, like it works out in other fields when the situation is such that there are &quot;n seemingly similar products&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32726" PostHistoryTypeId="2" PostId="20117" RevisionGUID="c48e04ac-ce90-4d10-b2bd-4f54cb2df969" CreationDate="2013-08-20T13:16:32.230" UserId="1216" Text="There are already some proper advises and analyses by georgi and internet human.&#xD;&#xA;Just adding my 2cents in the form of a questionnaire:&#xD;&#xA;&#xD;&#xA; 1. Why did you get started doing sound in the first place? &#xD;&#xA; 2. What has kept you interested over time?&#xD;&#xA; 3. In what way are you different than all the others?&#xD;&#xA; 4. Do you need to be in London to do this?&#xD;&#xA; 5. What do you need to feel confident about your skills/expertise?&#xD;&#xA;&#xD;&#xA;Ponder about this a bit.&#xD;&#xA;&#xD;&#xA;I'm asking these questions, because you seem to be overthinking about what is bothering you.&#xD;&#xA;Try not to focus on the problem, but on the mechanics, you are the biggest factor (what do&#xD;&#xA;you want, why do you want it?).&#xD;&#xA;Besides that there's conjecture and markets, but those can be looked at in a different ways,&#xD;&#xA;because it all depends on your own perspective.&#xD;&#xA;&#xD;&#xA;And to end with a saying by Degas (at 70yrs old)&#xD;&#xA;&#xD;&#xA;&quot;You must have an elevated idea, not of what you do, but of what you can one day do, without this it is not worth the trouble working&quot;&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32727" PostHistoryTypeId="5" PostId="20116" RevisionGUID="4d6ae269-0f9d-497b-a59e-e2d3eda52508" CreationDate="2013-08-20T14:02:17.827" UserId="3179" Comment="added 392 characters in body" Text="The sound market is crap. I don't specifically know why it's so, but mostly a) because sound can for some reason be worked out fast and with a small personnel (even one guy), b) because sound can in many cases be worked externally (you don't have to meet the crew that produced the thing you're laying out sound for. You can work from home and online.), c) sound sometimes comes the last and d) established studios that work fast and hard. And maybe there are just too many people.&#xD;&#xA;&#xD;&#xA;**But, what's sure is that everything boils down to contacts. Or/and being of service to more experienced sound people or people from other media disciplines.** Or exceptionally exceptional work (there's not much of &quot;exceptional&quot; work that really sticks out nowadays). The field is insecure for everyone, but that's what reinforces relationships, but it can also lead to shallow and untrustworthy &quot;professional friendships&quot;. Like the moment someone gets &quot;that gig&quot;, possibly right in front of your nose, there's no friendship, because &quot;friendship&quot; might escalate to just trying to take advantage (because what many are really looking for is &quot;that secure, awesome artsy job&quot;, not cooperation that doesn't lead to anything / job prospects / financial gain). See, it may be somewhat paradoxical that the field is idealistically about art, but practically a (fierce) business between its participants; the bottom or managerial point in many cases is to make money (maybe to make more art) or in other ways shoot for financial goals (e.g. to cover costs and lost opportunities). Now if it's a business, one maybe ought to take it as a business(?)&#xD;&#xA;&#xD;&#xA;Now, the reason why the market sucks is maybe because there's too much to pick from, you're a product in the pool of *n* seemingly very similar (as well as subjectively valued) products.&#xD;&#xA;&#xD;&#xA;Maybe you'd want to do some marketing, like it works out in other fields when the situation is such that there are &quot;n seemingly similar products&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32728" PostHistoryTypeId="2" PostId="20118" RevisionGUID="56e9feba-a015-4d1e-bf34-84f7ed6c5860" CreationDate="2013-08-20T14:35:30.450" UserId="1189" Text="Hi all,&#xD;&#xA;&#xD;&#xA;I'm just in the middle of revising my business plan and one thing I've started to consider when planning ahead is just how many projects you tend to have in the pipeline at once.&#xD;&#xA;&#xD;&#xA;Do you normally have a number of projects lined up at once, or do you have &quot;dry spells&quot; in between extremely busy periods? Do you pace yourselves and turn down projects if time constraints are too tough, or is it common to bite off more than you can chew as a contingency plan?&#xD;&#xA;&#xD;&#xA;I'd be really interested to know. Thanks in advance for your advice!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32729" PostHistoryTypeId="1" PostId="20118" RevisionGUID="56e9feba-a015-4d1e-bf34-84f7ed6c5860" CreationDate="2013-08-20T14:35:30.450" UserId="1189" Text="How many projects are you working on at once?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32730" PostHistoryTypeId="3" PostId="20118" RevisionGUID="56e9feba-a015-4d1e-bf34-84f7ed6c5860" CreationDate="2013-08-20T14:35:30.450" UserId="1189" Text="&lt;project-management&gt;&lt;business&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32731" PostHistoryTypeId="2" PostId="20119" RevisionGUID="b24a840a-c506-48bf-9564-618341cbce58" CreationDate="2013-08-20T15:31:59.217" UserId="1216" Text="Seems like a simple question, but is tough to answer.&#xD;&#xA;My first response would be, it depends. Meaning that dry spells can last 1 week or 6 weeks.&#xD;&#xA;Pipe lines may be cut off or lengthened, anything is possible and you adapt as you go.&#xD;&#xA;But i can tell you this, I never say no to a client just because i'm to busy. If i do it is&#xD;&#xA;mostly because the project is not interesting, underpaid pr the client is not my type. &#xD;&#xA;Or i'm having vacation :)&#xD;&#xA;&#xD;&#xA;These things are not easily planned if you're working solo. Have you considered working&#xD;&#xA;with other sound designers?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32732" PostHistoryTypeId="2" PostId="20120" RevisionGUID="52a2fd59-aa7e-4bb1-b03b-94470f720c8f" CreationDate="2013-08-20T15:43:16.727" UserId="6435" Text="Besides the day job at the studio, I generally have between 2 and 5 projects going on simultaneously. But they're not all big projects. Right now I have three stage shows going on, with staggered openings between October and April. Those are the big projects. Besides that I have to prep an M&amp;E mix for an indie feature, put together a couple of sound effects packages, mix a couple of songs and plan for a location recording expedition in late April. Any &quot;Down time&quot; is usually the day after a show opens or a movie ships, when I try to take an evening off before jumping into the next thing on the list. Unlike Arnoud Traa, I do have to turn down stuff because I'm too busy. That's less of a boast than it sounds; I've just discovered I can't do as many projects simultaneously as I used to think I could. Part of this process is learning your own limits." ContentLicense="CC BY-SA 3.0" />
  <row Id="32733" PostHistoryTypeId="2" PostId="20121" RevisionGUID="f4768b5d-6922-455e-a8cd-194316b7652e" CreationDate="2013-08-20T15:55:10.880" UserId="6407" Text="I have turned down projects in the past but I now very rarely do that (unless it's a project not worth doing, that is). I've found that it's much better to have a couple of sound editors that you can trust to ship on extra workloads too, if necessary. Plus, it's often great experience for younger sound guys. They do the groundwork and I can qc and final mix it. Has worked for me so far...&#xD;&#xA;&#xD;&#xA;(p.s I'd be more than happy for you to ship extra work to me!) &#xD;&#xA;&#xD;&#xA;Best, N" ContentLicense="CC BY-SA 3.0" />
  <row Id="32734" PostHistoryTypeId="2" PostId="20122" RevisionGUID="95675115-f8b1-49da-9a33-76dbac3be2ff" CreationDate="2013-08-20T16:57:43.530" UserId="6330" Text="Hi Patrick,&#xD;&#xA;&#xD;&#xA;I can design/provide an array of sound fx and designs for your gaming needs&#xD;&#xA;&#xD;&#xA;TaRkHeM Productions&#xD;&#xA;&#xD;&#xA;Creating Music for all Dark Media Projects&#xD;&#xA;Film/Video/Game Scores - Dark Themed Sound Projects&#xD;&#xA;Background Music - Musiq for Ritual - Meditation&#xD;&#xA;Sound Alchemy - Occult Musiq Consultation&#xD;&#xA;&#xD;&#xA;Can work within your budget - All projects big &amp; small welcome&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Please contact me at&#xD;&#xA;&#xD;&#xA;tarkhemproductions@live.com&#xD;&#xA;&#xD;&#xA;www.tarkhem.com&#xD;&#xA;&#xD;&#xA;etumalku@aol.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="32735" PostHistoryTypeId="2" PostId="20123" RevisionGUID="657699b9-bfad-4817-a492-111e23fab1d9" CreationDate="2013-08-20T19:10:42.420" UserId="3179" Text="You just see e.g. here: http://forums.indiegamer.com/forumdisplay.php?13-Music-amp-Sound-Portfolios&#xD;&#xA;&#xD;&#xA;Given this much choice, the price is very negotiable (i.e. what you agree on)." ContentLicense="CC BY-SA 3.0" />
  <row Id="32736" PostHistoryTypeId="5" PostId="20123" RevisionGUID="fc56edf7-3866-4031-86c8-9eef1b118d2e" CreationDate="2013-08-20T19:16:56.693" UserId="3179" Comment="added 85 characters in body" Text="You just see e.g. here: http://forums.indiegamer.com/forumdisplay.php?13-Music-amp-Sound-Portfolios&#xD;&#xA;&#xD;&#xA;Given this much choice, the price is very negotiable (i.e. what you agree on).&#xD;&#xA;&#xD;&#xA;The AudioDraft platform is also rather excellent, if the project is rather small." ContentLicense="CC BY-SA 3.0" />
  <row Id="32737" PostHistoryTypeId="2" PostId="20124" RevisionGUID="267fcb0c-36d4-44b5-a7a7-2ce5d4a4a144" CreationDate="2013-08-21T10:03:02.103" UserId="6579" Text="Hi everybody,&#xD;&#xA;&#xD;&#xA;Does the standalone version of iZotope RX 2 have more resolution than the audio suite plugins? Do you know what is the resolution of the audio engine in both cases?&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Elena" ContentLicense="CC BY-SA 3.0" />
  <row Id="32738" PostHistoryTypeId="1" PostId="20124" RevisionGUID="267fcb0c-36d4-44b5-a7a7-2ce5d4a4a144" CreationDate="2013-08-21T10:03:02.103" UserId="6579" Text="iZotope RX 2 audio engine specs" ContentLicense="CC BY-SA 3.0" />
  <row Id="32739" PostHistoryTypeId="3" PostId="20124" RevisionGUID="267fcb0c-36d4-44b5-a7a7-2ce5d4a4a144" CreationDate="2013-08-21T10:03:02.103" UserId="6579" Text="&lt;izotope&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32740" PostHistoryTypeId="2" PostId="20125" RevisionGUID="6cc90a57-4505-45b8-ba75-e0e9e76be2b5" CreationDate="2013-08-21T10:11:23.097" UserId="37" Text="&gt; &quot;I just need a ballpark mean.&quot;&#xD;&#xA;&#xD;&#xA;I seriously hate this question. Let's pile up a few ideas on how to address the race to the bottom and not turn sound design into the next vfx industry.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32741" PostHistoryTypeId="2" PostId="20126" RevisionGUID="f8e33d1f-7518-4118-87ed-8d26fade4f13" CreationDate="2013-08-21T10:59:36.833" UserId="5860" Text="I have volunteered myself to record the sound for a short documentary a friend of mine is making. My (limited) experience in sound is mostly in the post-production side of things so I don't own any suitable hardware. I also don't have very much money to invest right now, not enough to buy a microphone and a recorder unfortunately.&#xD;&#xA;&#xD;&#xA;I was considering using my iPhone with either the Blue Mikey (approx. £80) or the Rode ixy (£150). I have concerns about using them with an iPhone 5 adapter although having such an incredibly portable field recorder would be awesome. Being able to FTP the files straight from my phone would be nice too.&#xD;&#xA;&#xD;&#xA;The other option is a used Zoom H4N. This would involve a little more expense (£200 or so) and a loss of a little portability but would at least give me the option of using a different mic if I came into some money/ could borrow one or a pair. I also get the impression that it would be significantly more robust.&#xD;&#xA;&#xD;&#xA;How would the H4N built in mic compare with the ixy or Mikey? I realise this isn't pro gear, but will adequate results be attainable if care is taken in the placement, recording and editing?&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=-YawI-CoPV0 this video suggests that there isn't too much difference between the quality of the ixy and H4N, has anyone else had experience of using both?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="32742" PostHistoryTypeId="1" PostId="20126" RevisionGUID="f8e33d1f-7518-4118-87ed-8d26fade4f13" CreationDate="2013-08-21T10:59:36.833" UserId="5860" Text="Low Budget Documentary Recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="32743" PostHistoryTypeId="3" PostId="20126" RevisionGUID="f8e33d1f-7518-4118-87ed-8d26fade4f13" CreationDate="2013-08-21T10:59:36.833" UserId="5860" Text="&lt;iphone&gt;&lt;zoom-h4n&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32744" PostHistoryTypeId="2" PostId="20127" RevisionGUID="55ade70e-f529-47f6-998f-03ca8d120990" CreationDate="2013-08-21T11:24:04.840" UserId="5605" Text="Have in mind that when shooting run and gun documentary style, a boom will be far more handy. You'll be able to use a highly directional microphone with it (a shotgun), so you can isolate surrounding noise. The mics you mention (iXY and zoom's built in mics) are not that directional, so you'll pick up a lot of background noise. A rule of thumb is that you need to get the mic as close as possible, without getting in the shot's frame. Keeping these two mics outside of the frame will introduce lots of background noise. Your best bet would be the H4N plus an external shotgun microphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="32745" PostHistoryTypeId="2" PostId="20128" RevisionGUID="91207b1d-9e00-47e3-acb5-b23fd7434ac9" CreationDate="2013-08-21T11:28:51.297" UserId="3179" Text="What do you mean by resolution? Sample rate? Sample rates are universal.&#xD;&#xA;&#xD;&#xA;&gt; Does the standalone version of iZotope&#xD;&#xA;&gt; RX 2 have more resolution than the&#xD;&#xA;&gt; audio suite plugins?&#xD;&#xA;&#xD;&#xA;No. If it would, it would've been specified." ContentLicense="CC BY-SA 3.0" />
  <row Id="32746" PostHistoryTypeId="2" PostId="20129" RevisionGUID="7b0de332-816f-4591-9439-03cb22962f44" CreationDate="2013-08-21T14:51:08.287" UserId="5880" Text="If you're renting gear, as suggested, I'd also recommend a radio mic.  It's extra insurance for getting decent sound for post; it will help cover you in situations that are difficult to boom (wide shots, tons of movement, etc) and should take some of the physical and mental pressure off booming if you're not used to it.  &#xD;&#xA;Something like a Sennheiser G3 shouldn't set you back much more on top of the other gear. The receiver output can be brought down to mic level so you can run both shotgun and radio into the H4N." ContentLicense="CC BY-SA 3.0" />
  <row Id="32747" PostHistoryTypeId="2" PostId="20130" RevisionGUID="d6426801-494e-4474-9645-caf349aad439" CreationDate="2013-08-21T17:01:22.157" UserId="4080" Text="So I'm in the process of creating all of the sounds for a game that will run on pretty much all mobile platforms. &#xD;&#xA;The game takes place mostly outdoors. My question is when you guys are exporting all of the sounds, do you put a small amount of the SAME reverb on all sounds, or do you leave them dry. I'm thinking of doing this to give all of the audio a cohesive sound, but I worry it will just muddy up the game, especially when I start downsampling all of these assets to 22khz.&#xD;&#xA;&#xD;&#xA;For this game, the sound engine has very limited capabilities so it won't be able to add real-time reverb.&#xD;&#xA;&#xD;&#xA;I really intended this question to be about the use of one reverb over all sounds, but as I've been looking around, there doesn't seem to be any discussion on SSD about reverb in mobile game audio. If you would like to expand the question to that, that would be great. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32748" PostHistoryTypeId="1" PostId="20130" RevisionGUID="d6426801-494e-4474-9645-caf349aad439" CreationDate="2013-08-21T17:01:22.157" UserId="4080" Text="Reverb On Mobile Game Sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="32749" PostHistoryTypeId="3" PostId="20130" RevisionGUID="d6426801-494e-4474-9645-caf349aad439" CreationDate="2013-08-21T17:01:22.157" UserId="4080" Text="&lt;mobile&gt;&lt;gameaudio&gt;&lt;reverb&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32750" PostHistoryTypeId="2" PostId="20131" RevisionGUID="2b5e0681-8171-4768-acbc-9a5967b3b137" CreationDate="2013-08-21T18:37:36.160" UserId="4442" Text="Yea, I would check out what internet human said. You can apply the same reverb by using a sample manager of sorts or a batch converter, so it's easy enough to just try to do it and see how it sounds. Usually a small amount of reverb is enough to bring something to life, but not really interfere with the mix too much." ContentLicense="CC BY-SA 3.0" />
  <row Id="32751" PostHistoryTypeId="2" PostId="20132" RevisionGUID="80958bab-7cb2-40b0-8522-22fa7b6bcb4b" CreationDate="2013-08-21T18:43:57.740" UserId="6194" Text="Hey Jeremyk23,&#xD;&#xA;&#xD;&#xA;I usually think about reverb (and other effects) on a case by case basis, as it depends on what the game is. On the last game, I applied reverb to some VO but not to sound effects. It not only helped them stand apart, but kept the mix cleaner. Also, reverb can also imply space and is something that's key when working on a game that conveys spatial differences.&#xD;&#xA;&#xD;&#xA;If you're thinking merely about an effect (which it seems like by the way the question is framed), I would be careful about the amount of reverb. The external speakers on mobile devices often has a form of compression that is not nice to long reverb tails. Also, frequencies respond differently to the same kind of reverb, so I wouldn't recommend using the same reverb on the higher range as you would on the lower range. The bass can get especially muddy if there's too much. &#xD;&#xA;&#xD;&#xA;In short, I'm not a fan of mass-batch processing when it comes to effects like reverb, but I would experiment and see about dialing in a little bit and find which parts work best.&#xD;&#xA;&#xD;&#xA;Hope that helps,&#xD;&#xA;&#xD;&#xA;George" ContentLicense="CC BY-SA 3.0" />
  <row Id="32752" PostHistoryTypeId="2" PostId="20133" RevisionGUID="7331995b-b867-44e6-a8ed-9305b7f91761" CreationDate="2013-08-21T19:55:36.203" UserId="189" Text="Hi There&#xD;&#xA;Has someone information about  problems that recently has the 8000 MKH series ?&#xD;&#xA;I was told that sennheiser has a lot of Microphones with issues these last months...&#xD;&#xA;Thanks!&#xD;&#xA;Michel" ContentLicense="CC BY-SA 3.0" />
  <row Id="32753" PostHistoryTypeId="1" PostId="20133" RevisionGUID="7331995b-b867-44e6-a8ed-9305b7f91761" CreationDate="2013-08-21T19:55:36.203" UserId="189" Text="MKH 8000 series" ContentLicense="CC BY-SA 3.0" />
  <row Id="32754" PostHistoryTypeId="3" PostId="20133" RevisionGUID="7331995b-b867-44e6-a8ed-9305b7f91761" CreationDate="2013-08-21T19:55:36.203" UserId="189" Text="&lt;sennheiser&gt;&lt;mkh&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32757" PostHistoryTypeId="2" PostId="20135" RevisionGUID="27bae109-d792-49a6-a494-032a12a11eae" CreationDate="2013-08-22T00:08:57.087" UserId="1303" Text="What issues did you hear about @Michel? The only thing I've discovered through testing and conversations with other 8000 series users is that Sennheiser shoves all the noise into ultrasonic frequencies. So at regular playback speed, your recordings will be extremely quiet. Attempt to slow any of these recordings down and all that noise floor is pitched into an audible range. Hiss city." ContentLicense="CC BY-SA 3.0" />
  <row Id="32758" PostHistoryTypeId="2" PostId="20136" RevisionGUID="256eea93-86f7-4392-83b9-ada9392eb93a" CreationDate="2013-08-22T08:18:36.127" UserId="6335" Text="I'm looking to start recording my own field recordings, effects, and foley for a portfolio. What type of mics are used for this? Shotgun? Does anyone recommend any specific affordable mics to start doing this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32759" PostHistoryTypeId="1" PostId="20136" RevisionGUID="256eea93-86f7-4392-83b9-ada9392eb93a" CreationDate="2013-08-22T08:18:36.127" UserId="6335" Text="What type of mics for recording effects/foley?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32760" PostHistoryTypeId="3" PostId="20136" RevisionGUID="256eea93-86f7-4392-83b9-ada9392eb93a" CreationDate="2013-08-22T08:18:36.127" UserId="6335" Text="&lt;foley&gt;&lt;sound-design&gt;&lt;effects&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32761" PostHistoryTypeId="2" PostId="20137" RevisionGUID="9f01ed75-a79d-4deb-911b-a1f8c5ae6162" CreationDate="2013-08-22T08:51:07.623" UserId="1228" Text="For Foley Usually LDCs (large diaphragm condensors) since of prime importance, they retain a lower noise floor.  U87s are often used for this, sometimes with an MKH 416 or KM81/82 as a room mic.  Octava makes a good LDC I've used, although I cannot recall the model number - it's cylinder-looking one.  AT2035 would more in the bargain range.&#xD;&#xA;&#xD;&#xA;For FX, it can be LDCs, dynamic mics (like MD421, SM58, RE20 &lt;- great mic by the way), and most often out in the field it'll be SDCs like shotguns and small-capsule mics (like the Schoeps MK41+CCM, Senn MHK 8040, Neumann KM184, or Studio Projects C4)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Although as I've learned the hard way, you really do get what you pay for in a mic.  AT tends to have a pretty good track record for the bargain territory however, same with the Sennheiser ME series.  The top end mics (at least as far as effects recording go) are usually going to be from the Sennheiser MKH/8000 series, Neumman KM and U series, Sanken CS series, DPA 4000 series (like the 4011) and Schoeps CMC/CCM sets.  That's not to say you have to go all out, but it's wroth shopping around I think and possibly even waiting for something that's not in a dirt-cheap bargain territory.  Usually a decent, workhorse mic will set you back about $1000-1200, but some decent ones can be had for the $500 range.&#xD;&#xA;&#xD;&#xA;As far as start out with FX recording, I recommend a SDC capsule mic or shotgun because it can be portable in a modular windjammer like Rycote, and cardiod is probably the best pattern to begin with - other pickup patterns have specific, and usually somewhat limited, niche uses like bi-direction (often reserved for Mid-Side, Double MS, and Blumein arrays) and Omni (often used with parabolic setups for as part of an AB spaced pair).  Cardiod, on the other hand, is very versatile for recording hard FX without being too broad or narrow of a rejection axis.&#xD;&#xA;&#xD;&#xA;As far as for recording ambience, that's going to require two mics minimum (or a dual capsule setup like the NT4).  So this is one consideration to make as well - because what you decide for your starter mic will determine your recording limitations.&#xD;&#xA;&#xD;&#xA;This is in large part why I've decided to go with a Mid Side setup myself - offers a direct mono signal, but also an adjustable stereo image (all the way into the mastering process, no less) all in one convenient windjammer.  The caveat to this is you'll either pay between $1800-2400 for a &quot;pre-built MS&quot; mic like the Sanken CSS-5, or you'll have to buy both a cardiod and bi-direction mic to build a custom array and the proper windjammer mount to ensure phase coherence of the capsules.  Which, depending upon your mic choices, can run you upwards of $3300.&#xD;&#xA;&#xD;&#xA;Hopefully this wasn't too confusing!  Buying your first mic should always be a fun experience, so always keep that in mind at the end of the day.  Mic selection is also a very personal, subjective to each individual and their tastes and sensibilities, so don't let anyone force you into a purchase.  These are just musing from my own experience, to be taken worth a grain of salt.  Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32762" PostHistoryTypeId="2" PostId="20138" RevisionGUID="8f3f7183-6ad0-44f9-96c2-7f29d377f759" CreationDate="2013-08-22T08:54:11.830" UserId="348" Text="Hi there,&#xD;&#xA;&#xD;&#xA;I usually use the Scheops CMC 6 mk4 or the Sennheiser 416. I have used wide diaphragm mics in the past the Neumanns and AKG's are also good. You need to check the transient response on any mic you use when doing foley because of the different kinds of sounds you are making. &#xD;&#xA;&#xD;&#xA;I always stay away from &quot;cheap&quot; mic's because of the lack of good frequency response and noise floor. A foley stage needs to be really quiet with some room but generally it is a quieter space to let's say a music recording studio or a mixing studio. &#xD;&#xA;&#xD;&#xA;Good luck though. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32763" PostHistoryTypeId="5" PostId="20137" RevisionGUID="b55f3968-9daf-4d08-abed-51658313d6af" CreationDate="2013-08-22T08:56:17.213" UserId="1228" Comment="added 51 characters in body; added 253 characters in body; added 258 characters in body" Text="For Foley Usually LDCs (large diaphragm condensors) since of prime importance, they retain a lower noise floor.  U87s are often used for this, sometimes with an MKH 416 or KM81/82 as a room mic.  Octava makes a good LDC I've used, although I cannot recall the model number - it's cylinder-looking one.  AT2035 would more in the bargain range.&#xD;&#xA;&#xD;&#xA;For FX, it can be LDCs, dynamic mics (like MD421, SM58, RE20 &lt;- great mic by the way), and most often out in the field it'll be SDCs like shotguns and small-capsule mics (like the Schoeps MK41+CCM, Senn MHK 8040, Neumann KM184, or Studio Projects C4)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Although as I've learned the hard way, you really do get what you pay for in a mic.  AT tends to have a pretty good track record for the bargain territory however, same with the Sennheiser ME series.  The top end mics (at least as far as effects recording go) are usually going to be from the Sennheiser MKH/8000 series, Neumman KM and U series, Sanken CS series, DPA 4000 series (like the 4011) and Schoeps CMC/CCM sets.  That's not to say you have to go all out, but it's wroth shopping around I think and possibly even waiting for something that's not in a dirt-cheap bargain territory.  Usually a decent, workhorse mic will set you back about $1000-1200, but some decent ones can be had for the $500 range.&#xD;&#xA;&#xD;&#xA;As far as start out with FX recording, I recommend a SDC capsule mic or shotgun because it can be portable in a modular windjammer like Rycote, and cardiod is probably the best pattern to begin with - other pickup patterns have specific, and usually somewhat limited, niche uses like bi-direction (often reserved for Mid-Side, Double MS, and Blumein arrays) and Omni (often used with parabolic setups for as part of an AB spaced pair).  Cardiod, on the other hand, is very versatile for recording hard FX without being too broad or narrow of a rejection axis.&#xD;&#xA;&#xD;&#xA;As far as for recording ambience, that's going to require two mics minimum (or a dual capsule setup like the NT4).  So this is one consideration to make as well - because what you decide for your starter mic will determine your recording limitations.&#xD;&#xA;&#xD;&#xA;This is in large part why I've decided to go with a Mid Side setup myself - offers a direct mono signal, but also an adjustable stereo image (all the way into the mastering process, no less) all in one convenient windjammer.  The caveat to this is you'll either pay between $1800-2400 for a &quot;pre-built MS&quot; mic like the Sanken CSS-5, or you'll have to buy both a cardiod and bi-direction mic to build a custom array and the proper windjammer moun to ensure phase coherence of the capsules.  Which, depending upon your mic choices, can run you upwards of $3000 to build an entire MS kit &quot;from mic to pistol grip&quot;.&#xD;&#xA;&#xD;&#xA;Hopefully this wasn't too confusing!  Buying your first mic should always be a fun experience, so always keep that in mind at the end of the day.  Try renting or borrow some of them if you can, see what your ears respond to - at the end of the day what sounds good is good.  Mic selection is also a very personal, subjective to each individual and their tastes and sensibilities, so don't let anyone force you into a purchase - yet recommendations and experience from others can definitely be a helpful asset to weigh into the decision-making process (ex: in the past I haven't been fond of the Schoeps sound personally, but others love them and to each their own - maybe one ay I'll come around if I like what I hear sometime in a future audition and I'm open to it, but that's just where I stand right now).  These are just musing from my own experience, to be taken worth a grain of salt.  Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32764" PostHistoryTypeId="5" PostId="20137" RevisionGUID="6a56846d-b883-40f6-a5bb-9d22ba9d3c06" CreationDate="2013-08-22T09:03:23.213" UserId="1228" Comment="added 8 characters in body; added 2 characters in body" Text="For Foley Usually LDCs (large diaphragm condensors) since of prime importance, they retain a lower noise floor.  U87s are often used for this, sometimes with an MKH 416 or KM81/82 as a room mic.  Octava makes a good LDC I've used, although I cannot recall the model number - it's cylinder-looking one.  AT2035 would more in the bargain range.&#xD;&#xA;&#xD;&#xA;For FX, it can be LDCs, dynamic mics (like MD421, SM58, RE20 &lt;- great mic by the way), and most often out in the field it'll be SDCs like shotguns and small-capsule mics (like the Schoeps MK41 + CCM, Senn MHK 8040, Neumann KM184, or Studio Projects C4)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Although as I've learned the hard way, you really do get what you pay for in a mic.  AT tends to have a pretty good track record for the bargain territory however, same with the Sennheiser ME series.  The top end mics (at least as far as effects recording go) are usually going to be from the Sennheiser MKH/8000 series, Neumman KM and U series, Sanken CS series, DPA 4000 series (like the 4011) and Schoeps CMC/CCM sets.  That's not to say you have to go all out, but it's wroth shopping around I think and possibly even waiting for something that's not in a dirt-cheap bargain territory.  Usually a decent, workhorse mic will set you back about $1000-1200, but some decent ones can be had for the $500 range.&#xD;&#xA;&#xD;&#xA;As far as start out with FX recording, I recommend a SDC capsule mic or shotgun because it can be portable in a modular windjammer like Rycote, and cardiod is probably the best pattern to begin with - other pickup patterns have specific, and usually somewhat limited, niche uses like bi-direction (often reserved for Mid-Side, Double MS, and Blumein arrays) and Omni (often used with parabolic setups for as part of an AB spaced pair).  Cardiod, on the other hand, is very versatile for recording hard FX without being too broad or narrow of a rejection axis.&#xD;&#xA;&#xD;&#xA;As far as for recording ambience, that's going to require two mics minimum (or a dual capsule setup like the NT4).  So this is one consideration to make as well - because what you decide for your starter mic will determine your recording limitations.&#xD;&#xA;&#xD;&#xA;This is in large part why I've decided to go with a Mid Side setup myself - offers a direct mono signal, but also an adjustable stereo image (all the way into the mastering process, no less) all in one convenient windjammer.  The caveat to this is you'll either pay between $1800-2400 for a &quot;pre-built MS&quot; mic like the Sanken CSS-5, or you'll have to buy both a cardiod and bi-direction mic to build a custom array and the proper windjammer moun to ensure phase coherence of the capsules.  Which, depending upon your mic choices, can run you upwards of $3000 to build an entire MS kit &quot;from mic to pistol grip&quot;.&#xD;&#xA;&#xD;&#xA;Hopefully this wasn't too confusing!  Buying your first mic should always be a fun experience, so always keep that in mind at the end of the day.  Try renting or borrow some of them if you can, see what your ears respond to - at the end of the day what sounds good is good.  Mic selection is also a very personal, subjective process to each individual and their tastes and sensibilities, so don't let anyone force you into a purchase - yet recommendations and experience from others can definitely be a helpful asset to weigh into the decision-making process (ex: in the past I haven't been fond of the Schoeps sound personally, but others love them and to each their own - maybe one ay I'll come around if I like what I hear sometime in a future audition and I'm open to it, but that's just where I stand right now).  These are just musing from my own experience, to be taken worth a grain of salt.  Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32765" PostHistoryTypeId="5" PostId="20137" RevisionGUID="9fa181d9-a86c-4a02-b4b0-c2883606b739" CreationDate="2013-08-22T09:24:08.687" UserId="1228" Comment="edited body" Text="For Foley Usually LDCs (large diaphragm condensors) since of prime importance, they retain a lower noise floor.  U87s are often used for this, sometimes with an MKH 416 or KM81/82 as a room mic.  Octava makes a good LDC I've used, although I cannot recall the model number - it's cylinder-looking one.  AT2035 would more in the bargain range.&#xD;&#xA;&#xD;&#xA;For FX, it can be LDCs, dynamic mics (like MD421, SM58, RE20 &lt;- great mic by the way), and most often out in the field it'll be SDCs like shotguns and small-capsule mics (like the Schoeps MK41 + CCM, Senn MHK 8040, Neumann KM184, or Studio Projects C4)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Although as I've learned the hard way, you really do get what you pay for in a mic.  AT tends to have a pretty good track record for the bargain territory however, same with the Sennheiser ME series.  The top end mics (at least as far as effects recording go) are usually going to be from the Sennheiser MKH/8000 series, Neumman KM and U series, Sanken CS series, DPA 4000 series (like the 4011) and Schoeps CMC/CCM sets.  That's not to say you have to go all out, but it's wroth shopping around I think and possibly even waiting for something that's not in a dirt-cheap bargain territory.  Usually a decent, workhorse mic will set you back about $1000-1200, but some decent ones can be had for the $500 range.&#xD;&#xA;&#xD;&#xA;As far as start out with FX recording, I recommend a SDC capsule mic or shotgun because it can be portable in a modular windjammer like Rycote, and cardiod is probably the best pattern to begin with - other pickup patterns have specific, and usually somewhat limited, niche uses like bi-direction (often reserved for Mid-Side, Double MS, and Blumlein arrays) and Omni (often used with parabolic setups or as part of an AB spaced pair).  Cardiod, on the other hand, is very versatile for recording hard FX without being too broad or narrow of a rejection axis.&#xD;&#xA;&#xD;&#xA;As far as for recording ambience, that's going to require two mics minimum (or a dual capsule setup like the NT4).  So this is one consideration to make as well - because what you decide for your starter mic will determine your recording limitations.&#xD;&#xA;&#xD;&#xA;This is in large part why I've decided to go with a Mid Side setup myself - offers a direct mono signal, but also an adjustable stereo image (all the way into the mastering process, no less) all in one convenient windjammer.  The caveat to this is you'll either pay between $1800-2400 for a &quot;pre-built MS&quot; mic like the Sanken CSS-5, or you'll have to buy both a cardiod and bi-direction mic to build a custom array and the proper windjammer moun to ensure phase coherence of the capsules.  Which, depending upon your mic choices, can run you upwards of $3000 to build an entire MS kit &quot;from mic to pistol grip&quot;.&#xD;&#xA;&#xD;&#xA;Hopefully this wasn't too confusing!  Buying your first mic should always be a fun experience, so always keep that in mind at the end of the day.  Try renting or borrow some of them if you can, see what your ears respond to - at the end of the day what sounds good is good.  Mic selection is also a very personal, subjective process to each individual and their tastes and sensibilities, so don't let anyone force you into a purchase - yet recommendations and experience from others can definitely be a helpful asset to weigh into the decision-making process (ex: in the past I haven't been fond of the Schoeps sound personally, but others love them and to each their own - maybe one ay I'll come around if I like what I hear sometime in a future audition and I'm open to it, but that's just where I stand right now).  These are just musing from my own experience, to be taken worth a grain of salt.  Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32766" PostHistoryTypeId="2" PostId="20139" RevisionGUID="df1a463d-841f-4ca9-a3c0-7916e6d6516a" CreationDate="2013-08-22T11:42:48.197" UserId="6269" Text="Wow, this reverb style SFX's is good idea, thanks for sharing! There's crack of arrow (0:11) - I think it sounds too close.&#xD;&#xA;Again, thanks for sharing!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32768" PostHistoryTypeId="5" PostId="20137" RevisionGUID="ab6bee25-bcd8-421a-8dbf-b55dafc82915" CreationDate="2013-08-22T16:45:44.597" UserId="1228" Comment="added 6 characters in body" Text="For Foley Usually LDCs (large diaphragm condensors) since of prime importance, they retain a lower noise floor.  U87s are often used for this, sometimes with an MKH 416 or KM81/82 as a room mic.  Octava makes a good LDC I've used, although I cannot recall the model number - it's cylinder-looking one.  AT2035 would more in the bargain range.&#xD;&#xA;&#xD;&#xA;For FX, it can be LDCs, dynamic mics (like MD421, SM58, RE20 &lt;- great mic by the way), and most often out in the field it'll be SDCs like shotguns and small-capsule mics (like the Schoeps CMC+MK41 or CCM4, Senn MKH 8040, Neumann KM184, or Studio Projects C4)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Although as I've learned the hard way, you really do get what you pay for in a mic.  AT tends to have a pretty good track record for the bargain territory however, same with the Sennheiser ME series.  The top end mics (at least as far as effects recording go) are usually going to be from the Sennheiser MKH/8000 series, Neumman KM and U series, Sanken CS series, DPA 4000 series (like the 4011) and Schoeps CMC/CCM sets.  That's not to say you have to go all out, but it's wroth shopping around I think and possibly even waiting for something that's not in a dirt-cheap bargain territory.  Usually a decent, workhorse mic will set you back about $1000-1200, but some decent ones can be had for the $500 range.&#xD;&#xA;&#xD;&#xA;As far as start out with FX recording, I recommend a SDC capsule mic or shotgun because it can be portable in a modular windjammer like Rycote, and cardiod is probably the best pattern to begin with - other pickup patterns have specific, and usually somewhat limited, niche uses like bi-direction (often reserved for Mid-Side, Double MS, and Blumlein arrays) and Omni (often used with parabolic setups or as part of an AB spaced pair).  Cardiod, on the other hand, is very versatile for recording hard FX without being too broad or narrow of a rejection axis.&#xD;&#xA;&#xD;&#xA;As far as for recording ambience, that's going to require two mics minimum (or a dual capsule setup like the NT4).  So this is one consideration to make as well - because what you decide for your starter mic will determine your recording limitations.&#xD;&#xA;&#xD;&#xA;This is in large part why I've decided to go with a Mid Side setup myself - offers a direct mono signal, but also an adjustable stereo image (all the way into the mastering process, no less) all in one convenient windjammer.  The caveat to this is you'll either pay between $1800-2400 for a &quot;pre-built MS&quot; mic like the Sanken CSS-5, or you'll have to buy both a cardiod and bi-direction mic to build a custom array and the proper windjammer moun to ensure phase coherence of the capsules.  Which, depending upon your mic choices, can run you upwards of $3000 to build an entire MS kit &quot;from mic to pistol grip&quot;.&#xD;&#xA;&#xD;&#xA;Hopefully this wasn't too confusing!  Buying your first mic should always be a fun experience, so always keep that in mind at the end of the day.  Try renting or borrow some of them if you can, see what your ears respond to - at the end of the day what sounds good is good.  Mic selection is also a very personal, subjective process to each individual and their tastes and sensibilities, so don't let anyone force you into a purchase - yet recommendations and experience from others can definitely be a helpful asset to weigh into the decision-making process (ex: in the past I haven't been fond of the Schoeps sound personally, but others love them and to each their own - maybe one ay I'll come around if I like what I hear sometime in a future audition and I'm open to it, but that's just where I stand right now).  These are just musing from my own experience, to be taken worth a grain of salt.  Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32769" PostHistoryTypeId="2" PostId="20141" RevisionGUID="7c0b97df-0c0e-4b84-b5c4-0db668f68f95" CreationDate="2013-08-22T23:20:13.477" UserId="6337" Text="Bring a small portable recorder with you, like a tascam DR07, and pretend it's a taser if someone starts giving you shit!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32770" PostHistoryTypeId="2" PostId="20142" RevisionGUID="80c28bfa-5c2d-4d3c-9175-b939d6fc8e36" CreationDate="2013-08-23T00:38:50.410" UserId="6335" Text="I'm stuck deciding between a Zoom H2n and a Sony PCM-M10 for doing recordings on the go at random if an interesting sound comes up. This will be for building a portfolio for sound design, not for a professional studio so I don't need the best of the best. I don't need any inputs because if I need higher quality mics, I would just bring my duet 2 and a mic. Anyone with experience with one or the other, or both?&#xD;&#xA;&#xD;&#xA;Also, I know that these are stereo mics (M10 being omni), and for sound design if I'm recording any sort of one shots that are going to be mono, won't there be phase issues if I take the stereo file recorded on the Zoom or Sony and sum it to mono? I want to be able to use interesting sounds I find in both stereo and mono depending on the source I catch, but I'm afraid that the summed to mono files will introduce phase =(&#xD;&#xA;&#xD;&#xA;Thanks ahead of time for any help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32771" PostHistoryTypeId="1" PostId="20142" RevisionGUID="80c28bfa-5c2d-4d3c-9175-b939d6fc8e36" CreationDate="2013-08-23T00:38:50.410" UserId="6335" Text="Few questions about portable field recorders!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32772" PostHistoryTypeId="3" PostId="20142" RevisionGUID="80c28bfa-5c2d-4d3c-9175-b939d6fc8e36" CreationDate="2013-08-23T00:38:50.410" UserId="6335" Text="&lt;sound-effects-recording&gt;&lt;sound-effects&gt;&lt;sound-design&gt;&lt;microphone&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32773" PostHistoryTypeId="2" PostId="20143" RevisionGUID="47b90ad6-4f1e-44a6-a385-c5368dc44c03" CreationDate="2013-08-23T02:02:41.643" UserId="1228" Text="If you're willing to pay the price for an H4n, I totally recommend checking out the Roland R26.  I haven't used the H2n or PCM-M10, but have used the H4n and I'm not a fan at all.  The R26 served as one of our two recorders (using plug in DPAs and the onboard mics) for a guerrilla vehicle workup session and the performance was quite outstanding.  However, the windshield is pretty weak, same sort of goes for the H4n's wind protection.  Add the Rycote cover on top of it though and it does a pretty great job.&#xD;&#xA;&#xD;&#xA;And the great thing is that the onboards come with a cardiod XY AND spaced omni's.  With another 2 XLR ins - so 6 channels of 96k 24bit, and the quality of those 6 channels is no gimmick.  I will say I was skeptical at first, but after working with it, I'm still shocked by how good it was, for its form factor and cost." ContentLicense="CC BY-SA 3.0" />
  <row Id="32774" PostHistoryTypeId="2" PostId="20144" RevisionGUID="4c38e007-9bb6-4323-ae52-d49f5bdafd21" CreationDate="2013-08-23T07:36:08.900" UserId="5602" Text="FWIW THe H2n can record the MS signal in 'raw' format which means you can elect to decode it to variable width stereo - or just use the mid component - according to your needs after the fact. Note: for some reason this option is only available when recording in 2 channel MS mode (not 4 channel surround). &#xD;&#xA;&#xD;&#xA;Also: If you do go with the H2n I'd strongly recommend something like a custom windscreen from Redheadwindscreens.com (for example) and some arrangement for shock mounting if you are going to be doing any amount of handheld work with it. To that end my solution is to use an old rycote softie pistol grip (intended for a shotgun mic) into which is inserted the plastic dummy mic adapter that comes with the (optional) H2n accesory kit from zoom.&#xD;&#xA;&#xD;&#xA;With that combination, the H2n can be a quick &amp; handy &amp; solution that you can keep assembled in a bag ready for any impromptu recording opportunities that may arise... " ContentLicense="CC BY-SA 3.0" />
  <row Id="32775" PostHistoryTypeId="2" PostId="20145" RevisionGUID="3c48659c-79f2-4e65-8537-cb36d03f5119" CreationDate="2013-08-23T15:42:39.503" UserId="6342" Text="Hey,&#xD;&#xA;&#xD;&#xA;A question for the more experienced postpro experts here...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;A film i worked on had to change its FPS from 24 FPS to 25 FPS and therefore now has a different duration.&#xD;&#xA;&#xD;&#xA;Unfortunately i produced the sound design to the 24 FPS version of the film.&#xD;&#xA;I exported the mix of my sound design as a 48Khz WAV file.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;By which factor do i have to pitch my exported WAV up or down to match the films new duration to ensure everything is back in sync if i align film and WAV at frame 0?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The tiny change in pitch does not matter (sonically) in my scenario.&#xD;&#xA;Therefore i want to do a pitch and not timestretch to avoid artifacts.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any help would be greatly appreciated!&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;D.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32776" PostHistoryTypeId="1" PostId="20145" RevisionGUID="3c48659c-79f2-4e65-8537-cb36d03f5119" CreationDate="2013-08-23T15:42:39.503" UserId="6342" Text="Audio SYNC question regarding a FPS conversion from 24 FPS to 25 FPS" ContentLicense="CC BY-SA 3.0" />
  <row Id="32777" PostHistoryTypeId="3" PostId="20145" RevisionGUID="3c48659c-79f2-4e65-8537-cb36d03f5119" CreationDate="2013-08-23T15:42:39.503" UserId="6342" Text="&lt;conversion&gt;&lt;fps&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32778" PostHistoryTypeId="2" PostId="20146" RevisionGUID="d6bc8421-f557-412f-a634-a819b2549004" CreationDate="2013-08-23T16:27:40.733" UserId="1228" Text="There should be pre-set sample rate values you can 'force' upon a audio file import into PT (under the SRC section)- there should be one from Film to PAL I believe." ContentLicense="CC BY-SA 3.0" />
  <row Id="32779" PostHistoryTypeId="5" PostId="20146" RevisionGUID="34828668-82ee-48ae-80a1-8397149681e1" CreationDate="2013-08-23T16:33:07.980" UserId="1228" Comment="added 147 characters in body; added 3 characters in body" Text="There should be pre-set sample rate values you can 'force' upon a audio file import into PT (under the SRC section) - there should be one from Film to PAL I believe.&#xD;&#xA;&#xD;&#xA;And/or the XForm plugin should have a TCE/Varispeed preset for this rate conversion as well.&#xD;&#xA;&#xD;&#xA;Those are probably the easiest two ways to do it." ContentLicense="CC BY-SA 3.0" />
  <row Id="32780" PostHistoryTypeId="2" PostId="20147" RevisionGUID="fb9efa12-8534-445f-b890-600c0e48547b" CreationDate="2013-08-23T16:42:01.517" UserId="6271" Text="Go for the H2, because with its MS raw pattern you'll be able to tune your stereo field or just use the mono recording.&#xD;&#xA;And with good gain staging and clever eq'ing and noise reduction you'll end up with excellent recordings, considering how cheap this device is." ContentLicense="CC BY-SA 3.0" />
  <row Id="32781" PostHistoryTypeId="2" PostId="20148" RevisionGUID="0a1792dd-651b-4b7a-8e7c-2e68cb93f12a" CreationDate="2013-08-23T17:42:23.220" UserId="836" Text="25/24=1.041666666666   &#xD;&#xA;&#xD;&#xA;So the 25 fps sound should be 4.16666% faster" ContentLicense="CC BY-SA 3.0" />
  <row Id="32782" PostHistoryTypeId="2" PostId="20149" RevisionGUID="d998819f-a584-4698-aed2-6e284d82a1af" CreationDate="2013-08-23T17:49:20.957" UserId="5526" Text="You could speed vary your DAW + 4.16666% faster, and re-record the output on a 48K machine." ContentLicense="CC BY-SA 3.0" />
  <row Id="32783" PostHistoryTypeId="2" PostId="20150" RevisionGUID="69c6afbe-dc3d-4623-8feb-6b5bb6ea2064" CreationDate="2013-08-23T19:34:09.260" UserId="6214" Text="I was in the same boat a couple of months ago and after a lot of research I went with Sony PCM-M10, because it's a much quieter recorder than the Zoom so it works a lot better for ambience recordings, it's also smaller and sturdier which is a plus to carry it around everywhere you go. Plus it has true line input as opposed to the High-Z input from the Zoom incase you ever want to plug a preamp to it.&#xD;&#xA;&#xD;&#xA;As far as mono compatibility what I do is I point one of the two mics to the source I want to record and then I just use that channel and discard the other, no need to sum." ContentLicense="CC BY-SA 3.0" />
  <row Id="32784" PostHistoryTypeId="5" PostId="20150" RevisionGUID="5d27cedf-c2b0-4b25-b81c-cb96644df7a0" CreationDate="2013-08-23T19:41:37.647" UserId="6214" Comment="deleted 12 characters in body" Text="I was in the same boat a couple of months ago and after a lot of research I went with Sony PCM-M10, because it's a much quieter recorder than the Zoom so it works a lot better for ambience recordings, it's also sturdier which is a plus to carry it around everywhere you go. Plus it has true line input as opposed to the High-Z input from the Zoom incase you ever want to plug a preamp to it.&#xD;&#xA;&#xD;&#xA;As far as mono compatibility what I do is I point one of the two mics to the source I want to record and then I just use that channel and discard the other, no need to sum." ContentLicense="CC BY-SA 3.0" />
  <row Id="32785" PostHistoryTypeId="2" PostId="20151" RevisionGUID="a138b6c8-5262-41f3-abaa-ada648a121de" CreationDate="2013-08-23T21:44:44.343" UserId="6343" Text="Altering the speed from 24/25 FPS would mean speeding it up by 4.16666%.&#xD;&#xA;By Pitching up the sound by 70 cents you will speed the video up by 4.1250%&#xD;&#xA;or by pitching it up by 71 cents you will go to 4.1854%&#xD;&#xA;In both cases the new file will not have an absolutely correct length, but if the total length of the video is not more than 20 minutes it should be ok.&#xD;&#xA;&#xD;&#xA;Pitching it up though by such an amount might drastically alter your mix (especially certain sound effects) and if there is dialog present, change the performance of an actor.&#xD;&#xA;&#xD;&#xA;In my experience a good timestretch algorithm works better in this case, since it can be set at the exact value of the frame change and keep the mix more or less intact.&#xD;&#xA;&#xD;&#xA;In any case you can try both ways and see which works best, and if still not sure, let the director choose the one that better fit his needs :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32786" PostHistoryTypeId="2" PostId="20152" RevisionGUID="56e4f98e-edc1-4048-85c5-574c9c8d4584" CreationDate="2013-08-24T01:13:24.873" UserId="5880" Text="Hi, &#xD;&#xA;&#xD;&#xA;I'm currently in post production with a WW2 era short.  The climactic scene at the end takes place within a pine forest.  There are gunshots that happen offscreen, away from the main characters, and gunshots that happen where the main action is taking place. I'm really struggling to make them sit right in the mix, due to the fairly unique way that trees both block and reflect sound at the same time.  It should be mentioned that there wasn't the opportunity to record impulse response on location due to unfortunate time constraints (squeezing a second day of shooting into the last few hours due to predicted weather).&#xD;&#xA;&#xD;&#xA;So I guess what I'm asking is this: How would you approach a similar situation in terms of creating the right auditory space within a forest environment? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32787" PostHistoryTypeId="1" PostId="20152" RevisionGUID="56e4f98e-edc1-4048-85c5-574c9c8d4584" CreationDate="2013-08-24T01:13:24.873" UserId="5880" Text="Creating realistic reverb in a forest" ContentLicense="CC BY-SA 3.0" />
  <row Id="32788" PostHistoryTypeId="3" PostId="20152" RevisionGUID="56e4f98e-edc1-4048-85c5-574c9c8d4584" CreationDate="2013-08-24T01:13:24.873" UserId="5880" Text="&lt;reverb&gt;&lt;post-production&gt;&lt;shortfilm&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32789" PostHistoryTypeId="2" PostId="20153" RevisionGUID="3d7b219f-5a27-4428-94de-62acd054e39a" CreationDate="2013-08-24T01:17:11.073" UserId="3179" Text="Convolution reverb / worldization." ContentLicense="CC BY-SA 3.0" />
  <row Id="32790" PostHistoryTypeId="2" PostId="20154" RevisionGUID="4ca3e58b-8a08-4e73-8b2b-25c20006bc86" CreationDate="2013-08-24T02:46:17.040" UserId="6344" Text="Yeah, forests are tough. Altiverb has some good forest verbs. &#xD;&#xA;&#xD;&#xA;Try an in game worldized reverb with heavy damping, a short tail and a longer predelay. I've found predelay to be the most important setting for real world verbs like this. It should almost sound like a long slapback verb. Try more than 80ms and experiment." ContentLicense="CC BY-SA 3.0" />
  <row Id="32791" PostHistoryTypeId="2" PostId="20155" RevisionGUID="a5130b10-11bd-4548-97cb-81b619e82580" CreationDate="2013-08-24T15:40:10.847" UserId="1393" Text="McDSP Revolver has some pretty good forest impulses. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32792" PostHistoryTypeId="2" PostId="20156" RevisionGUID="bb912349-7447-4ff4-ad37-4b9a94130de4" CreationDate="2013-08-24T16:01:19.283" UserId="6346" Text="This is what I did to get mine to work. I found nothing of the sort on the net so I hope this helps even if it's waaaaaay late. Make sure you have the latest drivers for your axiom first, found here:&#xD;&#xA;&#xD;&#xA;http://m-audio.com/index.php?do=support&amp;tab=driver&#xD;&#xA;&#xD;&#xA;In Nuendo 4 (or any Steinberg based audio software I assume)&#xD;&#xA; - right click on any track&#xD;&#xA; - add track&#xD;&#xA; - add an instrument track&#xD;&#xA; - select synth -&gt; monologue (choose any synth you have/like)&#xD;&#xA; - highlight/select the new instrument track in your list&#xD;&#xA; - on the left hand side of your window, you will see a list, double click on the very first object on the list (should be the name of your instrument track), it will open a submenu if it wasn't already open&#xD;&#xA; - Make sure your Input Routing is &quot;All MIDI Inputs&quot; and not &quot;Not connected&quot; and make sure your synth is also selected right under that &#xD;&#xA; - finally, to hear your midi controller (and this is what pissed me off when I figured out) simply click on the &quot;record&quot; button on the instrument track itself.&#xD;&#xA; - Push a key to hear a sound&#xD;&#xA; - Punch yourself if you did every step except push the record button (optional)&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32793" PostHistoryTypeId="2" PostId="20157" RevisionGUID="8b53611e-c68b-4e75-9fae-25f0673d72c8" CreationDate="2013-08-25T00:24:48.690" UserId="999" Text="Interesting that no-one has answered this yet! I'll try and answer as honestly as I can.&#xD;&#xA;&#xD;&#xA;1. I think I do this because I enjoy project based work, doing something different everyday and enjoy the satisfaction of a complete soundtrack. I love seeing a piece of work from when I receive it, to how it is when I've finished it. It gives me a chance to be  constantly learning and improving.&#xD;&#xA;&#xD;&#xA;2. I have struggled with this sometimes. Compared to the work of a doctor you could consider our work to be unimportant in many ways. I think it comes down to the project and the storytelling or message involved. I remember when I was younger watching the same films over and over (every night!), these films have shaped and affected who I am as a person and had a deep impact on how I view the world. Being part of this (especially audio!) is important to help entertain and inform others of a message clearly,artistically and professionally.&#xD;&#xA;&#xD;&#xA;3. I think this question kinds of answers itself in number 2 and I think every project has a different purpose. Of course, not all projects are life changing, moral or even interesting stories. In this case it is an opportunity to use your studio, your gear and improve until you find that project that really means something to you and you'll be proud that you were part of the team involved.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32794" PostHistoryTypeId="2" PostId="20158" RevisionGUID="d6197c84-335e-4f25-b6e0-6adeaf777afe" CreationDate="2013-08-25T02:51:10.483" UserId="1228" Text="&quot;...musicians are willing to give their entire lives to a moment - to that melody, that lyric, that chord, or that interpretation that will stir the audience's soul. Musicians are beings who have tasted life's nectar in that crystal moment when they poured out their creative spirit and touched another's heart. In that instant, they were as close to magic, God, and perfection as anyone could ever be. And in their own hearts, they know that to dedicate oneself to that moment is worth a thousand lifetimes.”&#xD;&#xA;&#xD;&#xA;- David Ackert, LA Times&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Says musicians, but I insert sound editor (or designer).  All of the same family, just a different 'type' of musician at the end of the day." ContentLicense="CC BY-SA 3.0" />
  <row Id="32795" PostHistoryTypeId="2" PostId="20159" RevisionGUID="5ca36fad-33ef-485a-82e9-aeeb169ddff7" CreationDate="2013-08-25T11:55:57.397" UserId="1216" Text="First of, sitting well in the mix can be a problem for any element in a design. Making it fit is much more a technical endeavor than a 'realistic/document' design process of the element.&#xD;&#xA;So the distant gunshots treatment can also be 'unrealistic' but still work well. Making it fit is something that comes after the design in my opinion. &#xD;&#xA;&#xD;&#xA;Regarding reverbs and impulses:&#xD;&#xA;This might help: http://www.boomlibrary.com/boomlibrary/products/outdoor-impulse-responses&#xD;&#xA;&#xD;&#xA;Oh and think about the structure of a forest, it's not only trees that reflect the sound. The canopy is very reflective as well.&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;EDIT: Not every gunshot has to sound perfect. Here's a simplified example. if the gunshot is more dangerous/possibly fatal it could sound much dryer than other gunshots. So try and create several layers of gunshots with different 'fatalities'. This could lead to a less&#xD;&#xA;muddy or crowded mix. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32796" PostHistoryTypeId="2" PostId="20160" RevisionGUID="99c2f421-52c3-4eb5-b023-cd242f1aceee" CreationDate="2013-08-25T17:00:37.893" UserId="6597" Text="Do you know any?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32797" PostHistoryTypeId="1" PostId="20160" RevisionGUID="99c2f421-52c3-4eb5-b023-cd242f1aceee" CreationDate="2013-08-25T17:00:37.893" UserId="6597" Text="Festivals that award sound for short movies" ContentLicense="CC BY-SA 3.0" />
  <row Id="32798" PostHistoryTypeId="3" PostId="20160" RevisionGUID="99c2f421-52c3-4eb5-b023-cd242f1aceee" CreationDate="2013-08-25T17:00:37.893" UserId="6597" Text="&lt;filmfestival&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32799" PostHistoryTypeId="2" PostId="20161" RevisionGUID="30728af6-d262-48ad-b06e-7274a5e3732b" CreationDate="2013-08-25T17:39:15.750" UserId="1216" Text="Good question, i've been curious about that too for a while.&#xD;&#xA;I think the 48 hour (in NL) project has an award for the soundtrack, but that good also be including music. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32800" PostHistoryTypeId="2" PostId="20162" RevisionGUID="472c65e7-aea8-4a2d-935c-6a6d4847238a" CreationDate="2013-08-25T19:01:07.680" UserId="6269" Text="I know the site on russian with catalogue of international film festivals - http://festagent.com. It's pretty simple, just use Google Translator if needed. Or ask me if there's still some misunderstanding occur.&#xD;&#xA;I think you should check one by one to view the award list.&#xD;&#xA;Hope it will help! Good Luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32801" PostHistoryTypeId="2" PostId="20163" RevisionGUID="c16d36ac-1f34-4088-bd56-5981cc280c2d" CreationDate="2013-08-26T00:08:33.857" UserId="6347" Text="Howdy.  My H4n is an awesome workhorse, but over the years, the XLR inputs have gotten a little loose.  What this means, practically is that when I'm recording anything through the XLR inputs, I pick up handling noise from the loose connection when I pick up the H4n.  I basically am &quot;working around&quot; the problem by just leaving the H4n on a table and not touching it, but sometimes someone's sound level is peaking and it's annoying to have to stop the shot just to adjust the levels.  &#xD;&#xA;&#xD;&#xA;How would I go about fixing this problem? &#xD;&#xA;&#xD;&#xA;-- Brian " ContentLicense="CC BY-SA 3.0" />
  <row Id="32802" PostHistoryTypeId="1" PostId="20163" RevisionGUID="c16d36ac-1f34-4088-bd56-5981cc280c2d" CreationDate="2013-08-26T00:08:33.857" UserId="6347" Text="XLR connection for H4n is loose: Where/how to repair?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32803" PostHistoryTypeId="3" PostId="20163" RevisionGUID="c16d36ac-1f34-4088-bd56-5981cc280c2d" CreationDate="2013-08-26T00:08:33.857" UserId="6347" Text="&lt;xlr-input&gt;&lt;zoom-h4n&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32804" PostHistoryTypeId="2" PostId="20164" RevisionGUID="a12d27aa-de24-4574-9e3f-94191bb46958" CreationDate="2013-08-26T00:27:29.173" UserId="1228" Text="I'm not sure how repairable the H4n is, unless you're a total DIY get-your-hands-dirty sort of person who deal with electronic tech - the H4n, like some other handheld recorders in this price range seem to be designed as thrwaways.  In that it the production/repair/servicing costs far outweigh the manufacturing of the new one all together (in all fairness, I own an H4n too, so I'm not speaking down to you when I say this opinion - it's just that handhelds like the H-series Zoom recorders or the Olympus LS10 et al are on a different plane of existence than say an R4, FR2, or 702+ - and the build quality and limited support by the manufacturers of such handheld units seem to sway my thoughts toward the direction of them being considered &quot;throwaways' by the companies themselves).  To put this into perspective, Rode considers(ed) the $500 NT4 a throwaway mic when I sent it in because of P48 problems - they literally tossed it out, with no troubleshooting report, and sent a brand new one to replace it.&#xD;&#xA;&#xD;&#xA;So it's possible that Samson would just send you a brand new H4n to replace the defective one like Rode did with me, however you said &quot;over the years&quot; so I safely assume you're out of a warranty on that since 1-2 years is usually the max offered.  In that case, contacting them might not be fruitful at all, unless they want you to pay a lot out of warranty (thus backing of the &quot;throwaway&quot; idea, where the repair costs more than it would to get a brand new one).&#xD;&#xA;&#xD;&#xA;If what you asking is who to take it to (besides Samson since it's likely out of warranty), or what sort of formal documentation is online there about the inner workings of the H4n and fixing it, I honestly do not know - this is where, if you're a total DIY type person, you may have some trail and error luck by digging inside the unit and trying to replace or solder anything that came loose.&#xD;&#xA;&#xD;&#xA;The next best option I can think of, short of cracking it out, is to try filling in the gap between the XLRs and chassis with something like Gorilla Glue, assuming the wiggle-room gap isn't large enough that it would just pour inside.  That's the best thing I can think of.&#xD;&#xA;&#xD;&#xA;Good luck, hope you find a solution that works!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32807" PostHistoryTypeId="2" PostId="20166" RevisionGUID="8d2c1066-cd05-4157-b10c-5f617d577ecd" CreationDate="2013-08-26T01:00:44.543" UserId="3179" Text="Take it to someone who repairs those (use google to see if such places exist). Or open it up and see if you can get access to the XLR solderings or whatever is broken and see if you can balance the wiggling somehow. If the connector has been loosened internally, then it might be / is irreparable without finding the exact or fitting connectors as spares and replacing (and being able to replace) them." ContentLicense="CC BY-SA 3.0" />
  <row Id="32812" PostHistoryTypeId="2" PostId="20169" RevisionGUID="6a88e603-8e47-43f5-869d-baa8a5b50990" CreationDate="2013-08-26T10:10:52.217" UserDisplayName="user49" Text="**Why do you do what you do?**&#xD;&#xA;&#xD;&#xA;- To learn about the world, about life, about the human condition, about nature and about reality as we each individually perceive it, as well as the mass consensual hallucination of  our shared reality.&#xD;&#xA;- As a means of creative expression&#xD;&#xA;- To generate income to provide food, clothes and shelter (&amp; the tools of my creative expression)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Why is it important?**&#xD;&#xA;&#xD;&#xA;- To create is an expression of being human, and our art, expression, meaning, ideas and emotions are all important parts of what make us each *uniquely* human.&#xD;&#xA;- To develop and evolve as a sentient human being&#xD;&#xA;- It allows me to eat, wear clothes and sleep indoors&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**What is it for?**&#xD;&#xA;&#xD;&#xA;- The communication of ideas and emotions&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32816" PostHistoryTypeId="2" PostId="20172" RevisionGUID="e48cbabb-8ec4-4e79-8ec1-bebb2a9f5456" CreationDate="2013-08-26T12:01:28.207" UserId="6352" Text="How you managed to take this informative article and turn it into an interesting piece of writing is simply amazing to me.  I am very impressed with your writing abilities.  I am bookmarking this content. Animal Dungeon–game development." ContentLicense="CC BY-SA 3.0" />
  <row Id="32817" PostHistoryTypeId="2" PostId="20173" RevisionGUID="9422e968-8b1b-44f2-98f6-e6719a45fbb5" CreationDate="2013-08-26T17:41:38.087" UserId="234" Text="The Accolade Festival has awards for short film sound: http://www.accoladecompetition.org/ (I've won a couple over the years)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32818" PostHistoryTypeId="2" PostId="20174" RevisionGUID="3bb0e64c-41d9-44be-bce0-96ecac1c830e" CreationDate="2013-08-27T00:07:04.520" UserId="3176" Text="How many of you actually do this, recording with three mics (LCR)? I'm talking about using techniques like OCT (Optimized Cardioid Triangle)... &#xD;&#xA;&#xD;&#xA;I could see the logic of this for recording moving vehicles and things like that (to not depend solely on a phantom center). Tomlinson Holman on his book on Surround Sound is quite ferocious on defending an LCR approach against a phantom center approach.But I don't see anyone really doing this kind of recording... In the case of the pass by, we would mostly pan a mono source, that's how it works for the majority of us. Hence my question, why LCR? Who does it and could talk about its advantages?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32819" PostHistoryTypeId="1" PostId="20174" RevisionGUID="3bb0e64c-41d9-44be-bce0-96ecac1c830e" CreationDate="2013-08-27T00:07:04.520" UserId="3176" Text="LCR field recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="32820" PostHistoryTypeId="3" PostId="20174" RevisionGUID="3bb0e64c-41d9-44be-bce0-96ecac1c830e" CreationDate="2013-08-27T00:07:04.520" UserId="3176" Text="&lt;lcr&gt;&lt;field&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32821" PostHistoryTypeId="2" PostId="20175" RevisionGUID="72405a07-485e-4e85-bd12-852195e6e9ef" CreationDate="2013-08-27T00:25:53.090" UserDisplayName="user49" Text="When out field recording problematic ambiences I sometimes resort to closing my eyes &amp; counting seconds (one thousand and one, one thousand and two, one thousand and three etc) and as soon as a problem occurs (I notice unwanted noise pollution etc) I stop counting and only resume once I have a clean ambience again... I do this to insure I have captured more than enough ie a useable amount of clean ambiences... But over the years I have noticed that sometimes if I set a process going and it estimates eg 23 minutes and I leave it to it, without looking at a clock (or watch or my phone) I will walk back in just as it finishes...&#xD;&#xA;So I have always wondered if this is a side effect of working with time based media ie you develop an instinct for duration&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32822" PostHistoryTypeId="1" PostId="20175" RevisionGUID="72405a07-485e-4e85-bd12-852195e6e9ef" CreationDate="2013-08-27T00:25:53.090" UserDisplayName="user49" Text="How accurate are you at estimating time passing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32823" PostHistoryTypeId="3" PostId="20175" RevisionGUID="72405a07-485e-4e85-bd12-852195e6e9ef" CreationDate="2013-08-27T00:25:53.090" UserDisplayName="user49" Text="&lt;time&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32824" PostHistoryTypeId="2" PostId="20176" RevisionGUID="da61ebd0-0db7-444f-8292-0e9f2f3439e6" CreationDate="2013-08-27T00:35:14.377" UserDisplayName="user49" Text="I have done a bit of ambience recording in LCR - but mostly only on a project where I knew there was going to be a lot of ADR due to bad production sound, and the centre channel would need more support than usual... (Even if I was recording only LR I would still obviously not rely on phantom centre, other dedicated elements would be cut for the C channel) &#xD;&#xA;&#xD;&#xA;But eg for vehicles when in a film mix, the source sounds are often repanned to follow picture (as you say using a mono recording, or stereo) So it isn't that there is a phantom centre in the final result - a stereo or mono recording is panned L&gt;C&gt;R or whatever follows the onscreen action. So the answer really depends on the onscreen action eg capturing LCR is not so much use IF the source of the sound onscreen is a point source and the best outcome will be via panning to picture...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32826" PostHistoryTypeId="2" PostId="20178" RevisionGUID="1af20300-6db9-424b-9e31-9d067e868400" CreationDate="2013-08-27T08:35:52.713" UserId="348" Text="I find that when I am recording ambiences and walk away to prevent any potential disturbance from impeding the recording, I go and listen to music which I already am familiar with the duration and set my recording duration in respect to the time I have gone off to listen to music. I also have timed myself reading per page so that when I have read a certain number of passages in relation to the length of recording time, I return and find that I am within 30-45 seconds of my estimation. &#xD;&#xA;&#xD;&#xA;I like your counting technique as well and if you don't mind, would like to use it for more problematic recordings where there is a higher chance of sounds intruding on my ambient recording. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="32827" PostHistoryTypeId="2" PostId="20179" RevisionGUID="97a540ca-7d69-4fa6-895b-b059501e7b50" CreationDate="2013-08-27T12:56:12.317" UserId="1216" Text="I normally have my iPhone with me. I keep the equipment far enough away and monitor with headphones or just listen without them. I always check the starting time and start writing down notes on the specific session, basic stuff like airplane overhead, type of birds that whistle, but also weather conditions and how the scene feels. &#xD;&#xA;I also start recounting after a disturbance or conflicting sound in the scene. After i think i've head enough (and it never is enough :) i try to think of a good description and filename. This saves a lot of time back in the studio.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32828" PostHistoryTypeId="2" PostId="20180" RevisionGUID="6addafac-b720-49b6-8cfc-aa40a7f49625" CreationDate="2013-08-27T15:28:52.463" UserId="542" Text="It depends on my mood I am in. If it is a hot summer day with the sweat running all over and I'm recording in a stressful or loud enviroment (let's say a highway) I tend to think that more time has passed than it actually did. &#xD;&#xA;If I'm recording in a calm ambience where I feel very comfortable (beach, corn fields, etc.) time flies by and I tend to end up with a longer recording than I were up to.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32829" PostHistoryTypeId="5" PostId="20179" RevisionGUID="e95a6ab9-ee41-4d98-a30a-7fc06d4816e6" CreationDate="2013-08-27T15:41:02.630" UserId="1216" Comment="added an actual answer to the question ;)" Text="I normally have my iPhone with me. I keep the equipment far enough away and monitor with headphones or just listen without them. I always check the starting time and start writing down notes on the specific session, basic stuff like airplane overhead, type of birds that whistle, but also weather conditions and how the scene feels. &#xD;&#xA;I also start recounting after a disturbance or conflicting sound in the scene. After i think i've head enough (and it never is enough :) i try to think of a good description and filename. This saves a lot of time back in the studio.&#xD;&#xA;&#xD;&#xA;I just realised I didn't really answer the question. Here goes:&#xD;&#xA;It depends on the situation, when i'm not a specific spot but moving about i mostly don't count. I mostly observe and listen to the scene and when i get 'bored' i most of time stop recording. My experience is that if I'm not interested while listening at the spot, i will also not be using the recording very often. &#xD;&#xA;At specific locations I always use a silent timer to at least get a certain amount of material.&#xD;&#xA;&#xD;&#xA;Most of the time I'm having a harder time pressing stop, simply because I fear on missing out a great new sound. I hate it when that happens..&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32830" PostHistoryTypeId="2" PostId="20181" RevisionGUID="8c1da4c7-80ea-4777-9176-7b9780fed866" CreationDate="2013-08-27T16:20:02.253" UserId="194" Text="I go more with specific ratios - usually 2:1, but sometimes as high as 5:1 if there's a lot of ambient crap going on.&#xD;&#xA;&#xD;&#xA;In other words, if I feel like I need a solid 5 minutes of clean ambience I'll roll a minimum of 10 minutes (if things feel clean) and as many as 25 or 30 minutes if I'm dealing with mostly noise and only intermittent clean sounds.&#xD;&#xA;&#xD;&#xA;Simple math, and frees my mind to think on other things.&#xD;&#xA;&#xD;&#xA;I've also been known to measure recordings in candy crush / angry bird game iterations.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32831" PostHistoryTypeId="2" PostId="20182" RevisionGUID="4b039846-73d6-476b-a1cb-94851f9ea6a5" CreationDate="2013-08-27T16:31:19.937" UserId="194" Text="Just FYI, its easy to derive a good LCR recording from a simple MS setup.&#xD;&#xA;&#xD;&#xA; - L = Mid plus side&#xD;&#xA; - C = Mid&#xD;&#xA; - R = Mid plus polarity inverted side&#xD;&#xA;&#xD;&#xA;As such, any ambiance library that is distributed with the M and S undecoded can be derived into a proper LCR placement.  Schoeps also has a free and very well implemented plugin that can both decode and manipulate this derivation.&#xD;&#xA;&#xD;&#xA;I'm more of a quad guy myself though.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32832" PostHistoryTypeId="2" PostId="20183" RevisionGUID="e1e1c5b4-4735-4da3-a402-bb3912757632" CreationDate="2013-08-28T10:27:48.930" UserId="654" Text="My wife jokes its a mini super power of mine. Without a watch or phone I can normally tell you the time within a minute or two even if its been hrs since last looking at a clock. Strangely, when travelling into different time zones, its often consistent!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32833" PostHistoryTypeId="2" PostId="20184" RevisionGUID="f83d2e65-5902-4e18-a6e3-aca69879e232" CreationDate="2013-08-28T13:20:18.540" UserId="6208" Text="While booming with a 5++ meter boom time passes very slowly. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32834" PostHistoryTypeId="2" PostId="20185" RevisionGUID="ba24ab52-2d76-4f38-8df0-d57c753513c3" CreationDate="2013-08-28T14:25:37.463" UserId="5623" Text="I'm in need of a new system and I'd like to wait it out for the new Mac Pros.  Can anyone tell from the specs whether audio software will have to adapt significantly and be updated?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32835" PostHistoryTypeId="1" PostId="20185" RevisionGUID="ba24ab52-2d76-4f38-8df0-d57c753513c3" CreationDate="2013-08-28T14:25:37.463" UserId="5623" Text="New Mac Pro architecture: Will audio software run well on this out the gate?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32836" PostHistoryTypeId="3" PostId="20185" RevisionGUID="ba24ab52-2d76-4f38-8df0-d57c753513c3" CreationDate="2013-08-28T14:25:37.463" UserId="5623" Text="&lt;mac&gt;&lt;pro&gt;&lt;osx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32837" PostHistoryTypeId="2" PostId="20186" RevisionGUID="c7158192-e43e-479d-b645-0a55ea2a7608" CreationDate="2013-08-28T15:21:49.963" UserId="3179" Text="&gt; Can anyone tell from the specs whether&#xD;&#xA;&gt; audio software will have to adapt&#xD;&#xA;&gt; significantly and be updated?&#xD;&#xA;&#xD;&#xA;Not because of the hardware. Although I don't know about Pro Tools which breaks at times when it shouldn't. There's likely an operating system upgrade to bring in the new device drivers and firmware, but they shouldn't cause problems to top-level software. Sometimes things break temporarily e.g. if an I/O chip e.g. FireWire gets changed and peripheral device manufacturers need to upgrade their software to reflect the changes.&#xD;&#xA;&#xD;&#xA;Nothing exceptional or surprising is expected though. It's Apple's (or any manufacturer's) job to handle upgrades so that they don't cause problems to their customers." ContentLicense="CC BY-SA 3.0" />
  <row Id="32842" PostHistoryTypeId="2" PostId="20188" RevisionGUID="d80d1346-3b8a-4aa1-b46a-4781e46816af" CreationDate="2013-08-28T17:09:22.457" UserId="6432" Text="I'd like to start a list of examples of this particular combination, so please post any you can think of or any other thoughts about this. &#xD;&#xA;&#xD;&#xA;Here's one I think really works:&#xD;&#xA;&#xD;&#xA;[youtube]VVuJ_E_q4LI[/youtube]&#xD;&#xA;&#xD;&#xA;[Brokeback - The Wilson Ave Bridge by the Chicago River 1953][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=VVuJ_E_q4LI" ContentLicense="CC BY-SA 3.0" />
  <row Id="32843" PostHistoryTypeId="1" PostId="20188" RevisionGUID="d80d1346-3b8a-4aa1-b46a-4781e46816af" CreationDate="2013-08-28T17:09:22.457" UserId="6432" Text="The Combination of Field Recordings and Music" ContentLicense="CC BY-SA 3.0" />
  <row Id="32844" PostHistoryTypeId="3" PostId="20188" RevisionGUID="d80d1346-3b8a-4aa1-b46a-4781e46816af" CreationDate="2013-08-28T17:09:22.457" UserId="6432" Text="&lt;field&gt;&lt;recording&gt;&lt;music&gt;&lt;composition&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32845" PostHistoryTypeId="2" PostId="20189" RevisionGUID="4b42f53b-9f77-48c1-9e2e-7b6ae14e7db4" CreationDate="2013-08-28T17:34:23.563" UserId="6358" Text="Off topic: For how long are you waiting until you stop the recording and you're satisfied? " ContentLicense="CC BY-SA 3.0" />
  <row Id="32850" PostHistoryTypeId="2" PostId="20192" RevisionGUID="1ae8a244-344a-4b50-86ac-43cc9b072ffd" CreationDate="2013-08-29T01:25:33.307" UserId="6214" Text="Have you ever seen any of Diego Stocco's work? It's really amazing what he does. Here's an example &#xD;&#xA;&#xD;&#xA;&lt;iframe src=&quot;//player.vimeo.com/video/43198585&quot; width=&quot;500&quot; height=&quot;281&quot; frameborder=&quot;0&quot; webkitallowfullscreen mozallowfullscreen allowfullscreen&gt;&lt;/iframe&gt; &lt;p&gt;&lt;a href=&quot;http://vimeo.com/43198585&quot;&gt;Diego Stocco - Music from Nature&lt;/a&gt; from &lt;a href=&quot;http://vimeo.com/diegostocco&quot;&gt;Diego Stocco&lt;/a&gt; on &lt;a href=&quot;https://vimeo.com&quot;&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;But check out all his other videos which are fantastic and really creative." ContentLicense="CC BY-SA 3.0" />
  <row Id="32855" PostHistoryTypeId="2" PostId="20195" RevisionGUID="29e41af8-8203-4924-8f36-ae4998568d1a" CreationDate="2013-08-29T09:34:10.670" UserId="769" Text="Plenty of good opinions here! I'm just going to pitch in that to my ears, it doesn't matter what features or mic configurations the Zoom H2n offers – because the quality of the microphones is poor. I've heard plenty of speech recordings rendered unusable by its harsh high frequencies and high mids. On paper, it looks amazing, but in practice I just don't know if I'd really be able to use it that often.&#xD;&#xA;&#xD;&#xA;And on the other hand, I haven't used the Sony PCM-M10 for very much with its onboard microphones. I have, however, used it to record from a field mixer and it's absolutely perfect for it; far more handy than my old Marantz PMD-620, my Zoom H4n or my Tascam DR-40. But the absolute killer feature of it (aside from quiet preamps) is its completely ridiculous battery life. I've owned it for maybe 3-4 months now, recorded for many hours (WAV, 48k/16-bit), and not had to replace the first set of batteries yet. Unbelievable." ContentLicense="CC BY-SA 3.0" />
  <row Id="32859" PostHistoryTypeId="2" PostId="20197" RevisionGUID="eb64d138-5f9b-4d93-af0b-d1ac849cffa6" CreationDate="2013-08-29T14:02:25.253" UserId="1216" Text="Hi,&#xD;&#xA;&#xD;&#xA;Some examples:&#xD;&#xA;&#xD;&#xA;Aphex Twin - On&#xD;&#xA;https://www.youtube.com/watch?v=B-US91WU8zA&#xD;&#xA;&#xD;&#xA;Max Richter - Memory House&#xD;&#xA;https://www.youtube.com/watch?v=2Bb0k9HgQxc&#xD;&#xA;&#xD;&#xA;Almost anything by 'Boards of Canada' especially on &quot;The campfire headphase&quot;&#xD;&#xA;https://www.youtube.com/watch?v=Dhwx67X-0eE&#xD;&#xA;&#xD;&#xA;Arovane - 'Lilies' and 'Tides' albums&#xD;&#xA;Passage to Nagoya&#xD;&#xA;https://www.youtube.com/watch?v=OwWtsUr5hWM&#xD;&#xA;&#xD;&#xA;Bibio: several albums&#xD;&#xA;&#xD;&#xA;Ambivalence Avenue &#xD;&#xA;https://www.youtube.com/watch?v=mgGsnYpT3zg&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And there's lots more..&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32860" PostHistoryTypeId="2" PostId="20198" RevisionGUID="01d5958c-e3e5-4d9d-b341-a6d19e14b82b" CreationDate="2013-08-29T15:47:51.267" UserDisplayName="user6508" Text="I'm curious as to what little nuggets o' wisdom you've received that have really hit home with you and helped you in your life/career.&#xD;&#xA;&#xD;&#xA;Two that come to mind for me are...&#xD;&#xA;&#xD;&#xA;1) **P.M.A**. -  Positive Mental Attitude.  It's something my father said to me as long as I can remember.  When ever there was something I didn't like or something I didn't want to do, he'd always spit out &quot;P.M.A.&quot; and go on with &quot;the only reason you don't like it, is because you tell yourself you don't like it&quot;.  While I realize it's not that simple regarding likes/dislikes it wasn't until I was out of College that it sunk in and how important it is to ones self and well being to carry on a positive attitude with what ever you're doing or what ever life throws at you.  This was a huge help early on in my career, when I moved across the country, got laid off and was unemployed for the good part of a year.  Not to say I didn't have bad days, but the &quot;P.M.A.&quot; definitely helped me get through those days.&#xD;&#xA;&#xD;&#xA;2)  **Never feel like you owe any one or any company you work for anything other than the work you put in every day.** - This was said to me as I was telling my former boss (at a post house) I was going to leave and head out west to try and break into work in Los Angeles.  Wanting to make the leap while I was relatively young (26), not married and no kids.  He said this to me as I wanted to make sure I wasn't leaving him high and dry.  I asked him how long he'd like me to stay.  2 weeks? 6 months?  What ever he needed.  It's then that he said that, followed by &quot;If you need to take off tomorrow to start a job on Wednesday, do it. Life's too short.  You need to take care of yourself&quot;  I never took that as him telling me to never have any loyalty or to carry oneself in a selfish manner.  But at the end of the day, you're ultimately in charge of your well being and happiness.  &#xD;&#xA;&#xD;&#xA;I've been extremely fortunate to have worked at some amazing companies and with/for some amazing people and on projects that I love.  I truly feel that these two bits of advice have helped direct me there.  Maybe they can help someone else.&#xD;&#xA;&#xD;&#xA;Anyone else?&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="32861" PostHistoryTypeId="1" PostId="20198" RevisionGUID="01d5958c-e3e5-4d9d-b341-a6d19e14b82b" CreationDate="2013-08-29T15:47:51.267" UserDisplayName="user6508" Text="What's the best advice you've received early on that's helped you in your career?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32862" PostHistoryTypeId="3" PostId="20198" RevisionGUID="01d5958c-e3e5-4d9d-b341-a6d19e14b82b" CreationDate="2013-08-29T15:47:51.267" UserDisplayName="user6508" Text="&lt;career&gt;&lt;career-advice&gt;&lt;mentorship&gt;&lt;life&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32863" PostHistoryTypeId="2" PostId="20199" RevisionGUID="b0ae1f53-83d9-4c26-8f4d-d3a6ab5137df" CreationDate="2013-08-29T16:58:38.107" UserId="6194" Text="I was walking with a former composition instructor of mine and I asked him about career choices and being concerned about choosing the right path. He simply said:&#xD;&#xA;&#xD;&#xA;&quot;You have to make a living and you have to make a life.&quot;&#xD;&#xA;&#xD;&#xA;He helped me put at ease the fact that you need to have both a good balance in life and an open mind to those career choices. There's no shame in having to make ends meet with a job that pays the bills and it's important to make sure you balance life with other fulfilling activities. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32864" PostHistoryTypeId="2" PostId="20200" RevisionGUID="de4658b7-b184-4988-8505-98d73115d32c" CreationDate="2013-08-29T18:02:05.643" UserId="1228" Text="The one thing which has stuck with me and resonated was that a well-regarded Sound Supervisor told me that (I'm paraphrasing) &quot;it doesn't matter if it's the smallest short film or a biggest feature, treat everything you do like it's going to win the Academy Award&quot;.&#xD;&#xA;&#xD;&#xA;At first glance it may seem shallow.  However this was told to me in the vain and context that you should always put your best work out there, and strive for perfection no matter the show (treat it with the same care and seriousness as if it's vying for such an honor) - there is always somebody watching, your body of work is always being judged even if you aren't aware of it, and you never what could end up in that big referral or big career catalyst - so leave nothing to chance by always putting your best mark on what you do." ContentLicense="CC BY-SA 3.0" />
  <row Id="32865" PostHistoryTypeId="2" PostId="20201" RevisionGUID="58599459-70d1-4c5b-b97d-be6777cab036" CreationDate="2013-08-29T19:50:25.840" UserId="1216" Text="Great question!&#xD;&#xA;&quot;Everything in good time, Arnoud&quot; was one of the best one liners i've ever received/heard in first person. It was by our head of department at art school. Context: I was graduated and worrying about being able to fulfill my ambitions and taking the right choices. Like george  hufnagi (great surname!), it put me at ease and it made me realize that you should have a goal or a grand vision but it shouldn't stress you, it should motivate you!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32866" PostHistoryTypeId="2" PostId="20202" RevisionGUID="56e77f56-d7d2-4db5-9a31-17bba6400015" CreationDate="2013-08-29T20:25:02.813" UserId="2502" Text="so it sounds like you are looking for music that combines more traditional field recordings, ambience recordings as opposed to found sound and foley type recordings being used as rhythmic components in music.&#xD;&#xA;&#xD;&#xA;off the top of my head i'd add:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Jon Hopkins - Autumn Hill][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Jon Hopkins - Small Memory][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Richard Skelton - Pariah][3]&#xD;&#xA;&#xD;&#xA;and basically his whole album Landings&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Undertow][4]&#xD;&#xA;&#xD;&#xA;Mountains, the album &quot;Sewn&quot; but you seem to be hip to Thrill Jockey already&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Lusine lcl - A Day Apart][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If you go to www.othermusic.com and browse the &quot;OUT&quot; section you will find tons of this kind of stuff.&#xD;&#xA;&#xD;&#xA;Also, here's an example of this that I have done.&#xD;&#xA;&#xD;&#xA;[echo conscious - without sinking][6]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=o9_jzBtdMZ4&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=h6i5x1rwGYw&#xD;&#xA;  [3]: http://www.youtube.com/watch?v=Jh-HNJWlkMw&#xD;&#xA;  [4]: http://www.youtube.com/watch?v=KF4Fy1_whyk&#xD;&#xA;  [5]: http://www.youtube.com/watch?v=5fQSWxTh35k&#xD;&#xA;  [6]: https://soundcloud.com/echoconscious/without-sinking" ContentLicense="CC BY-SA 3.0" />
  <row Id="32870" PostHistoryTypeId="2" PostId="20205" RevisionGUID="4cad196e-d714-4b53-9a0d-ca4a94591ea2" CreationDate="2013-08-30T16:07:51.867" UserId="6460" Text="This all makes me very curious, and my approach is a bit different. I often find that when given a reference time from a clock, if I am asked within an hour after the reference is given I can give the time within a minute or two. This usually happens when I am doing something which calls strongly for my concentration (which, for me, is usually working in a theater or behind a computer/console).&#xD;&#xA;&#xD;&#xA;Tim, I think you are right that our work in time-based media is a factor—perhaps not only because it is time-based but because our work during recording/editing/mixing requires full concentration and detailed listening, our brain clock is more active and accurate.&#xD;&#xA;&#xD;&#xA;Lord knows the neuroscience-savvy members of SSD will have something to say about this :).&#xD;&#xA;&#xD;&#xA;~Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="32874" PostHistoryTypeId="2" PostId="20207" RevisionGUID="888d4db8-aef3-4b75-a040-f69cd9f096c3" CreationDate="2013-08-30T16:59:05.337" UserId="5623" Text="I'll throw ours out there:)&#xD;&#xA;&#xD;&#xA;www.wabisabisound.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="32875" PostHistoryTypeId="16" PostId="20207" RevisionGUID="888d4db8-aef3-4b75-a040-f69cd9f096c3" CreationDate="2013-08-30T16:59:05.337" UserId="-1" />
  <row Id="32876" PostHistoryTypeId="2" PostId="20208" RevisionGUID="0a213711-950b-4d66-93b6-57f932711316" CreationDate="2013-08-30T18:01:51.390" UserId="6392" Text="Very early on in my career I was tasked with editing a teaser for a movie.  It was really a simple piece and I was a little stumped as to what to do.  My boss just told me to have fun with it and see what happens. After I cleaned up the dialogue that was sent to me I started on the SFX.  I stayed up all night and cut a pretty full soundtrack for the teaser that had many sfx options for the producer who was coming in the next day.  After the first pass on the mix the producer came in and had a listen, loved what he heard, but wanted it a little simpler.  By the end of the mix most of what I had cut was removed and I was feeling a little dejected.  My boss came up to me and said I did a great job and even though they didn't use much of what I did, the producer was impressed by the thoroughness of the work.&#xD;&#xA;&#xD;&#xA;So to make a long story short, have fun, do your best, and don't take it personally. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32877" PostHistoryTypeId="2" PostId="20209" RevisionGUID="3cd85627-7b62-4eee-966e-02636fc423a1" CreationDate="2013-08-30T19:44:09.473" UserId="1228" Text="I've put together a new M/S rig of a MKH8040 + MKH30 - still waiting for some of the pieces to arrive.  I often hear about the strong low end pickup on the 8040 and know that's there's the MZF8000 filter which has a hard low cut at 16Hz (among other features).&#xD;&#xA;&#xD;&#xA;I'm curious, to those who have spent some time with the 8000 series mics, especially in a M/S esteem, do you find the MZF8000 to actually be useful to the point it's very much worth dropping the $500 to get it, or more an &quot;hmm, well, it may be useful but not worth the $500&quot; situation.  The MS rig has a stand but is also being prepared as a handheld (Rycote Windshield AE and Connbox 3).  It seems these handheld situations are where mentions of the low frequency pickup are noted.&#xD;&#xA;&#xD;&#xA;I am totally willing to drop the cash for the filter, yet wanted to see what the consensus was on how useful the MZF8000 actually is.  Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32878" PostHistoryTypeId="1" PostId="20209" RevisionGUID="3cd85627-7b62-4eee-966e-02636fc423a1" CreationDate="2013-08-30T19:44:09.473" UserId="1228" Text="MKH8000 / MZF8000" ContentLicense="CC BY-SA 3.0" />
  <row Id="32879" PostHistoryTypeId="3" PostId="20209" RevisionGUID="3cd85627-7b62-4eee-966e-02636fc423a1" CreationDate="2013-08-30T19:44:09.473" UserId="1228" Text="&lt;microphone&gt;&lt;filter&gt;&lt;lowend&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32880" PostHistoryTypeId="2" PostId="20210" RevisionGUID="95175404-d7e5-46c7-b546-f64c641c2359" CreationDate="2013-08-30T19:54:46.250" UserId="1035" Text="How many people here are doing sound effects work on a PC Pro Tools? I've been getting this odd problem where sound effects that are re-saved (like if I did a save copy) have their names shortened, but it's almost as though random letters get dropped, instead of just shortening the end of the name. I'm assuming this has something to do with PC and limitations on file name length? &#xD;&#xA;&#xD;&#xA;Any advice? It's annoying mostly from a workflow standpoint, though I'm still also trying to figure out what might be the best option for sfx library management at this point. This, in turn, will dictate how I end up naming or renaming files, I'm sure. &#xD;&#xA;&#xD;&#xA;Possibly of note, but when this renaming occurs, it seems that the file ID remains the same, so when a Mac isn't able to find the files by name, it can by file ID.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32881" PostHistoryTypeId="1" PostId="20210" RevisionGUID="95175404-d7e5-46c7-b546-f64c641c2359" CreationDate="2013-08-30T19:54:46.250" UserId="1035" Text="Pro Tools, Windows/PC &amp; Strange File Name Shortening" ContentLicense="CC BY-SA 3.0" />
  <row Id="32882" PostHistoryTypeId="3" PostId="20210" RevisionGUID="95175404-d7e5-46c7-b546-f64c641c2359" CreationDate="2013-08-30T19:54:46.250" UserId="1035" Text="&lt;pro-tools&gt;&lt;windows&gt;&lt;pc&gt;&lt;file-organization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32883" PostHistoryTypeId="2" PostId="20211" RevisionGUID="d8b7ccfc-ab31-4215-abee-8a83aecdef3e" CreationDate="2013-08-30T21:08:53.160" UserId="1035" Text="In a way, I have no idea. But, I think what it really is is that it's almost not fully able to be realized in words. It drives me, no matter what. One of the few places I've found in life where no matter how bad things can get, I can still be smiling. I guess that's passion, or love, or whatever you want to call it. Calling, maybe." ContentLicense="CC BY-SA 3.0" />
  <row Id="32884" PostHistoryTypeId="2" PostId="20212" RevisionGUID="b9b2b053-9587-4386-b41c-32c66e710fbb" CreationDate="2013-08-30T21:17:48.100" UserId="6167" Text="Here's a perspective from someone still at that early stage. I'm not yet at a place were I can say that the advise I got will get me were I want but I feel that it was probably the last nail in the coffin.&#xD;&#xA;&#xD;&#xA;I'm in the second year of three at a sound engineering school and at this stage it has sort of becomes time to decide if this is something you are willing to dedicate your life to. Considering it's a pretty tuff business out there which doesn't seem to get easier according to most, hours long and money not big. And on top of it all not knowing if you're ever even going to get started at all. I bet every one here know what I mean.&#xD;&#xA;&#xD;&#xA;Anyway, I talk about all this with my dad before I left for school and he said &quot;Is there an alternative? If not, go for it.&quot;&#xD;&#xA;&#xD;&#xA;And there isn't.&#xD;&#xA;&#xD;&#xA;Right now, while writhing this, for example, the time is 11:00 pm friday night and I'm sitting all by my self at an off-limit area waiting to record some crowds at a club instead of being apart of them.&#xD;&#xA;&#xD;&#xA;So no, there isn't any alternative.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32885" PostHistoryTypeId="2" PostId="20213" RevisionGUID="937e24b9-fd43-440d-8715-9fe7fcf57448" CreationDate="2013-08-30T23:59:32.470" UserId="6532" Text="I have the exact same kit as yours. Honestly, while the MKH80xx series does have a big low end I've never had an issue with it. I even like it actually -- it's easy enough to filter  it out if I have to, but for many effects that I record it actually adds a lot of oomph.&#xD;&#xA;&#xD;&#xA;Now, if you're planning on mounting the 8040 on a boom or doing a lot of handheld work, that's a different story. Handling noise really can become an issue with that mic. But while I've never personally tried the MZF8000 I know that many production sound mixers and boom ops find it quite useless due to its rather high cut-off frequency and gentle slope -- deally you'd want the opposite to suppress handling noise. There are actually quite a few discussions over at jwsoundgroup if you want to read more about it.&#xD;&#xA;&#xD;&#xA;EDIT: Personally, the Rycote that I have has been adequate for handheld work. But generally I do try to lock my rig down." ContentLicense="CC BY-SA 3.0" />
  <row Id="32886" PostHistoryTypeId="2" PostId="20214" RevisionGUID="083da815-c77b-4031-86bd-8d06d1336064" CreationDate="2013-08-31T00:24:35.547" UserId="194" Text="Amateurs seek praise.  Professionals look for critique.&#xD;&#xA;&#xD;&#xA;also:&#xD;&#xA;&#xD;&#xA;stop looking at the world through that tiny screen on your phone.  Real life is super HD, so go outside and play!&#xD;&#xA;&#xD;&#xA;also:&#xD;&#xA;&#xD;&#xA;every task requires or can benefit from creativity, so practice being creative.  &#xD;&#xA;&#xD;&#xA;also:&#xD;&#xA;&#xD;&#xA;get enough sleep, eat right, exercise.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32887" PostHistoryTypeId="5" PostId="20213" RevisionGUID="c2db5ac0-46ca-4bee-b51d-402e3e717c85" CreationDate="2013-08-31T00:25:58.150" UserId="6532" Comment="added 86 characters in body" Text="I have the exact same kit as yours. Honestly, while the MKH80xx series does have a big low end I've never had an issue with it. I even like it actually -- it's easy enough to filter  it out if I have to, but for many effects that I record it actually adds a lot of oomph.&#xD;&#xA;&#xD;&#xA;Now, if you're planning on mounting the 8040 on a boom or doing a lot of handheld work, that's a different story. Handling noise really can become an issue with that mic. But while I've never personally tried the MZF8000 I know that many production sound mixers and boom ops find it quite useless due to its rather high cut-off frequency and gentle slope -- deally you'd want the opposite to suppress handling noise. There are actually quite a few discussions over at jwsoundgroup if you want to read more about it.&#xD;&#xA;&#xD;&#xA;EDIT: Personally, the Rycote that I have has been adequate for handheld work. But generally I do try to lock my rig down.&#xD;&#xA;&#xD;&#xA;EDIT2: I've also heard good things about the Schoeps LC60 and LC120, respectively." ContentLicense="CC BY-SA 3.0" />
  <row Id="32888" PostHistoryTypeId="2" PostId="20215" RevisionGUID="d6f42f63-788a-4718-b20e-823ed0c2754a" CreationDate="2013-08-31T04:54:33.087" UserId="6512" Text="When I saw this question, I immediately thought of some of the ambient music I've listened to. &#xD;&#xA;&#xD;&#xA;&quot;Chill Out,&quot; by The KLF is full of them, along with samples of Elvis, Tuvan throat singing, and an insane salesman. http://youtu.be/C5TUEv1wf-c&#xD;&#xA;&#xD;&#xA;At least one track from Brian Eno's &quot;Ambient 4: On Land&quot; fits this, too. I don't have it at the moment, though, so I'm not sure which one." ContentLicense="CC BY-SA 3.0" />
  <row Id="32889" PostHistoryTypeId="2" PostId="20216" RevisionGUID="ecb33166-dad5-46f7-b1de-c7b4fe995317" CreationDate="2013-08-31T07:54:57.103" UserId="1216" Text="Hi Stavrosound.&#xD;&#xA;&#xD;&#xA;Honestly i don't know if infrasound could be a problem with the 8040. I have heard of the handling noises, but that's mostly higher up right? (40&gt;120 hz). &#xD;&#xA;I've only had the 8040/mkh30 rig on a stand to compare it with a mkh50/30 combo. I could sent you the resulting wave files (recorded with a sonosax sx-r4)if you're interested.&#xD;&#xA;&#xD;&#xA;Regarding the mzf8000 filter option, you could always order that later on right? Or maybe hire a setup with it included?&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32890" PostHistoryTypeId="2" PostId="20217" RevisionGUID="a9b527e1-2858-4b91-90f0-6915efb5e80a" CreationDate="2013-08-31T08:20:59.960" UserId="6366" Text="Hi,&#xD;&#xA;&#xD;&#xA;You should take a look at Amon Tobin's album 'Foley Room'&#xD;&#xA;https://www.youtube.com/watch?v=Mhxw-pqB4VU&#xD;&#xA;And his others albums are great pieces of sound design too !&#xD;&#xA;&#xD;&#xA;Hope you'll enjoy !" ContentLicense="CC BY-SA 3.0" />
  <row Id="32891" PostHistoryTypeId="2" PostId="20218" RevisionGUID="4c4a7374-049a-4be2-b8f6-5ca8ce465b80" CreationDate="2013-08-31T15:00:06.183" UserId="6369" Text="There's a drone sound effects pack available on this website:&#xD;&#xA;&#xD;&#xA;http://obelysk.co.uk/oblivion&#xD;&#xA;&#xD;&#xA;Enjoy!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32892" PostHistoryTypeId="2" PostId="20219" RevisionGUID="85c48114-7dba-438b-8a50-41b71fdd559c" CreationDate="2013-08-31T21:48:32.100" UserId="3179" Text="Good art should describe the real world." ContentLicense="CC BY-SA 3.0" />
  <row Id="32893" PostHistoryTypeId="2" PostId="20220" RevisionGUID="fc8d225c-8232-4f19-bf58-ca579c60cb96" CreationDate="2013-08-31T22:02:31.433" UserId="6096" Text="Hi,&#xD;&#xA;&#xD;&#xA;is there any kind soul willing to send me a few cloth tracks? I'm not able to record anything good tonight because of nasty noise pollution at my place. I have to finish a short student-ish film. It's not going so well so far and I'm in hurry as always...&#xD;&#xA;&#xD;&#xA;Have a good time,&#xD;&#xA;Martin&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32894" PostHistoryTypeId="1" PostId="20220" RevisionGUID="fc8d225c-8232-4f19-bf58-ca579c60cb96" CreationDate="2013-08-31T22:02:31.433" UserId="6096" Text="Help - cloth track(s) needed..." ContentLicense="CC BY-SA 3.0" />
  <row Id="32895" PostHistoryTypeId="3" PostId="20220" RevisionGUID="fc8d225c-8232-4f19-bf58-ca579c60cb96" CreationDate="2013-08-31T22:02:31.433" UserId="6096" Text="&lt;cloth&gt;&lt;foley&gt;&lt;shortfilm&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32896" PostHistoryTypeId="2" PostId="20221" RevisionGUID="48c353d2-2b40-423d-8e70-b7f0e1c34a29" CreationDate="2013-09-01T00:09:15.923" UserId="6392" Text="If you are in a pinch you could try www.freesound.org.You can find some public domain files there that might help. &#xD;&#xA; &#xD;&#xA;Shaun's cloth library is good. @Stavrosound has a link in his comment.&#xD;&#xA;&#xD;&#xA;If you are still struggling, take some pink noise, eq it to make it more usable and ride short low bursts of it on larger moves.  It's not ideal but I've used it in the past and it's a patch if there is no other option." ContentLicense="CC BY-SA 3.0" />
  <row Id="32897" PostHistoryTypeId="2" PostId="20222" RevisionGUID="5e85bedc-21de-4bdc-94cd-75b440e79398" CreationDate="2013-09-01T00:26:28.957" UserId="622" Text="If you have Kontakt check [this][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.signo-sfx-instruments.com/1st-anniversary-sale/doc_details/332-clothing-bundle-50-off" ContentLicense="CC BY-SA 3.0" />
  <row Id="32899" PostHistoryTypeId="2" PostId="20224" RevisionGUID="600aefd7-5d3d-4285-983f-096ba92a85cc" CreationDate="2013-09-01T15:13:28.607" UserId="2186" Text="If you are looking for mnemonics, look up what memory champions use. The main thing is thinking of a route that's already in your long term memory; your bedroom, the road to your grandma, or whatever. It's kind of like a memory palace, but differs (and excells) in that it's not a made up place and is easy to remember/picture in your head.&#xD;&#xA;&#xD;&#xA;Along the route you place images representing what you need to remember. In this case I guess it would be cues. The more vivid/crazy the better. So for example if you put a flirty Joseph Stalin in your bed, a hockey player harvesting maple syrup from the door to your bedroom, a panda and a dragon dancing by the door to your house, and uncle Sam checking your mailbox, then you know that the largest countries in the world (including water area, and excluding Antarctica) are Russia, Canada, China, and the United States.&#xD;&#xA;&#xD;&#xA;I haven't read it, but apparently Moonwalking with Einstein is good if you want to learn more." ContentLicense="CC BY-SA 3.0" />
  <row Id="32902" PostHistoryTypeId="2" PostId="20226" RevisionGUID="57c01521-7cbe-4272-8417-94fd9b1910c1" CreationDate="2013-09-01T23:07:03.470" UserDisplayName="user49" Text="Back in the early days when 16bit 44.1kHz was the standard I emailed a well know Sound Supervisor asking for his advice on whetehr it was worth recording ADR 24bit... He was kind enough to reply &amp; offer his opinions, but he prefaced it with the saying:&#xD;&#xA;&#xD;&#xA;TRUST YOUR OWN EARS ONLY&#xD;&#xA;&#xD;&#xA;This is advice I use often, as sometimes people assume because I have experience I must have tried every microphone etc out there... Nope, I only know what I use &amp; have used.... and my advice is to always rent/borrow/access anything you might consider buying or 'needing' and do a test, using your own ears.&#xD;&#xA;&#xD;&#xA;**TRUST YOUR OWN EARS ONLY**&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32903" PostHistoryTypeId="2" PostId="20227" RevisionGUID="327cb960-f00d-41f8-9bd9-8b4fc205d371" CreationDate="2013-09-01T23:51:58.867" UserId="3396" Text="Don't overcut. It projects insecurity, slows down the mix and pisses everyone off.&#xD;&#xA;&#xD;&#xA;Do not cut three sounds where one sound will work.&#xD;&#xA;&#xD;&#xA;Don't waste time manipulating the wrong sound trying to make it work. Find the right sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="32907" PostHistoryTypeId="2" PostId="20230" RevisionGUID="cc6c523e-0fce-477a-80f1-3bbf5dbdde9d" CreationDate="2013-09-02T11:12:11.450" UserId="6374" Text="I´m fairly new in this game and have a couple of Sound design/mixing jobs (short film) the next months. Problem is I have really limited access to professional recording/mixing studios. Therefore i'm thinking of getting myself a couple of &quot;cheap&quot; (300-800$) monitors and just do a kind of pre-mix at home and then do a master/final mix in a studio afterwards. &#xD;&#xA;&#xD;&#xA;What speakers would you recommend for this kind of job? &#xD;&#xA;&#xD;&#xA;I would also apreciate any other tips regarding workflow and potential dangers of doing sound work under less than optimal conditions. As of right now my &quot;studio&quot; is a desk in my bedroom with a Macbook Pro, Steinberg UR22 interface, Beyerdynamic DT770 headset, Pro Tools 11 and a Zoom H4n handheld recorder. Not much, but it's a start. &#xD;&#xA;&#xD;&#xA;Thanks, Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="32908" PostHistoryTypeId="1" PostId="20230" RevisionGUID="cc6c523e-0fce-477a-80f1-3bbf5dbdde9d" CreationDate="2013-09-02T11:12:11.450" UserId="6374" Text="Recommended speakers for film sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32909" PostHistoryTypeId="3" PostId="20230" RevisionGUID="cc6c523e-0fce-477a-80f1-3bbf5dbdde9d" CreationDate="2013-09-02T11:12:11.450" UserId="6374" Text="&lt;mixing&gt;&lt;speakers&gt;&lt;cheap&gt;&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32911" PostHistoryTypeId="2" PostId="20232" RevisionGUID="6fa434da-8d5f-44c5-960a-02229549a32f" CreationDate="2013-09-02T12:24:13.957" UserId="3179" Text="Well, depends on how are you going to solve the acoustical issues. As you probably know, all speakers will be considerably inaccurate in frequency response as well as stereo imaging (How much? It has to be measured.) unless the placement is done optimally and there's at least some kind of acoustic treatment. If you can solve the acoustical problems to a reasonable level, then some small speakers without a sub-woofer could be a good and even a productive call. E.g. Genelec 8020B or 8030B. If you use the same studio(s) all the time and they have a certain set of speakers, then it would be a good idea to get the same brand, just perhaps some smaller model.&#xD;&#xA;&#xD;&#xA;Surely the point would be to minimize having to redo stuff when playing the same stuff in a much better listening space in the &quot;real&quot; studio." ContentLicense="CC BY-SA 3.0" />
  <row Id="32912" PostHistoryTypeId="2" PostId="20233" RevisionGUID="aca89eb4-e0c8-4fd8-8125-bc722a601bf0" CreationDate="2013-09-02T14:20:55.087" UserId="3852" Text="Blue Sky Media Desk" ContentLicense="CC BY-SA 3.0" />
  <row Id="32916" PostHistoryTypeId="2" PostId="20235" RevisionGUID="dc4ee713-68fd-449a-8bc4-4838073a3b07" CreationDate="2013-09-02T14:44:14.250" UserId="3179" Text="It's an interesting notion from a sound producer's perspective. Of course it makes total sense from the perspective of immersion to attempt to record or produce things as they would be really perceived, were they real. E.g. a stomping of a dinosaur ought to sound and feel like it rumbles the ground and the stomping would be felt through our feet. A sort of thinking that doesn't focus only on what's audible or what's audible and felt through existing speaker systems, but what's/should be &quot;really&quot; physically felt as well.&#xD;&#xA;&#xD;&#xA;I would expect really good immersion to require some sort of acoustical design/engineering as well though. Because one ought to control the playback space too in order the make things &quot;conduct&quot; properly in the movie theater?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32917" PostHistoryTypeId="5" PostId="20235" RevisionGUID="b4c4c25d-2f99-4f60-aa5c-cf1912213335" CreationDate="2013-09-02T14:49:26.883" UserId="3179" Comment="added 450 characters in body; added 46 characters in body; added 126 characters in body" Text="It's an interesting notion from a sound producer's perspective. Of course it makes total sense from the perspective of immersion to attempt to record or produce things as they would be really perceived, were they real. E.g. a stomping of a dinosaur ought to sound and feel like it rumbles the ground and the stomping would be felt through our feet. A sort of thinking that doesn't focus only on what's audible or what's audible and felt through existing speaker systems, but what's/should be &quot;really&quot; physically felt as well.&#xD;&#xA;&#xD;&#xA;I would expect really good immersion to require some sort of acoustical design/engineering as well though. Because one ought to control the playback space too in order the make things &quot;conduct&quot; properly in the movie theater?&#xD;&#xA;&#xD;&#xA;Now if you really start to think about it. Is it possible that the lack of another stimulus, e.g. the body-conducted stimulus, or a method of capturing this second stimulus directly affects the sound that's also recorded? I.e. take an example of a signal A that's heard through both of our ears and a signal B that's felt and conducted through our physical body. How do these two signals interact inside the ear and is their sum considerably different than what a typical microphone can pick? I think it's an old notion that all electronic mediums are fundamentally limited in how the represent real-world information." ContentLicense="CC BY-SA 3.0" />
  <row Id="32918" PostHistoryTypeId="5" PostId="20235" RevisionGUID="25963ca7-263f-40c6-a107-332acd4d1cdc" CreationDate="2013-09-02T14:54:36.663" UserId="3179" Comment="added 3 characters in body" Text="It's an interesting notion from a sound producer's perspective. Of course it makes total sense from the perspective of immersion to attempt to record or produce things as they would be really perceived, were they real. E.g. a stomping of a dinosaur ought to sound and feel like it rumbles the ground and the stomping would be felt through our feet. A sort of thinking that doesn't focus only on what's audible or what's audible and felt through existing speaker systems, but what's/should be &quot;really&quot; physically felt as well.&#xD;&#xA;&#xD;&#xA;I would expect really good immersion to require some sort of acoustical design/engineering as well though. Because one ought to control the playback space too in order the make things &quot;conduct&quot; properly in the movie theater?&#xD;&#xA;&#xD;&#xA;Now if you really start to think about it. Is it possible that the lack of another stimulus, e.g. the body-conducted stimulus, or a method of capturing this second stimulus directly affects the sound that's also recorded? I.e. take an example of a signal A that's heard through both of our ears and a signal B that's felt and conducted through our physical body. How do these two signals interact inside the ear and is their sum considerably different than what a typical microphone can pick? I think it's an old notion that all electronic mediums are fundamentally limited in how they *represent* real-world information." ContentLicense="CC BY-SA 3.0" />
  <row Id="32920" PostHistoryTypeId="5" PostId="20235" RevisionGUID="63dbfab6-a4d4-462b-b28d-49aba611652f" CreationDate="2013-09-02T15:09:58.590" UserId="3179" Comment="added 156 characters in body" Text="It's an interesting notion from a sound producer's perspective. Of course it makes total sense from the perspective of immersion to attempt to record or produce things as they would be really perceived, were they real. E.g. a stomping of a dinosaur ought to sound and feel like it rumbles the ground and the stomping would be felt through our feet. A sort of thinking that doesn't focus only on what's audible or what's audible and felt through existing speaker systems, but what's/should be &quot;really&quot; physically felt as well.&#xD;&#xA;&#xD;&#xA;I would expect really good immersion to require some sort of acoustical design/engineering as well though. Because one ought to control the playback space too in order the make things &quot;conduct&quot; properly in the movie theater?&#xD;&#xA;&#xD;&#xA;Now if you really start to think about it. Is it possible that the lack of another stimulus, e.g. the body-conducted stimulus, or a method of capturing this second stimulus directly affects the sound that's also recorded? I.e. take an example of a signal A that's heard through both of our ears and a signal B that's felt and conducted through our physical body. How do these two signals interact inside the ear and is their sum considerably different than what a typical microphone can pick? I think it's an old notion that all electronic mediums are fundamentally limited in how they *represent* real-world information. Although, if we want to think about electromagnetism and (mechanical) body conduction being the same, then quantum physics has rather deep answers to this." ContentLicense="CC BY-SA 3.0" />
  <row Id="32921" PostHistoryTypeId="2" PostId="20236" RevisionGUID="a5e4531b-fadc-4ec0-a2f9-c4fe9845cb83" CreationDate="2013-09-02T15:18:52.297" UserId="219" Text="To spare you a possible mistake, I'll recommend your steer away from Adam A7's. I am not talking about the A7X's which I don't own or even know, but the A7's.&#xD;&#xA;&#xD;&#xA;The reason for this is, I have had a pair for several years and even though I have been really pleased with how they sound, it has turned out that the buzzing sound I ended up getting is a recurring issue with this particular model.&#xD;&#xA;&#xD;&#xA;There are so many things you think about when getting a pair of monitor speakers, this is one more to take into consideration. It kills me to even say so, but no matter how happy I have been with them these last few years, for me this is the worst slapback ever as they are now of no value whatsoever.&#xD;&#xA;&#xD;&#xA;So, as @Internet Human just said, Genelec 8030B work a treat (so long as your work environment is up to the task)." ContentLicense="CC BY-SA 3.0" />
  <row Id="32922" PostHistoryTypeId="2" PostId="20237" RevisionGUID="c44a316b-f0f2-483f-bf84-a4623eb20d7f" CreationDate="2013-09-02T15:22:49.943" UserId="6376" Text="How about Equator D5 (great stereo imaging) plus computer speakers plus regular checking on your headphones (especially for the bottom end, which the D5s lack). make sure you are regularly checking playback on the computer speakers and headphones to get a sense of how the mix might translate to other systems. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32923" PostHistoryTypeId="5" PostId="20236" RevisionGUID="12b0a9ce-c23b-445a-8fdf-f584db10c84f" CreationDate="2013-09-02T15:26:27.220" UserId="219" Comment="added 318 characters in body; added 1 characters in body" Text="To spare you a possible mistake, I'll recommend your steer away from Adam A7's. I am not talking about the A7X's which I don't own or even know, but the A7's.&#xD;&#xA;&#xD;&#xA;The reason for this is, I have had a pair for several years and even though I have been really pleased with how they sound, it has turned out that the buzzing sound I ended up getting is a recurring issue with this particular model.&#xD;&#xA;&#xD;&#xA;There are so many things you think about when getting a pair of monitor speakers, this is one more to take into consideration. It kills me to even say so, but no matter how happy I have been with them these last few years, for me this is the worst slapback ever as they are now of no value whatsoever.&#xD;&#xA;&#xD;&#xA;So, as @Internet Human just said, Genelec 8030B work a treat (so long as your work environment is up to the task) although slightly out of your budget. At the time I was looking for a pair of speakers I came across the Dynaudio BM5a but I haven't listened to them, so you might want to dig in that direction.&#xD;&#xA;&#xD;&#xA;Again: good acoustics should be your first concern if you want to get a clear unbiased representation of what's going on." ContentLicense="CC BY-SA 3.0" />
  <row Id="32924" PostHistoryTypeId="2" PostId="20238" RevisionGUID="07403d55-75d2-4192-8a9e-879b4107db07" CreationDate="2013-09-02T16:25:56.560" UserId="1228" Text="I vouch for the JBL LSRs.  The workhorses are the 4328P's, I've lost count of how many near/mid-field stages and edit suites in LA I've been in which had these installed (and that's not even mentioning stages running the Cinema Series horns behind a perf screen).  Even the 6300 series is common to find in rooms.  The one caveat is that a single 4328 cabinet alone will run you about $800.  But you can try the 4326P's (about $600 per) or even try the 2328P (in the $200 range, but I haven't worked with them before).&#xD;&#xA;&#xD;&#xA;The clarity and transparency is impressive, the frequency response smooth and balanced.  The 4300 series comes with a calibration mic and built-in software/firmware to &quot;tune the room&quot;.  In all fairnesa, all it's capable of doing is sweeping to single-notch out the resonant frequency - and lets you manually adjust a 2-band shelf EQ. Doing A/B comparisons was startling.&#xD;&#xA;&#xD;&#xA;The JBL LSR 4300 series are surely a big investment, but so worth it in my opinion and will pay for themselves many times over.&#xD;&#xA;&#xD;&#xA;I have worked with the Genelec 8040s before and to be honest, while I was grateful for a friend lending them to me, I never warmed up to them.  As a colleague noted and I agree with, they sound too pretty.  But furthermore they didn't hold up well to the post sound demands.  At high SPL they started to get wonky.  Above 4k they begin to lose clarity and frequency separation and by 8k or so the highs start getting really crunchy.  So tying to do anything with loud and detailed glass effects feels futile, it all becomes muddy.  Overall for the post sound demands, they were too fatuiging to my ears.  This is just my personal experience.  The JBL LSR 4300s in contrast are not fatuiging at all and handle high SPL like a champ.  I would not hesitate to buy more of the 4328P's to build out a 5.1 array in the future." ContentLicense="CC BY-SA 3.0" />
  <row Id="32925" PostHistoryTypeId="2" PostId="20239" RevisionGUID="b8878380-9bbf-435a-90c5-cfd8d5c3360d" CreationDate="2013-09-02T16:45:03.283" UserId="5526" Text="I don't know what speakers are best. I use 5 Genelec 8030s in my home studio with a 15&quot; Blue Sky Sub and controller. I don't find them fatiguing at all, but rather too open and transparent in the highs to translate perfectly to cinemas. Without the sub they are wanting in the lows. They get plenty loud, unlike the Blue Sky monitors I've used in the past. They are very good for dialog editing.&#xD;&#xA;&#xD;&#xA;I had good luck in the past with Event speakers, when my budget was more constrained.&#xD;&#xA;&#xD;&#xA;Another cost effective monitor is the Mackie which is very popular among picture editors. It's decent and flattering to the low end which small monitors are usually weak in.&#xD;&#xA;&#xD;&#xA;JBLs dominate the movie theaters of the world because they are good and reasonably priced. Meyer Sound speakers are costly, but the best I have heard.&#xD;&#xA;&#xD;&#xA;Whatever speakers you get, it really helps to imagine the cinema experience better while working if you have an LCR setup, and a big video display. You want to get close to the feeling of the scale of the cinema experience. Next in line would be a strong sub, though you won't be very popular if you put that in your bedroom." ContentLicense="CC BY-SA 3.0" />
  <row Id="32929" PostHistoryTypeId="2" PostId="20242" RevisionGUID="0e67f0b4-7606-45c3-80f1-96bdf39575bf" CreationDate="2013-09-02T18:54:24.467" UserId="6358" Text="I've been recording atmospheric sounds for a while now and I'm curious about what you guys prefer using as a recording device out in the fields. Mostly I've been using a Zoom h4n with it's internal pre amps (which are a bit noisy) together with 2x Line CM3.&#xD;&#xA;&#xD;&#xA;I found a great page [(link)][1] with recorded samples of different portable recorders and by my surprise I don't hear that much noise coming out of the Marantz PMD620 (almost as quiet as the Sound Device 702). This site might be incorrect and maybe you have your own ideas and knowledge about different recorders, but lets say you have 1500$ and want a good portable recorder to use with an ORTF setup (2x Line CM3), what would you get and why? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wingfieldaudio.com/portable-recorder-noise.html#samples" ContentLicense="CC BY-SA 3.0" />
  <row Id="32930" PostHistoryTypeId="1" PostId="20242" RevisionGUID="0e67f0b4-7606-45c3-80f1-96bdf39575bf" CreationDate="2013-09-02T18:54:24.467" UserId="6358" Text="What portable recorder do you use and why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32931" PostHistoryTypeId="3" PostId="20242" RevisionGUID="0e67f0b4-7606-45c3-80f1-96bdf39575bf" CreationDate="2013-09-02T18:54:24.467" UserId="6358" Text="&lt;portable&gt;&lt;recorder&gt;&lt;noise&gt;&lt;level&gt;&lt;floor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32932" PostHistoryTypeId="2" PostId="20243" RevisionGUID="ed327df1-4792-48b0-87f0-f800b9682f63" CreationDate="2013-09-02T19:02:58.433" UserId="3285" Text="With 1500$ you can buy a Sound Devices Mix-Pre for your Zoom H4N. &#xD;&#xA;It's a good setup to start stereo recording :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32933" PostHistoryTypeId="2" PostId="20244" RevisionGUID="49fe7b78-05a1-48c9-a830-e07dc04b70ad" CreationDate="2013-09-02T19:12:43.153" UserId="3179" Text="Fostex FR2-LE&#xD;&#xA;&#xD;&#xA;or&#xD;&#xA;&#xD;&#xA;Tascam DR-680&#xD;&#xA;&#xD;&#xA;End of thread." ContentLicense="CC BY-SA 3.0" />
  <row Id="32934" PostHistoryTypeId="2" PostId="20245" RevisionGUID="13aacf33-9974-4a9e-bbe6-c79063f97b49" CreationDate="2013-09-02T19:21:08.750" UserId="1228" Text="My personal thought, either the FR-2 LE as @Internet said - or allow yourself an extra $400-$500 for the 702.  FR2-LE is pretty much the next best thing, especially since you already have mics to work with so a handheld with onboard won't do much good.  I also hear the Tascam HD-P2 is a good contender on the same level as the FR2-LE but have never work with it - have worked with the earlier Tascam DATs and they were alright.  I don't know anything about the DR-680 though." ContentLicense="CC BY-SA 3.0" />
  <row Id="32935" PostHistoryTypeId="2" PostId="20246" RevisionGUID="33967024-316c-44d4-866c-028a4b652e9d" CreationDate="2013-09-02T21:09:56.433" UserId="6407" Text="Hey Chris,&#xD;&#xA;&#xD;&#xA;Yep you definitely have a start with the gear you've got. But obviously as you've noted, monitors and your listening environment are crucial for doing post sound. Been some debate on here about Genelecs, but I've been using 5 8030s with a 7060 sub for the last few years and they're great. I find them some of the most accurate sounding monitors I've had the pleasure to work with. But so are JBLs. &#xD;&#xA;&#xD;&#xA;Try some of these articles for setting up your room: http://www.soundonsound.com/sos/feb06/articles/studiosos.htm&#xD;&#xA;&#xD;&#xA;http://www.musictech.net/2013/06/diy-studio-acoustics-tutorial/&#xD;&#xA;&#xD;&#xA;And I highly recommend Bob Katz's 'Mastering Audio' and his section on monitor calibration and setup. Well worth a read. &#xD;&#xA;&#xD;&#xA;That's my tuppence worth, best of luck with it! &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32936" PostHistoryTypeId="2" PostId="20247" RevisionGUID="8efd43c1-50c7-4442-a016-3efd98214e9f" CreationDate="2013-09-02T21:14:30.550" UserId="6378" Text="Hey James,&#xD;&#xA;&#xD;&#xA;What version of PT are you using?  When you save copy, are you saving it as 5.1 - 6.9 or earlier?  That will shorten character names exceeding 31 characters.  &#xD;&#xA;&#xD;&#xA;James  " ContentLicense="CC BY-SA 3.0" />
  <row Id="32940" PostHistoryTypeId="2" PostId="20249" RevisionGUID="c7b514c9-7bfe-4533-8f24-b354d56fe882" CreationDate="2013-09-03T00:13:00.870" UserId="6392" Text="Another thing to keep in mind when it comes to post audio, especially on the mix stage, is I need everything automated.  I usually don't do a record pass to my stems until after we have completed the reel and not all hardware gear is easy to automate.  I use pretty much all software for mixing and that keeps my automation contained and also easy to recall.  I sometimes will move a mix from one stage to another and it's easy to bring my plug ins along.  I agree with Christian about the tonality when it comes to some hardware gear, and I would use  them, but only when I'm in editorial." ContentLicense="CC BY-SA 3.0" />
  <row Id="32941" PostHistoryTypeId="5" PostId="20115" RevisionGUID="8b0454f4-29c5-44fe-8eb4-de0d92f12ab5" CreationDate="2013-09-03T08:04:45.500" UserId="37" Comment="deleted 5 characters in body; deleted 1 characters in body" Text="looks like post houses hire runners and promote them internally when they need. yes if they're unpaid it's unethical, but there are tens of reasons in support of this too, and it seems to be the preferred way of screening candidates for full-time positions. &#xD;&#xA;&#xD;&#xA;occasionally houses like Radium offer sound designer internships (again, unpaid), at least they're about something other than shuttling drives and doing coffee.&#xD;&#xA;&#xD;&#xA;on your own you're freelancing in the small and seemingly overcrowded world of sound post. film projects tend to assemble teams based on contacts, so you're after creating as many as you can, especially directors and editors.. i can't say much about &quot;producers&quot;, there seems to be a semi-permanent stand-off between them and the production/post crews.&#xD;&#xA;&#xD;&#xA;that, above, runs contrary to any wish to have fewer contacts with better quality relationships. i haven't found a solution to this, if anyone has, (other than lowering the bar that is), please share.&#xD;&#xA;&#xD;&#xA;bigger film productions are subject to the status quo. high budgets = perceived high risk for the production, and more candidates to get to work on the title. =&gt; chance of getting into one without being known = nil.&#xD;&#xA;&#xD;&#xA;the UK sound professional societies are kind of closed circles so, as much as I hate to say it, consider becoming a member.. though that may bring you very little in return.&#xD;&#xA;&#xD;&#xA;that's all the experience i can share. you're not alone in this boat. don't give up.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32942" PostHistoryTypeId="2" PostId="20250" RevisionGUID="79a689b7-6892-4cac-bf9c-eefb975f8d3f" CreationDate="2013-09-03T08:13:15.000" UserId="6411" Text="I really enjoyed Emma Thompson's VO in Stranger Than Fiction. Although I don't know if that qualifies as true voice over as you're describing. " ContentLicense="CC BY-SA 3.0" />
  <row Id="32943" PostHistoryTypeId="2" PostId="20251" RevisionGUID="1e5d06aa-1ea4-4750-860e-1f29fde2d314" CreationDate="2013-09-03T08:35:57.393" UserId="1228" Text="House Of Cards - Spacey's constant breaking of the 4th wall to narrate is brilliant (while the scene continues on behind him even) and for some reason, I never have trouble being sold on it whenever he does it.  Albeit its a very uniquely different way of narrating compared to the traditional Voice of God approach, but I absolutely love it." ContentLicense="CC BY-SA 3.0" />
  <row Id="32944" PostHistoryTypeId="2" PostId="20252" RevisionGUID="1ffd03da-57d1-4310-9b08-f64d6c312d39" CreationDate="2013-09-03T08:52:44.727" UserId="6382" Text="The Sony PCM-M10 is now being discontinued, already so in Ausralia, New Zealand, India, it's usually discontinued first in the smaller markets - with Europe and Americas next, that would leave no Sony PCM recorders available, this is a good thing because it means the next recorder it the one we've been waiting for - a D50 with XLR inputs." ContentLicense="CC BY-SA 3.0" />
  <row Id="32946" PostHistoryTypeId="2" PostId="20254" RevisionGUID="06642a18-bb59-4528-8075-ad5e53729095" CreationDate="2013-09-03T09:32:11.697" UserId="6143" Text="I'm Using the Roland R-26, which so far is pretty good, its a bit sturdier built than a Zoom and less noisy. I still use it with a Preamp but the whole kit is light and portable and the the touch screen has its moments of real usefulness.I would say though that this was a compromise rig for me, as I wanted an HD-P2 but just could not get hold of a brand new one with a carry case. I tried at several different places and was willing to ship it from mainland Europe but alas there were none to be had :(" ContentLicense="CC BY-SA 3.0" />
  <row Id="32948" PostHistoryTypeId="2" PostId="20255" RevisionGUID="89b2bfc0-7536-4be6-9585-74f0c55102aa" CreationDate="2013-09-03T10:16:39.880" UserId="6312" Text="I friend of me helps me to record thai phrases in thailand. I send him some phrases everyweek and due to bad resources in his village I have to wait a rather long time to get all recording sent back. First time i sent a few phrases to test if his voice and soundquality was ok. I was  surprised. No clicks and pops and so on. But this time - the second time a got some phrases back - the sound is as before, no clicks, pops and so on - BUT, I fear he has been recording in a buddhist temple or something, or even a toilette :-P. Would be wrong to say echo but you know how it would sound if one is recording in a temple or something. &#xD;&#xA;&#xD;&#xA;Instead of contacting him again, I wonder if this &quot;temple voice sound&quot; somehow could be removed? Is there a good filter for this? I am using audacity and trying the effects that comes with the program (high pass filtering, gverb and so on - but none of them works).&#xD;&#xA;&#xD;&#xA;Hope you understand my question and hopefully an answer&#xD;&#xA;&#xD;&#xA;Thanks!!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32949" PostHistoryTypeId="1" PostId="20255" RevisionGUID="89b2bfc0-7536-4be6-9585-74f0c55102aa" CreationDate="2013-09-03T10:16:39.880" UserId="6312" Text="manupulating soundfiles (remove &quot;templebackground&quot; sound)" ContentLicense="CC BY-SA 3.0" />
  <row Id="32950" PostHistoryTypeId="3" PostId="20255" RevisionGUID="89b2bfc0-7536-4be6-9585-74f0c55102aa" CreationDate="2013-09-03T10:16:39.880" UserId="6312" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32951" PostHistoryTypeId="2" PostId="20256" RevisionGUID="fb0a0c13-fdb2-43c5-975e-ba3a63cae067" CreationDate="2013-09-03T10:25:20.367" UserId="3179" Text="Get him to do proper recordings.&#xD;&#xA;&#xD;&#xA;There are some very advanced plug-ins for reverbation removal as well as background noise removal. But plug-ins never work in an exact way, you'll lose some information, the voice may start to sound worse.&#xD;&#xA;&#xD;&#xA;http://www.zynaptiq.com/unveil/&lt;br&gt;&#xD;&#xA;http://www.izotope.com/products/audio/rx/" ContentLicense="CC BY-SA 3.0" />
  <row Id="32952" PostHistoryTypeId="2" PostId="20257" RevisionGUID="ce653746-5374-4bf5-ada0-1fd43d1262bb" CreationDate="2013-09-03T11:04:30.370" UserId="993" Text="I think the why is the most interesting question here - because it really comes down to the purpose for which you use your recorder. Does the recorder need to record at 192kHz or is 44.1kHz enough? Is weight an issue? What about having more than 2 inputs? Is timecode a requirement? Or do you need to have every feature in order to adapt to any scenario? Even taking budget out of the equation, there's so many variables. &#xD;&#xA;&#xD;&#xA;For my own work (mainly field recording, boom swinging and interviews) I value weight/manueverability, require anywhere from 1 - 4 inputs and usually record at 48 - 96kHz. Plus I just send a wireless transmitter feed rather than deal with timecode. So a couple of Zoom H4ns are my recorders of choice at the moment." ContentLicense="CC BY-SA 3.0" />
  <row Id="32956" PostHistoryTypeId="2" PostId="20259" RevisionGUID="d2878f0a-d06a-4ab9-b71b-9f0dd03bf544" CreationDate="2013-09-03T12:36:42.273" UserId="6384" Text="Hi there, I've been commissioned to do some sound design work on a DVD documentary, which is possibly going to be mass produced. &#xD;&#xA;&#xD;&#xA;I've been forwarded an email via the editor asking for the files to be delivered as per the following:-&#xD;&#xA;&#xD;&#xA;***&quot;We ideally need files to be supplied as PCM audio (channels 3 &amp; 4 also)&quot;***&#xD;&#xA;&#xD;&#xA;If anybody could provide some clarity on what they mean, that would be greatly appreciated.&#xD;&#xA;&#xD;&#xA;Thanking you in advance,&#xD;&#xA;&#xD;&#xA;Keith" ContentLicense="CC BY-SA 3.0" />
  <row Id="32957" PostHistoryTypeId="1" PostId="20259" RevisionGUID="d2878f0a-d06a-4ab9-b71b-9f0dd03bf544" CreationDate="2013-09-03T12:36:42.273" UserId="6384" Text="&quot;PCM audio (channels 3 &amp; 4 also)&quot; Please help, what does this mean?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32958" PostHistoryTypeId="3" PostId="20259" RevisionGUID="d2878f0a-d06a-4ab9-b71b-9f0dd03bf544" CreationDate="2013-09-03T12:36:42.273" UserId="6384" Text="&lt;pcm&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32959" PostHistoryTypeId="2" PostId="20260" RevisionGUID="a1d9f6b6-a404-470b-b26f-e1b14966b107" CreationDate="2013-09-03T13:01:09.397" UserId="3179" Text="PCM audio is the nowadays common method of encoding analog audio to a digital form (without data compression, i.e. we're talking about &quot;lossless digital audio&quot;). Practically PCM audio is contained in (or &quot;is equal to&quot;) audio formats such WAV and AIFF. Usually WAV.&#xD;&#xA;&#xD;&#xA;Channels 3&amp;4 might refer to the so called M&amp;E (music &amp; effects) track. I.e. it's a stereo bounce that has only the music and sound effects, but no voice/dialogue. It's (or can be) used to prepare e.g. localized versions. Might be a good idea to verify, whether that's what they mean." ContentLicense="CC BY-SA 3.0" />
  <row Id="32960" PostHistoryTypeId="2" PostId="20261" RevisionGUID="a7d2c95f-4559-4631-bad1-761f85aad62a" CreationDate="2013-09-03T17:18:00.760" UserDisplayName="user6513" Text="I'm inclined to the school of thought that preaches getting to know and understand your speakers. I reckon with that in mind, and given time, trial and error, you will learn to work with what speakers you have.&#xD;&#xA;&#xD;&#xA;I have 2 home studio setups, 1 running with a pair of Tannoy Reveal 501As and the other running with a pair of Yamaha MR5s. They are on the lower end of the price range but they work for what I do and I've learnt and still learning how to use them more proficiently. Just make sure you set them up as best as you can, e.g. acoustic treatment; levels; etc...&#xD;&#xA;&#xD;&#xA;On Genelecs, I'm with @Stavrosound and don't really like em. I used the 1030As in my first studio and quickly ditched them because they were really amazing. A client explained it to me like so: &quot;It sounds so good in your studio but when we bring it back it sounds terribly crap!&quot; We swapped the Genelecs for NS10s and man did it make a hell of a difference when mixing after. I'll take the blame that we might not have set the acoustics up correctly, but the thing is, those complaints stopped after swapping over to the Yamahas.&#xD;&#xA;&#xD;&#xA;On another note, if you have a bit of spare cash... I recommend getting a monitor controller like the Presonus Monitor Station. It takes up a bit of space but it does make it heaps easier to control your speakers and inputs, compared to fiddling around with your audio interface. and just in case you need to do a last minute VO, it's heaps more convenient with it." ContentLicense="CC BY-SA 3.0" />
  <row Id="32961" PostHistoryTypeId="2" PostId="20262" RevisionGUID="feee2465-5633-4a1f-b884-232fa218944e" CreationDate="2013-09-03T18:12:49.680" UserId="3179" Text="I've been thinking...&#xD;&#xA;&#xD;&#xA;What would you recognize as being some pillars of sound design that you would identify as having had &quot;enormous&quot; societal impact (touching many people, shifting cultures in some way etc.)? The soundtrack can be part of any media, but the point of this questionnaire is to identify, whether there exist pieces where specifically the sound has somehow had a significant role (even surpassing the role of any visuals, although practically this is an impossibility, because soundtracks don't exist in isolation)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32962" PostHistoryTypeId="1" PostId="20262" RevisionGUID="feee2465-5633-4a1f-b884-232fa218944e" CreationDate="2013-09-03T18:12:49.680" UserId="3179" Text="Most societally significant uses of sound (in a media context)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="32963" PostHistoryTypeId="3" PostId="20262" RevisionGUID="feee2465-5633-4a1f-b884-232fa218944e" CreationDate="2013-09-03T18:12:49.680" UserId="3179" Text="&lt;significant&gt;&lt;monumental&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="32964" PostHistoryTypeId="2" PostId="20263" RevisionGUID="7e6173cf-c481-4c39-9248-2fe36715e71c" CreationDate="2013-09-03T19:01:52.157" UserId="1216" Text="*(even surpassing the role of any visuals, although practically this is an impossibility, because soundtracks don't exist in isolation)?*&#xD;&#xA;&#xD;&#xA;well they do! :) &quot;War of the worlds&quot; had an enormous effect on society. Never before was a medium able to scare so many people (to the actual point of fleeing the city, some say).&#xD;&#xA;Whether it was the story or the sound design, i'm not certain. Sound design, wasn't 'around' back then. Although many will disagree :)&#xD;&#xA;&#xD;&#xA;I'll think a bit more for other examples, great question!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32965" PostHistoryTypeId="5" PostId="20263" RevisionGUID="cb880cc6-a0b0-4f81-81b2-ac1ba850558a" CreationDate="2013-09-03T19:09:52.733" UserId="1216" Comment="added radioplay note" Text="*(even surpassing the role of any visuals, although practically this is an impossibility, because soundtracks don't exist in isolation)?*&#xD;&#xA;&#xD;&#xA;well they do! :) &quot;War of the worlds&quot; (the radioplay from 1938) had an enormous effect on society. Never before was a medium able to scare so many people (to the actual point of fleeing the city, some say).&#xD;&#xA;Whether it was the story or the sound design, i'm not certain. Sound design, wasn't 'around' back then. Although many will disagree :)&#xD;&#xA;&#xD;&#xA;I'll think a bit more for other examples, great question!" ContentLicense="CC BY-SA 3.0" />
  <row Id="32966" PostHistoryTypeId="5" PostId="20262" RevisionGUID="1cbc5671-49c0-45e3-be6d-470c73d63e6c" CreationDate="2013-09-03T19:16:42.357" UserId="3179" Comment="deleted 79 characters in body" Text="I've been thinking...&#xD;&#xA;&#xD;&#xA;What would you recognize as being some pillars of sound design that you would identify as having had &quot;enormous&quot; societal impact (touching many people, shifting cultures in some way etc.)? The soundtrack can be part of any media, but the point of this questionnaire is to identify, whether there exist pieces where specifically the sound has somehow had a significant role (even surpassing the role of any visuals, if there any)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33042" PostHistoryTypeId="6" PostId="13260" RevisionGUID="f5a852fd-1228-48e7-a874-d2294da9de98" CreationDate="2013-09-04T14:49:10.147" UserId="6387" Comment="edited tags" Text="&lt;sfx&gt;&lt;library&gt;&lt;metadata&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33052" PostHistoryTypeId="2" PostId="20265" RevisionGUID="bc2029b5-df90-45da-b88b-ff21e8526734" CreationDate="2013-09-04T15:02:26.280" UserId="6393" Text="I recommend splitting your budget to buy an additional pair of headphones and spend the rest on the best 8 inch driver monitors you can afford (used Mackie HR824s for instance).&#xD;&#xA;&#xD;&#xA;In the end you need your work to translate as good as possible to the other studios.  This means you need to hear full bandwidth (including sub) and be very sure your listening environment acoustics arn't mucking up your perception of what you're doing.&#xD;&#xA;&#xD;&#xA;You don't have the budget to make a solid listening environment or buy a mains and sub system. But you CAN make sure your premixing translates by cycling between some speakers, the Beyers and say some Audio Technica ATH-50s.&#xD;&#xA;&#xD;&#xA;You'll be absolutely amazed at how different your stuff sounds between these three setups...and if your stuff sounds reasonably good on all three....chances are pretty good you won't be overly surprised at the mix.&#xD;&#xA;&#xD;&#xA;Also keep this speaker axiom in mind - What your speakers are good at is probably what your mixes with lack.  In other words if you speakers have better bass than normal speakers...then guess what your mix will lack when heard by the general public.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here's what we have at Wabi Sabi Sound:&#xD;&#xA;&#xD;&#xA;Speaker - General Thoughts&#xD;&#xA;&#xD;&#xA;JBL LSR 4326P 5.1 - Forward Mids, can be a bit harsh, nice features&#xD;&#xA;Dynaudio BM15a 5.1 - Silky, Lots of Dynamic range, a little hollow in the mids&#xD;&#xA;Blue Sky Pro Desk 5.1 - Well balanced in a small room, nice features&#xD;&#xA;Blue Sky Media Desk 5.1 - also well balanced, but less detailed&#xD;&#xA;Neumann KH 120s 2.1 - Tight, detailed really need a sub for post&#xD;&#xA;&#xD;&#xA;Headphones &#xD;&#xA;Beyerdynamic DT 770 Pro - smily faced, lots of detail, lots of high end&#xD;&#xA;Audio Technica ATH-50 - Balanced not hyped...break up somewhat easily&#xD;&#xA;Senneheiser HD 380 Pro - Detailed in the mids, not much low end extension or high extension&#xD;&#xA;Grado SR80 - Natrual and Neutral...kinda like listening to speakers, open lacks deep bass&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33058" PostHistoryTypeId="2" PostId="20267" RevisionGUID="07c75dcf-a46a-48ca-be1a-cece4545871e" CreationDate="2013-09-04T17:01:09.960" UserId="5989" Text="I've heard everywhere that you should mix with a monitor etc. if it had to be a headphone then choose a flat sounding ones aka. studio/reference headphone. (by the way in the AKG website they separate the studio and reference headphone, is this a market jargon or something else?)&#xD;&#xA;&#xD;&#xA;But.. I've always listen in this consumer headphone, closed back and colored sound. I've always listen to my favorite song and think &quot;wow! I love a sound like this!&quot;. The song I listened to is probably well-made in studio and such and got colored bass-heavier with my headphone. &#xD;&#xA;&#xD;&#xA;People says that if the headphone boosted the bass and I'm making sound with it, your sound will comes out as lacking bass.&#xD;&#xA;&#xD;&#xA;What if when I producing, I make the sound so it's sounding the way I like on this consumer headphone? If the bass is as heavy as the song I like, then it probably OK elsewhere too right? This way I would not need an expensive mixing headphone..." ContentLicense="CC BY-SA 3.0" />
  <row Id="33059" PostHistoryTypeId="1" PostId="20267" RevisionGUID="07c75dcf-a46a-48ca-be1a-cece4545871e" CreationDate="2013-09-04T17:01:09.960" UserId="5989" Text="Mixing with consumer headphone argument" ContentLicense="CC BY-SA 3.0" />
  <row Id="33060" PostHistoryTypeId="3" PostId="20267" RevisionGUID="07c75dcf-a46a-48ca-be1a-cece4545871e" CreationDate="2013-09-04T17:01:09.960" UserId="5989" Text="&lt;mixing&gt;&lt;headphones&gt;&lt;production-mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33061" PostHistoryTypeId="2" PostId="20268" RevisionGUID="4cb80bf2-986a-43ec-ba9d-4a3b8daf2ec2" CreationDate="2013-09-04T17:40:40.947" UserId="4442" Text="When I asked someone this question years ago, the person responded and said &quot;You can mix on coffeecans if you know how they translate to other speakers.&quot; &#xD;&#xA;&#xD;&#xA;With that said, you may find that good monitors or at least unbiased monitors will get you to a mix that will translate quicker than the pair of consumer headphones that you may have to keep tweaking adjustments to and they don't represent what you're hearing in other speakers." ContentLicense="CC BY-SA 3.0" />
  <row Id="33062" PostHistoryTypeId="2" PostId="20269" RevisionGUID="3f673770-f381-406d-9c34-84de5d410aea" CreationDate="2013-09-04T17:48:53.113" UserId="6410" Text="I wouldn't use a pair of consumer headphones for mixing exclusively. While the argument stands that if know what 'good' sounds like with those headphones you'll make the right choices but that won't always be the case. &#xD;&#xA;&#xD;&#xA;Studio monitors exist for the purpose of providing clear, detailed and flat sound. That being said there's no reason why you can't use those headphones for referencing, I've been stuck using sennheiser hd 25-1 ii's when I haven't had the foresight to pack a pair of open backed monitoring headphones and despite being slightly weighty below 120Hz I've never made a terrible mix with them but that's because I'll monitor everything below 100Hz with an analyst instead of using my ears." ContentLicense="CC BY-SA 3.0" />
  <row Id="33064" PostHistoryTypeId="2" PostId="20270" RevisionGUID="23efa961-8c79-4fdf-882e-3d8e29cc8403" CreationDate="2013-09-05T01:56:23.390" UserId="5624" Text="I think a lot of the sound design conventions we use could be argued as having a societal impact. For example the use of reverb to convey a dream sequence. I don't know where this first began but it is now a well accepted tool across most forms of media.&#xD;&#xA;&#xD;&#xA;Whether this would be considered significant or not is debatable." ContentLicense="CC BY-SA 3.0" />
  <row Id="33065" PostHistoryTypeId="2" PostId="20271" RevisionGUID="6dc50ff5-1975-4b14-a9eb-ef8390827966" CreationDate="2013-09-05T06:30:00.390" UserId="993" Text="In the near future I'll be renting out a Sound Devices 702 in order to experiment with recording various sounds at 192kHz - and I'd like some suggestions on what will yield the most interesting and useful additions to my sound library.&#xD;&#xA;&#xD;&#xA;Already on my list are:&#xD;&#xA;&#xD;&#xA;- Human screeches, grunts and monster-like vocals&#xD;&#xA;- Metal groans and scrapes&#xD;&#xA;- Rice sprinkled into liquid&#xD;&#xA;- Water splashes and sloshes&#xD;&#xA;&#xD;&#xA;I'm just renting it for an evening, so I'm trying to plan ahead and make the best use of my time/money." ContentLicense="CC BY-SA 3.0" />
  <row Id="33066" PostHistoryTypeId="1" PostId="20271" RevisionGUID="6dc50ff5-1975-4b14-a9eb-ef8390827966" CreationDate="2013-09-05T06:30:00.390" UserId="993" Text="Recording experiments at 192kHz: what to record?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33067" PostHistoryTypeId="3" PostId="20271" RevisionGUID="6dc50ff5-1975-4b14-a9eb-ef8390827966" CreationDate="2013-09-05T06:30:00.390" UserId="993" Text="&lt;sound-design&gt;&lt;field-recording&gt;&lt;192khz&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33068" PostHistoryTypeId="2" PostId="20272" RevisionGUID="612522d9-b22b-4bdf-a0bd-36ebd2a79d30" CreationDate="2013-09-05T08:50:21.297" UserId="6407" Text="Depends entirely on what you need. Recording at 192 will be much more useful for time-stretching or pitch-shifting afterwards (as will recording at 32bit), rather than being 'noticeably' improved (cue arguments!). &#xD;&#xA;&#xD;&#xA;I've always found it useful to go through rooms in the house and think of every sound you'd need in a scene. Kitchen for example, has so many. Cutting board chops, cutlery, drinks. Go nuts. &#xD;&#xA;&#xD;&#xA;Though I'd like to do foley for every project, time/money means I find it very useful to have a sound library of *basic* foley, things like clothes movements, bag pickups, footsteps, picking up drinks etc etc. Everything you can think that would useful for a wide variety of material.&#xD;&#xA;&#xD;&#xA;Hope that helped. Best of luck. N" ContentLicense="CC BY-SA 3.0" />
  <row Id="33069" PostHistoryTypeId="2" PostId="20273" RevisionGUID="8cf029a8-bb68-4cf7-8aee-c008a76f1477" CreationDate="2013-09-05T08:53:31.493" UserId="6425" Text="Mix on whatever system you know best. If you have consumer Headphones that you used for your, they are a good starting point. But if you want to be shure that no frequency is peaking out use studio monitors and studio headphones.&#xD;&#xA;&#xD;&#xA;Mixing in consumer and checking on studio equipment or vice versa is a personal choice in mho" ContentLicense="CC BY-SA 3.0" />
  <row Id="33070" PostHistoryTypeId="2" PostId="20274" RevisionGUID="5f4bc876-b8c6-49f3-b533-41a69ea41445" CreationDate="2013-09-05T09:03:30.653" UserId="6425" Text="For commercials, corporate Films and Movies i use Yamaha NS10 and Adam Artist edition 5X. If you start off, get a couple of old yamaha ns 10, they are the best speakers i ever had for mix downs." ContentLicense="CC BY-SA 3.0" />
  <row Id="33071" PostHistoryTypeId="6" PostId="20271" RevisionGUID="37f81a16-7d26-4280-8eea-036c0dbb1631" CreationDate="2013-09-05T09:47:19.830" UserId="6407" Comment="Adding tags to question." Text="&lt;sound-design&gt;&lt;field-recording&gt;&lt;sound-effects&gt;&lt;sound-effects-recording&gt;&lt;192khz&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33072" PostHistoryTypeId="24" PostId="20271" RevisionGUID="37f81a16-7d26-4280-8eea-036c0dbb1631" CreationDate="2013-09-05T09:47:19.830" Comment="Proposed by 6407 approved by 2 edit id of 1" ContentLicense="CC BY-SA 3.0" />
  <row Id="33073" PostHistoryTypeId="2" PostId="20275" RevisionGUID="2da98d5e-ba8a-4a8f-a139-384d71922c7c" CreationDate="2013-09-05T12:10:41.363" UserId="194" Text="metal, glass, chimes, bells, that sort of thing.  super high screechy stuff is the only stuff that really makes any sound up there.&#xD;&#xA;&#xD;&#xA;alternatively try contact mics and electrostatic mics" ContentLicense="CC BY-SA 3.0" />
  <row Id="33074" PostHistoryTypeId="6" PostId="20064" RevisionGUID="f23c9ddc-ef5a-4e1e-9229-c00766a92ecf" CreationDate="2013-09-05T16:39:34.717" UserId="6387" Comment="edited tags" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33075" PostHistoryTypeId="2" PostId="20276" RevisionGUID="2ca46e23-2c6a-45bf-9b64-838f754a9b4b" CreationDate="2013-09-05T17:22:37.913" UserId="6429" Text="I think of all kinds of emergency sirens. For example: http://freesound.org/people/guitarguy1985/sounds/51909/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33076" PostHistoryTypeId="2" PostId="20277" RevisionGUID="1ce76a8e-94a1-4b72-a6e7-3415f8c6bf41" CreationDate="2013-09-05T18:30:37.437" UserId="6432" Text="Not on the scale of War of the Worlds (good call btw) but an interesting example is *The Arbor* by Clio Barnard. Not sure if it made it that far out of the UK, but well worth a look if you can get hold of it. It's a film about the tragic life of Andrea Dunbar, a playwright who grew up on a rough council estate in the late 70's. The film has a bit of a trick up its sleeve though - filmed in a doc style it combines audio from interviews with surviving family and friends with separate video footage of actors, a kind of verbatim cinema. The effect is really strange and unsettling, but totally compelling. Not an easy watch, but recommended. Check out the clips on [IMDB][1]. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt1623008/" ContentLicense="CC BY-SA 3.0" />
  <row Id="33077" PostHistoryTypeId="2" PostId="20278" RevisionGUID="f1cd25d6-64ea-41f1-aef9-e2dfcca3845b" CreationDate="2013-09-06T02:56:41.170" UserId="6436" Text="I am looking to set up a MS field recording rig based around Schoeps.  I am wondering what your experiences are regarding using a Supercardioid (MK41) vs. a Cardioid (MK4) as the Mid channel?  Is one preferrable to the other?  Obviously there will be some rear pickup with the MK41 but I'm thinking that the flexibility in post-prod when converting the MS recording would be just as good, if not better with a super cardioid as opposed to cardioid.  Also, I will have the ability to use the Mid as a mono fx mic as a short-shotgun.&#xD;&#xA;&#xD;&#xA;Anybody have experience with this and can offer some insight?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="33078" PostHistoryTypeId="1" PostId="20278" RevisionGUID="f1cd25d6-64ea-41f1-aef9-e2dfcca3845b" CreationDate="2013-09-06T02:56:41.170" UserId="6436" Text="Schoeps M/S: Mid Capsule MK41 or MK4?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33079" PostHistoryTypeId="3" PostId="20278" RevisionGUID="f1cd25d6-64ea-41f1-aef9-e2dfcca3845b" CreationDate="2013-09-06T02:56:41.170" UserId="6436" Text="&lt;ms&gt;&lt;schoeps&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33080" PostHistoryTypeId="2" PostId="20279" RevisionGUID="c1f2c3fa-9982-4d70-aabf-7d91e8d8a33c" CreationDate="2013-09-06T05:47:07.673" UserId="5624" Text="Although both will work just fine the output will be different. Using a cardioid, when the MS is decoded, will give you an exact cardioid XY configuration. Using a supercardioid distorts this but it may be what you're after.&#xD;&#xA;A friend and colleague of mine had a great excel spreadsheet which graphs the output based on different M mics. I'll have to get it from him..." ContentLicense="CC BY-SA 3.0" />
  <row Id="33081" PostHistoryTypeId="2" PostId="20280" RevisionGUID="56e31de4-e0f1-44fa-80f7-68ba13248f1d" CreationDate="2013-09-06T06:05:31.150" UserId="6437" Text="I'd like to create 8bit sound tracks for games I develop, old school games, so I want old school music. I'm very new to sound design, and I want to make sure I use the right tool for the job. I'd love to hear your thoughts." ContentLicense="CC BY-SA 3.0" />
  <row Id="33082" PostHistoryTypeId="1" PostId="20280" RevisionGUID="56e31de4-e0f1-44fa-80f7-68ba13248f1d" CreationDate="2013-09-06T06:05:31.150" UserId="6437" Text="Which sound design tool would you recommand for games soundtrack" ContentLicense="CC BY-SA 3.0" />
  <row Id="33083" PostHistoryTypeId="3" PostId="20280" RevisionGUID="56e31de4-e0f1-44fa-80f7-68ba13248f1d" CreationDate="2013-09-06T06:05:31.150" UserId="6437" Text="&lt;gameaudio&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33084" PostHistoryTypeId="2" PostId="20281" RevisionGUID="b2065284-bd58-4ac8-bf38-6cab22570b88" CreationDate="2013-09-06T06:27:08.110" UserId="1216" Text="Joseph is right, the output is different, because of the 'rear' pickup your stereo field is not correct. This might result in phasing issues and perhaps more noticeable a stereo image leak from R&gt;L and L&gt;R. A car passing behind you would first be heard softly from the opposite direction in your stereo image. &#xD;&#xA;But if you're only interested in spot miking with 'some stereo information' than it shouldn't really be an issue. &#xD;&#xA;&#xD;&#xA;Good luck " ContentLicense="CC BY-SA 3.0" />
  <row Id="33085" PostHistoryTypeId="2" PostId="20282" RevisionGUID="11452d92-0fd7-4329-a0e4-48115bcf4a7f" CreationDate="2013-09-06T07:40:19.177" UserId="6432" Text="Well you could design your audio in pretty much any DAW and then use a [bitcrusher][1] plugin to reduce the bit depth and sample rate. This would be a sample playback emulation. Or, you could seek out some emulations of old hardware. The [ReFX quadrasid][2] is a nice option if you go down this route. If you did really want to be a purist, you could try creating sounds with a more authentic emulation like GoatTracker, where you are controlling a SID emulation using the original parameters available to the programmers/composers - fiendishly difficult! But you will develop a healthy respect of what they achieved back then. &#xD;&#xA;&#xD;&#xA;![enter image description here][4] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.kunz.corrupt.ch/?Products:VST_TAL-Bitcrusher&#xD;&#xA;  [2]: http://www.kvraudio.com/product/quadrasid_by_refx/details&#xD;&#xA;  [3]: http://cadaver.homeftp.net/tools.htm&#xD;&#xA;  [4]: http://i.stack.imgur.com/v8lvO.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="33086" PostHistoryTypeId="2" PostId="20283" RevisionGUID="0b5f98e8-56e5-41ba-b45d-94ad1296656d" CreationDate="2013-09-06T07:52:08.957" UserId="6440" Text="instead of MK41, look at supercmit: http://digital.schoeps.de/de/products/supercmit for even more focus on the center." ContentLicense="CC BY-SA 3.0" />
  <row Id="33087" PostHistoryTypeId="2" PostId="20284" RevisionGUID="76d96161-b6f5-44e6-a5f9-b43ae6bed009" CreationDate="2013-09-06T08:01:46.313" UserId="6440" Text="I just used 4 different headphones during the last weeks, all nid/high quality(AKG100$,Bose200$, UE250$ AKG500$) and stomped the 3 &quot;cheaper&quot; ones in the ground now. The difference was way bigger than I expected. And even studio headphones manufacturers NEVER give you frequency response diagramm - for a reason.&#xD;&#xA;&#xD;&#xA;You only know you eqipment after you had sufficient choice/comparison.&#xD;&#xA;&#xD;&#xA;Pro Headphones: Stax Headphones are more exactly reproducing sound than any speaker in the world. And your room does not have to be anechoic.&#xD;&#xA;&#xD;&#xA;Pro Speakers: stereo image is way different, and your ears get slower tired." ContentLicense="CC BY-SA 3.0" />
  <row Id="33088" PostHistoryTypeId="2" PostId="20285" RevisionGUID="da679c7d-0d61-4126-80d4-e75e230e4e5d" CreationDate="2013-09-06T08:10:52.970" UserId="6441" Text="I love to use chipsounds for 8bit music and SFX.&#xD;&#xA;&#xD;&#xA;Another great tool to quickly make 8bit SFX is CFXR.&#xD;&#xA;&#xD;&#xA;http://www.plogue.com/products/chipsounds/&#xD;&#xA;&#xD;&#xA;http://thirdcog.eu/apps/cfxr" ContentLicense="CC BY-SA 3.0" />
  <row Id="33089" PostHistoryTypeId="2" PostId="20286" RevisionGUID="fad220b0-7087-4abb-9f2f-21c97a7ef005" CreationDate="2013-09-06T14:23:21.890" UserId="6444" Text="thanks for letting me ask a question here.&#xD;&#xA;&#xD;&#xA;I am googling for hours and did not find anything on the following:&#xD;&#xA;Layering instruments one over the other creates an ensemble sound where you can still hear the individual instruments. &#xD;&#xA;What I was wondering is, in visual arts you can mix colours which make new colours but you cant see the building blocks. How does that work with audio?&#xD;&#xA;&#xD;&#xA;What I want to do is: make a recording of me playing the Cello. Then I want to play with that sound, expand it, add harmonics, etc. to create a different sound. I dont want to use filters, i.e. remove or highlight frequencies, but *add* something. Like a cook adds ingredients to a good salsa. I would like to enrich the sound, make it fuller, give it a different &quot;spin&quot; or characteristic.&#xD;&#xA;I could add another instrument and put them together, but then I would hear two instruments. &#xD;&#xA;&#xD;&#xA;I just want to hear one sound, from one &quot;instrument&quot;. The basis of this sound should be a life recording. But lets start with a single note, progression of notes will be the next step.&#xD;&#xA;&#xD;&#xA;Is that possible? I found about sound morphing and aligning the frequencies of all the harmonics. That might work, but I dont want to morph, rather &quot;cook&quot; a new sound.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Camillo" ContentLicense="CC BY-SA 3.0" />
  <row Id="33090" PostHistoryTypeId="1" PostId="20286" RevisionGUID="fad220b0-7087-4abb-9f2f-21c97a7ef005" CreationDate="2013-09-06T14:23:21.890" UserId="6444" Text="Add harmonics, improve sound, sound morphing" ContentLicense="CC BY-SA 3.0" />
  <row Id="33091" PostHistoryTypeId="3" PostId="20286" RevisionGUID="fad220b0-7087-4abb-9f2f-21c97a7ef005" CreationDate="2013-09-06T14:23:21.890" UserId="6444" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33092" PostHistoryTypeId="2" PostId="20287" RevisionGUID="f9fda4ef-c576-4913-8307-f3c598aeb811" CreationDate="2013-09-06T16:08:49.960" UserId="1216" Text="Well to start:&#xD;&#xA;*I could add another instrument and put them together, but then I would hear two instruments.* &#xD;&#xA;Depends on the type of instrument (it's sound), how you play it, how you mix it.&#xD;&#xA;&#xD;&#xA;I think you want something like FFT analysis&gt;resynthesis.&#xD;&#xA;Have you looked at the plug ins of ircam / michael norris or perhaps cycling '74 maxmsp? These are the typical 'dsp' programs that allow you to change spectra and harmonics. &#xD;&#xA;Izotope iris is also interesting, but that's a sampler as flexible as the former.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33093" PostHistoryTypeId="2" PostId="20288" RevisionGUID="4784a4b2-4bed-4f1c-9a6c-5665360bc850" CreationDate="2013-09-06T16:14:40.740" UserId="6410" Text="Well timbre is reliant on a lot things including the harmonics of the sound, the cello (especially the low register) has a very rich spectrum, you can use an effect called a harmonic exciter to add harmonics to the sound whether this will actually change an instrumental sound like a cello much is doubtful because it is so harmonic already but its an option.&#xD;&#xA;&#xD;&#xA;However, the cello sound is really from the short decay of harmonics at the start of the sound you can use an effect that is often referred to as 'blur' which will temporally blur the spectral aspects of sound, you could do this with one or more sounds and end up with a more complex but still 'whole' sound. &#xD;&#xA;&#xD;&#xA;There is also a tool called Spectralayers Pro which has capabilities to do things with timbre that I didn't think were physically possible. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33094" PostHistoryTypeId="2" PostId="20289" RevisionGUID="6779f6e2-a06a-4647-a7ff-90bfcd68952f" CreationDate="2013-09-06T16:38:20.990" UserId="6445" Text="If you want to just play by yourself without investing in a big plugin check out &quot;SPEAR&quot; &#xD;&#xA;&#xD;&#xA;http://www.klingbeil.com/spear/" ContentLicense="CC BY-SA 3.0" />
  <row Id="33095" PostHistoryTypeId="2" PostId="20290" RevisionGUID="20a7cfed-8658-4dde-ba8b-c68a5292bdc7" CreationDate="2013-09-06T17:18:04.523" UserId="6447" Text="Bats...(not kidding either!!)&#xD;&#xA;&#xD;&#xA;(BTW have you checked the frequency response curves of your microphones above 20kHz?)&#xD;&#xA;&#xD;&#xA;rich" ContentLicense="CC BY-SA 3.0" />
  <row Id="33096" PostHistoryTypeId="2" PostId="20291" RevisionGUID="3490d68e-9134-4c8e-91f5-75506e86c4c1" CreationDate="2013-09-06T17:23:43.567" UserId="6446" Text="In the studio, we use microphones as our means to color the sound.  Mixed properly, the building blocks are just as transparent as red in a violet hue.&#xD;&#xA;&#xD;&#xA;To receive sonic richness on a single instrument, we typically use multiple microphones when recording.  When you layer multiple takes of the same performance you lose that sense of &quot;ensemble&quot; you would get from multiple individual recordings.  You can also do this with microphone emulators, but it doesn't achieve the same clarity.  &#xD;&#xA;&#xD;&#xA;For the cello, you want to record three things, the attack, the resonance and the room reverb.&#xD;&#xA;&#xD;&#xA;For the attack, you'll want to position a condenser instrument mic to point at the neck just above your bowing position.  Aim the microphone away from the bow slightly to reduce the attack.  You'll still get the nuances of the bow and some of the fingering against the board, and you'll get the brightness of miking closer to the strings.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For the resonance, a good bridge or ribbon mic will work.  But I prefer to use a nice large-diaphragm vocal mic or even an SM-57.  Move that microphone about 3 inches below the bridge, about halfway between the bridge and one of the f-holes.  This captures the warmth of the body.&#xD;&#xA;&#xD;&#xA;For the room, you'll want a matched stereo pair of mics in an X-Y configuration.  NT-4s or a Zoom H4 gets good results.  Set that mic about 3 to 5 feet away from the cello, with the microphone about six feet up, but directed toward the cello. This will capture the reflections and warmth of the room, which is wear a lot of stringed instruments get their sound.  If your room is a little dead, you can add a little reverb when you mix.  If its too live, record closer to the cello, or use blankets or other absorbant materials to deaden the room.&#xD;&#xA;&#xD;&#xA;You'll want to take your time placing the microphones and finding the right balance for you.  When mixing you'll want to use primarily the resonance mic, adding a little bit of the attack to improve clarity and just enough of the room mic to give the sound warmth and definition and a sense of rich stereo space. It takes some time to get the right blend until you get used to doing it instinctively.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="33097" PostHistoryTypeId="2" PostId="20292" RevisionGUID="f1e1a545-593b-4848-8965-bed9b4a54da3" CreationDate="2013-09-06T18:19:06.843" UserId="6448" Text="http://anasynth.ircam.fr/home/english/software/audiosculpt (Recommended for your description)&lt;br&gt;&#xD;&#xA;The already mentioned SPEAR. (Free)&lt;br&gt;&#xD;&#xA;http://www.uisoftware.com/MetaSynth/index.php (&quot;the audio photoshop&quot;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33098" PostHistoryTypeId="5" PostId="20292" RevisionGUID="82663f57-ac24-41cb-b014-958c9ae31813" CreationDate="2013-09-06T18:41:30.233" UserId="6448" Comment="added 41 characters in body" Text="http://anasynth.ircam.fr/home/english/software/audiosculpt (Recommended for your description)&lt;br&gt;&#xD;&#xA;The already mentioned SPEAR. (Free)&lt;br&gt;&#xD;&#xA;http://www.uisoftware.com/MetaSynth/index.php (&quot;the audio photoshop&quot;)&#xD;&#xA;&#xD;&#xA;Also, by your description, look up &quot;sampler&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="33100" PostHistoryTypeId="2" PostId="20294" RevisionGUID="329fb5c1-c480-4ddb-861f-9e0f7d786933" CreationDate="2013-09-07T05:13:46.827" UserId="29" Text="Hydrophones tend to create brittle, high-frequency-rich sounds in water. Pitching those down can yield fun results and bring back some low frequency tones.&#xD;&#xA;&#xD;&#xA;But honestly, at 192kHz, *anything* you record will be utterly transformed once slowed down enough. I can guarantee you'll run out of time rather than recording sources and sonic elements." ContentLicense="CC BY-SA 3.0" />
  <row Id="33101" PostHistoryTypeId="2" PostId="20295" RevisionGUID="3318f070-1ca5-4cb2-880e-e80a5a826e78" CreationDate="2013-09-07T06:52:14.660" UserId="6451" Text="Well, the more simple explanation is that, when working with Integer formats (such as the 48-bit integer). Once the signal clips in the mix, you can't never restore that information later.&#xD;&#xA;With floating point, no information is lost when the signal clips, so you can later reduce the level of the channel that clips and fix the problem.&#xD;&#xA;Note that this only works when mixing. When you record, if your signal clips, that means lost information." ContentLicense="CC BY-SA 3.0" />
  <row Id="33102" PostHistoryTypeId="2" PostId="20296" RevisionGUID="75ce082a-665f-40bc-a2e6-98e43a431ce3" CreationDate="2013-09-07T10:25:12.870" UserId="6448" Text="&gt; What exactly is a 32 bit floating point?&#xD;&#xA;&#xD;&#xA;Tutorial: Floating-Point Binary&#xD;&#xA;http://kipirvine.com/asm/workbook/floating_tut.htm&#xD;&#xA;&#xD;&#xA;&gt; What is the difference between protools and protools HD native hard ware?&#xD;&#xA;&#xD;&#xA;From your perspective:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  - processing speed (I/O latency, speed of run computations)&#xD;&#xA;  - processing capacity (number of plug-ins, tracks etc. that can be run simultaneously without lag)&#xD;&#xA;&#xD;&#xA;You find information about these by reading &quot;benchmarks&quot; that test those capacities.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33103" PostHistoryTypeId="2" PostId="20297" RevisionGUID="554fd4b6-801e-427d-883d-bd47baa401bd" CreationDate="2013-09-07T11:21:33.460" UserId="6448" Text="Following this: http://sound.stackexchange.com/questions/1832/professional-sound-designers-do-you-make-a-comfortable-living&#xD;&#xA;&#xD;&#xA;Given that the field is somewhat risky in terms of work and employment, do you think that or know if listing &quot;sound design&quot; (or similar) as work experience can affect employability in more &quot;real&quot; fields or for other than artistic work in the case that one has to seek other jobs? It's probably not clear cut, but still.&#xD;&#xA;&#xD;&#xA;In the case that it does affect, do you supply your work experience in other ways or have you learned other skills as well to avoid potential unemployment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33104" PostHistoryTypeId="1" PostId="20297" RevisionGUID="554fd4b6-801e-427d-883d-bd47baa401bd" CreationDate="2013-09-07T11:21:33.460" UserId="6448" Text="Does a career in sound design affect employability to other fields?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33105" PostHistoryTypeId="3" PostId="20297" RevisionGUID="554fd4b6-801e-427d-883d-bd47baa401bd" CreationDate="2013-09-07T11:21:33.460" UserId="6448" Text="&lt;perception&gt;&lt;employability&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33108" PostHistoryTypeId="6" PostId="20297" RevisionGUID="5e1a186d-0256-4e8d-b4cb-996fe5f68a42" CreationDate="2013-09-07T11:27:04.420" UserId="6448" Comment="edited tags" Text="&lt;work&gt;&lt;perception&gt;&lt;employability&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33109" PostHistoryTypeId="5" PostId="20297" RevisionGUID="5e1a186d-0256-4e8d-b4cb-996fe5f68a42" CreationDate="2013-09-07T11:27:04.420" UserId="6448" Comment="edited tags" Text="Following this: http://sound.stackexchange.com/questions/1832/professional-sound-designers-do-you-make-a-comfortable-living&#xD;&#xA;&#xD;&#xA;Given that the field is somewhat risky in terms of work and employment, do you think that or know if listing &quot;sound design&quot; (or similar) as work experience can affect employability in more &quot;real&quot; fields or for other than artistic work in the case that one has to seek other jobs? It's probably not clear cut, but still.&#xD;&#xA;&#xD;&#xA;In the case that it does affect, do you supply your work experience in other ways or have you learned other skills as well to avoid potential unemployment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33110" PostHistoryTypeId="2" PostId="20300" RevisionGUID="7545549a-04a4-4b9e-8bfa-49399150b9b2" CreationDate="2013-09-07T11:29:21.560" UserId="6425" Text="If you go for a sounddesign job, always back up with more casual work like dialogue editing. That helps me getting around.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33111" PostHistoryTypeId="4" PostId="20297" RevisionGUID="c1713b5a-47c8-44c7-b04d-334202b6cd48" CreationDate="2013-09-07T11:33:27.523" UserId="6448" Comment="edited title" Text="Does work experience or a career in sound design affect employability to other fields?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33112" PostHistoryTypeId="5" PostId="20297" RevisionGUID="c1713b5a-47c8-44c7-b04d-334202b6cd48" CreationDate="2013-09-07T11:33:27.523" UserId="6448" Comment="edited title" Text="Following this: http://sound.stackexchange.com/questions/1832/professional-sound-designers-do-you-make-a-comfortable-living&#xD;&#xA;&#xD;&#xA;Given that the field is somewhat risky in terms of work and employment, do you think that or know if listing &quot;sound design&quot; (or similar/related) as work experience can affect employability in more &quot;real&quot; fields or for other than artistic or media work in the case that one has to seek other jobs? It's probably not clear cut, but still.&#xD;&#xA;&#xD;&#xA;In the case that it does affect, do you supply your work experience in other ways or have you learned other skills as well to avoid potential unemployment (in the arts/media/entertainment field)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33113" PostHistoryTypeId="5" PostId="20297" RevisionGUID="d0fbe43d-777e-4db5-92af-163bf7de2cd0" CreationDate="2013-09-07T11:38:47.307" UserId="6448" Comment="deleted 40 characters in body" Text="Following this: http://sound.stackexchange.com/questions/1832/professional-sound-designers-do-you-make-a-comfortable-living&#xD;&#xA;&#xD;&#xA;Given that the field is somewhat risky in terms of work and employment, do you think that or know if listing &quot;sound design&quot; (or similar/related) as work experience can affect employability in more &quot;real&quot; fields or for other than artistic or media work in the case that one has to seek other jobs? It's probably not clear cut, but still.&#xD;&#xA;&#xD;&#xA;In the case that it does affect, do you supply your work experience in other ways or have you learned other skills as well to avoid potential unemployment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33114" PostHistoryTypeId="5" PostId="20297" RevisionGUID="e3a0dbdd-cf9b-4653-b877-40373a634229" CreationDate="2013-09-07T11:48:52.487" UserId="6448" Comment="added 6 characters in body" Text="Following this: http://sound.stackexchange.com/questions/1832/professional-sound-designers-do-you-make-a-comfortable-living&#xD;&#xA;&#xD;&#xA;Given that the field is somewhat risky in terms of work and employment, do you think that or know if listing &quot;sound design&quot; (or similar/related) as work experience can affect one's employability in more &quot;real&quot; fields or for other than artistic or media work in the case that one has to seek other jobs? It's probably not clear cut, but still.&#xD;&#xA;&#xD;&#xA;In the case that it does affect, do you supply your work experience in other ways or have you learned other skills as well to avoid potential unemployment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33115" PostHistoryTypeId="2" PostId="20301" RevisionGUID="79de787d-39ad-40eb-8891-ad5aa02512c5" CreationDate="2013-09-07T13:51:58.087" UserId="6455" Text="The handling noise of the h1 is no better than the PCM-m10 they're both plastic with the PCM-m10 it has a top aluminium, but the sides and back are plastic, of all the handhelds the h4n neing rubberised has less handling noise.&#xD;&#xA;That said the PCM-m10 is the best handheld there is period, the preamps are so quiet and I think the omni mice sound way better for ambience and music than the x/y configs out there." ContentLicense="CC BY-SA 3.0" />
  <row Id="33116" PostHistoryTypeId="2" PostId="20302" RevisionGUID="58ff5005-c4cf-40e3-9792-1bf4ac0ee4eb" CreationDate="2013-09-07T15:22:10.757" UserId="6425" Text="Need help on that sound. Its the Peak of an ad so it needs to be Perfect. &#xD;&#xA;&#xD;&#xA;Its a long 10-20 sec Jump through a Concrete wall that bursts into piepes.&#xD;&#xA;&#xD;&#xA;My First tought was timestretching Sand/ Stone foleys layerd with omnisphere Textures.&#xD;&#xA;&#xD;&#xA;For the Hit i would Layer cracking Sounds over foley hits.&#xD;&#xA;&#xD;&#xA;But it just dont get it right! Any Starter idea? Thx" ContentLicense="CC BY-SA 3.0" />
  <row Id="33117" PostHistoryTypeId="1" PostId="20302" RevisionGUID="58ff5005-c4cf-40e3-9792-1bf4ac0ee4eb" CreationDate="2013-09-07T15:22:10.757" UserId="6425" Text="Slow motion jump through Concrete wall" ContentLicense="CC BY-SA 3.0" />
  <row Id="33118" PostHistoryTypeId="3" PostId="20302" RevisionGUID="58ff5005-c4cf-40e3-9792-1bf4ac0ee4eb" CreationDate="2013-09-07T15:22:10.757" UserId="6425" Text="&lt;sound-design&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33119" PostHistoryTypeId="2" PostId="20303" RevisionGUID="4137d055-3ed6-422e-ae23-9e178cbb50c9" CreationDate="2013-09-07T16:33:34.790" UserId="6448" Text="Try any sort of hard solid debris. Ground slide, brick debris, rock debris, demolition sounds...&#xD;&#xA;&#xD;&#xA;For the most time (actually always, when you don't know that you need to add a chorus or a granulizer or something), limit yourself to thinking only about pitch shifting and cutting processing-wise. Limit yourself to what a basic digital sound sampler does. If those don't seem viable or cannot produce anything that ticks, the sample or recording in hand is not what you're looking for, so move on.&#xD;&#xA;&#xD;&#xA;Spend more time on recording or listening through samples than expecting a plug-in/a DSP process to make something work. This works almost every time in something that wouldn't have to be clearly &quot;processed&quot; (e.g. granulized), at some point you'll notice something that works and you'll very likely find it faster than by playing with plug-ins and the wrong samples.&#xD;&#xA;&#xD;&#xA;Think backwards from the &quot;expected goal&quot;, rather than forwards to a goal. Why your &quot;goal&quot; should result in one way, but not the other? What practice and use of your time makes most sense for a given task? Found a recording that fits exactly? Then use it and move on.&#xD;&#xA;&#xD;&#xA;Spend more time on listening to samples or recording them." ContentLicense="CC BY-SA 3.0" />
  <row Id="33120" PostHistoryTypeId="2" PostId="20304" RevisionGUID="8a023f99-eeab-41ca-889e-aeaabfaf4268" CreationDate="2013-09-07T18:02:06.580" UserId="1189" Text="In my experience, the term &quot;sound design&quot; in general tends to get lost on others outside of the industry. If I were looking for employment in other areas, I might lean towards more *layman* terms such as &quot;sound engineering&quot; or &quot;audio editing&quot; (maybe even &quot;audio programming&quot; depending on the role)&#xD;&#xA;&#xD;&#xA;Perhaps I'm a little biased, but I think any experience in a field that combines creativity and technical ability such as sound design can only bolster your chances of getting a foot in the door of any job." ContentLicense="CC BY-SA 3.0" />
  <row Id="33122" PostHistoryTypeId="2" PostId="20306" RevisionGUID="16e1bb7b-886c-4e76-958b-29b4cec1c4a9" CreationDate="2013-09-07T19:33:38.010" UserId="6448" Text="By doing what you think is right, interesting or emotional. While you can read psychology and stuff and theorize, what there really is, when creating, is only you.&#xD;&#xA;&#xD;&#xA;All art forms are either self-expression or collective expression (the sum of many individual self-expressions that have communicated with each other).&#xD;&#xA;&#xD;&#xA;There are many sound design conventions that humans have learned to recognize. I.e. using certain sounds, rhythm/timing, harmonic properties and contrapunction creates the same type of emotional impact every time. Listen to e.g. movie trailers, many of them sound very similar (Why? Because they're effective that way.). Or listen to movie music and the emotions it describes (you'll notice how a certain type of theme or emotion is always described in someways similar type of composition, instrumentation, chords or rhythm/tempo).&#xD;&#xA;&#xD;&#xA;To the question of layering, just use your ears to determine what sounds correct, that's all there is.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33123" PostHistoryTypeId="5" PostId="20306" RevisionGUID="302e047d-70b8-48cb-8f68-53133cc4b1f9" CreationDate="2013-09-07T19:38:50.857" UserId="6448" Comment="added 19 characters in body" Text="By doing what you think is right, interesting or emotional. While you can read psychology and stuff and theorize, what there really is, when creating, is only you.&#xD;&#xA;&#xD;&#xA;All art forms are either self-expression or collective expression (the sum of many individual self-expressions that have communicated with each other).&#xD;&#xA;&#xD;&#xA;There are many sound design conventions that humans have learned to recognize. I.e. using certain or certain type of sounds, rhythm/timing, harmonic properties and contrapunction creates the same type of emotional impact every time. Listen to e.g. movie trailers, many of them sound very similar (Why? Because they're effective that way.). Or listen to movie music and the emotions it describes (you'll notice how a certain type of theme or emotion is often described in someways similar type of composition, instrumentation, chords or rhythm/tempo).&#xD;&#xA;&#xD;&#xA;To the question of layering, just use your ears to determine what sounds correct and good, and try different things, that's all there is.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33124" PostHistoryTypeId="2" PostId="20307" RevisionGUID="c8deb9a6-feb5-46ef-8128-2199c1e42993" CreationDate="2013-09-08T05:18:16.227" UserId="6425" Text="http://m.youtube.com/watch?v=bkk2H3Ztrfk&amp;desktop_uri=%2Fwatch%3Fv%3Dbkk2H3Ztrfk&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Hello everybody! Any idea how the ostinato lead sound was made? &#xD;&#xA;&#xD;&#xA;For me it sounds kinda like a organ. Maybe fm.&#xD;&#xA;The interesting part is the change in the sound troughout the track which makes it realy evolving!&#xD;&#xA;&#xD;&#xA;Any starter ideas? Thx" ContentLicense="CC BY-SA 3.0" />
  <row Id="33125" PostHistoryTypeId="1" PostId="20307" RevisionGUID="c8deb9a6-feb5-46ef-8128-2199c1e42993" CreationDate="2013-09-08T05:18:16.227" UserId="6425" Text="Disclosure - White noise lead" ContentLicense="CC BY-SA 3.0" />
  <row Id="33126" PostHistoryTypeId="3" PostId="20307" RevisionGUID="c8deb9a6-feb5-46ef-8128-2199c1e42993" CreationDate="2013-09-08T05:18:16.227" UserId="6425" Text="&lt;sound-design&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33127" PostHistoryTypeId="2" PostId="20308" RevisionGUID="59795f89-8e0b-42a5-b782-d82d0561d5e8" CreationDate="2013-09-08T08:01:14.727" UserId="6425" Text="Try to find Rich harmonics with a weak fundamental like metalic Stuff! If Pitched correctly we Identity only One fundamental + a Lot of Obertones correlating to the fundamental =&gt; we hear One sound. &#xD;&#xA;&#xD;&#xA;Also in Electronic Music like Big room electro house an dubstep layering is very Common. The snaredrums are often a combinationnof drum machines, Real snares, foley, Noise and sqashed reverb to get One thick and interesting sound. &#xD;&#xA;&#xD;&#xA;Another interesting technique for Real Instruments is to Layer a Sinewave an octave underneath. If you Detune the sine, your will get some phasing going.&#xD;&#xA;&#xD;&#xA;Pitching and/or reversing the Cello and timestretching it back to original lenght will give a nice Layer too. &#xD;&#xA;&#xD;&#xA;... And so on gl!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33128" PostHistoryTypeId="2" PostId="20309" RevisionGUID="21560b13-6276-4cdd-a830-f95efba3aa13" CreationDate="2013-09-08T11:28:00.827" UserId="6448" Text="It's quite obviously a sound by frequency modulation synthesis, additive synthesis or a combination of FM or sampling on additive-like waveforms.&#xD;&#xA;&#xD;&#xA;Reasons:&lt;br&gt;&#xD;&#xA;1) The modulation varies by pitch&lt;br&gt;&#xD;&#xA;2) It's a FM type of sound (bell-like, metallic)&lt;br&gt;&#xD;&#xA;3) It's also an additive synthesis type of sound (the organ)&lt;br&gt;&#xD;&#xA;4) It's more reminiscent of synthetic (i.e pure) sound, rather than a real sampled instrument.&#xD;&#xA;&#xD;&#xA;It could be also resampled (i.e. recorded to sampler and then pitched by the sampler). Notice also the reverb." ContentLicense="CC BY-SA 3.0" />
  <row Id="33129" PostHistoryTypeId="5" PostId="20309" RevisionGUID="3e27a51f-58f1-45fe-8ca3-02d81d7294c6" CreationDate="2013-09-08T11:34:38.083" UserId="6448" Comment="added 163 characters in body" Text="It's quite obviously a sound by frequency modulation synthesis, additive synthesis or a combination of FM or sampling on additive-like waveforms.&#xD;&#xA;&#xD;&#xA;Reasons:&lt;br&gt;&#xD;&#xA;1) The modulation varies by pitch&lt;br&gt;&#xD;&#xA;2) It's a FM type of sound (bell-like, metallic)&lt;br&gt;&#xD;&#xA;3) It's also an additive synthesis type of sound (the organ)&lt;br&gt;&#xD;&#xA;4) It's more reminiscent of synthetic (i.e pure) sound, rather than a real sampled instrument.&#xD;&#xA;&#xD;&#xA;It could be also resampled (i.e. recorded to sampler and then pitched by the sampler). Notice also the reverb.&#xD;&#xA;&#xD;&#xA;Best approach would probably be to go through the presets of any FM synths that you may have and see if you can find something reminiscent. Then copy the parameters." ContentLicense="CC BY-SA 3.0" />
  <row Id="33130" PostHistoryTypeId="2" PostId="20310" RevisionGUID="4a1a1f4f-baba-4406-a93c-7a2adfaa23bf" CreationDate="2013-09-08T12:47:28.150" UserId="6425" Text="I have some Budget, so i wann's get a good Foley Mic. For now i tested Rode ngt2 and sennheiser mkh 416.&#xD;&#xA;&#xD;&#xA;Do you have some recomendations for an all around foley mic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33131" PostHistoryTypeId="1" PostId="20310" RevisionGUID="4a1a1f4f-baba-4406-a93c-7a2adfaa23bf" CreationDate="2013-09-08T12:47:28.150" UserId="6425" Text="Foley Mic recomendations &lt; 1500 Euro" ContentLicense="CC BY-SA 3.0" />
  <row Id="33132" PostHistoryTypeId="3" PostId="20310" RevisionGUID="4a1a1f4f-baba-4406-a93c-7a2adfaa23bf" CreationDate="2013-09-08T12:47:28.150" UserId="6425" Text="&lt;microphone&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33133" PostHistoryTypeId="2" PostId="20311" RevisionGUID="3ce272f5-5696-4b58-b901-a39740b581d4" CreationDate="2013-09-08T12:58:25.307" UserId="6443" Text="I will soon buy a tablet for a friend in Thailand. He needs it for skype-phonecalls and surfing. **And I need his help to record phrases in thai.** &#xD;&#xA;&#xD;&#xA;I have read that google nexus 7 has very good reviews and not so expensive. But in these reviews it seems that the sound-quality is a dissapointment. What is is meant with bad soundquality? - in which context? &#xD;&#xA;&#xD;&#xA;Should I worry about this when I just want a persons voice to be recorded?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;heres is the link to the review&#xD;&#xA;&#xD;&#xA;http://www.gsmarena.com/asus_google_nexus_7-review-797p6.php#aq" ContentLicense="CC BY-SA 3.0" />
  <row Id="33134" PostHistoryTypeId="1" PostId="20311" RevisionGUID="3ce272f5-5696-4b58-b901-a39740b581d4" CreationDate="2013-09-08T12:58:25.307" UserId="6443" Text="sound quality when recording sound with google nexus 7" ContentLicense="CC BY-SA 3.0" />
  <row Id="33135" PostHistoryTypeId="3" PostId="20311" RevisionGUID="3ce272f5-5696-4b58-b901-a39740b581d4" CreationDate="2013-09-08T12:58:25.307" UserId="6443" Text="&lt;recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33136" PostHistoryTypeId="2" PostId="20312" RevisionGUID="f1d37eb5-9b23-459c-a656-985ba86bbbf9" CreationDate="2013-09-08T16:04:12.127" UserId="1189" Text="From my experiences using my own Nexus 7 (first generation), I would imagine they are referring to the speakers rather than the microphone. They're quiet, positioned off-center and fairly low quality; probably the weakest spec out of the whole model.&#xD;&#xA;&#xD;&#xA;However, the tablet as a whole is a great piece of kit and you'd struggle to find anything anywhere near as good for the pricepoint, especially seeing as the 2012 model is available for around £139 now the new one is out." ContentLicense="CC BY-SA 3.0" />
  <row Id="33137" PostHistoryTypeId="2" PostId="20313" RevisionGUID="a90d9420-45a0-4faa-aea0-e37e995b8562" CreationDate="2013-09-08T16:24:31.567" UserId="6466" Text="I want to understand the rating of my Marantz PM6002 amp.&#xD;&#xA;&#xD;&#xA;The backplate says:&#xD;&#xA;&#xD;&#xA;    System 1: 4 - 16 Ohms&#xD;&#xA;    System 2: 4 - 16 Ohms&#xD;&#xA;    1 + 2   : 8 - 16 Ohms&#xD;&#xA;&#xD;&#xA;So looking at the backplate, am I within the stated rating if I connect a pair of speakers with nominal impedance of 8 Ohms on System 1.  I believe so as 8 Ohms in parallel (the left and right speakers will be in parallel right?) is 4 Ohms.  Am I correctly interpreting this?&#xD;&#xA;&#xD;&#xA;Second what happens if I connect the same to System 2 at the same time?  Will this put too much load on the amplifier?  Would this then be the equivalent of 4 x 8 Ohm speakers in parallel i.e. only 2 Ohms.  This would mean the speakers would be sucking too much power from the amplifier making it potentially run too hot?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33138" PostHistoryTypeId="1" PostId="20313" RevisionGUID="a90d9420-45a0-4faa-aea0-e37e995b8562" CreationDate="2013-09-08T16:24:31.567" UserId="6466" Text="Amplifier Power Ratings" ContentLicense="CC BY-SA 3.0" />
  <row Id="33139" PostHistoryTypeId="3" PostId="20313" RevisionGUID="a90d9420-45a0-4faa-aea0-e37e995b8562" CreationDate="2013-09-08T16:24:31.567" UserId="6466" Text="&lt;speakers&gt;&lt;power&gt;&lt;amplifier&gt;&lt;impedance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33140" PostHistoryTypeId="2" PostId="20314" RevisionGUID="8430cb8c-e370-4bd7-a09a-f63f4b344ca2" CreationDate="2013-09-08T17:04:51.317" UserId="1189" Text="I hope that, like me, you're all enjoying the new SSD format. I have another question about sales pipelines that I hope you might be able to help me with.&#xD;&#xA;&#xD;&#xA;When the dedicated sound design projects aren't coming in thick and fast, what other avenues do you guys explore that have cross-transferable sound design skills, if any?&#xD;&#xA;&#xD;&#xA;For example, I do a little freelance live sound engineering when I get a chance, as well as some DJing too. I find a lot of the skills I've picked up through my education and experience of sound design come in handy here.&#xD;&#xA;&#xD;&#xA;Are there opportunities for other forms of audio editing or general technical work available? What about things like lecturing or writing for trade publications? As I say, I'm curious if there's anything I haven't considered at all." ContentLicense="CC BY-SA 3.0" />
  <row Id="33141" PostHistoryTypeId="1" PostId="20314" RevisionGUID="8430cb8c-e370-4bd7-a09a-f63f4b344ca2" CreationDate="2013-09-08T17:04:51.317" UserId="1189" Text="Secondary forms of revenue as a sound designer" ContentLicense="CC BY-SA 3.0" />
  <row Id="33142" PostHistoryTypeId="3" PostId="20314" RevisionGUID="8430cb8c-e370-4bd7-a09a-f63f4b344ca2" CreationDate="2013-09-08T17:04:51.317" UserId="1189" Text="&lt;business&gt;&lt;work&gt;&lt;projects&gt;&lt;income&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33143" PostHistoryTypeId="2" PostId="20315" RevisionGUID="72a1caf4-30d6-4b92-a8eb-8790d93607b7" CreationDate="2013-09-08T18:10:43.937" UserId="6448" Text="Apart from strictly &quot;audio production work&quot;:&#xD;&#xA;&#xD;&#xA;• Selling sound effects and sound effects or sample libraries&lt;br&gt;&#xD;&#xA;• Preset design for musical instrument or audio effects plug-in developers&lt;br&gt;&#xD;&#xA;• Marketing for musical instrument and audio gear manufacturers&lt;br&gt;&#xD;&#xA;• Renting recording gear and studio facilities&lt;br&gt;&#xD;&#xA;• Acoustical consultation and studio design/building (but you need to be versed in acoustics to do this)&lt;br&gt;&#xD;&#xA;• Music technology sales work" ContentLicense="CC BY-SA 3.0" />
  <row Id="33144" PostHistoryTypeId="5" PostId="20315" RevisionGUID="dc5775f0-5b8a-4ba1-9bbc-9990253c00d9" CreationDate="2013-09-08T18:22:08.293" UserId="6448" Comment="added 214 characters in body" Text="Apart from strictly &quot;audio production work&quot;:&#xD;&#xA;&#xD;&#xA;• Selling sound effects and sound effects or sample libraries&lt;br&gt;&#xD;&#xA;• Preset design for musical instrument or audio effects plug-in developers&lt;br&gt;&#xD;&#xA;• Marketing for musical instrument and audio gear manufacturers&lt;br&gt;&#xD;&#xA;• Renting recording gear and studio facilities&lt;br&gt;&#xD;&#xA;• Acoustical consultation and studio design/building (but you need to be versed in acoustics to do this)&lt;br&gt;&#xD;&#xA;• Music technology sales work&lt;br&gt;&#xD;&#xA;• Writing for music/audio magazines or web publications (but you should have some knowledge about journalism)&lt;br&gt;&#xD;&#xA;• Teaching (doable as a private practitioner, but for public institutions need to be a &quot;recognized professional&quot;. In universities a PhD in the subject domain is mandatory for full-time teaching.)." ContentLicense="CC BY-SA 3.0" />
  <row Id="33145" PostHistoryTypeId="5" PostId="20315" RevisionGUID="bf91f7ba-c7f1-4a4d-b6ff-dbd8d1a77734" CreationDate="2013-09-08T18:27:36.017" UserId="6448" Comment="added 214 characters in body" Text="Apart from strictly &quot;audio production work&quot;:&#xD;&#xA;&#xD;&#xA;• Selling sound effects and sound effects or sample libraries&lt;br&gt;&#xD;&#xA;• Preset design for musical instrument or audio effects plug-in developers&lt;br&gt;&#xD;&#xA;• Marketing for musical instrument and audio gear manufacturers&lt;br&gt;&#xD;&#xA;• Renting recording gear and studio facilities&lt;br&gt;&#xD;&#xA;• Acoustical consultation and studio design/building (but you need to be versed in acoustics to do this)&lt;br&gt;&#xD;&#xA;• Music technology sales work&lt;br&gt;&#xD;&#xA;• Writing for music/audio magazines or web publications (but you should have some knowledge about journalism)&lt;br&gt;&#xD;&#xA;• Teaching/lecturing (doable as a private practitioner, but for public institutions as well as trade shows need to be a &quot;recognized professional&quot; or pass the &quot;job interview&quot; or paper/application filtering in other ways. In universities a PhD in the subject domain is mandatory for full-time teaching.)." ContentLicense="CC BY-SA 3.0" />
  <row Id="33146" PostHistoryTypeId="5" PostId="20315" RevisionGUID="8a9cf14e-6d02-40c9-bef5-7851f3cf5a5b" CreationDate="2013-09-08T18:34:39.937" UserId="6448" Comment="added 14 characters in body" Text="Apart from strictly &quot;audio production work&quot;:&#xD;&#xA;&#xD;&#xA;• Selling sound effects and sound effects or sample libraries&lt;br&gt;&#xD;&#xA;• Preset design for musical instrument or audio effects plug-in developers&lt;br&gt;&#xD;&#xA;• Marketing for musical instrument and audio gear manufacturers&lt;br&gt;&#xD;&#xA;• Renting recording gear and studio facilities&lt;br&gt;&#xD;&#xA;• Acoustical consultation and studio design/building (but you need to be versed in acoustics to do this)&lt;br&gt;&#xD;&#xA;• Music technology sales work&lt;br&gt;&#xD;&#xA;• Writing for music/audio magazines or web publications (but you should have some knowledge about journalism)&lt;br&gt;&#xD;&#xA;• Teaching/lecturing (doable as a private practitioner, but for public institutions as well as trade shows or symposiums need to be a &quot;recognized professional&quot; or pass the &quot;job interview&quot; or paper/application filtering in other ways. In universities a PhD in the subject domain is mandatory for full-time teaching.)." ContentLicense="CC BY-SA 3.0" />
  <row Id="33147" PostHistoryTypeId="2" PostId="20316" RevisionGUID="f05ad454-a621-4ef7-b889-23c22f4fde71" CreationDate="2013-09-08T19:25:02.533" UserId="6432" Text="My favorite was Vokator but NI discontinued it. Why... oh why.." ContentLicense="CC BY-SA 3.0" />
  <row Id="33148" PostHistoryTypeId="5" PostId="20315" RevisionGUID="ed51027c-5173-4fef-a182-4b9f8f1703fd" CreationDate="2013-09-08T19:42:14.787" UserId="6448" Comment="added 62 characters in body" Text="Apart from strictly &quot;audio production work&quot;:&#xD;&#xA;&#xD;&#xA;• Selling sound effects and sound effects or sample libraries&lt;br&gt;&#xD;&#xA;• Preset design for musical instrument or audio effects plug-in developers&lt;br&gt;&#xD;&#xA;• Marketing for musical instrument and audio gear manufacturers&lt;br&gt;&#xD;&#xA;• Renting recording gear and studio facilities&lt;br&gt;&#xD;&#xA;• Acoustical consultation and studio design/building (but you need to be versed in acoustics to do this)&lt;br&gt;&#xD;&#xA;• Music technology sales work&lt;br&gt;&#xD;&#xA;• Writing for music/audio magazines or web publications (but you should have some knowledge about journalism)&lt;br&gt;&#xD;&#xA;• Teaching/lecturing (doable as a private practitioner, but for public institutions as well as trade shows or symposiums need to be a &quot;recognized professional&quot; or pass the &quot;job interview&quot; or paper/application filtering in other ways. Good pedagogical and conversational skills as well obviously. In universities a PhD in the subject domain is mandatory for full-time teaching.)." ContentLicense="CC BY-SA 3.0" />
  <row Id="33149" PostHistoryTypeId="2" PostId="20317" RevisionGUID="18cdaac6-6824-4f56-b914-c651416b8a98" CreationDate="2013-09-08T19:57:07.483" UserId="6432" Text="I'd love to hear some opinions on, or recordings made with these. The specs look good, especially that 9 to 11dB-A self noise across the range of capsules. I'm thinking these could make a good multipurpose XY pair for recording both ambiance and fx.  &#xD;&#xA;&#xD;&#xA;[From the AKG site.][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.akg.com/ULS+Series-791.html?pid=1386" ContentLicense="CC BY-SA 3.0" />
  <row Id="33150" PostHistoryTypeId="1" PostId="20317" RevisionGUID="18cdaac6-6824-4f56-b914-c651416b8a98" CreationDate="2013-09-08T19:57:07.483" UserId="6432" Text="Has anyone tried the AKG ULS series" ContentLicense="CC BY-SA 3.0" />
  <row Id="33151" PostHistoryTypeId="3" PostId="20317" RevisionGUID="18cdaac6-6824-4f56-b914-c651416b8a98" CreationDate="2013-09-08T19:57:07.483" UserId="6432" Text="&lt;field-recording&gt;&lt;microphone&gt;&lt;self-noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33152" PostHistoryTypeId="2" PostId="20318" RevisionGUID="534937f9-3060-4f5e-97b3-ee1781785aca" CreationDate="2013-09-08T20:36:34.277" UserId="6437" Text="WHen you get to the point of exporting the sound into a WAV or an MP3, does it involve the machine's sound card in the rendering of the sound into file? I would guess that the CPU handles the export process alone and it's possible to export a track without having a sound card on the machine (just like with video editing and image render)..." ContentLicense="CC BY-SA 3.0" />
  <row Id="33153" PostHistoryTypeId="1" PostId="20318" RevisionGUID="534937f9-3060-4f5e-97b3-ee1781785aca" CreationDate="2013-09-08T20:36:34.277" UserId="6437" Text="Exporting sounds - is it done by processor alone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33154" PostHistoryTypeId="3" PostId="20318" RevisionGUID="534937f9-3060-4f5e-97b3-ee1781785aca" CreationDate="2013-09-08T20:36:34.277" UserId="6437" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33155" PostHistoryTypeId="2" PostId="20319" RevisionGUID="111c0bd7-0663-4695-9c05-6e590c4b082a" CreationDate="2013-09-08T20:49:46.653" UserId="6448" Text="The sound card is an I/O device, it only processes outgoing audio from or incoming audio to the computer chipset.&#xD;&#xA;&#xD;&#xA;A file export happens entirely on the chipset, it's not output. Therefore a file export operates by processing on the CPU and reading/writing from and to memory (or swap disk / virtual memory) and finally saves to the hard disk.&#xD;&#xA;&#xD;&#xA;Some software may prohibit using export functions though, if there's no audio card, because the software may consider itself non-functional in that case. E.g. Pro Tools might do this." ContentLicense="CC BY-SA 3.0" />
  <row Id="33156" PostHistoryTypeId="5" PostId="20319" RevisionGUID="eaac52b5-9886-4083-a2c3-89cd17d40d4a" CreationDate="2013-09-08T20:54:47.580" UserId="6448" Comment="added 9 characters in body" Text="The sound card is an I/O device, it only processes outgoing audio from or incoming audio to the computer chipset.&#xD;&#xA;&#xD;&#xA;A file export happens entirely on the chipset, it's not output. Therefore a file export operates by processing on the CPU and reading/writing from and to memory (or swap disk / virtual memory) and finally saves to the hard disk.&#xD;&#xA;&#xD;&#xA;Some software may prohibit using export functions though, if there's no audio card (at all), because the software may consider itself non-functional in that case. E.g. Pro Tools might do this." ContentLicense="CC BY-SA 3.0" />
  <row Id="33157" PostHistoryTypeId="2" PostId="20320" RevisionGUID="d7146a44-223d-4121-8bf4-e6e3cd94d197" CreationDate="2013-09-08T21:07:24.210" UserDisplayName="user49" Text="@0-5pirc is great advice&#xD;&#xA;&#xD;&#xA;I would also suggest working in stems ie sets of tracks, so you can control the multiple tracks feeding each stem as a group eg&#xD;&#xA;&#xD;&#xA; - FXA Impact&#xD;&#xA;&#xD;&#xA; - FXB Debris&#xD;&#xA;&#xD;&#xA; - FXC Movement&#xD;&#xA;&#xD;&#xA; - FXD Tonal&#xD;&#xA;&#xD;&#xA;each stem might have eg 8 or mre tracks feeding it, but it could make eg mixing/crossing between real elements and subjective/tonal elements easier to experiment with...&#xD;&#xA;&#xD;&#xA;Also do try experimenting with related sounds eg ice cracks, pitched glass breaks etc.... The different frequency range may be helpful" ContentLicense="CC BY-SA 3.0" />
  <row Id="33158" PostHistoryTypeId="2" PostId="20321" RevisionGUID="324596a2-98c6-4dec-a029-943c12732eeb" CreationDate="2013-09-08T21:45:44.357" UserId="6469" Text="I ask that simple question in google &quot;best pitchshift for sound design ?&quot;, and finally the first response was this page . Great, but I saw it was in 2010... So What's up in 2013 ?&#xD;&#xA;&#xD;&#xA;Personnally :&#xD;&#xA;&#xD;&#xA;1. Audiosculpt far away (3 octaves makes musical effects not so aliased), but it's not a plugin. Needs more time.&#xD;&#xA;&#xD;&#xA;2. Melodyne is incredible for &quot;vocal-like&quot; sounds, and the possibilities to reconstruct a sound in a natural way are amazing. &#xD;&#xA;&#xD;&#xA;3. Wave Soundshifter and Ptich'n'time are really useful and sounds good&#xD;&#xA;4. Analog has no digitals problems. Needs Time and Denoising. So I didn't used it for long, but I'd like.&#xD;&#xA;&#xD;&#xA;And You ?&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33159" PostHistoryTypeId="2" PostId="20322" RevisionGUID="c7e3a3b9-5e61-4086-b906-ebc0ee35fd14" CreationDate="2013-09-08T22:50:49.880" UserId="6448" Text="What does &quot;sound&quot; really refer to in &quot;sound design&quot; or &quot;sound editing&quot;?&#xD;&#xA;&#xD;&#xA;Options:&lt;br&gt;&#xD;&#xA;-Singular, a single sound (could be said about 'sound design')&lt;br&gt;&#xD;&#xA;-Abstract noun, &quot;continuous&quot; sound (probably clear in the case of 'sound editing', but can also be read from 'sound design'. This is [strangely?] also what 'sound design' practically refers to.)&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Is it clear, which one is referred?&#xD;&#xA;&#xD;&#xA;(As a non-native speaker I may also get it wrong)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33160" PostHistoryTypeId="1" PostId="20322" RevisionGUID="c7e3a3b9-5e61-4086-b906-ebc0ee35fd14" CreationDate="2013-09-08T22:50:49.880" UserId="6448" Text="Semantics of &quot;sound&quot; in &quot;sound design/editing&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33161" PostHistoryTypeId="3" PostId="20322" RevisionGUID="c7e3a3b9-5e61-4086-b906-ebc0ee35fd14" CreationDate="2013-09-08T22:50:49.880" UserId="6448" ContentLicense="CC BY-SA 3.0" />
  <row Id="33162" PostHistoryTypeId="5" PostId="20322" RevisionGUID="4b544f7b-13c6-404c-bf24-a3386e213938" CreationDate="2013-09-08T23:00:32.683" UserId="6448" Comment="added 8 characters in body" Text="What does &quot;sound&quot; really refer to in &quot;sound design&quot; or &quot;sound editing&quot;?&#xD;&#xA;&#xD;&#xA;Options:&lt;br&gt;&#xD;&#xA;-Singular count noun, a single sound (could be said about 'sound design')&lt;br&gt;&#xD;&#xA;-Abstract or mass noun, &quot;continuous&quot; sound (probably clear in the case of 'sound editing', but can also be read from 'sound design'. This is [strangely?] also what 'sound design' practically refers to.)&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Is it clear, which one is referred?&#xD;&#xA;&#xD;&#xA;(As a non-native speaker I may also get it wrong)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33163" PostHistoryTypeId="2" PostId="20323" RevisionGUID="33c4a3d6-9819-4a2b-a3d0-0142fbffac51" CreationDate="2013-09-09T01:03:33.090" UserId="37" Text="- a particular (single) sound effect (pl. sounds)&#xD;&#xA;- blend of multiple sound effects to produce a &quot;designed&quot; sound (pl. sounds)&#xD;&#xA;- the &quot;sound&quot; of a shot or segment or scene (e.g. quiet, bright, etc)&#xD;&#xA;- the overall stylistic palette for the sound to a body of work (e.g. your favourite movie re sound)&#xD;&#xA;&#xD;&#xA;in different instances it refers to different things, which you infer from context. &#xD;&#xA;&#xD;&#xA;don't obsess over it?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33164" PostHistoryTypeId="2" PostId="20324" RevisionGUID="7d6cc2f3-e779-46d2-9963-83bb145884dc" CreationDate="2013-09-09T01:07:13.853" UserId="37" Text="on dsp-accelerated software (pro tools hdx) it _may_ involve the dsp chips, so that you get bit-accurate representation of what you were originally listening to. most of the time an audio interface is simply a way to transform the (already computed) data into audible sound. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33165" PostHistoryTypeId="2" PostId="20325" RevisionGUID="fab4cec1-0495-433f-af2d-35e2ca6837d0" CreationDate="2013-09-09T04:53:26.547" UserId="3396" Text="I use those two things on the side of my head. You should too." ContentLicense="CC BY-SA 3.0" />
  <row Id="33166" PostHistoryTypeId="5" PostId="20310" RevisionGUID="71b31208-3322-471a-86b1-bc7603797602" CreationDate="2013-09-09T05:51:31.860" UserDisplayName="user80" Comment="Grammar" Text="I have some Budget, so i want to get a good Foley Mic. For now I tested the Rode ngt2 and sennheiser mkh 416.&#xD;&#xA;&#xD;&#xA;Do you have any recomendations for an all around foley mic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33167" PostHistoryTypeId="2" PostId="20326" RevisionGUID="8b1b471d-bb6c-4edd-b9ef-4bb96fee8a5f" CreationDate="2013-09-09T05:54:08.073" UserDisplayName="user80" Text="You have a wide range to choose from, my first choice would be the AKG 414 XLS, which is well within your budget.&#xD;&#xA;&#xD;&#xA;http://www.akg.com/C414+XLS-1039.html?pid=1024" ContentLicense="CC BY-SA 3.0" />
  <row Id="33168" PostHistoryTypeId="2" PostId="20327" RevisionGUID="f697572b-c2b2-4d52-b3cb-8a22ea28566a" CreationDate="2013-09-09T07:37:21.653" UserId="6473" Text="If you read Zen Baggage from Red Pine (Bill Porter), you will read about how he perceives&#xD;&#xA;the Zen monastery and its activities centered around certain sounds, first of all bells.&#xD;&#xA;There is a strict schedule to be followed and the sounds are crucial in keeping to that." ContentLicense="CC BY-SA 3.0" />
  <row Id="33169" PostHistoryTypeId="2" PostId="20328" RevisionGUID="9e56b8fc-2854-4eea-86b1-bcd2118affb2" CreationDate="2013-09-09T07:55:44.643" UserId="6425" Text="Ok here is my go:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;in my sound design training, i was told that the real meaning of sound design is the manipulation of sound files evoke a desired emotion in the listeners.&#xD;&#xA;&#xD;&#xA;so sound design is more about a single sound file rather the general meaning of sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;there is another field of work that is called audio design. audio design is a science that tries to manipulates the whole chain between sound source and listener. so it is more about the general meaning of sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;sound design &lt;-&gt; designing single sound files&#xD;&#xA;&#xD;&#xA;audio design &lt;-&gt; designing the general sound around listeners&#xD;&#xA;&#xD;&#xA;psycho-akustiks &lt;-&gt; trying to find a connection between physical sonic waves and the emotion they evoke in people &#xD;&#xA;&#xD;&#xA;hope that helps&#xD;&#xA;peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="33170" PostHistoryTypeId="5" PostId="20263" RevisionGUID="c7f98c9e-8c9b-4440-a17e-8d048ba0790a" CreationDate="2013-09-09T09:23:33.813" UserId="1216" Comment="added some more examples" Text="*(even surpassing the role of any visuals, although practically this is an impossibility, because soundtracks don't exist in isolation)?*&#xD;&#xA;&#xD;&#xA;well they do! :) &quot;War of the worlds&quot; (the radioplay from 1938) had an enormous effect on society. Never before was a medium able to scare so many people (to the actual point of fleeing the city, some say).&#xD;&#xA;Whether it was the story or the sound design, i'm not certain. Sound design, wasn't 'around' back then. Although many will disagree :)&#xD;&#xA;&#xD;&#xA;I'll think a bit more for other examples, great question!&#xD;&#xA;&#xD;&#xA;Some more examples, besides the obvious signal sounds:  &#xD;&#xA;Car (the sound of doors closing, etc). Associaton='safety,transport,luxury (bmw, mercedes)'  &#xD;&#xA;Harley exhaust (everyone recognizes that in the western world). Association='bikers,freedom,route66,easy rider'  &#xD;&#xA;Senseo coffeemachine (designed by Philips, has a particular sound to the pump). Association 'coffee!, more coffee!, personally i detest senseo coffe.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33171" PostHistoryTypeId="2" PostId="20329" RevisionGUID="2e8a8093-39e2-4a59-add7-1877bd4aedd6" CreationDate="2013-09-09T14:28:41.813" UserId="6476" Text="Get two!&#xD;&#xA;&#xD;&#xA;Suggest TLM 103 - (super quiet) &amp;&#xD;&#xA;&#xD;&#xA;Small dia MKH416 (which has all sorts of other uses too (obviously!))&#xD;&#xA;&#xD;&#xA;Buy 2nd hand and you might be on budget&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;rich" ContentLicense="CC BY-SA 3.0" />
  <row Id="33180" PostHistoryTypeId="2" PostId="20330" RevisionGUID="8a3d9b67-c330-49d4-9d72-9b6b6f788688" CreationDate="2013-09-09T17:44:55.300" UserId="5880" Text="Such an excellent film!  I loved the opening sequence; the way the foreground sounds froze with the picture but the background elements continued to play was really powerful, both on its own stand-alone merit as a scene, and in the manner in which it introduces you to the way certain sound elements will be isolated and enhanced throughout the film.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33181" PostHistoryTypeId="5" PostId="19608" RevisionGUID="38282f89-f213-4a99-8354-79d87acec197" CreationDate="2013-09-09T19:53:00.083" UserId="1185" Comment="corrected spelling" Text="If you characterise your blu-rays by genre (sci-fi, action, drama, animation, etc.) then it will help you work out the important aspects of the sound for each.&#xD;&#xA;&#xD;&#xA;PS I always liked the sound in Terminator films (sci-fi/action)." ContentLicense="CC BY-SA 3.0" />
  <row Id="33182" PostHistoryTypeId="2" PostId="20331" RevisionGUID="a48fe86b-9bc6-4aa3-b8a4-9ae2cac4d9e5" CreationDate="2013-09-09T20:41:02.237" UserId="6392" Text="The never ending list.&#xD;&#xA;&#xD;&#xA;Bug's Life - foley is fantastic&#xD;&#xA;&#xD;&#xA;Scott Pilgrim vs The World - crazy fun&#xD;&#xA;&#xD;&#xA;Hanna - I really like how sound design and score are blurred together&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33183" PostHistoryTypeId="2" PostId="20332" RevisionGUID="b1183c9c-3b09-45d6-bcdd-105cd765fc82" CreationDate="2013-09-09T20:44:18.990" UserId="6448" Text="What kind of machines, environments and other projects have you come across that you consider to be interesting in terms of how humans (spontaneously?) shape their environment to sound in a particular way? &#xD;&#xA;&#xD;&#xA;What makes this particular example cool/interesting? &#xD;&#xA;&#xD;&#xA;What do you think is the (general) purpose (if it's not self-evident)? Or how do you perceive it?&#xD;&#xA;&#xD;&#xA;Would also be interesting to make some distinction between commercial and non-commercial, because they tend to have slightly different goals." ContentLicense="CC BY-SA 3.0" />
  <row Id="33184" PostHistoryTypeId="1" PostId="20332" RevisionGUID="b1183c9c-3b09-45d6-bcdd-105cd765fc82" CreationDate="2013-09-09T20:44:18.990" UserId="6448" Text="Most interesting industrial or environmental sound design (you've come across)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33185" PostHistoryTypeId="3" PostId="20332" RevisionGUID="b1183c9c-3b09-45d6-bcdd-105cd765fc82" CreationDate="2013-09-09T20:44:18.990" UserId="6448" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33186" PostHistoryTypeId="5" PostId="20332" RevisionGUID="07573a5e-a4d2-43c5-9447-f4766c5c6d9f" CreationDate="2013-09-09T20:50:19.793" UserId="6448" Comment="added 228 characters in body" Text="What kind of machines, devices, environments and other projects have you come across that you consider to be particularly interesting in terms of how humans (spontaneously?) shape their environment to sound in a particular way? We might exclude stuff like mobile phones, computers and electronic entertainment devices, because they tend to be quite common, unless there's something particularly interesting someone wants to point out.&#xD;&#xA;&#xD;&#xA;What makes this particular example cool/interesting? &#xD;&#xA;&#xD;&#xA;What do you think is the (general) purpose (if it's not self-evident)? Or how do you perceive it?&#xD;&#xA;&#xD;&#xA;Would also be interesting to make some distinction between commercial and non-commercial, because they tend to have slightly different goals." ContentLicense="CC BY-SA 3.0" />
  <row Id="33187" PostHistoryTypeId="5" PostId="20332" RevisionGUID="a7b179b9-4d4c-484e-8e6f-f76b75442e9f" CreationDate="2013-09-09T23:01:09.993" UserId="6448" Comment="added 37 characters in body" Text="What kind of machines, devices, environments and other projects have you come across that you consider to be particularly interesting in terms of how humans (spontaneously?) shape their environment to sound in a particular way? We might exclude stuff like mobile phones, computers and electronic entertainment devices, because they tend to be quite common, unless there's something particularly interesting someone wants to point out.&#xD;&#xA;&#xD;&#xA;What makes this particular example cool/interesting? &#xD;&#xA;&#xD;&#xA;What do you think is the (general) purpose (if it's not self-evident) of the sound in this particular case? Or how do you perceive it?&#xD;&#xA;&#xD;&#xA;Would also be interesting to make some distinction between commercial and non-commercial, because they tend to have slightly different goals." ContentLicense="CC BY-SA 3.0" />
  <row Id="33188" PostHistoryTypeId="2" PostId="20333" RevisionGUID="2bd62ab3-13fa-4466-82d4-97a747489972" CreationDate="2013-09-09T23:07:39.797" UserId="6448" Text="History and cultural background and purpose of sound design.&#xD;&#xA;&#xD;&#xA;I think there just might be a tendency to focus too much on either technique, application or student self-practice/self-development.&#xD;&#xA;&#xD;&#xA;But from the perspective of culture and humanity, understanding what purpose sound design and art plays to people, seeing significant works of art and having discussions about their meaning, might just have much more significant impact on students than any of the pragmatic things and techniques that can be &quot;always be learned&quot; and which, in the end, are mechanical. To get them to think about what they're really studying in the grand scheme of things and why. And for them to possibly gain appreciation for sound design that's &quot;(culturally) significant&quot; through seeing the great works of the past that are recognized as significant in some way." ContentLicense="CC BY-SA 3.0" />
  <row Id="33189" PostHistoryTypeId="5" PostId="20333" RevisionGUID="4af5c23a-98dc-4422-89e5-c211aa3d6040" CreationDate="2013-09-09T23:13:25.977" UserId="6448" Comment="deleted 3 characters in body" Text="History, cultural background and &quot;the purpose&quot; of sound design.&#xD;&#xA;&#xD;&#xA;I think there just might be a tendency to focus too much on either technique, application or student self-practice/self-development.&#xD;&#xA;&#xD;&#xA;But from the perspective of culture and humanity, understanding what purpose sound design and art plays to people, seeing significant works of art and having discussions about their meaning, might just have much more significant impact on students than any of the pragmatic things and techniques that can &quot;always be learned&quot; and which, in the end, are mechanical. To get them to think about what they're really studying and dealing with in the grand scheme of things and why. And for them to possibly gain appreciation for sound design that's &quot;(culturally) significant&quot; through seeing the great works of the past that are recognized as significant in some way." ContentLicense="CC BY-SA 3.0" />
  <row Id="33190" PostHistoryTypeId="2" PostId="20334" RevisionGUID="bf726946-e0a2-4092-9776-59115185690d" CreationDate="2013-09-10T04:02:53.233" UserId="6399" Text="I would personally teach them client/supervisor interaction skills.  Along the same lines as what jeremyscottolsen said.  Real world situations or as close to that as you can get.  Many people can fiddle with knobs, sounds and patches for hours and figure out how to make it work.   But can you do it with a deadline approaching, 4-8 people sitting behind you, last minute direction changes and sometimes conflicting feedback?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33191" PostHistoryTypeId="2" PostId="20335" RevisionGUID="a8c001c7-e496-4c1a-b521-dcfdf42aaf27" CreationDate="2013-09-10T07:00:16.320" UserId="6425" Text="During the course: create a soundlibrary some Sounds or Exempels in School and a Lot of Samples as homework. A Lot Lot Lot of Samples! So You See if they are motivated enough! " ContentLicense="CC BY-SA 3.0" />
  <row Id="33195" PostHistoryTypeId="6" PostId="19085" RevisionGUID="6606aea0-ee2d-4290-8e91-e83775f56f98" CreationDate="2013-09-10T13:21:06.067" UserId="6387" Comment="edited tags" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33199" PostHistoryTypeId="6" PostId="20262" RevisionGUID="e68d4182-cb0c-468e-8168-a66bd3a197a2" CreationDate="2013-09-10T13:26:22.090" UserId="6387" Comment="edited tags" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33200" PostHistoryTypeId="6" PostId="19481" RevisionGUID="e1d766bc-b99f-45c0-8f66-08332383929d" CreationDate="2013-09-10T13:26:54.030" UserId="6387" Comment="edited tags" Text="&lt;field-recording&gt;&lt;location&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33201" PostHistoryTypeId="6" PostId="20011" RevisionGUID="ee7df53c-e520-4c27-af0a-57df0f6c52f2" CreationDate="2013-09-10T13:27:53.893" UserId="6387" Comment="edited tags" Text="&lt;recording&gt;&lt;safety&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33202" PostHistoryTypeId="6" PostId="19216" RevisionGUID="ebb53b9e-1f6b-4cdd-88f2-279d44108ba1" CreationDate="2013-09-10T13:28:36.507" UserId="6387" Comment="edited tags" Text="&lt;pro-tools&gt;&lt;ipad&gt;&lt;midi&gt;&lt;automation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33203" PostHistoryTypeId="6" PostId="19066" RevisionGUID="3dffeeb9-8d08-4959-9234-3483f6430717" CreationDate="2013-09-10T13:29:21.180" UserId="6387" Comment="edited tags" Text="&lt;convolution&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33204" PostHistoryTypeId="6" PostId="19463" RevisionGUID="c19bcdff-5fff-413e-8834-8fe088e3bd0e" CreationDate="2013-09-10T13:35:45.067" UserId="6387" Comment="edited tags" Text="&lt;pro-tools-11&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33205" PostHistoryTypeId="6" PostId="19507" RevisionGUID="47c8e713-0dfe-4cad-af11-f9b045b60f20" CreationDate="2013-09-10T13:36:23.053" UserId="6387" Comment="edited tags" Text="&lt;pro-tools-9&gt;&lt;pro-tools-10&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33206" PostHistoryTypeId="6" PostId="19132" RevisionGUID="b21efc29-96a8-4dbe-89ca-1e2bb7968de4" CreationDate="2013-09-10T13:36:41.507" UserId="6387" Comment="edited tags" Text="&lt;pro-tools-10&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33207" PostHistoryTypeId="6" PostId="15799" RevisionGUID="2bf88fc3-d27b-468e-ba7e-3f019056cdfb" CreationDate="2013-09-10T13:37:17.260" UserId="6387" Comment="edited tags" Text="&lt;sync&gt;&lt;pro-tools-10&gt;&lt;pro-tools-9&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33208" PostHistoryTypeId="6" PostId="15344" RevisionGUID="85e4586d-5e8d-4756-9486-a2e3e04b239d" CreationDate="2013-09-10T13:37:44.200" UserId="6387" Comment="edited tags" Text="&lt;gain&gt;&lt;pro-tools-10&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33209" PostHistoryTypeId="6" PostId="18766" RevisionGUID="211b5c56-5f68-4aa8-92e2-268f2f3a4add" CreationDate="2013-09-10T13:40:33.383" UserId="6387" Comment="edited tags" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33210" PostHistoryTypeId="6" PostId="19625" RevisionGUID="c5b337a1-c17e-4456-975b-44b5128a66ad" CreationDate="2013-09-10T13:41:21.747" UserId="6387" Comment="edited tags" Text="&lt;title&gt;&lt;graduate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33211" PostHistoryTypeId="6" PostId="19897" RevisionGUID="21bdb925-dcbc-490e-9bed-4e5a8cb7f56d" CreationDate="2013-09-10T13:41:55.717" UserId="6387" Comment="edited tags" Text="&lt;pro-tools&gt;&lt;tape&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33212" PostHistoryTypeId="6" PostId="20032" RevisionGUID="f4a852db-97e3-4c53-a2b0-b8c08a238e8a" CreationDate="2013-09-10T13:47:37.600" UserId="6387" Comment="edited tags" Text="&lt;mp3&gt;&lt;encoding&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33213" PostHistoryTypeId="6" PostId="18884" RevisionGUID="17899d26-9d79-45a4-a468-190322478bad" CreationDate="2013-09-10T13:51:00.083" UserId="6387" Comment="edited tags" Text="&lt;recorder&gt;&lt;zoom-h6&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33214" PostHistoryTypeId="2" PostId="20337" RevisionGUID="a4eb88fd-1591-4980-bd4c-68d3696f010a" CreationDate="2013-09-10T14:57:29.800" UserId="6425" Text="I do not understand the question 100%. But the most interesting industrial sound design for me are cars.&#xD;&#xA;&#xD;&#xA;Giving electric cars the sound of gasoline motors to prevent accidents (electric cars are very quiet and so confusing for people crossing the road etc.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33215" PostHistoryTypeId="2" PostId="20338" RevisionGUID="08239970-4982-4205-9fc2-2a0242e3ba82" CreationDate="2013-09-10T15:10:31.727" UserId="6399" Text="An Issue that may arise if going to consumer tape decks of any sort, Cassette or VCR is drift.  They don't run on the same quality clock and frame accurate sync isn't really needed.  I think when you import your files back in you would have some shots running slow and some fast.&#xD;&#xA;A Nagra or other high quality deck should work fine since you can resolove them to clock sources." ContentLicense="CC BY-SA 3.0" />
  <row Id="33217" PostHistoryTypeId="2" PostId="20339" RevisionGUID="6a2a9dee-5272-432e-80c7-36cd05273035" CreationDate="2013-09-11T05:03:18.230" UserId="6435" Text="Keep in mind that for a 1930s &quot;film&quot; sound what you want is optical film, not audio tape or VHS. Maybe see if someone has made a speakerphone impulse using optical (there is a VHS tape impulse available)." ContentLicense="CC BY-SA 3.0" />
  <row Id="33218" PostHistoryTypeId="2" PostId="20340" RevisionGUID="f1158adb-3de5-4695-b95d-0f5c6de81ebf" CreationDate="2013-09-11T07:09:57.153" UserId="6483" Text="There is a Newman Tempo Chart, which correlates various BPM with emotional feels of music. However I've yet to see a chart that correlates vibration frequency (pitch) and emotional/psychological triggers. That would be pretty cool to have access to.&#xD;&#xA;&#xD;&#xA;http://meanspeedmusic.com/2008/06/08/a-thousand-miles-vanessa-carlton-standard-calibrations-charts-james-n-neumann-standard-tempo-scale-applied/newman-standard-tempo-scale-meanspeed-music-co-3/" ContentLicense="CC BY-SA 3.0" />
  <row Id="33219" PostHistoryTypeId="5" PostId="20337" RevisionGUID="56fa2aae-a944-4cee-aaf6-686e8d812fbc" CreationDate="2013-09-11T09:25:06.103" UserId="6425" Comment="See Comments" Text="I understand now :D&#xD;&#xA;&#xD;&#xA;Giving electric cars the sound of gasoline motors to prevent accidents (electric cars are very quiet and so confusing for people crossing the road etc.)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33220" PostHistoryTypeId="2" PostId="20341" RevisionGUID="66495867-6154-4da1-a4d6-ab5b41e19edb" CreationDate="2013-09-11T09:49:24.530" UserId="6484" Text="I really like Diego Stocco and how he explores the world around him in order to compose his pieces. His works amplify exactly what has always been there- that we are surrounded by interesting wonderful sounds that when mic'ed, change in timbre and pitch which expose the diversity/complexity of these sounds. Using lapel mics and contact mics on trees, cups of coffee, percolators etc.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33221" PostHistoryTypeId="2" PostId="20342" RevisionGUID="28a67f4c-4cf8-47dc-ad9c-f2c82a3cdbfa" CreationDate="2013-09-11T10:58:18.690" UserId="1216" Text="Well, we have a long way to go, but here are some low tech solutions.&#xD;&#xA;&#xD;&#xA;One simple example of how the sound of an environment is enhanced is ofcourse a sound barrier near a highway. It blocks/reflects/disperses the sounds created by the cars. &#xD;&#xA;A more sophisticated example is the usage of big trees (like populus*) next to noisy places. In the Netherlands we have seen a lot of this type of architectural enhancements since the 80s/90s. &#xD;&#xA;Still there are more developments being made, research from acousticians is also used to create less reverberant places (or better said, better controlled reverb).&#xD;&#xA;&#xD;&#xA;*The populus is a very noisy tree and it masks the sound of engines/tires/airplanes very well. Other examples of masking are fountains (a new hype here in amsterdam, playground for kids, less noise experienced by residents." ContentLicense="CC BY-SA 3.0" />
  <row Id="33222" PostHistoryTypeId="2" PostId="20343" RevisionGUID="e856be2c-6db4-4cca-a346-d1d2cf831f93" CreationDate="2013-09-11T11:01:49.333" UserId="1216" Text="They look interesting, I haven't used them and I can't find any good reviews. &#xD;&#xA;But it seems like they are targeted/marketed to live sound technicians.&#xD;&#xA;And in regards to their 'ultra linear' claim, AKG don't offer any information in the form of frequency responses. I've read one post on gearslutz about the fact that AKG don't offer matched pairs either and that tolerances (mva and f response) are way off in this case.&#xD;&#xA;&#xD;&#xA;It seems like the only way to test them is renting and buying.." ContentLicense="CC BY-SA 3.0" />
  <row Id="33223" PostHistoryTypeId="2" PostId="20344" RevisionGUID="8cd095b0-e1ce-44c5-9b2a-7b857869ad56" CreationDate="2013-09-11T11:04:57.090" UserId="1216" Text="Do you have a good foley studio? If not buying a  TLM103 or other LDC will only create issues (a lot of bad acoustics in recordings).  (this is actually the reason for me to not buy a LDC at the moment).  &#xD;&#xA;Have you looked at getting a supercardiod like the sennheiser mkh(80)50 or other SDC's like schoeps mk40?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33224" PostHistoryTypeId="2" PostId="20345" RevisionGUID="8db5489d-525d-48d7-9966-e1f7cc18529e" CreationDate="2013-09-11T13:57:54.993" UserId="4442" Text="If you're looking at the NTG2, which i was, I was told by Watson Wu to just save up and get the ntg3. Searching around, it looks like he's right, it is a substantially better mic and not very expensive for the usability." ContentLicense="CC BY-SA 3.0" />
  <row Id="33225" PostHistoryTypeId="2" PostId="20346" RevisionGUID="32b0c01e-3d1d-4cb6-bd1c-628656ff85bd" CreationDate="2013-09-11T15:14:06.020" UserId="6437" Text="Any recommended sound design software for Linux? It doesnt have to be open source or free." ContentLicense="CC BY-SA 3.0" />
  <row Id="33226" PostHistoryTypeId="1" PostId="20346" RevisionGUID="32b0c01e-3d1d-4cb6-bd1c-628656ff85bd" CreationDate="2013-09-11T15:14:06.020" UserId="6437" Text="Any recommended sound design software for Linux?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33227" PostHistoryTypeId="3" PostId="20346" RevisionGUID="32b0c01e-3d1d-4cb6-bd1c-628656ff85bd" CreationDate="2013-09-11T15:14:06.020" UserId="6437" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33231" PostHistoryTypeId="2" PostId="20347" RevisionGUID="2ac7afb9-c87a-4347-b179-561403a73763" CreationDate="2013-09-11T22:26:00.937" UserId="6489" Text="I’m looking at buying a pair of 4060s or 4061s, though was just shocked to realise that to get them as XLR OPs Id need to spend another £160 for connectors!!!! Heading beyond my budget now.&#xD;&#xA;&#xD;&#xA;Can anyone suggest an alternative, cheaper pair of lav omnis that do a (near) equally good job??&#xD;&#xA;&#xD;&#xA;Im looking for them primarily as a discreet way of doing stereo field recording about the UK, as I’m sick of lugging around shotguns. &#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="33232" PostHistoryTypeId="1" PostId="20347" RevisionGUID="2ac7afb9-c87a-4347-b179-561403a73763" CreationDate="2013-09-11T22:26:00.937" UserId="6489" Text="DPA 4060/61 alternative" ContentLicense="CC BY-SA 3.0" />
  <row Id="33233" PostHistoryTypeId="3" PostId="20347" RevisionGUID="2ac7afb9-c87a-4347-b179-561403a73763" CreationDate="2013-09-11T22:26:00.937" UserId="6489" Text="&lt;recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33234" PostHistoryTypeId="2" PostId="20348" RevisionGUID="dedc26f9-63fa-4100-84d7-59053b907d9d" CreationDate="2013-09-11T22:28:25.170" UserId="6448" Text="Pure Data                       ." ContentLicense="CC BY-SA 3.0" />
  <row Id="33235" PostHistoryTypeId="2" PostId="20349" RevisionGUID="cc9ed195-2955-4679-bd0b-139666f3346b" CreationDate="2013-09-11T23:04:35.770" UserId="6411" Text="I'm sure someone will have a suggestion for a pair of cheaper lavs, but I'm not certain how this busts your budget. At ~$430 USD for a single 4060 (adapter required) and ~$900 USD for a [4060SMK][1] kit (microdot&gt;XLR adapters and a host of useful mounts included), I'd think that's your answer.&#xD;&#xA;&#xD;&#xA;I dug down and saved up for the [4060SMK][1] set myself and found it's well worth the price of admission. Never once regretted it's purchase.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dpamicrophones.com/en/products.aspx?c=item&amp;category=130&amp;item=24083" ContentLicense="CC BY-SA 3.0" />
  <row Id="33236" PostHistoryTypeId="2" PostId="20350" RevisionGUID="e235f612-1b86-4776-aca4-24c7dbc66727" CreationDate="2013-09-12T05:20:13.043" UserId="6462" Text="Check out the RODE Lavs. They have a great modular system where you just unscrew the connector and replace it with a different one, XLR, mini XLR, jack etc. You can also just replace the cable, and they do long thin cables as well.&#xD;&#xA;&#xD;&#xA;As for the mics themselves, I've done shoots where I used the DPA's along side the RODE's and they were incredibly close in their sound. Unless you are going to be recording in very very quiet places they will be a good option. The ruggedness and being able to replace the cables is a bonus in my opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="33237" PostHistoryTypeId="2" PostId="20351" RevisionGUID="a4def149-8785-423d-bd73-565a1d783336" CreationDate="2013-09-12T08:32:54.563" UserId="3346" Text="I did a small comparison between the H4n and the H6. The H6 seems to be a good value, but is definetly too big for me to carry around every day...&#xD;&#xA;check the full comparison and audio previews here...&#xD;&#xA;http://bit.ly/16mqT4R" ContentLicense="CC BY-SA 3.0" />
  <row Id="33238" PostHistoryTypeId="2" PostId="20352" RevisionGUID="a9f9a2f2-2f24-42bc-9876-45fa7f5d85a6" CreationDate="2013-09-12T08:37:28.050" UserId="3346" Text="I did a small comparison between the H4n and the H6. The H6 seems to be a good value, but is definetly too big for me to carry around every day...&#xD;&#xA;check the full comparison and audio previews here...&#xD;&#xA;http://bit.ly/16mqT4R" ContentLicense="CC BY-SA 3.0" />
  <row Id="33241" PostHistoryTypeId="2" PostId="20354" RevisionGUID="b09daa06-9ae6-4914-8397-685e44ba1961" CreationDate="2013-09-12T15:14:29.977" UserId="6495" Text="A friend recently asked me what handheld recorder to buy as a journalist. I am not sure what a radio journalist needs, but my thoughts are that it needs to be able to go both omni and carioid depending on the situation. If the interview is held at crowded areas then cardoid could be more useful, and if the area is quiet and the journalist just likes to keep the recorder on the table then omni could be useful.&#xD;&#xA;&#xD;&#xA;This is just my thoughts but i am very curious about how you guys think about this? What would you look for in a journalist handheld recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33242" PostHistoryTypeId="1" PostId="20354" RevisionGUID="b09daa06-9ae6-4914-8397-685e44ba1961" CreationDate="2013-09-12T15:14:29.977" UserId="6495" Text="Handheld recorder for a journalist?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33243" PostHistoryTypeId="3" PostId="20354" RevisionGUID="b09daa06-9ae6-4914-8397-685e44ba1961" CreationDate="2013-09-12T15:14:29.977" UserId="6495" Text="&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33244" PostHistoryTypeId="2" PostId="20355" RevisionGUID="a7bffa1f-d9ba-4cd2-9928-92cc4904ab7c" CreationDate="2013-09-12T16:30:58.203" UserId="6448" Text="Sony PCM-M10                      ." ContentLicense="CC BY-SA 3.0" />
  <row Id="33245" PostHistoryTypeId="10" PostId="19867" RevisionGUID="0d08662e-d68c-4e04-92c6-c6e3ddccd9f3" CreationDate="2013-09-12T16:38:49.830" UserId="6387" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[18884],&quot;Voters&quot;:[{&quot;Id&quot;:6387,&quot;DisplayName&quot;:&quot;Tim Post&quot;}]}" />
  <row Id="33246" PostHistoryTypeId="2" PostId="20356" RevisionGUID="f181fa21-faa0-4ca8-9c33-bf81ff98b8ed" CreationDate="2013-09-12T19:07:23.820" UserDisplayName="user80" Text="I suggest making the wind through the leaves sound like it is speaking.  There should be no identifiable words, but a definite impression of whispering from multiple sources.  I would make the whispers more feminine if the child is confident and more masculine if they are afraid." ContentLicense="CC BY-SA 3.0" />
  <row Id="33247" PostHistoryTypeId="2" PostId="20357" RevisionGUID="4872696e-91ae-4a3d-adc0-be77b9e757f9" CreationDate="2013-09-12T19:31:49.510" UserId="3346" Text="It´s no problem. I own a m10 since yesterday and thested the Røde NTG2 with an internal Battery in the M10 with PlugIn Power Enabled. Have a listen.&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/andreasusenbenz/sony-pcm-m10-with-r-de-battery" ContentLicense="CC BY-SA 3.0" />
  <row Id="33248" PostHistoryTypeId="5" PostId="20355" RevisionGUID="7d511a72-f708-4b1a-ab5c-f9f3140b712a" CreationDate="2013-09-12T19:42:08.027" UserId="6448" Comment="added 358 characters in body" Text="Sony PCM-M10                      .&#xD;&#xA;&#xD;&#xA;I don't think she'll need cardioids, if the point is to just record tangible conversations (for which the PCM-M10 is rather fine).&#xD;&#xA;&#xD;&#xA;A perhaps better (if mono recording is preferred) option for hand-held recording would be a mono microphone of some sort and a recorder with a XLR mic input.&#xD;&#xA;&#xD;&#xA;Then there's the H6 which has &quot;everything&quot;, although it comes at a price (http://www.zoom.co.jp/products/h6/)." ContentLicense="CC BY-SA 3.0" />
  <row Id="33250" PostHistoryTypeId="2" PostId="20358" RevisionGUID="e0a4aad0-708e-438c-b7dc-3e24da201ab9" CreationDate="2013-09-13T19:00:35.583" UserId="6498" Text="I'd suggest hacking a gameboy (or several) and making some bona fide chiptune! There are many resources on the web for doing that.&#xD;&#xA;&#xD;&#xA;If you don't have the time or energy for that, check out [PulseBoy](http://www.pulseboy.com/)! It is an in-browser gameboy emulator that lets you bounce your tracks down to .wav when you're done.&#xD;&#xA;&#xD;&#xA;The other answers have suggested some really great tools too, all which I own and have played with for fun but never made anything serious with." ContentLicense="CC BY-SA 3.0" />
  <row Id="33251" PostHistoryTypeId="2" PostId="20359" RevisionGUID="706a96f8-8ef3-4949-9942-b8d1f7873879" CreationDate="2013-09-13T19:11:24.153" UserId="6499" Text="I am trying to figure out where/ what field the track info is stored in.  I can see and modify that information in Wave agent, but do not see it in pro tools until I drop a file into the session and split into mono tracks.  I do not see any of that information in Netmix.  &#xD;&#xA;&#xD;&#xA;I am trying to simplify some of my library material.  Instead of having a handful of mono files which are different perspectives of the same material Close/Mid/Far/Really far, It would be nice to have them as a poly file with the metadata reflecting what each channel is. &#xD;&#xA;&#xD;&#xA;Anyone know which fields that information is stored and if it is something that netmix can read/write back into the .wav file.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;Mike " ContentLicense="CC BY-SA 3.0" />
  <row Id="33252" PostHistoryTypeId="1" PostId="20359" RevisionGUID="706a96f8-8ef3-4949-9942-b8d1f7873879" CreationDate="2013-09-13T19:11:24.153" UserId="6499" Text="Metadata question/ Netmix question" ContentLicense="CC BY-SA 3.0" />
  <row Id="33253" PostHistoryTypeId="3" PostId="20359" RevisionGUID="706a96f8-8ef3-4949-9942-b8d1f7873879" CreationDate="2013-09-13T19:11:24.153" UserId="6499" Text="&lt;metadata&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33254" PostHistoryTypeId="2" PostId="20360" RevisionGUID="fa5ad147-956e-4830-a0a6-555d115b6c7b" CreationDate="2013-09-13T21:45:24.823" UserId="6500" Text="Is anybody using contact mics with a Sony PCM d50?  Any suggestions that are very affordable? I want to record inner workings of laptops and other electronic devices. Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33255" PostHistoryTypeId="1" PostId="20360" RevisionGUID="fa5ad147-956e-4830-a0a6-555d115b6c7b" CreationDate="2013-09-13T21:45:24.823" UserId="6500" Text="Best contact mics with Sony PCM d50" ContentLicense="CC BY-SA 3.0" />
  <row Id="33256" PostHistoryTypeId="3" PostId="20360" RevisionGUID="fa5ad147-956e-4830-a0a6-555d115b6c7b" CreationDate="2013-09-13T21:45:24.823" UserId="6500" Text="&lt;contact-mic&gt;&lt;sony-pcm-d50&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33257" PostHistoryTypeId="2" PostId="20361" RevisionGUID="5b4c4eb9-489b-4e71-bc46-c5f04c2bd0cb" CreationDate="2013-09-13T23:07:40.640" UserId="714" Text="I use the trance audio amulet with my D50 and it works and sounds great.  Probably the best contact mics on the market seeing as they have a matched preamp - super quiet and clean!&#xD;&#xA;&#xD;&#xA;http://www.tranceaudio.com/stereomono.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="33258" PostHistoryTypeId="2" PostId="20362" RevisionGUID="559a5b2d-3de2-4cd1-8822-523fcb499787" CreationDate="2013-09-13T23:35:26.757" UserId="6501" Text="If you are looking for a &quot;very affordable&quot; suggestion, you may want to try buying piezo disks, shielded cable and 1/4&quot; jacks.&#xD;&#xA;Check tutorial 5 from  [this page][1].&#xD;&#xA;You might also try tutorial 1 if you are looking for electromagnetic sounds.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.nicolascollins.com/hackingtutorials.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="33261" PostHistoryTypeId="2" PostId="20363" RevisionGUID="ec701def-3a28-409d-b0f6-411146d38389" CreationDate="2013-09-14T06:22:18.453" UserId="6441" Text="I recently bought a couple contact mics from hydrophones.blogspot.com to use with my sony PCM-M10. They're handmade, they sound great, extremely low noise, and a great price!&#xD;&#xA;&#xD;&#xA;He also makes an induction coil pick-up mic that would work perfect for what you're wanting to record.&#xD;&#xA;&#xD;&#xA;http://hydrophones.blogspot.com/2010/09/induction-coil-pick-up-now-available.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="33262" PostHistoryTypeId="2" PostId="20364" RevisionGUID="014d5f70-f2ca-4b99-bb08-9c31666971f7" CreationDate="2013-09-14T08:37:36.107" UserId="6489" Text="So Ive bought a pair of DPA 4061s. One of my main reason for getting these was discreet field recording. I’ve heard about people putting them in hats, or on ear phone holders allowing them to do discreet and good quality recordings around town without flashing big shotgun mics around. &#xD;&#xA;&#xD;&#xA;So re- Binaural recording, say using them in earpieces. I’m not so interested in the binaural technique as seems to be more for headphone playback. But if I record binaurally for logistical/convenience reasons, are these stereo recordings going to work effectively in a film playback? Ie - using them to tracklay for features. &#xD;&#xA;Any help/suggestions/technieques for recording with these would be much appreciated?&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="33263" PostHistoryTypeId="1" PostId="20364" RevisionGUID="014d5f70-f2ca-4b99-bb08-9c31666971f7" CreationDate="2013-09-14T08:37:36.107" UserId="6489" Text="DPA Recording Techniques" ContentLicense="CC BY-SA 3.0" />
  <row Id="33264" PostHistoryTypeId="3" PostId="20364" RevisionGUID="014d5f70-f2ca-4b99-bb08-9c31666971f7" CreationDate="2013-09-14T08:37:36.107" UserId="6489" Text="&lt;dpa&gt;&lt;recordings&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33265" PostHistoryTypeId="2" PostId="20365" RevisionGUID="6404a137-5c52-4baa-9087-446ab3aab850" CreationDate="2013-09-14T09:57:39.867" UserId="1228" Text="They should work, but do remember that just like ORTF, the stereo image is partially the result of  time delays in reaching each mic diaphragm (the two parts of a stereo image being a sound source's projected amplitude and resulting time delay between reaching capsules).  With XY and MS, this there is no time delay playing into the stereo image result.  When time delays exist, phasing will be an issue to watch for.  You'll probably have to experiment to see how it works, and you get lucky and not have any issues.  But on a theoretical level - phase coherence is something you'll want to keep on your radar whenever the capsules are not existing within the same 'point' in space." ContentLicense="CC BY-SA 3.0" />
  <row Id="33269" PostHistoryTypeId="2" PostId="20367" RevisionGUID="9165504c-e440-45df-b8b1-4ecf07ef7486" CreationDate="2013-09-14T15:38:17.557" UserId="6507" Text="I would suggest Earthworks QTC 50.&#xD;&#xA;http://www.earthworksaudio.com/microphones/qtc-series-2/qtc50/&#xD;&#xA;It is quiet, 3Hz-50KHz. Let you record at hi sampling rate to down speed for special effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="33271" PostHistoryTypeId="2" PostId="20369" RevisionGUID="854f42d8-90b5-4125-ba0a-169340da764a" CreationDate="2013-09-14T20:47:59.590" UserId="1228" Text="I'm gauging the &quot;lay of the land&quot; as for as sound synthesis goes, for the purpose of designing new tech-based computer sound textures (think Matrix computer textures only in the bare-bones principal of how they're organic and evolve, but I want to develop something very different than that - going for something more smoother organic, sexy, and musical - maybe a little gritty but not much).  Not just to design computer sounds, but servers/computers, tech drones, etc.&#xD;&#xA;&#xD;&#xA;I'm not asking for advice on how to process hard drives etc or what sound library to buy.  Frankly, the sound I need to achieve is one which no sold library will really touch (or it has the risk of also sounding canned by using library elements).  Soundmorph's beep library is in the right direction but not nearly what I'm after, although I surely am investing in as one my toolsets to also get the beep generator.  This is strictly a question about sound synthesis tools to investigate - creation from the ground up.&#xD;&#xA;&#xD;&#xA;I have a very particular sound signature in my head already, I'm just seeking what fresh and inspirational methods may be out there to look into to venture beyond the &quot;standard&quot; beep and computer library sounds as far as source-material synthesis goes.  Something to give an exciting creative spark, that kind of spark you have when you're got a new sound toy to play with and see what wild things it can do.  I love to have a fresh perspective on these sorts of things.  Also I do have a MIDI keyboard setup too so I definitely plan on taking a hands on approach with this.&#xD;&#xA;&#xD;&#xA;In gauging what's out there, there seems to be a few things which float to the surface for this type of &quot;job&quot;: Omnisphere, Komplete, GRM Tools or Iris (okay, more DSP than synthesis in the case of Iris and GRM).  They all seems very inspiring, but if you had to pick only one for the type of job I described that you could actually invest in, what would your personal opinion be?&#xD;&#xA;&#xD;&#xA;Any recommendations from your own experiences as to what may be well-suited for this type of source material synthesis (again, to generate inspirational raw source material from which the final sounds will actually be hand-designed in PT), or what to stay away from?  Or in the spirit of the Komplete toolset if you do recommend that, any specific add-on packs (through NI or third parties) worth investigating along the lines of these needs I'm after?&#xD;&#xA;&#xD;&#xA;Really seeking input from others who may know these toolsets in-depth to gauage what may be a wise investment as far as the best bang for the buck, and contrarily, which ones may not be all to useful for what I'm after.&#xD;&#xA;&#xD;&#xA;Open to any and all ideas!  Thanks so much!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33272" PostHistoryTypeId="1" PostId="20369" RevisionGUID="854f42d8-90b5-4125-ba0a-169340da764a" CreationDate="2013-09-14T20:47:59.590" UserId="1228" Text="Computer and Tech Sound Textures Inspiration" ContentLicense="CC BY-SA 3.0" />
  <row Id="33273" PostHistoryTypeId="3" PostId="20369" RevisionGUID="854f42d8-90b5-4125-ba0a-169340da764a" CreationDate="2013-09-14T20:47:59.590" UserId="1228" Text="&lt;sound-design&gt;&lt;synthesis&gt;&lt;computer&gt;&lt;scifi&gt;&lt;technology&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33274" PostHistoryTypeId="2" PostId="20370" RevisionGUID="2296aa2d-efbe-486f-85ab-e1ab17f4013a" CreationDate="2013-09-15T00:02:13.133" UserId="6448" Text="S-Layer (and Reaktor)&#xD;&#xA;(http://twistedtools.com/shop/reaktor/s-layer/)&#xD;&#xA;&#xD;&#xA;GRM Tools &#xD;&#xA;&#xD;&#xA;SoundMagic Spectral&#xD;&#xA;&#xD;&#xA;Metasynth" ContentLicense="CC BY-SA 3.0" />
  <row Id="33275" PostHistoryTypeId="5" PostId="20370" RevisionGUID="6415090a-86e0-44e8-90e3-49bde8ebcf60" CreationDate="2013-09-15T00:10:46.370" UserId="6448" Comment="added 82 characters in body" Text="S-Layer (and Reaktor)&#xD;&#xA;(http://twistedtools.com/shop/reaktor/s-layer/)&#xD;&#xA;&#xD;&#xA;GRM Tools &#xD;&#xA;&#xD;&#xA;SoundMagic Spectral&#xD;&#xA;&#xD;&#xA;Metasynth&#xD;&#xA;&#xD;&#xA;Perhaps even NI FM8 or Sytrus.&#xD;&#xA;&#xD;&#xA;Too many ways to approach &quot;computer sounds&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="33277" PostHistoryTypeId="5" PostId="20370" RevisionGUID="a26d6e5d-fd5f-4eb8-8656-00de2034835b" CreationDate="2013-09-15T10:16:08.800" UserId="6448" Comment="added 53 characters in body" Text="S-Layer (and Reaktor)&#xD;&#xA;(http://twistedtools.com/shop/reaktor/s-layer/)&#xD;&#xA;&#xD;&#xA;Metaphysical Function, Skanner (also for Reaktor)&#xD;&#xA;&#xD;&#xA;GRM Tools &#xD;&#xA;&#xD;&#xA;SoundMagic Spectral&#xD;&#xA;&#xD;&#xA;Metasynth&#xD;&#xA;&#xD;&#xA;Camel Audio Alchemy (&quot;the best sampler there is&quot;)&#xD;&#xA;&#xD;&#xA;Perhaps even NI FM8 or Sytrus.&#xD;&#xA;&#xD;&#xA;Too many ways to approach &quot;computer sounds&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="33278" PostHistoryTypeId="5" PostId="20365" RevisionGUID="360c78e6-9780-405f-87a3-a8fa2f513c6c" CreationDate="2013-09-15T18:27:26.527" UserId="1228" Comment="deleted 5 characters in body" Text="They should work, but do remember that just like ORTF, the stereo image is partially the result of  time delays in reaching each mic diaphragm (the two parts of a stereo image being a sound source's projected amplitude and resulting time delay between reaching capsules).  With XY and MS, there is no time delay playing into the stereo image result.  When time delays exist, phasing will be an issue to watch for.  You'll probably have to experiment to see how it works, and you get lucky and not have any issues.  But on a theoretical level - phase coherence is something you'll want to keep on your radar whenever the capsules are not existing within the same 'point' in space." ContentLicense="CC BY-SA 3.0" />
  <row Id="33279" PostHistoryTypeId="2" PostId="20371" RevisionGUID="071a79bc-6905-4434-bbb0-492712675ef7" CreationDate="2013-09-15T21:28:03.297" UserId="6411" Text="I've used Absynth in the past for these types of sounds. Especially if you're looking for the musical/ evolving textures.&#xD;&#xA;&#xD;&#xA;While probably too &quot;standard&quot; for what you're looking to achieve, I also really enjoy using Varun Nair's [SigGen][1] to create interesting telemetry elements&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://re-sounding.com/2011/11/07/sound-design-tool/" ContentLicense="CC BY-SA 3.0" />
  <row Id="33280" PostHistoryTypeId="2" PostId="20372" RevisionGUID="3d8f361f-c553-4b46-9248-bea60e163200" CreationDate="2013-09-16T03:57:10.083" UserId="4468" Text="This argument has been put forward numerous times in various forums, however differing responses do make it hard to form my own conclusions.&#xD;&#xA;&#xD;&#xA;My dilemma: To buy an NTG-3 or Sennheiser 416 as my short shotgun (Currently putting together a kit, mic collection currently includes an AT815b and ATM33a).&#xD;&#xA;&#xD;&#xA;My budget is $700 AUD.&#xD;&#xA;&#xD;&#xA;I have heard it said &quot;if at the same price, buy the 416, however if not, get the NTG-3.  If budget is a concern, then definitely the NTG-3&quot;.  Thoughts on this statement?  I have been patrolling ebay of recent and have found a 415 &amp; 416 for similar prices than the NTG-3.&#xD;&#xA;&#xD;&#xA;I may have just answered my own question BUT:&#xD;&#xA;&#xD;&#xA;Although it will be primarily used for location dialogue, a limited budget will probably see this mic be used for ADR recording, foley SFX and ambient work for the foreseeable future.  It may also be used in wedding and live event scenarios.&#xD;&#xA;&#xD;&#xA;Also, when it comes to sweetening in post, am I likely to find one easier to work with than the other?&#xD;&#xA;&#xD;&#xA;With this in mind, would the Rode be 'better' as an 'all rounded' mic (with its slightly wider pick-up) and suggested warmer sound?  Or would the brighter sound of the 416 be negligible, and ultimately be a 'better' investment in the long run.&#xD;&#xA;&#xD;&#xA;Many thanks for your shared thoughts, knowledge and experiences with each." ContentLicense="CC BY-SA 3.0" />
  <row Id="33281" PostHistoryTypeId="1" PostId="20372" RevisionGUID="3d8f361f-c553-4b46-9248-bea60e163200" CreationDate="2013-09-16T03:57:10.083" UserId="4468" Text="NTG-3 vs 416 mic" ContentLicense="CC BY-SA 3.0" />
  <row Id="33282" PostHistoryTypeId="3" PostId="20372" RevisionGUID="3d8f361f-c553-4b46-9248-bea60e163200" CreationDate="2013-09-16T03:57:10.083" UserId="4468" Text="&lt;microphone&gt;&lt;rode&gt;&lt;location&gt;&lt;post-production&gt;&lt;416&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33283" PostHistoryTypeId="2" PostId="20373" RevisionGUID="ac93fb5c-dcfb-43e0-84b1-d9047308b58d" CreationDate="2013-09-16T04:06:35.830" UserId="6399" Text="The 416 is a much more standard mic at least here in the US.  It's used for a lot of ADR, SFX recording and voiceover for commercials.  If you work or plan on working with other engineers, studios etc. it could be nice to have the &quot;standard&quot;.  The tight pickup can be nice for ADR so that you don't hear the room." ContentLicense="CC BY-SA 3.0" />
  <row Id="33284" PostHistoryTypeId="2" PostId="20374" RevisionGUID="730544b0-5ef1-4674-b7b9-cf4f879ba680" CreationDate="2013-09-16T04:32:25.987" UserId="5624" Text="I'd be going with the 416. This mic is often used for recordings things other than dialogue (SFX, Foley, VO, etc.) and is a very well respected, reliable, and great sounding mic.&#xD;&#xA;&#xD;&#xA;As far as ADR goes, you should be using whatever mic was used on location in order to match the sound easily. There is a good chance that it could be a 416 as it's so widely used, so that's another positive in getting one." ContentLicense="CC BY-SA 3.0" />
  <row Id="33285" PostHistoryTypeId="2" PostId="20375" RevisionGUID="67161bd1-789b-455f-9c01-2396bb0e179d" CreationDate="2013-09-16T10:24:12.807" UserId="37" Text="http://www.youtube.com/watch?v=FbzNgmrCBQs&#xD;&#xA;&#xD;&#xA;I dunno.. getting tired of these &quot;this mic is standard and this one isn't&quot; arguments.. I know people who hate the 416 intensely. Then, in field conditions, Røde haven't had the experience Sennheiser have, but that still leaves you with extra money if you &quot;risk it&quot;. I don't think you can go wrong with either mic.&#xD;&#xA;&#xD;&#xA;Last but not least, there are fakes going on Ebay. If you plan to keep a mic for many years, and it's available to purchase new, you might as well buy first hand.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33286" PostHistoryTypeId="2" PostId="20376" RevisionGUID="46bdb0ba-6255-4970-9892-3bda37ab0403" CreationDate="2013-09-16T10:29:19.090" UserId="37" Text="Jez riley French is an established name in hydrophones and also contact mics, especially for people who find Trance's offering &quot;on the expensive side&quot;. &#xD;&#xA;&#xD;&#xA;Also see this: http://sound.stackexchange.com/questions/120/can-you-suggest-a-good-contact-mic-for-sound-design-average-cost-of-proposal-w&#xD;&#xA;&#xD;&#xA;and http://www.musicofsound.co.nz/blog/the-first-rule-of-contact-mic-club&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33287" PostHistoryTypeId="2" PostId="20377" RevisionGUID="9ba1767e-acfe-48ee-81a6-79ab6be1b1cf" CreationDate="2013-09-16T10:43:44.670" UserId="37" Text=" - Ableton Live's M4L granular ensembles&#xD;&#xA; - MOTU MachFive has a granular module too&#xD;&#xA; - iZotope Iris, if you can stand the interface&#xD;&#xA;&#xD;&#xA;For all three, press Record and start exploring. &#xD;&#xA;&#xD;&#xA;Also, it's always a good time to challenge preconceptions of what &quot;computer/tech sound&quot; is.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33288" PostHistoryTypeId="2" PostId="20378" RevisionGUID="822b30b3-5dac-49dc-91d8-facee0651010" CreationDate="2013-09-16T15:04:54.120" UserId="6515" Text="A recently got a version of cubase and addictive key from a sound engineer of my company. &#xD;&#xA;&#xD;&#xA;So I installed cubase OK&#xD;&#xA;&#xD;&#xA;When i instal addictive key it ask me  for &quot;stand alone&quot; &quot;32bit&quot; &quot;64bit&quot; ?&#xD;&#xA;So i installed addictive key 64bit and stand alone&#xD;&#xA;&#xD;&#xA;My master key board is connected to the computer by midi/usb cable&#xD;&#xA;&#xD;&#xA;Cubase see it OK&#xD;&#xA;Addictive key see it OK&#xD;&#xA;&#xD;&#xA;In both the sound is processed OK&#xD;&#xA;&#xD;&#xA;BUT I can't get to make cubase recognize addictive key as a plugin ?&#xD;&#xA;it is not in VST instrument, and nowhere to be find in cubase onfiguration menus ?&#xD;&#xA;&#xD;&#xA;Did i miss something ?&#xD;&#xA;&#xD;&#xA;If anyone know what could be the issu, or know where i can find th installation procedure for using cubase+addictive key" ContentLicense="CC BY-SA 3.0" />
  <row Id="33289" PostHistoryTypeId="1" PostId="20378" RevisionGUID="822b30b3-5dac-49dc-91d8-facee0651010" CreationDate="2013-09-16T15:04:54.120" UserId="6515" Text="How to instal addictive key with cubase 5" ContentLicense="CC BY-SA 3.0" />
  <row Id="33290" PostHistoryTypeId="3" PostId="20378" RevisionGUID="822b30b3-5dac-49dc-91d8-facee0651010" CreationDate="2013-09-16T15:04:54.120" UserId="6515" Text="&lt;keyboard&gt;&lt;midi&gt;&lt;usb&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33291" PostHistoryTypeId="5" PostId="20378" RevisionGUID="53466a86-870e-4fcb-a91e-58b854d8bead" CreationDate="2013-09-16T15:37:57.360" UserId="6515" Comment="added 1 characters in body" Text="A recently got a version of cubase and addictive key from a sound engineer of my company. &#xD;&#xA;&#xD;&#xA;So I installed cubase OK&#xD;&#xA;&#xD;&#xA;When i instal addictive key it ask me  for &quot;stand alone&quot; &quot;32bit&quot; &quot;64bit&quot; ?&#xD;&#xA;So i installed addictive key 64bit and stand alone&#xD;&#xA;&#xD;&#xA;My master key board is connected to the computer by midi/usb cable&#xD;&#xA;&#xD;&#xA;Cubase see it OK&#xD;&#xA;Addictive key see it OK&#xD;&#xA;&#xD;&#xA;In both the sound is processed OK&#xD;&#xA;&#xD;&#xA;BUT I can't get to make cubase recognize addictive key as a plugin ?&#xD;&#xA;it is not in VST instrument, and nowhere to be found in cubase onfiguration menus ?&#xD;&#xA;&#xD;&#xA;Did i miss something ?&#xD;&#xA;&#xD;&#xA;If anyone know what could be the issu, or know where i can find th installation procedure for using cubase+addictive key" ContentLicense="CC BY-SA 3.0" />
  <row Id="33293" PostHistoryTypeId="2" PostId="20379" RevisionGUID="bda382f3-be6d-4864-8b05-c6a89f8c7756" CreationDate="2013-09-16T16:51:56.290" UserId="234" Text="I've used both... I was in the same position... about to buy the Rode when I got an offer on a used 416 for only a few bucks more. I have to say I much prefer the 416 so I went for it(however that was bought from a production I'd actually worked on so I knew the mic and it's condition). But mics ARE a subjective thing. If you can rent both for a day, it might help your decision.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="33294" PostHistoryTypeId="2" PostId="20380" RevisionGUID="9a387285-33e9-4c4c-a270-ae2a7b223390" CreationDate="2013-09-17T03:19:43.040" UserId="6499" Text="I dislike my 416 indoors very much, the rear lobe is rough in reverberant spaces. I prefer cs3 or mk41 indoors.  Outside I love the rejection of the 416.  I cannot comment on the rode, no experience with it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33295" PostHistoryTypeId="2" PostId="20381" RevisionGUID="b32a6fd0-55ba-4e3c-a68e-e88090399c72" CreationDate="2013-09-17T08:48:05.160" UserId="3933" Text="It could be that the version of cubase your running is only 32 bit, in which case you cannot run the 64 bit version as a VST. Try installing the 32 bit version and see what happens." ContentLicense="CC BY-SA 3.0" />
  <row Id="33296" PostHistoryTypeId="2" PostId="20382" RevisionGUID="01768979-e286-48f6-bd53-79022d12d07a" CreationDate="2013-09-17T10:50:56.630" UserDisplayName="user80" Text="I am happily using PT 11 on my laptop and everything is working really well. We are still using HD9, and are looking to upgrade when we have the money. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33297" PostHistoryTypeId="2" PostId="20383" RevisionGUID="dcdf0429-1b7f-4c26-9f7c-64caefb166eb" CreationDate="2013-09-17T12:47:20.853" UserId="6484" Text="I am presenting a paper on experimental sound design in film and it's relationship with frequency and emotional response. I have a fair amount of material that I am researching (sadly there is very little in frequency and emotional response in relation to sound) and I have a few examples (Lynch. Aronofsky, Jadorowsky) but I am looking for a few more examples both from the commercial and experimental arena. I am also looking for information regarding any research I am not be aware of linking sound and emotion- there is lots on music and emotion but for sound- no. &#xD;&#xA;&#xD;&#xA;Hope you can all help. &#xD;&#xA;&#xD;&#xA;Thank you" ContentLicense="CC BY-SA 3.0" />
  <row Id="33298" PostHistoryTypeId="1" PostId="20383" RevisionGUID="dcdf0429-1b7f-4c26-9f7c-64caefb166eb" CreationDate="2013-09-17T12:47:20.853" UserId="6484" Text="Interesting Experimental Sound popular and ground breaking films" ContentLicense="CC BY-SA 3.0" />
  <row Id="33299" PostHistoryTypeId="3" PostId="20383" RevisionGUID="dcdf0429-1b7f-4c26-9f7c-64caefb166eb" CreationDate="2013-09-17T12:47:20.853" UserId="6484" Text="&lt;film&gt;&lt;experimental&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33301" PostHistoryTypeId="2" PostId="20385" RevisionGUID="67467689-1a3e-4cfa-99bc-7d980b42ac7c" CreationDate="2013-09-17T13:25:42.650" UserId="6448" Text="Pick up the book Audio-Vision by Michel Chion.&#xD;&#xA;&#xD;&#xA;It describes one version of the foundations of &quot;using sound to evoke emotions in motion pictures&quot;. And draws examples and example film scenes to argue them." ContentLicense="CC BY-SA 3.0" />
  <row Id="33302" PostHistoryTypeId="5" PostId="20385" RevisionGUID="ccc4f642-05f1-45da-b8cd-82141de739d6" CreationDate="2013-09-17T13:43:27.557" UserId="6448" Comment="added 1127 characters in body" Text="Pick up the book Audio-Vision by Michel Chion.&#xD;&#xA;&#xD;&#xA;It describes one version of the foundations of &quot;using sound to evoke emotions in motion pictures&quot;. And draws examples and example film scenes to argue them.&#xD;&#xA;&#xD;&#xA;Arguing how frequency content &quot;defines&quot; emotion is not straightforward. Acoustically we can say that certain frequencies have certain qualities (e.g. soft, harsh, piercing, honky). But in soundtracks there aren't individual frequencies, not even individual instruments or sounds. Thus you'd need to argue starting from the grounding of &quot;what makes a certain sound sound in a particular way (e.g. soft, harsh, piercing, honky ...)&quot; and generalize that to how the same properties may be used in any sound, which can be e.g. in a film scene and which has similar properties than the &quot;pure&quot; example sounds that you drew earlier. Additionally you may want to test it on subjects. At the same time the conclusion is trivial, we all know that sounds with certain properties make us feel in a particular way, but we may not specifically know and cannot know, why it happens (i.e. is it really deducible from some particular frequency content or whether there's much more to it, or whether the results vary from person to person and how much, or if the properties are context-dependent like they are in a soundtrack mix). Thus arguing from the point of &quot;frequency content&quot; might be too much of a simplification. A sound quality or property does not necessarily transfer to &quot;emotion&quot; (or a particular type of emotion)." ContentLicense="CC BY-SA 3.0" />
  <row Id="33303" PostHistoryTypeId="5" PostId="20385" RevisionGUID="23c91a66-21f3-4989-8e93-ec26c5ca9111" CreationDate="2013-09-17T13:48:33.043" UserId="6448" Comment="added 1127 characters in body" Text="Pick up the book Audio-Vision by Michel Chion.&#xD;&#xA;&#xD;&#xA;It describes one version of the foundations of &quot;using sound to evoke emotions in motion pictures&quot;. And draws examples and example film scenes to argue them.&#xD;&#xA;&#xD;&#xA;Arguing how frequency content &quot;defines&quot; emotion is not straightforward. Acoustically we can say that certain frequencies have certain qualities (e.g. soft, harsh, piercing, honky, dark, bright). But in soundtracks there aren't individual frequencies, not necessarily even individual instruments or sounds. Thus you'd need to argue starting from the grounding of &quot;what makes a certain sound sound in a particular way (e.g. soft, harsh, piercing, honky, dark, bright ...)&quot; and generalize that to how the same properties may be used in any sound, which can be e.g. in a film scene and which has similar properties than the &quot;pure&quot; example sounds that you drew earlier. Additionally you may want to test it on subjects. At the same time the conclusion is trivial, we all know that sounds with certain properties make us feel in a particular way, but we may not specifically know and cannot know, why it happens (i.e. is it really deducible from some particular frequency content or whether there's much more to it, or whether the results vary from person to person and how much, or if the properties are context-dependent like they are in a soundtrack mix). Thus arguing from the point of &quot;frequency content&quot; might be too much of a simplification. A sound quality or property does not necessarily translate to &quot;emotion&quot; (or a particular type of emotion)." ContentLicense="CC BY-SA 3.0" />
  <row Id="33304" PostHistoryTypeId="2" PostId="20386" RevisionGUID="5c8da92e-2c9d-4bd9-81c2-21a9ddb6aa51" CreationDate="2013-09-17T13:54:20.560" UserId="6520" Text="Try this link; why certain food-names sound delicate or heavy.&#xD;&#xA;&#xD;&#xA;http://m.popsci.com/science/article/2013-08/why-some-words-sound-fatter-others&#xD;&#xA;&#xD;&#xA;Not a whole lot there, but may be worth digging into to find something closer to what you're after." ContentLicense="CC BY-SA 3.0" />
  <row Id="33305" PostHistoryTypeId="2" PostId="20387" RevisionGUID="7b99d598-2d6b-4dd2-9c66-7679e3bb6803" CreationDate="2013-09-17T14:04:24.800" UserId="6520" Text="The 416 may get you more business based solely on its reputation.&#xD;&#xA;&#xD;&#xA;It really surprised me in its performance for voice over.  I've heard they sound nearly identical, but haven't heard anyone comment on&#xD;&#xA;&#xD;&#xA;1 The NTG-3's durability over several years of abuse (naturally; it's a new mic)&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;2 Using it for voice over work." ContentLicense="CC BY-SA 3.0" />
  <row Id="33308" PostHistoryTypeId="2" PostId="20388" RevisionGUID="6d9ee7b1-ba3b-4fe6-bdc9-60f284ab58df" CreationDate="2013-09-17T22:51:09.143" UserId="6495" Text="I really like this subject, I have not seen much research covering this field but i really would like more research to be done in this area. And i think it is of importance, just like knowing what different parts of our brain do. To know how people react to dynamic range and frequency content could change the way much in the business of sound is being done. It could change how consumer headphones are made, how records are mastered, how acoustic spaces are being designed. And still not much research is being done in this area from what i know.&#xD;&#xA;&#xD;&#xA;If you are interested in emotions in various frequency content then i would recommend you to look into how Ben Burtt designed the sound to the movie Wall-E. I really love his work and i think he through sound design did a great work in adding emotions through sound to the different robots and other sound sources in this movie.&#xD;&#xA;&#xD;&#xA;This little documentary might not cover the frequency:emotion area but it is a bit interesting i think if you do like how sound design could affect our emotions. http://www.youtube.com/watch?v=eySh8FOUphM&#xD;&#xA;&#xD;&#xA;Good luck with your paper&#xD;&#xA;&#xD;&#xA;/Johan&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33309" PostHistoryTypeId="2" PostId="20389" RevisionGUID="b34db2c2-58ce-4300-be8a-be88ff99a1ad" CreationDate="2013-09-17T23:41:41.263" UserId="6425" Text="As a hobby electronic music producer I want to make my own kick drums.&#xD;&#xA;I am really stateside with the tail of the kicks I am synthesizing, but i got a feeling that the kicks lack a strong transient.&#xD;&#xA;&#xD;&#xA;My current approach right now is:&#xD;&#xA;&#xD;&#xA;I load a analogue triangle or sine waveform in Omnisphere. Then I lay down a Midinote on a F Fsharp or G with the desired length (usual 1/8 note). After that I use one Mod Envelope to control the pitch of the Oscillator. I aim for a knocking sound, where the pitch shift ends just before the 1/8 note ends. (Making house and 2-step garage at the moment i am more interested in the knock rather than the 50 Hz boom.) By shaping the decay curve, i shape the sound of the pitch shit. Right now I am satisfied with a fast decay that gets slower towards the end of the note.&#xD;&#xA;I aim for a &quot;&gt;&quot; shape via adjusting the decay of the Amp envelope. I find that drums that have a Waveform like a &gt; sound really punchy and on the point.&#xD;&#xA;Then I use another envelope to modulate the pitch. This one is very short (&lt;30 ms) to get some kind of transient. It often creates a resonance around 500-800 hz that i eq out.&#xD;&#xA;&#xD;&#xA;After that I add a very short white noise click via the b section of Omnisphere.&#xD;&#xA;&#xD;&#xA;My signal chain after Omnisphere is SPL Transient Designer and Fabfilter Saturn. In Saturn i played around with the Envelope of the saturation. I tried to saturate only the first milliseconds to give them a emphasis.&#xD;&#xA;&#xD;&#xA;So i get some ok Kick sound, but i get nowhere close to the artists i love. Right now i listen to a lot of disclosure. I really like there on the point, &quot;simple&quot; drum sounds. I know they use vintage drum samples. Put it seems, that the kick is synthesized.&#xD;&#xA;&#xD;&#xA;What I realize, wehen I compare my kick to theirs:&#xD;&#xA;&#xD;&#xA;1. My Kick has the same Amp envelope, but their transients sound way thicker.&#xD;&#xA;2. Their kicks have a lot more noise in them.&#xD;&#xA;&#xD;&#xA;So finally my Question.&#xD;&#xA;&#xD;&#xA;What can I do to shape or create transients like theirs? And do they layer stuff over their drums for transients and noise or is it in their sound source? And what would be good stuff to layer on top to get those kicks?&#xD;&#xA;&#xD;&#xA;Here is an example of a 2 step kick i made today https://www.dropbox.com/s/vmjj43i18j68p33/2step%20Kick%20Example.aif&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks for the help!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33310" PostHistoryTypeId="1" PostId="20389" RevisionGUID="b34db2c2-58ce-4300-be8a-be88ff99a1ad" CreationDate="2013-09-17T23:41:41.263" UserId="6425" Text="Shaping the transient on electronic kickdrums" ContentLicense="CC BY-SA 3.0" />
  <row Id="33311" PostHistoryTypeId="3" PostId="20389" RevisionGUID="b34db2c2-58ce-4300-be8a-be88ff99a1ad" CreationDate="2013-09-17T23:41:41.263" UserId="6425" Text="&lt;sound-design&gt;&lt;drum&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33312" PostHistoryTypeId="2" PostId="20390" RevisionGUID="3708c42f-14e9-48fc-b129-fc4142322792" CreationDate="2013-09-18T02:30:38.583" UserDisplayName="user6513" Text="I reckon the differences between the 2 mics in terms of sound is very minute, there are quite a few blind tests with sound engineers on youtube and most of them can't tell the difference between the 2 mics.&#xD;&#xA;&#xD;&#xA;The 416 certainly has the reputation for being a workhorse, but having used both and owning the NTG-3, I rather like my Rode. The only problem back when I bought it was that I was using a G2 plug-on to go wireless and that didn't work with the Rode.&#xD;&#xA;&#xD;&#xA;It's worked well for me for the last 6 years or so, bought it when it first came out and their blimp (too heavy for use) was sold at an additional $1 so I really have no complaints. IMHO I reckon it was money well saved to get the Rode and invest in a better boom pole or put the money towards getting a Sanken. They sound so much better than the 416.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33314" PostHistoryTypeId="2" PostId="20392" RevisionGUID="b81f59fb-4f0c-48ca-8441-72a650f3ad78" CreationDate="2013-09-18T07:27:55.490" UserId="6526" Text="I'm running 11 on my studio machine and I love it so far. Still waiting for new releases for plug ins like altiverb 7 but everything I can't use in PT I just end up using on the vst rack in SM and print everything down. Kind of a pain but it's a work around." ContentLicense="CC BY-SA 3.0" />
  <row Id="33315" PostHistoryTypeId="2" PostId="20393" RevisionGUID="519715f0-addf-4048-a0db-81ce20fb16c3" CreationDate="2013-09-18T07:37:57.100" UserId="1393" Text="I played around a little with your Kick sample and was able to get a little more snap out of it with Waves Trans X Multi. I enhanced the transients from 80-500hz and 2.4khz-up while taking transients away below 80hz. if you don't have Trans X try using Saturn in a similar way by splitting the bands and treating the Low,Low-mid, mid, mid-high and high differently. I like to use smooth amp in the high end and clean tube in the low end.&#xD;&#xA;&#xD;&#xA;I have also gotten some pretty good sounding kicks from Waves Element.&#xD;&#xA;&#xD;&#xA;I hope this is of some help.&#xD;&#xA;Matt" ContentLicense="CC BY-SA 3.0" />
  <row Id="33316" PostHistoryTypeId="2" PostId="20394" RevisionGUID="bad85019-15dc-49dd-927a-fe44fed07abb" CreationDate="2013-09-18T07:44:58.503" UserId="1393" Text="The only negative I can think of is the bounce to disk import feature. Every time I have Pro Tools automatically import after an offline bounce the audio comes in messed up. A simple workaround is to manually import after an offline bounce. Other than that PT 11 has been great to work with. I have been able to use it on a few projects since Waves jumped over to aax." ContentLicense="CC BY-SA 3.0" />
  <row Id="33317" PostHistoryTypeId="2" PostId="20395" RevisionGUID="8e9613e3-9128-4350-a065-59e76dbcd374" CreationDate="2013-09-18T12:47:34.660" UserId="6448" Text="It's usually better to layer more sounds in than equalize or use transient/envelope processors. The reason is that the processors modify what's fed in, they don't necessarily increase the frequency content of the sound. Layering though is actually increasing the composition of the sound. Two different things.&#xD;&#xA;&#xD;&#xA;Noise is used to create fullness (a bit crusher works for this as well, because it adds noise). A surprising amount of noise can be mixed in sounds without the sound starting to sound noisy (especially when it's buried in a mix), the sound just sounds more powerful.&#xD;&#xA;&#xD;&#xA;Making good kick drums is tricky and a skill that takes some practice. Instead of synthesizing, a pretty pragmatic way is to combine existing kick drum sounds to make new kicks. That leads to a lot of variation and you can pick the best elements of all kick sounds that you find. E.g. if one kick has a particular good bottom end, then use that as the bottom end, but add another kick that has a particular good snap, and use that for the snap, while carving it's bottom end out. Use pitch shifting to balance the overall kick sound so that it sounds integrated. Use delaying and nudging and volume automation to ensure that the different layers to unintentionally mask eachother or to free up headroom to be able to increase the overall perceived volume." ContentLicense="CC BY-SA 3.0" />
  <row Id="33318" PostHistoryTypeId="5" PostId="20395" RevisionGUID="1ee908a9-b096-4c74-9a3d-7a4c080cc9cd" CreationDate="2013-09-18T12:53:48.290" UserId="6448" Comment="added 165 characters in body" Text="It's usually better to layer more sounds in than equalize or use transient/envelope processors. The reason is that the processors modify what's fed in, they don't necessarily increase the frequency content of the sound. Layering though is actually increasing the composition of the sound. Two different things.&#xD;&#xA;&#xD;&#xA;Noise is used to create fullness (a bit crusher works for this as well, because it adds noise). A surprising amount of noise can be mixed in sounds without the sound starting to sound noisy (especially when it's buried in a mix), the sound just sounds more powerful.&#xD;&#xA;&#xD;&#xA;Making good kick drums is tricky and a skill that takes some practice. Instead of synthesizing, a pretty pragmatic way is to combine existing kick drum sounds to make new kicks. That leads to a lot of variation and you can pick the best elements of all kick sounds that you find. E.g. if one kick has a particular good bottom end, then use that as the bottom end, but add another kick that has a particular good snap, and use that for the snap, while equalizing its bottom end down. A typical trick is also to layer rimshots on top of kicks, because rimshots have a good snap that can be mixed into kick sounds without the rimshot pointing out. Use pitch shifting on individual layers to balance the overall kick sound so that it sounds integrated. Keep notice of what kind of balance sounds the nicest (it's quite well defined that certain Hzs and frequency balances lead to fullness). Use delaying and nudging and volume automation to ensure that the different layers don't unintentionally mask eachother and/or to free up headroom to be able to increase the overall perceived volume." ContentLicense="CC BY-SA 3.0" />
  <row Id="33319" PostHistoryTypeId="5" PostId="20395" RevisionGUID="be9574a8-a888-47ff-a824-11273b531cd3" CreationDate="2013-09-18T13:13:55.300" UserId="6448" Comment="added 69 characters in body" Text="It's usually better to layer more sounds in than equalize or use transient/envelope processors. The reason is that the processors modify what's fed in, they don't necessarily increase the frequency content of the sound. Layering though is actually increasing the composition of the sound. Two different things.&#xD;&#xA;&#xD;&#xA;Noise is used to create fullness (a bit crusher works for this as well, because it adds noise). A surprising amount of noise can be mixed in sounds without the sound starting to sound noisy (especially when it's buried in a mix), the sound just sounds more powerful.&#xD;&#xA;&#xD;&#xA;Making good kick drums is tricky and a skill that takes some practice. Instead of synthesizing, a pretty pragmatic way is to combine existing kick drum sounds to make new kicks. That leads to a lot of variation and you can pick the best elements of all kick sounds that you find. E.g. if one kick has a particular good bottom end, then use that as the bottom end, but add another kick that has a particular good snap, and use that for the snap, while equalizing its bottom end down. A typical trick is also to layer rimshots (or hihats) on top of kicks, because rimshots have a good snap that can be mixed into kick sounds without the rimshot pointing out (more like they sound like a real extension of the kick). Use pitch shifting on individual layers to balance the overall kick sound so that it sounds integrated. Keep notice of what kind of balance sounds the nicest (it's quite well defined that certain Hzs and frequency balances lead to fullness). Use delaying and nudging and volume automation to ensure that the different layers don't unintentionally mask eachother and/or to free up headroom to be able to increase the overall perceived volume." ContentLicense="CC BY-SA 3.0" />
  <row Id="33320" PostHistoryTypeId="5" PostId="20382" RevisionGUID="11b11b95-e6e9-43ed-af25-af3a9d6d6b45" CreationDate="2013-09-18T16:45:57.787" UserDisplayName="user80" Comment="added 8 characters in body" Text="I am happily using PT 11 on my laptop and everything is working really well. We are still using HD9 at work, and are looking to upgrade when we have the money. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33321" PostHistoryTypeId="2" PostId="20396" RevisionGUID="86aa60b4-02d4-4d1a-ad27-463a5a1bb7b1" CreationDate="2013-09-18T22:03:18.080" UserId="6530" Text="Nobody seems to have mentioned the freeware YMCK Magical 8bit Plug:&#xD;&#xA;http://www.ymck.net/en/download/magical8bitplug/&#xD;&#xA;&#xD;&#xA;For Sega Megadrive flavour sounds there is the amazing VOPM (also freeware!)&#xD;&#xA;http://www.kvraudio.com/product/vopm_by_sam&#xD;&#xA;&#xD;&#xA;Use them in a VST host of your choice. I'm most comfortable writing inside Ableton Live and the plugs integrate really well.&#xD;&#xA;&#xD;&#xA;I have used them both quite extensively when writing music for Cutout Fighter:&#xD;&#xA;http://www.youtube.com/watch?v=nTz7d3kr7uM&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33322" PostHistoryTypeId="2" PostId="20397" RevisionGUID="07096316-705a-46ce-a728-66c16dee4851" CreationDate="2013-09-19T09:02:28.910" UserId="4390" Text="I have found that getting really sharp transients with synthesis alone, is tricky. Actually, the &quot;snap&quot; part of a sound shouldn't be too short - like a few milliseconds. I'd look more in the direction of layering in something with the right frequency content - like a woody clicking sound (like Claves, or maybe knocking on wood, literally). Part of what makes that work, is that the sound actually has a bit of tail to it; gives the ear time to register the &quot;snappiness&quot; - like with a gunshot." ContentLicense="CC BY-SA 3.0" />
  <row Id="33324" PostHistoryTypeId="2" PostId="20398" RevisionGUID="dbbb0790-efdc-418b-9f3b-810a0bc3ef59" CreationDate="2013-09-19T14:15:23.623" UserId="6489" Text="Does anyone have FX/recordings of cycling races/crowds/bike pasts etc, (exterior not interior) that they would be willing to trade, or even sell?&#xD;&#xA;I need a ton of stuff - am going to be recording lots, but need as much variety as possible. &#xD;&#xA;Particularly looking for mass of bikes past/ french/italian crowd at races. Individual bikes&#xD;&#xA;&#xD;&#xA;If so please let me know&#xD;&#xA;Thanks&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33325" PostHistoryTypeId="1" PostId="20398" RevisionGUID="dbbb0790-efdc-418b-9f3b-810a0bc3ef59" CreationDate="2013-09-19T14:15:23.623" UserId="6489" Text="Do you have recordings for cycling - eg - tour de France" ContentLicense="CC BY-SA 3.0" />
  <row Id="33326" PostHistoryTypeId="3" PostId="20398" RevisionGUID="dbbb0790-efdc-418b-9f3b-810a0bc3ef59" CreationDate="2013-09-19T14:15:23.623" UserId="6489" Text="&lt;fx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33327" PostHistoryTypeId="2" PostId="20399" RevisionGUID="9cc80f3d-1c8f-4059-89e4-8883b49c43ae" CreationDate="2013-09-20T00:14:18.820" UserId="6411" Text="I think the obvious solution is to hook up an external monitor. But the answer really depends on what you have more of, cash or time.&#xD;&#xA;&#xD;&#xA;If you're trying to record foley, or anything dependent on sync for that matter, I wouldn't trust the refresh rate of the ipad via the various display mirroring or extending apps. As you experienced with airdisplay, it lags... a lot. Even when directly connecting via adhoc.&#xD;&#xA;&#xD;&#xA;While a VGA cable would work, I envision you having to either move or disconnect one display from your system every time you need to record foley. If you have the cash, go get a [DV box][1] or [PCI-E card][2]. They're fairly inexpensive secondhand. With the analog video output you can run 100s of feet of cable and set up a proper display. Then you can just run one of the display mirroring/extending apps to control your Pro Tools through the adhoc network. For simple start/stop/cueing there's no need to plunk down $50 on V-Control Pro, just use airdisplay and drag your transport and marker window onto your ipad's screen. Cue yourself up with the next marker, punch the transport into record and roll.&#xD;&#xA;&#xD;&#xA;Alternatively, if you have the time, you can burn off a copy of the video with beeps for your cues, load that video directly on the ipad through iTunes, then use the stock iOS Videos app to playback and just roll ProTools wild. Voice slate each TC before performance, record the beeps on mic and perform, then re-sync all your beeps when done. Should fall in sync just fine. For inspiration, check out [this Soundworks video on the Hunger Games around 4:25][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.grassvalley.com/products/advc110&#xD;&#xA;  [2]: http://www.blackmagicdesign.com/products/intensity/models/&#xD;&#xA;  [3]: http://soundworkscollection.com/videos/thehungergames" ContentLicense="CC BY-SA 3.0" />
  <row Id="33328" PostHistoryTypeId="4" PostId="19319" RevisionGUID="f87fba3e-9dff-46ed-bc01-bbfb8d71a06e" CreationDate="2013-09-20T06:32:56.240" UserDisplayName="user80" Comment="Spelling" Text="Game sound design studies?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33329" PostHistoryTypeId="2" PostId="20400" RevisionGUID="024afc26-1f53-4d9e-960e-a16f133fcc33" CreationDate="2013-09-20T06:35:56.527" UserId="6425" Text="I would love to hear everything about dialogue editing, if Anderson worked on those. What Microphone was used, what Compressor and so on. I really love the sound of the dialogues and I am very interested in getting the same result.&#xD;&#xA;&#xD;&#xA;Thx" ContentLicense="CC BY-SA 3.0" />
  <row Id="33330" PostHistoryTypeId="6" PostId="19319" RevisionGUID="d4b5441c-8e8d-4342-a2f2-e6cddbe99e30" CreationDate="2013-09-20T11:29:21.627" UserDisplayName="user80" Comment="edited tags" Text="&lt;sound-design&gt;&lt;gameaudio&gt;&lt;education&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33331" PostHistoryTypeId="2" PostId="20401" RevisionGUID="8900a5bf-f821-4789-a800-fc5aa589b139" CreationDate="2013-09-20T15:00:01.247" UserId="6538" Text="I'm working on the sound design for a 3D illusion magic show. There is a sequence where a bunch of lightbulbs are floating through the air, they all flicker on and off throughout the sequence while randomly spinning and then coming to a relaxed floating state. I'm just about done with the sequence, and my employer is really digging it, but he wants the sound of the light switches to be more magical. At the moment I'm using a phaser with a medium depth, a high rate, and a pretty good amount of feedback. it sounds really cool, kind of watery/bubbly, but it's still missing something. Any suggestions for a guy trying to make things sound a bit more magical?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33332" PostHistoryTypeId="1" PostId="20401" RevisionGUID="8900a5bf-f821-4789-a800-fc5aa589b139" CreationDate="2013-09-20T15:00:01.247" UserId="6538" Text="3D Illusion Magic Show, Floating Lightbulbs" ContentLicense="CC BY-SA 3.0" />
  <row Id="33333" PostHistoryTypeId="3" PostId="20401" RevisionGUID="8900a5bf-f821-4789-a800-fc5aa589b139" CreationDate="2013-09-20T15:00:01.247" UserId="6538" Text="&lt;sound-design&gt;&lt;processing&gt;&lt;atmosphere&gt;&lt;magical&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33334" PostHistoryTypeId="2" PostId="20402" RevisionGUID="f74cbe33-1bed-41a7-b914-f2c284ba9308" CreationDate="2013-09-20T15:29:07.603" UserId="6399" Text="Dialnorm is a setting in the audio menu of most better DVD authoring programs.  Ideally whoever authors the DVD should set the Dialnorm to the actual Dialnorm level of your mix.  Have you measured what it is using an LEQ A meter?   I think the default on most DVD authoring software is -27, so if your mix is louder it could compress it down.  You can turn Dialnorm off or bypass it if your using a DVD authoring program is DVD studio pro. What level is the mix position in your room calibrated to?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="33335" PostHistoryTypeId="2" PostId="20403" RevisionGUID="b14a96db-1dd4-4dcb-879c-c3babf7ab1e8" CreationDate="2013-09-20T16:02:24.417" UserId="234" Text="&quot;I export the Fx, Dialogue and Music stems as .wavs and deliver them to the editor&quot;... sadly THAT could be your problem right there... Editors have been known to forget things like panning the stereo stems left and right, which can result in a 3db gain increase. Or they think it's &quot;too quiet&quot; in their suite, and bump everything up... the NLE doesn't necessarily distort (both Premiere and FCP can get into stupid territory before they start distorting), but playback does. I'd consider talking, politely, with the editor and making sure that your stems are (a) played back at unity, and (b) set up correctly with regards to panning." ContentLicense="CC BY-SA 3.0" />
  <row Id="33336" PostHistoryTypeId="2" PostId="20404" RevisionGUID="c2ae2380-44b6-4e11-80d2-5ac5af2517aa" CreationDate="2013-09-20T16:16:01.967" UserId="1216" Text="Maybe at some high end shimmering, like glass snippets/impulses through a reverb?&#xD;&#xA;Or some high pitched synth tones?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33337" PostHistoryTypeId="2" PostId="20405" RevisionGUID="fd95c87e-f873-4d96-bd96-b5d22b06c366" CreationDate="2013-09-20T17:38:54.537" UserId="6425" Text="Maybe you have unregistered, very fast peaks. Try to use a Brickwall-limiter with Peak-limiting and set the output gain on -0.3 dB.&#xD;&#xA;&#xD;&#xA;Moreover there could be an issue with the Audio-Track settings in the editors software. In FCP there is a set gain for each channel (L/R, Mono, Dual Mono) So if you load a stereo file, it could be that the setting is set to high. So if you import a File with 0 dB it should be set to -3dB on left and right channel (as far as i remember - not good with calculating dB :)). That means that the sum of the level can peak. &#xD;&#xA;&#xD;&#xA;I hope this helps!&#xD;&#xA;&#xD;&#xA;gl fixing the problem!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33338" PostHistoryTypeId="2" PostId="20406" RevisionGUID="6535ede4-b9ea-45be-9cde-5a8cfa0409d1" CreationDate="2013-09-20T22:18:30.117" UserId="6540" Text="What is the best software to make sound by keyboard?&#xD;&#xA;&#xD;&#xA;Piano-keyboard interruption interceptor like keylogger to play music just by keyboard.&#xD;&#xA;&#xD;&#xA;Pretty to see some effects, processors plugins.&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="33339" PostHistoryTypeId="1" PostId="20406" RevisionGUID="6535ede4-b9ea-45be-9cde-5a8cfa0409d1" CreationDate="2013-09-20T22:18:30.117" UserId="6540" Text="Best sound software to make sound by keyboard like piano [linux]?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33340" PostHistoryTypeId="3" PostId="20406" RevisionGUID="6535ede4-b9ea-45be-9cde-5a8cfa0409d1" CreationDate="2013-09-20T22:18:30.117" UserId="6540" Text="&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33341" PostHistoryTypeId="5" PostId="20406" RevisionGUID="cb19096f-c401-4d9a-8925-bb7db696a964" CreationDate="2013-09-20T22:28:01.403" UserId="6540" Comment="added 195 characters in body" Text="What is the best software to make sound by keyboard?&#xD;&#xA;&#xD;&#xA;Piano-keyboard interruption interceptor like keylogger to play music just by keyboard.&#xD;&#xA;&#xD;&#xA;Pretty to see some effects, processors plugins, feature like background job, e.g. I'm enable software, configure effects, and simply start programming, sounds of organ(letters) cross with guitar solo(numbers), under drums(spec buttons &lt; ^ &gt;) fill my room.&#xD;&#xA; &#xD;&#xA;Open Source!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33342" PostHistoryTypeId="2" PostId="20407" RevisionGUID="7525590e-8b0f-4ba9-8cb9-3c27776f8083" CreationDate="2013-09-20T22:34:30.810" UserId="6448" Text="http://jack-keyboard.sourceforge.net/&lt;br&gt;&#xD;&#xA;Vkeybd (http://alsa.opensrc.org/Vkeybd)&lt;br&gt;&#xD;&#xA;http://vmpk.sourceforge.net/&lt;br&gt;&#xD;&#xA;&#xD;&#xA;Have not used any of them, this is just what a Google search brings up.&#xD;&#xA;&#xD;&#xA;You might want to clarify this part of your question:&#xD;&#xA;&#xD;&#xA;&gt; Pretty to see some effects, processors plugins, feature like background job, e.g. I'm enable software, configure effects, and simply start programming, sounds of organ(letters) cross with guitar solo(numbers), under drums(spec buttons &lt; ^ &gt;) fill my room.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33345" PostHistoryTypeId="2" PostId="20408" RevisionGUID="87bb6590-43b2-4963-9c37-5eb8dc1b226b" CreationDate="2013-09-21T10:25:54.560" UserId="6542" Text="Cleanest ones I fund so far:&#xD;&#xA;http://www.freesound.org/people/drzhnn/packs/12752/&#xD;&#xA;&#xD;&#xA;Enjoy!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33346" PostHistoryTypeId="2" PostId="20409" RevisionGUID="4984786a-d2a4-4746-8956-840a22543520" CreationDate="2013-09-22T08:57:00.143" UserId="6425" Text="And do not forget about the destructive effects in the ausiosuite in PT.&#xD;&#xA;&#xD;&#xA;The following setup is for tv and Internet ads.&#xD;&#xA;&#xD;&#xA;My setup is 4 dialogue tracks routed to one bus, 3 atmospheric/roomtone/music tracks routed to One bus and 5 tracks for misc and fx going to One bus and One Track for lfe. Beside these, i use 4 send bus for convolution reverbs with different predelays, parallel compression and parallel saturation. &#xD;&#xA;&#xD;&#xA;I Add subtractive Eq, noise surpression, gain, pan and compression to the samples via the audiosuite. In each buss i use a linMB multiband compressor folliwed by a fairchild compressor. So i can &quot;push&quot; stuff into the compressor by adjusting the gains. This is not the &quot;correct Way&quot; but it works for me.&#xD;&#xA;&#xD;&#xA;Via automation i controll the send amounts. Slight amounts of parallel compression and saturation helps glueing the Sounds together. In the master i use a braunworx controll (controls stereowidth) lineq, linMB and a kramer tapesimulation which smooth out the Sounds and magical increases the width of high frequencys. At the end of the Chan i use the izotope Ozons 5 maximizer to controll undetected peaks(i do Not Squash the Sounds by increasing the gain i simply use it as a safety device to Remove peaks and dc)&#xD;&#xA;&#xD;&#xA;After the Signal Chain is a visLm meter to meassure the LUFS for TV productions.&#xD;&#xA;&#xD;&#xA;I hope this helps!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33347" PostHistoryTypeId="5" PostId="20409" RevisionGUID="757661fe-5090-41b8-93e2-26d99ab23bc6" CreationDate="2013-09-22T09:08:27.593" UserId="6425" Comment="added 368 characters in body" Text="And do not forget about the destructive effects in the ausiosuite in PT.&#xD;&#xA;&#xD;&#xA;The following setup is for tv and Internet ads.&#xD;&#xA;&#xD;&#xA;My setup is 4 dialogue tracks routed to one bus, 3 atmospheric/roomtone/music tracks routed to One bus and 5 tracks for misc and fx going to One bus and One Track for lfe. Beside these, i use 4 send bus for convolution reverbs with different predelays, parallel compression and parallel saturation. &#xD;&#xA;&#xD;&#xA;I Add subtractive Eq, noise surpression, gain, pan and compression to the samples via the audiosuite. In each buss i use a linMB multiband compressor folliwed by a fairchild compressor. So i can &quot;push&quot; stuff into the compressor by adjusting the gains. This is not the &quot;correct Way&quot; but it works for me.&#xD;&#xA;&#xD;&#xA;Via automation i controll the send amounts. Slight amounts of parallel compression and saturation helps glueing the Sounds together. In the master i use a braunworx controll (controls stereowidth) lineq, linMB and a kramer tapesimulation which smooth out the Sounds and magical increases the width of high frequencys. At the end of the Chan i use the izotope Ozons 5 maximizer to controll undetected peaks(i do Not Squash the Sounds by increasing the gain i simply use it as a safety device to Remove peaks and dc)&#xD;&#xA;&#xD;&#xA;After the Signal Chain is a visLm meter to meassure the LUFS for TV productions.&#xD;&#xA;&#xD;&#xA;I hope this helps!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Edit: to process the seperate dialogue samples, i use two opto compressors (One compression and One limiting). A waves deesser if needed, waves x Noise ans noise surpression and lin phase eq, waves Vocals rider and a large amounts of editing and volume autonation. Its realy important to learn when and how to apply those plugins and when editing is enough. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33348" PostHistoryTypeId="2" PostId="20410" RevisionGUID="5e57661b-af81-4ced-90cd-62462c3c700c" CreationDate="2013-09-23T00:01:18.117" UserDisplayName="user6547" Text="&#xD;&#xA;&#xD;&#xA;Can anyone help me with this Reaktor Assignment please??&#xD;&#xA;&#xD;&#xA;Assignment 1&#xD;&#xA;&#xD;&#xA;You must choose three sounds to use for signal processing. &#xD;&#xA;&#xD;&#xA;One should be rhythmic, &#xD;&#xA;one should be verbal and &#xD;&#xA;another should be tonal. &#xD;&#xA;&#xD;&#xA;Using these three sounds as sources,&#xD;&#xA;create six Reaktor patches that demonstrate concepts discussed in class &#xD;&#xA;&#xD;&#xA;and &#xD;&#xA;&#xD;&#xA;also demonstrate your exploration into creative signal routing.&#xD;&#xA;&#xD;&#xA;You will be expected to have at least one patch that explores&#xD;&#xA;&#xD;&#xA;&quot;control rate modulation&quot;, &#xD;&#xA;another patch that explores &#xD;&#xA;&quot;audio rate modulation&quot;, &#xD;&#xA;one patch that uses an &quot;envelope follower&quot; &#xD;&#xA;and&#xD;&#xA;another that uses an &quot;effect driven by tempo.&quot; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;You are required to document each patch with a &quot;schematic&quot; of your signal path.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33349" PostHistoryTypeId="1" PostId="20410" RevisionGUID="5e57661b-af81-4ced-90cd-62462c3c700c" CreationDate="2013-09-23T00:01:18.117" UserDisplayName="user6547" Text="Reaktor Help for the Class Assigment" ContentLicense="CC BY-SA 3.0" />
  <row Id="33350" PostHistoryTypeId="3" PostId="20410" RevisionGUID="5e57661b-af81-4ced-90cd-62462c3c700c" CreationDate="2013-09-23T00:01:18.117" UserDisplayName="user6547" Text="&lt;reaktor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33351" PostHistoryTypeId="2" PostId="20411" RevisionGUID="f54da8e1-bea6-4b3e-8c73-78ad31fb8c41" CreationDate="2013-09-23T00:36:49.723" UserId="6548" Text="http://www.freesound.org/people/jakobthiesen/sounds/98184/&#xD;&#xA;&#xD;&#xA;here you go sir, maybe this will help" ContentLicense="CC BY-SA 3.0" />
  <row Id="33352" PostHistoryTypeId="2" PostId="20412" RevisionGUID="0ec03ce8-a613-4056-83ac-c2ad04979cb4" CreationDate="2013-09-23T06:37:15.400" UserId="6448" Text="No-one will/should do your homework.&#xD;&#xA;&#xD;&#xA;Read the manual and lecture notes, do the assignments that **you're** given that are part of a course that **you've** decided to take." ContentLicense="CC BY-SA 3.0" />
  <row Id="33353" PostHistoryTypeId="2" PostId="20413" RevisionGUID="9b996e8c-365f-470c-b47f-4ac25d6b97f0" CreationDate="2013-09-23T07:21:37.073" UserId="6432" Text="I completely agree with 0.5piRC. If you had come here with some ideas or partly formed patches then we could have had a discussion or offered some pointers, but simply posting the task verbatim???&#xD;&#xA;&#xD;&#xA;Don't forget that lecturers also frequent forums like this one..." ContentLicense="CC BY-SA 3.0" />
  <row Id="33354" PostHistoryTypeId="5" PostId="20406" RevisionGUID="882a76e8-6f57-46e5-badf-17f6c0af597d" CreationDate="2013-09-23T16:06:18.657" UserId="6540" Comment="added 68 characters in body; edited tags" Text="What is the best software to make sound by keyboard?&#xD;&#xA;&#xD;&#xA;Piano-keyboard interruption interceptor like keylogger to play music just by keyboard.&#xD;&#xA;&#xD;&#xA;Pretty to see some effects, processors plugins, feature like background job, e.g. I'm enable software, configure effects, and simply start programming, sounds of organ(letters) cross with guitar solo(numbers), under drums(spec buttons &lt; ^ &gt;) fill my room.&#xD;&#xA;&#xD;&#xA;I'm mean that keyboard piano must be powerful as Adobe Photoshop.&#xD;&#xA;&#xD;&#xA;Open Source!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33355" PostHistoryTypeId="6" PostId="20406" RevisionGUID="882a76e8-6f57-46e5-badf-17f6c0af597d" CreationDate="2013-09-23T16:06:18.657" UserId="6540" Comment="added 68 characters in body; edited tags" Text="&lt;sound-effects&gt;&lt;keyboard&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33356" PostHistoryTypeId="2" PostId="20414" RevisionGUID="b8aea0c0-163a-4f25-be44-fb7dbb029608" CreationDate="2013-09-23T19:09:51.437" UserId="3346" Text="I used the 416 a lot at work for TV shows and it´s great and a very directional mic. The NTG3 isn´t that directional because it´s a hyper cardioid. But i love my NTG3 and i tend to say that i like the sound of it a lot more. In my ears the 416 sounds thinner. But that depends on your own hearing. Just think about that you don´t need a expensive mic for very good sound. I think Røde has it´s place in the Industry and they get more popular every day because they build great products.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33357" PostHistoryTypeId="2" PostId="20415" RevisionGUID="d3947904-b8e4-418c-aa92-53a628ad373c" CreationDate="2013-09-23T19:14:31.080" UserId="3346" Text="@samuel There no really Temp issues. It´s getting warm, but i used it in my Kortwich Bag in the Summer heat and this device never let me alone. It´s rolling all the time. Great choice. go for it !" ContentLicense="CC BY-SA 3.0" />
  <row Id="33358" PostHistoryTypeId="2" PostId="20416" RevisionGUID="f9648399-8dc0-4dc3-b50c-898b51645cf6" CreationDate="2013-09-23T19:17:36.813" UserId="3346" Text="@Anthony. I still use the Np1 Adapter from [Kortwich][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.filmtontechnik.de/stromversorgung0.html&#xD;&#xA;I get a massive amount of recording time. I run/record with my Dr 680 more than 8 hours with a single battery. The only ,thing, that doesn´t work if you use the Adapter is the Battery Led. So you have to have an eye on your watch !" ContentLicense="CC BY-SA 3.0" />
  <row Id="33359" PostHistoryTypeId="2" PostId="20417" RevisionGUID="8289ef23-2f1b-4847-ad1e-c89bd51e3179" CreationDate="2013-09-23T21:08:29.673" UserId="6425" Text="What is the correct spelling of Sound Design and Sounddesigner in German.&#xD;&#xA;&#xD;&#xA;Is it Sound Design, Sounddesign, Sound-Design, Sounddesigner, Sound-Designer, Sound Designer???&#xD;&#xA;&#xD;&#xA;I read all of them and now I am confused, because there is no entry in Duden :/&#xD;&#xA;&#xD;&#xA;Thx for the help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33360" PostHistoryTypeId="1" PostId="20417" RevisionGUID="8289ef23-2f1b-4847-ad1e-c89bd51e3179" CreationDate="2013-09-23T21:08:29.673" UserId="6425" Text="How to spell &quot;Sound Design&quot; and &quot;Sounddesigner&quot; in German" ContentLicense="CC BY-SA 3.0" />
  <row Id="33361" PostHistoryTypeId="3" PostId="20417" RevisionGUID="8289ef23-2f1b-4847-ad1e-c89bd51e3179" CreationDate="2013-09-23T21:08:29.673" UserId="6425" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33362" PostHistoryTypeId="2" PostId="20418" RevisionGUID="08d149f8-c71d-453e-b7a8-b001274c50ed" CreationDate="2013-09-23T21:25:12.587" UserId="6448" Text="Why would a German spelling of an English word be different from the spelling in English?&#xD;&#xA;&#xD;&#xA;Sound designer is the grammatically correct spelling. Sound design also.&#xD;&#xA;Capitalization of the latter words is used only as a part of e.g. a professional designation e.g. &quot;John Smith, Sound Designer&quot; or e.g. in marketing and company naming/branding e.g. &quot;John's Sound Design Services&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="33363" PostHistoryTypeId="5" PostId="20418" RevisionGUID="78e71f08-2b83-4bd0-a6e6-d7f84f2c726a" CreationDate="2013-09-23T21:32:35.547" UserId="6448" Comment="added 8 characters in body" Text="Why would a German spelling of an English word be different from the spelling in English?&#xD;&#xA;&#xD;&#xA;Sound designer is the grammatically correct spelling. Sound design also.&#xD;&#xA;Capitalization of the latter words is used only as a part of e.g. a professional designation e.g. &quot;John Smith, Sound Designer&quot; or e.g. in marketing and company/product naming/branding e.g. &quot;John's Sound Design Services&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="33364" PostHistoryTypeId="5" PostId="20418" RevisionGUID="5f6fc549-c47d-49ff-b440-034386915fea" CreationDate="2013-09-23T21:39:15.267" UserId="6448" Comment="added 24 characters in body" Text="Why would a German spelling of an English word be different from the spelling in English?&#xD;&#xA;&#xD;&#xA;Sound designer is the grammatically correct spelling. Sound design also.&#xD;&#xA;Capitalization of the words (when not starting a sentence) is used only as a part of e.g. a professional designation e.g. &quot;John Smith, Sound Designer&quot; or e.g. in marketing and company/product naming/branding e.g. &quot;John's Sound Design Services&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="33365" PostHistoryTypeId="5" PostId="20418" RevisionGUID="100c9e26-409b-4f60-b3b4-a090edb24f5a" CreationDate="2013-09-23T23:34:28.010" UserId="6448" Comment="added 305 characters in body" Text="Why would a German spelling of an English word be different from the spelling in English?&#xD;&#xA;&#xD;&#xA;Sound designer is the grammatically correct spelling. Sound design also.&#xD;&#xA;Capitalization of the words (when not starting a sentence) is used only as a part of e.g. a professional designation e.g. &quot;John Smith, Sound Designer&quot; or e.g. in marketing and company/product naming/branding e.g. &quot;John's Sound Design Services&quot;.&#xD;&#xA;&#xD;&#xA;But for example: &quot;Today, I will practice Sound Design.&quot; is wrong and should be &quot;Today, I will practice sound design.&quot;. Or &quot;I heard about this Sound Designer that I thought I'd hire for my next movie.&quot; is wrong and should be &quot;I heard about this sound designer that I thought I'd hire for my next movie.&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="33366" PostHistoryTypeId="2" PostId="20419" RevisionGUID="758a7acd-8a8d-4537-89a8-e5688d602d78" CreationDate="2013-09-24T00:27:10.550" UserId="6556" Text="It's a long story that I won't bother you with but I've basically got to do some action-heavy sound design (hand-to-hand combat, etc) in a room that:&#xD;&#xA;&#xD;&#xA; - is almost completely bare (no furniture, just basic appliances)&#xD;&#xA; - has tiled floors&#xD;&#xA; - bare walls&#xD;&#xA; - is really reverberant right now&#xD;&#xA; - is rectangular&#xD;&#xA; - is roughly 27 feet in length and 12 feet in width&#xD;&#xA;&#xD;&#xA;There's virtually no padding at all in here.&#xD;&#xA;&#xD;&#xA;I have a pair of nearfield monitors (KRK Rockit 5's) and speaker stands but no acoustic foam.&#xD;&#xA;&#xD;&#xA;I realize this is basically about the worst setup possible for clear mixing but it's what I've got. &#xD;&#xA;&#xD;&#xA;There are a few smaller rooms, a hallway and a bathroom as well - also all empty. Maybe I could set up in there?&#xD;&#xA;&#xD;&#xA;Also, I was thinking of stacking a few mattresses around me, up against the wall. Maybe hanging some blankets as well. If I HAD to, I could probably create some kind of enclosed space around me just by hanging blankets over various lamps and such.&#xD;&#xA;&#xD;&#xA;Options? Thoughts?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33367" PostHistoryTypeId="1" PostId="20419" RevisionGUID="758a7acd-8a8d-4537-89a8-e5688d602d78" CreationDate="2013-09-24T00:27:10.550" UserId="6556" Text="help with sound design in a rectangular, tiled room with no accoustic padding" ContentLicense="CC BY-SA 3.0" />
  <row Id="33368" PostHistoryTypeId="3" PostId="20419" RevisionGUID="758a7acd-8a8d-4537-89a8-e5688d602d78" CreationDate="2013-09-24T00:27:10.550" UserId="6556" Text="&lt;reverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33369" PostHistoryTypeId="2" PostId="20420" RevisionGUID="77539c44-d95e-4a65-a986-03daaadbed9b" CreationDate="2013-09-24T00:30:27.510" UserId="6448" Text="How about trying, if you could use sound effects libraries?&#xD;&#xA;&#xD;&#xA;Or go outside to record (somewhere where traffic or environmental noise wouldn't be much of a problem)?&#xD;&#xA;&#xD;&#xA;Or then record inside but so that the reverbation doesn't sound nasty. Or it can be cut out by fading out the tails of the sounds. You can record sound effects in non-treated rooms, but you need to pick the places well by trying where it sounds okay and fade out / gate out the tails if they're too reverbant." ContentLicense="CC BY-SA 3.0" />
  <row Id="33370" PostHistoryTypeId="5" PostId="20419" RevisionGUID="71a5f15b-db6b-405b-9f3b-87155bf31e12" CreationDate="2013-09-24T00:33:39.743" UserId="6556" Comment="added 187 characters in body" Text="It's a long story that I won't bother you with but I've basically got to do some action-heavy sound design (hand-to-hand combat, etc) in a room that:&#xD;&#xA;&#xD;&#xA; - is almost completely bare (no furniture, just basic appliances)&#xD;&#xA; - has tiled floors&#xD;&#xA; - bare walls&#xD;&#xA; - is really reverberant right now&#xD;&#xA; - is rectangular&#xD;&#xA; - is roughly 27 feet in length and 12 feet in width&#xD;&#xA;&#xD;&#xA;There's virtually no padding at all in here.&#xD;&#xA;&#xD;&#xA;I have a pair of nearfield monitors (KRK Rockit 5's) and speaker stands but no acoustic foam.&#xD;&#xA;&#xD;&#xA;I realize this is basically about the worst setup possible for clear mixing but it's what I've got. &#xD;&#xA;&#xD;&#xA;There are a few smaller rooms, a hallway and a bathroom as well - also all empty. Maybe I could set up in there? I mean, the hallway is probably 5.5 - 6 feet in width and i could stack a few queen size mattresses on either side around me and a twin mattress in the back to create a little enclosure.&#xD;&#xA;&#xD;&#xA;Also, I was thinking of stacking a few mattresses around me, up against the wall. Maybe hanging some blankets as well. If I HAD to, I could probably create some kind of enclosed space around me just by hanging blankets over various lamps and such.&#xD;&#xA;&#xD;&#xA;Options? Thoughts?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33371" PostHistoryTypeId="2" PostId="20421" RevisionGUID="d6384746-c30a-4c9d-8376-8c37d6751deb" CreationDate="2013-09-24T00:35:30.187" UserId="37" Text="Headphones. You will sacrifice dynamics but considering the sound of the room, it may be worth it. How many mattresses? Anything less than 5cm thick will only tackle high frequencies.. Record a slow sine sweep or pink noise then look at your room modes. You might get away with corrective EQ? Nothing will help the flutter other than wall treatment or throwing a sofa in there.. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33372" PostHistoryTypeId="5" PostId="20418" RevisionGUID="3aa41370-8583-4f71-99a0-868444534b56" CreationDate="2013-09-24T02:22:49.503" UserId="6448" Comment="added 83 characters in body" Text="Why would a German spelling of an English word be different from the spelling in English?&#xD;&#xA;&#xD;&#xA;Sound designer is the grammatically correct spelling. Sound design also.&#xD;&#xA;Capitalization of the words (when not starting a sentence) is used only as a part of e.g. a professional designation e.g. &quot;John Smith, Sound Designer&quot; or e.g. in marketing and company/product naming/branding e.g. &quot;John's Sound Design Services&quot;.&#xD;&#xA;&#xD;&#xA;But for example: &quot;Today, I will practice Sound Design.&quot; is wrong and should be &quot;Today, I will practice sound design.&quot;. Or &quot;I heard about this Sound Designer that I thought I'd hire for my next movie.&quot; is wrong and should be &quot;I heard about this sound designer that I thought I'd hire for my next movie.&quot;. Or &quot;John is a Sound Designer.&quot; is wrong and should be &quot;John is a sound designer.&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="33373" PostHistoryTypeId="5" PostId="20418" RevisionGUID="30e55a81-a9d1-4b9d-962e-ab1cb8bca6a8" CreationDate="2013-09-24T02:32:21.633" UserId="6448" Comment="added 228 characters in body" Text="Why would a German spelling of an English word be different from the spelling in English?&#xD;&#xA;&#xD;&#xA;Sound designer is the grammatically correct spelling. Sound design also.&#xD;&#xA;Capitalization of the words (when not starting a sentence) is used only as a part of e.g. a professional designation e.g. &quot;John Smith, Sound Designer&quot; or e.g. in marketing and company/product naming/branding e.g. &quot;John's Sound Design Services&quot; or in other cases where &quot;sound design&quot; is part of a name/title, i.e. it forms or is part of a proper name. E.g. the name of this forum can be written as &quot;Sound Design&quot; and not &quot;Sound design&quot;, because in this case the word refers to the name of this forum and is a proper name.&#xD;&#xA;&#xD;&#xA;But for example: &quot;Today, I will practice Sound Design.&quot; is wrong and should be &quot;Today, I will practice sound design.&quot;. Or &quot;I heard about this Sound Designer that I thought I'd hire for my next movie.&quot; is wrong and should be &quot;I heard about this sound designer that I thought I'd hire for my next movie.&quot;. Or &quot;John is a Sound Designer.&quot; is wrong and should be &quot;John is a sound designer.&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="33374" PostHistoryTypeId="5" PostId="20418" RevisionGUID="72ea1fcc-5f66-4d11-83b1-c3ba6828f524" CreationDate="2013-09-24T02:41:49.830" UserId="6448" Comment="added 39 characters in body" Text="Why would a German spelling of an English word be different from the spelling in English?&#xD;&#xA;&#xD;&#xA;Sound designer is the grammatically correct spelling. Sound design also.&#xD;&#xA;Capitalization of the words (when not starting a sentence) is used only as a part of e.g. a professional designation e.g. &quot;John Smith, Sound Designer&quot; or e.g. in marketing and company/product naming/branding e.g. &quot;John's Sound Design Services&quot; or in other cases where &quot;sound design&quot; is part of a name/title, i.e. it forms or is part of a proper name. E.g. the name of this forum can be written as &quot;Sound Design&quot; and not &quot;Sound design&quot;, because in this case the word refers to the name of this forum (and in turn to this particular forum) and is a proper name.&#xD;&#xA;&#xD;&#xA;But for example: &quot;Today, I will practice Sound Design.&quot; is wrong and should be &quot;Today, I will practice sound design.&quot;. Or &quot;I heard about this Sound Designer that I thought I'd hire for my next movie.&quot; is wrong and should be &quot;I heard about this sound designer that I thought I'd hire for my next movie.&quot;. Or &quot;John is a Sound Designer.&quot; is wrong and should be &quot;John is a sound designer.&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="33375" PostHistoryTypeId="2" PostId="20422" RevisionGUID="b7c7bdb2-1cf4-4bd8-a06f-23f1933a2b84" CreationDate="2013-09-24T02:57:38.593" UserId="6556" Text="Do you think the Focusrite 2i2 will be enough to power the Beyerdynamic DT 770's headphones (250 ohms)? I've done some research and it seems they might come in a little low, though a few others have claimed otherwise.&#xD;&#xA;&#xD;&#xA;I'm mostly using them for mixing and sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="33376" PostHistoryTypeId="1" PostId="20422" RevisionGUID="b7c7bdb2-1cf4-4bd8-a06f-23f1933a2b84" CreationDate="2013-09-24T02:57:38.593" UserId="6556" Text="Amp for Focusrite 2i2 and Beyerdynamic DT 770 (250 ohms)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33377" PostHistoryTypeId="3" PostId="20422" RevisionGUID="b7c7bdb2-1cf4-4bd8-a06f-23f1933a2b84" CreationDate="2013-09-24T02:57:38.593" UserId="6556" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33378" PostHistoryTypeId="2" PostId="20423" RevisionGUID="57ed6d0f-ffba-44b4-a26a-6c4714101262" CreationDate="2013-09-24T04:17:16.567" UserId="6557" Text="I use this exact combo at work and it's fine. Usually the headphone dial is set to 6 or 7 and 10 would be LOUD. Hope that helps" ContentLicense="CC BY-SA 3.0" />
  <row Id="33379" PostHistoryTypeId="2" PostId="20424" RevisionGUID="b7b1be98-128f-4bce-9f5b-384f1bd2788d" CreationDate="2013-09-24T09:57:51.433" UserId="1185" Text="The DT 770's are great headphones and are avaiable in a number of different impedences.  Generally provided that the construction of the headphones is same the lower the impedence the louder the headphone will sound at the same output level, but the amount of distortion will increase.  Having said that I have the 250ohm and 80ohm versions and distortion has never been an issue.&#xD;&#xA;&#xD;&#xA;I'm not familiar with the Focusrite unit, but you might want to check the spec to see what output power/level that unit offers.  It is then just simple ohms law.  Increasingly manufactures are lowering the power output as headphone impedences are decreasing." ContentLicense="CC BY-SA 3.0" />
  <row Id="33380" PostHistoryTypeId="2" PostId="20425" RevisionGUID="2d284cdf-75f6-46c6-babe-9d6d7a361df5" CreationDate="2013-09-24T16:56:27.340" UserId="6560" Text="I'm trying to find a UK parts supplier for Zoom H4n parts.&#xD;&#xA;&#xD;&#xA;Specifically, I'm looking for a battery cover.&#xD;&#xA;&#xD;&#xA;I can't seem to find anyone that doesn't want high delivery charges or isn't charging a bomb for this tiny, flimsy piece of plastic.&#xD;&#xA;&#xD;&#xA;Does anyone know where I should be looking?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="33381" PostHistoryTypeId="1" PostId="20425" RevisionGUID="2d284cdf-75f6-46c6-babe-9d6d7a361df5" CreationDate="2013-09-24T16:56:27.340" UserId="6560" Text="Zoom H4n parts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33382" PostHistoryTypeId="3" PostId="20425" RevisionGUID="2d284cdf-75f6-46c6-babe-9d6d7a361df5" CreationDate="2013-09-24T16:56:27.340" UserId="6560" Text="&lt;zoom&gt;&lt;zoom-h4n&gt;&lt;replacement-parts&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33383" PostHistoryTypeId="2" PostId="20426" RevisionGUID="f5ca9fa0-a7bd-4ff7-8421-2237337797b6" CreationDate="2013-09-24T17:08:10.910" UserId="6560" Text="Old foam mouse mats are pretty good at minimising contact based sound transfer - just put as many as you can between the surfaces you're trying to isolate. Blankets and duvets are pretty good at deadening mid and hf reflections. For lf reflections you really need to look at changing the shape of the room - since you can't change the architecture, scatter tall furniture around at random (don't forget to cover them in blankets and duvets). Adjust the arrangement of furniture if you find a standing wave." ContentLicense="CC BY-SA 3.0" />
  <row Id="33384" PostHistoryTypeId="2" PostId="20427" RevisionGUID="71623267-a9f6-4263-b488-8fc0ad197eab" CreationDate="2013-09-24T17:32:24.780" UserId="3346" Text="Thomann.de have them in their stock. I ordered from their website two years ago." ContentLicense="CC BY-SA 3.0" />
  <row Id="33385" PostHistoryTypeId="2" PostId="20428" RevisionGUID="ad4dbe81-88f3-4e8c-8d21-6784741c244e" CreationDate="2013-09-24T17:32:26.617" UserId="4442" Text="http://www.fullcompass.com/product/440854.html?utm_source=googleps&amp;utm_medium=shopping&amp;utm_campaign=googleps&amp;gclid=COXA2pTI5LkCFVGe4Aod_GIAUw&#xD;&#xA;&#xD;&#xA;Unfortunately, that's an absurd price, but the aftermarket doesn't look great. Have you contacted samson? Or Zoom?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33386" PostHistoryTypeId="2" PostId="20429" RevisionGUID="649402fb-4e98-4350-bb7f-4f156b6dcfd5" CreationDate="2013-09-24T18:44:02.370" UserId="6561" Text="https://soundcloud.com/orlogin/dead-sea&#xD;&#xA;&#xD;&#xA;In 0:37 - u can hear vocals.&#xD;&#xA;How they were edited so that they sound so deep and excellent?&#xD;&#xA;&#xD;&#xA;They are chopped into melody, dipped in reverb effect, fades added, delays, pitched up/down and ....what else? I can't get result like this...&#xD;&#xA;&#xD;&#xA;Here is tutorial with similar effect on vocal but it's not exactly that :(&#xD;&#xA;http://www.youtube.com/watch?v=egKGT6q4TnY&#xD;&#xA;&#xD;&#xA;Anybody had experience with vocals like that?&#xD;&#xA;&#xD;&#xA;I'll be very grateful.&#xD;&#xA;Regards" ContentLicense="CC BY-SA 3.0" />
  <row Id="33387" PostHistoryTypeId="1" PostId="20429" RevisionGUID="649402fb-4e98-4350-bb7f-4f156b6dcfd5" CreationDate="2013-09-24T18:44:02.370" UserId="6561" Text="How to design vocals like that? [chopped/pitched/reverb]" ContentLicense="CC BY-SA 3.0" />
  <row Id="33388" PostHistoryTypeId="3" PostId="20429" RevisionGUID="649402fb-4e98-4350-bb7f-4f156b6dcfd5" CreationDate="2013-09-24T18:44:02.370" UserId="6561" Text="&lt;reverb&gt;&lt;vocals&gt;&lt;pitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33389" PostHistoryTypeId="2" PostId="20430" RevisionGUID="0dc54cdd-21f6-4a86-8b1f-636d7a476866" CreationDate="2013-09-24T19:45:42.973" UserId="6464" Text="I've used both but I own a DR-100mkII and for me it is definitely the better choice. The pre's are much better and I like the added features such as the omni mic's. For me, one of the biggest differences is the gain control - with the DR-40 you cannot get around the button noises when changing gain. I used to hate listening back to the recordings and hearing the button presses. The gain wheel on the DR-100mkII is a saviour! &#xD;&#xA;&#xD;&#xA;There's a lot of great advice on this thread! " ContentLicense="CC BY-SA 3.0" />
  <row Id="33390" PostHistoryTypeId="2" PostId="20431" RevisionGUID="684cbd68-abd1-479b-acbf-4626e02572b6" CreationDate="2013-09-25T11:33:27.400" UserId="6410" Text="Working with sampled vocal snippets like this is as much to do with the underlying harmonies as it is to do with the melodic arrangements you come up with. The vocals should fit in the grander scheme of the pitch collection being used and not the literal chords/harmony. Once you get that fit its just a case of pitching and tuning your samples to into unexpected articulations, and using a big reverb. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33391" PostHistoryTypeId="2" PostId="20432" RevisionGUID="5713dfed-76ce-4f05-8a88-f1f7b007c082" CreationDate="2013-09-25T13:40:57.857" UserId="6563" Text="Does anyone have any advice on how to remove and aeroplane flyby? Ive tried with notched eq, but as the sound is dynamic it doesnt work. Im toying with getting RX 3 and was wondering if anyone has any cheaper solutions?&#xD;&#xA;&#xD;&#xA;thanks a million&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33392" PostHistoryTypeId="1" PostId="20432" RevisionGUID="5713dfed-76ce-4f05-8a88-f1f7b007c082" CreationDate="2013-09-25T13:40:57.857" UserId="6563" Text="Aeroplane Noise Reduction" ContentLicense="CC BY-SA 3.0" />
  <row Id="33393" PostHistoryTypeId="3" PostId="20432" RevisionGUID="5713dfed-76ce-4f05-8a88-f1f7b007c082" CreationDate="2013-09-25T13:40:57.857" UserId="6563" Text="&lt;noise&gt;&lt;reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33394" PostHistoryTypeId="2" PostId="20433" RevisionGUID="dfcaad7d-0b8b-435b-97f9-9fd317a163f6" CreationDate="2013-09-25T13:46:56.460" UserId="6448" Text="Nah, iZotope RX is surely your best best.&#xD;&#xA;&#xD;&#xA;It's such a broadband noise that it cannot be trivially removed. RX might just be able to cut it out and mask it with the &quot;replace audio&quot; features it has." ContentLicense="CC BY-SA 3.0" />
  <row Id="33395" PostHistoryTypeId="2" PostId="20434" RevisionGUID="3cca0395-67c3-45e8-83df-82549bad463a" CreationDate="2013-09-25T13:50:02.787" UserId="1216" Text="First of all I don't think there's a easily solution to these kinds of noises.&#xD;&#xA;Although RX3 is great product, it's not a magic pill (nor any other product.&#xD;&#xA;It totally depends on how loud/continuous/'wide' it is. Since this is a flyby&#xD;&#xA;it could mean that the sound evolves dramatically over the course of a few seconds.&#xD;&#xA;This is much harder to reduce (with any technique).  &#xD;&#xA;Another thing: what does is it have to be reduced to relatively? Speech or is it&#xD;&#xA;a natural soundscape? High pitched birdsong could 'survive' a hipass filter. Or you&#xD;&#xA;could replace the airplane frequency range with another ambience of the same range&#xD;&#xA;that doesn't have a lot of noises.&#xD;&#xA;&#xD;&#xA;Anyway this is all stuff that takes a lot of time and effort, don't expect a perfect&#xD;&#xA;soundscape afterwards. &#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33396" PostHistoryTypeId="5" PostId="20433" RevisionGUID="fc829f03-baa2-453f-960d-f211f5035232" CreationDate="2013-09-25T13:58:22.353" UserId="6448" Comment="added 266 characters in body" Text="Nah, iZotope RX is surely your best best.&#xD;&#xA;&#xD;&#xA;It's such a broadband noise that it cannot be trivially removed. Either you'll cut an audible hole in the overall sound or you cannot damp the airplane sound enough, so it'll stay audible. &#xD;&#xA;&#xD;&#xA;RX might just be able to cut it out and mask it with the &quot;replace audio&quot; features it has (by either copypasting another audio segment in place of the removed flyby sound or by having RX try synthesize the audio that's missing).&#xD;&#xA;&#xD;&#xA;Without RX, you could also try cutting the entire flyby segment off and then try cross-fading the remaining segments to combine them back to a constant track. Or finding a segment that can fill the missing part. This can work if the track is an ambience track and is constant enough." ContentLicense="CC BY-SA 3.0" />
  <row Id="33397" PostHistoryTypeId="2" PostId="20435" RevisionGUID="a96e2774-75d9-490d-88b1-aa93b54a85f2" CreationDate="2013-09-25T14:44:06.767" UserId="6564" Text="I'm in the process of applying for a job that would involve working with Welsh speaking actors and broadcasters. Everyone on set would also understand and speak English fluently but the content would be in Welsh, a language I know only a few words of.&#xD;&#xA;&#xD;&#xA;I'm wondering if anyone else has been in this situation? I'm imagining that dialogue editing could be tricky without truly knowing how the words are supposed to sound. As this job is mostly a boom operator role I can't imagine it being a huge issue and speaking Welsh is a 'desirable' but not 'essential' factor of the application.&#xD;&#xA;&#xD;&#xA;Apologies if this is a little vague, I just thought it was an interesting issue.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33398" PostHistoryTypeId="1" PostId="20435" RevisionGUID="a96e2774-75d9-490d-88b1-aa93b54a85f2" CreationDate="2013-09-25T14:44:06.767" UserId="6564" Text="Have you ever worked on content in a language you don't understand?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33399" PostHistoryTypeId="3" PostId="20435" RevisionGUID="a96e2774-75d9-490d-88b1-aa93b54a85f2" CreationDate="2013-09-25T14:44:06.767" UserId="6564" Text="&lt;advice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33400" PostHistoryTypeId="2" PostId="20436" RevisionGUID="b9198b36-027b-4ae9-83dc-b887136bcf50" CreationDate="2013-09-25T15:24:19.797" UserId="6399" Text="I've worked on projects in Spanish (South American and European), French (Canadian and European), German, Portugese, Mandarin and Cantonese without understanding them.  I do know some Spanish.  At least on the side I'm on - recording/editing, the client will usually have someone to sit with you and edit as well as direct the talent.  I would have been dead in the water with the 2 Chinese languages because they really can't be read if you don't know the language.  Most of my foreign language experience has been in Spanish, there are a lot of subtleties that can get lost at times if everyone isn't familiar with the language, like formal vs casual uses." ContentLicense="CC BY-SA 3.0" />
  <row Id="33401" PostHistoryTypeId="2" PostId="20437" RevisionGUID="59b9616a-5e39-4f4b-a7bf-e7cb1b76d920" CreationDate="2013-09-25T15:26:22.807" UserId="6399" Text="Another take for those lines would be your best bet if that's something you have access to." ContentLicense="CC BY-SA 3.0" />
  <row Id="33402" PostHistoryTypeId="2" PostId="20438" RevisionGUID="1108c23d-351f-44a2-a534-23e4abacb34d" CreationDate="2013-09-25T16:03:48.327" UserId="3346" Text="Airplane ? - No Chance ;( Go and record again. Maybe this saves your time instead figuring out RX and realizing, this doesn´t work. I tried several hours to eliminate Airplane pass bys, but it never leads to pleasing results" ContentLicense="CC BY-SA 3.0" />
  <row Id="33403" PostHistoryTypeId="2" PostId="20439" RevisionGUID="be69a09f-486f-43a3-9600-511b3d6f1c4f" CreationDate="2013-09-25T16:35:44.097" UserId="711" Text="I have worked on many project including French, English, Portuguese (Brazil), Spanish, Polish, Turkish, German, Chinese, Japanese, Russian, Korean, Finnish, Swedish and even Welsh. Never had any issue/complain from the client after cleaning/trimming/editing files. The only issue I had was with Chinese and Japanese, I actually had to copy/paste the script and use google translate &quot; listen &quot; function to track differences between very similar takes. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33404" PostHistoryTypeId="2" PostId="20440" RevisionGUID="4bb2b348-5293-4a1a-bb46-729b5a593879" CreationDate="2013-09-25T19:30:26.350" UserId="6567" Text="apart from what already has been correctly stated I would add that if you're unsure, the German equivalent of sound design / sound designer is generally Tongestaltung and Tongestalter / Geräuschemacher. &#xD;&#xA;&#xD;&#xA;In some (incorrect) cases it's also referred to as a Toneditor which to me doesn't incorporate the act of recording/creating sounds but rather editing what already exists. &#xD;&#xA;&#xD;&#xA;Until there is an entry in the Duden, apart from grammatical considerations (as again, already mentioned), I don't think that anybody can/should/would care so use whatever you think is most appropriate. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33405" PostHistoryTypeId="2" PostId="20441" RevisionGUID="89cc3d36-3164-47ec-9e46-89459a809eae" CreationDate="2013-09-25T22:37:47.527" UserId="6435" Text="I've worked on a few projects in languages I don't speak; the biggest was a study aid tape in Russian. It was an hour long and I was editing on tape (this was about 20 years ago) and I had to have the translator sitting next to me the whole time to make sure I was cutting the right words. After a pretty excruciating 5-hour session, the client decided to recast one of the voice actors and I had to recut the entire thing the next week. Fun." ContentLicense="CC BY-SA 3.0" />
  <row Id="33408" PostHistoryTypeId="2" PostId="20442" RevisionGUID="9e29705e-c441-4609-85ef-803d3a581165" CreationDate="2013-09-26T07:44:15.153" UserId="6001" Text="What is the role of the dialogue editor in volume automation and noise reduction in movie post production?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Eduardo" ContentLicense="CC BY-SA 3.0" />
  <row Id="33409" PostHistoryTypeId="1" PostId="20442" RevisionGUID="9e29705e-c441-4609-85ef-803d3a581165" CreationDate="2013-09-26T07:44:15.153" UserId="6001" Text="Volume automation and noise reduction" ContentLicense="CC BY-SA 3.0" />
  <row Id="33410" PostHistoryTypeId="3" PostId="20442" RevisionGUID="9e29705e-c441-4609-85ef-803d3a581165" CreationDate="2013-09-26T07:44:15.153" UserId="6001" Text="&lt;dialogue&gt;&lt;post-production&gt;&lt;noise-reduction&gt;&lt;automation&gt;&lt;volume&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33411" PostHistoryTypeId="2" PostId="20443" RevisionGUID="9d7cfa2f-59ef-44d2-b0c1-19a6c395816e" CreationDate="2013-09-26T08:46:53.763" UserId="6573" Text="I've heard that using a condom over a mic is a good cheap way to record underwater. My question is, to have it tightly wrapped over the mic or have an air pocket?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33412" PostHistoryTypeId="1" PostId="20443" RevisionGUID="9d7cfa2f-59ef-44d2-b0c1-19a6c395816e" CreationDate="2013-09-26T08:46:53.763" UserId="6573" Text="Using condom over mic for underwater recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="33413" PostHistoryTypeId="3" PostId="20443" RevisionGUID="9d7cfa2f-59ef-44d2-b0c1-19a6c395816e" CreationDate="2013-09-26T08:46:53.763" UserId="6573" Text="&lt;underwater&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33417" PostHistoryTypeId="2" PostId="20445" RevisionGUID="9d4c5a04-fcbe-4046-9778-18c52a02213d" CreationDate="2013-09-26T09:33:35.697" UserId="1216" Text="It depends on the agreements made between the dialogue editor/supervisor and the sound supervisor. Mixers could prefer to not have volume automation, but this differs.&#xD;&#xA;Why do you ask? Are you editing dialogue? Or are you mixing the movie?&#xD;&#xA;&#xD;&#xA;Recommended reading: &#xD;&#xA;[Dialogue-Editing-Motion-Pictures][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Dialogue-Editing-Motion-Pictures-Invisible/dp/0415828171/ref=la_B001JRRLFK_1_1?s=books&amp;ie=UTF8&amp;qid=1380187950&amp;sr=1-1 &quot;Dialogue editing for motion picture&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33419" PostHistoryTypeId="2" PostId="20446" RevisionGUID="99deda1f-957f-4822-ac10-eacea9a685e5" CreationDate="2013-09-26T12:50:39.953" UserId="4057" Text="Firstly any mic you wrap in this way will only ever be omnidirectional. You can put a cardioid in a condom, but due to the way cardioids work, they will become omni. Its best to try and expel as much air as possible from the condom. if you have an air pocket it is likely that the microphone will move around inside the latex and you will simply end up recording the sound of the microphone moving around inside the condom. Also make sure it is firmly sealed around the cable.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33420" PostHistoryTypeId="2" PostId="20447" RevisionGUID="92d9fb59-5b57-4d0d-b64c-b3b28f5dd89d" CreationDate="2013-09-26T14:38:54.833" UserId="432" Text="In one of my previous jobs, I had to edit in over 17 languages. Besides English, I only had any real experience in French and Spanish...and I was/am nowhere near fluent in either. We had a mechanism set up where a phonetic English script would be provided by whatever staffer/outside company was providing the original translation from English to the target language. I would edit using that, and then we had native speakers for QC. I never had anything kicked back when I was using the phonetic scripts. The only time anything ever came back was because of translation discrepancies. Translation, as you may know, is an art all itself. People often interpret in different ways, and that was always the sticking point." ContentLicense="CC BY-SA 3.0" />
  <row Id="33421" PostHistoryTypeId="2" PostId="20448" RevisionGUID="b99374f1-28f6-4d2f-992c-843c9ee9dfe4" CreationDate="2013-09-26T15:50:49.777" UserId="6578" Text="If you use Ableton I would suggest that you experiment with the Drum Rack to achieve such effect. Try to get an acapella of like one singed sentence or even better record yourself singing (don't worry about lyrics, gibberish should work fine) and pitch it up like 5 semitones; then cut the different words and syllables and put them in different drum rack slots.&#xD;&#xA;&#xD;&#xA;Then try to play around with the pitch of each different sample to get different notes and textures and write or play simple riffs with your keyboard, and I think you should get something like that !&#xD;&#xA;&#xD;&#xA;I tried to be clear, let me know if you need more info. :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33422" PostHistoryTypeId="2" PostId="20449" RevisionGUID="2bb42b03-cf4d-46b2-82f8-eb8b8ec4e3fe" CreationDate="2013-09-26T20:12:38.113" UserId="6392" Text="I usually have my Dial editors only do very basic level adjustments.  Basically lower any really loud pfx or a line that is dramatically out of sorts with the rest of the scene.  With noise reduction, I never want my editor to do any broadband NR or notch filtering.  You can get into a lot of unnecessary processing that might not be needed once everything else is in the mix.  The only thing I ask my editors to do is deliver me a track that is smooth so when I apply NR I'm dealing with the broader picture." ContentLicense="CC BY-SA 3.0" />
  <row Id="33423" PostHistoryTypeId="2" PostId="20450" RevisionGUID="60486fb5-c8f4-4480-b988-c8f527d998cc" CreationDate="2013-09-26T21:22:22.003" UserId="5526" Text="Several things a dialog editor can and should do with level automation...&#xD;&#xA;&#xD;&#xA;- smooth out transitions between handles on different takes&#xD;&#xA;- keep dialog levels roughly consistent between takes&#xD;&#xA;- reduce loud momentary sounds&#xD;&#xA;- gently reduce annoyingly loud constant background sounds around dialog, but not during it&#xD;&#xA;&#xD;&#xA;I don't discourage editors from using something like iZotope RX on big problem clips, but the original edited clips must remain in sync and muted on an adjacent track. Some editors have become very adept at this, but it must be instantly undoable when mixing.&#xD;&#xA;&#xD;&#xA;KellCole is correct when saying that usually the least treatment to dialog is best, and you can't know until all the FX and music are together with the dialog in the mix. So it's best for the editors to err on the side of keeping the work simple and straightforward." ContentLicense="CC BY-SA 3.0" />
  <row Id="33424" PostHistoryTypeId="2" PostId="20451" RevisionGUID="9cf729a0-9528-43e3-85d7-da2062da484f" CreationDate="2013-09-26T21:52:50.113" UserId="6580" Text="I got a shooting on a couple of days. It's a bathroom scene with lot's of dialogue and a bedroom scene w lot's of sex ;)&#xD;&#xA;&#xD;&#xA;The problem is that both locations have windows looking directly to a busy avenue with lot's noisy traffic.&#xD;&#xA;&#xD;&#xA;Usually I bring blankets and cushions to cover them, but this needs something better.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It HAS to be in that location. And we are shooting in the least busiest time, but nevertheless, noisy as Fran Drescher.&#xD;&#xA;&#xD;&#xA;Any advice? Ideas? Materials to sound proof?&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------" ContentLicense="CC BY-SA 3.0" />
  <row Id="33425" PostHistoryTypeId="1" PostId="20451" RevisionGUID="9cf729a0-9528-43e3-85d7-da2062da484f" CreationDate="2013-09-26T21:52:50.113" UserId="6580" Text="Location Sound Sound Proofing" ContentLicense="CC BY-SA 3.0" />
  <row Id="33426" PostHistoryTypeId="3" PostId="20451" RevisionGUID="9cf729a0-9528-43e3-85d7-da2062da484f" CreationDate="2013-09-26T21:52:50.113" UserId="6580" Text="&lt;field-recording&gt;&lt;film&gt;&lt;location-recording&gt;&lt;dialogue-recording&gt;&lt;location-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33427" PostHistoryTypeId="2" PostId="20452" RevisionGUID="89c6cad5-0566-42f7-8e8c-93c69b329a6a" CreationDate="2013-09-27T10:47:14.223" UserId="6425" Text="One thing to mention. Does the aeroplane really disturb, or does it only disturb you?&#xD;&#xA;&#xD;&#xA;Ask another person to check that. Sometimes you get mad on things that are actually no problem at all. And make sure that the aeroplane is not vanishing in a cut or fade.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33428" PostHistoryTypeId="2" PostId="20453" RevisionGUID="b88da6f1-8571-4894-a893-bc1d58b9132f" CreationDate="2013-09-27T11:33:49.160" UserId="6582" Text="If you don't need daylight in the shot, maybe you could try buying a package of rockwool, put it into a plastic or cloth bag and stuff into the window; it won't cost you an arm and a leg and might block at least some of the sound from the street; although you won't be able to block any low rumble from the outside most likely.&#xD;&#xA;&#xD;&#xA;Close *all* windows and doors in the appartment.&#xD;&#xA;&#xD;&#xA;ADR is not an option?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Regards&#xD;&#xA;&#xD;&#xA;Felix&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33429" PostHistoryTypeId="2" PostId="20454" RevisionGUID="40218478-6c98-47c5-a659-c9d8079d7049" CreationDate="2013-09-27T16:23:28.590" UserId="6425" Text="One thing most people forgot, so I want to mention this-&gt;&#xD;&#xA;&#xD;&#xA;The Dubstep Bass-sound consist of 2 Elements, Subbass (Sinewave) and Midrange-Bass (The &quot;AIII&quot;)&#xD;&#xA;&#xD;&#xA;To get the Stutter i would use a Gate as the others Mentioned. As a Modualtor for the Key-In (Sidechain) you should use a very loud and VERY short signal. For example use the first 2-3 MS of a Kickdrum etc. Then get thy rythm right with the modulator. One thing that realy soudns good is if you use groovetempaltes on the modulator. Then the stutter is kinda more &quot;organic&quot;&#xD;&#xA;&#xD;&#xA;The sound source of the midraneg bass is a fm-dubstep bass. it is directly from skrillex original song. Just get an fm 8 out. &#xD;&#xA;&#xD;&#xA;Modulate One Triangle wave carrier with a sine Modulatior. Control the volume of the modulator with an envelope. now modulate the modulator with a 2nd formant waveform with a pitch of 16.000. Adjust the Volume of the 2nd modulator between 8 and 12.&#xD;&#xA;&#xD;&#xA;Play g or f and you get the basic growl. now use a ton of filters, distorion, chorus, reverb and compression to finish the sound.&#xD;&#xA;&#xD;&#xA;The Subbass should not be stutter, since that would take away a lot of the energy of the sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="33430" PostHistoryTypeId="2" PostId="20455" RevisionGUID="ae762411-7fb4-4030-a49f-bb24509788c3" CreationDate="2013-09-27T17:33:45.807" UserId="315" Text="Blankets will help with room reflections/absorption, but they're not the best at preventing noise leakage. It sounds like you need some sort of isolation material. &#xD;&#xA;&#xD;&#xA;The best isolation product I know of is mass loaded vinyl. Perhaps you could seal the window with it, building some sort of mass loaded vinyl curtain. The problem is that stuff is extremely heavy to lug around. Of course anything that stops the transmission of sound through a wall has to be heavy and dense.&#xD;&#xA;&#xD;&#xA;Other thoughts...use a tight patterned boom mic like the Sanken CS-3, lavs, or just ADR :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33431" PostHistoryTypeId="2" PostId="20456" RevisionGUID="1acbf31d-796c-45e5-9385-715608867695" CreationDate="2013-09-27T21:54:55.547" UserId="6583" Text="I am a sound designer for theater and have a question about credit/compensation for past work.  I designed sound for a production at a regional theater, and this year a sequel is being mounted.  I got a chance to see the sequel and recognized aspects of my design - either my original samples were being used or, more likely, close approximations.  &#xD;&#xA;&#xD;&#xA;Now, obviously if I were talking about wind and car doors slamming there would be no argument.  But there are complicated and sort of abstract multiple part cues that I created with the director last year, and that he has instructed a different sound designer how to reproduce (I couldn't work on the sequel for logistical reasons).  &#xD;&#xA;&#xD;&#xA;Am I entitled to credit or compensation? If this were a pure remount the answer would be definitely Yes, but what about a sequel in the same world? " ContentLicense="CC BY-SA 3.0" />
  <row Id="33432" PostHistoryTypeId="1" PostId="20456" RevisionGUID="1acbf31d-796c-45e5-9385-715608867695" CreationDate="2013-09-27T21:54:55.547" UserId="6583" Text="Credit/compensation to use design in sequel" ContentLicense="CC BY-SA 3.0" />
  <row Id="33433" PostHistoryTypeId="3" PostId="20456" RevisionGUID="1acbf31d-796c-45e5-9385-715608867695" CreationDate="2013-09-27T21:54:55.547" UserId="6583" Text="&lt;legal&gt;&lt;theater&gt;&lt;license&gt;&lt;copyright&gt;&lt;credit&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33434" PostHistoryTypeId="2" PostId="20457" RevisionGUID="b2a162c0-227f-4855-a4e4-271466b724e8" CreationDate="2013-09-27T22:27:48.897" UserId="6425" Text="Another thing about Noise:&#xD;&#xA;&#xD;&#xA;When I do Dialogue Editing I always search the recordings for pieces of short atmosphere if no extra atmosphere was recorded. Then I save them and deliver them in a folder for each scenery. So the re-recording mixer has a gap-filler if needed.&#xD;&#xA;&#xD;&#xA;IMHO its better to stick to the natural noise then remove it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33436" PostHistoryTypeId="2" PostId="20458" RevisionGUID="bc849967-f7da-481e-9cce-bd0cb52299ed" CreationDate="2013-09-28T00:03:02.570" UserId="6448" Text="&gt; Am I entitled to credit or compensation?&#xD;&#xA;&#xD;&#xA;**If you have copyright for these particular sounds**, then using the sounds without your permission is technically a copyright infringement. However, whether you want to go court is another topic, more likely the infringement that bothers you can be solved simply by negotiating.&#xD;&#xA;&#xD;&#xA;**If you've signed a contract where you've transferred the rights to the sounds to another person or a company or e.g. worked on a contract that states that what you produce belongs to your employer**, then (unless the contract had restricted use cases for what you produce, e.g. that it's for a particular play only) you don't have rights to the sounds, because you've given them away.&#xD;&#xA;&#xD;&#xA;Also, there's no sort of automatic compensation for copyright infringements, it's either negotiated or solved in the court." ContentLicense="CC BY-SA 3.0" />
  <row Id="33447" PostHistoryTypeId="4" PostId="7420" RevisionGUID="d171ee9b-818e-43ab-86ac-f4ab5f85ebef" CreationDate="2013-10-01T08:07:16.347" UserId="1228" Comment="Fix title spelling" Text="production company websites: best of" ContentLicense="CC BY-SA 3.0" />
  <row Id="33452" PostHistoryTypeId="2" PostId="20465" RevisionGUID="f315841c-06dd-4fee-80a8-7a671b53899f" CreationDate="2013-10-01T10:31:39.800" UserId="6592" Text="I'll be running sound for an event that includes a live band, and then later on an announcer (for award presentations). The venue is about 300 seated capacity, but it's a very long room with the stage at one end.&#xD;&#xA;&#xD;&#xA;In previous years (at the same place) we've used a pair of active speakers either side of the stage, but the sound has been either too loud at the front, too quiet at the back, or both!&#xD;&#xA;&#xD;&#xA;So what's the best way to set up a PA for a long room?&#xD;&#xA;&#xD;&#xA;I've thought about hiring another pair of speakers and placing them halfway down the room on a delay line, but that might block the audience's view (benches are built into the side walls), and in any case we'd have to weigh the improvement in sound against the extra cost..." ContentLicense="CC BY-SA 3.0" />
  <row Id="33453" PostHistoryTypeId="1" PostId="20465" RevisionGUID="f315841c-06dd-4fee-80a8-7a671b53899f" CreationDate="2013-10-01T10:31:39.800" UserId="6592" Text="PA for a long room" ContentLicense="CC BY-SA 3.0" />
  <row Id="33454" PostHistoryTypeId="3" PostId="20465" RevisionGUID="f315841c-06dd-4fee-80a8-7a671b53899f" CreationDate="2013-10-01T10:31:39.800" UserId="6592" Text="&lt;live-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33455" PostHistoryTypeId="2" PostId="20466" RevisionGUID="b22a61f3-780c-421e-bc0f-e0544923804b" CreationDate="2013-10-01T12:58:48.330" UserDisplayName="user80" Text="Can you suspend the loudspeakers either side of the stage?  You can then angle them so that the difference between the front rows and further back is not so prominent." ContentLicense="CC BY-SA 3.0" />
  <row Id="33459" PostHistoryTypeId="2" PostId="20468" RevisionGUID="c0b2d9e7-b578-4f25-b7d7-534798be32f5" CreationDate="2013-10-01T13:56:32.490" UserId="6592" Text="If you're on Windows, [ASIO4all](http://www.asio4all.com/) might do it.&#xD;&#xA;&#xD;&#xA;You can select ASIO4all as your audio device within Reaper, and then select multiple devices in ASIO4all's configuration, which will then look like a single device to Reaper. You'll then need to close and reopen Reaper's audio device configuration before you can choose which inputs / outputs Reaper will use.&#xD;&#xA;&#xD;&#xA;I haven't tested this, so it's possible you might run into sync problems or something - worth a try though..." ContentLicense="CC BY-SA 3.0" />
  <row Id="33460" PostHistoryTypeId="2" PostId="20469" RevisionGUID="99564bbf-6e18-4fe4-a0f0-9e76d85986d5" CreationDate="2013-10-01T13:59:53.873" UserId="6593" Text="I have a small animation project with a quick turnaround which needs some car sounds for a modern hatchback (SEAT). &#xD;&#xA;&#xD;&#xA;I wondered if anyone had any good suggestions for libraries that might cover this project with a good range of sounds for this type of vehicle? The sounds needed would be mostly external car sounds and I need them to be pretty close and as clean as possible as this a very dry, pristine animated environment, so too much ambience won't quite cut it. &#xD;&#xA;&#xD;&#xA;I've had a listen to the BOOM everyday cars library which seems very good for internal sounds but isn't quite right for the exterior as there is too much distance/ambience on the recordings. &#xD;&#xA;&#xD;&#xA;Any help much appreciated!&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;S&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33461" PostHistoryTypeId="1" PostId="20469" RevisionGUID="99564bbf-6e18-4fe4-a0f0-9e76d85986d5" CreationDate="2013-10-01T13:59:53.873" UserId="6593" Text="Car sfx library" ContentLicense="CC BY-SA 3.0" />
  <row Id="33462" PostHistoryTypeId="3" PostId="20469" RevisionGUID="99564bbf-6e18-4fe4-a0f0-9e76d85986d5" CreationDate="2013-10-01T13:59:53.873" UserId="6593" Text="&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33463" PostHistoryTypeId="2" PostId="20470" RevisionGUID="c42ffe35-fd1b-4d03-884f-058fc12a8183" CreationDate="2013-10-01T17:04:43.400" UserId="6596" Text="If Boom didnt give you what you needed, you could always record the sounds yourself if you have the ability to. Ive had some issues with designing car shots myself in the past and I have just done some creative design work and it has worked for me. I have had to rely on creatively using the libraries I have to design what was needed, this involving &quot;Everyday Cars&quot; and others from Sound Ideas and Hollywood Edge, but my big thing about libraries is that they never have &quot;Exactly what you want when it comes to realistic sounds such as cars and what not. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If anything, I would try to find the car you need and record the audio yourself, then you have exactly what you want. If not, do some designing and create some audio magic. Fool the listener, that is the best thing about sound design...only you know. &#xD;&#xA;&#xD;&#xA;Hope this helped. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33464" PostHistoryTypeId="2" PostId="20471" RevisionGUID="23858f44-e49f-4246-b3f1-b176deb27677" CreationDate="2013-10-02T00:07:48.090" UserId="3199" Text="I personally love Raidum Audio's website: http://radium-audio.com/&#xD;&#xA;Starts you out with a very clean look with clear navigation and drops you right onto their favorite projects and showreels. It's minimal without being hard to read, which can be tricky to achieve. However, it bugs me that they have sharing buttons all over their site -- I think those are pretty tacky. &#xD;&#xA;&#xD;&#xA;I also really enjoy how much production value they put into their &quot;How We Work&quot; and other behind-the-scenes pages. Showing clients how you make the sounds you do goes a long way toward making a lasting impression. Plus it gets them more interested in the process and the art itself -- good for the whole industry!&#xD;&#xA;&#xD;&#xA; - speed - 5, all content loads quickly, visitors can move from page to page in single clicks. Some might prefer having a cleaner sidebar, but I appreciate not having to chase drop-down menus.&#xD;&#xA; - navigation/layout - 5, clean, easy to read, persistent navigation, I also appreciate that they have their projects broken out into categories so potential clients can quickly delve into content that is applicable to them &#xD;&#xA; - mobile compatibility - 0, no mobile site and their elements resize strangely on mobile browsers&#xD;&#xA; - style - 5, clean look, simple and effective typography &#xD;&#xA; - content - 6!, they go above and beyond a demo reel and slide shows. They have complete pages and blurbs for many of their major projects and extensive behind-the-scenes views of their facilities, processes, and staff.&#xD;&#xA;&#xD;&#xA;I hope this thread gets some legs! I think it's very applicable information and perspective. I'll keep my eyes out for other examples from a range of production scales. I'm personally more interested to see great examples of *individual's* websites, since that's what I'm in the process of building and maintaining for myself. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33465" PostHistoryTypeId="16" PostId="20471" RevisionGUID="f9ebdc4a-9da7-40ef-8bcd-f0129497b96d" CreationDate="2013-10-02T00:07:48.090" UserId="3199" />
  <row Id="33466" PostHistoryTypeId="2" PostId="20472" RevisionGUID="f40a3ee3-7b65-48cc-8e87-9476db3ddf02" CreationDate="2013-10-02T00:50:26.533" UserId="3199" Text="Another favorite is Box of Toys Audio. http://www.boxoftoysaudio.com&#xD;&#xA;&#xD;&#xA;I love the flat, boxy visual style that ties back to their name, but I think their text is approaching too small. Great photography and colors. Welcoming landing page with clear selections to bring users further into the site. &#xD;&#xA;&#xD;&#xA; - speed - 4, would be a 5 but the &quot;Archive&quot; section chugs hard on too much content. &#xD;&#xA; - navigation/layout - 4.5, persistent navigate at the top, great landing page, I take .5 off only because their showreels aren't as obvious as they perhaps should be. &#xD;&#xA; - mobile - 5, their site is well optimized for mobile. I almost prefer it because it's easier to read!&#xD;&#xA; - style - 5 Though I mentioned the small text, the colors, photography, and graphic design all work together extremely well to create a brand identity that make up for little quibbles. &#xD;&#xA; - content - 5 Showreels, project demos broken out by category, and case studies that provide a writeup of their process and thinking, photographic documentation, and audio samples. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33467" PostHistoryTypeId="16" PostId="20472" RevisionGUID="723f50d6-f85f-4ce0-b38a-89176da89a83" CreationDate="2013-10-02T00:50:26.533" UserId="3199" />
  <row Id="33469" PostHistoryTypeId="2" PostId="20474" RevisionGUID="6e32c05c-22e0-49d3-aa4c-1d73c07de9af" CreationDate="2013-10-02T07:53:58.747" UserId="4390" Text="You can probably kill some of the noise coming through the window using insulation batts (put them in a plastic bag so as not to get those nasty fibers all over your sex-scene), but it will mostly be mid to high freq. Heavy traffic will usually contain lots of low freq, which will travel through all but truly purposely sound proofed constructions.&#xD;&#xA;&#xD;&#xA;Professional recording studios spend bazillions on floating floors, heavy walls, quiet hvac and general airtight-ness. You'll find it hard to get even close on a location like that, I think." ContentLicense="CC BY-SA 3.0" />
  <row Id="33470" PostHistoryTypeId="2" PostId="20475" RevisionGUID="aefd5094-cce4-40ef-8897-8b8dbe012dc9" CreationDate="2013-10-02T09:17:57.953" UserId="1228" Text="I have the 250 Ohm 880s and they work fine on consumer gear, at least for an appropriate listening level (compared to what the average consumer would believe a good volume mevel would be).  I believe the 600 Ohm ones are the set which pretty much require a headphone amp or pro audio headphone outputs which have a lot of gain." ContentLicense="CC BY-SA 3.0" />
  <row Id="33471" PostHistoryTypeId="2" PostId="20476" RevisionGUID="d9b3ae34-9161-404b-9fa5-630a97263d8b" CreationDate="2013-10-02T14:12:58.947" UserId="6602" Text="Are blu rays a good source for referencing film mixes. I know Dvd's are not coz they are extremely compressed. If blu rays are not where can i get hold of some film mixes for reference?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33472" PostHistoryTypeId="1" PostId="20476" RevisionGUID="d9b3ae34-9161-404b-9fa5-630a97263d8b" CreationDate="2013-10-02T14:12:58.947" UserId="6602" Text="Reference Levels for film mix" ContentLicense="CC BY-SA 3.0" />
  <row Id="33473" PostHistoryTypeId="3" PostId="20476" RevisionGUID="d9b3ae34-9161-404b-9fa5-630a97263d8b" CreationDate="2013-10-02T14:12:58.947" UserId="6602" Text="&lt;mixing&gt;&lt;techniques&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33478" PostHistoryTypeId="2" PostId="20479" RevisionGUID="47d2bb58-d9bb-42b6-be7b-30b4792d37c4" CreationDate="2013-10-02T21:04:48.557" UserId="6481" Text="I'm not sure about the right reference. I think that audio tracks from DVD can be useful to some extent when you're really unsure how loud can things go. I used to mix things too hot and I think that even compressed stuff like 5.1 from DVD can help if you set the reference track(s) the right way (so it's pleasant to your ears). I'm sure that someone more experienced   can be more helpful. Martin" ContentLicense="CC BY-SA 3.0" />
  <row Id="33483" PostHistoryTypeId="2" PostId="20480" RevisionGUID="a6510aec-c02a-4638-9d44-fecb546493fa" CreationDate="2013-10-03T05:41:04.090" UserId="6610" Text="I've been using the &quot;new&quot; Behringer X32.&#xD;&#xA;&#xD;&#xA;Ocasionally, and still without knowing exactly why, I get a digital feedback and the master volume goes to top. No specific frequency, just a digital feedback.&#xD;&#xA;&#xD;&#xA;I have a hint it's related to the effect BUS. Anyone has had this problem and has a solution/explanation to it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33484" PostHistoryTypeId="1" PostId="20480" RevisionGUID="a6510aec-c02a-4638-9d44-fecb546493fa" CreationDate="2013-10-03T05:41:04.090" UserId="6610" Text="Behringer X32 digital feedback loop" ContentLicense="CC BY-SA 3.0" />
  <row Id="33485" PostHistoryTypeId="3" PostId="20480" RevisionGUID="a6510aec-c02a-4638-9d44-fecb546493fa" CreationDate="2013-10-03T05:41:04.090" UserId="6610" Text="&lt;feedback&gt;&lt;mixer&gt;&lt;digital&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33486" PostHistoryTypeId="5" PostId="20480" RevisionGUID="b715c82a-484b-4e64-8be8-9385f44d16f9" CreationDate="2013-10-03T05:48:44.737" UserId="6610" Comment="added 50 characters in body" Text="I've been using the &quot;new&quot; Behringer X32.&#xD;&#xA;&#xD;&#xA;Occasionally, and still without knowing exactly why, I get a digital feedback and the master volume goes to top. No specific frequency, just a digital feedback.&#xD;&#xA;Some of the times without me touching anything.&#xD;&#xA;&#xD;&#xA;I have a hint it's related to the effect BUS. Anyone has had this problem and has a solution/explanation to it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33487" PostHistoryTypeId="5" PostId="20480" RevisionGUID="3c6fe4e4-ea3e-4a76-b86d-f9144f6e04e5" CreationDate="2013-10-03T08:06:17.663" UserId="6610" Comment="added 46 characters in body" Text="I've been using the &quot;new&quot; Behringer X32.&#xD;&#xA;&#xD;&#xA;Occasionally, and still without knowing exactly why, I get a digital feedback and the master volume goes to top. No specific frequency, just a digital feedback.&#xD;&#xA;Some of the times without me touching anything.&#xD;&#xA;&#xD;&#xA;I have a hint it's related to the effect BUS since the X32 has both effect in &amp; out faders. Anyone has had this problem and has a solution/explanation to it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33488" PostHistoryTypeId="2" PostId="20481" RevisionGUID="7ca7d9b6-0cb8-401c-8b42-6f0df2430c10" CreationDate="2013-10-03T08:42:28.943" UserId="6425" Text="Ozone and alloy are loudness Tools! I use them for ultra compressed ad Voice overs and real Instruments in Electronic Music. It makes them Pop out of the speakers! &#xD;&#xA;Ozone is also a great mastering Tool if you want to use an unmastered track in a dj set.&#xD;&#xA;&#xD;&#xA;For anything else i prefere waves!&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="33489" PostHistoryTypeId="2" PostId="20482" RevisionGUID="20116c7a-bf99-4fd4-bcab-1787626e0a69" CreationDate="2013-10-03T09:34:36.150" UserId="6612" Text="In most papers I search for benefits of active noise control, most of them contain one single sentence without explanation that ANC increased material durability and fatigue life. But why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33490" PostHistoryTypeId="1" PostId="20482" RevisionGUID="20116c7a-bf99-4fd4-bcab-1787626e0a69" CreationDate="2013-10-03T09:34:36.150" UserId="6612" Text="Active noise cintrol" ContentLicense="CC BY-SA 3.0" />
  <row Id="33491" PostHistoryTypeId="3" PostId="20482" RevisionGUID="20116c7a-bf99-4fd4-bcab-1787626e0a69" CreationDate="2013-10-03T09:34:36.150" UserId="6612" Text="&lt;noise&gt;&lt;control&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33492" PostHistoryTypeId="4" PostId="20482" RevisionGUID="570c7934-696e-4850-bba7-6f1b9032e080" CreationDate="2013-10-03T11:15:53.117" UserId="6610" Comment="correct typo in title" Text="Active noise control" ContentLicense="CC BY-SA 3.0" />
  <row Id="33493" PostHistoryTypeId="24" PostId="20482" RevisionGUID="570c7934-696e-4850-bba7-6f1b9032e080" CreationDate="2013-10-03T11:15:53.117" Comment="Proposed by 6610 approved by 80 edit id of 2" ContentLicense="CC BY-SA 3.0" />
  <row Id="33496" PostHistoryTypeId="2" PostId="20483" RevisionGUID="f25dcbc6-2a30-4ba2-ba87-19f95e1b168f" CreationDate="2013-10-03T11:35:55.910" UserId="3285" Text="Check this post on gearslutz ;)    &#xD;&#xA;http://www.gearslutz.com/board/post-production-forum/229741-standard-mixing-levels-movie-theater-dvd-broadcast-tv-commercials-etc.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="33501" PostHistoryTypeId="2" PostId="20486" RevisionGUID="c8203539-eec1-487c-9f79-107cd75d257c" CreationDate="2013-10-03T20:37:25.140" UserId="6532" Text="I've been doing a lot of hand gun sound editing and design lately and was going to look at a couple of movies for reference. But I'm having a surprisingly hard time coming up with films with great gun sounds.&#xD;&#xA;&#xD;&#xA;So, what are your favorites and why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33502" PostHistoryTypeId="1" PostId="20486" RevisionGUID="c8203539-eec1-487c-9f79-107cd75d257c" CreationDate="2013-10-03T20:37:25.140" UserId="6532" Text="Scenes with Great Gun Sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="33503" PostHistoryTypeId="3" PostId="20486" RevisionGUID="c8203539-eec1-487c-9f79-107cd75d257c" CreationDate="2013-10-03T20:37:25.140" UserId="6532" Text="&lt;film&gt;&lt;guns&gt;&lt;reference&gt;&lt;weapon&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33504" PostHistoryTypeId="5" PostId="20486" RevisionGUID="81576361-a89c-47a7-9edd-ed3a6174d55a" CreationDate="2013-10-03T20:43:40.613" UserId="6532" Comment="added 58 characters in body" Text="I've been doing a lot of hand gun sound editing and design lately and was going to look at a couple of movies for reference. But I'm having a surprisingly hard time coming up with films with great gun sounds. I know there has to be at least a couple dozen out there!&#xD;&#xA;&#xD;&#xA;So, what are your favorites and why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33505" PostHistoryTypeId="2" PostId="20487" RevisionGUID="295684a5-9b79-46ba-bf77-b0a4811b1e49" CreationDate="2013-10-03T21:21:20.990" UserId="182" Text="Metal fatigue can be due to vibration. So I guess if you can reduce the vibration using ANC, the metal fatigue will be lessened, and thereby the durability will increase." ContentLicense="CC BY-SA 3.0" />
  <row Id="33506" PostHistoryTypeId="2" PostId="20488" RevisionGUID="b21e44a4-670d-4e44-8e6c-d78ccae85b77" CreationDate="2013-10-03T21:59:11.973" UserId="6614" Text="What kind of fire arms are you looking for? Present day, historical, futuristic? For present day, a big film I go to is HEAT. The gun fight in that movie is one of the best I have seen/heard. A go to for sound design ideas. For over the top fun, &quot;The Expendables has some really good bits too. &#xD;&#xA;&#xD;&#xA;For a historical movies, &quot;Saving Private Ryan&quot; and &quot;A Band of Brothers&quot; has some real good reference to design as far as audio, some of the best for a period piece. As well as&#xD;&#xA;&quot;The Patriot&quot; and &quot;Glory&quot; &#xD;&#xA;&#xD;&#xA;Another movie that as some really good design is &quot;Star Trek - Into Darkness&quot; For scifi, it has some really good variations of SFX. Another is The Matrix, I know you might think it is a scifi flick but they use a lot of normal fire arms in that movie. The sequence where they go rescue Morpheus is just brilliant! &#xD;&#xA;&#xD;&#xA;Sorry for being all over the board on this but I am sure when I get home and look at my collection, I could add 10 fold to this. I hope this help in your quest. Let me know if you would like more, I would be happy to help out. Oh and as a tip/technique I try to imply when designing gun SFX. A little thing i picked up from the video game world, there are 3 sounds for every weapon:&#xD;&#xA;&#xD;&#xA;1:The mechanical - The actually working of the weapon be it the shell loading to the hammer clicking or the revolver spinning.&#xD;&#xA;&#xD;&#xA;2:The &quot;Boom&quot; - Pretty self explanatory. Be sure to give it the style and characteristic of the weapon&#xD;&#xA;&#xD;&#xA;3:The human element - The actual use of the weapon. From it being handled by an individual (loading and unloading to fire the weapon)&#xD;&#xA;&#xD;&#xA;Hope this help with you ventures! Best of luck!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33507" PostHistoryTypeId="2" PostId="20489" RevisionGUID="fe2f3030-870b-42e6-bc5d-ad9da132d55d" CreationDate="2013-10-03T23:38:12.263" UserId="18" Text="I tend to do a lot of gun sound design, here are some of my favorite gun reference films:&#xD;&#xA;&#xD;&#xA;Saving Private Ryan - Amaznigly detailed and stylized shots, bullet bys, and impacts&#xD;&#xA;&#xD;&#xA;Miami Vice (2006) - The guns just sound dirty to me, everything feels real, the shootout at the end is great, I epecially like how every gun has it's own sonic space&#xD;&#xA;&#xD;&#xA;True Lies - Action movie guns that are really clear and detailed&#xD;&#xA;&#xD;&#xA;T2 -   Really well designed and stylized stuff.  Big action movie guns that don't sound like they were recorded in 1950.  This film is a great bridge out of the 80's &quot;A-Team style guns&quot; that filled a lot of movies and TV, which (to me) lacked depth, punch, and detail.  &#xD;&#xA;&#xD;&#xA;The Matrix - Very stylized (as is the sound in general).  The way perspective was used in the lobby shootout is great.  The bullet time guns are awesome.&#xD;&#xA;&#xD;&#xA;Bad Boys 2 - This is what modern action movie guns should sound like&#xD;&#xA;&#xD;&#xA;Mr. and Mrs. Smith - I like for the same reasons as Bad Boys 2&#xD;&#xA;&#xD;&#xA;I have to watch them again, but I seem to remember that Fast Five and Skyfall both had some good gun stuff.  Casino Royale is a great reference for the classic suppressed gun sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="33508" PostHistoryTypeId="2" PostId="20490" RevisionGUID="a437c575-9ffd-4f0a-8e10-f2350da6800e" CreationDate="2013-10-04T03:20:28.547" UserId="6616" Text="Hey Fellow Sound Enthusiasts,&#xD;&#xA;&#xD;&#xA;I just finished college and was able to score some gigs in Los Angeles for a Production Sound Company. It will be my first professional audio industry job. I was wondering if anyone had any great advice to help me succeed in this industry and things I should avoid doing or always should make sure to do.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;***KRUX***" ContentLicense="CC BY-SA 3.0" />
  <row Id="33509" PostHistoryTypeId="1" PostId="20490" RevisionGUID="a437c575-9ffd-4f0a-8e10-f2350da6800e" CreationDate="2013-10-04T03:20:28.547" UserId="6616" Text="First Production Sound Job in the Industry" ContentLicense="CC BY-SA 3.0" />
  <row Id="33510" PostHistoryTypeId="3" PostId="20490" RevisionGUID="a437c575-9ffd-4f0a-8e10-f2350da6800e" CreationDate="2013-10-04T03:20:28.547" UserId="6616" Text="&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33511" PostHistoryTypeId="2" PostId="20491" RevisionGUID="6f360d94-aefa-4c2e-bf75-b20af8625a41" CreationDate="2013-10-04T03:54:06.650" UserDisplayName="user6513" Text="I don't know if this is great advice but here's my 2 cents.&#xD;&#xA;&#xD;&#xA;I reckon the one thing everyone appreciates is a person who's willing to learn unconditionally. Easier said than done, but if the willingness is there, then we'll all be more inclined to help and teach you.&#xD;&#xA;&#xD;&#xA;Be alert and aware of whats going on, don't just stand around and wait for someone to tell you to do something, ask if you can help. Good help is always appreciated and if you can learn to fill in the gaps and pick up the pieces that have fallen over, then you will be proving your value. In fact, be a sponge and observe what goes on. You are in a privileged position, so make sure you absorbed all that you can.&#xD;&#xA;&#xD;&#xA;Learn fast and well. It's okay to make mistakes but clarify what you don't understand with your colleagues so that it doesn't happen again.&#xD;&#xA;&#xD;&#xA;Everything boils down to attitude and personality so try to psych yourself up for the day's work. Be an Energizer bunny and annoy everyone with your enthusiasm and positive attitude.&#xD;&#xA;&#xD;&#xA;Laugh. :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="33512" PostHistoryTypeId="2" PostId="20492" RevisionGUID="52b1b833-11e6-470e-be51-3b655178726f" CreationDate="2013-10-04T04:31:54.493" UserId="6529" Text="I'd recommend auditioning some of the car sounds on our individual downloads site. Soundrangers has a lot of good car sounds!&#xD;&#xA;&#xD;&#xA;[Pro Sound Effects Individual Downloads][1]&#xD;&#xA;&#xD;&#xA;I like Everyday Cars from Boom as well. Tony is right though, it's rare that you find EXACTLY what you need from a library. But you can usually manipulate or layer sounds to get the job done if you don't have time to go out and record exactly what you need. &#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;David Forshee&#xD;&#xA;[Pro Sound Effects][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://download.prosoundeffects.com/#!explorer?s=compact%20car&amp;o=relevance&amp;d=a&amp;show=30&amp;pg=1&#xD;&#xA;  [2]: http://www.prosoundeffects.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="33513" PostHistoryTypeId="2" PostId="20493" RevisionGUID="2f9f84d1-914c-4fd8-ba17-67c203bc52ab" CreationDate="2013-10-04T06:05:29.713" UserId="6434" Text="Hook up your spectrum analyzer and start playing with EQ and Waveshaper chains. I'd hope any DAW provides at least those, fruity does and it's cheap if some other package doesn't.&#xD;&#xA;&#xD;&#xA;I personally like to pre-EQ for bass and slight higher-mid boost -&gt; Waveshape with a sharp rise, a fall, and finally a mellow rise to create some nice dynamic transient harmonics -&gt; Finally post-EQ to clean out that extra bass and make sure the timbre is crisp and bright." ContentLicense="CC BY-SA 3.0" />
  <row Id="33514" PostHistoryTypeId="2" PostId="20494" RevisionGUID="ce16d7f3-c444-49c4-992a-c95e8e1d4a02" CreationDate="2013-10-04T06:29:00.517" UserId="6434" Text="How would I calculate the amplitudes, phases, and frequencies of the harmonic peaks resulting from frequency modulating (and/or phase modulating) a waveform stored in frequency domain representation?&#xD;&#xA;&#xD;&#xA;(In my case it is enough to only be able to deal with integer multiples of the waveform's fundamental frequency)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33515" PostHistoryTypeId="1" PostId="20494" RevisionGUID="ce16d7f3-c444-49c4-992a-c95e8e1d4a02" CreationDate="2013-10-04T06:29:00.517" UserId="6434" Text="Frequency modulation in frequency domain" ContentLicense="CC BY-SA 3.0" />
  <row Id="33516" PostHistoryTypeId="3" PostId="20494" RevisionGUID="ce16d7f3-c444-49c4-992a-c95e8e1d4a02" CreationDate="2013-10-04T06:29:00.517" UserId="6434" Text="&lt;synthesis&gt;&lt;analysis&gt;&lt;modulation&gt;&lt;algorithmic&gt;&lt;harmonics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33517" PostHistoryTypeId="2" PostId="20495" RevisionGUID="f4eb7edb-f7c2-4d4e-8946-765520e5f76e" CreationDate="2013-10-04T08:52:27.507" UserId="6464" Text="I've had pleasing results before from just using the Sansamp PSA-1 in Pro Tools. I added some small crunch to a drum bus track for a hip-hop project and it really helped bring out the beefy sound. &#xD;&#xA;&#xD;&#xA;I've also used it for sound design purposes when I was designing a missile take-off. There are plenty of harmonic distortion plug-ins, but for me personally the PSA-1 is a failsafe. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33518" PostHistoryTypeId="2" PostId="20496" RevisionGUID="143124d8-17eb-4426-a206-63eac3e03830" CreationDate="2013-10-04T09:23:08.573" UserId="6448" Text="By using a good spectrum analyzer and reading the values before and after is probably the easiest. I have no suggestions for an analyzer, but there are lots, so you might find something that's suitable, if you do a bit of searching.&#xD;&#xA;&#xD;&#xA;I don't know if an automatic solution exists, but it would be a simple program (and can be done in e.g. Matlab and such as well).&#xD;&#xA;&#xD;&#xA;Depending on what kind of frequency modulation, there ought to be mathematics as well for finding the information. Although the solution would need to be computed." ContentLicense="CC BY-SA 3.0" />
  <row Id="33519" PostHistoryTypeId="2" PostId="20497" RevisionGUID="21dd5dc1-ddb5-4c03-843b-6c2b9b9fef84" CreationDate="2013-10-04T12:38:31.273" UserId="6618" Text="Hi I have taken the MA in post production sound on NFTS.&#xD;&#xA;I don't really know how to measure quality of a grad or MA course. But since these courses generally are connected to the rest of the school, sound students cater for the projects and productions of other lines, which gives great amount of work experience, but makes the planning of the course is very complex. Be prepared for a stressful work environment where there is not much time to reflect. You do learn how to be creative in the NFTS sound department, but it's not easy to imply it in the projects, was my experience.&#xD;&#xA; Also flagship brands like Walther are available in book form and on youtube. You spend time with them and you might be going deeper. I guess a school like that tries to give what the average university can't. The ability to understand and apply experience. But that's in a way also a personal thing. It's hard to develop a balanced lifestyle and general approach, while going all in on the film work. The school can't offer this. But being in balance as a person in this business, is really needed. If you are talented or not. If you are good or not. &#xD;&#xA;If you are nice and relaxed with small demands you last longer. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33520" PostHistoryTypeId="2" PostId="20498" RevisionGUID="b60ea1d2-63fe-45bd-9d27-cc3333277f06" CreationDate="2013-10-04T13:03:23.873" UserId="1185" Text="Not entirely sure by what you mean with the following phrase?&#xD;&#xA;&#xD;&#xA;&gt; a waveform stored in frequency domain representation?&#xD;&#xA;&#xD;&#xA;However, with FM the frequencies of the partials can be easily calculated as a function of the carriers frequency and the modulators frequency, such that C, C+M, C+2M, C+3M, etc. and C-M, C-2M, C-3M, etc. give the partials.&#xD;&#xA;&#xD;&#xA;Calculating the amplitudes of the partials is more complicated and requires a Bessel function based on the modulation index.  Probably not calculations you want to do by hand.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33521" PostHistoryTypeId="5" PostId="20498" RevisionGUID="d46633e7-0b18-4d90-b2b3-1f3f7c5b5a67" CreationDate="2013-10-04T13:14:00.910" UserId="1185" Comment="deleted 3 characters in body" Text="Not entirely sure what you mean with the following phrase?&#xD;&#xA;&#xD;&#xA;&gt; a waveform stored in frequency domain representation?&#xD;&#xA;&#xD;&#xA;However, with FM the frequencies of the partials can be easily calculated as a function of the carriers frequency and the modulators frequency, such that C, C+M, C+2M, C+3M, etc. and C-M, C-2M, C-3M, etc. give the partials.&#xD;&#xA;&#xD;&#xA;Calculating the amplitudes of the partials is more complicated and requires a Bessel function based on the modulation index.  Probably not calculations you want to do by hand.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33522" PostHistoryTypeId="2" PostId="20499" RevisionGUID="e0d13e21-b41b-4e6d-bf7d-0eb7d909e903" CreationDate="2013-10-04T17:34:30.617" UserId="37" Text="any modelled compressor at extreme settings (0ms attack) and mixed in parallel will give you a bit of crunch. for &quot;bite&quot;, look at the valve models. &#xD;&#xA;&#xD;&#xA;you can even use some plugins in a way they're not &quot;meant to&quot;, e.g. Logic's tape delay at 0 delay, 0 feedback, lowered threshold for distortion..&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33523" PostHistoryTypeId="2" PostId="20500" RevisionGUID="2de832f9-7413-4daa-ac2f-c3c1c146a202" CreationDate="2013-10-04T17:39:51.010" UserId="6619" Text="I was very impressed with the foley in &quot;Gravity&quot;. Not a single sound took place in space, but all from the perspective of the characters, from inside the suites, ships and stations.&#xD;&#xA;&#xD;&#xA;I imagine it was done in part by using impulse responses. Would you guys agree? I'd think it would be much like the impulse they took of the INSIDE of a helmet for &quot;Premetheus&quot; - but opposite. Taking a microphone and putting it inside a helmet or structure and playing a sweep from outside. &#xD;&#xA;&#xD;&#xA;I'd love to hear what you guys thought and if you have any information on how the sound was done.&#xD;&#xA;&#xD;&#xA;THANKS!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33524" PostHistoryTypeId="1" PostId="20500" RevisionGUID="2de832f9-7413-4daa-ac2f-c3c1c146a202" CreationDate="2013-10-04T17:39:51.010" UserId="6619" Text="Gravity - Amazing Foley" ContentLicense="CC BY-SA 3.0" />
  <row Id="33525" PostHistoryTypeId="3" PostId="20500" RevisionGUID="2de832f9-7413-4daa-ac2f-c3c1c146a202" CreationDate="2013-10-04T17:39:51.010" UserId="6619" Text="&lt;foley&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33526" PostHistoryTypeId="2" PostId="20501" RevisionGUID="8fae4f21-82e5-49c5-90fb-f484cfabcfa5" CreationDate="2013-10-04T17:51:39.977" UserId="1393" Text="I really like the FabFilter Saturator. It gives you the ability to mix the original signal in with the saturated signal inside the plugin and it is a multi-band saturator. I've also gotten good results with Waves Master Tape, Lo-fi, BX Saturator, GTR, and Waves H-EQ. I usually always run my saturation in parallel so I can blend it in with the original." ContentLicense="CC BY-SA 3.0" />
  <row Id="33528" PostHistoryTypeId="6" PostId="20482" RevisionGUID="c032403c-0a23-496e-a5d1-5853ea06bcae" CreationDate="2013-10-04T19:45:13.190" UserId="182" Comment="added tags" Text="&lt;noise&gt;&lt;control&gt;&lt;active-noise-control&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33529" PostHistoryTypeId="24" PostId="20482" RevisionGUID="c032403c-0a23-496e-a5d1-5853ea06bcae" CreationDate="2013-10-04T19:45:13.190" Comment="Proposed by 182 approved by 80 edit id of 3" ContentLicense="CC BY-SA 3.0" />
  <row Id="33530" PostHistoryTypeId="2" PostId="20503" RevisionGUID="270c667c-067a-4dd4-8778-858ed875db08" CreationDate="2013-10-04T20:25:49.307" UserId="6620" Text="Whenever I work on a &quot;gun film&quot;, a lot of directors say I want it to sound like &quot;Heat&quot;. To me the best thing about the guns in that film was how they fitted into the city. The reverbs and slap off the buildings were awesome and bought the edge of your seat energy. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33531" PostHistoryTypeId="2" PostId="20504" RevisionGUID="97388621-942d-4ab9-a6d3-58530c1b5322" CreationDate="2013-10-04T20:55:47.993" UserId="6621" Text="This is often caused by accidentally sending a FX Return channel back into the Bus that is feeding the same FX processor that return is coming from, creating a loop. Select your FX Return channels and view the HOME screen, which shows you all of the 16 Bus sends for that channel on the right. Make sure that for each FX return, there is no send level to its corresponding bus. For example if FX Slot 1 is being fed by Bus 13, which it is by default, make sure that FX Return 1 is not sending any signal to Bus 13. Check this for all 4 stereo FX returns. &#xD;&#xA;Hope it helps!&#xD;&#xA;&#xD;&#xA;Best Regards,&#xD;&#xA;&#xD;&#xA;John DiNicola&#xD;&#xA;&#xD;&#xA;Senior Specialist, Product Support&#xD;&#xA;&#xD;&#xA;MUSIC Group&#xD;&#xA;&#xD;&#xA;BEHRINGER" ContentLicense="CC BY-SA 3.0" />
  <row Id="33532" PostHistoryTypeId="2" PostId="20505" RevisionGUID="4adc7690-0f66-46fb-bb61-8f564c048597" CreationDate="2013-10-05T02:29:36.387" UserId="6623" Text="What do you guys think - should I sell my D50 to buy the new Zoom H6?&#xD;&#xA;Im a student so I dont have much money, and Ive read that the H6 preamps were OK. Anybody can confirm?&#xD;&#xA;&#xD;&#xA;Thing is, I love my D50 but I hate the fact theres no XLR, as well as the fact you cant use it as an audio interface. &#xD;&#xA;&#xD;&#xA;Thank you :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33533" PostHistoryTypeId="1" PostId="20505" RevisionGUID="4adc7690-0f66-46fb-bb61-8f564c048597" CreationDate="2013-10-05T02:29:36.387" UserId="6623" Text="Should I sell my D50 to buy the new Zoom H6?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33534" PostHistoryTypeId="3" PostId="20505" RevisionGUID="4adc7690-0f66-46fb-bb61-8f564c048597" CreationDate="2013-10-05T02:29:36.387" UserId="6623" Text="&lt;field-recorder&gt;&lt;sony-pcm-d50&gt;&lt;zoom-h6&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33535" PostHistoryTypeId="2" PostId="20506" RevisionGUID="0e69d297-9c39-49fd-943d-93bd37b8fac3" CreationDate="2013-10-05T09:37:17.687" UserId="6432" Text="As MikeLH points out, waveshaping is generally thought of as a good way of emulating analog type distortion effects. As waveshaping is level dependent you can get more distortion the more you raise the signal, a rough emulation f how real electronic circuits work (yes, I realise it's more complicated than this in reality). Start with a curve a bit like in the image, but perhaps not quite as extreme, then tinker with the shape. Small notches can add some interesting higher pitched harmonics for a bit of buzz. You can also split up your signal into low-mid-high and shape each individually, ie multi-band waveshaping - huge potential there. &#xD;&#xA;&#xD;&#xA;If you've not played around with this I really recommend it - much more satisfying and flexible than just grabbing an off the shelf distortion and being limited to its particular tone.&#xD;&#xA;&#xD;&#xA;![enter image description here][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/OyA6i.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="33536" PostHistoryTypeId="2" PostId="20507" RevisionGUID="0be2faa3-4ac3-4ea6-9165-51df0028a0f5" CreationDate="2013-10-05T10:12:13.170" UserId="1216" Text="no please don't sell your d50, it's such a wonderful recorder!&#xD;&#xA;the zoom might be good (i doubt it but it is possible), but it's not worth it to sell your d50. if you are a freelancer and pay taxes and do investments you've probably already paid of the d50, keep it!  &#xD;&#xA;if i were you i would invest in a clean and simple 2 channel preamp and a good bag. buying gear is an investment of money and time. don't throw away your time and knowledge of the d50, it's a decent piece of gear.&#xD;&#xA;&#xD;&#xA;cheers " ContentLicense="CC BY-SA 3.0" />
  <row Id="33539" PostHistoryTypeId="2" PostId="20510" RevisionGUID="9b47d0c8-de95-4e7b-adf3-021733f1e797" CreationDate="2013-10-05T10:35:45.623" UserId="1216" Text="what is the reference you're looking for? loudness or something else?&#xD;&#xA;loudness: it totally depends on the monitoring system and the room. if you have your room and speakers properly calibrated you won't need to listen to a mix for reference.  &#xD;&#xA;dvd's are not always &quot;extremely compressed&quot;. there are some great sounding dvd's, like 'saving private ryan'. &#xD;&#xA;&#xD;&#xA;cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="33540" PostHistoryTypeId="5" PostId="20507" RevisionGUID="cb1fb485-0049-44d2-90e2-563e1a66080e" CreationDate="2013-10-05T11:34:20.647" UserId="1216" Comment="additional words " Text="no please don't sell your d50, it's such a wonderful recorder!&#xD;&#xA;the zoom might be good (i doubt it but it is possible), but it's not worth it to sell your d50. if you were a freelancer and pay taxes and do investments you've probably already would've paid of the d50.  &#xD;&#xA;if i were you i would invest in a clean and simple 2 channel preamp and a good bag. buying gear is an investment of money and time. don't throw away your time and knowledge of the d50, it's a decent piece of gear.&#xD;&#xA;&#xD;&#xA;edit: in regards to being a student and audio interface, i don't think the zoom drivers will be a lot better than the onboard drivers of your computer (are you running mac or pc?). a good preamp or portable mixer will be a better investment in the long run. even a student.&#xD;&#xA;&#xD;&#xA;cheers " ContentLicense="CC BY-SA 3.0" />
  <row Id="33541" PostHistoryTypeId="5" PostId="20506" RevisionGUID="62dfd678-f6b8-47d9-8421-7f359342c9f0" CreationDate="2013-10-05T12:24:20.230" UserId="6432" Comment="edited body" Text="As MickLH points out, waveshaping is generally thought of as a good way of emulating analog type distortion effects. As waveshaping is level dependent you can get more distortion the more you raise the signal, a rough emulation f how real electronic circuits work (yes, I realise it's more complicated than this in reality). Start with a curve a bit like in the image, but perhaps not quite as extreme, then tinker with the shape. Small notches can add some interesting higher pitched harmonics for a bit of buzz. You can also split up your signal into low-mid-high and shape each individually, ie multi-band waveshaping - huge potential there. &#xD;&#xA;&#xD;&#xA;If you've not played around with this I really recommend it - much more satisfying and flexible than just grabbing an off the shelf distortion and being limited to its particular tone.&#xD;&#xA;&#xD;&#xA;![enter image description here][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/OyA6i.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="33542" PostHistoryTypeId="2" PostId="20511" RevisionGUID="fc59ff72-65ef-4dfe-9f61-7415170c975b" CreationDate="2013-10-05T16:24:10.887" UserId="6425" Text="I am very interested in distorted sounds and did some research, testing on in, to get pleasing sounds. Here are my tips to get better distortion:&#xD;&#xA;&#xD;&#xA;1. Dont overdo compression. It might sound great when you turn the know, but on the next day it might be just to much.&#xD;&#xA;2. Mix Dry Wet when you want a gentle distortion.&#xD;&#xA;3. Roll of low frequencies before distorting. Everything under 200 Hz sound very bad if distorted to much.&#xD;&#xA;4. Mulitband Distortion plugins like fabfilter Saturn are very helpful to distort full range sounds.&#xD;&#xA;5. Tape emulators like Kramer Tape sound very pleasant.&#xD;&#xA;6. Boosting small frequenzy-bands via a eq before distorting a signal gives interesting sounds.&#xD;&#xA;7. Boosting between 200 and 500 Hz gives a gnarly distortion. &#xD;&#xA;8. Boosting 2-4khz by a huge amount (20-30dB) before distorting gives a hollowed out, very transparent distortion effect.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Hope these help.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33543" PostHistoryTypeId="5" PostId="20511" RevisionGUID="c4200aaf-0299-493d-b180-a5318f6a311c" CreationDate="2013-10-06T00:37:28.660" UserId="6425" Comment="added 488 characters in body" Text="I am very interested in distorted sounds and did some research, testing on it, to get pleasing sounds. Here are my tips to get better distortion:&#xD;&#xA;&#xD;&#xA;1. Dont overdo compression. It might sound great when you turn the knobs, but on the next day it might be just to much.&#xD;&#xA;2. Mix Dry Wet when you want a gentle distortion.&#xD;&#xA;3. Roll of low frequencies before distorting. Everything under 200 Hz sound very bad if distorted to much.&#xD;&#xA;4. Mulitband Distortion plugins like fabfilter Saturn are very helpful to distort full range sounds.&#xD;&#xA;5. Tape emulators like Kramer Tape sound very pleasant.&#xD;&#xA;6. Boosting small frequenzy-bands via a eq before distorting a signal gives interesting sounds.&#xD;&#xA;7. Boosting between 200 and 500 Hz gives a gnarly distortion. &#xD;&#xA;8. Boosting 2-4khz by a huge amount (20-30dB) before distorting gives a hollowed out, very transparent distortion effect.&#xD;&#xA;9. Distorting sounds with a lot of movement in it frequency spectrum will often create a muddy outcome. Distorting sounds with clear steady harmonics give best results.&#xD;&#xA;10. Distorting send effects like reverb chorus or phase often gives more pleasant results than distorting the original sound.&#xD;&#xA;11. Distortion often creates unpleasant noise tails. Control them with gates.&#xD;&#xA;12. Extremely distort a sound in parallel, then flip the phase. THis can result in some new type of distortion.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Hope these help." ContentLicense="CC BY-SA 3.0" />
  <row Id="33544" PostHistoryTypeId="2" PostId="20512" RevisionGUID="24095d92-d133-45b5-b6ed-528b8f50d455" CreationDate="2013-10-06T13:30:34.563" UserId="6448" Text="What's your stand on the question of the commerciality of art? Does commercial art fulfill the idea (or the ideal) of art or is it merely a business meant to rake in money on consumers that appear to buy what's offered?&#xD;&#xA;&#xD;&#xA;The question (or more like the brief) is already biased, I apologize, but open to all answers and arguments that promote either free art or commercial art and the pragmatic (and mostly, humanitarian) purposes of either one." ContentLicense="CC BY-SA 3.0" />
  <row Id="33545" PostHistoryTypeId="1" PostId="20512" RevisionGUID="24095d92-d133-45b5-b6ed-528b8f50d455" CreationDate="2013-10-06T13:30:34.563" UserId="6448" Text="Free art versus commercial art" ContentLicense="CC BY-SA 3.0" />
  <row Id="33546" PostHistoryTypeId="3" PostId="20512" RevisionGUID="24095d92-d133-45b5-b6ed-528b8f50d455" CreationDate="2013-10-06T13:30:34.563" UserId="6448" Text="&lt;business&gt;&lt;art&gt;&lt;free&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33547" PostHistoryTypeId="2" PostId="20513" RevisionGUID="7d5d3a88-ca87-4b6e-bd0c-f7b2fa5f53c7" CreationDate="2013-10-06T15:10:45.373" UserId="6425" Text="In my opinion, there is no commercial art. When you produce something with the intention to sell it, it is a product and not an artwork. &#xD;&#xA;So for me, the purpose is the deciding factor, if something is art or not.&#xD;&#xA;&#xD;&#xA;As an example:&#xD;&#xA;&#xD;&#xA;The music industrie vs. homemade music:&#xD;&#xA;&#xD;&#xA;The music industrie engineers songs on purpose. From the start, the songs are written for specific customers. Then to whole production uses techniques to create a product for these customers. -&gt; Product&#xD;&#xA;&#xD;&#xA;When someone is expressing his feelings into music, writing a song for himself to express them, it becomes art. The best thing that happens to music, is if untrained people sit in front of instruments and try to get something emotional out, without using all the patterns used before-&gt; Artwork&#xD;&#xA;&#xD;&#xA;So imho commercial art is a product and no art in the sense of art. For me art is the expression of emotions and creativity without knowing exactly what you do." ContentLicense="CC BY-SA 3.0" />
  <row Id="33548" PostHistoryTypeId="2" PostId="20514" RevisionGUID="3d5315c1-aed6-4e05-92e3-1c30348750aa" CreationDate="2013-10-06T16:51:50.370" UserId="6627" Text="I think there is here a notion of property. If you like the idea that the artistic object producted is the property of his (or her) producer, then it can be the property of anyone else. And be sold, because this is the way human beeings process when they exchange things.&#xD;&#xA;&#xD;&#xA;An artwork si one more &quot;thing&quot; among all the things humanity produces.&#xD;&#xA;Producing a painting for example is a competence and you can be paid for it.&#xD;&#xA;There is no contradiction between this idea and the process of producing any artwork.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If art was only pure emotion it would'nt belong to anyone and could'nt be sold...&#xD;&#xA;&#xD;&#xA;I think that your real question should be &quot;Where art begins and/or ends&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33549" PostHistoryTypeId="2" PostId="20515" RevisionGUID="37da078d-86b4-4a37-a374-35057cd9f423" CreationDate="2013-10-06T19:11:55.123" UserId="6628" Text="I could get a USBpre very cheap. ($120)&#xD;&#xA;Are the converters the same quality as the USBpre2?&#xD;&#xA;&#xD;&#xA;Is it worth it, or should i save for the USBpre2 instead?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks,&#xD;&#xA;John." ContentLicense="CC BY-SA 3.0" />
  <row Id="33550" PostHistoryTypeId="1" PostId="20515" RevisionGUID="37da078d-86b4-4a37-a374-35057cd9f423" CreationDate="2013-10-06T19:11:55.123" UserId="6628" Text="Sound Devices USB pre / vs USB pre 2" ContentLicense="CC BY-SA 3.0" />
  <row Id="33551" PostHistoryTypeId="3" PostId="20515" RevisionGUID="37da078d-86b4-4a37-a374-35057cd9f423" CreationDate="2013-10-06T19:11:55.123" UserId="6628" Text="&lt;gear&gt;&lt;sound-devices&gt;&lt;used-gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33552" PostHistoryTypeId="2" PostId="20516" RevisionGUID="de8b5120-8ab4-4e2d-9e2c-2418b90192cd" CreationDate="2013-10-06T20:23:59.887" UserId="6432" Text="Just so you're aware, USBpre1 does not work with 64bit operating systems - that's why you can get them cheap secondhand. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33553" PostHistoryTypeId="2" PostId="20517" RevisionGUID="1b5e6dc9-04e6-4798-8505-fbda605fabf4" CreationDate="2013-10-06T22:43:56.707" UserId="3418" Text="I just saw Gravity the other day and really enjoyed it too, what a great sound experience. It was the first time for me to watch a film with Dolby Atmos, it was mind blowing, also the sound design was great and unusual mixing approach.&#xD;&#xA;&#xD;&#xA;As for your question, here's a link at soundworkscollection that probably answer your question.&#xD;&#xA;&#xD;&#xA;http://soundworkscollection.com/videos/gravity&#xD;&#xA;&#xD;&#xA;Interestingly, a lot of the foley sound was recorded using transducers (contact mic) as there's no sound in space but vibrations are still transmitted through our bodies.&#xD;&#xA;&#xD;&#xA;Hope that helps.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33561" PostHistoryTypeId="2" PostId="20522" RevisionGUID="0dd0300e-d524-412a-a0f7-872e53a75c38" CreationDate="2013-10-07T08:19:17.900" UserId="6630" Text="I saw Gravity at the IMAX and was blown away by the visuals and sound design. The concept and approach to the sound design by Skip Lievsay is out of this world. This has to be my favourite soundtrack. I can't wait to watch it again. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33562" PostHistoryTypeId="2" PostId="20523" RevisionGUID="7b8d8272-caac-428f-b3fc-e2a641f5c82d" CreationDate="2013-10-07T09:24:17.880" UserId="6484" Text="I would also recommend &quot;Shoot'em Up&quot;. Very loud, cinematic-ally real and jump out of your seat bangs. Love it. &#xD;&#xA;&#xD;&#xA;All the other recommendations are also really well sighted. But of course Heat sets the standards for others to follow. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33563" PostHistoryTypeId="6" PostId="20480" RevisionGUID="936aa735-8734-4b8a-82ab-fcb0b60f0959" CreationDate="2013-10-07T14:28:20.667" UserId="6387" Comment="edited tags" Text="&lt;feedback&gt;&lt;mixer&gt;&lt;digital&gt;&lt;behringer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33566" PostHistoryTypeId="2" PostId="20524" RevisionGUID="7662ff81-0c3b-4508-8590-71aef042240a" CreationDate="2013-10-08T06:56:27.750" UserId="3199" Text="Gravity was by far the best use of Atmos I've heard so far- the panning resolution allowed on the sides and across the back contributed so much to the constant sense of motion and drift. You immediately notice it on the voices as the characters float around you, but I began to discern and follow parts of the music as the broke off from the mix &quot;whole&quot; and began to move around the space. At some parts it seems as though the whole score has broken apart and is swirling around (so appropriate!). &#xD;&#xA;&#xD;&#xA;As far as the foley goes- it sounded to me like much of the spacewalk material was recorded using contact microphones (maybe even hydrophones on the parachute detachment scene). Really an inspired use of that equipment and I expect to hear that treatment of space replicated across movies and games in the future. &#xD;&#xA;&#xD;&#xA;If you're on the fence about driving an hour to your nearest Atmos theater to check it out I say it's absolutely worth the trip! This movie was made for it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33567" PostHistoryTypeId="2" PostId="20525" RevisionGUID="5b396453-8ae0-4bc5-be85-222d9d179c54" CreationDate="2013-10-08T08:01:46.323" UserId="6634" Text="Parallel distort and saturate with multible distortion plugins instead of cranking all the knobs to 11 from one single plugin. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33568" PostHistoryTypeId="2" PostId="20526" RevisionGUID="20de43ad-2889-48cc-b6f6-16b357a5ab5e" CreationDate="2013-10-08T11:06:58.017" UserId="6635" Text="Please give me any Basic Idea or some tutorial which is helpful.&#xD;&#xA;&#xD;&#xA;I really dont understand what to put in for a clock.&#xD;&#xA;&#xD;&#xA;Thank you" ContentLicense="CC BY-SA 3.0" />
  <row Id="33569" PostHistoryTypeId="1" PostId="20526" RevisionGUID="20de43ad-2889-48cc-b6f6-16b357a5ab5e" CreationDate="2013-10-08T11:06:58.017" UserId="6635" Text="how to build a delay synchronized to clock?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33570" PostHistoryTypeId="3" PostId="20526" RevisionGUID="20de43ad-2889-48cc-b6f6-16b357a5ab5e" CreationDate="2013-10-08T11:06:58.017" UserId="6635" Text="&lt;reaktor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33571" PostHistoryTypeId="2" PostId="20527" RevisionGUID="272039df-4fe9-45ae-aa30-56eec24d1b96" CreationDate="2013-10-08T11:48:21.193" UserId="6636" Text="&#xD;&#xA;I have been given permission to record in a factory locally to me, which is something I have never tried before. I have gone on a recon trip and had a tour around which I recorded with my portable recorder an R-26. &#xD;&#xA;&#xD;&#xA;One of the issues I can foresee from the recording I took is the facility runs off compressed air for a lot of machines, which creates a constant background drone which for a factory ambiance is great, but there are some machines which have some really cool sounds I want to try to isolate as much as possible.&#xD;&#xA;&#xD;&#xA;I was wondering if anyone with some more experience recording in a noisy environment had some advice on techniques I can use to get the best results on the day? &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33572" PostHistoryTypeId="1" PostId="20527" RevisionGUID="272039df-4fe9-45ae-aa30-56eec24d1b96" CreationDate="2013-10-08T11:48:21.193" UserId="6636" Text="Recording in a Factory environment." ContentLicense="CC BY-SA 3.0" />
  <row Id="33573" PostHistoryTypeId="3" PostId="20527" RevisionGUID="272039df-4fe9-45ae-aa30-56eec24d1b96" CreationDate="2013-10-08T11:48:21.193" UserId="6636" Text="&lt;recording&gt;&lt;noise&gt;&lt;microphone-technique&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33574" PostHistoryTypeId="2" PostId="20528" RevisionGUID="b1dc5814-a972-4a0c-bde3-7587bfeb35b5" CreationDate="2013-10-08T13:29:26.463" UserId="4057" Text="Did a recording in a Boning Room recently. The trick is to get as close to the machine in question as possible. Use a cardioid condenser if you can or possibly even a contact mic. Other possibility is to go into the factory when it is mostly shut down and then record the 'interesting' machines in isolation from everything else.&#xD;&#xA;&#xD;&#xA;anyways, the closer you are to the sound source, the better your direct/diffuse ratios will be and the better you will hear the target machine." ContentLicense="CC BY-SA 3.0" />
  <row Id="33575" PostHistoryTypeId="2" PostId="20529" RevisionGUID="8c3ee357-ee7b-4974-96d5-770882b69b36" CreationDate="2013-10-08T13:37:53.137" UserId="6582" Text="The R26 has phantom powered inputs, so you could use a microphone with a more directional character than the built in mics, a short or a long shotgun for instance; the Sanken shotguns are working very well in loud environments from my experience,maybe you can borrow one from a rental service.&#xD;&#xA;Don't expect miracles though - if you definitely need a clean recording of an isolated machine, you should ask if they could power it up and let you record it outside their daily business ...&#xD;&#xA;&#xD;&#xA;Regards&#xD;&#xA;&#xD;&#xA;Felix" ContentLicense="CC BY-SA 3.0" />
  <row Id="33576" PostHistoryTypeId="2" PostId="20530" RevisionGUID="f2af4db4-9939-46ed-8c8c-bfc7c1bd444a" CreationDate="2013-10-08T16:32:49.447" UserId="3346" Text="I recommend contact mics. I did some really cool&#xD;&#xA;Machinery recordings with astereo setup a hal year ago." ContentLicense="CC BY-SA 3.0" />
  <row Id="33577" PostHistoryTypeId="2" PostId="20531" RevisionGUID="0a88c617-5be0-4cb0-a9dd-f81569af8806" CreationDate="2013-10-08T17:18:41.193" UserId="6624" Text="Say we got 2 different music chunks in SDL. Currently we are not sure on how to mix them into one single audio with noise and distortion is filtered. Currently try to mix in this format which is wrong.&#xD;&#xA;  &#xD;&#xA;&#xD;&#xA;      if( Mix_PlayChannel( 1, test1, 0 ) == -1 )&#xD;&#xA;                            {&#xD;&#xA;                                return 1;&#xD;&#xA;                            }&#xD;&#xA;        &#xD;&#xA;                            if( Mix_PlayChannel( 2, test2, 0 ) == -1 )&#xD;&#xA;                            {&#xD;&#xA;                                return 1;&#xD;&#xA;                            } " ContentLicense="CC BY-SA 3.0" />
  <row Id="33578" PostHistoryTypeId="1" PostId="20531" RevisionGUID="0a88c617-5be0-4cb0-a9dd-f81569af8806" CreationDate="2013-10-08T17:18:41.193" UserId="6624" Text="Mixing 2 audio files with no noise or distortion" ContentLicense="CC BY-SA 3.0" />
  <row Id="33579" PostHistoryTypeId="3" PostId="20531" RevisionGUID="0a88c617-5be0-4cb0-a9dd-f81569af8806" CreationDate="2013-10-08T17:18:41.193" UserId="6624" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33580" PostHistoryTypeId="5" PostId="20001" RevisionGUID="352b2e7f-7b5d-4877-a97b-377afac549d3" CreationDate="2013-10-08T19:15:42.970" UserId="6638" Comment="got trouble with account and didn't know how quoting this answer" Text="Ciao Matteo,&#xD;&#xA;&#xD;&#xA;Regarding books, the one that Stavrosound mentioned is good.&#xD;&#xA;You can find a lot of resources online nowadays, one great blog is designingsound.org another one is http://www.musicofsound.co.nz/blog/ &#xD;&#xA;Tim is the writer of the latter one, and you can find a lot of informations like this http://www.musicofsound.co.nz/blog/sound-design-book-list or http://www.musicofsound.co.nz/blog/career-advice-part-1&#xD;&#xA;&#xD;&#xA;Now, that's the theory, and theory outside Italy. I'm a sound editor based in Rome and the reality, in italy, especially in the last few years, couldn't be more different than what you will read online. &#xD;&#xA;It's super fascinating, exciting, interesting and fun world, don't get me wrong, but today the italian film industry is really behind a lot of other countries in this field.&#xD;&#xA;&#xD;&#xA;As you wrote there isn't any school that teaches sound fx editing or foley or even sound editing. Il Centro Sperimentale di Cinematografia (in Rome) http://www.snc.it/ (that should be the most prestigious cinema school in italy) doesn't even mention sound fx or foley in the sound course description http://www.snc.it/context.jsp?ID_LINK=103&amp;area=7 &#xD;&#xA;&#xD;&#xA;They only mention &quot;Realizzazione della colonna internazionale&quot; that is (for our english reader) the M&amp;E Track. That's it... That's all a Sound Fx Editor should do, for them... Unbelievable! (this make me so sad...) &#xD;&#xA;&#xD;&#xA;My advise: read a lot and experiment (sound kits are very cheap now, and pro tools is on the cheap side too) and get in touch with professionals (online or in real life); if you want to study, go abroad, and if you want to work in Italy, move to Rome.&#xD;&#xA;&#xD;&#xA;If you have any other more specific question, just write me.&#xD;&#xA;&#xD;&#xA;Ciao&#xD;&#xA;&#xD;&#xA;Davide &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Matteo Boscolo&#xD;&#xA;*Davide, I've got troubles with my account&#xD;&#xA;I'm sorry for the late response&#xD;&#xA;Anyway I'm attending conservatory (:" ContentLicense="CC BY-SA 3.0" />
  <row Id="33581" PostHistoryTypeId="24" PostId="20001" RevisionGUID="352b2e7f-7b5d-4877-a97b-377afac549d3" CreationDate="2013-10-08T19:15:42.970" Comment="Proposed by 6638 approved by 80 edit id of 4" ContentLicense="CC BY-SA 3.0" />
  <row Id="33582" PostHistoryTypeId="2" PostId="20532" RevisionGUID="7b2ae3bf-787b-4e2c-a7a0-5272cf0dc0de" CreationDate="2013-10-08T20:07:40.067" UserId="6464" Text="I'm currently working on my first feature and I'm really excited to get stuck-in. I've already made progress with designing some of the ambiences and layering in some foley for door slams, bag props and small things like that but I've just received the first pass of the dialogue edit. &#xD;&#xA;&#xD;&#xA;My question is: what sounds should I just use from the dialogue edit and what sounds should I add-in by myself? &#xD;&#xA;&#xD;&#xA;I know some of the sound events will obviously benefit from being both production and post (punches etc) and I've noted some sounds in the dialogue edit that just don't work (where the dialogue overlaps etc) &#xD;&#xA;&#xD;&#xA;Just wondering what peoples thoughts are on how much of the production audio is used. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33583" PostHistoryTypeId="1" PostId="20532" RevisionGUID="7b2ae3bf-787b-4e2c-a7a0-5272cf0dc0de" CreationDate="2013-10-08T20:07:40.067" UserId="6464" Text="Production tracks or Foley?! Which one for which bits" ContentLicense="CC BY-SA 3.0" />
  <row Id="33584" PostHistoryTypeId="3" PostId="20532" RevisionGUID="7b2ae3bf-787b-4e2c-a7a0-5272cf0dc0de" CreationDate="2013-10-08T20:07:40.067" UserId="6464" Text="&lt;foley&gt;&lt;production-audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33585" PostHistoryTypeId="2" PostId="20533" RevisionGUID="36197d14-d8db-42fb-893a-58c07d0c402d" CreationDate="2013-10-08T20:24:58.060" UserId="6502" Text="&quot;It depends&quot; &lt;- everyone's favorite answer&#xD;&#xA;&#xD;&#xA;On the films that have M&amp;E deliverable requirements for foreign markets, basically everything's got to be covered by either cut FX or foley. It's often good practice to make sure everything is covered. That being said...depends on time. If the production is great for somebody struggling with a doorknob, which can be sort of a time consuming thing to cut from library FX entirely, then you could end up wasting a good chunk of time better spent elsewhere. Make sure to have a listen to some of the production FX on larger systems, though, depending on how the film is being released. I've noticed that a lot of things like doors and percussive sounds can be a little bit wimpy if they're just from production. &#xD;&#xA;&#xD;&#xA;Ideally, you have the option in the mix of using production, foley/fx, or a little bit of both. Sometimes, you can only use one or the other. Just remember to ask yourself (and the director): what's the most important thing in this scene? Everything else is built around that." ContentLicense="CC BY-SA 3.0" />
  <row Id="33586" PostHistoryTypeId="2" PostId="20534" RevisionGUID="f75bbae6-a979-46a1-9ab6-cccfc5ee345e" CreationDate="2013-10-08T20:27:02.723" UserId="6502" Text="I also just saw Gravity, and it was my first Atmos experience. Totally worth it. Seriously. I may need to trek back to the theater to retrieve the rest of my brains that I think I left splattered on the back wall." ContentLicense="CC BY-SA 3.0" />
  <row Id="33587" PostHistoryTypeId="2" PostId="20535" RevisionGUID="6bce73ae-0b4d-4606-92a8-d10a6666fa10" CreationDate="2013-10-08T20:38:58.157" UserId="6502" Text="I've only gotten a chance to edit a handful of &quot;real&quot; projects with guns in them (plenty of sound re-edits I've done on my own to Hollywood films, though!) and I always like to think of kind of a spectrum of realism vs. entertainment. On the most realistic side of things, we've got movies like The Assassination of Jesse James By the Coward Robert Ford, and on the other end we've got things along the lines of Terminator 2. &#xD;&#xA;&#xD;&#xA;All the movies that others have mentioned here are great, especially for the more in-your-face style of editing. &#xD;&#xA;&#xD;&#xA;There are also movies where the guns are more than just guns, they're almost characters, or representations of ideas. I'm thinking specifically of No Country For Old Men and Elephant. The weapons used by Chighur in No Country are extremely well designed and uniquely characterized. In Elephant, the guns are terrifying both in how loud they pop out of the mix, the way that their sound blooms in the school hallways, and in how anti-climactic they are at times. We'll build up to somebody being killed using other sound and visual devices, but our expectation of a huge abstraction of a gunshot is defied, and their life is instead cut short by a loud, but brief and somewhat high pitched &quot;crack.&quot; " ContentLicense="CC BY-SA 3.0" />
  <row Id="33588" PostHistoryTypeId="2" PostId="20536" RevisionGUID="54ef3a7c-a1ad-4955-89d2-800aea7f36d9" CreationDate="2013-10-08T20:45:12.997" UserId="6502" Text="Synths can be great for this stuff, although depending on which program is used, I have at times had difficulty getting the sound to not feel &quot;synthy&quot;. I think I mentioned this in a thread a while back, but I'm a pretty big fan of taking other recorded sounds and processing them with different plugins like GRM and Sound Toys to get the results I want. Often all that's needed is a little snippet of a recording, like maybe 4-6 frames of a seagull cry with little fades on either end. The sounds of dropping a lot of small metal objects like bullet casings, chains or coins can also be some really nice sources." ContentLicense="CC BY-SA 3.0" />
  <row Id="33589" PostHistoryTypeId="2" PostId="20537" RevisionGUID="16c755dc-9a2d-44a7-9753-a2360bdb6505" CreationDate="2013-10-08T20:46:31.940" UserId="6567" Text="Completely agree with James' points! &#xD;&#xA;&#xD;&#xA;I would like to emphasize that a session with the director to go through every scene is essential. Take notes about the key sounds for every scene then work on those sounds first and build the rest around it.&#xD;&#xA;&#xD;&#xA;If this is your first bigger project you will possibly tend to overdo it and make things too crowded, depending on time and budget it's not bad to have &quot;too much&quot; because it's easier to take out sounds than adding them last minute but try to focus on the absolute priorities first. &#xD;&#xA;&#xD;&#xA;Good luck and have fun! " ContentLicense="CC BY-SA 3.0" />
  <row Id="33590" PostHistoryTypeId="2" PostId="20538" RevisionGUID="1613edca-2723-4495-a5c3-2e84c6d80b8a" CreationDate="2013-10-08T22:12:40.620" UserId="1228" Text="I agree with @James .  For what its worth, in TV we cut Fx and cover foley on everything.  PFX just give the mixer an extra layer to work with.  I admit sometimes I steal a PFX and use it in my edit because occasionally the PFX offer a good texture and were well recorded.&#xD;&#xA;&#xD;&#xA;But the usual rule of thumb in film and TV is that everything gets replaced by FX and foley.  PFX is icing on the cake.  No corner-cutting here." ContentLicense="CC BY-SA 3.0" />
  <row Id="33591" PostHistoryTypeId="2" PostId="20539" RevisionGUID="0356cc6b-de63-42c5-9441-dfe13370c936" CreationDate="2013-10-08T23:27:41.343" UserId="6641" Text="I agree the sound design in this film is remarkable. It sounds like they used several layers of sound effects for the spacewalks and tools. I love the sound of the water in the ISS, i felt like I could just grab it with my hand." ContentLicense="CC BY-SA 3.0" />
  <row Id="33592" PostHistoryTypeId="2" PostId="20540" RevisionGUID="5d53389d-2f10-4b75-a436-7512b437c98a" CreationDate="2013-10-09T11:43:53.510" UserId="6643" Text="Do you know how to play .avi videos backwards with VLC, Potplayer, Kmplayer, BSPlayer or any other common multimedia player in Windows? (without using video editors).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Regards" ContentLicense="CC BY-SA 3.0" />
  <row Id="33593" PostHistoryTypeId="1" PostId="20540" RevisionGUID="5d53389d-2f10-4b75-a436-7512b437c98a" CreationDate="2013-10-09T11:43:53.510" UserId="6643" Text="Any multimedia player able to play movies backwards?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33594" PostHistoryTypeId="3" PostId="20540" RevisionGUID="5d53389d-2f10-4b75-a436-7512b437c98a" CreationDate="2013-10-09T11:43:53.510" UserId="6643" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33596" PostHistoryTypeId="2" PostId="20542" RevisionGUID="baafaac5-e549-462a-a797-855eab3b4e66" CreationDate="2013-10-10T08:27:39.313" UserId="6425" Text="I had to boom dialogues in the industry for several Times. If you have a shotgun -&gt; Play with the positioning and try using different plates to Isolator the mic from direct noise! Also -&gt; if the drone is realy steady -&gt; Record it in the Same Place You would Record the drone and try Phase inversion.&#xD;&#xA;&#xD;&#xA;Another trick is to envelope the Sounds so that the BG noise feels like a Part of it!&#xD;&#xA;&#xD;&#xA;Good luck and have Fun experimenting!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33597" PostHistoryTypeId="2" PostId="20543" RevisionGUID="7d015fcc-76d8-4b1f-861d-21d5459a17e1" CreationDate="2013-10-10T10:23:14.077" UserId="1216" Text="My guess is that this is a programming question. I'm not sure you'll find an answer here, because most(?) of us are sound designers or composers. This is a technical question you might want to ask in the forum of SDL, whatever that may be.&#xD;&#xA;&#xD;&#xA;But overall, mixing signals that are of maximum loudness (0dBFS) will result in distortion.&#xD;&#xA;So my guess is that you need to somehow lower the input of the mixer resulting in more headroom and no clipping or distortion.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="33600" PostHistoryTypeId="2" PostId="20544" RevisionGUID="25fb894b-157c-461b-ae91-02447a1bd9e3" CreationDate="2013-10-10T15:53:02.487" UserId="6648" Text="The EM-23s has a very nice low end and brilliant signal to noise.  The capsules are not as cheap as a few bucks each (like other cheaper Primso) but they cost like 50-60 USD / capsule, then you need fet:s, then you need housing etc. but of course if you got very nice soldering skills you may do better then me =) / Pete " ContentLicense="CC BY-SA 3.0" />
  <row Id="33601" PostHistoryTypeId="2" PostId="20545" RevisionGUID="69330d2e-28b1-43a5-b215-1a37918759f1" CreationDate="2013-10-11T01:14:51.083" UserId="6448" Text="&gt; &#xD;&#xA;&#xD;&#xA;      if( Mix_PlayChannel( 1, test1, 0 ) == -1 ) // Tests for error return value -1&#xD;&#xA;      {&#xD;&#xA;          return 1; // Returns 1 to something?&#xD;&#xA;      }&#xD;&#xA;    &#xD;&#xA;      if( Mix_PlayChannel( 2, test2, 0 ) == -1 ) // Tests for error return value -1&#xD;&#xA;      {&#xD;&#xA;          return 1; // Returns 1 to something?&#xD;&#xA;      } &#xD;&#xA;&#xD;&#xA;Without seeing what your function is the above code seems like it would not be playing sound at all, because it only tests for error return values of Mix_PlayChannel and in the case of an error (i.e. Mix_PlayChannel returns -1), the function returns 1/True.&#xD;&#xA;&#xD;&#xA;See: http://sdl.beuc.net/sdl.wiki/Mix_PlayChannel&#xD;&#xA;&#xD;&#xA;You don't need to even grab (or assign) the return value to play the sound. The return value, if the Mix_PlayChannel function doesn't fail, is the channel number (in your case 1 or 2)." ContentLicense="CC BY-SA 3.0" />
  <row Id="33602" PostHistoryTypeId="5" PostId="20545" RevisionGUID="c3d51423-7835-46f3-bc6c-d67ae27778a3" CreationDate="2013-10-11T01:21:32.467" UserId="6448" Comment="added 43 characters in body" Text="&gt; &#xD;&#xA;&#xD;&#xA;      if( Mix_PlayChannel( 1, test1, 0 ) == -1 ) // Tests for error return value -1&#xD;&#xA;      {&#xD;&#xA;          return 1; // Returns 1 to something?&#xD;&#xA;      }&#xD;&#xA;    &#xD;&#xA;      if( Mix_PlayChannel( 2, test2, 0 ) == -1 ) // Tests for error return value -1&#xD;&#xA;      {&#xD;&#xA;          return 1; // Returns 1 to something?&#xD;&#xA;      } &#xD;&#xA;&#xD;&#xA;Without seeing what your function is the above code seems like it would not be playing sound at all, because it only tests for error return values of Mix_PlayChannel and in the case of an error (i.e. Mix_PlayChannel returns -1), the function returns 1/True (and exists already in the first if-block).&#xD;&#xA;&#xD;&#xA;See: http://sdl.beuc.net/sdl.wiki/Mix_PlayChannel&#xD;&#xA;&#xD;&#xA;You don't need to even grab (or assign) the return value to play the sound. The return value, if the Mix_PlayChannel function doesn't fail, is the channel number (in your case 1 or 2)." ContentLicense="CC BY-SA 3.0" />
  <row Id="33603" PostHistoryTypeId="5" PostId="20545" RevisionGUID="a4f79db0-3e3c-44e7-9394-226640ef5376" CreationDate="2013-10-11T01:32:43.203" UserId="6448" Comment="added 475 characters in body" Text="&gt; &#xD;&#xA;&#xD;&#xA;      if( Mix_PlayChannel( 1, test1, 0 ) == -1 ) // Tests for error return value -1&#xD;&#xA;      {&#xD;&#xA;          return 1; // Returns 1 to something?&#xD;&#xA;      }&#xD;&#xA;    &#xD;&#xA;      if( Mix_PlayChannel( 2, test2, 0 ) == -1 ) // Tests for error return value -1&#xD;&#xA;      {&#xD;&#xA;          return 1; // Returns 1 to something?&#xD;&#xA;      } &#xD;&#xA;&#xD;&#xA;Without seeing what your function is the above code seems like it would not be playing sound at all, because it only tests for error return values of Mix_PlayChannel and in the case of an error (i.e. Mix_PlayChannel returns -1), the function returns 1/True (and exists already in the first if-block).&#xD;&#xA;&#xD;&#xA;See: http://sdl.beuc.net/sdl.wiki/Mix_PlayChannel&#xD;&#xA;&#xD;&#xA;You don't need to even grab (or assign) the return value to play the sound. The return value, if the Mix_PlayChannel function doesn't fail, is the channel number (in your case 1 or 2).&#xD;&#xA;&#xD;&#xA;What you could write is just:&#xD;&#xA;&#xD;&#xA;    Mix_PlayChannel(1, test1, 0);&#xD;&#xA;    Mix_PlayChannel(2, test2, 0);&#xD;&#xA;&#xD;&#xA;Or if you want to test for errors:&#xD;&#xA;&#xD;&#xA;    int channel;&#xD;&#xA;&#xD;&#xA;    channel = Mix_PlayChannel(1, test1, 0);&#xD;&#xA;    if(channel == -1) {&#xD;&#xA;        fprintf(stderr, &quot;Unable to play WAV file: %s\n&quot;, Mix_GetError());&#xD;&#xA;    }&#xD;&#xA;&#xD;&#xA;    channel = Mix_PlayChannel(2, test2, 0);&#xD;&#xA;    if(channel == -1) {&#xD;&#xA;        fprintf(stderr, &quot;Unable to play WAV file: %s\n&quot;, Mix_GetError());&#xD;&#xA;    }" ContentLicense="CC BY-SA 3.0" />
  <row Id="33604" PostHistoryTypeId="5" PostId="20545" RevisionGUID="585a34c3-7983-4dfe-afce-594f00b21361" CreationDate="2013-10-11T01:44:30.727" UserId="6448" Comment="added 475 characters in body" Text="&gt; &#xD;&#xA;&#xD;&#xA;      if( Mix_PlayChannel( 1, test1, 0 ) == -1 ) // Tests for error return value -1&#xD;&#xA;      {&#xD;&#xA;          return 1; // Returns 1 to something?&#xD;&#xA;      }&#xD;&#xA;    &#xD;&#xA;      if( Mix_PlayChannel( 2, test2, 0 ) == -1 ) // Tests for error return value -1&#xD;&#xA;      {&#xD;&#xA;          return 1; // Returns 1 to something?&#xD;&#xA;      } &#xD;&#xA;&#xD;&#xA;Without seeing what your function is the above code seems like it would not be playing sound at all, because it only tests for error return values of Mix_PlayChannel and in the case of an error (i.e. Mix_PlayChannel returns -1), the function returns 1/True (and exists already in the first if-block).&#xD;&#xA;&#xD;&#xA;See: http://sdl.beuc.net/sdl.wiki/Mix_PlayChannel&#xD;&#xA;&#xD;&#xA;You don't need to even grab (or assign) the return value to play the sound. The return value, if the Mix_PlayChannel function doesn't fail, is the channel number (in your case 1 or 2).&#xD;&#xA;&#xD;&#xA;What you could write is just:&#xD;&#xA;&#xD;&#xA;    Mix_PlayChannel(1, test1, 0);&#xD;&#xA;    Mix_PlayChannel(2, test2, 0);&#xD;&#xA;&#xD;&#xA;Or if you want to test for errors:&#xD;&#xA;&#xD;&#xA;    int channel;&#xD;&#xA;&#xD;&#xA;    channel = Mix_PlayChannel(1, test1, 0);&#xD;&#xA;    if(channel == -1) {&#xD;&#xA;        fprintf(stderr, &quot;Unable to play WAV file: %s\n&quot;, Mix_GetError());&#xD;&#xA;    }&#xD;&#xA;&#xD;&#xA;    channel = Mix_PlayChannel(2, test2, 0);&#xD;&#xA;    if(channel == -1) {&#xD;&#xA;        fprintf(stderr, &quot;Unable to play WAV file: %s\n&quot;, Mix_GetError());&#xD;&#xA;    }&#xD;&#xA;&#xD;&#xA;There are some more examples here (note the special functions for playing music, instead of just sound files / SFX):&lt;br&gt;&#xD;&#xA;http://people.cs.clemson.edu/~malloy/courses/3dgames-2007/tutor/web/audio/audio.html&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33605" PostHistoryTypeId="5" PostId="20545" RevisionGUID="fb2bc50c-153e-44fb-9136-7839f2cac80a" CreationDate="2013-10-11T01:52:58.087" UserId="6448" Comment="deleted 1 characters in body" Text=" &#xD;&#xA;&#xD;&#xA;      if( Mix_PlayChannel( 1, test1, 0 ) == -1 ) // Tests for error return value -1&#xD;&#xA;      {&#xD;&#xA;          return 1; // Returns 1 to something?&#xD;&#xA;      }&#xD;&#xA;    &#xD;&#xA;      if( Mix_PlayChannel( 2, test2, 0 ) == -1 ) // Tests for error return value -1&#xD;&#xA;      {&#xD;&#xA;          return 1; // Returns 1 to something?&#xD;&#xA;      } &#xD;&#xA;&#xD;&#xA;Without seeing what your function is the above code seems like it would not be playing sound at all, because it only tests for error return values of Mix_PlayChannel and in the case of an error (i.e. Mix_PlayChannel returns -1), the function returns 1/True (and exits already in the first if-block).&#xD;&#xA;&#xD;&#xA;See: http://sdl.beuc.net/sdl.wiki/Mix_PlayChannel&#xD;&#xA;&#xD;&#xA;You don't need to even grab (or assign) the return value to play the sound. The return value, if the Mix_PlayChannel function doesn't fail, is the channel number (in your case 1 or 2).&#xD;&#xA;&#xD;&#xA;What you could write is just:&#xD;&#xA;&#xD;&#xA;    Mix_PlayChannel(1, test1, 0);&#xD;&#xA;    Mix_PlayChannel(2, test2, 0);&#xD;&#xA;&#xD;&#xA;Or if you want to test for errors:&#xD;&#xA;&#xD;&#xA;    int channel;&#xD;&#xA;&#xD;&#xA;    channel = Mix_PlayChannel(1, test1, 0);&#xD;&#xA;    if(channel == -1) {&#xD;&#xA;        fprintf(stderr, &quot;Unable to play WAV file: %s\n&quot;, Mix_GetError());&#xD;&#xA;    }&#xD;&#xA;&#xD;&#xA;    channel = Mix_PlayChannel(2, test2, 0);&#xD;&#xA;    if(channel == -1) {&#xD;&#xA;        fprintf(stderr, &quot;Unable to play WAV file: %s\n&quot;, Mix_GetError());&#xD;&#xA;    }&#xD;&#xA;&#xD;&#xA;There are some more examples here (note the special functions for playing music, instead of just sound files / SFX):&lt;br&gt;&#xD;&#xA;http://people.cs.clemson.edu/~malloy/courses/3dgames-2007/tutor/web/audio/audio.html&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33606" PostHistoryTypeId="2" PostId="20546" RevisionGUID="525a3d33-04f5-423b-b548-1a714e4885e4" CreationDate="2013-10-11T02:54:53.007" UserId="6651" Text="You can do this with AviSynth I believe, although the most mainstream multimedia players won't make the cut :* &#xD;&#xA;&#xD;&#xA;Hope this helped!&#xD;&#xA;&#xD;&#xA;~ Much Love, Macto Dfacto&#xD;&#xA;http://www.mactodfacto.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="33607" PostHistoryTypeId="2" PostId="20547" RevisionGUID="6c039e47-b9ee-4276-9af2-20b77a3f2ee3" CreationDate="2013-10-11T03:01:18.127" UserId="6651" Text="The thing you are looking for is Kontakt / Kontakt player by Native Instruments! You can download soundbanks and play them with your keyboard.&#xD;&#xA;&#xD;&#xA;If this does not give you enough features, I recommend you try out a basic DAW like Fl Studio. This has alot of features (just like Adobe Photoshop has for picture editing).&#xD;&#xA;&#xD;&#xA;Sources: I'm a music producer.&#xD;&#xA;&#xD;&#xA;~ Much Love, Macto Dfacto&#xD;&#xA;http://www.mactodfacto.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="33608" PostHistoryTypeId="2" PostId="20548" RevisionGUID="087cc206-a236-4a9b-b0d6-95b6b8babe3b" CreationDate="2013-10-11T06:34:45.853" UserId="6652" Text="&#xD;&#xA; MyDeals247 is the world's first real-time marketplace. We are offering both full-time internship &#xD;&#xA; (Bangalore) and virtual internship (work from home) for the BBM/ BBA / MBA/PGDM students.&#xD;&#xA;&#xD;&#xA; For those interested may fill this registration form --&gt; http://goo.gl/zydCEV&#xD;&#xA;&#xD;&#xA; Alternatively, you can send your resume to HR@MyDeals247.com.  We will get back to you within 24 hours. &#xD;&#xA; Also, you may call Aneef HR at +91 77955 83702.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33609" PostHistoryTypeId="4" PostId="20531" RevisionGUID="b433ef10-b62e-4930-9855-7109dc94e22d" CreationDate="2013-10-11T08:29:16.223" UserId="6448" Comment="fixed       ." Text="(SDL) Mixing 2 audio files with no noise or distortion" ContentLicense="CC BY-SA 3.0" />
  <row Id="33610" PostHistoryTypeId="6" PostId="20531" RevisionGUID="b433ef10-b62e-4930-9855-7109dc94e22d" CreationDate="2013-10-11T08:29:16.223" UserId="6448" Comment="fixed       ." Text="&lt;sound-effects&gt;&lt;programming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33611" PostHistoryTypeId="24" PostId="20531" RevisionGUID="b433ef10-b62e-4930-9855-7109dc94e22d" CreationDate="2013-10-11T08:29:16.223" Comment="Proposed by 6448 approved by 80 edit id of 5" ContentLicense="CC BY-SA 3.0" />
  <row Id="33612" PostHistoryTypeId="2" PostId="20549" RevisionGUID="ff754b10-0d71-4d02-8484-cc65877bbfda" CreationDate="2013-10-11T09:10:04.330" UserId="6635" Text="What does it mean?&#xD;&#xA;Can any one explain me ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33613" PostHistoryTypeId="1" PostId="20549" RevisionGUID="ff754b10-0d71-4d02-8484-cc65877bbfda" CreationDate="2013-10-11T09:10:04.330" UserId="6635" Text="At least one of your delays must be synchronized to clock. ?? (pro tools Plugin)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33614" PostHistoryTypeId="3" PostId="20549" RevisionGUID="ff754b10-0d71-4d02-8484-cc65877bbfda" CreationDate="2013-10-11T09:10:04.330" UserId="6635" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33616" PostHistoryTypeId="2" PostId="20551" RevisionGUID="88057bbb-204c-4aba-833f-b3ee90343d3a" CreationDate="2013-10-11T13:04:19.960" UserId="6425" Text="Hopefully there are some people that know the EBU R128 loudness measurement. (Germany)&#xD;&#xA;&#xD;&#xA;I have a TV advertisement, that sounds exactly the way I want. It consist a Backing track, one FX and a Claim Voice-over.&#xD;&#xA;&#xD;&#xA;Every track is EQ-ed and Compressed but just so slightly that I keep some dynamics.&#xD;&#xA;&#xD;&#xA;The Song starts of with lower volume than ends with a crescendo. The VOice-over kicks in at the peak of the song, so i reduced the Volume of the song by 8 dB via a fitting Volume envelope. The FX (Camera Flashlight sound) appears just before the voiceover.&#xD;&#xA;&#xD;&#xA;On my master channel I have High and lowpass, a Kramer Tape for slight saturation and Compressing and one iZotope Ozone Maximiser. This Brick wall Limiter creates no gain reduction. (Just for safety reasons)&#xD;&#xA;&#xD;&#xA;Now my problem:&#xD;&#xA;I need to deliver a EBU R128 Mix down with -23 Integrated LUFS and max -20 Short Term LUFS&#xD;&#xA;&#xD;&#xA;Right now I have -23 Integrated LUFS and -19 Short Term LUFS.&#xD;&#xA;&#xD;&#xA;MY Problem is, that the Voice Over appears to loud for the measurement. but if i lower its volume, it starts to fight with the music. When I change the Volume envelope of the music track, the fade from loud to silent is to strong.&#xD;&#xA;&#xD;&#xA;It feels like whatever i change on the left, causes only more difference between Integrated and Short term LUFS :/&#xD;&#xA;&#xD;&#xA;What do i need to do. TO fulfil the Restrictions.&#xD;&#xA;&#xD;&#xA;Thank you very much!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33617" PostHistoryTypeId="1" PostId="20551" RevisionGUID="88057bbb-204c-4aba-833f-b3ee90343d3a" CreationDate="2013-10-11T13:04:19.960" UserId="6425" Text="EBU R 128 change Short Term LUFS with stable Integrated LUFS" ContentLicense="CC BY-SA 3.0" />
  <row Id="33618" PostHistoryTypeId="3" PostId="20551" RevisionGUID="88057bbb-204c-4aba-833f-b3ee90343d3a" CreationDate="2013-10-11T13:04:19.960" UserId="6425" Text="&lt;mixing&gt;&lt;loudness&gt;&lt;re-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33619" PostHistoryTypeId="2" PostId="20552" RevisionGUID="562b230f-3eeb-4631-bb11-a66e7c17dbca" CreationDate="2013-10-11T13:40:46.950" UserId="432" Text="Welcome to broadcast mixing. ;)&#xD;&#xA;&#xD;&#xA;I would suggest using an EQ to carve out some space in the music track to fit it around the dialog. That way, you can pull the dialog track down a little without having to touch the music's levels, and it should fight less. You can do that and set it to just hold over the whole music track, or you can automate the ducks in the EQ to work only in the places you need it.&#xD;&#xA;&#xD;&#xA;A really fast way to do that is to duplicate the music track, and get your EQ set up on the new one. Leave the unprocessed music open where you don't have dialog, then crossfade to the processed track whenever there's dialog. It's faster than automating gain controls on multiple bands, and the effect is pretty much the same." ContentLicense="CC BY-SA 3.0" />
  <row Id="33620" PostHistoryTypeId="2" PostId="20553" RevisionGUID="6b0d5312-16d3-4097-93a4-947a1bbcad15" CreationDate="2013-10-12T09:10:57.683" UserId="6432" Text="I expect it's the master clock of the session. But you really need to be more specific with your questions - this is the second ultra-vague one line question asked here. It's really a waste of everyone's time, including yours.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33624" PostHistoryTypeId="2" PostId="20555" RevisionGUID="47137bf1-0fca-468b-94fe-4faf24a698f4" CreationDate="2013-10-12T17:56:57.933" UserId="6481" Text="I could use some help with short film I'm working on.&#xD;&#xA;The thing is that there are no dialogues in it (that's ok with me, I don't like talkies anyway:)) and the mighty director is against the use of diegetic music (oh, non-diegetic music drives him even more crazy). There's decent high society party going on. Scene is about 8 minutes long with actors basically walking from corner of the big room to another. My goal is to fill the space with ambience/background chatting so it doesn't sound tiresome after minute or two. It was quite ok in the first version where there was &quot;invisible&quot; band playing in background. But I struggle with the version based only on background sounds because it sounds artificial and you suddenly have this feeling that there's not much going on. &#xD;&#xA;Have you ever faced similar problem? Does anybody have any idea how to creatively work with what I got? How to mix ambiences so it doesn't sound tiresome? &#xD;&#xA;Pardon my english. I hope you got the idea.&#xD;&#xA;Good evening,&#xD;&#xA;Martin, Prague" ContentLicense="CC BY-SA 3.0" />
  <row Id="33625" PostHistoryTypeId="1" PostId="20555" RevisionGUID="47137bf1-0fca-468b-94fe-4faf24a698f4" CreationDate="2013-10-12T17:56:57.933" UserId="6481" Text="Short film based on ambiences/background sounds/walla" ContentLicense="CC BY-SA 3.0" />
  <row Id="33626" PostHistoryTypeId="3" PostId="20555" RevisionGUID="47137bf1-0fca-468b-94fe-4faf24a698f4" CreationDate="2013-10-12T17:56:57.933" UserId="6481" Text="&lt;film&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33627" PostHistoryTypeId="2" PostId="20556" RevisionGUID="d1967dd4-245f-4892-9d60-7901de17d408" CreationDate="2013-10-12T18:08:09.453" UserId="1216" Text="Wow this sounds like quite a challenge, in two ways.&#xD;&#xA;First of all, your description of the movie and the director is a bit negative or at least ironic. Is that on purpose? It makes me get the feeling that you actually don't like to work on this movie, but perhaps that's your 'english'.&#xD;&#xA;Second: The way you describe the scene is lacking valuable information for me to really give good advise. &#xD;&#xA;&#xD;&#xA;Here are some questions:&#xD;&#xA;-What's the point of view, and through who's ears is the audience listening?  &#xD;&#xA;-Are the (main)characters having fun, or are they neutral?  &#xD;&#xA;-Why are they walking across the room?  &#xD;&#xA;-Is there a tense atmosphere with drunks or is it a party with laughter? &#xD;&#xA;&#xD;&#xA;These things matter to the audience visually, and influence the way they hear the soundscape. So maybe you could analyse the scene a bit more in depth and find a key element that you can attach to an emotional and dynamic soundscape.&#xD;&#xA;&#xD;&#xA;Good luck&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33628" PostHistoryTypeId="2" PostId="20557" RevisionGUID="92b6fd70-b2e0-4864-8da8-142efaa448af" CreationDate="2013-10-12T23:06:32.280" UserId="4057" Text="Probably the more appropriate question to answer isn't why they are moving across the set, but how? What is the camera perspective. is the shot a static shot, or are we on a steadicam?&#xD;&#xA;&#xD;&#xA;If you are looking at a tracking shot or a steadicam shot, then it will be entirely appropriate to pan the crowd wall and possbily change the atmos perspective as the shot changes. &#xD;&#xA;&#xD;&#xA;You could add in some foley of drinks being poured, clinked together, actor footsteps etc.&#xD;&#xA;&#xD;&#xA;I'd be more than happy to take a look at the scene if you want to upload it to YT or Vimeo....&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33629" PostHistoryTypeId="2" PostId="20558" RevisionGUID="e184a7ab-28a9-49c5-b130-6ea992e1dc7a" CreationDate="2013-10-13T06:00:18.930" UserId="5526" Text="Go to a party. Make sure they don't play any music whether diagetic or non. Record it from a similar perspective to the camera. Put it in your track. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33632" PostHistoryTypeId="2" PostId="20559" RevisionGUID="2077aa7f-e24f-49ae-8ef3-0ca123c5767b" CreationDate="2013-10-13T22:36:34.730" UserId="6659" Text="I just want to know what kind of sound is that (even if both are a bit different) and how to do it if possible (different layers and sounds used, especially the synth). I have Sylenth1 and Massive. Thanks! &#xD;&#xA;&#xD;&#xA;@ 1 minute &#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=FfHaSp_xZbY#t=1m &#xD;&#xA;&#xD;&#xA;@ 2 minutes &#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=WVT79KFb4oU#t=2m" ContentLicense="CC BY-SA 3.0" />
  <row Id="33633" PostHistoryTypeId="1" PostId="20559" RevisionGUID="2077aa7f-e24f-49ae-8ef3-0ca123c5767b" CreationDate="2013-10-13T22:36:34.730" UserId="6659" Text="Brutal synth drop" ContentLicense="CC BY-SA 3.0" />
  <row Id="33634" PostHistoryTypeId="3" PostId="20559" RevisionGUID="2077aa7f-e24f-49ae-8ef3-0ca123c5767b" CreationDate="2013-10-13T22:36:34.730" UserId="6659" Text="&lt;bass&gt;&lt;kick&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33636" PostHistoryTypeId="2" PostId="20561" RevisionGUID="c87b32ee-29e4-4a56-8f94-3d165d401b51" CreationDate="2013-10-14T13:47:16.030" UserId="6398" Text="Im planning to setup an ORTF setup in my RODE Blimp with a pair of Line Audio CM3 &amp; Im looking for small XLR connectors so i can setup ORTF easily.&#xD;&#xA;&#xD;&#xA;Please check out this image &#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/mO3ma.jpg&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I saw this image in gearslutz &amp; im wondering if i can get the xlr connector in this image?&#xD;&#xA;&#xD;&#xA;has anybody used these kind of xlr connectors? were can i get this kinda this?&#xD;&#xA;&#xD;&#xA;Looking froward to hearing from you guys.&#xD;&#xA;&#xD;&#xA;Cheers!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33637" PostHistoryTypeId="1" PostId="20561" RevisionGUID="c87b32ee-29e4-4a56-8f94-3d165d401b51" CreationDate="2013-10-14T13:47:16.030" UserId="6398" Text="Small XLR connecotrs for ORTF setup" ContentLicense="CC BY-SA 3.0" />
  <row Id="33638" PostHistoryTypeId="3" PostId="20561" RevisionGUID="c87b32ee-29e4-4a56-8f94-3d165d401b51" CreationDate="2013-10-14T13:47:16.030" UserId="6398" Text="&lt;ambience&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33639" PostHistoryTypeId="2" PostId="20562" RevisionGUID="67205bef-1ace-41c6-b22b-37a70e800374" CreationDate="2013-10-14T14:55:31.380" UserId="6660" Text="try to de-essing voice over or reduce its energy on the high frequencies.&#xD;&#xA;LU measurement is close to our earing perception, too mucch energy on 3,5/5khz make the measurement jumping.&#xD;&#xA;&#xD;&#xA;Giorgio Riolo" ContentLicense="CC BY-SA 3.0" />
  <row Id="33640" PostHistoryTypeId="2" PostId="20563" RevisionGUID="a1ae710c-cd2b-474a-b2e2-daa72c9cb914" CreationDate="2013-10-14T14:58:17.777" UserId="194" Text="Kortwich ftw.  pricey, but the only once on the market that I know with that low profile of a construction.&#xD;&#xA;&#xD;&#xA;http://www.pro-sound.com/Merchant2/merchant.mvc?Screen=PROD&amp;Store_Code=PSS&amp;Product_Code=SKOR0006A&amp;Category_Code=Kortwich" ContentLicense="CC BY-SA 3.0" />
  <row Id="33643" PostHistoryTypeId="2" PostId="20565" RevisionGUID="506ccdca-8ad5-48df-bdbe-952d97c30cb0" CreationDate="2013-10-14T15:39:02.877" UserId="6520" Text="If you're into it, you can DIY it.  Get some Neutrik connectors (or cables with the connectors- easier IMO), remove the plastic bits, and put a notch in the remaining metal housing.  Get the cable snug in the notch, and epoxy it together.  Not the most elegant solution, but very inexpensive.&#xD;&#xA;&#xD;&#xA;Check here:&#xD;&#xA;http://taperssection.com/index.php?topic=131555.0&#xD;&#xA;&#xD;&#xA;DPA makes a similar cable, but the price is even higher than the Kortwich:&#xD;&#xA;http://www.dpamicrophones.com/en/products.aspx?c=Item&amp;category=144&amp;item=24412" ContentLicense="CC BY-SA 3.0" />
  <row Id="33644" PostHistoryTypeId="2" PostId="20566" RevisionGUID="5b186eeb-a1f4-422e-a4a0-1e67741a5083" CreationDate="2013-10-14T15:46:25.660" UserId="6663" Text="Shaun hits the nail on the head as does Arnoud. &#xD;&#xA;&#xD;&#xA;We've switched to LUFS here and noticed that it all comes down to less compression across all tracks and on your master channel and creating troughs in the EQ of the music for your VO to sit in.&#xD;&#xA;&#xD;&#xA;It's difficult to comprehend at first, but after you've done it a while it makes sense. I found my mixes have more clarity in them as well. Quite important when working on shortform.&#xD;&#xA;&#xD;&#xA;Also note that although they ask for -23, the official regulations allow for a little leeway of around -/+ 2. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33646" PostHistoryTypeId="2" PostId="20568" RevisionGUID="4fcb95cf-044d-4c58-ab37-00016ba6145d" CreationDate="2013-10-14T15:59:25.640" UserId="6663" Text="Is this 8 minutes in 1 room/space? That sounds like it would be tiresome. &#xD;&#xA;&#xD;&#xA;If there is no dialogue then I would probably concentrate heavily on foley and bringing actions out.&#xD;&#xA;&#xD;&#xA;Record a party walla and record some spot effects, glasses, laughing, walking etc Re-record these through worldizing OR use an impulse response and run the audio you record through it.&#xD;&#xA;&#xD;&#xA;Bring out the foley and make sure you have nice stereo recordings of the ambiences, pan spot effects and keep any important foley central like you would dialogue." ContentLicense="CC BY-SA 3.0" />
  <row Id="33647" PostHistoryTypeId="2" PostId="20569" RevisionGUID="a9c3ba1e-8241-4c43-98a3-e85e6b63ca30" CreationDate="2013-10-14T20:12:51.363" UserId="6425" Text="The answer is not as easy as you hope!&#xD;&#xA;&#xD;&#xA;The Idea behind those huge Electro sounds is layering + distortion + short reverbs and other stereo enhancer.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Typicaly you build a solid bass layer + midrange bass or saw bass bass() + supersaw sounds (chords) + vibrato lead (melody).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;THe spooky lead sound that plays the melody in the benassi song might be a supersaw layered with a pitch envelope sound.&#xD;&#xA;&#xD;&#xA;To get the basic electro saw bass (bass layer) i give you a short tutorial for the midrange and supersaw sounds you need to search some tutorials.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Ok get a synth up and use a standard saw with no filter and 100% sustain on the amp envelope. After that use a eq and remove everything under c.a. 200 Hz. then via bell els boost a little bit somewhere around 450 hz, cut somewhere around 1 kHz and boost by a HUGE amount 15-30 db between 2 and 3 kHz. This will sound like shit now until you crank this into some distortion unit. (ohmicide,camelphat, whoknowswhat) This will create that cutting aggressive saw sound. Finish up the sound by limiting, bit crushing, flanging and reverberation.&#xD;&#xA;&#xD;&#xA;Then use lowpased saw wave to layer with that to get a solid bas synth." ContentLicense="CC BY-SA 3.0" />
  <row Id="33648" PostHistoryTypeId="2" PostId="20570" RevisionGUID="ad39f5a6-dc43-4af3-95b7-ba554b9f2037" CreationDate="2013-10-15T08:17:57.543" UserId="3346" Text="I use exactly what your planing. I use two line audio cm3 with the kortwich connectors. In a ORTF Setup Which is a little Wider (21cm) than normal but it sounds very nicely. You can order the connectors at http://www.filmtontechnik.de/service.html or you can write them a email via mail@filmtontechnik.de There are very nice people in the Store in Berlin. I´m not one of them, but i order stuff there. They build the cables on Order. Which means, that you can choose cable lenghts, etc.... very good quiality..&#xD;&#xA;And **i paid 39 €** for them here in Germany. The Link from Rene is really quite expensive...&#xD;&#xA;&#xD;&#xA;The Setup fits very nice, very versatile, suspension works great even while carrying around. ![enter image description here][1]![enter image description here][2]![enter image description here][3]![enter image description here][4]![enter image description here][5]![enter image description here][6]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/fch71.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/aYEXk.jpg&#xD;&#xA;  [3]: http://i.stack.imgur.com/R60bC.jpg&#xD;&#xA;  [4]: http://i.stack.imgur.com/5wSmv.jpg&#xD;&#xA;  [5]: http://i.stack.imgur.com/kWTLq.jpg&#xD;&#xA;  [6]: http://i.stack.imgur.com/c4B0i.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="33649" PostHistoryTypeId="16" PostId="20570" RevisionGUID="5bbca55a-b5d4-427a-a0d1-2a2cedc0371d" CreationDate="2013-10-15T08:17:57.543" UserId="3346" />
  <row Id="33650" PostHistoryTypeId="2" PostId="20571" RevisionGUID="48b84329-2305-4481-a06b-1ba2c35cb8fa" CreationDate="2013-10-16T00:02:00.430" UserId="6667" Text="If you're after something original then perhaps the obvious tools like synths and processors should take a back seat?&#xD;&#xA;Try recording electromagnetic interference by hooking up a guitar pick up to a preamp and waving it (briefly and carefully) over all of the millions of electronic gizmos we all own. Makes some great sounds and won't damage anything if you're sensible. Maybe get hold of some old computers and record bleeps and bloops from the system speaker?&#xD;&#xA;&#xD;&#xA;Another process I love to get really whacky digital sounds is creating digital feedback loops either inside a DAW or using multiple interfaces and computers (be REALLY careful with your speakers on this one!). You can try feeding 1 track into the next, into the next, each with sends to one aux that feeds back into itself, then try sticking plugins on the tracks, the auxes, the master... anywhere there's a slot. map it to a midi controller and perform- you'll get some useable madness I assure you!&#xD;&#xA;&#xD;&#xA;Once you have some unique source material then crack out the run of the mill processors and you're sure to get something with a distinct flavour but a polished edge." ContentLicense="CC BY-SA 3.0" />
  <row Id="33651" PostHistoryTypeId="5" PostId="20569" RevisionGUID="d53267b4-1d4d-486c-acbd-d199f7c10114" CreationDate="2013-10-16T06:13:07.970" UserId="6425" Comment="Spelling" Text="The answer is not as easy as you hope!&#xD;&#xA;&#xD;&#xA;The Idea behind those huge Electro sounds is layering + distortion + short reverbs and other stereo enhancer.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Typicaly you build a solid bass layer + midrange bass or saw bass  + supersaw sounds (chords) + vibrato lead (melody).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The spooky lead sound that plays the melody in the benassi song might be a supersaw layered with a pitch envelope sound.&#xD;&#xA;&#xD;&#xA;To get the basic electro saw bass (bass layer), I give you a short tutorial for the midrange and supersaw sounds you need to search some tutorials.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Ok get a synth up and use a standard saw with no filter and 100% sustain on the amp envelope. After that use a eq and remove everything under c.a. 200 Hz. then via bell eqs boost a little bit somewhere around 450 hz, cut somewhere around 1 kHz and boost by a HUGE amount (15-30 db) between 2 and 3 kHz. This will sound like shit now until you crank this into some distortion unit. (ohmicide,camelphat, whoknowswhat) This will create that cutting aggressive saw sound. Finish up the sound by limiting, bit crushing, flanging and reverberation.&#xD;&#xA;&#xD;&#xA;Then use a lowpased saw wave to layer with that to get a solid bass synth." ContentLicense="CC BY-SA 3.0" />
  <row Id="33652" PostHistoryTypeId="2" PostId="20572" RevisionGUID="a94c07c2-18ce-48b8-bee7-b30a3f715abf" CreationDate="2013-10-16T22:53:43.303" UserId="6672" Text="I am currently planning my demo reel. Most of what I've worked on are video games and short animated movies that I remade the sound for. I am thinking that I can just record footage and then edit it on a video editing program like iMovie (since that is what I can most easily access). Is there a video editing program that any of you prefer or would recommend to use? Is there anything specific that any of you in the game audio world do to demo your work? A couple of the video games that I will be showing have mostly ambient sound and foley. How can I best display this? Should I play a song in the background while the video plays?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;-j" ContentLicense="CC BY-SA 3.0" />
  <row Id="33653" PostHistoryTypeId="1" PostId="20572" RevisionGUID="a94c07c2-18ce-48b8-bee7-b30a3f715abf" CreationDate="2013-10-16T22:53:43.303" UserId="6672" Text="video game sound design demo reel" ContentLicense="CC BY-SA 3.0" />
  <row Id="33654" PostHistoryTypeId="3" PostId="20572" RevisionGUID="a94c07c2-18ce-48b8-bee7-b30a3f715abf" CreationDate="2013-10-16T22:53:43.303" UserId="6672" Text="&lt;gameaudio&gt;&lt;video-games&gt;&lt;demo-reel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33656" PostHistoryTypeId="2" PostId="20574" RevisionGUID="b2392ad2-3d47-4e3c-b6c1-dcd83f4a8b36" CreationDate="2013-10-17T11:03:02.043" UserId="6407" Text="I've got a very large amount of vocal audiobook material to edit so I was wondering if anyone knew of any plugins that help with 'P's and 'B's that have hit the mic just a little too hard. &#xD;&#xA;&#xD;&#xA;I've been using de-esser and de-breath for sibilant and breaths but wondering if there's any new gismo for the Ps and Bs?&#xD;&#xA;&#xD;&#xA;Cheers, N" ContentLicense="CC BY-SA 3.0" />
  <row Id="33657" PostHistoryTypeId="1" PostId="20574" RevisionGUID="b2392ad2-3d47-4e3c-b6c1-dcd83f4a8b36" CreationDate="2013-10-17T11:03:02.043" UserId="6407" Text="Removing Pernickety 'P's from vocals" ContentLicense="CC BY-SA 3.0" />
  <row Id="33658" PostHistoryTypeId="3" PostId="20574" RevisionGUID="b2392ad2-3d47-4e3c-b6c1-dcd83f4a8b36" CreationDate="2013-10-17T11:03:02.043" UserId="6407" Text="&lt;plugin&gt;&lt;vocals&gt;&lt;audiobook&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33659" PostHistoryTypeId="2" PostId="20575" RevisionGUID="57b1abf5-4ad4-4bf2-ad6e-ad0f336ecd8b" CreationDate="2013-10-17T12:06:56.093" UserId="1216" Text="I don't think there is a gizmo to fix this besides: proper use of cedar, izotope or an eq/hipass filter combined with good old pencil in Pro tools.&#xD;&#xA;&#xD;&#xA;The point is that the energy from the plosive makes the capsule 'tremble', creating a distortion in lower mid band of the p. So it's not easy to fix..&#xD;&#xA;&#xD;&#xA;The only real gizmo to fix this is.... precaution/a good voice artist/good mic placement. &#xD;&#xA;So i guess you're stuck with manual editing for this book. And remember you're looking for reduction not erasing the p, it is supposed to have some energy.. just not too much.&#xD;&#xA;&#xD;&#xA;Also, think about who this is for, a technical listener ar a general audience in an airplane seat at 2000 km. :)&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33660" PostHistoryTypeId="2" PostId="20576" RevisionGUID="edd099f4-06e8-4e90-abce-9092e925ca8b" CreationDate="2013-10-17T12:08:55.537" UserId="1216" Text="I've never made a demo reel, but i guess that maybe it's best to search on 'demo reel' in the sound stack archive. We've had this question a few times already. And listen to a lot of examples from other sound designers. &#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="33662" PostHistoryTypeId="2" PostId="20578" RevisionGUID="81005110-ee24-4688-8f92-0d84533ab128" CreationDate="2013-10-17T15:34:26.493" UserId="6399" Text="Most of it can be done by just processing the P or B with an EQ.  I just use a 1 band EQ with a preset Hi Pass around 120.  Sometimes you go higher, sometimes lower but that alone works on 95% of them unless it was poorly recorded." ContentLicense="CC BY-SA 3.0" />
  <row Id="33663" PostHistoryTypeId="2" PostId="20579" RevisionGUID="d8c09c95-6eaa-43cc-8f29-238c1a6039bb" CreationDate="2013-10-17T15:37:23.460" UserId="6435" Text="Much of the time a bad plosive can be fixed by going in and cutting out the nasty part of the recording. A well-placed HPF also helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="33665" PostHistoryTypeId="2" PostId="20580" RevisionGUID="0311b7b8-f480-4937-a14f-a2bbfa177851" CreationDate="2013-10-17T18:06:20.993" UserId="1393" Text="I just saw an article, [Tips for making a better Video Demo Reel][1], on FilmakerIQ. Although it's intended for video you might find some useful information that also applies to video game sound design.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://filmmakeriq.com/2013/10/tips-for-making-a-better-video-demo-reel-which-can-get-you-new-clients/" ContentLicense="CC BY-SA 3.0" />
  <row Id="33666" PostHistoryTypeId="2" PostId="20581" RevisionGUID="a655ec31-d0c1-42fd-988e-ae2a28067eda" CreationDate="2013-10-17T18:47:26.347" UserId="6432" Text="Definitely do not play a background song under your foley work. Have faith that potential employers will judge and understand your work for what it is. If you did the foley, then play the foley in all its glory." ContentLicense="CC BY-SA 3.0" />
  <row Id="33667" PostHistoryTypeId="2" PostId="20582" RevisionGUID="ee4d21d6-84d1-49d5-a65a-2b18c8c985c5" CreationDate="2013-10-18T01:28:28.560" UserId="4442" Text="WHEELBARROW!!&#xD;&#xA;&#xD;&#xA;Also, try different amounts of weights in the barrow, and try to lessen the air as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="33668" PostHistoryTypeId="2" PostId="20583" RevisionGUID="8edc8f76-31da-4b56-bda5-9bbd5c73cc8b" CreationDate="2013-10-18T01:28:35.137" UserId="5624" Text="If you're looking for a quick and nasty fix then try a dynamic EQ. This can be used to trigger an EQ curve and reduce the bass content on those plosives. It can be inserted on a track and if set up correctly should provide a good solution to otherwise manually going in and removing the offensive sounds via RX or Cedar." ContentLicense="CC BY-SA 3.0" />
  <row Id="33669" PostHistoryTypeId="2" PostId="20584" RevisionGUID="1ac76e83-21e3-4f54-a1af-9274c7de0ccb" CreationDate="2013-10-18T05:08:12.290" UserId="3199" Text="I've referred to Kyle's post on audio demos numerous times. He's got some really slick ones!&#xD;&#xA;http://audiocookbook.org/guidelines-for-making-a-sound-design-demo-reel/&#xD;&#xA;&#xD;&#xA;Regarding your video editing question, it's really whatever you are most comfortable with. I personally have been using Premiere for years. Now that they've changed to a subscription model, you can just &quot;rent&quot; it for a month at a time whenever you need to work on your reel which I think is pretty handy. &#xD;&#xA;&#xD;&#xA;Definitely bring your first export of your demo back into your DAW of choice to do a mastering pass after you finish the picture edits. That way you can balance all your audio, compress it a bit for an internet delivery (if that's where it's going), and also work in some nice designed audio for your transitions (or just wrangle the fades better than your vid editor can). &#xD;&#xA;&#xD;&#xA;In terms of how to showcase video games specifically, especially something subtle like foley and ambiances, consider giving us a walk-through of your work one layer at a time. Gradually bring in other elements until you have your work within the full mix. Going back to Kyle's Saint's Row demos, my biggest critique is I would have loved to hear his materials on their own as well as in the mix (but I watched all of his demos anyway because they are hilarious and brilliantly edited). As a bonus, maybe you could split-screen parts of the demo and show off a bit of your implementation. I've demoed Camtasia (more than once!) for that purpose. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33670" PostHistoryTypeId="2" PostId="20585" RevisionGUID="1f5c1c36-5b37-4031-82ca-3a1e5dc21d90" CreationDate="2013-10-18T10:06:18.970" UserId="6680" Text="I've seen quite a few videos mainly advertising sound libraries that use background music, but I guess this is just to stop people ripping the audio off the video and using the sound effects. But you shouldn't have to worry about this - if you're showing off foley and ambient sounds then BG music will probably just mask it. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33672" PostHistoryTypeId="2" PostId="20586" RevisionGUID="3c789a70-f75f-490a-9d24-26f5fccb890a" CreationDate="2013-10-19T16:54:46.680" UserId="6616" Text="I have had to make a few of these audio overdub projects during my education. We had to assemble a sound reel at the end of the term. We would take a clip from each one and then edit it smoothly to transition between clips. I have always been a fan of Final Cut Pro 7 although I recently began to use AVID Media Composer 7 and I really am beginning to like it. Adobe Premiere is a great choice too. Here is a link to an example of a reel my friend did. Best of Luck to you!!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/72365892" ContentLicense="CC BY-SA 3.0" />
  <row Id="33673" PostHistoryTypeId="2" PostId="20587" RevisionGUID="71b3b44a-6ee8-4b49-be3c-4131c21f9799" CreationDate="2013-10-19T17:00:42.150" UserId="6616" Text="The sound design was very well done. It sounded to me like achieved great foley by using contact microphones and EQing. I was impressed with the scene where the water was filling up the module and they kept sweeping out the sound completely every time she was pulled under water. This movie was great, but Captain Phillips was my pick of the week. Great intense story and an amazing realistic performance from tom hanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="33674" PostHistoryTypeId="2" PostId="20588" RevisionGUID="3824edee-a4a1-4e52-bf5e-45b3768b9f77" CreationDate="2013-10-20T01:07:05.727" UserId="6682" Text="I constantly hear awesome testimonials about the U47 and I was wondering why it is considered such a good mic. or is it?&#xD;&#xA;What are some typical uses for it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33675" PostHistoryTypeId="1" PostId="20588" RevisionGUID="3824edee-a4a1-4e52-bf5e-45b3768b9f77" CreationDate="2013-10-20T01:07:05.727" UserId="6682" Text="What is so special about the U47 mic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33676" PostHistoryTypeId="3" PostId="20588" RevisionGUID="3824edee-a4a1-4e52-bf5e-45b3768b9f77" CreationDate="2013-10-20T01:07:05.727" UserId="6682" Text="&lt;recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33677" PostHistoryTypeId="2" PostId="20589" RevisionGUID="92e7e6e6-1a1f-4382-82ed-bfe123bd7794" CreationDate="2013-10-20T01:16:21.707" UserId="6682" Text="I want to record drums by using the least number of microphones while still getting an acceptable sound, in terms of dynamics, stereo image and tone.&#xD;&#xA;&#xD;&#xA;How would one go about this?&#xD;&#xA;&#xD;&#xA;I have heard about the Glyn Johns technique or the George Massenburg technique.&#xD;&#xA;Which one works best in what circumstances?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33678" PostHistoryTypeId="1" PostId="20589" RevisionGUID="92e7e6e6-1a1f-4382-82ed-bfe123bd7794" CreationDate="2013-10-20T01:16:21.707" UserId="6682" Text="How to produce a reasonable recording with a limited number of microphones on a drum set?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33679" PostHistoryTypeId="3" PostId="20589" RevisionGUID="92e7e6e6-1a1f-4382-82ed-bfe123bd7794" CreationDate="2013-10-20T01:16:21.707" UserId="6682" Text="&lt;recording&gt;&lt;microphone&gt;&lt;microphone-technique&gt;&lt;drum&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33680" PostHistoryTypeId="2" PostId="20590" RevisionGUID="1387d7e7-8e48-4aa3-96c0-8a16947887a5" CreationDate="2013-10-20T01:28:57.043" UserId="6399" Text="It really depends on the type of music, the type of drummer, the type and size of kit and more so, why?  Are you trying to mimic a certain area of recording, worried about phase, only have 3 mics?&#xD;&#xA;You could try a spaced pair or XY as overheads and maybe another mic on the kick if it's an important part of the sound.  I've had great results doing that&#xD;&#xA;You could also try an MS a few feet in front of the kit.  Probably won't get as much cymbal but the stereo image should be really tight.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33681" PostHistoryTypeId="2" PostId="20591" RevisionGUID="9124a72d-3dae-4e0a-9b55-52b5171f5e9a" CreationDate="2013-10-20T02:16:42.580" UserId="6683" Text="As long as your over head is well aimed, I use a earthworks qtc50 BBC style (omni directional)  many good recordings were made with 2/3 mics. if I were limited to using only 3 mics I'd use a mono omni directional overhead, one for kick (try an re20....seriously) and one between rack Tom's or rack to floor depending on which is played more well aimed high quality overhead will get most of the details. If you can only use one high quality Mic....... Make it the overhead. Hope that helps. There are no right or wrong ways of doing things if you get the results you are looking for" ContentLicense="CC BY-SA 3.0" />
  <row Id="33682" PostHistoryTypeId="2" PostId="20592" RevisionGUID="e4a15d10-2061-4f9f-a684-e7b885366ba6" CreationDate="2013-10-20T03:36:20.647" UserId="6684" Text="Use the best 3 mics you can obtain/afford (rather than buying 6-8 crappy mics)  Put one out in front of the kik.  How far out depends on how &quot;roomy&quot; you want it but don't stick the thing inside!  Only mic the inside when you have enough mics to mic the outside as well.  For more of &quot;thud&quot;, just put it an inch or two from the front head, dead center.  Position the second mic directly above the snare, about a foot higher than your crash - this will get your hat and rack tom as well.  The third mic can be placed to the drummer's right, about shoulder or ear height (when seated), and slightly behind, aimed in the general vicinity of both the floor tom and the ride symbol.&#xD;&#xA;&#xD;&#xA;Not saying this is the best/only way to go, but it's worked well for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="33683" PostHistoryTypeId="2" PostId="20593" RevisionGUID="97a00148-db9c-488c-8d73-0ab352f5c911" CreationDate="2013-10-20T07:32:40.183" UserDisplayName="user80" Text="If you really want to you can use a single microphone.  A cardioid condenser just above the head of the drummer gives a good sound, then just filter out a little low mid to make the bass drum sound a bit cleaner.  If you want to use two microphones add a cardioid dynamic mic to kick, and check the phase (use invert) if the bass drum sounds louder with the phase inverted, then leave it on.  If you have three microphones then choose two condensers and place above the drummer as a stereo pair, and add the bass drum mic.  There are so many different configurations, you could use kick and snare/hat pair, single omni in front of the drum kit, m/s again in front." ContentLicense="CC BY-SA 3.0" />
  <row Id="33684" PostHistoryTypeId="2" PostId="20594" RevisionGUID="0ce41bff-5d1a-4b38-b300-b5d0f9498306" CreationDate="2013-10-20T08:37:09.593" UserId="6425" Text="I would go for a 2 Microphone setup. Get the bet pair of condenser you can achieve.&#xD;&#xA;&#xD;&#xA;The following technique was used in early rock and roll and really worked for me a couple of times. The idea of this technique is to record the drums in mono with a strong snare and overheads to establish the rhythm. Your kick drum will lack sub frequencies with this technique. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;you will position the condensers so that one is over the head of the player and one is in front of the drum set. so they are orthogonal to usual overheads. try to align them so, that they are on a line between kick and snare. then just point the microphones right to the snare and make sure, that the distance of both microphones to the snare is the same.&#xD;&#xA;&#xD;&#xA;If you have the right room, this will give a decent and very acoustical sound.&#xD;&#xA;&#xD;&#xA;alternatively, instad of positioning the condenser over the player, you can hang one microphone into the middle of the drum set, positioning it somewhere between snare and kick. this will give a more dry sound, but often creates phasing issues comapred to the othe version.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;good luck experimenting, and dont forget to improve the room you record in!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33685" PostHistoryTypeId="2" PostId="20595" RevisionGUID="bc05ca7d-33fc-4281-ac4c-accb878a2836" CreationDate="2013-10-20T20:35:15.173" UserId="4390" Text="Tons of great ideas already, but in the end it all comes down to what you consider a satisfying result - and how many/ what kind of mics you have to work with.&#xD;&#xA;&#xD;&#xA;It's not just the mics, of course - it's also very much the room. &#xD;&#xA;&#xD;&#xA;If your room is fairly live without being ringy of resonant at certain frequencies (at the position of your mic/mics), you can use fewer mics, at slightly greater distances, than if you were to close-mic the kit.&#xD;&#xA;&#xD;&#xA;If yours is a woofy, thuddy, carpet-clad hell of a drum-room, then close micing with a big bag of mics may work out better.&#xD;&#xA;&#xD;&#xA;Sure, to be able to emphasis certain characteristics of certain parts of the kit (kickdrum thud of boom, snare crack, hi-hat presence or volume) you need more mics, usually. But to get a nice, live, rock n' roll sound, I would use 3 mics:&#xD;&#xA;&#xD;&#xA;- Pair of condensers or ribbons as overheads, adjusted slightly for what you want to hear more or less of. Don't just think &quot;stereo = symmetrical&quot; alignment here - who cares!&#xD;&#xA;&#xD;&#xA;- Cardioid or multi-pattern large diaphragm positioned in front of the kit, somewhere around where your head would be, if you were kneeling in front of the kick-drum, looking over it. Experiment with distance, elevation, pickup-pattern here. If the room tone seems to add something nice in this position (use your ears), try omni or fig8. Use a good mic in this position ( I like a Lauten Oceanus) and the overheads are merely stereo-icing on the cake." ContentLicense="CC BY-SA 3.0" />
  <row Id="33686" PostHistoryTypeId="2" PostId="20596" RevisionGUID="f9f4cf95-f17b-44c6-a85f-40680fb72652" CreationDate="2013-10-20T21:53:51.467" UserId="4156" Text="Part of it is the wide area of a relatively constant proximity effect, so the speaker/ singer can move quite freely without a drastic change in sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33687" PostHistoryTypeId="2" PostId="20597" RevisionGUID="4f599e2b-2479-411f-9763-08484aa16336" CreationDate="2013-10-20T22:46:46.480" UserId="1189" Text="I've come from a background of education in sound design that was focused mainly on the creative applications of sound within media. More and more, I've found myself intrigued by the trades and skills of those involved in live sound engineering, mainly in the field of electronics and maintenance. &#xD;&#xA;&#xD;&#xA;My question to you all is: what's the best way to teach yourself the basics in electronics. I'd love to be able to solder my own cables and diagnose electrical faults in my equipment but I don't even know where to start learning.&#xD;&#xA;&#xD;&#xA;I'd be interested if anyone has any resources which have helped understand this area more. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33688" PostHistoryTypeId="1" PostId="20597" RevisionGUID="4f599e2b-2479-411f-9763-08484aa16336" CreationDate="2013-10-20T22:46:46.480" UserId="1189" Text="Electrical engineering for sound designers" ContentLicense="CC BY-SA 3.0" />
  <row Id="33689" PostHistoryTypeId="3" PostId="20597" RevisionGUID="4f599e2b-2479-411f-9763-08484aa16336" CreationDate="2013-10-20T22:46:46.480" UserId="1189" Text="&lt;education&gt;&lt;guide&gt;&lt;electronics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33690" PostHistoryTypeId="2" PostId="20598" RevisionGUID="b3a81834-cf68-4165-a696-5b9e584299bf" CreationDate="2013-10-21T05:58:09.860" UserId="6686" Text="I tried the exact same thing (same mics and blimp). It worked out fine but be prepared to &quot;lose&quot; your blimp in the process. After all was said and done the setup was married to the blimp. Later when I needed to use it for my 416 I never reasembled the ORTF rig. It was just too much of a pain going back and forth. &#xD;&#xA;&#xD;&#xA;Although if you don't need the blimp for anything else, then no worries. &#xD;&#xA;&#xD;&#xA;For the connectors, what I did was remove everything from a neutrik connector that wasn't needed. So you're left with the cable soldered to the little plastic piece, which leaves the tiniest of footprint. Then I used heat shrink tubing over the whole thing. This added strength and piece of mind to the assembly. &#xD;&#xA;&#xD;&#xA;The above setup worked well. For other setups I might not go with the heat shrink tubing, but since this is in the blimp, and the cables are gripped pretty tightly when you screw on the end caps, I never had problems with them coming detached. &#xD;&#xA;&#xD;&#xA;Hope that's of help to you. Good luck with it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33691" PostHistoryTypeId="2" PostId="20599" RevisionGUID="dc85e55c-6701-4721-966a-4e436a2fd3fb" CreationDate="2013-10-21T06:13:24.927" UserId="6687" Text="I'm jumping into post production (movies, games) and also sound design. Which would be more essential or worth buying? Are any just way too many plugins than I'd need? Here's what I've been looking at:&#xD;&#xA;&#xD;&#xA;[Waves Gold Bundle][1]&#xD;&#xA;&#xD;&#xA;[Waves Sound Design Suite][2]&#xD;&#xA;&#xD;&#xA;Fabfilter Pro/FX Bundle&#xD;&#xA;&#xD;&#xA;Sound Libraries:&#xD;&#xA;Hollywood Edge Premiere Edition 01&#xD;&#xA;Sound Ideas 6000&#xD;&#xA;&#xD;&#xA;Which library would be better to start with or is it preference based?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waves.com/bundles/gold&#xD;&#xA;  [2]: http://www.waves.com/bundles/sound-design-suite" ContentLicense="CC BY-SA 3.0" />
  <row Id="33692" PostHistoryTypeId="1" PostId="20599" RevisionGUID="dc85e55c-6701-4721-966a-4e436a2fd3fb" CreationDate="2013-10-21T06:13:24.927" UserId="6687" Text="Which Plugin Bundles and Sound Libraries to start with?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33693" PostHistoryTypeId="3" PostId="20599" RevisionGUID="dc85e55c-6701-4721-966a-4e436a2fd3fb" CreationDate="2013-10-21T06:13:24.927" UserId="6687" Text="&lt;sound-design&gt;&lt;mixing&gt;&lt;design&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33694" PostHistoryTypeId="2" PostId="20600" RevisionGUID="b9a8ac93-dc11-4b27-80c5-88432c6d222e" CreationDate="2013-10-21T07:07:20.180" UserId="6425" Text="What makes it special nowadays is the classic, well known sound for singers. People expect singers to sound like U47 U87 ..." ContentLicense="CC BY-SA 3.0" />
  <row Id="33698" PostHistoryTypeId="2" PostId="20602" RevisionGUID="ad147321-6dcd-4f7b-b29a-01f2a021fd94" CreationDate="2013-10-21T08:29:26.803" UserId="1185" Text="Back in the dim and distant past when I used to teach electronics I would recommend the following book to my first year students:&#xD;&#xA;&#xD;&#xA;Electronics Fundamentals: Circuits, Devices &amp; Applications by Thomas L Floyd &#xD;&#xA;&#xD;&#xA;This covers the theory from the basics although you'll need to practice the practical side in conjunction with the theory.  If you have no experience whatsoever you will probably be best to start with: &#xD;&#xA;&#xD;&#xA;Electronics for Dummies" ContentLicense="CC BY-SA 3.0" />
  <row Id="33699" PostHistoryTypeId="2" PostId="20603" RevisionGUID="b3d2fd83-5eb7-4436-9ceb-1bda3be44c99" CreationDate="2013-10-21T09:23:11.007" UserId="37" Text="I'd look into getting an electronics circuit simulator as well.&#xD;&#xA; &#xD;&#xA;I gather LTSpice is free and people use it: http://www.linear.com/designtools/software/&#xD;&#xA;&#xD;&#xA;I studied this in college. There's a lot of physics and math (including complex numbers) to it, but many concepts translate well in audio, plus you get an instant grasp of anything that has a signal flow to it. Arm yourself with patience, it's a very exciting subject, but can go very deep.&#xD;&#xA;&#xD;&#xA;Also, http://www.youtube.com/user/SeyedEbrahimEsmaeili/videos?sort=da&amp;view=0&amp;flow=grid while you're waiting for the book to arrive..&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33700" PostHistoryTypeId="2" PostId="20604" RevisionGUID="378de761-adff-4b8c-b4e2-2afb5b7429a7" CreationDate="2013-10-21T09:26:21.560" UserId="6429" Text="I'd rather think of sound design plugins in categories, not bundles, depending of what kind of purpose the effect serves.&#xD;&#xA;&#xD;&#xA;- dynamic effects (compressor, expander, gate, multiband compressor, limiter)&#xD;&#xA;- eq (linear, nonlinear)&#xD;&#xA;- filter, deesser, phaser&#xD;&#xA;- delay, flanger, chorus&#xD;&#xA;- reverberation (algorithmic, convolution)&#xD;&#xA;- pitch shifter, time stretcher, doppler, frequency shifter&#xD;&#xA;- distortion, multiband distortion, amp simulation, glitchers, sound destructors&#xD;&#xA;- spectral effects (GRM Tools, Soundhack etc.)&#xD;&#xA;- restoration&#xD;&#xA;- analyzers&#xD;&#xA;&#xD;&#xA;You can start with multipurpose effects (Fabfilter, ValhallaDSP, MeldaProduction etc.) and then widen your toolset as you go. BTW, there's a huge amount of great [free plugins][1] around. Also, it might be a good idea to look at NI Reaktor. It has some [interesting ensembles][2] for modern sound design.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.kvraudio.com/q.php?search=1&amp;q=&amp;pr%5B%5D=f&#xD;&#xA;  [2]: http://twistedtools.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="33701" PostHistoryTypeId="5" PostId="20603" RevisionGUID="3a03357a-d0d1-454e-9db9-88b694e60e41" CreationDate="2013-10-21T09:41:32.863" UserId="37" Comment="added 58 characters in body" Text="I'd look into getting an electronics circuit simulator as well.&#xD;&#xA; &#xD;&#xA;I gather LTSpice is free and people use it: http://www.linear.com/designtools/software/&#xD;&#xA;&#xD;&#xA;I studied this in college. There's a lot of physics and math (including complex numbers) to it, but many concepts translate well in audio, plus you get an instant grasp of anything that has a signal flow to it. Arm yourself with patience, it's a very exciting subject, but can go very deep.&#xD;&#xA;&#xD;&#xA;Also http://www.youtube.com/user/mjlorton/search?query=electronics and http://www.youtube.com/user/00retrobrad00/search?query=electronics+tutorial while you're waiting for the book to arrive.." ContentLicense="CC BY-SA 3.0" />
  <row Id="33705" PostHistoryTypeId="2" PostId="20606" RevisionGUID="c1c45d65-91e5-4a06-ac0c-8143f0c3c030" CreationDate="2013-10-21T11:22:29.673" UserId="37" Text="Sound Design Suite. Then again, Horizon seems to be on special at the moment. But do you need to buy big names? There's a lot of good stuff out there that isn't Waves..&#xD;&#xA;&#xD;&#xA;Komplete 8 already has the following gems for sound design:&#xD;&#xA;&#xD;&#xA;- Absynth - for anything tonal - it has sample grains and rich modulation.&#xD;&#xA;- Battery - use this like a real sampler, forgetting for a moment it's meant to be for drums - it has pitch envelopes and built-in effects&#xD;&#xA;- Kontakt - load some samples and play them at extreme pitch, recording the results, which you can then bend further&#xD;&#xA;- Reaktor - if you have the time, it's a bottomless well.&#xD;&#xA;&#xD;&#xA;You will find the following already in your DAW: compression/gate/limiting, EQ, delay/flanger/chorus, reverb, pitch shift, distortion. If you're lucky also Convolution reverb - just load up sounds other than impulses.&#xD;&#xA;&#xD;&#xA;For sound post things may be a bit different. A noise reduction suite, a set of reverbs (convolution+algorithmic), a &quot;futz&quot; plugin, a great limiter, a metering suite - all these so you can plough through the technicalities more easily. Then add some experimental effects like GRM tools... etc.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33706" PostHistoryTypeId="2" PostId="20607" RevisionGUID="3eaed863-4aa4-4cba-91b2-c6cae71e9b2e" CreationDate="2013-10-21T12:42:27.267" UserId="6407" Text="As the title says. I've got some cleanly recorded vocals and I'd like to get them to sound like a tannoy announcement. Anyone got some techniques to recommend for this?&#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;Nicol" ContentLicense="CC BY-SA 3.0" />
  <row Id="33707" PostHistoryTypeId="1" PostId="20607" RevisionGUID="3eaed863-4aa4-4cba-91b2-c6cae71e9b2e" CreationDate="2013-10-21T12:42:27.267" UserId="6407" Text="Techniques for vocal to sound like tannoy announcement?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33708" PostHistoryTypeId="3" PostId="20607" RevisionGUID="3eaed863-4aa4-4cba-91b2-c6cae71e9b2e" CreationDate="2013-10-21T12:42:27.267" UserId="6407" Text="&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33709" PostHistoryTypeId="2" PostId="20608" RevisionGUID="6ca374fd-8627-46db-8e19-84970bc36a62" CreationDate="2013-10-21T12:55:17.777" UserId="6448" Text="Spend your money on a good convolution reverb (e.g. Altiverb, LiquidSonics Reverberate, others. Though the reverb plug-in is not as important as the impulses that you get, esp. in Altiverb). Secondly, AudioEase Speakerphone and iZotope RX are significantly useful products.&#xD;&#xA;&#xD;&#xA;In terms of EQs and compressors and a bunch of other stuff, not that necessary. You can use the stock stuff that comes with your DAW, or download freeware plug-ins (especially useful for basic effects plug-ins).&#xD;&#xA;&#xD;&#xA;Once you can afford them, you might want to look at the GRM Tools package (for which there are some variable alternatives, from Elevayta and Michael Norris for example, MeldaProduction as well). These are effects plug-ins though. Loads of freeware VSTs in this department as well.&#xD;&#xA;&#xD;&#xA;Mostly I would suggest looking more at sound effects packages, rather than plug-ins, because those are tremendously more useful." ContentLicense="CC BY-SA 3.0" />
  <row Id="33710" PostHistoryTypeId="5" PostId="20608" RevisionGUID="623a0574-0677-4544-8a26-50bbf866c4b9" CreationDate="2013-10-21T13:00:19.583" UserId="6448" Comment="added 15 characters in body" Text="Spend your money on a good convolution reverb (e.g. Altiverb, LiquidSonics Reverberate, others. Though the reverb plug-in is not as important as the impulses that you get, esp. in Altiverb). Secondly, AudioEase Speakerphone and iZotope RX are significantly useful products.&#xD;&#xA;&#xD;&#xA;In terms of EQs and compressors and a bunch of other stuff, not that necessary. You can use the stock stuff that comes with your DAW, or download freeware plug-ins (especially useful for basic effects plug-ins).&#xD;&#xA;&#xD;&#xA;Once you can afford them, you might want to look at the GRM Tools package (for which there are some variable alternatives, from Elevayta and Michael Norris for example, or NI Reaktor, MeldaProduction as well). These are effects plug-ins though. Loads of freeware VSTs in this department as well.&#xD;&#xA;&#xD;&#xA;Mostly I would suggest looking more at sound effects packages, rather than plug-ins, because those are tremendously more useful. Online sound effects sites like SoundDogs are great, because you only pay for what you want. Or (better) recording gear, mainly microphones." ContentLicense="CC BY-SA 3.0" />
  <row Id="33711" PostHistoryTypeId="2" PostId="20609" RevisionGUID="e6f9da0d-2bd7-465a-9f14-27cb5f3da33e" CreationDate="2013-10-21T14:47:02.980" UserId="6680" Text="I would use EQ to filter out the bass and some of the high end, and maybe boost the mids for a slightly harsh sound. Adding a small amount of distortion (or an amp simulator) might help to get the right tone.&#xD;&#xA;&#xD;&#xA;Also, using a stereo delay is very important for a tannoy effect if you want it to sound like it's coming from multiple speakers in different positions. The sound would also reflect off any walls/buildings, so a delay serves both purposes. Maybe a tiny bit of reverb too." ContentLicense="CC BY-SA 3.0" />
  <row Id="33712" PostHistoryTypeId="2" PostId="20610" RevisionGUID="a0af50ab-299f-4d96-9876-568993c6fe5c" CreationDate="2013-10-21T20:07:23.863" UserId="6690" Text="Check out Mcdsp Futzbox or Audioease Speakerphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="33713" PostHistoryTypeId="2" PostId="20611" RevisionGUID="634af622-014c-40d3-a7d9-951aff85dc6a" CreationDate="2013-10-22T07:00:22.073" UserId="6425" Text="The Techniques Tom.A mentioned work if you want to stay in the box. But there is another way to get a more realistic tannoy announcement. Just Record the vocals trough a loudspeaker. You can easily use &quot;bad&quot; recording devices like inbuilt microphones from handheld recorder. &#xD;&#xA;&#xD;&#xA;Good Luck with experimenting!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33715" PostHistoryTypeId="2" PostId="20612" RevisionGUID="0aae036d-d639-4ab3-9df2-d98396774cd5" CreationDate="2013-10-22T13:48:09.087" UserDisplayName="user49" Text="i wouldnt buy either of the libraries you mention, both are tired/over used and you will learn little from owning them.... better to put the sme money into a basic field recording kits, and invest some spare time into starting your own library of FX and Ambiences, motivated by your first projects requirements..." ContentLicense="CC BY-SA 3.0" />
  <row Id="33716" PostHistoryTypeId="2" PostId="20613" RevisionGUID="9612c69c-211d-4d7b-9ca7-9abaef917f48" CreationDate="2013-10-22T16:56:25.127" UserId="1189" Text="I plugged my LG G2 into my mixing desk yesterday to listen to some music through my system and I discovered the strangest of interferences coming through the speakers. I hooked it up to my recorder, filmed the screen and synced the two together. You can see it here:&#xD;&#xA;&#xD;&#xA;http://youtu.be/g7UBo0zTZg0&#xD;&#xA;&#xD;&#xA;I'd be really interested if anyone can tell me what's happening when I interact with the phone and why the sounds almost perfectly match what I'm doing. From a sound design point of view, I think it sounds great and I'll definitely be using this as source material where and when I can!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33717" PostHistoryTypeId="1" PostId="20613" RevisionGUID="9612c69c-211d-4d7b-9ca7-9abaef917f48" CreationDate="2013-10-22T16:56:25.127" UserId="1189" Text="What causes the interference on this phone's 3.5mm?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33718" PostHistoryTypeId="3" PostId="20613" RevisionGUID="9612c69c-211d-4d7b-9ca7-9abaef917f48" CreationDate="2013-10-22T16:56:25.127" UserId="1189" Text="&lt;interference&gt;&lt;phone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33719" PostHistoryTypeId="2" PostId="20614" RevisionGUID="19e3b645-ccc9-4953-a39f-e8f5ca420916" CreationDate="2013-10-22T21:58:50.350" UserId="6694" Text="My villain's voice is not convincing in my Action Movie. How I can improve his voice? &#xD;&#xA;Wich filters I can apply? &#xD;&#xA;I do not want to dub him. &#xD;&#xA;&#xD;&#xA;Thank you. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33720" PostHistoryTypeId="1" PostId="20614" RevisionGUID="19e3b645-ccc9-4953-a39f-e8f5ca420916" CreationDate="2013-10-22T21:58:50.350" UserId="6694" Text="How to improve the VOICE of a Villain." ContentLicense="CC BY-SA 3.0" />
  <row Id="33721" PostHistoryTypeId="3" PostId="20614" RevisionGUID="19e3b645-ccc9-4953-a39f-e8f5ca420916" CreationDate="2013-10-22T21:58:50.350" UserId="6694" Text="&lt;voice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33722" PostHistoryTypeId="2" PostId="20615" RevisionGUID="30219cc6-dde8-4c8c-a937-528652297c54" CreationDate="2013-10-22T23:48:17.463" UserId="6616" Text="A villian's voice needs to be menacing. I think in most cases it should be equalized to have a deeper tonality. Although if the character is more mysterious you would want to focus on making it sound airy and quiet. Can you describe the character a bit?&#xD;&#xA;&#xD;&#xA;-Krux&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33723" PostHistoryTypeId="2" PostId="20616" RevisionGUID="864aff31-da67-4268-a2c9-26fdc607320c" CreationDate="2013-10-22T23:49:13.540" UserId="6399" Text="You didn't say if it was a Male or Female or other - but maybe EQ to bring out some growl or shrill.   Maybe slight distortion.  Maybe another sound happening that ups the evil.  Maybe cut in a better take if possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="33724" PostHistoryTypeId="2" PostId="20617" RevisionGUID="85e37ce4-979a-4b66-ae10-b89d85ae1efb" CreationDate="2013-10-22T23:53:13.360" UserId="6616" Text="Checkout the Sound Effect libraries that Tim Prebble (first guy to comment on here) has recorded. Great Quality sounds. I also agree with what he said about investing into solid recording gear and spending some time collecting your own field recordings. It can be a fun reason to get out of the house : )&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;-Krux" ContentLicense="CC BY-SA 3.0" />
  <row Id="33725" PostHistoryTypeId="2" PostId="20618" RevisionGUID="5b5f24f9-00c4-43a9-bf5d-d1e82fdd512c" CreationDate="2013-10-22T23:53:52.467" UserId="6425" Text="- Lower or change formants with melodyne&#xD;&#xA;- Pitch shift automation&#xD;&#xA;- Extreme noisy Vocoder&#xD;&#xA;- Load into a granulator and automate the parameters phrase by phrase so that the voice dissolves into granular bits at the end of a phrase or at some consonants.&#xD;&#xA;- Unnatural Reverb. Hall reverb in small rooms, small reverb in big hall scenes.&#xD;&#xA;- Layer that original with a distorted, pitch shifted version.&#xD;&#xA;- get a very noisy vocoder layer and automate it in and out&#xD;&#xA;- automate distortion effects to some consonants like shh tss css ect.&#xD;&#xA;- use revered reverb to suck into some of his words.&#xD;&#xA;- use a vocoder with pitch tracking and a very rich harmonic carrier. then use a wow/talk filter and automate the vocals according to the spoken vocals. then make this layer very deep.&#xD;&#xA;- record some whispering, load it with reverb and automate volume, filter and pan on this to give some spooky vibe.&#xD;&#xA;- Pitch shift the sound down, then pitch up the formants (autoamte if possible)&#xD;&#xA;- use speakerphone or convolution reverb or re recording to emulate masks.&#xD;&#xA;- use texture layers to fatten up the frequenzys. for exampel break glass or record some water flowing. then use a granualtor and pitch shift it down until lyou hear the little grains. automate the parameters to pronounce the phrase.&#xD;&#xA;- record yourself saying the phrases and heavy process this layer.&#xD;&#xA;&#xD;&#xA;if you cant mike it, you can mouth it&#xD;&#xA;&#xD;&#xA;hope this list gives you some inspiration, peace&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33726" PostHistoryTypeId="2" PostId="20619" RevisionGUID="8143f03e-7b89-4259-8845-906a89ba82a2" CreationDate="2013-10-23T03:55:20.243" UserId="1228" Text="&quot;...voice is not convincing...&quot;&#xD;&#xA;&#xD;&#xA;I believe you answered your own question.  It's a performance issue, so the only true way to fix it is to start with a convincing voice performance first.  The performance is key." ContentLicense="CC BY-SA 3.0" />
  <row Id="33727" PostHistoryTypeId="2" PostId="20620" RevisionGUID="a1631f53-9a0a-4713-ac9d-cecd68a34d7f" CreationDate="2013-10-23T09:29:32.873" UserId="1185" Text="I do not normally chase operating systems, but last week I got a new Mac and have not configured it yet.  In addition, Mavericks is being offered as a free upgrade.  So the questions are, has anyone else upgraded to Mavericks yet?  Have you had any &quot;issues&quot;, particularly with audio software?  Keen to hear of any issues with the following software:&#xD;&#xA;&#xD;&#xA;Pro Tools&#xD;&#xA;Cubase&#xD;&#xA;Logic&#xD;&#xA;Max/MSP " ContentLicense="CC BY-SA 3.0" />
  <row Id="33728" PostHistoryTypeId="1" PostId="20620" RevisionGUID="a1631f53-9a0a-4713-ac9d-cecd68a34d7f" CreationDate="2013-10-23T09:29:32.873" UserId="1185" Text="Apple OSX Mavericks" ContentLicense="CC BY-SA 3.0" />
  <row Id="33729" PostHistoryTypeId="3" PostId="20620" RevisionGUID="a1631f53-9a0a-4713-ac9d-cecd68a34d7f" CreationDate="2013-10-23T09:29:32.873" UserId="1185" Text="&lt;osx&gt;&lt;macosx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33730" PostHistoryTypeId="2" PostId="20621" RevisionGUID="36944cdf-92cf-4402-a976-fe124fa9866d" CreationDate="2013-10-23T09:40:45.937" UserId="1216" Text="No experience, old mac running Mountain lion.&#xD;&#xA;But Avid has an article on it: http://avid.force.com/pkb/articles/en_US/troubleshooting/Mac-OS-10-9-support-for-Media-Composer-Pro-Tools-Sibelius?popup=true&amp;NewLang=en&amp;DocType=1078&amp;q=maverick&#xD;&#xA;&#xD;&#xA;So not supported, but if it will work. Make a back up and find out :)&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="33731" PostHistoryTypeId="5" PostId="20621" RevisionGUID="a349537b-cc59-466b-b858-d8eb2303b3a5" CreationDate="2013-10-23T10:01:33.167" UserId="1216" Comment="added question mark" Text="No experience, old mac running Mountain lion.&#xD;&#xA;But Avid has an article on it: http://avid.force.com/pkb/articles/en_US/troubleshooting/Mac-OS-10-9-support-for-Media-Composer-Pro-Tools-Sibelius?popup=true&amp;NewLang=en&amp;DocType=1078&amp;q=maverick&#xD;&#xA;&#xD;&#xA;So not supported, but if it will work? Make a back up and find out :)&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="33732" PostHistoryTypeId="2" PostId="20622" RevisionGUID="45125b99-10c7-4cac-abfa-9c7e1bbf70f2" CreationDate="2013-10-23T11:03:50.227" UserId="6625" Text="I upgradet yesterday and i can run everything what i used before. a Little bit faster. I like the new features." ContentLicense="CC BY-SA 3.0" />
  <row Id="33737" PostHistoryTypeId="2" PostId="20624" RevisionGUID="bba05377-60ba-4710-ab33-58b4a4203c3b" CreationDate="2013-10-23T21:26:58.687" UserId="6697" Text="I find myself experimenting with gain in relation to a project rather than solely focusing on the type of sound.&#xD;&#xA;&#xD;&#xA;Creatively, it can be interesting to experiment with the gain for the project... I mean turning the gain high up for a quite sound can give you quite a bit of noise. Depending on the what you'll use the sound for this noise can be desirable. It gives life to recordings, instead of dead silence. There is always noise around you, so complete silence in a piece of music can be quite nerve racking. I believe gain can be used very creatively in this way to manipulate the sense of space in sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="33738" PostHistoryTypeId="2" PostId="20625" RevisionGUID="cb902004-390a-4a8c-b0d2-fe2d453783b6" CreationDate="2013-10-24T05:52:10.670" UserId="6698" Text="While a lot of what people have already said is true, the Waves Bundle is professional shit.  Their EQ's and compressors sound significantly better and more accurate than most stock EQ/Compressors (Waves Renaissance EQ and SSL Channel are of particular note, not to mention one of the best multi-band compressors out there, C4 or C6).  That being said convolution reverb is a good thing to have, also comes with Waves bundle in the form of IR-Verb (although Altiverb is admittedly a better plugin).  &#xD;&#xA;&#xD;&#xA;Don't get the fabfilter or that sound library you mentioned.  There's nothing you can find there that you can't produce on your own with a decent DAW and that Waves bundle.  My two cents, anyway.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="33742" PostHistoryTypeId="2" PostId="20626" RevisionGUID="dd7542f4-48f8-4601-aa63-68f83035cadf" CreationDate="2013-10-24T08:30:30.930" UserId="1228" Text="**NOTE: I just noticed you have a newer post from about 1 year after this one where you find an MS setup that you liked.  However, the below response may be relevant still for those trying their first matrix and frustrated by what they hear and/or don't like.**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Listening to your samples, I hear phase problems on the MS setup.  I listened to your tests on a set of JBL LSRs and the MS ones clearly stuck out like a sore thumb has not having a clear phase coherence without a doubt.&#xD;&#xA;&#xD;&#xA;Example being, the NT4 @ 45 degrees sound like it came from mid way between center and my L speaker (but along the same diameter/distance - as in, it sounded like it came from a point in 3d space exactly along the arc line between LCR, as it should).  But from the MS, it sounded like the tone origin was emanating from near by right ear in 3d space, but hearing a perceived reflection near where the NT4 recording felt like it came from in 3d space.  But at the same time, it was hard to localize the MS one.  So this tells me immediately that you have a phase problem.&#xD;&#xA;&#xD;&#xA;The thing with MS is that it's not really as easy or simple as matrixing it and calling it a day.  I have an MS setup of an MKH8040 / MKH30 I set up fairly recently and I'm still playing with the matrixing signal flow of a few test recordings (namely, ambiences) to find what I like before heading out to do extensive recording with it.&#xD;&#xA;&#xD;&#xA;Because the signals are split when recording (or rather, they SHOULD be - it's highly advisable to never bake the matrixing during recording), these give you many, many options in processing them.  Set up your chain correctly, and I you can do pre-matrixing processing such as EQ, gain staging, and time delay on each individual channel before it ever touches a matrixing tool like the Waves S1.&#xD;&#xA;&#xD;&#xA;In my own case, I found that after many A/B tests of delaying the side channel (and ONLY the side channel) by 0, 4, or 8 samples - 4 samples produced the most pleasing stereo image to me.  At 0 delay (or neutral), the imaging was strange and didn't feel like it sat along the imaginary LCR 'arc' - it popped out three dimensionally weird, almost like how yours sound, but not quite that extreme.  The differences at this sample level had a drastic affect upon the result.  Even these small differences had a drastic affect upon the noise characteristics of traffic wash in the background.  So this is why I feel MS is tricky because it requires a trained and discerning ear as well as a reliable monitoring set up to even trust that what those ears are hearing is accurate.&#xD;&#xA;&#xD;&#xA;I mention, rather stress this, because you say that at 45 degress it sounds like the correct stereo position (a la the NT4) - however I can say with 100% confidence, from hearing your sample, that this is not correct at all, it does not sound like a correct 45 degree matrixed 'XY' position within the stereo field.  In fact, it sounds like a phase problem.  If a sound recording was given/sold to somebody like how that 45 degree MS one sounds in your sample (assuming that what you said about it sounding correct to you means that you would let it pass Quality control), most sound editors would actually kick it back to you as being a non-usable stereo recording because of a phase/imaging problems.  That's where it can get dangerous with MS.  I'm not saying this as a scolding or reprimand, but I feel it must be stressed because of how critical of importance it is to mastering to be able to trust both your ears and that what is feeding your ears must also be dialed in.&#xD;&#xA;&#xD;&#xA;And even before this, I have to attenuate my side mic by about 6.4 dB for correct LCR balance.  so the pre-matrix gain staging helped find the correct &quot;balance&quot;, and the delay helped find the correct&quot; alignment&quot;.  I believe that playing with the pre-matrix delay and/or gain staging on per channel basis will give you a better result than what is being had before writing it off as a problem.&#xD;&#xA;&#xD;&#xA;Also, the thing to remember about shotguns - the rear node is inverse phase (think of it like a lopsided/squeezed bi-directional), so whatever it captures back there will move right to left (if the front is moving left to the right).  If the room you recorded this in has reflections, than this could be also what you're experiencing - the inverse phase early reflection of your tone from the (R) side + M (rear) is not phase coherent with the source sound coming from (L) side + M (front).  Using a cardiod like the 8040 or 40  fixes this problem.&#xD;&#xA;&#xD;&#xA;Remember that an MS is effectively 3 cardiod polar patters of axis (cardiod + phase-coherent bi-directional), which means it captures as far around as about 270 degrees - 180 degrees of it being the centrally-on axis range.  The NT4 is more of a 180 degree range max because of how the capsules are aigned at 45.  So with MS you will run the risk of experiencing bleed through in what's captured potentially off-axis.  Playing a tone in the room on the left will still be captured by the mid and the right, either as an early reflection or a combination of source + reflection.  So you can see how this can easily be a phase problem waiting to happen.  of course, the phase-coherent bi-directional assumes that the mic you are using is a true, single-diaphragm bi-directional like the MKH 30.  Not all bi-directional mic are made equal, and some cheap ones can use two cardiod diaphragms glued together, which means that since they don't share a single element, both sides are not phase-coherent inverses.  For using bi-directional in,  MS this can be a problem, because the side requires exact phase coherence.  Luckily, you're running an MKH 30 so that's not the problem here.  But it does add another thing to keep in mind.&#xD;&#xA;&#xD;&#xA;Just a few things to consider.  And make sure the diaphragms on your mics are aligned!  While I don't know the internal workings of the NTG3, I would take a guess that your MKH 30 is way too far forward from where the NTG3's element likely is - so much of a gap potentially by what I see in the picture, that this could be very well contributing to the phase problems.&#xD;&#xA;&#xD;&#xA;Good luck!  MS is awesome with so many possibilities, but there's no free lunch with it either!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33743" PostHistoryTypeId="2" PostId="20627" RevisionGUID="0a1a9816-bba4-4535-aaa1-ef33e05c800b" CreationDate="2013-10-24T10:59:26.117" UserId="6495" Text="I am thinking about upgrading my PCM-M10 into a X/Y, A/B portable recorder and through my research it seems that the R-26 is a good option.&#xD;&#xA;&#xD;&#xA;Do you guys have experience with it? How is the noisefloor of the builtin´s and externalpres?&#xD;&#xA;Does it hold the same quality as the PCM-M10?&#xD;&#xA;&#xD;&#xA;Thank you for being a good community :)." ContentLicense="CC BY-SA 3.0" />
  <row Id="33744" PostHistoryTypeId="1" PostId="20627" RevisionGUID="0a1a9816-bba4-4535-aaa1-ef33e05c800b" CreationDate="2013-10-24T10:59:26.117" UserId="6495" Text="Roland R-26 to use for sound design" ContentLicense="CC BY-SA 3.0" />
  <row Id="33745" PostHistoryTypeId="3" PostId="20627" RevisionGUID="0a1a9816-bba4-4535-aaa1-ef33e05c800b" CreationDate="2013-10-24T10:59:26.117" UserId="6495" Text="&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33746" PostHistoryTypeId="2" PostId="20628" RevisionGUID="e162a30e-4262-4556-86b1-54fcaea29e5e" CreationDate="2013-10-24T13:56:06.120" UserId="6425" Text="Just one little Tip that i realised myself some weeks ago! Dont spend lots of money into Plug-Ins. Plug-Ins seem to be cheap, but they loose their re-seell value in 1-2 Years. So if you buy a Compressor Plug-In for 100$ its worth 0 in a few Weeks.&#xD;&#xA;&#xD;&#xA;If you instead buy a good oldskool Hardware Compressor, you pay 1000$ and in 10 Years it might be worth 1500$. Even if you sell it for 950$ its cheaper than the Plug-In.&#xD;&#xA;&#xD;&#xA;Same goes for Recording equipment and Sound effect libraries. &#xD;&#xA;&#xD;&#xA;Peace!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33747" PostHistoryTypeId="2" PostId="20629" RevisionGUID="d0f19591-cabb-4c4d-9659-bcbbc29c26c9" CreationDate="2013-10-24T18:48:40.613" UserId="6700" Text="On Monday the 21st this month my 23 year old daughter and I heard what I am sure was a supernatural sound. It was definitely a sound that I would describe as a dimensional portal that &quot;opened and shut very quick&quot;. It happened in a park and the sound happened as fast as a bolt of lightning and only a fraction or so of a second (like the speed of a firecracker) and it happened right in the tree as the leaves blew instantly off the area it took place. There was absolutely no wind that evening. It was the strangest thing I have ever experienced. When I though what it was right after it happened I felt as though something was being intercepted. Just thought I would share hope it helps.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="33748" PostHistoryTypeId="5" PostId="20629" RevisionGUID="25a5796c-a62f-4c30-91e1-299b80be5a4d" CreationDate="2013-10-24T18:56:10.343" UserId="6700" Comment="added 365 characters in body" Text="On Monday the 21st this month my 23 year old daughter and I heard what I am sure was a supernatural sound. It was definitely a sound that I would describe as a dimensional portal that &quot;opened and shut very quick&quot;. It happened in a park and the sound happened as fast as a bolt of lightning and only a fraction or so of a second (like the speed of a firecracker) and it happened right in the tree as the leaves blew instantly off the area it took place. There was absolutely no wind that evening. It was the strangest thing I have ever experienced. When I though what it was right after it happened I felt as though something was being intercepted. The sound was an amplified and echo effect version of when the hose of the vacuum cleaner gets clogged, nothing after except the whooshing of the tree because of the immense speed of whatever was travelling through. Just thought I would share hope it helps. This is a great sound effect for a movie I have already written a script for and submitted. We shall see if their sound engineers can get it right!&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="33749" PostHistoryTypeId="2" PostId="20630" RevisionGUID="21343210-b4c7-462c-9792-267aef179b7f" CreationDate="2013-10-25T01:41:09.323" UserId="6701" Text="Avox Throat&#xD;&#xA;&#xD;&#xA;Good to pitch and manipulate villians/monsters" ContentLicense="CC BY-SA 3.0" />
  <row Id="33750" PostHistoryTypeId="2" PostId="20631" RevisionGUID="da5248f7-30f8-40af-b8a3-0046b06ea49c" CreationDate="2013-10-25T02:07:28.463" UserId="1393" Text="I'm running the new OS on my MacBook Pro and Pro Tools seems to be running flawlessly. I haven't tried it on my Mac Pro yet, but I might give it a go next week." ContentLicense="CC BY-SA 3.0" />
  <row Id="33751" PostHistoryTypeId="2" PostId="20632" RevisionGUID="bb2f6e5e-4beb-43cb-84c3-6c32e045e1e5" CreationDate="2013-10-25T06:53:47.997" UserId="6432" Text="I don't have one, but have heard good things. Of interest regarding the mic pre's:&#xD;&#xA;&#xD;&#xA;http://www.avisoft.com/recordertests.htm&#xD;&#xA;&#xD;&#xA;I'd like to hear a recording comparison with internal mics though too. Wondering how this compares to the pcm-d50 and ls-100 in that respect." ContentLicense="CC BY-SA 3.0" />
  <row Id="33752" PostHistoryTypeId="2" PostId="20633" RevisionGUID="3069bea2-6ef9-4659-9662-c738ff4d0a69" CreationDate="2013-10-25T10:11:07.610" UserDisplayName="user80" Text="I am using it with Pro Tools 11 on my MacBook Pro and it is lovely and smooth.  I know that Avid advise against Mavericks, but I have found it to be a worthwhile update." ContentLicense="CC BY-SA 3.0" />
  <row Id="33753" PostHistoryTypeId="5" PostId="20620" RevisionGUID="509b4a6b-820e-4822-85d4-85da10331a26" CreationDate="2013-10-25T10:17:45.100" UserId="1185" Comment="added 20 characters in body" Text="I do not normally chase operating systems, but last week I got a new Mac and have not configured it yet.  In addition, Mavericks is being offered as a free upgrade.  So the questions are, has anyone else upgraded to Mavericks yet?  Have you had any &quot;issues&quot;, particularly with audio software?  Keen to hear of any issues with the following software:&#xD;&#xA;&#xD;&#xA;Pro Tools&#xD;&#xA;Cubase&#xD;&#xA;Logic&#xD;&#xA;Max/MSP&#xD;&#xA;Native Instruments " ContentLicense="CC BY-SA 3.0" />
  <row Id="33754" PostHistoryTypeId="5" PostId="20620" RevisionGUID="b65c9cea-329f-43af-b77b-ef6b6d9eba31" CreationDate="2013-10-25T10:51:18.857" UserId="1185" Comment="added 228 characters in body" Text="I do not normally chase operating systems, but last week I got a new Mac and have not configured it yet.  In addition, Mavericks is being offered as a free upgrade.  So the questions are, has anyone else upgraded to Mavericks yet?  Have you had any &quot;issues&quot;, particularly with audio software?  Keen to hear of any issues with the following software:&#xD;&#xA;&#xD;&#xA;Pro Tools&#xD;&#xA;Cubase&#xD;&#xA;Logic&#xD;&#xA;Max/MSP&#xD;&#xA;Native Instruments &#xD;&#xA;&#xD;&#xA;Edit: I have just come across the following post regarding Max/MSP and OSX 10.9:&#xD;&#xA;&#xD;&#xA;[http://cycling74.com/forums/topic/mac-10-9-mavericks-support/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://cycling74.com/forums/topic/mac-10-9-mavericks-support/" ContentLicense="CC BY-SA 3.0" />
  <row Id="33755" PostHistoryTypeId="5" PostId="20620" RevisionGUID="3c82f011-ace2-4f3b-b754-68dc3172d6b3" CreationDate="2013-10-25T10:58:15.980" UserId="1185" Comment="added 231 characters in body" Text="I do not normally chase operating systems, but last week I got a new Mac and have not configured it yet.  In addition, Mavericks is being offered as a free upgrade.  So the questions are, has anyone else upgraded to Mavericks yet?  Have you had any &quot;issues&quot;, particularly with audio software?  Keen to hear of any issues with the following software:&#xD;&#xA;&#xD;&#xA;Pro Tools&#xD;&#xA;Cubase&#xD;&#xA;Logic&#xD;&#xA;Max/MSP&#xD;&#xA;Native Instruments Komplete&#xD;&#xA;&#xD;&#xA;Edit: I have just come across the following posts regarding Max/MSP and NI Komplete regarding their OSX 10.9 compatibility:&#xD;&#xA;&#xD;&#xA;[http://cycling74.com/forums/topic/mac-10-9-mavericks-support/][1]&#xD;&#xA;&#xD;&#xA;[http://www.native-instruments.com/forum/showthread.php?208864-OS-X-10-9-Mavericks][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://cycling74.com/forums/topic/mac-10-9-mavericks-support/&#xD;&#xA;  [2]: http://www.native-instruments.com/forum/showthread.php?208864-OS-X-10-9-Mavericks" ContentLicense="CC BY-SA 3.0" />
  <row Id="33756" PostHistoryTypeId="2" PostId="20634" RevisionGUID="369a81ef-efc7-436a-90c2-f5236f76f3ca" CreationDate="2013-10-25T11:44:23.700" UserId="6703" Text="With close to 30 years of Sound Design experience in live theater, I would have thought doing sound for a television series would be quite easy. I'm surprised that it's actually a bit of a challenge. I find it to be almost the complete reverse of theatrical sound. In theater, I start with a silent space and add whatever sounds I deem the production requires. In television, I am given a set of audio tracks in which most of my work involves removing sounds from.&#xD;&#xA;&#xD;&#xA;http://www.iamthewisp.com will show the current episode. Any constructive thoughts, comments and/or suggestions would be most welcomed.    " ContentLicense="CC BY-SA 3.0" />
  <row Id="33757" PostHistoryTypeId="1" PostId="20634" RevisionGUID="369a81ef-efc7-436a-90c2-f5236f76f3ca" CreationDate="2013-10-25T11:44:23.700" UserId="6703" Text="Tips for Television Sound Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33758" PostHistoryTypeId="3" PostId="20634" RevisionGUID="369a81ef-efc7-436a-90c2-f5236f76f3ca" CreationDate="2013-10-25T11:44:23.700" UserId="6703" Text="&lt;design&gt;&lt;feedback&gt;&lt;tips&gt;&lt;television&gt;&lt;suggestions&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33759" PostHistoryTypeId="2" PostId="20635" RevisionGUID="8c7f9f3b-ab56-4b10-8825-d1700c6294fe" CreationDate="2013-10-25T14:05:56.737" UserId="6704" Text="so at the moment i'm using rode nt5's on a stereo bar with fostex fr2le, well it sounds not bad, but when i hear line audio cm3 samples from other recordists, i instantly want to sell my rodes and switch to cm3's(cm3 sound a lot smoother, and not so harsh to my ears, thou i never heard direct comparison between these two), thou there is one thing that bothers me...on papers, specs of these mics are almost identical as far as noise and impedance goes, but cm3's are less sensitive, so i will need more gain for quiet recordings, and well even rodes are not sensitive enough for some situations (i know that fr2le isn't a &quot;sound devices&quot; device, regarding preamps too :)). So should i just buy cm3's and don't record quiet stuff with them, and save some money for more sensitive mics, or stay with rodes?&#xD;&#xA;&#xD;&#xA;thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="33760" PostHistoryTypeId="1" PostId="20635" RevisionGUID="8c7f9f3b-ab56-4b10-8825-d1700c6294fe" CreationDate="2013-10-25T14:05:56.737" UserId="6704" Text="help me decide... (line audio cm3 users)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33761" PostHistoryTypeId="3" PostId="20635" RevisionGUID="8c7f9f3b-ab56-4b10-8825-d1700c6294fe" CreationDate="2013-10-25T14:05:56.737" UserId="6704" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33762" PostHistoryTypeId="2" PostId="20636" RevisionGUID="7a684c8e-adfd-4e86-8465-8caa01b9adb8" CreationDate="2013-10-25T15:09:43.457" UserId="194" Text="I own both sets of mics.  &#xD;&#xA;&#xD;&#xA;its true that the CM3s are considerably less sensitive than the NT5s are, but don't mistake that for them being noisier.  The equivalent input noise spec on those mics is actually very good.&#xD;&#xA;&#xD;&#xA;What this means is that if you want fat signals on super quiet sources you'll need a high end preamp to get you there.&#xD;&#xA;&#xD;&#xA;I honestly haven't taken out my NT5s much since I got my CM3s, but I'd do have them around for close miking super quiet detail sources that need a bump (like sand grains, etc)&#xD;&#xA;&#xD;&#xA;Also, the CM3s have a much wider pattern than the NT5s (or most other cardoid mics) so keep that in mind as well.  &#xD;&#xA;&#xD;&#xA;Last thing - the CM3s are about the size of a neutrick xlr plug and weigh almost nothing." ContentLicense="CC BY-SA 3.0" />
  <row Id="33763" PostHistoryTypeId="5" PostId="20636" RevisionGUID="3b24f11d-779c-46c4-b5a4-c46adb7ca135" CreationDate="2013-10-25T15:16:25.230" UserId="194" Comment="added 397 characters in body" Text="I own both sets of mics.  &#xD;&#xA;&#xD;&#xA;its true that the CM3s are considerably less sensitive than the NT5s are, but don't mistake that for them being noisier.  The equivalent input noise spec on those mics is actually very good.&#xD;&#xA;&#xD;&#xA;What this means is that if you want fat signals on super quiet sources you'll need a high end preamp to get you there.  They're entirely capable of clean signal on quiet sources.&#xD;&#xA;&#xD;&#xA;The other big difference is that they track transients slower than the NT5s.  I honestly find this to be a pleasing difference (it imparts a kind of natural compression) but its a pretty pronounced one regardless.  NT5s will retain any sharp crackly transients you put in front of them much more straightforwardly than the CM3s will.&#xD;&#xA;&#xD;&#xA;I honestly haven't taken out my NT5s much since I got my CM3s, but I'd do have them around for close miking super quiet detail sources that need a bump (like sand grains, etc)&#xD;&#xA;&#xD;&#xA;Also, the CM3s have a much wider pattern than the NT5s (or most other cardoid mics) so keep that in mind as well.  &#xD;&#xA;&#xD;&#xA;Last thing - the CM3s are about the size of a neutrick xlr plug and weigh almost nothing." ContentLicense="CC BY-SA 3.0" />
  <row Id="33764" PostHistoryTypeId="2" PostId="20637" RevisionGUID="dd1e2eda-c2e3-4944-bb73-3b35fd3dc1db" CreationDate="2013-10-25T16:32:37.757" UserId="6705" Text="I've been forced to buy Pro Tools a few times over the years, and as a result have a few versions...the last being 7.3.1 LE, with the complete production toolkit.&#xD;&#xA;&#xD;&#xA;I've avoided buying it again every version number, but I think I'll have to do it again this month.&#xD;&#xA;&#xD;&#xA;So - is there a good upgrade path that I could exploit to get 11 (not HD)? &#xD;&#xA;&#xD;&#xA;Thanks anyone who replies!&#xD;&#xA;&#xD;&#xA;Tom&#xD;&#xA;(existing user, haven't registered here yet!)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33765" PostHistoryTypeId="1" PostId="20637" RevisionGUID="dd1e2eda-c2e3-4944-bb73-3b35fd3dc1db" CreationDate="2013-10-25T16:32:37.757" UserId="6705" Text="Is there a cheap(er) way of getting Pro Tools 11?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33766" PostHistoryTypeId="3" PostId="20637" RevisionGUID="dd1e2eda-c2e3-4944-bb73-3b35fd3dc1db" CreationDate="2013-10-25T16:32:37.757" UserId="6705" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33767" PostHistoryTypeId="2" PostId="20638" RevisionGUID="f2736517-a7e2-46da-abf0-c77e3ca88790" CreationDate="2013-10-25T17:24:18.517" UserId="1216" Text="What exactly is the reason that you need to upgrade? And if you've upgraded to 7.3 LE the last time, what does 'over the years' mean? &#xD;&#xA;Asking for ways to exploit an upgrade path sounds like doing possible illegal stuff. Probably not the best to talk about that on an online forum..... &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33768" PostHistoryTypeId="2" PostId="20639" RevisionGUID="679ecd91-0c70-46e3-9781-45a949813e08" CreationDate="2013-10-25T17:30:56.980" UserId="6706" Text="I'm pretty sure there's a crossgrade price from Pro Tools LE. &#xD;&#xA;&#xD;&#xA;http://shop.avid.com/store/product.do?product=325865714841120&#xD;&#xA;&#xD;&#xA;That's the best you're going to get. The other cheapest way is if you're a student to get the student discount, that one comes with 4 years of upgrades free as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="33769" PostHistoryTypeId="2" PostId="20640" RevisionGUID="10d72b80-55e2-4352-9500-42a43329e16e" CreationDate="2013-10-25T17:46:27.153" UserId="6616" Text="There is the student option if you are a student. ($300) &#xD;&#xA;There is the crossgrade upgrade if you have the previous version, but if you are too many versions behind you will have to buy it for about the same price. &#xD;&#xA;I would recommend buying from sweetwater.com or americanmusicalsupply because they offer 3 - 8 monthly payments to split up the cost. Another great way to get the newest version and still get a deal, Buy the Eleven Rack from Sweetwater ($699) and you will get a great guitar amp simulator and a free copy of the latest pro tools. &#xD;&#xA;If you one to score a free copy, find out where AVID is doing some product testing or consumer group meetings and attend and give them some input. They usually hook you up with something great!&#xD;&#xA;&#xD;&#xA;Best of Luck! &#xD;&#xA;&#xD;&#xA;- Krux" ContentLicense="CC BY-SA 3.0" />
  <row Id="33770" PostHistoryTypeId="2" PostId="20641" RevisionGUID="07636477-34c5-461a-8335-7d20b6643fd3" CreationDate="2013-10-25T19:29:49.150" UserId="6462" Text="I also love my CM3's, thanks for the recommendation Rene!&#xD;&#xA;&#xD;&#xA;I recently used a CM3 for a VO and it worked amazingly well. It was originally just going to be used as a guide for a 'proper' VO at a later date but they decided that the sound was excellent and didn't need to record another time. &#xD;&#xA;&#xD;&#xA;I use them mainly for Ambience recording and have them set up in a Rycote in ORTF.&#xD;&#xA;&#xD;&#xA;They are really excellent mics. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33771" PostHistoryTypeId="5" PostId="20640" RevisionGUID="6fd09a2a-9358-4056-bf9c-c2b03e23028c" CreationDate="2013-10-25T21:39:31.577" UserId="6616" Comment="added 83 characters in body" Text="There is the student option if you are a student. ($300) &#xD;&#xA;There is the crossgrade upgrade if you have the previous version, but if you are too many versions behind you will have to buy it for about the same price. &#xD;&#xA;I would recommend buying from sweetwater.com or americanmusicalsupply because they offer 3 - 8 monthly payments to split up the cost. Another great way to get the newest version and still get a deal, Buy the Eleven Rack from Sweetwater ($699) and you will get a great guitar amp simulator and a free copy of the latest pro tools. [elevenrack link][1]&#xD;&#xA;If you one to score a free copy, find out where AVID is doing some product testing or consumer group meetings and attend and give them some input. They usually hook you up with something great!&#xD;&#xA;&#xD;&#xA;Best of Luck! &#xD;&#xA;&#xD;&#xA;- Krux&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/store/detail/ElevenRack/" ContentLicense="CC BY-SA 3.0" />
  <row Id="33772" PostHistoryTypeId="2" PostId="20642" RevisionGUID="59f7dd23-07c1-460e-8a96-dc7e1dcd7295" CreationDate="2013-10-25T23:03:08.513" UserId="6580" Text="I've been having a lot of issues trying to export OMF files to work on Pro Tools. &#xD;&#xA;Apparently Premiere renames the audio files to whatever it feels they should be called, making it almost impossible to work.&#xD;&#xA;It also exports only 2 of the 6 tracks of audio I have in the sequence.&#xD;&#xA;&#xD;&#xA;Any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33773" PostHistoryTypeId="1" PostId="20642" RevisionGUID="59f7dd23-07c1-460e-8a96-dc7e1dcd7295" CreationDate="2013-10-25T23:03:08.513" UserId="6580" Text="Exporting OMF on Premiere" ContentLicense="CC BY-SA 3.0" />
  <row Id="33774" PostHistoryTypeId="3" PostId="20642" RevisionGUID="59f7dd23-07c1-460e-8a96-dc7e1dcd7295" CreationDate="2013-10-25T23:03:08.513" UserId="6580" Text="&lt;omf&gt;&lt;export&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33775" PostHistoryTypeId="2" PostId="20643" RevisionGUID="d6c784c8-10a3-4dad-bc0e-5105ccec36b8" CreationDate="2013-10-25T23:41:19.280" UserId="6399" Text="Since you have the CPTK (do you have V1 or 2), you might be able to find a used 9 or 10 license on Ebay and then do the upgrade to 11 after that.  Starting with 11, the CPTK doesn't exist so you will either need to go to 11HD or go to regular 11 and lose the VCA's, some automation features and the multiple videos." ContentLicense="CC BY-SA 3.0" />
  <row Id="33776" PostHistoryTypeId="2" PostId="20644" RevisionGUID="cbb9ead9-e7cc-4408-b23a-5ae51d6b32e3" CreationDate="2013-10-25T23:47:12.937" UserId="6399" Text="It sounds like your exporting it as a referenced OMF, have you tried doing it as an embedded OMF?  You said it changes them to .AIFF, what were they before.  I've never used premiere but some programs you have to have all your tracks selected that you wish to export as well as the areas of the timeline. &#xD;&#xA;You probably need to provide some info such as length of project, premiere version, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="33780" PostHistoryTypeId="2" PostId="20646" RevisionGUID="e395823d-6f20-4bce-b5ac-d193e503a9a2" CreationDate="2013-10-26T02:05:14.573" UserId="6619" Text="This used to happen to me ALL THE TIME. So I finally went over to one of the production companies I work for and sat down with an editor to figure it out. We found 2 issues. The 1st issue is &quot;Nested&quot; files/sequences within Premier. If you're using this feature in premier and you try to export an omf for Pro Tools (it's a known issue that Pro Tools and Premier don't get along. Other DAW's may not have the same issue) it will never come out right. If nested sequences are used, you have to first export to audition (which comes with premier so it's no biggie), then export an omf from there.&#xD;&#xA;&#xD;&#xA;The 2nd issue (if you're not using nested files / sequences) is Premier gives you an option to &quot;encapsulate&quot; the audio when exporting an OMF. If you don't select this option, Pro tools again, won't be able to open it. This encapsulates the audio WITHIN the OMF file. If you don't select encapsulate then Premier will make an OMF file (a map basically) and a separate &quot;audio files&quot; folder (all the audio files) - however because Premier (as you mentioned) DOES rename things whatever it wants, Pro tools doesn't recognize the audio pieces that plug into the 'map'. In other words the meta data doesn't match up....I know, it's screwy.&#xD;&#xA;&#xD;&#xA;Also note that the OMF file will always come in all MONO tracks, so any stereo tracks will have to be converted back to stereo in PT, which is as easy as dragging the two mono tracks to an empty stereo track.&#xD;&#xA;&#xD;&#xA;Basically I simply tell my clients the following before they send me an omf:&#xD;&#xA;- when exporting an OMF, please be sure to select the &quot;encapsulate&quot; option&#xD;&#xA;- If you're edit session has any nested files/sequences, pro tools may not be able to open the OMF. You may have to first export to audition, then export an OMF from there.&#xD;&#xA;&#xD;&#xA;Hope all this info helps. Hopefully they'll fix it in an update in the near future.&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="33781" PostHistoryTypeId="2" PostId="20647" RevisionGUID="bfcda593-cc12-4ec9-b259-823e1a7cc99f" CreationDate="2013-10-26T03:06:07.460" UserId="3199" Text="Hey be sure to check out the other questions on SSD for some help. &#xD;&#xA;&#xD;&#xA;For your issue with only a few tracks of the total being exported- it's because the audio tracks aren't highlighted in Premiere at the time of export. When you click on the track names in Premiere it will highlight them - make sure everything is highlighted that you want exported. &#xD;&#xA;&#xD;&#xA;![some tracks are not highlighted][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Also - if you are going across a Mac/PC line, try exporting the audio in the Pro Tools system's preferred format (Mac-.aiff, PC -.wav). I've had an .OMF from a PC Premiere rig going to a Mac PT rig that wouldn't relink with .wav files but would with .aiff files. &#xD;&#xA;&#xD;&#xA;I know another user recommended encapsulating audio, but I've generally run into issues with that so I would recommend separate, trimmed audio. Here are the settings I generally use: &#xD;&#xA;![omf export settings][2]&#xD;&#xA;&#xD;&#xA;If you are STILL running into issues, try importing the .OMF into Adobe Audition, then re-exporting it as an .OMF. I've heard of people successfully using Audition as a &quot;translator&quot; of sorts.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/IBQtX.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/0CoJ5.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="33782" PostHistoryTypeId="5" PostId="20644" RevisionGUID="3cb065f4-e145-4430-a6b1-c652923703fb" CreationDate="2013-10-26T03:15:13.703" UserId="6399" Comment="added 219 characters in body" Text="It sounds like your exporting it as a referenced OMF, have you tried doing it as an embedded OMF?  You said it changes them to .AIFF, what were they before.  I've never used premiere but some programs you have to have all your tracks selected that you wish to export as well as the areas of the timeline. &#xD;&#xA;You probably need to provide some info such as length of project, premiere version, etc.&#xD;&#xA;&#xD;&#xA;Edit: Like Jake just said - ProTools and OMf in general do not do well with nested sequences or projects with mixed sample rates.  Those are both common things to look at if ProTools is not opening an OMF correctly." ContentLicense="CC BY-SA 3.0" />
  <row Id="33783" PostHistoryTypeId="2" PostId="20648" RevisionGUID="dfbac550-c7f9-4823-a3b3-8cbb76e1ce4b" CreationDate="2013-10-26T03:28:35.547" UserId="3199" Text="That's your phone's brain, son! Your computers will do that as well if their audio circuitry isn't isolated from the rest of the box. &#xD;&#xA;&#xD;&#xA;I battled this issue a lot when I was doing sound design for theaters and playing the show back on a cheap laptop. You haven to have the gain cranked pretty high to pick it up or just have a beast of an amp, but I also noticed that the effect was much more pronounced when my machine was plugged in. I can see from your screen that wasn't the case, but you might try it plugged into the adapter and see if you can get better signal. &#xD;&#xA;&#xD;&#xA;If you'd like to make recordings of electronics the &quot;RIGHT&quot; way - go pick yourself up a coil mic from this guy, they're amazing. Hard drives sound wicked. &#xD;&#xA;[Jez's Coil Mics][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hydrophones.blogspot.com/2010/09/induction-coil-pick-up-now-available.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="33785" PostHistoryTypeId="5" PostId="6208" RevisionGUID="fc6fb0e8-85f0-4693-b1ea-ec0c21a4dc92" CreationDate="2013-10-26T06:33:59.017" UserId="6616" Comment="added hyperlink" Text="I don't know if any of you have seen this but I just found it while looking up bird songs on youtube and I was pretty amazed.. &#xD;&#xA;&#xD;&#xA;[Bird Songs Video Link][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/VjE0Kdfos4Y" ContentLicense="CC BY-SA 3.0" />
  <row Id="33786" PostHistoryTypeId="24" PostId="6208" RevisionGUID="fc6fb0e8-85f0-4693-b1ea-ec0c21a4dc92" CreationDate="2013-10-26T06:33:59.017" Comment="Proposed by 6616 approved by 61 edit id of 8" ContentLicense="CC BY-SA 3.0" />
  <row Id="33787" PostHistoryTypeId="2" PostId="20650" RevisionGUID="5d3b56e4-1752-4bbc-9cfb-b867680ac5a7" CreationDate="2013-10-26T12:20:46.950" UserId="6711" Text="I want to generate electricty from sound but i don't know how to detect the sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="33788" PostHistoryTypeId="1" PostId="20650" RevisionGUID="5d3b56e4-1752-4bbc-9cfb-b867680ac5a7" CreationDate="2013-10-26T12:20:46.950" UserId="6711" Text="Is there any way to convert sound to electricity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33789" PostHistoryTypeId="3" PostId="20650" RevisionGUID="5d3b56e4-1752-4bbc-9cfb-b867680ac5a7" CreationDate="2013-10-26T12:20:46.950" UserId="6711" ContentLicense="CC BY-SA 3.0" />
  <row Id="33790" PostHistoryTypeId="2" PostId="20651" RevisionGUID="a0bf08f0-23ef-42a1-bdc3-b3ccb713d832" CreationDate="2013-10-26T13:11:47.780" UserId="432" Text="This is exactly what microphones do. They convert acoustic waves into electrical signals. Mind you, the voltage generated by microphones is pretty small. That's why preamps are used to increase the gain. I'd start there." ContentLicense="CC BY-SA 3.0" />
  <row Id="33791" PostHistoryTypeId="2" PostId="20652" RevisionGUID="1e7410eb-91bb-4c72-b393-3e5abb703f45" CreationDate="2013-10-26T13:38:38.867" UserId="4057" Text="http://www.ricviers.com/#!location-sound-bible/c1zb6 is one of the best books around for learning about location sound and production sound mixing." ContentLicense="CC BY-SA 3.0" />
  <row Id="33792" PostHistoryTypeId="2" PostId="20653" RevisionGUID="3c1dc256-b23d-4855-8397-62c9e01e1170" CreationDate="2013-10-26T13:46:56.890" UserId="182" Text="From your question it's not clear to me if you want to win electricity from sound or just convert sound into an electrical signal? Many microphones *need* electricity to function correctly (phantom power), and a preamp that boosts the signal, requiring more electricity.&#xD;&#xA;&#xD;&#xA;In theory it's possible to use a dynamic microphone or a piezo element to create electricity without spending it, but the gain will be minuscule. You'll need to add components in the circuit that turn the very fluctuating voltage you generate into a usable, stable voltage. Such a circuit is not 100% efficient, so part of the energy will get lost in the process (it gets converted to heat).&#xD;&#xA;&#xD;&#xA;If you are really set on doing this, piezo elements are a good starting point.&#xD;&#xA;If you want to turn air pressure or movement into electricity, and you have a possibility to mechanically or physically amplify the pressure or movement before it gets converted, that might be another option worth exploring." ContentLicense="CC BY-SA 3.0" />
  <row Id="33794" PostHistoryTypeId="5" PostId="20640" RevisionGUID="2d31bfb4-68f7-469f-b5f9-32419eb758fe" CreationDate="2013-10-26T19:33:55.533" UserId="6616" Comment="added 1 characters in body" Text="There is the student option if you are a student. ($300) &#xD;&#xA;There is the crossgrade upgrade if you have the previous version, but if you are too many versions behind you will have to buy it for about the same price. &#xD;&#xA;I would recommend buying from sweetwater.com or americanmusicalsupply because they offer 3 - 8 monthly payments to split up the cost. Another great way to get the newest version and still get a deal, Buy the Eleven Rack from Sweetwater ($699) and you will get a great guitar amp simulator and a free copy of the latest pro tools. [elevenrack link][1]&#xD;&#xA;If you want to score a free copy, find out where AVID is doing some product testing or consumer group meetings and attend and give them some input. They usually hook you up with something great!&#xD;&#xA;&#xD;&#xA;Best of Luck! &#xD;&#xA;&#xD;&#xA;- Krux&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/store/detail/ElevenRack/" ContentLicense="CC BY-SA 3.0" />
  <row Id="33795" PostHistoryTypeId="2" PostId="20655" RevisionGUID="40307150-c6c2-4c35-89f7-dc506257c8b5" CreationDate="2013-10-26T20:30:08.400" UserId="6619" Text="So I've got to mix a feature film alone in the timeframe of 6 days and I'm curious how you guys might go about doing this organizationally?&#xD;&#xA;&#xD;&#xA;For example, would you mix each element one at a time through the entire film? For instance : dialog for the entire film, then foley, SFX &amp; Music &#xD;&#xA;(if so, what order would you do it in?)&#xD;&#xA;&#xD;&#xA;Or would you go through scene for scene and mix each element? So mix dialog for a scene, then move to foley for that scene, etc. - then move onto the next scene once the current scene is fully mixed.&#xD;&#xA;&#xD;&#xA;Thanks for your input everyone. I'm just curious how others would go about it while keeping their heads on straight! hahaha!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33796" PostHistoryTypeId="1" PostId="20655" RevisionGUID="40307150-c6c2-4c35-89f7-dc506257c8b5" CreationDate="2013-10-26T20:30:08.400" UserId="6619" Text="Mixing a Feature Film, Organization?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33797" PostHistoryTypeId="3" PostId="20655" RevisionGUID="40307150-c6c2-4c35-89f7-dc506257c8b5" CreationDate="2013-10-26T20:30:08.400" UserId="6619" Text="&lt;film-mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33798" PostHistoryTypeId="2" PostId="20656" RevisionGUID="484a3c3e-6636-4b0b-8267-4594c4823806" CreationDate="2013-10-26T20:38:42.517" UserId="6425" Text="I watched Episode 103 or so that is on the front-page.&#xD;&#xA;&#xD;&#xA;Here are some critics (sorry if I only mentions things that i don't like but its the most easiest :D)&#xD;&#xA;&#xD;&#xA;- Dialogues are jumping in the stereo field sometimes. Better keep 99% of dialogues mono, right in the centre. Just pan spoken words if you want to hint into a direction -&gt; someone from the far right is yelling at the actress in the middle.&#xD;&#xA;- Dialogue levels are jumping a bit so have a check on these, use compression if needed. Riding the level via a volume automation or midi controller works best for 80% of the time.&#xD;&#xA;&#xD;&#xA;- Sound Effects like footsteps are to loud and present sometimes. I know it is tricky if you get some shotgun mic-ed footsteps in a reverberated room. So always have some deeper, softer footsteps in your library to replace if needed.&#xD;&#xA;&#xD;&#xA;- Ad more atmosphere. Especially silent rooms can need some fresh atmospheres to make them more interesting. Lightbulp beeping, airconditioner. mumbling from neighbours. Noise from outside the window. Simply noise. A lot of high end TV-Series drench the whole sound in atmosphere, so flaws in recording and sound fx are not that audible anymore and you get a sense of being in the scenery.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So here is my Tip when mixing/re-recording/engineering/producing/etc. sound for TV:&#xD;&#xA;&#xD;&#xA;1. Lay down Atmosphere and make sure it has a RMS of around -24 dB (my guideline)&#xD;&#xA;2. Make sure the transition of the atmosphere between scenes works well&#xD;&#xA;3. Add in Music (if available at that stage) and make sure it hits at max -18 dB&#xD;&#xA;4. Add Sound FX and make sure they hit max at -12 dB&#xD;&#xA;5. Add Dialogue and make sure it peaks at -12 dB&#xD;&#xA;&#xD;&#xA;Et each stage I try to fit the elements so that I enjoy watching the scene.&#xD;&#xA;&#xD;&#xA;GL&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33799" PostHistoryTypeId="2" PostId="20657" RevisionGUID="b166ffb9-0766-48b1-a1f7-d334b31e8275" CreationDate="2013-10-26T22:31:14.597" UserId="7642" Text="Having a rookie mixing a feature on a very tight schedule is a recipe for disaster. &#xD;&#xA;Seriously if you don't know how to organize your work you simply have very little chance making a proper mix in six days if there is any kind of complexity or quality issues what so ever. &#xD;&#xA;Find a mixer to help you out. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33800" PostHistoryTypeId="2" PostId="20658" RevisionGUID="4b3d3a94-e671-4ee1-a742-485973c8fb13" CreationDate="2013-10-26T23:13:31.427" UserId="7642" Text="I own a R26 and have a spare M10 at work. &#xD;&#xA;R26 preamps are pretty decent, but the digital control of the preamps suck, so certain settings are a lot noisier than others.&#xD;&#xA;The built in mics are very noisy and can't be compared to the M10 mics. M10 internal mics are a lot better than the R26. The xy mics are quite noisy but the sound is decent and the stereo width is pretty good. Not useful for ambiances but for recording strong sounds where noise isn't an issue it can work ok. &#xD;&#xA;I like my R26 but knowing what I know today I would have bought another m10 or saved some money until I could afford at least a tascam 680 (for multiple channels).&#xD;&#xA;Buy some external mics to go with the M10 instead. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33801" PostHistoryTypeId="5" PostId="20658" RevisionGUID="36562a2e-a765-47e5-bea8-e9726dd68c60" CreationDate="2013-10-26T23:26:01.610" UserId="7642" Comment="deleted 2 characters in body" Text="I own a R26 and have a spare M10 at work. &#xD;&#xA;R26 preamps are pretty decent, but the digital control of the preamps suck, so certain settings are a lot noisier than others.&#xD;&#xA;The built in mics are very noisy and can't be compared to the M10 mics. M10 internal mics are a lot better than the R26. The xy mics are quite noisy but the sound is decent and the stereo width is pretty good. Not useful for ambiances but for recording loud sounds where noise isn't an issue it can work ok. &#xD;&#xA;I like my R26 but knowing what I know today I would have bought another m10 or saved some money until I could afford at least a tascam 680 (for multiple channels).&#xD;&#xA;Buy some external mics to go with the M10 instead. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33802" PostHistoryTypeId="2" PostId="20659" RevisionGUID="da4c1cb0-6916-4a96-9f45-9f42b54c84d1" CreationDate="2013-10-27T01:08:40.337" UserId="6713" Text="I'm a new podcaster, and a first time audio editor - for 5 episodes I've been cutting and pasting using GoldWave and Audacity (to remove &quot;noise.&quot;) &#xD;&#xA;&#xD;&#xA;A recent recording session contains a lot of non-hiss background sounds, such as dishes clanking. Here's a short clip: &#xD;&#xA;&#xD;&#xA;https://dl.dropboxusercontent.com/u/3838990/Sample.wav&#xD;&#xA;&#xD;&#xA;There are so many controls on these editing applications that I don't know where to start.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33803" PostHistoryTypeId="1" PostId="20659" RevisionGUID="da4c1cb0-6916-4a96-9f45-9f42b54c84d1" CreationDate="2013-10-27T01:08:40.337" UserId="6713" Text="What are techniques to remove non-voice sounds (not &quot;noise) from vocals" ContentLicense="CC BY-SA 3.0" />
  <row Id="33804" PostHistoryTypeId="3" PostId="20659" RevisionGUID="da4c1cb0-6916-4a96-9f45-9f42b54c84d1" CreationDate="2013-10-27T01:08:40.337" UserId="6713" Text="&lt;noise&gt;&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33805" PostHistoryTypeId="2" PostId="20660" RevisionGUID="2921cf89-2821-45c8-bc5d-62bf19cf0e4b" CreationDate="2013-10-27T01:14:29.890" UserId="6713" Text="I'm a new podcaster with no vocal editing experience. I edit every episode to remove breaths, &quot;uuuhhh&quot;s, repeated words, stutters, etc. (Using select-and-cut on the waveform.)&#xD;&#xA;&#xD;&#xA;This often leads to a popping sound because the wave form drastically changes position. How do I remove the bad signal and cleanly join the two ends?&#xD;&#xA;&#xD;&#xA;We're at episode 6 and it is starting to bug me...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33806" PostHistoryTypeId="1" PostId="20660" RevisionGUID="2921cf89-2821-45c8-bc5d-62bf19cf0e4b" CreationDate="2013-10-27T01:14:29.890" UserId="6713" Text="Splicing voice: How do I blend words at a splice so they don't pop?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33807" PostHistoryTypeId="3" PostId="20660" RevisionGUID="2921cf89-2821-45c8-bc5d-62bf19cf0e4b" CreationDate="2013-10-27T01:14:29.890" UserId="6713" Text="&lt;editing&gt;&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33808" PostHistoryTypeId="4" PostId="20659" RevisionGUID="9a47fc13-72e9-4583-b57c-11028cd7fd46" CreationDate="2013-10-27T01:14:56.440" UserId="6713" Comment="edited title" Text="What are techniques to remove non-voice sounds (not &quot;noise&quot;) from vocals" ContentLicense="CC BY-SA 3.0" />
  <row Id="33809" PostHistoryTypeId="2" PostId="20661" RevisionGUID="4a61a902-11c1-462e-a408-4f4a2cf9547d" CreationDate="2013-10-27T01:27:43.600" UserId="6448" Text="Use volume automation rather than cuts. That way you can pull the annoying noises to the background without creating audible gaps.&#xD;&#xA;&#xD;&#xA;If you cut, then the remaining ends ought to be faded to &quot;0&quot; by using fade-ins/fade-outs, otherwise they'll pop." ContentLicense="CC BY-SA 3.0" />
  <row Id="33810" PostHistoryTypeId="5" PostId="20651" RevisionGUID="5971fe95-168a-49bf-a18e-a1f2abc98bf1" CreationDate="2013-10-27T01:40:57.523" UserId="432" Comment="added 66 characters in body" Text="This is exactly what microphones do. They convert acoustic waves into electrical signals. Dynamic microphones can do it without an external power source. Mind you, the voltages generated by microphones are pretty small. That's why preamps are used to increase the gain. I'd start there." ContentLicense="CC BY-SA 3.0" />
  <row Id="33812" PostHistoryTypeId="2" PostId="20663" RevisionGUID="d127ced2-f189-4c01-b62b-afd3cce6a5f2" CreationDate="2013-10-27T02:47:55.613" UserId="4442" Text="You may also want to consider a &quot;Noise Gate&quot; plugin. They are sometimes included in compressors. What are you recording in? They will actually automate the drop when silence occurs.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33814" PostHistoryTypeId="2" PostId="20664" RevisionGUID="9b4b87f3-cfbe-4839-9a55-5e8f6ec43f68" CreationDate="2013-10-27T03:15:28.270" UserId="1228" Text="Crossfade it.  That's the only way to prevent snaps.  Occams Razor ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33815" PostHistoryTypeId="2" PostId="20665" RevisionGUID="7584548c-0bf8-4d0e-8f42-bcc4803f4663" CreationDate="2013-10-27T04:14:17.813" UserId="6399" Text="If you really needed to get rid of them I would try Izotope RX3 spectral repair.  It can be extremely time consuming especially if your inexperienced with it.  The tough thing about dish sounds is they are in the same frequency range as the parts of the voices that you want to preserve.  It can save lots of time and money to get a good recording in off the bat." ContentLicense="CC BY-SA 3.0" />
  <row Id="33816" PostHistoryTypeId="2" PostId="20666" RevisionGUID="efe9dbc4-67da-4f11-8cff-d095de01cb7a" CreationDate="2013-10-27T06:53:45.980" UserId="1228" Text="I recommend doing it the same way a dialogue editor would - manually edit them out, small crossfades in between.  Then try a noise supression tool after the fact as icing on the cake.  It's a great way to learn how to edit in practice.  Take dialogue for instance.  anyone editing voice must learn the intricacies of inflection, rhythm, and cadence - and furthermore, how to alter it in believable ways (hence, dialogue editors are called invisible artists - also why there's the saying &quot;a seasoned dialogue editor is worth their weight in gold&quot;).  Unfortunately a catch-all like a plugin  for this siuation won't help all that much in my opinion and you frankly won't learn a whole from it.&#xD;&#xA;&#xD;&#xA;Pushing a plugin button is limiting, a skill limited to the confines of a certain tool and its availability.  Learning to carefully and transparently edit sound however is a skill which you can carry on forever, regardless of the tool or medium, it transcends the tools, and put it to practice in many ways and constantly improve upon.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33817" PostHistoryTypeId="2" PostId="20667" RevisionGUID="0a0315d3-4fa8-489f-9252-5c0a6db3cebe" CreationDate="2013-10-27T08:36:40.487" UserId="6435" Text="Zoom way in on the waveform and cut at the &quot;zero crossing,&quot; where the waveform crosses from the positive part of the wave to the negative through the horizontal line that runs through the middle of the display. Not to be too zen about it, but you want the waveform to pass through the edit point as if nothing happened. Then, as stavrosound said, add a *very* short crossfade to smooth out the edit." ContentLicense="CC BY-SA 3.0" />
  <row Id="33819" PostHistoryTypeId="2" PostId="20669" RevisionGUID="4a683a11-d72b-45b9-a187-014a5338f6f8" CreationDate="2013-10-27T13:41:04.643" UserId="6462" Text="Perhaps wait until the Sony PCM-D100 comes out early next year.&#xD;&#xA;Definitly one i'd buy if I didn't already have a D50." ContentLicense="CC BY-SA 3.0" />
  <row Id="33820" PostHistoryTypeId="2" PostId="20670" RevisionGUID="e54d093c-09e5-4aea-a867-6de3a7c84fdd" CreationDate="2013-10-27T15:04:32.600" UserId="7642" Text="Are you at least mixing at a proper dub stage?&#xD;&#xA;&#xD;&#xA;Ok, so if you only have six days...&#xD;&#xA;Yes you need to focus on parts at a time.&#xD;&#xA;Having six days you are then likely to have a maximum of five actual mix days.&#xD;&#xA;Last day for screening and small fixes.&#xD;&#xA;&#xD;&#xA;With such limited time you will pretty much have to go straight for final mix.&#xD;&#xA;The advice below is all given according to this limited schedule, a more realistic mix schedule would be handled differently. &#xD;&#xA;&#xD;&#xA;Make sure that the film is &quot;gridded&quot; with markers or dummy events so that you immediately can identify the length of a scene and find a cut without searching/scrolling to find it. Try to premix before hand as much as possible, you have more important things to do than choose reverbs, arrange basic routing and sends during the mix, so having the foundation set is helpful. Mix in the box! Don't use a hardware audio mixing console as that will make it hard/impossible to do any extra fixes and or versions after leaving the dub stage.&#xD;&#xA;&#xD;&#xA;I'd probably use about 1.5 to two days with focus on dialog, make sure levels, EQ, noise reduction and reverb is appropriate and that no major issues are left. Then spend two+ days for the full mix, avoid messing with details and focus on the overall.&#xD;&#xA;&#xD;&#xA;Do a time budget. For a 90 min film you have to complete 45 mins of dialog a day, approx 5mins/hr (depending on how long your days are). Do not overspend your time. If you aren't satisfied, just drop a marker and move on. IF you have spare time somewhere, go back and revisit. 5 mins per hour might sound ok for someone that has only dealt with smallish projects. But you can only play any single scene a maximum of twelve times if you never would stop and never would have to spend time to adjust stuff. In reality you have to of course so if you have seen the scene six times in a day, then you are probably close to the limit.&#xD;&#xA;&#xD;&#xA;Depending on how the mix stage is set up you will be more or less efficient as you are just one person. A controller based setup optimised for a single mixer is likely to be reasonably fast to work with, a multimixer dub stage will likely bring you down if you really need to work alone.&#xD;&#xA;&#xD;&#xA;You have a director. Obvious right? He or she is your boss, it's their vision that you need to fulfil not your own. Make sure you communicate and that you plan enough time to play through what has been done and that you explain what is done and what isn't, make sure you have time for discussions as well.&#xD;&#xA;Either have the director come in each day for a play through and to write notes, or have them in the room from around day three. You don't want any major last minute surprises!&#xD;&#xA;&#xD;&#xA;Make sure that the director understands how much time you have available to mix the film. &#xD;&#xA;&#xD;&#xA;Be 110% sure that all sound elements are included with the project/session! Open the project without any connected fx hard drives or servers to be absolutely sure.&#xD;&#xA;Make sure that the dubstage have the plugins you need! You don't want to spend time installing and uninstalling stuff.&#xD;&#xA;Make sure you session is arranged in a way that you can deliver material according to the delivery requirements with as little extra work as possible.&#xD;&#xA;Only drink coffee while you watch a completed segment. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33821" PostHistoryTypeId="5" PostId="20670" RevisionGUID="f724b862-f3d5-4ac1-8603-9932bb647d02" CreationDate="2013-10-27T15:17:00.673" UserId="7642" Comment="added 82 characters in body" Text="Are you at least mixing at a proper dub stage?&#xD;&#xA;&#xD;&#xA;Ok, so if you only have six days...&#xD;&#xA;Yes you need to focus on parts at a time.&#xD;&#xA;Having six days you are then likely to have a maximum of five actual mix days.&#xD;&#xA;Last day for screening and small fixes.&#xD;&#xA;&#xD;&#xA;With such limited time you will pretty much have to go straight for final mix.&#xD;&#xA;The advice below is all given according to this limited schedule, a more realistic mix schedule would be handled differently. &#xD;&#xA;&#xD;&#xA;Make sure that the film is &quot;gridded&quot; with markers or dummy events so that you immediately can identify the length of a scene and find a cut without searching/scrolling to find it. Try to premix before hand as much as possible, you have more important things to do than choose reverbs, arrange basic routing and sends during the mix, so having the foundation set is helpful. Mix in the box! Don't use a hardware audio mixing console as that will make it hard/impossible to do any extra fixes and or versions after leaving the dub stage.&#xD;&#xA;&#xD;&#xA;I'd probably use about 1.5 to two days with focus on dialog, make sure levels, EQ, noise reduction and reverb is appropriate and that no major issues are left. Then spend two+ days for the full mix, avoid messing with details and focus on the overall.&#xD;&#xA;&#xD;&#xA;Do a time budget. For a 90 min film you have to complete 45 mins of dialog a day, approx 5mins/hr (depending on how long your days are). Do not overspend your time. If you aren't satisfied, just drop a marker and move on. IF you have spare time somewhere, go back and revisit. 5 mins per hour might sound ok for someone that has only dealt with smallish projects. But you can only play any single scene a maximum of twelve times if you never would stop and never would have to spend time to adjust stuff. In reality you have to of course so if you have seen the scene six times in a day, then you are probably close to the limit.&#xD;&#xA;&#xD;&#xA;Depending on how the mix stage is set up you will be more or less efficient as you are just one person. A controller based setup optimised for a single mixer is likely to be reasonably fast to work with, a multimixer dub stage will likely bring you down if you really need to work alone.&#xD;&#xA;&#xD;&#xA;You have a director. Obvious right? He or she is your boss, it's their vision that you need to fulfil not your own. Make sure you communicate and that you plan enough time to play through what has been done and that you explain briefly what is done and what isn't, make sure you have time for discussions as well. Make ure they understand YOUR schedule and how you plan to use your time.&#xD;&#xA;Either have the director come in each day for a play through and to write notes, or have them in the room from around day three. You don't want any major last minute surprises!&#xD;&#xA;&#xD;&#xA;Make sure that the director understands how much time you have available to mix the film. &#xD;&#xA;&#xD;&#xA;Be 110% sure that all sound elements are included with the project/session! Open the project without any connected fx hard drives or servers to be absolutely sure.&#xD;&#xA;Make sure that the dubstage have the plugins you need! You don't want to spend time installing and uninstalling stuff.&#xD;&#xA;Make sure you session is arranged in a way that you can deliver material according to the delivery requirements with as little extra work as possible.&#xD;&#xA;Only drink coffee while you watch a completed segment. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33822" PostHistoryTypeId="2" PostId="20671" RevisionGUID="f86326f8-1515-454b-ad18-3bbb232956c0" CreationDate="2013-10-27T18:59:57.057" UserId="6716" Text="If I hear outside/street noise in the middle of room X, is there a way to perform a 3D spatial analysis of the noise?&#xD;&#xA;&#xD;&#xA;I'd like to find tools and software to build a noise map of the room.&#xD;&#xA;&#xD;&#xA;In the final model, the ceiling, the walls and the floor should be colored differently depending on the incoming noise flow, treating the noise as if it were light.&#xD;&#xA;&#xD;&#xA;Can it be done ?&#xD;&#xA;&#xD;&#xA;I bought a sound level meter on ebay and I'm waiting for delivery.&#xD;&#xA;&#xD;&#xA;However I fear that a sound level meter is not directional enough to spot the source of the noise.&#xD;&#xA;&#xD;&#xA;In addition, the noise is certainly echoed from the walls of the room.&#xD;&#xA;&#xD;&#xA;How do you decide from where (door, windows, floor, walls, etc.) and in what percentage the street noise penetrates the room ?&#xD;&#xA;&#xD;&#xA;There are vibration sensors that can be attached eg to the walls?&#xD;&#xA;&#xD;&#xA;Thank you&#xD;&#xA;&#xD;&#xA;Duilio" ContentLicense="CC BY-SA 3.0" />
  <row Id="33823" PostHistoryTypeId="1" PostId="20671" RevisionGUID="f86326f8-1515-454b-ad18-3bbb232956c0" CreationDate="2013-10-27T18:59:57.057" UserId="6716" Text="3D room map of noise from outside" ContentLicense="CC BY-SA 3.0" />
  <row Id="33824" PostHistoryTypeId="3" PostId="20671" RevisionGUID="f86326f8-1515-454b-ad18-3bbb232956c0" CreationDate="2013-10-27T18:59:57.057" UserId="6716" Text="&lt;noise&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33825" PostHistoryTypeId="5" PostId="20669" RevisionGUID="727db4e2-294a-4b6a-a1de-4c228ccf59b7" CreationDate="2013-10-27T19:46:15.423" UserId="6462" Comment="added 49 characters in body" Text="Perhaps wait until the Sony PCM-D100 comes out early next year.&#xD;&#xA;Definitly one i'd buy if I didn't already have a D50.&#xD;&#xA;&#xD;&#xA;http://www.soundonsound.com/news?NewsID=16605" ContentLicense="CC BY-SA 3.0" />
  <row Id="33826" PostHistoryTypeId="2" PostId="20672" RevisionGUID="32913993-310b-44a1-9ea5-cd62e687b946" CreationDate="2013-10-28T08:25:46.220" UserId="6432" Text="No, I don't think it can be done in the way you describe. The problem is that you cannot test the room under conditions which are controlled enough to provide useful data. If you could re-build the house inside an anechoic chamber you'd be ok ;) &#xD;&#xA;&#xD;&#xA;I think the best idea is to define the materials of the room and then build a theoretical model of how each surface [transmits][1] sound waves, then the room. You should find some data on this or could find an architect to help. Not a field I work in, but there must be some dedicated CAD type tools for this specific task.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Acoustic_transmission" ContentLicense="CC BY-SA 3.0" />
  <row Id="33827" PostHistoryTypeId="2" PostId="20673" RevisionGUID="84900d6d-bd6c-46ea-a881-69b743516721" CreationDate="2013-10-28T08:32:08.153" UserId="6717" Text="Just some 'random' ideas to get the debate going:&#xD;&#xA;&#xD;&#xA;Would analysis of binaural recordings of your room be a good starting point ?&#xD;&#xA;&#xD;&#xA;I am not an expert in signal processing but that sounds like a lead: &#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Beamforming &#xD;&#xA;&#xD;&#xA;Charlie @Soundry" ContentLicense="CC BY-SA 3.0" />
  <row Id="33828" PostHistoryTypeId="2" PostId="20674" RevisionGUID="e24db860-2376-40a4-83f6-98544d7f9645" CreationDate="2013-10-28T12:08:17.373" UserId="6625" Text="I also tried before, and the limiter is very noise. You could find bettet stuff for this price, ZoomH6n." ContentLicense="CC BY-SA 3.0" />
  <row Id="33831" PostHistoryTypeId="2" PostId="20677" RevisionGUID="e3444d34-f516-4add-b5c2-e4f32a77bca9" CreationDate="2013-10-29T17:39:28.873" UserId="194" Text="for a pure bit bucket I'd go with a Sony PCM M10 and not look back.&#xD;&#xA;&#xD;&#xA; - inexpensive&#xD;&#xA; - well constructed&#xD;&#xA; - simple ergonomics&#xD;&#xA; - weighs nothing&#xD;&#xA; - sounds excellent&#xD;&#xA; - recordings can cascade from the built in 4Gb drive to an external compact SD card (super important for long 24bit 96k recordings)&#xD;&#xA; - battery life for days&#xD;&#xA; - instant on&#xD;&#xA;&#xD;&#xA;I use mine with my mixpre all the time.  Mixpre is the weak link in that chain, and only because it sucks batteries much more quickly." ContentLicense="CC BY-SA 3.0" />
  <row Id="33832" PostHistoryTypeId="2" PostId="20678" RevisionGUID="7832915e-0025-4acc-981a-1eeaca5a2947" CreationDate="2013-10-29T18:17:22.060" UserId="182" Text="What you could try is a so-called &quot;reciprocal transfer path analysis&quot; or reverse transfer path analysis:&#xD;&#xA;&#xD;&#xA;Invert the source and the listener.&#xD;&#xA;&#xD;&#xA;Play loud noise through a speaker, and put the speaker in different locations in your room, while recording outside on the street with a microphone how much noise is transmitted from each speaker position.  &#xD;&#xA;The 'leakage' works in both directions, so if you find a speaker position that results in the most sound at the mic outside, you've found the spot where most noise leaks into the room (this is under the assumption that the traffic noise outside is uniformly distributed, which it probably is). &#xD;&#xA; &#xD;&#xA;Note that you probably need to turn up the speaker to 11 in your case to get a clear effect at the mic, especially if there is traffic during your analysis." ContentLicense="CC BY-SA 3.0" />
  <row Id="33833" PostHistoryTypeId="2" PostId="20679" RevisionGUID="ddcff531-b0f1-45bc-82e3-b2570c342ef3" CreationDate="2013-10-29T21:41:02.983" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="33834" PostHistoryTypeId="2" PostId="20680" RevisionGUID="5a4ce047-5ce8-4195-836a-25b9a76fd952" CreationDate="2013-10-29T21:41:02.983" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="33835" PostHistoryTypeId="2" PostId="20681" RevisionGUID="1abac965-6041-4c30-bb5a-d926ed4f08fe" CreationDate="2013-10-29T21:42:20.257" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="33836" PostHistoryTypeId="2" PostId="20682" RevisionGUID="7cd585a6-950e-481b-9ad0-91c376304fd3" CreationDate="2013-10-29T21:42:20.257" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="33837" PostHistoryTypeId="2" PostId="20683" RevisionGUID="d9922b1e-bc54-42af-a222-41f84e67daf6" CreationDate="2013-10-29T21:43:57.420" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="33838" PostHistoryTypeId="2" PostId="20684" RevisionGUID="0543a001-1d64-4c72-a5b6-71fe6cfc27b7" CreationDate="2013-10-29T21:43:57.420" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="33839" PostHistoryTypeId="2" PostId="20685" RevisionGUID="bb2307bb-f55d-4aa9-8a98-9d3628d7c0f3" CreationDate="2013-10-29T21:45:47.510" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="33840" PostHistoryTypeId="2" PostId="20686" RevisionGUID="7ce1ef94-0c8d-4c9a-ad25-8c2429561ca1" CreationDate="2013-10-29T21:45:47.510" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="33841" PostHistoryTypeId="2" PostId="20687" RevisionGUID="6c305c03-f768-410d-aabc-0a9d1a0641a9" CreationDate="2013-10-29T21:46:46.467" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="33842" PostHistoryTypeId="2" PostId="20688" RevisionGUID="396731a6-e1a5-4b64-81bd-60d9badca78c" CreationDate="2013-10-29T21:46:46.467" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="33844" PostHistoryTypeId="2" PostId="20690" RevisionGUID="51fc8d6d-be47-43eb-a01c-991a9ce78c3e" CreationDate="2013-10-30T00:03:27.393" UserId="5624" Text="I'm looking to purchase a portable field recorder to keep on me at all times, in order to capture those golden sounds we all come across day to day. I'm well aware of the usual suspects (H4N, M10, etc.) but what would you consider the creme de la creme, the absolute god of the portable field recorders?&#xD;&#xA;&#xD;&#xA;Some more background info:&#xD;&#xA;&#xD;&#xA;- I want a recorder with built in or small attachable microphones. External mics and pres are a no go for this one. Has to be a single handheld device.&#xD;&#xA;&#xD;&#xA;- I currently have a beautiful location rig consisting of sound devices recorders and schoeps/dpa mics, etc. This would be purely for spur of the moment capturing, not planned recording sessions, something I can whip out at any moment and start recording.&#xD;&#xA;&#xD;&#xA;- 24/96 is essential, 24/192 would be ideal.&#xD;&#xA;&#xD;&#xA;- We'll pretend that price is no object just for arguments sake.&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;Jo" ContentLicense="CC BY-SA 3.0" />
  <row Id="33845" PostHistoryTypeId="1" PostId="20690" RevisionGUID="51fc8d6d-be47-43eb-a01c-991a9ce78c3e" CreationDate="2013-10-30T00:03:27.393" UserId="5624" Text="Who is the king of the portable field recorders?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33846" PostHistoryTypeId="3" PostId="20690" RevisionGUID="51fc8d6d-be47-43eb-a01c-991a9ce78c3e" CreationDate="2013-10-30T00:03:27.393" UserId="5624" Text="&lt;portable-recorder&gt;&lt;field&gt;&lt;recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33848" PostHistoryTypeId="2" PostId="20691" RevisionGUID="7fef79be-04c0-45fa-9942-1d49f0fbae27" CreationDate="2013-10-30T03:12:37.267" UserDisplayName="user6513" Text="If it's about saving some money, there are often deals on the Mbox with PT bundle, so just sell the Mbox after and you'll have somewhat of a discount. If you are still enrolled as a student or you teach, then the educational path is available to you. Beyond that, I'm with Arnoud, this is not the place to ask about how to exploit the system. Talk to your local PT rep and see what they can do for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="33849" PostHistoryTypeId="2" PostId="20692" RevisionGUID="2231f8c2-b65e-48d7-9522-54b97f4a1687" CreationDate="2013-10-30T05:47:44.840" UserId="6571" Text="Try these 2 very nice libs from BOOM:&#xD;&#xA;&#xD;&#xA;&quot;Historical Firearms&quot; - here is a link about how it was made (also as link to library itself):&#xD;&#xA;http://boomlibrary.com/boomlibrary/index.php?option=com_content&amp;view=article&amp;id=94&#xD;&#xA;&#xD;&#xA;and &quot;Black Powder&quot;:&#xD;&#xA;http://www.boomlibrary.com/boomlibrary/products/black-powder" ContentLicense="CC BY-SA 3.0" />
  <row Id="33850" PostHistoryTypeId="2" PostId="20693" RevisionGUID="62d84827-648b-4bb7-bee1-ca5276bccfc2" CreationDate="2013-10-30T06:34:39.173" UserId="6718" Text="You're right, it can't be done purely acoustically.&#xD;&#xA;&#xD;&#xA;It may be able to be done instead with a laser, I can't imagine the quality is great though, its just a surveillance technology.&#xD;&#xA;&#xD;&#xA;https://en.wikipedia.org/wiki/Laser_microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="33852" PostHistoryTypeId="5" PostId="20680" RevisionGUID="1f1b9ed5-c724-4bb1-b518-2bb7ad92577b" CreationDate="2013-10-30T06:52:47.017" UserId="6718" Comment="added 147 characters in body" Text="Live sound is the art of reinforcing and enhancing sound created live on stage in a way that is complementary to the intentions of the performers&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33853" PostHistoryTypeId="24" PostId="20680" RevisionGUID="1f1b9ed5-c724-4bb1-b518-2bb7ad92577b" CreationDate="2013-10-30T06:52:47.017" Comment="Proposed by 6718 approved by 61 edit id of 9" ContentLicense="CC BY-SA 3.0" />
  <row Id="33856" PostHistoryTypeId="5" PostId="20682" RevisionGUID="2b8bcf86-ac4a-47a0-a3e2-98a1af798b65" CreationDate="2013-10-30T12:45:19.380" UserId="6718" Comment="added 111 characters in body" Text="Speakers are electro-mechanical devices designed for the conversion of electrical waveforms into acoustic waves" ContentLicense="CC BY-SA 3.0" />
  <row Id="33857" PostHistoryTypeId="24" PostId="20682" RevisionGUID="2b8bcf86-ac4a-47a0-a3e2-98a1af798b65" CreationDate="2013-10-30T12:45:19.380" Comment="Proposed by 6718 approved by 80 edit id of 10" ContentLicense="CC BY-SA 3.0" />
  <row Id="33858" PostHistoryTypeId="5" PostId="20688" RevisionGUID="c85ec471-29c6-4484-88a2-4be43b4eb8aa" CreationDate="2013-10-30T12:45:23.520" UserId="6718" Comment="added 74 characters in body" Text="A microphone is a device for turn an acoustic wave into an electrical wave" ContentLicense="CC BY-SA 3.0" />
  <row Id="33859" PostHistoryTypeId="24" PostId="20688" RevisionGUID="c85ec471-29c6-4484-88a2-4be43b4eb8aa" CreationDate="2013-10-30T12:45:23.520" Comment="Proposed by 6718 approved by 80 edit id of 13" ContentLicense="CC BY-SA 3.0" />
  <row Id="33860" PostHistoryTypeId="5" PostId="20686" RevisionGUID="9e65bb65-d3ba-4ee8-9655-7d77f1d46690" CreationDate="2013-10-30T12:45:30.880" UserId="6718" Comment="added 63 characters in body" Text="XLR is the defacto standard for connecting balanced microphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="33861" PostHistoryTypeId="24" PostId="20686" RevisionGUID="9e65bb65-d3ba-4ee8-9655-7d77f1d46690" CreationDate="2013-10-30T12:45:30.880" Comment="Proposed by 6718 approved by 80 edit id of 12" ContentLicense="CC BY-SA 3.0" />
  <row Id="33862" PostHistoryTypeId="5" PostId="20684" RevisionGUID="d2adc34a-2994-4449-9088-dc716329438f" CreationDate="2013-10-30T12:45:34.960" UserId="6718" Comment="added 132 characters in body" Text="An amplifier is a device for taking a signal level electrical signal and increases it to a level that can be used to power a speaker" ContentLicense="CC BY-SA 3.0" />
  <row Id="33863" PostHistoryTypeId="24" PostId="20684" RevisionGUID="d2adc34a-2994-4449-9088-dc716329438f" CreationDate="2013-10-30T12:45:34.960" Comment="Proposed by 6718 approved by 80 edit id of 11" ContentLicense="CC BY-SA 3.0" />
  <row Id="33864" PostHistoryTypeId="2" PostId="20695" RevisionGUID="220ac6e9-42de-4997-b753-ed2b804bc65f" CreationDate="2013-10-30T15:59:05.007" UserId="3346" Text="There will be a new Sony PCM D100 in a few months….I love my M10 Superior quality ! Very low noise !!&#xD;&#xA;I would´t recommend the Nagra Sd, I read not very good about it. Sorry. Have no links about articles." ContentLicense="CC BY-SA 3.0" />
  <row Id="33865" PostHistoryTypeId="2" PostId="20696" RevisionGUID="1763487a-ec78-4ffc-8778-f38d242c0eeb" CreationDate="2013-10-30T16:00:10.447" UserId="6269" Text="I've just watched the longplay of Super Mario 3D Land, and have some advice for you. I work with casual games for about a year, and those sounds is from my type of work.&#xD;&#xA;&#xD;&#xA;The basic rule for this SFX's is &quot;imagine, that everything is tiny&quot;. It's like living in a toy world. The sounds is more rounded and all envelopes is as glide as possible. In foley try to use small pieces of wood, stones, plastic and much much more. Keep an eye on &quot;candy&quot;, warm sound. Often it appears in rattle sounds. Just cut that small pieces (they can be very short some times). They are hard to get at first, but with some time spend on it, you start to hear them really well. Also you can hear them in big events, the most popular place is in a tale of explosions, cracks, drops and everything else that divides itself in to pieces. Just cut the tale and gain it up. You can hear a whole new world. Yes, the rattling stones on the seashore is welcome too.&#xD;&#xA;&#xD;&#xA;Aim for develop your personal library with that tiny sounds. These would be very helpful in future, for interface sounds for example.&#xD;&#xA;&#xD;&#xA;For the music pieces (jingles) use pitched percussions (marimba/xylophone/glocken etc.), combine them. They must be as tiny and dotted as possible - with no attack, sustain and release. Just a &quot;pixel of sound&quot;. Most of instruments will be very sharp with this settings. To glide them just double the melody on a few instruments and slightly move left/right. Not too far, just to produce more smoothly and little bit of rattling sound. Just like a stones on the seashore. One of the best instruments for that goal is Korg M-1.&#xD;&#xA;&#xD;&#xA;On the effects side the plate reverb and phaser will help you round these small pieces. Apply them not too much, just for subtle feeling. It must sound natural and warmy.&#xD;&#xA;&#xD;&#xA;I hope my experience will help you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33866" PostHistoryTypeId="2" PostId="20697" RevisionGUID="b4c91ee6-97ab-435e-9360-0aca72f36730" CreationDate="2013-10-30T19:24:52.460" UserId="1011" Text="The Sony D100 looks intriguing. From what I've read, it's due early 2014, and retails for $1000. The extra frequency range looks interesting. But it really depends on how the preamps will shape up, in my opinion.&#xD;&#xA;&#xD;&#xA;http://blog.sony.com/2013/10/sony-unveils-pcm-d100-high-resolution-audio-portable-recorder/&#xD;&#xA;&#xD;&#xA;I love using the Sony D50. I also have a H4n and an H4.&#xD;&#xA;&#xD;&#xA;- I find it is built solidly, which is handy if you plan for it being a device you pack with you wherever you go. That's what I do. I just toss it in my bag and go. I'm pretty rough with it, actually. However, it stands up to a lot of punishment when packed with other random things.&#xD;&#xA;&#xD;&#xA;- I also like its speedy start up time. This is really helpful if you stumble across a cool effect and need to grab it quickly (i.e., an approaching siren). I've found other recorders are not as snappy.&#xD;&#xA;&#xD;&#xA;- To my ears, the D50 sounds the best out of the three I mentioned. It is quite smooth and clear, has decent depth and soundstage.&#xD;&#xA;&#xD;&#xA;- Memory limitations are a bit of problem for an extended shoot (4 GB onboard, max of 4 GB can be added via Memory Stick, according to manufacturer's specs). It's also important to note that the internal and supplemental memory are considered two &quot;devices.&quot; That means you need to switch between them when choosing your recording destination.&#xD;&#xA;&#xD;&#xA;- Not a huge fan of its menu system. I find selecting and scrolling through items a bit cumbersome, but that's a small point.&#xD;&#xA;&#xD;&#xA;The D50 is much pricier than the others I've mentioned, but I believe it's worth it. I think it's the best out of the portables I've tried. Don't forget to get a windsock, you'll need it outdoors." ContentLicense="CC BY-SA 3.0" />
  <row Id="33867" PostHistoryTypeId="5" PostId="20695" RevisionGUID="26999863-3c90-4904-9486-cf4604d47d81" CreationDate="2013-10-30T19:28:05.547" UserId="3346" Comment="added 320 characters in body" Text="There will be a new Sony PCM D100 in a few months….I love my M10 Superior quality ! Very low noise !!&#xD;&#xA;I personally would´t recommend the Nagra Sd, I read not very good about it. Sorry. Have no links about articles. I did a lot of research in the last werks because of my dead h4n and i went for the m10. Super long stand by, superfast boot up ( even with two cards in it) and perfekt portabillity ( it's so small and kightweight). What i also really like is, that it has very low handling noise in comparison to the h4n...." ContentLicense="CC BY-SA 3.0" />
  <row Id="33868" PostHistoryTypeId="5" PostId="20695" RevisionGUID="fc988d63-318f-41fd-a425-52f7e2a72ccf" CreationDate="2013-10-30T19:34:57.370" UserId="3346" Comment="added 165 characters in body" Text="There will be a new Sony PCM D100 in a few months….I love my M10 Superior quality ! Very low noise !!&#xD;&#xA;I personally would´t recommend the Nagra Sd, I read not very good about it. Sorry. Have no links about articles. I did a lot of research in the last werks because of my dead h4n and i went for the m10. Super long stand by, superfast boot up ( even with two cards in it) and perfekt portabillity ( it's so small and lightweight). What i also really like is, that it has very low handling noise in comparison to the h4n....&#xD;&#xA;&#xD;&#xA;Maybe this lik could be very helpful. Some say, this device is exactly the same manufacturer like the nagra! http://www.aeq.eu/products/digital-portable-recorder" ContentLicense="CC BY-SA 3.0" />
  <row Id="33869" PostHistoryTypeId="5" PostId="20695" RevisionGUID="5211a381-8a9a-44b0-a572-5485c2f37d1b" CreationDate="2013-10-30T19:44:19.393" UserId="3346" Comment="added 3 characters in body" Text="There will be a new Sony PCM D100 in a few months….I love my M10 Superior quality ! Very low noise !!&#xD;&#xA;I personally would´t recommend the Nagra Lino. I read not very good about it. Sorry. Have no links about articles. I did a lot of research in the last werks because of my dead h4n and i went for the m10. Super long stand by, superfast boot up ( even with two cards in it) and perfekt portabillity ( it's so small and lightweight). What i also really like is, that it has very low handling noise in comparison to the h4n....&#xD;&#xA;&#xD;&#xA;Maybe this link could be very helpful. Some say, this device is exactly the same manufacturer like the nagra! http://www.aeq.eu/products/digital-portable-recorder" ContentLicense="CC BY-SA 3.0" />
  <row Id="33870" PostHistoryTypeId="2" PostId="20698" RevisionGUID="47a7a273-f867-4359-bca0-0a28f8acb776" CreationDate="2013-10-30T21:55:58.930" UserId="315" Text="Nobody seems to talk about this recorder all that much, but I've had a Sony PCM D1 for years now and absolutely love it. It's been on many a trip with me and held up over years of abuse. It was the expensive predecessor to the PCM D50 and made out of titanium. I got a deal on mine, because I never would have purchased it at the original, crazy $1999 list price.&#xD;&#xA;&#xD;&#xA;It is now discontinued, a tad bulky compared to most handhelds, and unlike the PCM D50 the mics are locked in an XY pattern. But the sound quality is excellent (minus a tiny drop in low end response around 200Hz (which I correct for in mastering) and the self noise is super low. If you can find one used, or back stock, I highly recommend it.&#xD;&#xA;&#xD;&#xA;The Nagra SD also seems promising. I've checked one out at a trade show and the build quality/size is quite nice. Can't comment on the sound though. Glad to hear Sony is introducing a new hand held, they certainly lead the field IMHO." ContentLicense="CC BY-SA 3.0" />
  <row Id="33871" PostHistoryTypeId="5" PostId="20698" RevisionGUID="0eed50aa-9385-4823-b77f-06ee3204ecf5" CreationDate="2013-10-31T00:48:25.177" UserId="315" Comment="deleted 1 characters in body" Text="Nobody seems to talk about this recorder all that much, but I've had a Sony PCM D1 for years now and absolutely love it. It's been on many a trip with me and held up over years of abuse. It was the expensive predecessor to the PCM D50 and made out of titanium. I got a deal on mine, because I never would have purchased it at the original, crazy $1999 list price.&#xD;&#xA;&#xD;&#xA;It is now discontinued, a tad bulky compared to most handhelds, and unlike the PCM D50 the mics are locked in an XY pattern. But the sound quality is excellent (minus a tiny drop in low end response around 200Hz which I correct for in mastering) and the self noise is super low. If you can find one used, or back stock, I highly recommend it.&#xD;&#xA;&#xD;&#xA;The Nagra SD also seems promising. I've checked one out at a trade show and the build quality/size is quite nice. Can't comment on the sound though. Glad to hear Sony is introducing a new hand held, they certainly lead the field IMHO." ContentLicense="CC BY-SA 3.0" />
  <row Id="33873" PostHistoryTypeId="2" PostId="20700" RevisionGUID="97664f8e-9d7f-47f9-920d-7d586c257eed" CreationDate="2013-10-31T12:08:40.463" UserId="6733" Text="I know that Noise cancellation never works on scales larger than the sound's wavelength.but,at underground stations during the train arrival time we experience a lot of disturbance which sometimes make announcements and random talk to be noisy.assuming a free field condition, which is valid locally in a large open space.ignoring the reverberant field . The focus is on reducing the SPL near the tunnel opening, say at the platform on 10m distance.so my question is,is it possible to reduce the tunnel boom and added ambiend noise using a combined active and passive cotrollers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33874" PostHistoryTypeId="1" PostId="20700" RevisionGUID="97664f8e-9d7f-47f9-920d-7d586c257eed" CreationDate="2013-10-31T12:08:40.463" UserId="6733" Text="Active noise control barrier at tunnel openings in undergroundsubways" ContentLicense="CC BY-SA 3.0" />
  <row Id="33875" PostHistoryTypeId="3" PostId="20700" RevisionGUID="97664f8e-9d7f-47f9-920d-7d586c257eed" CreationDate="2013-10-31T12:08:40.463" UserId="6733" Text="&lt;noise-reduction&gt;&lt;acoustics&gt;&lt;active-noise-control&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33884" PostHistoryTypeId="2" PostId="20702" RevisionGUID="7b37eaa7-64dd-44e2-8db9-cd7a352492c9" CreationDate="2013-10-31T21:27:58.437" UserId="6425" Text="Since some time, I try to get my ADR sound perfect. But it feels like I am missing out something. Do you know what equipment professional studios use for off-takes in TV adds an on-takes in movies. And also how do they treat their Recording-Booths? &#xD;&#xA;&#xD;&#xA;Thx for your help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33885" PostHistoryTypeId="1" PostId="20702" RevisionGUID="7b37eaa7-64dd-44e2-8db9-cd7a352492c9" CreationDate="2013-10-31T21:27:58.437" UserId="6425" Text="ADR Microphones, Pre-Amps, Compressors, Filters, Reverb" ContentLicense="CC BY-SA 3.0" />
  <row Id="33886" PostHistoryTypeId="3" PostId="20702" RevisionGUID="7b37eaa7-64dd-44e2-8db9-cd7a352492c9" CreationDate="2013-10-31T21:27:58.437" UserId="6425" Text="&lt;recording&gt;&lt;adr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33890" PostHistoryTypeId="2" PostId="20704" RevisionGUID="d7ae1358-1f2e-4a92-b6af-7510e44d3ec1" CreationDate="2013-11-01T03:29:50.570" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="33891" PostHistoryTypeId="2" PostId="20705" RevisionGUID="3188b6a3-a551-409b-8540-d10ce17b452d" CreationDate="2013-11-01T03:29:50.570" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="33892" PostHistoryTypeId="2" PostId="20706" RevisionGUID="91762a23-32fe-4d43-bab8-b9b93856624c" CreationDate="2013-11-01T03:33:09.480" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="33893" PostHistoryTypeId="2" PostId="20707" RevisionGUID="548466d8-459d-4101-86d2-8ef10eed9e10" CreationDate="2013-11-01T03:33:09.480" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="33894" PostHistoryTypeId="5" PostId="20705" RevisionGUID="573d6d14-9716-4040-b7fa-f5c207445f7c" CreationDate="2013-11-01T07:49:25.930" UserId="6718" Comment="added 211 characters in body" Text="Active noise control (ANC), also known as noise cancellation, or active noise reduction (ANR), is a method for reducing unwanted sound by the addition of a second sound specifically designed to cancel the first." ContentLicense="CC BY-SA 3.0" />
  <row Id="33895" PostHistoryTypeId="24" PostId="20705" RevisionGUID="573d6d14-9716-4040-b7fa-f5c207445f7c" CreationDate="2013-11-01T07:49:25.930" Comment="Proposed by 6718 approved by 80 edit id of 16" ContentLicense="CC BY-SA 3.0" />
  <row Id="33896" PostHistoryTypeId="5" PostId="20706" RevisionGUID="754fae70-d67a-4b86-86d0-dc33b9fd509b" CreationDate="2013-11-01T07:49:35.133" UserId="6718" Comment="added 178 characters in body" Text="ipad's are popular multi-touch &quot;tablet&quot; computers made by Apple, they are gaining popularity as a control surface as well as a sound source.&#xD;&#xA;&#xD;&#xA;https://en.wikipedia.org/wiki/Ipad" ContentLicense="CC BY-SA 3.0" />
  <row Id="33897" PostHistoryTypeId="24" PostId="20706" RevisionGUID="754fae70-d67a-4b86-86d0-dc33b9fd509b" CreationDate="2013-11-01T07:49:35.133" Comment="Proposed by 6718 approved by 80 edit id of 17" ContentLicense="CC BY-SA 3.0" />
  <row Id="33898" PostHistoryTypeId="5" PostId="20704" RevisionGUID="309ff79b-68e4-4b63-a22b-8de6cd2f5214" CreationDate="2013-11-01T07:49:43.757" UserId="6718" Comment="added 265 characters in body" Text="Active noise control (ANC), also known as noise cancellation, or active noise reduction (ANR), is a method for reducing unwanted sound by the addition of a second sound specifically designed to cancel the first.&#xD;&#xA;&#xD;&#xA;https://en.wikipedia.org/wiki/Active_noise_control" ContentLicense="CC BY-SA 3.0" />
  <row Id="33899" PostHistoryTypeId="24" PostId="20704" RevisionGUID="309ff79b-68e4-4b63-a22b-8de6cd2f5214" CreationDate="2013-11-01T07:49:43.757" Comment="Proposed by 6718 approved by 80 edit id of 15" ContentLicense="CC BY-SA 3.0" />
  <row Id="33900" PostHistoryTypeId="5" PostId="20707" RevisionGUID="9d3a5de8-8df6-4d61-bf29-cdb1cc96b67f" CreationDate="2013-11-01T07:49:52.697" UserId="6718" Comment="added 140 characters in body" Text="ipad's are popular multi-touch &quot;tablet&quot; computers made by Apple, they are gaining popularity as a control surface as well as a sound source." ContentLicense="CC BY-SA 3.0" />
  <row Id="33901" PostHistoryTypeId="24" PostId="20707" RevisionGUID="9d3a5de8-8df6-4d61-bf29-cdb1cc96b67f" CreationDate="2013-11-01T07:49:52.697" Comment="Proposed by 6718 approved by 80 edit id of 18" ContentLicense="CC BY-SA 3.0" />
  <row Id="33906" PostHistoryTypeId="2" PostId="20709" RevisionGUID="7ffb1d44-a46a-4ebd-b7af-4f03699170c1" CreationDate="2013-11-01T11:31:15.587" UserId="6738" Text="I want to add some thing what others said:&#xD;&#xA;&#xD;&#xA;Basically, the best way to understand early reflections are to hear them.&#xD;&#xA;Record the driest possible signal, like record some words with speaking closely to your microphone. Then use a plugin where you can switch early reflections on and reverb off. I would use Waves TrueVerb for that. &#xD;&#xA;&#xD;&#xA;**Example:**&#xD;&#xA;http://www.youtube.com/watch?v=8M5pOf7IT-c&#xD;&#xA;&#xD;&#xA;When you are what the effect does, you can hear much easier how proffessional mixes, videos use reverb and early reflections. And by that, you can develop an instict for using the right reverb settings.&#xD;&#xA;&#xD;&#xA;**One other note:** it's *totally normal to overuse reverb/early reflections*, as we always want to hear very clearly that we had added something. *But this is wrong*. Using too much of them masks the direct signal and it is very tiresome to listen to music, as your brain has to constantly decode the signal from the mud.&#xD;&#xA;&#xD;&#xA;Not using any reverb, on the other hand, would sound like you put cotton balls in to your ears." ContentLicense="CC BY-SA 3.0" />
  <row Id="33907" PostHistoryTypeId="5" PostId="17243" RevisionGUID="e84a0372-dabf-45e4-8d95-c2a4ef03d68f" CreationDate="2013-11-01T11:47:21.197" UserDisplayName="user80" Comment="Grammar" Text="I'm confused about the subject of Early Reflections.  I am trying to learn how to mix for film, and I have recently learned how insanely important creating the right space with reverb, EQ and delay is.&#xD;&#xA;&#xD;&#xA;What do you guys use to create early reflections? I used to think that you did this with the pre delay setting in your reverb, but now I'm not sure.&#xD;&#xA;&#xD;&#xA;Do you use delay plugins to do this? The concept keeps slipping away from me." ContentLicense="CC BY-SA 3.0" />
  <row Id="33908" PostHistoryTypeId="2" PostId="20710" RevisionGUID="af06fe4c-4ccc-48dd-8954-3faad07ed649" CreationDate="2013-11-01T13:25:59.607" UserId="6663" Text="I aim to use the same microphone that was originally used in the film (if not one similar) and the same positioning. I also ask the actor to copy the movement on screen if they have to (for example tilting their head down or left and right etc. &#xD;&#xA;&#xD;&#xA;I'd use a dead room and hope that there is an IR recording of the location to load into my reverb. If not I'll try my best to make it match OR record the ADR in a similar sized room.&#xD;&#xA;&#xD;&#xA;I would also record it clean with no reverb, compression etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="33909" PostHistoryTypeId="2" PostId="20711" RevisionGUID="72a24850-49bc-468c-93bd-a5df503229b1" CreationDate="2013-11-01T14:35:16.267" UserId="194" Text="key things:&#xD;&#xA;&#xD;&#xA; - large, super dead, super low noise floor recording space&#xD;&#xA; - good quality shotgun and lav&#xD;&#xA; - shotgun far enough away to match positioning on production&#xD;&#xA; - good performance (louder than they think they need to speak, give them good context, headphone mix affects performance, sync needs to be dead-on)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33910" PostHistoryTypeId="2" PostId="20712" RevisionGUID="fcf5c932-d2ac-4246-922b-e80021ea1ef1" CreationDate="2013-11-01T14:37:01.213" UserId="194" Text="active won't do much good for you over a big space - too many variables.  Acoustic damping is likely to be the best solution.  Kill it at the source." ContentLicense="CC BY-SA 3.0" />
  <row Id="33917" PostHistoryTypeId="2" PostId="20714" RevisionGUID="41b2546e-72cd-47d7-ba2f-d399d518911a" CreationDate="2013-11-02T02:19:09.193" UserId="6001" Text="**Stoker** by Chan-wook Park it's sublime I must say!!!&#xD;&#xA;&#xD;&#xA;http://www.imdb.com/title/tt1682180/" ContentLicense="CC BY-SA 3.0" />
  <row Id="33918" PostHistoryTypeId="16" PostId="20714" RevisionGUID="2c8a85a0-60ae-48af-a699-76e443734c49" CreationDate="2013-11-02T02:19:09.193" UserId="6001" />
  <row Id="33919" PostHistoryTypeId="2" PostId="20715" RevisionGUID="d519a841-38f6-4fb5-af79-8f5efe072101" CreationDate="2013-11-02T02:32:52.937" UserId="6001" Text="I believe this is one of those marriages between picture and sound that is sublime. One it's not above the other. They just complement each other. Like in a dance, when one element is ready to shine the other just supports it while they're dancing. &#xD;&#xA;It is a pleasure to see and it is a pleasure to hear.&#xD;&#xA;EG" ContentLicense="CC BY-SA 3.0" />
  <row Id="33920" PostHistoryTypeId="2" PostId="20716" RevisionGUID="148bbfb7-3078-4910-998a-0145889b8948" CreationDate="2013-11-02T13:43:56.823" UserId="6425" Text="As Internet Human statet, this is a high end restoration job, that needs special Programms. But I want to add one little Plug-In to the list. It is the De-Verb plug in from Brainworxs that can, sometimes, work wonders to remove the sound of a room." ContentLicense="CC BY-SA 3.0" />
  <row Id="33921" PostHistoryTypeId="5" PostId="20255" RevisionGUID="f9ea11f8-7f7c-407f-98eb-7e5d88b9b2d6" CreationDate="2013-11-02T13:50:41.160" UserDisplayName="user80" Comment="Grammer" Text="A friend of mine helps me to record Thai phrases in Thailand. I send him some phrases everyweek and due to bad resources in his village I have to wait a rather long time to get the recordings sent back. The first time I sent a few phrases to test if his voice and soundquality was OK. I was surprised. No clicks and pops and so on. But this time - the second time a got some phrases back - the sound is as before, no clicks, pops and so on - But, I fear he has been recording in a Buddhist temple or something, or even a toilet :-P. Would be wrong to say echo but you know how it would sound if one is recording in a temple or something. &#xD;&#xA;&#xD;&#xA;Instead of contacting him again, I wonder if this &quot;temple voice sound&quot; somehow could be removed? Is there a good filter for this? I am using Audacity and trying the effects that comes with the program (high pass filtering, reverb and so on - but none of them works).&#xD;&#xA;&#xD;&#xA;I hope that you understand my question and hopefully can provide an answer&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33922" PostHistoryTypeId="6" PostId="20255" RevisionGUID="f9ea11f8-7f7c-407f-98eb-7e5d88b9b2d6" CreationDate="2013-11-02T13:50:41.160" UserDisplayName="user80" Comment="Grammer" Text="&lt;software&gt;&lt;audio-restoration&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33923" PostHistoryTypeId="4" PostId="20255" RevisionGUID="f9ea11f8-7f7c-407f-98eb-7e5d88b9b2d6" CreationDate="2013-11-02T13:50:41.160" UserDisplayName="user80" Comment="Grammer" Text="Manipulating sound files (remove &quot;templebackground&quot; sound)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33924" PostHistoryTypeId="2" PostId="20717" RevisionGUID="7fe43ffa-e499-463e-bf96-5be501107cbe" CreationDate="2013-11-02T14:16:12.483" UserId="3299" Text="If getting him to re-record, consider asking him to use a dynamic mic such as the Shure SM-58 or SM-7b. &#xD;&#xA;&#xD;&#xA;Being both dynamic mics with a cardioid pattern, they'll pick up considerably less room sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33925" PostHistoryTypeId="4" PostId="20255" RevisionGUID="5b8e52b6-fc11-4799-a172-180855887203" CreationDate="2013-11-02T15:40:20.477" UserDisplayName="user80" Comment="edited title" Text="Manipulating sound files (remove &quot;temple background&quot; sound)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33926" PostHistoryTypeId="2" PostId="20718" RevisionGUID="7fccb6fb-5698-4074-a831-96afdfa63f43" CreationDate="2013-11-03T05:06:11.707" UserId="6744" Text="I need some information about vintage tube amplifiers, and also information about recreating ( or emulating) in the form of dsp plugin. please help me. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33927" PostHistoryTypeId="1" PostId="20718" RevisionGUID="7fccb6fb-5698-4074-a831-96afdfa63f43" CreationDate="2013-11-03T05:06:11.707" UserId="6744" Text="I need some information about vintage tube amplifiers" ContentLicense="CC BY-SA 3.0" />
  <row Id="33928" PostHistoryTypeId="3" PostId="20718" RevisionGUID="7fccb6fb-5698-4074-a831-96afdfa63f43" CreationDate="2013-11-03T05:06:11.707" UserId="6744" Text="&lt;amplifier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33929" PostHistoryTypeId="2" PostId="20719" RevisionGUID="471a72ca-af23-48d4-906a-b863cf22f05f" CreationDate="2013-11-03T11:23:01.427" UserId="3336" Text="I've been commissioned to work on a soundscape to accompany a art installation/theatre performance to celebrate 150 years of the Red Cross. I've been asked to recreate the sonic ambience of a refugee camp where masses of Vietnamese families fled to during the mid-70's onwards.&#xD;&#xA;&#xD;&#xA;I'm struggling to source recordings of Vietnamese children, of which there were thousands, held in these camps. I've found some recordings by Rob Nokes at Sounddogs of school children in Vietnam but this is all I can find in any libraries around.&#xD;&#xA;&#xD;&#xA;Would anybody be able to help me with any recordings they may have or can point me in the right direction? We do have a small budget or I'm happy to swap some of my personal library with you.&#xD;&#xA;&#xD;&#xA;Thanks...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33930" PostHistoryTypeId="1" PostId="20719" RevisionGUID="471a72ca-af23-48d4-906a-b863cf22f05f" CreationDate="2013-11-03T11:23:01.427" UserId="3336" Text="Vietnamese Children recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="33931" PostHistoryTypeId="3" PostId="20719" RevisionGUID="471a72ca-af23-48d4-906a-b863cf22f05f" CreationDate="2013-11-03T11:23:01.427" UserId="3336" Text="&lt;field&gt;&lt;recordings&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33932" PostHistoryTypeId="2" PostId="20720" RevisionGUID="e1190099-2fe4-4171-b1ee-3115a63d7c53" CreationDate="2013-11-03T11:26:53.117" UserId="6432" Text="Be more specific as to what you are after. Information could mean anything... Do you want schematics, model numbers, pictures? If you put in a bit more effort with your question we can help you better. &#xD;&#xA;&#xD;&#xA;As you don't go into details of what you are doing or why you are doing it, it is difficult to provide useful info, but one method could be taking impulse responses of existing cabinets, another could be modelling the amp using filters and waveshaping to model the response of the tube. Look those up and see if they're what you are after." ContentLicense="CC BY-SA 3.0" />
  <row Id="33933" PostHistoryTypeId="2" PostId="20721" RevisionGUID="708ae5d9-db80-4781-8360-c06e9fb4758d" CreationDate="2013-11-03T14:05:52.850" UserId="6746" Text="the quality is ok video and picture, actually it is quite enough, but when you record a video, the audio that comes with it is distorted, tried alot of angles and distance still same same. everything else is ok though except that built in microphone, compared the video/audio recording to a samsung S3 and iphone 4g, video quality is same with the 2, nexus's 7 audio sucks big time i'm in a band by the way and i try to record live performances of my band with this twice and you wont understand anything compared when, video is great though did not expect too much and was surprised i tried recording with an iphone 4 and s3 which is decent both video and audio wise" ContentLicense="CC BY-SA 3.0" />
  <row Id="33934" PostHistoryTypeId="2" PostId="20722" RevisionGUID="5e62486e-7e2e-4f8f-80a7-812cc43c4e77" CreationDate="2013-11-03T15:49:38.247" UserId="6747" Text="I'm basically looking for a device that allows for multiple (at least two, maybe three or four) stereo RCA inputs and a single stereo RCA output. There needs to be a fader on each stereo input. A crossfader is optional and I do not need any EQ options.&#xD;&#xA;&#xD;&#xA;This device needs to be as cheap as possible, and is simple to mix together multiple inputs in a home setup to avoid me having to unplug/replug various devices and changing the volume to match the device. It's not for professional mixing.&#xD;&#xA;&#xD;&#xA;I'm struggling to find something that is cheap, as all I can find is expensive DJ mixers with EQ options, whereas I require something cheap and basic.&#xD;&#xA;&#xD;&#xA;I can't find anything suitable. I found some things but they are not cheap or have the wrong inputs. Hope you can help me out here.&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33935" PostHistoryTypeId="1" PostId="20722" RevisionGUID="5e62486e-7e2e-4f8f-80a7-812cc43c4e77" CreationDate="2013-11-03T15:49:38.247" UserId="6747" Text="Best cheap basic analogue audio mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33936" PostHistoryTypeId="3" PostId="20722" RevisionGUID="5e62486e-7e2e-4f8f-80a7-812cc43c4e77" CreationDate="2013-11-03T15:49:38.247" UserId="6747" ContentLicense="CC BY-SA 3.0" />
  <row Id="33937" PostHistoryTypeId="2" PostId="20723" RevisionGUID="07e3349d-ff93-439f-be54-ed5b72ab3781" CreationDate="2013-11-03T18:38:55.530" UserId="1216" Text="you could buy a (2nd hand) behringer mixer and some rca&gt;jack adapters: http://www.behringer.com/EN/Products/UB1002FX.aspx&#xD;&#xA;&#xD;&#xA;not a perfect but a cheap solution" ContentLicense="CC BY-SA 3.0" />
  <row Id="33938" PostHistoryTypeId="2" PostId="20724" RevisionGUID="1c01a0f6-a39d-4e25-9a7e-e2806c041c8c" CreationDate="2013-11-03T19:32:28.763" UserId="6425" Text="I do not know your budget, but i would go for a very durable small device. Did you check the Allen Heath ZED Mixers?&#xD;&#xA;&#xD;&#xA;http://www.thomann.de/de/allenheath_zed10.htm&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33939" PostHistoryTypeId="2" PostId="20725" RevisionGUID="9da12518-6f2a-4027-90ee-84511149ac3a" CreationDate="2013-11-03T21:05:50.223" UserId="6718" Text="Yep, you're right, you'll be taking the impedance too low, there are pro amplifiers that could do that, that are &quot;2 ohm stable&quot; but this isn't one of them.&#xD;&#xA;&#xD;&#xA;Sorry." ContentLicense="CC BY-SA 3.0" />
  <row Id="33940" PostHistoryTypeId="2" PostId="20726" RevisionGUID="4f0eb05b-5e65-45e4-bf65-1da1e2acb8e4" CreationDate="2013-11-03T22:41:44.540" UserId="5624" Text="I have some recordings of Cambodian children playing if that could possibly work? I'm not sure if their languages are sonically simiallar at all but at a guess they may be. Depending how loud u have it in the mix and how accurate it needs to be it could work for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="33941" PostHistoryTypeId="2" PostId="20727" RevisionGUID="444824a5-ab46-46ab-b15e-cae970f88d69" CreationDate="2013-11-04T06:03:57.443" UserId="6435" Text="A friend of mine just got back from a trip to Vietnam, and he shot a lot of film footage for travel videos he makes. I will ask if he has any sounds that might help you, and I can maybe put you in touch with him if it looks like that's the case." ContentLicense="CC BY-SA 3.0" />
  <row Id="33942" PostHistoryTypeId="5" PostId="20718" RevisionGUID="bf51b384-14e4-432e-ad9a-c0175bf045a2" CreationDate="2013-11-04T06:49:30.320" UserId="6744" Comment="added 97 characters in body" Text="I need some information about vintage tube amplifiers, and also information about recreating ( or emulating) in the form of dsp plugin. please help me. &#xD;&#xA;&#xD;&#xA;Need Schematics of the the tube amp and also the DSP PLugin, &#xD;&#xA;&#xD;&#xA;ALSO need INFO ABOUT ITS Physical modeling or Programming into DSP PLUGIN..&#xD;&#xA;&#xD;&#xA;THANK YOU." ContentLicense="CC BY-SA 3.0" />
  <row Id="33943" PostHistoryTypeId="2" PostId="20728" RevisionGUID="4c5b9251-b85d-4cfd-b019-9bfe8914cb1d" CreationDate="2013-11-04T07:14:43.107" UserDisplayName="user6513" Text="does anyone know if there is a text file for DJ's SFX IV? I want to be able to search the SFX in Audiofinder instead of the crappy Juicer 3 app. It's painful to keep having to run 2 search engines at the same time so if anyone knows of any solution do let me know.&#xD;&#xA;&#xD;&#xA;FYI, DJ shut down their forum, and their support doesn't seem to be the most responsive. They've also taken out the old libraries and replaced it with a single new one. I think its a useful little library and find it a shame that I haven't been able to utilise it.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33944" PostHistoryTypeId="1" PostId="20728" RevisionGUID="4c5b9251-b85d-4cfd-b019-9bfe8914cb1d" CreationDate="2013-11-04T07:14:43.107" UserDisplayName="user6513" Text="Importing Digital Juice Sound FX IV metadata to Audiofinder" ContentLicense="CC BY-SA 3.0" />
  <row Id="33945" PostHistoryTypeId="3" PostId="20728" RevisionGUID="4c5b9251-b85d-4cfd-b019-9bfe8914cb1d" CreationDate="2013-11-04T07:14:43.107" UserDisplayName="user6513" Text="&lt;sfx&gt;&lt;library-sound-effects&gt;&lt;sound-library&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33946" PostHistoryTypeId="5" PostId="20718" RevisionGUID="e46ae1b4-6b82-4551-8569-76954523c915" CreationDate="2013-11-04T07:24:33.927" UserId="6744" Comment="deleted 18 characters in body" Text="Editing My question again.&#xD;&#xA;&#xD;&#xA;I need a Little HISTORY about Tube Amplifiers or Tube Sound,&#xD;&#xA;&#xD;&#xA;need Signal Processing theory of the same, Its Schematics &#xD;&#xA;&#xD;&#xA;and  &#xD;&#xA;&#xD;&#xA;importantly need how it is RE-Modeled into a DSP Plugin. (either by Programming or Capturing Impulse Responses)&#xD;&#xA;&#xD;&#xA;Please Help me..&#xD;&#xA;&#xD;&#xA;THANK YOU.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33947" PostHistoryTypeId="2" PostId="20729" RevisionGUID="0f587761-8e5d-4205-8d28-a630ebee6346" CreationDate="2013-11-04T07:30:02.607" UserId="6484" Text="An interesting issue came up when a friend was mixing down his mono tracks through a stereo aux to his stereo master. The was a noticeable drop in volume by 3-4 dB which I find very strange. &#xD;&#xA;&#xD;&#xA;Can anyone identify why this would occur as I simply cannot put my finger on it. The metre was at 0 on both the aux and master channels so this is not the issue. &#xD;&#xA;&#xD;&#xA;Has anyone encountered this before?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="33948" PostHistoryTypeId="1" PostId="20729" RevisionGUID="0f587761-8e5d-4205-8d28-a630ebee6346" CreationDate="2013-11-04T07:30:02.607" UserId="6484" Text="Drop in levels when bouncing through an aux track" ContentLicense="CC BY-SA 3.0" />
  <row Id="33949" PostHistoryTypeId="3" PostId="20729" RevisionGUID="0f587761-8e5d-4205-8d28-a630ebee6346" CreationDate="2013-11-04T07:30:02.607" UserId="6484" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33950" PostHistoryTypeId="2" PostId="20730" RevisionGUID="fe88d73f-aecb-45da-8e8f-2b00a41cde60" CreationDate="2013-11-04T07:56:02.797" UserId="1228" Text="Did the volume drop or level drop?  Two totally different things.  If it's the level that dropped, Well, the mono signal (on a mono meter) will drop by that much across stereo meters because of how the signal is distributed.&#xD;&#xA;&#xD;&#xA;Double in energy = 3dB.  Cutting a signal from one to two channels evenly means that each side of the resulting signal will be 3dB lower - again not the volume but the distribution of energy (across multiple channels vs a single channel)&#xD;&#xA;&#xD;&#xA;When you bring the stereo file back in, split to mono, send both tracks to a mono aux, pan hard center and play both - because the signal is in phase, both signals will sum +3 dB to the original level across the aux." ContentLicense="CC BY-SA 3.0" />
  <row Id="33951" PostHistoryTypeId="2" PostId="20731" RevisionGUID="96575f3b-2864-4dac-b54a-4985a8368ee2" CreationDate="2013-11-04T09:06:41.717" UserId="4057" Text="Can you give us some more information as to how he was performing this activity? Analogue mixing desk or digital DAW? If so - which one? Depending on the content of the mono tracks I can easily demonstrate mixing two mono tracks containing tone into a stereo track and have Zero output. All depends on the phase of the incoming signals and how they interact with each other." ContentLicense="CC BY-SA 3.0" />
  <row Id="33952" PostHistoryTypeId="2" PostId="20732" RevisionGUID="7de10889-7472-4048-b96f-2864a5eb33f1" CreationDate="2013-11-04T11:19:03.010" UserId="6749" Text="I'm putting together a guide on how you can make your own Christmas SFX using common household objects. I've got a list of ideas going already, but I'm still looking for ideas for making various sounds such as:&#xD;&#xA;&#xD;&#xA;* Sleigh bells (without having actual sleigh bells at hand)&#xD;&#xA;* Sleigh ride&#xD;&#xA;* Gift opening and shaking&#xD;&#xA;* Snowball fight&#xD;&#xA;* Winter wind&#xD;&#xA;* Tree felling&#xD;&#xA;* Christmas cooking (roasting and sauce bubbling)&#xD;&#xA;* Christmas ornaments ringing&#xD;&#xA;* Chimney gliding (for Santa's house entry)&#xD;&#xA;* Santa Footsteps&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The plan is to list fun, novel ways of creating Christmas sound effects using just what everyone has laying about in their house. &#xD;&#xA;&#xD;&#xA;So if you've got ideas for these - or other Christmassy sounds - please let me know.&#xD;&#xA;&#xD;&#xA;The guide will be published on [A Sound Effect][1] and you'll of course be credited with your idea.&#xD;&#xA;&#xD;&#xA;Really looking forward to hearing your ideas!&#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;-Asbjoern&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.asoundeffect.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="33953" PostHistoryTypeId="1" PostId="20732" RevisionGUID="7de10889-7472-4048-b96f-2864a5eb33f1" CreationDate="2013-11-04T11:19:03.010" UserId="6749" Text="DIY Christmas SFX - any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33954" PostHistoryTypeId="3" PostId="20732" RevisionGUID="7de10889-7472-4048-b96f-2864a5eb33f1" CreationDate="2013-11-04T11:19:03.010" UserId="6749" Text="&lt;sound-design&gt;&lt;foley&gt;&lt;sfx&gt;&lt;tips&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33955" PostHistoryTypeId="2" PostId="20733" RevisionGUID="336af5c0-810c-42a7-92a0-f193e53acfb7" CreationDate="2013-11-04T12:17:02.970" UserId="618" Text="More ideas :&#xD;&#xA;&#xD;&#xA; - Reindeer call&#xD;&#xA; - Christmas market ambience&#xD;&#xA; - Fireplace sounds&#xD;&#xA; - Christmas goblins/elves vocalizations&#xD;&#xA; - Toy's sounds&#xD;&#xA;&#xD;&#xA;All the best, this guide is a great idea!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33956" PostHistoryTypeId="2" PostId="20734" RevisionGUID="4abc7c7c-469f-4e19-91e7-07a6a9b71f14" CreationDate="2013-11-04T15:35:43.190" UserDisplayName="user6513" Text="Food:&#xD;&#xA;- Sizzle of meat roasting&#xD;&#xA;- Crackling of pork skin roasting&#xD;&#xA;&#xD;&#xA;Heat:&#xD;&#xA;- Crackle of wood burning&#xD;&#xA;- Kettle whistling&#xD;&#xA;- Coal being raked&#xD;&#xA;&#xD;&#xA;Life:&#xD;&#xA;- Baby cooing&#xD;&#xA;- Children running down/up stairs&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33957" PostHistoryTypeId="2" PostId="20735" RevisionGUID="6d37ad42-9a90-4329-9392-9e3f5506176f" CreationDate="2013-11-04T20:28:14.980" UserId="6749" Text="Actually, it doesn't *have* to be things you have in the house - just everyday objects that are easy to come by. Let me give a few examples:&#xD;&#xA;&#xD;&#xA;* A crackling fireplace: Could be done with a bag of potato chips being being slowly squeezed/compressed or bubble wrap being squeezed/twisted&#xD;&#xA;&#xD;&#xA;* Walking in snow: Could be done with flour, corn starch or salt in a bucket&#xD;&#xA;&#xD;&#xA;etc - hope this gives you an idea of what I'm thinking of :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33958" PostHistoryTypeId="2" PostId="20736" RevisionGUID="08a64490-e29e-4d40-bf72-ef0bf9f9f642" CreationDate="2013-11-04T20:51:48.520" UserId="6425" Text="HoHoHo - Created by using a combination of your throat, your tongue, your teeth and your lips. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33959" PostHistoryTypeId="2" PostId="20737" RevisionGUID="fb0e96d6-afbf-49c1-bf54-0abf37df9931" CreationDate="2013-11-04T22:51:02.657" UserId="315" Text="I have a recording I made in Hue, Vietnam of a group of middle school aged kids playing/rough housing in a public park after school. Would be happy to send it your way if that's what you're looking for." ContentLicense="CC BY-SA 3.0" />
  <row Id="33960" PostHistoryTypeId="5" PostId="20736" RevisionGUID="08672dfd-dc47-496a-8813-08af6002fb1c" CreationDate="2013-11-04T23:32:16.677" UserId="6425" Comment="added 15 characters in body" Text="HoHoHo - Created by using a combination of your throat, your tongue, your teeth, vocal strings and your lips. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33961" PostHistoryTypeId="2" PostId="20738" RevisionGUID="f4d6f968-88b4-40b1-aaf3-ca5dec8eb5d0" CreationDate="2013-11-05T06:27:35.357" UserId="6571" Text="I had the same problem a few years ago, so I made Excel table for it manually from Juicer searcher, you can download it here - hope it'll help:&#xD;&#xA;&#xD;&#xA;http://liquidblasted.net/other/juicy_sound_tracklist_4.zip" ContentLicense="CC BY-SA 3.0" />
  <row Id="33962" PostHistoryTypeId="2" PostId="20739" RevisionGUID="cbd44089-4b28-4a03-8b70-2976ce59e046" CreationDate="2013-11-05T12:04:44.840" UserId="6755" Text="Dubstep music is usually heavily loaded with samples. It's my goal to make my own high quality samples to be unique. However at times I struggle to make anything sound decent, so I resort to buying samples from Beaport. When I listen to the samples I'm overwhelmed by the sound quality and how accurate they are to the sound I'm looking for.&#xD;&#xA;&#xD;&#xA;This makes me wonder... Who makes these samples? If they're that good why aren't they producing their own full length tracks. If they are producing themselves surely they'd keep their samples to themselves as opposed to helping the competition?&#xD;&#xA;&#xD;&#xA;A google search didn't help me with this question." ContentLicense="CC BY-SA 3.0" />
  <row Id="33963" PostHistoryTypeId="1" PostId="20739" RevisionGUID="cbd44089-4b28-4a03-8b70-2976ce59e046" CreationDate="2013-11-05T12:04:44.840" UserId="6755" Text="Who makes sample packs and why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33964" PostHistoryTypeId="3" PostId="20739" RevisionGUID="cbd44089-4b28-4a03-8b70-2976ce59e046" CreationDate="2013-11-05T12:04:44.840" UserId="6755" Text="&lt;samples&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33965" PostHistoryTypeId="5" PostId="20739" RevisionGUID="10e323e8-ddf8-4337-9eda-0c777cad71f2" CreationDate="2013-11-05T12:17:55.040" UserId="6755" Comment="added 135 characters in body" Text="Dubstep music is usually heavily loaded with samples. It's my goal to make my own high quality samples to be unique. However at times I struggle to make anything sound decent, so I resort to buying samples from Beaport. When I listen to the samples I'm overwhelmed by the sound quality and how accurate they are to the sound I'm looking for.&#xD;&#xA;&#xD;&#xA;This makes me wonder... Who makes these samples? If they're that good why aren't they producing their own full length tracks. If they are producing themselves surely they'd keep their samples to themselves as opposed to helping the competition?&#xD;&#xA;&#xD;&#xA;This might appear to be a daft question but if I had the skill to to sound design to that extent. I'd use it to its full potential!&#xD;&#xA;&#xD;&#xA;A google search didn't help me with this question." ContentLicense="CC BY-SA 3.0" />
  <row Id="33966" PostHistoryTypeId="2" PostId="20740" RevisionGUID="24ef386f-956c-4aad-88fe-65de7dd243a7" CreationDate="2013-11-05T14:43:29.057" UserId="6478" Text="These packs are mostly made by producers who are working under their own moniker too. The reason to produce them is simple, if you are an experienced producer, it's pretty much the easiest and less time consuming thing to make loops and samples then sell them on these sites. People don't have to buy music to listen, they can stream for free. But if you want to produce, then you need the WAV files on your computer. So sometimes it can be better income for a producer than selling music, as for beginners it's easier to buy these samples and loops, than spending years with production work to learn how to make their own." ContentLicense="CC BY-SA 3.0" />
  <row Id="33967" PostHistoryTypeId="2" PostId="20741" RevisionGUID="ec3d9992-f61d-4359-be4e-a5f1badbee41" CreationDate="2013-11-05T14:44:44.087" UserId="6464" Text="Cellotape - I think it would sound very christmas-like if you layer some bell jingling with cellotape being stretched out for gift wrapping :) &#xD;&#xA;&#xD;&#xA;For the gift shaking I would use a shoe box and fill it with various types of objects for example:- plastic toys, DVD cases, coins etc. Then shake the box with various degrees of excitement! &#xD;&#xA;&#xD;&#xA;In terms of tree felling - Ive designed a tree falling sound before by taking the sound of cellotape being stretched out and then slowing it right down. I forget the parameters for the time-stretch, but its good to experiment with different speeds and pitches. Eventually it should sound like a thick tree cracking and falling. &#xD;&#xA;&#xD;&#xA;Again, great idea! If it turns out well, maybe it can be done for other seasonal holidays? Im loving the A Sound Effect site and its newsletters. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33968" PostHistoryTypeId="2" PostId="20742" RevisionGUID="bf3debc6-7ce6-41a0-9150-5b0354d56c69" CreationDate="2013-11-05T17:19:59.217" UserId="6756" Text="Keyboard on personal computer is ideal for emulation piano and making a digital organ.  &#xD;&#xA;&#xD;&#xA;What about mouse?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33969" PostHistoryTypeId="1" PostId="20742" RevisionGUID="bf3debc6-7ce6-41a0-9150-5b0354d56c69" CreationDate="2013-11-05T17:19:59.217" UserId="6756" Text="There are a lot of piano-keyboards, is there any violin-mouse?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33970" PostHistoryTypeId="3" PostId="20742" RevisionGUID="bf3debc6-7ce6-41a0-9150-5b0354d56c69" CreationDate="2013-11-05T17:19:59.217" UserId="6756" Text="&lt;computer&gt;&lt;mouse&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33971" PostHistoryTypeId="2" PostId="20743" RevisionGUID="c97fb486-4bfa-4cfb-afda-5df69a20c0eb" CreationDate="2013-11-05T17:50:29.650" UserId="6757" Text="Is it possible, for example, when the 'H' key on computer keyboard is pressed to send &quot;Hold Pedal ON&quot; MIDI message to MIDI track? And when 'H' key is pressed again to send &quot;Hold Pedal OFF&quot; MIDI message to MIDI track." ContentLicense="CC BY-SA 3.0" />
  <row Id="33972" PostHistoryTypeId="1" PostId="20743" RevisionGUID="c97fb486-4bfa-4cfb-afda-5df69a20c0eb" CreationDate="2013-11-05T17:50:29.650" UserId="6757" Text="How to send arbitrary MIDI messages to MIDI track using computer keyboard in Ableton Live?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33973" PostHistoryTypeId="3" PostId="20743" RevisionGUID="c97fb486-4bfa-4cfb-afda-5df69a20c0eb" CreationDate="2013-11-05T17:50:29.650" UserId="6757" Text="&lt;ableton-live&gt;&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33974" PostHistoryTypeId="2" PostId="20744" RevisionGUID="a162dbdb-2ea6-4d42-a439-0103a41d508b" CreationDate="2013-11-05T19:02:55.403" UserId="28" Text="Not sure if this helps, have you tried hitting the &quot;Key&quot; button in the top right of the screen? ![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Once you hit &quot;Key,&quot; then click on whatever parameter, or on/off switch on a plugin, and then press the keystroke you want it mapped to. Then turn Key mapping off.&#xD;&#xA;&#xD;&#xA;Look in the manual for &quot;MIDI and Computer Keyboard Remote Control.&quot;&#xD;&#xA;&#xD;&#xA;Does that help?&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/NxbxO.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="33976" PostHistoryTypeId="2" PostId="20746" RevisionGUID="d1c7a86c-ba65-49c6-a785-66ff79c8efaf" CreationDate="2013-11-06T06:40:53.113" UserId="6744" Text=" need a Little HISTORY about Tube Amplifiers or Tube Sound,&#xD;&#xA;&#xD;&#xA;need Signal Processing theory of the same, Its Schematics&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;importantly need how it is RE-Modeled into a DSP Plugin. (either by Programming or Capturing Impulse Responses)&#xD;&#xA;&#xD;&#xA;Please Help me..&#xD;&#xA;&#xD;&#xA;THANK YOU." ContentLicense="CC BY-SA 3.0" />
  <row Id="33977" PostHistoryTypeId="1" PostId="20746" RevisionGUID="d1c7a86c-ba65-49c6-a785-66ff79c8efaf" CreationDate="2013-11-06T06:40:53.113" UserId="6744" Text="How are tube amps constructed?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33978" PostHistoryTypeId="3" PostId="20746" RevisionGUID="d1c7a86c-ba65-49c6-a785-66ff79c8efaf" CreationDate="2013-11-06T06:40:53.113" UserId="6744" Text="&lt;amplifier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33979" PostHistoryTypeId="2" PostId="20747" RevisionGUID="12c8298f-cf98-4caa-bde2-53d6e9c42c8d" CreationDate="2013-11-06T07:08:26.323" UserId="6448" Text="This is a wrong forum for this question. You'd get better answers e.g. from http://electronics.stackexchange.com/ or http://dsp.stackexchange.com/.&#xD;&#xA;&#xD;&#xA;The fundamentals of tube amplification are to be found in electrical engineering &quot;theory&quot;. And specifically, what a vacuum tube is and how it operates. The software counterpart (DSP) basically only models (by using equations that are known in physics of electricity and by knowing how a tube amplifier operates on the signal that passes through it) what happens in the electrical implementations." ContentLicense="CC BY-SA 3.0" />
  <row Id="33980" PostHistoryTypeId="5" PostId="20747" RevisionGUID="f2569017-a2c9-4ee3-a57f-e913814d5fed" CreationDate="2013-11-06T07:15:04.963" UserId="6448" Comment="added 52 characters in body" Text="This is a wrong forum for this question. You'd get better answers e.g. from http://electronics.stackexchange.com/ or http://dsp.stackexchange.com/.&#xD;&#xA;&#xD;&#xA;The fundamentals of tube amplification are to be found in electrical engineering &quot;theory&quot;. And specifically, what a vacuum tube is and how it operates. The software counterpart (DSP) basically only models (by using equations that are known in physics of electricity and by knowing how a tube amplifier operates on the signal that passes through it) what happens in the electrical implementations.&#xD;&#xA;&#xD;&#xA;For capturing an impulse response, check google." ContentLicense="CC BY-SA 3.0" />
  <row Id="33981" PostHistoryTypeId="5" PostId="20747" RevisionGUID="0201a11a-f7f4-4061-a94f-121ad21eaea1" CreationDate="2013-11-06T08:49:34.577" UserId="6448" Comment="added 5 characters in body" Text="This is a wrong forum for this question. You'd get better answers e.g. from http://electronics.stackexchange.com/ or http://dsp.stackexchange.com/.&#xD;&#xA;&#xD;&#xA;The fundamentals of tube amplification are to be found in electrical engineering &quot;theory&quot;. And specifically, what a vacuum tube is and how it operates. The software counterpart (DSP) basically only models (by using equations that are known in physics of electromagnetism and by knowing how a tube amplifier operates on the signal that passes through it) what happens in the electrical implementations.&#xD;&#xA;&#xD;&#xA;For capturing an impulse response, check google." ContentLicense="CC BY-SA 3.0" />
  <row Id="33982" PostHistoryTypeId="2" PostId="20748" RevisionGUID="8c308462-d854-4595-b527-c146186ed994" CreationDate="2013-11-06T11:45:27.987" UserId="6760" Text="Listen, I put an MXL V67 ($100 mic) up against a U87 and ran it them through a Millennia STT1, and the cheap V67 won. You can't negate the fact that if you throw a cheap mic onto a cheap pre, you get blah blah. Somewhere in the signal flow, pre's do matter...and I ditto the guy who said, get the organic sound to minimize EQ in the first place. The best engineers (believe it or not) rarely use EQ. And btw, the a/b test on the mics I shared above, was tested at the Spirit Ranch when I was working with Bud Snyder (Grammy nom. Engineer for the Allman Bros.) - he was the one who hipped me to comparison. We laughed. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33986" PostHistoryTypeId="2" PostId="20750" RevisionGUID="a702eced-0264-4926-b0f6-9d6e0dd93cc0" CreationDate="2013-11-06T14:02:32.493" UserId="194" Text="I honestly think this is a good question that's worthy of a little thoughtfulness.  &#xD;&#xA;&#xD;&#xA;IMO it *is* possible to eq one mic's frequency response to closely resemble another's.  As an example, I can (and have) take a simultaneous recording made with an NT5 and a Schoeps CMC6.Mk4 and use EQ (mellowing of the high end on the NT5) to make the two mics play well together and even feel very simlar frequency-response wise.&#xD;&#xA;&#xD;&#xA;Every capsule size has inherent resonant frequencies that interact with the overall recording in complex terms though - so simple slopes and rises won't compensate for that part of a mic's character effectively.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;With that said, I actually believe you can go quite a long way with EQ - especially in the upper mids and high end.&#xD;&#xA;&#xD;&#xA;The bigger differences are in low end extension (you can't add what isn't there) and in transient response.  &#xD;&#xA;&#xD;&#xA;I think transient response specifically, is what many people refer to as &quot;detail&quot; and is what can truly separate the sound of one mic from another.  As an example, my Line Audio CM3s have a *very* similar tonal characteristic to the Schoeps CMC6.Mk4 mic, but they track transients much more slowly.  This means that they yield similar recordings on things like traffic ambiance, but very different sounding recordings on applause - with the Schoeps yeilding much more detail in the individual claps and the CM3 sounding very different with regads to dynamics.&#xD;&#xA;&#xD;&#xA;The other thing about transient response is that it isn't uniform across the frequency spectrum.  Its entirely possible for mic A to track transients faster at 10k than mic B (again possibly due to capsule-based resonances), but slower at 2k.&#xD;&#xA;&#xD;&#xA;Another factor is electrical components.  Mic circuit boards are filled with components that further tune the frequency output, adjust impedance, create pads and filters, and change polar patterns.&#xD;&#xA;&#xD;&#xA;The quality of these components can do things like add **harmonic distortion**, boost or cut frequencies artificially, and further shape transient response at different frequencies.  We recently did a shootout with a U87 versus an AT4050 on VO, and the 4050 sounded much *cleaner* than the U87 (though it lacked that U87 &quot;character&quot;, probably mostly due to the differences in the level of harmonic distortion due to the different designs of the internal electronics. " ContentLicense="CC BY-SA 3.0" />
  <row Id="33987" PostHistoryTypeId="2" PostId="20751" RevisionGUID="5a796670-d426-4e2d-ad5b-c70f5db4f086" CreationDate="2013-11-06T16:54:00.577" UserId="6434" Text="I am searching for a sample of an older male, I imagine a 50 something Caucasian male speaking in a tone of voice of a military commander to his unit the words: &quot;Keep 'em in the holding pattern.&quot; If the sample has transmitted through an authentic sketchy radio link, even better, or even through a cheap effect of one would be sufficient.&#xD;&#xA;&#xD;&#xA;Does anyone have this sample (and rights to let me use in music), wet or dry? (I already plan to do the effects myself) &#xD;&#xA;&#xD;&#xA;Alternatively, Where can I find this exact type of voice acting?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33988" PostHistoryTypeId="1" PostId="20751" RevisionGUID="5a796670-d426-4e2d-ad5b-c70f5db4f086" CreationDate="2013-11-06T16:54:00.577" UserId="6434" Text="Stock sample / voice acting request. (Or help finding the appropriate place)" ContentLicense="CC BY-SA 3.0" />
  <row Id="33989" PostHistoryTypeId="3" PostId="20751" RevisionGUID="5a796670-d426-4e2d-ad5b-c70f5db4f086" CreationDate="2013-11-06T16:54:00.577" UserId="6434" Text="&lt;voice-over&gt;&lt;samples&gt;&lt;electronic-music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33990" PostHistoryTypeId="2" PostId="20752" RevisionGUID="24fef31f-952c-4a3b-a02b-b6f6f0473ffa" CreationDate="2013-11-06T17:54:42.260" UserId="6432" Text="Really Good SOS article I just found:&#xD;&#xA;&#xD;&#xA;[http://www.soundonsound.com/sos/aug10/articles/modelling-plugins.htm][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/aug10/articles/modelling-plugins.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="33991" PostHistoryTypeId="2" PostId="20753" RevisionGUID="117b2b96-08be-4ff5-b653-a45dc5fa348c" CreationDate="2013-11-06T18:03:23.943" UserId="182" Text="You can map a key to midi notes with the method Joel Corriveau mentioned, and then send that out to a midi track having monitor or record arm set to on, outputting it to a virtual midi channel. Then you can use http://www.bome.com/products/miditranslator to convert the note on-off into pedal or something else.&#xD;&#xA;&#xD;&#xA;Complicated, but it should work." ContentLicense="CC BY-SA 3.0" />
  <row Id="33993" PostHistoryTypeId="2" PostId="20755" RevisionGUID="debebb81-dabe-4684-8218-0ddb21e3cbfd" CreationDate="2013-11-06T20:20:24.827" UserId="6398" Text="Ive been think of getting a membership in Audio G.A.N.G.(Game Audio Network Guild) for a while now.&#xD;&#xA;&#xD;&#xA;Any members here? &#xD;&#xA;&#xD;&#xA;I guess its a good place for game industry networks?&#xD;&#xA;&#xD;&#xA;Does this help me in getting a job/career in the game industry?&#xD;&#xA;&#xD;&#xA;Audio G.A.N.G. members, kindly share your success or any kind of benefits that you have got being a member at Audio G.A.N.G.&#xD;&#xA;&#xD;&#xA;Cheers!!!&#xD;&#xA;&#xD;&#xA;Bala.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33994" PostHistoryTypeId="1" PostId="20755" RevisionGUID="debebb81-dabe-4684-8218-0ddb21e3cbfd" CreationDate="2013-11-06T20:20:24.827" UserId="6398" Text="Audio G.A.N.G. - membership &amp; benefits" ContentLicense="CC BY-SA 3.0" />
  <row Id="33995" PostHistoryTypeId="3" PostId="20755" RevisionGUID="debebb81-dabe-4684-8218-0ddb21e3cbfd" CreationDate="2013-11-06T20:20:24.827" UserId="6398" Text="&lt;gameaudio&gt;&lt;game&gt;&lt;organization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33996" PostHistoryTypeId="2" PostId="20756" RevisionGUID="d84dbf6d-f8b0-479e-90d0-b3799565dd3c" CreationDate="2013-11-06T22:21:03.693" UserId="6763" Text="I've been trying to recreate the synth sound used in the Calvin Harris remix of the track Eat. Sleep. Rave. Repeat.&#xD;&#xA;&#xD;&#xA;If you are not familiar with it, it is here: http://www.youtube.com/watch?v=NIcW36J-h7Q&amp;noredirect=1&#xD;&#xA;&#xD;&#xA;The sound is the the first sound that you hear, the acid house sounding synth stab.&#xD;&#xA;&#xD;&#xA;Don't need exact settings, just suggestions on how you think it might have been created so I can emulate it.  Subtractive or FM synth...  type of wave.  Type of modulators.  Filters.  Post synth effects...  I have created a number of other acid sounds, but none of them have this synth stab with all the high end tones in it.  Can't quite figure out how he does it.  I'm using Ableton, and best luck I've had is with Analog (subtractive synth), but even that is pretty far off.  Not sure if it's actually some sort of sampling and wave form editing rather than a synth sound.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="33997" PostHistoryTypeId="1" PostId="20756" RevisionGUID="d84dbf6d-f8b0-479e-90d0-b3799565dd3c" CreationDate="2013-11-06T22:21:03.693" UserId="6763" Text="How to create a Acid Synth Stab sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="33998" PostHistoryTypeId="3" PostId="20756" RevisionGUID="d84dbf6d-f8b0-479e-90d0-b3799565dd3c" CreationDate="2013-11-06T22:21:03.693" UserId="6763" Text="&lt;sound-design&gt;&lt;ableton-live&gt;&lt;fmod&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="33999" PostHistoryTypeId="2" PostId="20757" RevisionGUID="a6472d11-7876-4ebf-a69d-1369ed285dd3" CreationDate="2013-11-07T04:55:36.107" UserId="6682" Text="I have updated my MacBook Pro to Mavericks, freshly installed Pro Tools 10.3.7 and 11.0.2, with the following issues on built-in audio:&#xD;&#xA;&#xD;&#xA;10.3.7&lt;br&gt;&#xD;&#xA;- Cannot create new sessions&lt;br&gt;&#xD;&#xA;- Runs flawlessly on old sessions when you open them.&#xD;&#xA;&#xD;&#xA;11.0.2&lt;br&gt;&#xD;&#xA;- Cannot create new sessions&lt;br&gt;&#xD;&#xA;- Crashes immediately after initial loading when attempting to do anything (e.g. changing settings, opening session, ...)&lt;br&gt;&#xD;&#xA;- When frozen after crashing, you cannot force quit. You have to kill and restart the computer.&#xD;&#xA;&#xD;&#xA;My advice would be to still wait for the patch before updating.&lt;br&gt;&lt;br&gt;&#xD;&#xA;Hope it helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="34001" PostHistoryTypeId="2" PostId="20758" RevisionGUID="19f555ba-4b9d-481a-a806-4e21d1795735" CreationDate="2013-11-07T08:16:40.600" UserId="6425" Text="I upgraded and I can run everything but some small tools (need update as it seems):&#xD;&#xA;&#xD;&#xA;- Audiohijack pro, which i use for livestreams&#xD;&#xA;- Effectrix Plug-In&#xD;&#xA;&#xD;&#xA;Protools 8 (i know, i should upgrade some time but is the m powered version :D) runs perfect&#xD;&#xA;&#xD;&#xA;Ableton runs perfect, but sometimes my mouth is vanishing (cm + alt + esc to get the mouse pointer back)&#xD;&#xA;&#xD;&#xA;All other Programs MS Office/ iWork run perfect!" ContentLicense="CC BY-SA 3.0" />
  <row Id="34005" PostHistoryTypeId="2" PostId="20760" RevisionGUID="f7eecc82-a1ed-439f-bf81-f942976b9143" CreationDate="2013-11-07T11:05:02.847" UserId="6567" Text="I've been a member for around 4 or 5 years now and live in Germany but used to travel regularly to Los Angeles for business.  &#xD;&#xA;&#xD;&#xA;From my experience they do offer some great events (or at least did, last one I attended was at TODD AO in Santa Monica in 2008 or 2009 I think, no idea about more recent ones) and it does connect you with people but most of these are local to the greater L.A. area. Does this help with a career in in the game industry? Everything is possible, it definitely won't hurt.&#xD;&#xA;&#xD;&#xA;If you live in the US or better, L.A. and **if** the GANG website gets fixed (it's been buggy for months now, no logins/signups possible) then yes, I think it's absolutely worth it but if you're from oversees and don't travel to the US regularly then no, not worth it until at the very least the website gets fixed. " ContentLicense="CC BY-SA 3.0" />
  <row Id="34006" PostHistoryTypeId="2" PostId="20761" RevisionGUID="029ced1f-e3b1-4698-ad5a-a7b7be4a1f88" CreationDate="2013-11-07T11:09:23.090" UserId="6567" Text="No issues with Logic Pro 9 and X, Waves plugins, Native Instruments plug-ins, Ableton Live 8, Mixbus 2.3, Reason 6.5, Triumph or well anything really! I think it's all good to go although with Pro Tools I'd wait or move it to a separate partition/drive." ContentLicense="CC BY-SA 3.0" />
  <row Id="34007" PostHistoryTypeId="2" PostId="20762" RevisionGUID="4ed49da0-e98d-431f-afde-97683aecccaf" CreationDate="2013-11-07T11:39:13.983" UserId="6636" Text="I agree with Andre, Bala. If your in the U.S then its great and there are plenty of events. However if you are in Europe then there is little to be gained, apart from the odd exchange or discussion with members via the website and there are better sources for that. " ContentLicense="CC BY-SA 3.0" />
  <row Id="34008" PostHistoryTypeId="6" PostId="20756" RevisionGUID="783f2198-7246-4197-9a6d-2d9bafe6b379" CreationDate="2013-11-07T12:50:56.847" UserId="6432" Comment="This is not about Fmod" Text="&lt;sound-design&gt;&lt;ableton-live&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="34009" PostHistoryTypeId="24" PostId="20756" RevisionGUID="783f2198-7246-4197-9a6d-2d9bafe6b379" CreationDate="2013-11-07T12:50:56.847" Comment="Proposed by 6432 approved by 80 edit id of 19" ContentLicense="CC BY-SA 3.0" />
  <row Id="34011" PostHistoryTypeId="2" PostId="20763" RevisionGUID="d6fa8a16-55c4-4346-a35c-f2bd8abea92b" CreationDate="2013-11-07T18:04:23.683" UserId="6767" Text="Apologies in advance if this question is not appropriate for this SE. I didn't find another SE that is more appropriate, nor did I find the questions scope for Sound Design SE. If this question is not appropriate, can you please suggest a good place to ask?&#xD;&#xA;&#xD;&#xA;I am using an iPad with Pandora and M-Audio Studiophile AV 40 speakers. It sounds good, but boomy. &#xD;&#xA;&#xD;&#xA;I want run an equalizer, but apparently it is not possible to use an equalizer on iPad with any apps besides iTunes.&#xD;&#xA;&#xD;&#xA;Is there a way to use an equalizer with an iPad with apps such as Pandora? Is there a recommended hardware equalizer or other solution?" ContentLicense="CC BY-SA 3.0" />
  <row Id="34012" PostHistoryTypeId="1" PostId="20763" RevisionGUID="d6fa8a16-55c4-4346-a35c-f2bd8abea92b" CreationDate="2013-11-07T18:04:23.683" UserId="6767" Text="Equalizer for iPad?" ContentLicense="CC BY-SA 3.0" />
  <row Id="34013" PostHistoryTypeId="3" PostId="20763" RevisionGUID="d6fa8a16-55c4-4346-a35c-f2bd8abea92b" CreationDate="2013-11-07T18:04:23.683" UserId="6767" Text="&lt;recommendations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="34014" PostHistoryTypeId="5" PostId="20758" RevisionGUID="b3cbd76f-5737-45d3-a369-c1dfc19cfd74" CreationDate="2013-11-07T21:27:41.510" UserId="6425" Comment="added 21 characters in body" Text="I upgraded and I can run everything but some small tools (need update as it seems):&#xD;&#xA;&#xD;&#xA;- Audiohijack pro, which i use for livestreams&#xD;&#xA;- Effectrix Plug-In&#xD;&#xA;&#xD;&#xA;Protools 8 (i know, i should upgrade some time but is the m powered version :D) runs perfect&#xD;&#xA;&#xD;&#xA;Ableton runs perfect, but sometimes my mouse (edited from mouth) is vanishing (cmd + alt + esc to get the mouse pointer back)&#xD;&#xA;&#xD;&#xA;All other Programs MS Office/ iWork run perfect!" ContentLicense="CC BY-SA 3.0" />
  <row Id="34015" PostHistoryTypeId="5" PostId="20594" RevisionGUID="c47176a6-7520-4d8b-ba45-5947ac39427b" CreationDate="2013-11-07T21:29:13.013" UserId="6425" Comment="added 2 characters in body" Text="I would go for a 2 Microphone setup. Get the best pair of condenser you can achieve.&#xD;&#xA;&#xD;&#xA;The following technique was used in early rock and roll and really worked for me a couple of times. The idea of this technique is to record the drums in mono with a strong snare and overheads to establish the rhythm. Your kick drum will lack sub frequencies with this technique. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;you will position the condensers so that one is over the head of the player and one is in front of the drum set. so they are orthogonal to usual overheads. try to align them so, that they are on a line between kick and snare. then just point the microphones right to the snare and make sure, that the distance of both microphones to the snare is the same.&#xD;&#xA;&#xD;&#xA;If you have the right room, this will give a decent and very acoustical sound.&#xD;&#xA;&#xD;&#xA;alternatively, instad of positioning the condenser over the player, you can hang one microphone into the middle of the drum set, positioning it somewhere between snare and kick. this will give a more dry sound, but often creates phasing issues comapred to the other version.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;good luck experimenting, and dont forget to improve the room you record in!" ContentLicense="CC BY-SA 3.0" />
  <row Id="34016" PostHistoryTypeId="2" PostId="20764" RevisionGUID="c1839441-ef59-4448-abd3-0017a13ca706" CreationDate="2013-11-07T21:40:47.063" UserId="6425" Text="The classical acid sound comes from the TB-303 Synthesizer. The effect is generated by using high amounts of resonance on its 4-pole 24 dB/Octave Filter. Then the filter gets modulated via an envelope. (Decaying motion in most parts)&#xD;&#xA;&#xD;&#xA;The Acid sound you here in this intro is a combination of a minimoog like bass synth and a &quot;acid&quot; TB-303-like fx/melody synth. (Which is typical in acid) &#xD;&#xA;&#xD;&#xA;I can't tell you exactly which waveform and synth it is, but I definitely hear some distortion (maybe in parallel) &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;One thing that comes in my mind when i hear the track is the Darude - sandstorm sound, which is nicely emulated by a silenth 1 preset. So maybe this could be a start for you to tweak." ContentLicense="CC BY-SA 3.0" />
  <row Id="34017" PostHistoryTypeId="2" PostId="20765" RevisionGUID="f85d5ae9-07b3-4e34-b127-99674e66e7a6" CreationDate="2013-11-08T05:17:20.407" UserId="6659" Text="I am pretty sure it is something really simple to do, but I am not able to get the **exact** same thing. If possible I want to know how to do it perfectly, shouldn't be too hard :) Thanks!&#xD;&#xA;&#xD;&#xA;It starts at 8 seconds and stops at 11 seconds:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=WUVLMZMVoi4#t=8s" ContentLicense="CC BY-SA 3.0" />
  <row Id="34018" PostHistoryTypeId="1" PostId="20765" RevisionGUID="f85d5ae9-07b3-4e34-b127-99674e66e7a6" CreationDate="2013-11-08T05:17:20.407" UserId="6659" Text="Simple supersaw lead" ContentLicense="CC BY-SA 3.0" />
  <row Id="34019" PostHistoryTypeId="3" PostId="20765" RevisionGUID="f85d5ae9-07b3-4e34-b127-99674e66e7a6" CreationDate="2013-11-08T05:17:20.407" UserId="6659" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="34021" PostHistoryTypeId="2" PostId="20767" RevisionGUID="7a2289f5-1e5b-4a40-9280-d467e72cc27e" CreationDate="2013-11-08T10:52:00.150" UserId="6567" Text="You are correct, if the app you're playing music from does not have a built-in equalizer then you're out of luck so you'll have to insert an equalizer in your signal chain somewhere between the iPad and your monitors. This could be a hardware equalizer or software you run with an audio I/O on another device. &#xD;&#xA;&#xD;&#xA;As for suggestions for a hardware EQ it really depends on what else you might want to do with it. If it's just for music playback and not critical listening / mixing etc. then you can just go through a consumer &quot;hifi&quot; EQ.&#xD;&#xA;&#xD;&#xA;Be aware that the boomy sound can also be the result of where you placed your speakers, don't place them too close to a wall, not in corners, isolate them from whatever they're standing on etc. &#xD;&#xA;&#xD;&#xA;You can also cut out a bit of acoustic / dense foam to close up the bass reflex port." ContentLicense="CC BY-SA 3.0" />
  <row Id="34022" PostHistoryTypeId="2" PostId="20768" RevisionGUID="419590c4-b5d1-434b-9303-3637808d6ae0" CreationDate="2013-11-08T11:46:23.237" UserId="6410" Text="Detuned saws. They sound filtered, there's an envelope on the pitch at the attack of the sound, there might be a noise osc as well and they've been colored with some strong compression. You might want to look up a tutorial for whats sometimes called the dominator synth, its along those lines. &#xD;&#xA;&#xD;&#xA;As long as you don't to copy that melody you should be fine... because its awful. " ContentLicense="CC BY-SA 3.0" />
  <row Id="34023" PostHistoryTypeId="2" PostId="20769" RevisionGUID="81c612e8-1fe2-45ea-8e83-6881c3a021c6" CreationDate="2013-11-08T12:17:50.107" UserId="1216" Text="In addition to what André says, you could try 'Audiobus' it's a signal router for iOS that allows you to route synths etc. to other apps (Moog filter app or multitrack recorder apps). But I'm not sure if your app, that you use to play music with on your ipad, is compliant with the 'Audiobus' protocol. Figure that out and maybe you have a change.&#xD;&#xA;&#xD;&#xA;http://audiob.us/&#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="34024" PostHistoryTypeId="2" PostId="20770" RevisionGUID="7223d2b2-3c28-4d04-865b-cc8d606d1d80" CreationDate="2013-11-08T13:25:55.877" UserId="6772" Text="A (Roland) supersaw is actually a term for seven simultaneous saw waves, originating from the JP-80x0 synths. On the synths the oscillators can be detuned relatively with one knob and this is the supersaw-sound we all know from trance tracks etc. and it will give you the closest result.&#xD;&#xA;&#xD;&#xA;You can come quite close by using three oscillators tuned at 0, -12 and +12 cents (give or take a few cents) respectively. Put the 0 one at the highest volume and adjust the other two oscillator volumes to taste, to simulate the &quot;amount of supersaw&quot; you want. You can then duplicate this track and detune the whole second synth to layer six saw waves.&#xD;&#xA;&#xD;&#xA;I use this technique in my trance tracks all the time. You can try adding a chorus, too, to get that extra, detuned little flavour." ContentLicense="CC BY-SA 3.0" />
  <row Id="34025" PostHistoryTypeId="2" PostId="20771" RevisionGUID="bcfadfda-472f-4625-8f98-9399bff88904" CreationDate="2013-11-08T16:22:39.430" UserId="6773" Text="Another library for quality production is the marketplace [RapBeats.net][1] where you can get tons of quality beats. They also offer some free beats, just check the link I've posted.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rapbeats.net/free-rap-beats" ContentLicense="CC BY-SA 3.0" />
  <row Id="34026" PostHistoryTypeId="2" PostId="20772" RevisionGUID="dcecba67-946e-4254-9367-fffb6daa7d3f" CreationDate="2013-11-08T16:44:51.077" UserId="6772" Text="I'd like to suggest my personal favourite, [Image-Line's Vocodex](http://www.image-line.com/plugins/Effects/Vocodex/). Nice routing and tweaking options, and it's not too expensive either, sitting at 99 USD :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="34027" PostHistoryTypeId="2" PostId="20773" RevisionGUID="ff6becdc-ab60-4113-84a2-999db29fa5bc" CreationDate="2013-11-08T17:52:52.113" UserId="6749" Text="I'll also recommend checking out Mark Camperell's [DIY SFX libraries: A Guide To Your First Sound Effects Library][1] - gives you a lot of practical hands-on tips, advice and insights from someone who's already done several libraries.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.asoundeffect.com/diy-sfx-libraries-a-guide-to-your-first-sound-effects-library/" ContentLicense="CC BY-SA 3.0" />
  <row Id="34028" PostHistoryTypeId="5" PostId="20773" RevisionGUID="c6985756-3aba-4f2e-accb-b6f9d57b21f6" CreationDate="2013-11-08T18:47:36.500" UserId="6749" Comment="added 24 characters in body" Text="I'll also recommend checking out Mark Camperell's [DIY SFX libraries: A Guide To Your First Sound Effects Library][1] - it gives a lot of practical hands-on tips, advice and insights from someone who's already done several libraries. Hope you find it useful :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.asoundeffect.com/diy-sfx-libraries-a-guide-to-your-first-sound-effects-library/" ContentLicense="CC BY-SA 3.0" />
  <row Id="34029" PostHistoryTypeId="2" PostId="20774" RevisionGUID="cfe67e42-c297-4731-8ac8-59e36d0b54d9" CreationDate="2013-11-08T19:28:09.253" UserId="6775" Text="Is it worth it? Especially if a third of tuition is covered under a scholarship? " ContentLicense="CC BY-SA 3.0" />
  <row Id="34030" PostHistoryTypeId="1" PostId="20774" RevisionGUID="cfe67e42-c297-4731-8ac8-59e36d0b54d9" CreationDate="2013-11-08T19:28:09.253" UserId="6775" Text="Should I go to Vancouver Film School for Sound Design for Visual Media?" ContentLicense="CC BY-SA 3.0" />
  <row Id="34031" PostHistoryTypeId="3" PostId="20774" RevisionGUID="cfe67e42-c297-4731-8ac8-59e36d0b54d9" CreationDate="2013-11-08T19:28:09.253" UserId="6775" Text="&lt;sound-design&gt;&lt;school&gt;&lt;film-school&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="34034" PostHistoryTypeId="2" PostId="20775" RevisionGUID="ed74898e-feef-469e-8507-c44dc11d072c" CreationDate="2013-11-08T22:22:03.283" UserId="6777" Text="How does a sound tech say good bye?&#xD;&#xA;&#xD;&#xA;&quot;Audios!&quot;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="34035" PostHistoryTypeId="2" PostId="20776" RevisionGUID="bdc33580-6962-464e-b1fa-073dd5a7c051" CreationDate="2013-11-09T08:23:45.400" UserId="6432" Text="Really, I think only you can answer that question. Nobody here knows anything about you or what you could potentially get from the program, as what you get from education is not just about what you get out but what you put in. There are many other discussions on here about the benefits of getting formal education as a sound designer and it often creates lively debate (see related posts, to the right), but in the end it's an individual choice. For some people it's the right thing for them at the stage of life they are at, for others not. Ask yourself whether you are going just to improve your employment prospects (as much debate here focuses on that), as there is also the experience itself to consider. Go to the school, talk to the lecturers, check the curriculum and then decide for yourself. Don't be too swayed by individual opinions on this forum or any other, especially from people with no experience of the place you are thinking of studying at." ContentLicense="CC BY-SA 3.0" />
  <row Id="34036" PostHistoryTypeId="2" PostId="20777" RevisionGUID="43bb9b5d-07e1-45ee-95ee-64312f4ada30" CreationDate="2013-11-09T08:29:28.173" UserId="6776" Text="please advise.&#xD;&#xA;&#xD;&#xA;There are three examples of games sounds I'm trying to produce (casual/HO game, so maximum sound realism is a must).&#xD;&#xA;&#xD;&#xA;https://audioboo.fm/ableton_in_ua&#xD;&#xA;&#xD;&#xA;First two are relatively simple - arped/sequenced sound with delay as I get it.&#xD;&#xA;&#xD;&#xA;But the third one &quot;Clue Found&quot; sounds like combination of a sample + short synth sound.&#xD;&#xA;Am I right here? Is it right way to go? Any info will be appreciated.&#xD;&#xA;&#xD;&#xA;Andrey" ContentLicense="CC BY-SA 3.0" />
  <row Id="34037" PostHistoryTypeId="1" PostId="20777" RevisionGUID="43bb9b5d-07e1-45ee-95ee-64312f4ada30" CreationDate="2013-11-09T08:29:28.173" UserId="6776" Text="GUI sounds creation / game audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="34038" PostHistoryTypeId="3" PostId="20777" RevisionGUID="43bb9b5d-07e1-45ee-95ee-64312f4ada30" CreationDate="2013-11-09T08:29:28.173" UserId="6776" Text="&lt;sfx&gt;&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="34039" PostHistoryTypeId="2" PostId="20778" RevisionGUID="67149c95-68f5-4684-8b5a-e9f8d07a48cf" CreationDate="2013-11-09T08:33:30.887" UserId="6432" Text="Definitely a synth sound mixed with a bell tree sample. Hear it on its own [here][1]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.compositiontoday.com/sound_bank/percussion/bell_tree.asp" ContentLicense="CC BY-SA 3.0" />
  <row Id="34040" PostHistoryTypeId="2" PostId="20779" RevisionGUID="ac66192e-7818-411a-9a70-dc5ae7d2e69c" CreationDate="2013-11-09T09:35:29.100" UserId="6778" Text="Usually, human can't hear sound with a frequency lower than 20 Hz, but what's confused is, some very slight shrieks generate after I sampled a 1 Hz sine wave with a high sample rate.&#xD;&#xA;&#xD;&#xA;To be precise, the shrieks are around the position of peaks and valleys of sine wave, and the frequency of the slight shrieks seems to be equal to the sample rate i.e. a 1 Hz sine wave with a sample rate of 2000 will generate 2000 Hz shrieks. (Remember to regulate volume since the shriek is really slight. )&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;This question was first posted in mathematica.SE but hasn't got a satisfactory enough answer yet, since this seems to be a &quot;multidisciplinary&quot; issue, I'd like to post it here(not migrate it!) , too. The original question has used some mathematica code, so I've tried to re-express it in a more general way. (I think the original is also understandable even for guys who don't know mathematica, click [here](http://mathematica.stackexchange.com/questions/35555/why-can-i-still-hear-sound-when-the-frequency-of-the-periodic-function-inside-pl) to read the original post and answer it if you want!)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/ZRSVo.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="34041" PostHistoryTypeId="1" PostId="20779" RevisionGUID="ac66192e-7818-411a-9a70-dc5ae7d2e69c" CreationDate="2013-11-09T09:35:29.100" UserId="6778" Text="Why I hear shrieks that have the same pitch as sample rate when the frequency of the signal is very small?" ContentLicense="CC BY-SA 3.0" />
  <row Id="34042" PostHistoryTypeId="3" PostId="20779" RevisionGUID="ac66192e-7818-411a-9a70-dc5ae7d2e69c" CreationDate="2013-11-09T09:35:29.100" UserId="6778" Text="&lt;sample-rate&gt;&lt;sampling&gt;&lt;unexpected-error&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="34043" PostHistoryTypeId="2" PostId="20780" RevisionGUID="bc3080f5-3c6c-42f1-a69a-d3861f086eb3" CreationDate="2013-11-09T09:49:53.397" UserId="1225" Text="Here is some useful information about designing interface sounds for a casual game.&#xD;&#xA;http://sound.stackexchange.com/a/11608/1225" ContentLicense="CC BY-SA 3.0" />
  <row Id="34044" PostHistoryTypeId="2" PostId="20781" RevisionGUID="8440f74f-bffd-473f-ac9d-7240d87de764" CreationDate="2013-11-09T10:05:33.940" UserId="6432" Text="Be nice if you can post a sample or way we can hear this - can I run the Mathematica code easily?. 2000hz is really low for smooth audio, are you sure it's not just extra frequencies created by aliasing through the playback rate. In fact, I bet it's that." ContentLicense="CC BY-SA 3.0" />
  <row Id="34045" PostHistoryTypeId="5" PostId="20781" RevisionGUID="c466d0e6-e808-47e3-9dc4-464ad05504eb" CreationDate="2013-11-09T11:12:37.817" UserId="6432" Comment="added 278 characters in body" Text="Be nice if you can post a sample or way we can hear this - can I run the Mathematica code easily?. 2000hz is really low for smooth audio, are you sure it's not just extra frequencies created by aliasing through the playback rate. In fact, I bet it's that.&#xD;&#xA;&#xD;&#xA;edit. I managed to recreate that in Max/msp using an object which reduces the sample rate (degrade~), as you lower the sample rate, so the pitch of the harmonics you're hearing decreases, but all with the same 1hz rate you describe. I could probably post a video if it helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="34046" PostHistoryTypeId="5" PostId="20781" RevisionGUID="1c6466a7-94ba-4049-a3a1-ba06b94c30ed" CreationDate="2013-11-09T11:44:46.183" UserId="6432" Comment="added 144 characters in body" Text="Be nice if you can post a sample or way we can hear this - can I run the Mathematica code easily?. 2000hz is really low for smooth audio, are you sure it's not just extra frequencies created by aliasing through the playback rate. In fact, I bet it's that.&#xD;&#xA;&#xD;&#xA;edit. I managed to recreate that in Max/msp using an object which reduces the sample rate (degrade~), as you lower the sample rate, so the pitch of the harmonics you're hearing decreases, but all with the same 1hz rate you describe. Here's a video for those curious:&#xD;&#xA;&#xD;&#xA;&lt;iframe width=&quot;420&quot; height=&quot;315&quot; src=&quot;//www.youtube.com/embed/vB3yycC-Kk4&quot; frameborder=&quot;0&quot; allowfullscreen&gt;&lt;/iframe&gt;&#xD;&#xA;&#xD;&#xA;http://youtu.be/vB3yycC-Kk4&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="34047" PostHistoryTypeId="2" PostId="20782" RevisionGUID="29d6cc6a-a7c4-4bbc-9ad4-1de0f865589b" CreationDate="2013-11-09T13:59:56.087" UserId="6752" Text="I'm a sound engineer for the play my school is doing. At one point, which the director has warned me could vary each night, the music that will be playing out of my laptop and into the mixing desk will need to slow down, as the characters take some drugs and it needs to get a bit psychadelic and weird. I don't know, however, how best to manipulate this speed change? The only idea I've have is to  use my budget to buy a digital DJ deck/turntable which has a speed control on it and run the music through that. If that's the best option, can anyone recommend a turntable?" ContentLicense="CC BY-SA 3.0" />
  <row Id="34048" PostHistoryTypeId="1" PostId="20782" RevisionGUID="29d6cc6a-a7c4-4bbc-9ad4-1de0f865589b" CreationDate="2013-11-09T13:59:56.087" UserId="6752" Text="How to manipulate speed of live sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="34049" PostHistoryTypeId="3" PostId="20782" RevisionGUID="29d6cc6a-a7c4-4bbc-9ad4-1de0f865589b" CreationDate="2013-11-09T13:59:56.087" UserId="6752" Text="&lt;music&gt;&lt;live-sound&gt;&lt;speed&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="34050" PostHistoryTypeId="2" PostId="20783" RevisionGUID="d9b4d8a1-e954-40b3-9c1b-a638ae723ccd" CreationDate="2013-11-09T14:26:14.877" UserId="432" Text="Since you're working with an audio file, not &quot;live&quot; sound...and you appear to be trying to do this with no budget...you can download Audacity (free open source program) and do time manipulation to the file within it. Work with the director to get the desired effect, then output the file. You'll have something predictable and repeatable for the performers that way.&#xD;&#xA;&#xD;&#xA;This video should give you most of the info you need to pull it off: http://youtu.be/zdwQ9ShmPrg" ContentLicense="CC BY-SA 3.0" />
  <row Id="34051" PostHistoryTypeId="2" PostId="20784" RevisionGUID="28aa8c0d-7b50-46ad-b55e-63b99acd8e68" CreationDate="2013-11-09T16:24:49.693" UserId="28" Text="If it were me, I would prepare a separate audio file for the slow motion cue, and make sure that the regular speed cue before it is considerably longer than it needs to be. And then trigger the crossfade when the action onstage goes slow motion.&#xD;&#xA;&#xD;&#xA;In my experience, that kind of loose instruction from a director often just means, &quot;I don't know exactly when *yet.*  This is hard for a sound designer to plan around! But if you are manipulating the slowdown on the fly, it will (likely) be completely different every performance. In some cases, this is the desired effect, and the director and actors like the spontaneity. Again, in my experience, actors like some predictability from the music. Music can then be a familiar guide to lead them through the story.&#xD;&#xA;&#xD;&#xA;Just my thought.&#xD;&#xA;&#xD;&#xA;If the music is going hyper slow, like Paul Stretch slow, then it won't matter too much if it triggers at EXACTLY the same part of the music pre-slow down.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="34052" PostHistoryTypeId="2" PostId="20785" RevisionGUID="fcf9f773-2d9d-4e9e-8113-7325cdb1e41f" CreationDate="2013-11-09T16:38:12.667" UserId="6448" Text="You could just run the entire mix from a DAW and perform the pitch shift there using a real-time pitch shifter plug-in (there are many ways you could do this in terms of mixing and control). This is probably the most easiest way, given that computers are so commonly used for playback anyways (in addition to decks, which you don't seem to be using).&#xD;&#xA;&#xD;&#xA;You may need to try out how it sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="34053" PostHistoryTypeId="2" PostId="20786" RevisionGUID="aac476aa-35d6-48e8-9f7b-02f5143adaf3" CreationDate="2013-11-09T17:46:37.157" UserId="6399" Text="I think a DJ CD or MP3 player software is probably the best but a software sampler might work as well or PrTools can playback at 1/2 speed(shift-play?), other software might do the same.  With the DJ software you could vary the sound more and it would be much smoother I think." ContentLicense="CC BY-SA 3.0" />
  <row Id="35053" PostHistoryTypeId="2" PostId="21786" RevisionGUID="88826d4a-24bc-4c05-b611-54c0c84c2cec" CreationDate="2013-11-09T19:33:33.007" UserId="6520" Text="You can use the 'Rate' fader in Reaper for on-the-fly rate changes.  Using a MIDI or OSC fader may help to smooth it out and reduce pops (not sure), but in any case you can type in a new value and press Enter on the cue.&#xD;&#xA;&#xD;&#xA;The Rate parameter can be found just next to the transport.  You can try Reaper for free, if you don't have it.&#xD;&#xA;&#xD;&#xA;http://www.reaper.fm" ContentLicense="CC BY-SA 3.0" />
  <row Id="35054" PostHistoryTypeId="2" PostId="21787" RevisionGUID="82c69918-659d-4797-a7de-ee5ae60eb457" CreationDate="2013-11-09T19:48:26.153" UserId="6520" Text="I suspect that if the 'shrieks' are harmonics, you'll only hear them when the wave is in a non-zero position, which is why it's audible only when it's positioned up or down.  If it's directly in the center, there is no signal to distort; i.e., silence." ContentLicense="CC BY-SA 3.0" />
  <row Id="35055" PostHistoryTypeId="2" PostId="21788" RevisionGUID="e18926ac-fdf6-4c9f-ab6c-0ccb1ac9212b" CreationDate="2013-11-09T19:56:53.823" UserId="6520" Text="Mesa/Boogie has a document posted with a basic explanation of how tube amps operate.&#xD;&#xA;&#xD;&#xA;Class A: Exposed and Explained by Randall Smith&#xD;&#xA;&#xD;&#xA;[http://www.mesaboogie.com/US/Smith/ClassA.htm][1]&#xD;&#xA;&#xD;&#xA;It is geared towards guitarists, but is, in any case, helpful.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mesaboogie.com/US/Smith/ClassA.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="35059" PostHistoryTypeId="2" PostId="21790" RevisionGUID="e82dfca2-396d-4f3e-8d03-72c02c1284ae" CreationDate="2013-11-10T03:56:17.747" UserId="3199" Text="Like Mark said, only you can answer that question, and you might not be able to until years after, but as a VFS grad (SD50, December '11) I'll speak a bit about what you should know about the program.&#xD;&#xA;&#xD;&#xA;This exhaustive review was written by a friend of mine who graduated the class ahead of me, it's a must-read for anyone considering the program. http://beta.artschoolreviews.ca/reviews/vancouver-film-school/sound-design-for-visual-media/the-hardest-year&#xD;&#xA;&#xD;&#xA;The first generalization of the program I can add to Luca's review is that VFS's already very strong program can be made unrivaled by the drive you bring to it. The guys and gals who lived and breathed sound, who were there perfecting projects 'till 1 and 2am because they were COMPELLED by something within themselves, those are the ones who make it big in the real world. Sure these people might have &quot;made it&quot; in other programs, but VFS's unabashed focus on the technical and trade aspects of sound design make it ideal for honing talent (rather than cultivating it). Though they start everyone out at zero, you get more than just a leg-up by having prior experience in sound. Most applicants have at least a general background or they wouldn't be looking at the program in the first place - but those who have experience doing sound on projects know that they are going to the school to gain hireable skills. Kids who haven't hit the pavement just can't appreciate that and so they go home early; they learn just to pass a test. So the second observation I'll make about the program is that the students that come to VFS after having some real-world experience do much better than kids who go there right out of highschool. &#xD;&#xA;&#xD;&#xA;If you are looking for a sound design program right out of high school, you might want to consider something like Expression, SCAD, Berkeley, or others that have a longer duration and a Bachelors program. VFS and other trade schools teach you how to DO the work from a very technical standpoint, but the don't teach you the self-discipline of HOW to work or even how to think creatively - they don't teach you artistry, they teach you how to express the artistry you bring. If you do. &#xD;&#xA;&#xD;&#xA;VFS as an institution would like to have you believe that all their grads land the cushest jobs right out of school, and in each class there is usually at least one rockstar who had a leg up at the beginning of the program and was just plain HUNGRY for it that goes on to do great stuff, but frankly luck plays a big part too: one grad from my class now works at DICE, and you can't get much better than that, but other supremely talented people from my class are still cutting student projects and indies for peanuts. VFS is a factory-- it graduates 20 sound grads every 2 months. They're not concerned about that but you should be - you've just got to be at the very top of your game. &#xD;&#xA;&#xD;&#xA;With those thoughts in mind, I'll close by saying that I absolutely recommend the program to driven individuals looking to move their work to the next level. I would not recommend it to people who are just interested in exploring and/or have not worked with sound creatively before. I would encourage those people to get involved in student and indie projects (film, games, theater, radio) and self-direct your own explorations until you are ready to make a career out of your passion." ContentLicense="CC BY-SA 3.0" />
  <row Id="35064" PostHistoryTypeId="2" PostId="21793" RevisionGUID="c266f265-504b-43a3-9f63-3a3dede2eedf" CreationDate="2013-11-11T10:41:30.900" UserId="6432" Text="[http://www.fmod.org/][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fmod.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35065" PostHistoryTypeId="2" PostId="21794" RevisionGUID="919f5cd8-4259-434a-bfc6-3851faafdeb6" CreationDate="2013-11-11T10:41:30.900" UserId="6432" Text="Audio implementation software for games " ContentLicense="CC BY-SA 3.0" />
  <row Id="35066" PostHistoryTypeId="6" PostId="14928" RevisionGUID="93c20df3-fd70-41eb-8f65-d645963655fb" CreationDate="2013-11-11T13:32:04.170" UserId="6718" Comment="added noise cancelling tag" Text="&lt;headphones&gt;&lt;noise-reduction&gt;&lt;isolation&gt;&lt;noise-cancelling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35067" PostHistoryTypeId="24" PostId="14928" RevisionGUID="93c20df3-fd70-41eb-8f65-d645963655fb" CreationDate="2013-11-11T13:32:04.170" Comment="Proposed by 6718 approved by 432, 80 edit id of 24" ContentLicense="CC BY-SA 3.0" />
  <row Id="35072" PostHistoryTypeId="2" PostId="21797" RevisionGUID="fc3053db-8d0d-485a-8d8e-5f91358de3ae" CreationDate="2013-11-11T15:58:51.320" UserId="6786" Text="I would definitely use a stereo overhead setup. most likely two cardioids in XY. I tried also an MS (mid/side) setup for overheads which is nice to work with cause it gets you the option of mixing a mono mid to a stereo side signal...&#xD;&#xA;bass drum should also get a mic. audix got a really good one not too expencive.&#xD;&#xA;thats the minimum of microphones to get a decent result out of a (rock/pop) recording session I guess..." ContentLicense="CC BY-SA 3.0" />
  <row Id="35073" PostHistoryTypeId="2" PostId="21798" RevisionGUID="532da879-ae8d-4a90-9282-3397e73090ec" CreationDate="2013-11-11T17:23:21.843" UserId="6425" Text="I really like my Bayerdynamic DT 770&#xD;&#xA;&#xD;&#xA;The offer a really good representation of the low to low mids and enough level to work in cars." ContentLicense="CC BY-SA 3.0" />
  <row Id="35074" PostHistoryTypeId="2" PostId="21799" RevisionGUID="fe7ee57a-97d8-4957-bcc1-a407add4a694" CreationDate="2013-11-11T18:38:52.893" UserId="6788" Text="there is a brand &quot;bebopbag&quot; ; designs and produces custom bags for film and audio equipment. The bags are protective, durable and waterproof. Also the design is cool when compared with other industrial bags. There is a facebook fan page; you can see some of their models.&#xD;&#xA;&#xD;&#xA;https://www.facebook.com/bebopdesign?ref=hl" ContentLicense="CC BY-SA 3.0" />
  <row Id="35075" PostHistoryTypeId="2" PostId="21800" RevisionGUID="051bd0aa-ede2-4258-b367-4417b842a561" CreationDate="2013-11-12T05:07:01.993" UserDisplayName="user49" Text="One point worth making: education is a business. It is their job to sell you on the idea that their course will further your career, so you buy what they are selling. It is only one option, make sure you have considered and compared other options." ContentLicense="CC BY-SA 3.0" />
  <row Id="35076" PostHistoryTypeId="5" PostId="19132" RevisionGUID="dc99c348-b435-437a-9d5e-099c51c6db3d" CreationDate="2013-11-12T11:20:09.207" UserId="6791" Comment="fixed grammar" Text="I have no sound card, is it possible for proper installation without sound card, for Windows 7?&#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;Nitin" ContentLicense="CC BY-SA 3.0" />
  <row Id="35077" PostHistoryTypeId="4" PostId="19132" RevisionGUID="dc99c348-b435-437a-9d5e-099c51c6db3d" CreationDate="2013-11-12T11:20:09.207" UserId="6791" Comment="fixed grammar" Text="I have pro tool 10" ContentLicense="CC BY-SA 3.0" />
  <row Id="35078" PostHistoryTypeId="24" PostId="19132" RevisionGUID="dc99c348-b435-437a-9d5e-099c51c6db3d" CreationDate="2013-11-12T11:20:09.207" Comment="Proposed by 6791 approved by 80 edit id of 25" ContentLicense="CC BY-SA 3.0" />
  <row Id="35079" PostHistoryTypeId="2" PostId="21801" RevisionGUID="b765b220-9820-46c9-b846-359d7fac6024" CreationDate="2013-11-12T11:33:23.567" UserId="6636" Text="So I have some machine samples I am trying to tune to pitch, the piece is in the C3 range and I am wondering if there is a better way than ~I am attempting. At the moment I am using Kontakt to slice the audio then strapping an instance of Span to the insert and figuring out the pitch of each sample. I am then manually tuning each to the pitch which is quite time consuming. Is there another way?&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Rory" ContentLicense="CC BY-SA 3.0" />
  <row Id="35080" PostHistoryTypeId="1" PostId="21801" RevisionGUID="b765b220-9820-46c9-b846-359d7fac6024" CreationDate="2013-11-12T11:33:23.567" UserId="6636" Text="Tuning samples in Kontakt 5" ContentLicense="CC BY-SA 3.0" />
  <row Id="35081" PostHistoryTypeId="3" PostId="21801" RevisionGUID="b765b220-9820-46c9-b846-359d7fac6024" CreationDate="2013-11-12T11:33:23.567" UserId="6636" Text="&lt;sampling&gt;&lt;kontakt&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35082" PostHistoryTypeId="2" PostId="21802" RevisionGUID="d5d93e18-873a-4de8-8ded-5c6509ab56a3" CreationDate="2013-11-12T12:31:49.420" UserId="6704" Text="what i do if i need quick tune my sounds, i add standart kontakt piano, route it to the same midi channel play the note and tune my samples by ear, to match the piano pitch.&#xD;&#xA;&#xD;&#xA;btw...celemony melodyne can help you a lot in this situation, try the demo." ContentLicense="CC BY-SA 3.0" />
  <row Id="35083" PostHistoryTypeId="2" PostId="21803" RevisionGUID="756698b2-1a52-4546-9334-6a0d1e02476e" CreationDate="2013-11-12T12:57:31.470" UserId="6636" Text="Hi all I was wondering if any Cubase/Nuendo users could help me with a macro I am trying to create. I want to select all the slices of a track I have cut up and export them all as individual files. I have a bounce in place macro, so I can manually select the slices and bounce but I was hoping someone knew of a way to select an event on a track then bounce and move on to the next event etc?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35084" PostHistoryTypeId="1" PostId="21803" RevisionGUID="756698b2-1a52-4546-9334-6a0d1e02476e" CreationDate="2013-11-12T12:57:31.470" UserId="6636" Text="Cubase 7 Macros for exporting" ContentLicense="CC BY-SA 3.0" />
  <row Id="35085" PostHistoryTypeId="3" PostId="21803" RevisionGUID="756698b2-1a52-4546-9334-6a0d1e02476e" CreationDate="2013-11-12T12:57:31.470" UserId="6636" Text="&lt;editing&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35086" PostHistoryTypeId="2" PostId="21804" RevisionGUID="f541b094-3b7f-4b50-8ad8-f6279ef0b4e4" CreationDate="2013-11-12T13:33:19.270" UserId="6793" Text="Does anyone know of any freely available or available to purchase &quot;anechoic/freefield&quot; recordings of a car engine and/or rolling tyre noise at a known speed. Not fully anechoic of course, there can be ground reflections and it is average road vehicles i'm interested in.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;Alex" ContentLicense="CC BY-SA 3.0" />
  <row Id="35087" PostHistoryTypeId="1" PostId="21804" RevisionGUID="f541b094-3b7f-4b50-8ad8-f6279ef0b4e4" CreationDate="2013-11-12T13:33:19.270" UserId="6793" Text="Freefield/Anechoic Car Recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="35088" PostHistoryTypeId="3" PostId="21804" RevisionGUID="f541b094-3b7f-4b50-8ad8-f6279ef0b4e4" CreationDate="2013-11-12T13:33:19.270" UserId="6793" Text="&lt;field-recording&gt;&lt;field&gt;&lt;cars&gt;&lt;car&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35089" PostHistoryTypeId="2" PostId="21805" RevisionGUID="77f0f51f-3896-4f38-bea4-a4a85a892a62" CreationDate="2013-11-12T15:04:11.440" UserId="194" Text="Boom library did everyday cars out in the desert on a super quiet test track.  They do good work.&#xD;&#xA;&#xD;&#xA;http://www.boomlibrary.com/boomlibrary/products/cars" ContentLicense="CC BY-SA 3.0" />
  <row Id="35090" PostHistoryTypeId="2" PostId="21806" RevisionGUID="742fcd1b-bc57-4543-9902-86caee03ec65" CreationDate="2013-11-12T15:19:32.673" UserId="6795" Text="i was wondering if anybody knows an osx tool/software that would let you run system audio (all sources) through a vst plugin? &#xD;&#xA; say you want apply a compressor to whatever you are listening to? thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35091" PostHistoryTypeId="1" PostId="21806" RevisionGUID="742fcd1b-bc57-4543-9902-86caee03ec65" CreationDate="2013-11-12T15:19:32.673" UserId="6795" Text="osx system audio through a plugin?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35092" PostHistoryTypeId="3" PostId="21806" RevisionGUID="742fcd1b-bc57-4543-9902-86caee03ec65" CreationDate="2013-11-12T15:19:32.673" UserId="6795" Text="&lt;effects&gt;&lt;osx&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35094" PostHistoryTypeId="2" PostId="21808" RevisionGUID="42d54aaf-0ecb-44a3-b437-dc6d9f38b82c" CreationDate="2013-11-12T16:15:20.760" UserId="6796" Text="could you maybe use Soundflower to route the system audio into a vst compatible program? just an idea.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35098" PostHistoryTypeId="2" PostId="21810" RevisionGUID="7d717482-896d-4b7a-a7bf-51321619636d" CreationDate="2013-11-12T19:07:06.120" UserId="6420" Text="Wiretap Studio should let you do that&#xD;&#xA;http://www.ambrosiasw.com/utilities/wiretap/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35099" PostHistoryTypeId="2" PostId="21811" RevisionGUID="9992fe94-57b2-4f16-9164-c6849311f810" CreationDate="2013-11-12T19:51:25.257" UserId="6432" Text="Or [Jack][1], but you will need to use a plugin host of some kind.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://jackaudio.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35100" PostHistoryTypeId="2" PostId="21812" RevisionGUID="71ce65a1-f2ea-4e05-a32c-e4871e316985" CreationDate="2013-11-12T21:48:49.323" UserId="6798" Text="I think the PCM-D100 will be the king of all handheld recorders! I think most professional sound recordists realise that handheld recorders of this size with XLR inputs all fail with noisy preamps, they're all okay (tascam dr100mkii, zoom h4n) but they don't cut it, so you either keep using your big beast 744t or you pair a recorder with a mixer (mixpre-d/302 etc) if that recorder also has some awesome sounding onboard quiet mics like the PCM-D50 and the omni mics of the PCM-M10 (which I think works better for ambience) then bonus, so the PCM-D100 is going to be absolutely the king, I'll be buying it the moment it hits the shelves, it's not missing XLR inputs it doesn't require them." ContentLicense="CC BY-SA 3.0" />
  <row Id="35101" PostHistoryTypeId="2" PostId="21813" RevisionGUID="20bd7fe6-73ee-4e23-9acb-eb05367334a5" CreationDate="2013-11-13T03:15:57.090" UserId="28" Text="Audio Hijack Pro is another option.&#xD;&#xA;http://rogueamoeba.com/audiohijackpro/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35102" PostHistoryTypeId="2" PostId="21814" RevisionGUID="ecde8bb9-e448-4e5c-a797-b9d07e501013" CreationDate="2013-11-13T16:04:05.140" UserId="6801" Text="Nowadays, recording audio in VN is relatively difficult: there are by far too many motorbikes contaminating any recording. A good friend of mine is in VN at the moment and will start traveling around within the coming two weeks. If it's not too late for you and you still need recordings I could ask him if he could send something over.&#xD;&#xA;Let me know ;) (suzanne.soundcreations@gmail.com)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35106" PostHistoryTypeId="2" PostId="21816" RevisionGUID="7cd12bc8-5f67-4038-995a-5695e957c22e" CreationDate="2013-11-13T18:31:01.730" UserId="6802" Text="I am looking for a Spectrum analyzer / metering app for osx that can run independent of my DAW on everything i listen to via system audio.&#xD;&#xA;&#xD;&#xA;Something that can always sit on a second monitor.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any recommends?&#xD;&#xA;&#xD;&#xA;Thank you!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35107" PostHistoryTypeId="1" PostId="21816" RevisionGUID="7cd12bc8-5f67-4038-995a-5695e957c22e" CreationDate="2013-11-13T18:31:01.730" UserId="6802" Text="Osx Spectrum analyzer/metering standalone" ContentLicense="CC BY-SA 3.0" />
  <row Id="35108" PostHistoryTypeId="3" PostId="21816" RevisionGUID="7cd12bc8-5f67-4038-995a-5695e957c22e" CreationDate="2013-11-13T18:31:01.730" UserId="6802" Text="&lt;spectrum&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35110" PostHistoryTypeId="2" PostId="21817" RevisionGUID="ddc83ed3-d16b-4d95-a2c7-3013f005cc1d" CreationDate="2013-11-13T19:21:27.083" UserId="6425" Text="You can use the program 'Audio Hijack Pro'!&#xD;&#xA;&#xD;&#xA;It allows to hijack and record any sound source on you mac. So you can Hijack your system audio.&#xD;&#xA;&#xD;&#xA;The cool thing with the pro Version is, that you can effect the hijacked audio via vat and au plug-ins. So you could monitor your main out with any Analyzer you like!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35111" PostHistoryTypeId="2" PostId="21818" RevisionGUID="957fb5fd-7518-49e9-838a-1ba1e3a27300" CreationDate="2013-11-13T19:38:58.167" UserId="1393" Text="I like Spectre. I have the Starter pack, it's pretty handy. [App Store Link][1].&#xD;&#xA;&#xD;&#xA;You'll also need Soundflower to help do some internal routing so Spectre can hear the audio before it gets to your monitors.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://itunes.apple.com/us/app/spectre-starter/id436874078?mt=12" ContentLicense="CC BY-SA 3.0" />
  <row Id="35112" PostHistoryTypeId="5" PostId="21817" RevisionGUID="9f3dd834-8a98-4e3c-86b6-6274130a8ead" CreationDate="2013-11-13T21:26:09.577" UserId="6432" Comment="corrected typo" Text="You can use the program 'Audio Hijack Pro'!&#xD;&#xA;&#xD;&#xA;It allows to hijack and record any sound source on you mac. So you can Hijack your system audio.&#xD;&#xA;&#xD;&#xA;The cool thing with the pro Version is, that you can effect the hijacked audio via VST and AU plug-ins. So you could monitor your main out with any Analyzer you like!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35113" PostHistoryTypeId="24" PostId="21817" RevisionGUID="9f3dd834-8a98-4e3c-86b6-6274130a8ead" CreationDate="2013-11-13T21:26:09.577" Comment="Proposed by 6432 approved by 80 edit id of 26" ContentLicense="CC BY-SA 3.0" />
  <row Id="35114" PostHistoryTypeId="2" PostId="21819" RevisionGUID="c5d606f9-26eb-457e-bc2b-b790d9aa5325" CreationDate="2013-11-14T00:05:47.270" UserId="6804" Text="I am new to Ableton but an old hand at Cubase. In Cubase there were a lot of great sounding lush synth string sounds out of the box similar to what you get in 1990s dance tracks..&#xD;&#xA;&#xD;&#xA;The thing is I can't see how to get those sounds out of Ableton?&#xD;&#xA;&#xD;&#xA;If its a matter of creating a sound from scratch using one of the synthesizer instruments (Operator, Tension, Impulse..etc) I am wondering which is the best one to use for that sound and what is general approach or settings that will get a good synth string sound?&#xD;&#xA;&#xD;&#xA;Any help much appreciated :)&#xD;&#xA;&#xD;&#xA;Rowan&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35115" PostHistoryTypeId="1" PostId="21819" RevisionGUID="c5d606f9-26eb-457e-bc2b-b790d9aa5325" CreationDate="2013-11-14T00:05:47.270" UserId="6804" Text="How to create lush synth string sounds in Ableton Live?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35116" PostHistoryTypeId="3" PostId="21819" RevisionGUID="c5d606f9-26eb-457e-bc2b-b790d9aa5325" CreationDate="2013-11-14T00:05:47.270" UserId="6804" Text="&lt;synthesizer&gt;&lt;ableton&gt;&lt;strings&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35117" PostHistoryTypeId="2" PostId="21820" RevisionGUID="5b63bd82-38d4-470c-ae28-efe1b7b0f3bd" CreationDate="2013-11-14T00:17:23.297" UserId="6448" Text="Many ways to go (that's why it's called &quot;creative&quot;).&#xD;&#xA;&#xD;&#xA;But in general (very generally) &quot;lush string&quot; implies either a rich synthetic multiple sawtooth oscillator &quot;string&quot; or a real string recording that has been modified (particularly filtered and possibly multiplied) in e.g. a sampler.&#xD;&#xA;&#xD;&#xA;I would search through the &quot;pads&quot; sections of the preset banks of whatever synthesizer (or sampler as well) you're using and see if there's something reminiscent (likely you'll find some sort of &quot;string pad&quot; there). Then modify that or read out the parameters and do your own version.&#xD;&#xA;&#xD;&#xA;Check Operator first." ContentLicense="CC BY-SA 3.0" />
  <row Id="35120" PostHistoryTypeId="2" PostId="21823" RevisionGUID="fdc1b2f4-7b7c-4177-9cea-c86c14b8a6bd" CreationDate="2013-11-14T04:05:21.680" UserId="6807" Text="I am looking for a sound library with different room tone recordings. If you can recommend some sites I would greatly appreciate it.&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35121" PostHistoryTypeId="1" PostId="21823" RevisionGUID="fdc1b2f4-7b7c-4177-9cea-c86c14b8a6bd" CreationDate="2013-11-14T04:05:21.680" UserId="6807" Text="room-tone sound library help" ContentLicense="CC BY-SA 3.0" />
  <row Id="35122" PostHistoryTypeId="3" PostId="21823" RevisionGUID="fdc1b2f4-7b7c-4177-9cea-c86c14b8a6bd" CreationDate="2013-11-14T04:05:21.680" UserId="6807" Text="&lt;sound-libraries&gt;&lt;room&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35123" PostHistoryTypeId="2" PostId="21824" RevisionGUID="dc26ba9b-be6a-4be4-b14b-50c34c91d703" CreationDate="2013-11-14T04:24:48.517" UserId="18" Text="Here are a couple good ones to check:&#xD;&#xA;&#xD;&#xA;http://rabbitearsaudio.com/rea013-bridgett-tones/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35124" PostHistoryTypeId="2" PostId="21825" RevisionGUID="71a81fb2-c443-4ab8-ae01-f752ed1ba103" CreationDate="2013-11-14T12:50:35.847" UserId="432" Text="Guido Helbling has some pretty extensive libraries too: https://www.soundeffects.ch/en/sound-libraries/room-tones/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35126" PostHistoryTypeId="2" PostId="21827" RevisionGUID="1ad8cb8f-2b8d-4727-85b8-d14da420563c" CreationDate="2013-11-15T07:28:33.967" UserId="6420" Text="Sound Collectors Club are doing a new theme based on room tones. You might want to check it out. You'll have to contribute first to the library yourself though but could be well worth it. &#xD;&#xA;&#xD;&#xA;http://thesoundcollectorsclub.com/2013/08/12/first-new-theme-for-2013-14/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35127" PostHistoryTypeId="2" PostId="21828" RevisionGUID="662a88ab-91ba-4a31-b506-c4004953e00d" CreationDate="2013-11-15T17:30:06.830" UserId="6443" Text="I am developing an app based on soundphrases for android. I record a voice with my samsung galaxy SII and then use audacity for making the quality better. Then this soundfile is exported as an uncompressed WAVE-file. I compress it to an APE-format with monkeys audio (free opensource) and then convert the ape-format to MP3.&#xD;&#xA;&#xD;&#xA;SO my question is - if I want to do something more with these sounfiles - does it matter if I work with the compressed MP3-formats or work with the raw WAVE-file format? Does it deteriorate the quality if I once again open and save the MP#-files? (could be compared with once again opening a jpg pic. in photoshop" ContentLicense="CC BY-SA 3.0" />
  <row Id="35128" PostHistoryTypeId="1" PostId="21828" RevisionGUID="662a88ab-91ba-4a31-b506-c4004953e00d" CreationDate="2013-11-15T17:30:06.830" UserId="6443" Text="MP3-format - how the quality is affected" ContentLicense="CC BY-SA 3.0" />
  <row Id="35129" PostHistoryTypeId="3" PostId="21828" RevisionGUID="662a88ab-91ba-4a31-b506-c4004953e00d" CreationDate="2013-11-15T17:30:06.830" UserId="6443" Text="&lt;mp3&gt;&lt;sound-quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35130" PostHistoryTypeId="5" PostId="21828" RevisionGUID="cd36ebd4-ed6d-4ee2-9ec6-0a5b4fd9d793" CreationDate="2013-11-15T17:43:29.353" UserId="6443" Comment="added 1 characters in body" Text="I am developing an app based on soundphrases for android. I record a voice with my samsung galaxy SIII and then use audacity for making the quality better. Then this soundfile is exported as an uncompressed WAVE-file. I compress it to an APE-format with monkeys audio (free opensource) and then convert the ape-format to MP3.&#xD;&#xA;&#xD;&#xA;SO my question is - if I want to do something more with these sounfiles - does it matter if I work with the compressed MP3-formats or work with the raw WAVE-file format? Does it deteriorate the quality if I once again open and save the MP3-files? (could be compared with once again opening a jpg pic. in photoshop" ContentLicense="CC BY-SA 3.0" />
  <row Id="35131" PostHistoryTypeId="2" PostId="21829" RevisionGUID="b1561265-a6f9-4a53-9ac9-2dde71bd58ea" CreationDate="2013-11-15T18:23:13.200" UserId="6448" Text="Sound files are not meant to be edited once they've been applied a compression algorithm, audio data compression simply isn't meant to be used like that (for the files to be edited post-compression). The reason is that the result will be to the worse (compressed files have already increased noise floor, lessened frequency content, compromised stereo field...) whereas with the lossless versions you're still utilizing the full depth of the original sound while adding new edits or processing. Also the compression algorithm itself performs differently depending on what it's fed, so you get different compression results with differently modified sound files.&#xD;&#xA;&#xD;&#xA;It's not recommended to modify compressed files instead of the corresponding uncompressed files, but it can be done." ContentLicense="CC BY-SA 3.0" />
  <row Id="35132" PostHistoryTypeId="5" PostId="21829" RevisionGUID="4f22a462-d22c-425b-957c-b76660672f08" CreationDate="2013-11-15T18:28:16.047" UserId="6448" Comment="added 238 characters in body" Text="Sound files are not meant to be edited once they've been applied a compression algorithm, audio data compression simply isn't meant to be used like that (for the files to be edited post-compression). The reason is that the result will be to the worse (compressed files have already increased noise floor, lessened frequency content, compromised stereo field...) whereas with the lossless versions you're still utilizing the full depth of the original sound while adding new edits or processing. Also the compression algorithm itself performs differently depending on what it's fed, so you get different compression results with differently modified sound files. That's why you can't e.g. double compress a file without creating unwanted compression &quot;errors&quot; when compressing an already compressed file for the second time (the compression algorithms are meant to be used for lossless audio, always).&#xD;&#xA;&#xD;&#xA;It's not recommended to modify compressed files instead of the corresponding uncompressed files, but it can be done." ContentLicense="CC BY-SA 3.0" />
  <row Id="35133" PostHistoryTypeId="2" PostId="21830" RevisionGUID="e93997ab-2969-4245-8e23-bed3302b1162" CreationDate="2013-11-16T00:57:56.080" UserId="3418" Text="I recently bought one of Jez Riley contact mic (with the impadence matching adaptor) and used it with my sound devices to record, I got quiet a good result as those mic are interesting to and to play with.&#xD;&#xA;&#xD;&#xA;The downside of this mic and any similar in that price range is the limited frequency response, especially on the mid to high, tim prebble (the link above) provides an excellent explanation post about it.&#xD;&#xA;&#xD;&#xA;Trance Audio or Barcus Berry Planar Wave will be a good investment." ContentLicense="CC BY-SA 3.0" />
  <row Id="35134" PostHistoryTypeId="5" PostId="21830" RevisionGUID="c17a0779-2028-40f5-a914-f686de3e36dd" CreationDate="2013-11-16T22:11:15.070" UserId="3418" Comment="deleted 4 characters in body" Text="I have bought one of Jez Riley contact mic (with the impadence matching adaptor) and used it with my sound devices to record, I got quiet a good result as those mic are interesting to and to play with.&#xD;&#xA;&#xD;&#xA;The downside of this mic and any similar in that price range is the limited frequency response, especially on the mid to high, tim prebble (the link above) provides an excellent explanation post about it.&#xD;&#xA;&#xD;&#xA;Trance Audio or Barcus Berry Planar Wave will be a good investment." ContentLicense="CC BY-SA 3.0" />
  <row Id="35135" PostHistoryTypeId="2" PostId="21831" RevisionGUID="e7b0b68f-9de2-4355-8531-c29e0e23427d" CreationDate="2013-11-16T22:17:03.670" UserDisplayName="user49" Text="KeyMapPro by Redmatica has pitch analysis and tuning for Kontakt, but isn't available any more as apple bought it and discontinued it... " ContentLicense="CC BY-SA 3.0" />
  <row Id="35136" PostHistoryTypeId="2" PostId="21832" RevisionGUID="4eb820ec-44cf-4039-961d-720246b06400" CreationDate="2013-11-17T02:56:48.897" UserId="6445" Text="Soundflower is the most versatile of all the options proposed " ContentLicense="CC BY-SA 3.0" />
  <row Id="35137" PostHistoryTypeId="2" PostId="21833" RevisionGUID="9923c167-ea1c-4a63-8fba-4c52523c3dc0" CreationDate="2013-11-17T05:59:48.770" UserId="6819" Text="I went down the formal education route with sound design. I'm a few weeks away from graduating with my bachelors at acm@uco in oklahoma city. It's worked out pretty well, I've already started picking up some great post work that pays well before i've even graduated. And the school is much much cheaper than VFS. Like everyone said before though, you def get out of it by what you put in it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35138" PostHistoryTypeId="2" PostId="21834" RevisionGUID="1eaf969d-9ac5-403d-a65e-2afa73d5c2e6" CreationDate="2013-11-17T09:34:51.630" UserId="6425" Text="Try out Analogue VST Instrument from ableton! It has a very rich and random (analogue) sawtooth!&#xD;&#xA;A good start for strings is to layer some Analogue VST and Detune them! (CMD-G to put a VST into a Group Folder, then CMD-D to create copys of the VST within that Folder.) Exciter and reverb (very important Test different rooms) will help to get some life into the sound. Play with filter(lowpass 12dB) and amp-envelope (get in some decay and release)&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35141" PostHistoryTypeId="10" PostId="20410" RevisionGUID="bed82501-f805-4fbb-b12f-6ca7f2fc8f1f" CreationDate="2013-11-17T14:42:33.923" UserDisplayName="user80" Comment="104" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:80,&quot;DisplayName&quot;:&quot;Iain McGregor&quot;}]}" />
  <row Id="35142" PostHistoryTypeId="2" PostId="21835" RevisionGUID="5b546d38-7945-4084-be73-a2f57f594f7e" CreationDate="2013-11-17T19:22:53.717" UserId="6425" Text="I really like mixing with headphones. It kinda gives me the &quot;silence&quot; i need. Moreover i really enjoy to work outside with my macbook in the spring/summer to make dialogue editing and re-recording for broadcasting stuff more enjoyable :D.&#xD;&#xA;&#xD;&#xA;Tough I really got to know my headphones (Sennheiser HD 25-ii). But there is a but!&#xD;&#xA;Especially when it comes to EQ, depth (reverb amount) and bass-compression - i make miss decisions. Although i run into a lot of troubles in levelling deep bass sounds, vocals/dialogue, and hi-hats. &#xD;&#xA;-&gt; So I always need to fix my mix on studio monitors (Adam 5x) &#xD;&#xA;&#xD;&#xA;Now I stumbled upon the Focusrite VRM-Box which everyone except some reviews praise as some kind of holy grail.&#xD;&#xA;&#xD;&#xA;But I have some questions:&#xD;&#xA;&#xD;&#xA;1. Anyone, got some good/bad experience with it?&#xD;&#xA;&#xD;&#xA;2. Will it help in not getting tired ears so fast, when i listen through the vrm?&#xD;&#xA;&#xD;&#xA;3. Can I mix trough the vim, or do i just use it to reference the mix every now and then too get a slight feel of how the mix sounds on professional speakers?&#xD;&#xA;&#xD;&#xA;4. Which headphones work best with the vrm-box?&#xD;&#xA;&#xD;&#xA;5. Does it use a lot of cpu/memory or is the simulation emulated in the box?&#xD;&#xA;&#xD;&#xA;6. Does a VRM-Box have a heavy impact on my battery life&#xD;&#xA;&#xD;&#xA;7. Do you know any alternatives to the Focusrite VRM-Box&#xD;&#xA;&#xD;&#xA;I know its a lot of questions. I appreciate any help!&#xD;&#xA;&#xD;&#xA;Peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="35143" PostHistoryTypeId="1" PostId="21835" RevisionGUID="5b546d38-7945-4084-be73-a2f57f594f7e" CreationDate="2013-11-17T19:22:53.717" UserId="6425" Text="Focusrite VRM-Box" ContentLicense="CC BY-SA 3.0" />
  <row Id="35144" PostHistoryTypeId="3" PostId="21835" RevisionGUID="5b546d38-7945-4084-be73-a2f57f594f7e" CreationDate="2013-11-17T19:22:53.717" UserId="6425" Text="&lt;mixing&gt;&lt;headphones&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35147" PostHistoryTypeId="5" PostId="21835" RevisionGUID="44be4fb9-0464-4431-99b2-3998c786f1f6" CreationDate="2013-11-17T21:40:37.120" UserId="6425" Comment="edited body" Text="I really like mixing with headphones. It kinda gives me the &quot;silence&quot; i need. Moreover i really enjoy to work outside with my macbook in the spring/summer to make dialogue editing and re-recording for broadcasting stuff more enjoyable :D.&#xD;&#xA;&#xD;&#xA;Tough I really got to know my headphones (Sennheiser HD 25-ii). But there is a but!&#xD;&#xA;Especially when it comes to EQ, depth (reverb amount) and bass-compression - i make miss decisions. Moreover I run into a lot of troubles in levelling deep bass sounds, vocals/dialogue, and hi-hats. &#xD;&#xA;-&gt; So I always need to fix my mix on studio monitors (Adam 5x) &#xD;&#xA;&#xD;&#xA;Now I stumbled upon the Focusrite VRM-Box which everyone except some reviews praise as some kind of holy grail.&#xD;&#xA;&#xD;&#xA;But I have some questions:&#xD;&#xA;&#xD;&#xA;1. Anyone, got some good/bad experience with it?&#xD;&#xA;&#xD;&#xA;2. Will it help in not getting tired ears so fast, when i listen through the vrm?&#xD;&#xA;&#xD;&#xA;3. Can I mix trough the vim, or do i just use it to reference the mix every now and then too get a slight feel of how the mix sounds on professional speakers?&#xD;&#xA;&#xD;&#xA;4. Which headphones work best with the vrm-box?&#xD;&#xA;&#xD;&#xA;5. Does it use a lot of cpu/memory or is the simulation emulated in the box?&#xD;&#xA;&#xD;&#xA;6. Does a VRM-Box have a heavy impact on my battery life&#xD;&#xA;&#xD;&#xA;7. Do you know any alternatives to the Focusrite VRM-Box&#xD;&#xA;&#xD;&#xA;I know its a lot of questions. I appreciate any help!&#xD;&#xA;&#xD;&#xA;Peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="35148" PostHistoryTypeId="2" PostId="21837" RevisionGUID="ed27c7a1-6096-4120-9691-008bd80852d1" CreationDate="2013-11-17T22:49:17.940" UserId="1228" Text="The root issue is one of physics, mixing should always and only be done on monitors.  Low frequencies = larger waveform = more distance/time/space required for the frequency to develop audibly (read: montitors in a room).  Air between your ears and the cones are what's necessary to properly evaluate mix decisions.  No real way around that, even with some sort of emulation or headphone correction.  Sometimes this can be worse because of making additional compensations for what a device does to perception.  This is because the HRTF-style IR idea only works soundly (read: is calibrated to you specifically, like pinking your room if working with monitors) if the IR is made of your head, in your mix room, with your calibrated monitors, at your mix position. So effectively, the &quot;zero reference&quot; will be flawed from the start and mix decisions may very not translate properly.&#xD;&#xA;&#xD;&#xA;So my suggestion here is, stay with monitors when mixing.&#xD;&#xA;&#xD;&#xA;I certainly don't intend to be rude at all here, I just find it a tad frustrating personally to hear (and not calling you out personally or anything of that ilk, I hear this a lot) &quot;mix in headphones&quot; followed by &quot;mix isn't translating/can't judge what mix decisions I make.&quot; The question sort of answers itself logically in my opinion" ContentLicense="CC BY-SA 3.0" />
  <row Id="35149" PostHistoryTypeId="5" PostId="21837" RevisionGUID="2b8b5b98-407b-4b7d-a136-46878a389148" CreationDate="2013-11-17T22:55:24.490" UserId="1228" Comment="added 51 characters in body" Text="The root issue is one of physics, mixing should always and only be done on monitors.  Low frequencies = larger waveform = more distance/time/space required for the frequency to develop audibly (read: montitors in a room).  Air between your ears and the cones are what's necessary to properly evaluate mix decisions.  No real way around that, even with some sort of emulation or headphone correction.  Sometimes this can be worse because of making additional compensations for what a device does to perception.  This is because the HRTF-style IR idea only works soundly (read: is calibrated to you specifically, like pinking your room if working with monitors) if the IR is made of your head, in your mix room, with your calibrated monitors, at your mix position. So effectively, a device like this using its own IRs from factory, the &quot;zero reference&quot; will be flawed from the start and mix decisions may very not translate properly.&#xD;&#xA;&#xD;&#xA;So my suggestion here is, stay with monitors when mixing.&#xD;&#xA;&#xD;&#xA;I certainly don't intend to be rude at all here, I just find it a tad frustrating personally to hear (and not calling you out personally or anything of that ilk, I hear this a lot) &quot;mix in headphones&quot; followed by &quot;mix isn't translating/can't judge what mix decisions I make.&quot; The question sort of answers itself logically in my opinion" ContentLicense="CC BY-SA 3.0" />
  <row Id="35150" PostHistoryTypeId="2" PostId="21838" RevisionGUID="ec4bb71c-076a-42f7-bcbc-084e9a6f7bd8" CreationDate="2013-11-18T02:57:06.597" UserId="6823" Text="I have a gig coming where I will need to record cars passing on a frozen race track (the temperature there will be around -40 degrees celcius.. ), I already did some car recordings in the past but never in that kind of conditions.&#xD;&#xA;&#xD;&#xA;I dont really need to wire any microphones on the car as the sound needs to follow the camera position which will be on the side of the race track, for a &quot;documentary style&quot; kind of result.&#xD;&#xA;&#xD;&#xA;I had a look in the forums and already had a lot of very useful advice on how to handle very cold temperatures especially with the recorder and mixer ( keeping them under your jacket to warm them up seems the way to go). &#xD;&#xA;&#xD;&#xA;Unfortunately i couldnt find any advice and experience on how the microphones and cables would react to freezing conditions.&#xD;&#xA;&#xD;&#xA;Does any of you have experience with that kind of weather?&#xD;&#xA;&#xD;&#xA;Living in China I dont have a large choice of microphones I can rent, my choice is pretty much narrowed to Oktava Mk012, Sennheiser MKH416, RODE NTG3 and my Sony PCM50 recorder. I can record with a Sound Device mixer ( Mixpre or 302) on a Tascam HDP2 or Zoom H6.&#xD;&#xA;&#xD;&#xA;Thanks a lot for your usefull advice!&#xD;&#xA;&#xD;&#xA;Gaetan&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35151" PostHistoryTypeId="1" PostId="21838" RevisionGUID="ec4bb71c-076a-42f7-bcbc-084e9a6f7bd8" CreationDate="2013-11-18T02:57:06.597" UserId="6823" Text="Behaviour of gears in freezing conditions" ContentLicense="CC BY-SA 3.0" />
  <row Id="35152" PostHistoryTypeId="3" PostId="21838" RevisionGUID="ec4bb71c-076a-42f7-bcbc-084e9a6f7bd8" CreationDate="2013-11-18T02:57:06.597" UserId="6823" Text="&lt;recording&gt;&lt;cold&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35153" PostHistoryTypeId="2" PostId="21839" RevisionGUID="2b3a0317-0000-40e2-9262-1ec80a3166c7" CreationDate="2013-11-18T10:50:06.640" UserId="6824" Text="Wow, -40 C is quite cold indeed. &#xD;&#xA;I'd try a MKH416 as a mic. I used the Røde in cold conditions before and had some issues with it, so I wouldn't recommend it.&#xD;&#xA;&#xD;&#xA;As far as the recorder is concerned, I'd avoid the HDP2. I used it last winter at temperatures around 1C degrees and after a while it started to have signal dropouts.  I can't say anything about Sound Devices or the Zoom.&#xD;&#xA;&#xD;&#xA;Keeping the recorder (and especially batteries) under your jacket or near your body sounds good, though it might be hard to reach the controls of the recorder/mixer. I'd also stick sone silica-pads near the recorder in order to keep the humidity away from it." ContentLicense="CC BY-SA 3.0" />
  <row Id="35154" PostHistoryTypeId="2" PostId="21840" RevisionGUID="875e6445-3d60-4657-a0b1-c63678b22b1c" CreationDate="2013-11-18T11:02:04.977" UserId="1216" Text="0Hi,&#xD;&#xA;&#xD;&#xA;I've worked with sound recordist Pepijn Aben http://www.pepsound.nl/Noordpool.html&#xD;&#xA;He has recorded on the Northpole and shared his experiences in a Dutch Audio magazine.&#xD;&#xA;I can translate it if you want?&#xD;&#xA;&#xD;&#xA;But i would go for the mkh416 (their though!) and experiment/test cables by putting them in the fridge (although i doubt a consumer fridge will go this low).&#xD;&#xA;Use the sound devices but also sent them an email for any advice on low temperatures.&#xD;&#xA;&#xD;&#xA;In general try and keep batteries dry and warm. Also, try to create a system where you let the gear adapt to the changing environments (warmth, humidity). Never just walk into the cold from a warm location, the moist in the air will freeze inside machines.&#xD;&#xA;&#xD;&#xA;Arnoud&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35155" PostHistoryTypeId="2" PostId="21841" RevisionGUID="14ca5af9-87f4-4d93-8e51-35a82382af57" CreationDate="2013-11-18T12:56:40.827" UserId="6748" Text="I have recorded here in switzerland about -20 C or more. I can recommend you this:&#xD;&#xA;Recording in low temperatures are not such a problem, the difficult parts are putting the gear out in the cold air an back.&#xD;&#xA;&#xD;&#xA;Going into the cold:&#xD;&#xA;-You need to acclimate your gear before using. If you come out of a car (+25 C) into a winterday (-25 C) you have a difference from 50C! This needs in minimum 2 houre to acclimate your microfones, more is better! Put it into a backpack or a bag, always use windshields for microfones. This makes the temerature-shock softer to the equipment. If there would be a small layer of condense or moisture (I don't know if this is the correct word in english) it will freeze immediately on your equipment and will break it.&#xD;&#xA;&#xD;&#xA;-put your equipment a day in rice to bring out all the moisture of the equipment. Be sure to not have a lof of dust later on the microfones!&#xD;&#xA;&#xD;&#xA;Going out of the cold:&#xD;&#xA;-Same procedure: The equimpent must be acclimatized slowly to room-level. Otherwise the water in the air will freeze on your minus cold equipment and makes a layer of ice, which could break everything. Minimum 2 houres, and never put it out in this time. Put it into a bag, backpack or blanket.&#xD;&#xA;&#xD;&#xA;-Recorders: Are not such a problem as microfones, because they get warm if they run.&#xD;&#xA;-Batteries: Lithium Batteries are more resistent than normal batteries but bring enough of them with you. You never now how they behave. If you can, make a test before. Then you can see what they do. It makes no sense to start recording and all batteries are down because of the coldness.&#xD;&#xA;&#xD;&#xA;-Microfones: If they are not enough acclimatized, they start popping, crackle, making some other fancy noise you don't want. You need to wait until they are silent, but in general, you have more unwanted noise than normal.&#xD;&#xA;&#xD;&#xA;Let us know how it was. Minus -40 degrees is quite cold. Take some gloves with you :-)&#xD;&#xA;&#xD;&#xA;Best&#xD;&#xA;&#xD;&#xA;Guido&#xD;&#xA;https://www.soundeffects.ch/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35156" PostHistoryTypeId="2" PostId="21842" RevisionGUID="a8f21470-e6e7-4cc1-b33e-6154e11e5c43" CreationDate="2013-11-18T16:13:21.733" UserId="194" Text="Here's a [blog][1] that Tim Muirhead did about cold gear.&#xD;&#xA;&#xD;&#xA;here's [another thread][2] about it over at JWSound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.azimuthaudio.ca/azimuth-blog/tag/cold&#xD;&#xA;  [2]: http://jwsoundgroup.net/index.php?/topic/19668-working-in-extreme-cold/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35157" PostHistoryTypeId="2" PostId="21843" RevisionGUID="b08337f7-1e51-41c7-9191-309521a6e8ac" CreationDate="2013-11-18T17:30:41.833" UserId="6825" Text="i did a days worth of field recording a while back into input 1 of my H4n which is the left channel. it played back into my headphones at the time on both sides. however when i play back what i recorded that day on pro tools it only plays back in my left monitor. is there some way to get it centrally panned? thats a whole days stuff gone otherwise.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35158" PostHistoryTypeId="1" PostId="21843" RevisionGUID="b08337f7-1e51-41c7-9191-309521a6e8ac" CreationDate="2013-11-18T17:30:41.833" UserId="6825" Text="H4n panning issue in pro tools" ContentLicense="CC BY-SA 3.0" />
  <row Id="35159" PostHistoryTypeId="3" PostId="21843" RevisionGUID="b08337f7-1e51-41c7-9191-309521a6e8ac" CreationDate="2013-11-18T17:30:41.833" UserId="6825" Text="&lt;pro-tools&gt;&lt;field&gt;&lt;zoom-h4n&gt;&lt;panning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35160" PostHistoryTypeId="2" PostId="21844" RevisionGUID="c1d995b6-78ae-4cbb-a728-29474ec49bde" CreationDate="2013-11-18T17:34:34.373" UserId="6454" Text="So I am looking for a SFX pack/library specifically of a Hummer H2. If I could get access to the actual car (especially the one from the film but it was shot international) I would record it myself. Finding one (without renting one for the day...über expensive) has proven difficult. I have many SUV and truck sounds, but none are quite like the actual H2, especially internal sounds, door slams, acceleration. Any insight would be great, or if someone out there has a Hummer or access to one, I would be interested in talking about a custom pack. Thanks all and hope everyone is well.&#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;Ryan&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35161" PostHistoryTypeId="1" PostId="21844" RevisionGUID="c1d995b6-78ae-4cbb-a728-29474ec49bde" CreationDate="2013-11-18T17:34:34.373" UserId="6454" Text="Looking fo a Hummer H2 SFX Pack" ContentLicense="CC BY-SA 3.0" />
  <row Id="35162" PostHistoryTypeId="3" PostId="21844" RevisionGUID="c1d995b6-78ae-4cbb-a728-29474ec49bde" CreationDate="2013-11-18T17:34:34.373" UserId="6454" Text="&lt;sfx&gt;&lt;car&gt;&lt;sound-library&gt;&lt;custom&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35163" PostHistoryTypeId="2" PostId="21845" RevisionGUID="ed0a27f6-d5a9-4171-ad58-cda1da3e951c" CreationDate="2013-11-18T17:40:07.943" UserId="1216" Text="I've been wanting to try out a cardiod in my MS setup (MKH30&amp;50/60) to get a better image. But instead of buying a MKH(80)40 i'm trying out Line audio cm3's. They are nice mic's for a very low price and sound pretty good.&#xD;&#xA;The sensitivity is much lower (6mv/Pa) compared to the MKH30(25/Pa). &#xD;&#xA;&#xD;&#xA;So I tried to match sensitivity by A-B ing the MKH50 and CM3. This showed a 6.21dB difference in favour of the MKH50.&#xD;&#xA;I did some test recordings with both mics ganged to the gain of the MKH30. The idea was that in post i could easily add the 6.21dB to the Mid channel (CM3) and get a good stereo image after MS matrixing.&#xD;&#xA;&#xD;&#xA;However, back in the studio I ran into some difficulties. Some recordings were fine and others not (phase issues and extreme wide stereo image). So i thought, I must be able to calculate the difference. I searched the archive and found this post: http://sound.stackexchange.com/questions/3363/what-do-sensitivity-measurements-of-microphones-really-mean Following this formula I reached almost the same result, a 6.19dB difference. So great, I was close in my test, but why is one recording good and another not?&#xD;&#xA;&#xD;&#xA;Now I'm thinking something is wrong with my train of thought. Could it perhaps be that when I use more or less gain the sensitivity ratio (25:6) is influencing the output differently?   &#xD;&#xA;I didn't take note of the preamp gains so I don't know if this had any influence. I will continue my tests, but maybe somebody here has a more academic/technical approach?&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="35164" PostHistoryTypeId="1" PostId="21845" RevisionGUID="ed0a27f6-d5a9-4171-ad58-cda1da3e951c" CreationDate="2013-11-18T17:40:07.943" UserId="1216" Text="MS Setup: microphone sensitivity MKH50 vs CM3" ContentLicense="CC BY-SA 3.0" />
  <row Id="35165" PostHistoryTypeId="3" PostId="21845" RevisionGUID="ed0a27f6-d5a9-4171-ad58-cda1da3e951c" CreationDate="2013-11-18T17:40:07.943" UserId="1216" Text="&lt;sennheiser&gt;&lt;ms&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35166" PostHistoryTypeId="2" PostId="21846" RevisionGUID="cf15bb04-675a-483e-a1a0-7ca263d9ce4d" CreationDate="2013-11-18T17:44:52.587" UserId="1216" Text="It's a bit unclear where your problem is. Do you need help in protools to get the sound in the center image? Or do you want to get a stereo image from 1 channel audio? &#xD;&#xA;&#xD;&#xA;Protools answer: drag your files to 2 mono tracks from the stereo track. Delete panning automation on the mono tracks.&#xD;&#xA;Stereo image: Unless you used a stereo mic(setup) the latter is impossible. If you used channel 1 of the line input with a mono mic this is all you have unfortunately.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Arnoud&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35167" PostHistoryTypeId="2" PostId="21847" RevisionGUID="fa0bb7fe-7aab-480a-a4d1-b700655354f1" CreationDate="2013-11-18T17:49:47.413" UserId="6826" Text="I use the Sound Devices MixPre-D to do field recording and I'm finding that one of the gain knobs often gets moved while I'm out recording.  It seems to be just a touch loose compared to the other gain control, though not very!  I've tried removing the knob and tightening but this doesn't help.  &#xD;&#xA;&#xD;&#xA;I use it in a fishing tackle bag (lots of useful pockets) and moved it in to one of the more secure pockets and have taped cardboard over top of the gain knobs.  This seems to help but is really irritating to have to undo the taped cardboard to change gain levels.&#xD;&#xA;&#xD;&#xA;I am often walking while record - hence why the Mix-Pre moves around in my bag.&#xD;&#xA;&#xD;&#xA;Does anyone have any suggestions?&#xD;&#xA;&#xD;&#xA;Many thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35168" PostHistoryTypeId="1" PostId="21847" RevisionGUID="fa0bb7fe-7aab-480a-a4d1-b700655354f1" CreationDate="2013-11-18T17:49:47.413" UserId="6826" Text="Gain knob on Sound Devices MixPre moving during recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="35169" PostHistoryTypeId="3" PostId="21847" RevisionGUID="fa0bb7fe-7aab-480a-a4d1-b700655354f1" CreationDate="2013-11-18T17:49:47.413" UserId="6826" Text="&lt;field-recording&gt;&lt;recording&gt;&lt;portable-recorder&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35170" PostHistoryTypeId="2" PostId="21848" RevisionGUID="6000e8eb-8972-4008-af08-f76ae35f4069" CreationDate="2013-11-18T18:21:46.510" UserId="1216" Text="Well the easiest and most expensive answer is buy a bag designed for the mixpre. Petrol has one: http://cvp.com/index.php?t=product/petrol_ps607&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="35171" PostHistoryTypeId="2" PostId="21849" RevisionGUID="12746eaf-fc05-405a-bb48-ae9f483b996d" CreationDate="2013-11-18T19:43:20.477" UserId="6827" Text="I can vouch for JrF: http://hydrophones.blogspot.se/2011/05/c-series-pro-contact-microphones-new.html&#xD;&#xA;&#xD;&#xA;I never leave home without them. Using an H4n.&#xD;&#xA;They are used by BBC, which according to me is a good reference." ContentLicense="CC BY-SA 3.0" />
  <row Id="35172" PostHistoryTypeId="2" PostId="21850" RevisionGUID="67a59c2b-9604-4376-af9f-67191eb8aa20" CreationDate="2013-11-18T23:08:06.140" UserId="1228" Text="Well, in the end it's just a matter of gain (and personal taste) - so it doesn't really matter all that much since you can alter the gain (and even EQ) pre-matrix in the DAW - this will effectively alter your stereo width (and potential phasing issues) down the line.  There';s no hard and fast rule with MS in this regard.  The image can be whatever you want.  Sometimes I master more narrow and focused - other times more wide, depending upon the source content or what I'm trying to reject.&#xD;&#xA;&#xD;&#xA;Also you may need to alter the delay of one mic against the other pre-matrix - that could be causing some phase issues as well.  This would be important if your M/S capsules are not perfectly aligned during recording.&#xD;&#xA;&#xD;&#xA;With my 8040 + 30 combo, I find that about 8-9 dB reduction of the 30 feel good to me for a present XY feel (did about 5 dB on the 702, and in post dropped it another 3 or so).  I didn't do any math though, I just went by taste and what sounded good to my ear.&#xD;&#xA;&#xD;&#xA;What are using to run the matrix itself?  I've done a few audible tests and I find weird phase imaging problems with the S1 Imager (the Width paramter may be a culprit too) - enough that I actually thought I needed to delay my side mic by 4 samples.  After much fussing around, I switched out the Imager for the sub-plugin S1 MS Matrix and the LCR perception was much smoother (without needing the 4 sample delay - which now actually sounds wrong when it's there!), even when I adjust the pre-matrix gain.  I'm going to be doing some additional tests to see how the S1 runs again doing it old-school in the DAW with panning and phase inversion - just to see of the results from both are truly identical (will perfectly phase cancel out).  it has me very curious and right now I have trust issues with the S1. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35173" PostHistoryTypeId="5" PostId="21850" RevisionGUID="6c124ec4-7bfb-43eb-a719-5a867465b0c7" CreationDate="2013-11-18T23:26:19.480" UserId="1228" Comment="added 527 characters in body" Text="Well, in the end it's just a matter of gain (and personal taste) - so it doesn't really matter all that much since you can alter the gain (and even EQ) pre-matrix in the DAW - this will effectively alter your stereo width (and potential phasing issues) down the line.  There';s no hard and fast rule with MS in this regard.  The image can be whatever you want.  Sometimes I master more narrow and focused - other times more wide, depending upon the source content or what I'm trying to reject.&#xD;&#xA;&#xD;&#xA;Also you may need to alter the delay of one mic against the other pre-matrix - that could be causing some phase issues as well.  This would be important if your M/S capsules are not perfectly aligned during recording.&#xD;&#xA;&#xD;&#xA;With my 8040 + 30 combo, I find that about 8-9 dB reduction of the 30 feel good to me for a present XY feel (did about 5 dB on the 702, and in post dropped it another 3 or so).  I didn't do any math though, I just went by taste and what sounded good to my ear.&#xD;&#xA;&#xD;&#xA;What are using to run the matrix itself?  I've done a few audible tests and I find weird phase imaging problems with the S1 Imager (the Width paramter may be a culprit too) - enough that I actually thought I needed to delay my side mic by 4 samples.  After much fussing around, I switched out the Imager for the sub-plugin S1 MS Matrix and the LCR perception was much smoother (without needing the 4 sample delay - which now actually sounds wrong when it's there!), even when I adjust the pre-matrix gain.  I'm going to be doing some additional tests to see how the S1 runs again doing it old-school in the DAW with panning and phase inversion - just to see of the results from both are truly identical (will perfectly phase cancel out).  it has me very curious and right now I have trust issues with the S1. &#xD;&#xA;&#xD;&#xA;Learned the hard way with this one too: mic position is everything.  I have a recording or two where I was capturing street activity on Sunset Blvd in LA, oblivious to the pedestrians' behind me.  There's a moment or two where they walk by (either a distinctive voice or heel clicks) but the 8040 doesn't really pick them up from moving behind me, and those sound a little sketch through the matrix.  Again only because I didn't consider, unlike XY, how the rear axis can have a drastic affect upon the resulting image  Also why I go by ear for my stereo width.  Phase relationships are always a &quot;moving target&quot; in a sense with MS, with position and reflections potentially creating undesired results at times." ContentLicense="CC BY-SA 3.0" />
  <row Id="35174" PostHistoryTypeId="2" PostId="21851" RevisionGUID="1bbff88d-61a1-4b73-9a1e-24d131d8137a" CreationDate="2013-11-19T01:18:39.507" UserId="315" Text="There's relatively good INT and EXT coverage of an H2 in the Sound Ideas HD General Library. A quick search of our SFX library yields 120 recordings from them. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35179" PostHistoryTypeId="2" PostId="21854" RevisionGUID="0b0d6723-5e1c-43a3-bdc0-8fb0daa30977" CreationDate="2013-11-20T15:07:17.300" UserId="6564" Text="I have access to Audition most of the time, so I use often use that when I want to edit dialogue, but I'm looking for a simple backup program that I can put on my laptop to use when I can't get in the studio. I've got Logic and Ableton on my laptop for music use but I don't think either is really appropriate and I hate editing audio within a DAW anyway.&#xD;&#xA;&#xD;&#xA;Audacity was my first thought as I used and enjoyed it quite a lot several years ago, but on Mountain Lion it is giving me nothing but trouble. I'm sure I could get to the bottom of this over on the Audacity forum but it has made me curious about alternatives. What's out there that's good? I'm looking for freeware/ cheap (sub £20) because I'm broke...&#xD;&#xA;&#xD;&#xA;I'm giving the TwistedWave trial version a go and I like it a lot, I'd say all that I'm missing is a spectral view. But it's $80/ £50 and although I'm finding using it to be a better experience than I remember Audacity being, I'm not sure it's worth £50 compared to Audacity's £0.&#xD;&#xA;&#xD;&#xA;So yeah, what free or cheap editors are you using?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35180" PostHistoryTypeId="1" PostId="21854" RevisionGUID="0b0d6723-5e1c-43a3-bdc0-8fb0daa30977" CreationDate="2013-11-20T15:07:17.300" UserId="6564" Text="Freeware Audio Editors (Other than Audacity)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35181" PostHistoryTypeId="3" PostId="21854" RevisionGUID="0b0d6723-5e1c-43a3-bdc0-8fb0daa30977" CreationDate="2013-11-20T15:07:17.300" UserId="6564" Text="&lt;audio-editor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35182" PostHistoryTypeId="2" PostId="21855" RevisionGUID="e5de5b28-2673-4884-9773-efada846a079" CreationDate="2013-11-20T18:31:28.333" UserId="194" Text="reaper is free for 60 days and fully functional, so it could work in a pinch.  It's also pretty inexpensive if you're into it." ContentLicense="CC BY-SA 3.0" />
  <row Id="35183" PostHistoryTypeId="2" PostId="21856" RevisionGUID="92cfa915-b30e-439e-a0ca-a9aa424e629d" CreationDate="2013-11-20T19:49:11.723" UserId="37" Text="I like Sound Studio on the Mac. It's not too advanced and the filters can be quite buggy but I like that launches fast and makes a great little cutter. It can apply AU filters and has a set of basic filters. £21 in the Mac app store I think.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35184" PostHistoryTypeId="2" PostId="21857" RevisionGUID="8588312f-7f82-44c5-a9e0-779c1e0f69ad" CreationDate="2013-11-20T20:04:10.403" UserId="6832" Text="You might want to check ocenaudio. http://www.ocenaudio.com.br/en&#xD;&#xA;&#xD;&#xA;It lacks things like volume envelope and support of multichannel wavs, but probably fine for basic editing. I chose Wavosaur over it, but it's not available for Mac." ContentLicense="CC BY-SA 3.0" />
  <row Id="35185" PostHistoryTypeId="2" PostId="21858" RevisionGUID="7f6c1675-652f-4271-81f8-87d2d395a064" CreationDate="2013-11-21T01:12:38.117" UserId="6832" Text="Don't know what kind of game it is, but that sound you uploaded to mediafire sounds good, but pretty static. If it's being played for a long time you might want to add some volume and filter modulation to it.&#xD;&#xA;&#xD;&#xA;Also if there is a chance to do distance attenuation I'd add the very high pitched wingflaps (as suggested by others) with very steep volume curve so that they can be only heard when camera is straight next to fireflies.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35187" PostHistoryTypeId="2" PostId="21860" RevisionGUID="fae90741-7ff1-467b-a465-73b9df3bc482" CreationDate="2013-11-21T02:09:57.347" UserId="6837" Text="I noticed that when I pass the alarm gates in my library (the ones that beep when you bring a book through) I hear a high pitched buzz in my earbuds. When I take my earbuds off, I hear nothing. I'd like to exploit this property (whatever it may be) for the purposes of an art project. Does anyone know what causes this? I ask because I can't find much information about 'alarm gates earbuds buzz' online.  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35188" PostHistoryTypeId="1" PostId="21860" RevisionGUID="fae90741-7ff1-467b-a465-73b9df3bc482" CreationDate="2013-11-21T02:09:57.347" UserId="6837" Text="Why do my earbuds buzz when I pass the alarm gate in my library?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35189" PostHistoryTypeId="3" PostId="21860" RevisionGUID="fae90741-7ff1-467b-a465-73b9df3bc482" CreationDate="2013-11-21T02:09:57.347" UserId="6837" Text="&lt;earbuds&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35191" PostHistoryTypeId="2" PostId="21862" RevisionGUID="b44116ca-26d3-4cd3-aa55-e5e6e3353ce2" CreationDate="2013-11-21T07:11:26.687" UserId="3245" Text="Just looking for general tips. I'm not asking you to do my job for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="35192" PostHistoryTypeId="1" PostId="21862" RevisionGUID="b44116ca-26d3-4cd3-aa55-e5e6e3353ce2" CreationDate="2013-11-21T07:11:26.687" UserId="3245" Text="Creating sounds that take place in a wide, rock, canyon? How do I make this sound more authentic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35193" PostHistoryTypeId="3" PostId="21862" RevisionGUID="b44116ca-26d3-4cd3-aa55-e5e6e3353ce2" CreationDate="2013-11-21T07:11:26.687" UserId="3245" Text="&lt;sound-design&gt;&lt;reverb&gt;&lt;echo&gt;&lt;authentic&gt;&lt;settings&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35194" PostHistoryTypeId="2" PostId="21863" RevisionGUID="b2a88c57-a1d6-49df-bf2b-269758b5447b" CreationDate="2013-11-21T09:36:57.067" UserId="6840" Text="I live I the high desert, in a town called pahrump, 60 miles outside of Las Vegas. It's extremely dry &amp; the dirt is white powder due to nutrients leached from it when cotton was grown. I unknwingly attracted birds, crickets &amp; other life form to my yard via gardening &amp; such.&#xD;&#xA;One evening my neighbor asked me how did I get crickets &amp; birds come to my house because nothing came to his. There were were no sounds of any animals.&#xD;&#xA;I'm sure there's more desolate areas in Pahrump besides my neighbor's yard. You should come check it out. You may find just what you're looking for or should I say what you're not looking for. Ha!&#xD;&#xA;Dell&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35195" PostHistoryTypeId="2" PostId="21864" RevisionGUID="a2e93c2a-e106-4180-a5d3-61c8db66ac59" CreationDate="2013-11-21T10:08:46.183" UserId="6800" Text="I've got a Zoom H2 as a fieldrecorder, but I don't like the noisy preamps and the interface.&#xD;&#xA;So I was looking into a new fieldrecorder and found some interesting ones. &#xD;&#xA;First I found the Sony PCM M10, which is supposed to be very quiet. It's small and portable, and has a nice interface. However, I have some doubts about using it with a phantom powered mic, and it also doesn't have XLR inputs.&#xD;&#xA;&#xD;&#xA;Then I found the Olympus LS-100, which does have XLR inputs and phantom power, but is on the larger side. I won't always have an external mic with me, and am going to carry my fieldrecorder with me most of the time, so the mics and pre's need to be very good quality.&#xD;&#xA;&#xD;&#xA;I'll be using the devices mainly to record foley, ambiances and soundeffects. Basicly, anything interesting I might come across.&#xD;&#xA;&#xD;&#xA;Budget isn't that much of an issue. Which would you recommend?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35196" PostHistoryTypeId="1" PostId="21864" RevisionGUID="a2e93c2a-e106-4180-a5d3-61c8db66ac59" CreationDate="2013-11-21T10:08:46.183" UserId="6800" Text="Omlympus LS-100 or Sony PCM M10" ContentLicense="CC BY-SA 3.0" />
  <row Id="35197" PostHistoryTypeId="3" PostId="21864" RevisionGUID="a2e93c2a-e106-4180-a5d3-61c8db66ac59" CreationDate="2013-11-21T10:08:46.183" UserId="6800" Text="&lt;gear&gt;&lt;portable-recorder&gt;&lt;field-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35198" PostHistoryTypeId="5" PostId="21864" RevisionGUID="9ef1a0e4-dd4f-40b3-9153-e07818ff92a3" CreationDate="2013-11-21T10:16:17.220" UserId="6800" Comment="added 126 characters in body" Text="I've got a Zoom H2 as a fieldrecorder, but I don't like the noisy preamps and the interface.&#xD;&#xA;So I was looking into a new fieldrecorder and found some interesting ones. &#xD;&#xA;First I found the Sony PCM M10, which is supposed to be very quiet. It's small and portable, and has a nice interface. However, I have some doubts about using it with a phantom powered mic, and it also doesn't have XLR inputs.&#xD;&#xA;&#xD;&#xA;Then I found the Olympus LS-100, which does have XLR inputs and phantom power, but is on the larger side. I won't always have an external mic with me, and am going to carry my fieldrecorder with me most of the time, so the mics and pre's need to be very good quality.&#xD;&#xA;&#xD;&#xA;I'll be using the devices mainly to record foley, ambiances and soundeffects. Basicly, anything interesting I might come across. I would like to record very quiet sounds too, so I am also thinking I may need an external preamp, like the Sounddevices MP1.&#xD;&#xA;&#xD;&#xA;Budget isn't that much of an issue. Which would you recommend?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35199" PostHistoryTypeId="2" PostId="21865" RevisionGUID="7532a569-58d1-48ee-8fea-922aab8a4c2e" CreationDate="2013-11-21T10:32:32.670" UserId="6841" Text="I'm doing a dissertation on my film course on Japanese Auteurs and how they compare to Western Auteurs in their approach to film. If anyone could suggest any Japanese film directors that they really like then that would be great. Film suggestions are also welcome.&#xD;&#xA;&#xD;&#xA;Thanks :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35200" PostHistoryTypeId="1" PostId="21865" RevisionGUID="7532a569-58d1-48ee-8fea-922aab8a4c2e" CreationDate="2013-11-21T10:32:32.670" UserId="6841" Text="Japanese Directors and films" ContentLicense="CC BY-SA 3.0" />
  <row Id="35201" PostHistoryTypeId="3" PostId="21865" RevisionGUID="7532a569-58d1-48ee-8fea-922aab8a4c2e" CreationDate="2013-11-21T10:32:32.670" UserId="6841" Text="&lt;film&gt;&lt;directors&gt;&lt;foreign&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35202" PostHistoryTypeId="2" PostId="21866" RevisionGUID="7aea2e63-0694-467b-a10e-6f4b7125cc70" CreationDate="2013-11-21T10:35:21.537" UserId="6425" Text="One thing that always helps to get something in a special Place -&gt; Reverb/Impulse Response Reverbs. One thing so -&gt; Don't always think you need a big reverb for wide locations. Sometimes small reverb create a better image of a big wide place, imho.&#xD;&#xA;&#xD;&#xA;If you want go get your hands dirty -&gt; Go into a wide,rock canyon (or similar, maybe a stadium etc.) and record/re-record the sounds there.&#xD;&#xA;&#xD;&#xA;Another thing is atmosphere. By adding wind or nature atmosphere (maybe soaked in reverb) you give the hearer a stronger bond to the canyon." ContentLicense="CC BY-SA 3.0" />
  <row Id="35203" PostHistoryTypeId="2" PostId="21867" RevisionGUID="5d0dd245-0540-46e8-8ad2-dd98e1d24d91" CreationDate="2013-11-21T11:23:26.610" UserId="6567" Text="Basically your earbuds' cables act as an antenna and pick up the RF signal sent out by the gates to check for tags passing (which when present cause a specific signal to be picked up by the receiver in the gates which in turn triggers the alarm). &#xD;&#xA;&#xD;&#xA;For more information you can check http://electronics.howstuffworks.com/everyday-tech/anti-shoplifting-device3.htm&#xD;&#xA;&#xD;&#xA;To &quot;exploit&quot; this all you need is a radio transmitter and a receiver ;) &#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="35204" PostHistoryTypeId="2" PostId="21868" RevisionGUID="1bfaf8bd-c1aa-4c67-b8cc-c87aa66981d1" CreationDate="2013-11-21T12:03:32.727" UserId="6564" Text="The same thing happens to me, but it only happens in my local library (in Cardiff), not in shops. I'm guessing that the security tags in library books differ from those found on clothes in a shop as they require activation and deactivation rather than removal.&#xD;&#xA;&#xD;&#xA;The odd thing is that when it happened my first thought was essentially &quot;I'd like to exploit this property (whatever it may be) for the purposes of an art project.&quot;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35205" PostHistoryTypeId="2" PostId="21869" RevisionGUID="bb272a49-7c14-4ed7-9852-86a1f17b85a8" CreationDate="2013-11-21T12:59:45.817" UserId="6842" Text="I read that NTG2's impedance output is too strong 200ohms while the H4N's input impedance is too low (1.5Kohms), making the H4N pre amps weak. Normally the difference should be higher than 10x. Thus 200 ohms x 10 &gt; 1,500 ohms. That's why an NTG1 shotgun microphone which has an output impedance of 50 ohms works better: 50 ohms x 10 &lt;  1,500 ohms. No setting in the H4N will fix this. That is why some people who use a shotgun microphone with a lower output impedance would wonder why people complain about the NTG2 and H4N question. The probable answer is to boost &#xD;&#xA;the signal with a fethead preamp. It adds 18-20db gain." ContentLicense="CC BY-SA 3.0" />
  <row Id="35209" PostHistoryTypeId="2" PostId="21870" RevisionGUID="46612886-c242-4ecf-ae14-1a08026a9406" CreationDate="2013-11-21T16:13:34.307" UserDisplayName="user80" Text="Use a multitap delay.  Work out how far each surface is from the sound source, then calculate how long the sound would take to return from each surface and use these numbers for each tap, finally pan the taps so that each surface has the correct orientation and relative signal strength, further away should be quieter.  Then mix in with original signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="35210" PostHistoryTypeId="2" PostId="21871" RevisionGUID="2824bb46-ef05-4674-ad9a-5d8b62c790ce" CreationDate="2013-11-21T17:02:50.117" UserId="6846" Text="I'm working on a 16-bit game.&#xD;&#xA;I need to replicate with a synth [this sword sound][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://dl.dropboxusercontent.com/u/103144556/sword.wav&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;How can I do?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35211" PostHistoryTypeId="1" PostId="21871" RevisionGUID="2824bb46-ef05-4674-ad9a-5d8b62c790ce" CreationDate="2013-11-21T17:02:50.117" UserId="6846" Text="Sword - Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="35212" PostHistoryTypeId="3" PostId="21871" RevisionGUID="2824bb46-ef05-4674-ad9a-5d8b62c790ce" CreationDate="2013-11-21T17:02:50.117" UserId="6846" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35213" PostHistoryTypeId="2" PostId="21872" RevisionGUID="e37c87c1-778b-4e99-885a-604e599bfb32" CreationDate="2013-11-21T17:30:44.170" UserId="6847" Text="If you're going strictly synth I'd figure on an FM synth with a sort of pitched-up bell patch and a hint of reverb." ContentLicense="CC BY-SA 3.0" />
  <row Id="35214" PostHistoryTypeId="2" PostId="21873" RevisionGUID="c68d04d9-785e-4f0c-9cf3-80bdef5374b2" CreationDate="2013-11-21T17:47:25.000" UserId="6832" Text="Metallic sounds are pretty much impossible with subtractive synth, unless it's subtractive that does analog style fm. Fm is definitely way to go if you want metallic sounds.&#xD;&#xA;&#xD;&#xA;Not exactly what you are asking for, but sound of 16bit era can be easily replicated by using just very low quality samples or bitcrusher. Start from 11khz 8bit go lower from there. Amiga sound is about 8khz or 4khz. Not sure about game consoles, but if I remember correctly they often used low samplerate 4bit dpcm." ContentLicense="CC BY-SA 3.0" />
  <row Id="35215" PostHistoryTypeId="2" PostId="21874" RevisionGUID="10bdf413-4feb-487a-8391-2181cad91a8f" CreationDate="2013-11-21T19:36:45.823" UserId="6448" Text="I think it just might be too technical to expect to synthesize a real world sound (or if you do, I expect you to have a solid background in math and EE). The sample you provided is clearly not synthetic.&#xD;&#xA;&#xD;&#xA;How about just buying a sound pack or recording some of your own sword clashes?&#xD;&#xA;&#xD;&#xA;&gt; I would like to know the theoretical method to make a sword sound.&#xD;&#xA;&gt; Then I can replicate the procedure in my own synth.&#xD;&#xA;&#xD;&#xA;There's no such thing as &quot;theoretical method&quot; other than the mathematical formalism(s) used to perform physical modelling synthesis of bells and metals. I don't expect that you're looking for that when asking for a &quot;theoretical method&quot; (which the involved mathematics specifically is). There are a few VSTs that do physical modelling synthesis however, like Ableton's Collision. But recording is heaps and bounds better for the use that you specify. Physical modelling synths are generally better suited to be used as percussion instruments." ContentLicense="CC BY-SA 3.0" />
  <row Id="35216" PostHistoryTypeId="5" PostId="21874" RevisionGUID="b3479fc3-031e-48fb-92f5-62220937abb6" CreationDate="2013-11-21T19:43:24.927" UserId="6448" Comment="added 73 characters in body" Text="I think it just might be too technical to expect to synthesize a real world sound (or if you do, I expect you to have a solid background in math and EE, because this topic is sort of &quot;cutting-edge&quot; in audio signal processing). The sample you provided is clearly not synthetic. Be serious about what you're trying to ask and do (it's simply not possible, there are no tools for what you're looking for).&#xD;&#xA;&#xD;&#xA;How about just buying a sound pack or recording some of your own sword clashes?&#xD;&#xA;&#xD;&#xA;&gt; I would like to know the theoretical method to make a sword sound.&#xD;&#xA;&gt; Then I can replicate the procedure in my own synth.&#xD;&#xA;&#xD;&#xA;There's no such thing as &quot;theoretical method&quot; other than the mathematical formalism(s) used to perform physical modelling synthesis of bells and metals. I don't expect that you're looking for that when asking for a &quot;theoretical method&quot; (which the involved mathematics specifically is). There are a few VSTs that do physical modelling synthesis however, like Ableton's Collision. But recording is heaps and bounds better for the use that you specify. Physical modelling synths are generally better suited to be used as percussion instruments." ContentLicense="CC BY-SA 3.0" />
  <row Id="35217" PostHistoryTypeId="5" PostId="21874" RevisionGUID="4a5ab2ab-82ff-40e9-9ad9-f51aaf295e71" CreationDate="2013-11-21T19:49:22.103" UserId="6448" Comment="deleted 3 characters in body" Text="I think it just might be too technical to expect to synthesize a real world sound (or if you do, I expect you to have a solid background in math and EE, because this topic is sort of &quot;cutting-edge&quot; in audio signal processing). The sample you provided is clearly not synthetic. Be serious about what you're trying to ask and do (it's simply not possible, there are no tools for synthesizing sword hits from scratch).&#xD;&#xA;&#xD;&#xA;How about just buying a sound pack or recording some of your own sword clashes?&#xD;&#xA;&#xD;&#xA;&gt; I would like to know the theoretical method to make a sword sound.&#xD;&#xA;&gt; Then I can replicate the procedure in my own synth.&#xD;&#xA;&#xD;&#xA;There's no such thing as &quot;theoretical method&quot; other than the mathematical formalism(s) used to perform physical modelling synthesis of bells and metals. I don't expect that you're looking for that when asking for a &quot;theoretical method&quot; (which the involved mathematics specifically is). There are a few VSTs that do physical modelling synthesis however, like Ableton's Collision. But recording is heaps and bounds better for the use that you specify. Physical modelling synths are generally better suited to be used as percussion instruments." ContentLicense="CC BY-SA 3.0" />
  <row Id="35218" PostHistoryTypeId="2" PostId="21875" RevisionGUID="519f6e6b-e56d-467e-967a-18d8c2314e7d" CreationDate="2013-11-21T22:29:45.770" UserId="6432" Text="It's totally possible to synthesize this sound, and you don't need any complex techniques to do it. Andy Farnell wrote a [book][1] on this stuff, and you should definitely read it if you're interested. All you need for this are a white noise source, envelope, fixed filter bank of about 8 bands and another sine oscillator to add some ringmod. The key is the ringing sound that metals like this make, and that come from the resonant filters. Of course you can't do this with a regular synth, you will need a modular environment like PD, Max or Reaktor or a text language like Supercollider (or lots of others).&#xD;&#xA;&#xD;&#xA;Read the book.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mitpress.mit.edu/books/designing-sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="35219" PostHistoryTypeId="2" PostId="21876" RevisionGUID="01a02c3e-f162-4430-83db-aedf75ea9b46" CreationDate="2013-11-21T23:04:13.383" UserId="6597" Text="What reference movie do you have for mastering? &#xD;&#xA;I'm more concerned with dynamic range and loudness. Which movies have the best of both worlds? &#xD;&#xA;&#xD;&#xA;I think the last Superman movie was too loud, I didn't liked. But Gravity was amanzingly quiet! Have very soft passages but everything is audible. You can hear the room tones in all 5.1 speakers&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35220" PostHistoryTypeId="1" PostId="21876" RevisionGUID="01a02c3e-f162-4430-83db-aedf75ea9b46" CreationDate="2013-11-21T23:04:13.383" UserId="6597" Text="Reference movies for mastering" ContentLicense="CC BY-SA 3.0" />
  <row Id="35221" PostHistoryTypeId="3" PostId="21876" RevisionGUID="01a02c3e-f162-4430-83db-aedf75ea9b46" CreationDate="2013-11-21T23:04:13.383" UserId="6597" Text="&lt;mastering&gt;&lt;loudness&gt;&lt;dynamics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35222" PostHistoryTypeId="2" PostId="21877" RevisionGUID="080ca70f-6462-48f8-9014-4e734a352d55" CreationDate="2013-11-21T23:48:15.007" UserId="6804" Text="I remember in Cubase the audio delay effect had parameters where you could dictate how often a delay repeated, and for what duration..&#xD;&#xA;Is there a way of adjusting these parameters in Ableton?&#xD;&#xA;&#xD;&#xA;Ideally I want an audio sample to for example repeat every crotchet and with each repeated sample decaying after x number of miliseconds or whatever..&#xD;&#xA;&#xD;&#xA;Any help much appreciated&#xD;&#xA;&#xD;&#xA;cheers,&#xD;&#xA;&#xD;&#xA;Rowan" ContentLicense="CC BY-SA 3.0" />
  <row Id="35223" PostHistoryTypeId="1" PostId="21877" RevisionGUID="080ca70f-6462-48f8-9014-4e734a352d55" CreationDate="2013-11-21T23:48:15.007" UserId="6804" Text="How to adjust the repeat interval and duration for delay effect in Ableton Live?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35224" PostHistoryTypeId="3" PostId="21877" RevisionGUID="080ca70f-6462-48f8-9014-4e734a352d55" CreationDate="2013-11-21T23:48:15.007" UserId="6804" Text="&lt;effects&gt;&lt;ableton-live&gt;&lt;delay&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35225" PostHistoryTypeId="2" PostId="21878" RevisionGUID="584a41aa-3565-447a-a7d3-3265780aa626" CreationDate="2013-11-21T23:56:11.690" UserId="6851" Text="I like Millenium, the girl with the dragon tatoo.&#xD;&#xA;Very elegant and perfect balance in terms of  loudness.&#xD;&#xA;Music and sound get along very well in a brilliant way.&#xD;&#xA;Brilliant." ContentLicense="CC BY-SA 3.0" />
  <row Id="35226" PostHistoryTypeId="2" PostId="21879" RevisionGUID="fd2d50e1-9c12-43de-a864-e3237a68a9b0" CreationDate="2013-11-22T00:11:16.737" UserId="6852" Text="If you're using the Simple Delay effect that comes with Ableton, I believe the only way to adjust the timing is by selecting one of the boxed numbers for each side of the stereo field. For the number of repeats/decay, adjust the feedback knob." ContentLicense="CC BY-SA 3.0" />
  <row Id="35227" PostHistoryTypeId="2" PostId="21880" RevisionGUID="0f716160-0a81-442b-86d1-74696b15f5c4" CreationDate="2013-11-22T12:01:53.967" UserId="6425" Text="in Ableton you have following parameters on every Delay Plug-In: Simple Delay, Ping Pong Delay, Filter Delay and Granular Delay.&#xD;&#xA;&#xD;&#xA;The time between the synced Repeats is determined by the Numbers in the Yellow Boxes (Lower numbers -&gt; faster delay). By the Number with the % you can let the Delay groove by offsetting it from the synced Repeat. By pressing the sync button you can unsync the delay from bpm and type a value in ms.&#xD;&#xA;&#xD;&#xA;The Feedback determines how long/often the delay is repeated (every repeat drops in some dB). So there is no possibility to say - i want exactly 5 repeats. But with a workaround -&gt; Gate after the delay you can cut off everything after 5 repeats.&#xD;&#xA;&#xD;&#xA;The parameter Dry/wet determines how much dry signal and how much delay you get. (if you use delay on a send return channel 100% wet makes sense)&#xD;&#xA;&#xD;&#xA;Hope this helped!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35228" PostHistoryTypeId="2" PostId="21881" RevisionGUID="bdffc3c8-0464-4464-b03f-99243ad6d3bd" CreationDate="2013-11-22T12:25:39.120" UserId="4390" Text="I've got an M10 and I love it.&#xD;&#xA;As a handheld device, it has very little handling noise, which is great for spur-of-the-moment recording. I find it to be very low noise - definitely good enough for most ambiences. Here is a recording I did with the internal mics of the M10: https://soundcloud.com/hzandbits/french-outdoor-cafe-ambience&#xD;&#xA;&#xD;&#xA;I have often used external mics with it though - homemade lav mics using Primo EM172 capsules; supposedly the same type as the internal mics of the M10. That way, I can compensate for the slightly strange A-B stereo configuration on the Sony (the tiny distance between the omni capsules doesn't give a super wide perspective). This is with external mics: https://soundcloud.com/hzandbits/fireworks-in-copenhagen-new&#xD;&#xA;&#xD;&#xA;Yeah, I wish it had XLR inputs and P48, but you can't have it all. I'm planning on buying a phantom adapter of some kind and just go with that. I feel the preamps are worth it. But if you can afford a nice preamp like the MP1, then go for it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35229" PostHistoryTypeId="2" PostId="21882" RevisionGUID="0bee377b-70d1-4c0b-9228-c89ddfc63ea6" CreationDate="2013-11-22T14:12:21.160" UserId="194" Text="I think the answer depends on your primary usage.&#xD;&#xA;&#xD;&#xA;I don't own an LS-100, but I've heard recordings made with it and they sound very good.  My guess is that the built on mics need wind protection to be effective outdoors (as most handheld recorder's mics do)&#xD;&#xA;&#xD;&#xA;I do own a PCM M10 however, and I absolutely love it.  &#xD;&#xA;&#xD;&#xA;The Sony's built on mics don't sound as good as the bult on mics for the Olympus, though they do sound good enough for many general sounds.  &#xD;&#xA;&#xD;&#xA;Its way smaller than the Olympus (similar footprint as an iphone 5, but a little thicker) and the design of the mics is very different.  The M10 doesn't really require wind protection - even outdoors - unless winds go over 15 mph or so.  &#xD;&#xA;&#xD;&#xA;This makes it a superior spur of the moment pocket-carry to most mid sided handhelds.  &#xD;&#xA;&#xD;&#xA;it's also a killer bit-bucket if you DO end up with a premp in line.  The reason is because of not only its size, but also because it has battery life for (literally) days, super fast powerup to record time, and built in memory that cascades recordings out seamlessly to the SD slot when the internal fills up.  I use mine as a bit bucket in conjunction with my mixpre all the time, and it never disappoints.  I go tape out of the mix pre to line in of the M10 with a very short 35mm stereo cable.  That sonic path is top-notch.  &#xD;&#xA;&#xD;&#xA;bottom line:&#xD;&#xA;&#xD;&#xA;If you're going to primarily use the built in mics with a windscreen, then the Olympus is probably the winner.  If you're going with a preamp or if you're into the super portability, then the Sony wins." ContentLicense="CC BY-SA 3.0" />
  <row Id="35231" PostHistoryTypeId="2" PostId="21883" RevisionGUID="ec2cf413-2af1-4b08-b066-f6bf4ba40ca7" CreationDate="2013-11-23T07:21:39.223" UserId="1185" Text="In addition to the points already made, do remember that much of the rock/canyon sounds on TV and film are far from authentic. I spend a lot of time hanging around on rocks and the real sound effect is much more subtle. &#xD;&#xA;&#xD;&#xA;Much of the time in film and TV all the sound effects tend to be over emphersised to make the point. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35232" PostHistoryTypeId="2" PostId="21884" RevisionGUID="91e334fd-2ecf-48c0-bdc9-8c09b900e5e5" CreationDate="2013-11-23T09:08:14.317" UserId="533" Text="If you are willing to pay a little fee you could commission a recording. I haven't use the service before but I came across this service from the production of a video I saw.&#xD;&#xA;&#xD;&#xA;[http://voicebunny.com][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://voicebunny.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="35233" PostHistoryTypeId="4" PostId="21864" RevisionGUID="f9b55c3c-9835-48e9-88dc-516fe6d0af60" CreationDate="2013-11-23T18:26:44.493" UserId="1228" Comment="Fixed product name in title - easier for other users to search for later" Text="Olympus LS-100 or Sony PCM M10" ContentLicense="CC BY-SA 3.0" />
  <row Id="35234" PostHistoryTypeId="2" PostId="21885" RevisionGUID="edbe9094-89b1-4ea9-865c-1d93593c1c9d" CreationDate="2013-11-23T19:12:50.570" UserId="6425" Text="I really liked Prometheus, the hectic parts just had the right impact!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35235" PostHistoryTypeId="2" PostId="21886" RevisionGUID="c22325bd-abec-41f7-b1d9-451587dcf96f" CreationDate="2013-11-24T07:22:31.780" UserId="253" Text="I really like Kyoshi Kurosawa's work. His style is very spartan and almost lo fi, sonically. Two films to check out are Pulse and Cure (Tokyo Sonata is another). Dead silence is used at certain points in these films, and the effect it has in each case is interesting. &#xD;&#xA;&#xD;&#xA;His films can be difficult to watch if you're not in the right mood, but his style is pretty unique IMHO.&#xD;&#xA;&#xD;&#xA;Hope that helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35236" PostHistoryTypeId="2" PostId="21887" RevisionGUID="dcc1a96c-c26d-4305-8b10-d96704145c18" CreationDate="2013-11-24T14:20:22.837" UserId="6432" Text="Check out [Kaneto Shindo][1], especially *Onibaba*. Kurasawa, I like *[The Bad Sleep Well][2]* a lot, Ozu, Naruse. I also really rate Tomu Uchida, if you can get a copy you must watch *[Killing in Yoshiwara][3]*. &#xD;&#xA;&#xD;&#xA;+1 for Kyoshi Kurosawa too. &#xD;&#xA;&#xD;&#xA;I've been meaning to get round to watching more of Kinji Fukasaku's films (of *Battle Royale* fame), so maybe that's a good idea too.&#xD;&#xA; &#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Kaneto_Shindo&#xD;&#xA;  [2]: http://www.imdb.com/title/tt0054460/?ref_=nm_flmg_dr_12&#xD;&#xA;  [3]: http://www.imdb.com/title/tt0187119/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35237" PostHistoryTypeId="2" PostId="21888" RevisionGUID="27cd7d1a-b9f0-4423-ad78-21c1a2de0f0c" CreationDate="2013-11-25T21:45:58.597" UserId="6858" Text="Maybe you can get it domne after reading this.&#xD;&#xA;&#xD;&#xA;http://www.steinberg.net/en/support/tips_and_tricks/archive_2011/cubase_6_split_audio_files_july_2011.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="35238" PostHistoryTypeId="2" PostId="21889" RevisionGUID="0e4cc9ea-f3d5-40c8-ab7d-574c6466cc4b" CreationDate="2013-11-26T08:22:00.013" UserId="6859" Text="I'm fairly new to sound designing for games. I bill sound effects on a per-effect basis.&#xD;&#xA;&#xD;&#xA;Example:&#xD;&#xA;&#xD;&#xA;Sound Effects Rate is $8 per sound effect. This is just an example number, but I'll show you how I arrived at it. Let's say it takes on average 15 minutes to create 1 sound effect (some may take 5 minutes, some may take 25 minutes, etc). So that means on average you can create maybe 4 good quality sound effects in 1 hour (that is including sourcing the effect, tracking, editing, mixing, mastering, testing). 4 effects X $8 per effect = $32 per hour. If your hourly rate is around $32 per hour, then $8 per sound effect makes a lot of sense. Now, obviously depending on the level of game, 1 sound effect could take 1 hour or more even, especially if you are helping out in any significant way with implementation/integration. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35239" PostHistoryTypeId="2" PostId="21890" RevisionGUID="545d11f5-9714-4be7-b759-f4cb27599483" CreationDate="2013-11-26T08:31:23.247" UserId="6860" Text="I have heard that studio speakers aim to give the flattest possible spectra, whilst hi-fi speakers aim to flatter the sound (i.e. alter the spectra to make any music sound perceptually good). Users therefore use the studio speakers while mixing to detect flaws in the track, and at home will use the hi-fi speakers for pleasure.&#xD;&#xA;&#xD;&#xA;I am having trouble understanding this argument, because surely it would be possible to mix the track to sound optimally flattering using the studio speakers, and therefore the hi-fi speakers would overcompensate and make it sound worse?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35240" PostHistoryTypeId="1" PostId="21890" RevisionGUID="545d11f5-9714-4be7-b759-f4cb27599483" CreationDate="2013-11-26T08:31:23.247" UserId="6860" Text="Difference between studio and hi-fi speakers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35241" PostHistoryTypeId="3" PostId="21890" RevisionGUID="545d11f5-9714-4be7-b759-f4cb27599483" CreationDate="2013-11-26T08:31:23.247" UserId="6860" Text="&lt;mixing&gt;&lt;speakers&gt;&lt;eq&gt;&lt;loudspeakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35242" PostHistoryTypeId="2" PostId="21891" RevisionGUID="c9c7b824-e096-4f99-842a-e7218fa1ac54" CreationDate="2013-11-26T09:24:29.950" UserId="3299" Text="There is a logic to your argument, but the problem arises from the fact that there are thousands of models of consumer speaker, all with their own way of 'flattering' the sound. &#xD;&#xA;&#xD;&#xA;If you mix on one pair, it may become bass heavy on another. &#xD;&#xA;&#xD;&#xA;The idea behind studio monitors is that the sound is as neutral as possible, so that the mix will more or less be same across all the possible listening environments. I say more or less because sometimes professionally mixed audio will sound unbalanced due to some bass boosting circuitry or EQ curves built into the speaker. You can't mix for every speaker in existence. You can only mix as accurately as possible on monitors and that should translate to being 'pro' sounding on the greater part of consumer electronics. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35243" PostHistoryTypeId="2" PostId="21892" RevisionGUID="fe96f348-06c1-4281-ab37-83b327437723" CreationDate="2013-11-26T09:38:22.907" UserId="6448" Text="It's based on the assumption that studio speakers sound &quot;flat&quot; (and it's technically true as well, because they're designed to sound flat/neutral/clinical/accurate) and thus represent &quot;the average&quot; of all sorts of colorizing. I.e. if the mix is done on a system that sounds &quot;flat&quot;, then all colorizing to one direction or another will be less compared to mixing on an already coloring system (e.g. bass weak) and listening on yet another coloring system (e.g. bass heavy, in which case you had mixed the bass too high on the bass weak system and it would be further boosted by the bass heavy system, sort of &quot;doubling&quot; the mistake that's already present in the mixing sound system, in this particular example). &#xD;&#xA;&#xD;&#xA;Remember though that speakers are not as important as the room. All speakers will sound imbalanced if there's no acoustic proofing (esp. bass trapping) and they aren't optimally placed. However even cheap studio monitors can perform well, if the room is ok." ContentLicense="CC BY-SA 3.0" />
  <row Id="35244" PostHistoryTypeId="2" PostId="21893" RevisionGUID="194d0f7a-fe08-4bfa-9476-46a1eef20d44" CreationDate="2013-11-26T10:07:02.447" UserId="5989" Text="Another reason to mix with studio monitor is that you can hear slightest changes in your mix. If you mix in bass-heavy hi-fi you may not hear a subtle adjustment of your bass. (Or hear too much adjustment in case of that bass colorizing somehow roll off exponentially)&#xD;&#xA;&#xD;&#xA;On the extreme case if you mix in a cheap tweeter where the bass is &quot;colored&quot; to nothing, you will not heard any changes in your bass at all." ContentLicense="CC BY-SA 3.0" />
  <row Id="35245" PostHistoryTypeId="5" PostId="21890" RevisionGUID="706e9283-2dd3-4997-b5bf-443ee8fbb884" CreationDate="2013-11-26T10:12:43.243" UserId="6860" Comment="added 247 characters in body" Text="I have heard that studio speakers aim to give the flattest possible spectra, whilst hi-fi speakers aim to flatter the sound (i.e. alter the spectra to make any music sound perceptually good). Users therefore use the studio speakers while mixing to detect flaws in the track, and at home will use the hi-fi speakers for pleasure.&#xD;&#xA;&#xD;&#xA;I am having trouble understanding this argument, because surely it would be possible to mix the track to sound optimally flattering using the studio speakers, and therefore the hi-fi speakers would overcompensate and make it sound worse?&#xD;&#xA;&#xD;&#xA;If you are not aiming for the most pleasant possible sound on the monitors, then what are you aiming for (how do you define 'accurate': if it is the live sound, then shouldn't the live sound in turn be trying to sound as pleasant as possible)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35246" PostHistoryTypeId="2" PostId="21894" RevisionGUID="49321e2c-8ff7-41a5-a546-169b2f7dfe69" CreationDate="2013-11-26T13:03:52.807" UserId="510" Text="its been a while since I have visited the site. Been super busy, I am in need of a plugin to up mix stereo to 5.1. I am using Nuendo 5 and I basically have in the timeline stereo stories with really very little hard SFX's, mainly music and Nats and Dialog. These stories where mixed in Stereo Obviously and I would like a good up mix plugin that works well. Now I know this will not be perfect. But honestly I do not have the time or all the projects to remix these in 5.1 and I also do not really think for TV they are really worth doing this. I just want to spread it out in 5.1 for a little effect. Something I can put on the track and click a button. These are doing to DVD. thanks&#xD;&#xA;&#xD;&#xA;yes i can fake this with a bus and reverb or delay to the rears and all, but i want a good plugin. thanks.again.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="35247" PostHistoryTypeId="1" PostId="21894" RevisionGUID="49321e2c-8ff7-41a5-a546-169b2f7dfe69" CreationDate="2013-11-26T13:03:52.807" UserId="510" Text="I need a good plugin for Stereo to 5.1" ContentLicense="CC BY-SA 3.0" />
  <row Id="35248" PostHistoryTypeId="3" PostId="21894" RevisionGUID="49321e2c-8ff7-41a5-a546-169b2f7dfe69" CreationDate="2013-11-26T13:03:52.807" UserId="510" Text="&lt;mixing&gt;&lt;5.1&gt;&lt;dvd&gt;&lt;stereo-to-surround&gt;&lt;upmixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35249" PostHistoryTypeId="2" PostId="21895" RevisionGUID="1411f803-5109-414d-a0e6-c2d2cd6d2e83" CreationDate="2013-11-26T13:40:09.347" UserId="6564" Text="So I've screwed up pretty badly...&#xD;&#xA;&#xD;&#xA;We were shooting a talking head bit for a documentary and I must have dropped the SD card during the journey home. I'm usually pretty good at backing up but I only back up once I'm home.Shooting again isn't necessarily impossible from our point of view but getting the interview subject to let us film in her home again would be a hard sell. &#xD;&#xA;&#xD;&#xA;Her footage will probably only make up a minute or so of a 25 minute documentary, is attempting to salvage something from the onboard DSLR audio even worth considering? &#xD;&#xA;&#xD;&#xA;If so does anyone have any tips for making the most of poor quality audio? I guess I'd clean it up as much as possible and then fake the room sound/ ambience. &#xD;&#xA;&#xD;&#xA;Luckily this isn't a project I'm getting paid for so no one can be too angry with me, but I'm still feeling pretty stupid right now." ContentLicense="CC BY-SA 3.0" />
  <row Id="35250" PostHistoryTypeId="1" PostId="21895" RevisionGUID="1411f803-5109-414d-a0e6-c2d2cd6d2e83" CreationDate="2013-11-26T13:40:09.347" UserId="6564" Text="Lost audio files - Making the most of onboard camera audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="35251" PostHistoryTypeId="3" PostId="21895" RevisionGUID="1411f803-5109-414d-a0e6-c2d2cd6d2e83" CreationDate="2013-11-26T13:40:09.347" UserId="6564" Text="&lt;advice&gt;&lt;help&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35252" PostHistoryTypeId="2" PostId="21896" RevisionGUID="1e3db707-3e9d-41bc-91d7-219e1d727d6b" CreationDate="2013-11-26T13:57:45.310" UserId="6564" Text="The idea is that monitors will show up the flaws of a sound in the most accurate possible way without any consideration for the enjoyment of the listener but hi-fi equipment is all about being an enjoyable experience. A good example of hi-fi gear flattering the sound at the expense of accuracy is the Dre Beats headphones. Plenty of people enjoy listening to them with their ridiculous extended bass even though it's far from a realistic representation of the sound. Mixing on such headphones (or comparable speakers) would lead to lightweight/ trebly mixes when heard on regular systems - my first few mixes with a big sub were embarrassingly tinny when played back at home.&#xD;&#xA;&#xD;&#xA;This is a bit of a tangent but mixing on hi-fi speakers is worth considering if you're on a tight budget. I doubt that a cheap pair of active monitors are genuinely all that &quot;flat&quot; especially not in an untreated/ poor sounding room.&#xD;&#xA;&#xD;&#xA;This is probably more true when it comes to mixing music rather than dialogue/ film stuff, but I like mixing on my mid-priced hi-fi speakers because I've listened to music through them for years and know their quirks and inaccuracies. I then check my mixes on my cheapo monitors and then at least one pair of headphones because my room sucks too.&#xD;&#xA;&#xD;&#xA;That said, if I could afford a £1000+ monitoring setup and worked in a decent room I doubt I'd be mixing with my hi-fi." ContentLicense="CC BY-SA 3.0" />
  <row Id="35253" PostHistoryTypeId="2" PostId="21897" RevisionGUID="ab522de0-3af8-4883-9ba0-85184716a0d7" CreationDate="2013-11-26T14:00:31.790" UserId="6567" Text="Sometimes s**t happens but you should use this as an opportunity and not a defeat and try to restore as much audio as possible from whatever sources you can recover. &#xD;&#xA;&#xD;&#xA;You want to be remembered as the guy who, even though he lost the recording, went above and beyond to restore it from a lousy source and made it work, not the guy who wasted everyone's time. Don't take it too hard but do try to turn this around in something a bit more positive, nobody will be angry at you for trying. &#xD;&#xA;&#xD;&#xA;This can have an even better effect on your reputation than a flawless recording in the first place. When everything goes well we don't get noticed, if something goes wrong but we save the day, that's when we stand out. &#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35254" PostHistoryTypeId="2" PostId="21898" RevisionGUID="17a40f49-2ae3-428a-bf8c-94cafaf1798d" CreationDate="2013-11-26T14:02:54.373" UserId="432" Text="I'd say it will depend very much on the position of the camera (how close it was to the subject), and then you'll have other factors such as how reflective the room is and where the rest of the crew was standing in relation to the camera and subject. Was the camera recording using only the onboard microphone? There are a lot of questions that can lead you in one direction or another, but your best bet is to simply get a copy of the camera audio and take a listen to it.&#xD;&#xA;&#xD;&#xA;You can, sometimes, get away with things in a doc that you can't anywhere else. I worked on one last year that had some atrocious camera-only audio. Subject 10 ft. across the room, Interviewer sitting right next to the camera, and an open window with heavy traffic behind the camera. I was just handling post, and there was no chance of reshooting. It was about all I could do to make it so that the words were slightly intelligible...and the noise didn't make you want to run out of the room. She was subtitled for good measure. This was not a short segment either...she was a full 6 minutes of a television hour. The damned thing still sold to a Canadian broadcaster. How? I have no idea. Will it ever sell again? I doubt it, but who the hell knows?!&#xD;&#xA;&#xD;&#xA;See what you can do, and take it from there." ContentLicense="CC BY-SA 3.0" />
  <row Id="35255" PostHistoryTypeId="2" PostId="21899" RevisionGUID="3a462030-ad59-4280-9dec-04ab662afff5" CreationDate="2013-11-26T14:08:19.457" UserId="6564" Text="Andy Farnell's Designing Sound is well worth a look if you're interested in procedural audio but to really understand it takes a lot of time and effort, especially if you're not mathematically inclined. In most cases the results won't often fool anyone into thinking they're hearing the real thing but that doesn't seem to be what you're after here.&#xD;&#xA;&#xD;&#xA;If you're just trying to emulate the sounds of retro games I'd suggest that manipulating the audio recording would be the most simple option. Bit crush/ downsample, filter, maybe cut off the tail to give it an unnatural sound, maybe see how &quot;bad&quot; pitch/ time stretching changes the sound, all the general lo-fi techniques." ContentLicense="CC BY-SA 3.0" />
  <row Id="35256" PostHistoryTypeId="2" PostId="21900" RevisionGUID="21475483-0582-44d2-9a3a-0f7987911523" CreationDate="2013-11-26T14:14:31.807" UserId="6567" Text="Soundfield UPM-1. Lower budget solution Waves UM 225 or you could try Iosono Anymix. They all work best with stems though. Try the demos and see what works best for you.  None of these are a &quot;click a button and done product&quot; though, then again, nothing in this field of work is, or rather should be. &#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="35257" PostHistoryTypeId="5" PostId="21897" RevisionGUID="de7624e9-615e-43a9-83df-63154cb74215" CreationDate="2013-11-26T14:22:34.797" UserId="6567" Comment="added paragraph about fixing bad audio" Text="Sometimes s**t happens but you should use this as an opportunity and not a defeat and try to restore as much audio as possible from whatever sources you can recover. &#xD;&#xA;&#xD;&#xA;You want to be remembered as the guy who, even though he lost the recording, went above and beyond to restore it from a lousy source and made it work, not the guy who wasted everyone's time. Don't take it too hard but do try to turn this around in something a bit more positive, nobody will be angry at you for trying. &#xD;&#xA;&#xD;&#xA;This can have an even better effect on your reputation than a flawless recording in the first place. When everything goes well we don't get noticed, if something goes wrong but we save the day, that's when we stand out. &#xD;&#xA;&#xD;&#xA;Edit: As for general tips on fixing bad audio ... &quot;it depends&quot; maybe you can upload a sample if you get stuck or need more specific advice. The best orientation is the audio that comes immediately before and after that segment and to try to make sure the difference is not too harsh. &#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35258" PostHistoryTypeId="2" PostId="21901" RevisionGUID="4e7d50b2-f6af-48f8-9216-15e10e33bb84" CreationDate="2013-11-26T15:59:37.160" UserId="6425" Text="A lot of natural Documentarys are made 100% by foley. Could be quite fun to record a fake sound. If there are interviews with people you could try voice over but.... &#xD;&#xA;&#xD;&#xA;Don't feel bad, thing happen and mistakes are human! Take it a chance to foley around (if you got the time).&#xD;&#xA;&#xD;&#xA;A little trick I use when i am recording/booming a single track. I use seenheißer ew 100 eng transmitter/receiver combination to trough the audio from my audio reorder to the camera. Then i connect the output in the mic of the camera (usual 5d 7d ect.) So my sound is a little safer. &#xD;&#xA;&#xD;&#xA;Heads Up!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35259" PostHistoryTypeId="2" PostId="21902" RevisionGUID="786ced8f-1603-4b76-804f-1db8d860dd19" CreationDate="2013-11-26T16:31:29.113" UserId="194" Text="I've recently been forced into using a clip of DSLR camera audio in a short doc, and it actually ended up sounding passable.  &#xD;&#xA;&#xD;&#xA;Key was the fact that the camera was very close to the subject, so I got good signal/noise and signal/verb ratio.  &#xD;&#xA;&#xD;&#xA;The technical challenge was overcoming the crappy mic and autogain.  I ended up dipping out quite a bit of the upper mids and high end to balance out all of the tinniness.  Then I used a gentle expander to lower the noise floor and further reduce the verb.  Last step was a detailed volume ride instead of any compression.&#xD;&#xA;&#xD;&#xA;Video is here at about 1:25 (Tyler Seguin interview)&#xD;&#xA;&#xD;&#xA;http://video.stars.nhl.com/videocenter/console?id=454145&amp;catid=1392" ContentLicense="CC BY-SA 3.0" />
  <row Id="35260" PostHistoryTypeId="2" PostId="21903" RevisionGUID="f5cacc4e-8809-40c2-9c34-c42dde16fc0f" CreationDate="2013-11-26T22:34:13.193" UserId="1228" Text="While out recording some traffic ambience a week or so ago, a thought crossed my mind - and I'd be curious, especially from our fellow members who also do a lot of field recording, what your personal opinion on this (and/or have you ever encountered such a situation):&#xD;&#xA;&#xD;&#xA;The situation could be anything catastrophic, such as a building fire igniting/spreading, a car crash/flip, even something as macabre as a distant handgun shot ringing out in the city.  When I was out recording, vehicles at a certain intersection were moving both dangerously and dangerously fast that I found myself mumbling &quot;watch and see, somebody's going to get T-boned right in front of the mic&quot;.  Fortunately, no such situation happened.&#xD;&#xA;&#xD;&#xA;Now when we record sirens in the city, we all think &quot;oh cool, that sounds awesome&quot;, but maybe the siren is responding to something like a heart attack, a shooting, who knows.  **But in these cases we as humans are so far removed and dissociated from the intent of the siren that to our ears and mind it's just another, abstract city sound** - 'business as usual' - there's no guilt, no question of ethics.&#xD;&#xA;&#xD;&#xA;However, if you ever found yourself literally witnessing and capturing an unexpected and catastrophic event, what would you do?  Delete it out of respect?  Save it for your private library with no intent to share it out of respect?  Or be irreverent?&#xD;&#xA;&#xD;&#xA;I am certainly not asking this to judge people or be insensitive, nor am I asking for someone to answer this for me.  Personally, I would delete it out of respect.  If I came to find out nobody was injured/killed and it was just an unfortunately situation, I might save it for private, internal use only.&#xD;&#xA;&#xD;&#xA;It is a very real situation to consider, and I'm curious what some of you might do if faced with such a situation.  Or if you have been faced with such a situation before, what have you done?  Again, more of a personal experience and opinion survey than a Yes/No answer." ContentLicense="CC BY-SA 3.0" />
  <row Id="35261" PostHistoryTypeId="1" PostId="21903" RevisionGUID="f5cacc4e-8809-40c2-9c34-c42dde16fc0f" CreationDate="2013-11-26T22:34:13.193" UserId="1228" Text="A Recording Ethics Question/Survey" ContentLicense="CC BY-SA 3.0" />
  <row Id="35262" PostHistoryTypeId="3" PostId="21903" RevisionGUID="f5cacc4e-8809-40c2-9c34-c42dde16fc0f" CreationDate="2013-11-26T22:34:13.193" UserId="1228" Text="&lt;field-recording&gt;&lt;sound-effects-recording&gt;&lt;ethics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35263" PostHistoryTypeId="5" PostId="21903" RevisionGUID="fe4fa7b6-1928-41fc-a281-13ce14e44baa" CreationDate="2013-11-26T22:45:53.517" UserId="1228" Comment="added 100 characters in body" Text="While out recording some traffic ambience a week or so ago, a thought crossed my mind - and I'd be curious, especially from our fellow members who also do a lot of field recording, what your personal opinion on this (and/or have you ever encountered such a situation):&#xD;&#xA;&#xD;&#xA;The situation could be anything catastrophic, such as a building fire igniting/spreading, a car crash/flip, even something as macabre as a distant handgun shot ringing out in the city.  When I was out recording, vehicles at a certain intersection were moving both dangerously and dangerously fast that I found myself mumbling &quot;watch and see, somebody's going to get T-boned right in front of the mic&quot;.  Fortunately, no such situation happened.&#xD;&#xA;&#xD;&#xA;Now when we record sirens in the city, we all think &quot;oh cool, that sounds awesome&quot;, but maybe the siren is responding to something like a heart attack, a shooting, who knows.  **But in these cases we as humans are so far removed and dissociated from the intent of the siren that to our ears and mind it's just another, abstract city sound** - 'business as usual' - there's no guilt, no question of ethics.&#xD;&#xA;&#xD;&#xA;However, if you ever found yourself literally witnessing and capturing an unexpected and catastrophic event, what would you do?  I mean, literally witness it unfold, not &quot;oh, there's a fire down the street, let's go record it&quot;.  Delete it out of respect?  Save it for your private library with no intent to share it out of respect?  Or be irreverent?&#xD;&#xA;&#xD;&#xA;I am certainly not asking this to judge people or be insensitive, nor am I asking for someone to answer this for me.  Personally, I would delete it out of respect.  If I came to find out nobody was injured/killed and it was just an unfortunately situation, I might save it for private, internal use only.&#xD;&#xA;&#xD;&#xA;It is a very real situation to consider, and I'm curious what some of you might do if faced with such a situation.  Or if you have been faced with such a situation before, what have you done?  Again, more of a personal experience and opinion survey than a Yes/No answer." ContentLicense="CC BY-SA 3.0" />
  <row Id="35264" PostHistoryTypeId="2" PostId="21904" RevisionGUID="d01c0073-b8c0-426a-b74a-054c7e4dda29" CreationDate="2013-11-26T23:52:36.260" UserId="6448" Text="I think it's pretty obvious answer that to value a &quot;rare&quot; recording more than lives in danger would be a pretty dick thing to do. But no doubt that we/some tend to be dicks in many aspects, ignoring to help, when the loss or pain (which there always is) doesn't touch personally.&#xD;&#xA;&#xD;&#xA;The good way to go, in my opinion, would be to react like reporters/journalists. They do work in scenes where there's or has just been violence, death, war or some sort of an emergency situation. And I think reporters/journalists might feel obliged to help however they can WHILE also doing the reporting, sort of balancing the two, but possibly/probably being more obliged to help than report, when the situation asks for it.&#xD;&#xA;&#xD;&#xA;To record something (e.g. an ambulance siren) whose cause is too far removed from your location does not have a moral dilemma, because there's not much you could do to help the victims." ContentLicense="CC BY-SA 3.0" />
  <row Id="35265" PostHistoryTypeId="5" PostId="21904" RevisionGUID="f2d73e05-1b7f-4c79-a2f4-e00ad82e234f" CreationDate="2013-11-26T23:58:13.030" UserId="6448" Comment="edited body" Text="I think it's pretty obvious answer that to value a &quot;rare&quot; recording more than lives in danger would be a pretty dick thing to do. But no doubt that we/some tend to be dicks in many aspects, ignoring to help, when the loss or pain (which there always is) doesn't touch personally.&#xD;&#xA;&#xD;&#xA;The good way to go, in my opinion, would be to react like reporters/journalists. They do work in scenes where there's or has just been violence, death, war or some sort of an emergency situation. And I think reporters/journalists might feel obliged to help however they can WHILE also doing the reporting, sort of balancing the two, but possibly/probably being more obliged to help than report, when the situation asks for it.&#xD;&#xA;&#xD;&#xA;To record something (e.g. an ambulance siren) whose cause is too far removed from your location does not pose a moral problem, because there's not much you could do to help the victims / those in need of help.&#xD;&#xA;&#xD;&#xA;If the recording could be perceived as offending (i.e. this guy was recording while people got killed), then I'd be careful about releasing the recording, because that just might hurt your reputation, if it messages that the recording or releasing the recording is a low morale thing to do." ContentLicense="CC BY-SA 3.0" />
  <row Id="35266" PostHistoryTypeId="5" PostId="21904" RevisionGUID="852177b7-5e0d-4125-b722-ffa2590beb3f" CreationDate="2013-11-27T00:03:29.407" UserId="6448" Comment="deleted 1 characters in body" Text="I think it's pretty obvious answer that to value a &quot;rare&quot; recording more than lives in danger would be a pretty dick thing to do. But no doubt that we/some tend to be dicks in many aspects, ignoring to help, when the loss or pain (which there always is) doesn't touch personally.&#xD;&#xA;&#xD;&#xA;The good way to go, in my opinion, would be to react like reporters/journalists. They do work in scenes where there's or has just been violence, death, war or some sort of an emergency situation. And I think reporters/journalists might feel obliged to help however they can WHILE also doing the reporting, sort of balancing the two, but possibly/probably being more obliged to help than report, when the situation asks for it.&#xD;&#xA;&#xD;&#xA;To record something (e.g. an ambulance siren) whose cause is too far removed from your location does not pose a moral problem, because there's not much you could do to help the victims / those in need of help.&#xD;&#xA;&#xD;&#xA;If the recording could be perceived as offending (i.e. this guy was recording while people got killed), then I'd be careful about releasing the recording, because that just might hurt your reputation, if the recording or releasing the recording messages about having low moral standards." ContentLicense="CC BY-SA 3.0" />
  <row Id="35267" PostHistoryTypeId="5" PostId="21903" RevisionGUID="a9cd2c46-f3b8-44cb-b5a0-042aa0793553" CreationDate="2013-11-27T00:23:49.893" UserId="1228" Comment="added 133 characters in body" Text="While out recording some traffic ambience a week or so ago, a thought crossed my mind - and I'd be curious, especially from our fellow members who also do a lot of field recording, what your personal opinion on this (and/or have you ever encountered such a situation):&#xD;&#xA;&#xD;&#xA;The situation could be anything catastrophic, such as a building fire igniting/spreading, a car crash/flip, even something as macabre as a distant handgun shot ringing out in the city.  When I was out recording, vehicles at a certain intersection were moving both dangerously and dangerously fast that I found myself mumbling &quot;watch and see, somebody's going to get T-boned right in front of the mic&quot;.  Fortunately, no such situation happened.&#xD;&#xA;&#xD;&#xA;Now when we record sirens in the city, we all think &quot;oh cool, that sounds awesome&quot;, but maybe the siren is responding to something like a heart attack, a shooting, who knows.  **But in these cases we as humans are so far removed and dissociated from the intent of the siren that to our ears and mind it's just another, abstract city sound** - 'business as usual' - there's no guilt, no question of ethics.&#xD;&#xA;&#xD;&#xA;However, if you ever found yourself literally witnessing and capturing an unexpected and catastrophic event, what would you do?  I mean, literally witness it unfold, not &quot;oh, there's a fire down the street, let's go record it&quot;.  Delete it out of respect?  Save it for your private library with no intent to share it out of respect?  Or be irreverent?&#xD;&#xA;&#xD;&#xA;I am certainly not asking this to judge people or be insensitive, nor am I asking for someone to answer this for me.  Personally, I would delete it out of respect.  If I came to find out nobody was injured or killed, or example, and it was just an unfortunately situation, I might save it for private, internal use only - but only after careful scrutiny of the situation and whether it is still deemed as being tossed out out of respect.&#xD;&#xA;&#xD;&#xA;It is a very real situation to consider, and I'm curious what some of you might do if faced with such a situation.  Or if you have been faced with such a situation before, what have you done?  Again, more of a personal experience and opinion survey than a Yes/No answer." ContentLicense="CC BY-SA 3.0" />
  <row Id="35269" PostHistoryTypeId="5" PostId="21903" RevisionGUID="bf597020-5a4c-4a9b-98cf-5f7710df4714" CreationDate="2013-11-27T00:48:01.280" UserId="1228" Comment="added 160 characters in body" Text="While out recording some traffic ambience a week or so ago, a thought crossed my mind - and I'd be curious, especially from our fellow members who also do a lot of field recording, what your personal opinion on this (and/or have you ever encountered such a situation):&#xD;&#xA;&#xD;&#xA;The situation could be anything catastrophic, such as a building fire igniting/spreading, a car crash/flip, even something as macabre as a distant handgun shot ringing out in the city.  When I was out recording, vehicles at a certain intersection were moving both dangerously and dangerously fast that I found myself mumbling &quot;watch and see, somebody's going to get T-boned right in front of the mic&quot;.  Fortunately, no such situation happened.&#xD;&#xA;&#xD;&#xA;Now when we record sirens in the city, we all think &quot;oh cool, that sounds awesome&quot;, but maybe the siren is responding to something like a heart attack, a shooting, who knows.  **But in these cases we as humans are so far removed and dissociated from the intent of the siren that to our ears and mind it's just another, abstract city sound** - 'business as usual' - there's no guilt, no question of ethics.&#xD;&#xA;&#xD;&#xA;However, if you ever found yourself literally witnessing and capturing an unexpected and catastrophic event, what would you do?  I mean, literally witness it unfold, not &quot;oh, there's a fire down the street, let's go record it&quot;.  Delete it out of respect?  Save it for your private library with no intent to share it out of respect?  Or be irreverent?&#xD;&#xA;&#xD;&#xA;I am certainly not asking this to judge people or be insensitive, nor am I asking for someone to answer this for me.  Personally, I would delete it out of respect.  If I came to find out nobody was injured or killed, or example, and it was just an unfortunately situation, I might save it for private, internal use only - but only after careful scrutiny of the situation and whether it is still deemed as being tossed out out of respect (an example being: I am out recording in the wilderness, a giant boulder falls on my empty car - I would keep that, and likely only keep something of that ilk).&#xD;&#xA;&#xD;&#xA;It is a very real situation to consider, and I'm curious what some of you might do if faced with such a situation.  Or if you have been faced with such a situation before, what have you done?  Again, more of a personal experience and opinion survey than a Yes/No answer." ContentLicense="CC BY-SA 3.0" />
  <row Id="35270" PostHistoryTypeId="2" PostId="21905" RevisionGUID="488a9257-1436-4b8a-94af-9a67bc98ee20" CreationDate="2013-11-27T03:50:34.333" UserId="6512" Text="This is one of my favorite kinds of glitchy accidental sounds.&#xD;&#xA;&#xD;&#xA;I've had computers where the onboard sound is located right next to a USB port. The devices plugged into the USB port make a variety of sounds, from really subtle to chaotic. &#xD;&#xA;&#xD;&#xA;With one of them, if I plugged my optical mouse into it, I was able control the pitch of it by lifting the mouse up and down.&#xD;&#xA;&#xD;&#xA;As I recall, the previous generation of Mac Pros had this issue with one of the USB ports and the onboard 3.5 output.&#xD;&#xA;&#xD;&#xA;Either way, fun recording can be had from them." ContentLicense="CC BY-SA 3.0" />
  <row Id="35271" PostHistoryTypeId="2" PostId="21906" RevisionGUID="ae2dbcc4-f148-4282-82ff-42a4e4808ce1" CreationDate="2013-11-27T03:58:56.347" UserId="194" Text="I wouldn't be afraid to use any good recording I made for whatever purposes I needed them.  Some of the greatest and most award winning photography in the history of the medium is of people in great pain or distress.  That the photographer captured and then released the images doesn't detract from the art of what that was or from what that photographer was doing.  &#xD;&#xA;&#xD;&#xA;The same should go for recorded sounds.  If I stumbled upon a street fight with my recorder in hand, I'd eval and then roll if I didn't have any options regarding breaking the fight up and if I didn't fear for my own safety.&#xD;&#xA;&#xD;&#xA;If i'm rolling on traffic and someone *does* get Tboned right in front of the mic, I'm keeping it." ContentLicense="CC BY-SA 3.0" />
  <row Id="35272" PostHistoryTypeId="2" PostId="21907" RevisionGUID="26bc3ec0-9c94-4314-98b5-f9d2b8b25b4d" CreationDate="2013-11-27T10:25:28.637" UserId="6866" Text="I know this must be a very (if not extremely) general question, but I need some advice on mixing music and sound effects for a TV spot. Basically, I have three groups: Ambience, SFX and Music (Library music, classical, string-based). There's currently an L1 Ultramaximizer (-4.0 threshold) on the master bus, and I've done lots of internal EQing within each group to try and make room for everything. It all seem to fit nicely, but my ears tell me that the music takes too much of pie. I need some general tips for how to deal with music in such context - how to give it room without taking too much room. I don't want it to sonically blur my SFX tracks. What are some quick-and-dirty tricks for treating music tracks to fit well with the rest of the mix? &#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;G" ContentLicense="CC BY-SA 3.0" />
  <row Id="35273" PostHistoryTypeId="1" PostId="21907" RevisionGUID="26bc3ec0-9c94-4314-98b5-f9d2b8b25b4d" CreationDate="2013-11-27T10:25:28.637" UserId="6866" Text="Mixing music and SFX for TV" ContentLicense="CC BY-SA 3.0" />
  <row Id="35274" PostHistoryTypeId="3" PostId="21907" RevisionGUID="26bc3ec0-9c94-4314-98b5-f9d2b8b25b4d" CreationDate="2013-11-27T10:25:28.637" UserId="6866" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35275" PostHistoryTypeId="2" PostId="21908" RevisionGUID="ab79dba8-9cdb-47fa-8097-d8cb6a63d695" CreationDate="2013-11-27T12:06:55.380" UserId="6448" Text="First try bringing the music down to a level where the SFX levels are in nice balance compared to music. Does it work or do you know how to adjust now?&#xD;&#xA;&#xD;&#xA;Shelve out some/little of the low end or particularly those frequencines that are clashing with the SFX (likely some low-mid frequencies). You don't really want much/any of low bass, but mainly just a &quot;balanced amount&quot; of the around 80-120Hz which is the voice or a bass instruments if there's such, or some occasional sound effects.&#xD;&#xA;&#xD;&#xA;Use multi-band compression and some limiting on groups and master to bring the dynamics to a reasonable level and to balance the shifts in overall frequency content.&#xD;&#xA;&#xD;&#xA;Listen to some references." ContentLicense="CC BY-SA 3.0" />
  <row Id="35276" PostHistoryTypeId="5" PostId="21908" RevisionGUID="2b019f9b-0613-43a4-96ad-9155bdcbebb6" CreationDate="2013-11-27T12:15:00.110" UserId="6448" Comment="added 197 characters in body" Text="First try bringing the music down to a level where the SFX levels are in nice balance compared to music. Does it work or do you know how to adjust now?&#xD;&#xA;&#xD;&#xA;Shelve out some/little of the low end or particularly those frequencines that are clashing with the SFX (likely some low-mid frequencies). You don't really want much/any of low bass, but mainly just a &quot;balanced amount&quot; of the around 80-120Hz which is the voice or a bass instruments if there's such, or some occasional sound effects.&#xD;&#xA;&#xD;&#xA;Use multi-band compression and some limiting on groups and master to bring the dynamics to a reasonable level and to balance the shifts in overall frequency content.&#xD;&#xA;&#xD;&#xA;Side-chain compression (possibly even multi-band) would be a quick-and-dirty solution as well. But it's sometimes difficult to set to that it doesn't sound like the music track is being ducked.&#xD;&#xA;&#xD;&#xA;Listen to some references." ContentLicense="CC BY-SA 3.0" />
  <row Id="35283" PostHistoryTypeId="2" PostId="21913" RevisionGUID="21925a55-7bc9-4d19-8506-abef4e2534f8" CreationDate="2013-11-27T15:30:37.900" UserId="6567" Text="The only issue I see in this is at the moment of witnessing the event and whether one decides to help or not. If one has the ability to help then one should do so (and keep the recorder rolling). Apart from that, if you can't help, record away. &#xD;&#xA;&#xD;&#xA;Later I would check that there's no personally identifiable speech on the recording but if it's just &quot;foley&quot; then keep it. &#xD;&#xA;&#xD;&#xA;Who knows your recording of the event might help out later in analyzing what happened and might provide more useful than a &quot;respectful&quot; turning off of the recorder at the time. &#xD;&#xA;&#xD;&#xA;Mind you, every single real life accident/disaster I've witnessed really didn't sound that great that I'd use a recording of it later for SD purposes. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35285" PostHistoryTypeId="2" PostId="21915" RevisionGUID="480dc7c2-6027-41eb-8edb-e536f53a0149" CreationDate="2013-11-27T17:21:01.230" UserId="533" Text="I might have a chance to buy a used AT835b shotgun mic at roughly 120USD or so. Its just the mic and the clip, no foam windscreen or anything else. Probably a quite few years old considering that its already discontinued.&#xD;&#xA;&#xD;&#xA;Does anyone have any experience with one? I'll be using it with my H4N. I'm looking to get a shotgun microphone for better ambience rejection and for recording some sounds that I can't put the H4N too close to. Not for heavy use at the moment, just need to have a more directional microphone as I stay in the city. Too much ambient noise when recording sounds outdoors.&#xD;&#xA;&#xD;&#xA;I know that the NTG-2 and ME66 are the recommended mics, but this isn't something that I use everyday at the moment so I'm a little concerned about the ROI on a more expensive shotgun microphone. I forsee the cost of a zeppelin and dead cat being a fair amount of investment too." ContentLicense="CC BY-SA 3.0" />
  <row Id="35286" PostHistoryTypeId="1" PostId="21915" RevisionGUID="480dc7c2-6027-41eb-8edb-e536f53a0149" CreationDate="2013-11-27T17:21:01.230" UserId="533" Text="Is a used AT835b worth it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35287" PostHistoryTypeId="3" PostId="21915" RevisionGUID="480dc7c2-6027-41eb-8edb-e536f53a0149" CreationDate="2013-11-27T17:21:01.230" UserId="533" Text="&lt;microphone&gt;&lt;shotgun&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35288" PostHistoryTypeId="2" PostId="21916" RevisionGUID="75ef83aa-6d3b-4f8b-8227-980187ff44fe" CreationDate="2013-11-27T22:04:55.027" UserId="6663" Text="Working on a film set in the jungle and the director wants it mixed in 5.1,&#xD;&#xA;&#xD;&#xA;wondering if any of you know of any sound libraries which have great surround ambience recordings.&#xD;&#xA;&#xD;&#xA;Or can I use a technique to use stereo files and place them in a surround set up? Any keywords to google would be helpful!&#xD;&#xA;&#xD;&#xA;Thanks &#xD;&#xA;&#xD;&#xA;Ed" ContentLicense="CC BY-SA 3.0" />
  <row Id="35289" PostHistoryTypeId="1" PostId="21916" RevisionGUID="75ef83aa-6d3b-4f8b-8227-980187ff44fe" CreationDate="2013-11-27T22:04:55.027" UserId="6663" Text="Surround sound ambiance library" ContentLicense="CC BY-SA 3.0" />
  <row Id="35290" PostHistoryTypeId="3" PostId="21916" RevisionGUID="75ef83aa-6d3b-4f8b-8227-980187ff44fe" CreationDate="2013-11-27T22:04:55.027" UserId="6663" Text="&lt;ambience&gt;&lt;library&gt;&lt;5.1&gt;&lt;surround-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35291" PostHistoryTypeId="4" PostId="21916" RevisionGUID="f94e4381-211e-48b8-b6c3-739b892d382b" CreationDate="2013-11-27T22:42:48.400" UserId="6663" Comment="edited title" Text="Surround sound ambience library" ContentLicense="CC BY-SA 3.0" />
  <row Id="35292" PostHistoryTypeId="2" PostId="21917" RevisionGUID="5219c02f-d7ca-48f8-823d-1d226eab3dc2" CreationDate="2013-11-28T02:30:53.717" UserId="533" Text="I'm looking for SD cards for my H4N and I would to get some feedback from those are more familiar than me on the topic.&#xD;&#xA;&#xD;&#xA;Looking on the confirmed list of SD cards by Zoom, I'm still a little unsure of what works well. I can't even find the recommended SanDisk 32GB card. I'm currently using an old SanDisk SDHC Class 2 4GB that isn't even sold anymore. &#xD;&#xA;&#xD;&#xA;I understand that Class 10 and UHS-1 cards are faster but are there any problems/limitations? The only limitation listed on the Zoom website is SDHC up to 32GB. &#xD;&#xA;&#xD;&#xA;Looking at Sandisk (seems the most recommended for SD cards), would the higher end cards like the Ultra or Extreme series bring faster boot/save times or would it just not work at all?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35293" PostHistoryTypeId="1" PostId="21917" RevisionGUID="5219c02f-d7ca-48f8-823d-1d226eab3dc2" CreationDate="2013-11-28T02:30:53.717" UserId="533" Text="SD Cards for H4N" ContentLicense="CC BY-SA 3.0" />
  <row Id="35294" PostHistoryTypeId="3" PostId="21917" RevisionGUID="5219c02f-d7ca-48f8-823d-1d226eab3dc2" CreationDate="2013-11-28T02:30:53.717" UserId="533" Text="&lt;zoom-h4n&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35295" PostHistoryTypeId="2" PostId="21918" RevisionGUID="6d23ebb6-473d-494c-9a1b-2b6ccff2079b" CreationDate="2013-11-28T03:01:14.280" UserId="6804" Text="Although you might question why I would want to do this in the first place - I have been curious as to how to recreate that 'trancey' chordal stab sound as epitomized by the lead riff in LMFAO's Party Rock Anthem.&#xD;&#xA;&#xD;&#xA;I have Ableton Live and from what I have researched so far it sounds like the core components are two or more sawtooth oscillators both slightly detuned. It sounds like historically this sound first crept in with the Roland JP-8080 which apparently used seven detuned sawtooth oscillators.&#xD;&#xA;&#xD;&#xA;I am trying to avoid presets so my choices in Ableton are Operator or Analog. I got pretty close using Operator except there is no detune, so instead I varied the 'pitch' - is there a technical reason why Operator doesn't have detune or is changing the pitch an equivalent method to detuning? If I use Analog I get a detune option but only two oscillators..is the equivalent workaround to just have multiple tracks set to Analog?&#xD;&#xA;&#xD;&#xA;If anyone can throw some light on the subject that would be great - or if anyone has had experience in creating this sound without presets in Ableton..&#xD;&#xA;&#xD;&#xA;cheers,&#xD;&#xA;&#xD;&#xA;Rowan&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35296" PostHistoryTypeId="1" PostId="21918" RevisionGUID="6d23ebb6-473d-494c-9a1b-2b6ccff2079b" CreationDate="2013-11-28T03:01:14.280" UserId="6804" Text="Chordal trancey stabs a la LMFAO in Ableton without resorting to presets" ContentLicense="CC BY-SA 3.0" />
  <row Id="35297" PostHistoryTypeId="3" PostId="21918" RevisionGUID="6d23ebb6-473d-494c-9a1b-2b6ccff2079b" CreationDate="2013-11-28T03:01:14.280" UserId="6804" Text="&lt;ableton-live&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35298" PostHistoryTypeId="2" PostId="21919" RevisionGUID="7071c688-0799-4d84-b56a-51637e997eac" CreationDate="2013-11-28T03:39:18.907" UserId="6565" Text="My advice would be to stick to the exact cards in the list.&#xD;&#xA;&#xD;&#xA;I have had a series of problems with write errors on my H4n with several different SD cards.&#xD;&#xA;In the beginning I bought a class 10 - 32gb Sandisk and had constant write errors.&#xD;&#xA;Then I used a class 10 - 16gb Sandisk and had the same problems.&#xD;&#xA;After that I tried a smaller 8gb class 10 card from Kingston and stil got write errors.&#xD;&#xA;In the end I decided to pay more attention to the exact model numbers of the recommended SD cards and realised that the 32 Sandisk in the list was a Class 4 and the 8gb Kingstons where classes 2, 4 and 6.&#xD;&#xA;So i managed to find a couple of Transend 8gb class 10 TS8GSDHC that are in the actual list and now everything works fine!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35299" PostHistoryTypeId="2" PostId="21920" RevisionGUID="145ecdbd-60a7-40ca-a9e0-1bdbfd52efe1" CreationDate="2013-11-28T06:29:06.997" UserDisplayName="user80" Text="We have three and they all work well, we use them with Rycote softies.  All of them have been reliable, and not too noisy.  For $120 I think the mic is definitely worth it, especially as it can be powered by a AA battery, in case you need to minimise the battery drain on the H4N." ContentLicense="CC BY-SA 3.0" />
  <row Id="35300" PostHistoryTypeId="5" PostId="21920" RevisionGUID="365f1bbc-298a-4cd8-b1af-6f57f1370fc5" CreationDate="2013-11-28T06:36:25.947" UserDisplayName="user80" Comment="added 50 characters in body" Text="We have three and they all work well, we use them with Rycote softies.  All of them have been reliable, and not too noisy, especially considering their age and regular use.  For $120 I think the mic is definitely worth it, especially as it can be powered by a AA battery, in case you need to minimise the battery drain on the H4N." ContentLicense="CC BY-SA 3.0" />
  <row Id="35301" PostHistoryTypeId="2" PostId="21921" RevisionGUID="d43fe480-b231-4d53-8493-85e51981321d" CreationDate="2013-11-28T08:41:04.797" UserId="6748" Text="I recently made records in Vietnam in 5.1 also in the jungle. But 'Jungle' is a very wide term, so if you could be more specific, I can check if I have something for you.&#xD;&#xA;For example the jungle in Vietnam was very misty and quiet and completely different for example to a jungle in brazil.&#xD;&#xA;&#xD;&#xA;Also, if you are working now on the filmset, why are you not recording your own atmospheres? If the director wants it, so you have good reasons to go out and record them. If you can't record it in 5.1, record it it stereo. It's better to make a good stereo record than a bad 5.1 or nothing.&#xD;&#xA;Stereo-tracks can be layered together to surround sound atmospheres, no problem. If you have recorded 5.1 atmsopheres, you can layer them with stereo sound to make it wide or make them sound like you want it.&#xD;&#xA;&#xD;&#xA;If you are interested in my Vietnam jungle atmospheres, let me know. But I need to edit them first, they are raw now. You can contact me by my site: https://www.soundeffects.ch/&#xD;&#xA;&#xD;&#xA;Best &#xD;&#xA;Guido&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35303" PostHistoryTypeId="2" PostId="21922" RevisionGUID="94920adf-c6d6-40b7-861c-6826483fa86a" CreationDate="2013-11-28T10:39:33.603" UserId="6869" Text="I know this was posted some time ago, but I might have a little to add.&#xD;&#xA;&#xD;&#xA;I'd considered in the past going on a [field recording workshop run by Francisco Lopez in the Amazon](http://www.franciscolopez.net/field.html). On that page, he has some notes on his experience of the practicality of recording in humid environments:&#xD;&#xA;&#xD;&#xA;&gt; &quot;Because of the high humidity it is highly recommended to keep all recording gear inside water-proof bags. We haven't experienced any humidity-related problems for a very wide range of the typical digital recording devices used today. However, we do have experienced problems with most condenser microphones (humidity condensation producing noise), while this never happened with electric ones (like the ones in Zoom devices). It is thus highly recommended to bring contact cleaner and/or &quot;Detox-it&quot; for cleaning cables and connectors (see note 2 below)&quot;&#xD;&#xA;&#xD;&#xA;&gt; &quot;[Note 2: List of previously used equipment NOT affected by humidity (all kept in water-proof bags when not in use): Digital recorders: Sound Devices 702, 722, 744, Sound Devices MixPre, Tascam DR1, Edirol R09HD, Fostex FR 2LE, Marantz PMD670, Sony PCM D50, Zoom H2 &amp; H4 (although some people won’t recommend the last one for other reasons, namely motor noise). External microphones: DPA 4060, 4061, Soundman OKM Binaural, Røde NTG-3 Shotgun Microphone, Sonic Studio DSM-1S/H, Shotgun Audio Technica AT815ST, Aquarian Hydrophones H1a, Bat detector Pettersson Elektronik D 200.&#xD;&#xA;List of previously used equipment affected by humidity (also after being kept in water-proof bags): External microphones: Neumann KM184 stereo pair, Audiotechnica AT897 shotgun, Rode NT5 condensers.]&quot;&#xD;&#xA;&#xD;&#xA;If zenandtheart does read this, I'd love to hear the fruits of the project, sounds great." ContentLicense="CC BY-SA 3.0" />
  <row Id="35306" PostHistoryTypeId="2" PostId="21925" RevisionGUID="1d95a5ad-f10c-4e2a-9a07-3e293772b836" CreationDate="2013-11-29T08:12:08.360" UserId="6874" Text="Operator has detune, it's just not called &quot;detune&quot;. And I'm sure you can figure it out by yourself... :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35307" PostHistoryTypeId="2" PostId="21926" RevisionGUID="62377f99-c4c2-4d21-8467-c00472a5466e" CreationDate="2013-11-29T13:15:11.510" UserId="6425" Text="Detune means Changing the tune, commonly by a few cents. Sometimes you have a &quot;unison detune&quot; wich automaticly detunes the used oscillators.&#xD;&#xA;&#xD;&#xA;If you use operator, you need to detune the different oscillators by hand. So you use the tune/fine-tune ratio of the different &quot;operators&quot; in the fm matrix and detune them by hand. &#xD;&#xA;&#xD;&#xA;I would use analoge for this kinda sound, since it has some &quot;random&quot; effect on the sawtooth and sound more &quot;alive&quot;. If you need more than two oscillators -&gt; select the midi instrument after you dropped it on the midi track -&gt; press cmd + g to group it -&gt; now open the chain view by clicking the 3 yellow/black buttons on the left of the group folder -&gt; select the instance of analogue and press cmd +d -&gt; that way you can control all analogues via one midi note on one track -&gt; if you need filter movement -&gt; route the filter cut-off to the makro controls of the group folder.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Good Luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="35311" PostHistoryTypeId="2" PostId="21927" RevisionGUID="06431c07-3214-44c6-ae70-6714c7eeb41e" CreationDate="2013-11-29T15:38:36.883" UserId="533" Text="Operator and Analog are two very different synths, both using different synthesis techniques. The Operator uses FM(Frequency Modulation) synthesis while Analog uses subtractive synthesis. The JP-8080 super saw is seven detuned sawtooth waves so FM synthesis isn't the way to emulate that.&#xD;&#xA;&#xD;&#xA;Each instance of Analog only has two oscillators so you will need 4 instances of Analog to get 7 saws. You don't need to have multiple tracks to layer synths. You'll want to use an instrument rack. Easiest way is to select the synth and group it. Then just expose the rack(second button from the top left on my image) and select the first chain and duplicate it(right-click). You can then go ahead and detune those new oscillators. I choose not to use the filter section in Analog because it needs some additional setup to link the filter cutoffs together. Its easier to drop and EQ Eight after the rack(not inside the rack as that would only end up on one chain) to manipulate the summed output of the instrument rack. I've roughed out a basic starting point in the image below so that you can take a look. Watch out for the levels of each chain in the rack as you don't want clip the output of the rack.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;The coarse and fine settings on the oscillators in Operator affect the tuning of each oscillator so that is the &quot;detune&quot; of the synth. But Operator was designed for FM synthesis although you can 'hack' Operator to do the same thing its not really good to learn synthesis that way.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/MogIw.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="35312" PostHistoryTypeId="2" PostId="21928" RevisionGUID="50355a9e-3501-4385-b98e-19b60d0b6446" CreationDate="2013-11-29T19:51:06.680" UserId="6392" Text="I've found in past experiences that 5.1 ambiences are great for a bed, but you would be best off with layering in some stereo tracks in order to create a wider sound field.  The distinct stereo tracks will widen your soundscape, a 5.1 ambience doesn't have the same perceived width because you are sending very similar sound to all the speakers." ContentLicense="CC BY-SA 3.0" />
  <row Id="35313" PostHistoryTypeId="2" PostId="21929" RevisionGUID="f927c13b-666c-4ae7-b12c-fdf20ff879a0" CreationDate="2013-11-29T23:15:27.340" UserId="6875" Text="I would look at the Penteo Surround, and Anymix Pro" ContentLicense="CC BY-SA 3.0" />
  <row Id="35316" PostHistoryTypeId="2" PostId="21930" RevisionGUID="4e5d8dbb-8156-4789-9210-086daf76488a" CreationDate="2013-11-30T14:03:21.817" UserId="6877" Text="I'm working on an animated cartoon that has several voice over parts where one the characters are narrating. How do you make a voice sound like it's a narration, or voice over? In my references, the narrating voice sounds a lot closer to the screen, almost like it's coming from inside your head.&#xD;&#xA;Is it just that it's dry, and so it contrasts to the other voices on screen that have room?&#xD;&#xA;Or is there a trick?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35317" PostHistoryTypeId="1" PostId="21930" RevisionGUID="4e5d8dbb-8156-4789-9210-086daf76488a" CreationDate="2013-11-30T14:03:21.817" UserId="6877" Text="Narration voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="35318" PostHistoryTypeId="3" PostId="21930" RevisionGUID="4e5d8dbb-8156-4789-9210-086daf76488a" CreationDate="2013-11-30T14:03:21.817" UserId="6877" Text="&lt;voice-over&gt;&lt;room&gt;&lt;cartoon&gt;&lt;narration&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35319" PostHistoryTypeId="2" PostId="21931" RevisionGUID="ffd9d095-d68d-41f2-a7e8-27d3efa3b533" CreationDate="2013-11-30T19:45:15.190" UserId="6432" Text="It is partly due to the voice being mixed differently, but also comes from how the voice is recorded - controlled conditions in the studio, using a large diaphragm condenser with the actor close-in. Recording like this gives more bass and nice crisp highs in the tone of the voice. If you compare that to the way dialog on set is recorded - with a boom, from a distance, that's what accounts for most of the difference in the sound. Try recording your own voice at different distances from the mic (moving in to about an inch away) and you should hear the difference you describe. &#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="35320" PostHistoryTypeId="2" PostId="21932" RevisionGUID="b0af6d4c-4773-4f14-93ff-8ceb1899f09d" CreationDate="2013-11-30T21:09:19.227" UserDisplayName="user80" Text="Use a cardioid condenser mic and go too close to the mic so that the proximity effect is produced, then add a little boost between 2-4 kHz and you will have a classic voice over effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="35321" PostHistoryTypeId="2" PostId="21933" RevisionGUID="2e4cc784-927c-4a68-a505-9ce94b2ce8a9" CreationDate="2013-12-01T02:17:51.293" UserId="6399" Text="Most of it comes down to performance and projection, annunciation etc.  Distance from the mic also makes a big difference but I would caution against getting toooo close, you should still be a good 3-5 inches away.  One of the biggest give aways for inexperienced VO talent is moving way up close and being an inch away, you'll find a voice recorded that way extremely hard to work with and fit into your mix.  The mic makes a little difference but much VO and production sound is recorded with the same mic such as a Sen 416.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="35322" PostHistoryTypeId="2" PostId="21934" RevisionGUID="f37122ec-42d6-4889-a601-22aa618c710e" CreationDate="2013-12-01T11:37:10.747" UserId="6660" Text="here a small roomtone library....check this: [www.soundfxwizard.com][1]&#xD;&#xA;&#xD;&#xA;Have a nice week&#xD;&#xA;  [1]: http://www.soundfxwizard.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="35323" PostHistoryTypeId="2" PostId="21935" RevisionGUID="765ffd2d-b9b2-49d4-8733-13177af24365" CreationDate="2013-12-01T12:47:36.950" UserDisplayName="user6513" Text="Just stumbled across this new SFX site sweetsoundeffects.com. Its by a guy called Zach King aka Final Cut King, and there is quite an extensive range of sounds. Anyone know if it's as legit as he makes it out to be? Just a little cautious when someone gives away this amount of SFX.&#xD;&#xA;&#xD;&#xA;sweetsoundeffects.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35324" PostHistoryTypeId="1" PostId="21935" RevisionGUID="765ffd2d-b9b2-49d4-8733-13177af24365" CreationDate="2013-12-01T12:47:36.950" UserDisplayName="user6513" Text="Is Sweet Sound Effects legit?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35325" PostHistoryTypeId="3" PostId="21935" RevisionGUID="765ffd2d-b9b2-49d4-8733-13177af24365" CreationDate="2013-12-01T12:47:36.950" UserDisplayName="user6513" Text="&lt;sound-libraries&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35329" PostHistoryTypeId="5" PostId="21935" RevisionGUID="ad3cfa04-f5f0-4bb5-94bf-3b95486d59d4" CreationDate="2013-12-01T14:40:07.503" UserDisplayName="user6513" Comment="reworded" Text="Just stumbled across this new SFX site sweetsoundeffects.com. Its by a guy called Zach King aka Final Cut King, and there is quite an extensive range of sounds. Anyone know if it's legit? It sounds pretty good like other library SFX but I'm a little cautious when these much is made available for free.&#xD;&#xA;&#xD;&#xA;sweetsoundeffects.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35333" PostHistoryTypeId="2" PostId="21938" RevisionGUID="6f277189-7dbb-4f54-b53b-86745e3f7c51" CreationDate="2013-12-01T16:49:06.010" UserId="1228" Text="I'm certain it's a scam, and advise running the other direction immediately:&#xD;&#xA;&#xD;&#xA; - The website name alone is very suspect&#xD;&#xA;&#xD;&#xA; - &quot;blog&quot; posts on his site about his gear and DSLR shooting, are just a series of copy-pasted technical data with no opinionated and articulated details (e.g. not &quot;taking the talk&quot;)&#xD;&#xA;&#xD;&#xA; - Zach King has no IMDb listing&#xD;&#xA;&#xD;&#xA; - Can't fool my photographic memory - I **immediately** recognized the splash image stolen from [this film][1]... so how much else is stolen?&#xD;&#xA;&#xD;&#xA; - A Star Trek collection is offered.  I don't care if it's from the old series, it's not public domain content. ----&gt; [sold CD][2]... see the catelog in the bottom right, that's in the Soundminer Ripper catalog, so this is is the true library.&#xD;&#xA;&#xD;&#xA; - His FAQ states commercial usage is appropriate, which would certainly make the preceding discovery one of copyright infringement &#xD;&#xA;&#xD;&#xA; - The business of sound effects is an actual business, which some make secondary income, and for others its primary.  There is a demands for sound effects from reputable sources, and people are certainly willing (and EXPECT) to pay for them.  I don't care who you are (I'm also in this sound effects business), people don't just freely offer all sound effects, especially in some of those categories where it requires a lot of logistics and money to make happen.  This is of prime suspect.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm very much toying this inquiring this site owner further and find out what I can.  It hurts all of us by lowering the consumers cost expectation (Free!), thus diluting the ability to maintain thriving businesses over time.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/media/rm829589760/tt1190080?ref_=ttmi_mi_all_sf_23&#xD;&#xA;  [2]: http://www.amazon.com/Star-Trek-Effects-Original-Soundtrack/dp/B000001P04" ContentLicense="CC BY-SA 3.0" />
  <row Id="35334" PostHistoryTypeId="5" PostId="21938" RevisionGUID="74cc5237-2e54-4ccb-a7f5-8de70d0df85e" CreationDate="2013-12-01T16:57:38.380" UserId="1228" Comment="added 71 characters in body" Text="I'm certain it's a scam, and advise running the other direction immediately:&#xD;&#xA;&#xD;&#xA; - The website name alone is very suspect&#xD;&#xA;&#xD;&#xA; - &quot;blog&quot; posts on his site about his gear and DSLR shooting, are just a series of copy-pasted technical data with no opinionated and articulated details (e.g. not &quot;taking the talk&quot;)&#xD;&#xA;&#xD;&#xA; - Zach King has no IMDb listing (especially so with how much bravado the website exhibits for it's offerings - you'd think it was the next coming of John Fasal or Rob Nokes, but with blowout &quot;free&quot; deals on everything)&#xD;&#xA;&#xD;&#xA; - Can't fool my photographic memory - I **immediately** recognized the splash image stolen from [this film][1]... so how much else is stolen?&#xD;&#xA;&#xD;&#xA; - A Star Trek collection is offered.  I don't care if it's from the old series, it's not public domain content. ----&gt; [sold CD][2]... see the catelog in the bottom right, that's in the Soundminer Ripper catalog, so this is is the true library.&#xD;&#xA;&#xD;&#xA; - His FAQ states commercial usage is appropriate, which would certainly make the preceding discovery one of copyright infringement &#xD;&#xA;&#xD;&#xA; - The business of sound effects is an actual business, which some make secondary income, and for others its primary.  There is a demands for sound effects from reputable sources, and people are certainly willing (and EXPECT) to pay for them.  I don't care who you are (I'm also in this sound effects business), people don't just freely offer all sound effects, especially in some of those categories where it requires a lot of logistics and money to make happen.  This is of prime suspect.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm very much toying this inquiring this site owner further and find out what I can.  It hurts all of us by lowering the consumers cost expectation (Free!), thus diluting the ability to maintain thriving businesses over time.&#xD;&#xA;&#xD;&#xA;Thanks for sharing the info!  It's good to know about these things.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/media/rm829589760/tt1190080?ref_=ttmi_mi_all_sf_23&#xD;&#xA;  [2]: http://www.amazon.com/Star-Trek-Effects-Original-Soundtrack/dp/B000001P04" ContentLicense="CC BY-SA 3.0" />
  <row Id="35335" PostHistoryTypeId="2" PostId="21939" RevisionGUID="01e5df34-0bc1-48c9-a46a-5083a89335ab" CreationDate="2013-12-01T17:26:03.733" UserId="6448" Text="It might be &quot;legit&quot;, but it's pretty obviously not (copyright-)free for others than some sort of non-profit hobbyists.&#xD;&#xA;&#xD;&#xA;The net is full of sites with &quot;Free SFX&quot; and this site might be a collection of those, aimed at some hobbyist movie makers. The licenses for these &quot;Free SFX&quot; are generally for non-profit use only and the maintainer usually does not take any responsibility over the copyright of the sounds. So they're made available to be used &quot;at your own risk&quot;. Some might be stolen/ripped.&#xD;&#xA;&#xD;&#xA;Get sounds only from places where you can verify the copyright holder and how he has licensed the sounds. That's how it's legal/legit." ContentLicense="CC BY-SA 3.0" />
  <row Id="35337" PostHistoryTypeId="2" PostId="21941" RevisionGUID="561ba84e-bf98-498b-af38-351b8a3c2658" CreationDate="2013-12-02T02:54:30.673" UserId="533" Text="Coming from a music point of view, I always find that automation is key. The music should support the overall mix, not take it over. So feel free to pull it back on sections and bring it back on more significant scenes. When sound effects kick in and its something like a large impact, I've tried things like having a filter kick in just for the effect duration.&#xD;&#xA;&#xD;&#xA;Its a give and take situation. Music and SFX each have their own moments." ContentLicense="CC BY-SA 3.0" />
  <row Id="35343" PostHistoryTypeId="5" PostId="20732" RevisionGUID="3e590004-7543-45c4-93a9-347225d0bef4" CreationDate="2013-12-03T15:28:01.893" UserId="6749" Comment="added 263 characters in body" Text="I'm putting together a guide on how you can make your own Christmas SFX using common household objects. I've got a list of ideas going already, but I'm still looking for ideas for making various sounds such as:&#xD;&#xA;&#xD;&#xA;* Sleigh bells (without having actual sleigh bells at hand)&#xD;&#xA;* Sleigh ride&#xD;&#xA;* Gift opening and shaking&#xD;&#xA;* Snowball fight&#xD;&#xA;* Winter wind&#xD;&#xA;* Tree felling&#xD;&#xA;* Christmas cooking (roasting and sauce bubbling)&#xD;&#xA;* Christmas ornaments ringing&#xD;&#xA;* Chimney gliding (for Santa's house entry)&#xD;&#xA;* Santa Footsteps&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The plan is to list fun, novel ways of creating Christmas sound effects using just what everyone has laying about in their house. &#xD;&#xA;&#xD;&#xA;So if you've got ideas for these - or other Christmassy sounds - please let me know.&#xD;&#xA;&#xD;&#xA;The guide will be published on [A Sound Effect][1] and you'll of course be credited with your idea.&#xD;&#xA;&#xD;&#xA;Really looking forward to hearing your ideas!&#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;-Asbjoern&#xD;&#xA;&#xD;&#xA;&lt;strong&gt;UPDATE:&lt;/strong&gt; The guide to making your own Christmas sound effects is now out - &lt;a href=&quot;http://www.asoundeffect.com/the-ultimate-guide-to-making-your-own-christmas-sound-effects/&quot;&gt;check it out here&lt;/a&gt;, and thanks to everyone who shared their ideas!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.asoundeffect.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="35348" PostHistoryTypeId="2" PostId="21945" RevisionGUID="a2ccc3ba-cb74-42e0-b063-3ad4db296199" CreationDate="2013-12-04T04:00:44.973" UserId="769" Text="I'm looking for a way to convincingly manipulate a studio recording to sound like it's on location - for a radio piece. There are two interlocutors, and while their parts are being recorded separately, they will both be placed in this other context.&#xD;&#xA;&#xD;&#xA;The voice tracks are being recorded in an iso studio with a broadcast console and Rode Broadcaster mics (large diagphragm cardioid condenser). The destination is a beachside scene overlooking the Pacific ocean in Sydney - an outdoor sculpture festival.&#xD;&#xA;&#xD;&#xA;Aside from the predictable attendant background sounds (waves, gulls, wind and passersby), I was curious if anyone had some tried and true techniques for making the thing sound more authentically 'outside'. Here's what I'm thinking as a starting point:&#xD;&#xA;&#xD;&#xA;• High-pass the voice tracks to reflect the thinner sound of a reporter's mic (and proximity effect)&#xD;&#xA;• Add a barely perceptible amount of ambience&#xD;&#xA;• Record some handling/wind noise and duck the voice tracks once or twice when this is inserted&#xD;&#xA;• Maybe band-pass the location recordings and sum them to mono&#xD;&#xA;&#xD;&#xA;What do you think? I'm somewhat uncertain of the last two ideas - am I labouring the point? Is it possible that it could just be a very nicely recorded location piece with quality microphones (including stereo for atmos)?&#xD;&#xA;&#xD;&#xA;Thanks in advance for your ideas!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35349" PostHistoryTypeId="1" PostId="21945" RevisionGUID="a2ccc3ba-cb74-42e0-b063-3ad4db296199" CreationDate="2013-12-04T04:00:44.973" UserId="769" Text="Simulating a location recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="35350" PostHistoryTypeId="3" PostId="21945" RevisionGUID="a2ccc3ba-cb74-42e0-b063-3ad4db296199" CreationDate="2013-12-04T04:00:44.973" UserId="769" Text="&lt;dialogue&gt;&lt;radio&gt;&lt;location-audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35351" PostHistoryTypeId="2" PostId="21946" RevisionGUID="70a0f5b8-cf1f-46ab-a07a-60ae2bd6c00d" CreationDate="2013-12-04T04:05:43.090" UserId="769" Text="I picked up 'Memories of Steam' a few years ago for cheap. It's really pretty.&#xD;&#xA;&#xD;&#xA;http://www.discogs.com/No-Artist-Memories-Of-Steam/release/2291301&#xD;&#xA;&#xD;&#xA;English steam locomotive sounds, recorded by Kenneth Granville Attwood using MD421s and AKG D224; released 1970 and reissued 1978." ContentLicense="CC BY-SA 3.0" />
  <row Id="35352" PostHistoryTypeId="2" PostId="21947" RevisionGUID="8ec4d292-b63c-4c8f-b96b-8cda6021eaeb" CreationDate="2013-12-04T04:09:28.773" UserId="6399" Text="Performance will get you a long ways towards your goal.  They need to project, make sure their headphone feeds aren't too loud.  Are they supposed to be getting interviewed? If not keep the mic farther away in more of a boom position.  Make sure you don't have any room reflections. &#xD;&#xA;Some of it depends on how far you want to go - believable vs &quot;radio&quot; and intelligible vs &quot;real&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="35353" PostHistoryTypeId="5" PostId="21945" RevisionGUID="61db3049-d23f-4cf4-a5e7-fc6ffcc98015" CreationDate="2013-12-04T04:14:26.593" UserId="769" Comment="added 8 characters in body" Text="I'm looking for a way to convincingly manipulate a studio recording to sound like it's on location - for a radio piece. There are two interlocutors, and while their parts are being recorded separately, they will both be placed in this other context.&#xD;&#xA;&#xD;&#xA;The voice tracks are being recorded in an iso studio with a broadcast console and Rode Broadcaster mics (large diagphragm cardioid condenser). The destination is a beachside scene overlooking the Pacific ocean in Sydney - an outdoor sculpture festival.&#xD;&#xA;&#xD;&#xA;Aside from the predictable attendant background sounds (waves, gulls, wind and passersby), I was curious if anyone had some tried and true techniques for making the thing sound more authentically 'outside'. Here's what I'm thinking as a starting point:&#xD;&#xA;&#xD;&#xA;• High-pass the voice tracks to reflect the thinner sound of a reporter's mic (and proximity effect)  &#xD;&#xA;• Add a barely perceptible amount of ambience  &#xD;&#xA;• Record some handling/wind noise and duck the voice tracks once or twice when this is inserted  &#xD;&#xA;• Maybe band-pass the location recordings and sum them to mono  &#xD;&#xA;&#xD;&#xA;What do you think? I'm somewhat uncertain of the last two ideas - am I labouring the point? Is it possible that it could just be a very nicely recorded location piece with quality microphones (including stereo for atmos)?&#xD;&#xA;&#xD;&#xA;Thanks in advance for your ideas!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35355" PostHistoryTypeId="2" PostId="21948" RevisionGUID="bb6864fe-371b-43e0-ade8-bb14a873e92e" CreationDate="2013-12-05T03:43:20.013" UserId="6890" Text="I forget exactly where I heard it, but there is a term (could be slang) for off screen dialogue added in post procuction to help clarify scenes or to add additional off screen characters.  I can't remember for the life of me.  I want to say it's called a &quot;slug&quot;, but I'm certain that's something else.  Any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35356" PostHistoryTypeId="1" PostId="21948" RevisionGUID="bb6864fe-371b-43e0-ade8-bb14a873e92e" CreationDate="2013-12-05T03:43:20.013" UserId="6890" Text="What's the name/slang for off screen dialogue added in post for clarification purposes?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35357" PostHistoryTypeId="3" PostId="21948" RevisionGUID="bb6864fe-371b-43e0-ade8-bb14a873e92e" CreationDate="2013-12-05T03:43:20.013" UserId="6890" Text="&lt;adr&gt;&lt;voice-over&gt;&lt;dubbing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35358" PostHistoryTypeId="2" PostId="21949" RevisionGUID="6f834c45-8910-453f-93ba-674eaa9f8831" CreationDate="2013-12-05T04:04:41.407" UserId="6448" Text="You should always record as you would like something to sound. Post-processing sound is about always fake (when in fact you want something &quot;real&quot;) and wastes a tremendous amount of time for something that will most likely never sound good, you're just playing with the software. So, always try and get the source right and things will be simple.&#xD;&#xA;&#xD;&#xA;In general, convolution reverbs (e.g. Altiverb) are your best pick for digital &quot;worldizing&quot;. Although you can also worldize by replaying the sound from a speaker placed in the environment that you want and then re-recording the sound there." ContentLicense="CC BY-SA 3.0" />
  <row Id="35359" PostHistoryTypeId="5" PostId="21949" RevisionGUID="c9e3eb36-29db-46bb-bb8a-ac4aaaf8d59f" CreationDate="2013-12-05T04:11:29.007" UserId="6448" Comment="added 68 characters in body" Text="You should always record as you would like something to sound. Post-processing sound is about always fake (when in fact you want something &quot;real&quot;) and wastes a tremendous amount of time for something that will most likely never sound good, you're just playing with the software. So, always try and get the source right and things will be simple.&#xD;&#xA;&#xD;&#xA;In general, convolution reverbs (e.g. Altiverb) are your best pick for digital &quot;worldizing&quot;. Although you can also worldize by replaying the sound from a speaker placed in the environment that you want and then re-recording the sound there, though it obviously will not be quite the same as a live recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="35360" PostHistoryTypeId="5" PostId="21949" RevisionGUID="b3eb6278-fa64-40da-a247-7899364cc75b" CreationDate="2013-12-05T04:23:06.783" UserId="6448" Comment="added 155 characters in body" Text="You should always record as you would like something to sound. Post-processing sound is about always fake (when in fact you want something &quot;real&quot;) and wastes a tremendous amount of time for something that will most likely never sound good, you're just playing with the software. Remember that good sound has existed way before computers, so computers aren't necessarily needed for anything more than recording and editing. So, always try and get the source right and things will be simple.&#xD;&#xA;&#xD;&#xA;In general, convolution reverbs (e.g. Altiverb) are your best pick for digital &quot;worldizing&quot;. Although you can also worldize by replaying the sound from a speaker placed in the environment that you want and then re-recording the sound there, though it obviously will not be quite the same as a live recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="35363" PostHistoryTypeId="2" PostId="21951" RevisionGUID="028fea4e-1e39-4490-b59e-dd1a392de0b0" CreationDate="2013-12-05T07:35:11.243" UserId="6892" Text="Well, there's ADR (additional/automated dialogue replacement)&#xD;&#xA;Wildtracks, buzz track. In the states you often hear the term 'walla' to describe crown muttering or bg chatter of any kind. &#xD;&#xA;slug usually means a short section of sound often silence" ContentLicense="CC BY-SA 3.0" />
  <row Id="35364" PostHistoryTypeId="2" PostId="21952" RevisionGUID="2bc08ee8-77ff-455e-8e3a-2cc8340e71c4" CreationDate="2013-12-05T09:21:55.880" UserId="3299" Text="&quot;Loop Group&quot; is another possibility. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35365" PostHistoryTypeId="2" PostId="21953" RevisionGUID="20e34cd3-afd6-42c1-b4cb-9c8e0126fdf4" CreationDate="2013-12-05T09:52:31.097" UserId="6894" Text="Post sync or post synchro here in Europe. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35366" PostHistoryTypeId="2" PostId="21954" RevisionGUID="3d9aba7d-cee5-4279-b004-b05eacc71c7a" CreationDate="2013-12-06T06:06:31.267" UserId="6895" Text="Most DVD mixes tend to actually be pretty dynamic (relative to the theatrical). On lower budget indies and whatnot there often is no difference between the theatrical and DVD/Blu-Ray. &#xD;&#xA;&#xD;&#xA;As far as references go, calibrate your room (lots of great online resources for that) and then pick some movies that sound like you want yours to sound and listen to them in your room at whatever mix level you're using (79-85) and just teach your ears, basically. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35368" PostHistoryTypeId="2" PostId="21956" RevisionGUID="473c302d-1084-4b8a-b60e-6f59d731f266" CreationDate="2013-12-06T16:03:06.850" UserId="6896" Text="I've been doing a bunch of recordings of machinery and computers using an induction microphone. I'm having a really hard time naming the files because they don't sound like anything I have a point of reference to. A lot of these files sound similar but like different pitched variations, which also makes it difficult to archive properly.&#xD;&#xA;&#xD;&#xA;Here are two examples of the recordings:&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/kaiwolf26/induction-recording-1&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/kaiwolf26/induction-recording-2&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35369" PostHistoryTypeId="1" PostId="21956" RevisionGUID="473c302d-1084-4b8a-b60e-6f59d731f266" CreationDate="2013-12-06T16:03:06.850" UserId="6896" Text="How do I name all these telemetrics sound effects?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35370" PostHistoryTypeId="3" PostId="21956" RevisionGUID="473c302d-1084-4b8a-b60e-6f59d731f266" CreationDate="2013-12-06T16:03:06.850" UserId="6896" Text="&lt;sfx&gt;&lt;file-naming&gt;&lt;archiving&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35371" PostHistoryTypeId="2" PostId="21957" RevisionGUID="fb231853-9bd6-4151-8c1c-26fc78534c1a" CreationDate="2013-12-06T16:27:50.623" UserId="6567" Text="I would suggest naming them after the object that is the sound source for the recording. In the metadata you can then get descriptive and just add anything that would help you find them later into the keywords but as the main name I'd stick with source and other relevant details (e.g. induction_harddrive_writing_... or shorter ind_hd_writing ...). " ContentLicense="CC BY-SA 3.0" />
  <row Id="35373" PostHistoryTypeId="2" PostId="21958" RevisionGUID="4e4e61fb-dddb-41ff-9cfb-12a41665162b" CreationDate="2013-12-06T20:45:20.947" UserId="6392" Text="We use 'add lines' to describe anything that was added in post.  Walla is used to describe anything in the background.  Before we have the script for the 'add' lines we refer to them as TBW's (to be written).  That way we know which lines in our ADR list need to be addressed." ContentLicense="CC BY-SA 3.0" />
  <row Id="35376" PostHistoryTypeId="2" PostId="21959" RevisionGUID="059ba951-c16b-4559-920d-ede566c0485e" CreationDate="2013-12-07T09:38:09.573" UserId="6691" Text="I'm looking into buying some monitoring headphones. I know I'll need monitoring speakers as well but for the moment I can't get them. I'll be doing reference monitoring on a couple of systems to be sure my mixing is correct. &#xD;&#xA;&#xD;&#xA;I can't seem to choose between a couple of models of Sennhised:&#xD;&#xA;&#xD;&#xA; 1. HD 598&#xD;&#xA; 2. HD 280 PRO&#xD;&#xA; 3. HD 380 PRO&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Unfortunately, currently there is no data for HD 380 PRO @ headphone.com so I've only made a comparison between the `HD 598` and `HD 290 PRO`. &#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/lPgYd.png&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My question here is, in your opinion, which one of these three is the best in terms of quality of the sound and flatness? I've stopped myself at `HD 598` but I'm not quite sure yet. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35377" PostHistoryTypeId="1" PostId="21959" RevisionGUID="059ba951-c16b-4559-920d-ede566c0485e" CreationDate="2013-12-07T09:38:09.573" UserId="6691" Text="Monitoring headphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="35378" PostHistoryTypeId="3" PostId="21959" RevisionGUID="059ba951-c16b-4559-920d-ede566c0485e" CreationDate="2013-12-07T09:38:09.573" UserId="6691" Text="&lt;headphones&gt;&lt;monitoring&gt;&lt;sennheiser&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35379" PostHistoryTypeId="5" PostId="21959" RevisionGUID="e354cfd8-fcd6-4fa6-ae89-ae8bd8d69687" CreationDate="2013-12-07T09:45:24.813" UserId="6691" Comment="added 70 characters in body" Text="I'm looking into buying some monitoring headphones. I know I'll need monitoring speakers as well but for the moment I can't get them. I'll be doing reference monitoring on a couple of systems to be sure my mixing is correct. &#xD;&#xA;&#xD;&#xA;I can't seem to choose between a couple of models of Sennhised:&#xD;&#xA;&#xD;&#xA; 1. HD 598&#xD;&#xA; 2. HD 280 PRO&#xD;&#xA; 3. HD 380 PRO&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Unfortunately, currently there is no data for HD 380 PRO @ headphone.com so I've only made a comparison between the `HD 598` and `HD 290 PRO`. &#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/lPgYd.png&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My question here is, in your opinion, which one of these three is the best in terms of quality of the sound and flatness? I've stopped myself at `HD 598` but I'm not quite sure yet. Also if you could supply some frequency response graph of `hd380 pro`?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35380" PostHistoryTypeId="2" PostId="21960" RevisionGUID="816d351f-8d9e-4c48-8cca-be2a77f2c69d" CreationDate="2013-12-07T10:06:59.000" UserId="993" Text="If you're wanting to add a few guns to your sound library, you may want to consider pitching in a few dollars to this firearms Kickstarter. Even a pledge as low as $1 will get you access to the full sound library. At the time of writing, there's a few hours and a couple hundred left to go in this. &#xD;&#xA;&#xD;&#xA;http://www.kickstarter.com/projects/bjjaszcz/the-firearm-sound-library&#xD;&#xA;&#xD;&#xA;Yes, this isn't a question - but I thought this might actually be useful to a number of you here, so I'm posting it all the same. If this thing gets funded, it means we all get fairly cheap access to sounds that are expensive/dangerous/difficult to record. I checked the rules and I'm not 100% sure if this is kosher. If it isn't, feel free to let me know and close this thread." ContentLicense="CC BY-SA 3.0" />
  <row Id="35381" PostHistoryTypeId="1" PostId="21960" RevisionGUID="816d351f-8d9e-4c48-8cca-be2a77f2c69d" CreationDate="2013-12-07T10:06:59.000" UserId="993" Text="Good opportunity to add to your weapons library (Kickstarter closing in a few hours)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35382" PostHistoryTypeId="3" PostId="21960" RevisionGUID="816d351f-8d9e-4c48-8cca-be2a77f2c69d" CreationDate="2013-12-07T10:06:59.000" UserId="993" Text="&lt;sound-libraries&gt;&lt;weapon&gt;&lt;gun&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35383" PostHistoryTypeId="2" PostId="21961" RevisionGUID="965812f8-1ee8-4e35-ae02-cae9692ea6a4" CreationDate="2013-12-07T10:18:33.040" UserId="6869" Text="Off the top of my head, I recommend Chris Watson's work and also suggest you look into the [World Soundscape Project](http://www.sfu.ca/~truax/wsp.html) and [Freesound](http://freesound.org)." ContentLicense="CC BY-SA 3.0" />
  <row Id="35384" PostHistoryTypeId="2" PostId="21962" RevisionGUID="575476f0-9c25-4197-8745-cbab41be9202" CreationDate="2013-12-07T11:23:32.283" UserId="182" Text="Personally, I would be very careful making a decision based on these graphs. At least have an extensive listening test to find out how what you think the graph says translates into what you hear.&#xD;&#xA;Your ears don't have a flat frequency response, and it's notoriously difficult to measure the frequency response of headphones in an absolute way that transfers well to the actual listening experience. Even when this is measured with a calibrated binaural head setup, the shape of the ears and ear canal may lead to differences between the setup and yourself.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35385" PostHistoryTypeId="2" PostId="21963" RevisionGUID="8346e428-fb7e-4832-a342-e8a419a12b4e" CreationDate="2013-12-07T14:30:43.710" UserId="6567" Text="You'll probably be better off rephrasing your question as to what you specifically expect to use these headphones for and what your listening / sound preferences are. As EMV has already mentioned, there is no such thing as a *meaningful* frequency response when it comes to headphones.&#xD;&#xA;&#xD;&#xA;Basically, you've asked a question only you yourself can answer. To find your answer all you can do is to give all three headphones a try for a few days and work with them, see how your work on them translates to other monitors and headphones and then decide. &#xD;&#xA;&#xD;&#xA;tl;dr: Forget about graphs and listen before you purchase, colleagues working in the same kind of music/work might give you some direction as to what they prefer to use.  Don't be afraid to experiment. &#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35386" PostHistoryTypeId="2" PostId="21964" RevisionGUID="e5c016a0-f69e-4f3b-b96a-6ebbc3ff32d8" CreationDate="2013-12-07T17:40:40.467" UserId="6425" Text="I am searching for a Digital Mixing console with inbuilt Converter and inbuilt Reverb FX.&#xD;&#xA;&#xD;&#xA;Roght now i found this one http://www.thomann.de/gb/presonus_studiolive_1602.htm.&#xD;&#xA;&#xD;&#xA;What is your experience with Presonus, and do you know any good alternatives?&#xD;&#xA;&#xD;&#xA;Peace!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35387" PostHistoryTypeId="1" PostId="21964" RevisionGUID="e5c016a0-f69e-4f3b-b96a-6ebbc3ff32d8" CreationDate="2013-12-07T17:40:40.467" UserId="6425" Text="Digital Mixing Consoles" ContentLicense="CC BY-SA 3.0" />
  <row Id="35388" PostHistoryTypeId="3" PostId="21964" RevisionGUID="e5c016a0-f69e-4f3b-b96a-6ebbc3ff32d8" CreationDate="2013-12-07T17:40:40.467" UserId="6425" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35389" PostHistoryTypeId="2" PostId="21965" RevisionGUID="c288cb26-963a-486b-92f3-1a61bdec4294" CreationDate="2013-12-07T18:42:10.680" UserId="6900" Text="PreSonus is a good choice.  Behringer also has some good choices as well.  The real question is what is your application?  Are you planning to record or is this for live sound?  Give some examples of what it is you are trying to accomplish because it can make a difference.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35390" PostHistoryTypeId="5" PostId="21960" RevisionGUID="0bf55761-ff3b-4486-8c08-00593f1fd3ac" CreationDate="2013-12-08T01:34:34.093" UserId="993" Comment="added 79 characters in body" Text="If you're wanting to add a few guns to your sound library, you may want to consider pitching in a few dollars to this firearms Kickstarter. Even a pledge as low as $1 will get you access to the full sound library. At the time of writing, there's a few hours and a couple hundred left to go in this. &#xD;&#xA;&#xD;&#xA;http://www.kickstarter.com/projects/bjjaszcz/the-firearm-sound-library&#xD;&#xA;&#xD;&#xA;Yes, this isn't a question - but I thought this might actually be useful to a number of you here, so I'm posting it all the same. If this thing gets funded, it means we all get fairly cheap access to sounds that are expensive/dangerous/difficult to record. I checked the rules and I'm not 100% sure if this is kosher. If it isn't, feel free to let me know and close this thread.&#xD;&#xA;&#xD;&#xA;UPDATE: The Kickstarter has finished and was successfully funded. Go us! ^^" ContentLicense="CC BY-SA 3.0" />
  <row Id="35394" PostHistoryTypeId="2" PostId="21967" RevisionGUID="61f7535d-2526-419c-bc6d-24fffe8df9a6" CreationDate="2013-12-08T18:35:24.620" UserId="6904" Text="303 + distortion w/ envelope on the filter cutoff. pretty straightforward" ContentLicense="CC BY-SA 3.0" />
  <row Id="35395" PostHistoryTypeId="5" PostId="21967" RevisionGUID="c33a9f34-968c-406b-955a-44690c5ce286" CreationDate="2013-12-08T18:46:49.923" UserId="6904" Comment="added 1 characters in body" Text="303 w/ envelope on the filter cutoff + distortion. pretty straightforward." ContentLicense="CC BY-SA 3.0" />
  <row Id="35396" PostHistoryTypeId="12" PostId="21967" RevisionGUID="8287eb0c-377c-4a6c-9e51-ffc8956b311f" CreationDate="2013-12-08T18:47:05.003" UserId="6904" Comment="via Vote" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6904,&quot;DisplayName&quot;:&quot;mrbfrank&quot;}]}" />
  <row Id="35397" PostHistoryTypeId="2" PostId="21968" RevisionGUID="d5d3291c-3d26-40d9-9d6f-b3073f0fb6ff" CreationDate="2013-12-09T10:28:56.727" UserId="6908" Text="Want to fix the over level audio recording which is on my video recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="35398" PostHistoryTypeId="1" PostId="21968" RevisionGUID="d5d3291c-3d26-40d9-9d6f-b3073f0fb6ff" CreationDate="2013-12-09T10:28:56.727" UserId="6908" Text="I have recorded a meeting on video but audio is over level and creaking what filter should I use to fix that and get the clean audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="35399" PostHistoryTypeId="3" PostId="21968" RevisionGUID="d5d3291c-3d26-40d9-9d6f-b3073f0fb6ff" CreationDate="2013-12-09T10:28:56.727" UserId="6908" Text="&lt;noise-cancelling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35400" PostHistoryTypeId="2" PostId="21969" RevisionGUID="0bbf5b0a-f08e-40d0-a20e-a3c1a1a4ea39" CreationDate="2013-12-09T12:02:37.137" UserId="37" Text="This is damaged sound. speak to a specialist to potentially repair it, if it's not *d up beyond recognition. There is no magic button, and i don't think there will ever be. Have a look at restoration software such as iZotope [RX](http://www.izotope.com/products/audio/rx2/protips.asp) if you have the time to fiddle with the controls. I'm not affiliated with iZotope. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35401" PostHistoryTypeId="2" PostId="21970" RevisionGUID="555abe56-d0af-437e-940c-4a5b0d393cfb" CreationDate="2013-12-09T12:06:55.387" UserId="37" Text="I use the 280s. It has taken me 10 years to learn their sound. (Maybe I'm slow.) The unevenness in the 100Hz region does create problems, but much less than an untreated room does. It's actually really nice that the highs are so suppressed, they protect your ears like that. You _must_ finish on monitors.&#xD;&#xA;&#xD;&#xA;Find your own pair of headphones, there is no one make/model to suit every pair of ears.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35402" PostHistoryTypeId="2" PostId="21971" RevisionGUID="60168e78-8a7a-473e-9777-a5a024a1f773" CreationDate="2013-12-09T12:53:52.623" UserId="6410" Text="If the signal has clipped digitally there's no easy way to expand it and get it back to normal, but you're not very clear with your question. It sounds as if you've either clipped digitally or have a very low signal to noise ration, in which case you could try and use noise reducing software such as Isotope RX plug ins.&#xD;&#xA;&#xD;&#xA;Otherwise next time make sure that your recorder's limiter is set on because a squashed signal is better than a broken one. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35403" PostHistoryTypeId="2" PostId="21972" RevisionGUID="ffeea797-3840-4774-b718-578c7c951296" CreationDate="2013-12-09T17:12:26.477" UserId="6748" Text="Who is? And what is your setup?&#xD;&#xA;&#xD;&#xA;I fear of spamming again my harddrives with the doubled size of the double size of 48kHz...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Guido&#xD;&#xA;&#xD;&#xA;https://www.soundeffects.ch/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35404" PostHistoryTypeId="1" PostId="21972" RevisionGUID="ffeea797-3840-4774-b718-578c7c951296" CreationDate="2013-12-09T17:12:26.477" UserId="6748" Text="Who is recording in 24/192kHz?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35405" PostHistoryTypeId="3" PostId="21972" RevisionGUID="ffeea797-3840-4774-b718-578c7c951296" CreationDate="2013-12-09T17:12:26.477" UserId="6748" Text="&lt;recording&gt;&lt;192khz&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35406" PostHistoryTypeId="2" PostId="21973" RevisionGUID="2e11ac95-d7bb-4bb0-986c-08729afae3ef" CreationDate="2013-12-09T18:45:25.363" UserId="194" Text="I very rarely go outside of 24 bit 96k recording.  For the most part, nothing interesting happens up above 48kHz anyway.  I'll go to 192 for things like contact mics, electrostatic recordings, or metallic things like bells.  Other than that 96k works great for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="35407" PostHistoryTypeId="2" PostId="21974" RevisionGUID="b05a387f-d3b4-4d4d-b681-04a84087e81e" CreationDate="2013-12-09T19:19:09.913" UserId="6392" Text="I'll record 24/48 for ambiences, 24/96 for most fx that I'm going to manipulate later." ContentLicense="CC BY-SA 3.0" />
  <row Id="35408" PostHistoryTypeId="2" PostId="21975" RevisionGUID="a43ec456-138f-4e04-b5d9-b81db202b30a" CreationDate="2013-12-09T19:32:32.960" UserId="1216" Text="192 khz only if the sonic material, the microphone and preamp allow it. in my case that's not a lot of times. but it is interesting for 'playtime' moments. city atmospheres pitched and filtered can sound very beautiful and airy." ContentLicense="CC BY-SA 3.0" />
  <row Id="35409" PostHistoryTypeId="2" PostId="21976" RevisionGUID="5f9e81ea-c8dd-4a2e-a03c-c6ca830bcae9" CreationDate="2013-12-09T19:57:54.633" UserId="6912" Text="In terms of theory, the bible for electronics (and also the book I'd recommend) is [The Art Of Electronics][1]. It's big, covers most of the important aspects for sound engineering and is nicely written. It will address all information you need in terms of physics, all electricity and electronics-specific terminology, and much more.&#xD;&#xA;&#xD;&#xA;Besides that, I'd second [georgi][2] in recommending some simple simulation tool (indispensable for checking your answers in exercises and answering the &quot;and what if&quot; questions).&#xD;&#xA;&#xD;&#xA;Then you'll probably want to get some hands on experience. I would suggest starting with one of the many electrical education toys (e.g. [this one][3]), which will spare you the necessity to solder things but will allow to perform actual experimentation and learn how to measure signals. &#xD;&#xA;&#xD;&#xA;Finally, I would strongly recommend getting an inexpensive oscilloscope early on. It will give you a lot of understanding of what's actually happening. Luckily, sound frequencies are very low from the modern electronics perspective, so a decent device can be found for a very modest price. And it will immediately let you not only measure signals, but also &quot;see&quot; them—very helpful in learning. The last but not the least, it is the only inexpensive way [I know] to quantify noise and distortions.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/The_Art_of_Electronics&#xD;&#xA;  [2]: http://sound.stackexchange.com/a/20603/6912&#xD;&#xA;  [3]: http://www.hometrainingtools.com/electronics-lab-300-in-1-kit/p/EL-LAB300/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35410" PostHistoryTypeId="2" PostId="21977" RevisionGUID="e6413e2a-5186-48d1-8214-2072141ec7ed" CreationDate="2013-12-09T20:07:37.147" UserId="1393" Text="I've been able to get some pretty cool sounding vocals with Waves Morphoder." ContentLicense="CC BY-SA 3.0" />
  <row Id="35411" PostHistoryTypeId="2" PostId="21978" RevisionGUID="b1783dca-ecb1-4f58-9f28-de4794b772c8" CreationDate="2013-12-09T21:13:01.337" UserId="6912" Text="I am looking for a music system for my living room. I haven't been really listening to the music at home for years (only going to classical music concerts), and now want to bring it back into my life. In my childhood, I used to have a high-quality tape recorder, amplifier and stereo speakers. It was in the pre-CD era...&#xD;&#xA;&#xD;&#xA;The goal is to:&#xD;&#xA;1) Be able to listen to CDs (primarily classics);&#xD;&#xA;2) Replace 2.1 computer speakers, which I now use to play films from my PC and TV/radio programs from the cable receiver (I use a big monitor as a screen). Not that I don't like them, but I'd like something stationary, with a remote, to stop (dis)connecting cables all the time.&#xD;&#xA;3) (Ideally) I'd like to be able to stream music from my smartphone as well.&#xD;&#xA;&#xD;&#xA;I do not care about the surround thingy for fancy movie effects: the films I like have been around for much longer than 5.1 :)&#xD;&#xA;&#xD;&#xA;The question is: What should I buy? Letting the speakers aside (one needs them in any case, and they are a matter of taste to a large scale), I am trying to choose between an all-in-one Bluetooth-and-network-enabled CD-receiver-amplifier (so far my favourite is [Onkyo CR-N755][1] + [Onkyo UBT-1][2] Bluetooth dongle) and stand-alone receiver + CD player (then I still need to do market research).&#xD;&#xA;&#xD;&#xA;The main differences between the two options are:&#xD;&#xA;1) An amplifier does not have a CD-player, I will need a separate box, more expensive.&#xD;&#xA;2) An all-in-one system is very much limited in terms of connectivity. The best I've found (CR-N755 mentioned above) has two input channels, which is just enough to cover my current needs (cable receiver and PC). A lot of them also do not have the subwoofer output (is it true that big speakers can play basses just as well? again, I am only talking about classics, so drums and double-basses). &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.whathifi.com/review/onkyo-cr-n755&#xD;&#xA;  [2]: http://www.eu.onkyo.com/en/products/ubt-1-82389.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="35412" PostHistoryTypeId="1" PostId="21978" RevisionGUID="b1783dca-ecb1-4f58-9f28-de4794b772c8" CreationDate="2013-12-09T21:13:01.337" UserId="6912" Text="All-in-one CD-receiver vs. component receiver" ContentLicense="CC BY-SA 3.0" />
  <row Id="35413" PostHistoryTypeId="3" PostId="21978" RevisionGUID="b1783dca-ecb1-4f58-9f28-de4794b772c8" CreationDate="2013-12-09T21:13:01.337" UserId="6912" Text="&lt;acoustics&gt;&lt;amplifier&gt;&lt;cd&gt;&lt;home&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35414" PostHistoryTypeId="2" PostId="21979" RevisionGUID="a6a9c454-b580-4a84-b9bd-ed28be13349e" CreationDate="2013-12-09T21:17:44.353" UserId="6616" Text="This is one of the best books published on the basics of Electronics. It is straight and to the point and is written in a way that makes it easy to grasp concepts for beginners. I posted the link below. I used this book to learn the basic concepts of Electronics in just one months time. Best of Luck!&#xD;&#xA;&#xD;&#xA;[Getting Started in Electronics][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Getting-Started-Electronics-Forrest-Mims/dp/0945053282/ref=sr_1_1?ie=UTF8&amp;qid=1386623753&amp;sr=8-1&amp;keywords=Basics%20of%20Electronics%20MIMS&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;-Krux" ContentLicense="CC BY-SA 3.0" />
  <row Id="35415" PostHistoryTypeId="2" PostId="21980" RevisionGUID="b06140cf-d2ee-489a-8215-a3ab66467b18" CreationDate="2013-12-09T21:25:25.363" UserId="6912" Text="I wonder if there is a simple explanation (for a music lover but not specialist) of the advantage of HiFi components (receiver + CD player) vs. an all-in-one system? The former is more expensive, but does is really offer a higher sound quality or is it all in power/number of inputs? And if so, is the power of a microsystem not sufficient for a living room (for classical music without shaking neighbours' windows?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35416" PostHistoryTypeId="1" PostId="21980" RevisionGUID="b06140cf-d2ee-489a-8215-a3ab66467b18" CreationDate="2013-12-09T21:25:25.363" UserId="6912" Text="HiFi components vs. all-in-one systems" ContentLicense="CC BY-SA 3.0" />
  <row Id="35417" PostHistoryTypeId="3" PostId="21980" RevisionGUID="b06140cf-d2ee-489a-8215-a3ab66467b18" CreationDate="2013-12-09T21:25:25.363" UserId="6912" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35418" PostHistoryTypeId="2" PostId="21981" RevisionGUID="a9a3c86d-30f9-4b79-ab00-7fad9f6cb450" CreationDate="2013-12-09T21:41:01.857" UserId="6914" Text="I have been tasked with designing a sound level meter (I am an electrical engineer) that can measure accurate sound levels down to ~18 dB SPL.  However, part of the task is that my microphone should be relatively inexpensive (perhaps &lt;= $150).  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There are a number of other specifications I need to consider when looking at mics, but as a high-level opinion, is this possible or is my boss crazy?&#xD;&#xA;&#xD;&#xA;Everything about the electronics/amplifier design, etc, I am fine with, but I've never done much high-performance stuff with microphones before. From the myriad of specs I've seen, hardly any mic in my price range will be useful for signals below ~25-26 dB SPL.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thoughts?&#xD;&#xA;&#xD;&#xA;[Edit: Each octave band from 125 Hz - 8 kHz (my freq range) can be band-limited and measured separately, which should offer some small noise improvement from the 20 kHz BW in most microphone specs.]" ContentLicense="CC BY-SA 3.0" />
  <row Id="35419" PostHistoryTypeId="1" PostId="21981" RevisionGUID="a9a3c86d-30f9-4b79-ab00-7fad9f6cb450" CreationDate="2013-12-09T21:41:01.857" UserId="6914" Text="Measuring low (~18 dB SPL) sound levels with a relatively cheap microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="35420" PostHistoryTypeId="3" PostId="21981" RevisionGUID="a9a3c86d-30f9-4b79-ab00-7fad9f6cb450" CreationDate="2013-12-09T21:41:01.857" UserId="6914" Text="&lt;microphone&gt;&lt;level&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35421" PostHistoryTypeId="2" PostId="21982" RevisionGUID="51b1e67f-f2b9-40aa-abea-1ab8177814e2" CreationDate="2013-12-09T22:04:59.013" UserId="6915" Text="Anyone have tried this great plug-in?&#xD;&#xA;How is your workflow? I'm still learning so your advices are welcome!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35422" PostHistoryTypeId="1" PostId="21982" RevisionGUID="51b1e67f-f2b9-40aa-abea-1ab8177814e2" CreationDate="2013-12-09T22:04:59.013" UserId="6915" Text="IL Harmor soundesign thread" ContentLicense="CC BY-SA 3.0" />
  <row Id="35423" PostHistoryTypeId="3" PostId="21982" RevisionGUID="51b1e67f-f2b9-40aa-abea-1ab8177814e2" CreationDate="2013-12-09T22:04:59.013" UserId="6915" Text="&lt;synthesis&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35424" PostHistoryTypeId="2" PostId="21983" RevisionGUID="437cbcb7-1b36-4816-bd2c-d9fd9c94bb7e" CreationDate="2013-12-09T23:28:04.210" UserId="6582" Text="Usually (more than 90% of the time) I am recording at 24/96; when I think a sound I am going to record might sound interesting after heavy pitchshifting, I switch to 24/192. Setup is a MS rig of Sennheiser MKH 30/8040 into a Sound Devices 702." ContentLicense="CC BY-SA 3.0" />
  <row Id="35426" PostHistoryTypeId="2" PostId="21985" RevisionGUID="28cbc07a-e62e-4ef7-bb3d-767591347d74" CreationDate="2013-12-10T08:49:14.350" UserId="6432" Text="I'm no expert, but I expect that is what you pay for. If you've not looked already, it might be worth checking the [B&amp;K microphone page][1], just to see what is already out there. They are pretty much the standard for professional measurement equipment like this, and if you need to ask how much they cost, then you can't afford one! But the fact that only a few of their microphones go down to 10db suggests that this is perhaps more specialised than your boss realises.. If you need a microphone to be very sensitive, yet also strong enough to measure very loud sounds, then that is difficult just in terms of manufacture as you effectively need something which is very delicate and sensitive but also very strong and resilient. On the B&amp;K page they have one mic which goes down to 2.5db, but the upper limit is 102db - that's the trade-off. Also, probably all the capsules you're looking at are designed for regular recording tasks where being able to record loud sounds is actually more useful than quiet sounds, as this is more the regular use.&#xD;&#xA;&#xD;&#xA;As I say, I'm no expert when it comes to sound measurement, so this is just an opinion form someone who has been using microphones for regular recording purposes. Let us know if you do find anything though, as it may be of interest to DIY mic builders here.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bksv.co.uk/Products/transducers/acoustic/microphones/microphone-cartridges" ContentLicense="CC BY-SA 3.0" />
  <row Id="35427" PostHistoryTypeId="2" PostId="21986" RevisionGUID="67c205a8-f8db-4857-a3e2-610e0656be61" CreationDate="2013-12-10T09:43:49.970" UserId="6410" Text="The harmonic setting on the phaser is excellent (next to the Oct, Hz setting), as long as its chained correctly it will really only let harmonics through. Its great for exciting timbres if you're using the Prism module because it normally pushes the partials of the sound very far apart from each other, which itself is great for in harmonic tones but gets a bit to 'side bandy' at the extremes. &#xD;&#xA;&#xD;&#xA;I've also used the Image re synthesis engine to distort some voices rather than just pitching them down, you can set the form to neutral and get a very distinct robotic voice.&#xD;&#xA;&#xD;&#xA;It's quite a deceptively simple looking synth but some of the routing and labeling isn't exactly clear, such as the Pluck module having a 'blur' button while the blur is actually on the other side of the plugin.&#xD;&#xA;&#xD;&#xA;The filter is a lot more responsive than most subtractive synths because its just modulating the amplitude of the individual sines rather than actually filtering. Its also got quite a nice workflow with you being able to right click anything and choosing the edit articulator option rather than looking through the tables of envelopes.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="35428" PostHistoryTypeId="2" PostId="21987" RevisionGUID="eb257374-9694-47ff-ba67-fce3c446ae64" CreationDate="2013-12-10T10:46:50.860" UserId="6567" Text="Mark Durham already mentioned the Bruel &amp; Kjaer mics which just aren't happening at $150 but not knowing your design specs here's a wild suggestion:&#xD;&#xA;&#xD;&#xA;Maybe you'd be able to combine a regular measurement mic capsule and a contact mic that's carefully calibrated (I don't even know if this is possible since it might be temperature / humidity sensitive and whatnot). &#xD;&#xA;&#xD;&#xA;Obviously this won't work like any old regular SPL meter but depending on what you want to measure it might be worth looking into. If for example you need to measure very quiet objects that can be placed on a larger platform then attaching and calibrating a contact mic to that platform might provide a way to do it. &#xD;&#xA;&#xD;&#xA;If you do find a way I would love to hear about it, sounds like an interesting challenge!&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35429" PostHistoryTypeId="2" PostId="21988" RevisionGUID="16c3d79d-c948-4b9d-a054-bb83b6aa8940" CreationDate="2013-12-10T11:19:54.557" UserId="6567" Text="24/96 is my standard for recording anything these days and 192kHz is a must for when I know the material will be significantly manipulated (and the recording equipment can actually handle it). Even when recording for video projects that are standard 48kHz I run a second recorder at 24/96 as a backup. &#xD;&#xA;&#xD;&#xA;Considering how cheap storage has gotten and 24/96 using up about ~1GB per hour per track, 24/192 ~2GB per hour per track and a 1TB HD sells for about EUR 50, I don't think that storage space / price should be an excuse anymore. &#xD;&#xA;&#xD;&#xA;It's also a matter of staying &quot;future proof&quot;. I've already had cases where clients demanded 96kHz recordings (whether or not that was actually warranted is a different question) so it's good to just be ready for that. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35430" PostHistoryTypeId="2" PostId="21989" RevisionGUID="0175afbc-1579-4228-967a-d8cd8b2f81b5" CreationDate="2013-12-10T11:50:08.517" UserId="6425" Text="Hey User 6915 Welcome to the Forum!&#xD;&#xA;Harmor is a very interesting Synth. It can create a lot of crazy new sounds. &#xD;&#xA;The most important part about Harmor is, that you can apply effects and modulation to different frequency areas. For example: The higher the frequency, the higher the chorus amount, detune, distortion etc.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/user/SeamlessR&#xD;&#xA;&#xD;&#xA;The link is a portal to one of the biggest Harmor &quot;freaks&quot; in the web. He shows how to use Harmor to create up to date, Neurofunk, Dubstep and Electro sounds. In his tutorials he explains in depth how different parameters work. So its a worth watching, even if you do not like those sounds.&#xD;&#xA;&#xD;&#xA;Peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="35431" PostHistoryTypeId="2" PostId="21990" RevisionGUID="a6c6bf7a-b03f-4e2c-bd58-b08d60a1039c" CreationDate="2013-12-10T11:54:59.457" UserId="6425" Text="I did 192 recordings for a extreme pitched down Vocals one time. It was just a test, on what is going on in the upper frequency spectrum. The result was something between artefacts and noise :D. So its more of a playground thingy.&#xD;&#xA;&#xD;&#xA;Where 192k is very important for sound quality -&gt; if you use distortion or amp simulation. There, the higher frequencies fold back on the audible ones (i can't give you a source for this, it was my Sound Design trainer who told me this) -&gt; 192k makes sense." ContentLicense="CC BY-SA 3.0" />
  <row Id="35433" PostHistoryTypeId="2" PostId="21992" RevisionGUID="1da50927-ca76-44a1-af18-db112078a4a5" CreationDate="2013-12-10T12:40:43.447" UserId="6567" Text="Everyone's favorite answer: It depends (mostly on price).&#xD;&#xA;&#xD;&#xA;As a generalization I believe it is safe to say that stand-alone components are (again generally) better than a micro / all-in-one system. &#xD;&#xA;&#xD;&#xA;Especially when it comes to replacing or repairing separate components have obvious advantages but one big disadvantage can be that if you buy components from different manufacturers you'll be forced to use all kinds of different remotes (unless you get a universal one, which in that case I highly recommend). &#xD;&#xA;&#xD;&#xA;As far as power is concerned a micro system will be fine for powering most small to mid-size rooms at medium loudness levels (depends also on the speakers just as much as it depends on the amplifier) but especially with classical music you usually have a high dynamic range which a more powerful amplifier will be able to resolve better and faster than what you can squeeze into a small micro system. &#xD;&#xA;&#xD;&#xA;My recommendation would be to set yourself a budget and then see if you can find a nice enough dealer to try out a few systems over a week or two and decide for yourself which one suits you best." ContentLicense="CC BY-SA 3.0" />
  <row Id="35437" PostHistoryTypeId="2" PostId="21994" RevisionGUID="d38457ad-59e5-4fc0-9a8f-a28a3b48b8b0" CreationDate="2013-12-10T14:37:43.293" UserId="6520" Text="I like the [BV512 Vocoder][1] included in Reason, though something to look at when shopping around for vocoders is the maximum number of bands.  512 bands (hence BV**512**) is pretty sufficient for most of the sound design I do, but there are times that I wish I had more; e.g., 1024 bands.  &#xD;&#xA;&#xD;&#xA;Generally speaking, the greater number of bands available, the more closely your input sound will resemble the modifier.  Judging by your profile, I'm sure you're already aware of this relationship.  That said, if you're a Kyma user, you can use as many bands as your hardware will allow.  If that's an option for you, it's definitely worth exploring.&#xD;&#xA;&#xD;&#xA;  [1]: https://www.propellerheads.se/products/reason/index.cfm?fuseaction=get_article&amp;article=devices_bv512" ContentLicense="CC BY-SA 3.0" />
  <row Id="35447" PostHistoryTypeId="2" PostId="21998" RevisionGUID="4cf08127-82c8-455b-b00c-7df846530440" CreationDate="2013-12-11T06:03:45.347" UserId="6923" Text="&quot;Wala?&quot; Describes background dialogue that is intentionally meaningless and unintelligible. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35448" PostHistoryTypeId="2" PostId="21999" RevisionGUID="d82adbb1-cecd-4a75-8eaa-1bb2f83d041b" CreationDate="2013-12-11T12:36:39.533" UserId="6925" Text="I always have been interested how does that sounds of dragon roaring are made in the movies or in the videogames. So, the question, exactly, how? :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35449" PostHistoryTypeId="1" PostId="21999" RevisionGUID="d82adbb1-cecd-4a75-8eaa-1bb2f83d041b" CreationDate="2013-12-11T12:36:39.533" UserId="6925" Text="How to make a sound of dragon roar?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35450" PostHistoryTypeId="3" PostId="21999" RevisionGUID="d82adbb1-cecd-4a75-8eaa-1bb2f83d041b" CreationDate="2013-12-11T12:36:39.533" UserId="6925" Text="&lt;sound-design&gt;&lt;video-games&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35451" PostHistoryTypeId="2" PostId="22000" RevisionGUID="2fc5c8b4-eaf4-4d21-b84e-eb69a5f038b9" CreationDate="2013-12-11T13:32:01.623" UserId="6567" Text="Well, Jesus Christ, the best way to do it is to find yourself a wild dragon that hasn't been exposed to humans too much and by tickling it behind its ears you will cause it to roar. You just have to make sure to stay clear of the tail and head though.&#xD;&#xA;&#xD;&#xA;And for the real answer: &#xD;&#xA;Most dragon roars or rather &quot;animal&quot; roars are a combination of different roars, breathing sounds and similar taken from all kinds of animals and layered on top of each other, this is where sound design really becomes an art form and great outlet for creative ideas. As an example I've used swooshes, mechanical grinding sounds, diesel engines and many other non-animal sounds to &quot;enhance&quot; the sound of a roar. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35452" PostHistoryTypeId="2" PostId="22001" RevisionGUID="f9c4b780-2130-4b77-a1bf-0bff3cd6da50" CreationDate="2013-12-11T14:01:04.833" UserId="6926" Text="I own a very interesting [TL Audio Fat Track][1] with 2 tube preamp channels. I would like to use it to record and monitor the two tracks on my computer, using [MixBus][2]. I record mainly acoustic music, with one microphone, or a pair of microphones. or, sometimes, 2 tracks at a time.&#xD;&#xA;&#xD;&#xA;At the moment I have a good old Echo Audiofire (discontinued), working through Firewire. The problem is of course that Firewire is not available anymore on new laptop computers, be it Mac of PC.&#xD;&#xA;&#xD;&#xA;I think about buying the new [Echo2][3], that use USB and is USB Class compliant, so it will work without drivers on Windows, Mac and Linux (yes, I record on Linux, using Mixbus on Ubuntu Studio). I was looking first at the [RME Babyface][4] too for the quality of the sound, but I really don't need all the features.&#xD;&#xA;&#xD;&#xA;Here is my specs for a new sound card:&#xD;&#xA;&#xD;&#xA;- 2 symmetric input channels, with or without preamps&#xD;&#xA;- 2 symmetric output channels&#xD;&#xA;- a headphone preamp with a volume controler would be a plus, but not mandatory&#xD;&#xA;- usb, if possible with a linux driver or being USB Class Compliant so no driver needed on any system&#xD;&#xA;- up to 24bit/96khz&#xD;&#xA;- of course, good converters&#xD;&#xA;- no internal effects&#xD;&#xA;&#xD;&#xA;Would you have any better suggestion than the Echo2 usb soundcard, regardless of the price ?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tlaudio.co.uk/docs/products/Fat_Track.shtml&#xD;&#xA;  [2]: http://www.harrisonconsoles.com/mixbus/website/&#xD;&#xA;  [3]: http://echoaudio.com/products/echo-2&#xD;&#xA;  [4]: http://www.rme-audio.de/en_products_babyface.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="35453" PostHistoryTypeId="1" PostId="22001" RevisionGUID="f9c4b780-2130-4b77-a1bf-0bff3cd6da50" CreationDate="2013-12-11T14:01:04.833" UserId="6926" Text="A very good 2 tracks sound card?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35454" PostHistoryTypeId="3" PostId="22001" RevisionGUID="f9c4b780-2130-4b77-a1bf-0bff3cd6da50" CreationDate="2013-12-11T14:01:04.833" UserId="6926" Text="&lt;recording&gt;&lt;hardware&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35455" PostHistoryTypeId="2" PostId="22002" RevisionGUID="b9b4887a-6ba1-4a9e-a15e-4d57987b7d65" CreationDate="2013-12-11T15:54:31.717" UserId="769" Text="Some great suggestions up thread. I'd simply add induction coil microphones. Cheap, interesting. Can get inside objects in ways that contact mics don't." ContentLicense="CC BY-SA 3.0" />
  <row Id="35456" PostHistoryTypeId="2" PostId="22003" RevisionGUID="e842b23c-5338-469e-9a63-9d7efb43097d" CreationDate="2013-12-11T15:55:47.727" UserId="6927" Text="I'am searching for low priced micrphone capsule (&lt; 10$) for a simple sound level measuring.&#xD;&#xA;It should be able to measure levels between 30dB(A) and 90dB(A).&#xD;&#xA;&#xD;&#xA;I have already searched for manufacturers, but I have only found cheap capsule. With those capsule I'am not able to measure 30dB. Thera ist mor noise then signal.&#xD;&#xA;&#xD;&#xA;Do amnybody knows a manufacture for suitable mics ?&#xD;&#xA;&#xD;&#xA;I would be very happy.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35457" PostHistoryTypeId="1" PostId="22003" RevisionGUID="e842b23c-5338-469e-9a63-9d7efb43097d" CreationDate="2013-12-11T15:55:47.727" UserId="6927" Text="micrphone for sound level measuring" ContentLicense="CC BY-SA 3.0" />
  <row Id="35458" PostHistoryTypeId="3" PostId="22003" RevisionGUID="e842b23c-5338-469e-9a63-9d7efb43097d" CreationDate="2013-12-11T15:55:47.727" UserId="6927" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35459" PostHistoryTypeId="2" PostId="22004" RevisionGUID="fbe3c9fd-901c-428c-aa89-3564459f9e19" CreationDate="2013-12-11T16:51:03.077" UserId="769" Text="Under $10? Tough call. If you're talking about the capsule only, then this is probably an unhelpful answer, as I don't now anything about that. But these measurement/reference microphones start at $55. Apparently there's not a massive difference between the low and high end of the price range in terms of accuracy.&#xD;&#xA;&#xD;&#xA;http://www.bhphotovideo.com/c/search?sts=ma&amp;Ns=p_PRICE_2%7c0&amp;N=0&amp;srtclk=sort&amp;Ntt=measurement+microphone&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35460" PostHistoryTypeId="2" PostId="22005" RevisionGUID="9ed53e63-e25b-4170-bd30-d85981de0f8e" CreationDate="2013-12-11T17:21:54.153" UserId="6718" Text="If you are happy with the sound you get from a smartphone or PC , I would argue you'd be happy with an all-in-one.&#xD;&#xA;&#xD;&#xA;I don't think the &quot;22w&quot; the Onkyo says it'll provide would be enough for a pair of speakers that would do the dynamic range and fidelity of classical music justice , especially as a subwoofer isn't a good-match for classical music so won't be there to help.&#xD;&#xA;&#xD;&#xA;I would find the speakers you like first (if you have room I would suggest a good pair of floor standers), then find an amplifier or all-in-one  that'll provide all the power they need by a *large* margin.&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35461" PostHistoryTypeId="2" PostId="22006" RevisionGUID="bca68c8a-a983-4f36-99b9-f958ea5b856e" CreationDate="2013-12-11T17:33:36.637" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="35462" PostHistoryTypeId="2" PostId="22007" RevisionGUID="8a3e6429-39b0-4366-814c-5b5c86c9e4d4" CreationDate="2013-12-11T17:33:36.637" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="35464" PostHistoryTypeId="2" PostId="22009" RevisionGUID="f8de53ff-86ea-42da-b987-78743ad344d9" CreationDate="2013-12-11T19:32:25.100" UserDisplayName="user6508" Text="I realize it depends on the space, but generally speaking, what microphone technique do you use and what type of mic?  XY, ORTF, spaced pair?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35465" PostHistoryTypeId="1" PostId="22009" RevisionGUID="f8de53ff-86ea-42da-b987-78743ad344d9" CreationDate="2013-12-11T19:32:25.100" UserDisplayName="user6508" Text="What Technique do you use for Room Tone recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35466" PostHistoryTypeId="3" PostId="22009" RevisionGUID="f8de53ff-86ea-42da-b987-78743ad344d9" CreationDate="2013-12-11T19:32:25.100" UserDisplayName="user6508" Text="&lt;recording&gt;&lt;techniques&gt;&lt;microphone-positioning&gt;&lt;microphone-technique&gt;&lt;room-tone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35467" PostHistoryTypeId="2" PostId="22010" RevisionGUID="3f3c2c5b-eee7-41cb-a082-f417307a0cf3" CreationDate="2013-12-11T19:49:00.733" UserId="194" Text="I like quad dual ORTF or otherwise spaced pair.  Wiiide tonez.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35473" PostHistoryTypeId="2" PostId="22011" RevisionGUID="1382964f-0098-4113-b978-19148869a970" CreationDate="2013-12-12T08:32:38.273" UserDisplayName="user80" Text="Soundfield SPS200 A-Format (4 channel) which I can decode into 5.1, 6.1, 7.1 or 8 channels.&#xD;&#xA;&#xD;&#xA;http://www.soundfield.com/products/sps200.php&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35474" PostHistoryTypeId="2" PostId="22012" RevisionGUID="a71c65f4-a920-465b-af60-b3e37b551882" CreationDate="2013-12-12T09:53:12.557" UserId="6425" Text="If I have the luxury of two or 3 figure 8 Mics -&gt; M/S / double M/S&#xD;&#xA;&#xD;&#xA;So I can use the Room tone Mono and stereo :)&#xD;&#xA;&#xD;&#xA;Otherwise I use the X/Y inbuilt Mics of my Tascam field recorder." ContentLicense="CC BY-SA 3.0" />
  <row Id="35475" PostHistoryTypeId="2" PostId="22013" RevisionGUID="534b8b50-1e44-44b7-8c6b-3a00f03b014a" CreationDate="2013-12-12T10:49:42.770" UserId="6925" Text="You hear some sound (sound effect from the cinema, some interesting tone from the recording, whatever).  &#xD;&#xA;&#xD;&#xA;What steps do you take to reproduce the sound you liked?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="35476" PostHistoryTypeId="1" PostId="22013" RevisionGUID="534b8b50-1e44-44b7-8c6b-3a00f03b014a" CreationDate="2013-12-12T10:49:42.770" UserId="6925" Text="How do you reverse engineer a sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35477" PostHistoryTypeId="3" PostId="22013" RevisionGUID="534b8b50-1e44-44b7-8c6b-3a00f03b014a" CreationDate="2013-12-12T10:49:42.770" UserId="6925" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35478" PostHistoryTypeId="2" PostId="22014" RevisionGUID="bf9defd8-f243-46f8-aa63-2d29d2d95578" CreationDate="2013-12-12T12:59:57.133" UserId="6432" Text="Great question! &#xD;&#xA;&#xD;&#xA;It does depend on the sound somewhat, but my process involves all or some of the following:&#xD;&#xA;&#xD;&#xA;1. Listen to the sound. Carefully. [Listen to it in different ways][1]. Reduced listening is really important for this sort of thing.&#xD;&#xA;2. Analyse the sound. Look at the waveform, taking in the whole sound, and parts of the sound and at single cycle zoom level. View it spectrally. I really like using [Sonic Visualiser][2] as it's got the best FFT spectrograms I've ever seen. Think about the patterns present in the sound, combinations of rhythm and frequency are going to make up the sound so ask yourself how these work in the original sound. Which frequencies are dominant? Where is there dissonance/harmony? For each frequency band how does the sound decay?  &#xD;&#xA;3. Question the components of the original sound, how many layers are there? Are they clearly defined (ie do they sound separate), Have multiple layers been processed in the same way, do they have different qualities.&#xD;&#xA;4. Consider how these have been made. Are the layers real sounds or are they synthesised or is it a combination? &#xD;&#xA;5. Design a strategy for re-creating the sound. You can take a bottom up approach to this, generating components individually or a more brute force approach of throwing stuff together and trying to mould it all at once. The first is more thorough, more of a synthesists approach, the second is more like working on intuition I think. Both have their merits.&#xD;&#xA;&#xD;&#xA;6. A-B the sounds, or different versions of the sounds. Analyse the two together.&#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;Of course it is a bit boring and unoriginal to actually copy sounds others have designed, but I think it's a really useful excercise as it uses all of your understanding of how sounds are formed. Along the way you will definitely learn some new techniques, and will no doubt take a different route to the sounds original creator.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ems.music.utexas.edu/program/mus329e/assignments/reading/three_modes_of_listening.pdf&#xD;&#xA;  [2]: http://www.sonicvisualiser.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35479" PostHistoryTypeId="5" PostId="22014" RevisionGUID="0f2f81f3-a14d-4ae9-9d9d-87a22cf04b8a" CreationDate="2013-12-12T13:05:16.567" UserId="6432" Comment="added 18 characters in body" Text="Great question! &#xD;&#xA;&#xD;&#xA;It does depend on the sound somewhat, but my process involves all or some of the following:&#xD;&#xA;&#xD;&#xA;1. Listen to the sound. Carefully. [Listen to it in different ways][1]. Reduced listening is really important for this sort of thing.&#xD;&#xA;2. Analyse the sound. Look at the waveform, taking in the whole sound, and parts of the sound and at single cycle zoom level. View it spectrally. I really like using [Sonic Visualiser][2] as it's got the best FFT spectrograms I've ever seen. Think about the patterns present in the sound, combinations of rhythm and frequency are going to make up the sound so ask yourself how these work in the original sound. Which frequencies are dominant? Where is there dissonance/harmony? For each frequency band how does the sound decay?  &#xD;&#xA;3. Question the components of the original sound, how many layers are there? Are they clearly defined (ie do they sound separate), Have multiple layers been processed in the same way, do they have different qualities.&#xD;&#xA;4. Consider how these have been made. Are the layers real sounds or are they synthesised or is it a combination? &#xD;&#xA;5. Design a strategy for re-creating the sound. You can take a bottom up approach to this, generating components individually or a more brute force approach of throwing stuff together and trying to mould it all at once. The first is more thorough, more of a synthesists approach, the second is more like working on intuition I think. Both have their merits.&#xD;&#xA;&#xD;&#xA;6. A-B the sounds, or different versions of the sounds. Analyse the two together.&#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;Of course it is a bit boring and unoriginal to actually copy sounds others have designed, but I think it is a  useful excercise as it uses all of your understanding of how sounds are formed. Along the way you will definitely learn some new techniques, and will no doubt take a different route to the final version than the sounds original creator.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ems.music.utexas.edu/program/mus329e/assignments/reading/three_modes_of_listening.pdf&#xD;&#xA;  [2]: http://www.sonicvisualiser.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35480" PostHistoryTypeId="2" PostId="22015" RevisionGUID="503f7a1a-5c20-4b96-8ded-d04a6bbad877" CreationDate="2013-12-12T15:42:00.017" UserId="1185" Text="The only extra I'd add to Mark's great answer is if you'd like to read a bit more on analysing and reverse engineering sounds so they can be synthesised, then you might want to look at The Synthesizer Cookbook by Fred Welsh.  This is a patch book, but in the front of the book he describes how to consider (and view) sounds in both the time domain and frequency domain so they can then be synthesised (in the book using subtractive synthesis, but would be the same for some other types of synthesis). " ContentLicense="CC BY-SA 3.0" />
  <row Id="35481" PostHistoryTypeId="2" PostId="22016" RevisionGUID="b21deb48-dd29-4663-b055-1581108b1d52" CreationDate="2013-12-12T15:58:43.703" UserId="6870" Text="This doesn't meet 100% of your criteria, but I would look into the PreSonus FireStudio Mobile.  I have had the presonus firestudio project for a few years and have had few issues with it.  They have been pretty good about updating the firmware and I have had no physical defects with my presonus product.  &#xD;&#xA;&#xD;&#xA;You can hear a sample of recordings I have done here:&#xD;&#xA;http://www.reverbnation.com/sendingsignals" ContentLicense="CC BY-SA 3.0" />
  <row Id="35482" PostHistoryTypeId="2" PostId="22017" RevisionGUID="491e8a15-f986-4681-83a5-7c4dbd646de3" CreationDate="2013-12-12T16:18:40.800" UserId="6149" Text="In the high-end you can look after the Prism Sound Lyra 2; specs and price are stellar.&#xD;&#xA;&#xD;&#xA;Less expensive but still are the Apogee One and Duet.&#xD;&#xA;&#xD;&#xA;Both are said to be USB class compliant." ContentLicense="CC BY-SA 3.0" />
  <row Id="35483" PostHistoryTypeId="2" PostId="22018" RevisionGUID="5f3ff03b-5936-4858-9019-4281b906f45b" CreationDate="2013-12-12T16:21:29.523" UserId="37" Text="Echo make reliable interfaces and I'm gutted they've killed off much of their lineup. I'm hoping there's an Echo8 in the works.. Apogee Duet seconded. MOTU's Microbook looks promising but I'm hearing from people having trouble." ContentLicense="CC BY-SA 3.0" />
  <row Id="35484" PostHistoryTypeId="2" PostId="22019" RevisionGUID="5e1deafc-fef5-4555-b87c-fcd2c2a3138e" CreationDate="2013-12-12T16:30:42.487" UserId="3285" Text="Maybe a Sound devices USBPre 2 ?&#xD;&#xA;http://www.sounddevices.com/products/usbpre2/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35485" PostHistoryTypeId="2" PostId="22020" RevisionGUID="027cc071-06e8-4bb0-a567-c88ae5b58bf3" CreationDate="2013-12-12T17:26:16.013" UserId="6443" Text="Is there any difference in sound-quality between the following formats:&#xD;&#xA;&#xD;&#xA;1. MP3&#xD;&#xA;&#xD;&#xA;2. WMA&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35486" PostHistoryTypeId="1" PostId="22020" RevisionGUID="027cc071-06e8-4bb0-a567-c88ae5b58bf3" CreationDate="2013-12-12T17:26:16.013" UserId="6443" Text="best sound-quality - MP3 or WMA" ContentLicense="CC BY-SA 3.0" />
  <row Id="35487" PostHistoryTypeId="3" PostId="22020" RevisionGUID="027cc071-06e8-4bb0-a567-c88ae5b58bf3" CreationDate="2013-12-12T17:26:16.013" UserId="6443" Text="&lt;mp3&gt;&lt;sound-quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35488" PostHistoryTypeId="2" PostId="22021" RevisionGUID="d90e976f-a616-4709-88f4-8e606d8afda1" CreationDate="2013-12-12T17:56:12.103" UserId="6934" Text="My setup is based around a Schoeps CCM 41 and CCM 8. I think I'm using it the same way you want to do and I'm overall very happy with the results. &#xD;&#xA;The leak in the stereo image is there, but is very rarely a problem and the distance factor of the CCM 41 is quite better than the CCM 4, when you decide in post to make it mono, it's a lot better spotted with the CCM 41. &#xD;&#xA;When I'm exactly aware of what the scene will look like, I'll use the CMIT as a mid microphone, but most documentaries I've worked on are not that predictable and the CCM 41 is for instance much nicer to pick up a spontaneous dialogue (since the off axis also sound good).&#xD;&#xA;For the suspension you might want to check out the Cinela company based in France. The make absolutely great suspensions and wind protection stuff specially for Schoeps microphones, they're expensive, but much better than Rycote in my opinion." ContentLicense="CC BY-SA 3.0" />
  <row Id="35489" PostHistoryTypeId="2" PostId="22022" RevisionGUID="58d2e6f2-6b87-41f2-9325-dac283b7de52" CreationDate="2013-12-12T21:50:49.993" UserId="6567" Text="Depends on your definition of &quot;difference&quot; but I assume you mean &quot;to the average human listener&quot;, in which case: &#xD;&#xA;&#xD;&#xA;No, according to this http://en.wikipedia.org/wiki/Codec_listening_test#Results it was a tie with other codecs running at 128kbps bit rate. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35490" PostHistoryTypeId="2" PostId="22023" RevisionGUID="7ff17552-39a2-42fc-bb43-6cd59bc99719" CreationDate="2013-12-12T22:47:25.517" UserId="6936" Text="I'm currently running Pro Tools 8 on an six year old Dell laptop with 2gb ram. Which basically sucks.&#xD;&#xA;&#xD;&#xA;So basically I want to get a new laptop or PC with a £600 budget. Preferably not a mac as i'm used to windows and a lot of the software is compatible for pc. Though if it's the most sensible option I won't mind switching.&#xD;&#xA;&#xD;&#xA;The problem is I am currently saving to an external firewire hard drive, so will need a firewire port. However it looks like this has gone completely out of fashion. Are there any laptops out there which would still support this or maybe it would be more worthwhile just getting a new external hard drive.&#xD;&#xA;&#xD;&#xA;Would basically any new laptop with 8gb ram be appropriate for running pro tools 8?&#xD;&#xA;&#xD;&#xA;Thanks, Jamie" ContentLicense="CC BY-SA 3.0" />
  <row Id="35491" PostHistoryTypeId="1" PostId="22023" RevisionGUID="7ff17552-39a2-42fc-bb43-6cd59bc99719" CreationDate="2013-12-12T22:47:25.517" UserId="6936" Text="Need a new laptop to run Pro Tools 8 for around £600" ContentLicense="CC BY-SA 3.0" />
  <row Id="35492" PostHistoryTypeId="3" PostId="22023" RevisionGUID="7ff17552-39a2-42fc-bb43-6cd59bc99719" CreationDate="2013-12-12T22:47:25.517" UserId="6936" Text="&lt;pro&gt;&lt;tools&gt;&lt;new&gt;&lt;laptop&gt;&lt;buy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35493" PostHistoryTypeId="2" PostId="22024" RevisionGUID="065b5c1a-48ac-44ee-8852-f1b84272426f" CreationDate="2013-12-13T07:14:05.473" UserId="6484" Text="I am just searching for some information regrding agencies or companies that buy clips for documentaries, radio ads or stories etc. I have searched on the net but most of the agencies are exclusively for music. Most of what I have is based around South Africa with ambiences, wildlife, demonstrations, unique musical recordings etc. All xy and MS at 96/24. &#xD;&#xA;&#xD;&#xA;Do any of you have ideas as to how to proceed?&#xD;&#xA;&#xD;&#xA;Thanks " ContentLicense="CC BY-SA 3.0" />
  <row Id="35494" PostHistoryTypeId="1" PostId="22024" RevisionGUID="065b5c1a-48ac-44ee-8852-f1b84272426f" CreationDate="2013-12-13T07:14:05.473" UserId="6484" Text="Agencies for Unique sound recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="35495" PostHistoryTypeId="3" PostId="22024" RevisionGUID="065b5c1a-48ac-44ee-8852-f1b84272426f" CreationDate="2013-12-13T07:14:05.473" UserId="6484" Text="&lt;field-recording&gt;&lt;field&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35496" PostHistoryTypeId="2" PostId="22025" RevisionGUID="1ceb7c86-5ae2-48e0-bbd9-03d7e38f7eaa" CreationDate="2013-12-13T07:51:58.990" UserId="6748" Text="Take omnidirectional microphones! In contrast do cardioids, omnidirectional microphones captures much more low end.&#xD;&#xA;&#xD;&#xA;This gives you the andvantage that your room tones will also have something in the lows instead of cardiodid records. Cardioid microphones cut's bass frequencies which is good for voice and music. For rooms, it makes it thin.&#xD;&#xA;&#xD;&#xA;In post production, room tones usually get played on a very low level, so the omnidirectional record will give you more 'character' also on low-level playback instead of a cardioid record (ORTF, XY...), which only turns to a simple hiss.&#xD;&#xA;If you record with MS, the side-microphone is also very similar to an omnidirectional and records lot's of low end.&#xD;&#xA;Also, I think it must be clear to use only fine equipment, otherwise you have only hiss from the preamps.&#xD;&#xA;&#xD;&#xA;If you don't have time to hang around long hours in basement and dark floors, have a look at my room tones library: https://www.soundeffects.ch/en/sound-libraries/soundeffects.ch-products/roomtones-v01-sound-library.php&#xD;&#xA;It has more than 130 room tones atmospheres from stereo to surround. Also included in the library are a big set of impulse responses to create rooms from stereo up to auro 3d 11.1. https://www.soundeffects.ch/en/sound-libraries/soundeffects.ch-products/ir1-impulse-response-set.php&#xD;&#xA;&#xD;&#xA;best&#xD;&#xA;&#xD;&#xA;guido" ContentLicense="CC BY-SA 3.0" />
  <row Id="35497" PostHistoryTypeId="2" PostId="22026" RevisionGUID="43742173-fce6-48e6-85f8-7ccf96958622" CreationDate="2013-12-13T08:17:30.510" UserId="6748" Text="If you need to measure db SPL, go in the app-store and have a look for Level-meters. you can put it on your smartphone. I have one for free, it works fine for what it is.&#xD;&#xA;If you need something exact, you probably need to spend a bit more than $10. If you only need it once, ask at rental company for PA-system for a db-meter.&#xD;&#xA;&#xD;&#xA;best&#xD;&#xA;&#xD;&#xA;Guido&#xD;&#xA;&#xD;&#xA;https://www.soundeffects.ch" ContentLicense="CC BY-SA 3.0" />
  <row Id="35498" PostHistoryTypeId="2" PostId="22027" RevisionGUID="1dabd7b2-b3cf-407a-bcf7-6cb32613fef7" CreationDate="2013-12-13T09:29:07.850" UserId="1228" Text="Honestly, I just use whatever I have - even if all I have is mono.  Never let the equipment get in the way of a good roomtone (or for that matter, ambience).  I certainly agree with @Guido that high quality gear is best suited for roomtone to obtain the most robust S/N, but beyond that, I'm pretty loose about this type of recording.&#xD;&#xA;&#xD;&#xA;Roomtone is one of those things which is quite forgivable in post for creating &quot;pseudo-stereo&quot; by slipping the channels out of sync a ways.  I actually find myself doing this a lot, especially since I am often layering a few textures to get the final gestalt I'm seeking, so this is a case where I use the technique to alter the spread of each texture (such as, maybe, a roomtone edit for a warehouse or rotunda).&#xD;&#xA;&#xD;&#xA;And do not under-estimate the necessity of mono textures in a BG edit - Every show I've worked on has a set of dedicated mono BG tracks.  One reason is that in the stage's routing, it provides them a decided discrete Center which can be mixed against DX to help those problems (which is why we always try to give at least one &quot;airy&quot; roomtone element even in a place like interrogation rooms or tonal spaces at low level), and it can help mesh the LCR imagery (such as a party crowd edit - a mono walla in C, then a true stereo walla in L/R and maybe Ls/Rs, and then maybe some intentionally &quot;pusedo-stereo'd&quot; group ADR-style wallas in L/R and Ls/Rs to create immersion and a sense of 3d space which pops).&#xD;&#xA;&#xD;&#xA;Right now, my go-to rig is MS.  I haven't recording much roomtone type textures with it yet, although I am intrigued by MS quite enough now that I'm curious how effective it is.  But I've recorded roomtone (or roomtone-like spaces) in mono on my iPhone, stereo with a H4n, and with an NT4 X/Y on my SD 702.  All have been used in all sorts of shows, no holds barred.  If it matches my needs at any given time, I'll use it, regardless of what I recorded it from.&#xD;&#xA;&#xD;&#xA;So in the end, to directly provide my own answer to your roomtone question: I use both whatever I have on me and gets the job done." ContentLicense="CC BY-SA 3.0" />
  <row Id="35499" PostHistoryTypeId="2" PostId="22028" RevisionGUID="c051f9a4-cfbe-4d51-8f14-3977a92df444" CreationDate="2013-12-13T10:53:18.170" UserId="6484" Text="I was wondering if anyone new about the phenomenon of frequency and brain healing. I got a call from someone who is doing an art installation and wants to use the frequency or frequencies which could be responsible for healing neuro synapses. She mentioned that it is around 523Hz to 574Hz. &#xD;&#xA;&#xD;&#xA;There is not much on this except for a few esoteric sites which I am skeptical of. &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35500" PostHistoryTypeId="1" PostId="22028" RevisionGUID="c051f9a4-cfbe-4d51-8f14-3977a92df444" CreationDate="2013-12-13T10:53:18.170" UserId="6484" Text="Sound Frequency and Healing" ContentLicense="CC BY-SA 3.0" />
  <row Id="35501" PostHistoryTypeId="3" PostId="22028" RevisionGUID="c051f9a4-cfbe-4d51-8f14-3977a92df444" CreationDate="2013-12-13T10:53:18.170" UserId="6484" ContentLicense="CC BY-SA 3.0" />
  <row Id="35502" PostHistoryTypeId="2" PostId="22029" RevisionGUID="14f407ef-6d6a-4ed6-b478-d273fa06a332" CreationDate="2013-12-13T12:27:39.563" UserId="6940" Text="Firewire ports are definitely hard to find on a PC laptop; I'd suggest looking for USB3 or eSATA instead.  You'd need a new external, though, but non-SSD hard drives are silly-cheap per Tb these days.  &#xD;&#xA;&#xD;&#xA;A couple of things extra to mention; firstly, PT8 is a 32-bit application, so its only ever going to be able to use about 3Gb at most of your RAM, even if you run a 64-bit version of Windows capable of accessing all of 8Gb.&#xD;&#xA;&#xD;&#xA;Secondly, whatever version of Windows you wind up using, make sure it has working drivers for your existing souncard, as PT8 was tied to Digidesign or M-Audio hardware (depending on whether its HD, LE or MP).  " ContentLicense="CC BY-SA 3.0" />
  <row Id="35503" PostHistoryTypeId="2" PostId="22030" RevisionGUID="0c4179d7-a30a-4837-b56a-2401e9291ad0" CreationDate="2013-12-13T12:29:33.370" UserId="3346" Text="try this : [http://en.wikipedia.org/wiki/Binaural_beats][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Binaural_beats&#xD;&#xA;&#xD;&#xA;have fun creating this nice tunes ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35504" PostHistoryTypeId="5" PostId="22000" RevisionGUID="316ec0c0-3575-48f0-8fb2-913bba6e49dd" CreationDate="2013-12-13T12:49:03.850" UserId="6567" Comment="removed name of OP since OP changed name" Text="Well, the best way to do it is to find yourself a wild dragon that hasn't been exposed to humans too much and by tickling it behind its ears you will cause it to roar. You just have to make sure to stay clear of the tail and head though.&#xD;&#xA;&#xD;&#xA;And for the real answer: &#xD;&#xA;Most dragon roars or rather &quot;animal&quot; roars are a combination of different roars, breathing sounds and similar taken from all kinds of animals and layered on top of each other, this is where sound design really becomes an art form and great outlet for creative ideas. As an example I've used swooshes, mechanical grinding sounds, diesel engines and many other non-animal sounds to &quot;enhance&quot; the sound of a roar. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35506" PostHistoryTypeId="2" PostId="22031" RevisionGUID="f62d0d2d-8f06-4be8-81cb-e8bf39b18dda" CreationDate="2013-12-13T15:37:47.753" UserId="6567" Text="I think you're going to find that it's usually the other way around. It's the companies / studios making the documentaries, radio ads etc. that will hit the web and search for companies / individuals selling sounds of whatever it is they need or rather record it for original use.&#xD;&#xA;&#xD;&#xA;Some common big sfx stock sites like prosoundeffects.com might take your libraries on board if they fit into their product range but while stock music is a huge (saturated?) market with all major stock photo/video agencies having jumped onto that and some carrying sound effects, I personally found that it's usually not worth selling through those sites as an individual.   &#xD;&#xA;&#xD;&#xA;There are third party sites that aggregate some of these &quot;indie&quot; libraries together (one was mentioned in one of the recent tonebenders podcasts). If you want to sell your sounds your best bet is to create a site, list your sounds carefully in collections and make sure it can be found. Perhaps get together with fellow sound designers / recordists to create a more attractive offering and work together on libraries.&#xD;&#xA;&#xD;&#xA;Personally I wouldn't bother cold calling / emailing any production houses unless you know for sure they need something that you can offer or your material is so unique that you are sure they will need it.  Maybe you can elaborate a bit on what specifically you wish to license. &#xD;&#xA;&#xD;&#xA;Looking forward to others chiming in on this subject as I think monetization of our work is always a hot and ever changing topic. And hey, nothing wrong with trying! " ContentLicense="CC BY-SA 3.0" />
  <row Id="35507" PostHistoryTypeId="2" PostId="22032" RevisionGUID="e9fb70c0-9a82-4246-b0b3-508ebde0247a" CreationDate="2013-12-13T18:05:36.543" UserId="6943" Text="I have recorded room tones in room corners. The sound is louder and you get better signal to noise performance. David Lynch is using lots room tone sounds. I read that he is recording movement of air through closed door. &#xD;&#xA;&#xD;&#xA;David Toop says the emptier the space of sound, the greater the apparent volume of sounds within it; the lower the level of auditory background, the more intense the listener’s awareness of minimal interferences.&#xD;&#xA;&#xD;&#xA;I have also manage to do room tone sounds from field recording example using distantant city sound and playing that thru lowpass filter and wet impulse reverb. That gives lively room tones which are easier to listen for longer periods. Also change filter settings and try different impulses example. room impulses gives you lots of different results using just one source recording.&#xD;&#xA;&#xD;&#xA;-marko-" ContentLicense="CC BY-SA 3.0" />
  <row Id="35508" PostHistoryTypeId="2" PostId="22033" RevisionGUID="0ff9af6a-ad5c-4b0c-9a18-26ab74a7facf" CreationDate="2013-12-13T19:15:27.500" UserId="6410" Text="I'm searching for some media to practice with. Rather than designing sound directly for an entirely quiet trailer for example I want to work with some dialogue and or location recordings to prepare some show reel that includes some more subtle mixing and and editing as well as bombastic designed trailers. Does anyone have any direction for a question like this? I will accept a private link to the material as well if that's possible. &#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="35509" PostHistoryTypeId="1" PostId="22033" RevisionGUID="0ff9af6a-ad5c-4b0c-9a18-26ab74a7facf" CreationDate="2013-12-13T19:15:27.500" UserId="6410" Text="Resources for video with only dialogue or a guide track" ContentLicense="CC BY-SA 3.0" />
  <row Id="35510" PostHistoryTypeId="3" PostId="22033" RevisionGUID="0ff9af6a-ad5c-4b0c-9a18-26ab74a7facf" CreationDate="2013-12-13T19:15:27.500" UserId="6410" Text="&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35511" PostHistoryTypeId="2" PostId="22034" RevisionGUID="d2fc8215-76c7-4b84-8d7d-92bc7d527b6b" CreationDate="2013-12-13T20:27:42.117" UserId="1216" Text="if you are interested in animation i have a tip.&#xD;&#xA;during my study sound design is used this website http://www.animationmentor.com/ &#xD;&#xA;animators could upload their animation for a dialogue only sequence from a particular movie. i don't know if it still allows download but i made good use of it in 2004.&#xD;&#xA;&#xD;&#xA;there was another site called something like '40secondsanimation', but i can't find a link..&#xD;&#xA;&#xD;&#xA;arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="35512" PostHistoryTypeId="2" PostId="22035" RevisionGUID="9842fe93-056d-4142-8fb2-18116ae9db68" CreationDate="2013-12-13T22:58:58.433" UserId="6425" Text="In a YouTube-video, I saw someone stretching audio clips in ableton via mouse. He pulled on the top right corner to stretch the audiofile.&#xD;&#xA;&#xD;&#xA;It seems like he pulled the audio file the same way you would trim a audio clip in ableton. So I think he pulled a hotkey while dragging the file to use time stretch instead of trimming.&#xD;&#xA;&#xD;&#xA;I already read all the Hotkeys in the ableton manual and I could not find the desired one.&#xD;&#xA;&#xD;&#xA;The code I watched is the &quot;Recreate Prodigys Smack my Bitch up in Ableton Video&quot;&#xD;&#xA;&#xD;&#xA;Thank you and peace!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35513" PostHistoryTypeId="1" PostId="22035" RevisionGUID="9842fe93-056d-4142-8fb2-18116ae9db68" CreationDate="2013-12-13T22:58:58.433" UserId="6425" Text="Ableton Live Time-stretching Hotkey" ContentLicense="CC BY-SA 3.0" />
  <row Id="35514" PostHistoryTypeId="3" PostId="22035" RevisionGUID="9842fe93-056d-4142-8fb2-18116ae9db68" CreationDate="2013-12-13T22:58:58.433" UserId="6425" Text="&lt;software&gt;&lt;ableton&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35518" PostHistoryTypeId="2" PostId="22036" RevisionGUID="1faf3109-65ba-451e-8086-75988ad2f1e4" CreationDate="2013-12-14T00:28:26.607" UserId="6399" Text="Lots of videos and older films on Archive.org.  I'm sure you could find a good variety on there." ContentLicense="CC BY-SA 3.0" />
  <row Id="35520" PostHistoryTypeId="2" PostId="22038" RevisionGUID="9d23e4f8-c289-4e2f-bec6-8138bdb9303b" CreationDate="2013-12-14T11:19:45.957" UserId="6625" Text="I'm working on a movie, whats played in a forest. All the steps on the leafs are really pregnant in the production sound and of course in the dialog to. We record foleys for the movie, but i don't think so, i could use together (steps).&#xD;&#xA;&#xD;&#xA;Whats the method in this case?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35521" PostHistoryTypeId="1" PostId="22038" RevisionGUID="9d23e4f8-c289-4e2f-bec6-8138bdb9303b" CreationDate="2013-12-14T11:19:45.957" UserId="6625" Text="Production Sound + Foley" ContentLicense="CC BY-SA 3.0" />
  <row Id="35522" PostHistoryTypeId="3" PostId="22038" RevisionGUID="9d23e4f8-c289-4e2f-bec6-8138bdb9303b" CreationDate="2013-12-14T11:19:45.957" UserId="6625" Text="&lt;foley&gt;&lt;production-sound&gt;&lt;production-audio&gt;&lt;foley-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35523" PostHistoryTypeId="2" PostId="22039" RevisionGUID="8e2530aa-5ea1-4555-8e24-ad10ec4bd6a2" CreationDate="2013-12-14T11:39:29.337" UserId="3299" Text="Are the leaves causing problems with the dialogue or are you just wondering if you can mix production FX with sound FX? &#xD;&#xA;&#xD;&#xA;If the production sound is a problem you could attempt using Izotope RX. The Decrackler module may help. &#xD;&#xA;&#xD;&#xA;If you're just looking to add the sound FX,, I would use them subtly to enhance the production FX. Try and match the timbre of the real leaves. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35524" PostHistoryTypeId="2" PostId="22040" RevisionGUID="331ff104-c6bc-42de-af80-729e59fdfa98" CreationDate="2013-12-14T12:47:46.817" UserId="6269" Text="I think you mean stretching on 4:13?&#xD;&#xA;He moves the little yellow markers in edit window (below the arrangement view) to stretch concrete part of sample between those markers. To create the yellow marker just double-click on the line above the waveform. Then take the marker and move right/left to stretch. To delete marker - double-click on him again (this would cancel your stretch edition)." ContentLicense="CC BY-SA 3.0" />
  <row Id="35525" PostHistoryTypeId="2" PostId="22041" RevisionGUID="f4bd508e-10c7-40b5-84be-9432ff37e7ca" CreationDate="2013-12-14T16:36:34.867" UserId="6436" Text="I ended up going with the MK41 and MK8 capsules on xt bodies.  Have to say that I love the sound of these mics and recording in MS has introduced me to a whole new world of possibilities for sound effects gathering.  The mono mid capsule is indispensable and the ability to choose how wide or how much stereo image you use in post is fantastic.  Compared to &quot;fixed&quot; stereo setups like XY, MS does give you a lot more latitude to customize your final sound.  Went with the Rycote MS setup as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="35529" PostHistoryTypeId="2" PostId="22043" RevisionGUID="8bb15287-dee1-4972-9e11-062049fe210b" CreationDate="2013-12-15T10:46:29.973" UserId="6949" Text="as I understand parallel compression works by sending some track to compressor with some settings, and then turning send knob how much you want. Doing this, you will get some of the unprocessed signal and also processed. But could you do the same with dry/wet knob on compressor itself? I am using Ableton, so guide me through :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35530" PostHistoryTypeId="1" PostId="22043" RevisionGUID="8bb15287-dee1-4972-9e11-062049fe210b" CreationDate="2013-12-15T10:46:29.973" UserId="6949" Text="What is difference between parallel compression and dry/wet knob on compressor?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35531" PostHistoryTypeId="3" PostId="22043" RevisionGUID="8bb15287-dee1-4972-9e11-062049fe210b" CreationDate="2013-12-15T10:46:29.973" UserId="6949" Text="&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35532" PostHistoryTypeId="5" PostId="22043" RevisionGUID="606fc88e-25cf-475b-806a-1bcd340a91d1" CreationDate="2013-12-15T10:53:44.993" UserId="6949" Comment="added 11 characters in body" Text="as I understand parallel compression works by sending some track to compressor with some settings, and then turning send knob how much you want. Doing this, you will get some of the unprocessed signal and also processed. But could you do the same with dry/wet knob on compressor itself? I just don't really understand the concept of this :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35533" PostHistoryTypeId="2" PostId="22044" RevisionGUID="324ce771-0ac7-4674-83ac-07a72ea3c0ec" CreationDate="2013-12-15T12:54:44.593" UserId="4057" Text="I have an M/S rig that is simply built from two CMC6 bodies cable-tied together with a small piece of foam separating the two bodies. One one body I have an MK8 and the other body I can place an MK21,MK4 or MK41 capsule depending on the application. I love my M/S rig. MK4 and MK41 both get a good workout. MK21 or MK4 usually for music and MK41 for effects or ATMOS. The beauty of the CMC body is that you don't have to build just one M/S rig - you can change the capsule depending on the application. &#xD;&#xA;&#xD;&#xA;Not really much point IMHO in gaffering an MK8 to a SuperCMIT. Most of the time with a CMIT you are going to be recording dialog or point effects which will be used in mono mode by the dialog editor. The MK8 will most likely be discarded." ContentLicense="CC BY-SA 3.0" />
  <row Id="35534" PostHistoryTypeId="2" PostId="22045" RevisionGUID="24023bd9-f76c-4887-93a3-7d9680739c5e" CreationDate="2013-12-15T12:59:11.207" UserId="6448" Text="The dry/wet knob does the same as mixing between two separate channels with &quot;dry&quot; and &quot;wet&quot; signals.&#xD;&#xA;&#xD;&#xA;It's generally easier to set up a compressor channel with 100% wet signal though, because by doing that you can a) mix with the faders (and do it so that raising/lowering the other doesn't affect the other as it does with the dry/wet knob) and b) can decide on the channel routing (what to send and how much) easily." ContentLicense="CC BY-SA 3.0" />
  <row Id="35535" PostHistoryTypeId="2" PostId="22046" RevisionGUID="9bd04668-19dd-47da-9cf3-975d218b83b1" CreationDate="2013-12-15T13:07:23.537" UserId="6809" Text="In theory there is no difference. In practice, using parallel compression gives you more control over how the sound is processed going in and coming out. For example,you could process just the low end of a drum loop to add more power to the the kick. Also, since it uses bussing you could send the output of multiple tracks to a single parallel compressor and then mix in to taste. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35536" PostHistoryTypeId="2" PostId="22047" RevisionGUID="510523cf-e779-4cc6-aba2-6cef13d7590f" CreationDate="2013-12-15T13:13:12.787" UserId="6950" Text="I'd say it's a personal work flow thing more than anything. Sometimes it's just easier and quicker to use that dry/wet knob than routing things about, depending on the DAW and the plugins in question. Most times I would route for the reasons mentioned above especially if the sound is a main part of what your working on. However if I'm in a hurry and want quick easy and good parallel compression I will use the dry wet on something like the NI compressors. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35541" PostHistoryTypeId="2" PostId="22049" RevisionGUID="42cc286d-41d3-4e55-b139-01f3a32992ca" CreationDate="2013-12-16T01:53:16.780" UserId="6953" Text="Bad ADR:&#xD;&#xA;&#xD;&#xA;- The Constant Gardener - during the 'advice' scene near the end when Ralph has a revealing conversation in the car at night. The driver is ADR'd over an OTS shot.&#xD;&#xA;&#xD;&#xA;- Gangs of New York - after Leonardo wakes up in his bed of naked chicks (1/2 way through the film). Our butcher says a line with 'ignominious' during a reaction shot.&#xD;&#xA;&#xD;&#xA;- The Bourne Identity - when Matt Damon is outside the embassy (1/3 way into film or so) - he speaks German over a reaction shot.&#xD;&#xA;&#xD;&#xA;- The X-Files - Season 1 - &quot;Fire&quot; when Mulder speaks to his british ex-GF in the hospital - it is lip sync'd but obviously ADR - the tone changes completely.&#xD;&#xA;&#xD;&#xA;- IT - (1/2 way through) - when the two buddies are walking from the book store talking about the clown in the street - lip-sync'd, but obvious tone change.&#xD;&#xA;&#xD;&#xA;B. Moore" ContentLicense="CC BY-SA 3.0" />
  <row Id="35543" PostHistoryTypeId="2" PostId="22051" RevisionGUID="a7f8f956-00d4-4965-91d2-a4d3a2dd2394" CreationDate="2013-12-16T04:46:54.330" UserId="6955" Text="I'm Ryan. I just started getting jobs being an audio freelancer, doing little short films and interviews. But I can across a problem I got a little embarrassed with. I was sent audio files from someone, and the audio files were recorded very low, and there was a loud refrigerator in the back of the vocals. I tried every thing I could think of in pro tools. Only thing I found that was Soundsoap 3 cleaned it up. But it was only a demo so I couldn't export the files.&#xD;&#xA;&#xD;&#xA;My question is, what do you guys use to clean up audio files? I'm on the hunt for new plug-ins, and/or if I have to maybe a new software. Soundsoap 3 seemed nice, and so does, isotope rx3 seems very nice also. Any advice would be wonderful, and thank you in advance.  &#xD;&#xA;&#xD;&#xA; I'm also kinda of on a budget." ContentLicense="CC BY-SA 3.0" />
  <row Id="35544" PostHistoryTypeId="1" PostId="22051" RevisionGUID="a7f8f956-00d4-4965-91d2-a4d3a2dd2394" CreationDate="2013-12-16T04:46:54.330" UserId="6955" Text="What are some good plug-ins or software for cleaning up audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="35545" PostHistoryTypeId="3" PostId="22051" RevisionGUID="a7f8f956-00d4-4965-91d2-a4d3a2dd2394" CreationDate="2013-12-16T04:46:54.330" UserId="6955" Text="&lt;pro-tools&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35546" PostHistoryTypeId="2" PostId="22052" RevisionGUID="97a343ff-1840-48d9-8d5c-a7a1f6510dd5" CreationDate="2013-12-16T05:18:23.803" UserId="6399" Text="Izotope RX is probably what you'd want.  You can start with basic if your on a budget and then upgrade to advanced later.&#xD;&#xA;It has plugin components as well as a standalone version.&#xD;&#xA;It and Cedar are pretty much the standards at this point.&#xD;&#xA;Multiband compression/expansion or something like the Waves WNS or W43 can help for a constant  noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="35547" PostHistoryTypeId="2" PostId="22053" RevisionGUID="87823bab-5ee7-4c0c-b48a-45bbb99e6d54" CreationDate="2013-12-16T07:40:22.380" UserId="6832" Text="My choice of noise reduction at the moment is [Voxengo Redunoise][1]. Not as versatile as RX, since it only does noise reduction, but it's very easy to get good results with it and doesn't cost much.&#xD;&#xA;&#xD;&#xA;Unfortunately it's only available as 32bit VST and doesn't work well with bridges.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;More complete budget solution would be Acon [Restoration Suite][2]. I didn't like it's noise reduction as much as Redunoise's, but if you need declipping and declicking you could give it a go.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.voxengo.com/product/redunoise/&#xD;&#xA;  [2]: http://acondigital.com/products/restoration-suite/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35548" PostHistoryTypeId="2" PostId="22054" RevisionGUID="1aa48d7c-1217-4ab2-af24-7b9878adff29" CreationDate="2013-12-16T11:18:47.277" UserId="6420" Text="Not to sound like a an old nag, but I'm not really sure its that productive (or perhaps fair) to single out particular instances of 'bad' ADR in film or TV. There are possibly many reasons why something doesn't sound like you expect it should (director/producer making the call, time/budget constraints etc etc) and I expect the person doing the mixing or editing is well aware that it doesn't sound that great and is perhaps reluctant to 'sign it off', but sometimes things don't always end up how you planned! &#xD;&#xA;I see and hear it quite often when there is mismatched ADR and it does grate on me bit (especially on the bigger budget films where you'd expect it to be better) but then again you don't always know how bad it sounded to start with!&#xD;&#xA;&#xD;&#xA;And I guess for just general politeness its not great to start 'slagging off' other peoples work too. You never know when you might end up working with them at some point ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35549" PostHistoryTypeId="2" PostId="22055" RevisionGUID="b0b74303-a877-4aa0-95ec-da1baba59803" CreationDate="2013-12-16T11:58:35.500" UserId="5624" Text="Two that really stick in my mind of recent times are the tv series Last Resort and the film The Great Gatsby.&#xD;&#xA;&#xD;&#xA;I sat down while my housemate was watching Last Resort last year and caught a scene where they are talking on the beach. Everything about it was bad. Terrible performances, bad perspective, horrible sync. I think the show got cancelled after theforst season.&#xD;&#xA;&#xD;&#xA;The Great Gatsby has some of the worst ADR I've heard in a film which was surprising considering the high production values of the visuals and rest of the soundtrack. From memory it's worst in the scene where Gatsby is driving his car really fast over the bridge." ContentLicense="CC BY-SA 3.0" />
  <row Id="35550" PostHistoryTypeId="2" PostId="22056" RevisionGUID="f290a12b-3133-4a9d-b55a-9b99e50af845" CreationDate="2013-12-16T12:40:46.660" UserId="6956" Text="I have two WAV files that I'm playing via a program that I made. One plays and one doesn't. I read somewhere that WAV files are container files... What does that mean?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35551" PostHistoryTypeId="1" PostId="22056" RevisionGUID="f290a12b-3133-4a9d-b55a-9b99e50af845" CreationDate="2013-12-16T12:40:46.660" UserId="6956" Text="Difference in WAV files?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35552" PostHistoryTypeId="3" PostId="22056" RevisionGUID="f290a12b-3133-4a9d-b55a-9b99e50af845" CreationDate="2013-12-16T12:40:46.660" UserId="6956" Text="&lt;wav&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35553" PostHistoryTypeId="2" PostId="22057" RevisionGUID="f863835d-cfc4-4ada-b4e0-e54fd797dc6c" CreationDate="2013-12-16T13:57:44.800" UserId="1185" Text="WAV files are a realisation of a Microsoft format called RIFF (Resource Interchange File Format), that is specific to audio data.  The file contains two Chunks (or blocks).  The first chunk a file header that contains format details for the data that is held in the second chunk.  The data is &quot;contain&quot; in this chunk and can be encoded using a number of different codecs and this is defined in the header.  The most common format for the data is the raw PCM audio samples, but different sample formats and compressions can be used.&#xD;&#xA;&#xD;&#xA;If this is code that you have generated yourself it would seem likely that you are expecting the data to be received in a certain format, but that your data in one file is in a different format. Use a RIFF file viewer to look at the offending file and check the format of the data and debug your code accordingly.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="35554" PostHistoryTypeId="5" PostId="22057" RevisionGUID="99a1c744-79a2-466e-943e-f370b64d680e" CreationDate="2013-12-16T14:19:35.290" UserId="1185" Comment="deleted 5 characters in body" Text="WAV files are a realisation of a Microsoft format called RIFF (Resource Interchange File Format), that is specific to audio data.  The file contains two Chunks (or blocks).  The first chunk a file header that contains format details for the data that is held in the second chunk.  The data is &quot;contain&quot; in this chunk and can be encoded using a number of different codecs and this is defined in the header.  The most common format for the data is the raw PCM audio samples, but different sample formats and compressions can be used.&#xD;&#xA;&#xD;&#xA;If this is code that you have generated yourself it would seem likely that you are expecting the data to be received in a certain format, but your data in one file is in a different format. Use a RIFF file viewer to look at the offending file and check the format of the data and debug your code accordingly.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="35555" PostHistoryTypeId="2" PostId="22058" RevisionGUID="2efa2563-6a1f-49be-86b0-461fdb003795" CreationDate="2013-12-16T21:14:14.243" UserId="6425" Text="More &quot;constant&quot; noise can be put out of pressence with eq-notches. (Automate cutoff if needed)&#xD;&#xA;&#xD;&#xA;Also try expanding the file. Use the sidechaine too Filter out the strong Vocal frequencys! Gl&#xD;&#xA;&#xD;&#xA;If this does not help -&gt; rx3 or waves Denoise Plug ins!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35556" PostHistoryTypeId="5" PostId="22057" RevisionGUID="72aa9e40-7e21-4e30-aa5a-e9c656be7253" CreationDate="2013-12-16T23:56:25.760" UserId="1185" Comment="corrected spelling." Text="WAV files are a realisation of a Microsoft format called RIFF (Resource Interchange File Format), that is specific to audio data.  The file contains two Chunks (or blocks).  The first chunk a file header that contains format details for the data that is held in the second chunk.  The data is &quot;contained&quot; in this chunk and can be encoded using a number of different codecs and this is defined in the header.  The most common format for the data is the raw PCM audio samples, but different sample formats and compressions can be used.&#xD;&#xA;&#xD;&#xA;If this is code that you have generated yourself it would seem likely that you are expecting the data to be received in a certain format, but your data in one file is in a different format. Use a RIFF file viewer to look at the offending file and check the format of the data and debug your code accordingly.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="35559" PostHistoryTypeId="2" PostId="22060" RevisionGUID="fa1910ed-45de-4186-855d-d6bf06db9d7f" CreationDate="2013-12-17T06:42:00.923" UserId="7642" Text="In My world, Room Tone, is not what you folks are describing above in general.&#xD;&#xA;&#xD;&#xA;Room tone is what is used in a dialog edit to replace or &quot;hide&quot; imperfections or other issues with the general room tone of the recorded dialog.&#xD;&#xA;Room tone doesn't need to be recorded in stereo.&#xD;&#xA;Room tone are often better the &quot;worse&quot; they are.&#xD;&#xA;Room tone CAN be used as the basis of the sound of a specific place, but in general it is not.&#xD;&#xA;Room tone in general is not part of the sound design but part of the dialog edit.&#xD;&#xA;&#xD;&#xA;But a room tone can be used throughout a scene (especially a quiet scene) to generate a stable center sound if very little ambiance is needed.&#xD;&#xA;&#xD;&#xA;Yes you can record the tone of a room In stereo with super awesome mics, but those types of recordings rarely fit with dialog recorded with a shotgun or a lav. And that is what is needed.&#xD;&#xA;&#xD;&#xA;I suggest avoiding the use of room tone for what is essentially a ambiance or background recording of a empty room. The intended use is simply different, and we have enough words with a split personality in the sound world as it is. Let's not create another.&#xD;&#xA;Or perhaps it's to late already...&#xD;&#xA;&#xD;&#xA;ErikG" ContentLicense="CC BY-SA 3.0" />
  <row Id="35562" PostHistoryTypeId="2" PostId="22061" RevisionGUID="ce855fdc-9583-4c70-be2b-db46a8985e5f" CreationDate="2013-12-17T17:02:44.653" UserId="6564" Text="I'm working on a radio drama set in ancient Rome and I'm having trouble finding walla/ ambience/ room tones that are inconspicuous. &#xD;&#xA;&#xD;&#xA;Most of the audio files I can get my hands on are only really suitable for modern/ 20th century use. There's always a detectable car sound or a phone ring or a noticeably American voice in the crowd sounds, or it sounds like a mall or stadium rather than an open space. &#xD;&#xA;&#xD;&#xA;Can anyone suggest any sources? I'm not after genuine accuracy, just something that's not obviously modern/ urban sounding. There must be something pitched at all the Game of Thrones knockoffs out there now.&#xD;&#xA;&#xD;&#xA;I'm relying on sample libraries for this and can't really record anything myself If there was some kind of Roman re-enactment happening locally that would be awesome but probably unlikely.&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="35563" PostHistoryTypeId="1" PostId="22061" RevisionGUID="ce855fdc-9583-4c70-be2b-db46a8985e5f" CreationDate="2013-12-17T17:02:44.653" UserId="6564" Text="Where to find walla/ ambiences suitable for historical drama?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35564" PostHistoryTypeId="3" PostId="22061" RevisionGUID="ce855fdc-9583-4c70-be2b-db46a8985e5f" CreationDate="2013-12-17T17:02:44.653" UserId="6564" Text="&lt;library&gt;&lt;samples&gt;&lt;walla&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35565" PostHistoryTypeId="2" PostId="22062" RevisionGUID="5020664c-e4b5-469a-8bb5-a518c664ebe2" CreationDate="2013-12-18T08:49:21.067" UserId="6441" Text="Since you're on a budget I would recommend Adobe Audition. Adobe has an older version for free on their website.&#xD;&#xA;&#xD;&#xA;Izotope rx3 is what I'd recommend spending your money on. It sounds a lot more natural with a lot less artifacting!&#xD;&#xA;&#xD;&#xA;Multiband expansion mentioned by others is a powerful way to suppress noise as well. Use a plugin like Waves C4 or the C6. It has a few noise reduction presets to get you started. Expansion can really help on distant and reverberant dialogue. I always try some sort of expansion before I dive into rx3, but it usually ends up a combo of both with some EQ notching." ContentLicense="CC BY-SA 3.0" />
  <row Id="35567" PostHistoryTypeId="2" PostId="22063" RevisionGUID="02a18850-853b-4d56-a898-b40eef29923e" CreationDate="2013-12-18T23:42:38.717" UserDisplayName="user6976" Text="I got a lot of questions in my head in addition to what's mentioned in the title. Here's all of them, take your time answering :D&#xD;&#xA;&#xD;&#xA;I'm aware that it doesn't alter the quality of the song/track in any way. &#xD;&#xA;&#xD;&#xA;&gt; So why do you guys use it?&#xD;&#xA;&#xD;&#xA;I mean what do you want to do that makes you use an audio encoder/decoder?&#xD;&#xA;&#xD;&#xA;It would be grateful if someone would help by **explaining** what encoder's and decoder's are in the first place! &#xD;&#xA;&#xD;&#xA;&gt; should a music producer/mixing/mastering engineer worry about it?&#xD;&#xA;&#xD;&#xA;AND&#xD;&#xA;&#xD;&#xA;If it is something important to know, then &#xD;&#xA;&#xD;&#xA;&gt; When while producing a track should I use it?&#xD;&#xA;&#xD;&#xA;After mastering a song? OR after mixing but before mastering? OR on any audio track placed in any channel?&#xD;&#xA;&#xD;&#xA;Sorry if I made it complicated or confusing :( had to clear my doubts.&#xD;&#xA;&#xD;&#xA;Thanks loads to everyone who answers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35568" PostHistoryTypeId="1" PostId="22063" RevisionGUID="02a18850-853b-4d56-a898-b40eef29923e" CreationDate="2013-12-18T23:42:38.717" UserDisplayName="user6976" Text="'Why' and 'When' should audio encoder's/decoder's be used?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35569" PostHistoryTypeId="3" PostId="22063" RevisionGUID="02a18850-853b-4d56-a898-b40eef29923e" CreationDate="2013-12-18T23:42:38.717" UserDisplayName="user6976" Text="&lt;mixing&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35570" PostHistoryTypeId="2" PostId="22064" RevisionGUID="8e9ab28a-decf-4fde-8eb6-d2d274f1c00c" CreationDate="2013-12-19T01:00:20.470" UserId="6448" Text="http://en.wikipedia.org/wiki/Encoder&lt;br&gt;&#xD;&#xA;http://en.wikipedia.org/wiki/Decoder&#xD;&#xA;&#xD;&#xA;These are actually Math/CS/EE concepts, because the use of both is to modify information into and from another representation (be it numerical, electrical, even optical), to serve different uses (like file compression, encryption etc.).&#xD;&#xA;&#xD;&#xA;For a sound producer the primary use, if not the only use, is to compress, i.e. minimize file size for distribution purposes. E.g. MP3 file encoding.&#xD;&#xA;&#xD;&#xA;Different encoders have different properties. They may be &quot;lossy&quot; or &quot;lossless&quot; depending on whether they lose/toss away some information or whether they simply represent it in a more compact form.&#xD;&#xA;&#xD;&#xA;All encoding should be performed after the audio is finished, and it should be done only once per file and always starting from the lossless data (e.g. WAV)." ContentLicense="CC BY-SA 3.0" />
  <row Id="35571" PostHistoryTypeId="2" PostId="22065" RevisionGUID="90ead6be-cc39-4bb6-a0db-b1aa84f35eb6" CreationDate="2013-12-19T11:15:46.307" UserId="6519" Text="Anyone know similar software like ***&quot;audiogaming audiomotors&quot;*** ? &lt;br&gt;&#xD;&#xA;This stuff very good but too expensive for me.&lt;br&gt;&#xD;&#xA;Thanks the answers.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35572" PostHistoryTypeId="1" PostId="22065" RevisionGUID="90ead6be-cc39-4bb6-a0db-b1aa84f35eb6" CreationDate="2013-12-19T11:15:46.307" UserId="6519" Text="Anyone know similar software like audiomotors?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35573" PostHistoryTypeId="3" PostId="22065" RevisionGUID="90ead6be-cc39-4bb6-a0db-b1aa84f35eb6" CreationDate="2013-12-19T11:15:46.307" UserId="6519" Text="&lt;car&gt;&lt;engine&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35574" PostHistoryTypeId="2" PostId="22066" RevisionGUID="34777720-c862-42b9-bb5a-87b693ea38f3" CreationDate="2013-12-19T15:42:20.257" UserId="6981" Text="I am not sure if there are cheaper versions of this type of software! I could be wrong though. &#xD;&#xA;&#xD;&#xA;Have you tried using something like Unity, UT3ed or an API like Wwise to recreate the implementation of an engine?&#xD;&#xA;&#xD;&#xA; You could also create a procedural engine using Pure Data or Max MSP I think the book Designing Audio by Andy Farnell has a detailed description of how to accomplish this using Pure Data. &#xD;&#xA;&#xD;&#xA;Good luck. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35575" PostHistoryTypeId="2" PostId="22067" RevisionGUID="44762543-b04c-4067-89fb-984de8e0ebb6" CreationDate="2013-12-19T18:44:39.637" UserId="6619" Text="So long story short, I need to make an 5.1 AC3 for a local showing of a recent feature project. I don't have enough time to completely study up on the subject, but I'm picking up bits and pieces. I'm using Compressor 4 to create the AC3, and I got everything where I want as far as dialnorm, mixdown settings and DRC. But the only thing I can't change is the bite rate. It's stuck at 16 bit (AC3 Dolby Digital). I have a 5.1 book that I'm referring to, and it mentions bit reduction, LPCM vs MLP packaging, run time, DVD capabilities, etc. But it doesn't seem to directly address what's going on. Can someone explain this to me?&#xD;&#xA;&#xD;&#xA;Also:&#xD;&#xA;- if I use MLP packaging can I create my AC3 at 24 bit? Does compressor have this feature?&#xD;&#xA;- I suspect I'm completely ignorant and it has to be burned at 16 bit for 5.1. In which case should I re-bounce the film using the proper dither vs letting Compressor make the change to the 24 bit 5.1 mix I have?&#xD;&#xA;&#xD;&#xA;Thanks for any and all help guys. This is definitely a subject I'm going to learn extensively for the future." ContentLicense="CC BY-SA 3.0" />
  <row Id="35576" PostHistoryTypeId="1" PostId="22067" RevisionGUID="44762543-b04c-4067-89fb-984de8e0ebb6" CreationDate="2013-12-19T18:44:39.637" UserId="6619" Text="creating an AC3 file" ContentLicense="CC BY-SA 3.0" />
  <row Id="35577" PostHistoryTypeId="3" PostId="22067" RevisionGUID="44762543-b04c-4067-89fb-984de8e0ebb6" CreationDate="2013-12-19T18:44:39.637" UserId="6619" Text="&lt;dvd&gt;&lt;ac3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35578" PostHistoryTypeId="2" PostId="22068" RevisionGUID="afda3552-8f2b-4ecf-b487-37393457fc1d" CreationDate="2013-12-19T20:35:54.220" UserId="6982" Text="I'm a student in the last year and i have some good videos online with sound design made by me, how can i get my sound design videos/portfolio to american companies?&#xD;&#xA;&#xD;&#xA;These are my sites.&#xD;&#xA;&#xD;&#xA;http://www.behance.net/TiagoCardososound&#xD;&#xA;http://soundfoley.wordpress.com/&#xD;&#xA;&#xD;&#xA;Thank You" ContentLicense="CC BY-SA 3.0" />
  <row Id="35579" PostHistoryTypeId="1" PostId="22068" RevisionGUID="afda3552-8f2b-4ecf-b487-37393457fc1d" CreationDate="2013-12-19T20:35:54.220" UserId="6982" Text="how can I get my sound design work to american companies?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35580" PostHistoryTypeId="3" PostId="22068" RevisionGUID="afda3552-8f2b-4ecf-b487-37393457fc1d" CreationDate="2013-12-19T20:35:54.220" UserId="6982" Text="&lt;design&gt;&lt;portfolio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35581" PostHistoryTypeId="2" PostId="22069" RevisionGUID="5183178a-89f1-40ae-8519-a1d9ffe2a51c" CreationDate="2013-12-19T21:59:55.983" UserId="6896" Text="I recently recorded some crowds and coffee shops while field recording. It didn't occur to me that I might need signatures before I release the sound effects. After googling, I kept getting Walla Walla, Washington. &#xD;&#xA;&#xD;&#xA;Does anyone know if I need signatures before using the recordings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35582" PostHistoryTypeId="1" PostId="22069" RevisionGUID="5183178a-89f1-40ae-8519-a1d9ffe2a51c" CreationDate="2013-12-19T21:59:55.983" UserId="6896" Text="Walla / Crowd Recording - Do I need signatures?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35583" PostHistoryTypeId="3" PostId="22069" RevisionGUID="5183178a-89f1-40ae-8519-a1d9ffe2a51c" CreationDate="2013-12-19T21:59:55.983" UserId="6896" Text="&lt;field-recording&gt;&lt;walla&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35584" PostHistoryTypeId="2" PostId="22070" RevisionGUID="fede5aea-8bf4-4556-8ad5-8f9cc20b3d07" CreationDate="2013-12-20T13:39:16.167" UserId="6986" Text="Hello my friend check this out http://youtu.be/RMNwotOm27g?t=1m23s &#xD;&#xA;:)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35585" PostHistoryTypeId="2" PostId="22071" RevisionGUID="d3cec899-69db-462e-b7b6-f6c37a3d6b2a" CreationDate="2013-12-20T14:04:14.927" UserId="6986" Text="I wonder how i can recreate the baby\cat crying type of lead sound as heard here at infected mushroom - Heavyweight at 0.29 .I've done some research and i didnt find anything about that on the net . It seems someone sang the melody and manipulated it afterwards and i want to know if anyone has a clue what tools have been used here.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;Tony" ContentLicense="CC BY-SA 3.0" />
  <row Id="35586" PostHistoryTypeId="1" PostId="22071" RevisionGUID="d3cec899-69db-462e-b7b6-f6c37a3d6b2a" CreationDate="2013-12-20T14:04:14.927" UserId="6986" Text="Infected Mushroom - heavyweight ( baby/cat crying lead sound recreation )" ContentLicense="CC BY-SA 3.0" />
  <row Id="35587" PostHistoryTypeId="3" PostId="22071" RevisionGUID="d3cec899-69db-462e-b7b6-f6c37a3d6b2a" CreationDate="2013-12-20T14:04:14.927" UserId="6986" Text="&lt;sound-design&gt;&lt;processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35593" PostHistoryTypeId="2" PostId="22074" RevisionGUID="c4b7e281-9165-4fed-b74e-816efbebb9b9" CreationDate="2013-12-20T17:11:59.190" UserId="6425" Text="For me it sounds like ethnic vocals treated with some automated fx.&#xD;&#xA;&#xD;&#xA;I would try to get a great sustained vocal/speech phrase and chop it up to get some rhythm. Then i would use celemonys melodyne to pitch individual notes around. In melodyne you can change the formants of the vocal without editing the pitch to get the &quot;kittiness&quot; into the vocal. Also be sure to use the pitch drift function of melodyne to get some pitch shifts, also reduce the vibrato with the pitch modulation tool to make the sounds less human and more instrumental.&#xD;&#xA;&#xD;&#xA;A good idea is to pitch stuff up and the formants down or pitch stuff down and the formants up. that way it stays vocal but changes timbre. Also remove noisy parts of the vocal like s, f p, t and such syllables as they tend to screw melodynes algorithm. Vowels like a,e,i,o,u  work best.&#xD;&#xA;&#xD;&#xA;Then i also hear some kind of filter. You hear they there is some lowpassfilter. I would automate the cut-off according to the phrase you wrote. Try to accent another frequency area with a notch filter sweep according to the phrase (it is like following the natural pitch movement). The area between 700 and 900 hz should work fine, since there is not that much information in our speech.&#xD;&#xA;&#xD;&#xA;Also distort the voice slightly and compress the hell out of it to get a stable instrument. Flangers phasers and other modulation effects can give some great movement. Just copy your phrase 100 times and then adjust slow modulation parameters. then render it to audio and search for the best peaces to rebuild one great phrase.&#xD;&#xA;&#xD;&#xA;Another way to maybe achieve it is to put the vocal chops into a sampler and pitch/pitchshift it there. most samplers have inbuilt filters so you can have everything in one package!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I hope this gives you a start.&#xD;&#xA;&#xD;&#xA;Peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="35594" PostHistoryTypeId="2" PostId="22075" RevisionGUID="54624ec2-90a9-4fe5-b983-b8e555486c71" CreationDate="2013-12-20T19:32:34.443" UserId="6448" Text="By knowing people who work in said American companies (esp. in marketing).&#xD;&#xA;&#xD;&#xA;By interning/working in an audio (post) production house that does a lot of the productions that you're interested in.&#xD;&#xA;&#xD;&#xA;By knowing freelancers that do said productions and getting them to hand you some of their work (e.g. editing) and forming a partnership that way.&#xD;&#xA;&#xD;&#xA;By establishing yourself as a freelancer (very difficult).&#xD;&#xA;&#xD;&#xA;Prepare to compete a lot." ContentLicense="CC BY-SA 3.0" />
  <row Id="35595" PostHistoryTypeId="2" PostId="22076" RevisionGUID="31379c12-006d-4642-8198-5c89ead0d4b6" CreationDate="2013-12-20T21:36:21.110" UserId="6425" Text="I use the AKAI LPD 8 to trigger Drums and automate parameters. And it is amazing for its price! And its so small, i can put it in every bag!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35596" PostHistoryTypeId="2" PostId="22077" RevisionGUID="85994711-0f8e-4550-8f35-e069d9f8cbf0" CreationDate="2013-12-20T23:29:41.533" UserId="6878" Text="Personally, while editing the rough recordings I generally remove every passage where you can clearly hear a conversation. Regardless of the legal issues that might occur if somebody recognizes his own voice, you don't want to have such thing as a recognizable conversation in the video you use the recording for. &#xD;&#xA;&#xD;&#xA;If your recordings contain any sound logos,music or any hints to a brand (for example somebody saying &quot;welcome to starbucks, what can I do for you?') you must delete those passages of course.&#xD;&#xA;&#xD;&#xA;I hope this helped a bit" ContentLicense="CC BY-SA 3.0" />
  <row Id="35598" PostHistoryTypeId="2" PostId="22079" RevisionGUID="85e63d74-0c1b-4bda-911c-1f28da53de3e" CreationDate="2013-12-21T06:51:29.643" UserId="6804" Text="I have a noticed in a few pop songs you occasionally get a series of notes that sounds like a set of short notes rising in succession - usually done with strings. One example is in Abba's Dancing Queen, right after the lyric 'and when you get the chance..' you get this sequence I am thinking of. Another example is the very beginning of 'One in a Million' by the Pet Shop Boys.&#xD;&#xA;&#xD;&#xA;Is there a musicological term for this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35599" PostHistoryTypeId="1" PostId="22079" RevisionGUID="85e63d74-0c1b-4bda-911c-1f28da53de3e" CreationDate="2013-12-21T06:51:29.643" UserId="6804" Text="What do you call a rising sequence of short notes in a composition esp with strings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35600" PostHistoryTypeId="3" PostId="22079" RevisionGUID="85e63d74-0c1b-4bda-911c-1f28da53de3e" CreationDate="2013-12-21T06:51:29.643" UserId="6804" Text="&lt;music&gt;&lt;score&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35601" PostHistoryTypeId="5" PostId="22006" RevisionGUID="6788da13-e2c8-465d-864c-b5228c0b2761" CreationDate="2013-12-21T07:27:47.317" UserId="6718" Comment="added 644 characters in body" Text="Dolby Atmos is the name of a surround sound technology announced by Dolby Laboratories in April 2012, which was first utilized in Pixar's Brave.&#xD;&#xA;&#xD;&#xA;The first generation cinema hardware, the &quot;Dolby Atmos Cinema Processor&quot; supports up to 128 discrete audio tracks and up to 64 unique speaker feeds, the technology will initially be geared towards commercial cinema applications only, but may later be adapted to home cinema.&#xD;&#xA;&#xD;&#xA;In addition to playing back a standard 5.1 or 7.1 mix using arrays, the system will give each loudspeaker its own unique feed, arranged as a hemisphere above the audience.&#xD;&#xA;&#xD;&#xA;http://twit.tv/show/home-theater-geeks/168/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35602" PostHistoryTypeId="24" PostId="22006" RevisionGUID="6788da13-e2c8-465d-864c-b5228c0b2761" CreationDate="2013-12-21T07:27:47.317" Comment="Proposed by 6718 approved by 432, -1 edit id of 28" ContentLicense="CC BY-SA 3.0" />
  <row Id="35603" PostHistoryTypeId="5" PostId="22006" RevisionGUID="a226c25d-9cc0-4b57-8a82-4928490438c6" CreationDate="2013-12-21T07:27:47.317" UserId="6432" Comment="deleted 43 characters in body" Text="Dolby Atmos is the name of a surround sound technology announced by Dolby Laboratories in April 2012, which was first utilized in Pixar's Brave.&#xD;&#xA;&#xD;&#xA;The first generation cinema hardware, the &quot;Dolby Atmos Cinema Processor&quot; supports up to 128 discrete audio tracks and up to 64 unique speaker feeds, the technology will initially be geared towards commercial cinema applications only, but may later be adapted to home cinema.&#xD;&#xA;&#xD;&#xA;In addition to playing back a standard 5.1 or 7.1 mix using arrays, the system will give each loudspeaker its own unique feed, arranged as a hemisphere above the audience.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35604" PostHistoryTypeId="2" PostId="22080" RevisionGUID="820af68c-20cc-428d-ae69-be6b4fb20420" CreationDate="2013-12-21T08:02:11.763" UserId="1185" Text="Glissando.  Although I can't help feeling this question is a bit off topic." ContentLicense="CC BY-SA 3.0" />
  <row Id="35605" PostHistoryTypeId="2" PostId="22081" RevisionGUID="44f71b89-41bf-4194-8059-ee0a3d9ab7bd" CreationDate="2013-12-21T14:52:41.250" UserId="6269" Text="Magic sounds is always that we can't hear in real life. For your event try to mix this sounds:&#xD;&#xA;&#xD;&#xA;1) Good warm and bright chimes. Try to find them in some orchestral vst instruments. Render a few variations, take 2 of them and pan hard left and right (left -100% right - 100%).&#xD;&#xA;&#xD;&#xA;2) Sizzle of fire torch (\Boom Libraries\Cinematic Trailers - Construction Kit\Impact_Fire_Torch_Sizzle_Long), the part when the sizzle is stable (0:02 - 0:08 etc.). You need 2 samples - one for left channel, one for right. Pan them hard (again left -100% right - 100%).&#xD;&#xA;&#xD;&#xA;3) In center you can place breath sounds or some singing voices. Pitched animal sounds with reverbs probably will work too. It must be with long attack and release. &#xD;&#xA;&#xD;&#xA;4) Airy whooshes. Take some long sample of wind and apply doppler plugin (Waves Doppler or similar). Then splice it into individual flow samples. Mix them in proper places when your magic change the directions. Also pan and gain it appropriate to simulate the flow of your magic stream. To get cold feeling use the high pitched wind in mountains or caves, to get warm feeling use forest winds.&#xD;&#xA;&#xD;&#xA;For effects use this setup:&#xD;&#xA;&#xD;&#xA;1) 1st send - plate reverb. Apply it on chimes and sizzle if you feel them flat.&#xD;&#xA;&#xD;&#xA;2) 2nd send - hall reverb. Apply it on whooshes and central sounds to inflate the atmoshere.&#xD;&#xA;&#xD;&#xA;3) 1st aux or directly to channel - stereo delay. Waves supertap or similar. Works good for chimes/sizzles, to fill the gaps.&#xD;&#xA;&#xD;&#xA;4) 2nd aux or directly to channel - phaser. It most be not obvious, just to glide everything.&#xD;&#xA;&#xD;&#xA;5) 3rd aux or directly to channel - Waves Mondomod or similar. Use it for slightly swing the sounds. With proper use it can breath the life in your magic.&#xD;&#xA;&#xD;&#xA;Mix everything with your own taste. Maybe something will be useless, maybe something you will add by yourself, but it is a good point to start.&#xD;&#xA;&#xD;&#xA;Hope this wiil help you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35606" PostHistoryTypeId="2" PostId="22082" RevisionGUID="ed022e35-36cc-484a-9127-edf56272c44c" CreationDate="2013-12-21T19:05:24.597" UserId="6410" Text="It's know as Mannheim rocket.&#xD;&#xA;&#xD;&#xA;http://www.talkclassical.com/5102-mannheim-rocket.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="35607" PostHistoryTypeId="2" PostId="22083" RevisionGUID="a7670176-b175-4117-8965-8b5913d64563" CreationDate="2013-12-22T13:54:18.020" UserId="6996" Text="No in fact there is not a way to run the unit in Stereo mode and use external mics nor can you switch off the onboard mics when trying to record two channels with external mics/line inputs in 4 Channel Mode and so far, MTR mode does not work at all. If you deselect the Mic in Stereo mode then it just creates a single stereo room recording that doesn't allow you to mic instruments individually and there are not, therefore, track separation possibilities.  What the asker wants to do is the same as what I want to do:  use the Zoom as a rec. studio for 2 track recording with one instrument /voice per channel without using the room mics at the same time. The only way I could even register a signal from a plugged in mic was to choose 4 Channel mode - but then the built-in Mics were also on and there was no way to deselect that option, pressing the button does nothing.  I really don't get it and if my unit is not malfunctioning then I can only agree that the design is unnecessarily complicated and non-intuitive." ContentLicense="CC BY-SA 3.0" />
  <row Id="35608" PostHistoryTypeId="2" PostId="22084" RevisionGUID="7fe462b8-d781-41ff-acaa-d55e76c22b4a" CreationDate="2013-12-22T14:41:53.607" UserId="6997" Text="I'm using background music and sound effects in my android-game. The Problem is that these sound effects differ in their loudness very much. And some of them are much to quiet. Unfortunately, the quite ones can't be amplified without overdrive. How can I increase their loudness?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35609" PostHistoryTypeId="1" PostId="22084" RevisionGUID="7fe462b8-d781-41ff-acaa-d55e76c22b4a" CreationDate="2013-12-22T14:41:53.607" UserId="6997" Text="Increasing loudness of sound effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="35610" PostHistoryTypeId="3" PostId="22084" RevisionGUID="7fe462b8-d781-41ff-acaa-d55e76c22b4a" CreationDate="2013-12-22T14:41:53.607" UserId="6997" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;gameaudio&gt;&lt;loudness&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35611" PostHistoryTypeId="2" PostId="22085" RevisionGUID="89d708e1-09f2-4e10-9ea1-c7b470840b45" CreationDate="2013-12-22T14:55:45.577" UserId="1185" Text="Have the sound effect files been normalised?  If not, I'd start by normalising them as this operation will analyse the file, find the highest level and will then increase the level of all samples so that the highest value sits at 0dB.  If you are not familiar with audio software I'd suggest downloading something like Audacity and then look at the manual for normalisation. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35612" PostHistoryTypeId="2" PostId="22086" RevisionGUID="4aa3b579-66e0-447a-862e-069aeac82df7" CreationDate="2013-12-22T15:30:35.187" UserId="6448" Text="You'll need to modify the gain structure by compression/limiting or manual volume automation.&#xD;&#xA;&#xD;&#xA;You could use a brickwall limiter, but make sure by listening and comparing that it actually results to increased volume and not decreased volume as crushing dynamics can result in either one depending on how the limiting is done or how the sound reacts to it.&#xD;&#xA;&#xD;&#xA;You could try some EQ or harmonic exciters as well. Or a &quot;volume maximizer&quot; in the style or Waves MaxxVolume or RVox." ContentLicense="CC BY-SA 3.0" />
  <row Id="35613" PostHistoryTypeId="2" PostId="22087" RevisionGUID="75ad4f78-a949-4476-8f90-d714d7485153" CreationDate="2013-12-22T15:33:07.660" UserId="6998" Text="I'll weigh in fromm a purely non-technical perspective. I have been recording location choral / orchestral concerts for years and love the sound of MS. Clients do as well. It just gives this beautiful spacial ambience I find difficult to capture with XY.&#xD;&#xA;&#xD;&#xA;The comments about being able to control the stereo image are dead on. That is another nice feature of the MS technique." ContentLicense="CC BY-SA 3.0" />
  <row Id="35617" PostHistoryTypeId="2" PostId="22089" RevisionGUID="17ca3698-6a9b-463e-a17f-9d124706e46a" CreationDate="2013-12-22T15:57:57.453" UserId="5989" Text="Cutting some bass out can free some headroom for you to increase more volume. Since the bass in sfx is not that great and can make player's ear tired. I once do a rapid laser gun sound with bass uncut and man! that's very annoying. &#xD;&#xA;&#xD;&#xA;When you dry up the sfx it may not sound that great when listened alone but when you play the game with your awesome soundtrack then it started to sound great! (Especially song with kick drum sound)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35620" PostHistoryTypeId="2" PostId="22090" RevisionGUID="203cd60f-7e84-4dba-b4ca-f81e204e5e8d" CreationDate="2013-12-23T11:46:01.903" UserId="7001" Text="I'm disappointed voice acting wasn't a solution http://www.youtube.com/watch?v=MypNbne268E" ContentLicense="CC BY-SA 3.0" />
  <row Id="35622" PostHistoryTypeId="2" PostId="22092" RevisionGUID="09864858-a69a-4c4b-869b-72e54fcc9931" CreationDate="2013-12-23T19:22:06.470" UserId="3346" Text="Check out this post [http://sound.stackexchange.com/questions/20561/small-xlr-connecotrs-for-ortf-setup/20570?noredirect=1#comment18708_20570][1] here you´ll find some pics and recommendations for building cm3´s inside the Rode Blimp which works pretty well !!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sound.stackexchange.com/questions/20561/small-xlr-connecotrs-for-ortf-setup/20570?noredirect=1#comment18708_20570" ContentLicense="CC BY-SA 3.0" />
  <row Id="35623" PostHistoryTypeId="2" PostId="22093" RevisionGUID="4f9c979e-3899-4981-ba57-473a9d9f38ec" CreationDate="2013-12-23T19:22:27.373" UserId="3994" Text="A senior mixer told me he didn't like mid/side BG's and thinks XY sounds better especially when spreading the signal in 5.1, so I'm kind of going with that." ContentLicense="CC BY-SA 3.0" />
  <row Id="35624" PostHistoryTypeId="2" PostId="22094" RevisionGUID="41f95903-0981-4bc2-8662-29c82b381e1e" CreationDate="2013-12-24T08:45:40.413" UserId="6866" Text="I just recently purchased iZotope's RX3 suite and beginning to incorporate it into my workflow. When I use it as a plugin within Pro Tools, some plugins from the suite cause a delay. Activating Pro Tools' Delay Compensation feature fixes the problem, but then negatively affects other tracks that don't require a delay compensation. Is it possible to assign a delay compensation for specific tracks only? I guess I could shift regions in my timeline according to the delay compensation but it just doesn't feel like the efficient way to go. &#xD;&#xA;&#xD;&#xA;Anyone else familiar with managing delays while using the RX3 suite (or other plugins) ?&#xD;&#xA;Should I just avoid using RX3 as a plugin and do all necessary processing via the standalone app?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35625" PostHistoryTypeId="1" PostId="22094" RevisionGUID="41f95903-0981-4bc2-8662-29c82b381e1e" CreationDate="2013-12-24T08:45:40.413" UserId="6866" Text="Delay issues while using iZotope RX3 for noise reduction and restoration" ContentLicense="CC BY-SA 3.0" />
  <row Id="35626" PostHistoryTypeId="3" PostId="22094" RevisionGUID="41f95903-0981-4bc2-8662-29c82b381e1e" CreationDate="2013-12-24T08:45:40.413" UserId="6866" Text="&lt;noise-reduction&gt;&lt;delay&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35627" PostHistoryTypeId="2" PostId="22095" RevisionGUID="cf491ad3-6ef0-4611-b269-4f82eb5d86e2" CreationDate="2013-12-24T14:42:17.647" UserId="1216" Text="welcome!&#xD;&#xA;i think it's best to check out the protools forums on this subject. &#xD;&#xA;and if you want a proper answer there (or here), you should also specify your software version, pc/mac, processor, and settings more clearly. &#xD;&#xA;with regards to protools and 'delay compensation' it's a frankenstein implementation that is only fixed in 11HD (i think). You cannot 'assign' compensation to 1 track or more tracks, only to all.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="35628" PostHistoryTypeId="2" PostId="22096" RevisionGUID="0c2de506-fc0d-4eef-8b4c-bc1e90d97ab6" CreationDate="2013-12-24T15:26:08.593" UserId="194" Text="Its that time again.  &#xD;&#xA;&#xD;&#xA;Let's post our favorite recordings from 2013.&#xD;&#xA;&#xD;&#xA;My first contribution is of my newborn baby boy - Caruso.  He's pretty awesome.&#xD;&#xA;&#xD;&#xA;![Baby C][1]&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/rcoronado/babyc-goo-mono&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Yny5d.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="35629" PostHistoryTypeId="1" PostId="22096" RevisionGUID="0c2de506-fc0d-4eef-8b4c-bc1e90d97ab6" CreationDate="2013-12-24T15:26:08.593" UserId="194" Text="Best recordings of 2013" ContentLicense="CC BY-SA 3.0" />
  <row Id="35630" PostHistoryTypeId="3" PostId="22096" RevisionGUID="0c2de506-fc0d-4eef-8b4c-bc1e90d97ab6" CreationDate="2013-12-24T15:26:08.593" UserId="194" Text="&lt;field-recording&gt;&lt;fun&gt;&lt;recordings&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35631" PostHistoryTypeId="2" PostId="22097" RevisionGUID="95f0e547-9ead-444f-b4b7-53d718a5b8f0" CreationDate="2013-12-24T15:53:18.623" UserId="1216" Text="Great idea!&#xD;&#xA;&#xD;&#xA;My favourite is this one: http://deauditievedienst.tumblr.com/post/66100351759/a-mysterious-sound&#xD;&#xA;&#xD;&#xA;Happy holidays!&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="35632" PostHistoryTypeId="5" PostId="88" RevisionGUID="1dce7dd0-e881-46c8-94c6-49512686ebcf" CreationDate="2013-12-24T19:31:57.677" UserId="7010" Comment="edited body" Text="My favorite software is called &quot;an open mind&quot; — I have it installed in my brain...&#xD;&#xA;&#xD;&#xA;But you can't just buy it, it must come to you.&#xD;&#xA;&#xD;&#xA;Combined with a recorder an mic, it is capable of anything!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35633" PostHistoryTypeId="2" PostId="22098" RevisionGUID="5bd7beb3-bdb4-46bf-8b93-c5ca0076c4cd" CreationDate="2013-12-24T22:49:19.067" UserId="7011" Text="I am trying to replace my&#xD;&#xA;[Sony MDR-XD400](http://sony.co.uk/product/haa-home-entertainment-headphones/mdr-xd400)&#xD;&#xA;headhpones.&#xD;&#xA;&#xD;&#xA;I like these headphones&#xD;&#xA;because they let ambient sounds in, which is helpful when using&#xD;&#xA;them with a computer. It appears this is due to them being [Supra-aural](http://wikipedia.org/wiki/Headphones#Supra-aural) headphones. However I also see that&#xD;&#xA;[Open-back](http://wikipedia.org/wiki/Headphones#Open_or_closed_back)&#xD;&#xA;headphones can serve this same purpose.&#xD;&#xA;&#xD;&#xA;What type would be better for my situation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35634" PostHistoryTypeId="1" PostId="22098" RevisionGUID="5bd7beb3-bdb4-46bf-8b93-c5ca0076c4cd" CreationDate="2013-12-24T22:49:19.067" UserId="7011" Text="Supra-aural vs. Open-back headphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="35635" PostHistoryTypeId="3" PostId="22098" RevisionGUID="5bd7beb3-bdb4-46bf-8b93-c5ca0076c4cd" CreationDate="2013-12-24T22:49:19.067" UserId="7011" Text="&lt;gear&gt;&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35636" PostHistoryTypeId="2" PostId="22099" RevisionGUID="c5d6c895-0fff-4f0b-b8ca-11836aec2f5d" CreationDate="2013-12-25T01:39:04.280" UserId="7012" Text="Inspired by Rcoronado's baby, here's mine (who's almost 1 year now). This was recorded around his 4th month, and composed somewhere in the following 2 months. It was indeed very badly recorded (an iPhone at more or less 1,5 meters distance) but I enjoyed the composing around the original sounds.&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/soundsrealproductions/little-dr-l-dreams-i-between" ContentLicense="CC BY-SA 3.0" />
  <row Id="35637" PostHistoryTypeId="2" PostId="22100" RevisionGUID="611c8a80-21c8-4e3d-9c43-9543bee3c556" CreationDate="2013-12-25T05:15:33.917" UserId="1228" Text="It depends, quite honestly.  For your purpose, it sounds like open back circumaural may just be more comfortable, a la the DT880 or 990s (880s are semi) and give you natural-sounding bleed through (and natural sounding source), since supra-aural might smoosh your ear and as a result alter the phase qualities of what you hear inside and out.  For an example of what I mean, try A/Bing with your hand covering an ear while listening to something like an HVAC (and ever so slightly altering between how much you smoosh your ears with your hand), and also try cupping your ear with your hand (causes a more telescopic effect reminiscent of how a Telinga parabolic might work).  It drives home the point that our ears and their relationship to airflow is as important as the sound source delivery method.&#xD;&#xA;&#xD;&#xA;Again it depends on your needs.  The 'textbook' reason for open-back circumaural in music and post sound professionals is that it's closest thing you can get to working on monitors (allowing air to propagate and develop the frequencies properly versus a vacuum) if we aren't able to run monitors.  As a result, the response tends to be flatter (than say the MDR 7506) and offer a slightly more reliable translation (i say slightly since it never will replace working on monitors) - at the cost of letting background noisefloor bleed through.&#xD;&#xA;&#xD;&#xA;That all being said, for your needs they may actual serve the purpose you need.&#xD;&#xA;&#xD;&#xA;Just my two cents.  Hope it helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35641" PostHistoryTypeId="5" PostId="22007" RevisionGUID="64634e63-1b05-4f0a-a9e4-93f3e6f98b6f" CreationDate="2013-12-25T11:29:54.553" UserId="6718" Comment="added 179 characters in body" Text="Dolby Atmos is the name of a surround sound technology announced by Dolby Laboratories in April 2012 and supports up to 128 discrete audio tracks and up to 64 unique speaker feeds" ContentLicense="CC BY-SA 3.0" />
  <row Id="35642" PostHistoryTypeId="24" PostId="22007" RevisionGUID="64634e63-1b05-4f0a-a9e4-93f3e6f98b6f" CreationDate="2013-12-25T11:29:54.553" Comment="Proposed by 6718 approved by 194, 80 edit id of 32" ContentLicense="CC BY-SA 3.0" />
  <row Id="35643" PostHistoryTypeId="5" PostId="1381" RevisionGUID="5711fa76-93f1-41e3-b77e-6a268384ba2d" CreationDate="2013-12-25T11:30:04.053" UserId="-1" Comment="sennheiser mkh416 was reccommended as an ambience recording microphone. The 416 is a shotgun mic and is a terrible selection for recording ambience. This is misinformation, so it was removed. " Text="+1 for the MKH416, one of my favourite mics. We use to mount them in booms on sport matches. When they are not avalaible  my next choice is Beyerdynamic MCE 86II (don´t mistake it for the MC836). They sound good for me too and are less expensive than Sennheiser. &#xD;&#xA;I´ve been using the Beyer MCE72 mounted on cameras too. They are lightweigth but I haven´t have enough time to compare them with the 416.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I was going to buy a MKH418s until I discovered that it needed the two mics phantom-powered all the time. So I decided that a shotgun-figure 8 combination was more versatile. My personal stereo config is a mid-side pair, with a Sennheiser MKH406 and a MKH30. The first is the precursor of the cardioid MKH40 and the other one is a figure 8 condenser. They are mounted together into a Rode Blimp.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35644" PostHistoryTypeId="24" PostId="1381" RevisionGUID="5711fa76-93f1-41e3-b77e-6a268384ba2d" CreationDate="2013-12-25T11:30:04.053" Comment="Proposed by 99.229.84.91|4869d29b-167e-4a7c-a326-7030c2bc8a72 approved by 1228, 80 edit id of 33" ContentLicense="CC BY-SA 3.0" />
  <row Id="35645" PostHistoryTypeId="2" PostId="22101" RevisionGUID="df978835-1e57-466b-b318-200772e13e1c" CreationDate="2013-12-25T12:54:56.087" UserId="7013" Text="As for shotgun type microphones I'm most familier with the 416, (as I own one) and have used a few other higher priced models. So when someone brought some Rode NGT series (1,2,3) to a shoot, (and having been unimpressed with my only personally owned Rode product), I was already prepared to not like these things.. As it turned out, they all worked wonderfully and I would certainly recommend them to anyone on a tight budget. I think the most expensive one is still only around seven hundred dollars. Just goes to show, you have to actually use something in battle before you form an opinion.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="35647" PostHistoryTypeId="2" PostId="22102" RevisionGUID="4baadfa4-bae4-44a1-b013-ddfec9733b1c" CreationDate="2013-12-25T15:16:48.730" UserId="6958" Text="According to Dr. Mike Hewitt the writer of *Music Theory for Computer Musicians*: &#xD;&#xA;&#xD;&#xA;&quot;The general range of human hearing extends from about **20 Hz to 20 kHz**, although this can vary depending upon the sensitivity of the individual ear&quot;.&#xD;&#xA;&#xD;&#xA;What is the point, for example, of a pair of headphones like the Sennheiser HD 800 that has frequency response of **8 Hz to 51 kHz**? Wouldn't any frequency higher than 20 kHz (give or take, depending on the &quot;... sensitivitiy of the individual ear&quot; as Dr. Hewitt pointed out) be impossible to hear?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35648" PostHistoryTypeId="1" PostId="22102" RevisionGUID="4baadfa4-bae4-44a1-b013-ddfec9733b1c" CreationDate="2013-12-25T15:16:48.730" UserId="6958" Text="What is the point of a frequency response higher than 20 Hz to 20 kHz?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35649" PostHistoryTypeId="3" PostId="22102" RevisionGUID="4baadfa4-bae4-44a1-b013-ddfec9733b1c" CreationDate="2013-12-25T15:16:48.730" UserId="6958" Text="&lt;headphones&gt;&lt;frequency-response&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35650" PostHistoryTypeId="5" PostId="22100" RevisionGUID="d99945a2-dc1a-4024-8d49-ea1980a4cbad" CreationDate="2013-12-25T17:17:12.410" UserId="7011" Comment="Create link" Text="It depends, quite honestly.  For your purpose, it sounds like open back circumaural may just be more comfortable, a la the&#xD;&#xA;[DT880](http://north-america.beyerdynamic.com/shop/dt-880-pro.html)&#xD;&#xA;or 990s (880s are semi) and give you natural-sounding bleed through (and natural sounding source), since supra-aural might smoosh your ear and as a result alter the phase qualities of what you hear inside and out.  For an example of what I mean, try A/Bing with your hand covering an ear while listening to something like an HVAC (and ever so slightly altering between how much you smoosh your ears with your hand), and also try cupping your ear with your hand (causes a more telescopic effect reminiscent of how a Telinga parabolic might work).  It drives home the point that our ears and their relationship to airflow is as important as the sound source delivery method.&#xD;&#xA;&#xD;&#xA;Again it depends on your needs.  The 'textbook' reason for open-back circumaural in music and post sound professionals is that it's closest thing you can get to working on monitors (allowing air to propagate and develop the frequencies properly versus a vacuum) if we aren't able to run monitors.  As a result, the response tends to be flatter (than say the MDR 7506) and offer a slightly more reliable translation (i say slightly since it never will replace working on monitors) - at the cost of letting background noisefloor bleed through.&#xD;&#xA;&#xD;&#xA;That all being said, for your needs they may actual serve the purpose you need.&#xD;&#xA;&#xD;&#xA;Just my two cents.  Hope it helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35651" PostHistoryTypeId="24" PostId="22100" RevisionGUID="d99945a2-dc1a-4024-8d49-ea1980a4cbad" CreationDate="2013-12-25T17:17:12.410" Comment="Proposed by 7011 approved by -1 edit id of 34" ContentLicense="CC BY-SA 3.0" />
  <row Id="35652" PostHistoryTypeId="5" PostId="22100" RevisionGUID="a44ba578-55be-41f1-8c9d-f90e8d090354" CreationDate="2013-12-25T17:17:12.410" UserId="1228" Comment="Create link" Text="It depends, quite honestly.  For your purpose, it sounds like open back circumaural may just be more comfortable, a la the&#xD;&#xA;[DT880](http://north-america.beyerdynamic.com/shop/dt-880-pro.html)&#xD;&#xA;or [990s](http://north-america.beyerdynamic.com/shop/dt-990-pro.html) (880s are semi) and give you natural-sounding bleed through (source), since supra-aural might smoosh your ear and as a result alter the phase qualities of what you hear inside and out.  For an example of what I mean, try A/Bing with your hand covering an ear while listening to something like an HVAC (and ever so slightly altering between how much you smoosh your ears with your hand), and also try cupping your ear with your hand (causes a more telescopic effect reminiscent of how a Telinga parabolic might work).  It drives home the point that our ears and their relationship to airflow is as important as the sound source delivery method.&#xD;&#xA;&#xD;&#xA;Again it depends on your needs.  The 'textbook' reason for open-back circumaural in music and post sound professionals is that it's closest thing you can get to working on monitors (allowing air to propagate and develop the frequencies properly versus a vacuum) if we aren't able to run monitors.  As a result, the response tends to be flatter (than say the MDR 7506) and offer a slightly more reliable translation (i say slightly since it never will replace working on monitors) - at the cost of letting background noisefloor bleed through.&#xD;&#xA;&#xD;&#xA;That all being said, for your needs they may actual serve the purpose you need.&#xD;&#xA;&#xD;&#xA;Just my two cents.  Hope it helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35653" PostHistoryTypeId="2" PostId="22103" RevisionGUID="3055569a-dd75-4835-8e95-6f5a8561cdce" CreationDate="2013-12-25T20:14:34.830" UserId="6410" Text="This isn't the most scientific answer but neither is this the most Sound Design question. Its also Christmas. &#xD;&#xA;&#xD;&#xA;The audiophile answer is probably that the higher (20k+) frequencies have some discernible effect on the lower frequencies. And that the -20Hz frequencies probably add 'warmth'&#xD;&#xA;&#xD;&#xA;I've got to say however that in my mind, most music is sampled at 44.1KHz anyway which means that sweet 50Khz tone wouldn't even be reproduced to affect your lower frequencies and anything below 20Hz should ideally be killed in any mix imaginable. And even if there are 10Hz tones they are definitely not being produced at adequate amplitude by a set of 1 inch headphone drivers to effect you in the way 'Infrasound' is allegedly supposed to. &#xD;&#xA;&#xD;&#xA;So the answer to what's the point? Nothing really just bigger parameters on a tech spec I'm guessing. Either that or they're earphones for cats and elephants. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35654" PostHistoryTypeId="2" PostId="22104" RevisionGUID="0b2d0b62-4db2-4a96-8eb3-2f9dd3b791db" CreationDate="2013-12-25T21:09:14.500" UserId="1228" Text="If you can afford to go M/S, I highly recommend it for its all-around versatility and mastering flexibility.  However, it can tend to be somewhat expensive (when you consider adding a Rycote and connbox add-on)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35656" PostHistoryTypeId="2" PostId="22106" RevisionGUID="f9efe2c1-aa6d-473c-b252-c935fd846a29" CreationDate="2013-12-25T23:20:26.470" UserId="37" Text="The point is to have the necessary frequency response or usual power output requirements _well within_ the nominal spec for the product, thus minimising distortion or other unwanted non-linearity. &#xD;&#xA;&#xD;&#xA;With microphones the point is also to provide extended frequency response to recordists who plan on manipulating the sounds later. &#xD;&#xA;&#xD;&#xA;With audio software plugins the point is to minimise rounding errors, provide better response curves for e.g. compressors, or better frequency response for e.g. EQs and spectrum analysers. &#xD;&#xA;&#xD;&#xA;With sound reproduction equipment (e.g amps or speakers) the aim is to avoid the edge areas of non-linearity in frequency response.&#xD;&#xA;&#xD;&#xA;Finally that way you can be sure that even if the marketing department have asked engineering to measure within -10dB (as opposed to -3dB), the range you're interested in will be intact. &#xD;&#xA;&#xD;&#xA;So, still about the ear, but in a roundabout way.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35657" PostHistoryTypeId="5" PostId="10252" RevisionGUID="761b4e4f-9bd0-4679-8879-52bc2ea16991" CreationDate="2013-12-26T00:12:39.953" UserId="1228" Comment="Spelling" Text="I like in one of the Star Wars movies, where Jengo Fett and his son Boba Fett in &quot;Slave 1&quot; are chasing Obi Wan and Anakin Skywalker through an asteroid field.   Obi Wan and Anakin are zipping and zooming through holes in the asteroid trying to get away, and at one point someone fires a torpedo into the asteroid to scatter them about and creating a moving nightmare to navigate through.   You see the shot, and everything goes dead silent, and you see the brilliant flash and the circular shockwave rip through the asteroids, and then  THANGGGGGG with lots of reverb you hear the detonation afterwards.   Its so awesome and the best use of silence in a film ever.   Though totally technically incorrect, sound doesn't travel in empty space at all as there's no air / medium to carry it, it doesn't matter." ContentLicense="CC BY-SA 3.0" />
  <row Id="35658" PostHistoryTypeId="2" PostId="22107" RevisionGUID="0c6467a6-0e45-4eb8-90b4-a033d86e2510" CreationDate="2013-12-26T12:18:46.573" UserId="1185" Text="I recently saw the film Gravity, which deals with the &quot;silence&quot; of space excellently.  Worth checking out." ContentLicense="CC BY-SA 3.0" />
  <row Id="35659" PostHistoryTypeId="16" PostId="22107" RevisionGUID="e1ef963d-6444-4f24-9ad8-385db2a5c2ad" CreationDate="2013-12-26T12:18:46.573" UserId="1185" />
  <row Id="35660" PostHistoryTypeId="2" PostId="22108" RevisionGUID="c1923e55-1c78-4fba-a8ab-e8a386b5a62e" CreationDate="2013-12-26T17:10:18.483" UserId="1393" Text="Try cutting unnecessary low end and boosting around 1-3k. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35661" PostHistoryTypeId="2" PostId="22109" RevisionGUID="84617e27-ef2a-49e1-873a-1bb585b4994a" CreationDate="2013-12-26T19:58:22.577" UserId="7008" Text="Have you checked freesound.org? Tons of samples available for commercial and non-commercial use.&#xD;&#xA;&#xD;&#xA;http://www.freesound.org/&#xD;&#xA;&#xD;&#xA;I wasn't able to listen to this on this machine, but I did find the following link:&#xD;&#xA;&#xD;&#xA;http://www.freesound.org/people/CGEffex/sounds/93136/#" ContentLicense="CC BY-SA 3.0" />
  <row Id="35662" PostHistoryTypeId="2" PostId="22110" RevisionGUID="076c94d3-c3f2-4a28-a4e7-38f92f02f2a4" CreationDate="2013-12-26T22:38:28.713" UserId="7017" Text="I mixed for 3 years on an Allan and Heath as well as several other analog consoles and was used to running my channel gain at 0db with the transient peaks never reaching above +6 (this is unity gain right?). The meter measured from -64(ish) to 0db and then up to +12(ish) or so. Now that I am in a new location I have been running digital consoles that places 0db at the very top of the meter (clipping). The only part of the console that shows clipping at +12(ish) the way I am used to is the meter for the bus faders.&#xD;&#xA;&#xD;&#xA;By observation I have found that at around -15db on the scale that clips at 0db will produce a 0db (10 or so under clipping) on the bus meters it sends to if both faders are set to unity. Now we are replacing the console with one that no longer has the metering scale I am used to.&#xD;&#xA;&#xD;&#xA;Why do digital consoles now clip at 0db instead of +12 or so like I am used to with every analog console I have seen? And what is the proper gain level to use on these new digital consoles to have unity gain?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35663" PostHistoryTypeId="1" PostId="22110" RevisionGUID="076c94d3-c3f2-4a28-a4e7-38f92f02f2a4" CreationDate="2013-12-26T22:38:28.713" UserId="7017" Text="Analog vs Digital metering" ContentLicense="CC BY-SA 3.0" />
  <row Id="35664" PostHistoryTypeId="3" PostId="22110" RevisionGUID="076c94d3-c3f2-4a28-a4e7-38f92f02f2a4" CreationDate="2013-12-26T22:38:28.713" UserId="7017" Text="&lt;levels&gt;&lt;digital&gt;&lt;gain&gt;&lt;analog&gt;&lt;0db&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35665" PostHistoryTypeId="2" PostId="22111" RevisionGUID="39bff13c-8389-4599-9081-eff32d9a95c9" CreationDate="2013-12-26T23:45:50.880" UserId="37" Text="tl;dr: digital has no headroom. 0dB is the max.&#xD;&#xA;&#xD;&#xA;this is the European kind. USA digital is 2dB hotter.&#xD;&#xA;&#xD;&#xA;give it a bit of time, it will start to make sense.&#xD;&#xA;&#xD;&#xA;![metering scales][1]&#xD;&#xA;&#xD;&#xA;from [here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/sRcjl.gif&#xD;&#xA;  [2]: http://web.onetel.net.uk/~peterphmusic/pharri5833/metering.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="35666" PostHistoryTypeId="2" PostId="22112" RevisionGUID="7d053c0f-ac1e-4092-ba04-ff8f0d9b54bb" CreationDate="2013-12-27T08:35:49.040" UserId="6425" Text="Since some months, it seams that i can hear extreme Details in Sounds and Music. I hear each Instrument separated, i can hear flaws in Dynamic or eq Treatments, i hear bad edits, reverb and Delay fx. And this is a wonderful Thing!!&#xD;&#xA;&#xD;&#xA;On the other Hand i feel extremly under stress and my ears hurt when i get into crowds of People (eg Subway in rush hours, Loud Moments in a cinema...) &#xD;&#xA;&#xD;&#xA;Sometimes my right ear feels kinda as if it Blocks the Loud Atmo by closing my ear ( feels like water in ear) but my doctor did not find anything, my ears are perfectly Fine. She told me that the Effekt can appear  when i Overload my ear.&#xD;&#xA;&#xD;&#xA;I use a very low Monitoring Level with my nearfields! Also i do regular biobreaks and monitor swithing to refresh my ears! &#xD;&#xA;&#xD;&#xA;Do some of you experience something Else? It feels like my ears became more sensible!!&#xD;&#xA;&#xD;&#xA;Peace!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35667" PostHistoryTypeId="1" PostId="22112" RevisionGUID="7d053c0f-ac1e-4092-ba04-ff8f0d9b54bb" CreationDate="2013-12-27T08:35:49.040" UserId="6425" Text="Over?-Sensible Ears" ContentLicense="CC BY-SA 3.0" />
  <row Id="35668" PostHistoryTypeId="3" PostId="22112" RevisionGUID="7d053c0f-ac1e-4092-ba04-ff8f0d9b54bb" CreationDate="2013-12-27T08:35:49.040" UserId="6425" Text="&lt;workflow&gt;&lt;ear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35669" PostHistoryTypeId="2" PostId="22113" RevisionGUID="eb4f0810-e2d2-47a6-9842-a7d629f14d95" CreationDate="2013-12-27T09:47:53.167" UserId="1228" Text="Yes, I have experienced this (the sensativity/stress, over-anaylsis of everything I hear to the point I couldn't focus on watchin a film recreationally, etc) and it was a struggle for a year or two.  It means your ears are waking up and you are likely gaining a more conscious control/understanding lf this 'sense' (the brain has been shown to adapt over time based upon stimulus, wherein for example sound-driven people may have a larger auditory center over time than the average person).&#xD;&#xA;&#xD;&#xA;You are certainly not alone in this overall observation.  Becoming 'conscious' tonthe sense can be frightening at first.&#xD;&#xA;&#xD;&#xA;Over time, you will hopefully make peace with it and learn to develop the sense further to where yo can consciously analyze when you need to, but also be bale to consciously 'disengage' to just enjoy the spontaneous sonic beauty you can hear happening all around you with awe." ContentLicense="CC BY-SA 3.0" />
  <row Id="35670" PostHistoryTypeId="5" PostId="22113" RevisionGUID="55322b82-6ba7-41c3-93b4-524da1e2ddc7" CreationDate="2013-12-27T09:53:31.847" UserId="1228" Comment="added 200 characters in body; edited body" Text="Yes, I have experienced this (the sensativity/stress, over-anaylsis of everything I hear to the point I couldn't focus on watchin a film recreationally, etc) and it was a struggle for a year or two.  It means your ears are waking up and you are likely gaining a more conscious control/understanding lf this 'sense' (the brain has been shown to adapt over time based upon stimulus, wherein for example sound-driven people may have a larger auditory center over time than the average person).&#xD;&#xA;&#xD;&#xA;You are certainly not alone in this overall observation.  Becoming 'conscious' to the sense can be frightening at first.&#xD;&#xA;&#xD;&#xA;Over time, you will hopefully make peace with it and learn to develop the sense further to where you can consciously sonically analyze when you need to, but also be able to consciously 'disengage' from that frame of mind to just enjoy the spontaneous sonic beauty you can hear happening all around you with awe (a spontaneous beauty which can now be truely appreciated because of the development of consciosly being attuned to the 'sense' as opposed to taking it for granted)." ContentLicense="CC BY-SA 3.0" />
  <row Id="35671" PostHistoryTypeId="2" PostId="22114" RevisionGUID="dba00457-233e-4a77-af9e-4ba1c037ad58" CreationDate="2013-12-27T10:51:10.303" UserId="1185" Text="I have never experienced the symptoms that you describe, but for me I have my general mode of &quot;hearing&quot; and then when I need to I switch to &quot;listening&quot; mode.  It seems to me like you are trying to be in listening mode as your default and are then experiencing sensory overload.  As much as you need to develop you listening skills, it is vital that you control its use.  I'd suggest taking time off and going and doing something completely non-sound related (reading, exercise, etc.) so that you can get some balance back." ContentLicense="CC BY-SA 3.0" />
  <row Id="35672" PostHistoryTypeId="2" PostId="22115" RevisionGUID="965404d9-d477-4b8e-97f1-76f16161ebf9" CreationDate="2013-12-27T15:11:59.020" UserId="37" Text="happens to me all the time when i get into extended sessions of audio post. get some rest." ContentLicense="CC BY-SA 3.0" />
  <row Id="35673" PostHistoryTypeId="2" PostId="22116" RevisionGUID="e87fe101-8140-4aba-b09b-5709b35732cf" CreationDate="2013-12-27T19:28:55.643" UserId="7021" Text="The use of silence in Gravity is outstanding. Some scenes are completely stripped of sound. The sound team came up with excellent concepts to work around the silence in space. The use of sound from vibrating objects and direct contact through the spacesuits is an excellent example.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="35674" PostHistoryTypeId="16" PostId="22116" RevisionGUID="64c73901-31aa-4b86-8477-e9e22a1fe883" CreationDate="2013-12-27T19:28:55.643" UserId="7021" />
  <row Id="35675" PostHistoryTypeId="2" PostId="22117" RevisionGUID="f88c4fbc-67d1-4921-8b37-6ca6d52c136a" CreationDate="2013-12-27T21:14:32.190" UserId="7022" Text="Not only you can, but you should mix diferent speakers. I have 13 speakers in my room - 3 brands, 7 diferent hz (range) speakers and two diferent amplifers and still planing to buy more. I don't know anyone else who has something like that and I can tell that the sound is perfect, best I've even heard, comparing to others.. Why? Becouse every speaker has a gap in hz frecvence.. So it makes max full sound, with all frecvencies.. Subwoofers, 25hz, 35hz, 25hz, 20hz, for full and deep bass.. the same goes on mid frecvence, and high frecvence, one speaker 20khz other 25khz, for max full sound and quality, with minimal gap in frecvences.. Just pick all speakers with the same value of ohms, so all speakers will sound in the same volume (loudness)." ContentLicense="CC BY-SA 3.0" />
  <row Id="35676" PostHistoryTypeId="2" PostId="22118" RevisionGUID="c77a840b-46fb-4644-a81e-2fddea722d80" CreationDate="2013-12-28T02:15:19.467" UserId="7008" Text="Any of these help? Many of these samples can be used commercially. &#xD;&#xA;&#xD;&#xA;http://freesound.org/search/?q=screen+door" ContentLicense="CC BY-SA 3.0" />
  <row Id="35677" PostHistoryTypeId="2" PostId="22119" RevisionGUID="a8750ec3-d1f6-4979-b7cf-300cb0fff04c" CreationDate="2013-12-29T16:57:20.470" UserId="7028" Text="Oh, a nice idea.&#xD;&#xA;I fear my favorite recording of the year is on the creepy side, too ...&#xD;&#xA;&#xD;&#xA;a whistling scaffolding in rural Sweden, nice eerie tubes. Quite a classic thing to record indeed, but the crowd of ducks that were having fun around the place give the recording this bizarre feel !&#xD;&#xA;&lt;https://soundcloud.com/felixdavin/whistling-scaffolding&gt;&#xD;&#xA;&#xD;&#xA;Happy new year !" ContentLicense="CC BY-SA 3.0" />
  <row Id="35678" PostHistoryTypeId="2" PostId="22120" RevisionGUID="c5fa0fef-9d3d-408f-b9aa-aa151abed96c" CreationDate="2013-12-30T01:40:46.960" UserId="7030" Text="I have a [TA-5650 VFET amp](http://www.hifiengine.com/library/sony/ta-5650.shtml).  It has worked great for years, but every once in a while it would drop the left channel.  A few times now I have blown the case out with air and the problem has gone away for a year.  But it keeps coming back, and now it's lasting longer than before.&#xD;&#xA;&#xD;&#xA;It's still intermittent.  Some days it works, some days it doesn't.  Sometimes it works for a while and then cuts out.  Presently it is not working.  When I turn on my amp, there are some scratching sounds on the left channel.  If I start playing a song, it only comes out on the right channel.  If I turn the balance all the way to the left, I can hear some sound but it is faint (and inaudible when the balance is even).  When the music is playing, if I turn off the amp and then back on, both channels work for 2-3 seconds.  If I switch the balance to the left channel and turn the volume up quite high, the speaker starts making popping and scratching noises.&#xD;&#xA;&#xD;&#xA;The problem is not the speakers, because the behavior is the same if I swap the speakers (the problem follows the channel).  I also have the same problem if I move the speakers to from the A input row to the B input row.  The same behavior is also on the headphone output.&#xD;&#xA;&#xD;&#xA;Does anyone have recommendations on how to further troubleshoot/address this problem?  I'm thinking about following [some instructions about cleaning controls](http://www.audiokarma.org/forums/showthread.php?t=207005) but I don't really understand these things--I'm more of a software guy." ContentLicense="CC BY-SA 3.0" />
  <row Id="35679" PostHistoryTypeId="1" PostId="22120" RevisionGUID="c5fa0fef-9d3d-408f-b9aa-aa151abed96c" CreationDate="2013-12-30T01:40:46.960" UserId="7030" Text="Left channel dropped on TA-5650" ContentLicense="CC BY-SA 3.0" />
  <row Id="35680" PostHistoryTypeId="3" PostId="22120" RevisionGUID="c5fa0fef-9d3d-408f-b9aa-aa151abed96c" CreationDate="2013-12-30T01:40:46.960" UserId="7030" Text="&lt;amplifier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35681" PostHistoryTypeId="2" PostId="22121" RevisionGUID="bdd38640-3778-4579-b420-68b7188b667c" CreationDate="2013-12-30T12:47:02.977" UserId="1185" Text="Welcome Sound Design Stack Exchange.  I'm not sure this is really the right forum for your question and you may get better responses elsewhere.&#xD;&#xA;&#xD;&#xA;Nonetheless it sounds to me like a fault with the amps drive circuitry and there is unlikely to be a quick fix: It might be as simple as a dry joint, but equally it maybe as complex as a thermal condition.  Anyway, you need a qualified electronic engineer/repair-man to look at it.  You should be able to find one in your area.  Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="35684" PostHistoryTypeId="5" PostId="5231" RevisionGUID="7b073295-7293-4130-b678-68565838c23a" CreationDate="2013-12-31T03:08:38.573" UserId="7010" Comment="typos and video embedding" Text="Gasper Noe's 2002 cult classic *Irreversible* features two very shocking scenes that gained the film notoriety. One of these is in a night club where the main character is looking for someone who he ends up killing with a fire extinguisher (very gruesome scene). The whole scene was incredibly intensified by Thomas Bangalter's score mixed with the intense camera work. &#xD;&#xA;&#xD;&#xA;Overall, the audience is left with a feeling of nausea, largely due to the well-designed soundtrack. It is really just a repetitive drone but it has an incredible effect of intensifying the gravity of the scene. &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=5CfAsntyoCg" ContentLicense="CC BY-SA 3.0" />
  <row Id="35685" PostHistoryTypeId="24" PostId="5231" RevisionGUID="7b073295-7293-4130-b678-68565838c23a" CreationDate="2013-12-31T03:08:38.573" Comment="Proposed by 7010 approved by -1 edit id of 41" ContentLicense="CC BY-SA 3.0" />
  <row Id="35686" PostHistoryTypeId="5" PostId="5231" RevisionGUID="1f5fc0af-5907-48fd-9bee-63202ec8070f" CreationDate="2013-12-31T03:08:38.573" UserId="253" Comment="typos and video embedding" Text="Gasper Noe's 2002 cult classic *Irreversible* features two very shocking scenes that gained the film notoriety. One of these is in a nightclub where the main character is looking for someone who he ends up killing with a fire extinguisher (very gruesome scene). The whole scene was incredibly intensified by Thomas Bangalter's score mixed with the intense camera work. &#xD;&#xA;&#xD;&#xA;Overall, the audience is left with a feeling of nausea, largely due to the well-designed soundtrack. It is really just a repetitive drone but it has an incredible effect of intensifying the gravity of the scene. &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=5CfAsntyoCg" ContentLicense="CC BY-SA 3.0" />
  <row Id="35687" PostHistoryTypeId="2" PostId="22122" RevisionGUID="72d7b719-9a8d-45d5-97c9-03c2c9632933" CreationDate="2013-12-31T04:49:46.557" UserId="7033" Text="I have a surround sound that I use that's hooked up to my tv to listen to music through my laptop and play rockband on my Xbox. I have a white and red rca cable hooked up from the receiver to the back of the tv and an hdmi cable plugged into the laptop when I am listening to music and then switch the same hdmi cable to my xbox when I want to play rockband. Recently when playing I switched over to the regular fm radio on my surround sound and it was twice as loud and super brassy. How can I get the volume and sound to sound as loud as the fm radio does? Any help is much appreciated. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35688" PostHistoryTypeId="1" PostId="22122" RevisionGUID="72d7b719-9a8d-45d5-97c9-03c2c9632933" CreationDate="2013-12-31T04:49:46.557" UserId="7033" Text="Surround Sound is Louder Playing FM Radio" ContentLicense="CC BY-SA 3.0" />
  <row Id="35689" PostHistoryTypeId="3" PostId="22122" RevisionGUID="72d7b719-9a8d-45d5-97c9-03c2c9632933" CreationDate="2013-12-31T04:49:46.557" UserId="7033" Text="&lt;theater&gt;&lt;home&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35690" PostHistoryTypeId="5" PostId="427" RevisionGUID="b692402d-79e6-440d-a0e9-bed9bff74177" CreationDate="2013-12-31T04:54:50.463" UserId="7010" Comment="typo and formatting" Text="I can think of a masterpiece by Andrey Tarkovsky called *Stalker*. Totally love how the sound design and score blend into each other in this railroad to the zone sequence:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Rk1PxpZ-hfE" ContentLicense="CC BY-SA 3.0" />
  <row Id="35691" PostHistoryTypeId="24" PostId="427" RevisionGUID="b692402d-79e6-440d-a0e9-bed9bff74177" CreationDate="2013-12-31T04:54:50.463" Comment="Proposed by 7010 approved by 253, 6411 edit id of 37" ContentLicense="CC BY-SA 3.0" />
  <row Id="35692" PostHistoryTypeId="5" PostId="425" RevisionGUID="ae9bfa91-8d62-4d48-b1c7-30d12a0c320a" CreationDate="2013-12-31T04:55:50.513" UserId="7010" Comment="fixed the formatting for good; BTW, YouTube has taken the video down since" Text="Can you think of films where the distinction between score and sound design is creatively or accidentally undermined?  &#xD;&#xA;&#xD;&#xA;In a lot of films the distinction is really clear: score is orchestral music, electronic atmospheres or rock songs, and it comments on emotion or drama or something.  Sound design is usually recordings of non-musical things, and acts to anchor the image and make everything convincing.  (I'm simplifying a lot, but you know what I mean.)  Sometimes in a film, however, it's much harder to draw a clear distinction between score and sound design, and I always find it interesting when I come across this kind of blurring.&#xD;&#xA; &#xD;&#xA;Here's a couple of different examples of what I mean:&#xD;&#xA;&#xD;&#xA;1. In the electronic score for Forbidden Planet, the sounds are often ambiguous enough to blur the distinction between score and sound design.  Check out [this clip](http://www.youtube.com/watch?v=ZIuc1_Qg4A8) of a spaceship landing: is the sound that accompanies it a sound effect&amp;nbsp;— is it meant to *represent* the sound of the spaceship&amp;nbsp;— or is it 'spaceship landing music'?  In Star Wars, for example, the distinction between the sound of a spaceship landing and the music which might accompany it is totally clear; here it's a much stranger and more ambiguous thing, which I quite like.&#xD;&#xA;2. Can't find a clip online, but in the Gus Van Sant film *Elephant*, there's a scene where a female character walks through the gym.  The score at that point is (Canadian soundscape composer) Hildegard Westerkamp's *Beneath The Forest Floor*, a piece built from field recordings of a forest.  So the character is walking through the gym and we hear music made from forest birds.  Again, there's no clear way to distinguish score or sound design here, it's just an example of creative organised sound (which is what score and sound design both are fundamentally anyway).&#xD;&#xA;3. I guess mickeymousing is also an example of this, because it's using score to do what foley can do: a character falls over and a cymbal crashes, for example.  It gets a bad name but I kind of like it because it builds an audiovisual language instead of treating sound and image as distinct.&#xD;&#xA;&#xD;&#xA;Anyway: I'm sure there's a whole bunch of other ways it can be done (deliberately or accidentally), can you think of any?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35693" PostHistoryTypeId="24" PostId="425" RevisionGUID="ae9bfa91-8d62-4d48-b1c7-30d12a0c320a" CreationDate="2013-12-31T04:55:50.513" Comment="Proposed by 7010 approved by 253, 6411 edit id of 36" ContentLicense="CC BY-SA 3.0" />
  <row Id="35694" PostHistoryTypeId="5" PostId="426" RevisionGUID="9a2af16a-3b85-4696-a7bb-f3aa6f54e7c8" CreationDate="2013-12-31T04:59:36.520" UserId="7010" Comment="typo and formatting" Text="On a master class, Skip Lievsay and Craig Berkey described how they've treated the wind tracks as music cues throughout *No Country For Old Men*, as the directors didn't want to have a score in a traditional way.&#xD;&#xA;&#xD;&#xA;Not quite the same thing, but I thought it was a cool idea anyway.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=9mx52S8ZkUg" ContentLicense="CC BY-SA 3.0" />
  <row Id="35695" PostHistoryTypeId="24" PostId="426" RevisionGUID="9a2af16a-3b85-4696-a7bb-f3aa6f54e7c8" CreationDate="2013-12-31T04:59:36.520" Comment="Proposed by 7010 approved by 253, 1228 edit id of 38" ContentLicense="CC BY-SA 3.0" />
  <row Id="35696" PostHistoryTypeId="5" PostId="816" RevisionGUID="3369751d-40fc-492b-a1e8-d027c3ebe623" CreationDate="2013-12-31T04:59:54.850" UserId="7010" Comment="video embedding" Text="The opening sequence to Sergio Leone's *Once Upon a Time in the West* comes to mind. Like some other examples mentioned here, there is no music. Instead, there is a kind of orchestration of natural sound elements. A fly, dripping water, and, oh man, that windmill! Fun stuff.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=bW-jSa9_k3M" ContentLicense="CC BY-SA 3.0" />
  <row Id="35697" PostHistoryTypeId="24" PostId="816" RevisionGUID="3369751d-40fc-492b-a1e8-d027c3ebe623" CreationDate="2013-12-31T04:59:54.850" Comment="Proposed by 7010 approved by 6411, 1228 edit id of 40" ContentLicense="CC BY-SA 3.0" />
  <row Id="35698" PostHistoryTypeId="5" PostId="493" RevisionGUID="936810ac-a2f6-46bf-8cee-08aad285929d" CreationDate="2013-12-31T05:00:16.553" UserId="7010" Comment="video embedding" Text="[&quot;THX 1138&quot;][1] for me this whole movie is surely *the* best example of a movie which blurs the distinction between score and sound design.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=2fwwT5jp-dA&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0066434/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35699" PostHistoryTypeId="24" PostId="493" RevisionGUID="936810ac-a2f6-46bf-8cee-08aad285929d" CreationDate="2013-12-31T05:00:16.553" Comment="Proposed by 7010 approved by 253, 1228 edit id of 39" ContentLicense="CC BY-SA 3.0" />
  <row Id="35700" PostHistoryTypeId="2" PostId="22123" RevisionGUID="07e3ca02-ba19-443d-859c-37e71cc606d5" CreationDate="2013-12-31T05:43:38.440" UserId="6896" Text="I don't know for sure, but I betcha you could pull this off with a good professional quality transmitter and receiver along with a pair of shark fin antennas. &#xD;&#xA;&#xD;&#xA;Some good quality receivers can receive up to 1000-1200 feet away from the transmitter, so with the shark fin antennas, I bet you could make up the other 400-600 feet" ContentLicense="CC BY-SA 3.0" />
  <row Id="35702" PostHistoryTypeId="5" PostId="1247" RevisionGUID="e587f492-2a48-4341-a720-24d54c6809c6" CreationDate="2013-12-31T10:05:53.143" UserId="7035" Comment="added 2 characters in body; edited title" Text="You are recording yourself typing right now.&#xD;&#xA;&#xD;&#xA;You've just destroyed an expensive piece of equipment during a session, but you're OK with that because it sounded cool.&#xD;&#xA;&#xD;&#xA;You accidentally dropped a bottle of something and it broke, smashing everywhere, and the first thought through your head was &quot;Man, I wish I had recorded that...&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;These are just a few off the top of my head... Let's start an amazing list!!!&#xD;&#xA;&#xD;&#xA;[![Shootfirst][1]][2]&#xD;&#xA;&#xD;&#xA;[1]: http://www.shootfirst.co.uk/lbmortencroc.jpg&#xD;&#xA;[2]: http://www.shootfirst.co.uk/lightbulbs.htm&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35703" PostHistoryTypeId="4" PostId="1247" RevisionGUID="e587f492-2a48-4341-a720-24d54c6809c6" CreationDate="2013-12-31T10:05:53.143" UserId="7035" Comment="added 2 characters in body; edited title" Text="You might be a sound recordist if" ContentLicense="CC BY-SA 3.0" />
  <row Id="35704" PostHistoryTypeId="2" PostId="22124" RevisionGUID="a5dc8c7b-8f98-4127-88ac-437dec7ce300" CreationDate="2013-12-31T10:07:51.093" UserId="7035" Text="I'm from the North-East of England.&#xD;&#xA;&#xD;&#xA;I studied Music Production and Sound Engineering.  Mainly a hobbyist now but get the odd job now and again." ContentLicense="CC BY-SA 3.0" />
  <row Id="35705" PostHistoryTypeId="16" PostId="22124" RevisionGUID="ac9e1bcd-aca4-4d0e-bd41-9fae117e14cf" CreationDate="2013-12-31T10:07:51.093" UserId="7035" />
  <row Id="35706" PostHistoryTypeId="2" PostId="22125" RevisionGUID="7c302b3f-6e70-4ef7-a422-7e14ef1f1c97" CreationDate="2013-12-31T10:49:20.280" UserId="1216" Text="This a sound design forum, concerning the edit and mix of sound/music in sync to picture or images. Your question, although stated clearly is not exactly a topic of interest to most users. Have you considered contacting the website of your setup/brand?&#xD;&#xA;&#xD;&#xA;happy new year" ContentLicense="CC BY-SA 3.0" />
  <row Id="35707" PostHistoryTypeId="5" PostId="22112" RevisionGUID="2fe0cb87-6763-49a2-b1f5-f85f74c430b9" CreationDate="2013-12-31T15:25:11.613" UserId="-1" Comment="removed random capitalisation. capitalised *I* " Text="For some months it seems that I can hear extreme details in sounds and music. I hear each Instrument separatly, I can hear flaws in dynamic or eq treatments, I hear bad edits, reverb and delay fx. And this is a wonderful thing!&#xD;&#xA;&#xD;&#xA;On the other hand I feel extremely under stress and my ears hurt when I get into crowds of people (e.g. Subway in rush hours, loud Moments in a cinema...).&#xD;&#xA;&#xD;&#xA;Sometimes my right ear feels as if it blocks the loud Atmo by closing my ear (feels like water in ear) but my doctor did not find anything, my ears are perfectly fine. She told me that the effect can appear when I overload my ear.&#xD;&#xA;&#xD;&#xA;I use a very low monitoring level with my nearfields! Also I do regular biobreaks and monitor switching to refresh my ears! &#xD;&#xA;&#xD;&#xA;Do some of you experience something else? It feels like my ears became more sensitive!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35708" PostHistoryTypeId="4" PostId="22112" RevisionGUID="2fe0cb87-6763-49a2-b1f5-f85f74c430b9" CreationDate="2013-12-31T15:25:11.613" UserId="-1" Comment="removed random capitalisation. capitalised *I* " Text="Over-sensitive ears" ContentLicense="CC BY-SA 3.0" />
  <row Id="35709" PostHistoryTypeId="24" PostId="22112" RevisionGUID="2fe0cb87-6763-49a2-b1f5-f85f74c430b9" CreationDate="2013-12-31T15:25:11.613" Comment="Proposed by 188.222.85.46|05b42fe4-4e75-420b-9344-8686106316ad approved by 432, 6401 edit id of 44" ContentLicense="CC BY-SA 3.0" />
  <row Id="35710" PostHistoryTypeId="5" PostId="5262" RevisionGUID="b67a408c-7935-4e46-bd50-17964fbd797b" CreationDate="2013-12-31T15:25:33.630" UserId="7010" Comment="typos and formatting" Text="There's a movie that came out a couple years ago called *In The City Of Sylvia*.&#xD;&#xA;&#xD;&#xA;There wasn't much dialogue... but sound was used hand in hand with the image to create settings that drew you in.  Many scenes are simply a static camera and a sound field almost meant to simulate a moving painting with audio. &#xD;&#xA;&#xD;&#xA;In one of the scenes where there's actual music, a group of violinists wander around an outdoor cafe, becoming part of the ambience, but the music isn't part of the space...  really hypnotic.  &#xD;&#xA;&#xD;&#xA;It's a really amazing film, one in which sound design was the focus, and I'd love to get anyone else's take who's seen it.  If you haven't, you can get a good idea from the trailer.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=dv2VKhY5w9M" ContentLicense="CC BY-SA 3.0" />
  <row Id="35711" PostHistoryTypeId="24" PostId="5262" RevisionGUID="b67a408c-7935-4e46-bd50-17964fbd797b" CreationDate="2013-12-31T15:25:33.630" Comment="Proposed by 7010 approved by 6432, 6401 edit id of 42" ContentLicense="CC BY-SA 3.0" />
  <row Id="35712" PostHistoryTypeId="2" PostId="22126" RevisionGUID="b4996d02-f0ab-4e79-a943-315f76b1fb5d" CreationDate="2013-12-31T16:39:12.617" UserId="7038" Text="We released a Reaktor Instrument on http://meltedsounds.com It is called Whoosh and enables you to design complex whoosh and pass by sound effects. But full version of Reaktor is needed. Cheers Tilman" ContentLicense="CC BY-SA 3.0" />
  <row Id="35715" PostHistoryTypeId="5" PostId="1956" RevisionGUID="917e3e2e-7ff1-4887-ae5d-bda4b2b70150" CreationDate="2013-12-31T22:27:00.287" UserId="7010" Comment="edited body" Text="The &lt;a href=&quot;http://groups.yahoo.com/group/sound_design/&quot;&gt;sound_design Yahoo group&lt;/a&gt;.&#xD;&#xA;&#xD;&#xA;&gt; This Sound Design discussion list is an open forum about Sound design tips, techniques, theories and solutions for both Film and Interactive Media.&#xD;&#xA;&#xD;&#xA;The discussions, talent, and helpful attitude of the forum members are really inspiring, both from a creative and professional standpoint." ContentLicense="CC BY-SA 3.0" />
  <row Id="35716" PostHistoryTypeId="5" PostId="6872" RevisionGUID="32861945-b996-4706-93a8-e8a2e0a69b16" CreationDate="2013-12-31T22:27:35.930" UserId="7010" Comment="added 8 characters in body" Text="*[Audio Post Production for Television and Film — An Introduction to Technology and Techniques][1]* (Hilary Wyatt, Tim Amyes)&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;I have found myself reading this book a lot recently. It provides an insight into ADR work (which I was originally interested in) though I am enjoying reading&amp;nbsp;— again&amp;nbsp;— about all aspects of audio postproduction in details. The book makes it seem like you could blindly trust it your freshly-out-of-production film and that it'll come out as good as it'll ever be.&#xD;&#xA;&#xD;&#xA;For what it's worth I find it easier to read than Yewdall.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://books.google.fr/books?id=tvs5BZzhiuwC&amp;printsec=frontcover&#xD;&#xA;  [2]: http://images.amazon.com/images/P/0240519477.01._SX240_SCLZZZZZZZ_.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="35717" PostHistoryTypeId="5" PostId="7048" RevisionGUID="774b478c-a888-4c64-99e2-b9f59efa0f64" CreationDate="2013-12-31T22:27:50.917" UserId="7010" Comment="added 2 characters in body" Text="*The Book of Life* is an amazing resource.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="35718" PostHistoryTypeId="5" PostId="7040" RevisionGUID="e690d4e0-b294-468d-8d70-1ce49fa66cc1" CreationDate="2013-12-31T22:28:39.157" UserId="7010" Comment="added 1 characters in body" Text="*SOUNDSCAPE: The School of Sound Lectures 1998–2001*. Edited by Larry Sider, Diane Freeman and Jerry Sider.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Re-published September 2010 by The School of Sound.&#xD;&#xA;&#xD;&#xA;Collection of Lectures Covering a wide variety of topics relating to sound and picture.  Definitely worth it! http://www.schoolofsound.co.uk/content/book.htm&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://img2.shoptoit.ca/images/detail/68203000/68203901.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="35719" PostHistoryTypeId="5" PostId="6873" RevisionGUID="67d6c25d-3672-4fe3-9b95-e129a85d9cc6" CreationDate="2013-12-31T22:30:43.323" UserId="7010" Comment="edited body" Text="* *Film, a Sound Art*: http://www.amazon.co.uk/Film-Sound-Art-Culture/dp/023113777X/&#xD;&#xA;&#xD;&#xA; Chion's music may be hard to swallow, but this book is well engaging and easy to read (especially compared to Audio Vision).&#xD;&#xA;&#xD;&#xA; ![alt text][1]&#xD;&#xA;&#xD;&#xA;* *The Conversations*: http://www.amazon.co.uk/Conversations-Walter-Murch-Editing-Film/dp/0375709827/&#xD;&#xA;&#xD;&#xA; Not so much a sound design book, but a true source of inspiration. &#xD;&#xA;Very grateful to the people I first borrowed it from. They lurk around here.&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ecx.images-amazon.com/images/I/41qhSJsG5KL._SL500_AA300_.jpg&#xD;&#xA;  [2]: http://ecx.images-amazon.com/images/I/515TVZVM8VL._SL500_AA300_.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="35720" PostHistoryTypeId="5" PostId="1953" RevisionGUID="710fcf29-73ab-475a-a6c6-74938f8ade94" CreationDate="2013-12-31T22:31:51.190" UserId="7010" Comment="removed broken picture" Text="[*Audio-Vision: Sound on Screen*][1] (Michel Chion)&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;The greatest theory book I've ever read, it'll tell you everything about the terms and their meaning, insisting on the nuances one should see in film sound. This will perfect your understanding of film sound and give you a vocabulary for interesting discussions.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Audio-Vision-Sound-Screen-M-Chion/dp/0231078994&#xD;&#xA;  [2]: http://cup.columbia.edu/app?fileid=4048&amp;height=275&amp;service=thumbnail&amp;width=183" ContentLicense="CC BY-SA 3.0" />
  <row Id="35721" PostHistoryTypeId="5" PostId="1948" RevisionGUID="98ab320d-c46a-427d-8cf2-b828313466ac" CreationDate="2013-12-31T23:30:19.980" UserId="7010" Comment="removed broken picture" Text="[The Practical Art of Motion Picture Sound][1], by David Lewis Yewdall, MPSE.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Not only does the author outline many invaluable techniques and principles used daily in film post-production, but also laces the book with interviews and stories from professional sound editors and designers that accurately capture the true essence of the craft.  &#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Practical-Motion-Picture-Sound-Third/dp/0240808657/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1245777631&amp;sr=1-1&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35722" PostHistoryTypeId="24" PostId="1948" RevisionGUID="98ab320d-c46a-427d-8cf2-b828313466ac" CreationDate="2013-12-31T23:30:19.980" Comment="Proposed by 7010 approved by 1228, 432 edit id of 49" ContentLicense="CC BY-SA 3.0" />
  <row Id="35723" PostHistoryTypeId="5" PostId="14842" RevisionGUID="981e171a-5e07-4c98-9737-c4ea1ac54d4b" CreationDate="2013-12-31T23:30:51.573" UserId="7041" Comment="Changed to Q/A format, removed useless greetings, thankyous, etc" Text="How can we recieve audio sound at a very long distance through wireless media? For example, a man talking to another man at a distance of 500 meters, I want to record that at the same distance through wireless media!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35724" PostHistoryTypeId="4" PostId="14842" RevisionGUID="981e171a-5e07-4c98-9737-c4ea1ac54d4b" CreationDate="2013-12-31T23:30:51.573" UserId="7041" Comment="Changed to Q/A format, removed useless greetings, thankyous, etc" Text="How to record audio wirelessly at 500m" ContentLicense="CC BY-SA 3.0" />
  <row Id="35725" PostHistoryTypeId="24" PostId="14842" RevisionGUID="981e171a-5e07-4c98-9737-c4ea1ac54d4b" CreationDate="2013-12-31T23:30:51.573" Comment="Proposed by 7041 approved by 1228, 432 edit id of 45" ContentLicense="CC BY-SA 3.0" />
  <row Id="35726" PostHistoryTypeId="5" PostId="1952" RevisionGUID="81a1f6df-a33f-44bc-a01d-4553fc247791" CreationDate="2013-12-31T23:30:56.263" UserId="7010" Comment="removed broken link/image" Text="[Dialogue Editing for Motion Pitctures][1] by John Purcell&#xD;&#xA;&#xD;&#xA;A bit dated now, but has a lot of really good workflow descriptions and information.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Dialogue-Editing-Motion-Pictures-Invisible/dp/0240809181&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35727" PostHistoryTypeId="24" PostId="1952" RevisionGUID="81a1f6df-a33f-44bc-a01d-4553fc247791" CreationDate="2013-12-31T23:30:56.263" Comment="Proposed by 7010 approved by 1228, 432 edit id of 48" ContentLicense="CC BY-SA 3.0" />
  <row Id="35728" PostHistoryTypeId="2" PostId="22127" RevisionGUID="1512ccc7-cfbb-4951-98ba-5f09e1372c70" CreationDate="2014-01-01T11:06:43.743" UserId="7047" Text="*SPOILER ALERT* &#xD;&#xA;&#xD;&#xA;Sup peps, &#xD;&#xA;&#xD;&#xA;Recently just saw the latest from Peter Jackson and I was just hoping to kick up a discussion regarding the spoken voice of the dragon Smaug and the possible methods used to accomplish such an intimidating vocal presentation.&#xD;&#xA;&#xD;&#xA;I am thinking that Smaug had to have had at least 2 layers to the vocal. One for the definition and one for the rumble but there is most likely more too it. Also the voice over by Benedict Cumberbatch was excellent and 100% believable so that´s always a good start.&#xD;&#xA;&#xD;&#xA;Any thoughts on this?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35729" PostHistoryTypeId="1" PostId="22127" RevisionGUID="1512ccc7-cfbb-4951-98ba-5f09e1372c70" CreationDate="2014-01-01T11:06:43.743" UserId="7047" Text="The Hobbit Vocal Sound Design of Smaug" ContentLicense="CC BY-SA 3.0" />
  <row Id="35730" PostHistoryTypeId="3" PostId="22127" RevisionGUID="1512ccc7-cfbb-4951-98ba-5f09e1372c70" CreationDate="2014-01-01T11:06:43.743" UserId="7047" Text="&lt;sound-design&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35731" PostHistoryTypeId="6" PostId="22112" RevisionGUID="acc0a8f9-fd34-49e3-b7ef-23cd5621b92c" CreationDate="2014-01-01T13:51:02.633" UserId="6425" Comment="edited tags" Text="&lt;health&gt;&lt;ear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35732" PostHistoryTypeId="2" PostId="22128" RevisionGUID="64c8bae0-b2b9-4781-9de8-b8c62db4a51d" CreationDate="2014-01-01T18:06:20.320" UserId="7050" Text="I have a high-end hi-fi system (monitor audio studio 20se speakers, talk electronics preamplifier and 4 separate power amplifiers) and am wondering if there is a piece of kit available that will play music via Bluetooth (in a similar way to modern cars). It would have to connect to the preamplifier via coaxial cables. Does anyone have any recommendations? Budget around the £1,000 mark.&#xD;&#xA;&#xD;&#xA;Apologies if this question is off topic." ContentLicense="CC BY-SA 3.0" />
  <row Id="35733" PostHistoryTypeId="1" PostId="22128" RevisionGUID="64c8bae0-b2b9-4781-9de8-b8c62db4a51d" CreationDate="2014-01-01T18:06:20.320" UserId="7050" Text="Hi Fi quality Bluetooth player" ContentLicense="CC BY-SA 3.0" />
  <row Id="35734" PostHistoryTypeId="3" PostId="22128" RevisionGUID="64c8bae0-b2b9-4781-9de8-b8c62db4a51d" CreationDate="2014-01-01T18:06:20.320" UserId="7050" Text="&lt;stereo&gt;&lt;home&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35738" PostHistoryTypeId="2" PostId="22130" RevisionGUID="f91a9442-e3c3-481d-a8e9-af566e220ae2" CreationDate="2014-01-01T21:11:44.600" UserId="6647" Text="I was wondering if you could help, I have a copy of pro tools 9 and I would like to update to the new  OS X Mavericks. I know I am pretty behind with pro tools versions I just don't want to have to buy a newer version. Has anybody tried updating to Mavericks and tried to run pro tools 9? I have searched forums but all people are saying is that it is unlikely to work and are not saying whether it does or does not.  &#xD;&#xA;&#xD;&#xA;Another option for me obviously is to just buy a newer version of pro tools but would really rather not. Is there a cheap way to do it if I have already bought one pro tools?  &#xD;&#xA;&#xD;&#xA;Thank you very much." ContentLicense="CC BY-SA 3.0" />
  <row Id="35739" PostHistoryTypeId="1" PostId="22130" RevisionGUID="f91a9442-e3c3-481d-a8e9-af566e220ae2" CreationDate="2014-01-01T21:11:44.600" UserId="6647" Text="Mavericks and pro tools 9" ContentLicense="CC BY-SA 3.0" />
  <row Id="35740" PostHistoryTypeId="3" PostId="22130" RevisionGUID="f91a9442-e3c3-481d-a8e9-af566e220ae2" CreationDate="2014-01-01T21:11:44.600" UserId="6647" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35743" PostHistoryTypeId="5" PostId="1961" RevisionGUID="c0f646fb-c41f-4def-9293-5c971869bc57" CreationDate="2014-01-01T22:09:21.460" UserId="7010" Comment="formatting" Text="http://soundworkscollection.com/&#xD;&#xA;&#xD;&#xA;* 5- to 10-minute profiles with true behind-the-scenes looks at the top film sound designers in the industry.&#xD;&#xA;* It also has award speeches and interviews you would never see anywhere else. I've seen every one of these like 3 times.&#xD;&#xA;* 45-minute sound panel for Avatar.&#xD;&#xA;* Sound profiles from each of this year's Academy Award nominated films for sound.&#xD;&#xA;* 30-minute interview with the sound team from The Hurt Locker.&#xD;&#xA;* 30-minute talk with Randy Thom.&#xD;&#xA;&#xD;&#xA;The place is a gold-mine for tips, tricks, workflows, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="35744" PostHistoryTypeId="24" PostId="1961" RevisionGUID="c0f646fb-c41f-4def-9293-5c971869bc57" CreationDate="2014-01-01T22:09:21.460" Comment="Proposed by 7010 approved by 1228, 253 edit id of 47" ContentLicense="CC BY-SA 3.0" />
  <row Id="35745" PostHistoryTypeId="2" PostId="22133" RevisionGUID="721f6b89-a52f-41b0-85bb-044c82aa65e4" CreationDate="2014-01-01T22:43:54.300" UserId="3994" Text="![Surround Sound: Up and Running][1]&#xD;&#xA;&#xD;&#xA;Tomlinson Holman is awesome.&#xD;&#xA;&#xD;&#xA;Also, pretty much anything from Ioan Allen/Dolby is valuable, but I really like &quot;The X-Curve: Its Origins and History&quot; for learning about theatre acoustics:&#xD;&#xA;&#xD;&#xA;http://jimmy.thomas.free.fr/DOC/Xcurve/Dolby_The%20X-Curve__SMPTE%20Journal.pdf&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/9UduJ.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="35746" PostHistoryTypeId="16" PostId="22133" RevisionGUID="c06ee65c-5662-4704-9015-fca2e2665f43" CreationDate="2014-01-01T22:43:54.300" UserId="3994" />
  <row Id="35747" PostHistoryTypeId="5" PostId="22133" RevisionGUID="50bbd585-1bdd-4685-be88-07e4435d7734" CreationDate="2014-01-01T22:52:43.293" UserId="3994" Comment="deleted 2 characters in body" Text="![Surround Sound: Up and Running][2]&#xD;&#xA;&#xD;&#xA;Tomlinson Holman is awesome.&#xD;&#xA;&#xD;&#xA;Also, pretty much anything from Ioan Allen/Dolby is valuable, but I really like &quot;The X-Curve: Its Origins and History&quot; for learning about theatre acoustics:&#xD;&#xA;&#xD;&#xA;http://jimmy.thomas.free.fr/DOC/Xcurve/Dolby_The%20X-Curve__SMPTE%20Journal.pdf&#xD;&#xA;&#xD;&#xA;  [2]: http://i.stack.imgur.com/3XlpZ.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="35748" PostHistoryTypeId="2" PostId="22134" RevisionGUID="ab96ced7-ca0c-4e0c-9339-3fa46a9e29f2" CreationDate="2014-01-01T23:29:02.723" UserId="18" Text="David Farmer did an AMA on Facebook recently where he talked about some of this:&#xD;&#xA;&#xD;&#xA;https://www.facebook.com/photo.php?fbid=10151753385296286&amp;set=a.101318681285.104099.7513286285&amp;type=1&amp;theater&#xD;&#xA;&#xD;&#xA;David Farmer: It helps to start with a great performance which Benedict gave us in droves. His voice is arguably the best I've been able to work with. The key was the right amount of pitching, with other low end enhancers, for the most part. But then there was the reverbs to make it sound like it excited the space, as well as vocoding alligator growls to add an extra layer of girth underneath. There were quite a few processes, some added quite subtley, but in the end the sum of the parts created something I hope sounds natural, but yet authentic.&#xD;&#xA;&#xD;&#xA;David Farmer: The FIRST thing I wanted was for the beast part of Smaug to be an alligator. I love the sound of an alligator growl, but have never heard it featured anywhere for a film beast. I didn't want him to just be a lion or tiger, or some pitched version of those and the alligator fit the bill. I'd heard alligators before but never had the chance to record them. I want to thanks Colin Hart for sharing his knowledge of Alligators which led me to get several days worth of recordings." ContentLicense="CC BY-SA 3.0" />
  <row Id="35749" PostHistoryTypeId="2" PostId="22135" RevisionGUID="b3e3b1d1-e62e-447d-b902-e60397c0cb5d" CreationDate="2014-01-02T02:58:10.027" UserId="7054" Text="I'm a sound editor and while early in my career, a majority of my work is doing foley editing (Feet, Props, occasional cloth). Now I'm not complaining because I have work and I've been able to work on both television and film, gaining experience and actually getting pretty decent at editing. But sometimes the work is so extremely tedious, that I wonder if it is  worth it for the supervising sound editor to send some of this work to a foley studio to get this done. Now I've worked on shows as a sound editor and when I hear the cloth and feet tracks from a proper foley studio, it makes a world of a difference. But obviously that is dependent on budget and time. But some of this work takes me so long to do, that it can occasionally be very tough of you if it's a heavy session.&#xD;&#xA;&#xD;&#xA;Particularly when covering *everything* for an M&amp;E, I'm pulling my hair out with details, especially with things I simply don't have in my library since I'm working from home. These projects are low budget, so understandably it *can* be cheaper to have someone cut them in. But when I'm seeing things like a bag of dog food pouring on the floor, or marbles being dropped in a glass container, it can be challenging if they insist that everything be covered, even if the production is fine. Even in regards to footsteps, I can just be really overwhelmed cutting FS for every single person on screen. It seems ridiculous to have someone edit it verses recording. But given that I do it often, perhaps it isn't as ridiculous as it seems.&#xD;&#xA;&#xD;&#xA;I've made the mistake of prematurely delivering projects thinking the production FX were okay, and then getting it back saying that I didn't edit enough and they needed full coverage. So now I'm really just trying to be as detailed as possible for all of my work despite how exhausting it can be.&#xD;&#xA;&#xD;&#xA;So I suppose my question can be phrased in two forms:&#xD;&#xA;&#xD;&#xA;Sound editors, are you actually cutting foley from top to bottom for films? Do you see this more commonly as budgets are shrinking? How are you getting through details and staying sane doing this type of work (And getting through it efficiently)?&#xD;&#xA;&#xD;&#xA;Supervising sound editors/re-recording mixers, how often do you get sessions with 100% cut in foley? Do you find that this is directly related to budget, or is it somehow more practical? Any advice for sound editors?&#xD;&#xA;&#xD;&#xA;Thanks for your time and answers, I'd love to sit and chat if anyone is based in Los Angeles&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35750" PostHistoryTypeId="1" PostId="22135" RevisionGUID="b3e3b1d1-e62e-447d-b902-e60397c0cb5d" CreationDate="2014-01-02T02:58:10.027" UserId="7054" Text="Cutting in Foley/Feet via sound library vs recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="35751" PostHistoryTypeId="3" PostId="22135" RevisionGUID="b3e3b1d1-e62e-447d-b902-e60397c0cb5d" CreationDate="2014-01-02T02:58:10.027" UserId="7054" Text="&lt;sound-design&gt;&lt;foley&gt;&lt;sfx&gt;&lt;editing&gt;&lt;cutting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35753" PostHistoryTypeId="2" PostId="22136" RevisionGUID="2d30010c-7979-4bfe-a64d-cfc19c537f6d" CreationDate="2014-01-02T12:02:12.830" UserId="6448" Text="This is a really general answer and you may get better ideas by chatting with someone in person but:&#xD;&#xA;&#xD;&#xA;I think this is a really classical example of balancing time, effort and economics (how much are you asking for, how much are the others asking for). It's really just something that you need to balance, so that it feels good for you and others that are involved. It's not worth doing something that makes you feel unhappy/stressed/exhausted/depressed or doesn't work that well, because you could do it so that it doesn't and so that all parties are happy.&#xD;&#xA;&#xD;&#xA;I think professionally done foley beats all editing every time. Because it's fast, it will always be natural sounding, it's human (because it comes from a human) and you get to work with other people (so it's social!) and the economics can be negotiated if you're working with good people that are willing to make their time, effort and budget meet with your needs (or even do more with less, just because they appreciate the work/project more than the money that they could make). Of course the real result will be a combination of editing and professionally done foley, but the starting point or primary choice should be foley.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35756" PostHistoryTypeId="2" PostId="22137" RevisionGUID="27f96aac-5c4d-46f4-b62f-38a77f11c10b" CreationDate="2014-01-02T14:48:00.170" UserId="6633" Text="try going through Chatter, &quot;talking people&quot; stuff like that on http://freesound.org/ if it just have to be short you should be able to find something you can use. i always find something cool " ContentLicense="CC BY-SA 3.0" />
  <row Id="35757" PostHistoryTypeId="2" PostId="22138" RevisionGUID="731a21e7-891d-4d67-b769-d4fcf35a4bdc" CreationDate="2014-01-02T18:37:54.977" UserId="6398" Text="I've been hearing a lot of good stuff about Telinga-EM23 omni microphones for field recording, as it has low self noise specs.&#xD;&#xA;&#xD;&#xA;I have plans to buy this mic &amp; I use a SD MixPre-D hooked up with a Zoom H4n.&#xD;&#xA;&#xD;&#xA;My doubts are,&#xD;&#xA;&#xD;&#xA;1. Since Telinga-EM23 comes with a 3.5mm output jack, i have to use a 3.5mm to a XLR adapter to hook it up to my mixpre-d right? so would using a 3.5mm to XLR adapter cause noise/hiss issues? &#xD;&#xA;&#xD;&#xA;2. I have read &amp; heard people use this mic for nature recordings or recording low level sources. So for example - does recording loud traffic sounds cause clipping with this mics?&#xD;&#xA;&#xD;&#xA;3. Do you recommend using Telinga-EM23 only for recording low level sound sources &amp; another set of mics for loud sources? or could Telinga-EM23 handle both?&#xD;&#xA;&#xD;&#xA;My plan is basically to create a stealth binaural recording package, Kindly help me out here, any help is much appreciated.&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35758" PostHistoryTypeId="1" PostId="22138" RevisionGUID="731a21e7-891d-4d67-b769-d4fcf35a4bdc" CreationDate="2014-01-02T18:37:54.977" UserId="6398" Text="XLR Adapters for Telinga EM23" ContentLicense="CC BY-SA 3.0" />
  <row Id="35759" PostHistoryTypeId="3" PostId="22138" RevisionGUID="731a21e7-891d-4d67-b769-d4fcf35a4bdc" CreationDate="2014-01-02T18:37:54.977" UserId="6398" Text="&lt;binaural&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35760" PostHistoryTypeId="5" PostId="22138" RevisionGUID="6f8350d5-e8f6-40bc-a879-46bd45ec874a" CreationDate="2014-01-02T19:58:56.657" UserId="1228" Comment="added 3 characters in body" Text="I've been hearing a lot of good stuff about Telinga-EM23 omni microphones for field recording, as it has low self noise specs.&#xD;&#xA;&#xD;&#xA;I have plans to buy this mic &amp; I use a SD MixPre-D hooked up with a Zoom H4n.&#xD;&#xA;&#xD;&#xA;My questions are,&#xD;&#xA;&#xD;&#xA;1. Since Telinga-EM23 comes with a 3.5mm output jack, i have to use a 3.5mm to a XLR adapter to hook it up to my mixpre-d right? so would using a 3.5mm to XLR adapter cause noise/hiss issues? &#xD;&#xA;&#xD;&#xA;2. I have read &amp; heard people use this mic for nature recordings or recording low level sources. So for example - does recording loud traffic sounds cause clipping with this mics?&#xD;&#xA;&#xD;&#xA;3. Do you recommend using Telinga-EM23 only for recording low level sound sources &amp; another set of mics for loud sources? or could Telinga-EM23 handle both?&#xD;&#xA;&#xD;&#xA;My plan is basically to create a stealth binaural recording package, Kindly help me out here, any help is much appreciated.&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35761" PostHistoryTypeId="5" PostId="20437" RevisionGUID="cbeacccd-053b-42ed-bcd9-a723267bee19" CreationDate="2014-01-03T02:23:33.830" UserId="1228" Comment="Clarity" Text="Finding anothrr (alt) take for those lines would be your best bet if that's something you have access to." ContentLicense="CC BY-SA 3.0" />
  <row Id="35762" PostHistoryTypeId="2" PostId="22139" RevisionGUID="e8f2acff-36d2-469e-8ebb-e92244be567b" CreationDate="2014-01-03T04:11:22.287" UserId="6686" Text="Sorry, i should have read he site's instructions more thoroughly before trying to edit. Looks like I messed that one up! So on with a proper reply!&#xD;&#xA;&#xD;&#xA;One dilemma I would have with running to help is, later would my equipment still be there and in the shape I left it?&#xD;&#xA;&#xD;&#xA;If I'm recording some disaster and rush to help people, I may come back and find my equipment gone, knocked over, or damaged in some manner. People tend to move around frantically in disaster scenarios, and could easily run into it. That's not a big deal, but theft is another issue. Where I live, I wouldn't want to leave my gear unattended for too long. &#xD;&#xA;&#xD;&#xA;Just some other aspect if human behavior to consider..." ContentLicense="CC BY-SA 3.0" />
  <row Id="35763" PostHistoryTypeId="2" PostId="22140" RevisionGUID="7e1ef727-72a7-48aa-a77d-33d93079542b" CreationDate="2014-01-03T05:28:45.100" UserId="6896" Text="So, wait, you're using a library recording of footsteps to cut foley?&#xD;&#xA;&#xD;&#xA;Use a sampler, it's way faster.&#xD;&#xA;&#xD;&#xA;Cloth would be tricky, you might as well find a quiet room and do that close mic'd&#xD;&#xA;&#xD;&#xA;For the things you can't cut foley wise, you might have to bite the bullet and record it.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35764" PostHistoryTypeId="2" PostId="22141" RevisionGUID="bc55d95b-b52e-4692-a2ad-be3932da7753" CreationDate="2014-01-03T12:55:58.503" UserId="6432" Text="Do you use physical controllers for designing (not mixing) sounds?&#xD;&#xA; &#xD;&#xA;Perhaps you use a keyboard, or other more exotic type of controller? What do you control with it? Is this to speed up the process or does the controller add an extra element to the design process, if so how would you describe it? &#xD;&#xA;&#xD;&#xA;To put this into perspective, I'm really interested in how we *design* sounds, and how people have developed different strategies and processes. One area which inspires this question is that we often we use equipment designed for making music, but are applying these to a design process. Do these controllers allow for greater *expression*, and what does that mean in terms of sound design anyway?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35765" PostHistoryTypeId="1" PostId="22141" RevisionGUID="bc55d95b-b52e-4692-a2ad-be3932da7753" CreationDate="2014-01-03T12:55:58.503" UserId="6432" Text="How do controllers fit into your design process?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35766" PostHistoryTypeId="3" PostId="22141" RevisionGUID="bc55d95b-b52e-4692-a2ad-be3932da7753" CreationDate="2014-01-03T12:55:58.503" UserId="6432" Text="&lt;design&gt;&lt;workflow&gt;&lt;controller&gt;&lt;process&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35767" PostHistoryTypeId="2" PostId="22142" RevisionGUID="179a229f-3300-46aa-8d2b-c4e459cd5f2a" CreationDate="2014-01-03T13:02:02.343" UserId="1225" Text="I'm from Russia. I've been recording various ambiences and sounds of Saint-Petersburg and Moscow for 2 years. Recently I looked through my collection and decided that it has enough audio material to be shared. I'd like to sell it for a small price, but I'm not sure about it yet.&#xD;&#xA;&#xD;&#xA;May I ask you, a fellow sound editor or recordist, would you be interested in my collection? If true, what price would be reasonable for you?&#xD;&#xA;&#xD;&#xA;The collection includes recordings of:&#xD;&#xA;&#xD;&#xA; 1. elevators&#xD;&#xA; 2. hotel lobbies&#xD;&#xA; 3. international conference (crowds)&#xD;&#xA; 4. streets and parks&#xD;&#xA; 5. moscow monorail&#xD;&#xA; 6. subways&#xD;&#xA; 7. trains and train stations&#xD;&#xA; 8. shores (surf waves)&#xD;&#xA; 9. fireworks (New Year Celebration)&#xD;&#xA; 10. airport, bank office, food court, game center ambiences&#xD;&#xA; 11. museums (Hermitage, Kazan's Cathedral)&#xD;&#xA;&#xD;&#xA;Total: 4h 50m, 4401mb.&#xD;&#xA;Recorded with Zoom H4n, 44khz/32bit, stereo.&#xD;&#xA;&#xD;&#xA;The full filelist is here: [http://lesser-vibes.com/russian_ambiences_list.txt][1]&#xD;&#xA;&#xD;&#xA;The filenames and tags aren't final, I'm still working on them.&#xD;&#xA;&#xD;&#xA;I'd be happy to know your opinions.&#xD;&#xA;&#xD;&#xA;  [1]: http://lesser-vibes.com/russian_ambiences_list.txt" ContentLicense="CC BY-SA 3.0" />
  <row Id="35768" PostHistoryTypeId="1" PostId="22142" RevisionGUID="179a229f-3300-46aa-8d2b-c4e459cd5f2a" CreationDate="2014-01-03T13:02:02.343" UserId="1225" Text="A question about publishing a small library of russian ambiences/sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="35769" PostHistoryTypeId="3" PostId="22142" RevisionGUID="179a229f-3300-46aa-8d2b-c4e459cd5f2a" CreationDate="2014-01-03T13:02:02.343" UserId="1225" Text="&lt;field-recording&gt;&lt;selling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35770" PostHistoryTypeId="2" PostId="22143" RevisionGUID="954edb47-f022-4a39-9c9c-15d8990ba382" CreationDate="2014-01-03T14:08:34.107" UserId="7063" Text="when you stumble upon an interesting sound and you record it. Do you edit it right away keeping only what you think you'll need, or do you keep the raw files and use them when you'll need them ?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35771" PostHistoryTypeId="1" PostId="22143" RevisionGUID="954edb47-f022-4a39-9c9c-15d8990ba382" CreationDate="2014-01-03T14:08:34.107" UserId="7063" Text="Personal sound library workflow" ContentLicense="CC BY-SA 3.0" />
  <row Id="35772" PostHistoryTypeId="3" PostId="22143" RevisionGUID="954edb47-f022-4a39-9c9c-15d8990ba382" CreationDate="2014-01-03T14:08:34.107" UserId="7063" Text="&lt;workflow&gt;&lt;library&gt;&lt;personal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35773" PostHistoryTypeId="2" PostId="22144" RevisionGUID="25092e9a-9fed-4948-8113-5a29f30f0294" CreationDate="2014-01-03T14:30:37.670" UserId="194" Text="We did a whole [tonebenders episode][1] on this topic with Paul Virostek.&#xD;&#xA;&#xD;&#xA;I personally edit what I need, backup the originals and then never think of them again.  Dustin keeps all of it and I have no idea how he goes back through the source recordings.&#xD;&#xA;&#xD;&#xA;I find soundminer to be a huge asset for this kind of thing, because it lets me tag the files as I see fit and then I can import only portions of the files into my sessions if I don't need the whole thing, or if I have a series of sounds edited into a single file.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tonebenders.net/tonebenders-episode-four-sound-effects-databasing-with-paul-virostek/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35774" PostHistoryTypeId="2" PostId="22145" RevisionGUID="74055104-2dd9-4cc7-946f-2c3ccefbbf41" CreationDate="2014-01-03T14:32:38.367" UserId="194" Text="The locations look interesting, but the gear is pretty basic looking.  &#xD;&#xA;&#xD;&#xA;I personally value these things based on how they sound though, so to some degree its difficult to say what they're worth without hearing a demo." ContentLicense="CC BY-SA 3.0" />
  <row Id="35775" PostHistoryTypeId="2" PostId="22146" RevisionGUID="e47f7e53-ad71-462f-868a-1befe46120ac" CreationDate="2014-01-03T16:23:08.193" UserId="3346" Text="I have a &quot;to edit&quot; folder on my hd where i copy all raw files if i don´t have the time to edit them right away, which is the common situation. When i find the time, i edit the single sounds, clean them up with RX, change gain(if needed) and write metadata into them (twisted wave). After that i rename them and save them into the dedicated folders and import them in Audiofinder. If i´m happy with the results i delete the raw files. I backup my whole soundlibrary every day. In the beginning i always kept the raw files but as i noticed, that i never got back, i delete them all." ContentLicense="CC BY-SA 3.0" />
  <row Id="35776" PostHistoryTypeId="2" PostId="22147" RevisionGUID="cb4373c0-48c7-4514-8a40-c3eb00c5b9b6" CreationDate="2014-01-03T16:42:31.760" UserId="7065" Text="1. The Pro 8 MK2 Handle has the xlr connector. Hopefully the connector is balanced and thus does not induce hiss. However hiss could be induced if the Output Noise of the Telinga mic is too high given its sensivity and the the noise floor of the Mix Pre D. You should take a look at the specs.&#xD;&#xA;&#xD;&#xA;2. Loud traffic sounds are very problematic for low level source recording. Try take a picture of the stars in the middle of the day.&#xD;&#xA;&#xD;&#xA;3. I don't think it is a matter of sound level. It is rather a matter of directivity. The dish makes you 'closer' of the source. The mic alone will be used for ambiance. If you need something in the middle range, you should consider a shotgun mic. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35777" PostHistoryTypeId="2" PostId="22148" RevisionGUID="5096c37a-30e6-4c9a-a2c9-e172548b7864" CreationDate="2014-01-03T18:50:55.510" UserId="5526" Text="I do use physical controllers for designing sounds. I use Pro Tools for my work environment, and Pro Tools is very bad at allowing out of the ordinary controllers to interact in meaningful ways with the main DAW features. A MIDI controller, usually a keyboard, is good for controlling plug-in instruments like a sampler for great expressive use of pressure, pitch and mod wheels, as well as various knobs and faders to control pitch, filter, sample start time, etc. Any MIDI controller can be used for this sort of thing. Plug-in maker Flux has started adding OSC control to their range of v3 plug-ins. So you can use an OSC controller like an iPad running TouchOSC or Lemur to control your IRCAM Spat panner/spatializer. However, the most generally useful controllers for Pro Tools are mixer-like, such as HUI protocol mixers and JL Cooper protocol panners, especially accessible is Neyrink V Control Pro for iPad, Eucon based controllers from Avid/Euphonix, or the various D-Command and Control devices made by Avid/Digidesign. These all look like mixers but can in fact be used to control practically any parameter in Pro Tools. They are useful for getting the real-time gesture or performance of expressive parameter modulation into Pro Tools quickly and with feeling!&#xD;&#xA;&#xD;&#xA;Frequently controlled parameters are volume, send levels (usually to reverb or a sub-synth) and pan settings. But these are usually considered mix parameters. (It's all sound design!) It's fun to play in the more design realm with plug-ins like GRM Tools to play with bandpass filter parameters, doppler, pitch shifting, etc. Controlling these with faders and knobs while watching and hearing in real time is very powerful. Just putting the output of what you are playing with into a record track and going for possibly tens of minutes at a time can be very useful. Remaster the best bits and build a library, or perform direct to picture in sync. Sometimes I record automation and then tweak that by hand before recording the output of these sounds. The recorded sounds are cut into conventional tracks, tracks with this kind of plug-in inserts and automation almost never makes it to the mix as a live thing.&#xD;&#xA;&#xD;&#xA;Ultimately the mouse or trackpad can be the most flexible general purpose expressive controller with the least amount of setup time. It mainly falls short in that you can only have one of them." ContentLicense="CC BY-SA 3.0" />
  <row Id="35778" PostHistoryTypeId="5" PostId="22142" RevisionGUID="d4f8b0b5-45a7-4cc0-9efb-302a0fbe9ad8" CreationDate="2014-01-03T20:17:34.763" UserId="1225" Comment="added 113 characters in body" Text="I'm from Russia. I've been recording various ambiences and sounds of Saint-Petersburg and Moscow for 2 years. Recently I looked through my collection and decided that it has enough audio material to be shared. I'd like to sell it for a small price, but I'm not sure about it yet.&#xD;&#xA;&#xD;&#xA;May I ask you, a fellow sound editor or recordist, would you be interested in my collection? If true, what price would be reasonable for you?&#xD;&#xA;&#xD;&#xA;The collection includes recordings of:&#xD;&#xA;&#xD;&#xA; 1. elevators&#xD;&#xA; 2. hotel lobbies&#xD;&#xA; 3. international conference (crowds)&#xD;&#xA; 4. streets and parks&#xD;&#xA; 5. moscow monorail&#xD;&#xA; 6. subways&#xD;&#xA; 7. trains and train stations&#xD;&#xA; 8. shores (surf waves)&#xD;&#xA; 9. fireworks (New Year Celebration)&#xD;&#xA; 10. airport, bank office, food court, game center ambiences&#xD;&#xA; 11. museums (Hermitage, Kazan's Cathedral)&#xD;&#xA;&#xD;&#xA;Total: 4h 50m, 4401mb.&#xD;&#xA;Recorded with Zoom H4n, 44khz/32bit, stereo.&#xD;&#xA;&#xD;&#xA;The full filelist is here: [http://lesser-vibes.com/russian_ambiences_list.txt][1]&#xD;&#xA;&#xD;&#xA;The filenames and tags aren't final, I'm still working on them.&#xD;&#xA;&#xD;&#xA;I created a brief mix and uploaded it on SoundCloud for your evaluation of the sound quality. [http://soundcloud.com/vibe-crc/ambiences-and-sounds-of-russia][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://lesser-vibes.com/russian_ambiences_list.txt&#xD;&#xA;  [2]: http://soundcloud.com/vibe-crc/ambiences-and-sounds-of-russia" ContentLicense="CC BY-SA 3.0" />
  <row Id="35779" PostHistoryTypeId="2" PostId="22149" RevisionGUID="96b4ace5-be82-433b-b9e3-9093a0863f61" CreationDate="2014-01-03T21:04:41.100" UserId="6959" Text="I'm trying to send an arpeggiated audio signal (in logic pro 9) into separate signal streams to creating an automated, synchronised panning effect, in one stereo channel.&#xD;&#xA;&#xD;&#xA;Problem 1:&#xD;&#xA;The audio signal being sent to the last touched fader (knob) of the two, which prevents the 'ping pong' pan, despite the monitors below displaying otherwise.&#xD;&#xA;&#xD;&#xA;Problem 2:&#xD;&#xA;Although the monitor displays the alternating signal, the output that is sent to only one fader and plays **all** notes at the described pan output, as if arpeggiation had failed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So far, I have attempted to achieve this using a transformer with an alternating split setting --&gt; Displayed divided audio correctly in monitors, however, the audio does not follow suit. &#xD;&#xA;&#xD;&#xA;I am also concerned about note off signals and how they would affect my alternating signal.&#xD;&#xA;&#xD;&#xA;The fader knobs outputs in the inspector are assigned to &quot;-1: 10&quot;, (This is continuous controller for those unfamiliar with logic pro), for panning. The channel is stereo, the Logic instrument, &quot;Sculpture&quot;, is in keyboard mode Poly, with 8 voices. The output of the fader knobs lead to the software instrument.&#xD;&#xA;&#xD;&#xA;Here is an image of my current environment attempt:&#xD;&#xA; ![Logic Pro Environment Panning Problem][1]&#xD;&#xA;  [1]: http://i.stack.imgur.com/Rqtfp.png&#xD;&#xA;&#xD;&#xA;If any further information is required, I will happily provide it." ContentLicense="CC BY-SA 3.0" />
  <row Id="35780" PostHistoryTypeId="1" PostId="22149" RevisionGUID="96b4ace5-be82-433b-b9e3-9093a0863f61" CreationDate="2014-01-03T21:04:41.100" UserId="6959" Text="Logic Pro Environment: Panning Signal Processing" ContentLicense="CC BY-SA 3.0" />
  <row Id="35781" PostHistoryTypeId="3" PostId="22149" RevisionGUID="96b4ace5-be82-433b-b9e3-9093a0863f61" CreationDate="2014-01-03T21:04:41.100" UserId="6959" Text="&lt;stereo&gt;&lt;panning&gt;&lt;signal-processing&gt;&lt;transformers&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35782" PostHistoryTypeId="6" PostId="22149" RevisionGUID="1c57c82d-5670-4900-b382-2e0e33ea372f" CreationDate="2014-01-03T21:15:16.500" UserId="6959" Comment="edited tags" Text="&lt;sound-design&gt;&lt;panning&gt;&lt;signal-processing&gt;&lt;transformers&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35783" PostHistoryTypeId="2" PostId="22150" RevisionGUID="aa844a96-712c-449a-b173-a8a8aa64dbd1" CreationDate="2014-01-03T21:28:00.323" UserId="6959" Text="The best available bluetooth technology currently available is bluetooth 4.0. As I presume you are already aware, Bluetooth technology is designed with data transfer at its heart and might not cater to audiophile requirements, such as higher sample rates.&#xD;&#xA;&#xD;&#xA;I've found a small receiver that might meet your requirements, perhaps if only as an interim solution:&#xD;&#xA;&#xD;&#xA;[Belkin HD Bluetooth Music Receiver][1]&#xD;&#xA;  [1]: http://www.dabs.com/products/belkin-hd-bluetooth-music-receiver---with-nfc-8TGR.html?prev=8P9C&#xD;&#xA;&#xD;&#xA;I am aware of *BOSE* and their intentions of bringing out a new amplifier that will support WIFI connections, however, they usually only work with *BOSE* systems and the projected release date for this isn't till spring 2014.." ContentLicense="CC BY-SA 3.0" />
  <row Id="35784" PostHistoryTypeId="2" PostId="22151" RevisionGUID="e9cccbd0-0e40-4449-b213-df0d2594e51c" CreationDate="2014-01-03T21:34:17.570" UserId="100" Text="My design controllers lately have been:&#xD;&#xA;&#xD;&#xA;* My midi keyboard controlling a sampler plug-in (Structure by AIR)&#xD;&#xA;* My Wacom tablet (as a mouse) to control the x/y parameters of GRM Tools&#xD;&#xA;&#xD;&#xA;I've found this setup very useful (and fun) to perform motors, vehicles, whooshes/swishes, vocal processing, weapon movement, and such." ContentLicense="CC BY-SA 3.0" />
  <row Id="35786" PostHistoryTypeId="2" PostId="22152" RevisionGUID="80861fe1-19c0-4d68-bf20-04a57cb06a31" CreationDate="2014-01-03T21:36:18.713" UserId="6959" Text="Sensitive hearing has never provided me with pain/discomfort, however, I'm always careful to keep a pair of earplugs handy for louder environments. Training the ears will reveal more detail, just make sure sufficient rest is also taken." ContentLicense="CC BY-SA 3.0" />
  <row Id="35787" PostHistoryTypeId="5" PostId="22151" RevisionGUID="649b0fc0-94fb-4257-b013-af8204ca86dc" CreationDate="2014-01-03T21:42:06.993" UserId="100" Comment="added 142 characters in body" Text="My design controllers lately have been:&#xD;&#xA;&#xD;&#xA;* My midi keyboard controlling [Structure][1], a sampler plug-in&#xD;&#xA;* My Wacom tablet (as a mouse) to control the x/y parameters of [GRM Tools][2]&#xD;&#xA;&#xD;&#xA;I've found this setup very useful (and fun) to perform motors, vehicles, whooshes/swishes, vocal processing, weapon movement, and such.&#xD;&#xA;&#xD;&#xA;[1]: http://www.airmusictech.com/product/structure-2&#xD;&#xA;[2]: http://store.inagrm.com/lang-en/grm-tools-3/11-grm-tools-collection-pack.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="35788" PostHistoryTypeId="2" PostId="22153" RevisionGUID="9fd05648-4f67-4760-ab36-43a234f26b24" CreationDate="2014-01-03T22:26:31.617" UserId="1185" Text="This is an area I'm also keen on exploring, particularly with respect to synthesizer-based sound design.  Most tradition controllers are performance interfaces, rather than interfaces for the actual *design* of sounds.  Clearly design and performance are linked as any sound that is designed is going to require performance at some point, even if this is only playback (for example using a sampler).    &#xD;&#xA;&#xD;&#xA;Even where parameters of a sound are to be controlled the key then becomes the mapping of the parameters to the controls.  Where this is a one-to-one mapping there is little added benefit, but when you move to many-to-one or many-to-many mappings (such as a tablet for example) then it becomes possible to control multiple aspects of a sound and will give more scope in the design process.  However, the important consideration is then how you go about working out which parameter should be mapped to which controls.  I'd be keen to hear how others go about this process." ContentLicense="CC BY-SA 3.0" />
  <row Id="35789" PostHistoryTypeId="5" PostId="22153" RevisionGUID="513bb9ff-f28e-4be8-9957-ddd49f557f8d" CreationDate="2014-01-03T23:37:09.380" UserId="1185" Comment="corrected spelling" Text="This is an area I'm also keen on exploring, particularly with respect to synthesizer-based sound design.  Most traditional controllers are performance interfaces, rather than interfaces for the actual *design* of sounds.  Clearly design and performance are linked as any sound that is designed is going to require performance at some point, even if this is only playback (for example using a sampler).    &#xD;&#xA;&#xD;&#xA;Even where parameters of a sound are to be controlled the key then becomes the mapping of the parameters to the controls.  Where this is a one-to-one mapping there is little added benefit, but when you move to many-to-one or many-to-many mappings (such as a tablet for example) then it becomes possible to control multiple aspects of a sound and will give more scope in the design process.  However, the important consideration is then how you go about working out which parameter should be mapped to which controls.  I'd be keen to hear how others go about this process." ContentLicense="CC BY-SA 3.0" />
  <row Id="35790" PostHistoryTypeId="2" PostId="22154" RevisionGUID="0de6727d-c3ad-42c3-8795-03f2b3b3132e" CreationDate="2014-01-04T02:08:47.260" UserId="618" Text="I have to record dialogue for a short film in a car. Some water will be dropped on the car during a scene to imitate rain. How can I dampen the Sound of this &quot;rain&quot; on the car's roof to get clean dialogue ?&#xD;&#xA;I've thought of hog's hair mats but I cannot find these easily here in France.&#xD;&#xA;Foam mattresses ?&#xD;&#xA;&#xD;&#xA;Wild lines are obviously an option but this is a low budget film, with a very short shooting time.&#xD;&#xA;&#xD;&#xA;Also I'll be able to record car accident's Sound effects in a wreckage. Which sounds do you think I have to record ? I'm thinking of sledgehammer impacts on différent parts of the car... Have you got any advices ?&#xD;&#xA;&#xD;&#xA;Thanks in advance.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35791" PostHistoryTypeId="1" PostId="22154" RevisionGUID="0de6727d-c3ad-42c3-8795-03f2b3b3132e" CreationDate="2014-01-04T02:08:47.260" UserId="618" Text="How to dampen the Sound on a car roof?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35792" PostHistoryTypeId="3" PostId="22154" RevisionGUID="0de6727d-c3ad-42c3-8795-03f2b3b3132e" CreationDate="2014-01-04T02:08:47.260" UserId="618" Text="&lt;location-recording&gt;&lt;sound-effects-recording&gt;&lt;cars&gt;&lt;dialogue-recording&gt;&lt;shortfilm&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35795" PostHistoryTypeId="2" PostId="22156" RevisionGUID="32345d38-5be3-4c26-a013-859579898a74" CreationDate="2014-01-04T03:36:29.507" UserId="7064" Text="I would answer this question by looking at art in general.  Art is the expression of all that is human experience.  Some art is beautiful and inspiring and some is dark and depressing.  Both ends of the spectrum, and everything in between, represent human experience for better or worse.  The reality is that horrible things happen.  Art will express this reality whether or not it is authentically sourced.  If you want to include the sound of an ambulance siren in your piece of art, you are using it to express an experience (or to convey the essence of that experience).&#xD;&#xA; &#xD;&#xA;Ethically speaking, there are a few things to consider, as you mentioned in your question.  If the siren sample came from a real life experience, did you fulfill your civic obligation to make sure that everyone is safe and/or receiving the needed care?  If so, I don't think that there are any ethical issues with using the sample in your art.  I, and probably many others, would actually argue that it is more authentic and holds more meaning, and therefore does a better job of expressing the experience, i.e., more artful. &#xD;&#xA;&#xD;&#xA;On the other hand, if you did not fulfill your civic obligation, perhaps to get a better recording, then the ethics get sticky.  If you have a legitimate reason for not helping, like knowing that the ambulance is close and that there is little you could do, then I see the use of the sample as morally sound.  If you watched a man die instead of saving him... not so much.  If you can justify not helping, then I see it as morally useable.&#xD;&#xA;&#xD;&#xA;Either way, this is still viably art and its ethical implications are for the artist to bear.  Let's say you didn't help out, then feel awful about it.  Your expression of that will be creatively driven by not only the experience itself but the ensuing guilt, which is an extension of that experience.  The resultant art could be more creatively inspired and better convey the essence of the experience.  This may be a 'better' piece of art but the artist may come to loathe its beauty.&#xD;&#xA;&#xD;&#xA;You also need to consider the audience.  If the man dies and the art you are making is for a commemorative video for the family... not good.  If the sample is for a documentary about preventing suicide (assuming that's what the man did) to be viewed by a large audience, it is questionable but I think that it would provide the realism to get the audience invested in the serious subject matter.&#xD;&#xA;&#xD;&#xA;Intention is another factor.  If the art intends to make fun of something terrible, the morality is entirely subjective.  In the art of Comedy, for another medium, jokes about pedophilia and rape are surprisingly prevalent but I am fairly certain that almost everybody, including the pedophiles and rapists themselves, would say that they are terrible things.  These jokes still exist and I hear people, that I know have been victims, make and laugh at these jokes, while others find it offensive, including non-victims.&#xD;&#xA;&#xD;&#xA;If your intention is to display the reality of a terrible thing, potentially to expose the injustice, then I see this as ethically sound.  [I think of the Pulitzer prize winning picture of the girl burned by napalm in the Vietnam War][1].  This photo is horrific.  It's right up there with the Holocaust photos.  But it has this tangible quality that brings a morbid sense of beauty, like capturing a photo of a rare animal; you hear about it and know that it exists but seeing the picture makes it real.&#xD;&#xA;&#xD;&#xA;Another thought to consider: What if it is generally agreed upon that an artist's choice to use a specific sample was ethically unsound?  Would a third party using that sample have the same ethical implications?  It would run through a similar ethical filter to the original but certain implications cannot be passed on to the replicator, such as not helping at the scene of an accident to get a better recording.  These things sort of get 'stored' in the sample, making the replication harder to be seen as ethically sound but still easier than the original.&#xD;&#xA;&#xD;&#xA;Ultimately, we are talking Ethics, perhaps the most subjective topic, next only to Emotion.  The artist, other individuals, their society and the world at large will all have a different take on the ethical implications.  In the current technological state we can readily have access to sample libraries and synthesized sounds; memes are constantly spread across the internet with different variations; videos stream at our desire.  This expansion of media and increase in replication and variation bring a sort of anonymity to sample use and, with it, decreased ethical implications.  In short, over saturation has decreased the likelihood that someone will realize the sample is authentically derived and the ethical implications are largely the artist's to bear.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://kottke.org/12/06/the-girl-from-the-famous-vietnam-napalm-photo" ContentLicense="CC BY-SA 3.0" />
  <row Id="35796" PostHistoryTypeId="5" PostId="20437" RevisionGUID="66eda512-a5d1-46d2-bd1d-91adb385800a" CreationDate="2014-01-04T05:00:18.630" UserId="6399" Comment="spelling" Text="Finding another (alt) take for those lines would be your best bet if that's something you have access to." ContentLicense="CC BY-SA 3.0" />
  <row Id="35797" PostHistoryTypeId="5" PostId="21982" RevisionGUID="4fe83bb8-19a2-4931-a81a-0d037f9f9588" CreationDate="2014-01-04T07:22:05.840" UserId="1228" Comment="Grammar/syntax for readability" Text="Anyone have tried this great plug-in?&#xD;&#xA;How is your workflow? I'm still learning so your advice and suggestions are welcome!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35798" PostHistoryTypeId="2" PostId="22157" RevisionGUID="28be5264-039f-4ffc-8922-e14bcc0765b9" CreationDate="2014-01-04T07:34:27.167" UserId="1228" Text="To answer your first quesiton, very dense and thick foam (properly attached too to prevent vibration transference - as in, not just &quot;set and forget&quot; flopped ont top of the car) should do the trick.  That's effectively what the Rycote rain covers are in a general sense - thick and dense over-sized foam to help absorb the rain drop sounds from transferring to the windjammer it covers.  I'm not sure how much foam you'll need, but you may want to test if you can beforehand.&#xD;&#xA;&#xD;&#xA;Here's the secret too: rain will get added in post.  I'm not saying capture it noisy, but if you can't quite baffle all rain 100%, don't fret too much.  Any baffling you accomplish, even minimal, is better than none at all.  The dialogue editor will build out the necessary fill to match the residual noise, and then you'll be adding more tasteful rain back in with an FX/BGz pass.  You'd be amazed how horrid some rain scene dialogue sounds in it's naked form (I've certainly heard my share), especially once in the mix it realizing it passes just fine because of the properly-build underlying rain backgrounds and just the right amount of premix magic makes it pop nicely without too much effort.&#xD;&#xA;&#xD;&#xA;If anything, the MOST important thing (even above noise baffling) is to record consistently and appropriately for the scene and the editorial needs.  Even bad/noisy dialogue, when at least recorded consistently and with care taken to axis and coloration, makes such a scene a whole world easier for a dialogue editor to cut.  Consisistent and predicable noise across a scene (and across multiple mics) recedes into the background psychologically.  Poor recording considerations (even in clean, noise-free situations) will do the exact opposite.&#xD;&#xA;&#xD;&#xA;Noisy dialogue recorded consistently and with good solidarity will blow squeaky clean but inconsistently and poorly mic'd recordings out of the water any day.  Noise isn't all that bad if you respect it.  I speak from dialogue editorial experience (and some minimal production sound experience)." ContentLicense="CC BY-SA 3.0" />
  <row Id="35799" PostHistoryTypeId="5" PostId="22157" RevisionGUID="d8fda9bc-4dbb-45b7-a9f8-44d12b5563fb" CreationDate="2014-01-04T07:40:23.537" UserId="1228" Comment="added 9 characters in body" Text="To answer your first quesiton, very dense and thick foam (properly attached too to prevent vibration transference - as in, not just &quot;set and forget&quot; flopped ont top of the car) should do the trick.  That's effectively what the Rycote rain covers are in a general sense - thick and dense over-sized foam to help absorb the rain drop sounds from transferring to the windjammer it covers.  I'm not sure how much foam you'll need, but you may want to test if you can beforehand.&#xD;&#xA;&#xD;&#xA;Here's the secret too: rain will get added in post.  I'm not saying capture it noisy, but if you can't quite baffle all rain 100%, don't fret too much.  Any baffling you accomplish, even minimal, is better than none at all.  The dialogue editor will build out the necessary fill to match the residual noise, and then you'll be adding more tasteful rain back in with an FX/BGz pass.  You'd be amazed how horrid some rain scene dialogue sounds in it's naked form (I've certainly heard my share), especially once in the mix it realizing it passes just fine because of the properly-build underlying rain backgrounds and just the right amount of premix magic makes it pop nicely without too much effort.&#xD;&#xA;&#xD;&#xA;If anything, the MOST important thing (even above noise baffling) is to record consistently and appropriately for the scene and the editorial needs.  Even bad/noisy dialogue, when at least recorded consistently and with care taken to axis and coloration, makes such a scene a whole world easier for a dialogue editor to cut.  Consisistent and predicable noise across a scene (and across multiple mics) recedes into the background psychologically.  Poor recording considerations (even in clean, noise-free situations) will do the exact opposite.&#xD;&#xA;&#xD;&#xA;Noisy dialogue recorded consistently and with good solidarity will blow squeaky clean but inconsistently and poorly mic'd dialogue recordings out of the water any day.  Noise isn't all that bad if you respect it.  This is unfortunately where many a production mixer fall, and once it gets to the dialogue editors hands it's already too late to respect 'noise'.  What was that Jurassic Park line?  Something like &quot;I was overwhelmed by the power of this place, but I didn't have respect for it, and that power is out now&quot;?  Same idea here with the concept of 'noise'.&#xD;&#xA;&#xD;&#xA;I share my two cents from dialogue editorial experience (and some minimal production sound experience)." ContentLicense="CC BY-SA 3.0" />
  <row Id="35800" PostHistoryTypeId="2" PostId="22158" RevisionGUID="70a73165-9746-4bdc-aed8-c8c1635a1f1c" CreationDate="2014-01-04T13:18:11.867" UserId="28" Text="I'm sorry I can't help you with the route you are following.&#xD;&#xA;&#xD;&#xA;But! I have ideas for a non-Environment, more low tech way to get that kind of effect. If I were trying to create this kind of effect, I would double the instrument track, and then use two different instances of Logic's Tremolo effect, with offset phase.&#xD;&#xA;&#xD;&#xA;Sometimes I'll also double a midi region in two hard panned tracks. And then stagger one of them by 1/16 or 1/8 or 1/4. This can give a nice effect.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35801" PostHistoryTypeId="2" PostId="22159" RevisionGUID="0785465f-e5c9-48ae-92d5-590cbb3664a4" CreationDate="2014-01-04T14:58:53.880" UserId="6866" Text="I am working on a short film that was shot in a middle-eastern desert. The visual scenery is mainly composed of dark sand, deep blue skies and a general desolated atmosphere. Unfortunately, all field recordings that were taking during film shooting are either damaged or unusable, and I need to build the entire ambience from scratch. Time and budget won't allow going out to the field for another recording session, so I need to find a studio workaround.&#xD;&#xA;&#xD;&#xA;Attached is a visual taste of the sonic ambience I'm after. Could anyone please recommend on libraries of hi-res ambience recordings that could be suitable for this? Also, any references to existing films or shorts with similar ambience characteristics will be appreciated.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;![image 1][1]&#xD;&#xA;![image 2][2]&#xD;&#xA;![image 3][3]&#xD;&#xA;![image 4][4]&#xD;&#xA;![image 5][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/tKVHL.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/89hEY.jpg&#xD;&#xA;  [3]: http://i.stack.imgur.com/MMV0Y.jpg&#xD;&#xA;  [4]: http://i.stack.imgur.com/EaBvO.jpg&#xD;&#xA;  [5]: http://i.stack.imgur.com/rbaHy.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="35802" PostHistoryTypeId="1" PostId="22159" RevisionGUID="0785465f-e5c9-48ae-92d5-590cbb3664a4" CreationDate="2014-01-04T14:58:53.880" UserId="6866" Text="Desolation / Desert Ambiences" ContentLicense="CC BY-SA 3.0" />
  <row Id="35803" PostHistoryTypeId="3" PostId="22159" RevisionGUID="0785465f-e5c9-48ae-92d5-590cbb3664a4" CreationDate="2014-01-04T14:58:53.880" UserId="6866" Text="&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35804" PostHistoryTypeId="2" PostId="22160" RevisionGUID="263598c5-8cdc-482b-9742-d8ef2f07d874" CreationDate="2014-01-04T16:11:18.963" UserId="3346" Text="I read about one not long ago. But i can't remember where it was. Maybe you head over to designingsound.org. They should know about it. There's also a catalogue of sfx creators. I think you'll find them there. You can also try asoundeffect.com. This is also a collection of indie sfx producers. Good luck. Andreas" ContentLicense="CC BY-SA 3.0" />
  <row Id="35805" PostHistoryTypeId="2" PostId="22161" RevisionGUID="c6b2c244-bc9a-4186-91d9-dd9f5ba5c41b" CreationDate="2014-01-04T20:48:15.137" UserId="1185" Text="It's been a while since this was posted and as it has had no replies I thought I would tell you I know.  Hopefully others will fill in additional details.&#xD;&#xA;&#xD;&#xA;AC-3 file has 48KHz sample rate, 16-bit resolution and the data is encoded using a lossy compression format know as MLP.  As far as I am aware 24-bit data is not supported and the data cannot be left unencoded (PCM), certainly using Compressor 3.5.3. (I know DVD-Audio does allow higher bit depths and uncompressed data, but the encoder that comes with compressor does not seem to support.)&#xD;&#xA;&#xD;&#xA;So to create your AC-3 file, first bounce out six WAV files (preferably 48K, 16-bit) from your DAW project for each of the output channel. I append my file names with L, C, R, Ls, Rs and LFE so that they are easily identifiable.  Then in compressor create a surround sound group and you can drag and drop each of your WAV file to the appropriate monitor location.  Select the format setting required &quot;Digital Dolby Professional 5.1&quot; and drag it to the surround sound group in the project window.  (You can find Digital Dolby Professional 5.1 on the settings tab: Apple -&gt; Formats -&gt; Audio)&#xD;&#xA;&#xD;&#xA;Should you need to you can make any changes required in the inspector window, but the default settings should be okay for what you want.  Hit the submit button and you are done." ContentLicense="CC BY-SA 3.0" />
  <row Id="35806" PostHistoryTypeId="5" PostId="22161" RevisionGUID="15553832-b3b4-43d1-b4c4-2ae8d94ba6a3" CreationDate="2014-01-05T01:53:07.700" UserId="1185" Comment="clarification" Text="It's been a while since this was posted and as it has had no replies I thought I would tell you I know.  Hopefully others will fill in additional details.&#xD;&#xA;&#xD;&#xA;AC-3 file has 48KHz sample rate, 16-bit resolution and the data is encoded using a lossy compression format.  As far as I am aware 24-bit data is not supported and the data cannot be left unencoded (PCM), certainly using Compressor 3.5.3. (I know DVD-Audio does allow higher bit depths and uncompressed data, but the encoder that comes with compressor does not seem to support.)&#xD;&#xA;&#xD;&#xA;So to create your AC-3 file, first bounce out six WAV files (preferably 48K, 16-bit) from your DAW project for each of the output channel. I append my file names with L, C, R, Ls, Rs and LFE so that they are easily identifiable.  Then in compressor create a surround sound group and you can drag and drop each of your WAV file to the appropriate monitor location.  Select the format setting required &quot;Digital Dolby Professional 5.1&quot; and drag it to the surround sound group in the project window.  (You can find Digital Dolby Professional 5.1 on the settings tab: Apple -&gt; Formats -&gt; Audio)&#xD;&#xA;&#xD;&#xA;Should you need to you can make any changes required in the inspector window, but the default settings should be okay for what you want.  Hit the submit button and you are done." ContentLicense="CC BY-SA 3.0" />
  <row Id="35807" PostHistoryTypeId="2" PostId="22162" RevisionGUID="b4192eb5-dd87-405b-9666-3b7c9ed14e1d" CreationDate="2014-01-05T04:19:50.497" UserId="5526" Text="Try cheating the sound from a different take that doesn't have the airplane. Or use ADR. Or live with the airplane. The RX3 tool is as good as you will find, but it can only reduce, not eliminate unwanted sounds.&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="35808" PostHistoryTypeId="2" PostId="22163" RevisionGUID="00eb7646-9f45-4496-9f92-a2e58260143c" CreationDate="2014-01-05T04:41:23.467" UserId="7074" Text="So, long story short, I'm working on a video game and I've been asked to make Giant Mech Robot sound effects similar to those of the old Gundam Wing shows. So more synthesized stuff it seems. I've attached a link at the bottom of this for an example video clip I've been given. What I've done so far was to go out and record trucks, machinery, jacks and fork lifts, pitch shifted, added reverb, compressed and added a variety of effects through busses and so forth. (I use Logic Pro usually for my audio editing) Unfortunately my team came back and said it sounded too mechanical, and they're right. My effects have ended up sounding more like realistic mechs than a synthesized cartoon effect as in the link. I'm pretty decent at creating things but I'm sorta stumped at how to go about this and was curious if anyone had any ideas for how I should approach this.&#xD;&#xA;&#xD;&#xA;http://youtu.be/uA0lq_fd_dU?t=3m40s" ContentLicense="CC BY-SA 3.0" />
  <row Id="35809" PostHistoryTypeId="1" PostId="22163" RevisionGUID="00eb7646-9f45-4496-9f92-a2e58260143c" CreationDate="2014-01-05T04:41:23.467" UserId="7074" Text="Creating Mech Sounds Similar to Gundam Wing" ContentLicense="CC BY-SA 3.0" />
  <row Id="35810" PostHistoryTypeId="3" PostId="22163" RevisionGUID="00eb7646-9f45-4496-9f92-a2e58260143c" CreationDate="2014-01-05T04:41:23.467" UserId="7074" Text="&lt;sound-effects&gt;&lt;foley&gt;&lt;sfx&gt;&lt;video-games&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35811" PostHistoryTypeId="2" PostId="22164" RevisionGUID="84fdac01-c3e8-4764-8b4c-3bef91159795" CreationDate="2014-01-05T11:18:10.723" UserId="6432" Text="First off, I think it's cool they didn't just ask you to make it sound like Transformers! But I think it's a difficult task because the sound in the clip is very stylised and not actually in very tight sync to the action. It feels like you hear more swooping/flying around and atmos than actual synchronised movement sounds, so perhaps part of the challenge is how to implement sounds like those into the game. Might be more difficult if your mech is walking most of the time. The sounds themselves seem like old-school synth and effects, lots of resonant filter sweeps of different material running through effects and reverb. On the synth side you could try different combinations of oscillators and ring modulation both modulated with LFO sweeps. I'd also try starting with the sounds you've got and trying effect them more heavily. I've been making some interesting sounds by loading in snippets of sounds (music also works well) in as impulse responses into an IR reverb, depending on the sounds and mix it can add a kind of resonance, fusing the two sounds together. I'd try this on some of your mechanical sounds using synth snippets as IR's, then start pitch shifting and layering again with these. &#xD;&#xA;&#xD;&#xA;Good luck though, sounds like a fun project!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35816" PostHistoryTypeId="2" PostId="22167" RevisionGUID="9f48e1b2-061b-44da-884b-4c6b3d795896" CreationDate="2014-01-06T03:36:59.963" UserId="432" Text="I don't really have any specific libraries that I can reccomend, but I do have some ideas to share. My first suggestion would be to research wildlife local to the shooting locations. I've been to a number of deserts, and they are not lifeless places. There are tons of insects (individuals, rarely do you get swarms) and birds all over the place.&#xD;&#xA;&#xD;&#xA;The next thing you can go for is shifting soil. There are lizards and rodents that live in some deserts, and they cause tiny little cascades of dirt and pebbles. Sometimes sand/soil gives way on its own, or a gentle breeze that you don't really hear stirs something loose. You'll want to go for subtle sounds to fill out the area. Wind in desert scenes tends to be over-done and doesn't really show a lot of imagination. So use it sparingly when the story calls for it.&#xD;&#xA;&#xD;&#xA;Above all, talk to the director/producer and make sure you know what they want before you start building. If you have to build it all from scratch, better to not have to do it twice. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35817" PostHistoryTypeId="5" PostId="20504" RevisionGUID="0943bce8-ac01-485b-8d7a-4349667cea90" CreationDate="2014-01-06T07:37:37.640" UserId="-1" Comment="tagline removed as SE custom" Text="This is often caused by accidentally sending a FX Return channel back into the Bus that is feeding the same FX processor that return is coming from, creating a loop. Select your FX Return channels and view the HOME screen, which shows you all of the 16 Bus sends for that channel on the right. Make sure that for each FX return, there is no send level to its corresponding bus. For example if FX Slot 1 is being fed by Bus 13, which it is by default, make sure that FX Return 1 is not sending any signal to Bus 13. Check this for all 4 stereo FX returns. &#xD;&#xA;Hope it helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35818" PostHistoryTypeId="24" PostId="20504" RevisionGUID="0943bce8-ac01-485b-8d7a-4349667cea90" CreationDate="2014-01-06T07:37:37.640" Comment="Proposed by 76.88.24.190|1667a76e-902e-47d2-a9c2-1f1e295db03a approved by 432, 80 edit id of 50" ContentLicense="CC BY-SA 3.0" />
  <row Id="35822" PostHistoryTypeId="5" PostId="20434" RevisionGUID="8f17be5a-de68-45ea-960a-f6f42d2668bb" CreationDate="2014-01-06T08:37:13.573" UserId="1216" Comment="spelling" Text="First of all I don't think there's an easy solution to these kinds of noises.&#xD;&#xA;Although RX3 is great product, it's not a magic pill (nor any other product.&#xD;&#xA;It totally depends on how loud/continuous/'wide' it is. Since this is a flyby&#xD;&#xA;it could mean that the sound evolves dramatically over the course of a few seconds.&#xD;&#xA;This is much harder to reduce (with any technique).  &#xD;&#xA;Another thing: what does is it have to be reduced to relatively? Speech or is it&#xD;&#xA;a natural soundscape? High pitched birdsong could 'survive' a hipass filter. Or you&#xD;&#xA;could replace the airplane frequency range with another ambience of the same range&#xD;&#xA;that doesn't have a lot of noises.&#xD;&#xA;&#xD;&#xA;Anyway this is all stuff that takes a lot of time and effort, don't expect a perfect&#xD;&#xA;soundscape afterwards. &#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35823" PostHistoryTypeId="2" PostId="22168" RevisionGUID="0fb265e1-8eb8-425f-9630-849c1424afb7" CreationDate="2014-01-06T09:00:19.757" UserDisplayName="user49" Text="it all goes into my library; the original recordings, edited versions, processed versions or whatever... It is so easy to manage and find media via SoundMiner, drive space is so cheap, better to keep it all because you just never know.... a new context might arise...." ContentLicense="CC BY-SA 3.0" />
  <row Id="35828" PostHistoryTypeId="2" PostId="22171" RevisionGUID="14e12bb7-79a6-43a1-bffc-47df1420c004" CreationDate="2014-01-07T00:57:09.780" UserId="7085" Text="i did a quick google search but haven't had any luck..&#xD;&#xA;&#xD;&#xA;just looking for a command that will let me change the field recorder channels of the selected clip.&#xD;&#xA;&#xD;&#xA;this would speed things up for me a lot.&#xD;&#xA;&#xD;&#xA;cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="35829" PostHistoryTypeId="1" PostId="22171" RevisionGUID="14e12bb7-79a6-43a1-bffc-47df1420c004" CreationDate="2014-01-07T00:57:09.780" UserId="7085" Text="Is there a keyboard shortcut to scroll through matching field recorder channels?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35830" PostHistoryTypeId="3" PostId="22171" RevisionGUID="14e12bb7-79a6-43a1-bffc-47df1420c004" CreationDate="2014-01-07T00:57:09.780" UserId="7085" Text="&lt;field&gt;&lt;recorder&gt;&lt;track&gt;&lt;guide&gt;&lt;matching&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35831" PostHistoryTypeId="2" PostId="22172" RevisionGUID="9a47a2fe-aae4-44db-9ffb-bb1861acb505" CreationDate="2014-01-07T01:37:26.360" UserId="7064" Text="I would suggest adding some square or sawtooth waveform synthesizers to what you already have.  From your description it seems like you were somewhat satisfied with your mech sounds before your feedback but ended up agreeing with it.  To me this says that the sounds you created are sufficiently 'Giant Mech Robot'-like but that they are not properly stylized for this particular project.&#xD;&#xA;&#xD;&#xA;I would personally accomplish this by recording the synth sounds, line them up against the recorded samples, then determine what the best solution for the mix is.  You may be able to just line them up and set the levels but that may be problematic for some more dynamic samples.  This could be handled by automation but, depending on how many samples you are working with/creating, that may not be incredibly efficient.  Beyond that you could try side-chaining a noise gate to the recorded samples, setting the attack short, so that the synth comes right in, and the release long, so that the synth sound will fade against the more quiet dynamics but still be present.  You could mix this so that the synth sound is way on top, giving more of the desired sound for the project but still allowing you to hear the 'natural' sounds that were initially stimulating your 'Giant Mech Robot' vision.  By having the synth sounds dynamically controlled by the 'natural' sounds, you can give 'natural' dynamics to your synthetic sound.  This approach could also give you a lot of issues but the biggest ones that come to mind are samples that start quiet and end loud (this approach basically wouldn't work with short attack/long release), longer samples with only one dynamic peak triggering the gate and samples that have several dynamic levels, such as each noise within the sample getting louder.  I think that automation will yield the best results for dynamics and will allow you more freedom to have the synth not strictly follow the sample dynamics.  However, this could be the most time consuming approach.&#xD;&#xA;&#xD;&#xA;For the synth sound itself I would have a few ideas as well.  You can add a sense of motion to the sound by using the pitch bend.  For example, I imagine an arm going outward bending the pitch slightly up.  This idea could be used very blatantly by bending the pitch dramatically, like more than a 1/2 step (one note on a keyboard), or very subtly by only slightly bending.  The subtle approach could allow the effect to remain subconscious and just be more believable.   You can also side-chain different components of the synthesizer to your samples.  This will allow the natural dynamics of the sample to make a map for a change in tone.  For example, the cutoff frequency of the synth would work well.  So when the sample is loud, the filter is more open, allowing more of the noisy harmonics to come through, and when the sample is more quiet, the filter closes itself, quieting the harmonics and rounding out the tone.&#xD;&#xA;&#xD;&#xA;Within Logic I would recommend using the EXS24 plug-in.  This allows you to create synth sounds using 1, 2 or 3 oscillators, and you can pick which waveform you want for each.  You can then blend those as you wish, which can also be controlled by the side-chain.  For instance, 1 square wave and 1 sawtooth, mixed with more square; the side-chain will effect the mix of the two oscillators so that the louder the sample, the more sawtooth you hear.&#xD;&#xA;&#xD;&#xA;I like the idea of trying to make the synth imitate the samples because it will probably help bring a sense of life and realism to the robots, which is probably why a few of my suggestions involve side-chaining.  You can also check out the 'Enveloper' plug-in but I'm not familiar enough with it to say much about it.&#xD;&#xA;&#xD;&#xA;If you don't know much about side-chaining or how to do it within Logic, [this video is a great tutorial.][1]&#xD;&#xA;&#xD;&#xA;If you want some explanation about the ESX24, [this video is also great.][2]  Part two of this video is more about the layout and how to actually use it.&#xD;&#xA;&#xD;&#xA;I highly recommend watching all the SFLogicNinja videos to gain a higher understanding for the resources within Logic but it is formatted somewhat like a blog where he will talk about himself and what he has been up to, sometimes for an entire video.  His videos are also only up to Logic 9, so if you have 10, there may be a few slightly different things but the functionality should still be there.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=yjmZNDVfl70&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=YXiW5en39xY" ContentLicense="CC BY-SA 3.0" />
  <row Id="35832" PostHistoryTypeId="5" PostId="22143" RevisionGUID="fc5465fd-0495-4638-a6b6-258e7e98fdf5" CreationDate="2014-01-07T02:23:18.160" UserId="1228" Comment="certainly a valid question for SSD, tweaked format for greater English clarity" Text="when you stumble upon an interesting sound and you record it, Do you edit it right away keeping only what you think you'll need?  Or, do you keep the raw files and use them when you'll need them?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35835" PostHistoryTypeId="5" PostId="22171" RevisionGUID="6dd7128d-05cb-486b-8e43-a6680ad96f1b" CreationDate="2014-01-07T14:28:18.570" UserId="7087" Comment="added info" Text="i did a quick google search but haven't had any luck..&#xD;&#xA;&#xD;&#xA;just looking for a command that will let me change the field recorder channels of the selected clip.&#xD;&#xA;&#xD;&#xA;this would speed things up for me a lot.&#xD;&#xA;&#xD;&#xA;cheers&#xD;&#xA;&#xD;&#xA;EDIT: sorry… Im refereeing to Pro tools on mac. using PT 10 or PT 11 and devices are just keyboard and mouse… I'm looking for something similar to how you alter clip gain with control+shift+ up or down. but with switching the 'matching field recorder' channels" ContentLicense="CC BY-SA 3.0" />
  <row Id="35836" PostHistoryTypeId="24" PostId="22171" RevisionGUID="6dd7128d-05cb-486b-8e43-a6680ad96f1b" CreationDate="2014-01-07T14:28:18.570" Comment="Proposed by 7087 approved by 432, 194 edit id of 52" ContentLicense="CC BY-SA 3.0" />
  <row Id="35837" PostHistoryTypeId="2" PostId="22173" RevisionGUID="d8f858c4-b68d-496a-8874-ccc57019cf73" CreationDate="2014-01-07T16:23:35.727" UserDisplayName="user7088" Text="This is one of protool's many failures.  I use the c24 knobs and faders to do basic controlling of various plug in parameters. When in Ableton, I love my Livid Ohm64 controller and the complete freedom to quickly assign anything to anything making completely custom setups for whatever the purpose.  Again, I highly recommend Livid controllers." ContentLicense="CC BY-SA 3.0" />
  <row Id="35838" PostHistoryTypeId="5" PostId="18527" RevisionGUID="438f0735-ff6e-4c31-876b-f2ce0de509bf" CreationDate="2014-01-07T20:00:18.343" UserId="3908" Comment="deleted 13 characters in body" Text="First I would like to say that I really love this place. As a sounddesign student, social sounddesign has been invaluable and a great inspiration! Thanks to all of you for that!&#xD;&#xA;&#xD;&#xA;Now, on with the subject :-)&#xD;&#xA;&#xD;&#xA;I would like to start a brainstorm on selecting and testing different materials for a DIY Aquaphone. I found one online, but was not really charmed by it. This guy seemed to use very low resonance materials and soldered it as opposed to welding. In the end it produced a scratchy not so charming sound with alsmost no sustain. This could also be functional for a difference purpose of course, but I'm specificly aiming for a nice long ring and good resonance, just a nice round sound. So, I would like to select materials accordingly.&#xD;&#xA;&#xD;&#xA;I have found that the best choice for the base of the aquaphone would probably be compareable to those pans that really give a nice ring when excited by hitting it and also pitch modulate that sound through moving a bit of water inside the pan. Allthough I have no idea what they are made of, some materials proven to do this better than others. I can imagine this has to do with the density of the materials molecules and thus affecting the resistance soundwaves encounter when traveling through it. In my case it is a very cheap little saucepan.&#xD;&#xA;&#xD;&#xA;I plan to buy another one and ask someone with welding experience what the possibilities are as it will most likely be a composite material. The idea is to weld those 2 saucepans together to get the base of the instrument. I also fear that it will be hard to get a neat round hole in one of the pan bottoms, for the handle to be put in later. I imagine using a ironcutter will get kinda messy.&#xD;&#xA;&#xD;&#xA;In the DIY I found online the guy uses straightened clothes hangers soldered on the rim of the base to be bowed or hit. I would like to use somethign thicker, better sounding.&#xD;&#xA;&#xD;&#xA;The thing I'm not sure about is, how I should test different type of metal bars without adding a sound producing element. Can I go to a construction market with my violin bow and just see which materials appear to generate the most friction and vibration? Is this a good criteria without actually hearing anything? &#xD;&#xA;&#xD;&#xA;So my most important question would be: &#xD;&#xA;&#xD;&#xA;How do i test the acoustic properties (relevant to this specific purpose) of different materials without having it welded to the final resonating chamber? &#xD;&#xA;&#xD;&#xA;Are there any tables which give me the speed in which sound can advance through different materials and go with the one that has the least amount of resistance/highest speed/higher density/lower density? How would that relate to thickness/length and welding points. I have so many questions I can't stand it! &#xD;&#xA;&#xD;&#xA;I know it's an ambitious plan but I have faith and thought this forum to be a good place to share ideas on this! Maybe I missed some really important things or some info that will answer some of my questions, so any ideas, recommended reads in particular or help in any way is much appreciated! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;thanks for reading! (english is not my first, so i'm sorry if this was a tough read) &#xD;&#xA;&#xD;&#xA;Tom.&#xD;&#xA;&#xD;&#xA;DIY the way i dont want to do it: http://www.instructables.com/id/The-Aquaharp/&#xD;&#xA;&#xD;&#xA;the real deal: &#xD;&#xA;http://www.youtube.com/watch?v=2n5jIqX63ok&#xD;&#xA;&#xD;&#xA;http://www.waterphone.com/&#xD;&#xA;&#xD;&#xA;Update &#xD;&#xA;&#xD;&#xA;the base is made of stainless steel (kind of obvious now i think of it.) and the rods are made of bronze. I called a metalworker and he told me that those cannot be welded together so it's going to be a mechanical connection. This raises questions, should I use screw-thread with bolts or some other connecting element. The bronze will set me back about 100 euros so its too expensive to just go and screw around. :) I need those questions answered before i start sawing and cuttin into the bronze. This also means i have to know the lengths of the rods before connecting them as i think shortening them after will put too much of a strain on the rest of the construction. This is a bummer because I was hoping to tune them as I go along.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;once again i was misled by my own chaotic mind :) The aquaphone is, in fact welded. As shown on images on the official website. Can't believe i missed that! Luckily i found a metalwork-artist willing to test how strong the connection will be when welding bronze on to stainless steel.&#xD;&#xA;&#xD;&#xA;update&#xD;&#xA;&#xD;&#xA;The metalwork artist I contacted told me that there is special kind of welding wire used to weld bronze onto stainless steel.  I find this hilarious because it shows that you need a fellow art freak to get this kind of information, rather than asking a professional welder, who told me this was not possible at all!&#xD;&#xA;&#xD;&#xA;Sadly this welding wire is also quite expensive, but it is possible! So far my research gives me enough options to actually do this. However, because of the high costs, estimated around 300 euros for the entire project. Im also thinking about a less expensive prototype with different, less expensive materials. I know 300 euros is still way cheaper than buying one (1700,- euros) But I am also saving up for Adam a7x's :p Soooo, yeah.. not really swimming in cash atm :p&#xD;&#xA;&#xD;&#xA;Which brings me back to my first question; How do I find out what other materials have compareable properties to bronze in a waterphone setup? How do i test this without having to make a prototype with all materials included? I can only think of copper to be a good second candidate but copper is not alot cheaper than bronze so thats not a viable option. &#xD;&#xA;&#xD;&#xA;I'm beginning to understand why one would build a crappy version first, getting comfortable with the construction process and then build one with all the fine expensive materials. &#xD;&#xA;&#xD;&#xA;update 30-07-13&#xD;&#xA;&#xD;&#xA;I have to say guys, I am not done with this project by a long shot. It is really ambitious and naive to think one can do this from scratch without any knowledge on metalworking. It is awesome to find out all these things about metal working I have never heard of though. I definitely found myself a new interest. I do plan on starting practice with forming metal sheets and torch welding. So someday I MIGHT be able to learn and make something that comes in the vicinity of the video that Lenny Paul posted. &#xD;&#xA;&#xD;&#xA;For now I have planned on doing it budget style and I am looking for SS materials that come as close to what I find suiting. The best option for the base I have found so far are SS feeding bowls for dogs. I found some that seem to have a suitable rim and, if not too thick, resonate quite nice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I listened to alot of SS bowls/dishes and similar kitchen stuff and I think most of them showed the needed properties. The thing with bowls/dishes was that most of em have a curved or unequal rim and I figured it would be a problem getting the rods on that. Also, I would prefer to have the top flattened and the bottom rounded. I am still looking for something that will fit on the bottom that has the same diameter and also suitable rim. If I cannot find that I will just place two of the same on top of each other and deal with that.&#xD;&#xA;&#xD;&#xA;There are prettier options but I feel that if I'm becoming picky I might as well make a computer model and put in a custom order. I might still do that, but only if its not too expensive. If it is I will postpone that option for when I really want to invest and also do the bronze rods. By then, I might even have the ability to get my freak on with some metal sheets and make it a fully autonomous hobby project..&#xD;&#xA;&#xD;&#xA;Concerning the SS materials; Making the hole in the top will not be a problem I think. I need to find the right saw for that but that seems not to hard to accomplish. For fixing the rods I will try a similar approach as the metal worker did in the video that was posted. I thought of slightly flattening the rods on one side so when hanging them through the holes in the rim of the base they won't fall through. And then just weld them..&#xD;&#xA;&#xD;&#xA;The material for the rods will probably also just be SS. I have not thought of any good alternative other than bronze and I am definitely not using that this first go.&#xD;&#xA;&#xD;&#xA;lingering questions; &#xD;&#xA;&#xD;&#xA;1. I would like to find some length indications for the rods.&#xD;&#xA;2. I wonder if SS rods will work. Should test one when I have the base ready. which emphasizes my wish for my own torch welder and the ability to practice that because now I would have to visit a metalworker for every single thing I'd like to test. I find that a bit awkward and is probably also expensive.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Well, I thought I'd update a bit. Also hoping that some may have some feedback on my findings/questions.&#xD;&#xA;&#xD;&#xA;All your responses were very helpful and cleared a lot of things up for me. I am very glad to have posted this here. &#xD;&#xA;Thanks to all of you!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35839" PostHistoryTypeId="2" PostId="22174" RevisionGUID="d85cef50-c279-462e-bec6-7fa755632cfb" CreationDate="2014-01-07T23:58:32.357" UserId="1228" Text="My workflow bears some resemblance to @Andreas.  I maintain a repository of raw recordings, sorted by folders appropriately.  But once I master them (one big part of my mastering is that I often don't do much to them - mostly just corrective EQ notching, gain staging, M/S width).  But once I'm happy with what I've got, I blow out the raw.  I know that personally, I'm never going to touch the raw again anyway.  Especially so because much of it is MS anyway so the raw files would be a pain to work with in editorial.&#xD;&#xA;&#xD;&#xA;To each their own though.  Raw files are of little use to me once I have the recording dialed in the way I like it to sound.  Helps with the learning process of making a commitment to a creative choice and sticking with it, through better or (sometimes with much later hindsight), worse.  But even those can be great learning experiences too." ContentLicense="CC BY-SA 3.0" />
  <row Id="35840" PostHistoryTypeId="2" PostId="22175" RevisionGUID="780d6d1b-fec3-40a4-8dfe-47e086316e1e" CreationDate="2014-01-08T02:39:28.730" UserId="6487" Text="I am wondering how sound designers like their creature vocal efforts and vocalizations treated on the dub stage.  To include them with dialogue seems easier as the mixer can process them and set them in an easy smooth level to preceding dialogue but.....they must be set discreet for international fully filled M&amp;E mixes too. Do you prefer the FX mixer or DX mixer mix your creature vocal efforts and non-english vocalizations?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35841" PostHistoryTypeId="1" PostId="22175" RevisionGUID="780d6d1b-fec3-40a4-8dfe-47e086316e1e" CreationDate="2014-01-08T02:39:28.730" UserId="6487" Text="Elaborate creature vocalization and efforts....Who mixes them? DX or FX side?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35842" PostHistoryTypeId="3" PostId="22175" RevisionGUID="780d6d1b-fec3-40a4-8dfe-47e086316e1e" CreationDate="2014-01-08T02:39:28.730" UserId="6487" Text="&lt;sound-design&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35843" PostHistoryTypeId="2" PostId="22176" RevisionGUID="f0cfa435-cc33-40b4-a94a-f02ecbf0078b" CreationDate="2014-01-08T04:37:51.657" UserId="7090" Text="Asked this on KVR but got a confusing response.&#xD;&#xA;The sounds used by Pharrell and Chad hugo. Some kind of horn. Tyler the Creator managed to emulate the sound in &quot;Everyones a star&quot; in his song &quot;Sarah&quot; towards the end. &#xD;&#xA;&#xD;&#xA;First Sound &#xD;&#xA;http://youtu.be/jsiKDtNfyT0?t=25s (Everyones a Star) &#xD;&#xA;http://youtu.be/ByOVCsk46MU?t=3m43s (Sarah) &#xD;&#xA;&#xD;&#xA;Any help getting this sound in massive?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35844" PostHistoryTypeId="1" PostId="22176" RevisionGUID="f0cfa435-cc33-40b4-a94a-f02ecbf0078b" CreationDate="2014-01-08T04:37:51.657" UserId="7090" Text="Neptunes Sound (Pharrell and Chad Hugo in the early 00s)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35845" PostHistoryTypeId="3" PostId="22176" RevisionGUID="f0cfa435-cc33-40b4-a94a-f02ecbf0078b" CreationDate="2014-01-08T04:37:51.657" UserId="7090" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35846" PostHistoryTypeId="2" PostId="22177" RevisionGUID="8c3560e3-0969-4d27-88c6-ab80a12ee3bf" CreationDate="2014-01-08T06:19:23.973" UserId="1228" Text="Tough call.  I can say that on Fright Night 2 I cut them all cut in Design FX (Vamp Vox tracks) and they got routed to the FX stem on the stage.  For which I gathered, as you hit the nail on the head, ensuring it was in the M&amp;E.&#xD;&#xA;&#xD;&#xA;Than again, there wasn't much overlap between true dialogue and the vocalizations (as in, minimal hybridization). And no real DX 'treatment's were desired per the director.  it was mostly just Vampire mode or not.  So in this particular case, it made sense to route to FX.  Although if they are serving more integrally to DX, maybe they should go there.&#xD;&#xA;&#xD;&#xA;So it seems to come down to that dreaded &quot;it depends&quot; answer.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35847" PostHistoryTypeId="2" PostId="22178" RevisionGUID="c8aad658-9bf9-4fac-b8c4-b05c138294f3" CreationDate="2014-01-08T10:00:13.300" UserId="3336" Text="If you had access to Camel Alchemy it could be an interesting direction to take the samples you already have recorded and mould them into the more stylised sounds your after. Import them  as Additive/Spectral then you can utilise Alchemy's additive synthesis modules which I think could work for what your after. There is also a whole bank of resonant filters for you to have fun with...  " ContentLicense="CC BY-SA 3.0" />
  <row Id="35848" PostHistoryTypeId="2" PostId="22179" RevisionGUID="2a770d8c-3929-474e-a8a8-bea1a17e4cfb" CreationDate="2014-01-08T14:13:27.333" UserId="432" Text="Not that I'm aware of. Mouse clicks are required to replace a clip with other field recorder channels. It's a good idea though, and would be worth posting to the Pro Tools Ideascale." ContentLicense="CC BY-SA 3.0" />
  <row Id="35849" PostHistoryTypeId="2" PostId="22180" RevisionGUID="bce940d0-98ea-4120-9d93-c41e1604b1bb" CreationDate="2014-01-08T15:00:14.100" UserId="7092" Text="I've been using a Zoom H4n as an audio interface for a while - and it was working fine until I upgraded to Windows 8. Now, the only input I get is the occasional jolt of sound, several seconds after I played anything - basically it doesn't work at all.&#xD;&#xA;&#xD;&#xA;I've tried specific solutions but it's not a software issue because it occurs in no matter the program (Skype, Reaper, Windows Recording Devices), and there's nothing to find on the Zoom (they don't have a support site), so:&#xD;&#xA;&#xD;&#xA;Could anyone share what you did to fix a misbehaving recording device like this? I'm sure I could try some general solutions, for example driver issues, bitrate mismatches, that sort of thing.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35850" PostHistoryTypeId="1" PostId="22180" RevisionGUID="bce940d0-98ea-4120-9d93-c41e1604b1bb" CreationDate="2014-01-08T15:00:14.100" UserId="7092" Text="How do you fix an input device that simply doesn't work?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35851" PostHistoryTypeId="3" PostId="22180" RevisionGUID="bce940d0-98ea-4120-9d93-c41e1604b1bb" CreationDate="2014-01-08T15:00:14.100" UserId="7092" Text="&lt;recording&gt;&lt;sound-devices&gt;&lt;audio-interfaces&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35852" PostHistoryTypeId="2" PostId="22181" RevisionGUID="6d62d979-4c8f-4b4d-b38a-6ec9511255ba" CreationDate="2014-01-08T15:24:50.803" UserId="6567" Text="First I'd connect this device to another computer that is not running Windows 8 and see if the same thing is happening there. If it is then you know there's something wrong with the device or rather it's unlikely that it's the computer/OS. &#xD;&#xA;&#xD;&#xA;If it's not acting up then it is most likely the computer/OS that's at fault.&#xD;&#xA;&#xD;&#xA;If it's a software problem my next step under Windows would be to check for new drivers (if any) and while waiting for those to install get Zoom's service on the phone. &#xD;&#xA;&#xD;&#xA;Should that not resolve the issue, and you specifically mention this happened after upgrading to Windows 8, I would simply downgrade back to Windows 7 and keep an eye out for solutions down the line.&#xD;&#xA;&#xD;&#xA;Ideally someone else on this board will have an H4n and Windows 8 around and might be able to help you better. &#xD;&#xA;&#xD;&#xA;By the way out of pure curiosity you said you 'could try general solutions', why haven't you? &#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="35853" PostHistoryTypeId="2" PostId="22182" RevisionGUID="f29e1ed9-9ca0-4ff0-ba60-ddfd8e9bffb7" CreationDate="2014-01-08T16:24:28.333" UserId="6269" Text="The only thing when it's impossible to design sounds without controller - when you need really fast control of your parameters. The great example is one shot heavy automated sounds designed with Alchemy or Ableton Live's group sections (or any plugin with complex automation ability). Let's say you have 1 sec SFX, and you need to move 4 different parameters in absolutely chaotic way to hear the full potential of how far this SFX can go. You just can't do it without controller." ContentLicense="CC BY-SA 3.0" />
  <row Id="35867" PostHistoryTypeId="2" PostId="22183" RevisionGUID="70012de8-d8a9-46d7-b1e6-d655182309fe" CreationDate="2014-01-08T21:59:33.180" UserId="7095" Text="I'm looking to create a deep rumbly kick drum like in these tracks: &#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=7smY46wOiJA&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=kktOkypMh2A&#xD;&#xA;&#xD;&#xA;I love these tight reverb kicks, that when the highpass lets off, the rumble is awesome.&#xD;&#xA;&#xD;&#xA;I get the impression that this kick drum may be layered with a ton of compression and a send reverb, but every time I try I can't get anything close to it.  Most other kicks in dance music I can get very close to... These I'm stumped! &#xD;&#xA;&#xD;&#xA;I've tried: pitching down percussion and adding a &quot;top kick&quot; on top with EQ and Compression and sending to reverb.... Every time I end up with something really muddy.  &#xD;&#xA;&#xD;&#xA;Please help!  This is exactly the style I'm leaning towards, and have always loved.  Any other tips on creating clean bass heavy music like this would be much appreciated. &#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35868" PostHistoryTypeId="1" PostId="22183" RevisionGUID="70012de8-d8a9-46d7-b1e6-d655182309fe" CreationDate="2014-01-08T21:59:33.180" UserId="7095" Text="How to create a HUGE rumbly kick drum?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35869" PostHistoryTypeId="3" PostId="22183" RevisionGUID="70012de8-d8a9-46d7-b1e6-d655182309fe" CreationDate="2014-01-08T21:59:33.180" UserId="7095" Text="&lt;reverb&gt;&lt;kick&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35871" PostHistoryTypeId="2" PostId="22185" RevisionGUID="6db7f60f-5d07-4b97-b499-1b47154cd6c0" CreationDate="2014-01-09T05:10:22.810" UserId="7099" Text="Looking for some guidance on EQ strategies for making sounds more professional.  I know this is a very general question and maybe this falls more into mastering, but when I hear sounds in libraries or whatever, many tend to have a pro sound that mine do not.  I'm just not sure which frequencies to boost/cut to get that sheen and which EQ plugins are best.  Are people stacking EQs to get this sound or is there some pro suite that really does it?  Again, I know this is general and I'll probably get responses like &quot;depends on the sound&quot;, but really just looking for some EQ guidance to dramatically up my game.  I've been at this too long to still be struggling with this.  Also if you can recommend books or videos that would help as well I would be forever grateful." ContentLicense="CC BY-SA 3.0" />
  <row Id="35872" PostHistoryTypeId="1" PostId="22185" RevisionGUID="6db7f60f-5d07-4b97-b499-1b47154cd6c0" CreationDate="2014-01-09T05:10:22.810" UserId="7099" Text="Figuring out EQ for sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="35873" PostHistoryTypeId="3" PostId="22185" RevisionGUID="6db7f60f-5d07-4b97-b499-1b47154cd6c0" CreationDate="2014-01-09T05:10:22.810" UserId="7099" Text="&lt;sound-design&gt;&lt;post-production&gt;&lt;eq&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35874" PostHistoryTypeId="2" PostId="22186" RevisionGUID="ce4647e3-b1f7-42ea-97d6-e66745e46dc0" CreationDate="2014-01-09T07:26:45.153" UserId="6448" Text="Listen for what you want to add or remove, then equalize.&#xD;&#xA;&#xD;&#xA;It comes through experience that you learn to hear when an equalization sounds good and when there's something to adjust. Mainly it has to do with contrast (e.g. removing &quot;mud frequencies&quot; to bring out the essentials or to &quot;clean&quot; the sound, or equalizing different layers to that they either sound &quot;blended&quot;, tightly layered or separated.).&#xD;&#xA;&#xD;&#xA;The main difference in equalizers comes from the exact shape of the curve. You should hear the difference (if there's any) between different equalizers by dialing in the same numerical settings." ContentLicense="CC BY-SA 3.0" />
  <row Id="35876" PostHistoryTypeId="2" PostId="22187" RevisionGUID="536a413c-fdec-4de5-88f6-3c6a9d178827" CreationDate="2014-01-09T08:48:45.893" UserId="5624" Text="Your real problem is most likely recording technique and possibly the gear you're using. A good sound recorded properly doesn't need any EQ to sound professional.&#xD;&#xA;&#xD;&#xA;Where you place your microphone is the most important thing in capturing a sound and works just like EQing when in the right hands." ContentLicense="CC BY-SA 3.0" />
  <row Id="35877" PostHistoryTypeId="5" PostId="22186" RevisionGUID="5a3247e1-5696-4c41-8627-72e8f7cac084" CreationDate="2014-01-09T08:57:33.077" UserId="6448" Comment="edited body" Text="Listen for what you want to add or remove, then equalize.&#xD;&#xA;&#xD;&#xA;It comes through experience that you learn to hear when an equalization sounds good and when there's something to adjust. Mainly it has to do with contrast (e.g. removing &quot;mud frequencies&quot; to bring out the essentials or to &quot;clean&quot; the sound, or equalizing different layers so that they either sound &quot;blended&quot;, tightly layered or separated.).&#xD;&#xA;&#xD;&#xA;The main difference in equalizers comes from the exact shape of the curve. You should hear the difference (if there's any) between different equalizers by dialing in the same numerical settings." ContentLicense="CC BY-SA 3.0" />
  <row Id="35878" PostHistoryTypeId="6" PostId="22185" RevisionGUID="5bfb3383-765c-4169-9a8e-d9968e0ed686" CreationDate="2014-01-09T09:23:39.553" UserId="1228" Comment="edited tags" Text="&lt;sound-design&gt;&lt;mixing&gt;&lt;post-production&gt;&lt;mastering&gt;&lt;eq&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35879" PostHistoryTypeId="2" PostId="22188" RevisionGUID="1916b827-f1f1-4bc0-b911-0b8abe5c6be9" CreationDate="2014-01-09T09:36:03.807" UserId="6425" Text="First of all: An EQ can not add something to a sound that is not there!!!!&#xD;&#xA;This is a very important fact, as a lot of beginners feel like they need to put on a magic frequency response in the EQ to make a sound big or stand out. &#xD;&#xA;&#xD;&#xA;But there are roughly 3 situations where you want to use an EQ:&#xD;&#xA;&#xD;&#xA;On all of those as a rule of thump: Wide Q boots and small Q cuts!&#xD;&#xA;&#xD;&#xA;1. To clean up a sound: &#xD;&#xA;To clean up a sound you can remove unwanted bottom end with a high pass filer or low shelf. You can also remove feedbacks, resonating frequencys and static screaming created by guitar amps and lamps via both filters. Moreover you can dampen room modes via a bell curve.&#xD;&#xA;For EG: to cleanup a Vocal recording you high pass at 120 hz to remove the steps of the vocalist, you notch 2 kHz and 4 kHz because you had a lamp in the vocal booth that created screams and you cut 6 dB at 250 Hz since this is the biggest room mode of your vocal booth.&#xD;&#xA;&#xD;&#xA;2. To improve the timbre: &#xD;&#xA;By Cutting or boosting different regions in the frequency spectrum you will change wich patrts of the sound are pronounced. Normaly the best approach is to cut 3-6 dB of frequency ares that are too present. -&gt; you then are left with what you like. There are some eq that also add some kind of sweetening effect like small distortion, resonances etc i ncomaprison to digital els that are often described as harsh. A Very good area to cut a little bit is betweenn 200Hz and 800 Hz. This area is referred as the Mud/paper/boxy. If you remove some content there on some &quot;unimportant/background sounds&quot; you often get a cleaner mix. On the other hand boosting 8-12 kHz often is often reffered as giving the sound brightness, clarity and breathing. A very good area to look at.&#xD;&#xA;For EG you have a piano recording that plays chords on the background of a song. So why not remove some mud at 450 Hz with a medium 4 dB cut. Also a 2 -3 dB High shelf boots at 8kHz can give the piano some life, clarity etc.&#xD;&#xA;&#xD;&#xA;3. Fit the sound in the context of your mix: &#xD;&#xA;If you bring in sound after sound in a mix scenery, you sometimes have the effect that you want to have a sound louder, but if you push the fader another sound disappears partly or looses something. This is where you use an eq for mix purpose.&#xD;&#xA;For EG: you recorded a bass and a wurlitzer EPiano. When you bring in the wurlitzer, you loose some punch of the bass. So why not remove the low end of the EPiano with a high pass at 180 hz to give every instrument its place.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So by removing unwanted frequency content and carefully hearing which itnrument dominated which frequency area you will get a more professional sound by eq. But you will never get something new out of an eq, you will just make the things you have cleaner.&#xD;&#xA;&#xD;&#xA;Peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="35880" PostHistoryTypeId="2" PostId="22189" RevisionGUID="a1edf3fe-0f38-4042-8ae2-7b4b4fc336e6" CreationDate="2014-01-09T11:37:50.787" UserId="6425" Text="Try clean 909(first)/808(second) Kicks and tune them to around 45 Hz. Then use gates reverb if you want but really be careful with the amount ant eq setting on the reverb channel. Also fine-tune the pre delay a good amount of time.&#xD;&#xA;&#xD;&#xA;Then something that i think he used is parallel compression with some distortion. This can help you make the reverb tail rumble. Set up a send where you compress the kick+ reverb heavily. Its important that no transient is coming trough. Then use short attack/release times to distort the signal or use a distortion plugin afterwards. Then feed this back.&#xD;&#xA;&#xD;&#xA;Also try Ringshifters on the kick and bit crushing kick + reverb to get the grit (could be you tubes compression so)&#xD;&#xA;&#xD;&#xA;Peace&#xD;&#xA;&#xD;&#xA;Edit: The bass of the kick comes from the sub bass synth imho" ContentLicense="CC BY-SA 3.0" />
  <row Id="35882" PostHistoryTypeId="5" PostId="3647" RevisionGUID="b74d6164-7262-478f-adf0-72b7d1d2f7d7" CreationDate="2014-01-09T13:21:31.137" UserId="37" Comment="clarify" Text="compared to having the monster enthusiasm, necessary knowledge, and creative spirit required, i'd say where you studied it matters far less.. you could say that for any profession, but for some out there, i believe like this one, a wider coverage and more of everything is required (and not necessarily available). also the number of self-taught people nowadays is only increasing." ContentLicense="CC BY-SA 3.0" />
  <row Id="35889" PostHistoryTypeId="19" PostId="13997" RevisionGUID="b6286b10-a8d6-491b-8b41-63aeab683caa" CreationDate="2014-01-09T14:28:36.123" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="35890" PostHistoryTypeId="2" PostId="22191" RevisionGUID="2157d770-7518-4090-afe0-950144e24706" CreationDate="2014-01-09T15:21:57.150" UserId="6738" Text="My friend recommended a technique for pitching down human voices. &#xD;&#xA;&#xD;&#xA;His trick was to duplicate the voice track: **pitch down one of the tracks** to where you like and then **lowpass it** below near 5 kHz **to remove esses and ssssshhhs**, and then **apply highpass to the unaltered track** to regain the unpitched esses and ssshhhs.&#xD;&#xA;&#xD;&#xA;Also some people uses resonant high pass filters to boost the lower frequencies." ContentLicense="CC BY-SA 3.0" />
  <row Id="35891" PostHistoryTypeId="2" PostId="22192" RevisionGUID="c6df6811-9b94-4d87-af9e-7f8073838c4d" CreationDate="2014-01-09T15:24:08.880" UserId="6738" Text="Some people use and recommend **creating sub basses with multiple voices** (detuned and sightly panned). They are aiming for a fatter voice (it definitely becomes fatter).&#xD;&#xA;&#xD;&#xA;Also other people elsewhere say that it is the **best to keep the lowest voices as simple as possible**, like highpassing the original bass if needed and putting a pure sine or triangle below. (*Excellent article here: [Mixing bass][1]*)&#xD;&#xA;&#xD;&#xA;The former (multiple voice) approach sounds great when the stuff played alone. (Un)fortunately mixes rarely contain one instrument :).&#xD;&#xA;&#xD;&#xA;Questions&#xD;&#xA;---------&#xD;&#xA;&#xD;&#xA; - What is the approach that results in fat, warm bass, but clear, defined and also &quot;safe&quot; on different PAs and sound systems?&#xD;&#xA; - What's your experience with the multiple voice basses working in mix?&#xD;&#xA; - Is there a gain in mixing bass frequencies to mono if the recording is not considered for vinyl?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/sep12/articles/mixing-bass.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="35892" PostHistoryTypeId="1" PostId="22192" RevisionGUID="c6df6811-9b94-4d87-af9e-7f8073838c4d" CreationDate="2014-01-09T15:24:08.880" UserId="6738" Text="Detuning multiple voice synth bass - good or bad idea" ContentLicense="CC BY-SA 3.0" />
  <row Id="35893" PostHistoryTypeId="3" PostId="22192" RevisionGUID="c6df6811-9b94-4d87-af9e-7f8073838c4d" CreationDate="2014-01-09T15:24:08.880" UserId="6738" Text="&lt;mixing&gt;&lt;bass&gt;&lt;sub-bass&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35895" PostHistoryTypeId="2" PostId="22194" RevisionGUID="5b8e6517-a0f3-42df-acae-57f2f33d7f5a" CreationDate="2014-01-09T18:29:57.257" UserId="6514" Text="&#xD;&#xA;Wow!  I was Googling Gundam Wing sounds for article research and did not expect to find such a recent discussion!&#xD;&#xA;&#xD;&#xA;Good luck on this.  Please let us know some technique you use to replicate these very intersting and iconic sounds!&#xD;&#xA;&#xD;&#xA;I also am happy they simply did not ask for transformer sounds (even if that would have made your job easier!)&#xD;&#xA;&#xD;&#xA;One thing I have been using a lot of pitch envelopes in Reaper.  With pitch envelopes you could take a servo or machine sound and quickly pitch it up or down which would give you the mechanical base but add enough artificiality to possibly achieve some of what they are asking.  Logic has pitch envelopes for the beginnning and end of audio reions but you dont have the flexibility to draw in it like you do in Reaper." ContentLicense="CC BY-SA 3.0" />
  <row Id="35896" PostHistoryTypeId="2" PostId="22195" RevisionGUID="3840d670-6cd3-4660-a217-956a97284cf0" CreationDate="2014-01-09T18:49:13.317" UserId="6425" Text="Question 1:&#xD;&#xA;fat = a strong fundamental frequencies&#xD;&#xA;warm = a good amount one present low mid/bass frequencies 100- 300 Hz also detuned sometimes&#xD;&#xA;defined = a clean sub bass and some higher mids to give the bass some presence&#xD;&#xA;&#xD;&#xA;What you want is to take a bass and make it sound deep and warm. you can detune if you want, but what is more important -&gt; make good use of the synths lowpass filter. Analogue filters have a warmer feel so you could try that. Then remove the lowest frequency with a high pass. automate the cut-off frequency to remove the fundamental on every note played. &#xD;&#xA;&#xD;&#xA;Also try to saturate the bass to get some more frequencies into the bass sound -&gt; more warmth&#xD;&#xA;&#xD;&#xA;To the stereo thingy why sub bass should always stay mono:&#xD;&#xA;We can't locate bass/we can't hear bass below c.a. 80 hz. We only feel those frequencies. So there is no use in panning the stuff around. &#xD;&#xA;If you want a stereo bass then try to build one that is mono to at least 100-200 hz and then spread it. you need to layer some synths to do this in most cases or use modulation fx like choruses with a high pass.&#xD;&#xA;Another reason why bass should be mono is because of mono compatibility. Stereo bass might collapse when you put it in mono like a lot of club PAs -&gt; your track sounds weak.&#xD;&#xA;&#xD;&#xA;But never forget the rule: what sounds right is right, but always check in mono!&#xD;&#xA;&#xD;&#xA;Question 2: &#xD;&#xA;Multiple voice bass is a good attempt is you use the different layers intelligently like 1 synth for sub bass, another sub bass one octave above then 1 saw bass patch filtert down and high passed then 1 subbbass that you distort 1 stereo detuned filter saw bass, one chorused/fxed sawbass one patch with a lot of transients, one white noise plug in and so on and so on. But really you make mixing and especially mastering a lot easier if you just use a mono sub sine wave since everything else might collapse or you can't hear it and i takes energy &#xD;&#xA;&#xD;&#xA;Question 3:&#xD;&#xA; There is no gain if you keep it mono. If it is stereo there might be a gain change if you mono it.&#xD;&#xA;&#xD;&#xA;peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="35897" PostHistoryTypeId="2" PostId="22196" RevisionGUID="bb8f61da-9562-400c-96ac-51c7b23473f7" CreationDate="2014-01-09T18:56:34.863" UserId="6425" Text="I think it is a saxophone to be honest. Maybe it is rep itched a bit in melodyne or it is sampled and played. or just a very sloppy player :)&#xD;&#xA;&#xD;&#xA;Peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="35898" PostHistoryTypeId="5" PostId="22188" RevisionGUID="1c2176af-3dc0-4584-8dc3-4df5b7dcd4bb" CreationDate="2014-01-09T18:57:33.163" UserId="6425" Comment="added 1 characters in body" Text="First of all: An EQ can not add something to a sound that is not there!!!!&#xD;&#xA;This is a very important fact, as a lot of beginners feel like they need to put on a magic frequency response in the EQ to make a sound big or stand out. &#xD;&#xA;&#xD;&#xA;But there are roughly 3 situations where you want to use an EQ:&#xD;&#xA;&#xD;&#xA;On all of those as a rule of thump: Wide Q boots and small Q cuts!&#xD;&#xA;&#xD;&#xA;1. To clean up a sound: &#xD;&#xA;To clean up a sound you can remove unwanted bottom end with a high pass filter or low shelf. You can also remove feedbacks, resonating frequencys and static screaming created by guitar amps and lamps via notch filters. Moreover you can dampen room modes via a bell curve.&#xD;&#xA;For EG: to cleanup a Vocal recording you high pass at 120 hz to remove the steps of the vocalist, you notch 2 kHz and 4 kHz because you had a lamp in the vocal booth that created screams and you cut 6 dB at 250 Hz since this is the biggest room mode of your vocal booth.&#xD;&#xA;&#xD;&#xA;2. To improve the timbre: &#xD;&#xA;By Cutting or boosting different regions in the frequency spectrum you will change wich patrts of the sound are pronounced. Normaly the best approach is to cut 3-6 dB of frequency ares that are too present. -&gt; you then are left with what you like. There are some eq that also add some kind of sweetening effect like small distortion, resonances etc i ncomaprison to digital els that are often described as harsh. A Very good area to cut a little bit is betweenn 200Hz and 800 Hz. This area is referred as the Mud/paper/boxy. If you remove some content there on some &quot;unimportant/background sounds&quot; you often get a cleaner mix. On the other hand boosting 8-12 kHz often is often reffered as giving the sound brightness, clarity and breathing. A very good area to look at.&#xD;&#xA;For EG you have a piano recording that plays chords on the background of a song. So why not remove some mud at 450 Hz with a medium 4 dB cut. Also a 2 -3 dB High shelf boots at 8kHz can give the piano some life, clarity etc.&#xD;&#xA;&#xD;&#xA;3. Fit the sound in the context of your mix: &#xD;&#xA;If you bring in sound after sound in a mix scenery, you sometimes have the effect that you want to have a sound louder, but if you push the fader another sound disappears partly or looses something. This is where you use an eq for mix purpose.&#xD;&#xA;For EG: you recorded a bass and a wurlitzer EPiano. When you bring in the wurlitzer, you loose some punch of the bass. So why not remove the low end of the EPiano with a high pass at 180 hz to give every instrument its place.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So by removing unwanted frequency content and carefully hearing which itnrument dominated which frequency area you will get a more professional sound by eq. But you will never get something new out of an eq, you will just make the things you have cleaner.&#xD;&#xA;&#xD;&#xA;Peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="35911" PostHistoryTypeId="2" PostId="22197" RevisionGUID="79007dd8-5a7c-4726-9ebf-0fac34f5810b" CreationDate="2014-01-09T22:51:46.200" UserId="6398" Text="I would really like to learn kontakt scripting. can anybody suggest books or dvds based on basic kontakt scripting as i have no knowledge in scripting or coding in general.&#xD;&#xA;&#xD;&#xA;Any help is much appreciated.&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="35912" PostHistoryTypeId="1" PostId="22197" RevisionGUID="79007dd8-5a7c-4726-9ebf-0fac34f5810b" CreationDate="2014-01-09T22:51:46.200" UserId="6398" Text="KONTAKT scripting - Tutorials &amp; videos" ContentLicense="CC BY-SA 3.0" />
  <row Id="35913" PostHistoryTypeId="3" PostId="22197" RevisionGUID="79007dd8-5a7c-4726-9ebf-0fac34f5810b" CreationDate="2014-01-09T22:51:46.200" UserId="6398" Text="&lt;dvd&gt;&lt;tutorial&gt;&lt;kontakt&gt;&lt;script&gt;&lt;books&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35915" PostHistoryTypeId="2" PostId="22199" RevisionGUID="af6cd0d3-d585-42ee-a2bf-434ede6d6a0b" CreationDate="2014-01-10T00:39:03.337" UserId="3994" Text="Teach yourself Pro Tools, recording/editing/mixing technique, sound and film theory. Figure out who is doing what you want to do, find them and ask them how they got there. Figure out where you want to go and go there and ask what they are looking for. Seek out any and all projects that you can learn from. Take full responsibility for your own success, and devote yourself to it. School is unnecessary for all of these steps. I did a bit of film school, but that's certainly not what landed me my job at a post production house. School won't in and of itself deliver you to success, you have to build it for yourself. And I found that that was a lot easier without a gigantic pile of student debt." ContentLicense="CC BY-SA 3.0" />
  <row Id="35916" PostHistoryTypeId="2" PostId="22200" RevisionGUID="290b1baf-7287-4d7a-bb9b-6af263ec7cc1" CreationDate="2014-01-10T01:12:20.013" UserId="565" Text="I've also searched for this info on scripts in Kontakt.  This is the only thing that I found:&#xD;&#xA;&#xD;&#xA;http://www.soniccouture.com/en/products/p50-scriptorium-tutorial-videos/&#xD;&#xA;&#xD;&#xA;Its a start anyway." ContentLicense="CC BY-SA 3.0" />
  <row Id="35918" PostHistoryTypeId="2" PostId="22202" RevisionGUID="990ee179-d277-4387-9f68-8136a49ebf98" CreationDate="2014-01-10T05:13:30.547" UserDisplayName="user49" Text="I'm in kindergarten....&#xD;&#xA;&#xD;&#xA;a book: (not recent)&#xD;&#xA;http://www.amazon.com/gp/product/3839150515/ref=ox_sc_act_title_4?ie=UTF8&amp;psc=1&amp;smid=ATVPDKIKX0DER&#xD;&#xA;&#xD;&#xA;a site:&#xD;&#xA;http://www.kontakttutorials.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="35919" PostHistoryTypeId="2" PostId="22203" RevisionGUID="24eba602-a016-473d-9442-67e5e51624d7" CreationDate="2014-01-10T08:08:34.910" UserId="7106" Text="Feel free to check out this list of audio editors as voted on by our members: http://en.audiofanzine.com/getting-started/editorial/articles/the-top-audio-editors.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="35920" PostHistoryTypeId="2" PostId="22204" RevisionGUID="3d8e417a-45ad-434c-8cf6-d4e13d788dd4" CreationDate="2014-01-10T09:30:43.597" UserId="1185" Text="Another good beginners resource is:&#xD;&#xA;&#xD;&#xA;[http://www.nilsliberg.se/ksp/scripts/tutorial/][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Or from NI themselves:&#xD;&#xA;&#xD;&#xA;[http://www.audiotek.cz/produktyATK/ni/kontakt3_p2.pdf][2]&#xD;&#xA;&#xD;&#xA;Or&#xD;&#xA;&#xD;&#xA;[http://www.soundonsound.com/sos/jul10/articles/kontakt1.htm][3]&#xD;&#xA;&#xD;&#xA;Or&#xD;&#xA;&#xD;&#xA;[http://www.askaudiomag.com/articles/introduction-to-scripting-in-kontakt-part-1][4]&#xD;&#xA;&#xD;&#xA;I'll stop at this point, but a bit a basic research would have uncovered these!!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.nilsliberg.se/ksp/scripts/tutorial/&#xD;&#xA;  [2]: http://www.audiotek.cz/produktyATK/ni/kontakt3_p2.pdf&#xD;&#xA;  [3]: http://www.soundonsound.com/sos/jul10/articles/kontakt1.htm&#xD;&#xA;  [4]: http://www.askaudiomag.com/articles/introduction-to-scripting-in-kontakt-part-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="35921" PostHistoryTypeId="2" PostId="22205" RevisionGUID="56362bc6-b118-43c3-9811-93e2df33b6bc" CreationDate="2014-01-10T09:50:11.907" UserId="7107" Text="There are some videos here. I'm not sure how useful they will be. - &#xD;&#xA;http://www.youtube.com/results?search_query=Kontakt+scripting&amp;sm=3" ContentLicense="CC BY-SA 3.0" />
  <row Id="35926" PostHistoryTypeId="2" PostId="22207" RevisionGUID="7fe5f10c-f046-425f-8d43-04340fbc9b67" CreationDate="2014-01-11T10:14:05.307" UserId="7112" Text="&#xD;&#xA;What sounds do you think are inherently funny without context?&#xD;&#xA;&#xD;&#xA;For me - Muted trumpet, slide whistle, Dutch speech" ContentLicense="CC BY-SA 3.0" />
  <row Id="35927" PostHistoryTypeId="1" PostId="22207" RevisionGUID="7fe5f10c-f046-425f-8d43-04340fbc9b67" CreationDate="2014-01-11T10:14:05.307" UserId="7112" Text="What Sounds are Funny?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35928" PostHistoryTypeId="3" PostId="22207" RevisionGUID="7fe5f10c-f046-425f-8d43-04340fbc9b67" CreationDate="2014-01-11T10:14:05.307" UserId="7112" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35929" PostHistoryTypeId="2" PostId="22208" RevisionGUID="387e0325-3c7b-40ff-ad03-735b8a05a34e" CreationDate="2014-01-11T13:59:23.123" UserId="1185" Text="I'm not really sure these sounds are that funny on their own.  I suspect it is their association in your mind that you find funny.  For example, the honk, honk sound from a bicycle air horn is so synonymous with clowns that as soon as you hear the sound you associate it to a context and that generates an emotional response in you." ContentLicense="CC BY-SA 3.0" />
  <row Id="35930" PostHistoryTypeId="5" PostId="22208" RevisionGUID="2b83b2d5-8f94-4d08-9229-6c5f4a16a6e8" CreationDate="2014-01-11T14:05:23.440" UserId="1185" Comment="added to original answer" Text="I'm not really sure these sounds are that funny on their own.  I suspect it is their association in your mind that you find funny.  For example, the honk, honk sound from a bicycle air horn is so synonymous with clowns that as soon as you hear the sound you associate it to a context and that generates an emotional response in you.  I think if the sounds were played to say, someone from a different culture with different social conditioning, it would seem perfectly normal." ContentLicense="CC BY-SA 3.0" />
  <row Id="35932" PostHistoryTypeId="2" PostId="22209" RevisionGUID="beca36b0-f9a6-49fb-a3ab-e127812f570a" CreationDate="2014-01-11T17:39:19.727" UserId="6425" Text="I have a degree in Sound design and Sound engineering. And the sound engineering diploma helped me a lot to understand the technical sides of audio. Especially how you connect all the devices in a logical way, which can be really complex sometimes. &#xD;&#xA;The Sound design diploma on the other hand did not teach anything other that Sound design is unteachable, its just a training of which possibilities there are. Sound design, effects, foley, recording, filtering, reverb... you know what i mean. If I were you, I would go for a diploma in a more technical area like sound engineering. Then I would learn the sound design aspects myself with pure experimentation.&#xD;&#xA;&#xD;&#xA;Then you will have some good demo really with good knowledge over your tools.&#xD;&#xA;&#xD;&#xA;One thing so -&gt; really buy a good monitoring system and really invest something in room acoustics to get rid of early reflections and some of the room modes.&#xD;&#xA;A good Monitoring system allows you to really hear whats going on in sound and so it will teach you 1000000000x more than a sound design teacher. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35939" PostHistoryTypeId="2" PostId="22213" RevisionGUID="d4f68295-fbf1-421f-a4cd-3113a70e7f18" CreationDate="2014-01-13T18:23:42.927" UserId="3567" Text="Since this was brought up again I can add this library:&#xD;&#xA;&#xD;&#xA;http://www.newsoundlab.com/hybrid-electric-car" ContentLicense="CC BY-SA 3.0" />
  <row Id="35942" PostHistoryTypeId="2" PostId="22215" RevisionGUID="28b2b89e-9fb1-4289-b625-8c57fd9f90c1" CreationDate="2014-01-13T19:12:29.000" UserId="7116" Text="Hi new comunity member here. &#xD;&#xA;I am looking for inspiration and movies where the sound (voice, sound effects, music) was used in a way to create stronger/more memorable character, to shape the character, where sound creates a distinctive quality/characteristics, describes him, reveal weaknes or mental state...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;few examples i can think of:&#xD;&#xA;&#xD;&#xA;dialogue and voice:&#xD;&#xA;&#xD;&#xA; - different voice deformations for *Batman* or *Darth Vader*, or even whole new language of *R2D2*&#xD;&#xA; - characters that are present only through voice - sniper in &quot;*Phone Booth*&quot;, mother in &quot;*Psycho*&quot;, or character of *Dr Mabuse*&#xD;&#xA; - silent character - *Silent Bob*&#xD;&#xA; - speech defect in &quot;*Kings speech*&quot;&#xD;&#xA;&#xD;&#xA;sound effects:&#xD;&#xA;&#xD;&#xA; - &quot;*Black swan*&quot; with sounds of wings edited in right places&#xD;&#xA; - [footsteps][1] in &quot;*No country for old men*&quot;&#xD;&#xA;&#xD;&#xA;music:&#xD;&#xA;&#xD;&#xA; - leitmotifs in &quot;*Jaws*&quot; when the shark is comming, again very distinctive music in &quot;*Star Wars*&quot; for *Darth Wader*...&#xD;&#xA; - also found [this interesting article][2] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;hope this is not too broad&#xD;&#xA;&#xD;&#xA;  [1]: http://www.teachmix.com/litcraft/content/following-footsteps-symbolism-movie-adaptation-no-country-old-men&#xD;&#xA;  [2]: http://www.jstor.org/discover/10.1525/mp.2007.25.2.135?uid=3737856&amp;uid=2129&amp;uid=2&amp;uid=70&amp;uid=4&amp;sid=21103238604191" ContentLicense="CC BY-SA 3.0" />
  <row Id="35943" PostHistoryTypeId="1" PostId="22215" RevisionGUID="28b2b89e-9fb1-4289-b625-8c57fd9f90c1" CreationDate="2014-01-13T19:12:29.000" UserId="7116" Text="define characters with sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="35944" PostHistoryTypeId="3" PostId="22215" RevisionGUID="28b2b89e-9fb1-4289-b625-8c57fd9f90c1" CreationDate="2014-01-13T19:12:29.000" UserId="7116" Text="&lt;film-sound-design&gt;&lt;movies&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35945" PostHistoryTypeId="2" PostId="22216" RevisionGUID="17841267-f07a-4e96-b647-11e4ae39644f" CreationDate="2014-01-13T19:38:55.980" UserId="6514" Text="Sound Forge Mac Pro is *servicable*.  If you can find it for cheap it might be worth it. Its still pretty buggy and lacking in features but it's quick to use if youre familiar with the flow." ContentLicense="CC BY-SA 3.0" />
  <row Id="35946" PostHistoryTypeId="2" PostId="22217" RevisionGUID="2a1fa1b2-a8ee-4126-b75c-31226945228d" CreationDate="2014-01-13T19:41:52.110" UserId="6514" Text="I recently had to do a similar ambience for a scene and I agree with Michael in building up layers of wind and sand.&#xD;&#xA;&#xD;&#xA;I also agree with Shaun cause he'll beat me up otherwise." ContentLicense="CC BY-SA 3.0" />
  <row Id="35947" PostHistoryTypeId="2" PostId="22218" RevisionGUID="dc21fea9-7a7b-4b86-8a6c-04693a488c48" CreationDate="2014-01-13T20:45:52.537" UserId="6942" Text="Voice of HAL 900 in &quot;2001 a space odyssey&quot;.&#xD;&#xA;Alien language in &quot;District 9&quot;.&#xD;&#xA;Voice of &quot;The elephant man&quot;.&#xD;&#xA;Reversed processed dialog in &quot;twin peaks&quot; red room.&#xD;&#xA;Oh, there are so many... I'll add more later..&#xD;&#xA;Cheers,&#xD;&#xA;&#xD;&#xA;Eduardo" ContentLicense="CC BY-SA 3.0" />
  <row Id="35948" PostHistoryTypeId="2" PostId="22219" RevisionGUID="e13a901a-f01a-40a0-93f1-97490faca0e1" CreationDate="2014-01-13T22:13:19.370" UserId="7123" Text="I produce EDM (Electronic Dance Music), mainly house. I have this problem with basslines. On my studio monitors, and my headphones, the bass sounds punchy in the mix. I can get it to the point where it sits nicely and sounds great.&#xD;&#xA;&#xD;&#xA;But as soon as I listen through my laptop speakers (Macbook Pro) I can't even hear the bass at all. The track just sounds flat.&#xD;&#xA;&#xD;&#xA;Yet, if I listen to the music from other artists who produce in the same genre, their tracks have an audible bassline on the laptop speakers.&#xD;&#xA;&#xD;&#xA;I know to some extent the laptop is going to cut a lot of the low frequencies.&#xD;&#xA;&#xD;&#xA;Any idea how to improve this? I usually use the laptop speaker as a reference. A lot of people listen to music through laptop speakers, and phones, and I'd like my music to sound as best as it can through those devices." ContentLicense="CC BY-SA 3.0" />
  <row Id="35949" PostHistoryTypeId="1" PostId="22219" RevisionGUID="e13a901a-f01a-40a0-93f1-97490faca0e1" CreationDate="2014-01-13T22:13:19.370" UserId="7123" Text="Bassline Not Audible on Laptop Speakers" ContentLicense="CC BY-SA 3.0" />
  <row Id="35950" PostHistoryTypeId="3" PostId="22219" RevisionGUID="e13a901a-f01a-40a0-93f1-97490faca0e1" CreationDate="2014-01-13T22:13:19.370" UserId="7123" Text="&lt;mixing&gt;&lt;post-production&gt;&lt;mastering&gt;&lt;eq&gt;&lt;sub-bass&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35953" PostHistoryTypeId="2" PostId="22221" RevisionGUID="07dbc091-0642-446d-b83f-163075e5138b" CreationDate="2014-01-14T00:04:58.537" UserId="7126" Text="You're likely to find that artists that have basslines that stick out well on both proper studio monitors as well as crappy laptop speakers are utilizing a bunch of layering of sounds to create a cohesive bass sound that spans various frequencies (besides the low ones you'd expect).  Even when I'm using a bass sound that is essentially a sub (sine wave) bass, I'll look for ways to embellish the harmonics of the sound (with distortion or layering) so as not to limit the notes the bass is playing strictly to the sub frequencies.  Listen to some dubstep basslines and you'll hear sub tones with more harmonically complex sounds on top (wobbles using a saw oscillator for example).  There is a certain art to making a good bass sound and it's hard to explain it in a paragraph, but experiment with layers and start thinking of the bass as a sound that is important on more frequencies than just the low ones.  Hopefully this helps" ContentLicense="CC BY-SA 3.0" />
  <row Id="35954" PostHistoryTypeId="2" PostId="22222" RevisionGUID="19f7d20e-f7ef-41a4-a0f2-5fe4e2dd53d4" CreationDate="2014-01-14T09:24:02.893" UserId="6425" Text="To get the Kickdrum out of Laptopspeakers -&gt; Layer a small click sound, rimshot, hi hat, etc.&#xD;&#xA;&#xD;&#xA;To get the Bass out -&gt; layer it with saws or use parallel distortion or fm to get some higher harmonics out" ContentLicense="CC BY-SA 3.0" />
  <row Id="35955" PostHistoryTypeId="2" PostId="22223" RevisionGUID="28cd44c7-015d-4320-81fd-d9e6d6053be3" CreationDate="2014-01-14T10:35:52.493" UserId="6001" Text="Hello my dear friends,&#xD;&#xA;&#xD;&#xA;I'm struggling with this question of not knowing what to do with the ref tone of -20 dBFS on the OMF file. Does this mean that I have to match all the dialogue tracks to this level? There is never, at any point of the post production a normalize of the tracks at any superior level?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="35956" PostHistoryTypeId="1" PostId="22223" RevisionGUID="28cd44c7-015d-4320-81fd-d9e6d6053be3" CreationDate="2014-01-14T10:35:52.493" UserId="6001" Text="-20dBFS What it means for dialogue editing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35957" PostHistoryTypeId="3" PostId="22223" RevisionGUID="28cd44c7-015d-4320-81fd-d9e6d6053be3" CreationDate="2014-01-14T10:35:52.493" UserId="6001" Text="&lt;dialogue&gt;&lt;editing&gt;&lt;sound-editing&gt;&lt;movies&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35959" PostHistoryTypeId="2" PostId="22225" RevisionGUID="8e81cbe5-56f6-49c3-a608-f63eb77c5000" CreationDate="2014-01-14T11:54:17.400" UserId="6425" Text="I finally moved my Studio out of my Bedroom in to a designated Room. (I got the room for free so I won't use another room iven if the basic geometry is kinda bad)&#xD;&#xA;&#xD;&#xA;After playing around in the room (l: 5.8m w: 2.2m: h 2.8m) I found a pretty good spot on roughly 35% in all dimensions. (so monitoring position in the rooms is around l: 2m w: 0.7m h: 1.2m) I kinda like the appeal of the sound there.&#xD;&#xA;&#xD;&#xA;I have measured the worst room modes: at 62, 255 and 500 Hz I have a fair amount of gain in bass, at 70 and 100 hz I have a huge amount of cancelation in bass response. Higher frequencies and reverberation are not that much of a problem as I have some good amounts of furniture in the room. For early refections and mids (500 Hz) I planed some thick acoustic foam and I use a book shelf for diffusion.&#xD;&#xA;&#xD;&#xA;Now I want to treat the room with some bass traps to get rid of those room modes. I read a lot about broadband absorbing bass traps, diy bass traps etc. But I am kinda scared of those materials Rockwool, fiberglass etc. Especially with the manufactured ones, I do not know whats in there an if they got damaged on shipping etc. (I don't drink alcohol, I don't smoke, I don't do drugs... so i kinda don't see why I should places critical materials in my working space.)&#xD;&#xA;&#xD;&#xA;Are there any alternatives to those standard bass traps. I read that sand might work?&#xD;&#xA;&#xD;&#xA;Peace&#xD;&#xA;Tobias" ContentLicense="CC BY-SA 3.0" />
  <row Id="35960" PostHistoryTypeId="1" PostId="22225" RevisionGUID="8e81cbe5-56f6-49c3-a608-f63eb77c5000" CreationDate="2014-01-14T11:54:17.400" UserId="6425" Text="Harmless alternative to Fiberglass, Rockwool, ..., Bass absorbers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35961" PostHistoryTypeId="3" PostId="22225" RevisionGUID="8e81cbe5-56f6-49c3-a608-f63eb77c5000" CreationDate="2014-01-14T11:54:17.400" UserId="6425" Text="&lt;acoustics&gt;&lt;room-treatment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35963" PostHistoryTypeId="2" PostId="22226" RevisionGUID="a05345b1-65f0-4caf-9232-c90b647bce18" CreationDate="2014-01-14T12:20:31.100" UserId="6844" Text="I'm wondering why, in films, we usually see and hear lightning and thunder at the same time?&#xD;&#xA;&#xD;&#xA;Is there a theoretical reason for this? Or is this just because it would be weird to see the lightning, and then hear the thunder with a time offset?&#xD;&#xA;&#xD;&#xA;Would it not be possible to make the thunder's sound time-shifted, depending on its distance, in order to enhance realism (within a shot that is long enough, of course) ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35964" PostHistoryTypeId="1" PostId="22226" RevisionGUID="a05345b1-65f0-4caf-9232-c90b647bce18" CreationDate="2014-01-14T12:20:31.100" UserId="6844" Text="lightning / thunder offset" ContentLicense="CC BY-SA 3.0" />
  <row Id="35965" PostHistoryTypeId="3" PostId="22226" RevisionGUID="a05345b1-65f0-4caf-9232-c90b647bce18" CreationDate="2014-01-14T12:20:31.100" UserId="6844" Text="&lt;film-sound-design&gt;&lt;sound-editing&gt;&lt;theory&gt;&lt;thunder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35966" PostHistoryTypeId="2" PostId="22227" RevisionGUID="ac3163f0-9e53-41ed-b81c-7069fb9c5ac3" CreationDate="2014-01-14T12:24:40.790" UserId="6528" Text="I was wondering if anyone could share any tips for mixing sound design with music, especially electronic music or trailer style  where a lot of the frequency spectrum is already covered. I guess a lot of it comes to creating the right sounds that will work.&#xD;&#xA;I see a lot of trailers where the sound design really seems to jump out of the mix but whilst not sounding harsh / loud or over driven.&#xD;&#xA;&#xD;&#xA;This is something I always struggle with. Would be great to hear some tips for mixing in this way.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35967" PostHistoryTypeId="1" PostId="22227" RevisionGUID="ac3163f0-9e53-41ed-b81c-7069fb9c5ac3" CreationDate="2014-01-14T12:24:40.790" UserId="6528" Text="Mixing sound design with heavy music tips?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35968" PostHistoryTypeId="3" PostId="22227" RevisionGUID="ac3163f0-9e53-41ed-b81c-7069fb9c5ac3" CreationDate="2014-01-14T12:24:40.790" UserId="6528" Text="&lt;mixing&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35969" PostHistoryTypeId="5" PostId="22222" RevisionGUID="deb3ff16-1a17-4931-89dd-e6b6fd57b874" CreationDate="2014-01-14T12:53:05.833" UserId="6425" Comment="added 246 characters in body" Text="To get the Kickdrum out of Laptopspeakers -&gt; Layer a small click sound, rimshot, hi hat, etc.&#xD;&#xA;&#xD;&#xA;To get the Bass out -&gt; layer it with saws or use parallel distortion or fm to get some higher harmonics out&#xD;&#xA;&#xD;&#xA;edit: also the right amount of white and pink noise can give the impression of a burst -&gt; helps with those edm genres to give a big bass drop on small speakers. just trigger filtered and reversed white/pink noise on the sub bass notes or kick" ContentLicense="CC BY-SA 3.0" />
  <row Id="35970" PostHistoryTypeId="4" PostId="22227" RevisionGUID="7871b8d9-e6bd-4ea7-a472-996baedc1bb9" CreationDate="2014-01-14T13:19:52.650" UserId="6528" Comment="edited title" Text="Mixing sound design with heavy music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35971" PostHistoryTypeId="2" PostId="22228" RevisionGUID="2d5bb5d8-53fb-411b-8b3c-375013ba607c" CreationDate="2014-01-14T14:34:38.333" UserId="1393" Text="You can use something like Waves MaxxBass or RBass to create upper harmonics that can be heard on smaller speakers. You could also saturate or distort the mid to high end on a separate track and blend it in with the original. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35972" PostHistoryTypeId="2" PostId="22229" RevisionGUID="5853b2fc-0615-449a-a061-f625b9ae1b31" CreationDate="2014-01-14T14:39:52.833" UserId="6514" Text="I think its because as you say; the time offset would be odd in a narrative.  In films the point of the thunder/lightning is to possibly give information about the environment for plot reasons or to enhance the mood of a scene.  In mot cases there is no story reason to have &quot;accurate&quot; time offset of the thunder. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35973" PostHistoryTypeId="2" PostId="22230" RevisionGUID="3c4db35f-7e24-4e7e-8b0a-e17e6af6ba40" CreationDate="2014-01-14T14:49:03.640" UserId="608" Text="Side chaining can be quite effective, the right sounds to cut through the mix and appropriate use of EQ to help them sit correctly. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35974" PostHistoryTypeId="2" PostId="22231" RevisionGUID="da315f3b-7609-4394-9112-3a739f04be6f" CreationDate="2014-01-14T15:08:56.043" UserId="7129" Text="It is always a challenge to mix sound design with heavy music.  Try to find the frequencies in the music that really define the character of the track.  Do the same on a case by case basis for the sound design.  Then, at the points where the sound design is to take center stage, pull those frequencies out of the music.  When the music takes center stage attenuate its defining frequencies from the sound design.  It's not a cure all, but it definitely helps.  &#xD;&#xA;&#xD;&#xA;Also, if you can truncate some of the longer sounds in the sound design track so they punch and then quickly duck down or even go away it will help.  Your brain will finish the sound while the music takes over.&#xD;&#xA;&#xD;&#xA;Best of luck.&#xD;&#xA;Tony Friedman, Outpost Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="35975" PostHistoryTypeId="2" PostId="22232" RevisionGUID="3872e500-a786-4636-801f-baca9ca4d4d3" CreationDate="2014-01-14T16:07:05.060" UserId="7130" Text="A reference tone is there for calibrating monitors to ensure that everyone is working at the same volume. -20dBFS indicates that this is American standards, as opposed to British and European standards (-18dBFS).  For instructions on speaker calibration see this rather helpful video here: http://vimeo.com/22735507&#xD;&#xA;&#xD;&#xA;With regard to the levels you should peak your dialogue to, use a peak program meter (you can find numerous plugins out there which do the trick), and make sure that the peaks fall between 4 and 6. 4 for conversational volumes, 6 for shouty stuff.  Make sure nothing peaks above 6 (-10dBFS in the UK, and I'm guessing -12dBFS if you're using US setting - can anyone else help here?)&#xD;&#xA;&#xD;&#xA;As for normalisation, if you're doing dialogue editing then you shouldn't worry yourself about that sort of thing - it's above our paygrade!  The mixer may change things later on when they start adding in the rest of the soundtrack.  Just watch the peaks and keep your dialogue clear crisp and easily understood.&#xD;&#xA;&#xD;&#xA;Carlvus" ContentLicense="CC BY-SA 3.0" />
  <row Id="35976" PostHistoryTypeId="2" PostId="22233" RevisionGUID="8ba38200-3682-42ca-9889-28283dd1e978" CreationDate="2014-01-14T17:12:34.327" UserId="3520" Text="As Carlvus mentioned, the ref tones purpose is tied to playback level rather than mix levels.  If you take my stems with a -20dBFS ref tone to your studio (which I'm assuming would be calibrated), make sure the tones are playing back on your system at -20, and that ensures that you're working with or listening to the mix at the level intended.&#xD;&#xA;&#xD;&#xA;The levels of your dialogue have nothing to with the -20dBFS tones, essentially.  What you're looking for is the DialNorm, which should be in the specs, to tell you the average level dialogue should be hitting throughout.  I've seen this number commonly range around either -24dB or -27 dB, but just get the specs and see." ContentLicense="CC BY-SA 3.0" />
  <row Id="35977" PostHistoryTypeId="2" PostId="22234" RevisionGUID="039dc17c-09ad-405b-8671-ac92d64849d2" CreationDate="2014-01-14T18:13:06.163" UserId="542" Text="DISCLAIMER:&#xD;&#xA;I am veeeerry tired and maybe the following text is just plain stupid. In that case: Excuse me and ignore the following :)&#xD;&#xA;&#xD;&#xA;I think thunderclaps can be used in different ways.&#xD;&#xA;If thunder is used only as a dramatic effect, there is no reason to be realistic when it comes to time delay. In those cases the thunder could be understood as something that isn't even part of the universe of the movie. It's more like a title used to introduce a new chapter in the film. Therefore it would actually be 'wrong' to use a time-offset, because you'd make it a part of the reality of the movie. &#xD;&#xA;Furthermore it speeds up the time between the approaching storm and the actual stoem.&#xD;&#xA;&#xD;&#xA;If the thunder/approaching storm IS presented as a part of the reality of the movie, then a time-offset would totally make sense.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Of course it could also be just an aesthetic decision :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35978" PostHistoryTypeId="2" PostId="22235" RevisionGUID="ff96e87e-e45e-48ad-a601-c30b87f26138" CreationDate="2014-01-14T20:00:28.527" UserId="194" Text="it's detail work for sure.  I haven't had good luck with sidechaining or other superquick volume rides on wide frequency music because you can always hear the pump.&#xD;&#xA;&#xD;&#xA;Instead, I tend to do a lot of EQ automation on the music and on the effects to get them all to hit where you need them to hit.&#xD;&#xA;&#xD;&#xA;Big music and big sfx hits can't effectively occupy the same moment.  If there's a giant impact visual cut directly on the beat, you'd be amazed how much low end you can cut out of either the music or fx *just for that quick moment* to really make that design element pop.&#xD;&#xA;&#xD;&#xA;Also, regarding sound design elements - midrange frequencies, mono sources (especially if you're , distortion, and pitch movement all cut through a mix waaaay better than stereo low frequency static pitch things.  &#xD;&#xA;&#xD;&#xA;Make your elements honk and buzz and shimmer and wiggle, and they'll rate.  Make them thump and thud and they won't.&#xD;&#xA;&#xD;&#xA;Arrangement is also key - if you can cut a frame or two out before a big impact it'll smack harder.  If you can find musical passages that breakdown a bit during big sound design moments (even if only for 1 bar) that can help out a lot.&#xD;&#xA;&#xD;&#xA;bob and weave, execute moment by moment." ContentLicense="CC BY-SA 3.0" />
  <row Id="35979" PostHistoryTypeId="2" PostId="22236" RevisionGUID="13e2f1cf-9b15-4c14-aea1-f7b71073e80d" CreationDate="2014-01-14T21:03:44.910" UserDisplayName="user49" Text="Film isn't documentary (unless it is a documentary) and it constantly alters/plays with the flow of time - every picture edit is effectively interrupting the flow of time... Do conversations always occur tightly edited or perfectly/dramatically paced in real life? So film isn't necessarily about realism, which is effectively what you are asking. &#xD;&#xA;And the same applies to many aspects - do voices through telephones actually sound like they do in films? of course not, its only evoking the effect so we 'read' it correctly, it is not documenting the actual effect.&#xD;&#xA;But in terms of physics, this issue could also apply to any distant sound FX - early in my career I remember sitting on a wharf watching a poledriver hammer huge poles in, but it was quite a way away from me &amp; there was a very noticeable delay in the audio reaching me. I thought about how if I presented sound FX for that moment the way they occur in reality, would likely be deemed out of sync...&#xD;&#xA;&#xD;&#xA;(it also could be about trying to accentuate drama - if thunder &amp; lightning occur at the same time to the viewer/listener, it means the lightning strike is very close to you)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35980" PostHistoryTypeId="2" PostId="22237" RevisionGUID="5f3e27c3-fdc4-4159-a7df-50b148a448fb" CreationDate="2014-01-14T22:02:45.183" UserId="6425" Text="Sound travels 330m/sec so if the thing is 2-3 km away, which is very close, there would be a 6-9 sec delay between visuals and sound.&#xD;&#xA;&#xD;&#xA;The average picture in a move is 3-4 seconds so a realistic sound would interfere with the typical cuts in a film.&#xD;&#xA;&#xD;&#xA;-&gt; So a realistic sound design makes only sense if the scene is planned for a really thunder :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="35981" PostHistoryTypeId="2" PostId="22238" RevisionGUID="4ac11f67-3882-48a3-97f1-9d6161102ca5" CreationDate="2014-01-14T22:20:35.273" UserId="6425" Text="Its so strange, if you sing or think of a melody of a famous song you suddenly have the chords in mind, the vocals or the timbre/sound of the instrument that plays the melody. And this makes me think of, woaw what a good melody.&#xD;&#xA;&#xD;&#xA;If I make up a melody it always sound so bad until i start to add a harmony or a crazy sound or some vocals and voila it evokes emotions.&#xD;&#xA;&#xD;&#xA;But why do i need that context? I ask this because i kinda find it hard to recognise if a melody that i made up is good or not...&#xD;&#xA;&#xD;&#xA;Peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="35982" PostHistoryTypeId="1" PostId="22238" RevisionGUID="4ac11f67-3882-48a3-97f1-9d6161102ca5" CreationDate="2014-01-14T22:20:35.273" UserId="6425" Text="Why do melodies sound empty/bad without context?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35983" PostHistoryTypeId="3" PostId="22238" RevisionGUID="4ac11f67-3882-48a3-97f1-9d6161102ca5" CreationDate="2014-01-14T22:20:35.273" UserId="6425" Text="&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35984" PostHistoryTypeId="2" PostId="22239" RevisionGUID="0c3e26fb-ccdb-476d-9e5e-9dced5565b07" CreationDate="2014-01-15T00:59:52.323" UserId="7133" Text="I think if you have a good melody it will stand on its own outside of the context of the chord changes. For example, sing any great melody out of context. Moon River, Somewhere Over the Rainbow, Yesterday, The Sound of Music, God Only Knows.. I think the melody in these example are so strong that they do well to imply the structure without needed a chord bed for context. Now I am the Walrus? Lucy in the Sky With Diamonds? You Are So Beautiful? Not strong melodies at all but sound great in the context of the chord changes. You can always get a second opinion by playing your melodies to folks out of context to see if they &quot;hold up&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="35985" PostHistoryTypeId="2" PostId="22240" RevisionGUID="d821ecff-e39c-4d90-a4f4-95dc24114d72" CreationDate="2014-01-15T03:00:49.987" UserId="1393" Text="Also think about the stereo space along with carving EQ when needed. You can automate a plugin like Brainworx Digital V2 or Waves Center to EQ the Mid and Side of the music track accordingly. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35986" PostHistoryTypeId="2" PostId="22241" RevisionGUID="4b185bbd-98cd-43c9-83a5-1aab45e57094" CreationDate="2014-01-15T06:32:13.253" UserDisplayName="user49" Text="&quot;A fart sound is pretty funny&quot;&#xD;&#xA;&#xD;&#xA;or juvenile/infantile/anal obsessed&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;moral of the story/comment: context is everything&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35987" PostHistoryTypeId="2" PostId="22242" RevisionGUID="5e104b02-dc21-4390-b47b-74d6194835af" CreationDate="2014-01-15T06:35:36.303" UserDisplayName="user49" Text="difficult to answer, because most of the soundtrack (dialogue/score/source/ambiences/fx/foley) of great films spend most of their time doing this! Is it not the primary motive for adding 'anything' to the soundtrack?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35988" PostHistoryTypeId="2" PostId="22243" RevisionGUID="0a2a3d16-ca92-4b18-8a50-13c0858c646d" CreationDate="2014-01-15T07:32:10.317" UserId="6484" Text="Sound that define a character can range from footsteps- Meryl Streep in The Devil Wears Prada- her footsteps always stood out amplifying the powerful character she is. Or Verbal Kent in Usual Suspects- when he walks, due to his disability- stands out from other footsteps and the audience subconsciously pities him which increases the shock value at the end of the film when it is revealed that he is actually Kaiser Solzay.Clothing noise especially leather or armor can sound a certain way to either portray the character as strong or weak depending on the narrative. A character can be defined by the sound of their car- a rattly old clunker can add in some subtext as to where the character is in life or in a sci-fi/action film- the car can sound larger than life separating it from all other vehicles in the frame allowing for the character to stand out. Sonic subtext when defining character is crucial in how characters are separated from each other, defining their role within the film that much more. " ContentLicense="CC BY-SA 3.0" />
  <row Id="35989" PostHistoryTypeId="2" PostId="22244" RevisionGUID="21e10ab9-bff9-4496-a6c4-c495fb33d082" CreationDate="2014-01-15T10:19:26.360" UserId="6425" Text="I had similar problems with Music and Speech in commercials since the new EBU R128 recommendation is out. So what I use often now -&gt; Dynamic EQs&#xD;&#xA;&#xD;&#xA;The way it works is the following: In music bass and highs are the thing that you really feel if it is gone. The Mids especially 800-3000 Hz is where the timbre, action, sound, melodies happen. Rhythmsections, bass and chords on the other hand are not that heavy in this frequency area.&#xD;&#xA;&#xD;&#xA;So If you see Sound design like Lead instruments or speakers like singers of the song then it makes sense to reduce the monetary midfrequencys when such a sound is happening, whilst keeping the backbone of the track -&gt; treble and bass. &#xD;&#xA;&#xD;&#xA;With a dynamic EQ you have a very cheap solution to this problem just trigger a midband cut via the sound design/speech and it automatically ducks away the midrange whenever the sound is happening. For speech I also bring in notch filters with the dynamic EQ to remove strong lead guitars at 1500-2500 hz (the area they scream). Or you just automate an EQ to do this. BTW 3-6 dB of gainreduction are a good point to start. A lot more will make the effect too obvious.&#xD;&#xA;&#xD;&#xA;Peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="35990" PostHistoryTypeId="2" PostId="22245" RevisionGUID="5c5da2e2-3f7e-418c-8191-512b507ed70f" CreationDate="2014-01-15T13:00:13.263" UserId="1216" Text="Have you heard of Doscha Wool? http://www.archello.com/en/product/wool-insulation&#xD;&#xA;Works very well and is environmentally friendly as well! And not extremely expensive.&#xD;&#xA;&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="35994" PostHistoryTypeId="2" PostId="22249" RevisionGUID="d00a985e-e095-4dad-b64b-3721c8e4aff8" CreationDate="2014-01-15T22:33:06.077" UserId="7135" Text="I have bumped upon a sound that I need a lot.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=z8rmGU-TcT0&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;At 00:38 you can hear the big room pluck, I'd like to make something like that.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Could someone please tell me how to make it (doesnt have to be exact, but just in that direction)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I have Sylenth1 and Massive. I have some basic knowledge about them how to make supersaws, electro basslines etc etc., I also know how ADSR works, and LFO's, but I have no idea where to begin...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I have searched on youtube for it, but didn't find any tutorial which was near that sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="35995" PostHistoryTypeId="1" PostId="22249" RevisionGUID="d00a985e-e095-4dad-b64b-3721c8e4aff8" CreationDate="2014-01-15T22:33:06.077" UserId="7135" Text="How can I make this sound (doesn't have to be exact" ContentLicense="CC BY-SA 3.0" />
  <row Id="35996" PostHistoryTypeId="3" PostId="22249" RevisionGUID="d00a985e-e095-4dad-b64b-3721c8e4aff8" CreationDate="2014-01-15T22:33:06.077" UserId="7135" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="35997" PostHistoryTypeId="2" PostId="22250" RevisionGUID="aabab6a8-5dfe-4870-86ba-d17dc9112111" CreationDate="2014-01-15T23:03:03.343" UserId="6536" Text="When mixing, often is needed to use a plugin on clips or on a section of a track, without going AudioSuite. Most of the time is a notch eq.&#xD;&#xA;&#xD;&#xA;So, when using a multi-parameter plugin, which is the fastest way to automate multiple controls, if working with non-HD Pro Tools? There is no 'write to' in vanilla version.&#xD;&#xA;&#xD;&#xA;I loop the section, insert the eq, find the parameters I want, and then? &#xD;&#xA;Is there a loophole to provide for the lack of that button? &#xD;&#xA;Or how do you work?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35998" PostHistoryTypeId="1" PostId="22250" RevisionGUID="aabab6a8-5dfe-4870-86ba-d17dc9112111" CreationDate="2014-01-15T23:03:03.343" UserId="6536" Text="Eq automation 'write to' alternative for non-HD Pro Tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="35999" PostHistoryTypeId="3" PostId="22250" RevisionGUID="aabab6a8-5dfe-4870-86ba-d17dc9112111" CreationDate="2014-01-15T23:03:03.343" UserId="6536" Text="&lt;mixing&gt;&lt;pro-tools&gt;&lt;eq&gt;&lt;automation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36002" PostHistoryTypeId="2" PostId="22252" RevisionGUID="aea5c36b-fafb-41aa-a842-9b1cbcbfefb6" CreationDate="2014-01-16T01:04:34.220" UserId="6636" Text="Sounds like a sawtooth wave with a short decay, some reverb, possibly dimension expander. Then the pitch seems to potentially have a small envelope on the pitch or is using the glide on a small amount. That's about it roughly. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36003" PostHistoryTypeId="2" PostId="22253" RevisionGUID="dce5595b-0eb5-48e6-b1cd-e9cd165eccc8" CreationDate="2014-01-16T02:11:27.107" UserId="3199" Text="This is a source of supreme frustration for myself as well. For anyone used to working with Preview automation then writing to all once everything is dialed in, moving to a non-HD system can throw a huge wrench in your workflow. &#xD;&#xA;&#xD;&#xA;My hack solution is to turn the automation OFF for given tracks that you want to automate. It won't follow any existing movement you may have, but it will at least let you dial in an EQ or something while listening to your source. When you're ready to write, turn automation to WRITE and print your automation across your desired area. Unfortunately, you do have to print in real time. :/&#xD;&#xA;&#xD;&#xA;I'm eager to hear better options, great question! " ContentLicense="CC BY-SA 3.0" />
  <row Id="36004" PostHistoryTypeId="2" PostId="22254" RevisionGUID="4922be03-63f1-46a6-a6fe-d51b3e971b5f" CreationDate="2014-01-16T02:49:48.687" UserId="253" Text="When i had to print plug in automation in LE/Native, i always used **Suspend Automation** in the Automation panel, and then **Write to all enabled** which i believe is in **Edit/Automation**. It has a finger bending hot key combination as well, which you can get used to pretty quickly.&#xD;&#xA;&#xD;&#xA;It's not quite the same as **Preview&gt;Write to selection**, but it's useful. One of the downsides is that **Suspend Automation** will ignore all of your existing automation, while **Preview** will still reference it. I can't remember what else i didn't like about it, but i'll try to check it out tomorrow in the studio and update this answer." ContentLicense="CC BY-SA 3.0" />
  <row Id="36005" PostHistoryTypeId="2" PostId="22255" RevisionGUID="5a9a4699-2d6b-413e-b73e-386f3886c762" CreationDate="2014-01-16T03:08:41.873" UserId="6443" Text="I have a question regarding sound quality - its a question about whether I should choose betwteen two strategies where the purpose is to preserver good sound quality at the one hand - and to reduce memory occupation of the soundfile on the other.&#xD;&#xA;&#xD;&#xA;Until now I have converted the actual sound-file from wave-format to a mp3-format. And the sampling-rate is 44000 HZ.&#xD;&#xA;&#xD;&#xA;This is one way - and I certainly loose some quality when making this conversion. &#xD;&#xA;&#xD;&#xA;The other way I have been thinking of lately is to NOT compress - instead of compressing the wave-file to mp3 I lower the samplingrate to 22000 HZ and in that keep &quot;good quality&quot; and at the same time reduce the size a lot.&#xD;&#xA;&#xD;&#xA;Is it a drawback with this strategy? Which strategy is the best? &#xD;&#xA;&#xD;&#xA;The soundfiles is used to an app I am developing in android. The soundfiles is phrases - a man and a womans voice - no longer than 2-5 seconds.&#xD;&#xA;&#xD;&#xA;thanks in advance!!!!  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36006" PostHistoryTypeId="1" PostId="22255" RevisionGUID="5a9a4699-2d6b-413e-b73e-386f3886c762" CreationDate="2014-01-16T03:08:41.873" UserId="6443" Text="convert to mp3 or lower the samplingrate" ContentLicense="CC BY-SA 3.0" />
  <row Id="36007" PostHistoryTypeId="3" PostId="22255" RevisionGUID="5a9a4699-2d6b-413e-b73e-386f3886c762" CreationDate="2014-01-16T03:08:41.873" UserId="6443" Text="&lt;wav&gt;&lt;mp3&gt;&lt;sound-quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36008" PostHistoryTypeId="2" PostId="22256" RevisionGUID="7201a819-927c-4433-b5d5-a7f5a110b0d3" CreationDate="2014-01-16T05:21:50.927" UserId="1228" Text="Drawback = Nyquist limit.  MP3 does psychoacustically-pleasing compression, sampling rate will truncate the data.  The former is the better of the choice." ContentLicense="CC BY-SA 3.0" />
  <row Id="36009" PostHistoryTypeId="2" PostId="22257" RevisionGUID="e629513a-7bb9-4941-88a7-f15c3ba9a9ea" CreationDate="2014-01-16T05:39:30.483" UserId="6686" Text="This might not be the direction you were thinking (buying the pack), but it's a pack of patches and you have Sylenth. So couldn't you get the pack, load up the patch and reverse engineer?  Then you would know exactly how it was done. &#xD;&#xA;&#xD;&#xA;Although there's something good to be said about trying to replicate it on your own. Likely will learn something new along the way. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36010" PostHistoryTypeId="2" PostId="22258" RevisionGUID="33224945-5c09-47f4-8cce-cbbf6fcc21d9" CreationDate="2014-01-16T05:42:35.320" UserId="6636" Text="If you down sample sounds as Stavrosound has said you need to be wary of the Nyquist limit. Roughly the sound must be sampled at twice it's frequency to be accurately represented. &#xD;&#xA;&#xD;&#xA;In game sound people will down sample making sure that the majority of the useful data is below the limit, eg. If the audio has no useful info above 4k then the sound can be down sampled to 8k, although compromises are often made to quality at a loss to some high end vs size dependant on how key the sound is in the overall mix. So whether or not to down sample is down to the Audio's application, it's frequency content and it's importance on the overall mix. Often low end sounds are down sampled significantly with little compromise vs something like a cricket sound which has plenty in the high end to be obviously lost. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36012" PostHistoryTypeId="2" PostId="22260" RevisionGUID="c2553b7e-0a68-4366-ac40-9afe69e33a8b" CreationDate="2014-01-16T06:42:44.167" UserId="5526" Text="In PT10 with Production Toolkit, I use an Artist Series Control with soft keys for Preview, Punch Preview, and Write to Selected. &#xD;&#xA;&#xD;&#xA;Before I got that, I used to use the Automation palette always in the same spot with a QuicKey macro (now I'd use a Keyboard Maestro macro) to push the palette's buttons from the keyboard. Clicking on the Automation palette buttons by hand isn't the worst thing in the world, but it does get tiresome after a while. &#xD;&#xA;&#xD;&#xA;I can't remember if these buttons are even available in earlier, non DV or Production Toolkit versions of PT LE. But I can suggest something wacky as a workaround. You could use an AudioSuite version of your plug-in, it does the looping while you Preview and tweak away, then copy the settings of your plug-in and paste them onto the plug-in insert, or save the settings as a preset and recall them onto your insert. Then use write to all enabled, as has been mentioned. If you've already written pan or volume, etc, you can turn off those types of automation in the Automation palette so that you don't overwrite them when writing your plug-in automation. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="36013" PostHistoryTypeId="6" PostId="22249" RevisionGUID="363fd343-00e7-4b9b-a6b9-49a767c918c0" CreationDate="2014-01-16T14:45:14.180" UserId="7135" Comment="edited tags" Text="&lt;sound-design&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36014" PostHistoryTypeId="2" PostId="22261" RevisionGUID="f0d6b456-449e-4774-a17e-3874919c77d0" CreationDate="2014-01-16T16:41:36.853" UserId="7139" Text="I'm always puzzled with this. What do you use to create an&quot;at sea&quot; feel of waves? I find that all we got is &quot;breaking&quot; waves." ContentLicense="CC BY-SA 3.0" />
  <row Id="36015" PostHistoryTypeId="1" PostId="22261" RevisionGUID="f0d6b456-449e-4774-a17e-3874919c77d0" CreationDate="2014-01-16T16:41:36.853" UserId="7139" Text="How do you do waves &quot;at sea&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36016" PostHistoryTypeId="3" PostId="22261" RevisionGUID="f0d6b456-449e-4774-a17e-3874919c77d0" CreationDate="2014-01-16T16:41:36.853" UserId="7139" Text="&lt;sound-effects&gt;&lt;waves&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36017" PostHistoryTypeId="2" PostId="22262" RevisionGUID="cc829618-b1f7-4195-9992-63ddee626838" CreationDate="2014-01-16T17:55:21.197" UserId="6636" Text="One way would be to record from a boat at sea. Or you could potentially use waves on a lake or take a boat out onto a lake to record for a similar effect depending on the situation. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36018" PostHistoryTypeId="2" PostId="22263" RevisionGUID="4fcba63f-86eb-464c-8096-d91c8e17495b" CreationDate="2014-01-16T18:23:01.463" UserId="4442" Text="Yea I think the main thing missing from breaking waves is how the water sounds against a body. I would see if you can even mix in a few splashes that you may have, or water sloshing up onto something.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36019" PostHistoryTypeId="2" PostId="22264" RevisionGUID="3c89a186-edaa-4f5d-a490-920ee15e470d" CreationDate="2014-01-16T18:32:59.467" UserId="4442" Text="There is a short pitch envelope on it too to get the very fast rise" ContentLicense="CC BY-SA 3.0" />
  <row Id="36020" PostHistoryTypeId="5" PostId="22253" RevisionGUID="b47f1b2a-0426-4c24-b544-90941de6b64d" CreationDate="2014-01-16T19:37:59.940" UserId="3199" Comment="added 89 characters in body" Text="This is a source of supreme frustration for myself as well. For anyone used to working with Preview automation then writing to all once everything is dialed in, moving to a non-HD/non-Toolkit system can throw a huge wrench in your workflow. &#xD;&#xA;&#xD;&#xA;My hack solution is to turn the automation **OFF** for given tracks that you want to automate, or use the **Suspend** button in the Automation window [Cmd-4] . It won't follow any existing movement you may have, but it will at least let you dial in an EQ or something while listening to your source. When you're ready to write, turn automation to **WRITE** and print your automation across your desired area. &#xD;&#xA;&#xD;&#xA;Unfortunately, you do have to print in real time. :/&#xD;&#xA;&#xD;&#xA;I'm eager to hear better options, great question! " ContentLicense="CC BY-SA 3.0" />
  <row Id="36021" PostHistoryTypeId="2" PostId="22265" RevisionGUID="164f0a74-1f82-4429-9ed5-a9b7fe9204a6" CreationDate="2014-01-16T22:53:45.387" UserId="6425" Text="It is obviously 2 layers sounds. One Woop synth which is a sawtooth with a attack on the pitch. then i also hear some plucky sawtooth where you have 0 attack and sustain. The trick to get the width in sylenth1 is -&gt; detune the unison on the oscillators and use very very short delays (10-40ms) with different timing for left and right channel. then also just activate the eq and play around with the frequencies (you do not need to boost or cut with the silent eq it changes/hollows out the sound by itself) and also play around with the distortion to pronounce the transient of the pluck" ContentLicense="CC BY-SA 3.0" />
  <row Id="36022" PostHistoryTypeId="5" PostId="22254" RevisionGUID="06a67810-c509-44b7-be34-4010405c6649" CreationDate="2014-01-17T03:09:32.770" UserId="253" Comment="added 219 characters in body" Text="When i had to print plug in automation in LE/Native (with Production Toolkit), i always used **Suspend Automation** in the Automation panel, and then **Write to all enabled** which i believe is in **Edit/Automation**. It has a finger bending hot key combination as well, which you can get used to pretty quickly.&#xD;&#xA;&#xD;&#xA;It's not quite the same as **Preview&gt;Write to selection**, but it's useful. One of the downsides is that **Suspend Automation** will ignore all of your existing automation, while **Preview** will still reference it. Also, **Write to all enabled** can be a bit fiddly when you're running a broad session with a lot of automation.&#xD;&#xA;&#xD;&#xA;If you're without Production Toolkit, as Jesse.R said, you're probably better off writing in real time. If it's a simple operation, you can always go into the plug-in's automation graph and draw/drag it." ContentLicense="CC BY-SA 3.0" />
  <row Id="36024" PostHistoryTypeId="2" PostId="22267" RevisionGUID="b90f1081-2f79-48f6-a981-41fb8b22be1f" CreationDate="2014-01-17T12:28:26.163" UserId="1014" Text="On Layer A just use a Saw. Then assign one of your Mod. Envelopes to Osc A pitch with Attack, Sustain and Release to minimum. Rise Mod Env Decay a bit and increase the depth until you get the right amount of pitch sweep you want. Then you can add some effects. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36025" PostHistoryTypeId="2" PostId="22268" RevisionGUID="b2a2a4e7-776c-4602-90dc-5d0e7b5a1fde" CreationDate="2014-01-17T12:30:31.267" UserId="1014" Text="The best way to start is to read the basics on Nils Liberg site (http://nilsliberg.se/ksp/scripts/tutorial/) and follow VI-Control Kontakt Scripting section of their forum (http://www.vi-control.net/forum/viewforum.php?f=65)&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Luca " ContentLicense="CC BY-SA 3.0" />
  <row Id="36026" PostHistoryTypeId="2" PostId="22269" RevisionGUID="00ce5e52-b599-494d-b02d-81531989208c" CreationDate="2014-01-17T13:00:09.523" UserId="6425" Text="I think when it comed to Monster Voice sounddesign, layering is very important. At least one track for the speech that should only be changed to an extend that someone Else with a fresh pair of ears can understand it. Next to that Layer i would use Crazy animal and human shouts Growls whistkes. Especially by combining human speech with Animal Sounds should work well. If you process them the Same Way, like Stifting Formats, Same Vocoder etc you can combine them. When you use any Kind of effect from pitch, formsntshifting to destortion and grainular processing, Automate the Parameters by a huge amount  to Support the phrases and emotions. For wall e they used crazy pen-Controllers to live track the formants and vocoders on those Roboters in a x y z Koordinate system. Also try to Vocode Long vowels with Animal Sounds as modulator. Gl" ContentLicense="CC BY-SA 3.0" />
  <row Id="36027" PostHistoryTypeId="2" PostId="22270" RevisionGUID="d4482b3e-f37e-47ad-876a-1409438f56f3" CreationDate="2014-01-17T15:32:23.010" UserId="6597" Text="Just wondering if you guys know any reverb that does sequencing for Pro Tools. I'm looking something exactly like Logic's Space Design.&#xD;&#xA;&#xD;&#xA;Here's an interesting article:&#xD;&#xA;http://getthatprosound.com/the-10-best-reverb-plugins-in-the-world/ " ContentLicense="CC BY-SA 3.0" />
  <row Id="36028" PostHistoryTypeId="1" PostId="22270" RevisionGUID="d4482b3e-f37e-47ad-876a-1409438f56f3" CreationDate="2014-01-17T15:32:23.010" UserId="6597" Text="Sequencer's Reverb for Pro Tools" ContentLicense="CC BY-SA 3.0" />
  <row Id="36029" PostHistoryTypeId="3" PostId="22270" RevisionGUID="d4482b3e-f37e-47ad-876a-1409438f56f3" CreationDate="2014-01-17T15:32:23.010" UserId="6597" Text="&lt;reverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36030" PostHistoryTypeId="2" PostId="22271" RevisionGUID="c5499ae9-28fa-4658-bac6-793bfeb127fe" CreationDate="2014-01-17T19:55:05.813" UserId="6514" Text="I agree with David, and have had to do this recently myself.  You kind of want just some intermittent splashing going on without the white noise of water dispersal from waves.&#xD;&#xA;&#xD;&#xA;If you want the sound of being on a boat then recording on a boat or waves hitting posts at a pier might o the trick.  But if you dont want the sound of a ot then my suggestion if still just editing some splashes." ContentLicense="CC BY-SA 3.0" />
  <row Id="36031" PostHistoryTypeId="2" PostId="22272" RevisionGUID="14baeb20-7e02-4d4c-8666-c8e6ca96101a" CreationDate="2014-01-18T01:58:33.903" UserId="7150" Text="Can somebody tell me how i can make/produce this Horror Voice with Ableton Live or other programs.&#xD;&#xA;&#xD;&#xA;Its an Horror Sample from an German Movie. This Voice means &quot; dont touch me &quot;.&#xD;&#xA;&#xD;&#xA;You can download this Sample!&#xD;&#xA;&#xD;&#xA;http://www.linkfile.de/download-27cda4b5a2118390de6130f52b961e28.php&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="36032" PostHistoryTypeId="1" PostId="22272" RevisionGUID="14baeb20-7e02-4d4c-8666-c8e6ca96101a" CreationDate="2014-01-18T01:58:33.903" UserId="7150" Text="How can i make this Horror Voice?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36033" PostHistoryTypeId="3" PostId="22272" RevisionGUID="14baeb20-7e02-4d4c-8666-c8e6ca96101a" CreationDate="2014-01-18T01:58:33.903" UserId="7150" Text="&lt;voice&gt;&lt;ableton-live&gt;&lt;horror&gt;&lt;sample&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36034" PostHistoryTypeId="2" PostId="22273" RevisionGUID="92847445-8fc0-467e-beab-02dd181096c5" CreationDate="2014-01-18T03:25:05.937" UserId="7147" Text="I'm using the [Launchpad95][1] script for Novation's Launchpad. I highly recommend it. But i'm curious about one thing.&#xD;&#xA;&#xD;&#xA;In the 'Combined Mode' section. Look at the diagram. the bottom left area is a 4x4 grid of colors. These are used to represent the Drum Rack notes. &#xD;&#xA;&#xD;&#xA;But why are they color different? &#xD;&#xA;&#xD;&#xA;Possibly just to give the user some differentiation? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://motscousus.com/stuff/2011-07_Novation_Launchpad_Ableton_Live_Scripts/" ContentLicense="CC BY-SA 3.0" />
  <row Id="36035" PostHistoryTypeId="1" PostId="22273" RevisionGUID="92847445-8fc0-467e-beab-02dd181096c5" CreationDate="2014-01-18T03:25:05.937" UserId="7147" Text="Ableton's Push / Launchpad color choice" ContentLicense="CC BY-SA 3.0" />
  <row Id="36036" PostHistoryTypeId="3" PostId="22273" RevisionGUID="92847445-8fc0-467e-beab-02dd181096c5" CreationDate="2014-01-18T03:25:05.937" UserId="7147" Text="&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36037" PostHistoryTypeId="2" PostId="22274" RevisionGUID="baa9c5f8-0727-4727-8abd-7ead056f6ced" CreationDate="2014-01-18T09:22:07.603" UserId="6425" Text="My mixing desk only supports stereo outputs. To connect a mono grotbox i need a mono signal. Is there an Adapter or cable that feeds the two stereo signals in one mono Jack or xlr? " ContentLicense="CC BY-SA 3.0" />
  <row Id="36038" PostHistoryTypeId="1" PostId="22274" RevisionGUID="baa9c5f8-0727-4727-8abd-7ead056f6ced" CreationDate="2014-01-18T09:22:07.603" UserId="6425" Text="Stereo to mono Jack!" ContentLicense="CC BY-SA 3.0" />
  <row Id="36039" PostHistoryTypeId="3" PostId="22274" RevisionGUID="baa9c5f8-0727-4727-8abd-7ead056f6ced" CreationDate="2014-01-18T09:22:07.603" UserId="6425" Text="&lt;hardware&gt;&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36040" PostHistoryTypeId="2" PostId="22275" RevisionGUID="d14b8077-6d7b-47ca-a91b-c6b7fe426c9c" CreationDate="2014-01-18T10:45:55.093" UserId="7151" Text="I would be very interested in learning how to realistically synthesize classical instruments (piano and strings in particular).&#xD;&#xA;Could you point me to a _command line_ software (or something that I can control using _text_), and a beginner text to understand it?&#xD;&#xA;&#xD;&#xA;(the requisite for a text controllable software comes from the fact that I'd like to embed this software in another programming language, to automate certain operations.)&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="36041" PostHistoryTypeId="1" PostId="22275" RevisionGUID="d14b8077-6d7b-47ca-a91b-c6b7fe426c9c" CreationDate="2014-01-18T10:45:55.093" UserId="7151" Text="Where to begin studying synthesis of classical instruments?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36042" PostHistoryTypeId="3" PostId="22275" RevisionGUID="d14b8077-6d7b-47ca-a91b-c6b7fe426c9c" CreationDate="2014-01-18T10:45:55.093" UserId="7151" Text="&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36043" PostHistoryTypeId="2" PostId="22276" RevisionGUID="54b1c1d9-81ac-4bd2-9f1d-138a245effab" CreationDate="2014-01-18T11:26:23.203" UserId="6425" Text="I would go for Max or Pure Data (free, same developer as Max). Both are object based programming tools based on C. So you should be able to convert that into Code." ContentLicense="CC BY-SA 3.0" />
  <row Id="36044" PostHistoryTypeId="5" PostId="22276" RevisionGUID="33e30bc5-4442-4f16-8279-d07b74a871f5" CreationDate="2014-01-18T14:21:11.060" UserId="6425" Comment="added 274 characters in body" Text="I would go for Max or Pure Data (free, same developer as Max). Both are object based programming tools based on C. So you should be able to convert that into Code.&#xD;&#xA;&#xD;&#xA;edit: also you just need to learn how to use the IAC driver on macs to understand how to deliver midi/automation data from program to program. -&gt; Prog midi control in Pure data and then feed it via the IAC driver (audio midi setup in mac-utilities) to any other software" ContentLicense="CC BY-SA 3.0" />
  <row Id="36045" PostHistoryTypeId="2" PostId="22277" RevisionGUID="2bd162ca-ca7b-4a2c-954b-53ebf23523c5" CreationDate="2014-01-18T14:26:22.253" UserId="6425" Text="I think the sounds itself really work well. For me the balance of the sounds is the only thing that bothered me sometimes (based on videos). Some really cool things like this sound when you respawn is very silent while some hit indicators are very loud. Those atmospheric stuff i would boos a little bit. Then the overall loudness is a bit more balanced.&#xD;&#xA;&#xD;&#xA;Good Job!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36046" PostHistoryTypeId="2" PostId="22278" RevisionGUID="0d9b7083-8bb0-41e4-86e2-60cd8c662fb0" CreationDate="2014-01-18T14:29:17.790" UserId="1185" Text="Textual languages are less popular these days as graphical audio programming environments (such as Max or Pd) are more approachable.  Nonetheless a couple that you may like to look at are Csound ([The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing and Programming, Richard Boulanger][1]), which is a C based language so if you have any programming experience you can jump straight in. The other is SuperCollider which is an interpreted language and fairly easy to pick up the basic syntax ([The SuperCollider Book, Scott Wilson, David Cottle, Nick Collins][2]).&#xD;&#xA;&#xD;&#xA;Have fun.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/The-Csound-Book-Perspectives-Programming/dp/0262522616/&#xD;&#xA;  [2]: http://www.amazon.co.uk/SuperCollider-Book-Scott-Wilson/dp/0262232693/" ContentLicense="CC BY-SA 3.0" />
  <row Id="36047" PostHistoryTypeId="2" PostId="22279" RevisionGUID="cf7dcac7-bea0-412d-9e55-99cb44589fc5" CreationDate="2014-01-18T14:36:49.840" UserId="1185" Text="You don't say what size you require, but looking at somewhere like [StudioSpares][1] you'll see what is available.  Failing that, buy the jacks you want, get a soldering iron and ideally a test meter and then you can make your own leads.  There are plenty of video tutorials online to guide you through……it's a good skill to have and only takes a bit of practice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.studiospares.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="36048" PostHistoryTypeId="2" PostId="22280" RevisionGUID="cb487778-f45b-44a4-ad5d-a198d0f8ed8c" CreationDate="2014-01-19T12:30:44.483" UserId="3346" Text="Nice. Thanks for remembering me again, that i´m looking for the same thing. Ic checked google and found this in one second. Does anyone tried it ?&#xD;&#xA;&#xD;&#xA;http://audiowatermarking.info" ContentLicense="CC BY-SA 3.0" />
  <row Id="36049" PostHistoryTypeId="2" PostId="22281" RevisionGUID="c77a8c19-a659-49ea-a337-f6d84b3ac890" CreationDate="2014-01-19T14:00:21.463" UserId="7158" Text="Because of the way arpeggiated instruments in Logic work, it's a little problematic to execute tasks that can be seen as rather adventurous. Although it may be seen as a short cut, one of the things I would suggest doing, and would do myself, is bounce the track down once you're happy with the overall sound of it. It'll be much easier to do what you want to do using audio instead of MIDI. I do use Logic myself, and am currently taking a break from scoring a short film.&#xD;&#xA;&#xD;&#xA;My honest advice would be to bounce down the audio, although be prepared to do this three or four times in case you're not happy with the sound or want to re-visit the patch you're using in Sculpture. I gave up with Logic's Environment in order to use arps and bought myself a copy of Sylenth1. For atmospherics and pad sounds, I'll often turn to Camel Audio's Alchemy. Sculpture is wonderful for the low down, gurgly horror drones.&#xD;&#xA;&#xD;&#xA;I haven't really answered your problem, but I hope this solution might come in handy." ContentLicense="CC BY-SA 3.0" />
  <row Id="36050" PostHistoryTypeId="2" PostId="22282" RevisionGUID="c1d2a5d2-4087-4881-a8ae-4ffe1b8e548e" CreationDate="2014-01-19T19:03:30.757" UserId="7152" Text="I use a united minorities greeny for foley work. Amazing sound and cheaper than an u87.&#xD;&#xA;If that's too expensive try the rode nt 55. &#xD;&#xA;they're not the best ones out there, but quite decent for footsteps, especially since they're often used on set, so the foley blends nicely with ot" ContentLicense="CC BY-SA 3.0" />
  <row Id="36051" PostHistoryTypeId="2" PostId="22283" RevisionGUID="d34109e7-eccb-40e5-b59a-26661f9c10e2" CreationDate="2014-01-19T22:14:50.220" UserId="3418" Text="I love my MKH416, excellent microphone, I about to finish a short which I had to create all the foley in it and it served me well. I like what rob suggested, you don't have to spend premium price to get a good mic, I bought mine 2nd hand and never looked back.&#xD;&#xA;&#xD;&#xA;Due to its directivity it will also work well if you don't have good room acoustics, foley aims at recording the sound and not its surroundings. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36052" PostHistoryTypeId="2" PostId="22284" RevisionGUID="bbeaa421-dc15-4a5a-9ded-94f753ce466d" CreationDate="2014-01-20T03:39:44.040" UserId="7161" Text="What is the best way to distribute noise from more than one source (I'm envisioning a system with many), within a dome, with the ground as its primary target, at optimal frequencies and volumes to create maximum vibrations on the ground?&#xD;&#xA;&#xD;&#xA;Think, this picture -  &lt;http://hyperphysics.phy-astr.gsu.edu/hbase/acoustic/imgaco/foc3.gif&gt; - but with more than one source.&#xD;&#xA;&#xD;&#xA;I'm assuming you would want the dome to be perfectly circular, and have the point at which the dome wall meets the ground at a slight incline (as opposed to vertical) so all the sound stays directed at the ground. Imagine a tennis ball which is cut in half, but was split just before the equator. You take the side that is smaller, and flip it over. Thats what I am imagining. I'm just judging from the above drawing that you would want the sound sources crammed as close as possible in the center of the dome, in as perfect as a circle as you could design it, and maybe directed so that they are all pointed to the center of their own, independent, equally sized areas (the dome being the total area of the surface that the sound is being pointed at). It seems like if you could cram all the sound into a point of singularity and put it at the center of the dome, and then release it somehow - that would be ideal (although that sounds pretty complicated). Not sure about frequencies and volumes." ContentLicense="CC BY-SA 3.0" />
  <row Id="36053" PostHistoryTypeId="1" PostId="22284" RevisionGUID="bbeaa421-dc15-4a5a-9ded-94f753ce466d" CreationDate="2014-01-20T03:39:44.040" UserId="7161" Text="Sound - for the purpose of creating vibrations" ContentLicense="CC BY-SA 3.0" />
  <row Id="36054" PostHistoryTypeId="3" PostId="22284" RevisionGUID="bbeaa421-dc15-4a5a-9ded-94f753ce466d" CreationDate="2014-01-20T03:39:44.040" UserId="7161" Text="&lt;noise&gt;&lt;speakers&gt;&lt;frequency&gt;&lt;volume&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36057" PostHistoryTypeId="5" PostId="22188" RevisionGUID="e4712f4b-e5f1-4f6a-98bb-8bf8a63c97b2" CreationDate="2014-01-20T08:38:33.817" UserId="28" Comment="Spelling typos" Text="First of all: An EQ can not add something to a sound that is not there!!!!&#xD;&#xA;This is a very important fact, as a lot of beginners feel like they need to put on a magic frequency response in the EQ to make a sound big or stand out. &#xD;&#xA;&#xD;&#xA;But there are roughly 3 situations where you want to use an EQ:&#xD;&#xA;&#xD;&#xA;On all of those as a rule of thumb: Wide Q boots and small Q cuts!&#xD;&#xA;&#xD;&#xA;1. To clean up a sound: &#xD;&#xA;To clean up a sound you can remove unwanted bottom end with a high pass filter or low shelf. You can also remove feedback, resonating frequencies and static screaming created by guitar amps and lamps via notch filters. Moreover you can dampen room modes via a bell curve.&#xD;&#xA;For EG: to cleanup a Vocal recording you high pass at 120 Hz to remove the steps of the vocalist, you notch 2 kHz and 4 kHz because you had a lamp in the vocal booth that created screams and you cut 6 dB at 250 Hz since this is the biggest room mode of your vocal booth.&#xD;&#xA;&#xD;&#xA;2. To improve the timbre: &#xD;&#xA;By Cutting or boosting different regions in the frequency spectrum you will change which parts of the sound are pronounced. Normally the best approach is to cut 3-6 dB of frequency areas that are too present. -&gt; you then are left with what you like. There are some EQ that also add some kind of sweetening effect like small distortion, resonances etc in comparison to digital EQs that are often described as harsh. A very good area to cut a little bit is between 200Hz and 800 Hz. This area is referred as the Mud/paper/boxy. If you remove some content there on some &quot;unimportant/background sounds&quot; you often get a cleaner mix. On the other hand boosting 8-12 kHz often is often referred to as giving the sound brightness, clarity and breathing. A very good area to look at.&#xD;&#xA;For EG you have a piano recording that plays chords on the background of a song. So why not remove some mud at 450 Hz with a medium 4 dB cut. Also a 2 -3 dB High shelf boost at 8kHz can give the piano some life, clarity etc.&#xD;&#xA;&#xD;&#xA;3. Fit the sound in the context of your mix: &#xD;&#xA;If you bring in sound after sound in a mix scenery, you sometimes have the effect that you want to have a sound louder, but if you push the fader another sound disappears partly or looses something. This is where you use an eq for mix purpose.&#xD;&#xA;For EG: you recorded a bass and a wurlitzer EPiano. When you bring in the wurlitzer, you loose some punch of the bass. So why not remove the low end of the EPiano with a high pass at 180 hz to give every instrument its place.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So by removing unwanted frequency content and carefully hearing which instrument dominated which frequency area you will get a more professional sound by EQ. But you will never get something new out of an eq, you will just make the things you have cleaner.&#xD;&#xA;&#xD;&#xA;Peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="36058" PostHistoryTypeId="24" PostId="22188" RevisionGUID="e4712f4b-e5f1-4f6a-98bb-8bf8a63c97b2" CreationDate="2014-01-20T08:38:33.817" Comment="Proposed by 28 approved by 2 edit id of 53" ContentLicense="CC BY-SA 3.0" />
  <row Id="36063" PostHistoryTypeId="5" PostId="20133" RevisionGUID="1a29bac8-421a-491f-bf2e-5c41e0ea1487" CreationDate="2014-01-20T08:47:52.117" UserId="2" Comment="deleted 8 characters in body" Text="Has someone information about  problems that recently has the 8000 MKH series ?&#xD;&#xA;I was told that sennheiser has a lot of Microphones with issues these last months…&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;Michel" ContentLicense="CC BY-SA 3.0" />
  <row Id="36066" PostHistoryTypeId="2" PostId="22285" RevisionGUID="38eca75e-3b0c-485a-b7b1-edf9370554d6" CreationDate="2014-01-20T12:52:45.557" UserId="6410" Text="Well as that diagram you posted shows you'd need a parabolic curve not perfectly circular one to get all the sound to direct to a single point but unless that single point has a high absorbability the sound will then diffuse from that point. &#xD;&#xA;&#xD;&#xA;And taking into account you want vibrations &lt;100hz or even &lt;20Hz the wavelengths are going to be huge. Even if you were to design and build a room such as this the only benefit (assuming phases are maintained) is an increase in amplitude. &#xD;&#xA;&#xD;&#xA;Take this video http://www.youtube.com/watch?v=mQFL-NLh0O8 you can achieve enough amplitude with what looks like 18 12&quot; drivers to physically push air in and out of his mouth. Be careful though that you would obviously never play a noisy signal or anything above 100Hz at that kind of amplitude. &#xD;&#xA;&#xD;&#xA;But onto the sound design. I have had some success in using additive synthesis to produce what are basically slightly inharmonic sounds. Taking a fundamental of about 40-60Hz and only having the first 3 partials and then detuning them slightly will give a powerful rumble to the perceived vibration of a sound. Either that or take out the middle man (air) and design a stage where the speakers are directly underneath the floor connecting the vibrations to the feet of the participant directly. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36067" PostHistoryTypeId="2" PostId="22286" RevisionGUID="afc3d72b-71b2-4836-a294-dacecd31f984" CreationDate="2014-01-20T13:27:47.413" UserId="6514" Text="I will echo Michael's comments about the Rode NTG-3. Its a durable and great sounding mic that has been my sole foley mic for 2 years now." ContentLicense="CC BY-SA 3.0" />
  <row Id="36068" PostHistoryTypeId="2" PostId="22287" RevisionGUID="0de58747-616d-4fbf-a2b0-15376c059e8e" CreationDate="2014-01-21T01:10:52.100" UserDisplayName="user49" Text="Neumann KMR81 - great for matching into production audio &amp; no freq bump like the 416 has" ContentLicense="CC BY-SA 3.0" />
  <row Id="36072" PostHistoryTypeId="2" PostId="22289" RevisionGUID="b5762ab7-122d-47b5-9bac-87a95622eae7" CreationDate="2014-01-21T16:15:24.230" UserId="7165" Text="I have updated the firmware. Now I should be able to control sensitivity on input 1 and 2 separately. And it has worked before but not anymore. I am only able to control sensitivity for 1 and 2 together. Can someone help me with this? &#xD;&#xA;&#xD;&#xA;Thx already. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36073" PostHistoryTypeId="1" PostId="22289" RevisionGUID="b5762ab7-122d-47b5-9bac-87a95622eae7" CreationDate="2014-01-21T16:15:24.230" UserId="7165" Text="Zoom in 4CH mode and Firmware update 1.72" ContentLicense="CC BY-SA 3.0" />
  <row Id="36074" PostHistoryTypeId="3" PostId="22289" RevisionGUID="b5762ab7-122d-47b5-9bac-87a95622eae7" CreationDate="2014-01-21T16:15:24.230" UserId="7165" Text="&lt;zoom&gt;&lt;zoom-h4n&gt;&lt;upgrade&gt;&lt;input&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36075" PostHistoryTypeId="2" PostId="22290" RevisionGUID="c0ca080d-c38e-439b-a552-2de274d75c43" CreationDate="2014-01-21T17:18:41.593" UserId="7000" Text="this is the one i know but it return finite and a few results :&#xD;&#xA;&#xD;&#xA;[wave shape generator][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.findsounds.com/&#xD;&#xA;&#xD;&#xA;can you offer better ways or stronger technologies/search engine ?&#xD;&#xA;it would be great for me ..." ContentLicense="CC BY-SA 3.0" />
  <row Id="36076" PostHistoryTypeId="1" PostId="22290" RevisionGUID="c0ca080d-c38e-439b-a552-2de274d75c43" CreationDate="2014-01-21T17:18:41.593" UserId="7000" Text="how to looking for online sounds according to their wave shape?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36077" PostHistoryTypeId="3" PostId="22290" RevisionGUID="c0ca080d-c38e-439b-a552-2de274d75c43" CreationDate="2014-01-21T17:18:41.593" UserId="7000" Text="&lt;sound-effects&gt;&lt;sound-libraries&gt;&lt;search&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36078" PostHistoryTypeId="5" PostId="22289" RevisionGUID="4d1a1553-15c6-4ebb-8f39-12cbd2ee22a5" CreationDate="2014-01-21T22:54:50.527" UserId="6567" Comment="inserted [on the zoom H4n] for clarification what Zoom recorder was being referred to" Text="I have updated the firmware [on the Zoom H4n]. Now I should be able to control sensitivity on input 1 and 2 separately. And it has worked before but not anymore. I am only able to control sensitivity for 1 and 2 together. Can someone help me with this? &#xD;&#xA;&#xD;&#xA;Thx already. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36079" PostHistoryTypeId="24" PostId="22289" RevisionGUID="4d1a1553-15c6-4ebb-8f39-12cbd2ee22a5" CreationDate="2014-01-21T22:54:50.527" Comment="Proposed by 6567 approved by 1228, 6432 edit id of 54" ContentLicense="CC BY-SA 3.0" />
  <row Id="36080" PostHistoryTypeId="2" PostId="22291" RevisionGUID="038b22a6-641a-4cad-ac4e-03fe7e51ff85" CreationDate="2014-01-21T23:24:00.783" UserId="6844" Text="You can give a try to **Freesound**:&#xD;&#xA;&#xD;&#xA;http://www.freesound.org/search/&#xD;&#xA;&#xD;&#xA;There are some sounds with really good quality, and they are all [creative common][1] licensed (free to use).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://creativecommons.org/licenses/" ContentLicense="CC BY-SA 3.0" />
  <row Id="36081" PostHistoryTypeId="2" PostId="22292" RevisionGUID="0a4267c8-713b-49df-87d4-36ee406349d7" CreationDate="2014-01-22T00:45:58.497" UserId="7167" Text="Simple answer is if you are feeding a stereo signal to a single input you need the signal to be summed so you do not lose any elements.&#xD;&#xA;&#xD;&#xA;To do this you need 3 resistors in the XLR end, diagrams are available online however its not a simple solder job. If you shop around you can get stereo to mono cables but make sure they have resistors and are summed to one pin. The 3rd pin in the XlR mono should not be used. Otherwise you'll get a weird effect.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36082" PostHistoryTypeId="2" PostId="22293" RevisionGUID="54974deb-3922-484d-bc7d-9129f356ba08" CreationDate="2014-01-22T04:00:26.890" UserId="6529" Text="Not free, but our individual download site has a waveform viewer: http://download.prosoundeffects.com   There's also a &quot;Sonic Search&quot; function that looks for tracks sonically similar to a particular YouTube or Soundcloud track. It was originally designed for music, but it might give you some interesting results for sound effects too. Click the up arrow in the search bar to access that function.&#xD;&#xA;&#xD;&#xA;Get one free download here: http://www.prosoundeffects.com/online-library-trial-1-download.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="36083" PostHistoryTypeId="2" PostId="22294" RevisionGUID="57613003-7aa5-4a5c-9b01-7b70bbc759f0" CreationDate="2014-01-22T04:03:35.433" UserId="6529" Text="We have some nice Tour De France sounds in the BBC Library.  Audition/download them here:&#xD;&#xA;&#xD;&#xA;http://download.prosoundeffects.com/#!explorer?s=tour%20de%20france" ContentLicense="CC BY-SA 3.0" />
  <row Id="36087" PostHistoryTypeId="2" PostId="22296" RevisionGUID="85157ef4-2ea4-49e7-9cc5-fdd96036104f" CreationDate="2014-01-22T09:48:58.667" UserId="6571" Text="Be sure that MENU -&gt; IINPUT -&gt; 1/2 LINK is set to &quot;OFF&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36093" PostHistoryTypeId="5" PostId="9618" RevisionGUID="7d4f3246-995f-4db5-8152-442b5a54aca4" CreationDate="2014-01-22T13:15:03.827" UserId="6957" Comment="Add successive post as edit" Text="I bought a USB Pre 2 to use on a gig this week,  it was an excellent tool.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;As for getting USB 5v power to the unit...&#xD;&#xA;&#xD;&#xA;I purchased a hefty USB power source, the iSound Portable Power Max (16,000 mAh)&#xD;&#xA;The outputs are rated up to 2.4amps, well above the USBpre's needs.  This power supply is almost as big as the USB pre 2 and attached nicely on top with velcro.  I ran the unit for  a good 5 hours and barley drained the iSOund battery,  I expect you could do several days of recording on a single charge. iSound sells a half sized 8000 mAh unit as well which I expect would also be great and be about half the weight.&#xD;&#xA;&#xD;&#xA;You could also likely power your recorder off this unit for extended periods if its takes 5v power in.  I think the Zoom H4n runs on 5v, but I dont think the Zoom has SPDIF in.  Because, ideally to really take advantage of the USB pre2 it may be best to record the units digital output.&#xD;&#xA; &#xD;&#xA;-------------------------&#xD;&#xA;&#xD;&#xA;**EDIT**&#xD;&#xA;&#xD;&#xA;A further question:  &#xD;&#xA;&#xD;&#xA;I am studying options for recording the USBpre2 onto a portable recorder.&#xD;&#xA;&#xD;&#xA;The only two small recorders with Digital Input that I am finding currently available are:&#xD;&#xA;&#xD;&#xA;Sony D-50 (with toslink digital in)  http://transom.org/?p=82&#xD;&#xA;&#xD;&#xA;Marantz PMD661 http://transom.org/?p=1774&#xD;&#xA;&#xD;&#xA;and then there was also the discontinued M-Audio MicroTrack, which was a lowcost product (with reliability issues) but it did have spdif in.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;IS ANYONE USING THESE RECORDERS WITH THE USBpre2?&#xD;&#xA;&#xD;&#xA;Experience? Recommendations?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I am not thrilled about having to use Sony's memory stick storage or using the recorder itself to offload (instead of just pulling common format cards and popping them into a reader.)  The digital in connector also seems like it could be an issue.  But Sony makes 'em pretty solid in general.&#xD;&#xA;&#xD;&#xA;The Marantz is bulkier  (not looking forward to getting it and the USBpre2 and battery all laid out in a working bag set-up)  But on the plus the Marantz is very old-school solid, easy to see whats going on, and has a nice simple spdif in. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36098" PostHistoryTypeId="19" PostId="4168" RevisionGUID="080dc0d7-3b50-4372-a3c4-2b9588ed01d8" CreationDate="2014-01-22T13:18:17.123" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="36103" PostHistoryTypeId="5" PostId="22290" RevisionGUID="757896ad-784b-4177-bd4f-3dacaec2d58c" CreationDate="2014-01-22T13:38:19.770" UserId="6957" Comment="grammar, clarity" Text="I did come across this site, but the results here are finite and rew:&#xD;&#xA;&#xD;&#xA;[wave shape generator][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.findsounds.com/&#xD;&#xA;&#xD;&#xA;Is there are better way to search for this?  Or anyway, a better search engine?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36104" PostHistoryTypeId="4" PostId="22290" RevisionGUID="757896ad-784b-4177-bd4f-3dacaec2d58c" CreationDate="2014-01-22T13:38:19.770" UserId="6957" Comment="grammar, clarity" Text="How can I search online for sounds according to their wave shape?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36116" PostHistoryTypeId="5" PostId="22290" RevisionGUID="11a73fc7-2f6c-4d95-b248-6ff3ecdcd9fa" CreationDate="2014-01-22T15:34:38.470" UserId="6957" Comment="edited body" Text="I did come across this site, but the results here are finite and few:&#xD;&#xA;&#xD;&#xA;[wave shape generator][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.findsounds.com/&#xD;&#xA;&#xD;&#xA;Is there are better way to search for this?  Or anyway, a better search engine?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36121" PostHistoryTypeId="2" PostId="22299" RevisionGUID="e68990b9-220a-487a-af33-1a7517985c56" CreationDate="2014-01-22T17:07:13.383" UserId="7176" Text="I tried generating a single tone of 220Hz in Ableton Live using the Operator instrument&#xD;&#xA;To make sure it was at that frequency I placed a Spectrum device after the Operator instrument.&#xD;&#xA;&#xD;&#xA;It surprised me that besides the peak, &quot;noise&quot; (the smaller peaks) is seen in the higher frequency range.&#xD;&#xA;![Block size = 2048][1]&#xD;&#xA;&#xD;&#xA;Changing the block size of the Spectrum device to 16384 increased that &quot;noise&quot;:&#xD;&#xA;![Block size = 16384][2]&#xD;&#xA;&#xD;&#xA;What is causing this? Is that noise actually present in the sound, or is this just a quirk of the Spectrum device?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/ALu0h.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/0VATO.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="36122" PostHistoryTypeId="1" PostId="22299" RevisionGUID="e68990b9-220a-487a-af33-1a7517985c56" CreationDate="2014-01-22T17:07:13.383" UserId="7176" Text="Why do I see high frequency noise when generating single tone in Operator" ContentLicense="CC BY-SA 3.0" />
  <row Id="36123" PostHistoryTypeId="3" PostId="22299" RevisionGUID="e68990b9-220a-487a-af33-1a7517985c56" CreationDate="2014-01-22T17:07:13.383" UserId="7176" Text="&lt;ableton-live&gt;&lt;tone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36124" PostHistoryTypeId="2" PostId="22300" RevisionGUID="3a919ac9-cdc9-49d6-8110-2f5ee41eb8c5" CreationDate="2014-01-22T18:35:07.620" UserId="3841" Text="I want to preface this by saying that I could be totally wrong and invite anyone to correct me as this is just my best guess from one internet academic to another. But what i think is going on is this:&#xD;&#xA;&#xD;&#xA;Any time digital audio exists it is created with both a sample rate and bit depth.  The sample rate controls how high a frequency is accurately produced (how far to the right on your spectrogram) and the bit depth controls the level of detail in the sound.  &#xD;&#xA;Now this is where i might be a bit off but a common misconception is that the bit depth controls the accuracy of the actual waves reproduction.  Aka the higher the bit depth, the less jagged the wave is.  But because the sampling theorem states that any sampled wave can result in only one possible wave shape (along with skipping a lot of technical explanation and such stuff) the bit depth can basically be summed up as controlling the noise floor of the sound.&#xD;&#xA;&#xD;&#xA;I think that noise is coming from the internal bit depth of Operator.  I also think it starts to slightly ramp up in the higher frequencies of the spectrogram because aliasing, which is noise created by the sample rate of the audio.  You should be able to compare this by looking at the noise floor that is created when you play the 8 or 16 bit sine wave options in Operators waveshape selector.  &#xD;&#xA;&#xD;&#xA;Two other things to note is that a noise floor of -150Db is super quiet and you would never be able to hear it next to your sound so its nothing to worry about.  Also in operator you can change the amount of aliasing noise created by messing with the tone knob next to the master volume control (although you won't be able to see its effect on such low volume high frequencies).  " ContentLicense="CC BY-SA 3.0" />
  <row Id="36127" PostHistoryTypeId="5" PostId="1574" RevisionGUID="5f05230c-f1ed-4178-99fc-bcf19e1ec850" CreationDate="2014-01-22T22:28:23.407" UserId="90" Comment="added 138 characters in body" Text="96 kHz and 32-bit floating point aren't for the final mix.  They're for intermediate processing.  In the final mix you can't hear a difference between 48 kHz and 96 kHz (unless you're Batman or the mix was downsampled poorly or [the 96 kHz mix contains ultrasound that's distorting in your speaker][1]).  Likewise, 20-bit is adequate to represent all of the 120 dB dynamic range you can ever get out of a real system (blame physics).&#xD;&#xA;&#xD;&#xA;BUT, when putting a waveform through a lot of processing in a DAW, you want lots of headroom in both frequency and amplitude, to prevent unnecessary computation noise, aliasing, etc.  Like photocopying a photocopy, the better the quality of each copy, the less degradation there will be in the final product.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.xiph.org/~xiphmont/demo/neil-young.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="36129" PostHistoryTypeId="2" PostId="22301" RevisionGUID="eee9537f-54d7-4451-87a5-72e4b37bafb7" CreationDate="2014-01-23T08:26:52.537" UserId="1225" Text="Ah, I broke my battery cover about 1.5 years ago. It doesn't lock, so I just use Scotch Tape to fixate it. :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="36130" PostHistoryTypeId="2" PostId="22302" RevisionGUID="bdb49460-a94b-40e0-b0be-a4cb4add4b97" CreationDate="2014-01-23T10:01:58.013" UserId="6866" Text="I have two dialogue fragments recorded by the same person, but with a different mic and different proximity and recording quality. One recording sound much closer than the other, and sounds like it was recorded in much higher resolution. I need to make them sound more or less the same.&#xD;&#xA;&#xD;&#xA;Is there a common, general technique for making two different dialogue recordings sound the same? Of course I could try balancing the gain of both recordings, and manipulate/degrade the resolution of one recording to match with the other. But I am wondering about different techniques like convolution, etc.&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="36131" PostHistoryTypeId="1" PostId="22302" RevisionGUID="bdb49460-a94b-40e0-b0be-a4cb4add4b97" CreationDate="2014-01-23T10:01:58.013" UserId="6866" Text="How to make two different recordings sound the same?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36132" PostHistoryTypeId="3" PostId="22302" RevisionGUID="bdb49460-a94b-40e0-b0be-a4cb4add4b97" CreationDate="2014-01-23T10:01:58.013" UserId="6866" Text="&lt;dialogue&gt;&lt;convolution&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36133" PostHistoryTypeId="2" PostId="22303" RevisionGUID="9290d24f-94ef-4f09-8a8d-046466595657" CreationDate="2014-01-23T11:38:47.083" UserId="6425" Text="Normaly it is a combination of EQ, De-essing and Reverb.&#xD;&#xA;&#xD;&#xA;It is normaly easier to Turn the higher quality One (close) into something worse. Adding mids and removing lows and highs will make it appear further away. By damping esses and Breath you Remove close mic-ing effects. &#xD;&#xA;&#xD;&#xA;After that you can try some reverb with focus on early reflections to make it more roomy.&#xD;&#xA;&#xD;&#xA;Gl" ContentLicense="CC BY-SA 3.0" />
  <row Id="36134" PostHistoryTypeId="2" PostId="22304" RevisionGUID="52189a3a-51df-45ca-b149-7c7eccefa074" CreationDate="2014-01-23T11:40:47.293" UserId="6425" Text="This is digital noise-&gt; everything smaler than the resolution of a system is noise!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36135" PostHistoryTypeId="2" PostId="22305" RevisionGUID="4e1d3b63-7ed0-4178-8cff-1a8451848ff7" CreationDate="2014-01-23T13:32:32.260" UserId="6536" Text="I'm sure a lot of people bought the Zoom H6 as a handy recorder for some situations.&#xD;&#xA;&#xD;&#xA;I just bought it too, and I'm wondering how to wear it, since I will use it with a boom and a pre. I want to keep it on my belt. (I will also attach it to my boom pole sometimes, but that's a different topic)&#xD;&#xA;&#xD;&#xA;I've seen some Portabrace products that might fit, but that the natural purchase seems to be the Petrol PS 615 pouch, but it is designed for the H4n, so I would like to know if anyone used it with a H6 instead. Does it fit? &#xD;&#xA;&#xD;&#xA;Any other suggestions?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36136" PostHistoryTypeId="1" PostId="22305" RevisionGUID="4e1d3b63-7ed0-4178-8cff-1a8451848ff7" CreationDate="2014-01-23T13:32:32.260" UserId="6536" Text="Bag/Pouch for Zoom H6" ContentLicense="CC BY-SA 3.0" />
  <row Id="36137" PostHistoryTypeId="3" PostId="22305" RevisionGUID="4e1d3b63-7ed0-4178-8cff-1a8451848ff7" CreationDate="2014-01-23T13:32:32.260" UserId="6536" Text="&lt;field-recorder&gt;&lt;bag&gt;&lt;zoom-h6&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36138" PostHistoryTypeId="2" PostId="22306" RevisionGUID="a6a1d13d-845d-4673-a455-cc51a753e19a" CreationDate="2014-01-23T13:45:44.740" UserId="6536" Text="EQ, volume automation and, if need be, a bit of reverb. If you want to try plugins, go for a match eq or the Dynamic Spectrum Mapper, which I think is the more advanced thing you could try." ContentLicense="CC BY-SA 3.0" />
  <row Id="36139" PostHistoryTypeId="2" PostId="22307" RevisionGUID="25dcc29c-7f56-4c53-aefa-e34e8a8d2416" CreationDate="2014-01-23T14:21:33.243" UserId="6567" Text="The Portabrace / Petrol bags are awesome and worth their money but I would suggest that you go look at a military surplus store, outdoor / adventure store or whatever you want to call them and take a look at the myriad of pouches and carry systems those places tend to have. &#xD;&#xA;&#xD;&#xA;Chances are good you will find exactly what you need there with all kinds of different attachment and carry options to suit your style of work. &#xD;&#xA;&#xD;&#xA;Last but not least prices on those things are usually unbeatable too." ContentLicense="CC BY-SA 3.0" />
  <row Id="36143" PostHistoryTypeId="2" PostId="22309" RevisionGUID="085cb590-0e51-48c0-8256-b50555695dbd" CreationDate="2014-01-23T21:58:07.650" UserId="6398" Text="Which one of the 3 is your favourite city ambience recording mic &amp; why? any pictures of stealthy rigs using these 3 mic would be really nice guys.&#xD;&#xA;&#xD;&#xA;Thanks!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="36144" PostHistoryTypeId="1" PostId="22309" RevisionGUID="085cb590-0e51-48c0-8256-b50555695dbd" CreationDate="2014-01-23T21:58:07.650" UserId="6398" Text="Telinga EM23 vs Line Audio CM3 vs DPA 4060" ContentLicense="CC BY-SA 3.0" />
  <row Id="36145" PostHistoryTypeId="3" PostId="22309" RevisionGUID="085cb590-0e51-48c0-8256-b50555695dbd" CreationDate="2014-01-23T21:58:07.650" UserId="6398" Text="&lt;ambience&gt;&lt;city&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36146" PostHistoryTypeId="2" PostId="22310" RevisionGUID="0fad66cd-a38f-4f8e-9c60-0a0dac83ad99" CreationDate="2014-01-23T23:18:03.463" UserId="432" Text="There are plug-ins that handle this for you (DUY Magic Spectrum...though Zynaptiq's Unfilter can do a decent job of it as well). They, and nearly every other technique almost requires that good technique was used on both pieces of audio. The only sure fire way to come close is to figure out which one sounds worse (direct to reverberant ratio, noise, distortion, etc.) and work towards making the better one sound like it. It's damned near impossible to do the opposite.&#xD;&#xA;&#xD;&#xA;If presence is off, you can use a combination of EQ and mild compression to try to match something that was more closely miked. Expansion can do the opposite...match something that wasn't as closely miked. As Tobias mentioned, early reflections can go a long way towards selling the sound. I regularly use that technique on ADR for outdoor scenes to make them feel like they belong in the space (especially if I'm trying to match against production dialog).&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="36147" PostHistoryTypeId="2" PostId="22311" RevisionGUID="23158987-fff9-4728-a9ab-91d83d4cdb38" CreationDate="2014-01-24T01:27:29.643" UserId="3994" Text="In my subjective tests, I can't hear much/any difference between 96 and 48k. 24 and 16 bit however is a different story." ContentLicense="CC BY-SA 3.0" />
  <row Id="36148" PostHistoryTypeId="2" PostId="22312" RevisionGUID="783f72a6-fffb-43be-a5c7-ef670d654630" CreationDate="2014-01-24T11:41:04.280" UserId="7193" Text="I'm running cool edit pro 2.1 and when I do the noise reduction I'm getting a lot of reverb.  I've been working on fixing it to no avail.  Any ideas I am running a b1 mic and a 802 mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="36149" PostHistoryTypeId="1" PostId="22312" RevisionGUID="783f72a6-fffb-43be-a5c7-ef670d654630" CreationDate="2014-01-24T11:41:04.280" UserId="7193" Text="Help me please with reverb in noise reduction" ContentLicense="CC BY-SA 3.0" />
  <row Id="36150" PostHistoryTypeId="3" PostId="22312" RevisionGUID="783f72a6-fffb-43be-a5c7-ef670d654630" CreationDate="2014-01-24T11:41:04.280" UserId="7193" Text="&lt;noise&gt;&lt;reverb&gt;&lt;reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36151" PostHistoryTypeId="36" PostId="22313" RevisionGUID="fc9f74fd-18c8-4228-a913-65da7c219578" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1890/appropriate-background-music-for-a-webapp-screencast" />
  <row Id="36152" PostHistoryTypeId="2" PostId="22314" RevisionGUID="50e93c94-1634-4015-a4b5-0eb2559a3235" CreationDate="2011-07-16T01:40:19.943" UserDisplayName="DreLambo" Text="During the tutorial I'd recommend that you didn't have any music playing at all, it can be distracting to your audience and even sometimes annoying for somebody who is trying to follow what you are saying. I would however suggest that you use music in your intro and outro at the beginning and end of the tutorial respectively. There are loads of great Apple loops to choose from, some that you should try out are, Adrenaline Electronica, Crime Lab, Phazed and Infused, Sixties Rock Short or Whos Blues Short...At the end of the day it's all about what goes with the video, but I would definitely just leave music for an intro and outro...The best tutorials are the ones that are easy to follow, clear and concise...your audience will be watching it to learn not to be entertained, so I wouldn't worry too much if you personally find it boring!&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="36153" PostHistoryTypeId="2" PostId="22313" RevisionGUID="539517df-dc7c-4a1d-80f3-54820bf88bb3" CreationDate="2011-07-16T00:03:05.977" UserDisplayName="Mark" Text="I'm making a screencast tutorial of a webapp. It's primarily boring.&#xD;&#xA;&#xD;&#xA;Can anyone recommend an appropriate soothing background music from the FCP audio content?&#xD;&#xA;&#xD;&#xA;This will be my first time using Final Cut Pro X (or any video editing software)." ContentLicense="CC BY-SA 3.0" />
  <row Id="36154" PostHistoryTypeId="1" PostId="22313" RevisionGUID="539517df-dc7c-4a1d-80f3-54820bf88bb3" CreationDate="2011-07-16T00:03:05.977" UserDisplayName="Mark" Text="Appropriate background music for a webapp screencast" ContentLicense="CC BY-SA 3.0" />
  <row Id="36155" PostHistoryTypeId="3" PostId="22313" RevisionGUID="539517df-dc7c-4a1d-80f3-54820bf88bb3" CreationDate="2011-07-16T00:03:05.977" UserDisplayName="Mark" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36156" PostHistoryTypeId="36" PostId="22314" RevisionGUID="0765a8c1-17ad-4da5-b023-4a2b4f7248e0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1890/appropriate-background-music-for-a-webapp-screencast/1892#1892" />
  <row Id="36157" PostHistoryTypeId="36" PostId="22315" RevisionGUID="ed0b0380-2f20-472e-bf0a-f360a71e3199" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1890/appropriate-background-music-for-a-webapp-screencast/1900#1900" />
  <row Id="36158" PostHistoryTypeId="2" PostId="22315" RevisionGUID="4f0288d6-79cc-497f-9734-6654f8abd13b" CreationDate="2011-07-17T08:38:04.253" UserDisplayName="Saeed Neamati" Text="Educational screencasts (tutorials) shouldn't have any background music when instructor speaks. Commercial clips on the other hand should. Please note that no **standard** exist for these items. Rather, there are some **de-facto** conventions and patterns which people follow.  See Youtube, Vimeo, or other video sharing sites and search for many tutorials. You shouldn't find tutorials with background music. &#xD;&#xA;&#xD;&#xA;Therefore, I think that **not having a background music for a tutorial** is a kind of norm in the world of education, which means that if you want to be **normal (someone who follows norms)** you gotta avoid putting background music. However, please also consider that this is **your** tutorial and you're free to do almost whatever you like to do with it. Who knows, maybe your tutorials become new models for other educational screencasts. &#xD;&#xA;&#xD;&#xA;As a technique for making your tutorials more appealing, I recommend rising and falling your voice. Also use good color, typography, and layout for your presentation slides. Good video and audio quality and having no noise is also another factor which matters. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="36159" PostHistoryTypeId="36" PostId="22316" RevisionGUID="6c1c76dc-1e8f-4f52-a310-cd1ac8ed5cbf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4634/audio-export-settings-for-youtube-using-premiere-elements" />
  <row Id="36160" PostHistoryTypeId="36" PostId="22317" RevisionGUID="1afc5cad-f0c8-44cf-9bc3-5a1b78156c62" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4634/audio-export-settings-for-youtube-using-premiere-elements/4640#4640" />
  <row Id="36161" PostHistoryTypeId="2" PostId="22317" RevisionGUID="a19df93c-6a01-46c2-8a48-790c9505b6a2" CreationDate="2012-08-28T04:12:19.533" UserDisplayName="cbarg" Text="Let's start saying that if you have an still image, it doesn't make much sense to make the video at 1080p resolution (I'm actually watching it at 360p and looks good). Furthermore, audio and video are two totally different animals, so there's not such a thing like 'sound as good as possible at this or that resolution'.&lt;br/&gt;&#xD;&#xA;As far as audio I would first see what your source is: it would not make sense to export the audio at 48 KHz if you extracted it from an mp3 file from a CD which samples up to 44.1 KHz. If you made the music, you may know what your export settings were when you created the final audio track. YouTube actually recommends a maximum of 384 kbps as bit rate but I never went over 192 kbps (128 kbps if is't only speech).&lt;br/&gt;&#xD;&#xA;By the way, the song you put as example is nice, did you make it? &lt;br/&gt;&#xD;&#xA;Good Luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="36162" PostHistoryTypeId="2" PostId="22316" RevisionGUID="6b96ef90-452b-43b6-a3a4-82f33c24b665" CreationDate="2012-08-26T20:02:23.087" UserDisplayName="user1388795" Text="Pretty simple question(I think). I am using Adobe Premiere Elements. I would like to create a simple video using a 44.1 khz WAV audio clip and a still image and then export it to youtube.&#xD;&#xA;&#xD;&#xA;What would the best settings be in order for the clip's audio to remain as good as possible, at all youtube settings(as in, sound as good as possible at 360p, 720p, etc)?&#xD;&#xA;&#xD;&#xA;For some reason, even though I use the HDV 720p export settings, there is a large gap between my 360p and my 720p, whereas in a clip like this one the difference is barely noticeable.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=XHs99iVpnXU&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36163" PostHistoryTypeId="1" PostId="22316" RevisionGUID="6b96ef90-452b-43b6-a3a4-82f33c24b665" CreationDate="2012-08-26T20:02:23.087" UserDisplayName="user1388795" Text="audio export settings for youtube using premiere elements" ContentLicense="CC BY-SA 3.0" />
  <row Id="36164" PostHistoryTypeId="3" PostId="22316" RevisionGUID="6b96ef90-452b-43b6-a3a4-82f33c24b665" CreationDate="2012-08-26T20:02:23.087" UserDisplayName="user1388795" Text="&lt;video&gt;&lt;audio&gt;&lt;youtube&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36165" PostHistoryTypeId="36" PostId="22318" RevisionGUID="fbdc2ea8-e7d2-4ce1-b156-3d3f86b1c95b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7798/can-someone-explain-phase-and-related-terminology-in-audio-production" />
  <row Id="36166" PostHistoryTypeId="36" PostId="22319" RevisionGUID="86c67b4a-808c-4d8f-810e-7f6bab6f8094" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7798/can-someone-explain-phase-and-related-terminology-in-audio-production/7800#7800" />
  <row Id="36167" PostHistoryTypeId="2" PostId="22319" RevisionGUID="e7433c8f-8e77-4ce3-a0cc-e411a6c73e08" CreationDate="2013-05-04T17:03:44.690" UserId="7174" Text="Phase is one of those things that is a lot more complex in reality than it first seems from the theory.  Sound waves are transmitted through oscillating air pressure.  Electronically, it is captured as a signal that maps the pressure changes to changes in electrical voltage.  If you had a fixed frequency wave, it would look like a sine wave going up and down in regular areas of positive and negative pressure.  You can even see this when you look at a large speaker and see the cone moving in and out.&#xD;&#xA;&#xD;&#xA;So what happens when two audio signals meet?  Keeping it simple with a single frequency, it is easy to see that it depends on how the signals are aligned.  On the wire, if you have a signal that is at +1 volt and a signal that is at -1 volt and you combine them, you end up with 0 volts.  If you instead had two signals that were perfectly lined up, then the 1 volts would be added to each other and you get a much higher amplitude wave.&#xD;&#xA;&#xD;&#xA;It could also be partially aligned which results in a much more complex waveform than the original sine wave that has bumps in it that make a frequency other than the original frequency of the wave.&#xD;&#xA;&#xD;&#xA;When listening to a similar situation from two stereo speakers, it gets even more fuzzy because the sound arrives at different times at both ears and the alignment at each ear differs slightly.  The spacing of the speakers and the listener also matter for this.  The result can be drop offs in SPL at certain spots in a room.&#xD;&#xA;&#xD;&#xA;Phase is a measure of the difference in timing between the two signals.  Ideally, 180 degrees out of phase means that the wave is an inverse of the other wave.  A phase inversion simply flips the signal to try and get it closer in line with another signal.  &#xD;&#xA;&#xD;&#xA;The reason that each channel has it's own phase adjustment is that it allows either a slight delay, or a reverse of the - and + sides of a signal, in order to make two signals be more in-phase.  This is normally done to correct for the problems I described earlier.&#xD;&#xA;&#xD;&#xA;The thing that makes it even trickier is that we don't deal with single frequency sine waves.  We deal with complex waveforms that have multiple frequencies in constantly varying intensities.  Two different samples don't match up exactly and so phase becomes a much more subjective thing to listen for and adjust to minimize the occurrence of phase related problems.&#xD;&#xA;&#xD;&#xA;There is analysis methods that help determine if something is out of phase, but in the real world, it's still a rather complex signal analysis task that is often best handled by learning what out of phase sounds like so that you know when to adjust it to minimize problems." ContentLicense="CC BY-SA 3.0" />
  <row Id="36168" PostHistoryTypeId="2" PostId="22320" RevisionGUID="227e280f-cfea-45d7-bf8f-cb638580e291" CreationDate="2013-05-05T04:47:29.650" UserDisplayName="JPollock" Text="Super simple explanation of the invert button. Imagine a simple sine wave. Thats the solid line in this graph. If you had the invert phase button on a console or use the plugin in your DAW does the same thing, you get the sine wave illustrated with the dotted line in the graph.&#xD;&#xA;&#xD;&#xA;Why do you care? If you were to sum these two sine waves you'd end up with nothing. Why? Because amplitudes add up. And when one is +1 the other is 1+(-1)=0. Of course real sounds are much more complex than sine waves. So if you have say for example, two microphones that are out of phase, you will hear the cancelation and/or boosting of certain frequencies and often times you can solve it with the invert button.&#xD;&#xA;&#xD;&#xA;Even simpler answer: If something sounds kind of hollow when combined with something else, try inverting the phase. If it sounds better, it is better.&#xD;&#xA;&#xD;&#xA;![2 Sine Waves 1800 Degrees Out Of Phase][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Nv54h.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="36169" PostHistoryTypeId="2" PostId="22318" RevisionGUID="1f24e313-506a-4468-b429-ccf82ae2b72e" CreationDate="2013-05-04T14:36:09.187" UserId="9633" UserDisplayName="user1167442" Text="I've looked a lot of places for info about this, and I've never found anything that was clear and satisfactory.&#xD;&#xA;&#xD;&#xA;I've been working with various DAW software for awhile and I always run into 'invert phase', 'phaser', and then one that seems really potentially useful, but is unclear to me:  When working with the &lt;a href=&quot;http://www.fluxhome.com/products/freewares/stereotool&quot;&gt;Stereo Tool&lt;/a&gt;  plugin by Flux, there is a little meter at the bottom that measures phase -&gt; and it ranges from -1 on the far left, and +1 on the far right.&#xD;&#xA;&#xD;&#xA;I quickly notice a difference when inverting phase, but it is not immediately obvious to me:&#xD;&#xA;&#xD;&#xA; - **Whether the difference is positive**&#xD;&#xA; - **What exactly the difference is**&#xD;&#xA;&#xD;&#xA;Anyone who is knowledgeable in this field, and can provide an intelligible explanation of this phenomenon would be appreciated by me.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36170" PostHistoryTypeId="1" PostId="22318" RevisionGUID="1f24e313-506a-4468-b429-ccf82ae2b72e" CreationDate="2013-05-04T14:36:09.187" UserId="9633" UserDisplayName="user1167442" Text="Can someone explain 'phase' and related terminology in audio production?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36171" PostHistoryTypeId="3" PostId="22318" RevisionGUID="1f24e313-506a-4468-b429-ccf82ae2b72e" CreationDate="2013-05-04T14:36:09.187" UserId="9633" UserDisplayName="user1167442" Text="&lt;audio-recording&gt;&lt;mixing&gt;&lt;daw&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36172" PostHistoryTypeId="36" PostId="22320" RevisionGUID="767bba4f-a87a-48da-8ac9-a667faba2dda" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7798/can-someone-explain-phase-and-related-terminology-in-audio-production/7803#7803" />
  <row Id="36173" PostHistoryTypeId="36" PostId="22321" RevisionGUID="6f014ccb-a6cd-423b-b3dd-983618d1df78" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7798/can-someone-explain-phase-and-related-terminology-in-audio-production/7815#7815" />
  <row Id="36174" PostHistoryTypeId="2" PostId="22321" RevisionGUID="9ec428b2-a213-4e8b-9667-3781726f355f" CreationDate="2013-05-05T23:48:47.167" UserId="7405" UserDisplayName="Andy aka" Text="The tool you linked can widen the stereo image of the music and it does this by inverting the signal on one channel relative to the other and adding a portion of the right channel to the left and vice versa. Thus if a particular sound were a little bit &quot;left&quot; it would become &quot;more&quot; left as you increase the stereo enhancement. &#xD;&#xA;&#xD;&#xA;The meter you mention gives the user a visual feel for the stereo width of the composite signal and the mechanisms used in the transformation are all to to with inverting phase so that a positive signal becomes negative and vice versa. The meter is trying to show you that the effect is producing increasing or decreasing phase differences.&#xD;&#xA;&#xD;&#xA;An old digitech guitar effects unit I've got, on some settings produces a massive wide sound and it does this by opening the stereo field with an inversion on the left channel.&#xD;&#xA;&#xD;&#xA;All the above is related to &quot;invert phase&quot;&#xD;&#xA;&#xD;&#xA;A &quot;phaser&quot; is something else entirely (although it is related in name and process). A phaser effect goes back to the late 60s; you take your input and **mix** it with a phase (time) delayed version of the input - this is the first analysis and what you get is some parts of the signal spectrum enhanced (increased) and some parts decreased. The **mixing** isn't deep (i.e. it doesn't use a sledgehammer) and if you heard the static mix you might not notice the difference BUT a phaser isn't static; it varies the phase (time) of the mixed signal and you get the swishy sound effect it is noted for. The swishy effect is because of the continuous variations - the ear picks that up really easily.&#xD;&#xA;&#xD;&#xA;Whether using DAWs or regular pedals/rack gear it's the same deal" ContentLicense="CC BY-SA 3.0" />
  <row Id="36175" PostHistoryTypeId="36" PostId="22322" RevisionGUID="f06f895b-f58c-4875-afa7-49b6e8c58c1f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3811/waterproof-microphone" />
  <row Id="36176" PostHistoryTypeId="2" PostId="22323" RevisionGUID="78f414c1-a498-4912-9311-bb53b4d6a3c4" CreationDate="2012-04-23T21:18:52.857" UserDisplayName="John Rygielski" Text="You have a few options:&#xD;&#xA;&#xD;&#xA;1) You could waterproof an existing mic. Many do this by using a non-lubricated condom.&#xD;&#xA;&#xD;&#xA;2) You could buy a hydraphone, but that might be more expensive than you'd like for an amateur project.&#xD;&#xA;&#xD;&#xA;Both of these options (as well as building your own hydraphone) are described in more detail [on this page][1] at phonography.org&#xD;&#xA;&#xD;&#xA;3) You may purchase or find royalty-free sounds for a foley track.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.phonography.org/water.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="36177" PostHistoryTypeId="2" PostId="22322" RevisionGUID="afe0ab50-eea1-4f3f-9a7f-8ece972f94ab" CreationDate="2012-04-23T19:12:36.357" UserId="20596" UserDisplayName="Idsa" Text="I want to shoot the following scene in amateur video: man jumps into the waterpool, swims under the water a couple of meters, and then floats back. The scene should be shot on head-mounted camera (which is inside a waterproof case). &#xD;&#xA;&#xD;&#xA;The problem is I am not satisfied by the camera microphone sound. I would like to attach to man some other microphone (connected to audio recorder which is inside waterproof case in person's pocket). What microphone can I use for this case? Should it be some special waterproof mic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36178" PostHistoryTypeId="1" PostId="22322" RevisionGUID="afe0ab50-eea1-4f3f-9a7f-8ece972f94ab" CreationDate="2012-04-23T19:12:36.357" UserId="20596" UserDisplayName="Idsa" Text="Waterproof microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="36179" PostHistoryTypeId="3" PostId="22322" RevisionGUID="afe0ab50-eea1-4f3f-9a7f-8ece972f94ab" CreationDate="2012-04-23T19:12:36.357" UserId="20596" UserDisplayName="Idsa" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36180" PostHistoryTypeId="36" PostId="22323" RevisionGUID="dab6bc2f-a200-475f-9616-5845aff6ce13" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3811/waterproof-microphone/3812#3812" />
  <row Id="36181" PostHistoryTypeId="36" PostId="22324" RevisionGUID="74e9968e-8f94-4e1e-accd-645182c17155" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1342/how-do-i-record-songs-straight-from-a-vinyl-record-to-a-cassette-tape" />
  <row Id="36182" PostHistoryTypeId="36" PostId="22325" RevisionGUID="7c7b9b1b-1af1-46a2-bddb-646b8682c495" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1342/how-do-i-record-songs-straight-from-a-vinyl-record-to-a-cassette-tape/1343#1343" />
  <row Id="36183" PostHistoryTypeId="36" PostId="22326" RevisionGUID="fae86623-a01b-46e5-b792-af2c1d22996e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1342/how-do-i-record-songs-straight-from-a-vinyl-record-to-a-cassette-tape/8016#8016" />
  <row Id="36184" PostHistoryTypeId="2" PostId="22325" RevisionGUID="25e67358-809d-4c50-b5c1-074010624a61" CreationDate="2011-05-04T20:26:19.463" UserId="7093" Text="Here are the basic steps to get this going.  You will only need the RCA cables to connect the turntable to the amp and the amp to the tape deck.&#xD;&#xA;&#xD;&#xA; 1. Plug the turntable output into the phono input of the amp (SU-Z760).  &#xD;&#xA; 2. Set the Selector knob on the amp to phono.  It should send the signal both tape deck outputs.&#xD;&#xA; 3. Plug the tape 1 out (rec) of the amp to the auxiliary input on the back of the Panasonic SA PM-11.&#xD;&#xA; 4. Select &quot;AUX&quot; on the Panasonic SA PM-11 using the [SELECTOR] button.&#xD;&#xA; 5. Press the record button and start the turntable playing." ContentLicense="CC BY-SA 3.0" />
  <row Id="36185" PostHistoryTypeId="2" PostId="22326" RevisionGUID="080b78a3-6326-4efd-8a46-856cfdd73568" CreationDate="2013-05-31T20:10:16.547" UserDisplayName="greg" Text="Getting the rec level right according to your tape cassette deck is important and takes time. You should set rec lev according to the loudest part of the record. I let my peak blocks hit at 5+." ContentLicense="CC BY-SA 3.0" />
  <row Id="36186" PostHistoryTypeId="2" PostId="22324" RevisionGUID="f2526a66-7434-4412-9309-804a64588da0" CreationDate="2011-05-04T19:55:27.593" UserDisplayName="Whitney Schuster" Text="I really know nothing about the process at all, save that I like how things sound a lot more on analog formats than digital, and that I want to make a mixtape for someone that preserves that sound quality.&#xD;&#xA;&#xD;&#xA;My equipment:&#xD;&#xA;&#xD;&#xA; - Technics SL-B270 turntable&#xD;&#xA; - Technics SU-Z760 stereo integrated amplifier. This has the following channels: phono; tuner (radio); CD/aux; tape 1 (says editing 1&gt;2); tape 2 (says 'ext').&#xD;&#xA; - Panasonic SA PM-11 stereo system with a tapedeck and recording capability&#xD;&#xA; - plenty of wires and cables, including RCA, 1/4 inch, 1/8 inch and adapters for changing the ends&#xD;&#xA;&#xD;&#xA;Any help at all as to the specifics of any step of the process would be greatly appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="36187" PostHistoryTypeId="1" PostId="22324" RevisionGUID="f2526a66-7434-4412-9309-804a64588da0" CreationDate="2011-05-04T19:55:27.593" UserDisplayName="Whitney Schuster" Text="How do I record songs straight from a vinyl record to a cassette tape?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36188" PostHistoryTypeId="3" PostId="22324" RevisionGUID="f2526a66-7434-4412-9309-804a64588da0" CreationDate="2011-05-04T19:55:27.593" UserDisplayName="Whitney Schuster" Text="&lt;audio-recording&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36189" PostHistoryTypeId="36" PostId="22327" RevisionGUID="98133aa6-a979-42b3-8a29-320f8f039cf9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9378/technical-term-for-the-visualization-of-an-audio-track" />
  <row Id="36190" PostHistoryTypeId="2" PostId="22328" RevisionGUID="583ab529-681b-449a-9ee1-3b23ada2d46e" CreationDate="2013-11-12T03:31:17.917" UserDisplayName="Bjorn Roche" Text="That's called a &quot;waveform&quot; or, when it's zoomed out like that and not showing all the detail, it's more correctly called a &quot;waveform overview&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="36191" PostHistoryTypeId="2" PostId="22327" RevisionGUID="9701455d-e853-44ba-a01a-c66d434a01ff" CreationDate="2013-11-12T01:18:10.687" UserDisplayName="user4980" Text="What's the technical term for the visualization of an audio track as used in music production software? This image shows what I mean: http://alisocreek.net/vo-article-graphics/Sound_Wave.jpg The image is titled sound wave but isn't there a more precise term referring to the diagram itself?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36192" PostHistoryTypeId="1" PostId="22327" RevisionGUID="9701455d-e853-44ba-a01a-c66d434a01ff" CreationDate="2013-11-12T01:18:10.687" UserDisplayName="user4980" Text="Technical term for the visualization of an audio track?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36193" PostHistoryTypeId="3" PostId="22327" RevisionGUID="9701455d-e853-44ba-a01a-c66d434a01ff" CreationDate="2013-11-12T01:18:10.687" UserDisplayName="user4980" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36194" PostHistoryTypeId="36" PostId="22328" RevisionGUID="feae4dad-f5fa-4db3-b93c-8e79531fd387" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9378/technical-term-for-the-visualization-of-an-audio-track/9379#9379" />
  <row Id="36195" PostHistoryTypeId="36" PostId="22329" RevisionGUID="9ab6d20a-e7e0-4645-a1f9-9e446b647023" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5754/split-audio-into-many-files" />
  <row Id="36196" PostHistoryTypeId="2" PostId="22330" RevisionGUID="baf4836a-1980-4df6-ba20-0af411cf2f6b" CreationDate="2013-01-05T10:48:05.277" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="You can try the following approach with Audacity:  &#xD;&#xA;http://manual.audacityteam.org/o/man/splitting_a_recording_into_separate_tracks.html&#xD;&#xA;&#xD;&#xA;See also original answer for other options:  &#xD;&#xA;http://avp.stackexchange.com/questions/5736/how-to-transfer-records-from-cassettes-to-the-computer/5737#5737&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36197" PostHistoryTypeId="2" PostId="22329" RevisionGUID="4ac537a4-ece2-481f-8bb0-28cba04b0b61" CreationDate="2013-01-05T10:35:31.480" UserDisplayName="Lecker Kebap" Text="I have an mp3 recording that spans many hours. It is just one big file. I would love to split it into dozens or hundreds of individual snippets. &#xD;&#xA;&#xD;&#xA;I actually already some most of the time-stamps where I'd need a split, and also have some names for the individual parts. Other times I don't yet know. I feel I can't just search for silence, as this is a live recording and probably is never silent. The question is then, how do I do this with as little effort as possible? &#xD;&#xA;&#xD;&#xA;I would like to give this list of time-stamps and headlines to a software, then receive the individual mp3 files some hours later. Do you know any software like this?&#xD;&#xA;&#xD;&#xA;My first idea was using Audacity. This has the added bonus of visually displaying the audio curve, so I can fine-adjust where exactly to split. However, the actual splitting and saving seems quite bothersome.&#xD;&#xA;&#xD;&#xA;Looking forward to your suggestions!" ContentLicense="CC BY-SA 3.0" />
  <row Id="36198" PostHistoryTypeId="1" PostId="22329" RevisionGUID="4ac537a4-ece2-481f-8bb0-28cba04b0b61" CreationDate="2013-01-05T10:35:31.480" UserDisplayName="Lecker Kebap" Text="Split audio into many files" ContentLicense="CC BY-SA 3.0" />
  <row Id="36199" PostHistoryTypeId="3" PostId="22329" RevisionGUID="4ac537a4-ece2-481f-8bb0-28cba04b0b61" CreationDate="2013-01-05T10:35:31.480" UserDisplayName="Lecker Kebap" Text="&lt;audio&gt;&lt;software&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36200" PostHistoryTypeId="36" PostId="22330" RevisionGUID="ae222c2e-d725-4597-bf69-2fb168d78e2e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5754/split-audio-into-many-files/5755#5755" />
  <row Id="36201" PostHistoryTypeId="36" PostId="22331" RevisionGUID="9f15639d-1d89-4768-8ec2-037ec787c322" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5754/split-audio-into-many-files/5760#5760" />
  <row Id="36202" PostHistoryTypeId="2" PostId="22331" RevisionGUID="9af092a0-9bdf-4949-bd3d-5e809002ad2d" CreationDate="2013-01-06T15:53:50.560" UserDisplayName="Lewis M" Text="I have used &quot;mp3DirectCut&quot; to do some basic splitting of a CD image (big mp3 with no pauses) but i did it manually since it had no cue sheet with it. I know it handles cue sheets but I have never test it.&#xD;&#xA;&#xD;&#xA;Also I've used cue sheets with these :&#xD;&#xA;&#xD;&#xA;[CUETools][2] &amp; [MedievalCueSplitter][3]&#xD;&#xA;&#xD;&#xA;Both of them did an excellent job, but I did not write the cue sheet my self. You'll have to come up with that.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mpesch3.de1.cc/mp3dc.html&#xD;&#xA;  [2]: http://www.cuetools.net&#xD;&#xA;  [3]: http://www.medieval.it/cuesplitter-pc/menu-id-71.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="36207" PostHistoryTypeId="36" PostId="22333" RevisionGUID="c51116be-03bd-4c46-a288-eb670e70de49" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7801/what-is-this-block-diagram-symbol" />
  <row Id="36208" PostHistoryTypeId="36" PostId="22334" RevisionGUID="e9f94afe-3576-4b4e-a13a-5f78562ee4b9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7801/what-is-this-block-diagram-symbol/7802#7802" />
  <row Id="36209" PostHistoryTypeId="2" PostId="22334" RevisionGUID="9ab9380e-9e95-48d4-ab65-4237bfaa9f50" CreationDate="2013-05-05T03:53:20.353" UserId="7189" Text="That appears to be a [chassis common ground][1].&#xD;&#xA;&#xD;&#xA;Update: After re-reading your question, I'm confused by what you mean by &quot;which jacks are shielded?&quot; The circuit diagram says nothing about whether the jacks are shielded or not. It does say that the grounds are connected to chassis ground. Most mixers have a metal body that acts as a shield for the entire device, so individual jacks don't need their own individual shields.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.epanorama.net/blog/2009/10/08/use-right-ground-symbol/" ContentLicense="CC BY-SA 3.0" />
  <row Id="36210" PostHistoryTypeId="2" PostId="22333" RevisionGUID="316e999a-25c8-4c77-a599-4342d1f1b3eb" CreationDate="2013-05-05T02:57:16.517" UserId="7045" Text="I'm trying to figure out which jacks on my PA amp are shielded and which aren't. To this end, I was looking at the block diagram in the manual. I'm new to reading block diagrams, but it's obviously a useful skill to have for understanding signal flow in a pro audio environment. &#xD;&#xA;&#xD;&#xA;Can anyone tell me what the symbol below means? (Just in case the image ever gets separated from this text, it's the one that looks like a wide, slanted triple-tined fork pointing down, under both the hi Z and low Z input jacks.) &#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Even better, could anyone point me at a resource of pro audio block diagram symbols? I was surprised to not be able to find this online. &#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/plErH.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="36211" PostHistoryTypeId="1" PostId="22333" RevisionGUID="316e999a-25c8-4c77-a599-4342d1f1b3eb" CreationDate="2013-05-05T02:57:16.517" UserId="7045" Text="What is this block diagram symbol?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36212" PostHistoryTypeId="3" PostId="22333" RevisionGUID="316e999a-25c8-4c77-a599-4342d1f1b3eb" CreationDate="2013-05-05T02:57:16.517" UserId="7045" Text="&lt;audio&gt;&lt;electronics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36213" PostHistoryTypeId="36" PostId="22335" RevisionGUID="17a850f0-bb92-4a6d-ac6d-c7cb7e4c145c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1111/how-to-record-one-or-several-celli" />
  <row Id="36214" PostHistoryTypeId="2" PostId="22336" RevisionGUID="e641b2f2-f687-4db1-bd73-220bd7860eb8" CreationDate="2011-03-29T12:59:37.973" UserId="7592" UserDisplayName="Pelle ten Cate" Text="First off: If you intend to record chamber music, don't go with a surface-contact microphone such as a piezzo microphone. These microphones are attached very very close to the instrument, and you will not get the sound you want to have. (Remember that that is not where you put your ears when you listen to the result.)&#xD;&#xA;&#xD;&#xA;I have no idea what you mean by a 'classical' microphone, please enhance us with a brand name and type number.&#xD;&#xA;&#xD;&#xA;A solo cello is best recorded with a large diaphragm condenser microphone such as the Neumann U89. I understand though that you are on a budget, so you might consider a more affordable alternative instead. In the past, I got pretty good results using the Studio Projects B1 microphone, which sells for around $100. It needs a general microphone pre-amp that is capable of feeding 48v phantom power. &#xD;&#xA;&#xD;&#xA;If you are recording a chamber music session (e.g. a piano trio or a string quartet), you might however get better results by not trying to record all instruments individually, but getting the entire sound using a stereo pair of microphones. In that case, go with a pair of small diaphragm condensers. For affordable solutions, I can recommend a matched pair of Oktava MK-012 (Made in Russia, beware of Chinese fake) or a matched pair of Rode NT5s, both ship for around $300. These too need a preamp that is capable of giving 48v phantom power." ContentLicense="CC BY-SA 2.5" />
  <row Id="36215" PostHistoryTypeId="2" PostId="22335" RevisionGUID="4f8093b9-9412-459a-8abf-94c8d7dcefae" CreationDate="2011-03-29T07:27:38.667" UserId="7290" UserDisplayName="ogerard" Text="I have tried to record a cello with a Audio Technica ATM10 omnidirectional microphone with mixed results.&#xD;&#xA;&#xD;&#xA;As this is something I am likely to do regularly, I would like to receive advice.&#xD;&#xA;&#xD;&#xA;There exist piezo cells that you can place on the cello (depending on model on the table, the bridge, across strings below the bridge, etc. )&#xD;&#xA;&#xD;&#xA;Most of the ones I have seen are either very cheap or expensive and I am not sure they can capture adequately the whole thing. Besides, you would need one by instrument.&#xD;&#xA;&#xD;&#xA;This is for classical chamber music (with possibly a few more instruments: violin, piano, viola, one more cello, ...)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="36216" PostHistoryTypeId="1" PostId="22335" RevisionGUID="4f8093b9-9412-459a-8abf-94c8d7dcefae" CreationDate="2011-03-29T07:27:38.667" UserId="7290" UserDisplayName="ogerard" Text="How to record one or several celli?" ContentLicense="CC BY-SA 2.5" />
  <row Id="36217" PostHistoryTypeId="3" PostId="22335" RevisionGUID="4f8093b9-9412-459a-8abf-94c8d7dcefae" CreationDate="2011-03-29T07:27:38.667" UserId="7290" UserDisplayName="ogerard" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="36218" PostHistoryTypeId="36" PostId="22336" RevisionGUID="396d5635-b24b-4f8b-89fe-7976c373052d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1111/how-to-record-one-or-several-celli/1113#1113" />
  <row Id="36219" PostHistoryTypeId="36" PostId="22337" RevisionGUID="0b88e9eb-9ef9-47be-b62e-d99e28d74f96" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1111/how-to-record-one-or-several-celli/1206#1206" />
  <row Id="36220" PostHistoryTypeId="2" PostId="22337" RevisionGUID="cfc03145-6947-4baf-919b-eefa234a66e2" CreationDate="2011-04-20T08:32:08.760" UserDisplayName="Toft" Text="Just a comment about piezzo microphones: As far as I know they are mostly used live, they can be used for recording though - mainly for having a second channel (with lots of treble) to mix with input from the &quot;proper&quot; microphone (similar use to line-input from electric bass for low frequencies). Scenarios include string instruments in electronic/pop/rock etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="36221" PostHistoryTypeId="36" PostId="22338" RevisionGUID="366c574f-f04f-4a15-bf43-d6815e129fd0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3286/recording-heavy-metal-guitars-with-almost-zero-budget" />
  <row Id="36222" PostHistoryTypeId="2" PostId="22339" RevisionGUID="babfb07d-89ae-4f33-aff2-abe8be5a8f28" CreationDate="2012-02-13T16:40:21.683" UserId="7016" Text="In the studio I record my guitars directly in to Cubase or Guitar Rig with no distortion before the record chain. This way I can alter the effects precisely (I pop them in the effects loop) and is the way most studio work seems to go with other bands I know. If you do mic up your amps, you can get a very live sound, but it takes a lot of work to get it clean enough if you don't have a well soundproofed studio.&#xD;&#xA;&#xD;&#xA;At home, depending on what software you currently use, there are some okay VST plugins, but you might be better off trying a dedicated guitar effects app.&#xD;&#xA;&#xD;&#xA;For free software effects, you could look at older versions of Guitar Rig - version 3 appears to be free. It isn't as good as the latest version, but should still be able to provide you with some good thrashy distortion.&#xD;&#xA;&#xD;&#xA;Alternatively, Rakarrack is free for Linux and is a full featured equivalent of Guitar Rig." ContentLicense="CC BY-SA 3.0" />
  <row Id="36223" PostHistoryTypeId="2" PostId="22338" RevisionGUID="de818a50-d74d-4e68-9855-73e50e296d1b" CreationDate="2012-02-13T16:21:57.840" UserId="9511" UserDisplayName="Johnny Bigoode" Text="Long story short: I've been producing electronic music for a long time now, so I have a very good amount of knowledge on mixing, special effects and mastering, but I have never EVER recorded anything directly - with a microphone or even DI. Everything I've done is:&#xD;&#xA;&#xD;&#xA;1.) Sample/Sampler Based&#xD;&#xA;&#xD;&#xA;2.) Synth Based&#xD;&#xA;&#xD;&#xA;So, now I've got a friend who is interested in recording some meta guitars - he's also a good singer..., but I've no idea how to get that sound. He only has a 50W fender amp, and I own a classic [Meteoro Vulcano 200W][1]. He also owns a [turbo distorsion 2][2] and I've got a [RP100a][3]&#xD;&#xA;&#xD;&#xA;At the moment I have no money to buy any equipment - usually electronics are way expensive here in Brazil, maybe a VST or two. &#xD;&#xA;&#xD;&#xA;We were thinking something rather trash metal, like Metallica Seek and Destroy or Slayers Raining Blood, maybe even Iced Earth's Something Wicked This Way Comes. &#xD;&#xA;&#xD;&#xA;I was thinking about getting some mxl microphones for vocals, could those be used for guitars? &#xD;&#xA;&#xD;&#xA;But to be honest, I was thinking on recording everything clean DI and then trying to work the distortion with soft effects - so my main question is:&#xD;&#xA;&#xD;&#xA;How can I gest the best sound out of a guitar that's being recorded with direct input ?&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;  [1]: http://www.amplificadoresmeteoro.com.br/produto.php?id_produto=26&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Boss_DS-1#DS-2&#xD;&#xA;  [3]: http://www.digitech.com/en/products/rp100a" ContentLicense="CC BY-SA 3.0" />
  <row Id="36224" PostHistoryTypeId="1" PostId="22338" RevisionGUID="de818a50-d74d-4e68-9855-73e50e296d1b" CreationDate="2012-02-13T16:21:57.840" UserId="9511" UserDisplayName="Johnny Bigoode" Text="Recording heavy metal guitars with almost zero budget" ContentLicense="CC BY-SA 3.0" />
  <row Id="36225" PostHistoryTypeId="3" PostId="22338" RevisionGUID="de818a50-d74d-4e68-9855-73e50e296d1b" CreationDate="2012-02-13T16:21:57.840" UserId="9511" UserDisplayName="Johnny Bigoode" Text="&lt;audio-recording&gt;&lt;ableton&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36226" PostHistoryTypeId="36" PostId="22339" RevisionGUID="e3648e33-56d7-4608-9da1-053c12efc54f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3286/recording-heavy-metal-guitars-with-almost-zero-budget/3287#3287" />
  <row Id="36227" PostHistoryTypeId="36" PostId="22340" RevisionGUID="f1f3f269-b18f-4da8-9f9a-1fce589b7f78" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3286/recording-heavy-metal-guitars-with-almost-zero-budget/3289#3289" />
  <row Id="36228" PostHistoryTypeId="2" PostId="22340" RevisionGUID="26a5d127-d506-41d8-b720-fa8236bd0096" CreationDate="2012-02-13T19:56:49.840" UserId="7188" Text="Dr. Mayhem has offered some very good solutions for 'direct in' recording however, I would like to add a note about live recording. Many guitarist especially blues players think of the electric guitar as only half of their tone, the other half being their amp. These folks spend hours having their vacuum tube amps tweaked for optimum bias of the power tubes and as well as seeking out the best sounding NOS tubes for power and preamp sections. That being said, they are very happy with their live sound. A heavy metal guitarist with a Fender amp, may be a good candidate for having his tone captured with a mic. A standard practice done for years by blues guitarists is to have a mic (typically a Shure SM-57) placed on the upper corner of the amp. Here are some links on this:&#xD;&#xA;&#xD;&#xA;http://homerecording.about.com/od/homestudiobasics/a/micing_amp.htm&#xD;&#xA;&#xD;&#xA;This fella demonstrates how placing the mic at different places near the speaker affect tone.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=iEQhmsXpsDE&#xD;&#xA;&#xD;&#xA;The &quot;rub&quot; part: To record an amp like this, it may have to be cranked pretty loud before the desired tone becomes present, so be prepared to find a place that is isolated enough so that the local police don't come knock on your door." ContentLicense="CC BY-SA 3.0" />
  <row Id="36229" PostHistoryTypeId="36" PostId="22341" RevisionGUID="ac4e2a2f-3a43-44f2-a367-6938138b2ccf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3616/future-proof-live-audio-capture-broadcast" />
  <row Id="36230" PostHistoryTypeId="36" PostId="22342" RevisionGUID="deb05959-f391-4914-87d4-ae492910f4fa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3616/future-proof-live-audio-capture-broadcast/3617#3617" />
  <row Id="36231" PostHistoryTypeId="36" PostId="22343" RevisionGUID="6915a7cc-2389-42f6-a050-5f30d20b4f2c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3616/future-proof-live-audio-capture-broadcast/3631#3631" />
  <row Id="36232" PostHistoryTypeId="2" PostId="22342" RevisionGUID="3f9ac9b1-29b7-4a24-94a7-1adf1cc86b63" CreationDate="2012-03-20T22:28:46.017" UserDisplayName="Mark Allen" Text="HTTP is ubiquitous, so I'd definitely support that. Other than that, what about a plugin system so that other methods could be added later? That's about all I can think of for future-proofing: a plugin API, the more modular (the more formats the plugins can request data in: streaming, chunked, compressed?) the better." ContentLicense="CC BY-SA 3.0" />
  <row Id="36233" PostHistoryTypeId="2" PostId="22343" RevisionGUID="08010fa1-75d9-4750-ad9e-ea3b4be5ebb3" CreationDate="2012-03-23T17:44:31.533" UserId="7856" UserDisplayName="Corey" Text="Why not use existing services?&#xD;&#xA;&#xD;&#xA;I’ve been using a Shoutcast streaming plan for years to broadcast my church’s services live. It’s worked like a champ.&#xD;&#xA;&#xD;&#xA;Part 1 – Audio Capture&#xD;&#xA;I’ve been using an old P2 Win98 box for years with an older version of Winamp &amp; the Shoutcast plug-in. (There are of course modern versions of those.) “SAM Broadcaster” is a very popular option, but there are free alternatives as well.&#xD;&#xA;&#xD;&#xA;Part 2 – I have an account with http://www.sleepyengineers.com  for a reasonable price.&#xD;&#xA;&#xD;&#xA;Part 3 – I have a http://www.wavestreaming.com/player/free-shoutcast-flash-player embedded into my church’s website." ContentLicense="CC BY-SA 3.0" />
  <row Id="36234" PostHistoryTypeId="2" PostId="22341" RevisionGUID="60a76bfe-1e68-404e-a54d-7afd59069464" CreationDate="2012-03-20T21:46:56.817" UserDisplayName="maxpowers" Text="I'm looking to implement some live audio broadcasting functionality within a Ruby on Rails site for a client and was hoping I could get some input from people who have tackled this type of thing before.&#xD;&#xA;&#xD;&#xA;Essentially what I need to do is capture and record a user's audio (via microhpone, line in, etc), then stream that to 1,000+ listeners with very little latency, like sub 2 second if possible.&#xD;&#xA;&#xD;&#xA;So it looks like we've got 3 parts:&#xD;&#xA;&#xD;&#xA; 1. Web-based audio capture (likely with Flash or JS)&#xD;&#xA; 2. Server to accept audio feed and stream to listeners (likely Icecast or Wowza)&#xD;&#xA; 3. Actual audio player (maybe HTML5 w/ Flash as a fallback? Maybe [this jPlayer fork][1])&#xD;&#xA;&#xD;&#xA;Does RTMP makes sense here? Or maybe HTTP? What's the most 'future-proof' way to make this happen? Building with mobile in mind, but still want to be able stream to anyone.&#xD;&#xA;&#xD;&#xA;I've found lots of potentially helpful threads and software but I'm struggling to get an idea of how it all fits together. I'm a front end guy and way out of my comfort zone so if anyone has insights to offer, I'd love to hear them.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://github.com/rmhall/jPlayer" ContentLicense="CC BY-SA 3.0" />
  <row Id="36235" PostHistoryTypeId="1" PostId="22341" RevisionGUID="60a76bfe-1e68-404e-a54d-7afd59069464" CreationDate="2012-03-20T21:46:56.817" UserDisplayName="maxpowers" Text="'Future-proof' Live Audio Capture &amp; Broadcast" ContentLicense="CC BY-SA 3.0" />
  <row Id="36236" PostHistoryTypeId="3" PostId="22341" RevisionGUID="60a76bfe-1e68-404e-a54d-7afd59069464" CreationDate="2012-03-20T21:46:56.817" UserDisplayName="maxpowers" Text="&lt;audio&gt;&lt;live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36237" PostHistoryTypeId="36" PostId="22344" RevisionGUID="31c12aea-963a-4484-be0f-5cc2a8814544" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9129/researcher-designing-study-for-analyzing-speech-movement-during-interpersonal-in" />
  <row Id="36238" PostHistoryTypeId="36" PostId="22345" RevisionGUID="17ea67c2-e0cf-4d8f-9a2d-9b6360fde11c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9129/researcher-designing-study-for-analyzing-speech-movement-during-interpersonal-in/9134#9134" />
  <row Id="36239" PostHistoryTypeId="2" PostId="22345" RevisionGUID="d6cc6b9b-6b54-4058-a191-c339ca071a3b" CreationDate="2013-10-07T13:59:56.347" UserId="7174" Text="LAVs should be pretty good as long as you get them directional.  They will still have some of the other sound, but should have a minimum of background noise.  Depending on the quality level you need, bone conduction will provide the best isolation, but also doesn't have as clear of a quality since it is partially synthesized from the vibrations and is a bit more difficult to use.  Another option is to get hyperdirectional shotgun mics (the kind with a parabolic dish), but these would require operators to keep it on target while recording.&#xD;&#xA;&#xD;&#xA;If you only have two people, you shouldn't need a mixer, you can just run one to the left and one to the right channel and be done with it.  You might need a pack to provide phantom power to the mics though depending on what kind of mic you use." ContentLicense="CC BY-SA 3.0" />
  <row Id="36240" PostHistoryTypeId="2" PostId="22344" RevisionGUID="c57ef86b-b2a5-4f5e-9097-c67dac613d34" CreationDate="2013-10-06T02:00:09.130" UserDisplayName="nickd3ps" Text="Really would like the advice of all the experts out there. &#xD;&#xA;&#xD;&#xA;I'm a university researcher interested in interpersonal interaction during conversation. One of the things I would like to do is extract speech from conversational partners along separate channels, and with as little interference from the other partner. I'll then use a program like Praat or Audacity to pull out various acoustic properties of speech - specific to each person. I'll also be recording these conversations with multiple camcorders (which I need to synchronize to do frame-by-frame analysis of movement dynamics).&#xD;&#xA;&#xD;&#xA;What I'm thinking of doing is attaching lavalier mics to each person (who will be about 4-6 feet from each other) and then feeding these into a mini audio mixer of some sort to keep separate channels and then relaying that to one of the camcorders (but would prefer to send it to all camcorders simultaneously). My worry is that I'm going to get a lot of interference in each channel from the other person, as well as a great deal of background white noise, particularly if I buy one of the more inexpensive mixers out there. &#xD;&#xA;&#xD;&#xA;My question is whether this all makes sense, and what specific types of equipment should I purchase to maximize the clarity of the separate audio channels? Also, is there a mixer out there would allow me to send the output to multiple camcorders simultaneously?   &#xD;&#xA;&#xD;&#xA;Many thanks, from a novice. &#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="36241" PostHistoryTypeId="1" PostId="22344" RevisionGUID="c57ef86b-b2a5-4f5e-9097-c67dac613d34" CreationDate="2013-10-06T02:00:09.130" UserDisplayName="nickd3ps" Text="Researcher designing study for analyzing speech/movement during interpersonal interaction, need help with proper equipment and setup" ContentLicense="CC BY-SA 3.0" />
  <row Id="36242" PostHistoryTypeId="3" PostId="22344" RevisionGUID="c57ef86b-b2a5-4f5e-9097-c67dac613d34" CreationDate="2013-10-06T02:00:09.130" UserDisplayName="nickd3ps" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;mixing&gt;&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36243" PostHistoryTypeId="36" PostId="22346" RevisionGUID="6198f453-012a-49be-a918-b2c51ae4ebde" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1484/what-is-the-best-drums-midi-recorder" />
  <row Id="36244" PostHistoryTypeId="2" PostId="22347" RevisionGUID="a977ed9e-0c91-4df4-be4d-da50eaf32a85" CreationDate="2011-05-28T20:51:42.060" UserId="7093" Text="If you have a Mac, [GarageBand][1] is probably a good place to start.&#xD;&#xA;&#xD;&#xA;[Reaper][2] is an inexpensive (only $40 for the home license) program that will work on either PC or Mac.  They have a 30 day fully functional trial, so you can see if you like it.  It's pretty easy to use and there is a [guide on how to setup MIDI in Reaper][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ehow.com/video_2375347_record-midi_-garageband-tutorial.html&#xD;&#xA;  [2]: http://www.reaper.fm/index.php&#xD;&#xA;  [3]: http://wiki.cockos.com/wiki/index.php/Recording_MIDI" ContentLicense="CC BY-SA 3.0" />
  <row Id="36245" PostHistoryTypeId="2" PostId="22346" RevisionGUID="2a73feca-fe0d-4520-b039-e0f743cc7b61" CreationDate="2011-05-28T19:15:06.860" UserDisplayName="ktulinho" Text="I have a Roland TD4 KX2 drum set and I would like to start doing some recordings of what I do. &#xD;&#xA;&#xD;&#xA;What is the best option in terms of software to use?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36246" PostHistoryTypeId="1" PostId="22346" RevisionGUID="2a73feca-fe0d-4520-b039-e0f743cc7b61" CreationDate="2011-05-28T19:15:06.860" UserDisplayName="ktulinho" Text="What is the best drums midi recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36247" PostHistoryTypeId="3" PostId="22346" RevisionGUID="2a73feca-fe0d-4520-b039-e0f743cc7b61" CreationDate="2011-05-28T19:15:06.860" UserDisplayName="ktulinho" Text="&lt;audio-recording&gt;&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36248" PostHistoryTypeId="36" PostId="22347" RevisionGUID="53aa8451-b22f-4c85-9ec1-cb8743a453d0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1484/what-is-the-best-drums-midi-recorder/1485#1485" />
  <row Id="36249" PostHistoryTypeId="36" PostId="22348" RevisionGUID="38e8126a-4aa0-40bd-b14a-8e2e615e2f34" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4218/what-microphone-is-used-by-sound-engineers-in-foley" />
  <row Id="36250" PostHistoryTypeId="2" PostId="22349" RevisionGUID="77d9b309-98c2-43cc-b857-1ede481287c3" CreationDate="2012-06-19T22:43:43.590" UserDisplayName="Phasefire" Text="I'm an indie filmmaker.  I've done sound for my friends sometimes. &#xD;&#xA;The sound guy I know (and we're super low budget indie)  uses the same mic he booms with on set.&#xD;&#xA;&#xD;&#xA;He tried using a better one that was usb based but the sound was much different in quality then the sound recorded on the day.&#xD;&#xA;&#xD;&#xA;For reference he's using the &#xD;&#xA;Rhode NTG 2 http://www.rodemic.com/mics/ntg-2 (about $300)&#xD;&#xA;It uses XLR cables which can be a pain in the but for getting it in to your comp.&#xD;&#xA;I also have an NTG 2 and I still prefer my &#xD;&#xA;Rhode Video mic http://www.rodemic.com/mics/videomic &#xD;&#xA;(it's cheaper and doesn't use XLR cables) ($150ish)&#xD;&#xA;&#xD;&#xA;You could also try something like a Blue Yeti http://www.bluemic.com/yeti/ (about $150 but it was on sale for $75 at staples the other week) I have 1 of those and it has multiple settings so you might be able to find one that works.  The blue yeti is good because you can use it for a lot of other stuff like podcast recording or music.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36251" PostHistoryTypeId="2" PostId="22348" RevisionGUID="32547d15-a2f9-444f-8ce9-5a76f662e126" CreationDate="2012-06-19T19:32:04.123" UserId="7232" UserDisplayName="Global nomad" Text="I'm looking to record some sound in a &quot;closed&quot; setting similar to sound engineers when I toured the foley section of a movie production. Unfortunately, there wasn't a Q &amp; A opportunity.&#xD;&#xA;&#xD;&#xA;I'm looking for make and model, and any advice on differences (if any) between different use (for example for recording different frequencies).&#xD;&#xA;&#xD;&#xA;I intend to process the recording on a Mac (not sure if this matters, but just in case it does).&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="36252" PostHistoryTypeId="1" PostId="22348" RevisionGUID="32547d15-a2f9-444f-8ce9-5a76f662e126" CreationDate="2012-06-19T19:32:04.123" UserId="7232" UserDisplayName="Global nomad" Text="What microphone is used by sound engineers in foley?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36253" PostHistoryTypeId="3" PostId="22348" RevisionGUID="32547d15-a2f9-444f-8ce9-5a76f662e126" CreationDate="2012-06-19T19:32:04.123" UserId="7232" UserDisplayName="Global nomad" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36254" PostHistoryTypeId="36" PostId="22349" RevisionGUID="0345ad67-ae12-492a-b69e-594d2e85e492" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4218/what-microphone-is-used-by-sound-engineers-in-foley/4221#4221" />
  <row Id="36255" PostHistoryTypeId="36" PostId="22350" RevisionGUID="d1f149e5-195d-4122-9c9e-8980b61eb93a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4218/what-microphone-is-used-by-sound-engineers-in-foley/5668#5668" />
  <row Id="36256" PostHistoryTypeId="2" PostId="22350" RevisionGUID="d47a63a9-959d-45b6-b8b6-5a706160bd37" CreationDate="2012-12-25T06:41:49.617" UserDisplayName="DIY Foley" Text="Hey I'm also an independent filmmaker ultra zero budget indie sorta guy and i just started a foley web-series and we are using the Yeti Pro by blue, a bit more professional but same idea.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36257" PostHistoryTypeId="36" PostId="22351" RevisionGUID="3eb3cf8b-b1d7-4c7f-abfd-8fd6d32d7a6d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6887/how-wide-are-critical-bands" />
  <row Id="36258" PostHistoryTypeId="2" PostId="22352" RevisionGUID="541c3876-37f7-4542-abc4-c5e11b2e74ba" CreationDate="2013-01-21T14:51:27.703" UserDisplayName="Serge" Text="I have been lucky enough to find a whole chapter about critical bands and masking in *An Introduction to the Psychology of Hearing* by Brian C.J. Moore in college library. The phenomenum I asked about in my question seems to be just one of the many consequences of critical bands. In fact, this is a way to experimentally find out the critical bandwith for each frequency.&#xD;&#xA;&#xD;&#xA;Given two complex periodic sounds containing 12 sinusoidal components (*partials*), which are:&#xD;&#xA;&#xD;&#xA; 1. fundamental frequency f0 and its harmonics: f2=2*f0, f3=3*f0, ..., f11=11*f0.&#xD;&#xA; 2. fundamental frequency f0 and out of tune harmonics (i.e. not multiples of the fundamental frequency).&#xD;&#xA;&#xD;&#xA;Subjetcts were requested to listen the following pure tones:&#xD;&#xA;&#xD;&#xA; - a tone which frequency was contained in the previously heard complex sound.&#xD;&#xA; - a tone which frequency was half-step between two of the harmonics contained in the previously heard complex sound (e.g. 3/2*f0)&#xD;&#xA;&#xD;&#xA;**Assuming that a partial is only heard when its nearest neighbour is at least a bandwidth away**, the stated results for the bandwidth were found:&#xD;&#xA;&#xD;&#xA; - 100 Hz if f&lt;500 Hz&#xD;&#xA; - 20% of the tone frequency if f&gt;500 Hz&#xD;&#xA;&#xD;&#xA;Being the bold sentence the one that really answers to my question." ContentLicense="CC BY-SA 3.0" />
  <row Id="36259" PostHistoryTypeId="2" PostId="22351" RevisionGUID="2efa2f2c-2815-43b8-abbd-716f98e2260e" CreationDate="2013-01-19T23:14:46.770" UserDisplayName="Serge" Text="I hope this is the most appropriate SE site to ask a question about psychoacoustics. &#xD;&#xA;&#xD;&#xA;I don't quite understand critical bands. As far as I know, if two pure tones which frequencies are inside the same critical band are heard, a single tone is perceived. But what would be that tone's frequency?&#xD;&#xA;&#xD;&#xA;According to the [classical rule of thumb][1], the bandwidth would be the following:&#xD;&#xA;&#xD;&#xA; - 100 Hz if f&lt;500 Hz&#xD;&#xA; - 20% of the tone frequency if f&gt;500 Hz&#xD;&#xA;&#xD;&#xA;But I really don't know how to apply this. If I have two tones with f1=800Hz and f2=950 Hz, what would be perceived?&#xD;&#xA;&#xD;&#xA;Would the critical band be 800-0.2*800=640 Hz to 800+0.2*800=960 Hz and therefore a single tone would be perceived? Or is 0.2*800=160 the real bandwidth (so the band would be from 720 to 880 Hz)? And, if a single tone is perceived, what frequency would it be?&#xD;&#xA;&#xD;&#xA;Thank you in advance.&#xD;&#xA;&#xD;&#xA;  [1]: https://ccrma.stanford.edu/~jos/bbt/Equivalent_Rectangular_Bandwidth.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="36260" PostHistoryTypeId="1" PostId="22351" RevisionGUID="2efa2f2c-2815-43b8-abbd-716f98e2260e" CreationDate="2013-01-19T23:14:46.770" UserDisplayName="Serge" Text="How wide are critical bands?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36261" PostHistoryTypeId="3" PostId="22351" RevisionGUID="2efa2f2c-2815-43b8-abbd-716f98e2260e" CreationDate="2013-01-19T23:14:46.770" UserDisplayName="Serge" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36262" PostHistoryTypeId="36" PostId="22352" RevisionGUID="30d187ef-250f-44cd-a774-be58ab7f668d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6887/how-wide-are-critical-bands/6894#6894" />
  <row Id="36263" PostHistoryTypeId="36" PostId="22353" RevisionGUID="2d48dccd-f3f7-446d-8c0e-f8c2afc35db3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6887/how-wide-are-critical-bands/6895#6895" />
  <row Id="36264" PostHistoryTypeId="2" PostId="22353" RevisionGUID="16caf68f-db19-4056-8e18-15ab99a0d715" CreationDate="2013-01-21T16:32:42.370" UserId="7016" Text="I'm not an expert in psychoacoustics, but in trying out examples such as an 800Hz tone and another (which I varied from 802Hz to 1khz) they were all distinguishable instantly, with no effort. At very close frequencies (ie 0 to about 2 Hz difference) beats were the major audible component, but above that, two pure tones are heard.&#xD;&#xA;&#xD;&#xA;The only combinations which caused more interesting results were when one tone was a harmonic of the other - it was possible to 'lose' one in the other tone..." ContentLicense="CC BY-SA 3.0" />
  <row Id="36271" PostHistoryTypeId="36" PostId="22356" RevisionGUID="5072bbae-4f1c-4a06-856a-833f1923f68b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9241/simple-multi-track-recording-to-a-computer-without-tons-of-hiss" />
  <row Id="36272" PostHistoryTypeId="36" PostId="22357" RevisionGUID="c686facf-f796-4775-a9d0-8163a02142f4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9241/simple-multi-track-recording-to-a-computer-without-tons-of-hiss/9249#9249" />
  <row Id="36273" PostHistoryTypeId="2" PostId="22357" RevisionGUID="a4e24f8f-33b4-4380-8b95-da6deefa3cdf" CreationDate="2013-10-24T13:54:50.647" UserId="7174" Text="You need a basic level professional audio interface.  For working with a laptop, you can get them as USB devices.  M-Audio is one of the best known names in the business for more budget options, but they aren't the only game around either.  I'd recommend checking out the USB Audio Interfaces section of something like B&amp;H and look for a device that meets your needs and budget.&#xD;&#xA;&#xD;&#xA;As an added bonus, many such interfaces include some special versions (or even full versions) of recording software that can get you started with some better quality recording software rather than being stuck using Sound Recorder (shudder)." ContentLicense="CC BY-SA 3.0" />
  <row Id="36274" PostHistoryTypeId="2" PostId="22356" RevisionGUID="8ab11571-efb1-46e5-b5aa-293a364a0956" CreationDate="2013-10-23T22:23:42.780" UserId="7753" UserDisplayName="Eric Auld" Text="I have a pretty standard laptop. I have been using the &quot;sound recorder&quot; program on Windows to record musical ideas I want to save. Of course it produces an incredible amount of noise, and not much signal.&#xD;&#xA;&#xD;&#xA;What method would you recommend for doing some simple *multi-track* recording on my computer, without tons of hiss? Mostly I record acoustic instruments. Of course I am willing to buy a microphone (hopefully one that doesn't break the bank). What software/hardware would you recommend?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36275" PostHistoryTypeId="1" PostId="22356" RevisionGUID="8ab11571-efb1-46e5-b5aa-293a364a0956" CreationDate="2013-10-23T22:23:42.780" UserId="7753" UserDisplayName="Eric Auld" Text="Simple multi-track recording to a computer without tons of hiss?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36276" PostHistoryTypeId="3" PostId="22356" RevisionGUID="8ab11571-efb1-46e5-b5aa-293a364a0956" CreationDate="2013-10-23T22:23:42.780" UserId="7753" UserDisplayName="Eric Auld" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36277" PostHistoryTypeId="36" PostId="22358" RevisionGUID="76e5f1d5-24ec-4f96-a944-e4e4a80c8447" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8645/line-in-recording-w-2012-imac-possible" />
  <row Id="36278" PostHistoryTypeId="36" PostId="22359" RevisionGUID="591580b7-9e70-4328-bdd8-13f9a32c1dd0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8645/line-in-recording-w-2012-imac-possible/8646#8646" />
  <row Id="36279" PostHistoryTypeId="2" PostId="22359" RevisionGUID="79eea57f-a36f-4ecd-9aa7-e8cd6ae5e900" CreationDate="2013-08-08T04:21:03.537" UserId="7189" Text="The [Late 2012 27&quot; iMac][1] does not appear to have line-in, just a headphone port. I'm not sure which model you have, but if the 27&quot; doesn't have it, I doubt the smaller ones will.&#xD;&#xA;&#xD;&#xA;You can double-check by selecting `About This Mac` from the Apple menu. Then click the `More Info` button and then the `System Report...` button. Next, click on `Audio` to the left. If you don't have an entry for `Built-in Input` then you probably don't have line-in in your mac.&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;If you don't have audio input hardware, then you will need to add some kind of audio interface.&#xD;&#xA;&#xD;&#xA;  [1]: http://support.apple.com/kb/SP667?viewlocale=en_US&amp;locale=en_US&#xD;&#xA;  [2]: http://i.stack.imgur.com/wRZXy.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="36280" PostHistoryTypeId="2" PostId="22358" RevisionGUID="84dcb050-bbf2-4e1b-b384-1a44b9854fde" CreationDate="2013-08-07T23:13:04.470" UserDisplayName="John Rygielski" Text="The late 2012 iMac update simplified the analog line-in/out and headphone jack. Moving from a MacBook Pro to this iMac, I am now unable to record with my external dynamic mic and small Mackie mixer plugged into the headphone jack with an RCA to 1/8&quot; cable. In the Sound preferences, the line-in does not show up as an input option, only the internal mic.&#xD;&#xA;&#xD;&#xA;The most popular solution I've found is the obvious one, namely, get a USB audio interface. But I do so little recording that it seems silly to buy another piece of gear to functionally do much of the same as my mixer does already, and I am not interested in doing so.&#xD;&#xA;&#xD;&#xA;Is there another solution to this problem? A mono cable (which is fine for voice recording) or a TRRS cable that makes my iMac think a compatible mic/headset has been connected? Clever and outside-the-box ideas are welcome. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36281" PostHistoryTypeId="1" PostId="22358" RevisionGUID="84dcb050-bbf2-4e1b-b384-1a44b9854fde" CreationDate="2013-08-07T23:13:04.470" UserDisplayName="John Rygielski" Text="Line-in recording w/ 2012 iMac possible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36282" PostHistoryTypeId="3" PostId="22358" RevisionGUID="84dcb050-bbf2-4e1b-b384-1a44b9854fde" CreationDate="2013-08-07T23:13:04.470" UserDisplayName="John Rygielski" Text="&lt;audio-recording&gt;&lt;analog&gt;&lt;imac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36283" PostHistoryTypeId="36" PostId="22360" RevisionGUID="949447de-5693-487a-9f8b-52048dae7bb5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1496/how-to-learn-about-audio-recording-and-production" />
  <row Id="36284" PostHistoryTypeId="36" PostId="22361" RevisionGUID="b49c19ad-a895-4a41-997a-87375d2d906b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1496/how-to-learn-about-audio-recording-and-production/1500#1500" />
  <row Id="36285" PostHistoryTypeId="2" PostId="22361" RevisionGUID="3d0e9271-a3c5-4817-a67f-15410181c743" CreationDate="2011-05-30T21:01:36.303" UserId="7471" UserDisplayName="Mark Heath" Text="For introductory material, you won't go far wrong with getting a few books by Paul White (editor of [Sound on Sound magazine][1]). He's done a whole series of really [helpful short books][2], including:&#xD;&#xA;&#xD;&#xA;* Basic Digital Recording&#xD;&#xA;* Basic Microphones&#xD;&#xA;* Basic Mixing Techniques&#xD;&#xA;* Basic Home Studio Design&#xD;&#xA;* Basic Effects and Processors&#xD;&#xA;* Basic Mastering&#xD;&#xA;* Basic VST Instruments&#xD;&#xA;* Basic VST Effects&#xD;&#xA;* Basic Multitracking&#xD;&#xA;* Basic Mixers&#xD;&#xA;* Basic Sampling&#xD;&#xA;* Basic Live Sound&#xD;&#xA;* Basic MIDI&#xD;&#xA;&#xD;&#xA;As for your second question, Audacity is a decent free recording application, good for recording and editing single audio files, or producing podcasts. If music recording is your thing, and you want to record MIDI, or use lots of VST effects, then a digital audio workstation (DAW) would probably be more appropriate. I've used and can recommend [REAPER][3] and [SONAR][4], but there are lots of others to choose from.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/&#xD;&#xA;  [2]: http://www.amazon.co.uk/paul-white-Books/s?ie=UTF8&amp;keywords=paul%2bwhite&amp;rh=n:266239,k:paul%2bwhite&amp;page=1#/ref=nb_sb_noss?url=search-alias=stripbooks&amp;field-keywords=paul%2bwhite%20basic&amp;rh=n:266239,k:paul%2bwhite%20basic&#xD;&#xA;  [3]: http://www.reaper.fm/&#xD;&#xA;  [4]: http://www.cakewalk.com/products/sonar/" ContentLicense="CC BY-SA 3.0" />
  <row Id="36286" PostHistoryTypeId="2" PostId="22360" RevisionGUID="3509cba5-9e53-419c-9632-81fa0403b22a" CreationDate="2011-05-30T16:38:46.533" UserId="11171" UserDisplayName="Tim" Text="I have little knowledge in audio recording and production. I wonder how I shall learn about it? &#xD;&#xA;&#xD;&#xA; 1. As a beginner, some introductory&#xD;&#xA;    material that give general ideas and&#xD;&#xA;    big picture will be great. &#xD;&#xA;    &#xD;&#xA;    As I continue to learn, some &#xD;&#xA;    comprehensive references will&#xD;&#xA;    probably be needed to consult&#xD;&#xA;    from time to time.&#xD;&#xA;   &#xD;&#xA;    The materials and references can be&#xD;&#xA;    of any form, books, webpages, ...&#xD;&#xA; 2. Some good software on computer for&#xD;&#xA;    audio recording and production,&#xD;&#xA;    which can improve my understanding&#xD;&#xA;    by playing around? Some people&#xD;&#xA;    recommend Audacity. Is it a good&#xD;&#xA;    choice?&#xD;&#xA;&#xD;&#xA;Currently I just hope to make and manipulate some audio files on my personal computer, but I would also like to open my eyes to know about how professionals work.&#xD;&#xA;&#xD;&#xA;Thanks and regards!" ContentLicense="CC BY-SA 3.0" />
  <row Id="36287" PostHistoryTypeId="1" PostId="22360" RevisionGUID="3509cba5-9e53-419c-9632-81fa0403b22a" CreationDate="2011-05-30T16:38:46.533" UserId="11171" UserDisplayName="Tim" Text="How to learn about audio recording and production" ContentLicense="CC BY-SA 3.0" />
  <row Id="36288" PostHistoryTypeId="3" PostId="22360" RevisionGUID="3509cba5-9e53-419c-9632-81fa0403b22a" CreationDate="2011-05-30T16:38:46.533" UserId="11171" UserDisplayName="Tim" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36289" PostHistoryTypeId="36" PostId="22362" RevisionGUID="2d77f6ae-d660-4f27-a125-ad511810f35c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4956/strange-corruption-in-optical-toslink-audio-from-ps3" />
  <row Id="36290" PostHistoryTypeId="2" PostId="22362" RevisionGUID="078aa3ef-3bb7-40ab-a0aa-3d7297e28d95" CreationDate="2012-10-09T16:51:38.530" UserDisplayName="njahnke" Text="Please listen to this: http://nate.quandra.org/wtf.wav&#xD;&#xA;&#xD;&#xA;It's me moving through the PS3 main menu and then playing part of a Bluray. You can hear that the clicking menu interface sound effect &quot;hangs on&quot; afterward, producing something like a fixed pitch tone (the frequency changes after I click through the menu again). Then, when playing the Bluray, there is constant, severe noise, sounding almost like white noise.&#xD;&#xA;&#xD;&#xA;The path is:&#xD;&#xA;&#xD;&#xA;PS3 optical audio (toslink) -&gt; &lt;a href=&quot;http://www.monoprice.com/products/product.asp?c_id=104&amp;cp_id=10423&amp;cs_id=1042302&amp;p_id=6884&amp;seq=1&amp;format=2&quot;&gt;analog converter (rca)&lt;/a&gt; -&gt; playback&#xD;&#xA;&#xD;&#xA;I've already RMA'd the converter once, so unless I got two bad converters ...&#xD;&#xA;&#xD;&#xA;Already tried with a different toslink cable - identical result.&#xD;&#xA;&#xD;&#xA;In my own research I found that the only form of copy protection afforded by toslink shouldn't be causing corruption like this unless this particular converter box is somehow wired to corrupt the signal if it encounters the copy protection bit. I can't imagine how that could be the case, especially considering googling doesn't turn up anything of the sort, but who knows! Unfortunately I don't have any other toslink sources to try with this converter at the moment.&#xD;&#xA;&#xD;&#xA;Only other thing I could think of to try was changing the optical out to &quot;linear PCM&quot; (as opposed to &quot;bitstream&quot;) in the PS3 audio settings but this again produced identical output." ContentLicense="CC BY-SA 3.0" />
  <row Id="36291" PostHistoryTypeId="1" PostId="22362" RevisionGUID="078aa3ef-3bb7-40ab-a0aa-3d7297e28d95" CreationDate="2012-10-09T16:51:38.530" UserDisplayName="njahnke" Text="Strange corruption in optical/toslink audio from PS3" ContentLicense="CC BY-SA 3.0" />
  <row Id="36292" PostHistoryTypeId="3" PostId="22362" RevisionGUID="078aa3ef-3bb7-40ab-a0aa-3d7297e28d95" CreationDate="2012-10-09T16:51:38.530" UserDisplayName="njahnke" Text="&lt;audio&gt;&lt;conversion&gt;&lt;quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36293" PostHistoryTypeId="36" PostId="22363" RevisionGUID="ad122c96-934f-4a57-bdbd-856176989479" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5247/creating-sound-effects-for-beginners" />
  <row Id="36294" PostHistoryTypeId="2" PostId="22364" RevisionGUID="e57bceff-ed59-4c1f-a5cf-9017f5378df0" CreationDate="2012-11-05T14:16:08.903" UserId="9511" UserDisplayName="Johnny Bigoode" Text="Audio effects could be considered a smaller part of audio synthesis. &#xD;&#xA;&#xD;&#xA;A quick google search got me [this][1], which seems like a good start for recording special effects. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The main problem is that there are zillions of ways of creating sound effects, it depends if you want to record or synthesize the sound. When I got started with music production SFX was my major interest and somebody recommended me this book called [The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.epicsound.com/sfx/&#xD;&#xA;  [2]: http://www.amazon.com/Sound-Effects-Bible-Create-Hollywood/dp/1932907483/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1352123638&amp;sr=1-1&amp;keywords=Sound%20effects%20books&#xD;&#xA;&#xD;&#xA;I know it's not much, but it's a step in the right direction. &#xD;&#xA;&#xD;&#xA;What I would recommend is that you get started on audio synthesis - at least learn about audio effects like compression, distortion, reverb, chorus, flanger, delay, echo and etc. - those are incredible powerful for sound creation that are essential to any sound designer and incredible important for sound effects creators. &#xD;&#xA;&#xD;&#xA;If you think about it, a shotgun fire sound is rather useless by it self if you can't add some reverb to match the ambient it's being fired in - also, excessive compression and harsh filtering can mimic the effect of vintage telephones - so there's a gigantic source of awesome possibilities speaking of audio effects alone. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36295" PostHistoryTypeId="2" PostId="22363" RevisionGUID="26801210-3135-4785-b7c1-2ad5e96639fe" CreationDate="2012-11-04T15:55:29.707" UserId="9575" UserDisplayName="naxa" Text="There are sites to [find][1] free pre-recorded sound effects. &#xD;&#xA;&#xD;&#xA;**But how are new SFX created when designing a reality for a scene?**&#xD;&#xA;&#xD;&#xA;* Could you recommend some resources (books, videos, tutorials, etc.) for learning this skill? &#xD;&#xA;&#xD;&#xA;* Or could you provide your own explanation and/or examples? &#xD;&#xA;&#xD;&#xA;* Are there any recommended &quot;making-of&quot; or &quot;how it was made&quot; type of resources?&#xD;&#xA;&#xD;&#xA;By the way, is this more a skill, a craft or an art?&#xD;&#xA;&#xD;&#xA;**MOTIVATION**&#xD;&#xA;As a complete beginner, I understand that existing sounds are collected and then montaged into each other. This sounds like great fun and a creative process, but I'm seeking for some ideas to &quot;boot&quot; me into it. Currently I would be doing this as a hobby, so I would prefer resources that I could learn/use/practice at my own pace.&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/2091/" ContentLicense="CC BY-SA 3.0" />
  <row Id="36296" PostHistoryTypeId="1" PostId="22363" RevisionGUID="26801210-3135-4785-b7c1-2ad5e96639fe" CreationDate="2012-11-04T15:55:29.707" UserId="9575" UserDisplayName="naxa" Text="Creating sound effects for beginners?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36297" PostHistoryTypeId="3" PostId="22363" RevisionGUID="26801210-3135-4785-b7c1-2ad5e96639fe" CreationDate="2012-11-04T15:55:29.707" UserId="9575" UserDisplayName="naxa" Text="&lt;audio&gt;&lt;sound-effects&gt;&lt;sound-design&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36298" PostHistoryTypeId="36" PostId="22364" RevisionGUID="1b172f59-d22f-4ae5-8136-aee741b8e321" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5247/creating-sound-effects-for-beginners/5256#5256" />
  <row Id="36309" PostHistoryTypeId="36" PostId="22369" RevisionGUID="10322800-482d-488f-8841-6485e1e566b9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1501/keyboard-casio-ctk-5000-to-pc-line-in" />
  <row Id="36310" PostHistoryTypeId="2" PostId="22370" RevisionGUID="2cae5e86-0596-440b-aa21-33b386828d46" CreationDate="2011-05-31T07:53:40.730" UserId="7231" UserDisplayName="NReilingh" Text="According to my research, your keyboard has both a USB out for MIDI, and 1/4&quot; stereo outputs.&#xD;&#xA;&#xD;&#xA;If you want to record MIDI data from your keyboard, or use a synthesizer on your computer, you should be able to just plug the keyboard in with the USB jack.&#xD;&#xA;&#xD;&#xA;If you want to capture audio data, you'll need to use the line out 1/4&quot; jacks. What cable you use for this will depend on what inputs you have available on your computer and how much you care about audio quality.&#xD;&#xA;&#xD;&#xA;If your PC has a standard 1/8&quot; stereo minijack line in you want to use, you can use a simple [stereo minijack to dual 1/4&quot; cable](http://www.amazon.com/gp/product/B000068O3C/ref=as_li_ss_tl?ie=UTF8&amp;tag=nickreil-20&amp;linkCode=as2&amp;camp=217145&amp;creative=399369&amp;creativeASIN=B000068O3C). Alternatively, you can use the (possibly more common) [stereo minijack to dual RCA cable](http://www.zzounds.com/item--HOSCMR2) with these [RCA to TS 1/4&quot; adapters](http://www.zzounds.com/item--HOSGPR101). The latter is my preferred method for the extra options it gives you. Similar cables can be found at any Radio Shack.&#xD;&#xA;&#xD;&#xA;If you do not have any audio inputs on your computer, you will need to use a USB interface of some sort. [Here are a whole bunch](http://www.zzounds.com/prodsearch?cat=2424&amp;cat2=&amp;ob=p19&amp;rl=&amp;rh=&amp;instock=0&amp;blowouts=0&amp;filter=&amp;q=&amp;form=search), but avoid buying &quot;guitar link&quot; cables, since though they have 1/4&quot; plugs on them, they will be prepared for a different kind of signal than the one coming from your keyboard. [Many](http://www.zzounds.com/item--BEHUCA202) [simple](http://www.zzounds.com/item--ALEPHONOLINK) [interfaces](http://www.zzounds.com/item--BEHUCA222) present RCA input jacks for which you would need a [cable like this](http://www.zzounds.com/item--HOSCPR20) to connect to your keyboard.&#xD;&#xA;&#xD;&#xA;Possibly the option you are looking for is the [Alesis Dual-1/4&quot;-to-USB LineLink cable](http://www.amazon.com/gp/product/B001T9O5V6/ref=as_li_ss_tl?ie=UTF8&amp;tag=nickreil-20&amp;linkCode=as2&amp;camp=217145&amp;creative=399369&amp;creativeASIN=B001T9O5V6). Looks like it'll get the job done with a minimum of hassle.&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;=&#xD;&#xA;I was somewhat concerned with terminology for this, since the size of &quot;phone jack&quot; connectors is referred to in many different ways. [This Wikipedia entry](http://en.wikipedia.org/wiki/TRS_connector) has some further information about nomenclature and usage for phone jacks of various kinds. In the following, I have included metric plug sizes. A plug with one black ring on it, separating two contacts is referred to as TS, for Tip/Sleeve. This is usually used for single channel audio. A plug with two black rings and thus three contacts is called TRS, for Tip/Ring/Sleeve, and is used for two-channel stereo audio. Your keyboard has the following connectors:&#xD;&#xA;&#xD;&#xA;- **USB:** This is a standard [USB type B port](http://en.wikipedia.org/wiki/Universal_Serial_Bus#Physical_appearance). USB cables have different connectors on each side to prevent plugging a host into a host or a peripheral into another peripheral. The flat rectangular port (Type A) is only found on a computer, or host. You can use a [standard A-B USB cable](http://www.amazon.com/gp/product/B00004Z5M1/ref=as_li_ss_tl?ie=UTF8&amp;tag=nickreil-20&amp;linkCode=as2&amp;camp=217145&amp;creative=399369&amp;creativeASIN=B00004Z5M1) to plug your keyboard into your computer. HOWEVER, keep in mind that this USB interface will only send MIDI signals. You will need to run a separate program on your computer to synthesize these signals into the sound of your choosing. If you are confused about this, you should probably go with a different option that will directly record the audio produced by your keyboard.&#xD;&#xA;- **SUSTAIN/ASSIGNABLE JACK:** This is a 1/4&quot; (6.3mm) TS, or &quot;phone plug&quot; used to send information from a foot pedal to your keyboard.&#xD;&#xA;- **PHONES:** This is a 1/4&quot; (6.3mm) TRS, or &quot;stereo phone jack&quot; OUTPUT. (The rightmost example of [this image](http://en.wikipedia.org/wiki/File:Photo-audiojacks.jpg).) This would be typically used with a pair of headphones, but can also theoretically be used to output audio to something else, like your computer. It's not the best option though, since the signal will be amplified to drive a pair of headphones.&#xD;&#xA;- **AUDIO IN:** This is a &quot;stereo minijack,&quot; or TRS 1/8&quot; (3.5mm) jack, for the plug seen second from the right in [this image](http://en.wikipedia.org/wiki/File:Photo-audiojacks.jpg); also [here](http://en.wikipedia.org/wiki/File:TRS_connector.JPG). This is the kind of plug you would use with a portable MP3 player, and is also most commonly found on computer sound cards. This jack would be used to send audio TO the keyboard to pass through the speakers or headphones, for example, when you want to play along with a recording.&#xD;&#xA;- **DC 12V:** Power connector.&#xD;&#xA;- **LINE OUT—R, L/MONO:** Both of these jacks are for 1/4&quot; (6.3mm) TS, or &quot;phone plug,&quot; &quot;instrument jack&quot; connectors seen [here](http://en.wikipedia.org/wiki/File:Trs_0.25inch_mono_plug.jpg). These will provide line level stereo (or mono, with only one the left plug in use) sound suitable for recording.&#xD;&#xA;&#xD;&#xA;What to use:&#xD;&#xA;--&#xD;&#xA;If you're not capturing MIDI (as detailed above with a [standard A-B USB cable](http://www.amazon.com/gp/product/B00004Z5M1/ref=as_li_ss_tl?ie=UTF8&amp;tag=nickreil-20&amp;linkCode=as2&amp;camp=217145&amp;creative=399369&amp;creativeASIN=B00004Z5M1)), you need to use the &quot;LINE OUT&quot; jacks.&#xD;&#xA;&#xD;&#xA;If your computer has a sound card, it probably has a stereo minijack (TRS 3.5mm or 1/8&quot;) line level input. (This would look the same as the &quot;AUDIO IN&quot; jack on your keyboard, and may be colored blue.) In this case you can use a [stereo minijack (TRS 1/8&quot; or 3.5mm) to dual 1/4&quot; (6.3mm) TS cable](http://www.amazon.com/gp/product/B000068O3C/ref=as_li_ss_tl?ie=UTF8&amp;tag=nickreil-20&amp;linkCode=as2&amp;camp=217145&amp;creative=399369&amp;creativeASIN=B000068O3C) to connect the &quot;LINE OUT&quot; jacks to your sound card.&#xD;&#xA;&#xD;&#xA;If your computer does NOT have a sound card, or you want higher quality audio, then the [Alesis LineLink](http://www.amazon.com/gp/product/B001T9O5V6/ref=as_li_ss_tl?ie=UTF8&amp;tag=nickreil-20&amp;linkCode=as2&amp;camp=217145&amp;creative=399369&amp;creativeASIN=B001T9O5V6) is your simplest option. That product is essentially a USB sound card with dual 1/4&quot; (6.3mm) TS plugs for input." ContentLicense="CC BY-SA 3.0" />
  <row Id="36311" PostHistoryTypeId="2" PostId="22369" RevisionGUID="8e90d4e2-0984-49f0-8d32-fd55d354d047" CreationDate="2011-05-30T21:51:23.483" UserId="7696" UserDisplayName="Sathyaish" Text="I need to record whatever I am playing on my keyboard (CASIO CTK-5000) on my PC.&#xD;&#xA;&#xD;&#xA;I've looked up the Web for a place I could buy a USB interface cable that would channel the output from the keyboard into a PC. I haven't found any.&#xD;&#xA;&#xD;&#xA;I've also looked in local stores. No luck there either.&#xD;&#xA;&#xD;&#xA;Could you please help me if you know where I could find one?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Updated**&#xD;&#xA;&#xD;&#xA;Since the last answer, I visited three CASIO outlets locally but none of them had the cable that connects the CASIO to the PC. Also, I live in India and the locals don't use the same vocabulary for the items you mentioned, perhaps. My keyboard does have a USB interface but the USB port is a bit smaller in size than the usual USB ports. Please see [this page for the pictures](http://www.aguywithalaptop.com/ctk5000.htm &quot;My keyboard's USB interface, lines in and out&quot;).&#xD;&#xA;&#xD;&#xA;It also has two lines out, I am not sure what sizes they are out of the sizes you mentioned. Perhaps a quarter of an inch in diameter, I guess. And it has a few lines in.&#xD;&#xA;&#xD;&#xA;At times, I do use one of the output lines to listen to whatever I am playing using my headphones.&#xD;&#xA;&#xD;&#xA;With this information now, could you please help me? I highly appreciate your help." ContentLicense="CC BY-SA 3.0" />
  <row Id="36312" PostHistoryTypeId="1" PostId="22369" RevisionGUID="8e90d4e2-0984-49f0-8d32-fd55d354d047" CreationDate="2011-05-30T21:51:23.483" UserId="7696" UserDisplayName="Sathyaish" Text="Keyboard CASIO CTK-5000 to PC Line In" ContentLicense="CC BY-SA 3.0" />
  <row Id="36313" PostHistoryTypeId="3" PostId="22369" RevisionGUID="8e90d4e2-0984-49f0-8d32-fd55d354d047" CreationDate="2011-05-30T21:51:23.483" UserId="7696" UserDisplayName="Sathyaish" Text="&lt;audio-recording&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36314" PostHistoryTypeId="36" PostId="22370" RevisionGUID="ad3b0095-6780-488f-89ee-eb32b0167959" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1501/keyboard-casio-ctk-5000-to-pc-line-in/1508#1508" />
  <row Id="36315" PostHistoryTypeId="36" PostId="22371" RevisionGUID="26f48b68-9b42-43bf-9816-5a62dbba4d4e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1501/keyboard-casio-ctk-5000-to-pc-line-in/3773#3773" />
  <row Id="36316" PostHistoryTypeId="2" PostId="22371" RevisionGUID="a89e4e6d-b00e-4060-8db2-16501ea25214" CreationDate="2012-04-18T16:02:08.710" UserDisplayName="Shubhendu Lalit" Text="i live in india too :D and i have the same keyboard, CTK-5000. if you want to record midi, try using the cable that is used to connect the printers. i have a hp deskjet F288 and it has the same cable that the keyboard requires. and you can source it quite easily too." ContentLicense="CC BY-SA 3.0" />
  <row Id="36317" PostHistoryTypeId="36" PostId="22372" RevisionGUID="763b7bd1-b6cc-4ac4-b36c-eaf1b4ae1e99" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/890/music-voice-notation-editor" />
  <row Id="36318" PostHistoryTypeId="36" PostId="22373" RevisionGUID="74ea1d11-2832-4c65-ae1d-92e5b1a9ba8c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/890/music-voice-notation-editor/894#894" />
  <row Id="36319" PostHistoryTypeId="36" PostId="22374" RevisionGUID="f7f97d64-5171-405e-ab7b-d680f9a23d19" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/890/music-voice-notation-editor/897#897" />
  <row Id="36320" PostHistoryTypeId="36" PostId="22375" RevisionGUID="d5ee379d-bb5d-4dc7-be1d-0537cf465e5f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/890/music-voice-notation-editor/1250#1250" />
  <row Id="36321" PostHistoryTypeId="2" PostId="22373" RevisionGUID="400d488c-c0a2-4dd1-aa6e-cd91e1a60dac" CreationDate="2011-02-23T18:08:56.490" UserId="7309" UserDisplayName="jwernerny" Text="I use a Linux package called [Rosegarden][1] to do Midi and audio work.  It also does notation (and the screen shots look nice), but I haven't played much with that side.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rosegardenmusic.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="36322" PostHistoryTypeId="2" PostId="22374" RevisionGUID="345a2075-0f9e-45d8-94e9-006fd34a845d" CreationDate="2011-02-24T06:14:00.627" UserId="4012" Text="**Score Editors**&#xD;&#xA;&#xD;&#xA;Free: [Muse Score][1] and [Denemo][2] are fantastic score editors. windows/mac/linux. They both are good [lilypond][3] front-ends. They produce beautiful sheetmusic.&#xD;&#xA;&#xD;&#xA;Budget: [Harmony Assistant / Melody Assistant][4] (windows/mac)&#xD;&#xA;&#xD;&#xA;**Audio**&#xD;&#xA;&#xD;&#xA;[Reaper][5] is an amazing DAW. You can record &amp; mix audio and midi. Piano Roll view for midi. no score editor.  &#xD;&#xA;&#xD;&#xA;free: Audacity, Jokosher, Ardour ...&#xD;&#xA;&#xD;&#xA;There are many free/inexpensive audio/midi/score softwares. Depending upon the work, you can use a combination of these softwares. You can make the score in MuseScore, import the midi in reaper for adding a voice track. [Rosegarden][6] is a decent all in one. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://musescore.org/&#xD;&#xA;  [2]: http://www.denemo.org&#xD;&#xA; [3]: http://lilypond.org&#xD;&#xA; [4]: http://www.myriad-online.com/en/index.htm&#xD;&#xA; [5]: http://reaper.fm&#xD;&#xA; [6]: http://www.rosegardenmusic.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="36323" PostHistoryTypeId="2" PostId="22375" RevisionGUID="7a22c0e1-2a96-491b-8039-69bcab796ddb" CreationDate="2011-04-22T22:17:46.753" UserDisplayName="gomad" Text="The standards in this arena for commercial software are [Finale][1] and [Sibelius][2].&#xD;&#xA;&#xD;&#xA;Both of them have packages in your stated price range.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.finalemusic.com/default.aspx&#xD;&#xA;  [2]: http://www.sibelius.com/home/index_flash.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="36324" PostHistoryTypeId="2" PostId="22372" RevisionGUID="2628425a-e10c-4b21-ad1f-ac98d3afb0ff" CreationDate="2011-02-23T04:17:46.493" UserDisplayName="Joel" Text="I looked around at other answers on audio stackexchage that are related to my question, but the answers seem to leave much to be desired. (At least, for my situation :P )&#xD;&#xA;&#xD;&#xA;As a hobby, my wife is a music artist (piano/sing) and she works as an accompanist for a voice teacher (which sometimes includes transposing music for the teacher). She has a nice 88-key midi keyboard (connects via USB) and she records using Garage Band and the (garbage of a...) mic built into her MacBook Pro.&#xD;&#xA;&#xD;&#xA;I'm thinking about buying her a [new mic][1] ([and][2] [accessories][3]) &#xD;&#xA;&#xD;&#xA;However, she doesn't like Garage Band because the notation is limited. So I started looking at software for editing. I'm looking for something with powerful notation editing (record from midi device, edit/fine tune with mouse, print sheet music that looks good), and the ability to do some basic voice tuning/mixing. I know that good software is expensive, at my budget will be in the $100-$500 range. But lower is better :) Being able to trial software would be a great bonus. Also, if it's one of those&#xD;&#xA;&#xD;&#xA;Anyone have any recommendations? It would be preferred if it worked on OS X, but Linux and Windows will work as well, so don't let the OS limit the answers. And again: great notation and at least some basic/useful voice tuning. &#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/gp/product/B001AS6OYC&#xD;&#xA;  [2]: http://www.amazon.com/gp/product/B000978D58&#xD;&#xA;  [3]: http://www.amazon.com/gp/product/B0002CZW0Y" ContentLicense="CC BY-SA 2.5" />
  <row Id="36325" PostHistoryTypeId="1" PostId="22372" RevisionGUID="2628425a-e10c-4b21-ad1f-ac98d3afb0ff" CreationDate="2011-02-23T04:17:46.493" UserDisplayName="Joel" Text="Music/Voice/Notation editor" ContentLicense="CC BY-SA 2.5" />
  <row Id="36326" PostHistoryTypeId="3" PostId="22372" RevisionGUID="2628425a-e10c-4b21-ad1f-ac98d3afb0ff" CreationDate="2011-02-23T04:17:46.493" UserDisplayName="Joel" Text="&lt;audio-recording&gt;&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="36327" PostHistoryTypeId="36" PostId="22376" RevisionGUID="29c65c36-36ab-4aeb-a8fa-255e77eb4021" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5803/what-kind-of-microphone-is-being-used-by-talkshow-hosts" />
  <row Id="36328" PostHistoryTypeId="2" PostId="22377" RevisionGUID="5316b614-0427-425d-92e6-e272876f9281" CreationDate="2013-01-11T00:49:34.280" UserId="6957" Text="The &quot;guy&quot; is wearing a lapel mic.  Also known as a lavalier mic.  A quick excerpt from the [Wikipedia page](http://en.wikipedia.org/wiki/Lapel_mic):&#xD;&#xA;&#xD;&#xA;&gt; A lavalier microphone or lavalier (or lav or lapel mic) is a small&#xD;&#xA;&gt; electret or dynamic microphone used for television, theatre, and&#xD;&#xA;&gt; public speaking applications, in order to allow hands-free operation.&#xD;&#xA;&#xD;&#xA;With search terms in hand, you'll find many resellers.  Good luck :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="36329" PostHistoryTypeId="2" PostId="22376" RevisionGUID="32ae928a-9a68-4bf5-aacf-5f5a5f883ac1" CreationDate="2013-01-10T22:23:41.690" UserDisplayName="valentinas" Text="Something similar to what this guy is wearing on his tie: ![enter image description here][1]&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/0kyFe.jpg&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36330" PostHistoryTypeId="1" PostId="22376" RevisionGUID="32ae928a-9a68-4bf5-aacf-5f5a5f883ac1" CreationDate="2013-01-10T22:23:41.690" UserDisplayName="valentinas" Text="What kind of microphone is being used by talkshow hosts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36331" PostHistoryTypeId="3" PostId="22376" RevisionGUID="32ae928a-9a68-4bf5-aacf-5f5a5f883ac1" CreationDate="2013-01-10T22:23:41.690" UserDisplayName="valentinas" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36332" PostHistoryTypeId="36" PostId="22377" RevisionGUID="e8906ed5-d0d4-478c-b6bd-2190558c3182" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5803/what-kind-of-microphone-is-being-used-by-talkshow-hosts/5804#5804" />
  <row Id="36333" PostHistoryTypeId="36" PostId="22378" RevisionGUID="c3f778e0-b41d-4708-85a3-c1b6133f0ed7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8777/how-to-record-from-two-pc-microphones-with-one-computer" />
  <row Id="36334" PostHistoryTypeId="2" PostId="22379" RevisionGUID="5906686d-d79a-4d56-8d10-6e25b50a5a56" CreationDate="2013-08-20T17:25:19.040" UserId="6957" Text="If you're not using any aftermarket audio hardware, and just recording from the line-in on the computer, you already have the bare minimum to record two channels at once.&#xD;&#xA;&#xD;&#xA;That line-in is likely stereo, i.e., a left channel and a right channel.  Or, more appropriately for your purposes, a 2-channel input.  &#xD;&#xA;&#xD;&#xA;Microphones are all mono (save a few specialty varieties).  So two mono microphones can be recorded at the same time.&#xD;&#xA;&#xD;&#xA;Something like this...&#xD;&#xA;&#xD;&#xA;    +-------+  +------------------+&#xD;&#xA;    | mic_1 |+-&gt; female mono jack +&#xD;&#xA;    +-------+  +------------------|    +------------------+    +------------+&#xD;&#xA;                                  +----&gt; male stereo jack +-----&gt;  line-in  |&#xD;&#xA;    +-------+  +------------------|    +------------------+    +------------+&#xD;&#xA;    | mic_2 |+-&gt; female mono jack +&#xD;&#xA;    +-------+  +------------------+&#xD;&#xA;&#xD;&#xA;![dual mono to stereo 3.5 mm][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Ddb4y.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="36335" PostHistoryTypeId="2" PostId="22378" RevisionGUID="3019a8f6-e070-4105-a373-e4c68b923ef9" CreationDate="2013-08-20T16:32:03.213" UserDisplayName="Yoshiyahu" Text="I am using audacity to record conversation between myself and a friend in the same room. &#xD;&#xA;I am currently using two instances of audacity on two separate computers to record each individual headset. &#xD;&#xA;&#xD;&#xA;It really is a pain to synchronize these tracks and use two computers to record two people. I would like to be able to record from both headsets on one PC. From what research I have done, my only real option is a mixer, but from what I understand those don't work with PC mics. Another option would be to compile Audacity with ASIO support, and possibly get a secondary sound card. &#xD;&#xA;&#xD;&#xA;I was wondering if I am overlooking something simple. Would a 3.5mm splitter cable work with recording both microphones? Are there other options?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36336" PostHistoryTypeId="1" PostId="22378" RevisionGUID="3019a8f6-e070-4105-a373-e4c68b923ef9" CreationDate="2013-08-20T16:32:03.213" UserDisplayName="Yoshiyahu" Text="How to record from two PC microphones with one computer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36337" PostHistoryTypeId="3" PostId="22378" RevisionGUID="3019a8f6-e070-4105-a373-e4c68b923ef9" CreationDate="2013-08-20T16:32:03.213" UserDisplayName="Yoshiyahu" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36338" PostHistoryTypeId="36" PostId="22379" RevisionGUID="b630be7d-be1a-476f-a0ea-531ecfbd5cfb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8777/how-to-record-from-two-pc-microphones-with-one-computer/8779#8779" />
  <row Id="36339" PostHistoryTypeId="36" PostId="22380" RevisionGUID="517f7421-3f99-45e2-a60a-19eea847cddb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8777/how-to-record-from-two-pc-microphones-with-one-computer/8780#8780" />
  <row Id="36340" PostHistoryTypeId="2" PostId="22380" RevisionGUID="4fb047fa-6e91-456b-a3e7-114a2881cdf3" CreationDate="2013-08-20T17:42:07.000" UserId="7174" Text="Your options are either a dual mono to stereo adapter like JoshP mentions, using an area mic that could pick up you and your friend at the same time, or if you want the best possible quality, get a cheap USB Audio Interface (~$100 or so) and a couple of lapel mics or even just simple mics like SM58s (~$100 each or less if you go used).  It's a bit more of an investment, but if you are trying to ensure the best quality, you'll get much better quality for the money than using a cheap PC mic and consumer mic input." ContentLicense="CC BY-SA 3.0" />
  <row Id="36341" PostHistoryTypeId="36" PostId="22381" RevisionGUID="38c16297-4029-40f8-94ba-1882064828af" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4701/connecting-the-irig-mic-to-a-mixer-or-microphone-input" />
  <row Id="36342" PostHistoryTypeId="36" PostId="22382" RevisionGUID="f30b77bd-e7c3-48ef-acd6-5b81b85ab13e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4701/connecting-the-irig-mic-to-a-mixer-or-microphone-input/4717#4717" />
  <row Id="36344" PostHistoryTypeId="2" PostId="22382" RevisionGUID="8e31ae6a-853e-48fd-88b1-048d233170b3" CreationDate="2012-09-12T13:02:58.997" UserDisplayName="decasteljau" Text="I found the apple connector has the microphone signal on the sleeve ring and second ring.  That explain why it does not work out of the box. &#xD;&#xA;&#xD;&#xA;I can't find any adapter on the market for that.  However it seems relatively easy to:&#xD;&#xA; - cut the wire before the existing connector&#xD;&#xA; - install a TS 1/8 mono male connector on the microphone end&#xD;&#xA; - install a TS 1/8 mono female connector on the existing connector end&#xD;&#xA;&#xD;&#xA;that way, I will still be able to use the iRig mic on a iPhone by using the existing connector, and also plug the microphone on any 1/8 mono input by using the TS 1/8 mono male connector I installed.&#xD;&#xA;&#xD;&#xA;Schema:&#xD;&#xA;&#xD;&#xA;    [MIC]----------cut-here------[iRig TRRS 1/8  Connector]&#xD;&#xA;    [MIC]---------[TS 1/8 Male]    &lt;----&gt;     [TS 1/8 Female]----[iRig TRRS 1/8 Connector]" ContentLicense="CC BY-SA 3.0" />
  <row Id="36346" PostHistoryTypeId="2" PostId="22381" RevisionGUID="bc73542e-3a67-410e-ba63-6a2d87b7c871" CreationDate="2012-09-10T23:55:56.127" UserDisplayName="decasteljau" Text="I have a IK Multimedia iRig Mic that I want to plug into a standard TS 1/8 inch mono microphone connector (such as a computer).&#xD;&#xA;&#xD;&#xA;The iRig mic has a iPhone 1/8 in connector (4 way), which transfers in and out of the iPhone.&#xD;&#xA;&#xD;&#xA;How can I connect the iRig to a mono input?  I have tried just plug-in it directly, with no success." ContentLicense="CC BY-SA 3.0" />
  <row Id="36347" PostHistoryTypeId="1" PostId="22381" RevisionGUID="bc73542e-3a67-410e-ba63-6a2d87b7c871" CreationDate="2012-09-10T23:55:56.127" UserDisplayName="decasteljau" Text="Connecting the iRig mic to a mixer or microphone input" ContentLicense="CC BY-SA 3.0" />
  <row Id="36348" PostHistoryTypeId="3" PostId="22381" RevisionGUID="bc73542e-3a67-410e-ba63-6a2d87b7c871" CreationDate="2012-09-10T23:55:56.127" UserDisplayName="decasteljau" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;iphone&gt;&lt;input&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36349" PostHistoryTypeId="36" PostId="22384" RevisionGUID="cf044f24-8cfc-404f-847f-e06e42c2acb5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3789/how-can-i-convert-the-aac-audio-in-an-mp4-from-cbr-to-vbr" />
  <row Id="36350" PostHistoryTypeId="36" PostId="22385" RevisionGUID="263de77e-308d-4db1-aef2-df14c0191119" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3789/how-can-i-convert-the-aac-audio-in-an-mp4-from-cbr-to-vbr/3791#3791" />
  <row Id="36351" PostHistoryTypeId="2" PostId="22385" RevisionGUID="07e966a8-ee0c-4c1d-96a0-ac0ff930bd2c" CreationDate="2012-04-21T10:56:33.913" UserId="7016" Text="You can use Avidemux or Yamb to separate audio and video tracks, then convert the CBR to VBR audio and use avidemux to join them together. &#xD;&#xA;&#xD;&#xA;I had a slightly different issue ([see my question here][1]) but in playing around with the tools recommended, I found this functionality.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/q/3766/674" ContentLicense="CC BY-SA 3.0" />
  <row Id="36352" PostHistoryTypeId="2" PostId="22384" RevisionGUID="859a2c9d-96e5-4b07-a233-e67aa230a1f9" CreationDate="2012-04-21T04:29:45.003" UserId="21107" UserDisplayName="GiddyUpHorsey" Text="I'm trying to get MP4 video files I have created in **Corel VideoStudio** to play on an **XBox 360** via streaming from a NAS device.&#xD;&#xA;&#xD;&#xA;In my [question](http://gaming.stackexchange.com/questions/63334/xbox-360-wont-play-mpeg-4-video-files) on gaming.stackexchange.com, it's come up, that perhaps the constant bit rate audio is the cause of incompatibility. &#xD;&#xA;&#xD;&#xA;I am able to convert the MP4 file to an MP4 file using **YouTube Downloader** that _will_ play on the XBox. The **YouTube Downloader** generated file has VBR audio.&#xD;&#xA;&#xD;&#xA;With the conversion process I think that the video quality is getting degraded. How can I convert just the audio from CBR to VBR?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36353" PostHistoryTypeId="1" PostId="22384" RevisionGUID="859a2c9d-96e5-4b07-a233-e67aa230a1f9" CreationDate="2012-04-21T04:29:45.003" UserId="21107" UserDisplayName="GiddyUpHorsey" Text="How can I convert the AAC audio in an MP4 from CBR to VBR?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36354" PostHistoryTypeId="3" PostId="22384" RevisionGUID="859a2c9d-96e5-4b07-a233-e67aa230a1f9" CreationDate="2012-04-21T04:29:45.003" UserId="21107" UserDisplayName="GiddyUpHorsey" Text="&lt;video&gt;&lt;audio&gt;&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36367" PostHistoryTypeId="36" PostId="22390" RevisionGUID="1b84fc3b-dee5-47ca-8b84-f22eae6a48a9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9081/is-there-a-good-amp-to-power-a-set-5-1-set-of-speakers-for-use-with-computer" />
  <row Id="36368" PostHistoryTypeId="36" PostId="22391" RevisionGUID="833ef65e-014d-4101-8ca0-234361b57633" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9081/is-there-a-good-amp-to-power-a-set-5-1-set-of-speakers-for-use-with-computer/9082#9082" />
  <row Id="36369" PostHistoryTypeId="36" PostId="22392" RevisionGUID="e99a928c-69a2-4a13-a33c-9904c6ceb015" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9081/is-there-a-good-amp-to-power-a-set-5-1-set-of-speakers-for-use-with-computer/9085#9085" />
  <row Id="36370" PostHistoryTypeId="36" PostId="22393" RevisionGUID="2cc40899-c02b-40bb-b42b-10240e8f391e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9081/is-there-a-good-amp-to-power-a-set-5-1-set-of-speakers-for-use-with-computer/9091#9091" />
  <row Id="36371" PostHistoryTypeId="36" PostId="22394" RevisionGUID="39a98fcc-144b-4cd4-bbec-baa14f85aa64" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9081/is-there-a-good-amp-to-power-a-set-5-1-set-of-speakers-for-use-with-computer/9094#9094" />
  <row Id="36372" PostHistoryTypeId="2" PostId="22391" RevisionGUID="f493feac-51cd-4014-9a25-e8f65d6c6bd0" CreationDate="2013-09-28T22:10:49.553" UserId="7016" Text="As your computer doesn't have a power amp, you will need some way to boost volume, so a mixer may well be the best way, however this won't give you 5.1 sound by itself. You'll need a soundcard that has the required channels - and some of these have a decent amp.&#xD;&#xA;&#xD;&#xA;The good thing about audio kit is you can always upgrade:-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="36373" PostHistoryTypeId="2" PostId="22392" RevisionGUID="90790de6-b4e7-4282-b181-51deba5b1176" CreationDate="2013-09-29T01:30:32.593" UserId="7343" UserDisplayName="d.free" Text="You'll need a small mixer to connect to the mic, kb, and guitar (using a DI box). It'll connect to the LINE IN jack on your soundcard. Now, you'll then need a 5.1 amp to recieve the digital out from the soundcard (optical or coaxial), assuming that you're recording in 5.1. Those amps are simple Home Theatre amps with 5 channels and can be found for several hundred dollars.&#xD;&#xA;&#xD;&#xA;However, keep in mind that most music is stereo, not 5.1. If you're just going with stereo, buy a 2-channel amp to drive two of the Kilpsch speakers you have." ContentLicense="CC BY-SA 3.0" />
  <row Id="36374" PostHistoryTypeId="2" PostId="22393" RevisionGUID="f17d9aea-8f1e-4486-84a7-a6490a0f8aae" CreationDate="2013-09-30T10:09:14.543" UserId="7405" UserDisplayName="Andy aka" Text="&gt; I'm looking to improve my home studio setup.&#xD;&#xA;&#xD;&#xA;If you are intent on producing better recordings then I'd not sacrifice anything and go straight for powered studio monitors. It's like chalk and cheese compared to most surround sound systems.&#xD;&#xA;&#xD;&#xA;I used Yamaha laptop speakers for a couple of years but I only use studio monitors now. I could not (or would not) believe a change of speakers would give me any improvement. I just couldn't envisage how they would help. I got a decent sound from my original set-up (despite size and cost) so I thought &quot;what is the big deal?&quot;.&#xD;&#xA;&#xD;&#xA;The big deal was that those speakers massaged the sound leading me to believe I had a decent track. When I first plugged-in my Mackie HR624s and listened to a piece I'd recently completed, I was shocked at how weak it sounded. I never heard those weaknesses before (except if i took a CD round to my friends house to listen to). I was fooling myself.&#xD;&#xA;&#xD;&#xA;Don't be fooled - get studio monitors and listen to recommendations from other folk who have done the same.&#xD;&#xA;&#xD;&#xA;I can use them for listening to regular CDs and music and there are many many occasions when I've done so and thought &quot;what a sh*t mixing or mastering job done on this track&quot;. &#xD;&#xA;&#xD;&#xA;They give you the power to improve your sound by telling you the truth about your sound.&#xD;&#xA;&#xD;&#xA;Think about it - why would any surround sound speaker manufacturer (or hi-fi manufacturer) give you the audio straight as it is? They want you to buy their product so, if they have the tech, they'll massage any sound to make it is good thru their speakers as they can. Think about the market they are selling into and the type of folk buying it." ContentLicense="CC BY-SA 3.0" />
  <row Id="36375" PostHistoryTypeId="2" PostId="22394" RevisionGUID="ce9eea07-7440-4d02-8bcc-627e30f83b7f" CreationDate="2013-09-30T15:31:03.320" UserDisplayName="Benedikt Kittinger" Text="Just to mention: You should keep in mind that GarageBand is not capable of doing 5.1 stuff, all you could do is record multiple audio tracks. But no 5.1 panning, etc. If you want that, you'll have to use Logic instead.&#xD;&#xA;&#xD;&#xA;If you want to have a 5.1 setup, I would use a home cinema receiver (Since it is a semi-pro setup). These have 5 or 7 channels of powered amps, a dedicated sub out, enough power to drive virtually any speaker and usually a 6-channel (5+1) analogue audio input (DVD audio in) which you can feed from your onboard soundcard or a professional soundcard.&#xD;&#xA;&#xD;&#xA;As you're not doing high-end mixes, you should question yourself if you really need studio monitors. To me, having speakers that I know well because I've heard music and did mixes on them for a long time is more valuable than having $600 Yamaha or $3000 Genelec speakers that I don't know that good. (Of course good speakers that you know well would be the best.)&#xD;&#xA;&#xD;&#xA;What I want to say is that there is a good chance that the quality of your mixes will drop first and then slowly increase when you get to know your speakers better. The time for this process depends on how experienced you are - but even professional engineers (the really professional ones) take their time to sit in a studio they don't know and just listen to music samples of which they know how they should sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="36376" PostHistoryTypeId="2" PostId="22390" RevisionGUID="b4ef58c6-11f2-437c-a9d1-34cf47b06b18" CreationDate="2013-09-28T21:50:37.420" UserDisplayName="sprugman" Text="I'm looking to improve my home studio setup. I mostly just record stuff in GarageBand for personal to semi-pro use at this point.&#xD;&#xA;&#xD;&#xA;I have a decent (though old-ish) Kurzweil keyboard, a professional mic, a guitar and a Mac Mini as my main audio sources. I also have an extra set of Klipsch 5.1 speakers left over from a home audio system that I'm hoping to repurpose for this. &#xD;&#xA;&#xD;&#xA;Is that a reasonable thing to do? I don't want to spend a lot on this setup, but I also don't want to something that I'll outgrow immediately.&#xD;&#xA;&#xD;&#xA;I think I need some kind of mixer to combine the external signals and some kind of amp to send them to the speakers and/or garage band, but any other setup suggestions (or specific equipment) would be welcome.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36377" PostHistoryTypeId="1" PostId="22390" RevisionGUID="b4ef58c6-11f2-437c-a9d1-34cf47b06b18" CreationDate="2013-09-28T21:50:37.420" UserDisplayName="sprugman" Text="Is there a good amp to power a set 5.1 set of speakers for use with computer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36378" PostHistoryTypeId="3" PostId="22390" RevisionGUID="b4ef58c6-11f2-437c-a9d1-34cf47b06b18" CreationDate="2013-09-28T21:50:37.420" UserDisplayName="sprugman" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36379" PostHistoryTypeId="36" PostId="22395" RevisionGUID="87961fac-98c3-4001-a535-6a01979fab7e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5683/synthetic-sentence-completion" />
  <row Id="36380" PostHistoryTypeId="36" PostId="22396" RevisionGUID="6411f258-331a-4bab-abba-718f4f21747f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5683/synthetic-sentence-completion/5686#5686" />
  <row Id="36381" PostHistoryTypeId="2" PostId="22396" RevisionGUID="07567c67-9572-4690-a84f-e8ff29b6d527" CreationDate="2012-12-28T11:25:28.823" UserId="7016" Text="Your simplest option may just be to find the same words spoken by the same individual in an earlier part of the interview and splice them in.  It will sound much closer to the correct speech than an artificially generated sample. &#xD;&#xA;&#xD;&#xA;This issue is the main reason why you don't cut until well after the end of the interview or scene." ContentLicense="CC BY-SA 3.0" />
  <row Id="36382" PostHistoryTypeId="2" PostId="22395" RevisionGUID="ac57e5a4-46f8-42e3-ab7b-2b9d578ad90a" CreationDate="2012-12-28T00:16:16.923" UserId="7204" UserDisplayName="JoLau" Text="I'm producing a documentary film with several interviews in Adobe Premiere Pro CS5.5 and Adobe Audition CS5.5. In several situations I had to cut before the sentence was completed. Is there any way to make a sentence completion synthetically? " ContentLicense="CC BY-SA 3.0" />
  <row Id="36383" PostHistoryTypeId="1" PostId="22395" RevisionGUID="ac57e5a4-46f8-42e3-ab7b-2b9d578ad90a" CreationDate="2012-12-28T00:16:16.923" UserId="7204" UserDisplayName="JoLau" Text="Synthetic sentence completion" ContentLicense="CC BY-SA 3.0" />
  <row Id="36384" PostHistoryTypeId="3" PostId="22395" RevisionGUID="ac57e5a4-46f8-42e3-ab7b-2b9d578ad90a" CreationDate="2012-12-28T00:16:16.923" UserId="7204" UserDisplayName="JoLau" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36385" PostHistoryTypeId="36" PostId="22397" RevisionGUID="03520ddf-31e1-4416-909c-ccfbe87386bb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7855/asio4all-couldnt-get-beneath-24-ms-latency" />
  <row Id="36386" PostHistoryTypeId="36" PostId="22398" RevisionGUID="443e04f9-ff00-4867-a427-e8d8f575ab05" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7855/asio4all-couldnt-get-beneath-24-ms-latency/7857#7857" />
  <row Id="36387" PostHistoryTypeId="36" PostId="22399" RevisionGUID="3a522848-11b1-4bdc-90c9-10bc35b6b8b7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7855/asio4all-couldnt-get-beneath-24-ms-latency/7859#7859" />
  <row Id="36388" PostHistoryTypeId="2" PostId="22398" RevisionGUID="e3a761f3-db8c-4f35-bb0b-5f392a10bfdc" CreationDate="2013-05-10T16:14:35.813" UserDisplayName="redreggae" Text="Why you are using Asio4All?&#xD;&#xA;&#xD;&#xA;Try using [the driver from M-Audio](http://www.m-audio.com/index.php?do=support&amp;tab=driver&amp;PID=812025eebe080a830d585f13e570e79e&amp;serie_ID=6#tabs)." ContentLicense="CC BY-SA 3.0" />
  <row Id="36389" PostHistoryTypeId="2" PostId="22399" RevisionGUID="92ccefdd-eee3-4941-8adb-29901b7d685e" CreationDate="2013-05-10T21:31:18.267" UserId="7294" UserDisplayName="Warrior Bob" Text="Play around with the ASIO buffer size, assuming you're on Windows. If you're on OSX, it's Core Audio instead of ASIO, but same idea.&#xD;&#xA;&#xD;&#xA;Generally, ASIO4ALL (and actually, any low-latency audio driver) will expose a parameter for how large the [ASIO buffer](http://www.soundonsound.com/sos/jan05/articles/pcmusician.htm) is. The buffer is a buffered set of samples between your sound hardware and your computer. The idea is that as your computer jumps between tasks, as computers do, there's a safety net in case the computer doesn't get around to processing more sound data. This prevents audible clicks, pops, and start-stop stuttering when recording or playing back audio. &#xD;&#xA;&#xD;&#xA;The shorter the buffer, the shorter the latency, at the risk of an interrupted signal. You can experiment with different settings to see how low you can get the buffer before your computer is too interrupted by general use to keep it stable.&#xD;&#xA;&#xD;&#xA;I don't know exactly why this is, but different combinations of audio hardware and computers seem to have different minimum useful buffer sizes. As an anecdotal example, my previous computer couldn't get anywhere under 30ms round-trip (input + output) without stuttering horribly, but a different computer using the same interface was getting closer to 16, and I've since switched out audio interfaces and now can usually get around 11 unless I've got a lot of CPU or memory intensive software running." ContentLicense="CC BY-SA 3.0" />
  <row Id="36390" PostHistoryTypeId="2" PostId="22400" RevisionGUID="17f7c7bf-0691-4e1b-af8c-433567c6113e" CreationDate="2013-05-12T20:03:59.333" UserId="7269" UserDisplayName="Gal Margalit" Text="Success:  10ms&lt;br/&gt;&#xD;&#xA;Just needed to disable the onboard soundcard.&lt;br/&gt;&#xD;&#xA;(In computer sound preferences, not in asio4all)" ContentLicense="CC BY-SA 3.0" />
  <row Id="36391" PostHistoryTypeId="2" PostId="22397" RevisionGUID="904801a2-3050-4fef-b972-a3ae6d3f0c97" CreationDate="2013-05-10T15:18:20.290" UserId="7269" UserDisplayName="Gal Margalit" Text="Have an M-Audio M-Track audio interface.&#xD;&#xA;&#xD;&#xA;Upon electric guitar monitoring (jack plugged - guitar line input), there is a 24 ms lag (input + output).&#xD;&#xA;Reading on the internet, I see people getting lower latency values.&#xD;&#xA;&#xD;&#xA;How could I achieve this with my setup?&lt;br/&gt;&lt;br/&gt;&#xD;&#xA;EDIT: &#xD;&#xA;&#xD;&#xA; - Disabled some asio4all's unnecessary checkboxes (post started with&#xD;&#xA;   33ms)&#xD;&#xA; - Buffer bar doesn't seem to cause any changes when dragged&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/zvthE.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="36392" PostHistoryTypeId="1" PostId="22397" RevisionGUID="904801a2-3050-4fef-b972-a3ae6d3f0c97" CreationDate="2013-05-10T15:18:20.290" UserId="7269" UserDisplayName="Gal Margalit" Text="Asio4All - couldn't get beneath 24 ms latency" ContentLicense="CC BY-SA 3.0" />
  <row Id="36393" PostHistoryTypeId="3" PostId="22397" RevisionGUID="904801a2-3050-4fef-b972-a3ae6d3f0c97" CreationDate="2013-05-10T15:18:20.290" UserId="7269" UserDisplayName="Gal Margalit" Text="&lt;audio-recording&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36394" PostHistoryTypeId="36" PostId="22400" RevisionGUID="9bef01cb-4c5b-43f5-8a50-5cc74fa33183" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7855/asio4all-couldnt-get-beneath-24-ms-latency/7876#7876" />
  <row Id="36395" PostHistoryTypeId="36" PostId="22401" RevisionGUID="6d114a0c-4463-4940-9828-554875080f32" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8434/how-to-choose-a-used-roland-tr808" />
  <row Id="36396" PostHistoryTypeId="2" PostId="22402" RevisionGUID="9d864b89-7110-4f32-be7c-a0d7107224a5" CreationDate="2013-07-19T06:16:25.517" UserId="7189" Text="It seems to me that you are rushing the process of finding your TR-808.&#xD;&#xA;&#xD;&#xA;I keep a list of interesting synths that I'd like to acquire. The list is divided into two parts, the new part and the old part. Every so often, I move some of the synths from the new list to the old list. If a synth is no longer interesting, it gets deleted. I actively look for synths on the old list. I might happen upon a synth on the new list, but don't usually look for them so actively.&#xD;&#xA;&#xD;&#xA;I've managed to find good to great deals on every synth I've purchased. Some of those deals have taken a lot of time. It took over a year to find my Korg Z1, and close to three years to find my Yamaha FS1r. But the price I paid for the FS1r was about half the going eBay price. Same is true with the Z1. Other synths, like my TG77 showed up on eBay at decent prices not long after I added them to the list.&#xD;&#xA;&#xD;&#xA;A few other rules that I use when buying synths:&#xD;&#xA;&#xD;&#xA;1. Never spend so much money on one synth that I might not be able to pay my rent and bills if I receive a box of rocks instead of the expected synth.&#xD;&#xA;&#xD;&#xA;2. If it is rare, large, or fragile, buy locally. The only exception is if the price is so low that I won't mind if I receive a box of rocks.&#xD;&#xA;&#xD;&#xA;3. If a deal seems too good to be true, it probably is. A FS1r at half the eBay price is reasonable. The eBay guy who claimed that he had 20 EMS Synthis last year was obviously a scammer. If the gear seems like it might be stolen, I'll also pass.&#xD;&#xA;&#xD;&#xA;I suspect that eBay and other mass-market auction / sale sites aren't the best place to find an 808. There have been a few on the muffwiggler forum (you have to register and post to see the buy/sell forum) over the last few years, and the community there is very solid.&#xD;&#xA;&#xD;&#xA;Be patient and your 808 will come to you." ContentLicense="CC BY-SA 3.0" />
  <row Id="36397" PostHistoryTypeId="2" PostId="22401" RevisionGUID="95fb2ce4-24c0-4de0-b576-3a7431323895" CreationDate="2013-07-19T02:27:28.100" UserId="7206" UserDisplayName="909 Niklas" Text="I've been scanning the net for a used TR808 and 2 cheap Icould find are from ebay in the UK and also one from leboncoin in France. I live in Stockholm Sweden and there is no used TR808 for sale in entire Northern Europe from what I can find. So I'm getting it shipped from another country and I have a budget for it. I already have the TR909 which I never regret getting, it's the ultimate funky drum machine and now I'm going to physically realize the rebirth acid rack witch my TR 909, two cyclone analogic TT 303 and one TR 808. &#xD;&#xA;&#xD;&#xA;The two 808 I've been looking at are&#xD;&#xA;&#xD;&#xA;http://viewitem.eim.ebay.se/Original-Roland-TR808-Classic-Analogue-Drum-Machine--Recently-Refurbished/111113970727/item&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;www.leboncoin.fr/instruments_de_musique/506090657.htm?ca=10_s&#xD;&#xA;&#xD;&#xA;My question is, if I get the ebay 808 from UK, which is preferable since I know better English than French and ebay can handle the payment more secure than leboncoin which would require the seller and me to arrange some payment, paypal or otherwise which is not directly tied to the product like the ebay purchase will be.&#xD;&#xA;&#xD;&#xA;Do you think I'm making a mistake or a deal getting the TR 808 from the UK or should I wait for a better deal?&#xD;&#xA;&#xD;&#xA;On the slightly more technical side, if I get a UK 808, can I just change the chord like a can change the chord of a TR 909 to fit the non-UK current of 220 Volts instead of the UK net adapter for the 808?&#xD;&#xA;&#xD;&#xA;Is there anything else I should think of before making this my largest music investment ever? (I paid only 950 euros for the TR909 in year 2000)." ContentLicense="CC BY-SA 3.0" />
  <row Id="36398" PostHistoryTypeId="1" PostId="22401" RevisionGUID="95fb2ce4-24c0-4de0-b576-3a7431323895" CreationDate="2013-07-19T02:27:28.100" UserId="7206" UserDisplayName="909 Niklas" Text="How to choose a used Roland TR808?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36399" PostHistoryTypeId="3" PostId="22401" RevisionGUID="95fb2ce4-24c0-4de0-b576-3a7431323895" CreationDate="2013-07-19T02:27:28.100" UserId="7206" UserDisplayName="909 Niklas" Text="&lt;audio&gt;&lt;home-studio&gt;&lt;sound&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36400" PostHistoryTypeId="36" PostId="22402" RevisionGUID="45a9311c-0175-4b5f-8507-f707ae302d57" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8434/how-to-choose-a-used-roland-tr808/8435#8435" />
  <row Id="36401" PostHistoryTypeId="36" PostId="22403" RevisionGUID="10e3d0e6-bda2-48c0-b922-12fa04f06288" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9543/how-to-render-composition-with-audio-in-after-effects" />
  <row Id="36402" PostHistoryTypeId="2" PostId="22404" RevisionGUID="6f5f21d5-2d1e-44ee-8d3b-1c59724eb0d6" CreationDate="2013-12-03T14:49:25.720" UserDisplayName="tomh" Text="Convert the m4a file into a 48kHz WAV file first, using iTunes, Audition, or QuickTime Pro.  Import the wav file into AE, and position it in the same place as the video file.  Make sure the loudspeaker icon is enabled on your new audio track.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="36403" PostHistoryTypeId="2" PostId="22403" RevisionGUID="d3a29fd2-9a46-44db-98ec-bd4c331a8cda" CreationDate="2013-12-01T21:54:56.620" UserDisplayName="dan2k3k4" Text="I'm quite new to After Effects, anyway I have an After Effects project with a composition that has an audio layer.&#xD;&#xA;&#xD;&#xA;The audio is a .m4a file (recorded from Samsung Galaxy S4).&#xD;&#xA;&#xD;&#xA;The composition is about 5 minutes long in total, however when I try to do a RAM Preview it only buffers about a minute or two max that I can play back to test if it works OK. The audio plays back in the RAM preview.&#xD;&#xA;&#xD;&#xA;When I add the composition to the render queue, I set it to render as H.264, which has Output Audio ticked (I've checked by clicking on the options pop-up and even unticked and ticked again for Audio). Audio is set to 48.000 kHz, 16 bit, Stereo. No other settings were changed.&#xD;&#xA;&#xD;&#xA;The final output file is .mp4 and does not contain any sound. I'm playing back with VLC player but it's always silent...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36404" PostHistoryTypeId="1" PostId="22403" RevisionGUID="d3a29fd2-9a46-44db-98ec-bd4c331a8cda" CreationDate="2013-12-01T21:54:56.620" UserDisplayName="dan2k3k4" Text="How to render composition with audio in after effects?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36405" PostHistoryTypeId="3" PostId="22403" RevisionGUID="d3a29fd2-9a46-44db-98ec-bd4c331a8cda" CreationDate="2013-12-01T21:54:56.620" UserDisplayName="dan2k3k4" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36406" PostHistoryTypeId="36" PostId="22404" RevisionGUID="a0ce34d4-0250-4c9d-a41b-63328c28ec5d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9543/how-to-render-composition-with-audio-in-after-effects/9550#9550" />
  <row Id="36407" PostHistoryTypeId="36" PostId="22405" RevisionGUID="e4847a13-add0-4d8c-9bca-03912d957e64" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2680/getting-rid-of-a-lisp" />
  <row Id="36408" PostHistoryTypeId="36" PostId="22406" RevisionGUID="f1759ec2-2e27-473f-b9a4-5ee777fb4a13" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2680/getting-rid-of-a-lisp/2681#2681" />
  <row Id="36409" PostHistoryTypeId="36" PostId="22407" RevisionGUID="bd831f85-da9f-4eee-88e0-5864f8f51ce8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2680/getting-rid-of-a-lisp/2682#2682" />
  <row Id="36410" PostHistoryTypeId="2" PostId="22406" RevisionGUID="7ada9f5d-183e-4138-8051-0e4d10ddce19" CreationDate="2011-11-22T18:13:11.987" UserId="7294" UserDisplayName="Warrior Bob" Text="If you have a lisp, then it's a natural part of your speaking voice and you won't be able to get rid of it entirely through processing (and you shouldn't, in my opinion).&#xD;&#xA;&#xD;&#xA;That said, the &quot;ess&quot; and &quot;shh&quot; sounds exhibit quite a lot of [sibilance][1], which tends to show up in recordings, like you said, as a burst of volume and noise. It can be very distracting to listen to, and &quot;lessening the impact&quot; is exactly what you want to be doing.&#xD;&#xA;&#xD;&#xA;The process for doing this is known as **de-essing**. The [Wikipedia page on de-essing][2] explains at a fairly technical level a couple of techniques for doing this, but you don't necessarily have to rig it up yourself, as there are several de-essing devices available, both in hardware and software.&#xD;&#xA;&#xD;&#xA;If WaveLab 6 supports plugins (I've never used it), see if there is a compatible plugin available. You might find one for free on sites like [KVR Audio][3]. If that's not an option, you might try processing your recording with a wave editor such as [Audacity][4], which I believe has a de-essing tool.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Sibilant_consonant&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/De-essing&#xD;&#xA;  [3]: http://www.kvraudio.com/&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Audacity" ContentLicense="CC BY-SA 3.0" />
  <row Id="36411" PostHistoryTypeId="2" PostId="22407" RevisionGUID="ad3973be-d5fe-4f5b-b72d-19ec5a9cb422" CreationDate="2011-11-22T18:33:30.373" UserId="2506" Text="As well as the technical means mentioned in other answers, you should also consider &quot;working the mic&quot; - understand how various syllables produce air out of your mouth. Position yourself slightly off-axis from the mic so the blasts of high frequency sound and high speed exhalations don't hit the mic's diaphragm head-on. 30 or 45 degrees off-axis can produce suitably good results whilst helping to mitigate sibilance or excessive plosives without totally ruining your high frequency pickup.&#xD;&#xA;&#xD;&#xA;Sibilant sounds produce a large amount of powerful high frequency energy which sounds OK on its own, but as soon as you begin to mix it in or crank the gains it quickly becomes earsplitting! You say you have a lisp so the problem is more obvious (with the mixed, distorted &quot;s&quot; sounds); there's a few things you can try which don't require much of an investment.&#xD;&#xA;&#xD;&#xA;Fit a windsock or pop shield to the mic; it's a good subconscious reminder to not &quot;eat the mic&quot; - and anyway, you shouldn't be too close to it (about a stretched-fingers-apart handspan away is good for most decent mics). You can [make your own pop shield][1] for a few quid / dollars if you're in a DIY mood.&#xD;&#xA;&#xD;&#xA;What mic are you using? Understanding how it picks up audio (and its pickup pattern) is very useful. Record yourself saying either the same thing or a sample sentence over and over whilst moving slowly around the mic (or moving it around you). Listen back afterwards so you don't just hear yourself whilst you talk, and analyse what you think is both the most optimal sound for you and what sounds good to others.&#xD;&#xA;&#xD;&#xA;All de-essing is fundamentally a sidechained compressor/limiter over a specific band of frequencies (4-6 kHz) with a high-Q (sharp-curved) EQ cut applied to those frequencies when they exceed a specified level of gain. The de-esser's 'wet' signal is then blended with the original 'dry' signal until a happy medium's found. You can do a quick 'n dirty de-ess by getting a shelf EQ loaded, cranking the Q to about 10 or 15, turning the EQ up to about +20 dB and sweeping slowly between 4 and 7 kHz whilst you repeat a very sibilant word (&quot;sibilance&quot; is good!) When you find the problem frequency, it'll become *very* obvious - at that point, take the EQ's gain back to -3 or even -6 dB (to taste).&#xD;&#xA;&#xD;&#xA;Once you've done radio (or audio presenting, in my case, in a studio environment) I found that I actually started de-essing myself by deemphasising how severely I anunciated my &quot;ess&quot;es (slurring them instead of crisply pronouncing them).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/q/205/126" ContentLicense="CC BY-SA 3.0" />
  <row Id="36412" PostHistoryTypeId="2" PostId="22405" RevisionGUID="fd074568-1375-4946-aa08-fecf2942f763" CreationDate="2011-11-22T15:48:55.467" UserDisplayName="Michael Blaustein" Text="I am recording a podcast for a radio show using WaveLab 6.  I have a bit of a lisp, and so the sounds ess and shh seem to have a burst in volume and in pitch in the recording.  &#xD;&#xA;&#xD;&#xA;I was wondering if there would be some way to lessen the impact of my lisp through post processing of some sort.  I have very little experience with audio engineering, so I'm not sure where to start.  Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="36413" PostHistoryTypeId="1" PostId="22405" RevisionGUID="fd074568-1375-4946-aa08-fecf2942f763" CreationDate="2011-11-22T15:48:55.467" UserDisplayName="Michael Blaustein" Text="Getting rid of a lisp" ContentLicense="CC BY-SA 3.0" />
  <row Id="36414" PostHistoryTypeId="3" PostId="22405" RevisionGUID="fd074568-1375-4946-aa08-fecf2942f763" CreationDate="2011-11-22T15:48:55.467" UserDisplayName="Michael Blaustein" Text="&lt;audio-recording&gt;&lt;effects&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36415" PostHistoryTypeId="36" PostId="22408" RevisionGUID="b09f59f2-36e8-4a04-9feb-5c640d37a52e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/216/pedals-in-recording" />
  <row Id="36416" PostHistoryTypeId="2" PostId="22409" RevisionGUID="7701cb2e-77a0-4701-9ed4-aa748c0202ff" CreationDate="2010-12-10T15:12:07.040" UserDisplayName="davetron5000" Text="Three issues with using pedals as effects units in your DAW&#xD;&#xA;&#xD;&#xA;* Pedals are designed to accept an instrument-level signal with instrument level impedance; this can have a negative effect on the sound (see [this wikipedia article on re-amping](http://en.wikipedia.org/wiki/Re-amp) for some more info)&#xD;&#xA;* Pedals typically have unbalanced I/O (meaning for long cable runs, you could have more noise than if the I/O were balanced)&#xD;&#xA;* Pedals typically lack input trim and output level controls, meaning you may need to have a means to control that somewhere else to avoid overs in your pedal or DAW.&#xD;&#xA;&#xD;&#xA;Two issues with recording guitar without an amp:&#xD;&#xA;&#xD;&#xA;* Potential impedance mismatch when plugging straight into a board&#xD;&#xA;* More importantly, guitar tends to sound pretty unnatural when recorded without some sort of amp emulator.  You can certainly get a certain type of effect, but for idiomatic guitar tones, you need an amp, either real or emulated." ContentLicense="CC BY-SA 2.5" />
  <row Id="36417" PostHistoryTypeId="2" PostId="22408" RevisionGUID="5026a4c7-55ef-4362-9d59-3eb61578082a" CreationDate="2010-12-10T15:06:58.380" UserDisplayName="Jeff Rupert" Text="I'm looking at getting some pedals for my guitar (I play acoustic, and as I just recently got an amp, I haven't had any in the past) mostly for live performances, as it's tough to assume a bar or some other place will have basic reverb, etc.&#xD;&#xA;&#xD;&#xA;What are the pros and cons to using pedals vs effects units vs DAW effects? Are there any huge red flags with using or not using pedals?&#xD;&#xA;&#xD;&#xA;Note: I'm not looking for a &quot;buy these pedals&quot; list. It caught my curiosity when I was asked if I was going to use the pedals for recording.&#xD;&#xA;&#xD;&#xA;EDIT: I will not be using the amp for recording or for singer/songwriter performance, as it's the amp for my home studio. I only mentioned it because it's the easiest way to hear what the pedals are doing.&#xD;&#xA;&#xD;&#xA;EDIT 2: Also, I'm focusing on studio recording, not live recording." ContentLicense="CC BY-SA 2.5" />
  <row Id="36418" PostHistoryTypeId="1" PostId="22408" RevisionGUID="5026a4c7-55ef-4362-9d59-3eb61578082a" CreationDate="2010-12-10T15:06:58.380" UserDisplayName="Jeff Rupert" Text="Pedals in Recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="36419" PostHistoryTypeId="3" PostId="22408" RevisionGUID="5026a4c7-55ef-4362-9d59-3eb61578082a" CreationDate="2010-12-10T15:06:58.380" UserDisplayName="Jeff Rupert" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="36420" PostHistoryTypeId="36" PostId="22409" RevisionGUID="a1e65bc8-c460-4aac-96da-038c1bf9c1f5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/216/pedals-in-recording/217#217" />
  <row Id="36421" PostHistoryTypeId="36" PostId="22410" RevisionGUID="d430c73b-9809-4857-bb5d-bf0e80457ebd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/216/pedals-in-recording/218#218" />
  <row Id="36422" PostHistoryTypeId="36" PostId="22411" RevisionGUID="4b36c7e0-b0e7-4a10-a517-1d5fbf3c8fcd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/216/pedals-in-recording/241#241" />
  <row Id="36423" PostHistoryTypeId="36" PostId="22412" RevisionGUID="3416bb7d-1671-4f18-8493-a716ac7ab6b3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/216/pedals-in-recording/922#922" />
  <row Id="36424" PostHistoryTypeId="2" PostId="22410" RevisionGUID="1eaf9de6-a5df-4f60-8696-158de7fa1898" CreationDate="2010-12-10T15:41:29.800" UserDisplayName="Powertieke" Text="As for guitar effects, if you are micing the amp for recording, you can choose to add effects using pedals. This has the advantage of playing 'wet' (i.e. you are playing with the sound you want on the recording) which many guitar players like. A disadvantage is that every effect you add will end up in the recorded signal, so you cannot remove/reduce/change the effect after recording if you like the take, but don't like the effect setting.&#xD;&#xA;&#xD;&#xA;So pro : Record with 'your' sound  &#xD;&#xA;con : less flexible when mixing" ContentLicense="CC BY-SA 2.5" />
  <row Id="36425" PostHistoryTypeId="2" PostId="22411" RevisionGUID="b3b14d91-cb69-4494-b31e-0a7c6e26f839" CreationDate="2010-12-13T12:13:47.670" UserDisplayName="jeebs" Text="I try to minimise the number and complexity of effects on the recorded signal. I still play &quot;wet&quot; i.e. I don't put effects on the recorded signal, but I like as little noise as possible in the original recorded version. Several daisy chained pedals does not help in this regard. If you want the convenience of setting your sound up prior to recording though I have two small practical tips.&#xD;&#xA;&#xD;&#xA; - Some effects pedals e.g. Digitech Grunge, have two outputs (one for an amp and a line-out) which is helpful in easily getting the correct level of gain for recording.&#xD;&#xA; - Using power supplies in pedals can sometimes generate a noticeable background hum in the signal. Experiment using with and without batteries to see if it's a problem.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="36426" PostHistoryTypeId="2" PostId="22412" RevisionGUID="a2be7e0b-86e2-452c-b48f-fa762a50b5a6" CreationDate="2011-02-26T00:27:30.990" UserDisplayName="Pedro Sobota" Text="An important factor is your creativity, if you are writing/trying things out at the same time you are recording.&#xD;&#xA;&#xD;&#xA;With pedals, because they are easily accessible while you play, you find cool sounds, which inspire you to record ready things.&#xD;&#xA;&#xD;&#xA;With effects in the computer, mouseing around to find sounds is unfeasible, so this hampers your possibilities.&#xD;&#xA;&#xD;&#xA;You could get a foot controller for you computer effects, but this is more setup and maintenance, if you like to be ready quick.&#xD;&#xA;&#xD;&#xA;Also, performances inspired from ready sounds recorded tend to sound better, have more energy than performances out of generic sounds that are tweaked later in the computer." ContentLicense="CC BY-SA 2.5" />
  <row Id="36437" PostHistoryTypeId="36" PostId="22416" RevisionGUID="29277704-9833-476b-b354-9da6ac7241b0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1018/individual-performing-complete-band-performance-eg-rock-by-sequentially-record" />
  <row Id="36438" PostHistoryTypeId="2" PostId="22417" RevisionGUID="69ed553f-e63c-4fcc-806e-783176afddd2" CreationDate="2011-03-14T19:28:19.220" UserId="7309" UserDisplayName="jwernerny" Text="It's been done before... before there were computers, using tape...  Check out artists like [Isoa Tomita][1] (&quot;early&quot; synth musician), [Vangelis][2], and to some extent [Tangerine Dream][3].  &#xD;&#xA;&#xD;&#xA;[As an aside: many groups still record with only a handful of musicians at one time.  Often &quot;extra&quot; musicians (strings, brass) are brought in separately to do their fills after &quot;the band&quot; has long since laid down its work.]&#xD;&#xA;&#xD;&#xA;If I were doing this, I would would record each instrument into a separate track so I could mix and adjust as needed.  It also allows going back and fixing mistakes (I'm not that good) without having to re-record everything.  (Often times re-takes are actually recorded to yet another track!)&#xD;&#xA;&#xD;&#xA;The order you lay down the tracks should be planned so that you can best keep time.  If the drums are always there, you might want to lay those down (or at least a simplified version of them) first.  That gives you a good time base to work with.  Then build up with melody, vocals, etc.  I would probably put the bass in toward the end as it adds depth but not structure to the music.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.isaotomita.net/&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Vangelis&#xD;&#xA;  [3]: http://www.tangerinedream-music.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="36439" PostHistoryTypeId="2" PostId="22416" RevisionGUID="77a6428a-9d82-4b5f-b9bc-0d50608a4248" CreationDate="2011-03-14T16:48:58.330" UserId="10057" UserDisplayName="Vass" Text="Can a single person record a rock song on their own? &#xD;&#xA;&#xD;&#xA;Here is how I imagine it: A musician records one instrument (e.g. bass), then has the recording played and mixed with the sound of the next instrument (e.g. drums). Then the recordings of the first two instruments are put on 2 tracks and played through the headphones while playing the third instrument (e.g. guitar). This new recording with 3 instruments can now be put together and sent to the earphones while the vocals are recorded, and then the whole song on all the tracks is set.&#xD;&#xA;&#xD;&#xA;Does this work in practice? Even though in theory it makes sense, can musicians do this successfully in the real world? &#xD;&#xA;&#xD;&#xA;Would you do this in software or do separate recordings and mix in software and feed it to the headphones directly from the computer? " ContentLicense="CC BY-SA 2.5" />
  <row Id="36440" PostHistoryTypeId="1" PostId="22416" RevisionGUID="77a6428a-9d82-4b5f-b9bc-0d50608a4248" CreationDate="2011-03-14T16:48:58.330" UserId="10057" UserDisplayName="Vass" Text="Individual performing complete band performance (eg rock) by sequentially recording each instrument" ContentLicense="CC BY-SA 2.5" />
  <row Id="36441" PostHistoryTypeId="3" PostId="22416" RevisionGUID="77a6428a-9d82-4b5f-b9bc-0d50608a4248" CreationDate="2011-03-14T16:48:58.330" UserId="10057" UserDisplayName="Vass" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="36442" PostHistoryTypeId="36" PostId="22417" RevisionGUID="bec41845-fbe0-4b8d-a907-4d7861ae312b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1018/individual-performing-complete-band-performance-eg-rock-by-sequentially-record/1020#1020" />
  <row Id="36443" PostHistoryTypeId="36" PostId="22418" RevisionGUID="9b9cbb05-1503-4c6c-a196-47c4a5daef09" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1018/individual-performing-complete-band-performance-eg-rock-by-sequentially-record/1023#1023" />
  <row Id="36444" PostHistoryTypeId="36" PostId="22419" RevisionGUID="a3f9ad82-33fe-443a-9678-c85ff4197eb7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1018/individual-performing-complete-band-performance-eg-rock-by-sequentially-record/1025#1025" />
  <row Id="36445" PostHistoryTypeId="2" PostId="22418" RevisionGUID="074aa6b6-d2e6-4aee-870c-60ba65630d3b" CreationDate="2011-03-14T22:05:39.093" UserId="7294" UserDisplayName="Warrior Bob" Text="There's no reason why not.  This practice is sometimes called &quot;overdubbing.&quot;  &#xD;&#xA;&#xD;&#xA;There are of course some considerations to think about:  &#xD;&#xA;&#xD;&#xA; - Bands often play off of each other in groups, and there's a sort of vibe that can come out when doing this that is very hard to capture when doing separate recordings.  When you're overdubbing, you'll respond to little subtleties in your previous recordings, but *your previous takes cannot respond to subtleties in your current performance.*  When recording several musicians at once, this response goes back and forth and many people prefer this mood.  &#xD;&#xA; - You'll likely want to have some kind of pitch or timing reference when laying down your first track.  This track is going to act as the reference for the other tracks, so whatever goes into it will be reflected in the others.  Metronomes can help here, as can sketching out your track using a MIDI instrument or something similar.&#xD;&#xA; - If you're using a microphone, the resulting mix of separately-recorded tracks will be subtly different than if you had recorded everyone at once in a nice-sounding room.  The importance of this is up to you to decide.  It might not be important to you at all.&#xD;&#xA;&#xD;&#xA;For what it's worth, I'm just a hobbyist, but I've recorded this way.  I usually record on my own or with one other person and the styles of music I get involved with (usually electronic at some level) don't often require the vibe of musicians playing together." ContentLicense="CC BY-SA 2.5" />
  <row Id="36446" PostHistoryTypeId="2" PostId="22419" RevisionGUID="0be0610c-7295-425c-85ed-d0b41749ff24" CreationDate="2011-03-14T23:51:26.357" UserId="319" Text="This is how I do it.&#xD;&#xA;&#xD;&#xA;Put a click track on (aka metronome) - record the guitar, then drums, then bass, then vocals.  You can move the order around.  I like to have the guitar down for the drums to feed off.  Then record the bass to react to the kick drum pattern - they are usually in sync for rock.  Put your vocal on there and then top it off with some keys, sound efx, horns, shakers, tabourines etc. if wanted or needed.  &#xD;&#xA;&#xD;&#xA;Click track is not required, but it's much easier to overdub drums with a steady beat.  If you don't want to use a click, record the drums first." ContentLicense="CC BY-SA 2.5" />
  <row Id="36447" PostHistoryTypeId="36" PostId="22420" RevisionGUID="43f4a527-4bbf-49e3-a606-e224f6c91319" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9190/my-instruments-sound-muffled-on-consumer-gear-and-radio-even-though-it-sounds-o" />
  <row Id="36448" PostHistoryTypeId="2" PostId="22420" RevisionGUID="5578aaeb-7843-4d29-bdf9-0622b3617804" CreationDate="2013-10-16T19:35:13.023" UserDisplayName="george patterson" Text="I have been working on my new single but I feel like it could have a brighter more professional finish. To me, it sounds like there is a problem with the dynamics. The drums and the brass sections seem muffled I wonder what can be done to fix it. I have topped and tailed it so its tighter and in better time on the newer one I have here in front of me but it doesn't sound as professional as John Newmans &quot;will you love me again&quot; for instance, I have been working with top notch engineers but to no avail, why? It sounds okay in the studio on top notch speakers, but when I listen to it through radio or on other systems, it sounds too muffled.&#xD;&#xA;&#xD;&#xA;What can I do to make my single sound brighter and more professional without the instruments muffled?  How can I account for the loss of fidelity associated with radio or consumer audio gear?&#xD;&#xA;&#xD;&#xA;You can hear it [here](http://www.youtube.com/watch?v=yEGj5zJFnyM)." ContentLicense="CC BY-SA 3.0" />
  <row Id="36449" PostHistoryTypeId="1" PostId="22420" RevisionGUID="5578aaeb-7843-4d29-bdf9-0622b3617804" CreationDate="2013-10-16T19:35:13.023" UserDisplayName="george patterson" Text="My instruments sound muffled on consumer gear and radio, even though it sounds okay in the studio? What can I do to fix it and why is it like this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36450" PostHistoryTypeId="3" PostId="22420" RevisionGUID="5578aaeb-7843-4d29-bdf9-0622b3617804" CreationDate="2013-10-16T19:35:13.023" UserDisplayName="george patterson" Text="&lt;audio-recording&gt;&lt;mastering&gt;&lt;radio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36451" PostHistoryTypeId="36" PostId="22421" RevisionGUID="c2daa784-db49-44c6-a2b0-8baf83ffcd67" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1178/why-do-my-vocal-recordings-sound-thin-and-muffled" />
  <row Id="36452" PostHistoryTypeId="2" PostId="22422" RevisionGUID="6736d23f-6530-41bf-8a07-ad38df2786c4" CreationDate="2011-04-15T12:23:02.207" UserId="6559" Text="There are other factors other than the mic itself.&#xD;&#xA;&#xD;&#xA;This [2001][1] article, and another from [2004][2], both from S-o-S, give some of the reasons (and solutions) for muffled, boxy recordings ... though their solutions are often reliant on further processing, e.g. compression, EQ, reverb. &#xD;&#xA;&#xD;&#xA;Hopefully they'll provide useful background.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/nov01/articles/computervocals.asp&#xD;&#xA;  [2]: http://www.soundonsound.com/sos/mar04/articles/computervocals.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="36453" PostHistoryTypeId="2" PostId="22421" RevisionGUID="503edb96-efce-474c-b231-81b17516c13f" CreationDate="2011-04-15T11:00:19.203" UserDisplayName="Simiil" Text="i'm a newbie in recording so i have a beginners question:&#xD;&#xA;&#xD;&#xA;I recently bought an Audio Interface (the M-Audio FastTrack Pro) and recorded some stuff, which was really fun, and seems to have gone well. But when I tried to record voice, I didn't get the sound I wanted to. I have to say that my microphone is not the best one, and I am not expecting the greatest results, but no matter what I tried, it was always a bit muffled, &quot;small&quot; and not clear enough. It was like you could hear that it was sung through a microphone and not just the voice (Ok thats a bad explanation, but that was the first thing I thought when listening to the recording)&#xD;&#xA;&#xD;&#xA;So my question is, how can I improve my vocal recordings? Should I buy a better mic (it's a bit obvious that i should, but I don't really have the money)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36454" PostHistoryTypeId="1" PostId="22421" RevisionGUID="503edb96-efce-474c-b231-81b17516c13f" CreationDate="2011-04-15T11:00:19.203" UserDisplayName="Simiil" Text="Why do my vocal recordings sound thin and muffled?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36455" PostHistoryTypeId="3" PostId="22421" RevisionGUID="503edb96-efce-474c-b231-81b17516c13f" CreationDate="2011-04-15T11:00:19.203" UserDisplayName="Simiil" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36456" PostHistoryTypeId="36" PostId="22422" RevisionGUID="accf4bb4-bcfb-4c47-98f2-0435f925e7fe" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1178/why-do-my-vocal-recordings-sound-thin-and-muffled/1179#1179" />
  <row Id="36457" PostHistoryTypeId="36" PostId="22423" RevisionGUID="df89d466-982a-4e02-a8af-93aeed1adf4d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1178/why-do-my-vocal-recordings-sound-thin-and-muffled/1183#1183" />
  <row Id="36458" PostHistoryTypeId="2" PostId="22423" RevisionGUID="f5c112c1-fe57-4a36-b12c-f7582fd5387e" CreationDate="2011-04-16T21:20:17.000" UserDisplayName="user755" Text="The only thing I would add to what's here is triple check your manual and make sure your settings are all correct.  Also, check your bit rate/sample rate settings.  Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="36459" PostHistoryTypeId="36" PostId="22424" RevisionGUID="0220f091-a90a-4965-80fc-61c9f5c7b111" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4779/using-a-digital-filter-as-a-replacement-for-a-wind-screen" />
  <row Id="36460" PostHistoryTypeId="2" PostId="22425" RevisionGUID="a06e1f0c-f44b-43b3-a8c4-bf666a82aab0" CreationDate="2012-09-19T17:38:01.200" UserId="7189" Text="The job of a foam screen is to attenuate the velocity of wind before it hits the microphone. If you don't reduce the wind, then the mic will be overdriven, and you will get a badly distorted signal. You can't just filter that out after the fact.&#xD;&#xA;&#xD;&#xA;This is also why an analog compressor or a digital compressor with a lot of headroom is a good idea between your mic and recording device. The compressor can attenuate hot signals while mostly preserving their shape.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;It may help to think of the flow of information in stages:&#xD;&#xA;&#xD;&#xA;[Sound in Free Air] -&gt; [Microphone] -&gt; [Cable] -&gt; [Audio Interface] -&gt; [Computer]&#xD;&#xA;&#xD;&#xA;At the Sound in Free Air stage you have effectively infinite variability in sound pressure. A butterfly can flap its wings, a jackhammer can drill into the pavement, and a hurricane-force wind can blow.&#xD;&#xA;&#xD;&#xA;The Microphone is really any transducer that takes sound pressure and turns it into an electrical signal. Theoretically, a perfect transducer could be built that can handle everything from the butterfly to the hurricane. Practically, it is too hard and we are familiar with equipment that is tuned for specific sound pressure levels and frequency ranges. Different microphones are preferred for vocals, various kinds of instruments and even individual drums in a drum kit. Our microphones are imperfect, but that's where part of their charm comes from. If we overload the microphone, then we lose signal detail. That lost detail can *never* be perfectly recovered. A nice sine wave distorts into something like a square wave. But if you look at a square wave, there is no way to know if it was once a perfect sine wave or had additional harmonics.&#xD;&#xA;&#xD;&#xA;The same problem is repeated at the audio interface. If the signal is too hot coming off your microphone, then you have another opportunity to distort it and lose information. Maybe you want the distortion effect, so you turn up your preamp or use some distortion effects. You still can't get the original signal back because the distortion process destroys information that was originally encoded in the signal.&#xD;&#xA;&#xD;&#xA;Compression and the additional headroom that a 24-bit or 32-bit ADC give you will help deal with a hot signal coming off your mic (or your synthesizer, or guitar, or ...), but it can't help you if the sound you are trying to record is already overloading your microphone.&#xD;&#xA;&#xD;&#xA;So you put a wind screen on the mic to keep the wind from overloading your mic and ruining your recording. Good windscreens are expensive - the foam ones aren't all that effective. But no wind screen is perfect. Be careful in high wind!" ContentLicense="CC BY-SA 3.0" />
  <row Id="36461" PostHistoryTypeId="2" PostId="22424" RevisionGUID="0f4982f4-e340-4b87-8052-bd0d75e97061" CreationDate="2012-09-19T16:52:04.830" UserDisplayName="Val" Text="I read that foam windscreens are effective against breathing. However, what it does is just filtering. Shouldn't it be possible to do the same thing with a digital filter? It should be as easy as recording the frequency response of the foam. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36462" PostHistoryTypeId="1" PostId="22424" RevisionGUID="0f4982f4-e340-4b87-8052-bd0d75e97061" CreationDate="2012-09-19T16:52:04.830" UserDisplayName="Val" Text="Using a digital filter as a replacement for a wind screen." ContentLicense="CC BY-SA 3.0" />
  <row Id="36463" PostHistoryTypeId="3" PostId="22424" RevisionGUID="0f4982f4-e340-4b87-8052-bd0d75e97061" CreationDate="2012-09-19T16:52:04.830" UserDisplayName="Val" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;digital&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36464" PostHistoryTypeId="36" PostId="22425" RevisionGUID="6213cf9e-2f2b-4960-bd19-d7ea1c1b9473" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4779/using-a-digital-filter-as-a-replacement-for-a-wind-screen/4780#4780" />
  <row Id="36465" PostHistoryTypeId="36" PostId="22426" RevisionGUID="dfe503dc-dee0-477a-8f82-04cb8f1ee000" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1509/whats-the-cheapest-way-to-plug-a-guitar-bass-to-my-computer" />
  <row Id="36466" PostHistoryTypeId="36" PostId="22427" RevisionGUID="fc357734-9c3b-451b-9419-a858420cb335" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1509/whats-the-cheapest-way-to-plug-a-guitar-bass-to-my-computer/1510#1510" />
  <row Id="36467" PostHistoryTypeId="2" PostId="22427" RevisionGUID="9b232fc1-7578-4405-9f56-b2465938c9c7" CreationDate="2011-05-31T14:04:27.347" UserId="17571" UserDisplayName="Zeronyne" Text="The one you have linked is an unbranded version of the one that Behringer sells. It's EXTREMELY noisy, especially with single coil pickups. It's also incredibly flimsy.&#xD;&#xA;&#xD;&#xA;The lowest end interface that I would go with for guitar would be the Tascam US-100 if you need USB. It's around sixty or seventy dollars (US). It's the least expensive audio interface that has the features of most standard interfaces." ContentLicense="CC BY-SA 3.0" />
  <row Id="36468" PostHistoryTypeId="2" PostId="22428" RevisionGUID="66a40bfb-44a7-4c41-a696-09df16a2ed1b" CreationDate="2011-05-31T16:49:58.513" UserId="7471" UserDisplayName="Mark Heath" Text="You might want to check out the [Line 6 Pod Studio GX][1], which has nothing more than a guitar input and headphone out. The nice thing is that it comes with their PodFarm software which gives you some nice guitar effects that will work at low latency. I've got its  predecessor the TonePort GX, and also the TonePort UX2 which has more inputs and outputs and phantom power.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://line6.com/podstudiogx/" ContentLicense="CC BY-SA 3.0" />
  <row Id="36469" PostHistoryTypeId="2" PostId="22426" RevisionGUID="c28360d6-2860-4d4a-b1bc-108bad960eb0" CreationDate="2011-05-31T13:32:21.740" UserDisplayName="Rodrigo Sieiro" Text="I'm looking for a simple/cheap interface (preferably USB) to plug a guitar or a bass in my Mac. I know about full-featured interfaces like M-Audio Fast Track but they're a bit overkill for me. I already have a good USB mic to record voice/acoustic guitar and just want a simple way to plug my guitar and record some riffs using software amp simulation.&#xD;&#xA;&#xD;&#xA;I found [this one][1] at Amazon for $20, but I don't really know if it's good or not. Any recommendations?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/gp/product/B003U6EW5U/ref=s9_simh_gw_p23_d0_i1?pf_rd_m=ATVPDKIKX0DER&amp;pf_rd_s=center-2&amp;pf_rd_r=107PXZZEF3XGWQ9NC3GN&amp;pf_rd_t=101&amp;pf_rd_p=470938631&amp;pf_rd_i=507846" ContentLicense="CC BY-SA 3.0" />
  <row Id="36470" PostHistoryTypeId="1" PostId="22426" RevisionGUID="c28360d6-2860-4d4a-b1bc-108bad960eb0" CreationDate="2011-05-31T13:32:21.740" UserDisplayName="Rodrigo Sieiro" Text="What's the cheapest way to plug a guitar/bass to my computer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36471" PostHistoryTypeId="3" PostId="22426" RevisionGUID="c28360d6-2860-4d4a-b1bc-108bad960eb0" CreationDate="2011-05-31T13:32:21.740" UserDisplayName="Rodrigo Sieiro" Text="&lt;audio-recording&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36472" PostHistoryTypeId="36" PostId="22428" RevisionGUID="64296cd0-21c3-4dab-bb33-18c7c22763ea" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1509/whats-the-cheapest-way-to-plug-a-guitar-bass-to-my-computer/1511#1511" />
  <row Id="36473" PostHistoryTypeId="36" PostId="22429" RevisionGUID="f1ee33c7-65e9-4be9-8bfc-0e8456851697" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1509/whats-the-cheapest-way-to-plug-a-guitar-bass-to-my-computer/1517#1517" />
  <row Id="36474" PostHistoryTypeId="36" PostId="22430" RevisionGUID="c18fe64a-9210-418c-942d-9a08cbf2ea80" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1509/whats-the-cheapest-way-to-plug-a-guitar-bass-to-my-computer/1526#1526" />
  <row Id="36475" PostHistoryTypeId="36" PostId="22431" RevisionGUID="c80d39f0-d9e4-465a-8682-00c727d648de" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1509/whats-the-cheapest-way-to-plug-a-guitar-bass-to-my-computer/1617#1617" />
  <row Id="36476" PostHistoryTypeId="2" PostId="22430" RevisionGUID="3caedcd9-3af5-43bc-80fd-3e8a6dab5153" CreationDate="2011-06-01T15:54:04.807" UserDisplayName="horatio" Text="The absolute cheapest way is a 1/4 inch to 1/8 adapter and plug direct to your soundcard in." ContentLicense="CC BY-SA 3.0" />
  <row Id="36477" PostHistoryTypeId="2" PostId="22431" RevisionGUID="63e745f6-8f9c-4a98-a717-d7dcbcd06d8c" CreationDate="2011-06-18T05:53:18.410" UserId="6503" Text="The easiest way is to use a 1/4&quot;mono to 3.5mm stereo adaptor (guitar cable to headphone cable). This isn't hard to make (with some rudimentary soldering experience) from a cheap guitar cable and a pair of broken headphones (usually less than $20). Also, many cheap adaptors exist to downsize the 1/4&quot; guitar plug to a 3.5mm headphone plug.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36478" PostHistoryTypeId="2" PostId="22429" RevisionGUID="adfdac68-59a1-497a-b294-0e6f78cdc895" CreationDate="2011-05-31T20:29:00.770" UserId="7045" Text="All guitar amp modelling software is just emulating a mic in front of an amp cabinet. Do you have a guitar amp already? &#xD;&#xA;&#xD;&#xA;Given that you already have the mic and the amp (I'm guessing on that), the cheapest way for you to get a good guitar sound is to use the mic you have and mic your amp. (Unless you need to use the mic for something else while playing guitar, or can't play loud where you are.)&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="36479" PostHistoryTypeId="36" PostId="22432" RevisionGUID="db3dbd39-117a-45e9-895c-9ecbe0d45a60" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/841/urgent-micing-a-kick-drum-with-a-large-diaphragm-condenser" />
  <row Id="36480" PostHistoryTypeId="36" PostId="22433" RevisionGUID="fb54fe02-0df3-4c5d-83b2-ef4df068e5b1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/841/urgent-micing-a-kick-drum-with-a-large-diaphragm-condenser/844#844" />
  <row Id="36481" PostHistoryTypeId="2" PostId="22433" RevisionGUID="fb0a331a-01d4-4567-8bc2-872cc2159705" CreationDate="2011-02-18T02:27:00.217" UserDisplayName="Trevor Arjeski" Text="Use the condenser if you can.  Just make sure it's not picking up the other drums.  You could put it inside the air hole or right outside of it.  Fiddling around with it is probably the best way to find out since it depends on the size of the bass drum and how loud the player kicks.  Hardcore band, I'd say put the mic outside the drum so the double bass doesnt sound fuzzy.  Not entirely sure, I'm just a stupid bass player." ContentLicense="CC BY-SA 2.5" />
  <row Id="36482" PostHistoryTypeId="2" PostId="22434" RevisionGUID="9e8148bf-956e-4d17-8731-240af97ab93e" CreationDate="2011-02-18T06:57:02.900" UserDisplayName="jlebre" Text="I'm guessing that you have the Perception 220? the maximum input SPL is 135 with a whooping 0.5% THD ([here][1]) so it's probably going to struggle a bit. I do put condensers on the kick drum but usually a bit far out, building a tunnel if possible (extra kick, or even a thick duvet will do). The shure beta 91 was built for this purpose and exhibits 156dB SPL with 1%THD.&#xD;&#xA;&#xD;&#xA;Try it. It shouldn't hurt. But since you are recording a &quot;hardcore&quot; band chances are it's going to be loud. And the drummer will want to just give everything he has, probably meaning playing even louder than usual.&#xD;&#xA;&#xD;&#xA;If it doesn't work, I would suggest you find a nice resonating spot inside or right around outside the front shell (you can feel it with your hand!) and then use your crappy dynamic inside, next to the batter for the detail. You can then balance them and process them together. You could then grab your perception and place it far away in the room. If you still need that low end boost, try finding a node for it. But have a listen, sometimes it might be too much or the room be too small and you end up with a muddy, low mid honk instead of a nice round low-low end.&#xD;&#xA;&#xD;&#xA;Usually, studios that have enough microphones to spare, they will give you a selection of mics that they already use on kick drums. Some mics will not like it and it will deform the diaphragm over time. Some facilities being aware of it put to aside some valves, condensers even ribbons (even a pair of U87) that they use on drums, they have labeled &quot;use this on kick&quot; - heheheh. What I'm trying to say is, give it a listen. You can hear if the mic is not coping with it. If there will be a damage, it will be medium to long term.&#xD;&#xA;&#xD;&#xA;If you have an assistant, you can have the pleasure of having him scanning the drum inside out with the mic until you shout on his poor ears (remember, he's already kneeling in front of the kick drum with a loud drummer in front) &quot;THAT'S THE SPOT, HOLD IT THERE!!!!!&quot; Or you can grab a more enthusiastic member of the band! ;) But usually the hand trick will do it, most of the times. I did have it doing the exact oposite (no low end whatsoever) a couple of times hence emphasizing - use your ears.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.akg.com/site/products/powerslave,id,1055,pid,1055,nodeid,,_language,EN,view,specs.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="36483" PostHistoryTypeId="2" PostId="22432" RevisionGUID="0eef2cf7-24cc-48da-853d-d307b35640da" CreationDate="2011-02-17T23:14:58.150" UserId="7460" UserDisplayName="slhck" Text="In two days, I am supposed to record a rock (more like hardcore) band. I'm definitely no professional, rather doing it as a favor since I have most of the equipment.&#xD;&#xA;&#xD;&#xA;I am starting with the drums and I normally record with an AKG drum microphone set. Therefore, I would use a D112 for the kick drum. However I can't get my hands on the microphone set and now I am stuck with the following microphones to record the drums:&#xD;&#xA;&#xD;&#xA;- 2x Shure SM57, using them for the toms&#xD;&#xA;- 1x Shure SM58beta, probably for the snare&#xD;&#xA;- 2x AKG C535EB, two matched small condensers, as overheads&#xD;&#xA;&#xD;&#xA;And I have:&#xD;&#xA;&#xD;&#xA;- 1x crappy old Sennheiser vocal mic&#xD;&#xA;- 1x rather new AKG dynamic vocal mic (don't know which one, the band's singer has it but can't tell me the model)&#xD;&#xA;- 1x AKG Perception 220 (large diaphragm condenser)&#xD;&#xA;&#xD;&#xA;Now, just from your experience: &#xD;&#xA;&#xD;&#xA;- Can I record a kick drum with the AKG Perception or will it distort or even damage the microphone? &#xD;&#xA;- Should I rather just use a dynamic vocal mic to try to capture the beater sound and then maybe trigger the rest? &#xD;&#xA;&#xD;&#xA;Triggering would definitely be an option since the music style fits it. I'd much rather use the Perception as a second mic for the snare (e.g. on the bottom)." ContentLicense="CC BY-SA 2.5" />
  <row Id="36484" PostHistoryTypeId="1" PostId="22432" RevisionGUID="0eef2cf7-24cc-48da-853d-d307b35640da" CreationDate="2011-02-17T23:14:58.150" UserId="7460" UserDisplayName="slhck" Text="Urgent: Micing a kick drum with a large diaphragm condenser?" ContentLicense="CC BY-SA 2.5" />
  <row Id="36485" PostHistoryTypeId="3" PostId="22432" RevisionGUID="0eef2cf7-24cc-48da-853d-d307b35640da" CreationDate="2011-02-17T23:14:58.150" UserId="7460" UserDisplayName="slhck" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="36486" PostHistoryTypeId="36" PostId="22434" RevisionGUID="eec963f6-94a4-4994-8a83-260cac75aa15" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/841/urgent-micing-a-kick-drum-with-a-large-diaphragm-condenser/845#845" />
  <row Id="36487" PostHistoryTypeId="36" PostId="22435" RevisionGUID="8441b317-ae60-4e6c-a05d-30628563f1bf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9842/getting-started-with-audio-production" />
  <row Id="36488" PostHistoryTypeId="2" PostId="22435" RevisionGUID="b7a43aca-6f2c-4ab2-9f57-2580c305281d" CreationDate="2014-01-04T21:04:40.583" UserId="7073" Text="I'm a musician with a classical background, and I'm really interested in the complete process of Music Production (Acoustic Conditioning, Recording, Post-Producing).&#xD;&#xA;I'd love to start learning in a self-taught manner, so I'm looking for material. &#xD;&#xA;Are there any books or websites that could help me to accomplish this?&#xD;&#xA;(My intention is to use Ubuntu Studio)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36489" PostHistoryTypeId="1" PostId="22435" RevisionGUID="b7a43aca-6f2c-4ab2-9f57-2580c305281d" CreationDate="2014-01-04T21:04:40.583" UserId="7073" Text="Getting started with Audio Production" ContentLicense="CC BY-SA 3.0" />
  <row Id="36490" PostHistoryTypeId="3" PostId="22435" RevisionGUID="b7a43aca-6f2c-4ab2-9f57-2580c305281d" CreationDate="2014-01-04T21:04:40.583" UserId="7073" Text="&lt;audio-recording&gt;&lt;daw&gt;&lt;music&gt;&lt;post-production&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36505" PostHistoryTypeId="36" PostId="22442" RevisionGUID="d99298f4-01c1-4b10-8fd3-8fef761e709e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1107/any-plugins-out-there-using-gpgpu-cuda-opencl-for-horsepower" />
  <row Id="36506" PostHistoryTypeId="36" PostId="22443" RevisionGUID="b1ea9678-cc5b-4b67-843b-ca6f8383cc50" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1107/any-plugins-out-there-using-gpgpu-cuda-opencl-for-horsepower/1255#1255" />
  <row Id="36507" PostHistoryTypeId="2" PostId="22443" RevisionGUID="679e58c8-a90e-4bc9-a67c-697be272b5f4" CreationDate="2011-04-23T11:01:51.800" UserId="7471" UserDisplayName="Mark Heath" Text="[GPU Impulse Reverb VST][1] by [Nils Schneider][2] does convolution using OpenCL allowing you to get really good Reverb/Cabinet emulation effects without taxing your CPU. The author has been keeping people updated and providing support on [this thread][3] at KVR for some years now.&#xD;&#xA;&#xD;&#xA;![enter image description here][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://gpuimpulsereverb.de/&#xD;&#xA;  [2]: http://www.nilsschneider.de/wp/&#xD;&#xA;  [3]: http://www.kvraudio.com/forum/viewtopic.php?t=222978&#xD;&#xA;  [4]: http://i.stack.imgur.com/PEfHB.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="36508" PostHistoryTypeId="2" PostId="22442" RevisionGUID="609c1c8e-1027-4028-8898-dcc3a884cad8" CreationDate="2011-03-28T15:38:03.137" UserDisplayName="Bill Gribble" Text="It looks like the dedicated hardware plugin boxes (UAD etc) use traditional DSP chips like the Analog Devices SHARC for their horsepower.  Is anybody using graphics card processors via [GPGPU](http://en.wikipedia.org/wiki/Gpgpu) (General Purpose GPU) approaches such as [CUDA](http://en.wikipedia.org/wiki/CUDA) or [OpenCL](http://en.wikipedia.org/wiki/OpenCL) to accelerate plugins? &#xD;&#xA;&#xD;&#xA;**Updated:** I discovered the [Acustica Audio](http://www.acustica-audio.com) [Nebula](http://www.acustica-audio.com/index.php?option=com_content&amp;view=article&amp;id=22&amp;Itemid=146)  plugins which can use CUDA.  Looks like much of the net chatter about these plugins is about  excessive latency, possibly attributable to CUDA, and the fact that using CUDA doesn't actually increase the overall max track or plugin count. " ContentLicense="CC BY-SA 2.5" />
  <row Id="36509" PostHistoryTypeId="1" PostId="22442" RevisionGUID="609c1c8e-1027-4028-8898-dcc3a884cad8" CreationDate="2011-03-28T15:38:03.137" UserDisplayName="Bill Gribble" Text="Any plugins out there using GPGPU/CUDA/OpenCL for horsepower?" ContentLicense="CC BY-SA 2.5" />
  <row Id="36510" PostHistoryTypeId="3" PostId="22442" RevisionGUID="609c1c8e-1027-4028-8898-dcc3a884cad8" CreationDate="2011-03-28T15:38:03.137" UserDisplayName="Bill Gribble" Text="&lt;audio-recording&gt;&lt;software&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="36511" PostHistoryTypeId="36" PostId="22444" RevisionGUID="63d54825-3ad0-4ca6-bd9e-4ce9fc8a5c30" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9537/i-have-a-mixer-and-would-like-to-do-simultaneous-multi-track-recording-do-i-nee" />
  <row Id="36512" PostHistoryTypeId="36" PostId="22445" RevisionGUID="d4311868-1464-4c6a-a712-a5ada3a25085" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9537/i-have-a-mixer-and-would-like-to-do-simultaneous-multi-track-recording-do-i-nee/9538#9538" />
  <row Id="36513" PostHistoryTypeId="2" PostId="22445" RevisionGUID="84684d3a-75fa-40a0-94b4-318d7382278b" CreationDate="2013-12-01T03:56:49.383" UserDisplayName="Steve Henningsgard" Text="In order to do simultaneous multitrack recording, you need a multitrack interface. As far as I can find, the most inputs you'll get on an iPad is 2. Depending on the processing &amp; hard drive speeds, you might get 8 tracks into your netbook with a proper firewire/usb interface, but 8+ track simultaneous recording can be pretty intensive.&#xD;&#xA;&#xD;&#xA;The mixer gives you multiple inputs and preamps (both necessary), but doesn't have any way of getting those inputs into your computer.&#xD;&#xA;&#xD;&#xA;Check out sweetwater.com, musiciansfriend.com, etc. for multitrack interfaces to see what's available." ContentLicense="CC BY-SA 3.0" />
  <row Id="36514" PostHistoryTypeId="2" PostId="22446" RevisionGUID="29ca785a-4ad9-46da-89fe-9b4de2f131ce" CreationDate="2013-12-01T19:51:40.040" UserId="7174" Text="Getting 8 channels of ASIO capable capture for $300 is NOT going to happen with any decent quality.  You could use the mixer to mix down to a single channel and record that one channel, but you need an 8 input audio interface to capture 8 channels.  &#xD;&#xA;&#xD;&#xA;Your best bet is a firewire or USB 3 based system since you need it to work with a laptop or possibly a dedicated multitrack recorder if you don't need to do any editing locally, but any device like that is going to be in the $500 to $3000 price range.&#xD;&#xA;&#xD;&#xA;An example of a sound board that could do it is the Presonus 16.0.2 which is a digital sound board that will do digital recording of all the channels, but it is $1000.  The absolute cheapest option I know of is the Zoom R16 which is a multi-track recorder that supports 8 channel simultaneous recording, but it is between $400 and $700 depending on where you get it." ContentLicense="CC BY-SA 3.0" />
  <row Id="36515" PostHistoryTypeId="2" PostId="22444" RevisionGUID="9ae6a369-7139-431a-b381-43ce9bf72628" CreationDate="2013-12-01T03:05:38.580" UserDisplayName="pek" Text="I have:&#xD;&#xA;&#xD;&#xA; - [Behringer Eurodesk SL2442FX-Pro](http://www.behringer.com/EN/Products/SL2442FX-PRO.aspx)&#xD;&#xA; - iPad 4 and a Netbook&#xD;&#xA; - Around 8 microphones&#xD;&#xA;&#xD;&#xA;I'd like to record each microphone to a different track on a software program and do all the post processing on my computer. The recording part needs to be portable at the studio, while the post process will be done on my desktop at home (so an M-Audio PCI card is not an option).&#xD;&#xA;&#xD;&#xA;I'm very new to audio recording, so I might need some aditional explanation of how things fit together. I.e. I don't even know if a single cable from the mixer to the laptop will be able to give me multiple tracks.&#xD;&#xA;&#xD;&#xA;Do I need any aditional equipment? Do I even need the mixer?&#xD;&#xA;&#xD;&#xA;(My budget is around $300)" ContentLicense="CC BY-SA 3.0" />
  <row Id="36516" PostHistoryTypeId="1" PostId="22444" RevisionGUID="9ae6a369-7139-431a-b381-43ce9bf72628" CreationDate="2013-12-01T03:05:38.580" UserDisplayName="pek" Text="I have a mixer and would like to do simultaneous multi track recording. Do I need something else?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36517" PostHistoryTypeId="3" PostId="22444" RevisionGUID="9ae6a369-7139-431a-b381-43ce9bf72628" CreationDate="2013-12-01T03:05:38.580" UserDisplayName="pek" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36518" PostHistoryTypeId="36" PostId="22446" RevisionGUID="9f053e2b-1f80-4d34-91f7-57df231c3155" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9537/i-have-a-mixer-and-would-like-to-do-simultaneous-multi-track-recording-do-i-nee/9541#9541" />
  <row Id="36519" PostHistoryTypeId="36" PostId="22447" RevisionGUID="737a02d7-08ed-4b4e-8990-dd6615f5086e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4268/how-does-one-call-the-y-axis-of-a-waveform" />
  <row Id="36520" PostHistoryTypeId="2" PostId="22448" RevisionGUID="962e513a-3fcc-4938-be92-9ac4b9054835" CreationDate="2012-06-24T13:54:32.347" UserDisplayName="DoktorHauser" Text="What you've marked in the image is the **_scale_**. This will labeled with the  [**_unit of measurement_**][1]. This is typically decibel (dB), percent (%) or volt (V). &#xD;&#xA;&#xD;&#xA;The y axis represents the [**_amplitude_**][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Units_of_measurement&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Amplitude&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36521" PostHistoryTypeId="2" PostId="22447" RevisionGUID="30bf3868-7347-444e-86d1-2701dc13cd0f" CreationDate="2012-06-24T12:55:19.730" UserDisplayName="stefan.at.wpf" Text="In many audio applications one can find a waveform representation, but the y-axis normally is never labelled. &#xD;&#xA;&#xD;&#xA;**Now, if you would plot your own waveform and wanted to label it, what would be a correct label for the y-axis?** &#xD;&#xA;&#xD;&#xA;For me the y-axis represents vibrations, but for &quot;vibration&quot; or &quot;relative vibration&quot; as label sounds strange, I am also not 100% sure, if vibration is the correct term. Thank you for any hint!&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/NUjHm.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="36522" PostHistoryTypeId="1" PostId="22447" RevisionGUID="30bf3868-7347-444e-86d1-2701dc13cd0f" CreationDate="2012-06-24T12:55:19.730" UserDisplayName="stefan.at.wpf" Text="How does one call the y axis of a waveform?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36523" PostHistoryTypeId="3" PostId="22447" RevisionGUID="30bf3868-7347-444e-86d1-2701dc13cd0f" CreationDate="2012-06-24T12:55:19.730" UserDisplayName="stefan.at.wpf" Text="&lt;audio&gt;&lt;terminology&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36524" PostHistoryTypeId="36" PostId="22448" RevisionGUID="6acaa479-c109-4187-864e-ba5f82f304b6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4268/how-does-one-call-the-y-axis-of-a-waveform/4269#4269" />
  <row Id="36525" PostHistoryTypeId="36" PostId="22449" RevisionGUID="71e5c751-8f18-4cca-a5f7-23d0c46d8d9e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4268/how-does-one-call-the-y-axis-of-a-waveform/4271#4271" />
  <row Id="36526" PostHistoryTypeId="2" PostId="22449" RevisionGUID="fbee0e50-5c74-4da2-b191-69a78ceae1de" CreationDate="2012-06-24T16:47:07.583" UserId="7016" Text="X is time&#xD;&#xA;&#xD;&#xA;Y is amplitude, volume, voltage, dB or pressure, depending on exactly where you are measuring,  but they can be considered equivalent in an audio scenario. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36527" PostHistoryTypeId="36" PostId="22450" RevisionGUID="04eba075-b5d1-4bce-a275-8df7c07e4bfa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3690/recording-audio-samson-r31s-microphone-volume-too-low" />
  <row Id="36528" PostHistoryTypeId="36" PostId="22451" RevisionGUID="807d7d44-4e9d-424a-bfe9-890fce7cba8c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3690/recording-audio-samson-r31s-microphone-volume-too-low/3691#3691" />
  <row Id="36529" PostHistoryTypeId="36" PostId="22452" RevisionGUID="4b016ff9-93d6-4e60-a028-cc10baa12985" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3690/recording-audio-samson-r31s-microphone-volume-too-low/5304#5304" />
  <row Id="36530" PostHistoryTypeId="36" PostId="22453" RevisionGUID="81769dc9-b90d-4651-a733-c2a41915f082" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3690/recording-audio-samson-r31s-microphone-volume-too-low/5305#5305" />
  <row Id="36531" PostHistoryTypeId="2" PostId="22451" RevisionGUID="04518bf6-aed0-4994-864c-568a29c495c7" CreationDate="2012-04-03T07:12:24.940" UserId="7016" Text="Your microphone is only a mono source, so if you want it into both channels you will need a plug which takes this mono signal and adapts it to stereo.&#xD;&#xA;&#xD;&#xA;Generally laptop inputs are not the best for audio. Sure, there are some good ones, but generally you want a proper pre-amp with balanced inputs, which is why there is such a strong market in decent audio interfaces and external soundcards.&#xD;&#xA;&#xD;&#xA;Without that, the input amplifier in your laptop just may not have sufficient gain." ContentLicense="CC BY-SA 3.0" />
  <row Id="36532" PostHistoryTypeId="2" PostId="22452" RevisionGUID="22f37603-c70d-441f-b592-311c4cf930fe" CreationDate="2012-11-11T03:19:26.650" UserDisplayName="shawn" Text="OK so your new... no biggie we all started some where.  First thing you need a board so you can handle the sound appropriately... your computer just won't ever be enough.... no matter what the argument...  proper pre Amp is every thing in sound.. get a board get obsessed and have fun.......... this is key &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36533" PostHistoryTypeId="2" PostId="22453" RevisionGUID="ce5516a3-c1a7-4e1a-ac3e-b945bb42bbec" CreationDate="2012-11-11T03:26:56.033" UserDisplayName="shawn" Text="All live sound (ie bands) are mono... its up to the live sound engineer to blend what your hear into a cohesive cognitive algorithm of bliss that is what the masses deem as music.. but there is nothing wrong with the mic or cable.. single input single output &#xD;&#xA;Simple.... " ContentLicense="CC BY-SA 3.0" />
  <row Id="36534" PostHistoryTypeId="2" PostId="22450" RevisionGUID="ddab204d-8cac-4809-b520-2db95ed7a23b" CreationDate="2012-04-03T05:48:44.030" UserDisplayName="Gaurav" Text="I am trying to setup a home recording studio. I recently purchased this Mic Samson R31S ( I know its not that good but i am just giving it a go). &#xD;&#xA;When i connect this Mic to the microphone-in port on my laptop and record. I get a very low volume wave when recording. Also the recorded track is mono and not stereo.&#xD;&#xA;How do i fix this ? I don't have a mixer.&#xD;&#xA;Is there something wrong with the mic or the cable. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36535" PostHistoryTypeId="1" PostId="22450" RevisionGUID="ddab204d-8cac-4809-b520-2db95ed7a23b" CreationDate="2012-04-03T05:48:44.030" UserDisplayName="Gaurav" Text="Recording Audio | Samson R31S Microphone | Volume too low" ContentLicense="CC BY-SA 3.0" />
  <row Id="36536" PostHistoryTypeId="3" PostId="22450" RevisionGUID="ddab204d-8cac-4809-b520-2db95ed7a23b" CreationDate="2012-04-03T05:48:44.030" UserDisplayName="Gaurav" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36537" PostHistoryTypeId="36" PostId="22454" RevisionGUID="c3ee3368-e00a-495f-a335-e569a1955d7c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7208/how-do-i-reproduce-this-echo-effect" />
  <row Id="36538" PostHistoryTypeId="36" PostId="22455" RevisionGUID="a6375394-bba3-46ef-935b-895ba24b17f0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7208/how-do-i-reproduce-this-echo-effect/7210#7210" />
  <row Id="36539" PostHistoryTypeId="36" PostId="22456" RevisionGUID="2a8d4abc-7e9d-4da0-b106-1dfef1fb12d5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7208/how-do-i-reproduce-this-echo-effect/7211#7211" />
  <row Id="36540" PostHistoryTypeId="2" PostId="22455" RevisionGUID="fc804888-771e-407b-9a8e-4026f921cd08" CreationDate="2013-02-21T15:47:33.910" UserDisplayName="Bjorn Roche" Text="I only listened to a short segment, but what I heard is an effect called &quot;reverberation&quot; or &quot;reverb&quot; for short. I don't know audacity, but I'm sure it has a number of reverb effects. The reverb in this recording can probably be approximated with freeverb, which is very likely included in audacity. You will have to tweak the settings until it sounds the way you want it to." ContentLicense="CC BY-SA 3.0" />
  <row Id="36541" PostHistoryTypeId="2" PostId="22456" RevisionGUID="61c8cc2b-1fbc-43ba-b21d-2a1998e62cb1" CreationDate="2013-02-21T15:59:17.973" UserDisplayName="Hiren Umradia" Text="As in the answer above this is called a Reverb effect.&#xD;&#xA;&#xD;&#xA;I have written some steps below in regards to replicating the effect from the song you posted:&#xD;&#xA;&#xD;&#xA;1) Open Audacity, click File -&gt; Open -&gt; Locate the file that you want to apply the effect to&#xD;&#xA;2) Press Ctrl + A to select all&#xD;&#xA;3) Click on Effect -&gt; Gverb&#xD;&#xA;4) Tweak the settings and click on preview to hear what it sounds like&#xD;&#xA;5) Once you happy click on OK and your done :)&#xD;&#xA;&#xD;&#xA;Heres a youtube video if your still unsure:&#xD;&#xA;http://www.youtube.com/watch?v=KPU91bGrTlQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="36542" PostHistoryTypeId="2" PostId="22454" RevisionGUID="2f9165ac-45da-43e0-b1eb-882474a6d383" CreationDate="2013-02-21T10:03:28.633" UserDisplayName="Asmastas Maz" Text="I do not know the name of this effect but I want to use this effect on my audio. Can you please tell me how to do this using audacity.&#xD;&#xA;I think it is a kind of echo but I don't know the decay factor and time.&#xD;&#xA;[Click here for the audio][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://quranicaudio.com/stream.m3u/663" ContentLicense="CC BY-SA 3.0" />
  <row Id="36543" PostHistoryTypeId="1" PostId="22454" RevisionGUID="2f9165ac-45da-43e0-b1eb-882474a6d383" CreationDate="2013-02-21T10:03:28.633" UserDisplayName="Asmastas Maz" Text="How do I reproduce this echo effect?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36544" PostHistoryTypeId="3" PostId="22454" RevisionGUID="2f9165ac-45da-43e0-b1eb-882474a6d383" CreationDate="2013-02-21T10:03:28.633" UserDisplayName="Asmastas Maz" Text="&lt;audio-recording&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36545" PostHistoryTypeId="36" PostId="22457" RevisionGUID="42c0a63d-53c2-4acd-a241-2c07df7e2773" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2202/what-is-the-title-for-someone-knowledgeable-in-all-that-is-related-to-sound" />
  <row Id="36546" PostHistoryTypeId="2" PostId="22458" RevisionGUID="56a61e65-6770-4e35-9219-ffdc8ad23054" CreationDate="2011-08-26T04:38:30.177" UserId="7231" UserDisplayName="NReilingh" Text="This question might be a candidate for [English Language and Usage](http://english.stackexchange.com/), but one term I think you're leaving out is &quot;Acoustician.&quot; From the title alone, it seems like you're looking for that, but acousticians really don't concern themselves with electronics as much as they do with the physics of sound.&#xD;&#xA;&#xD;&#xA;For your purposes, **Producer** is probably the broadest term possible with the best connotations. Professional record producers do all sorts of jobs at different levels, from playing background instruments on a record, to composing the instrumental tracks for singers. Highly paid professional producers hire other people to do their engineering for them, but they've got to do it themselves when they're just starting out. I think all of the terms you listed could be jobs that a producer could do at one point in his career.&#xD;&#xA;&#xD;&#xA;However, rather than picking the term that sounds the most impressive, I'd use the term that most accurately describes what your specialty is, or what you would like to do. I'll speak from personal experience when I say the notion of a single human being becoming skilled to the level of expert in all of these fields is incredulous to say the least, and would be legendary at best. In most cases, it's just not practical, especially when you consider all of the marketing that a producer has to do on the business side of things to boot.&#xD;&#xA;&#xD;&#xA;For example, many people that fill a lot of these qualities (not to mention composing, teaching, etc.) dedicate their lives to making music and performing, so they call themselves musicians. Self-driven musicians will have to do a lot of the production work you mention on their own, especially if they're not signed to a record label! And although they may have a line on the back of their album identifying themselves as the producer, they'll still introduce themselves as a musician, since that's what they would like to be recognized for." ContentLicense="CC BY-SA 3.0" />
  <row Id="36547" PostHistoryTypeId="2" PostId="22457" RevisionGUID="bb756441-473b-4115-a470-3ca1d622a636" CreationDate="2011-08-24T14:26:17.900" UserId="7459" UserDisplayName="bigp" Text="I'm basically looking for a title that is more broad than an Audio Engineer.&#xD;&#xA;&#xD;&#xA;Basically, I'm looking for a title that would cover a:&#xD;&#xA;&#xD;&#xA;- Musician (of their preferred instrument and/or more);&#xD;&#xA;- Recording Engineer;&#xD;&#xA;- Mixing Engineer;&#xD;&#xA;- Mastering Engineer;&#xD;&#xA;- Audio Engineer;&#xD;&#xA;- Sound Designer;&#xD;&#xA;- Producer;&#xD;&#xA;- Knowledge to use and program MIDI / Synth / Samplers;&#xD;&#xA;- Being able to work in different genres / styles of music;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I think I've heard the term &quot;Sonic ______&quot; before, can't remember if it was &quot;Sonic Engineer&quot; or &quot;Sonic Guru&quot;, maybe &quot;Sonic Jedi&quot; even (but that doesn't sound very professional).&#xD;&#xA;&#xD;&#xA;If there's a &quot;professional&quot; title for this group of skills, I sure would appreciate the answer!&#xD;&#xA;&#xD;&#xA;If not, you can always toss your guess!&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="36548" PostHistoryTypeId="1" PostId="22457" RevisionGUID="bb756441-473b-4115-a470-3ca1d622a636" CreationDate="2011-08-24T14:26:17.900" UserId="7459" UserDisplayName="bigp" Text="What is the title for someone knowledgeable in all that is related to sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36549" PostHistoryTypeId="3" PostId="22457" RevisionGUID="bb756441-473b-4115-a470-3ca1d622a636" CreationDate="2011-08-24T14:26:17.900" UserId="7459" UserDisplayName="bigp" Text="&lt;audio-recording&gt;&lt;mixing&gt;&lt;audio&gt;&lt;engineering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36550" PostHistoryTypeId="36" PostId="22458" RevisionGUID="756f6e52-1ee3-4af1-bfee-f13ae6f660d1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2202/what-is-the-title-for-someone-knowledgeable-in-all-that-is-related-to-sound/2209#2209" />
  <row Id="36551" PostHistoryTypeId="36" PostId="22459" RevisionGUID="1df01078-4bcf-4917-a9f7-f372958438b0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2202/what-is-the-title-for-someone-knowledgeable-in-all-that-is-related-to-sound/2229#2229" />
  <row Id="36552" PostHistoryTypeId="2" PostId="22459" RevisionGUID="2920cb9d-26c3-486f-9603-5fd2a8726bb7" CreationDate="2011-08-29T22:16:23.793" UserDisplayName="jodles" Text="Maybe Tonmeister would fit the bill. As mentioned above, it is hard to find anyone with an expert knowledge in all the areas mentioned, but according to the Wikipedia article a Tonmeister should have a good grasp on theoretical and practical knowledge (be that electronics, acoustics, signal processing, engineering) as well as musical training. It probably varies widely among the different schools and universities, but the idea seems to be the same." ContentLicense="CC BY-SA 3.0" />
  <row Id="36553" PostHistoryTypeId="36" PostId="22460" RevisionGUID="f864b130-1ee8-4196-a062-96f46e343c23" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2708/what-to-look-for-in-microphone-to-capture-sound-in-larger-area" />
  <row Id="36554" PostHistoryTypeId="36" PostId="22461" RevisionGUID="715261c8-8f52-4178-b5af-a709d0aae672" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2708/what-to-look-for-in-microphone-to-capture-sound-in-larger-area/2773#2773" />
  <row Id="36555" PostHistoryTypeId="2" PostId="22461" RevisionGUID="b6ea7d88-684c-495f-adca-697488ae9ce2" CreationDate="2011-12-08T11:41:01.920" UserDisplayName="Kim Burgess" Text="Unfortunately you can't fight the basic laws of physics. You will get a drop of around 6dB (the level will half) for each doubling of the distance from your audio source, ie whoever is speaking. This is known as the [Inverse Square Law](http://hyperphysics.phy-astr.gsu.edu/hbase/acoustic/invsqs.html).&#xD;&#xA;&#xD;&#xA;As you have read, if everyone needs to simultaneously be capable of taking part in the conference the most common method to counteract this is to place a number of microphones within the space. This however will provide a whole new suite of issues to do with phase difference etc which must then be counteracted with digital signal processing equipment designed for this purpose.&#xD;&#xA;&#xD;&#xA;However, in your case as these are learning environments, rather than everyone having equal participation there is usually one (or a small number of) primary participants - generally the teacher - which will be interacting with the far end. A far simpler (and much, much more economical) approach in this scenario is to provide these people with [lavalier microphones](http://en.wikipedia.org/wiki/Lavalier_microphone). This will also greatly assist with combatting [echo cancellation](http://en.wikipedia.org/wiki/Echo_cancellation) issues that you will face in any amplified conferencing environment.&#xD;&#xA;&#xD;&#xA;As far as cameras go that's a whole other problem that I'd recommend splitting out into a new question." ContentLicense="CC BY-SA 3.0" />
  <row Id="36556" PostHistoryTypeId="2" PostId="22460" RevisionGUID="174dccb1-016d-471e-8bc5-e7bf81a5b6d9" CreationDate="2011-11-28T15:34:22.847" UserDisplayName="Joel Coehoorn" Text="I have a couple classroom-like spaces, where as many as 30 people will meet together. These rooms have a computer and a projector installed. Recently, users in these rooms have wanted to add the ability for one or two members to Skype in to the meetings.  This itself is simple enough.&#xD;&#xA;&#xD;&#xA;The problem I am running into is selecting a microphone.  Most anything I search for has a pick up range of 2 or at most 3 meters, and that's not going to cut it.  The microphone will be at the front of the room, and I need it to pick up speech from the back of the room... up to 10 meters away.&#xD;&#xA;&#xD;&#xA;What/where should I look for to find candidates? &#xD;&#xA;&#xD;&#xA;Everything I'm seeing says that to avoid the problem of the mic picking up any output from the computers speakers (ie: also hearing the person on the other end of the call) I will need several mics spread through the room, each with lower pick-up settings, and that just won't work here. &#xD;&#xA;&#xD;&#xA;Is there any way to get around this?&#xD;&#xA;&#xD;&#xA;**Update:**  &#xD;&#xA;&#xD;&#xA;I've also been looking at cameras, and I'm thinking of this item:&#xD;&#xA;&#xD;&#xA;&lt;http://www.logitech.com/en-us/webcam-communications/webcams/devices/tvcam-skype?WT.ac=ps%7C8278&gt;&#xD;&#xA;&#xD;&#xA;I had been assuming there is no way the microphone built into a web cam would be adequate, but reading reviews on this model it _might_ be able to do the job. Since I have to get a camera anyway, I may try it with the built-in mic first and see what happens.&#xD;&#xA;&#xD;&#xA;Also, for my own records, I'm looking at this mic:  &#xD;&#xA;&#xD;&#xA;&lt;http://www.amazon.com/MXL-AC404-USB-Conference-Microphone/dp/B001TGTDFM/ref=pd_sim_e_5&gt;&#xD;&#xA;&#xD;&#xA;Though using a usb mic might mean manually selecting the correct audio source... an additional step for users that I'd like to avoid if possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="36557" PostHistoryTypeId="1" PostId="22460" RevisionGUID="174dccb1-016d-471e-8bc5-e7bf81a5b6d9" CreationDate="2011-11-28T15:34:22.847" UserDisplayName="Joel Coehoorn" Text="What to look for in microphone to capture sound in larger area?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36558" PostHistoryTypeId="3" PostId="22460" RevisionGUID="174dccb1-016d-471e-8bc5-e7bf81a5b6d9" CreationDate="2011-11-28T15:34:22.847" UserDisplayName="Joel Coehoorn" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36565" PostHistoryTypeId="36" PostId="22464" RevisionGUID="2852b289-a367-4a2e-a6ce-62483ecf19ad" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3378/treating-plosives-on-voiceovers" />
  <row Id="36566" PostHistoryTypeId="2" PostId="22465" RevisionGUID="8ab40ec8-b04d-4c30-a122-eac3d2efa1dd" CreationDate="2012-02-21T21:12:03.387" UserId="7016" Text="If a pop screen isn't sorting the problem, try moving the microphone further off centre, so that wall of air misses it entirely. You'll have seen singers with head mics have them positioned quite far around their cheek - this removes almost all the plosives.&#xD;&#xA;&#xD;&#xA;If you want to remove them from a recording, you can have a look at your spectral plot and see where the bulk of the power comes in and compress that bit right down, but it won't be as clean as sorting it initially." ContentLicense="CC BY-SA 3.0" />
  <row Id="36567" PostHistoryTypeId="2" PostId="22464" RevisionGUID="b7a32441-1efb-4907-af3d-1ecf85d91631" CreationDate="2012-02-21T19:56:38.397" UserId="19700" UserDisplayName="Pieter" Text="I'm doing some voice recordings and I noticed that sometimes certain letters sound louder than they should: K, S, E, et cetera. What they all have in common is that they send a huge wall of air towards my microphone. I have a pop filter in place but it isn't canceling out the issue entirely.&#xD;&#xA;&#xD;&#xA;Are there any common tricks to treat plosives with effects? Do I need to learn speak differently?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36568" PostHistoryTypeId="1" PostId="22464" RevisionGUID="b7a32441-1efb-4907-af3d-1ecf85d91631" CreationDate="2012-02-21T19:56:38.397" UserId="19700" UserDisplayName="Pieter" Text="Treating plosives on voiceovers" ContentLicense="CC BY-SA 3.0" />
  <row Id="36569" PostHistoryTypeId="3" PostId="22464" RevisionGUID="b7a32441-1efb-4907-af3d-1ecf85d91631" CreationDate="2012-02-21T19:56:38.397" UserId="19700" UserDisplayName="Pieter" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36570" PostHistoryTypeId="36" PostId="22465" RevisionGUID="76fbf501-5088-4041-9c55-bdd8c9ae8dd2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3378/treating-plosives-on-voiceovers/3379#3379" />
  <row Id="36571" PostHistoryTypeId="36" PostId="22466" RevisionGUID="4e3c607d-44a7-4e74-aa92-64f62ca64ba7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3378/treating-plosives-on-voiceovers/3401#3401" />
  <row Id="36572" PostHistoryTypeId="2" PostId="22466" RevisionGUID="f4bb0f05-9ce0-4eea-9388-353464dc2ce0" CreationDate="2012-02-25T00:59:42.717" UserDisplayName="Squancho" Text="You can use what's known as a 'deEsser' plugin - which is basically a program that isolates a frequency in a vocal track where the &quot;S&quot; sound produces the loudest frequencies, and compresses it. Here is an example of one I use - http://www.waves.com/Content.aspx?id=325, but there are also many free ones. A good idea to find out which frequency specifically is giving you trouble is to run through your tracks with a thin band spike up and down the spectrum, hovering around until you can isolate the frequency, then you will know where to compress... S's and other silibants are commonly a problem in speech and vocal performances, and so often need to be attenuated." ContentLicense="CC BY-SA 3.0" />
  <row Id="36573" PostHistoryTypeId="36" PostId="22467" RevisionGUID="66fc7c11-c635-48d1-829b-a6b20d10df85" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5447/can-os-x-audio-preview-loop-or-be-replaced-by-a-different-playback-system-that-s" />
  <row Id="36574" PostHistoryTypeId="36" PostId="22468" RevisionGUID="00caebea-f7ca-482d-8d6c-a86ce40c701e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5447/can-os-x-audio-preview-loop-or-be-replaced-by-a-different-playback-system-that-s/5448#5448" />
  <row Id="36575" PostHistoryTypeId="36" PostId="22469" RevisionGUID="1d3a1241-a274-45ab-aa93-be1858b7a2e1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5447/can-os-x-audio-preview-loop-or-be-replaced-by-a-different-playback-system-that-s/5453#5453" />
  <row Id="36576" PostHistoryTypeId="2" PostId="22468" RevisionGUID="911ac7b9-1065-44bf-9934-ce028cfbb64f" CreationDate="2012-11-29T05:42:59.713" UserId="7231" UserDisplayName="NReilingh" Text="For simple, reliable audio playback, I actually still use QuickTime.&#xD;&#xA;&#xD;&#xA;If you don't like QuickTime X that is included on all new Macs (and I don't), you can still get [QuickTime 7](http://support.apple.com/kb/DL923?viewlocale=en_US&amp;locale=en_US), which also has available some very worthy [&quot;Pro&quot; functions](https://www.apple.com/quicktime/extending/), for a [$30 activation key](http://store.apple.com/us/product/D3380Z/A/quicktime-7-pro-for-mac-os-x). Looping should work without Pro.&#xD;&#xA;&#xD;&#xA;QuickTime Pro 7 is still highly useful to me even after all these years--the reason it is still around is because QuickTime X was a complete rewrite that matched with Apple's new style for its media applications, but it did not contain all of the features that are present in QuickTime 7." ContentLicense="CC BY-SA 3.0" />
  <row Id="36577" PostHistoryTypeId="2" PostId="22469" RevisionGUID="a7c20d5f-b8b8-46c1-aea8-dcd48f307cff" CreationDate="2012-11-29T13:40:11.150" UserId="7196" UserDisplayName="Robert" Text="For looping, I would use Logic if you have it. if not, Garageband will do the job.&#xD;&#xA;&#xD;&#xA;For simple audio playback there is always iTunes and a host of alternatives, such as these listed here:&#xD;&#xA;http://www.head-fi.org/t/539740/mac-os-x-music-players-alternatives-to-itunes.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36578" PostHistoryTypeId="2" PostId="22467" RevisionGUID="b8608d7f-226f-4de2-bc47-a2843fcd5a0f" CreationDate="2012-11-29T03:13:15.283" UserDisplayName="syncr" Text="I'm working with single cycle waveforms which don't seem to work with Preview. The stop/start is done before audio is produced. I'd like a tool that offers an improvement on the native playback. Anything out there? I'm familiar with Iced Audio Audiofinder but that is a bit excessive for my needs." ContentLicense="CC BY-SA 3.0" />
  <row Id="36579" PostHistoryTypeId="1" PostId="22467" RevisionGUID="b8608d7f-226f-4de2-bc47-a2843fcd5a0f" CreationDate="2012-11-29T03:13:15.283" UserDisplayName="syncr" Text="Can OS X audio preview loop or be replaced by a different playback system that supports looping?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36580" PostHistoryTypeId="3" PostId="22467" RevisionGUID="b8608d7f-226f-4de2-bc47-a2843fcd5a0f" CreationDate="2012-11-29T03:13:15.283" UserDisplayName="syncr" Text="&lt;audio&gt;&lt;osx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36581" PostHistoryTypeId="36" PostId="22470" RevisionGUID="8f2635d4-7176-471d-8201-843cb6cc96a5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/36/what-could-be-causing-audible-clicks-in-tracktion-3-on-windows" />
  <row Id="36582" PostHistoryTypeId="36" PostId="22471" RevisionGUID="6a6ed864-024f-4edd-b907-3cf4defabced" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/36/what-could-be-causing-audible-clicks-in-tracktion-3-on-windows/55#55" />
  <row Id="36583" PostHistoryTypeId="36" PostId="22472" RevisionGUID="65203b2b-97d3-4f1c-af70-69f3d836167a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/36/what-could-be-causing-audible-clicks-in-tracktion-3-on-windows/87#87" />
  <row Id="36584" PostHistoryTypeId="36" PostId="22473" RevisionGUID="eee08501-66e4-4680-a8c3-4d8b0af1f8f1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/36/what-could-be-causing-audible-clicks-in-tracktion-3-on-windows/90#90" />
  <row Id="36585" PostHistoryTypeId="2" PostId="22471" RevisionGUID="ed68e002-c7cd-40b6-98f8-e7f44be79c65" CreationDate="2010-12-07T21:28:11.457" UserId="7856" UserDisplayName="Corey" Text="You might want to give your computer a tune up.&#xD;&#xA;&#xD;&#xA; - Defrag Hard drive&#xD;&#xA; - Check for Malware&#xD;&#xA; - Make sure there aren't any programs&#xD;&#xA;   running in memory that are not&#xD;&#xA;   necessary" ContentLicense="CC BY-SA 2.5" />
  <row Id="36586" PostHistoryTypeId="2" PostId="22472" RevisionGUID="f45b9121-cbda-41f9-aa2f-6a6c5da28c52" CreationDate="2010-12-08T01:26:55.903" UserDisplayName="jan" Text="Do you use an external (USB/firewire) sound card?  &#xD;&#xA;I can run mine on the USB power of my desktop PC without trouble,  &#xD;&#xA;but when I connect it to my laptop I get the occasional clicks:  &#xD;&#xA;its power supply isn't sufficient.&#xD;&#xA;&#xD;&#xA;Only when it's wall-powered, it's trouble free.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="36587" PostHistoryTypeId="2" PostId="22473" RevisionGUID="61e9940e-10ed-4f32-830e-57732659b51e" CreationDate="2010-12-08T01:45:33.697" UserDisplayName="Tom Wijsman" Text="Make sure that you are using ASIO Hardware or [ASIO4All](http://www.asio4all.com/) Software.&#xD;&#xA;&#xD;&#xA;Audible clicks happen because of latency problems, due to incorrect buffer sizes or playback rates...&#xD;&#xA;&#xD;&#xA;Anything interrupting with these buffers (like heavy I/O) can also cause these problems to occur." ContentLicense="CC BY-SA 2.5" />
  <row Id="36588" PostHistoryTypeId="2" PostId="22474" RevisionGUID="b8038bd7-f0bf-45aa-aef8-36fbb33623bc" CreationDate="2010-12-13T22:34:31.097" UserDisplayName="ChrisThomas123" Text="The clicking is caused by a setting on the audio files.  If the 'stretch' property of the clip is set to 'transient' - *even if there is no stretching or compressing going on* - then loud peaks will click.  Setting the 'stretch' property to 'tonal' completely removes the clicks.&#xD;&#xA;&#xD;&#xA;(Possibly worth setting audio clips to 'tonal' by default.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="36589" PostHistoryTypeId="2" PostId="22470" RevisionGUID="a0f11706-2fcc-4019-b2cc-9592c59bbfba" CreationDate="2010-12-07T21:02:53.020" UserDisplayName="ChrisThomas123" Text="I've been using Tracktion 3 (on Windows XP) for a long time now, but I've started to notice audible 'clicks' in my recordings for the last couple of months.  It's ruining things!  &#xD;&#xA;&#xD;&#xA;The clicks are very short bursts of digital noise, like clipping, but the levels are actually well short of what would cause that.&#xD;&#xA;&#xD;&#xA;Nothing has really changed in my set-up.  The issue appears to occur regardless of what VST plugins are in use, and what latency settings I use.  It happens even when rendering/freezing tracks, so it would seem to be internal to Tracktion in some way.&#xD;&#xA;&#xD;&#xA;Any ideas what could be causing the problem?" ContentLicense="CC BY-SA 2.5" />
  <row Id="36590" PostHistoryTypeId="1" PostId="22470" RevisionGUID="a0f11706-2fcc-4019-b2cc-9592c59bbfba" CreationDate="2010-12-07T21:02:53.020" UserDisplayName="ChrisThomas123" Text="What could be causing audible clicks in Tracktion 3 on Windows?" ContentLicense="CC BY-SA 2.5" />
  <row Id="36591" PostHistoryTypeId="3" PostId="22470" RevisionGUID="a0f11706-2fcc-4019-b2cc-9592c59bbfba" CreationDate="2010-12-07T21:02:53.020" UserDisplayName="ChrisThomas123" Text="&lt;audio-recording&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="36592" PostHistoryTypeId="36" PostId="22474" RevisionGUID="8101fc34-c6dc-4313-9da9-bfa5404aa585" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/36/what-could-be-causing-audible-clicks-in-tracktion-3-on-windows/252#252" />
  <row Id="36593" PostHistoryTypeId="36" PostId="22475" RevisionGUID="3aeaf7d7-aee9-4eb1-aedf-35fb2ab8a0d2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8698/what-is-the-difference-between-low-pass-and-high-cut-filters" />
  <row Id="36594" PostHistoryTypeId="2" PostId="22476" RevisionGUID="6dcdeed8-e4c9-485d-b75a-f8ce8aa3bc50" CreationDate="2013-08-13T13:11:03.730" UserDisplayName="Bjorn Roche" Text="Low pass and high cut are synonyms, so there is no difference. Other filters also have multiple names. Here are some examples:&#xD;&#xA;&#xD;&#xA;- high pass and low cut are the same.&#xD;&#xA;- bell filters often have other names like boost/cut or peaking. When used in cut mode only, with a narrow bandwidth, a bell filter may be called a notch filter." ContentLicense="CC BY-SA 3.0" />
  <row Id="36595" PostHistoryTypeId="2" PostId="22475" RevisionGUID="6becb2c5-d766-467a-9e68-d4f993241f91" CreationDate="2013-08-13T11:12:01.783" UserId="7458" UserDisplayName="Dan the Man" Text="Is there any difference between low-pass and high-cut filters? There must be, and that's why they're named differently. But, when and why would you use one instead of the other?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36596" PostHistoryTypeId="1" PostId="22475" RevisionGUID="6becb2c5-d766-467a-9e68-d4f993241f91" CreationDate="2013-08-13T11:12:01.783" UserId="7458" UserDisplayName="Dan the Man" Text="What is the difference between low-pass and high-cut filters?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36597" PostHistoryTypeId="3" PostId="22475" RevisionGUID="6becb2c5-d766-467a-9e68-d4f993241f91" CreationDate="2013-08-13T11:12:01.783" UserId="7458" UserDisplayName="Dan the Man" Text="&lt;audio&gt;&lt;equalization&gt;&lt;filter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36598" PostHistoryTypeId="36" PostId="22476" RevisionGUID="a837fb87-8159-4f1e-adb4-2c2c3edfc5b2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8698/what-is-the-difference-between-low-pass-and-high-cut-filters/8699#8699" />
  <row Id="36599" PostHistoryTypeId="36" PostId="22477" RevisionGUID="52f80fcb-68a5-497b-b1bb-aeb8c2e99eb2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8698/what-is-the-difference-between-low-pass-and-high-cut-filters/8700#8700" />
  <row Id="36600" PostHistoryTypeId="36" PostId="22478" RevisionGUID="07214064-d4d4-4604-a624-7dcafcd518f3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8698/what-is-the-difference-between-low-pass-and-high-cut-filters/8701#8701" />
  <row Id="36601" PostHistoryTypeId="2" PostId="22477" RevisionGUID="afe86b68-04bf-4c70-9568-3a68ce9c3f23" CreationDate="2013-08-13T14:35:19.580" UserId="7174" Text="I normally hear it referred to as low-pass simply be cause it avoids confusion with high-pass filters, but low-cut and high-pass are exact synonyms.  The only difference is if they are describing what is being cut or what is being taken.  &#xD;&#xA;&#xD;&#xA;I suppose there might have technically been a difference at one point based on if it was implemented by taking the lower frequencies out of a source signal or dampening the high frequencies to remove them from a signal, however the result of either description is the same, a signal where the frequencies above a certain frequency are removed or greatly attenuated." ContentLicense="CC BY-SA 3.0" />
  <row Id="36602" PostHistoryTypeId="2" PostId="22478" RevisionGUID="12712f7e-29d7-4f1c-b953-14d5d3571522" CreationDate="2013-08-13T15:54:40.703" UserId="7787" UserDisplayName="audiomason" Text="A high-pass filter only allows a certain frequency range to pass through it.  Frequencies below the cutoff are reduced by a factor of the Q of the filter, usually -12 or -24 db/octave.&#xD;&#xA;&#xD;&#xA;Low-cut is a generic term that could apply to a high-pass filter, but more typically to a low-shelf filter.&#xD;&#xA;&#xD;&#xA;A low-shelf filter reduces all frequencies below the shelf by a specified amount.&#xD;&#xA;&#xD;&#xA;See [Wikipedia:Filter Design:The Frequency Function][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Filter_design#The_frequency_function" ContentLicense="CC BY-SA 3.0" />
  <row Id="36621" PostHistoryTypeId="36" PostId="22486" RevisionGUID="4049868d-78df-4c12-bc30-74e406e41e2a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5574/there-is-static-when-i-export-video-where-there-is-none-in-editing-premiere-pro" />
  <row Id="36622" PostHistoryTypeId="2" PostId="22486" RevisionGUID="30eaba0b-c445-46c8-9c28-729fdee0a3d9" CreationDate="2012-12-13T23:49:13.587" UserDisplayName="MariaV" Text="The problem is that when I export the video, there is static in the beginning of each clip, which goes away after a little while. It's very prominent when there are a lot of quick cuts. In the longer clips there is static in the first 5 seconds or so and then it sounds fine. The worst part is that I can only sometimes hear this in Premiere Pro, mostly the audio sounds perfectly fine start to finish, but it's there every time I export the video. I've been using the youtube exporting preset. I've also tried .avi file and it's there, too. &#xD;&#xA;&#xD;&#xA;The mic we used in the shoot was a Sennheiser MKE400, and the sound was quiet and there was a lot of static, so I had to use compression and denoiser effects.&#xD;&#xA;&#xD;&#xA;Please help! Here is a short sample of the video: http://youtu.be/3PyrcTfbSEg" ContentLicense="CC BY-SA 3.0" />
  <row Id="36623" PostHistoryTypeId="1" PostId="22486" RevisionGUID="30eaba0b-c445-46c8-9c28-729fdee0a3d9" CreationDate="2012-12-13T23:49:13.587" UserDisplayName="MariaV" Text="There is static when I export video where there is none in editing (premiere pro)" ContentLicense="CC BY-SA 3.0" />
  <row Id="36624" PostHistoryTypeId="3" PostId="22486" RevisionGUID="30eaba0b-c445-46c8-9c28-729fdee0a3d9" CreationDate="2012-12-13T23:49:13.587" UserDisplayName="MariaV" Text="&lt;audio&gt;&lt;editing&gt;&lt;noise&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36629" PostHistoryTypeId="36" PostId="22488" RevisionGUID="b0dd02f3-9974-4e2c-b027-652fc56a63f9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7566/specifics-of-clipping-distortion-perception" />
  <row Id="36630" PostHistoryTypeId="36" PostId="22489" RevisionGUID="8c84535d-d422-4ade-866b-403e1ddc3a8d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7566/specifics-of-clipping-distortion-perception/7567#7567" />
  <row Id="36631" PostHistoryTypeId="36" PostId="22490" RevisionGUID="b80e3e79-83c9-4d7a-aae5-26e34c9350e0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7566/specifics-of-clipping-distortion-perception/7568#7568" />
  <row Id="36632" PostHistoryTypeId="2" PostId="22489" RevisionGUID="f05d7f96-2dfb-447c-98d4-299bcdf52bd9" CreationDate="2013-04-02T14:16:35.253" UserId="7174" Text="Clipping occurs when the level of signal needed to accurately render a sound exceeds the ability of the system in question to handle the signal.  This can happen at several different points, ranging from the signal level that can be produced by the amplifier to the distance a speaker can travel.  &#xD;&#xA;&#xD;&#xA;Ultimately, the result is a partially square wave which results in a jerky motion on play back as a speaker can not render a square wave effectively due to momentum.  The sound you hear is a product of the speaker failing to accurately reproduce the square wave.  The way around it is to remove the square wave by doing something like spline interpolation." ContentLicense="CC BY-SA 3.0" />
  <row Id="36633" PostHistoryTypeId="2" PostId="22490" RevisionGUID="2d6cc272-f268-4912-a4c4-12354c85281d" CreationDate="2013-04-02T14:35:30.017" UserId="7312" UserDisplayName="Eugene S" Text="The question about the nature of clipping phenomena was discussed many times here on this site (for example [here][1]) and on dozens of other places which are easily googled. &#xD;&#xA;&#xD;&#xA;So as it was already discussed, clipping - is just few points where signal amplitude exceed the available range of finite amplitude levels. This causing the wave signal to become less continuous which makes its spectral representation much more complex. &#xD;&#xA;&#xD;&#xA;Imagine a single sine tone which contain only one frequency. In the spectral domain such signal will be represented as a single frequency. However when the signal become clipped (i.e. not smooth and continuous), its spectral representation become much more complex and many additional frequencies are introduced. This is easily visible in the below image:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;This is the reason why all those nasty frequencies (pouring sand on drum's membrane) appear. &#xD;&#xA;&#xD;&#xA;Theoretically, it is possible to attempt to repair such signal using [interpolation][3]\[extrapolation][4] techniques which will make the sound wave more &quot;round&quot; in the clipped areas, however it may or may not produce any audible results. More on clipping repair [here][5].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/446/what-is-clipping-distortion-what-causes-it-and-how-to-avoid-it-when-recordin&#xD;&#xA;  [2]: http://i.stack.imgur.com/uYNw7.jpg&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Interpolation&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Extrapolation&#xD;&#xA;  [5]: http://en.wikipedia.org/wiki/Clipping_%28audio%29#Repairing_a_clipped_signal" ContentLicense="CC BY-SA 3.0" />
  <row Id="36634" PostHistoryTypeId="2" PostId="22488" RevisionGUID="2f473fc8-4c45-4627-80f0-0ba46f6e8a87" CreationDate="2013-04-02T14:04:03.410" UserId="11382" UserDisplayName="ILICH" Text="Why clipped sound perceived like someone is pouring sand on drum's membrane? It feels like it happens on specific frequencies and not totally random. Which maybe means it can be filtered? &#xD;&#xA;&#xD;&#xA;Can we filter clipping distortion based on its specific properties? (i'm not talking about spline interpolation but more like cut-off approach maybe)&#xD;&#xA;&#xD;&#xA;&lt;b&gt;Added&lt;/b&gt;&#xD;&#xA;&#xD;&#xA;Just wanted to clarify that I'm aware of the nature of clipping phenomena but more concerned about specifics of perception of this phenomena. So, after DFT/FFT of the clipped signal we're having those &quot;nasty frequencies&quot;. Are they sharing any properties in common? are they located within some specific frequency range? Can we simply cut them off? Can we cut them off in specific cases, like when the spectral characteristics of clipped signal are well known and predictable?&#xD;&#xA;&#xD;&#xA;The whole point of asking this is that i want to cleanup this record http://www.2shared.com/audio/SMuu991E/smrad.html and alike. It's MP3 and I don't have wav version. I feel like that 'sandy' noise has some predictable nature and identifiable by my ear. It's not like abstract smoothing of the signal, and it's clearly lies within some range, which i believe should be distinguishable from the useful signal. Please help if you know what i'm talking about.&#xD;&#xA;&#xD;&#xA;That story is tricky because my record is in MP3 form, meaning that i have spectral form only. I have no way of getting original wav." ContentLicense="CC BY-SA 3.0" />
  <row Id="36635" PostHistoryTypeId="1" PostId="22488" RevisionGUID="2f473fc8-4c45-4627-80f0-0ba46f6e8a87" CreationDate="2013-04-02T14:04:03.410" UserId="11382" UserDisplayName="ILICH" Text="specifics of clipping distortion perception" ContentLicense="CC BY-SA 3.0" />
  <row Id="36636" PostHistoryTypeId="3" PostId="22488" RevisionGUID="2f473fc8-4c45-4627-80f0-0ba46f6e8a87" CreationDate="2013-04-02T14:04:03.410" UserId="11382" UserDisplayName="ILICH" Text="&lt;audio&gt;&lt;filter&gt;&lt;distortion&gt;&lt;post-production&gt;&lt;clipping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36637" PostHistoryTypeId="36" PostId="22491" RevisionGUID="fed2393d-fffc-45c0-8a21-50546697dbaa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/623/how-do-i-fix-usb-mic-static-through-a-preamp" />
  <row Id="36638" PostHistoryTypeId="2" PostId="22492" RevisionGUID="7486ebc4-fd0d-4c75-9830-66ddea4ee952" CreationDate="2011-01-18T22:11:31.703" UserId="7398" UserDisplayName="BenV" Text="Going through the preamp should take care of the noise frequently found in soundcard A/D converters. Try listening to your recording somewhere other than your computer to ensure the noise isn't happening on playback - maybe it's not an input problem at all, but rather an output problem." ContentLicense="CC BY-SA 2.5" />
  <row Id="36639" PostHistoryTypeId="2" PostId="22491" RevisionGUID="403558d8-36d4-4fd4-a9fc-667ff0690cc6" CreationDate="2011-01-18T15:10:35.640" UserDisplayName="Latency" Text="I am trying to setup a semi-pro recording area for creating a podcast and I am quite new to audio recording.&#xD;&#xA;&#xD;&#xA;I have a [KAM C3][1] (Bottom one on the site) Mic going into an [ART Tube MP - Project Series][2] with an XLR cable. From the Preamp I go through USB 1.1 into my computer, I'm getting a low buzzing/static that is present when I record through the mic.&#xD;&#xA;&#xD;&#xA;I also have a [Razer Megalodon][3] (USB) which gets the same static/buzzing so I am assuming that the static/buzzing is comming from either the USB port (Ive tried 3 different ports on my PC, but they are all in the same area because I heard it may be a grounding issue) or the computer itself.&#xD;&#xA;&#xD;&#xA;Are there any other ways I could fix this, or maybe a sound card that I could buy that would eliminate this issue.&#xD;&#xA;&#xD;&#xA;Thx&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://kaminstruments.com/studio-mics.htm&#xD;&#xA;  [2]: http://www.artproaudio.com/products.asp?type=79&amp;cat=1&amp;id=115&#xD;&#xA;  [3]: http://store.razerzone.com/store/razerusa/en_US/DisplayCategoryProductListPage/categoryID.35096300" ContentLicense="CC BY-SA 2.5" />
  <row Id="36640" PostHistoryTypeId="1" PostId="22491" RevisionGUID="403558d8-36d4-4fd4-a9fc-667ff0690cc6" CreationDate="2011-01-18T15:10:35.640" UserDisplayName="Latency" Text="How do I fix USB Mic Static through a preamp?" ContentLicense="CC BY-SA 2.5" />
  <row Id="36641" PostHistoryTypeId="3" PostId="22491" RevisionGUID="403558d8-36d4-4fd4-a9fc-667ff0690cc6" CreationDate="2011-01-18T15:10:35.640" UserDisplayName="Latency" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;noise&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="36642" PostHistoryTypeId="36" PostId="22492" RevisionGUID="0abd60e6-9670-492d-a5bf-332b9ccfb88a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/623/how-do-i-fix-usb-mic-static-through-a-preamp/631#631" />
  <row Id="36653" PostHistoryTypeId="36" PostId="22496" RevisionGUID="cca18f17-ce79-4632-b118-3ab4c1980d3e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9390/help-identifying-audio-equipment" />
  <row Id="36654" PostHistoryTypeId="2" PostId="22497" RevisionGUID="634c31fb-7198-4f05-a0cc-4b4bf3e798ce" CreationDate="2013-11-12T22:10:24.683" UserId="7174" Text="That is a bunch of wireless units.  Hard to tell from the resolution if they are wireless transmitters (for wireless monitors) or wireless receivers (for microphones).  My guess would be receivers.  In particular, they appear to be [Audio-Technica 3000 series wireless receivers][1].&#xD;&#xA;&#xD;&#xA;Below them I'm not sure what the white unit is, but possibly a recorder based on the layout of the controls. (The black lines are generally protection around the record button.)&#xD;&#xA;&#xD;&#xA;Below that appears to be either a patch bay or an output hookup for the feeds coming from the receivers.&#xD;&#xA;&#xD;&#xA;The unit sitting on top of the rack is an effects unit and the unit way at the bottom and hidden behind appears to be an older receiver which I vaguely recognize but can't remember the model of.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audio-technica.com/cms/wls_systems/7ee89d5bb13ceadd/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="36655" PostHistoryTypeId="2" PostId="22496" RevisionGUID="46f1f51c-4f69-4091-b567-212dde11c68f" CreationDate="2013-11-12T21:14:30.003" UserId="7444" UserDisplayName="Santa Claus" Text="I found this image on the web and I was trying to identify different components in it. Could anyone help?&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/IBFiA.jpg&#xD;&#xA;&#xD;&#xA;This is most likely equipment for a live use." ContentLicense="CC BY-SA 3.0" />
  <row Id="36656" PostHistoryTypeId="1" PostId="22496" RevisionGUID="46f1f51c-4f69-4091-b567-212dde11c68f" CreationDate="2013-11-12T21:14:30.003" UserId="7444" UserDisplayName="Santa Claus" Text="Help identifying audio equipment" ContentLicense="CC BY-SA 3.0" />
  <row Id="36657" PostHistoryTypeId="3" PostId="22496" RevisionGUID="46f1f51c-4f69-4091-b567-212dde11c68f" CreationDate="2013-11-12T21:14:30.003" UserId="7444" UserDisplayName="Santa Claus" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36658" PostHistoryTypeId="36" PostId="22497" RevisionGUID="dc7d0d06-04b4-4968-8320-5ed45bd85453" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9390/help-identifying-audio-equipment/9393#9393" />
  <row Id="36659" PostHistoryTypeId="36" PostId="22498" RevisionGUID="2bd6f96f-11ea-4d7a-a7be-9865d5e55d96" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9390/help-identifying-audio-equipment/9523#9523" />
  <row Id="36660" PostHistoryTypeId="2" PostId="22498" RevisionGUID="566b7857-cb06-43b6-bca1-d6eee64c0b9a" CreationDate="2013-11-29T03:38:41.807" UserDisplayName="gabe" Text="Those are Triax patch points at the bottom. There are 8 male connectors in two groups in the first row, and 4 female connectors centered in the second row. The female connections receive signal from the camera and feed it to camera control units (CCU's) in a control room somewhere. The male ends are extension points coming from locations around the building where cameras would be deployed. &#xD;&#xA;&#xD;&#xA;The male ends are marked 'House cable' and are probably split between two theaters or auditoriums. My bet is that this facility runs four cameras at a time, so they patch any 4 of the house cables to the control room. &#xD;&#xA;&#xD;&#xA;The triax carries bi-directional signals between the base station and the camera. Signals include camera pictures, intercom, return video, audio, teleprompter and control data." ContentLicense="CC BY-SA 3.0" />
  <row Id="36667" PostHistoryTypeId="36" PostId="22501" RevisionGUID="3e702056-0734-4f80-9104-42d9c54d42b2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1760/how-can-i-get-a-basic-transcription-of-an-audio-recording-using-voice-recognitio" />
  <row Id="36668" PostHistoryTypeId="36" PostId="22502" RevisionGUID="10d7e337-5d36-4f14-a5a8-1b6205d4fff8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1760/how-can-i-get-a-basic-transcription-of-an-audio-recording-using-voice-recognitio/1776#1776" />
  <row Id="36669" PostHistoryTypeId="36" PostId="22503" RevisionGUID="cbf3cd46-0c81-444c-86a6-ccaa8fce35e0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1760/how-can-i-get-a-basic-transcription-of-an-audio-recording-using-voice-recognitio/1809#1809" />
  <row Id="36670" PostHistoryTypeId="36" PostId="22504" RevisionGUID="7c86384d-d941-4fbd-9ff0-305ccd756554" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1760/how-can-i-get-a-basic-transcription-of-an-audio-recording-using-voice-recognitio/2423#2423" />
  <row Id="36671" PostHistoryTypeId="36" PostId="22505" RevisionGUID="8e5e64b9-b951-49be-87a8-4c419028a132" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1760/how-can-i-get-a-basic-transcription-of-an-audio-recording-using-voice-recognitio/3930#3930" />
  <row Id="36672" PostHistoryTypeId="2" PostId="22502" RevisionGUID="b3acb63f-7966-446f-af29-14f4f5aef3b0" CreationDate="2011-07-06T20:53:28.020" UserDisplayName="Clint Torres" Text="If you happen to be a video editor, then the latest Premiere Pro has a respectable voice transcribing component in it.  &#xD;&#xA;&#xD;&#xA;If your recordings are very clear and high quality, then a crazy idea might be to play back the recording to Dragon Naturally Speaking.  But, given current technology, I doubt any software solution would work well, and all will generate quirky sentences.&#xD;&#xA;&#xD;&#xA;My favorite option is to send your files to a third party for transcription.  Most services specialize in medical and legal, but some will transcribe any audio for you.  Nuance's service Jott, the main one I knew about, was apparently just axed in May 2011.  An online search for &quot;voice transcription service&quot; gives you a ton of options to choose from, some domestic, some offshore.  Services like this may cost you, but your results will be much better than a software approach.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36673" PostHistoryTypeId="2" PostId="22504" RevisionGUID="6a29fe2e-be31-408b-8c34-c7150593d32c" CreationDate="2011-10-03T07:07:56.733" UserDisplayName="Andrew" Text="One technique that I've tried is similar to Clint's suggestion, but instead of playing the recording into Dragon, you listen to the recording on headphones and then speak what you're hearing into Dragon.  This may yield better results since voice recognition software relies on learning one person's voice to improve it's accuracy.  You'll also have an opportunity, as you 'translate' to speak more clearly than the interviewee did. You can try it out by getting a free version of the [Dragon iPhone App][1]. It's probably available on other platforms as well.&#xD;&#xA;&#xD;&#xA;There's also software for sale called [Boris SoundBite][2] that, while it doesn't do transcription, it allows you to search for a given word amongst hours and hours of video files.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://click.linksynergy.com/fs-bin/stat?id=JrcDm5Q6*SM&amp;offerid=146261&amp;type=3&amp;subid=0&amp;tmpid=1826&amp;RD_PARM1=http%253A%252F%252Fitunes.apple.com%252Fus%252Fapp%252Fdragon-dictation%252Fid341446764%253Fmt%253D8%2526uo%253D4%2526partnerId%253D30&#xD;&#xA;  [2]: http://www.borisfx.com/Soundbite/" ContentLicense="CC BY-SA 3.0" />
  <row Id="36674" PostHistoryTypeId="2" PostId="22505" RevisionGUID="49b51647-f8d5-48ab-8a5d-5d03b86d78b8" CreationDate="2012-05-05T19:03:42.047" UserDisplayName="Richard Tasker" Text="There is a new USB-based group microphone that can record six separate audio channels called the [Microcone][1] which will do just what you are looking for. It has a separate app called the [Microcone Recorder][2] which is perfect for recording groups, with it you get a visual timeline with indication of who was speaking and you can tag sections of the recording on the fly. &#xD;&#xA;&#xD;&#xA;There is also in-built audio transcription using Nuance (the company behind Dragon).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dev-audio.com/products/microcone/&#xD;&#xA;  [2]: http://www.dev-audio.com/products/recorder/" ContentLicense="CC BY-SA 3.0" />
  <row Id="36675" PostHistoryTypeId="2" PostId="22503" RevisionGUID="97a255f4-affe-488e-bdbc-f5603909af13" CreationDate="2011-07-08T07:08:52.960" UserDisplayName="DRMacIver" Text="You could try using http://speakertext.com/ (I haven't used them personally, but they've got a good reputation)." ContentLicense="CC BY-SA 3.0" />
  <row Id="36676" PostHistoryTypeId="2" PostId="22501" RevisionGUID="e2513845-6f96-4f21-9694-e12b61c0709b" CreationDate="2011-07-06T14:37:41.380" UserId="11300" UserDisplayName="mmccoo" Text="I like to record the older folks in my family. I put my recorder on the table and we just chat. Just hanging out.&#xD;&#xA;&#xD;&#xA;Most of the resulting footage is not interesting but occasionally, I get a gem. Some story from way back told in a way that's just awesome.&#xD;&#xA;&#xD;&#xA;I've been using google voice for some time now. It transcribes the message and texts it to me. The transcription is often entertainingly off, but usually close enough the get the gist.&#xD;&#xA;&#xD;&#xA;So voice recognition appears to be getting pretty good. &#xD;&#xA;&#xD;&#xA;Is there a way I can leverage this to get a rough transcript of my recordings. I figure skimming that will be easier than listening." ContentLicense="CC BY-SA 3.0" />
  <row Id="36677" PostHistoryTypeId="1" PostId="22501" RevisionGUID="e2513845-6f96-4f21-9694-e12b61c0709b" CreationDate="2011-07-06T14:37:41.380" UserId="11300" UserDisplayName="mmccoo" Text="How can I get a basic transcription of an audio recording using voice recognition?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36678" PostHistoryTypeId="3" PostId="22501" RevisionGUID="e2513845-6f96-4f21-9694-e12b61c0709b" CreationDate="2011-07-06T14:37:41.380" UserId="11300" UserDisplayName="mmccoo" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36679" PostHistoryTypeId="36" PostId="22506" RevisionGUID="a7d90776-ac3a-4e01-a723-8d91163c07bb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8997/max-audio-sample-rates" />
  <row Id="36680" PostHistoryTypeId="36" PostId="22507" RevisionGUID="aa84eafb-0d1f-40a7-a0f9-42a1baeae6aa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8997/max-audio-sample-rates/8998#8998" />
  <row Id="36681" PostHistoryTypeId="36" PostId="22508" RevisionGUID="706bc0e5-63fc-4e6d-a7af-c07110440686" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8997/max-audio-sample-rates/9000#9000" />
  <row Id="36682" PostHistoryTypeId="2" PostId="22507" RevisionGUID="19081862-447b-4cf9-9ee8-8d6f6fab884e" CreationDate="2013-09-19T15:31:18.157" UserDisplayName="horatio" Text="The range of human hearing is typically 20-20K Hz if I remember correctly, and this is why CD audio was set at 44100. To properly reconstruct a signal, you need to have approximately 2x the sample rate of the maximum frequency (see: [Nyquist-Shannon sampling theorem][1]). 44100 was picked as a value that gave acceptable quality reconstruction within the file storage budget they had at the time (~750MB for an album)&#xD;&#xA;&#xD;&#xA;Frequencies outside the human-hearing range can still interfere constructively and destructively to color the audible frequencies, so people (at least informally) suggest using equipment which can handle such frequencies. This would be the reason why 48K and 96K are used: they can capture a wider range of frequencies.&#xD;&#xA;&#xD;&#xA;side note: the CMYK print standard for images is usually quoted as 300dpi and this is because it is 2x the 150-line screens used for plate making in high-quality print publications. Again, sampling rate twice the frequency to avoid artifacts and moire.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Nyquist%E2%80%93Shannon_sampling_theorem" ContentLicense="CC BY-SA 3.0" />
  <row Id="36683" PostHistoryTypeId="2" PostId="22508" RevisionGUID="bcb10d25-e613-4af9-8c44-27ec13f0925d" CreationDate="2013-09-19T16:29:12.350" UserId="7194" UserDisplayName="Izhaki" Text="The sample rate of audio and video are two different things.&#xD;&#xA;&#xD;&#xA;#Video's Frames Per Second (fps)&#xD;&#xA;&#xD;&#xA;In video, a frame (sample) rate of 24fps is required to prevent flickering. The common frame rates (25 and 30) has to do with the fact that early televisions used the mains frequency for the purpose of syncing (50Hz in the UK, 60HZ in the States). The primary reason for higher frame rates is the reduction of motion blur. To my knowledge, latest research suggests that somewhere between 90Hz-112Hz the effect is no longer recognisable.&#xD;&#xA;&#xD;&#xA;#Audio's Sample Rate&#xD;&#xA;&#xD;&#xA;The sample rate of digital audio relates to the highest frequency captured/reproduced. As the Nyquist Theory states:&#xD;&#xA;&#xD;&#xA;&gt; A signal can be perfectly captured and reconstructed, so long the signal is band limited and sampled at equal intervals at a frequency at least twice the highest frequency present.&#xD;&#xA;&#xD;&#xA;Thus, a 44,100Hz sample rate can accommodate a signal with frequencies up to 22,050Hz. A 40000Hz sample rate can accommodate a signal with frequencies up to 20,000Hz&#xD;&#xA;&#xD;&#xA;Following a debate, the 44,100 Hz figure was [chosen](http://en.wikipedia.org/wiki/44,100_Hz) as the best compromise between various requirements, including those of the various television standards at the time. This sample rate was subsequently used with audio CDs.&#xD;&#xA;&#xD;&#xA;However, analogue-to-digital conversion (ADC) technology in the 1980s still exhibited distortion at levels that could be reduced using higher sample rates. Thus, when the DVD standard was established, the sample rate of 48,000 was chosen; representing a higher-fidelity audio.&#xD;&#xA;&#xD;&#xA;The limitations in technology at the time are no longer part of modern ADC, where nearly all converters use 1-bit oversampling.&#xD;&#xA;&#xD;&#xA;#Human Hearing Range&#xD;&#xA;&#xD;&#xA;The audible human hearing range is quoted as 20Hz - 20,000Hz (20kHz). Not a single empirical experiment in history has shown that any human being is capable of hearing frequencies above 20kHz. This is attributed to the density of the high-frequency 'hair' cells in our ears and the maximum rate at which they fire.&#xD;&#xA;&#xD;&#xA;It is also worth noting that about more than half the population above the age of 45 is incapable of hearing frequencies above 16kHz.&#xD;&#xA;&#xD;&#xA;#Inaudible Frequencies can Yield Audible Ones&#xD;&#xA;&#xD;&#xA;However, any signal being converted from digital to analogue must pass through a non-linear system before it reaches our ears. The obvious example of such system is the speaker cone. When audio passes through a non-linear system, distortion is created in the form of additional frequencies. Under such conditions, frequencies above 20kHz can actually result in distortion below 20kHz. However, unless the non-linear system is fundamentally faulty, for programme material (normal typical everyday sounds - not a loud sin wave of 30kHz) the distortion created is inaudible.&#xD;&#xA;&#xD;&#xA;The same principle applies when digital audio is processed in a non-linear fashion within a digital system. Distortion content above 20kHz will be generated, and depending on the sample rate, it may alias back to the audible range.&#xD;&#xA;&#xD;&#xA;The last two paragraphs explain why it is sometimes justified to use sample rates higher than 44,100.&#xD;&#xA;&#xD;&#xA;#ADC Frequency Headroom&#xD;&#xA;&#xD;&#xA;To answer your question directly, the required limit of sampling rate (while only accounting for human hearing) is 40,000Hz.&#xD;&#xA;&#xD;&#xA;However, before sampling, convertors need to filter audio content above 20,000Hz. Since the effect of all filters is gradual (they cannot simply remove everything above a particular frequency, they only attenuate it gradually), convertors need some headroom to sufficiently remove content above 20,000Hz. Thus, a sample rate higher than 40,000Hz is always required.&#xD;&#xA;&#xD;&#xA;#Conclusion&#xD;&#xA;&#xD;&#xA;While 40,000Hz represents the theoretical max sample rate required with humans, ADC technology still requires some headroom above this figure.&#xD;&#xA;&#xD;&#xA;With modern ADC technology, 44100Hz is perfectly capable of capturing material up to 20,000 Hz.&#xD;&#xA;&#xD;&#xA;From a game development point of view, you should not worry about this aspect.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36684" PostHistoryTypeId="2" PostId="22506" RevisionGUID="5d4ef7ff-5075-487f-93a9-202dcc381eb6" CreationDate="2013-09-19T14:42:58.490" UserDisplayName="drummerp" Text="I work as a sort of multi-purpose engineer/developer at a very small startup game company. Recently, I've been asked to help out with audio development and editing, and I've been mostly able to hold my own.&#xD;&#xA;&#xD;&#xA;One thing I'm not very familiar with, though, is sample rates. I understand what they are, and I know that 44100 Hz is considered a sort of default because it's CD Quality.&#xD;&#xA;&#xD;&#xA;What I want to know is if there's a sort of practical peak, where the human ear can no longer hear the difference. In graphics development, they say that the human eye can't see the difference above 60 Hz (although some people are starting to say 75-90 Hz, I think). Is there a similar limit in audio development?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36685" PostHistoryTypeId="1" PostId="22506" RevisionGUID="5d4ef7ff-5075-487f-93a9-202dcc381eb6" CreationDate="2013-09-19T14:42:58.490" UserDisplayName="drummerp" Text="Max audio sample rates?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36686" PostHistoryTypeId="3" PostId="22506" RevisionGUID="5d4ef7ff-5075-487f-93a9-202dcc381eb6" CreationDate="2013-09-19T14:42:58.490" UserDisplayName="drummerp" Text="&lt;audio&gt;&lt;quality&gt;&lt;sample-rate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36687" PostHistoryTypeId="36" PostId="22509" RevisionGUID="2b4b26ff-9cd7-4584-8415-8fae098632a7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2000/audio-interface-to-use-with-korg-kp3-and-midi-keyboard" />
  <row Id="36688" PostHistoryTypeId="36" PostId="22510" RevisionGUID="f9c1c8f5-f651-4409-b296-5b9518b356f4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2000/audio-interface-to-use-with-korg-kp3-and-midi-keyboard/2022#2022" />
  <row Id="36689" PostHistoryTypeId="2" PostId="22510" RevisionGUID="08841d3b-de8b-4f7b-961a-380a569d7ecb" CreationDate="2011-08-05T00:46:10.237" UserId="7294" UserDisplayName="Warrior Bob" Text="If I follow correctly, you want to play your keyboard, and route the audio from the keyboard into the KP3 to add effects, and then route the effected audio into your computer to record with Reason. You can absolutely do this, and you'll need some way to get that signal into your computer. Your computer's soundcard can probably already do this. An &quot;audio interface&quot; is just a fancy soundcard. The term generally connotes more recording-oriented features such as multiple inputs, XLR plugs for microphones, and better quality components.&#xD;&#xA;&#xD;&#xA;If Reason shows your soundcard under its list of inputs, then just use that to start with.&#xD;&#xA;&#xD;&#xA;The basic steps will be:&#xD;&#xA;&#xD;&#xA; 1. Connect your keyboard's output to the KP3's &quot;line in&quot; plugs. Then connect the KP3's &quot;line out&quot; to your computer's soundcard. You might need some kind of adapters to go from the KP3's RCA-style plugs to whatever your computer and keyboard have.&#xD;&#xA; 2. Configure Reason to use the correct soundcard input. I have no idea how to do this in Reason specifically, as I don't use it. It's probably in some options menu somewhere. It's worth mentioning that in addition to setting that input, you may ALSO have to enable it or arm it for recording within Reason to hear any sound - just because it's configured doesn't mean that Reason is doing anything with it yet.&#xD;&#xA; 3. Configure the KP3 to pass effected audio from its input to its output. This is probably already done by default. Check the manual if you're not sure.&#xD;&#xA; 4. Record away!&#xD;&#xA;&#xD;&#xA;I'm not sure if this is something you also want to do, but the KP3 has MIDI ports on the back which means that at some level it can send MIDI information, which might be interesting to use in Reason. You'll need a MIDI interface, which is the same idea as an audio interface - in fact, many recording interfaces include MIDI inputs and outputs. Again, check the KP3 manual to see what kind of data it can send." ContentLicense="CC BY-SA 3.0" />
  <row Id="36690" PostHistoryTypeId="2" PostId="22509" RevisionGUID="ac3e0dff-2f45-4058-991e-0f2c644dce71" CreationDate="2011-08-03T17:45:57.673" UserDisplayName="Zolomon" Text="I recently bought a [Korg KP3][1] hoping that I could use my [YAMAHA PSR E403][2] as input to the [KP3][3], to play with effects, and then record the sound on my computer. &#xD;&#xA;&#xD;&#xA;I also use [Reason 5][4] to compose my electronic music. &#xD;&#xA;&#xD;&#xA;Being new to producing audio, I guess that you can imagine my surprise as I got home trying to connect the devices and nothing worked. I realized that I was lacking a proper audio interface, and the proper way to connect these devices. &#xD;&#xA;&#xD;&#xA;* Do I need an audio interface to use the above items, or something else? &#xD;&#xA;* If so, is it possible to connect the items in such a way that [Reason 5][4] can use the output? How would I connect them, what other software might I need? &#xD;&#xA;&#xD;&#xA;Just to specify, I wish to &#xD;&#xA;&#xD;&#xA;* compose electronic music in Reason 5&#xD;&#xA;* sample, or modify, the output from the MIDI controller using the KP3 and use it in Reason 5 (in some way)&#xD;&#xA;&#xD;&#xA;&lt;!--Do I need an audio interface, or something else? Is it possible to output the [MIDI][2] into the [KP3][1] and then back to the computer to record in [Reason 5][4], or will I need some other tool to use the [KP3's][1] output (sound) and then sample it inside Reason 5?&#xD;&#xA;&#xD;&#xA;If it's an audio interface I need, would you recommend an external one like the [Focusrite Saffire 6 USB][5], [ESI U46 XL][6] or ...? &#xD;&#xA;&#xD;&#xA;I want to produce on my PC running Windows 7, as well as my MacBook Pro running Mac OS X 1.6 so I've only been looking at external interfaces. I don't know if I should prefer USB over FireWire, I have connections for both. &#xD;&#xA;&#xD;&#xA;*I know these are a lot of questions, but it's a complicated situation, so I hope you can bear with me here.*--&gt;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.korg.com/kp3&#xD;&#xA;  [2]: http://usa.yamaha.com/products/musical-instruments/keyboards/digitalkeyboards/portable_keyboards/psr-e403/?mode=model&#xD;&#xA;  [3]: http://www.korg.com/kp3&#xD;&#xA;  [4]: http://www.propellerheads.se/products/reason/&#xD;&#xA;  [5]: http://www.focusrite.com/products/audio_interfaces/saffire_6_usb/&#xD;&#xA;  [6]: http://www.esi-audio.com/products/u46xl/" ContentLicense="CC BY-SA 3.0" />
  <row Id="36691" PostHistoryTypeId="1" PostId="22509" RevisionGUID="ac3e0dff-2f45-4058-991e-0f2c644dce71" CreationDate="2011-08-03T17:45:57.673" UserDisplayName="Zolomon" Text="Audio interface to use with Korg KP3 and MIDI keyboard?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36692" PostHistoryTypeId="3" PostId="22509" RevisionGUID="ac3e0dff-2f45-4058-991e-0f2c644dce71" CreationDate="2011-08-03T17:45:57.673" UserDisplayName="Zolomon" Text="&lt;audio-recording&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36693" PostHistoryTypeId="36" PostId="22511" RevisionGUID="0e6695b9-6df4-42b3-b0ab-bfb4f7ee00fa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8823/sound-card-design-why-96khz-24bit" />
  <row Id="36694" PostHistoryTypeId="36" PostId="22512" RevisionGUID="72fbae3d-c18b-4d08-83d3-cb3f0dbf94d0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8823/sound-card-design-why-96khz-24bit/8824#8824" />
  <row Id="36695" PostHistoryTypeId="36" PostId="22513" RevisionGUID="0db8a79f-b465-4c13-9b3f-e850fe8aa9df" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8823/sound-card-design-why-96khz-24bit/8826#8826" />
  <row Id="36696" PostHistoryTypeId="2" PostId="22512" RevisionGUID="3b002f97-4b47-44b9-a0c2-308d34668ce7" CreationDate="2013-08-26T22:58:00.120" UserId="7188" Text="Not sure about your output, but here's an example of why I would want a sound card to meet or exceed 96KHz at 24 bits on the input side. I have a Zoom G2.1u effects processor and a Tascam DR-08 that both can deliver 96KHz 24 bit audio, so I would want to be sure my sound card could deliver this fidelity to my DAW or NLE." ContentLicense="CC BY-SA 3.0" />
  <row Id="36697" PostHistoryTypeId="2" PostId="22513" RevisionGUID="2c10fed4-967f-40d4-8480-0f911f831aa3" CreationDate="2013-08-27T02:01:25.660" UserId="7174" Text="The point is to have more resolution than the typical final output so that there is less rounding error.  96khz is chosen because it is exactly twice 48khz which is the standard audio sampling rate for video.  This way, you can cut the audio from 96khz to 48khz by cutting the number of samples in half, so there aren't aliasing problems.  Similarly, 24 bit audio gives 8 bits more precision than 16.  It's the minimum increase that makes sense since you want the samples to be a set number of bytes.&#xD;&#xA;&#xD;&#xA;This allows for 256 times the resolution in terms of intensity and twice the temporal resolution while editing and limits rounding error so that the final output is higher quality when it is mixed down to 48khz or 44.1 khz and 16 bit.&#xD;&#xA;&#xD;&#xA;If the soundcard is only going to be playing 16 bit, 48khz sources, then there isn't any gain by supporting the additional bits and samples as the device on the other end could accomplish the same by simply sampling the audio at the desired rate and bit depth since the information is already lost, but it makes a lot of sense when using higher quality inputs." ContentLicense="CC BY-SA 3.0" />
  <row Id="36698" PostHistoryTypeId="2" PostId="22511" RevisionGUID="ad0b9aba-0d1e-4aa4-aa9c-e4b4bfd46600" CreationDate="2013-08-26T22:21:46.310" UserDisplayName="Cameron Miller" Text="I'm in the process of designing a soundcard. However, I'm a little confused over one aspect. The primary usage of the soundcard's output will be playing 320kbs mp3s through a program (Traktor, VDJ, Serato...). I'm under the assumption that one cannot polish a turd and am struggling to see the point in supporting sample rates of 96Khz and bit depths of up to 24 bits. Any insight?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36699" PostHistoryTypeId="1" PostId="22511" RevisionGUID="ad0b9aba-0d1e-4aa4-aa9c-e4b4bfd46600" CreationDate="2013-08-26T22:21:46.310" UserDisplayName="Cameron Miller" Text="Sound Card Design: Why 96Khz/24bit?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36700" PostHistoryTypeId="3" PostId="22511" RevisionGUID="ad0b9aba-0d1e-4aa4-aa9c-e4b4bfd46600" CreationDate="2013-08-26T22:21:46.310" UserDisplayName="Cameron Miller" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36701" PostHistoryTypeId="36" PostId="22514" RevisionGUID="4111deb4-805e-4e83-ad1b-b18c6889f721" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/881/audio-mastering-book-recommendations" />
  <row Id="36702" PostHistoryTypeId="2" PostId="22515" RevisionGUID="de476520-0ad5-4dad-a022-13d36de856a6" CreationDate="2011-02-22T18:48:11.813" UserDisplayName="jlebre" Text="Bob Katz &quot;mastering audio&quot;&#xD;&#xA;You cannot go wrong.&#xD;&#xA;&#xD;&#xA;Also, I think it's one of the most valuable sound engineering books in the market.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="36703" PostHistoryTypeId="2" PostId="22514" RevisionGUID="70f4d3b7-7c74-4135-8674-a08291860395" CreationDate="2011-02-22T16:47:19.073" UserDisplayName="Tom Miller" Text="I am in the initial stages of a recording project of my own and am interested in doing my own mastering work once it is finished.  So, I am looking for books/reference materials on audio mastering as this will be as much about the learning experience as it is the finished product.&#xD;&#xA;&#xD;&#xA;I have past experience in audio engineering, both live and in the studio, but have never approached the task of mastering.  What books, references, sites, etc...would any of you mastering folks recommend?" ContentLicense="CC BY-SA 2.5" />
  <row Id="36704" PostHistoryTypeId="1" PostId="22514" RevisionGUID="70f4d3b7-7c74-4135-8674-a08291860395" CreationDate="2011-02-22T16:47:19.073" UserDisplayName="Tom Miller" Text="Audio Mastering Book Recommendations" ContentLicense="CC BY-SA 2.5" />
  <row Id="36705" PostHistoryTypeId="3" PostId="22514" RevisionGUID="70f4d3b7-7c74-4135-8674-a08291860395" CreationDate="2011-02-22T16:47:19.073" UserDisplayName="Tom Miller" Text="&lt;audio-recording&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="36706" PostHistoryTypeId="36" PostId="22515" RevisionGUID="9579318d-1ee6-41dd-b84b-b991f84c671d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/881/audio-mastering-book-recommendations/883#883" />
  <row Id="36707" PostHistoryTypeId="36" PostId="22516" RevisionGUID="842ef609-db26-4d35-9d08-7bfd2cf53f78" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4910/how-to-do-mono-to-stereo-conversion" />
  <row Id="36708" PostHistoryTypeId="36" PostId="22517" RevisionGUID="4f2c1d04-a7e6-46ed-b491-01cc5bfeaa4a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4910/how-to-do-mono-to-stereo-conversion/8207#8207" />
  <row Id="36709" PostHistoryTypeId="2" PostId="22517" RevisionGUID="77a9bc6f-e669-45ee-827a-7a9000cbb40f" CreationDate="2013-06-25T14:34:09.990" UserId="7174" Text="This appears to be an attempt at a total power conversion.  If you have a mono signal at a given power and played it through a speaker and then compared the volume to two speakers playing the sound, the overall volume would be higher.  They are adjusting for that power increase due to two channels being used instead of one, thus the combined signal should have closer to the same power when combined.&#xD;&#xA;&#xD;&#xA;This is the more technically correct way to approach the problem if you want to preserve total power which is common on higher end equipment when dealing with this kind of a problem.  I'm not sure if other players do the same though most likely some do.  The behavior of any particular sound card would depend on how the hardware and drivers for that sound card are implemented and can't be answered generically." ContentLicense="CC BY-SA 3.0" />
  <row Id="36710" PostHistoryTypeId="2" PostId="22516" RevisionGUID="0263b3e9-1a41-4323-a89f-465dbb619512" CreationDate="2012-10-03T21:44:56.087" UserId="7203" UserDisplayName="Albert" Text="(This is a [cross-post from StackOverflow](http://stackoverflow.com/questions/12712815/libswresample-mono-to-stereo-changes-amplitude). But I wondered wether some people here might be the better audience to answer this.)&#xD;&#xA;&#xD;&#xA;I am using libswresample to resample from any PCM format to 44.1kHz, 16bit int, stereo.&#xD;&#xA;&#xD;&#xA;I was playing around with some audio volume analyzing of the resulting audio stream and I figured out that in case I have 44.1kHz, 16bit int mono as the source, I have roughly the formular:&#xD;&#xA;&#xD;&#xA;    leftSample = sourceSample / sqrt(2);&#xD;&#xA;    rightSample = sourceSample / sqrt(2);&#xD;&#xA;&#xD;&#xA;But I was expecting:&#xD;&#xA;&#xD;&#xA;    leftSample = sourceSample;&#xD;&#xA;    rightSample = sourceSample;&#xD;&#xA;&#xD;&#xA;(In case the source is stereo, I simply have `leftSample = leftSourceSample; rightSample = rightSourceSample;`.)&#xD;&#xA;&#xD;&#xA;My expectation comes from several sources:&#xD;&#xA;&#xD;&#xA;1. That is how my own straight forward solution would probably have been.&#xD;&#xA;2. I searched a bit around and other people seem to do the same, e.g. [here](http://stackoverflow.com/questions/6292905/mono-to-stereo-conversion).&#xD;&#xA;3. In a very common ReplayGain implementation (the only one I know actually, used basically everywhere, I think initially from mp3gain; one copy can be seen [here](https://github.com/avuserow/ffmpeg-replaygain/blob/master/gain_analysis.c)), it also does it.&#xD;&#xA;&#xD;&#xA;    This is esp. relevant because ReplayGain was calibrated by this implementation using a reference sound (a pink noise, can be downloaded [here](https://github.com/avuserow/ffmpeg-replaygain/raw/master/ref_pink.wav)) which is in mono.&#xD;&#xA;&#xD;&#xA;    In the ReplayGain specification, it is also calculated like this (see [here](http://replaygain.hydrogenaudio.org/proposal/rms_energy.html)).&#xD;&#xA;&#xD;&#xA;My confusion raised after I tried to implement ReplayGain myself and I stumbled upon this.&#xD;&#xA;&#xD;&#xA;So, some questions:&#xD;&#xA;&#xD;&#xA;1. Why does libswresample do this?&#xD;&#xA;2. Is this expected in libswresample or a bug? (I'm trying to understand from the source (e.g. [here](https://github.com/FFmpeg/FFmpeg/blob/master/libswresample/swresample.c)) but I haven't fully understood it all yet.)&#xD;&#xA;3. What is the &quot;right&quot; solution?&#xD;&#xA;4. What are other players doing?&#xD;&#xA;5. What is a common soundcard doing if you feed mono samples to it?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36711" PostHistoryTypeId="1" PostId="22516" RevisionGUID="0263b3e9-1a41-4323-a89f-465dbb619512" CreationDate="2012-10-03T21:44:56.087" UserId="7203" UserDisplayName="Albert" Text="how to do mono to stereo conversion" ContentLicense="CC BY-SA 3.0" />
  <row Id="36712" PostHistoryTypeId="3" PostId="22516" RevisionGUID="0263b3e9-1a41-4323-a89f-465dbb619512" CreationDate="2012-10-03T21:44:56.087" UserId="7203" UserDisplayName="Albert" Text="&lt;audio&gt;&lt;stereo&gt;&lt;sampling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36713" PostHistoryTypeId="36" PostId="22518" RevisionGUID="91ba9d08-1621-4fe3-8dd7-46fb1ca48a61" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1970/why-is-my-pc-microphone-so-quiet" />
  <row Id="36714" PostHistoryTypeId="2" PostId="22519" RevisionGUID="8398447a-4663-4296-b304-07ec7e9c99c6" CreationDate="2011-07-28T18:53:39.290" UserId="7093" Text="First of all, recording using the sound card on your computer is generally fairly noisy.  Depending on the quality level you are going for this may be OK.  I recorded 2 CD's of piano instrumental music using a keyboard plugged directly into a medium quality sound card and they came out just fine (with just a bit of hiss in the background during the quiet parts).&#xD;&#xA;&#xD;&#xA;Your microphone is probably OK, but in order to raise the recording level of the microphone you will need some sort of [preamp][1] to boost the signal before it reaches the computer.&#xD;&#xA;&#xD;&#xA;Another solution would be for you to get a [USB recording interface][2] for your computer.  Many have preamps built in and, for the better interfaces, the sound quality is far superior to your average sound card.  If you go this route, you should probably get a mic cable that has XLR connectors on both ends (I have a M-Audio interface that only has a preamp for the [XLR connectors][3]).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.com/search?q=microphone%20preamp&amp;ie=utf-8&amp;oe=utf-8&amp;aq=t&amp;rls=org.mozilla:en-US:official&amp;client=firefox-a#q=microphone%20preamp&amp;hl=en&amp;safe=active&amp;client=firefox-a&amp;hs=TpB&amp;rls=org.mozilla:en-US:official&amp;prmd=ivns&amp;source=univ&amp;tbm=shop&amp;tbo=u&amp;sa=X&amp;ei=pK0xTvDRHZStgQes2tz7DA&amp;ved=0CG8QrQQ&amp;bav=on.2,or.r_gc.r_pw.&amp;fp=b351be68bde0a165&amp;biw=1251&amp;bih=876&#xD;&#xA;  [2]: http://www.google.com/search?q=usb%20recording%20interface&amp;ie=utf-8&amp;oe=utf-8&amp;aq=t&amp;rls=org.mozilla:en-US:official&amp;client=firefox-a#q=usb%20recording%20interface&amp;hl=en&amp;safe=active&amp;client=firefox-a&amp;hs=prB&amp;rls=org.mozilla:en-US:official&amp;prmd=ivns&amp;source=univ&amp;tbm=shop&amp;tbo=u&amp;sa=X&amp;ei=Nq4xTtiACY6dgQflkKWXDQ&amp;ved=0CHQQrQQ&amp;bav=on.2,or.r_gc.r_pw.&amp;fp=b351be68bde0a165&amp;biw=1251&amp;bih=876&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/XLR_connector" ContentLicense="CC BY-SA 3.0" />
  <row Id="36715" PostHistoryTypeId="2" PostId="22518" RevisionGUID="d5845032-1aad-4e44-813a-8c767fc8ac0c" CreationDate="2011-07-28T18:12:39.567" UserDisplayName="Jonathan Drain" Text="When recording with a &lt;a href=&quot;http://www.amazon.co.uk/Hama-Dynamic-Microphone-DM-65-socket/dp/B00006J6LN&quot;&gt;Hama DM-65 dynamic microphone&lt;/a&gt; on my PC, the recording is barely audiable over the background noise. Here's an Audacity screenshot where in the highlighted part I'm playing an instrument, and in the other part I'm making no noise:&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://i.imgur.com/79q2X.png&quot;&gt;&#xD;&#xA;&#xD;&#xA;I'm playing a foot from the microphone with recording volume set to 95%. Enabling microphone boost amplifies the background noise too: (I start playing at the vertical line, and the microphone is recording left-only so the bottom waveform is all noise)&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://i.imgur.com/DSyOd.png&quot;&gt;&#xD;&#xA;&#xD;&#xA;Why is the microphone input so quiet and how can I improve it, short of buying an expensive microphone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36716" PostHistoryTypeId="1" PostId="22518" RevisionGUID="d5845032-1aad-4e44-813a-8c767fc8ac0c" CreationDate="2011-07-28T18:12:39.567" UserDisplayName="Jonathan Drain" Text="Why is my PC microphone so quiet?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36717" PostHistoryTypeId="3" PostId="22518" RevisionGUID="d5845032-1aad-4e44-813a-8c767fc8ac0c" CreationDate="2011-07-28T18:12:39.567" UserDisplayName="Jonathan Drain" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36718" PostHistoryTypeId="36" PostId="22519" RevisionGUID="edf6c654-6453-4cbe-8c66-6fcf3703daba" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1970/why-is-my-pc-microphone-so-quiet/1971#1971" />
  <row Id="36719" PostHistoryTypeId="36" PostId="22520" RevisionGUID="93753b9b-750c-46a2-beee-1b00197c6a4f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1970/why-is-my-pc-microphone-so-quiet/1973#1973" />
  <row Id="36720" PostHistoryTypeId="36" PostId="22521" RevisionGUID="50324728-93b2-4350-b772-1c249f75d8f8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1970/why-is-my-pc-microphone-so-quiet/2001#2001" />
  <row Id="36721" PostHistoryTypeId="2" PostId="22521" RevisionGUID="2970d0e8-6a41-4bc9-9d22-e7d60506e9fe" CreationDate="2011-08-03T18:08:55.577" UserId="2506" Text="Are you using the correct input on your sound card? If using an integrated sound card, you will usually have Line Out (speakers), Line In and Mic In. *(Delving into signal theory a bit, because it is relevant: the industry reference level is 0.775 Volts, aka 0 dBV; Professional Line level is ~1.25 V or +4 dBm; Consumer Line Level is about 0.316 Volts or -10 dBV; Mic level is usually ~40 dB quieter than pro level (this can vary though), between -40 to -56 dBm.)* If you're using the wrong input you will likely hear nothing (or a remarkably quiet sound, even if you shout at the mic from 2cm away).&#xD;&#xA;&#xD;&#xA;`(dBU = deciBels Unloaded; dBV = deciBel volts; dBm = deciBel milliwatts)`&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Another consideration is your microphone - unfortunately, it's not great. Hama themselves rate it as &quot;90Hz – 10kHz `(frequency response)`, impedance of 600 Ohm and sensitivity of -76dB&quot;. By contrast, a Shure SM58 Beta goes from 50Hz to 20kHz and generally has a far higher build quality and sensitivity which results in a higher dynamic range in your recordings before you reach the noise floor).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I also wonder if (if you're using the wrong input) you may also be encountering an impedance mismatch - the Hama mic is rated at 600 Ohm impedance; your sound card's mic input will be rated at anything between 600 Ohm - 1 kohm and (hopefully) be balanced; the Line In is typically unbalanced and has an impedance of ~10 kohm (can be anything up to 1 Megaohm). If you plug a Low-Z (low impedance) device like a dynamic mic into the Line In socket (which expects a High-Z source) your resulting audio levels will be barely above the noise floor because most of the mismatched impedance signal is 'bounced' back by the audio circuitry - this is what may be happening.&#xD;&#xA;&#xD;&#xA;Failing that, you may have a physical fault with the connector on the mic, have you tried another mic? I would highly recommend you shop around for a better mic, that Hama has probably outlived its usefulness already (and given its relatively poor tech spec, as they say in audio hardware - Garbage In, Garbage Out... you can only do so much to a low quality signal once it's 'inside the box').&#xD;&#xA;&#xD;&#xA;Hope I haven't mystified too much with my answer, I had to revise some of what I was writing to make sure I still remembered correctly from my degree!&#xD;&#xA;&#xD;&#xA;Related reading:&#xD;&#xA;&#xD;&#xA;&lt;a href=&quot;http://en.wikipedia.org/wiki/Line_level&quot;&gt;http://en.wikipedia.org/wiki/Line_level&lt;/a&gt;&lt;br /&gt;&#xD;&#xA;&lt;a href=&quot;http://www.ovnilab.com/articles/linelevel.shtml&quot;&gt;http://www.ovnilab.com/articles/linelevel.shtml&lt;/a&gt;&lt;br /&gt;&#xD;&#xA;&lt;a href=&quot;http://en.wikipedia.org/wiki/Decibel#Voltage&quot;&gt;http://en.wikipedia.org/wiki/Decibel#Voltage&lt;/a&gt;&lt;br /&gt;&#xD;&#xA;&lt;a href=&quot;http://en.wikipedia.org/wiki/DBm&quot;&gt;http://en.wikipedia.org/wiki/DBm&lt;/a&gt;&lt;br /&gt;&#xD;&#xA;&lt;a href=&quot;http://www.altera.com/technology/signal/fundamentals/basics/sgl-basics.html#_Impedance_Mismatch&quot;&gt;http://www.altera.com/technology/signal/fundamentals/basics/sgl-basics.html#_Impedance_Mismatch&lt;/a&gt;&lt;br /&gt;&#xD;&#xA;&lt;a href=&quot;http://www.deltamedia.com/resource/impedance.html&quot;&gt;http://www.deltamedia.com/resource/impedance.html&lt;/a&gt;&lt;br /&gt;&#xD;&#xA;&lt;a href=&quot;http://www.mediacollege.com/audio/microphones/impedance.html&quot;&gt;http://www.mediacollege.com/audio/microphones/impedance.html&lt;/a&gt;&lt;br /&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36722" PostHistoryTypeId="2" PostId="22520" RevisionGUID="b3c951b0-3b4c-4e50-a7ea-1809f49a4072" CreationDate="2011-07-28T19:19:17.483" UserId="7942" UserDisplayName="Jean-François Côté" Text="One other thing to keep in mind is that dynamic microphone are not always a good choice depending on the instrument. For example, a classic [SHURE SM58][1] is very good for vocal and the reason why is that the mic is sensible for sound really close at a higher volume and it cut all the sound coming from all around. So that's why this mic is very good in vocal live performance. That why you will see singer that use this mic singing very close to the mic, almost kissing it.&#xD;&#xA;&#xD;&#xA;In the other hand, a condenser microphone would do a very good job a recording accoustic guitar at 1 feet and it will also record a lot of the ambiant sound (this is often wanted to get a more &quot;normal&quot; feeling to the song).&#xD;&#xA;&#xD;&#xA;I never use the mic you a mentionning and I don't know the instrument you are trying to record but if it's specialty is vocal, that may be the reason why it doesn't work well. I would try recording vocal to see if it perform better.&#xD;&#xA;&#xD;&#xA;The explanation of Friend of George is also very good.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.shure.com/americas/products/microphones/sm/sm58-vocal-microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="36723" PostHistoryTypeId="36" PostId="22522" RevisionGUID="1152a7b1-3276-42bf-b81c-e083194398e9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3798/carver-amp-receiver-speaker-problem" />
  <row Id="36724" PostHistoryTypeId="36" PostId="22523" RevisionGUID="f0ab1791-d4ef-4749-9c22-e9e4caee4a45" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3798/carver-amp-receiver-speaker-problem/3805#3805" />
  <row Id="36725" PostHistoryTypeId="2" PostId="22523" RevisionGUID="f7ef73c3-cc77-4e48-ad14-83eaf2b77767" CreationDate="2012-04-23T12:40:31.237" UserId="7093" Text="It sounds like you may have a corrosion problem with one of the knobs or switches on the amp.  You may also [hear a &quot;scratchy&quot; sound when you turn the volume][1] or balance knobs.&#xD;&#xA;&#xD;&#xA;I have an old Kenwood amp that I use for my studio monitors that has the same problem.  When I flip the switches and turn the knobs back and forth it usually fixes the problem and everything works fine...  ...for a while.&#xD;&#xA;&#xD;&#xA;**The Solution**:&#xD;&#xA;&#xD;&#xA;Try using [DeoxIT][2] on the knobs and switches on the amp.  It will clean up the corrosion and should fix the problem with the speakers cutting out.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/791/scratchy-volume-pot&#xD;&#xA;  [2]: http://www.guitarcenter.com/CAIG-DeoxIT-D5S-6-Spray--Contact-Cleaner---Rejuvenator--5-oz--101175859-i1134929.gc" ContentLicense="CC BY-SA 3.0" />
  <row Id="36726" PostHistoryTypeId="2" PostId="22522" RevisionGUID="51463051-bcb8-447e-91c9-4ee4fa10ea9b" CreationDate="2012-04-22T21:09:46.837" UserDisplayName="Bill" Text="I have a Carver amp/receiver withy phono, cd and tape inputs, two sets of speakers A and B.  From time to time the right speakers (or the left) will simply go out.  What is wrong?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36727" PostHistoryTypeId="1" PostId="22522" RevisionGUID="51463051-bcb8-447e-91c9-4ee4fa10ea9b" CreationDate="2012-04-22T21:09:46.837" UserDisplayName="Bill" Text="Carver amp/receiver speaker problem" ContentLicense="CC BY-SA 3.0" />
  <row Id="36728" PostHistoryTypeId="3" PostId="22522" RevisionGUID="51463051-bcb8-447e-91c9-4ee4fa10ea9b" CreationDate="2012-04-22T21:09:46.837" UserDisplayName="Bill" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36743" PostHistoryTypeId="36" PostId="22529" RevisionGUID="1055ba59-2544-452e-bab1-38616e691b61" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4655/software-for-editing-audio-for-video" />
  <row Id="36744" PostHistoryTypeId="36" PostId="22530" RevisionGUID="6536b799-a8e8-4cb5-83fb-6ea8302c3c97" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4655/software-for-editing-audio-for-video/4672#4672" />
  <row Id="36745" PostHistoryTypeId="36" PostId="22531" RevisionGUID="4f65e5d5-65f5-4839-8bd3-d473aa959966" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4655/software-for-editing-audio-for-video/4673#4673" />
  <row Id="36746" PostHistoryTypeId="36" PostId="22532" RevisionGUID="35150449-7e3b-43ac-940c-10c9cc60c0b2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4655/software-for-editing-audio-for-video/4674#4674" />
  <row Id="36747" PostHistoryTypeId="36" PostId="22533" RevisionGUID="29fbfbc9-15b2-423b-b9e0-b346256ff21c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4655/software-for-editing-audio-for-video/4697#4697" />
  <row Id="36748" PostHistoryTypeId="2" PostId="22530" RevisionGUID="6bdf5061-c449-40ef-a6eb-437c93f499dd" CreationDate="2012-09-06T13:56:30.947" UserId="7211" UserDisplayName="Jazibobs" Text="I've had positive experiences with **Steinberg Nuendo** whilst doing audio for visual work. It is very similar in operation to **Cubase** and allows use of everything you would have access to in a standalone audio production (VSTs, automation, etc...)&#xD;&#xA;&#xD;&#xA;Further to this there is an in built video playback function such that you can check the levels, timing, etc of your audio alongside the raw video footage in real time." ContentLicense="CC BY-SA 3.0" />
  <row Id="36749" PostHistoryTypeId="2" PostId="22531" RevisionGUID="1476a573-5b4d-488d-a84e-564cf9a143b1" CreationDate="2012-09-06T15:11:24.660" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="It all depends on what you want to do with the editing software.&#xD;&#xA;&#xD;&#xA;Your best bet would be to stick with the audio editor built into the video software since it will keep the audio lined up with the track, although it wouldn't be very difficult to do even after using any of the programs I'm about to mention.&#xD;&#xA;&#xD;&#xA;If its bare minimum things you could get away with using [Audacity](http://audacity.sourceforge.net/), but I wouldn't recommend it.&#xD;&#xA;&#xD;&#xA;If you have the Adobe Creative Suite, it will come with [Adobe Audition](http://www.adobe.com/products/audition.html) which is a very good program. I have personally used it to remove vocals from audio tracks, which it worked great for. It's interface is a little overwhelming at first, but like any DAW (digital audio workstation) it just takes some getting used to.&#xD;&#xA;&#xD;&#xA;The industry standard for audio recording, production, and editing is [Pro Tools](http://www.avid.com/US/products/family/Pro-Tools). Almost any song you hear played on the radio or on a commercial nowadays has been recorded and produced in Pro Tools. If I had to recommend a program it would be this one, **Pro Tools**.&#xD;&#xA;&#xD;&#xA;You could really get away with any DAW though. Personally, I like [Ableton Live](http://www.ableton.com/) the best but for what you are describing, it may not be best suited for your needs. You could even get away with using [FL Studio](http://www.image-line.com/documents/flstudio.html) as long as you know what you're doing... A lot of people rag on FL Studio but I used it for a long time and it can do anything any other DAW can do although I've never liked the way it records audio or its midi interface. Its ease of use is what draws a lot of noobs to it, but I can't say it's bad.&#xD;&#xA;&#xD;&#xA;But to summarize and pick one choice, again I would go with **Pro Tools**." ContentLicense="CC BY-SA 3.0" />
  <row Id="36750" PostHistoryTypeId="2" PostId="22532" RevisionGUID="83ff504a-5bb6-4ed4-a110-d88ff2fbd3bd" CreationDate="2012-09-06T15:33:38.597" UserId="7093" Text="I have not done any audio editing for video, but I have done a bit of recording music.  &#xD;&#xA;&#xD;&#xA;I have used [Audacity][1] in the past and find it good for simple multi-track recording.  Audacity is easy to use for basic recording and editing and it is free.&#xD;&#xA;&#xD;&#xA;If you need to do anything with effects or more complex editing I would recommend a lower cost DAW such as [Reaper][2].  Reaper will allow you to record and edit audio.  You can add and adjust effects in real-time.  Reaper has excellent [documentation][3] to allow you to get started recording and editing quickly. &#xD;&#xA;&#xD;&#xA;If you really need a super high powered ultra professional DAW you can get [Pro Tools][4].  I have not used it personally, but I have heard from a few people that there are some really great tools for making audio editing much easier.  The only downside of this program is that it is fairly expensive.&#xD;&#xA;&#xD;&#xA;Once you have edited the audio, you should be able to re-integrate it into your video using whatever video editing software you are using.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/&#xD;&#xA;  [2]: http://www.reaper.fm/&#xD;&#xA;  [3]: http://www.reaper.fm/userguide.php&#xD;&#xA;  [4]: http://www.avid.com/US/products/family/Pro-Tools" ContentLicense="CC BY-SA 3.0" />
  <row Id="36751" PostHistoryTypeId="2" PostId="22533" RevisionGUID="410c3933-ecaa-48a9-b90e-800ba6d04769" CreationDate="2012-09-10T18:04:59.627" UserDisplayName="josh" Text="I use FL studio 10 to mix a live band and vocals using E'Q, compression, limiting and many other effects.&#xD;&#xA;I get the processed signal from the sound cards output into the DVD recorder's audio input. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36752" PostHistoryTypeId="2" PostId="22534" RevisionGUID="72578e3d-9fe0-4da1-9be4-4462fab3a8f9" CreationDate="2012-09-12T06:38:38.350" UserId="7234" UserDisplayName="fluffy" Text="Depending on what sorts of editing you want to do, you might be better off doing your audio editing within your video editor itself. I have used Premiere and Final Cut Pro, and both have fairly serviceable audio editing and effect processing support. For more detailed audio editing, Logic Studio has excellent support for editing audio with a reference video, with the caveat that it works best with complete video segments, and only a single video segment at a time (ideally you'd be using it for foley or soundtrack work or the like on an already-fully-edited video, or at least one where the timing isn't going to change).&#xD;&#xA;&#xD;&#xA;What to look for is either a video editor that allows you to apply some sort of effect plugins to your audio tracks, or an audio editor that allows you to pull in a video track, extract the audio from it, and display the video on your timeline and shows the playhead's video frame." ContentLicense="CC BY-SA 3.0" />
  <row Id="36753" PostHistoryTypeId="2" PostId="22529" RevisionGUID="ef23563b-7a96-4f47-a33e-27fbf4730a93" CreationDate="2012-09-01T14:14:08.370" UserDisplayName="tereško" Text="Which software is best for editing the audio of a video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36754" PostHistoryTypeId="1" PostId="22529" RevisionGUID="ef23563b-7a96-4f47-a33e-27fbf4730a93" CreationDate="2012-09-01T14:14:08.370" UserDisplayName="tereško" Text="Software for editing audio for video" ContentLicense="CC BY-SA 3.0" />
  <row Id="36755" PostHistoryTypeId="3" PostId="22529" RevisionGUID="ef23563b-7a96-4f47-a33e-27fbf4730a93" CreationDate="2012-09-01T14:14:08.370" UserDisplayName="tereško" Text="&lt;video&gt;&lt;audio&gt;&lt;software&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36756" PostHistoryTypeId="36" PostId="22534" RevisionGUID="0fea0962-7200-4970-b1b2-4b4557d9acdf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4655/software-for-editing-audio-for-video/4714#4714" />
  <row Id="36757" PostHistoryTypeId="36" PostId="22535" RevisionGUID="3b465926-c213-4a68-a43e-ed8e0c3d943b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4655/software-for-editing-audio-for-video/4769#4769" />
  <row Id="36758" PostHistoryTypeId="2" PostId="22535" RevisionGUID="c62a9365-2f0f-4c9a-877d-bdf0146c1867" CreationDate="2012-09-19T02:47:23.570" UserDisplayName="user30155" Text="If you only need the basic audio editing functions (such as extract audio from video, remove unwanted part of the whole audio, convert ogg audio to mp3, etc.), you can use professional video converter. The number of separate audio editing software is not much, but most of the video converting and editing software can also edit audio perfectly.&#xD;&#xA;For **Mac OS**, you can free trail this [audio/video software for Mac][1].&#xD;&#xA;For **Windows**, this [audio/video software][2] can help you edit audio with ease.&#xD;&#xA;PS I use the first one for Mac, and the second one was recommended by others on facebook.&#xD;&#xA;Hope it helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.video-converter-on-mac.com/video-converter-mac.html&#xD;&#xA;  [2]: http://dvdtoaudio.net/video-converter.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="36759" PostHistoryTypeId="36" PostId="22536" RevisionGUID="e8ccd235-4955-4535-93cc-e4452ab279b1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6889/what-type-of-information-can-i-get-from-the-waveform-and-the-spectrum-of-audio" />
  <row Id="36760" PostHistoryTypeId="36" PostId="22537" RevisionGUID="610df089-83b6-4ccd-b34f-75a93c67532e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6889/what-type-of-information-can-i-get-from-the-waveform-and-the-spectrum-of-audio/6890#6890" />
  <row Id="36761" PostHistoryTypeId="36" PostId="22538" RevisionGUID="70b84da5-c3e5-4391-9fc9-7178985c45bf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6889/what-type-of-information-can-i-get-from-the-waveform-and-the-spectrum-of-audio/6891#6891" />
  <row Id="36762" PostHistoryTypeId="2" PostId="22537" RevisionGUID="1ec2d9d2-9046-4dc0-88d3-e34f708bdfa2" CreationDate="2013-01-20T12:42:45.887" UserDisplayName="Serge" Text="I'll start from the very beginning: sine signals.&#xD;&#xA;&#xD;&#xA;![(from wikipedia)][1]&#xD;&#xA;&#xD;&#xA;Also known as pure tones, these kind of signals are periodic (i.e. repeat the same pattern over and over again). Anything that is periodic can be said to have a **frequency**, which is in fact f=1/T, being T the period. If you look at the image, you can see that the period is 2*pi and therefore frequency is 1/(2*pi) Hertz (Hz).&#xD;&#xA;&#xD;&#xA;This one is, in fact, a time domain signal. A waveform. In this examples it's pretty easy to compute the frequency, but it isn't always like that. So the only real information you can extract out of it is the amplitude at each moment.&#xD;&#xA;&#xD;&#xA;Sine waves contain a single frequency and, in fact, sound like [this][2]. If we apply the Fourier transform to a 200 Hz, we would get the following spectrum:&#xD;&#xA;&#xD;&#xA;![from mathworks][3]&#xD;&#xA;&#xD;&#xA;This means, roughly, that the signal's whole power is at 200 Hz. I will get more deeply into that later.&#xD;&#xA;&#xD;&#xA;Speech, or music, are far from featuring just one frequency. You can easily distinguish a note played by an electric guitar from that very same note played by a trombone. Same musical note means same fundamental frequency, so there must be more frequency components. That would not be a pure tone, but a some of some of them. Look at what the signal looks like when you sum to sines (first row, *a* is time domain and *c* is its spectrum):&#xD;&#xA;&#xD;&#xA;![enter image description here][4]&#xD;&#xA;&#xD;&#xA;So now we have a time signal that seems periodic, yet more complicated. If we look at its spectrum, we now see two frequency components. &#xD;&#xA;&#xD;&#xA;So let's generalize. According to Fourier's theories, **any** signal can be decomposed into infinite a sum of sine signals. If a sine signal had one component and its spectrum had one impulse, two sines had two impulses... infinite sines means a real spectrum, showing the most powerful frequencies as higher components. Infinite vertical bars mean &quot;so many that you can't distinguish one from the other&quot;, so the plot appears to be a single one.&#xD;&#xA;&#xD;&#xA;![enter image description here][5]&#xD;&#xA;&#xD;&#xA;Now, let's get to practice. You can open any song in Audacity to have it plotted in time domain. If you select the whole song and plot its spectrum (Analyze &gt; Plot spectrum...), what do you see? Well, you will probably see some sort of plot that means almost nothing. What would you hear if you played all the notes of a song at once? *In the bottom row of the previous image, the two distinct sine signals happen at different moments but, as the spectrum of the whole signal was taken, it seems that it happened at the same time. So the same happened here: it's like printing a book in a single page.*&#xD;&#xA;&#xD;&#xA;So the real interest is taking a small sample of the audio (let's say, 0.1 s) and plotting its spectrum. Now we will see what's happening in that time lapse. You can, for example, see if low frequencies (bass) are too loud.&#xD;&#xA;&#xD;&#xA;An interesting experiment is to take a brass instrument and plot its spectrum. You have samples [here][6]. As you are analyzing a single undistorted instrument playing a single note, you can see its harmonic structure: if you have taken a Tuba playing F2 (87 Hz), its harmonics would be 87*2=174, 87*3=272, etc.&#xD;&#xA;&#xD;&#xA;But, in general, as I said, the most interesting information appears when you take a little time lapse. Wouldn't it be great if some sort of software looked into every little fragment and plotted it to you? That's the spectrogram, which shows how much power is into every frequency at every moment.&#xD;&#xA;&#xD;&#xA;![enter image description here][7]&#xD;&#xA;&#xD;&#xA;An example: this is the spectrogram of someone saying &quot;Rice University&quot;. The spectrogram has a bunch of info impossible to obtain just looking at the waveform, i.e. the frequency components contained in each phoneme. &#xD;&#xA;&#xD;&#xA; - &quot;R&quot; sounds bassy, so has strong low frequency components.&#xD;&#xA; - &quot;i&quot; is a vowel. Those have an harmonic structure similar to the tuba's previous example.&#xD;&#xA; - &quot;c&quot; sounds like &quot;s&quot; which contain pretty high frequencies.&#xD;&#xA;&#xD;&#xA;etc. This is this way up to a point that if an experienced phoneticist looks at an spectrogram can indeed &quot;read&quot; what the person said.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/IRN61.png&#xD;&#xA;  [2]: http://onlinetonegenerator.com/&#xD;&#xA;  [3]: http://i.stack.imgur.com/Z5D5o.png&#xD;&#xA;  [4]: http://i.stack.imgur.com/MCdTh.gif&#xD;&#xA;  [5]: http://i.stack.imgur.com/oJAoq.jpg&#xD;&#xA;  [6]: http://www.philharmonia.co.uk/thesoundexchange/make_music/samples/library/&#xD;&#xA;  [7]: http://i.stack.imgur.com/sk0QQ.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="36763" PostHistoryTypeId="2" PostId="22538" RevisionGUID="04dd6728-335b-4012-bd18-0b32a9231139" CreationDate="2013-01-20T12:44:58.543" UserId="7176" Text="Here below is an image of a waveform (top part) and a spectogram (lower part).&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;## Waveform ##&#xD;&#xA;This is a two-dimensional graph where the amplitude of the signal (your audio) is shown over time. The amplitude is interpreted as the volume, so you see your total volume progression over time.&#xD;&#xA;&#xD;&#xA;## Spectogram ##&#xD;&#xA;This graph has three dimensions. X-axis is the time, Y-axis is the frequency and the colour represents the amplitude of the signal.&#xD;&#xA;Here below is a simple example to show you how the spectogram works.&#xD;&#xA;&#xD;&#xA;First a 400Hz tone over the duration of 8 seconds:&#xD;&#xA;![enter image description here][2]&#xD;&#xA;You see that the lightest colour (highest intensity) is on the 400Hz line of the Y-axis. Some other frequencies slightly higher and lower than 400Hz also exist in the tone, but those have a lower intensity (darker colour) and are not the main tone.&#xD;&#xA;&#xD;&#xA;Now a 200Hz tone shows the same behaviour. Highest intensity at the 200Hz frequency:&#xD;&#xA;![enter image description here][3]&#xD;&#xA;If I play the 400Hz and 200Hz tone simultaneously I see on the spectogram that both the 400 and 200Hz have a high intensity. &#xD;&#xA;![enter image description here][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/cLcLe.gif&#xD;&#xA;  [2]: http://i.stack.imgur.com/Wfebf.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/4N8EA.png&#xD;&#xA;  [4]: http://i.stack.imgur.com/TfKUd.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="36764" PostHistoryTypeId="2" PostId="22536" RevisionGUID="52a47c93-d9db-4396-83d4-0633cbd067ae" CreationDate="2013-01-20T08:03:46.737" UserDisplayName="Keegan McCarthy" Text="If I have the spectrogram and waveform of a clip of audio what sort of information can I gather by looking at those two things?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36765" PostHistoryTypeId="1" PostId="22536" RevisionGUID="52a47c93-d9db-4396-83d4-0633cbd067ae" CreationDate="2013-01-20T08:03:46.737" UserDisplayName="Keegan McCarthy" Text="What type of information can I get from the waveform and the spectrum of audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36766" PostHistoryTypeId="3" PostId="22536" RevisionGUID="52a47c93-d9db-4396-83d4-0633cbd067ae" CreationDate="2013-01-20T08:03:46.737" UserDisplayName="Keegan McCarthy" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36767" PostHistoryTypeId="36" PostId="22539" RevisionGUID="958beda9-6e31-4f24-bd38-902bd51da67b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5709/how-should-i-compare-headphones" />
  <row Id="36768" PostHistoryTypeId="2" PostId="22540" RevisionGUID="3c9035e6-6a95-4995-a1d6-d413db441c6b" CreationDate="2012-12-31T20:48:25.170" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="&gt; Does more impedance mean less volume ?&#xD;&#xA;&#xD;&#xA;As to impedance, take a look at Bill Griddle's answer:  &#xD;&#xA;http://avp.stackexchange.com/questions/650/what-is-the-effect-of-impedance-on-headphone-sound-quality&#xD;&#xA;&#xD;&#xA;In *essence*: yes, higher impedance = lower volume. But higher volume is not necessarily better quality. Most professional headphones has a high impedance. Are you A DJ then low impedance is more important to be able to hear the cue at all when performing.&#xD;&#xA;&#xD;&#xA;&gt; Does the lower frequency range mean more bass ?&#xD;&#xA;&#xD;&#xA;Not necessarily. It only means that the headphones are capable of reproducing the frequencies (and details) in this area - if they exist. Most commercial productions are mastered with a cut-off in the lower range between 50/60-80 Hz (depends of course) to allow more room for other frequencies as well as remove &quot;muffle-ness&quot;.&#xD;&#xA;&#xD;&#xA;In the other end, a grown-up person's ears have typically had damages over the years and is not capable of hearing the highest frequencies above 15-16kHz - and most music rarely contain frequencies in this area or above (unless they want to torture the listener).&#xD;&#xA;&#xD;&#xA;But typically the frequency range says something about the general quality - the lower the the lowest frequency is and the higher the highest frequency is, the better range can re-produced with these headphones - it's a good thing&#xD;&#xA;&#xD;&#xA;But you can still have factors such as EQ bias towards a certain EQ color. The better the headphones are the more neutral EQ color it has IMO.&#xD;&#xA;&#xD;&#xA;Update: to identify if the headphones have a preferable bias, lets say you want them to re-produce bass louder, you can read the frequency response diagram. An example [from this page][1]:&#xD;&#xA;&#xD;&#xA;![example of frequency response diagram][2]&#xD;&#xA;&#xD;&#xA;Here you can see it increases the frequency at around 40-50 Hz, 1 kHz and at around 8 kHz as well as 11 kHz. This means you will probably experience more bass and treble with these headphones then there is in the original track. Without a diagram like this the only way to find out is to have them on the head.&#xD;&#xA;&#xD;&#xA;In the end it is coming down to personal preference - if they sound good to you with the sound/music you listen to, there is nothing wrong of picking them.&#xD;&#xA;&#xD;&#xA;Personally I ended up with Beyerdynamic DT990. AKG was always a favorite as well as Sennheiser.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.headphone.com/headphones/akg-k-550.php&#xD;&#xA;  [2]: http://i.stack.imgur.com/HDRDa.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="36769" PostHistoryTypeId="2" PostId="22539" RevisionGUID="9a2307ba-1d0e-4e4d-bba5-581481f4e655" CreationDate="2012-12-29T18:14:31.370" UserDisplayName="Mevin Babu" Text="I'm finding difficulty in selecting one of these products and I thought you guys could help me better finding the best out of these four headphones .&#xD;&#xA;&#xD;&#xA;http://www.flipkart.com/headphones/compare?ids=ACCD55RCHQKQFCYU,ACCCYGKQED6YC86G,ACCDD3J2USV9QY26,ACCD99E7FFVD2ZXH&#xD;&#xA;&#xD;&#xA;**Does more impedance mean less volume ?** &#xD;&#xA;&#xD;&#xA;**Does the lower frequency range mean more bass ?** &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36770" PostHistoryTypeId="1" PostId="22539" RevisionGUID="9a2307ba-1d0e-4e4d-bba5-581481f4e655" CreationDate="2012-12-29T18:14:31.370" UserDisplayName="Mevin Babu" Text="How should I compare headphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36771" PostHistoryTypeId="3" PostId="22539" RevisionGUID="9a2307ba-1d0e-4e4d-bba5-581481f4e655" CreationDate="2012-12-29T18:14:31.370" UserDisplayName="Mevin Babu" Text="&lt;audio&gt;&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36772" PostHistoryTypeId="36" PostId="22540" RevisionGUID="6a39108a-bf3e-472e-9b9e-33a27509d9b5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5709/how-should-i-compare-headphones/5719#5719" />
  <row Id="36773" PostHistoryTypeId="36" PostId="22541" RevisionGUID="c24222fd-ee0b-4e89-8abc-1d702c604e62" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7175/is-there-a-utility-software-to-set-a-default-sound-output-level-for-a-number-of" />
  <row Id="36774" PostHistoryTypeId="36" PostId="22542" RevisionGUID="89e5bc6c-189f-4d85-b411-dcc3e35f397f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7175/is-there-a-utility-software-to-set-a-default-sound-output-level-for-a-number-of/7177#7177" />
  <row Id="36775" PostHistoryTypeId="2" PostId="22542" RevisionGUID="d379da38-ff4b-4911-8b54-46a9fbfb3edf" CreationDate="2013-02-17T08:24:25.673" UserDisplayName="frozenkoi" Text="Windows Media Player (version 12, not sure of other versions) have an option that might help you.&#xD;&#xA;&#xD;&#xA;In the &quot;Options&quot; window, in the &quot;Library&quot; tab there's a checkbox near the top that you can use to configure to **Add volume leveling information values for new files**.&#xD;&#xA;&#xD;&#xA;I believe (but I'm not sure) this information is then stored to the file as an ID3 tag.&#xD;&#xA;&#xD;&#xA;Other programs should have a similar option and functionality." ContentLicense="CC BY-SA 3.0" />
  <row Id="36776" PostHistoryTypeId="2" PostId="22543" RevisionGUID="5ac24ed9-70fd-49b2-b76e-0bd29da9f885" CreationDate="2013-02-17T18:50:42.473" UserId="7176" Text="[This Winamp blog post](http://blog.winamp.com/2009/08/24/automatic-volume-leveling-in-winamp-with-replay-gain/) describes exactly what you are looking for. The function is called `Replay Gain` and can be applied as follows (relevant text cited from blog article in case the link goes down):&#xD;&#xA;&#xD;&#xA;&gt; 1. Select the files you would like adjusted (DO NOT try to calculate&#xD;&#xA;&gt; your entire library at once) &#xD;&#xA;&gt; 2. Right click and choose Send To -&gt; Calculate Replay Gain &#xD;&#xA;&gt; 3. Once the files are analyzed, choose &quot;Save As Album&quot;.&#xD;&#xA;&gt;&#xD;&#xA;&gt;  - only choose &quot;Save Track data&quot; if you just have one (or a few) tracks from a particular album.&#xD;&#xA;&gt; &#xD;&#xA;&gt; 4. Once you've scanned your library, you'll still need to set your&#xD;&#xA;&gt; Preferences to turn on Replay Gain. Put a check-mark next to the&#xD;&#xA;&gt; Preferences to turn it on. (Ctrl+P) Playback -&gt; Replay Gain tab -&gt;&#xD;&#xA;&gt; Select &quot;use Replay Gain&quot;.   &#xD;&#xA;&gt; Under &quot;Preferred source&quot;, you can freely&#xD;&#xA;&gt; toggle between the album &amp; track playback options w/o rescanning. The&#xD;&#xA;&gt; only time you'll need to rescan is when you add new songs to your&#xD;&#xA;&gt; library.&#xD;&#xA;&gt; &#xD;&#xA;&gt; - Select &quot;Track&quot; if you are going to listen to your library on shuffle or if listening to a playlist&#xD;&#xA;&gt; - Select &quot;Album&quot; if you are going to listen to complete albums&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36777" PostHistoryTypeId="2" PostId="22541" RevisionGUID="d48896fa-c17f-4d7b-aefa-bdfd2d841e1f" CreationDate="2013-02-17T04:44:40.867" UserDisplayName="Elzee" Text="Some of the tracks in my MP3 collection have low output sound and this requires that I adjust volume level back and forth every time such a track plays and completes. Is there an application that I can use to set a common output level for all my MP3 files?&#xD;&#xA;&#xD;&#xA;I mostly use Winamp and sometimes Realplayer to play my music." ContentLicense="CC BY-SA 3.0" />
  <row Id="36778" PostHistoryTypeId="1" PostId="22541" RevisionGUID="d48896fa-c17f-4d7b-aefa-bdfd2d841e1f" CreationDate="2013-02-17T04:44:40.867" UserDisplayName="Elzee" Text="Is there a utility software to set a default sound output level for a number of MP3 tracks?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36779" PostHistoryTypeId="3" PostId="22541" RevisionGUID="d48896fa-c17f-4d7b-aefa-bdfd2d841e1f" CreationDate="2013-02-17T04:44:40.867" UserDisplayName="Elzee" Text="&lt;audio&gt;&lt;mp3&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36780" PostHistoryTypeId="36" PostId="22543" RevisionGUID="df38c01b-0fa2-43c9-b050-831bfc79e099" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7175/is-there-a-utility-software-to-set-a-default-sound-output-level-for-a-number-of/7185#7185" />
  <row Id="36781" PostHistoryTypeId="36" PostId="22544" RevisionGUID="6032bf55-0c4d-439c-8f49-678165e0ed77" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3166/general-studio-headphones-question-impedance-tonality-mixing" />
  <row Id="36782" PostHistoryTypeId="36" PostId="22545" RevisionGUID="334f51bb-ef22-42da-bcc8-20473c2a044d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3166/general-studio-headphones-question-impedance-tonality-mixing/3194#3194" />
  <row Id="36783" PostHistoryTypeId="2" PostId="22545" RevisionGUID="06fccadd-32af-4eb3-995d-30b6fffb60ac" CreationDate="2012-02-03T00:10:12.193" UserId="7200" UserDisplayName="leftaroundabout" Text="Forget about headphone impedances; as you assume they're primarily an indicator for the _loudness_, but you can't conclude anything about the _sound_ from them. In particular, the higher the headphone impedance the lower the influence on the sound.&lt;br&gt;&#xD;&#xA;Actually, the sound of any headphones is mainly governed by their mechanical construction. I personally have never liked the sound of any pair of Beyerdynamic headphones I tried, I much prefer most AKGs; but sure enough many people disagree there.&#xD;&#xA;&#xD;&#xA;The real trouble is not any particular type of headphones, it's headphones in general: you can't live without them, but they're just no replacement for proper studio monitors. I can't really explain that, but I don't know anyone who could yet proove the opposite. It appears that our ears simply don't work in a comparable way to normal hearing when we have headphones on.&lt;br&gt;Rooms with bass resonances are a plague. But have you tried every possible setup of speakers- and listening position yet? This can make a great difference. Even better would be another room, but that doesn't seem to be an option.&#xD;&#xA;&#xD;&#xA;At any rate buying another pair of headphones wouldn't really solve the problem. What you should rather do is to get a feel for the sound of the monitoring devices. Listen to various styles of music through all of them, comparing the special qualities each offers. When actually mixing something, switch between all of them depending on what kind of signal you have before you. A good mix should sound good on all." ContentLicense="CC BY-SA 3.0" />
  <row Id="36784" PostHistoryTypeId="2" PostId="22544" RevisionGUID="841b9f64-62ba-4461-85c3-8c613e9f6fa7" CreationDate="2012-01-29T22:02:57.733" UserDisplayName="Kieren Johnstone" Text="I picked up a pair of beyerdynamic DT 770 PRO (250 ohm) headphones a couple of days ago. My reasoning being I don't have a decent pair (I borrow a cheaper pair occasionally, AKG K77s), and my room has a bass resonance so I want something else to check mixes on.. as well as for doing fine edits, checking tracking etc.&#xD;&#xA;&#xD;&#xA;Anyway, I did a little monitoring while recording some drum tracks and the high end seemed a bit prominent. Got back home and started working on them, bit of EQ, compression etc to get a rough idea. Sounded great but then I took of the phones and listened through my monitors [Behringer Truth B2030A.. despite the brand they are rated very well I believe].&#xD;&#xA;The mix was instantly a lot duller and the tracks I had worked on were lost.&#xD;&#xA;&#xD;&#xA;I did some further comparisons. The monitors are &quot;normal&quot; as I would consider it, the DT 770s have what I would say is a 'very prominent' high-end and the AKGs somewhere inbetween.&#xD;&#xA;Then I noticed the impedance of the phones (250ohm). I figured maybe since my interface had a 75ohm output there was a mismatch and that might cause a loss of bass. However, I have been assured that high impedance would only cause a level drop, and the interface manual says it works up to impedances beyond 250ohm anyway.&#xD;&#xA;&#xD;&#xA;So I'm a little confused. The DT770s seem to have great reviews but considering their marketing includes words like 'reference monitoring' and 'good for mixing' I am left asking myself:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;* Is this normal - phones just clearly have more high end?&#xD;&#xA;* Why does it seem so obvious, so different between my 3 tests (AKG K77/DT770/B2030A)?&#xD;&#xA;* Would this change with a high-quality (+£££) pair? Should I be looking with a higher budget or is this simply how headphones work?&#xD;&#xA;&#xD;&#xA;Any thoughts greatly appreciated, thanks guys." ContentLicense="CC BY-SA 3.0" />
  <row Id="36785" PostHistoryTypeId="1" PostId="22544" RevisionGUID="841b9f64-62ba-4461-85c3-8c613e9f6fa7" CreationDate="2012-01-29T22:02:57.733" UserDisplayName="Kieren Johnstone" Text="General (studio) headphones question; impedance, tonality, mixing" ContentLicense="CC BY-SA 3.0" />
  <row Id="36786" PostHistoryTypeId="3" PostId="22544" RevisionGUID="841b9f64-62ba-4461-85c3-8c613e9f6fa7" CreationDate="2012-01-29T22:02:57.733" UserDisplayName="Kieren Johnstone" Text="&lt;audio&gt;&lt;mixing&gt;&lt;headphones&gt;&lt;monitoring&gt;&lt;studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36787" PostHistoryTypeId="36" PostId="22546" RevisionGUID="d4a9c445-9f27-43e8-86d3-e082ffdd687e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9584/best-means-for-digital-transport-of-audio" />
  <row Id="36788" PostHistoryTypeId="2" PostId="22547" RevisionGUID="877c6285-4e18-4c72-bd67-faa97a59951c" CreationDate="2013-12-07T12:02:29.180" UserId="7304" UserDisplayName="Julian" Text="I had a quick look at your device, it says the USB input is 16 bit / 48 kHz and that the device uses asynchronous sample rate conversion and 24 bit DACs @ 192 kHz.&#xD;&#xA;&#xD;&#xA;S/PDIF and Toslink are identical at the bitstream level and both are consumer variants of AES3 which supports 16 or 20 bit at 44.1 or 48 kHz.&#xD;&#xA;&#xD;&#xA;the HiFace2 says it has very good clocks, which should make no difference with short cable lengths and it says it does multiple sample rates up to 192 kHz and up to 24 bits.&#xD;&#xA;&#xD;&#xA;So if the HiFace2 is running at 192 kHz and 24 bits and toslink is 16 bit 44.1 I can imaging the s/pdif sounding best and the toslink sounding worst.&#xD;&#xA;&#xD;&#xA;Or if you are playing out a 44.1 kHz wav file it might sound better if the Moon 10D does the sample rate conversion than if you go 44.1 to 48 on the wire and then up to 192.&#xD;&#xA;&#xD;&#xA;Worst would be a 48 kHz file re-sampled to 44.1 in the conversion to toslink and then to 192 in the Moon.&#xD;&#xA;&#xD;&#xA;So it is worth knowing what the number of bits and the sample rate are at each point in the chain." ContentLicense="CC BY-SA 3.0" />
  <row Id="36789" PostHistoryTypeId="2" PostId="22546" RevisionGUID="9ec4e7e6-8290-47b0-8fa1-a57c5ddae560" CreationDate="2013-12-07T01:53:21.470" UserDisplayName="Charles Pehlivanian" Text="I have three choices for digital input into my DAC:&#xD;&#xA;&#xD;&#xA;- USB audio 2.0, through the USB input&#xD;&#xA;- Toslink, through the optical input&#xD;&#xA;- S/PDIF, through coaxial (via HiFace2 adapter)&#xD;&#xA;&#xD;&#xA;My understanding is that the third option is best, and I have convinced myself of this, more or less, sorta.&#xD;&#xA;&#xD;&#xA;Why is this? How much is DAC-dependent (mine is a Moon 100D) USB requires no conversion, for example, but sounds noticable different. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36790" PostHistoryTypeId="1" PostId="22546" RevisionGUID="9ec4e7e6-8290-47b0-8fa1-a57c5ddae560" CreationDate="2013-12-07T01:53:21.470" UserDisplayName="Charles Pehlivanian" Text="Best means for digital transport of audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="36791" PostHistoryTypeId="3" PostId="22546" RevisionGUID="9ec4e7e6-8290-47b0-8fa1-a57c5ddae560" CreationDate="2013-12-07T01:53:21.470" UserDisplayName="Charles Pehlivanian" Text="&lt;audio&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36792" PostHistoryTypeId="36" PostId="22547" RevisionGUID="647bff3b-ccea-470e-966b-dd7cdf1dd873" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9584/best-means-for-digital-transport-of-audio/9585#9585" />
  <row Id="36793" PostHistoryTypeId="36" PostId="22548" RevisionGUID="563fb2aa-fcaa-464e-87f6-4ab69c9dd308" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7598/opensource-audio-cue-editor-controller-for-live-theater-show" />
  <row Id="36794" PostHistoryTypeId="36" PostId="22549" RevisionGUID="7f3bb8b0-3ee5-4171-849f-312604d6b4b4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7598/opensource-audio-cue-editor-controller-for-live-theater-show/7601#7601" />
  <row Id="36795" PostHistoryTypeId="36" PostId="22550" RevisionGUID="45d91a42-5773-4137-894f-c8d0e2bd163b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7598/opensource-audio-cue-editor-controller-for-live-theater-show/9270#9270" />
  <row Id="36796" PostHistoryTypeId="2" PostId="22549" RevisionGUID="8cfbc109-83bc-4b2b-9b23-19cd25ebca97" CreationDate="2013-04-06T03:39:55.933" UserId="7174" Text="Have you looked at [SoundBoard][1]?  I've not personally used it since I have commercial software that I use, but it appears to be exactly what you are looking for.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundboard.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="36797" PostHistoryTypeId="2" PostId="22550" RevisionGUID="1526bb59-a661-4955-a7ef-3d85ada01629" CreationDate="2013-10-27T10:36:53.780" UserDisplayName="Vacum" Text="AudioCue would probably do the job. There is a open sourced branch for html5/web audio api at github: https://github.com/sundhage/AudioCue-JSP&#xD;&#xA;&#xD;&#xA;Should run fine on windows with google chrome." ContentLicense="CC BY-SA 3.0" />
  <row Id="36798" PostHistoryTypeId="2" PostId="22548" RevisionGUID="fbfd3967-cb33-4e87-8222-3fab0783f6c1" CreationDate="2013-04-05T21:58:32.283" UserId="9492" UserDisplayName="lOranger" Text="I'm looking for a decent free or open-source audio controller / cue editor for the audio control of a live theater show. Something in the line of [ShowCueSystem][1] or [QLab][2].&#xD;&#xA;&#xD;&#xA;Minimal requirements would be:&#xD;&#xA;&#xD;&#xA;- Output of a list of predefined sound tracks, with fade in/out, predefined volume control, possibly overlapping&#xD;&#xA;- Manually re-synchronize the audio list based on live action &#xD;&#xA;- Manually trigger sample effects, synchronized to live action on the show&#xD;&#xA;- No video support required, although it can be supported&#xD;&#xA;- Running on Windows&#xD;&#xA;&#xD;&#xA;  [1]: http://www.showcuesystems.com/&#xD;&#xA;  [2]: http://figure53.com/qlab/" ContentLicense="CC BY-SA 3.0" />
  <row Id="36799" PostHistoryTypeId="1" PostId="22548" RevisionGUID="fbfd3967-cb33-4e87-8222-3fab0783f6c1" CreationDate="2013-04-05T21:58:32.283" UserId="9492" UserDisplayName="lOranger" Text="OpenSource audio cue editor / controller for live theater show?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36800" PostHistoryTypeId="3" PostId="22548" RevisionGUID="fbfd3967-cb33-4e87-8222-3fab0783f6c1" CreationDate="2013-04-05T21:58:32.283" UserId="9492" UserDisplayName="lOranger" Text="&lt;audio&gt;&lt;editing&gt;&lt;theater&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36801" PostHistoryTypeId="36" PostId="22551" RevisionGUID="a57ccaf4-d23f-4167-9830-2c703966c2f5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4523/options-for-hobbyist-audio-recording" />
  <row Id="36802" PostHistoryTypeId="36" PostId="22552" RevisionGUID="9d177910-f35a-4517-ae61-1e2ec8892f40" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4523/options-for-hobbyist-audio-recording/4524#4524" />
  <row Id="36803" PostHistoryTypeId="36" PostId="22553" RevisionGUID="36e7b82f-5e04-4c28-bf65-f2953941e0f1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4523/options-for-hobbyist-audio-recording/4533#4533" />
  <row Id="36804" PostHistoryTypeId="2" PostId="22552" RevisionGUID="7e58e8e1-3c49-4c69-84c3-74b420ef3b83" CreationDate="2012-08-05T23:20:51.043" UserId="7201" UserDisplayName="hhh" Text="**Perhaps useful**&#xD;&#xA;&#xD;&#xA;&gt; &#xD;&#xA;&gt; **Misc**&#xD;&#xA;&gt; &#xD;&#xA;&gt; 1. http://avp.stackexchange.com/questions/3007/linux-tools-for-beginning-electronic-music-production&#xD;&#xA;&gt; &#xD;&#xA;&gt; 2. http://avp.stackexchange.com/questions/475/pro-tools-tutorials&#xD;&#xA;&gt;&#xD;&#xA;&gt; **Recording**&#xD;&#xA;&gt; &#xD;&#xA;&gt; 3. http://avp.stackexchange.com/questions/174/cheap-diy-solutions-like-using-egg-cartons&#xD;&#xA;&gt;&#xD;&#xA;&gt; 0. http://avp.stackexchange.com/questions/4187/automatically-synchronizing-audio-video-with-foss-tools&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36805" PostHistoryTypeId="2" PostId="22553" RevisionGUID="e5d0d3f8-ff2a-466b-8154-9faaf9964195" CreationDate="2012-08-06T22:21:35.517" UserId="7294" UserDisplayName="Warrior Bob" Text="Generally, filtering out noise and echoes is best done at recording time, by using an appropriate microphone and recording space. Removing noise and echoes after they are &quot;baked in&quot; to the recording is an approximation at best, especially when the noise and echo frequencies are in the same range as the desired signal. I am not aware of any tools that perform this automatically that I have liked enough to use in leiu of just making a better recording in the first place.&#xD;&#xA;&#xD;&#xA;The free wave editor [Audacity](http://audacity.sourceforge.net) has a basic noise-removal algorithm as well as an equalizer plugin which alters the volume of specific frequency ranges.  I have not had much luck with their noise removal, but sometimes the noise is mainly in a range you do not care about and you can cut it with the equalizer." ContentLicense="CC BY-SA 3.0" />
  <row Id="36806" PostHistoryTypeId="2" PostId="22551" RevisionGUID="c70e9aa5-3b1f-4a9c-9bb6-b66ea800a83a" CreationDate="2012-08-05T23:20:51.043" UserId="7201" UserDisplayName="hhh" Text="I met today a good guy, an artist D. McDade [here](http://www.darylmcdade.com/), to whom I showed a song and explained about reverberation and noise -problems in small-room -recordings. He mentioned some tools such as German -tools, suggested them being high-quality options, and some Pro-Tools, apparently [here](http://shop.avid.com/store/category.do?category=pro-tools-plugins-processing). I currently use iPad's GarageBand, Audacity -- but problems with filtering noise. My songs miss the vocal parts and riffs, a lot of white-noise-style -things with them -- hard to fit them to other parts being of much higher -quality and clarity. My game-dev-comrade uses ZoomUH34n -microphone in development, you can apparently get very high-quality sound with it (costing some 300EUR). I am not sure what I really need here, I use iPad's microphone for recording and I like that I can do work anywhere I am so not wanting carry any big items.&#xD;&#xA;&#xD;&#xA;&gt; *Does there exist some hobbyist -tools or better filters to get out things such as noises and echos? What are the options for hobbyist audio-recording?*" ContentLicense="CC BY-SA 3.0" />
  <row Id="36807" PostHistoryTypeId="1" PostId="22551" RevisionGUID="c70e9aa5-3b1f-4a9c-9bb6-b66ea800a83a" CreationDate="2012-08-05T23:20:51.043" UserId="7201" UserDisplayName="hhh" Text="Options for hobbyist audio-recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36808" PostHistoryTypeId="3" PostId="22551" RevisionGUID="c70e9aa5-3b1f-4a9c-9bb6-b66ea800a83a" CreationDate="2012-08-05T23:20:51.043" UserId="7201" UserDisplayName="hhh" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36809" PostHistoryTypeId="36" PostId="22554" RevisionGUID="5096d287-05aa-4491-98c8-d57a4d32614f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/678/voiceover-workflow-tips-specifcally-workflow-and-processing" />
  <row Id="36810" PostHistoryTypeId="36" PostId="22555" RevisionGUID="59a4578a-1b1c-4f00-a3d3-8239ce269a26" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/678/voiceover-workflow-tips-specifcally-workflow-and-processing/699#699" />
  <row Id="36811" PostHistoryTypeId="2" PostId="22555" RevisionGUID="8ccebbe1-5992-463d-91e0-42eae5d773df" CreationDate="2011-01-28T04:02:53.727" UserDisplayName="Kim Burgaard" Text="I don't have any experience with Adobe Premier Pro so I can't give you any advice for workflows around this software. But I do know that Cubase, ProTools and probably many other DAW packages have video modes that allow you to produce sound for a video clip.&#xD;&#xA;&#xD;&#xA;The point I will try to make in this answer is just that you can reduce your workflow to use just one piece of software, provided you pick a Digital Audio Workstation package that supports audio production for video.&#xD;&#xA;&#xD;&#xA;With this setup, you would start a new project in Cubase (substitute with ProTools or other major DAW here) and import the video file. Playback and recording will now be synchronized frame for frame with the picture and you're free to record, process and mix all the audio in one place.&#xD;&#xA;&#xD;&#xA;Your question is fairly generic. I don't know enough about your current workflow, so here's how I imagine I would undertake a similar task:&#xD;&#xA;&#xD;&#xA; 0. Export video from Adobe Premier Pro.&#xD;&#xA; 1. Import video in Cubase.&#xD;&#xA; 2. Playback video to write and rehearse voice over.&#xD;&#xA; 3. Record voice over. The video playback while recording helps you get the timing and expression right.&#xD;&#xA; 4. Set up a compressor on the original audio from the video with a side chain tied to the voice over. This will &quot;duck&quot; the original audio during voice over passages.&#xD;&#xA; 5. Import other audio such as theme song, end credit music, sound effect samples, etc.&#xD;&#xA; 6. Mix the theme music, voice overs and sound effects with the original sound&#xD;&#xA; 7. Export the video with the final audio production -- or export mixdown for import in Adobe Premier Pro&#xD;&#xA; 8. $$$ :-)&#xD;&#xA;&#xD;&#xA;I would set the sample rate based on the final media. If you're producing voice overs for Blu-Ray or other HD media, then you should probably go with 96KHz. Otherwise, go with whatever your ears/good judgement/customer tells you." ContentLicense="CC BY-SA 2.5" />
  <row Id="36812" PostHistoryTypeId="2" PostId="22556" RevisionGUID="e1a02479-cf47-41a5-815f-7ea62dc50f65" CreationDate="2011-01-30T03:38:19.657" UserDisplayName="d-_-b" Text="**Details**&#xD;&#xA;&#xD;&#xA;It sounds like you have no control over the video/music. If you do, see my notes below.&#xD;&#xA;&#xD;&#xA; * Record at least 24bits at 96Khz for video and 88.2 for audio. That'll easily divide by 2 to achieve the final correct sample rate. This will theoretically give you the cleanest possible sound.&#xD;&#xA;&#xD;&#xA; * Record with external compression (in the analog stage) if you have the equipment. Have your narrator say the loudest thing s/he'd say, and adjust your levels so that it's just below clipping.&#xD;&#xA;&#xD;&#xA; * Make a rough edit. Once your narration is recorded, the best way to match it to your existing video is with a multitracker that has a video channel, or a NLE with multiple audio tracks.&#xD;&#xA;&#xD;&#xA; * Adjust each narration cut so all the levels are similar. Manually create envelopes, separate cuts and gain settings if necessary.&#xD;&#xA;&#xD;&#xA; * Make a detailed edit. Cut out the breaths, smacks, ums, make him say something different, etc.&#xD;&#xA;&#xD;&#xA; * Use envelopes to manually duck the background music. This part is especially creative. As a slow fade vs. a quicker one may have a different emphasis on the visual or narration.&#xD;&#xA;&#xD;&#xA; * Compress the narration track. It's a good idea to keep all the narration cuts on the same track so you can apply a uniform compression to it. I personally use Waves Ultramaximizer. Sony/SF has a similar plugin. I'm sure there are others out there. I try to make the V/O hot, but it should not sound breathy or unnatural. I don't go over -3db.&#xD;&#xA;&#xD;&#xA; * Mildly Compress the master channel. Your original background music track should not be compressed. If it is, and you can't get the studio to send you an uncompressed track, turn the gain down, maybe to -1db.&#xD;&#xA;&#xD;&#xA;There should be no sound distortion and of course no clipping. The narration should be clear and easy to understand. The music should not obviously duck in and out. If it is obvious, you may need to work on your envelopes. It's OK to start bring in the music before the narrator is finished. This creates somewhat of a crescendo affect and adds emphasis.&#xD;&#xA;&#xD;&#xA;**Notes**&#xD;&#xA;&#xD;&#xA;Here is how I do voice overs.&#xD;&#xA;&#xD;&#xA;Let me first note that it is important to not think of the voice over as a separate project or a separate job. It's the same with background music.&#xD;&#xA;&#xD;&#xA;I don't let the narrator hear the music or watch the video - unless they have lots of experience. What usually happens is that they get distracted by the video and timing, or they follow the mood of the music. I want the narration to be a clear, expressive representation of what the client wants to convey. I usually have the client sign off on the narration before I begin editing. This way I can adjust the feel of the piece by varying the music and timing of the narration cuts.&#xD;&#xA;&#xD;&#xA;Narration should be done as early into the production as possible. The reason for this is that it gives you more flexibility with your visual and audio edits. If you've already finished all your visual edits, and your client really wants the narrator to say 1 and 2 and 3, but you only have room for 1 and 2, you have to make some compromise on your visual edit, which might have tied in perfectly with your music.&#xD;&#xA;&#xD;&#xA;1. make a rough (visual) edit based on the story board. (You do have a story board, right?)&#xD;&#xA;2. record the narration.&#xD;&#xA;3. score or choose the background music.&#xD;&#xA;4. make a semi final edit with the music, video, and voice over.&#xD;&#xA;4a. continue to make edits in communication with your client.&#xD;&#xA;5. edit the final - color correction, titles, FX, fades, flying turtles, etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="36813" PostHistoryTypeId="2" PostId="22554" RevisionGUID="8d21a5bc-7b9d-4ccd-a292-8a74f1f830b2" CreationDate="2011-01-24T21:56:08.460" UserDisplayName="growse" Text="Does anyone have any good tips as to how I might record good quality voiceover for a short video series I'm editing?&#xD;&#xA;&#xD;&#xA;I'm currently in the middle of editing together a short video project that needs some voiceover. This is a domain that's fairly new to me, although I'm an experienced musician that's played with sound mixing in the past.&#xD;&#xA;&#xD;&#xA;I'm putting it together using Adobe PPro CS5 (courtesy of my employer) and for equipment I have a Focusrite Saffire FW unit with an Audio Technica AT2035 microphone with a pop guard. That lives in a booth, so I don't get any unwanted noises.&#xD;&#xA;&#xD;&#xA;My problem is that I don't really have any idea of what the correct workflow should be to get sound recorded, processed and mixed against the video track. I've cobbled something together where I record the voiceover as one side of a stereo track at 48kHz directly into PPro (this helps with timing with the footage). I then dump the audio track into Audition, fiddle for a bit until I get something that sounds OK and then save back. However, this isn't that efficient and I usually end up doing somethign different each time, resulting in a variety of different sounding v/o clips.&#xD;&#xA;&#xD;&#xA;I realise this is quite a big subject, with probably a range of opinions and no &quot;right answer&quot;. However, I'd be interested to hear any pointers in what I'm doing right/wrong, as well as how other people do this, specifically around:&#xD;&#xA;&#xD;&#xA;- Recording settings (gain, sample rate etc.)&#xD;&#xA;- Equipment&#xD;&#xA;- V/o processing (compression etc.)&#xD;&#xA;- Automatic ducking of other sound levels in video when voiceover occurs." ContentLicense="CC BY-SA 2.5" />
  <row Id="36814" PostHistoryTypeId="1" PostId="22554" RevisionGUID="8d21a5bc-7b9d-4ccd-a292-8a74f1f830b2" CreationDate="2011-01-24T21:56:08.460" UserDisplayName="growse" Text="Voiceover workflow tips? (Specifcally, workflow and processing...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="36815" PostHistoryTypeId="3" PostId="22554" RevisionGUID="8d21a5bc-7b9d-4ccd-a292-8a74f1f830b2" CreationDate="2011-01-24T21:56:08.460" UserDisplayName="growse" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="36816" PostHistoryTypeId="36" PostId="22556" RevisionGUID="6795ef84-bddc-4b30-9bd5-408579fff685" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/678/voiceover-workflow-tips-specifcally-workflow-and-processing/715#715" />
  <row Id="36817" PostHistoryTypeId="36" PostId="22557" RevisionGUID="bcc21f6d-2043-49a8-a1ae-3761e7a28efe" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2830/where-can-i-find-resources-for-self-learning-of-audio-video-production-concepts" />
  <row Id="36818" PostHistoryTypeId="36" PostId="22558" RevisionGUID="028c4435-6bf7-4441-ab12-352802cff3cb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2830/where-can-i-find-resources-for-self-learning-of-audio-video-production-concepts/2834#2834" />
  <row Id="36819" PostHistoryTypeId="2" PostId="22558" RevisionGUID="d4074e29-edd6-4903-ad78-dab4f384904b" CreationDate="2011-12-17T17:21:37.790" UserDisplayName="Speldosa" Text="To get familiar with the basic concepts, I would recommend Wikipedia and Google. Just look at the [entry for MIDI][1]. It's huge. Another example is the [microphone entry][2]. It is even more huge!&#xD;&#xA;&#xD;&#xA;So, investigate the equipment, then Google it and search on Wikipedia. You'll be amazed how much information you'll find.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/MIDI&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="36820" PostHistoryTypeId="2" PostId="22557" RevisionGUID="5d9a7f37-27b8-4a71-8f22-c05adf928a85" CreationDate="2011-12-17T08:30:32.177" UserDisplayName="Poon" Text="My father has an audio-video production studio that I wanted to inherit. However, I majored in computer science and have no clue whatsoever about how audio and video production works. The problem here is that I already have the equipment, but I do not know how to use it to produce the expected results. Unfortunately, my father doesn't have deep knowledge of the equipment either. He did his jobs by a conventional wisdom (usually trial and error) and did not take any complicated jobs that required professional knowledge. &#xD;&#xA;&#xD;&#xA;My purpose is to extend my father's studio with my computer skills.  However, I am still a total beginner in this audio-video production. Can anyone suggest me where should I start? &#xD;&#xA;&#xD;&#xA;What I want to know is the pipeline behind the production, and all the terms and concepts.&#xD;&#xA;&#xD;&#xA;For example, I want to know the purpose behind different features in a camera, and the meaning behind all the terms that I've seen on the labels or in an editor software (midi, damping, etc.). " ContentLicense="CC BY-SA 3.0" />
  <row Id="36821" PostHistoryTypeId="1" PostId="22557" RevisionGUID="5d9a7f37-27b8-4a71-8f22-c05adf928a85" CreationDate="2011-12-17T08:30:32.177" UserDisplayName="Poon" Text="Where can I find resources for self-learning of audio-video production concepts" ContentLicense="CC BY-SA 3.0" />
  <row Id="36822" PostHistoryTypeId="3" PostId="22557" RevisionGUID="5d9a7f37-27b8-4a71-8f22-c05adf928a85" CreationDate="2011-12-17T08:30:32.177" UserDisplayName="Poon" Text="&lt;video&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36823" PostHistoryTypeId="36" PostId="22559" RevisionGUID="4cef6cf9-c1b7-4f59-ac75-7917f297850d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3358/how-can-i-view-audio-in-real-time" />
  <row Id="36824" PostHistoryTypeId="36" PostId="22560" RevisionGUID="958787ac-2413-43b5-8c9a-e327758d4b9e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3358/how-can-i-view-audio-in-real-time/3360#3360" />
  <row Id="36825" PostHistoryTypeId="36" PostId="22561" RevisionGUID="835ddaa8-08c9-4f81-916c-b5c8529331c1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3358/how-can-i-view-audio-in-real-time/3388#3388" />
  <row Id="36826" PostHistoryTypeId="36" PostId="22562" RevisionGUID="fdd3a764-623a-43c3-bfdc-1759828050e1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3358/how-can-i-view-audio-in-real-time/3820#3820" />
  <row Id="36827" PostHistoryTypeId="2" PostId="22560" RevisionGUID="ce33f2ef-1293-44af-a3cf-0bb2cacbb8b5" CreationDate="2012-02-19T12:43:26.613" UserId="7016" Text="There are lots of very simple spectrum analysis plugins for winamp, media player etc - you don't need to use the 'artsy' ones.&#xD;&#xA;&#xD;&#xA;An [example for winamp][1] or if you want software that creates a spectral plot image you could try something like this [FFT Sound Analyser][2].&#xD;&#xA;&#xD;&#xA;Just have a search for either spectrum analyser plugin, or spectral plot or similar.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.winamp.com/visualization/classic-spectrum-analyzer/165966&#xD;&#xA;  [2]: http://www.nch.com.au/wavepad/fft.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="36828" PostHistoryTypeId="2" PostId="22561" RevisionGUID="6afe9cd4-5979-4bef-a214-c4097ea962c6" CreationDate="2012-02-23T15:52:40.650" UserId="7294" UserDisplayName="Warrior Bob" Text="You can't get &quot;the whole song&quot; in &quot;realtime&quot; since the recording doesn't happen instantaneously. However, you certainly can see a waveform in most audio editors. The classic freebie editor to recommend is [Audacity](http://audacity.sourceforge.net/), which will let you zoom in arbitrarily close, and you can take screenshots using your operating system features. I believe Audacity has a spectrum analyzer view as well, so you can see your waveform represented that way too.&#xD;&#xA;&#xD;&#xA;If your goal is to look at wave patterns and phrases, then loading it in an editor is how I'd recommend doing it. It's what I do, anyway." ContentLicense="CC BY-SA 3.0" />
  <row Id="36829" PostHistoryTypeId="2" PostId="22562" RevisionGUID="92b757bd-1136-455e-a6cf-c274edcb913b" CreationDate="2012-04-24T22:17:15.500" UserDisplayName="bearcdp" Text="The most useful spectral visualization and editing tool I know of is [SPEAR][1]. It pulls out the component frequencies in a signal and spreads them out so you can see each frequency's amplitude over time. You can also edit each band.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.klingbeil.com/spear/" ContentLicense="CC BY-SA 3.0" />
  <row Id="36830" PostHistoryTypeId="2" PostId="22559" RevisionGUID="ce85001d-c19c-4c52-a29f-1ef758d356c3" CreationDate="2012-02-19T08:59:38.303" UserDisplayName="Steve Robbins" Text="This may seem like a dumb question but I don't know where else to ask it!&#xD;&#xA;&#xD;&#xA;One of things I like to do with music is check out wave patterns, spectral phases, etc, if for no other reason than they look cool (or predicting the kind of sound based on the wave).&#xD;&#xA;&#xD;&#xA;Some examples here (Using Adobe Audition):![enter image description here][1]&#xD;&#xA;&#xD;&#xA;I think this is **awesome** and is a really cool way to represent music.&#xD;&#xA;&#xD;&#xA;The problem I'm having is performance issues while listening and rendering these views in real time, at great detail (especially those last two). That would mean I would have to convert the whole thing to an image first, piece by piece, to see all the detail (or have a large resolution monitor and take a big screenshot).&#xD;&#xA;&#xD;&#xA;Is there some sort of software out there (or web app) that can render a *linear* view like this for me and save it to an image?&#xD;&#xA;&#xD;&#xA;Take [SoundCloud][2] for example (grey outline):&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;I really open when it comes to the kind of format I would get back. Image file, svg, draw it in javascript? Doesn't really matter. I'm just looking for a more readily available way to view waveforms or audio data visually. Potentially something that could be used or engineered as a real time visualization. Not something like the visualizer that comes with Windows Media Player or Winamp.  Those are too &quot;artsy&quot; and manipulate the raw data to unreadable extremes/non-linear.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/IzBzm.jpg&#xD;&#xA;  [2]: http://soundcloud.com/groups/pretty-waveforms&#xD;&#xA;  [3]: http://i.stack.imgur.com/q6T34.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="36831" PostHistoryTypeId="1" PostId="22559" RevisionGUID="ce85001d-c19c-4c52-a29f-1ef758d356c3" CreationDate="2012-02-19T08:59:38.303" UserDisplayName="Steve Robbins" Text="How can I View Audio in Real Time?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36832" PostHistoryTypeId="3" PostId="22559" RevisionGUID="ce85001d-c19c-4c52-a29f-1ef758d356c3" CreationDate="2012-02-19T08:59:38.303" UserDisplayName="Steve Robbins" Text="&lt;software&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36833" PostHistoryTypeId="36" PostId="22563" RevisionGUID="4f518b01-13de-4ea8-907b-c18befaa0d9d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4495/audio-output-from-mitsubishi-hc4000-to-speakers-doesnt-work" />
  <row Id="36834" PostHistoryTypeId="36" PostId="22564" RevisionGUID="4907f021-9e3c-4f17-8f27-ed3f95f558c6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4495/audio-output-from-mitsubishi-hc4000-to-speakers-doesnt-work/4496#4496" />
  <row Id="36835" PostHistoryTypeId="2" PostId="22564" RevisionGUID="66c0ed9a-7959-4918-874e-fde9f1a867bd" CreationDate="2012-07-31T18:51:47.130" UserId="7188" Text="The Mitsubishi HC4000 does not produce audio, the RCA jacks (red and blue) that you are using are for video signals only, not audio signals. These video projectors only take video in and project the images, they do not accept audio signals as far as I can tell. The intention is that you would take your audio source to a separate audio amplifier with speakers. Perhaps your computer can produce the audio while the video is being projected.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36836" PostHistoryTypeId="2" PostId="22563" RevisionGUID="a368c2c3-54cf-4cc6-8862-69b6cbb347d1" CreationDate="2012-07-31T18:17:45.097" UserDisplayName="Patrick" Text="I don't manage to output the audio from my projector Mitsubishi HC4000 to my harman speakers, with a RCA to 3.5 jack adaptor.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;I've connected the adaptor to the blue and red RCA output in the picture and to the speakers jack.&#xD;&#xA;Also, I've connected an Apple TV to the projector with HDMI cable.&#xD;&#xA;&#xD;&#xA;I've also tried to increase the speakers volume (very loud), but I can't even listen to the &quot;soft&quot; signal (I've checked this because I was afraid I needed an amplifier. Even without amplifier the audio signal should be slightly perceptible, but I can't really hear any difference).&#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/4mv4s.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/ZBJi2.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="36837" PostHistoryTypeId="1" PostId="22563" RevisionGUID="a368c2c3-54cf-4cc6-8862-69b6cbb347d1" CreationDate="2012-07-31T18:17:45.097" UserDisplayName="Patrick" Text="Audio output from Mitsubishi HC4000 to speakers doesn't work" ContentLicense="CC BY-SA 3.0" />
  <row Id="36838" PostHistoryTypeId="3" PostId="22563" RevisionGUID="a368c2c3-54cf-4cc6-8862-69b6cbb347d1" CreationDate="2012-07-31T18:17:45.097" UserDisplayName="Patrick" Text="&lt;audio&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36839" PostHistoryTypeId="36" PostId="22565" RevisionGUID="e2efa117-bada-48c8-97c6-d7c3274ea5db" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3916/where-do-the-actual-sounds-come-from-in-electronic-music" />
  <row Id="36840" PostHistoryTypeId="2" PostId="22566" RevisionGUID="122fba01-0058-4d4e-b118-117bad485b83" CreationDate="2012-05-04T09:26:05.097" UserDisplayName="Speldosa" Text="&gt; Do you have to record instruments/vocals/noises and then load them in,&#xD;&#xA;&gt; or can the software create the sound itself virtually?&#xD;&#xA;&#xD;&#xA;Yes to both. You can basically work either with a [sampler][1] (which contrain prerecorded samples of different instruments, in different pitches, spread out over the keyboard) or with [synthesizers][2] which more or less creates the sound you want on the spot. Both of these technologies are implemented as plug-ins, for example as a [VST][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Sampler_%28musical_instrument%29&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Synthesizer&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Virtual_Studio_Technology" ContentLicense="CC BY-SA 3.0" />
  <row Id="36841" PostHistoryTypeId="2" PostId="22565" RevisionGUID="b38398a9-e879-424e-9d79-29a1cb7af3fd" CreationDate="2012-05-04T07:48:13.270" UserId="11176" UserDisplayName="Aerovistae" Text="I'm about to start teaching myself to use Cubase, but before I do I need to understand a fundamental thing. I know the software has phenomenal power to alter and arrange sound, but where do the sounds *originally come from*? Do you have to record instruments/vocals/noises and then load them in, or can the software create the sound itself virtually?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36842" PostHistoryTypeId="1" PostId="22565" RevisionGUID="b38398a9-e879-424e-9d79-29a1cb7af3fd" CreationDate="2012-05-04T07:48:13.270" UserId="11176" UserDisplayName="Aerovistae" Text="Where do the actual sounds come from in electronic music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36843" PostHistoryTypeId="3" PostId="22565" RevisionGUID="b38398a9-e879-424e-9d79-29a1cb7af3fd" CreationDate="2012-05-04T07:48:13.270" UserId="11176" UserDisplayName="Aerovistae" Text="&lt;audio-recording&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36844" PostHistoryTypeId="36" PostId="22566" RevisionGUID="b3f36971-fc39-48a4-9158-2145faa5e5b9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3916/where-do-the-actual-sounds-come-from-in-electronic-music/3918#3918" />
  <row Id="36845" PostHistoryTypeId="36" PostId="22567" RevisionGUID="19238301-fd29-45b6-b314-471d4ab13d82" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3916/where-do-the-actual-sounds-come-from-in-electronic-music/7139#7139" />
  <row Id="36846" PostHistoryTypeId="36" PostId="22568" RevisionGUID="c6f9eda8-67bf-43e8-ab3d-43d2ab560fb8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3916/where-do-the-actual-sounds-come-from-in-electronic-music/7193#7193" />
  <row Id="36847" PostHistoryTypeId="2" PostId="22567" RevisionGUID="6ebeacf2-7bda-462f-830b-e55f401b7946" CreationDate="2013-02-13T21:30:39.517" UserDisplayName="Anton Cherkashyn" Text="Both approaches will work. In fact you can easily create music inside Cubase without importing or recording any sound. I.e. you can open a midi editor in Cubase and manually insert notes, modify their length/volume/pitch, and then route this midi track into an &quot;instrument&quot;, that generates sound from midi. For example, Steinberg Synth HALion, which comes with Cubase(at least it did with my Cubase 6 LE)" ContentLicense="CC BY-SA 3.0" />
  <row Id="36848" PostHistoryTypeId="2" PostId="22568" RevisionGUID="e87303f7-f2e8-4768-9f4b-4b57215bf2b9" CreationDate="2013-02-18T20:46:13.820" UserId="13269" UserDisplayName="Philip Graham" Text="Good answers, I would like to add that you can also use cubase to control external synths via a midi interface on some soundcards. This way you can arrange external hardware just like you would internal software. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36849" PostHistoryTypeId="36" PostId="22569" RevisionGUID="e4ce49f7-983d-4cb2-a51e-19fa3c5f8175" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7023/how-to-easily-integrate-a-series-of-images-in-pdf-with-audio-using-mac-os-x" />
  <row Id="36850" PostHistoryTypeId="2" PostId="22570" RevisionGUID="34357346-cca7-4158-858e-005b2e2ca6a4" CreationDate="2013-02-01T18:37:35.080" UserDisplayName="Chris James Champeau" Text="...Why dont you use Imovie, or final cut, you could bring in your .pdf (may need to convert to jpg) but then put them full screen to the music...really simply stuff" ContentLicense="CC BY-SA 3.0" />
  <row Id="36851" PostHistoryTypeId="2" PostId="22569" RevisionGUID="8cfdbc35-34a5-4d23-b4ee-1ce59b7a4675" CreationDate="2013-01-31T12:47:54.770" UserDisplayName="Pietro Speroni" Text="I made a lesson and would like to put it on the web. I have the audio recording of it. I also have the slides. I made them using Keynote, and then can export them to pdf.&#xD;&#xA;&#xD;&#xA;I now need to integrate the two so I make a video with the slides as the visual part and the audio as the auditory part.&#xD;&#xA;&#xD;&#xA;Usually I do the following:&#xD;&#xA;open the audio in Audacity. Go through the whole audio cutting the pauses, the repetition, ...&#xD;&#xA;Then with the cleaned audio, open iShowU HD, start recording, open the first slide, run the audio, move the slides along, stop recording. I then cut the first few seconds and store that.&#xD;&#xA;&#xD;&#xA;This is very complicated, and what's worse it is very unforgiving. If half way I make a mess with the slide movement or I speak, I need to start again.&#xD;&#xA;&#xD;&#xA;I need some other program where I can insert the audio, the slides, and he just records at what time to move on. ANd then I can go and change the number of seconds after which it mad e a slide change. Without starting again.&#xD;&#xA;&#xD;&#xA;Any suggestion?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36852" PostHistoryTypeId="1" PostId="22569" RevisionGUID="8cfdbc35-34a5-4d23-b4ee-1ce59b7a4675" CreationDate="2013-01-31T12:47:54.770" UserDisplayName="Pietro Speroni" Text="How to easily integrate a series of images in pdf with audio using Mac Os X" ContentLicense="CC BY-SA 3.0" />
  <row Id="36853" PostHistoryTypeId="3" PostId="22569" RevisionGUID="8cfdbc35-34a5-4d23-b4ee-1ce59b7a4675" CreationDate="2013-01-31T12:47:54.770" UserDisplayName="Pietro Speroni" Text="&lt;audio&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36854" PostHistoryTypeId="36" PostId="22570" RevisionGUID="1dc19afa-915b-4980-af56-44aa1ef5b6fb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7023/how-to-easily-integrate-a-series-of-images-in-pdf-with-audio-using-mac-os-x/7028#7028" />
  <row Id="36855" PostHistoryTypeId="36" PostId="22571" RevisionGUID="0fc2b899-b8bb-455c-aa63-c7c65bcb5f59" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4591/app-for-recording-asio-line-in" />
  <row Id="36856" PostHistoryTypeId="2" PostId="22572" RevisionGUID="e501a4ae-c2f1-4cca-92c3-e107cbc6eb75" CreationDate="2012-08-17T00:19:54.910" UserId="7200" UserDisplayName="leftaroundabout" Text="First, Audacity _does_ support ASIO, it just can't include it in binary releases because the Steinberg license is GPL-incompatible. But if you [build Audacity and the ASIO SDK from source](http://wiki.audacityteam.org/wiki/ASIO_Audio_Interface#Non-distributable_ASIO_support_in_Audacity), that should work fine.&#xD;&#xA;&#xD;&#xA;Alternatively, you can use a different DAW. [Reaper](http://www.reaper.fm/) is very flexible, supports ASIO and a bunch of other non-free standards out of the box, and is still very lightweight – perhaps not quite as lightweight as Audacity, but still so small that it can't possibly be a problem on a system that can afford running Windows. It isn't free software, but probably as close to freedom as proprietary closed-source software can get." ContentLicense="CC BY-SA 3.0" />
  <row Id="36857" PostHistoryTypeId="2" PostId="22571" RevisionGUID="f06b4aed-74b0-4d2f-a7cb-798eb1f904fa" CreationDate="2012-08-16T18:27:15.790" UserDisplayName="hidarikani" Text="I have a PC running Windows 7 and a 4 channel external ASIO audio card. I thought I could record line in with Audacity but it doesn't suport ASIO. What other options do I have? I need a simple lightweight app to do the job." ContentLicense="CC BY-SA 3.0" />
  <row Id="36858" PostHistoryTypeId="1" PostId="22571" RevisionGUID="f06b4aed-74b0-4d2f-a7cb-798eb1f904fa" CreationDate="2012-08-16T18:27:15.790" UserDisplayName="hidarikani" Text="App for recording ASIO line in" ContentLicense="CC BY-SA 3.0" />
  <row Id="36859" PostHistoryTypeId="3" PostId="22571" RevisionGUID="f06b4aed-74b0-4d2f-a7cb-798eb1f904fa" CreationDate="2012-08-16T18:27:15.790" UserDisplayName="hidarikani" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36860" PostHistoryTypeId="36" PostId="22572" RevisionGUID="37be2a82-57d8-407d-b89c-6d0e45112cdd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4591/app-for-recording-asio-line-in/4593#4593" />
  <row Id="36861" PostHistoryTypeId="36" PostId="22573" RevisionGUID="a59aa6d1-8da4-412b-a9f1-5a5f30ffa0ba" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2939/is-it-possible-to-set-up-a-live-multitrack-recording-rig-with-what-i-have" />
  <row Id="36862" PostHistoryTypeId="2" PostId="22574" RevisionGUID="750e7f09-8750-43fc-9cca-c3b78dece4d2" CreationDate="2011-12-31T22:27:04.090" UserId="7189" Text="Your MOTU 828 is not just an audio interface, but also a mixer.&#xD;&#xA;&#xD;&#xA;The easy way to make multi-track recordings would be to just run all of your inputs into your 828, and then record using your favorite DAW. If you don't have enough inputs on the 828, you can use the Mackie to sum up some of your inputs, reducing the total number of channels. Then use either the front panel of the 828 or the CueMix software to manage your mix.&#xD;&#xA;&#xD;&#xA;If you try to split your signals so that they go into both the MOTU and the Mackie, you will have signal loss and have to manage the mix in two separate places. Sounds like a nightmare to me.&#xD;&#xA;&#xD;&#xA;I'm not sure about the 828 MkI, but the 828 MkII and MkIII definitely allow you to save your mixes. You can then recall your preset at the beginning of each show." ContentLicense="CC BY-SA 3.0" />
  <row Id="36863" PostHistoryTypeId="2" PostId="22573" RevisionGUID="759512d1-3a6b-46e2-9f65-75ae902cd0bc" CreationDate="2011-12-31T06:57:55.410" UserId="7045" Text="I've been recording [my band](http://baroqueandhungry.com/) with a Zoom H2 plugged into the  board. It's fine for a small act - mandolin and guitar, with vocals - and it's not too hard to make the final result sound decent with some clever EQ. &#xD;&#xA;&#xD;&#xA;However, we've recently had a percussionist join the act. This complicates matters from an audio standpoint. I've also started taking a second guitar to gigs, and we've been discussing bringing a bass guitar along as well. I think it's time to at least look into multitracking live shows. &#xD;&#xA;&#xD;&#xA;Here's what we have available: &#xD;&#xA;&#xD;&#xA;- A Macbook Pro 15&quot; with Logic Express&#xD;&#xA;- MOTU Audio Express&#xD;&#xA;- MOTU 828&#xD;&#xA;- Mackie 1402 mixing board&#xD;&#xA;- Tons of mics and cables&#xD;&#xA;- PA with mains and monitors&#xD;&#xA;&#xD;&#xA;*My question:* &#xD;&#xA;&#xD;&#xA;How do we go about feeding audio both into the board *and* the audio interface? The only outs from the board are stereo pairs, but there are six 1/4&quot; channel inserts. Can I use these for signal output? If not, how can I split the audio signals before they go into the mixer? Am I even asking the right questions? &#xD;&#xA;&#xD;&#xA;I'd also like to point out that we won't have a separate engineer during shows. We need a set-and-forget solution. Is doing this during gigs too ambitious? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36864" PostHistoryTypeId="1" PostId="22573" RevisionGUID="759512d1-3a6b-46e2-9f65-75ae902cd0bc" CreationDate="2011-12-31T06:57:55.410" UserId="7045" Text="Is it possible to set up a live multitrack recording rig with what I have?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36865" PostHistoryTypeId="3" PostId="22573" RevisionGUID="759512d1-3a6b-46e2-9f65-75ae902cd0bc" CreationDate="2011-12-31T06:57:55.410" UserId="7045" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36866" PostHistoryTypeId="36" PostId="22574" RevisionGUID="143f3395-d695-4a3c-bbf4-65278d010f00" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2939/is-it-possible-to-set-up-a-live-multitrack-recording-rig-with-what-i-have/2940#2940" />
  <row Id="36867" PostHistoryTypeId="36" PostId="22575" RevisionGUID="5dd430df-a42e-4bec-afd9-798b3138b815" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1582/want-to-find-a-program-or-other-sources-that-can-help-me-find-subliminal-recordi" />
  <row Id="36868" PostHistoryTypeId="36" PostId="22576" RevisionGUID="9d9e07ee-13fb-4f4a-a085-7fe0f3809693" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1582/want-to-find-a-program-or-other-sources-that-can-help-me-find-subliminal-recordi/1583#1583" />
  <row Id="36869" PostHistoryTypeId="36" PostId="22577" RevisionGUID="61599672-e666-4aab-9e65-32b453887173" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1582/want-to-find-a-program-or-other-sources-that-can-help-me-find-subliminal-recordi/1584#1584" />
  <row Id="36870" PostHistoryTypeId="2" PostId="22576" RevisionGUID="396b387b-5c05-41a1-ac08-dda4af821282" CreationDate="2011-06-13T04:15:20.543" UserId="7334" UserDisplayName="imsky" Text="Subliminal CDs are pretty much a rip-off. The science is weak, but even if you did want to uncover the &quot;subliminal&quot; message, it'd take a ton of work (think of isolating vocals from a mixed down song). Since some of the methods for encoding the message involve reversing it or placing it outside the human hearing threshold (plausible deniability :D), this complicates things greatly. Get your money back as soon as possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="36871" PostHistoryTypeId="2" PostId="22577" RevisionGUID="af1af8c1-fcb9-4cf1-a36d-511435af70a4" CreationDate="2011-06-13T18:35:18.753" UserDisplayName="draeath" Text="Find the exact same recording (sans subliminal) and match up the first zero-crossing. Invert one of them. Anything left over is the difference between the two signals. If you have nothing, then there's nothing there. If you have more, then hopefully there's not too much left that makes it impossible for you to distinguish them." ContentLicense="CC BY-SA 3.0" />
  <row Id="36872" PostHistoryTypeId="2" PostId="22575" RevisionGUID="3ab84c80-b4d4-4ae9-8afa-bc284ff19ef7" CreationDate="2011-06-13T03:24:03.313" UserDisplayName="musicbobbee" Text="I have purchased custom subliminal cd's and I have using them for over 3 months now and I am not sure if the message I wanted on it is even on there or what message is on there and or even if  there is a message period. How can I find the message in the background. I just want to make sure I'm not being ripped off." ContentLicense="CC BY-SA 3.0" />
  <row Id="36873" PostHistoryTypeId="1" PostId="22575" RevisionGUID="3ab84c80-b4d4-4ae9-8afa-bc284ff19ef7" CreationDate="2011-06-13T03:24:03.313" UserDisplayName="musicbobbee" Text="want to find a program or other sources that can help me find subliminal recordings in my custom cd's" ContentLicense="CC BY-SA 3.0" />
  <row Id="36874" PostHistoryTypeId="3" PostId="22575" RevisionGUID="3ab84c80-b4d4-4ae9-8afa-bc284ff19ef7" CreationDate="2011-06-13T03:24:03.313" UserDisplayName="musicbobbee" Text="&lt;audio-recording&gt;&lt;software&gt;&lt;mixing&gt;&lt;daw&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36875" PostHistoryTypeId="36" PostId="22578" RevisionGUID="09aac155-3854-4a1c-bd7b-9c088bf416a7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3082/what-format-do-wav-files-need-to-have-to-be-imported-into-the-korg-d3200-digital" />
  <row Id="36876" PostHistoryTypeId="2" PostId="22579" RevisionGUID="830019a0-44f2-4889-89ad-64b1418785a5" CreationDate="2012-01-20T18:21:54.797" UserDisplayName="cbarg" Text="Sampling frequency: 44.1 kHz, 48 kHz, *96 kHz&#xD;&#xA;Bit depth: 16-bit, 24-bit&#xD;&#xA;Number of channels: 1 (monaural), 2 (stereo)&#xD;&#xA;&#xD;&#xA;From the D3200 [manual][1] (p.86) check out if the procedures you are doing are the correct ones :-/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.korg.com/uploads/Support/D3200_E1_633661369446200000.pdf&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36877" PostHistoryTypeId="2" PostId="22578" RevisionGUID="7196d4a7-7273-48ec-b890-0cefa41189b4" CreationDate="2012-01-20T04:53:00.583" UserId="7713" UserDisplayName="CheeseConQueso" Text="The title says it all...&#xD;&#xA;&#xD;&#xA;What format do WAV files need to have to be imported into the Korg D3200 Digital Recording Studio?&#xD;&#xA;&#xD;&#xA;I created 8 `WAV` files and burned them onto a CD so that I could import them into the [Korg D3200 Digital Recording Studio][1] but when I get to the screen to select files for import, the device doesn't recognize that the CD has any compatible `WAV` files on it.&#xD;&#xA;&#xD;&#xA;I've looked through the user manual (linked above) and couldn't find a definitive answer.&#xD;&#xA;&#xD;&#xA;We exported 8 tracks off the device successfully and I'm guessing that the device probably wants files of the same format to be imported back into the console.&#xD;&#xA;&#xD;&#xA;So really there are two questions here:&#xD;&#xA;&#xD;&#xA; - What format should the `WAV` files be in order for the Korg D3200 to&#xD;&#xA;   recognize &amp; import the files?  How many channels should the `WAV` files be - Mono or Stereo?  What sampling rate should I use - 44100, for example.&#xD;&#xA; - If the format of the exported `WAV` files are the correct format to&#xD;&#xA;   use to import tracks back into the console, how can I view the&#xD;&#xA;   properties of these exported `WAV` files so that I can get a better&#xD;&#xA;   idea of how to save `WAV` files for import?&#xD;&#xA;&#xD;&#xA;Another useful link for importing/exporting tracks into/from the Korg D3200 is this FAQ I found on the subject, but it doesn't specify any details of the compatible file format that should be used for importing.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.com/url?sa=t&amp;rct=j&amp;q=&amp;esrc=s&amp;source=web&amp;cd=1&amp;ved=0CEAQFjAA&amp;url=http://www.korg.com/uploads/Support/D3200_E1_633661369446200000.pdf&amp;ei=P_AYT-TgIY630AHIqMi0Cw&amp;usg=AFQjCNGT6Hrm80S3CvT90XiykJ1z4FYOBg&amp;sig2=iQHt0CYW7TJA5W2cjuzPzw" ContentLicense="CC BY-SA 3.0" />
  <row Id="36878" PostHistoryTypeId="1" PostId="22578" RevisionGUID="7196d4a7-7273-48ec-b890-0cefa41189b4" CreationDate="2012-01-20T04:53:00.583" UserId="7713" UserDisplayName="CheeseConQueso" Text="What format do WAV files need to have to be imported into the Korg D3200 Digital Recording Studio" ContentLicense="CC BY-SA 3.0" />
  <row Id="36879" PostHistoryTypeId="3" PostId="22578" RevisionGUID="7196d4a7-7273-48ec-b890-0cefa41189b4" CreationDate="2012-01-20T04:53:00.583" UserId="7713" UserDisplayName="CheeseConQueso" Text="&lt;audio-recording&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36880" PostHistoryTypeId="36" PostId="22579" RevisionGUID="95aaecba-20cb-42d6-9669-bf6dc4cb9186" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3082/what-format-do-wav-files-need-to-have-to-be-imported-into-the-korg-d3200-digital/3086#3086" />
  <row Id="36881" PostHistoryTypeId="36" PostId="22580" RevisionGUID="ba878dac-b589-42c2-9c45-a1c29d1caf29" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4452/how-do-monitor-speakers-not-produce-feedback" />
  <row Id="36882" PostHistoryTypeId="36" PostId="22581" RevisionGUID="6a936325-4967-42a9-bb45-a43c3a4d6fe1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4452/how-do-monitor-speakers-not-produce-feedback/4455#4455" />
  <row Id="36883" PostHistoryTypeId="36" PostId="22582" RevisionGUID="899e992d-4d5b-4638-9a77-c2ef4b6583ea" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4452/how-do-monitor-speakers-not-produce-feedback/4456#4456" />
  <row Id="36884" PostHistoryTypeId="36" PostId="22583" RevisionGUID="756cd7b7-7a44-46c4-8282-308a5ccf2822" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4452/how-do-monitor-speakers-not-produce-feedback/4457#4457" />
  <row Id="36885" PostHistoryTypeId="36" PostId="22584" RevisionGUID="0dd99504-75f7-4ad4-bf32-7d11eaa28861" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4452/how-do-monitor-speakers-not-produce-feedback/4459#4459" />
  <row Id="36886" PostHistoryTypeId="2" PostId="22581" RevisionGUID="c567b1db-a699-4fef-8d0e-18cce1c179b0" CreationDate="2012-07-24T21:58:30.993" UserId="7294" UserDisplayName="Warrior Bob" Text="Generally, monitor speakers are in a different room from the microphones. Monitor speakers can and do feed back into microphones." ContentLicense="CC BY-SA 3.0" />
  <row Id="36887" PostHistoryTypeId="2" PostId="22582" RevisionGUID="57a9ff71-4012-4cfd-b1be-9a37d787322f" CreationDate="2012-07-25T01:20:30.633" UserDisplayName="Ryan Christman" Text="They *will* feedback under certain circumstances.  For example, if you have your monitors on and you're recording vocals right in front of the monitors, you will have crazy feedback, especially if you're using a condenser microphone.  Think about it this way:&#xD;&#xA;&#xD;&#xA;You have to imagine the audio signal path.  If you have your monitors on and your mic on at the same time, what will happen?  Let's say you sing into the microphone.  The next thing that happens is the audio signal goes in the mic and then into your audio interface.  Then, it goes into your DAW, back out of your DAW to the monitors, where it then feeds back into the microphone...repeat.  As long as the input gain on your microphone isn't turned up too high, this won't happen.  But if you have to have your mic in the same room as your monitors, just turn the monitors off (or mute them if your interface has an option for that) when you're using your microphone.  Hope this helps :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="36888" PostHistoryTypeId="2" PostId="22583" RevisionGUID="ee050e81-3848-4b58-81a6-06bdd13600dd" CreationDate="2012-07-25T03:05:37.280" UserId="7093" Text="The monitors will only feed back if they are close enough to the microphone and the volume is turned up too loud.&#xD;&#xA;&#xD;&#xA;You can use the monitors during recording.  You can avoid feedback by turning down the volume or simply not routing the microphone through the monitors.  With my current setup I have a few microphones pointing at a drum set.  The microphones and my keyboard are routed through an audio interface.  Only the keyboard goes through the main speakers, so there is no chance of feedback.&#xD;&#xA;&#xD;&#xA;A bigger problem with using monitors while recording is that the sound from the monitors is picked up by the microphones.  To get a cleaner recording, it is usually a good idea to use headphones where possible.&#xD;&#xA;&#xD;&#xA;I usually use headphones while recording and switch back and forth between monitors and headphones when playing back, editing, and mixing.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36889" PostHistoryTypeId="2" PostId="22584" RevisionGUID="293974cc-f484-492e-9e4b-1e72cf92e8b2" CreationDate="2012-07-25T09:40:19.473" UserId="7016" Text="Where you do need monitors in the same room as the microphones, and volumes are high enough that you get feedback, a good desk will give you the ability to isolate the exact frequency you get feedback on and cut it by 3dB, 10dB or more.&#xD;&#xA;&#xD;&#xA;This will have an effect on the final recording, but sometimes that is the trade-off you make. If the Q is high enough (the frequency range being cut is narrow enough) it can be undetectable to the ear." ContentLicense="CC BY-SA 3.0" />
  <row Id="36890" PostHistoryTypeId="2" PostId="22580" RevisionGUID="3cd8e810-90a5-42a1-865f-7d284220943d" CreationDate="2012-07-24T19:42:22.233" UserId="14752" UserDisplayName="Marty" Text="I always see monitor speakers hooked into recording systems in example diagrams.  There are monitor outputs on my audio interface.  Can you really monitor recordings on speakers in the same room as the mic?  How is there no feedback?  You can monitor with speakers in real-time during recording?  Or is it meant for listening to it after you've finished recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36891" PostHistoryTypeId="1" PostId="22580" RevisionGUID="3cd8e810-90a5-42a1-865f-7d284220943d" CreationDate="2012-07-24T19:42:22.233" UserId="14752" UserDisplayName="Marty" Text="How do monitor speakers not produce feedback?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36892" PostHistoryTypeId="3" PostId="22580" RevisionGUID="3cd8e810-90a5-42a1-865f-7d284220943d" CreationDate="2012-07-24T19:42:22.233" UserId="14752" UserDisplayName="Marty" Text="&lt;audio-recording&gt;&lt;monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36893" PostHistoryTypeId="36" PostId="22585" RevisionGUID="9ad9dbd1-dc61-465c-b284-b1d5e05a6b71" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5244/removal-of-voice-from-single-track-in-audacity" />
  <row Id="36894" PostHistoryTypeId="36" PostId="22586" RevisionGUID="027a74e0-2ab5-4e19-99ae-599e7c7da340" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5244/removal-of-voice-from-single-track-in-audacity/5245#5245" />
  <row Id="36895" PostHistoryTypeId="2" PostId="22586" RevisionGUID="8f6ab8a2-eda0-467d-ac1e-152cf4a344b0" CreationDate="2012-11-04T07:55:16.133" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="Yeah, high-pass filter will only work on frequencies, not so much volume.&#xD;&#xA;&#xD;&#xA;Try to run your sample through a noise-gate. Adjust threshold level till the low-volume stop coming through. Then adjust attack/release to make it sound more natural.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36896" PostHistoryTypeId="2" PostId="22587" RevisionGUID="060871f4-8aa1-46f4-9cfc-4c7041a335ca" CreationDate="2012-11-04T10:47:22.257" UserId="7016" Text="We have a few other questions on removing a particular piece of audio - the problem is that it isn't possible without damaging the rest of the sound.&#xD;&#xA;&#xD;&#xA;If the audio you are trying to remove is very quiet, so you only hear it during quiet parts of the audio, a noise gate will help you, as @Abdias says. If you can hear it even in the loud sections you will not get rid of it with a noise gate.&#xD;&#xA;&#xD;&#xA;Using a filter, you can get rid of all speech by chopping all frequencies in the vocal range - but this also gets rid of any other parts of the audio that lie within that range, so in your example you will lose game sound effects such as the mid range of gunshots, engine noises etc. It works, but you will notice the missing frequencies.&#xD;&#xA;&#xD;&#xA;Rather than use a high pass filter, what you want is a paramtric equaliser, which will let you cut a specific frequency range, and then play with it until the frequencies you want removed are no longer audible.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36897" PostHistoryTypeId="2" PostId="22585" RevisionGUID="c699b4b1-e695-4fca-b0a1-b6bcac6cf9d6" CreationDate="2012-11-04T02:32:51.327" UserDisplayName="Andrew White" Text="Recently I've been recording some game commentary with a friend. We both have our own computers and headsets. Our plans were to swap our voice tracks and edit them in to each others videos, so we'd each have a clear version of each other.&#xD;&#xA;&#xD;&#xA;Unfortunately in my friends video you can hear my voice. Mine is very quiet compared to his. I haven't used a tool like Audacity in years and even then I was no expert!&#xD;&#xA;&#xD;&#xA;Could anyone point me in the direction (using Audacity or not is fine!) of how to do this? I've had a play around with the &quot;High Pass Filter&quot;, however either I'm not setting it right or it's not effective in this case.&#xD;&#xA;&#xD;&#xA;I've uploaded a sample of the audio to soundcloud.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/andrew-white-51/test-for-stackexchange/s-CoPBl&#xD;&#xA;&#xD;&#xA;My voice is the background one and his is the foreground one.&#xD;&#xA;&#xD;&#xA;Thanks all!" ContentLicense="CC BY-SA 3.0" />
  <row Id="36898" PostHistoryTypeId="1" PostId="22585" RevisionGUID="c699b4b1-e695-4fca-b0a1-b6bcac6cf9d6" CreationDate="2012-11-04T02:32:51.327" UserDisplayName="Andrew White" Text="Removal of voice from single track in audacity" ContentLicense="CC BY-SA 3.0" />
  <row Id="36899" PostHistoryTypeId="3" PostId="22585" RevisionGUID="c699b4b1-e695-4fca-b0a1-b6bcac6cf9d6" CreationDate="2012-11-04T02:32:51.327" UserDisplayName="Andrew White" Text="&lt;audio&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36900" PostHistoryTypeId="36" PostId="22587" RevisionGUID="babe7861-947f-42eb-8ef8-fd5fa3e08665" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5244/removal-of-voice-from-single-track-in-audacity/5246#5246" />
  <row Id="36901" PostHistoryTypeId="36" PostId="22588" RevisionGUID="d416e1ac-76ca-4f9a-b6eb-ba546916f3ae" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5244/removal-of-voice-from-single-track-in-audacity/5287#5287" />
  <row Id="36902" PostHistoryTypeId="2" PostId="22588" RevisionGUID="f4e4159f-1abf-4067-b077-6e97e5bf4a04" CreationDate="2012-11-08T17:29:34.407" UserDisplayName="Benji York" Text="Theoretically, you could take your original recording of your voice and invert the waveform, tweak it (attenuate and EQ) to match the other recording and then merge to two, cancelling out your voice in your friend's recording.&#xD;&#xA;&#xD;&#xA;It is worth a try, but I doubt it will work in practice." ContentLicense="CC BY-SA 3.0" />
  <row Id="36903" PostHistoryTypeId="36" PostId="22589" RevisionGUID="89e765a9-324b-4bb3-bdba-918e06d0025f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4092/status-of-dirac-video-speex-audio-flac-as-tracks-inside-ogg-container" />
  <row Id="36904" PostHistoryTypeId="36" PostId="22590" RevisionGUID="60759635-58b3-4c09-a17d-fc596d6668d4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4092/status-of-dirac-video-speex-audio-flac-as-tracks-inside-ogg-container/4094#4094" />
  <row Id="36905" PostHistoryTypeId="2" PostId="22590" RevisionGUID="20a28cb4-bb97-4967-b1aa-0fecabe65e81" CreationDate="2012-05-31T08:25:14.163" UserId="7016" Text="Ogg is certainly alive and well, Speex and FLAC are in heavy use the world over,&#xD;&#xA;&#xD;&#xA;Dirac (which apparently was used to broadcast HD video from the Beijing Olympics) has split into two forms, with the BBC keeping Dirac as a research implementation, and  a higher quality version, Shrodinger, in development)&#xD;&#xA;&#xD;&#xA;Ogg Vorbis is supported on many products: (list from [Wikipedia][1])&#xD;&#xA;&#xD;&#xA; - Openmoko Neo 1973 and Neo Freerunner&#xD;&#xA; - Devices based on Google's Android platform support Ogg Vorbis media files.&#xD;&#xA; - Digital audio players such as Cowon's D2 and iAudio X5 ship with Ogg Vorbis support.&#xD;&#xA; - Samsung YP series of digital audio players ships with Ogg Vorbis support.&#xD;&#xA; - The majority of iriver devices provide Ogg Vorbis support up to Q10 bitrates. &#xD;&#xA; - Cowon C2 (Ogg and FLAC support)&#xD;&#xA; - various Sandisk devices&#xD;&#xA; - Meizu's M6 and M3 Digital Audio Players&#xD;&#xA; - Elta 8844 MPEG4 DVD/DivX player can play music files in both MP3 or Ogg Vorbis format&#xD;&#xA; - Vedia A10 plays Ogg Vorbis and FLAC in addition to MP3, AAC and other formats&#xD;&#xA; - S1 MP3 Players Ogg Vorbis also supported since at least 2006, though this is not typically listed on the player's packaging.&#xD;&#xA; - GamePark Holding's Linux based portable gaming consoles (GP32, GP2X F100-F200, GP2X Wiz) officially support Ogg Vorbis.&#xD;&#xA; - Pioneer XW-NAV1K&#xD;&#xA; - RIM BlackBerry 9800 &quot;Torch&quot; and 9670 &quot;Style&quot;&#xD;&#xA; - VDO Dayton CD1737X car radio supports 8-192kbit/s Ogg Vorbis files&#xD;&#xA; - HP TouchPad was given support for Ogg Vorbis with the webOS 3.0.4 update&#xD;&#xA;&#xD;&#xA;To summarise, those formats are definitely not dead, however Dirac is possibly less useful for you. Many devices can handle the formats, and Ogg Vorbis is very popular.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Vorbis" ContentLicense="CC BY-SA 3.0" />
  <row Id="36906" PostHistoryTypeId="2" PostId="22589" RevisionGUID="9d45f26d-5f88-4d88-8ee6-9ed065efc9c9" CreationDate="2012-05-30T16:11:27.833" UserId="7277" UserDisplayName="Boris Ivanov" Text="Can someone update me with statuses of using Dirac Video, Speex Audio and FLAC inside OGG format? Are there support of desktop or mobile browsers?&#xD;&#xA;Also how is OGG(OGV)? Does it well supported and has future?&#xD;&#xA;&#xD;&#xA;I am asking because of HTML5. &#xD;&#xA;These codecs were mentioned in specs : http://www.w3.org/TR/html5/the-source-element.html#the-source-element&#xD;&#xA;&#xD;&#xA;    Speex audio alone in Ogg container&#xD;&#xA;    &lt;source src='audio.spx' type='audio/ogg; codecs=speex'&gt;&#xD;&#xA;    FLAC audio alone in Ogg container&#xD;&#xA;    &lt;source src='audio.oga' type='audio/ogg; codecs=flac'&gt;&#xD;&#xA;    Dirac video and Vorbis audio in Ogg container&#xD;&#xA;    &lt;source src='video.ogv' type='video/ogg; codecs=&quot;dirac, vorbis&quot;'&gt;&#xD;&#xA;&#xD;&#xA;I wonder is it dead ones or soon will get mature?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36907" PostHistoryTypeId="1" PostId="22589" RevisionGUID="9d45f26d-5f88-4d88-8ee6-9ed065efc9c9" CreationDate="2012-05-30T16:11:27.833" UserId="7277" UserDisplayName="Boris Ivanov" Text="Status of Dirac Video, Speex audio, FLAC as tracks inside OGG container" ContentLicense="CC BY-SA 3.0" />
  <row Id="36908" PostHistoryTypeId="3" PostId="22589" RevisionGUID="9d45f26d-5f88-4d88-8ee6-9ed065efc9c9" CreationDate="2012-05-30T16:11:27.833" UserId="7277" UserDisplayName="Boris Ivanov" Text="&lt;video&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36909" PostHistoryTypeId="36" PostId="22591" RevisionGUID="63f4f5d5-59bb-492e-9270-8ee44173fbd4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8748/does-youtube-alter-audio-in-any-particular-way" />
  <row Id="36910" PostHistoryTypeId="36" PostId="22592" RevisionGUID="0fdd8cf5-3797-4a21-bca9-45fb5efe6203" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8748/does-youtube-alter-audio-in-any-particular-way/8761#8761" />
  <row Id="36911" PostHistoryTypeId="2" PostId="22592" RevisionGUID="54c4e4ab-c702-4c6b-9248-f5623b4708b6" CreationDate="2013-08-18T04:52:14.250" UserId="7209" UserDisplayName="Brad" Text="The problem is that the file you downloaded is likely not the same video you watched on the site.&#xD;&#xA;&#xD;&#xA;YouTube supports many codecs and transport methods. Your download tool probably picked something different than what your browser used.  In some cases, YouTube also supports adjusting the bitrate of what you are watching progressively.  If you use a download tool, it will generally force the bitrate to be fixed." ContentLicense="CC BY-SA 3.0" />
  <row Id="36912" PostHistoryTypeId="2" PostId="22591" RevisionGUID="9f1bebe3-fc99-4142-9d09-e2d3472aca63" CreationDate="2013-08-17T03:44:56.433" UserDisplayName="Eka" Text="My question is regarding the quality of audio in youtube.I usually listen to songs in youtube(@ 360p) and it is awesome. But when i download the same song(@ 360p) and listen to it; it feels kind of dull. I am using a latest VLC media player in my system and i want to know what settings i have to change in VLC to get the same quality as youtube or i have to download any other players. There is a similar question i found in [yahoo answers][1] but the answer is not proper. I have downloaded youtube videos using IDM download manager.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://uk.answers.yahoo.com/question/index?qid=20120110125520AAAP5OK" ContentLicense="CC BY-SA 3.0" />
  <row Id="36913" PostHistoryTypeId="1" PostId="22591" RevisionGUID="9f1bebe3-fc99-4142-9d09-e2d3472aca63" CreationDate="2013-08-17T03:44:56.433" UserDisplayName="Eka" Text="Does Youtube alter audio in any particular way?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36914" PostHistoryTypeId="3" PostId="22591" RevisionGUID="9f1bebe3-fc99-4142-9d09-e2d3472aca63" CreationDate="2013-08-17T03:44:56.433" UserDisplayName="Eka" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36915" PostHistoryTypeId="36" PostId="22593" RevisionGUID="1ee196fd-2745-4e2c-9a81-ba3fe311f9b0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5604/does-setting-full-range-speakers-duplicate-the-lower-frequencies" />
  <row Id="36916" PostHistoryTypeId="36" PostId="22594" RevisionGUID="3a5ddb7f-3954-4cd8-8a86-c82731bcabae" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5604/does-setting-full-range-speakers-duplicate-the-lower-frequencies/5605#5605" />
  <row Id="36917" PostHistoryTypeId="2" PostId="22594" RevisionGUID="1ced04d0-d959-4b11-a61a-769e358d24ea" CreationDate="2012-12-18T09:17:36.903" UserId="7016" Text="The Full-range speaker option is only for speakers that **are** full range. Most do not cope well, which is why you have subs, mids and tweeters etc.&#xD;&#xA;&#xD;&#xA;At higher volumes, sending full range signals to ordinary speakers can destroy them.&#xD;&#xA;&#xD;&#xA;Generally, go with what the spec sheet for the speakers says for ranges, crossovers etc., although often there will be low or high pass filters built in to them.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36918" PostHistoryTypeId="2" PostId="22595" RevisionGUID="f2da5e7f-1b33-4e7c-a776-5c3570d46f57" CreationDate="2012-12-18T13:29:12.250" UserId="6957" Text="&gt; What is Windows actually &quot;doing&quot; with this full-range option?&#xD;&#xA;&#xD;&#xA;Nothing.&#xD;&#xA;&#xD;&#xA;If you set Windows to the full range option, it is not doing anything to the signal at the output.  You're sending the full frequency range to the speakers.  That's not to say the speakers themselves may not act on the signal though.&#xD;&#xA;&#xD;&#xA;There are crossovers in the speakers themselves to send the proper frequencies to the tweeters and bass drivers (and mid drivers in a three way, etc).  &#xD;&#xA;&#xD;&#xA;Your B2s, are capable of handling frequencies down to 62Hz per the spec sheet.  In practice, it will likely not perform _stellar_ down at their limit.  Having said that, most music doesn't spend much time at those frequencies either (though you haven't said what you're listening to on these speakers).&#xD;&#xA;&#xD;&#xA;Another way to approach this question is, if you are going to employ a crossover to limit the LF going to the B2s, which device do you want to do the work?  Do you want Windows's software crossover or the Yamaha's crossover (not sure if theirs is software or hardware)?&#xD;&#xA;&#xD;&#xA;Personally, I'd go for the piece of audio gear rather than an operating system.  Having said that, however, as a practical matter, unless you notice distortion, I'd send the full range to the bookshelves.  Per spec, they're capable of handling _most_ of the spectrum, and you can set the sub's crossover to fill in below.  A little bit of duplication/reinforcement at those lower frequencies is not necessarily a bad thing.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36919" PostHistoryTypeId="2" PostId="22593" RevisionGUID="b0c573a4-7dc2-4ad8-ba4c-8939e3fd5428" CreationDate="2012-12-18T03:28:47.217" UserId="7282" UserDisplayName="Coldblackice" Text="(Setup: 2.1, Klipsch B-2 bookshelf speakers, BIC PL-200 subwoofer, Yamaha RX-v667 receiver, fed over HDMI) &#xD;&#xA;&#xD;&#xA;In Windows 7, in the sound devices configuration setup, there's an option to set &quot;full-range speakers&quot;. &#xD;&#xA;&#xD;&#xA;If I enable this option, will Windows route these lower frequencies -solely- to my two front speakers, or will it duplicate these frequencies, sending them to these speakers, but also to the subwoofer? What is Windows actually &quot;doing&quot; with this full-range option (I.e., what's it setting the crossover at)? &#xD;&#xA;&#xD;&#xA;What about when this same setting is set in the actual receiver itself? (like Yamaha RX-v667)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;NOTES:&#xD;&#xA;&#xD;&#xA;I've read that one shouldn't select full-range speakers with bookshelf speakers, as it's better to have those lower frequencies go to the sub, which is much better at handling them. &#xD;&#xA;&#xD;&#xA;I set the &quot;small speaker&quot; option for my two fronts in my receiver, but I set the crossover at 80hz, as the B2 specs show that it has some &quot;bass'ier&quot; range than other bookshelfs, and I thought it'd sound a little better/more &quot;full&quot; by having the front speakers handle a bit of the bass. Not sure if this is sound thinking, though. " ContentLicense="CC BY-SA 3.0" />
  <row Id="36920" PostHistoryTypeId="1" PostId="22593" RevisionGUID="b0c573a4-7dc2-4ad8-ba4c-8939e3fd5428" CreationDate="2012-12-18T03:28:47.217" UserId="7282" UserDisplayName="Coldblackice" Text="Does setting &quot;full-range speakers&quot; duplicate the lower frequencies?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36921" PostHistoryTypeId="3" PostId="22593" RevisionGUID="b0c573a4-7dc2-4ad8-ba4c-8939e3fd5428" CreationDate="2012-12-18T03:28:47.217" UserId="7282" UserDisplayName="Coldblackice" Text="&lt;audio&gt;&lt;hardware&gt;&lt;speakers&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36922" PostHistoryTypeId="36" PostId="22595" RevisionGUID="354e024f-1c98-4d74-bde1-c02d6a490408" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5604/does-setting-full-range-speakers-duplicate-the-lower-frequencies/5606#5606" />
  <row Id="36931" PostHistoryTypeId="36" PostId="22599" RevisionGUID="3cf57fbe-c937-45f2-a00f-8f26fb0fe5cb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4742/flac-vs-mp3-lossless-vs-lossy" />
  <row Id="36932" PostHistoryTypeId="36" PostId="22600" RevisionGUID="53e4eae4-6d36-4b8f-9b90-42d2398330ff" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4742/flac-vs-mp3-lossless-vs-lossy/4746#4746" />
  <row Id="36933" PostHistoryTypeId="36" PostId="22601" RevisionGUID="339caaf1-f8f7-49f2-ba91-30232e424572" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4742/flac-vs-mp3-lossless-vs-lossy/4770#4770" />
  <row Id="36934" PostHistoryTypeId="2" PostId="22600" RevisionGUID="551f2450-8387-4b89-8fe0-485e119f385a" CreationDate="2012-09-17T15:11:31.793" UserId="7294" UserDisplayName="Warrior Bob" Text="Your equipment is just fine. The differences between a lossless encoding or the original recording and a 320 kbps MP3 encoding are *very* subtle and most humans cannot distinguish between them. Lowering the bitrate should make the difference more obvious.&#xD;&#xA;&#xD;&#xA;Try converting your FLAC file to MP3 (or any other lossy compression) at several different bitrates, starting with something low such as 96 kbps and moving up towards 320. The differences should be quite obvious at 96 kbps, and become steadily less perceptible as the bitrate rises. At some point you probably will not be able to tell a difference." ContentLicense="CC BY-SA 3.0" />
  <row Id="36935" PostHistoryTypeId="2" PostId="22601" RevisionGUID="ade56fc2-c1c1-4a7e-ad6f-c0bac6a0bb61" CreationDate="2012-09-19T02:52:19.273" UserDisplayName="ramonovski" Text="I do (rarely) notice a difference between FLAC and 320 or VBR V0 mp3, especially in high frequencies.&#xD;&#xA;&#xD;&#xA;Try this: open a FLAC file with Audacity and then click the track name and click on Spectrogram.&#xD;&#xA;Now convert the same file to mp3 @ 320kpbs and do the same with audacity.&#xD;&#xA;&#xD;&#xA;There must be an imaginary line in the mp3 file in &gt;14Khz frequencies, that's like a &quot;threshold&quot; where the *lossy* formats can't exceed.&#xD;&#xA;But hey, 99.9% of music is in the 30Hz-12KHz frequency range, so there's nothing to worry about.&#xD;&#xA;&#xD;&#xA;Cymbals, violin, snare and solo guitars are the instruments where you might notice a different. &#xD;&#xA;Of course there's more compression than a simple threshold, you will notice that the mp3 graph is less colored and with less peaks, but that's hard to interpret for a normal human.&#xD;&#xA;&#xD;&#xA;This example works better with rich dynamic range songs, modern music is wrong in so many ways.&#xD;&#xA;&#xD;&#xA;(You can **view** the difference in Analyze -&gt; View Spectrum on audacity's menu too.)&#xD;&#xA;&#xD;&#xA;Off Topic: I think the lossless formats like FLAC/ALAC/APE were not made for listening purposes but for storage, and WAV was made for music production in the digital era." ContentLicense="CC BY-SA 3.0" />
  <row Id="36936" PostHistoryTypeId="2" PostId="22599" RevisionGUID="728cbf0b-4127-4d27-9221-468a865deb32" CreationDate="2012-09-15T16:25:44.897" UserDisplayName="confiq" Text="I tried to compare one file which was flac with mp3 file that was converted from FLAC. &#xD;&#xA;I kept comparing these two files and I really had hard time differencing between these two codecs. &#xD;&#xA;&#xD;&#xA;It was normal FLAC file, simple rate of 44100 Hz &amp; 16 bits per sample. Converted to mp3 320 kbps and the quality in my hear stays the same...&#xD;&#xA;&#xD;&#xA;Do you guys experience the same? Is it because of bad equipment? Sound card? bits per sample? &#xD;&#xA;Your opinion is appreciated... " ContentLicense="CC BY-SA 3.0" />
  <row Id="36937" PostHistoryTypeId="1" PostId="22599" RevisionGUID="728cbf0b-4127-4d27-9221-468a865deb32" CreationDate="2012-09-15T16:25:44.897" UserDisplayName="confiq" Text="FLAC vs MP3 (Lossless vs Lossy)" ContentLicense="CC BY-SA 3.0" />
  <row Id="36938" PostHistoryTypeId="3" PostId="22599" RevisionGUID="728cbf0b-4127-4d27-9221-468a865deb32" CreationDate="2012-09-15T16:25:44.897" UserDisplayName="confiq" Text="&lt;audio&gt;&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36939" PostHistoryTypeId="36" PostId="22602" RevisionGUID="8b3d7344-f212-4563-9910-fa6d307e1a76" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3584/zoom-h2-any-way-to-balance-the-stereo" />
  <row Id="36940" PostHistoryTypeId="2" PostId="22603" RevisionGUID="2d3a2c42-33a1-4d60-b81b-1bb77cff58d3" CreationDate="2012-03-16T18:43:51.350" UserId="7188" Text="There are couple of ways to do this but both are post production treatments.&#xD;&#xA;&#xD;&#xA;If this was mine, I would simply take the .wav files from the device to my computer and load them on the Vegas timeline and adjust the balance there.&#xD;&#xA;&#xD;&#xA;If you don't have Vegas, there is a free audio recording software called &quot;Audacity.&quot;&#xD;&#xA;http://audacity.sourceforge.net/download/&#xD;&#xA;&#xD;&#xA;Once you install this free download, then load your .wav file to the timeline and adjust the pan/balance (L to R) control on the left of the timeline.&#xD;&#xA;&#xD;&#xA;Too bad you did not notice this when it was still under warranty, but then again maybe all Zoom H2 do this?&#xD;&#xA;&#xD;&#xA;In addition to this I would recommend the following troubleshooting tests to find out where the problem is being introduced.&#xD;&#xA;&#xD;&#xA;1) Is the unbalance evident on all the H2 &quot;Mic Patterns&quot;?&#xD;&#xA;Read pages 14 through 21 (H2 manual) and test the different mic patterns, are they all unbalanced?&#xD;&#xA;&#xD;&#xA;if you lost the manual: download here:&#xD;&#xA;http://www.zoom.co.jp/downloads/h2/manual/&#xD;&#xA;&#xD;&#xA;2) Are the built in mics balanced?&#xD;&#xA;to test this, borrow a stereo mic that you know is well balanced and plug it into the external mic input to the H2. Do you still have the unbalanced? if so the problem is not the internal mic, it has to do with internal mixer or output. If using an external mic improves the balance than there is the solution: the internal mics are unbalanced and you should use an external mic.&#xD;&#xA;&#xD;&#xA;3) How to test the internal mixer and output. Since the H2 has a stereo line input, then get a CD player that you know has a balanced output with balanced output CD, record this with your H2. CD--&gt;H2. Is the output of this test balanced? If yes then there is an issue with the internal mic preamp balance. If not, then you still have some sort of output unbalance issue.&#xD;&#xA;&#xD;&#xA;4) Are your headphones balanced? Check your headphone with other media output to see if these are balanced. Maybe the problem is with your headphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36941" PostHistoryTypeId="2" PostId="22602" RevisionGUID="4755da61-41bf-414a-b5ee-c288ce91fc31" CreationDate="2012-03-16T10:30:45.337" UserId="8076" UserDisplayName="jackJoe" Text="I just noticed that my Zoom H2 (using the 90° pattern) records the right channel with a higher level compared to the left channel.&#xD;&#xA;&#xD;&#xA;I have made several tests, positioning the recorder exactly in front of me, without any other sound sources, and came to the conclusion that it is indeed giving more signal to the right side!&#xD;&#xA;&#xD;&#xA;I checked the manual and unless I use the 4-channel, I can't balance the stereo.&#xD;&#xA;&#xD;&#xA;Does anyone know how to balance it with the recorder, and/or if this the normal behaviour of the H2?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36942" PostHistoryTypeId="1" PostId="22602" RevisionGUID="4755da61-41bf-414a-b5ee-c288ce91fc31" CreationDate="2012-03-16T10:30:45.337" UserId="8076" UserDisplayName="jackJoe" Text="Zoom H2, any way to balance the stereo?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36943" PostHistoryTypeId="3" PostId="22602" RevisionGUID="4755da61-41bf-414a-b5ee-c288ce91fc31" CreationDate="2012-03-16T10:30:45.337" UserId="8076" UserDisplayName="jackJoe" Text="&lt;audio-recording&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36944" PostHistoryTypeId="36" PostId="22603" RevisionGUID="f4d9490e-60d3-4dd7-ace4-26caa03d3fa2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3584/zoom-h2-any-way-to-balance-the-stereo/3587#3587" />
  <row Id="36945" PostHistoryTypeId="36" PostId="22604" RevisionGUID="1fb70ee8-4f5a-45df-b15a-113bb3eeed30" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3584/zoom-h2-any-way-to-balance-the-stereo/4391#4391" />
  <row Id="36946" PostHistoryTypeId="2" PostId="22604" RevisionGUID="66039b9d-1aa1-4dce-bb46-60b5f30b2891" CreationDate="2012-07-11T11:11:41.030" UserDisplayName="DONALD KIRKBRIDE" Text="i balance the speakers on my marantz amplifier using the uist tramping song by kenneth mckellar&#xD;&#xA;ive found that the bass etc in the song is perfect for setting the bass and treble settings&#xD;&#xA;its available on you tube which you can download to you laptop and play it through the amplifier via a lead or burn it onto a disc" ContentLicense="CC BY-SA 3.0" />
  <row Id="36957" PostHistoryTypeId="36" PostId="22609" RevisionGUID="9262d238-7f60-4946-b975-6b0caa51ecb3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4194/how-to-record-streaming-audio" />
  <row Id="36958" PostHistoryTypeId="36" PostId="22610" RevisionGUID="db0662db-344a-4467-bd0a-376f7501407b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4194/how-to-record-streaming-audio/4195#4195" />
  <row Id="36959" PostHistoryTypeId="2" PostId="22610" RevisionGUID="d512ac94-e60f-4f48-8020-92f28571c066" CreationDate="2012-06-17T13:49:15.583" UserId="7016" Text="It is extremely simple, and a quick google using the title of your question will show you many sites explaining how to do it. Two simplest options are:&#xD;&#xA;&#xD;&#xA; - Use software such as [MP3MyMP3recorder][1] or [Freecorder][2], which can record directly in software. This is the simplest physically, just giving you an output file from your input stream.&#xD;&#xA; - Use a cable to connect your headphone out to your mic in and use [Audacity][3] to record it. This one works exactly the same way as if you were recording from a mic, but uses the output from the streaming app instead of an external mic. As @WarriorBob commented below, make sure not to monitor input in your recording app - you can create a feedback loop!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mp3mymp3.com/mp3_my_mp3_recorder.html&#xD;&#xA;  [2]: http://applian.com/freecorder5/&#xD;&#xA;  [3]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="36960" PostHistoryTypeId="2" PostId="22611" RevisionGUID="ba2343af-c45d-4953-ac8b-a21ee5da86d4" CreationDate="2012-06-18T20:38:20.667" UserDisplayName="JPollock" Text="Running a cable from your computer's audio output to its input as suggested above works, BUT it will reduce the quality of the recording and add noise. This is because of the extra digital to analog and digital to analog conversion involved, as well as the time spent in your computer's analog audio path. This may or may not be an issue, trust your ears. If your computer has S/PDIF i/o then use that and you should be fine.&#xD;&#xA;&#xD;&#xA;BTW [Audio hijack][1] is the traditional solution for this on the mac.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://rogueamoeba.com/audiohijackpro/&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="36961" PostHistoryTypeId="2" PostId="22609" RevisionGUID="eb80b744-d733-431b-a1b1-90482412788a" CreationDate="2012-06-16T19:56:26.440" UserDisplayName="dB'" Text="Let's say I want to record part of an internet radio broadcast so that I can listen to it later. Is there a way to route the audio from my web browser into a recording app like Audacity? This seems like it should be simple... can it be done?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36962" PostHistoryTypeId="1" PostId="22609" RevisionGUID="eb80b744-d733-431b-a1b1-90482412788a" CreationDate="2012-06-16T19:56:26.440" UserDisplayName="dB'" Text="How to record streaming audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36963" PostHistoryTypeId="3" PostId="22609" RevisionGUID="eb80b744-d733-431b-a1b1-90482412788a" CreationDate="2012-06-16T19:56:26.440" UserDisplayName="dB'" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36964" PostHistoryTypeId="36" PostId="22611" RevisionGUID="a5bd8ec1-cf02-4e01-868d-6f1e4e1d007b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4194/how-to-record-streaming-audio/4203#4203" />
  <row Id="36965" PostHistoryTypeId="36" PostId="22612" RevisionGUID="911e9d0a-7695-4d60-a44a-d0faa7bdd9fe" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7230/best-way-to-record-your-own-voice-during-a-presentation" />
  <row Id="36966" PostHistoryTypeId="2" PostId="22613" RevisionGUID="aed31cbe-cf4e-4fb0-b9d6-a475451cdd97" CreationDate="2013-02-24T13:10:33.843" UserDisplayName="Akber Choudhry" Text="Maybe a lavalier (lapel microphone) attached to a small recorder in your pocket will do the job." ContentLicense="CC BY-SA 3.0" />
  <row Id="36967" PostHistoryTypeId="2" PostId="22612" RevisionGUID="160a3497-ee5d-4715-ab63-920aad89fa31" CreationDate="2013-02-24T11:17:17.113" UserId="23232" UserDisplayName="Dmitri Nesteruk" Text="When I give a talk, I generally record the screen, plus there's a video recording of the room. I want to record the voice too, and annoyingly enough, the tiny little radio microphones that people use at conferences typically need a receiver. It's great when a conference has one, but sometimes they don't.&#xD;&#xA;&#xD;&#xA;My question: what is the best way to record my own voice? I cannot realistically use a wired mic attached to the laptop b/c I might be moving about the room. I'm thinking maybe Bluetooth or some such? Whatever it is, it needs to be something wearable so I can move about.&#xD;&#xA;&#xD;&#xA;Any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36968" PostHistoryTypeId="1" PostId="22612" RevisionGUID="160a3497-ee5d-4715-ab63-920aad89fa31" CreationDate="2013-02-24T11:17:17.113" UserId="23232" UserDisplayName="Dmitri Nesteruk" Text="Best way to record your own voice during a presentation" ContentLicense="CC BY-SA 3.0" />
  <row Id="36969" PostHistoryTypeId="3" PostId="22612" RevisionGUID="160a3497-ee5d-4715-ab63-920aad89fa31" CreationDate="2013-02-24T11:17:17.113" UserId="23232" UserDisplayName="Dmitri Nesteruk" Text="&lt;audio&gt;&lt;microphone&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36970" PostHistoryTypeId="36" PostId="22613" RevisionGUID="c727ad7f-af3f-45db-931a-be1ede19cc5b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7230/best-way-to-record-your-own-voice-during-a-presentation/7231#7231" />
  <row Id="36971" PostHistoryTypeId="36" PostId="22614" RevisionGUID="051fc172-d0a9-4ce6-892c-ab9a5e9dd32b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7230/best-way-to-record-your-own-voice-during-a-presentation/7246#7246" />
  <row Id="36972" PostHistoryTypeId="36" PostId="22615" RevisionGUID="44db4ded-a697-4597-9135-592974308292" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7230/best-way-to-record-your-own-voice-during-a-presentation/7249#7249" />
  <row Id="36973" PostHistoryTypeId="36" PostId="22616" RevisionGUID="69af80c6-f48c-4ea4-8c06-f2f152fa9d36" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7230/best-way-to-record-your-own-voice-during-a-presentation/7250#7250" />
  <row Id="36974" PostHistoryTypeId="2" PostId="22616" RevisionGUID="b760fff9-93c0-4079-84e0-b60c8a515640" CreationDate="2013-02-26T04:29:01.693" UserDisplayName="cbarg" Text="Rode also came up with some software for your phone. Check it out at &#xD;&#xA;http://www.rodemic.com/software/roderec&#xD;&#xA;http://www.rodemic.com/mics/smartlav&#xD;&#xA;&#xD;&#xA;Here the video:&#xD;&#xA;http://www.youtube.com/watch?list=PLZXQp_XoNBBPk_FaAqo6jG8vA2uAwvOzz&amp;v=qqkuxdMKUBU&amp;feature=player_embedded#!" ContentLicense="CC BY-SA 3.0" />
  <row Id="36975" PostHistoryTypeId="2" PostId="22614" RevisionGUID="5cd1d8b6-1482-47d6-86df-38327363d06b" CreationDate="2013-02-26T01:08:25.913" UserDisplayName="Andrew James" Text="I can recommend you to [Musicshake.com][1] using in your computer as a audio recorder. It offers a wide array of genres and instruments to choose from, and even provides a suite of voice recording and editing features.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://Musicshake.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="36976" PostHistoryTypeId="2" PostId="22615" RevisionGUID="bbae95c2-cf3d-4696-9817-546ac1988ee3" CreationDate="2013-02-26T03:49:48.707" UserDisplayName="Ayesha Iftikhar" Text="http://www.wikihow.com/Record-Your-Voice-on-a-Windows-Computer&#xD;&#xA;&#xD;&#xA;hope this will help you...&#xD;&#xA;REGARDS!" ContentLicense="CC BY-SA 3.0" />
  <row Id="36977" PostHistoryTypeId="36" PostId="22617" RevisionGUID="91cb1352-2c5d-4d5f-870b-7ea2e60dbf5b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6912/audio-effect-tune-to-a-particular-frequency" />
  <row Id="36978" PostHistoryTypeId="36" PostId="22618" RevisionGUID="09c5b3d9-f97a-4e26-b647-55dd5ee54972" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6912/audio-effect-tune-to-a-particular-frequency/6915#6915" />
  <row Id="36979" PostHistoryTypeId="2" PostId="22618" RevisionGUID="3ba335fa-8170-4086-9c17-14c3ad9e2b15" CreationDate="2013-01-23T11:44:57.930" UserId="7016" Text="Antares invented the [Auto-Tune][1], which is I think what you are asking for. They do a plug-in for Evo, but generally people use the full application.&#xD;&#xA;&#xD;&#xA;It can gently or aggressively pitch shift an input note to the closest &quot;correct&quot; note.&#xD;&#xA;&#xD;&#xA;[This Wikipedia][2] article gives some background, and some example audio clips.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.antarestech.com/products/auto-tune-evo.shtml&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Auto-Tune" ContentLicense="CC BY-SA 3.0" />
  <row Id="36980" PostHistoryTypeId="2" PostId="22617" RevisionGUID="5e8543f4-6801-4579-9f0a-d1e835c95df8" CreationDate="2013-01-23T09:54:22.713" UserId="7840" UserDisplayName="themirror" Text="What software configuration or VST do you recommend for taking a realtime audio feed and &quot;tune&quot; it to a particular frequency (note)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="36981" PostHistoryTypeId="1" PostId="22617" RevisionGUID="5e8543f4-6801-4579-9f0a-d1e835c95df8" CreationDate="2013-01-23T09:54:22.713" UserId="7840" UserDisplayName="themirror" Text="Audio effect: tune to a particular frequency" ContentLicense="CC BY-SA 3.0" />
  <row Id="36982" PostHistoryTypeId="3" PostId="22617" RevisionGUID="5e8543f4-6801-4579-9f0a-d1e835c95df8" CreationDate="2013-01-23T09:54:22.713" UserId="7840" UserDisplayName="themirror" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36983" PostHistoryTypeId="36" PostId="22619" RevisionGUID="e988242e-0c78-4552-a10c-c37411853d3b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2165/help-with-pro-tools-recording-issues" />
  <row Id="36984" PostHistoryTypeId="36" PostId="22620" RevisionGUID="381afa1c-9570-4346-a9ee-9f95896d3366" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2165/help-with-pro-tools-recording-issues/2378#2378" />
  <row Id="36985" PostHistoryTypeId="36" PostId="22621" RevisionGUID="8dc23aa4-3fa6-40df-b48d-5b620986c3c8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2165/help-with-pro-tools-recording-issues/3485#3485" />
  <row Id="36986" PostHistoryTypeId="2" PostId="22620" RevisionGUID="41c5fe07-ce7f-403f-8c92-ef9e4417c21d" CreationDate="2011-09-26T05:51:46.587" UserDisplayName="kima" Text="The MBox mini seems to have a mix control knob. Try tweaking the position of the knob to see if the signal you're hearing is routed through the interface directly or if it is already routed through ProTools. If the knob is turned all the way to 'P/B' and you're no longer hearing the guitar, then your ProTools is not configured properly. Have you checked 'Setup' &gt; 'I/O...' for a correct mapping of the inputs? If not create a new mono path and assign the desired input. Then assign the path to your mono audio track, enable track record on the particular track and try recording again. You should be able to hear your guitar as soon as you enable track recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="36987" PostHistoryTypeId="2" PostId="22621" RevisionGUID="ed79d3e5-1a25-484e-b608-a32eebba4c4d" CreationDate="2012-03-07T19:13:53.580" UserDisplayName="Michael MacDonald" Text="make sure your audio track's input is set to analogue 1&amp;2,&#xD;&#xA;that your track is set to record (obviously),&#xD;&#xA;and also make sure you follow the steps that the previous commenter mentioned.&#xD;&#xA;&#xD;&#xA;Don't use instrument tracks for audio either.&#xD;&#xA;Those are meant for midi so that you don't have to bus your midi track to an audio track anymore and so it's all in one track instead of always having two for every part.&#xD;&#xA;&#xD;&#xA;If that doesn't solve it,&#xD;&#xA;it's definitely just something silly that you just missed.&#xD;&#xA;That's how things go with pro tools sometimes.&#xD;&#xA;I hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="36988" PostHistoryTypeId="2" PostId="22619" RevisionGUID="1e2be9ce-6a10-48c7-845e-b36dbb43724c" CreationDate="2011-08-19T03:05:49.893" UserDisplayName="James Litewski" Text="First off, I've looked through the Pro Tools help and such, and couldn't find an answer. &#xD;&#xA;&#xD;&#xA;I'm trying to record my guitar in Pro Tools 9, through an MBox mini.  When I try to assign it to an audio track, none of the inputs work, but I can still hear the guitar.  If I use an instrument track, input 2 works, yet it won't record." ContentLicense="CC BY-SA 3.0" />
  <row Id="36989" PostHistoryTypeId="1" PostId="22619" RevisionGUID="1e2be9ce-6a10-48c7-845e-b36dbb43724c" CreationDate="2011-08-19T03:05:49.893" UserDisplayName="James Litewski" Text="Help with Pro Tools recording issues" ContentLicense="CC BY-SA 3.0" />
  <row Id="36990" PostHistoryTypeId="3" PostId="22619" RevisionGUID="1e2be9ce-6a10-48c7-845e-b36dbb43724c" CreationDate="2011-08-19T03:05:49.893" UserDisplayName="James Litewski" Text="&lt;audio-recording&gt;&lt;pro-tools&gt;&lt;troubleshooting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="36991" PostHistoryTypeId="36" PostId="22622" RevisionGUID="1a52a1cb-f3ae-4c91-bfcd-0fecfcbf413e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/408/recording-gear-for-small-children-recommendations" />
  <row Id="36992" PostHistoryTypeId="36" PostId="22623" RevisionGUID="8f2c0bcb-9830-48eb-a565-e27d84ebfe44" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/408/recording-gear-for-small-children-recommendations/419#419" />
  <row Id="36993" PostHistoryTypeId="36" PostId="22624" RevisionGUID="0359cde9-a027-4a38-b0ba-cad9f1b3ee48" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/408/recording-gear-for-small-children-recommendations/420#420" />
  <row Id="36994" PostHistoryTypeId="2" PostId="22623" RevisionGUID="fd4bc62a-75ba-456f-acc0-054078e822d0" CreationDate="2010-12-22T17:39:07.383" UserDisplayName="jeebs" Text="If you can get hold of one, I think a good ol' four track cassette tape recorder is still a great way to go (e.g. [Tascam Porta-02][1]). The main disadvantages are that cassette tapes are harder to come by these days, the sound will be a bit crackly and in order to perform the mixdown you'll still need to plug the 4-track output into something else.&#xD;&#xA;&#xD;&#xA;But for these minor setbacks you have a physical unit which is simplicity itself to get going with and custom made for the job of introductory recording/mixing. The two most fundamental skills are covered:&#xD;&#xA;&#xD;&#xA; 1. Recording tracks sychronously while listening to previously recorded tracks.&#xD;&#xA; 2. Mixing down the four tracks to a stereo sound, using volume and balance controls in real-time with some LEDs to guide you to the right level for L and R channels.&#xD;&#xA;&#xD;&#xA;Everything to do with the recording process is limited to the physical hardware so they don't have to worry about peripheral issues such as sound drivers or VSTi configuration. The skills will easily translate to more sophisticated DAW when they're ready (it did for me).&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/PORTA-02MKII-4-TRACK-Cassette-Recorder/dp/B0002H0RDG" ContentLicense="CC BY-SA 2.5" />
  <row Id="36995" PostHistoryTypeId="2" PostId="22624" RevisionGUID="46d0ff4b-783f-4d18-9fd2-50b752568672" CreationDate="2010-12-22T18:50:09.907" UserId="7218" UserDisplayName="Robert Harvey" Text="For about $200, the [Portastudio DP-004][1] records to an SD card (a 1GB card is included).&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tascam.com/product/dp-004/&#xD;&#xA;  [2]: http://i.stack.imgur.com/zYv34.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="36996" PostHistoryTypeId="2" PostId="22625" RevisionGUID="b8b593ba-40c1-479f-91dc-f95f71408d77" CreationDate="2010-12-22T22:55:05.597" UserId="7209" UserDisplayName="Brad" Text="Depending on how much you want to enable your kids, and your budget, you could always go with a simple voice recorder.  Tons are available that record to built-in flash.  No parts to really lose, and they typically run on standard batteries or have built-in rechargeable.&#xD;&#xA;&#xD;&#xA;None of them really have audio I/O though, unless you get into higher end stuff." ContentLicense="CC BY-SA 2.5" />
  <row Id="36997" PostHistoryTypeId="2" PostId="22622" RevisionGUID="7f2cda1b-1642-4500-b0dc-1adbb7e98c4a" CreationDate="2010-12-21T10:29:21.100" UserDisplayName="codeape" Text="When I was kid, my friends and I had fun recording ourself on a cassette deck.&#xD;&#xA;&#xD;&#xA;For christmas, I want to get some gear for my kids (five and three) to record themselves singing etc.&#xD;&#xA;&#xD;&#xA;What is available? Should I go for a cassette deck (they are still around, usually as a CD/radio/cassette unit), or is there some digital equipment that is suitable for kids that young?" ContentLicense="CC BY-SA 2.5" />
  <row Id="36998" PostHistoryTypeId="1" PostId="22622" RevisionGUID="7f2cda1b-1642-4500-b0dc-1adbb7e98c4a" CreationDate="2010-12-21T10:29:21.100" UserDisplayName="codeape" Text="Recording gear for (small) children: Recommendations?" ContentLicense="CC BY-SA 2.5" />
  <row Id="36999" PostHistoryTypeId="3" PostId="22622" RevisionGUID="7f2cda1b-1642-4500-b0dc-1adbb7e98c4a" CreationDate="2010-12-21T10:29:21.100" UserDisplayName="codeape" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37000" PostHistoryTypeId="36" PostId="22625" RevisionGUID="5ad06117-3d5d-44a8-b893-ab87fe825a17" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/408/recording-gear-for-small-children-recommendations/424#424" />
  <row Id="37001" PostHistoryTypeId="36" PostId="22626" RevisionGUID="08236288-0c77-405c-aefa-19c97dbbead8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/408/recording-gear-for-small-children-recommendations/425#425" />
  <row Id="37002" PostHistoryTypeId="2" PostId="22626" RevisionGUID="c62f5e3e-640b-49c6-b195-d67aa2f0fe8f" CreationDate="2010-12-22T23:25:25.073" UserDisplayName="Nathan" Text="Go old school if possible.  These things were indestructible. &#xD;&#xA;&#xD;&#xA;[![Brown Fisher-Price Tape Recorder][1]](http://www.thisoldtoy.com/l_fp_set/toy-pages/800-899/826-fisherprictaperecorder.html)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/yfM2E.jpg&#xD;&#xA;&#xD;&#xA;I bought a newer version a few years ago but it quickly broke." ContentLicense="CC BY-SA 2.5" />
  <row Id="37009" PostHistoryTypeId="36" PostId="22629" RevisionGUID="9b72362d-913c-47e7-b51a-70d2b164ada8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4057/which-plugins-does-wavelab-7-have-that-wavelab-elements-doesnt-have" />
  <row Id="37010" PostHistoryTypeId="2" PostId="22630" RevisionGUID="3036d59f-33be-4e56-8920-8c0160a292a2" CreationDate="2012-09-07T09:25:42.210" UserId="7211" UserDisplayName="Jazibobs" Text="After a quick google I was able to find the following:&#xD;&#xA;&#xD;&#xA;[Link to download Wavelab 7 manual (Chapter 12 for plug-in info)][1]&#xD;&#xA;&#xD;&#xA;[Wavelab Elements 7 manual (Chapter 10 for plug-in info)][2]&#xD;&#xA;&#xD;&#xA;These should give you all of the information you need to do a feature by feature comparison. &#xD;&#xA;&#xD;&#xA;I hope this is helpful :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.co.uk/url?sa=t&amp;rct=j&amp;q=&amp;esrc=s&amp;source=web&amp;cd=5&amp;cad=rja&amp;ved=0CD0QFjAE&amp;url=http%3A%2F%2Fc3.zzounds.com%2Fmedia%2FSTE_WAVELAB7_Manual-d5cd9c783ca76203ed6c1e86aaf6037c.pdf&amp;ei=1bxJUP2bCsSn0AXQvoH4Bg&amp;usg=AFQjCNEnUgsRqM9tSqJum6kTn_brx22TuQ&#xD;&#xA;  [2]: ftp://ftp.steinberg.net/Download/WaveLab_Elements_7/Manuals/WaveLab-Elements-en-7.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="37011" PostHistoryTypeId="2" PostId="22629" RevisionGUID="24a74697-2fe0-4218-8fb0-418de4f1606e" CreationDate="2012-05-25T09:54:15.687" UserDisplayName="Tim Pietzcker" Text="I'm thinking about buying Wavelab 7 or Wavelab Elements 7. I'm not planning to do multi-track recordings, so I thought that Elements may be enough for me. But one major difference between the two versions appears to be that Wavelab 7 contains many more plugins (VST and others) than Wavelab Elements.&#xD;&#xA;&#xD;&#xA;However, I can't find a comparative list of plugins anywhere that would enable me to decide whether I might need them. Can someone help?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37012" PostHistoryTypeId="1" PostId="22629" RevisionGUID="24a74697-2fe0-4218-8fb0-418de4f1606e" CreationDate="2012-05-25T09:54:15.687" UserDisplayName="Tim Pietzcker" Text="Which plugins does Wavelab 7 have (that Wavelab Elements doesn't have)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37013" PostHistoryTypeId="3" PostId="22629" RevisionGUID="24a74697-2fe0-4218-8fb0-418de4f1606e" CreationDate="2012-05-25T09:54:15.687" UserDisplayName="Tim Pietzcker" Text="&lt;audio&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37014" PostHistoryTypeId="36" PostId="22630" RevisionGUID="b204f039-8345-4092-92a2-a38db9990cad" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4057/which-plugins-does-wavelab-7-have-that-wavelab-elements-doesnt-have/4675#4675" />
  <row Id="37015" PostHistoryTypeId="36" PostId="22631" RevisionGUID="d50254d0-618b-40e8-8162-42d8d6364b4f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4451/can-i-apply-effects-directly-on-my-firestudio-project" />
  <row Id="37016" PostHistoryTypeId="2" PostId="22631" RevisionGUID="a5aa56e4-af48-4e6a-bb45-c93f7d380462" CreationDate="2012-07-24T19:33:38.577" UserId="14752" UserDisplayName="Marty" Text="I have 6 mics plugged into my FireStudio Project audio interface.  I like the zero-latency monitoring available by plugging headphones into the interface, but I can't add simple effects, like reverb.  If I want to hear effects while monitoring, I have to plug the headphones into my computer.  Is there a way to apply effects directly on the FireStudio, so I can still use its outputs for monitoring?  I read a little about sends and returns, which (i think) route the audio through an effects device, but is there a way to do this without additional hardware?  What's the actual term for applying effects directly on an audio interface?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37017" PostHistoryTypeId="1" PostId="22631" RevisionGUID="a5aa56e4-af48-4e6a-bb45-c93f7d380462" CreationDate="2012-07-24T19:33:38.577" UserId="14752" UserDisplayName="Marty" Text="Can I apply effects directly on my FireStudio Project?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37018" PostHistoryTypeId="3" PostId="22631" RevisionGUID="a5aa56e4-af48-4e6a-bb45-c93f7d380462" CreationDate="2012-07-24T19:33:38.577" UserId="14752" UserDisplayName="Marty" Text="&lt;audio-recording&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37019" PostHistoryTypeId="36" PostId="22632" RevisionGUID="689dc386-370e-476b-8421-1d28e7494552" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5476/microphone-recommendation-for-solo-trombone-recordings" />
  <row Id="37020" PostHistoryTypeId="36" PostId="22633" RevisionGUID="6ac8f71a-fbca-47ed-b3f1-fb2ffc61732e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5476/microphone-recommendation-for-solo-trombone-recordings/5504#5504" />
  <row Id="37021" PostHistoryTypeId="2" PostId="22633" RevisionGUID="f47c3fae-56e5-487b-a262-910f34fbdca8" CreationDate="2012-12-05T19:27:28.893" UserDisplayName="WLPhoenix" Text="As you mentioned, I have found that ribbon mics work very well for horns and woodwinds. They tend to sound very organic, and avoid the harshness you can get from some dynamics. You can also get very good results from a large-diaphragm condenser set in an omnidirectional pattern. If you do use the omni-pattern, you will need a good space to record, as you will have to worry a lot more about outside noise, as well as the room sound.&#xD;&#xA;&#xD;&#xA;As far as cheaper alternatives go, I tend to always recommend Cascade Fat Heads for well priced ribbons. They sound fantastic on anything I've ever tried them on, and that includes horns, piano, vocals, and drum overheads. They're an excellent mic to have around whenever you record.&#xD;&#xA;&#xD;&#xA;As to the LDC, if you can get access to an AKG 414 then I'd recommend it, but they're by no means cheap as well. I know I recommended an cheaper LDC on one of the other posts I made, but I can't remember what it was. I'll edit in when I remember." ContentLicense="CC BY-SA 3.0" />
  <row Id="37022" PostHistoryTypeId="2" PostId="22632" RevisionGUID="432dbb4c-d5cc-4f3a-8fcf-eb299866ae0f" CreationDate="2012-12-02T08:29:47.057" UserId="7824" UserDisplayName="Henrik Söderlund" Text="I would like some help to come up with a good mic setup to record solo trombone. I am not interested in the pop-brass-full-power kind of trombone playing needing a Shure SM57, but rather the sweet type stuff. Classical solo repertoire, jazz solos etc.&#xD;&#xA;&#xD;&#xA;Judging from [this video][1] and some research on what people use in the studios in LA, it seems popular to use ribbons. The mics on the video are a [Royer R-122][2] and a vintage [Sony C-37A][3]. Do you know why they have both setup simultaneously and what ratios they are using to achieve that great velvety trombone sound we hear on the recording?&#xD;&#xA;&#xD;&#xA;Follow-up question - can I achieve a similar type quality on a much lower budget (these mics are crazy price)&#xD;&#xA;&#xD;&#xA;Thanks for your help.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/56AKl4uHKjA?hd=1&#xD;&#xA;  [2]: http://www.royerlabs.com/R-122.html&#xD;&#xA;  [3]: http://www.coutant.org/sonyc37a/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="37023" PostHistoryTypeId="1" PostId="22632" RevisionGUID="432dbb4c-d5cc-4f3a-8fcf-eb299866ae0f" CreationDate="2012-12-02T08:29:47.057" UserId="7824" UserDisplayName="Henrik Söderlund" Text="Microphone recommendation for solo trombone recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="37024" PostHistoryTypeId="3" PostId="22632" RevisionGUID="432dbb4c-d5cc-4f3a-8fcf-eb299866ae0f" CreationDate="2012-12-02T08:29:47.057" UserId="7824" UserDisplayName="Henrik Söderlund" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37025" PostHistoryTypeId="36" PostId="22634" RevisionGUID="f6890783-548f-4054-b519-585d55344b43" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2339/how-do-i-maximize-the-audio-quality-of-a-recorder" />
  <row Id="37026" PostHistoryTypeId="2" PostId="22635" RevisionGUID="8772a3fa-e8e9-48f5-bf7e-92db58f85483" CreationDate="2011-09-19T15:00:00.043" UserId="7200" UserDisplayName="leftaroundabout" Text="Well, it depends on what you're doing.&#xD;&#xA;&#xD;&#xA;The primary limitations to the sound quality of any sound recorder are&#xD;&#xA;&#xD;&#xA; - (if you're directly recording an acoustic source) microphones&#xD;&#xA; - preamps&#xD;&#xA; - ADC&#xD;&#xA;&#xD;&#xA;Only the third component here has anything to do with samplerate and bit depth. If the microphones are cheap electrets and the preamps noisy, going above 16 bit 44.1 kHz can't really improve the sound quality. Yet even in this case, the overall sound quality of a project will be rather better if you do at least not need to switch back and forth, so choose what fits best any media already present or to the desired target format (e.g. usually 44.1 for CDs, 48 for video).&lt;br&gt;&#xD;&#xA;Only when the microphones and preamps are good (or you're directly recording a line signal), the ADC becomes really important. But again, it's primarily a hardware issue: a good ADC at 16 bit 44.1 kHz can sound splendid, while a bad ADC won't sound ok even if you try to run it at 32 bit 192 kHz (which is generally not possible at bad ADCs anyway).&#xD;&#xA;&#xD;&#xA;Still, there is one reason why it's good to record at high samplerates/bit depths (I'll call it _SRnBD_ for now): Your signal will likely be processed digitally in some way. Now, even though it's DSP, such processing does mainly affect the &quot;analog&quot; qualities of a signal. These can be modelled nicely on a high-SRnBD signal, but not so well by reduced one: additional artifacts may be introduced. For instance, applying a compressor to a 16-bit signal will amplify the already present quantization errors/noise. Pulling a 44.1 kHz signal through a digital overdrive processor will produce audible aliasing frequencies. And so on.&#xD;&#xA;&#xD;&#xA;I think 24 bit 96 kHz is the limit to where it can really make any significant difference at all anymore." ContentLicense="CC BY-SA 3.0" />
  <row Id="37027" PostHistoryTypeId="2" PostId="22634" RevisionGUID="c5752a92-1c03-49f6-8227-6992500e8d95" CreationDate="2011-09-19T03:23:42.510" UserDisplayName="InquilineKea" Text="Do I maximize sampling rate beyond 44100 Hz, or do I do something else?&#xD;&#xA;&#xD;&#xA;And at what point do humans stop noticing any increase in sound quality?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37028" PostHistoryTypeId="1" PostId="22634" RevisionGUID="c5752a92-1c03-49f6-8227-6992500e8d95" CreationDate="2011-09-19T03:23:42.510" UserDisplayName="InquilineKea" Text="How do I maximize the audio quality of a recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37029" PostHistoryTypeId="3" PostId="22634" RevisionGUID="c5752a92-1c03-49f6-8227-6992500e8d95" CreationDate="2011-09-19T03:23:42.510" UserDisplayName="InquilineKea" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37030" PostHistoryTypeId="36" PostId="22635" RevisionGUID="f84a4f84-550c-40b1-9d29-2eaa02745321" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2339/how-do-i-maximize-the-audio-quality-of-a-recorder/2340#2340" />
  <row Id="37031" PostHistoryTypeId="36" PostId="22636" RevisionGUID="7f40333e-d2e3-4bf7-99c7-507e69d5db5e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3273/gear-needed-to-support-ableton-or-other-software" />
  <row Id="37032" PostHistoryTypeId="2" PostId="22637" RevisionGUID="02dd93c2-bab3-4ca1-8b30-b7e86595b27b" CreationDate="2012-02-11T15:27:47.837" UserId="7209" UserDisplayName="Brad" Text="You seem to be confusing MIDI with Audio.&#xD;&#xA;&#xD;&#xA;MIDI is only for control data.  It is for messages such as note on/off, pitch bend, patch change, etc.  No sound goes over MIDI.  When you mention &quot;good quality MIDI sounds and effects&quot;, what you are really looking for is a synthesizer with a good set of patches, that also supports MIDI.&#xD;&#xA;&#xD;&#xA;With that out of the way, I recommend you buy two pieces of equipment:&#xD;&#xA;&#xD;&#xA; - 88-key Weighted Keyboard&#xD;&#xA; - USB or Firewire Audio Interface&#xD;&#xA;&#xD;&#xA;You have many choices on both.  I actually recommend you look at some of the &quot;workstation&quot; keyboards.  These tend to have a very wide variety of patches, and are extremely cheap if you get an older model.  My Roland Fantom was a beast when I bought it in 2001, and is still a beast today, but you can pick it up for ~$300 used, which is a lot cheaper than the $1900 it cost new.  You'll see similar pricing on keyboards from Korg and Yamaha, if you are patient and look around.&#xD;&#xA;&#xD;&#xA;As far as the audio interface, if you only want to plug a guitar in, then you don't need anything with a lot of channels.  M-Audio's Fast Track fits your bill, and I've seen these in music stores for around $50.&#xD;&#xA;&#xD;&#xA;For the whole Firewire vs USB argument, that has already been covered here:  http://avp.stackexchange.com/questions/41/firewire-or-usb" ContentLicense="CC BY-SA 3.0" />
  <row Id="37033" PostHistoryTypeId="2" PostId="22636" RevisionGUID="4ad30ce2-c992-480e-b8ad-c813911d9255" CreationDate="2012-02-11T03:57:06.080" UserDisplayName="NW Architect" Text="I am interested in composing electronic music using a program like Ableton Live.&#xD;&#xA;&#xD;&#xA;The array of choices in terms of midi interfaces and audio interfaces is overwhelming.&#xD;&#xA;&#xD;&#xA;Here is what I would like to get:&#xD;&#xA;&#xD;&#xA; - A full size keyboard with MIDI input that has weighted keys (close to what a real piano feels like).   &#xD;&#xA; - Good quality midi sounds and effects (not the cheesy sounding stuff I remember from my sound blaster 16).&#xD;&#xA; - Ability to record in electric guitar tracks and voice.&#xD;&#xA;&#xD;&#xA;My question is what gear (make/model) will fit these requirements at the best value. I may be buying some of this stuff off Craigslist to save.  What about USB vs Firewire?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37034" PostHistoryTypeId="1" PostId="22636" RevisionGUID="4ad30ce2-c992-480e-b8ad-c813911d9255" CreationDate="2012-02-11T03:57:06.080" UserDisplayName="NW Architect" Text="Gear needed to support Ableton or other software" ContentLicense="CC BY-SA 3.0" />
  <row Id="37035" PostHistoryTypeId="3" PostId="22636" RevisionGUID="4ad30ce2-c992-480e-b8ad-c813911d9255" CreationDate="2012-02-11T03:57:06.080" UserDisplayName="NW Architect" Text="&lt;audio-recording&gt;&lt;midi&gt;&lt;effects&gt;&lt;ableton&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37036" PostHistoryTypeId="36" PostId="22637" RevisionGUID="02ff5942-28bd-40d8-be25-10b2692896a6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3273/gear-needed-to-support-ableton-or-other-software/3275#3275" />
  <row Id="37037" PostHistoryTypeId="36" PostId="22638" RevisionGUID="9c32f83d-f758-48ae-bf92-ff107cc91ee7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3273/gear-needed-to-support-ableton-or-other-software/4534#4534" />
  <row Id="37038" PostHistoryTypeId="2" PostId="22638" RevisionGUID="eccbb2ce-e4d1-4433-99c9-d12dc2241ee3" CreationDate="2012-08-07T11:46:53.897" UserDisplayName="justin" Text="&#xD;&#xA;&#xD;&#xA;for equipment i would look at M-audio Axiom midi keyboard.  They are pretty good and cheaper. For interface, look into focusrite 2i2, again its pretty cheap and has te same high end internals as their expensive models, just less features, but very reliable firmware and hardware itself." ContentLicense="CC BY-SA 3.0" />
  <row Id="37039" PostHistoryTypeId="36" PostId="22639" RevisionGUID="5b8b9989-99cc-48b1-9791-ea10d99ea0f1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4579/vectorized-audio-does-it-exist-its-pros-and-cons-which-formats" />
  <row Id="37040" PostHistoryTypeId="36" PostId="22640" RevisionGUID="a68c869d-e1f8-4c35-8750-e7fcbe3da9b8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4579/vectorized-audio-does-it-exist-its-pros-and-cons-which-formats/4584#4584" />
  <row Id="37041" PostHistoryTypeId="36" PostId="22641" RevisionGUID="5ed3177f-e2e0-4019-b730-b68bd8482154" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4579/vectorized-audio-does-it-exist-its-pros-and-cons-which-formats/4624#4624" />
  <row Id="37042" PostHistoryTypeId="2" PostId="22640" RevisionGUID="c4c646d0-4406-4bb7-9951-771985732f50" CreationDate="2012-08-16T11:33:24.797" UserDisplayName="Jedidiah" Text="The closest equivalent I know of would be a **Standard MIDI File** ([Wikipedia][1]).&#xD;&#xA;&#xD;&#xA;Like a vector files contain a description of a shape, a midi file contains a description of the tracks(layers), instruments, notes and timing. The file size is much smaller than the recorded audio and easier to edit.&#xD;&#xA;&#xD;&#xA;Another text based representation of music is [MML Music Macro Language][2] a form of [ABC Notation][3] which was used for storing music on 8-bit and 16-bit game consoles where space on cartridges was a premium.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Midi#Standard_MIDI_files&#xD;&#xA;  [2]: https://en.wikipedia.org/wiki/Music_Macro_Language&#xD;&#xA;  [3]: https://en.wikipedia.org/wiki/Abc_notation" ContentLicense="CC BY-SA 3.0" />
  <row Id="37043" PostHistoryTypeId="2" PostId="22641" RevisionGUID="51300068-4b48-496b-9c10-da065e7b018c" CreationDate="2012-08-24T04:16:10.560" UserDisplayName="lukecyca" Text="I've wondered this too!  In theory, splines can certainly be used to represent an audio waveform, and for certain signals, would be very efficient.  They would not be efficient in general though, and they certainly won't make arbitrary audio signals fit any better into a text-based version control system like Git.&#xD;&#xA;&#xD;&#xA;In digital graphics, vector formats are efficient at representing simple shapes and solid colours, but terrible at representing arbitrary bitmaps sampled from the real world through a camera sensor.  In digital audio, the same limitation would apply: They would be good at representing simple-shaped signals, but terrible for representing arbitrary signals sampled from the real world from a transducer.&#xD;&#xA;&#xD;&#xA;One useful application of vector graphics is to create precise, sharp shapes and colours (such as a logo), even if the end result will be rendered to a raster format.  Similarly, vector audio may be a useful tool for synthesizing precise, mathematically-described sounds, even if they are immediately rendered to PCM for further processing.&#xD;&#xA;&#xD;&#xA;A quick google search turned up [this interesting thread][1] on gearslutz where someone has described this idea with some diagrams.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/good-news-channel/604398-spline-based-sound-engine.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="37044" PostHistoryTypeId="2" PostId="22639" RevisionGUID="22a10045-6aac-4b22-bdf7-e4c57770baf0" CreationDate="2012-08-15T22:40:20.553" UserId="7201" UserDisplayName="hhh" Text="In grahpics-design, vectorized content are much easier to work with version-control rather than raster images: much smaller space so more fit to Git -style version-controlling. Can I do it somehow with audio?&#xD;&#xA;&#xD;&#xA;**Helper questions**&#xD;&#xA;&#xD;&#xA;&gt; 1. Does there exist something like vector-formed -music or more generically vector-formed audio?&#xD;&#xA;&gt; &#xD;&#xA;&gt; 2. Does there exist something like [Vectormagic][1] i.e. a conversion of audio from &quot;raster&quot; into vector -form?&#xD;&#xA;&gt; &#xD;&#xA;&gt; 3. I want to do vector -form music to keep repos in a small space, does something like that exist? &#xD;&#xA;&gt; &#xD;&#xA;&gt; 4. If audio in vector-form exists (which I believe), which format would you recommend for hobbyist activity such as sound-effects?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vectormagic.com/home" ContentLicense="CC BY-SA 3.0" />
  <row Id="37045" PostHistoryTypeId="1" PostId="22639" RevisionGUID="22a10045-6aac-4b22-bdf7-e4c57770baf0" CreationDate="2012-08-15T22:40:20.553" UserId="7201" UserDisplayName="hhh" Text="Vectorized audio? Does it exist? Its pros and cons? Which formats?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37046" PostHistoryTypeId="3" PostId="22639" RevisionGUID="22a10045-6aac-4b22-bdf7-e4c57770baf0" CreationDate="2012-08-15T22:40:20.553" UserId="7201" UserDisplayName="hhh" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37047" PostHistoryTypeId="36" PostId="22642" RevisionGUID="02851c87-9f4e-4fca-ae8d-d7fbfb6c154d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4260/changing-a-wavs-file-format" />
  <row Id="37048" PostHistoryTypeId="2" PostId="22643" RevisionGUID="c6cfd0ae-7b0b-45f0-942c-f3b719630fbd" CreationDate="2012-06-23T13:35:25.983" UserDisplayName="pichenettes" Text="[Sox][1] (better for batch processing), [Audacity][2] (if you really want a GUI).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sox.sourceforge.net/&#xD;&#xA;  [2]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37049" PostHistoryTypeId="2" PostId="22642" RevisionGUID="68de59fe-4231-4e7a-81de-6d3a6a118b2f" CreationDate="2012-06-23T13:21:24.597" UserDisplayName="Camilo Barraza" Text="Does anyone know of some software to convert a wav´s file format? I need to generate wav files with the following format:&#xD;&#xA;&#xD;&#xA;format: PCM_UNSIGNED 44100.0 Hz, 8 bit, mono, 1 bytes/frame &#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="37050" PostHistoryTypeId="1" PostId="22642" RevisionGUID="68de59fe-4231-4e7a-81de-6d3a6a118b2f" CreationDate="2012-06-23T13:21:24.597" UserDisplayName="Camilo Barraza" Text="Changing a wav's file format" ContentLicense="CC BY-SA 3.0" />
  <row Id="37051" PostHistoryTypeId="3" PostId="22642" RevisionGUID="68de59fe-4231-4e7a-81de-6d3a6a118b2f" CreationDate="2012-06-23T13:21:24.597" UserDisplayName="Camilo Barraza" Text="&lt;audio&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37052" PostHistoryTypeId="36" PostId="22643" RevisionGUID="5eda1ac5-d202-4f12-af45-3784d69c4372" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4260/changing-a-wavs-file-format/4261#4261" />
  <row Id="37053" PostHistoryTypeId="36" PostId="22644" RevisionGUID="3ef10c95-fdc8-435b-8aa1-401a9691203d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4260/changing-a-wavs-file-format/4262#4262" />
  <row Id="37054" PostHistoryTypeId="2" PostId="22644" RevisionGUID="50841d60-a0a6-4975-b56d-df3d8bebb863" CreationDate="2012-06-23T22:35:25.843" UserDisplayName="Miguel" Text="If you are on Windows XP the Sound Recorder application that comes with the OS can convert wav files between different formats. Sadly, the versions that come with Windows Vista and 7 do not have this feature." ContentLicense="CC BY-SA 3.0" />
  <row Id="37055" PostHistoryTypeId="36" PostId="22645" RevisionGUID="cdebc54a-39bc-42dc-a8c0-b5c929f7019d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5694/problems-with-digital-recording-is-it-the-computer-or-the-software" />
  <row Id="37056" PostHistoryTypeId="36" PostId="22646" RevisionGUID="48974d31-a4bd-4c2b-bb56-d14940e91dc5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5694/problems-with-digital-recording-is-it-the-computer-or-the-software/5696#5696" />
  <row Id="37057" PostHistoryTypeId="36" PostId="22647" RevisionGUID="4a347e24-b28d-4145-bf5d-e9a8b67ec6af" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5694/problems-with-digital-recording-is-it-the-computer-or-the-software/5698#5698" />
  <row Id="37058" PostHistoryTypeId="2" PostId="22646" RevisionGUID="7e5fe87f-0021-4104-9c6e-5367661d42a3" CreationDate="2012-12-28T22:08:11.520" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="This sounds as a deeper-laying problem. The bandwidth needed to record 24-bit at 96 kHz (assuming stereo) would be:&#xD;&#xA;&#xD;&#xA;    4 bytes per sample x 2 channels x 96,000 = 750 kb per seconds&#xD;&#xA;&#xD;&#xA;Normally one channel 24-bit takes 3 bytes in form of data per sample, but as memory are aligned on 32-bit boundaries in a computer I take this into consideration as it's up to the driver how to handle this data from the device - a max-scenario if you will, hence 4 bytes and not just 3 (which otherwise optimally would be 562.5 kb per second).&#xD;&#xA;&#xD;&#xA;Nevertheless, this is not a problem of today - we could capture 16-bit (by sound card) data at 48 kHz back in the days of the Amiga in the late 80's and beginning of the 90's with 33 and 40 MHz CPUs and a whopping 2 to 4 mb memory on 50 mb disks (scsi though, which helped) with 1-2mb data-rate. Scaling this to today's more common specs there is left an enormous headroom to deal with audio data and should not, in theory, be a problem even for an old computer.&#xD;&#xA;&#xD;&#xA;But not able to examine the computer on-location we can only make a guess. I would look at the driver (or driver-related aspects) for this case to start with. See if there is an update or a known problem with it. The problem could lay with the frequency and a bottleneck with the interface to the computer not being able to put-through data fast enough. Also check your disk drivers and that they use [DMA (Direct Memory Access)][1].&#xD;&#xA;&#xD;&#xA;See also if you can increase the memory buffers the software uses to record to before dumping the content to disk. They should be of a size &quot;compatible&quot; (dividable) with the size of the disk sectors (f.ex. 2048 kb etc. which gives you a about 3-4 seconds stereo buffer) as this reduce number of writing operations. You can normally record audio with a very low-end system so a little tweaking of buffers could be enough.&#xD;&#xA;&#xD;&#xA;If the problem remains, try [install a RAM-disk][2] and record to that. A ram-disk is a virtual disk (logic disk to the computer) that uses memory as its storage enabling high speed writing and reading. This way you can eliminate any disk bottlenecks to see if you need to tweak the disk. Just copy the result to disk when recording is done as ram-disk aren't permanent storage.&#xD;&#xA;&#xD;&#xA;If it turns out to be the disk you can [defrag it as the number one task][3]. If you have the chance, also increase its sector (cluster for the puritan) size (use 16kb, this removes compacting capability, but that is anyways useless in this context). But [find articles on how to do][4] this if you don't already know, as you need to backup your data first.&#xD;&#xA;&#xD;&#xA;There can be many other reasons that serves as good guesses incl. the software you used itself, but as said, without being able to examine the computer and see how it behaves, elimination is the &quot;only&quot; method at our disposal :) Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://support.microsoft.com/kb/258757&#xD;&#xA;  [2]: http://www.pcworld.com/article/260918/how_to_supercharge_your_pc_with_a_ram_disk.html&#xD;&#xA;  [3]: http://windows.microsoft.com/en-US/windows-vista/Improve-performance-by-defragmenting-your-hard-disk&#xD;&#xA;  [4]: http://www.tomshardware.com/forum/274376-32-change-sector-size-4096" ContentLicense="CC BY-SA 3.0" />
  <row Id="37059" PostHistoryTypeId="2" PostId="22647" RevisionGUID="24a944be-0138-4a05-ae8e-785deb4d7ba3" CreationDate="2012-12-28T23:18:29.177" UserDisplayName="JPollock" Text="I'd look at the hard drive(s) first. Are they of good quality, with a fast connection? Best bet (without going crazy) would be one or more internal SSDs, with good read/ write times, connected via the SATA that are not your main system drive." ContentLicense="CC BY-SA 3.0" />
  <row Id="37060" PostHistoryTypeId="2" PostId="22645" RevisionGUID="6f61aa2e-239b-4241-af99-39d0989373ac" CreationDate="2012-12-28T21:11:22.393" UserDisplayName="Keegan McCarthy" Text="I am looking for good audio capture software that will record 24bit music with no problem.  Last year I was using Audition CS5 and recording at 24/96, using PreSonus hardware, caused the software to lag a bit and the final product had a few places where the audio was corrupted.  Back then I was using a windows computer with slow 5k RPM HDD, 4gb of RAM, and a dual core 2GHz cpu.&#xD;&#xA;&#xD;&#xA;I am going to try some recording again using my same PreSonus device and at the same sample-rate as before.  I also have a new laptop with an SSD, 32bg of RAM, and a 3.7GHz quad core CPU.&#xD;&#xA;&#xD;&#xA;Would the problem with the corrupted audio be because my old computer could not keep up with the demands of recording the audio at the quality, or was the problem the software?  Before I invest in newer audio capture software I would like to make sure that I am not going to be disappointed if I purchase Audition CS6 - or whatever I end up going with.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="37061" PostHistoryTypeId="1" PostId="22645" RevisionGUID="6f61aa2e-239b-4241-af99-39d0989373ac" CreationDate="2012-12-28T21:11:22.393" UserDisplayName="Keegan McCarthy" Text="Problems with digital recording (is it the computer or the software?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="37062" PostHistoryTypeId="3" PostId="22645" RevisionGUID="6f61aa2e-239b-4241-af99-39d0989373ac" CreationDate="2012-12-28T21:11:22.393" UserDisplayName="Keegan McCarthy" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37063" PostHistoryTypeId="36" PostId="22648" RevisionGUID="babde41c-30d3-4605-bd00-242db2d8b22d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7450/connecting-a-microphone-to-a-camera-with-a-25-foot-cable-is-it-possible" />
  <row Id="37064" PostHistoryTypeId="36" PostId="22649" RevisionGUID="20769361-a1ff-402b-adb1-1050016bcd1c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7450/connecting-a-microphone-to-a-camera-with-a-25-foot-cable-is-it-possible/7451#7451" />
  <row Id="37065" PostHistoryTypeId="36" PostId="22650" RevisionGUID="ba0d5f70-ac2c-444a-901e-798e88381f87" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7450/connecting-a-microphone-to-a-camera-with-a-25-foot-cable-is-it-possible/7517#7517" />
  <row Id="37066" PostHistoryTypeId="2" PostId="22649" RevisionGUID="37af6485-6a91-488c-9232-cf80ce7ff933" CreationDate="2013-03-21T13:28:58.370" UserId="7174" Text="A balanced mic would certainly help.  Another option is to use a direct box to go from an unbalanced mic input to a balanced line (XLR).  The best bet would really be to get an actual mic with balanced output.  Also, in a pinch, a 25 foot run is totally doable with an unbalanced cable if it is well shielded.  It isn't ideal, but it should be workable as long as it isn't near any major sources of interference (like power cables) and there isn't too much RF in the area." ContentLicense="CC BY-SA 3.0" />
  <row Id="37067" PostHistoryTypeId="2" PostId="22650" RevisionGUID="426294a3-842d-4fa4-b7a9-1b258595add1" CreationDate="2013-03-28T01:03:07.330" UserDisplayName="escalation746" Text="One point needs to be explicitly made. You can't convert an unbalanced signal to a balanced signal with just a cable. Even if you had the right adapter, one that correctly matches the connectors, this does not magically create a balanced signal. For that you do need a direct box (DI), or some sort of transformer.&#xD;&#xA;&#xD;&#xA;Another way to say this: you must distinguish between the type of signal, the cable carrying this signal, and the connectors on the end of the cable. You can mix and match these three factors in various ways, to successfully pass a signal (of some quality).&#xD;&#xA;&#xD;&#xA;In your case just run an unbalanced line, but buy a quality cable. You will lose signal strength and will be vulnerable to interference from mobile devices and WiFi. But it should work just fine. &#xD;&#xA;&#xD;&#xA;Bart's suggestion of a separate audio recorder is a good one. It doesn't sound like you have a budget, but maybe you can borrow a digital audio recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37068" PostHistoryTypeId="2" PostId="22648" RevisionGUID="59df6d43-a471-4c5b-bed9-b04bde9e16c2" CreationDate="2013-03-21T13:24:59.703" UserDisplayName="Ken" Text="I've been assigned to document our class's stage play and I'm having trouble with the audio. I only have one shotgun mic (3.5mm output) and I'm planning on putting it on a tripod and leaving it on the front row. Problem is, my camera's going to be at the back, about 25 feet away. The problem is, how do I bridge the gap between the camera and mic?&#xD;&#xA;&#xD;&#xA;I've been thinking of just making a 25 feet long 1/4&quot; plug microphone cable connected to the shotgun mic with a 3.5mm-1/4&quot; adapter. It'll all go into a mixer, which will output to my headphones and straight into the camera. But, won't a 25 feet cable be all noisy and stuff? I've been reading a bit about balanced cables and they seem to be the way to go. However, I've heard that you should never mix unbalanced outputs (the mic) with balanced inputs (the mixer). Are there any possible downsides to this kind of setup? " ContentLicense="CC BY-SA 3.0" />
  <row Id="37069" PostHistoryTypeId="1" PostId="22648" RevisionGUID="59df6d43-a471-4c5b-bed9-b04bde9e16c2" CreationDate="2013-03-21T13:24:59.703" UserDisplayName="Ken" Text="Connecting a microphone to a camera with a 25 foot cable - is it possible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37070" PostHistoryTypeId="3" PostId="22648" RevisionGUID="59df6d43-a471-4c5b-bed9-b04bde9e16c2" CreationDate="2013-03-21T13:24:59.703" UserDisplayName="Ken" Text="&lt;audio-recording&gt;&lt;cable&gt;&lt;camera&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37071" PostHistoryTypeId="36" PostId="22651" RevisionGUID="49ff7b65-7627-4dd1-ab16-5af005c2257b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/528/help-with-mastering" />
  <row Id="37072" PostHistoryTypeId="36" PostId="22652" RevisionGUID="cc661a75-693c-4f8a-9667-4055da9db6d5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/528/help-with-mastering/530#530" />
  <row Id="37073" PostHistoryTypeId="36" PostId="22653" RevisionGUID="bc7fedee-d80e-40be-b841-4c2bc7f6684f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/528/help-with-mastering/873#873" />
  <row Id="37074" PostHistoryTypeId="2" PostId="22652" RevisionGUID="3e6c569d-ab3d-43ec-b1f6-2cee41fb52de" CreationDate="2011-01-06T21:05:21.447" UserDisplayName="Nic" Text="If your music is lacking dynamic range, it could be a case of having an issue at mixdown, not necessarily something that can be fixed during mastering.&#xD;&#xA;&#xD;&#xA;Consider mastering as taking your already well-produced track and making very subtle changes to get it ready for all of the audio devices you can think of - your computer, the car stereo, an ipod, so on.&#xD;&#xA;&#xD;&#xA;To me, mastering is a much more subtle change than an adjustment to making your low frequencies more present. Although, that is highly subjective and your question is a little vague." ContentLicense="CC BY-SA 2.5" />
  <row Id="37075" PostHistoryTypeId="2" PostId="22653" RevisionGUID="0d88b1c7-2b9a-4512-97ab-b3a88b60ff1b" CreationDate="2011-02-21T15:49:11.707" UserDisplayName="Eugene Bujak" Text="&quot;Dynamic range&quot; and &quot;low frequencies&quot; aren't directly related, but low frequencies at low volumes are harder to distinguish for human ear.&#xD;&#xA;&#xD;&#xA;Speaking of dynamic range, if it's very loud all the time, lower it's volume to get more headroom, it'll make your music breathe. Making it louder while preserving breathing should be done by mastering engineers, most labels will get it mastered for you.&#xD;&#xA;&#xD;&#xA;As for the lack of low frequencies, it should be done in the mixing stage, your bass should be heard even if you cut everything below 300 Hz, since I can't hear your song the general rule of thumb is to have your bass hearable all the time when it plays during the mix, usually compressor will fix that, and to have the slaps and high harmonics hearable when your song is played through speakers that don't have capacity to play your real bass, raising the highs on the bass track might do that, or you'll need to add something that plays bass notes in other octave but doesn't actually play the bass frequencies.&#xD;&#xA;&#xD;&#xA;It's also important to take breaks when you work on a song since your ears get used to the sound you hear, which in fact distorts your perception. During the breaks your ears will reset. I usually listen to Beethoven to clear my ears.&#xD;&#xA;&#xD;&#xA;If you have lots of time and energy to do that, I'd recommend to re-set every volume, panning and automation on your song. Then play with the volumes of your tracks until you get it sound at least acceptable for you, bounce it to your ipod along with your old mix, forget about it, and play your song attentively in both variants two weeks later thru headphones, cars, clock radio, you name it, and take notes which parts of the song were best for each setup. When you sit back to work on your mix be careful to have these parts of your song to be the way you liked when you took notes." ContentLicense="CC BY-SA 2.5" />
  <row Id="37076" PostHistoryTypeId="2" PostId="22651" RevisionGUID="9a9bf0dc-d552-4b0d-94b2-7da0306b8340" CreationDate="2011-01-06T20:30:17.527" UserDisplayName="Milo" Text="I use Logic Pro. It seems like every song on the radio I hear sounds good everywhere. Headphones, ear buds, loud speakers etc. My music generally feels like it lacks dynamic range. As if a lot of the low frequencies are missing. Is there a guide, or tip on mastering?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="37077" PostHistoryTypeId="1" PostId="22651" RevisionGUID="9a9bf0dc-d552-4b0d-94b2-7da0306b8340" CreationDate="2011-01-06T20:30:17.527" UserDisplayName="Milo" Text="Help with mastering" ContentLicense="CC BY-SA 2.5" />
  <row Id="37078" PostHistoryTypeId="3" PostId="22651" RevisionGUID="9a9bf0dc-d552-4b0d-94b2-7da0306b8340" CreationDate="2011-01-06T20:30:17.527" UserDisplayName="Milo" Text="&lt;audio-recording&gt;&lt;logic-pro&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37079" PostHistoryTypeId="36" PostId="22654" RevisionGUID="1992c169-f584-403a-84f1-961ec1c94b44" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4758/capturing-wedding-vows" />
  <row Id="37080" PostHistoryTypeId="36" PostId="22655" RevisionGUID="b865407b-cd5b-4efa-b1d2-ff043f019bbc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4758/capturing-wedding-vows/4759#4759" />
  <row Id="37081" PostHistoryTypeId="36" PostId="22656" RevisionGUID="42366242-045f-4bfb-a860-a8774b7e8367" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4758/capturing-wedding-vows/4855#4855" />
  <row Id="37082" PostHistoryTypeId="36" PostId="22657" RevisionGUID="b02af5de-76d1-4a2a-bb54-661476ddb21a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4758/capturing-wedding-vows/4860#4860" />
  <row Id="37083" PostHistoryTypeId="2" PostId="22655" RevisionGUID="21ff8db9-e2fe-4ef9-98c3-2651f6e5dcc4" CreationDate="2012-09-18T00:33:55.077" UserId="7189" Text="When I borrowed a Zoom H4, I got a lot of GSM noise from my blackberry when doing field recordings. Later, I bought a Sony M10 and an iPhone, and haven't noticed any GSM tones in my recordings. The downside of the Sony is that it doesn't have XLR input, so any external microphone is likely to be a source of more noise. The good news is that cell phone interference seems to fall off fairly rapidly. There may be enough distance between the couple getting married and the guests that cell noise isn't really a problem.&#xD;&#xA;&#xD;&#xA;An [Olympus LS-100][1] may be an even better choice than my Sony. I plan on getting one once I start buying microphones.&#xD;&#xA;&#xD;&#xA;Another option would be to use a full-sized mic and PA and actually integrate it into the ceremony. Then the couple can hear themselves doing their vows, so they have an idea of what they will be getting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wired.com/reviews/2012/07/olympus-ls-100/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37084" PostHistoryTypeId="2" PostId="22656" RevisionGUID="a3f461b5-1078-4d92-8492-2469e9ec7ba7" CreationDate="2012-09-28T15:12:43.917" UserDisplayName="WLPhoenix" Text="You should look into buying a [shotgun mic][1]. It's the microphone used on movie sets for recording things when they can't get a boom mic above the actors. Basically it's a very directionalized mic, so it has excellent off-axis rejection to avoid picking up audience noises, and you can set it up from the back of the auditorium and aim it at the alter to pick up the vows as well as the rest of the ceremony. You may even be able to set up several from mutiple angles, that way you never have to worry about someone blocking the direct sound.&#xD;&#xA;&#xD;&#xA;There are few options, some of them fairly reasonable in price. Check out [this link][2] for some discussion on budget shotgun mics.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Microphone#Shotgun&#xD;&#xA;  [2]: http://www.gearslutz.com/board/remote-possibilities-acoustic-music-location-recording/157069-what-best-shotgun-mic-budget.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="37085" PostHistoryTypeId="2" PostId="22657" RevisionGUID="bcbacf40-2f1b-4869-a2ea-247ec96225e4" CreationDate="2012-09-28T22:04:55.073" UserId="7251" UserDisplayName="Phil" Text="Whilst my experience comes from a sound reinforcement background not recording I always had success using the vicar's wireless mic to pick up the vows, turning it up for the couples repetition and back down for the vicar.  If you're recording this can be done in post-production making it a bit less stressful!  &#xD;&#xA;&#xD;&#xA;In 15 years of using radio mics I've only ever known them pick up interference from other mics on the same channel or a phone in the pocket of the person wearing the mic.  When it's from a phone it's the unbalanced lead between the transmitter pack and the mic capsule which picks it up, not the RF side.  Which frequencies you can use for radio mics depends on where in the world you are based, you can either use the license free frequencies in which case you might suddenly get someone else on the same frequency as you, or purchase a license which means no-one else should be on the same channel.  Obviously a wireless system is slightly less reliable than a wired system but having done sound for dozens of weddings by making sure the mics had new batteries I never had any problems with them." ContentLicense="CC BY-SA 3.0" />
  <row Id="37086" PostHistoryTypeId="2" PostId="22654" RevisionGUID="ae4dcd72-e8bc-43ac-b06e-f08f6f90bbe4" CreationDate="2012-09-17T22:32:03.357" UserDisplayName="Kevin" Text="So I am starting into wedding videography for a company, and we are having a lot of discussions as to the best way to capture wedding vows. The way they are currently doing it is a zoom h1 set to auto slipped into the grooms pocket with a 3.5mm lav mic. Coming from more of a corporate production background, this makes me nervous because I can't monitor anything. Someone pointed out to me that monitoring doesn't really get you much since you can't go up there during the ceremony and change anything. Wireless is an option, but if we get any interference from all those folks on their cell phones we are really screwed... I'm thinking maybe mic split into the zoom and into a wireless system?&#xD;&#xA;&#xD;&#xA;So how would you guys capture wedding vows? " ContentLicense="CC BY-SA 3.0" />
  <row Id="37087" PostHistoryTypeId="1" PostId="22654" RevisionGUID="ae4dcd72-e8bc-43ac-b06e-f08f6f90bbe4" CreationDate="2012-09-17T22:32:03.357" UserDisplayName="Kevin" Text="Capturing Wedding Vows" ContentLicense="CC BY-SA 3.0" />
  <row Id="37088" PostHistoryTypeId="3" PostId="22654" RevisionGUID="ae4dcd72-e8bc-43ac-b06e-f08f6f90bbe4" CreationDate="2012-09-17T22:32:03.357" UserDisplayName="Kevin" Text="&lt;audio-recording&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37089" PostHistoryTypeId="36" PostId="22658" RevisionGUID="c261fe11-f5fa-4f0c-8dc6-dbbf4257db1f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5714/why-does-my-ni-komplete-audio-6-have-very-low-input-volume" />
  <row Id="37090" PostHistoryTypeId="2" PostId="22658" RevisionGUID="6601fbf6-9756-4380-b103-67ab197ab85c" CreationDate="2012-12-30T09:23:37.013" UserDisplayName="Carter" Text="I have an Audio Technica AT4040 connected to a recently purchased Komplete Audio 6.&#xD;&#xA;&#xD;&#xA;I used to use this same microphone with a Digi 003 and Pro Tools and it was always very sensitive... I could hear sounds from across the room in my headphones before. However, with the Komplete Audio 6, there is now hardly any volume. Even with the gain all the way up I get a hiss, but not a whole lot coming through from an instrument or vox (though it is there). It's only really possible to get it to peak by banging directly on the microphone or screaming into it.&#xD;&#xA;&#xD;&#xA;The odd thing is, if I turn phantom power off and on for 4 or 5 seconds after it kicks in the volume seems a lot more reasonable allowing it to pick up sounds from across the room like it did before. However, it quickly seems to auto adjust back to the very low volume.&#xD;&#xA;&#xD;&#xA;Any idea what causes this and how it can be fixed?&#xD;&#xA;&#xD;&#xA;This happens on both my Mac in Garage Band and in Ableton on my Windows machine." ContentLicense="CC BY-SA 3.0" />
  <row Id="37091" PostHistoryTypeId="1" PostId="22658" RevisionGUID="6601fbf6-9756-4380-b103-67ab197ab85c" CreationDate="2012-12-30T09:23:37.013" UserDisplayName="Carter" Text="Why does my NI Komplete Audio 6 have very low input volume?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37092" PostHistoryTypeId="3" PostId="22658" RevisionGUID="6601fbf6-9756-4380-b103-67ab197ab85c" CreationDate="2012-12-30T09:23:37.013" UserDisplayName="Carter" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37093" PostHistoryTypeId="36" PostId="22659" RevisionGUID="2cd3e024-9702-4348-9679-a1b1ffd2878e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2237/how-can-i-set-pulseaudio-to-use-convolution" />
  <row Id="37094" PostHistoryTypeId="2" PostId="22659" RevisionGUID="4a17efd5-fcce-42c4-b176-ef19ad21cfd2" CreationDate="2011-08-30T16:15:58.930" UserDisplayName="klonuo" Text="I'm using Ubuntu 11.04 and PulseAudio.&#xD;&#xA;&#xD;&#xA;I made impulse to correct bass response on my speakers and would like to use it globally.&#xD;&#xA;&#xD;&#xA;I can set Jack through jack-convolve plugin to use my impulse, but as not all applications can use Jack, nor do I run it all the time, I'm looking for a more robust solution.&#xD;&#xA;&#xD;&#xA;It seems like I could use LADSPA plugins through module-ladspa-sink set in configuration file, but:&#xD;&#xA;&#xD;&#xA; 1. I don't know the syntax&#xD;&#xA; 2. Even if I knew syntax to set this module, it seems there are only pre-build impulses with LADSPA Impulse convolver, and I'm not sure if I could use my own.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37095" PostHistoryTypeId="1" PostId="22659" RevisionGUID="4a17efd5-fcce-42c4-b176-ef19ad21cfd2" CreationDate="2011-08-30T16:15:58.930" UserDisplayName="klonuo" Text="How can I set PulseAudio to use convolution" ContentLicense="CC BY-SA 3.0" />
  <row Id="37096" PostHistoryTypeId="3" PostId="22659" RevisionGUID="4a17efd5-fcce-42c4-b176-ef19ad21cfd2" CreationDate="2011-08-30T16:15:58.930" UserDisplayName="klonuo" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37097" PostHistoryTypeId="36" PostId="22660" RevisionGUID="bef16201-336d-4c58-89e0-4ca2b822b2cd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/415/how-to-cleanly-punch-piano" />
  <row Id="37098" PostHistoryTypeId="2" PostId="22661" RevisionGUID="d385f596-5f32-4509-be2e-7d4369452a58" CreationDate="2010-12-22T02:45:29.887" UserId="7045" Text="Assuming you're talking digital: &#xD;&#xA;&#xD;&#xA;Punching in can be tricky, since no musician starts at exactly the same point in time on every take. Fingerstyle guitar has similar problems; there are always overtones hanging around. &#xD;&#xA;&#xD;&#xA;I dupe the track I want to punch into, but without audio. (I.e., preserving settings, gain, and so on.) Then, record the bit of music in question onto the dupeed, empty track. Last, edit it into the track original. I can always get a much cleaner sound that way. &#xD;&#xA;&#xD;&#xA;Edit: If you're capturing the musician's performance via midi, I'd try editing the data so what the left and right hands are playing are on separate tracks, this might give you a little more flexibility when editing. " ContentLicense="CC BY-SA 2.5" />
  <row Id="37099" PostHistoryTypeId="2" PostId="22660" RevisionGUID="3dc8cb20-5830-41ca-8376-c62ea9cf92e9" CreationDate="2010-12-22T02:32:54.827" UserId="7398" UserDisplayName="BenV" Text="When recording piano I've always struggled to get clean punches.  I usually try to punch just ahead of a downbeat when the pianist is lifting the sustain pedal, but I often end up with some remnants of the previous chord hanging over, and this sound tends to vary from take to take so that my punch is pretty obvious.&#xD;&#xA;&#xD;&#xA;Hopefully my description makes some sense.  What should I be doing different?" ContentLicense="CC BY-SA 2.5" />
  <row Id="37100" PostHistoryTypeId="1" PostId="22660" RevisionGUID="3dc8cb20-5830-41ca-8376-c62ea9cf92e9" CreationDate="2010-12-22T02:32:54.827" UserId="7398" UserDisplayName="BenV" Text="How to cleanly punch piano?" ContentLicense="CC BY-SA 2.5" />
  <row Id="37101" PostHistoryTypeId="3" PostId="22660" RevisionGUID="3dc8cb20-5830-41ca-8376-c62ea9cf92e9" CreationDate="2010-12-22T02:32:54.827" UserId="7398" UserDisplayName="BenV" Text="&lt;audio-recording&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37102" PostHistoryTypeId="36" PostId="22661" RevisionGUID="ffa62fbb-5e64-4a80-a391-f3d393f80fe5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/415/how-to-cleanly-punch-piano/416#416" />
  <row Id="37103" PostHistoryTypeId="36" PostId="22662" RevisionGUID="b4862509-54ec-4416-a33e-a8986e40d2d2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/415/how-to-cleanly-punch-piano/417#417" />
  <row Id="37104" PostHistoryTypeId="36" PostId="22663" RevisionGUID="6d80bca6-4cca-4105-af74-6dfd0b72669a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/415/how-to-cleanly-punch-piano/457#457" />
  <row Id="37105" PostHistoryTypeId="2" PostId="22662" RevisionGUID="88d6a8a0-88d9-4ae4-a695-64b5062ee84f" CreationDate="2010-12-22T02:50:55.967" UserId="7218" UserDisplayName="Robert Harvey" Text="If you're working in a computer, and you record a second track in addition to the original, you can apply a crossfade or volume envelope after the recording is completed, to fade the portion of the new track you want into and out of the mix, and then you won't have to worry about getting the punch perfect." ContentLicense="CC BY-SA 2.5" />
  <row Id="37106" PostHistoryTypeId="2" PostId="22663" RevisionGUID="b64197b7-6ba7-41d0-9fc0-b86e94a675f8" CreationDate="2010-12-27T13:57:21.830" UserDisplayName="davetron5000" Text="If you cannot punch in right as the sustain pedal is released, you'll want to have the pianist listen to what s/he is playing before the punch point and try to match it as closely as possible so that the sustained notes don't sound to weird.  Depending on the complexity and length of the piece, it might be better to just to the entire thing over again :(" ContentLicense="CC BY-SA 2.5" />
  <row Id="37107" PostHistoryTypeId="36" PostId="22664" RevisionGUID="a91ee1a4-ed60-4c47-9d20-62c9ddaf9072" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1346/why-are-all-my-recordings-fuzzy-and-quiet" />
  <row Id="37108" PostHistoryTypeId="36" PostId="22665" RevisionGUID="c983345e-6754-4a6d-b705-20fd534a9d70" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1346/why-are-all-my-recordings-fuzzy-and-quiet/1349#1349" />
  <row Id="37109" PostHistoryTypeId="36" PostId="22666" RevisionGUID="c53b8520-44b4-4a60-955d-4c46ea220fdb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1346/why-are-all-my-recordings-fuzzy-and-quiet/1358#1358" />
  <row Id="37110" PostHistoryTypeId="36" PostId="22667" RevisionGUID="eb5e0a5b-c6cc-4eb2-bef7-d60e4f94c5a0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1346/why-are-all-my-recordings-fuzzy-and-quiet/1399#1399" />
  <row Id="37111" PostHistoryTypeId="36" PostId="22668" RevisionGUID="4dac276c-3c33-4112-abd9-505f99d3d466" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1346/why-are-all-my-recordings-fuzzy-and-quiet/1426#1426" />
  <row Id="37112" PostHistoryTypeId="2" PostId="22665" RevisionGUID="2fd0c860-2082-4c7d-a785-85dc57194ddb" CreationDate="2011-05-05T13:33:10.163" UserId="8220" UserDisplayName="notthetup" Text="Sounds like am impedance mismatch between your instrument and interface.. Could it be a line/mic level issue? Maybe the 'driver' for the LightSnake allows you to decide  it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37113" PostHistoryTypeId="2" PostId="22666" RevisionGUID="08ba3cab-8cb2-4c4b-ad73-09fb9aeeaaaf" CreationDate="2011-05-06T11:44:58.997" UserId="7016" Text="Perhaps LightSnake is expecting higher signal levels. &#xD;&#xA;&#xD;&#xA;You might need a preamp to boost the low signals you are getting from your guitar or mic.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37114" PostHistoryTypeId="2" PostId="22667" RevisionGUID="109b8570-a41a-4064-9bee-84ea5f17ab14" CreationDate="2011-05-12T20:31:04.677" UserId="7216" UserDisplayName="AnonJr" Text="Few things to look at, and I'm speaking from just the question text - not a good idea to listen to YouTube in the middle of a meeting...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Step 1&#xD;&#xA;------&#xD;&#xA;What is the recording level for the USB device? &#xD;&#xA;&#xD;&#xA;In your computer's Volume Control settings, what is the Volume level for your Light Snake? I've seen where Windows will automatically set the recording level very low for a new device, and you may just need to bump it up.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Step 2&#xD;&#xA;------&#xD;&#xA;What program are you using to record the audio?&#xD;&#xA;&#xD;&#xA;I don't know what specifically other people are using, but I will often record the audio separably from the video and splice them back together later. This lets me use a dedicated audio recording program (like Audacity) to do a proper check on levels, watch for clipping, etc. and gives me some better audio editing options for fixing things in post.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Step 3&#xD;&#xA;------&#xD;&#xA;What is the recording level in the program you are using to record the audio?&#xD;&#xA;&#xD;&#xA;The recording levels may be off in the program itself, and you may be hearing some clipping or other artifacts from the levels as set in the app.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Misc.&#xD;&#xA;-----&#xD;&#xA;There may be something else entirely going on, but answers to the above will at least help direct the inquiry." ContentLicense="CC BY-SA 3.0" />
  <row Id="37115" PostHistoryTypeId="2" PostId="22668" RevisionGUID="96ab8b5f-c990-40c4-bd4c-a26544757abb" CreationDate="2011-05-17T14:25:40.190" UserDisplayName="Owen Kelly" Text="Your guitar will give out MIC level at best, I have rarely seen a guitar with LINE LEVEL outputs.&#xD;&#xA;&#xD;&#xA;MIC level is significantly lower than LINE level. In every mixer the gain pot is adjusted to bring MIC level up to LINE level. [1]&#xD;&#xA;&#xD;&#xA;It sounds like the device you are using is just a slightly better ADC (analogue-digital convertor) than what is built into your computer. The advantage of that is that the onboard sound card typically picks up computer noise such as your fan on the actual take.&#xD;&#xA;&#xD;&#xA;What I believe you need is a pre-amp [2]. It takes the MIC level and turns it to LINE level (just like the gain pot, aka pre-amp.&#xD;&#xA;&#xD;&#xA;You can buy standalone preamps, many people I know swear by them (though they spend $3-5k per preamp).&#xD;&#xA;&#xD;&#xA;In terms of what pre amp to get, realistcally you are better off buying a proper audio interface, than mixing a bunch of parts.&#xD;&#xA;&#xD;&#xA;For your purpose you should be able to find one for around $150USD.&#xD;&#xA;&#xD;&#xA;[What is LINE LEVEL][1]&#xD;&#xA;&#xD;&#xA;[What Is a preamp?][2]&#xD;&#xA;&#xD;&#xA;[Lexicon][3]&#xD;&#xA;&#xD;&#xA;[List of Cheap Interfaces][4]&#xD;&#xA;&#xD;&#xA;[Forum thread on cheap interfaces][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Line-level&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Preamplifier&#xD;&#xA;  [3]: http://www.zzounds.com/item--LEXALPHA&#xD;&#xA;  [4]: http://www.tweakheadz.com/audio_interfaces_low_cost.htm&#xD;&#xA;  [5]: http://forums.macrumors.com/showthread.php?t=446954" ContentLicense="CC BY-SA 3.0" />
  <row Id="37116" PostHistoryTypeId="2" PostId="22664" RevisionGUID="2277b14e-6553-44d2-affa-c2ffd1915b6b" CreationDate="2011-05-05T04:59:19.267" UserId="9420" UserDisplayName="BlueRaja - Danny Pflughoeft" Text="I originally thought I could just record my guitar using my laptop camera/mic, like I assumed many of the very-non-professional Youtubers I saw do.  [This][1] (just the first part) was the result.  I then [tried using my camcorder][2] - even worse.&#xD;&#xA;&#xD;&#xA;So I caved in and bought a USB-to-stereo-jack [LightSnake][3] along with an acousic-pickup.  To my surprise, I still didn't like what it [sounds like][4] - it's still all fuzzy and quiet.&#xD;&#xA;&#xD;&#xA;I also tried using LightSnake + my dad's old (circa 1970) professional microphone (no recording of this), but I could still *barely* hear the guitar.&#xD;&#xA;&#xD;&#xA;Finally, I borrowed an acoustic/electric, and tried plugging it into the LightSnake.  [Still quiet and fuzzy.][5]&#xD;&#xA;&#xD;&#xA;So, I give up, and I'm turning to the experts:  Why is my recording so fuzzy and quiet?  **How can I record my guitar onto my computer?**  I'm really hoping the answer doesn't require me to purchase a $300 USB-to-stereo-jack converter...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=uh-YtJgh9JQ&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=uh-YtJgh9JQ#t=0m10.5s&#xD;&#xA;  [3]: http://www.amazon.com/LightSnake-STUSBG10-USB-Instrument-cable/dp/B000H7LBB8&#xD;&#xA;  [4]: http://www.youtube.com/watch?v=uh-YtJgh9JQ#t=0m19.5s&#xD;&#xA;  [5]: http://www.youtube.com/watch?v=uh-YtJgh9JQ#t=0m28s" ContentLicense="CC BY-SA 3.0" />
  <row Id="37117" PostHistoryTypeId="1" PostId="22664" RevisionGUID="2277b14e-6553-44d2-affa-c2ffd1915b6b" CreationDate="2011-05-05T04:59:19.267" UserId="9420" UserDisplayName="BlueRaja - Danny Pflughoeft" Text="Why are all my recordings fuzzy and quiet!?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37118" PostHistoryTypeId="3" PostId="22664" RevisionGUID="2277b14e-6553-44d2-affa-c2ffd1915b6b" CreationDate="2011-05-05T04:59:19.267" UserId="9420" UserDisplayName="BlueRaja - Danny Pflughoeft" Text="&lt;audio-recording&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37119" PostHistoryTypeId="36" PostId="22669" RevisionGUID="f4d45880-b497-40db-9294-f3ff0de94de2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/546/better-options-than-m-audio-keystudio" />
  <row Id="37120" PostHistoryTypeId="36" PostId="22670" RevisionGUID="2d287c8d-d926-461e-9148-92fd4a50f05d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/546/better-options-than-m-audio-keystudio/552#552" />
  <row Id="37121" PostHistoryTypeId="2" PostId="22670" RevisionGUID="c251b56b-7d8e-45a7-90f7-004b94dbf414" CreationDate="2011-01-10T04:03:04.993" UserId="7398" UserDisplayName="BenV" Text="You have at least two options:&#xD;&#xA;&#xD;&#xA; - Upgrade to a different version of Pro Tools - I'd look at Pro Tools 9&#xD;&#xA; - Switch to Ableton Live - compatible with M-Audio hardware&#xD;&#xA;&#xD;&#xA;I've only used Pro Tools so I can't give you a first hand comparison." ContentLicense="CC BY-SA 2.5" />
  <row Id="37122" PostHistoryTypeId="2" PostId="22671" RevisionGUID="a5fc1e4a-bf5b-482b-b2af-7de2122f4f92" CreationDate="2011-01-10T06:42:36.597" UserId="7294" UserDisplayName="Warrior Bob" Text="I haven't ever used a KeyStudio before but I presume it's a MIDI controller that'd work with any DAW.  This answer assumes that is the case (the [website seems to suggest this][1] but I'm never quite sure.&#xD;&#xA;&#xD;&#xA;Any DAW will be at least fairly complex.  On the Mac, GarageBand seems to be a popular choice for starting out.  It was my first real DAW, and through it I was able to figure out the basics of recording and eventually moved on to other software when I wanted more features.  If there's a *specific* feature you're missing, it might be worth looking into what software has it, but if it's just that you aren't quite sure how to use Pro Tools, then switching software won't be nearly as effective as getting together with some like-minded friends and having someone teach you the ropes.  If you have really specific questions, ask them on a site like this.&#xD;&#xA;&#xD;&#xA;Judging by your comment, it sounds like the real problem is that you can't quite dial in the sound you want with the software instruments you have available.  If that's it, then the real solution is to figure out what it is you want and then match that to a tool - in other words, find the right plugin for a job.  Since I don't know anything about what you're trying to do I can only suggest that you find a community online that's dedicated to that style, and see what they recommend.  &#xD;&#xA;&#xD;&#xA;For general work I've never really found one major DAW to be far and away better than any other.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.m-audio.com/products/en_us/KeyStudio49i.html&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37123" PostHistoryTypeId="2" PostId="22669" RevisionGUID="aa654763-5101-4be1-8a62-fe32c051283f" CreationDate="2011-01-09T06:40:25.223" UserDisplayName="c1tadel1" Text="I have been a musician for years and decided a few months ago to record some music at home. I got the M-Audio Keystudio that came with ProTools SE because it was cheap and I wanted to make sure I was really committed to doing this before spending much money.&#xD;&#xA;&#xD;&#xA;Well I really do want to do this and found that this setup is very limiting and I am ready to move on.&#xD;&#xA;&#xD;&#xA;I just want to create some really good demos to send out and see if maybe I am good enough to make a career switch, or more likely, to save for my kids.&#xD;&#xA;&#xD;&#xA;Since I am familiar a bit with ProTools now, should I stick with it? Is there software that would still work with this cool little keyboard but be aimed more at the home studio newbie?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37124" PostHistoryTypeId="1" PostId="22669" RevisionGUID="aa654763-5101-4be1-8a62-fe32c051283f" CreationDate="2011-01-09T06:40:25.223" UserDisplayName="c1tadel1" Text="Better Options than M-Audio Keystudio" ContentLicense="CC BY-SA 2.5" />
  <row Id="37125" PostHistoryTypeId="3" PostId="22669" RevisionGUID="aa654763-5101-4be1-8a62-fe32c051283f" CreationDate="2011-01-09T06:40:25.223" UserDisplayName="c1tadel1" Text="&lt;audio-recording&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37126" PostHistoryTypeId="36" PostId="22671" RevisionGUID="c05fa411-36d2-4c24-a945-67bf7429be6a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/546/better-options-than-m-audio-keystudio/554#554" />
  <row Id="37127" PostHistoryTypeId="36" PostId="22672" RevisionGUID="200c42dd-22f7-4427-b40a-cd5d352c98c1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/546/better-options-than-m-audio-keystudio/569#569" />
  <row Id="37128" PostHistoryTypeId="2" PostId="22672" RevisionGUID="27312b34-8d53-4493-9920-aae414aafff5" CreationDate="2011-01-12T08:48:01.490" UserId="8168" UserDisplayName="Christoph Metzendorf" Text="**Re: M-Audio Keystudio**&#xD;&#xA;&#xD;&#xA;It's a nice controller keyboard. I don't know which one you have (no. of keys). I've got the small 49i and used it mainly as a quick way of setting up a keyboard to my Mac to try out virtual synthesizers or recording small musical snippets. I've never used it together with Pro Tools, but I can say that it's definitely compatible with other DAWs or virtual instruments. The onboard sound is mediocre from my point of view, so you might want to extend it with additional virtual instruments. For serious keyboard playing and recording I'm using a full-sized master keyboard with weighted keys.&#xD;&#xA;&#xD;&#xA;When you search for something to control your DAW, there are special DAW controllers with various levels of functionality the probably do a better job than the KeyStudio keyboard controller.&#xD;&#xA;&#xD;&#xA;**Re: Pro Tools**&#xD;&#xA;&#xD;&#xA;I've never worked with Pro Tools, because there's two things that kept me off:&#xD;&#xA;&#xD;&#xA; - It's not only a software it's a platform. You always need the software AND the Pro Tools compatible hardware to run it. If that's not a problem, go on.&#xD;&#xA; - Pro Tools doesn't have a great track record regarding their support for the latest version of the operating system, at least on the Mac. So it can happen that you can't upgrade to the latest version of the OS for some time, because Pro Tools either wouldn't run or wouldn't be officially supported. If that's no problem either and your happy with Pro Tools functionality and usability, you can of course stick with it. &#xD;&#xA;&#xD;&#xA;Some people quickly get religious about their favorite DAW. At the end, it has to work for you and shouldn't put barriers in front of you, that's all what matters IMHO. Switching to another DAW is always a pain, because you probably need some time to really get used to it and achieve the same level of productivity, that you had on the previous software. But if another software better suits your needs, the effort of learning the new user interface and workflows might be worth it.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37129" PostHistoryTypeId="36" PostId="22673" RevisionGUID="4559e51c-416c-4a15-b855-de25855e6d41" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2508/miking-a-djembe" />
  <row Id="37130" PostHistoryTypeId="2" PostId="22674" RevisionGUID="b1cfc310-6992-4359-bf23-a168fb361643" CreationDate="2011-10-24T13:15:47.777" UserId="982" Text="From what I've read, the popular technique seems to involve getting the djembe off the floor (whether in a stand, or otherwise) so that a kick drum mic (like a [D112][1]) can be placed inside the center of the base. Some kind of condenser mic will give you more detail on the head than an [SM57][2] will.  Of course, then you have the typical drum mic'ing tradeoff of being able to put a rugged mic like a 57 closer to the drum where it might be bashed around, or a more sensitive (i.e. expensive and fragile) condenser mic farther away (where it still might get bashed around ;). &#xD;&#xA;&#xD;&#xA;There's an [SOS interview][4] from 2007 that goes into a little more detail with some other mic choices. It recommends using a small-diaphragm condenser, roughly 12 in. away, pointed directly at the center of the head (in addition to the bottom kick drum mic).&#xD;&#xA;&#xD;&#xA;Here's a video describing how to mic when holding the djembe, rather than using a stand:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=uSmolnqIgUw&amp;fmt=18&#xD;&#xA;&#xD;&#xA;The sound in the video has some nice detail, and the technique she used for the top head is similar to what you described, but possibly a little closer to the head.  If you've got enough mics available, it sounds like having one really close to the head for sliding/scraping detail, and another (farther away) pointed directly at the center of the head for percussive &quot;slap&quot; would be a good combination.&#xD;&#xA;&#xD;&#xA;So to summarize, for a baseline setup,&#xD;&#xA;&#xD;&#xA;1. Lift it off the floor,&#xD;&#xA;2. Put a kick drum mic in the center of the base, and&#xD;&#xA;3. Use a condenser for detail on top.&#xD;&#xA;&#xD;&#xA;In addition, it's always worth listening [with headphones and a mic] for sweet spots while someone is playing that add to the sound around the sides of the drum (in addition to the baseline mics).  That's even more true if you've got a good room to record in.  For example, sometimes a drum will sound much better at a certain location in the room (e.g. near a corner).  If you really want some kind of &quot;signature sound&quot; (i.e. the djembe is a primary instrument in the mix), experimenting with various placements for a contact mic could yield something interesting as well.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/AKG-Industry-Large-diaphragm-microphone-Instruments/dp/B001B1Q5C4&#xD;&#xA;  [2]: http://www.amazon.com/mn/search/?ref_=nb_sb_noss&amp;url=search-alias=mi&amp;field-keywords=sm%2057&amp;x=0&amp;y=0&#xD;&#xA;  [3]: http://www.amazon.com/Rode-NT1A-Anniversary-Condenser-Microphone/dp/B002QAUOKS/ref=sr_1_1?s=musical-instruments&amp;ie=UTF8&amp;qid=1319457588&amp;sr=1-1&#xD;&#xA;  [4]: http://www.soundonsound.com/sos/aug07/articles/qa0807_4.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="37131" PostHistoryTypeId="2" PostId="22673" RevisionGUID="a22570ed-ca11-409a-b3b5-aba7e620e196" CreationDate="2011-10-20T02:58:26.627" UserId="7045" Text="I'm near the end of a project that involves a lot of small percussion, and we're using djembes for many of the tracks. I got a decent sound by using a pair of dynamic mics, one above the rim pointed down on an angle, the other pointed at the djembe's bottom opening at the floor. (The djembe wasn't in a stand, so that made very close miking on the rim not practical.) &#xD;&#xA;&#xD;&#xA;I got a decent sound, a little boomy but with decent bass and okay detail. Here's a typical sample of three djembes, with no EQ or reverb or other changes: &#xD;&#xA;&#xD;&#xA;http://soundcloud.com/neilfein/djembes-for-parallel&#xD;&#xA;&#xD;&#xA;This will be pretty buried in this mix, so the sound is good enough for this use. However, I have some projects coming up where I'd like to get more detail from the head and have better control over the sound. &#xD;&#xA;&#xD;&#xA;Can anyone tell me how I can do this, given my setup? Should I use a condenser mic on the head and a 57 on the tail? Will I be better able to get detailed sound from the head (so we can hear the sound of fingers scraping the head, et cetera) if I get a stand for the djembe and mic the head even closer? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37132" PostHistoryTypeId="1" PostId="22673" RevisionGUID="a22570ed-ca11-409a-b3b5-aba7e620e196" CreationDate="2011-10-20T02:58:26.627" UserId="7045" Text="Miking a djembe" ContentLicense="CC BY-SA 3.0" />
  <row Id="37133" PostHistoryTypeId="3" PostId="22673" RevisionGUID="a22570ed-ca11-409a-b3b5-aba7e620e196" CreationDate="2011-10-20T02:58:26.627" UserId="7045" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37134" PostHistoryTypeId="36" PostId="22674" RevisionGUID="37526314-15f6-4749-a840-20b2f8ad06f6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2508/miking-a-djembe/2538#2538" />
  <row Id="37135" PostHistoryTypeId="36" PostId="22675" RevisionGUID="b6dfec3f-216b-4edb-ba90-15fb907db4e4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2508/miking-a-djembe/2548#2548" />
  <row Id="37136" PostHistoryTypeId="2" PostId="22675" RevisionGUID="9f6683a9-e733-4563-8574-496e3920301d" CreationDate="2011-10-26T15:36:13.273" UserDisplayName="JayP" Text="Aside from the more obvious sounds of the Djembe to be reproduced in your recording, I always think it's worth considering that in folkloric musics, any stray rattles or jingles are considered characterful, rather than something to be rejected or avoided.  They're worth considering in your mic set up too.&#xD;&#xA;&#xD;&#xA;I found this article that describes the 'standard' techniques and tones producible by the Djembe [here][1], which could be helpful in deciding which sounds you want to concentrate on capturing.&#xD;&#xA;&#xD;&#xA;I would consider a small diaphragm condenser for the head - you might need it to be a bit further away than you might ideally like, since your percussionist will need plenty of room to move his arms and hands.&#xD;&#xA;&#xD;&#xA;I would experiment with bass drum microphones for the base of the Djembe - I would also try to be open to the idea that emphasising the bass tone of the Djembe might be the wrong thing to do in terms of the music.  Often, the 'open' tone of the head is the most important sound.  If you do opt for the bass mic, don't forget to invert the phase  Of course, if you opt for a single, well-placed microphone, you won't get this problem.&#xD;&#xA;&#xD;&#xA;If you go for multiple microphones, I guess it would be good idea to make sure that your top microphone is the same distance from the drum head as the lower microphone.  I imagine phasing problems are a really good way of taking all the life out of your Djembe recording!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.larryswanson.com/personal/world-music-dance/djembe-technique/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37137" PostHistoryTypeId="36" PostId="22676" RevisionGUID="75ee84f1-6321-466e-b2dd-66f34f8b4615" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9461/does-pro-tools-or-any-other-daw-have-a-feature-like-logics-quick-swipe-compin" />
  <row Id="37138" PostHistoryTypeId="36" PostId="22677" RevisionGUID="84b64d81-75ce-451a-9a2e-72bbef1528eb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9461/does-pro-tools-or-any-other-daw-have-a-feature-like-logics-quick-swipe-compin/9467#9467" />
  <row Id="37139" PostHistoryTypeId="36" PostId="22678" RevisionGUID="95c43d94-d9cd-41d0-b0c1-f41275c5bfe8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9461/does-pro-tools-or-any-other-daw-have-a-feature-like-logics-quick-swipe-compin/9482#9482" />
  <row Id="37140" PostHistoryTypeId="2" PostId="22677" RevisionGUID="9423d339-8ffd-476d-be6f-3b753a504f7d" CreationDate="2013-11-22T04:28:16.737" UserDisplayName="Matthew Briggs" Text="As this SE forum is a bit quiet, I asked the question on Avid's forum as well and received this answer &quot;in a word, no.&quot;&#xD;&#xA;&#xD;&#xA;http://duc.avid.com/showthread.php?t=347327" ContentLicense="CC BY-SA 3.0" />
  <row Id="37141" PostHistoryTypeId="2" PostId="22678" RevisionGUID="40c3c7e2-a756-4821-affc-ced16b91ea4f" CreationDate="2013-11-24T21:27:53.343" UserId="7194" UserDisplayName="Izhaki" Text="Yes, Pro Tools has something extremely similar.&#xD;&#xA;&#xD;&#xA;Unlike Pro Tools, Logic does not have playlists. The easiest way to look at a 'playlist' is simply as a 'take'.&#xD;&#xA;&#xD;&#xA;In Pro Tools, you can either record over the previously recorded region, or each recording can have its own playlist. Even if you didn't use playlists initially, it is easy to tell Pro Tools to create a playlist per take.&#xD;&#xA;&#xD;&#xA;Once the takes are in playlists, you can unfold them (choosing 'playlists' as the track view) - seeing all the takes just like in quick comp in Logic. The only difference is that while in Logic making a selection puts it in the comp, in Pro Tools you need to make a selection and then explicitly copy it to the comp (there's a keyboard shortcut for that, so it's really quick).&#xD;&#xA;&#xD;&#xA;This [video tutorial](http://www.youtube.com/watch?v=hMmj9PuX7S0) shows how it is done.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37142" PostHistoryTypeId="2" PostId="22679" RevisionGUID="39ab5081-836f-4b8f-8994-7119ce26f068" CreationDate="2013-12-14T09:46:11.613" UserDisplayName="3rd Try" Text="Try: PreSonus Studio One 2.5&#xD;&#xA;http://www.bing.com/videos/search?q=studio+one+2+comping&amp;FORM=VIRE6#view=detail&amp;mid=D88B3D12326D32548B59D88B3D12326D32548B59&#xD;&#xA;&#xD;&#xA;Or: Cakewalk Sonar X3&#xD;&#xA;https://www.cakewalk.com/products/sonar/whats-new.aspx&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37143" PostHistoryTypeId="2" PostId="22676" RevisionGUID="cfb2b30f-8483-4f30-bce6-5765e90938d5" CreationDate="2013-11-21T15:06:45.107" UserDisplayName="Matthew Briggs" Text="I am working on a project in Logic 9 that involves quick swipe comping of phase-locked audio tracks.  I won't go into the details but I have had many problems over many projects when they involve multi-mic phase-locked tracks that need to be comped in take folders.  Logic is my first DAW, but I am becoming frustrated with unpredictable behavior with take folders (I also have a lot of problems with unpredictable behavior in flex time).&#xD;&#xA;&#xD;&#xA;Does Pro Tools have an analogous function to Logic 9's &quot;Quick Swipe Comping&quot;?  If so, what is it called?&#xD;&#xA;&#xD;&#xA;Are there other DAW's that have implemented something analogous to Logic's Quick Swipe comping?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37144" PostHistoryTypeId="1" PostId="22676" RevisionGUID="cfb2b30f-8483-4f30-bce6-5765e90938d5" CreationDate="2013-11-21T15:06:45.107" UserDisplayName="Matthew Briggs" Text="Does Pro Tools (or any other DAW) have a feature like Logic's Quick Swipe Comping?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37145" PostHistoryTypeId="3" PostId="22676" RevisionGUID="cfb2b30f-8483-4f30-bce6-5765e90938d5" CreationDate="2013-11-21T15:06:45.107" UserDisplayName="Matthew Briggs" Text="&lt;audio&gt;&lt;logic-pro&gt;&lt;daw&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37146" PostHistoryTypeId="36" PostId="22679" RevisionGUID="42cb6213-2b8c-48ab-9166-2a9c63daf63e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9461/does-pro-tools-or-any-other-daw-have-a-feature-like-logics-quick-swipe-compin/9665#9665" />
  <row Id="37147" PostHistoryTypeId="36" PostId="22680" RevisionGUID="2698f56e-1b53-4336-a827-ebb9bab69dee" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7645/first-steps-to-improve-a-laptop-recording" />
  <row Id="37148" PostHistoryTypeId="36" PostId="22681" RevisionGUID="97c49884-353c-48e0-8d77-d9a1965bd078" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7645/first-steps-to-improve-a-laptop-recording/7646#7646" />
  <row Id="37149" PostHistoryTypeId="36" PostId="22682" RevisionGUID="8332f6f3-1b3e-4866-9acd-e105004ac28e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7645/first-steps-to-improve-a-laptop-recording/7664#7664" />
  <row Id="37150" PostHistoryTypeId="2" PostId="22681" RevisionGUID="b8994ca4-1a53-4595-a34f-856cedd46b2b" CreationDate="2013-04-13T03:46:40.303" UserDisplayName="user3938" Text="There's no magic bullet, but here's a few things you can try.&#xD;&#xA;&#xD;&#xA;First you'll need a program to edit the audio. I'm on a mac and use Apple's Logic. Its a couple hundred bucks and very powerful for the cost. &#xD;&#xA;&#xD;&#xA; - To clean up the hiss noise that was undoubtedly recorded with the laptop mic, use a de-noiser plug-in. Plug ins for audio work similarly to layer effects in Photoshop.&#xD;&#xA;&#xD;&#xA; - Use gentle EQ to smooth out the tonal balance. Better to cut then boost.&#xD;&#xA;&#xD;&#xA; Hope this helps some. Honestly, having done a lot of recording/mixing, as well as photo editing, I can say that photo editing is a lot easier and user friendly. Audio engineering takes years of study and practice, and since every recording is different, there are no one-size-fits-all easy answers.&#xD;&#xA;&#xD;&#xA;Best of luck all the same.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="37151" PostHistoryTypeId="2" PostId="22682" RevisionGUID="08ac5b4b-f224-4ccc-b93a-54e1deae0bce" CreationDate="2013-04-16T01:58:04.797" UserId="7312" UserDisplayName="Eugene S" Text="I loved your analogy to photography and yes, there are some ways to make your recording sound &#xD;&#xA;&quot;nicer&quot;, at least for an amateur ear. The first and the most &quot;exciting&quot; trick is to add reverb to your record. This is always fun to see the WOW effect it makes on people unfamiliar with the technique. Of course it will sound much better if you apply it on your voice/guitar separately, rather than the whole track but I believe that if you are being careful, it might still be ok. &#xD;&#xA;&#xD;&#xA;Then you can always use a bit of equalization and I think that compression is a must as well. Comprseeion might not have this direct audible effect as the reverb (at least not to the amateur ear) but it does make an important difference. Bear in mind that you should apply EQ, compression or other &quot;serial&quot; procession before reverberation." ContentLicense="CC BY-SA 3.0" />
  <row Id="37152" PostHistoryTypeId="2" PostId="22680" RevisionGUID="533a3a4c-4dbd-47a1-8418-5ed6fb1b02a8" CreationDate="2013-04-12T19:38:11.900" UserDisplayName="Dave W." Text="I have a song recorded off a laptop microphone. Obviously not the best equipment, but its just a few family members singing, not a commercial production. I'd like to contribute, and since my singing usually results in cringes, I figured I try to clean up the recording a bit.&#xD;&#xA;&#xD;&#xA;I've done some photography in the past, and know enough Photoshop to understand that for amateur photographs, there are a few simple tactics that usually significantly improve a photo (work the contrast curves, crop to rule of thirds, etc).&#xD;&#xA;&#xD;&#xA;I'm a beginner at audio editing - are there any similar tactics for an amateur audio recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37153" PostHistoryTypeId="1" PostId="22680" RevisionGUID="533a3a4c-4dbd-47a1-8418-5ed6fb1b02a8" CreationDate="2013-04-12T19:38:11.900" UserDisplayName="Dave W." Text="First steps to improve a laptop recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="37154" PostHistoryTypeId="3" PostId="22680" RevisionGUID="533a3a4c-4dbd-47a1-8418-5ed6fb1b02a8" CreationDate="2013-04-12T19:38:11.900" UserDisplayName="Dave W." Text="&lt;audio-recording&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37155" PostHistoryTypeId="36" PostId="22683" RevisionGUID="6e167241-8369-4760-9a75-5c8c8ae7fb79" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4200/can-anybody-help-me-get-rid-of-the-static-from-my-compressor" />
  <row Id="37156" PostHistoryTypeId="2" PostId="22683" RevisionGUID="74b60087-b7aa-458a-bf2e-e7413b30a404" CreationDate="2012-06-18T17:58:11.457" UserDisplayName="Lance" Text="I got a new compressor, and everytime I plug my microphone into it, there's a lot of static.  It doesn't show up in the recorded audio, but I would love to get rid of it.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="37157" PostHistoryTypeId="1" PostId="22683" RevisionGUID="74b60087-b7aa-458a-bf2e-e7413b30a404" CreationDate="2012-06-18T17:58:11.457" UserDisplayName="Lance" Text="Can anybody help me get rid of the static from my compressor?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37158" PostHistoryTypeId="3" PostId="22683" RevisionGUID="74b60087-b7aa-458a-bf2e-e7413b30a404" CreationDate="2012-06-18T17:58:11.457" UserDisplayName="Lance" Text="&lt;audio-recording&gt;&lt;distortion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37159" PostHistoryTypeId="36" PostId="22684" RevisionGUID="03a97d7d-3d0c-4e2f-b4da-bf24faa7d4c8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4130/what-should-i-be-looking-for-in-a-shotgun-mic" />
  <row Id="37160" PostHistoryTypeId="36" PostId="22685" RevisionGUID="83e2ab08-a720-4715-a92c-a7bfbffea846" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4130/what-should-i-be-looking-for-in-a-shotgun-mic/4222#4222" />
  <row Id="37161" PostHistoryTypeId="2" PostId="22685" RevisionGUID="c7ec72d0-1a5c-44f6-ba10-71ab08e2f5ec" CreationDate="2012-06-19T23:14:22.147" UserDisplayName="Phasefire" Text="I'm an indie filmmaker. I've done sound for my friends sometimes as well as my own stuff.&#xD;&#xA;&#xD;&#xA;I have the Rhode NTG 2 http://www.rodemic.com/mics/ntg-2 (about $300) It uses XLR cables which can be a pain in the but for getting it in to your comp. I know lots of sound guys who swear by it.&#xD;&#xA;&#xD;&#xA;But my Rhode Video mic is my favourite.  &#xD;&#xA;http://www.rodemic.com/mics/videomic (it's cheaper and doesn't use XLR cables) ($150ish)&#xD;&#xA;This is super popular with all my indie film friends and I'm likely buying a second since my first is over 5 years old and I still use it all the time.&#xD;&#xA;&#xD;&#xA;It works great on a boom but you can also put it on top of your camera (I do videography as well so it comes in handy for run and gun interviews etc)&#xD;&#xA;&#xD;&#xA;I recommend the Rhode Video mic&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37162" PostHistoryTypeId="2" PostId="22684" RevisionGUID="88ad1264-dd29-4832-be37-7888fba06d71" CreationDate="2012-06-07T05:54:07.290" UserDisplayName="daviesgeek" Text="I am by no means a sound person. I really don't have experience with sound and especially with mics. However, I am trying to buy a shotgun mic to capture audio for video. Since I don't know a whole lot about sound, I really have no idea what I'm looking I should look for in a shotgun mic. How do I tell if a certain shotgun mic is good or not?  &#xD;&#xA;Edit: I haven't really received a satisfactory answer on this question. All I got was a mic recommendation. I will stress that I *do not* want mic recommendations. What I want to know is: when I look at a shotgun mic online, what characteristics/features should I be looking for? I basically want to be able to distinguish between good mics and okay/bad mics." ContentLicense="CC BY-SA 3.0" />
  <row Id="37163" PostHistoryTypeId="1" PostId="22684" RevisionGUID="88ad1264-dd29-4832-be37-7888fba06d71" CreationDate="2012-06-07T05:54:07.290" UserDisplayName="daviesgeek" Text="What should I be looking for in a shotgun mic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37164" PostHistoryTypeId="3" PostId="22684" RevisionGUID="88ad1264-dd29-4832-be37-7888fba06d71" CreationDate="2012-06-07T05:54:07.290" UserDisplayName="daviesgeek" Text="&lt;microphone&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37165" PostHistoryTypeId="36" PostId="22686" RevisionGUID="d114b6c7-c747-4ade-bc62-8094d8800acb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2354/equipment-setup-for-recording-a-podcast" />
  <row Id="37166" PostHistoryTypeId="2" PostId="22687" RevisionGUID="c1acdead-a60b-4da0-936f-91fd3a3422dc" CreationDate="2011-09-24T23:29:03.473" UserId="7294" UserDisplayName="Warrior Bob" Text="You are definitely on the right basic track with the setups you have suggested! I have a few more suggestions that will hopefully be enough to narrow down your choices and get the best sound for your money.&#xD;&#xA;&#xD;&#xA;**Regarding your cheap proposal:** A &quot;USB mic&quot; is just a mic with a USB audio interface built into it. So if you're already going to have a separate interface, there's no reason not to just get two inexpensive &quot;ordinary&quot; mics (make sure they use the connectors are compatible - probably [XLR][1]) and run them into this interface, which probably connects to the computer through USB.&#xD;&#xA;&#xD;&#xA;It's worth noting that, on OSX at least, you can get around the &quot;ugly&quot; part of the multiple-USB-interfaces hack by using an [Aggregate Audio Device][2], which is a feature of OSX and works pretty well in my experience. There are likely solutions for Windows/Linux as well, but I am not familiar with them.&#xD;&#xA;&#xD;&#xA;**Regarding your expensive proposals:** As Friend of George points out in his comment, you actually don't have to mix the audio signals before recording them, so you can save yourself the cost of a mixer if you like. You can record the signals separately but simultaneously (using an interface with two inputs), then and mix/process them afterwards on the computer. &#xD;&#xA;&#xD;&#xA;The choice of whether to mix in hardware or software (&quot;in or out of the box&quot;) is largely up to how you prefer to work and whether you prefer the sound of whatever mixing hardware you're using. You may prefer having only one waveform coming out of a mixer to record, if that suits your workflow better. Personally, I like to record the two mics through separate interface inputs and mix/eq/process later in the computer, since I can fix my mixing mistakes more easily, but both approaches are legitimate.&#xD;&#xA;&#xD;&#xA;I'd recommend giving whoever is going to be running this show two &quot;expensive&quot; options:&#xD;&#xA;&#xD;&#xA; - Two lapel mics --&gt; [optional] mixer --&gt; USB/Firewire audio interface --&gt; record in Audacity&#xD;&#xA; - Two lapel mics --&gt; mixer --&gt; record on portable recorder&#xD;&#xA;&#xD;&#xA;The major advantage to the recorder is that you don't have to deal with laptop software, interface latency, or audio drivers. It cuts the computer out of it entirely. The downside is that it's harder to edit afterwards, since you don't have this nice mouse and keyboard and giant screen to work with. &#xD;&#xA;&#xD;&#xA;**Other suggestions:** If you're looking for &quot;good amateur recording&quot; sound then the first place I'd look to improve the sound is a good preamplifier, either external (goes after the mic and before the mixer/interface) or built into a mixer or interface. The quality of these can be very subjective, and there are lots of good ones out there. &#xD;&#xA;&#xD;&#xA;I personally use (and love the sound of) an [ART Tube MP Studio v3][3], even when the interface I use to record its output is, in my opinion, not very good. I feel that it makes my voice sound much more &quot;full&quot;, &quot;produced&quot; and &quot;studio-like.&quot; However, it is mono, so you'll need one for each mic, which can get expensive quickly. A bit of [compression][4] can also help create this &quot;intimate radio voice&quot; effect, if you have access to it. Some interfaces and mixers have compressors on their microphone channels, or you can add it after recording in a program like Audacity. Your wireless lapel mic receiver may have a compressor or preamp option on it - check to see what your options are.&#xD;&#xA;&#xD;&#xA;And best of luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/XLR_connector&#xD;&#xA;  [2]: http://support.apple.com/kb/HT1215&#xD;&#xA;  [3]: http://www.zzounds.com/item--ARTV3&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Dynamic_range_compression" ContentLicense="CC BY-SA 3.0" />
  <row Id="37167" PostHistoryTypeId="2" PostId="22686" RevisionGUID="8a5969ee-ac62-4d03-96a6-f2a8945ba3bc" CreationDate="2011-09-22T04:17:11.620" UserId="20859" UserDisplayName="Ian Dunn" Text="I'm helping a non-profit set up a podcast and want to make sure I pick out the right types of equipment. The podcast will usually have 2 people talking. I'd like to put together two different proposals; one for a cheap setup with decent quality, and a second for a more expensive setup with better quality. The budget is about $150 for the cheap setup and $400 for the &quot;expensive&quot; setup.&#xD;&#xA;&#xD;&#xA;I have a little experience running sound for live bands, but nothing in a studio. I know the quality isn't going to be great because of the limited budget and my inexperience, but I want it to be good enough so that it sounds like a good amateur recording and listeners aren't distracted by the lack of quality.&#xD;&#xA;&#xD;&#xA;Right now I'm concentrating on the recording aspect, and I want to make sure I buy the right equipment. Here are my ideas so far, can you please tell me if these setups will work, if anything is missing or redundant, and offer any advice about improvements? I'll link to example equipment to help avoid any confusion, but I'm not looking at specific products yet, I just want general advice about the right types of equipment.&#xD;&#xA;&#xD;&#xA; - Cheap proposal: two USB mics --&gt; audio interface with USB inputs? --&gt; laptop usb port --&gt; record in Audacity&#xD;&#xA;&#xD;&#xA;You can't record two USB mics directly on the laptop at the same time (without some ugly hacks), so there needs to be some kind of device to merge their signals before it goes into the laptop.&#xD;&#xA;&#xD;&#xA; - Expensive proposal 1: two lapel mics with wireless receiver --&gt; [4 channel mixer](http://www.zzounds.com/item--BEHXENYX1202) --&gt; laptop mic-in jack (1/4&quot; cable with miniplug adapter) --&gt; record in Audacity&#xD;&#xA; - Expensive proposal 2: two lapel mics with wireless reciever --&gt; 4 channel mixer --&gt; [audio interface with 1/4&quot; input](http://www.zzounds.com/item--LEXALPHA) --&gt; laptop usb port --&gt; record in Audacity&#xD;&#xA; - Expensive proposal 3: two lapel mics with wireless receiver --&gt; 4 channel mixer --&gt; [portable recorder with minplug input](http://www.amazon.com/Tascam-DR-03-Portable-Handheld-Recorder/dp/B0044FNCY8/ref=sr_1_8?m=ATVPDKIKX0DER&amp;s=musical-instruments&amp;ie=UTF8&amp;qid=1316661568&amp;sr=1-8) (1/4&quot; from board with adapter)&#xD;&#xA;&#xD;&#xA;In &quot;Expensive proposal 1&quot;, will going directly from the board to my laptop cause problems? I think I've heard about the sound card being damaged in some situations.&#xD;&#xA;&#xD;&#xA;Obviously I'll also need cables and miscellaneous accessories, but I'm just focusing on the major components right now.&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;**Update:** I'm now thinking that the best setup would be 2 lapel mics going into a [combined mixer/interface](http://alesis.com/multimix8usb20) and then into the laptop." ContentLicense="CC BY-SA 3.0" />
  <row Id="37168" PostHistoryTypeId="1" PostId="22686" RevisionGUID="8a5969ee-ac62-4d03-96a6-f2a8945ba3bc" CreationDate="2011-09-22T04:17:11.620" UserId="20859" UserDisplayName="Ian Dunn" Text="Equipment setup for recording a podcast" ContentLicense="CC BY-SA 3.0" />
  <row Id="37169" PostHistoryTypeId="3" PostId="22686" RevisionGUID="8a5969ee-ac62-4d03-96a6-f2a8945ba3bc" CreationDate="2011-09-22T04:17:11.620" UserId="20859" UserDisplayName="Ian Dunn" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37170" PostHistoryTypeId="36" PostId="22687" RevisionGUID="48ae1a26-d664-4414-b804-69cb6fdbe7bd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2354/equipment-setup-for-recording-a-podcast/2376#2376" />
  <row Id="37171" PostHistoryTypeId="36" PostId="22688" RevisionGUID="2eaafbfc-c415-428f-a118-b76968bf9b6b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2338/whats-the-difference-between-a-vocoder-and-a-harmonizer" />
  <row Id="37172" PostHistoryTypeId="36" PostId="22689" RevisionGUID="4e0a3704-5130-4423-8f9d-9e9037d0724d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2338/whats-the-difference-between-a-vocoder-and-a-harmonizer/2341#2341" />
  <row Id="37173" PostHistoryTypeId="2" PostId="22689" RevisionGUID="752607f1-75b0-4dbd-9ac3-5ad5dc2d9efb" CreationDate="2011-09-19T15:26:10.980" UserId="7200" UserDisplayName="leftaroundabout" Text="&quot;...from the vocoder, where you can just play the keys and get the source tuned to the carrier frequency?&quot;&#xD;&#xA;&#xD;&#xA;That's not what a vocoder actually does. A vocoder analyses the _rough frequency spectrum_ of a (source) signal, and uses this spectrum as a kind of equalizer envelope for the processing of another (carrier) signal. If the carrier had a very even frequency spectrum before, it will thereby pretty much take over/copy the frequency distribution of the source. The source itself is not processed in any way at all, apart from being analysed.&lt;br&gt;The carrier is usually such an even-spectrum synthesizer sound, but you can use any kind of signal. For instance, you can use a string quartet and modulate it by feeding a drum set as the source signal!&#xD;&#xA;&#xD;&#xA;On the other hand, &quot;where you can just play the keys and get the source tuned to the carrier frequency&quot; describes quite accurately how a harmonizer works. The problem with this is that you need to know the exact frequency of the source. It needs to be a proper clean monophonic sound, otherwise the algorithm can't know how much it needs to pitch-shift the signal to reach each of the carrier frequencies.&lt;br&gt;&#xD;&#xA;What's more, in a harmonizer you usually don't specify the target frequencies manually, but just pre-define some scale for the harmonizer to work on. It then needs to figure out by itself which harmonies to actually create, which again only works if you start with a very clean signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="37174" PostHistoryTypeId="2" PostId="22688" RevisionGUID="d5b942f9-656a-473e-9c01-9021e6422ac8" CreationDate="2011-09-19T03:18:34.727" UserId="7281" UserDisplayName="Tom Auger" Text="As a follow-up to this question: http://avp.stackexchange.com/questions/351/what-is-the-difference-between-autotune-and-a-vocoder, let's get into the nitty-gritty about vocoders and harmonizers.&#xD;&#xA;&#xD;&#xA;For example, in Imogen Heap's famous Hide and Seek song, she's apparently using a harmonizer, not a vocoder. I also read that the harmonizer as a live performance device can be very unpredictable - to the point that Imogen won't even use it in a live performance.&#xD;&#xA;&#xD;&#xA;So how does the harmonizer differ from the vocoder, where you can just play the keys and get the source tuned to the carrier frequency?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37175" PostHistoryTypeId="1" PostId="22688" RevisionGUID="d5b942f9-656a-473e-9c01-9021e6422ac8" CreationDate="2011-09-19T03:18:34.727" UserId="7281" UserDisplayName="Tom Auger" Text="What's the difference between a vocoder and a harmonizer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37176" PostHistoryTypeId="3" PostId="22688" RevisionGUID="d5b942f9-656a-473e-9c01-9021e6422ac8" CreationDate="2011-09-19T03:18:34.727" UserId="7281" UserDisplayName="Tom Auger" Text="&lt;audio&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37177" PostHistoryTypeId="36" PostId="22690" RevisionGUID="e60134da-4904-42e2-959a-0ab99ffa6dcd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8592/control-synths-with-voice" />
  <row Id="37178" PostHistoryTypeId="36" PostId="22691" RevisionGUID="8493a60a-286b-43ce-844c-31956c82e75b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8592/control-synths-with-voice/8597#8597" />
  <row Id="37179" PostHistoryTypeId="36" PostId="22692" RevisionGUID="67d95d51-2590-49bc-8b84-6e838c5a7653" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8592/control-synths-with-voice/9565#9565" />
  <row Id="37180" PostHistoryTypeId="2" PostId="22691" RevisionGUID="01bf3f2e-ecd9-4d57-9715-a3853c83208b" CreationDate="2013-08-01T00:22:38.550" UserDisplayName="Hugo K" Text="If I understand you correctly, i.e. you want real-time audio to midi control, for that you'll need need a low latency audio to midi app or plugin. There are some options out there.&#xD;&#xA;&#xD;&#xA;It goes without saying that real-time solutions aren't as precise as non real-time ones like, for instance, the industry standard Celemony Melodyne.&#xD;&#xA;&#xD;&#xA;You can try the VST [Pitch a Bitch][1]. It's not free, but it's cheap, they claim it can detect pitch-bend and that you're able to trigger midi with it using voice. &#xD;&#xA;&#xD;&#xA;Here's a synthedit freeware vst: [audiotomidi][2]&#xD;&#xA;&#xD;&#xA;I haven't tried any of these myself so I cannot really say if they're any good or not.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bitscrew.com/&#xD;&#xA;  [2]: http://www.mindthepressure.org/plugz.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="37181" PostHistoryTypeId="2" PostId="22692" RevisionGUID="510a9d16-fda6-4c21-aa10-df15bb714591" CreationDate="2013-12-04T20:55:42.277" UserId="7542" UserDisplayName="Don Nickel" Text="To answer the original question - There are a couple of products out there - I recently saw a video showing how to use **Sonar X3 with Melodyne** to do just that...&#xD;&#xA;&#xD;&#xA;The problem is, most people aren't actually as accurate with their voice as they think and you rarely hit and sustain a note. At the start of the note you are usually off a bit. At the end you will sometimes drift. You can, however - fix this in software...&#xD;&#xA;&#xD;&#xA;And that's the crux of the problem - by the time you correct the vocal recording, you might as well have recorded it on a piano roll or on a keyboard the way it's normally done. &#xD;&#xA;&#xD;&#xA;Also, your voice can only do one note at a time - so recording anything but a simple melody is difficult.&#xD;&#xA;&#xD;&#xA;It takes a bit of time to learn how to do that, but most of the people I know that have tried to compose the way you're talking come away disappointed." ContentLicense="CC BY-SA 3.0" />
  <row Id="37182" PostHistoryTypeId="2" PostId="22690" RevisionGUID="c705d980-8953-4deb-89ff-b57f21e697cc" CreationDate="2013-07-31T21:01:27.210" UserDisplayName="user4286" Text="I have a bunch of synths from Native Instruments, including Massive and Absynth. I currently control them using a midi keyboard and a midi controller, but I'd prefer to control them using my voice. For example, I wish to control the pitch and loudness of a soundscaped like sound from Absynth using my voice, where slight changes in pitch in my voice will be reflected in the pitch of the Absynth sound. &#xD;&#xA;&#xD;&#xA;Additionally, say I have an idea for a string section for a piece of music I'm working on. I would like to be able to hum the section into a mic and in turn have it control a string instrument synth. &#xD;&#xA;&#xD;&#xA;Perhaps its possible to convert voice to midi and feed the synth with midi, using the pitch bend to represent subtle changes in pitch. Perhaps Open Sound Control can be used. &#xD;&#xA;&#xD;&#xA;What software is available which might help me to achieve voice control? " ContentLicense="CC BY-SA 3.0" />
  <row Id="37183" PostHistoryTypeId="1" PostId="22690" RevisionGUID="c705d980-8953-4deb-89ff-b57f21e697cc" CreationDate="2013-07-31T21:01:27.210" UserDisplayName="user4286" Text="Control Synths with Voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="37184" PostHistoryTypeId="3" PostId="22690" RevisionGUID="c705d980-8953-4deb-89ff-b57f21e697cc" CreationDate="2013-07-31T21:01:27.210" UserDisplayName="user4286" Text="&lt;audio-recording&gt;&lt;midi&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37185" PostHistoryTypeId="36" PostId="22693" RevisionGUID="17786c3a-309b-47e6-ac36-3ea5247a9e4b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/885/remixes-sampling-and-the-law" />
  <row Id="37186" PostHistoryTypeId="2" PostId="22694" RevisionGUID="03936fed-8f6c-4810-a2dd-e06911209012" CreationDate="2011-02-22T21:22:49.780" UserDisplayName="Ian C." Text="&gt; So, what is the law when it comes to doing a remix?&#xD;&#xA;&#xD;&#xA;It's pretty cut and dry: unless the copyright holder on the performance has licensed it under a remix-friendly license like [the Creative Common's license that allows reuse of the work][1], you're going to need to seek out and obtain permission to use any portion of the recording ([even as little as three notes][2]) before you distribute your remix. Note *distribute* and not *sell* in that sentence. Doesn't matter if you're giving it away.&#xD;&#xA;&#xD;&#xA;&gt; Do i need to ask permission?&#xD;&#xA;&#xD;&#xA;Yup. And you may need to pay to use the stems. There's no set rate for samples, the copyright owner can charge you as little or as much as they like for you to use the pieces of the recording. And they can block your ability to redistribute it if you use it without permission. For an interesting case in history see [The Verve and their Bittersweet Symphony sample that cost them all their revenue on that track][3]. In a similar fashion, [Danger Mouse' Grey Album has had a cease-and-desist issued against it by EMI for its unauthorized use of Beatles tracks][4]. I mention the last one because it's obviously prescient to you: Danger Mouse gave away the Grey Album. Whether you attempt to generate revenue or not, the copyright owners would still like to be paid for the use of their recordings.&#xD;&#xA;&#xD;&#xA;It's tough to clear samples. [From this Wired interview with the Beastie Boys done in 2004][5]:&#xD;&#xA;&#xD;&#xA;&gt; **How do you clear the samples?**&lt;br&gt;&lt;br&gt;**DIAMOND:** It's very tedious. We have to sit there and basically break out every single component of every track that we do and make a list of the sources for everything. We go through every little blip of sound and decide what's significant enough that we need to contact the owner. From there, it's a whole bunch of lawyer craziness.&#xD;&#xA;&#xD;&#xA;[Here's an article from Keyboard Mag that talks about how you go about clearing samples][6]. And [a similar article from Sound on Sound][7] that's also a great read. It all really depends on who owns the copyright. Start with the label and they should be able to direct you to the company that holds the rights on the samples you want to clear.&#xD;&#xA;&#xD;&#xA;There are services like [SCORRCIO][8] that exist to recreate any portion of any song you might want to sample, at a cost that's hopefully lower than using the original. Since it's permission to use the *recording* that you're seeking (you don't need permission to record a song, but you do need permission to use a recording of a song), SCORRICO skirts around this by actually re-recording things and licensing that re-recording to you.&#xD;&#xA;&#xD;&#xA;*The fine print: I am not a lawyer, nor do I play one on TV. Please do not take this as legal advice, that which I am not legally licensed to offer.*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://creativecommons.org/licenses/&#xD;&#xA;  [2]: http://law.freeadvice.com/intellectual_property/music_law/use_of_notes.htm&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Bitter_Sweet_Symphony#Song_credits&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/The_Grey_Album&#xD;&#xA;  [5]: http://www.wired.com/wired/archive/12.11/beastie.html&#xD;&#xA;  [6]: http://www.keyboardmag.com/article/do-it-clearing/oct-08/88779&#xD;&#xA;  [7]: http://www.soundonsound.com/sos/mar08/articles/sampleclearance_0308.htm&#xD;&#xA;  [8]: http://www.scorccio.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="37187" PostHistoryTypeId="2" PostId="22693" RevisionGUID="ff148f74-fb0b-40ce-86be-cdb8ab875f7f" CreationDate="2011-02-22T19:48:52.720" UserDisplayName="David" Text="I have been working on a great remix of a popular track by a very popular pop artist. However, im worried about getting sued/etc for using the original vocals from the track.&#xD;&#xA;&#xD;&#xA;So, what is the law when it comes to doing a remix? I will still be stating that the artist and track title just with a (my remix) tagged to the end.&#xD;&#xA;&#xD;&#xA;Do i need to ask permission? I don't plan on selling the remix, just uploading and letting people listen to it online." ContentLicense="CC BY-SA 2.5" />
  <row Id="37188" PostHistoryTypeId="1" PostId="22693" RevisionGUID="ff148f74-fb0b-40ce-86be-cdb8ab875f7f" CreationDate="2011-02-22T19:48:52.720" UserDisplayName="David" Text="Remixes, Sampling and The Law" ContentLicense="CC BY-SA 2.5" />
  <row Id="37189" PostHistoryTypeId="3" PostId="22693" RevisionGUID="ff148f74-fb0b-40ce-86be-cdb8ab875f7f" CreationDate="2011-02-22T19:48:52.720" UserDisplayName="David" Text="&lt;audio-recording&gt;&lt;mixing&gt;&lt;legal&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37190" PostHistoryTypeId="36" PostId="22694" RevisionGUID="8b868ff0-f592-4c2f-b1d6-70e2e9dfd155" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/885/remixes-sampling-and-the-law/886#886" />
  <row Id="37191" PostHistoryTypeId="36" PostId="22695" RevisionGUID="9af3e947-66d4-4809-81a9-2535eabe5079" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/124/how-do-you-remove-white-noise-from-recordings" />
  <row Id="37192" PostHistoryTypeId="36" PostId="22696" RevisionGUID="c5fd2fda-0c47-4e79-b232-0f8e1348550f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/124/how-do-you-remove-white-noise-from-recordings/127#127" />
  <row Id="37193" PostHistoryTypeId="2" PostId="22696" RevisionGUID="3a610d66-e537-4ca5-a115-5b5456478dd1" CreationDate="2010-12-08T13:50:05.397" UserId="7592" UserDisplayName="Pelle ten Cate" Text="There are plugins that can do this. As far as I know, the RX Denoiser from iZotope is doing a fabulous job. See http://www.izotope.com/products/audio/rx/" ContentLicense="CC BY-SA 2.5" />
  <row Id="37194" PostHistoryTypeId="2" PostId="22697" RevisionGUID="e3744f6c-ca0b-473e-99b5-4df417d4017b" CreationDate="2010-12-08T14:58:45.537" UserId="7398" UserDisplayName="BenV" Text="If you don't have access to a DAW with noise-reduction plugins there is also standalone software designed specifically for this purpose.  [Audio Cleaning Lab][1] by Magix is a popular one.&#xD;&#xA;&#xD;&#xA;Another option is to use a low-pass filter to roll off the very high frequencies where this noise is usually found.  However, it's usually difficult to completely remove the white noise without giving the audio a dull muffled sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.magix.com/us/audio-cleaning-lab/" ContentLicense="CC BY-SA 2.5" />
  <row Id="37195" PostHistoryTypeId="2" PostId="22695" RevisionGUID="d8058fc2-a8ae-440e-8909-1279c8861367" CreationDate="2010-12-08T13:47:02.967" UserDisplayName="divided" Text="Specifically from recordings that other people made." ContentLicense="CC BY-SA 2.5" />
  <row Id="37196" PostHistoryTypeId="1" PostId="22695" RevisionGUID="d8058fc2-a8ae-440e-8909-1279c8861367" CreationDate="2010-12-08T13:47:02.967" UserDisplayName="divided" Text="How do you remove white noise from recordings?" ContentLicense="CC BY-SA 2.5" />
  <row Id="37197" PostHistoryTypeId="3" PostId="22695" RevisionGUID="d8058fc2-a8ae-440e-8909-1279c8861367" CreationDate="2010-12-08T13:47:02.967" UserDisplayName="divided" Text="&lt;audio-recording&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37198" PostHistoryTypeId="36" PostId="22697" RevisionGUID="5f0469ab-19fb-409b-ac54-8e2ba1a8ed13" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/124/how-do-you-remove-white-noise-from-recordings/129#129" />
  <row Id="37199" PostHistoryTypeId="36" PostId="22698" RevisionGUID="af6ca687-46eb-4ff0-b4be-c2f1842c1843" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/124/how-do-you-remove-white-noise-from-recordings/130#130" />
  <row Id="37200" PostHistoryTypeId="36" PostId="22699" RevisionGUID="9fb6ed97-0d04-4af7-af02-2d86ef2a0dd0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/124/how-do-you-remove-white-noise-from-recordings/149#149" />
  <row Id="37201" PostHistoryTypeId="36" PostId="22700" RevisionGUID="b6cee9d6-ad8a-404b-9a25-f5e92f4ec206" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/124/how-do-you-remove-white-noise-from-recordings/163#163" />
  <row Id="37202" PostHistoryTypeId="36" PostId="22701" RevisionGUID="74e04d03-9cf1-4114-8e97-f894579cd71b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/124/how-do-you-remove-white-noise-from-recordings/292#292" />
  <row Id="37203" PostHistoryTypeId="36" PostId="22702" RevisionGUID="145321e0-3ce5-42e0-a7c7-2af265e51561" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/124/how-do-you-remove-white-noise-from-recordings/480#480" />
  <row Id="37204" PostHistoryTypeId="36" PostId="22703" RevisionGUID="595d85cc-f975-431d-ab0d-a684190a4e56" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/124/how-do-you-remove-white-noise-from-recordings/556#556" />
  <row Id="37205" PostHistoryTypeId="36" PostId="22704" RevisionGUID="a38765cc-54cf-48bd-9a1c-9b60d81a026c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/124/how-do-you-remove-white-noise-from-recordings/570#570" />
  <row Id="37206" PostHistoryTypeId="36" PostId="22705" RevisionGUID="cc64ec1f-25d3-49dd-b1de-441c59200830" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/124/how-do-you-remove-white-noise-from-recordings/8042#8042" />
  <row Id="37207" PostHistoryTypeId="2" PostId="22698" RevisionGUID="dfb4583a-bd1c-42b4-ae17-9f9de930bf66" CreationDate="2010-12-08T15:19:02.743" UserId="4012" Text="[Audacity][1] has a decent noise removal plugin. It's free!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="37208" PostHistoryTypeId="2" PostId="22700" RevisionGUID="8344b525-6c6d-4c19-8864-aeb7a4dba903" CreationDate="2010-12-09T01:48:32.290" UserId="9459" UserDisplayName="Matthew Read" Text="Adobe Audition has great noise removal.  Unfortunately I don't know the specifics, but basically you select an area in which there is only white noise, it analyzes it, and removes that 'type' of sound everywhere else it occurs." ContentLicense="CC BY-SA 2.5" />
  <row Id="37209" PostHistoryTypeId="2" PostId="22701" RevisionGUID="03820973-2557-4cb2-97e4-e14d0fb6c408" CreationDate="2010-12-15T17:29:29.663" UserId="90" Text="You might be able to use an MP3 encoder for this.  Experiment with encoding to MP3s at lower bit rates than you normally would, and it should remove much of the noise while keeping the signal, in a psychoacoustically good way.  It will degrade the quality of the recording, but it might be acceptable in a mix with other things." ContentLicense="CC BY-SA 2.5" />
  <row Id="37210" PostHistoryTypeId="2" PostId="22704" RevisionGUID="a9912ce8-a281-4d40-a783-70da76e0b425" CreationDate="2011-01-12T12:33:15.747" UserDisplayName="Bill Gribble" Text="The bad news is that you can't remove white noise from a recording completely. White noise by definition lives all across the frequency spectrum, and can't be distinguished from signal where they both exist. &#xD;&#xA;&#xD;&#xA;The good news is that you don't have to.  For the most part your brain can't hear noise when it is masked by a real signal in the same frequency range. So the noise reduction approach has two parts:&#xD;&#xA;&#xD;&#xA; - where there is no audio signal (&quot;white space&quot; or silences in the recording) just turn the gain down and you remove noise completely. This is &quot;noise gating&quot; and can be done by common plugins. &#xD;&#xA;&#xD;&#xA; - where there is signal, use spectral analysis to find out where in the frequency spectrum your desirable signal is, the use equalization to turn the gain down in parts of spectrum where there is nothing but noise. This is one of the main things &quot;denoising&quot; plugins do. &#xD;&#xA;&#xD;&#xA; - if you can identify non-white noise elements (hum, pops/clicks) use surgical dynamics and EQ to remove them. &#xD;&#xA;&#xD;&#xA;That's the basic forensic audio workflow.  It's a hard problem; good luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="37211" PostHistoryTypeId="2" PostId="22705" RevisionGUID="464db11e-2013-4c12-b1b2-d68ec1c32db3" CreationDate="2013-06-04T09:54:46.693" UserDisplayName="Michael Flood" Text="If you are dealing with the white noise created during video production there are several steps to consider. Firstly, the power adapter will bring noise to the project. I recommend using the Camcorder batteries, which add almost no extra noise. The high end Panasonic video cameras have built-in noise reduction filters, which also reduce the noise. &#xD;&#xA;&#xD;&#xA;Is this a presentation? Why record the sound in stereo when there is only one voice? This will add echo, which will cause production problems. It is normal to record in mono - it's how the music industry record your music collection. I use a mic that I bought on ebay, from a company in Manchester (UK), for £14. Using It produces a mono recording on both tracks. In Final Cut Pro (Studio 3) the Audio Mixer from the Tools drop down menu has a stereo slider allowing the user to manipulate where the sound exists within the stereo spectrum. &#xD;&#xA;&#xD;&#xA;If you're adding music in stereo - that you have recorded the voice in mono - will not show. But the improved sound quality will make your production sound far superior. The Apple EQ in FCP appears a little complicated. But have a play, as it thins the sound making it less muffled. Only the bottom few categories on the EQ filter are the actual EQ; the rest are just filter settings, such as Gain. I'm looking at this now! &#xD;&#xA;&#xD;&#xA;There is one other diamond for both video and music production when you are trying to get by on a budget: Soundtrack Pro. With your video project selected on the FCP Audio track right click the mouse to bring up the sub menu. Select 'Send To' and the listed Soundtrack link for the Aiff audio project. A small menu will ask you to save the file to your folder. Just click on OK. Now your sound is in Soundtrack Pro. &#xD;&#xA;&#xD;&#xA;Highlight the entire sound clip using either 'Select All' or left click the mouse in the top right-hand corner of the sound and drag it to cover everything. There are some folder options in the menu on the left. Select the Analyse folder. Now tick all of the box options on the left for noise pops, etc. Select 'Analyse'. The software will detect and audio problems and correct them, but you still may have a little white noise. This is where it gets clever. Select the entire sound again and set the Ambient Noise Point. This can be found in the Process drop down menu. Having set the noise point go back in and select 'Replace with Ambient Noise.' Ambient noise is a natural part of the sound spectrum. It's often in most audio mixes, but we don't notice. It's like giving the noise camouflage.&#xD;&#xA;&#xD;&#xA;At this point you may be happy with the sound, as the only other matter to consider is the level on final cut pro. This also can reduce the white noise. If you are still unhappy there is one other EQ diamond on Soundtrack Pro: The Parametric EQ, which is found in the Effects/Single Band EQ. I suggest that you place all three of the sliders to the left and adjust the top slider until the sound is as required. The other two sliders will control sound spectrum differences reducing the noise to near zero without losing too much quality. &#xD;&#xA;&#xD;&#xA;When you have finished adjusting the sound use the save option from the drop-down menu. It will ask you how you want to save the file. It's the top answer - just click on OK. This will automatically save the changes to the existing FCP sound file. You can continue with your video now. Warning: Always use slugs for gaps in audio and video. If you fail to do this your video will stutter when you add it to social media.   &#xD;&#xA;&#xD;&#xA;Add: Forgot to mention the noise reduction in Soundtrack Pro. Set the noise point then just click on OK for the noise reduction. Have a little listen to make sure that it hasn't added a nasty digital sound to your work. If it has move two steps backwards and avoid. Sometimes it works quite well, but it's dangerous!" ContentLicense="CC BY-SA 3.0" />
  <row Id="37212" PostHistoryTypeId="2" PostId="22699" RevisionGUID="e5f2755a-7d36-4019-88e7-0b4d79cd7945" CreationDate="2010-12-08T19:59:23.930" UserId="7856" UserDisplayName="Corey" Text="Goldwave is a popular audio editor for Windows that has a noise reduction feature that is quite remarkable." ContentLicense="CC BY-SA 2.5" />
  <row Id="37213" PostHistoryTypeId="2" PostId="22702" RevisionGUID="2556fee5-2515-4877-a806-e7f01e60c180" CreationDate="2010-12-30T15:44:06.000" UserDisplayName="Ali Inceoglu" Text="Waves plug-in's are the best slution if you use DAW for editing and recording. They have X-Hum, X-Noise, X-Click, X-Crackle, Z-Noise plugin's that can solve your problem. They are very expensive plug-in's by the way." ContentLicense="CC BY-SA 2.5" />
  <row Id="37214" PostHistoryTypeId="2" PostId="22703" RevisionGUID="a6ea54fb-19dd-432f-a81f-c8e0e55efa85" CreationDate="2011-01-10T09:44:42.553" UserDisplayName="bgaric" Text="While removing white noise without tampering with the recording is a difficult task, a gate and tweaking of a compressor gets a descent result. of course the best way to achieve a perfect audio sample would be to record the audio again, but since its not your own recording, the gate, a compressor and an 8 band or higher equaliser help. " ContentLicense="CC BY-SA 2.5" />
  <row Id="37223" PostHistoryTypeId="36" PostId="22709" RevisionGUID="33449309-622b-4f0b-9c1d-888bfdfd0bb1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4891/recording-with-shure-sm7b-is-surprisingly-quiet" />
  <row Id="37224" PostHistoryTypeId="2" PostId="22710" RevisionGUID="d9d90bf5-5772-4e37-81fe-f36171da505e" CreationDate="2012-10-01T21:15:32.460" UserDisplayName="WLPhoenix" Text="Looking at the specs of the Akai EIE Pro (from [here][1]), this is the relevant section:&#xD;&#xA;&#xD;&#xA;    ANALOG INPUTS&#xD;&#xA;    Mic gain (MIC): +9dB to + 51.5dB&#xD;&#xA;&#xD;&#xA;The mic preamp in the Akai is capable of putting out up to 51.5 dB of gain.&#xD;&#xA;&#xD;&#xA;Looking at the [spec sheet][2] for the SM7B, search for &quot;Output Level.&quot; You'll see that the output level for the SM7B is -59.0 dB. This means that even at max volume (not recommended) loudest the Akai can get the SM7B is -7.5 dB. You start hitting the top 20% (the hissy section) of your preamp gain at ~40 dB. This gives you up to -19 dB with clean gain.&#xD;&#xA;&#xD;&#xA;Simply put: Your preamp isn't capable of putting out enough gain to support the SM7B. You need between -18 and -12 dB of clean signal to get a good tracked recording.&#xD;&#xA;&#xD;&#xA;The options you mentioned such as external preamps and new interfaces are both valid options, and probably the best plan in the long term. However, preamps and interfaces can get expensive, so I'll suggest a third option.&#xD;&#xA;&#xD;&#xA;You said you tried boosting the quiet signal by adding a gain or compression plugin, then increasing the output gain of the plugin while setting the plugin to make no changes to the relative content of the signal. This will increase the overall volume of the recording, which increases the noise floor as well. You may need to gate the signal before gaining to limit the amount of the noise floor which makes it into the final recording. You can also attempt to lower your noise floor, but this is very difficult to make a significant difference without a significant investment into acoustical isolation.&#xD;&#xA;&#xD;&#xA;The other option is an external gain booster, such as the Triton Fethead. This is a very simple inline preamp that gives a flat 20 dB boost to your line volume before it hits the preamp. This would give you plenty of headroom to make use of your SM7B, and would be simple enough to use on other mics as well if needed.&#xD;&#xA;&#xD;&#xA;You might check out [this thread][3] discussing the amount of gain needed for the SM7.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musiciansfriend.com/pro-audio/akai-professional-eie-pro-24-bit-audio-midi-interface-with-usb-hub?src=3WWRWXGP&#xD;&#xA;  [2]: http://www.shure.com/uploads/specification_sheet/upload/83/us_pro_sm7b_specsheet.pdf&#xD;&#xA;  [3]: http://www.gearslutz.com/board/low-end-theory/619427-60db-gain-enough-sm7b.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="37225" PostHistoryTypeId="2" PostId="22709" RevisionGUID="2d7a94ce-6503-4ca1-9e68-997b46c3eec1" CreationDate="2012-10-01T19:29:26.337" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="When recording with my new mic, the Shure SM7B, **everything that gets recorded is *extremely* quiet and gets a ridiculous amount of static** after upping the gain and using a compressor.&#xD;&#xA;&#xD;&#xA;I recorded it with an Akai EIE Pro interface.&#xD;&#xA;&#xD;&#xA;**Could this be because the preamp in the Akai is not up to par and that I need an external preamp or interface with a better preamp? Or is it another problem?**" ContentLicense="CC BY-SA 3.0" />
  <row Id="37226" PostHistoryTypeId="1" PostId="22709" RevisionGUID="2d7a94ce-6503-4ca1-9e68-997b46c3eec1" CreationDate="2012-10-01T19:29:26.337" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="recording with Shure SM7B is surprisingly quiet" ContentLicense="CC BY-SA 3.0" />
  <row Id="37227" PostHistoryTypeId="3" PostId="22709" RevisionGUID="2d7a94ce-6503-4ca1-9e68-997b46c3eec1" CreationDate="2012-10-01T19:29:26.337" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37228" PostHistoryTypeId="36" PostId="22710" RevisionGUID="2d42bd62-984a-472f-94c7-e813019040ed" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4891/recording-with-shure-sm7b-is-surprisingly-quiet/4893#4893" />
  <row Id="37229" PostHistoryTypeId="36" PostId="22711" RevisionGUID="168f1d8c-7b63-47e0-b7f4-10153502e319" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3021/wireless-lapel-mic-for-use-with-canon-7d-recommendations" />
  <row Id="37230" PostHistoryTypeId="36" PostId="22712" RevisionGUID="1dc98642-9acb-4dac-a8f6-fdd54d6d75cc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3021/wireless-lapel-mic-for-use-with-canon-7d-recommendations/3023#3023" />
  <row Id="37231" PostHistoryTypeId="2" PostId="22712" RevisionGUID="8a9cce01-b9ec-4dc7-aa00-07bfd74c24fe" CreationDate="2012-01-13T14:52:00.957" UserDisplayName="Bryce Alan Flurie" Text="You would probably get better results with an audio recorder just out of frame. Even a great mic run into a 7D won't sound so great. Tascam DR 40 is a great one, and only $200.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37232" PostHistoryTypeId="2" PostId="22713" RevisionGUID="9663ad7c-d86f-4a23-bc99-6d8bde2639e3" CreationDate="2012-01-14T16:06:55.550" UserDisplayName="Bryce Alan Flurie" Text="I have one of these... not as nice as a 55B wired, but if you need a wireless mic, this is close to your range.&#xD;&#xA;http://www.bhphotovideo.com/c/product/553681-REG/Sony_UWP_V1_3032_UWP_V1_Wireless_Lavalier_Microphone.html&#xD;&#xA;&#xD;&#xA;And I would run it to the Zoom, not the camera." ContentLicense="CC BY-SA 3.0" />
  <row Id="37233" PostHistoryTypeId="2" PostId="22711" RevisionGUID="240cf45e-49da-4f0a-8b98-bb4bc9feedc7" CreationDate="2012-01-13T02:13:58.423" UserDisplayName="Chard" Text="I am producing a documentary on a very small budget and am looking to purchase a wireless lapel microphone. I am pretty camera savvy but when it comes to microphones I have no clue. So what I'm after is a wireless lapel mic that I can use with my Canon 7D. I'm hoping to spend under AU$400. What would you recommend? " ContentLicense="CC BY-SA 3.0" />
  <row Id="37234" PostHistoryTypeId="1" PostId="22711" RevisionGUID="240cf45e-49da-4f0a-8b98-bb4bc9feedc7" CreationDate="2012-01-13T02:13:58.423" UserDisplayName="Chard" Text="Wireless lapel mic (for use with Canon 7D) recommendations" ContentLicense="CC BY-SA 3.0" />
  <row Id="37235" PostHistoryTypeId="3" PostId="22711" RevisionGUID="240cf45e-49da-4f0a-8b98-bb4bc9feedc7" CreationDate="2012-01-13T02:13:58.423" UserDisplayName="Chard" Text="&lt;audio-recording&gt;&lt;video&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37236" PostHistoryTypeId="36" PostId="22713" RevisionGUID="e6a990e8-a5d3-426e-84a6-7d5efcfdb880" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3021/wireless-lapel-mic-for-use-with-canon-7d-recommendations/3038#3038" />
  <row Id="37237" PostHistoryTypeId="36" PostId="22714" RevisionGUID="bcb5c8a8-d5c6-4b12-89e1-59145eae3a93" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5349/free-batch-converter-normalizer-to-from-caf-core-audio-format-file" />
  <row Id="37238" PostHistoryTypeId="2" PostId="22715" RevisionGUID="0b83fe21-7650-425d-b13b-601bdb61c6f1" CreationDate="2012-11-18T05:06:44.073" UserId="20346" UserDisplayName="LordNeckbeard" Text="You didn't supply very much information, such as your OS and your desired output format, so I can not give you a detailed answer.&#xD;&#xA;&#xD;&#xA;CAF is a container format that can support several audio formats, but Apple Lossless (ALAC) is probably the most common.&#xD;&#xA;&#xD;&#xA;ffmpeg can decode ALAC in CAF:&#xD;&#xA;&#xD;&#xA;    ffmpeg -i input.caf output.wav&#xD;&#xA;&#xD;&#xA;This can be turned into a &quot;batch&quot; command with a Bash &quot;for loop&quot;.&#xD;&#xA;&#xD;&#xA;    for f in *.caf; do ffmpeg -i &quot;$f&quot; &quot;${f%.caf}.wav&quot;; done&#xD;&#xA;&#xD;&#xA;sox can be added to this example to normalize your audio:&#xD;&#xA;&#xD;&#xA;    for f in *.caf; do ffmpeg -i &quot;$f&quot; -f sox - | sox --norm=-3 -t sox - &quot;${f%.caf}.wav&quot;; done&#xD;&#xA;&#xD;&#xA;As usual, using a recent ffmpeg is recommended since development is so active. See the [FFmpeg download][1] page for various methods to acquire it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ffmpeg.org/download.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="37239" PostHistoryTypeId="2" PostId="22714" RevisionGUID="c2fed9fe-ad11-4bda-ad7b-8cd75eb5ea85" CreationDate="2012-11-17T01:31:28.760" UserId="7255" UserDisplayName="rraallvv" Text="Is there any free tool capable of doing the job?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37240" PostHistoryTypeId="1" PostId="22714" RevisionGUID="c2fed9fe-ad11-4bda-ad7b-8cd75eb5ea85" CreationDate="2012-11-17T01:31:28.760" UserId="7255" UserDisplayName="rraallvv" Text="Free batch converter/normalizer to/from CAF (Core Audio Format) file" ContentLicense="CC BY-SA 3.0" />
  <row Id="37241" PostHistoryTypeId="3" PostId="22714" RevisionGUID="c2fed9fe-ad11-4bda-ad7b-8cd75eb5ea85" CreationDate="2012-11-17T01:31:28.760" UserId="7255" UserDisplayName="rraallvv" Text="&lt;audio&gt;&lt;conversion&gt;&lt;freeware&gt;&lt;osx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37242" PostHistoryTypeId="36" PostId="22715" RevisionGUID="2f866d15-f118-4f22-89c1-20f7270071bb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5349/free-batch-converter-normalizer-to-from-caf-core-audio-format-file/5356#5356" />
  <row Id="37243" PostHistoryTypeId="36" PostId="22716" RevisionGUID="e8ae5a52-fa15-4e7e-a61c-c54647089ec0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5175/mixing-and-recording-a-telephone-conference-call" />
  <row Id="37244" PostHistoryTypeId="36" PostId="22717" RevisionGUID="9692383a-0bdc-4c06-91bf-5ecbb2327939" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5175/mixing-and-recording-a-telephone-conference-call/5182#5182" />
  <row Id="37245" PostHistoryTypeId="36" PostId="22718" RevisionGUID="2214e274-ce76-448e-97e1-a3e559b0cc53" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5175/mixing-and-recording-a-telephone-conference-call/5187#5187" />
  <row Id="37246" PostHistoryTypeId="36" PostId="22719" RevisionGUID="e2d13300-0f59-4dc3-807a-dc778b8b2c6a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5175/mixing-and-recording-a-telephone-conference-call/5194#5194" />
  <row Id="37247" PostHistoryTypeId="2" PostId="22717" RevisionGUID="07626cd0-1114-47d6-ba51-4b1fb18ca3dd" CreationDate="2012-10-28T06:04:38.583" UserId="7189" Text="Don't try to do this with your mixer, the callers will get bad echos of themselves and have a hard time talking.&#xD;&#xA;&#xD;&#xA;Instead, either use Skype's built in conferencing combined with SkypeOut to connect to POTS numbers. Or use another conference bridge service and PC based VoIP client. It should be easy to record the conference once you've brought it in to your PC/Mac.&#xD;&#xA;&#xD;&#xA;Note that you should look up the legal requirements for recording phone calls in your location as well as each of your callers. It is probably a good idea to start the call by explicitly reminding everyone that the call is being recorded." ContentLicense="CC BY-SA 3.0" />
  <row Id="37248" PostHistoryTypeId="2" PostId="22718" RevisionGUID="333198fd-b220-4876-be37-653e3e560f3c" CreationDate="2012-10-28T21:13:22.897" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="You need something called a `telephone hybrid`. It's a hardware box you connect the telephone lines through and has the option to &quot;hijack&quot; the line so you can record the audio from the (real) phone. This takes care of feed-back problems and so forth, and you connect it to the mixer with ordinary cables.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;They come in many variants and for different regions, phone systems etc. For this reason I haven't listed any examples. You can however do a search in your local region to find one that match price and telephone system so are sure you get the correct one.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37249" PostHistoryTypeId="2" PostId="22719" RevisionGUID="3f837f54-f54c-4916-ae64-7275ba7ffde0" CreationDate="2012-10-29T03:17:05.150" UserDisplayName="JPollock" Text="Use an auxs to send audio back to the phones, that way you can send separate mixes to each caller. For example feed caller 1 with aux 1. Turn up Aux 1 on every channel except the input from caller 1." ContentLicense="CC BY-SA 3.0" />
  <row Id="37250" PostHistoryTypeId="2" PostId="22716" RevisionGUID="117823b6-fe36-4623-abd1-8f265ea5e5c8" CreationDate="2012-10-27T10:14:38.930" UserDisplayName="Roman Geber" Text="For a podcast project I'd like to hook up two phones with my Mixer.&#xD;&#xA;&#xD;&#xA;In essence this works, however callers do not just hear me and other callers but also themselves which is obviously very annoying for an interview partner.&#xD;&#xA;&#xD;&#xA;These are my current components.&#xD;&#xA;&#xD;&#xA; * Alesis Multimix 16 FireWire (connected to a Mac Mini via FW)&#xD;&#xA; * A PC acting as a phone (since the real phones seem to have trouble with the Mixer alltogether)&#xD;&#xA; * FritzBox 7390 connected to a two channel ISDN line&#xD;&#xA;&#xD;&#xA;The goal is that callers can hear me as well as each other but not themselves.&#xD;&#xA;&#xD;&#xA;I consider using an external conference call service, yet the commercial ones are pricy and I don't trust the free ones. I've also thought about setting up some internal conferencing system, yet I'm not too experienced in fancy phone system building. But then again, I'd like to avoid a conference system if there's a better solution to this problem.&#xD;&#xA;&#xD;&#xA;Does anyone know how to build such a setup? Is there anything I can build or buy? Is there a sofphone that can deal with the problem? So far I tried Linphone and Ekiga." ContentLicense="CC BY-SA 3.0" />
  <row Id="37251" PostHistoryTypeId="1" PostId="22716" RevisionGUID="117823b6-fe36-4623-abd1-8f265ea5e5c8" CreationDate="2012-10-27T10:14:38.930" UserDisplayName="Roman Geber" Text="Mixing and Recording a Telephone Conference Call" ContentLicense="CC BY-SA 3.0" />
  <row Id="37252" PostHistoryTypeId="3" PostId="22716" RevisionGUID="117823b6-fe36-4623-abd1-8f265ea5e5c8" CreationDate="2012-10-27T10:14:38.930" UserDisplayName="Roman Geber" Text="&lt;audio-recording&gt;&lt;monitoring&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37253" PostHistoryTypeId="36" PostId="22720" RevisionGUID="cc718a27-d8df-4819-b822-fb95c9b0f83c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4556/what-options-do-i-have-for-sharing-a-large-audio-project-with-several-collaborat" />
  <row Id="37254" PostHistoryTypeId="36" PostId="22721" RevisionGUID="97a20612-f671-4bc3-9be8-da5473d697b3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4556/what-options-do-i-have-for-sharing-a-large-audio-project-with-several-collaborat/4558#4558" />
  <row Id="37255" PostHistoryTypeId="36" PostId="22722" RevisionGUID="b1c4c62d-bb62-4fb1-ac28-b1a3050e39bc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4556/what-options-do-i-have-for-sharing-a-large-audio-project-with-several-collaborat/4562#4562" />
  <row Id="37256" PostHistoryTypeId="2" PostId="22721" RevisionGUID="6f85f069-f4ef-4fba-90ee-59b724aff30d" CreationDate="2012-08-12T04:05:14.200" UserId="7231" UserDisplayName="NReilingh" Text="Export your project to an mp3 file (256kbps should do it for the stereo bit rate) and upload it to your website's server.&#xD;&#xA;&#xD;&#xA;If this question is specific to the GarageBand app on the iPad, I believe the course of action would be to export a full-quality mix to iTunes and sync that back to your computer. You should then be able to find the track in iTunes, set your import settings to Mp3, then right click the track and select &quot;Create Mp3 version&quot;. View the track that results in the Finder to see the file you can upload to your webserver." ContentLicense="CC BY-SA 3.0" />
  <row Id="37257" PostHistoryTypeId="2" PostId="22722" RevisionGUID="6e2b0e78-9bb3-4c82-99ff-efab1ac122ba" CreationDate="2012-08-13T14:04:09.980" UserId="7209" UserDisplayName="Brad" Text="If you want your project to be editable, you must upload all of it.  The easiest way to do this is throw it in a ZIP file.  Everyone can open a ZIP file, and then it is just one thing to upload.  Instructions for [Windows][1]/[OSX][2].&#xD;&#xA;&#xD;&#xA;When you're done and have bounced everything down to stereo, encode it to MP3 as NReilingh suggested.  MP3 is lossy compression, and you will lose some audio quality this way, but 256kbit-320kbit is decent, will play on anything, and won't be a large download.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://condor.depaul.edu/slytinen/instructions/zip.html&#xD;&#xA;  [2]: http://osxdaily.com/2007/03/01/how-to-quickly-make-a-zip-archive-from-the-finder/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37258" PostHistoryTypeId="2" PostId="22723" RevisionGUID="1faf48f7-77cb-4f8a-ad13-79cda84c2085" CreationDate="2012-08-16T12:57:59.267" UserId="7093" Text="You may want to try a different DAW to manage this project.  &#xD;&#xA;&#xD;&#xA;I don't know about other DAWs, but Reaper uses non-destructive editing for the audio files.  This means that no matter how many changes you make to the audio, the original files never change.  You will only need to save a single copy of the original audio files and version the project file (which is a simple text file). &#xD;&#xA;&#xD;&#xA;When working with a large amount of tracks or effects you have the option to render portions of the audio to stem tracks to save processing power.  This will create a new file, but it does not need to be put in version control since you can regenerate it at any time from the original files and the project file.&#xD;&#xA;&#xD;&#xA;**Edit:**&#xD;&#xA;To share a project all you would need to do is put all the files in Git.  Any audio files will only go in once and will not change.  The project files are very small text files so it doesn't matter much how often they change.  This should allow you to share the files without using up huge amounts of bandwidth and storage capacity.&#xD;&#xA;&#xD;&#xA;**Edit:**&#xD;&#xA;From the Reaper User Guide:&#xD;&#xA;&#xD;&#xA;&gt; All of the settings, preferences and custom files are text files. &#xD;&#xA;Any of them can be opened and modified using a text editor such as Notepad. This even applies to REAPER’s &#xD;&#xA;project files, with .RPP extension.&#xD;&#xA;&#xD;&#xA;The project files are simply text files in an XML-like format.  The project file contains the project properties and a list of tracks.  Each track contains a list of items.  Each item lists the original wav file, the start point and length of the clip, and other properties of the item.  This type of file works really well in Git or any other source control repository.  Since the large wav files associated with the project will only be added or removed and the small project files are the only files being changed it will minimize the amount of data that needs to be shared when a change is made." ContentLicense="CC BY-SA 3.0" />
  <row Id="37259" PostHistoryTypeId="2" PostId="22720" RevisionGUID="31f3ab5f-1b89-4075-bde1-fdd60370d481" CreationDate="2012-08-11T21:22:50.340" UserId="7201" UserDisplayName="hhh" Text="I developed a soundtrack that is about 3 minutes long but it is massive, over 300MB in size. I'd like to share this project and collaborate with other users. However, revision control systems aimed at software development, like Git, don't handle projects like this well because the repository can grow quickly with audio edits.&#xD;&#xA;&#xD;&#xA;What alternatives are there that will allow me to share this project online and work collaboratively?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37260" PostHistoryTypeId="1" PostId="22720" RevisionGUID="31f3ab5f-1b89-4075-bde1-fdd60370d481" CreationDate="2012-08-11T21:22:50.340" UserId="7201" UserDisplayName="hhh" Text="What options do I have for sharing a large audio project with several collaborators over the Internet?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37261" PostHistoryTypeId="3" PostId="22720" RevisionGUID="31f3ab5f-1b89-4075-bde1-fdd60370d481" CreationDate="2012-08-11T21:22:50.340" UserId="7201" UserDisplayName="hhh" Text="&lt;audio&gt;&lt;ipad&gt;&lt;collaboration&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37262" PostHistoryTypeId="36" PostId="22723" RevisionGUID="a9795f37-a19a-470d-89b7-3daecf5d6557" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4556/what-options-do-i-have-for-sharing-a-large-audio-project-with-several-collaborat/4585#4585" />
  <row Id="37263" PostHistoryTypeId="36" PostId="22724" RevisionGUID="1f35580f-a869-4acf-a15a-259b92a74cfa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4556/what-options-do-i-have-for-sharing-a-large-audio-project-with-several-collaborat/7826#7826" />
  <row Id="37264" PostHistoryTypeId="2" PostId="22724" RevisionGUID="e7b04aa9-30a4-41d9-8c62-25fc7ae767dc" CreationDate="2013-05-06T22:07:22.860" UserId="7474" UserDisplayName="Pres" Text="I feel I should mention DropBox, GoogleDrive (with the new(?) desktop sync app) and Gobbler. &#xD;&#xA;&#xD;&#xA;DropBox is my collaborative/online storage app of choice, but the other 2 have more free/initial storage space. &#xD;&#xA;&#xD;&#xA;Gobbler is more of a backup and transfer service, but is optimised for media projects. Hopefully soon they will add a collaborative feature like DropBox.&#xD;&#xA;&#xD;&#xA;I've not tried GoogleDrive with proper projects yet, but it appears to have all the requisite components to fit the task.&#xD;&#xA;&#xD;&#xA;Secondly, a note on stems: It's basically a given that you transfer lossless quality stems when you send them. If your stems are going to have large sections of silence (i.e song start-&gt;end), I'd strongly recommend exporting/converting to Free Lossless Audio Codec (FLAC). At Maximum compression, this can greatly increase your efficiency. As part of Presonus Studio One, I can't see much increase in export times either." ContentLicense="CC BY-SA 3.0" />
  <row Id="37265" PostHistoryTypeId="36" PostId="22725" RevisionGUID="b1f81498-77ac-4bc2-b720-516f290a8e9b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1673/how-do-i-record-music-as-a-background-for-my-voice" />
  <row Id="37266" PostHistoryTypeId="36" PostId="22726" RevisionGUID="bb28efa8-77bd-4eb1-9596-be2428e4eeda" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1673/how-do-i-record-music-as-a-background-for-my-voice/1676#1676" />
  <row Id="37267" PostHistoryTypeId="2" PostId="22726" RevisionGUID="46e1926c-ee21-4656-a9ad-2799542ce516" CreationDate="2011-06-30T13:44:12.593" UserId="7093" Text="First, make sure you have rights to the music you are recording in the background.&#xD;&#xA;&#xD;&#xA;Second, you will need a program to record your voice.  If you want a free program, try [Audacity][1].  If you don't mind spending a little money, try [Reaper][2].  Reaper will allow you to adjust the EQ while you are listening to the recording and give you instant feedback as to what the changes sound like.&#xD;&#xA;&#xD;&#xA;Record your voice into your program of choice, then either import or record the music on a separate track.&#xD;&#xA;&#xD;&#xA;To get your voice to stand out and put the music in the background, you will use a combination of volume and EQ.  The background music should be adjusted so the level is low enough to not overpower the voice, but also still be able to be heard clearly.  You will also want to use the EQ to slightly lower the level of the frequencies in the same range as the voice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/&#xD;&#xA;  [2]: http://www.reaper.fm/index.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="37268" PostHistoryTypeId="2" PostId="22725" RevisionGUID="343496f3-84ec-4b95-88ce-c1abf4d84687" CreationDate="2011-06-30T01:32:41.760" UserDisplayName="Fadi Tiwari" Text="I am looking for a program that will record my voice. I also want to add music (a type of slow music), and when I speak I want this music as a background for my voice so my words will still be clear when I speak.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37269" PostHistoryTypeId="1" PostId="22725" RevisionGUID="343496f3-84ec-4b95-88ce-c1abf4d84687" CreationDate="2011-06-30T01:32:41.760" UserDisplayName="Fadi Tiwari" Text="How do I record music as a background for my voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="37270" PostHistoryTypeId="3" PostId="22725" RevisionGUID="343496f3-84ec-4b95-88ce-c1abf4d84687" CreationDate="2011-06-30T01:32:41.760" UserDisplayName="Fadi Tiwari" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37271" PostHistoryTypeId="36" PostId="22727" RevisionGUID="bda8346a-f731-4c53-906c-302b8be6bdbc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5545/camera-mounted-mic-off-camera-mic-or-audio-recorder" />
  <row Id="37272" PostHistoryTypeId="36" PostId="22728" RevisionGUID="264531b4-54dc-4451-9136-9e2521b81998" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5545/camera-mounted-mic-off-camera-mic-or-audio-recorder/5552#5552" />
  <row Id="37273" PostHistoryTypeId="2" PostId="22728" RevisionGUID="1a4d1f7c-e8b9-4ecf-a2a5-3d1303455f03" CreationDate="2012-12-11T01:01:22.090" UserDisplayName="burnso" Text="You almost seem to already have answered your own question, but I'll try and help.&#xD;&#xA;&#xD;&#xA;I would personally go with 2 or 3, taking 1 out of the question. With #1 you will still get some noises from the camera. It's pretty much unavoidable.&#xD;&#xA;&#xD;&#xA;Why #2? Because it might be cheaper and is less cumbersome. You will get rid of most of the noises the camera makes and be able to get crisp, clear audio without spending a fortune on equipment. Also, as far as I can tell you are able to set the recording levels on the 6D, are you not? If so this is probably the best option for you.&#xD;&#xA;&#xD;&#xA;Why #3? Because it's almost always the best. The short answer here is that it was designed for portable audio recording, for your needs. It gives you the most control over your audio and its settings, it let's you seperate audio from video if that's needed for any reason. Also, and perhaps most importantly in this particular case, it let's you monitor the audio input with your headphones. The con of this option? The price, I guess. But a product like the Zoom H4n is still pretty cheap in my books. If you are going to record a lot of audio in the future this is an investment, amateur or not." ContentLicense="CC BY-SA 3.0" />
  <row Id="37274" PostHistoryTypeId="2" PostId="22727" RevisionGUID="e21b091b-d8ed-4315-bebf-719eab785b46" CreationDate="2012-12-10T17:43:41.983" UserDisplayName="dpollitt" Text="I have a Canon 6D DSLR. It has a monaural microphone input, and a headphone out. So far the audio I've done with the internal mic have been terrible, including either AF noises, image stabilizer noises, or both. Looking into my options I see I have three main upgrade paths:&#xD;&#xA;&#xD;&#xA; 1. Camera Mounted Microphone plugged into the mic input of my camera&#xD;&#xA; 2. Off Camera Microphone(plugged into the mic input of my camera?)&#xD;&#xA; 3. External Audio Recorder such as a Zoom, Tascam, etc.&#xD;&#xA;&#xD;&#xA;I'm aware that I could turn off AF and IS to remove these noises. Is that the best method? I have Canon STM lenses that still make audible noises in my video. I'm guessing no matter what the built in microphone will be junk, but I don't know that. I am not looking for broadcast quality audio, or really anything expensive - my budget is quite small for these personal videos(Under $200USD). I am *very* amateur at avp so please keep that in mind when recommending solutions!" ContentLicense="CC BY-SA 3.0" />
  <row Id="37275" PostHistoryTypeId="1" PostId="22727" RevisionGUID="e21b091b-d8ed-4315-bebf-719eab785b46" CreationDate="2012-12-10T17:43:41.983" UserDisplayName="dpollitt" Text="Camera mounted mic, off camera mic, or audio recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37276" PostHistoryTypeId="3" PostId="22727" RevisionGUID="e21b091b-d8ed-4315-bebf-719eab785b46" CreationDate="2012-12-10T17:43:41.983" UserDisplayName="dpollitt" Text="&lt;audio&gt;&lt;microphone&gt;&lt;dslr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37283" PostHistoryTypeId="36" PostId="22731" RevisionGUID="10c3a3f1-a4c8-4a50-bf44-cdba428c8c07" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2969/will-i-need-a-mic-preamp-for-my-zoom-h4n-recorder" />
  <row Id="37284" PostHistoryTypeId="2" PostId="22732" RevisionGUID="531b4887-452e-4a48-b4d8-a17e18704c2a" CreationDate="2012-01-05T19:46:17.977" UserId="7251" UserDisplayName="Phil" Text="Nope, you should be able to plug the mic directly into the Zoom, as the Zoom seems to have a mic preamp in it already." ContentLicense="CC BY-SA 3.0" />
  <row Id="37285" PostHistoryTypeId="2" PostId="22731" RevisionGUID="8ff9cb9c-89c5-4003-a1f2-31631b836460" CreationDate="2012-01-05T19:38:59.297" UserDisplayName="timkl" Text="I've bought a Zoom H4N and a Heil PR-40 mic.&#xD;&#xA;&#xD;&#xA;Will I need to buy a mic preamp to go with that?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37286" PostHistoryTypeId="1" PostId="22731" RevisionGUID="8ff9cb9c-89c5-4003-a1f2-31631b836460" CreationDate="2012-01-05T19:38:59.297" UserDisplayName="timkl" Text="Will I need a mic preamp for my Zoom H4N recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37287" PostHistoryTypeId="3" PostId="22731" RevisionGUID="8ff9cb9c-89c5-4003-a1f2-31631b836460" CreationDate="2012-01-05T19:38:59.297" UserDisplayName="timkl" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37288" PostHistoryTypeId="36" PostId="22732" RevisionGUID="bf9629f2-28fe-418c-a15c-1081c422852b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2969/will-i-need-a-mic-preamp-for-my-zoom-h4n-recorder/2970#2970" />
  <row Id="37289" PostHistoryTypeId="36" PostId="22733" RevisionGUID="fea655ec-5cb6-4d9d-bf88-11e1fa81627f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2969/will-i-need-a-mic-preamp-for-my-zoom-h4n-recorder/4205#4205" />
  <row Id="37290" PostHistoryTypeId="2" PostId="22733" RevisionGUID="900b55d6-ff7c-40e4-b70f-d8f0523a9142" CreationDate="2012-06-18T21:01:08.273" UserDisplayName="JPollock" Text="Yes and no. It has preamps on it. That said the pres on it suck and I would recommend using an external pre. &#xD;&#xA;BTW I have a H4N and love it (for simple recordings using the internal mics.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="37291" PostHistoryTypeId="36" PostId="22734" RevisionGUID="0b4c375f-ea93-4489-bb99-623025f6b6c0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4160/how-to-get-line-level-record-out-on-behringer-x2442-usb" />
  <row Id="37292" PostHistoryTypeId="2" PostId="22735" RevisionGUID="6813968f-d1b3-43dc-90bc-f4afb9dd6047" CreationDate="2012-06-17T16:02:08.283" UserDisplayName="Olie" Text="I got this response from care@music-group.com, Behringer's customer support wing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;*The 2TRK/USB IN is actually not the best input for a iPod. This is because there is not any independent volume control.on that input. There is not any independent volume control so that it can be used to listen to the playback of a final mixdown, without changing the volume in any way.*&#xD;&#xA;&#xD;&#xA;*We always recommend using the stereo line level inputs for a playback system.*&#xD;&#xA;&#xD;&#xA;*The mixer is designed so that any signal coming FROM the computer will not go BACK to the computer through the USB. This is to prevent a feedback loop.*&#xD;&#xA;&#xD;&#xA;*The 2TRK/USB IN is also not routed to the USB. You can route the 2TRK/USB to the analog outputs, but not to the USB.*&#xD;&#xA;&#xD;&#xA;[etc., snip]&#xD;&#xA;&#xD;&#xA;So, I got the mini-phone to two-1/4&quot; plug chord, plugged my iPod into channels 15/16 and record to the computer out the USB port and... ta-dah!  It all works.&#xD;&#xA;&#xD;&#xA;Yay!" ContentLicense="CC BY-SA 3.0" />
  <row Id="37293" PostHistoryTypeId="2" PostId="22734" RevisionGUID="1fb853ab-fdda-4d30-80e1-82986a2bc6d2" CreationDate="2012-06-11T13:56:14.103" UserDisplayName="Olie" Text="My band uses a Behringer X2442-usb.  We have it wired-up thus:&#xD;&#xA;&#xD;&#xA;* Inputs going along 10 of the channels (1-8, 9 &amp; 11 -- we don't use the stereo input capability of the higher channels.)&#xD;&#xA;* We use Aux 1,2&amp;4 out as monitor-out.&#xD;&#xA; * Aux-3 feeds into the FX channel (a little delay/reverb) that we add to the vocals, so isn't really available as a 4th monitor.&#xD;&#xA;* We channel inputs through the subgroups as&#xD;&#xA; * Subgroup-1: Vocals&#xD;&#xA; * Subgroup-2: Instruments&#xD;&#xA; * Subgroup-3: Drums&#xD;&#xA; * Subgroup-4: [unused.]&#xD;&#xA;* We run the same signal out both mains (that is, we don't use stereo separation.)  In fact, a typical gig only uses 1 main speaker.&#xD;&#xA;* An iPod feeds the RCA &quot;2-track&quot;-in jacks (we use this to play tunes during pre-show setup, on-break and post-show teardown.)&#xD;&#xA;&#xD;&#xA;What we want to do is hook up a computer to record line-level raw-audio mixer-out.  (That is, we want to just get the raw signal, mixed, but not affected by the main or subgroup volume levels.)&#xD;&#xA;&#xD;&#xA;**IMPORTANT:** *The pictures/text in [the manual][1] do not match our experience.*  Please do not quote snippets of the manual unless you have direct experience hooking things up a particular way.  I can read!  What I can't seem to do is get things to work the way I want!  :)&#xD;&#xA;&#xD;&#xA;It *seems* like we ought to be able to just plug a computer into the USB port in back and get the sound we want there.  Indeed, this *almost* works -- but the problem is: it seems we have to choose between getting the iPod to play over the mains or recording to the computer, via the `2TR/USB to main` switch -- we can get one or the other, but not both!&#xD;&#xA;&#xD;&#xA;We also tried plugging the computer in to the other main-out jack (using an Icicle adaptor), but that had the flaw of being speaker-level, and the recording ended up being completely clipped.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;We have a separate recording device to get the &quot;as the audience hears it&quot; recording (a Zoom H4N, recommended! :), but we'd really like to also get the board recordings of our practices and gigs.&#xD;&#xA;&#xD;&#xA;Any help would be greatly appreciated.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.behringer.com/assets/X1622USB_X2222USB_X2442USB_P0A0J_OI_EN_ES_FR.pdf &quot;The Manual&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37294" PostHistoryTypeId="1" PostId="22734" RevisionGUID="1fb853ab-fdda-4d30-80e1-82986a2bc6d2" CreationDate="2012-06-11T13:56:14.103" UserDisplayName="Olie" Text="How to get line-level record-out on Behringer X2442-usb?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37295" PostHistoryTypeId="3" PostId="22734" RevisionGUID="1fb853ab-fdda-4d30-80e1-82986a2bc6d2" CreationDate="2012-06-11T13:56:14.103" UserDisplayName="Olie" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37296" PostHistoryTypeId="36" PostId="22735" RevisionGUID="e0aa56d2-3cde-42d1-b22c-3c2f56eabbea" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4160/how-to-get-line-level-record-out-on-behringer-x2442-usb/4196#4196" />
  <row Id="37297" PostHistoryTypeId="36" PostId="22736" RevisionGUID="6404c76c-2a5d-4055-85cb-61b5651c3cac" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2406/what-advantages-does-a-combined-mixer-interface-have-over-an-interface-and-daw-s" />
  <row Id="37298" PostHistoryTypeId="2" PostId="22737" RevisionGUID="929728bb-6613-45bb-b624-360347d3e312" CreationDate="2011-09-30T05:55:44.453" UserId="7294" UserDisplayName="Warrior Bob" Text="The major feature that a mixer/interface adds over a straight interface is the ability to mix audio without using a computer - just like a hardware mixer with no interface. This isn't much help when recording unless you prefer the sound of the hardware mixer/EQ to the sound of your software mixing and EQ.&#xD;&#xA;&#xD;&#xA;Many of them (I believe the Alesis MultiMix 8 is among them) also give you nice features like EQ on input channels, which again can be nice to use if you prefer how they sound coming out. For recording, they are not strictly necessary, as the biggest mixing tool - the ability to set track levels - is available on most multi-input audio interfaces. Many interfaces offer monitoring features as well, which is very useful.&#xD;&#xA;&#xD;&#xA;I am of the opinion that it comes down to workflow. If you prefer dialing in a basic level and EQ in hardware at recording time, use a mixer. If you prefer to do it all after recording, then only an interface is necessary.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37299" PostHistoryTypeId="2" PostId="22736" RevisionGUID="a54745bb-c8ad-400b-b0f5-be79615225a9" CreationDate="2011-09-30T01:52:57.067" UserId="20859" UserDisplayName="Ian Dunn" Text="I'm creating a podcast and am wondering if I should buy a plain audio interface, or a mixer with a built-in multi-track interface -- like the [MultiMix 8 USB 2.0](http://www.alesis.com/multimix8usb20).&#xD;&#xA;&#xD;&#xA;I'm planning on mixing/mastering on my laptop after the tracks have been recorded, but I'm thinking it might be nice to be able to do some EQ, leveling, etc on the mixer while recording as well.&#xD;&#xA;&#xD;&#xA;Will having the mixer really add any features or flexibility that I can't do through software alone, or is it just a waste of money?&#xD;&#xA;&#xD;&#xA;So far the only advantages I can think of are: 1) You could monitor directly from the board, so you don't have to worry about latency; and 2) if you want more than two XLR inputs, it seems to be cheaper to get a mixer with a built-in interface than a plain interface." ContentLicense="CC BY-SA 3.0" />
  <row Id="37300" PostHistoryTypeId="1" PostId="22736" RevisionGUID="a54745bb-c8ad-400b-b0f5-be79615225a9" CreationDate="2011-09-30T01:52:57.067" UserId="20859" UserDisplayName="Ian Dunn" Text="What advantages does a combined mixer/interface have over an interface and DAW software?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37301" PostHistoryTypeId="3" PostId="22736" RevisionGUID="a54745bb-c8ad-400b-b0f5-be79615225a9" CreationDate="2011-09-30T01:52:57.067" UserId="20859" UserDisplayName="Ian Dunn" Text="&lt;audio-recording&gt;&lt;mixing&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37302" PostHistoryTypeId="36" PostId="22737" RevisionGUID="1cf9dace-b400-4b9d-9986-c49779161638" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2406/what-advantages-does-a-combined-mixer-interface-have-over-an-interface-and-daw-s/2410#2410" />
  <row Id="37303" PostHistoryTypeId="36" PostId="22738" RevisionGUID="466b2cee-6ee6-4b26-a901-6224577191af" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9290/saving-modified-midi-patch-information-within-track-data-itself" />
  <row Id="37304" PostHistoryTypeId="36" PostId="22739" RevisionGUID="ee3dec2f-4539-4688-bb7d-35ec693b5112" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9290/saving-modified-midi-patch-information-within-track-data-itself/9298#9298" />
  <row Id="37305" PostHistoryTypeId="2" PostId="22739" RevisionGUID="20073ebc-70e0-4d03-82d1-0e16428092dd" CreationDate="2013-11-01T18:00:54.990" UserId="6833" Text="Unfortunately, I don't believe it's possible. In principle, the only interface between your software and the Roland MC-909 is sending MIDI data back and forth. Because of this, sending data over MIDI parameters is the only way any software can automatically configure the instrument for you.&#xD;&#xA;&#xD;&#xA;------&#xD;&#xA;&#xD;&#xA;**EDIT:** If your Roland lets you save configurations, and its MIDI specification includes a command to load a configuration, you could do this:&#xD;&#xA;&#xD;&#xA; 1. Configure the Roland using its interface until you have the sound you want.&#xD;&#xA; 2. Save the configuration on the Roland.&#xD;&#xA; 3. Include a MIDI message at the beginning of your song to reload the configuration.&#xD;&#xA;&#xD;&#xA;This would work with any software. It depends on whether the Roland can do this. I hope you can get it to work!" ContentLicense="CC BY-SA 3.0" />
  <row Id="37306" PostHistoryTypeId="2" PostId="22738" RevisionGUID="164c067f-04b1-4586-9924-6baa8534ae98" CreationDate="2013-10-30T22:39:16.630" UserDisplayName="lostsource" Text="I'm new to software sequencing and am currently evaluating Sonar X2 to control an external module (Roland MC-909) via MIDI. &#xD;&#xA;&#xD;&#xA;What I would like is to be able to save any modification I make to the patches (such as ADSR, cutoff, resonance ..) within the tracks themselves. This is because on the first load the patches take the default values saved in the MC-909.&#xD;&#xA;&#xD;&#xA;The only workaround I found is to add the events manually in the 'Event List' view for each track before the first note is played. However this is a bit of an nuisance and goes against my workflow (eg. it's more natural to use to ADSR controls on the MC-909 itself instead of guessing values in the Event List)&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Is there a way I can achieve this without having to manually add these events for each track? I am open to using any other software sequencer which offers such feature.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/6hnwU.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="37307" PostHistoryTypeId="1" PostId="22738" RevisionGUID="164c067f-04b1-4586-9924-6baa8534ae98" CreationDate="2013-10-30T22:39:16.630" UserDisplayName="lostsource" Text="Saving modified MIDI patch information within track data itself" ContentLicense="CC BY-SA 3.0" />
  <row Id="37308" PostHistoryTypeId="3" PostId="22738" RevisionGUID="164c067f-04b1-4586-9924-6baa8534ae98" CreationDate="2013-10-30T22:39:16.630" UserDisplayName="lostsource" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37309" PostHistoryTypeId="36" PostId="22740" RevisionGUID="27ee63df-2b1a-4919-b0d5-140e16b0fe85" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3959/recording-an-instructor-while-filming-him-from-a-distance-take-ii" />
  <row Id="37310" PostHistoryTypeId="36" PostId="22741" RevisionGUID="9a79bd2e-a49a-4d3a-ab68-da46956d0d2b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3959/recording-an-instructor-while-filming-him-from-a-distance-take-ii/3963#3963" />
  <row Id="37311" PostHistoryTypeId="36" PostId="22742" RevisionGUID="7b055bad-13c8-45bb-a58d-13f01c18a605" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3959/recording-an-instructor-while-filming-him-from-a-distance-take-ii/3966#3966" />
  <row Id="37312" PostHistoryTypeId="2" PostId="22741" RevisionGUID="213b6f0d-6fab-4dcc-ac90-41547200a8f6" CreationDate="2012-05-10T19:52:54.690" UserId="7188" Text="A bit of a kludge but may solve your problem. Use a 2nd wireless mic that goes directly to your Canon HF10 camcorder as described here:&#xD;&#xA;&#xD;&#xA;http://multimedia.journalism.berkeley.edu/tutorials/canon-vixa-hf-10/using-wireless-microphone-system/&#xD;&#xA;&#xD;&#xA;Looks to be about $250.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37313" PostHistoryTypeId="2" PostId="22742" RevisionGUID="64f2c6ee-5795-434e-81b6-35c34c710a8d" CreationDate="2012-05-11T01:30:33.073" UserDisplayName="OrangeBox" Text="No matter how I think about it someone will have to be at the mixing desk *momentarily*.&#xD;&#xA;&#xD;&#xA;If syncing the audio in post isn't an option, then I'd **get another set of wireless transmitters, hook the transmitter to the mixing desk and connect the receiver to your camera.** Then when the instructor does the demonstrations you could quickly go to the mixing desk and mute the output to the speakers. &#xD;&#xA;&#xD;&#xA;This way you would also be getting much clearer audio because you are recording the instructors mic signal the entire time.&#xD;&#xA;&#xD;&#xA;That being said, syncing audio in post isnt as hard or as much of a hassle as it use to be. You can use software like [Plural Eyes][1] to easily sync recorded audio to reference audio in the camera. I use this software all the time and it has never failed.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.singularsoftware.com/pluraleyes.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="37314" PostHistoryTypeId="2" PostId="22740" RevisionGUID="cd3637ee-9698-460b-a0d8-388a5bcdea93" CreationDate="2012-05-10T08:39:55.537" UserId="3187" Text="I again have to video our Ninjutsu club's event  using my consumer Canon HF10 camcorder.&#xD;&#xA;&#xD;&#xA;As I described [in my question before the *previous* event][1], the instructor demonstrates a technique and then, when  everyone is practicing the technique, the instructor walks around, correcting mistakes. &#xD;&#xA;&#xD;&#xA;The instructor wears a mike (connected to a little box worn at belt level) transmitting to an amplifying system and through it to the speakers. During the demos the camera gets the audio through the air from the speakers (I hope my English is not too terrible here  :) and everything is OK but when the instructor moves around he turns off the mike, people gather around him and I can't get clear audio. This is a pity because we miss the best parts, the corrections people could really learn from.&#xD;&#xA;&#xD;&#xA;The suggested solution was to get all of the audio from the PA mixer, and when the instructor does his walkabout, to mute the signal to the speakers instead of muting the mic. &#xD;&#xA;&#xD;&#xA;This, however, has two  problems: First, a person would have to man the mixer, cutting off the sound to the speakers whenever the speakers should be shut off. Second, as the camera is moving around and is not stationary at the mixer, we would have to record the audio at the mixer and later sync it to the video - quite a lot of work.&#xD;&#xA;&#xD;&#xA;So my question is: **Is there a way to wirelessly route the audio directly  from a microphone worn by the instructor to my camera's microphone input, without having to route it to the mixer, record it there and sync it with the video at later processing?**&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/2758/recording-an-instructor-while-filming-him-from-a-distance" ContentLicense="CC BY-SA 3.0" />
  <row Id="37315" PostHistoryTypeId="1" PostId="22740" RevisionGUID="cd3637ee-9698-460b-a0d8-388a5bcdea93" CreationDate="2012-05-10T08:39:55.537" UserId="3187" Text="Recording an instructor while filming him from a distance - Take II" ContentLicense="CC BY-SA 3.0" />
  <row Id="37316" PostHistoryTypeId="3" PostId="22740" RevisionGUID="cd3637ee-9698-460b-a0d8-388a5bcdea93" CreationDate="2012-05-10T08:39:55.537" UserId="3187" Text="&lt;video&gt;&lt;audio-recording&gt;&lt;audio&gt;&lt;sync&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37317" PostHistoryTypeId="36" PostId="22743" RevisionGUID="74a3b7fc-1025-4f81-bcfd-136cb4cee947" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording" />
  <row Id="37318" PostHistoryTypeId="36" PostId="22744" RevisionGUID="f9bd577a-fe4a-4c6f-8b7a-1388d7a8d3b2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/69#69" />
  <row Id="37319" PostHistoryTypeId="36" PostId="22745" RevisionGUID="7e3fb338-c92e-445c-a4c9-68384fff3d6e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/74#74" />
  <row Id="37320" PostHistoryTypeId="36" PostId="22746" RevisionGUID="f8d8d0bf-f4bc-4163-9dfa-7c84a2cad4cc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/107#107" />
  <row Id="37321" PostHistoryTypeId="36" PostId="22747" RevisionGUID="151f7c01-5930-4681-8aa5-9d6f8de1aadd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/132#132" />
  <row Id="37322" PostHistoryTypeId="36" PostId="22748" RevisionGUID="b05111b9-606b-4426-a0c5-e252fa8d3334" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/188#188" />
  <row Id="37323" PostHistoryTypeId="36" PostId="22749" RevisionGUID="8233536d-8c73-4ec0-91d1-5ac9b15cbad8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/294#294" />
  <row Id="37324" PostHistoryTypeId="36" PostId="22750" RevisionGUID="7ee5c992-5c10-46ca-a1fe-4188045bfd53" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/320#320" />
  <row Id="37325" PostHistoryTypeId="36" PostId="22751" RevisionGUID="419350a6-94e9-4456-a269-f751857ee52f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/432#432" />
  <row Id="37326" PostHistoryTypeId="36" PostId="22752" RevisionGUID="508a4bab-5913-4660-a8ed-4ee9e417ca63" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/433#433" />
  <row Id="37327" PostHistoryTypeId="36" PostId="22753" RevisionGUID="1cf327be-3e0e-4024-b904-389894935b6d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/434#434" />
  <row Id="37328" PostHistoryTypeId="36" PostId="22754" RevisionGUID="21bf024e-b72e-4098-bc02-db375a817166" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/435#435" />
  <row Id="37329" PostHistoryTypeId="36" PostId="22755" RevisionGUID="14f9d2f3-fe1e-4b64-9091-0c31ea502729" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/3219#3219" />
  <row Id="37330" PostHistoryTypeId="36" PostId="22756" RevisionGUID="5831753e-3749-4b7e-8c7f-bb5b61a93780" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/4135#4135" />
  <row Id="37331" PostHistoryTypeId="36" PostId="22757" RevisionGUID="17d45f9b-9c27-499e-9961-7c6c86ac85b7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/4881#4881" />
  <row Id="37332" PostHistoryTypeId="36" PostId="22758" RevisionGUID="7bee6ce2-67c4-4b57-a98d-2d1b9d4d3ab5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/9451#9451" />
  <row Id="37333" PostHistoryTypeId="36" PostId="22759" RevisionGUID="f5f10396-874d-4839-98f0-f4a87d26d3df" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/66/the-most-common-mistakes-for-newbies-recording/9464#9464" />
  <row Id="37334" PostHistoryTypeId="2" PostId="22744" RevisionGUID="edea0246-66a4-4c55-9fe3-1ed7c28f5a50" CreationDate="2010-12-07T22:13:29.590" UserId="7398" UserDisplayName="BenV" Text="In general, **overdoing everything**.  &#xD;&#xA;&#xD;&#xA;New people tend to add reverb, compression, and other effects just because they can.  Audio production is one area where quantity cannot replace quality." ContentLicense="CC BY-SA 2.5" />
  <row Id="37335" PostHistoryTypeId="2" PostId="22745" RevisionGUID="09c65306-d8ac-4144-a21d-30bf53ceef81" CreationDate="2010-12-07T22:24:01.137" UserDisplayName="chris" Text="Not taking enough time to set up &amp; test things out.  Chances are, you won't actually be able to fix it in the mix." ContentLicense="CC BY-SA 2.5" />
  <row Id="37336" PostHistoryTypeId="2" PostId="22746" RevisionGUID="30b89fe6-df68-4740-a7ff-c70794539225" CreationDate="2010-12-08T09:15:58.353" UserId="7592" UserDisplayName="Pelle ten Cate" Text="Being too stressed when things are getting slightly complicated or something doesn't work. Musicians are generally nice people (really, this is something many people forget as soon as they get behind a mixing desk!), and they allow you to claim all the time you need. As soon as you feel any time pressure during your recording session, your focus on the quality of the music and the way it sounds is decreasing. My advice in such a situation: ask your musicians to leave the studio for half an hour or so, so you can sort things out. Remember that recording and producing should be fun to do, as long as you love the music. :)&#xD;&#xA;&#xD;&#xA;Secondly: don't be too hard on yourself. Mistakes happen all the time, and the best thing you can do is learn from them, by making them. " ContentLicense="CC BY-SA 2.5" />
  <row Id="37337" PostHistoryTypeId="2" PostId="22747" RevisionGUID="52044da6-b687-4b0a-91da-72a59648fb65" CreationDate="2010-12-08T15:53:26.580" UserId="7294" UserDisplayName="Warrior Bob" Text="Pressing &quot;stop&quot; before the reverb trail has died out from the last note of the performance.  Or worse, before the actual last note of the performance that he didn't know was there.&#xD;&#xA;&#xD;&#xA;(I've done this)" ContentLicense="CC BY-SA 2.5" />
  <row Id="37338" PostHistoryTypeId="2" PostId="22748" RevisionGUID="940fe08c-8b7d-4fd8-8ab1-51184c8aa22a" CreationDate="2010-12-09T12:43:19.453" UserId="7592" UserDisplayName="Pelle ten Cate" Text="A big mistake is to stop using your ears. Always keep listening to what you create!&#xD;&#xA;&#xD;&#xA;I've seen so many people do this, they just do things because they think they are always good things. I know somebody that always used compression because he was told to do so, even when it was completely unnecessary. When I asked him why, he just said: &quot;I just always do this.&quot; He was clearly told by somebody else that it could (***could!***) be useful.&#xD;&#xA;&#xD;&#xA;If you listen once, you decide that you need for instance a compressor and you applied it with settings that you think are appropriate, don't consider the job done. Use your ears and ask yourself if you are genuinly happy with the result.&#xD;&#xA;&#xD;&#xA;If you record speech, don't apply an EQ to increase 3KHz and 8KHz to improve the intelligibility if you don't have a real problem with it, or if you don't hear any improvements.&#xD;&#xA;&#xD;&#xA;Never do anything to your sound if the reason for it is not coming from your ears. Always tend to trusting your ears more than anything you learned." ContentLicense="CC BY-SA 2.5" />
  <row Id="37339" PostHistoryTypeId="2" PostId="22749" RevisionGUID="946dcebe-3409-41f3-b26d-6fae97527448" CreationDate="2010-12-15T17:55:32.770" UserDisplayName="joe" Text="**Perfection is the enemy of progress.**  Don't spend an eternity on your first song just to realize that you don't have the time to finish the rest. &#xD;&#xA;&#xD;&#xA;Also, for beginners it is best to finish each song before moving onto the next. This way you don't spend days recording and have nothing to show for it." ContentLicense="CC BY-SA 2.5" />
  <row Id="37340" PostHistoryTypeId="2" PostId="22750" RevisionGUID="acb6692c-967c-4011-9732-d2f0a24efa2b" CreationDate="2010-12-16T06:45:07.297" UserId="24932" UserDisplayName="Sam" Text=" - Not to experiment&#xD;&#xA;&#xD;&#xA; - Thinking of the job as if there are mistakes to be made, whereas actually its an art form, and its only a matter of taste whether you like this or that (the extraordinary range of audiences and styles of recordings is the proof for this). &#xD;&#xA;&#xD;&#xA; - Not to get drunk after an impressive nights perfomance with a band, losing all the files in the morning, recovering them, and coming up with a creative solutions to fix everything.&#xD;&#xA;&#xD;&#xA; - Not to go ahead and give all those silly effects a try, then get enough of all of them and know that quality lies in the story. &#xD;&#xA;&#xD;&#xA; - Being too much insecure about yourself&#xD;&#xA;&#xD;&#xA; - Spending time reading these posts, while meanwhile you could be enjoying a smokey, jazzy environment filled with rich sounds, that you feel you want to record!" ContentLicense="CC BY-SA 2.5" />
  <row Id="37341" PostHistoryTypeId="2" PostId="22751" RevisionGUID="5f3df7b1-12d4-46a1-b8fd-26b194cdfe90" CreationDate="2010-12-23T16:13:19.887" UserDisplayName="Andrew" Text="**Failing to save your work frequently, or worse, failing to backup your work frequently (or at all).** &#xD;&#xA;&#xD;&#xA;Don't just rely on your recording software's Undo capabilities - *always* enable Auto-Save if it has that feature. Additionally, setup your digital workstation to automatically save a copy of your work every 15 or 30 minutes, and also save off a snapshot of the entire project including all audio files at the end of every day. Use an online backup service or flash drive. You never know when your recording software is going to hang or crash, or when the HD is going to die. &#xD;&#xA;&#xD;&#xA;Losing a few hours worth of work is extremely frustrating, but losing an entire album is devastating." ContentLicense="CC BY-SA 2.5" />
  <row Id="37342" PostHistoryTypeId="2" PostId="22752" RevisionGUID="176d9961-a4a0-412c-a6df-f115b9b18f72" CreationDate="2010-12-23T16:17:35.407" UserDisplayName="Andrew" Text="Sometimes it helps to walk away from the studio for a while, and listen to something else. That'll keep your ears fresh. Or you can ask someone who hasn't been involved with the project to listen to the mix." ContentLicense="CC BY-SA 2.5" />
  <row Id="37343" PostHistoryTypeId="2" PostId="22753" RevisionGUID="631c3048-0832-40fc-86b3-c12a7c7583fd" CreationDate="2010-12-23T16:24:24.123" UserDisplayName="Andrew" Text="**Not listening to the master candidate through a variety of speakers** (headphones, car stereo, iPod earbuds, etc).  Simply using the studio monitors isn't enough." ContentLicense="CC BY-SA 2.5" />
  <row Id="37344" PostHistoryTypeId="2" PostId="22754" RevisionGUID="7033b80b-b748-4ad7-bf68-fae3d0e38a50" CreationDate="2010-12-23T16:31:01.527" UserDisplayName="mitch_moop" Text="When recording:&#xD;&#xA;&#xD;&#xA; - Not experimenting enough (or at all) with different mics and with mic placement.  (Try the kick drum mic on the back head; try different spots on a guitar cabinet, at different distances; etc)&#xD;&#xA;&#xD;&#xA; - Having an open channel but not recording a direct in feed of the guitar.  This can really save you if it turns out the amp distortion that sounded great on its own is abrasive or doesn't work in the mix.&#xD;&#xA;&#xD;&#xA; - Bass guitar.  Good luck.  Experiment a lot on this to find out what works, direct-in is always a good idea no matter how you try to mic it.&#xD;&#xA;&#xD;&#xA; - Really novice mistake that I made for years: using a little XLR to 1/4&quot; adapter to run mics into a four-track tape machine, with no preamps.  It worked, but everything sounded bad, buzzy, with weird high-pitched artifacts, etc etc.&#xD;&#xA;&#xD;&#xA;When mixing:&#xD;&#xA;&#xD;&#xA; - Too much EQ addition: try subtractive EQ-ing first.&#xD;&#xA;&#xD;&#xA; - Too much volume: leave headroom so you have room to work with at the end of the mix for effects and mastering.&#xD;&#xA;&#xD;&#xA; - Not being aware of the limitations of your mixing environment.  It's really hard to mix only in headphones and get a great mix, but it's also hard to properly align studio monitors and to acoustically treat a room.  At least be aware of the limitations of your setup - &quot;My headphones do X to the sound, but my monitor setup does Y to the sound.&quot;  In a typical basement setup, your monitors and the room probably give you tons more bass than is actually in the mix - just be aware and check on different speakers, rooms, and headphones!" ContentLicense="CC BY-SA 2.5" />
  <row Id="37345" PostHistoryTypeId="2" PostId="22755" RevisionGUID="270b1f61-ec08-4923-b0b7-20bc899901e8" CreationDate="2012-02-06T23:29:56.097" UserId="7188" Text="5 ways a newbie can be more professional:&#xD;&#xA;&#xD;&#xA;1) Don't mess with the levels while the recording is in process as this changes the signal to noise ratio enough to make the track sound wonky.&#xD;&#xA;&#xD;&#xA;Set your levels before you punch the record button, I generally run as many takes as needed to set the peak load.&#xD;&#xA;&#xD;&#xA;2) Don't expect everything is in tune.&#xD;&#xA;&#xD;&#xA;Make double sure that every instrument is tuned appropriately for the piece. I say 'appropriately' as some instruments may require a slight nuance differing from standard pitch. For example piano tunings have a wide range of deviation, compare a 'honky-tonk' piano to a concert grand.&#xD;&#xA;&#xD;&#xA;3) Don't try to cram everyone into one track (assuming you have a multi-track system).&#xD;&#xA;&#xD;&#xA;Be careful when you are recording multiple tracks simultaneously, assign as many channels as you need to give each voice it's own track. This will make mixing a lot easier.&#xD;&#xA;&#xD;&#xA;4) Don't assume it will all 'fall together'.&#xD;&#xA;&#xD;&#xA;You have to have a plan. Make a list of tracks, how they will be recorded, what effects might be employed during recording or later. In short, spell everything out before you start. Consider this your script.&#xD;&#xA;&#xD;&#xA;5) Don't think you can remember all the details.&#xD;&#xA;&#xD;&#xA;Make good documentation from session to mixing to master. Document what voice is on each track: guitar, violin, chorus, soprano, tenor, etc. Document anything special like &quot;Hey that sax solo on track 2 needs to be redone because the sax needs a new reed&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="37346" PostHistoryTypeId="2" PostId="22756" RevisionGUID="ca9a63fe-920d-475f-aa58-fb396538057e" CreationDate="2012-06-07T20:06:30.753" UserId="7257" UserDisplayName="le_garry" Text="**Sticking to what you know versus experimenting in new methods in music**&#xD;&#xA;&#xD;&#xA;Often times I find myself working in the same chords and instruments because I am comfortable with them. Don't be afraid to try new things. You may be surprised at what other stuff is out there!" ContentLicense="CC BY-SA 3.0" />
  <row Id="37347" PostHistoryTypeId="2" PostId="22757" RevisionGUID="e3f6fba7-97b0-49f9-ab51-8e6c4e6bb9d5" CreationDate="2012-10-01T06:19:14.367" UserDisplayName="WLPhoenix" Text="**Not doing enough preproduction.**&#xD;&#xA;&#xD;&#xA;Preproduction is what you do before you sit down in a session. This includes talking with the band, making sure they know what they plan to do. Get lyrics sheets, chord charts, tempo and key of the song, etc. The more you know about the song, the better you can figure out exactly which mics and techniques you want to use. Maybe you can borrow something that you wouldn't be able to if you found out what they were playing when you got to the session.&#xD;&#xA;&#xD;&#xA;For professional engineers, preproduction also includes finding out how the band plans to pay you for the session. For some reason, there are people out there who seem to think that you will be happy to record them for free. If you don't plan on working for free, make sure they understand that, because it's alot easier to tell someone no before you start recording than it is after you're done mixing and they want the masters." ContentLicense="CC BY-SA 3.0" />
  <row Id="37348" PostHistoryTypeId="2" PostId="22758" RevisionGUID="246efa05-56bc-4e43-aebd-3e695beac576" CreationDate="2013-11-19T21:37:38.927" UserDisplayName="Wolfen666" Text="I think too that it is important to separate recording and mixing issues.&#xD;&#xA;&#xD;&#xA;About recording, I have one rule I think about all the time : **to avoid to postpone decision making**. It was not a problem some decades ago by design, when everything is done with hardware, but it is nowadays because you can edit anything with modern DAWs, and so you can procrastinate about making good mic placements, good takes, making the band play right etc. For me, good practices in recording are about doing something right once, without even thinking about fixing it later, if possible of course. It's twice more important for someone who uses his computer to record his own music.&#xD;&#xA;&#xD;&#xA;About mixing, I think Mike Senior from Sound on Sound has given very good advice in this article : &#xD;&#xA;&#xD;&#xA;http://www.soundonsound.com/sos/sep11/articles/mix-mistakes.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="37349" PostHistoryTypeId="2" PostId="22759" RevisionGUID="f6aae6d3-e94e-4b32-ad9c-42091a7b7d24" CreationDate="2013-11-21T18:58:29.723" UserId="17571" UserDisplayName="Zeronyne" Text="**Not Leaving Headroom**&#xD;&#xA;&#xD;&#xA;Unless you are pushing to analog tape, you don't need to pin the meters just below the redline. Processing through plug ins will add amplitude, so you need to leave room. The best practice of pushing levels is antiquated in this world of virtual instruments and very quiet mixers." ContentLicense="CC BY-SA 3.0" />
  <row Id="37350" PostHistoryTypeId="2" PostId="22743" RevisionGUID="27cb64ff-7906-4b03-b23f-91d332acc9a5" CreationDate="2010-12-07T22:05:39.243" UserDisplayName="Willbill" Text="What are the the most common  mistakes that new engineers tend to make when recording and mixing down their tracks?" ContentLicense="CC BY-SA 2.5" />
  <row Id="37351" PostHistoryTypeId="1" PostId="22743" RevisionGUID="27cb64ff-7906-4b03-b23f-91d332acc9a5" CreationDate="2010-12-07T22:05:39.243" UserDisplayName="Willbill" Text="The most common mistakes for newbies recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="37352" PostHistoryTypeId="3" PostId="22743" RevisionGUID="27cb64ff-7906-4b03-b23f-91d332acc9a5" CreationDate="2010-12-07T22:05:39.243" UserDisplayName="Willbill" Text="&lt;audio-recording&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37353" PostHistoryTypeId="36" PostId="22760" RevisionGUID="49698c0d-d85e-4060-b704-0442e4210514" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/595/doubling-a-track" />
  <row Id="37354" PostHistoryTypeId="2" PostId="22761" RevisionGUID="6d5f8e4b-080a-4c36-b77e-e688722a52ca" CreationDate="2011-01-14T22:17:38.530" UserId="9459" UserDisplayName="Matthew Read" Text="Actually recording it twice produces a &quot;chorus&quot; effect.  Think of the vocals in your average *Queen* song; Freddie Mercury would often sing the same thing multiple times with the same approximate timing and pitch, but due to natural imperfections it sounds almost as if he's singing with someone else.  Simply doubling the same track won't do this, even if you offset it a little; you're trying to introduce imperfection, and a perfect copy won't do that.&#xD;&#xA;&#xD;&#xA;This is different from recording the second part with a different guitar, of course." ContentLicense="CC BY-SA 2.5" />
  <row Id="37355" PostHistoryTypeId="2" PostId="22760" RevisionGUID="0bcc0908-aa4b-4f8c-8454-4aaa83fb3296" CreationDate="2011-01-14T21:33:39.830" UserDisplayName="Micah" Text="I was reading an article about recording a guitar and the guy was recommending doubling the track by actually recording it twice. I realize that this thickens up the sound which is good but is playing it a second time any different then just duplicating the recorded tracks in my DAW? It still beefs up the sound but I'm not forced to play it perfectly 2 times. ThoughtS?" ContentLicense="CC BY-SA 2.5" />
  <row Id="37356" PostHistoryTypeId="1" PostId="22760" RevisionGUID="0bcc0908-aa4b-4f8c-8454-4aaa83fb3296" CreationDate="2011-01-14T21:33:39.830" UserDisplayName="Micah" Text="Doubling a track" ContentLicense="CC BY-SA 2.5" />
  <row Id="37357" PostHistoryTypeId="3" PostId="22760" RevisionGUID="0bcc0908-aa4b-4f8c-8454-4aaa83fb3296" CreationDate="2011-01-14T21:33:39.830" UserDisplayName="Micah" Text="&lt;audio-recording&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37358" PostHistoryTypeId="36" PostId="22761" RevisionGUID="207263ab-55bf-40b1-bccb-f585ac34e0ef" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/595/doubling-a-track/597#597" />
  <row Id="37359" PostHistoryTypeId="36" PostId="22762" RevisionGUID="fe2a811f-0a85-4805-845a-6a6a123a6981" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/595/doubling-a-track/599#599" />
  <row Id="37360" PostHistoryTypeId="36" PostId="22763" RevisionGUID="66009893-e441-4be2-a88b-556524ea1c56" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/595/doubling-a-track/600#600" />
  <row Id="37361" PostHistoryTypeId="36" PostId="22764" RevisionGUID="08eb4df5-a745-4173-b46e-6e0bba288b57" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/595/doubling-a-track/606#606" />
  <row Id="37362" PostHistoryTypeId="2" PostId="22762" RevisionGUID="9fde91a1-3716-4e74-9a93-70235f8a1c0b" CreationDate="2011-01-14T23:50:17.680" UserDisplayName="DRL" Text="A couple of things with doubling up recording a guitar track; you can for the first recording, dial one tone into the amp and for the second recording dial in a different tone and play the same track again, effectively mimicking two guitar tones(guitarists) playing together; you could then double each of these up and push one of each to each speaker. &#xD;&#xA;&#xD;&#xA;As Matthew pointed out; using a different guitar can add to the above effect&#xD;&#xA;&#xD;&#xA;Other than this I cant see a good enough reason; when working on solo material; though I know of people who need to double or triple up their guitar recordings to get the tone they want.&#xD;&#xA;&#xD;&#xA;I did see an  interesting video on Youtube were a guy played a track, doubled it up and the quantized one of the tracks to create the chorus effect Matthew is talking about without actually recording the rack twice.   I have never applied it; but it looked useful enough (sorry cant find it, it was a while ago)." ContentLicense="CC BY-SA 2.5" />
  <row Id="37363" PostHistoryTypeId="2" PostId="22763" RevisionGUID="4533abf2-86af-4498-9677-3c1afb8fc9fe" CreationDate="2011-01-15T00:17:20.567" UserId="7294" UserDisplayName="Warrior Bob" Text="If you literally duplicate it in your DAW, then you have a sample-for-sample copy of the original track.  Unless you change one of the recordings somehow, it won't make the resultant sound beefier so much as it will make it twice the volume.&#xD;&#xA;&#xD;&#xA;Re-recording it causes a different-enough sound that it allows things to be &quot;thicker&quot; because even though it is one part, it sounds like there are two instruments playing it.  Because there are.&#xD;&#xA;&#xD;&#xA;If you don't want to play it a second time for whatever reason (and there can be many reasons for this) you might consider messing with the other track a bit.  Delay it slightly, vary the pitch in tiny increments over time, things like that.  Alternately, you can omit the second track entirely, and just put a delay or chorus effect on the original track.  A chorus is designed to produce an effect very similar to what you described." ContentLicense="CC BY-SA 2.5" />
  <row Id="37364" PostHistoryTypeId="2" PostId="22764" RevisionGUID="f21c4b92-efc6-4c7f-be2f-36ce2051d675" CreationDate="2011-01-16T22:23:02.247" UserId="8336" UserDisplayName="Sklivvz" Text="There are many reasons to double guitars in a recording, but the main one, in my opinion is because you want to pan the two tracks on the side during mix. Guitars have frequencies that typically compete with the voice tracks, which you want to keep in the middle.&#xD;&#xA;&#xD;&#xA;Now, simply doubling a track won't cut it, because there is no way you can move the two tracks on the left and the right (it would always appear in the center of the spectrum).&#xD;&#xA;&#xD;&#xA;There are alternatives to dubbing guitars - none of them give the same effect in my opinion but you might want to try them.&#xD;&#xA;&#xD;&#xA;1. use a chorus/phaser/flanger/pitch shifter: this gives you another track which you can pan.&#xD;&#xA;2. use a short delay between two copies: this gives though has an aftereffect due to phases known as the &quot;[comb effect][1]&quot; which is probably not very desirable.&#xD;&#xA;&#xD;&#xA;If instead you opt for dubbing them you have the following options:&#xD;&#xA;&#xD;&#xA;1. Use the same setup and play them as close as possible. This is the classic &quot;wall of sound&quot; choice (actually it's not that uncommon to use four guitars).&#xD;&#xA;2. Use different setups and play them as close as possible. This can sound very nice but it's tricky to get balanced right in the mix. A classic combo is using a strat and a les paul.&#xD;&#xA;3. Use the same setup but play different parts. For example, on strumming parts, it's great if the strumming rhythms are different.&#xD;&#xA;4. Use different setups and different parts: classically, a strumming six string and a strumming twelve strings.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Comb_filter" ContentLicense="CC BY-SA 2.5" />
  <row Id="37365" PostHistoryTypeId="36" PostId="22765" RevisionGUID="35639f0c-5bdc-4ba1-a6b1-7435bf193444" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4775/what-to-fix-first-audio-or-video" />
  <row Id="37366" PostHistoryTypeId="2" PostId="22766" RevisionGUID="d895b540-ceec-4a86-a16f-03b3ff1fda92" CreationDate="2012-09-19T16:21:22.593" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="Technically you could do this either way, but you know your own style while I don't so you should have the final say.&#xD;&#xA;&#xD;&#xA;Since you are creating the audio yourself **it will probably be easier to finish the video editing and arranging first and completely so that you can write your song around the flow of the video**. Since you are going with an ambient feel, *it is a good idea to have a simple metronome playing along while editing the video just to make sure you stay on beat and tempo*.&#xD;&#xA;&#xD;&#xA;I have done this both ways and would say that if you're using a song that is already composed, it is generally easier to edit the video around the audio. But in the case where you're creating the audio specifically for the video, it might be easier to edit the video completely ahead of time and then write the song accordingly. **Making the song second might also inspire you to be much more creative and end up with something way cooler than just editing the video alone**.&#xD;&#xA;&#xD;&#xA;Just make sure to **PLAN AHEAD. Have a general idea of how the song will be laid out so that you can edit the video accordingly.** For example, I made a concert video for my class that was composed of live clips from the band Explosions in the Sky's live performances. I used their song [Birth and Death of the Day](http://www.youtube.com/watch?v=Bvm1AE1b2n8) and in the song there is a breakdown right before a &quot;[drop](http://www.youtube.com/watch?v=Bvm1AE1b2n8&amp;t=04m04s)&quot; where the bass, kick drum, and multiple crashes all hit in a cool pattern. I edited the video so that every time these hit in sync with the pattern, it would switch to a different slow motion clip with the very last one doing a fade out before the fast part kicks in for the rest of the video. In this situation it was much easier to edit the video to fit the song then to edit the song to fit the video.&#xD;&#xA;&#xD;&#xA;Its only a toss up to your personal preference but I hope this helps you decide what to do." ContentLicense="CC BY-SA 3.0" />
  <row Id="37367" PostHistoryTypeId="2" PostId="22765" RevisionGUID="71a07738-aefc-41f6-bffc-7980f0e40f11" CreationDate="2012-09-19T13:25:35.200" UserId="7176" Text="I have made a short timelapse of some nature phenomena. I would like to add ambient-like background music to it with Ableton Live. Both the timelapse and the music are (going to be) made by me, the problem is that I can not decide on what to &quot;fix&quot; first.  &#xD;&#xA;Should I make a final cut of the timelapse first and adjust the music to it? Or should I create the ambient track and cut the video to match it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37368" PostHistoryTypeId="1" PostId="22765" RevisionGUID="71a07738-aefc-41f6-bffc-7980f0e40f11" CreationDate="2012-09-19T13:25:35.200" UserId="7176" Text="What to fix first, audio or video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37369" PostHistoryTypeId="3" PostId="22765" RevisionGUID="71a07738-aefc-41f6-bffc-7980f0e40f11" CreationDate="2012-09-19T13:25:35.200" UserId="7176" Text="&lt;video&gt;&lt;audio&gt;&lt;scoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37370" PostHistoryTypeId="36" PostId="22766" RevisionGUID="4b378761-bbff-4d77-829e-0cb20b73d022" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4775/what-to-fix-first-audio-or-video/4778#4778" />
  <row Id="37371" PostHistoryTypeId="36" PostId="22767" RevisionGUID="f7d85e94-78ae-47ff-950b-3cd528946e65" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3343/why-do-my-daws-reverb-presets-sound-artificial-and-metallic-on-certain-recordin" />
  <row Id="37372" PostHistoryTypeId="2" PostId="22768" RevisionGUID="514b02ad-5d1d-49f2-b89b-d09746cfb6ee" CreationDate="2012-02-18T16:59:06.860" UserDisplayName="Sean Michael Dorian" Text="I've spent a lot of time listening to different reverbs and reading about the characteristics of each, and let me say it's a subject with a lot of opinion and taste. Fortunately, there are some universal things. Based on your screenshot, here's what each plug-in parameter does:&#xD;&#xA;&#xD;&#xA;**Dry Mix:** How much of the unaffected (Non-reverbed) signal to blend into the output of the plug-in.&#xD;&#xA;&#xD;&#xA;**Wet Mix:** How much of the affected (Reverbed) signal to blend into the output of the plug-in.&#xD;&#xA;&#xD;&#xA;**Link:** I'm assuming this links the Dry/Wet Mix values. &#xD;&#xA;&#xD;&#xA;**Bypass:** Turns the plug-in on and off. (I'm sure you knew this already)&#xD;&#xA;&#xD;&#xA;**Decay (S):** This is how long it takes for the reverb to decay, or stop sounding, in seconds. This is called the RT60 factor. In technical terms, this is how long it takes (in seconds) for the reverb to reach -60 db.&#xD;&#xA;&#xD;&#xA;**Sparse/Dense/No Echo:** This affects the reflections of the reverb. In a very large room, there's a long reverb time with sparse echoes. In a smaller room, there's a short reverb time with dense echoes. No echo bypasses this.&#xD;&#xA;&#xD;&#xA;**LP Filter:** LP stands for Low-Pass, and you can think of it as a gate that only lets frequencies below the value be heard. This lets you sculpt the timbre of the reverb from the high frequencies down.&#xD;&#xA;&#xD;&#xA;**HP Filter:** HP stands for High-Pass, and you can think of it as a gate that only lets frequencies above the value be heard. This lets you sculpt the timbre of the reverb more, and it starts from the low frequencies and moves up.&#xD;&#xA;&#xD;&#xA;**Active:** This lets you turn off each filter.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;My Suggestions on Setting Reverb&#xD;&#xA;---------------------------------&#xD;&#xA;Get the time of the reverb first. Mix 100% of the wet signal in so you get an idea of what the reverb sounds like.&#xD;&#xA;&#xD;&#xA;Once you like the time of the reverb, roll the wet/dry signals to taste. Think about what you're trying to do with the reverb and how much you REALLY need. Reverb is best in small amounts, as we tend to add a lot of reverb to projects.&#xD;&#xA;&#xD;&#xA;Add the reflections (echoes). You may find you like some or none at all. Since you're new to this, you may want to do this step before adjusting the wet/dry signals.&#xD;&#xA;&#xD;&#xA;Use the filters to get the reverb tone you want. You can make it bright, dark, warm, etc. Adjectives are pretty arbitrary - just picture what you want and move the filters to do it.&#xD;&#xA;&#xD;&#xA;Keep in mind that there are an incredibly wide variety of reverb options - some costing thousands of dollars. The stock reverb plug-ins included with most programs (Especially Sonar) usually aren't great. However, that doesn't mean you can't make them work - it just takes skill and an understanding of what you want to do with it. Be patient and you'll get there. If you have any further questions, such as how EQ works with reverb, please feel free to ask.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37373" PostHistoryTypeId="2" PostId="22767" RevisionGUID="92945711-3766-4c3b-ab2c-3e62a1cb9ab8" CreationDate="2012-02-17T21:51:24.550" UserId="19700" UserDisplayName="Pieter" Text="Newbie question. I'm using Sonar LE in combination with a stock reverb effect. I've mostly used pre-programmed settings since I'm rather unfamiliar with audio production theory. On some recordings I tend to get artificial and metallic results with reverb. Why does this happen and how can I avoid it?&#xD;&#xA;&#xD;&#xA;Here's the settings window from my reverb plugin:&#xD;&#xA;&#xD;&#xA;![Reverb effect from Cakewalk](http://i.imgur.com/fD2TV.jpg)&#xD;&#xA;&#xD;&#xA;I'm not sure what all these settings are supposed to do and Sonar LE's digital manual didn't really give an explanation for them." ContentLicense="CC BY-SA 3.0" />
  <row Id="37374" PostHistoryTypeId="1" PostId="22767" RevisionGUID="92945711-3766-4c3b-ab2c-3e62a1cb9ab8" CreationDate="2012-02-17T21:51:24.550" UserId="19700" UserDisplayName="Pieter" Text="Why do my DAW's reverb presets sound artificial and metallic on certain recordings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37375" PostHistoryTypeId="3" PostId="22767" RevisionGUID="92945711-3766-4c3b-ab2c-3e62a1cb9ab8" CreationDate="2012-02-17T21:51:24.550" UserId="19700" UserDisplayName="Pieter" Text="&lt;audio-recording&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37376" PostHistoryTypeId="36" PostId="22768" RevisionGUID="fd089e36-318a-48a9-91c0-6d4c38beff6c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3343/why-do-my-daws-reverb-presets-sound-artificial-and-metallic-on-certain-recordin/3349#3349" />
  <row Id="37377" PostHistoryTypeId="36" PostId="22769" RevisionGUID="42c7c747-9c92-44c3-9bf7-10bbf89fa596" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3893/are-there-free-records-of-separate-piano-notes-in-wav-files-for-instance" />
  <row Id="37378" PostHistoryTypeId="36" PostId="22770" RevisionGUID="e88abbc0-5abd-47a7-9f5b-9e45167405e4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3893/are-there-free-records-of-separate-piano-notes-in-wav-files-for-instance/3894#3894" />
  <row Id="37379" PostHistoryTypeId="36" PostId="22771" RevisionGUID="3a7303ef-1c7f-43e6-a545-65afc092403d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3893/are-there-free-records-of-separate-piano-notes-in-wav-files-for-instance/4905#4905" />
  <row Id="37380" PostHistoryTypeId="36" PostId="22772" RevisionGUID="e1f4235f-3f87-406e-85e9-dfa64d8307fa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3893/are-there-free-records-of-separate-piano-notes-in-wav-files-for-instance/4907#4907" />
  <row Id="37381" PostHistoryTypeId="2" PostId="22770" RevisionGUID="b688cc0d-91df-40e1-bb0c-9b615910cb81" CreationDate="2011-08-05T03:35:03.840" UserId="7218" UserDisplayName="Robert Harvey" Text="It should be easy enough to find a [SoundFont](http://en.wikipedia.org/wiki/SoundFont) that contains what you want, [like this one](http://zenvoid.org/audio.html).&#xD;&#xA;&#xD;&#xA;Note that most SoundFonts bend each sample a few notes each way to cover the entire keyboard.  If you want one .WAV for each note on the piano, the [Fruity Loops Studio](http://www.image-line.com/downloads/flstudiodownload.html) demo allows you to make the files by just opening the piano roll, making the note then saving it in whatever format you like.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37382" PostHistoryTypeId="2" PostId="22771" RevisionGUID="79db1c90-b868-4a41-b5d5-1bed0247b23e" CreationDate="2012-10-03T03:54:42.227" UserDisplayName="houbysoft" Text="[The university of Iowa][1] has recordings of separate piano notes in `.aiff` format.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://theremin.music.uiowa.edu/MISpiano.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="37383" PostHistoryTypeId="2" PostId="22772" RevisionGUID="f455ac5b-bd56-4b1f-9665-45963f8845a0" CreationDate="2012-10-03T11:23:07.103" UserId="7189" Text="The [Yamaha OLPC Disklavier set][1] also exists.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://wiki.laptop.org/go/Free_sound_samples#The_Zenph_Studios_Yamaha_Disklavier_Pro_Piano_Multisamples_for_OLPC" ContentLicense="CC BY-SA 3.0" />
  <row Id="37384" PostHistoryTypeId="2" PostId="22769" RevisionGUID="0173f5f0-d3c7-4962-b27e-f39ba9db157c" CreationDate="2011-08-05T03:06:06.643" UserDisplayName="Art" Text="I'm trying to find some piano sound bank -for my childish experiments with sound - the most desired form is of course a number of .wav files, each one corresponding to a piano key - being a record of a real piano key sound.&#xD;&#xA;Is it possible to find such a thing? Preferably without any copyright issues.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37385" PostHistoryTypeId="1" PostId="22769" RevisionGUID="0173f5f0-d3c7-4962-b27e-f39ba9db157c" CreationDate="2011-08-05T03:06:06.643" UserDisplayName="Art" Text="Are there free records of separate piano notes in .wav files for instance?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37386" PostHistoryTypeId="3" PostId="22769" RevisionGUID="0173f5f0-d3c7-4962-b27e-f39ba9db157c" CreationDate="2011-08-05T03:06:06.643" UserDisplayName="Art" Text="&lt;audio&gt;&lt;synthesizer&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37387" PostHistoryTypeId="36" PostId="22773" RevisionGUID="8965f035-8b56-44d4-aee6-d88379703669" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9983/test-chamber-for-recording-played-sound" />
  <row Id="37388" PostHistoryTypeId="2" PostId="22774" RevisionGUID="72a9cd49-873a-491a-a69c-0f410db7903f" CreationDate="2014-01-21T18:31:11.430" UserDisplayName="TotalForge" Text="By all means try the box, measuring the baseline noise, and comparing against the component tests. If it meets your performance goals, great.  A box is going to leak sound, a box within a box less so. Two things stop sound from propagating, mass and dead air gaps, preferably both used together. &#xD;&#xA;&#xD;&#xA;Googling 'recording booth construction' will show you how isolation booths for vocal performers are made.   You could reduce the size of an iso booth down to your requirement while using the proper construction techniques.  &#xD;&#xA;&#xD;&#xA;The editor of www.silentpcreview.com has a similar requirement for testing low-noise PC components. The story of how he converted a room into an anechoic chamber is here.&#xD;&#xA;[anechoic chamber blog][1] Even if you don't want to do a whole room, there's some good information there.&#xD;&#xA;&#xD;&#xA;The box should probably be large enough for the lowest speech frequency, I'm not enough of an acoustic expert to say with authority but that seems right on the face of it. &#xD;&#xA;&#xD;&#xA;Regarding sound to heat, there's not enough energy transfer there to affect the foam, the operating heat of the electronics would produce much more heat in my opinion. Keep in mind that foam does not soundproof, it reduces acoustic reflections in the space it is installed in.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.silentpcreview.com/article876-page4.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="37389" PostHistoryTypeId="2" PostId="22773" RevisionGUID="d4a93aeb-2679-45dc-a9f7-18ae6c39e3f9" CreationDate="2014-01-20T20:59:53.297" UserDisplayName="Yimin Rong" Text="We want an environment where we can play speech recordings and re-record to determine distortions added by the equipment. We'd like it to be reproducible, meaning if we repeated the test 10 times, we'd get similar results each time. The recording apparatus is very small, like 1 cm x 5 cm x 10 cm and the cone of the speaker to play the recordings is like 4 cm in diameter.&#xD;&#xA;&#xD;&#xA;We're thinking a mini anechoic room, something as simple as a double-walled cardboard box with some bumpy foam inside. Suspend the recording apparatus with clips on the ends of thin wires. The speaker can be embedded in the foam with just the front exposed. We can put the box in a quiet room to limit external noise.&#xD;&#xA;&#xD;&#xA;Is there a limit to how small the box can be, or should the box be large enough to accommodate the lowest wavelength of sound in speech?&#xD;&#xA;&#xD;&#xA;Since all the sound energy eventually degrades into heat, would we expect the internal temperature to increase significantly? If so, should we look into foam with a low thermal expansion rate?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37390" PostHistoryTypeId="1" PostId="22773" RevisionGUID="d4a93aeb-2679-45dc-a9f7-18ae6c39e3f9" CreationDate="2014-01-20T20:59:53.297" UserDisplayName="Yimin Rong" Text="Test chamber for recording played sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="37391" PostHistoryTypeId="3" PostId="22773" RevisionGUID="d4a93aeb-2679-45dc-a9f7-18ae6c39e3f9" CreationDate="2014-01-20T20:59:53.297" UserDisplayName="Yimin Rong" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37392" PostHistoryTypeId="36" PostId="22774" RevisionGUID="350226d2-7747-4b40-b46e-fe3af0a33bed" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9983/test-chamber-for-recording-played-sound/9992#9992" />
  <row Id="37393" PostHistoryTypeId="36" PostId="22775" RevisionGUID="2c2899f9-9516-4a72-ab5c-fb4d8b6aadaf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8479/why-do-i-get-noise-in-audacity-when-recording" />
  <row Id="37394" PostHistoryTypeId="2" PostId="22776" RevisionGUID="2f1a16c1-8ddf-44ab-841d-64921477ba13" CreationDate="2013-07-26T18:06:21.690" UserId="7474" UserDisplayName="Pres" Text="I would suggest you start by reading this article, which apart from giving you ideas, is also handy for education. http://www.soundonsound.com/sos/nov04/articles/computerproblems.htm&#xD;&#xA;&#xD;&#xA;The signal noise on your soundcloud sounds like computer component noise. Are you setting your equipment levels correctly? Check this article on gain staging: http://www.basic-home-recording-studio.com/gain-staging.html&#xD;&#xA;&#xD;&#xA;Try swapping the 808 and the Mackie with other combinations of equipment to make sure there's no ground loop or other interactions going on there.&#xD;&#xA;&#xD;&#xA;Finally, if all else fails (and you REALLY need to get a demo/basic idea down ASAP): Run the volumes high from your equipment, but just low enough not to clip (distort at the soundcard input). Then when you've recorded your bits, run an expander/gate plugin on each instrument in Cubase/audacity to remove the noise floor.&#xD;&#xA;&#xD;&#xA;My hunch is your gain staging is a bit out." ContentLicense="CC BY-SA 3.0" />
  <row Id="37395" PostHistoryTypeId="2" PostId="22775" RevisionGUID="f22c26a1-439c-47cf-8dbd-f8cb6e00fb8b" CreationDate="2013-07-23T18:33:42.003" UserId="7206" UserDisplayName="909 Niklas" Text="When I playback with Cubase, the sounds are crystal clear and with no noise. Then I record with audacity using these settings:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/PkwlL.png&#xD;&#xA;&#xD;&#xA;The result has a background noise like the noise level in my studio is too high but there is not this noise level during playback so I wonder what is the matter.&#xD;&#xA;&#xD;&#xA;I use a plexgear cheap usb soundcard, could that be the problem? But recording clearly has worked before, I suspect this is yet another cubase or audacity setting since those program are terrible with UX where everything can be on and off in addition to a level. &#xD;&#xA;&#xD;&#xA;Can you help me? My gear is Roland TR-808, Mackie mixer and this software. &#xD;&#xA;&#xD;&#xA;My soundcloud profil is www.soundcloud.com/niklasr where you can hear that some recording have to make background noise, why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37396" PostHistoryTypeId="1" PostId="22775" RevisionGUID="f22c26a1-439c-47cf-8dbd-f8cb6e00fb8b" CreationDate="2013-07-23T18:33:42.003" UserId="7206" UserDisplayName="909 Niklas" Text="Why do I get noise in audacity when recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37397" PostHistoryTypeId="3" PostId="22775" RevisionGUID="f22c26a1-439c-47cf-8dbd-f8cb6e00fb8b" CreationDate="2013-07-23T18:33:42.003" UserId="7206" UserDisplayName="909 Niklas" Text="&lt;audio-recording&gt;&lt;noise&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37398" PostHistoryTypeId="36" PostId="22776" RevisionGUID="5d5f7afb-3dce-476e-b2c0-f46f62934e08" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8479/why-do-i-get-noise-in-audacity-when-recording/8500#8500" />
  <row Id="37399" PostHistoryTypeId="36" PostId="22777" RevisionGUID="acbcb44d-5685-4c0e-812e-03ff683a696c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2386/how-far-apart-temporally-can-two-sounds-be-heard-while-still-sounding-like-they" />
  <row Id="37400" PostHistoryTypeId="36" PostId="22778" RevisionGUID="c4acffe4-dd31-488c-a49f-bf95ab1661d9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2386/how-far-apart-temporally-can-two-sounds-be-heard-while-still-sounding-like-they/2397#2397" />
  <row Id="37401" PostHistoryTypeId="36" PostId="22779" RevisionGUID="5e6261b1-2958-4e41-8046-119ce7505930" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2386/how-far-apart-temporally-can-two-sounds-be-heard-while-still-sounding-like-they/2420#2420" />
  <row Id="37402" PostHistoryTypeId="2" PostId="22778" RevisionGUID="9a185b33-fe61-4f08-bf33-ae93c20addb8" CreationDate="2011-09-28T22:57:07.010" UserDisplayName="H_7" Text="I misunderstood your question so this is the edited version:&#xD;&#xA;&#xD;&#xA;This is a **big challenge** specially in big monsters shows with only one sound source.  They use a special hardware to split correctly the sounds with the correctly delay to make sounds &quot;in sync&quot; everywhere.&#xD;&#xA;&#xD;&#xA;With more than one source you will need some net connection between the machines. In my opinion, better avoid wi-fi and use cables to get the high speed and security and no big delay between machines. Using sharing control you can control both in one machine and put machines to play &quot;in sync&quot;.&#xD;&#xA;&#xD;&#xA;You have to consider the sound velocity (*330 meters/second*), your area and the arrangement design of your sounds boxes to make a sound map ensuring every point will recept sound &quot;equaly&quot; with very little acceptable delay and with no interferences between boxes (too high volume generating a echo effect). Without a specialized sound enginner you can lose some time in a trial-and-error method but probably you can make it. I suggest hiring one, if your budget easy allow for this.&#xD;&#xA;&#xD;&#xA;If you want &#xD;&#xA;&#xD;&#xA;&gt; massively surround sound that **nobody would be able to shut down**, &#xD;&#xA;&#xD;&#xA;you probably will look for rent some oil power generators too.&#xD;&#xA;&#xD;&#xA;Good Luck with your speakers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="37403" PostHistoryTypeId="2" PostId="22779" RevisionGUID="3ddea309-6da2-4557-b153-e6a6f8583df2" CreationDate="2011-10-01T16:37:38.160" UserDisplayName="gloups" Text="Over 512 samples at 44.1 khz might be too incomfortable for real-time feeling. So let's say 80 milliseconds. If you substract this to the local computer buffering constraint (lets say 40 ms) it lets you half the time for network latency." ContentLicense="CC BY-SA 3.0" />
  <row Id="37404" PostHistoryTypeId="2" PostId="22780" RevisionGUID="29d2d61f-d86a-4ce8-bf48-f52f84ea5111" CreationDate="2011-10-06T23:38:16.337" UserId="982" Text="I dug a up thesis on the topic, **On the contribution of temporal and spatial cues to the perceptual organization of concurrent sounds ([link][1])**.  From scanning section *1.2 Temporal cues*, there are at least three factors involved, namely attack shape, volume, and onset time.  There's probably a frequency content dependency as well (i.e subbass/kick combos can have more temporal slop than cymbal/snare combos). However, as a rule of thumb (based on the referenced research by Schutte), it sounds like 50ms is a good approximate maximum offset for fast attacks. I didn't read the spatialization parts, but it sounds like the direction of the sound can be a factor as well.  &#xD;&#xA;&#xD;&#xA;  [1]: http://alexandria.tue.nl/extra2/200710717.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="37405" PostHistoryTypeId="2" PostId="22777" RevisionGUID="1abd712f-8db5-4d48-959b-8948fbde6671" CreationDate="2011-09-27T23:08:26.773" UserDisplayName="Thomas Levine" Text="I am trying to [synchronize music played on different computers][1]. I've been collecting quantitative information to try to identify sources of asynchrony.&#xD;&#xA;&#xD;&#xA;I would like to know how far apart in time two sounds need to be in order for people to think that they are playing at the same time. In other words, how imprecise can my synchronization be in order to sound like synchronization?&#xD;&#xA;&#xD;&#xA;This obviously depends on the sort of music that is being played, so I think I'm looking for the lowest number, which I think would correspond to especially fast and crisp music.&#xD;&#xA;&#xD;&#xA;## October 6 update ##&#xD;&#xA;Let's try asking it a different way. I've been looking for all of the possible sources of variable lag and logging them. Since the music still sounds off, at least one of the following must be true&#xD;&#xA;&#xD;&#xA; 1. There's a bug in my code.&#xD;&#xA; 2. I'm missing a source of lag.&#xD;&#xA; 3. A difference of one centisecond in the playing of two sounds is enough for people to hear them as different.&#xD;&#xA;&#xD;&#xA;One centisecond is one beat at 6000 bpm, or about one sixty-fourth of a beat at 94 bpm.&#xD;&#xA;&#xD;&#xA;## October 10 update ##&#xD;&#xA;Hmm I could also test this by offsetting a few sounds by a few centiseconds in some sound program, encoding them and then playing them.&#xD;&#xA;&#xD;&#xA;And people seem to think that I'm streaming music or that I'm asking about sources of latency. I'm not streaming music, but I'll keep in mind everyone's thoughts on where the latency may be coming from.&#xD;&#xA;&#xD;&#xA;  [1]: http://pap.io/web.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="37406" PostHistoryTypeId="1" PostId="22777" RevisionGUID="1abd712f-8db5-4d48-959b-8948fbde6671" CreationDate="2011-09-27T23:08:26.773" UserDisplayName="Thomas Levine" Text="How far apart temporally can two sounds be heard while still sounding like they are playing at the same time?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37407" PostHistoryTypeId="3" PostId="22777" RevisionGUID="1abd712f-8db5-4d48-959b-8948fbde6671" CreationDate="2011-09-27T23:08:26.773" UserDisplayName="Thomas Levine" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37408" PostHistoryTypeId="36" PostId="22780" RevisionGUID="464dcd15-0bdc-4b88-a31c-795f077ca904" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2386/how-far-apart-temporally-can-two-sounds-be-heard-while-still-sounding-like-they/2442#2442" />
  <row Id="37409" PostHistoryTypeId="36" PostId="22781" RevisionGUID="1c94676a-d4fa-4911-a11b-b425751c16ed" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4383/does-correcting-the-speed-of-audio-captured-from-vinyl-at-the-wrong-rpm-degrade" />
  <row Id="37410" PostHistoryTypeId="2" PostId="22782" RevisionGUID="26220a3b-c5b1-4464-a7d9-a9db583e2f1b" CreationDate="2012-07-08T14:38:37.180" UserId="7200" UserDisplayName="leftaroundabout" Text="It is definitely possible that the quality is degraded. All parts of the recording chain have some upper limit on the frequency range they can handle properly. On high-end turntables, this may well exceed the audible range by quite a lot and therefore not matter, but if it was digitalised at 44.1 kHz (which it almost certainly was, if it came back as a normal audio CD), you now have an inevitable brickwall nyqvist cutoff at 22.05 kHz * (33⅓) / 45 ≈ 16 kHz. Now, in a vinyl record, usually not too much happens above that frequency, but because it's analogue you don't have such a steep cutoff. So that might be audible, as well as any effects from otherwise nonlinear responses in the analogue parts of the conversion equipment.&#xD;&#xA;&#xD;&#xA;As for digital resampling in itself, that can be done well using the right algorithms. For such a factor of ≈2/3 simple cubic or even quadratic interpolation is already fine, &quot;perfect&quot; sinc isn't really necessary. Not sure what Audacity uses, but I'd expect it to be fine.&#xD;&#xA;&#xD;&#xA;But if they got something as obvious as 45 vs. 33⅓ wrong in a professional format conversion service, you should certainly demand this to be re-done properly." ContentLicense="CC BY-SA 3.0" />
  <row Id="37411" PostHistoryTypeId="2" PostId="22781" RevisionGUID="3f2533ee-0cf4-44c4-baf3-b7e1d125d22b" CreationDate="2012-07-08T13:23:37.910" UserId="7208" UserDisplayName="Matt McHenry" Text="I sent a record of mine to an analog -&gt; digital conversion service, and the CD that came back sounded like chipmunks.  They had played the record at 45 RPM on their capturing equipment instead of the proper 33 1/3.&#xD;&#xA;&#xD;&#xA;I was happy to discover that [Audacity](http://audacity.sourceforge.net/) has a &quot;change speed&quot; filter with presets for vinyl RPM, so I can fix this on my own in software.  It sounds okay on first listen, but I'm worried that this may cause a subtle degradation of quality.&#xD;&#xA;&#xD;&#xA;Should I demand that the A-&gt;D service re-convert from the source vinyl?  Or should I use some other tool (preferably one that runs on Linux) to get a better digital conversion?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37412" PostHistoryTypeId="1" PostId="22781" RevisionGUID="3f2533ee-0cf4-44c4-baf3-b7e1d125d22b" CreationDate="2012-07-08T13:23:37.910" UserId="7208" UserDisplayName="Matt McHenry" Text="Does correcting the speed of audio captured from vinyl at the wrong RPM degrade its quality?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37413" PostHistoryTypeId="3" PostId="22781" RevisionGUID="3f2533ee-0cf4-44c4-baf3-b7e1d125d22b" CreationDate="2012-07-08T13:23:37.910" UserId="7208" UserDisplayName="Matt McHenry" Text="&lt;audio-recording&gt;&lt;software&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37414" PostHistoryTypeId="36" PostId="22782" RevisionGUID="f7a3cf9d-9bca-4f6e-b582-c30ee0d4ba8e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4383/does-correcting-the-speed-of-audio-captured-from-vinyl-at-the-wrong-rpm-degrade/4384#4384" />
  <row Id="37415" PostHistoryTypeId="36" PostId="22783" RevisionGUID="5d077a40-ae84-463a-af0a-2df97cd58fdb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8002/whats-the-exact-curve-for-natural-audio-fading" />
  <row Id="37416" PostHistoryTypeId="36" PostId="22784" RevisionGUID="eefe187c-7fd5-4ee9-914f-5437092d5ada" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8002/whats-the-exact-curve-for-natural-audio-fading/8003#8003" />
  <row Id="37417" PostHistoryTypeId="36" PostId="22785" RevisionGUID="5fe97164-1a86-44f6-94a3-518f746a83d7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8002/whats-the-exact-curve-for-natural-audio-fading/8009#8009" />
  <row Id="37418" PostHistoryTypeId="2" PostId="22784" RevisionGUID="94aa9657-da59-44e4-bda3-2c880cc37850" CreationDate="2013-05-30T18:14:16.240" UserId="7294" UserDisplayName="Warrior Bob" Text="There's no particular standard - there are lots of ways to fade audio. A straight line is one of them, but in many cases some kind of curve is preferable and it's down to your preference which one is best. &#xD;&#xA;&#xD;&#xA;I found this image from [this page about potentiometers and their fading properties][1], which I felt illustrated this well:&#xD;&#xA;![Several different taper curves][2]&#xD;&#xA;&#xD;&#xA;Some kind of logarithmic curve, like depicted here, is common, but some audio packages like Reaper let you customize it a bit further, using something like a [Bezier curve][3]. I don't know if that's the *specific* kind of curve that is used, but it or something like it should work just fine.&#xD;&#xA;&#xD;&#xA;Although these represent cross-fades, you can get a feel for the wide range of possibilities (or perhaps read it as the lack of a standard).&#xD;&#xA;&#xD;&#xA;![fade types][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.geofex.com/article_folders/potsecrets/potscret.htm&#xD;&#xA;  [2]: http://i.stack.imgur.com/b8OS4.gif&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Bezier_curve&#xD;&#xA;  [4]: http://i.stack.imgur.com/NtBS3.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="37419" PostHistoryTypeId="2" PostId="22785" RevisionGUID="04c41896-38a6-48cd-8154-727859e103af" CreationDate="2013-05-31T01:23:53.847" UserId="7200" UserDisplayName="leftaroundabout" Text="&gt; doing a direct linear line doesn't sound natural&#xD;&#xA;&#xD;&#xA;Hm. First off, fading isn't a &quot;natural&quot; thing to start with, so if anything sounds natural it's mostly what we're _used to_, rather than some &quot;law&quot; based on mathematics, physics or even psychoacoustics. Traditionally, fades were in fact done by hand, and the engineers usually would have a whole lot of stuff to their mind, so the exact curve was often something of a random process. Indeed many pre-70s records have fades that sound hasty, undecisive or otherwise odd.&#xD;&#xA;&#xD;&#xA;There are sure enough some aspects of a fade where you can find objective criteria. Since a fade is something artificial, generally a means rather than an end, it should normally be as subtle as the time permits. This means, at no point change too fast, and also not too fast-changing _derivative_. Particularly, it is seldom good for a fade to start abruptly, rather it should smoothly get going, i.e. the &quot;upper edge&quot; should smoothly approach the constant &quot;on/loud&quot; level, in a round curve. At the other end, this applies in principle as well: if the curve is too steep there, it will sound almost like a discrete switch at this end. The most natural thing would be an exponential decay, like a guitar string. However, particularly for fades of just one track in a multitrack setting, the faded one will usually be inaudible already at about -30 dB, so the very low-end is hardly relevant. You shouldn't waste too much time here then.&lt;br&gt;&#xD;&#xA;For the middle part, there doesn't remain much choice, just smoothly keep the track.&#xD;&#xA;&#xD;&#xA;Going after this, we get pretty much the &quot;S-curve&quot;. That is IMO a good default for fades to 0. For crossfades, something constant-power-ish is often better." ContentLicense="CC BY-SA 3.0" />
  <row Id="37420" PostHistoryTypeId="2" PostId="22783" RevisionGUID="bb47ffe8-96c4-46a8-84da-4287d1af8218" CreationDate="2013-05-30T16:56:31.153" UserDisplayName="Mike G" Text="I'm making a DJ type program (it's geared more towards theatre productions) where I need to fade sound. I know that when you fade, doing a direct linear line doesn't sound natural and that a bit of a curve is better. Does anyone know/have an idea of what the exact curve should be. Is there a formula or equation or anything you can use to describe it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37421" PostHistoryTypeId="1" PostId="22783" RevisionGUID="bb47ffe8-96c4-46a8-84da-4287d1af8218" CreationDate="2013-05-30T16:56:31.153" UserDisplayName="Mike G" Text="What's the exact curve for natural audio fading?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37422" PostHistoryTypeId="3" PostId="22783" RevisionGUID="bb47ffe8-96c4-46a8-84da-4287d1af8218" CreationDate="2013-05-30T16:56:31.153" UserDisplayName="Mike G" Text="&lt;audio&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37423" PostHistoryTypeId="36" PostId="22786" RevisionGUID="8573a5a9-f250-4264-a080-876d4eb16d58" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5254/what-is-the-scale-type-called-used-on-tonematrix" />
  <row Id="37424" PostHistoryTypeId="2" PostId="22787" RevisionGUID="c3df5463-82c5-430f-950e-9d985994a2bf" CreationDate="2012-11-05T23:45:33.010" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="&gt; how it generates its sounds&#xD;&#xA;&#xD;&#xA;This depends on various factors. It can use samples, or a basic synthesizer algorithm, a table etc. Only the authors will know for sure. To me it sounded like low-resolution samples (or heavily compressed mp3), but my mini laptop does not work well for sound analysis.&#xD;&#xA;&#xD;&#xA;How to technically generate the sounds depends on which platform it uses and what that platform offer to generate sound. For Flash see this [documentation for ActionScript][1].&#xD;&#xA;&#xD;&#xA;&gt; Is it chromatic?&#xD;&#xA;&#xD;&#xA;From what I can hear it uses standard chromatic table.&#xD;&#xA;&#xD;&#xA;&gt; What frequencies are used?&#xD;&#xA;&#xD;&#xA;[Here is a table with standard frequencies][2].&#xD;&#xA;&#xD;&#xA;Basically it doubles the frequency for each octave up and each octave has 12 steps. The math is simple.&#xD;&#xA;&#xD;&#xA;&gt; And what happens to the frequency if (for instance) a 400 Hz and a 800&#xD;&#xA;&gt; Hz beep are played in the same track at the same time to the overall&#xD;&#xA;&gt; frequency? Is the resulting frequency 1200 Hz?&#xD;&#xA;&#xD;&#xA;No, you will have two different frequencies played at the same time. This is how chords and poly-tones works.&#xD;&#xA;&#xD;&#xA;The *amplitude* however will be affected and your software you need to take height for out-of-range amplitudes to avoid distortion (cropped tops/bottoms).&#xD;&#xA;&#xD;&#xA;The reason for this is that if you mix two samples that have the same sign, f.ex. positive, they will add to each other and if you don't average (or use another method) to reduce the sum, the sum may exceed the max value of whatever signed bit-range you use (16/24-bit etc). You can for example use Float internally and implement a look-ahead routine which compress the audio (as in amplitude, not file size), but explaining that would be out-of-scope for this answer.&#xD;&#xA;&#xD;&#xA;Besides from that, the program you link to works as a standard running step-sequencer where the resolution is quantized to 16 beats which gives you 4 bars with a 4/4 signature. Pretty standard in other words.&#xD;&#xA;&#xD;&#xA;Update: to show visually what happen when you add two waves together we can take a look at this illustration -&#xD;&#xA;&#xD;&#xA;![made by Abdias][3]&#xD;&#xA;&#xD;&#xA;Lets say we have two waves as the first green one (these are identical but they don't have to be).&#xD;&#xA;&#xD;&#xA;When we add these together their amplitude values, in this case ranging from -10 to +10, are added together. As they both have the amplitude at max at the same location the resulting sum will be +20 (or -20 for the negative ones) exceeding the max allowed values in this case which happen to be -10 to +10. instead of getting a new wave as represented by the orange top, the wave form is clipped shown with the resulting red wave (notice the flat red lines top and bottom). This is called clipping and is neither good for loudspeakers nor ears.&#xD;&#xA;&#xD;&#xA;To avoid this we need to either reduce both waves to half the amplitude (&quot;volume&quot; is technically wrong as it's a logarithmic scale, so lets use the actual *value* of the amplitude) and then add them, or use an algorithm that can analyze them in a more complex way to give a result that won't sound like it has low volume (as it would by just reducing the amplitude to half on two different waves). Such analysis can be performed by the means of a compressor and limiter.&#xD;&#xA;&#xD;&#xA;In the &quot;real&quot; (digital) world the values would of course be different, 16-bit waves would have a instead of -10 to +10, a range between -32768 to +32767, 24-bit a range between -16,777,215 to + 16,777,216 (IIRC) etc. This doesn't mean the volume is louder in 24-bit, but you can describe more details in the wave form which will result in better quality. This as a side note.&#xD;&#xA;&#xD;&#xA;Bottom line is, that adding waves is just about the simplest of math (adding the values together). To avoid clipping you need to make sure that math works within the bounds of a defined range.&#xD;&#xA;&#xD;&#xA;  [1]: http://help.adobe.com/en_US/FlashPlatform/reference/actionscript/3/flash/media/Sound.html&#xD;&#xA;  [2]: http://www.harpsatsang.com/harp_design/data/frequencies.html&#xD;&#xA;  [3]: http://i.stack.imgur.com/7yj0j.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="37425" PostHistoryTypeId="2" PostId="22786" RevisionGUID="8214f040-8f4e-4a33-9867-771467205f5f" CreationDate="2012-11-05T11:36:34.900" UserDisplayName="Mathias Lykkegaard Lorenzen" Text="I am making an application similar to [Tonematrix][1], and I was wondering what scale it uses, and how it generates its sounds. So here's a few questions I need answered that I haven't been able to find answers to on my own.&#xD;&#xA;&#xD;&#xA;Is it chromatic? What frequencies are used? And what happens to the frequency if (for instance) a 400 Hz and a 800 Hz beep are played in the same track at the same time to the overall frequency? Is the resulting frequency 1200 Hz?&#xD;&#xA;&#xD;&#xA;I'm such a noob at audio in general although I do have a sense of music. I'm a good programmer though, and I was hoping that you could help me.&#xD;&#xA;&#xD;&#xA;**Edit**&#xD;&#xA;Here's a link that might help. [Somebody deciphered the math behind it][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tonematrix.audiotool.com/&#xD;&#xA;  [2]: http://i.imgur.com/ApQDI.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="37426" PostHistoryTypeId="1" PostId="22786" RevisionGUID="8214f040-8f4e-4a33-9867-771467205f5f" CreationDate="2012-11-05T11:36:34.900" UserDisplayName="Mathias Lykkegaard Lorenzen" Text="What is the scale type called used on Tonematrix?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37427" PostHistoryTypeId="3" PostId="22786" RevisionGUID="8214f040-8f4e-4a33-9867-771467205f5f" CreationDate="2012-11-05T11:36:34.900" UserDisplayName="Mathias Lykkegaard Lorenzen" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37428" PostHistoryTypeId="36" PostId="22787" RevisionGUID="227428e3-8f15-4952-9ebb-7d33c0dee8a5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5254/what-is-the-scale-type-called-used-on-tonematrix/5263#5263" />
  <row Id="37429" PostHistoryTypeId="36" PostId="22788" RevisionGUID="3c3a2bd4-b4d8-4539-a97a-cdeb4673ed1c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1962/garageband-export-volume-issue" />
  <row Id="37430" PostHistoryTypeId="36" PostId="22789" RevisionGUID="6d30a9fb-efc4-400c-b516-c59521a0c269" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1962/garageband-export-volume-issue/2043#2043" />
  <row Id="37431" PostHistoryTypeId="2" PostId="22789" RevisionGUID="f70f7b22-570c-4ff8-82ce-31d6c0518eac" CreationDate="2011-08-09T00:13:07.487" UserDisplayName="bobsbarricades" Text="I would first off, not 'share' to itunes or anthing.  Just hit share-&gt;Export Song to Disk and UNCHECK compress.&#xD;&#xA;&#xD;&#xA;Listen to that in your finder and tell us if there's any differences going on in what you hear.&#xD;&#xA;&#xD;&#xA;If there is I'm willing to bet that you have all your volume settings at &quot;0&quot;.  I would recommend turning them all down and redoing all of the levels.  It shouldn't be too big a deal, but I've a feeling that you're probably clipping a bit in garageband and it's got some limiter or other on there to hide that from you.&#xD;&#xA;&#xD;&#xA;You're mix will be much quieter, but that's fine.  Download Audacity, go grab a demo plug-in for a good compressor/limitor (try a couple http://www.kvraudio.com/get.php) and you'll be able to find something that will help.  I don't use many 3rd party plug-ins as Logic Studio is....amazing in it's tool set.  SO it might take a while to find free+quality but in the end it's your sound, so it's worth it.&#xD;&#xA;&#xD;&#xA;report back!  let us know how things fare.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="37432" PostHistoryTypeId="2" PostId="22788" RevisionGUID="b4232129-3312-4d81-8952-ca99f936223c" CreationDate="2011-07-27T15:48:20.443" UserDisplayName="danegraphics" Text="Alright, so I have Garageband and Soundbooth. I am composing sounds for a video game in Garageband and have an explosion in the project. I have the volume so that when I play it in Garageband it plays perfectly. Now when I export it, it becomes too quiet, so I went and unchecked the &quot;export at full loudness&quot; option. So it exports at the correct volume, but the peaks become crap (even when exporting uncompressed). &#xD;&#xA;&#xD;&#xA;**How can I export the sound at full volume but without the cutoff?**&#xD;&#xA;&#xD;&#xA;My thoughts are that somehow when Garageband is playing the sound, it's actually somehow playing it above volume levels allowed to be recorded into an audio file (this might be something to do with the audio driver). If that's the case then I need some way to edit the quieter sound in Soundbooth to sound with **the same volume and crispness as when it's played in Garageband.**" ContentLicense="CC BY-SA 3.0" />
  <row Id="37433" PostHistoryTypeId="1" PostId="22788" RevisionGUID="b4232129-3312-4d81-8952-ca99f936223c" CreationDate="2011-07-27T15:48:20.443" UserDisplayName="danegraphics" Text="Garageband export volume issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="37434" PostHistoryTypeId="3" PostId="22788" RevisionGUID="b4232129-3312-4d81-8952-ca99f936223c" CreationDate="2011-07-27T15:48:20.443" UserDisplayName="danegraphics" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37435" PostHistoryTypeId="36" PostId="22790" RevisionGUID="59dd87e2-1474-4914-92d9-d1ce7772d11d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2997/what-is-a-stereo-pair-of-samples-called" />
  <row Id="37436" PostHistoryTypeId="2" PostId="22791" RevisionGUID="68924a0e-8af0-40bd-b5c4-c1f10fa9e5d4" CreationDate="2012-01-10T21:49:46.073" UserId="7398" UserDisplayName="BenV" Text="I believe &quot;frame&quot; is the term you're looking for - the set of samples from every channel for a given point in time." ContentLicense="CC BY-SA 3.0" />
  <row Id="37437" PostHistoryTypeId="2" PostId="22790" RevisionGUID="a21d4e24-0d1b-474b-aa2b-b4d208a59e5f" CreationDate="2012-01-10T16:08:31.353" UserDisplayName="Phonon" Text="I'm a part of a development team working on an audio processing application. We have the silliest problem that's already caused us some trouble coding. We work with stereo audio signals, and when someone says *sample* (as in 44100 samples per second), it can either mean a mono sample or a stereo pair of samples. People tend to use there interchangeably, and that drives everyone nuts. Is there a standard name for a stereo pair of samples?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37438" PostHistoryTypeId="1" PostId="22790" RevisionGUID="a21d4e24-0d1b-474b-aa2b-b4d208a59e5f" CreationDate="2012-01-10T16:08:31.353" UserDisplayName="Phonon" Text="What is a stereo pair of samples called?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37439" PostHistoryTypeId="3" PostId="22790" RevisionGUID="a21d4e24-0d1b-474b-aa2b-b4d208a59e5f" CreationDate="2012-01-10T16:08:31.353" UserDisplayName="Phonon" Text="&lt;audio&gt;&lt;digital&gt;&lt;terminology&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37440" PostHistoryTypeId="36" PostId="22791" RevisionGUID="2ad54535-48de-486b-bcd3-1977a0067593" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2997/what-is-a-stereo-pair-of-samples-called/3001#3001" />
  <row Id="37441" PostHistoryTypeId="36" PostId="22792" RevisionGUID="a65d0874-d1d3-4a6b-8d31-7c0f64e18d10" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1622/how-do-i-mic-an-upright-piano-to-get-a-nice-stereo-effect" />
  <row Id="37442" PostHistoryTypeId="36" PostId="22793" RevisionGUID="df8049df-3544-4713-84c0-7f776cff241e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1622/how-do-i-mic-an-upright-piano-to-get-a-nice-stereo-effect/1627#1627" />
  <row Id="37443" PostHistoryTypeId="2" PostId="22793" RevisionGUID="3bad164f-5a02-4e79-8d97-817b15cc1b4e" CreationDate="2011-06-20T13:39:16.017" UserDisplayName="SeanBlake" Text="I don't have tons of experience mic'ing pianos but I would try panning those two channels inwards a bit to reduce the stereo field (not have the high keys so far out right and the lows so far out left) then if I wanted that width back I could get it with a nice lush reverb." ContentLicense="CC BY-SA 3.0" />
  <row Id="37444" PostHistoryTypeId="2" PostId="22794" RevisionGUID="dbfe8b11-b181-4227-9274-b432c04df90b" CreationDate="2011-06-20T20:55:44.863" UserDisplayName="Eduard Wirch" Text="Usually you work mics which record the &quot;direct&quot; tone and mics which record the room sound. So place your SM58 in the middle near the piano as you had. And place to mics 2-3m away from the piano. Then mix all three together. You'll get clear piano sound with nice room reverb and a stereo effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="37445" PostHistoryTypeId="2" PostId="22792" RevisionGUID="6c29e802-42b1-4cc1-bb5c-6e87686736d9" CreationDate="2011-06-20T03:08:49.967" UserId="7093" Text="I have an old upright piano (slightly out of tune).  First of all, I took the front off of the piano and put an SM-58 right in the middle and got a great sounding recording.  I really like the sound it creates with a couple of different songs I am working on.&#xD;&#xA;&#xD;&#xA;I would like to use a couple of mics to get a bit of stereo separation.  I have done some experimenting with a couple of different configurations.  &#xD;&#xA;&#xD;&#xA; - First I put two mics at a 90 degree angle from each other in the center of the piano.  The sound was completely unbalanced because the song is played mostly on the middle and lower section of the keys.&#xD;&#xA;&#xD;&#xA; - I then moved the mics toward the lower section of the keys in the middle of where the song is played, but then the rhythm (left hand) part was all on one side and the melody (right hand part ) was all on the other.&#xD;&#xA;&#xD;&#xA;What I would like to hear is the melody fairly balanced in the middle and still get some decent stereo separation.  I like the idea of the lower notes coming from the left channel and the higher notes coming from the right channel, but I don't want the sound to become unbalanced.&#xD;&#xA;&#xD;&#xA;Do I need a third mic placed farther away to help balance the sound?&#xD;&#xA;&#xD;&#xA;Should I just use a single mic and a stereo simulation effect?&#xD;&#xA;&#xD;&#xA;Please give suggestions as to mic placement, panning, effects, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="37446" PostHistoryTypeId="1" PostId="22792" RevisionGUID="6c29e802-42b1-4cc1-bb5c-6e87686736d9" CreationDate="2011-06-20T03:08:49.967" UserId="7093" Text="How do I mic an upright piano to get a nice stereo effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="37447" PostHistoryTypeId="3" PostId="22792" RevisionGUID="6c29e802-42b1-4cc1-bb5c-6e87686736d9" CreationDate="2011-06-20T03:08:49.967" UserId="7093" Text="&lt;audio-recording&gt;&lt;piano&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37448" PostHistoryTypeId="36" PostId="22794" RevisionGUID="8d4a1e0b-6d7c-460e-9aae-1e1ce07f84a5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1622/how-do-i-mic-an-upright-piano-to-get-a-nice-stereo-effect/1631#1631" />
  <row Id="37449" PostHistoryTypeId="36" PostId="22795" RevisionGUID="10a24838-aa4f-488f-81de-360ada195a3e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1622/how-do-i-mic-an-upright-piano-to-get-a-nice-stereo-effect/1638#1638" />
  <row Id="37450" PostHistoryTypeId="36" PostId="22796" RevisionGUID="be6eb5f4-0c8a-410e-b4f5-33e9794a44f3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1622/how-do-i-mic-an-upright-piano-to-get-a-nice-stereo-effect/9726#9726" />
  <row Id="37451" PostHistoryTypeId="2" PostId="22795" RevisionGUID="5e595e76-5458-49da-87bc-ae2ebe508624" CreationDate="2011-06-21T15:13:59.393" UserId="7294" UserDisplayName="Warrior Bob" Text="Keeping in mind that I've only ever mic'd a piano once in my life, and it was a baby grand, not an upright...&#xD;&#xA;&#xD;&#xA;Point your two mics straight at the strings, on either side of center. Don't necessarily go to the extreme right or left, but somewhere in between. Experiment to find the right spot. You are definitely going to get &quot;rhythm on one side, melody on the other&quot; to some extent, but you can adjust the panning in your mixer to compensate somewhat. Try different angles and orientations of the microphones - each kind of mic responds slightly differently, and by pointing them at different parts of the piano you can emphasize different sounds. Do you want more percussive attack? Try pointing the mic at the hammers. Mics do not respond the same way at all angles, so use this to try and dial in your sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="37452" PostHistoryTypeId="2" PostId="22796" RevisionGUID="61f5d0cf-c524-48ae-a2c9-c39b9849815e" CreationDate="2013-12-23T11:30:05.123" UserDisplayName="andy lowe" Text="I have been using two pencil mics, about 15 inch away facing straight at the strings with the front cabinet off (upright). If you use two mics like this you will get one picking up more bass and the other more treble. So you can eq the piano without using a plugin - will always sound better. Remember you are not limited to panning wide left and right.. you can put them both on one side or centred, or as stereo as you like. If yoh want extreme stereo but there is too much of the lower keys coming out of one side and the higher keys from the other, try moving the mics back a bit so they are both capturing more of the overall sound. It depends on the pickup pattern of the mic, an sm58 is highly directional so will tend to focus more on what is right in front of it (ie the bass strings or treble strings).&#xD;&#xA;&#xD;&#xA;Normaly you do this and add a room mic. I would try to achieve your stereo effect with the main mics and then add the room mic for reverb/ambience. 2 close mics and  1 room mic should give many options in the mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="37453" PostHistoryTypeId="36" PostId="22797" RevisionGUID="fc766f90-650e-42b5-9075-3fb7e7de2fb0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3313/how-is-compression-different-from-normalization" />
  <row Id="37454" PostHistoryTypeId="36" PostId="22798" RevisionGUID="f6dc7c57-7e1c-43b2-92ee-66154de9b41a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3313/how-is-compression-different-from-normalization/3315#3315" />
  <row Id="37455" PostHistoryTypeId="2" PostId="22798" RevisionGUID="2c256c97-d7b5-4011-845a-8a30eebd6833" CreationDate="2012-02-15T10:22:52.827" UserId="7016" Text="Normalisation usually looks at the waveform over the entire track (or entire album) to identify the peaks and lowest points then alters the amplitude to make those consistent with all the other tracks.&#xD;&#xA;&#xD;&#xA;Normalisation may be carried out by compression, or it may be just by simply increasing or decreasing volume.&#xD;&#xA;&#xD;&#xA;Compression is more around [making the loudest parts of a track quieter][1] by compressing the dynamic audio range.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/a/171/674" ContentLicense="CC BY-SA 3.0" />
  <row Id="37456" PostHistoryTypeId="2" PostId="22799" RevisionGUID="7f27c562-96e8-42bc-b786-01f24266546c" CreationDate="2012-02-15T14:19:41.220" UserId="7210" UserDisplayName="Friend of Kim" Text="Normalization is the process of both making the loudest peak 0 dB and making all the tracks the same volume.&#xD;&#xA;&#xD;&#xA;Compression means that you lower the peaks to get a more consistant volume so you can make it louder to get the highest peak at 0 dB.&#xD;&#xA;&#xD;&#xA;Well, you can't really go over 0 dB. At infinity dB the speaker is in the middle. At 0 dB the speaker is at the far end. So if you push the soundwaves above 0 dB the speaker will not go further out than the 0 dB point, and thus stop vibrating at these peaks leading to a eardefening screech.&#xD;&#xA;&#xD;&#xA;In iTunes it means that it tries to get the overall volume to be the same in all your tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="37457" PostHistoryTypeId="2" PostId="22797" RevisionGUID="b17feb2e-08e5-42db-9b7d-09f7315ea2d5" CreationDate="2012-02-15T09:59:50.937" UserId="19700" UserDisplayName="Pieter" Text="Newbie question. I originally asked this [here](http://avp.stackexchange.com/questions/3288/voiceover-drowns-in-music-how-do-i-make-it-more-dominant#comment3605_3291) in the comments but I was advised to post this as a separate topic.&#xD;&#xA;&#xD;&#xA;If I understand correctly, compression reduces the volume range of a sound so that it can be made to sound louder without going over 0 dB. When I enable normalization in iTunes, it tries to ensure that all my music is played at approximately the same volume.&#xD;&#xA;&#xD;&#xA;How are these two things different?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37458" PostHistoryTypeId="1" PostId="22797" RevisionGUID="b17feb2e-08e5-42db-9b7d-09f7315ea2d5" CreationDate="2012-02-15T09:59:50.937" UserId="19700" UserDisplayName="Pieter" Text="How is compression different from normalization?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37459" PostHistoryTypeId="3" PostId="22797" RevisionGUID="b17feb2e-08e5-42db-9b7d-09f7315ea2d5" CreationDate="2012-02-15T09:59:50.937" UserId="19700" UserDisplayName="Pieter" Text="&lt;audio-recording&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37460" PostHistoryTypeId="36" PostId="22799" RevisionGUID="9e280300-e9e2-4950-bf62-de2d8d5ed815" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3313/how-is-compression-different-from-normalization/3318#3318" />
  <row Id="37461" PostHistoryTypeId="36" PostId="22800" RevisionGUID="4b57e0b0-92b7-42e3-95cb-fe764a8f00ee" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1657/ascending-hi-cut-filter" />
  <row Id="37462" PostHistoryTypeId="36" PostId="22801" RevisionGUID="07393413-ebfa-482b-9208-4406b3d31c12" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1657/ascending-hi-cut-filter/1658#1658" />
  <row Id="37463" PostHistoryTypeId="2" PostId="22801" RevisionGUID="7c8d8e34-df62-4627-a2ac-8cc8cbf93558" CreationDate="2011-06-27T01:13:33.123" UserId="7294" UserDisplayName="Warrior Bob" Text="I assume you're talking about what I would call a lowpass filter sweep: a lowpass (hi-cut) filter starts out cutting out most of the signal, and gradually raises the cutoff frequency until the whole signal is heard. &#xD;&#xA;&#xD;&#xA;I assume you're using some kind of [DAW][1] software like Reaper or Pro Tools or something like that. Generally, what you'll do is insert a lowpass filter as an effect on your guitar track. Set the filter's cutoff frequency where you want it to start, and then use the DAW's automation feature (this is very common for DAWs to have) to make the cutoff rise over time. &#xD;&#xA;&#xD;&#xA;I personally like how this effect sounds with a little bit of resonance: if your filter has a resonance (sometimes called &quot;peak&quot;) dial, try turning it up a little bit. It emphasizes the current cutoff frequency, which makes the effect a little bit more obvious. Careful not to turn it up too high - some filters will self-oscillate at high resonances, which makes terrible and hugely loud sounds. Sometimes this is desirable. Often it is not.&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Digital_audio_workstation" ContentLicense="CC BY-SA 3.0" />
  <row Id="37464" PostHistoryTypeId="2" PostId="22800" RevisionGUID="7d525950-22d0-45f4-af12-ec093a8ce849" CreationDate="2011-06-27T00:46:14.473" UserDisplayName="Jasper Heins" Text="I Tracked a guitar track and for a certain section there is a transition guitar part, and it would sound amazing with an ascending hi cut filter, but i have no idea how to implement that into the recording. Any suggestions? :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="37465" PostHistoryTypeId="1" PostId="22800" RevisionGUID="7d525950-22d0-45f4-af12-ec093a8ce849" CreationDate="2011-06-27T00:46:14.473" UserDisplayName="Jasper Heins" Text="Ascending Hi Cut Filter?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37466" PostHistoryTypeId="3" PostId="22800" RevisionGUID="7d525950-22d0-45f4-af12-ec093a8ce849" CreationDate="2011-06-27T00:46:14.473" UserDisplayName="Jasper Heins" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37467" PostHistoryTypeId="36" PostId="22802" RevisionGUID="e32792cb-c447-4b2f-9796-fa9284c74dd0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2685/digital-performer-copying-between-projects" />
  <row Id="37468" PostHistoryTypeId="36" PostId="22803" RevisionGUID="4296c51e-4e93-4408-9153-1eaa512b2f0f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2685/digital-performer-copying-between-projects/5762#5762" />
  <row Id="37469" PostHistoryTypeId="2" PostId="22803" RevisionGUID="5a0e16a8-93f5-4e25-88f6-b6cbbd380905" CreationDate="2013-01-07T12:47:48.600" UserDisplayName="psychok7" Text="Usually you export to wave each track at a time for more control. I don't really use DP but if you choose all of the tracks at the same time i believe it will only create one big merged wave file.&#xD;&#xA;&#xD;&#xA;After having the exported wave/s its very easy to import into another DAW (drag and drop usually)" ContentLicense="CC BY-SA 3.0" />
  <row Id="37470" PostHistoryTypeId="2" PostId="22802" RevisionGUID="f54017d6-02f4-4bb6-a4fd-f79b2c3ad762" CreationDate="2011-11-22T20:27:13.187" UserDisplayName="Smovies" Text="Is it possible to export an entire chunk/sequence from one Digital Performer project file and import it into another?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="37471" PostHistoryTypeId="1" PostId="22802" RevisionGUID="f54017d6-02f4-4bb6-a4fd-f79b2c3ad762" CreationDate="2011-11-22T20:27:13.187" UserDisplayName="Smovies" Text="Digital Performer - Copying Between Projects" ContentLicense="CC BY-SA 3.0" />
  <row Id="37472" PostHistoryTypeId="3" PostId="22802" RevisionGUID="f54017d6-02f4-4bb6-a4fd-f79b2c3ad762" CreationDate="2011-11-22T20:27:13.187" UserDisplayName="Smovies" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37473" PostHistoryTypeId="36" PostId="22804" RevisionGUID="3ba238cd-2ce1-4f7f-9687-2ea35a2f67d1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4647/how-to-remove-noise-hissing-sound-while-recording-from-a-dynamic-mic" />
  <row Id="37474" PostHistoryTypeId="36" PostId="22805" RevisionGUID="4a337d06-28ab-4770-810d-4a6ed6f9d668" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4647/how-to-remove-noise-hissing-sound-while-recording-from-a-dynamic-mic/4648#4648" />
  <row Id="37475" PostHistoryTypeId="2" PostId="22805" RevisionGUID="8aba651a-6a41-4f2b-9aa5-46523fa804e8" CreationDate="2012-08-28T21:14:05.250" UserDisplayName="Geppettvs D'Constanzo" Text="Professional microphones use to be monoaural and domestic/computer microphones (like those embedded on laptop's LCD and/or headsets are stereophonic). In the majority of the cases the sound cards handle these different connections without a hassle but in certain cases the ground cable uses to insert certain harmful noise.&#xD;&#xA;&#xD;&#xA;First of all you should consider checking your microphone's cable and the usage of a balanced stereophonic cable which will take those harmful signals into the ground thus reducing the noise. &#xD;&#xA;&#xD;&#xA;But if the noise that your sound device is gathering from the microphone is like a hum or hiss, you must consider amplifying the microphone prior to inserting its signal into the sound card. This is easily done with the usage of an external sound mixer (hardware). The cheapest one will do the trick. This will also allow you to equalize the microphone in order to get the best sound quality for your input.&#xD;&#xA;&#xD;&#xA;You must connect the microphone to the mixer, where you will adjust the sound quality, eq, level and in the computer reduce as much as possible the input level in your sound preferences application/GUI.&#xD;&#xA;&#xD;&#xA;Remember: &#xD;&#xA;&#xD;&#xA; 1. Good level source (hardware) in a good level input (software) = Good&#xD;&#xA;    results.&#xD;&#xA; 2. Good level/Low level source (hardware) in a high level input (software) =&#xD;&#xA;    Noisy results.&#xD;&#xA; 3. High level source (distorted) in a good/low level input (software) = Bad&#xD;&#xA;    quality sound.&#xD;&#xA;&#xD;&#xA;***IMPORTANT:** 100% Hardware/Software level is not &quot;good level&quot;*&#xD;&#xA;&#xD;&#xA;High level source (distorted) in a high level input (software) is never recommended.&#xD;&#xA;&#xD;&#xA;The best your source level is, you need less amplification in the software part. This will result in a good qualiy sound. &#xD;&#xA;&#xD;&#xA;If you can't afford a mixer, or don't have plans to purchase one, try decreasing the input (software) level. This will need you to speak louder in order to compensate the lack of recording signal.&#xD;&#xA;&#xD;&#xA;In my case, I am using a Gemini PDM-14 Stereo Preamp Mixer with dual per-channel eq and individual microphone valve eq. This piece of art is worth $100.00 US Dollars but this is a 8 input channel in 4 Lines with Master/Booth/Rec outputs. You can get a cheaper microphone mixer for less money.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;*The information provided right here doesn't read about the plug type (stereo/mono), but having in consideration that the specs aren't that far from the Shure SM58 we can say that the noise is being inserted in the sound card input. You should consider pre-amplifying the source or even enrich the signal (with pre-process) in order to gain quality at the input step.*" ContentLicense="CC BY-SA 3.0" />
  <row Id="37476" PostHistoryTypeId="2" PostId="22804" RevisionGUID="7e234768-3741-44ab-9525-6c3189b2dfe5" CreationDate="2012-08-28T19:59:07.997" UserDisplayName="Luis Alvarado" Text="I am using the Panasonic RP-VK21 which is a Dynamic microphone. Every time I record a video tutorial I have to edit the sound to remove the hissing sound (The background noise).&#xD;&#xA;&#xD;&#xA;What can I do to remove or drastically lower the noise/hissing sound so I can record in one pass the video tutorial.&#xD;&#xA;&#xD;&#xA;The microphone is connected directly to the PC (rear mic connection).&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37477" PostHistoryTypeId="1" PostId="22804" RevisionGUID="7e234768-3741-44ab-9525-6c3189b2dfe5" CreationDate="2012-08-28T19:59:07.997" UserDisplayName="Luis Alvarado" Text="How to remove noise/hissing sound while recording from a Dynamic Mic" ContentLicense="CC BY-SA 3.0" />
  <row Id="37478" PostHistoryTypeId="3" PostId="22804" RevisionGUID="7e234768-3741-44ab-9525-6c3189b2dfe5" CreationDate="2012-08-28T19:59:07.997" UserDisplayName="Luis Alvarado" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37479" PostHistoryTypeId="36" PostId="22806" RevisionGUID="2226cbc5-4278-41ce-8255-6cfced728ad9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9563/what-audio-interfaces-mixers-work-well-under-linux" />
  <row Id="37480" PostHistoryTypeId="2" PostId="22806" RevisionGUID="ce191437-be6c-4d05-874f-79b2958ba052" CreationDate="2013-12-04T13:39:23.853" UserId="6885" Text="I'm looking for an audio interface with about 8 inputs that serves as a mixer as well, so I could record several channels and play them back to a PA at the same time. An example would be the [Behringer Xenix 802](http://www.behringer.com/EN/Products/802.aspx), although I'm not fixed on any particular number of inputs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I would like to use it under Linux, on a Gentoo. I asked Behringer in an eMail and received the response &quot;Officially none of the Behringer audio devices are supported under linux.&quot;&#xD;&#xA;So, which of them are supported unofficially, maybe with a community-contributed driver?&#xD;&#xA;&#xD;&#xA;Or, more generally, what mixer audio interfaces work well under Linux? In other words, for which interfaces exist good drivers? It should run stable (hours without crashes or XRUNS) on a low latency (at most 64 samples) under JACK." ContentLicense="CC BY-SA 3.0" />
  <row Id="37481" PostHistoryTypeId="1" PostId="22806" RevisionGUID="ce191437-be6c-4d05-874f-79b2958ba052" CreationDate="2013-12-04T13:39:23.853" UserId="6885" Text="What audio interfaces/mixers work well under Linux?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37482" PostHistoryTypeId="3" PostId="22806" RevisionGUID="ce191437-be6c-4d05-874f-79b2958ba052" CreationDate="2013-12-04T13:39:23.853" UserId="6885" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37489" PostHistoryTypeId="36" PostId="22809" RevisionGUID="900768f1-807e-43f5-a3a6-70c7183437e6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2558/can-csound-or-supercollider-be-used-to-make-softsynths" />
  <row Id="37490" PostHistoryTypeId="36" PostId="22810" RevisionGUID="f975e719-bc2c-4f9b-a35f-a1d390a1c5c1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2558/can-csound-or-supercollider-be-used-to-make-softsynths/2560#2560" />
  <row Id="37491" PostHistoryTypeId="36" PostId="22811" RevisionGUID="5a62926f-7f4c-47ea-b6ad-6270886a4528" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2558/can-csound-or-supercollider-be-used-to-make-softsynths/2564#2564" />
  <row Id="37492" PostHistoryTypeId="36" PostId="22812" RevisionGUID="0ba7961d-6deb-4d27-8537-ea558b8a4d46" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2558/can-csound-or-supercollider-be-used-to-make-softsynths/4753#4753" />
  <row Id="37493" PostHistoryTypeId="36" PostId="22813" RevisionGUID="5eb8cfdf-bd31-40eb-9a1d-0b27d735a3ff" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2558/can-csound-or-supercollider-be-used-to-make-softsynths/7873#7873" />
  <row Id="37494" PostHistoryTypeId="2" PostId="22810" RevisionGUID="c6ac7314-433a-498f-8011-3432beca1e5e" CreationDate="2011-10-27T18:32:53.353" UserId="7294" UserDisplayName="Warrior Bob" Text="You can certainly record the output of Csound or SuperCollider (or anything really) and load that up into your sampler of choice. If you specifically want to use the soundfont format, you'll need some kind of soundfont editor." ContentLicense="CC BY-SA 3.0" />
  <row Id="37495" PostHistoryTypeId="2" PostId="22811" RevisionGUID="c56227f5-972f-4a55-bfbb-3fc795b6e5a2" CreationDate="2011-10-27T19:51:12.867" UserId="7189" Text="SuperCollider *is* a softsynth. CSound *has* a soft synth as well as a scoring system.&#xD;&#xA;&#xD;&#xA;You can also use CSound as a [VST instrument or effect.][1] I'm not aware of a VST wrapper for SuperCollider, but SC can respond to both MIDI and OSC data, so it shouldn't be too hard to hook up with your DAW.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://csounds.com/manual/html/CommandCsoundVST.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="37496" PostHistoryTypeId="2" PostId="22812" RevisionGUID="f2f12f8a-4c2c-4b98-b620-530db29448c3" CreationDate="2012-09-17T19:36:06.357" UserId="14713" UserDisplayName="b20000" Text="You could generate sounds in supercollider or CSound if you want. Using them as VST instruments is not exactly straightforward. I think that's easier done with CSound than with Supercollider. I do know that there is an audiounit for supercollider, in case you are on mac.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37497" PostHistoryTypeId="2" PostId="22813" RevisionGUID="75706245-0be8-442a-ace0-16701fb57bad" CreationDate="2013-05-11T17:02:57.770" UserDisplayName="dotorc" Text="Yes, you can use Csound as a VST using Cabbage. &#xD;&#xA;http://thecabbagefoundation.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37498" PostHistoryTypeId="2" PostId="22809" RevisionGUID="9402d24f-6ddd-4ba9-9ee0-a4395b32e0bc" CreationDate="2011-10-27T16:53:02.370" UserDisplayName="oneat" Text="Can I use these two or something else to generate waveform of sound and then use it as soft synth or generate soundfont? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37499" PostHistoryTypeId="1" PostId="22809" RevisionGUID="9402d24f-6ddd-4ba9-9ee0-a4395b32e0bc" CreationDate="2011-10-27T16:53:02.370" UserDisplayName="oneat" Text="Can CSound or SuperCollider be used to make softsynths?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37500" PostHistoryTypeId="3" PostId="22809" RevisionGUID="9402d24f-6ddd-4ba9-9ee0-a4395b32e0bc" CreationDate="2011-10-27T16:53:02.370" UserDisplayName="oneat" Text="&lt;audio-recording&gt;&lt;synthesizer&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37501" PostHistoryTypeId="36" PostId="22814" RevisionGUID="8be4fe23-77f5-40ab-b8dc-387ecd0c9477" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1400/recording-with-ableton-good-or-bad-idea" />
  <row Id="37502" PostHistoryTypeId="36" PostId="22815" RevisionGUID="df14c95d-57f9-4b43-9ced-693b433d4416" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1400/recording-with-ableton-good-or-bad-idea/1401#1401" />
  <row Id="37503" PostHistoryTypeId="36" PostId="22816" RevisionGUID="7154da9f-c23f-4a21-a878-c0cd11fad9fe" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1400/recording-with-ableton-good-or-bad-idea/1402#1402" />
  <row Id="37504" PostHistoryTypeId="2" PostId="22815" RevisionGUID="84151a82-38ee-4d26-a5f8-8ad853d87327" CreationDate="2011-05-13T20:06:38.410" UserId="17571" UserDisplayName="Zeronyne" Text="It really depends on your workflow and personal preference(s). Logic is definitely more powerful in terms of audio manipulation, but if you are not into the user interface or the scope of your audio editing needs is narrow, the additional power is useless.&#xD;&#xA;&#xD;&#xA;On the other hand, if you like using the traditional mixer/recorder paradigm when you record audio, you are really going about it the hard way by using Live as your main recorder. You *can* do it this way, but if you have Logic at your disposal, it seems counter productive.&#xD;&#xA;&#xD;&#xA;Technically, I don't really see a lot of difference between the two in terms of sound quality; that really depends more on your interface and outboard gear.&#xD;&#xA;&#xD;&#xA;If it were me, I would decide based on the song itself. Will the song need extensive rearranging/modularity in terms of structure? Then Live would seem to be the way to go. Are the powerful softsynths and processors in Logic necessary to complete your tune? Then the rewiring may be worth it." ContentLicense="CC BY-SA 3.0" />
  <row Id="37505" PostHistoryTypeId="2" PostId="22816" RevisionGUID="ac69694f-b9f9-4678-8bf1-bdb9d09682df" CreationDate="2011-05-14T00:56:55.067" UserDisplayName="zeekay" Text="Are you already using Live regardless? In that case just record into Live. There is no reason to rewire Live to Logic, unless you *really* like some of the built-in plugins/tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="37506" PostHistoryTypeId="2" PostId="22814" RevisionGUID="7a5a4220-7d9d-4b38-b97a-144f215606ef" CreationDate="2011-05-13T18:32:07.037" UserDisplayName="johnnietheblack" Text="My band has a pretty 50/50 combo of organic and electronic (programmed) elements.&#xD;&#xA;&#xD;&#xA;I know someone who records everything in Ableton. We have been using Logic, but I find the Rewiring to be a little cumbersome.&#xD;&#xA;&#xD;&#xA;Is Logic the best way to record this type of stuff, or is it better to record w/ Ableton?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37507" PostHistoryTypeId="1" PostId="22814" RevisionGUID="7a5a4220-7d9d-4b38-b97a-144f215606ef" CreationDate="2011-05-13T18:32:07.037" UserDisplayName="johnnietheblack" Text="Recording with Ableton - good or bad idea?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37508" PostHistoryTypeId="3" PostId="22814" RevisionGUID="7a5a4220-7d9d-4b38-b97a-144f215606ef" CreationDate="2011-05-13T18:32:07.037" UserDisplayName="johnnietheblack" Text="&lt;audio-recording&gt;&lt;ableton&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37509" PostHistoryTypeId="36" PostId="22817" RevisionGUID="9a156e82-6800-44ad-a513-2a1a0bf23a63" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/105/what-is-the-best-setup-under-10k" />
  <row Id="37510" PostHistoryTypeId="36" PostId="22818" RevisionGUID="cd4bf2ef-f474-4c05-887c-a0a88905b2f4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/105/what-is-the-best-setup-under-10k/125#125" />
  <row Id="37511" PostHistoryTypeId="36" PostId="22819" RevisionGUID="3b7cbec0-1718-4081-af72-1fdb532fd024" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/105/what-is-the-best-setup-under-10k/131#131" />
  <row Id="37512" PostHistoryTypeId="36" PostId="22820" RevisionGUID="5d6f9ec1-d4f6-4db4-9f87-75287787491e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/105/what-is-the-best-setup-under-10k/134#134" />
  <row Id="37513" PostHistoryTypeId="2" PostId="22818" RevisionGUID="377e86e3-d026-42c7-a00c-90469e7ab995" CreationDate="2010-12-08T13:49:18.957" UserDisplayName="ees" Text="I would definitely spend $120 or so and get a multi-effects processor for the guitars.  I've been using a DigiTech RP 255 and couldn't be more pleased.  I can get any sound I want by turning a few dials and its got some great pre-sets.  It can be the equivalent of hooking a chain of effects together but without all the wires and space needed.  Simulates different amps too." ContentLicense="CC BY-SA 2.5" />
  <row Id="37514" PostHistoryTypeId="2" PostId="22819" RevisionGUID="f48d87b9-b4c0-4ac2-9419-d75c5ae610cc" CreationDate="2010-12-08T15:48:38.130" UserId="7294" UserDisplayName="Warrior Bob" Text="This is going to be HUGELY subjective based on what your needs are.  &#xD;&#xA;&#xD;&#xA;Do you need to record a full band, or just yourself?  You'll want to consider how the acoustics of the room affect what you're doing and whether you have enough mics, preams, and channels on your recording device.  Do you have some particular instrument in mind?  You'll want equipment that relates well to that instrument.  Will you need an isolation booth?  Will you be recording direct?  Will your neighbors throw a fit?  All of these things matter.  &#xD;&#xA;&#xD;&#xA;You can build many fantastic setups for less than $10K and the &quot;best&quot; one will be the one that serves your needs the best.&#xD;&#xA;&#xD;&#xA;The things I'd consider useful for any project studio would be:&#xD;&#xA;&#xD;&#xA; - At least one really nice sounding preamp or interface.  I'm partial to tube preamps.&#xD;&#xA; - One dynamic and one large-diaphragm condenser mic.  Between these two you can make a good attempt at most simple/straightforward recording situations.  If you're going to be doing most of your recording through these mics (as opposed to direct), don't skimp on these.  Choose mics suited to things you want to record.  Make sure your preamp has phantom power if you have a condenser.&#xD;&#xA; - One nice pair of good nearfield monitors with a reasonably flat response.  You want to mix on these, not host a party with them (that's what home stereos are for!)&#xD;&#xA; - A great DAW.  Sounds like you want Pro Tools, which is an excellent computer-based DAW.&#xD;&#xA; - Micstands, XLR cables, maybe 1/4&quot; instrument cables, and other such accessories.&#xD;&#xA; - Great friends to work with." ContentLicense="CC BY-SA 2.5" />
  <row Id="37515" PostHistoryTypeId="2" PostId="22820" RevisionGUID="c17046fb-c01e-4640-9504-553c4aee1cea" CreationDate="2010-12-08T16:03:50.290" UserId="4012" Text="Pro tools is great, but I wouldn't go for pro tools if I don't buy the pro-tools hardware.&#xD;&#xA;&#xD;&#xA;[Reaper][1](DAW) is awesome, works on many platforms (windows, mac, linux) and works great with any hardware. Best of all it's ridiculously cheap and very easy to learn. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.reaper.fm/" ContentLicense="CC BY-SA 2.5" />
  <row Id="37516" PostHistoryTypeId="2" PostId="22817" RevisionGUID="61c18549-e646-418f-94d0-d96397ed0eee" CreationDate="2010-12-08T09:00:42.720" UserDisplayName="hdx" Text="I've always wanted to have a home studio and I figured that with around 10K I could build a semi-descent setup. I'm interested in everybody's opinion on what is the best (Pro Tools preferably) setup I can put together for under $10.000?&#xD;&#xA;&#xD;&#xA;Thx in advance! " ContentLicense="CC BY-SA 2.5" />
  <row Id="37517" PostHistoryTypeId="1" PostId="22817" RevisionGUID="61c18549-e646-418f-94d0-d96397ed0eee" CreationDate="2010-12-08T09:00:42.720" UserDisplayName="hdx" Text="What is the best setup under $10K?" ContentLicense="CC BY-SA 2.5" />
  <row Id="37518" PostHistoryTypeId="3" PostId="22817" RevisionGUID="61c18549-e646-418f-94d0-d96397ed0eee" CreationDate="2010-12-08T09:00:42.720" UserDisplayName="hdx" Text="&lt;audio-recording&gt;&lt;home-studio&gt;&lt;pro-tools&gt;&lt;budget&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37519" PostHistoryTypeId="36" PostId="22821" RevisionGUID="5fd8b0a5-855d-43ce-bf94-4a0bd7f97c4f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4643/wait-to-unplug-with-phantom-power" />
  <row Id="37520" PostHistoryTypeId="36" PostId="22822" RevisionGUID="fa6a4f3f-7a57-4065-9544-f2c3d25b91f9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4643/wait-to-unplug-with-phantom-power/4645#4645" />
  <row Id="37521" PostHistoryTypeId="36" PostId="22823" RevisionGUID="47a299c5-c408-4130-a475-5c26fec7c0f4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4643/wait-to-unplug-with-phantom-power/4646#4646" />
  <row Id="37522" PostHistoryTypeId="2" PostId="22822" RevisionGUID="3d67f1ad-ace4-4024-a820-87e25b428db4" CreationDate="2012-08-28T18:14:27.713" UserId="7294" UserDisplayName="Warrior Bob" Text="The only reason I can think of to have to wait before unplugging your mic is to allow any capacitors to drain. I don't believe this can take more than about five seconds. I have always waited about this long anyway since that's how long it takes me to reach up and grab the mic to pull the cable out after turning off phantom power. By convention I prefer pulling the cables out of the mic first, then the preamp." ContentLicense="CC BY-SA 3.0" />
  <row Id="37523" PostHistoryTypeId="2" PostId="22823" RevisionGUID="617480ea-865e-4784-822e-6232b840578a" CreationDate="2012-08-28T18:21:10.560" UserId="7016" Text="In general, if you unplug anything from a power amp, you could amplify small currents into a pretty loud pop...which could be enough to damage speakers or amplification circuits.&#xD;&#xA;&#xD;&#xA;With phantom power, the problem is that when you unplug, the power to circuits is dropped quickly so you get current surges from inductors and capacitors, and these can be much higher than a simple pop.&#xD;&#xA;&#xD;&#xA;So the recommended plan is:&#xD;&#xA;&#xD;&#xA; - mute the channel - ideally mute the input, rather than the output :-)&#xD;&#xA; - power down phantom power&#xD;&#xA; - unplug mics/DI boxes etc&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37524" PostHistoryTypeId="2" PostId="22821" RevisionGUID="48bfafd5-e771-4220-b46b-869fbffe46be" CreationDate="2012-08-28T03:30:36.887" UserDisplayName="amindfv" Text="When I use a mixer (Behringer 4-track), the instructions say to wait about ~30 seconds after turning off the phantom power before unplugging anything. They say not doing that could damage the equipment.&#xD;&#xA;&#xD;&#xA;Now I have an XLR-to-USB connection that provides phantom power (48V, like the mixer), and there's nothing about that in the instructions. Is it safe to unplug the mike right away?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37525" PostHistoryTypeId="1" PostId="22821" RevisionGUID="48bfafd5-e771-4220-b46b-869fbffe46be" CreationDate="2012-08-28T03:30:36.887" UserDisplayName="amindfv" Text="Wait to unplug with phantom power" ContentLicense="CC BY-SA 3.0" />
  <row Id="37526" PostHistoryTypeId="3" PostId="22821" RevisionGUID="48bfafd5-e771-4220-b46b-869fbffe46be" CreationDate="2012-08-28T03:30:36.887" UserDisplayName="amindfv" Text="&lt;audio-recording&gt;&lt;electronics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37527" PostHistoryTypeId="36" PostId="22824" RevisionGUID="32c85753-e107-4ed5-87f4-b1eb6ce5388a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/522/modern-rock-bass-drum-recording-techniques" />
  <row Id="37528" PostHistoryTypeId="36" PostId="22825" RevisionGUID="3e54b715-5486-4f6e-bb18-a3077e276f5e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/522/modern-rock-bass-drum-recording-techniques/526#526" />
  <row Id="37529" PostHistoryTypeId="36" PostId="22826" RevisionGUID="88f6760f-b7b7-4428-a230-ae508150b427" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/522/modern-rock-bass-drum-recording-techniques/533#533" />
  <row Id="37530" PostHistoryTypeId="36" PostId="22827" RevisionGUID="ba08d438-0516-419b-99a3-4ba1a7ac965e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/522/modern-rock-bass-drum-recording-techniques/830#830" />
  <row Id="37531" PostHistoryTypeId="2" PostId="22825" RevisionGUID="c4f38553-f698-45a5-b7f3-4908989a9152" CreationDate="2011-01-06T04:36:00.587" UserDisplayName="Kim Burgaard" Text="I will give a specific example based on Cubase, but I'm sure the competition has similar options. In Cubase, you can detect transients in a track and map the to so-called hitpoints. You can either use this information to quantize the track, or to synchronize the tempo of the entire mix. Or you can convert the information to MIDI data, which you can then use to trigger a drum machine or drum machine plugin. Try googling for Beat Detective if you're using Pro Tools or Beat Finder if you're using Audacity. In all three cases, you have the choice of simply quantizing the original drums, provided you like the general sound and feel of the recording, completely replacing the original drums, or mixing real and synthetic drums.&#xD;&#xA;&#xD;&#xA;I'm a drummer, so I belong firmly in the camp of first trying to get the best recording of the real drums. A good drummer adds nuances, expressions and small variations that are hard to program. Even though this might be lost on the general audience, I find it really helps the rest of the band get into the right groove. So if the engineer knows how to mike the drums properly, a little quantization of the drums might be all you need to make a killer set of drum tracks.&#xD;&#xA;&#xD;&#xA;Another technique is to record multiple sets of drum tracks. After the main drum tracks have been recorded, have the drummer record secondary tracks on a different drum kit, or at least with a different kick, snare and hi-hat. Examples of effects on the secondary tracks are heavy compression and distortion and/or heavy EQ (lo-fi), extreme reverb/delay, flange. Some takes might work well as a constant complement to the main drums throughout the song, while other takes work well as additional fills.&#xD;&#xA;&#xD;&#xA;If you need a more well defined or pronounced &quot;edge&quot; to the kick drum, try taping a quarter to the front of the beater. If the bass drum is too &quot;boomy&quot;, try placing a small blanket on the bottom of the drum barrel inside the drum. You'll have to experiment with the placement.&#xD;&#xA;&#xD;&#xA;Finally, if the bass overlays the kick drum (or vice versa, depending on your point of view :-), then another option is to let the bass take the low end and record and/or EQ the kick drum to merely emphasize the click-sound of the beater." ContentLicense="CC BY-SA 2.5" />
  <row Id="37532" PostHistoryTypeId="2" PostId="22826" RevisionGUID="5ed582cc-e710-490d-ac89-d6f56737e752" CreationDate="2011-01-06T22:48:41.703" UserId="7202" UserDisplayName="Lennart Regebro" Text="I'm in no way a kick-drum recording guru, but my limited experience tells me that the absolutely most important part in making drums sound good is that they sound good live. Guitars and keys you can tweak with filters and things, but a drumset that sounds slightly cardboardy or soggy will sound like that no matter what you do.&#xD;&#xA;&#xD;&#xA;Part of making this happen is the magick of drum tuning which is a black art some drummers seem to know and others don't. But if you have drums that sound kick-ass live, and you have them in a room that isn't too echoey, I've even had decent results by laying cheap mics inside the kick (I didn't have enough mic-stands, what can I say...).&#xD;&#xA;&#xD;&#xA;For the bass drum you need a mic that can handle the levels, which can be high, and doesn't cut off the bass. It's trial and error, unless you have the dough to go to a store and buy one. :)&#xD;&#xA;&#xD;&#xA;If the drums doesn't sound that great, and you don't want to hurt the drummers feelings, you can record the drums on separate tracks, and replace them with software, see Kim's answer above." ContentLicense="CC BY-SA 2.5" />
  <row Id="37533" PostHistoryTypeId="2" PostId="22827" RevisionGUID="515e396c-bc50-405b-a171-c2bf9c27cf44" CreationDate="2011-02-16T22:09:48.387" UserId="319" Text="&quot;Is it possible to get a decent sound without triggers on the kick drum?&quot;&#xD;&#xA;&#xD;&#xA;Well the trigger sample was created with a mic somewhere, so it MUST be possible.  Or do they use synth kicks in heavy metal now?&#xD;&#xA;&#xD;&#xA;Grab a kick mic and stick it inside the drum.  Aim the mic directly where the beater is striking.  Maybe change the beater head to a hard type to get more of a smack.  Make sure the kick drum is tuned correctly - the safe bet is to just barely get the heads tightened to get that super low thud.  I also like the mic outside the drum, but you won't get as much beater attack.&#xD;&#xA;&#xD;&#xA;You can always replace the kick hits with samples if the kick sound isn't adequate during mix.  &#xD;&#xA;&#xD;&#xA;Logic has tools to analyze the audio and produce MIDI notes.  Other software probably has the same.  Drumagog is a plugin which does this too I belivee." ContentLicense="CC BY-SA 2.5" />
  <row Id="37534" PostHistoryTypeId="2" PostId="22824" RevisionGUID="e6a4c5af-0942-4296-acab-6aba01aba131" CreationDate="2011-01-05T16:56:34.647" UserId="8336" UserDisplayName="Sklivvz" Text="In [modern rock][1] or heavy metal sound engineering and production:&#xD;&#xA;&#xD;&#xA; - Is it possible to get a decent sound without triggers on the kick drum? Examples would help here :-)&#xD;&#xA; - What triggers/drum machine combinations are typically used in professional recordings? Or plugins if this is how they do it?&#xD;&#xA; - Same as above, but cheap alternatives for small home studios?&#xD;&#xA;&#xD;&#xA;Thank you in advance!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://modernrock.com/charts/" ContentLicense="CC BY-SA 2.5" />
  <row Id="37535" PostHistoryTypeId="1" PostId="22824" RevisionGUID="e6a4c5af-0942-4296-acab-6aba01aba131" CreationDate="2011-01-05T16:56:34.647" UserId="8336" UserDisplayName="Sklivvz" Text="Modern rock bass drum recording techniques" ContentLicense="CC BY-SA 2.5" />
  <row Id="37536" PostHistoryTypeId="3" PostId="22824" RevisionGUID="e6a4c5af-0942-4296-acab-6aba01aba131" CreationDate="2011-01-05T16:56:34.647" UserId="8336" UserDisplayName="Sklivvz" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37537" PostHistoryTypeId="36" PostId="22828" RevisionGUID="283da8b3-8454-4284-8c93-94ff23d32591" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9930/how-long-is-the-lifetime-of-a-audio-jack" />
  <row Id="37538" PostHistoryTypeId="2" PostId="22829" RevisionGUID="6ee6543e-4622-4710-b345-5b5cd55c0e57" CreationDate="2014-01-16T05:40:09.523" UserId="7174" Text="There is no specific expected lifetime of an audio jack.  It depends on the quality of the jack, though they are pretty basic, so it is unlikely to be the point of failure of most devices.  On your computer for example, I would expect just about any part of your computer to fail before the audio jack itself failed.  It's kind of like asking how often a power outlet fails, there isn't any set answer and it is generally a long, long time." ContentLicense="CC BY-SA 3.0" />
  <row Id="37539" PostHistoryTypeId="2" PostId="22828" RevisionGUID="628b2344-8df5-4088-ac68-553f441982b6" CreationDate="2014-01-16T04:20:08.290" UserId="7248" UserDisplayName="RainbowDashDC" Text="Earlier today I thought I'd broken my audio jack, it turned out to be nothing but a problem a restart fixed. But that got me wondering. How long can a audio jack last under normal circumstances? &#xD;&#xA;&#xD;&#xA;So, my question is: Under normal use,&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&lt;h1&gt;How long is the lifetime of a audio jack?&lt;/h1&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37540" PostHistoryTypeId="1" PostId="22828" RevisionGUID="628b2344-8df5-4088-ac68-553f441982b6" CreationDate="2014-01-16T04:20:08.290" UserId="7248" UserDisplayName="RainbowDashDC" Text="How long is the lifetime of a audio jack?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37541" PostHistoryTypeId="3" PostId="22828" RevisionGUID="628b2344-8df5-4088-ac68-553f441982b6" CreationDate="2014-01-16T04:20:08.290" UserId="7248" UserDisplayName="RainbowDashDC" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37542" PostHistoryTypeId="36" PostId="22829" RevisionGUID="f48faccf-c281-4b56-8a8e-f7d3fbf8f9fb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9930/how-long-is-the-lifetime-of-a-audio-jack/9931#9931" />
  <row Id="37543" PostHistoryTypeId="36" PostId="22830" RevisionGUID="80e7f2ab-f19f-4b7a-b481-da2221e66f0f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/446/what-is-clipping-distortion-what-causes-it-and-how-to-avoid-it-when-recordin" />
  <row Id="37544" PostHistoryTypeId="36" PostId="22831" RevisionGUID="8b0f4d2b-d979-499a-9446-8b03eae3e857" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/446/what-is-clipping-distortion-what-causes-it-and-how-to-avoid-it-when-recordin/450#450" />
  <row Id="37545" PostHistoryTypeId="36" PostId="22832" RevisionGUID="79cf1181-482b-47cc-b026-e1387b15bcf7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/446/what-is-clipping-distortion-what-causes-it-and-how-to-avoid-it-when-recordin/451#451" />
  <row Id="37546" PostHistoryTypeId="2" PostId="22831" RevisionGUID="5cddaa18-8e15-48db-9e36-c0628c3b9ebe" CreationDate="2010-12-25T22:09:37.190" UserId="7294" UserDisplayName="Warrior Bob" Text="&quot;Clipping&quot; or &quot;hard clipping&quot; distortion generally refers to trying to record at a volume level that is higher than the maximum value your hardware will check for.  Since it can't store this value, it simply records the highest value available.  If you look at the waveform, the peaks will look flattened off, as if someone clipped them off with a set of shears.&#xD;&#xA;&#xD;&#xA;This is different from &quot;soft clipping&quot; which usually refers to the often-desirable distortion introduced by analog hardware such as tube-based amplifiers.&#xD;&#xA;&#xD;&#xA;You avoid clipping by making sure your input levels are always below the maximum.  I like to pick a target value to aim for (in digital, usually -12 or -18 dB depending on where the noise floor is) and try to keep it there.  A little higher is okay, but the highest value I ever record should stay lower than -0, otherwise digital clipping will occur.&#xD;&#xA;&#xD;&#xA;Most recording software has a &quot;peak&quot; or &quot;redline&quot; indicator that lets you know when you're getting close to this level." ContentLicense="CC BY-SA 2.5" />
  <row Id="37547" PostHistoryTypeId="2" PostId="22832" RevisionGUID="888e1f19-2859-46e3-bd91-bd1427a2ff46" CreationDate="2010-12-25T22:11:21.633" UserId="7202" UserDisplayName="Lennart Regebro" Text="Any audio signal path, digital or analog, will have a maximum amplitude. If you feed it a signal, or amplify it more, you will get &quot;clipping distortion&quot;.&#xD;&#xA;&#xD;&#xA;You avoid it by doing something that you should always do at all times: You should make sure that at each part of your signal path the path should be as loud as possible without distortion, but no louder. This will minimize noise.&#xD;&#xA;&#xD;&#xA;Almost everything that can clip will have some sort of clipping indicator. Turn the levels up until it clips, then turn it down until it doesn't." ContentLicense="CC BY-SA 2.5" />
  <row Id="37548" PostHistoryTypeId="2" PostId="22833" RevisionGUID="9871de26-cccf-4d5b-909b-35f6f6c04e7f" CreationDate="2010-12-25T22:18:08.020" UserDisplayName="Kim Burgaard" Text="Clipping occurs when the signal exceeds the maximum dynamic range of an audio channel. If you're recording a sine wave, clipping looks like somebody cut the top and bottom of the sound wave:&#xD;&#xA;&#xD;&#xA;![clipped sinus curve][1]&#xD;&#xA;([http://en.wikipedia.org/wiki/Clipping_(audio)][2])&#xD;&#xA;&#xD;&#xA;Analogue equipment will often add other artifacts along with clipping and rarely will the peaks be cut cleanly as with digital clipping. In some applications, this kind of distortion is sought after and desired with analogue equipment.  Digital clipping sounds very harsh and is usually to be avoided at any cost, but artists like Björk has experimented with digital clipping as a distinct effect as well. Some genres of electronic music now use digital clipping along with bit reduction and sample frequency reduction liberally as effects alongside regular distortion, reverb, chorus, etc.&#xD;&#xA;&#xD;&#xA;When recording, you need to adjust the gain-control of the pre-amp so that the peaks do not exceed the maximum dynamic range.  This is often indicated as 0dB, or with a overload LED indicator. To prepare for the recording, make sure you receive the same kind of sound signal as the actual recording and adjust the gain until the peaks almost hit 0dB. Your goal is to get as close as possible to 0dB without exceeding it throughout the entire recording.  Doing so will guarantee the maximum dynamic range and the lowest possible noise level in your recording.&#xD;&#xA;&#xD;&#xA;Throughout mixing and post production, you also need to watch out for clipping (unless you intend to use it for effect).  Again, most equipment, analogue, digital, physical or software will have indicators for clipping.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/GXpjX.png&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Clipping_(audio)" ContentLicense="CC BY-SA 2.5" />
  <row Id="37549" PostHistoryTypeId="2" PostId="22830" RevisionGUID="162d66bf-56f1-4a8e-96e1-ee23247f00d6" CreationDate="2010-12-25T19:49:22.910" UserId="7256" UserDisplayName="Chris W. Rea" Text="What is &quot;clipping&quot; distortion?  What causes it, and how to avoid it when recording audio?&#xD;&#xA;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;*p.s. please add tags &quot;distortion&quot; and &quot;clipping&quot;.*" ContentLicense="CC BY-SA 2.5" />
  <row Id="37550" PostHistoryTypeId="1" PostId="22830" RevisionGUID="162d66bf-56f1-4a8e-96e1-ee23247f00d6" CreationDate="2010-12-25T19:49:22.910" UserId="7256" UserDisplayName="Chris W. Rea" Text="What is &quot;clipping&quot; distortion? What causes it, and how to avoid it when recording audio?" ContentLicense="CC BY-SA 2.5" />
  <row Id="37551" PostHistoryTypeId="3" PostId="22830" RevisionGUID="162d66bf-56f1-4a8e-96e1-ee23247f00d6" CreationDate="2010-12-25T19:49:22.910" UserId="7256" UserDisplayName="Chris W. Rea" Text="&lt;audio-recording&gt;&lt;distortion&gt;&lt;clipping&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37552" PostHistoryTypeId="36" PostId="22833" RevisionGUID="795aac6b-608d-4d28-9fa1-b6f77b4677cb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/446/what-is-clipping-distortion-what-causes-it-and-how-to-avoid-it-when-recordin/453#453" />
  <row Id="37553" PostHistoryTypeId="36" PostId="22834" RevisionGUID="b7fef6c4-2bd2-4605-aaf8-f7ec9fe7d4aa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/981/digital-kazoo-filter" />
  <row Id="37554" PostHistoryTypeId="36" PostId="22835" RevisionGUID="2486cc58-6687-405e-ade8-8e11878ae90e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/981/digital-kazoo-filter/982#982" />
  <row Id="37555" PostHistoryTypeId="2" PostId="22835" RevisionGUID="c101c9e2-b37c-46fe-acf0-a547cd0b612e" CreationDate="2011-03-09T04:15:19.353" UserDisplayName="Kim Burgaard" Text="A kazoo contains a resonator that vibrates at one (or perhaps a series of) fixed frequency, so you should look for an algorithm that will transform any incoming frequency to a fixed output frequency but otherwise match the input amplitude. This way any formants and transients will still be recognizable. A [vocoder][1] or [phase vocoder][2] algorithm might work.&#xD;&#xA;&#xD;&#xA;You can often hear the original humming mixed with the sound of a real kazoo, so you'll probably want to mix the original sound with the effect for a more realistic result.&#xD;&#xA;&#xD;&#xA;To test this (and, perhaps, to make this question &amp; answer more relevant on this site), you should experiment with generic vocoder and pitch correction plugins in your favorite DAW-software before you start coding. That should give you a much better idea what algorithm to pick when it comes time to implement the iPhone app.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Vocoder&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Phase_vocoder" ContentLicense="CC BY-SA 2.5" />
  <row Id="37556" PostHistoryTypeId="2" PostId="22834" RevisionGUID="ddd909e3-f0f3-4851-9850-c10d6c218a2e" CreationDate="2011-03-08T21:52:37.410" UserDisplayName="Joe Ibanez" Text="I'm working on an iPhone app where I need to record audio, modify the audio to sound like a kazoo, and play it back.  I don't need help with the coding aspect, but I do need help designing some sort of digital audio filter to produce a kazoo-like buzzing effect.  I've tried ring modulators and reverb filters and nothing really seems to come close.  I'm really in over my head and I could use any guidance anyone could give me.&#xD;&#xA;&#xD;&#xA;I'm getting raw, linear PCM 32 bit floating point samples from the mic.  After that, I can do pretty much anything to it.  I was thinking of using some sort of low-pass filter to ignore higher-pitch sounds like &quot;s&quot; and then introducing some kind of noise." ContentLicense="CC BY-SA 2.5" />
  <row Id="37557" PostHistoryTypeId="1" PostId="22834" RevisionGUID="ddd909e3-f0f3-4851-9850-c10d6c218a2e" CreationDate="2011-03-08T21:52:37.410" UserDisplayName="Joe Ibanez" Text="Digital Kazoo Filter" ContentLicense="CC BY-SA 2.5" />
  <row Id="37558" PostHistoryTypeId="3" PostId="22834" RevisionGUID="ddd909e3-f0f3-4851-9850-c10d6c218a2e" CreationDate="2011-03-08T21:52:37.410" UserDisplayName="Joe Ibanez" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37559" PostHistoryTypeId="36" PostId="22836" RevisionGUID="3209fc93-28b7-460e-9d57-49a9890f8ae2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9426/how-to-de-rush-voice-audio-recordings" />
  <row Id="37560" PostHistoryTypeId="36" PostId="22837" RevisionGUID="c60af290-c727-4cb9-b1e4-25921c753474" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9426/how-to-de-rush-voice-audio-recordings/9430#9430" />
  <row Id="37561" PostHistoryTypeId="2" PostId="22837" RevisionGUID="ad771ca3-6e12-4a77-901f-a960432639c2" CreationDate="2013-11-18T15:16:41.383" UserId="7174" Text="The first thing I would actually recommend for this kind of thing is to buy a jog shuttle.  It's a control interface that would allow you to adjust the playback rate on the fly to rapidly cue to different parts and move forward.  They are super helpful for speeding up this kind of work.&#xD;&#xA;&#xD;&#xA;For the pitch correction part, you just need software that supports pitch corrected scrubbing.  I know I have been able to do this with Premiere in the past.  I haven't done it in the most recent version, but unless they removed the feature it would still be there." ContentLicense="CC BY-SA 3.0" />
  <row Id="37562" PostHistoryTypeId="2" PostId="22836" RevisionGUID="68d08e5e-ba81-4ef2-b398-723e9cf74130" CreationDate="2013-11-18T10:36:41.663" UserDisplayName="Jean-Denis Muys" Text="What would be an efficient workflow to process (de-rush) voice audio recordings?&#xD;&#xA;&#xD;&#xA;These recordings could be recordings of interviews, lectures, classes… whatever.&#xD;&#xA;&#xD;&#xA;The idea is to scrub through them as fast as possible, split them, annotate them, drill down them, in order to extract the most interesting part of their content. Often (as in interviews), much of the content is uninteresting and needs to be skipped (fast-forwarded).&#xD;&#xA;&#xD;&#xA;I tried automatic transcription software (MacSpeech Scribe), which is interesting and works surprisingly well, but not well enough:&#xD;&#xA;&#xD;&#xA;- oftentimes the audio quality of the recordings are not good enough for transcription to be accurate enough.&#xD;&#xA;- even when phonetically accurate, the output of the transcription is very hard to read: no paragraph, no punctuation, wrong spelling, wrong grammar…&#xD;&#xA;- even when the transcription is accurate, it still contains a lot of garbage, and the transcription still needs to be analyzed to extract the interesting part.&#xD;&#xA;&#xD;&#xA;So automatic transcription doesn't help very much.&#xD;&#xA;&#xD;&#xA;What I am envisioning is a tool that would allow me to vary the playing speed (not the pitch), split the audio into segments, annotate them (perhaps colorize them), and then produce a time-cued comment list.&#xD;&#xA;&#xD;&#xA;Would Logic Pro X be useful for that? Or would Final Cut Pro be better adapted? Or yet another tool?&#xD;&#xA;&#xD;&#xA;I tried Capo which can vary the playback speed, but is not very helpful for the rest. I tried Fission, which doesn't quite fit the bill either.&#xD;&#xA;&#xD;&#xA;Obviously, I am a Mac user.&#xD;&#xA;&#xD;&#xA;Secondarily, the comments would be dictated rather than typed. I believe Dragon Dictate could be used there (or Mac OS X dictation).&#xD;&#xA;&#xD;&#xA;Thanks a lot" ContentLicense="CC BY-SA 3.0" />
  <row Id="37563" PostHistoryTypeId="1" PostId="22836" RevisionGUID="68d08e5e-ba81-4ef2-b398-723e9cf74130" CreationDate="2013-11-18T10:36:41.663" UserDisplayName="Jean-Denis Muys" Text="How to de-rush voice audio recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="37564" PostHistoryTypeId="3" PostId="22836" RevisionGUID="68d08e5e-ba81-4ef2-b398-723e9cf74130" CreationDate="2013-11-18T10:36:41.663" UserDisplayName="Jean-Denis Muys" Text="&lt;audio-recording&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37565" PostHistoryTypeId="36" PostId="22838" RevisionGUID="d0fa59f1-547b-47cf-aab8-9d617ce7d218" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2963/can-sounds-i-cant-hear-be-dectected-and-recorded" />
  <row Id="37566" PostHistoryTypeId="36" PostId="22839" RevisionGUID="15705c50-87fc-4aac-817c-02c8be5e57e2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2963/can-sounds-i-cant-hear-be-dectected-and-recorded/2965#2965" />
  <row Id="37567" PostHistoryTypeId="2" PostId="22839" RevisionGUID="66263602-4ffa-4cba-8591-88f4966902e6" CreationDate="2012-01-04T18:07:58.700" UserId="7294" UserDisplayName="Warrior Bob" Text="In theory any microphone that responds to those frequencies you can't hear ought to be able to  be used to record them, so long as the recording media can store them as well. For standard CD-quality digital recordings the highest frequency you can store with any kind of fidelity is around 22KHz (the [Nyquiist frequency][1] for 44.1KHz, the CD standard), which should be well above your hearing range but is possible for people to hear.&#xD;&#xA;&#xD;&#xA;A &quot;snapping&quot; noise tends not to be very low frequency so I think it's safe to assume that any sounds are in the higer range.&#xD;&#xA;&#xD;&#xA;The trick, of course, is going to be detecting that those sounds were recorded if you can't hear them. One way is to use a frequency spectrum analysis tool (there's a spectrum view in the free software Audacity that should be helpful here) to visually look at what is happening across the audio spectrum. Another way, far more low-tech, is to ask someone who can hear them what they hear.&#xD;&#xA;&#xD;&#xA;There are portable recorders available, both with built-in microphones and which accept external ones, but I don't know which ones if any have the frequency response you're looking for.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Nyquist_frequency" ContentLicense="CC BY-SA 3.0" />
  <row Id="37568" PostHistoryTypeId="2" PostId="22838" RevisionGUID="79c109af-60a2-4558-8feb-5b63ccf6c7b9" CreationDate="2012-01-04T17:41:42.420" UserDisplayName="Doug Morgan" Text="Okay, for about the last three months my Honey has maintained that she can hear sounds in the bedroom that sound like a snapping noise, but I cannot hear it. We are both 62 years and I am aware that our hearing capabilities may change with age. I have asked her to try and locate the source of the sound and it appears to be coming from the ceiling of our bedroom. It is a one story house with just the attic and roof above it. I might add that we have &quot;smart meters&quot; for both gas and electric that were installed last year. &#xD;&#xA;  Is there a portable device of some sort that I can use to detect or record these sounds to prove or disprove her concern and mitigate the issue? I do not know if these sounds are high or low frequency but I sure cannot hear them!" ContentLicense="CC BY-SA 3.0" />
  <row Id="37569" PostHistoryTypeId="1" PostId="22838" RevisionGUID="79c109af-60a2-4558-8feb-5b63ccf6c7b9" CreationDate="2012-01-04T17:41:42.420" UserDisplayName="Doug Morgan" Text="Can sounds I can't hear be dectected and recorded?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37570" PostHistoryTypeId="3" PostId="22838" RevisionGUID="79c109af-60a2-4558-8feb-5b63ccf6c7b9" CreationDate="2012-01-04T17:41:42.420" UserDisplayName="Doug Morgan" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37571" PostHistoryTypeId="36" PostId="22840" RevisionGUID="81463170-a97c-4aa5-877b-c9920b38317c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2631/decode-a-law-stereo-8-bit-wav-data-to-16-bit-lienear-pcm-data" />
  <row Id="37572" PostHistoryTypeId="36" PostId="22841" RevisionGUID="64468874-5f5d-4800-8307-a44c93e16f51" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2631/decode-a-law-stereo-8-bit-wav-data-to-16-bit-lienear-pcm-data/3240#3240" />
  <row Id="37573" PostHistoryTypeId="2" PostId="22841" RevisionGUID="f9aa53dc-04d9-4c45-b6b0-28dd758e8535" CreationDate="2012-02-08T10:59:37.477" UserId="7607" UserDisplayName="Vlad" Text="I found what was the problem. Every byte is left/right left/right etc... in that order. So to explain, a-law compression converts 16 bit pcm value to 8 bit value i.e 8 bits with a special alghorithm are cut of. So in a-law it goes 8 bits left, 8 bit right and so on...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So decoding the pcm value from a-law encoded never gives the original sound. But it is very similar. " ContentLicense="CC BY-SA 3.0" />
  <row Id="37574" PostHistoryTypeId="2" PostId="22840" RevisionGUID="3bba0e1e-8334-4216-ac02-d7effcb45c11" CreationDate="2011-11-13T11:37:29.343" UserId="7607" UserDisplayName="Vlad" Text="I have this type of file: 8000Hz, 8 bits per sample, 64 Kbps, stereo, A-law wav file. I need to decode the alaw compression to 16 bit pcm linear encoding. &#xD;&#xA;&#xD;&#xA;I used a lookup table for this from this site http://hazelware.luggle.com/tutorials/mulawcompression.html which gives signed decimal numbers  from -32768 to 32767 which corespond to 16 bit signed binary number. &#xD;&#xA;&#xD;&#xA;So I can convert signed decimal to signed 16 binary number but how to get left and right channel bytes. As a signed bytes or unsigned bytes?&#xD;&#xA;&#xD;&#xA;Or should I convert the signed 16 bit number to unsigned and then get the left and right bytes as unsigned?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37575" PostHistoryTypeId="1" PostId="22840" RevisionGUID="3bba0e1e-8334-4216-ac02-d7effcb45c11" CreationDate="2011-11-13T11:37:29.343" UserId="7607" UserDisplayName="Vlad" Text="Decode a-law stereo 8 -bit wav data to 16 bit lienear pcm data" ContentLicense="CC BY-SA 3.0" />
  <row Id="37576" PostHistoryTypeId="3" PostId="22840" RevisionGUID="3bba0e1e-8334-4216-ac02-d7effcb45c11" CreationDate="2011-11-13T11:37:29.343" UserId="7607" UserDisplayName="Vlad" Text="&lt;audio-recording&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37577" PostHistoryTypeId="36" PostId="22842" RevisionGUID="fcf34f80-2c1a-4228-8740-aa7534fe45f8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3024/how-do-below-freezing-temperatures-affect-audio-equipment" />
  <row Id="37578" PostHistoryTypeId="36" PostId="22843" RevisionGUID="2d143f19-8248-4bfe-8dcf-78dd27a74f49" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3024/how-do-below-freezing-temperatures-affect-audio-equipment/3027#3027" />
  <row Id="37579" PostHistoryTypeId="2" PostId="22843" RevisionGUID="0fbc97da-f168-4d20-8a3c-4c2fa90453a6" CreationDate="2012-01-13T20:08:05.380" UserDisplayName="cbarg" Text="Just as an anecdote I was working in Alaska and we had an outdoor event and we set up some huge projectors. Needless to say the fans froze and even though it was freaking cold the thing didn't survive that long.... Anyway, I think your approach is good as far as to what to remove and what to leave in the room. As you state, leave the mic stands in position since the plastic would break easily at low temperatures. I really hope the weather is somewhat warmer during the day because your musicians won't make a good record at all, give them hot chocolate and keep them happy :-)&#xD;&#xA;Also treat transducers like ladies, the plastic used as suspensions (the one around the diaphragms) are very picky and vulnerable to extreme temperatures." ContentLicense="CC BY-SA 3.0" />
  <row Id="37580" PostHistoryTypeId="2" PostId="22844" RevisionGUID="59dccfc0-870d-493a-a026-2cb6a33b2a06" CreationDate="2012-01-13T21:06:09.540" UserId="7093" Text="I'm not sure how the electronics will react to the cold.  Usually the owners manual will have an operating temperature range that will at least tell you what the manufacturer recommends.  That being said, I've left my keyboard and laptop in the car in freezing temperatures several times with no adverse effects.&#xD;&#xA;&#xD;&#xA;One thing you will need to pay attention to is moisture.  Just think what it is like for someone wearing glasses to go from outside on a cold day into a warm house.  The glasses fog up immediately.  You don't want your electronics or instruments to have this happen since they could easily be damaged by excess moisture.  This shouldn't be too much of a problem with the things left in the attic because they will be warmed and cooled fairly gradually, but you will want to make sure to warm up the place before bringing in the instruments.&#xD;&#xA;&#xD;&#xA;Keep in mind that all instruments will be affected by temperature and all wooden instruments will be affected by humidity (moisture causes the wood to swell).  If the temperature/humidity changes during a set, the entire sound may change not to mention the instruments will require frequent tuning.&#xD;&#xA;&#xD;&#xA;One thing that may help keep the room from getting too cold is to add some insulation in the ceiling and walls.  This will change the sound of the room quite a bit, but should keep in some of the heat leaking through from the lower floors.&#xD;&#xA;&#xD;&#xA;Don't forget, you may run into some trouble in the summer also due to excess heat, but it's probably safe to put an air conditioner in the window to keep the room to a reasonable temperature when the room is not in use and just turn it off while recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="37581" PostHistoryTypeId="2" PostId="22842" RevisionGUID="214a8afe-c897-4d20-b06a-4d89c7f38c10" CreationDate="2012-01-13T17:53:28.277" UserId="7045" Text="I now have an attic to use for studio space. We've spent some time taping down noisy windows and sweeping and vacuuming, putting some pieces of carpet down, and we did some sound checks today. While this isn't a perfect space, it's acoustically better than my small studio room. There's only one problem: It's winter, and this space has no heat. &#xD;&#xA;&#xD;&#xA;A space heater will help during tracking sessions, and we plan to put one in. However, the temperature at night will dip below freezing, and leaving a space heater on all night isn't an option, for safety reasons. &#xD;&#xA;&#xD;&#xA;We're planning to remove all instruments and equipment except for cables each night, assuming that this will be a problem. (Fortunately, the drum kit has been kept in an outdoor shed for many years, so there's very likely little that additional exposure to cold can do to it.) &#xD;&#xA;&#xD;&#xA;[![enter image description here][1]](https://www.facebook.com/photo.php?fbid=217395408347377&amp;set=a.217395245014060.56319.136004586486460&amp;type=3)&#xD;&#xA;&#xD;&#xA;Here's our plan for what stays in the cold and what gets brought down: &#xD;&#xA;&#xD;&#xA;###Bring down each night:&#xD;&#xA; &#xD;&#xA;- Macbook with MOTU interface&#xD;&#xA;- Dynamic mics&#xD;&#xA;- 3 condensor mics&#xD;&#xA;- Guitars, bass, mandolins&#xD;&#xA;- Delicate hand percussion&#xD;&#xA;- Studio monitors&#xD;&#xA;&#xD;&#xA;###Leave in the attic, can be exposed to cold: &#xD;&#xA;&#xD;&#xA;- Sturdy hand percussion (plastic tambourine, shakers, etc)&#xD;&#xA;- Mic stands (leave in position)&#xD;&#xA;- Cables (taped in position to desk)&#xD;&#xA;- Power conditioner&#xD;&#xA;- Instrument stands&#xD;&#xA;- Full drum kit (for reasons above)&#xD;&#xA;&#xD;&#xA;##My question: &#xD;&#xA;&#xD;&#xA;Does this plan make sense? Should we be worried about the cold on studio electronics? Or is this even an issue--are we worrying for no reason? &#xD;&#xA;&#xD;&#xA;I've always assumed that cold is a problem for electronics, but I'm not certain why. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/uq3Fq.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="37582" PostHistoryTypeId="1" PostId="22842" RevisionGUID="214a8afe-c897-4d20-b06a-4d89c7f38c10" CreationDate="2012-01-13T17:53:28.277" UserId="7045" Text="How do below-freezing temperatures affect audio equipment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37583" PostHistoryTypeId="3" PostId="22842" RevisionGUID="214a8afe-c897-4d20-b06a-4d89c7f38c10" CreationDate="2012-01-13T17:53:28.277" UserId="7045" Text="&lt;audio-recording&gt;&lt;electronics&gt;&lt;storage&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37584" PostHistoryTypeId="36" PostId="22844" RevisionGUID="fbbb1a09-f104-4d48-83b8-d9fd9b7054c9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3024/how-do-below-freezing-temperatures-affect-audio-equipment/3034#3034" />
  <row Id="37585" PostHistoryTypeId="36" PostId="22845" RevisionGUID="71e7faa7-87bc-4a06-98dd-d008ee49437d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3024/how-do-below-freezing-temperatures-affect-audio-equipment/3074#3074" />
  <row Id="37586" PostHistoryTypeId="36" PostId="22846" RevisionGUID="b2bae9eb-7f9d-461d-aea3-fabafb156a94" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3024/how-do-below-freezing-temperatures-affect-audio-equipment/3093#3093" />
  <row Id="37587" PostHistoryTypeId="2" PostId="22845" RevisionGUID="9f2fe362-df9f-4be6-bc25-04a47c5d8ad8" CreationDate="2012-01-18T18:46:41.257" UserId="7268" UserDisplayName="derobert" Text="As long as the electronics are off, they'll probably be OK. For example, Apple's [MacBook Pro Technical Specifications](http://www.apple.com/macbookpro/specs.html) give a minimum storage temperature of -13°F/-24°C.&#xD;&#xA;&#xD;&#xA;You didn't indicate what type of condenser mics you're using, but (for example) a Shure SM81 (the first one Google found me a temperature range for) is spec'd for storage in -20°F/-29°C.&#xD;&#xA;&#xD;&#xA;Check the manuals (or search only) for the technical specs on your electronics, normally storage temperature is given.&#xD;&#xA;&#xD;&#xA;I'm not sure where you live, but once summer comes, I'd be much more worried about the *high* temperatures during a summer day. Cooking kills electronics much quicker than freezing." ContentLicense="CC BY-SA 3.0" />
  <row Id="37588" PostHistoryTypeId="2" PostId="22846" RevisionGUID="8d535f89-ff92-4d48-afe4-fd633a154d2b" CreationDate="2012-01-21T01:12:55.180" UserId="7188" Text="There are two enemies of solid state electronics: heat and dust. Excessive heat will shorten MTBF (mean time between failures), while a significant build up of dust will act as an insulator and trap heat. Often I see computers that have died prematurely because the internal fans were so full of dust they clogged and stopped functioning. While you are worried about excessive cold, I want to tell you that some electronic devices are purposely refrigerated to optimize performance. I am referring to the radio receivers on astronomical radio telescopes, the cooling assists in improving the signal to noise ratio.&#xD;&#xA;&#xD;&#xA;Although this is a rare case, it appears appropriate for your situation. Because you are dealing with more than solid state electronics, such as monitors, guitars, mic, etc., taking precautions is a good idea. I think the main thing you want to consider here is the change from below freezing temperatures and normal room temp (~68 F) and back again. These changes will affect expansion and compression of the materials. I would not leave a $2000 dollar Gibson or any guitar I cared about in a room that was not temperature and humidity controlled. I would prioritize your expensive instruments as the first things that need to be cared for as in allowing the room to warm up before bringing them back in the attic.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37589" PostHistoryTypeId="36" PostId="22847" RevisionGUID="17470288-5c39-46d7-b7b1-d6fafe803384" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3321/what-basic-hardware-should-i-get-for-a-beginner-at-audio-recording-with-low-budg" />
  <row Id="37590" PostHistoryTypeId="36" PostId="22848" RevisionGUID="82859e85-33f7-4abb-bbb1-6ef16200e47d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3321/what-basic-hardware-should-i-get-for-a-beginner-at-audio-recording-with-low-budg/3323#3323" />
  <row Id="37591" PostHistoryTypeId="2" PostId="22848" RevisionGUID="6ba160ca-0aa8-4793-bcdb-c693f0a7c2c4" CreationDate="2012-02-15T18:20:34.310" UserId="7294" UserDisplayName="Warrior Bob" Text="At a basic level, you need an audio interface, AKA [something to get the audio into your computer](http://avp.stackexchange.com/a/2647/95 &quot;an 'audio interface'&quot;) and, for acoustic guitar (or for recording the sound of an electric guitar amp/cabinet), you'll need a microphone of some kind. The &quot;USB adapters&quot; that you've seen are simple audio interfaces.&#xD;&#xA;&#xD;&#xA;Many audio interfaces have USB connections and should work with Audacity. In general you'll plug your mic's XLR cable into the interface, which then plugs into the computer.&#xD;&#xA;&#xD;&#xA;Specific product recommendations aren't that helpful since the market changes every year or so, but you can search any online music retailer and sort by price, find something that looks like it'll work for you, and then check out reviews online. There aren't a lot of &quot;absolute crap&quot; devices out there for simple home recording, save for the occasional device whose drivers are so bad they crash. Reviews will generally mention this.&#xD;&#xA;&#xD;&#xA;Buying audio hardware is kind of like buying guitars - you probably won't get *exactly* the right one the first time, but you'll probably get one that's plenty good to use while you get used to what your personal needs and preferences are. If you decide you need something more or different, you can sell it and buy a different one later." ContentLicense="CC BY-SA 3.0" />
  <row Id="37592" PostHistoryTypeId="2" PostId="22847" RevisionGUID="c8696d6a-86ac-415b-a75d-26d14c268fef" CreationDate="2012-02-15T17:24:44.903" UserDisplayName="Adrian" Text="I am an amateur guitar player (acoustic and electric), singer and songwriter. For ages I've been thinking of recording audio on my own. &#xD;&#xA;&#xD;&#xA;What basic hardware should I buy to record my stuff? Should I get a Guitar USB adapter? Are these any good? What about Microphone USB adapter?&#xD;&#xA;&#xD;&#xA;I'm on a budget so I'm looking for hardware that gets me a decent recording with low cost. By decent, I mean something someone can listen to a think &quot;This may sounds homemade but it's enjoyable&quot;.&#xD;&#xA;&#xD;&#xA;I intend to record straight to the computer (PC) using Audacity." ContentLicense="CC BY-SA 3.0" />
  <row Id="37593" PostHistoryTypeId="1" PostId="22847" RevisionGUID="c8696d6a-86ac-415b-a75d-26d14c268fef" CreationDate="2012-02-15T17:24:44.903" UserDisplayName="Adrian" Text="What basic hardware should I get for a beginner at audio recording with low budget?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37594" PostHistoryTypeId="3" PostId="22847" RevisionGUID="c8696d6a-86ac-415b-a75d-26d14c268fef" CreationDate="2012-02-15T17:24:44.903" UserDisplayName="Adrian" Text="&lt;audio-recording&gt;&lt;hardware&gt;&lt;budget&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37595" PostHistoryTypeId="36" PostId="22849" RevisionGUID="ce70e6ca-7421-46b0-a198-75685fc66556" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7901/is-there-a-diff-tool-for-audio" />
  <row Id="37596" PostHistoryTypeId="36" PostId="22850" RevisionGUID="876bde51-2324-4ae8-9b39-568249b6b5f7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7901/is-there-a-diff-tool-for-audio/7902#7902" />
  <row Id="37597" PostHistoryTypeId="2" PostId="22850" RevisionGUID="26f728c8-38c5-4122-b095-11327ccd67de" CreationDate="2013-05-16T18:00:59.047" UserId="7174" Text="There is no such tool that I'm aware of and I'm not even sure what exactly the output of such a tool would look like.  What is available, however, is the ability to use the integration between Adobe applications to work on the audio track in Premiere directly in Audition so that you shouldn't have to manage it yourself like this.&#xD;&#xA;&#xD;&#xA;In fact, I believe it may even be possible to open a Premiere project right in Audition so that you can see the video as you are making your adjustments.  I think this should make your need for a diff tool unnecessary." ContentLicense="CC BY-SA 3.0" />
  <row Id="37598" PostHistoryTypeId="2" PostId="22849" RevisionGUID="9e469af4-cfe3-4ba8-a98a-f20d9715adb6" CreationDate="2013-05-16T17:43:41.297" UserId="11340" UserDisplayName="vermiculus" Text="Ideally in Premiere Pro, I'd like to have a way of seeing the changes I make to an audio file that I edit in Audition to be reflected in a workable format for the video editing in Premiere Pro.&#xD;&#xA;&#xD;&#xA;I've got an audio-video recording of an on-screen tutorial.  The audio is repeated several times as the speaker repeats herself, and so I generally edit the audio to take the best portions I can to make a nice, whole picture.  The problem is, when I go back into Premiere, it can often be difficult to remember what changes I made to a 10-15+ recording and where everything is supposed to be.  An unfamiliarity with the tutorial'd software doesn't help.&#xD;&#xA;&#xD;&#xA;I'd like to be able to see the changes I make visually so I can keep track of what corrections I make.  I almost *never* master the original audio, but I rather cut out certain portions, silence hiss, and insert silence where necessary --- much like the insertions and deletions of a codebase.  (If you're unfamiliar with what I'm talking about, there are countless examples of diffing available just by viewing the edit history of any post on the SE network.)&#xD;&#xA;&#xD;&#xA;Is there any such tool for audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37599" PostHistoryTypeId="1" PostId="22849" RevisionGUID="9e469af4-cfe3-4ba8-a98a-f20d9715adb6" CreationDate="2013-05-16T17:43:41.297" UserId="11340" UserDisplayName="vermiculus" Text="Is there a 'diff tool' for audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37600" PostHistoryTypeId="3" PostId="22849" RevisionGUID="9e469af4-cfe3-4ba8-a98a-f20d9715adb6" CreationDate="2013-05-16T17:43:41.297" UserId="11340" UserDisplayName="vermiculus" Text="&lt;audio&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37601" PostHistoryTypeId="36" PostId="22851" RevisionGUID="9620d501-c934-419b-84f8-b80f4095f022" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4071/how-do-lpc-encoders-work" />
  <row Id="37602" PostHistoryTypeId="2" PostId="22851" RevisionGUID="4e0523a4-62d2-4d1a-adb8-905c859de3e9" CreationDate="2012-05-27T15:02:15.523" UserDisplayName="user1058210" Text="I asked this question on the DSP forum and got a reasonable answer but the answer was very technical and was wondering whether someone could give me a more general idea of how it works.  My understanding of it is basically:&#xD;&#xA;&#xD;&#xA;&gt; LPC works by digitising the analog signal and splitting it into&#xD;&#xA;&gt; segments. For each of the segments we determine the key features of&#xD;&#xA;&gt; the signal and try to encode these as accurately as possible. &#xD;&#xA;&#xD;&#xA;&gt;The key&#xD;&#xA;&gt; features are the pitch of the signal (i.e. the basic formant&#xD;&#xA;&gt; frequency), the loudness of the signal and whether the sound is voiced&#xD;&#xA;&gt; or unvoiced. Parameters called vocal tract excitation parameters are&#xD;&#xA;&gt; also determined which are used in the vocal tract model to better&#xD;&#xA;&gt; model the state of the vocal tract which generated the sound. &#xD;&#xA;&#xD;&#xA;&gt;This&#xD;&#xA;&gt; data is passed over the network and decoded at the receiver. The pitch&#xD;&#xA;&gt; of the signal is used as input to either a voiced or unvoiced&#xD;&#xA;&gt; synthesiser, and the loudness data is used to boost the amplitude of&#xD;&#xA;&gt; this resulting signal. Finally the vocal cord model filters this sound&#xD;&#xA;&gt; by applying the LPC coefficients which were sent over the network.&#xD;&#xA;&#xD;&#xA;What I'm finding hard to understand is the LPC coefficients - what exactly are they and what is going on with the linear predictive coding i.e. using the past samples etc.  Any help is much appreciated since I have an exam on this on tuesday!" ContentLicense="CC BY-SA 3.0" />
  <row Id="37603" PostHistoryTypeId="1" PostId="22851" RevisionGUID="4e0523a4-62d2-4d1a-adb8-905c859de3e9" CreationDate="2012-05-27T15:02:15.523" UserDisplayName="user1058210" Text="How do LPC encoders work" ContentLicense="CC BY-SA 3.0" />
  <row Id="37604" PostHistoryTypeId="3" PostId="22851" RevisionGUID="4e0523a4-62d2-4d1a-adb8-905c859de3e9" CreationDate="2012-05-27T15:02:15.523" UserDisplayName="user1058210" Text="&lt;audio&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37605" PostHistoryTypeId="36" PostId="22852" RevisionGUID="7038687a-9176-4140-afef-8e7477982dd9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3653/improving-audio-quality-of-midi-recording" />
  <row Id="37606" PostHistoryTypeId="36" PostId="22853" RevisionGUID="cf5b1beb-e0b9-4cb9-84a6-65f41852ae25" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3653/improving-audio-quality-of-midi-recording/3654#3654" />
  <row Id="37607" PostHistoryTypeId="2" PostId="22853" RevisionGUID="955994df-4438-4ae7-87eb-d35bd4693fca" CreationDate="2012-03-27T09:57:42.523" UserId="7200" UserDisplayName="leftaroundabout" Text="There is no such thing as the audio quality of a MIDI recording, because MIDI _contains_ no audio data. It's just a protocol with the information about when which key was pressed with what velocity. Transforming that data into an actual hearable audio signal requires some kind of MIDI synthesizer/sampler, which is then the only thing that affects the sound. Those are typically implemented as software these days. You didn't mention what soft-synth you used so far, but from your description I reckon it's something horrible like the default Windows GM module. It's out of question that you won't get acceptable results with that, you need a proper piano plugin. A rather good free one is the [Tascam CVPiano](http://www.vst4free.com/free_vst.php?id=382), and there are plenty of others at any price- and quality level. Most come only as VST/AU/... plugins, so you need a DAW that's capable of hosting such formats. If you don't already have one, I can recommend [Reaper](http://www.reaper.fm/)." ContentLicense="CC BY-SA 3.0" />
  <row Id="37608" PostHistoryTypeId="2" PostId="22852" RevisionGUID="5595a5f7-9cfa-41a4-a003-44c8bfa7dcc0" CreationDate="2012-03-27T08:57:21.897" UserDisplayName="Phelios" Text="I'm trying to connect my Yamaha Keyboard to my laptop through Midi to USB cable. But, I don't get a good result from that. One reason is that the sustaining is really awful, and another being the sound quality itself is not right (compared to output from the build in speaker on the keyboard).&#xD;&#xA;&#xD;&#xA;I've also tried to use the audio output from the keyboard plugged into my laptop microphone input. The result is better than the MIDI, but still I'm not satisfied. I somehow think that the MIDI should be the better option.&#xD;&#xA;&#xD;&#xA;So, what I want to ask is, how do I maximize the quality?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37609" PostHistoryTypeId="1" PostId="22852" RevisionGUID="5595a5f7-9cfa-41a4-a003-44c8bfa7dcc0" CreationDate="2012-03-27T08:57:21.897" UserDisplayName="Phelios" Text="Improving audio quality of MIDI recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="37610" PostHistoryTypeId="3" PostId="22852" RevisionGUID="5595a5f7-9cfa-41a4-a003-44c8bfa7dcc0" CreationDate="2012-03-27T08:57:21.897" UserDisplayName="Phelios" Text="&lt;audio-recording&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37611" PostHistoryTypeId="36" PostId="22854" RevisionGUID="05a5bea5-3a71-4c22-878b-34e6a59b2ce8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/609/recording-and-processing-backing-vocals-with-only-one-singer" />
  <row Id="37612" PostHistoryTypeId="36" PostId="22855" RevisionGUID="447b1bc9-7ae2-4e82-964b-3c1223636821" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/609/recording-and-processing-backing-vocals-with-only-one-singer/610#610" />
  <row Id="37613" PostHistoryTypeId="36" PostId="22856" RevisionGUID="36195250-d3d1-4307-b2c8-47ad38c086cf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/609/recording-and-processing-backing-vocals-with-only-one-singer/611#611" />
  <row Id="37614" PostHistoryTypeId="2" PostId="22855" RevisionGUID="8e7bdd1b-d054-4e86-acab-9731182fc1db" CreationDate="2011-01-17T10:58:45.300" UserDisplayName="Bill Gribble" Text="Sounds like you want to make your voice(s) into somebody else's in such a way that the listener is fooled.  You really can't do this convincingly; it's a waste of your time to try. &#xD;&#xA;&#xD;&#xA;There's nothing wrong with layered performances of one voice doing backing. You hear it all the time and usually you don't notice.  If you want to draw attention to it, like the early Les Paul multitrack stuff, that's one thing, but you can also just let it fade into the background. They are *background* vox, right? With appropriate mixing, nobody will notice that it's your voice unless they are specifically listening to the bg vox, and those people won't care because they already like the song enough to listen specifically to the background vocals!&#xD;&#xA;&#xD;&#xA;I would put the background vocals through a limiter (each track separately) hitting so that there is always a bit of gain reduction, to make them blend smoothly and under control, and EQ them so that they don't step on the lead.  If you are into autotune the bg is where it is worth the humiliation... no better way to draw attention than sour backing vox &quot;harmony&quot;!  The 5kHz range is key for articulation and presence in voices; try dialing that down a bit on the background tracks. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37615" PostHistoryTypeId="2" PostId="22856" RevisionGUID="eb0fdbf6-d2ed-4c72-be62-980bf8ff42db" CreationDate="2011-01-17T15:53:21.240" UserId="7398" UserDisplayName="BenV" Text="I'm not sure what's available in Rosegarden, but there are some chorus and delay plugins out there that can be used to thicken background vox.  In addition to Bill's EQ suggestions, reverb is also very useful for smoothing out vocals and pushing them towards the back of your mix." ContentLicense="CC BY-SA 2.5" />
  <row Id="37616" PostHistoryTypeId="2" PostId="22857" RevisionGUID="9d784932-18f8-4b29-898e-0d969dd71721" CreationDate="2011-01-17T21:19:02.710" UserId="9459" UserDisplayName="Matthew Read" Text="I find a pitch shift of two half-steps makes a voice nearly unrecognizable.  I'd recommend taking a copy of your main track and shifting it up, singing the backing along with that, and then shifting that recording of the backing down so it matches the original main track.  You could also do the reverse -- shift down and then back up.  That will only give you 2 &quot;backup singers&quot;, though." ContentLicense="CC BY-SA 2.5" />
  <row Id="37617" PostHistoryTypeId="2" PostId="22854" RevisionGUID="83f9fea5-34f8-4fd5-bcc7-aa8485d4cfb6" CreationDate="2011-01-17T09:24:43.407" UserDisplayName="oracle certified professional" Text="I'm recording a few songs using Studio 64 Linux and I'm wanting to add some backing vocals. As there's only me I was wondering if anyone had any good tips to make the recording sound more like a backing group rather than just me several times over (eg apply an pitch shift to one track).&#xD;&#xA;&#xD;&#xA;I'm using Rosegarden to record but as I'm just getting started really and I'm open to switching tools. " ContentLicense="CC BY-SA 2.5" />
  <row Id="37618" PostHistoryTypeId="1" PostId="22854" RevisionGUID="83f9fea5-34f8-4fd5-bcc7-aa8485d4cfb6" CreationDate="2011-01-17T09:24:43.407" UserDisplayName="oracle certified professional" Text="Recording and processing backing vocals with only one singer" ContentLicense="CC BY-SA 2.5" />
  <row Id="37619" PostHistoryTypeId="3" PostId="22854" RevisionGUID="83f9fea5-34f8-4fd5-bcc7-aa8485d4cfb6" CreationDate="2011-01-17T09:24:43.407" UserDisplayName="oracle certified professional" Text="&lt;audio-recording&gt;&lt;effects&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37620" PostHistoryTypeId="36" PostId="22857" RevisionGUID="09e8c281-02be-4937-8c00-29f040de0596" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/609/recording-and-processing-backing-vocals-with-only-one-singer/616#616" />
  <row Id="37621" PostHistoryTypeId="36" PostId="22858" RevisionGUID="e62ecfd6-fb14-4bdc-8d4b-d3c95df1c611" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1450/zoom-h2-recording-levels-are-too-low" />
  <row Id="37622" PostHistoryTypeId="2" PostId="22859" RevisionGUID="9c3520cd-9332-4f2b-a255-5a02614b185d" CreationDate="2011-05-21T21:49:13.683" UserId="7471" UserDisplayName="Mark Heath" Text="If your recording levels peak at around -3dB to -6dB then there is nothing wrong at all with the recording level you are setting on the Zoom H2. The reason your recording sounds quiet compared to commercial recordings is that they have been compressed, often heavily, in order for them to sound as loud as possible, but usually sacrificing a lot in terms of dynamic range. Read up on [loudness wars][1] if you are interested in this topic. Also here is a [great video][2] explaining the implications of the loudness war.&#xD;&#xA;&#xD;&#xA;In short, when recording, you want to get as loud a signal as you can *without clipping*, so the peaks would normally be around -3dB. After recording, you can normalise the sound to increase it to the maximum level it can go without reducing its dynamic range, or apply compression and limiter effects to greatly increase the perceived loudness but at the expense of reducing dynamic range. A mastering limiter plugin such as [Voxengo Elephant][3] will help you do this.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Loudness_war&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=3Gmex_4hreQ&#xD;&#xA;  [3]: http://www.voxengo.com/product/elephant/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37623" PostHistoryTypeId="2" PostId="22858" RevisionGUID="a99988f9-efaf-4a4d-94fd-f8597bfb0ff3" CreationDate="2011-05-21T21:29:26.690" UserDisplayName="Rodrigo Sieiro" Text="I recently bought a [Zoom H2][1] and I'm trying to record my acoustic guitar at home. I followed the manual to set it up so the level never goes over 0db (in case you're familiar with the H2, I put the gain button in the middle and set the level to 100) and yesterday I recorded a few tests with the guitar about 50cm from it (I was playing and singing at the same time). I didn't use any effects (like compressor and limiter) from the H2.&#xD;&#xA;&#xD;&#xA;The sound quality is **great**, but the volume from my recording is low when I play them in my computer, specially if I compare it to MP3s from acoustic songs. Is that normal? I tried to import the WAV file into Garageband and add a compressor/equalizer, but then I started getting some clipping, and I still think the volume is low.&#xD;&#xA;&#xD;&#xA;What can I do to bring the levels to the same as the commercial songs I play on my computer? Is there anything I'm missing here?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.samsontech.com/products/productpage.cfm?prodid=1916" ContentLicense="CC BY-SA 3.0" />
  <row Id="37624" PostHistoryTypeId="1" PostId="22858" RevisionGUID="a99988f9-efaf-4a4d-94fd-f8597bfb0ff3" CreationDate="2011-05-21T21:29:26.690" UserDisplayName="Rodrigo Sieiro" Text="Zoom H2 recording levels are too low" ContentLicense="CC BY-SA 3.0" />
  <row Id="37625" PostHistoryTypeId="3" PostId="22858" RevisionGUID="a99988f9-efaf-4a4d-94fd-f8597bfb0ff3" CreationDate="2011-05-21T21:29:26.690" UserDisplayName="Rodrigo Sieiro" Text="&lt;audio-recording&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37626" PostHistoryTypeId="36" PostId="22859" RevisionGUID="6c7b776f-9266-4aed-92e1-afc2840f38f6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1450/zoom-h2-recording-levels-are-too-low/1451#1451" />
  <row Id="37627" PostHistoryTypeId="36" PostId="22860" RevisionGUID="cd1c38f4-4f4f-40d2-ab10-d0dec35745cf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/726/how-to-hook-up-guitar-to-mac-pro" />
  <row Id="37628" PostHistoryTypeId="2" PostId="22861" RevisionGUID="feb7dd6c-6ccd-4704-8c3b-2851834fdbbc" CreationDate="2011-01-31T23:44:25.883" UserDisplayName="Ian C." Text="&gt; what are my options as far as hardware is concerned for connecting it to my Mac Pro?&#xD;&#xA;&#xD;&#xA;There are actually a large number of products out there for interfacing instruments with your Mac. I'm a big fan of Apogee gear and the [Apogee One][1] is an excellent solution for a high quality audio interface for a Mac that's super stable and sounds great. The advantage of buying something like the One is you get a high quality microphone preamp, a high impedance direct instrument input and a great AD/DA coupled with rock solid drivers.&#xD;&#xA;&#xD;&#xA;But...&#xD;&#xA;&#xD;&#xA;&gt; Is it possible to plug the guitar directly into the computer?&#xD;&#xA;&#xD;&#xA;Yes! It is. You can buy a 1/4&quot; mono to 1/8&quot; (also called a 3.55 mm) adapter and plug your guitar in to the adapter and the 3.55 mm end of the adapter in to the line/mic input on your Mac. The impedance on the input may not be that high (I forgot how Apple sets their input impedance on Mac Pros) so you may find the guitar signal to be really quiet. But for a basic, get-going-quick type connection to use GarageBand this works just fine.&#xD;&#xA;&#xD;&#xA;&gt; Is it significantly better to run through some kind of mixer and if so what kind of connections are required?&#xD;&#xA;&#xD;&#xA;It is definitely better to run through an interface that is designed for instrument-level signals. Something like the Apogee One is a solid choice but there's a myriad of solutions out there for any budget. From the low end, $50 range, right up on up to the &gt;$5k range.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.apogeedigital.com/products/one.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="37629" PostHistoryTypeId="2" PostId="22860" RevisionGUID="f13e3145-80fa-4ee5-a743-990ca2d1a827" CreationDate="2011-01-31T23:05:10.667" UserDisplayName="markdorison" Text="Besides the actual guitar, what are my options as far as hardware is concerned for connecting it to my Mac Pro? Is it possible to plug the guitar directly into the computer? Is it significantly better to run through some kind of mixer and if so what kind of connections are required?" ContentLicense="CC BY-SA 2.5" />
  <row Id="37630" PostHistoryTypeId="1" PostId="22860" RevisionGUID="f13e3145-80fa-4ee5-a743-990ca2d1a827" CreationDate="2011-01-31T23:05:10.667" UserDisplayName="markdorison" Text="How to hook up guitar to Mac Pro?" ContentLicense="CC BY-SA 2.5" />
  <row Id="37631" PostHistoryTypeId="3" PostId="22860" RevisionGUID="f13e3145-80fa-4ee5-a743-990ca2d1a827" CreationDate="2011-01-31T23:05:10.667" UserDisplayName="markdorison" Text="&lt;audio-recording&gt;&lt;hardware&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37632" PostHistoryTypeId="36" PostId="22861" RevisionGUID="319f7dae-fcdf-47db-9e74-bccc4ffefcc9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/726/how-to-hook-up-guitar-to-mac-pro/727#727" />
  <row Id="37633" PostHistoryTypeId="36" PostId="22862" RevisionGUID="d76d7aae-a55f-47d3-b24a-a9035c24b57c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/726/how-to-hook-up-guitar-to-mac-pro/742#742" />
  <row Id="37634" PostHistoryTypeId="36" PostId="22863" RevisionGUID="a768c4b5-cc38-4846-a5e1-60c297ca73d7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/726/how-to-hook-up-guitar-to-mac-pro/1034#1034" />
  <row Id="37635" PostHistoryTypeId="2" PostId="22862" RevisionGUID="0318897c-eb43-4790-9f38-402b47c15409" CreationDate="2011-02-02T19:50:21.450" UserDisplayName="horatio" Text="for reference and to build upon Ian's answer (I don't have the `comment` perk yet), I was using direct-in (mic) on a homebuilt PC with a realtek onboard chipset. As far as I know, mac pro also uses the realtek chipset.&#xD;&#xA;&#xD;&#xA;Once you are hooked up, you will want to look into amp simulators. There are lots of free options which will work in garage band. They are typically called VST's or AU's" ContentLicense="CC BY-SA 2.5" />
  <row Id="37636" PostHistoryTypeId="2" PostId="22863" RevisionGUID="6c852a15-c967-4616-99dc-7cc46439647a" CreationDate="2011-03-16T01:16:03.257" UserDisplayName="user638" Text="there is another solution, that works great headphone portable guitar amps such as Amplug series from vox. You'll get much better results than plugging your guitar in directly, plus you can play your electric guitar anywhere with them and have control over how much volume you feed into your computer input.You will need a minijack-minijack chord.they are just amazing.Price is somewhere around 50 €" ContentLicense="CC BY-SA 2.5" />
  <row Id="37637" PostHistoryTypeId="36" PostId="22864" RevisionGUID="dc1ac7de-e312-42ae-8c56-406c99018003" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4446/is-the-third-rca-connector-for-video" />
  <row Id="37638" PostHistoryTypeId="2" PostId="22865" RevisionGUID="26edfdcd-0adc-4000-b44d-9d348b8cfb19" CreationDate="2012-07-24T18:22:07.997" UserId="7188" Text="Here is a legend with details:&#xD;&#xA;&#xD;&#xA;http://www.camerahacker.com/AV_Cable/RCA_Pin-Out.html&#xD;&#xA;&#xD;&#xA;If this is what you have, then the yellow jacket RCA is video, the red is audio right channel, while the white is audio left channel." ContentLicense="CC BY-SA 3.0" />
  <row Id="37639" PostHistoryTypeId="2" PostId="22864" RevisionGUID="e1bcb07d-3db0-4c77-b443-4bb039d98b69" CreationDate="2012-07-24T17:07:08.997" UserDisplayName="Patrick" Text="Sorry for the ignorance, but I need an adapter from two RCA audio jack to the 3.5 jack. However, looking back on my projector I see three RCA ports. Is the third one for video?&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="37640" PostHistoryTypeId="1" PostId="22864" RevisionGUID="e1bcb07d-3db0-4c77-b443-4bb039d98b69" CreationDate="2012-07-24T17:07:08.997" UserDisplayName="Patrick" Text="Is the third RCA connector for video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37641" PostHistoryTypeId="3" PostId="22864" RevisionGUID="e1bcb07d-3db0-4c77-b443-4bb039d98b69" CreationDate="2012-07-24T17:07:08.997" UserDisplayName="Patrick" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37642" PostHistoryTypeId="36" PostId="22865" RevisionGUID="06f03c8a-7aac-418e-9f43-c1bfc6a3803c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4446/is-the-third-rca-connector-for-video/4450#4450" />
  <row Id="37643" PostHistoryTypeId="36" PostId="22866" RevisionGUID="18149aa9-952c-4746-a29e-596851f54c78" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2005/can-i-record-a-sound-frequency-i-cant-hear-and-play-it-back-so-i-can-hear-it" />
  <row Id="37644" PostHistoryTypeId="2" PostId="22867" RevisionGUID="2eb3e32c-bbe2-4463-9684-6a94e3fd5003" CreationDate="2011-08-04T09:34:30.750" UserId="7016" Text="This is actually really straightforward given one caveat:&#xD;&#xA;&#xD;&#xA; - Your recording hardware and software needs to have a frequency response which includes the range you want (either very low or very high)&#xD;&#xA;&#xD;&#xA;Almost all professional recording software will let you frequency shift - either directly, or by speeding up or slowing the playback of the waveform. Even free software like Audacity will do this.&#xD;&#xA;&#xD;&#xA;If you are recording ultrasonic frequencies, just slow your waveform playback down; and do the opposite for subsonics." ContentLicense="CC BY-SA 3.0" />
  <row Id="37645" PostHistoryTypeId="2" PostId="22866" RevisionGUID="1e674e78-16b7-4428-9b78-a2c6045bc308" CreationDate="2011-08-03T18:51:54.427" UserDisplayName="Phill Pafford" Text="Can I record a sound frequency I can't hear and play it back so I can hear it?&#xD;&#xA;&#xD;&#xA;If yes, How?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37646" PostHistoryTypeId="1" PostId="22866" RevisionGUID="1e674e78-16b7-4428-9b78-a2c6045bc308" CreationDate="2011-08-03T18:51:54.427" UserDisplayName="Phill Pafford" Text="Can I record a sound frequency I can't hear and play it back so I can hear it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37647" PostHistoryTypeId="3" PostId="22866" RevisionGUID="1e674e78-16b7-4428-9b78-a2c6045bc308" CreationDate="2011-08-03T18:51:54.427" UserDisplayName="Phill Pafford" Text="&lt;audio-recording&gt;&lt;signal-processing&gt;&lt;playback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37648" PostHistoryTypeId="36" PostId="22867" RevisionGUID="6db30f3e-9bc0-4774-951c-d6a553e9b0dc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2005/can-i-record-a-sound-frequency-i-cant-hear-and-play-it-back-so-i-can-hear-it/2011#2011" />
  <row Id="37649" PostHistoryTypeId="36" PostId="22868" RevisionGUID="16479438-1140-4673-b45c-6bd9e0188c4a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2005/can-i-record-a-sound-frequency-i-cant-hear-and-play-it-back-so-i-can-hear-it/2017#2017" />
  <row Id="37650" PostHistoryTypeId="2" PostId="22868" RevisionGUID="9c9aec1c-ca40-4d43-80d8-3d7c54e8f3e5" CreationDate="2011-08-04T15:49:29.980" UserId="7294" UserDisplayName="Warrior Bob" Text="To expand on [Dr Mayhem's great answer][1]:&#xD;&#xA;&#xD;&#xA;It **is not possible** to hear a frequency that you cannot hear.&#xD;&#xA;&#xD;&#xA;It **is possible** can transform a frequency that is too high or low to hear into one that you can, and you do that by shifting the recording's frequency as Dr Mayhem describes. &#xD;&#xA;&#xD;&#xA;You won't be hearing the original frequency, but you'd be hearing a sound at the transformed frequency that has the same characteristics as the original, which I believe is what you're looking for.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/2005/can-i-record-a-sound-frequency-i-cant-hear-and-play-it-back-so-i-can-hear-it/2011#2011" ContentLicense="CC BY-SA 3.0" />
  <row Id="37651" PostHistoryTypeId="36" PostId="22869" RevisionGUID="b0580648-94b8-41ba-8f5f-183df5cec808" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7832/digital-audio-hardware-hookup" />
  <row Id="37652" PostHistoryTypeId="36" PostId="22870" RevisionGUID="fe2e6627-1609-4cb9-b8f3-bdae5e138678" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7832/digital-audio-hardware-hookup/7833#7833" />
  <row Id="37653" PostHistoryTypeId="2" PostId="22870" RevisionGUID="afe743d3-ac98-4e06-9bcb-560500ed50f4" CreationDate="2013-05-07T19:39:27.767" UserId="7294" UserDisplayName="Warrior Bob" Text="The M-Audio KeyStudio is a MIDI controller keyboard - it doesn't make any sound, rather, it sends MIDI messages to instruct something else to make sound. Since you're running it into FL Studio, I presume you intend to control some software instrument, so you will need to load that instrument, route the MIDI messages to it, and enable monitoring. All of that will be done from within FL Studio, and should be documented in the manual. &#xD;&#xA;&#xD;&#xA;All of that setup assumes that your keyboard is indeed correctly connected and sending MIDI messages. If FL Studio doesn't have any easy MIDI monitoring tool (I don't use it myself, so I don't know if it does), you can use another piece of software to monitor what comes out of the keyboard to ensure that it's working. On Windows I'm fond of [MIDI-OX](http://www.midiox.com/) for this purpose." ContentLicense="CC BY-SA 3.0" />
  <row Id="37654" PostHistoryTypeId="2" PostId="22869" RevisionGUID="14f063f0-6920-4eb6-97b2-7a131452fdb2" CreationDate="2013-05-07T17:07:50.530" UserDisplayName="Daunell" Text="I have an M-Audio KeyStudio board linked to a computer through Fruity Loops 10.  When the board is plugged in the computer recognizes it, but I get no sound when I hit the keys.  &#xD;&#xA;&#xD;&#xA;This was once linked and working well.  How can I get this problem resolved?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37655" PostHistoryTypeId="1" PostId="22869" RevisionGUID="14f063f0-6920-4eb6-97b2-7a131452fdb2" CreationDate="2013-05-07T17:07:50.530" UserDisplayName="Daunell" Text="Digital Audio hardware hookup" ContentLicense="CC BY-SA 3.0" />
  <row Id="37656" PostHistoryTypeId="3" PostId="22869" RevisionGUID="14f063f0-6920-4eb6-97b2-7a131452fdb2" CreationDate="2013-05-07T17:07:50.530" UserDisplayName="Daunell" Text="&lt;audio&gt;&lt;digital&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37657" PostHistoryTypeId="36" PostId="22871" RevisionGUID="56f16d53-c99d-40b0-9fb5-ac4f8b8933a7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3766/how-can-i-add-mp3-audio-to-an-mp4-video" />
  <row Id="37658" PostHistoryTypeId="2" PostId="22872" RevisionGUID="d634b1c0-ddd1-40e5-9d42-a3917987e831" CreationDate="2012-04-17T12:19:50.963" UserId="17107" UserDisplayName="Mulvya" Text="Simply use either [Avidemux][1] or [FFMpeg][2](+[Avanti][3]). Basically, do a video copy and an audio copy and specify the audio source as your studio version. This assumes that your new audio is in sync and of the same length.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://fixounet.free.fr/avidemux/&#xD;&#xA;  [2]: http://ffmpeg.zeranoe.com/builds/&#xD;&#xA;  [3]: http://avanti.arrozcru.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37659" PostHistoryTypeId="2" PostId="22871" RevisionGUID="3395829a-a544-4f95-b9bd-5ac8d85ed26a" CreationDate="2012-04-17T09:36:11.303" UserId="7016" Text="I have been sent a video clip from our latest gig, but it was taken on a small camcorder and the bass has overloaded the sound. Luckily I have a studio version at the same speed that I can use.&#xD;&#xA;&#xD;&#xA;I don't have budget to use one of the packages I usually recommend, so can I do this on a Windows platform using only free/open source software?&#xD;&#xA;&#xD;&#xA;Update (I should have included this earlier) - the audio is not the same length as the video, and it does not start in sync.&#xD;&#xA;&#xD;&#xA;I have looked at [Yamb][1] but it really only works if everything is synchronised before you start.&#xD;&#xA;&#xD;&#xA;(Have seen [this question][2], but it doesn't help)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://yamb.unite-video.com&#xD;&#xA;  [2]: http://avp.stackexchange.com/q/2419/674" ContentLicense="CC BY-SA 3.0" />
  <row Id="37660" PostHistoryTypeId="1" PostId="22871" RevisionGUID="3395829a-a544-4f95-b9bd-5ac8d85ed26a" CreationDate="2012-04-17T09:36:11.303" UserId="7016" Text="How can I add mp3 audio to an mp4 video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37661" PostHistoryTypeId="3" PostId="22871" RevisionGUID="3395829a-a544-4f95-b9bd-5ac8d85ed26a" CreationDate="2012-04-17T09:36:11.303" UserId="7016" Text="&lt;audio&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37662" PostHistoryTypeId="36" PostId="22872" RevisionGUID="345f6500-2f7b-42d3-97c1-16dc489d0214" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3766/how-can-i-add-mp3-audio-to-an-mp4-video/3768#3768" />
  <row Id="37669" PostHistoryTypeId="36" PostId="22875" RevisionGUID="2ac04085-f21e-4aea-a891-9331f582a281" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/866/choosing-gear-and-set-up-for-recording-live-16ch-same-time" />
  <row Id="37670" PostHistoryTypeId="36" PostId="22876" RevisionGUID="58097e9b-5395-4ead-9506-f4e82ccc1e65" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/866/choosing-gear-and-set-up-for-recording-live-16ch-same-time/874#874" />
  <row Id="37671" PostHistoryTypeId="2" PostId="22876" RevisionGUID="eb2fa7fe-b956-4ee5-9fc3-ce6a4a6cae97" CreationDate="2011-02-21T15:49:40.263" UserId="7202" UserDisplayName="Lennart Regebro" Text="This isn't really a recommendation, just some input. I got a second hand Tascam 2524 and I use an M-Audio Delta 101LT interface. Together that cost me some 500 Euros a couple of years ago, and sounds awesome.&#xD;&#xA;&#xD;&#xA;It's not a recommendation because: &#xD;&#xA;&#xD;&#xA;* The M2524 only have 24 ins, you want 32. OK, each channel on the Tascam is actually two channels, so you get 48, but then it gets confusing, because you have 24 channels on faders and 24 on knobs.&#xD;&#xA;&#xD;&#xA;* The Delta 1010LT was a mistake because it has a snake of outputs in the back with is a pain. The Delta 1010, that has a rack unit for in/outs should do better, but is way more expensive, and you'll need two. Then again, all others are expensive too and it seems hard to find just plan 16in/16out expansions. And if you plan on a &quot;hardwired installation&quot; then you could probably solder cables from the patch panel directly to the D-SUB of the 1010LT, which then would be a good value for money in/out.&#xD;&#xA;&#xD;&#xA;Just my cents.&#xD;&#xA;&#xD;&#xA;Update about &quot;hardwired&quot;:&#xD;&#xA;&#xD;&#xA;I don't know if that's the official term, maybe &quot;fixed installation&quot; is more common. Anyway many studios use patch panels that have rear solder points. That means that the cable between for example an outboard reverb and the patch bay is a custom cable that has a plug for the outboard in one end, but is soldered directly into the patch panel in the other. When you do this, every single cable you use in the installation is soldered by hand by the guy doing the installation (ie you) and in that case you can just as well solder a 25 pin dsub for the audio card. That pretty much solves the problem with the messy snake. &#xD;&#xA;&#xD;&#xA;But if you plan to instead use standard cables that you bought, which is less work but more expensive (if you know how to solder, that is), then the 1010LT is not for you, although the 1010 may be, it has a nice rack that contains the connectors." ContentLicense="CC BY-SA 2.5" />
  <row Id="37672" PostHistoryTypeId="2" PostId="22875" RevisionGUID="9d53a852-aaa5-44fe-93b5-efbe3822630d" CreationDate="2011-02-20T22:52:42.017" UserDisplayName="user535" Text="I've just rented a house with a 30 sq control room and a 30 sq playroom. &#xD;&#xA;Both rooms need no work on the acoustics.&#xD;&#xA;I want to record simultaneously on 16 tracks and mix up to 32 not on pc but on the desk.&#xD;&#xA;I have in mind using Allen Heath Zed 436 and a PC for recording using Sonar which comes with the desk. Mostly bands with rock sound generally focusing on live takes and adding vox or reamping later.&#xD;&#xA;My recording style is a bit old fashioned; non destructive dynamics processing, minimum use of EQs and compressors, based on good backline, good average mics and very good performances.&#xD;&#xA;&#xD;&#xA;I would appreciate any recommendation for desk, recorder and monitor and any good mics, dynamic or condenser at the price of a beta sm58. Mo money for U87 or C414 but I believe any mic can do a decent job for certain occasions. Openminded may mean cheap but decent way to do things without winning the lottery.&#xD;&#xA;&#xD;&#xA;Thnx" ContentLicense="CC BY-SA 2.5" />
  <row Id="37673" PostHistoryTypeId="1" PostId="22875" RevisionGUID="9d53a852-aaa5-44fe-93b5-efbe3822630d" CreationDate="2011-02-20T22:52:42.017" UserDisplayName="user535" Text="choosing gear and set up for recording live 16ch same time" ContentLicense="CC BY-SA 2.5" />
  <row Id="37674" PostHistoryTypeId="3" PostId="22875" RevisionGUID="9d53a852-aaa5-44fe-93b5-efbe3822630d" CreationDate="2011-02-20T22:52:42.017" UserDisplayName="user535" Text="&lt;audio-recording&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37675" PostHistoryTypeId="36" PostId="22877" RevisionGUID="77ad923c-9885-4362-97e3-9ab2c34fa37d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2326/what-software-exists-to-record-into-bwf-on-a-mac" />
  <row Id="37676" PostHistoryTypeId="2" PostId="22877" RevisionGUID="412a8b5b-14d0-4bcb-bd56-550d6b66aad4" CreationDate="2011-09-15T19:45:52.017" UserDisplayName="Kyle Cronin" Text="As an alternate solution to [lining up my podcast tracks](http://avp.stackexchange.com/questions/2214/how-do-i-line-up-multiple-tracks-to-a-master-track-in-audition) I've discovered that Audition has the capability of [inserting BWF files into the multitrack environment by timecode](http://help.adobe.com/en_US/audition/cs/using/WS58a04a822e3e5010548241038980c2c5-7fc0.html#WS58a04a822e3e5010548241038980c2c5-7fb5). My thinking is that so long as the clocks on each of the computers are synchronized (i.e. via NTP to the same server) then the resulting timecodes on the local recordings will enable me to skip the step of lining up the files.&#xD;&#xA;&#xD;&#xA;However, I've had a difficult time finding affordable software that will record into BWF - it seems mainly to be produced by hardware recorders or very expensive DAW software. What are my options for affordable BWF recording on a Mac?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37677" PostHistoryTypeId="1" PostId="22877" RevisionGUID="412a8b5b-14d0-4bcb-bd56-550d6b66aad4" CreationDate="2011-09-15T19:45:52.017" UserDisplayName="Kyle Cronin" Text="What software exists to record into BWF on a Mac?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37678" PostHistoryTypeId="3" PostId="22877" RevisionGUID="412a8b5b-14d0-4bcb-bd56-550d6b66aad4" CreationDate="2011-09-15T19:45:52.017" UserDisplayName="Kyle Cronin" Text="&lt;audio-recording&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37679" PostHistoryTypeId="36" PostId="22878" RevisionGUID="b6da7180-6b2e-42bc-b0bc-487ad0adf0eb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/174/cheap-diy-solutions-like-using-egg-cartons" />
  <row Id="37680" PostHistoryTypeId="36" PostId="22879" RevisionGUID="834a8685-12d6-465d-94b5-db0a73fd32cc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/174/cheap-diy-solutions-like-using-egg-cartons/176#176" />
  <row Id="37681" PostHistoryTypeId="36" PostId="22880" RevisionGUID="a94d44a2-d08a-445a-ad78-4f065f2a051f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/174/cheap-diy-solutions-like-using-egg-cartons/195#195" />
  <row Id="37682" PostHistoryTypeId="36" PostId="22881" RevisionGUID="673be024-8b64-4dba-8015-f57891085184" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/174/cheap-diy-solutions-like-using-egg-cartons/196#196" />
  <row Id="37683" PostHistoryTypeId="36" PostId="22882" RevisionGUID="c0fc15e4-1220-431e-bc9f-76fba2cefb7c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/174/cheap-diy-solutions-like-using-egg-cartons/205#205" />
  <row Id="37684" PostHistoryTypeId="36" PostId="22883" RevisionGUID="ea62b3d9-e479-4ee7-b519-10fe440187d0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/174/cheap-diy-solutions-like-using-egg-cartons/293#293" />
  <row Id="37685" PostHistoryTypeId="36" PostId="22884" RevisionGUID="f77caf81-8620-4523-ac6c-0b5126c2ce0a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/174/cheap-diy-solutions-like-using-egg-cartons/298#298" />
  <row Id="37686" PostHistoryTypeId="36" PostId="22885" RevisionGUID="586b0181-9dcc-45a0-815b-283f8d1e7400" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/174/cheap-diy-solutions-like-using-egg-cartons/348#348" />
  <row Id="37687" PostHistoryTypeId="36" PostId="22886" RevisionGUID="ee253dd8-7d32-4d59-a05a-35d46cd4f606" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/174/cheap-diy-solutions-like-using-egg-cartons/352#352" />
  <row Id="37688" PostHistoryTypeId="36" PostId="22887" RevisionGUID="9c1372ec-8d5c-44be-aeb5-4361f71ea4b1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/174/cheap-diy-solutions-like-using-egg-cartons/357#357" />
  <row Id="37689" PostHistoryTypeId="36" PostId="22888" RevisionGUID="398f6377-7da3-44f8-b49a-d4e3fdbabd40" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/174/cheap-diy-solutions-like-using-egg-cartons/367#367" />
  <row Id="37690" PostHistoryTypeId="36" PostId="22889" RevisionGUID="4de24ce2-8e8b-4dd7-a061-fa399d4741e6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/174/cheap-diy-solutions-like-using-egg-cartons/377#377" />
  <row Id="37691" PostHistoryTypeId="2" PostId="22879" RevisionGUID="c172c36e-d109-4794-93ed-9482f7edf963" CreationDate="2010-12-09T08:27:48.830" UserId="7592" UserDisplayName="Pelle ten Cate" Text="&#xD;&#xA;&#xD;&#xA;* We used to have a studio shaker made of a cheap pack of rice. Remove half the amount of rice from it, and just use tape to close it again. There's your shaker.&#xD;&#xA;* Egg cartons as acoustic treatment of your room, they take away reflections&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37692" PostHistoryTypeId="2" PostId="22880" RevisionGUID="2467c491-0e7a-4f76-9b1c-4777d5506bb9" CreationDate="2010-12-09T17:02:52.537" UserId="7653" UserDisplayName="Joel Spolsky" Text="Bring every sofa pillow you have in the house into the room and line the walls with them!" ContentLicense="CC BY-SA 2.5" />
  <row Id="37693" PostHistoryTypeId="2" PostId="22881" RevisionGUID="ef69d0f9-97a1-46d6-9fe2-72cafb896c0d" CreationDate="2010-12-09T17:24:15.760" UserDisplayName="davetron5000" Text="FYI, egg cartons, at best, eat the high end.  They do almost no soundproofing and don't control bass at all.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37694" PostHistoryTypeId="2" PostId="22882" RevisionGUID="feaf1325-db95-4860-9cce-689ca89196dd" CreationDate="2010-12-10T04:14:17.093" UserDisplayName="harpo" Text="The [pantyhose pop filter][1].  So simple, so helpful, and so cheap.&#xD;&#xA;&#xD;&#xA;Seriously, I can't believe they charge 30 bucks and up for these.&#xD;&#xA;&#xD;&#xA;![pop filter from nextplease][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.deansabatino.com/2005/08/21/67/&#xD;&#xA;  [2]: http://i.stack.imgur.com/mnYpB.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="37695" PostHistoryTypeId="2" PostId="22884" RevisionGUID="7ecb1d2c-dff1-4fc8-8f15-bfca37dfda03" CreationDate="2010-12-15T19:14:56.017" UserId="7045" Text="Keep a soldering gun around and learn to use it. Even if you don't ever crack an equipment case, it'll pay for itself when you fix 1/4&quot; cables that are getting noisy because the ends are damaged. You can also add ground leads to patch cables to reduce noise. " ContentLicense="CC BY-SA 2.5" />
  <row Id="37696" PostHistoryTypeId="2" PostId="22885" RevisionGUID="f82adc2d-36b6-4f9e-8634-ea52fceaa943" CreationDate="2010-12-17T15:22:35.163" UserDisplayName="divided" Text="A closet with clothes in it can be a great vocal recording booth." ContentLicense="CC BY-SA 2.5" />
  <row Id="37697" PostHistoryTypeId="2" PostId="22886" RevisionGUID="d47e5ab9-0d9e-47bd-8eda-e2cbc1824e15" CreationDate="2010-12-17T17:25:25.900" UserDisplayName="Andy" Text="My band lined a 18'x10' garage with (free, reclaimed, clean) mattresses (two deep, walls and ceiling) that fitted behind a rudimentary inner wall (not that expensive - chipboard with a decent frame will do). &#xD;&#xA;&#xD;&#xA;We shoved two mattresses in the door cavity and jammed another piece of chipboard over it (stuffing a few bits of rag into the remaining gap above the mattresses) and the room was VERY well soundproofed. &#xD;&#xA;&#xD;&#xA;That setup dampened the noise of two 100W 4 x 12 Marshall guitar cabs, a 300W Trace Elliot bass cab, a full drum kit and a 200W PA (three vocalists) to an extent that we could play rather loud (all wearing expensive earplugs, deafening without) till 11pm at night in a quiet residential area without complaint." ContentLicense="CC BY-SA 2.5" />
  <row Id="37698" PostHistoryTypeId="2" PostId="22887" RevisionGUID="cb82bad4-dc86-4680-8232-aeef2fb2f718" CreationDate="2010-12-17T18:11:47.327" UserDisplayName="Daniel Rumley" Text="A lot of acoustic treatment companies charge you a premium for wrapping a large pillow case over Owens Corning 703 rigid insulation.&#xD;&#xA;&#xD;&#xA;The stuff is so cheap, you can just order it online or special order it from Home Depot and mount it on your walls.  It is the industry standard sound absorption material." ContentLicense="CC BY-SA 2.5" />
  <row Id="37699" PostHistoryTypeId="2" PostId="22888" RevisionGUID="09086cd0-83e1-4e3e-8308-8f2e8efb74f2" CreationDate="2010-12-18T00:01:32.960" UserId="7398" UserDisplayName="BenV" Text="To make cheap mic stands a little more stable attach some velcro ankle weights or a barbell weight around the base.  &#xD;&#xA;![ankle weights][1] &lt;img src=&quot;http://i.stack.imgur.com/xmCod.jpg&quot; width=&quot;110&quot; height=&quot;160&quot;&gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/MSRY6.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="37700" PostHistoryTypeId="2" PostId="22889" RevisionGUID="9c520fee-a20b-4c19-8c17-873d9ffe2bfa" CreationDate="2010-12-19T11:17:17.310" UserId="8336" UserDisplayName="Sklivvz" Text="The key thing to remember is that your studio needs to be **balanced**.&#xD;&#xA;&#xD;&#xA;For example, there is no point in having Neumann microphones if your preamps are buzzy!&#xD;&#xA;&#xD;&#xA;So the first thing I would recommend is to build a *minimal* studio and move on from that. In practice one could start with a computer and a 2 line soundcard, together with a cheap microphone. That's all that is needed to have a *minimal* studio setup.&#xD;&#xA;&#xD;&#xA;From there, you would basically fix issues as they arise:&#xD;&#xA;&#xD;&#xA; * find a separate sound room&#xD;&#xA; * get good earphones&#xD;&#xA;&#xD;&#xA;Then expand your set up and fix again:&#xD;&#xA;&#xD;&#xA; * get a multichannel card when you need it&#xD;&#xA; * get cheap and decent dynamic or condenser mics if you need them (but try to borrow them if you can)&#xD;&#xA; * get cheap and decent monitors&#xD;&#xA;&#xD;&#xA;From that stage you can start considering to buy a good &quot;strip&quot;, like a good preamp-compressor combo so that for important tracks you get better quality - like vocals.&#xD;&#xA;&#xD;&#xA;If you need soundproofing, do get that in place before doing this investment though. What kinds of sound do you need to dampen? Only spend money to fix real problems: not all rooms have bad sounding reverbs, not all kinds of studios need to record loud instruments, etc. In particular, before aiming to have a *dead* monitor room, I would make sure that my monitors are precise enough to tell the difference :-)&#xD;&#xA;&#xD;&#xA;Another key thing to keep in mind is that many tools trade **time for money**. This only makes real sense if you are running a business. Do you really need to buy a hardware autotune if you can simply repeat the take? Do you really need to have a good sounding hardware compressor to avoid clips in recording? In many cases, it's a trade off between the money you are prepared to spend and the time you are prepared to spend on something." ContentLicense="CC BY-SA 2.5" />
  <row Id="37701" PostHistoryTypeId="2" PostId="22883" RevisionGUID="68fc7877-8f7b-48cf-9c6b-5e66718da113" CreationDate="2010-12-15T17:36:40.687" UserDisplayName="user160" Text="It really depends what type of sound you are trying to record. If you just need to reduce the natural echo of a room, hang blankets on the walls, and drape sheets from the ceiling. I used this method, plus a couple large pillows in the corner where I was recording a person speaking, and had the person face the corner. This worked very well for a clear and consistent recording, but of course you will need a different solution if you are recording, for instance, a guitarist, drums, flute, etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="37702" PostHistoryTypeId="2" PostId="22878" RevisionGUID="26fb2d12-b754-43bc-9c3e-b6bdff0b88c3" CreationDate="2010-12-09T06:11:27.447" UserDisplayName="brian_d" Text="I record and produce as a hobby, so funds are limited. What are some nice do it yourself solutions people have found. &#xD;&#xA;&#xD;&#xA;  As an example, you can line the walls with egg cartons instead of paying for expensive soundboards.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37703" PostHistoryTypeId="1" PostId="22878" RevisionGUID="26fb2d12-b754-43bc-9c3e-b6bdff0b88c3" CreationDate="2010-12-09T06:11:27.447" UserDisplayName="brian_d" Text="Cheap DIY solutions, like using egg cartons" ContentLicense="CC BY-SA 2.5" />
  <row Id="37704" PostHistoryTypeId="3" PostId="22878" RevisionGUID="26fb2d12-b754-43bc-9c3e-b6bdff0b88c3" CreationDate="2010-12-09T06:11:27.447" UserDisplayName="brian_d" Text="&lt;audio-recording&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37705" PostHistoryTypeId="36" PostId="22890" RevisionGUID="571d6dde-6730-4d8e-966b-02a6b3004ea5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4161/how-can-i-invert-the-amplification-of-two-tracks" />
  <row Id="37706" PostHistoryTypeId="2" PostId="22891" RevisionGUID="693538c3-0207-4cac-be41-a9690f305c8a" CreationDate="2012-06-11T19:25:57.357" UserId="7188" Text="This can be done a couple of ways and which way really depends on the most appropriate blend to best support the image. You can either gradually fade a track to a lower volume using a volume envelope, or discreetly have it drop on a dime using the same tool.&#xD;&#xA;&#xD;&#xA;Let's say I want to have the music drop 6 dB but not completely cut out so I can hear the dialogue track more clearly. In Vegas Pro or Vegas Movie Studio you can use a volume envelope to change the level at particular points. When engaged there will be a blue line in the middle of the track at 0 dB, clicking on the line will create a point, so you want to click twice, once for your reference point and next for your change point and add two points at the end of the drop when you want to bring the track back to volume. Note, you can use this tool to make instant drops or gradual fades.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Alternately, split the track where you want the sound to drop but not cut out. On the left of the split is the music at &quot;normal&quot; volume and on the right is where you drag the volume down to the level that works with the dialogue. The following links will describe the Volume Envelope tool in Vegas.&#xD;&#xA;&#xD;&#xA;http://www.vtutorial.com/videos/Sony_Vegas/Using_volume_envelopes_in_Sony_Vegas_Movie_Studio&#xD;&#xA;&#xD;&#xA;This one is a bit longer but covers a lot more including the 'pan' tool:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=lnsoW2qD7QM&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37707" PostHistoryTypeId="2" PostId="22890" RevisionGUID="dbc78e0c-4352-42cc-b40a-7d2d40767091" CreationDate="2012-06-11T18:13:04.563" UserId="6459" Text="I'd like to know how to decrease the volume of one track (either automatically or manually) as  the amplification of the second track increases.&#xD;&#xA;&#xD;&#xA;So for example, if you're listening to a live radio broadcast of pre-recorded documentary, there will always be dips in the amplification of the music/ambience track as the commentary is played over it. The first track with the backing sound will be lowered so it can both the background and the commentary can be heard.&#xD;&#xA;&#xD;&#xA;I'd like to know what this technique is called and how it can be replicated in Sony Vegas Movie Studio." ContentLicense="CC BY-SA 3.0" />
  <row Id="37708" PostHistoryTypeId="1" PostId="22890" RevisionGUID="dbc78e0c-4352-42cc-b40a-7d2d40767091" CreationDate="2012-06-11T18:13:04.563" UserId="6459" Text="How can I invert the amplification of two tracks?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37709" PostHistoryTypeId="3" PostId="22890" RevisionGUID="dbc78e0c-4352-42cc-b40a-7d2d40767091" CreationDate="2012-06-11T18:13:04.563" UserId="6459" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37710" PostHistoryTypeId="36" PostId="22891" RevisionGUID="85286ed6-7055-4a13-926e-ce1d9e4cd4c7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4161/how-can-i-invert-the-amplification-of-two-tracks/4162#4162" />
  <row Id="37711" PostHistoryTypeId="36" PostId="22892" RevisionGUID="2e95f8c1-9fa6-471f-a31a-6a81cc2e5df5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1518/after-modifying-the-tempo-of-a-recording-i-get-a-echo-ripple-how-do-i-remove" />
  <row Id="37712" PostHistoryTypeId="36" PostId="22893" RevisionGUID="e1001119-6034-474e-9ec0-1661dc601ab9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1518/after-modifying-the-tempo-of-a-recording-i-get-a-echo-ripple-how-do-i-remove/1519#1519" />
  <row Id="37713" PostHistoryTypeId="36" PostId="22894" RevisionGUID="5218a17c-6c52-4b7b-8fee-16b8b33c1559" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1518/after-modifying-the-tempo-of-a-recording-i-get-a-echo-ripple-how-do-i-remove/1520#1520" />
  <row Id="37714" PostHistoryTypeId="36" PostId="22895" RevisionGUID="f4f1fdf0-f490-4ce0-8580-f58cafb86cb4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1518/after-modifying-the-tempo-of-a-recording-i-get-a-echo-ripple-how-do-i-remove/1524#1524" />
  <row Id="37715" PostHistoryTypeId="2" PostId="22893" RevisionGUID="28bde9ac-3f21-4f23-a5f1-349d1545d569" CreationDate="2011-06-01T00:12:04.630" UserDisplayName="Taoist" Text="You can't. The best you can do is try and find time compression/expansion software that has better algorithms/math behind them than other programs. &#xD;&#xA;&#xD;&#xA;The only alternative I can think of is to chop the audio into segments and time expand each one with different values based on how sensitive each one is to the effect.Then cross fade them.This will sound inconsistent but it might be good enough for whatever application you are doing this for. &#xD;&#xA;&#xD;&#xA;You might be able to mitigate the effect using something similar to Logic Pro's &quot;Flex time&quot; feature. .&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Hope that helps&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37716" PostHistoryTypeId="2" PostId="22894" RevisionGUID="18eafdad-4506-4738-8370-b0e7986211a4" CreationDate="2011-06-01T01:11:07.780" UserId="7334" UserDisplayName="imsky" Text="Try [ACID Xpress][1], it's basically designed around time-stretching and has probably the most refined time-stretching algorithms in any consumer DAW.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.acidplanet.com/downloads/xpress/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37717" PostHistoryTypeId="2" PostId="22895" RevisionGUID="735b69df-3393-4bba-b0cc-4fea5b43d40d" CreationDate="2011-06-01T11:56:19.660" UserId="7202" UserDisplayName="Lennart Regebro" Text="The ripple is an effect of the time stretching algorithm. There are several different algorithms that are good at different kinds of sound. One for a drum loop would be very bad for an audio book. You will just have to experiment with different software and different algorithms and different settings.&#xD;&#xA;&#xD;&#xA;The one I used the most is Ableton Live, which have three different algorithms, one which might work well. But that would be a very costly way of stretching just one recording. :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="37718" PostHistoryTypeId="2" PostId="22892" RevisionGUID="740b89f3-faca-4090-9689-94eca2fce540" CreationDate="2011-05-31T22:18:36.680" UserDisplayName="feydr" Text="I have recordings of several sentences in foreign language. I want to slow down the speaking to hear it more clearly so I adjusted the tempo. This works but I get a echo/ripple. How can I remove that?&#xD;&#xA;&#xD;&#xA;By the way, I adjusted the pitch as well and that works but then it is either way too low sounding or way too high." ContentLicense="CC BY-SA 3.0" />
  <row Id="37719" PostHistoryTypeId="1" PostId="22892" RevisionGUID="740b89f3-faca-4090-9689-94eca2fce540" CreationDate="2011-05-31T22:18:36.680" UserDisplayName="feydr" Text="After modifying the tempo of a recording I get a echo/ripple -- how do I remove that?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37720" PostHistoryTypeId="3" PostId="22892" RevisionGUID="740b89f3-faca-4090-9689-94eca2fce540" CreationDate="2011-05-31T22:18:36.680" UserDisplayName="feydr" Text="&lt;audio-recording&gt;&lt;pitch&gt;&lt;echo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37721" PostHistoryTypeId="36" PostId="22896" RevisionGUID="a0dea900-f728-416a-918c-1e3ebad4451e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8074/how-can-i-download-poor-quality-audio-from-youtube-videos" />
  <row Id="37722" PostHistoryTypeId="36" PostId="22897" RevisionGUID="cea2647c-efbf-4b66-bc6e-4ee3ba23d7d8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8074/how-can-i-download-poor-quality-audio-from-youtube-videos/8082#8082" />
  <row Id="37723" PostHistoryTypeId="2" PostId="22897" RevisionGUID="4338f4c1-be25-41c7-a149-0b0bc58a7312" CreationDate="2013-06-09T00:55:48.883" UserDisplayName="evilsoup" Text="According to [wikipedia](http://en.wikipedia.org/wiki/Youtube#Quality_and_codecs), the lowest-bit rate audio available on youtube is 24 kbit/s (just tested it, and it's surprisingly OK quality -- definitely enough to listen to the spoken word). This may or may not be available on all youtube videos.&#xD;&#xA;&#xD;&#xA;Unfortunately, the websites you listed there are all taking the youtube videos, turning them into MP3s, and then sending you the copy of that MP3. An MP3 would be too horrible to listen to at such low bit rates, so the way those particular websites work will never get you the low bit rates you want.&#xD;&#xA;&#xD;&#xA;If you are comfortable working on the command-line, you could perhaps give [youtube-dl](http://rg3.github.io/youtube-dl/) a try. You would want to use something like:&#xD;&#xA;&#xD;&#xA;    youtube-dl -f 17 https://www.youtube.com/watch?v=rLKNc778hoA&#xD;&#xA;&#xD;&#xA;The `-f 17` tells `youtube-dl` to get the mobile-phone version of the video, with an audio bit rate of 24 kbit/s and a video bit rate of around 50 kbit/s -- so, a total of around 74 kbit/s. It is not possible to avoid downloading the video as well as the audio with this method, I'm afraid, but it will still give you a smaller download than the websites you've tried.&#xD;&#xA;&#xD;&#xA;I've found [one website](http://www.clipconverter.cc/) that allows you to download audio from youtube videos at 32 kbit/s. Not quite as low as you asked for, but hopefully you'll find it helpful. Obviously, use it at your own risk." ContentLicense="CC BY-SA 3.0" />
  <row Id="37724" PostHistoryTypeId="2" PostId="22896" RevisionGUID="8d12fb9b-2009-4b62-8a96-dac53c707e8d" CreationDate="2013-06-08T01:43:17.737" UserDisplayName="abhishek" Text="I stay in a underdeveloped area of India where only one telecom operator is available.&#xD;&#xA;The highest internet speed that I have seen in my computer is 11 KBps (as this operator supports only 2G). &#xD;&#xA;&#xD;&#xA;there are some of discussions/debates on youtube, which are worth watching, but due to my internet speed I can't even afford to download and listen to the audio of these videos. The reason being that the audio of these videos are of almost 200 MB.(which would theoretically take 5 hours and 17 minutes to get downloaded)&#xD;&#xA;&#xD;&#xA;The bitrate which is offered by many of the websites like&#xD;&#xA;&#xD;&#xA;youtube2mp3[dot]net&#xD;&#xA;&#xD;&#xA;listentoyoutube[dot]com&#xD;&#xA;&#xD;&#xA;keepvid[dot]com&#xD;&#xA;&#xD;&#xA;youtube-mp3[dot]org&#xD;&#xA;&#xD;&#xA;is much more than i want(they are offering 256kbps and I need much lower!!!). The bitrate definitely add to the memory of the audio clip. &#xD;&#xA;&#xD;&#xA;I want a software by which I can download the audio of the youtube videos at a bitrate, lower than 20kbps.&#xD;&#xA;(as I have to listen only to the conversation of people, and any audio which is audible is acceptable)  &#xD;&#xA;&#xD;&#xA;I shall be highly thankful...eagerly waiting for reply." ContentLicense="CC BY-SA 3.0" />
  <row Id="37725" PostHistoryTypeId="1" PostId="22896" RevisionGUID="8d12fb9b-2009-4b62-8a96-dac53c707e8d" CreationDate="2013-06-08T01:43:17.737" UserDisplayName="abhishek" Text="How can i download poor quality audio from youtube videos?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37726" PostHistoryTypeId="3" PostId="22896" RevisionGUID="8d12fb9b-2009-4b62-8a96-dac53c707e8d" CreationDate="2013-06-08T01:43:17.737" UserDisplayName="abhishek" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37727" PostHistoryTypeId="36" PostId="22898" RevisionGUID="e0b0aad6-a409-4fbf-ba08-3b84f945e1de" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7346/how-to-record-several-instruments-with-a-mac-using-minimal-equipment" />
  <row Id="37728" PostHistoryTypeId="36" PostId="22899" RevisionGUID="1cfffad7-11a9-4368-8b85-5fc6fcb1f201" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7346/how-to-record-several-instruments-with-a-mac-using-minimal-equipment/7347#7347" />
  <row Id="37729" PostHistoryTypeId="2" PostId="22899" RevisionGUID="1b87ca90-ff6f-4bc7-8406-1d4cf791dc4f" CreationDate="2013-03-07T19:56:41.697" UserId="7174" Text="If you don't want to record individually, your choices are a board or multiple inputs.  Multiple inputs is probably the cheaper option.  MAudio makes a number of products that would be similar to what you are looking for as an 8 input ADC shouldn't be that expensive." ContentLicense="CC BY-SA 3.0" />
  <row Id="37730" PostHistoryTypeId="2" PostId="22900" RevisionGUID="d654fe46-2c7d-4a05-a4eb-bc8fd074bf1b" CreationDate="2013-03-07T21:27:56.150" UserId="7093" Text="Since you don't need it to sound great, you might just try putting a single USB microphone and position it in such a way that you get a pretty good mix of all the instruments.  It may be a challenge to get a good mix, but it is definitely an inexpensive solution using minimal equipment.&#xD;&#xA;&#xD;&#xA;Before getting my fancy firewire interface, I used to just put a mic between my keyboard amp and the drum set.  When we had a bass player, it didn't matter much where he was. The bass was picked up by the mic at a good level.  The recordings came out surprisingly good.&#xD;&#xA;&#xD;&#xA;To get clearer sound and more control over the mix, you could try a small mixer.  There are several inexpensive 8 channel mixers out there which deliver the stereo mix to your computer via USB.  You can get away with a single mic for the drums, but the sound will be much clearer with at least 1 overhead to catch the cymbals and 1 below to catch the kick drum.&#xD;&#xA;&#xD;&#xA;Using a single mic to catch it all gives you the least amount of equipment to set up, but may take more time to get the mic positioned just right.  Using the mixer will cost a bit more and take a bit more to wire it up, but getting a good mix will be much easier and may well make up for the extra cost and equipment." ContentLicense="CC BY-SA 3.0" />
  <row Id="37731" PostHistoryTypeId="2" PostId="22898" RevisionGUID="2a9e24e6-fe86-415a-8f7e-abe8e77b0dbf" CreationDate="2013-03-07T19:07:08.313" UserDisplayName="Josiah" Text="I have a band, but several players. Set up is as follows:&#xD;&#xA;&#xD;&#xA;1 = Keys&#xD;&#xA;&#xD;&#xA;2 = Acoustic&#xD;&#xA;&#xD;&#xA;3 = Electric&#xD;&#xA;&#xD;&#xA;4 = Bass&#xD;&#xA;&#xD;&#xA;5 = Drums?&#xD;&#xA;&#xD;&#xA;6 = Vocal Mic&#xD;&#xA;&#xD;&#xA;However, this is literally everything. I have a Mac, with Garage band and I have Audacity. I expect that if I wanted to record, what you would do is take the lines from each instrument (ignoring the drums for now), send them to a mixer board, and send the mixer output to my mac, and then use that.&#xD;&#xA;&#xD;&#xA;But I believe boards are quite expensive, and I really don't need this to sound great. Is there a way to record all of these with one Mac and no board at all. Perhaps a box or something that you can send everything too, and plug that into the Mac.&#xD;&#xA;&#xD;&#xA;For now, I am fine if I lose channels. Simply a stereo or even perhaps mono line is good enough. We can turn down the volume on each instrument for now.&#xD;&#xA;&#xD;&#xA;Any ideas here? Oh, and we **do not want to record individually!**" ContentLicense="CC BY-SA 3.0" />
  <row Id="37732" PostHistoryTypeId="1" PostId="22898" RevisionGUID="2a9e24e6-fe86-415a-8f7e-abe8e77b0dbf" CreationDate="2013-03-07T19:07:08.313" UserDisplayName="Josiah" Text="How to record several instruments with a Mac using minimal equipment" ContentLicense="CC BY-SA 3.0" />
  <row Id="37733" PostHistoryTypeId="3" PostId="22898" RevisionGUID="2a9e24e6-fe86-415a-8f7e-abe8e77b0dbf" CreationDate="2013-03-07T19:07:08.313" UserDisplayName="Josiah" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37734" PostHistoryTypeId="36" PostId="22900" RevisionGUID="42020bdb-0150-41c0-ba39-7d7fdeabf2a4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7346/how-to-record-several-instruments-with-a-mac-using-minimal-equipment/7348#7348" />
  <row Id="37735" PostHistoryTypeId="36" PostId="22901" RevisionGUID="f124aa49-9989-4ec5-9dbc-49d67f78cd90" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5675/setting-up-mixer-help" />
  <row Id="37736" PostHistoryTypeId="36" PostId="22902" RevisionGUID="478066f9-efe9-472b-b23b-f0e7caeaa7b3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5675/setting-up-mixer-help/7304#7304" />
  <row Id="37737" PostHistoryTypeId="36" PostId="22903" RevisionGUID="325deb42-437b-47ff-b831-8d850c03ba25" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5675/setting-up-mixer-help/8867#8867" />
  <row Id="37738" PostHistoryTypeId="2" PostId="22902" RevisionGUID="30769f40-7b1e-43eb-9366-8454f89599be" CreationDate="2013-03-04T21:18:09.850" UserId="7474" UserDisplayName="Pres" Text="It seems there should be an option selector switch for channel 7 to accept usb audio from the computer. I would suggest you connect your speakers to the mixer output and take in audio from your pc. Whether you need to set your playback devices (enable mixer output) in audio properties depends on whether you had to install a driver for the mixer usb port to work.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37739" PostHistoryTypeId="2" PostId="22903" RevisionGUID="6a088bf2-9d22-4644-8320-1977a0df376f" CreationDate="2013-09-02T19:49:21.813" UserDisplayName="Adam Vigneaux" Text="I would highly recommend reading the [manual][1] provided for your mixer. Page 8 has an explanation of the different outputs provided:&#xD;&#xA;&#xD;&#xA;&gt; - Amp: Connect the mixer’s output to your receiver or amplifier.&#xD;&#xA;&gt; - Booth: Connect to another receiver or amplifier, or connect to powered speakers.&#xD;&#xA;&gt; - Rec: Connect to the line input of your recording device so you can record sound from the  mixer.&#xD;&#xA;&#xD;&#xA;Basically, these outputs are **all the same**. The names provided for them are essentially just labels.&#xD;&#xA;&#xD;&#xA;The USB port is for **input** as well as **output**. The manual is ambiguous on its usage. To use it for input, it says to &quot;Set the channel selector to USB.&quot; To record, it doesn't specify that you have to change any settings on the mixer.&#xD;&#xA;&#xD;&#xA;If you are using the USB port for output, don't use the &quot;booth&quot; output into your monitor, it is redundant. Your mixer is already sending the audio through the USB cable.&#xD;&#xA;&#xD;&#xA;Your problem is most likely that in Virtual DJ you have not selected your mixer's USB plug from the &quot;input&quot; menu.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.radioshack.com/graphics/uc/rsk/Support/ProductManuals/3200026_PM_EN.pdf &quot;RadioShack 4-Channel Mixer with USB and Sound Effects (User's guide)&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37740" PostHistoryTypeId="2" PostId="22901" RevisionGUID="0ce73740-af6d-4d80-ab16-5943702797de" CreationDate="2012-12-26T19:10:08.137" UserDisplayName="user3368" Text="I need some help setting up my mixer. It is a Radioshack 4 Channel Mixer with effects.  I have a speaker set, and the main speaker (Right) has input and output jacks (3.5mm)&#xD;&#xA;My monitor also has input and output jacks (3.5mm).  My computer has rear input and output jacks (3.5mm, I'm not sure if they work, I don't know how to test them).&#xD;&#xA;And it has front input and output jacks (3.5mm, not sure if the input works, don't know how to test it.)  **My monitor is hooked up to my computer via HDMI, so the sound goes to my monitor.**&#xD;&#xA;Anyways, let me tell you how my mixer is setup.  &#xD;&#xA;&#xD;&#xA;1. My mixer has a USB port, so I have a USB cable going from my Mixer into my Computer (Although, I cannot tell if it is an input or output cable)&#xD;&#xA;2.  Then, I have an RCA to 3.5mm converting cable hooked into my mixer (RCAs are in the mixer) In the **Booth** output (The only output choices I have are Amp, Booth, and Record) then the 3.5mm end in my **Speakers** (Problem could be here)&#xD;&#xA;3.  My speakers are hooked up into my Monitor Output (Which, once again, is connected to my computer via HDMI, which sends the sound to the computer).&#xD;&#xA;4.  And lastly, I have my headphones hooked up into my speaker.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The Mixer partially works, Only the volume controls work.  Does anyone know what's going on? What am I doing wrong?&#xD;&#xA;Also, I have virtual DJ pro downloaded, I just don't know what configurations to have.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37741" PostHistoryTypeId="1" PostId="22901" RevisionGUID="0ce73740-af6d-4d80-ab16-5943702797de" CreationDate="2012-12-26T19:10:08.137" UserDisplayName="user3368" Text="Setting up Mixer Help" ContentLicense="CC BY-SA 3.0" />
  <row Id="37742" PostHistoryTypeId="3" PostId="22901" RevisionGUID="0ce73740-af6d-4d80-ab16-5943702797de" CreationDate="2012-12-26T19:10:08.137" UserDisplayName="user3368" Text="&lt;audio&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37743" PostHistoryTypeId="36" PostId="22904" RevisionGUID="b124b052-5600-4a68-b009-a7c1070c1512" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/119/what-is-mastering" />
  <row Id="37744" PostHistoryTypeId="2" PostId="22905" RevisionGUID="1e003e90-cc08-482d-9cff-9001ede0c2d0" CreationDate="2010-12-08T13:07:17.167" UserId="7592" UserDisplayName="Pelle ten Cate" Text="When mixing, you are making sure that the stuff you recorded sounds perfect on your studio monitors inside your quiet control room. When mastering, you are making sure that the mix that sounds perfect on your studio monitors, is going to sound decent in your home, your car at route 66, the crappy loudspeakers that came with your PC etc. &#xD;&#xA;&#xD;&#xA;When mastering, (and taking it seriously), you listen to your mix on more than one set of loudspeakers, I normally listen to a pair of monitors, a pair of good hi-fi loudspeakers, a pair of cheap plastic crappy sounding speakers and a pair of headphones. I then take care of the dynamic range of the mix (depending on the type of music you could either add a compressor or a limiter that can just squeeze the dynamic range to a level you want). I also check whether I am happy with the low frequency balance of the mix, that depends on the loudspeakers that the mix was made with. Sometimes you need to do a bit of equalizing using a linear phase EQ (so that all the stereo-related stuff stays intact.)&#xD;&#xA;&#xD;&#xA;Depending on the room where you mixed and mastered, it can even be the case that you add a very little reverb to the mix while mastering.&#xD;&#xA;&#xD;&#xA;When producing an album with all seperately recorded tracks that are all individually mixed down, the situation can raise that there are substantial differences between the individual tracks. To some extent it makes sense to start seeing them as one group of related tracks, and use the techniques described above to make the sound of each track a bit more similar to the others.&#xD;&#xA;&#xD;&#xA;There are discussions as to whether this step belongs to mastering or to the final stage of mixing, but adding dither signal, downsample and reduce resolution to prepare your track for publishing on for instance a CD. If I recorded on 96KHz/24 bits, I normally check every now and then if this stage is not messing up my recording while mastering my tracks.&#xD;&#xA;&#xD;&#xA;General rules:&#xD;&#xA;&#xD;&#xA;* Never change a mix while mastering. Try to use a 2-track source to master with. This is probably the most difficult thing to understand and do, but at the stage of mastering, the mix should be in order, and therefore the wrong place to fix things.&#xD;&#xA;* Try to change your environment as much as possible. Listen to your master on different type of loudspekers, try a different room, or - the best - different ears. That's right, ask somebody else to master your tracks. Fresh ears are invaluable at the stage where you already listened to the track for hours, if not months.&#xD;&#xA;* Always check what your master sounds like through headphones. Most of the listeners are using these, so ensure yourself that you know what you sell these guys." ContentLicense="CC BY-SA 2.5" />
  <row Id="37745" PostHistoryTypeId="2" PostId="22904" RevisionGUID="c5b47a12-aff0-46c6-a3a5-d14b80946420" CreationDate="2010-12-08T12:53:45.880" UserDisplayName="Donn Felker" Text="Can anyone explain mastering? What is it for and why should anyone care? Should I have all of my recordings mastered? " ContentLicense="CC BY-SA 2.5" />
  <row Id="37746" PostHistoryTypeId="1" PostId="22904" RevisionGUID="c5b47a12-aff0-46c6-a3a5-d14b80946420" CreationDate="2010-12-08T12:53:45.880" UserDisplayName="Donn Felker" Text="What is Mastering?" ContentLicense="CC BY-SA 2.5" />
  <row Id="37747" PostHistoryTypeId="3" PostId="22904" RevisionGUID="c5b47a12-aff0-46c6-a3a5-d14b80946420" CreationDate="2010-12-08T12:53:45.880" UserDisplayName="Donn Felker" Text="&lt;audio-recording&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37748" PostHistoryTypeId="36" PostId="22905" RevisionGUID="c06ea80a-7d8e-41eb-9b8a-5f4eed30f423" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/119/what-is-mastering/121#121" />
  <row Id="37749" PostHistoryTypeId="36" PostId="22906" RevisionGUID="806ba031-a882-48c8-a1ae-3f0733f71081" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/119/what-is-mastering/123#123" />
  <row Id="37750" PostHistoryTypeId="2" PostId="22906" RevisionGUID="6df67588-9354-4078-8c0f-ccd54160ba10" CreationDate="2010-12-08T13:40:48.167" UserDisplayName="ees" Text="A great book on mastering is &quot;Mastering Audio - the art and the science&quot; (second edition) by Bob Katz.  I'm looking at my copy right now and remembering how much I enjoyed reading it, even if I don't have the equipment to do what he's talking about." ContentLicense="CC BY-SA 2.5" />
  <row Id="37761" PostHistoryTypeId="36" PostId="22911" RevisionGUID="7bf219db-a6e9-44a9-b787-f9c13cc63d11" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/879/what-specifications-should-i-look-for-in-a-budget-microphone-to-be-used-for-capt" />
  <row Id="37762" PostHistoryTypeId="36" PostId="22912" RevisionGUID="f9d3fa47-c5cc-439f-b0f1-439e962d52de" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/879/what-specifications-should-i-look-for-in-a-budget-microphone-to-be-used-for-capt/884#884" />
  <row Id="37763" PostHistoryTypeId="2" PostId="22912" RevisionGUID="97b16966-6a6e-4746-a561-2bc3277396fd" CreationDate="2011-02-22T19:20:12.410" UserId="2506" Text="Good directionality is important, so a cardioid or supercardioid pickup pattern - you don't want to be picking up spill or other instruments around the cab. Being a dynamic mic (as opposed to condenser) is a plus in some live scenarios, as you can hotswap should you have a problem with it or a cable without worrying about damaging any gear from phantom power spikes. Also, ensure it has an XLR connector - and check its sturdiness, you may encounter problems with the internal wiring if it's too weak. A Shure SM58, for example, when unscrewed has really solidly constructed internals; everything is literally either hot glued together or screwed and fitted as tightly as it can be to avoid loose connections developing from being thrown around both by artists and roadies.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What's your budget? You can get good value, you can get cheap and you can get DIRT cheap. The quality curve is inversely proportional. ;-)&#xD;&#xA;&#xD;&#xA;Unless you've already heard a mic it may have an awful response with regards to transients, or its characteristics may be very uneven - the frequency response as stated on boxes of cheap equipment never quite matches up, so an evaluation (or no-penalty return agreement) is essential for mics. Ideally for easy stage placement, a side-facing diaphragm is preferable, as you can mount it in a mini-stand or (not always advisable!) hang it over the front of the guitar cab with an XLR lead. Not recommended, as it puts great stress on the cable and mic connectors, but sometimes when you need &quot;that sound&quot;...&#xD;&#xA;&#xD;&#xA;Unfortunately you'll never get the best of both characteristics - build quality and sound quality - I've personally used SM58s, SM58 betas and both Sennheiser E609 and E906s on guitar and bass cabs, and my favourite so far has to be the E906. The tone I got from a bass cab turned up to 11 in a small venue with the 906 was outstanding, the plus being that both Sennies are specifically designed for easy guitar &amp; bass cab placement. I also felt that I got a better, cleaner and more defined raw sound from the Sennheisers than even the more expensive Shure. Spill and directionality were vastly superior, and getting a raw good sound from a well-designed mic is three quarters of the battle won before you even start.&#xD;&#xA;&#xD;&#xA;There's a very helpful YouTube video comparing both E609 &amp; E906 side by side at http://www.youtube.com/watch?v=8yrrVvoXJSQ&amp;feature=related if you'd like to internet audition." ContentLicense="CC BY-SA 2.5" />
  <row Id="37764" PostHistoryTypeId="2" PostId="22911" RevisionGUID="f8653615-e943-4def-b7df-8084ad6d83f9" CreationDate="2011-02-22T15:40:28.733" UserDisplayName="user514" Text="What should I look for in a budget-level microphone if I'm going to use it primarily for capturing clean, guitar amp tones?&#xD;&#xA;&#xD;&#xA;Can such a microphone capture both clean and distorted tones well?" ContentLicense="CC BY-SA 2.5" />
  <row Id="37765" PostHistoryTypeId="1" PostId="22911" RevisionGUID="f8653615-e943-4def-b7df-8084ad6d83f9" CreationDate="2011-02-22T15:40:28.733" UserDisplayName="user514" Text="What specifications should I look for in a budget microphone to be used for capturing clean, electric guitar?" ContentLicense="CC BY-SA 2.5" />
  <row Id="37766" PostHistoryTypeId="3" PostId="22911" RevisionGUID="f8653615-e943-4def-b7df-8084ad6d83f9" CreationDate="2011-02-22T15:40:28.733" UserDisplayName="user514" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37767" PostHistoryTypeId="36" PostId="22913" RevisionGUID="36f5eca4-6f48-4a98-9b18-2815e5d62cb2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4176/lowering-headphone-output-to-fit-microphone-input" />
  <row Id="37768" PostHistoryTypeId="2" PostId="22914" RevisionGUID="d36f68ac-7f72-4d3b-a544-4e1dd87162f5" CreationDate="2012-06-14T11:21:38.057" UserId="12830" UserDisplayName="dwwilson66" Text="You're likely looking at the harsh reality of mic level vs. line level recording. Line level, such as your headphone output, is a much stronger signal than mic level, which, given your symptoms, is likely the case on your cassette recorder. The loud buzzing in silent parts, overdriven audio, and a sound quality that's best described as &quot;crispy&quot; are all the hallmarks of a mismatch between line and mic.&#xD;&#xA;&#xD;&#xA;A couple options: you can't adjust the output from the laptop. Most recording devices have a switch labelled &quot;line&quot; and &quot;mic&quot;. Flip the switch to &quot;line&quot; so it matches your output. If you've got no switch and you're handy with electronics (or know someone who is), try [this][1]. &#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.crownaudio.com/kb/entry/279/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37769" PostHistoryTypeId="2" PostId="22913" RevisionGUID="cdf8e486-6f0e-4fea-bab3-c36aafe6b2b9" CreationDate="2012-06-13T13:17:58.557" UserDisplayName="Max Ried" Text="I have a cassette recorder with a microphone input, no line-in. I'd like to record some audio coming from my computer. No matter how low I set the computer's output volume the recorded signal is way too loud and potentially overdriven. Due to the low output level the SNR of the computer's output is so low you can hear a loud buzzing in silent parts.&#xD;&#xA;&#xD;&#xA;How can I lower the volume of the output that it's on microphone level?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37770" PostHistoryTypeId="1" PostId="22913" RevisionGUID="cdf8e486-6f0e-4fea-bab3-c36aafe6b2b9" CreationDate="2012-06-13T13:17:58.557" UserDisplayName="Max Ried" Text="Lowering Headphone Output to Fit Microphone Input" ContentLicense="CC BY-SA 3.0" />
  <row Id="37771" PostHistoryTypeId="3" PostId="22913" RevisionGUID="cdf8e486-6f0e-4fea-bab3-c36aafe6b2b9" CreationDate="2012-06-13T13:17:58.557" UserDisplayName="Max Ried" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37772" PostHistoryTypeId="36" PostId="22914" RevisionGUID="3ccef236-37c7-43cb-bff6-409324241c4c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4176/lowering-headphone-output-to-fit-microphone-input/4182#4182" />
  <row Id="37773" PostHistoryTypeId="36" PostId="22915" RevisionGUID="d02dfd79-44ed-4f1e-81b6-204006e1d9ef" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8075/highly-directional-close-up-microphone" />
  <row Id="37774" PostHistoryTypeId="36" PostId="22916" RevisionGUID="f5141e2b-b0e2-4030-9714-5801afa84008" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8075/highly-directional-close-up-microphone/8076#8076" />
  <row Id="37775" PostHistoryTypeId="36" PostId="22917" RevisionGUID="93e94e1b-8451-476b-bd95-3da3f1596cec" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8075/highly-directional-close-up-microphone/8078#8078" />
  <row Id="37776" PostHistoryTypeId="2" PostId="22916" RevisionGUID="4182acda-ef49-472b-a102-9423f61faa6d" CreationDate="2013-06-08T04:24:47.000" UserId="7189" Text="There are probably many different solutions to this problem. One thing you *don't* need to do is write more software. There is *plenty* of great software out there that will do the job. Hiring a local audio engineer who has experience with sound design and recording will probably save you a lot of time, money, and headache.&#xD;&#xA;&#xD;&#xA;But if you want to do it yourself, or know what to look for, here are two ideas:&#xD;&#xA;&#xD;&#xA;1. Process recordings of the actual device to get the desired sound.&#xD;&#xA;2. Make recordings of *similar* things and assemble them together so that they  make the sound you want. (Foley)&#xD;&#xA;&#xD;&#xA;It may help to use one or more shotgun microphones to record your device. You probably won't be able to perfectly isolate the sound you want this way, any more than you would be able to take a picture of a perfect sine wave in a bathtub that contains a toddler - no matter how expensive the lens you buy.&#xD;&#xA;&#xD;&#xA;You may be able to do some filtering to remove unwanted sound - [Audacity][1] either includes all the filtering tools you need, or the separate plugin bundle does. You may also want to look into FFT audio editors such as [SPEAR][2]. This isn't easy, though. It will take time, reading, and practice to build the basic skills you need. And then more time and practice to actually extract the sound you want.&#xD;&#xA;&#xD;&#xA;In movies, TV and commercials a process called [Foley][3] is used. Foley work is basically recording things that sound similar enough to the sound you want, and then dubbing them together to make a soundtrack. Many of the &quot;realistic&quot; sound effects we are used to hearing are just as fake as the 3D graphics we see. In some cases, we are so used to the fake movie sounds that the actual sounds in real life sound &quot;fake&quot;.&#xD;&#xA;&#xD;&#xA;You might be able to get the sound you want by baking your stuff on a cookie sheet, and then pulling the cookie sheet out and holding a microphone up against the cooling stuff. Then you overlay that sound on top of the blower sound of your machine before it starts popping. If that doesn't work, try other household goods that make the right sound. If *that* doesn't work, go crazy at the supermarket and hardware store buying likely items to smash when you get home.&#xD;&#xA;&#xD;&#xA;**TL;DR** A Shotgun Microphone is the piece of equipment that you think you want, but equipment alone won't solve this problem.&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net&#xD;&#xA;  [2]: http://www.klingbeil.com/spear/&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Foley_%28filmmaking%29" ContentLicense="CC BY-SA 3.0" />
  <row Id="37777" PostHistoryTypeId="2" PostId="22917" RevisionGUID="06d4b73d-0605-4d99-aac2-e1f26961213f" CreationDate="2013-06-08T15:05:30.457" UserId="7405" UserDisplayName="Andy aka" Text="Tell me if I'm wrong but, I think you want to detect the point at which the foodstuff starts making the noises so that you can halt the process or time some other process from the instant they are making the noise.&#xD;&#xA;&#xD;&#xA;I think ObscureRobot's answer assumes you want to make a recording of the noises that the food makes? Forgiveness please if I've misrepresented questions and answers here.&#xD;&#xA;&#xD;&#xA;Anyway, it is likely that you can use digital or analogue filters to focus on the part of the spectrum the foodstuff noise occupies. Then you should be able to eradicate a lot of the background noise and have some form of &quot;detector&quot; to trigger the next process.&#xD;&#xA;&#xD;&#xA;Like I say if I haven't got the idea correct, the same process to filter the sounds will be used even if you just want to record the sound made by the food." ContentLicense="CC BY-SA 3.0" />
  <row Id="37778" PostHistoryTypeId="2" PostId="22915" RevisionGUID="de722a84-e4db-4e8f-8c42-a7633aa0f0ee" CreationDate="2013-06-08T02:36:45.280" UserDisplayName="ctilley79" Text="I would like to record specific audio for the following scenario.  I have a piece of equipment that rotates a drum via an electric motor.  The drum contains food product that is heated by air entering the drum.  The food inside the drum cracks very lightly when it is fully cooked.  The problem is that the cracks are audible, but barely.  The whine of the motor and inflow and outflow of air is drowning out the audible cracks.&#xD;&#xA;&#xD;&#xA;I figured a solution would be a certain microphone that would concentrate it's sensitivity close to the drum, therefore avoiding all the background noise.  Unfortunately I am NOT an audio expert in the least.  What microphone would work for this setup?  Any other tips with how to filter the microphone and process the audio in real time.&#xD;&#xA;&#xD;&#xA;I am a computer programmer so designing software would not be an issue for this.  I mainly need help picking out hardware and fully understanding the problem domain so I can design a solution. Below is a youtube video of the equipment.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=3BnqUBi0N0k" ContentLicense="CC BY-SA 3.0" />
  <row Id="37779" PostHistoryTypeId="1" PostId="22915" RevisionGUID="de722a84-e4db-4e8f-8c42-a7633aa0f0ee" CreationDate="2013-06-08T02:36:45.280" UserDisplayName="ctilley79" Text="Highly Directional Close up Microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="37780" PostHistoryTypeId="3" PostId="22915" RevisionGUID="de722a84-e4db-4e8f-8c42-a7633aa0f0ee" CreationDate="2013-06-08T02:36:45.280" UserDisplayName="ctilley79" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37781" PostHistoryTypeId="36" PostId="22918" RevisionGUID="1ddaa961-5d92-444b-8f13-72a234030a82" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2638/balance-main-mix-between-multiple-speakers" />
  <row Id="37782" PostHistoryTypeId="2" PostId="22919" RevisionGUID="f07ac49f-bed1-4bb3-8598-192b29f673c0" CreationDate="2011-11-14T23:10:35.803" UserId="7218" UserDisplayName="Robert Harvey" Text="&gt; All newer Home Theater Receivers offer an option to balance the sound&#xD;&#xA;&gt; coming from your speakers, which will optimize the surround sound&#xD;&#xA;&gt; experience. Using the setup menu on many Home Theater Receivers, the&#xD;&#xA;&gt; user can set speaker distance, speaker size, and speaker channel level&#xD;&#xA;&gt; in relation to the listening position.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://hometheater.about.com/od/hometheaterbasics/a/trouble.htm&#xD;&#xA;&#xD;&#xA;So one way to solve this without changing your mixer is to use a single 5+1 home theater receiver instead of adding another 2 channel amp.  It's possible to get pro-quality units at a reasonable price, [like this one.](http://www.amazon.com/Yamaha-RX-V371BL-5-1-Channel-Audio-Receiver/dp/B004QQXDVC)  &#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;If you need real-time control over the speaker channels, you can get a &quot;splitter mixer,&quot; like this one: http://www.rane.com/sm26s.html#gpm1_2, and configure it as a splitter according to the manual:&#xD;&#xA;&#xD;&#xA;&gt; As a splitter, place one or both input signals into the LEFT and/or&#xD;&#xA;&gt; RIGHT MASTER INs. Select the Input(s) to be placed at each of the six&#xD;&#xA;&gt; MONO OUTPUTS by rotating the MIX / PAN control to the proper position.&#xD;&#xA;&gt; Set the individual channel LEVEL controls for proper output level. The&#xD;&#xA;&gt; MASTER INPUT LEVEL control adjusts both Right and Left Input signal&#xD;&#xA;&gt; levels together.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; ![enter image description here][1]&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/AetNq.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/QqNha.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="37783" PostHistoryTypeId="2" PostId="22918" RevisionGUID="0687df2c-a322-4227-8c76-ddf689c928fc" CreationDate="2011-11-14T20:11:12.350" UserDisplayName="Joseph Sturtevant" Text="I'm designing a small PA system. I currently have the following setup (stereo main mix into 2-channel amp with 4 speakers [front and rear in parallel]):&#xD;&#xA;&#xD;&#xA;    +------+           +---+           +------+&#xD;&#xA;    |LF-Spk|&lt;------L--+|Amp|+--R------&gt;|RF-Spk|&#xD;&#xA;    +------+           +---+           +------+&#xD;&#xA;        +               ^ ^               +&#xD;&#xA;        |               | |               |&#xD;&#xA;        |               | |               |&#xD;&#xA;        |               L R               |&#xD;&#xA;        v               + +               v&#xD;&#xA;    +------+         +--------+        +------+&#xD;&#xA;    |LR-Spk|         |Main Mix|        |RR-Spk|&#xD;&#xA;    +------+         +--------+        +------+&#xD;&#xA;&#xD;&#xA;The problem I am encountering is that this setup does not allow me to adjust the volume of each speaker independently. I can adjust the volume of the left and right on the mixer, but I would like to adjust the volume of each speaker independently. There is no apparent way to do this while my speakers are in parallel.&#xD;&#xA;&#xD;&#xA;My current plan is to get an additional 2-channel amp for my rear speakers and set up my system like this:&#xD;&#xA;&#xD;&#xA;    +------+            +----+             +------+&#xD;&#xA;    |LF-Spk|&lt;----LF----+|Amp1|+----RF-----&gt;|RF-Spk|&#xD;&#xA;    +------+            +----+             +------+&#xD;&#xA;                         ^  ^&#xD;&#xA;                         |  |&#xD;&#xA;                      +--+  +--+&#xD;&#xA;                      |        |&#xD;&#xA;    +------+          | +----+ |           +------+&#xD;&#xA;    |LR-Spk|&lt;----LR----+|Amp2|+----RR-----&gt;|RR-Spk|&#xD;&#xA;    +------+          | +----+ |           +------+&#xD;&#xA;                      |  ^  ^  |&#xD;&#xA;                      |  |  |  |&#xD;&#xA;                      L  L  R  R&#xD;&#xA;                      F  R  R  F&#xD;&#xA;                      +  +  +  +&#xD;&#xA;                    +------------+&#xD;&#xA;                    |  Main Mix  |&#xD;&#xA;                    +------------+&#xD;&#xA;The problem is that my mixer only has a 2 channels out (L and R). I would prefer to not buy a new mixer. In fact, I sort of need the opposite of a mixer: something that takes two channels in and adjusts its volume for multiple output channels. Are there products that do this? Or is there a better way to tackle this problem entirely?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37784" PostHistoryTypeId="1" PostId="22918" RevisionGUID="0687df2c-a322-4227-8c76-ddf689c928fc" CreationDate="2011-11-14T20:11:12.350" UserDisplayName="Joseph Sturtevant" Text="Balance Main Mix Between Multiple Speakers" ContentLicense="CC BY-SA 3.0" />
  <row Id="37785" PostHistoryTypeId="3" PostId="22918" RevisionGUID="0687df2c-a322-4227-8c76-ddf689c928fc" CreationDate="2011-11-14T20:11:12.350" UserDisplayName="Joseph Sturtevant" Text="&lt;audio&gt;&lt;live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37786" PostHistoryTypeId="36" PostId="22919" RevisionGUID="117bf7a5-5a7d-40bc-a14e-9b8a31b733d1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2638/balance-main-mix-between-multiple-speakers/2639#2639" />
  <row Id="37787" PostHistoryTypeId="36" PostId="22920" RevisionGUID="db1a5713-8290-49f7-8443-933b6ed11ab5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2638/balance-main-mix-between-multiple-speakers/2662#2662" />
  <row Id="37788" PostHistoryTypeId="2" PostId="22920" RevisionGUID="381beca9-97f7-4814-8e7a-f4dca14d22d4" CreationDate="2011-11-18T17:48:28.240" UserId="7856" UserDisplayName="Corey" Text="Daisy chaining the inputs of your existing amp with the inputs of an additional 2ch amp would be the simplest fix.&#xD;&#xA;&#xD;&#xA;With out more details (types of physical connections) on the mixer and amp you have now, it’s hard to give an exact answer.&#xD;&#xA;&#xD;&#xA;I would personally avoid using a home theater piece of equipment, as it is unlikely to have balanced connections and could give you issues of noise or interference.&#xD;&#xA;&#xD;&#xA;Not being able to adjust the A vs. B volume from the back should not be an issue. Once you get an initial setting and tweak it a bit over a few weeks, you should be fine.&#xD;&#xA;&#xD;&#xA;Another option is to get a 4CH amp, or run a mono setup and use A for front and B for back." ContentLicense="CC BY-SA 3.0" />
  <row Id="37789" PostHistoryTypeId="36" PostId="22921" RevisionGUID="d462fcf3-e36e-4d59-8083-8c4f53450c39" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2723/stream-windows-audio-over-the-network" />
  <row Id="37790" PostHistoryTypeId="36" PostId="22922" RevisionGUID="1e844409-4f68-44b1-a12b-49a890826ede" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2723/stream-windows-audio-over-the-network/2724#2724" />
  <row Id="37791" PostHistoryTypeId="2" PostId="22922" RevisionGUID="d1f38f4a-9c16-4b4a-9ebc-ae97030deba5" CreationDate="2011-12-01T02:05:20.993" UserDisplayName="Danny" Text="Can't say I've ever used it myself, but it looks like [Airfoil][1] from Rogue Amoeba will do just what you need.&#xD;&#xA;There are Mac and Windows versions to send audio, and Mac, Windows, and Linux versions to receive audio. It also works with airplay, so it should show up in iTunes and your iOS devices. The only downside is that it's a paid commercial application.&#xD;&#xA;&#xD;&#xA;There's also [SpeakerShare][2], which is free and open source, but doesn't have the airplay functionality. It looks like there are current Android and Mac versions, as well as depreciated Windows versions available under &quot;All Downloads&quot;.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rogueamoeba.com/airfoil/&#xD;&#xA;  [2]: http://code.google.com/p/speakershare/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37792" PostHistoryTypeId="2" PostId="22923" RevisionGUID="95a5103a-6c37-4193-9d75-589659580173" CreationDate="2012-02-03T10:42:28.603" UserDisplayName="A T" Text="Simple, use [IceCast][1].&#xD;&#xA;&#xD;&#xA;Free, open-source, cross-platform.&#xD;&#xA;&#xD;&#xA;I interface to IceCast using [Edcast][2] (on Windows), allowing broadcast of audio in both vorbis and mp3 formats. (I think AAC as well!)&#xD;&#xA;&#xD;&#xA;Have fun!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.icecast.org/&#xD;&#xA;  [2]: http://code.google.com/p/edcast-reborn/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37793" PostHistoryTypeId="2" PostId="22921" RevisionGUID="0063039c-015d-497c-b060-37e60fc27d18" CreationDate="2011-11-30T21:29:57.330" UserDisplayName="Tom J Nowell" Text="How would I take **all sound** on a windows machine and broadcast it over the network for other machines to hear?&#xD;&#xA;&#xD;&#xA;I can find instructions for individual apps, but I don't want to do this on a per app basis, I want **everything** sent to that sound output.&#xD;&#xA;&#xD;&#xA;*Note that this is not asking how to share music over the network, iTunes and Media Player have that sorted, nor is it how to use a machine as a remote microphone, skype/voip has that sorted, I'm asking how to stream all sound on that machine, regardless of source, that includes the beeps skype makes, audio from games, dings on error dialogs, browser sounds, etc etc*" ContentLicense="CC BY-SA 3.0" />
  <row Id="37794" PostHistoryTypeId="1" PostId="22921" RevisionGUID="0063039c-015d-497c-b060-37e60fc27d18" CreationDate="2011-11-30T21:29:57.330" UserDisplayName="Tom J Nowell" Text="Stream Windows audio over the network" ContentLicense="CC BY-SA 3.0" />
  <row Id="37795" PostHistoryTypeId="3" PostId="22921" RevisionGUID="0063039c-015d-497c-b060-37e60fc27d18" CreationDate="2011-11-30T21:29:57.330" UserDisplayName="Tom J Nowell" Text="&lt;audio&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37796" PostHistoryTypeId="36" PostId="22923" RevisionGUID="54102457-1f64-4481-a4fc-9e6237c4b6ac" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2723/stream-windows-audio-over-the-network/3195#3195" />
  <row Id="37797" PostHistoryTypeId="36" PostId="22924" RevisionGUID="d8745cd0-8571-4381-81cf-90554707fda4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2723/stream-windows-audio-over-the-network/3209#3209" />
  <row Id="37798" PostHistoryTypeId="36" PostId="22925" RevisionGUID="fc6fbd94-1ef7-4aef-8d0b-b70fe75aa3d6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2723/stream-windows-audio-over-the-network/8837#8837" />
  <row Id="37799" PostHistoryTypeId="2" PostId="22924" RevisionGUID="3662d80e-528e-4442-b3a3-c25b440ce8a7" CreationDate="2012-02-04T17:02:09.633" UserDisplayName="Steffen Uhlig" Text="[PulseAudio][1] should do what you want. There are client and server components for Linux, Mac and Windows. &#xD;&#xA;&#xD;&#xA;PulseAudio will create a virtual audio device on your Windows machine. All sound coming to that can get routed over the network to your clients.&#xD;&#xA;&#xD;&#xA;  [1]: http://pulseaudio.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37800" PostHistoryTypeId="2" PostId="22925" RevisionGUID="e8c7293f-7699-4309-b990-64381c2a8d3e" CreationDate="2013-08-28T03:27:45.207" UserDisplayName="Andrew.echidna3" Text="1. Go into Control Panel &gt; Sound &gt; Recording &gt; Right click in the devices list &gt; Show disabled devices &gt; Right click on Stereo Mix &gt; Enable &gt; Click on Stereo Mix &gt; Click on Set Default&#xD;&#xA;2. Install icecast win32&#xD;&#xA;3. Install edcast standalone&#xD;&#xA;4. Run icecast&#xD;&#xA;5. In icecast, click start server&#xD;&#xA;5. Run edcast&#xD;&#xA;6. In edcast you need to add an encoder. The server details match the icecast server details. Default server is localhost, default port 8000, default password hackme. &#xD;&#xA;7. In edcast, make sure Stereo Mix is selected under Live Recording&#xD;&#xA;8. Click connect.&#xD;&#xA;9. Profit.&#xD;&#xA;&#xD;&#xA;(Using edcast 3.37 and icecast 2.3.1)&#xD;&#xA;&#xD;&#xA;EDIT: I should mention this method does not automatically start the server, that requires a bit more setting up.&#xD;&#xA;&#xD;&#xA;EDIT2: In Windows 7 I had to create the folder C:\Users\&quot;current user&quot;\AppData\Local\EdcastStandalone for my Edcast settings to stick." ContentLicense="CC BY-SA 3.0" />
  <row Id="37805" PostHistoryTypeId="36" PostId="22927" RevisionGUID="244a1a95-b744-4c80-a46c-725cbe3ea556" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2688/sub-100-pound-dollar-spdif-coaxial-audio-input-into-usb-mac-lion-and-win-7-64-c" />
  <row Id="37806" PostHistoryTypeId="36" PostId="22928" RevisionGUID="25cf97eb-cb77-4110-ad74-960b20c67144" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2688/sub-100-pound-dollar-spdif-coaxial-audio-input-into-usb-mac-lion-and-win-7-64-c/2690#2690" />
  <row Id="37807" PostHistoryTypeId="2" PostId="22928" RevisionGUID="9ceb1ec8-b6ed-403e-8bf1-379e67f65c7d" CreationDate="2011-11-24T13:09:25.533" UserId="9744" UserDisplayName="therobyouknow" Text="http://tascam.com/product/us-144mkii/&#xD;&#xA;&#xD;&#xA;Price check shows that, at about 125 pounds, the us-144mkii is a little over my intended budget of 100 pounds but it also has MIDI, which I also need and is USB-powered which is a real bonus for portability and because it means one less power socket required - I have many in use and would like to reduce if I can. &#xD;&#xA;&#xD;&#xA;**Update**&#xD;&#xA;&#xD;&#xA;Correction: I should have said the US-144mkii&#xD;&#xA;&#xD;&#xA;And I just bought it today and it seems to work with latest update of MacOS X 10.7.2 (Lion), on Tascam's site they have drivers for 10.6 (Snow Leopard) but in this case this means that is the minimum OS version, as these drivers also work with 10.7.2 as said. I couldn't say that is a general rule for all drivers but in this Tascam product case it works. Moveover on Tascam's facebook page they state officially that this driver will work and that the US-144mkii is 10.7 / Lion compatible. Need to select it as audio input/output in system preferences and restart the machine - well that's what the manual says. SPDIF in fine, MIDI IN fine. Will check out other features, but I think this is probably going to work out as required.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37808" PostHistoryTypeId="2" PostId="22929" RevisionGUID="37f930fd-eb2d-4877-a2d7-e853aef03f94" CreationDate="2011-11-26T18:11:09.633" UserId="7189" Text="What model of mac do you have? Mac Pro and Macbook Pro machines have optical S/PDIF built in already, so [all you need is a converter like the M-Audio CO2][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.m-audio.com/products/en_us/CO2.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="37809" PostHistoryTypeId="2" PostId="22927" RevisionGUID="a391bd9b-3bfb-4910-87ce-88040b5dfa2d" CreationDate="2011-11-24T10:05:09.943" UserId="9744" UserDisplayName="therobyouknow" Text="Can you recommend a sub-100 pound/dollar SPDIF/coaxial audio input device into USB (mac os x lion and Win 7 64 compatible?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="37810" PostHistoryTypeId="1" PostId="22927" RevisionGUID="a391bd9b-3bfb-4910-87ce-88040b5dfa2d" CreationDate="2011-11-24T10:05:09.943" UserId="9744" UserDisplayName="therobyouknow" Text="sub-100 pound/dollar SPDIF/coaxial audio input into USB (mac lion and Win 7 64 compatible?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="37811" PostHistoryTypeId="3" PostId="22927" RevisionGUID="a391bd9b-3bfb-4910-87ce-88040b5dfa2d" CreationDate="2011-11-24T10:05:09.943" UserId="9744" UserDisplayName="therobyouknow" Text="&lt;audio&gt;&lt;mac&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37812" PostHistoryTypeId="36" PostId="22929" RevisionGUID="f7c67de7-615a-4e92-ae4b-dcd4a869cf8a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2688/sub-100-pound-dollar-spdif-coaxial-audio-input-into-usb-mac-lion-and-win-7-64-c/2701#2701" />
  <row Id="37813" PostHistoryTypeId="36" PostId="22930" RevisionGUID="e2b21982-67d5-4f6b-bed8-999d87eacb6f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3310/what-effects-or-alterations-should-i-consider-for-clarity-of-audio-in-my-video" />
  <row Id="37814" PostHistoryTypeId="36" PostId="22931" RevisionGUID="aff83368-25d6-4dbd-94e3-613a6db9d31a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3310/what-effects-or-alterations-should-i-consider-for-clarity-of-audio-in-my-video/3329#3329" />
  <row Id="37815" PostHistoryTypeId="2" PostId="22931" RevisionGUID="b198334c-9820-44ff-8139-b60f313749f0" CreationDate="2012-02-16T18:04:47.340" UserId="7294" UserDisplayName="Warrior Bob" Text="I've never had much luck removing such things completely, however it's generally possible to improve it with some equalization. Ambient noise, particularly humming or buzzing sounds are often most-annoying at a small frequency range, so it's possible to filter that range out using a notch filter. Generally you can't &quot;magically&quot; get rid of the problem, but you can de-emphasize it a bit.&#xD;&#xA;&#xD;&#xA;The top of [this frequency chart](http://www.independentrecording.net/irn/resources/freqchart/main_display.htm) shows male and female vocal ranges. This will mostly apply to speaking voices. Clarity and sibilance (&quot;s&quot; sounds) appear to be most present around 2-6KHz, so you may try emphasizing those a bit while de-emphasizing around them. Of course, this won't work if your noise is also in the same range. &#xD;&#xA;&#xD;&#xA;I've never tried this, but in theory it would be possible to sidechain a [gate effect][1] limited to that frequency range against the sound level in another frequency range where there isn't as much noise, so that the frequencies are filtered out except when the person is speaking. However, you'd have to have a toolset with a feature like that. I'm pretty sure you can't do that in Audacity, but I've never tried. I think something like that might be possible with an environment with more routing options, such as REAPER. &#xD;&#xA;&#xD;&#xA;Izotope makes a product called [RX](http://www.izotope.com/products/audio/rx/) that does surprisingly good noise removal, but it's probably a bit more expensive than you're interested in if you just want to boost clarity a bit.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Noise_gate" ContentLicense="CC BY-SA 3.0" />
  <row Id="37816" PostHistoryTypeId="2" PostId="22930" RevisionGUID="0f99598b-df87-42c3-ba2b-ce54777e3c6c" CreationDate="2012-02-15T07:22:10.333" UserId="8124" UserDisplayName="Dave M G" Text="I should start out by saying I know just about nothing about audio. I have Audacity, and I've used it for the most basic things like trimming and combining audio clips.&#xD;&#xA;&#xD;&#xA;I have a video that consists of one person talking, with some audience noise.&#xD;&#xA;&#xD;&#xA;Are there any filters, effects, alterations, or anything else that I can do in Audacity that I should be considering in order to get the best sound possible? I mean any kind of alterations at all, like changing levels, altering pitch, improving clarity... anything.&#xD;&#xA;&#xD;&#xA;I don't expect miracles, I just hope to achieve a little more clarity and accentuation if possible.&#xD;&#xA;&#xD;&#xA;Please keep in mind I know no sound editing terminology, so if you could explain using specific filter names, or let me know what things mean in simple terms, that would help immensely.&#xD;&#xA;&#xD;&#xA;Also, if it matters, the sound is from a video file, recorded off a high definition camera. I think it's stereo, but it's just the one track." ContentLicense="CC BY-SA 3.0" />
  <row Id="37817" PostHistoryTypeId="1" PostId="22930" RevisionGUID="0f99598b-df87-42c3-ba2b-ce54777e3c6c" CreationDate="2012-02-15T07:22:10.333" UserId="8124" UserDisplayName="Dave M G" Text="What effects or alterations should I consider for clarity of audio in my video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37818" PostHistoryTypeId="3" PostId="22930" RevisionGUID="0f99598b-df87-42c3-ba2b-ce54777e3c6c" CreationDate="2012-02-15T07:22:10.333" UserId="8124" UserDisplayName="Dave M G" Text="&lt;audio&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37819" PostHistoryTypeId="36" PostId="22932" RevisionGUID="0a1ed813-1118-4737-b488-c0a1c6720311" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3522/courtroom-microphones-for-electronic-audio-recording-of-proceedings" />
  <row Id="37820" PostHistoryTypeId="36" PostId="22933" RevisionGUID="2ca35cbd-3849-46eb-9d37-629d75e0f2ba" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3522/courtroom-microphones-for-electronic-audio-recording-of-proceedings/4503#4503" />
  <row Id="37821" PostHistoryTypeId="2" PostId="22933" RevisionGUID="04e2eb00-ade4-4708-810c-1123a6f3cbdb" CreationDate="2012-08-02T03:32:32.083" UserDisplayName="Lukas Woltjer" Text="If you're working with podiums, or desks, which it sounds like you are, I would recommend a podium microphone. They adjustment is easy, and they are built specifically to pick up voice well and not have problems with pop if they're well designed.&#xD;&#xA;&#xD;&#xA;I don't have much experience in this area, but I do have experience with dynamic vocal mics. That would be another option, but that's very similar to what you have now.&#xD;&#xA;&#xD;&#xA;The best thing to use if someone leaves their mic would be a hanging condenser mic such as the one linked below:&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/Audio-Technica-Pro-Hanging-Condenser-Microphone/dp/B0002BBOPC&#xD;&#xA;&#xD;&#xA;That will pick up everything in the room. You need phantom power for it though, which means you will probably have to run it off a separate mixer, depending on the mixer you use for the other mics. I would need more info to help on that, but hopefully you can work with what I wrote so far. I tend to not use portable recorders unless I need something that must be portable, because there is too much that can go wrong. Someone can knock it over, it can run out of batteries, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="37822" PostHistoryTypeId="2" PostId="22932" RevisionGUID="c24bb6b1-fddc-4efa-bff9-ecd85e135df4" CreationDate="2012-03-11T11:33:33.183" UserDisplayName="jpspbp" Text="I have been doing a lot of research trying to determine which microphones would best suit my needs to record in a courtroom environment.  Typically, I position microphones throughout the courtroom where speakers will be stationed at, i.e. judge's bench, defense table, plaintiff table, witness stand.  &#xD;&#xA;&#xD;&#xA;Currently, I use dynamic hypercardioid microphones.  I also use an Olympus DS50 portable digital voice recorder as a backup device.  I am looking to buy new microphones and a new portable digital recorder.  &#xD;&#xA;&#xD;&#xA;My question to anyone who can help me is, what kind of microphones would be best for this type situation?  Also, when looking for a portable digital recorder, I review their individual specifications for frequency response and db levels.  I have no idea what I'm looking for.  I've read the descriptions, but I'm still not sure what to look for when trying to decide which is best.  &#xD;&#xA;&#xD;&#xA;I want a portable digital recorder that I can place in a central location and pick up sound from all over the room for backup sound in case something goes wrong and if someone decides to move about and leave their designated mic'd speaking area.  &#xD;&#xA;&#xD;&#xA;Suggestions, explanations, and recommendations would be greatly appreciated!" ContentLicense="CC BY-SA 3.0" />
  <row Id="37823" PostHistoryTypeId="1" PostId="22932" RevisionGUID="c24bb6b1-fddc-4efa-bff9-ecd85e135df4" CreationDate="2012-03-11T11:33:33.183" UserDisplayName="jpspbp" Text="Courtroom microphones for electronic audio recording of proceedings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37824" PostHistoryTypeId="3" PostId="22932" RevisionGUID="c24bb6b1-fddc-4efa-bff9-ecd85e135df4" CreationDate="2012-03-11T11:33:33.183" UserDisplayName="jpspbp" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37825" PostHistoryTypeId="36" PostId="22934" RevisionGUID="7c38049e-6b9d-4a96-a163-e1cf9cb974e5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4884/what-equipment-do-i-need-to-mix-and-monitor-my-recordings" />
  <row Id="37826" PostHistoryTypeId="36" PostId="22935" RevisionGUID="2ad560b5-f641-4df7-aa2f-9066a09b2248" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4884/what-equipment-do-i-need-to-mix-and-monitor-my-recordings/4885#4885" />
  <row Id="37827" PostHistoryTypeId="36" PostId="22936" RevisionGUID="c9bbdec3-eaf3-4c1d-83fe-c1405050fc2e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4884/what-equipment-do-i-need-to-mix-and-monitor-my-recordings/4936#4936" />
  <row Id="37828" PostHistoryTypeId="2" PostId="22935" RevisionGUID="9a66d5d1-ef16-4c89-b801-bc5073dc7e76" CreationDate="2012-10-01T17:02:41.160" UserDisplayName="WLPhoenix" Text="You have a few options here. Which of them you use will depend on exactly how much you're willing to spend, and what you want to get from the recording.&#xD;&#xA;&#xD;&#xA;Your first option is to find a small mixing console, run your inputs into this, then run from the output of your mix console into whatever your recording device will be. This is known as **recording to mono** or **recording to 2-track**, depending on whether the end result is a single channel or a pair of channels mixed for the left and right speaker. As to the backing track, most mixers, even small ones, have some sort of aux send which you can use to send the signal to head phones for the players.&#xD;&#xA;&#xD;&#xA;The other option is to buy a small audio interface, get a cheap Digital Audio Workstation ([Reaper][1] if Windows, you should already have GarageBand if you're on Mac). From there, run the instruments into the inputs of the interface, adjust the DAW to recognize the inputs and create a couple tracks for the instruments. To play the backing track, import the file to the session and make sure the DAW is monitoring existing tracks, then record without arming the backing track. The beauty of this approach is that you can edit the individual tracks, or rerecord one or the other of the musicians if you have a good take for one but not the other.&#xD;&#xA;&#xD;&#xA;Things you will need either way:&#xD;&#xA;&#xD;&#xA;**1/8&quot; (3.5mm) to either 1/4&quot; or RCA adaptors** - Most console and interfaces don't use small TRS jacks, so you'll need some way to get this up to whatever input your gear uses.&#xD;&#xA;&#xD;&#xA;**Something to bring your guitar up to line level** - This can be a guitar amp, a direct box, or something along the lines of [Line 6 Pod][2]. Note that if your guitar amp does not have a line out, you may need to record it with microphones, which adds another layer of complexity onto the question.&#xD;&#xA;&#xD;&#xA;**Headphone box or splitter** - When using smaller, cheaper mixers or interfaces, one of the first limit you will run in to is your output channels. You will need to listen to the mix while recording, and the musicians will need some sort of mix as well. Letting your musicians both use the same headphone line will help overcome this, and can allow them to independently control their own volume as well.&#xD;&#xA;&#xD;&#xA;**Assorted cables, headphones, etc...** - Self explanitory&#xD;&#xA;&#xD;&#xA;  [1]: http://www.reaper.fm/&#xD;&#xA;  [2]: http://line6.com/pod20/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37829" PostHistoryTypeId="2" PostId="22936" RevisionGUID="4e71f337-33f6-4623-8768-3773c00b3bb2" CreationDate="2012-10-05T19:43:14.427" UserId="6957" Text="Another option is to get yourself a standalone solution.  There are a number of them, but do a quick search for a `Digital Multitrack Recorder`.&#xD;&#xA;&#xD;&#xA;A relatively inexpensive example:  &lt;sub&gt;disclosure, I've never used it... just a quick search&lt;/sub&gt;&#xD;&#xA;&#xD;&#xA;![TASCAM DP-008][1]&#xD;&#xA;&#xD;&#xA;In your case, you could &#xD;&#xA;&#xD;&#xA; - Record the stereo mix of your background music first, plugged directly into the mixer.&#xD;&#xA; - Play back that track (with volume control) while recording the stereo V-Drums plugged directly in.&#xD;&#xA; - Play both of those back while recording the guitar plugged directly in.&#xD;&#xA;&#xD;&#xA;At this point you've got all of your recording done without a single microphone.  Incidentally, it appears that this recorder even has a couple built-in mics for on-the-spot stereo recording.&#xD;&#xA;&#xD;&#xA;Go ahead and check out the other various options with this kind of recorder.  This one is small and portable, but misses out on some other features you may really want in the end.&#xD;&#xA;&#xD;&#xA; - It **doesn't have a digital output** (not a solution if you eventually want to edit in a computer)&#xD;&#xA; - **Only records two tracks at a time**, though it can play back more, and bounce internally (one stereo recording at a time could be limiting)&#xD;&#xA; - **Battery powered** (I don't know, but I would certainly want the option to plug it in)&#xD;&#xA;&#xD;&#xA;Lastly, if your goal is to find a way to record your music because you are a musician, a smaller all-in-one device is not a bad starting place.  You can spend more time with the music and less time with the _recording_ of it.  If your goal is to get your feet wet with the industry and mechanics of audio recording, maybe not so much.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/In1gg.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="37830" PostHistoryTypeId="2" PostId="22934" RevisionGUID="b5aacfa4-a32a-4c42-975d-ecc7f32ab5f6" CreationDate="2012-10-01T15:31:36.060" UserId="11332" UserDisplayName="vmalloc" Text="I am a complete Newbie when it comes to mixing and multi-channel Audio. I have two instruments I would like to record simultaneously - a Roland HD-1 V-drum set (outputting a 3.5mm PL connector) and an Electric Guitar (either with or without an amplifier). On top of that I have background music coming through another 3.5mm jack. I want to record both instruments without the background music, but while recording I want to be able to hear the background music in the headphones. In addition it would be nice to control the levels of each instrument in each of the players' headphone sets.&#xD;&#xA;&#xD;&#xA;What setup do I need? Which kind of equipment? Of course I would like to keep the price tag as low as possible without compromising too much of the resulting audio quality.&#xD;&#xA;&#xD;&#xA;Any advice will be greatly appreciated!" ContentLicense="CC BY-SA 3.0" />
  <row Id="37831" PostHistoryTypeId="1" PostId="22934" RevisionGUID="b5aacfa4-a32a-4c42-975d-ecc7f32ab5f6" CreationDate="2012-10-01T15:31:36.060" UserId="11332" UserDisplayName="vmalloc" Text="What equipment do I need to mix and monitor my recordings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37832" PostHistoryTypeId="3" PostId="22934" RevisionGUID="b5aacfa4-a32a-4c42-975d-ecc7f32ab5f6" CreationDate="2012-10-01T15:31:36.060" UserId="11332" UserDisplayName="vmalloc" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;mixing&gt;&lt;budget&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37841" PostHistoryTypeId="36" PostId="22940" RevisionGUID="eb8acb0e-bbbf-46dc-8d5b-e000a4f64cf4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5406/how-should-i-do-chromakey-video-editing" />
  <row Id="37842" PostHistoryTypeId="36" PostId="22941" RevisionGUID="8f0898f1-dbd1-4812-a6ed-611faf87053a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5406/how-should-i-do-chromakey-video-editing/5408#5408" />
  <row Id="37843" PostHistoryTypeId="36" PostId="22942" RevisionGUID="6d67e470-eff2-471b-b75c-2da118029241" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5406/how-should-i-do-chromakey-video-editing/5409#5409" />
  <row Id="37844" PostHistoryTypeId="36" PostId="22943" RevisionGUID="18dc9a6e-6df2-41e8-9aff-230e452296a6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5406/how-should-i-do-chromakey-video-editing/5422#5422" />
  <row Id="37845" PostHistoryTypeId="2" PostId="22941" RevisionGUID="3f1ac10a-cfa0-4129-9c09-c13bb8126890" CreationDate="2012-11-25T01:19:44.433" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="You won't need the Master Collections. As you say, it comes with a bunch expensive extras.&#xD;&#xA;&#xD;&#xA;You can go for the Adobe Premier Pro which comes with a basic chroma keyer, and/or After effects which give you a little more to tweak with.&#xD;&#xA;&#xD;&#xA;However, these doesn't come in Unix/Linux versions, but if an option you can check them here:  &#xD;&#xA;http://www.adobe.com/products/premiere.html&#xD;&#xA;&#xD;&#xA;Tip: for a small/short project you can &quot;rent&quot; it for a month or two with a much lower price than purchasing the full version." ContentLicense="CC BY-SA 3.0" />
  <row Id="37846" PostHistoryTypeId="2" PostId="22942" RevisionGUID="103b25c0-d117-4d37-b646-9cc792479909" CreationDate="2012-11-25T06:39:15.140" UserId="7497" UserDisplayName="Inan Berbatov" Text="For both Ubuntu and Mac, you can consider giving Blender a try. Although it is a 3D modelling and animation suite, newer versions have extensive and powerful compositing tools, including a good camera tracker, video editor and chroma keyer.&#xD;&#xA;&#xD;&#xA;Blender might seem a little hard to understand but it is not. If you are doing a fresh start with a  new software, it's worth trying. Besides, there are lots of useful and good video tutorials to start with. Another good reason to try blender: it's free. It is open source.&#xD;&#xA;&#xD;&#xA;For more information on blender, see http://blender.org" ContentLicense="CC BY-SA 3.0" />
  <row Id="37847" PostHistoryTypeId="2" PostId="22943" RevisionGUID="eda3c687-e857-49ae-81dc-f4a6f0b96d04" CreationDate="2012-11-26T19:59:35.660" UserDisplayName="Chris James Champeau" Text="To do this right or atleast close to correct you will need to use a professional software to some extent...After effects would be your best bet.  You can download a 30-day limitless Trial on their website.  Then do some videocopilot.net tutorials on how to use keylight to do as you need." ContentLicense="CC BY-SA 3.0" />
  <row Id="37848" PostHistoryTypeId="2" PostId="22940" RevisionGUID="1c7a5ecf-c77c-4f9d-80ba-eb76b255bc51" CreationDate="2012-11-25T00:20:25.780" UserId="7201" UserDisplayName="hhh" Text="I have chromakey -video and I should add a background and audio to it but I am in very starting point. I tried to find an app for iPhone or iPad not finding any good or professional. My friend suggested Adope Master -collection but I need just chromakey i.e. adding some background to for example screen background. Besides Adope Master that comes with a massive amount things, is there some lightweight tools? &#xD;&#xA;&#xD;&#xA;**Profile**&#xD;&#xA;&#xD;&#xA;&gt; I have access to OSx, iPad, iPhone and Ubuntu -- but I am ready to use the best tools on the market, platform playing not the key role here." ContentLicense="CC BY-SA 3.0" />
  <row Id="37849" PostHistoryTypeId="1" PostId="22940" RevisionGUID="1c7a5ecf-c77c-4f9d-80ba-eb76b255bc51" CreationDate="2012-11-25T00:20:25.780" UserId="7201" UserDisplayName="hhh" Text="How should I do Chromakey -video-editing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37850" PostHistoryTypeId="3" PostId="22940" RevisionGUID="1c7a5ecf-c77c-4f9d-80ba-eb76b255bc51" CreationDate="2012-11-25T00:20:25.780" UserId="7201" UserDisplayName="hhh" Text="&lt;audio&gt;&lt;osx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37851" PostHistoryTypeId="36" PostId="22944" RevisionGUID="6df3f97b-dd29-4e40-ad26-9819d23becec" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7626/how-to-extend-wave-in-cooledit-so-it-will-be-5-sec-long-insted-of-3" />
  <row Id="37852" PostHistoryTypeId="36" PostId="22945" RevisionGUID="ee458ba3-440a-4ee9-92c5-bb6d5c820340" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7626/how-to-extend-wave-in-cooledit-so-it-will-be-5-sec-long-insted-of-3/7696#7696" />
  <row Id="37853" PostHistoryTypeId="2" PostId="22945" RevisionGUID="0d45b08c-cc46-4420-8a71-3f92c3127570" CreationDate="2013-04-20T05:26:12.633" UserDisplayName="kurzweilguy" Text="Well, I am using the updated version (Adobe Audition) but many of these features remain in Cool Edit Pro. For this, I would use the &quot;Stretch and Pitch&quot; process. Select what you're trying to extend, and go to the &quot;Effects&quot; menu (may have a different title for you). Select &quot;Stretch and Pitch&quot; under the &quot;Time and Pitch&quot; category.&#xD;&#xA;&#xD;&#xA;There, you will have several options as to how you plan on stretching the audio. One option you will have is whether or not to maintain the pitch. If you choose to maintain the current pitch, the audio might have a distorted quality. If you select the opposite, the distorted quality won't be nearly as bad, but the pitch will most definitely change. This is simply a matter of preference. " ContentLicense="CC BY-SA 3.0" />
  <row Id="37854" PostHistoryTypeId="2" PostId="22944" RevisionGUID="47e3a686-1ad3-4381-80ae-8d2a93e92a16" CreationDate="2013-04-09T17:04:41.420" UserDisplayName="Petermra" Text="I have a small sound effect that plays for 3 seconds, and I need it to last for 5 seconds (I know this could modify the sound pitch, im ok with that).&#xD;&#xA;&#xD;&#xA;**Is there a way to do this on cooledit?** I was expecting to just select the wave and &quot;extend&quot; it with some mouse control but that doesnt exist and i cant find any way to achieve what I need." ContentLicense="CC BY-SA 3.0" />
  <row Id="37855" PostHistoryTypeId="1" PostId="22944" RevisionGUID="47e3a686-1ad3-4381-80ae-8d2a93e92a16" CreationDate="2013-04-09T17:04:41.420" UserDisplayName="Petermra" Text="How to extend wave in cooledit so it will be 5 sec long insted of 3" ContentLicense="CC BY-SA 3.0" />
  <row Id="37856" PostHistoryTypeId="3" PostId="22944" RevisionGUID="47e3a686-1ad3-4381-80ae-8d2a93e92a16" CreationDate="2013-04-09T17:04:41.420" UserDisplayName="Petermra" Text="&lt;audio&gt;&lt;sound-effects&gt;&lt;sound-design&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37857" PostHistoryTypeId="36" PostId="22946" RevisionGUID="d68cb897-3f84-43f9-bab4-15878144074d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4789/starting-an-effects-rack-but-not-sure-where-to-start-or-if-needed" />
  <row Id="37858" PostHistoryTypeId="36" PostId="22947" RevisionGUID="a6e27572-563e-4f7f-8bce-ab5851414aaf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4789/starting-an-effects-rack-but-not-sure-where-to-start-or-if-needed/4796#4796" />
  <row Id="37859" PostHistoryTypeId="2" PostId="22947" RevisionGUID="48d85902-74f9-423e-8651-0c79562fd805" CreationDate="2012-09-21T21:35:02.793" UserId="7016" Text="Okay - the one essential our core techy (my lead singer) has bought is a wide range of compressors. Maybe 12 high quality rack compressors now, and he swears by them - they make life a hell of a lot easier when recording, and they are independent of your DAW, which software compressors aren't.&#xD;&#xA;&#xD;&#xA;I wouldn't worry about effects until you either find one you 'must have' or you realise you need a particular effect. They are easy to add at any stage anyway, and can be placed inline or in an effects loop.&#xD;&#xA;&#xD;&#xA;Our music is very heavy on the synths, so what works for us is probably relevant.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37860" PostHistoryTypeId="2" PostId="22948" RevisionGUID="f3675f37-89b7-475e-bddf-3db488327553" CreationDate="2012-09-25T17:30:38.817" UserDisplayName="WLPhoenix" Text="The answer to where you should start depends a lot on what you mean by &quot;music production.&quot; You mention recording, which is one half of the equation. The other half is mixing. Mastering is another option, but is an expensive field filled with experienced professionals doing their magic which even many professional audio engineers don't fully understand.&#xD;&#xA;&#xD;&#xA;If you plan to do mostly recording, I suggest expanding your microphone selection, and maybe buying a few pre-amps to go along with them. Good sounds start at the beginning of your signal chain. The source is most important, then the microphone, then the preamp. After that comes converters, then finally effects. If you have a full array of plugins, then you really shouldn't have too much need for an outboard compressor. You should buy things that plugins can't replicate in that case.&#xD;&#xA;&#xD;&#xA;If you plan on mostly mixing, then you should really look into your listening environment. Buying gear is always fun, but sometimes your best money can be spent investing into good acoustical treatment for your mix space. Which speakers you are using also make a huge difference into how your mixes will sound.&#xD;&#xA;&#xD;&#xA;In either case, if you have a full selection of plug-ins, outboard gear probably isn't the best place to invest your money yet. It is the most fun, but 90% of the time plugins will work just as well unless you're a professional engineer." ContentLicense="CC BY-SA 3.0" />
  <row Id="37861" PostHistoryTypeId="2" PostId="22946" RevisionGUID="07870597-e85b-4408-b9ef-41bf0034ef7c" CreationDate="2012-09-21T13:55:42.623" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="So I've been interested in starting an effects rack for months now after seriously getting into music production as a way to stay out of trouble. Don't get me wrong, music has always been a major passion, but I've never been able to devote myself fully to it like I am now. I freaking can't get enough. Only problem is that I don't know where to start. &#xD;&#xA;&#xD;&#xA;After some research, many folks recommended that the best way to start would be with a compressor. I think this would be useful but I have two compressor plugins that I *absolutely adore*. I will mainly be recording vocals for the time being, but guitars and bass guitars occasionally to record some friend's bands (haven't decided what were going to do about drums yet). I would really like quality from these recordings since I have not been satisfied with the results of my recordings so far.&#xD;&#xA;&#xD;&#xA;Here is my setup so far:&#xD;&#xA;&#xD;&#xA; 1. [Akai EIE Pro Audio/Midi Interface](http://www.akaipro.com/eiepro)&#xD;&#xA; 2. [Akai MPK 49 Midi Controller](http://www.akaipro.com/mpk49) with VSTi plugins&#xD;&#xA; 3. [Korg KP3 Effects Sampler](http://www.korg.com/kp3) (only external effects I have right now)&#xD;&#xA; 4. An assortment of DAWs and an even larger assortment of plugins&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So I hope this isn't too many questions but will edit if necessary:&#xD;&#xA;&#xD;&#xA;**Is this a good place to start?** Getting a compressor I mean. I have some money to blow, so I'm not too worried about that, but don't want to go overboard. **If not what else should I do and what other requirements are missing?** &#xD;&#xA;&#xD;&#xA;And lastly since I'm not sure about this, but **if you don't think I should start an effects rack (mainly starting with the compressor), is it because it isn't necessary for what I have so far?** I ask this because I was thinking I could apply any of the effects I wan't but they would all be plugins and not effecting the input sounds until after they are recorded. I was thinking that I could send the vocal, guitar, or synth track I want into an additional channel with the effects applied in their so that it gets recorded with the effects applied as its recording. **If you agree with the statement or question above, is it because of what I just lined up right before this question? Does that even work because I have no idea. My brain makes this hypothesis sound reasonable and not too much different than an external effect.**&#xD;&#xA;&#xD;&#xA;**Any other recommendations for external effects that are required or would just greatly compliment it are welcomed to**&#xD;&#xA;&#xD;&#xA;I know that's a lot and I hope its not too many questions. Tried to make them all build off each other as a next step sort of thing. If I'm making some dumb assumptions here, feel free to give this noob a rude awakening.&#xD;&#xA;&#xD;&#xA;**Only thing to keep in mind: I will mostly be making electronic music and a lot of my sounds come from plugin VSTi's but I plan to use external synthesizers in the future.** Thank you that is all.&#xD;&#xA;&#xD;&#xA;**EDIT:** I'm planning to do a combination of mixing and recording mainly. I was curious if it would be worth it to get any effects to change my VSTi synth sounds or if this would even be possible or worthwhile." ContentLicense="CC BY-SA 3.0" />
  <row Id="37862" PostHistoryTypeId="1" PostId="22946" RevisionGUID="07870597-e85b-4408-b9ef-41bf0034ef7c" CreationDate="2012-09-21T13:55:42.623" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="starting an effects rack, but not sure where to start or if needed" ContentLicense="CC BY-SA 3.0" />
  <row Id="37863" PostHistoryTypeId="3" PostId="22946" RevisionGUID="07870597-e85b-4408-b9ef-41bf0034ef7c" CreationDate="2012-09-21T13:55:42.623" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;audio-recording&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37864" PostHistoryTypeId="36" PostId="22948" RevisionGUID="18bf1b11-050f-4df6-9c88-2b3a7d7c353d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4789/starting-an-effects-rack-but-not-sure-where-to-start-or-if-needed/4840#4840" />
  <row Id="37865" PostHistoryTypeId="36" PostId="22949" RevisionGUID="d0c18751-78be-4aeb-a218-c83b7eff343b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1652/ipod-recording-quality" />
  <row Id="37866" PostHistoryTypeId="2" PostId="22950" RevisionGUID="18853060-a07d-4947-b7ba-b04920a71bd6" CreationDate="2011-06-25T21:41:49.100" UserId="7093" Text="If you are only going to be using the iPod for a &quot;sketch pad&quot; for your ideas, I would think that the quality wouldn't be an issue.  The important thing is to get the idea recorded in a way that you will remember it as completely as possible.  &#xD;&#xA;&#xD;&#xA;I have a Sandisk Sansa MP3 player with a built in mic that I have used for recording some ideas on the fly.  The recording was pretty distorted due to the high volume levels, but it was definitely good enough for me to figure out the song at a later date and re-create it in the studio.&#xD;&#xA;&#xD;&#xA;If you *really* care about the quality, I would recommend picking up a field recorder." ContentLicense="CC BY-SA 3.0" />
  <row Id="37867" PostHistoryTypeId="2" PostId="22949" RevisionGUID="5c187ed3-df58-4fcd-a2e1-d57f5a7ac902" CreationDate="2011-06-25T19:12:26.957" UserId="7840" UserDisplayName="themirror" Text="How are iPods for recording music, or for me in particular, singing from a lavalier mic?&#xD;&#xA;&#xD;&#xA;I certainly get my best musical inspiration while I’m on the move, and since I’m backpacking across the country this summer, I thought I would wear a lavalier connected to a recorder for fast capture of vocals.&#xD;&#xA;&#xD;&#xA;iPods have two ways of recording: iPod Classic with Rockbox firmware or iPod Nano 4g or 5g with stock firmware.  Both offer WAV recording in 16-bit at 44kHz.  So the bitrate and sampling rate is not an issue.  In addition, there are iPod hardware accessories that have their own recording circuitry, but I’m not asking about those since information on them can already be found.&#xD;&#xA;&#xD;&#xA;My question is about other aspects of quality: Does anybody out there have either anecdotal evidence or reference to scientific measurement of various iPod models’ recording properties like dynamic range, SNR, etc?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37868" PostHistoryTypeId="1" PostId="22949" RevisionGUID="5c187ed3-df58-4fcd-a2e1-d57f5a7ac902" CreationDate="2011-06-25T19:12:26.957" UserId="7840" UserDisplayName="themirror" Text="iPod Recording Quality" ContentLicense="CC BY-SA 3.0" />
  <row Id="37869" PostHistoryTypeId="3" PostId="22949" RevisionGUID="5c187ed3-df58-4fcd-a2e1-d57f5a7ac902" CreationDate="2011-06-25T19:12:26.957" UserId="7840" UserDisplayName="themirror" Text="&lt;audio-recording&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37870" PostHistoryTypeId="36" PostId="22950" RevisionGUID="a11b54bc-959a-4d6d-8272-17038c7915d1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1652/ipod-recording-quality/1653#1653" />
  <row Id="37871" PostHistoryTypeId="36" PostId="22951" RevisionGUID="14f81186-51c2-4475-941b-47c4f8818f96" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1913/are-dialogues-recorded-separately-while-filming" />
  <row Id="37872" PostHistoryTypeId="36" PostId="22952" RevisionGUID="03e7b352-da25-4724-aec9-8288362eb584" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1913/are-dialogues-recorded-separately-while-filming/1914#1914" />
  <row Id="37873" PostHistoryTypeId="2" PostId="22952" RevisionGUID="a79c4aa4-2679-4c1f-a542-75e4890a0272" CreationDate="2011-07-19T11:36:58.967" UserDisplayName="Colum" Text="The dialog is shot as the same time as the seen. Otherwise, it would be impossible to sync the audio and the actors lips.&#xD;&#xA;&#xD;&#xA;The reason that its so perfect is that they can do the same seen 20-30 times from each angle. So the editors can have many different takes to cut in between." ContentLicense="CC BY-SA 3.0" />
  <row Id="37874" PostHistoryTypeId="2" PostId="22953" RevisionGUID="4610e3a0-036a-4d80-92dc-820f0cba0969" CreationDate="2011-07-19T12:58:37.597" UserDisplayName="Chard" Text="Sometimes yes and sometimes no. Dialogue recorded in the studio is referred to as ADR (additional dialogue recording). &#xD;&#xA;&#xD;&#xA;A scene shot on the beach (for example) would have the dialogue re-recorded in a studio. However the character's dialogue would still be recorded on set and used as a guide track. &#xD;&#xA;&#xD;&#xA;A scene shot in a motel room (for example) would most likely have the audio recorded on-set and used in the final cut as it is much easier to control sound in such an environment.&#xD;&#xA;&#xD;&#xA;Contrary to what Colum has said, it is not impossible to sync the audio and actor's lips in post production -- there are many techniques to achieve such a goal. Although, Colum, is correct in saying editors have many different takes to cut in between. &#xD;&#xA;&#xD;&#xA;A cool trick to see if the audio and visual of a particular shot were recorded separately is to look at the other person's face in a two shot (where both characters have lines) and see if their lips are out of sync with the audio. By 'other person's face' I mean the character who is not the focus of the shot. It is common in a conversation scene between two people that you cut to one character's reaction before the other has finished speaking. If the shot is framed as such that you can see the other character's face, you will notice that their mouth is moving but it's out of sync with the audio. Not many people notice it because they are looking at the focused subject. " ContentLicense="CC BY-SA 3.0" />
  <row Id="37875" PostHistoryTypeId="2" PostId="22951" RevisionGUID="7f0e2797-256e-4eb2-af2e-dad5c7d64af4" CreationDate="2011-07-19T11:16:53.283" UserDisplayName="xenon" Text="Usually when filming, are the dialogues being recorded together with the scene of the shots or are the dialogues usually re-recorded by asking the actors to speak and record over the footages in a studio? &#xD;&#xA;&#xD;&#xA;I am asking because I thought it feels like the dialogue recorded together with the scene in the shot may not be &quot;pure&quot; as there could have been noises from the background which makes it sometimes difficult for sound editing." ContentLicense="CC BY-SA 3.0" />
  <row Id="37876" PostHistoryTypeId="1" PostId="22951" RevisionGUID="7f0e2797-256e-4eb2-af2e-dad5c7d64af4" CreationDate="2011-07-19T11:16:53.283" UserDisplayName="xenon" Text="Are dialogues recorded separately while filming?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37877" PostHistoryTypeId="3" PostId="22951" RevisionGUID="7f0e2797-256e-4eb2-af2e-dad5c7d64af4" CreationDate="2011-07-19T11:16:53.283" UserDisplayName="xenon" Text="&lt;audio-recording&gt;&lt;video&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37878" PostHistoryTypeId="36" PostId="22953" RevisionGUID="b495506f-107c-4c2b-9dae-0d7c7bd412c9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1913/are-dialogues-recorded-separately-while-filming/1915#1915" />
  <row Id="37879" PostHistoryTypeId="36" PostId="22954" RevisionGUID="41c1567f-ea49-4b86-ac7e-67c664e162b9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1913/are-dialogues-recorded-separately-while-filming/1938#1938" />
  <row Id="37880" PostHistoryTypeId="2" PostId="22954" RevisionGUID="6b85d2a4-5625-4ca2-8ae1-fad1b7511ed6" CreationDate="2011-07-22T20:18:12.543" UserDisplayName="BrianO" Text="If you look more carefully, you'll notice that often the audio and the actor's lips are NOT in sync. Look at a few commercials, especially cheezy ones; the mismatches are glaring.&#xD;&#xA;&#xD;&#xA;So, yes, the dialog recorded &quot;on location&quot; is often replaced after the fact. It might be an entire scene's worth, or just a few lines. In order for the audio to be seamless, location sound engineers record a few minutes of &quot;room tone&quot; - JUST the sound of the room (or, more generally, the environment, which might be outdoors). When replacing lines with new ones recorded in a quiet environment like a vocal booth, an audio editor can mix in just enough of the room tone so that the edits go by unnoticed. Of course, crossfades help too." ContentLicense="CC BY-SA 3.0" />
  <row Id="37881" PostHistoryTypeId="36" PostId="22955" RevisionGUID="bff0191e-92f6-42e2-8ec4-8c47074cd612" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8929/is-it-better-to-use-a-di-unit-or-usb-audio-interface-to-connect-guitar-to-pc" />
  <row Id="37882" PostHistoryTypeId="36" PostId="22956" RevisionGUID="2882ac35-346e-4c04-9d38-6df8040209ed" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8929/is-it-better-to-use-a-di-unit-or-usb-audio-interface-to-connect-guitar-to-pc/8930#8930" />
  <row Id="37883" PostHistoryTypeId="2" PostId="22956" RevisionGUID="f4235635-3045-4c55-9967-86317702e237" CreationDate="2013-09-10T16:36:00.440" UserId="7294" UserDisplayName="Warrior Bob" Text="You won't get quality for cheap...&#xD;&#xA;-&#xD;&#xA;None of those options are really going to have the *best* audio quality. Options 1 and 3 both involve converting your guitar's output to 3.5mm and presumably using your computer's onboard line-in, which is, in all likelihood, not that great-sounding of an input. That leaves option 2, but super-inexpensive audio interfaces like that tend not to sound *that* much better in my experience.&#xD;&#xA;&#xD;&#xA;...but that might be okay&#xD;&#xA;-&#xD;&#xA;That said, if you just want to play at home and maybe do some hobbyist recording, the quality is probably plenty good for your purposes, and you can always upgrade later if you decide you need to.&#xD;&#xA;&#xD;&#xA;I'm not sure a DI box will help you. As I understand them, the main feature of a direct box is to run your guitar into a [balanced input](https://en.wikipedia.org/wiki/Balanced_audio), such as an XLR input. But you'd be using a DI box's 1/4&quot; output (which, for those DIs, is unbalanced as far as I know). You don't need long cords since I presume you're in the same room with your computer so even if you could balance the line, I don't think it'd buy you much. I don't have a ton of experience with DI boxes though, so take this advice with some caution.&#xD;&#xA;&#xD;&#xA;That leaves a cable, and an interface. Honestly, if your guitar has a strong enough signal to work in a line-in port, either will do, and it's down to which you prefer. The interface has a nice headphone out and is mostly guaranteed to work with your guitar, but you have to deal with the configuration of another audio device on your computer. At that point, it's your choice." ContentLicense="CC BY-SA 3.0" />
  <row Id="37884" PostHistoryTypeId="2" PostId="22957" RevisionGUID="7ae14f2d-eb1b-4610-b4b1-ed60add30c98" CreationDate="2013-09-10T16:44:51.130" UserId="7174" Text="The purpose of a direct box is simply to take a quarter inch guitar line signal and convert it to a balanced signal that won't degrade over the longer run to the sound system.  A DI doesn't do anything that can't be done with a decent recording interface since you aren't going a long distance with the signal.&#xD;&#xA;&#xD;&#xA;You are best off to get an audio interface that supports a quarter inch guitar level input and plug in to that directly.  The audio interface should have the necessary pre-amps to capture the direct signal from the guitar as long as it is designed to take that level of signal.&#xD;&#xA;&#xD;&#xA;The trick to doing analog cheaply is to get digital as fast as possible.  Every additional analog component is a chance to lose quality and another device that has to be spent on to increase quality.  Going straight to digital means you only have one bottleneck to worry about.  The main reason people sometimes don't is that they prefer the sounds of analog effects and pedals, but that is the more expensive option." ContentLicense="CC BY-SA 3.0" />
  <row Id="37885" PostHistoryTypeId="2" PostId="22955" RevisionGUID="1cbb32a4-1c5e-4452-a211-96fe44025699" CreationDate="2013-09-10T14:46:15.080" UserDisplayName="Lèse majesté" Text="I'm looking for an economical way to play my guitar and possibly record on my computer without purchasing an amp. I'm hoping this will save me some money and still produce reasonable quality output for casual play and experimentation. My thought is, instead of buying an expensive Line 6 modeling amp or effects processor, I could do most of that in VST software with plugins (e.g. [*Guitarix*][1], [*Audacity*][2], [*Ardour*][3], etc.).&#xD;&#xA;&#xD;&#xA;However, I still need to connect my electric guitar to my computer (which currently just has onboard sound). So far, it looks like my cheapest options are:&#xD;&#xA;&#xD;&#xA; 1. A simple 1/4&quot; TRS to 3.5mm cable &amp;mdash; **$3.56**&#xD;&#xA; 2. A USB audio interface, like Behringer UCG102 (couldn't find a Firewire interface that was less than $50) &amp;mdash; **$39.99**&#xD;&#xA; 3. A cheap passive DI, like the Pyle-Pro PDC21 1/4&quot; Instrument To Balanced &amp; Unbalanced (1/4&quot; / XLR) Direct Box, plus a 1/4&quot; TRS to 3.5mm cable &amp;mdash; **$10.12** + **$3.56** = **$13.68** &#xD;&#xA;&#xD;&#xA;The first option is obviously the cheapest, but the direct box + adapter is still quite a bit cheaper than the UCG102, and I'm wondering if I'll be trading quality/versatility/ease-of-use for the savings.&#xD;&#xA;&#xD;&#xA;As a side note, the PDC21 has 2 outputs, a 1/4&quot; TRS and a balanced XLR, but the 1/4&quot; TRS is labeled *&quot;Parallel Passthrough (Link)&quot;* &amp;mdash; does that mean the 1/4&quot; output is just the original high-Z non-line-level signal?&#xD;&#xA;&#xD;&#xA;Or do I need an active DI (the Stellar Labs DI-50 claims to have both 1/4&quot; TRS and XLR inputs and outputs for a mere **$24.99**, but there are no reviews of it) or some other 4th option?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://guitarix.sourceforge.net/&#xD;&#xA;  [2]: http://audacity.sourceforge.net/&#xD;&#xA;  [3]: http://ardour.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37886" PostHistoryTypeId="1" PostId="22955" RevisionGUID="1cbb32a4-1c5e-4452-a211-96fe44025699" CreationDate="2013-09-10T14:46:15.080" UserDisplayName="Lèse majesté" Text="Is it better to use a DI unit or USB audio interface to connect guitar to PC?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37887" PostHistoryTypeId="3" PostId="22955" RevisionGUID="1cbb32a4-1c5e-4452-a211-96fe44025699" CreationDate="2013-09-10T14:46:15.080" UserDisplayName="Lèse majesté" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37888" PostHistoryTypeId="36" PostId="22957" RevisionGUID="b3177790-c75a-447c-99ef-e19606fde26d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8929/is-it-better-to-use-a-di-unit-or-usb-audio-interface-to-connect-guitar-to-pc/8931#8931" />
  <row Id="37889" PostHistoryTypeId="36" PostId="22958" RevisionGUID="edb8106f-0b4e-4fd4-840d-77c89b4a5db9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8929/is-it-better-to-use-a-di-unit-or-usb-audio-interface-to-connect-guitar-to-pc/8940#8940" />
  <row Id="37890" PostHistoryTypeId="36" PostId="22959" RevisionGUID="4e51fdaa-0ad7-4335-a3ff-86bed0127891" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8929/is-it-better-to-use-a-di-unit-or-usb-audio-interface-to-connect-guitar-to-pc/8967#8967" />
  <row Id="37891" PostHistoryTypeId="2" PostId="22958" RevisionGUID="3e06ed19-6674-44ea-9b8b-4c3016cfd1c7" CreationDate="2013-09-11T13:54:34.443" UserId="7405" UserDisplayName="Andy aka" Text="Until the last year or so I ran my guitar (via effect pedal) straight into the line input jack. I was/am using a creative sound-blaster card which offers 2 x 1/4&quot; inputs. I don't see any real problem with this at all if leads are fairly short. Folk say my stuff sounds good quality (Can't vouch for the singing though)&#xD;&#xA;&#xD;&#xA;Now I have a small Yamaha 10 channel mixer that replaces the effects pedal so that I can also use my phantom powered mic. The output of the Yamaha goes into the same socket of the sound-blaster. I also use it for my bass guitar too.&#xD;&#xA;&#xD;&#xA;My advise is try the really cheap 1/4&quot; converter and if you have problems such as poor signal/noise ratio use a cheap preamplifier.&#xD;&#xA;&#xD;&#xA;Footnote - I don't use fx pedals any more because I use VST effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="37892" PostHistoryTypeId="2" PostId="22959" RevisionGUID="e34eb75a-7f3e-49ce-ab1f-353dfce57eb8" CreationDate="2013-09-13T05:02:11.653" UserId="8159" UserDisplayName="Jamil" Text="There's factors such as noise and processing that should be taken into consideration. Unfortunately, all of the data on any interface seems to be difficult to find." ContentLicense="CC BY-SA 3.0" />
  <row Id="37893" PostHistoryTypeId="36" PostId="22960" RevisionGUID="123036f7-cee2-4952-b6c8-da1723b237d9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/539/an-open-source-sound-editor-but-not-audacity" />
  <row Id="37894" PostHistoryTypeId="36" PostId="22961" RevisionGUID="3c162f8f-f22c-44e1-b489-162cdf4ab798" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/539/an-open-source-sound-editor-but-not-audacity/544#544" />
  <row Id="37895" PostHistoryTypeId="36" PostId="22962" RevisionGUID="f0a0dfd5-b388-4c59-88a1-b01b504efaca" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/539/an-open-source-sound-editor-but-not-audacity/612#612" />
  <row Id="37896" PostHistoryTypeId="36" PostId="22963" RevisionGUID="7ecbd3b0-d005-403f-9093-e26b44824d22" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/539/an-open-source-sound-editor-but-not-audacity/628#628" />
  <row Id="37897" PostHistoryTypeId="36" PostId="22964" RevisionGUID="82d912a4-55dd-4444-ac4b-1953fa9fde23" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/539/an-open-source-sound-editor-but-not-audacity/962#962" />
  <row Id="37898" PostHistoryTypeId="36" PostId="22965" RevisionGUID="43b3e32e-e23c-4362-a1f2-0bf5560ac2c3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/539/an-open-source-sound-editor-but-not-audacity/966#966" />
  <row Id="37899" PostHistoryTypeId="36" PostId="22966" RevisionGUID="d9794c9c-3261-413d-9439-18884adde306" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/539/an-open-source-sound-editor-but-not-audacity/967#967" />
  <row Id="37900" PostHistoryTypeId="36" PostId="22967" RevisionGUID="513dc0c5-35bb-4289-bf51-97b10b87093c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/539/an-open-source-sound-editor-but-not-audacity/1916#1916" />
  <row Id="37901" PostHistoryTypeId="36" PostId="22968" RevisionGUID="decada7b-40e5-4096-b8ac-2cb7e6979e61" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/539/an-open-source-sound-editor-but-not-audacity/3568#3568" />
  <row Id="37902" PostHistoryTypeId="36" PostId="22969" RevisionGUID="3d6dd399-6f47-4739-b5ad-beb625427958" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/539/an-open-source-sound-editor-but-not-audacity/7640#7640" />
  <row Id="37903" PostHistoryTypeId="2" PostId="22961" RevisionGUID="d57ed236-0bc7-4d5c-8767-aea3d6669ee1" CreationDate="2011-01-08T20:46:53.530" UserId="7592" UserDisplayName="Pelle ten Cate" Text="Ardour has editing functionalities that really can be considered serious tools, although it has a more multitrack-approach on things in general, and editing is no exception. It is really worth a try though.&#xD;&#xA;&#xD;&#xA;The real downside of Ardour is that it is not available for Windows. (Probably due to Jack, the low-latency audio hardware driver abstraction layer that ardour is built on)&#xD;&#xA;&#xD;&#xA;I don't know why you are specifically looking for open source solutions, but if it is just because you are on a budget (open source doesn't necessarily mean free as in &quot;free beer&quot;, you are expected to pay for ardour if you use it) you might be interested in Reaper as an alternative to ardour. Comes with Windows and OS X build, and has a more active development team on it that comes with updates more regularly than the ardour developers." ContentLicense="CC BY-SA 2.5" />
  <row Id="37904" PostHistoryTypeId="2" PostId="22962" RevisionGUID="e2cbbfd4-785e-43d9-8115-7e7d32b05eb5" CreationDate="2011-01-17T15:58:44.277" UserDisplayName="splicer" Text="I've heard [Rosegarden][1] is a nice production suite for Linux, but I haven't actually tried it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rosegardenmusic.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="37905" PostHistoryTypeId="2" PostId="22963" RevisionGUID="737e4ca5-1ac6-4106-8dc6-9aba80030537" CreationDate="2011-01-18T21:16:30.467" UserDisplayName="bot_bot" Text="I'd go for [reaper][1] Might be a bit too much if you're only looking for an audio editor. &#xD;&#xA;It's a fully feature production suite, similar to Logic Studio or Cubase.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.reaper.fm/" ContentLicense="CC BY-SA 2.5" />
  <row Id="37906" PostHistoryTypeId="2" PostId="22964" RevisionGUID="4794678d-3351-4cc2-9f98-fac697d88dbd" CreationDate="2011-03-06T11:50:45.813" UserDisplayName="Stefano Palazzo" Text="There's also **Jokosher**&#xD;&#xA;&#xD;&#xA;[![enter image description here][1]](http://en.wikipedia.org/wiki/File:Jokosher.png)&#xD;&#xA;&#xD;&#xA; &gt; Jokosher is a simple yet powerful multi-track studio. With it you can create and record music, podcasts and more, all from an integrated simple environment.&#xD;&#xA;&#xD;&#xA;It's rather easy to use and not nearly as powerful as Ardour. Apparently, besides Ubuntu it works quite well on other Linux operating system, Windows and, of course, Solaris. :) It doesn't run on Mac OS X.&#xD;&#xA;&#xD;&#xA; - [Jokosher's Website](http://www.jokosher.org/)&#xD;&#xA; - [Jokosher on Wikipedia](http://en.wikipedia.org/wiki/Jokosher)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://upload.wikimedia.org/wikipedia/commons/thumb/e/e9/Jokosher.png/300px-Jokosher.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="37907" PostHistoryTypeId="2" PostId="22965" RevisionGUID="37ae3e23-10a4-411f-a1a7-00bd4d0e0b7f" CreationDate="2011-03-07T02:57:33.777" UserDisplayName="Lenard Lynch" Text="NOT OpenSource, but free:&#xD;&#xA;&#xD;&#xA;If you're running Windows [Wavosaur][1] is a possiblity, haven't tried it in WINE...  I've used it and Audacity for small projects.  It is free, but the source isn't readily available.  Wavosaur doesn't handle large audio files really well on my workstation, but the WS is a bit dated.  I've mostly used it for making ringtones and small loops, and it's pretty good at that.  All of these tools have a learning curve and a set of fundamental trade-offs in the control interface.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wavosaur.com/&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37908" PostHistoryTypeId="2" PostId="22966" RevisionGUID="6c80949d-59df-4e26-8824-98feec7bf135" CreationDate="2011-03-07T04:41:37.987" UserDisplayName="Lenard Lynch" Text="NOT OpenSource, but affordable:&#xD;&#xA;&#xD;&#xA;For non-free DAWs, Reaper is certainly worth looking at in-terms of functionality and operating cost.  Some users report that it runs under WINE on linux, but there are UI performance issues that frustrate some.  Reaper is being ported to Mac OSX and may be ported to linux after that port is mature.&#xD;&#xA;&#xD;&#xA;[Reaper forum discussing external Editors and comparing creature comfort and how other DAWs do the same task][1], I included this link because:&#xD;&#xA;&#xD;&#xA;--As others have mentioned, Reaper may well be a good solution for you, even though it's not OpenSource, and there is an active forum community to interact with.&#xD;&#xA;&#xD;&#xA;--Most DAWs work in a similar ways, but the mechanics of the workflow are all different, which is a feature&#xD;&#xA;&#xD;&#xA;--The linked forum thread illustrates that even experienced users of several DAWs have strong notions about in-project audio editing (especially destructive v.s. non-destructive). &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://forum.cockos.com/showthread.php?t=74255&amp;highlight=wav+editor" ContentLicense="CC BY-SA 2.5" />
  <row Id="37909" PostHistoryTypeId="2" PostId="22967" RevisionGUID="359ccc74-e85c-4e01-ba90-b01bccece0ec" CreationDate="2011-07-19T13:54:45.553" UserDisplayName="Brett White" Text="&lt;a href=&quot;http://www.hongkiat.com/blog/25-free-digital-audio-editors/&quot;&gt;Here&lt;/a&gt; is a list of 25 open source sound editors, all with screen grabs and quick blurbs about them. Audacity is #1, but the other 24 are all probably worth investigating." ContentLicense="CC BY-SA 3.0" />
  <row Id="37910" PostHistoryTypeId="2" PostId="22969" RevisionGUID="f4d025e0-7524-4ac2-ba05-49dabdd11404" CreationDate="2013-04-12T15:25:25.343" UserDisplayName="victimofleisure" Text="WaveShop might fit your constraints. It's free and open-source, it's less complicated than Audacity but still has plenty of editing features, and it has a straightforward, uncluttered native Windows interface. It's also thoroughly documented, has 64-bit and portable versions, has good surround support, and is being actively developed. From the WaveShop website:&#xD;&#xA;&#xD;&#xA;&quot;WaveShop is a free, open-source audio editor for Windows XP/Vista/7. WaveShop is fast, lightweight, and bit-perfect, meaning samples aren't altered unless they need to be. Editing a portion of an audio file only affects that portion; the rest of the file is untouched. Blocks of audio can be cut and pasted without changing their contents at all. This is especially useful for patching a finished master without corrupting its dither. Waveshop's features include peak, RMS and spectral analysis, normalizing, fading, sample rate conversion, audio generation, and more, all with unlimited undo and comprehensive help.&quot;&#xD;&#xA;&#xD;&#xA;Screenshots:&#xD;&#xA;http://waveshop.sourceforge.net/screenshots.html&#xD;&#xA;&#xD;&#xA;Features:&#xD;&#xA;http://waveshop.sourceforge.net/features.html&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37911" PostHistoryTypeId="2" PostId="22968" RevisionGUID="67ee655e-f6db-4581-bfae-45813b8d36f2" CreationDate="2012-03-14T17:55:48.940" UserId="7205" UserDisplayName="Julien N" Text="[Traverso][1] is awesome. It may miss some feature and be a little hard to use the first minutes (it relies a lot on contextual shortcut keys) but it has been really useful to me.&#xD;&#xA;There is a plugin system, but I didn't try it.&#xD;&#xA;&#xD;&#xA;It doesn't seem to be actively maintained so if the current features doesn't fit, it probably won't change&#xD;&#xA;&#xD;&#xA;  [1]: http://www.traverso-daw.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37912" PostHistoryTypeId="2" PostId="22960" RevisionGUID="4bf33fc8-3a6b-4eb0-bfd1-da4bdb1891ea" CreationDate="2011-01-08T09:11:29.993" UserDisplayName="mhd" Text="I am looking for open source/free software for casual sound editing.&#xD;&#xA;I've tried audacity, I know it's capable tool but really I dont like the interface.&#xD;&#xA;Tried snd, can't get it to work.&#xD;&#xA;&#xD;&#xA;I am looking for audacity alternative that has good sound editing feature, doesn't&#xD;&#xA;have to be as full-featured as audacity although it's a bonus otherwise.&#xD;&#xA;&#xD;&#xA;At least capable to do basic sound editing like cut , copy, fade-in/out etc.&#xD;&#xA;&#xD;&#xA;Does ardour sound editing is good?( I know ardour is mainly for recording)&#xD;&#xA;Any other choice?" ContentLicense="CC BY-SA 2.5" />
  <row Id="37913" PostHistoryTypeId="1" PostId="22960" RevisionGUID="4bf33fc8-3a6b-4eb0-bfd1-da4bdb1891ea" CreationDate="2011-01-08T09:11:29.993" UserDisplayName="mhd" Text="An open source sound editor, but not Audacity?" ContentLicense="CC BY-SA 2.5" />
  <row Id="37914" PostHistoryTypeId="3" PostId="22960" RevisionGUID="4bf33fc8-3a6b-4eb0-bfd1-da4bdb1891ea" CreationDate="2011-01-08T09:11:29.993" UserDisplayName="mhd" Text="&lt;audio&gt;&lt;software&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37915" PostHistoryTypeId="36" PostId="22970" RevisionGUID="1a71364b-9322-45b5-b9c5-cf4b7b5152be" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3772/normalising-volume-across-thousands-of-files" />
  <row Id="37916" PostHistoryTypeId="36" PostId="22971" RevisionGUID="1b48de61-46c1-43be-a0c7-0575897e4bdf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3772/normalising-volume-across-thousands-of-files/3801#3801" />
  <row Id="37917" PostHistoryTypeId="36" PostId="22972" RevisionGUID="607cdf9f-6416-4ca6-b199-1529ae9f4230" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3772/normalising-volume-across-thousands-of-files/3957#3957" />
  <row Id="37918" PostHistoryTypeId="36" PostId="22973" RevisionGUID="fbcdea83-3789-4492-8adc-6bce1411bb6e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3772/normalising-volume-across-thousands-of-files/4184#4184" />
  <row Id="37919" PostHistoryTypeId="36" PostId="22974" RevisionGUID="81f8c533-ebea-4527-aca1-3d6955226baa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3772/normalising-volume-across-thousands-of-files/7635#7635" />
  <row Id="37920" PostHistoryTypeId="36" PostId="22975" RevisionGUID="c2978e8c-3171-4385-8cb8-907711e2b5d0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3772/normalising-volume-across-thousands-of-files/7637#7637" />
  <row Id="37921" PostHistoryTypeId="36" PostId="22976" RevisionGUID="4269df54-4d98-495a-ab62-2539b2765842" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3772/normalising-volume-across-thousands-of-files/7692#7692" />
  <row Id="37922" PostHistoryTypeId="2" PostId="22971" RevisionGUID="5406f412-6c9c-44a5-b1c5-fcdb5db05ce4" CreationDate="2012-04-23T05:35:36.963" UserDisplayName="OrangeBox" Text="**Adobe Audition CS5.5** has a **Match Volume** feature for batch processing multiple files. &#xD;&#xA;&#xD;&#xA; 1. Open Audition&#xD;&#xA; 2. Effects &gt; Match Volume&#xD;&#xA; 3. Drag the files you want to match into the window&#xD;&#xA; 4. Set the level you want to match all the clips to&#xD;&#xA; 5. Click Match Volume&#xD;&#xA;&#xD;&#xA;Alternatively you can click Batch and you will get options to rename the input &amp; output files and choose the format.&#xD;&#xA;&#xD;&#xA;Have a look at the Adobe help article for [Automating Common Tasks][1] (under the section: Match Volume across Multiple files). It explains the options and goes over 'Favorites' (like Actions in Photoshop) which can be used to batch process files a certain way (going beyond just matching volume). Worth a read!&#xD;&#xA;&#xD;&#xA;![Adobe Audition CS5.5 Match Volume][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://help.adobe.com/en_US/audition/cs/using/WS82af097c4236e2eb-2393847512f2795ade1-8000.html&#xD;&#xA;  [2]: http://i.stack.imgur.com/uManc.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="37923" PostHistoryTypeId="2" PostId="22972" RevisionGUID="b6dde4e6-53f5-431a-b7d9-a8aadfed9d27" CreationDate="2012-05-09T20:42:21.840" UserId="7304" UserDisplayName="Julian" Text="You could use [sox][1]&#xD;&#xA;&#xD;&#xA;    sox infile outfile gain −n −3&#xD;&#xA;&#xD;&#xA;will normalise the level to -3 dB relative to full scale deflection.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sox.sourceforge.net/sox.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="37924" PostHistoryTypeId="2" PostId="22973" RevisionGUID="4da831bf-0304-4968-8585-c38d0da1316d" CreationDate="2012-06-14T19:05:29.683" UserDisplayName="alexandrul" Text="For the normalization part you can also use [normalize][1]:&#xD;&#xA;&#xD;&#xA;    normalize v0.253 (c) 2000-2004 Manuel Kasper &lt;mk@neon1.net&gt;.&#xD;&#xA;    All rights reserved.&#xD;&#xA;    smartpeak code by Lapo Luchini &lt;lapo@lapo.it&gt;.&#xD;&#xA;    Visit http://neon1.net/ for updates.&#xD;&#xA;&#xD;&#xA;    Usage:  normalize [flags] input-file&#xD;&#xA;&#xD;&#xA;        -l &lt;ratio&gt;   don't find peaks but multiply each sample by &lt;ratio&gt;&#xD;&#xA;        -a &lt;level&gt;   don't find peaks; amplify by &lt;level&gt; (given in dB)&#xD;&#xA;        -m &lt;percent&gt; normalize to &lt;percent&gt; (default 100)&#xD;&#xA;        -s &lt;percent&gt; smartpeak: count as a peak only a signal that has the&#xD;&#xA;	             given percentile (50%-100%)&#xD;&#xA;        -x &lt;level&gt;   abort if gain increase is smaller than &lt;level&gt; (in dB)&#xD;&#xA;        -p           prompt before starting normalization&#xD;&#xA;        -b &lt;size&gt;    specify I/O buffer size (in KB; 16..16384; default 64)&#xD;&#xA;        -o &lt;file&gt;    write output to &lt;file&gt; (instead of overwriting original)&#xD;&#xA;        -q           quiet (no screen output)&#xD;&#xA;        -d           don't abort batch if user skips normalization of one file&#xD;&#xA;        -h           display this help&#xD;&#xA;&#xD;&#xA;    error levels: 0 = no error, 1 = I/O error, 2 = parameter error,&#xD;&#xA;                  3 = no amplification required, 4 = out of memory,&#xD;&#xA;                  5 = user abort&#xD;&#xA;&#xD;&#xA;        - wildcards are allowed in 'input-file' (e.g. normalize *.wav)&#xD;&#xA;        - 'input-file' needs to be a PCM WAV file.&#xD;&#xA;&#xD;&#xA;  [1]: https://neon1.net/prog/normalizer.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="37925" PostHistoryTypeId="2" PostId="22974" RevisionGUID="3a6d3d65-de7e-4c06-97d4-18136b141c36" CreationDate="2013-04-12T06:10:04.310" UserDisplayName="ssc801" Text="MP3 files can be bulk corrected to same volume with ' MP3Gain '" ContentLicense="CC BY-SA 3.0" />
  <row Id="37926" PostHistoryTypeId="2" PostId="22975" RevisionGUID="a42b3455-3cc3-499b-aaf1-af13476a6e82" CreationDate="2013-04-12T07:12:25.860" UserDisplayName="Dmitry" Text="There is also open source project [R128][1] which supports new standard.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://r128gain.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37927" PostHistoryTypeId="2" PostId="22976" RevisionGUID="99c30116-aa2d-4c64-8166-e7253205c102" CreationDate="2013-04-19T17:05:14.923" UserId="12790" UserDisplayName="Ron Kyle" Text="I would personally use SoundForge to do this and use the normalize function.  &#xD;&#xA;&#xD;&#xA; - Set to normalize everything to 0 dB. &#xD;&#xA; - Or if that sounds like crap, to 6dB then. &#xD;&#xA;&#xD;&#xA;This should almost guarantee that your files are all the same perceived volume. Soundforge has the ability to do this in a batch function as well. &#xD;&#xA;&#xD;&#xA;HOWEVER, I'm not certain if you have a Mac or a PC; if you've a Mac there's really no SoundForge per-se (1.0 doesn't count) so I'd go with what was said up above about Adobe Audition and batch processes.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37928" PostHistoryTypeId="2" PostId="22970" RevisionGUID="48d2a70c-b56f-4feb-af02-ed589f022cb7" CreationDate="2012-04-18T15:59:40.383" UserDisplayName="BinarySolo" Text="For a project I'm working on, I need to produce approx 5000 voice-only recordings of approx 15 seconds each (typically each file is a couple of short sentences spoken aloud). I've approached this as follows (I'm using Adobe Soundbooth for all the steps below):&#xD;&#xA;&#xD;&#xA;* I make the recordings in as few takes as possible. &#xD;&#xA;* I then fix up each of these files, normalising them and applying noise reduction (specifically, I use the &quot;Clean up audio&quot; function and &quot;Advanced Dynamics&quot; which seem to give a nice, clear result)&#xD;&#xA;* I then cut the recordings into the individual files (which takes forever)&#xD;&#xA;&#xD;&#xA;At this point I find that there can be quite large variances in the volume between the individual files so I use the &quot;Volume Correction&quot; task in Soundbooth to match them all to a reference file.&#xD;&#xA;&#xD;&#xA;The issue is that, even after doing this there can be some files that are way off. So as a further job, I go through every file making manual volume correction. This takes a LONG time, longer still because there's only so much of it I can do in one sitting without losing the plot. So it's this last step that I really want to avoid. I don't want to skimp on the quality - I need to ensure that each file is very closely matched in terms of perceived volume - but I would really like to find a **reliable** way to automate this.&#xD;&#xA;&#xD;&#xA;Can anyone help?&#xD;&#xA;&#xD;&#xA;Thanks in advance for any guidance you can give.&#xD;&#xA;&#xD;&#xA;P.S. I'm open to considering other software (than Soundbooth) if it will cut out any of the manual labour of producing these files.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37929" PostHistoryTypeId="1" PostId="22970" RevisionGUID="48d2a70c-b56f-4feb-af02-ed589f022cb7" CreationDate="2012-04-18T15:59:40.383" UserDisplayName="BinarySolo" Text="Normalising volume across thousands of files" ContentLicense="CC BY-SA 3.0" />
  <row Id="37930" PostHistoryTypeId="3" PostId="22970" RevisionGUID="48d2a70c-b56f-4feb-af02-ed589f022cb7" CreationDate="2012-04-18T15:59:40.383" UserDisplayName="BinarySolo" Text="&lt;audio&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37937" PostHistoryTypeId="36" PostId="22979" RevisionGUID="b03e9790-360b-4bd8-8f12-22aaa5fa501c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4520/easiest-way-to-convert-audio-tape-to-mp3" />
  <row Id="37938" PostHistoryTypeId="36" PostId="22980" RevisionGUID="e1ace3fc-1755-40b2-889c-f806c7f979e9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4520/easiest-way-to-convert-audio-tape-to-mp3/4521#4521" />
  <row Id="37939" PostHistoryTypeId="2" PostId="22980" RevisionGUID="9333e791-712a-4e9a-98ba-14bf6419cb2f" CreationDate="2012-08-05T14:23:16.883" UserId="7016" Text="The usual tool of choice here is [Audacity][1] - it does points 2) and 3) pretty much automatically.&#xD;&#xA;&#xD;&#xA;It also does normalisation, (your point 1) but usually across an entire track or collection, so you may have to manually do it if you want it to be a slow adjustment.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="37940" PostHistoryTypeId="2" PostId="22979" RevisionGUID="9ccc9445-0160-4d32-bf08-e2f15502775a" CreationDate="2012-08-05T13:10:16.940" UserId="9753" UserDisplayName="Steve V" Text="I have a few hundred of audiotapes; I am looking for an easiest way to convert them to mp3; I would like to find a software which would&#xD;&#xA;&#xD;&#xA;1) adjust recording level automatically (and do it gradually  - i.e. if input volume is getting low, recording software would **slowly** adjust the level)&#xD;&#xA;&#xD;&#xA;2) split recording into smaller files (if silence between songs is longer that X seconds), pause recording if silence is longer that Y seconds (to allow tape to reverse and stop at the end of the tape)&#xD;&#xA;&#xD;&#xA;3) Output result as mp3 files (224kbs, stereo)&#xD;&#xA;&#xD;&#xA;So in ideal situation I wouldn't have to do anything other than insert the next tape, enter the tape name name (which will be used while generating mp3 file names) and start the program; the rest would be done automatically&#xD;&#xA;&#xD;&#xA;Thank you for help." ContentLicense="CC BY-SA 3.0" />
  <row Id="37941" PostHistoryTypeId="1" PostId="22979" RevisionGUID="9ccc9445-0160-4d32-bf08-e2f15502775a" CreationDate="2012-08-05T13:10:16.940" UserId="9753" UserDisplayName="Steve V" Text="Easiest way to convert audio tape to mp3?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37942" PostHistoryTypeId="3" PostId="22979" RevisionGUID="9ccc9445-0160-4d32-bf08-e2f15502775a" CreationDate="2012-08-05T13:10:16.940" UserId="9753" UserDisplayName="Steve V" Text="&lt;audio-recording&gt;&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37949" PostHistoryTypeId="36" PostId="22983" RevisionGUID="b2110407-fcff-4ecb-af3c-43b998a7bf4b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/932/acoustic-violin-pickup-fishman-v-200-possible-setups" />
  <row Id="37950" PostHistoryTypeId="2" PostId="22984" RevisionGUID="b1cc4c97-cdce-414f-a669-d29785365ad6" CreationDate="2011-02-27T18:27:11.407" UserDisplayName="Kim Burgaard" Text="According to the [user guide][1], the manufacturer recommends a 10M ohm impedance preamp. That's a very high impedance, which might even exceed the guitar/&quot;instrument level&quot; input on some mixers (contrast with &quot;line level&quot; and &quot;microphone level&quot;).&#xD;&#xA;&#xD;&#xA;The short answer is that unless your mixer has a matching high-Z input, then the violin is going to sound thin in a manner very similar to your experiences with electrical guitars. It'll work in the sense that you can get a signal from the violin pickup, but you probably won't like the result. **Updated**: A regular DI unit might not have a high enough impedance, since electric guitar pickups are in the 20K to 40K range. For maximum flexibility, your friend should consider getting a [DI unit][2] with an input impedance that matches the pickup.&#xD;&#xA;&#xD;&#xA;Here's a good overview of [impedance in relation to sound recording][4]. According to this, the Fishman V-200 is a high-Z source. It's okay to connect a low-Z source to a high-Z input, but the opposite has consequences:&#xD;&#xA;&#xD;&#xA;&gt; If you connect a low-Z source to a high-Z load, there is no distortion or frequency-response change caused by this connection. **But if you connect a high-Z source to a low-Z load, you might get distortion or altered response. For example, suppose you connect an electric bass guitar (a high-Z device) into an XLR-type mic input (a low-Z load). The low frequencies in the signal will roll off, so the bass will sound thin.**&#xD;&#xA;We want the bass guitar to be loaded by a high impedance, and we want the mic input to be fed by a low-impedance signal. A direct box or impedance-matching adapter does this.&#xD;&#xA;&#xD;&#xA;(emphasis mine)&#xD;&#xA;&#xD;&#xA;I don't have any experience with the Fishman V-200 pickup, but trying to plug in electric guitars and basses into low-Z inputs is a pretty common problem that a lot of musicians have run into at some point. Without the Internet, or some knowledge of electrical engineering, the result can be pretty baffling :-)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fishman.com/uploads/products/documents/96.pdf&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/DI_unit&#xD;&#xA;  [3]: http://www.soundonsound.com/sos/jun02/articles/diboxes.asp&#xD;&#xA;  [4]: http://www.deltamedia.com/resource/impedance.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="37951" PostHistoryTypeId="2" PostId="22983" RevisionGUID="73402e64-7edf-40b3-af17-94b3581eb084" CreationDate="2011-02-27T16:24:13.303" UserId="4012" Text="A violinist friend of mine is planning to buy this pickup, [Fishman V-200][1], for his acoustic violin. &#xD;&#xA;&#xD;&#xA;Can it be hooked directly to a mixer for recording or live performance? Or, do we have to add a preamp/DI box to the chain to get a rich, full tone?&#xD;&#xA;&#xD;&#xA;I'm familiar with standard electric guitar setups like miking the amp and DI box-&gt;Amp model.&#xD;&#xA;&#xD;&#xA;What will be the standard setup for violin with this piezo pickup?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fishman.com/products/details.asp?id=60&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37952" PostHistoryTypeId="1" PostId="22983" RevisionGUID="73402e64-7edf-40b3-af17-94b3581eb084" CreationDate="2011-02-27T16:24:13.303" UserId="4012" Text="Acoustic Violin Pickup : Fishman V-200 - possible setups" ContentLicense="CC BY-SA 2.5" />
  <row Id="37953" PostHistoryTypeId="3" PostId="22983" RevisionGUID="73402e64-7edf-40b3-af17-94b3581eb084" CreationDate="2011-02-27T16:24:13.303" UserId="4012" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="37954" PostHistoryTypeId="36" PostId="22984" RevisionGUID="0310d8a0-11c7-407b-bd71-417824bd115f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/932/acoustic-violin-pickup-fishman-v-200-possible-setups/933#933" />
  <row Id="37955" PostHistoryTypeId="36" PostId="22985" RevisionGUID="44bdd5f5-7c67-4878-96d0-4a4e4359bab0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/932/acoustic-violin-pickup-fishman-v-200-possible-setups/2583#2583" />
  <row Id="37956" PostHistoryTypeId="2" PostId="22985" RevisionGUID="33457b11-ada4-4243-9c15-a44345caddb9" CreationDate="2011-11-02T01:30:15.417" UserDisplayName="D. Cook" Text="I use a Fishman v100 with their 3 band eq/preamp.  Plugging the preamp directly into a Fender guitar amp hiZ input (1/4&quot;) is not giving me good sound. It is &quot;crackling&quot; or &quot;glassy&quot; for want of better words.    &#xD;&#xA;&#xD;&#xA;Using a DI box (passive) and going directly to the mixer works well. &#xD;&#xA;&#xD;&#xA;I want to try the new Fishman Loud Box amplifiers though.  I think that might be the best solution.  I've heard a guitar played through the smaller one and it sounded great, but I havn't yet tried the violin.  We'll see.&#xD;&#xA;&#xD;&#xA;Friday 11/4 I tried the Loud Box mini amplifier.  It was terific (I bought it).  Very clean sound and more power than most will ever need.  I would recommend this set-up to anybody looking for faithful reproduction of their violin's sound.  Incidentally, the V-100 pickup is the same as the V-200 except it has a 1/8&quot; jack compared to the V-200's Carpenter type 1/4&quot; jack.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37957" PostHistoryTypeId="36" PostId="22986" RevisionGUID="db62fa82-614e-4896-84f7-fef3dda7f7c3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7588/what-do-i-need-to-compose-create-mix-music-fully-digitally" />
  <row Id="37958" PostHistoryTypeId="2" PostId="22987" RevisionGUID="52033b37-bf25-42f4-9276-7eb6e7db41aa" CreationDate="2013-04-05T00:39:51.017" UserId="7189" Text="You have the minimum down already - a laptop, a DAW, and some headphones. You don't *need* anything else. Other things *may* be useful to you, but aren't necessary.&#xD;&#xA;&#xD;&#xA;If you are classically trained, you *may* want notation software. But even then, a good notebook and pen will probably do just fine.&#xD;&#xA;&#xD;&#xA;&gt; Whatever software I end up with, I'd like my process to feel a little more organized than just haphazardly dropping samples onto tracks.&#xD;&#xA;&#xD;&#xA;You should probably do some reading on project management, creativity, and process-driven art. Modern DAWs are extremely flexible, so pick one that fits within your budget and appeals to you. Then develop a workflow that allows you to effective express your creativity.&#xD;&#xA;&#xD;&#xA;There is no need to spend a lot of money initially. There are very inexpensive DAWs out there (Reaper, Renoise) as well as low cost &quot;starter&quot; versions of the more expensive DAWs. Similarly, there are a lot of [free sample libraries][1] that may or may not be useful for you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://creativecommons.org/weblog/entry/8163" ContentLicense="CC BY-SA 3.0" />
  <row Id="37959" PostHistoryTypeId="2" PostId="22986" RevisionGUID="dcc6b700-31d7-4394-b4a6-e7e02317bb89" CreationDate="2013-04-04T20:51:10.003" UserId="10025" UserDisplayName="Henry Keiter" Text="I want to write some music, maybe mix other songs as well. I want to be able to write up some melodies/harmonies, or lay down some beats and mix them to my heart's content, with different instruments (or vocals?) and so forth, but I don't want to deal with physically recording it myself. Most importantly, I have some money to spend on software, but **I do not have space to put lots of hardware!** I want to have the option of taking my laptop to the airport and making music on my layover if I want to.  So I'll obviously need some high-quality sample libraries along with composition software and nice headphones.&#xD;&#xA;&#xD;&#xA;My question is, what else is actually **necessary**? I presumably need a DAW of some kind, but I have no reference point for their quality. Do I need (or should I get anyway) a separate program for writing out compositions in real notation? Is there any way to integrate these two things, or software that does both?&#xD;&#xA;&#xD;&#xA;I suppose this is as much a workflow question as anything else. Whatever software I end up with, I'd like my process to feel a little more organized than just haphazardly dropping samples onto tracks. I run **Windows** (XP and 7), for what that's worth." ContentLicense="CC BY-SA 3.0" />
  <row Id="37960" PostHistoryTypeId="1" PostId="22986" RevisionGUID="dcc6b700-31d7-4394-b4a6-e7e02317bb89" CreationDate="2013-04-04T20:51:10.003" UserId="10025" UserDisplayName="Henry Keiter" Text="What Do I Need to Compose/Create/Mix Music Fully Digitally?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37961" PostHistoryTypeId="3" PostId="22986" RevisionGUID="dcc6b700-31d7-4394-b4a6-e7e02317bb89" CreationDate="2013-04-04T20:51:10.003" UserId="10025" UserDisplayName="Henry Keiter" Text="&lt;audio&gt;&lt;software&gt;&lt;windows&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37962" PostHistoryTypeId="36" PostId="22987" RevisionGUID="9e3fd64a-ce0f-418f-bf7b-956ed4a2f0f5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7588/what-do-i-need-to-compose-create-mix-music-fully-digitally/7591#7591" />
  <row Id="37967" PostHistoryTypeId="36" PostId="22989" RevisionGUID="b578b837-6cdd-48bf-a554-2b61c136a849" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6995/how-can-i-make-my-recording-sound-louder-in-audacity" />
  <row Id="37968" PostHistoryTypeId="36" PostId="22990" RevisionGUID="198431b1-0971-4370-9707-06e9e3529586" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6995/how-can-i-make-my-recording-sound-louder-in-audacity/7021#7021" />
  <row Id="37969" PostHistoryTypeId="36" PostId="22991" RevisionGUID="81223950-afeb-453c-aa64-4558bf1e9b63" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6995/how-can-i-make-my-recording-sound-louder-in-audacity/9045#9045" />
  <row Id="37970" PostHistoryTypeId="2" PostId="22990" RevisionGUID="dd20e6f5-b770-45f3-b278-d2585bb1e340" CreationDate="2013-01-31T09:09:17.983" UserDisplayName="Fred42vid" Text="Try the Effect-&gt;Compressor.&#xD;&#xA;&#xD;&#xA;&gt; The Compressor effect reduces the dynamic range of audio. One of the&#xD;&#xA;&gt; main purposes of reducing dynamic range is to permit the audio to be&#xD;&#xA;&gt; amplified further (without clipping) than would be otherwise possible,&#xD;&#xA;&#xD;&#xA;as stated here: http://manual.audacityteam.org/man/Compressor" ContentLicense="CC BY-SA 3.0" />
  <row Id="37971" PostHistoryTypeId="2" PostId="22991" RevisionGUID="9ec6a9cb-00a3-4785-bdec-81260cc2819d" CreationDate="2013-09-24T13:29:27.490" UserDisplayName="user4761" Text="the other thing is to get a mic with a DB meter, so you can choose to record louder for example the SE Electronics condenser mic" ContentLicense="CC BY-SA 3.0" />
  <row Id="37972" PostHistoryTypeId="2" PostId="22989" RevisionGUID="bd04e8a9-91d2-4c74-825f-60790f764a51" CreationDate="2013-01-30T10:14:26.780" UserDisplayName="user3553" Text="I record how-to videos and I get a pretty decent, loud sound. But I'd like to make it a bit louder without clipping. Anyway to do this?&#xD;&#xA;&#xD;&#xA;MY SETUP&#xD;&#xA;Analog mixer&#xD;&#xA;Behringer XM8500 dynamic mic&#xD;&#xA;I use Audacity to tweak and clean up my audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="37973" PostHistoryTypeId="1" PostId="22989" RevisionGUID="bd04e8a9-91d2-4c74-825f-60790f764a51" CreationDate="2013-01-30T10:14:26.780" UserDisplayName="user3553" Text="How can I make my recording sound louder in Audacity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37974" PostHistoryTypeId="3" PostId="22989" RevisionGUID="bd04e8a9-91d2-4c74-825f-60790f764a51" CreationDate="2013-01-30T10:14:26.780" UserDisplayName="user3553" Text="&lt;audio&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37981" PostHistoryTypeId="36" PostId="22994" RevisionGUID="68e4cb10-bb31-4a1a-90a2-e83965cafbf8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4102/where-to-start-in-music-creation-virtual-dj" />
  <row Id="37982" PostHistoryTypeId="36" PostId="22995" RevisionGUID="47810906-1b7c-47ba-86a1-aea76139616f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4102/where-to-start-in-music-creation-virtual-dj/4126#4126" />
  <row Id="37983" PostHistoryTypeId="2" PostId="22995" RevisionGUID="1bf7b2cf-f1e1-4a5e-b82e-2b28089252a4" CreationDate="2012-06-06T21:25:33.790" UserId="7257" UserDisplayName="le_garry" Text="It depends on what kind of music you want to do:&#xD;&#xA;&#xD;&#xA;1. Remix/mashup other people's music to create new songs? --&gt; VirtualDJ&#xD;&#xA;2. Create your own songs --&gt; Any DAW; Live, Reason, Cubase, FLStudio (My favorite)&#xD;&#xA;&#xD;&#xA;To achieve the best means of music production in VirtualDJ, it is beneficial to have external hardware to use with it- i.e. your own DJ controllers. If you're trying to remix in VirtualDJ with only a mouse and keyboard... that's going to be a challenge.&#xD;&#xA;&#xD;&#xA;To answer your questions:&#xD;&#xA;&#xD;&#xA;1. I would say yes. &#xD;&#xA;2. Easiest? I would say Garage Band for Mac. This is based on opinion though." ContentLicense="CC BY-SA 3.0" />
  <row Id="37984" PostHistoryTypeId="2" PostId="22994" RevisionGUID="dc3f8b81-2290-4c17-b850-f3cf48bbbb1d" CreationDate="2012-06-03T14:20:23.317" UserDisplayName="Daria" Text="I want to make music, but I'm very big newbie here. I don't know anything about the software and the proccess of music creation. So:&#xD;&#xA;&#xD;&#xA;1. Is this the forum where I can ask my questions about music creation?&#xD;&#xA;&#xD;&#xA;2. What is the easiest software where I can start my virtual music creation?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="37985" PostHistoryTypeId="1" PostId="22994" RevisionGUID="dc3f8b81-2290-4c17-b850-f3cf48bbbb1d" CreationDate="2012-06-03T14:20:23.317" UserDisplayName="Daria" Text="Where to start in music creation (virtual DJ)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="37986" PostHistoryTypeId="3" PostId="22994" RevisionGUID="dc3f8b81-2290-4c17-b850-f3cf48bbbb1d" CreationDate="2012-06-03T14:20:23.317" UserDisplayName="Daria" Text="&lt;audio&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37987" PostHistoryTypeId="36" PostId="22996" RevisionGUID="bc1375a3-a8b7-4733-a147-2ed006bf6e6f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2426/audio-setup-for-webcast-interview" />
  <row Id="37988" PostHistoryTypeId="36" PostId="22997" RevisionGUID="e1f5ebe5-2060-417d-96ab-6d3c9f9207ae" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2426/audio-setup-for-webcast-interview/2428#2428" />
  <row Id="37989" PostHistoryTypeId="36" PostId="22998" RevisionGUID="22120d68-d151-4a2b-a18c-19c128818fe6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2426/audio-setup-for-webcast-interview/2878#2878" />
  <row Id="37990" PostHistoryTypeId="2" PostId="22997" RevisionGUID="d4015819-4dcf-41ee-93ca-d5495b34d609" CreationDate="2011-10-03T21:50:41.910" UserId="7093" Text="Since you already have a computer, you could get an [audio interface][1] to attach to the computer and use Sony Vegas to record the audio.&#xD;&#xA;&#xD;&#xA;This will allow you to plug in both mics to the computer, record them on separate tracks, and edit the recordings from both mics individually using the software you already own.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.guitarcenter.com/Focusrite-Saffire-6-USB-Audio-Interface-105783526-i1476612.gc?&amp;source=4WFRWXX&amp;CAWELAID=474202501" ContentLicense="CC BY-SA 3.0" />
  <row Id="37991" PostHistoryTypeId="2" PostId="22998" RevisionGUID="7e2382d1-8e4b-4d9d-bc9e-43cc37faaa01" CreationDate="2011-12-23T04:43:45.627" UserDisplayName="user1736" Text="you dont need to monitor the mics as you are doing it, if budget and equipment are a problem, try setting it up beforehand so you know its all good, and then just record when the time comes (watching the levels as you go) setup with a decent range for vocals (ie make what you think the interviewers loudest noise would be) It is probably nearly always better to record into a computer than a consumer camcorder, even if you have relative separation between both sides, in terms of being able to easily change the signal, and sound quality. Compression when recording might help a bit if there is a lot of dynamic range, a small amount of analog compression can help a lot.&#xD;&#xA;&#xD;&#xA;Its quite possible you already have two inputs on your soundcard that came with your computer, look for possible ways of getting the lav mics into there instead of splashing out on an audio card. for just vocals, you may find the quality is decent enough, specially if you have access to any sound cleaning tools, such as izotopes stuff. good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="37992" PostHistoryTypeId="2" PostId="22996" RevisionGUID="1e974640-b5d8-4f87-9793-63be3b6f2b8a" CreationDate="2011-10-03T15:25:35.607" UserDisplayName="Melissa B" Text="My son is looking at creating a live-to-tape interview series, using a two camera setup. We are struggling to decide on the audio setup. There are serious budget considerations for him, so the audio gear would have to total less than $300.&#xD;&#xA;&#xD;&#xA;Our initial thoughts are two wired lav mics, with a table-top backup. How should we configure this for recording? Should each mic be wired to, say, a Zoom recorder, or do we have to use a mixer of some sort? &#xD;&#xA;&#xD;&#xA;One of the worries we have is not being able to monitor the sound with headphones, thereby not noticing something like a lav mic dropping out (e.g., battery dies).&#xD;&#xA;&#xD;&#xA;Your help is greatly appreciated.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37993" PostHistoryTypeId="1" PostId="22996" RevisionGUID="1e974640-b5d8-4f87-9793-63be3b6f2b8a" CreationDate="2011-10-03T15:25:35.607" UserDisplayName="Melissa B" Text="Audio setup for webcast interview" ContentLicense="CC BY-SA 3.0" />
  <row Id="37994" PostHistoryTypeId="3" PostId="22996" RevisionGUID="1e974640-b5d8-4f87-9793-63be3b6f2b8a" CreationDate="2011-10-03T15:25:35.607" UserDisplayName="Melissa B" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="37995" PostHistoryTypeId="36" PostId="22999" RevisionGUID="33186092-6ec7-4782-989b-8b6108d8220d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/158/using-stereo-to-re-create-a-stage-effect-or-to-enhance-the-experience" />
  <row Id="37996" PostHistoryTypeId="36" PostId="23000" RevisionGUID="790d8a3c-653d-42d0-bc3c-13c857cbc40f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/158/using-stereo-to-re-create-a-stage-effect-or-to-enhance-the-experience/181#181" />
  <row Id="37997" PostHistoryTypeId="36" PostId="23001" RevisionGUID="e313e672-466a-4cf3-a3f5-3b7d1e555ffd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/158/using-stereo-to-re-create-a-stage-effect-or-to-enhance-the-experience/184#184" />
  <row Id="37998" PostHistoryTypeId="2" PostId="23000" RevisionGUID="507d921e-5a4e-400b-b237-b4db11c58d50" CreationDate="2010-12-09T09:42:38.780" UserId="7592" UserDisplayName="Pelle ten Cate" Text="Not always true, in classical music recordings (and in my opinion, all live recordings), using stereo effects is generally not done. &#xD;&#xA;&#xD;&#xA;You are mentioning 'panning' instruments to get an intensity-based stereo image, while there is an alternative: time-based stereo. That is the stereo kind you get by using for instance an AB microphone system. &#xD;&#xA;&#xD;&#xA;Try this:&#xD;&#xA;Record a mono sound, and pan it mono, but make it appear in the left loudspeaker 3ms later than in the right loudspeaker. You will notice that you hear the sound on the right loudspeaker since it appeared there first, even though they have the same level and no panning is involved.&#xD;&#xA;&#xD;&#xA;I only use time-based stereo using the AB microphone system (i.e. a pair of omnidirectional microphones with 51cm distance to record many musicians at once), that gives a more natural sounding stereo with perceivable depth (i.e. the instruments further away sound further away) whereas intensity-based stereo (by panning or recording with an XY or MS stereo system) results into a more analytical, one-dimensional stereo image with less depth." ContentLicense="CC BY-SA 2.5" />
  <row Id="37999" PostHistoryTypeId="2" PostId="23001" RevisionGUID="db447950-3a1e-4ea1-840d-ed3573a4906e" CreationDate="2010-12-09T10:08:00.090" UserDisplayName="Kim Burgaard" Text="I would say both.  When recording, say, blues, rock, hard rock, or really any type of rhythmic music then I would still lay out the instruments in a stereo configuration that mimic stage positions; lead vocal, drums and bass in the middle, instruments that occupy similar frequency ranges go in opposite sites.  From there I'd play around to see if some other interesting aspect comes up.&#xD;&#xA;&#xD;&#xA;There's a reason why most band configurations look similar, across a wide range of genres -- from symphonic orchestras to heavy metal bands to R&amp;B and hip hop.  A lot of it has to do with making the instruments work together nicely to produce a coherent sound.  The ability to see what's going on (the conductor or the band leader) also plays in.  So even if you're making music just with synthesizers and samples, certain sonic properties like the fact that we can't detect the direction of low frequency sounds will probably make you end up placing the bass and drums at the center of the mix.  If you have two synth sounds that occupy the same frequency range, placing them in each side might prevent your mix from sounding muddled too--just like the example with real instruments above.&#xD;&#xA;&#xD;&#xA;I think the key thing is to try a range of options. If you do something very out of the ordinary, even listeners who are not audio production savvy will notice and that might divert their attention in a direction you don't want.  But in other songs panning the lead vocal hard right might just be the thing you were looking for.&#xD;&#xA;&#xD;&#xA;If you're mixing for a wider audience, don't forget to listen to your mix in mono too!  Some people might be listening on a mono-setup or have their speakers really close to each other.  Your mix should still sound good in such situations, and any gimmicks relying on clever panning will obviously be lost on those listeners." ContentLicense="CC BY-SA 2.5" />
  <row Id="38000" PostHistoryTypeId="2" PostId="22999" RevisionGUID="5bd37b36-d170-437a-b003-1300a3709fe8" CreationDate="2010-12-08T23:25:18.113" UserId="13188" UserDisplayName="Mark Henderson" Text="Last millenium with the advent of common Stereo equipment, recording engineers often used the stereo effects to re-create a 'stage' like presence in the recordings. I.e. the instruments would be panned to roughly their position on the stage whilst still maintaining a rich listening experience.&#xD;&#xA;&#xD;&#xA;These days, stereo effects are more used for enhancing the music rather than trying to &quot;re-create&quot; a live experience.&#xD;&#xA;&#xD;&#xA;Is there any scenarios where an engineer/producer should use one method over the other - particularly from a producers point of view?" ContentLicense="CC BY-SA 2.5" />
  <row Id="38001" PostHistoryTypeId="1" PostId="22999" RevisionGUID="5bd37b36-d170-437a-b003-1300a3709fe8" CreationDate="2010-12-08T23:25:18.113" UserId="13188" UserDisplayName="Mark Henderson" Text="Using stereo to re-create a stage effect, or to enhance the experience?" ContentLicense="CC BY-SA 2.5" />
  <row Id="38002" PostHistoryTypeId="3" PostId="22999" RevisionGUID="5bd37b36-d170-437a-b003-1300a3709fe8" CreationDate="2010-12-08T23:25:18.113" UserId="13188" UserDisplayName="Mark Henderson" Text="&lt;audio-recording&gt;&lt;stereo&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38003" PostHistoryTypeId="36" PostId="23002" RevisionGUID="24fa2531-6200-455e-a444-60831eac53c1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3646/merge-audio-and-video-in-post-production" />
  <row Id="38004" PostHistoryTypeId="2" PostId="23003" RevisionGUID="e38a37ec-0a5a-42f9-bc60-f361df6a409c" CreationDate="2012-03-26T11:42:34.583" UserId="17107" UserDisplayName="Mulvya" Text="Try the trial version of [DualEyes][1] and see if you can note the sync offset between the DSLR audio and the external audio, then create a new version of the external audio with the correct padding added or removed. Import the new external audio into the editor and replace or mute the DSLR audio.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.singularsoftware.com/dualeyes.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="38005" PostHistoryTypeId="2" PostId="23002" RevisionGUID="cc232aee-ffdc-4411-8e1f-8f303d3cfe8a" CreationDate="2012-03-26T11:23:38.087" UserDisplayName="Tim Pietzcker" Text="I have recorded a few video clips of a childrens' choir concert, using an OK external microphone to my Canon 5DII. Because the position of the camera wasn't really ideal for audio recording, I additionally used a digital audio recorder to record the entire concert from a better point of &quot;view&quot;.&#xD;&#xA;&#xD;&#xA;As expected, the &quot;external&quot; audio is much better than the internal audio, so my plan was to extract the audio portions from the hour-long concert file that roughly correspond to my video recordings and then synchronize them with the original sound (and finally either mix the two or mute the internal track).&#xD;&#xA;&#xD;&#xA;My problem now is that the cheapo video suite I've got (which was a bonus add-on from my DVD burning software) doesn't allow me to easily and exactly synchronize the tracks.&#xD;&#xA;&#xD;&#xA;Can you suggest a reasonable, not too expensive alternative here? I've looked at the sales blurbs for Adobe Premiere Elements 10, Corel Video Studio Pro X5 and Cyberlink PowerDirector 10; I've also read a few reviews, but I couldn't find this information anywhere: Can I synchronize external audio tracks exactly to the existing soundtrack of a video? &#xD;&#xA;&#xD;&#xA;I was expecting that all these programs should be able to do this, but then I read a customer review on Amazon about PowerDirector where the author said that he was having terrible troubles with this (15 seconds misalignment in a 4-minute video that only became apparent when the final output was produced). &#xD;&#xA;&#xD;&#xA;Or do you have other suggestions? My work-around idea looks like this: Edit the video until it's done, then export the audio track; import that into Audacity, synchronize it with the external tracks; export that new track and import it back into the video. But that doesn't sound like much fun..." ContentLicense="CC BY-SA 3.0" />
  <row Id="38006" PostHistoryTypeId="1" PostId="23002" RevisionGUID="cc232aee-ffdc-4411-8e1f-8f303d3cfe8a" CreationDate="2012-03-26T11:23:38.087" UserDisplayName="Tim Pietzcker" Text="Merge audio and video in post-production" ContentLicense="CC BY-SA 3.0" />
  <row Id="38007" PostHistoryTypeId="3" PostId="23002" RevisionGUID="cc232aee-ffdc-4411-8e1f-8f303d3cfe8a" CreationDate="2012-03-26T11:23:38.087" UserDisplayName="Tim Pietzcker" Text="&lt;video&gt;&lt;audio&gt;&lt;windows&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38008" PostHistoryTypeId="36" PostId="23003" RevisionGUID="b95cd494-1ead-4e02-8253-cbc3cda5be2e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3646/merge-audio-and-video-in-post-production/3647#3647" />
  <row Id="38009" PostHistoryTypeId="36" PostId="23004" RevisionGUID="22c6516c-4608-4ef8-8e85-4377f46b4b9e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3646/merge-audio-and-video-in-post-production/3649#3649" />
  <row Id="38010" PostHistoryTypeId="2" PostId="23004" RevisionGUID="38cb9f37-5204-4e62-9985-a4b02e5e4607" CreationDate="2012-03-26T14:23:26.490" UserId="12830" UserDisplayName="dwwilson66" Text="Another thing you could do with the tools you have:&#xD;&#xA;Export the raw footage as a sound file, sync in audacity, then edit. You'll have less cuts to contend with, and everything will be in sync BEFORE you start editing. &#xD;&#xA;&#xD;&#xA;Failing that, PC editing options are slim, but I have found the Sony Vegas family to be reasonably priced (look at vegas studio vs vegas pro) and feature-rich. Check the website to see if the version you want can support separating audio and video files. &#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;d " ContentLicense="CC BY-SA 3.0" />
  <row Id="38011" PostHistoryTypeId="36" PostId="23005" RevisionGUID="f0d77d71-4b68-42fb-9a47-77536c886c29" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9063/how-to-efficiently-remove-one-audio-channel-in-mpeg2-video" />
  <row Id="38012" PostHistoryTypeId="36" PostId="23006" RevisionGUID="8ed76b7e-54db-4f7a-8268-8d41dab6eb9a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9063/how-to-efficiently-remove-one-audio-channel-in-mpeg2-video/9065#9065" />
  <row Id="38013" PostHistoryTypeId="2" PostId="23006" RevisionGUID="03635ea3-df28-481d-8afb-068cffc74b26" CreationDate="2013-09-26T14:40:04.190" UserId="7016" Text="If you go for a professional video suite such as Premier, then this is very straightforward, however if your budget won't stretch that far you can do it in three steps:&#xD;&#xA;&#xD;&#xA;[AviDeMux][1] or [FFMpeg][2] will let you split audio from video.&#xD;&#xA;&#xD;&#xA;Once you have the audio separated from the video this is easily done in any DAW by simply splitting the left and right into two channels. For Cubase:&#xD;&#xA;&#xD;&#xA;- Import your audio &#xD;&#xA;- Set your left and right locators, export audio &#xD;&#xA;- In Channels select Stereo Split. &#xD;&#xA;- Check &quot;Import to Audio Track&quot; &#xD;&#xA;&#xD;&#xA;Cubase will then bring in left and right as two separate tracks. &#xD;&#xA;&#xD;&#xA;Delete the right one, then set that remaining channel to be exported as mono.&#xD;&#xA;&#xD;&#xA;Then use AviDeMux or FFMpeg to combine the audio and video tracks again.&#xD;&#xA;&#xD;&#xA;  [1]: http://fixounet.free.fr/avidemux/&#xD;&#xA;  [2]: http://ffmpeg.zeranoe.com/builds/" ContentLicense="CC BY-SA 3.0" />
  <row Id="38014" PostHistoryTypeId="2" PostId="23005" RevisionGUID="e1c2d4c7-ecb8-4138-a506-0ffbd444907d" CreationDate="2013-09-26T12:55:38.297" UserDisplayName="Adiost" Text="Situation: thirteen 700mb 1hr long mpeg2 videos with 2 audio channels. Only left channel contains corresponding audio, right channel contains nothing but barely hearable static noise. How do I get rid of it and make it mono?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38015" PostHistoryTypeId="1" PostId="23005" RevisionGUID="e1c2d4c7-ecb8-4138-a506-0ffbd444907d" CreationDate="2013-09-26T12:55:38.297" UserDisplayName="Adiost" Text="How to efficiently remove one audio channel in mpeg2 video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38016" PostHistoryTypeId="3" PostId="23005" RevisionGUID="e1c2d4c7-ecb8-4138-a506-0ffbd444907d" CreationDate="2013-09-26T12:55:38.297" UserDisplayName="Adiost" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38017" PostHistoryTypeId="36" PostId="23007" RevisionGUID="6f91f986-6e32-48e5-836b-04e67ec3f558" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8544/vst-frequency-compressor" />
  <row Id="38018" PostHistoryTypeId="36" PostId="23008" RevisionGUID="a2440aff-355d-4313-93b4-d3d5287b3d6c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8544/vst-frequency-compressor/8546#8546" />
  <row Id="38019" PostHistoryTypeId="36" PostId="23009" RevisionGUID="d1dfabeb-8b92-42e3-a7be-ea069662690c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8544/vst-frequency-compressor/8548#8548" />
  <row Id="38020" PostHistoryTypeId="36" PostId="23010" RevisionGUID="66a4f68e-034a-48cd-8317-d7086836153b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8544/vst-frequency-compressor/8550#8550" />
  <row Id="38021" PostHistoryTypeId="36" PostId="23011" RevisionGUID="62c7b917-5dde-459b-93d9-f5a500496611" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8544/vst-frequency-compressor/8638#8638" />
  <row Id="38022" PostHistoryTypeId="2" PostId="23008" RevisionGUID="c5d3cd52-975a-47e4-a0c1-6dfc0bb971e0" CreationDate="2013-07-29T00:11:45.637" UserId="7174" Text="That's still an EQ, you just cut the bands to -infinity.  More specifically, you would want to use a shelf EQ if you have it.  Also sometimes called high pass and low pass filters." ContentLicense="CC BY-SA 3.0" />
  <row Id="38023" PostHistoryTypeId="2" PostId="23009" RevisionGUID="3cdeb195-99d5-4b81-8dbf-726bb6f8dbc9" CreationDate="2013-07-29T04:29:04.397" UserId="7312" UserDisplayName="Eugene S" Text="There is a [Waves Multiband compressor][1] plug-in which supposed to do what you're asking for. But it is definitely not free.&#xD;&#xA;&#xD;&#xA;I can think of another way to obtain such effect, however it depends on which software you are using. I believe that in Cubase you can process a track with EQ and stream the resulting audio to a different channel (not necessarily in this order), then you can just compress whatever you get on that channel.&#xD;&#xA;&#xD;&#xA;[1]: http://www.waves.com/plugins/c6-multiband-compressor" ContentLicense="CC BY-SA 3.0" />
  <row Id="38024" PostHistoryTypeId="2" PostId="23010" RevisionGUID="3063856f-4b1d-46e8-b0d4-98fb0f897d62" CreationDate="2013-07-29T12:00:11.630" UserId="7542" UserDisplayName="Don Nickel" Text="Image Line has a multiband compressor VST - Maximus. Cakewalk has one in their Sonitus suite. Both of these cost. &#xD;&#xA;&#xD;&#xA;Melda productions has one in their free effects bundle." ContentLicense="CC BY-SA 3.0" />
  <row Id="38025" PostHistoryTypeId="2" PostId="23011" RevisionGUID="469d0467-7472-4808-bf03-76f7cf3997f7" CreationDate="2013-08-07T09:03:43.230" UserDisplayName="Kees Sonnema" Text="If you're using Fl studio you can use Maximus, This is a very simple and good plugin. It comes with Fl studio so it's kinda free.&#xD;&#xA;&#xD;&#xA;If you're using cubase you can use the standard multiband compressor.&#xD;&#xA;&#xD;&#xA;Melda productions has a free bundle with a lot of handy plugins for mixdown and mastering. You can have a look at that.&#xD;&#xA;&#xD;&#xA;http://www.meldaproduction.com/plugins/product.php?id=MFreeEffectsBundle" ContentLicense="CC BY-SA 3.0" />
  <row Id="38026" PostHistoryTypeId="2" PostId="23007" RevisionGUID="b430e465-4479-431e-820e-c15c42bc5e05" CreationDate="2013-07-28T23:03:09.403" UserId="7343" UserDisplayName="d.free" Text="Basically, I'm looking for a VST plugin (preferably FREE) that compresses the frequency range of a track. Unlike a EQ which cuts or boots specific frequencies, I want an effect that can compress the frequency range while keeping the original sound as much as possible (e.g. turning it from 40hz-20khz to 100hz-15khz)&#xD;&#xA;&#xD;&#xA;Does such an effect even exist? I don't know why, but I can't find any..." ContentLicense="CC BY-SA 3.0" />
  <row Id="38027" PostHistoryTypeId="1" PostId="23007" RevisionGUID="b430e465-4479-431e-820e-c15c42bc5e05" CreationDate="2013-07-28T23:03:09.403" UserId="7343" UserDisplayName="d.free" Text="VST - Frequency Compressor?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38028" PostHistoryTypeId="3" PostId="23007" RevisionGUID="b430e465-4479-431e-820e-c15c42bc5e05" CreationDate="2013-07-28T23:03:09.403" UserId="7343" UserDisplayName="d.free" Text="&lt;audio&gt;&lt;editing&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38029" PostHistoryTypeId="36" PostId="23012" RevisionGUID="5b2fa685-04b2-4ada-b161-56f41de3edaf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8213/why-does-my-sample-become-choppy-when-i-change-its-pitch" />
  <row Id="38030" PostHistoryTypeId="2" PostId="23013" RevisionGUID="a911bc59-6874-4533-bbf3-9c4ab6c10044" CreationDate="2013-06-25T19:16:02.910" UserId="7294" UserDisplayName="Warrior Bob" Text="The only &quot;natural&quot; (i.e. &quot;using only the data in the sample&quot;) way to change the pitch of a recorded sample is to change the speed of its playback. So a sample that sounds an octave lower should take twice as long to play back.&#xD;&#xA;&#xD;&#xA;But you have a tool that somehow manages to play that sample back octave lower, while somehow keeping the playback time the same. How can this be? It is achieved through clever algorithmic modification of the sample's playback. However, this modification is a distortion of what it would &quot;normally&quot; sound like, and you get these undesirable extra sounds as a consequence. In general, these extras are called &quot;artifacts.&quot; &#xD;&#xA;&#xD;&#xA;The good news is that while you can't avoid artifacts entirely, you can optimize for different scenarios. There are many techniques for pitch and time modification, based on concepts like chopping the sample up temporablly into small loopable slices, or deconstructing it harmonically, and reassembling the transformed parts into a new recording. Many tools let you choose from several algorithms, with different tradeoffs. For example, chopping up over time preserves transients, which is very nice for percussion and drums where the transient &quot;hits&quot; are more prominent than the decays, but is problematic for tonal sounds where smoothness is more important (since you can hear the slices).&#xD;&#xA;&#xD;&#xA;You may want to look into your Time and Pitch Machine and see if you can choose a different algorithm that might be better suited to your sample. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38031" PostHistoryTypeId="2" PostId="23012" RevisionGUID="8ab15a33-0af5-4963-9b45-d12aa4114ca1" CreationDate="2013-06-25T18:41:34.977" UserDisplayName="drewblaisdell" Text="https://soundcloud.com/drew-blaisdell/low-sample-test&#xD;&#xA;&#xD;&#xA;I recorded a note on my guitar into Logic Pro. This is the first note you hear played in the clip above. It sounds pretty much like a note on my guitar.&#xD;&#xA;&#xD;&#xA;The second note is the same sample put through Logic's Time and Pitch Machine to make it an octave lower (-1200 cents) while keeping the length of the sample the same. It is a bit wobbly/choppy.&#xD;&#xA;&#xD;&#xA;The third note is the second sample lowered an additional six tones (-600 cents). It is also distorted/wobbly/choppy.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Why does this happen? I (wrongly) assumed that simply lowering the frequency of a guitar sample while keeping the period the same would make it sound like a bass guitar. Are there better ways of pitch-shifting a sample?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38032" PostHistoryTypeId="1" PostId="23012" RevisionGUID="8ab15a33-0af5-4963-9b45-d12aa4114ca1" CreationDate="2013-06-25T18:41:34.977" UserDisplayName="drewblaisdell" Text="Why does my sample become &quot;choppy&quot; when I change its pitch?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38033" PostHistoryTypeId="3" PostId="23012" RevisionGUID="8ab15a33-0af5-4963-9b45-d12aa4114ca1" CreationDate="2013-06-25T18:41:34.977" UserDisplayName="drewblaisdell" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;mixing&gt;&lt;sampling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38034" PostHistoryTypeId="36" PostId="23013" RevisionGUID="66c19a1c-09c5-48e7-aaae-1723d091b4ae" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8213/why-does-my-sample-become-choppy-when-i-change-its-pitch/8214#8214" />
  <row Id="38035" PostHistoryTypeId="36" PostId="23014" RevisionGUID="90e60484-df03-45ae-b282-0727fae2ca2e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3319/khz-and-bit-depth-in-hd-film-and-computer-playback" />
  <row Id="38036" PostHistoryTypeId="2" PostId="23015" RevisionGUID="a1a38f16-d4a7-4639-90e2-a36dce6f0761" CreationDate="2012-09-25T18:05:46.283" UserDisplayName="WLPhoenix" Text="[This site][1] has a decent table about what the standards are for different HD formats. In general, lower sample rates will have an lower frequency ceiling due to the Nyquist theory, but the average upper bound for human hearing is somewhere between 18k and 20k, so 48k should easily contain all the information necessary for human consumption. The only real choices come down to which standards you want your audio to match up to.&#xD;&#xA;&#xD;&#xA;That said, your problem may come in poor conversion. Generally, you want to record at the same sample rate that you will be publishing in if that is at all a possibility. I'm not familiar with the popular opinion on Abelton's conversion so I can't say if that's the problem. If you plan on regularly producing these sorts of recordings, then it may be in your best interests to invest in an interface and a good set of mixing speakers, just to get away from using an integrated sound card.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://reviews.cnet.com/4520-13817_7-6462511-4.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="38037" PostHistoryTypeId="2" PostId="23014" RevisionGUID="a7fa4838-d72c-4e2b-b7f0-15f7bb0c662a" CreationDate="2012-02-15T16:00:14.793" UserId="7210" UserDisplayName="Friend of Kim" Text="I just made a song for a talkshow we're making. I made it in Ableton Live 48kHz in MIDI. Most of my libraries is recorded in 24bit/96kHz. When I save it out as 48kHz 24 bit it sounds dull. I changed the audio settings on the integrated sound card to produce 24 bit 196 000 Hz, and now it sounds exactly as I made it in Ableton. If I set it to 24 bit/48kHz it doesn't sound good at all, even though I saved it like that.&#xD;&#xA;&#xD;&#xA;And which bit depth and frequency should I use for this HD video (going to burn it to blu-ray)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38038" PostHistoryTypeId="1" PostId="23014" RevisionGUID="a7fa4838-d72c-4e2b-b7f0-15f7bb0c662a" CreationDate="2012-02-15T16:00:14.793" UserId="7210" UserDisplayName="Friend of Kim" Text="KHz and bit depth in HD film and computer playback?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38039" PostHistoryTypeId="3" PostId="23014" RevisionGUID="a7fa4838-d72c-4e2b-b7f0-15f7bb0c662a" CreationDate="2012-02-15T16:00:14.793" UserId="7210" UserDisplayName="Friend of Kim" Text="&lt;audio-recording&gt;&lt;ableton-live&gt;&lt;bit-depth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38040" PostHistoryTypeId="36" PostId="23015" RevisionGUID="0c40d505-fd86-40dc-83fe-00b0ab241393" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3319/khz-and-bit-depth-in-hd-film-and-computer-playback/4841#4841" />
  <row Id="38041" PostHistoryTypeId="36" PostId="23016" RevisionGUID="70499b2d-b8d5-430a-ab00-0391adacbee2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7452/mono-vs-stereo-connections" />
  <row Id="38042" PostHistoryTypeId="36" PostId="23017" RevisionGUID="5e76e15a-62a7-4815-9c82-5f42cd92c65d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7452/mono-vs-stereo-connections/7460#7460" />
  <row Id="38043" PostHistoryTypeId="36" PostId="23018" RevisionGUID="85bc3260-2024-485f-a68f-bd95aceaa155" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7452/mono-vs-stereo-connections/7463#7463" />
  <row Id="38044" PostHistoryTypeId="2" PostId="23017" RevisionGUID="ab74a5f5-97d0-443e-bd9a-2cc207c4d403" CreationDate="2013-03-22T07:52:16.673" UserDisplayName="kurzweilguy" Text="I suggest buying a couple of RCA male to 1/4&quot; male cables. I have a ton of them that I bought from RadioShack a few years ago, and they're still going strong. &#xD;&#xA;&#xD;&#xA;When it comes to cabling, I err on the side of less couplings and adapters. This lessens the chance of a bad connection and is easier to troubleshoot when something goes wrong." ContentLicense="CC BY-SA 3.0" />
  <row Id="38045" PostHistoryTypeId="2" PostId="23018" RevisionGUID="173aa703-b1f5-4448-9207-8557d8bec65c" CreationDate="2013-03-22T08:19:04.020" UserDisplayName="Brandon Smits" Text="Follow the signal flow from input(whatever is amped) to output(mixer/pa) and also tell us explicitly what the output is on the amp. It isn't totally clear. This is assuming Eugene is right about the cable you used, since you didn't specify male or female for RCA to 1/8. &#xD;&#xA;&#xD;&#xA;What kind of amp, and is the output:&#xD;&#xA;2 RCA outputs? (Scenario 1) unbalanced signal, stereo&#xD;&#xA; is it balanced mono(trs) 1/8 output? (scenario 2)&#xD;&#xA;Or 1/8  Headphone out which is stereo unbalanced? (#3)&#xD;&#xA;What level is the output? Headphone or line?&#xD;&#xA;&#xD;&#xA;Scenario 2 is rare from any amp I can think of. If its scenario 2 try an 1/8 trs male adaptor to 1/4 inch trs female t(plug in amp output), and use a trs 1/4 inch, not instrument (ts) cable to connect to the mixer. If you don't you'll barely get signal from instrument cable&#xD;&#xA;&#xD;&#xA;For 1+3&#xD;&#xA;&#xD;&#xA;if your mixer takes unbalanced mono inputs and has the gain to make up the level difference from headphone to line level, no problem but noisy. &#xD;&#xA;&#xD;&#xA;If it has a stereo 1/4 input, you could use one input instead of splitting to two mono. &#xD;&#xA;&#xD;&#xA;Likely your mixer wants to see a balanced mono input from the 1/4 input. This would be a trs cable. If your inputs aren't wired to expect a ts cable you may get nothing in either scenario regardless of how you adapt it. So try these options:&#xD;&#xA;&#xD;&#xA;Scenario 1 &#xD;&#xA;Take the male trs 1/8 inch end and use a f 1/8 trs (stereo) to 1/4 trs male adaptor. This also requires a stereo 1/4 input on the mixer. If you don't have one, you should use a f 1/8 trs to 2 female ts adaptors and use 2 instrument cables. &#xD;&#xA;&#xD;&#xA;For sc 3 you could try to use 2 RCA f (stereo) to ts f adaptors, and plug 2 inst cables into the inputs on the mixer. &#xD;&#xA;&#xD;&#xA;If you have a stereo 1/4 input you could use a 2 female RCA to 1/4 inch female adaptor, but you would have to use 1/4 trs cable, not instrument. &#xD;&#xA;&#xD;&#xA;The issue is that a balanced input will phase out your unbalanced signal. &#xD;&#xA;&#xD;&#xA;If this happens, Mic your amp, buy a headphone amp, or buy a box to convert your unbalanced signal to balanced. &#xD;&#xA;&#xD;&#xA;Most importantly be more specific or we have to guess what you mean and spend forever answering your ambiguous question's various possibilities. &#xD;&#xA;Don't say mono or stereo say trs or ts, because a trs cable can be unbalanced stereo or balanced mono.  I hope this sheds some light on the differences for others seeking help. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38046" PostHistoryTypeId="2" PostId="23016" RevisionGUID="9e77ccb3-dd2f-4e0d-915f-144ded40823d" CreationDate="2013-03-21T17:00:04.317" UserDisplayName="Chris MacKay" Text="I have an RCA stereo connector with a single 1/8 inch pin. I want to connect to a mixer with a 1/4 to 1/4 mono cable to either a mono channel or stereo channel and would like the best way to do it. Essentially, I need a 1/8 make adapter for one end of the cable and a female 1/8 coupler to connect the rest. Should I use stereo or mono adapter and coupler?&#xD;&#xA;&#xD;&#xA;------------------&#xD;&#xA;&#xD;&#xA;Some more detail from my comment below...&#xD;&#xA;&#xD;&#xA;I have a KRX 100 Fender amp. It has 3 separate channels with balanced 1/4 inputs and volume. Chan 1 also has an xlr which I mic the instrument. It also has effects send/return, headphone and RCA unbalanced output. &#xD;&#xA;&#xD;&#xA;Fender suggested using the RCA out to channel line in for cleanest sound. &#xD;&#xA;&#xD;&#xA;The mixer has TRS balanced stereo and mono channels. I want to be able to mix the amp and pa mix independently. Maybe I should just use a stereo Y (dual male RCA with a 1/4 female and a TRS cable to the mono TRS balanced channel input?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38047" PostHistoryTypeId="1" PostId="23016" RevisionGUID="9e77ccb3-dd2f-4e0d-915f-144ded40823d" CreationDate="2013-03-21T17:00:04.317" UserDisplayName="Chris MacKay" Text="Mono vs Stereo connections" ContentLicense="CC BY-SA 3.0" />
  <row Id="38048" PostHistoryTypeId="3" PostId="23016" RevisionGUID="9e77ccb3-dd2f-4e0d-915f-144ded40823d" CreationDate="2013-03-21T17:00:04.317" UserDisplayName="Chris MacKay" Text="&lt;audio&gt;&lt;cable&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38049" PostHistoryTypeId="36" PostId="23019" RevisionGUID="7096d752-0626-4814-a292-1029f7673d80" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1954/converting-voice-into-modem-sounds" />
  <row Id="38050" PostHistoryTypeId="36" PostId="23020" RevisionGUID="c8c4778e-b492-491c-a564-91f39203af50" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1954/converting-voice-into-modem-sounds/1958#1958" />
  <row Id="38051" PostHistoryTypeId="2" PostId="23020" RevisionGUID="c61f7eed-e072-4e2d-a61d-bcd99648eeff" CreationDate="2011-07-27T13:02:21.230" UserDisplayName="johnny1bucket" Text="There is a free audio editing program called [Audacity][1] which has a lot of different effects you can add to audio. One of them is called equalizer, with this effect you can change how many KHz your audio is I would play around with that and see if anything sounds the way you want it too.  [Here is some more about Audacity's equalizer][2].&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net&#xD;&#xA;  [2]: http://forum.audacityteam.org/viewtopic.php?f=28&amp;t=5081" ContentLicense="CC BY-SA 3.0" />
  <row Id="38052" PostHistoryTypeId="2" PostId="23021" RevisionGUID="e362e05f-2e9c-4b78-9e90-ad48260bb0f4" CreationDate="2011-07-27T14:32:57.217" UserDisplayName="gomad" Text="What you want is a [vocoder](http://en.wikipedia.org/wiki/Vocoder) - an effect that uses a voice to control another instrument - one that produces your modem sounds.&#xD;&#xA;&#xD;&#xA;There are [free ones](http://www.google.com/search?q=free+vocoder&amp;ie=utf-8&amp;oe=utf-8&amp;aq=t&amp;rls=org.mozilla:en-US:official&amp;client=firefox-a) available, including [one for Audacity](http://wiki.audacityteam.org/index.php?title=VST_Plug-ins)" ContentLicense="CC BY-SA 3.0" />
  <row Id="38053" PostHistoryTypeId="2" PostId="23019" RevisionGUID="5efeb897-a2c4-41ee-b101-02299066a9a1" CreationDate="2011-07-25T17:57:32.570" UserDisplayName="lumbric" Text="I'd like to record my voice and apply some effects on it. The final result should remind the listener of phone lines or some modem sounds, but only the melody and rhythm of the language should be kept - I don't want the listeners to understand the recorded words. R2-D2 from star wars is doing something similar.&#xD;&#xA;&#xD;&#xA;Any hints how I could achieve something like this? " ContentLicense="CC BY-SA 3.0" />
  <row Id="38054" PostHistoryTypeId="1" PostId="23019" RevisionGUID="5efeb897-a2c4-41ee-b101-02299066a9a1" CreationDate="2011-07-25T17:57:32.570" UserDisplayName="lumbric" Text="Converting voice into modem sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="38055" PostHistoryTypeId="3" PostId="23019" RevisionGUID="5efeb897-a2c4-41ee-b101-02299066a9a1" CreationDate="2011-07-25T17:57:32.570" UserDisplayName="lumbric" Text="&lt;editing&gt;&lt;effects&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38056" PostHistoryTypeId="36" PostId="23021" RevisionGUID="5fa63584-5e61-4fb3-a65c-8675c6f32999" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1954/converting-voice-into-modem-sounds/1960#1960" />
  <row Id="38057" PostHistoryTypeId="36" PostId="23022" RevisionGUID="89548458-9da0-46b1-8fd3-6b9dcf0e6cfd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1954/converting-voice-into-modem-sounds/1966#1966" />
  <row Id="38058" PostHistoryTypeId="2" PostId="23022" RevisionGUID="b855a355-a899-431c-8323-f4e5993f337f" CreationDate="2011-07-28T11:09:48.167" UserId="7942" UserDisplayName="Jean-François Côté" Text="I think one effect you could use for the modem effect is a ring modulator. &#xD;&#xA;&#xD;&#xA;I created this with the first part of a song with my band and I did this in a couple of second with a preset but if you have a little more time, you can configure a lot in this plugin. &#xD;&#xA;&#xD;&#xA;The plugin is RingModulator and it comes standard with Cubase 5 but I'm sure you can find a clone of something similar free on the web.&#xD;&#xA;&#xD;&#xA;Here is an example with the preset: &#xD;&#xA;&#xD;&#xA;http://soundcloud.com/darkjaff/example-ring-modulator&#xD;&#xA;&#xD;&#xA;Have fun!" ContentLicense="CC BY-SA 3.0" />
  <row Id="38059" PostHistoryTypeId="36" PostId="23023" RevisionGUID="caf1a586-d4d4-4614-af55-f1e06e7b4f47" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1268/audacity-cut-without-repositioning" />
  <row Id="38060" PostHistoryTypeId="2" PostId="23024" RevisionGUID="d87a2441-3b3b-4ca2-ad54-15052d5d23cd" CreationDate="2011-04-25T20:10:15.930" UserId="7093" Text="The command you are looking for is Split Delete (Ctrl+Alt+K).  &#xD;&#xA;&#xD;&#xA;This will split the audio at the beginning and end of your selection and delete the middle." ContentLicense="CC BY-SA 3.0" />
  <row Id="38061" PostHistoryTypeId="2" PostId="23023" RevisionGUID="29f9dc24-7099-457a-88dd-11fa9d55dd86" CreationDate="2011-04-25T19:36:17.627" UserDisplayName="Josh M." Text="Using Audacity if I trim an audio track the remaining audio is shifted to the left. I want it to stay in position since it is in time with another track. How can I accomplish this?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="38062" PostHistoryTypeId="1" PostId="23023" RevisionGUID="29f9dc24-7099-457a-88dd-11fa9d55dd86" CreationDate="2011-04-25T19:36:17.627" UserDisplayName="Josh M." Text="Audacity - cut without repositioning." ContentLicense="CC BY-SA 3.0" />
  <row Id="38063" PostHistoryTypeId="3" PostId="23023" RevisionGUID="29f9dc24-7099-457a-88dd-11fa9d55dd86" CreationDate="2011-04-25T19:36:17.627" UserDisplayName="Josh M." Text="&lt;editing&gt;&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38064" PostHistoryTypeId="36" PostId="23024" RevisionGUID="63dda5e2-41be-452a-9f74-4a8ec2e2159a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1268/audacity-cut-without-repositioning/1270#1270" />
  <row Id="38071" PostHistoryTypeId="36" PostId="23027" RevisionGUID="c6712b6d-1fe1-4e0a-8f3d-e48414f04c23" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4349/a-few-questions-about-beginning-to-record" />
  <row Id="38072" PostHistoryTypeId="36" PostId="23028" RevisionGUID="b37273af-bb30-43e4-92ba-f63b9cf38d01" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4349/a-few-questions-about-beginning-to-record/4353#4353" />
  <row Id="38073" PostHistoryTypeId="2" PostId="23028" RevisionGUID="35c57ae8-b359-4540-bcbc-59ac6f843b36" CreationDate="2012-07-03T22:30:27.410" UserId="7177" Text="Well, first of all, you will need a microphone. The cheaper the microphone, the worse you will sound. In the way of software, if you are on Windows, you won't even have to download anything: Just go Start Menu - All Programs - Accessories - Sound Recorder. Or you can use Windows Movie Maker, (**NOT Windows Live Movie Maker**). For Mac you can use Garage Band, or QuickTime **Pro**. &#xD;&#xA;&#xD;&#xA;There are many other programs out there that can do this, for instance, a basically cross-platform program you could use to record is Audacity. At first it my be a little more intimidating than the others mentioned. &#xD;&#xA;&#xD;&#xA;One thing I don't get from your question: &quot;record vocals to existing music&quot;. Not sure what the &quot;to existing music&quot; means. My Guess: You want to sing with some existing music as an accompaniment? Try recording yourself while listening to the &quot;accompaniment&quot; in headphones. Then you can put the two audio files together in whatever movie program you want, and save as one (not too hard, but if you need help with that, post another question). &#xD;&#xA;&#xD;&#xA;I might have got you wrong on that last point, but I hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="38074" PostHistoryTypeId="2" PostId="23027" RevisionGUID="2a79ed7c-485f-420f-9712-3fbe89c262d0" CreationDate="2012-07-03T16:22:18.673" UserDisplayName="jenny" Text="I have never recorded myself singing before.  I have sung a couple times in weddings and in churches, but now I'd like to start recording myself singing at home.&#xD;&#xA;&#xD;&#xA;I want to start simple and then get more complicated.  First, I'd just like to start singing to playbacks.&#xD;&#xA;&#xD;&#xA;What hardware/software do I need to record vocals to existing music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38075" PostHistoryTypeId="1" PostId="23027" RevisionGUID="2a79ed7c-485f-420f-9712-3fbe89c262d0" CreationDate="2012-07-03T16:22:18.673" UserDisplayName="jenny" Text="A few questions about beginning to record" ContentLicense="CC BY-SA 3.0" />
  <row Id="38076" PostHistoryTypeId="3" PostId="23027" RevisionGUID="2a79ed7c-485f-420f-9712-3fbe89c262d0" CreationDate="2012-07-03T16:22:18.673" UserDisplayName="jenny" Text="&lt;audio-recording&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38077" PostHistoryTypeId="36" PostId="23029" RevisionGUID="8ca41eb9-a055-4688-b6d8-78b82c16ddc4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4738/does-having-a-long-3-5mm-cable-degrade-audio-quality" />
  <row Id="38078" PostHistoryTypeId="36" PostId="23030" RevisionGUID="45805575-0edc-4ce8-afa5-c7bb67c5b28c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4738/does-having-a-long-3-5mm-cable-degrade-audio-quality/4740#4740" />
  <row Id="38079" PostHistoryTypeId="36" PostId="23031" RevisionGUID="47480d7d-6259-4799-bab1-2bc670e8e329" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4738/does-having-a-long-3-5mm-cable-degrade-audio-quality/4835#4835" />
  <row Id="38080" PostHistoryTypeId="2" PostId="23030" RevisionGUID="2f1055ad-c253-4c76-9c9a-6602a6352c8b" CreationDate="2012-09-17T01:54:47.487" UserId="7213" UserDisplayName="Jim Mack" Text="Like most things, it depends. There are several factors at play: the impedance of the source, the nature of the circuit (balanced vs unbalanced), the capacitance of the cable, etc.&#xD;&#xA;&#xD;&#xA;Ideally you want a low impedance source driving a low-capacitance, balanced circuit.&#xD;&#xA;&#xD;&#xA;The impedance of the source is a big factor. A low driving impedance will not be affected as much by higher capacitance (which increases with the length of the cable), so it preserves high frequencies better. &#xD;&#xA;&#xD;&#xA;An unbalanced circuit is susceptible to interference like buzz and hum, and the longer the cable the more likely it is to pick up such interference.&#xD;&#xA;&#xD;&#xA;A typical 3.5mm cable is unbalanced, so all things being equal it will not perform as well over a longer distance. How long? If there's a source  of interference nearby, even three feet may be too much.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38081" PostHistoryTypeId="2" PostId="23031" RevisionGUID="2b83dd06-0374-442b-8649-caf386600fa6" CreationDate="2012-09-24T22:23:45.420" UserDisplayName="Lukas Woltjer" Text="Jim did a nice job of getting to the gist of the problem.&#xD;&#xA;&#xD;&#xA;As far as recommendations, If you are recording to a computer I recommend a USB mic. It converts the analog signal to a digital signal right at the mic, so after that you don't have to worry about interference at all. If you need extra distance, you can buy a USB extension cable and use that without worries of degrading your signal. I've used a decent Samson usb mic. Not for super high-resolution recording, but for the basics, it really does the job well." ContentLicense="CC BY-SA 3.0" />
  <row Id="38082" PostHistoryTypeId="2" PostId="23029" RevisionGUID="ce1d03ff-d929-4660-a318-3d3978b3112d" CreationDate="2012-09-16T22:36:28.327" UserDisplayName="daviesgeek" Text="I've been looking into mics and I've heard that 3.5mm cables have problems with audio degradation over long distances. How long does the cable have to be before I start experiencing issues?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38083" PostHistoryTypeId="1" PostId="23029" RevisionGUID="ce1d03ff-d929-4660-a318-3d3978b3112d" CreationDate="2012-09-16T22:36:28.327" UserDisplayName="daviesgeek" Text="Does having a long 3.5mm cable degrade audio quality?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38084" PostHistoryTypeId="3" PostId="23029" RevisionGUID="ce1d03ff-d929-4660-a318-3d3978b3112d" CreationDate="2012-09-16T22:36:28.327" UserDisplayName="daviesgeek" Text="&lt;audio&gt;&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38085" PostHistoryTypeId="36" PostId="23032" RevisionGUID="dfb557af-69ce-4bdb-89b2-bf31d107d248" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8273/what-is-the-proper-way-to-reduce-audio-sample-rate-and-bit-depth" />
  <row Id="38086" PostHistoryTypeId="2" PostId="23033" RevisionGUID="a7d5fe3b-ca09-4496-804d-e9fa5ef44791" CreationDate="2013-07-01T17:59:21.970" UserDisplayName="Bjorn Roche" Text="Let's take these one at a time, in the correct order:&#xD;&#xA;&#xD;&#xA;1. You are starting with a lossless file. This is either PCM or lossless compressed (you didn't specify). If it is compressed, it must be converted to PCM (or uncompressed) to do anything meaningful. This is usually done automatically by any application that claims it can read the format, but you should be aware that it's taking place. Since further work is to be done on this audio, the samples should be converted to floating point format.&#xD;&#xA;&#xD;&#xA;2. Next comes the sample rate conversion. As you correctly said, SR conversion is complex. A naive approach to SR conversion will produce &quot;aliasing&quot; distortion. For example, taking every other sample from a 44100 Hz file will give you a 22050 file, but any material that can't be correctly represented at 22050 will, instead of being eliminated, be *incorrectly* represented. Depending on how much of it there was, the incorrect representation can sound extremely bad. The solution is to filter that stuff out first, so SR conversion consists of filtering, followed by resampling (although there is a trick that allows you to do both in one step, conceptually, it's two steps, in that order). Usually filtering is done automatically by sr conversion software, but you should be aware of it because this makes the biggest difference to quality. Don't skimp on filter quality if you care.&#xD;&#xA;&#xD;&#xA;3. Finally, you reduce the bit-depth. As with SR conversion, a naive approach to bit-depth reduction results in a kind of distortion, but this kind of distortion is generally considered less obnoxious. The solution to this distortion is to add &quot;dither&quot;, which is a small amount of noise. You must add the dither **before** the bit-depth reduction. Adding dither after the reduction will have no effect other than adding noise. For most software, dithering is an option (if it's available at all), and is not performed automatically. What dither you use, and even if you dither at all, is, to a large extent, a matter of preference and the source material. There are major mastering studios that don't bother dithering anymore, even though, mathematically speaking, it's the only way to eliminate the distortion.[1] As to triangular vs &quot;shaped&quot; dither[2], the rule of thumb is this: shaped dither is used for the last step, triangular dither is used for other steps. So, in your case, you should probably use a shaped dither. However, you might prefer standard triangular dither as your last step if a shaped dither has already been applied. You have to let your ears decide that one, but hopefully the difference will be so subtle that you won't really notice it anyway.&#xD;&#xA;&#xD;&#xA;[1] They don't bother because the distortion dither is designed to protect against is effectively eliminated simply because of the lack of dynamic range in the music they are producing. If the dynamic range of the music (modern pop has a dynamic range of about 6 to 10 dB) is very very small compared to the dynamic range of the medium (CDs have a dynamic range of about 96 dB), you don't really need dither.&#xD;&#xA;&#xD;&#xA;[2] the difference between the two is that a &quot;triangular&quot; dither is white noise. A &quot;shaped&quot; dither attempts be less audible by shifting the frequency of the noise out of our hearing range. This works remarkably well, but if you do it over and over again it might result in some high frequency build-up, especially if you are using a really aggressively shaped dither like POW-R." ContentLicense="CC BY-SA 3.0" />
  <row Id="38087" PostHistoryTypeId="2" PostId="23032" RevisionGUID="d0577738-c9ca-4fdb-aff5-7e7f662d07e5" CreationDate="2013-07-01T15:03:39.660" UserDisplayName="shadowox8" Text="When presented with a lossless audio file, what is the proper way to reduce sample rate and bit depth?&#xD;&#xA;&#xD;&#xA;When reducing bit depth, I understand that I should apply dither, but I don't know what [scale or method][1] to use. (Actually, I read that I should use either a &quot;triangular&quot; or &quot;shaping&quot; dither, but I still don't know which of those to use. Does it come down to personal preference?)&#xD;&#xA;&#xD;&#xA;When reducing sample rate, I have no idea if additional processing is required. (Evidently [sample rate is far more complicated than bit depth][2].) At the moment, my conversion process looks like this:&#xD;&#xA;&#xD;&#xA;    ffmpeg -i &lt;input.file&gt; -compression_level 12 [-ar 44100 -sample_fmt 16] &lt;output.flac&gt;&#xD;&#xA;&#xD;&#xA;I'd prefer general answers to application-specific ones, but I'll take what I can get. Thanks in advance!&#xD;&#xA;&#xD;&#xA;*I'm a consumer, not a producer. No further processing will be applied to these files.*&#xD;&#xA;&#xD;&#xA;**Edit 0:** Real world example: I have a 96/24 PCM (WAV) file. I want it to be 44.1/16.&#xD;&#xA;&#xD;&#xA;**Edit 1:** Further research yielded this fantastic [comparison of sample rate converters][3] (with graphs)!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ffmpeg.org/ffmpeg-resampler.html&#xD;&#xA;  [2]: http://www.head-fi.org/t/415361/24bit-vs-16bit-the-myth-exploded#post_5534086&#xD;&#xA;  [3]: http://src.infinitewave.ca/" ContentLicense="CC BY-SA 3.0" />
  <row Id="38088" PostHistoryTypeId="1" PostId="23032" RevisionGUID="d0577738-c9ca-4fdb-aff5-7e7f662d07e5" CreationDate="2013-07-01T15:03:39.660" UserDisplayName="shadowox8" Text="What is the proper way to reduce audio sample rate and bit depth?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38089" PostHistoryTypeId="3" PostId="23032" RevisionGUID="d0577738-c9ca-4fdb-aff5-7e7f662d07e5" CreationDate="2013-07-01T15:03:39.660" UserDisplayName="shadowox8" Text="&lt;audio&gt;&lt;conversion&gt;&lt;bit-depth&gt;&lt;sample-rate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38090" PostHistoryTypeId="36" PostId="23033" RevisionGUID="ea2121aa-8832-4bc4-a7ca-a2844a747864" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8273/what-is-the-proper-way-to-reduce-audio-sample-rate-and-bit-depth/8277#8277" />
  <row Id="38091" PostHistoryTypeId="36" PostId="23034" RevisionGUID="6639ea29-93a1-40a0-b080-90f310a988eb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5529/tool-for-converting-vyf-audio-file" />
  <row Id="38092" PostHistoryTypeId="36" PostId="23035" RevisionGUID="d8704a17-f5a7-45ff-a9c2-545822486ad9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5529/tool-for-converting-vyf-audio-file/5531#5531" />
  <row Id="38093" PostHistoryTypeId="36" PostId="23036" RevisionGUID="1ef72149-5c6b-4e24-aa01-50fce91133c5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5529/tool-for-converting-vyf-audio-file/9025#9025" />
  <row Id="38094" PostHistoryTypeId="2" PostId="23035" RevisionGUID="2687b39c-1fc9-4881-9d90-e3361451b53c" CreationDate="2012-12-08T21:25:22.823" UserId="6957" Text="Check out the [Samsung PC Studio](http://www.softpedia.com/get/Internet/Telephony-SMS-GSM/Samsung-PC-Studio.shtml) software.  I don't have a Samsung phone to check it out, but it seems like it's built to handle all the different file types created by the phone.&#xD;&#xA;&#xD;&#xA;An example:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/pp8sa.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="38095" PostHistoryTypeId="2" PostId="23036" RevisionGUID="78ec733d-5616-4924-a6f6-5af137a9106c" CreationDate="2013-09-22T04:19:00.323" UserId="20183" UserDisplayName="Vospi" Text="Googling unveils two more titles, Eufony and SoftE Audio Converter.&#xD;&#xA;http://www.fileinfo.com/extension/vyf" ContentLicense="CC BY-SA 3.0" />
  <row Id="38096" PostHistoryTypeId="2" PostId="23034" RevisionGUID="2e0f92b8-9528-4264-b4ae-66635a72b7ef" CreationDate="2012-12-08T17:21:24.417" UserDisplayName="Baky" Text="Is there any tool to convert .VYF audio file to .mp3 or any other audio file?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38097" PostHistoryTypeId="1" PostId="23034" RevisionGUID="2e0f92b8-9528-4264-b4ae-66635a72b7ef" CreationDate="2012-12-08T17:21:24.417" UserDisplayName="Baky" Text="Tool for converting .VYF audio file" ContentLicense="CC BY-SA 3.0" />
  <row Id="38098" PostHistoryTypeId="3" PostId="23034" RevisionGUID="2e0f92b8-9528-4264-b4ae-66635a72b7ef" CreationDate="2012-12-08T17:21:24.417" UserDisplayName="Baky" Text="&lt;audio&gt;&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38099" PostHistoryTypeId="36" PostId="23037" RevisionGUID="8d740443-344a-4d7a-b622-edd04d7df349" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5046/what-equipment-do-i-need-to-record-the-audio-from-my-piano-keyboard" />
  <row Id="38100" PostHistoryTypeId="36" PostId="23038" RevisionGUID="da97543f-7f90-4805-94ed-a513fc88d2bf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5046/what-equipment-do-i-need-to-record-the-audio-from-my-piano-keyboard/5112#5112" />
  <row Id="38101" PostHistoryTypeId="36" PostId="23039" RevisionGUID="deb80b98-952d-4d0f-9461-042a809eff79" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5046/what-equipment-do-i-need-to-record-the-audio-from-my-piano-keyboard/5129#5129" />
  <row Id="38102" PostHistoryTypeId="2" PostId="23038" RevisionGUID="26416984-47aa-4dd2-982a-3444b80b1b6e" CreationDate="2012-10-18T17:36:01.733" UserDisplayName="WLPhoenix" Text="As has been mentioned in comments, the set-up you need is dependent on your budget and your desired quality. If all you need is a mono piano track recorded, then a 1/4&quot; to 1/8&quot; converter will be perfectly acceptable. Since you mentioned you had access to GarageBand and Abelton, then this will even work to layer the tracks and cover all the parts you need.&#xD;&#xA;&#xD;&#xA;The point at which you actually need to step up past the converter is when you need to record stereo. Most keyboards have a left and right 1/4&quot; output, and the tones coming from these two jacks are slightly different. This difference can make a huge impact on the stereo image of the sound. To capture this, you'll need an audio interface with at least two 1/4&quot; inputs, or one with two XLR inputs and a pair of Direct Boxes." ContentLicense="CC BY-SA 3.0" />
  <row Id="38103" PostHistoryTypeId="2" PostId="23039" RevisionGUID="13a833a6-31a4-4d93-a8cc-49d7580199ea" CreationDate="2012-10-20T12:57:07.950" UserId="7200" UserDisplayName="leftaroundabout" Text="There seem to be quite different models of the Privia; the one I know doesn't actually have a real line out but a stereo headphones output. Now, this is normally not optimal for recording in a complex studio setup, but can work surprisingly well with computers' stereo line-in's. Apple is really quite decent in that regard, so you might in fact get absolutely acceptable results with a simple direct connection as already suggested. Try that first, as it's virtually for free!&#xD;&#xA;&#xD;&#xA;That said, while this one Privia did sound quite nice on first sight, I wasn't happy at all with it on recordings. It somehow lacks depth. The virtual Piano that I use most now is the Tascam CVPiano (in MW mode), which is in fact free but can sound really nice; definitely better than this Privia's internal piano sound. You might have a newer and better model, but still I recommend you give the CVPiano a try and compare the sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="38104" PostHistoryTypeId="2" PostId="23037" RevisionGUID="78961f32-0a60-4d23-a132-2345fddc018f" CreationDate="2012-10-16T17:09:16.520" UserDisplayName="Robert V" Text="I've been wanting to use acoustic piano in my songs, but the MIDI sounds available in my recording programs (Garageband, Ableton LIVE) don't cut it. Good ones like Pianoteq cost upwards of $300. &#xD;&#xA;&#xD;&#xA;I know my Casio Privia has a real nice piano sound, and it has a 1/4&quot; line out port, but how do I get that into my Macbook Pro? &#xD;&#xA;&#xD;&#xA;Do I need an audio interface? Can I get one that goes to USB? Can I simply use one cable? I know my laptop has a line in as well; but it's 1/8&quot; : will a converter/adapter suffice?&#xD;&#xA;&#xD;&#xA;I'd like to use as little equipment as possible as I'm on a tight budget. My recording setup is minimal anyway: it's only the keyboard really plus occasionally a mic that goes straight to USB.&#xD;&#xA;&#xD;&#xA;I know this is probably a really basic thing but I can't find any straight answers anywhere. Help is much appreciated!" ContentLicense="CC BY-SA 3.0" />
  <row Id="38105" PostHistoryTypeId="1" PostId="23037" RevisionGUID="78961f32-0a60-4d23-a132-2345fddc018f" CreationDate="2012-10-16T17:09:16.520" UserDisplayName="Robert V" Text="What equipment do I need to record the audio from my piano keyboard?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38106" PostHistoryTypeId="3" PostId="23037" RevisionGUID="78961f32-0a60-4d23-a132-2345fddc018f" CreationDate="2012-10-16T17:09:16.520" UserDisplayName="Robert V" Text="&lt;audio-recording&gt;&lt;keyboard&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38107" PostHistoryTypeId="36" PostId="23040" RevisionGUID="5d6a28b6-907c-4e6e-8d55-0a1b0da9760e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5659/isolate-voice-and-reduce-ambient-sounds" />
  <row Id="38108" PostHistoryTypeId="36" PostId="23041" RevisionGUID="15f7418b-1279-445e-9ac9-544c1a1b1cc6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5659/isolate-voice-and-reduce-ambient-sounds/5661#5661" />
  <row Id="38109" PostHistoryTypeId="2" PostId="23041" RevisionGUID="9e2248c4-7e6b-4a00-a86d-de9c66425dd6" CreationDate="2012-12-24T01:57:42.913" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="You will need a portable sound-booth, a good pop-filter and record very close to the mic.&#xD;&#xA;&#xD;&#xA;Commerical portable sound-booth:  &#xD;&#xA;http://www.editorskeys.com/us/portable-vocal-booth-incl-free-mic-stand/&#xD;&#xA;&#xD;&#xA;There are a bunch of DIY sound-booths you can build yourself at a low price:  &#xD;&#xA;https://startpage.com/do/search?q=diy+portable+sound-booth&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38110" PostHistoryTypeId="2" PostId="23040" RevisionGUID="78584cc9-579a-4eaa-b8f6-8aac83ee3cfb" CreationDate="2012-12-23T20:13:41.707" UserDisplayName="EasilyBaffled" Text="I am trying to record voice anywhere. That is why I need a way to isolate the voice and reduce ambient sounds such as cars or trains. Ideally I want to do this with an iPhone, which does not have a high quality microphone. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38111" PostHistoryTypeId="1" PostId="23040" RevisionGUID="78584cc9-579a-4eaa-b8f6-8aac83ee3cfb" CreationDate="2012-12-23T20:13:41.707" UserDisplayName="EasilyBaffled" Text="Isolate Voice and Reduce Ambient Sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="38112" PostHistoryTypeId="3" PostId="23040" RevisionGUID="78584cc9-579a-4eaa-b8f6-8aac83ee3cfb" CreationDate="2012-12-23T20:13:41.707" UserDisplayName="EasilyBaffled" Text="&lt;audio&gt;&lt;midi&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38113" PostHistoryTypeId="36" PostId="23042" RevisionGUID="35f9dee2-54bd-43f8-a435-821cd0f3a861" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3439/setting-up-side-chain-compression-in-sonar" />
  <row Id="38114" PostHistoryTypeId="36" PostId="23043" RevisionGUID="b83d6e81-8d3b-4d12-bfb6-6cff1b5e6c37" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3439/setting-up-side-chain-compression-in-sonar/3440#3440" />
  <row Id="38115" PostHistoryTypeId="2" PostId="23043" RevisionGUID="50cfdacb-6d04-47f1-b380-81eea94e3203" CreationDate="2012-03-02T13:39:12.250" UserId="7210" UserDisplayName="Friend of Kim" Text="I haven't used Sonar, but the way you do it in real life and on the computer is the same. When you sidechain a compressor you tell it to compress based on the input from the sidechain. So you would put a compressor on the music track and sidechain that to the voiceover track.&#xD;&#xA;&#xD;&#xA;Don't use too fast attack or too slow release. If you do it'll sound unnatural.&#xD;&#xA;&#xD;&#xA;Normally you just choose to side chain and choose the track you want to side chain. If you have any further questions, just add a comment." ContentLicense="CC BY-SA 3.0" />
  <row Id="38116" PostHistoryTypeId="2" PostId="23044" RevisionGUID="b6b8c757-68fd-4634-af10-9dbf9a1023ca" CreationDate="2012-03-02T14:38:10.500" UserId="7430" UserDisplayName="Mr Shunz" Text="I don't use Sonar, but it might be that the sidechain `input` appears as a `send`/`output` on the tracks/mixes?&#xD;&#xA;&#xD;&#xA;[This page][1] seems to confirm that:&#xD;&#xA;&#xD;&#xA;    When a plug-in that has a sidechain input is added to a project,&#xD;&#xA;    that input is exposed to all of the other tracks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cakewalk.com/support/kb/reader.aspx/2007013049" ContentLicense="CC BY-SA 3.0" />
  <row Id="38117" PostHistoryTypeId="2" PostId="23042" RevisionGUID="4f9f0d0f-3b2e-4f3e-994b-e813b88e16e0" CreationDate="2012-03-02T13:17:56.480" UserId="19700" UserDisplayName="Pieter" Text="I want to configure side-chain compression in Sonar LE, but I don't know how to do it. I have two tracks: a voiceover and music. I want the music to duck while the voiceover is talking. I can configure the following effect separately for both tracks:&#xD;&#xA;&#xD;&#xA;![Sonar's compressor](http://i.imgur.com/UfwPA.jpg)&#xD;&#xA;&#xD;&#xA;The side chain setting is just a toggle button. I expected I'd be able to choose which external input should be used to determine when to duck. I find this counter-intuitive, but then again I could be misunderstanding the way the effect works.&#xD;&#xA;&#xD;&#xA;How do I go about setting up side-chaining here? I just realized the expander is on by default, but I know I have to set it to `1.0:1` to achieve the effect I want." ContentLicense="CC BY-SA 3.0" />
  <row Id="38118" PostHistoryTypeId="1" PostId="23042" RevisionGUID="4f9f0d0f-3b2e-4f3e-994b-e813b88e16e0" CreationDate="2012-03-02T13:17:56.480" UserId="19700" UserDisplayName="Pieter" Text="Setting up side-chain compression in Sonar" ContentLicense="CC BY-SA 3.0" />
  <row Id="38119" PostHistoryTypeId="3" PostId="23042" RevisionGUID="4f9f0d0f-3b2e-4f3e-994b-e813b88e16e0" CreationDate="2012-03-02T13:17:56.480" UserId="19700" UserDisplayName="Pieter" Text="&lt;audio&gt;&lt;effects&gt;&lt;daw&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38120" PostHistoryTypeId="36" PostId="23044" RevisionGUID="7f3f3de3-2fbb-4135-b194-a1eca824e673" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3439/setting-up-side-chain-compression-in-sonar/3441#3441" />
  <row Id="38121" PostHistoryTypeId="36" PostId="23045" RevisionGUID="0c673994-4774-44c3-8f42-7af1d0963e59" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/295/miking-a-grand-piano" />
  <row Id="38122" PostHistoryTypeId="36" PostId="23046" RevisionGUID="6bfe0040-8e0a-41db-8b58-76847d2c1ec0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/295/miking-a-grand-piano/299#299" />
  <row Id="38123" PostHistoryTypeId="36" PostId="23047" RevisionGUID="c9b35b31-3f71-44f6-820c-4a8bf505b78b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/295/miking-a-grand-piano/303#303" />
  <row Id="38124" PostHistoryTypeId="36" PostId="23048" RevisionGUID="2296221b-d992-40a5-a7b8-9cc7a2b54c09" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/295/miking-a-grand-piano/318#318" />
  <row Id="38125" PostHistoryTypeId="36" PostId="23049" RevisionGUID="e09b1af5-f270-4402-9ec3-f61e3563189b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/295/miking-a-grand-piano/349#349" />
  <row Id="38126" PostHistoryTypeId="36" PostId="23050" RevisionGUID="f7963cbb-a36b-409b-a547-8ce9cfad6470" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/295/miking-a-grand-piano/667#667" />
  <row Id="38127" PostHistoryTypeId="2" PostId="23046" RevisionGUID="e2b96f40-158d-499f-9a11-b8f26f671e45" CreationDate="2010-12-15T19:17:28.767" UserDisplayName="Nic" Text="Back when I had access to a grand and was experimenting recording it, i ran into the same situation - one condenser, and one cardioid, both not of remarkable quality. I got the best sound (although not perfect) by placing the condenser 3 feet above the strings on an open piano, above middle C, pointed at the strings. I placed the 57 underneath, but had to spend a lot of time positioning it to get a good mix. Either way, a pair of condensers would be ideal in this situation, but sometimes you just have to work with what you have. " ContentLicense="CC BY-SA 2.5" />
  <row Id="38128" PostHistoryTypeId="2" PostId="23047" RevisionGUID="5aef2866-ddd3-43ed-9fe5-adf25e40346f" CreationDate="2010-12-15T19:42:33.230" UserId="7592" UserDisplayName="Pelle ten Cate" Text="I never made a decent recording of a grand with a dynamic mic. If you don't care about stereo, I would get rid of the 57, and just position the NT1 at the good spot. Depending of the kind of music, I'd put it just inside the piano - on the edge with the lid open - with pop or jazz music, (when in a reverberant room, open the lid just a slight bit and get the mic. inside the grand, facing the strings from above. Check the balance between the high notes and the low notes, and adjust where necessary.) &#xD;&#xA;&#xD;&#xA;When recording classical music, open the lid wide (45˚) and place the microphone at a distance of 25cm removed from the grand, facing the strings." ContentLicense="CC BY-SA 2.5" />
  <row Id="38129" PostHistoryTypeId="2" PostId="23048" RevisionGUID="0eea3d7b-5521-4b59-b656-91c1c58375cb" CreationDate="2010-12-16T02:24:21.113" UserDisplayName="Locoy242" Text="On top of all the suggestions, you have to move the mics around to know! Every piano and room is different..." ContentLicense="CC BY-SA 2.5" />
  <row Id="38130" PostHistoryTypeId="2" PostId="23049" RevisionGUID="9d643b44-a3a3-46a2-8c7d-edd5d06a119b" CreationDate="2010-12-17T15:24:14.007" UserDisplayName="divided" Text="Here are some great answers from the Piano Miking Summit:&#xD;&#xA;&#xD;&#xA;[http://www.sweetwater.com/sweetcare/summits/piano-miking.php][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/sweetcare/summits/piano-miking.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="38131" PostHistoryTypeId="2" PostId="23050" RevisionGUID="7d7077e5-b2db-4cae-b7ac-e92a38466914" CreationDate="2011-01-22T22:31:07.230" UserDisplayName="jlebre" Text="&#xD;&#xA;&#xD;&#xA;If you have a pair of headphones move around the microphone (or if you have an assistant make him move the microphone whilst you instruct him over the headphones) in and outwards from the piano lid and across the board. &#xD;&#xA;This because some of the biggest difficulty that I found with relatively poorly maintained grands was the fel sticking to the strings and producing this washed pschhhhooooom sound (no, not the pedal thump). &#xD;&#xA;&#xD;&#xA;Once you are happy with the room-direct sound relationship and the amount of attack (moving closer to the strings), have the pianist run up and down the keyboard so you can hear the balance between the higher and lower strings and to see if you don't have a dip in the middle (shouldn't happen with one microphone but hell happened to me a couple of times with stereo techniques." ContentLicense="CC BY-SA 2.5" />
  <row Id="38132" PostHistoryTypeId="2" PostId="23045" RevisionGUID="2fbf487d-e248-462b-ab4d-0271dba76da4" CreationDate="2010-12-15T18:26:00.770" UserDisplayName="gwc" Text="I have a SM57 and RHODES NT1 microphone and I was wondering what the best way to mike a grand piano was.  I tried opening the grand piano and pointing the SM57 at the strings and then placing the RHODES further back in the middle of the room.  Is there a better way to arrange the microphones?" ContentLicense="CC BY-SA 2.5" />
  <row Id="38133" PostHistoryTypeId="1" PostId="23045" RevisionGUID="2fbf487d-e248-462b-ab4d-0271dba76da4" CreationDate="2010-12-15T18:26:00.770" UserDisplayName="gwc" Text="Miking a grand piano" ContentLicense="CC BY-SA 2.5" />
  <row Id="38134" PostHistoryTypeId="3" PostId="23045" RevisionGUID="2fbf487d-e248-462b-ab4d-0271dba76da4" CreationDate="2010-12-15T18:26:00.770" UserDisplayName="gwc" Text="&lt;audio-recording&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38135" PostHistoryTypeId="36" PostId="23051" RevisionGUID="c81f096f-6df6-4ad4-9424-a92f134b8ff7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9453/software-to-emulate-audio-devices-that-can-mux-input-and-split-output" />
  <row Id="38136" PostHistoryTypeId="36" PostId="23052" RevisionGUID="c4930eb6-ff52-4942-9800-629d7b588a17" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9453/software-to-emulate-audio-devices-that-can-mux-input-and-split-output/9463#9463" />
  <row Id="38137" PostHistoryTypeId="2" PostId="23052" RevisionGUID="592e5b5f-5988-4b30-ba21-5553bbe9fcdb" CreationDate="2013-11-21T18:24:57.413" UserId="7174" Text="It sounds like you are trying to setup a simple recording setup where each headset acts as a mic and the recording can be monitored by wearing the headset.  As long as your DAW software can support recording from the inputs, it should be possible to simply configure the output to go to both audio outputs (each headset shows up as it's own interface to the computer).&#xD;&#xA;&#xD;&#xA;The more professional way that this is generally done is to have a professional audio interface that supports two inputs and an output.  You can use a headphone distribution amplifier to send the feed to both people's headphones and you can then mic them with a suitable professional quality microphone instead of a cheap, consumer quality USB headset mic which is really designed for lo-fi audio for chatting rather than being designed for recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="38138" PostHistoryTypeId="2" PostId="23051" RevisionGUID="cef2ef77-5053-4996-a4d0-8e3a34a2ad55" CreationDate="2013-11-20T01:05:41.817" UserDisplayName="Saka0" Text="The problem I have is that I'm using Windows 7. and I need to be able to output audio from a PC to 2 devices simultaneously and have the inputs of both devices be valid recording devices.&#xD;&#xA;&#xD;&#xA;However, I am using usb headsets (digital) so I can't use audio sound card channels.&#xD;&#xA;&#xD;&#xA;I'm not sure but, if there some kind of software that can act as a virtual cable that can then output to multiple devices as well as receive from multiple inputs, that would be perfect.&#xD;&#xA;Or anything that can manipulate audio streams really.&#xD;&#xA;&#xD;&#xA;What Ive looked into so far that ***I*** couldn't get to work:&#xD;&#xA;&#xD;&#xA;Audicity (couldn't manage to output to 2 devices)&#xD;&#xA;&#xD;&#xA;Virtual Audio Cable&#xD;&#xA;&#xD;&#xA;VB Audio Cable (can't really use this anyway because of the licensing)&#xD;&#xA;&#xD;&#xA;VB ASIO Bridge&#xD;&#xA;&#xD;&#xA;USB Y-splitters (couldn't find any)&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;Thanks&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38139" PostHistoryTypeId="1" PostId="23051" RevisionGUID="cef2ef77-5053-4996-a4d0-8e3a34a2ad55" CreationDate="2013-11-20T01:05:41.817" UserDisplayName="Saka0" Text="Software to emulate audio devices that can mux input and split output" ContentLicense="CC BY-SA 3.0" />
  <row Id="38140" PostHistoryTypeId="3" PostId="23051" RevisionGUID="cef2ef77-5053-4996-a4d0-8e3a34a2ad55" CreationDate="2013-11-20T01:05:41.817" UserDisplayName="Saka0" Text="&lt;audio&gt;&lt;windows&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38141" PostHistoryTypeId="36" PostId="23053" RevisionGUID="9abba3ad-f360-4f2f-8f39-274884928a5b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2113/getting-the-kick-drum-to-really-come-out-in-the-mix" />
  <row Id="38142" PostHistoryTypeId="36" PostId="23054" RevisionGUID="80d6b91b-0b19-42ed-93fe-02e07caeba61" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2113/getting-the-kick-drum-to-really-come-out-in-the-mix/2119#2119" />
  <row Id="38143" PostHistoryTypeId="36" PostId="23055" RevisionGUID="cf649259-1c14-4013-a84b-0fdf4b38f08b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2113/getting-the-kick-drum-to-really-come-out-in-the-mix/2122#2122" />
  <row Id="38144" PostHistoryTypeId="36" PostId="23056" RevisionGUID="1f04d70d-3f04-403b-89f2-57b6278665ea" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2113/getting-the-kick-drum-to-really-come-out-in-the-mix/7730#7730" />
  <row Id="38145" PostHistoryTypeId="2" PostId="23054" RevisionGUID="aaaef8f0-9058-4820-8c3a-159df0af7a98" CreationDate="2011-08-14T20:25:38.137" UserDisplayName="bobsbarricades" Text="Well, there area lot of things that can affect this.  #1 is what you're listening to your mixes on.  I wouldn't say it matters, so long as the &quot;what&quot; is not just one thing.  &#xD;&#xA;&#xD;&#xA;On ALL testing speakers, you want to use something as a reference.  Some professional recording that you think does a good job of accomplishing what you want, and then your tracks.&#xD;&#xA;&#xD;&#xA;On the technical side there are two parts to this question. The first is how much 'woof' of the kick you want to stand out and the second is how much of the 'click' you want to stand out.&#xD;&#xA;&#xD;&#xA;Example of a lot of 'click' - SLipknot &quot;[the blister exists][1]&quot;&#xD;&#xA;&#xD;&#xA;Example of a lot of 'woof' - Dimmu Borgir &quot;[Progenies of the Great Apocolypse][2]&quot;&#xD;&#xA;&#xD;&#xA;Poor quality but I think you can see the difference of what I'm talking about.  Personally I like a mix of the two ala Meshuggah's track &quot;[bleed][3]&quot;  &#xD;&#xA;&#xD;&#xA;Apologies for all the links w/o anything useful BUT!  I don't know too much about where you're coming from so I'm covering bases.  Maybe you could post a sort clip so we can hear what you've got and you tell us where you want to go?&#xD;&#xA;&#xD;&#xA;Things to try:&#xD;&#xA;-if recording live kit, try to add a sampled kick to the mix and see how that sits in the mix  Pick one that sounds DIFFERENT than what you've already got so when you mix them together it sounds like 1 NEW kik. (also works when using two sampled kick sounds).&#xD;&#xA;&#xD;&#xA;-I will almost always put a lo-cut filter on my kick tracks (all tracks...) between 30hz and 60hz.  Depends on how it sits in the mix and what I need.  Using this on all your tracks keeps the low end cleaner and gives you a lot more headroom on your master out.&#xD;&#xA;&#xD;&#xA;-I'm always surprised how much the bass guitar can add to the effect of a good kick sound&#xD;&#xA;&#xD;&#xA;-check the EQ's and make sure the frequencies of your kick aren't being too heavily copied in your guitars.  Logic's Match EQ is great for this as you can analyze your kick and then throw the matched EQ on an offending track and take those frequencies out.  Can have terrible results also. =)&#xD;&#xA;&#xD;&#xA;Others probably know a lot more than me. I hope something helps =) &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=ok9VYc7DUj8&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=6ilGCduAAWs&#xD;&#xA;  [3]: http://www.youtube.com/watch?v=GkZDo5UZpfQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="38146" PostHistoryTypeId="2" PostId="23055" RevisionGUID="c84feada-674a-4920-856f-db8316d605df" CreationDate="2011-08-15T01:06:17.060" UserId="7200" UserDisplayName="leftaroundabout" Text="Obviously, you need to find the correct frequencies – what gives definition to the kick is actually something like 6000 Hz rather than the bass frequencies. But the most important thing is, trivially, that the kick is simply _loud_ enough. It is the only instrument you should allow to reach 0 dB. Don't try to get your _mix_ loud by giving too much power to the guitars (overall loudness will be achieved in mastering, and there you need the kick to really stand out so that it can actually push the mastering effects). Compression on the drums themselves – if used at all – should not remove too much of the transients, rather drive something into saturation if necessary." ContentLicense="CC BY-SA 3.0" />
  <row Id="38147" PostHistoryTypeId="2" PostId="23056" RevisionGUID="ff0462f8-a620-411a-9421-63100a3f57d6" CreationDate="2013-04-24T01:50:06.800" UserDisplayName="Manuel" Text="Dont be afraid using compressors on channels or busses triggered by the kick.. Maybe half db compression just when the bass drum kick helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="38148" PostHistoryTypeId="2" PostId="23053" RevisionGUID="00edec5f-1a27-4abc-947d-24c34ec7c90f" CreationDate="2011-08-13T23:36:57.283" UserDisplayName="Jasper James" Text="When I get done with a mix, no matter how much I work on the bass drum it barely comes out.  I'm mainly working with metal bands, so I was wondering if anyone could give me pointers/ suggestions/ answers on how to make the kick stand out in the mix.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38149" PostHistoryTypeId="1" PostId="23053" RevisionGUID="00edec5f-1a27-4abc-947d-24c34ec7c90f" CreationDate="2011-08-13T23:36:57.283" UserDisplayName="Jasper James" Text="Getting the kick drum to really come out in the mix?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38150" PostHistoryTypeId="3" PostId="23053" RevisionGUID="00edec5f-1a27-4abc-947d-24c34ec7c90f" CreationDate="2011-08-13T23:36:57.283" UserDisplayName="Jasper James" Text="&lt;audio-recording&gt;&lt;mixing&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38151" PostHistoryTypeId="36" PostId="23057" RevisionGUID="f3c8a3cd-d1ec-4c77-8878-a15e7d11d579" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3826/powering-a-di-box" />
  <row Id="38152" PostHistoryTypeId="2" PostId="23058" RevisionGUID="a5aff3b4-7f36-4564-b9d0-ae8a57768ac6" CreationDate="2012-04-26T01:46:31.063" UserId="12830" UserDisplayName="dwwilson66" Text="I would use the sound desk. It's always on &amp; you won't need to swap it out every couple weeks. Hopefully... :) &#xD;&#xA;&#xD;&#xA;Drawbacks? You may need to use a ground lift on your keyboard if there's hum. For a relatively stationary system like a church...no need to fiddle with batteries." ContentLicense="CC BY-SA 3.0" />
  <row Id="38153" PostHistoryTypeId="2" PostId="23057" RevisionGUID="4e72162b-0799-4176-84d9-d4b671c0c3dd" CreationDate="2012-04-25T21:59:12.453" UserDisplayName="Greg" Text="We have just installed a new sound system at my church. As part of this we are using a DI box to connect in a keyboard. The DI box needs power either from Phantom Power or a 9V battery. Our sound desk is capable of doing 48v Phantom power. Is there any advantage of using one or the other?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38154" PostHistoryTypeId="1" PostId="23057" RevisionGUID="4e72162b-0799-4176-84d9-d4b671c0c3dd" CreationDate="2012-04-25T21:59:12.453" UserDisplayName="Greg" Text="Powering a DI box" ContentLicense="CC BY-SA 3.0" />
  <row Id="38155" PostHistoryTypeId="3" PostId="23057" RevisionGUID="4e72162b-0799-4176-84d9-d4b671c0c3dd" CreationDate="2012-04-25T21:59:12.453" UserDisplayName="Greg" Text="&lt;audio&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38156" PostHistoryTypeId="36" PostId="23058" RevisionGUID="134498ba-0ecd-44cf-b75b-9dac80ff1f13" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3826/powering-a-di-box/3827#3827" />
  <row Id="38157" PostHistoryTypeId="36" PostId="23059" RevisionGUID="75dfe07d-ed0f-4554-878f-d4a100671ba9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5214/where-to-find-free-music" />
  <row Id="38158" PostHistoryTypeId="36" PostId="23060" RevisionGUID="b30739c4-d33c-40a5-bdd5-1fea4f84fdc2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5214/where-to-find-free-music/5216#5216" />
  <row Id="38159" PostHistoryTypeId="2" PostId="23060" RevisionGUID="5b24e0b8-1c8a-4d0c-a604-7085f25a116f" CreationDate="2012-10-31T21:57:33.877" UserDisplayName="Chris James Champeau" Text="I am not sure where to find this or how to make fully certain it is public domain, but all music after 70 years should be public domain, or should be somewhat cheap considering that the copyrights on them have expired" ContentLicense="CC BY-SA 3.0" />
  <row Id="38160" PostHistoryTypeId="2" PostId="23061" RevisionGUID="881dca74-780e-4774-a19a-1a589b56000c" CreationDate="2012-11-01T09:11:54.143" UserId="19024" UserDisplayName="Iain Dawson" Text="[Jamendo](http://www.jamendo.com) has a whole bunch of [cc by licensed music](http://www.jamendo.com/en/search#qs=fq=license_cc:(-sa%20AND%20-nd%20AND%20-nc)&amp;q=*:*)." ContentLicense="CC BY-SA 3.0" />
  <row Id="38161" PostHistoryTypeId="2" PostId="23059" RevisionGUID="6a1f1459-8068-42e4-aad3-c2804bc1a209" CreationDate="2012-10-31T16:08:51.510" UserDisplayName="Sean W." Text="I need to put together an documentary/informational video. It's being submitted for a competition, so I don't know if I can use CC-SA or CC-NC-SA works like Magnatune. Where can I find CC-BY licenced or equalivent music suitable for use in video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38162" PostHistoryTypeId="1" PostId="23059" RevisionGUID="6a1f1459-8068-42e4-aad3-c2804bc1a209" CreationDate="2012-10-31T16:08:51.510" UserDisplayName="Sean W." Text="Where to find free music" ContentLicense="CC BY-SA 3.0" />
  <row Id="38163" PostHistoryTypeId="3" PostId="23059" RevisionGUID="6a1f1459-8068-42e4-aad3-c2804bc1a209" CreationDate="2012-10-31T16:08:51.510" UserDisplayName="Sean W." Text="&lt;audio&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38164" PostHistoryTypeId="36" PostId="23061" RevisionGUID="1c5b083c-569e-4df2-9c21-848b0e38f887" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5214/where-to-find-free-music/5219#5219" />
  <row Id="38165" PostHistoryTypeId="36" PostId="23062" RevisionGUID="d7236fed-7125-4b45-a4cf-693b9eb825b0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4168/not-enough-patches-in-my-stage-piano" />
  <row Id="38166" PostHistoryTypeId="36" PostId="23063" RevisionGUID="b03f0efc-308c-439e-9213-9897a5b97332" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4168/not-enough-patches-in-my-stage-piano/4169#4169" />
  <row Id="38167" PostHistoryTypeId="2" PostId="23063" RevisionGUID="e7566cac-d6c2-4304-9abe-045011af6ba4" CreationDate="2012-06-12T03:04:06.427" UserId="7231" UserDisplayName="NReilingh" Text="The last time I was involved with a similar situation (the show was Disney's Aida--3 keyboard parts), we rigged all three keyboards on different MIDI interfaces to one laptop running Reason, and then had some custom software that one of the keyboardists used to change all 3 keyboards' channel assignments in sequence (each channel in each Reason bus was routed to a different synth/patch). That was the best cost/benefit ratio in -our- situation, but I think you could accomplish something a little less spartan and a lot easier:&#xD;&#xA;&#xD;&#xA;Run both the Mac and the P155 into a small stage mixer, which will then feed your amp/speaker setup (this is quite common for keyboardists). When you are using one of the built-in keyboard patches, mute the Mac's mixer channel, and when you are playing something synthesized by the Mac, mute the keyboard's mixer channel.&#xD;&#xA;&#xD;&#xA;The simplest way to use GarageBand for this would be to set up all of your different synths in different software instrument tracks, set it up to take input from your MIDI interface to whatever the selected track is, and then just use the up/down arrow keys to essentially patch the MIDI through to your desired synth (by selecting a different active track).&#xD;&#xA;&#xD;&#xA;Other pieces of software will probably have different methods of patching, so just make sure you have a good reliable plan in place. Some people would even use a foot switch to change channel assignments or patch routing.&#xD;&#xA;&#xD;&#xA;So to sum up, this kind of setup is in fact quite common. You might have fewer pieces of equipment if you found an appropriate synth workstation, but then you'd have to figure out how to use _that_, which could be quite a bit more complicated than the GarageBand that you're already used to." ContentLicense="CC BY-SA 3.0" />
  <row Id="38168" PostHistoryTypeId="2" PostId="23062" RevisionGUID="0f934829-f6bb-4f78-b05a-c3a206ce526b" CreationDate="2012-06-11T22:14:35.830" UserDisplayName="jon" Text="I'm playing Synths for a production of Beauty and the Beast. &#xD;&#xA;&#xD;&#xA;The Yamaha P155 Stage piano I have is great to play, but is missing many of the required patches.&#xD;&#xA;&#xD;&#xA;I have a midi cable, mac running garageband and an amp/speaker setup.&#xD;&#xA;&#xD;&#xA;Is there an easy way to sort things out, or should I get hold of a synth rather than a stage piano?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38169" PostHistoryTypeId="1" PostId="23062" RevisionGUID="0f934829-f6bb-4f78-b05a-c3a206ce526b" CreationDate="2012-06-11T22:14:35.830" UserDisplayName="jon" Text="Not enough patches in my stage piano" ContentLicense="CC BY-SA 3.0" />
  <row Id="38170" PostHistoryTypeId="3" PostId="23062" RevisionGUID="0f934829-f6bb-4f78-b05a-c3a206ce526b" CreationDate="2012-06-11T22:14:35.830" UserDisplayName="jon" Text="&lt;audio&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38177" PostHistoryTypeId="36" PostId="23066" RevisionGUID="31dcba70-67ff-492d-9af2-ccf8289a7249" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3465/generating-massive-sounding-duplicated-noises" />
  <row Id="38178" PostHistoryTypeId="36" PostId="23067" RevisionGUID="24ac84bf-904d-4eb3-a953-a836ff6f13b3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3465/generating-massive-sounding-duplicated-noises/3466#3466" />
  <row Id="38179" PostHistoryTypeId="36" PostId="23068" RevisionGUID="770bd300-6da2-426c-bc6f-5d397696772b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3465/generating-massive-sounding-duplicated-noises/3468#3468" />
  <row Id="38180" PostHistoryTypeId="2" PostId="23067" RevisionGUID="760d4d2e-910d-48f9-ae05-6ceb46129c54" CreationDate="2012-03-05T21:57:13.847" UserId="9511" UserDisplayName="Johnny Bigoode" Text="You can't create this effect, at least I was unable to do so. &#xD;&#xA;&#xD;&#xA;I tried in the past creating street carvanal drums sounds (they're similar to a marching band) but it's kinda useless to use the same sound sample, since it gives a flanger effect. &#xD;&#xA;&#xD;&#xA;If the sounds are higher pitched (like claps) it would probably have some frequency cancellation that would render the result rather useless. &#xD;&#xA;&#xD;&#xA;For vocals this is even harder, since different people have different voices and that's the magic about choirs. &#xD;&#xA;&#xD;&#xA;The small differences in velocity, pitch and time will create the effect that you're looking for, but still it's very problematic. &#xD;&#xA;&#xD;&#xA;So what's the best solution? Well... depends. A LOT. &#xD;&#xA;For all cases [Antares Vocal Kit][1] can help, specially if you want 2 or 3 voicings. There's a CHOIR and DUO plug in that works even with melodic instruments, but it sucks with percussion.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For drums you can try piling samples. This works even for claps and snares, not a good idea for kick drums thou. &#xD;&#xA;&#xD;&#xA;To be honest, there's something I learnt with time - it's usually better to have a good sample than trying to fix it. It would be better to search for what you're looking with the massive instruments. There are tons of open source sampling sites that you may get some samples, you can try finding someone (specially on reddit) that would be interested in doing this recording. &#xD;&#xA;&#xD;&#xA;If you need a choir or a group of people singing, your friends might help and even craiglist could help for some money. &#xD;&#xA;&#xD;&#xA;BTW, I haven't heard the song, so I'm not 100% of what you're asking, but I guess this is it. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.antarestech.com/products/avox.shtml" ContentLicense="CC BY-SA 3.0" />
  <row Id="38181" PostHistoryTypeId="2" PostId="23068" RevisionGUID="f3b7c472-47b2-475b-aa2b-3b31fb17131a" CreationDate="2012-03-05T22:32:41.830" UserId="7200" UserDisplayName="leftaroundabout" Text="The important thing about such sounds is that the sources aren't coherent, neither the deviations in rythm and frequency nor the actual audio phases and amplitudes follow any predictable relationships. That's unlike the extra signals normal chorus/delay/phaser effects add, where the modulation is usually at best periodic and the relation very simple, only varied in one of these parameters. What's needed is a randomized-modulation effect which applies time-varyingly _all_ of delay, smooth eq and all-pass filtering to the extra signals. Furthermore, each of these should have a randomized signal level, and the signals should only be mixed after each of them has had all the modifications applied to it, so simply chaining multiple chorus and phaser plugins won't quite work. I don't know any plugin that offers this functionality, perhaps I should write one...&#xD;&#xA;&#xD;&#xA;Of course, you should still use multiple seperate takes, and rather than running &quot;all of them&quot; through the FX you should run _each_ of them through a seperate instance thereof, each with slightly different parameters." ContentLicense="CC BY-SA 3.0" />
  <row Id="38182" PostHistoryTypeId="2" PostId="23066" RevisionGUID="af95f6ef-813b-4c73-b046-4de541af3089" CreationDate="2012-03-05T21:41:42.597" UserDisplayName="Naftuli Tzvi Kay" Text="I'm using SONAR 5 Producer (I know, it's old.) to record/mix/master my recording. What I'm looking to do is with certain sounds, I'd like to create the effect of having hundreds of instruments without recording a hundred takes. &#xD;&#xA;&#xD;&#xA;For example, I'd like to simulate the effect achieved throughout 30 Seconds To Mars' album having massive-sounding hand claps, stomps, and singing. It's my understanding that they actually had fans send in clips of them clapping, stomping, or singing. For someone like me who doesn't have millions of ready and willing fans (yet), how can I achieve this sound? &#xD;&#xA;&#xD;&#xA;In the past, I've tried taking about 5-10 takes over one another and running all of them through a chorus, reverb, and delay, but it's still just not there: it doesn't sound nearly as &quot;big.&quot;&#xD;&#xA;&#xD;&#xA;How can I create this effect?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38183" PostHistoryTypeId="1" PostId="23066" RevisionGUID="af95f6ef-813b-4c73-b046-4de541af3089" CreationDate="2012-03-05T21:41:42.597" UserDisplayName="Naftuli Tzvi Kay" Text="Generating massive-sounding duplicated noises" ContentLicense="CC BY-SA 3.0" />
  <row Id="38184" PostHistoryTypeId="3" PostId="23066" RevisionGUID="af95f6ef-813b-4c73-b046-4de541af3089" CreationDate="2012-03-05T21:41:42.597" UserDisplayName="Naftuli Tzvi Kay" Text="&lt;audio-recording&gt;&lt;mixing&gt;&lt;daw&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38185" PostHistoryTypeId="36" PostId="23069" RevisionGUID="a37c9bab-03cb-4f55-891b-7b3a461899c4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9457/creating-transition-with-badly-matching-bpm-tunes" />
  <row Id="38186" PostHistoryTypeId="2" PostId="23070" RevisionGUID="04c2fe54-f340-4a58-bfa0-4ec2a460164e" CreationDate="2013-11-20T22:43:00.393" UserId="7294" UserDisplayName="Warrior Bob" Text="This is a matter of taste more than a technical issue, so I'll be using terms like &quot;groove&quot; and &quot;feel&quot; rather than more quantifiable criteria. &#xD;&#xA;&#xD;&#xA;It comes down to making it seem natural instead of jarring.&#xD;&#xA;&#xD;&#xA;Since you mention club DJs, I presume you mean &quot;in front of dancers,&quot; and the human body is going to move differently at 90bpm than it is at 130. A simple cut goes from one movement to another with no signalling and a clear juxtaposition, so it will take the dancer some time (a measure or so) to pick up on the new groove. &#xD;&#xA;&#xD;&#xA;There isn't a clear always-works strategy, but you can put tools in your toolbox to practice and use as the situation fits. Here are some examples:&#xD;&#xA;&#xD;&#xA;- A rhythmically ambiguous section between the two tracks. Mix from the first track into an atonal or aryhthmic breakdown recording, and then mix the new track in from that. This will obviously depend on your genre and situation.&#xD;&#xA;&#xD;&#xA;- Mix from the old track into a spoken-word (not ryhthmic) intro on the new track. 90bpm is right in hip-hop's range, and you see this sometimes in that style.&#xD;&#xA;&#xD;&#xA;- Signal the new tempo somehow. I have had some success with building up the old track using a delay effect set to 1/4 or 1/2 notes *at the tempo of the incoming track*. It sounds like a dub delay on the old track, which is kind of weird but not &quot;wrong&quot; sounding, and as you disappear the old track into a wash of echoes, the new track can come in in time with the new groove timing you've been hinting at. I've had more luck with this going to increasing speeds, but your mileage may vary.&#xD;&#xA;&#xD;&#xA;- Don't beatmatch at all, just fade the old one out and fade the new one in, radio-style. Obviously this will be a bit odd if you're trying to make a seamless set, but it can work depending on context.&#xD;&#xA;&#xD;&#xA;These are just ideas to try though; what works for you will be very dependent on your style and sensibilities, it is probably worth finding examples of other DJs making similar transitions in your style, and analyzing what they do and why it works. A good question, when playing dance music of any sort, is to ask &quot;could I dance to that?&quot; In the end, your goal is to entertain." ContentLicense="CC BY-SA 3.0" />
  <row Id="38187" PostHistoryTypeId="2" PostId="23069" RevisionGUID="12461d20-f5dc-4681-b78e-6040f6fd1552" CreationDate="2013-11-20T20:12:10.873" UserId="7197" UserDisplayName="Lasse" Text="How should I make a club music transition from 130bpm tune to 90bpm tune, and vice versa? I want it to be as seamless as possible. I have tried simple cutting, but that does not seem to be really the quality way to do it. How do the pro DJs do it in the clubs as they seem to be able to always make the transition smoother than I have been able to?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38188" PostHistoryTypeId="1" PostId="23069" RevisionGUID="12461d20-f5dc-4681-b78e-6040f6fd1552" CreationDate="2013-11-20T20:12:10.873" UserId="7197" UserDisplayName="Lasse" Text="Creating transition with badly matching bpm tunes" ContentLicense="CC BY-SA 3.0" />
  <row Id="38189" PostHistoryTypeId="3" PostId="23069" RevisionGUID="12461d20-f5dc-4681-b78e-6040f6fd1552" CreationDate="2013-11-20T20:12:10.873" UserId="7197" UserDisplayName="Lasse" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38190" PostHistoryTypeId="36" PostId="23070" RevisionGUID="712e957a-24a5-4f69-bb0b-ca2a567dbfaf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9457/creating-transition-with-badly-matching-bpm-tunes/9458#9458" />
  <row Id="38191" PostHistoryTypeId="36" PostId="23071" RevisionGUID="1254ef35-9446-42bb-a13f-b27d572c786b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2903/how-to-find-the-playing-time-length-of-a-acc-audio-file-accurately" />
  <row Id="38192" PostHistoryTypeId="36" PostId="23072" RevisionGUID="bbdc7c1c-8b5c-4732-8170-112d3ebe4886" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2903/how-to-find-the-playing-time-length-of-a-acc-audio-file-accurately/2904#2904" />
  <row Id="38193" PostHistoryTypeId="36" PostId="23073" RevisionGUID="5ca80d5e-0613-410f-8262-a281883ce8f8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2903/how-to-find-the-playing-time-length-of-a-acc-audio-file-accurately/2905#2905" />
  <row Id="38194" PostHistoryTypeId="36" PostId="23074" RevisionGUID="377830cb-fd04-43c3-b4f7-2f09c6938b89" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2903/how-to-find-the-playing-time-length-of-a-acc-audio-file-accurately/4274#4274" />
  <row Id="38195" PostHistoryTypeId="2" PostId="23072" RevisionGUID="6ecacc23-869a-4acd-8050-0f053bc1231a" CreationDate="2011-12-26T23:14:39.313" UserDisplayName="Fredrik Pihl" Text="I believe [mediainfo][1] is capable of providing such info. Works well in both linux and windows environments.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mediainfo.sourceforge.net/sv/Support/Formats" ContentLicense="CC BY-SA 3.0" />
  <row Id="38196" PostHistoryTypeId="2" PostId="23073" RevisionGUID="7f2d4a6c-5bc7-4ac1-b33b-3f2b331ae88b" CreationDate="2011-12-27T03:10:18.323" UserDisplayName="perer" Text="Maybe there is some other tool which can do it, but until I find it, the following `wine` tools do the job quite satisfactorily, but I'm definitely interested to see a more direct method..   &#xD;&#xA;I find `AviSynth` to be a most extraordinary media manipulator.. and true to form, it can manage this task. It is, however, a bit restricted when running without Windows DirectShow support, but it can still do quite a lot; thanks to `wine` support. `AviSynth` is assisted by `avs2yuv.exe`; a tool written to enable `Avisynth` to be used in a *nix environment..   &#xD;&#xA;&#xD;&#xA;    [[ -f &quot;$1&quot; ]] || { echo &quot;ERROR: input file NOT found&quot; 1&gt;&amp;2 ; exit 1; }&#xD;&#xA;    # X suffix = nix path&#xD;&#xA;    # Z suffix = dos path (for the wine apps)&#xD;&#xA;    dirX=&quot;${1%/*}&quot;&#xD;&#xA;    namX=&quot;${1##*/}&quot;&#xD;&#xA;    aacX=&quot;$dirX/$namX&quot; ; aacZ=Z:&quot;${aacX//\//\\}&quot;&#xD;&#xA;    ausX=&quot;$aacX.aus&quot;   ; ausZ=Z:&quot;${ausX//\//\\}&quot;&#xD;&#xA;    avsX=&quot;$aacX.avs&quot;&#xD;&#xA;     &#xD;&#xA;     &gt;&quot;$avsX&quot; echo '# =========================================================='&#xD;&#xA;    &gt;&gt;&quot;$avsX&quot; echo '# An AviSynth script which outputs to file, the playing time'&#xD;&#xA;    &gt;&gt;&quot;$avsX&quot; echo '#  of a .aac audio file, in float seconds'&#xD;&#xA;    &gt;&gt;&quot;$avsX&quot; echo '# ======================================='&#xD;&#xA;    &gt;&gt;&quot;$avsX&quot; echo audioFile=\&quot;&quot;$aacZ&quot;\&quot; &#xD;&#xA;    &gt;&gt;&quot;$avsX&quot; echo audioSecs=\&quot;&quot;$ausZ&quot;\&quot; &#xD;&#xA;    &gt;&gt;&quot;$avsX&quot; echo 'audioclip=FFAudioSource(audioFile)'&#xD;&#xA;    &gt;&gt;&quot;$avsX&quot; echo 'seconds=float(AudioLength(audioclip))/float(AudioRate(audioclip))'&#xD;&#xA;    &gt;&gt;&quot;$avsX&quot; echo 'Blankclip(1)'&#xD;&#xA;    &gt;&gt;&quot;$avsX&quot; echo 'WriteFileStart(audioSecs,string(seconds),false)'&#xD;&#xA;     &#xD;&#xA;    rm -f &quot;$ausX&quot; ; wine avs2yuv.exe &quot;$avsX&quot; - &gt;/dev/null 2&gt;&amp;1&#xD;&#xA;    cat   &quot;$ausX&quot;&#xD;&#xA;    rm -f &quot;$avsX&quot; &quot;$ausX&quot; &quot;$aacX.ffindex&quot;&#xD;&#xA;   &#xD;&#xA;--- &#xD;&#xA;&#xD;&#xA;Here is the output, in seconds, for `B.aac` from the question's example:   &#xD;&#xA;&#xD;&#xA;    295.543579&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38197" PostHistoryTypeId="2" PostId="23074" RevisionGUID="5923bc3b-fec7-48d2-9765-2ec307ad4e09" CreationDate="2012-06-25T05:17:25.493" UserDisplayName="Miguel" Text="I believe these tools are not accurate because AAC files are an elementary stream, unlike MP4 or FLV which are containers. Streams are just a sequence of samples, without a global header.&#xD;&#xA;&#xD;&#xA;To be able to determine the length of an AAC file exactly you would need to parse from start to end and count the samples.&#xD;&#xA;&#xD;&#xA;The vast majoritiy of AAC files out there are not really written as raw AAC, but instead each sample has an ADTS header, which makes the parsing a lot easier. The format of the ADTS header is [here](http://wiki.multimedia.cx/index.php?title=ADTS). The header will give you the sample rate (i.e. 48Khz, 44.1Khz, etc.) and the length of the sample. With the sample rate you can compute the exact duration of that sample, knowing that an AAC sample uncompresses to 1024 PCM samples. The sample length allows you to jump to the next sample, where you will find again the ADTS header." ContentLicense="CC BY-SA 3.0" />
  <row Id="38198" PostHistoryTypeId="2" PostId="23071" RevisionGUID="6e517029-7578-4408-b9aa-92018a989bc7" CreationDate="2011-12-26T12:47:16.960" UserDisplayName="perer" Text="I need to accurately find the playing time  of `.aac` files.  This time is needed to determine the length of a video cut.  This is for a GNU/Linux Bash environment (a windows tool which works in `wine` would be okay if nothing native to Linux is found).&#xD;&#xA;&#xD;&#xA;The information must be in these files somewhere, because muxing them into a non-video .m4a shows a time which is close to the actual playtime. (Why they is any difference  at all is also a puzzle.)&#xD;&#xA;&#xD;&#xA;The `.aac` files I have tested do not show the real playing time. The times are shown below.  &#xD;&#xA;&#xD;&#xA;Is there some way to find the *real* playing time? &#xD;&#xA;      &#xD;&#xA;Here are the test results.&#xD;&#xA;&#xD;&#xA;     ---------------------------------------------------------------&#xD;&#xA;    |                |    mplayer    |               |              |   &#xD;&#xA;    |                |   status bar  |  mencoder's   |              |    &#xD;&#xA;    |                | run    length |  midentify.sh |   ffmpeg -i  |  &#xD;&#xA;    |                | ============= |  ============ |  =========== |&#xD;&#xA;    | original A.flv | 2:40     2:40 |    160.64     |     02:40.64 |&#xD;&#xA;    | demuxed  A.aac | 2:40     3:10 |    190.20     |     03:10.20 | &lt; whacky times!&#xD;&#xA;    | remuxed  A.m4a | 2:40     2:41 |    161.21     |     02:41.20 |&#xD;&#xA;    |                |               |               |              |&#xD;&#xA;    | original B.flv | 4:54     4:55 |    295.00     |     04:54.99 |&#xD;&#xA;    | demuxed  B.aac | 4:55  1:36:22 |   5782.15     |  01:36:22.15 | &lt; whacky times!&#xD;&#xA;    | remuxed  B.m4a | 4:49     4:55 |    295.57     |     04:55.57 |&#xD;&#xA;     ---------------------------------------------------------------&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38199" PostHistoryTypeId="1" PostId="23071" RevisionGUID="6e517029-7578-4408-b9aa-92018a989bc7" CreationDate="2011-12-26T12:47:16.960" UserDisplayName="perer" Text="How to find the playing time (length) of a .acc audio file accurately" ContentLicense="CC BY-SA 3.0" />
  <row Id="38200" PostHistoryTypeId="3" PostId="23071" RevisionGUID="6e517029-7578-4408-b9aa-92018a989bc7" CreationDate="2011-12-26T12:47:16.960" UserDisplayName="perer" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38201" PostHistoryTypeId="36" PostId="23075" RevisionGUID="667f24e6-3cac-46a1-8629-6db2ee3cb3bc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1533/line-input-to-an-iphone-or-ipad" />
  <row Id="38202" PostHistoryTypeId="36" PostId="23076" RevisionGUID="5762c1a1-5601-4009-b368-cd0bc29c0831" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1533/line-input-to-an-iphone-or-ipad/1534#1534" />
  <row Id="38203" PostHistoryTypeId="36" PostId="23077" RevisionGUID="6c6224b9-c7b1-4ff9-aac6-927a0291f759" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1533/line-input-to-an-iphone-or-ipad/1536#1536" />
  <row Id="38204" PostHistoryTypeId="36" PostId="23078" RevisionGUID="1a2f1bf4-5110-4b6b-bc52-7c55aadf21a9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1533/line-input-to-an-iphone-or-ipad/2937#2937" />
  <row Id="38205" PostHistoryTypeId="2" PostId="23076" RevisionGUID="99a1d401-ea16-4a67-89a4-8edbde67f52d" CreationDate="2011-06-02T19:51:05.033" UserDisplayName="horatio" Text="There is an iRig device by Amplitube, but I am unsure whether this interface is usable without the bundled software. I do know, however, that you can bypass the software effects for a clean signal for use in a mixer or other inteface." ContentLicense="CC BY-SA 3.0" />
  <row Id="38206" PostHistoryTypeId="2" PostId="23077" RevisionGUID="26ae84cf-26dc-4650-86bc-fbbb75e77389" CreationDate="2011-06-03T04:00:05.940" UserDisplayName="Ian C." Text="  &gt; What are the options to get a line level signal into an iPhone 4 or iPad?&#xD;&#xA;&#xD;&#xA;Not many. The current king-of-the-hill here is the [Alesis IO Dock][1]. It gives you two XLR-1/4&quot; combo jack inputs that have adjustable impedence on them that'll let you go from consumer grade to professional grade line level and mic level input impedences. It also can do Hi-Z on input 2 for direct connection of a guitar or bass.&#xD;&#xA;&#xD;&#xA;![Alesis IO Dock - rear panel][2]&#xD;&#xA;&#xD;&#xA;&gt; Are there any audio USB input devices that work with Apple's Camera Connection kit on the iPhone or iPad? One or both?&#xD;&#xA;&#xD;&#xA;None that I know of. The only ones I've seen use the dock connector to hook up to either your iPhone or iPad.&#xD;&#xA;&#xD;&#xA;&gt; Is there a pre-amp or attenuator circuit the can adjust the level and impedance to use the headset input jack for monophonic audio input?&#xD;&#xA;&#xD;&#xA;Again, not that I know of but that Alesis IO Dock provides you with two proper mic preamps you can use and tweak.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.alesis.com/iodock&#xD;&#xA;  [2]: http://i.stack.imgur.com/XAPQF.jpg&#xD;&#xA;  [3]: http://www.ikmultimedia.com/irig/features/" ContentLicense="CC BY-SA 3.0" />
  <row Id="38207" PostHistoryTypeId="2" PostId="23078" RevisionGUID="9a57a083-e934-4fe1-854a-62dfd5754f5a" CreationDate="2011-12-31T03:50:40.943" UserDisplayName="Salman" Text="You actually have several options here:&#xD;&#xA;&#xD;&#xA;1) Apogee Jam ($99) - direct line level signal into iPad / iPhone via the 30 pin dock connector.  There are several other options as well but this is probably the industry leader currently.&#xD;&#xA;&#xD;&#xA;2) Behringer USB guitar Interface ($30) works with the Camera connection kit no problems according to reviews.&#xD;&#xA;&#xD;&#xA;You can use the Alesis i/o dock as well - its more &quot;fully featured&quot; but only works with iPad, and is more then I would be willing to pay for such an interface. &#xD;&#xA;&#xD;&#xA;There are also options such as the iRig and AmpKit but those use audio line in's that are much noisier then what it looks like your looking for.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38208" PostHistoryTypeId="2" PostId="23075" RevisionGUID="b7be4d10-767d-40fa-ac7b-df6db564ce3f" CreationDate="2011-06-02T17:43:05.130" UserId="7224" UserDisplayName="hotpaw2" Text="What are the options to get a line level signal into an iPhone 4 or iPad?&#xD;&#xA;&#xD;&#xA;Are there any audio USB input devices that work with Apple's Camera Connection kit on the iPhone or iPad?  One or both?&#xD;&#xA;&#xD;&#xA;Is there a pre-amp or attenuator circuit the can adjust the level and impedance to use the headset input jack for monophonic audio input?&#xD;&#xA;&#xD;&#xA;Are there any audio quality bluetooth input devices that will work with an iPhone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38209" PostHistoryTypeId="1" PostId="23075" RevisionGUID="b7be4d10-767d-40fa-ac7b-df6db564ce3f" CreationDate="2011-06-02T17:43:05.130" UserId="7224" UserDisplayName="hotpaw2" Text="Line input to an iPhone or iPad?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38210" PostHistoryTypeId="3" PostId="23075" RevisionGUID="b7be4d10-767d-40fa-ac7b-df6db564ce3f" CreationDate="2011-06-02T17:43:05.130" UserId="7224" UserDisplayName="hotpaw2" Text="&lt;audio-recording&gt;&lt;ipad&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38211" PostHistoryTypeId="36" PostId="23079" RevisionGUID="68fb4354-65bd-4c1c-a6b8-2a0e37666653" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6863/mixer-power-amp-decibel-meter-setup" />
  <row Id="38212" PostHistoryTypeId="36" PostId="23080" RevisionGUID="d633e8e2-8990-49f2-b369-87540a416b13" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6863/mixer-power-amp-decibel-meter-setup/6865#6865" />
  <row Id="38213" PostHistoryTypeId="2" PostId="23080" RevisionGUID="93c090c2-58ca-48d2-803c-3f05e451a8b3" CreationDate="2013-01-17T08:53:09.077" UserId="6755" Text="I haven't got any experience with decibel readers. However, after doing some research on the internet I found this: &#xD;&#xA;&#xD;&#xA;http://mackiedjequipment.danielcadams.com/how-to-connect-a-sound-level-meter-to-a-mixer/&#xD;&#xA;&#xD;&#xA;It almost walks you through the connections. I think you need to try what it suggests just to move forward from where you are if you can." ContentLicense="CC BY-SA 3.0" />
  <row Id="38214" PostHistoryTypeId="2" PostId="23081" RevisionGUID="d29da1f3-ca93-4d88-9c82-d7c69da78240" CreationDate="2013-01-17T14:31:49.567" UserId="7093" Text="According to the Amazon link you provided for the Decibel Meter, the inputs are line level.  This means that you will need to hook up the meter directly to the Mixer as in your first and second diagrams.  If you hook up the meter between the amp and the speakers bad things are likely to happen.&#xD;&#xA;&#xD;&#xA;Since the mixer only has unbalanced output, hooking the decibel meter up between the mixer and the amp will probably be the way you want to go.&#xD;&#xA;&#xD;&#xA;    Mixer --&gt; Decibel Meter --&gt; Power Amplifier --&gt; Speakers&#xD;&#xA;&#xD;&#xA;You will want to hook up the equipment, then turn the volume up as high as you are likely to go and adjust the Decibel meter accordingly." ContentLicense="CC BY-SA 3.0" />
  <row Id="38215" PostHistoryTypeId="2" PostId="23079" RevisionGUID="f18ca4a9-c8ec-4f63-a20b-6cb0f87b7eaf" CreationDate="2013-01-17T05:10:17.670" UserId="15066" UserDisplayName="Mark" Text="I just bought:&#xD;&#xA;&#xD;&#xA;* A power amplifier ([Amazon.com link][1])&#xD;&#xA;* A mixer ([Amazon.com link][2])&#xD;&#xA;* Two loudspeakers ([Amazon.com link][3])&#xD;&#xA;* A decibel meter ([Amazon.com link][4])&#xD;&#xA;&#xD;&#xA;Before buying the decibel meter, the setup was clear to me:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;    Mixer --&gt; Power Amplifier --&gt; Speakers&#xD;&#xA;&#xD;&#xA;Then I bought the decibel meter, and I'm confused on how to connect all this stuff together. Should I split the output line of the mixer, so that the same output goes to both the amplifier and the decibel meter, like:&#xD;&#xA;&#xD;&#xA;    Mixer |--&gt; Power Amplifier --&gt; Speakers&#xD;&#xA;          |--&gt; Decibel Meter&#xD;&#xA;&#xD;&#xA;Or should I connect the decibel meter **before** the amplifier (because the decibel meter has two L/R outputs), like:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;    Mixer --&gt; Decibel Meter --&gt; Power Amplifier --&gt; Speakers&#xD;&#xA;&#xD;&#xA;But what about the sound quality (because the sound goes to the decibel meter first)? &#xD;&#xA;&#xD;&#xA;Or should I connect the decibel meter **after** the amplifier, like:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;    Mixer --&gt; Power Amplifier --&gt; Decibel Meter --&gt; Speakers&#xD;&#xA;&#xD;&#xA;But I'm worried that the decibel meter can fry.&#xD;&#xA;&#xD;&#xA;Any help would be appreciated.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/gp/product/B001W3BM24/ref=oh_details_o06_s00_i00&#xD;&#xA;  [2]: http://www.amazon.com/gp/product/B000Z7567A/ref=oh_details_o09_s00_i00&#xD;&#xA;  [3]: http://www.amazon.com/gp/product/B001XWD3LC/ref=oh_details_o09_s01_i03&#xD;&#xA;  [4]: http://www.amazon.com/gp/product/B001V9YTJ2/ref=oh_details_o01_s00_i02&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38216" PostHistoryTypeId="1" PostId="23079" RevisionGUID="f18ca4a9-c8ec-4f63-a20b-6cb0f87b7eaf" CreationDate="2013-01-17T05:10:17.670" UserId="15066" UserDisplayName="Mark" Text="Mixer / Power amp / Decibel Meter setup" ContentLicense="CC BY-SA 3.0" />
  <row Id="38217" PostHistoryTypeId="3" PostId="23079" RevisionGUID="f18ca4a9-c8ec-4f63-a20b-6cb0f87b7eaf" CreationDate="2013-01-17T05:10:17.670" UserId="15066" UserDisplayName="Mark" Text="&lt;audio&gt;&lt;setup&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38218" PostHistoryTypeId="36" PostId="23081" RevisionGUID="a55cca0b-a628-4ca2-82e2-a6611afe3bee" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6863/mixer-power-amp-decibel-meter-setup/6866#6866" />
  <row Id="38219" PostHistoryTypeId="36" PostId="23082" RevisionGUID="74560d33-75cb-4f0a-9157-7c8f365022da" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1459/what-are-some-good-audio-software-for-tascam-us-2000-interface" />
  <row Id="38220" PostHistoryTypeId="36" PostId="23083" RevisionGUID="47aa43ef-f2bb-45a1-8262-372aa557f6f0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1459/what-are-some-good-audio-software-for-tascam-us-2000-interface/1460#1460" />
  <row Id="38221" PostHistoryTypeId="2" PostId="23083" RevisionGUID="7b7758b1-2c91-4a2a-97a2-b70873010dba" CreationDate="2011-05-24T08:32:29.743" UserId="7471" UserDisplayName="Mark Heath" Text="Almost all the major DAW's offer some kind of lite version for a cheap price. Examples are [Cubase 4 LE][1] (which I would expect to work on Win 7), or Cakewalk [SONAR X1 Essential][2]. But my recommendation goes to [REAPER][3], a very powerful, fully featured DAW, available for a bargain price ($40 non-commercial licence, $150 full licence). It's free to try, so I'd recommend you give it a go.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.steinberg.net/en/support/downloads/downloads_cle4.html&#xD;&#xA;  [2]: http://www.cakewalk.com/products/sonar/x1-Essential/&#xD;&#xA;  [3]: http://www.reaper.fm/" ContentLicense="CC BY-SA 3.0" />
  <row Id="38222" PostHistoryTypeId="2" PostId="23082" RevisionGUID="26575e0f-48e9-400a-bbba-8523a9520d1f" CreationDate="2011-05-24T07:26:34.567" UserDisplayName="Paul Bach" Text=" I am looking for some good recording and mixing software to use with my new Tascam Us 2000 interface on my windows 7 64 bit PC. Preferably ones what ar'nt to spicy on the pocket book! The Cubase LE 4 program that came with the interface is compatable with windows XP and Vista. Cubase 5 and 6 look good but I dont have that kind of money. I'm looking to produce CDs for a Gospel quartet." ContentLicense="CC BY-SA 3.0" />
  <row Id="38223" PostHistoryTypeId="1" PostId="23082" RevisionGUID="26575e0f-48e9-400a-bbba-8523a9520d1f" CreationDate="2011-05-24T07:26:34.567" UserDisplayName="Paul Bach" Text="What are some good audio software for Tascam US 2000 interface?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38224" PostHistoryTypeId="3" PostId="23082" RevisionGUID="26575e0f-48e9-400a-bbba-8523a9520d1f" CreationDate="2011-05-24T07:26:34.567" UserDisplayName="Paul Bach" Text="&lt;audio-recording&gt;&lt;software&gt;&lt;mixing&gt;&lt;home-studio&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38225" PostHistoryTypeId="36" PostId="23084" RevisionGUID="193404c4-7ea2-4af6-bf71-c855bd0f850f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5464/recording-multi-channel-audio-with-screen-capture" />
  <row Id="38226" PostHistoryTypeId="36" PostId="23085" RevisionGUID="59d13b8d-11d4-4958-b0be-90a1f4b1023a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5464/recording-multi-channel-audio-with-screen-capture/5465#5465" />
  <row Id="38227" PostHistoryTypeId="2" PostId="23085" RevisionGUID="80635f83-56d7-480e-b9f0-7f10e98615ae" CreationDate="2012-11-30T19:07:24.263" UserId="6957" Text="I suppose it depends on how much money you're willing to drop.  Also, are looking to record the computer screen video while simultaneously recording the audio? or could you have an existing video track to then track audio to?&#xD;&#xA;&#xD;&#xA;The last couple versions of ProTools support video in the multi-track audio process.  Also Sony's VegasPro line does audio and video together.  I gather that Ableton can also play with both." ContentLicense="CC BY-SA 3.0" />
  <row Id="38228" PostHistoryTypeId="2" PostId="23084" RevisionGUID="f56c9ab0-1ece-43cd-8a66-2442f36d7362" CreationDate="2012-11-30T18:31:54.567" UserDisplayName="Toby" Text="I wish to record 16 channels of analogue audio with 1 channel of video of desktop capture in perfect time sync.&#xD;&#xA;&#xD;&#xA;I've tried using a CCTV DVR recording solution but the video proved too low quality for use however it did sync the audio and video perfectly.&#xD;&#xA;&#xD;&#xA;I can't find a DAW with a simple video functionality or an video editor with multi channel audio functionality AND to make matters worse I can't find anything that will screen capture a desktop that will work with DAW/Video editors.&#xD;&#xA;&#xD;&#xA;Any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38229" PostHistoryTypeId="1" PostId="23084" RevisionGUID="f56c9ab0-1ece-43cd-8a66-2442f36d7362" CreationDate="2012-11-30T18:31:54.567" UserDisplayName="Toby" Text="Recording Multi Channel Audio with Screen Capture" ContentLicense="CC BY-SA 3.0" />
  <row Id="38230" PostHistoryTypeId="3" PostId="23084" RevisionGUID="f56c9ab0-1ece-43cd-8a66-2442f36d7362" CreationDate="2012-11-30T18:31:54.567" UserDisplayName="Toby" Text="&lt;video&gt;&lt;audio&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38237" PostHistoryTypeId="36" PostId="23088" RevisionGUID="01b8b4f4-3a4c-44a5-a39c-ecb117048a7d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8390/beginners-advance-ebook-and-video-toturial-on-sound-engineer" />
  <row Id="38238" PostHistoryTypeId="36" PostId="23089" RevisionGUID="1776a3c9-26b4-431f-a237-e634cdd1aa71" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8390/beginners-advance-ebook-and-video-toturial-on-sound-engineer/8391#8391" />
  <row Id="38239" PostHistoryTypeId="36" PostId="23090" RevisionGUID="9f4304c1-5526-486a-ac06-a11bf21c090f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8390/beginners-advance-ebook-and-video-toturial-on-sound-engineer/8392#8392" />
  <row Id="38240" PostHistoryTypeId="2" PostId="23089" RevisionGUID="f7fa8419-fc3e-4799-86eb-1cf2b25f7214" CreationDate="2013-07-12T15:28:38.807" UserId="7174" Text="Personally, I've often found that the manuals for many sound boards can be pretty instructive in terms of explaining what controls do and what the proper use of them is,  at least as a very basic introduction, though the quality does vary from manufacturer to manufacturer and based on if it is a more entry level board or a higher end professional targeted board.  If you want something for a more in-depth read, Handbook for Sound Engineers is pretty well regarded, though a bit pricy." ContentLicense="CC BY-SA 3.0" />
  <row Id="38241" PostHistoryTypeId="2" PostId="23090" RevisionGUID="54d5c545-04ef-4625-b13b-634b0ecd7a47" CreationDate="2013-07-12T15:46:49.970" UserId="7196" UserDisplayName="Robert" Text="There are too many different aspects to sound engineering to cover in a single tutorial. Having said that, there are numerous resources that can help you along the way.&#xD;&#xA;&#xD;&#xA;For recording, a great, free resource is Brandon Dury's book: [Killer Home Recording][1]. &#xD;&#xA;There are also numerous videos on youtube touching on subjects such as room acoustics, standing waves, etc.&#xD;&#xA;&#xD;&#xA;For live work there are lots of things to consider but one that crops up reasonably often is room feedback. [Here's a guide to reducing it for any given room][2].&#xD;&#xA;&#xD;&#xA;If you can afford it, some formal sound engineering training at your local college can be invaluable (depending upon the quality of the course - I was lucky enough to attend a good one).&#xD;&#xA;&#xD;&#xA;If cash is a bit too tight for that, I can also personally recommend [Audio Masterclass][3]. It's a distance learning course - not everyone's cup of tea but I took the course a few years ago and found it to be both useful and informative, with the added bonus of being reasonably cheap (about £150 when I did it).&#xD;&#xA;&#xD;&#xA;Hope some of that can get you started and good luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.recordingreview.com/blog/news/free-audio-recording-guide/&#xD;&#xA;  [2]: http://joetastic.hubpages.com/hub/Eliminating-Feedback-An-Audio-Professionals-Guide-to-Ringing-Out-a-Performance-Space&#xD;&#xA;  [3]: http://www.audiomasterclass.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="38242" PostHistoryTypeId="2" PostId="23088" RevisionGUID="73bfa6bf-6a94-4295-8a20-d53054b82ad6" CreationDate="2013-07-12T15:20:00.800" UserId="22740" UserDisplayName="Samuel Okon" Text="I am actually new the process of being a sound engineer, and i have been managing event like birthdays but i still need some tutorial  that will guide me to an advance level. Please  any help will be very useful. Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="38243" PostHistoryTypeId="1" PostId="23088" RevisionGUID="73bfa6bf-6a94-4295-8a20-d53054b82ad6" CreationDate="2013-07-12T15:20:00.800" UserId="22740" UserDisplayName="Samuel Okon" Text="Beginners / Advance ebook and video toturial on sound engineer" ContentLicense="CC BY-SA 3.0" />
  <row Id="38244" PostHistoryTypeId="3" PostId="23088" RevisionGUID="73bfa6bf-6a94-4295-8a20-d53054b82ad6" CreationDate="2013-07-12T15:20:00.800" UserId="22740" UserDisplayName="Samuel Okon" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38245" PostHistoryTypeId="36" PostId="23091" RevisionGUID="0dc7e931-dc2a-487e-bddc-4fc57458df18" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4590/mp3-podcast-problems-mp3-file-format" />
  <row Id="38247" PostHistoryTypeId="36" PostId="23093" RevisionGUID="66fa644e-11e9-460b-add1-28b269023b95" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4590/mp3-podcast-problems-mp3-file-format/4599#4599" />
  <row Id="38249" PostHistoryTypeId="2" PostId="23093" RevisionGUID="cced038e-0ad4-4d91-880e-d69c706b28f3" CreationDate="2012-08-17T22:27:32.383" UserDisplayName="ansarob" Text="Okay, after a long period of troubleshooting, I determined it was the MP3 file that was having issues. After importing it into GarageBand and exporting it from there, it finally worked! I received the MP3 file from the client. He is a preacher and they recorded it at the church. Then he uploaded it to Google Drive and I downloaded it from there. It sounds like it was not encoded correctly, but I am not an audio expert." ContentLicense="CC BY-SA 3.0" />
  <row Id="38250" PostHistoryTypeId="2" PostId="23091" RevisionGUID="19cdb645-0842-4b21-bc36-f49dd287dcd7" CreationDate="2012-08-16T17:48:03.553" UserDisplayName="ansarob" Text="I'm having trouble with an audio file. &#xD;&#xA;&#xD;&#xA;If you look over at this [Ask Different question][1] I submitted, you'll see I was having issues with getting a podcast to work in iTunes. I finally narrowed it down (I think).  Everything seemed correct, but I finally tried a couple different MP3 files and submitted the podcast and it worked. &#xD;&#xA;&#xD;&#xA;So, I'm wondering if the audio file my client gave me has issues. &#xD;&#xA;&#xD;&#xA;When I go to &quot;Get Info&quot; for other MP3 files, it shows things like &quot;Audio Channels&quot;, &quot;Total Bit Rate&quot;, and stuff like that. The MP3 file I am using doesn't really show anything. All I know is it says it's &quot;Kind: MP3 audio&quot; and &quot;64865838 bytes&quot;. &#xD;&#xA;&#xD;&#xA;Any thoughts? I know pretty much nothing about audio, I'm a web developer lol. I can provide the audio file if anyone wants to download it and check it out. Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://apple.stackexchange.com/questions/60183/itunes-podcast-rejected-by-apple" ContentLicense="CC BY-SA 3.0" />
  <row Id="38251" PostHistoryTypeId="1" PostId="23091" RevisionGUID="19cdb645-0842-4b21-bc36-f49dd287dcd7" CreationDate="2012-08-16T17:48:03.553" UserDisplayName="ansarob" Text="MP3 Podcast Problems... mp3 file format?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38252" PostHistoryTypeId="3" PostId="23091" RevisionGUID="19cdb645-0842-4b21-bc36-f49dd287dcd7" CreationDate="2012-08-16T17:48:03.553" UserDisplayName="ansarob" Text="&lt;audio&gt;&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38253" PostHistoryTypeId="36" PostId="23094" RevisionGUID="2bba020b-c219-4b38-841e-54996eb70886" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7653/sync-audio-to-multi-part-avchd" />
  <row Id="38254" PostHistoryTypeId="2" PostId="23095" RevisionGUID="d1cc19af-d785-45ec-9bdb-d90f6ddff741" CreationDate="2013-04-15T13:30:47.537" UserId="7174" Text="As long as the time code is reliable and your camera didn't drop frames, it should be as simple as laying them back to back and then syncing the audio.  I normally recommend syncing to a point in the beginning and then checking if it still lines up at the end.  &#xD;&#xA;&#xD;&#xA;If not, a couple of factors could be in play.  It could be that the timecode is just off from the recording speeds not matching exactly or it could be that a frame drop resulted in an issue.  Clocks mismatched is fairly easy to deal with as you can simply apply a minor speed correction, but if a frame is dropped, you'll need to find where the audio went out of sync and correct manually.&#xD;&#xA;&#xD;&#xA;The easiest way I've found to identify which is the problem is to adjust the speed and then check a few places in the middle.  If they are all in sync, you probably guessed right, if not, then it must be a sudden change from a dropped frame.&#xD;&#xA;&#xD;&#xA;As for making use of the long clip with the sync applied.  I normally handle this kind of a thing by reusing the sequence as a source.  It saves on having to output the full file and still lets you work with the clip as if it was a single file.  I don't know for sure if Premiere Elements supports nested sequences though as I've been using Premiere Pro since long before there was a Premiere Elements." ContentLicense="CC BY-SA 3.0" />
  <row Id="38255" PostHistoryTypeId="2" PostId="23094" RevisionGUID="b6938af5-ff64-49f4-998c-3f103d3679b0" CreationDate="2013-04-14T07:12:14.763" UserId="10033" UserDisplayName="Slashterix" Text="I've recorded a 2 hour interview session, with external audio. My camcorder broke the video up into 2GB chungs (MTS files).&#xD;&#xA;&#xD;&#xA;I'd like to sync up the audio with all the clips so I can easily use sections from any of them in the final cut/edit.&#xD;&#xA;&#xD;&#xA;Is the best bet to just load all the clips into Premiere Elements and sync up the audio and then export the 2 hours to an intermediary file? If so, what's the best export settings? I don't need to reencode the video, just merge and replace the audio with the synced external audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="38256" PostHistoryTypeId="1" PostId="23094" RevisionGUID="b6938af5-ff64-49f4-998c-3f103d3679b0" CreationDate="2013-04-14T07:12:14.763" UserId="10033" UserDisplayName="Slashterix" Text="sync audio to multi-part avchd" ContentLicense="CC BY-SA 3.0" />
  <row Id="38257" PostHistoryTypeId="3" PostId="23094" RevisionGUID="b6938af5-ff64-49f4-998c-3f103d3679b0" CreationDate="2013-04-14T07:12:14.763" UserId="10033" UserDisplayName="Slashterix" Text="&lt;audio&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38258" PostHistoryTypeId="36" PostId="23095" RevisionGUID="b3fb8d7a-8a95-4b7e-a99b-f7a139fcc313" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7653/sync-audio-to-multi-part-avchd/7659#7659" />
  <row Id="38259" PostHistoryTypeId="36" PostId="23096" RevisionGUID="40d595b8-0693-4c9a-9288-29ac84b79ca3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7653/sync-audio-to-multi-part-avchd/9489#9489" />
  <row Id="38260" PostHistoryTypeId="2" PostId="23096" RevisionGUID="00a69222-6ffe-49c7-b26b-4980985aa207" CreationDate="2013-11-24T23:42:21.010" UserId="10033" UserDisplayName="Slashterix" Text="The answer turned out to be to just split the audio track where the video track splits. Then I can link each video/audio chuck to each other.&#xD;&#xA;&#xD;&#xA;Marked the other answer as correct just to give him the points for trying to help." ContentLicense="CC BY-SA 3.0" />
  <row Id="38261" PostHistoryTypeId="36" PostId="23097" RevisionGUID="574da335-cc5b-45f7-9a2e-44fe283ac888" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4854/whats-the-difference-between-dynamic-and-condensor-microphones" />
  <row Id="38262" PostHistoryTypeId="36" PostId="23098" RevisionGUID="ab3463a1-5e24-4c36-82f3-d77724350117" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4854/whats-the-difference-between-dynamic-and-condensor-microphones/4858#4858" />
  <row Id="38263" PostHistoryTypeId="36" PostId="23099" RevisionGUID="0d9bcdec-0bf9-4c4e-91b9-1c5e414aeacf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4854/whats-the-difference-between-dynamic-and-condensor-microphones/4859#4859" />
  <row Id="38264" PostHistoryTypeId="2" PostId="23098" RevisionGUID="2a0c0334-7c3a-4d2c-a0ef-b1fc268e4047" CreationDate="2012-09-28T19:39:41.077" UserId="7016" Text="Dynamic microphones are basically loudspeakers in reverse - instead of a voltage in an electromagnet moving a cone, sound waves move a magnetic material in and out of a coil, generating electricity. They are robust and have high gain so are used on stage a lot. &#xD;&#xA;&#xD;&#xA;Condenser microphones are a capacitor where one of the two plates moves with the sound waves. These usually need a preamp but are cheap and have a good frequency response. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38265" PostHistoryTypeId="2" PostId="23099" RevisionGUID="c278958d-a2aa-48e1-9358-e87a28a4c254" CreationDate="2012-09-28T21:57:23.413" UserId="7251" UserDisplayName="Phil" Text="As Dr Mayhem says a dynamic mic moves a coil in a magnetic field to generate the electrical output, and condensers are based around changing capacitance of the transducer.  Condensers require a pre-amp and power.  The power for this can either be supplied by an internal battery or by 'phantom power' a DC voltage (usually between 9 and 48V) output by the mixer or whatever the mic is plugged into.&#xD;&#xA;&#xD;&#xA;Dynamic mics are cheaper and more robust than condensers but are generally less sensitive and not as good at reproducing high frequencies.  I would happily use a either type for vocals for example, but for a flute I would if at all possible use a condenser.  There are other types such a PZM, but dynamic and condenser are the most common.&#xD;&#xA;&#xD;&#xA;Both dynamic and condenser mics can be purchased with different pick up patterns.  These patterns describe which direction the microphone is most sensitive in.  The most common ones are (in no particular order): cardioid, hyper-cardioid and omni-directional.&#xD;&#xA;&#xD;&#xA;Omnidirectional is the simplest to explain as it is equally sensitive to sounds from all directions. So would be good for recording general ambience for instance.&#xD;&#xA;&#xD;&#xA;A cardioid mic is most sensitive to the front and sides as described by the cardioid shape shown below, and is a good general purpose mic.&#xD;&#xA;&#xD;&#xA;![A cardioid pick up pattern.][1]&#xD;&#xA;&#xD;&#xA;A hyper-cardioid pickup patten isn't as wide and has a rear lobe. Good when lots of instruments are close together and you want to mic them separately.&#xD;&#xA;&#xD;&#xA;![a super cardioid pickup pattern][2]&#xD;&#xA;&#xD;&#xA;Super-cardioid (similar to hyper-cardioid, shotgun (good for long range)  and figure of 8 (good for 2 people sharing a mic) are also common.  Most mics have a set pickup patten but mics such as the AKG C414 allow the pickup pattern to be changed using a switch.  This change is managed by using 2 diaphragms and changing the ratio of each one in the final output.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Cardioid.PNG/208px-Cardioid.PNG&#xD;&#xA;  [2]: http://i.stack.imgur.com/fmLMk.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="38266" PostHistoryTypeId="2" PostId="23100" RevisionGUID="2f6d8f4c-a408-49c9-b85e-9325b5817e27" CreationDate="2012-10-13T13:53:38.153" UserId="7462" UserDisplayName="byronyasgur" Text="The quick and dirty explanation.&#xD;&#xA;&#xD;&#xA;**Dynamic:**&#xD;&#xA;&#xD;&#xA; - Usually but not always cheaper&#xD;&#xA; - more rugged and less likely to be damaged so a lot of stage work is done with dynamics &#xD;&#xA; - Used for high sound pressure work like on snare drum or instrument amp&#xD;&#xA; - Sometimes used in studio work though usually vocals and acoustic instruments will need condensers&#xD;&#xA; - typical example Shure SM58&#xD;&#xA;&#xD;&#xA;**Condenser:**&#xD;&#xA;&#xD;&#xA; - Generally considered to be more sensitive, thus usually used in studios for vocals&#xD;&#xA; - Generally more expensive. Some condensers cost a lot&#xD;&#xA; - Can be easily damaged so not usually used on stage&#xD;&#xA; - Require Phantom power&#xD;&#xA; - Typcial example AKG C414&#xD;&#xA;&#xD;&#xA;There are many other types of mic eg electret, ribbon, capacitor etc but these are not generally considered part of the condenser or dynamic divisions even though for instance elecret is actually a type of condenser mic. In stereotypical terms when we say dynamic we tend to mean a standard stage mic and when we say condenser we usually mean a high quality studio mic, though in truth it's a bit more complex.&#xD;&#xA;&#xD;&#xA;Edit: Also should have mentioned that there are both large diaphragm and small diaphragm condensers." ContentLicense="CC BY-SA 3.0" />
  <row Id="38267" PostHistoryTypeId="2" PostId="23097" RevisionGUID="02450d81-1240-4547-9cba-fcc1fd0913af" CreationDate="2012-09-28T15:00:59.537" UserDisplayName="WLPhoenix" Text="When someone talks about a dynamic or condenser microphone, what do they mean? &#xD;&#xA;&#xD;&#xA;How do these classes microphones differ, and are they used for different things? &#xD;&#xA;&#xD;&#xA;Are there any more subdivisions of microphones within the spectrum of dynamic and condenser mics?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38268" PostHistoryTypeId="1" PostId="23097" RevisionGUID="02450d81-1240-4547-9cba-fcc1fd0913af" CreationDate="2012-09-28T15:00:59.537" UserDisplayName="WLPhoenix" Text="What's the difference between dynamic and condensor microphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38269" PostHistoryTypeId="3" PostId="23097" RevisionGUID="02450d81-1240-4547-9cba-fcc1fd0913af" CreationDate="2012-09-28T15:00:59.537" UserDisplayName="WLPhoenix" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38270" PostHistoryTypeId="36" PostId="23100" RevisionGUID="490d5fda-d018-4fce-8483-f532c184ac65" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4854/whats-the-difference-between-dynamic-and-condensor-microphones/5002#5002" />
  <row Id="38271" PostHistoryTypeId="36" PostId="23101" RevisionGUID="92a2e9e9-304e-4b29-8b5d-27b83ac92c71" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1127/garageband-create-apple-loop-from-m4a-recorded-piano-files" />
  <row Id="38272" PostHistoryTypeId="2" PostId="23102" RevisionGUID="d64ae382-7532-4ad3-965b-d84c7378a1ed" CreationDate="2011-04-09T00:05:19.557" UserDisplayName="kevin9794" Text="Im pretty sure you can simply import the audio, trim it, or do whatever you need to it and then drag the &quot;audio bubble&quot; to the loop library. A window should pop out asking you for some settings and once you save its on your library! ;)&#xD;&#xA;&#xD;&#xA;Hope it helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="38273" PostHistoryTypeId="2" PostId="23101" RevisionGUID="8eb8fd9f-e27c-4aa7-8053-e4732651b24c" CreationDate="2011-04-03T04:07:33.053" UserDisplayName="Solivagant" Text="How can I import m4a files as Apple Loops? &#xD;&#xA;I love the concept of the loops but I can't always have my main pianist next to me recording and then storing it as Apple Loops." ContentLicense="CC BY-SA 2.5" />
  <row Id="38274" PostHistoryTypeId="1" PostId="23101" RevisionGUID="8eb8fd9f-e27c-4aa7-8053-e4732651b24c" CreationDate="2011-04-03T04:07:33.053" UserDisplayName="Solivagant" Text="GarageBand: Create Apple Loop from m4a recorded piano files?" ContentLicense="CC BY-SA 2.5" />
  <row Id="38275" PostHistoryTypeId="3" PostId="23101" RevisionGUID="8eb8fd9f-e27c-4aa7-8053-e4732651b24c" CreationDate="2011-04-03T04:07:33.053" UserDisplayName="Solivagant" Text="&lt;audio-recording&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38276" PostHistoryTypeId="36" PostId="23102" RevisionGUID="e29c7726-dda4-4165-8bab-3296a01c6fa4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1127/garageband-create-apple-loop-from-m4a-recorded-piano-files/1145#1145" />
  <row Id="38277" PostHistoryTypeId="36" PostId="23103" RevisionGUID="179e9f77-eb35-43ec-a9bf-18c9ae325da9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5443/preserve-embedded-album-art-when-converting-from-flac-to-ogg" />
  <row Id="38278" PostHistoryTypeId="36" PostId="23104" RevisionGUID="d8d9c6c0-f1c3-47c0-b505-ee739fb0b82c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5443/preserve-embedded-album-art-when-converting-from-flac-to-ogg/6862#6862" />
  <row Id="38279" PostHistoryTypeId="2" PostId="23104" RevisionGUID="4310c145-0f72-490c-9729-23b5987c5d9b" CreationDate="2013-01-17T01:55:56.840" UserDisplayName="evilsoup" Text="You could try using ffmpeg instead...&#xD;&#xA;&#xD;&#xA;    ffmpeg -i input.flac -c:a libvorbis -q:a 6 output.ogg&#xD;&#xA;&#xD;&#xA;It uses the same vorbis encoding lib that oggenc does, and `-q:a` is directly mapped to oggenc's `-q` option. This *should* preserve all metadata, including album covers." ContentLicense="CC BY-SA 3.0" />
  <row Id="38280" PostHistoryTypeId="2" PostId="23103" RevisionGUID="25679943-8607-4509-844e-6f6eec6456bb" CreationDate="2012-11-07T23:41:15.153" UserDisplayName="Profpatsch" Text="I want to convert my archived .flac library to .ogg for daily use.&#xD;&#xA;Using&#xD;&#xA;&#xD;&#xA;    find ./ -iname '*.flac' -print0 | xargs -0 -n1 oggenc -q6 &#xD;&#xA;&#xD;&#xA;on the root music folder and then deleting every .flac (having copies of them in archive) seems straight forward, after trying it with one file it worked and all of the tags were transfered, too, except for one:&#xD;&#xA;Embedded album art!  &#xD;&#xA;I always prefer emedded covers over folder images, since I have some albums with varying covers.&#xD;&#xA;&#xD;&#xA;One possible solution is discussed here, but the script only works if the image is already extracted:&#xD;&#xA;http://superuser.com/questions/169151/embed-album-art-in-ogg-through-command-line-in-linux&#xD;&#xA;&#xD;&#xA;One possible solution I thought about was extracting album art from every song (not every song has one, though, and some even 2 or 3!), temporarily saving it and then using the script to include it into the finished .ogg.  &#xD;&#xA;But then I want to increase the number of processes xargs runs simultaniously to save time, so the temp images need to have a distinct name.&#xD;&#xA;&#xD;&#xA;Is there a (linux) program that knows how to handle this? Or is there a finished script floating around somewhere?&#xD;&#xA;&#xD;&#xA;It would be nice if oggenc supported adding embedded coverart and it really is a shame, since these two formats should (in theory) share the same tag format.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38281" PostHistoryTypeId="1" PostId="23103" RevisionGUID="25679943-8607-4509-844e-6f6eec6456bb" CreationDate="2012-11-07T23:41:15.153" UserDisplayName="Profpatsch" Text="Preserve embedded album art when converting from .flac to .ogg" ContentLicense="CC BY-SA 3.0" />
  <row Id="38282" PostHistoryTypeId="3" PostId="23103" RevisionGUID="25679943-8607-4509-844e-6f6eec6456bb" CreationDate="2012-11-07T23:41:15.153" UserDisplayName="Profpatsch" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38283" PostHistoryTypeId="36" PostId="23105" RevisionGUID="cc0c46bb-bd74-4f35-a631-f58ea3298b35" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4309/search-for-most-friendly-software-partner-for-my-voice-recorder" />
  <row Id="38284" PostHistoryTypeId="36" PostId="23106" RevisionGUID="0ed8471e-daf6-499d-adad-37fab29a8eb5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4309/search-for-most-friendly-software-partner-for-my-voice-recorder/4310#4310" />
  <row Id="38285" PostHistoryTypeId="2" PostId="23106" RevisionGUID="0a8fe4e1-0da8-4bf5-852b-1e0ccfb51119" CreationDate="2012-06-28T15:40:41.393" UserId="7294" UserDisplayName="Warrior Bob" Text="You need some kind of software recording system. For straightforward tasks like this I generally use [Audacity](http://audacity.sourceforge.net/), which is free. At its core it's a wave editor, so it can handle cutting heads and tails off as well as some signal processing. &#xD;&#xA;&#xD;&#xA;There may be better options, however, as I'm not sure how intelligently it can strip out data like you've described. I always prefer do edits like that by hand so I've not explored automating it." ContentLicense="CC BY-SA 3.0" />
  <row Id="38286" PostHistoryTypeId="2" PostId="23105" RevisionGUID="4134eb70-7398-4aca-96fe-b13b0882f048" CreationDate="2012-06-28T11:14:01.537" UserDisplayName="Matt" Text="I got this Olympus WS-750M Voice Recorder. It's really handy, and I'm getting addicted to it.&#xD;&#xA;&#xD;&#xA;What I need to match it, is a software tool, which can easily:&#xD;&#xA;&#xD;&#xA;1. Manage recording files&#xD;&#xA;2. Cut head/tail of recordings [intelligently if possible]&#xD;&#xA;3. Remove silent segment in talks [also intelligently if possible]&#xD;&#xA;4. Increase S/N ratio&#xD;&#xA;&#xD;&#xA;Freeware is most welcome, others are also fine.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38287" PostHistoryTypeId="1" PostId="23105" RevisionGUID="4134eb70-7398-4aca-96fe-b13b0882f048" CreationDate="2012-06-28T11:14:01.537" UserDisplayName="Matt" Text="search for most friendly software partner for my Voice Recorder" ContentLicense="CC BY-SA 3.0" />
  <row Id="38288" PostHistoryTypeId="3" PostId="23105" RevisionGUID="4134eb70-7398-4aca-96fe-b13b0882f048" CreationDate="2012-06-28T11:14:01.537" UserDisplayName="Matt" Text="&lt;audio&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38289" PostHistoryTypeId="36" PostId="23107" RevisionGUID="d363901a-48f3-4b1a-82b1-2dd9f1224ab2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9927/how-to-loop-an-engine-sound-so-that-it-doesnt-sound-looped" />
  <row Id="38290" PostHistoryTypeId="36" PostId="23108" RevisionGUID="eacb0e8a-0908-4d7a-9b62-f44821582fc7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9927/how-to-loop-an-engine-sound-so-that-it-doesnt-sound-looped/9929#9929" />
  <row Id="38291" PostHistoryTypeId="2" PostId="23108" RevisionGUID="4fe1c2b5-50d9-4117-a380-d121166adbc7" CreationDate="2014-01-15T23:42:47.333" UserId="7189" Text="Audacity is a great tool for this kind of work. You might be able to make a slightly better sound using a sampler that can crossfade across different sounds for different pitches, but I'm not sure if the result would be worth the extra effort.&#xD;&#xA;&#xD;&#xA;It sounds to me like the problem with your &quot;current best&quot; is that you either aren't looking for zero crossings when you begin and end your file, or you aren't paying attention to the way harmonics fade in and out.&#xD;&#xA;&#xD;&#xA;**Zero Crossings**: Unless you are trying to make glitchy music (which you clearly aren't), you want your looping samples to always start and end with a value of zero. You *also* want the slope of the line coming to the zero crossing to be as similar as possible. That means that if the first few samples of the file are increasing, the last few samples should also be increasing, but from negative values towards zero. Generally you want to decide on your preferred slope and stick to it for all samples in your project to make it easy to interoperate.&#xD;&#xA;&#xD;&#xA;**Harmonics**: Simple sounds like a sine wave cross the horizontal access predictably. You only need three zero-crossings of a sine wave to make a good sample. More complex sounds often have harmonics that fade in and out with a longer period or even an irregular period. Your job is to carefully scan through your file and find sections that loop. This may not be easy. Try using the FFT view in Audacity to find other periodic sounds in your recording.&#xD;&#xA;&#xD;&#xA;**Alternative**: You might be able to synthesize acceptable engine noises using distorted square or saw waves. They won't sound perfectly accurate, but most of your customers will have spent more time driving Ferraris in video games than the real thing…&#xD;&#xA;&#xD;&#xA;**Pitch**: As the engine revs increase, the pitch also increases. It may be useful to remove this pitch shifting in order to extract short samples, and *then* re-apply the appropriate pitch shifts to your looped samples." ContentLicense="CC BY-SA 3.0" />
  <row Id="38292" PostHistoryTypeId="2" PostId="23107" RevisionGUID="d9403b93-39fe-4724-89b5-b975869a3bc2" CreationDate="2014-01-15T19:32:13.357" UserDisplayName="novs12" Text="I have this audio clip [here][1]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It's of a car revving up through the gears.&#xD;&#xA;&#xD;&#xA;I'm making a game and the sound for each gear of the car is all stripped from this one audio file.&#xD;&#xA;&#xD;&#xA;Although, I need to make a sound file for the max rev of the car.&#xD;&#xA;Or the 'rev limiter'.&#xD;&#xA;&#xD;&#xA;It doesn't actually need to sound like a rev limiter, i'd prefer if it just sounded like the car is at its max rev the entire time without sounding like it's looping.&#xD;&#xA;&#xD;&#xA;[Here's currently the best][2] I can make using Audacity.&#xD;&#xA;&#xD;&#xA;And it doesn't sound good, at all, it sounds like the car crashed lol.&#xD;&#xA;&#xD;&#xA;So can anyone here offer advice how to make this sound better?&#xD;&#xA;Or if you'd rather just splice it yourself and send it to me, that works too.&#xD;&#xA;I'm trying to make it loop for 13-15 seconds without noticing it looping.&#xD;&#xA;&#xD;&#xA;I only have Audacity but I can download free tools if required.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://novsstudio.com/race/sounds/car.mp3&#xD;&#xA;  [2]: http://novsstudio.com/race/sounds/revlim.mp3" ContentLicense="CC BY-SA 3.0" />
  <row Id="38293" PostHistoryTypeId="1" PostId="23107" RevisionGUID="d9403b93-39fe-4724-89b5-b975869a3bc2" CreationDate="2014-01-15T19:32:13.357" UserDisplayName="novs12" Text="How to loop an engine sound so that it doesn't sound looped?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38294" PostHistoryTypeId="3" PostId="23107" RevisionGUID="d9403b93-39fe-4724-89b5-b975869a3bc2" CreationDate="2014-01-15T19:32:13.357" UserDisplayName="novs12" Text="&lt;audio&gt;&lt;editing&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38295" PostHistoryTypeId="36" PostId="23109" RevisionGUID="6645a1fb-ea49-42b2-916d-b57fb14874e2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9653/creating-audio-file-mp3-wav-or-wma-with-one-high-frequnecy-sound-20-khz" />
  <row Id="38296" PostHistoryTypeId="2" PostId="23109" RevisionGUID="dd815267-f613-4082-9ce6-cd4a08b7ec7a" CreationDate="2013-12-13T11:32:44.700" UserDisplayName="Ivo Patrick Tudor Weiss" Text="I am developing an application that will detect a high frequency sound played by TV. &#xD;&#xA;My TV is capable of playing mp3, wma and wav files. When I generate a high frequency audio sound file (18 kHz to 21 kHz) whit Audacity. Than convert it to mp3, wma or wav the sound on this frequencies is cut of, so I can't detect it any more. &#xD;&#xA;&#xD;&#xA;Can audio files in these formats carry sounds on this high frequencies?&#xD;&#xA;If yes, how can i generate them?&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="38297" PostHistoryTypeId="1" PostId="23109" RevisionGUID="dd815267-f613-4082-9ce6-cd4a08b7ec7a" CreationDate="2013-12-13T11:32:44.700" UserDisplayName="Ivo Patrick Tudor Weiss" Text="Creating audio file (mp3, wav, or wma) with one high frequnecy sound (20 kHz)" ContentLicense="CC BY-SA 3.0" />
  <row Id="38298" PostHistoryTypeId="3" PostId="23109" RevisionGUID="dd815267-f613-4082-9ce6-cd4a08b7ec7a" CreationDate="2013-12-13T11:32:44.700" UserDisplayName="Ivo Patrick Tudor Weiss" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38309" PostHistoryTypeId="36" PostId="23114" RevisionGUID="b15e701e-6d24-4358-84cf-30d4c6ca7467" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9071/what-type-of-plug-in-is-fruity-loops-gross-beat" />
  <row Id="38310" PostHistoryTypeId="36" PostId="23115" RevisionGUID="aa838aeb-07ac-4424-bcad-c7e77ce882a7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9071/what-type-of-plug-in-is-fruity-loops-gross-beat/9774#9774" />
  <row Id="38311" PostHistoryTypeId="2" PostId="23115" RevisionGUID="f52c2106-3bf7-4627-af87-b7d42fff1e56" CreationDate="2013-12-27T21:09:11.540" UserId="7542" UserDisplayName="Don Nickel" Text="I've heard it refered to as a &quot;glitch effect&quot;, it does now work in other DAWs - &#xD;&#xA;&#xD;&#xA;Similar effects that come to mind would be:&#xD;&#xA;Sugar-Bytes - Effectix,&#xD;&#xA;Native Instruments - The Finger,&#xD;&#xA;Illformed - Glitch,&#xD;&#xA;iZotope - Stutter Edit," ContentLicense="CC BY-SA 3.0" />
  <row Id="38312" PostHistoryTypeId="2" PostId="23114" RevisionGUID="e776c636-dc3a-463a-9c6e-b303314cccfb" CreationDate="2013-09-28T04:58:33.687" UserId="6833" Text="What is the name for the type of effect that Fruity Loop's Gross Beat plug-in creates? How does that type of effect work?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38313" PostHistoryTypeId="1" PostId="23114" RevisionGUID="e776c636-dc3a-463a-9c6e-b303314cccfb" CreationDate="2013-09-28T04:58:33.687" UserId="6833" Text="What type of plug-in is Fruity Loop's Gross Beat?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38314" PostHistoryTypeId="3" PostId="23114" RevisionGUID="e776c636-dc3a-463a-9c6e-b303314cccfb" CreationDate="2013-09-28T04:58:33.687" UserId="6833" Text="&lt;audio&gt;&lt;effects&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38315" PostHistoryTypeId="36" PostId="23116" RevisionGUID="37549930-3b99-4b95-a810-72a3f1be6753" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7996/clean-up-lecture-recordings" />
  <row Id="38316" PostHistoryTypeId="36" PostId="23117" RevisionGUID="b30220b9-d5f3-446f-85bc-d09302d5d4d8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7996/clean-up-lecture-recordings/8010#8010" />
  <row Id="38317" PostHistoryTypeId="36" PostId="23118" RevisionGUID="df33bf83-6edf-4a1c-9d1f-beb0ee82adcb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7996/clean-up-lecture-recordings/8222#8222" />
  <row Id="38318" PostHistoryTypeId="2" PostId="23117" RevisionGUID="c8297b84-6bc1-4dab-a72c-8aa32faf131e" CreationDate="2013-05-31T01:39:36.837" UserId="7312" UserDisplayName="Eugene S" Text="This solution depends on what is the level of the background noise compared to the voice of the lecturer. If this ratio is high enough, you can try to apply gating effect. What it basically does is attenuate signals that register below the threshold, so at all times when your lecturer is silent, everything else will be silent as well. Then you can play a bit with attack/hold/release settings to make it sound reasonable. &#xD;&#xA;&#xD;&#xA;But again, this solution is only applicable if the &quot;noise&quot; level (the things you want to remove) is significantly lower that your lecturer level. Otherwise, gate will silence both without making a distinction." ContentLicense="CC BY-SA 3.0" />
  <row Id="38319" PostHistoryTypeId="2" PostId="23118" RevisionGUID="9c990f1a-83f3-4938-9adc-2c01010de33c" CreationDate="2013-06-26T16:29:17.470" UserId="11168" UserDisplayName="Stop forgetting my accounts..." Text="You could go into Audacity and use Noise Removal.  Select a section of chatter, preferably with no talking by the professor (between his breaths, maybe)?  With your selection active, go through the effect tab until you find Noise Removal.  Select it and click 'get noise profile'.  Now, select all of your audio, go to Noise Removal again and click OK.  It may distort the audio, but most chatter should be gone.  You can repeat this step for the pencil tapping and the &quot;shattering noises&quot; if they happen a lot.&#xD;&#xA;&#xD;&#xA;You can increase the volume of the audio by selecting all of it and clicking &quot;Amplify...&quot; under the effect tab.  The default value when you click &quot;Amplify...&quot; sets it to 100% volume, but if this is quiet, then just make the audio louder by checking &quot;allow clipping&quot; and dragging the volume up until you're satisfied.  (None of this really matters anymore though, because you're out of school, right?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="38320" PostHistoryTypeId="2" PostId="23116" RevisionGUID="e30e0e9c-2c45-42d8-8164-5c94534f5c07" CreationDate="2013-05-30T10:50:03.637" UserDisplayName="miceterminator" Text="I recorded some lectures with my smartphone mic and I was wondering is someone knows a good guide or has tips for cleaning up speech (not vocals in a song) with audacity. &#xD;&#xA;&#xD;&#xA;The lecture is recorded via a smartphone on the desk so there are the following problems in decreasing importance:&#xD;&#xA;&#xD;&#xA; - low speech volume&#xD;&#xA;&#xD;&#xA; - few shattering noises from the table vibrating when someone hits it (I could    probably dampen it in Hardware in the future)&#xD;&#xA;&#xD;&#xA; - pencil sound&#xD;&#xA;&#xD;&#xA; - people chatting in low voice in the vicinity&#xD;&#xA;&#xD;&#xA;I am working with audacity, and the goal is to increase the subjective audio quality thus making it easier to listen to the lecture afterwards. The quality is already at a point where one can listen to the lecture, it is just quite exhausting.&#xD;&#xA;&#xD;&#xA;I am aware that the audio quality will never reach a &quot;good&quot; level still I think that there are things that can be done.&#xD;&#xA;&#xD;&#xA;So far I tried lowpass and highpass filtering but I somehow fail to set the right variables. The plethora of filtering options in audacity is also a bit overwhelming. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38321" PostHistoryTypeId="1" PostId="23116" RevisionGUID="e30e0e9c-2c45-42d8-8164-5c94534f5c07" CreationDate="2013-05-30T10:50:03.637" UserDisplayName="miceterminator" Text="Clean up Lecture recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="38322" PostHistoryTypeId="3" PostId="23116" RevisionGUID="e30e0e9c-2c45-42d8-8164-5c94534f5c07" CreationDate="2013-05-30T10:50:03.637" UserDisplayName="miceterminator" Text="&lt;audio-recording&gt;&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38323" PostHistoryTypeId="36" PostId="23119" RevisionGUID="a747e52d-5314-49d5-828e-87cd6cc4b183" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8933/where-do-electronic-musicians-get-samples-for-remixing-songs" />
  <row Id="38324" PostHistoryTypeId="2" PostId="23120" RevisionGUID="fdebb1a9-2840-4bf7-a995-771aeb926085" CreationDate="2013-09-13T01:52:09.980" UserId="7194" Text="Labels ask remixers for remixes as these serve as added content and added value to sellable products. In the professional industry the label typically initiate the process (that is, you are asked to remix something, you don't ask to remix something).&#xD;&#xA;&#xD;&#xA;As you have mentioned, remixing competitions are common nowadays as they increase the artist reach, exposure and engagement with audiences. Notice, however, that typically the license you get for the material restrict commercial usage.&#xD;&#xA;&#xD;&#xA;There are a few sites that specialise in these sort of things, like [Indaba Music](https://beta.indabamusic.com/), but there isn't a central repository (for legal reasons) or even a directory to the best of my knowledge.&#xD;&#xA;&#xD;&#xA;To see if a vocal track has been released in this form or another, I would suggest you simply put the track name in Google together with the word &quot;Acapella&quot;. If anything is out there in any form, google is likely to find it.&#xD;&#xA;&#xD;&#xA;The official procedure to get both the license and raw tracks would begin by contacting the publisher of the track (alternatively you may contact the artist management). However, the likelihood anyone will go through the legal procedure and the procedure of obtaining the raw track is slim, unless there is some viable financial prospect involved. But as in many things in the music industry - you can never tell; if you have 100,000 followers on facebook or soundcloud, or if the other party likes your showreel, it may well be considered a viable. The bigger the artist, the smaller your chances are though." ContentLicense="CC BY-SA 3.0" />
  <row Id="38325" PostHistoryTypeId="2" PostId="23119" RevisionGUID="e2ec97b1-46e4-464f-8884-262745e68351" CreationDate="2013-09-11T09:20:38.980" UserId="9431" UserDisplayName="acheong87" Text="There are other questions on this site regarding copyright and adhering to law, but I'm more asking where you'd go to find individual tracks to songs, free or paid; or if there's a typical or even standard process for requesting tracks from their holder(s).&#xD;&#xA;&#xD;&#xA;I'm interested in remixing mostly vocal trance songs, and thus usually looking for the vocal track(s), as I can synthesize the instruments in my DAW for the most part.&#xD;&#xA;&#xD;&#xA;To give a concrete example, let's say we wanted to find the vocals to Aly &amp; Fila's &quot;Paradise.&quot;  Where would we start? (Or if it's easier to start with a more currently-mainstream example, take Zedd's &quot;Clarity&quot;&amp;mdash;what would you do to obtain the vocals to that track?)&#xD;&#xA;&#xD;&#xA;I know sometimes there are remix competitions for some songs&amp;mdash;is there a site that maybe aggregates and stores the released tracks from these events? If someone here has experience explicitly requesting individual track(s), do you have any advice, or possibly an example email or letter you've sent to the holder(s)?&#xD;&#xA;&#xD;&#xA;Thanks. I hope the scope of this question is focused enough despite the many sub-questions. I'm new to AVP.SE so please help me re-tag this question if you can&amp;mdash;[tag:music] and [tag:audio] seem too generic, but I don't see a [tag:remix] tag; I don't think [tag:sampling] is the same as [tag:samples] (which also doesn't exist); and I think [tag:vocals] and [tag:tracks] aren't really right either." ContentLicense="CC BY-SA 3.0" />
  <row Id="38326" PostHistoryTypeId="1" PostId="23119" RevisionGUID="e2ec97b1-46e4-464f-8884-262745e68351" CreationDate="2013-09-11T09:20:38.980" UserId="9431" UserDisplayName="acheong87" Text="Where do electronic musicians get samples for remixing songs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38327" PostHistoryTypeId="3" PostId="23119" RevisionGUID="e2ec97b1-46e4-464f-8884-262745e68351" CreationDate="2013-09-11T09:20:38.980" UserId="9431" UserDisplayName="acheong87" Text="&lt;audio&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38328" PostHistoryTypeId="36" PostId="23120" RevisionGUID="db0731e6-5235-4835-b937-2c7695190a63" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8933/where-do-electronic-musicians-get-samples-for-remixing-songs/8958#8958" />
  <row Id="38329" PostHistoryTypeId="36" PostId="23121" RevisionGUID="b24cf266-f32f-4740-8fb7-ae9cc5f2b127" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8933/where-do-electronic-musicians-get-samples-for-remixing-songs/8961#8961" />
  <row Id="38330" PostHistoryTypeId="2" PostId="23121" RevisionGUID="9828bb56-6399-456e-8352-c4f320985820" CreationDate="2013-09-13T04:41:13.513" UserId="8159" UserDisplayName="Jamil" Text="Start at Harry Fox. Some other organizations you might be interested in knowing about are BMI and ASCAP.&#xD;&#xA;&#xD;&#xA;If it's not registered with any of those, ask the artist. You might want to ask the artist first. Also, search through soundcloud or other sites for some artists without as much notoriety, but who's music is still appealing to you, and ask them. It's good to help out those less fortunate as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="38331" PostHistoryTypeId="36" PostId="23122" RevisionGUID="81fbeb43-f261-4e83-8051-f9d117a69641" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7546/how-to-remove-sound-clipping-in-existing-record" />
  <row Id="38332" PostHistoryTypeId="36" PostId="23123" RevisionGUID="8e2e0324-0c8b-4cbb-829d-d5077caac996" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7546/how-to-remove-sound-clipping-in-existing-record/7547#7547" />
  <row Id="38333" PostHistoryTypeId="2" PostId="23123" RevisionGUID="0ee06f43-9efe-49c0-9d09-d0409943557c" CreationDate="2013-03-31T11:21:57.300" UserId="7016" Text="You can't actually remove clipping - in recording your levels were too high so your waveforms were damaged at that point. Nothing can bring back the originals, andv even filtering can only be used to remove some of the frequencies that may have been caused. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38334" PostHistoryTypeId="2" PostId="23124" RevisionGUID="2a26de4d-abfc-4574-b08b-8de481634dab" CreationDate="2013-03-31T13:40:13.497" UserId="7312" UserDisplayName="Eugene S" Text="It is impossible to repair clipped signal, since when clipping occurs, part of the original signal is eliminated and cannot be restored. The phenomena is described in the below image:&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;However there are few commercial clicks\pops removal apps available which could improve the signal. The following list of software appear in Wikipedia:&#xD;&#xA;&#xD;&#xA; 1. Sony Sound Forge &#xD;&#xA; 2. iZotope Rx2 &#xD;&#xA; 3. Adobe Audition &#xD;&#xA; 4. Nero Wave Editor&#xD;&#xA; 5. plugin in the Audacity LADSPA package come with clip restoration software. There is also an Audacity plugin called Clip Fix &#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/BBgwP.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="38335" PostHistoryTypeId="2" PostId="23122" RevisionGUID="5e51613e-9539-41d6-bd8c-d77caf8a1ff5" CreationDate="2013-03-31T10:30:19.597" UserId="11382" UserDisplayName="ILICH" Text="I have an old record that has some clipping effect that happened during recording. This is a song, so i can't just cut out all frequencies probably ... is there any smarter way around to get rid of that clipping? &#xD;&#xA;&#xD;&#xA;http://www.2shared.com/audio/SMuu991E/smrad.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="38336" PostHistoryTypeId="1" PostId="23122" RevisionGUID="5e51613e-9539-41d6-bd8c-d77caf8a1ff5" CreationDate="2013-03-31T10:30:19.597" UserId="11382" UserDisplayName="ILICH" Text="how to remove sound clipping in existing record" ContentLicense="CC BY-SA 3.0" />
  <row Id="38337" PostHistoryTypeId="3" PostId="23122" RevisionGUID="5e51613e-9539-41d6-bd8c-d77caf8a1ff5" CreationDate="2013-03-31T10:30:19.597" UserId="11382" UserDisplayName="ILICH" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;signal-processing&gt;&lt;filter&gt;&lt;clipping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38338" PostHistoryTypeId="36" PostId="23124" RevisionGUID="6df3243c-2d84-432b-9d2a-e87181345194" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7546/how-to-remove-sound-clipping-in-existing-record/7549#7549" />
  <row Id="38339" PostHistoryTypeId="36" PostId="23125" RevisionGUID="d333de25-0ef8-443c-8b9f-185afc09ded9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2359/how-can-i-record-audio-from-another-application-into-adobe-audition-5-5-on-a-mac" />
  <row Id="38340" PostHistoryTypeId="36" PostId="23126" RevisionGUID="49588a8b-0e5c-413f-8a2b-b191d5cc2407" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2359/how-can-i-record-audio-from-another-application-into-adobe-audition-5-5-on-a-mac/2375#2375" />
  <row Id="38341" PostHistoryTypeId="2" PostId="23126" RevisionGUID="1eee6c96-9bea-44e7-89b4-607600821406" CreationDate="2011-09-24T07:42:59.697" UserDisplayName="kima" Text="It's been  a while since i last worked on a mac but i remember having the same problem and &quot;Soundflower&quot; did the job. &#xD;&#xA;&#xD;&#xA;http://code.google.com/p/soundflower/&#xD;&#xA;&#xD;&#xA;Another possibility(if you are trying to send audio from one DAW to another)is the VST/AU plugin &quot;Wormhole&quot;.&#xD;&#xA;&#xD;&#xA;http://code.google.com/p/wormhole2/" ContentLicense="CC BY-SA 3.0" />
  <row Id="38342" PostHistoryTypeId="2" PostId="23125" RevisionGUID="b1fc5c29-ed9a-4c3c-ad1f-38a5d728f0c4" CreationDate="2011-09-22T18:36:08.250" UserId="13281" UserDisplayName="codecowboy" Text="I have a Firewire 410 audio interface and Macbook Pro running Snow Leopard &amp; Adobe Audition 5.5. I would like to record the audio output from another application e.g. a stream in a browser into a stereo track in Adobe Audition. Is this possible?&#xD;&#xA;&#xD;&#xA;I have Audio Hardware Inputs set to FireWire410 Multichannel in Audition's preferences but am not sure how to route the audio into Audition.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38343" PostHistoryTypeId="1" PostId="23125" RevisionGUID="b1fc5c29-ed9a-4c3c-ad1f-38a5d728f0c4" CreationDate="2011-09-22T18:36:08.250" UserId="13281" UserDisplayName="codecowboy" Text="How can I record audio from another application into Adobe Audition 5.5 on a mac?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38344" PostHistoryTypeId="3" PostId="23125" RevisionGUID="b1fc5c29-ed9a-4c3c-ad1f-38a5d728f0c4" CreationDate="2011-09-22T18:36:08.250" UserId="13281" UserDisplayName="codecowboy" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38353" PostHistoryTypeId="36" PostId="23130" RevisionGUID="b6e8d58a-612d-4b40-8ffc-ad8f7ac3fcf9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9/headphones-to-block-outside-noise" />
  <row Id="38354" PostHistoryTypeId="36" PostId="23131" RevisionGUID="d40de189-535f-4d47-905e-f27c245df39a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9/headphones-to-block-outside-noise/11#11" />
  <row Id="38355" PostHistoryTypeId="36" PostId="23132" RevisionGUID="bf220f31-0450-400a-8a8f-c28bd777961a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9/headphones-to-block-outside-noise/12#12" />
  <row Id="38356" PostHistoryTypeId="36" PostId="23133" RevisionGUID="152d0da5-bb6c-4fd5-be35-63089d2b600a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9/headphones-to-block-outside-noise/37#37" />
  <row Id="38357" PostHistoryTypeId="36" PostId="23134" RevisionGUID="9a2d4e6a-a2cb-48fe-aee7-9c1e40b4bccc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9/headphones-to-block-outside-noise/164#164" />
  <row Id="38358" PostHistoryTypeId="36" PostId="23135" RevisionGUID="a00a6145-1f92-4be7-990a-920a73207266" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9/headphones-to-block-outside-noise/165#165" />
  <row Id="38359" PostHistoryTypeId="2" PostId="23131" RevisionGUID="33f14a5d-f0e6-41ee-9c93-8ec8eac11f42" CreationDate="2010-12-07T20:32:37.657" UserId="7592" UserDisplayName="Pelle ten Cate" Text="To do quick monitoring, finding disturbing signals and getting a general idea of the reverberation in the hall, I gladly use my Sennheiser HD-25, but basically any well closing pair of headphones will do. &#xD;&#xA;&#xD;&#xA;If you need to check the amount of recorded reverb, just listening in the hall while the musicians are playing is not enough, you need to record a bit, and play it back in your headphones, so that the real reverb does not crosstalk into your ears.&#xD;&#xA;&#xD;&#xA;The only real person to answer this question is yourself. Did you try what you suggest? (i.e. in-ear monitoring).&#xD;&#xA;&#xD;&#xA;What I like to do myself is bring a long pair of cables, move out of the hall into a relatively quiet room and set up a pair of studio monitors with a mixing desk. But it depends on the situation." ContentLicense="CC BY-SA 2.5" />
  <row Id="38360" PostHistoryTypeId="2" PostId="23132" RevisionGUID="0a4c2e33-f439-4f2a-a5b8-1661c8017273" CreationDate="2010-12-07T20:33:10.353" UserDisplayName="Andrew Arnold" Text="In-ear phones would probably only be okay as long as they are the kind that completely seal and fit inside the ear canal—ones that are specifically made for monitoring.&#xD;&#xA;&#xD;&#xA;Personally, if I wear that kind too long it'll start to hurt my ears, so I'd go with  circumaural headphones, but that's me. So maybe it comes down to personal preference and what you find more comfortable." ContentLicense="CC BY-SA 2.5" />
  <row Id="38361" PostHistoryTypeId="2" PostId="23133" RevisionGUID="4a2a5c15-4820-4252-b078-1ed43e38b742" CreationDate="2010-12-07T21:04:05.517" UserId="8064" UserDisplayName="Rich Bruchal" Text="Dave Rat had a whole series on his quest for the perfect FOH headphones. That might give you some ideas:&#xD;&#xA;&#xD;&#xA;http://www.ratsound.com/cblog/archives/359-The-Mighty-Headphone-Quest.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="38362" PostHistoryTypeId="2" PostId="23134" RevisionGUID="f310723a-0ce6-40c4-af78-977a5b11d8ce" CreationDate="2010-12-09T02:05:07.117" UserId="9459" UserDisplayName="Matthew Read" Text="There are two kinds of headphones to consider - noise isolation and noise cancelling.&#xD;&#xA; &#xD;&#xA;In-ear headphones that &quot;seal&quot; and many standard headphones are noise isolation.  This simply means that they're in the way of most other sounds, and physically block them.  Noise isolation headphones should be sufficient, unless the external noise is very loud.  However, I would highly recommend against in-ear headphones.  The audio quality is much lower and becomes distorted more quickly at higher volumes, and you lose distinction at lower volumes.&#xD;&#xA; &#xD;&#xA;Noise cancelling headphones actively monitor external sounds and reproduce those sounds slightly out off phase, so that the external sound is cancelled out by the &quot;opposite&quot; sound wave.  This virtually eliminates all external noise.  They are very expensive, but may be a must in extreme situations." ContentLicense="CC BY-SA 2.5" />
  <row Id="38363" PostHistoryTypeId="2" PostId="23135" RevisionGUID="495e4aa0-8622-4341-b0db-af61355d2346" CreationDate="2010-12-09T02:22:35.720" UserDisplayName="Tom Wijsman" Text="If you like in-ear headphones, you might want to consider to place a sound blocking headset over it.&#xD;&#xA;&#xD;&#xA;They tend to use similar things at airplanes and construction yards, you will definitely hear no sound...&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/2prR1.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="38364" PostHistoryTypeId="2" PostId="23130" RevisionGUID="4244abd0-154f-4d9b-908f-d9d906dc2357" CreationDate="2010-12-07T20:28:14.947" UserDisplayName="fluteflute" Text="In a live recording environment, what &quot;style&quot; of headphones should I use to monitor what I am recording - in other words which block out the outside sound best.&#xD;&#xA;&#xD;&#xA;Are in-ear headphones completely inappropriate for instance?" ContentLicense="CC BY-SA 2.5" />
  <row Id="38365" PostHistoryTypeId="1" PostId="23130" RevisionGUID="4244abd0-154f-4d9b-908f-d9d906dc2357" CreationDate="2010-12-07T20:28:14.947" UserDisplayName="fluteflute" Text="Headphones to block outside noise" ContentLicense="CC BY-SA 2.5" />
  <row Id="38366" PostHistoryTypeId="3" PostId="23130" RevisionGUID="4244abd0-154f-4d9b-908f-d9d906dc2357" CreationDate="2010-12-07T20:28:14.947" UserDisplayName="fluteflute" Text="&lt;audio-recording&gt;&lt;headphones&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38367" PostHistoryTypeId="36" PostId="23136" RevisionGUID="1dae29e7-a8c9-4ae0-8c8e-6a34be604555" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5451/zoom-h2-recordings-with-two-different-mic-settings-how-can-i-match-them-now" />
  <row Id="38368" PostHistoryTypeId="36" PostId="23137" RevisionGUID="e751eab0-14a7-4639-bdbc-7a8133f273dc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5451/zoom-h2-recordings-with-two-different-mic-settings-how-can-i-match-them-now/5458#5458" />
  <row Id="38369" PostHistoryTypeId="2" PostId="23137" RevisionGUID="ea241f1e-e7b8-4d9f-9147-35bb82e707fd" CreationDate="2012-11-30T03:44:59.853" UserId="7189" Text="The easiest thing to do would be to turn your two stereo recordings into two mono recordings. You might be able to do this by summing your left and right channel, but it is safer to pick either the left channel or the right channel and use that. This is because you might have phase cancellation when summing the two channels to mono.&#xD;&#xA;&#xD;&#xA;Now that you have gotten rid of the differing stereo image, you just need to match levels. Use an audio editor like [Audacity][1] to reduce the level of the louder recording until it matches the quieter recording.&#xD;&#xA;&#xD;&#xA;If you want to try to match the [stereo][2] image, then you need to dive into stereo processing. There are [psychoacoustic][3] techniques that can help you manipulate the perceived stereo image. What exactly you need to do will depend on your recording and desired outcome.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Stereophonic_sound&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Psychoacoustics" ContentLicense="CC BY-SA 3.0" />
  <row Id="38370" PostHistoryTypeId="2" PostId="23136" RevisionGUID="6b1ab501-9945-4deb-a32d-770019d1e92a" CreationDate="2012-11-29T08:23:28.643" UserId="7824" UserDisplayName="Henrik Söderlund" Text="I have a dilemma. I recorded live flute in a concert hall yesterday using my mac and the Zoom H2. I used the 2-channel setting that uses both the front and back mics, creating a stereo file. When I recorded the same thing today, I forgot to change the mic setting, hence this recording is made only from the front mic, creating a single stereo file with left and right.&#xD;&#xA;&#xD;&#xA;I now need to cut/paste clips and make them match. How do I proceed?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38371" PostHistoryTypeId="1" PostId="23136" RevisionGUID="6b1ab501-9945-4deb-a32d-770019d1e92a" CreationDate="2012-11-29T08:23:28.643" UserId="7824" UserDisplayName="Henrik Söderlund" Text="Zoom H2 recordings with two different mic settings. How can I match them now?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38372" PostHistoryTypeId="3" PostId="23136" RevisionGUID="6b1ab501-9945-4deb-a32d-770019d1e92a" CreationDate="2012-11-29T08:23:28.643" UserId="7824" UserDisplayName="Henrik Söderlund" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38373" PostHistoryTypeId="36" PostId="23138" RevisionGUID="5e2fc3c0-92ff-4042-8604-d6c3915a2bab" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4710/how-to-get-vocals-from-song-using-original-song-and-remix-using-official-vocals" />
  <row Id="38374" PostHistoryTypeId="36" PostId="23139" RevisionGUID="44f69855-ad15-4e9a-83b6-178e678786b7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4710/how-to-get-vocals-from-song-using-original-song-and-remix-using-official-vocals/4719#4719" />
  <row Id="38375" PostHistoryTypeId="2" PostId="23139" RevisionGUID="c4cc6266-649e-471b-b591-3d011c834ac9" CreationDate="2012-09-12T14:44:35.733" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="Sorry to say, there is no *perfect* way of doing this. The link you provided uses the same technique I was going to describe but this requires that you have the original and an **exact instrumental copy**. Even that technique is not perfect and will still have some background noise.&#xD;&#xA;&#xD;&#xA;**One piece of AWESOME software that does this** with techniques that are far beyond my understanding **is [Melodyne](http://www.celemony.com/cms/index.php?id=melodyne).** You can actually isolate many parts of the song with this software. Only downside is the cost and, at least from what I've researched and been told, the isolation isn't *perfect*. My experience with this program is quite low since I just obtained it so there is more than likely a way to decrease the amount of background noise that comes when you isolate a sound. Melodyne is also great for fixing pitch in recorded vocals and is the reason I got it.&#xD;&#xA;&#xD;&#xA;**Of course the best way is to use the technique you already discovered or just asking the artist(s) for the isolated vocal track ^_^**" ContentLicense="CC BY-SA 3.0" />
  <row Id="38376" PostHistoryTypeId="2" PostId="23138" RevisionGUID="a58242b9-6239-464c-b453-63dc979f9eb1" CreationDate="2012-09-11T17:48:30.867" UserDisplayName="SamB" Text="There are some songs that have been remixed by the author, so you can assume that at least  some parts of the vocals in both songs are the same. What is the order of operations using a program like Audacity extract the vocal track.&#xD;&#xA;&#xD;&#xA;It is similar to this question [http://avp.stackexchange.com/questions/1947/subtracting-specific-audio-using-an-isolated-track-from-the-same-mix][1] but if you do the subtraction it will result in combining the instrumental part of both songs (I think...) which is not what I want.&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/1947/subtracting-specific-audio-using-an-isolated-track-from-the-same-mix" ContentLicense="CC BY-SA 3.0" />
  <row Id="38377" PostHistoryTypeId="1" PostId="23138" RevisionGUID="a58242b9-6239-464c-b453-63dc979f9eb1" CreationDate="2012-09-11T17:48:30.867" UserDisplayName="SamB" Text="How to get vocals from song using original song and remix using official vocals" ContentLicense="CC BY-SA 3.0" />
  <row Id="38378" PostHistoryTypeId="3" PostId="23138" RevisionGUID="a58242b9-6239-464c-b453-63dc979f9eb1" CreationDate="2012-09-11T17:48:30.867" UserDisplayName="SamB" Text="&lt;audio&gt;&lt;playback&gt;&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38379" PostHistoryTypeId="36" PostId="23140" RevisionGUID="0ae46df5-2bcf-4c89-a560-6c561ab2ff97" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/901/m-audio-fasttrack-pro-levels-are-very-low" />
  <row Id="38380" PostHistoryTypeId="36" PostId="23141" RevisionGUID="715cf1ed-a188-4ebf-aa70-b0d33d97a793" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/901/m-audio-fasttrack-pro-levels-are-very-low/903#903" />
  <row Id="38381" PostHistoryTypeId="36" PostId="23142" RevisionGUID="b9364242-8c0d-45c5-af8b-0eaee0fd918f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/901/m-audio-fasttrack-pro-levels-are-very-low/905#905" />
  <row Id="38382" PostHistoryTypeId="36" PostId="23143" RevisionGUID="29ba5e1e-cb45-426e-992b-957b3a213fab" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/901/m-audio-fasttrack-pro-levels-are-very-low/1934#1934" />
  <row Id="38383" PostHistoryTypeId="2" PostId="23141" RevisionGUID="0887469d-efdf-4a28-9495-0a4bbefe6ae5" CreationDate="2011-02-24T15:38:22.447" UserId="7294" UserDisplayName="Warrior Bob" Text="I use a Fast Track Ultra that I've always thought had low levels for each of its preamps, but nothing so extreme as needing to crank the gain all the way up just to get a usable level.  &#xD;&#xA;&#xD;&#xA;The Ultra has an optional -20dB pad on each of its preamps which is enabled by pulling the gain dial out.  Check to see if your Pro has a similar pad which might be enabled erroneously.  The documentation should say if such a thing exists, or it might be written on the device somewhere.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38384" PostHistoryTypeId="2" PostId="23142" RevisionGUID="7c548f26-168d-424d-91ab-eb53c3d81aa7" CreationDate="2011-02-24T18:20:13.680" UserId="13395" UserDisplayName="Ali Maxwell" Text="Have you checked whether the 'pad' button on the front of the unit by the input jack is depressed? If it is, the signal is severely quietened, designed to cope with very hot inputs like drum mics without distorting them. I don't mean to be patronising, but I made that mistake once :/ &#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 2.5" />
  <row Id="38385" PostHistoryTypeId="2" PostId="23143" RevisionGUID="3e40ac92-9cfd-4694-97ec-54a9031ab200" CreationDate="2011-07-22T18:59:38.303" UserId="14771" UserDisplayName="Chelonian" Text="I just had the same problem with a Firewire Solo and I'm pretty sure the problem is my mic cable, not the interface.  I know you said you tried it with various cables and mics, but did you prove that you had a working and 100% loud enough cable and mic on another system before you tried it on the M-Audio?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="38386" PostHistoryTypeId="2" PostId="23140" RevisionGUID="d81cc43e-414e-44ec-9677-e4fce9d5814a" CreationDate="2011-02-24T14:41:23.140" UserId="7856" UserDisplayName="Corey" Text="I'm curious if anyone else has experienced very low levels from the mic pres on the FastTrack Pro.&#xD;&#xA;Whenever I use it, I have to crank the gain for the corresponding channel almost to its max before I get a decent input level in my recording software. I've tried several mics and cables.&#xD;&#xA;Has anyone else experienced this with the FastTrack Pro?" ContentLicense="CC BY-SA 2.5" />
  <row Id="38387" PostHistoryTypeId="1" PostId="23140" RevisionGUID="d81cc43e-414e-44ec-9677-e4fce9d5814a" CreationDate="2011-02-24T14:41:23.140" UserId="7856" UserDisplayName="Corey" Text="M-Audio FastTrack Pro levels are very low" ContentLicense="CC BY-SA 2.5" />
  <row Id="38388" PostHistoryTypeId="3" PostId="23140" RevisionGUID="d81cc43e-414e-44ec-9677-e4fce9d5814a" CreationDate="2011-02-24T14:41:23.140" UserId="7856" UserDisplayName="Corey" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38389" PostHistoryTypeId="36" PostId="23144" RevisionGUID="cdcc95ed-0335-4d3b-9060-9f35c858e8da" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2889/weird-tempo-translation-between-digital-performer-7-24-and-reason-5" />
  <row Id="38390" PostHistoryTypeId="36" PostId="23145" RevisionGUID="6f1d4a98-1baf-403f-96d6-2c474c32aeaa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2889/weird-tempo-translation-between-digital-performer-7-24-and-reason-5/2891#2891" />
  <row Id="38391" PostHistoryTypeId="2" PostId="23145" RevisionGUID="18a02901-dbd6-4c69-b354-c3d54f92b86d" CreationDate="2011-12-23T16:17:30.230" UserId="9511" UserDisplayName="Johnny Bigoode" Text="I had tempo problems with Ableton/Reason using Rewire, the solution I found was simple: &#xD;&#xA;&#xD;&#xA;Move all tempo automation from Ableton to Reason. &#xD;&#xA;&#xD;&#xA;For some weird reason, it works fine when Reason changes tempo, but not when Live does it. &#xD;&#xA;Maybe this solution can be use in your case. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38392" PostHistoryTypeId="2" PostId="23144" RevisionGUID="9bc4dbf5-698d-47db-bf03-dcf66855fb6e" CreationDate="2011-12-23T16:10:51.357" UserDisplayName="Smovies" Text="After researching the problem on line, it appears that Reason doesn't always do well with Digital-Performer-programmed tempo/meter changes when running in ReWire mode. It gets confused and stutters/drops beats.&#xD;&#xA;&#xD;&#xA;Is there a known work-around for this issue?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38393" PostHistoryTypeId="1" PostId="23144" RevisionGUID="9bc4dbf5-698d-47db-bf03-dcf66855fb6e" CreationDate="2011-12-23T16:10:51.357" UserDisplayName="Smovies" Text="Weird Tempo Translation Between Digital Performer 7.24 and Reason 5" ContentLicense="CC BY-SA 3.0" />
  <row Id="38394" PostHistoryTypeId="3" PostId="23144" RevisionGUID="9bc4dbf5-698d-47db-bf03-dcf66855fb6e" CreationDate="2011-12-23T16:10:51.357" UserDisplayName="Smovies" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38395" PostHistoryTypeId="36" PostId="23146" RevisionGUID="08ce248c-7370-41a3-a137-f41c4e0be082" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9519/where-to-get-beats-with-constant-temp" />
  <row Id="38396" PostHistoryTypeId="2" PostId="23147" RevisionGUID="6aa5a738-a189-4437-a829-bbeb589c3f75" CreationDate="2013-11-30T10:09:05.030" UserId="7180" Text="If you are going to be using them to create a tempo detection program and need something constant Audacity has a great tool for creating metronome tracks. &#xD;&#xA;&#xD;&#xA;1. If you haven't already download and install Audacity from http://audacity.sourceforge.net/&#xD;&#xA;2. Open Audacity&#xD;&#xA;3. Navigate to the menu Generate &gt; Click Track&#xD;&#xA;![Audacity1][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;4. Choose the tempo and other various setting you wish to set, the click track plug-in is fairly robust and it should do everything you are asking.&#xD;&#xA;&#xD;&#xA;![click track settings][2]&#xD;&#xA;&#xD;&#xA;However this will be very ideal tracks and will not have the full spectrum of sound as you would have with an actual audio track.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/WsMjq.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/O9og1.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="38397" PostHistoryTypeId="2" PostId="23146" RevisionGUID="5a74cf09-ffc2-4515-9a24-f23125c883ef" CreationDate="2013-11-28T13:11:00.320" UserDisplayName="KillaKem" Text="I am looking for audio samples with very distinct beats and with constant tempos, does anyone know where I can find them? The tempo of the audio samples should also be available.I am looking to use these samples to help develop a tempo detection and beat tracking application." ContentLicense="CC BY-SA 3.0" />
  <row Id="38398" PostHistoryTypeId="1" PostId="23146" RevisionGUID="5a74cf09-ffc2-4515-9a24-f23125c883ef" CreationDate="2013-11-28T13:11:00.320" UserDisplayName="KillaKem" Text="Where to get Beats with constant Temp" ContentLicense="CC BY-SA 3.0" />
  <row Id="38399" PostHistoryTypeId="3" PostId="23146" RevisionGUID="5a74cf09-ffc2-4515-9a24-f23125c883ef" CreationDate="2013-11-28T13:11:00.320" UserDisplayName="KillaKem" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38400" PostHistoryTypeId="36" PostId="23147" RevisionGUID="4f78a357-67b2-4801-a6ce-0a6f7e695da6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9519/where-to-get-beats-with-constant-temp/9532#9532" />
  <row Id="38401" PostHistoryTypeId="36" PostId="23148" RevisionGUID="39c6e090-4664-450d-9fe4-f2e9e5400f94" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9519/where-to-get-beats-with-constant-temp/9702#9702" />
  <row Id="38402" PostHistoryTypeId="2" PostId="23148" RevisionGUID="f8eb6167-33e1-4980-8c37-3e04ceb5a4ea" CreationDate="2013-12-18T16:55:12.630" UserDisplayName="devQry" Text="Why would you want to look at constant tempo songs only? Would your tempo detection work for constant tempo songs only? What would it do with non-constant songs?&#xD;&#xA;Imho, one task of tempo detection would be to discriminate between constant and non-constant tempo songs.&#xD;&#xA;TempoPlayer app for iOS categorizes songs by BPM and lets the user set his preferred &quot;constancy limit&quot;.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38409" PostHistoryTypeId="36" PostId="23151" RevisionGUID="eb4f56c3-4274-42e1-8b18-87e418157dd7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5467/recording-microphone-input-as-a-second-input-with-fraps" />
  <row Id="38410" PostHistoryTypeId="36" PostId="23152" RevisionGUID="64832750-1b50-49e8-b1dd-cf1aa8da057c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5467/recording-microphone-input-as-a-second-input-with-fraps/5614#5614" />
  <row Id="38411" PostHistoryTypeId="36" PostId="23153" RevisionGUID="8418d05b-d78b-4335-b592-885204aba789" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5467/recording-microphone-input-as-a-second-input-with-fraps/5648#5648" />
  <row Id="38412" PostHistoryTypeId="2" PostId="23152" RevisionGUID="0d20fd86-0799-4084-85b5-dc57f0a74220" CreationDate="2012-12-19T17:33:41.300" UserId="7016" Text="Unfortunately, even if you script a trigger for both apps at the same time they will not reliably be synced, so you are better off planning to sync in post production. &#xD;&#xA;&#xD;&#xA;This can be very easy if you use a clapperboard or similar- this gives a sharp sound which is ready to line up in any editor ( some will do it automatically ) and takes very little time. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38413" PostHistoryTypeId="2" PostId="23153" RevisionGUID="dfa9fb1b-bdb8-4ca7-937d-88510138d85f" CreationDate="2012-12-21T22:27:57.333" UserDisplayName="Paul Green" Text="E: I didn't read the question properly, to fix the problem of too loud in-game audio either level down the game audio and get your voice and game on one sound level before recording or enable multi-channel recording and enable surround sound in your game (even if you dont have a surround sound setup), then you will have many of the game sound in seperate channels and mostly have game dialougs on the center channel where fraps will also put your mic recording.&#xD;&#xA;In any editing application you will then have the ability to level each channel seperately.&#xD;&#xA;Down side of that is that you will miss out on some game sounds (on our side) during the game session if you dont happen to have a surround audio solution for your gaming PC.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;Fraps offers dual audio recording, to record mic input and game/program audio at the same time.&#xD;&#xA;This will only work on Windows 7 though and games that use the Windows Audio Mixer (which are nearly all games out there).&#xD;&#xA;The &quot;Record Win7 sound&quot; option will record everything that is visible in the sound mixer (click on the sound icon in the taskbar and then on mixer). Nearly all games and programs that have sound output in any way will be listed there.&#xD;&#xA;Then just choose your microphone in the &quot;Record external input&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="38414" PostHistoryTypeId="2" PostId="23151" RevisionGUID="46ed7204-3a92-4af0-b02e-dc829f8961e8" CreationDate="2012-11-30T22:48:56.703" UserId="13271" UserDisplayName="Ben Brocka" Text="I do game commentaries with Fraps, and the biggest thing I miss from Camtasia (which isn't an option for many fullscreen applcations) is multiple audio tracks. &#xD;&#xA;&#xD;&#xA;Using Fraps to record both system audio and microphone input results in a single track, with extremely loud system audio and standard volume mic audio. It's very hard to get the audio level for system audio low enough (sometimes impossible, since I have to change it via in-app settings, Fraps ignores system volume levels), and it's all in one track so I get no shot at post editing.&#xD;&#xA;&#xD;&#xA;Is there a way I can record a second audio track at the exact same time (ending at the exact same time) as the Fraps recording? I've seen multiple forum threads where the suggested solution is to start Fraps, then start Audacity (or another audio recorder) and sync up the audio files in post. Starting the recordings at different times makes it extremely hard to sync them up, and I'd rather deal with the volume issue than deal with audio sync issues. &#xD;&#xA;&#xD;&#xA;Is there some way I can start Fraps and record audio externally, starting and ending both programs at the exact same time so they're in perfect sync? I unfortunately can't map multiple recording programs to the same hotkey, and pressing two buttons can result in unsynced A/V." ContentLicense="CC BY-SA 3.0" />
  <row Id="38415" PostHistoryTypeId="1" PostId="23151" RevisionGUID="46ed7204-3a92-4af0-b02e-dc829f8961e8" CreationDate="2012-11-30T22:48:56.703" UserId="13271" UserDisplayName="Ben Brocka" Text="Recording microphone input as a second input with Fraps" ContentLicense="CC BY-SA 3.0" />
  <row Id="38416" PostHistoryTypeId="3" PostId="23151" RevisionGUID="46ed7204-3a92-4af0-b02e-dc829f8961e8" CreationDate="2012-11-30T22:48:56.703" UserId="13271" UserDisplayName="Ben Brocka" Text="&lt;video&gt;&lt;audio-recording&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38417" PostHistoryTypeId="36" PostId="23154" RevisionGUID="4ad3fed4-5cee-44d9-9c1c-fa46294ac3fb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8359/cubase-is-blocking-audio-for-other-audio-application" />
  <row Id="38418" PostHistoryTypeId="36" PostId="23155" RevisionGUID="aaae6df2-29e5-4231-8356-3231c5177eba" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8359/cubase-is-blocking-audio-for-other-audio-application/8368#8368" />
  <row Id="38419" PostHistoryTypeId="2" PostId="23155" RevisionGUID="9f0ad914-3cdb-4f0e-b7a8-8477d0a4816b" CreationDate="2013-07-09T22:59:49.327" UserId="7016" Text="This is by design - when running a full featured DAW, the assumption is that it will be controlling all sound, otherwise the project you are working on may not end up as you expect." ContentLicense="CC BY-SA 3.0" />
  <row Id="38420" PostHistoryTypeId="2" PostId="23154" RevisionGUID="03c5cd05-9116-43ab-b5d4-0c182f6ce581" CreationDate="2013-07-09T02:13:47.593" UserId="7206" UserDisplayName="909 Niklas" Text="If I run cubase, I can't run spotify or any other sound program at the same time. does this have to do with my soundcard and is my soundcard substandard for this? &#xD;&#xA;&#xD;&#xA;If I exit cubase then I can use spotify and other soundprograms normally.&#xD;&#xA;&#xD;&#xA;Why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38421" PostHistoryTypeId="1" PostId="23154" RevisionGUID="03c5cd05-9116-43ab-b5d4-0c182f6ce581" CreationDate="2013-07-09T02:13:47.593" UserId="7206" UserDisplayName="909 Niklas" Text="Cubase is blocking audio for other audio application" ContentLicense="CC BY-SA 3.0" />
  <row Id="38422" PostHistoryTypeId="3" PostId="23154" RevisionGUID="03c5cd05-9116-43ab-b5d4-0c182f6ce581" CreationDate="2013-07-09T02:13:47.593" UserId="7206" UserDisplayName="909 Niklas" Text="&lt;audio&gt;&lt;software&gt;&lt;windows&gt;&lt;cubase&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38423" PostHistoryTypeId="36" PostId="23156" RevisionGUID="d4cd45af-df17-4073-bb9f-c593ea83490a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3904/fcp-7-swap-in-externally-edited-audio-track" />
  <row Id="38424" PostHistoryTypeId="36" PostId="23157" RevisionGUID="48532b94-21a2-40ad-bb27-236cebd9a5ee" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3904/fcp-7-swap-in-externally-edited-audio-track/3915#3915" />
  <row Id="38425" PostHistoryTypeId="2" PostId="23157" RevisionGUID="b8031490-2c51-43e4-82c9-235ac3555848" CreationDate="2012-05-04T05:54:21.710" UserDisplayName="OrangeBox" Text="*This is dependant on the new .wav files having a similar waveform as the originals. If you have changed them a lot then the method below wont work!*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**You will need to get a copy of [Plural Eyes][1] for Final Cut**. Plural Eyes is a 3rd party program that syncs audio. I use the program alot to auto sync externally recorded audio to video clips. &#xD;&#xA;&#xD;&#xA;Plural Eyes has a feature where if you lock the video tracks, it wont move them around, so effectively you can sync and replace your reference audio with the .wav files:&#xD;&#xA;&#xD;&#xA;&gt; By default, PluralEyes will move the clips in the output sequence(s)&#xD;&#xA;&gt; so that the earliest clip starts at time zero. But sometimes you want&#xD;&#xA;&gt; one of the clips to stay in place and have the others move relative to&#xD;&#xA;&gt; that one. **If you lock the track that contains that clip, PluralEyes&#xD;&#xA;&gt; will not move it.**&#xD;&#xA;&#xD;&#xA;They have a [how-to section for Final Cut 7][2] and [video tutorials][3] on their website.&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.singularsoftware.com/pluraleyes.html&#xD;&#xA;  [2]: http://www.singularsoftware.com/howto_pe_finalcut.html&#xD;&#xA;  [3]: http://www.singularsoftware.com/tutorials.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="38426" PostHistoryTypeId="2" PostId="23156" RevisionGUID="732568c7-40ca-4737-ad94-6e238d32306f" CreationDate="2012-05-02T17:19:18.133" UserDisplayName="Jeremy Salwen" Text="In Final Cut Pro 7, I've edited together a scene, using the original audio recordings from the video files.  However, after doing so, I realized that I needed to edit the audio using an external program.  &#xD;&#xA;&#xD;&#xA;I opened the audio from the original video files and have them saved as separate .wav files now, of the same length.  However, at this point I am uncertain how to &quot;swap in&quot; the new audio for the old audio. &#xD;&#xA;&#xD;&#xA;The problem is that I don't just want to replace one section in the timeline, but I want to replace *every* section in the timeline which refers to a given clip, and I want it to sample the *new* audio file from exactly the same places it sampled the old one.  &#xD;&#xA;&#xD;&#xA;That is, I want to edit it so that it behaves as if I replaced the audio in the video file *before* I did anything with FCP. &#xD;&#xA;&#xD;&#xA;I really don't want to be manually aligning the audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="38427" PostHistoryTypeId="1" PostId="23156" RevisionGUID="732568c7-40ca-4737-ad94-6e238d32306f" CreationDate="2012-05-02T17:19:18.133" UserDisplayName="Jeremy Salwen" Text="FCP 7 swap in externally edited audio track" ContentLicense="CC BY-SA 3.0" />
  <row Id="38428" PostHistoryTypeId="3" PostId="23156" RevisionGUID="732568c7-40ca-4737-ad94-6e238d32306f" CreationDate="2012-05-02T17:19:18.133" UserDisplayName="Jeremy Salwen" Text="&lt;audio&gt;&lt;final-cut-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38429" PostHistoryTypeId="36" PostId="23158" RevisionGUID="cbd1ac37-6225-4cd9-9576-8cd1193af546" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5756/vegas-pro-imported-m2ts-missing-audio" />
  <row Id="38430" PostHistoryTypeId="2" PostId="23159" RevisionGUID="35fcf632-8c23-47c0-be63-a53073ecf441" CreationDate="2013-01-08T05:48:16.680" UserDisplayName="StanleyZ" Text="Vegas Pro 12 doesn't support DTS audio, period.&#xD;&#xA;&#xD;&#xA;If anyone runs in the same problem, here is my work around.&#xD;&#xA;&#xD;&#xA; 1. Use video splitter to crop the clip you want from the .m2ts file. There are a bunch of tools.&#xD;&#xA; 2. Convert it to something Vegas Pro recognized, I personally use [Microsoft Expression encoder][1] because is free.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.microsoft.com/en-us/download/details.aspx?id=18974" ContentLicense="CC BY-SA 3.0" />
  <row Id="38431" PostHistoryTypeId="2" PostId="23158" RevisionGUID="8f0c2288-9444-4110-9f9f-b59fd2e6e8bf" CreationDate="2013-01-05T15:33:20.170" UserDisplayName="StanleyZ" Text="I'm editing a clip for my friend's wedding, when I try to import a .m2ts file from my Blu-Ray disk, only the video has been added. seems Vegas doesn't recognize the audio format...&#xD;&#xA;&#xD;&#xA;I'm sure the file is with Audio(using mediainfo and player to directly play thta file), and I tried some other .mp4 file which works file.&#xD;&#xA;The Audio format is DTS. and I'm using Vegas Pro 12.&#xD;&#xA;&#xD;&#xA;Could any body give any suggestion, thank you in advanced." ContentLicense="CC BY-SA 3.0" />
  <row Id="38432" PostHistoryTypeId="1" PostId="23158" RevisionGUID="8f0c2288-9444-4110-9f9f-b59fd2e6e8bf" CreationDate="2013-01-05T15:33:20.170" UserDisplayName="StanleyZ" Text="Vegas Pro: imported m2ts missing audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="38433" PostHistoryTypeId="3" PostId="23158" RevisionGUID="8f0c2288-9444-4110-9f9f-b59fd2e6e8bf" CreationDate="2013-01-05T15:33:20.170" UserDisplayName="StanleyZ" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38434" PostHistoryTypeId="36" PostId="23159" RevisionGUID="fbbadc73-e2de-44ef-bf41-d63114a47182" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5756/vegas-pro-imported-m2ts-missing-audio/5769#5769" />
  <row Id="38435" PostHistoryTypeId="36" PostId="23160" RevisionGUID="9d2fd8c2-d996-4214-a26e-105d52bf9715" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5336/how-can-i-record-piano-on-a-laptop-without-high-frequency-wahwah" />
  <row Id="38436" PostHistoryTypeId="36" PostId="23161" RevisionGUID="83db1cf3-a80a-4f66-85d3-a6eacd66965c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5336/how-can-i-record-piano-on-a-laptop-without-high-frequency-wahwah/5337#5337" />
  <row Id="38437" PostHistoryTypeId="36" PostId="23162" RevisionGUID="6181b684-c6fe-406b-bd1e-5ae6dcfb5453" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5336/how-can-i-record-piano-on-a-laptop-without-high-frequency-wahwah/5340#5340" />
  <row Id="38438" PostHistoryTypeId="36" PostId="23163" RevisionGUID="45ff5677-3a19-4f23-b88b-23b9c131c1ab" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5336/how-can-i-record-piano-on-a-laptop-without-high-frequency-wahwah/5341#5341" />
  <row Id="38439" PostHistoryTypeId="36" PostId="23164" RevisionGUID="b5a693d4-d445-4b3e-ae12-6a509b3a50eb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5336/how-can-i-record-piano-on-a-laptop-without-high-frequency-wahwah/5347#5347" />
  <row Id="38440" PostHistoryTypeId="2" PostId="23161" RevisionGUID="9c1d2431-384f-4ca3-a24b-82005ff35b2e" CreationDate="2012-11-15T14:47:25.277" UserDisplayName="Bjorn Roche" Text="Now, I am not familiar enough with Audacity to say for sure, and I can't actually see or hear what's going on, but it sounds to me like the problem is that Audacity is recording straight to a compressed format. Try recording to, for example, 16- or 24-bit WAV file. Once that's done, you can audition it to make sure it sounds right. If it still sounds problematic, then I am wrong and something else is the problem :(&#xD;&#xA;&#xD;&#xA;If I am right and your goal is to create an MP3 or AAC or other compressed format, you should be able to do that at the end, using an &quot;export&quot; or &quot;save&quot; command.&#xD;&#xA;&#xD;&#xA;It's possible that this is also a microphone placement issue, but that usually results in a hallow sound, not a sound that changes over time, which is what you are describing.&#xD;&#xA;&#xD;&#xA;It is unlikely that what you are describing is caused by the soundcard. External USB is almost always a positive upgrade from built-in audio, but that is unlikely to solve this particular issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="38441" PostHistoryTypeId="2" PostId="23162" RevisionGUID="175e3180-52f1-492c-b61f-5551df16405d" CreationDate="2012-11-15T18:50:42.570" UserDisplayName="horatio" Text="This sounds like a phase effect rather than a wah effect. My first though is that you are getting some interaction between the &quot;direct sound&quot; of the piano and reflected sound. I think this is called &quot;comb filtering&quot; and in this particular case is undesirable.&#xD;&#xA;&#xD;&#xA;Experiment by moving your microphone position. Also look into &quot;undesirable phase problem piano microphone&quot; and/or &quot;comb filtering problem&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38442" PostHistoryTypeId="2" PostId="23163" RevisionGUID="61af158f-8c6b-40d3-9866-e74ed0437a5b" CreationDate="2012-11-15T19:13:53.867" UserId="7189" Text="How recently has your piano been tuned? The higher notes have two or three strings per note, so it is possible that the high-frequency phasing is because some of those strings are out of tune by a few cents.&#xD;&#xA;&#xD;&#xA;Two other things to consider:&#xD;&#xA;&#xD;&#xA;* Are you using a single microphone, or either a pair or a &quot;stereo&quot; mic? If you are recording in stereo, try moving the microphones around until the phasing goes away.&#xD;&#xA;&#xD;&#xA;* Is the piano in a room with flat, hard surfaces? If so, you will get strong reflections that may be responsible for phasing. Try moving the piano to a larger room, or try hanging up large heavy drapes, adding tall plants or otherwise breaking up the flat surfaces." ContentLicense="CC BY-SA 3.0" />
  <row Id="38443" PostHistoryTypeId="2" PostId="23164" RevisionGUID="e2b97584-aebe-48b6-8544-1f4b84185fb7" CreationDate="2012-11-16T19:35:33.787" UserId="7200" UserDisplayName="leftaroundabout" Text="Never expect to get usable quality when recording through laptop built-in sound hardware, be it the microphone or just the preamp and AD.&#xD;&#xA;&#xD;&#xA;A microphone that you can operate at all on your sound card's mic input is almost certainly not suited for piano recording; virtually all such microphones require 48V phantom power.&#xD;&#xA;&#xD;&#xA;But you say this problem doesn't occur with the same mic when using another recorder, so it's really an issue of your laptop itself. It sounds very much digital (though it's a bit hard to tell: this record you posted is apparently a very strongly compressed .mp3?), so it's most likely about the AD. I can't say what exactly, but honestly it doesn't matter much because again: you won't get good results with that anyway, _anyway_. Do get yourself a USB audio interface and a nice pair of condenser microphones, you don't have to spend that much and you'll be able to do really nice recordings with the right setup.&#xD;&#xA;&#xD;&#xA;All that said, I actually happen to rather like this strange sound in your example: it adds an eerie, hypnotic quality to the piece that IMO fits really well. Sometimes worse is better!&#xD;&#xA;&#xD;&#xA;&lt;hr&gt;&#xD;&#xA;&#xD;&#xA;Edit, after quite a while...&#xD;&#xA;&#xD;&#xA;Not sure if I didn't notice this back then, but now I do: the &quot;wah wah&quot; sounds a lot like an automatic de-noising filter – which obviously fits perfectly to what you say about the sound of the hiss changing when the piano comes in. Indeed basing denoising is often done with a simple low-pass filter, and wah-wah is nothing else but a time-varying resonant low-pass.&#xD;&#xA;&#xD;&#xA;This doesn't change much about the advice: don't use consumer-grade sound cards for recording, the fact that this gives you such strange counter-productive sound &quot;improvements&quot; like low-quality denoising is a major reason for that." ContentLicense="CC BY-SA 3.0" />
  <row Id="38444" PostHistoryTypeId="2" PostId="23160" RevisionGUID="4b353106-9f83-4151-8b86-6dad87fc34d2" CreationDate="2012-11-15T13:50:45.890" UserDisplayName="AndrewC" Text="Example:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/andrewclow/phases-for-piano&#xD;&#xA;&#xD;&#xA;(That's particularly bad example, via mp3 and the built in mic, the effect is always there before converting and with a better microphone. )&#xD;&#xA;&#xD;&#xA;When I'm recording piano, I get a sort of slow wahwahwah effect just at high frequencies, that makes the piano have a sort of metallic sound, particularly in quieter sections with less bass (although that might just mean it's more perceptible then). It's also audible in the second or two of hiss before I start playing, and there's a noticible change in the tone of that hiss as we near actual music.&#xD;&#xA;&#xD;&#xA;Currently I'm using Audacity with default settings on my XP netbook but was surprised to find the same problem with Audacity on my colleague's new, high spec Windows7 ultrabook. However, the effect isn't noticibly there with the same microphone and a straight-to-mp3 dictaphone, which surprises me.&#xD;&#xA;&#xD;&#xA;I've tried it with and without plugging in a small microphone, and changing between realtek and the other option for audio input in Audacity, and I've tried using a much higher sampling rate. &#xD;&#xA;&#xD;&#xA; - Is the problem likely to be the sound card on the laptop?&#xD;&#xA; - If so, what should I ask for in a new laptop (which I'm planning in the next couple of months anyway), or should I get an external USB soundcard?&#xD;&#xA; - Is the problem likely to be in Audacity? If so, what settings should I change for piano recording, or what other free or cheap recording software is both straightforward and good.&#xD;&#xA; - Is there something else I haven't thought of?&#xD;&#xA;&#xD;&#xA;(The question [What do I need to make reasonable quality amateur recordings of vocals/piano to put on Youtube?](http://avp.stackexchange.com/questions/1282/what-do-i-need-to-make-reasonable-quality-amateur-recordings-of-vocals-piano-to) has some good advice about external hardware if that's the best solution, but if I can do it with existing PC hardware, or with an intelligent choice of a new laptop, that would be great.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="38445" PostHistoryTypeId="1" PostId="23160" RevisionGUID="4b353106-9f83-4151-8b86-6dad87fc34d2" CreationDate="2012-11-15T13:50:45.890" UserDisplayName="AndrewC" Text="How can I record piano on a laptop without high frequency wahwah?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38446" PostHistoryTypeId="3" PostId="23160" RevisionGUID="4b353106-9f83-4151-8b86-6dad87fc34d2" CreationDate="2012-11-15T13:50:45.890" UserDisplayName="AndrewC" Text="&lt;audio-recording&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38447" PostHistoryTypeId="36" PostId="23165" RevisionGUID="aa891ad1-fc56-44fb-acc6-195114a08c4d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/312/how-to-judge-preamp-and-a-d-quality-on-a-usb-audio-interface" />
  <row Id="38448" PostHistoryTypeId="2" PostId="23166" RevisionGUID="957c0fad-4074-4592-9279-5f074b64e704" CreationDate="2010-12-16T20:11:23.637" UserId="90" Text="Ideally, a converter won't have any &quot;sound&quot;.  It will just transparently pass through the signal.  From the [spec sheet][1] you can check things like &#xD;&#xA;&#xD;&#xA; * dynamic range/signal to noise ratio&#xD;&#xA;  * the amount of hiss that the converter will add to your recordings.  24-bit converters aren't inherently better than 16-bit.  They need to *actually* have lower noise or the extra bits provide no information.  The dynamic range spec tells you more than the bit depth.&#xD;&#xA; * equivalent input noise&#xD;&#xA;  * the amount of hiss the mic pre will add&#xD;&#xA; * total harmonic distortion&#xD;&#xA;  * distortion creates extra frequencies that weren't present in the original&#xD;&#xA; * frequency response&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/US/products/003-Rack/specifications" ContentLicense="CC BY-SA 2.5" />
  <row Id="38449" PostHistoryTypeId="2" PostId="23165" RevisionGUID="b42121fc-b484-40a0-a9c4-b296a413c8fb" CreationDate="2010-12-15T21:58:48.277" UserDisplayName="thehiatus" Text="I'm looking for an audio interface for casual recording.  There are things it's easy to tell from specs -- number of channels, connectors, phantom power, etc. -- but I don't know any way to tell if an audio interface actually *sounds* good.  &#xD;&#xA;&#xD;&#xA;I'd say the most important thing would be finding something with decent preamps and A/D converters.  I'm looking at USB audio interfaces in the sub $200 dollar range, so I know the preamps won't be great, but there doesn't seem to be a good way to know if something sounds good without actually recording and hearing it.  Is there any quantifiable way to know?" ContentLicense="CC BY-SA 2.5" />
  <row Id="38450" PostHistoryTypeId="1" PostId="23165" RevisionGUID="b42121fc-b484-40a0-a9c4-b296a413c8fb" CreationDate="2010-12-15T21:58:48.277" UserDisplayName="thehiatus" Text="How to judge preamp and A/D quality on a USB audio interface?" ContentLicense="CC BY-SA 2.5" />
  <row Id="38451" PostHistoryTypeId="3" PostId="23165" RevisionGUID="b42121fc-b484-40a0-a9c4-b296a413c8fb" CreationDate="2010-12-15T21:58:48.277" UserDisplayName="thehiatus" Text="&lt;audio-recording&gt;&lt;usb&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38452" PostHistoryTypeId="36" PostId="23166" RevisionGUID="5be3d4e2-0e00-4808-ad0f-a3c27b7e24ea" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/312/how-to-judge-preamp-and-a-d-quality-on-a-usb-audio-interface/330#330" />
  <row Id="38453" PostHistoryTypeId="36" PostId="23167" RevisionGUID="27051825-5265-40a4-bbbb-26a7b54be8b4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/312/how-to-judge-preamp-and-a-d-quality-on-a-usb-audio-interface/331#331" />
  <row Id="38454" PostHistoryTypeId="2" PostId="23167" RevisionGUID="79a2417f-f39e-4a68-b651-1a9cf201459d" CreationDate="2010-12-16T21:04:54.917" UserDisplayName="Kim Burgaard" Text="I used to obsess a lot about specs, but I've shifted from buying the equipment that looks the best on paper to getting the equipment that makes me smile when I use it :-)  I know it's an oversimplification, but even with specs, you make subjective decisions on what kinds of measurements to favor, or what frequency plot looks the best. In the end, all that matters is how well YOU think it works for you.&#xD;&#xA;&#xD;&#xA;So here's my buying philosophy now: Pick a couple of audio interfaces within your budget range that looks appealing (professional reviews as well as products with many consumer reviews on e.g. Amazon are often good pointers if you don't know where to start), then borrow the equipment or buy it under a 7/14/X day return guarantee.  Bring it home, make sure you have some interesting things to record lined up and see how you like the sound.&#xD;&#xA;&#xD;&#xA;When you make test recordings, try to record the kind of things that make you think your current equipment is not up to the task.&#xD;&#xA;&#xD;&#xA;Then buy the one that you think works best in your setup. If they all sound great, then you'll probably have a favorite in terms of ease of use or most options, etc.&#xD;&#xA;&#xD;&#xA;Oh, and don't forget to compare with your old gear. Maybe the new gear wasn't actually what you really needed to improve your sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="38455" PostHistoryTypeId="36" PostId="23168" RevisionGUID="1ebd2570-b986-4e8c-a636-673116df8ebc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4564/cardboard-boxes-for-room-echo-reduction" />
  <row Id="38456" PostHistoryTypeId="2" PostId="23169" RevisionGUID="6bcf160b-9816-4861-8024-8a235302f00a" CreationDate="2012-08-14T09:54:58.583" UserId="7016" Text="They will be able to reduce echo in their complete state, but don't expect them to help too much, as there are some caveats:&#xD;&#xA;&#xD;&#xA; - Just piling them up in a corner won't be very effective - they will absorb many frequencies better than a solid wall, but you still have flat reflective surfaces, and they will each have a resonant frequency. As long as the resonant frequencies do not support the frequencies you wish to attenuate, this will help a little.&#xD;&#xA;&#xD;&#xA; - Trying to pile them at a range of different angles will help a little more, but they will still be reflecting sound, so you may get some interesting echoes.&#xD;&#xA;&#xD;&#xA; - If you can fold them down even a little to remove right angled corners you will help yourself a lot. Especially if you can attach them to walls with the flaps hanging - these will damp sounds more than rigid panels.&#xD;&#xA;&#xD;&#xA;**tl;dr** they will help a bit, but don't expect dramatic sound improvement :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="38457" PostHistoryTypeId="2" PostId="23168" RevisionGUID="6d61428c-7cc3-47d0-82aa-6b5b9e7065e9" CreationDate="2012-08-13T18:54:04.487" UserId="14771" UserDisplayName="Chelonian" Text="I have a large amount of not-broken-down cardboard boxes that I need to hang onto, and they are piled just outside the door of the small basement room I am trying to use as a (admittedly incredibly primitive for now) recording room.  That room seems to have some echo that is probably not good for my recordings and I'd like to reduce it or eliminate it for free or very close to it.&#xD;&#xA;&#xD;&#xA;I wanted to try moving the boxes into the studio to see if that would do the trick.  What I've seen online is that (broken down) cardboard affixed to walls can help with echo, but I do not want to break these boxes down, as I need them eventually for moving.  (Yes, I can always get more boxes for free but it's a hassle and not always the cleanest thing and these are exactly right for moving, so I'd rather just keep them).  &#xD;&#xA;&#xD;&#xA;Any thoughts on whether this should work?  I could do the experiment but I'd rather not attempt it if it's going to be futile.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38458" PostHistoryTypeId="1" PostId="23168" RevisionGUID="6d61428c-7cc3-47d0-82aa-6b5b9e7065e9" CreationDate="2012-08-13T18:54:04.487" UserId="14771" UserDisplayName="Chelonian" Text="Cardboard boxes for room echo reduction?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38459" PostHistoryTypeId="3" PostId="23168" RevisionGUID="6d61428c-7cc3-47d0-82aa-6b5b9e7065e9" CreationDate="2012-08-13T18:54:04.487" UserId="14771" UserDisplayName="Chelonian" Text="&lt;audio-recording&gt;&lt;room&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38460" PostHistoryTypeId="36" PostId="23169" RevisionGUID="db5e6541-9bb5-48a3-8504-77edd19f365c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4564/cardboard-boxes-for-room-echo-reduction/4568#4568" />
  <row Id="38461" PostHistoryTypeId="36" PostId="23170" RevisionGUID="872e4cd1-0a72-4bfb-8d0c-3f8cabe0d89f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4564/cardboard-boxes-for-room-echo-reduction/4842#4842" />
  <row Id="38462" PostHistoryTypeId="2" PostId="23170" RevisionGUID="fce412f2-d634-4721-9747-4b3a7f24f3a0" CreationDate="2012-09-25T18:48:50.533" UserDisplayName="WLPhoenix" Text="To understand how to best treat a room acoustically, it usually helps to understand why the problems exist.&#xD;&#xA;&#xD;&#xA;In the case of echo, this is usually smooth walls that are perpendicular to each other. Since you can't exactly move your walls, a better option is to hang something like a sheet or curtains across your walls. Setting it about an inch off your wall will have the most impact, since you're trying to provide absorption at a distance equal to 1/4 of the wavelength of the frequencies you want to absorb.&#xD;&#xA;&#xD;&#xA;If you only have the boxes to work with and can't break them down, then instead of stacking them up, you would do better stacking them sideways at angles and opening them up. The more you can prevent smooth surfaces, the better. Stuffing them full of t-shirts, blankets, sheets, etc. helps even more." ContentLicense="CC BY-SA 3.0" />
  <row Id="38463" PostHistoryTypeId="36" PostId="23171" RevisionGUID="af9de540-0bcd-43d9-af01-3c898c6b34b6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8067/can-i-use-my-focusrite-saffire-6-usb-with-a-lav-mic-signal-too-low" />
  <row Id="38464" PostHistoryTypeId="36" PostId="23172" RevisionGUID="b990944d-ded0-4d88-bec2-fe4972f42d4c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8067/can-i-use-my-focusrite-saffire-6-usb-with-a-lav-mic-signal-too-low/8096#8096" />
  <row Id="38465" PostHistoryTypeId="2" PostId="23172" RevisionGUID="bd8066f2-178a-4fbc-bdec-3b749b451542" CreationDate="2013-06-10T19:26:18.217" UserDisplayName="petethegeek" Text="Your interface has combo inputs that are both a 6.3mm (1/4&quot;) Line or Instrument level input and an XLR mic level input. When you insert a 6.3mm jack, the interface is expecting the much higher signal that a line/instrument provides. &#xD;&#xA;&#xD;&#xA;To get the full range of the Mic preamp, you need to use a 3.5mm to XLR adapter (Or likely a combination 3.5mm socket-&gt; 6.3mm mono plug -&gt; XLR) instead of your 3.5mm to 6.3mm adapter. &#xD;&#xA;&#xD;&#xA;The first one I found in a search was this one: http://www.amazon.com/Campro-Stereo-3-5mm-Female-Adaptor/dp/B00CODJFIE/ref=sr_1_13?ie=UTF8&amp;qid=1370892102&amp;sr=8-13&amp;keywords=3.5mm+xlr" ContentLicense="CC BY-SA 3.0" />
  <row Id="38466" PostHistoryTypeId="2" PostId="23171" RevisionGUID="f87281c1-5c71-4e28-88bf-d1ca21448692" CreationDate="2013-06-06T20:50:12.457" UserDisplayName="fistameeny" Text="I have the following:  &#xD;&#xA;&#xD;&#xA; - Macbook &#xD;&#xA; - Focusrite Saffire 6 USB audio interface&#xD;&#xA; - Audio Technica ATR3350 lavalier microphone&#xD;&#xA;&#xD;&#xA;I'd like to record speech into Audacity (or similar) using the above. I've connected the microphone into a 3.5mm to 6.3mm adaptor, made sure the battery is OK and the power is on, plugged it into input 1 of the Focusrite and turned the gain up as far as it will go. In Audacity, I struggle to get the level meter to get past -36db - even that is with me holding the mic close to my mouth. I've double checked the settings in OSX to confirm it's using the correct input.&#xD;&#xA;&#xD;&#xA;I know this setup may not be ideal, but am I missing something to be able to get a decent signal level out of it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38467" PostHistoryTypeId="1" PostId="23171" RevisionGUID="f87281c1-5c71-4e28-88bf-d1ca21448692" CreationDate="2013-06-06T20:50:12.457" UserDisplayName="fistameeny" Text="Can I use my Focusrite Saffire 6 USB with a lav mic? (signal too low)" ContentLicense="CC BY-SA 3.0" />
  <row Id="38468" PostHistoryTypeId="3" PostId="23171" RevisionGUID="f87281c1-5c71-4e28-88bf-d1ca21448692" CreationDate="2013-06-06T20:50:12.457" UserDisplayName="fistameeny" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38469" PostHistoryTypeId="36" PostId="23173" RevisionGUID="04c4708e-db96-4ba1-814b-e52408aeeaad" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4919/how-can-i-make-sounds-of-different-frequencies-appear-subjectively-equally-loud" />
  <row Id="38470" PostHistoryTypeId="2" PostId="23174" RevisionGUID="e31ddeb0-70f2-4110-be5f-e24e8be868b2" CreationDate="2012-10-06T02:32:30.060" UserDisplayName="Bjorn Roche" Text="First off, this program you are using obviously sucks and you therefore have my sympathies. There are many ways to define &quot;Attenuation&quot;, gain, and volume changes, and they seem to have doubled over backwards to find the worst one. Also, decibels are notated dB, not Db. You should write them a strongly worded letter about that! :)&#xD;&#xA;&#xD;&#xA;Okay, on to your answer: the thing about equal loudness curves is they vary depending on the reference volume. In your case, that means you need to figure out how loud one of the sounds is going to be played back, find the equal loudness curve that goes through that and adjust the volumes based on that curve. Confused? An example will help:&#xD;&#xA;&#xD;&#xA;Let's say I have two frequencies, A and B, and that, according to the equal loudness curve, most people think that when A is played at 80 [dB SPL (a measure of absolute volume)][1], B needs to be played at 86 dB SPL to sound equally loud. Now lets crank up the volume to 100 dB SPL for A. You might expect that B needs to be played at 106 dB SPL to sound equally loud, but that is not the case. More likely, B needs to be played at something like 104 dB SPL, or even less.&#xD;&#xA;&#xD;&#xA;The point is this: you can't just tell your presentation software &quot;play tone B 6 dB louder than tone A&quot; because that assumes you are playing back at around 80 dB SPL.&#xD;&#xA;&#xD;&#xA;But I understand you need to solve a real-world problem, so I'm not going to leave you hanging like that. Let's make an assumption:&#xD;&#xA;&#xD;&#xA;* Let's assume that people will be listening at a comfortable level. 60 dB SPL is usually considered the volume of comfortable, normal conversation, so let's go with that.&#xD;&#xA;&#xD;&#xA;By the way, I am also implicitly assuming a few other things:&#xD;&#xA;&#xD;&#xA;* You are using sine waves. All bets are off if you are not using sine waves.&#xD;&#xA;* You are using high quality playback, either decent headphones (and not the kind that advertise as &quot;super extra maximum bass&quot;) or high quality speakers. If not, you'll need to compensate for that, too.&#xD;&#xA;&#xD;&#xA;I would use the newest data (the ISO 226:2003) from the link you included. You may want to pick one of the other datasets if you think your listening conditions are more like the listening conditions that lead to those results, but that's probably more trouble than it's worth.&#xD;&#xA;&#xD;&#xA;Now, let's solve the problem. Start by asking where each of the frequencies fall on the 60 dB curve:&#xD;&#xA;&#xD;&#xA;* 220: 65 dB&#xD;&#xA;* 440: 62 dB&#xD;&#xA;* 880: 60 dB&#xD;&#xA;&#xD;&#xA;(I just eyeballed those from your link, you should try to get a better copy of the charts and do a better job eyeballing if you can)&#xD;&#xA;&#xD;&#xA;That means that you need to take 5 dB out of your 880 Hz tone and 3 dB out of your 440 Hz tone for them to sound like they are at the same loudness as the 220 Hz tone (on average, for most people).&#xD;&#xA;&#xD;&#xA;I'll leave you to do the math to figure out the right &quot;attenuation&quot; values in your software because it makes me feel ill just thinking about how they defined it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sfu.ca/sonic-studio/handbook/Decibel.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="38471" PostHistoryTypeId="2" PostId="23173" RevisionGUID="c8b97e37-2987-49e8-a4ef-8cbf69e16ce1" CreationDate="2012-10-05T12:02:05.850" UserDisplayName="Ana" Text="I'm making an experiment where I play pure tones of three different frequencies (220 Hz, 440 Hz, 880 Hz) at 75 dB SPL. I've noticed that they don't sound equally loud, and I would like them to. I found a number of webpages on [equal loudness contours][1], but from the graphs it is still unclear to me by how much I should change the gain of the tones in order to make them appear subjectively equal (to the average listener). &#xD;&#xA;&#xD;&#xA;I'm using a program called Presentation, which allows me to set an attenuation parameter to the tones. The attenuation parameter has the following description:&#xD;&#xA;&#xD;&#xA;&gt; You can control the volume of a sound by setting the sound stimulus&#xD;&#xA;&gt; attenuation parameter. This parameter can have a value greater than or&#xD;&#xA;&gt; equal to zero with the following meaning.&#xD;&#xA;&gt; &#xD;&#xA;&gt;     Applied Attenuation = attenuation * 100 Db (Decibels)&#xD;&#xA;&gt; &#xD;&#xA;&gt; If you do not define this parameter, the value of the&#xD;&#xA;&gt; default_attenuation header parameter will be used. If attenuation = 0,&#xD;&#xA;&gt; there is no attenuation and the sound will be played as it is given in&#xD;&#xA;&gt; the wave file. If attenuation = 1, the sound will be attenuated by 100&#xD;&#xA;&gt; Db which effectively results in silence.&#xD;&#xA;&#xD;&#xA;From this description I would not expect a linear relationship between the size of the attenuation parameter and perceived sound intensity changes... But I know very little about digital signal processing, so I'm not sure. &#xD;&#xA;&#xD;&#xA;Could anybody point me to some references where I could find a solution to my problem? Or better yet, solve my problem :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.lindos.co.uk/cgi-bin/FlexiData.cgi?SOURCE=Articles&amp;VIEW=full&amp;id=17" ContentLicense="CC BY-SA 3.0" />
  <row Id="38472" PostHistoryTypeId="1" PostId="23173" RevisionGUID="c8b97e37-2987-49e8-a4ef-8cbf69e16ce1" CreationDate="2012-10-05T12:02:05.850" UserDisplayName="Ana" Text="how can I make sounds of different frequencies appear subjectively equally loud?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38473" PostHistoryTypeId="3" PostId="23173" RevisionGUID="c8b97e37-2987-49e8-a4ef-8cbf69e16ce1" CreationDate="2012-10-05T12:02:05.850" UserDisplayName="Ana" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38474" PostHistoryTypeId="36" PostId="23174" RevisionGUID="91ee11b0-3cdb-470a-b044-4089707115a3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4919/how-can-i-make-sounds-of-different-frequencies-appear-subjectively-equally-loud/4943#4943" />
  <row Id="38475" PostHistoryTypeId="36" PostId="23175" RevisionGUID="f4b3767f-3d3c-498e-bf1c-f4fbacd623a2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4581/management-how-to-develop-deploy-audio-material-large-files-separated-file" />
  <row Id="38476" PostHistoryTypeId="36" PostId="23176" RevisionGUID="5637fd1c-148e-4d78-a7b0-8eff84d4881d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4581/management-how-to-develop-deploy-audio-material-large-files-separated-file/4587#4587" />
  <row Id="38477" PostHistoryTypeId="36" PostId="23177" RevisionGUID="e69b8d6b-d900-4e28-81a6-b5e80673cdca" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4581/management-how-to-develop-deploy-audio-material-large-files-separated-file/4589#4589" />
  <row Id="38478" PostHistoryTypeId="2" PostId="23176" RevisionGUID="d5fc27c5-2fb6-4fa0-9778-19ba386821bb" CreationDate="2012-08-16T14:51:50.990" UserId="7201" UserDisplayName="hhh" Text="It is usually important to move with the smallest footprint without sacrifying too much quality and work-hours. The below gathers tips how to keep production/development -material in small size. Even though you may be able to do the same thing as an expert but if your development files are significantly greater, it can result into a hit with development -- too large files can be extremely slow/booring to work with and fine-tune.&#xD;&#xA;&#xD;&#xA;&gt; 1. **[Lossy and non-lossy (i.e. no data-loss) -audio-formats, thread [here](http://dsp.stackexchange.com/questions/2256/a-non-lossy-aka-lossless-codec-without-patent-restrictions-for-audio)]**&#xD;&#xA;&gt; Lossy formats such as MP3 should be used at the very latest point,&#xD;&#xA;&gt; probably deployment, because of the data-loss. Formats with&#xD;&#xA;&gt; non-lossy codecs such as FLAC, in contrast, result in no data-loss but&#xD;&#xA;&gt; may result in storage -penalty. Vectorized formats&#xD;&#xA;&gt; [here](http://avp.stackexchange.com/questions/4579/vectorized-audio-does-it-exist-its-pros-and-cons-which-formats)&#xD;&#xA;&gt; and FLAC may be a good option during development while lossy-codeced&#xD;&#xA;&gt; formats such as MP3 better to keep file-sizes minimal.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&gt;2. **[Vectorized audio -thread [here](http://avp.stackexchange.com/questions/4579/vectorized-form-of-music)]**  Create vectorized audio, a bit like using vector graphics instead of raster in Graphics design.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38479" PostHistoryTypeId="2" PostId="23177" RevisionGUID="ddedae55-d3c8-4c46-9eb7-b0460ab41eaf" CreationDate="2012-08-16T17:14:26.233" UserId="7093" Text="You may want to try a different DAW to manage this project.  Audacity stores its audio in many small files.  DAWs like Reaper [here](http://www.reaper.fm/index.php) store the audio in 1 .wav file per recorded track.  &#xD;&#xA;&#xD;&#xA;Audacity uses destructive editing, which means any time you edit the audio by cutting/pasting or adding effects, the audio is permanently changed.  I don't know about other DAWs, but Reaper uses non-destructive editing for the audio files. This means that no matter how many changes you make to the audio, the original files never change, they are applied to the tracks in real-time.  This allows you to make whatever changes you want without fear of losing the original recording and without needing to back up the entire project at every step.&#xD;&#xA;&#xD;&#xA;When working with a large amount of tracks or effects you still have the option to render portions of the audio to stem tracks to save processing power. This will create a new file, but it does not need to be put in version control since you can regenerate it at any time from the original files and the project file.&#xD;&#xA;&#xD;&#xA;I don't know of any DAW with version control integrated, but you might be able to write a plugin for and existing DAW." ContentLicense="CC BY-SA 3.0" />
  <row Id="38480" PostHistoryTypeId="2" PostId="23175" RevisionGUID="33488b6d-9b7f-4277-9f45-7d5220e9d475" CreationDate="2012-08-15T23:06:36.383" UserId="7201" UserDisplayName="hhh" Text="I develop a large dev -file usually over 300MB easily. Then I categorize it and *break it into parts* (A) such as shouting, laughing, smiling and other descriptive things. This pieced material belongs to my Deployment -repository where fine-tuning is more easier, much easier than in fs-backuped Development -repo that contains *the original massive files* (B) and where you cannot easily edit or you need to kill the repo, to keep it in small size, or use no version-controlling. Now I feel a better way: some software to handle both A and B. How would you handle this step of processing the audio material into rich informative art-assets?&#xD;&#xA;&#xD;&#xA;**Helper questions**&#xD;&#xA;&#xD;&#xA;&gt; - Which alternative is better? And when would you use each? &#xD;&#xA;&gt; &#xD;&#xA;&gt; &gt; **AA)** Deployed audio material broken into pieces that is easier to deploy for things such as games and movies&#xD;&#xA;&gt; &gt; &#xD;&#xA;&gt; &gt; **BB)** Deployed audio material in large files from which you somehow get intervals, no idea how to do this, anyway good backups.&#xD;&#xA;&gt; &gt; &#xD;&#xA;&gt; &gt; **CC)** some other methodology?&#xD;&#xA;&gt; &#xD;&#xA;&gt; - Does there exist some software to handle this development-deployment -cycle for me? &#xD;&#xA;&gt; &#xD;&#xA;&gt; - I currently use Audacity that is extremely slow for my purpose here, I would like to have tool by which I can denote different parts of the&#xD;&#xA;&gt; audio with labels. Generic name for such software?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38481" PostHistoryTypeId="1" PostId="23175" RevisionGUID="33488b6d-9b7f-4277-9f45-7d5220e9d475" CreationDate="2012-08-15T23:06:36.383" UserId="7201" UserDisplayName="hhh" Text="Management: how to develop/deploy audio -material? Large -files, separated -files or some other solution?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38482" PostHistoryTypeId="3" PostId="23175" RevisionGUID="33488b6d-9b7f-4277-9f45-7d5220e9d475" CreationDate="2012-08-15T23:06:36.383" UserId="7201" UserDisplayName="hhh" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38483" PostHistoryTypeId="36" PostId="23178" RevisionGUID="46d378d0-6c70-47e7-9f5b-5039b6567d4a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3725/lavalier-lapel-versus-desktop-mic-for-pc-audio-video-recording-with-wirecast" />
  <row Id="38484" PostHistoryTypeId="2" PostId="23179" RevisionGUID="0e4a13fd-c9ed-4aef-88eb-89c2f4861b11" CreationDate="2012-04-11T01:19:04.690" UserDisplayName="Anthony Agius" Text="Any good lavalier mic will be XLR, not 3.5 and need a decent pre-amp, something the computer won't give. My advice is to get a USB mic like a Rode podcaster or a Blue Yeti and put it close to the person speaking, but out of the frame enough so that it can't be seen on  camera (if you don't want the camera to be seen).&#xD;&#xA;&#xD;&#xA;Alternatively, buy a proper XLR lapel mic (for example: http://www.bhphotovideo.com/c/product/327257-REG/Countryman_MEMWP4S05B_EMW_Omnidirectional_Lavalier_Microphone.html ) and use a USB mic pre-amp like this: http://www.bhphotovideo.com/c/product/758696-REG/ART_XCONNECT_XConnect_USB_Microphone_Cable.html - when you upgrade to a higher end camera or recording setup, the XLR mic will still be useful, where as a 3.5mm lapel mic, won't be. You can also migrate over a wireless setup if you're worried the cables will be an issue (about $300 for a good wireless system)." ContentLicense="CC BY-SA 3.0" />
  <row Id="38485" PostHistoryTypeId="2" PostId="23178" RevisionGUID="742e578b-ab2d-4894-9cbf-fab25050a676" CreationDate="2012-04-09T04:47:28.470" UserDisplayName="JFitzDela" Text="A client and I are getting more serious about recording audio/video educational courses for presentation on the web, and we're wondering now about the ideal microphone to use with regard to price, quality of the sound, and mobility. For completeness in describing our situation, we typically record with two high-quality USB cameras with built-in mics using Wirecast on a PC.&#xD;&#xA;&#xD;&#xA;The ideal theoretical solution would be a wireless lavalier/lapel mic, but I've not yet found an obvious product that fits AND fits within budget. I like the looks of this one: http://www.amazon.com/Azden-WMS-PRO-Wireless-Microphone-System/dp/B00006JPD8/ref=sr_1_14?ie=UTF8&amp;qid=1333945783&amp;sr=8-14&#xD;&#xA;&#xD;&#xA;The main concern with the system is whether or not we can plug it directly into the line in/microphone jack on the laptop we're using for recording.  Eventually, of course, we'll be upgrading to much higher quality video cameras, but for now, this is what we've got.&#xD;&#xA;&#xD;&#xA;Considering that most of our recording is done in classroom-style settings, and that we can place equipment near the speaker on a podium or desk, would a more standard, wired microphone be a better solution?  I'd imagine it definitely would be for price, but what about the audio quality?  Will we see significantly better results from a desktop mic to begin with?&#xD;&#xA;&#xD;&#xA;Thanks for your advice!  If I can better explain our various recording scenarios or needs, please let me know.&#xD;&#xA;&#xD;&#xA;- John" ContentLicense="CC BY-SA 3.0" />
  <row Id="38486" PostHistoryTypeId="1" PostId="23178" RevisionGUID="742e578b-ab2d-4894-9cbf-fab25050a676" CreationDate="2012-04-09T04:47:28.470" UserDisplayName="JFitzDela" Text="Lavalier/lapel versus desktop mic for PC audio/video recording with Wirecast" ContentLicense="CC BY-SA 3.0" />
  <row Id="38487" PostHistoryTypeId="3" PostId="23178" RevisionGUID="742e578b-ab2d-4894-9cbf-fab25050a676" CreationDate="2012-04-09T04:47:28.470" UserDisplayName="JFitzDela" Text="&lt;video&gt;&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38488" PostHistoryTypeId="36" PostId="23179" RevisionGUID="f14ad961-6163-4e2b-9f63-8e81a54fbdec" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3725/lavalier-lapel-versus-desktop-mic-for-pc-audio-video-recording-with-wirecast/3735#3735" />
  <row Id="38489" PostHistoryTypeId="36" PostId="23180" RevisionGUID="659e1fb2-c396-4585-aaa7-58840cf989e1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9895/static-in-my-video-sound" />
  <row Id="38490" PostHistoryTypeId="2" PostId="23180" RevisionGUID="ade34c49-0cf5-4966-adf8-6fd0bc490ab4" CreationDate="2014-01-12T01:56:30.373" UserDisplayName="Carlos" Text="I am getting static sound on my video playback. I have my computer and camcorder going into a manual switcher and out of the switcher to a monitor on the wall. The static occurs when I have my HDMI cable from my computer plugged into the switcher. Whenever I unplug the HDMI cable from the computer or turn the computer off the static stops. All the cables are HDMI. Please help." ContentLicense="CC BY-SA 3.0" />
  <row Id="38491" PostHistoryTypeId="1" PostId="23180" RevisionGUID="ade34c49-0cf5-4966-adf8-6fd0bc490ab4" CreationDate="2014-01-12T01:56:30.373" UserDisplayName="Carlos" Text="static in my video sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="38492" PostHistoryTypeId="3" PostId="23180" RevisionGUID="ade34c49-0cf5-4966-adf8-6fd0bc490ab4" CreationDate="2014-01-12T01:56:30.373" UserDisplayName="Carlos" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38493" PostHistoryTypeId="36" PostId="23181" RevisionGUID="f773f388-d8a5-454d-b819-9bbe6db9c6fd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4132/sonar-le-freezes-when-using-mme-32-bit-driver-mode" />
  <row Id="38494" PostHistoryTypeId="2" PostId="23181" RevisionGUID="ccb7ab77-5d57-44db-aa7c-1f5460bb3daf" CreationDate="2012-06-07T11:23:55.007" UserId="19700" UserDisplayName="Pieter" Text="A few days ago I started having problems with Sonar in MME driver mode. Basically it freezes when I try to execute the most trivial operations, such as arming a track for recording. It had worked fine until then. I can switch over to other driver modes to make the lag go away, but then my recordings contain clicking sounds.&#xD;&#xA;&#xD;&#xA;How can I find the root of the problem? I already tried updating my sound drivers.&#xD;&#xA;&#xD;&#xA;**Edit**: the clicking sounds I hear are a playback issue, not a recording issue. If I export my project, it sounds fine." ContentLicense="CC BY-SA 3.0" />
  <row Id="38495" PostHistoryTypeId="1" PostId="23181" RevisionGUID="ccb7ab77-5d57-44db-aa7c-1f5460bb3daf" CreationDate="2012-06-07T11:23:55.007" UserId="19700" UserDisplayName="Pieter" Text="Sonar LE freezes when using MME (32-bit) driver mode" ContentLicense="CC BY-SA 3.0" />
  <row Id="38496" PostHistoryTypeId="3" PostId="23181" RevisionGUID="ccb7ab77-5d57-44db-aa7c-1f5460bb3daf" CreationDate="2012-06-07T11:23:55.007" UserId="19700" UserDisplayName="Pieter" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38497" PostHistoryTypeId="36" PostId="23182" RevisionGUID="3cd845ae-4dc6-48dc-aad9-e6d6759f615d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3464/how-do-audio-engineers-physically-treat-rooms-for-studios" />
  <row Id="38498" PostHistoryTypeId="36" PostId="23183" RevisionGUID="b7d11a3d-9a63-403b-b233-10d656fb906f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3464/how-do-audio-engineers-physically-treat-rooms-for-studios/3469#3469" />
  <row Id="38499" PostHistoryTypeId="36" PostId="23184" RevisionGUID="4980cd34-22f4-4d0f-ac0b-5adb63a85339" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3464/how-do-audio-engineers-physically-treat-rooms-for-studios/3475#3475" />
  <row Id="38500" PostHistoryTypeId="2" PostId="23183" RevisionGUID="c9e6bd6c-cbf5-40ab-b02f-1f18fcc75ea8" CreationDate="2012-03-05T23:04:25.137" UserId="7016" Text="Ideally you want to use a sound absorbing foam on the walls and ceiling - [like this][1]. You can buy panels already made, which will look better, but even just attaching foam like this to the wall will help deaden the sound.&#xD;&#xA;&#xD;&#xA;Use a carpet on the floor, and have thick curtains or rugs to hang over the windows.&#xD;&#xA;&#xD;&#xA;All these things will help absorb sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.efoam.co.uk/acoustic.html?cp_n=adwords&amp;cp_a=Acoustic&amp;cp_k=Sound%20absorbing%20foam&amp;gclid=CPaQu7Xu0K4CFWIntAodrHyv_g" ContentLicense="CC BY-SA 3.0" />
  <row Id="38501" PostHistoryTypeId="2" PostId="23185" RevisionGUID="94a40e30-c15c-4897-bf33-a11c719de295" CreationDate="2012-10-13T14:17:24.433" UserId="7462" UserDisplayName="byronyasgur" Text="You should check out this site. He is very helpful but you must read his requirements for activity on his forum very carefully. http://www.johnlsayers.com/phpBB2/index.php. Also this http://www.ethanwiner.com/acoustics.html&#xD;&#xA;&#xD;&#xA;**Bass trapping** is the main place to start. I wont explain bass trapping here as you could spend months studying it but I can tell you that it's the number one way to clean up a room sound. You can apply bass trapping quite cheaply and there's lots of DIY methods on the net. A large mattress for example is an effective bass trap. Another good tip is unopened rolls of rockwool, yet another is a closed plastic drum filled with rockwool. ( the outer skin in these examples helps stop dampening high frequency reflections and this is usually preferably because if you were to dampen all the low with just heavy mattresses for example you would also remove all the high and mid and this is most likely not what you want as it's not representative of a typical listening environment ) There are several very different types of bass traps that you can use, some more ad-hoc, some more professional but like I said you will need to research all that yourself as it's a phenomenally big subject, and the basis of audio treatment from the little I know.&#xD;&#xA;&#xD;&#xA;**Flutter echoes and other strange sounds** You really just need to have the confidence and patience to actually 'listen' to the room and work the problems through one by one. Make transient sounds in the room and listen and try to figure if there are any flutter echoes or strange sounds that may require spot treatment. You could treat these with something like some hi or mid dampening ( like a thin cushion or a professional version of the same thing ) .... or diffusion ( like a bookcase or some other irregular surface ... or a professional version of the same thing )&#xD;&#xA;&#xD;&#xA;**Hi and mid damping** I think you would apply this last if you still find the room too live. In general studios go for the soft ceiling hard floor approach, but in my case I needed to go for hard ceiling soft floor ( carpet ) but if you're not recording it wont matter as much, but you'll probably need one or other to have some hi frequency damping and it's preferable to have a wooden floor with some cushion like material in spots on the ceiling as it's more controllable and you can get more into the mid range without killing all the highs as carpet is too thin so it tends to have the effect of killing all the highs and leaving all the mids which may not suit you.&#xD;&#xA;&#xD;&#xA;**Diffusion** You can add diffusion if you want. I don't know a lot about it but I know lots of studios have a massive diffuser right at the back - it tends to make the room appear more open, sonically. I think if you're mixing position is near a wall ( behind you ) then you'd want to consider one or two. Home made ones can look good if you're good at woodwork.&#xD;&#xA;&#xD;&#xA;**Hiring Someone** As an amateur myself who is happy with my own results I would say that there's no need to hire anyone, but as with everything a professional should bring a better result so if you have the budget go ahead. It is likely to get expensive though as I cant see professionals using ad-hoc methods ( even thought they work fine ) &#xD;&#xA;&#xD;&#xA;**Software and Testing** I bought a reference mic to do this and never bothered as I was happy. I have no intention of bothering myself with it at this stage but I can tell you that it depends on how sonically accurate you want your room to be. People go to great lengths to check and get things 'just so'. I would advise you to leave the measuring till last though ... at least until you have put in your bass traps. There's no need to measure before then ... most rooms require more bass traps than anyone's prepared to put in them. There are however 'nodes' which you can calculate and/or measure and you'd ideally have these for bass trap positioning. I'm sure there's lots of info on room testing on johnlsayers or ethanwiner's sites. &#xD;&#xA;&#xD;&#xA;**Speaker position** very important. There's a lot to research here but in general you don't want them stuck against the wall. Leave at least a couple of feet behind and around them if you can. You also may want damping directly behind them, and possibly put them on some neoprene rubber or something to stop vibrations.&#xD;&#xA;&#xD;&#xA;**Noise** I know you say you don't need soundproofing but your ears will be affected by noise, even subtle things like your pc's fans. You should do everything you can to keep noise down.&#xD;&#xA;&#xD;&#xA;PS I notice there are suggestions of blankets and getting the room so that it doesn't colour the sound. I am not an expert but I do know that blankets are likely to cause you problems and also that you may not want a totally dead room. In theory it would be possible to suck all the sonic characteristics out of the mixing room but I don't think this is preferable. There is debate about this, but it's not usually possible to deaden a mixing room effectively anyway. Also note that if you use blankets, rugs, egg boxes etc you are likely to be masking the problematic bass frequencies making you think that the problem has gone. Ultimately you are looking for a clean room first ( no flutter and a balanced r60, not full of bass like most rooms are ) . Then you can decide how much more dead you want to make it. ( google optimum R60 for mixing your particular type of music ) &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38502" PostHistoryTypeId="2" PostId="23184" RevisionGUID="0dee54c6-d263-4d51-bae5-108decabe354" CreationDate="2012-03-06T15:46:39.863" UserId="9511" UserDisplayName="Johnny Bigoode" Text="There's an awesome tutorial on SoundonSound on this. &#xD;&#xA;&#xD;&#xA;[This][1] is more like what I was looking for, I should've just googled it. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/feb06/articles/studiosos.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="38503" PostHistoryTypeId="2" PostId="23182" RevisionGUID="e35508a2-e43a-4f6d-b93c-2e681bd8868a" CreationDate="2012-03-05T19:01:33.870" UserId="9511" UserDisplayName="Johnny Bigoode" Text="Here's my problem: I live in a small apartment downtown São Paulo - it's noisy as it can be.&#xD;&#xA;&#xD;&#xA;Loud traffic, people screaming and buses circulating day and night. This was never a problem - I usually end up mixing and mastering late at night when it's more quiet. &#xD;&#xA;&#xD;&#xA;But then again this new apartment I moved in has a larger living room (it's a single bedroom apartment). I can't have my living room as a simple home-studio and I need to share it with my S.O. &#xD;&#xA;&#xD;&#xA;My main question is: I'm pretty sure the room is crappy, I'm not having any major problems but I know I can make it sound better. My question is how. Can I can I test my room to see if there are problems? Can I make calculations? Are there CDs to use as a test? Or even software? Or maybe hardware?  &#xD;&#xA;&#xD;&#xA;And most importantly, can this be easily be done by myself? Or should I hire a audio technician? &#xD;&#xA;&#xD;&#xA;PS.: &#xD;&#xA;&#xD;&#xA;I want to simply treat the room. I have no current need of soundproofing it, it's an old building with thick walls and I don't record sound - I only use soft synths (all my recording is done 'offshore'). I just want it to sound dryer, every time I get up to drink something I feel that there's some bass sounds I wasn't listening properly. Also, I feel like the high frequency reflections are messing up the final master - my latest songs seem to sound a little 'lo-fi' with little top end. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38504" PostHistoryTypeId="1" PostId="23182" RevisionGUID="e35508a2-e43a-4f6d-b93c-2e681bd8868a" CreationDate="2012-03-05T19:01:33.870" UserId="9511" UserDisplayName="Johnny Bigoode" Text="How do audio engineers (physically) treat rooms for studios?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38505" PostHistoryTypeId="3" PostId="23182" RevisionGUID="e35508a2-e43a-4f6d-b93c-2e681bd8868a" CreationDate="2012-03-05T19:01:33.870" UserId="9511" UserDisplayName="Johnny Bigoode" Text="&lt;audio&gt;&lt;home-studio&gt;&lt;acoustics&gt;&lt;room&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38506" PostHistoryTypeId="36" PostId="23185" RevisionGUID="2e80919c-a633-4fe5-89c4-e199e962b37f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3464/how-do-audio-engineers-physically-treat-rooms-for-studios/5004#5004" />
  <row Id="38507" PostHistoryTypeId="36" PostId="23186" RevisionGUID="1ca063eb-7483-40bd-bc06-365bd50911b0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7402/how-do-i-audio-record-a-meeting-with-10-people-in-a-room-10ftx10ft" />
  <row Id="38508" PostHistoryTypeId="36" PostId="23187" RevisionGUID="9130fcf7-6912-432c-8591-c4a834cdbd3b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7402/how-do-i-audio-record-a-meeting-with-10-people-in-a-room-10ftx10ft/7404#7404" />
  <row Id="38509" PostHistoryTypeId="36" PostId="23188" RevisionGUID="56a9022f-3766-4a76-8ba7-ad80534b2cb7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7402/how-do-i-audio-record-a-meeting-with-10-people-in-a-room-10ftx10ft/7407#7407" />
  <row Id="38510" PostHistoryTypeId="36" PostId="23189" RevisionGUID="f7b14393-9be5-4c7b-957b-aeebd96f9990" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7402/how-do-i-audio-record-a-meeting-with-10-people-in-a-room-10ftx10ft/7519#7519" />
  <row Id="38511" PostHistoryTypeId="2" PostId="23187" RevisionGUID="75cd7e9d-c976-4a53-939e-aba227c4a0aa" CreationDate="2013-03-15T13:16:53.157" UserId="7174" Text="The best quality still normally comes from direct micing of all participants, when that isn't an option, surface mics on each table work well.  If you want to use a single mic, the best bet is a omni-directional mic in the middle of the room, followed by the worst option being a directional mic on one side of the room.&#xD;&#xA;&#xD;&#xA;I'm not sure if it will work on that mic (which is a highly directional condenser, but wrapping take around the sides may convert it to an omni-directional mic (I've used this trick with uni-directional mics with up to 3 side-slits, I'm not sure how many of the slits are functional and how many are for show on that mic.  As it was explained to me, basically what normally happens is that a condensor will pick up sound from any angle, but letting sound in from the side slits cancels out the sound from the sides.), though quality would suffer relative to the directional audio it would normally pick up.&#xD;&#xA;&#xD;&#xA;Getting a higher quality audio interface is probably the best way to increase the quality of a PC recording as just about any software recording is going to simply record the digital information captured by the interface." ContentLicense="CC BY-SA 3.0" />
  <row Id="38512" PostHistoryTypeId="2" PostId="23189" RevisionGUID="243ad793-b7cd-4f8e-bd1a-e58fae5b39ca" CreationDate="2013-03-28T01:11:00.970" UserDisplayName="escalation746" Text="Best option is actually a boundary microphone such as those made by Shure or Crown. These are designed to be placed on a table to record meetings. See [this article](http://www.theatreofnoise.com/2013/03/microphones-for-portable-recorders-3.html) for details.&#xD;&#xA;&#xD;&#xA;There is nothing wrong with using a MD recorder. They have good pre-amps and sufficient sound quality. However, if you are interested in a solid state recorder, I cover this matter extensively on my blog, referenced above. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38513" PostHistoryTypeId="2" PostId="23188" RevisionGUID="1e709cff-085a-480f-a45b-c1a2b2ef07ba" CreationDate="2013-03-15T16:40:15.637" UserId="7213" UserDisplayName="Jim Mack" Text="One approach that may be overkill in your situation is to hang a minimum of three omnis around the room (more is better) equidistant from the center of the action. Record each on a separate track using a PC. &#xD;&#xA;&#xD;&#xA;During playback you can 'steer' the focus by changing the relative phase of each sound source, allowing you to pull out sounds of interest." ContentLicense="CC BY-SA 3.0" />
  <row Id="38514" PostHistoryTypeId="2" PostId="23186" RevisionGUID="278db535-ec8d-4a76-a626-ad4d3e26f745" CreationDate="2013-03-15T11:37:31.050" UserDisplayName="Laura Mc Quillan" Text="I have to do audio recordings for a college thesis. The recordings are of meetings in a room about 10 ft square. There will be between 7-10 people participating. I have permission to do the recording. Each meeting will last 30-40 minutes. I will be recording 10-12 meetings. &#xD;&#xA;&#xD;&#xA;The recording method needs to be unobtrusive so as not to interrupt the flow of the meeting. &#xD;&#xA;&#xD;&#xA;I will then have to transcribe the recordings for analysis as part of my thesis.&#xD;&#xA;&#xD;&#xA;I have no experience in this area. I have recorded one-on-one interviews before.&#xD;&#xA;&#xD;&#xA;I have a mike 'Sony ECM-Z60' which I have found very good. I have recorded onto very old technology (Sony Minidisc), which isn't suitable for this level of recording and transcribing.&#xD;&#xA;&#xD;&#xA;I have a laptop (Windows 7, HP Pavilion dm4) - is there some software (free? inexpensive?) that I could use?&#xD;&#xA;&#xD;&#xA;What equipment and approach do you recommend?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38515" PostHistoryTypeId="1" PostId="23186" RevisionGUID="278db535-ec8d-4a76-a626-ad4d3e26f745" CreationDate="2013-03-15T11:37:31.050" UserDisplayName="Laura Mc Quillan" Text="How do I audio record a meeting with 10 people in a room 10ftx10ft" ContentLicense="CC BY-SA 3.0" />
  <row Id="38516" PostHistoryTypeId="3" PostId="23186" RevisionGUID="278db535-ec8d-4a76-a626-ad4d3e26f745" CreationDate="2013-03-15T11:37:31.050" UserDisplayName="Laura Mc Quillan" Text="&lt;audio-recording&gt;&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38517" PostHistoryTypeId="36" PostId="23190" RevisionGUID="37088506-f9fe-4619-bc25-27e964e14026" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9846/are-there-any-audio-interfaces-supporting-usb-3-0-if-not-why" />
  <row Id="38518" PostHistoryTypeId="2" PostId="23191" RevisionGUID="d6e08bfc-7e27-4aeb-895e-411fd5b952fb" CreationDate="2014-01-05T17:22:03.917" UserId="7200" UserDisplayName="leftaroundabout" Text="I don't know where you read about USB interfaces needing to &quot;compress the sound&quot;, but it's nonsense. For your application two channels will do; at 96 kHz and 24 Bit that's less than 5 MBit/s: even USB-1.0 can handle that without compression. and USB-2.0 is already more than ten times faster, so even in multichannel applications it's often plenty good enough.&#xD;&#xA;&#xD;&#xA;What's taken as crucial for the performance of an audio interface is not so much bandwidth as _latency_, in particular when you're dealing with virtual instruments. FireWire has a design advantage here, not because of its higher data rate but because its topology allows devices to interact directly, and it can pretty much completely be implemented in hardware, with very reliable DMA performance. Whereas in USB there's a single root hub that needs to do some nontrivial packet management – not an issue for total bandwidth (just use big enough packages!), but it prevents reliable fast direct-memory access.&#xD;&#xA;&#xD;&#xA;And this hasn't really changed with USB-3.0: it offers much better bandwidth than 2.0 (which however, as I said, is relevant only if you need a _great_ lot of tracks) but is still worse than the old FireWire in terms of low-latency reliability, and much worse than Thunderbolt.&#xD;&#xA;&#xD;&#xA;Again for your application, when you're recording from the amp with a microphone you don't need monitoring through software anyway, so latency doesn't matter either. So there's really no reason why you shouldn't be fine with just a USB-2.0 interface." ContentLicense="CC BY-SA 3.0" />
  <row Id="38519" PostHistoryTypeId="2" PostId="23190" RevisionGUID="0164a788-e904-49e0-a6c7-d54ac3441598" CreationDate="2014-01-05T16:31:02.150" UserId="7175" Text="About one year ago I started recording my guitar sound using the IK Multimedia Stealth Plug CS and Amplitube 3. The sound was good, but I got frustrated really quickly because during recording I got random disturbing noises and sometimes the software crashed. Updating the drivers and software did not solved the problem, so I decided to buy an amp (VOX VT40+) instead of making music on my computer. I really love this amp and I'm glad that I do not need to turn on my computer to play music!&#xD;&#xA;&#xD;&#xA;Now I like to record my sounds again using a microphone (e.g. the Shure SM57-LCE) and an audio interface (e.g. Focusrite Scarlett 2i4), but I did not buy one of these, yet. I was wondering why all the audio interfaces I've researched do not support USB 3.0. Any idea why? As I know, the advantage of using a Firewire interface is that it does not need to compress the sound, right? Would USB 3.0 fix that issue?&#xD;&#xA;&#xD;&#xA;Best regards,&#xD;&#xA;Michael" ContentLicense="CC BY-SA 3.0" />
  <row Id="38520" PostHistoryTypeId="1" PostId="23190" RevisionGUID="0164a788-e904-49e0-a6c7-d54ac3441598" CreationDate="2014-01-05T16:31:02.150" UserId="7175" Text="Are there any Audio Interfaces supporting USB 3.0? If not, why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38521" PostHistoryTypeId="3" PostId="23190" RevisionGUID="0164a788-e904-49e0-a6c7-d54ac3441598" CreationDate="2014-01-05T16:31:02.150" UserId="7175" Text="&lt;audio-recording&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38522" PostHistoryTypeId="36" PostId="23191" RevisionGUID="1caa91c2-8954-45c3-843c-4b89794cc78d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9846/are-there-any-audio-interfaces-supporting-usb-3-0-if-not-why/9847#9847" />
  <row Id="38523" PostHistoryTypeId="36" PostId="23192" RevisionGUID="66d01aa4-4a7f-430c-9739-5ea5165f5c6d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9846/are-there-any-audio-interfaces-supporting-usb-3-0-if-not-why/9848#9848" />
  <row Id="38524" PostHistoryTypeId="2" PostId="23192" RevisionGUID="165331b4-a71c-4ba7-a02c-a1707fe6d8ca" CreationDate="2014-01-05T19:15:49.047" UserId="7008" Text="Focusrite Scarlett and an SM57 should be just fine. Combine it with a DAW like Ableton, Pro Tools, Cubase, Reason, Logic, etc, and you'll have a good setup. &#xD;&#xA;&#xD;&#xA;leftaroundabout mentioned many of the main reasons so I won't repeat them all, but the main reason is that USB2 is often not the bottleneck for recording applications unless you're doing extremely large scale recordings. As well, USB2 is forward-compatible (in theory) with USB3, so there's very little reason to change what is working so far.&#xD;&#xA;&#xD;&#xA;Also to consider is that Thunderbolt is now starting to gain traction, which has a higher bandwidth and some other conveniences that USB3 doesn't have, and is more or less an outboard PCI slot, so I think many companies will lean towards this and hold off on USB3 (like the UAD Apollo).&#xD;&#xA;&#xD;&#xA;RME have released this USB3 interface, but you can see it's mainly because of the MADI interface. &#xD;&#xA;&#xD;&#xA;http://www.rme-audio.de/en_products_madiface_xt.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="38525" PostHistoryTypeId="36" PostId="23193" RevisionGUID="a49077ae-80a3-4f8f-bc4a-5b8f5df5de18" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/673/what-are-some-disadvantages-of-audacity" />
  <row Id="38526" PostHistoryTypeId="36" PostId="23194" RevisionGUID="d9fbc5fc-4da0-4d76-a86a-65ba84b021ca" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/673/what-are-some-disadvantages-of-audacity/675#675" />
  <row Id="38527" PostHistoryTypeId="36" PostId="23195" RevisionGUID="3789bcae-c444-4c34-b757-fc5ea18e7df0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/673/what-are-some-disadvantages-of-audacity/676#676" />
  <row Id="38528" PostHistoryTypeId="36" PostId="23196" RevisionGUID="d2c602ce-5323-44c1-8c3b-15a3f17c1d26" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/673/what-are-some-disadvantages-of-audacity/685#685" />
  <row Id="38529" PostHistoryTypeId="36" PostId="23197" RevisionGUID="e8c340c3-88a5-4ab2-8580-5e940c38c381" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/673/what-are-some-disadvantages-of-audacity/1733#1733" />
  <row Id="38530" PostHistoryTypeId="36" PostId="23198" RevisionGUID="29210a94-fb53-407e-b07b-9fe67921490b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/673/what-are-some-disadvantages-of-audacity/1735#1735" />
  <row Id="38531" PostHistoryTypeId="36" PostId="23199" RevisionGUID="dd1189c2-2683-407f-afe1-b80fc5e177b6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/673/what-are-some-disadvantages-of-audacity/1737#1737" />
  <row Id="38532" PostHistoryTypeId="36" PostId="23200" RevisionGUID="9a0d16be-cb7c-42a6-ada2-08b120ffabf0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/673/what-are-some-disadvantages-of-audacity/1864#1864" />
  <row Id="38533" PostHistoryTypeId="2" PostId="23194" RevisionGUID="ee963403-a852-4d19-ae49-ca0961f880a4" CreationDate="2011-01-24T20:20:34.993" UserDisplayName="jlebre" Text="Well, I must say I haven't used audacity in a while.&#xD;&#xA;Yes, it is free, it supports tons of different formats and already brings built in effects. the fact that brings &quot;restoration&quot; plugins (come on, not as flexible as cedar - ReTouch for instance - or even Izotope RX or waves, sonox...) it's a big plus: those plugins are usually expensive due to the algorithms used.&#xD;&#xA;&#xD;&#xA;The fact that it's a very light software is not bad either - hence easy to fall in love and use. And it's alright for very simple projects, even serious ones that are quick and require just a handfull of operations. I could think of many podcasts, even editing jobs and quick rearranging.&#xD;&#xA;&#xD;&#xA;Now, this is where it gets me:&#xD;&#xA;No real time processing. Editing used to be a pain - at least for people that are used to a complete non-linear, non-destructive, instanced editing, and there were no tools to manage bigger projects, such as:&#xD;&#xA;routing&#xD;&#xA;grouping&#xD;&#xA;&#xD;&#xA;These are pretty much things that I couldn't live without on any musical or post-production project.&#xD;&#xA;&#xD;&#xA;Also, no video playback support? :S&#xD;&#xA;&#xD;&#xA;I miss stuff like comprehensive ruler editing tools (snap, grids, nudge, relative grids, snap to (aka spot), and other tools like a bit detective &quot;smooth editor&quot; for quick crossfading, TCE editing, maybe a smart tool?&#xD;&#xA;&#xD;&#xA;Internal busses! needed for bounce, grouping, create send effects, even side-chain a compressor.&#xD;&#xA;&#xD;&#xA;and, i know this might sound cheesy, but I do get a couple of these a year... Surround mixing? eh! :P&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38534" PostHistoryTypeId="2" PostId="23195" RevisionGUID="f26956c2-a288-47d5-94e5-a38b30dfd763" CreationDate="2011-01-24T20:55:21.780" UserId="7294" UserDisplayName="Warrior Bob" Text="**MIDI Sequencing**&#xD;&#xA;&#xD;&#xA;I like to synchronize audio recordings with MIDI sequencing.  (For example, a recorded guitar track against a MIDI drum track).  While not all projects or people will need this, it is a common requrement and a regular workflow for many people.  As Audacity is primarily a waveform editor, there is no easy way to do this.  &#xD;&#xA;&#xD;&#xA;This isn't to knock Audacity at all - this is a feature that has always been out of its scope.&#xD;&#xA;&#xD;&#xA;Many DAW programs offer this.  I personally have tried Reaper, Ableton Live, Sonar, and GarageBand, each of which offer at least passable MIDI sequencing." ContentLicense="CC BY-SA 2.5" />
  <row Id="38535" PostHistoryTypeId="2" PostId="23196" RevisionGUID="5d8a9e45-3d6e-42b8-82ad-ca2a6c87a50b" CreationDate="2011-01-25T18:09:32.747" UserId="7205" UserDisplayName="Julien N" Text="**Partial ASIO support**&#xD;&#xA;&#xD;&#xA;Audacity does not fully support ASIO and only recognize the first channel.&#xD;&#xA;&#xD;&#xA;This is my current issue, I use a Line 6 POD X3 that sends the information to the computer through USB using ASIO. It splits the sound into several channels (wet / dry sound, etc.) that Audacity can't detect.&#xD;&#xA;&#xD;&#xA;Also Audacity had issues with VST plugins (it worked but with no user interface), but with the latest beta version it has been fixed." ContentLicense="CC BY-SA 2.5" />
  <row Id="38536" PostHistoryTypeId="2" PostId="23198" RevisionGUID="bacb1bf2-5513-43f1-b213-d62141c19c01" CreationDate="2011-07-06T06:10:15.197" UserDisplayName="Jon Galloway" Text="**No effect envelopes**&#xD;&#xA;&#xD;&#xA;Other audio editing tools let you place envelopes not just on volume, but on effect parameters. You can place an effect chain on a track and automate individual parameters on each track by drawing curves. That lets you do some things that are pretty difficult to do in Audacity - e.g. adjust how a filter sweep will sound with changing resonance. You can try to approximate some effect envelope features by putting your effect output (wet mix) on another track and controlling putting volume envelopes on it, but it gets really clunky." ContentLicense="CC BY-SA 3.0" />
  <row Id="38537" PostHistoryTypeId="2" PostId="23199" RevisionGUID="55a4f65c-31ea-4046-b85c-ac68a0ccc0a9" CreationDate="2011-07-06T07:15:07.067" UserDisplayName="romkyns" Text="**Crashing**&#xD;&#xA;&#xD;&#xA;Different people have different luck with Audacity's stability on their PC, but by and large it tends to crash more often than the average program." ContentLicense="CC BY-SA 3.0" />
  <row Id="38538" PostHistoryTypeId="2" PostId="23200" RevisionGUID="0a377dc6-9579-4f84-96c5-f6971087a5d0" CreationDate="2011-07-13T12:24:47.183" UserId="12783" UserDisplayName="nandinga" Text="I see Audacity more as an audio editor, where you can transform the wave by applying different effects, mix different sources (this is what I see tracks useful here), and perform editing like cropping, stretching, etc.&#xD;&#xA;&#xD;&#xA;This overlaps a lot with the purpose of a DAW, but is certainly different. A DAW (Digital Audio Workstation) is more suited for multitrack recording. It gives you many of the features above, a grid that can give you tempo, timecode, frames or anything you need, automation for the many parameters of the mixer, effect plugins, etc. and many more. It's the base for many nowadays studios (home or pro).&#xD;&#xA;&#xD;&#xA;If you're recording and mixing a new song, go for a DAW. If you're creating/editing a sample, use an audio editor (e.g. Audacity).&#xD;&#xA;&#xD;&#xA;Given that you like open source solutions (+1!!) I'll recommend you check Ardour, Qtracktor or Rosegarden.&#xD;&#xA;&#xD;&#xA;In the non-free world Audacity might be like e.g. WaveLab and Ardour like e.g. Cubase or Logic.&#xD;&#xA;&#xD;&#xA;Both are needed in the real world.&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="38539" PostHistoryTypeId="2" PostId="23197" RevisionGUID="411f16b7-b951-407b-8ffa-98d35064c74a" CreationDate="2011-07-06T05:07:42.567" UserId="18557" UserDisplayName="Sylverdrag" Text="One thing in particular that really bugs me with audacity is that it does not display video while playing a video file. &#xD;&#xA;&#xD;&#xA;This makes it impossible to use Audacity for dubbing, or for adjusting an audio sequence to a video clip.&#xD;&#xA;&#xD;&#xA;Sure, it's not an audio function per se, but considering how much audio editing occurs within the context of video production, it's a real shame.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="38540" PostHistoryTypeId="2" PostId="23193" RevisionGUID="2870e148-705b-47c4-9eeb-f79636be7b6d" CreationDate="2011-01-24T20:08:06.580" UserId="6865" Text="I've been using Audacity for a while and it seems like the perfect recording studio: free, open source, great features, easy to use, its easy to fall in love with. However, I want to have a more complete knowledge of recording and editing software, and am curious what else it out there and how it stands out.&#xD;&#xA;&#xD;&#xA;What are some *disadvantages* of audacity that other audio programs do better? If you could change one thing about it, what would it be?" ContentLicense="CC BY-SA 2.5" />
  <row Id="38541" PostHistoryTypeId="1" PostId="23193" RevisionGUID="2870e148-705b-47c4-9eeb-f79636be7b6d" CreationDate="2011-01-24T20:08:06.580" UserId="6865" Text="What are some disadvantages of audacity?" ContentLicense="CC BY-SA 2.5" />
  <row Id="38542" PostHistoryTypeId="3" PostId="23193" RevisionGUID="2870e148-705b-47c4-9eeb-f79636be7b6d" CreationDate="2011-01-24T20:08:06.580" UserId="6865" Text="&lt;software&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38543" PostHistoryTypeId="36" PostId="23201" RevisionGUID="655825c1-6b9c-4521-98a9-7f8ed365e165" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8732/record-audio-separatedly" />
  <row Id="38544" PostHistoryTypeId="2" PostId="23202" RevisionGUID="d6d88e6a-7e8e-4439-9fb5-a78a3388905d" CreationDate="2013-08-15T19:09:42.183" UserId="7174" Text="Historically, the answer to this was to use a timecode generator and genlock your camera and audio gear.  Decent quality modern equipment however(like $300+ range audio recorders), has accurate enough internal time code that doing a simple clapper at the start and end to sync on should be sufficient.  As long as you don't get dropped frames, things should stay in sync very closely and in the unlikely event that there is an issue, you can stretch it between the beginning and end sync points to get good results." ContentLicense="CC BY-SA 3.0" />
  <row Id="38545" PostHistoryTypeId="2" PostId="23201" RevisionGUID="982e0f9e-8319-4ac4-b6dd-f1193af66ef5" CreationDate="2013-08-15T18:28:00.653" UserDisplayName="palako" Text="I want to record a music scene live, and I will be recording the audio of the event properly, for quality audio production. I also want to produce a video of it using that audio after it has been produced. So, just to clarify, I don't want to connect my audio recording equipment to the video camera while filming, I just don't care what audio the camera gets, I will drop it.&#xD;&#xA;&#xD;&#xA;My question is, what do I need to do while recording, or while editing, to get the perfect sync between the audio and video of the same event from the two different sources?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="38546" PostHistoryTypeId="1" PostId="23201" RevisionGUID="982e0f9e-8319-4ac4-b6dd-f1193af66ef5" CreationDate="2013-08-15T18:28:00.653" UserDisplayName="palako" Text="Record audio separatedly" ContentLicense="CC BY-SA 3.0" />
  <row Id="38547" PostHistoryTypeId="3" PostId="23201" RevisionGUID="982e0f9e-8319-4ac4-b6dd-f1193af66ef5" CreationDate="2013-08-15T18:28:00.653" UserDisplayName="palako" Text="&lt;audio-recording&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38548" PostHistoryTypeId="36" PostId="23202" RevisionGUID="f671d651-2b95-4d85-b60c-41d3c60cf75d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8732/record-audio-separatedly/8733#8733" />
  <row Id="38549" PostHistoryTypeId="36" PostId="23203" RevisionGUID="52ae1b3f-7139-4af8-a3c4-f683edbd63a7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8732/record-audio-separatedly/8734#8734" />
  <row Id="38550" PostHistoryTypeId="2" PostId="23203" RevisionGUID="68dd20dc-5a1c-4eb8-97b5-abbc3fdebb3f" CreationDate="2013-08-15T20:41:31.583" UserDisplayName="Victor" Text="You can use Adobe Premiere. Pro CC, or if you are using other versions,you can get other specific plugins and then you can follow their tutorial and you will have the perfect sync. I think that NeatVideo is what you need. (I don't clearly remember if it is that plugin since I haven't used it for a long time)" ContentLicense="CC BY-SA 3.0" />
  <row Id="38551" PostHistoryTypeId="36" PostId="23204" RevisionGUID="ac575b24-fdc9-4115-8923-f7ba5c08da1b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7532/best-software-to-record-voice-synchronously-with-a-video-i-e-dubbing" />
  <row Id="38552" PostHistoryTypeId="36" PostId="23205" RevisionGUID="ad0b04e5-0525-4b17-96c8-7ae8a7996393" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7532/best-software-to-record-voice-synchronously-with-a-video-i-e-dubbing/7560#7560" />
  <row Id="38553" PostHistoryTypeId="36" PostId="23206" RevisionGUID="43ca46e3-c434-438e-bdfe-dbeb26d9cf19" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7532/best-software-to-record-voice-synchronously-with-a-video-i-e-dubbing/7631#7631" />
  <row Id="38554" PostHistoryTypeId="2" PostId="23205" RevisionGUID="3db1ff27-0251-4ae6-ac5a-5292dc68f0ab" CreationDate="2013-04-02T01:21:22.180" UserId="9633" UserDisplayName="user1167442" Text="Premeire Elements is (more) user friendly and not too hard to learn.   Also, Reaper has a built-in video player, as does Cubase and FL Studio.  Reaper and Premeire Elements are the best bet I think - both under $100.  Haven't used Cubase for this feature (but its probably the best of the lot based on what I've seen - and most expensive), and Fl Studio doesn't include the video player in their low-end editions, so it is $299 to get that feature (and there video player ain't that good).&#xD;&#xA;&#xD;&#xA;Reaper might be difficult if you are unfamiliar with Digital Audio Software.&#xD;&#xA;&#xD;&#xA;[Reaper](http://reaper.fm/)  &#xD;&#xA;&#xD;&#xA;[Cubase](http://steinberg.net)  &#xD;&#xA;&#xD;&#xA;[Fl Studio](http://www.image-line.com)  &#xD;&#xA;&#xD;&#xA;[Premeire Elements](http://www.adobe.com/products/premiere-elements.html)  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38555" PostHistoryTypeId="2" PostId="23206" RevisionGUID="4e03d131-ba90-4634-97c8-8853a679ff2c" CreationDate="2013-04-10T23:57:40.607" UserDisplayName="Rok Krulec" Text="Dubjoy is an advanced platform for translating and dubbing the videos.&#xD;&#xA;offering video translation services as well as native speaker video voice-overs.&#xD;&#xA;&#xD;&#xA;If you need to crowdsource a video, you can lease the platform, upload your videos and send translators/voice-talents to the public link.&#xD;&#xA;&#xD;&#xA;[Here is an example video of dubbing workflow][1]&#xD;&#xA;&#xD;&#xA;It's as easy as it gets and it's all done from the Chrome web browser or an iPhone.&#xD;&#xA;&#xD;&#xA;You can translate any YouTube video for free by using Dubjoy Chrome plug-in, but for MP4 video translation you need to lease the platform or order translation service.&#xD;&#xA;&#xD;&#xA;Web interface can do only dry voice-overs for now, but iPhone has also back-audio volume control for every segment/sentence.&#xD;&#xA;&#xD;&#xA;Dubjoy has already been used to dub KhanAcademy videos.&#xD;&#xA;&#xD;&#xA;Disclosure: I'm a co-founder&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=HC0E5UZ5Ikk" ContentLicense="CC BY-SA 3.0" />
  <row Id="38556" PostHistoryTypeId="2" PostId="23204" RevisionGUID="f55d1a7e-6dd7-48c8-80de-b92375e16443" CreationDate="2013-03-29T13:08:30.890" UserDisplayName="alavi" Text="I want to dub some videos, i.e. transfer them to another language with my voice. &#xD;&#xA;&#xD;&#xA;So, I need software to simply record my voice (one part after another), while showing me the original video and playing the original sound. This way I can have a sound file synchronized with the original video.&#xD;&#xA;&#xD;&#xA;I have searched a lot and finally got to Corel Video Studio. But working with this software takes too much time. It needs to be clicked twice (no shortcut) to start recording, and going back and modifying is not so straightforward.&#xD;&#xA;&#xD;&#xA;Is there any software more suitable for dubbing? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38557" PostHistoryTypeId="1" PostId="23204" RevisionGUID="f55d1a7e-6dd7-48c8-80de-b92375e16443" CreationDate="2013-03-29T13:08:30.890" UserDisplayName="alavi" Text="Best software to record voice synchronously with a video (i.e Dubbing)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38558" PostHistoryTypeId="3" PostId="23204" RevisionGUID="f55d1a7e-6dd7-48c8-80de-b92375e16443" CreationDate="2013-03-29T13:08:30.890" UserDisplayName="alavi" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38559" PostHistoryTypeId="36" PostId="23207" RevisionGUID="485d18ac-874e-4ae1-b050-0154fd0ace04" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/117/best-setup-for-a-portable-studio" />
  <row Id="38560" PostHistoryTypeId="36" PostId="23208" RevisionGUID="295db7cb-9e58-4206-8bdd-fb786e998c0a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/117/best-setup-for-a-portable-studio/148#148" />
  <row Id="38561" PostHistoryTypeId="36" PostId="23209" RevisionGUID="d93e1521-ff2f-46b1-bf3d-b3742e4b3753" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/117/best-setup-for-a-portable-studio/225#225" />
  <row Id="38562" PostHistoryTypeId="2" PostId="23208" RevisionGUID="ad555e47-8ab3-4054-b2e4-5c00d2cbb90f" CreationDate="2010-12-08T19:34:53.320" UserDisplayName="davetron5000" Text="I've done almost exclusively mobile recording for the past few years (simply because I have no space where I live to have bands over).  It's been mostly rock bans.  Here's some general things I've found to be useful:&#xD;&#xA;&#xD;&#xA; * **More smaller racks, rather than fewer huge racks**&#xD;&#xA; * **Rack cases with wheels** (SKB makes a great version)&#xD;&#xA; * **Ability to support multiple headphones with different mixes.**  *CRUCIAL* if you are recording more than one person at a time&#xD;&#xA; * **Duplicate of crucial cables** - firewire, optical, etc.  Anything that, if it breaks, your entire system won't work&#xD;&#xA; * **Set up your session template files in advance, including sends/etc.**&#xD;&#xA; * **Case contents organized by item type**, e.g. all mics in one case, cables in another.  Again, many smaller cases are better than fewer huge ones, both for your back and for getting in/out of tight spaces&#xD;&#xA; * **Cable ties** - avoid tangles; nothing's more annoying than having your musicians watch you untangle cables.&#xD;&#xA; * **Color tape your cables and bring multi-color tape with you** - you're most likely going to be using the musicians you are recording as assistant engineers, so keeping things obvious and simple for communication wil help&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38563" PostHistoryTypeId="2" PostId="23209" RevisionGUID="8d06a0fd-6d5b-43d2-a56b-627b2e7df2d3" CreationDate="2010-12-10T20:02:50.600" UserId="7209" UserDisplayName="Brad" Text="I'm not sure of the quality or portability you are trying to achieve, but if you want to go on the super-small, super-easy end, check out one of the many portable handheld recorders.&#xD;&#xA;&#xD;&#xA;I use a [Zoom H4n][1], as the built-in stereo pair of mics aren't bad, and I can use the jacks on the bottom to hook up additional mics or take a line-in from a board.  I haven't used it, but I assume their [H2 with 4 built-in mics][2] for getting nice surround recording is good too.&#xD;&#xA;&#xD;&#xA;There are also all-in-one rigs with a mixer, preamps, and editing all in one package.  Roland pioneered this awhile back.  Zoom makes the [R24][3], but again, I don't know about it's quality.  It just came out recently.  This will allow you to capture a performance, and you can edit later.&#xD;&#xA;&#xD;&#xA;However, if you are looking for a more robust solution, davetron5000's suggestions are best.  I also second SKB cases, they are quite awesome.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.zoom.co.jp/english/products/h4n/&#xD;&#xA;  [2]: http://www.zoom.co.jp/english/products/h2/&#xD;&#xA;  [3]: http://www.zoom.co.jp/english/products/r24/index.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="38564" PostHistoryTypeId="2" PostId="23207" RevisionGUID="3f11d3e9-c045-455c-b456-345b6dad0b65" CreationDate="2010-12-08T12:49:14.493" UserDisplayName="Donn Felker" Text="I've often needed to record while at a musicians house/studio/practice-pad (same goes for podcasting on the fly). To do so I needed my studio (or part of it) to be very mobile. I always want to achieve the highest quality sound as possible so it doesn't sound like a portable studio.  &#xD;&#xA;&#xD;&#xA;What is the best setup for a small, extremely portable studio? (thinking single mic, etc). I currently produce hip hop, electronica as well as do some screencasting/podcasting. &#xD;&#xA;&#xD;&#xA;I should note that my current set up for mobile recording is as follows: &#xD;&#xA;&#xD;&#xA;**General Recording**&#xD;&#xA;&#xD;&#xA; - Laptop with a DAW  &#xD;&#xA; - M-Audio Mobile-Pre&#xD;&#xA; - Condenser Mic&#xD;&#xA; - MPC1000 and/or Akai LPK25 MIDI Controller&#xD;&#xA; &#xD;&#xA;**Podcasting**&#xD;&#xA;&#xD;&#xA;- Snowglobe Mic (set up for omni directional)&#xD;&#xA;- Laptop with DAW&#xD;&#xA;&#xD;&#xA;**Screencasting**&#xD;&#xA; &#xD;&#xA;- Laptop w/ Camtasia (for MAC and PC)&#xD;&#xA;- Snowglobe&#xD;&#xA;&#xD;&#xA;Any additional tips/tricks would be appreciated. " ContentLicense="CC BY-SA 2.5" />
  <row Id="38565" PostHistoryTypeId="1" PostId="23207" RevisionGUID="3f11d3e9-c045-455c-b456-345b6dad0b65" CreationDate="2010-12-08T12:49:14.493" UserDisplayName="Donn Felker" Text="Best setup for a portable studio?" ContentLicense="CC BY-SA 2.5" />
  <row Id="38566" PostHistoryTypeId="3" PostId="23207" RevisionGUID="3f11d3e9-c045-455c-b456-345b6dad0b65" CreationDate="2010-12-08T12:49:14.493" UserDisplayName="Donn Felker" Text="&lt;audio-recording&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38567" PostHistoryTypeId="36" PostId="23210" RevisionGUID="1634339a-ac21-4441-b160-46259e20c104" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6875/where-i-find-tips-for-sound-in-videos" />
  <row Id="38568" PostHistoryTypeId="36" PostId="23211" RevisionGUID="76fcd295-65a1-4346-b49d-3b416a98999a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6875/where-i-find-tips-for-sound-in-videos/6897#6897" />
  <row Id="38569" PostHistoryTypeId="36" PostId="23212" RevisionGUID="b9d0efc0-914d-4e75-906a-4a7e86c3bf0a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6875/where-i-find-tips-for-sound-in-videos/6900#6900" />
  <row Id="38570" PostHistoryTypeId="2" PostId="23211" RevisionGUID="a6194764-a4f4-4c54-b1f4-de013fb47384" CreationDate="2013-01-21T17:24:21.550" UserId="7174" Text="Get a decent quality sound recorder and directional mics with good windscreens if you want to get good audio on location.  Balancing music and vocals is going to be a trick you'll have to play by ear.  You can apply things like normalization and compression if the audio for voices tends to get softer and louder.  Either of these approaches will shrink the dynamic range (the difference between the quiet and loud parts) and make it so that music is not going to be too soft in some parts and too loud in others.  You might also have to normalize the audio, though most music you get on CD is already normalized and compressed during mastering.&#xD;&#xA;&#xD;&#xA;Really, looking for information on mastering in general would probably be helpful for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="38571" PostHistoryTypeId="2" PostId="23212" RevisionGUID="b574065c-659e-41da-8883-c833f4b7cd65" CreationDate="2013-01-22T11:07:28.853" UserDisplayName="Fred42vid" Text="Your hardest question is: **&quot;How I make a home-recorded voice sounds like as an open-field recorded voice?&quot;**&#xD;&#xA;&#xD;&#xA;Below is also a workflow on cleaning audio recordings. But first to the home/field recording question: &#xD;&#xA;&#xD;&#xA;Before decreasing the quality of your home-recorded voice, try by all means to increase the quality of your field recording (for example by using a small shotgun mic with a windshield pointing from your bike handlebar to yourself). [Here](http://www.bhphotovideo.com/indepth/audio/tips-solutions/camera-microphones-dslr-video) and [here](http://blog.planet5d.com/2011/04/which-mini-shotgun-mic-is-best-for-hdslr-use/) are some comparisons of shotgun mics.&#xD;&#xA;&#xD;&#xA;There will still be a noticeable difference between home and open field recordings. To deal with this I have two practical ideas:&#xD;&#xA;&#xD;&#xA; - Could you ask a woman to speak the home recorded commentary? This&#xD;&#xA;   would make your story more appealing, and nobody would be irritated&#xD;&#xA;   about the different recording qualities, because they're natural.&#xD;&#xA; - If you have to speak everything on your own, I wouldn't do these&#xD;&#xA;   recordings at home, but on a separate bike tour. Then you have the&#xD;&#xA;   same sound quality for free.&#xD;&#xA;&#xD;&#xA;Now, for your **question about editing your audio recordings**, I would like to expand the answer given by *AJ Henderson*.&#xD;&#xA;&#xD;&#xA;This is my personal **workflow** that I use in Audacity:&#xD;&#xA;&#xD;&#xA;**1. Preparation:** If you look at the waveform of your recording, you will see a couple of clippings (amplitude at the maximum). This can be the wind, but also a truck passing by. If this is a part that you will not use later, select it roughly and choose ***Generate/Silence*** in the menu (don't delete the selected part, as this would make your video out of sync). If this is a part that should be included in the final video, take more care in selecting the part, and then choose ***Effect/Amplify***. There, enter a negative value so that the marked part will be at the level or below of the voice.&#xD;&#xA;&#xD;&#xA;**2. Noise reduction:** If the noise is disturbing, select some noise without voice as reference (1 second or more). Then choose ***Effect/Noise Removal***/Get Noise Profile. Now mark a part with voice, and select Effect/Noise Removal/Preview. If the result of the preview is okay, remember the values in the &quot;Step 2&quot; section, press Cancel, now select the whole track, and do the Effect/Noise Removal again, enter the remembered values, and now click OK. Attention: Sometimes this effect worsens the quality. Then I just skip the noise reduction.&#xD;&#xA;&#xD;&#xA;**3. Compression:** If applied well, the compressor brings a loud voice and a silent voice to the same level, while leaving the noise untouched. You know that in every sentence there are loud and less loud words. This can irritate the listener, especially when we turn our heads away form the mic. To do the compression, select again a representative part of the track, then click ***Effect/Compressor***. When the preview sounds okay, remember the values, press cancel, select the whole track, go to Effect/Compressor again, and now click okay. The option &quot;Make-up gain for 0db&quot; should be enabled.&#xD;&#xA;&#xD;&#xA;**4. Normalization:** Now your track will have the maximum level of 0db, which is too much. Perhaps later-on you will like to amplify certain words or passages and need some headroom for this. As for my projects, I decided to generally bring all my voice recordings to -3db. Some TV recommendations demand -9db, whereas every YouTube user chooses his own, going up until 0db. That's why we have to regulate the volume so often while switching from one YouTube video to the other. So, in short, -3db is somewhat in the middle. To normalize, choose ***Effect/Normalize***, and enter -3db in the effect dialog.&#xD;&#xA;&#xD;&#xA;(Important: Please save your project after every step into a new file. If you do mistakes, you will only recognize them in the video editor, and then you will be happy if you don't need to redo everything.)&#xD;&#xA;&#xD;&#xA;Finally, you can export this cleaned track as a WAV file. When you now join different recordings to one new clip in your video editor, they should better fit together." ContentLicense="CC BY-SA 3.0" />
  <row Id="38572" PostHistoryTypeId="2" PostId="23210" RevisionGUID="45c23ae9-0404-4e95-96c9-7d3a399b2690" CreationDate="2013-01-18T17:05:33.887" UserDisplayName="Look Alterno" Text="I use kdenlive/audacity for editing my own videos (mostly mountain bike &amp; family events). While I understand the __mechanics__ of audio/video editing, the sound in my videos is mediocre at best. Here is a sample of my work, with music, voice and ambient sound: &lt;http://www.youtube.com/watch?v=yoVU-uwn45k&gt;&#xD;&#xA;&#xD;&#xA;Some problems I can't solve: what's the best sound levels when mixing music, voice and ambient sound? How I make a neat transition between music and voice? How I make a home-recorded voice sounds like as an open-field recorded voice (to replace part of a in-location recording)?&#xD;&#xA;&#xD;&#xA;I searched YouTube, but most videos are about foley and/or how-to use specific programs, while I'm looking for general ideas and principles for a great sound treatement.&#xD;&#xA;&#xD;&#xA;So, what resources you recommend?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38573" PostHistoryTypeId="1" PostId="23210" RevisionGUID="45c23ae9-0404-4e95-96c9-7d3a399b2690" CreationDate="2013-01-18T17:05:33.887" UserDisplayName="Look Alterno" Text="Where I find tips for sound in videos?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38574" PostHistoryTypeId="3" PostId="23210" RevisionGUID="45c23ae9-0404-4e95-96c9-7d3a399b2690" CreationDate="2013-01-18T17:05:33.887" UserDisplayName="Look Alterno" Text="&lt;audio-recording&gt;&lt;mixing&gt;&lt;field-recording&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38575" PostHistoryTypeId="36" PostId="23213" RevisionGUID="3a7d741b-da59-495c-8cc7-015da017dc22" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9955/how-to-record-quality-dialogues-with-dslr" />
  <row Id="38576" PostHistoryTypeId="36" PostId="23214" RevisionGUID="440786e0-41ca-4d08-aa41-cdd2674bd87c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9955/how-to-record-quality-dialogues-with-dslr/9959#9959" />
  <row Id="38577" PostHistoryTypeId="36" PostId="23215" RevisionGUID="b3f667a2-bdf5-4683-b002-af79488d7901" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9955/how-to-record-quality-dialogues-with-dslr/9962#9962" />
  <row Id="38578" PostHistoryTypeId="36" PostId="23216" RevisionGUID="b3f25cba-5aa5-4ab9-b7c6-4260cd2bc5f2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9955/how-to-record-quality-dialogues-with-dslr/9964#9964" />
  <row Id="38579" PostHistoryTypeId="2" PostId="23214" RevisionGUID="a0722e40-7d9b-47cf-9599-a2add353fabd" CreationDate="2014-01-18T14:51:48.363" UserId="7174" Text="You could use either a cheap mixer or a multi-track recorder.  There are some pretty cheap two channel mixers you could get for doing this or for a little bit more (a couple hundred) you can get (or more cheaply rent) a multi-track recorder, such as the Zoom h4n, that would allow you to actually record different tracks for each of the two mics and mix them in post." ContentLicense="CC BY-SA 3.0" />
  <row Id="38580" PostHistoryTypeId="2" PostId="23215" RevisionGUID="f45f9754-2519-4976-8a0a-f7617ce97656" CreationDate="2014-01-19T03:12:08.953" UserId="7818" UserDisplayName="Nathan Lucy" Text="Great question. If you're only going to do this once, then make sure you record the audio on the camera--it would be a hassle to sync audio recorded from another source later. But you don't have to use the camera's crappy microphone to do this.&#xD;&#xA;&#xD;&#xA;Before I dive into my 2 solutions, let me just say, you can rent all kinds of good gear out there on the Internets and through you local camera store. Because this is just a one-time thing, it may not be worth buying something new.&#xD;&#xA;&#xD;&#xA;###Fancy Wireless 2-mic $etup:&#xD;&#xA;I use two wireless battery-powered lapel microphones. Each of them has its own battery-powered wireless receiver. I connect these to a JuicedLink mounted to my tripod, and mount my Canon 60D to the JuicedLink. The JuicedLink functions as my mixer/pre-amp. One microphone goes to L, and the other goes to R. My camera records in stereo, so now I have 2 independent audio tracks to mix in Final Cut Pro X. This means I can EQ and Compress each actor/interviewee independently. &#xD;&#xA;&#xD;&#xA;###Shotgun 2-mic Setup:&#xD;&#xA;This setup is around $1,800, camera and tripod not included, but fear not, there are lots of ways to record 2 microphone inputs in stereo. One way to cut cost would be to drop wireless in favor of wired. Another would be to drop the JuicedLink. &#xD;&#xA;&#xD;&#xA;For example, you could purchase 2 battery-powered shotgun mics. Shotgun mics have a highly selective hyper-cardioid pickup pattern. They also have a lot more range because they are phantom-powered. (That's also why you need batteries; don't count on getting that power from your camera.) They could mounted on mic stands and wired like this:&#xD;&#xA;&#xD;&#xA;    [Shotgun 1]--(XLR)--[XLR to 1/4&quot; mono]--[1/4&quot; Y]--\&#xD;&#xA;                                                       \__[1/4&quot; stereo]--[1/8&quot;]---[Camera]&#xD;&#xA;                                                       /&#xD;&#xA;    [Shotgun 2]--(XLR)--[XLR to 1/4&quot; mono]--[1/4&quot; Y]--/&#xD;&#xA;&#xD;&#xA;**Bottom line:** If you want to mix 2 channels of audio, record the audio on the camera. That way, it's *already* synced with your video. And if your camera can record in stereo, split it left and right." ContentLicense="CC BY-SA 3.0" />
  <row Id="38581" PostHistoryTypeId="2" PostId="23216" RevisionGUID="a8b21e1e-0c96-4e31-b1cf-8de410d6279a" CreationDate="2014-01-19T05:25:39.393" UserDisplayName="2xj" Text="Something as simple as a [hotshoe mounted shotgun mic](http://www.amazon.com/MXL-Mics-FR-310-Microphone/dp/B0083HTJJ0) could improve the audio quality significantly.&#xD;&#xA;&#xD;&#xA;If the camera needs to be far away from the people speaking, a boom pole and an extension cable or external recorder like one of the Zooms would be helpful." ContentLicense="CC BY-SA 3.0" />
  <row Id="38582" PostHistoryTypeId="2" PostId="23213" RevisionGUID="5377bc6a-5d72-4d0e-bee6-a0a50eff15df" CreationDate="2014-01-18T10:31:31.180" UserDisplayName="Tschareck" Text="I want to use my DSLR for recording a short movie. I realized, that with built-in microphone, the quality of dialogues will be very bad. &#xD;&#xA;&#xD;&#xA;What could I use for recording better quality audio? I was thinking of using two clip-on microphones, but I don't know, how can I mix the sound.&#xD;&#xA;&#xD;&#xA;I am amateur, so I'm not going for professional equipment, rather something I'm going to use once, so price is also important. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38583" PostHistoryTypeId="1" PostId="23213" RevisionGUID="5377bc6a-5d72-4d0e-bee6-a0a50eff15df" CreationDate="2014-01-18T10:31:31.180" UserDisplayName="Tschareck" Text="How to record quality dialogues with DSLR?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38584" PostHistoryTypeId="3" PostId="23213" RevisionGUID="5377bc6a-5d72-4d0e-bee6-a0a50eff15df" CreationDate="2014-01-18T10:31:31.180" UserDisplayName="Tschareck" Text="&lt;audio-recording&gt;&lt;dslr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38585" PostHistoryTypeId="36" PostId="23217" RevisionGUID="11dac280-e545-4a0d-9bad-adf79f3f54c0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9435/split-speaker-level-output" />
  <row Id="38586" PostHistoryTypeId="36" PostId="23218" RevisionGUID="ff8a44e4-d4cb-4ddc-adb4-50e681499948" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9435/split-speaker-level-output/9437#9437" />
  <row Id="38587" PostHistoryTypeId="36" PostId="23219" RevisionGUID="3f96fddd-ee00-4221-bf94-06a46a8ce8a8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9435/split-speaker-level-output/9454#9454" />
  <row Id="38588" PostHistoryTypeId="2" PostId="23218" RevisionGUID="ddf18199-86c0-4c11-bda5-5150d7026a6a" CreationDate="2013-11-18T21:50:57.083" UserId="7174" Text="Use a distribution amplifier and put a variable attenuator inline after each send.  This will allow you to control the volume of each line level output.  You might also be able to find a DA with built in level control.  A DA is absolutely what you want for this case though.&#xD;&#xA;&#xD;&#xA;Note that you could also use a DA and send the same level feed to two different power amps (one for each set of speakers) and adjust the power on each power amp.&#xD;&#xA;&#xD;&#xA;Update: Sorry, missed you said it was a powered output.  For a powered output, you just wire them up in a chain.  This is the way speaker stacks are wired as well as the way stage monitors are wired.  It shouldn't be a problem with a powered signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="38589" PostHistoryTypeId="2" PostId="23219" RevisionGUID="7d60239b-f6c6-43be-87ac-566e2a33c7d5" CreationDate="2013-11-20T05:27:11.353" UserDisplayName="Grumdrig" Text="I found this &quot;speaker switcher&quot;:&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/4-ZONE-Speaker-Selector-Switcher-Control/dp/B003ED2DZA/ref=sr_1_6&#xD;&#xA;&#xD;&#xA;It seems like it might be what I want." ContentLicense="CC BY-SA 3.0" />
  <row Id="38590" PostHistoryTypeId="2" PostId="23217" RevisionGUID="c205a9c3-ead1-47e0-a364-74b60ed09635" CreationDate="2013-11-18T21:31:43.253" UserDisplayName="Grumdrig" Text="I've got powered output (from a Sonos ZonePlayer 120, aka Connect:Amp) which I'd like to send to two different sets of speakers. Young me might have just split the speaker wires, but I'd rather not lose power/fidelity. &#xD;&#xA;&#xD;&#xA;Searching around, it's maybe a distribution amplifier that I want, but the ones I saw seem like they expect line level signals.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It would be nice to be able to set the levels of the two sets of speakers separately, but it isn't crucial. Maybe just a power amp with two outputs would do the trick. &#xD;&#xA;&#xD;&#xA;What's my best bet here?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38591" PostHistoryTypeId="1" PostId="23217" RevisionGUID="c205a9c3-ead1-47e0-a364-74b60ed09635" CreationDate="2013-11-18T21:31:43.253" UserDisplayName="Grumdrig" Text="Split speaker-level output" ContentLicense="CC BY-SA 3.0" />
  <row Id="38592" PostHistoryTypeId="3" PostId="23217" RevisionGUID="c205a9c3-ead1-47e0-a364-74b60ed09635" CreationDate="2013-11-18T21:31:43.253" UserDisplayName="Grumdrig" Text="&lt;audio&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38593" PostHistoryTypeId="36" PostId="23220" RevisionGUID="6aec9be5-2c40-499a-a086-3c409b67df51" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2124/extract-specific-frequencies-from-audio" />
  <row Id="38594" PostHistoryTypeId="2" PostId="23221" RevisionGUID="2024fe6c-6ab1-469e-8bac-50ec55655d59" CreationDate="2011-08-16T10:49:31.757" UserId="7200" UserDisplayName="leftaroundabout" Text="Rather than extracting one instrument, you would try to remove the other one. There are dedicated tools for exactly this task (like [this one][1]), but you can also do it manually, with notch- and/or comb filters. You can use a simple EQ plugin for this, for instance you can split up the track into overlapping regions so that each note is contained in one such region. You then use a narrow band boost to find the note you'd like removed and switch the EQ node to notch or a strong narrow band cut once you've found the frequency. Repeat (if necessary, also with harmonics: you can avoid this by using a comb filter, but this will more heavily affect the overall spectrum) until it sounds as desired.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.algorithmix.com/en/renovator.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="38595" PostHistoryTypeId="2" PostId="23220" RevisionGUID="c4b05328-aa29-45b5-adfb-8015b65c5d61" CreationDate="2011-08-16T02:40:04.250" UserDisplayName="firebat" Text="As you can see from the spectrograph, there are two melodic lines in this excerpt. These two voices are played by different instruments. Is there a tool (preferably free) that will allow me to extract one instrument out of this mix?&#xD;&#xA;&#xD;&#xA;A basic approach would be to extract just the peak frequencies as circled, but I don't even know where to start on that. To also get the timbre of the instrument would require extraction of the overtones as well.&#xD;&#xA;&#xD;&#xA;This piece was probably mostly computer generated and contains very pure tones, so I imagine this task would be at least somewhat feasible.&#xD;&#xA;&#xD;&#xA;![Spectrograph of music excerpt][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/twRg6.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="38596" PostHistoryTypeId="1" PostId="23220" RevisionGUID="c4b05328-aa29-45b5-adfb-8015b65c5d61" CreationDate="2011-08-16T02:40:04.250" UserDisplayName="firebat" Text="extract specific frequencies from audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="38597" PostHistoryTypeId="3" PostId="23220" RevisionGUID="c4b05328-aa29-45b5-adfb-8015b65c5d61" CreationDate="2011-08-16T02:40:04.250" UserDisplayName="firebat" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38598" PostHistoryTypeId="36" PostId="23221" RevisionGUID="a1ee9c52-34db-476d-a8a3-ecd6c62719e2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2124/extract-specific-frequencies-from-audio/2127#2127" />
  <row Id="38599" PostHistoryTypeId="36" PostId="23222" RevisionGUID="c498a9bf-2667-49a8-bfe0-53080289a149" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4773/do-audio-interfaces-output-sounds-from-my-computer-or-only-from-the-input-device" />
  <row Id="38600" PostHistoryTypeId="36" PostId="23223" RevisionGUID="f24dc27a-33d1-4fc2-ad68-c59906d42fd6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4773/do-audio-interfaces-output-sounds-from-my-computer-or-only-from-the-input-device/4774#4774" />
  <row Id="38601" PostHistoryTypeId="36" PostId="23224" RevisionGUID="93384165-649c-4f0c-a3d1-3c74ad2a11d7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4773/do-audio-interfaces-output-sounds-from-my-computer-or-only-from-the-input-device/4776#4776" />
  <row Id="38602" PostHistoryTypeId="2" PostId="23223" RevisionGUID="6600b31a-51cf-4d41-875c-07f834c46919" CreationDate="2012-09-19T12:58:14.517" UserId="6857" Text="It will only possible to answer for specific audio interface, of course...&#xD;&#xA;&#xD;&#xA;In general, it's only possible to say that *yes*, *probably all* audio interface has inputs and outputs, so it can output sounds from the computer.&#xD;&#xA;&#xD;&#xA;Unless you choose an audio interface that uses just specific software, it should be able to play sounds from your computer. &#xD;&#xA;&#xD;&#xA;Example: [Saffire Pro 40](http://global.focusrite.com/firewire-audio-interfaces/saffire-pro-40/key-features) states:&#xD;&#xA;&#xD;&#xA;&gt; Unmatched routing flexibility&#xD;&#xA;&gt; &#xD;&#xA;&gt; Saffire PRO 40 is the most flexible interface in its class, able to adapt to any recording session quickly and intuitively. The user is able to route any input signal or DAW output, or a mix of both, to any of the 20 outputs.&#xD;&#xA;&#xD;&#xA;Where [DAW](http://en.wikipedia.org/wiki/Digital_audio_workstation) is :&#xD;&#xA;&gt; A digital audio workstation (DAW) is an electronic system designed solely or primarily for recording, editing and playing back digital audio [...] Modern DAWs are software running on computers with audio interface hardware.[1]&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38603" PostHistoryTypeId="2" PostId="23224" RevisionGUID="9687fac3-1267-4e53-ac5a-ada33c1c8310" CreationDate="2012-09-19T15:08:22.513" UserId="7294" UserDisplayName="Warrior Bob" Text="This ultimately comes down to the specific interface's drivers, but **generally the way it works is that only the audio from the application that is specifically using the interface actually comes out the interface.** So if I'm using Reaper and I've got my Presonus interface selected, only the audio from Reaper comes out the Presonus - my other system and application sounds (such as things I play in iTunes) default to using the internal soundcard because that's what is currently selected at the operating system level. &#xD;&#xA;&#xD;&#xA;Now, there are always exceptions - there's nothing stopping a manufacturer from writing a driver that routes all system sounds to the interface in addition to any audio specfically targeting the interface. But this is not, in my experience, generally the case with recording hardware." ContentLicense="CC BY-SA 3.0" />
  <row Id="38604" PostHistoryTypeId="2" PostId="23225" RevisionGUID="d9b03f72-79a4-4df1-83b1-4dbcf75caa6c" CreationDate="2012-09-19T16:00:54.093" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="Nowadays, almost every audio interface has a driver with additional options that either expand upon or work separately from your built in audio driver so it will vary from product to product so you would have to check with the ones your interested in.&#xD;&#xA;&#xD;&#xA;My [Akai EIE Pro](http://www.akaipro.com/eiepro), for example, when used in Ableton can be set to have it specifically use any of the inputs and outputs or all of them. Even further, it lets me specify what inputs and outputs to use on each individual channel. Each DAW is different too but as far as I know, **every DAW exports audio without any interference from outside audio sources (running applications, computer sounds, games, etc) making the point of whether or not your audio interface plays these sounds irrelevant**. It would be a terrible design flaw if this weren't the case. Of course **the only exception would be if you are using [ReWire](http://en.wikipedia.org/wiki/ReWire) with an external 3rd party application**. I do this occasionally with Ableton into Reason or vice versa since Reason doesn't support VSTs or other types of 3rd party plugins.&#xD;&#xA;&#xD;&#xA;**It also depends on if you have a Mac or PC**. Macs have a utility in the applications folder called Audio Midi Setup (Applications/Utilities/Audio Midi Setup) which allows you to directly control your input and output channels. I have mine setup to play my computer sounds made by the computer itself through the internal speakers while having all other audio play through my monitors plugged into my EIE Pro. &#xD;&#xA;&#xD;&#xA;If you were on a PC, it would all depend on your driver. The built in audio driver (which is not very good) has quite limited options on what lines in and out can be used since it only has one major input and output source. **It is more than likely that your specific audio interface will come with its own driver to create additional options for the inputs and outputs**. You might even have a 3rd party audio driver which already has these options. For example **if you have the [ASIO4ALL universal audio driver](http://www.asio4all.com/), it automatically is set to only play sounds from the application you currently have open and in the forefront**. Other drivers have this feature too, so look into that as well. &#xD;&#xA;&#xD;&#xA;I know back when I had a (very) old version of [Realtek High Definition Audio Driver](http://www.realtek.com.tw/downloads/), it was a HUGE pain to get it to work with my MicroKorg. Even after purchasing an extremely simple midi-interface to try to circumvent using the audio input option, it was still a huge pain in the butt getting it to work and wouldn't even work consistently whenever I tried to use FL Studio. It could have been the driver, FL Studio, or even both since this was about 5 years ago and the software wasn't even close to as good back then.&#xD;&#xA;&#xD;&#xA;I hope this points you in the right direction." ContentLicense="CC BY-SA 3.0" />
  <row Id="38605" PostHistoryTypeId="2" PostId="23222" RevisionGUID="c3121238-5d27-477f-aea7-b7ecb2625c23" CreationDate="2012-09-19T09:49:32.943" UserDisplayName="Arthurso" Text="I came across **audio interfaces** while researching for microphones with **semi-professional recording quality**. What **wasn't clear** to me, and I couldn't find the answer by reading the specifications of those products, was weather or not the **audio output** from those audio interfaces **included the sounds of applications being used in the computer** to which the interface is plugged. I am not specifying an exact interface because I didn't pick one yet; the answer to this question will greatly affect the choice. I am looking for USB interfaces, but preferably not powered by it (Don't know if that makes a difference when answering the question).&#xD;&#xA;&#xD;&#xA;Thanks for your time" ContentLicense="CC BY-SA 3.0" />
  <row Id="38606" PostHistoryTypeId="1" PostId="23222" RevisionGUID="c3121238-5d27-477f-aea7-b7ecb2625c23" CreationDate="2012-09-19T09:49:32.943" UserDisplayName="Arthurso" Text="Do audio interfaces output sounds from my computer or only from the input devices?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38607" PostHistoryTypeId="3" PostId="23222" RevisionGUID="c3121238-5d27-477f-aea7-b7ecb2625c23" CreationDate="2012-09-19T09:49:32.943" UserDisplayName="Arthurso" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38608" PostHistoryTypeId="36" PostId="23225" RevisionGUID="0a9e8a36-44ed-4b4f-8d9d-6d4e2050fd0a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4773/do-audio-interfaces-output-sounds-from-my-computer-or-only-from-the-input-device/4777#4777" />
  <row Id="38609" PostHistoryTypeId="36" PostId="23226" RevisionGUID="ea1f88e7-b7ec-495f-9cc6-c07ffbc3d8f6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7935/recording-sound-from-another-computer-program" />
  <row Id="38610" PostHistoryTypeId="36" PostId="23227" RevisionGUID="5cda0890-8d4b-4fa9-92ec-beafd37b8aa8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7935/recording-sound-from-another-computer-program/7936#7936" />
  <row Id="38611" PostHistoryTypeId="2" PostId="23227" RevisionGUID="24ebcedb-150b-4107-b61e-307cba791920" CreationDate="2013-05-22T03:58:02.290" UserId="7174" Text="If you are able to directly capture the digital feed and you record to a lossless format that matches the bit depth and sample rate of the original source, then no, you should not lose any quality.  If it is going through an analog hole, then yes, you will." ContentLicense="CC BY-SA 3.0" />
  <row Id="38612" PostHistoryTypeId="2" PostId="23226" RevisionGUID="0d2a39b3-3ae8-4448-902d-8781a6727f7d" CreationDate="2013-05-22T02:16:21.493" UserDisplayName="kirill_igum" Text="If I use audacity to record sound from foobar or itunes or vlc, do I loose quality?&#xD;&#xA;&#xD;&#xA;Specifically, i'd like to press play on the program and record on audacity." ContentLicense="CC BY-SA 3.0" />
  <row Id="38613" PostHistoryTypeId="1" PostId="23226" RevisionGUID="0d2a39b3-3ae8-4448-902d-8781a6727f7d" CreationDate="2013-05-22T02:16:21.493" UserDisplayName="kirill_igum" Text="Recording sound from another computer program" ContentLicense="CC BY-SA 3.0" />
  <row Id="38614" PostHistoryTypeId="3" PostId="23226" RevisionGUID="0d2a39b3-3ae8-4448-902d-8781a6727f7d" CreationDate="2013-05-22T02:16:21.493" UserDisplayName="kirill_igum" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38615" PostHistoryTypeId="36" PostId="23228" RevisionGUID="e15a279a-87b9-4b94-bd17-fd0fd79e29e9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4851/licence-of-audio-samples" />
  <row Id="38616" PostHistoryTypeId="36" PostId="23229" RevisionGUID="0b16fbde-3a15-4966-ba18-df995036fe1d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4851/licence-of-audio-samples/4852#4852" />
  <row Id="38617" PostHistoryTypeId="2" PostId="23229" RevisionGUID="202a8ca4-1d90-40eb-ab64-7d7dab289541" CreationDate="2012-09-28T13:40:14.190" UserDisplayName="Magrangs" Text="If they are 'free to use' like those samples that you can buy from loopmasters, producerloops etc. then they are exactly that unless stated otherwise. Most bought samples come with a license agreement that should explain how you can use them. It depends where you got the samples from as license agreements can differ between suppliers." ContentLicense="CC BY-SA 3.0" />
  <row Id="38618" PostHistoryTypeId="2" PostId="23230" RevisionGUID="9c2d7410-b738-45eb-9650-9ecd60866628" CreationDate="2012-10-13T14:10:49.073" UserId="7462" UserDisplayName="byronyasgur" Text="If I understand your question right then you are looking for samples to use in a commercial application. &#xD;&#xA;&#xD;&#xA;There is a big difference between purchasing the samples and creating them yourself. As far as I know if you create any sound using commercial software then the end result is your own. Eg if I use Cubase to record and release a song then Steinberg have no claim on the song, and likewise if I use a particular synth or sample library to create the work. I know this gets curious when it comes down to for instance someone trying to re-sell on actual samples from a synth or library which I presume would be a breach of copyright, so you would have to estimate where you stand on this I suppose and get legal advice if necessary.&#xD;&#xA;&#xD;&#xA;On the other hand if you want to use samples directly in a commercial application, like a game for instance,  then the usage would be covered by the licence agreement. In general I know more about other elements like photos and pieces of software but I suppose samples and clips are similar. In that regard there would be 2 licences, and this is the case for instance with [Audio Jungle][1] . The typical licence allows for normal usage then as far as I know the extended licence ( which is many times the price of the standard licence ) allows for you to include the file in something you are re-selling. But there will be limitations to this so you would really need to research it pretty well and to be sure to be sure you'd need to get the info direct from the licence holder.&#xD;&#xA;&#xD;&#xA;In general if the licence is not clear and easy to follow ( and get clarification on ) then it's probably better to look elsewhere.&#xD;&#xA;&#xD;&#xA;I would say you are probably in no danger of getting sued by any of the DAW manufacturers if you create your own sounds on their software though.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audiojungle.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="38619" PostHistoryTypeId="2" PostId="23228" RevisionGUID="b59fc7f1-06dc-48bf-8eb3-12f2d3ecc227" CreationDate="2012-09-28T11:37:35.593" UserDisplayName="Puckl" Text="I am not sure if this is the right place to ask, but is there a free-to-use licence for audio samples like drum-kit sounds? And what if I want to use the samples in a commercial application? And what if I produce the samples on my own, using a commercial software, will the samples be free then?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38620" PostHistoryTypeId="1" PostId="23228" RevisionGUID="b59fc7f1-06dc-48bf-8eb3-12f2d3ecc227" CreationDate="2012-09-28T11:37:35.593" UserDisplayName="Puckl" Text="Licence of audio samples" ContentLicense="CC BY-SA 3.0" />
  <row Id="38621" PostHistoryTypeId="3" PostId="23228" RevisionGUID="b59fc7f1-06dc-48bf-8eb3-12f2d3ecc227" CreationDate="2012-09-28T11:37:35.593" UserDisplayName="Puckl" Text="&lt;audio&gt;&lt;sampling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38622" PostHistoryTypeId="36" PostId="23230" RevisionGUID="d42c0f76-8fc0-48ad-9134-becb9bf7dbb4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4851/licence-of-audio-samples/5003#5003" />
  <row Id="38629" PostHistoryTypeId="36" PostId="23233" RevisionGUID="358da9ea-02eb-4bfe-9ccc-de62e07fd3d1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5330/when-should-i-use-a-separate-preamp-or-field-mixer-when-recording-from-a-mic" />
  <row Id="38630" PostHistoryTypeId="2" PostId="23234" RevisionGUID="a6b40064-16c3-462d-ac0f-86f6d7c7e2c7" CreationDate="2012-11-14T21:14:51.137" UserDisplayName="JPollock" Text="The Zoom H4N has built in preamps and microphones.&#xD;&#xA;&#xD;&#xA;Preamp is short for pre amplifier. It raises the signal from mic level (very low) to line level so it can be recorded or sent to an amplifier or a signal processing device. One reason you might want to use an external preamp with the Zoom is because it might have a limiter to prevent clipping, or a high pass filter and /or ground lift switch to help with hum.&#xD;&#xA;&#xD;&#xA;Personally I just use the built in mics on my Zoom H4N. I don't have an small diaphragm condenser mics of a higher quality than those mics. The Zoom does have a high pass filter built in, which I almost always engage." ContentLicense="CC BY-SA 3.0" />
  <row Id="38631" PostHistoryTypeId="2" PostId="23233" RevisionGUID="b043fda0-6f86-49f1-905e-cd91421f2920" CreationDate="2012-11-14T20:19:51.070" UserDisplayName="poplitea" Text="I'm quite new in sound recording - I'm only starting out with this as a hobby, and have yet to invest in (most of) the equipment...&#xD;&#xA;&#xD;&#xA;Let's say I should record voice with a microphone into a mobile recorder, f.x. Zoom H4N. What are the advantages of connecting a preamp/field mixer, f.x. Sound Devices MixPre-d, between the mic and the recorder? I've understood such a mixer could cancel some clipping if the input levels get too high. Is that right? Does it cancel background noise/humming as well? Does the mixer only simplify the post-processing, or is it essential in making top quality recordings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38632" PostHistoryTypeId="1" PostId="23233" RevisionGUID="b043fda0-6f86-49f1-905e-cd91421f2920" CreationDate="2012-11-14T20:19:51.070" UserDisplayName="poplitea" Text="When should I use a separate preamp or field mixer when recording from a mic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38633" PostHistoryTypeId="3" PostId="23233" RevisionGUID="b043fda0-6f86-49f1-905e-cd91421f2920" CreationDate="2012-11-14T20:19:51.070" UserDisplayName="poplitea" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;preamp&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38634" PostHistoryTypeId="36" PostId="23234" RevisionGUID="109cf235-409d-420e-9591-4dd46bba8e38" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5330/when-should-i-use-a-separate-preamp-or-field-mixer-when-recording-from-a-mic/5331#5331" />
  <row Id="38635" PostHistoryTypeId="36" PostId="23235" RevisionGUID="e750d5a1-7f05-430b-a21d-6ef5329c9bf7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5330/when-should-i-use-a-separate-preamp-or-field-mixer-when-recording-from-a-mic/5333#5333" />
  <row Id="38636" PostHistoryTypeId="2" PostId="23235" RevisionGUID="901463b6-61f5-4ec9-873e-63bc0147b6cc" CreationDate="2012-11-14T21:18:46.920" UserId="7189" Text="Note that the Zoom H4n can record 24 bit samples. If you set your input level so that the loudest sound peaks at half your available headroom, your recording will effectively use 23 bits. That's still *plenty* of bits left if you plan to downsample to 16bits for your finished product. Unless you are looking for the coloration of a specific limiter or preamp, you are always better off setting your recording levels low and your sample size high.&#xD;&#xA;&#xD;&#xA;Also, it should go without saying that you should record uncompressed. SD cards are dirt cheap, so capacity shouldn't be an issue.&#xD;&#xA;&#xD;&#xA;Here is why using a 24 bit sample rate helps with headroom. A 24 bit integer has 16,777,216 different values. A 23 bit integer has exactly half that, 8,388,608. A 22 bit integer has 4 million. This is because each bit doubles your resolution. Conversely, if you use only half of your available headroom, then you are only throwing away one bit, *not* half of your bits. So you could adjust your input so that a peak only uses 1/4 of your headroom, and you'd only be throwing away 2 bits. That leaves you with 22 bits of effective resolution. Still six bits more than CD-quality at 16 bits.&#xD;&#xA;&#xD;&#xA;That said, your ADC will probably be more accurate for large sound pressure differences than small. So you don't want to throw away too much dynamic range. But throwing away one or two bits should be fine." ContentLicense="CC BY-SA 3.0" />
  <row Id="38637" PostHistoryTypeId="36" PostId="23236" RevisionGUID="96279ec7-6acd-4229-a475-49acf0864269" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2248/why-does-does-my-audio-go-out-of-sync-every-time-i-reencode-either-the-audio-or" />
  <row Id="38638" PostHistoryTypeId="2" PostId="23237" RevisionGUID="df88fe6e-8ac5-4f17-88b6-305f15928755" CreationDate="2011-09-02T13:22:49.640" UserDisplayName="Bryce Alan Flurie" Text="If the audio is in sync at the beginning and out at the end, check your frame rate on your sequence. You may have imported at 24 but the sequence is set to 23.976 or something like that. I had this happen to me in FCP7 with DSLR footage and double system audio. If you close your project and reimport your video footage to a timeline with matching audio you should be ok." ContentLicense="CC BY-SA 3.0" />
  <row Id="38639" PostHistoryTypeId="2" PostId="23236" RevisionGUID="031d8f6f-625c-4129-8867-d863bdf64dca" CreationDate="2011-09-01T01:46:41.787" UserId="9486" UserDisplayName="jnm2" Text="I have a video in an AVI container.  The video is H264 AVC and the audio is VBR MP3.  (I don't know if this is relevant&amp;mdash; I recorded it in from an analog video capture card, from a VHS.  The frame rate can vary when playing VHS tapes.)&#xD;&#xA;&#xD;&#xA;When I reencode the video or audio or both, the result comes out very off sync near the end, almost a full second.  I've been using avidemux, cropping the edges of the VHS image and trim the static off the beginning and end, but all the reencoding software I've tried has the same problem.  I've even used avidemux's audio mapping functionality which sounds like it's intended to correct this kind of thing.&#xD;&#xA;&#xD;&#xA;Is the issue the VBR audio?  In retrospect I should probably have made sure it was CBR, but it was lengthy and I'd rather not rerecord it.  Is there anything else I can I can do to resolve this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38640" PostHistoryTypeId="1" PostId="23236" RevisionGUID="031d8f6f-625c-4129-8867-d863bdf64dca" CreationDate="2011-09-01T01:46:41.787" UserId="9486" UserDisplayName="jnm2" Text="Why does does my audio go out of sync every time I reencode either the audio or video stream?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38641" PostHistoryTypeId="3" PostId="23236" RevisionGUID="031d8f6f-625c-4129-8867-d863bdf64dca" CreationDate="2011-09-01T01:46:41.787" UserId="9486" UserDisplayName="jnm2" Text="&lt;video&gt;&lt;audio&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38642" PostHistoryTypeId="36" PostId="23237" RevisionGUID="4ed46262-d3bd-4bda-8d09-f160fd4e48ac" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2248/why-does-does-my-audio-go-out-of-sync-every-time-i-reencode-either-the-audio-or/2254#2254" />
  <row Id="38643" PostHistoryTypeId="36" PostId="23238" RevisionGUID="97b2fa30-a554-4796-a9b6-5c4ed1b81852" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2248/why-does-does-my-audio-go-out-of-sync-every-time-i-reencode-either-the-audio-or/2278#2278" />
  <row Id="38644" PostHistoryTypeId="2" PostId="23238" RevisionGUID="7ea5bfe9-44ba-429c-a7ea-44796a173877" CreationDate="2011-09-06T19:12:18.013" UserId="2506" Text="Ah, this used to be a notorious problem for people braving the new world of DivX ;-) 3.1 video with VBR MP3 audio tracks. It used to be commonplace for people to have to edit the framerate in VirtualDub (later VirtualDubMod); VDubMod provides a facility to adjust the video framerate to compensate for audio lag.&#xD;&#xA;&#xD;&#xA;Golden rule for audio accompanying video tracks: make sure it's digitised and encoded at 48 kHz. 48000 can be divided nicely into 24, 25 and 30. 44100 doesn't go quite as well. (All to do with timing from back in ye olde dayze). Also, some software copes perfectly well with audio supplied at 48 kHz whereas 44.1 kHz audio tracks desync during playback (even if they're theoretically aligned perfectly in the file) due to bugs with MP3 support in the playback software and the AVI wrapper (it's all one big dirty hack; AVI was never designed to support MP3 bitstreams, nor H.264).&#xD;&#xA;&#xD;&#xA;If you're encoding with H.264, I would drop AVI altogether unless it's unavoidable for hardware format support reasons. Wherever possible, use MKV or MP4 to wrap your streams -- MKVMerge for making Matroska files or MP4Box for MP4 files (YAMB is a very functional Windows GUI for MP4Box). Both of those formats are far more efficient and can handle far more in terms of streams (subtitles, both converted and native vobsub, chapters, multiple audio streams and multiple video streams). My recommended software combo for playback is either 1) Media Player Classic with CoreAVC for video, AC3Filter / FFDShow's audio component for audio and Haali Media Splitter for demuxing the streams at playback... or 2) VLC / SMPlayer / UMPlayer as a &quot;no fuss&quot; alternative (not quite as good quality though IMHO)." ContentLicense="CC BY-SA 3.0" />
  <row Id="38645" PostHistoryTypeId="36" PostId="23239" RevisionGUID="9bbaf843-34c7-43f0-9034-c9503617aa30" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1009/how-do-i-mic-a-violin" />
  <row Id="38646" PostHistoryTypeId="36" PostId="23240" RevisionGUID="e1058c23-88e8-4e60-873f-a721e065dee1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1009/how-do-i-mic-a-violin/1011#1011" />
  <row Id="38647" PostHistoryTypeId="2" PostId="23240" RevisionGUID="24a5acfb-5562-4f91-99bd-ecdab05e0484" CreationDate="2011-03-14T06:23:40.353" UserDisplayName="Owen Kelly" Text="This is just my *personal opinion*, different engineers will have other ideas. A great starting point will be to find the room you like the violin in the best, I've always found the room will have a big impact on making strings sound nice. I would suggest keeping about bit of a distance if you want to get that room sound in, say a meter or two - this should help mellow the sound. Walk around the room while shes playing with one ear covered, try and find a sweet spot, and try the mic there.&#xD;&#xA;&#xD;&#xA;I've had success putting ribbons in corners in omni (say 40cm from the corner) to grab a nice reflection with the direct sound. The main thing you want to avoid is a really harsh violin, if its painful to listen to then try another spot.&#xD;&#xA;&#xD;&#xA;With the gear you've listed it should sound awesome no matter where you put it." ContentLicense="CC BY-SA 2.5" />
  <row Id="38648" PostHistoryTypeId="2" PostId="23241" RevisionGUID="cca09a36-6cfb-4747-b5b8-447926592103" CreationDate="2011-03-14T07:45:03.787" UserId="7592" UserDisplayName="Pelle ten Cate" Text="It depends on what exactly you want to record. If you want to record a solo violin sonata, you want to have a nice sounding instrument with accoustical information as well. If you want to record a violin to add to a mix of a pop song, don't bother too much with recording ambient stuff, and make sure you have a clear and crispy sounding violin.&#xD;&#xA;&#xD;&#xA;When recording violins, I am a bit reluctant in using ribbon microphones. While I don't have a real reason for this, the actual reason is that I had fabulous results with condenser microphones. This part of the answer is: Try, and listen. (And listen means: use your ears.)&#xD;&#xA;&#xD;&#xA;Most important (especially on string instruments) according to my theory is that you NEVER use more microphones than you will need at least, that is, never use a microphone if you don't intend it for something. If you are making a stereo recording, 3 mics must be enough. A violin is not a stereophonic instrument (and should not be recorded as such!), so I would use two microphones for getting the ambient sound, and one for recording the violin. If you tend to disagree with me about the violin not being a stereophonic instrument, then you could mic. them with an XY stereo pair. Never use an AB or ORTF (or other hybrid system) to mic. one violin, those systems only work with multiple musicians and will only result in comb filter effects when applied to 1 musician. &#xD;&#xA;&#xD;&#xA;While the placement of the ambient microphones really depends on the acoustical properties of the room/hall you record in, the placement of the spot microphone (i.e. the mic. close to the violin) can be varied with. I got the best results slightly tilted pointing towards the upper bout (i.e. above the F-holes, in the middle of the fingerboard.) If you point it more towards the F-holes, you will get more resonant low-mid frequency sounds than if you point it more towards the fingerboard. If you move the microphone in the direction of the bridge, you will get more of the 'attack' transients, which can be preferrable (depending on the type of music you record, suitable for Bartók rather than for Mozart.)&#xD;&#xA;&#xD;&#xA;The distance you need to take highly depends on the directionality of the microphone. A good rule of thumb is to imagine the sound you hear when you put your ear at the place the microphone is. That is, for classical music, don't put it too close. If you happen to have an non-omnidirectional microphone, e.g. (semi-)cardioid, supercardioid or figure-8, don't put it too close. A violin is very sensitive to the proximity effect, which you really don't want in your recording. Therefore, keep distance when using a directional microphone." ContentLicense="CC BY-SA 2.5" />
  <row Id="38649" PostHistoryTypeId="2" PostId="23239" RevisionGUID="9123162c-d5fa-4a73-ab5d-35bde6a6edd3" CreationDate="2011-03-14T00:58:37.403" UserDisplayName="Jduv" Text="I have a Royer R-122 ribbon. My wife is a violinist, and I would love some tips on how to properly mike her violin for recording and mixing. I understand that ribbons are a little picky, so I would like ideas on placement etc. I would be doing this through my home setup, which is a modest Apogee Duet through Logic Pro into my MacBook Pro." ContentLicense="CC BY-SA 2.5" />
  <row Id="38650" PostHistoryTypeId="1" PostId="23239" RevisionGUID="9123162c-d5fa-4a73-ab5d-35bde6a6edd3" CreationDate="2011-03-14T00:58:37.403" UserDisplayName="Jduv" Text="How do I mic a violin?" ContentLicense="CC BY-SA 2.5" />
  <row Id="38651" PostHistoryTypeId="3" PostId="23239" RevisionGUID="9123162c-d5fa-4a73-ab5d-35bde6a6edd3" CreationDate="2011-03-14T00:58:37.403" UserDisplayName="Jduv" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38652" PostHistoryTypeId="36" PostId="23241" RevisionGUID="5f6739a3-a078-4b10-8920-4279ce4951de" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1009/how-do-i-mic-a-violin/1012#1012" />
  <row Id="38653" PostHistoryTypeId="36" PostId="23242" RevisionGUID="7fcbfd3e-49ec-4a69-aa3c-f694a19a5589" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7906/audio-ducking-in-premiere-pro" />
  <row Id="38654" PostHistoryTypeId="36" PostId="23243" RevisionGUID="6d0b0a2f-1bf1-4493-9289-6e944b8704e7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7906/audio-ducking-in-premiere-pro/7907#7907" />
  <row Id="38655" PostHistoryTypeId="2" PostId="23243" RevisionGUID="fd8a06e9-cbb4-48a7-849e-255b65271b19" CreationDate="2013-05-17T11:32:03.890" UserId="7176" Text="The feature you're looking for is called [Audio Ducking](http://en.wikipedia.org/wiki/Ducking) and can be achieved by applying a side-chain compressor to your background track or by key framing your background audio volume to lower when the other track is playing.&#xD;&#xA;&#xD;&#xA;A side-chain compressor monitors the amplitude of `signal B` and applies compression based on that to `signal A`. So if `signal B` will have audio in it, `signal A` will be quieter for that moment. &#xD;&#xA;Get a VST or AU [side-chain compressor](http://bedroomproducersblog.com/2010/11/10/bpb-freeware-studio-best-free-sidechain-compressor-vst-plugins/), apply it to your background track (`signal A`) and set the other primary track as the side-chain input (`signal B`). &#xD;&#xA;If you have multiple commentary tracks, either merge them to one, or apply the effect multiple times to `signal A` but with different side-chain inputs.&#xD;&#xA;&#xD;&#xA;The other method involves keyframing your audio track volume and is completely explained in this [Adobe Forum post titled: Adjusting Audio Volume Levels](http://forums.adobe.com/thread/792215?tstart=0)" ContentLicense="CC BY-SA 3.0" />
  <row Id="38656" PostHistoryTypeId="2" PostId="23242" RevisionGUID="868849a4-8ffb-422d-a48d-3b91227042ff" CreationDate="2013-05-17T06:28:20.787" UserDisplayName="Keegan McCarthy" Text="Many high end mixing stations have a feature that makes the music quieter when a mic is spoken into.&#xD;&#xA;&#xD;&#xA;I would like to acheive something similar in premier.  I am editing a video that has a track playing in the background but there's periodically other audio throughout.  Is it possible for the background track to become quieter when one of the other primary tracks has audio playing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38657" PostHistoryTypeId="1" PostId="23242" RevisionGUID="868849a4-8ffb-422d-a48d-3b91227042ff" CreationDate="2013-05-17T06:28:20.787" UserDisplayName="Keegan McCarthy" Text="Audio ducking in Premiere Pro" ContentLicense="CC BY-SA 3.0" />
  <row Id="38658" PostHistoryTypeId="3" PostId="23242" RevisionGUID="868849a4-8ffb-422d-a48d-3b91227042ff" CreationDate="2013-05-17T06:28:20.787" UserDisplayName="Keegan McCarthy" Text="&lt;audio&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38659" PostHistoryTypeId="36" PostId="23244" RevisionGUID="6e33e382-c61c-40ad-a1fe-095ecee1a993" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5075/how-can-i-encode-audio-with-nero-aac-encoder-using-mac-os-x" />
  <row Id="38660" PostHistoryTypeId="36" PostId="23245" RevisionGUID="2a91915f-3050-49b9-ab5e-692a2c049a67" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5075/how-can-i-encode-audio-with-nero-aac-encoder-using-mac-os-x/5079#5079" />
  <row Id="38661" PostHistoryTypeId="2" PostId="23245" RevisionGUID="fbbe513e-4f8e-4bfc-a386-67efa21a0f60" CreationDate="2012-10-17T15:38:18.320" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="If you are set on using Nero's encoder on a mac, you can always use [Mac's Bootcamp](http://support.apple.com/kb/HT1461) to run a virtual version of Windows and do the encoding that way. This probably isn't what you want but was just going to give you the option.&#xD;&#xA;&#xD;&#xA;There are also a few programs that don't require Bootcamp that will open PC programs. Here are a couple. I think some have a free trial too or are free (but in beta) so you wont have to buy anything right away if you wan't to go this route:&#xD;&#xA;&#xD;&#xA; 1. [CrossOver](http://www.codeweavers.com/products/)&#xD;&#xA; 2. [Wine Bottler](http://winebottler.kronenberg.org/)&#xD;&#xA; 3. [Vmware Fusion](http://www.vmware.com/products/fusion/features.html)&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="38662" PostHistoryTypeId="2" PostId="23246" RevisionGUID="16ee4197-a90d-44af-876c-f528035f5169" CreationDate="2012-10-17T22:27:55.020" UserId="20346" UserDisplayName="LordNeckbeard" Text="[`neroAacEnc`][1] is also available for Linux. If you find that is works for you in OS X then you can use `ffmpeg` to pipe to this encoder and then mux with `ffmpeg`:&#xD;&#xA;&#xD;&#xA;    ffmpeg -i input -f wav - | neroAacEnc -ignorelength -if - -of audio.mp4&#xD;&#xA;    ffmpeg -i video.mp4 -i audio.mp4 -c copy -map 0 output.mkv&#xD;&#xA;&#xD;&#xA;However, FFmpeg now also supports the external encoding library from [fdk-aac][2] which is probably ≥ `neroAacEnc` (I'm guessing here). That being said [some tests][3] consider Apple's AAC encoder (via [`qaac`][4]) to be very good, so you have the option to encode with `qaac` and mux with `ffmpeg`.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ftp6.nero.com/tools/NeroAACCodec-1.5.1.zip&#xD;&#xA;  [2]: https://github.com/mstorsjo/fdk-aac&#xD;&#xA;  [3]: http://d.hatena.ne.jp/kamedo2/20120102/1325523424&#xD;&#xA;  [4]: https://sites.google.com/site/qaacpage/" ContentLicense="CC BY-SA 3.0" />
  <row Id="38663" PostHistoryTypeId="2" PostId="23244" RevisionGUID="4429ec17-3f49-49a1-809e-6cfc556f05c4" CreationDate="2012-10-17T06:42:43.700" UserId="7824" UserDisplayName="Henrik Söderlund" Text="The *Nero AAC Encoder* encoder is far superior sound-wise to `libfaac` that comes with `ffmpeg`, but the encoder is only available for Windows. How can I encode using this encoder on Mac OS X? &#xD;&#xA;&#xD;&#xA;Other, even better alternatives are encouraged as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="38664" PostHistoryTypeId="1" PostId="23244" RevisionGUID="4429ec17-3f49-49a1-809e-6cfc556f05c4" CreationDate="2012-10-17T06:42:43.700" UserId="7824" UserDisplayName="Henrik Söderlund" Text="How can I encode audio with Nero AAC Encoder using Mac OS X?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38665" PostHistoryTypeId="3" PostId="23244" RevisionGUID="4429ec17-3f49-49a1-809e-6cfc556f05c4" CreationDate="2012-10-17T06:42:43.700" UserId="7824" UserDisplayName="Henrik Söderlund" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38666" PostHistoryTypeId="36" PostId="23246" RevisionGUID="768ed0f5-7f6a-48b8-a171-90e5983681d9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5075/how-can-i-encode-audio-with-nero-aac-encoder-using-mac-os-x/5083#5083" />
  <row Id="38667" PostHistoryTypeId="36" PostId="23247" RevisionGUID="56616403-ef44-4d9e-88a6-b2736776aac2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5075/how-can-i-encode-audio-with-nero-aac-encoder-using-mac-os-x/9888#9888" />
  <row Id="38668" PostHistoryTypeId="2" PostId="23247" RevisionGUID="d591e3bf-c5b6-435d-95f6-d9ed05083c5d" CreationDate="2014-01-11T15:05:59.723" UserDisplayName="chmoduk" Text="On the mac you'd be bettor off using `afconvert`.  Command line tool to quicktime aac encoding.&#xD;&#xA;&#xD;&#xA;    afconvert -f m4af -d aac -q 127 -s 3 &lt;input file&gt;&#xD;&#xA;&#xD;&#xA;There's also a user quality setting `-u vbrq &lt;1 to 127&gt;`  I tend to use 105 for around 250kbps and that example above is using true vbr." ContentLicense="CC BY-SA 3.0" />
  <row Id="38669" PostHistoryTypeId="36" PostId="23248" RevisionGUID="0bbce982-6992-4fd6-9c03-eae3c572ff7c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3607/3-5-mm-vs-rca-for-home-stereo-both-unbalanced" />
  <row Id="38670" PostHistoryTypeId="36" PostId="23249" RevisionGUID="b923d2b8-8473-4c87-9d5c-4eb35d7be643" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3607/3-5-mm-vs-rca-for-home-stereo-both-unbalanced/7461#7461" />
  <row Id="38671" PostHistoryTypeId="2" PostId="23249" RevisionGUID="e59f3873-649f-4911-9d29-1068ff547c6f" CreationDate="2013-03-22T07:59:29.380" UserDisplayName="kurzweilguy" Text="Essentially, this is going to depend on the cable and the quality of the connectors. The connector type has nothing to do with the quality. Ideally, you would want to split the channels (left/right) and run a balanced line-level signal in a situation like that. 50 feet is a very long distance for unbalanced cables. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38672" PostHistoryTypeId="2" PostId="23248" RevisionGUID="a9b70f54-dff9-46a9-a2f1-7e5da82ed9f7" CreationDate="2012-03-19T23:35:13.480" UserDisplayName="Adam Gent" Text="I have two home stereo amplifiers in different rooms. I tried connecting Zone 2 with (the other room) with 50 feet of RCA cable and noticed there was some noise (I live right next to an AM radio tower and my house has some pretty bad electrical wiring). &#xD;&#xA;&#xD;&#xA;I then switched to what I thought was rather crappy 50 feet 3.5mm TRS (unbalanced) and the noise went away.&#xD;&#xA;&#xD;&#xA;Has any one noticed that TRS is better than RCA? &#xD;&#xA;If so my question is why don't home receivers/amplifiers just use TRS instead of RCA?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38673" PostHistoryTypeId="1" PostId="23248" RevisionGUID="a9b70f54-dff9-46a9-a2f1-7e5da82ed9f7" CreationDate="2012-03-19T23:35:13.480" UserDisplayName="Adam Gent" Text="3.5 mm vs RCA for home stereo (both unbalanced)" ContentLicense="CC BY-SA 3.0" />
  <row Id="38674" PostHistoryTypeId="3" PostId="23248" RevisionGUID="a9b70f54-dff9-46a9-a2f1-7e5da82ed9f7" CreationDate="2012-03-19T23:35:13.480" UserDisplayName="Adam Gent" Text="&lt;audio&gt;&lt;cable&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38675" PostHistoryTypeId="36" PostId="23250" RevisionGUID="48af5258-119f-4c1c-b18e-820d09857261" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4199/how-can-i-mimic-the-audio-synthesis-layers-from-kraftwerks-tour-de-france-etap" />
  <row Id="38676" PostHistoryTypeId="36" PostId="23251" RevisionGUID="062e9861-0a7e-4136-8bb1-72ed2d03b91c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4199/how-can-i-mimic-the-audio-synthesis-layers-from-kraftwerks-tour-de-france-etap/4239#4239" />
  <row Id="38677" PostHistoryTypeId="2" PostId="23251" RevisionGUID="705b73b9-d630-474c-afb0-f613139594be" CreationDate="2012-06-21T15:19:13.057" UserId="9511" UserDisplayName="Johnny Bigoode" Text="This is not the most suited answer but it's what I got from [Reddit][1].&#xD;&#xA;&#xD;&#xA;From Reddit user valiantism:&#xD;&#xA;&#xD;&#xA;&gt; Ok I think I got fairly close. I made a thor with 3 wavetable oscs.&#xD;&#xA;OSC1: PPG 8 HP VCF @ position 44. Turn the octave down to 3. OSC2: PPG 8 HP VCF @ position 34. Turn the semi up to 7. OSC3: PPG 27 Formant @ position 2.&#xD;&#xA;Route all 3 oscs to a Lowpass filter (filter1) with the freq set to ~400 hz. Set filter2 to a State-Variable, and set it to High-Pass. Set the freq to ~100hz.&#xD;&#xA;Set the mixer balance between OSC1 and OSC2 to 50. Turn 1+2 down to -4,9db and turn down OSC3 level down to -11 db.&#xD;&#xA;Turn on the delay in Thor, turn on temposync. Set Time=3/8T and F.Back=16&#xD;&#xA;Add a Phaser device to your Thor. Turn down the freq quite a lot.&#xD;&#xA;Finally set up a send effect in the Thor's mixer channel to a &quot;The Echo&quot;, the initialized setting will do find. Play around with the channel send, until you're happy.&#xD;&#xA;Most of these settings can probably be tweaked alot more to get closer to the original sound, but this should get you pretty close.&#xD;&#xA;&#xD;&#xA;It's not the exate sound and it's pretty close, but I'm not satisfied. &#xD;&#xA;  [1]: http://www.reddit.com/r/reasoners/comments/v41ns/how_can_i_get_that_kraftwerks_tour_de_france/" ContentLicense="CC BY-SA 3.0" />
  <row Id="38678" PostHistoryTypeId="2" PostId="23250" RevisionGUID="26d76001-be51-4ba5-8395-01606bb4b5ff" CreationDate="2012-06-18T16:06:42.107" UserId="9511" UserDisplayName="Johnny Bigoode" Text="I'm currently trying to achieve a similar sound from &quot;Tour de France Etape 3&quot;. Specially the intro of the song. The same sound can be heard across the whole Tour de France Sountracks album. &#xD;&#xA;&#xD;&#xA;From [this][1] link I found a list of Kraftwerk's equipment and these were the synths I managed to narrow down from the original list the selection:&#xD;&#xA;&#xD;&#xA; - Cubase SX - Professional MIDI/Audio Sequencer&#xD;&#xA; - Halion - Steinberg Virtual Sampler (VST)&#xD;&#xA; - Native Instruments - Virtual instruments (VST) &#xD;&#xA; - Propellerheads Reason - Virtual studio rack&#xD;&#xA; - TC Works Plug-Ins - Virtual Instruments &amp; Effects (VST) &#xD;&#xA; - VST Instruments - Steinberg Virtual Instruments &amp; Effects&#xD;&#xA; - Waldorf PPG - VST version of classic Waldorf PPG&#xD;&#xA;&#xD;&#xA;After checking all of the above I realized that Waldorf PPG VST might be what I'm looking for. From [this][2] YouTube link it seems that the same sound was achieved. &#xD;&#xA;&#xD;&#xA;But after getting the VST's demo I just couldn't get even near that sound. &#xD;&#xA;&#xD;&#xA;I'm not really sure how am I supposed to do this but I also trying fiddling with Reason's Thor Synth (The wave table oscillator) but I just couldn't get there. &#xD;&#xA;&#xD;&#xA;&lt;STRIKE&gt;I also just realized that Ableton's Operator is a wave table synth but I didn't even touch it (my only use for Ableton is vocal processing, I'm not even sure I have instruments installed on my PC)&lt;/STRIKE&gt;&#xD;&#xA;&#xD;&#xA;I've also been recently fooled into thinking that Ableton's Operator is a Wave Table synth. It is a FM Synth. (Special thanks to ObscureRobot for pointing that out)&#xD;&#xA;&#xD;&#xA;Anyways, any idea or suggestions would help a lot. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.technopop-archive.com/data_setup.php&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=GOed50IBS60" ContentLicense="CC BY-SA 3.0" />
  <row Id="38679" PostHistoryTypeId="1" PostId="23250" RevisionGUID="26d76001-be51-4ba5-8395-01606bb4b5ff" CreationDate="2012-06-18T16:06:42.107" UserId="9511" UserDisplayName="Johnny Bigoode" Text="How can I mimic the audio synthesis layers from Kraftwerk's &quot;Tour de France Etape 3&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38680" PostHistoryTypeId="3" PostId="23250" RevisionGUID="26d76001-be51-4ba5-8395-01606bb4b5ff" CreationDate="2012-06-18T16:06:42.107" UserId="9511" UserDisplayName="Johnny Bigoode" Text="&lt;audio&gt;&lt;ableton&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38681" PostHistoryTypeId="36" PostId="23252" RevisionGUID="4a29aee3-4dca-400f-b07e-a7960fb85284" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1820/how-can-i-get-rid-of-the-annoying-background-hum-on-a-new-yeti-microphone" />
  <row Id="38682" PostHistoryTypeId="36" PostId="23253" RevisionGUID="50c6b3a8-a5f8-4256-a9c9-648387264ede" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1820/how-can-i-get-rid-of-the-annoying-background-hum-on-a-new-yeti-microphone/1821#1821" />
  <row Id="38683" PostHistoryTypeId="36" PostId="23254" RevisionGUID="b2e21d59-d977-4f7d-8e8a-a68a8467a710" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1820/how-can-i-get-rid-of-the-annoying-background-hum-on-a-new-yeti-microphone/1822#1822" />
  <row Id="38684" PostHistoryTypeId="2" PostId="23253" RevisionGUID="0c4d7565-198e-4265-92b4-c3a17bb56990" CreationDate="2011-07-08T19:21:01.787" UserDisplayName="Jim" Text="Unless you think the microphone is faulty, In which case you should probably send it back, you should look at processing the signal in software.&#xD;&#xA;&#xD;&#xA;[Audacity][1] is a great cross platform Sound Editor that has a fantastic noise removal plugin, and it's totally free- Highlight a section of your track that just contains noise, then go to the &quot;Effect&quot; menu and click on &quot;Noise removal&quot;, now click the &quot;Get Noise Profile&quot; button. Now highlight the whole track and go back to the Noise Removal plugin and click &quot;Ok&quot;, it's pretty darn effective :)&#xD;&#xA;&#xD;&#xA;Only pull it apart if you are sure that it's not covered under warranty and you've exhausted all other options.&#xD;&#xA;&#xD;&#xA;It might be that the noise level is normal in mic of that type, if you've not used a condenser mic before, the huge gain and noise can be above what you expect. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="38685" PostHistoryTypeId="2" PostId="23254" RevisionGUID="55fe00f3-4c46-45ca-897a-ffa6ac23be44" CreationDate="2011-07-08T19:23:14.903" UserDisplayName="Matt Jenkins" Text="It could be picking up the hum of your computer through the desk.  Try holding it in your hand instead of standing it on the desk." ContentLicense="CC BY-SA 3.0" />
  <row Id="38686" PostHistoryTypeId="2" PostId="23255" RevisionGUID="c52c59d2-80c8-41ac-9dd2-95f6bb7fcd34" CreationDate="2011-07-08T19:41:18.733" UserDisplayName="David Kessner" Text="There are several possibilities:&#xD;&#xA;&#xD;&#xA;1. The noise is from the PC power supply.  Try using a USB hub that has it's own power supply.  If you're using a laptop, try running off of battery and the charger and see which one is better.  &#xD;&#xA;&#xD;&#xA;2. As @Matt Jenkins said, maybe the mic is picking up the hum through the desk.  I'd like to add here that Matt is talking about mechanical vibrations.  The fans and hard drives in your PC/laptop could be vibrating the table which is coupling into the mic.  Move the mic and see if the noise goes away.&#xD;&#xA;&#xD;&#xA;3. The noise is caused by EMI/RFI.  Try moving the mic around the room and see if it gets more or less noise when in different positions.  Try a longer USB cable so you can move it around more.  Once you've identified what is causing the EMI/RFI then you can do something about it.&#xD;&#xA;&#xD;&#xA;4. And there is always the possibility that the mic is bad.  Try using it on a different computer, in a different building.  If you still have problems then get a different mic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I am not a fan of removing the noise after the recording process.  Or, rather, it is much better to remove the source of the noise than to try and filter it out later.  Fixing it later is what we in the biz call, &quot;Fixing it in the mix&quot;.  Sometimes you have no other options, but when you do it is always better to do it right.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38687" PostHistoryTypeId="2" PostId="23252" RevisionGUID="dd9123e5-4871-4eb8-aaf3-5c7a61d1ab85" CreationDate="2011-07-08T18:46:57.283" UserDisplayName="fmz" Text="I recently purchased a [Blue Yeti][1] USB microphone for use in recording screencasts. &#xD;&#xA;&#xD;&#xA;I am using [Screenflow][2] to record with and while the sound is excellent in quality there is a nasty hum in the background that is not anything like ambient noise.&#xD;&#xA;&#xD;&#xA;I have tried different settings and randomly adjusted the gain, but I am a real noobie on this.&#xD;&#xA;&#xD;&#xA;Google searches yielded little or not help, so I am hoping to get some guidance here.&#xD;&#xA;&#xD;&#xA;Thanks in advance for the help.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bluemic.com/yeti/&#xD;&#xA;  [2]: http://www.telestream.net/screen-flow/overview.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="38688" PostHistoryTypeId="1" PostId="23252" RevisionGUID="dd9123e5-4871-4eb8-aaf3-5c7a61d1ab85" CreationDate="2011-07-08T18:46:57.283" UserDisplayName="fmz" Text="How can I get rid of the annoying background hum on a new Yeti Microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="38689" PostHistoryTypeId="3" PostId="23252" RevisionGUID="dd9123e5-4871-4eb8-aaf3-5c7a61d1ab85" CreationDate="2011-07-08T18:46:57.283" UserDisplayName="fmz" Text="&lt;audio&gt;&lt;noise&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38690" PostHistoryTypeId="36" PostId="23255" RevisionGUID="0a6c5049-d9f8-43d5-841e-0719aa545a45" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1820/how-can-i-get-rid-of-the-annoying-background-hum-on-a-new-yeti-microphone/1823#1823" />
  <row Id="38691" PostHistoryTypeId="36" PostId="23256" RevisionGUID="cd0fa94f-4cf8-4b54-a210-c0077f718131" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1820/how-can-i-get-rid-of-the-annoying-background-hum-on-a-new-yeti-microphone/3171#3171" />
  <row Id="38692" PostHistoryTypeId="36" PostId="23257" RevisionGUID="3774dd4e-91b8-47bf-a973-97ee603f1fd1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1820/how-can-i-get-rid-of-the-annoying-background-hum-on-a-new-yeti-microphone/3238#3238" />
  <row Id="38693" PostHistoryTypeId="2" PostId="23256" RevisionGUID="eaf727ad-0264-44a3-85c8-95d761ec3aa5" CreationDate="2012-01-30T01:53:23.180" UserDisplayName="joe" Text="I had the same problem and held the mic in the air while recording. The HUM went away! It was picking up vibrations from the table, How odd. I put it on a stack of rubber mouse pads and all is well now. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38694" PostHistoryTypeId="2" PostId="23257" RevisionGUID="3f2fbe70-0162-4f61-bb9d-457df6dc5eda" CreationDate="2012-02-08T04:37:11.890" UserDisplayName="Wayne Beemer" Text="Try grounding the computer case to a pipe or other large metal item close by like metal shelves or a metal desk. This will dissapate any ESD/RFI noise being picked up by the mic wire, you can also try plugging the mic into the front of the case away from the power supply, fan, etc..." ContentLicense="CC BY-SA 3.0" />
  <row Id="38695" PostHistoryTypeId="36" PostId="23258" RevisionGUID="04c5e8be-86af-4fe5-bb86-0464dd9352f4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3592/is-it-possible-to-access-multiple-audio-tracks-in-avi-file-in-adobe-premier-cs5" />
  <row Id="38696" PostHistoryTypeId="36" PostId="23259" RevisionGUID="5a150e78-8482-4500-9dd4-4b965ee08435" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3592/is-it-possible-to-access-multiple-audio-tracks-in-avi-file-in-adobe-premier-cs5/3597#3597" />
  <row Id="38697" PostHistoryTypeId="2" PostId="23259" RevisionGUID="1acdc4da-4fe8-4e99-949f-040ab4d953fe" CreationDate="2012-03-18T12:31:05.237" UserId="17107" UserDisplayName="Mulvya" Text="I wouldn't count on directly loading the multiple tracks in Premiere Pro CS5.5; usually NLE software is geared towards the video production process, and typically the audio that is captured as part of a footage is a single stream, regardless of the number of channels it contains. &#xD;&#xA;&#xD;&#xA;Whereas you seem to be trying to edit a finished product i.e. a ripped movie with multiple language dubs muxed in the AVI &#xD;&#xA;&#xD;&#xA;Your best bet is to demux the inaccessible audio stream into a standalone AC3 or multiple WAV files. These files should sync right up with the accessible audio stream and you can group them together, if you want. &#xD;&#xA;&#xD;&#xA;The tool to demux AVI is ... [Avidemux][1]. Load the file in Avidemux. Go to the audio menu. Click on Main track. Set your audio source to Video. In the 2nd drop down, select the additional stream. Click OK. Go back to the audio menu. Select save. Set the extension as per the info shown in Main track dialog. In the case of the file in the question above, it's AC3.&#xD;&#xA;&#xD;&#xA;  [1]: http://avidemux.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="38698" PostHistoryTypeId="2" PostId="23258" RevisionGUID="f29e4aa8-d61b-4674-a844-e99984ae7766" CreationDate="2012-03-16T22:31:33.260" UserId="20425" UserDisplayName="Dims" Text="Is it possible to access multiple audio tracks in AVI file in Adobe Premier CS5.5? &#xD;&#xA;&#xD;&#xA;I see only first track.&#xD;&#xA;&#xD;&#xA;**UPDATE**&#xD;&#xA;&#xD;&#xA;Please, don't doubt file has multiple audio tracks as I said. &#xD;&#xA;&#xD;&#xA;This is the information from MPC-HC:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;    General&#xD;&#xA;    Complete name                  : ...&#xD;&#xA;    Format                         : AVI&#xD;&#xA;    Format/Info                    : Audio Video Interleave&#xD;&#xA;    Format profile                 : OpenDML&#xD;&#xA;    File size                      : 2.19 GiB&#xD;&#xA;    Duration                       : 1h 46mn&#xD;&#xA;    Overall bit rate               : 2 934 Kbps&#xD;&#xA;    Writing application            : VirtualDubMod 1.5.10.2 (build 2540/release)&#xD;&#xA;    Writing library                : VirtualDubMod build 2540/release&#xD;&#xA;&#xD;&#xA;    Video&#xD;&#xA;    ID                             : 0&#xD;&#xA;    Format                         : MPEG-4 Visual&#xD;&#xA;    Format profile                 : Advanced Simple@L5&#xD;&#xA;    Format settings, BVOP          : 1&#xD;&#xA;    Format settings, QPel          : No&#xD;&#xA;    Format settings, GMC           : No warppoints&#xD;&#xA;    Format settings, Matrix        : Default (H.263)&#xD;&#xA;    Muxing mode                    : Packed bitstream&#xD;&#xA;    Codec ID                       : XVID&#xD;&#xA;    Codec ID/Hint                  : XviD&#xD;&#xA;    Duration                       : 1h 46mn&#xD;&#xA;    Bit rate                       : 2 019 Kbps&#xD;&#xA;    Width                          : 720 pixels&#xD;&#xA;    Height                         : 304 pixels&#xD;&#xA;    Display aspect ratio           : 2.35:1&#xD;&#xA;    Frame rate                     : 25.000 fps&#xD;&#xA;    Color space                    : YUV&#xD;&#xA;    Chroma subsampling             : 4:2:0&#xD;&#xA;    Bit depth                      : 8 bits&#xD;&#xA;    Scan type                      : Progressive&#xD;&#xA;    Compression mode               : Lossy&#xD;&#xA;    Bits/(Pixel*Frame)             : 0.369&#xD;&#xA;    Stream size                    : 1.50 GiB (69%)&#xD;&#xA;    Writing library                : XviD 1.2.0.dev48&#xD;&#xA;    &#xD;&#xA;    Audio #1&#xD;&#xA;    ID                             : 1&#xD;&#xA;    Format                         : AC-3&#xD;&#xA;    Format/Info                    : Audio Coding 3&#xD;&#xA;    Mode extension                 : CM (complete main)&#xD;&#xA;    Codec ID                       : 2000&#xD;&#xA;    Duration                       : 1h 46mn&#xD;&#xA;    Bit rate mode                  : Constant&#xD;&#xA;    Bit rate                       : 448 Kbps&#xD;&#xA;    Channel(s)                     : 6 channels&#xD;&#xA;    Channel positions              : Front: L C R, Side: L R, LFE&#xD;&#xA;    Sampling rate                  : 48.0 KHz&#xD;&#xA;    Bit depth                      : 16 bits&#xD;&#xA;    Compression mode               : Lossy&#xD;&#xA;    Stream size                    : 342 MiB (15%)&#xD;&#xA;    Alignment                      : Split accross interleaves&#xD;&#xA;    Interleave, duration           : 40 ms (1.00 video frame)&#xD;&#xA;    Interleave, preload duration   : 500 ms&#xD;&#xA;&#xD;&#xA;    Audio #2&#xD;&#xA;    ID                             : 2&#xD;&#xA;    Format                         : AC-3&#xD;&#xA;    Format/Info                    : Audio Coding 3&#xD;&#xA;    Mode extension                 : CM (complete main)&#xD;&#xA;    Codec ID                       : 2000&#xD;&#xA;    Duration                       : 1h 46mn&#xD;&#xA;    Bit rate mode                  : Constant&#xD;&#xA;    Bit rate                       : 448 Kbps&#xD;&#xA;    Channel(s)                     : 6 channels&#xD;&#xA;    Channel positions              : Front: L C R, Side: L R, LFE&#xD;&#xA;    Sampling rate                  : 48.0 KHz&#xD;&#xA;    Bit depth                      : 16 bits&#xD;&#xA;    Compression mode               : Lossy&#xD;&#xA;    Stream size                    : 342 MiB (15%)&#xD;&#xA;    Alignment                      : Split accross interleaves&#xD;&#xA;    Interleave, duration           : 40 ms (1.00 video frame)&#xD;&#xA;    Interleave, preload duration   : 500 ms&#xD;&#xA;    " ContentLicense="CC BY-SA 3.0" />
  <row Id="38699" PostHistoryTypeId="1" PostId="23258" RevisionGUID="f29e4aa8-d61b-4674-a844-e99984ae7766" CreationDate="2012-03-16T22:31:33.260" UserId="20425" UserDisplayName="Dims" Text="Is it possible to access multiple audio tracks in AVI file in Adobe Premier CS5.5?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38700" PostHistoryTypeId="3" PostId="23258" RevisionGUID="f29e4aa8-d61b-4674-a844-e99984ae7766" CreationDate="2012-03-16T22:31:33.260" UserId="20425" UserDisplayName="Dims" Text="&lt;video&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38701" PostHistoryTypeId="36" PostId="23260" RevisionGUID="5e61bd70-5c8e-46a2-b9e4-ba2dccbfc744" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3467/learning-how-to-create-record-mix-and-master-audio" />
  <row Id="38702" PostHistoryTypeId="2" PostId="23261" RevisionGUID="9b136521-8e6c-4df7-a2c5-f66b53d0be78" CreationDate="2012-03-06T04:56:14.263" UserDisplayName="Sean Michael Dorian" Text="Here's a small selection of books I've found useful. This may be more than you're looking for but there's a lot to know and these will teach you a good amount to get you started.&#xD;&#xA;&#xD;&#xA;**The Sound Reinforcement Manual** - General audio equipment explained, general audio terminology, very broad book that's a great reference and read.&#xD;&#xA;&#xD;&#xA;**Understanding Audio** - More specific concepts, such as psycho-acoustics, analog-to-digital conversion, etc. and a much easier read than TSRM.&#xD;&#xA;&#xD;&#xA;**Modern Recording Techniques, 7th Ed.** - This book details actual microphone placements for recordings, as well as every other topic you could really need to know. This book is more about the craft of recording than the other two books, and is a good starting point for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="38703" PostHistoryTypeId="2" PostId="23260" RevisionGUID="b3277496-95d5-42f6-9e40-9f1dab5b1776" CreationDate="2012-03-05T22:22:27.913" UserDisplayName="Naftuli Tzvi Kay" Text="I've been messing around with digital audio production for something like six years on and off, and it's been a beautiful frustrating experience. I know very little if any &quot;textbook&quot; information and most of my knowledge has been from reading product manuals and from trying things out. (For instance, micing a 12-string acoustic guitar with two instrument microphones and a ribbon microphone and tweaking the balance.)&#xD;&#xA;&#xD;&#xA;I'd like to dramatically increase my knowledge of mic placement, what I should be listening for in a recording, how to mix,  what to focus on, etc. My problem is that I get way too OCD trying to get each part in a mix to sound _perfect_ and thus spend 8 hours on something that ultimately I don't use. I then get frustrated, pack everything up, and then come back in 6 months. Rinse. Repeat.&#xD;&#xA;&#xD;&#xA;Is there any book or resource which will help me learn basic to intermediate audio production with all of the subjects discussed above?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38704" PostHistoryTypeId="1" PostId="23260" RevisionGUID="b3277496-95d5-42f6-9e40-9f1dab5b1776" CreationDate="2012-03-05T22:22:27.913" UserDisplayName="Naftuli Tzvi Kay" Text="Learning how to create, record, mix, and master audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="38705" PostHistoryTypeId="3" PostId="23260" RevisionGUID="b3277496-95d5-42f6-9e40-9f1dab5b1776" CreationDate="2012-03-05T22:22:27.913" UserDisplayName="Naftuli Tzvi Kay" Text="&lt;audio-recording&gt;&lt;mixing&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38706" PostHistoryTypeId="36" PostId="23261" RevisionGUID="6c2edaa7-fa12-4892-a8ad-508a1307b0b9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3467/learning-how-to-create-record-mix-and-master-audio/3472#3472" />
  <row Id="38707" PostHistoryTypeId="36" PostId="23262" RevisionGUID="5f3815e4-b72d-419d-a63e-f1a2ee39c8c6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5381/audiotrack-for-video-workflow-from-ableton-live-to-adobe-premiere" />
  <row Id="38708" PostHistoryTypeId="2" PostId="23262" RevisionGUID="d8986787-26a3-4a7b-a253-fc3cebf28ced" CreationDate="2012-11-21T20:28:12.703" UserDisplayName="poplitea" Text="I'm creating audio in Ableton Live that will be muxed with edited video footage in Adobe Premiere. The audio is everything from (Foley) effects to background music, and it must be in sync with events in the video. I can think of (at least) two methods of merging and syncing audio and video:&#xD;&#xA;&#xD;&#xA; 1. Create the complete multilayered audio in Live's arrangement view, carefully timing audio-effects to the timing of the respective video events, and exporting the merged audio-layers as a single wav-file for import as a single audiotrack in Premiere.&#xD;&#xA; 2. Export each audio-effect in its own wav-file from Live, and do the layering and timing of the different audio clips (on multiple audio tracks) in Premiere.&#xD;&#xA;&#xD;&#xA;I think method 2 gives more flexibility with regards to further video editing; if a video segment is cut out, it's easier to just move the subsequent audio clips along the timeline and thereby maintaining video-audio-sync, as opposed to going back to Live and manually re-sync the audio for another export to Premiere.&#xD;&#xA;&#xD;&#xA;I'm wondering: Are there other advantages/disadvantages between the two workflows? Are there other, smarter workflows to consider?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38709" PostHistoryTypeId="1" PostId="23262" RevisionGUID="d8986787-26a3-4a7b-a253-fc3cebf28ced" CreationDate="2012-11-21T20:28:12.703" UserDisplayName="poplitea" Text="Audiotrack (for video) - workflow from Ableton Live to Adobe Premiere" ContentLicense="CC BY-SA 3.0" />
  <row Id="38710" PostHistoryTypeId="3" PostId="23262" RevisionGUID="d8986787-26a3-4a7b-a253-fc3cebf28ced" CreationDate="2012-11-21T20:28:12.703" UserDisplayName="poplitea" Text="&lt;video&gt;&lt;audio&gt;&lt;software&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38711" PostHistoryTypeId="36" PostId="23263" RevisionGUID="52cf0e46-f9ce-43ac-bd1f-4402db965e93" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3043/any-tool-to-easily-record-audio-from-movies" />
  <row Id="38712" PostHistoryTypeId="36" PostId="23264" RevisionGUID="4465dbf6-3729-44e8-801f-3e7e8a297e46" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3043/any-tool-to-easily-record-audio-from-movies/3107#3107" />
  <row Id="38713" PostHistoryTypeId="2" PostId="23264" RevisionGUID="d552c60d-be11-4acf-bb66-d0cc104039b5" CreationDate="2012-01-23T15:06:13.487" UserId="9511" UserDisplayName="Johnny Bigoode" Text="I have no idea how do you actually execute this if you're NOT using Windows:&#xD;&#xA;&#xD;&#xA;Step 1.) Enable Stereo Mix. [Use this guide][1] &#xD;&#xA;&#xD;&#xA;Step 2.) Get Audacity&#xD;&#xA;&#xD;&#xA;Step 3.) You're gonna have to [setup up stereo mix.][2] &#xD;&#xA;&#xD;&#xA;Step.4 ) Don't forget to arm the track by clicking on the record button on the specific track. &#xD;&#xA;&#xD;&#xA;Step.5 ) Hit the big record button on the top to record the sound. &#xD;&#xA;&#xD;&#xA;That's the cheapest solution for windows. &#xD;&#xA;The setup up stereo mix link has a few other instructions for Mac and Linux users. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.howtogeek.com/howto/39532/how-to-enable-stereo-mix-in-windows-7-to-record-audio/&#xD;&#xA;  [2]: http://wiki.audacityteam.org/wiki/Recording_audio_playing_on_the_computer#Windows" ContentLicense="CC BY-SA 3.0" />
  <row Id="38714" PostHistoryTypeId="2" PostId="23263" RevisionGUID="22ce0fd6-9ed7-474c-8faf-7442e037e7ed" CreationDate="2012-01-15T08:06:12.263" UserDisplayName="Jusfeel" Text="Is there any tool that I can use to record audio to mp3 when I watch movies on my computer easily . &#xD;&#xA;&#xD;&#xA;I know some software but I need some software which work in the background so I can simply use some hot key to trigger recording and stop and export the file to disk and auto-naming the file. &#xD;&#xA;&#xD;&#xA;So I can record multiply audio clips along watching the movie with minimum effort." ContentLicense="CC BY-SA 3.0" />
  <row Id="38715" PostHistoryTypeId="1" PostId="23263" RevisionGUID="22ce0fd6-9ed7-474c-8faf-7442e037e7ed" CreationDate="2012-01-15T08:06:12.263" UserDisplayName="Jusfeel" Text="Any tool to easily record audio from movies?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38716" PostHistoryTypeId="3" PostId="23263" RevisionGUID="22ce0fd6-9ed7-474c-8faf-7442e037e7ed" CreationDate="2012-01-15T08:06:12.263" UserDisplayName="Jusfeel" Text="&lt;audio-recording&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38717" PostHistoryTypeId="36" PostId="23265" RevisionGUID="fac622b2-f130-422f-9a40-4640f5c64486" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8690/dual-sound-cards-in-mac-os-x" />
  <row Id="38718" PostHistoryTypeId="2" PostId="23266" RevisionGUID="400e745e-82cf-4300-984a-e43f7204df3b" CreationDate="2013-08-12T23:28:49.797" UserId="7787" UserDisplayName="audiomason" Text="It is possible to use 2 audio interfaces in Mac OS X, even without creating an aggregate device, but Ableton only supports one input and one output device at a time, so you'll need an aggregate device for that software.&#xD;&#xA;&#xD;&#xA;Creating an aggregate device is easy:&#xD;&#xA;&#xD;&#xA; - open the application &quot;Audio MIDI Setup&quot;&#xD;&#xA; - in the audio devices window click on the &quot;+&quot; in the lower left corner and select &quot;create aggregate device&quot;&#xD;&#xA; - check the boxes next to the inputs and outputs you want to use in the aggregate device&#xD;&#xA;&#xD;&#xA;In Ableton you would then select &quot;Aggregate Device&quot; as your audio interface.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38719" PostHistoryTypeId="2" PostId="23265" RevisionGUID="ca6d14df-2a6a-4e7a-bfa9-3aa012c3c2a4" CreationDate="2013-08-12T18:31:11.777" UserDisplayName="user135361" Text="I have a Lexicon Omega studio but I need 2 additional inputs. I have read about creating aggregate core audio interface, but does anyone have experience of this in mac?&#xD;&#xA;&#xD;&#xA;I have now found a cheap mbox 2 mini that I figure might do the trick. I need to record on the lexicons four channels and the two channels of the mbox, while listening to the sum of it via either of the sound cards. I use Ableton Live, if that matters.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38720" PostHistoryTypeId="1" PostId="23265" RevisionGUID="ca6d14df-2a6a-4e7a-bfa9-3aa012c3c2a4" CreationDate="2013-08-12T18:31:11.777" UserDisplayName="user135361" Text="Dual sound cards in Mac OS X?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38721" PostHistoryTypeId="3" PostId="23265" RevisionGUID="ca6d14df-2a6a-4e7a-bfa9-3aa012c3c2a4" CreationDate="2013-08-12T18:31:11.777" UserDisplayName="user135361" Text="&lt;audio-recording&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38722" PostHistoryTypeId="36" PostId="23266" RevisionGUID="932e4539-355a-4bfb-83f3-d76ecac9eba0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8690/dual-sound-cards-in-mac-os-x/8694#8694" />
  <row Id="38723" PostHistoryTypeId="36" PostId="23267" RevisionGUID="4da9173e-1fee-4102-9249-4d194ff685e1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3411/how-to-recognize-deep-from-loud-sounds" />
  <row Id="38724" PostHistoryTypeId="2" PostId="23268" RevisionGUID="8714f1ee-dce6-4161-83ce-f9ae0f050b58" CreationDate="2012-02-26T16:34:35.223" UserId="7016" Text="I think you may be misunderstanding the usual split, which is between low and high pitched sounds. The bass speakers play the low notes and the tweeters play the high ones. &#xD;&#xA;&#xD;&#xA;Loud is not opposite to deep. You can have loud low or high notes, or quiet low or high notes.&#xD;&#xA;&#xD;&#xA;To answer your identification question - low pitched notes will have only a few waves, whereas high pitched notes have a lot of waves in the same space. It is easy to see when you look at a waveform - are there a lot of peaks (high pitched) or very few (low pitched)&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Image from http://bbamusic.wikispaces.com/Three+Components+of+Sound&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/yWC4N.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="38725" PostHistoryTypeId="2" PostId="23267" RevisionGUID="bf6103e8-dabb-4c2c-87a2-2bb820080b65" CreationDate="2012-02-26T11:45:14.577" UserId="7607" UserDisplayName="Vlad" Text="I found a player at newgrounds.com time ago (cannot find it now, forgot the url, will comment if i find it) that has two pairs of speakers. The upper pair plays loud sounds or screamy sounds but the lower pair plays the deep sounds, like bass or simillar. I talk about mp3 sounds.&#xD;&#xA;&#xD;&#xA;My question is how or what should i search in the sound raw data in order to separate deep from loud sounds?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Dont know what tags to add for this type of question, but suggestions would be good :)&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="38726" PostHistoryTypeId="1" PostId="23267" RevisionGUID="bf6103e8-dabb-4c2c-87a2-2bb820080b65" CreationDate="2012-02-26T11:45:14.577" UserId="7607" UserDisplayName="Vlad" Text="How to recognize deep from loud sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38727" PostHistoryTypeId="3" PostId="23267" RevisionGUID="bf6103e8-dabb-4c2c-87a2-2bb820080b65" CreationDate="2012-02-26T11:45:14.577" UserId="7607" UserDisplayName="Vlad" Text="&lt;software&gt;&lt;audio&gt;&lt;mp3&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38728" PostHistoryTypeId="36" PostId="23268" RevisionGUID="eab1c485-79eb-4c0c-80c8-cf121fab30af" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3411/how-to-recognize-deep-from-loud-sounds/3412#3412" />
  <row Id="38729" PostHistoryTypeId="36" PostId="23269" RevisionGUID="1c80f705-2b6a-4c2f-b9d4-e4f08491eac2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4768/how-should-i-start-recording-my-band" />
  <row Id="38730" PostHistoryTypeId="36" PostId="23270" RevisionGUID="de9bb98c-8e90-4b42-a112-001a07828da5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4768/how-should-i-start-recording-my-band/4771#4771" />
  <row Id="38731" PostHistoryTypeId="36" PostId="23271" RevisionGUID="096c5233-9986-4193-b760-5eb5daea7414" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4768/how-should-i-start-recording-my-band/4772#4772" />
  <row Id="38732" PostHistoryTypeId="36" PostId="23272" RevisionGUID="35eda7be-3efd-409f-ae9e-fed74ff3357f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4768/how-should-i-start-recording-my-band/4839#4839" />
  <row Id="38733" PostHistoryTypeId="36" PostId="23273" RevisionGUID="86fc498d-1640-4751-a33e-61e5d6d9df6d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4768/how-should-i-start-recording-my-band/5563#5563" />
  <row Id="38734" PostHistoryTypeId="2" PostId="23270" RevisionGUID="50d19db1-b992-4036-9932-06b7b918b6e0" CreationDate="2012-09-19T07:36:50.723" UserId="7189" Text="You should start simple. If you didn't already have some gear, I'd suggest a cheap digital recorder like the Zoom H2. Since you already have a mixer and some mics, just use two in an [X-Y pattern][1] and see how that sounds.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Microphone_practice" ContentLicense="CC BY-SA 3.0" />
  <row Id="38735" PostHistoryTypeId="2" PostId="23271" RevisionGUID="bd351a84-45d7-4e15-aeb1-90dbdb580b96" CreationDate="2012-09-19T08:52:56.543" UserId="7016" Text="These days it is often simplest to record into Cubase or a similar DAW as multi tracks as you then have the flexibility to do what you want, such as re-record the vocals or add another guitar layer. &#xD;&#xA;&#xD;&#xA;Set up all your inputs individually to make sure none are so high level they distort on recording but are not so low that you can heart mains hum over them. &#xD;&#xA;&#xD;&#xA;Then, depending on your style, record as live- all instruments at once, or use a click track for timing and record each instrument separately. If recording as live, be aware your drums may bleed through to your vocal mic- you may not want this so having the drums in a separate room or behind an acoustic baffle can help&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For full flexibility, use an effects loop in the daw, not in your recording chain, this way you can change the effects on your guitar after recording, for example. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38736" PostHistoryTypeId="2" PostId="23272" RevisionGUID="57642973-2c32-46d8-bc1f-0209b537d5bb" CreationDate="2012-09-25T15:43:12.577" UserDisplayName="WLPhoenix" Text="Before you even start recording, there are a few things that you need to understand.&#xD;&#xA;&#xD;&#xA;**Know what you are recording VERY well** &lt;br/&gt;&#xD;&#xA;Things will go much smoother and you will be much less frustrated if you can lay down tracks in a couple of takes rather than 20. This includes both knowing the music and knowing your instrument. Guitarists should know their tones before you sit down to record. The drummer should know how to tune his kit. (I can't emphasize enough how important a well tuned kit is to getting a good recording.) The lyrics should be set, and you probably should play a few live shows before trying to record. All this will make things easier when you don't have to change things around during recording.&#xD;&#xA;&#xD;&#xA;**Don't expect to sound like recordings you listen to** &lt;br /&gt;&#xD;&#xA;Those albums have hundreds of hours and tens of thousands of dollars invested into them by engineers and producers with tons of other records under their belt. If you are just starting out, then you won't have the experience, the gear, or the sense to make your band sound like Zepplin. That doesn't mean you can't make a good recording of your own.&#xD;&#xA;&#xD;&#xA;**Don't underestimate the value of a professional engineer** &lt;br /&gt;&#xD;&#xA;You didn't state if your goal was just to have fun with your friends or to actually put out a recording that you can sell, but if it's the latter, consider the value of a professional engineer to do the recording. They will have gear and experience working with it that will get you a much better sound faster.&#xD;&#xA;&#xD;&#xA;&lt;br /&gt;&#xD;&#xA;After you understand why you're recording and what you want out of it, you can get to the process of recording.&#xD;&#xA;&#xD;&#xA;**What you are recording on** &lt;br /&gt;&#xD;&#xA;For someone starting out, the answer is almost always going to be either a simple digital recorder or a DAW (Digital Audio Workstation), both of which have been suggested above. If you have access to a Mac, then Garage Band is included free, which is a good program to start out on. Garage band sessions are also directly portable to Logic (a fairly popular professionally used DAW), which means you may not have to rerecord if you decided to get your tracks mixed proffesionally in the future. Other DAW options are ProTools (the &quot;industry standard&quot;) or Reaper. Reaper in particular has a 30 day trial period, after which it suggests you buy a $50 dollar license. However, the program still works fully after the trial period.&#xD;&#xA;&#xD;&#xA;**What you are recording with** &lt;br /&gt;&#xD;&#xA;This is gear, and this is where things can really start to get expensive. You need microphones, cables, and a decent interface at the very least. This is a whole different question, and there are plenty of different articles, forums, and arguments on what gear to buy for what. I suggest a number of Shure SM-57's, as you can use them for everything from vocals to guitar to drums to a hammer if you really need to fix the stage. A couple of LDC (Large Diaphragm Condenser) mics as overheads can really help the drum sound, but only if you have a decent room (more on that later.) Bass (and keys if you have them) can go DI (Direct Input) without any problems.&#xD;&#xA;&#xD;&#xA;For more on gear, I suggest checking out [gearslutz.com][1]. That's where I learned alot of what I know about it.&#xD;&#xA;&#xD;&#xA;**Where you are recording** &lt;br /&gt;&#xD;&#xA;This is the last thing that most people think about, but it's probably the most important. You need a quiet environment with a small amount of reverb. Do some research on acoustics. You may need to treat a room with bass traps or foam padding to dampen it for recording. I've recorded vocals in a wardrobe, just because it worked well as a make-shift vocal booth.&#xD;&#xA;&#xD;&#xA;**The process of tracking** &lt;br /&gt;&#xD;&#xA;1) Open up your DAW and start a new project. &#xD;&#xA;&#xD;&#xA;2) Set up the project settings. I suggest recording at 44.1k sample rate, 24 bit depth. Latency will depend on how fast you computer and interface can run. &#xD;&#xA;&#xD;&#xA;3) Add channels for however tracks you plan to record. The number that you record at once will probably be limited by your interface and microphone selection to begin with. Name these tracks as what they will be. This will help you out later when you go to mix.&#xD;&#xA;&#xD;&#xA;4) Set up your gear, and set the target channel so it is receiving input from the microphone you want it to. This is called **signal flow** and is one of the most important aspects of recording. Make sure you can get sound on that channel.&#xD;&#xA;&#xD;&#xA;5) Add a click track, and set it to the tempo of the song. This will make your life INFINITELY easier if you have to track instruments at multiple times, a process known as **overdubbing**.&#xD;&#xA;&#xD;&#xA;6) Start recording. Arm the track you plan to record to, hit record, and start playing. Repeat steps 4-6 until you have everything down you want. Make sure to get the best sounds you can during tracking, because that will make the mixing process go much simpler.&#xD;&#xA;&#xD;&#xA;**The art of mixing** &lt;br /&gt;&#xD;&#xA;Mixing is much less of a defined process than recording, and all I can do is give you ideas of how you want to go about it. &#xD;&#xA;&#xD;&#xA;Usually, you want to create groups for different classes of instruments, then rout the outputs of channels with those instruments into a Aux buss which is the input for that group channel, then the group channel into the stereo buss. That way all of your signal will look like this:&#xD;&#xA;&#xD;&#xA;Instrument track -&gt; Group buss -&gt; Stereo buss&#xD;&#xA;&#xD;&#xA;This lets you control instruments as groups, and allows you do things like &quot;bring down the drums in the verse&quot; without having to automate 5-10 drum tracks.&#xD;&#xA;&#xD;&#xA;Try to open up space for each instrument. You need to do this both spatially (using volume and pan) and sonically (using equalization). You are painting a picture with depth and breadth. Softer things seem farther away. Louder things seem closer. If you have too many things in the same frequency band, your mix will sound &quot;muddy.&quot; If you have too much in the high-mids, it will sound &quot;tinny.&quot; This is where you listen to recordings you like, and try to make your recording sound as close to those as possible. Add reverb and delay to make things sound big, compress things to make them more consistent in loudness, and also to get them more in your face. Play with everything. As you get more experience, you will learn what to do for each instrument to make it sound the best.&#xD;&#xA;&#xD;&#xA;Just remember to have fun with it. That's what playing music is all about.&#xD;&#xA;&#xD;&#xA;  [1]: http://gearslutz.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="38737" PostHistoryTypeId="2" PostId="23273" RevisionGUID="8499379e-d43e-4665-a93d-5a29f5bc5e31" CreationDate="2012-12-12T08:00:56.753" UserDisplayName="John" Text="To the OP, Hire someone who knows what they are doing! Otherwise, be prepared to waste a lot of time and effort making awful sounding recordings before you even start getting it close to &quot;right&quot;. This is just the way it works, I've been a professional audio engineer for over 15 years and I still learn new things every day. The bottom line is this, you have to get your hands dirty to learn, and if you starting with no knowledge or experience it's going to take you at least a year (or a lot of luck) of serious effort to even get a good start on what making a record properly really entails. Think about it, would you put someone who has no driving experience in an F1 race car and expect them to win races? Recording is just like any other profession, it takes time, practice and experience to learn how to do it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38738" PostHistoryTypeId="2" PostId="23269" RevisionGUID="ab52056a-bf3f-4513-aac1-1064c8af13d2" CreationDate="2012-09-19T01:32:54.730" UserDisplayName="GaronDom" Text="For a while now I have been playing music with some of my friends. The style like a mix of Zepplin and The Strokes. Now we'd like to start recording, but I don't know how to go about things.&#xD;&#xA;&#xD;&#xA;I bought a mixer, a drum mic kit, and a couple of microphones, but I don't know what to do with them. How do I best go about starting to record our music, both tracking and mixing?&#xD;&#xA;&#xD;&#xA;I may have some trouble with the terminology so please be patient." ContentLicense="CC BY-SA 3.0" />
  <row Id="38739" PostHistoryTypeId="1" PostId="23269" RevisionGUID="ab52056a-bf3f-4513-aac1-1064c8af13d2" CreationDate="2012-09-19T01:32:54.730" UserDisplayName="GaronDom" Text="How should I start recording my band?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38740" PostHistoryTypeId="3" PostId="23269" RevisionGUID="ab52056a-bf3f-4513-aac1-1064c8af13d2" CreationDate="2012-09-19T01:32:54.730" UserDisplayName="GaronDom" Text="&lt;audio-recording&gt;&lt;mixing&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38741" PostHistoryTypeId="36" PostId="23274" RevisionGUID="352c1541-2bbb-4660-802a-5d13d34d01a6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1961/wireless-mic-problem-amplitude-sounds-like-it-is-jittering-up-and-down-by-a-f" />
  <row Id="38742" PostHistoryTypeId="36" PostId="23275" RevisionGUID="40df0cbe-d226-4ed2-b8fa-311a1ffd6d9d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1961/wireless-mic-problem-amplitude-sounds-like-it-is-jittering-up-and-down-by-a-f/1965#1965" />
  <row Id="38743" PostHistoryTypeId="2" PostId="23275" RevisionGUID="33e18961-bc55-4d18-8bfa-e32943b2b081" CreationDate="2011-07-28T10:49:35.300" UserId="7016" Text="I have seen this sort of thing happen on devices that don't have enough built in protection from interference. I ended up having to ditch my old kit as it just didn't cope any more.&#xD;&#xA;&#xD;&#xA;You could have a look at folks like [Skytronic][1] - disclaimer: I didn't end up buying this one, although it did appear to meet my interference requirements. I ended up just staying wired for now.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.chamberlainmusic.com/ProductDetail.asp?ProductID=SK171360" ContentLicense="CC BY-SA 3.0" />
  <row Id="38744" PostHistoryTypeId="2" PostId="23274" RevisionGUID="a8fdfaa3-901e-4a50-af2e-6ffcbae7d6ab" CreationDate="2011-07-27T15:27:48.930" UserDisplayName="SeanBlake" Text="We are having a strange problem with our set of Audio Technica 1800 series wireless lavs.&#xD;&#xA;&#xD;&#xA;It seems as though the amplitude of the sound is jittering up and down by a few db. It throws the dynamic of the vocal and makes it difficult to listen to. It sounds like some awful auto-gain. &#xD;&#xA;&#xD;&#xA;Incidentally, sometimes there is white noise that comes in and out with the vocal - kind of like room tone when you have an expander on too hard. &#xD;&#xA;&#xD;&#xA;The buildings we are in do tend to have a lot of wireless devices transmitting and receiving but we've tried changing frequencies a few times to no avail.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="38745" PostHistoryTypeId="1" PostId="23274" RevisionGUID="a8fdfaa3-901e-4a50-af2e-6ffcbae7d6ab" CreationDate="2011-07-27T15:27:48.930" UserDisplayName="SeanBlake" Text="Wireless mic problem: Amplitude sounds like it is &quot;jittering&quot; up and down by a few db" ContentLicense="CC BY-SA 3.0" />
  <row Id="38746" PostHistoryTypeId="3" PostId="23274" RevisionGUID="a8fdfaa3-901e-4a50-af2e-6ffcbae7d6ab" CreationDate="2011-07-27T15:27:48.930" UserDisplayName="SeanBlake" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;noise&gt;&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38771" PostHistoryTypeId="36" PostId="23285" RevisionGUID="cadf1e23-23d2-424e-a0b6-666ad1f231b1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3982/apple-hardware-have-digital-output-do-i-need-to-get-a-high-end-audio-card" />
  <row Id="38772" PostHistoryTypeId="36" PostId="23286" RevisionGUID="d8d436de-67fa-4fb8-b47d-14872229dd5a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3982/apple-hardware-have-digital-output-do-i-need-to-get-a-high-end-audio-card/3986#3986" />
  <row Id="38773" PostHistoryTypeId="36" PostId="23287" RevisionGUID="6065bdeb-f00f-418c-b186-a0e7267d04ff" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3982/apple-hardware-have-digital-output-do-i-need-to-get-a-high-end-audio-card/3992#3992" />
  <row Id="38774" PostHistoryTypeId="36" PostId="23288" RevisionGUID="fd6a14b0-c13c-430f-a2a3-ad4e2e014cbc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3982/apple-hardware-have-digital-output-do-i-need-to-get-a-high-end-audio-card/4204#4204" />
  <row Id="38775" PostHistoryTypeId="2" PostId="23286" RevisionGUID="5f95f750-de8f-4770-8ccb-45dffa981742" CreationDate="2012-05-14T14:22:53.633" UserDisplayName="DoktorHauser" Text="In audio-production you need a lot of discreet uncompressed lowdelay in- and outputs.&#xD;&#xA;&#xD;&#xA;The S/PDIF audiosignal supports just two uncompressed channels. Multi-channel-audio only works with compressed sound formats and high delays. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38776" PostHistoryTypeId="2" PostId="23287" RevisionGUID="f1c26f05-35fc-48ba-b0dc-8d01d418be89" CreationDate="2012-05-14T20:09:07.197" UserId="7189" Text="The audio interface you need depends on what you want to do with it.&#xD;&#xA;&#xD;&#xA;If all you need to do is output digital audio over [S/PDIF][1] to an external device, then the built-in optical S/PDIF port will do the job nicely.&#xD;&#xA;&#xD;&#xA;If you need to be able to do high quality analog input and output, a surprising solution is the Lexicon MPX500 FX unit. This unit has been out of production for a while, but is readily available on EBay for $150. You also need an optical to coax S/PDIF converter. If you connect the Lexicon to your mac via S/PDIF, you can bypass the FX unit and just use it as two channel ADC or DAC. As an added bonus, you've also got a high quality FX unit.&#xD;&#xA;&#xD;&#xA;If you need more than just two channels (stereo) of input or output, then you should look at a dedicated external audio interface. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/SPDIF" ContentLicense="CC BY-SA 3.0" />
  <row Id="38777" PostHistoryTypeId="2" PostId="23288" RevisionGUID="26844499-4d76-431d-8fd6-66dd75581ed1" CreationDate="2012-06-18T20:55:19.577" UserDisplayName="JPollock" Text="You're going to need something to convert the S/PDIF out on your mac to analog audio. Judging by the low quality of the headphone jack on my 13&quot; MacBook Pro (late 2009) anything would be an improvement. &#xD;&#xA;The approach you are talking about would work, it depends on what you want to spend. Analog to Digital and Digital to Analog converters can get very expensive. Still, you can get decent (and much better then the analog out on a mac) from a USB interface that is less then $200. Look at the Focusrite Scarlett 2i2 ($149) for example in the low end, or the Apogee Duet in the mid range ($500ish). USB interfaces are the simplest solution. If you are working with a laptop make sure to consider the fact that you are adding one more thing to the bag.&#xD;&#xA;BTW This approach skips the S/PDIF out, but is easier to do." ContentLicense="CC BY-SA 3.0" />
  <row Id="38778" PostHistoryTypeId="2" PostId="23285" RevisionGUID="5c89f7e5-60d0-4d83-95bc-86e64dca7396" CreationDate="2012-05-14T11:56:20.093" UserDisplayName="Mister IT Guru" Text="I've been asked a question which has got me stumped. Apple hardware generally has digital output, so what would be the benefit of installing a high end audio card?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="38779" PostHistoryTypeId="1" PostId="23285" RevisionGUID="5c89f7e5-60d0-4d83-95bc-86e64dca7396" CreationDate="2012-05-14T11:56:20.093" UserDisplayName="Mister IT Guru" Text="Apple Hardware have Digital Output - do I need to get a high end audio card?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38780" PostHistoryTypeId="3" PostId="23285" RevisionGUID="5c89f7e5-60d0-4d83-95bc-86e64dca7396" CreationDate="2012-05-14T11:56:20.093" UserDisplayName="Mister IT Guru" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38781" PostHistoryTypeId="36" PostId="23289" RevisionGUID="184a25be-09ba-4539-a5c7-f4470248348a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7261/software-like-lives-video-editing-for-windows-7" />
  <row Id="38782" PostHistoryTypeId="2" PostId="23289" RevisionGUID="c93a83a7-89e1-49c9-9f79-f922c27ec58a" CreationDate="2013-02-28T11:19:58.033" UserDisplayName="Samik R" Text="Newbie here. I am wondering if there is any alternative for the open source LiVES Video Editing software (http://lives.sourceforge.net/) on Windows 7?&#xD;&#xA;Or, can the lives source be compiled on Windows with Cygwin? Are there 64-bit alternatives?&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="38783" PostHistoryTypeId="1" PostId="23289" RevisionGUID="c93a83a7-89e1-49c9-9f79-f922c27ec58a" CreationDate="2013-02-28T11:19:58.033" UserDisplayName="Samik R" Text="Software like LiVES Video Editing for Windows 7" ContentLicense="CC BY-SA 3.0" />
  <row Id="38784" PostHistoryTypeId="3" PostId="23289" RevisionGUID="c93a83a7-89e1-49c9-9f79-f922c27ec58a" CreationDate="2013-02-28T11:19:58.033" UserDisplayName="Samik R" Text="&lt;audio-recording&gt;&lt;software&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38785" PostHistoryTypeId="36" PostId="23290" RevisionGUID="9d2ac728-d53d-46f6-abea-a75b53c155f8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9344/looking-for-really-really-simple-but-good-quality-asio-recording-software" />
  <row Id="38786" PostHistoryTypeId="36" PostId="23291" RevisionGUID="bb813c5a-fba2-4281-a05d-9fd3f278c89c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9344/looking-for-really-really-simple-but-good-quality-asio-recording-software/9346#9346" />
  <row Id="38787" PostHistoryTypeId="36" PostId="23292" RevisionGUID="32f4c32c-1849-49fd-a235-f0e0f8ddea23" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9344/looking-for-really-really-simple-but-good-quality-asio-recording-software/9350#9350" />
  <row Id="38788" PostHistoryTypeId="36" PostId="23293" RevisionGUID="711b7d19-5d4b-4814-912b-55770b1c317f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9344/looking-for-really-really-simple-but-good-quality-asio-recording-software/9852#9852" />
  <row Id="38789" PostHistoryTypeId="2" PostId="23291" RevisionGUID="2e2266b9-a92d-4db3-9db5-b6d71eb0ab62" CreationDate="2013-11-08T14:41:40.430" UserId="7405" UserDisplayName="Andy aka" Text="It's never that easy because you have bypassed some very basic requirements in your question. For a start you need to be able to &quot;link&quot; the recorded vocal audio to the backing track - you need to be able to play the backing track and hear what your good lady has sung without suffering timing differences that can make it sound like a mess.&#xD;&#xA;&#xD;&#xA;At the very minimum you need a two track playback device - track A is the backing and track B is the wife.&#xD;&#xA;&#xD;&#xA;But why would a designer of such a simple product stop at this point? They'd make it capable of shed-loads of tracks - they compete in the market and if someone brings out a product capable of three tracks they are dead in the water.&#xD;&#xA;&#xD;&#xA;You actually need more than two tracks anyway. Consider this - the good lady wife records a vocal track but verse 2 could be better - what to do? Record the whole thing again or have a third track that would be used for the parts in the 2nd track that needed redoing?&#xD;&#xA;&#xD;&#xA;The 2nd track could have facilities for muting the vocal where track 3 takes over - you play it back and it sounds seemless because both vocal tracks together give you the result you want.&#xD;&#xA;&#xD;&#xA;Already this is more complicated than your original question and justifiably so. How is she going to apply subtle harmonies in places without having at least 8 tracks? Original backing is 1, then main vocal (plus muted area) is 2 then 3 is fixes for verse 2 etc., then 4 and 5 might be left and right vocal harmonies with 6 and 7 making it a 3-part. OK maybe 8 isn't needed!&#xD;&#xA;&#xD;&#xA;What about eqing her voice - I don't know anyone who sounds good straight out of the mic without eq and a little bit of reverb. You need to be able tro trial eq and reverb (plus any other fx) so things are a bit more complex and you are heading towards a DAW.&#xD;&#xA;&#xD;&#xA;Get used to it - you think you know what you want but you don't." ContentLicense="CC BY-SA 3.0" />
  <row Id="38790" PostHistoryTypeId="2" PostId="23292" RevisionGUID="d6f6b7a6-4790-41ca-ae2a-a4b05d3479d2" CreationDate="2013-11-08T18:21:01.123" UserId="7174" Text="Have you considered just using a dedicated recorder device?  It sounds like you want a recorder rather than a DAW.  Something like a Zoom H4n might work well for your purposes as you can simply plug in a mic and hit the record button.  No computer needed.  This would also allow her to record anywhere rather than being constrained to working at the computer." ContentLicense="CC BY-SA 3.0" />
  <row Id="38791" PostHistoryTypeId="2" PostId="23293" RevisionGUID="7fd1454b-2f44-4565-8bec-9b433c48df05" CreationDate="2014-01-06T01:37:11.217" UserDisplayName="arfqwegfrsdhrtjifcgh" Text="Windows 7 has an extremely simple audio recorder called Sound Recorder. You can just search for it from the start menu. But its *really* simple." ContentLicense="CC BY-SA 3.0" />
  <row Id="38792" PostHistoryTypeId="2" PostId="23290" RevisionGUID="e441ced0-e506-4b0e-8726-87dc74edce85" CreationDate="2013-11-08T12:20:21.520" UserDisplayName="user1908675" Text="My wife is a voice over artist and is completely non-technical. She needs to be able to record herself, but most software I have seen is very complex as they are full studio editing suites. Audacity, Audition, Sound Booth - all too complicated, really.&#xD;&#xA;&#xD;&#xA;I need to find a program that's really, really simple. Like, 'press record' and it starts. Press 'stop' and it stops recording. It needs to record an ASIO source directly to WAV, 32 bit, 44.1K or 48K, into a pre-defined directory.&#xD;&#xA;&#xD;&#xA;This is for Windows 7, 64 bit. Any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38793" PostHistoryTypeId="1" PostId="23290" RevisionGUID="e441ced0-e506-4b0e-8726-87dc74edce85" CreationDate="2013-11-08T12:20:21.520" UserDisplayName="user1908675" Text="Looking for really, really simple, but good quality ASIO recording software" ContentLicense="CC BY-SA 3.0" />
  <row Id="38794" PostHistoryTypeId="3" PostId="23290" RevisionGUID="e441ced0-e506-4b0e-8726-87dc74edce85" CreationDate="2013-11-08T12:20:21.520" UserDisplayName="user1908675" Text="&lt;audio-recording&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38803" PostHistoryTypeId="36" PostId="23296" RevisionGUID="cdd1f760-7207-4a21-ba49-7939194b76d9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3375/how-to-remove-music-and-tv-sound-from-phone-audio-recording" />
  <row Id="38804" PostHistoryTypeId="36" PostId="23297" RevisionGUID="80ed5b95-4485-423c-bcfa-08dd09d83ced" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3375/how-to-remove-music-and-tv-sound-from-phone-audio-recording/3381#3381" />
  <row Id="38805" PostHistoryTypeId="2" PostId="23297" RevisionGUID="e8a023f2-28e7-4e42-89d4-e0b0c44ac009" CreationDate="2012-02-22T01:09:45.590" UserId="7188" Text="Bell Labs once defined noise as &quot;unwanted signal&quot; with that in mind you might want to try the following with your Blackberry recording using a free download known as Audacity. I have used Audacity but not for these purposes so I do not feel completely comfortable offering this as a solution. However, since it's free software, and it should not take too much time to get a result you might give a try:&#xD;&#xA;&#xD;&#xA;http://www.makeuseof.com/tag/remove-ambient-noise-audio-files-audacity/&#xD;&#xA;&#xD;&#xA;I also found this on Creative Cow:&#xD;&#xA;&#xD;&#xA;Re: Keep voice, remove background noise and music&#xD;&#xA;by John Murrell on Nov 7, 2011 at 2:57:36 am&#xD;&#xA;&#xD;&#xA;You need to combine a number of tools to achieve this. It will probably not be possible to completely serperate the vocal. I use MAGIX Audio Restoration which I use for general audio restoration http://www.magix.com/us/audio-cleaning-lab/. I often use its tools to widen the stereo image, seperate the centre and side channels even further. I then use bx_solo(free) http://www.brainworx-music.de/en/download?PHPSESSID=aeogopu3v7kbu0e0efe495u... or some other tool to ms decode the sound (seperate the mid channel from the stereo). Not a perfect solution.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38806" PostHistoryTypeId="2" PostId="23296" RevisionGUID="9112066a-fc7b-4f95-b5fa-dd257aa74028" CreationDate="2012-02-21T10:18:33.123" UserDisplayName="Ryan" Text="Hey guys this is what I am trying to do:&#xD;&#xA;&#xD;&#xA;I have audio recordings from my blackberry that have conversations on them. The only trouble is that there is music and tv playing in the background that really makes it hard to hear the voices. &#xD;&#xA;&#xD;&#xA;Is it possible to lower or remove or do something to the music/tv sound in the back so the voice comes through louder?&#xD;&#xA;&#xD;&#xA;Or who do I take this to to have it done because,full disclosure here, the voice on the recordings is no longer with us, so if anything could be done it would mean the world. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="38807" PostHistoryTypeId="1" PostId="23296" RevisionGUID="9112066a-fc7b-4f95-b5fa-dd257aa74028" CreationDate="2012-02-21T10:18:33.123" UserDisplayName="Ryan" Text="How to remove music and tv sound from phone audio recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="38808" PostHistoryTypeId="3" PostId="23296" RevisionGUID="9112066a-fc7b-4f95-b5fa-dd257aa74028" CreationDate="2012-02-21T10:18:33.123" UserDisplayName="Ryan" Text="&lt;audio-recording&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38815" PostHistoryTypeId="36" PostId="23300" RevisionGUID="af7ffab5-b7cd-4db8-9dcb-0049e1d2e9f6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1463/what-is-the-best-order-in-which-to-record-instruments" />
  <row Id="38816" PostHistoryTypeId="36" PostId="23301" RevisionGUID="fd08e672-6c48-4a1f-9ee0-49f32a785829" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1463/what-is-the-best-order-in-which-to-record-instruments/1464#1464" />
  <row Id="38817" PostHistoryTypeId="2" PostId="23301" RevisionGUID="1fcf3ef3-879f-4ed9-8737-44cf16ec3311" CreationDate="2011-05-25T13:42:27.550" UserDisplayName="Eugene Weitz" Text="I haven't used Garageband software yet, but I'd say go with the drums first as your solid base and timing indicator, then guitar (as it's normally rhythm). &#xD;&#xA;&#xD;&#xA;But really it's up to the song type and feel you're looking to get. I say do whatever sounds and feels best musically. If the piano feels more like the centerpiece of the song, then go with that first and follow with guitar.&#xD;&#xA;&#xD;&#xA;Normally you'd record a whole song with each instrument on its own channel using slightly more expensive hardware and software, and then maybe add in pieces." ContentLicense="CC BY-SA 3.0" />
  <row Id="38818" PostHistoryTypeId="2" PostId="23302" RevisionGUID="b7b2d7e2-75d5-4dae-acba-fe160e2ecfd9" CreationDate="2011-05-25T13:45:15.663" UserDisplayName="Shane Kilkelly" Text="There is of course no set way of doing this, but a typical workflow would be :&#xD;&#xA;&#xD;&#xA;-sort out the Click Track and tempo changes  &#xD;&#xA;-record scratch guitars(or whatever instrument needs to be present as a guide)  &#xD;&#xA;-record Drums  &#xD;&#xA;-delete scratch tracks, do all drum editing and comping  &#xD;&#xA;-record next most important rhythm instrument, bass, guitar or whatever.  &#xD;&#xA;-record subsequent tracks in order of their importance to the song, typically leaving the vocals and leads to last, any editing should be done during tracking or immediately after.    &#xD;&#xA;-record overdubs and &quot;extra&quot; parts.  &#xD;&#xA;&#xD;&#xA;The whole point of this process is to start with a strong rhythmic foundation and to build from there.  &#xD;&#xA;For a typical rock or metal song the order might be Drums, Rhythm Guitars, Bass, Vocals, Lead Guitars, then Extra stuff at the end." ContentLicense="CC BY-SA 3.0" />
  <row Id="38819" PostHistoryTypeId="2" PostId="23300" RevisionGUID="e08a181e-0202-4194-88a4-cbdeec63da28" CreationDate="2011-05-25T11:00:59.843" UserDisplayName="Mark Richman" Text="I am teaching myself home recording using GarageBand. I play guitar and piano, and have a Korg padKontrol to enter drum data. &#xD;&#xA;&#xD;&#xA;My question is, what is the best order in which to lay down tracks? Guitar first, drums first? Scratch tracks, click tracks? &#xD;&#xA;&#xD;&#xA;I would think that there is no one best answer, but any suggestions as to an efficient approach would be appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="38820" PostHistoryTypeId="1" PostId="23300" RevisionGUID="e08a181e-0202-4194-88a4-cbdeec63da28" CreationDate="2011-05-25T11:00:59.843" UserDisplayName="Mark Richman" Text="What is the best order in which to record instruments?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38821" PostHistoryTypeId="3" PostId="23300" RevisionGUID="e08a181e-0202-4194-88a4-cbdeec63da28" CreationDate="2011-05-25T11:00:59.843" UserDisplayName="Mark Richman" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38822" PostHistoryTypeId="36" PostId="23302" RevisionGUID="af959e9c-26a4-457d-9519-4366fc360376" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1463/what-is-the-best-order-in-which-to-record-instruments/1465#1465" />
  <row Id="38823" PostHistoryTypeId="36" PostId="23303" RevisionGUID="1a2a4e23-db00-4c3d-a2cd-ddef3dcedea2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1463/what-is-the-best-order-in-which-to-record-instruments/1466#1466" />
  <row Id="38824" PostHistoryTypeId="2" PostId="23303" RevisionGUID="7f171fa7-7eff-441e-9dde-d6a85ab1626a" CreationDate="2011-05-25T14:27:33.383" UserDisplayName="Travis" Text="Great question. I offer custom drum tracks via online collaboration  - so this question comes up a lot. The absolute best order (in my opinion) is to lay down scratch tracks first and foremost to get a feel of where the song is headed. Then record the drum tracks TO the scratch. From there, you can record your finals to the drum tracks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38825" PostHistoryTypeId="36" PostId="23304" RevisionGUID="3d4abc21-d3cd-4fec-94fa-1013cb4ecd84" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4331/which-equipments-can-i-buy-to-record-sounds-of-animals-and-birds" />
  <row Id="38826" PostHistoryTypeId="2" PostId="23305" RevisionGUID="97cc5106-41c5-4b86-a239-da94cfdb050e" CreationDate="2012-07-02T05:40:17.377" UserId="9447" UserDisplayName="Fortes" Text="If you are serious about it, want pro quality, portability and integrated mics&#xD;&#xA;&#xD;&#xA;The [Tascam DR-100 MK II][1] it's an excellent choice!&#xD;&#xA;&#xD;&#xA;You have great sound, four integrated mics and phantom power to connect two professional condenser mics&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It's the best I could find.... Hope this helps, and let in know if you find a better option....&#xD;&#xA;&#xD;&#xA;You can even set it on auto record so it senses when the animals are making sounds and stuff like that!&#xD;&#xA;&#xD;&#xA;And for the software, you can use any free wave editor like audacity &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tascam.com/product/dr-100mkii/" ContentLicense="CC BY-SA 3.0" />
  <row Id="38827" PostHistoryTypeId="2" PostId="23304" RevisionGUID="6b3fab69-fd9b-41a4-bf42-42e915aee142" CreationDate="2012-07-02T03:28:12.777" UserDisplayName="Praveen Sharath" Text="My friend is doing a acoustic project related to his studies. He needs to record high quality sounds from animals and birds. I don't know anything about recording audio as i am a programmer. So please suggest what equipments to buy and do the recordings in the outdoor such as a village or jungle(the type of microphone and any other devices needed amplify the sound) and also what software to use to do more processing if needed(I can learn and help him on using a software). A help would be much grateful. Thank you" ContentLicense="CC BY-SA 3.0" />
  <row Id="38828" PostHistoryTypeId="1" PostId="23304" RevisionGUID="6b3fab69-fd9b-41a4-bf42-42e915aee142" CreationDate="2012-07-02T03:28:12.777" UserDisplayName="Praveen Sharath" Text="Which equipments can i buy to record sounds of animals and birds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38829" PostHistoryTypeId="3" PostId="23304" RevisionGUID="6b3fab69-fd9b-41a4-bf42-42e915aee142" CreationDate="2012-07-02T03:28:12.777" UserDisplayName="Praveen Sharath" Text="&lt;audio-recording&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38830" PostHistoryTypeId="36" PostId="23305" RevisionGUID="10a79aa1-fa97-40a5-b68d-b547b60bbec9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4331/which-equipments-can-i-buy-to-record-sounds-of-animals-and-birds/4332#4332" />
  <row Id="38831" PostHistoryTypeId="36" PostId="23306" RevisionGUID="4bdea6ff-904e-4450-bc8e-bb177f042ee6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/980/mixing-alnico-and-ceramic-on-1969-fender-bassman" />
  <row Id="38832" PostHistoryTypeId="36" PostId="23307" RevisionGUID="d47729eb-97a9-4f82-a66b-79002010471c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/980/mixing-alnico-and-ceramic-on-1969-fender-bassman/983#983" />
  <row Id="38833" PostHistoryTypeId="2" PostId="23307" RevisionGUID="260a86dc-90ba-4057-9241-8d26b7415bf6" CreationDate="2011-03-09T04:19:59.893" UserDisplayName="Kim Burgaard" Text="Does the Fender Bassman have a speaker out connector? Otherwise, you might want to consider soldering a speaker out which breaks the connection to the internal speakers.&#xD;&#xA;&#xD;&#xA;Then you can build a separate cabinet for the new speakers and have an almost non-destructive mod which you can customize endlessly with additional speaker combos down the road." ContentLicense="CC BY-SA 2.5" />
  <row Id="38834" PostHistoryTypeId="2" PostId="23308" RevisionGUID="f17ac1f8-079a-4d5b-86c0-b3539b2c2add" CreationDate="2011-03-14T00:40:42.803" UserDisplayName="Jduv" Text="I absolutely recommend the Alnico/Ceramic mix. I have an Orange AD-30R with a pair of Scumnico's and an extension cabinet with some Scumback Ceramic H75's and they mix phenomenally. The alnico's are creamy and rich while the ceramics are hot and ballsy. However, we are talking about a vintage amplifier here, and lots of very important things should be considered before we go monkeying around with the speaker configurations. &#xD;&#xA;&#xD;&#xA;The main thing you need to do is make sure that all of your speakers meet or exceed the wattage requirements by the cabinet itself such that your amplifier doesn't overdrive the speakers to oblivion. The way you figure this for **speakers wired in series** is by using the following formula:&#xD;&#xA;&#xD;&#xA;Wattage for a single speaker **&gt;=** total wattage of the amplifier/number of speakers&#xD;&#xA;&#xD;&#xA;So, given that the bassman is a 50 watt amp you are going to want speakers that meet or exceed 50/4 = 12.5 watts per speaker. Usually that would mean you could theoretically run a 15 watt speaker at each position in the 4x10 cabinet--again as long as you wire them in series. However, I would recommend that you at least double that, and go with 30 to 75 watt speakers at each position. They will have a much higher headroom before breaking up and provide more clarity at higher volumes. All class A/B amplifiers tend to draw more than their rated wattage at very high volumes, and your speakers should be able to handle that.&#xD;&#xA;&#xD;&#xA;So in general it's totally doable and relatively easy to do what you want to given that you're okay with placing new speakers back into the vintage cabinet. Also, consider soldering your speakers in instead of using those blasted spade connectors. You'll pick up a decent bit of clarity if you do this (lots of people don't believe me until I let them hear my amp). Again, you'll love the Alnico/Ceramic mix. I do :). Or, you could definitely wire up an external cabinet if you wanted to keep the Bassman in it's original albeit sorta useless splendor." ContentLicense="CC BY-SA 2.5" />
  <row Id="38835" PostHistoryTypeId="2" PostId="23306" RevisionGUID="71ff278c-c3eb-4710-8ea5-e3856973c561" CreationDate="2011-03-08T19:15:34.933" UserDisplayName="philwinkle" Text="I am a classic amp collector, and have a great number of great pieces. I also run a recording studio and a reamping service.&#xD;&#xA;&#xD;&#xA;I found at a great price a 1969 Fender Bassman TEN (silverface) ... a 50W tube amplifier. It sounds great, but it *only has one speaker*... and it's non-original (Hartke branded).&#xD;&#xA;&#xD;&#xA;I would like to put 2x `Celestion G10`'s (I love the sound of ceramic), and 2x `Jensen AlNiCo` speakers into it.  This provides me with choices for recording, and a unique sound live.  I got the idea from Dr. Z cabinets which mix/match G12's and Vintage 30's all the time.  &#xD;&#xA;&#xD;&#xA;http://www.drzamps.com/products/2x10.html&#xD;&#xA;&#xD;&#xA;Am I crazy? Any thoughts/criticism is appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="38836" PostHistoryTypeId="1" PostId="23306" RevisionGUID="71ff278c-c3eb-4710-8ea5-e3856973c561" CreationDate="2011-03-08T19:15:34.933" UserDisplayName="philwinkle" Text="Mixing Alnico and Ceramic on 1969 Fender Bassman" ContentLicense="CC BY-SA 2.5" />
  <row Id="38837" PostHistoryTypeId="3" PostId="23306" RevisionGUID="71ff278c-c3eb-4710-8ea5-e3856973c561" CreationDate="2011-03-08T19:15:34.933" UserDisplayName="philwinkle" Text="&lt;audio-recording&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38838" PostHistoryTypeId="36" PostId="23308" RevisionGUID="d35b7e72-ae27-4378-8e44-049c6c9fcf42" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/980/mixing-alnico-and-ceramic-on-1969-fender-bassman/1008#1008" />
  <row Id="38839" PostHistoryTypeId="36" PostId="23309" RevisionGUID="c78e3faf-1d6a-4c24-97fb-3d9d8703b09f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8819/record-more-than-two-external-mics-with-tascam-dr-40-into-separate-tracks" />
  <row Id="38840" PostHistoryTypeId="2" PostId="23310" RevisionGUID="844fa5a1-5d86-4b76-9d57-6bdf26559df3" CreationDate="2013-08-25T22:09:25.790" UserId="6957" Text="The DR-40 is a four track recorder, but only if you count the two built-in mics.  You can have at most, two external microphones.  BTW, XLR inputs are inherently mono.&#xD;&#xA;&#xD;&#xA;&gt; Record the built-in microphones ***with*** the XLR mic or line input for a&#xD;&#xA;&gt; four-track recording&#xD;&#xA;&#xD;&#xA;&lt;sub&gt;Emphasis mine.  [From the website](http://tascam.com/product/dr-40/overview/)&lt;/sub&gt;&#xD;&#xA;&#xD;&#xA;I think it will still suffice in your three source situation however.&#xD;&#xA;&#xD;&#xA;I would hand an external mic to both of your guests, and use the built-in mic yourself as the third.  At least that way, *you* will be the one in control of the recording unit." ContentLicense="CC BY-SA 3.0" />
  <row Id="38841" PostHistoryTypeId="2" PostId="23309" RevisionGUID="bc354421-0f25-449a-8dd1-c58d8b40272a" CreationDate="2013-08-25T21:07:30.467" UserId="9410" UserDisplayName="Lex" Text="Tascam DR-40 has two external mic inputs. I believe I can record two stereo tracks on each input. I've been plugging in an XLR microphone into each of the two inputs and recording a podcast with two people. Then adjusting the audio in post.&#xD;&#xA;&#xD;&#xA;But now we have a third person. I would like to add a third mic such that I get a separate (mono) track recorded for them as well. I imagine it's possible to &quot;split&quot; one of the inputs to the DR-40 such that one mic records to the left channel, and the second  to the right channel. Is it possible? What's the (physically) smallest device that can achieve that? I know a mixer probably can, but that requires dragging around a mixer.&#xD;&#xA;&#xD;&#xA;Sorry, I'm a total beginner to this. Because the podcast is on the move, I'm looking for the smallest solution. [Here's the podcast][1] (one episode is up) if you want to listen to the sound. It's taped in a gym.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://takeituneasy.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="38842" PostHistoryTypeId="1" PostId="23309" RevisionGUID="bc354421-0f25-449a-8dd1-c58d8b40272a" CreationDate="2013-08-25T21:07:30.467" UserId="9410" UserDisplayName="Lex" Text="Record more than two external mics with Tascam DR-40 into separate tracks" ContentLicense="CC BY-SA 3.0" />
  <row Id="38843" PostHistoryTypeId="3" PostId="23309" RevisionGUID="bc354421-0f25-449a-8dd1-c58d8b40272a" CreationDate="2013-08-25T21:07:30.467" UserId="9410" UserDisplayName="Lex" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;mixer&gt;&lt;tascam&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38844" PostHistoryTypeId="36" PostId="23310" RevisionGUID="eee27be1-ff16-4cd9-bf32-149d00db0b27" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8819/record-more-than-two-external-mics-with-tascam-dr-40-into-separate-tracks/8820#8820" />
  <row Id="38845" PostHistoryTypeId="36" PostId="23311" RevisionGUID="b598e6d2-905d-4865-8b99-d5b50e59f83b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2471/creating-glissando-portamento-with-piano-roll-editors" />
  <row Id="38846" PostHistoryTypeId="2" PostId="23312" RevisionGUID="d22df3f9-754f-4d10-839f-8cd309644d62" CreationDate="2011-10-16T20:39:04.513" UserId="7294" UserDisplayName="Warrior Bob" Text="Those piano roll editors provide a convenient way to sequence MIDI **note** data. There is not, to my knowledge, any way in the MIDI standard to specify portamento between two specific notes. However, if you're only sequencing for one voice, you can send MIDI **pitch bend** information, like you have suggested, but this is global to the channel so you can't, say, bend one note while keeping the other at its original pitch (at least, not without duplicating your instrument on another track).&#xD;&#xA;&#xD;&#xA;Given that, there are two ways I know of to attack the problem of portamento:&#xD;&#xA;&#xD;&#xA;Just use pitchbend&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;Most instruments I've used that accept MIDI respond to pitchbend information, and so you can program this in your sequencer. You likely won't find it in the piano roll however, you'll have to find it wherever your sequencer stores envelope or automation information. &#xD;&#xA;&#xD;&#xA;For Reaper, this is the view at the bottom of the piano roll that by default shows your note velocities. Click on the 'Velocity' chooser and you'll see that you can choose 'Pitch.' &#xD;&#xA;&#xD;&#xA;For Ableton Live, this is another overlay in the Clip View (where the piano roll is). Click on the little &quot;E&quot; in the lower-left corner, which will open up your envelope editor. Choose 'MIDI Control' from the first chooser and 'Pitch Bend' from the second one. &#xD;&#xA;&#xD;&#xA;Use a clever instrument&#xD;&#xA;---&#xD;&#xA;Many soundbanks and synthesizers (monosynths, in particular) have an automatic portamento feature. Generally there is a knob, usually labeled 'portamento' or 'portamento time,' which sets the amount of time it takes to bend the pitch to the next note, *if that note is triggered before the previous note ends*. Again, this only works in the context of single-voiced instruments, since with multiple voices it isn't clear if it should bend the note or play the second voice.&#xD;&#xA;&#xD;&#xA;I personally find this to be a useful solution, since I work with largely electronic music and I prefer extending and reducing note lengths to editing envelopes, as I find it more intuitive. Your mileage may vary.&#xD;&#xA;&#xD;&#xA;I am sure that many devices and plugins have implemented their own solutions, such as proprietary uses of certain MIDI CCs for controlling portamento behavior, but I don't know of any off the top of my head." ContentLicense="CC BY-SA 3.0" />
  <row Id="38847" PostHistoryTypeId="2" PostId="23311" RevisionGUID="c7b367b0-5712-49a6-906d-bf4e25849b0b" CreationDate="2011-10-16T18:36:16.153" UserDisplayName="lurscher" Text="I've been using several Midi sequencers with piano roll editors (Ableton, Reaper) and none of them seem to have a straightforward way to join two or more note events into a single glissando or portamento. I don't see a way to edit pitch bend wheel either&#xD;&#xA;&#xD;&#xA;What is the recommended way to create continous note events in these applications? at the moment i'm using Reaper, but i am not attached to any specific application yet" ContentLicense="CC BY-SA 3.0" />
  <row Id="38848" PostHistoryTypeId="1" PostId="23311" RevisionGUID="c7b367b0-5712-49a6-906d-bf4e25849b0b" CreationDate="2011-10-16T18:36:16.153" UserDisplayName="lurscher" Text="creating glissando/portamento with piano roll editors" ContentLicense="CC BY-SA 3.0" />
  <row Id="38849" PostHistoryTypeId="3" PostId="23311" RevisionGUID="c7b367b0-5712-49a6-906d-bf4e25849b0b" CreationDate="2011-10-16T18:36:16.153" UserDisplayName="lurscher" Text="&lt;midi&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38850" PostHistoryTypeId="36" PostId="23312" RevisionGUID="bf802350-a40a-42b1-924b-efe74a6f6bfd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2471/creating-glissando-portamento-with-piano-roll-editors/2473#2473" />
  <row Id="38851" PostHistoryTypeId="36" PostId="23313" RevisionGUID="cbc9ab82-ba63-4b02-8ce7-2ef762960863" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3335/how-can-i-make-smooth-audio-transitions-when-editing-a-video" />
  <row Id="38852" PostHistoryTypeId="2" PostId="23314" RevisionGUID="58175616-82ac-4d06-a846-a730d305aaef" CreationDate="2012-02-17T02:41:23.843" UserDisplayName="Chard" Text="There is a technique called '[L cut][1]' and 'J cut' that may be useful to you here. With an L cut you let the audio from the previous clip play over the beginning of the following clip. A J cut is the opposite (audio from the next clip comes in before the vision). &#xD;&#xA;&#xD;&#xA;There is no set amount of time for how long a fade or transition should be. It depends on too many factors, the biggest of which being creative choice. &#xD;&#xA;&#xD;&#xA;EDIT: I have no experience in Kdenlive, so I'm not sure of its capabilities, but you could give something like this a try:&#xD;&#xA;![audio_crossfading][2]&#xD;&#xA;&#xD;&#xA;It's just two crossfades. If they go for long enough the transition should be very smooth. Like I said before though, there is no set time that a fade should go for. You just have to experiment with it and see what works. &#xD;&#xA;&#xD;&#xA;If you have a pen tool in Kdenlive you can try fading audio with that. Will give you a lot more control. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/L_cut&#xD;&#xA;  [2]: http://i.stack.imgur.com/4mMeX.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="38853" PostHistoryTypeId="2" PostId="23313" RevisionGUID="34942684-947f-458d-ae4e-89285c414584" CreationDate="2012-02-17T01:29:46.183" UserId="8124" UserDisplayName="Dave M G" Text="I have a video that is essentially one person talking, with a crowd of people listening and responding. What I'd like to be able to do is edit out some sections of the speech.&#xD;&#xA;&#xD;&#xA;I need to do this in my video editor, because there are three tracks of video synchronized with the audio.&#xD;&#xA;&#xD;&#xA;If I just delete sections and then close the gap, that's obviously going to sound wrong.&#xD;&#xA;&#xD;&#xA;But how do I smooth out the transitions? is it a simple fade between tracks? Do I overlap them and fade them? Is there a particular technique for this?&#xD;&#xA;&#xD;&#xA;Is there a guideline for how long or short the crossover has to be in order to make them seamless or at least not jarring to the human ear?&#xD;&#xA;&#xD;&#xA;Please note I am only concerned about the smoothness of the audio transitions. Where the video cuts are made can be covered with other images.&#xD;&#xA;&#xD;&#xA;Also, I am using Kdenlive for my video editing." ContentLicense="CC BY-SA 3.0" />
  <row Id="38854" PostHistoryTypeId="1" PostId="23313" RevisionGUID="34942684-947f-458d-ae4e-89285c414584" CreationDate="2012-02-17T01:29:46.183" UserId="8124" UserDisplayName="Dave M G" Text="How can I make smooth audio transitions when editing a video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38855" PostHistoryTypeId="3" PostId="23313" RevisionGUID="34942684-947f-458d-ae4e-89285c414584" CreationDate="2012-02-17T01:29:46.183" UserId="8124" UserDisplayName="Dave M G" Text="&lt;audio&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38856" PostHistoryTypeId="36" PostId="23314" RevisionGUID="41311c98-5e1d-4a13-9bec-30df0e1e36f3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3335/how-can-i-make-smooth-audio-transitions-when-editing-a-video/3336#3336" />
  <row Id="38857" PostHistoryTypeId="36" PostId="23315" RevisionGUID="74ff6d1e-c292-4f17-8cbb-26b1a74f343f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7576/how-to-create-cue-sheet-for-long-wav-file" />
  <row Id="38858" PostHistoryTypeId="2" PostId="23316" RevisionGUID="58ae65e2-e265-4b2b-84d3-8847aa9168ae" CreationDate="2013-04-19T17:32:01.833" UserId="12790" UserDisplayName="Ron Kyle" Text="Well, it really is all a matter of what you're using to playback the .wav file. What you need is a player that supports .cue files directly. One such free player I found is clementine-player, however I haven't personally tried it.&#xD;&#xA;&#xD;&#xA;Make a text file in notepad named the same as your .wav file, but name it .cue&#xD;&#xA;&#xD;&#xA;The text(cue) file should be like this:&#xD;&#xA;&#xD;&#xA;    TRACK 01 AUDIO&#xD;&#xA;       TITLE &quot;Whatever you call the first track&quot;&#xD;&#xA;       PERFORMER &quot;I don't think you have to include this&quot;&#xD;&#xA;       INDEX 01 00:00:00&#xD;&#xA;     TRACK 02 AUDIO&#xD;&#xA;       TITLE &quot;Second Track PT 1&quot;&#xD;&#xA;       PERFORMER &quot;Whoever&quot;&#xD;&#xA;       INDEX 00 02:47:74&#xD;&#xA;       INDEX 01 02:48:27&#xD;&#xA;     TRACK 03 AUDIO&#xD;&#xA;       TITLE &quot;3rd&quot;&#xD;&#xA;       PERFORMER &quot;You guys&quot;&#xD;&#xA;       INDEX 00 02:48:27&#xD;&#xA;       INDEX 01 04:00:15&#xD;&#xA;&#xD;&#xA;and so on... notice that the important parts are the index points- everyone but the first gets 2; INDEX 00 and INDEX 01. INDEX 00 is going to be the end point, or &quot;INDEX 01&quot; of the previous track. INDEX 01 will, of course, be the endpoint of the current track. (Not to mention the INDEX 00 of the NEXT track).&#xD;&#xA;&#xD;&#xA;The audio player should read the cue file directly and give you your cue points. Not the easiest way of going about it, but it's what you asked for. :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38859" PostHistoryTypeId="2" PostId="23315" RevisionGUID="75a70dfc-dcc7-4194-9f36-a18b7e62f97b" CreationDate="2013-04-03T03:47:15.280" UserDisplayName="emzero" Text="I have a big WAV file that contains a set of a bunch of songs mixed together.&#xD;&#xA;&#xD;&#xA;Is there a way I could define &quot;bookmarks&quot; or cue-splits so I can play that cue and have each track separated (pointing to a specific time in the WAV file) or something like that?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38860" PostHistoryTypeId="1" PostId="23315" RevisionGUID="75a70dfc-dcc7-4194-9f36-a18b7e62f97b" CreationDate="2013-04-03T03:47:15.280" UserDisplayName="emzero" Text="How to create cue-sheet for long WAV file?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38861" PostHistoryTypeId="3" PostId="23315" RevisionGUID="75a70dfc-dcc7-4194-9f36-a18b7e62f97b" CreationDate="2013-04-03T03:47:15.280" UserDisplayName="emzero" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38862" PostHistoryTypeId="36" PostId="23316" RevisionGUID="9f1446be-58bf-4f83-8e9b-28012232a08c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7576/how-to-create-cue-sheet-for-long-wav-file/7693#7693" />
  <row Id="38863" PostHistoryTypeId="36" PostId="23317" RevisionGUID="4501c68a-3220-4e18-bc1a-a7b320c997f9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2989/whats-the-minimum-i-need-to-make-a-nice-recording-of-my-guitar-on-my-computer" />
  <row Id="38864" PostHistoryTypeId="36" PostId="23318" RevisionGUID="81f79b1b-4f23-433c-baa2-39a9195db181" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2989/whats-the-minimum-i-need-to-make-a-nice-recording-of-my-guitar-on-my-computer/2992#2992" />
  <row Id="38865" PostHistoryTypeId="36" PostId="23319" RevisionGUID="7fea36d7-eef4-4662-a326-4c7cdee3a634" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2989/whats-the-minimum-i-need-to-make-a-nice-recording-of-my-guitar-on-my-computer/2994#2994" />
  <row Id="38866" PostHistoryTypeId="36" PostId="23320" RevisionGUID="9448a28f-e494-445d-a1fe-1ae6b16c4edb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2989/whats-the-minimum-i-need-to-make-a-nice-recording-of-my-guitar-on-my-computer/2998#2998" />
  <row Id="38867" PostHistoryTypeId="2" PostId="23318" RevisionGUID="82a49062-a504-4552-9fac-e15a4fe97d41" CreationDate="2012-01-10T05:36:33.900" UserId="7189" Text="Short answer: get a [Korg Sound on Sound][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There are two main routes to recording your guitars:&#xD;&#xA;&#xD;&#xA;1. Acoustic recording&#xD;&#xA;1. Direct input recording&#xD;&#xA;&#xD;&#xA;Assuming your acoustic guitar doesn't have a built in pickup, you will need a microphone and some way to record that microphone. There are many different paths, but ultimately you are building a signal path that goes from a microphone to a recording device.&#xD;&#xA;&#xD;&#xA;For your electric guitar, you *may* want to plug directly into your computer or recording device, but then you lose the sound of your amp and room.&#xD;&#xA;&#xD;&#xA;To keep things simple and low cost, you should consider starting with an all-in-one digital recording solution. Examples include the Zoom H2 or H4n, or the Sony M10. There are plenty of other similar recorders, all in the $100-$400 price range. Because they are solid state recorders, you can easily take them to a room that has great acoustics, push the record button and just start jamming away. You will get better results if you have a friend put on some headphones, monitor the signal, and adjust the levels appropriately. You might also consider the Korg Sound on Sound recorder. The Korg has a number of guitar-oriented features, including a guitar input port. It also has mics, so should be good for acoustic recordings as well.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Stepping up from an all-in-one digital recorder to a component based system (mics, cables, preamps, FX, etc.) is a very big topic, and one that I don't have much experience with. The short answer is that there are different kinds of mics, and each kind of mic has special properties that make it more or less suitable for a particular application. Recording isn't just about making a perfect copy of the soundwaves in the air - people have become used to the imperfect equipment that has been used over the decade, so there's a lot of demand for gear that colors the sound in particular ways. Keep this in mind as you dive into the esoteric details.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Some things to keep in mind:&#xD;&#xA;&#xD;&#xA;1. Recording is a discipline, just like playing your guitar. You can certainly learn how to make nice recordings of your guitar work, but don't expect perfect results immediately. Take small steps, listen carefully, and learn from your mistakes. Also learn how to incorporate your &quot;mistakes&quot; into your sound.&#xD;&#xA;1. Gear matters, but don't become obsessed with gear. You can spend your entire life collecting guitars. You can also spend your entire life collecting mics, compressors, preamps and mixers.&#xD;&#xA;1. The space you record in matters too. If you have a noisy PC in the room, you will hear it in your recordings. If your friend sneezes in the next room, you may hear that too.&#xD;&#xA;1. Be creative and have fun. There are no right or wrong answers. Start with cheap equipment and definitely abuse it. If you can afford to break it, you can afford to abuse it, and you will learn interesting things. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.korg.com/SOS" ContentLicense="CC BY-SA 3.0" />
  <row Id="38868" PostHistoryTypeId="2" PostId="23319" RevisionGUID="a275f736-3dcc-47a7-ae05-9e2b8397c977" CreationDate="2012-01-10T13:18:20.333" UserId="7016" Text="The key item you need is a sound card - M-Audio do a very cost effective range that is good enough for gigging or studio recording. Their kit provides buffered inputs, low-latency ADAC and decent quality outputs.&#xD;&#xA;&#xD;&#xA;This will give you inputs suitable for electric guitar, microphone etc. You won't need separate preamps etc if you have a suitable soundcard.&#xD;&#xA;&#xD;&#xA;You will also want to look at the options for mic'ing up your acoustic. A normal vocal mic on a stand can be all you need, or you may want one which clips onto your guitar to give you more flexibility and freedom.&#xD;&#xA;&#xD;&#xA;Depending on what you want to do, you could run something as simple (and free) as Audacity to record and do basic editing, or you may want to go as upmarket as Cubase, Sonar (or even Pro Tools) but they all have a high cost associated with the wide range of features." ContentLicense="CC BY-SA 3.0" />
  <row Id="38869" PostHistoryTypeId="2" PostId="23320" RevisionGUID="684907f4-deb6-4641-a428-07f4ae1e6270" CreationDate="2012-01-10T16:15:41.000" UserId="7539" UserDisplayName="slim" Text="**Acoustic guitar**&#xD;&#xA;&#xD;&#xA;There's no getting away from the fact that a good microphone costs a reasonable amount of money. For acoustic guitar and voice, a reasonable quality condenser microphone is what people recommend. $50 or so gets you a Behringer that'll do the job.&#xD;&#xA;&#xD;&#xA;Professional mics have XLR connectors, and condenser mics need power - either from a battery or from phantom power on the lead. So you have two issues: one, connecting it to your sound card, two getting power to it.&#xD;&#xA;&#xD;&#xA;You could use batteries, and get a simple unbalanced convertor lead to the 3.5mm mic socket on your sound card.&#xD;&#xA;&#xD;&#xA;Or you could use a pre-amp, which will power your mic, bring the signal up to line level using (probably) better sounding circuitry than your sound card, and take proper advantage of the balanced XLR lead. Then connect the line-out of the pre-amp to your sound card.&#xD;&#xA;&#xD;&#xA;More conveniently, you can get a nice external audio interface, with XLR inputs and built in pre-amp. These often have a compressor in as well, convenient knobs for adjusting levels, multiple inputs suitable for mics and instruments, and so on. It will also do a much better job of A/D and D/A conversion than your standard sound card, so it's a good investment. Also you can expect it to have good latency. I think it's the best way.&#xD;&#xA;&#xD;&#xA;Alternatively, you could get a USB mic. You can think of these as being a mic, pre-amp and audio interface all in one unit. It's cheap and there's not much to go wrong. One consideration here is that you won't be able to use the mic for analogue purposes. That is, if you one day decide to gig, your USB mic won't be much use there.&#xD;&#xA;&#xD;&#xA;Positioning the mic is important; but if you Google you'll find plenty of advice on that.&#xD;&#xA;&#xD;&#xA;One further option is a pocket digital audio recorder. Many of these have a pair of stereo mics configured to record room audio. You can either use the device to record onto an SD card, then transfer your recording to your PC, or use the line-out from the device into your audio interface.&#xD;&#xA;&#xD;&#xA;**Electric guitar**&#xD;&#xA;&#xD;&#xA;You can, of course, use the same kit to mic up an electric guitar amp, and that's how it always used to be done.&#xD;&#xA;&#xD;&#xA;Nowadays we have amp modelling. That is, software that emulates an amp, cabinet, effects, room reverb etc. So if you choose, you can record the dry output of your instrument and have all the rest done in the digital domain.&#xD;&#xA;&#xD;&#xA;Purists say they prefer real tube amps and real speakers, but you're asking for a budget solution, and I would argue that budget amp modelling sounds better than a budget amp.&#xD;&#xA;&#xD;&#xA;The advice about sound cards above still stands. You can get reasonable results using an ordinary sound card. You can get better results with an external musician-oriented audio interface. It's also more satisfactory dealing with 1/4&quot; jacks and XLR leads, than fiddling with little 3.5mm jacks.&#xD;&#xA;&#xD;&#xA;Your big choice is between having your PC do the amp modelling, or doing it externally.&#xD;&#xA;&#xD;&#xA;PC amp modelling: using software such as AmpliTube, Guitar Rig, GarageBand. Just plug your instrument directly into the audio interface, and let the software make it sound nice. One disadvantage is that it can work your computer pretty hard, and add latency. One advantage is that it lets you record the dry signal, and change effects and amp settings on a recording you've already made.&#xD;&#xA;&#xD;&#xA;External amp modelling: using a stomp box containing amp modelling, or something like AmpliTube for iPad, connect the amp to the modeller's input, and the modeller's line-out to your audio interface. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38870" PostHistoryTypeId="2" PostId="23317" RevisionGUID="410437b7-d6e2-4caf-8616-d7b00c219db9" CreationDate="2012-01-09T21:44:05.640" UserId="9420" UserDisplayName="BlueRaja - Danny Pflughoeft" Text="Preamp?  Mixer?  Receiver?  Audio interface?  External sound card?  Breakout box? DAW?&#xD;&#xA;&#xD;&#xA;I've been trying to record audio of my guitar for a *long* time, with no luck.  The microphone that came with my computer makes very fuzzy/static-y recordings, and the mic on my camcorder doesn't even *pick up* the guitar.&#xD;&#xA;&#xD;&#xA;Various people have told me I need any one of the above devices, sometimes making mention of &quot;ADC&quot; or &quot;phantom power.&quot;  I assume I'd need a nice mic too; but I refuse to believe that I need to buy seven $100+ devices for simple, amateur home-audio recording.&#xD;&#xA;&#xD;&#xA;An explanation of what these things are and what they're for would be nice, but secondary to my real question:  **What's the minimum I need to buy to make a nice-sounding recording of my guitar** *(electric and/or acoustic)*&#xD;&#xA; **on my computer?**&#xD;&#xA;&#xD;&#xA;I'm looking for expert advice on what to look for and understand.  Recommendations for specific devices would be appreciated but are not necessary.&#xD;&#xA;&#xD;&#xA; **[Edit]** Even here, I've been told I need *&quot;a sound card with buffered inputs and low-latency ADAC&quot;* (whatever that means), an *&quot;all-in-one digital recorder,&quot;* and a *&quot;condenser microphone with a battery or phantom power.&quot;*  I am more confused than ever." ContentLicense="CC BY-SA 3.0" />
  <row Id="38871" PostHistoryTypeId="1" PostId="23317" RevisionGUID="410437b7-d6e2-4caf-8616-d7b00c219db9" CreationDate="2012-01-09T21:44:05.640" UserId="9420" UserDisplayName="BlueRaja - Danny Pflughoeft" Text="What's the minimum I need to make a (nice) recording of my guitar on my computer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38872" PostHistoryTypeId="3" PostId="23317" RevisionGUID="410437b7-d6e2-4caf-8616-d7b00c219db9" CreationDate="2012-01-09T21:44:05.640" UserId="9420" UserDisplayName="BlueRaja - Danny Pflughoeft" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38881" PostHistoryTypeId="36" PostId="23324" RevisionGUID="e7525993-7992-4cc5-a8d6-116234bf56a8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3347/final-mix-still-quiet-after-maxing-volume-and-compression" />
  <row Id="38882" PostHistoryTypeId="36" PostId="23325" RevisionGUID="752ba686-7712-42f0-8f99-60b15fdaf756" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3347/final-mix-still-quiet-after-maxing-volume-and-compression/3348#3348" />
  <row Id="38883" PostHistoryTypeId="2" PostId="23325" RevisionGUID="09fb6875-8974-4ed7-b991-241655af67e9" CreationDate="2012-02-18T16:44:19.863" UserDisplayName="Sean Michael Dorian" Text="I would suggest using a limiter instead of a compressor. While they're both very similar, a limiter can do what you need much quicker and efficiently. &#xD;&#xA;&#xD;&#xA;Try taking the compressor off your master out and put a limiter in its place. Drop the threshold so it's always tripped, raise the out ceiling to desired volume, adjust the release, done. Pay attention to the gain reduction meter and try to time it with the sound so it doesn't sound like it's &quot;pumping&quot; or &quot;breathing&quot;.&#xD;&#xA;&#xD;&#xA;Some people would groan at this methodology, saying it isn't the best sounding option, but I say that in situations like this it's utility over sound quality." ContentLicense="CC BY-SA 3.0" />
  <row Id="38884" PostHistoryTypeId="2" PostId="23326" RevisionGUID="36e02525-401a-44f4-bc4b-ec56169d43a8" CreationDate="2012-02-18T22:57:10.463" UserId="7200" UserDisplayName="leftaroundabout" Text="A limiter is the most brutal form of a compressor, you should use one (at the very end of the FX chain) but I wouldn't let it do too much, it can really start to sound annoying quite quickly. Before it, try just driving the present compressors a bit harder, i.e. any of higher ratio, lower threshold and lower attack. And of course gain makeup – you _did_ actually check that the signal does go to the allowed maximum? Note that individual tracks may in fact exceed the limit, not a real problem if there's a compressor and limiter in the master track.&#xD;&#xA;&#xD;&#xA;There are a lot of more special things one can to in dynamic processing:&#xD;&#xA;&#xD;&#xA;- Try putting two (or more) normal compressor units in a row. Thereby, you can get higher total ratios without too obvious action of any of them.&#xD;&#xA;- Lookahead. That's a feature of many digital compressors which allows them to remove fast peaks far more rigorously without need to set the attack so low that it sounds bad.&#xD;&#xA;- Output level detection (also something the Cakewalk compressor doesn't seem to be capable of). This allows the compressor to actually control the output level, rather than simply react on the input level; usually performs better in terms of master loudness.&#xD;&#xA;- Multiband compression.&#xD;&#xA;&#xD;&#xA;Hang on here: before starting with that, you should make sure you've also set the equalizers really well. Specifically, from what's visible in the picture, there might be a lot of low-frequency junk around, which may substantially raise the levels without adding anything useful to the sound. Don't be afraid to use hard highpass filters! And try boosting mid frequencies that are &quot;loud&quot; and well-comprehensible but won't raise the signal level too much. Ok, where were we...&#xD;&#xA;&#xD;&#xA;- Multiband compression. You probably didn't want to say _too_ much of the bass goodbye, then these bass frequencies will not only raise the output levels but, of course, also drive the compressors, thereby _reducing_ the level of all frequencies. A multiband compressor lets you compress the different frequency ranges seperately, so each can be maximized on its own.&#xD;&#xA;- Nonlinear distortion. That's right! It's the oldest trick of all: &quot;if that guitar amp won't get me loud enough inside the clean range, I'll just drive it over the limit&quot;. You _can_ get a signal much louder by simply clipping it over 0dB, but it will obviously have a rather strong... _influence_ on the sound. In particular, digital and in general OP-based electronics peak very harshly, resulting in rather unacceptable artifacts. That was different in &quot;old&quot; analog equipment, which saturates far more subtly. One piece of such equipment that is therefore still found in most studios is the tube microphone preamp. Rather more effective used to be the analog tape machine. The are today plugins which can simulate the characteristics of such devices, or simply give you the kind of benefits they offer. For instance, mastering multiband compressor and limiter tend to have such a soft clip unit built in. You still want to be careful with such stuff as it can literally destroy audio signals if done too strongly, but IMO it tends to sound more natural than directly driving a limiter too hard." ContentLicense="CC BY-SA 3.0" />
  <row Id="38885" PostHistoryTypeId="2" PostId="23324" RevisionGUID="6e1c6d7d-496d-431d-803d-487ddafa1b51" CreationDate="2012-02-18T16:13:06.890" UserId="19700" UserDisplayName="Pieter" Text="I'm using Sonar LE to record a station ID for a little online radio station experiment I'm trying to set up. I've learnt to use a compressor to increase the volume of individual tracks without peaking above 0 dB. I've also applied some compression on the master as suggested [here](http://avp.stackexchange.com/a/3304/1983). But the final mix still sounds awfully quiet compared to just about any music file I have on my computer.&#xD;&#xA;&#xD;&#xA;Here are my tracks along with their peak volume, volume adjustment and applied effects:&#xD;&#xA;&#xD;&#xA;![Tracks](http://i.imgur.com/OhDLp.jpg)&#xD;&#xA;&#xD;&#xA;My final mix compression settings are as follows:&#xD;&#xA;&#xD;&#xA;![Final mix compression](http://i.imgur.com/dKpk3.jpg)&#xD;&#xA;&#xD;&#xA;What can I do to further pump the volume? I don't need it to be obnoxiously loud; I just don't want it to sound too quiet compared to the music on the playlist like it currently does." ContentLicense="CC BY-SA 3.0" />
  <row Id="38886" PostHistoryTypeId="1" PostId="23324" RevisionGUID="6e1c6d7d-496d-431d-803d-487ddafa1b51" CreationDate="2012-02-18T16:13:06.890" UserId="19700" UserDisplayName="Pieter" Text="Final mix still quiet after maxing volume and compression" ContentLicense="CC BY-SA 3.0" />
  <row Id="38887" PostHistoryTypeId="3" PostId="23324" RevisionGUID="6e1c6d7d-496d-431d-803d-487ddafa1b51" CreationDate="2012-02-18T16:13:06.890" UserId="19700" UserDisplayName="Pieter" Text="&lt;audio-recording&gt;&lt;effects&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38888" PostHistoryTypeId="36" PostId="23326" RevisionGUID="ac8ab87e-6443-4aff-a072-6f1912e6645f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3347/final-mix-still-quiet-after-maxing-volume-and-compression/3355#3355" />
  <row Id="38889" PostHistoryTypeId="36" PostId="23327" RevisionGUID="d1659ebf-bc62-4f9e-82ad-615547496d81" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5569/mbox-1-as-an-audio-interface-into-live-8-intro-is-only-causing-a-static-hiss" />
  <row Id="38890" PostHistoryTypeId="36" PostId="23328" RevisionGUID="97f80327-160b-41a3-a94e-994e7fb71f2c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5569/mbox-1-as-an-audio-interface-into-live-8-intro-is-only-causing-a-static-hiss/7870#7870" />
  <row Id="38891" PostHistoryTypeId="2" PostId="23328" RevisionGUID="4589417a-f85b-4792-a8b1-1578cd213546" CreationDate="2013-05-11T16:14:15.363" UserDisplayName="Arcegis" Text="Everything is a matter of drivers. Basically, the drivers must be installed with a ProTools 8.0.1 or less, and they WON'T WORK ON A X64 OS !&#xD;&#xA;If you use the regular Digidesign drivers, they won't work on a 64-bits OS. The best way to make the MBOX work on 64-Bits OS is to download (they cost $60, but better take a TORRENT file) the PloyTec USB ASIO Drivers for MBOX (You also have to install ASIO4ALL). Use THE 2.8.40 version, since the 2.8.45 is still buggy. Good luck ! " ContentLicense="CC BY-SA 3.0" />
  <row Id="38892" PostHistoryTypeId="2" PostId="23327" RevisionGUID="36a3a2fd-ba58-4125-a0db-25d8db4e7135" CreationDate="2012-12-13T05:23:16.740" UserDisplayName="Greg Ryan" Text="I am running Ableton live 8 intro on an Imac running OS X snow leopard. My audio interface is an original Mbox, when i am recording audio and arm a track, all i get is static on the track and the levels are maxing out. I have installed it in live as per the tutorials and cant see what i am doing wrong. does anyone have any ideas? " ContentLicense="CC BY-SA 3.0" />
  <row Id="38893" PostHistoryTypeId="1" PostId="23327" RevisionGUID="36a3a2fd-ba58-4125-a0db-25d8db4e7135" CreationDate="2012-12-13T05:23:16.740" UserDisplayName="Greg Ryan" Text="Mbox 1 as an audio interface into Live 8 intro is only causing a static hiss" ContentLicense="CC BY-SA 3.0" />
  <row Id="38894" PostHistoryTypeId="3" PostId="23327" RevisionGUID="36a3a2fd-ba58-4125-a0db-25d8db4e7135" CreationDate="2012-12-13T05:23:16.740" UserDisplayName="Greg Ryan" Text="&lt;audio-recording&gt;&lt;mac&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38895" PostHistoryTypeId="36" PostId="23329" RevisionGUID="4d0c69db-64f0-4d11-addf-aca92f3d546e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1836/record-a-video-without-static-noise" />
  <row Id="38896" PostHistoryTypeId="36" PostId="23330" RevisionGUID="7dcb86a0-d44a-432f-b6da-64463c1547a3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1836/record-a-video-without-static-noise/1837#1837" />
  <row Id="38897" PostHistoryTypeId="36" PostId="23331" RevisionGUID="ea504c22-ff49-4e15-8dd1-ff88be7eaae3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1836/record-a-video-without-static-noise/5516#5516" />
  <row Id="38898" PostHistoryTypeId="36" PostId="23332" RevisionGUID="86e55f8a-68df-470b-bd92-43870f2d57c4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1836/record-a-video-without-static-noise/5526#5526" />
  <row Id="38899" PostHistoryTypeId="2" PostId="23330" RevisionGUID="b46eae0d-5325-4b94-9b87-9c2a63948c56" CreationDate="2011-07-09T21:35:00.403" UserDisplayName="gauss256" Text="You have several options.&#xD;&#xA;&#xD;&#xA;**1. Remove the noise using an audio editor**  This can sometimes be effective but it depends on the type of noise.  If you mainly interested in improving videos that you make in the future, it is better to solve the problem during recording.&#xD;&#xA;&#xD;&#xA;**2. Get a different camera** This would (probably) solve the problem, but it is an expensive solution.  If you are happy with the video quality you are getting now, then you probably want to look at ...&#xD;&#xA;&#xD;&#xA;**3. Buy an external mic (recommended)** Search Amazon or an audio/video supply store for a lavalier mic. First make sure that you camera has a jack to plug an external mic into.  Most do.  You can then use a wired lavalier mic for about $25 and up.  Wireless mics are much more expensive, but it seems like you don't need that.  Buy the best one you can afford, because it will make a difference in the quality, but even the entry-level mics will be much better than using the built-in camera mic.&#xD;&#xA;&#xD;&#xA;**4. Use an external audio recorder** This is a variation on #3.  If it's not practical to run the mic cable back to your camera, you can use an external audio recorder like the Zoom H4n or H1 to record the audio separately from the video.  You will then need to sync the audio and video in your video editor." ContentLicense="CC BY-SA 3.0" />
  <row Id="38900" PostHistoryTypeId="2" PostId="23331" RevisionGUID="e8a21d27-495b-4152-88b6-92dd8428c8f2" CreationDate="2012-12-07T06:29:39.513" UserDisplayName="Ajay Prasad" Text="Agree with the points mentioned above. I find that applying a High Pass Filter (Effects -&gt; High Pass Filter) to the recording takes away a lot of static and noise when &quot;Remove Noise &amp; hiss &quot; just does not seem to clean it up enough.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="38901" PostHistoryTypeId="2" PostId="23332" RevisionGUID="10def05f-80cf-46d3-ab5b-2d34a78e1be2" CreationDate="2012-12-08T00:01:48.250" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="Invest in a mosquito mic, the one you attach on the subject's shirt (or tie as on the picture).&#xD;&#xA;&#xD;&#xA;If you are gonna achieve good quality recording always get the most out of the *source* of the sound - in this case that means get as close as you can so ambient noise is put more in the background then when recorded from a distance (built-in mic).&#xD;&#xA;&#xD;&#xA;This will take care of camera noise, room reverb and so forth. Now it is also easier to master the sound.&#xD;&#xA;&#xD;&#xA;Post-processing noise will never sound good - you will get a &quot;squicky&quot; result, and you will still have problem with room reverb, ambient noise etc.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38902" PostHistoryTypeId="2" PostId="23329" RevisionGUID="74049bfe-b8f1-4546-b323-a66fcecd0a14" CreationDate="2011-07-09T19:45:38.963" UserId="7696" UserDisplayName="Sathyaish" Text="I bought a cheap handycam some time back, one from Sony, for about $410 to record videos to put on YouTube. The recording picks up a lot of audio static even if I have the fan switched off.&#xD;&#xA;&#xD;&#xA;I want to do videos without any static. Like this one, for example: http://www.youtube.com/watch?v=DKtZ6YyBYek&amp;feature=youtu.be&#xD;&#xA;&#xD;&#xA;I understand I'll require a mic that connects directly to the video camera to eliminate static. I know nothing. Do I need a lapel mic? Do I need a different camera? What sort of camera? What sort of an investment am I looking at?&#xD;&#xA;&#xD;&#xA;Is there a cheaper option to do videos without any static? Can you remove noise (audio) from a video? Is it a painful &amp; lengthy process, like a linear thing where you have to watch and listen to the entire tape and keep chopping?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38903" PostHistoryTypeId="1" PostId="23329" RevisionGUID="74049bfe-b8f1-4546-b323-a66fcecd0a14" CreationDate="2011-07-09T19:45:38.963" UserId="7696" UserDisplayName="Sathyaish" Text="Record a video without static noise" ContentLicense="CC BY-SA 3.0" />
  <row Id="38904" PostHistoryTypeId="3" PostId="23329" RevisionGUID="74049bfe-b8f1-4546-b323-a66fcecd0a14" CreationDate="2011-07-09T19:45:38.963" UserId="7696" UserDisplayName="Sathyaish" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;video&gt;&lt;camera&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38905" PostHistoryTypeId="36" PostId="23333" RevisionGUID="a1b4a5b7-60aa-4007-addc-4bc68d950da8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2427/how-would-you-go-about-restoring-old-voice-recordings" />
  <row Id="38906" PostHistoryTypeId="36" PostId="23334" RevisionGUID="ac50fd57-3bdb-4b19-94d2-7946338656fc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2427/how-would-you-go-about-restoring-old-voice-recordings/2705#2705" />
  <row Id="38907" PostHistoryTypeId="36" PostId="23335" RevisionGUID="0066b90f-2345-4d27-8421-32e12b326205" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2427/how-would-you-go-about-restoring-old-voice-recordings/2710#2710" />
  <row Id="38908" PostHistoryTypeId="36" PostId="23336" RevisionGUID="dd601549-c862-4d05-91f1-00dde827c019" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2427/how-would-you-go-about-restoring-old-voice-recordings/2766#2766" />
  <row Id="38909" PostHistoryTypeId="2" PostId="23334" RevisionGUID="a8621a6d-1745-4ffc-8532-e76435460055" CreationDate="2011-11-28T00:54:50.690" UserId="7178" Text="Consider trying:&#xD;&#xA;&#xD;&#xA;   - [iZotope RX 2](http://www.izotope.com/products/audio/rx/)&#xD;&#xA;   - [Waves Restoration](http://www.waves.com/Content.aspx?id=197)&#xD;&#xA;&#xD;&#xA;Both of these are billed as audio restoration/noise reduction programs, and serve the kind of purpose you're describing. " ContentLicense="CC BY-SA 3.0" />
  <row Id="38910" PostHistoryTypeId="2" PostId="23335" RevisionGUID="6267040b-617e-4f57-8173-0e803afcb86a" CreationDate="2011-11-28T18:16:56.393" UserDisplayName="Michael" Text="You can do a lot of this &quot;by hand&quot;, such as it is, by using a graphic EQ and simple amplification matching.&#xD;&#xA;&#xD;&#xA;For enhancing the consonants so the voice is easier to understand: the most critical region for speech comprehension is in the 2 to 4 kHz range.  Boosting in that range will likely help.&#xD;&#xA;&#xD;&#xA;That brings me to my next point as far as noise reduction: if you have broadband, overall noise, I would recommended inserting a graphic EQ and reducing every band that's NOT between 1  and 4 kHz as a starting point.  It will probably sound like a telephone conversation, but in there you have the information you need.  You can gradually add back signal content moving out from the center, and pay close attention to when you've &quot;added&quot; back an unacceptable amount of noise.  You can play with it from there.&#xD;&#xA;&#xD;&#xA;If you have more tonal noise (fans, etc) you can use a parametric or graphic EQ for filtering.&#xD;&#xA;&#xD;&#xA;General noise reduction algorithms and plugins can work, but they can be expensive and leave undesirable artifacts.  Give it a shot!  You might be surprised as to what you can get with just a graphic EQ.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38911" PostHistoryTypeId="2" PostId="23336" RevisionGUID="4a9027f7-6848-499b-bbd9-877c238b84a2" CreationDate="2011-12-06T23:26:27.810" UserDisplayName="Joe Stavitsky" Text="Not a fan of waves. iZotope is strong. Sonnox/Sony Oxford/Sony Sound Forge is best in breed for my money.&#xD;&#xA;&#xD;&#xA;The feature you're looking for is adaptive/fft noise reduction - you should see somewhere a &quot;learn&quot; button. This means that you find a section of the recording that is &quot;pure noise&quot; and play it while the program automatically analyzes the frequencies. Then you &quot;apply&quot; the &quot;noise profile&quot; to the entire recording and the noise is (hopefully) gone." ContentLicense="CC BY-SA 3.0" />
  <row Id="38912" PostHistoryTypeId="2" PostId="23333" RevisionGUID="dcc970ab-c3dc-4ed2-b772-5539148513e8" CreationDate="2011-10-03T19:26:45.497" UserDisplayName="Mircea Nistor" Text="I have some old voice recordings I would like to restore and I'm not sure what software I should use and in what order I should apply the different transformations.&#xD;&#xA;&#xD;&#xA;They were digitized a while back and I only have access to the mp3 version. Some of the files are louder than others (and noisier), The noise is mostly hiss, not clicks or pops, and the voice is kind of mumbled, which I'm guessing is because of the very lossy mp3 format used.&#xD;&#xA;&#xD;&#xA;What I'm trying to achieve is less noise, uniform sound level and, if possible, clearer voice.&#xD;&#xA;&#xD;&#xA;My guess is that I should use a normalizer or compression to smooth the audio level and apply a noise reduction filter but I'm not sure if the noise reduction filter works better before or after the normalization step.&#xD;&#xA;&#xD;&#xA;Also, this may sound dumb but I was wondering if it is possible to &quot;enhance&quot; the consonants so that the voice is easier to understand.&#xD;&#xA;&#xD;&#xA;If any of you have ever restored this kind of audio, I'd love to hear about the process.&#xD;&#xA;&#xD;&#xA;P.S. If a moderator should see this question, it might need some better tags, like noise-reduction or audio-restoration." ContentLicense="CC BY-SA 3.0" />
  <row Id="38913" PostHistoryTypeId="1" PostId="23333" RevisionGUID="dcc970ab-c3dc-4ed2-b772-5539148513e8" CreationDate="2011-10-03T19:26:45.497" UserDisplayName="Mircea Nistor" Text="How would you go about restoring old voice recordings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38914" PostHistoryTypeId="3" PostId="23333" RevisionGUID="dcc970ab-c3dc-4ed2-b772-5539148513e8" CreationDate="2011-10-03T19:26:45.497" UserDisplayName="Mircea Nistor" Text="&lt;software&gt;&lt;audio&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38915" PostHistoryTypeId="36" PostId="23337" RevisionGUID="e4c09765-671e-4f02-b10f-8fa0cfa80ac0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4736/how-do-i-record-multiple-mics-to-a-computer-without-a-mixer" />
  <row Id="38916" PostHistoryTypeId="2" PostId="23338" RevisionGUID="04355790-0140-48b2-ae94-960b4773ad15" CreationDate="2012-09-16T19:55:01.357" UserId="7231" UserDisplayName="NReilingh" Text="The traditional way to accomplish this is with a multichannel audio interface. It doesn't have to be a full-on mixer, but it does need to have more than one input channel. [PreSonus makes good-quality, reliable, and relatively cost-effective solutions for this.](http://amzn.to/S1OSz6) Note the two XLR connectors on the front of the interface. You will need two [traditional microphones](http://amzn.to/O7s8P6) and [XLR cable](http://amzn.to/U1dWYY). The USB microphones you already have combine a number of different components: the microphone itself, the mic preamp, and the audio interface. This allows you to do one thing and do it well, but limits you in the long run in terms of how flexible you can be with how you use them.&#xD;&#xA;&#xD;&#xA;After you have the right hardware setup, the software shouldn't be too much of an issue--in fact, the current version of GarageBand has support for multitrack recording under Track -&gt; Enable Multitrack Recording. Then just set your two tracks to the two channels of input on your interface and go to town." ContentLicense="CC BY-SA 3.0" />
  <row Id="38917" PostHistoryTypeId="2" PostId="23337" RevisionGUID="9dddfa7f-1b19-4016-a3f2-f1cfcb1bde50" CreationDate="2012-09-16T16:49:05.247" UserDisplayName="daviesgeek" Text="I am trying to record two USB mics as separate tracks on our MacBook Pro. I don't want to purchase an expensive mixer, as I don't have the money. I'd also rather not have two separate programs running, just one. How do I do this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38918" PostHistoryTypeId="1" PostId="23337" RevisionGUID="9dddfa7f-1b19-4016-a3f2-f1cfcb1bde50" CreationDate="2012-09-16T16:49:05.247" UserDisplayName="daviesgeek" Text="How do I record multiple mics to a computer without a mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38919" PostHistoryTypeId="3" PostId="23337" RevisionGUID="9dddfa7f-1b19-4016-a3f2-f1cfcb1bde50" CreationDate="2012-09-16T16:49:05.247" UserDisplayName="daviesgeek" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38920" PostHistoryTypeId="36" PostId="23338" RevisionGUID="10f001b7-7550-4ac8-9fca-bbd246bb035c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4736/how-do-i-record-multiple-mics-to-a-computer-without-a-mixer/4737#4737" />
  <row Id="38921" PostHistoryTypeId="36" PostId="23339" RevisionGUID="3da9501d-ae36-4801-9e2b-8a237a1f61fc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4736/how-do-i-record-multiple-mics-to-a-computer-without-a-mixer/4748#4748" />
  <row Id="38922" PostHistoryTypeId="2" PostId="23339" RevisionGUID="a00769a5-678e-48a3-9103-c15516055407" CreationDate="2012-09-17T15:40:01.783" UserId="7294" UserDisplayName="Warrior Bob" Text="In OSX, multiple audio devices can be combined into one &quot;logical&quot; device in software by creating an [aggregate audio device](http://support.apple.com/kb/HT3956). The link is for 10.6, but it should be basically the same thing in any other OS. All this does is allow separate interfaces to be addressed as separate channels in a recording program. It does not guard against phasing or jitter issues or any other inconsistencies between your devices.&#xD;&#xA;&#xD;&#xA;Now, the comments on [NReilingh's answer](http://avp.stackexchange.com/a/4737/95) suggest that you don't necessarily have two separate USB audio devices, but rather just want to hook up two ordinary mics without a mixing board. If this is the case, then his suggestion of a multichannel audio interface is generally the best approach. Think of it as one USB adapter for both microphones at once." ContentLicense="CC BY-SA 3.0" />
  <row Id="38923" PostHistoryTypeId="36" PostId="23340" RevisionGUID="8cdf15a2-925d-469a-b79f-7bca255386cc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4369/are-there-any-non-weighted-key-midi-controllers-out-there-with-76-88-keys" />
  <row Id="38924" PostHistoryTypeId="36" PostId="23341" RevisionGUID="fa62ae6c-f270-4fb2-a603-ef9f3ad80b31" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4369/are-there-any-non-weighted-key-midi-controllers-out-there-with-76-88-keys/4373#4373" />
  <row Id="38925" PostHistoryTypeId="2" PostId="23341" RevisionGUID="9537a0d4-f0e5-42ff-ae93-4e091633cc23" CreationDate="2012-07-06T06:00:56.950" UserId="7231" UserDisplayName="NReilingh" Text="You probably want an [M-Audio Keystation 88es](http://www.m-audio.com/products/en_us/Keystation88es.html).&#xD;&#xA;&#xD;&#xA;They are very basic pieces of equipment with all the essentials: aftertouch, of course, pitch bend, mod wheel, and volume control. Pedal inputs for sustain and expression. MIDI out and MIDI over USB. No tone module; it's a straight controller.&#xD;&#xA;&#xD;&#xA;They are marketed as &quot;semi-weighted,&quot; which just means they've got a bit more resistance in the key than something like a pure synth keyboard or organ manual. No hammers, just some heavier springs.&#xD;&#xA;&#xD;&#xA;If you must have something completely unweighted, you are likely going to have to go down to 61-key territory. **The reason for this is that no one really uses 88-key unweighted controllers--if they're going with that large of a keyboard, the only reason is that they're going to be playing piano music, and thus the extra weight will be welcome. Synth or organ playing that makes more sense with unweighted keys doesn't need more than 61.**&#xD;&#xA;&#xD;&#xA;You can find what you need here in [this category](http://www.zzounds.com/cat--61-Key-Keyboard-Controllers--2685), but of course unweighted keyboards are less likely to have the expression pedal input you require. That said, they [do](http://www.zzounds.com/item--ARAAELAB61) [exist](http://www.zzounds.com/item--ROLA800PRO)." ContentLicense="CC BY-SA 3.0" />
  <row Id="38926" PostHistoryTypeId="2" PostId="23342" RevisionGUID="94420c5c-e08f-43f5-91d9-a003540bc5d3" CreationDate="2012-07-07T02:05:10.923" UserId="7189" Text="Unfortunately, pure-controller keyboards often have low-quality keybeds. The good news is that there are a lot of great synths with good keybeds on the used market. Just look for the high-end synths of yesterday that have since fallen out of fashion.&#xD;&#xA;&#xD;&#xA;Instead of a SY99, look for the Yamaha EX5. The SY99 is Yamaha's best FM-engine keyboard, so that's why it commands a premium. The EX5 was a flop, and has a fairly limited (but dedicated) fanbase. I paid less than USD$500 for mine, though they can go for as much as $600. (More recently, I picked up a TG77, which is most of the synth engine from the SY99 in rackmount form. Only missing a few minor things which I can make up for with other gear)&#xD;&#xA;&#xD;&#xA;Polyphonic aftertouch is incredibly rare. The [VAX77][1] is just about your only choice for a new poly-AT keyboard. If you are open to something less conventional. Madrona Labs' [Soundplane][2] is much less expensive, but not at all a conventional keyboard. As far as I can tell, poly-AT has been a market failure because the inexpensive technologies for producing them are covered by patents and because few keyboardists have mastered the ability to modulate the pressure of individual fingers. Interestingly, Roland has eliminated channel aftertouch from their flagship piano-rompler, the [RD-700NX][3]. You have to go back to the [RD-700GFX][4] to get aftertouch at all. But then you'd have a fully-weighted keyboard that is probably well outside your budget.&#xD;&#xA;&#xD;&#xA;Update: One more thing to consider is that many of the Kontakt libraries are limited to the actual performance range of the sampled instrument. Unless you are playing grand pianos, you will rarely need more than 61 keys. So you could grab an old Yamaha S80 or S90 for your piano needs, and some random 61-key keyboard for everything else.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.infiniteresponse.com/&#xD;&#xA;  [2]: http://madronalabs.com/hardware&#xD;&#xA;  [3]: http://www.rolandus.com/products/productdetails.php?ProductId=1128&amp;ParentId=437&#xD;&#xA;  [4]: http://www.rolandus.com/products/productdetails.php?ProductId=1088&amp;ParentId=437" ContentLicense="CC BY-SA 3.0" />
  <row Id="38927" PostHistoryTypeId="2" PostId="23340" RevisionGUID="e11f331d-92af-42c0-a1ea-4a14956a961d" CreationDate="2012-07-06T03:12:17.133" UserDisplayName="Dominic P" Text="I've recently purchased Kontakt 5, and I'm exited to start using it, but I'm thinking that my current MIDI controller (an 88 weighted key digital piano) will probably be difficult to play on for non-piano instruments. So, I'm in the market for a MIDI controller, and I'm surprised by the lack of affordable options out there. Here's what I'm looking for:&#xD;&#xA;&#xD;&#xA; - 61 keys (more would be fine, but not required)&#xD;&#xA; - Non-weighted keys&#xD;&#xA; - Sends aftertouch data (preferably polyphonic, but channel will do)&#xD;&#xA; - Expression and sustain pedal inputs&#xD;&#xA; - Has pitch and modulation wheels&#xD;&#xA; - Cheap: under $400 would be awesome&#xD;&#xA;&#xD;&#xA;After quite a bit of Googling, the only things I can find that fit the bill are some vintage synths (Yamaha SY99, Kurzweil MIDIboard, GEM S3, Ensoniq TS-10) that are incredibly expensive on the second hand market because of their old school sound and scarcity.&#xD;&#xA;&#xD;&#xA;Am I missing something here? It seems odd to me, that this product doesn't exist." ContentLicense="CC BY-SA 3.0" />
  <row Id="38928" PostHistoryTypeId="1" PostId="23340" RevisionGUID="e11f331d-92af-42c0-a1ea-4a14956a961d" CreationDate="2012-07-06T03:12:17.133" UserDisplayName="Dominic P" Text="Are there any non-weighted key MIDI controllers out there with 76 - 88 keys?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38929" PostHistoryTypeId="3" PostId="23340" RevisionGUID="e11f331d-92af-42c0-a1ea-4a14956a961d" CreationDate="2012-07-06T03:12:17.133" UserDisplayName="Dominic P" Text="&lt;audio-recording&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38930" PostHistoryTypeId="36" PostId="23342" RevisionGUID="d9e87f71-ce02-4613-93d4-33345a2b95b1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4369/are-there-any-non-weighted-key-midi-controllers-out-there-with-76-88-keys/4379#4379" />
  <row Id="38931" PostHistoryTypeId="36" PostId="23343" RevisionGUID="558d5440-325a-4fc2-b957-66123f1f23a0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/297/how-to-eliminate-guitar-amp-hum-software-and-hardware-amps" />
  <row Id="38932" PostHistoryTypeId="36" PostId="23344" RevisionGUID="b1c421e0-595b-4bf2-b404-16f586e4a2b7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/297/how-to-eliminate-guitar-amp-hum-software-and-hardware-amps/306#306" />
  <row Id="38933" PostHistoryTypeId="2" PostId="23344" RevisionGUID="17617a0a-4e5e-484b-a2e7-19fab66e583f" CreationDate="2010-12-15T20:01:28.410" UserDisplayName="Ian C." Text="Sometimes there's no substitute for a little manual labour. Combine a noise gate with some judicious manual editing and you can eliminate the hum in the parts of the track where the guitar isn't being played. Duck the fader on your guitar track when ever there's a pause in the playing that would let the hum stick out. If your DAW supports it, you can use an automation editor view to draw the fader automation the track, doing things like instantaneous drops to -inf dB at the transition from playing to not playing in the track.&#xD;&#xA;&#xD;&#xA;Edit: you can also cut up the track and remove the parts where no playing is occuring. IIRC it's considered &quot;polite&quot; to strip out all the &quot;instrument is not playing here&quot; parts on a track before mixing -- so that you only see regions in the DAW where actual played content is occurring. I'm not 100% certain on this since I don't share my tracks all that often with other people and when I do I end up bouncing every track end-to-end instead of sharing a project file." ContentLicense="CC BY-SA 2.5" />
  <row Id="38934" PostHistoryTypeId="2" PostId="23345" RevisionGUID="dd388d71-3462-4ffc-8ead-104f1adbb095" CreationDate="2010-12-16T15:31:17.150" UserId="90" Text="Try a narrower notch filter instead of an EQ.  And remember it's not just 60 Hz, but all the harmonics, too (120 Hz, 180 Hz, etc.)  To avoid ruining your guitar sound, maybe only enable the filter during the quiet parts?&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/cApva.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="38935" PostHistoryTypeId="2" PostId="23343" RevisionGUID="3272292e-804e-4021-8369-7f01f430b124" CreationDate="2010-12-15T19:10:42.183" UserId="7045" Text="There's nothing quite like the sound of a guitar playing into a warm tube amp with the pre turned up high and the post turned down. There's also nothing quite like the hum you get out of one of these rigs. I've noticed that software amp simulators are good enough that they also simulate the hum. &#xD;&#xA;&#xD;&#xA;How can you deal with this buzz in the studio, both before and after tracking? I've tried using EQ to notch out the hum and that kills the sound. Noise gates seem to either not do enough or they do too much and it kills the track. &#xD;&#xA;&#xD;&#xA;I assume you're better off fixing this before tracking, but I have some killer guitar tracks on disc with too much amp noise. &#xD;&#xA;&#xD;&#xA;(There are probably multiple strategies one can use to fix this. I'm asking this as a general question, and I'm looking for an overview of the problem with specific examples of recommendations. Are there any details in particular I can add that would help?) &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38936" PostHistoryTypeId="1" PostId="23343" RevisionGUID="3272292e-804e-4021-8369-7f01f430b124" CreationDate="2010-12-15T19:10:42.183" UserId="7045" Text="How to eliminate guitar amp hum (software and hardware amps)" ContentLicense="CC BY-SA 2.5" />
  <row Id="38937" PostHistoryTypeId="3" PostId="23343" RevisionGUID="3272292e-804e-4021-8369-7f01f430b124" CreationDate="2010-12-15T19:10:42.183" UserId="7045" Text="&lt;noise&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="38938" PostHistoryTypeId="36" PostId="23345" RevisionGUID="fd16afa8-942a-4281-86bd-8843f856e97f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/297/how-to-eliminate-guitar-amp-hum-software-and-hardware-amps/324#324" />
  <row Id="38939" PostHistoryTypeId="36" PostId="23346" RevisionGUID="38cd6e87-86bd-4f4a-aed2-736fc11a6135" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5224/does-hardware-dsp-help-with-plugin-processing" />
  <row Id="38940" PostHistoryTypeId="2" PostId="23347" RevisionGUID="53353f7b-8e7c-427a-b6d9-5e567d688802" CreationDate="2012-11-02T08:59:31.030" UserId="7016" Text="This is the case with many mid to high end audio hardware - the compute intensive tasks are handed off to processors on the card so that your CPU doesn't need to handle them.&#xD;&#xA;&#xD;&#xA;For creating/mastering/mixing multilayer projects, especially those with plugins or real-time effects or transitions in any DAW I would recommend an external card to handle these tasks.&#xD;&#xA;&#xD;&#xA;Where the card needs to work with specific plugins (in your case the link is with specific UA plugins) you will not get a benefit with other plugins. This frees up proceser resource for using native plugins that do not work with the card or for other tasks such as video playback." ContentLicense="CC BY-SA 3.0" />
  <row Id="38941" PostHistoryTypeId="2" PostId="23346" RevisionGUID="bd25e4e8-4e6e-4d9b-94e1-90ae1e67e5b9" CreationDate="2012-11-02T03:48:44.037" UserDisplayName="GreenWire" Text="I'm thinking of purchasing the UA Apollo, and run it using the optional Thunderbolt connection.&#xD;&#xA;&#xD;&#xA;I currently am using a Mac Mini with Komplete Audio 6, which is a major step down from the Apollo, and sometimes it seems that it cannot keep up with the audio processing from multiple applications, and gets all digitally static-y and eventually breaks down the audio completely. &#xD;&#xA;&#xD;&#xA;UA claims that specific UA plugins will run at realtime with the Apollo's built in DSP.&#xD;&#xA;&#xD;&#xA;My question is, does using the Apollo help with processing and running multiple non-UA plugins, from companies like Waves or Native Instruments? Will my computer be able to handle more audio intensive tasks if I am using a better interface, or does it solely rely on the computer to process everything first?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38942" PostHistoryTypeId="1" PostId="23346" RevisionGUID="bd25e4e8-4e6e-4d9b-94e1-90ae1e67e5b9" CreationDate="2012-11-02T03:48:44.037" UserDisplayName="GreenWire" Text="Does hardware DSP help with plugin processing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38943" PostHistoryTypeId="3" PostId="23346" RevisionGUID="bd25e4e8-4e6e-4d9b-94e1-90ae1e67e5b9" CreationDate="2012-11-02T03:48:44.037" UserDisplayName="GreenWire" Text="&lt;audio-recording&gt;&lt;logic-pro&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38944" PostHistoryTypeId="36" PostId="23347" RevisionGUID="4bb75dcd-de6a-42ac-8b7f-175c57f3da7c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5224/does-hardware-dsp-help-with-plugin-processing/5228#5228" />
  <row Id="38945" PostHistoryTypeId="36" PostId="23348" RevisionGUID="81fa4efd-0dbb-4a11-ae88-c90f6ade307d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8245/how-do-i-delete-an-edited-sound-from-a-video-using-audacity" />
  <row Id="38946" PostHistoryTypeId="36" PostId="23349" RevisionGUID="79594305-e67d-42ea-bd95-c033e0f314b1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8245/how-do-i-delete-an-edited-sound-from-a-video-using-audacity/8251#8251" />
  <row Id="38947" PostHistoryTypeId="2" PostId="23349" RevisionGUID="fbbd5cab-1c0e-44cc-8c2d-6e17c278817f" CreationDate="2013-06-28T13:26:51.230" UserId="7174" Text="If the voice is all that is going on, you can use a pitch shift to attempt to reverse it.  If there are other sounds mixed with it however, then there isn't really anything you can do without also shifting the sounds that are behind it. &#xD;&#xA;&#xD;&#xA;If it is really really different, you might be able to try to isolate it by cuting out frequencies of background noises and run the pitch correct on the stripped down set of frequencies, but it's a long shot." ContentLicense="CC BY-SA 3.0" />
  <row Id="38948" PostHistoryTypeId="2" PostId="23348" RevisionGUID="f37e2f30-a1f4-4cb2-b3ba-a0d9e2bf59c9" CreationDate="2013-06-27T23:15:17.913" UserDisplayName="Potatoe" Text="I have a video that has had a voice edited to be much different in pitch, how do i fix this using audacity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38949" PostHistoryTypeId="1" PostId="23348" RevisionGUID="f37e2f30-a1f4-4cb2-b3ba-a0d9e2bf59c9" CreationDate="2013-06-27T23:15:17.913" UserDisplayName="Potatoe" Text="How do I delete an edited sound from a video using audacity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38950" PostHistoryTypeId="3" PostId="23348" RevisionGUID="f37e2f30-a1f4-4cb2-b3ba-a0d9e2bf59c9" CreationDate="2013-06-27T23:15:17.913" UserDisplayName="Potatoe" Text="&lt;audio&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38951" PostHistoryTypeId="36" PostId="23350" RevisionGUID="b5486b20-989f-47b1-bdab-13f439c7329a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3767/text-speech-software-for-flash-presentation" />
  <row Id="38952" PostHistoryTypeId="36" PostId="23351" RevisionGUID="d81b5ea5-e5d2-449d-b764-dc66793afafa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3767/text-speech-software-for-flash-presentation/4676#4676" />
  <row Id="38953" PostHistoryTypeId="2" PostId="23351" RevisionGUID="cf7b1aa2-75ce-4604-9de8-67fb8f656412" CreationDate="2012-09-07T09:47:58.733" UserId="7211" UserDisplayName="Jazibobs" Text="That sounds like a voice actor not a computer generated voice. &#xD;&#xA;&#xD;&#xA;Have you considered looking on a site like [Freelancer][1] to attempt to hire someone to provide the voice over for your presentation?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freelancer.co.uk/directory/freelancer.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="38954" PostHistoryTypeId="2" PostId="23350" RevisionGUID="b2124d1e-c6df-47e8-9c4f-d473f515acb8" CreationDate="2012-04-17T10:44:50.343" UserDisplayName="Django Anonymous" Text="&lt;p&gt;Hello Everyone,&lt;/p&gt;&#xD;&#xA;&lt;p&gt;I have made so many Flash presentations, but every time i stuck on one part. I need to get a professional vocal audio added to my presentation. So that when a slide is running its explanation can be done vocally.&lt;/p&gt;&#xD;&#xA;I have seen this on a website [Umbraco][1], here in the flash presentation on the very first page, someone is speaking about the content (This voice i have heard so many times on different presentations),&#xD;&#xA;&lt;p&gt;**My Question is:- Is that a computer generated voice or a software made voice or just someone speaking himself and recorded.**&lt;/p&gt;&#xD;&#xA;&#xD;&#xA;If it is from a software can somebody help me to find it out, please :) Thanks in advance&#xD;&#xA;&#xD;&#xA;I also tested this one :- http://www.naturalreaders.com/index.htm but this also not looks so professional&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://umbraco.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="38955" PostHistoryTypeId="1" PostId="23350" RevisionGUID="b2124d1e-c6df-47e8-9c4f-d473f515acb8" CreationDate="2012-04-17T10:44:50.343" UserDisplayName="Django Anonymous" Text="Text speech software for flash presentation" ContentLicense="CC BY-SA 3.0" />
  <row Id="38956" PostHistoryTypeId="3" PostId="23350" RevisionGUID="b2124d1e-c6df-47e8-9c4f-d473f515acb8" CreationDate="2012-04-17T10:44:50.343" UserDisplayName="Django Anonymous" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38957" PostHistoryTypeId="36" PostId="23352" RevisionGUID="bf45bff3-4369-416f-87f2-8bee0fa4d182" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8632/downmix-to-audio-2-1" />
  <row Id="38958" PostHistoryTypeId="36" PostId="23353" RevisionGUID="b34bb9c0-9d5d-4217-abac-b06af2a29ae7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8632/downmix-to-audio-2-1/8771#8771" />
  <row Id="38959" PostHistoryTypeId="2" PostId="23353" RevisionGUID="66cb10fc-c07b-445e-8778-4a7ae5de0048" CreationDate="2013-08-20T02:17:21.970" UserDisplayName="notb" Text="I've never mixed for 2.1 before but I suppose that would just mean regular stereo plus an LFE (separate channel for sub woofer). And I have mixed surround into regular stereo before.&#xD;&#xA;&#xD;&#xA;For tools, I think Audacity alone would be enough, but you might need plugins/realtime processing to effectively work with the tracks. Any multi track software would work like protools. I have no idea what target codec you want. Dolby digital can do any number of channels so maybe just stick with that and decrease the channel count.&#xD;&#xA;&#xD;&#xA;As for specifics, I would just carry the LFE channel over as is, no reason to really mess with that. I'd also leave front-left, front-right and the center alone and hard pan them left/right/center, respectively. Watch out for any phasing or standing waves caused by the center channel mixing with the left and right. This could prove difficult to deal with if they deliberately put sounds on the center channel to prevent that from happening. Try some different things like inverting the wave or some EQ.&#xD;&#xA;&#xD;&#xA;The rear left and right could also prove tricky. I wouldn't hard pan them as they are usually used for more ambient sounds that you probably want to wash around. I would try playing with a bit of reverb on them and maybe a gentle LPF since sounds from behind you usually have a bit of a cut in the highs." ContentLicense="CC BY-SA 3.0" />
  <row Id="38960" PostHistoryTypeId="2" PostId="23352" RevisionGUID="111edf33-c30f-4384-99a8-219db11e42cb" CreationDate="2013-08-06T22:04:37.543" UserDisplayName="ExpertNoob" Text="What's the best strategy to downmix audio (mainly 5.1 Dolby(c)) to 2.1 ?&#xD;&#xA;&#xD;&#xA;Specifically: what tool(s) ? And what target codec ?&#xD;&#xA;&#xD;&#xA;Any hints appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="38961" PostHistoryTypeId="1" PostId="23352" RevisionGUID="111edf33-c30f-4384-99a8-219db11e42cb" CreationDate="2013-08-06T22:04:37.543" UserDisplayName="ExpertNoob" Text="Downmix to audio 2.1" ContentLicense="CC BY-SA 3.0" />
  <row Id="38962" PostHistoryTypeId="3" PostId="23352" RevisionGUID="111edf33-c30f-4384-99a8-219db11e42cb" CreationDate="2013-08-06T22:04:37.543" UserDisplayName="ExpertNoob" Text="&lt;audio&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38963" PostHistoryTypeId="36" PostId="23354" RevisionGUID="c7b93546-be0c-4087-838c-71879224f0ab" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3119/input-output-devices-listed-as-inactive-in-device-set-up-cubase-5" />
  <row Id="38964" PostHistoryTypeId="36" PostId="23355" RevisionGUID="53cbb569-936e-4deb-ae83-74e402d9141b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3119/input-output-devices-listed-as-inactive-in-device-set-up-cubase-5/3120#3120" />
  <row Id="38965" PostHistoryTypeId="36" PostId="23356" RevisionGUID="47a348b8-f352-485c-8f39-0e4f311d3dbc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3119/input-output-devices-listed-as-inactive-in-device-set-up-cubase-5/3749#3749" />
  <row Id="38966" PostHistoryTypeId="2" PostId="23355" RevisionGUID="e0689e18-4d0b-44a9-9102-d03d72dea26a" CreationDate="2012-01-24T19:01:31.217" UserId="9511" UserDisplayName="Johnny Bigoode" Text="I have never EVER heard of a ASIO DirectX Full Duplex Driver - but it sounds awesome. &#xD;&#xA;This has got a small chance of working, but who knows right?&#xD;&#xA;&#xD;&#xA;The ASIO4ALL Driver usually takes over your sound card, which means that when you run ASIO4ALL only IT can get to the hardware. &#xD;&#xA;&#xD;&#xA;But this has created some problems with Windows 7 - I was unable to get any sound tru so many times. &#xD;&#xA;Solution? &#xD;&#xA;Disable the sound card on Windows Control Panel and restart the Asio driver, and magic! It works. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38967" PostHistoryTypeId="2" PostId="23356" RevisionGUID="8fe67017-dae7-44e2-bd49-319813750178" CreationDate="2012-04-13T19:46:32.593" UserDisplayName="Stijn Geukens" Text="Did you add a input/output bus in The VST connections (F4)? This need to be done for your ports to be active." ContentLicense="CC BY-SA 3.0" />
  <row Id="38968" PostHistoryTypeId="2" PostId="23354" RevisionGUID="5d7e8a02-8f36-4881-b9ce-0b9351d248b3" CreationDate="2012-01-24T18:41:18.707" UserDisplayName="Adarsh" Text="Totally new to Cubase.  I have installed Cubase 5.  Before even getting into recording I want to enable audio input output so that I can add some basic presets and play.&#xD;&#xA;&#xD;&#xA;I got to know that Audio driver needs to be selected in **device setup**-&gt;**VST Audio System**&#xD;&#xA;I have selected **ASIO DirectX Full Duplex Driver**,&#xD;&#xA;&#xD;&#xA;I can see that I/O ports are listed as inactive under ASIO DirectX Full Duplex Driver, I am assuming that this is the reason for not being able to hear any sound. &#xD;&#xA;&#xD;&#xA;Can you please help me out here?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38969" PostHistoryTypeId="1" PostId="23354" RevisionGUID="5d7e8a02-8f36-4881-b9ce-0b9351d248b3" CreationDate="2012-01-24T18:41:18.707" UserDisplayName="Adarsh" Text="Input output devices listed as inactive in device set up (Cubase 5)" ContentLicense="CC BY-SA 3.0" />
  <row Id="38970" PostHistoryTypeId="3" PostId="23354" RevisionGUID="5d7e8a02-8f36-4881-b9ce-0b9351d248b3" CreationDate="2012-01-24T18:41:18.707" UserDisplayName="Adarsh" Text="&lt;audio&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38971" PostHistoryTypeId="36" PostId="23357" RevisionGUID="10790d9b-6768-4ae9-975e-11266edfce06" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9531/windows-based-daw-control-surface" />
  <row Id="38972" PostHistoryTypeId="36" PostId="23358" RevisionGUID="a32e777b-fabe-47f5-8702-933ef167a58b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9531/windows-based-daw-control-surface/9664#9664" />
  <row Id="38973" PostHistoryTypeId="2" PostId="23358" RevisionGUID="6cd3bf67-dc39-4b9f-8150-b1bd8adf2459" CreationDate="2013-12-14T09:34:20.087" UserDisplayName="3rd Try" Text="Emulator Pro&#xD;&#xA;http://smithsonmartin.com/products/emulator-pro/&#xD;&#xA;&#xD;&#xA;With Emulator PRO, the only performance hardware you need is a Windows* device. The software is solid, so you can rely on it for live performances. Get ready to rock the house with minimum setup and maximum impact.&#xD;&#xA;&#xD;&#xA;* Windows version is compatible with Windows 7 &amp; 8. OSX version is currently available with Emulator ELITE only." ContentLicense="CC BY-SA 3.0" />
  <row Id="38974" PostHistoryTypeId="2" PostId="23357" RevisionGUID="c0fdcfce-964d-4452-97d2-8311c5521600" CreationDate="2013-11-30T07:50:17.743" UserDisplayName="SonicDH" Text="I recently purchased a touched screen-enabled windows based laptop for use on the go. As it supports 10 point multitouch, I thought a great use of it while at my desk would be as a touch screen DAW control surface for my mackie compatible DAW (in my case, Adobe Audition 3), presumable connecting over the network. I am aware that there are control surface apps for Android and iPad ( I actually use TouchDAW for my android tablet), but a google search hasn't shown anything for Windows. &#xD;&#xA;&#xD;&#xA;Has anyone here heard of a Windows based DAW control surface program?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38975" PostHistoryTypeId="1" PostId="23357" RevisionGUID="c0fdcfce-964d-4452-97d2-8311c5521600" CreationDate="2013-11-30T07:50:17.743" UserDisplayName="SonicDH" Text="Windows based DAW control surface" ContentLicense="CC BY-SA 3.0" />
  <row Id="38976" PostHistoryTypeId="3" PostId="23357" RevisionGUID="c0fdcfce-964d-4452-97d2-8311c5521600" CreationDate="2013-11-30T07:50:17.743" UserDisplayName="SonicDH" Text="&lt;audio&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38991" PostHistoryTypeId="36" PostId="23364" RevisionGUID="ffc427bd-c46c-40da-9833-cdd2b2a68478" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3392/when-i-load-the-track-in-garage-band-i-can-hear-it-but-i-cant-see-it" />
  <row Id="38992" PostHistoryTypeId="36" PostId="23365" RevisionGUID="6f95b627-f8e4-4d55-a24b-a51cfe4068f9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3392/when-i-load-the-track-in-garage-band-i-can-hear-it-but-i-cant-see-it/3395#3395" />
  <row Id="38993" PostHistoryTypeId="2" PostId="23365" RevisionGUID="b18c181c-b2c3-48eb-b581-f8ac9eeff147" CreationDate="2012-02-24T08:52:25.033" UserId="7016" Text="Garageband has to do a fair bit of processing in order to display the waveform. In order to minimise wasted time for the performers, it allows you to hear this waveform straight away, while doing the waveform processing in the background.&#xD;&#xA;&#xD;&#xA;So really, you are seeing symptoms of the app developers trying to be helpful by letting you hear the music before it is actually ready to be processed." ContentLicense="CC BY-SA 3.0" />
  <row Id="38994" PostHistoryTypeId="2" PostId="23364" RevisionGUID="6ac80c87-b3b8-4ffe-bdaa-604936b6f0e2" CreationDate="2012-02-24T01:19:51.357" UserDisplayName="benji" Text="My friends and I do a radio show and we use Garageband to record our individual tracks.  Then they get uploaded to our site, where I download them and drag the entire file into Garageband.  Voila! Radio Show! Right? Wrong!  &#xD;&#xA;&#xD;&#xA;Every time, and only with 1 of the 2 performers, when I load the track I can hear him, but I can't see him.  His wave form doesn't appear.  Then, like magic, it suddenly appears...  &#xD;&#xA;&#xD;&#xA;What am I doing to cause/deserve this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="38995" PostHistoryTypeId="1" PostId="23364" RevisionGUID="6ac80c87-b3b8-4ffe-bdaa-604936b6f0e2" CreationDate="2012-02-24T01:19:51.357" UserDisplayName="benji" Text="When I load the track in garage band, I can hear it, but I can't see it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="38996" PostHistoryTypeId="3" PostId="23364" RevisionGUID="6ac80c87-b3b8-4ffe-bdaa-604936b6f0e2" CreationDate="2012-02-24T01:19:51.357" UserDisplayName="benji" Text="&lt;audio&gt;&lt;radio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="38997" PostHistoryTypeId="36" PostId="23366" RevisionGUID="12be9109-64b0-4155-8388-9d2ead6e3a3f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4187/automatically-synchronizing-audio-video-with-foss-tools" />
  <row Id="38998" PostHistoryTypeId="36" PostId="23367" RevisionGUID="bc6a4c46-f90e-4e4d-b5ac-dde594853b78" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4187/automatically-synchronizing-audio-video-with-foss-tools/4190#4190" />
  <row Id="38999" PostHistoryTypeId="2" PostId="23367" RevisionGUID="d8219770-d419-470f-b389-500f5abd83a5" CreationDate="2012-06-15T20:58:23.193" UserDisplayName="Phasefire" Text="&#xD;&#xA;I'm sure I will get penalized because I'm answering with a paid product but I shoot several times a week with DSLR and record with a quality device(zoom h4n).  &#xD;&#xA;&#xD;&#xA;I spent close to a year doing it by hand.  The cheapest freest way is to get your subject to clap on camera, or step in to shot and clap your hands.  I have a programmer background so I had hoped for a free automated solution and I don't shy away from ugly UI's.&#xD;&#xA;&#xD;&#xA;I was recommended Dualeyes, the demo works fully and I used for the full 30 days before buying it.&#xD;&#xA;http://www.singularsoftware.com/dualeyes.html&#xD;&#xA;&#xD;&#xA;Sorry but I don't think there is anything out there for free but maybe you can study the demo of dualeyes.&#xD;&#xA;&#xD;&#xA;If you find a solution that's free , I will definitely be interested.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39000" PostHistoryTypeId="2" PostId="23366" RevisionGUID="57cfbd03-eadc-4e58-8f9d-8e8de15b4475" CreationDate="2012-06-15T15:24:12.200" UserDisplayName="Michael" Text="At our hackerspace, we have a full HD video camera (Toshiba Camileo X200) with a crappy microphone input. Therefore, we use a Thomann SC450 USB microphone to capture audio on a computer. Buying new equipment is not an option due to small budget.&#xD;&#xA;&#xD;&#xA;After recording, the only post-production we have to do manually is synchronizing our good audio file to the video. We would like to automate that step away.&#xD;&#xA;&#xD;&#xA;I thought about the problem a little and came up with the idea of a &quot;magic video clip&quot; which contains an easily recognizable sound and video sequence. &#xD;&#xA;&#xD;&#xA;Do you know of any tools (free and open source software is a requirement!) which can help us with that? I would also be grateful for hints to tools or libraries which can be easily scripted so that we can implement synchronizing ourselves. I briefly looked at libavcodec/libavformat, but it’d take me at least a few weeks to implement it using libavcodec." ContentLicense="CC BY-SA 3.0" />
  <row Id="39001" PostHistoryTypeId="1" PostId="23366" RevisionGUID="57cfbd03-eadc-4e58-8f9d-8e8de15b4475" CreationDate="2012-06-15T15:24:12.200" UserDisplayName="Michael" Text="Automatically synchronizing audio/video with FOSS tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39002" PostHistoryTypeId="3" PostId="23366" RevisionGUID="57cfbd03-eadc-4e58-8f9d-8e8de15b4475" CreationDate="2012-06-15T15:24:12.200" UserDisplayName="Michael" Text="&lt;video&gt;&lt;audio&gt;&lt;software&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39009" PostHistoryTypeId="36" PostId="23370" RevisionGUID="9744d54a-95d3-4898-b120-659ac89b73b8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9747/how-to-handle-the-2-khz-5-khz-frequency-range-in-production" />
  <row Id="39010" PostHistoryTypeId="2" PostId="23371" RevisionGUID="2e1171b2-c927-4be3-802d-4a6b2b546b64" CreationDate="2013-12-25T02:02:01.887" UserId="7174" Text="There isn't a &quot;correct&quot; answer to this.  The general concept most people go for is called the &quot;Wall of Sound&quot;.  You want each track (instrument or vocal) to have its own place in the wall.  It may be softer or louder dynamically than the other tracks around it and it may have its tone and/or sibilance at different parts of the EQ spectrum.  &#xD;&#xA;&#xD;&#xA;You generally try to mix each track into a slot allotted to it and mix EQ subtractively as much as possible.  This may mean that for certain instruments, you take a little bit out from the EQ you would use if you were just using that track so that it makes room for other instruments, but it's generally more on a per track basis, not the whole mix.&#xD;&#xA;&#xD;&#xA;In general, your best bet is to learn to listen for each track and figure out what tracks are interfering with each other.  If You have a bass guitar and the low end of a piano that aren't getting along, decide which is more important and what frequencies are not overlapping well and cut the one that isn't fitting a little bit at the necessary frequency to give it some space.&#xD;&#xA;&#xD;&#xA;I try to only deviate from where I'd normally want the EQ for a track by itself when it is necessary to make all the tracks fit together the way I want, so I do the minimum amount of adjusting necessary to fill out the wall of sound.  Sometimes adjustments to the dynamics might also be a better solution, such as compressing a track if it is too loud sometimes but too quiet others." ContentLicense="CC BY-SA 3.0" />
  <row Id="39011" PostHistoryTypeId="2" PostId="23370" RevisionGUID="b2c417f6-e833-40d5-8749-6fa6354229ae" CreationDate="2013-12-25T00:59:08.233" UserDisplayName="Dj Tech42" Text="The ear is most sensitive to the 2 kHz - 5 kHz range. This causes the recognizable sibilance effect. This is a common problem with vocals that can be solved with an equalizer. &#xD;&#xA;&#xD;&#xA;But what about the whole mix? &#xD;&#xA;&#xD;&#xA;Should the whole mix have a cut in this range or should the range be around the same amplitude as the other frequencies? &#xD;&#xA;&#xD;&#xA;It sounds much better to me when I cut frequencies in this range, but at the same time it brings some of the fullness out of the mix. &#xD;&#xA;&#xD;&#xA;When I listen to professional mixes, it sounds like the frequencies in this range are at the same volume as the rest of the frequency spectrum. So should they be left alone, lightly attenuated, or significantly cut?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39012" PostHistoryTypeId="1" PostId="23370" RevisionGUID="b2c417f6-e833-40d5-8749-6fa6354229ae" CreationDate="2013-12-25T00:59:08.233" UserDisplayName="Dj Tech42" Text="How to handle the 2 kHz - 5 kHz frequency range in production?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39013" PostHistoryTypeId="3" PostId="23370" RevisionGUID="b2c417f6-e833-40d5-8749-6fa6354229ae" CreationDate="2013-12-25T00:59:08.233" UserDisplayName="Dj Tech42" Text="&lt;audio&gt;&lt;mixing&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39014" PostHistoryTypeId="36" PostId="23371" RevisionGUID="19e231db-4cca-4181-9430-a1254a56787e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9747/how-to-handle-the-2-khz-5-khz-frequency-range-in-production/9751#9751" />
  <row Id="39015" PostHistoryTypeId="36" PostId="23372" RevisionGUID="9eb2a8de-1102-48d3-9b58-715b7b6d1d9d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1944/extracting-conversations-from-a-long-wma-file" />
  <row Id="39016" PostHistoryTypeId="36" PostId="23373" RevisionGUID="08ec2a77-0df8-48b4-9d5a-68da5f805157" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1944/extracting-conversations-from-a-long-wma-file/1945#1945" />
  <row Id="39017" PostHistoryTypeId="2" PostId="23373" RevisionGUID="a2453c6a-86b2-480d-8c5e-168b63ccba44" CreationDate="2011-07-24T19:39:15.650" UserId="7294" UserDisplayName="Warrior Bob" Text="To extract the conversations, load up your recordings into a sound editor like [Audacity][1]. You can use any editor that shows you a waveform, Audacity is just an example and it's open-source (read: free) so it's a good starting point.&#xD;&#xA;&#xD;&#xA;Look at the waveform. Chances are, the parts with conversations in them are going to have the highest sustained volume levels, since someone is speaking directly into the mic - so if you see a part that has a higher average level to it, give it a listen. You can trim these parts out manually and save them as new files or new tracks within the same editor project; however you want.&#xD;&#xA;&#xD;&#xA;To reduce noise, the best solution I've personally ever seen used is [Izotope RX][2], although it's fairly pricey. Audacity has a noise-reduction tool that I've never had much luck with, but you might give it a try.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/&#xD;&#xA;  [2]: http://www.izotope.com/products/audio/rx/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39018" PostHistoryTypeId="2" PostId="23372" RevisionGUID="d53bf6b9-0428-48d7-84b2-e11c7b107d94" CreationDate="2011-06-22T09:46:29.307" UserDisplayName="Zurechtweiser" Text="I have a few wma-files all about 2h long each.&#xD;&#xA;&#xD;&#xA;I was going around with a microphone interviewing people. I did not turn the recording off in order to not miss anything. Now the problem is filtering the interviews.&#xD;&#xA;&#xD;&#xA;It is two-fold:&#xD;&#xA;&#xD;&#xA; 1. I want to find the areas in which there is a conversation between me and a person.&#xD;&#xA; 2. I want to exclude background noise as well as walking noise created while rubbing on the microphone's foam." ContentLicense="CC BY-SA 3.0" />
  <row Id="39019" PostHistoryTypeId="1" PostId="23372" RevisionGUID="d53bf6b9-0428-48d7-84b2-e11c7b107d94" CreationDate="2011-06-22T09:46:29.307" UserDisplayName="Zurechtweiser" Text="Extracting conversations from a long WMA-File" ContentLicense="CC BY-SA 3.0" />
  <row Id="39020" PostHistoryTypeId="3" PostId="23372" RevisionGUID="d53bf6b9-0428-48d7-84b2-e11c7b107d94" CreationDate="2011-06-22T09:46:29.307" UserDisplayName="Zurechtweiser" Text="&lt;editing&gt;&lt;audio&gt;&lt;noise-cancelling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39021" PostHistoryTypeId="36" PostId="23374" RevisionGUID="09c868d2-50fa-40c7-ac6b-1d6ddf05c1a1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1947/subtracting-specific-audio-using-an-isolated-track-from-the-same-mix" />
  <row Id="39022" PostHistoryTypeId="2" PostId="23375" RevisionGUID="44f29d9b-fb7f-4b0f-94f4-3c777ade2590" CreationDate="2011-07-24T23:58:31.457" UserId="7294" UserDisplayName="Warrior Bob" Text="Audio waves are additive, so if you play back the inverse of a waveform against the original waveform, they'll cancel out to nothing.&#xD;&#xA;&#xD;&#xA;So if you have the *exact* instrumental, you can invert the waveform and play it against the original recording, which will mostly leave only the vocals intact. It's not the same as having the original tracks, since there won't be the same fidelity (you're subtracting from the mastered final so there's going to be a bit of loss of resolution) but this should get you pretty close.&#xD;&#xA;&#xD;&#xA;You can use a waveform editor like [Audacity][1] to do this. You might have to shift one of your recordings forwards or backwards in time a bit to get the samples to line up; this is particularly the case if they came from separate sources that may have been encoded separately.&#xD;&#xA;&#xD;&#xA;Happy remixing ;)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39023" PostHistoryTypeId="2" PostId="23374" RevisionGUID="76868196-0904-4831-afbc-079eeda0e9cc" CreationDate="2011-07-24T22:04:42.403" UserDisplayName="starbond" Text="I have an audio file (Music + Vocals) and I have an instrumental (Music Only). Is there a program or some way I can take the music file and subtract the instrumental leaving only the vocals? (**Full Song** - *Music* = Vocals Only)" ContentLicense="CC BY-SA 3.0" />
  <row Id="39024" PostHistoryTypeId="1" PostId="23374" RevisionGUID="76868196-0904-4831-afbc-079eeda0e9cc" CreationDate="2011-07-24T22:04:42.403" UserDisplayName="starbond" Text="&quot;Subtracting&quot; specific audio using an Isolated track from the same mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="39025" PostHistoryTypeId="3" PostId="23374" RevisionGUID="76868196-0904-4831-afbc-079eeda0e9cc" CreationDate="2011-07-24T22:04:42.403" UserDisplayName="starbond" Text="&lt;audio&gt;&lt;playback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39026" PostHistoryTypeId="36" PostId="23375" RevisionGUID="408a7dda-7584-4d81-9742-1b9bb05de394" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1947/subtracting-specific-audio-using-an-isolated-track-from-the-same-mix/1948#1948" />
  <row Id="39027" PostHistoryTypeId="36" PostId="23376" RevisionGUID="6df0dbab-db5f-44a5-894b-9d4e574920ee" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1947/subtracting-specific-audio-using-an-isolated-track-from-the-same-mix/1957#1957" />
  <row Id="39028" PostHistoryTypeId="36" PostId="23377" RevisionGUID="646fab61-0bee-4d4c-8492-7f07c13a655a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1947/subtracting-specific-audio-using-an-isolated-track-from-the-same-mix/2029#2029" />
  <row Id="39029" PostHistoryTypeId="2" PostId="23376" RevisionGUID="8f82ebc5-bc09-42c9-9b4d-a4b833d2456d" CreationDate="2011-07-27T12:12:58.677" UserDisplayName="Hedge" Text="&#xD;&#xA;&#xD;&#xA;Although this is already answered I made a tutorial on this a while back also showing how you can do this in Ableton Live.&#xD;&#xA;&#xD;&#xA;http://en.www.ali.dj/how-to-make-an-acapella-or-instrumental-version-part-1-the-phase-cancellation-method/&#xD;&#xA;&#xD;&#xA;Here's a picture illustrating what Warrior Bob said:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/WpQls.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="39030" PostHistoryTypeId="2" PostId="23377" RevisionGUID="586ab27b-21e0-4f27-9e45-0f37bd2d68c3" CreationDate="2011-08-06T14:14:27.013" UserId="6075" Text="There's a VST plugin to do basically this, called [Extra Boy][1].  I haven't tried it myself, so can't vouch for its effectiveness.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.elevayta.net/azuifgeh.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="39035" PostHistoryTypeId="36" PostId="23379" RevisionGUID="08e40674-22f1-49b4-bb96-22a714b386b2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8046/does-anyone-make-an-inline-volume-control-for-jacks" />
  <row Id="39036" PostHistoryTypeId="2" PostId="23380" RevisionGUID="e3930a56-b835-45dc-84a3-19deb4bbf59b" CreationDate="2013-06-04T17:02:53.413" UserId="7174" Text="There is no more risk of quality loss than is present in any adapter connection.  The cables themselves are effectively the same as long as you use similar quality cable with equivalent shielding, it's just a difference in connection.  What is the situation that you are trying to reduce the volume for?  Generally 1/4 inch connections are used on more professional devices that should have their own volume or gain adjustments.  There might also be impedance mismatch issues that could cause the inline volume control itself to not function ideally." ContentLicense="CC BY-SA 3.0" />
  <row Id="39037" PostHistoryTypeId="2" PostId="23379" RevisionGUID="a9eace5c-92b1-457a-8b67-54b6d50c2f72" CreationDate="2013-06-04T16:56:40.987" UserId="24427" UserDisplayName="SoaperGEM" Text="I have seen a lot of [inline volume controls][1] made for 3.5mm jacks, but I'm wondering if there's such a thing built for a 1/4-inch jack. Does such a thing exist? Or will I have to get a 3.5mm version and then add adapters to both ends? (and if so, does adding such adapters carry any risk of reducing quality?)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/s?search-alias=electronics&amp;field-keywords=inline%20volume%20control" ContentLicense="CC BY-SA 3.0" />
  <row Id="39038" PostHistoryTypeId="1" PostId="23379" RevisionGUID="a9eace5c-92b1-457a-8b67-54b6d50c2f72" CreationDate="2013-06-04T16:56:40.987" UserId="24427" UserDisplayName="SoaperGEM" Text="Does anyone make an inline volume control for ¼&quot; jacks?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39039" PostHistoryTypeId="3" PostId="23379" RevisionGUID="a9eace5c-92b1-457a-8b67-54b6d50c2f72" CreationDate="2013-06-04T16:56:40.987" UserId="24427" UserDisplayName="SoaperGEM" Text="&lt;audio&gt;&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39040" PostHistoryTypeId="36" PostId="23380" RevisionGUID="cf77df72-ec1d-4834-878a-899946ad2663" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8046/does-anyone-make-an-inline-volume-control-for-jacks/8047#8047" />
  <row Id="39047" PostHistoryTypeId="36" PostId="23383" RevisionGUID="0e1cf259-8d86-4f57-b4f1-69cf7a8b24a8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7511/what-is-the-optimal-settings-for-krk-rokit-5-speakers" />
  <row Id="39048" PostHistoryTypeId="2" PostId="23384" RevisionGUID="65299ed0-a196-44db-84c5-d2e2a49c84d5" CreationDate="2013-03-28T00:19:16.773" UserDisplayName="escalation746" Text="Generally, leave all such adjustments flat (e.g. off) unless you have good reason to change them. For example, if you must place the speaker closer to a surface than is optimal, you may get some high frequency (HF) reflections. Tuning down the HF might help a little... though the best answer is always to change the positioning. &#xD;&#xA;&#xD;&#xA;Likewise, if the speaker is too close to a wall or (worse yet) in a corner, you may need to tune down the low end. &#xD;&#xA;&#xD;&#xA;I must say, however, that the Rokit series is not the best for mixing. They are more likely to flatter the sound. The KRK VXT line is better, not bad for the price, but still far from optimal. I know that doesn't help much if you are stuck with what you have!&#xD;&#xA;&#xD;&#xA;I recommend checking mixes regularly with a good pair of headphones, especially if you are mixing music with much bass. Not only will you hear a couple octaves lower, but you will be free of nasty room resonances that I am sure exist -- or have you tuned the room?&#xD;&#xA;&#xD;&#xA;Headphones get a bad rap from stodgy old-timers but, hey, how do most people listen to music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39049" PostHistoryTypeId="2" PostId="23383" RevisionGUID="81c03003-9fc2-4de5-adf2-fb86925ea03c" CreationDate="2013-03-27T20:38:10.483" UserDisplayName="AtlantaDan" Text="I have a new pair of [KRK Rokit 5 Speakers][1] and I love them.. I haven't gotten to stretch their legs yet but they sound great so far.&#xD;&#xA;&#xD;&#xA;I obviously want to get the most out of them and since they are for mixing and monitoring, etc., I'd like to make sure their set up correctly.. &#xD;&#xA;&#xD;&#xA;With a standard, small studio, with a near-field desk setup.. What is the best HF level adjust setting to put them at .. There is one knob for boosting the dB's (ie: a volume knob) but another for 'tweaking' the sound from the speakers (HF Level adjust)... Should I just keep it on 0?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.krksys.com/krk-studio-monitor-speakers/rokit/rokit-5.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="39050" PostHistoryTypeId="1" PostId="23383" RevisionGUID="81c03003-9fc2-4de5-adf2-fb86925ea03c" CreationDate="2013-03-27T20:38:10.483" UserDisplayName="AtlantaDan" Text="What is the optimal settings for KRK Rokit 5 Speakers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39051" PostHistoryTypeId="3" PostId="23383" RevisionGUID="81c03003-9fc2-4de5-adf2-fb86925ea03c" CreationDate="2013-03-27T20:38:10.483" UserDisplayName="AtlantaDan" Text="&lt;audio&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39052" PostHistoryTypeId="36" PostId="23384" RevisionGUID="04841e90-1298-4bac-a99a-fd5ecce097bb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7511/what-is-the-optimal-settings-for-krk-rokit-5-speakers/7512#7512" />
  <row Id="39053" PostHistoryTypeId="36" PostId="23385" RevisionGUID="553d51d1-c9c4-400c-af58-14111742c219" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4846/microphone-for-recording-naturally-occuring-random-noises" />
  <row Id="39054" PostHistoryTypeId="2" PostId="23386" RevisionGUID="153263c9-a860-41c5-9897-4931a7bfd45f" CreationDate="2012-09-27T20:08:30.377" UserDisplayName="WLPhoenix" Text="Depending on the quality of audio you're trying to get, there are several options you can go for.&#xD;&#xA;&#xD;&#xA;Assumptions: This will be used in fair conditions, and does not require any additional ruggedness.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;1) Buy an omnidirectional LDC (Large Diaphragm Condenser), a matching shock mount, and some sort of boom stand. Set it up in the middle of the space you want to record. Done.&#xD;&#xA;&#xD;&#xA;2) Buy a switchable polar pattern LDC. These usually include an omni pattern, as well as cardioid and bipolar. Usually more flexible in the long run if you ever want to record a more isolated sound effect.&#xD;&#xA;&#xD;&#xA;3) Buy a hemispherical mic. Best one I can recommend is the Shure PZM. You basically tape it to whatever surface, and it picks up a half-sphere centered around its location. &#xD;&#xA;&#xD;&#xA;4) Buy a mic designed for calibration. They have SUPER flat frequency response, and are often used in places like reverb chambers to get the most accurate reproduction of the sound that existed in the room. **Edit:** An example would be the Audix TM1.&#xD;&#xA;&#xD;&#xA;For all of these, look at polar patterns and frequency response graphs before you buy. Try to listen to some samples of things recorded with them. You can find good mics for $200-$300, and can find workable ones as low as $60 and amazing ones (AKG 414) for as much as you want to spend." ContentLicense="CC BY-SA 3.0" />
  <row Id="39055" PostHistoryTypeId="2" PostId="23385" RevisionGUID="0f2318a2-1c7e-4ed9-998e-457b5f40204a" CreationDate="2012-09-27T15:32:29.373" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="While I already have a condenser mic for vocals, **I'm looking for a microphone that would be good for recording random naturally occuring sounds out in the open or  inside as well**. There would probably be a different recommendation for indoors and out, but something that would work reasonably well with both would be preferred.&#xD;&#xA;&#xD;&#xA;**Examples of random noises:** Paper tearing, clicks on wood, mechanical sounds, smoking noises, lighters, random conversations in public, water drops, video game noises, dog barking. Ya know, **kind of any and everything**.&#xD;&#xA;&#xD;&#xA;One that is pretty transparent is preferred too. Going to purchase a preamp very soon for use with vocal and instrumental recording and realize I won't be able to use this unless I'm indoors with the sound being created within chord length.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39056" PostHistoryTypeId="1" PostId="23385" RevisionGUID="0f2318a2-1c7e-4ed9-998e-457b5f40204a" CreationDate="2012-09-27T15:32:29.373" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="microphone for recording naturally occuring random noises" ContentLicense="CC BY-SA 3.0" />
  <row Id="39057" PostHistoryTypeId="3" PostId="23385" RevisionGUID="0f2318a2-1c7e-4ed9-998e-457b5f40204a" CreationDate="2012-09-27T15:32:29.373" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;recording&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39058" PostHistoryTypeId="36" PostId="23386" RevisionGUID="730e3621-efff-4047-bbd7-80f2dad432f6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4846/microphone-for-recording-naturally-occuring-random-noises/4849#4849" />
  <row Id="39059" PostHistoryTypeId="36" PostId="23387" RevisionGUID="771768cf-6af2-4c01-ac6e-443cfef151ff" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5322/how-to-display-video-via-audio-from-a-computer" />
  <row Id="39060" PostHistoryTypeId="36" PostId="23388" RevisionGUID="137c5da9-1ad0-4dc5-8431-a5041a9cd288" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5322/how-to-display-video-via-audio-from-a-computer/5327#5327" />
  <row Id="39061" PostHistoryTypeId="2" PostId="23388" RevisionGUID="aa132290-e8a7-4464-bcc6-8544145d312f" CreationDate="2012-11-14T10:43:44.683" UserId="7016" Text="The simple answer is no - there are some misunderstandings that I need to clear up for you:&#xD;&#xA;&#xD;&#xA;The audio and video frequencies you have coupled in an old fashioned TV signal are so far apart that there is no overlap. (Audio 20Hz to 20kHz, and video is up around 4MHz) When the signal goes to the TV, the audio frequencies are decoupled, then the horizontal and vertical sync, colour burst and intensities are taken out through an entirely different circuit.&#xD;&#xA;&#xD;&#xA;For more modern TV's, the audio and video signals are actually carried on different wires, so there is no chance of using one for another. And for the most modern setups, audio and video are digitised, along with meta information - again, this will make it impossible to misuse the audio as a video signal.&#xD;&#xA;&#xD;&#xA;Generally, if your TV requires a video signal, what it is really looking for is a Sync signal - so you will need something to generate this, whether you use an old laptop plugged into it, or a signal generator or something else." ContentLicense="CC BY-SA 3.0" />
  <row Id="39062" PostHistoryTypeId="2" PostId="23387" RevisionGUID="a44bd4b3-3a3f-4b45-825e-6d367ed4484b" CreationDate="2012-11-13T21:43:25.783" UserId="8310" UserDisplayName="Phillip Whelan" Text="Is there a sound which will create a stable image on a normal television? I ask this because I want to fool a television into playing audio. The problem is that it will not play audio at all without a steady video signal.&#xD;&#xA;&#xD;&#xA;The only relevant link I could find is this: &#xD;&#xA;&#xD;&#xA;  http://www.thebackshed.com/forum/forum_posts.asp?TID=4744&#xD;&#xA;&#xD;&#xA;What I am hoping for is an audio clip that will render as an image, any image at all that I can play in a loop. Hopefully without distorting the sound too much as" ContentLicense="CC BY-SA 3.0" />
  <row Id="39063" PostHistoryTypeId="1" PostId="23387" RevisionGUID="a44bd4b3-3a3f-4b45-825e-6d367ed4484b" CreationDate="2012-11-13T21:43:25.783" UserId="8310" UserDisplayName="Phillip Whelan" Text="How to display video via audio from a computer" ContentLicense="CC BY-SA 3.0" />
  <row Id="39064" PostHistoryTypeId="3" PostId="23387" RevisionGUID="a44bd4b3-3a3f-4b45-825e-6d367ed4484b" CreationDate="2012-11-13T21:43:25.783" UserId="8310" UserDisplayName="Phillip Whelan" Text="&lt;audio&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39065" PostHistoryTypeId="36" PostId="23389" RevisionGUID="9c44cd92-da91-47dc-9438-46016d467175" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9721/isolate-the-difference-between-two-mostly-identical-audio-tracks" />
  <row Id="39066" PostHistoryTypeId="2" PostId="23390" RevisionGUID="9a43b475-3f0b-4445-8b6b-139893ee38c0" CreationDate="2013-12-22T18:54:37.707" UserId="7008" Text="Whichever app you use, you'll want to line them up and then invert the phase on one of them. Depending on how identical, and how they were made, it might easy to line them up and get an accurate result, otherwise you'll have to spend some time trying to line it up as best you can by zooming in on the samples. &#xD;&#xA;&#xD;&#xA;The idea being that if you have two things that are the same, but have opposite phases will cancel each other out. Imagine a 2 samples being at 1. They are the same. Invert phase on one, and you have 1 and -1. Add them together and you have 0, aka nothing. " ContentLicense="CC BY-SA 3.0" />
  <row Id="39067" PostHistoryTypeId="2" PostId="23389" RevisionGUID="93d4fa32-a1e1-40d7-9e09-d3b9702b9368" CreationDate="2013-12-22T04:01:24.817" UserId="7559" UserDisplayName="Keavon" Text="I have two audio tracks which are mostly identical. I want to isolate the differences between the two. I can use Audition, Audacity, or really anything else." ContentLicense="CC BY-SA 3.0" />
  <row Id="39068" PostHistoryTypeId="1" PostId="23389" RevisionGUID="93d4fa32-a1e1-40d7-9e09-d3b9702b9368" CreationDate="2013-12-22T04:01:24.817" UserId="7559" UserDisplayName="Keavon" Text="Isolate the difference between two mostly-identical audio tracks?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39069" PostHistoryTypeId="3" PostId="23389" RevisionGUID="93d4fa32-a1e1-40d7-9e09-d3b9702b9368" CreationDate="2013-12-22T04:01:24.817" UserId="7559" UserDisplayName="Keavon" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39070" PostHistoryTypeId="36" PostId="23390" RevisionGUID="395afbda-d9f2-4c61-a1b7-d6ef9358b4de" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9721/isolate-the-difference-between-two-mostly-identical-audio-tracks/9723#9723" />
  <row Id="39071" PostHistoryTypeId="36" PostId="23391" RevisionGUID="a3f1cfb3-036a-4d1e-92da-6b46ad6a3cb8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7915/frequency-cut-offs-for-guitar-amp-tone" />
  <row Id="39072" PostHistoryTypeId="2" PostId="23392" RevisionGUID="fa9a0df9-7fdd-45a6-b718-be446b24c9e6" CreationDate="2013-05-18T02:39:31.157" UserDisplayName="Bjorn Roche" Text="The classic &quot;tone stack&quot; or three band EQ found on many guitar and bass amps is not usually implemented as three separate second order filters, but rather one third order filter with three parameters. As a result, the various &quot;bands&quot; aren't shaped and defined in the way you'd like. In particular, there is no &quot;flat&quot; setting and the range around 1kHz is effected by all knobs.&#xD;&#xA;&#xD;&#xA;For a nice overview of this, along with some [matlab code][1] implementing a classic Tone Stack, see Chapter 12 of [DAFX][2]. (The matlab file is bassman.m)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www2.hsu-hh.de/ant/dafx2002/DAFX_Book_Page_2nd_edition/chapter12.html&#xD;&#xA;  [2]: http://www.amazon.com/DAFX-Digital-Udo-ouml-lzer/dp/0470665998/ref=pd_sim_sbs_b_1" ContentLicense="CC BY-SA 3.0" />
  <row Id="39073" PostHistoryTypeId="2" PostId="23391" RevisionGUID="120a14d4-9745-4521-90c1-29a1d3f07f66" CreationDate="2013-05-17T23:42:28.867" UserId="7776" UserDisplayName="hack_on" Text="I am wanting to know what the typical frequency cut-offs are for the bass/mid/treble controls on a pre-1990s guitar amp.  I want to simulate them in Java.  So basically I have &#xD;&#xA;&#xD;&#xA;    bass = 20 - 250 Hz&#xD;&#xA;    mid = 250 - 650 Hz&#xD;&#xA;    treble = 650 - 4000 Hz &#xD;&#xA;&#xD;&#xA;But I have no confidence in these figures.  References would be great!" ContentLicense="CC BY-SA 3.0" />
  <row Id="39074" PostHistoryTypeId="1" PostId="23391" RevisionGUID="120a14d4-9745-4521-90c1-29a1d3f07f66" CreationDate="2013-05-17T23:42:28.867" UserId="7776" UserDisplayName="hack_on" Text="Frequency cut-offs for guitar amp tone" ContentLicense="CC BY-SA 3.0" />
  <row Id="39075" PostHistoryTypeId="3" PostId="23391" RevisionGUID="120a14d4-9745-4521-90c1-29a1d3f07f66" CreationDate="2013-05-17T23:42:28.867" UserId="7776" UserDisplayName="hack_on" Text="&lt;audio&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39076" PostHistoryTypeId="36" PostId="23392" RevisionGUID="af135e09-604d-4127-821a-e492a73c0fc3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7915/frequency-cut-offs-for-guitar-amp-tone/7917#7917" />
  <row Id="39077" PostHistoryTypeId="36" PostId="23393" RevisionGUID="3b0a465c-a5c9-45df-9120-6412cdf5c995" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9141/starting-out-in-film-tv-post-scoring-bgm" />
  <row Id="39078" PostHistoryTypeId="36" PostId="23394" RevisionGUID="06ee567a-1016-4f47-aa94-6ff47881aca1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9141/starting-out-in-film-tv-post-scoring-bgm/9144#9144" />
  <row Id="39079" PostHistoryTypeId="2" PostId="23394" RevisionGUID="5127dce4-48bd-4994-a71e-d8b8dbb109d6" CreationDate="2013-10-08T13:38:38.313" UserId="7174" Text="Your best bet is to probably look for production companies in the area and see if you can work with any of them.  Generally, a lot of the production guys in an area know each other from working on projects and it's typically a pretty informal network.  The best bet is to start out with an actual production company and get to know people from there.  They might also be able to point you towards other people with projects going on if they don't have anything at the moment." ContentLicense="CC BY-SA 3.0" />
  <row Id="39080" PostHistoryTypeId="2" PostId="23393" RevisionGUID="7c7433f6-fd57-49f5-ae47-abcface6196a" CreationDate="2013-10-08T12:53:49.477" UserDisplayName="Joe Stavitsky" Text="So I've put together a film/tv post/scoring system, and was looking to expand my portfolio by donating my time to a worthy project. Are there any solutions better than the local craigslist? I'd prefer to skip the clowns and lunatics that entails, and my school is giving me some work but not a huge amount.&#xD;&#xA;&#xD;&#xA;Many thanks in advance&#xD;&#xA;&#xD;&#xA;Joe" ContentLicense="CC BY-SA 3.0" />
  <row Id="39081" PostHistoryTypeId="1" PostId="23393" RevisionGUID="7c7433f6-fd57-49f5-ae47-abcface6196a" CreationDate="2013-10-08T12:53:49.477" UserDisplayName="Joe Stavitsky" Text="Starting out in film/tv post/scoring (bgm)" ContentLicense="CC BY-SA 3.0" />
  <row Id="39082" PostHistoryTypeId="3" PostId="23393" RevisionGUID="7c7433f6-fd57-49f5-ae47-abcface6196a" CreationDate="2013-10-08T12:53:49.477" UserDisplayName="Joe Stavitsky" Text="&lt;audio&gt;&lt;music&gt;&lt;post-production&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39083" PostHistoryTypeId="36" PostId="23395" RevisionGUID="59c08ad6-6b7e-4c14-8504-b74c2a520687" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3786/best-sony-vegas-rendering-options-for-audio-only-on-youtube" />
  <row Id="39084" PostHistoryTypeId="36" PostId="23396" RevisionGUID="a30951a5-5916-4be0-a86b-e088b889ceb6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3786/best-sony-vegas-rendering-options-for-audio-only-on-youtube/3787#3787" />
  <row Id="39085" PostHistoryTypeId="36" PostId="23397" RevisionGUID="8e3b9744-40bd-42fb-9044-ee241c44e1a9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3786/best-sony-vegas-rendering-options-for-audio-only-on-youtube/8946#8946" />
  <row Id="39086" PostHistoryTypeId="2" PostId="23396" RevisionGUID="895bc08c-9147-4f32-b132-d3449b294f38" CreationDate="2012-04-20T22:28:30.973" UserId="7188" Text="From the beginning.&#xD;&#xA;&#xD;&#xA;Set your Vegas Project properties for 720 P (assuming you are using a 30 fps frame rate) you should be able to find the correct set up already as a template, otherwise take the closest thing and customize it. Adjust the audio tab to the best match to your sound track.&#xD;&#xA;&#xD;&#xA;Next add your sound track to the Vegas Timeline.&#xD;&#xA;&#xD;&#xA;Next add your photo, you may have to stretch or resize it to match the length of time of the music.&#xD;&#xA;&#xD;&#xA;Then right click on the photo in the timeline and choose properties, click the box that has 'reduce interlace flicker' (whether this will help a still photo, I am not certain, but it won't hurt).&#xD;&#xA;&#xD;&#xA;Now, play it back in the viewfinder, and adjust the master volume on your sound track so that it does not exceed 0 dB or under -.5 if you want to allow a bit of a safety margin.&#xD;&#xA;&#xD;&#xA;Also, you can fade in or out either or both the sound and image tracks, or add other effects.&#xD;&#xA;&#xD;&#xA;Finally, engage the 'render as' button and choose mp4, 720p. Click 'custom' to tweak for the 'best' and set the bit rate somewhere between 5 MBS and 10 MBS, you may want to tweak other items as well. If you are not sure, try different renders to see what works best for your work. Suggestion: If you want to try different renders, make a short 20 second version as 'test' project of the original material so you won't have to wait so long for each render.&#xD;&#xA;&#xD;&#xA;I suggest mp4 as per YouTube recommendations, also I have uploaded 720p mp4 with audio to YouTube and can testify that this will work fine. MP4 is optimized for internet streaming so you will likely get the least amount of stop/go streaming issues with this format.&#xD;&#xA;&#xD;&#xA;YouTube's recommendations printed here for your convenience:&#xD;&#xA;&#xD;&#xA;&gt; **Encoding Video For YouTube: Advanced Specifications**&#xD;&#xA;&lt;br&gt;&lt;br&gt;&#xD;&#xA;We suggest the following format for high quality uploads to YouTube. Note that these are advanced encoding specifications, and [we have simpler encoding instructions available elsewhere](http://www.google.com/support/youtube/bin/answer.py?&amp;answer=58134).&#xD;&#xA;&lt;br&gt;&lt;br&gt;&#xD;&#xA;**Container: .mp4**&#xD;&#xA;&lt;br&gt;• No Edit Lists (or you may lose AV sync)&#xD;&#xA;&lt;br&gt;• moov atom at the front of the file (Fast Start)&#xD;&#xA;&lt;br&gt;&lt;br&gt;&#xD;&#xA;**Audio Codec: AAC-LC**&#xD;&#xA;&lt;br&gt;• Channels: Stereo or Stereo + 5.1&#xD;&#xA;&lt;br&gt;• Sample rate 96khz or 48 khz&#xD;&#xA;&lt;br&gt;&lt;br&gt;&#xD;&#xA;**Video Codec: H.264**&#xD;&#xA;&lt;br&gt;• Progressive scan (no interlacing)&#xD;&#xA;&lt;br&gt;• High Profile&#xD;&#xA;&lt;br&gt;• 2 consecutive B frames&#xD;&#xA;&lt;br&gt;• Closed GOP. GOP of half the frame rate.&#xD;&#xA;&lt;br&gt;• CABAC&#xD;&#xA;&lt;br&gt;• Variable bitrate. No bitrate limit required, though we offer recommended bit rates below for reference&#xD;&#xA;&lt;br&gt;• Color Space: 4.2.0&#xD;&#xA;&lt;br&gt;&lt;br&gt;&#xD;&#xA;**Frame rates should match the source material**&#xD;&#xA;&lt;br&gt;• For example, content shot in 24fps should be encoded and uploaded at 24fps. Content recorded at 30fps should be uploaded at 30fps.&#xD;&#xA;&lt;br&gt;• Content shot in 720p60, should be uploaded at 720p60&#xD;&#xA;&lt;br&gt;• Content at 1080i 60, should be deinterlaced, going from 60 interlaced fields per second to 30 progressive frames per second before uploading.&#xD;&#xA;&lt;br&gt;&lt;br&gt;&#xD;&#xA;**Resolutions**&#xD;&#xA;&lt;br&gt;&#xD;&#xA;YouTube uses 16:9 aspect ratio players. If you are uploading a non-16:9 file, it will be processed and displayed correctly as well, with pillar boxes or letter boxes provided by the player. If you want to fit the player perfectly, encode at these resolutions:&#xD;&#xA;&lt;br&gt;• 1080p: 1920x1080&#xD;&#xA;&lt;br&gt;• 720p: 1280x720&#xD;&#xA;&lt;br&gt;• 480p: 854x480&#xD;&#xA;&lt;br&gt;• 360p: 640x360&#xD;&#xA;&lt;br&gt;• 240p: 426x240&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39087" PostHistoryTypeId="2" PostId="23397" RevisionGUID="8d97ad22-5a7c-4a2f-a728-ecf5ef089e1e" CreationDate="2013-09-12T08:01:02.950" UserId="7393" UserDisplayName="altarvic" Text="You can try [Video4YouTube][1], it is **free** extension for Sony Vegas **Pro** that &quot;automatically determines the best render settings depending on the current project template&quot;...&#xD;&#xA;&#xD;&#xA;For audio, it uses AAC codec with 128-224 bitrate 48kHz&#xD;&#xA;video quality doesn't matter (you can choose the lowest quality)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vegasaur.com/Video4YouTube" ContentLicense="CC BY-SA 3.0" />
  <row Id="39088" PostHistoryTypeId="2" PostId="23395" RevisionGUID="6ee2101d-7793-4abf-aaf1-fd593a5fa73b" CreationDate="2012-04-20T20:37:05.797" UserDisplayName="Deniz Zoeteman" Text="I am not an expert in Sony Vegas 10, still learning, but I was wondering what the best settings would be for an audio-only video for YouTube, with one image. Thinks to look at are:&#xD;&#xA;&#xD;&#xA;- Best audio quality for YouTube&#xD;&#xA;- Small size; slow upload speed&#xD;&#xA;- The video is quite long (25min)&#xD;&#xA;- 1 image that should be displayed in high resolution (720p)" ContentLicense="CC BY-SA 3.0" />
  <row Id="39089" PostHistoryTypeId="1" PostId="23395" RevisionGUID="6ee2101d-7793-4abf-aaf1-fd593a5fa73b" CreationDate="2012-04-20T20:37:05.797" UserDisplayName="Deniz Zoeteman" Text="Best Sony Vegas rendering options for audio-only on YouTube?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39090" PostHistoryTypeId="3" PostId="23395" RevisionGUID="6ee2101d-7793-4abf-aaf1-fd593a5fa73b" CreationDate="2012-04-20T20:37:05.797" UserDisplayName="Deniz Zoeteman" Text="&lt;video&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39091" PostHistoryTypeId="36" PostId="23398" RevisionGUID="0c9c554a-ac0e-437f-b001-c19d939f6250" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2235/how-to-connect-unbalanced-output-to-balanced-input" />
  <row Id="39092" PostHistoryTypeId="2" PostId="23399" RevisionGUID="9ed4c014-c211-414d-8e43-38e4fdf8f4b1" CreationDate="2011-08-30T13:25:01.997" UserId="7093" Text="You can use a [direct box][1] to change the unbalanced signal to a balanced signal.  You would plug your bass into the box and then plug the output of the box into a mixer.&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;There are two types; active and passive.  The passive box simply translates the signal and may have a switch to eliminate [ground loops][3] (thus removing the buzzing sound ).  The active box contains a preamp and will require some power source such as a battery or AC adapter.  I have an [active direct box][4] which is stereo and can also use [phantom power][5].&#xD;&#xA;&#xD;&#xA;As @leftaroundabout pointed out in his comment, you will probably need an active direct box for your bass.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Direct_box&#xD;&#xA;  [2]: http://i.stack.imgur.com/P2YlE.jpg&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Ground_loop_%28electricity%29&#xD;&#xA;  [4]: http://www.amazon.com/Behringer-DI20-Ultra-Channel-Splitter/dp/B000CCSWQA&#xD;&#xA;  [5]: http://en.wikipedia.org/wiki/Phantom_power" ContentLicense="CC BY-SA 3.0" />
  <row Id="39093" PostHistoryTypeId="2" PostId="23398" RevisionGUID="30f30395-c92b-4208-84f9-3d89f601e6b6" CreationDate="2011-08-30T06:45:09.627" UserDisplayName="David Nordvall" Text="I would like to connected my bass guitar, which has an unbalanced tele output, to a preamp/mixer with balanced XLR inputs. Currently, I simply have an unbalanced cable with a tele male connector on one side and a XLR male connector on the other side. This works but seems to produce a lot of noise, noise not present if I connected the bass to a guitar amplifier (which has an unbalanced input). My guess is therefore that the noise is because I'm connecting my unbalanced output to a balanced input in the &quot;wrong way&quot; (I have tested all inputs on the mixer and is always the same noise).&#xD;&#xA;&#xD;&#xA;What is the best way to make this connection? Should I use some sort of special cable? Use an intermediate preamp of some sort?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39094" PostHistoryTypeId="1" PostId="23398" RevisionGUID="30f30395-c92b-4208-84f9-3d89f601e6b6" CreationDate="2011-08-30T06:45:09.627" UserDisplayName="David Nordvall" Text="How to connect unbalanced output to balanced input?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39095" PostHistoryTypeId="3" PostId="23398" RevisionGUID="30f30395-c92b-4208-84f9-3d89f601e6b6" CreationDate="2011-08-30T06:45:09.627" UserDisplayName="David Nordvall" Text="&lt;audio-recording&gt;&lt;home-studio&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39096" PostHistoryTypeId="36" PostId="23399" RevisionGUID="34037da8-c0e0-496b-ad36-047bc35bafc6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2235/how-to-connect-unbalanced-output-to-balanced-input/2236#2236" />
  <row Id="39097" PostHistoryTypeId="36" PostId="23400" RevisionGUID="be14cb77-9eb1-4748-9c08-eea012c1f99e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7821/software-recommendation-for-cleaning-out-audio-recording" />
  <row Id="39098" PostHistoryTypeId="36" PostId="23401" RevisionGUID="7a3de018-0507-4e6d-af04-2d2201fbb8a9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7821/software-recommendation-for-cleaning-out-audio-recording/7822#7822" />
  <row Id="39099" PostHistoryTypeId="36" PostId="23402" RevisionGUID="3562a731-de60-4a97-8f8a-f6a8539431c9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7821/software-recommendation-for-cleaning-out-audio-recording/7827#7827" />
  <row Id="39100" PostHistoryTypeId="36" PostId="23403" RevisionGUID="906eeb16-4ab4-4299-a180-d1e53cb05008" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7821/software-recommendation-for-cleaning-out-audio-recording/8334#8334" />
  <row Id="39101" PostHistoryTypeId="2" PostId="23401" RevisionGUID="f539d7e4-a529-4bb0-b877-70079d966d7b" CreationDate="2013-05-06T10:42:15.293" UserId="7405" UserDisplayName="Andy aka" Text="It's difficult to know how significant these unwanted sounds are - can you post them so we can hear the track (or at least a section of the track)?&#xD;&#xA;&#xD;&#xA;You have got to keep your wits about you when editing - I use wavelab and sometimes I put markers around the problem areas so I don't forget which part of the track I'm working on. Also getting a section of track to loop around markers allows you to hear the effectiveness of edits.&#xD;&#xA;&#xD;&#xA;A lot of times (on song vocals) I'm in cubase and it's easier because I can break a vocal pice up into lines and phrases - a DAW can help.&#xD;&#xA;&#xD;&#xA;Your laptop will have a more limited bandwidth compared to your headset and this will make the pops seem less intrusive BUT filtering can be used on these so all is not lost." ContentLicense="CC BY-SA 3.0" />
  <row Id="39102" PostHistoryTypeId="2" PostId="23402" RevisionGUID="3475ca8f-382f-4a99-bbe5-2e9e529858f1" CreationDate="2013-05-06T22:28:01.027" UserId="7474" UserDisplayName="Pres" Text="This depends on how high the quality of your recordings need to be. If you are looking to create a personal note library, or commentate on Multiplayer Gaming Videos, then I would just look at improving your recording technique. For example, moving the mic away from your mouth and speaking louder. You should be able to avoid plosives (pops) and your voice should be loud enough that you can use an expander to reduce the background noise (Presonus Studio One contains one as part of the channel strip plugin in the Free version)&#xD;&#xA;&#xD;&#xA;If you really need the recordings you already have, I would suggest looking at a suite like Izotope RX (although this is at a serious price of around $300). More domestic alternatives are available by Izotope and MAGIX. Check out amazon's alternatives for research.&#xD;&#xA;&#xD;&#xA;Again your circumstances are key here. If you think you'll be removing noise on a regular basis for quite a while, I'd suggest the RX suite. Again re-recording properly is ALWAYS the preferred option, especially when quality is important" ContentLicense="CC BY-SA 3.0" />
  <row Id="39103" PostHistoryTypeId="2" PostId="23403" RevisionGUID="e672d1d9-961a-42cd-a34a-aa0c70bfeccc" CreationDate="2013-07-06T13:59:13.063" UserId="7393" UserDisplayName="altarvic" Text="I can only recommend you [Magix Audio Cleaning Lab][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vegasaur.com/Magix-AudioLab" ContentLicense="CC BY-SA 3.0" />
  <row Id="39104" PostHistoryTypeId="2" PostId="23400" RevisionGUID="aa9dd85f-b2c9-4333-936e-59622f7eb3ff" CreationDate="2013-05-06T09:05:45.973" UserDisplayName="user961627" Text="How can I clean up noise from audio recordings? &#xD;&#xA;I recorded on a laptop, using a mike that came with a pair of headsets. It's one person speaking, no instruments or echoes or anything, just one human voice. This is my first recording.&#xD;&#xA;&#xD;&#xA;It's all fine, but I need to get rid of sounds like static, or the burst sound you get when you breathe too close to the mike. &#xD;&#xA;&#xD;&#xA;I'm using Audacity, applied noise removal to smooth out the recording in general, and then managed to get rid of a couple of pops, using &quot;repair&quot;, the draw tool, and equalization. But it's taking AGES, and in my 7 min audio I've still got about 15 more  noises to fix. I'd like to just re-record, but it doesn't help because I can't avoid all these sounds, they always creep in. I don't know if I need a better mike? &#xD;&#xA;&#xD;&#xA;The problem with the repair tool is that I need to zoom in to the sound so much that I lose track, if there were a repair tool that repaired the entire spike sound waves, that would be great.&#xD;&#xA;&#xD;&#xA;Am I really doing whatever there is to be done? Or are there some plugin or tips on cleaning out the recording? When I listen to it on my laptop, it's actually quite decent, but when I put in earphones, the static and other sounds show up in some words." ContentLicense="CC BY-SA 3.0" />
  <row Id="39105" PostHistoryTypeId="1" PostId="23400" RevisionGUID="aa9dd85f-b2c9-4333-936e-59622f7eb3ff" CreationDate="2013-05-06T09:05:45.973" UserDisplayName="user961627" Text="Software recommendation for cleaning out audio recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="39106" PostHistoryTypeId="3" PostId="23400" RevisionGUID="aa9dd85f-b2c9-4333-936e-59622f7eb3ff" CreationDate="2013-05-06T09:05:45.973" UserDisplayName="user961627" Text="&lt;audio-recording&gt;&lt;noise&gt;&lt;cleaning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39107" PostHistoryTypeId="36" PostId="23404" RevisionGUID="388eb965-e419-4d9b-820b-91f2bb77daf6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2802/tv-commercials-that-start-with-a-voice-over-and-later-cut-to-the-narrator" />
  <row Id="39108" PostHistoryTypeId="36" PostId="23405" RevisionGUID="df264d90-20a2-42af-8830-dce5a68660c7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2802/tv-commercials-that-start-with-a-voice-over-and-later-cut-to-the-narrator/2803#2803" />
  <row Id="39109" PostHistoryTypeId="2" PostId="23405" RevisionGUID="2a8851a1-aa6f-43aa-8788-56c97c7528d8" CreationDate="2011-12-14T03:22:15.627" UserDisplayName="gauss256" Text="The easiest way is to just record both audio and video of the narrator.  During editing, use the entire audio track from that recording but just a portion of the video track.  It's known as an L cut.&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/L_cut" ContentLicense="CC BY-SA 3.0" />
  <row Id="39110" PostHistoryTypeId="2" PostId="23406" RevisionGUID="dde4613c-2c09-45c9-aca2-9863bb17c0c9" CreationDate="2011-12-14T04:40:07.503" UserDisplayName="Chard" Text="Most ads use [ADR][1] for the audio. &#xD;&#xA;&#xD;&#xA;@gauss256 is correct; the easiest way is to record both audio and video of the narrator at the same time. However, sometimes this is not the best option for the audio. For example, if the narrator was walking along a beach while speaking, the recoded audio would not be clean. So in that case, they would record the audio as a guide track and then get the actor into a studio for an ADR session. This way they can record perfectly clear audio which they can edit to obtain that 'authoritative' 'voice of God' type sound.&#xD;&#xA;&#xD;&#xA;As for the example you posted in your question, I'm not too sure if that's ADR or not. There's only about a second of footage of the narrator so it's difficult to see if his lips match perfectly with the audio. However, as the background is just pure black, I would assume they'd have recorded his sound and vision in a studio – so as to kill two birds with one stone. &#xD;&#xA;&#xD;&#xA;In terms of how to achieve that 'voice of God' sound, I couldn't give exact instructions. You would just have to experiment with pitch shifting and equalizers in your chosen audio editing program. &#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Dubbing_%28filmmaking%29" ContentLicense="CC BY-SA 3.0" />
  <row Id="39111" PostHistoryTypeId="2" PostId="23404" RevisionGUID="0fb80017-226b-46d5-b992-c8e26fb1727f" CreationDate="2011-12-14T01:07:20.450" UserId="7856" UserDisplayName="Corey" Text="I've noticed several TV commercials that start with a voice over, and later cut to the narrator. There is a unique audio effect, that makes the voice still sound like an overdub, but the lips are in sync. How is this done?&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=EJDsGNxtd1k" ContentLicense="CC BY-SA 3.0" />
  <row Id="39112" PostHistoryTypeId="1" PostId="23404" RevisionGUID="0fb80017-226b-46d5-b992-c8e26fb1727f" CreationDate="2011-12-14T01:07:20.450" UserId="7856" UserDisplayName="Corey" Text="TV commercials that start with a voice over, and later cut to the narrator" ContentLicense="CC BY-SA 3.0" />
  <row Id="39113" PostHistoryTypeId="3" PostId="23404" RevisionGUID="0fb80017-226b-46d5-b992-c8e26fb1727f" CreationDate="2011-12-14T01:07:20.450" UserId="7856" UserDisplayName="Corey" Text="&lt;audio-recording&gt;&lt;video&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39114" PostHistoryTypeId="36" PostId="23406" RevisionGUID="29040767-32db-4b65-bf61-e56f6ff00a0d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2802/tv-commercials-that-start-with-a-voice-over-and-later-cut-to-the-narrator/2804#2804" />
  <row Id="39115" PostHistoryTypeId="36" PostId="23407" RevisionGUID="901a73b8-b47e-4300-891a-212e507badae" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2802/tv-commercials-that-start-with-a-voice-over-and-later-cut-to-the-narrator/2814#2814" />
  <row Id="39116" PostHistoryTypeId="2" PostId="23407" RevisionGUID="95d43593-3f0e-467a-9e01-d446ca2b14dd" CreationDate="2011-12-15T15:24:43.607" UserId="7200" UserDisplayName="leftaroundabout" Text="That typical kind of sound is usually achieved by recording the voice in the near-field of a large-diaphragm condenser microphone. That gives you&#xD;&#xA;&#xD;&#xA; - very little room influence, so it sounds very direct.&#xD;&#xA; - strong, but focused bass response due to the [proximity effect](http://en.wikipedia.org/wiki/Proximity_effect_%28audio%29).&#xD;&#xA;&#xD;&#xA;Since this recording technique requires the speaker to have a fat microphone and pop killer right in front of their face, usually no video is taken from such recordings; as it's so short it's really not a problem to do that with ADR, which they probably did in this clip." ContentLicense="CC BY-SA 3.0" />
  <row Id="39117" PostHistoryTypeId="36" PostId="23408" RevisionGUID="52b8e81f-fe0b-4a7f-9706-2d5de8aa2b91" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9012/is-there-any-software-with-which-i-can-create-5-1-surround-sound" />
  <row Id="39118" PostHistoryTypeId="36" PostId="23409" RevisionGUID="fac53034-ac8c-4569-81f1-8b36cf9b8ea9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9012/is-there-any-software-with-which-i-can-create-5-1-surround-sound/9014#9014" />
  <row Id="39119" PostHistoryTypeId="36" PostId="23410" RevisionGUID="c0a72ef2-ef75-4f4d-9309-80dbb1c1b2ab" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9012/is-there-any-software-with-which-i-can-create-5-1-surround-sound/9022#9022" />
  <row Id="39120" PostHistoryTypeId="36" PostId="23411" RevisionGUID="794b37cc-f50d-4825-8e23-79901ebaba3f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9012/is-there-any-software-with-which-i-can-create-5-1-surround-sound/9026#9026" />
  <row Id="39121" PostHistoryTypeId="36" PostId="23412" RevisionGUID="0c1832ad-9fd6-4d52-88c0-adf9b771406d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9012/is-there-any-software-with-which-i-can-create-5-1-surround-sound/9027#9027" />
  <row Id="39122" PostHistoryTypeId="2" PostId="23409" RevisionGUID="7829d5c1-ea14-466f-b099-31cbc257a47c" CreationDate="2013-09-21T15:36:44.557" UserId="7405" UserDisplayName="Andy aka" Text="I think there is plenty of software to do this but you'll need a sound card with the correct number of channels because the soundcard will need to &quot;offer&quot; 6 channels of ASIO to the host program (wavelab or audacity to name but two).&#xD;&#xA;&#xD;&#xA;Try reading this article from **[Sound on Sound][1]** - it tells you how to configure Wavelab 5 to do it.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/feb05/articles/steinbergwavelab5.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="39123" PostHistoryTypeId="2" PostId="23410" RevisionGUID="2cf2ebdc-adee-487c-9cf7-494242a4f868" CreationDate="2013-09-21T22:08:12.500" UserId="7174" Text="5.1 and even 7.1 can often be done with most decent DVD and Bluray authoring packages.  Look to see if they support a Dolby 5.1 or 7.1 encoder (Dolby encoders require a licensing fee, but many authoring softwares include it in the price).  If they do, it is just a matter of mixing audio feeds to go to each of the channels (typically done as mono channels or stereo or center/sub pairs) and then feeding them into the encoder which will generate a Dolby compatible audio stream.&#xD;&#xA;&#xD;&#xA;Alternately, you can also get a stand alone Dolby encoder if you so desire." ContentLicense="CC BY-SA 3.0" />
  <row Id="39124" PostHistoryTypeId="2" PostId="23411" RevisionGUID="9fa5970c-8519-4152-9f02-f8b942fd56ed" CreationDate="2013-09-22T07:22:19.617" UserDisplayName="Vedant Chandra" Text="[Logic Pro][1] is your solution. You can build a channel-based audio track from scratch, and then split the file over 5.1 and 7.1 channels, using a visual interface.&#xD;&#xA;&#xD;&#xA;Keep in mind that you need a 5.1 or 7.1 speaker system to create a 5.1 or 7.1 track. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.apple.com/logic-pro/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39125" PostHistoryTypeId="2" PostId="23412" RevisionGUID="aa51895f-b0be-49d5-9467-fd86c5b623c9" CreationDate="2013-09-22T08:53:27.297" UserId="7016" Text="As AJ and Andy said, there are a plethora of packages which will do this. The challenge you will find is how to arrange the sound balance correctly.&#xD;&#xA;&#xD;&#xA;If you are just taking existing stereo and mixing it up to 5.1 then you can choose how far you want to balance depth etc., and these packages usually give you options for automatic surround generation.&#xD;&#xA;&#xD;&#xA;If you actually want to create your sound canvas accurately, you need to plan your inputs based on a plan of where the sounds are coming from, and understand delay/lag/phase differences between the different sources so you can make a naturally complete soundscape, or deliberately bring certain items out of the mix to sound articially close, tight or something else.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39126" PostHistoryTypeId="2" PostId="23408" RevisionGUID="fa5ded63-858b-4d5c-b7dd-423ab698ea80" CreationDate="2013-09-21T07:28:35.713" UserDisplayName="Kirk Hammett" Text="I want to be able to create 5.1 and/or 7.1 surround sound/music. Create a single file which will play music on 5.1 or 7.1 channels and as details as follows.&#xD;&#xA;&#xD;&#xA;More explanation:&#xD;&#xA;I want to be able to take 5 or more audio sources and put them together and play them on&#xD;&#xA;separate speakers. Say I have audio sources(a), a1, a2, a3, a4, a5 and I have 5.1 speaker set up. I should be able to play a1 on speaker1, a2 on speaker2,....etc and more mostly leaving sub woofer and woofer (no audio on them).&#xD;&#xA;&#xD;&#xA;- Which software helps me to creating this?&#xD;&#xA;- What are the methods you have employed over the years to achieve this?&#xD;&#xA;- Is there any Freeware for creating surround audio?&#xD;&#xA;&#xD;&#xA;**Update**:&#xD;&#xA;Available sound card [Creative Sound Blaster Audigy SE 7.1 Soundcard][1]&#xD;&#xA;&#xD;&#xA;[1]:http://us.store.creative.com/Creative-Sound-Blaster-Audigy-SE-PCI/M/B000LP0R3E.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="39127" PostHistoryTypeId="1" PostId="23408" RevisionGUID="fa5ded63-858b-4d5c-b7dd-423ab698ea80" CreationDate="2013-09-21T07:28:35.713" UserDisplayName="Kirk Hammett" Text="Is there any software with which I can create 5.1 surround sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39128" PostHistoryTypeId="3" PostId="23408" RevisionGUID="fa5ded63-858b-4d5c-b7dd-423ab698ea80" CreationDate="2013-09-21T07:28:35.713" UserDisplayName="Kirk Hammett" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39129" PostHistoryTypeId="36" PostId="23413" RevisionGUID="b58f9a91-6730-4a04-bd40-f35f19e04e99" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5700/how-to-reproduce-any-sound" />
  <row Id="39130" PostHistoryTypeId="36" PostId="23414" RevisionGUID="9ca7683c-02d6-46e1-98ce-26b82490949a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5700/how-to-reproduce-any-sound/5701#5701" />
  <row Id="39131" PostHistoryTypeId="36" PostId="23415" RevisionGUID="9c34b70e-48d2-46d5-ab8b-2c342fc6240e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5700/how-to-reproduce-any-sound/5702#5702" />
  <row Id="39132" PostHistoryTypeId="2" PostId="23414" RevisionGUID="8b6473ec-9353-4b2f-b7e0-c4250addf249" CreationDate="2012-12-27T06:23:14.690" UserId="7539" UserDisplayName="slim" Text="Your analogy with colour works in a way, but remember that a picture is millions of pixels. One HSV triple gives you a colour, but it doesn't give you textures. With, say, 16 pixels you could approximate a texture. The more pixels you have, the closer you get to being able to reproduce 'any' texture.&#xD;&#xA;&#xD;&#xA;When recording audio as a digital signal, we measure the movement of the microphone diaphragm thousands of times per second. For compact disc quality, that's 44,100 times per second, using a 16 bit number for each measurement. This is called *sampling*.&#xD;&#xA;&#xD;&#xA;That series of numbers contains everything we need about how the air was vibrating - but a single number from the series on its own is of no use.&#xD;&#xA;&#xD;&#xA;The numbers we record actually represent the velocity of the microphone diagram at a given moment in time. That's closely related to amplitude - the velocity is zero at the peak of a wave, and at its fastest as the waveform passes through zero. We can use maths to translate the series of velocity measurements into amplitudes.&#xD;&#xA;&#xD;&#xA;By converting that series of numbers into voltages, and using those to drive a speaker, we play back the sampled sound.&#xD;&#xA;&#xD;&#xA;That tells us how to record and play back sounds, but your question hints at something more subtle. What if we want to generate sounds from first principles, that sound like various instruments. This is called **synthesis**, and it is what a **synthesiser** does.&#xD;&#xA;&#xD;&#xA;None of those numbers in the sample stream represents frequency. But we can look for frequencies in the data. For example, if we have recorded the purest sound possible - a sin wave - the sequence of numbers will hit a peak at regular intervals. The number of peaks in a given time period is the *frequency*. If there are 200 peaks per second, that's a frequency of 200 oscillations per second, or 200 Hz.&#xD;&#xA;&#xD;&#xA;What you're missing about frequency is that sound usually consists of many frequencies *all at the same time*. That is, for example, you might find repetitions in the waveform every 131th of a second, *and* every 165th of a second (this would be the case for a chord of C and E played with sin waves).&#xD;&#xA;&#xD;&#xA;The picture below shows a waveform consisting of two frequencies, both of which you can see clearly. The slower frequency repeats every 30 milliseconds - or 33.33Hz, and the faster frequency repeats every 5 milliseconds - or 200Hz.&#xD;&#xA;&#xD;&#xA;![sin(x) + sin(x*1.2)][1]&#xD;&#xA;&#xD;&#xA;There is a mathematical process called a *Fourier Analysis* which will take a sequence of numbers from sampling, and tell us the loudness of each frequency band. &#xD;&#xA;&#xD;&#xA;A synthesiser can recreate that combination of frequencies in a number of ways. We can construct sounds by combining the output of a number of oscillators producing various frequencies. We can shape sounds by boosting or cutting frequencies in a *filter*.&#xD;&#xA;&#xD;&#xA;Most sounds have more complicated waveforms, and so you would typically be able to find repetition at a number of frequencies.&#xD;&#xA;&#xD;&#xA;But the construction of sound is endlessly complicated. A guitar string has a certain combination of frequencies immediately after it's plucked, then the combination changes continuously as the note decays. Synthesising it completely accurately is a big deal, involving many books' worth of expertise, science, art and craftsmanship.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/34ktg.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="39133" PostHistoryTypeId="2" PostId="23415" RevisionGUID="8b17698c-24ce-46bd-a640-de964e39a490" CreationDate="2012-12-27T10:52:38.790" UserDisplayName="guidot" Text="Your question is difficult, since it consists of some sub-questions each of high complexity on its own.&#xD;&#xA;I try to give a few hints.&#xD;&#xA;&#xD;&#xA;The first issue addresses digitizing sounds: this is always possible by approximation, which can be as exact as you invest effort. The sampling theorem says, that you need at least to sample with twice the frequency of the highest frequency to record. Since young human ears hear to something between 16 and 20 kHz, you need at least 40 kHz. But a pixeling (exactly: quantization) effect remains, like the difference between vector and pixel graphics. You can reduce it, but not get rid of it. (Possibly a reason for vinyl record fans.)&#xD;&#xA;&#xD;&#xA;The second is wave form. The sine wave from physics lessons sounds completely boring, nearest approaching classical instrument is the flute. Violins have more triangle waves, which after fourier analysis can be represented by an overlay of many sine waves of different frequencies, the so-called overtones. This works well for the resonators found in classical instruments. The decomposition to sine waves reaches its limits with unnatural waves like square waves and I remember oscilloscope pictures from high end amplifiers showing small but clearly visible deviations for that waves. So to stay in your sliders comparison: you need something like a variable number of sliders to adjust each the amplitude of each overtone.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The third topic is time variance. Real instruments produce sounds varying considerably over time and therefore this frequency mix also constantly varies: attack, decay and sustain are the phases here, and attack is the most important here to recognize certain instruments. I read once from an experiment, where the attack template of an instrument A was molded on the frequency spectrum of instrument B and most listeners identified the sound of as belonging to A." ContentLicense="CC BY-SA 3.0" />
  <row Id="39134" PostHistoryTypeId="2" PostId="23416" RevisionGUID="ceb8efa5-3236-4188-95d6-9a146078e0f5" CreationDate="2012-12-27T21:08:50.357" UserDisplayName="RedGrittyBrick" Text="To reproduce a sound using a computer, you have to have captured and stored some information about the original sound. There are several approaches to this but I believe the two most generally used are sampling and frequency/waveform analysis.&#xD;&#xA;&#xD;&#xA;Sampling&#xD;&#xA;========&#xD;&#xA;&#xD;&#xA;This is what generally happens when you record music using a computer. An analogue signal from a microphone carries a voltage that varies over time according to the varying air-pressure reaching the microphone. This is fed to an analogue-to-digital converter (ADC) which measures the voltage (samples it) at fixed time intervals and converts that analogue voltage into a digital representation - typically by assigning a small integer value to the value of the voltage. Since the precision is not infinite, this can lose some detail. E.g. converting 1.002, 0.998, 0.981 volts to integer values 120, 120, 119 say (numbers made up and are not representative)&#xD;&#xA;&#xD;&#xA;![enter image description here][1] &lt;sup&gt;Image from [Planet Of Tunes](http://www.planetoftunes.com/digiaudio/how_a_to_d.html)&lt;/sup&gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The frequencies present are somewhat immaterial so long as the sampling frequency is much higher than the highest frequency you need to reproduce. In the example above it appears that the sampling frequency is perhaps 15 x the highest frequency in the musical waveform.&#xD;&#xA;&#xD;&#xA;Note that human hearing extends roughly from 20 Hz to 20 kHz (much less as you get older) and CD sampling for example is around 44 kHz.&#xD;&#xA;&#xD;&#xA;The accuracy depends on both the sampling rate and on the number of bits used to represent the amplitude.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Frequency analysis&#xD;&#xA;=========&#xD;&#xA;&#xD;&#xA;Another way to capture and record the sound of an instrument such as a piano is to make a detailed analysis of the sound of striking a single key. An algorithm known as [Fast Fourier Transform](http://en.wikipedia.org/wiki/Fast_Fourier_transform) (FFT) can be used to determine what frequencies are present in the sound. Striking a hammer against piano wire causes the wire to vibrate in a complex mixture of modes which produces a mixture of frequencies whose amplitudes vary over time. The computercan then store information about which frequencies that are present to which extent and how the overall amplitudes vary over time.&#xD;&#xA;&#xD;&#xA;Synthesisers generally use one of these two approaches, they either replay a captured sample of a real instrument or they attempt to reproduce the known sound using analogue electronic or virtual oscillators that produce sounds of known frequency (and wave-shape) - these are then passed through various filters and mixed with the output of envelope generators to re-create the intended sound.&#xD;&#xA;&#xD;&#xA;the current state of the art seems to be that the most accurate electronic pianos (for example) use sample based synthesis.&#xD;&#xA;&#xD;&#xA;Reproduction&#xD;&#xA;============&#xD;&#xA;&#xD;&#xA;Having stored a digital representation of an analogue soundwave, to reproduce it means converting a recreated digital signal to an analogue soundwave. This is carried out by electronic circuits which are essentially the reverse of an ADC and is sometimes referred to as DAC (Digital to Analogue Converter). This produces a signal that can be fed through an analogue amplifier to loudspeakers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Tone&#xD;&#xA;====&#xD;&#xA;&#xD;&#xA;The difference in tone between a piano and a trumpet is largely one of the mix of harmonics and the dynamics of the note played (e.g. the &quot;shape&quot; of amplitude envelope - how volume varies over time - as seen in the Attack-Decay-Sustain-Release (ADSR) controls on a synthesiser). You can consider the sound as a changing mix of frequencies or as the complex waveform that results from combining them - they travel through the air to your ear in this combined form. It is mechanical parts in your ear plus subconscious analysis in your brain that makes you able to discern the separate frequencies present.&#xD;&#xA;&#xD;&#xA;![Adding two sine waves][2]&#xD;&#xA;&lt;sup&gt;(note: the voltage levels in this diagram are not those encountered in typical audio recording but the principles are the same. audio signals are typically millivolts or at most a few volts depending on whether the source is a microphone, line-in or some other source. line-in signal levels are different for consumer and professional audio equipment)&lt;/sup&gt;&#xD;&#xA;&#xD;&#xA;Adding a fundamental frequency (green) with a third harmonic (orange) produces a complex waveform (red). Only the red waveform need be sampled to reproduce the sound. You could instead, if you have stored information about the frequencies present, synthesize the sound by separately generating the fundamental (green) and the third harmonic (orange) waves using sine-wave oscillators and then adding them together.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/FJhLU.gif&#xD;&#xA;  [2]: http://i.stack.imgur.com/H7D1o.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="39135" PostHistoryTypeId="2" PostId="23413" RevisionGUID="a3192d44-dcdb-4916-abcd-489fdbc89052" CreationDate="2012-12-27T05:01:50.163" UserId="7986" UserDisplayName="Dave C" Text="This may be a silly question, but it is one I don't know and I haven't found an exact answer to it.&#xD;&#xA;&#xD;&#xA;A speaker can reproduce virtually any sound through vibration sequences, using an electromagnet. This means virtually any sound can be stored on a computer. I would like to know what the exact components are that are used in the production of any distinct sound.&#xD;&#xA;&#xD;&#xA;For example, I understand amplitude and frequency. Amplitude, when toggled, changes the loudness of any tone. From what I get, adjusting the frequency would seem to alter the pitch (how high or low) the tone is. But can you reproduce any sound just by adjusting these two points? I don't see how these affect *tone*. You could have the same amplitude and pitch of a particular sound, though it could have a completely different tone, such as comparing a guitar string to a violin. What am I missing?&#xD;&#xA;&#xD;&#xA;I am trying to liken my understanding to, for example, recording colors on a computer. This is simple. By adjusting red, green and blue from 0 - 255 on a scale, you can reproduce nearly every color on the spectrum, to a very fine degree (16,777,216 colors). You can do the same by adjusting HSV.&#xD;&#xA;&#xD;&#xA;What is the comparable parameter for reproducing every possible audio tone on a computer? Is it just two sliders - amplitude and frequency - or are there other factors?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="39136" PostHistoryTypeId="1" PostId="23413" RevisionGUID="a3192d44-dcdb-4916-abcd-489fdbc89052" CreationDate="2012-12-27T05:01:50.163" UserId="7986" UserDisplayName="Dave C" Text="How to reproduce any sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="39137" PostHistoryTypeId="3" PostId="23413" RevisionGUID="a3192d44-dcdb-4916-abcd-489fdbc89052" CreationDate="2012-12-27T05:01:50.163" UserId="7986" UserDisplayName="Dave C" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39138" PostHistoryTypeId="36" PostId="23416" RevisionGUID="9ba96ba0-168e-4425-aebe-0eafb03c39ae" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5700/how-to-reproduce-any-sound/5703#5703" />
  <row Id="39139" PostHistoryTypeId="36" PostId="23417" RevisionGUID="46e9b57e-3ec8-4e6c-9103-36c061983e50" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5700/how-to-reproduce-any-sound/10007#10007" />
  <row Id="39140" PostHistoryTypeId="2" PostId="23417" RevisionGUID="a5fc708a-080f-4d0d-bbb0-1ad8b5d4a316" CreationDate="2014-01-22T16:02:05.653" UserDisplayName="Yimin Rong" Text="As an aside, you can get by with only one bit for audio I/O!&#xD;&#xA;&#xD;&#xA;What they do is set up a carrier wave by flipping the value back and forth very quickly 1-0-1-0-1-0..., at a frequency outside of most people's hearing. It is flipped so quickly that the speaker cone doesn't have time to move enough to reach the 0 or 1 position, so the speaker cone stays close to a neutral position - say ½.&#xD;&#xA;&#xD;&#xA;Ideally, you won't hear anything from the speaker in this neutral state. Changing some of the 0 bits to 1 brings the speaker cone out, and vice versa with changing 1 bits to 0, brings the speaker cone in. This motion of the speaker cone will be perceived as sound. Any sound can be reproduced adequately by this method. Officially this a variation of pulse width modulation - PWM.&#xD;&#xA;&#xD;&#xA;Oddly, it works better on poorer quality speakers like in cell phones, because the low fidelity of the speaker smooths out the &quot;rough edges&quot;. " ContentLicense="CC BY-SA 3.0" />
  <row Id="39141" PostHistoryTypeId="36" PostId="23418" RevisionGUID="31d7dd07-9658-44f1-a024-c82a292bbf84" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1505/what-equipment-and-software-do-i-need" />
  <row Id="39142" PostHistoryTypeId="36" PostId="23419" RevisionGUID="9f5966a5-e00a-42de-99d4-57798c4476b9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1505/what-equipment-and-software-do-i-need/1592#1592" />
  <row Id="39143" PostHistoryTypeId="2" PostId="23419" RevisionGUID="7a4c35b8-c5ab-45f0-aa45-ffb84f38fecf" CreationDate="2011-06-15T00:11:57.097" UserDisplayName="SeanBlake" Text="Nothing is impossible. If it were absolutely necessary, depending on your available resources, you could use two computers with skype, both running into an audio interface, recording into your DAW. Then it's just a matter of sending back a submix of yourself + guest A to guest B and yourself + guest B to guest A.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Blake" ContentLicense="CC BY-SA 3.0" />
  <row Id="39144" PostHistoryTypeId="2" PostId="23420" RevisionGUID="2f362f12-218f-4b56-b4a4-20dbf5516899" CreationDate="2011-06-17T03:48:28.033" UserId="7653" UserDisplayName="Joel Spolsky" Text="I'm assuming you have:&#xD;&#xA;&#xD;&#xA;* you in the &quot;studio&quot;&#xD;&#xA;* guest one over skype&#xD;&#xA;* guest two also over skype&#xD;&#xA;&#xD;&#xA;And you want to record three tracks. Very reasonable. The trouble is that if you use a single instance of skype both guests will come in on the same channel. Worse, skype will cut out guest one while guest two is talking and vice versa.&#xD;&#xA;&#xD;&#xA;The solution is to have two separate instances of skype, each calling just one of the guests. Because Skype won't run two instances on the same computer, you'll either want to use two computers or, if you're cheap, two virtual machines using VMWare or the like.&#xD;&#xA;&#xD;&#xA;So now you've got Skype 1 talking to Guest 1 and Skype 2 talking to Guest 2. The next trick is to route:&#xD;&#xA;&#xD;&#xA;* the audio from you and guest 1 to guest 2&#xD;&#xA;* the audio from guest 1 and guest 2 to you&#xD;&#xA;* the audio from you and guest 2 to guest 1&#xD;&#xA;&#xD;&#xA;The common denominator here is that everybody wants to hear everybody but themselves. This is called [Mix Minus](http://en.wikipedia.org/wiki/Mix-minus). You'll need a mixer (either a software mixer or a physical mixer) that can produce three separate output streams with a different mix on each of them. Software mixers can do this easily. For a physical mixer, you need one that has two &quot;AUX&quot; mixes plus the main mix.&#xD;&#xA;&#xD;&#xA;That's the basic setup. The details could go on for many pages, but this should be enough to get you started." ContentLicense="CC BY-SA 3.0" />
  <row Id="39145" PostHistoryTypeId="2" PostId="23418" RevisionGUID="a9fddd61-d8db-486c-907f-51c56755ad7f" CreationDate="2011-05-31T00:51:55.207" UserId="7696" UserDisplayName="Sathyaish" Text="I need to have two people on a phone call and record all the three voices -- mine and the voices of each of the other two guests -- on separate tracks. I could use the plain old telephone or Skype to make the call, whatever you say works better. But my end goal is to have each voice on a separate track. Or at the very least, all voices on (n - 1) tracks where n is the number of people on the call. In other words, in the worst case (n - 1) scenario, I could have my own voice be interlaced with another guests voice in one track.&#xD;&#xA;&#xD;&#xA;What setup would give me the result I need? What all equipment and software would I need? Also, what is the best sound mixer for a home studio use?&#xD;&#xA;&#xD;&#xA;How will the sound output from a given PC that the call is on, go to the sound mixer? What interface -- USB/Firewire do sound mixers use?&#xD;&#xA;&#xD;&#xA;Sorry, I am a total newbie as far as sound mixing is concerned." ContentLicense="CC BY-SA 3.0" />
  <row Id="39146" PostHistoryTypeId="1" PostId="23418" RevisionGUID="a9fddd61-d8db-486c-907f-51c56755ad7f" CreationDate="2011-05-31T00:51:55.207" UserId="7696" UserDisplayName="Sathyaish" Text="What equipment and software do I need?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39147" PostHistoryTypeId="3" PostId="23418" RevisionGUID="a9fddd61-d8db-486c-907f-51c56755ad7f" CreationDate="2011-05-31T00:51:55.207" UserId="7696" UserDisplayName="Sathyaish" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39148" PostHistoryTypeId="36" PostId="23420" RevisionGUID="297ae349-a1d4-441d-91bf-ca0170e6c0ad" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1505/what-equipment-and-software-do-i-need/1606#1606" />
  <row Id="39149" PostHistoryTypeId="36" PostId="23421" RevisionGUID="29062d4c-ef30-4e0c-8487-cfbe1f8b9434" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/382/rendering-vs-recording-in-ableton-live" />
  <row Id="39150" PostHistoryTypeId="2" PostId="23422" RevisionGUID="ee4c4980-2056-46ff-a225-7492f165d9c5" CreationDate="2010-12-20T12:22:23.090" UserDisplayName="Ed J" Text="I find it better to render in 24bit with no dither then allow whatever I use to convert the resulting WAV file to mp3/whatever to dither it down if needed.&#xD;&#xA;&#xD;&#xA;I contacted the Ableton support team about this problem a while back and they recommended ditching the dithering after I sent them a demo set with comparisons of sine wave sweeps.&#xD;&#xA;&#xD;&#xA;One way you can check if this is making a difference is to export something simple (like my sine-wave thing), then import that file back into the original set as an audio track, invert it's phase and play it alongside the original sound source. If your set is being rendered correctly the two sources should (almost) cancel each other out, if not you'll still be able to hear it (at a lower volumn)." ContentLicense="CC BY-SA 2.5" />
  <row Id="39151" PostHistoryTypeId="2" PostId="23421" RevisionGUID="d7254239-fc40-4f80-b346-f4f893e7ca93" CreationDate="2010-12-19T22:22:37.653" UserId="17859" UserDisplayName="daniel" Text="In Ableton Live, it seems like I get better (clearer, louder, better dynamics) results when I route and record my master track to an audio track instead of using the &quot;render-to-disk&quot; function.  &#xD;&#xA;&#xD;&#xA;Has anyone else experienced this?  Is this just my perception, or am I doing something wrong when using &quot;render-to-disk&quot;?  &#xD;&#xA;&#xD;&#xA;(EDIT: My entire Ableton Live render settings: &#xD;&#xA;&#xD;&#xA; - Normalize:  off&#xD;&#xA; - Render as Loop:  off&#xD;&#xA; - File type:  aiff&#xD;&#xA; - Convert to Mono:  off&#xD;&#xA; - Sample rate:  44100 (which matches my default &quot;In/Out Sample Rate&quot; in prefs)&#xD;&#xA; - Bit depth:  16&#xD;&#xA; - Dither:  Triangular&#xD;&#xA; - Create analysis file:  off&#xD;&#xA; &#xD;&#xA;)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39152" PostHistoryTypeId="1" PostId="23421" RevisionGUID="d7254239-fc40-4f80-b346-f4f893e7ca93" CreationDate="2010-12-19T22:22:37.653" UserId="17859" UserDisplayName="daniel" Text="Rendering vs. recording in ableton live?" ContentLicense="CC BY-SA 2.5" />
  <row Id="39153" PostHistoryTypeId="3" PostId="23421" RevisionGUID="d7254239-fc40-4f80-b346-f4f893e7ca93" CreationDate="2010-12-19T22:22:37.653" UserId="17859" UserDisplayName="daniel" Text="&lt;audio-recording&gt;&lt;ableton&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39154" PostHistoryTypeId="36" PostId="23422" RevisionGUID="4fd1004b-074d-4a8d-bf8e-da236fa0a318" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/382/rendering-vs-recording-in-ableton-live/393#393" />
  <row Id="39155" PostHistoryTypeId="36" PostId="23423" RevisionGUID="97010ce8-eee3-4ae6-a075-af48253c79ac" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/382/rendering-vs-recording-in-ableton-live/5387#5387" />
  <row Id="39156" PostHistoryTypeId="2" PostId="23423" RevisionGUID="b931b317-a44a-40f4-b5b0-fac2df1b5a35" CreationDate="2012-11-22T10:28:28.510" UserId="17437" UserDisplayName="Peyu Solakov" Text="What you experience might be true indeed - in terms of **different**, **not better** quality. The reason this difference occurs is very simple:&#xD;&#xA;&#xD;&#xA; 1. There are some effects in Live that have their default 'quality' settings set to normal instead of best (i.e. Reverb - the rendering difference between the different quality modes is pretty obvious here). It is like this in order to spare some resources and not to lose the performance-oriented aspect of Live. So, when you're rendering - these effects are rendered with 'best' quality - therefore they might sound different. You might try switching the effects quality setting to the highest value - therefore you either have to sacrifice more resources, or freeze some tracks. Usually freezing is the best practice when working with more complex sets.&#xD;&#xA; 2. There is a possible reason for decreased quality during render though - there are some buggy/old VST effect/instruments that don't work well in rendering mode - but this is *very rare*. If you think this might be the case, you might examine the cause of the problem by exporting your channels one by one (don't forget the routing, if any). &#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="39157" PostHistoryTypeId="36" PostId="23424" RevisionGUID="68e30ecd-c893-4156-8f4c-cb9a98d139bb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4987/how-tough-is-it-to-eliminate-the-background-noises-of-this-video" />
  <row Id="39158" PostHistoryTypeId="36" PostId="23425" RevisionGUID="57682202-7b52-4b83-aace-a3490b0660d1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4987/how-tough-is-it-to-eliminate-the-background-noises-of-this-video/4989#4989" />
  <row Id="39159" PostHistoryTypeId="36" PostId="23426" RevisionGUID="6acd75f1-4f91-4ce4-aae6-c3387fe66184" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4987/how-tough-is-it-to-eliminate-the-background-noises-of-this-video/5012#5012" />
  <row Id="39160" PostHistoryTypeId="2" PostId="23425" RevisionGUID="0bee1216-b8e1-407b-b487-37f0455ebb9f" CreationDate="2012-10-12T08:49:37.543" UserDisplayName="omphteliba" Text="If you have Adobe Soundbooth you can use the [clean-up feature][1]. You select a part of the video that only has the noise and Soundbooth tries to filter out the noise when the two people speak. Your mileage may vary.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mediacollege.com/adobe/soundbooth/tasks/clean-up-audio/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39161" PostHistoryTypeId="2" PostId="23426" RevisionGUID="2b503532-3bdd-4e87-bd1f-ca39ffeab690" CreationDate="2012-10-14T11:37:24.510" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="To remove the noise you need a software capable of FFT (Fourier) based analysis. This may sound complex, but it's a simple operation of marking an area where only the noise is, then run the filter which will try to remove the noise marked.&#xD;&#xA;&#xD;&#xA;Be aware though, this has some squicky (literally) side-effects making parts of the audio sound hollow and with small &quot;squicks&quot; here and there.&#xD;&#xA;&#xD;&#xA;Room reflection / reverb require a different approach. It cannot be removed itself, but you can reduce it by chaining gate, limiter and compressor. The settings for each must be adjusted based on the sound. Start with the gate to find threshold and attack. To little attack will make it sound very unnatural so be gentle on this one. Use the limiter to amplify the audio and then the compressor to &quot;compress&quot; the sound down again.&#xD;&#xA;&#xD;&#xA;I don't have a setup where I am to try different settings and so forth, so this last part is just from top of my head.&#xD;&#xA;&#xD;&#xA;Recommendations for noise removal:&#xD;&#xA;&#xD;&#xA;As omphteliba recommended, Adobe Soundbooth. But in addition, this little guy is low-budget but can do amazing stuff:&#xD;&#xA;&#xD;&#xA;[http://www.goldwave.com][1]&#xD;&#xA;&#xD;&#xA;[Audacity][2] also support [noise filters][3], but I don't know how well they work. Latter software is free.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.goldwave.com&#xD;&#xA;  [2]: http://audacity.sourceforge.net/download/windows&#xD;&#xA;  [3]: http://wiki.audacityteam.org/wiki/Noise_Removal" ContentLicense="CC BY-SA 3.0" />
  <row Id="39162" PostHistoryTypeId="2" PostId="23424" RevisionGUID="3c7ee279-de4b-4c16-8f54-622d4494c862" CreationDate="2012-10-12T06:38:57.573" UserDisplayName="stanigator" Text="As in the title, how tough is it to eliminate the background noises of this video?&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?feature=player_embedded&amp;v=Bbsn4Wzcx_k" ContentLicense="CC BY-SA 3.0" />
  <row Id="39163" PostHistoryTypeId="1" PostId="23424" RevisionGUID="3c7ee279-de4b-4c16-8f54-622d4494c862" CreationDate="2012-10-12T06:38:57.573" UserDisplayName="stanigator" Text="How tough is it to eliminate the background noises of this video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39164" PostHistoryTypeId="3" PostId="23424" RevisionGUID="3c7ee279-de4b-4c16-8f54-622d4494c862" CreationDate="2012-10-12T06:38:57.573" UserDisplayName="stanigator" Text="&lt;audio&gt;&lt;noise-cancelling&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39165" PostHistoryTypeId="36" PostId="23427" RevisionGUID="00ef65e0-24c4-4069-ae6c-8f13d222c5d2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7297/what-equipment-should-i-use-for-recording-conference-audio" />
  <row Id="39166" PostHistoryTypeId="36" PostId="23428" RevisionGUID="5645d4f0-b69a-41b5-a9a6-34c067885b64" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7297/what-equipment-should-i-use-for-recording-conference-audio/7299#7299" />
  <row Id="39167" PostHistoryTypeId="36" PostId="23429" RevisionGUID="d482218c-a5e6-43bc-91d8-216244e84cb9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7297/what-equipment-should-i-use-for-recording-conference-audio/7448#7448" />
  <row Id="39168" PostHistoryTypeId="2" PostId="23428" RevisionGUID="bf34a480-38ed-4509-b01c-04838b46e838" CreationDate="2013-03-04T14:08:54.880" UserId="7174" Text="You want a distribution amplifier.  It is a device that takes a single input and produces 2 or more outputs at the same power level.  Simply plug the microphone receiver in to the input of the DA and then plug one output in to the camera (or a dedicated audio recorder) and the other in to the sound board.  &#xD;&#xA;&#xD;&#xA;You could do the same thing with just a simple wire splitter, but there would be signal loss then as the signal would probably not be powerful enough to run two devices on its own.  DAs are normally pretty cheap and used all the time for exactly what you are looking for." ContentLicense="CC BY-SA 3.0" />
  <row Id="39169" PostHistoryTypeId="2" PostId="23429" RevisionGUID="dfe20e91-7d20-408e-ad0c-ce8fd05e45b7" CreationDate="2013-03-21T07:31:24.827" UserId="7312" UserDisplayName="Eugene S" Text="When it is required to combine and route audio signals - [audio mixers][1] are used. You can obtain a very basic model for around ~100$ and it will solve all your problems. Mixer will allow you to connect one or more audio feeds and then route the combined signal to a number of destinations. The number of mixer outputs is of course defined by the mixer model and price. Just as an example you can take these into account:&#xD;&#xA;&#xD;&#xA; 1. [Mackie 402-VLZ3][2]&#xD;&#xA; 2. [Wharfedale Connect 802][3]&#xD;&#xA;&#xD;&#xA;**P.S.** I'm not recommending these specific models and brands and mention these just an example.&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Audio_console&#xD;&#xA;  [2]: http://www.amazon.com/Mackie-402-VLZ3-Premium-4-Channel-Ultra-Compact/dp/B00132EJJW&#xD;&#xA;  [3]: http://www.reddogmusic.co.uk/catalog/product/438615/wharfedale-connect-802" ContentLicense="CC BY-SA 3.0" />
  <row Id="39170" PostHistoryTypeId="2" PostId="23427" RevisionGUID="fd4b1bc2-f94d-447b-9f87-f0041e5fb362" CreationDate="2013-03-04T06:31:17.260" UserDisplayName="normis" Text="I need to record conference video/audio, and the audio is giving me trouble. Each hotel has their own type of PA (speaker) system, it is not universally compatible. Each conference takes place in a different hotel. &#xD;&#xA;&#xD;&#xA;I want to record the audio from a wireless clip-on microphone that we bring, but I also want the sound from this microphone to be heard in the speakers. &#xD;&#xA;&#xD;&#xA;Can I **use one wireless microphone, a portable body pack transmitter, and receive this sound in *two locations* at the same time** - the hotel audio system, and the video camera?&#xD;&#xA;&#xD;&#xA;Do you recommend a specific system for this scenario? THANKS!" ContentLicense="CC BY-SA 3.0" />
  <row Id="39171" PostHistoryTypeId="1" PostId="23427" RevisionGUID="fd4b1bc2-f94d-447b-9f87-f0041e5fb362" CreationDate="2013-03-04T06:31:17.260" UserDisplayName="normis" Text="What equipment should I use for recording conference audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39172" PostHistoryTypeId="3" PostId="23427" RevisionGUID="fd4b1bc2-f94d-447b-9f87-f0041e5fb362" CreationDate="2013-03-04T06:31:17.260" UserDisplayName="normis" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;microphone&gt;&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39173" PostHistoryTypeId="36" PostId="23430" RevisionGUID="dfb6536f-239b-4057-856a-e44436fc7229" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7856/how-to-design-retro-videogame-sound-effects" />
  <row Id="39174" PostHistoryTypeId="2" PostId="23431" RevisionGUID="33a3b273-4001-4f63-9ead-0c2fc40f4f4d" CreationDate="2013-05-10T22:34:35.380" UserDisplayName="Inverse Phase" Text="Actually, you're mostly doing it right, that's how many of us chiptune artists learn to do it: by messing around. Another thing you may want to try is using a tracker like Famitracker (or even a sample-based tracker like Milkytracker), and just creating sound effects with notes. Then add tracker effects to the notes." ContentLicense="CC BY-SA 3.0" />
  <row Id="39175" PostHistoryTypeId="2" PostId="23430" RevisionGUID="f3cfd0c8-e94c-471c-ba98-6ff37bf97d32" CreationDate="2013-05-10T16:12:07.097" UserDisplayName="Karl" Text="I am trying to figure out **retro game** sound effect creation. So I looked around and came across websites such as http://www.bfxr.net/ and http://www.superflashbros.net/as3sfxr/ These sites allow you to create retro style sound effects. While I can perform various experiment to get random sounds, there is a problem. Adjusting various sliders here and there without proper knowledge of sound wave manipulation, to me, is no different than cavemen brute-forcing figuring out which plants are edible and which are not. I think I am doing this wrong.&#xD;&#xA;&#xD;&#xA;While experimenting on your own and teaching yourself is a good thing it will take a very long time without a mentor or assistance. So I am looking for some sort of good read or tutorial that gives insight on how audio behaves with different settings, recommended setting for certain sound type (ex. imagine Megaman shooting his bullet and death sound of your character in Contra. Because of the hardware limitation of the old days, creativity is applied on sound design to &quot;move&quot; us in some ways.), etc. I want to try to imitate some of the sounds from NES games, but I do not know the correct settings required for this. &#xD;&#xA;&#xD;&#xA;**I want to know how to deal with each setting correctly so that I can produce the sound that I have in my head.**&#xD;&#xA;&#xD;&#xA;If I am to be able to understand the concept of sound manipulation better and if I am to be able to generate retro sound more efficiently, where must I look and what must I do?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39176" PostHistoryTypeId="1" PostId="23430" RevisionGUID="f3cfd0c8-e94c-471c-ba98-6ff37bf97d32" CreationDate="2013-05-10T16:12:07.097" UserDisplayName="Karl" Text="How to design retro videogame sound effects?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39177" PostHistoryTypeId="3" PostId="23430" RevisionGUID="f3cfd0c8-e94c-471c-ba98-6ff37bf97d32" CreationDate="2013-05-10T16:12:07.097" UserDisplayName="Karl" Text="&lt;audio&gt;&lt;sound-effects&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39178" PostHistoryTypeId="36" PostId="23431" RevisionGUID="2b4b6e51-2c66-476c-b1b1-7dab6a77543e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7856/how-to-design-retro-videogame-sound-effects/7860#7860" />
  <row Id="39187" PostHistoryTypeId="36" PostId="23435" RevisionGUID="21fa6207-26a7-4051-8f98-e9348824b358" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2387/how-do-i-broadcast-a-live-event-over-a-phone-land-line" />
  <row Id="39188" PostHistoryTypeId="36" PostId="23436" RevisionGUID="cb46aeda-ad65-4fda-8d40-ca0601f32cc6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2387/how-do-i-broadcast-a-live-event-over-a-phone-land-line/2388#2388" />
  <row Id="39189" PostHistoryTypeId="36" PostId="23437" RevisionGUID="16f1815d-2b6f-443a-87ff-2b7f5b747d08" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2387/how-do-i-broadcast-a-live-event-over-a-phone-land-line/2392#2392" />
  <row Id="39190" PostHistoryTypeId="2" PostId="23436" RevisionGUID="476a36fe-d577-413c-a203-13804bdb2fd1" CreationDate="2011-09-28T08:50:15.540" UserId="8076" UserDisplayName="jackJoe" Text="You could go with a VOIP (voice over Internet Protocol) solution. There are several services arround and Skype could be a good one for this.&#xD;&#xA;&#xD;&#xA;The &quot;simplest&quot; way would be to setup all your mics, connected to a computer (via whatever hardware you would normally use), and if (for instance) using skype, setup the input to the external mics connected.&#xD;&#xA;&#xD;&#xA;Then use skype to call the landline number. Note that you need to pay for the call, prices vary.&#xD;&#xA;&#xD;&#xA;There are more technological correct methods, but this one IMO is very easy and straightforward." ContentLicense="CC BY-SA 3.0" />
  <row Id="39191" PostHistoryTypeId="2" PostId="23437" RevisionGUID="f7e06109-acf0-4d0b-b102-f8b473731b15" CreationDate="2011-09-28T15:19:19.027" UserDisplayName="Bryce Alan Flurie" Text="You need an interface box. Something like this. &#xD;&#xA;http://www.bhphotovideo.com/c/product/380766-REG/Rolls_PI9_PI9_Phone_Patch_II.html&#xD;&#xA;&#xD;&#xA;You can run your audio out of your mixer into this. There are better models, but for a one time event you might want to go the cheap route.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39192" PostHistoryTypeId="2" PostId="23435" RevisionGUID="9b2b741e-80be-4096-af69-05da9c0b60e8" CreationDate="2011-09-28T01:04:21.073" UserDisplayName="nipj" Text="I'm running a live event where there's a panel discussion. The panelists will be mic'ed and there will be an audio setup with receiver and speakers. &#xD;&#xA;&#xD;&#xA;I know it's old school but I want to broadcast what the panelists say over the phone. I have a phone connection in the room. Do I just get a handset, leave it on the ground, and let it pick up the audio. Seems like the quality will be pretty poor. Is there another economical option I can pursue?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39193" PostHistoryTypeId="1" PostId="23435" RevisionGUID="9b2b741e-80be-4096-af69-05da9c0b60e8" CreationDate="2011-09-28T01:04:21.073" UserDisplayName="nipj" Text="How do I broadcast a live event over a phone (land) line?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39194" PostHistoryTypeId="3" PostId="23435" RevisionGUID="9b2b741e-80be-4096-af69-05da9c0b60e8" CreationDate="2011-09-28T01:04:21.073" UserDisplayName="nipj" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39195" PostHistoryTypeId="36" PostId="23438" RevisionGUID="33ef6fca-73db-4ecf-ab71-9b2a822b7d90" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9347/sound-quality-difference-between-usb-cables" />
  <row Id="39196" PostHistoryTypeId="36" PostId="23439" RevisionGUID="5c15d3ae-b34d-4e97-9e2a-3a792a80d922" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9347/sound-quality-difference-between-usb-cables/9348#9348" />
  <row Id="39197" PostHistoryTypeId="2" PostId="23439" RevisionGUID="e7376896-42c4-4dfd-8b9d-03f8e5437263" CreationDate="2013-11-08T16:02:19.870" UserId="23232" UserDisplayName="Dmitri Nesteruk" Text="I find such arguments generally invalid. The whole point of digital is that the signal is transmitted as-is, without loss or coloration. Now, one might make an argument from the standpoint of interference (e.g., if you're running your USB cable alongside a thinly insulated power cable with a 10kw load), but such arguments are silly as well.&#xD;&#xA;&#xD;&#xA;If someone out there can point me to articles which give actual scientific proof as to why cables would in any way alter the transmitted *digital* content (i.e., its frequency or content), I'd be very interested in taking a look." ContentLicense="CC BY-SA 3.0" />
  <row Id="39198" PostHistoryTypeId="2" PostId="23440" RevisionGUID="ad22d795-f238-4926-85ac-84f8247a550a" CreationDate="2013-11-08T18:12:41.500" UserId="7174" Text="A good digital signal should either get there or not.  Minor differences in cable quality are not going to have any impact at all other than latency.  Latency is simply the delay in how long it takes to get to point a to point b and won't impact the sound quality significantly.  USB is a digital signal, so a &quot;premium&quot; USB cable is a load of crap.  There is no real difference between a well made $2 USB cable and a $50 premium one.  You get the exact same result.  &#xD;&#xA;&#xD;&#xA;If the cable is too long or improperly shielded and you use a transfer mode that doesn't have packet retry, it's possible that cable induced jitter (ones being detected as zeros and vice versa) could result in packet loss which would impact the sound, but you should be able to detect if that is happening and a buffering format that can retry packets will prevent any impact from this, however that increases latency.  If you absolutely need super low latency, then it might make a difference, but otherwise, not so much.&#xD;&#xA;&#xD;&#xA;For analog signals on the other hand, it's a very different situation, though the &quot;premium&quot; cables are rarely, if ever, worth the cost, even in the professional market.&#xD;&#xA;&#xD;&#xA;As for the reviews, they work better in those cases because they are paid by the manufacturer from the boat loads of profit that they make when a sucker buys a cable that cost them $.50 to make for $500.  The review just reads like something someone in a poorly thought out marketing department wrote.  It's an ad not a review.  (Update: One of the reviews appeared like it could potentially be legit, but they were also talking about using it in ultra-low latency environments and I'm still not sure that I buy that the reviewer knew what he was listening for.  It wouldn't be the first time that placebo effects impacted the perceived listening experience.  Until they can identify which cable is which in a blind test, I don't buy in to it, certainly not for sound quality, maybe for latency. (Though even that I kind of doubt.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="39199" PostHistoryTypeId="2" PostId="23438" RevisionGUID="d9aed023-deaa-47d0-92e3-c55e0e7361c3" CreationDate="2013-11-08T15:26:11.967" UserId="7203" UserDisplayName="Albert" Text="I am currently reading about Digital-Analog-Converters in a magazine. In one section about connecting an iPod, it says that the sound via a [USB cable such as the one from Audioquests Cinnamon](http://www.audioquest.com/apple-series/forest) is *significantly smoother and more velvety* compared to the official USB cable from Apple.&#xD;&#xA;&#xD;&#xA;Also, a standard USB cable: In the description of [Audioquest &quot;Coffee&quot;](http://www.audioquest.com/usb-digital-audio/coffee), they are claiming that there is a huge difference. And they cost about 280€! Or their [&quot;Diamond&quot; version](http://www.audioquest.com/usb-digital-audio/diamond) costs about 550€! [Here](http://www.whathifi.com/review/cinnamon-usb) is some review, again claiming that there is a difference. [Here](http://www.hifi-advice.com/Audioquest-Diamond-USBcable-review.html) is another review. And [here](http://www.audiostream.com/content/usb-cable-shootout) another one.&#xD;&#xA;&#xD;&#xA;How can that be? The signals which go through the cable are digital. How can there be any difference?&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;(Just for reference, I also asked the same question on [Apple.SE](http://apple.stackexchange.com/questions/108858/sound-quality-difference-between-usb-cables/) with similar answers.)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39200" PostHistoryTypeId="1" PostId="23438" RevisionGUID="d9aed023-deaa-47d0-92e3-c55e0e7361c3" CreationDate="2013-11-08T15:26:11.967" UserId="7203" UserDisplayName="Albert" Text="sound quality difference between USB cables" ContentLicense="CC BY-SA 3.0" />
  <row Id="39201" PostHistoryTypeId="3" PostId="23438" RevisionGUID="d9aed023-deaa-47d0-92e3-c55e0e7361c3" CreationDate="2013-11-08T15:26:11.967" UserId="7203" UserDisplayName="Albert" Text="&lt;audio&gt;&lt;usb&gt;&lt;digital&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39202" PostHistoryTypeId="36" PostId="23440" RevisionGUID="81b757f7-0395-4360-b213-1a220c5449aa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9347/sound-quality-difference-between-usb-cables/9349#9349" />
  <row Id="39203" PostHistoryTypeId="36" PostId="23441" RevisionGUID="0cf3eb89-1664-402e-8dfb-dafc746e7c0d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9347/sound-quality-difference-between-usb-cables/9354#9354" />
  <row Id="39204" PostHistoryTypeId="2" PostId="23441" RevisionGUID="ecfe8a9a-7bea-4799-b712-7084a47d9895" CreationDate="2013-11-09T04:10:58.563" UserDisplayName="Sam Nicholson" Text="It is theoretically possible for a USB cable to impact the audio quality, however for any practical application it is extremely unlikely, to the point of impossible.&#xD;&#xA;&#xD;&#xA;For instance, a really cheap, badly made cable will potentially drop out altogether as the materials and mechanical quality can be awful and conductors completely come away from the plug intermittently, but if the cable wasn't impossibly cheap, this is very unlikely.&#xD;&#xA;&#xD;&#xA;For a bus-powered device, if the cable shielding isn't up to scratch and the amplifier/DAC/whatever has inadequate power supply filtering, noise coupling onto VBUS will cause an issue, although often the connections inside a PC are the culprit for this sort of noise (ie buzzing when a USB stick is accessed on a neighboring port). &#xD;&#xA;&#xD;&#xA;Finally, it is possible that the geometry and materials that make up these cables change their transmission line properties (propagation velocity etc) to such a degree that communication over a longer distance than the 5 metres in the USB specification would be possible, although above 5m USB is the wrong system to use anyway.&#xD;&#xA;&#xD;&#xA;As for these reviews saying the sound quality gets better, I would love to see the same cables connected to an oscilloscope and a signal generator to see if the signals see any meaningful change, I suspect the answer would be no." ContentLicense="CC BY-SA 3.0" />
  <row Id="39205" PostHistoryTypeId="36" PostId="23442" RevisionGUID="e4bae392-140b-4490-8755-bd6014f75844" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5743/how-can-i-create-dubstep-style-wobble-bass-lines-in-audacity" />
  <row Id="39206" PostHistoryTypeId="2" PostId="23443" RevisionGUID="1adef8a6-c6f9-4acb-bce4-b6a4193d1cf7" CreationDate="2013-01-04T03:25:45.650" UserId="7189" Text="While you could create a wobble in Audacity, you might go insane trying.&#xD;&#xA;&#xD;&#xA;Instead, download [pure data][1], and work through the tutorials. You don't need to get into much advanced stuff, just learn how to create an OSC~ and a DAC~ and a bit on filtering and FM. Then you can hook up as many oscillators as you want and modulate them and the filters. That's pretty much how you wobble.&#xD;&#xA;&#xD;&#xA;Once you've made a PD patch that wobbles nicely, record it. Next, slice that recording up in Audacity and arrange the pieces as you please.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://puredata.info" ContentLicense="CC BY-SA 3.0" />
  <row Id="39207" PostHistoryTypeId="2" PostId="23442" RevisionGUID="5850573e-374e-417a-b9c3-a503eb5be0ef" CreationDate="2013-01-03T23:56:37.643" UserId="11168" UserDisplayName="Stop forgetting my accounts..." Text="What is the most effective way to produce wobbling bass lines, such as that you might hear in the &quot;dubstep&quot; (a.k.a. techno-bass) genre?&#xD;&#xA;&#xD;&#xA;My current idea is to generate a linear sine wave that goes from frequency 60 to 20 and make a duplicate logarithmic version.  Playing them side by side produces a wobble effect, but I need a more flexible way to make bass lines; like something that I could tweak the sound of.&#xD;&#xA;&#xD;&#xA;Can anybody provide an example of how to do this without using existing sound clips?&#xD;&#xA;&#xD;&#xA;I'm using the latest version of Audacity, 2.0.2." ContentLicense="CC BY-SA 3.0" />
  <row Id="39208" PostHistoryTypeId="1" PostId="23442" RevisionGUID="5850573e-374e-417a-b9c3-a503eb5be0ef" CreationDate="2013-01-03T23:56:37.643" UserId="11168" UserDisplayName="Stop forgetting my accounts..." Text="How can I create dubstep-style wobble bass lines in Audacity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39209" PostHistoryTypeId="3" PostId="23442" RevisionGUID="5850573e-374e-417a-b9c3-a503eb5be0ef" CreationDate="2013-01-03T23:56:37.643" UserId="11168" UserDisplayName="Stop forgetting my accounts..." Text="&lt;audio&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39210" PostHistoryTypeId="36" PostId="23443" RevisionGUID="0960de34-351e-44fb-aa37-9743eda449ff" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5743/how-can-i-create-dubstep-style-wobble-bass-lines-in-audacity/5744#5744" />
  <row Id="39211" PostHistoryTypeId="36" PostId="23444" RevisionGUID="e4cfbbc7-1339-438c-aab9-ceb97de120c0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5743/how-can-i-create-dubstep-style-wobble-bass-lines-in-audacity/5747#5747" />
  <row Id="39212" PostHistoryTypeId="2" PostId="23444" RevisionGUID="427fb486-b068-420f-801c-baf14611193e" CreationDate="2013-01-04T15:56:34.310" UserId="7294" UserDisplayName="Warrior Bob" Text="The basic idea&#xD;&#xA;=&#xD;&#xA;The characteristic &quot;wobble&quot; bass popular in mid-late 2000s dubstep is frequently (but not always) created by sweeping a lowpass filter over a harmonically-rich sound of some kind, usually some oscillators. The filter cuts out the higher harmonics, creating an effect similar to closing your lips while saying &quot;ahhhhh. By moving the filter cutoff up and down rhythmically, you create the basic wobble. &#xD;&#xA;&#xD;&#xA;There are a million variations on this as well, such as using distortions, different filter types and settings, simultaneously bending the oscillators' pitch, and using frequency modulation (FM) synthesis to change the harmonics around instead of a filter. If this is an area of sound design you're interested in, it's worth experimenting as there are a lot of interesting sounds to discover. &#xD;&#xA;&#xD;&#xA;Practical Considerations&#xD;&#xA;=&#xD;&#xA;Audacity does not, as far as I know, support modulating an effect's parameters over time, so there is no way to move a lowpass filter rhythmically. &#xD;&#xA;&#xD;&#xA;A very common approach to doing this in software is to use a software synthesizer, usually a plugin in a larger [DAW](http://en.wikipedia.org/wiki/Digital_audio_workstation) program. The immediate advantages to this are that you have a very straightforward way to play musical notes on it (most of them support MIDI), automate your filter (either via the DAW's automation features or a synth's [low-frequency oscillator](http://en.wikipedia.org/wiki/Low-frequency_oscillation)), and record what comes out.&#xD;&#xA;&#xD;&#xA;DAWs and synths are not the only solution however. As ObscureRobot pointed out, you could use a programming environment like Pure Data or Csound, or anything else you can come up with. Your idea of using a pair of low-frequency sinewaves and relying on their beat frequency seemed very clever, for example, and there's surely something you can do with that too. " ContentLicense="CC BY-SA 3.0" />
  <row Id="39213" PostHistoryTypeId="36" PostId="23445" RevisionGUID="d9b059f8-39be-46f4-bf02-b3c903af7bfd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4497/do-i-need-an-amplifier-to-listen-to-the-signal-audio-coming-from-a-dac" />
  <row Id="39214" PostHistoryTypeId="2" PostId="23446" RevisionGUID="62e4b278-011d-4d83-804a-0a414254a3e9" CreationDate="2012-07-31T19:36:53.127" UserDisplayName="Lukas Woltjer" Text="The 3.5mm analog jack should be an output at line level. This means that most headphones (not high-end audiophile headphones) should work well.&#xD;&#xA;&#xD;&#xA;If you mean computer speakers, yes, they will work from that output as they are equipped with an internal amplifier. Larger speakers for home listening use will require a separate amplifier, as is the case with CD players, FM tuners, etc.&#xD;&#xA;&#xD;&#xA;Just a note, this question may be considered off-topic for this forum as it is more concerned with home audio than audio production. I am not sure if stack exchange has a home entertainment forum. If not, it may be possible to suggest one." ContentLicense="CC BY-SA 3.0" />
  <row Id="39215" PostHistoryTypeId="2" PostId="23445" RevisionGUID="b61719e8-4e8b-40ff-810d-64a8eae03833" CreationDate="2012-07-31T19:20:59.303" UserDisplayName="Patrick" Text="I'm planning to use a DAC (digital-analog converter) to convert signal from an optical/toslink connection (Apple TV) to my speakers with 3.5 analog jack.&#xD;&#xA;&#xD;&#xA;I'm wondering if I need an amplifier or if I can just connect the speakers (or eventually headphones) to the converter." ContentLicense="CC BY-SA 3.0" />
  <row Id="39216" PostHistoryTypeId="1" PostId="23445" RevisionGUID="b61719e8-4e8b-40ff-810d-64a8eae03833" CreationDate="2012-07-31T19:20:59.303" UserDisplayName="Patrick" Text="Do I need an amplifier to listen to the signal audio coming from a DAC?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39217" PostHistoryTypeId="3" PostId="23445" RevisionGUID="b61719e8-4e8b-40ff-810d-64a8eae03833" CreationDate="2012-07-31T19:20:59.303" UserDisplayName="Patrick" Text="&lt;audio&gt;&lt;conversion&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39218" PostHistoryTypeId="36" PostId="23446" RevisionGUID="db0fb23d-421b-436d-9df5-9d41d577611b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4497/do-i-need-an-amplifier-to-listen-to-the-signal-audio-coming-from-a-dac/4498#4498" />
  <row Id="39219" PostHistoryTypeId="36" PostId="23447" RevisionGUID="0afe5104-5173-4026-b08b-983fa3abef4f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1681/how-to-avoid-remove-the-hissing-in-your-recorded-audio-track" />
  <row Id="39220" PostHistoryTypeId="36" PostId="23448" RevisionGUID="eeedd898-e1e0-41e8-a7fc-8768e1b56590" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1681/how-to-avoid-remove-the-hissing-in-your-recorded-audio-track/1682#1682" />
  <row Id="39221" PostHistoryTypeId="36" PostId="23449" RevisionGUID="6edcc8a2-582d-415d-aa31-9836928ebd5c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1681/how-to-avoid-remove-the-hissing-in-your-recorded-audio-track/1687#1687" />
  <row Id="39222" PostHistoryTypeId="36" PostId="23450" RevisionGUID="a57576bb-474e-4ddd-ab50-752a5c1f3dc7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1681/how-to-avoid-remove-the-hissing-in-your-recorded-audio-track/1722#1722" />
  <row Id="39223" PostHistoryTypeId="2" PostId="23448" RevisionGUID="f3a31a5f-32cf-4019-89c4-04aed4d4f59e" CreationDate="2011-07-01T18:32:55.157" UserId="7093" Text="I have a M-Audio ProFire 2626 and have noticed that when I turn the preamp level past about 85% I get a large amount of hiss.  Below that it is fairly clean.  You can hear the noise quite clearly in the headphone jack on the unit.  Since they are made by the same company, you might be having the same problem.&#xD;&#xA;&#xD;&#xA;Try lowering the level on the mic slightly and see if it helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="39224" PostHistoryTypeId="2" PostId="23449" RevisionGUID="bb5704db-8172-4d4d-98c0-f7ed6ea7024c" CreationDate="2011-07-03T23:09:24.493" UserId="7200" UserDisplayName="leftaroundabout" Text="When _the guitar_ is being played? What guitar? As you use an SM57 I should assume it is an electric one, recorded with the mic from the amp speaker. Electric guitar equipment is almost always more noisy than any other kind of equipment, so it seems likely the origin of the noise is the amp. That's natural and occurs on all records, use a noise gate to avoid this noise in silent passages; in loud passages, it should not be audible on the final record unless you put a lot of compressor on the track afterwards. (If you need so much compression, consider doing it with an FX pedal before the amp, that often sounds much better anyway.)&#xD;&#xA;&#xD;&#xA;But then, you say you need to turn the interface's mic gains all the way up, that should not be necessary when miking an electric guitar amp!&#xD;&#xA;&lt;br&gt;&#xD;&#xA;If it is in fact an acoustic guitar: don't use dynamic microphones then. Not only do they have too low sensitivity (resulting in the need to crank up the preamp, causing noise level to explode), they also have a less than optimal frequency response for acoustic guitar. Even the cheapest condenser microphones usually give you much more sound clarity than generic dynamic mics, especially when not using a high-quality mic preamp, and a lot less noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="39225" PostHistoryTypeId="2" PostId="23450" RevisionGUID="6ab69470-20bb-492c-acdb-e2422bc6463e" CreationDate="2011-07-06T03:01:27.390" UserDisplayName="crotch_jenkins" Text="Turn down your preamps and play louder." ContentLicense="CC BY-SA 3.0" />
  <row Id="39226" PostHistoryTypeId="2" PostId="23447" RevisionGUID="1311e754-6299-4570-910b-4a79edd2e804" CreationDate="2011-07-01T17:47:33.777" UserDisplayName="Justin" Text="I am using a SM57 and an E835 hooked up to a Fast track Pro interface by XLR cable, and recording on my Macbook Pro with Reaper. I recorded a few tracks and there is a 'hissing' noise in the background. You can hear the hissing when the guitar is being played, but it is more evident in the breaks between verses and what not.&#xD;&#xA;&#xD;&#xA;Is there a way to edit out this hissing without losing audio quality?? How do I avoid this in the future? Do I need a preamp for each mic?? (I currently have the mics turned all the way up on the interface in order to get the level of audio I want." ContentLicense="CC BY-SA 3.0" />
  <row Id="39227" PostHistoryTypeId="1" PostId="23447" RevisionGUID="1311e754-6299-4570-910b-4a79edd2e804" CreationDate="2011-07-01T17:47:33.777" UserDisplayName="Justin" Text="How to avoid/remove the hissing in your recorded audio track." ContentLicense="CC BY-SA 3.0" />
  <row Id="39228" PostHistoryTypeId="3" PostId="23447" RevisionGUID="1311e754-6299-4570-910b-4a79edd2e804" CreationDate="2011-07-01T17:47:33.777" UserDisplayName="Justin" Text="&lt;audio-recording&gt;&lt;noise-cancelling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39229" PostHistoryTypeId="36" PostId="23451" RevisionGUID="15a1d3a4-4fbe-489e-8e63-921c350bf0af" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/963/how-can-i-record-with-ableton-live-my-setup-seems-to-be-missing-just-one-part" />
  <row Id="39230" PostHistoryTypeId="36" PostId="23452" RevisionGUID="23f25fc4-3dae-4d7c-8ce3-d5c240a20a03" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/963/how-can-i-record-with-ableton-live-my-setup-seems-to-be-missing-just-one-part/964#964" />
  <row Id="39231" PostHistoryTypeId="36" PostId="23453" RevisionGUID="c6cb0c39-2eab-46e1-a73f-ae32b0830b5a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/963/how-can-i-record-with-ableton-live-my-setup-seems-to-be-missing-just-one-part/973#973" />
  <row Id="39232" PostHistoryTypeId="2" PostId="23452" RevisionGUID="06eab5ea-c7e5-4ee9-b96d-1bef80196ceb" CreationDate="2011-03-06T17:23:35.547" UserDisplayName="Aaron Harris" Text="The way that I would try first is plug headphones directly into your mbox, and change output settings to your mbox.  Then try recording a test track and see if playback comes through your headphones.  Usually for me the problem lies in sending audio to your built in output.&#xD;&#xA;&#xD;&#xA;If you are running your speaker through your internal sound card try running them from the speaker outs of your mbox.  The mbox is taking the place of your sound card. " ContentLicense="CC BY-SA 2.5" />
  <row Id="39233" PostHistoryTypeId="2" PostId="23453" RevisionGUID="ecbad3c0-3127-4491-b2bf-1b91b055133b" CreationDate="2011-03-07T21:09:36.427" UserId="319" Text="If you are completely sure that your MPC is outputting audio on your outputs plugged into your soundcard, you may have selected the wrong inputs.  Change the inputs to 3-4 or plug your MPC into the other set of inputs.  It should be pretty simple - MPC -&gt; MBox Input -&gt; Ableton.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="39234" PostHistoryTypeId="2" PostId="23454" RevisionGUID="6e044fe5-6944-41b3-8125-0b7c426ae665" CreationDate="2011-03-09T20:11:37.650" UserId="7294" UserDisplayName="Warrior Bob" Text="At first I'd assume your soundcard was messed up, but the test tone works, so it has to be fine.&#xD;&#xA;&#xD;&#xA;In Ableton Live, there are two convenient ways to see how far the audio is getting in the program.  The first is to use Session view, and enable the mixer section.  You'll get a meter that shows the level of audio *leaving* the track (so, post-effects, post-mixer).  If you're getting signal here, but you aren't hearing anything, then check your master track - see if the same level shows up here when you only have that one track passing audio.  You have the track outputting to Master, so it's not that setting - though I've seen that be the culprit penty of times as well.&#xD;&#xA;&#xD;&#xA;The other way is to pull down the &quot;Audio From&quot; chooser for your track and look at the list of possible options.  There is a tiny meter next to each one which will show you the level of audio on each input.  So even if your track isn't set up right, you can see which inputs are receiving audio.  It's common to simply have not enabled the correct inputs - you can see a full list of the available ones in Preferences-&gt;Audio.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39235" PostHistoryTypeId="2" PostId="23451" RevisionGUID="9fcc9cc5-8bd8-47a4-8a41-9f2ca8b57ff4" CreationDate="2011-03-06T14:27:43.210" UserDisplayName="Trip" Text="**Objective**&#xD;&#xA;&#xD;&#xA;  I am trying to record my MPC-1000 as just a raw audio to Ableton Live through my MBox, But my output monitors are not picking anything up.&#xD;&#xA;&#xD;&#xA;**Equipment**&#xD;&#xA;&#xD;&#xA;I use an mBox. I downloaded the stand alone drivers for Mac OS x.&#xD;&#xA;&#xD;&#xA;My MPC-1000 had sync settings hooked up to it, but I just want it to export raw music so I turned all this off.&#xD;&#xA;&#xD;&#xA;**Ableton Live Preferences**&#xD;&#xA;&#xD;&#xA;Driver Type: CoreAudio  &#xD;&#xA;Audio Input Device : Digidesign Mbox 2 (4 in, 2 Out)  &#xD;&#xA;Audio Output Device: Build-in Output (0 in, 2 Out)  &#xD;&#xA;&#xD;&#xA;The Test tone for internal sound works.&#xD;&#xA;&#xD;&#xA;**Setting up the tracks**&#xD;&#xA;&#xD;&#xA;Created an Audio Track.  &#xD;&#xA;Audio Form : Ext. In  &#xD;&#xA;1/2 inputs  &#xD;&#xA;Monitor: Auto  &#xD;&#xA;Audio To : Master  &#xD;&#xA;Sends all the way down.  &#xD;&#xA;Record Arm: On.  &#xD;&#xA;&#xD;&#xA;No Signal is coming through. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39236" PostHistoryTypeId="1" PostId="23451" RevisionGUID="9fcc9cc5-8bd8-47a4-8a41-9f2ca8b57ff4" CreationDate="2011-03-06T14:27:43.210" UserDisplayName="Trip" Text="How can I record with Ableton Live ? My setup seems to be missing just one part at this point." ContentLicense="CC BY-SA 2.5" />
  <row Id="39237" PostHistoryTypeId="3" PostId="23451" RevisionGUID="9fcc9cc5-8bd8-47a4-8a41-9f2ca8b57ff4" CreationDate="2011-03-06T14:27:43.210" UserDisplayName="Trip" Text="&lt;audio-recording&gt;&lt;ableton&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39238" PostHistoryTypeId="36" PostId="23454" RevisionGUID="06477509-258f-4e0f-ae61-7da92b209e6f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/963/how-can-i-record-with-ableton-live-my-setup-seems-to-be-missing-just-one-part/987#987" />
  <row Id="39239" PostHistoryTypeId="36" PostId="23455" RevisionGUID="dbef5c21-ada3-4df1-a45e-70bfd516c70b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4285/should-i-use-a-standalone-compressor-gate-or-do-it-in-post" />
  <row Id="39240" PostHistoryTypeId="2" PostId="23456" RevisionGUID="fb502ba7-9939-48ea-9316-76b87b1921ef" CreationDate="2012-06-27T04:54:46.667" UserId="7189" Text="A hardware compressor/limiter, when setup correctly, will prevent your signal from overloading your audio interface and distorting. This is very different from creative compression to change the loudness of the signal.&#xD;&#xA;&#xD;&#xA;If you are recording at 24bit, then you may be able to record such that you never peak close to 0 dB. But if you *do* cross 0, you will get nasty digital distortion.&#xD;&#xA;&#xD;&#xA;For maximal flexibility, use your dbx in limiter mode so that it impacts your audio quality as little as possible. Then add additional compression in post as necessary." ContentLicense="CC BY-SA 3.0" />
  <row Id="39241" PostHistoryTypeId="2" PostId="23455" RevisionGUID="5715e9f3-d88e-4c5b-b8e4-eb9610fad9a0" CreationDate="2012-06-27T01:03:22.060" UserDisplayName="Barry Brown" Text="I'm recording screencasts and also dabbling in podcasting. I do video editing in Final Cut Pro X. My question is this:&#xD;&#xA;&#xD;&#xA;Is it better to use a standalone insert compressor/limiter/gate or have FCPX do that work in post? I have a dbx 166xs compressor, but now I'm wondering if I should just record the audio without any processing and take advantage of the flexibility that FCPX provides for tuning the compression and gating later." ContentLicense="CC BY-SA 3.0" />
  <row Id="39242" PostHistoryTypeId="1" PostId="23455" RevisionGUID="5715e9f3-d88e-4c5b-b8e4-eb9610fad9a0" CreationDate="2012-06-27T01:03:22.060" UserDisplayName="Barry Brown" Text="Should I use a standalone compressor/gate or do it in post?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39243" PostHistoryTypeId="3" PostId="23455" RevisionGUID="5715e9f3-d88e-4c5b-b8e4-eb9610fad9a0" CreationDate="2012-06-27T01:03:22.060" UserDisplayName="Barry Brown" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39244" PostHistoryTypeId="36" PostId="23456" RevisionGUID="89b6058b-a558-40db-9e67-93b101ecbe1b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4285/should-i-use-a-standalone-compressor-gate-or-do-it-in-post/4287#4287" />
  <row Id="39245" PostHistoryTypeId="36" PostId="23457" RevisionGUID="b4af24f2-c84f-42e1-b1ff-662ed4bad480" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4285/should-i-use-a-standalone-compressor-gate-or-do-it-in-post/4293#4293" />
  <row Id="39246" PostHistoryTypeId="36" PostId="23458" RevisionGUID="f16fad16-c573-4096-9337-633d5890dd8b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4285/should-i-use-a-standalone-compressor-gate-or-do-it-in-post/4300#4300" />
  <row Id="39247" PostHistoryTypeId="2" PostId="23458" RevisionGUID="672d0bda-b72e-4d08-ae82-9103879391e0" CreationDate="2012-06-27T16:45:21.050" UserId="7294" UserDisplayName="Warrior Bob" Text="As with many things, it's a tradeoff.&#xD;&#xA;&#xD;&#xA;On the one hand, doing everything in post offers the most flexibility - you can compress and gate after the fact, and if you don't like the result you can change the settings around and try again without having to re-record. You can also cherry-pick individual regions to process differently if you like. &#xD;&#xA;&#xD;&#xA;On the other hand, you may prefer the sound of your hardware before it gets into the recording interface preamps. I personally prefer the sound of a compressor before the preamp/ADC in music and spoken-voice recordings so I try to use it when I can, but I can't imagine doing this with a gate or limiter (but I have not tried it: I don't have a hardware gate or limiter to use). " ContentLicense="CC BY-SA 3.0" />
  <row Id="39248" PostHistoryTypeId="2" PostId="23457" RevisionGUID="2e1aaa11-54e9-4a15-acdb-a0e3bccaafde" CreationDate="2012-06-27T13:07:59.613" UserDisplayName="JPollock" Text="I'd recomend avoiding it. If you over compress or even worse set the gate wrong and clip the beginning of every word, there is no way to repair that. &#xD;&#xA;When recording set your levels to peak at around 75%, that way you get good healthy levels but have plenty of headroom in case of peaks. Just avoid trying to get 'the perfect level' right below zero and you will be fine." ContentLicense="CC BY-SA 3.0" />
  <row Id="39249" PostHistoryTypeId="36" PostId="23459" RevisionGUID="b05ba390-3689-4d22-9552-1fd8269b216c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5770/printing-stems-back-to-stereo-for-international-versions-in-protools-and-the-vol" />
  <row Id="39250" PostHistoryTypeId="36" PostId="23460" RevisionGUID="75e43f72-4f06-49a1-8458-84790c2b6763" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5770/printing-stems-back-to-stereo-for-international-versions-in-protools-and-the-vol/7243#7243" />
  <row Id="39251" PostHistoryTypeId="2" PostId="23460" RevisionGUID="c8040b95-e0ac-46f2-bb40-15f535713c80" CreationDate="2013-02-25T21:43:36.003" UserId="7474" UserDisplayName="Pres" Text="This may be a case of differing Pan laws between your software and theirs. Are any tracks panned and are these the sounds which appear louder? &#xD;&#xA;&#xD;&#xA;It may be worth asking them which Panning law their software was set to and check either your options or DAW documentation to find out which one you are set to. &#xD;&#xA;&#xD;&#xA;Here's a quick rundown on a Logic example: http://logicquicktips.blogspot.co.uk/2006/10/laws-of-pan.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="39252" PostHistoryTypeId="2" PostId="23459" RevisionGUID="c6ded534-90dd-48f8-bdeb-5ca4127a0a5c" CreationDate="2013-01-08T06:44:55.107" UserDisplayName="Laura" Text="I'm doing what should be a simple mixdown of stems back onto a stereo track for the international version...stereo music stem, stereo sfx stem, mono narr stem and mono dial stem.  I've taken out the commercial blacks and bumpers and mixed the stems to smooth out the edits, but when I punch them into the pre-existing Full Mix, the volume is slightly higher.  What am I doing wrong??&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39253" PostHistoryTypeId="1" PostId="23459" RevisionGUID="c6ded534-90dd-48f8-bdeb-5ca4127a0a5c" CreationDate="2013-01-08T06:44:55.107" UserDisplayName="Laura" Text="Printing stems back to stereo for international versions in Protools and the volume seems to be slightly higher...why is this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39254" PostHistoryTypeId="3" PostId="23459" RevisionGUID="c6ded534-90dd-48f8-bdeb-5ca4127a0a5c" CreationDate="2013-01-08T06:44:55.107" UserDisplayName="Laura" Text="&lt;audio&gt;&lt;mixing&gt;&lt;pro-tools&gt;&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39255" PostHistoryTypeId="36" PostId="23461" RevisionGUID="de090485-1328-4de5-8ab7-ac70d6da7726" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1531/second-microphone-for-stereo-recordings-identical-or-different" />
  <row Id="39256" PostHistoryTypeId="2" PostId="23462" RevisionGUID="aa79bac7-44ed-464e-b340-405e6f762f61" CreationDate="2011-06-03T17:14:26.350" UserId="7251" UserDisplayName="Phil" Text="When ever I've done stereo micing before I've used 2 identical mics.  However there is a technique which uses 2 different mics called [Middle Side][1], which then needs to be decoded either through hardware or software to give normal Left-Right signals.  It's something I've often thought interesting but never had the opportunity to play with.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.recording-microphones.co.uk/Mid-Side-stereo.shtml" ContentLicense="CC BY-SA 3.0" />
  <row Id="39257" PostHistoryTypeId="2" PostId="23461" RevisionGUID="5e9c410e-dd4e-45b0-9d1d-926543bd6ac2" CreationDate="2011-06-02T15:19:16.113" UserId="24932" UserDisplayName="Sam" Text="In search for a more `spatial` and `natural` sounding recording, I thought perhaps I would add a second microphone to my existing setup (1 Rode NT1-A attached to a Marantz PMD-661 recorder) which records marvelously but only in Mono with 1 mic. I mainly want to record my voice and add spatial/room natural 3D stereo space effect.&#xD;&#xA;&#xD;&#xA;**What do you recommend?**&#xD;&#xA;&#xD;&#xA;A) Buy another identical Rode NT1-A&#xD;&#xA;&#xD;&#xA;B) Buy a different second mic (e.g. a Rode NT-1000) to add a different clarity on right ear than left ear which might enhance the spatial stereo effect.&#xD;&#xA;&#xD;&#xA;C) Something else..." ContentLicense="CC BY-SA 3.0" />
  <row Id="39258" PostHistoryTypeId="1" PostId="23461" RevisionGUID="5e9c410e-dd4e-45b0-9d1d-926543bd6ac2" CreationDate="2011-06-02T15:19:16.113" UserId="24932" UserDisplayName="Sam" Text="Second Microphone for Stereo Recordings: Identical or Different?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39259" PostHistoryTypeId="3" PostId="23461" RevisionGUID="5e9c410e-dd4e-45b0-9d1d-926543bd6ac2" CreationDate="2011-06-02T15:19:16.113" UserId="24932" UserDisplayName="Sam" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;home-studio&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39260" PostHistoryTypeId="36" PostId="23462" RevisionGUID="f29b5e18-34dc-4ffd-bf81-66fcee331410" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1531/second-microphone-for-stereo-recordings-identical-or-different/1540#1540" />
  <row Id="39261" PostHistoryTypeId="36" PostId="23463" RevisionGUID="e9821501-063e-4bf0-abc2-896511ab5ffa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2702/how-can-i-cut-out-background-noise-from-my-footage" />
  <row Id="39262" PostHistoryTypeId="36" PostId="23464" RevisionGUID="e069767e-f845-44c4-8229-d32460cf9d09" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2702/how-can-i-cut-out-background-noise-from-my-footage/2703#2703" />
  <row Id="39263" PostHistoryTypeId="2" PostId="23464" RevisionGUID="6d0d105c-9e6a-4921-8aa1-a72db593ae10" CreationDate="2011-11-27T05:28:18.623" UserId="7189" Text="In your audio editor, switch to spectrum view and try to identify the frequency band of the fan noise. Next you can either use a parametric EQ or a filter.&#xD;&#xA;&#xD;&#xA;If you have a parametric EQ, you can easily roll off the top or bottom frequencies, or cut the frequency band that the fan occupies. &#xD;&#xA;&#xD;&#xA;If you are using a filter, then use a low pass filter with a high frequency setting to cut out high frequency fan sounds. Use a high pass filter with a low frequency setting to cut out low frequency fan sounds. Use a band reject filter to remove a specific frequency range in the middle.&#xD;&#xA;&#xD;&#xA;If you don't already have an audio editor, get [Audacity][1]. Be sure to get the audio plugin packs as well.&#xD;&#xA;&#xD;&#xA;Details:&#xD;&#xA;&#xD;&#xA; - You can get the spectrum view by clicking the disclosure triangle on the left of the track by the label &quot;Audio Track.&quot; Select Spectrum or Spectrum log(f). Now you should see a view of your sound with time along the Y axis and the intensity at a given frequency along the X axis. If your noise is limited to a bad, it should be obvious now, and you should be able to read off the frequencies&#xD;&#xA;&#xD;&#xA;*I'm having some trouble with my copy of Audacity, I'll update this when I've reinstalled it with the latest plugins.*&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39264" PostHistoryTypeId="2" PostId="23465" RevisionGUID="8bc0289e-7405-42fe-90d5-e2f6d8f5fffa" CreationDate="2011-12-02T06:18:25.450" UserDisplayName="Jon Galloway" Text="I use the Audacity Noise Removal tool for this all the time. It's a little tricky to figure out, but it does a great job once you know how to use it.&#xD;&#xA;&#xD;&#xA;It's a two step process - first select a section of the audio that has nothing but noise. Then in the Audacity Effect menu, select Noise Removal, then click Get Noise Profile.&#xD;&#xA;&#xD;&#xA;At this point, nothing will have changed in your audio, you'll just have taught Audacity what's considered noise for the current track.&#xD;&#xA;&#xD;&#xA;Next, select the entire track and select Effect / Repeat Noise Effect (on Windows, you can just press Control-R). This will apply your noise settings to the entire track. If you prefer to dial in the settings, you can instead select Effect / Noise Removal, tweak setting, and click OK, but I never bother with this.&#xD;&#xA;&#xD;&#xA;There's a more [detailed walkthrough on Noise Reduction in the Audacity documentation][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://wiki.audacityteam.org/index.php?title=Noise_Removal#Noise_Removal_steps" ContentLicense="CC BY-SA 3.0" />
  <row Id="39265" PostHistoryTypeId="2" PostId="23463" RevisionGUID="bcc90fe0-f256-447c-87b1-d8c0ea1aa99d" CreationDate="2011-11-27T00:35:30.110" UserDisplayName="daviesgeek" Text="I recently shot some video footage and I used the camera's mic (I know it was a bad idea, but...). Unfortunately, there was some on-going background noise (I think it was a fan). How can I get rid of the noise?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39266" PostHistoryTypeId="1" PostId="23463" RevisionGUID="bcc90fe0-f256-447c-87b1-d8c0ea1aa99d" CreationDate="2011-11-27T00:35:30.110" UserDisplayName="daviesgeek" Text="How can I cut out background noise from my footage?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39267" PostHistoryTypeId="3" PostId="23463" RevisionGUID="bcc90fe0-f256-447c-87b1-d8c0ea1aa99d" CreationDate="2011-11-27T00:35:30.110" UserDisplayName="daviesgeek" Text="&lt;audio&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39268" PostHistoryTypeId="36" PostId="23465" RevisionGUID="933a96b0-39b5-4f25-9ea7-612d870a4a2c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2702/how-can-i-cut-out-background-noise-from-my-footage/2728#2728" />
  <row Id="39275" PostHistoryTypeId="36" PostId="23468" RevisionGUID="5100d86b-ad64-4e63-86c6-b3bf37baa175" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7717/recording-can-you-see-if-multiple-microphones-are-in-or-out-of-phase" />
  <row Id="39276" PostHistoryTypeId="2" PostId="23469" RevisionGUID="8c84270b-f702-4ccb-9080-1ff32ac58dbb" CreationDate="2013-04-22T13:44:47.687" UserId="7174" Text="Being out of phase means that one microphone is picking up the low end of a waveform (not frequency, but the waveform itself) while the other is picking up a high portion of a waveform.  &#xD;&#xA;&#xD;&#xA;To see if they are in or out of phase (visually) you would need to compare the signal from one source with the signal from both.  If the combined level shrinks rather than grows, then the microphones are out of phase (since the one signal is subtracting from the other.)&#xD;&#xA;&#xD;&#xA;You want to look for the phase that has the most cumulative effect on the waveform (where the waveforms roughly align)." ContentLicense="CC BY-SA 3.0" />
  <row Id="39277" PostHistoryTypeId="2" PostId="23468" RevisionGUID="dcafeaf2-576d-4e42-9bcb-ba0812e63ba5" CreationDate="2013-04-22T11:11:44.150" UserId="7325" UserDisplayName="Dave Rook" Text="Many **input** tools show phase analysis. Now, without going into what tool, at the base level, I think they do the same thing. They show a visual similar to &#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;My question is about understanding this visual.&#xD;&#xA;&#xD;&#xA;When looking at this graphic (animation) can you tell if the recording is in or out of phase. Let's assume I'm using 2 microphones on an audio source and the combined input produces the graphic shown. For something to be in phase, should the colours be narrow or wide? Or, is my understanding of phase analysis incorrect?&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/QR03z.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="39278" PostHistoryTypeId="1" PostId="23468" RevisionGUID="dcafeaf2-576d-4e42-9bcb-ba0812e63ba5" CreationDate="2013-04-22T11:11:44.150" UserId="7325" UserDisplayName="Dave Rook" Text="Recording - Can you 'see' if multiple microphones are in or out of phase" ContentLicense="CC BY-SA 3.0" />
  <row Id="39279" PostHistoryTypeId="3" PostId="23468" RevisionGUID="dcafeaf2-576d-4e42-9bcb-ba0812e63ba5" CreationDate="2013-04-22T11:11:44.150" UserId="7325" UserDisplayName="Dave Rook" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39280" PostHistoryTypeId="36" PostId="23469" RevisionGUID="fd74266e-3a36-4209-8db5-5b8128f34fbf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7717/recording-can-you-see-if-multiple-microphones-are-in-or-out-of-phase/7719#7719" />
  <row Id="39281" PostHistoryTypeId="36" PostId="23470" RevisionGUID="64d37fd0-c017-457f-918a-1fe3b2ec2fa0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7717/recording-can-you-see-if-multiple-microphones-are-in-or-out-of-phase/7722#7722" />
  <row Id="39282" PostHistoryTypeId="2" PostId="23470" RevisionGUID="208441e6-0fb8-4d2a-acd5-9cc1794e1067" CreationDate="2013-04-22T21:22:41.867" UserId="7266" UserDisplayName="Marcks Thomas" Text="The specifics of different implementations of these visualisations vary a lot. This answer may therefore not accurately describe your tool, but should give you an idea of what's happening nonetheless.&#xD;&#xA;&#xD;&#xA;These visualisations plot frequency against phase. An audio signal can be represented by the sum of several sine waves of different frequencies, amplitudes and phases. The phase analysis seperates a small section in time of the audio into these sine waves and compares the phase of each frequency component with that of the other channel. If they are in sync, a datapoint is added in the middle. If the left channel lags behind, a mark is drawn on the negative side and vice versa. If both channels oppose completely, i.e. the phase shift is 180°, the number is either -1 or 1. Those are of course equivalent, a sine shifted half a period to the right cannot be distinguished from one shifted left.&#xD;&#xA;&#xD;&#xA;One of the applications of these analyses is merging channels, for instance when mixing to mono. Frequencies that are plotted in the center will increase in amplitude, whereas points far to the side of the plot will mostly cancel. If the distribution varies strongly between important frequencies, the resulting mix can sound very distorted. A narrow graph suggest both channels are very similar and there was very little stereo information to begin with.&#xD;&#xA;&#xD;&#xA;A great way to experiment with these tools is to invert one of the channels and listen for changes in the mix and the visualisations." ContentLicense="CC BY-SA 3.0" />
  <row Id="39283" PostHistoryTypeId="36" PostId="23471" RevisionGUID="8a1be9d9-b4e3-4f9a-bed5-a9030a252585" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2090/soundcloud-dropbox-linked-to-ableton-max4live" />
  <row Id="39284" PostHistoryTypeId="36" PostId="23472" RevisionGUID="d6ce653a-5ef6-4c0d-af15-6cdfefb7d1e8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2090/soundcloud-dropbox-linked-to-ableton-max4live/4393#4393" />
  <row Id="39285" PostHistoryTypeId="36" PostId="23473" RevisionGUID="eae68de8-dd8d-4eeb-b7f0-7d50878dbc2a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2090/soundcloud-dropbox-linked-to-ableton-max4live/4750#4750" />
  <row Id="39286" PostHistoryTypeId="2" PostId="23472" RevisionGUID="3d777e4f-0778-4c4b-98f0-b07def7ffb4c" CreationDate="2012-07-11T22:24:00.117" UserId="9447" UserDisplayName="Fortes" Text="I think this could be a way of building the application:&#xD;&#xA;&#xD;&#xA; - Have a client side script that reads the list of tracks from the soundcloud api:&#xD;&#xA;&#xD;&#xA;    I couldnt find a way to get the dropbox contents, but maybe you could create a group and that way it will be easier to moderate the tracks and you could ask the api for them with something like:&#xD;&#xA;&#xD;&#xA;        GET /groups/{id}/tracks&#xD;&#xA;&#xD;&#xA;    Check out the [SoundCloud API Documentation][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA; - Make a script inside MAX for live that pings your client side script looking for **new tracks** every 30 seconds and loads the files returned by the api and adds them to a live channel/clip&#xD;&#xA; &#xD;&#xA;  I dont know how you load and parse a feed in max for live but i know if someone can make [live list the public twitter stream][2] it should be posible.&#xD;&#xA;&#xD;&#xA;    Check out the [Max for Live Documentation][3]&#xD;&#xA;&#xD;&#xA;    I think you would have to mark the tracks as **Downloadable** or at least **streameable** in Soundcloud for this to work.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://developers.soundcloud.com/docs/api/reference#groups&#xD;&#xA;  [2]: http://maxforlive.loadbang.net/ableton-live-learns-how-to-tweet&#xD;&#xA;  [3]: http://cycling74.com/docs/max5/vignettes/intro/doclive.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="39287" PostHistoryTypeId="2" PostId="23473" RevisionGUID="05a55149-aa71-4a95-8982-373ad877d2b2" CreationDate="2012-09-17T16:04:53.533" UserId="14713" UserDisplayName="b20000" Text="If you are on Mac, I'd recommend creating a script in some scripting language, like Perl or PHP, which runs every minute and keeps a local folder of sound files up to date with that's on your soundcloud dropbox. &#xD;&#xA;&#xD;&#xA;You could then have your Max patch watch this local folder and pull in new files as they arrive. I would not try to make Max pull sound files directly from your soundcloud dropbox, as this will be more complicated and Max is not really set up to do this. &#xD;&#xA;&#xD;&#xA;I bet there is a Soundcloud library for Perl and/or PHP. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39288" PostHistoryTypeId="2" PostId="23471" RevisionGUID="b04e7a63-33c2-4e03-b1dc-5efc5855ad16" CreationDate="2011-08-11T19:17:13.297" UserDisplayName="Carrot" Text="I want to build a self-generating audio installation with Ableton Live 8 &amp; Max4Live which is fed by audio snippets via a constantly updating Soundcloud dropbox. &#xD;&#xA;&#xD;&#xA;Basically, I want Ableton/Max4Live to automatically pull any content that is put in the Soundcloud dropbox of my account to input/route it to an internal channel.&#xD;&#xA;&#xD;&#xA;I don't expect any full manual, just a rough overview on what I could need to learn/build this would be very much appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="39289" PostHistoryTypeId="1" PostId="23471" RevisionGUID="b04e7a63-33c2-4e03-b1dc-5efc5855ad16" CreationDate="2011-08-11T19:17:13.297" UserDisplayName="Carrot" Text="Soundcloud Dropbox linked to Ableton/Max4live" ContentLicense="CC BY-SA 3.0" />
  <row Id="39290" PostHistoryTypeId="3" PostId="23471" RevisionGUID="b04e7a63-33c2-4e03-b1dc-5efc5855ad16" CreationDate="2011-08-11T19:17:13.297" UserDisplayName="Carrot" Text="&lt;ableton&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39291" PostHistoryTypeId="36" PostId="23474" RevisionGUID="89025281-9f72-45a0-aad5-773d11f59b55" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2947/what-is-it-called-when-there-are-several-channels-of-audio-playing-over-a-video" />
  <row Id="39292" PostHistoryTypeId="36" PostId="23475" RevisionGUID="cce434ca-7733-490c-9ed4-cb450298eda9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2947/what-is-it-called-when-there-are-several-channels-of-audio-playing-over-a-video/2948#2948" />
  <row Id="39293" PostHistoryTypeId="2" PostId="23475" RevisionGUID="b60079b5-a793-48c6-9254-d050535dafa4" CreationDate="2012-01-01T23:13:28.903" UserId="7016" Text="Yes - they are audio channels. Are you separating sound effects from background music etc. or placing each of these into channels for each speaker (eg 7.1 surround sound will likely have some background music in each channel, whereas a sound effect may be only in the front right and so on)" ContentLicense="CC BY-SA 3.0" />
  <row Id="39294" PostHistoryTypeId="2" PostId="23476" RevisionGUID="b3b923ec-40e2-4c13-bde0-9ce0562e1386" CreationDate="2012-01-02T13:53:25.957" UserId="7189" Text="Audio channels is the correct term. You might hear audio producers talk about multi-track audio (which means more than two tracks) or stems.&#xD;&#xA;&#xD;&#xA;It all goes back to tape editing, when independent audio signals needed their own track. Stereo is a special case, where one track is designated for the Left speaker/output and the other track is designated for the Right speaker/output. Surround is a special case as well - specific channels are dedicated to output speaker positions.&#xD;&#xA;&#xD;&#xA;A piece of music may be composed with dozens of individual tracks. Most DAWs support the concept of stereo tracks as well as mono tracks, so don't get hung up expecting that the number of tracks in a stereo project is an exact multiple of two.&#xD;&#xA;&#xD;&#xA;When you take a multi-track project and create the final output (whether Stereo or Surround), the arrangement of the mixer is called the mix down (because you are mixing many tracks into few). The process of actually recording the mixdown depends on the DAW. Some call it rendering, some call it bouncing, some call it exporting." ContentLicense="CC BY-SA 3.0" />
  <row Id="39295" PostHistoryTypeId="2" PostId="23474" RevisionGUID="fb11e78b-49fb-49de-9bf5-13f35d5c2485" CreationDate="2012-01-01T21:13:05.677" UserDisplayName="Harry" Text="I'm editing a video where there are several channels of audio playing over it.&#xD;&#xA;&#xD;&#xA;I have things like background music, sound effects, etc.&#xD;&#xA;&#xD;&#xA;Would it be correct to call them audio channels or is there a better term to use to describe what I'm talking about?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39296" PostHistoryTypeId="1" PostId="23474" RevisionGUID="fb11e78b-49fb-49de-9bf5-13f35d5c2485" CreationDate="2012-01-01T21:13:05.677" UserDisplayName="Harry" Text="What is it called when there are several channels of audio playing over a video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39297" PostHistoryTypeId="3" PostId="23474" RevisionGUID="fb11e78b-49fb-49de-9bf5-13f35d5c2485" CreationDate="2012-01-01T21:13:05.677" UserDisplayName="Harry" Text="&lt;audio&gt;&lt;terminology&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39298" PostHistoryTypeId="36" PostId="23476" RevisionGUID="45ceb05d-1980-47f5-889f-81a63b9af564" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2947/what-is-it-called-when-there-are-several-channels-of-audio-playing-over-a-video/2951#2951" />
  <row Id="39299" PostHistoryTypeId="36" PostId="23477" RevisionGUID="d7b1026b-5eeb-476c-a0cb-6abe514b0a09" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2947/what-is-it-called-when-there-are-several-channels-of-audio-playing-over-a-video/2956#2956" />
  <row Id="39300" PostHistoryTypeId="2" PostId="23477" RevisionGUID="c9e64b96-44ff-45de-baaa-3592b7a4ea05" CreationDate="2012-01-03T09:55:34.170" UserDisplayName="Mark Ryan" Text="Audio channels or audio tracks. It depends on who you're talking to.&#xD;&#xA;&#xD;&#xA;Please let an audio post engineer mix it for you!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="39301" PostHistoryTypeId="36" PostId="23478" RevisionGUID="2352faf7-4d3e-4607-a8a4-9d2ae7e6bcbc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2758/recording-an-instructor-while-filming-him-from-a-distance" />
  <row Id="39302" PostHistoryTypeId="36" PostId="23479" RevisionGUID="98b76872-5f61-41e3-a23c-46cb2960551f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2758/recording-an-instructor-while-filming-him-from-a-distance/2771#2771" />
  <row Id="39303" PostHistoryTypeId="2" PostId="23479" RevisionGUID="f05e9f94-ae52-4efc-b290-0e38ee92d490" CreationDate="2011-12-07T17:21:08.427" UserDisplayName="Joe Stavitsky" Text="take signal out of the PA into the camera. If you talk more about the PA I can be more specific." ContentLicense="CC BY-SA 3.0" />
  <row Id="39304" PostHistoryTypeId="2" PostId="23480" RevisionGUID="8a8cfbe4-78f2-479f-b117-bc38505cfc6d" CreationDate="2011-12-08T11:27:29.907" UserId="7016" Text="Simple solution is for you to get all your audio from the PA mixer, and for when the instructor does his walkabout, just turn down or mute the signal to the speakers instead of muting the mic.&#xD;&#xA;&#xD;&#xA;This way you keep the same audio signal throughout for your recording, so no messing about with other microphones." ContentLicense="CC BY-SA 3.0" />
  <row Id="39305" PostHistoryTypeId="2" PostId="23478" RevisionGUID="971479f2-f354-4a28-a92e-4f290a1c64fd" CreationDate="2011-12-06T20:58:52.597" UserId="3187" Text="OK, so here's my problem: &#xD;&#xA;&#xD;&#xA;I snuck myself into our Ninjutsu club's sporting event as the &quot;photographer&quot; - I have to video the event using my consumer Canon HF10 camcorder, and I'll have to produce a DVD of the event.&#xD;&#xA;&#xD;&#xA;Now, I have also videoed the previous event, and have detected a problem with recording the instructor's speech: &#xD;&#xA;&#xD;&#xA;The process is that the instructor demonstrates a technique, and then everyone practices the technique. The instructor then walks around, correcting mistakes. During the demos there is little problem: Everyone is (mostly) quite and the instructor wears a mike (connected to a little box worn at belt level) transmitting to an amplifying system (at least he did during the last event). So there’s no problem there.&#xD;&#xA;&#xD;&#xA;However, when the instructor moves around he turns off the mike (because obviously he needn’t be heard all across the mat). It’s tough to run after him with the camera and the tripod, because people are spread all over the mat. Moreover, when he says the interesting things, people gather around him listening (and speaking). Also people around **me** go on training, which may get quite noisy. So I can't get a clear recording of the instructor and we miss the best parts, the corrections people could really learn from.&#xD;&#xA;&#xD;&#xA;**So, what I need is some way to capture what he’s saying while he's far from the camera**. Any suggestions?&#xD;&#xA;&#xD;&#xA;Points to consider: &#xD;&#xA;&#xD;&#xA; 1. This is Ninjutsu, so the instructor is moving around and is active, especially when doing the class demos. However, as he’s the one doing the throws etc., and considering he’s already “wired” to the amplifying system’s mike, he’s not overly active. &#xD;&#xA; 2. It’s a hobby. I’m not going to be paid – so expenses should be not too high.&#xD;&#xA; 3. The result should be merged as a soundtrack to the video. &#xD;&#xA; 4. The camera has no genlock.&#xD;&#xA; 5. I’m much more “into” it than the instructor is. It’s a little like the cat and the bell, so it needs to be as little a hassle as possible.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39306" PostHistoryTypeId="1" PostId="23478" RevisionGUID="971479f2-f354-4a28-a92e-4f290a1c64fd" CreationDate="2011-12-06T20:58:52.597" UserId="3187" Text="Recording an instructor while filming him from a distance" ContentLicense="CC BY-SA 3.0" />
  <row Id="39307" PostHistoryTypeId="3" PostId="23478" RevisionGUID="971479f2-f354-4a28-a92e-4f290a1c64fd" CreationDate="2011-12-06T20:58:52.597" UserId="3187" Text="&lt;audio-recording&gt;&lt;video&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39308" PostHistoryTypeId="36" PostId="23480" RevisionGUID="a3e1e241-9d16-4869-996b-b87c08d11e00" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2758/recording-an-instructor-while-filming-him-from-a-distance/2772#2772" />
  <row Id="39309" PostHistoryTypeId="36" PostId="23481" RevisionGUID="6286e575-9122-444a-bf7f-079eb153b83e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8195/why-does-this-simple-clock-in-reaktor-always-display-0" />
  <row Id="39310" PostHistoryTypeId="2" PostId="23482" RevisionGUID="b1973afb-e1c7-43a2-948f-fe6226c56bfc" CreationDate="2013-06-23T23:01:30.053" UserId="7189" Text="You are building in an Event core cell which runs at a much slower rate than an Audio core cell. SR.C isn't active in Event core cells.&#xD;&#xA;&#xD;&#xA;Create an Audio core cell, and build the same thing and it should work.&#xD;&#xA;&#xD;&#xA;See the paragraph at the top of page 31 of *Reaktor 5 Core Reference Manual English.pdf*, which should have been installed with your copy of Reaktor:&#xD;&#xA;&#xD;&#xA;&gt; As previously mentioned, event core cells are restricted to event processing tasks. **Because clock sources are disabled inside them** (see the table above), they cannot generate their own events and, therefore, cannot implement modules such as event-rate LFOs and enve­ lopes. When you need such modules, we suggest that you take an audio cell and convert its output to event rate using one of the primary-level audio to event converters&#xD;&#xA;&#xD;&#xA;One more thing: don't forget to use a voice combiner (looks like this: `}`) before sending your signal to the display." ContentLicense="CC BY-SA 3.0" />
  <row Id="39311" PostHistoryTypeId="2" PostId="23481" RevisionGUID="87bfd351-bd13-499d-b857-87da239a82a0" CreationDate="2013-06-23T21:19:38.370" UserId="8159" UserDisplayName="Jamil" Text="This clock, with the output set to a &quot;Numerical Readout&quot; and the max of the numerical readout set to 44100Hz (or anything, for that matter), always displays 0. Either the clock's not working or the numerical readout is not working. When &quot;always on&quot; is selected, there is an X at the input terminal of the numerical readout. &#xD;&#xA;&#xD;&#xA;![Reaktor Patch][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here's the connection to the numerical readout:&#xD;&#xA;![Readout][2]&#xD;&#xA;&#xD;&#xA;It definitely doesn't count too quickly. A clock set to count in seconds also displays 0.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Kdt7x.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/sI6QK.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="39312" PostHistoryTypeId="1" PostId="23481" RevisionGUID="87bfd351-bd13-499d-b857-87da239a82a0" CreationDate="2013-06-23T21:19:38.370" UserId="8159" UserDisplayName="Jamil" Text="Why does this simple clock in Reaktor always display 0?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39313" PostHistoryTypeId="3" PostId="23481" RevisionGUID="87bfd351-bd13-499d-b857-87da239a82a0" CreationDate="2013-06-23T21:19:38.370" UserId="8159" UserDisplayName="Jamil" Text="&lt;audio&gt;&lt;synthesizer&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39314" PostHistoryTypeId="36" PostId="23482" RevisionGUID="f517e9e2-0848-47f2-8e98-f1af6694e52d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8195/why-does-this-simple-clock-in-reaktor-always-display-0/8196#8196" />
  <row Id="39315" PostHistoryTypeId="36" PostId="23483" RevisionGUID="762da04d-7bd0-4509-9271-ae361379eb78" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2645/how-can-i-multitrack-record-my-band-practices" />
  <row Id="39316" PostHistoryTypeId="2" PostId="23484" RevisionGUID="185695e0-d2a1-4d4c-9245-9d967c8037fc" CreationDate="2011-11-15T21:55:22.367" UserId="7294" UserDisplayName="Warrior Bob" Text="The device you're looking for is generally called an &quot;audio interface&quot;, which is conceptually the same thing as a soundcard, but is usually oriented towards recording. There are a TON of different interfaces on the market aimed at different purposes and price points. You are wise to ask &quot;what are the tradeoffs?&quot; as opposed to &quot;what's the best I can get at this price?&quot;&#xD;&#xA;&#xD;&#xA;The major things to worry about are:&#xD;&#xA;Number and type of inputs&#xD;&#xA;---&#xD;&#xA;Assuming that you go with the mic/DI setup you described (and that is a fairly common straightforward kind of setup), you will need, at a minimum, one audio input for each instrument you plan to record **simultaneously**. So if you want to play with your whole band at once, you'll need one input for the guitar mic, three for the drum mics, and one more for the bass mic or DI. You will need an interface with 5 inputs. If you also want to do vocals concurrently, you'll need another input.&#xD;&#xA;&#xD;&#xA;Most microphones use an XLR style connector, whereas most instruments and DIs use a 1/4&quot; phone plug. Make sure that your interface has the correct type of inputs for what you want to plug into them. Many interfaces have &quot;combo jacks&quot; which can accept both 1/4&quot; and XLR.&#xD;&#xA;&#xD;&#xA;Necessary features&#xD;&#xA;---&#xD;&#xA;If you're using any condenser microphones, you'll generally need phantom power. Many interfaces have this, but you'll want to make sure that you can power your mics appropriately. Make sure that the phantom power won't mess up any other mics - you usually can't turn it on and off for individual inputs. Sometimes it's done in groups.&#xD;&#xA;&#xD;&#xA;If you need the ability to monitor your signals through headphones before they reach the computer, make sure it's there (this is usually called &quot;hardware direct monitoring&quot;)&#xD;&#xA;&#xD;&#xA;Make sure it can connect to your computer - USB and Firewire are common connection methods, although you can also get PCI cards and such.&#xD;&#xA;&#xD;&#xA;Signal quality&#xD;&#xA;---&#xD;&#xA;In general, this is the quality of the preamplifiers, although the rest of the electronics can have an effect as well. Most interfaces have preamps, and almost all mics require them, even when they're used on guitar amps. This is where you'll notice the largest gains in moving to a more expensive interface, and is generally what people are talking about when they say that a given interface has a particular &quot;color&quot; or &quot;flavor&quot; to it. It is, like everything in audio quality, very subjective.&#xD;&#xA;&#xD;&#xA;Latency&#xD;&#xA;---&#xD;&#xA;You generally cannot escape latency in digital recording. The power of your computer will help, but some interfaces have more built-in latency than others. Dealing with this is a common problem and [can get fairly technical][1]. The best way to find out if a given interface will work is to try it, but failing that, looking for reviews by people on similar computers is the best method I've found to evaluate a given interface.&#xD;&#xA;&#xD;&#xA;Stability and support&#xD;&#xA;---&#xD;&#xA;Terrible driver support will ruin even amazing hardware. My last interface was stable on Windows but would crash OSX once a week, due to its drivers (they showed up in the crash log). Check the reviews and see who's having issues. My experience has generally been that you get what you pay for here.&#xD;&#xA;&#xD;&#xA;This rabbit hole can go as deep as you like, but these are the things I've found most prominent when I've gone interface shopping. Other, smaller concerns are things like what software it bundles, do you like how it looks/works, can you fit it in a bag if you travel a lot, or whether it has some nifty feature you want.&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/2549/eliminating-recording-latency-what-hardware-and-settings-are-needed" ContentLicense="CC BY-SA 3.0" />
  <row Id="39317" PostHistoryTypeId="2" PostId="23483" RevisionGUID="8a128d47-cf49-43c7-b0e8-e33a8095f1e0" CreationDate="2011-11-15T19:33:36.063" UserDisplayName="yossarian" Text="I would like to start recording my band practices. Current configuration is bass, guitar, and drums. I would like to record individual tracks to my computer so that we can add other parts, work on vocal lines, splice jams together in to full songs, etc. I figure that will require a mic for guitar, 3 for the drums, and mic or DI for the bass.&#xD;&#xA;&#xD;&#xA;What I'm missing is the piece of hardware that sits between the mics and my computer. What do I need there? How do I evaluate different options? What affects sound quality? Do I need a built in mic pre-amp to mic up an amp? What am I not asking because I'm a recording n00b?&#xD;&#xA;&#xD;&#xA;Also, I'd like to do this on a budget. We're not trying to cut a demo, but what are the trade offs associated with price? We're all good musicians with good ears, what should we avoid skimping on so that we don't just end up getting frustrated?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39318" PostHistoryTypeId="1" PostId="23483" RevisionGUID="8a128d47-cf49-43c7-b0e8-e33a8095f1e0" CreationDate="2011-11-15T19:33:36.063" UserDisplayName="yossarian" Text="How can I multitrack record my band practices?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39319" PostHistoryTypeId="3" PostId="23483" RevisionGUID="8a128d47-cf49-43c7-b0e8-e33a8095f1e0" CreationDate="2011-11-15T19:33:36.063" UserDisplayName="yossarian" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39320" PostHistoryTypeId="36" PostId="23484" RevisionGUID="24857f1f-296c-4623-b524-eb597c89bbbe" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2645/how-can-i-multitrack-record-my-band-practices/2647#2647" />
  <row Id="39321" PostHistoryTypeId="36" PostId="23485" RevisionGUID="8df7a167-4352-4282-ba17-b848442205fe" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5772/which-music-sw-should-i-consider-for-aligning-audio-waveforms-to-midi-piano-roll" />
  <row Id="39322" PostHistoryTypeId="2" PostId="23486" RevisionGUID="f7936e96-221b-43b3-bfb8-6ccdcbcfc5f4" CreationDate="2013-01-08T15:40:45.900" UserId="7294" UserDisplayName="Warrior Bob" Text="What you need is a sequencer that can also handle audio data, or an audio suite that also handles sequencing. Collectively, these programs are known as [Digital Audio Workstations](http://en.wikipedia.org/wiki/Digital_audio_workstation), commonly abbreviated DAWs. While the term &quot;DAW&quot; *technically* refers only to audio editing (waveforms), it's very common for a DAW to also support MIDI sequencing, or to be more of a MIDI tool than an audio one, so the term has come to imply both.&#xD;&#xA;&#xD;&#xA;Most, but not all of them will handle your scenario. As far as handling audio and MIDI tracks together, I imagine most any of them can handle this - Logic and Pro Tools should handle this fine, as will Cubase, Sonar, Ableton Live, Reaper, and even GarageBand. However, it's your third criteria - MIDI SysEx - that I think will narrow this down a bit. Ableton Live, for example, does not handle SysEx data of any kind, and I've never tried it with any of the others so I can't speak to their capabilities. This is the criteria you should first consider when choosing a DAW, since it's one of your needs.&#xD;&#xA;&#xD;&#xA;Beyond that, it's basically down to how much you like it, as the general functionality between DAW packages is pretty similar. You've already said that Cubase's interface doesn't work for you, so try one of the other ones." ContentLicense="CC BY-SA 3.0" />
  <row Id="39323" PostHistoryTypeId="2" PostId="23485" RevisionGUID="ee7ee2f7-4c12-4e6e-b843-555500c72807" CreationDate="2013-01-08T12:37:25.197" UserId="9744" UserDisplayName="therobyouknow" Text="Which music software should I consider for aligning audio waveforms to MIDI piano roll, looping MIDI, managing program change, SysEx?&#xD;&#xA;&#xD;&#xA;In my projects, I'd like to be able to:&#xD;&#xA;&#xD;&#xA;- see audio and MIDI tracks/channels on the same screen, for timing, so that I can line up the audio with the MIDI to be in sync&#xD;&#xA;&#xD;&#xA;- manage and copy MIDI loops easily&#xD;&#xA;&#xD;&#xA;- manage SysEx in a effective way (in the past I've seen SysEx data treated by some sequencers as a special sort of track or block of music data - to me this is a half-baked kludge)&#xD;&#xA;&#xD;&#xA;I use a MacBookPro 17&quot; 2010 machine. Would Pro Tools or Logic Pro do all the above? Or another piece of software I would prefer *not* to consider Cubase or Sonar. Not Cubase because from experience of a very early version (perhaps a bit unfair now) I did not find its UI worked for me, personal choice, the UI could not do the above things I need. Not Sonar because this is Windows based - though I have BootCamp so if there is a compelling reason for it, I would reconsider." ContentLicense="CC BY-SA 3.0" />
  <row Id="39324" PostHistoryTypeId="1" PostId="23485" RevisionGUID="ee7ee2f7-4c12-4e6e-b843-555500c72807" CreationDate="2013-01-08T12:37:25.197" UserId="9744" UserDisplayName="therobyouknow" Text="Which music sw should I consider for aligning audio waveforms to MIDI piano roll, looping MIDI, managing program change, SysEx?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39325" PostHistoryTypeId="3" PostId="23485" RevisionGUID="ee7ee2f7-4c12-4e6e-b843-555500c72807" CreationDate="2013-01-08T12:37:25.197" UserId="9744" UserDisplayName="therobyouknow" Text="&lt;audio&gt;&lt;midi&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39326" PostHistoryTypeId="36" PostId="23486" RevisionGUID="7998c2a2-650f-4503-96ed-a457abb4cf1a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5772/which-music-sw-should-i-consider-for-aligning-audio-waveforms-to-midi-piano-roll/5775#5775" />
  <row Id="39327" PostHistoryTypeId="36" PostId="23487" RevisionGUID="21296fc1-d31b-423a-9f78-c6b3bba83a88" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5772/which-music-sw-should-i-consider-for-aligning-audio-waveforms-to-midi-piano-roll/5776#5776" />
  <row Id="39328" PostHistoryTypeId="36" PostId="23488" RevisionGUID="32973619-ad00-424f-b417-49897ce759fc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5772/which-music-sw-should-i-consider-for-aligning-audio-waveforms-to-midi-piano-roll/5802#5802" />
  <row Id="39329" PostHistoryTypeId="2" PostId="23487" RevisionGUID="fccd60d2-4eb4-405e-be98-4f4ca2d9a77a" CreationDate="2013-01-08T17:27:35.893" UserId="7189" Text="Note that SyxEx data is, by its very nature, vendor specific. Supporting detailed SysEx editing would require custom work for each MIDI synth ever made. EMagic's Sounddriver did this, but was discontinued shortly after Apple bought EMagic.&#xD;&#xA;&#xD;&#xA;You can accomplish a lot of MIDI and SysEx manipulation with Logic's environment, though it is awkward, poorly documented, and the online user community is very limited.&#xD;&#xA;&#xD;&#xA;And I'll second Warrior Bob's comment that Live does *not* support SysEx. This is an &quot;interesting&quot; oversight because the most common use-case for SysEx is storing synth patches at the beginning of a project for guaranteed correct live playback.&#xD;&#xA;&#xD;&#xA;From the comments: [Ctrlr](http://ctrlr.org) is a great tool for building MIDI control panels that may (or may not) include SysEx." ContentLicense="CC BY-SA 3.0" />
  <row Id="39330" PostHistoryTypeId="2" PostId="23488" RevisionGUID="f1168c99-b775-4f3c-b400-85fe5fcbc331" CreationDate="2013-01-10T19:17:50.837" UserDisplayName="Derfder" Text="FL Studio is the easiest to operate. It is not for Mac however.&#xD;&#xA;&#xD;&#xA;**EDIT:**&#xD;&#xA;You can use it on MAC using parallels/virtualbox/vwware.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Check this &#xD;&#xA;&#xD;&#xA;1. easiest worflow. I mean come on, even you hate FL, you need to admit the gui is very easy to operate&#xD;&#xA;2. beautiful VST/VSTi support out of the box. Btw. Logic don't support VST at all. So, backwards in my opinion.&#xD;&#xA;3. unbeatable beat making/ piano roll - the fastest way for &quot;prototyping&quot;beats. Making beats in Cubase or Pro Tools is a joke.&#xD;&#xA;4. undisputed champion daw soft for electronic music like dance/house/trance/dubstep/drnb/hiphop/rnb/ambient stuff.&#xD;&#xA;5. it's extremly cheap when compared with other DAW software.&#xD;&#xA;&#xD;&#xA;Btw. these guys are composing their songs on FL Studio:&#xD;&#xA;&#xD;&#xA;    Deadmau5&#xD;&#xA;    Scooter&#xD;&#xA;    Basshunter&#xD;&#xA;    Avicii&#xD;&#xA;    Moby&#xD;&#xA;    Laidback Luke&#xD;&#xA;    9th Wonder&#xD;&#xA;    Madeon&#xD;&#xA;&#xD;&#xA;:)&#xD;&#xA;http://www.youtube.com/watch?v=l--UJwBFCV0&#xD;&#xA;&#xD;&#xA;btw. search this `aylar lie basshunter xxx` for what you can get when using Fl Studio ;)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39331" PostHistoryTypeId="36" PostId="23489" RevisionGUID="bb1866f9-5a2b-4884-980a-8238dba7f3e8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/532/what-is-the-best-but-least-expensive-live-recording-setup" />
  <row Id="39332" PostHistoryTypeId="36" PostId="23490" RevisionGUID="418046e9-2d12-45e6-b284-9ae714d5852d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/532/what-is-the-best-but-least-expensive-live-recording-setup/535#535" />
  <row Id="39333" PostHistoryTypeId="36" PostId="23491" RevisionGUID="bbc5c447-e7ab-468f-917b-4ed358a1e22d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/532/what-is-the-best-but-least-expensive-live-recording-setup/547#547" />
  <row Id="39334" PostHistoryTypeId="2" PostId="23490" RevisionGUID="2658fa84-b287-4a46-aa30-aae20e932a1c" CreationDate="2011-01-07T14:44:40.930" UserId="7209" UserDisplayName="Brad" Text="If your mixer has direct outs, this is probably the way to go:&#xD;&#xA;http://www.alesis.com/hd24&#xD;&#xA;&#xD;&#xA;Alesis HD24, 24-Track&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;I've seen similar units out there as well.  Perhaps the JoeCo BBR1 might meet your needs, but is a bit out of your price range:  http://pro-audio.musiciansfriend.com/product/JoeCo-BBR1-Blackbox-Recorder?sku=485728&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;I haven't tried either of these units.  You might try to find someone who has before purchasing.  I just think they might meet your needs.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/phI0o.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/qEB21.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="39335" PostHistoryTypeId="2" PostId="23491" RevisionGUID="a012425b-d4f4-4ae6-88d2-d86db609bfa0" CreationDate="2011-01-09T13:15:58.290" UserId="7592" UserDisplayName="Pelle ten Cate" Text="If you are not in need of a computer during the recording, and you can use something similar to an old-fashioned tape-recorder, the Alesis HD-24 is the machine to go with. As Brad mentioned in the comment, you can transfer the audio tracks to your computer after the recording, or you can hook up an analog mixing desk to do the rest of the work, basically the possibilities are endless. :)&#xD;&#xA;&#xD;&#xA;The computerized-solution: while I still don't get your real problem with the Tascam (your DAW software should give you enough information about the levels, shouldn't it?) I am very happy with my M-Audio ProFire 2626. It comes with 8 microphone pre-amps, 2x ADAT in/out and one SPDIF (coax) in/out, so it can deal with up to 26 channels in and out. You can extend it with ADAT-preamp units such as a Behringer ADA-8000 (budget option, I don't like it because of the noisy sound it produces) or either a Presonus, or Focusrite octopre LE with ADAT interface extension. Choice between the latter two is generally a matter of taste. &#xD;&#xA;&#xD;&#xA;You can easily set it up, it is just a matter of connecting it to your computer, running the M-Audio software which shows enough info to quickly set your microphone input gain/trim to an appropriate level. It has on-board DSP that can do very basic but also very flexible mixing, panning and routing, so setting it up is just a matter of minutes.&#xD;&#xA;&#xD;&#xA;If you need more meters on the hardware itself, have a look at MotU, they normally put a bit more LED-based meters on their interfaces." ContentLicense="CC BY-SA 2.5" />
  <row Id="39336" PostHistoryTypeId="2" PostId="23489" RevisionGUID="298e1dcc-fa4e-4cc6-adbf-cc02e5c5cdde" CreationDate="2011-01-06T21:30:35.333" UserDisplayName="Herschel" Text="I am a videographer first and a recording technician second. I've been trying to get better and easier to use equipment and software to record live bands (audio). My goal is to have a setup that can create great sounding audio to go with the video (isn't that the goal of any videographer?)&#xD;&#xA;&#xD;&#xA;I first purchased a Roland 8 track (6 track record) recorder and got good results (http://www.youtube.com/watch?v=N-T5XFzq8w8). But six channels is very limiting. And I found the solution difficult to manage and time consuming to export off the Roland and onto my computer for editing in Sonar.&#xD;&#xA;&#xD;&#xA;So I purchased a Tascam 16 channel USB interface with 2 x 8 channel splitters so I could go directly into Sonar while getting direct input from the stage or from a snake before the signal was sent to the front of the house mixer. I got decent results, but the Tascam isn't so good to setup in a short time-frame - hardly any peaking indicators and such. Results from my first use weren't bad, but not great (http://www.youtube.com/watch?v=FtYappa5uYA)&#xD;&#xA;&#xD;&#xA;I'm a small-time videographer who works with bands with low/no budget. Therefore, I can't afford a sound engineer to go with me on most gigs. I need a fire and forget multi-track recording setup. I'm ok at post-production as long as I can get good channel recordings to start with.&#xD;&#xA;&#xD;&#xA;Any suggestions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="39337" PostHistoryTypeId="1" PostId="23489" RevisionGUID="298e1dcc-fa4e-4cc6-adbf-cc02e5c5cdde" CreationDate="2011-01-06T21:30:35.333" UserDisplayName="Herschel" Text="What is the best, but least expensive live recording setup?" ContentLicense="CC BY-SA 2.5" />
  <row Id="39338" PostHistoryTypeId="3" PostId="23489" RevisionGUID="298e1dcc-fa4e-4cc6-adbf-cc02e5c5cdde" CreationDate="2011-01-06T21:30:35.333" UserDisplayName="Herschel" Text="&lt;audio-recording&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39339" PostHistoryTypeId="36" PostId="23492" RevisionGUID="7e2c74e2-9ca3-4011-93f0-5fbdab27db81" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3753/imitate-sound-of-coming-objects" />
  <row Id="39340" PostHistoryTypeId="2" PostId="23493" RevisionGUID="907ef480-f0af-4696-8a45-6943ef1dbada" CreationDate="2012-04-16T09:44:35.533" UserId="7016" Text="If your actors can't make the correct zombie sounds, the simplest way is to edit these sounds in afterwards - this will give you the flexibility to play with volume levels and balance, and add layered effects (eg vocals, breathing etc) over the top of actual movement noises (shuffling etc) which you could record live.&#xD;&#xA;&#xD;&#xA;I don't know if you'd need to get any specific tool - any DAW will let you add multilayer sounds - many will even allow the addition of Doppler effects (just in case you have really fast zombies...) - and ramp up volume levels and ramp down distance effects over time as they get closer etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="39341" PostHistoryTypeId="2" PostId="23492" RevisionGUID="4ae7a421-d257-4113-b1f1-341805f82515" CreationDate="2012-04-15T22:03:17.137" UserId="20596" UserDisplayName="Idsa" Text="I am going to shoot an amateur video but have no idea how to create good sound. Here is my problem.&#xD;&#xA;&#xD;&#xA;I need to shoot some people who are coming into the direction of the camera. During this process they should emit some sound, so there should be a feeling sound is nearer and nearer. But this is some specific sound which people can't pronounce by themselves. I have a sample of this sound but if I lay it on during editing there won't be an effect of people forthcoming.&#xD;&#xA;&#xD;&#xA;I see a couple of ways to solve this problem:&#xD;&#xA;&#xD;&#xA; 1. Find a tool which will make different versions of my sample&#xD;&#xA;    depending on the distance (if there is one) and then add these&#xD;&#xA;    samples during editing appropriately &#xD;&#xA; 2. Put on actors some audio-playing devices which will play this sound&#xD;&#xA;&#xD;&#xA;What is the right way to achieve my goal?&#xD;&#xA;&#xD;&#xA;**Update.** I didn't want to provide a real case as it may sound silly, but this will be a clip inspired by Walking Dead series. So people will play a role of zombie and I want them to make scary zomby sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="39342" PostHistoryTypeId="1" PostId="23492" RevisionGUID="4ae7a421-d257-4113-b1f1-341805f82515" CreationDate="2012-04-15T22:03:17.137" UserId="20596" UserDisplayName="Idsa" Text="Imitate sound of coming objects" ContentLicense="CC BY-SA 3.0" />
  <row Id="39343" PostHistoryTypeId="3" PostId="23492" RevisionGUID="4ae7a421-d257-4113-b1f1-341805f82515" CreationDate="2012-04-15T22:03:17.137" UserId="20596" UserDisplayName="Idsa" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39344" PostHistoryTypeId="36" PostId="23493" RevisionGUID="a7c47b76-8e71-46a1-8d0e-965fd7580b9d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3753/imitate-sound-of-coming-objects/3757#3757" />
  <row Id="39345" PostHistoryTypeId="36" PostId="23494" RevisionGUID="58b443dd-0142-4be8-b9f5-f6c6fdd02566" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3753/imitate-sound-of-coming-objects/3760#3760" />
  <row Id="39346" PostHistoryTypeId="2" PostId="23494" RevisionGUID="82cce394-0791-412d-b4f2-2a3ab617dc6c" CreationDate="2012-04-16T15:27:05.817" UserId="7294" UserDisplayName="Warrior Bob" Text="In general, further-away sounds tend to have a bit more of the sound of the environment in them, as well as being delayed slightly (about one millisecond per foot due to the speed of sound). You can model this to some extent with a reverb effect designed to model the space, and with a little bit of high- and low-pass filtering on the dry sound if they are particularly far away. In theory (I've never tried this) you can reduce the effect of the filtering and reverb as the sounds come closer.&#xD;&#xA;&#xD;&#xA;In your specific case (thank you for your update), you're looking for sounds spoken by actors, and in particular the sound of a bunch of actors. These people are supposed to sound like zombies, so you may want to accentuate the effect of there being lots of actors - try recording them multiple times, and overlaying the recordings on different tracks. Experiment with panning, stereo effects, and different reverb/EQ settings for the different tracks, as well as a subtle delay effect with different speeds, to get a &quot;voices coming from everywhere&quot; kind of sound.&#xD;&#xA;&#xD;&#xA;Now, you've suggested that you might not be recording the actors actually making this sound, and instead relying on a sample that you have. The same advice applies, but it might not sound right on multiple tracks depending on what the sample is. Even with one track though, you can probably still evolve the effects over time to make it sound like it's coming closer. " ContentLicense="CC BY-SA 3.0" />
  <row Id="39347" PostHistoryTypeId="36" PostId="23495" RevisionGUID="563a076c-7782-4326-b18d-6ec72b00707c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7521/connect-line-level-to-mic-level" />
  <row Id="39348" PostHistoryTypeId="36" PostId="23496" RevisionGUID="443f2fae-668c-4fef-94b5-02dff73ddf4c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7521/connect-line-level-to-mic-level/7527#7527" />
  <row Id="39349" PostHistoryTypeId="36" PostId="23497" RevisionGUID="9f79dfac-46a3-44f6-afd9-b666820ab313" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7521/connect-line-level-to-mic-level/7528#7528" />
  <row Id="39350" PostHistoryTypeId="2" PostId="23496" RevisionGUID="362227c4-2323-46cd-b83c-e304f7573adb" CreationDate="2013-03-28T11:51:24.917" UserId="7213" UserDisplayName="Jim Mack" Text="Your mention of a computer apparently confused some people. The actual question is just: how do I connect a line-level source to a mic-level input?&#xD;&#xA;&#xD;&#xA;You use an attenuator or 'pad' to reduce the level. At its simplest, this can be a 2-3 resistor network, even a single resistor in line with the signal. Or you can buy a line-to-mic attenuator at an electronics hobby store (RS etc). Some have adjustable or switchable attenuation -- you probably want something on the order of 40-60 dB.&#xD;&#xA;&#xD;&#xA;Pay attention to the impedance of the source and the input for best results. You want the input level somewhere around the middle of its range." ContentLicense="CC BY-SA 3.0" />
  <row Id="39351" PostHistoryTypeId="2" PostId="23497" RevisionGUID="8e17dd24-ba9a-46aa-8924-e781570d7cf7" CreationDate="2013-03-28T13:18:38.937" UserId="7174" Text="As Jim mentioned, the device you are looking for is called a pad.  It will drop the level as necessary, you can either get an adjustable one or simply get a 60db pad and you should be ok, but you should also consider whether your current approach is the best.  &#xD;&#xA;&#xD;&#xA;If you are playing back some electronic file in to the mic input, it would be a better bet to simply combine the audio electronically in video editing software after you have captured the video.  This is a process called dubbing and is done regularly to achieve higher quality results.  The reason is that it avoids something called generations of loss.  Any time that you reproduce an analog signal, a portion of the signal is going to be lost.  The more times you reproduce it, the worse it will get.  A lot of effort goes in to minimizing the generations of loss and is a big part of why lossless digital work flows are so popular." ContentLicense="CC BY-SA 3.0" />
  <row Id="39352" PostHistoryTypeId="2" PostId="23495" RevisionGUID="1c139664-0f24-48cb-96b3-2d38a4e61c7c" CreationDate="2013-03-28T02:11:16.153" UserId="7343" UserDisplayName="d.free" Text="I have a old video camera that has a mic level input for connecting stereo mics. When I connect a line level device (computer, etc.) to it it sounds horrible. Is there a relatively cheap way to convert the line level to mic level and feed it into the camera while still having good quality?&#xD;&#xA;&#xD;&#xA;By the way my camera doesnt have a mic level/line level switch, so dont talk about that." ContentLicense="CC BY-SA 3.0" />
  <row Id="39353" PostHistoryTypeId="1" PostId="23495" RevisionGUID="1c139664-0f24-48cb-96b3-2d38a4e61c7c" CreationDate="2013-03-28T02:11:16.153" UserId="7343" UserDisplayName="d.free" Text="Connect Line Level To Mic Level" ContentLicense="CC BY-SA 3.0" />
  <row Id="39354" PostHistoryTypeId="3" PostId="23495" RevisionGUID="1c139664-0f24-48cb-96b3-2d38a4e61c7c" CreationDate="2013-03-28T02:11:16.153" UserId="7343" UserDisplayName="d.free" Text="&lt;audio-recording&gt;&lt;input&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39355" PostHistoryTypeId="36" PostId="23498" RevisionGUID="597a9a98-2b40-4216-858a-6de6132ad078" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2106/does-this-sound-wave-of-a-voice-over-track-look-normal" />
  <row Id="39356" PostHistoryTypeId="36" PostId="23499" RevisionGUID="0c610624-7d1f-4166-be8a-2346ce35dfc8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2106/does-this-sound-wave-of-a-voice-over-track-look-normal/2107#2107" />
  <row Id="39357" PostHistoryTypeId="2" PostId="23499" RevisionGUID="58f02cb9-954f-4b19-8f5f-8aea80580279" CreationDate="2011-08-13T03:19:59.717" UserId="7093" Text="I have noticed this same phenomenon when recording drums using an Shure SM-58 microphone.  I only tend to see it during the louder parts, so my best guess is that the sound pressure is so great it is pushing the diaphragm of the microphone in more than it is being pushed out." ContentLicense="CC BY-SA 3.0" />
  <row Id="39358" PostHistoryTypeId="2" PostId="23500" RevisionGUID="f390cabd-fa92-4c86-a19f-dd0a3f9e84a0" CreationDate="2011-08-15T00:50:28.210" UserId="7200" UserDisplayName="leftaroundabout" Text="There can be multiple reasons for such a waveform:&#xD;&#xA;&#xD;&#xA; - Transient-heavy signals from the source itself, the transients being asymmetric. As said by Friend Of George, this can easily happen when recording drums, but also on voices – however it's mainly pop noises there, which should be removed with a pop shield and/or high pass filter anyway. The signal does not look like that's the problem: not only the transients but also the sustained parts are asymmetric.&#xD;&#xA; - Phase-coherent signals. These occur mainly in simple synthesizers and sometimes in instruments like DI-recorded fretless electric bass, but should not happen in any signal recorded through a microphone, because acoustic transmission does not keep the exact phase relations. However, it may sometimes be accurate enough to retain some of the asymmetry of someone's vocal cords' oscillations.&#xD;&#xA; - Asymmetric distortion, as produced (in a quite pleasant manner) by tube amplifiers but sometimes also by poorly designed solid-state circuits. This is not usually visible in the waveform because such distortion will often be phase-scrambled and debiased by following filter circuitry and/or loudspeakers+microphones, but not so if the culprit is the AD converter or directly before it. This seems the most likely cause for your waveform.&#xD;&#xA;&#xD;&#xA;As I said, it is disruption of the phase relation between the harmonics that usually prevents asymmetric waveforms. The phase relations are changed in any normal equalizer, so it's quite possible that the waveform will look perfectly normal after EQing (especially low-cutting). If that's not enough without making it sound bad and you're still worried about the asymmetric waveform, you can also mangle the phase relations _without_ affecting the sound, by means of an all-pass filter. You may need more than one, set to different frequencies in the range 80-800 Hz. Other things that will probably mend the asymmetry:&#xD;&#xA;&#xD;&#xA; - Multiband compression&#xD;&#xA; - Symmetric clipping, soft or hard/brickwall limiting&#xD;&#xA; - Modulation effects (but I guess you don't want that on a voice-over)&#xD;&#xA; - Heavy short/gated reverb (also not so nice for a voice-over)" ContentLicense="CC BY-SA 3.0" />
  <row Id="39359" PostHistoryTypeId="2" PostId="23498" RevisionGUID="d4807385-2b36-4ef1-809b-7e189c4b48dc" CreationDate="2011-08-12T23:57:10.563" UserDisplayName="Jeremy White" Text="I got some voice over files today from a new studio, and my co-worker was confused as to why the sound wave looks like this.&#xD;&#xA;&#xD;&#xA;His concern is that the wave should be pretty even above and below the -∞ line, but the lower part of the wave appears to be half-peaking along a consistent line.&#xD;&#xA;&#xD;&#xA;Anyone know what's happening here? Is this normal, or a result of faulty/poor equipment?&#xD;&#xA;&#xD;&#xA;![sound wave of human voice][1]&#xD;&#xA;&#xD;&#xA;EDIT: as a reference, here is how we would expect a wave to look&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/NeGIN.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/PPyJD.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="39360" PostHistoryTypeId="1" PostId="23498" RevisionGUID="d4807385-2b36-4ef1-809b-7e189c4b48dc" CreationDate="2011-08-12T23:57:10.563" UserDisplayName="Jeremy White" Text="Does this sound wave of a voice-over track look normal?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39361" PostHistoryTypeId="3" PostId="23498" RevisionGUID="d4807385-2b36-4ef1-809b-7e189c4b48dc" CreationDate="2011-08-12T23:57:10.563" UserDisplayName="Jeremy White" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39362" PostHistoryTypeId="36" PostId="23500" RevisionGUID="d2fc93d5-b9e1-4423-88db-b3c3a405af2d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2106/does-this-sound-wave-of-a-voice-over-track-look-normal/2121#2121" />
  <row Id="39363" PostHistoryTypeId="36" PostId="23501" RevisionGUID="3b843b63-154d-4ff2-a4a3-d7da41446501" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2106/does-this-sound-wave-of-a-voice-over-track-look-normal/7718#7718" />
  <row Id="39364" PostHistoryTypeId="2" PostId="23501" RevisionGUID="cab64c67-5847-4f3e-b7ec-66fee80e97f5" CreationDate="2013-04-22T11:39:42.373" UserDisplayName="Howard Ellison" Text="How very interesting!   I do pro voiceover, and my raw trace looks asymmetrical when I compare it with the work of peers (I can't check their original recordings of course).   First time I thought about it was when I happened to step behind a figure of eight ribbon mic and noticed a quality change along with inversion of the asymmetry.&#xD;&#xA;  &#xD;&#xA;Some BBC research of long ago found that male voices in particular can be asymmetric by up to 8dB, and in USA the mighty Robert Orban among others used phase rotation, or scrambling if you like, to ensure maximum modulation on AM.  In Britain it probably happened anyway through the BBC’s then use of enormous numbers of transformers one after another in the national broadcast chain!  I asked my tutor: he said 23 and counting.&#xD;&#xA;&#xD;&#xA;Back to my ribbon:  With the help of phase-swapping line transformers, I confirmed my equipment was indeed adding distortion and found it preferred the mic input to be phased such that some cancellation could be achieved.  Not very nice!&#xD;&#xA;&#xD;&#xA;Now, with a completely new set of equipment there’s no audible distortion, and quality-wise it doesn't care about polarity,  but the loppiness persists.  It looks much less obvious if the bigger peaks go upwards, so I have set the desk to do that, although you could just use polarity reverse in the software.&#xD;&#xA;&#xD;&#xA;As leftaroundabout said, one remedy is peak limiting and yes I do that.  Just enough to trim the infrequent tall spikes.  Which are all on one side.  Looks like a crew cut." ContentLicense="CC BY-SA 3.0" />
  <row Id="39365" PostHistoryTypeId="36" PostId="23502" RevisionGUID="8867a138-7b68-4a9c-81e0-af62606be0fc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8258/how-to-correctly-slow-down-the-track-to-compensate-for-wrong-bitrate" />
  <row Id="39366" PostHistoryTypeId="2" PostId="23503" RevisionGUID="fd2fad08-ac1e-4d7b-b947-392c4eeb985f" CreationDate="2013-06-30T12:18:42.310" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="You simply re-sample them from 48 kHz to 44.1 kHz.&#xD;&#xA;&#xD;&#xA;I believe in Sound Forge you go to the Process menu and select re-sample.&#xD;&#xA;&#xD;&#xA;Or you can do it by using one of the many free audio editing software such as these:  &#xD;&#xA;http://www.hongkiat.com/blog/25-free-digital-audio-editors/&#xD;&#xA;&#xD;&#xA;Don't apply pitch-shifting or time warp, only plain and simple re-sampling.&#xD;&#xA;&#xD;&#xA;You won't normally loose any data re-sampling as it is merely about setting playback speed in the file header. You are only telling the player to play the exact same data, but at a lower rate. The opposite is what you're experiencing, the data played at a higher frequency resulting in higher pitch and faster playback.&#xD;&#xA;&#xD;&#xA;However, be aware of that some program look at the system's playback rate and can actually interpolate the data and so forth. Therefor I would advice you to check other programs as well if you run into lowered quality.&#xD;&#xA;&#xD;&#xA;If none should allow you there is a more low-level approach you can use by altering the audio file header directly (and header only) to set new playback rate. For this you can use for example `sox`:  &#xD;&#xA;http://sox.sourceforge.net/sox.html&#xD;&#xA;&#xD;&#xA;(Audacity apparently has a bug related to re-sampling - dunno if that is fixed by now.)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39367" PostHistoryTypeId="2" PostId="23502" RevisionGUID="70754873-d571-455f-a75e-eb0a768cab0a" CreationDate="2013-06-29T19:42:30.433" UserId="6743" Text="I have some ripped tracks from an audio CD which originally had the music in 44100Hz bitrate, but it's encoded as 48000Hz. The pitch is definitely higher and so is the speed. How do I properly reduce the bitrate without losing audio quality?&#xD;&#xA;&#xD;&#xA;I have Sound Forge 10 application I could use to do that if it's possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="39368" PostHistoryTypeId="1" PostId="23502" RevisionGUID="70754873-d571-455f-a75e-eb0a768cab0a" CreationDate="2013-06-29T19:42:30.433" UserId="6743" Text="How to correctly slow down the track to compensate for wrong bitrate?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39369" PostHistoryTypeId="3" PostId="23502" RevisionGUID="70754873-d571-455f-a75e-eb0a768cab0a" CreationDate="2013-06-29T19:42:30.433" UserId="6743" Text="&lt;audio&gt;&lt;sample-rate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39370" PostHistoryTypeId="36" PostId="23503" RevisionGUID="97cd3094-0241-4982-89dc-57208f56493d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8258/how-to-correctly-slow-down-the-track-to-compensate-for-wrong-bitrate/8261#8261" />
  <row Id="39371" PostHistoryTypeId="36" PostId="23504" RevisionGUID="4df78544-5736-4003-a945-f4fad905c392" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4898/what-is-an-a-d-converter-and-a-recommendation-about-it" />
  <row Id="39372" PostHistoryTypeId="2" PostId="23505" RevisionGUID="54a5beeb-889d-4e2c-a70a-58e4643ab788" CreationDate="2012-10-02T18:45:07.517" UserId="7189" Text="The difference between those two products is that one includes an analog to digital converter and a digital output, in addition to the analog outputs. You might want the digital output if you have a mac (most modern macs have digital input) but no outboard audio interface. Or if you have other gear with S/PDIF digital input. &#xD;&#xA;&#xD;&#xA;Don't trust me (really). Check out the [owners manual][1] on the [artpro][2] website. There is a signal flow diagram on page 2 that shows you exactly where the A/D conversion occurs. Compare with the [analog-only version][3].&#xD;&#xA;&#xD;&#xA;An [analog to digital converter][4] measures the voltage of an input signal at a fixed frequency, and converts the voltage to a binary value. Modern ADCs typically support at least 16 bits of resolution at a 44.1 KHz sample rate (CD quality), many support 24 bits at 96 KHz.&#xD;&#xA;&#xD;&#xA;It is typical for digital effects boxes to have Analog to Digital Converters (ADC) on the inputs, digital processing in the middle, and Digital to Analog Converters (DAC) on the output. This is because the effects are operating in the digital domain. Preamps are generally analog devices, so any conversion to digital would typically be saved for the output side. You want to do your amplification in the analog domain.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://artproaudio.com/files/owners_manuals/om_dpmaii.pdf&#xD;&#xA;  [2]: http://artproaudio.com&#xD;&#xA;  [3]: http://artproaudio.com/files/owners_manuals/om_prompaii.pdf&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Analog-to-digital_converter" ContentLicense="CC BY-SA 3.0" />
  <row Id="39373" PostHistoryTypeId="2" PostId="23504" RevisionGUID="97463300-8f54-40bf-b274-89dff048834a" CreationDate="2012-10-02T17:21:25.113" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="So its an analog to digital converter that uses sampling and quantization? I understand all of that but it sounds to me like it would change the outputted sound. **How exactly is this performed?**&#xD;&#xA;&#xD;&#xA;The reason I ask is because I'm looking at these two near identical preamps&#xD;&#xA;&#xD;&#xA;[AD MPA II with A/D conversion](http://www.musiciansfriend.com/pro-audio/art-digital-mpa-ii-2-channel-tube-microphone-preamp-with-a-d-conversion)&#xD;&#xA;&#xD;&#xA;[AD MPA Pro II](http://www.musiciansfriend.com/pro-audio/art-prompa-ii--2-channel-tube-mic-preamp)&#xD;&#xA;&#xD;&#xA;So the first one is digital and it does this conversion that way? The second does it the old way aka analog? **Whats the difference besides price?**" ContentLicense="CC BY-SA 3.0" />
  <row Id="39374" PostHistoryTypeId="1" PostId="23504" RevisionGUID="97463300-8f54-40bf-b274-89dff048834a" CreationDate="2012-10-02T17:21:25.113" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="what is an A/D converter? and a recommendation about it" ContentLicense="CC BY-SA 3.0" />
  <row Id="39375" PostHistoryTypeId="3" PostId="23504" RevisionGUID="97463300-8f54-40bf-b274-89dff048834a" CreationDate="2012-10-02T17:21:25.113" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;audio-recording&gt;&lt;analog&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39376" PostHistoryTypeId="36" PostId="23505" RevisionGUID="90759a02-ca07-4f06-af84-d9a8cd2c4d32" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4898/what-is-an-a-d-converter-and-a-recommendation-about-it/4901#4901" />
  <row Id="39377" PostHistoryTypeId="36" PostId="23506" RevisionGUID="ad21bd85-d7ad-4b1b-bce9-24d68f26aa05" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4668/sterling-audio-st51-condenser-mic-xlr-cord-doesnt-fit-all-the-way-and-wont-wor" />
  <row Id="39378" PostHistoryTypeId="2" PostId="23507" RevisionGUID="a0f4601e-c07e-4e63-92d7-ff0edc94fc8a" CreationDate="2012-09-06T13:33:52.010" UserId="7211" UserDisplayName="Jazibobs" Text="It sounds like there was a manufacturing problem with the mic to be honest. Return it to the Guitar Centre and explain/demonstrate the difficulty you are having with the xlr connector.&#xD;&#xA;&#xD;&#xA;I'm sure they will offer you a replacement/refund since they've sold you a microphone which doesn't actually fully connect to a standard xlr." ContentLicense="CC BY-SA 3.0" />
  <row Id="39379" PostHistoryTypeId="2" PostId="23506" RevisionGUID="aa781af4-a5b8-4456-a764-fd57f9c3c449" CreationDate="2012-09-05T13:47:12.803" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="So I bought a Sterling Audio ST51 Condenser Mic on Monday to record vocals for some of my songs. &#xD;&#xA;&#xD;&#xA;[the mic](http://ecx.images-amazon.com/images/I/21uXIaY6yuL._SL500_AA300_.jpg)&#xD;&#xA;&#xD;&#xA;I bought it used from Guitar Center but they said it worked fine and obviously tested it. As a matter of fact, it was only a month old and the salesmen had literally just bought it back from the same guy he sold it to a month before. &#xD;&#xA;&#xD;&#xA;The problem started once I set it up. I bought an additional XLR female to XLR male cord to plug into my Akai EIE Pro midi-interface. I then attempted to plug the female end of the XLR cord into the mic and it looked like it should fit fine but it would hardly budge... &#xD;&#xA;&#xD;&#xA;At first glance alone it appears that it should fit. After some carefully applied pressure I was able to insert the cord about 3/4 of the way in but not enough to engage the clip built into the XLR cord. I did this a couple time just to see if it would get any easier and it didn't. Here's a gif I made of me trying.&#xD;&#xA;&#xD;&#xA;[idk if gifs work on this site](http://i.imgur.com/j47kp.gif)&#xD;&#xA;&#xD;&#xA;I checked the prongs on the inside of the mic and they are all normally aligned. Non are bent and the cord does work its way in slowly so it obviously is supposed to fit, its just EXTREMELY tight for no apparent reason and will not go in more than 3/4 of the way.&#xD;&#xA;&#xD;&#xA;This should be enough to get it to work correct? I checked all the settings on my Akai EIE Pro to make sure it should be working and checked to make sure that it provides phantom power(which it does).&#xD;&#xA;&#xD;&#xA;Is there any other reason why I'm not thinking of why the cord wouldn't fit? And also why it wouldn't work? I'm assuming (and probably incorrectly) that it would work if plugged in 3/4 of the way.&#xD;&#xA;&#xD;&#xA;Oh, on a final note, I tried to see if it was receiving any input at all and it wasn't. Didn't show up on the display on my EIE Pro, my midi input settings on my computer, or the configuration in Ableton (which my EIE Pro came with, another useless Albeton Lite serial)." ContentLicense="CC BY-SA 3.0" />
  <row Id="39380" PostHistoryTypeId="1" PostId="23506" RevisionGUID="aa781af4-a5b8-4456-a764-fd57f9c3c449" CreationDate="2012-09-05T13:47:12.803" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="Sterling Audio ST51 Condenser Mic XLR cord doesn't fit all the way and won't work" ContentLicense="CC BY-SA 3.0" />
  <row Id="39381" PostHistoryTypeId="3" PostId="23506" RevisionGUID="aa781af4-a5b8-4456-a764-fd57f9c3c449" CreationDate="2012-09-05T13:47:12.803" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;midi&gt;&lt;xlr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39382" PostHistoryTypeId="36" PostId="23507" RevisionGUID="fe7f00be-4da1-4b0b-a9a8-281ea78f8d95" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4668/sterling-audio-st51-condenser-mic-xlr-cord-doesnt-fit-all-the-way-and-wont-wor/4670#4670" />
  <row Id="39383" PostHistoryTypeId="36" PostId="23508" RevisionGUID="35ed70a3-541a-4a57-9554-6b026721ddf2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2729/batch-processing-solution-for-audio-files" />
  <row Id="39384" PostHistoryTypeId="36" PostId="23509" RevisionGUID="9fcca129-b48f-4316-a62b-a27789657849" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2729/batch-processing-solution-for-audio-files/2732#2732" />
  <row Id="39385" PostHistoryTypeId="2" PostId="23509" RevisionGUID="8147cdf4-d2bd-4e58-9a14-c854ec1c7964" CreationDate="2011-12-02T15:22:14.750" UserId="7016" Text="From the Vorbis home page I found [this link][1] to a tool which looks like it does what you want.&#xD;&#xA;&#xD;&#xA;(I haven't tested it = on my windows machines I pop either a cygwin or a linux VM and do it with ffmpeg and sox)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.litexmedia.com/audio_wizard/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39386" PostHistoryTypeId="2" PostId="23510" RevisionGUID="0f763605-39ad-43c1-aa3f-dca06dd42804" CreationDate="2011-12-03T22:25:05.597" UserId="7214" UserDisplayName="Caleb Jares" Text="What you're looking for is [foobar2000][1]. It comes stock with conversion and extra scripting options, and there are dozens of extensions that are already made for you. In addition, you can script the rest of the program to do whatever you want!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.foobar2000.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39387" PostHistoryTypeId="2" PostId="23508" RevisionGUID="5c8f396f-8534-41f2-a939-e1b1987cd6fa" CreationDate="2011-12-02T08:46:43.007" UserId="6430" Text="I'm looking for a way to batch process large amount of audio files (ogg and wav formats). &#xD;&#xA;&#xD;&#xA;Ideally, a solution that works from a Windows' command line, allows conversion between formats, allows applying various effects (e.g. noise removal), delivers basic editing options (join two files together, remove silence from beginning and end of files, append 1s of silence to each file and so on) and it's freeware or open source. It can be a audio files editor with scripting capabilities.&#xD;&#xA;&#xD;&#xA;Does anyone happen to know about existence of such solution? Any help would be greatly appreciated.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39388" PostHistoryTypeId="1" PostId="23508" RevisionGUID="5c8f396f-8534-41f2-a939-e1b1987cd6fa" CreationDate="2011-12-02T08:46:43.007" UserId="6430" Text="Batch processing solution for audio files" ContentLicense="CC BY-SA 3.0" />
  <row Id="39389" PostHistoryTypeId="3" PostId="23508" RevisionGUID="5c8f396f-8534-41f2-a939-e1b1987cd6fa" CreationDate="2011-12-02T08:46:43.007" UserId="6430" Text="&lt;editing&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39390" PostHistoryTypeId="36" PostId="23510" RevisionGUID="47472b0a-2d70-407f-8744-a17e591320e3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2729/batch-processing-solution-for-audio-files/2735#2735" />
  <row Id="39391" PostHistoryTypeId="36" PostId="23511" RevisionGUID="0d0662ee-595f-4226-ab62-b2b1761dd847" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2729/batch-processing-solution-for-audio-files/2764#2764" />
  <row Id="39392" PostHistoryTypeId="36" PostId="23512" RevisionGUID="a04fbabd-eb35-4a85-bcdb-222f5af19722" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2729/batch-processing-solution-for-audio-files/3125#3125" />
  <row Id="39393" PostHistoryTypeId="36" PostId="23513" RevisionGUID="26d2b25c-6271-47da-85ff-150f21ca3e20" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2729/batch-processing-solution-for-audio-files/3134#3134" />
  <row Id="39394" PostHistoryTypeId="2" PostId="23511" RevisionGUID="05b24a1f-09aa-4d33-a3dc-c6d1711d79bf" CreationDate="2011-12-06T23:20:18.240" UserDisplayName="Joe Stavitsky" Text="I think Sound Forge accepts VB scripting. Far and Away best in breed noise reduction." ContentLicense="CC BY-SA 3.0" />
  <row Id="39395" PostHistoryTypeId="2" PostId="23513" RevisionGUID="66db9c18-9393-49d5-acb2-b07273b6f52a" CreationDate="2012-01-25T19:59:29.840" UserDisplayName="Systemic" Text="That's a lot of features to ask of a free solution! Look into Steinberg Wavelab, which has powerful batch processing, editing, noise removal, etc.  It's not CLI, but for the level of processing you want to do, I'd advise toward a GUI software solution." ContentLicense="CC BY-SA 3.0" />
  <row Id="39396" PostHistoryTypeId="2" PostId="23512" RevisionGUID="b18c16cd-f39c-4e76-b969-d1a5b54c9ce9" CreationDate="2012-01-24T20:22:53.403" UserDisplayName="leonbloy" Text="See also [SoX][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sox.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39397" PostHistoryTypeId="36" PostId="23514" RevisionGUID="efd28d92-ca4c-4d30-94a3-39295732bac9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7910/combining-2-mono-microphones-to-1-mono-output-with-a-4-channel-recorder-in-the-m" />
  <row Id="39398" PostHistoryTypeId="36" PostId="23515" RevisionGUID="d393a4f5-94d9-43de-b035-1dc34e6ae8a3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7910/combining-2-mono-microphones-to-1-mono-output-with-a-4-channel-recorder-in-the-m/7911#7911" />
  <row Id="39399" PostHistoryTypeId="36" PostId="23516" RevisionGUID="430c8c5c-82b8-4af0-84b3-3e42c35a68b1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7910/combining-2-mono-microphones-to-1-mono-output-with-a-4-channel-recorder-in-the-m/7924#7924" />
  <row Id="39400" PostHistoryTypeId="2" PostId="23515" RevisionGUID="61266597-284f-4ca7-bfc5-7262a2f08d57" CreationDate="2013-05-17T17:39:45.893" UserId="7174" Text="Hmm, that's a rather complicated setup that could have problems.  Normally combining a left and right channel is simple, simply wire the signal and ground lines together and the signals will combine to form a combined mono signal from the stereo signals.  &#xD;&#xA;&#xD;&#xA;The problem is that since you are splitting the signal, you need one output to maintain the stereo image while you need the other to be mono.  I'm pretty sure that when you wire the left and right channel together for going in to the iPhone input, it is going to create a circuit that allows the combined feed to go back on the left and right channels being split off to the camera's stereo input.&#xD;&#xA;&#xD;&#xA;You might be able to custom make something with diodes in the path to ensure that signal isn't able to backflow and pollute the stereo image, but you are talking about a pretty specialized setup at that point.&#xD;&#xA;&#xD;&#xA;Also, as an aside, there is no such thing as a mono to stereo adapter.  It's just a splitter and any marketing fluff to the contrary is just that, marketing fluff.  A splitter in reverse will combine signals, but the connectors are probably all the wrong gender.&#xD;&#xA;&#xD;&#xA;Update: See discussion below, diodes won't work for the purpose I described.  Seems my electronics was a little rusty, or more accurately I forgot that the signal oscillates in both directions.  The part about the issues from simply merging the signal paths should still be accurate though.  A distribution amplifier (like a headphone amp) might provide what you need to provide isolated splits of the signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="39401" PostHistoryTypeId="2" PostId="23516" RevisionGUID="c772d28a-f692-4a61-abd0-b12ff08243e3" CreationDate="2013-05-18T15:21:15.830" UserId="7405" UserDisplayName="Andy aka" Text="Analogue Mixer Desks use resistors to mix two (or more) signals. &#xD;&#xA;&#xD;&#xA;If your individual signals (left and right) have a recognized output impedance (50 ohm, 75 ohm, 100 ohm, 150 ohm, 300 ohm, 600 ohm, 100 ohm etc) then, the two signals will &quot;mix&quot; to form a composite signal. &#xD;&#xA;&#xD;&#xA;If the two signals are from low impedance sources such as amplifiers then you need to use extra resistors (1000 ohm typical) to combine the two signals and avoid the amplifiers becoming damaged or distorting.&#xD;&#xA;&#xD;&#xA;You wouldn't put a 12V battery in parallel with a 6V battery but you can if you use both outputs connected through their individual 1000 ohm resistors. And what do you get at the mix-point... 9V i.e. the two battery voltages are mixed and this happens with AC voltages as well.&#xD;&#xA;&#xD;&#xA;Try mixing the two outputs via 1000 ohm resistors. Take a look at [**this**][1] - it describes what I mean. It uses 10kohm resistors (10,000 ohms) but the principle is the same; if you think the signals won't *appreciate* being loaded with 1000 ohms then use 10,000 ohms.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.epanorama.net/circuits/linesum.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="39402" PostHistoryTypeId="2" PostId="23514" RevisionGUID="354396e4-2b5e-4a20-bfec-5695092654c3" CreationDate="2013-05-17T17:23:21.230" UserDisplayName="BigAl" Text="I have an 4 Channel recorder/mixer. &#xD;&#xA;&#xD;&#xA;As well as recording, it gives me 1/8&quot; stereo out on a head phone output. One mike is on the left and one mike is on the right. &#xD;&#xA;&#xD;&#xA;I use a 1/8” to 1/8” stereo cable that attenuates it to be good for line in on the cameras. I split this to 2 camera's. 1/8&quot; plug input to the camera but the other has  an iPhone input. I thought I had a 1/8” stereo to iPhone audio plug cable. &#xD;&#xA;&#xD;&#xA;When all is said and done the iPhone is only getting one side of the audio. &#xD;&#xA;&#xD;&#xA;I assume the stereo 1/8&quot; female to iPhone male is actually a mono female to iPhone. So I think I need an adapter to go from a 1/8&quot; Stereo male to a 1/8&quot; mono female.&#xD;&#xA;&#xD;&#xA;Looking online, I see plugs that match that spec but they are made to take a mono signal and convert it to stereo. Some seem to even enhance the signal to make it “better” stereo, which really worries me. &#xD;&#xA;&#xD;&#xA;I am trying to go the other way and combine the left and right sides to get a mono into the iPhone." ContentLicense="CC BY-SA 3.0" />
  <row Id="39403" PostHistoryTypeId="1" PostId="23514" RevisionGUID="354396e4-2b5e-4a20-bfec-5695092654c3" CreationDate="2013-05-17T17:23:21.230" UserDisplayName="BigAl" Text="Combining 2 Mono Microphones to 1 mono output with a 4 channel recorder in the middle" ContentLicense="CC BY-SA 3.0" />
  <row Id="39404" PostHistoryTypeId="3" PostId="23514" RevisionGUID="354396e4-2b5e-4a20-bfec-5695092654c3" CreationDate="2013-05-17T17:23:21.230" UserDisplayName="BigAl" Text="&lt;audio-recording&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39409" PostHistoryTypeId="36" PostId="23518" RevisionGUID="d52e0c5e-ed34-404f-94b2-2d136dd18751" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9711/cubase-le-5-static-noises" />
  <row Id="39410" PostHistoryTypeId="2" PostId="23518" RevisionGUID="46742223-a36d-4af6-9533-9fb7061c9ff2" CreationDate="2013-12-20T14:40:01.923" UserDisplayName="Odinn" Text="I bought a Lexicon Lambda interface and connected it to my MacBook Pro late 2011.&#xD;&#xA;&#xD;&#xA;Specs:&#xD;&#xA;&#xD;&#xA;Intel core i5 2.4GHz&lt;br /&gt;&#xD;&#xA;16GB Ram&lt;br /&gt;&#xD;&#xA;512GB SSD&lt;br /&gt;&#xD;&#xA;OSX 10.9&lt;br /&gt;&#xD;&#xA;Lexicon Lambda (Connected via USB to computer)&lt;br /&gt;&#xD;&#xA;Samson Graphite 49 (Connected via USB to computer)&lt;br /&gt;&#xD;&#xA;&#xD;&#xA;I installed CuBase LE 5 and then tried recording a sound with my microphone.&#xD;&#xA;When I plug in the microphone to any of the inputs on the card I get terrible static noises even before playback or record... Just by pressing monitor... Same with the graphite controller, when I play on it the notes are distorted...&#xD;&#xA;&#xD;&#xA;What I tried to do:&#xD;&#xA;&#xD;&#xA;Restart the system&lt;br /&gt;&#xD;&#xA;Install a patch from Steinberg's site&lt;br /&gt;&#xD;&#xA;Use another cable&lt;br /&gt;&#xD;&#xA;Use another USB port&lt;br /&gt;&#xD;&#xA;Disconnect everything and try only with the interface&lt;br /&gt;&#xD;&#xA;Trying every sample rate that CuBase showed me&lt;br /&gt;&#xD;&#xA;Trying Mono and Stereo&lt;br /&gt;&#xD;&#xA;Different volume and monitor levels on the interface&lt;br /&gt;&#xD;&#xA;Different sockets on the interface&lt;br /&gt;&#xD;&#xA;&#xD;&#xA;And then... I tried GarageBand... Which worked perfectly fine so what's the problem with CuBase why do I get static noises when I use it?&#xD;&#xA;&#xD;&#xA;**EDIT:**&lt;br /&gt;&#xD;&#xA;So Cubase 7 elements works perfect... And GarageBand as well&lt;br /&gt;&#xD;&#xA;Reaper fails to work as well and Studio one 2 seems to dislike my audio interface...&#xD;&#xA;&#xD;&#xA;I'm confused now...&#xD;&#xA;&#xD;&#xA;Could it be because of Mavericks? I mean, Cubase 5 LE is old... And they didn't make any patches as far as I know..." ContentLicense="CC BY-SA 3.0" />
  <row Id="39411" PostHistoryTypeId="1" PostId="23518" RevisionGUID="46742223-a36d-4af6-9533-9fb7061c9ff2" CreationDate="2013-12-20T14:40:01.923" UserDisplayName="Odinn" Text="CuBase LE 5 Static Noises" ContentLicense="CC BY-SA 3.0" />
  <row Id="39412" PostHistoryTypeId="3" PostId="23518" RevisionGUID="46742223-a36d-4af6-9533-9fb7061c9ff2" CreationDate="2013-12-20T14:40:01.923" UserDisplayName="Odinn" Text="&lt;audio-recording&gt;&lt;daw&gt;&lt;cubase&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39417" PostHistoryTypeId="36" PostId="23520" RevisionGUID="33f2c6bf-5d0a-4645-baac-966c10b64fe1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8811/long-audio-recording-solution" />
  <row Id="39418" PostHistoryTypeId="36" PostId="23521" RevisionGUID="054dde51-0bac-4fed-a5a4-cca5081c2472" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8811/long-audio-recording-solution/8816#8816" />
  <row Id="39419" PostHistoryTypeId="36" PostId="23522" RevisionGUID="ae8c6c5d-bc4b-4f33-80b0-2b3afeb4129f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8811/long-audio-recording-solution/8856#8856" />
  <row Id="39420" PostHistoryTypeId="2" PostId="23521" RevisionGUID="bf9b1052-6b92-4b06-bd6b-104c2fb3e20d" CreationDate="2013-08-25T20:04:14.823" UserId="7174" Text="Based on your needs, you are looking at the problem wrong.  You do not want something that can record several weeks of audio.  You want something that can trigger a recording of time-coded audio for a period after a threshold level is reached.  This way you don't have to record hours of silence, but can record when and how the dog is barking (or other loud noises are occurring.)&#xD;&#xA;&#xD;&#xA;Personally, I typically use a Zoom H4n for this kind of thing, but you might be able to duplicate it by having a macro program that can monitor the audio input and trigger a recording when a certain level is exceeded.  Possibly have it stop a certain number of minutes after that level is last exceeded.  This would probably take some manual development work, but would be cheaper than buying something like an H4n.  A simple voice recorder might also be able to do it for less though." ContentLicense="CC BY-SA 3.0" />
  <row Id="39421" PostHistoryTypeId="2" PostId="23522" RevisionGUID="a8565607-276e-423b-9fec-c1a13c1e4321" CreationDate="2013-08-30T02:51:18.393" UserDisplayName="user4514" Text="We have a baby monitor that activates when it detects sound or movement.&#xD;&#xA;&#xD;&#xA;The sensitivity can be adjusted.&#xD;&#xA;&#xD;&#xA;Perhaps a similar technology is available?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39422" PostHistoryTypeId="2" PostId="23520" RevisionGUID="8a29c068-c479-4d0e-ad2a-7f29c152e60d" CreationDate="2013-08-25T04:35:18.897" UserDisplayName="Mark" Text="I need to record some audio for a very long time (possibly several weeks). Why you ask? a slight (incessant) next-door dog problem which I need to collect data for. I am looking for a lightweight recording program that can stream directly to a usb flash disk in a compressed format. Hopefully it would be light enough to run on a raspberrypi. Given the flash drive would be only 8GB it needs to run a very good compression in real time. It would also need to be open source (or free software). Can anyone please recommend any software that can do this? If there are no lightweight programs available I will be able to scale up. Would the likes of Ardour be able to handle this kind of recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39423" PostHistoryTypeId="1" PostId="23520" RevisionGUID="8a29c068-c479-4d0e-ad2a-7f29c152e60d" CreationDate="2013-08-25T04:35:18.897" UserDisplayName="Mark" Text="Long audio recording solution" ContentLicense="CC BY-SA 3.0" />
  <row Id="39424" PostHistoryTypeId="3" PostId="23520" RevisionGUID="8a29c068-c479-4d0e-ad2a-7f29c152e60d" CreationDate="2013-08-25T04:35:18.897" UserDisplayName="Mark" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39425" PostHistoryTypeId="36" PostId="23523" RevisionGUID="bce92309-f52d-4607-82e6-a366089bebc2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9408/where-can-i-find-piano-samples-mono-not-stereo" />
  <row Id="39426" PostHistoryTypeId="2" PostId="23523" RevisionGUID="ead978e3-9532-4001-9410-e22495284a76" CreationDate="2013-11-14T23:57:11.790" UserDisplayName="P i " Text="I just can't find this anywhere on the Internet!  Google is drawing a blank!&#xD;&#xA;&#xD;&#xA;I'm looking for a set of 88 piano notes, preferably in .WAV.  But MONO!&#xD;&#xA;&#xD;&#xA;I found:&#xD;&#xA;http://bedroomproducersblog.com/2010/07/01/free-sample-shootout-3-acoustic-electric-and-toy-pianos/&#xD;&#xA;&#xD;&#xA; but not one of those links offers what I am after.   The closest is http://theremin.music.uiowa.edu/MIS.html  which is recorded in stereo.&#xD;&#xA;&#xD;&#xA;I need mono!  Someone somewhere must have made such a recording!&#xD;&#xA;&#xD;&#xA;Does anyone know of such a resource?&#xD;&#xA;&#xD;&#xA;π&#xD;&#xA;&#xD;&#xA;PS If it is a subset, say 30 notes out of the full 88, then I'm still interested!" ContentLicense="CC BY-SA 3.0" />
  <row Id="39427" PostHistoryTypeId="1" PostId="23523" RevisionGUID="ead978e3-9532-4001-9410-e22495284a76" CreationDate="2013-11-14T23:57:11.790" UserDisplayName="P i " Text="Where can I find piano samples (mono not stereo)" ContentLicense="CC BY-SA 3.0" />
  <row Id="39428" PostHistoryTypeId="3" PostId="23523" RevisionGUID="ead978e3-9532-4001-9410-e22495284a76" CreationDate="2013-11-14T23:57:11.790" UserDisplayName="P i " Text="&lt;audio-recording&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39445" PostHistoryTypeId="36" PostId="23530" RevisionGUID="32a54cae-6226-4499-b376-cac8a6ce722a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8248/unable-to-reduce-noise-from-recorded-audio-using-audacity-and-other-tools" />
  <row Id="39446" PostHistoryTypeId="36" PostId="23531" RevisionGUID="e943c0c6-9c03-4ffc-b96b-27f88d4f8ec0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8248/unable-to-reduce-noise-from-recorded-audio-using-audacity-and-other-tools/8249#8249" />
  <row Id="39447" PostHistoryTypeId="2" PostId="23531" RevisionGUID="21971b24-8a91-43c8-b0ca-4aed2cf4b598" CreationDate="2013-06-28T08:32:39.350" UserId="7016" Text="Once you have noise, there is only so much you can do. Chopping out frequency ranges works, but also removes any wanted audio in those ranges. Noise reduction techniques often work on statistical reduction algorithms but noise is random, so removing it completely is almost impossible.&#xD;&#xA;&#xD;&#xA;The only real solution is to reduce noise on the input - use a better mic, use a better soundcard which has a higher signal to noise separation, install sound deadening room furnishings, isolate the subject, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="39448" PostHistoryTypeId="2" PostId="23532" RevisionGUID="bde6219f-325e-4853-a11e-27442736bbd4" CreationDate="2013-06-28T13:24:49.580" UserId="7174" Text="There is an old saying, crap in, crap out.  Audio editing isn't magic.  Some types of noise have a particular pattern to them and in that case, sometimes the pattern can be identified and an inverse can be produced to help reduce it, but this is mostly system noise rather than real world noise.  In the real world, very little is that predictable.  This means that it is hard, if not impossible, to tell what is actually signal you want and what is noise.&#xD;&#xA;&#xD;&#xA;If you have a noisy signal coming in, there is very little you can do to make it &quot;less noisy&quot; unless you can simply cut the frequencies associated with it, but in the case of room noise, it's generally broad spectrum and you'd be throwing out the baby (the actual signal you want) with the bath water.  This is why studios still exist and provide sound proof rooms to capture clean audio.  If there was a magic way to get rid of noise, we could just record concerts and be done with studios." ContentLicense="CC BY-SA 3.0" />
  <row Id="39449" PostHistoryTypeId="2" PostId="23530" RevisionGUID="0ad864c0-5837-4fb5-8d0c-638bfa554047" CreationDate="2013-06-28T06:28:33.480" UserDisplayName="Yoga and Meditation" Text="I had recorded one audio using recorded. But I get lots of room noise in recording. I try to use audacity's default noise removal option.&#xD;&#xA;&#xD;&#xA;But still I don't get good quality audio.&#xD;&#xA;&#xD;&#xA;So I want to know is there any other technique to reduce noise &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[www.youtube.com/watch?v=__eGVza1l8s][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=__eGVza1l8s" ContentLicense="CC BY-SA 3.0" />
  <row Id="39450" PostHistoryTypeId="1" PostId="23530" RevisionGUID="0ad864c0-5837-4fb5-8d0c-638bfa554047" CreationDate="2013-06-28T06:28:33.480" UserDisplayName="Yoga and Meditation" Text="unable to reduce noise from recorded audio using Audacity and other tools" ContentLicense="CC BY-SA 3.0" />
  <row Id="39451" PostHistoryTypeId="3" PostId="23530" RevisionGUID="0ad864c0-5837-4fb5-8d0c-638bfa554047" CreationDate="2013-06-28T06:28:33.480" UserDisplayName="Yoga and Meditation" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39452" PostHistoryTypeId="36" PostId="23532" RevisionGUID="4557d46f-a06f-4c77-87e2-1cfb0696651f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8248/unable-to-reduce-noise-from-recorded-audio-using-audacity-and-other-tools/8250#8250" />
  <row Id="39453" PostHistoryTypeId="36" PostId="23533" RevisionGUID="d116211b-bbf8-42b6-87d5-7b428578e15e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4209/fast-routing-switching-of-a-single-output-to-n-distinct-monitors" />
  <row Id="39454" PostHistoryTypeId="36" PostId="23534" RevisionGUID="34f2147a-ccad-4663-9d72-8d19bd88fa88" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4209/fast-routing-switching-of-a-single-output-to-n-distinct-monitors/4210#4210" />
  <row Id="39455" PostHistoryTypeId="2" PostId="23534" RevisionGUID="1e8663d7-83a7-47a5-b96b-b58e2f32fdfd" CreationDate="2012-06-19T03:30:10.187" UserId="7231" UserDisplayName="NReilingh" Text="If you're going to do your channel switching in software, I would start looking into external hardware interfaces instead of &quot;sound cards&quot;. The first step up is hardware interfaces that connect with USB2 or FW400, but beyond that you're actually using a PCI slot just to get the raw throughput to a DIFFERENT piece of hardware that actually handles the I/O.&#xD;&#xA;&#xD;&#xA;For example, the [MOTU 24I/O](http://www.motu.com/products/pciaudio/24IO/specs.html) has 24 in/out channels, and interfaces with your computer through a PCI card.&#xD;&#xA;&#xD;&#xA;The [M-Audio ProFire 2626](http://www.m-audio.com/products/en_us/ProFire2626.html) appears to be able to do 26 channels of I/O over FireWire.&#xD;&#xA;&#xD;&#xA;[Apogee's Symphony I/O System](http://www.apogeedigital.com/products/symphony-system.php) can do up to 64 channels per card if you have two 32x32-configured I/O boxes. (For a price, of course. 64 channels: $18,365)&#xD;&#xA;&#xD;&#xA;Depending on what you're actually doing, it might be more cost-effective to design your own solution. Simultaneous multichannel I/O is expensive, but if you're just routing a single signal to a bunch of different outputs, you might be able to push the switching itself farther down the signal chain. Of course, that option gets less and less safe for your equipment--you wouldn't want to switch between different speakers AFTER the amplifier in your signal chain.&#xD;&#xA;&#xD;&#xA;It'd also be unsupported and likely to break. Needless to say, if Disney were designing a huge multi-channel audio experience, they'd be spending the thousands upon thousands of dollars on the monster audio interface and dedicated amplifier for each speaker." ContentLicense="CC BY-SA 3.0" />
  <row Id="39456" PostHistoryTypeId="2" PostId="23533" RevisionGUID="1bb56908-39c9-4c54-a7fe-17a6fa1e181c" CreationDate="2012-06-19T02:25:28.203" UserDisplayName="Matt Mizumi" Text="I need to route sound from a personal computer to one of a horde of monitors. Only one monitor will be active at any one time, but I need to be able to switch between monitors rapidly (&lt;50ms) controlled by the computer.&#xD;&#xA;&#xD;&#xA;For n &lt;= 2 monitors, the solution is simple. The computer can output a mono signal on channel 1 or 2, amplified through a standard stereo amp. For n &lt;= 5 speakers, likewise, with an appropriate sound card and 5.1ch amp.&#xD;&#xA;&#xD;&#xA;But what if I need to drive one of *10* monitors, or more? Of course, I could use, say, two [M-Audio Delta 1010LT][1] PCI cards and two off-the-shelf 5.1ch amps. But that seems wasteful, and impossible for n &gt; 24.&#xD;&#xA;&#xD;&#xA;In particular, I was wondering: does there exist a device which can rapidly route a single amplified output to one of n different monitors -- based on an external control signal?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.m-audio.com/products/en_us/Delta1010LT.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="39457" PostHistoryTypeId="1" PostId="23533" RevisionGUID="1bb56908-39c9-4c54-a7fe-17a6fa1e181c" CreationDate="2012-06-19T02:25:28.203" UserDisplayName="Matt Mizumi" Text="fast routing (switching) of a single output to n distinct monitors" ContentLicense="CC BY-SA 3.0" />
  <row Id="39458" PostHistoryTypeId="3" PostId="23533" RevisionGUID="1bb56908-39c9-4c54-a7fe-17a6fa1e181c" CreationDate="2012-06-19T02:25:28.203" UserDisplayName="Matt Mizumi" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39459" PostHistoryTypeId="36" PostId="23535" RevisionGUID="333262eb-a43f-4d86-9d55-312ac7384c87" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4531/what-quantity-of-hiss-muddiness-should-i-expect-give-various-studio-setups" />
  <row Id="39460" PostHistoryTypeId="2" PostId="23536" RevisionGUID="1a9c9ba2-f1bf-4048-8389-3a07f53e4c6c" CreationDate="2012-08-06T22:14:37.443" UserId="7294" UserDisplayName="Warrior Bob" Text="To quantify this problem, you want to know the difference between your recording level (&quot;how high the meters are when you're making sound into your mic&quot;) and the noise level (&quot;how loud things are when you aren't making noise&quot;). In simple terms, the difference between these is called signal/noise ratio, or SNR. When you boost the signal, you are also boosting the noise.&#xD;&#xA;&#xD;&#xA;You should expect a relatively high SNR - when recording my voice through a similar setup (Shure SM57 through an M-Audio Fast Track Ultra), I could peak at -6dBFS while the noise floor with the mic attached was around -50dBFS due to ambient noise in my apartment. These numbers were measured using the meters in my recording software.&#xD;&#xA;&#xD;&#xA;For reference, dBFS refers to [decibels full-scale](http://en.wikipedia.org/wiki/DBFS) and can be measured with any meter anywhere in the digital signal chain. I know Audacity has such a meter, and your M-Audio drivers probably do too.&#xD;&#xA;&#xD;&#xA;The individual components can each add noise - it could be coming from the mic, the cables, or the interface. Generally, when I've seen problems like this in my hobby recordings, it's either the mic or the interface. Generally, the interface inputs are not turned up appropriately, so the signal reported to the computer is quite low and very close to the noise floor and the solution is to turn up the input gain on the interface and disable any padding. You want to raise the level of your audio so that it is above the noise level so that the details are not buried by the hiss.&#xD;&#xA;&#xD;&#xA;You absolutely can achieve usably good results with those mics and a basic interface like you have - no other purchase should be necessary. The problem is almost assuredly in configuration and usage. While I can't authoritatively solve your issue from here, I will say to check your driver settings and routing for your interface. M-Audio's drivers include a utility to internally route and manage audio streams, and it is possible to have the levels turned down within the drivers. If you are having the same problem both with mic'd audio and with direct inputs (such as from your drum machine), then I'm inclined to think that the issue is something like this." ContentLicense="CC BY-SA 3.0" />
  <row Id="39461" PostHistoryTypeId="2" PostId="23535" RevisionGUID="6cf37358-89d0-413a-8c5e-b5d7b8fb3b1e" CreationDate="2012-08-06T17:33:15.587" UserId="14771" UserDisplayName="Chelonian" Text="I'm trying to get into home music recording of music that will now and then have some very quiet passages, quiet vocals, acoustic guitar--delicate stuff in addition to louder sections.  My current setup is this:&#xD;&#xA;&#xD;&#xA; - Laptop PC running Audacity (though am open to any recording software)&#xD;&#xA; - MAudio Firewire digital interface to accept XLR mic in and instrument lead in.&#xD;&#xA; - 1 Shure SM57 dynamic mic&#xD;&#xA; - 1 Audix OM2 dynamic mic (similar to Shure SM58)&#xD;&#xA; - Concrete basement room with no audio treatment of walls, no rug. Not obviously echoic, but obviously not an audio studio!&#xD;&#xA; - Various acoustic and electric instruments, drum machine, etc.&#xD;&#xA; - $2 ear buds for listening--for now (I know).&#xD;&#xA; - My larynx :D&#xD;&#xA;&#xD;&#xA;The problems are two:&#xD;&#xA;&#xD;&#xA;1) **Boosting quiet recording results in hiss:**  When using the mics to record vocals or just acoustic guitar, the sound level I am getting is &quot;not all that loud&quot; (as judged by listening through the ear buds or the computer's speakers...or the audio signal on Audacity) even if my singing or guitar playing is nothing close to &quot;quiet&quot; if a person were sitting anywhere in the room with me.  Therefore, to get what seems like a better level, I use Audacity to increase the decibels of the recording.  But, then there is an obvious &quot;hiss&quot; during the silent parts of the recording (actually it's there throughout, of course...just more noticeable when there is no other sound playing).  I tried to use Audacity's &quot;Remove Noise&quot; algorithm, but even with a long sample of a silent period and the most conservative noise removal level, it creates an obvious artifact (like &quot;tinkling digital crystals&quot;) that sounds pretty grim and is just unacceptable.&#xD;&#xA;&#xD;&#xA;**2) The sound recorded through the mics is &quot;muddy&quot;:**  I just don't hear the crispness of the voice or guitar strings when recorded through the mics.  So, of course I tried using the equalizer on Audacity to boost the higher frequencies--but then we're back to Hisstown, USA.&#xD;&#xA;&#xD;&#xA;It seems to me that if I could get a higher gain from the start, picking up louder and higher frequencies and bringing that into the digital recording, I would not have to do much (or any!) EQ'ing or boosting and I'd get a very clean recording.&#xD;&#xA;&#xD;&#xA;**What I want to know is:  How do I *quantify* this and then what should I expect?**  How do I know what I &quot;should&quot; expect given this setup, or what is possible with a, say, condenser mic or other things people might suggest?  I don't want to just base things on anecdote and personal judgment:  I want to be able to measure the noise and know if I'm coming up against &quot;acceptable limits&quot;.  My training was as an experimental scientist, so I still tend to think in terms of what I can measure and what are acceptable benchmarks for quality.  I know it is unreasonable to expect the highest level of sound quality when recording in a cheap home setup as if it were a top of the line professional studio with $10k mics, but on other hand I suspect that I can do a lot better than this with some adjustments or not-that-costly purchases.&#xD;&#xA;&#xD;&#xA;**Secondly,** while you're at it, if you can suggest what will improve this &quot;quiet and muddy or hissy, you choose&quot; problem, that would also be helpful.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39462" PostHistoryTypeId="1" PostId="23535" RevisionGUID="6cf37358-89d0-413a-8c5e-b5d7b8fb3b1e" CreationDate="2012-08-06T17:33:15.587" UserId="14771" UserDisplayName="Chelonian" Text="What quantity of hiss/muddiness should I expect give various studio setups?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39463" PostHistoryTypeId="3" PostId="23535" RevisionGUID="6cf37358-89d0-413a-8c5e-b5d7b8fb3b1e" CreationDate="2012-08-06T17:33:15.587" UserId="14771" UserDisplayName="Chelonian" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39464" PostHistoryTypeId="36" PostId="23536" RevisionGUID="47e5082d-b042-4a55-b1aa-b4782469121c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4531/what-quantity-of-hiss-muddiness-should-i-expect-give-various-studio-setups/4532#4532" />
  <row Id="39465" PostHistoryTypeId="36" PostId="23537" RevisionGUID="740fd048-c46b-492a-8734-2df470910468" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3312/how-is-it-possible-to-hear-something-at-44-1khz" />
  <row Id="39466" PostHistoryTypeId="36" PostId="23538" RevisionGUID="80d9d9d3-723d-4fc7-8d61-276548cb0bd5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3312/how-is-it-possible-to-hear-something-at-44-1khz/3314#3314" />
  <row Id="39467" PostHistoryTypeId="36" PostId="23539" RevisionGUID="a3dfcfae-7101-4da3-98c2-09ba29bf25a1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3312/how-is-it-possible-to-hear-something-at-44-1khz/3325#3325" />
  <row Id="39468" PostHistoryTypeId="2" PostId="23538" RevisionGUID="8f110d8d-6670-422c-8ae7-c1fc6daf2b64" CreationDate="2012-02-15T10:05:50.860" UserId="7430" UserDisplayName="Mr Shunz" Text="The 44.1kHz it's the **sampling frequency**, i.e. the frequency at wich the encoder *samples* the audio data. It has nothing to do to the frequency of the audio data.&#xD;&#xA;&#xD;&#xA;You can generate a 1000Hz sine wave, sample it at 44kHz and play it back: what you hear is still the 1000Hz sound. Take a look [here][1].&#xD;&#xA;&#xD;&#xA;Actually there is a reason to **why** CD audio data is sampled at 44kHz, that is slightly more than **double** the maximum frequency humans can hear.&#xD;&#xA;&#xD;&#xA;It's because of the [Nyquist-Shannon sampling theorem][2] which states that:&#xD;&#xA;&#xD;&#xA;    If a function x(t) contains no frequencies higher than B hertz,&#xD;&#xA;    it is completely determined by giving its ordinates at a series&#xD;&#xA;    of points spaced 1/(2B) seconds apart.&#xD;&#xA;&#xD;&#xA;In layman terms, just sample at double the maximum frequency of the audio to get an &quot;accurate&quot; reproduction of the original signal.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://en.wikipedia.org/wiki/Sampling_%28signal_processing%29&#xD;&#xA;  [2]: https://en.wikipedia.org/wiki/Nyquist%E2%80%93Shannon_sampling_theorem" ContentLicense="CC BY-SA 3.0" />
  <row Id="39469" PostHistoryTypeId="2" PostId="23539" RevisionGUID="cb36f55f-95a9-4e7b-87cc-e5d005e943d2" CreationDate="2012-02-16T10:01:50.137" UserDisplayName="G.Vanem" Text="Good answer Mr Shunz.&#xD;&#xA;&#xD;&#xA;The Wikipedia article you included has this passage:&#xD;&#xA;&#xD;&#xA;&gt;... however in some cases ultrasonic sounds do interact with and modulate the &#xD;&#xA;&gt; audible part of the frequency spectrum (intermodulation distortion). &#xD;&#xA;&#xD;&#xA;For an explanation of &lt;i&gt;Intermodulation Distortion&lt;/i&gt; (IMD), see&#xD;&#xA;http://en.wikipedia.org/wiki/Intermodulation#Intermodulation_in_audio_applications&#xD;&#xA;&#xD;&#xA;In the top-right figure there, the signal at the lowest frequency could fall in the hearable range (&lt; 20 kHz). This peak could be lost in an ADC-process (analogue to digital conversion) if the sampling rate is too low. That is one of the reason hard-core audio-enthusiasts cherish all-analogue audio; from the recording studio, via the LP and to the speakers." ContentLicense="CC BY-SA 3.0" />
  <row Id="39470" PostHistoryTypeId="2" PostId="23537" RevisionGUID="4baf66f0-6ca2-4aff-8027-a114fcc9869a" CreationDate="2012-02-15T09:31:35.970" UserDisplayName="user332131" Text="Since our hearing range is said to be 20Hz to 20,000Hz. So, how can we possibly hear something at 44.1Khz? Or do we hear only half of the sound produced at 44.1Khz by any audio CDs? What is going on?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39471" PostHistoryTypeId="1" PostId="23537" RevisionGUID="4baf66f0-6ca2-4aff-8027-a114fcc9869a" CreationDate="2012-02-15T09:31:35.970" UserDisplayName="user332131" Text="How is it possible to hear something at 44.1Khz?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39472" PostHistoryTypeId="3" PostId="23537" RevisionGUID="4baf66f0-6ca2-4aff-8027-a114fcc9869a" CreationDate="2012-02-15T09:31:35.970" UserDisplayName="user332131" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39473" PostHistoryTypeId="36" PostId="23540" RevisionGUID="79f9f896-f1de-4364-8640-df04caf8af38" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9501/i-want-to-record-playback-to-analog-tape-at-different-speeds-what-device-am-i-l" />
  <row Id="39474" PostHistoryTypeId="2" PostId="23540" RevisionGUID="f5a7553e-0a1e-4e60-a4e4-8ae5865685b9" CreationDate="2013-11-26T18:28:30.643" UserId="7294" UserDisplayName="Warrior Bob" Text="I want to use audio tape for creative resampling. I would like to record something to tape, and then play that tape back at various speeds (extreme speeds, like 8 times faster or slower) and record the output.&#xD;&#xA;&#xD;&#xA;What sort of device, if any, might have this functionality? What terms should I be looking out for? I'm interested to learn about types of devices rather than specific products, unless there's one that's a sort of standard. &#xD;&#xA;&#xD;&#xA;I'm loosely familiar with reel-to-reel machines but haven't used one and don't know what features they tend to offer, and I'm aware that cassette recorders are fairly common but I've not run into one with a usefully variable speed. I don't know if any other formats exist to investigate. I am specifically interested in a mechanical device (with all of its quirks, qualities, and problems) rather than a digital approximation." ContentLicense="CC BY-SA 3.0" />
  <row Id="39475" PostHistoryTypeId="1" PostId="23540" RevisionGUID="f5a7553e-0a1e-4e60-a4e4-8ae5865685b9" CreationDate="2013-11-26T18:28:30.643" UserId="7294" UserDisplayName="Warrior Bob" Text="I want to record/playback to analog tape at different speeds. What device am I looking for?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39476" PostHistoryTypeId="3" PostId="23540" RevisionGUID="f5a7553e-0a1e-4e60-a4e4-8ae5865685b9" CreationDate="2013-11-26T18:28:30.643" UserId="7294" UserDisplayName="Warrior Bob" Text="&lt;audio-recording&gt;&lt;sampling&gt;&lt;tape&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39477" PostHistoryTypeId="36" PostId="23541" RevisionGUID="4285f9af-389d-47d9-bca7-e370e689dff3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8459/noise-connecting-mixer-to-pc" />
  <row Id="39478" PostHistoryTypeId="36" PostId="23542" RevisionGUID="ba4542a7-a15d-4754-aa6e-3a4545f3293d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8459/noise-connecting-mixer-to-pc/8463#8463" />
  <row Id="39479" PostHistoryTypeId="36" PostId="23543" RevisionGUID="3e5ce7eb-819f-4474-8e55-bf078df6e8f5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8459/noise-connecting-mixer-to-pc/8467#8467" />
  <row Id="39480" PostHistoryTypeId="36" PostId="23544" RevisionGUID="ad951c2f-69ce-4b9a-8eff-e42bb8a4b44c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8459/noise-connecting-mixer-to-pc/8472#8472" />
  <row Id="39481" PostHistoryTypeId="2" PostId="23542" RevisionGUID="6966e85b-6bd5-443f-bdd2-5c7b622b2863" CreationDate="2013-07-22T21:56:29.303" UserId="7174" Text="You need to get a professional sound card to get rid of that sound.  It has to do with line issues with the power isolation on your DAC.  The computer produces lots of variations in power level as it operates and that results in power fluctuations to the DAC.  Those fluctuations result in changes in signal output which you hear as that whine.  It can often be reduced by reducing what your computer is doing and if your hard drive for example is cranking away, you will actually hear variations in the sound as a result of that.&#xD;&#xA;&#xD;&#xA;A professional grade audio interface will have a properly isolated DAC to reduce such interference and will also handle matched impedance to avoid any impedance mismatch issues.  If you need a cheaper option, if your computer has bluetooth, you could use a bluetooth DAC such as the Samsung HS3000 which should at least provide better power isolation." ContentLicense="CC BY-SA 3.0" />
  <row Id="39482" PostHistoryTypeId="2" PostId="23543" RevisionGUID="b50ab52d-61a9-434d-a344-9025b9d002fc" CreationDate="2013-07-23T04:19:10.627" UserId="6957" Text="AJ offers one possible (and certainly plausible) point of trouble with your setup.  I might add another.&#xD;&#xA;&#xD;&#xA;You have a number of things interconnected.  Any one of those things can introduce your buzzing sound.  You could have...&#xD;&#xA;&#xD;&#xA; - House wiring issues with improper grounding&#xD;&#xA; - Poor cables suffering from EM ingress&#xD;&#xA; - A ground loop occurring between anything plugged in&#xD;&#xA; - Simple malfunctioning hardware (trending towards AJ's answer)&#xD;&#xA;&#xD;&#xA;The best/only way to find out for sure, however, is to systematically eliminate one piece at a time.  Eventually, you'll find out which piece (or at least between which two) is the source of the interference.  &#xD;&#xA;&#xD;&#xA;At that point, repair or replace." ContentLicense="CC BY-SA 3.0" />
  <row Id="39483" PostHistoryTypeId="2" PostId="23544" RevisionGUID="6c518765-d273-4a92-8f48-013ff3f58bd6" CreationDate="2013-07-23T13:34:16.107" UserId="7542" UserDisplayName="Don Nickel" Text="If the mixer has a headphone (ctrl room) out, try using that instead of the mains. &#xD;&#xA;This is not the optimal solution, but I've had success with it in the past.&#xD;&#xA;&#xD;&#xA;Also, make try with the effects off. Sometimes these onboard FX units will generate more noise then you would like. If this is the case but you absolutely need the mixer's effects - put a noise gate in between the mixer and the computer." ContentLicense="CC BY-SA 3.0" />
  <row Id="39484" PostHistoryTypeId="2" PostId="23541" RevisionGUID="56dfd8ef-8514-43e5-8139-5892ec80d4e0" CreationDate="2013-07-22T20:27:16.717" UserDisplayName="MobileCushion" Text="I've got a Xenyx1202FX that I am trying to use to record some stuff. I connect it to the PC throughout the stereo main out into the PC (win7) line in. I am also using a UK-&gt; EURO power adapter. Furthermore, I have also connected the PC line out into one of the stereo channels.&#xD;&#xA;&#xD;&#xA;When trying to record with Audacity **even with all the volume controls turned down**, I still record [this annoying buzz][1]. &#xD;&#xA;&#xD;&#xA;I am able to reduce the noise greatly by turning on the DC offset cancelation in the line in options, but a part of it still remains. &#xD;&#xA;&#xD;&#xA;I wonder how this happens and how to make it disappear. &#xD;&#xA;&#xD;&#xA;Thank you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=2mvGfTmhuaQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="39485" PostHistoryTypeId="1" PostId="23541" RevisionGUID="56dfd8ef-8514-43e5-8139-5892ec80d4e0" CreationDate="2013-07-22T20:27:16.717" UserDisplayName="MobileCushion" Text="Noise connecting mixer to PC" ContentLicense="CC BY-SA 3.0" />
  <row Id="39486" PostHistoryTypeId="3" PostId="23541" RevisionGUID="56dfd8ef-8514-43e5-8139-5892ec80d4e0" CreationDate="2013-07-22T20:27:16.717" UserDisplayName="MobileCushion" Text="&lt;audio-recording&gt;&lt;noise&gt;&lt;mixer&gt;&lt;noise-cancelling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39487" PostHistoryTypeId="36" PostId="23545" RevisionGUID="88c12872-96e7-42cd-9325-8c8aabc528e0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5253/choosing-a-portable-sound-recorder-and-microphone" />
  <row Id="39488" PostHistoryTypeId="36" PostId="23546" RevisionGUID="363e5606-b86c-4b13-970d-a23d09559884" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5253/choosing-a-portable-sound-recorder-and-microphone/5272#5272" />
  <row Id="39489" PostHistoryTypeId="2" PostId="23546" RevisionGUID="667e8831-b4a1-451f-8537-84dc39422a4e" CreationDate="2012-11-06T10:30:36.040" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="My personal favorite is the [Zoom H4][1]. These are out of production, but if you can get a second hand one go for it. The quality is super IMO and you can record up to 24-bit at 96 kHz.&#xD;&#xA;&#xD;&#xA;It has a simple record/stop button. It's XY-configured stereo mic setup creates a wide stereo field. At its bottom you can connect one or two either XLR or phono-jack based microphone(s) (it even has phantom power if you need to used condensed mics).&#xD;&#xA;&#xD;&#xA;If still out of price range you can check out the [H1 series][2] from the same manufacturer.&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.zoom.co.jp/english/products/h4/&#xD;&#xA;  [2]: http://www.zoom.co.jp/products/h1/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39490" PostHistoryTypeId="2" PostId="23545" RevisionGUID="0db6e6ec-b1a8-4d12-b286-c324eaffadac" CreationDate="2012-11-05T11:20:50.317" UserId="12799" UserDisplayName="spraff" Text="I am a musician and I want to record pub sessions etc. I am looking at voice recorders on eBay but it appears that all the ones with decent recording quality are very expensive (£100+) and to justify the price they have dozens of features and buttons that I don't want.&#xD;&#xA; &#xD;&#xA; I figure it would be more economical to get a simple, cheap voice recorder (the only buttons I want are *record* and *stop*!) with a microphone socket, and get a separate microphone.&#xD;&#xA; &#xD;&#xA; I don't want a big microphone, but a lapel-size thing. Still, I'm hoping to pick up sounds from ten metres away. I don't know how to choose a microphone, all the reviews seem to be for large studio mics, or pickups with limited spatial range.&#xD;&#xA; &#xD;&#xA; Can anyone please reccommend me a microphone and/or a good basic portable sound recorder?&#xD;&#xA; &#xD;&#xA; Thanks a lot." ContentLicense="CC BY-SA 3.0" />
  <row Id="39491" PostHistoryTypeId="1" PostId="23545" RevisionGUID="0db6e6ec-b1a8-4d12-b286-c324eaffadac" CreationDate="2012-11-05T11:20:50.317" UserId="12799" UserDisplayName="spraff" Text="choosing a portable sound recorder and microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="39492" PostHistoryTypeId="3" PostId="23545" RevisionGUID="0db6e6ec-b1a8-4d12-b286-c324eaffadac" CreationDate="2012-11-05T11:20:50.317" UserId="12799" UserDisplayName="spraff" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39493" PostHistoryTypeId="36" PostId="23547" RevisionGUID="9c965891-46b9-489c-a9c2-d6bb7a84e346" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3634/whats-wrong-with-the-eq-on-this-guitar" />
  <row Id="39494" PostHistoryTypeId="2" PostId="23548" RevisionGUID="50f7d91b-d4de-43cd-bf60-175ba7474bb3" CreationDate="2012-03-23T22:47:11.430" UserId="7016" Text="That sounds absolutely normal for an acoustic guitar with a piezo pickup as @leftaroundabout mentioned.&#xD;&#xA;&#xD;&#xA;You can get some lovely sounds from a good piezo pickup ([think PRS guitars][1]) but cheaper ones can be a bit odd. You tend to get more pick noise and twang with a piezo.&#xD;&#xA;&#xD;&#xA;Your best bet is to use a parametric equaliser and just play until you get a sound you like - as this will be different for everyone.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.prsguitars.com/p22/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39495" PostHistoryTypeId="2" PostId="23547" RevisionGUID="e8d7e54d-b823-4356-8371-4fce8f4d8ebd" CreationDate="2012-03-23T19:55:36.163" UserDisplayName="scottlabs" Text="I'm taking a line in from my acoustic guitar. Here it is unaffected:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/thekevinscott1/sample-guitar-line-in&#xD;&#xA;&#xD;&#xA;In my opinion, this sounds terrible. I feel like there's some very offensive frequency somewhere here but when I sweep the EQ I can't find anything that sticks out.&#xD;&#xA;&#xD;&#xA;Does any frequency jump out at you that can be eliminated? Or am I hearing something else entirely?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39496" PostHistoryTypeId="1" PostId="23547" RevisionGUID="e8d7e54d-b823-4356-8371-4fce8f4d8ebd" CreationDate="2012-03-23T19:55:36.163" UserDisplayName="scottlabs" Text="What's wrong with the EQ on this guitar" ContentLicense="CC BY-SA 3.0" />
  <row Id="39497" PostHistoryTypeId="3" PostId="23547" RevisionGUID="e8d7e54d-b823-4356-8371-4fce8f4d8ebd" CreationDate="2012-03-23T19:55:36.163" UserDisplayName="scottlabs" Text="&lt;audio-recording&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39498" PostHistoryTypeId="36" PostId="23548" RevisionGUID="9201cf6e-a48d-4eec-bbbc-74e8e036d5db" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3634/whats-wrong-with-the-eq-on-this-guitar/3635#3635" />
  <row Id="39499" PostHistoryTypeId="36" PostId="23549" RevisionGUID="7bd78bb6-384c-4a40-8e78-e5489a700c00" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4058/export-from-garageband-to-audacity" />
  <row Id="39500" PostHistoryTypeId="36" PostId="23550" RevisionGUID="a8b7aae8-1666-45d6-8d7f-6b37afc67233" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4058/export-from-garageband-to-audacity/4059#4059" />
  <row Id="39501" PostHistoryTypeId="2" PostId="23550" RevisionGUID="16d24ebe-ee97-4c17-9744-0f1165038960" CreationDate="2012-05-25T12:36:05.347" UserId="7304" UserDisplayName="Julian" Text="I'm told you can export m4a from Garageband. This should be an ADTS encapsulated AAC stream. You can decode that to PCM (wav files) using [FAAD2][1] and audacity will import that just fine. Its not lossless but 192 kbit/s AAC is good enough for most purposes.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiocoding.com/faad2.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="39502" PostHistoryTypeId="2" PostId="23551" RevisionGUID="2ed6f7ab-d929-47b8-b6eb-9ca290ecbe09" CreationDate="2012-05-30T21:32:27.593" UserId="7294" UserDisplayName="Warrior Bob" Text="While you can't export *directly* to Audacity, you can get pretty close using a workaround. The secret is to **freeze all of your tracks** using Garageband's temporary-rendering feature. Internally, this means that all of your tracks are being rendered, individually, as AIFF files.&#xD;&#xA;&#xD;&#xA;You can get to these files by ctrl+clicking the .band file and choosing &quot;View Package Contents.&quot; Somewhere in the folder hierarchy is a folder called Freeze Files, which contains the AIFF recordings of your last freeze. Copy these to another folder, and import them into Audacity as separate tracks.&#xD;&#xA;&#xD;&#xA;You can also import them into any other audio software that allows AIFF import, which is a pretty common feature. " ContentLicense="CC BY-SA 3.0" />
  <row Id="39503" PostHistoryTypeId="2" PostId="23549" RevisionGUID="1a1cf199-47e0-4398-99b1-790f93811f40" CreationDate="2012-05-25T10:37:37.407" UserDisplayName="Daniele B" Text="I want to export ALL the audio tracks from [garageband][1] to [audacity][2].&#xD;&#xA;I searched on the internet and it is apparently not possible ( [here][3]  for instance), or better it is possible but one track at time.&#xD;&#xA;&#xD;&#xA;It seems so weird that nobody found a workaround or wrote a software which performs this acrion...&#xD;&#xA;&#xD;&#xA;So, my questions are:&#xD;&#xA;&#xD;&#xA;   1. is it possible to export the whole (ALL TRACKS) garageband project to audacity?&#xD;&#xA;   2. is it possible to export the whole garageband project to any other multi-track recording software?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.apple.com/it/ilife/garageband/&#xD;&#xA;  [2]: http://audacity.sourceforge.net/?lang=en&#xD;&#xA;  [3]: http://www.youtube.com/watch?feature=player_embedded&amp;v=UnfjlSJw-a8" ContentLicense="CC BY-SA 3.0" />
  <row Id="39504" PostHistoryTypeId="1" PostId="23549" RevisionGUID="1a1cf199-47e0-4398-99b1-790f93811f40" CreationDate="2012-05-25T10:37:37.407" UserDisplayName="Daniele B" Text="Export from garageband to audacity" ContentLicense="CC BY-SA 3.0" />
  <row Id="39505" PostHistoryTypeId="3" PostId="23549" RevisionGUID="1a1cf199-47e0-4398-99b1-790f93811f40" CreationDate="2012-05-25T10:37:37.407" UserDisplayName="Daniele B" Text="&lt;audio-recording&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39506" PostHistoryTypeId="36" PostId="23551" RevisionGUID="93ee32fb-3223-42cc-9aa1-bcbaf27afab1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4058/export-from-garageband-to-audacity/4093#4093" />
  <row Id="39515" PostHistoryTypeId="36" PostId="23554" RevisionGUID="60be46c9-01e9-49ad-8752-e1db80bf634e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3233/will-shure-840-prof-monitoring-headphones-double-for-location-sound-recording-a" />
  <row Id="39516" PostHistoryTypeId="2" PostId="23555" RevisionGUID="0093117a-dd29-424e-9724-8f81f5ff7fcd" CreationDate="2012-02-10T16:35:05.730" UserId="7294" UserDisplayName="Warrior Bob" Text="I've not used them myself, but just going by the specs on Shure's site, I don't see why not. Shure is generally a good name in audio production, although I know them more for microphones than for headphones.&#xD;&#xA;&#xD;&#xA;The 840s are circumaural (&quot;goes around your ears&quot;) and so will probaby not leak audio very much, so they shouldn't interfere with your location recording, and they collapse which might be convenient for transport. The cable appears to be coiled though, which is nice but more of a &quot;sitting next to some hardware&quot; kind of convenience. Make sure your field work won't be impeded by this.&#xD;&#xA;&#xD;&#xA;For listening and composing music, they should be fine (they appear to be designed for studio monitoring, and the website says as much), although for *really* critical listening like mixing it's generally agreed that a proper set of monitor speakers in a treated room is best.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39517" PostHistoryTypeId="2" PostId="23554" RevisionGUID="b209a120-82a5-40c9-a75c-bbc49b4dcb1f" CreationDate="2012-02-07T22:45:31.527" UserDisplayName="trying_hal9000" Text="I'm looking at the [Shure 840][1] professional monitoring headphones and was wondering if they will be the proper type of headphone for:&#xD;&#xA;&#xD;&#xA; 1. location sound recording for video including dialogue and folly sound&#xD;&#xA; 2. listening to music/creating soundtrack music&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.shure.com/americas/products/earphones-headphones/headphones/srh840-professional-monitoring-headphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="39518" PostHistoryTypeId="1" PostId="23554" RevisionGUID="b209a120-82a5-40c9-a75c-bbc49b4dcb1f" CreationDate="2012-02-07T22:45:31.527" UserDisplayName="trying_hal9000" Text="Will Shure 840 prof. monitoring headphones double for location sound recording and listening to music/music production?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39519" PostHistoryTypeId="3" PostId="23554" RevisionGUID="b209a120-82a5-40c9-a75c-bbc49b4dcb1f" CreationDate="2012-02-07T22:45:31.527" UserDisplayName="trying_hal9000" Text="&lt;audio-recording&gt;&lt;mixing&gt;&lt;headphones&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39520" PostHistoryTypeId="36" PostId="23555" RevisionGUID="e84815d6-6403-4f76-bcdf-c2ec50d0a796" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3233/will-shure-840-prof-monitoring-headphones-double-for-location-sound-recording-a/3257#3257" />
  <row Id="39521" PostHistoryTypeId="36" PostId="23556" RevisionGUID="1f4a862d-9408-44f4-906b-b90533e2e61f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1159/software-that-actually-produces-instrument-sounds" />
  <row Id="39522" PostHistoryTypeId="36" PostId="23557" RevisionGUID="270dd0f1-a98a-42cb-a725-1fb207d55dcd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1159/software-that-actually-produces-instrument-sounds/1161#1161" />
  <row Id="39523" PostHistoryTypeId="36" PostId="23558" RevisionGUID="eb0abc19-13ce-4a9a-84da-20e01afa302d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1159/software-that-actually-produces-instrument-sounds/1251#1251" />
  <row Id="39524" PostHistoryTypeId="36" PostId="23559" RevisionGUID="5b0630c2-47fa-4124-bc3b-6c68fdabecbc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1159/software-that-actually-produces-instrument-sounds/1254#1254" />
  <row Id="39525" PostHistoryTypeId="36" PostId="23560" RevisionGUID="0b67fd7c-2eb6-4256-969e-f0765001adc1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1159/software-that-actually-produces-instrument-sounds/9415#9415" />
  <row Id="39526" PostHistoryTypeId="2" PostId="23557" RevisionGUID="cecf82cb-de50-482e-ad81-eccb304563c4" CreationDate="2011-04-12T18:15:30.630" UserId="17571" UserDisplayName="Zeronyne" Text="This is a very broad topic. Your original assertion is correct. Software instruments present both a breadth and depth of sounds that are not readily available in hardware.&#xD;&#xA;&#xD;&#xA;I'm trying to stay objective, so I will say that if you are looking for &quot;real&quot; instrument sounds, you are going to want to check out the three you mentioned above, along with offerings from East West, Spectrasonics, Garritan, Vienna, and a slew of others.&#xD;&#xA;&#xD;&#xA;Piano is it's own massive category, with excellent products like Ivory, Akoustic, Alicia's Keys, and dozens more.&#xD;&#xA;&#xD;&#xA;Basically, you need to go onto the manufacturer's websites and really listen to the demos. Then, if you can, you need to download some demos and play with them. Pro Tools is widely supported, so if you are starting out, you won't be hampered by incompatibilities, but you may have to upgrade to the latest PT, which finally works with virtually any hardware. &#xD;&#xA;&#xD;&#xA;It seems like you are budget conscious, and there's nothing wrong with thatm but you may need to set your expectations realistically. A $100.00 softsynth that does all the basics is naturally not going to sound as good as Komplete or even the Propellerhead offerings." ContentLicense="CC BY-SA 3.0" />
  <row Id="39527" PostHistoryTypeId="2" PostId="23558" RevisionGUID="fb10a57d-7716-4669-a5d0-b441a34bd19c" CreationDate="2011-04-23T00:44:52.133" UserId="7281" UserDisplayName="Tom Auger" Text="So, definitely the Native Instruments suite is a great way to go, though it could be a very expensive option if you go for Komplete, and Komplete has perhaps way more electronic instruments (Absynth, FM7, Massive, etc) than you seem to want. Kontact has a pretty decent selection of sampled instruments out of the box and may be a really good option for you if you want a relatively low-cost entry into sampled instruments.&#xD;&#xA;&#xD;&#xA;As Zeronyne mentions, you can start looking at sample libraries as one way to go. East-West has a number of very well-known and well respected titles for specific instruments such as trumpet, piano and strings. The downside is that these are all fairly costly and most of the libraries are highly specialized (ie: you buy a strings library, but the brass collection is a separate purchase).&#xD;&#xA;&#xD;&#xA;Leaving dedicated sample libraries behind, if you want a good, entry-level orchestral suite, I highly recommend Edirol Orchestral. It's a decent price point, has a great selection of sounds across the entire symphonic range, and as a VST integrates well with a range of sequencers. You won't fool a seasoned musician into thinking it's a real orchestra, but with a few additional effects, you can do a pretty decent job.&#xD;&#xA;&#xD;&#xA;Edirol also makes a great product called Super Quartet, which has a selection of keys, bass, guitar and drums that do great for any kind of jazz or rock arrangements that need that selection of instruments. As a low-cost way of getting 4 pretty decent simulated acoustic instruments, Super Quartet is an excellent option.&#xD;&#xA;&#xD;&#xA;For dedicated piano sounds, I'm still a big fan of Steinberg's The Grand, though there are a lot of contenders, including Native Instruments Acoustik that features a really nice Bosendorfer grand. The Steinberg product is reasonably priced and I like its true sostenuto waveshaping for a very realistic sound.&#xD;&#xA;&#xD;&#xA;If you're more on the orchestral side, I would suggest investigating Synful's Orchestral offering. They have innovated an unusual technology that is supposed to compete well with the high-priced dedicated simulated strings and symphonic packages. It sounds better when played back (as opposed to real-time) so this may be a consideration against it if you're doing a lot of live recordings.&#xD;&#xA;&#xD;&#xA;For guitar, I can't recommend anything better than MusicLab's &quot;RealGuitar&quot; (what's with all this PascalCase in software titles these days, eh?). It's a truly awesome package that reproduces all the nuances of acoustic playing such as fret sounds and strumming delays. I am constantly blown away with this VST and have fooled guitarists with its realism.&#xD;&#xA;&#xD;&#xA;LinPlug's SaxLab on the other hand is underwhelming. It seems it's much harder to do good sax (ain't that the truth brother). For sax and brass, you're much better off with sample libraries of passages, like Chronic Horns, a selection of over 500 sampled riffs and short passages that can be cobbled together for most stabs and fills.&#xD;&#xA;&#xD;&#xA;I'm certainly forgetting a ton of stuff, but this is what I can come up with off the top of my head.&#xD;&#xA;&#xD;&#xA;Tom" ContentLicense="CC BY-SA 3.0" />
  <row Id="39528" PostHistoryTypeId="2" PostId="23559" RevisionGUID="b5412a18-33b1-4f22-a56f-c937f6fa5de2" CreationDate="2011-04-23T06:43:14.210" UserId="7471" UserDisplayName="Mark Heath" Text="It sounds like you are currently looking for a single software instrument that can provide a large variety of authentic sounds. The two categories of instrument most likely to provide what you are after are called **samplers** and **romplers**.&#xD;&#xA;&#xD;&#xA;**Samplers** have the ability to map &quot;samples&quot; (i.e. recordings of individual notes played on an instrument) to keys. For more realism, you usually need more samples (e.g. every note on a piano recorded at several different volumes). Samplers usually come with a large number of included sounds (often mutliple GB) and can be upgraded by buying additional sample sets. &#xD;&#xA;&#xD;&#xA;Some examples of samplers:&#xD;&#xA;&#xD;&#xA;- [Native Instruments Kontakt][1]&#xD;&#xA;- [Steinberg Halion][2]&#xD;&#xA;- [IK Multimedia SampleTank 2][3]&#xD;&#xA;- [Cakewalk Dimension Pro][4]&#xD;&#xA;- [WuskikStation][5]&#xD;&#xA;&#xD;&#xA;One very cheap alternative to samplers is to get a free SoundFont player such as [sfz][6]. A SoundFont is simply one sampled instrument packaged conveniently into a single file. You can get hundreds of [free SoundFonts online][7].&#xD;&#xA;&#xD;&#xA;**Romplers** (sometimes called Workstations / Sound Modules / Sample Players) is the name given to software instruments that are more like hardware keyboards. They use samples under the hood but there is no way to edit the samples or add your own. Instead they tend focus more on having a very good set of usable presets, using less disk space / CPU, and having an easy to use user interface.&#xD;&#xA;&#xD;&#xA;Some examples of romplers:&#xD;&#xA;&#xD;&#xA;- [Steinberg Halion Sonic][8]&#xD;&#xA;- [Luxonix Purity][9]&#xD;&#xA;- [IK Multimedia Sonic Synth 2][10]&#xD;&#xA;&#xD;&#xA;Finally, the most comprehensive website for finding information on just about every software instrument is [KVR][11]. Check out their incredible [plugin database][12].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.native-instruments.com/#/en/products/producer/kontakt-4/&#xD;&#xA;  [2]: http://www.steinberg.net/en/products/vst/preview_halion_4.html&#xD;&#xA;  [3]: http://www.ikmultimedia.com/sampletank/features/&#xD;&#xA;  [4]: http://www.cakewalk.com/products/dimensionpro/&#xD;&#xA;  [5]: http://www.wusik.com/ww/products/wusikstation&#xD;&#xA;  [6]: http://www.cakewalk.com/Download/sfz.aspx&#xD;&#xA;  [7]: http://www.sf2midi.com/soundfonts/&#xD;&#xA;  [8]: http://www.steinberg.net/en/products/vst/halion_sonic/halion_sonic.html&#xD;&#xA;  [9]: http://www.luxonix.com/home/en/products.html?id=purity&#xD;&#xA;  [10]: http://www.ikmultimedia.com/soniksynth/features/&#xD;&#xA;  [11]: http://www.kvraudio.com/&#xD;&#xA;  [12]: http://www.kvraudio.com/get.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="39529" PostHistoryTypeId="2" PostId="23560" RevisionGUID="4b6d602a-f113-4670-bdae-a05a4408cbd8" CreationDate="2013-11-17T16:40:52.650" UserId="8159" UserDisplayName="Jamil" Text="You might be interested in a sample pack. There are many out there, some for free, although the higher quality ones frequently (but not always) cost money. The only problem with them is that there is often only one sound per note, or a few sounds and the in between notes are pitch-shifted. &#xD;&#xA;&#xD;&#xA;Also, look into 8Dio. They make very wonderful realistic sample programs. " ContentLicense="CC BY-SA 3.0" />
  <row Id="39530" PostHistoryTypeId="2" PostId="23556" RevisionGUID="006e7c98-038a-43ba-a719-475f746d3c45" CreationDate="2011-04-12T16:13:50.017" UserDisplayName="Fred" Text="I'm a keyboardist (Yamaha PSR-2000), and recently, I've been wanting to replace my keyboard with a simple 'MIDI controller' keyboard connected to a PC, and have the PC produce the sounds. The reasons are basically:&#xD;&#xA;&#xD;&#xA; - The sound quality and realism is better&#xD;&#xA; - More variety of instruments&#xD;&#xA; - More customization&#xD;&#xA;&#xD;&#xA;(If I'm right about these...)&#xD;&#xA;&#xD;&#xA;I've been looking for software that just provides a large variety of high-quality instruments, and not electrical synths (Minimoog etc.) of which there are plenty, but actual musical instruments like trumpet, guitar, piano, bass, flute, sax, and of course drums. It would be nice to have some customization but I basically just want good instruments. I've come up with (basically):&#xD;&#xA;&#xD;&#xA; - Native Instruments Komplete/Kontakt/Kore/etc.&#xD;&#xA; - Propellerhead Reason&#xD;&#xA; - Steinberg Halion Sonic / Halion 4 (I don't know the difference) (I don't think I could deal with their USB copy protection.)&#xD;&#xA;&#xD;&#xA;Firstly, is there anything else? Is there anything free or low-cost ($100 or less)? Or am I looking completely in the wrong category?&#xD;&#xA;&#xD;&#xA;Thanks in advance.&#xD;&#xA;&#xD;&#xA;(P.S.: This is intended for live performance as well as for recording.)&#xD;&#xA;&#xD;&#xA;**UPDATE**: Maybe I should add Toontrack EZDrummer to the list as a low-cost drums-only solution? And Cakewalk Studio Instruments as a low-cost ($50) drums, bass, strings, electric piano solution? How is the quality of these things?&#xD;&#xA;&#xD;&#xA;**ALSO**: I know that a lot of DAWs come with their own virtual instruments. I may be getting Pro Tools SE if I actually by the Avid KeyStudio 49, and I have Cubase LE, but haven't installed them -- would anyone happen to know how good whatever they come with is?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39531" PostHistoryTypeId="1" PostId="23556" RevisionGUID="006e7c98-038a-43ba-a719-475f746d3c45" CreationDate="2011-04-12T16:13:50.017" UserDisplayName="Fred" Text="Software that actually produces instrument sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="39532" PostHistoryTypeId="3" PostId="23556" RevisionGUID="006e7c98-038a-43ba-a719-475f746d3c45" CreationDate="2011-04-12T16:13:50.017" UserDisplayName="Fred" Text="&lt;audio-recording&gt;&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39537" PostHistoryTypeId="36" PostId="23562" RevisionGUID="02f6c166-f147-4791-8c85-2ba1d33a62e5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3585/how-to-amplify-a-collection-of-sound-files" />
  <row Id="39538" PostHistoryTypeId="36" PostId="23563" RevisionGUID="5490a92d-c7e3-48f1-bc28-84d6122ac2b5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3585/how-to-amplify-a-collection-of-sound-files/3586#3586" />
  <row Id="39539" PostHistoryTypeId="36" PostId="23564" RevisionGUID="94bf5d73-557b-4764-b879-0bda443e7efe" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3585/how-to-amplify-a-collection-of-sound-files/3802#3802" />
  <row Id="39540" PostHistoryTypeId="2" PostId="23563" RevisionGUID="d9dc9db3-a0fa-4a02-92bd-68ab8c705b58" CreationDate="2012-03-16T11:22:31.440" UserId="7016" Text="Do you mean you want to edit each file to increase it's volume, or you just want to play them all back at high volume? &#xD;&#xA;&#xD;&#xA;If the latter, just set the volume in your playback tool of choice to its maximum and play the entire list.&#xD;&#xA;&#xD;&#xA;If however you want to increase the volume of each file you can use Audacity's normalisation function:&#xD;&#xA;&#xD;&#xA; - Go to File &gt; Edit Chains&#xD;&#xA; - Add Normalize&#xD;&#xA; - Insert Normalization&#xD;&#xA; - Then go to File &gt; Normalise &gt; Apply to Files&#xD;&#xA;&#xD;&#xA;This will increase the volume of each one as high as it can." ContentLicense="CC BY-SA 3.0" />
  <row Id="39541" PostHistoryTypeId="2" PostId="23564" RevisionGUID="1d1cf84d-d4f6-4eb4-9e76-14026b845f40" CreationDate="2012-04-23T05:39:46.133" UserDisplayName="OrangeBox" Text="Have a look at my answer on [matching the volume across multiple files][1]. &#xD;&#xA;&#xD;&#xA;**Adobe Audition** has a '**Match Volume**' feature which can batch process the volume of files as well as the ability to set up custom actions (or favourites).&#xD;&#xA;&#xD;&#xA;Audition isnt free, but its a decent program and available on Windows and OSX. Hope this helps!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/q/3772/2197" ContentLicense="CC BY-SA 3.0" />
  <row Id="39542" PostHistoryTypeId="2" PostId="23562" RevisionGUID="a1ff3d0f-4845-4e06-bdc6-ea416a7ef183" CreationDate="2012-03-16T10:49:48.023" UserDisplayName="dole doug" Text="I have up to 200 audio files which are really short (2,3 seconds maximum) but they need to be amplified.&#xD;&#xA;&#xD;&#xA;1) Is there a fast way of amplification for a playlist of sounds?&#xD;&#xA;&#xD;&#xA;also...&#xD;&#xA;&#xD;&#xA;2)Is there a best/automatic way for amplification of sounds at maximum possible?&#xD;&#xA;&#xD;&#xA;3) I've tried with audacity, but I don't know how to set the amplification factor in order to obtain a maximum amplification and no bad effects.&#xD;&#xA;&#xD;&#xA;If no automatic playlist amplify way is possible I’ll do it manually, but I don’t know how the handle problem 3.&#xD;&#xA;&#xD;&#xA;Do you have any idea?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39543" PostHistoryTypeId="1" PostId="23562" RevisionGUID="a1ff3d0f-4845-4e06-bdc6-ea416a7ef183" CreationDate="2012-03-16T10:49:48.023" UserDisplayName="dole doug" Text="How to amplify a collection of sound files" ContentLicense="CC BY-SA 3.0" />
  <row Id="39544" PostHistoryTypeId="3" PostId="23562" RevisionGUID="a1ff3d0f-4845-4e06-bdc6-ea416a7ef183" CreationDate="2012-03-16T10:49:48.023" UserDisplayName="dole doug" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39545" PostHistoryTypeId="36" PostId="23565" RevisionGUID="30088e88-6405-425b-8a93-afe494f9bc4a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4442/does-combining-the-leftright-speaker-signals-cause-me-to-lose-part-of-the-sound" />
  <row Id="39546" PostHistoryTypeId="2" PostId="23566" RevisionGUID="9302199b-9cbe-40e1-82d1-9c79d3c80d8f" CreationDate="2012-07-24T13:26:26.393" UserDisplayName="JMFR" Text="Sounds like you are probably losing the left channel of the stereo signal.  You are losing half of the stereo mix.  Usually music is mixed in stereo so that when the listener experiences the music from two speakers placed properly in front of them the sound will seem to come from a wall in front of the person (sounds will seem to come from in between the speakers).\&#xD;&#xA; &#xD;&#xA;You should try to set the output of your system (the laptop) to mono mode, or use a mono jack coming out of your laptop.  This will make sure you don't hear funny artifacts like a singers voice fading in and out, or only a loud drum beat at the beginning of a song. " ContentLicense="CC BY-SA 3.0" />
  <row Id="39547" PostHistoryTypeId="2" PostId="23565" RevisionGUID="0586e232-2cc1-40ec-ac27-da38b4e2058a" CreationDate="2012-07-24T01:23:08.140" UserId="11176" UserDisplayName="Aerovistae" Text="Ancient speaker system in the pool hall I'm in charge of. It's got that kind of jack with a red and white opening that feed together into one wire that plugs into my laptop.&#xD;&#xA;&#xD;&#xA;You can tell I know what I'm talking about.&#xD;&#xA;&#xD;&#xA;Anyway, the white opening is broken. Can't plug it in. So I just plug in the red one, which is labeled &quot;r&quot;. So the speakers that are plugged into &quot;l&quot; in the back don't work. So I take the &quot;l&quot; wire in the back and plug it in right next to the &quot;r&quot; speaker so that the &quot;r&quot; signal is going through both.&#xD;&#xA;&#xD;&#xA;Now it's really loud in here, and I can't hear the music well enough to tell, but I'm curious: Am I actually losing any signal by doing it this way? It seems like it would, but from what I can hear it seems alright." ContentLicense="CC BY-SA 3.0" />
  <row Id="39548" PostHistoryTypeId="1" PostId="23565" RevisionGUID="0586e232-2cc1-40ec-ac27-da38b4e2058a" CreationDate="2012-07-24T01:23:08.140" UserId="11176" UserDisplayName="Aerovistae" Text="Does combining the left&amp;right speaker signals cause me to lose part of the sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39549" PostHistoryTypeId="3" PostId="23565" RevisionGUID="0586e232-2cc1-40ec-ac27-da38b4e2058a" CreationDate="2012-07-24T01:23:08.140" UserId="11176" UserDisplayName="Aerovistae" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39550" PostHistoryTypeId="36" PostId="23566" RevisionGUID="c4972fa3-9485-4063-a5c9-0b81eff59f65" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4442/does-combining-the-leftright-speaker-signals-cause-me-to-lose-part-of-the-sound/4445#4445" />
  <row Id="39551" PostHistoryTypeId="36" PostId="23567" RevisionGUID="092f24f8-d220-486a-b1bd-52af9b16818a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4603/how-do-i-fix-the-latency-issue-when-recording-through-m-audio-fast-track-pro-usb" />
  <row Id="39552" PostHistoryTypeId="36" PostId="23568" RevisionGUID="9d37c4eb-e0d5-45af-bd35-7eaa71c727b7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4603/how-do-i-fix-the-latency-issue-when-recording-through-m-audio-fast-track-pro-usb/4604#4604" />
  <row Id="39553" PostHistoryTypeId="36" PostId="23569" RevisionGUID="940d902d-6204-401b-8b6f-b3e9a8a58b20" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4603/how-do-i-fix-the-latency-issue-when-recording-through-m-audio-fast-track-pro-usb/7418#7418" />
  <row Id="39554" PostHistoryTypeId="2" PostId="23568" RevisionGUID="56ef8b15-5505-47ad-adfe-8a68d7e1ac7e" CreationDate="2012-08-19T15:51:16.543" UserId="7016" Text="It sounds like a driver issue, as M-Audio kit tends to have incredibly low latency. Go to their site and check out the latest ASIO drivers - you may need to reinstall them." ContentLicense="CC BY-SA 3.0" />
  <row Id="39555" PostHistoryTypeId="2" PostId="23569" RevisionGUID="3fff9db8-14ce-4196-b6ca-de5c7bfd5d07" CreationDate="2013-03-17T19:35:37.800" UserId="7234" UserDisplayName="fluffy" Text="The problem may be less with the hardware and more with your choice of software; Audacity isn't exactly professional-quality, and it doesn't come with ASIO support out of the box for licensing reasons.  See http://wiki.audacityteam.org/wiki/ASIO_Audio_Interface for more information." ContentLicense="CC BY-SA 3.0" />
  <row Id="39556" PostHistoryTypeId="2" PostId="23567" RevisionGUID="5e8e8ceb-0aee-44d4-a5bb-0fc5d4e0c104" CreationDate="2012-08-19T06:31:48.723" UserId="7713" UserDisplayName="CheeseConQueso" Text="I'm having trouble using the &quot;M-AUDIO Fast Track Pro&quot; USB audio interface to record with.&#xD;&#xA;&#xD;&#xA;I've tried to manually adjust the latency in the M-AUDIO Fast Track Pro Properties but the slider is locked at 256 and won't let me adjust the value.&#xD;&#xA;&#xD;&#xA;No matter what I try, there is a latency issue present when trying to use M-AUDIO USB Audio Interface to record properly without lag.  &#xD;&#xA;&#xD;&#xA;How can i fix this issue?&#xD;&#xA;&#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="39557" PostHistoryTypeId="1" PostId="23567" RevisionGUID="5e8e8ceb-0aee-44d4-a5bb-0fc5d4e0c104" CreationDate="2012-08-19T06:31:48.723" UserId="7713" UserDisplayName="CheeseConQueso" Text="How do I fix the latency issue when recording through M-AUDIO Fast Track Pro USB Audio Interface?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39558" PostHistoryTypeId="3" PostId="23567" RevisionGUID="5e8e8ceb-0aee-44d4-a5bb-0fc5d4e0c104" CreationDate="2012-08-19T06:31:48.723" UserId="7713" UserDisplayName="CheeseConQueso" Text="&lt;audio-recording&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39559" PostHistoryTypeId="36" PostId="23570" RevisionGUID="726a6802-466a-4cbe-9563-d69e8a217154" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2288/i-want-to-connect-my-ipod-using-the-headset-jack-to-a-portable-pa-system-and-am" />
  <row Id="39560" PostHistoryTypeId="36" PostId="23571" RevisionGUID="6996a7b1-6a2c-411c-9794-a07d2a50cd79" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2288/i-want-to-connect-my-ipod-using-the-headset-jack-to-a-portable-pa-system-and-am/2289#2289" />
  <row Id="39561" PostHistoryTypeId="36" PostId="23572" RevisionGUID="0b7dcb6a-3df8-4237-97be-5d66df663670" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2288/i-want-to-connect-my-ipod-using-the-headset-jack-to-a-portable-pa-system-and-am/2319#2319" />
  <row Id="39562" PostHistoryTypeId="2" PostId="23571" RevisionGUID="2b0d4ec5-81bf-46b4-b64c-257da7d07e25" CreationDate="2011-09-08T20:58:47.490" UserId="7093" Text="It looks like the [Liberty 4500][1] has two XLRs with Phantom power and one 1/4&quot; line in.  &#xD;&#xA;&#xD;&#xA;The 1/4&quot; line in is the one you want to use for the iPod, as it does not have phantom power.&#xD;&#xA;&#xD;&#xA;You will need a cable with a 3.5mm stereo male connector on one end and a 1/4&quot; mono male connector on the other.  The closest I could find were a [3.5mm stereo male to two male RCA connectors cable][2] and a [two female RCA to 1/4&quot; mono male adapter][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/MPA-4500-Liberty-Anchor/dp/B001UI3OFY&#xD;&#xA;  [2]: http://www.mcmelectronics.com/product/24-9490&amp;t=1&#xD;&#xA;  [3]: http://www.mcmelectronics.com/product/27-4195&amp;t=1" ContentLicense="CC BY-SA 3.0" />
  <row Id="39563" PostHistoryTypeId="2" PostId="23572" RevisionGUID="850df27d-ad52-405c-9a5e-01a8e1a6df82" CreationDate="2011-09-14T02:31:01.347" UserId="13414" UserDisplayName="dgw" Text="You'll probably want to use the 1/4&quot; input, because it won't have phantom power.&#xD;&#xA;&#xD;&#xA;An adapter from iPod (or other 3.5mm device: smartphone, CD player, computer…) to 1/4&quot; [will run you about $4][1].&#xD;&#xA;&#xD;&#xA;If you have the manual for the Liberty 4500 (I can't find one on Google), see if it supports disabling phantom power on one or all of the XLR inputs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.com/products/catalog?cid=836335013125120276" ContentLicense="CC BY-SA 3.0" />
  <row Id="39564" PostHistoryTypeId="2" PostId="23570" RevisionGUID="ff414b25-4b40-4eaa-b32a-179778f0bde4" CreationDate="2011-09-08T19:07:51.900" UserDisplayName="mike" Text="I have a Liberty 4500 portable PA system and a headset plug to male XLR adapter. &#xD;&#xA;&#xD;&#xA;I am afraid the phantom power from the Liberty PA system will fry my iPod.  &#xD;&#xA;&#xD;&#xA;How can I prevent it from happening?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39565" PostHistoryTypeId="1" PostId="23570" RevisionGUID="ff414b25-4b40-4eaa-b32a-179778f0bde4" CreationDate="2011-09-08T19:07:51.900" UserDisplayName="mike" Text="I want to connect my iPod using the headset jack to a portable PA system and am worried about phantom power" ContentLicense="CC BY-SA 3.0" />
  <row Id="39566" PostHistoryTypeId="3" PostId="23570" RevisionGUID="ff414b25-4b40-4eaa-b32a-179778f0bde4" CreationDate="2011-09-08T19:07:51.900" UserDisplayName="mike" Text="&lt;audio&gt;&lt;xlr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39567" PostHistoryTypeId="36" PostId="23573" RevisionGUID="0908bf26-7ef4-4889-972e-a983cc309b54" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/752/what-key-features-should-i-look-for-when-purchasing-a-mic-for-podcasting" />
  <row Id="39568" PostHistoryTypeId="36" PostId="23574" RevisionGUID="b44e2992-3706-4a45-abc3-dc0ee402a430" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/752/what-key-features-should-i-look-for-when-purchasing-a-mic-for-podcasting/753#753" />
  <row Id="39569" PostHistoryTypeId="36" PostId="23575" RevisionGUID="b4d8d08d-d194-44ca-a459-636c05c11b0f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/752/what-key-features-should-i-look-for-when-purchasing-a-mic-for-podcasting/755#755" />
  <row Id="39570" PostHistoryTypeId="2" PostId="23574" RevisionGUID="2cfb5ce3-5b50-42e2-bbf5-48476c252480" CreationDate="2011-02-04T10:06:56.253" UserDisplayName="Kyle Sevenoaks" Text="I use the Shure SM58 for basically everything at the moment, it's a real versatile mic and would be great for your podcast. Use a wind protector as well though. I've used it for recording voice auio (like a pdocast, some radio tags), micing up bass drums and amps for live shows and even recording samples from randm household objects! It's a great quality mic, check it out :) &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39571" PostHistoryTypeId="2" PostId="23575" RevisionGUID="d5c555b9-9ecf-4024-bfdc-2446a89fe807" CreationDate="2011-02-04T15:49:49.737" UserId="7202" UserDisplayName="Lennart Regebro" Text="You need a good mic and a decent mic preamp and a decent USB Audio Interface. This comes both separately and in combinations, including USB microphones that include all in one package.&#xD;&#xA;&#xD;&#xA;In podcasts a good sound is essential, and you get that by being fairly close to the microphone, so if you are several podcasters, they should really have one mic each, and then you also need a mixer. In theory you can have several USB mix and mix them in software, but although I never did that and it might work well there is something in my stomach that get slightly worried when thinking about that... :)&#xD;&#xA;&#xD;&#xA;If you need only one mic, and you are sure you are only using it for podcasting, a USB mic of some sort would be a good choice. If you want more flexibility get a separate mic and a USB Audio Interface that includes a mic preamp.&#xD;&#xA;&#xD;&#xA;To a large extent its a question of budget. &#xD;&#xA;&#xD;&#xA;You most likely want either a nice dynamic mic or a large diaphragm condenser, these work best for vocals. I completely agree with Kyle that an SM58 (or SM57, but then you might want a pop filter as well) is a good starter, very versatile and not expensive. You can buy it packages with an XLR to USB adapter for what seems like a reasonable price (&lt;$200). You can find USB mics like MXL and Samson for well under &lt; $100." ContentLicense="CC BY-SA 2.5" />
  <row Id="39572" PostHistoryTypeId="2" PostId="23576" RevisionGUID="b724bc08-3fc9-4306-b6bb-e7e0302e7e7d" CreationDate="2011-02-04T23:37:12.663" UserDisplayName="Tom Miller" Text="I recently posted a [question][1] regarding mixing multiple USB microphones as I am launching a podcast that will involve more than just me, requiring multiple microphones.  I have tried many different approaches to mixing multiple USB mics and in short, there really isn't a comparatively good approach when trying to decide whether or not to go USB or use a &quot;standard&quot; microphone.  SO, the first question is whether or not this is a solo gig, meaning you are the only one in the room, or if there are going to be others there with you; more than one in the room--&gt;go standard...&#xD;&#xA;&#xD;&#xA;If it's just you, then there are plenty of USB microphones out there that will give you good quality and maintain the ease and portability you are looking for.  The downside to USB microphones is that in most cases, you are extremely limited in options for real-time signal processing functions such as a noise gate, for example.&#xD;&#xA;&#xD;&#xA;The conclusion I came to was that going with a standard mic and a hardware mixer/audio interface provides the quality, reliability and predictability that using a USB/software solution cannot as easily provide.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audio.stackexchange.com/questions/712/monitoring-multiple-usb-microphones" ContentLicense="CC BY-SA 2.5" />
  <row Id="39573" PostHistoryTypeId="2" PostId="23573" RevisionGUID="c82c2c8e-3a0d-4f97-91cd-b370d1439292" CreationDate="2011-02-04T10:02:44.040" UserDisplayName="Ciaocibai" Text="I'm looking to set up a podcast, and want to get started with the right equipment. My problem is I have no idea what I'm looking for in a mic, and what other things I need to record good quality audio. &#xD;&#xA;&#xD;&#xA;I would prefer it if I could have some kind of portable set up, but mainly I'm just curious to know what I should look out for when I'm getting started.&#xD;&#xA;&#xD;&#xA;If it makes I difference I run Mac OS X. What advice would you have for me when looking for a mic, and is there anything else I need to consider in a recording set up?" ContentLicense="CC BY-SA 2.5" />
  <row Id="39574" PostHistoryTypeId="1" PostId="23573" RevisionGUID="c82c2c8e-3a0d-4f97-91cd-b370d1439292" CreationDate="2011-02-04T10:02:44.040" UserDisplayName="Ciaocibai" Text="What key features should I look for when purchasing a mic for podcasting?" ContentLicense="CC BY-SA 2.5" />
  <row Id="39575" PostHistoryTypeId="3" PostId="23573" RevisionGUID="c82c2c8e-3a0d-4f97-91cd-b370d1439292" CreationDate="2011-02-04T10:02:44.040" UserDisplayName="Ciaocibai" Text="&lt;microphone&gt;&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39576" PostHistoryTypeId="36" PostId="23576" RevisionGUID="90036aa6-e8b7-44f6-b209-1215341d8a62" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/752/what-key-features-should-i-look-for-when-purchasing-a-mic-for-podcasting/757#757" />
  <row Id="39577" PostHistoryTypeId="36" PostId="23577" RevisionGUID="978750c9-7085-4ab0-8dec-f419b828a6df" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/752/what-key-features-should-i-look-for-when-purchasing-a-mic-for-podcasting/773#773" />
  <row Id="39578" PostHistoryTypeId="36" PostId="23578" RevisionGUID="87477332-9b33-4015-b4b7-41fe24ad94c4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/752/what-key-features-should-i-look-for-when-purchasing-a-mic-for-podcasting/813#813" />
  <row Id="39579" PostHistoryTypeId="36" PostId="23579" RevisionGUID="15849995-1d83-449b-868b-a4a59e233295" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/752/what-key-features-should-i-look-for-when-purchasing-a-mic-for-podcasting/3615#3615" />
  <row Id="39580" PostHistoryTypeId="2" PostId="23577" RevisionGUID="f2105a2a-cae4-4e61-8698-0a8bd41b2072" CreationDate="2011-02-08T02:44:59.460" UserDisplayName="user481" Text="I used a combination of Audacity and a Samson CO1U USB microphone when I started. From a hardware perspective, that seemed to do the trick. Arranging a useful recording area is vital though, and takes a lot more effort than you might realize. I had success with the Samson, though I noticed that the recording level would vary according to which USB port of my MacBook Pro I selected. After about six months, the Samson CO1U picked up a lot of static and recording an optimal level was impossible. I learned from all this though.&#xD;&#xA;&#xD;&#xA;First I realized that I wanted real time audio monitoring, which is something that USB mikes don't allow. Perhaps there are ways to minimized the delay, but I couldn't reduce the lag to make monitoring useful.&#xD;&#xA;&#xD;&#xA;Secondly, I wanted a system which wasn't so reliant on USB power to record a good level. I needed an amp that would regulate itself better than the USB bus did. I ended up buying a Rode NT1A and a Mbox2 mini external amplifier. The rig is portable and records much more reliably.&#xD;&#xA;&#xD;&#xA;The Samson USB mike may still be enough for you. If you register it with Samson, they will warrantee it for 10 years. I just have to get my act together to send it back to them. Nonetheless, it still wont allow me to hear how a recording session sounds as I record. You'll start wanting that soon, so you might want to start saving up for the external amp and XLR-style mic." ContentLicense="CC BY-SA 2.5" />
  <row Id="39581" PostHistoryTypeId="2" PostId="23578" RevisionGUID="c0a6e4dd-88e8-423f-b7fc-4a2054b89309" CreationDate="2011-02-14T14:00:47.540" UserId="8220" UserDisplayName="notthetup" Text="I would say, start with something not too expensive.. Get used to the workflow, and then you can get a mic good for vocals. Since most of the time the podcasts are gonna be listened on an iPod/iPhone or in the car with loads of background noise so I don't think there's gonna be much difference between listener experience if you use a very expensive mic or something which is simple and works well.. " ContentLicense="CC BY-SA 2.5" />
  <row Id="39582" PostHistoryTypeId="2" PostId="23579" RevisionGUID="e0d977eb-0437-4dce-9619-b9d375c3b585" CreationDate="2012-03-20T20:16:37.280" UserDisplayName="JohnnyCanuck" Text="When you're first starting out, the best thing you can do is get a mic that will serve you on the long road. Bring your best cans to a mic shop and try them out. I too would suggest a dynamic stage mic like the Sure SM58 or the Sennheiser E840/830. That way you will be able to use it in &quot;studio&quot;/recording room and then became a staple part of your kit for more mobile recordings and live shows. &#xD;&#xA;&#xD;&#xA;I have stayed away from most USB mic since I still want the flexibility of plugging an analog mic into a desk OR an audio interface.  The SM58 is usually about $80-$100 without a big dent on the top. An audio interface will be as cheap as USB dongle sounds card that comes with a pair of Plantronics headphones and as expensive as a Firewire Mackie Onyx desk. Start small with the vision that every piece you ass will become a part of your KIT." ContentLicense="CC BY-SA 3.0" />
  <row Id="39583" PostHistoryTypeId="36" PostId="23580" RevisionGUID="9eba401e-0d27-4429-aa26-3cf198c62fa7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/950/can-i-place-a-di-box-between-my-amplifier-and-my-guitar-cabinet-to-record-my-sig" />
  <row Id="39584" PostHistoryTypeId="36" PostId="23581" RevisionGUID="d0f8bc0e-de1f-4899-9ee0-9177ba9b83c1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/950/can-i-place-a-di-box-between-my-amplifier-and-my-guitar-cabinet-to-record-my-sig/952#952" />
  <row Id="39585" PostHistoryTypeId="36" PostId="23582" RevisionGUID="2f8689ba-ee13-41e2-ab74-c0a1643c93d5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/950/can-i-place-a-di-box-between-my-amplifier-and-my-guitar-cabinet-to-record-my-sig/961#961" />
  <row Id="39586" PostHistoryTypeId="36" PostId="23583" RevisionGUID="2e97aa2a-afdb-4c1d-a499-6d813aa9d2d3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/950/can-i-place-a-di-box-between-my-amplifier-and-my-guitar-cabinet-to-record-my-sig/1092#1092" />
  <row Id="39587" PostHistoryTypeId="2" PostId="23581" RevisionGUID="cdd8ecb3-a5e0-4fd5-89b3-dfe9df3b785a" CreationDate="2011-03-03T18:12:41.240" UserDisplayName="Ian C." Text="*Not with any old DI box.* The signal going from the power amp section of your guitar amp, to your speaker cabinet, is HIGH POWER. Face-melting type of power. Most DI boxes cannot handle this kind of power and you will melt them in an instant trying to run them between your power amp and your speaker cabinet.&#xD;&#xA;&#xD;&#xA;There is a notable exception: the [Palmer PDI-09 The Junction][1]. This DI box is specifically designed to go between your amplifier and your speaker cabinet and provide a line-level signal of your power amp's output. Suitable for running in to a USB audio interface or a mixing desk.&#xD;&#xA;&#xD;&#xA;It also has a switch that can apply some simple equalization to the signal (the Bright and Mellow settings) so you could use this in place of a microphone to run your signal to FoH.&#xD;&#xA;&#xD;&#xA;With the PDI-09 you still have to run your speaker cabinet -- your power amp doesn't see any load when it's just connected to the PDI-09. You need your cabinet attached as well or you'll risk damaging your power amp.&#xD;&#xA;&#xD;&#xA;If you want to be able to run your amplifier without even attaching a speaker cabinet take a look at the [Palmer PGA-04][2] or [Palmer PDI-03][3] -- both of these can act as DIs like the PDI-09, but they also contain active, dummy loads that allows them to dissipate all that power your power amplifier is pushing at it. So you can run without a speaker cabinet and record your guitar head completely silently.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.palmer-germany.com/82-1-pdi09.html&#xD;&#xA;  [2]: http://www.palmer-germany.com/86-1-pga04.html&#xD;&#xA;  [3]: http://www.palmer-germany.com/81-1-pdi03.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="39588" PostHistoryTypeId="2" PostId="23582" RevisionGUID="7d96544c-17de-410b-b60b-0b9cfaabab22" CreationDate="2011-03-06T05:22:21.460" UserDisplayName="philwinkle" Text="+1 to Ian's answer above. However, if you're able to come out of your effects loop on either your pedal board or on your amplifier (or if you have a DL4 or some other effect that has a stereo out) then you can just use the input at the DI there.&#xD;&#xA;&#xD;&#xA;From there, run the `thru` side of the DI box back to complete your FX loop and the XLR side to the recording device.&#xD;&#xA;&#xD;&#xA;**Update: Diagram**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/nToiC.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="39589" PostHistoryTypeId="2" PostId="23583" RevisionGUID="dfb6de48-d198-43a1-bdb2-c7d27ae31d57" CreationDate="2011-03-25T12:48:12.377" UserDisplayName="Ron" Text="Look for a Box that has two 1/4&quot; jacks (marked &quot;IN&quot; and &quot;OUT&quot;) and a pad switch (0/-10db/-20db).  I use one of these when a guest sets up their own system and I want a mix into my system for remote speakers or recording a video.  I grab the (amplified) line to one of their kickers and route it through the box (IN/OUT), pad it, and run the balanced output to my board.  It should work the same way between your guitar head and speaker." ContentLicense="CC BY-SA 2.5" />
  <row Id="39590" PostHistoryTypeId="2" PostId="23580" RevisionGUID="077f26ea-f96e-4be1-933b-450829a076ed" CreationDate="2011-03-03T15:45:15.790" UserDisplayName="user514" Text="Could I put a DI box between my amplifier and my guitar cabinet, and then run the DI signal in to my USB interface? Or would that create issues? I'm using a Michael Kelly guitar, through a Bugera 333xl head in to a Bugera cab." ContentLicense="CC BY-SA 2.5" />
  <row Id="39591" PostHistoryTypeId="1" PostId="23580" RevisionGUID="077f26ea-f96e-4be1-933b-450829a076ed" CreationDate="2011-03-03T15:45:15.790" UserDisplayName="user514" Text="Can I place a DI box between my amplifier and my guitar cabinet to record my signal?" ContentLicense="CC BY-SA 2.5" />
  <row Id="39592" PostHistoryTypeId="3" PostId="23580" RevisionGUID="077f26ea-f96e-4be1-933b-450829a076ed" CreationDate="2011-03-03T15:45:15.790" UserDisplayName="user514" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39593" PostHistoryTypeId="36" PostId="23584" RevisionGUID="06fc4feb-4980-4d99-95b0-1aeb8de451ef" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/655/can-a-reverb-processor-compensate-for-a-dead-room" />
  <row Id="39594" PostHistoryTypeId="36" PostId="23585" RevisionGUID="3d7e89a4-64aa-4907-adee-a3d358663969" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/655/can-a-reverb-processor-compensate-for-a-dead-room/657#657" />
  <row Id="39595" PostHistoryTypeId="2" PostId="23585" RevisionGUID="882522be-8577-424d-90b9-b16c8cf52d0d" CreationDate="2011-01-21T18:36:59.407" UserId="7218" UserDisplayName="Robert Harvey" Text="Yes, the reverb can be added back in, after the fact.  This technique works very well, and is used in recording studios all the time; it gives you the flexibility of choosing what kind of reverb you want, and how much reverb effect you wish to apply to the sound.  &#xD;&#xA;&#xD;&#xA;Modern [convolution reverbs][1] simulate the sound of an actual room, and provide a very high quality, lifelike reverb effect.  At home, you can use convolution reverb plugins with Digital Audio Workstation (DAW) software on your computer, and gain access to reverbs that range from a small room to a cathedral.&#xD;&#xA;&#xD;&#xA;A small amount of reverb, of the kind you describe, &quot;wets&quot; the sound, and makes it sound more realistic than a dead room recording.  Some recording engineers prefer to use a real room for this purpose, and there's nothing wrong with that.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Convolution_reverb" ContentLicense="CC BY-SA 2.5" />
  <row Id="39596" PostHistoryTypeId="2" PostId="23586" RevisionGUID="b9a4eec1-a0c8-49c1-bdfc-8cbf6e90d125" CreationDate="2011-01-21T21:51:50.313" UserDisplayName="Kim Burgaard" Text="I think the answer depends heavily on the type of sound source , the style of music and your personal preferences as recording engineer/mixer/producer.&#xD;&#xA;&#xD;&#xA;For modern rhythmic music, I see two opposing forces:&#xD;&#xA;&#xD;&#xA; 1. as the recording engineer and mixer, I prefer the source be completely free of any reverb or other coloration. That gives me complete freedom to shape the sound as I see fit in the mix. Even a small amount of reverb in the recording means that I have to adjust and compensate for this with the sonic vision I have. In some cases I might not be able to completely mask the effect of the recording environment.&#xD;&#xA; 2. as the performer, listening to your own voice or instrument through headphones is particularly distracting for people new to music recording. Recording in a dead room further amplifies this alienation. If your equipment supports separate monitor sub mixes, then a common technique is to add a small amount of reverb to the performer's monitor, but to record the clean sound. For singing this is often referred to as &quot;confidence reverb.&quot;&#xD;&#xA;&#xD;&#xA;I've spent a good deal of my youth playing classical percussion (marimba, timpani, etc.) in symphonic settings. If I were to record such a performance today, I would definitely opt to record the music in a room that gives me the sound close to the end result. The effect of playing in a cathedral with a majestic sweet unhurried reverb tail immediately feeds back into the performance. I would go for the same dogma with recording *a capella* choral performances." ContentLicense="CC BY-SA 2.5" />
  <row Id="39597" PostHistoryTypeId="2" PostId="23584" RevisionGUID="a6b5540e-eb2d-4850-8620-b9ba2700c604" CreationDate="2011-01-21T17:20:47.517" UserId="7294" UserDisplayName="Warrior Bob" Text="Say a recording space, such as a simple isolation booth, has a very dead, overly damped sound, so there is little to no reverb trail on recordings made in that space.  Is it possible to use a reverb processor such as a plugin or rackmount unit to precisely add the undamped 'life' back into that recording?&#xD;&#xA;&#xD;&#xA;I have heard that a recording space with a small amount of reverb (approximately a 300ms to decay 60 dB) is ideal, but why is this?  Is it generally accepted as true?&#xD;&#xA;&#xD;&#xA;I would think (off the top of my head) that it would be easier to record with minimal reverb, and then control the amount of reverb in the final mix by sending that track to a reverb unit.  I can't authoritively say this is the case though, I don't have access to such a recording space to test this out for myself." ContentLicense="CC BY-SA 2.5" />
  <row Id="39598" PostHistoryTypeId="1" PostId="23584" RevisionGUID="a6b5540e-eb2d-4850-8620-b9ba2700c604" CreationDate="2011-01-21T17:20:47.517" UserId="7294" UserDisplayName="Warrior Bob" Text="Can a reverb processor compensate for a dead room?" ContentLicense="CC BY-SA 2.5" />
  <row Id="39599" PostHistoryTypeId="3" PostId="23584" RevisionGUID="a6b5540e-eb2d-4850-8620-b9ba2700c604" CreationDate="2011-01-21T17:20:47.517" UserId="7294" UserDisplayName="Warrior Bob" Text="&lt;audio-recording&gt;&lt;reverb&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39600" PostHistoryTypeId="36" PostId="23586" RevisionGUID="aa80e183-3ca0-426c-8ba4-13f85f965532" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/655/can-a-reverb-processor-compensate-for-a-dead-room/660#660" />
  <row Id="39601" PostHistoryTypeId="36" PostId="23587" RevisionGUID="1375813f-aa17-413c-8d58-7ccf3ad10430" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8647/small-and-big-membrane-condenser-microphone" />
  <row Id="39602" PostHistoryTypeId="36" PostId="23588" RevisionGUID="9b4ac685-5909-4873-946e-a3395df28110" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8647/small-and-big-membrane-condenser-microphone/8649#8649" />
  <row Id="39603" PostHistoryTypeId="36" PostId="23589" RevisionGUID="84d30937-c8d1-4c0e-b65b-5934482af82a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8647/small-and-big-membrane-condenser-microphone/8650#8650" />
  <row Id="39604" PostHistoryTypeId="2" PostId="23588" RevisionGUID="09d247bb-b753-42d7-bcb0-6c30f6f7ab63" CreationDate="2013-08-08T08:46:48.733" UserId="7312" UserDisplayName="Eugene S" Text="The main difference is Sensitivity (and Noise accordingly).&#xD;&#xA;&#xD;&#xA;An LDC(Large Diaphragm Condenser) is more sensitive than an SDC(Small Diaphragm Condenser), and also tends to generate a higher output voltage, given the same input SPL. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**[Why the LDC is more sensitive][1]?**&#xD;&#xA;&#xD;&#xA;Remember that a condenser mic is made of a conductive diaphragm next to a conductive backplate. Those parts are charged with a bias voltage across them, forming a capacitor.&#xD;&#xA;&#xD;&#xA;When sound waves vibrate the diaphragm in and out, the capacitance varies in step with the sound waves, which in turn generates a signal voltage that varies in step with the sound waves.&#xD;&#xA;&#xD;&#xA;The changes in capacitance due to the vibration are bigger for a large, high-capacitance diaphragm than for a small diaphragm, so the output signal voltage is higher for a large diaphragm. The greater diaphragm displacement in the LDC results in a higher signal voltage. &#xD;&#xA;&#xD;&#xA;**EDIT**: Most LDC directional mics have a deeper low-frequency response than SDC directional mics. That’s because the resonance frequency of the diaphragm is lower in the LDC due to the diaphragm’s higher mass. So if you want to capture a deep tone (as from tom toms or a vocal), you might make an LDC your first choice. On the other hand, the smaller mass of an SDC’s diaphragm helps it respond better to extreme high frequencies (as with cymbals). &#xD;&#xA;&#xD;&#xA;On the [same site][2] you can see an comparison graph of 2 mics (SDC and LDC). As you can see, there are some differences but nothing substantial.&#xD;&#xA;&#xD;&#xA;![The published frequency responses of a Neumann U 87 Ai, an LDC (above), and a Neumann KM 184 A, an SDC. ][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.prosoundweb.com/article/size_matters_the_differences_in_large-_and_small-diaphragm_microphones/&#xD;&#xA;  [2]: http://www.prosoundweb.com/article/size_matters_the_differences_in_large-_and_small-diaphragm_microphones/&#xD;&#xA;  [3]: http://i.stack.imgur.com/HGh9K.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="39605" PostHistoryTypeId="2" PostId="23589" RevisionGUID="4f4c3b0f-dd33-4463-b556-9f29221754af" CreationDate="2013-08-08T12:53:32.907" UserId="7200" UserDisplayName="leftaroundabout" Text="It's true that LDCMs are more sensitive, but that's in practise not such a big concern – good SDCMs already have plenty of headroom, usually the noise floor is well below any ambient noise even for chamber music room applications. Of course, the diaphragm mustn't be _too_ small, cheap mics with less than a centimetre usually won't do. But they still beat anything you could practically achieve with dynamic microphones. The commercially-available microphones with the highest sensitivity are actually HF-biased small diaphragm mics such as the Sennheiser MKH 40 P48.&#xD;&#xA;&#xD;&#xA;One obvious difference is a mechanical aspect: condenser mics are always more vulnarable than dynamic mics, but LD ones are particularly fragile. Combined with their clunky heaviness, this already makes me hesitate to use them in any live setting.&#xD;&#xA;&#xD;&#xA;But most important is the sound. I like SDC mics a lot because they cover the entire spectrum quite linearly, behave very predictable, have excellent phase response and can be aligned any way you want. LDCMs usually have already quite a shaped frequency response. Nothing dramatical and often it sounds just great, but if you like to start with all-linear it's not really nice. The transient and phase characteristics are still very Dirac-like – always much cleaner than dynamic mics – yet for percussive instruments and even guitars I sometimes feel it already lacks some of the precision that SDCMs offer.&lt;sub&gt;(Though actually I doubt the scientific significance of that observation, because even studio headphones can't really hope to match the phase response of a LDCM.)&lt;/sub&gt;&#xD;&#xA;&#xD;&#xA;Where the diaphragm size starts to matter really a lot is when doing close-field recording, like most vocal recording nowadays. With SD microphones or omnidirectional microphones, distance doesn't make to much of a difference sound-wise, you just get a higher amount of direct signal compared to the room components. But with the commonly used large-diaphragm cardioid microphones, there's quite a strong [proximity effect](http://en.wikipedia.org/wiki/Proximity_effect_%28audio%29); basically you get a natural bass boost without making the response muddy. This is highly sought-after for vocal recording and can sometimes be benefitial for drums etc., but most of the time it just adds frequency components you don't need and don't really want. When recording guitars with LDCMs, I generally leave a bit of space so the proximity effect won't be too pronounced. Given good room acoustics, this can sound very nice, but rather more often I opt for SDCMs and close miking, resulting in a rich yet clear and direct sound. You can still add room mics, internal mics, perhaps even piezo pickups or contact microphones for extra sound components, their influence will be much more controllable in the final mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="39606" PostHistoryTypeId="2" PostId="23587" RevisionGUID="f6a837de-4c5a-4c5c-95bc-f4b9c06eb3ae" CreationDate="2013-08-08T06:57:28.887" UserId="6610" Text="I ask this trying to get words to what I have experienced and have seen as standard practice but without having words to back it up.&#xD;&#xA;&#xD;&#xA;What are the differences between big and small membrane microphones?  &#xD;&#xA;I often use small membrane for room sound capture and big membrane to more near sound source recording, but would like to know if the physical difference makes on of them better for room ambiance and the other better for near mic recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="39607" PostHistoryTypeId="1" PostId="23587" RevisionGUID="f6a837de-4c5a-4c5c-95bc-f4b9c06eb3ae" CreationDate="2013-08-08T06:57:28.887" UserId="6610" Text="Small and big membrane condenser microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="39608" PostHistoryTypeId="3" PostId="23587" RevisionGUID="f6a837de-4c5a-4c5c-95bc-f4b9c06eb3ae" CreationDate="2013-08-08T06:57:28.887" UserId="6610" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39609" PostHistoryTypeId="36" PostId="23590" RevisionGUID="db307bdd-1202-408d-ab11-a4161895a3f5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8163/how-do-i-properly-set-levels-for-a-recording-and-the-environment-im-mixing-in" />
  <row Id="39610" PostHistoryTypeId="36" PostId="23591" RevisionGUID="6a6f70b9-bca7-4664-b93a-7c34a778ba28" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8163/how-do-i-properly-set-levels-for-a-recording-and-the-environment-im-mixing-in/8167#8167" />
  <row Id="39611" PostHistoryTypeId="36" PostId="23592" RevisionGUID="f8da772a-a67d-4241-bc32-7c57d54e344c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8163/how-do-i-properly-set-levels-for-a-recording-and-the-environment-im-mixing-in/8168#8168" />
  <row Id="39612" PostHistoryTypeId="36" PostId="23593" RevisionGUID="1166e1ee-bba1-4e2b-af43-ebb7dd925f71" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8163/how-do-i-properly-set-levels-for-a-recording-and-the-environment-im-mixing-in/8279#8279" />
  <row Id="39613" PostHistoryTypeId="2" PostId="23591" RevisionGUID="7a491b39-3bdd-4f49-8fa7-d5a1ddd57ae8" CreationDate="2013-06-20T15:06:19.657" UserId="7174" Text="Honestly, the volume level doesn't matter if you are worried about final output, signal level does.  Use the VU meter in the application you are using for mixing and ensure that the audio never clips and that the majority of the time, the peaks are nearing, but not exceeding 0db.  This will produce an appropriate signal level for consistent playback on a variety of devices.&#xD;&#xA;&#xD;&#xA;As far as quality of monitoring, I would personally put the Windows volume mixer at 100% since it isn't going to cause clipping and then adjust other settings as necessary to have things at the level you desire.  Track volume and FLStudio volume should be set based on VU meter.  Speaker knobs should be adjusted to the level you want to mix at." ContentLicense="CC BY-SA 3.0" />
  <row Id="39614" PostHistoryTypeId="2" PostId="23593" RevisionGUID="01918d11-d4da-4b45-b08c-18b182dc1bd4" CreationDate="2013-07-02T00:26:41.893" UserDisplayName="TotalForge" Text="You're asking about 'gain staging'. Gain staging is is the process of managing the relative levels in a series of gain (volume) stages to prevent introduction of noise and distortion. &#xD;&#xA;&#xD;&#xA;You want signals as loud as possible without clipping when *recording*, you may treat them very differently when *mixing the track*." ContentLicense="CC BY-SA 3.0" />
  <row Id="39615" PostHistoryTypeId="2" PostId="23592" RevisionGUID="c954e83d-d0e8-4ee8-8ba8-ec14bae50ec2" CreationDate="2013-06-20T15:12:40.190" UserId="7093" Text="Each of the volume level adjustments serve a different purpose.&#xD;&#xA;&#xD;&#xA;The level controls within FLStudio will directly affect the music you are producing.  The level controls in Windows and on the monitor speakers will affect how you hear it while creating the music, but will have no effect on the final product.&#xD;&#xA;&#xD;&#xA;Inside FLStudio:&#xD;&#xA;&#xD;&#xA;The level controls in the plugins should be adjusted so the levels coming out of the plugin are relatively the same as those going in.  Some plugins will affect the levels more than others, so these are necessary to keep a consistent level.&#xD;&#xA;&#xD;&#xA;The level control on the track itself is used to adjust its level within the overall mix relative to all of the other tracks.&#xD;&#xA;&#xD;&#xA;There should also be a master level control which will adjust the overall level of the entire mix.  This should be adjusted so that the peaks are as close to OdB as possible without actually reaching it.&#xD;&#xA;&#xD;&#xA;Outside FLStudio:&#xD;&#xA;&#xD;&#xA;The levels for FLSudio in the Windows mixer should be set so the output is similar to other applications.&#xD;&#xA;&#xD;&#xA;The master level in the Windows Mixer and the Speaker volume controls should be adjusted together.  The main consideration here is that most computer sound cards produce a lot of noise.  If you are using an external interface this may not be as much of a problem.  You will need to set the output level from Windows to the point where it produces the best signal to noise ratio (most sound, least noise).  You may need to balance this with the noise levels of the speakers since some speakers can be quite noisy at higher levels.  In general, setting the output from Windows to a higher level and setting the speaker volume to lower levels will produce the least amount of noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="39616" PostHistoryTypeId="2" PostId="23590" RevisionGUID="b604326a-5ac9-4268-8056-45c92a35c1ba" CreationDate="2013-06-20T14:14:34.193" UserDisplayName="JorpenSnorpen" Text="I am using FL Studio 10 on a Windows 7 PC, I have some speakers I'm using as monitors, but here is my problem.&#xD;&#xA;&#xD;&#xA;If you count the volume level knobs on the plugins (2 of them), volume level on the track, volume level in FL Studio, volume level in Windows' &quot;Mixer&quot; where &quot;FLStudio&quot; has it's own volume level, and the Windows Device Volume, AND the volume potentiometer knobs on the monitor speakers, well that's a crap load of possible volume settings.&#xD;&#xA;&#xD;&#xA;What levels should everything be at to get a sound that will &quot;travel well&quot; to media players, car stereos, etc.?&#xD;&#xA;&#xD;&#xA;Thus far I'm using this:&#xD;&#xA;&#xD;&#xA;Volume inside the plugin left alone&#xD;&#xA;Volume of the instrument using the plugin = variable, but usually around 75%&#xD;&#xA;Volume of the track - left at default (80% I believe)&#xD;&#xA;Volume of FLStudio = 85%&#xD;&#xA;Volume on Windows Mixer's copy of FLStudio = 50%&#xD;&#xA;Volume on Windows Master = 50%&#xD;&#xA;Volume on speaker knobs = usually about 50%&#xD;&#xA;&#xD;&#xA;It just seems with that many variables there's a lot of room for collusion.&#xD;&#xA;&#xD;&#xA;Advice?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39617" PostHistoryTypeId="1" PostId="23590" RevisionGUID="b604326a-5ac9-4268-8056-45c92a35c1ba" CreationDate="2013-06-20T14:14:34.193" UserDisplayName="JorpenSnorpen" Text="How do I properly set levels for a recording and the environment I'm mixing in?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39618" PostHistoryTypeId="3" PostId="23590" RevisionGUID="b604326a-5ac9-4268-8056-45c92a35c1ba" CreationDate="2013-06-20T14:14:34.193" UserDisplayName="JorpenSnorpen" Text="&lt;audio&gt;&lt;mixing&gt;&lt;volume&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39619" PostHistoryTypeId="36" PostId="23594" RevisionGUID="a6d83c39-5a31-4b2f-8baa-cc1ed8c726bc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1695/what-is-the-best-way-to-make-music-play-more-slowly-at-any-arbitrary-speed" />
  <row Id="39620" PostHistoryTypeId="36" PostId="23595" RevisionGUID="ccb70ed6-6690-4c18-9147-28a7d4835ad1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1695/what-is-the-best-way-to-make-music-play-more-slowly-at-any-arbitrary-speed/1706#1706" />
  <row Id="39621" PostHistoryTypeId="2" PostId="23595" RevisionGUID="02c8cc28-d3b4-426c-8335-294f28efea67" CreationDate="2011-07-06T00:33:02.320" UserDisplayName="TheLQ" Text="You can use different media players like Windows Media Player, [Media Player HomeCinema][1], or [VLC][2] that have speed controls. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mpc-hc.sourceforge.net/&#xD;&#xA;  [2]: http://www.videolan.org/vlc/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39622" PostHistoryTypeId="2" PostId="23596" RevisionGUID="529545fe-6ae3-4a9a-9285-007cf4beed53" CreationDate="2011-07-08T06:56:45.530" UserDisplayName="user1143" Text="Speed (Pitch) and Tempo are two different things. If you are looking for simple pitch change, then the apps that TheLQ mentioned would suffice.&#xD;&#xA;&#xD;&#xA;However, if you are looking to timestretch the music, that is change it's tempo without affecting its pitch, then you need something more elaborate.&#xD;&#xA;&#xD;&#xA;Ableton Live 8 is my weapon of choice here, but most of the DAWs will do timestretch.  You can also get standalone timestretch apps, and there are also VST and AU filters that will do the same.  It's a fairly extensive list, just Google &quot;audio timestretch&quot; for some leads." ContentLicense="CC BY-SA 3.0" />
  <row Id="39623" PostHistoryTypeId="2" PostId="23594" RevisionGUID="efbae31f-9129-427e-9bc1-6c6f451f4bb4" CreationDate="2011-07-05T18:58:17.630" UserDisplayName="InquilineKea" Text="And what is the best program to use for that?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39624" PostHistoryTypeId="1" PostId="23594" RevisionGUID="efbae31f-9129-427e-9bc1-6c6f451f4bb4" CreationDate="2011-07-05T18:58:17.630" UserDisplayName="InquilineKea" Text="What is the best way to make music play more slowly? (at any arbitrary speed)" ContentLicense="CC BY-SA 3.0" />
  <row Id="39625" PostHistoryTypeId="3" PostId="23594" RevisionGUID="efbae31f-9129-427e-9bc1-6c6f451f4bb4" CreationDate="2011-07-05T18:58:17.630" UserDisplayName="InquilineKea" Text="&lt;software&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39626" PostHistoryTypeId="36" PostId="23596" RevisionGUID="f9acd6ac-e568-412f-92e2-02aa771603da" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1695/what-is-the-best-way-to-make-music-play-more-slowly-at-any-arbitrary-speed/1808#1808" />
  <row Id="39627" PostHistoryTypeId="36" PostId="23597" RevisionGUID="a55931a6-c9c3-40e3-bdad-e5d01c5f107f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1269/audacity-export-selection-across-all-tracks" />
  <row Id="39628" PostHistoryTypeId="2" PostId="23598" RevisionGUID="b7b5a853-55bf-4752-9e0b-6eafafa57c50" CreationDate="2011-04-25T20:14:18.653" UserId="7093" Text="Make your selection on one track, then either select Edit-&gt;Select-&gt;In All Tracks or press Ctrl+Shift+K.  This will make the selection across all tracks.  &#xD;&#xA;&#xD;&#xA;You can then export your selection.  &#xD;&#xA;&#xD;&#xA;Any muted tracks will not be in the final mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="39629" PostHistoryTypeId="2" PostId="23597" RevisionGUID="0257af28-9e5a-41bb-9100-46731b7af10f" CreationDate="2011-04-25T20:00:55.517" UserDisplayName="Josh M." Text="Using Audacity, how can I export my selection but across all tracks? Say I only want from 0:30 to 0:50 of my timeline, but all non-muted tracks. Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="39630" PostHistoryTypeId="1" PostId="23597" RevisionGUID="0257af28-9e5a-41bb-9100-46731b7af10f" CreationDate="2011-04-25T20:00:55.517" UserDisplayName="Josh M." Text="Audacity - export selection across all tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="39631" PostHistoryTypeId="3" PostId="23597" RevisionGUID="0257af28-9e5a-41bb-9100-46731b7af10f" CreationDate="2011-04-25T20:00:55.517" UserDisplayName="Josh M." Text="&lt;editing&gt;&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39632" PostHistoryTypeId="36" PostId="23598" RevisionGUID="f0dee129-db13-4b03-b5aa-aabc140ac6ec" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1269/audacity-export-selection-across-all-tracks/1271#1271" />
  <row Id="39633" PostHistoryTypeId="36" PostId="23599" RevisionGUID="02846ef9-5e24-423c-96a1-b1f8a0c1520e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4339/how-to-amplify-clean-up-a-weak-reel-to-reel-recording-for-converting-to-digita" />
  <row Id="39634" PostHistoryTypeId="36" PostId="23600" RevisionGUID="f16c7421-892e-4fff-a188-a50aa230f82b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4339/how-to-amplify-clean-up-a-weak-reel-to-reel-recording-for-converting-to-digita/4386#4386" />
  <row Id="39635" PostHistoryTypeId="2" PostId="23600" RevisionGUID="b410a950-088e-4d08-92ac-ccf272451388" CreationDate="2012-07-08T19:31:42.490" UserDisplayName="RAMilewski" Text="It's also possible that the number of tracks on the recording doesn't match the number of tracks on your Akai-GX747.   Remember that both 2-track 2-channel stereo and 4-track 20-channel stereo recorders were common in the 1970's. " ContentLicense="CC BY-SA 3.0" />
  <row Id="39636" PostHistoryTypeId="2" PostId="23599" RevisionGUID="84548c59-eaa1-4df7-82b3-c66d4665993c" CreationDate="2012-07-02T18:18:11.357" UserDisplayName="Ron Free" Text="I am in the process of converting old reel-to-reel and cassette tape recordings to digital.  One reel-to-recording from the early 70’s of my first band is real weak.  When I amplify the sound the tape rumble is also amplified.  I’ve tried EQing out the lows &amp; highs and compressing.  But, the rumble is still overwhelming and must be sharing the mid range of the vocals.  A faint guitar is present and maybe a bass but I can’t hear it.  I do not remember what recorder was used for the original mono recording but I am playing it back on Akai GX-747 without Dolby NR and sending it to Sonar 7 thru a Sonar V-Studio 100.  I have not tried cleaning it up in Sonar 7 yet because I am still trying to improve the input signal first.  What would you do to rescue this important memory?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39637" PostHistoryTypeId="1" PostId="23599" RevisionGUID="84548c59-eaa1-4df7-82b3-c66d4665993c" CreationDate="2012-07-02T18:18:11.357" UserDisplayName="Ron Free" Text="How to amplify &amp; clean up a weak reel-to-reel recording for converting to digital?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39638" PostHistoryTypeId="3" PostId="23599" RevisionGUID="84548c59-eaa1-4df7-82b3-c66d4665993c" CreationDate="2012-07-02T18:18:11.357" UserDisplayName="Ron Free" Text="&lt;audio-recording&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39639" PostHistoryTypeId="36" PostId="23601" RevisionGUID="514e8dcd-e5ad-4995-b241-e0d5e32fe8bf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3814/how-do-you-make-a-phonograph-for-amateurs" />
  <row Id="39640" PostHistoryTypeId="36" PostId="23602" RevisionGUID="f8902944-3a8c-4dbc-9cdb-9cc9aee05310" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3814/how-do-you-make-a-phonograph-for-amateurs/3815#3815" />
  <row Id="39641" PostHistoryTypeId="2" PostId="23602" RevisionGUID="81927ab2-638e-4e70-bf43-ae77bd0591f2" CreationDate="2012-04-24T10:28:34.963" UserId="12830" UserDisplayName="dwwilson66" Text="There's a plethora of information if you google &quot;DIY Phonograph&quot;. My two favorites are below, and I think the Gakken Cup is close to what you're looking for. This site has lots of detailed photos of the parts to help give you some inspiration about making one yourself; I suspect you're not allowed to buy a kit...  :)&#xD;&#xA;&#xD;&#xA;http://www.make-digital.com/make/vol14/?pg=145#pg145&#xD;&#xA;&#xD;&#xA;http://blog.makezine.com/2008/11/13/building-the-gakken-cup-p/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39642" PostHistoryTypeId="2" PostId="23601" RevisionGUID="37d88ee4-1184-4308-94d0-db1c0ae7eb53" CreationDate="2012-04-24T08:59:04.290" UserDisplayName="Lauren Becu" Text="We are six students who search information about making our own phonograph. We have to make it completely by ourself and we have to use everyday components to make it. We want to base our phonograph on the model of Thomas Edison." ContentLicense="CC BY-SA 3.0" />
  <row Id="39643" PostHistoryTypeId="1" PostId="23601" RevisionGUID="37d88ee4-1184-4308-94d0-db1c0ae7eb53" CreationDate="2012-04-24T08:59:04.290" UserDisplayName="Lauren Becu" Text="How do you make a phonograph for amateurs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39644" PostHistoryTypeId="3" PostId="23601" RevisionGUID="37d88ee4-1184-4308-94d0-db1c0ae7eb53" CreationDate="2012-04-24T08:59:04.290" UserDisplayName="Lauren Becu" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39645" PostHistoryTypeId="36" PostId="23603" RevisionGUID="690312e0-634b-4265-ba9e-05e83da8e6f4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2562/why-does-higher-quality-audio-have-lower-volume" />
  <row Id="39646" PostHistoryTypeId="2" PostId="23604" RevisionGUID="21bd5ff0-7eed-4019-8b63-0d6f61a4eabd" CreationDate="2011-10-27T19:56:04.530" UserId="7189" Text="The quick answer is the [Loudness War][1].&#xD;&#xA;&#xD;&#xA;The longer answer is that you can increase the perceived loudness of a track by applying lots of audio compression (not to be confused with data compression on the audio file). Compression evens out the loud and soft sounds, and then you typically normalize the track so that the largest peaks are just short of clipping. The end result is very loud, but you have thrown away all the dynamics in the original material.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Loudness_war" ContentLicense="CC BY-SA 3.0" />
  <row Id="39647" PostHistoryTypeId="2" PostId="23603" RevisionGUID="d32d0be9-3320-4cc6-897b-33cd3fcbfc3c" CreationDate="2011-10-27T19:47:12.950" UserDisplayName="TheLQ" Text="Anecdotally I've noticed that higher quality videos, whether be a 1080p HD video on the TV or a BluRay rip on a computer, the volume seems to be lower than a standard quality video. I've noticed this since at 100% volume of several really high quality video's its still difficult to hear while 100% volume of lower quality videos is deafeningly loud.&#xD;&#xA;&#xD;&#xA;Why is this? Is there a technical reason? Is it assumed that high quality videos will be played on high quality speakers which go louder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39648" PostHistoryTypeId="1" PostId="23603" RevisionGUID="d32d0be9-3320-4cc6-897b-33cd3fcbfc3c" CreationDate="2011-10-27T19:47:12.950" UserDisplayName="TheLQ" Text="Why does higher quality audio have lower volume?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39649" PostHistoryTypeId="3" PostId="23603" RevisionGUID="d32d0be9-3320-4cc6-897b-33cd3fcbfc3c" CreationDate="2011-10-27T19:47:12.950" UserDisplayName="TheLQ" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39650" PostHistoryTypeId="36" PostId="23604" RevisionGUID="9d5d9f5c-32c4-4c1d-b29c-9f10b4e9016a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2562/why-does-higher-quality-audio-have-lower-volume/2565#2565" />
  <row Id="39651" PostHistoryTypeId="36" PostId="23605" RevisionGUID="1f4826ce-38fe-46c1-82fc-46670669f02c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2562/why-does-higher-quality-audio-have-lower-volume/2566#2566" />
  <row Id="39652" PostHistoryTypeId="2" PostId="23605" RevisionGUID="77de1c8d-6eb2-451d-bc47-9f0693fc4699" CreationDate="2011-10-27T21:18:03.803" UserDisplayName="horatio" Text="You don't mention the specific media or format by which the video is delivered. HD video may contain surround sound encoded audio, and you might not be hearing all the channels, dpending upon your speaker setup." ContentLicense="CC BY-SA 3.0" />
  <row Id="39653" PostHistoryTypeId="36" PostId="23606" RevisionGUID="26231db5-f0de-4945-91aa-9b99ff7a01b8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/59/soft-synth-vs-hard-synth" />
  <row Id="39654" PostHistoryTypeId="2" PostId="23607" RevisionGUID="48f9336c-7d63-47f4-afaf-392489f87957" CreationDate="2010-12-07T21:49:22.160" UserDisplayName="Ian C." Text="The short answer: yes.&#xD;&#xA;&#xD;&#xA;Softsynths, general CPU power and D/A hardware has come a long way in 15 years. It is completely possible to run a softsynth setup in a live performance situation. The latency issues are all but gone when using modern hardware. You don't need to blow the bank on a computer but something modern running a stable OS is required if you want to work live with the setup. A 2-3 year old MacBook with a good amount of RAM would suffice. You see a lot of MacBook Pros on stages these days -- I've followed the Chemical Brothers for longer than I care to admit now and I've seen them go from racks of analog gear on stage to standing behind MBPros with some controllers. Startling shift really.&#xD;&#xA;&#xD;&#xA;For an example of how good modern softsynth technology is check out Jordan Rudess' Omnisphere demo from Winter NAMM '09: http://www.youtube.com/watch?v=zF8SYLjl07g" ContentLicense="CC BY-SA 2.5" />
  <row Id="39655" PostHistoryTypeId="2" PostId="23606" RevisionGUID="00b1907c-aa0c-4202-9517-f03532203124" CreationDate="2010-12-07T21:34:02.383" UserDisplayName="Kim Burgaard" Text="I did a lot of project work about 15 years ago.  Due to a limited budget, I arranged most of the drums, bass and keyboard tracks on a MIDI rack synth.  I became increasingly annoyed with the process overhead--arrange in MIDI, then record each individual instrument, and, for the drums, each individual drum, then mix, to the point where I really felt it was a negative force in the creative process.&#xD;&#xA;&#xD;&#xA;Back then soft synthesizers were of limited use to me because high latencies made it difficult to jam to and record MIDI tracks along with audio. They also took up too much processing power.&#xD;&#xA;&#xD;&#xA;On to the question. My current synthesizer is as generic as they come, so I'm not married to its sounds.  Are soft synths feasible today? Are they practical substitutes on a decent Mac/PC or would you still need to blow the bank on a maxed out Mac Pro/PC?&#xD;&#xA;&#xD;&#xA;If I had a real hammond organ or a real electric piano I would definitely still use the real thing.  But for all the other stuff, it would be nice to replace the hardware synth with some decent soft synths." ContentLicense="CC BY-SA 2.5" />
  <row Id="39656" PostHistoryTypeId="1" PostId="23606" RevisionGUID="00b1907c-aa0c-4202-9517-f03532203124" CreationDate="2010-12-07T21:34:02.383" UserDisplayName="Kim Burgaard" Text="Soft synth vs. hard synth" ContentLicense="CC BY-SA 2.5" />
  <row Id="39657" PostHistoryTypeId="3" PostId="23606" RevisionGUID="00b1907c-aa0c-4202-9517-f03532203124" CreationDate="2010-12-07T21:34:02.383" UserDisplayName="Kim Burgaard" Text="&lt;audio-recording&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39658" PostHistoryTypeId="36" PostId="23607" RevisionGUID="4888e88a-876b-455b-b8bc-d788a790ca4a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/59/soft-synth-vs-hard-synth/62#62" />
  <row Id="39659" PostHistoryTypeId="36" PostId="23608" RevisionGUID="718ab2d7-4bf6-47b7-82e5-61cc01fcc220" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/59/soft-synth-vs-hard-synth/68#68" />
  <row Id="39660" PostHistoryTypeId="2" PostId="23608" RevisionGUID="6869008e-1df5-4187-a046-8eaf6f9f0bc5" CreationDate="2010-12-07T22:11:29.400" UserDisplayName="herzmeister der welten" Text="I'd say yes too, with a modern system. RAM and processing power are especially important. To add to the answer of @Ian C., software synthesizers often allow you to compromise on quality a bit during arranging. You can use full-blown quality then for the mixdown. [Solid State Drives][1] becoming cheaper and cheaper might help a lot too.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Solid_state_drive" ContentLicense="CC BY-SA 2.5" />
  <row Id="39661" PostHistoryTypeId="36" PostId="23609" RevisionGUID="2e3915cc-a4e7-459e-a672-d9a26e5123b5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7374/how-do-i-capture-or-create-first-person-audio" />
  <row Id="39662" PostHistoryTypeId="36" PostId="23610" RevisionGUID="7a13426f-6bce-4663-9114-9bbb2ea00148" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7374/how-do-i-capture-or-create-first-person-audio/7377#7377" />
  <row Id="39663" PostHistoryTypeId="2" PostId="23610" RevisionGUID="dd70c3cd-cb01-498f-815b-f4ca97cb59a6" CreationDate="2013-03-12T03:39:31.960" UserDisplayName="Bjorn Roche" Text="I haven't seen that movie, but one way to achieve this effect is with a [binaural microphone][1]. you would have to record and add breathing and swallowing noises later, as I am sure they did in the movie. Be warned, while binaural recordings work amazing well on headphones, they do not fair so well on speakers. This is why they tend to be used more for research than for actual music recording.&#xD;&#xA;&#xD;&#xA;I've also heard of a trick where people attach small omni microphones to their head near each ear (like to their glasses or something). Maybe you could add contact mikes (usually piezo microphones) to capture the sounds of swallowing and breathing on a separate track.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Binaural_recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="39664" PostHistoryTypeId="2" PostId="23609" RevisionGUID="a9bfa40d-4b79-498e-a238-43f2f7743069" CreationDate="2013-03-12T02:00:38.887" UserId="15189" UserDisplayName="Jason Conrad" Text="I was wondering how I might capture or create audio which sounds like it's being heard first-person.  For example, there's a scene in [Being John Malkovich][1] where the viewer sees through Malcovich's perspective, he takes a bite of toast and the chewing noises sound as if they're being heard by Malcovich himself.  Is a shotgun mic and a quiet sound booth all you need to accomplish this effect?  What about swallowing or breathing noises?  Would some sort of contact microphone (not sure what the term for such a device would actually be) be more effective?  Would selling the effect require additional signal processing?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0120601/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39665" PostHistoryTypeId="1" PostId="23609" RevisionGUID="a9bfa40d-4b79-498e-a238-43f2f7743069" CreationDate="2013-03-12T02:00:38.887" UserId="15189" UserDisplayName="Jason Conrad" Text="How do I capture or create first-person audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39666" PostHistoryTypeId="3" PostId="23609" RevisionGUID="a9bfa40d-4b79-498e-a238-43f2f7743069" CreationDate="2013-03-12T02:00:38.887" UserId="15189" UserDisplayName="Jason Conrad" Text="&lt;audio-recording&gt;&lt;signal-processing&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39667" PostHistoryTypeId="36" PostId="23611" RevisionGUID="41bbf158-cc2c-4c4d-ab68-1629f869d686" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/17/record-a-live-show-on-6-tracks" />
  <row Id="39668" PostHistoryTypeId="2" PostId="23612" RevisionGUID="e8782a1c-f602-4c8b-b515-b268beea5b2d" CreationDate="2010-12-07T21:24:37.530" UserDisplayName="davetron5000" Text="Can you post-process anything after?  If so, avoid the FX and:&#xD;&#xA;&#xD;&#xA;1. Snare&#xD;&#xA;1. Kick&#xD;&#xA;1. Vox&#xD;&#xA;1. Backing Vox&#xD;&#xA;1. Everything Else L&#xD;&#xA;1. Everything Else R&#xD;&#xA;&#xD;&#xA;The kick/snare and vox are what people connect with, so keeping them on their own tracks gives you flexibility to bring them up later.  Also separating the lead from backing vox allows you to kill the backups if there's tuning problems.&#xD;&#xA;&#xD;&#xA;I can't vouch for this being &quot;standard&quot;, just what would make sense to me." ContentLicense="CC BY-SA 2.5" />
  <row Id="39669" PostHistoryTypeId="2" PostId="23611" RevisionGUID="e4f90592-73da-4864-829a-0cbe9d47e899" CreationDate="2010-12-07T20:39:25.280" UserDisplayName="jan" Text="I'm planning on recording a live show this weekend.&#xD;&#xA;&#xD;&#xA;I have free subgroups I can route freely to.&#xD;&#xA;&#xD;&#xA;Band is: Drums, Bass, Git, 2 Acoustic Gits, Keys  &#xD;&#xA;4 Backing Vocs, 2 Lead Vocs  &#xD;&#xA;I have 3 stereo FX returns: 1 drum Verb, 1 Verb for Vocals &amp; Acc Git&#xD;&#xA;(TC Electronic M2000, 2 engines summed) &amp; the occasional Delay.&#xD;&#xA;&#xD;&#xA;How would you suggest I submix all channels to just **6** tracks?  &#xD;&#xA;Is there an *established* way of doing this?&#xD;&#xA;&#xD;&#xA;My thoughts:&#xD;&#xA;&#xD;&#xA;* track 1 2: all instruments  &#xD;&#xA;* track 3 4: all Vocs  &#xD;&#xA;* track 5 6: all FX  &#xD;&#xA;&#xD;&#xA;An alternative I had in mind was:&#xD;&#xA;&#xD;&#xA;* track 1 2: stereo instruments (Drums, Keys)  &#xD;&#xA;* track 3  : mono instruments (they're roughly not panned) &#xD;&#xA;* track 4  : backing Vocs  &#xD;&#xA;* track 5  : lead Vocs&#xD;&#xA;* track 6  : FX (stereo summed) &#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39670" PostHistoryTypeId="1" PostId="23611" RevisionGUID="e4f90592-73da-4864-829a-0cbe9d47e899" CreationDate="2010-12-07T20:39:25.280" UserDisplayName="jan" Text="Record a live show on 6 tracks" ContentLicense="CC BY-SA 2.5" />
  <row Id="39671" PostHistoryTypeId="3" PostId="23611" RevisionGUID="e4f90592-73da-4864-829a-0cbe9d47e899" CreationDate="2010-12-07T20:39:25.280" UserDisplayName="jan" Text="&lt;live&gt;&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39672" PostHistoryTypeId="36" PostId="23612" RevisionGUID="fcf2146a-3f4f-4307-adf1-39512061a898" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/17/record-a-live-show-on-6-tracks/52#52" />
  <row Id="39673" PostHistoryTypeId="36" PostId="23613" RevisionGUID="a7c81474-db3a-4c10-9736-a7f6f9843d38" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/17/record-a-live-show-on-6-tracks/531#531" />
  <row Id="39674" PostHistoryTypeId="2" PostId="23613" RevisionGUID="a2a17345-d6d4-43fd-8134-309d4c63aee8" CreationDate="2011-01-06T21:14:07.887" UserDisplayName="Herschel" Text="I agree with Dave for the most part. When I do live recordings I go in the following order of importance:&#xD;&#xA;&#xD;&#xA;1) 2 channels: Left and Right Drum Overhead; If I can't get the whole kit independently a stereo mix is best.&#xD;&#xA;2) Guitars as one channel&#xD;&#xA;3) Vocals as one channel&#xD;&#xA;4) Bass as one channel&#xD;&#xA;&#xD;&#xA;I'm working on a 16 channel live recording setup. The more live channels, the more expensive the solution." ContentLicense="CC BY-SA 2.5" />
  <row Id="39675" PostHistoryTypeId="36" PostId="23614" RevisionGUID="9d355364-62a3-45fd-a931-032fa55ab099" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7916/chiptunify-a-wave-file-possible" />
  <row Id="39676" PostHistoryTypeId="2" PostId="23615" RevisionGUID="d4ad106a-490b-4df4-bf9c-4a740b3d5f19" CreationDate="2013-05-18T05:32:23.533" UserId="7189" Text="Your best bet will be to run your source material through a bitcrusher and a sample-rate reducer. However, that will just make it sound like the kind of low-quality samples that could be played back on old machines. Actual chiptune music tends to involve very careful use of low-resolution waveforms and FM synthesis." ContentLicense="CC BY-SA 3.0" />
  <row Id="39677" PostHistoryTypeId="2" PostId="23614" RevisionGUID="cebe6e59-c47d-4aaa-9004-6b5ea624729c" CreationDate="2013-05-18T01:46:56.267" UserDisplayName="Karl" Text="I got several music in flac format (which I can convert around) but the thing is this: is there some sort of filter that can &quot;alter&quot; the sounds in some ways to make it sound like chip tunes?&#xD;&#xA;&#xD;&#xA;For example, I have a music with only 2-3 instruments; I got a lead, a bass, and a percussion. Is it possible to change the sound of these instruments that are already in wav files to sound like chiptunes? In other words, the filter analyzes the pitch, etc. of the instrument and change to chip tune variation accordingly." ContentLicense="CC BY-SA 3.0" />
  <row Id="39678" PostHistoryTypeId="1" PostId="23614" RevisionGUID="cebe6e59-c47d-4aaa-9004-6b5ea624729c" CreationDate="2013-05-18T01:46:56.267" UserDisplayName="Karl" Text="&quot;Chiptunify&quot; a wave file - possible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39679" PostHistoryTypeId="3" PostId="23614" RevisionGUID="cebe6e59-c47d-4aaa-9004-6b5ea624729c" CreationDate="2013-05-18T01:46:56.267" UserDisplayName="Karl" Text="&lt;audio&gt;&lt;filter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39680" PostHistoryTypeId="36" PostId="23615" RevisionGUID="ef92ca68-bdd3-4299-86c1-2d1772dc6c4f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7916/chiptunify-a-wave-file-possible/7921#7921" />
  <row Id="39681" PostHistoryTypeId="36" PostId="23616" RevisionGUID="4a313130-026b-4e61-bd65-0076efb2e2f0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7916/chiptunify-a-wave-file-possible/7922#7922" />
  <row Id="39682" PostHistoryTypeId="2" PostId="23616" RevisionGUID="cec99982-84b2-497d-b4ed-669ca1498c05" CreationDate="2013-05-18T12:07:56.493" UserId="7016" Text="If you have music in midi format it is straightforward - just replace samples with your chip tune samples. Unfortunately there is no simple way to do this at raw wav level." ContentLicense="CC BY-SA 3.0" />
  <row Id="39683" PostHistoryTypeId="36" PostId="23617" RevisionGUID="85924bd1-ac80-4f10-bbf9-d3836c9ea45f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/947/recording-a-rock-band-perfomance" />
  <row Id="39684" PostHistoryTypeId="2" PostId="23618" RevisionGUID="91cf72f0-d1f9-4543-a80e-3805b067e83f" CreationDate="2011-03-02T14:50:34.807" UserId="7202" UserDisplayName="Lennart Regebro" Text="Earphones for everyone is generally a good idea anyway. They generally need to hear themselves much more than others, while the volume of the instrument as you need it for recording might not be what they need to hear themselves.&#xD;&#xA;&#xD;&#xA;Rock drums are *really* loud, so usually the drummer needs sound separation. You might get away with having just movable absorbing walls, although it's common to have the drums in a separate room, and there is another reason for that:&#xD;&#xA;&#xD;&#xA;To make sure you don't get too much instrument bleed you typically close-mic everything. This is easy with a guitar amp and a bass amp. It's harder with drums where you often have overheads to get the crashes and such. If you do that, you'll get a lot of bleed into the overheads.&#xD;&#xA;&#xD;&#xA;The same often goes for vocals, they are not strong enough to overcome the bleed.&#xD;&#xA;&#xD;&#xA;This is not a huge problem if you intend to record them live and do no overdubs. Then the bleed is not a serious problem. Otherwise it might be, where you can't overdub the guitar if it bleeds into the overheads of the drums or vocals, for example.&#xD;&#xA;&#xD;&#xA;So it's a matter of what you want, if you have separate rooms, how good the band is, and how you record things. I've personally not recorded much in a high-end studio with multiple rooms, and therefore tended to record each instrument separately. In one case I've recorded the whole band in one go except vocals.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39685" PostHistoryTypeId="2" PostId="23617" RevisionGUID="2205cc6f-045d-47be-bde6-182bf719796f" CreationDate="2011-03-02T13:16:56.543" UserId="10057" UserDisplayName="Vass" Text="Really basic question. We have the classic 4 person rock band. I want to record them. The procedure is to set up the mics on each instrument including the vocals and to do so in a way so that sounds from the other instruments in the room have as little effect as possible? Or have them in sound separation and have earphones they can use to listen to the other players and themselves?&#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39686" PostHistoryTypeId="1" PostId="23617" RevisionGUID="2205cc6f-045d-47be-bde6-182bf719796f" CreationDate="2011-03-02T13:16:56.543" UserId="10057" UserDisplayName="Vass" Text="recording a rock band perfomance" ContentLicense="CC BY-SA 2.5" />
  <row Id="39687" PostHistoryTypeId="3" PostId="23617" RevisionGUID="2205cc6f-045d-47be-bde6-182bf719796f" CreationDate="2011-03-02T13:16:56.543" UserId="10057" UserDisplayName="Vass" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39688" PostHistoryTypeId="36" PostId="23618" RevisionGUID="7e60289b-8f59-46c5-990b-81d2024f52c7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/947/recording-a-rock-band-perfomance/948#948" />
  <row Id="39689" PostHistoryTypeId="36" PostId="23619" RevisionGUID="ba484594-4355-4820-81e5-3a63aefa6bb7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/947/recording-a-rock-band-perfomance/972#972" />
  <row Id="39690" PostHistoryTypeId="2" PostId="23619" RevisionGUID="73393712-9efe-4230-9852-7cead1152415" CreationDate="2011-03-07T21:01:53.130" UserId="319" Text="I'll put a guitar amp in a neighboring room sometimes - some guitar players like to really crank the amp up.  You can also get by with stuffing the amp in a closet.  &#xD;&#xA;&#xD;&#xA;You can position your instruments and microphones so that the microphone's null spot is pointing at other loud instruments.  Look up polar the polar pattern of your microphones to see what the specifics in your case are.&#xD;&#xA;&#xD;&#xA;If you're not planning on compressing or gating single instruments too much, the bleed may not be much of a problem.  &#xD;&#xA;&#xD;&#xA;If you're going to separate instruments out totally, you'll need better headphone level control - meaning you'll need a complex sofware mixer and adequate outputs to go to your headphone amplifier.  You could also use your outputs to route to a mixer and do monitor mixing there.&#xD;&#xA;&#xD;&#xA;Getting the headphone mix is an art - especially when you can't hear what they are hearing.  Things can get a little confusing.  You can also go with just one headphone mix - everyone will some vocals and the singer will want alot of vocals.  Just turn everyone elses headphones down and let them get volume off their amps.  &#xD;&#xA;&#xD;&#xA;Give yourself ample time to set up and make sure you're getting a good sound - this is often rushed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39691" PostHistoryTypeId="36" PostId="23620" RevisionGUID="af507979-fe43-4203-9bcf-f3b00d274197" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9035/how-to-improve-recording-signal-quality-reduce-noise" />
  <row Id="39692" PostHistoryTypeId="36" PostId="23621" RevisionGUID="4c9eaae6-0bcd-4a17-853d-15859c362446" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9035/how-to-improve-recording-signal-quality-reduce-noise/9037#9037" />
  <row Id="39693" PostHistoryTypeId="2" PostId="23621" RevisionGUID="9f9d6e39-25dd-4b95-8647-76bff4658971" CreationDate="2013-09-22T23:23:14.223" UserDisplayName="Benedikt Kittinger" Text="The point is that the headphone output on your keyboard is stereo, your soundcard's input is mono. So the noise is very likely caused by the fact that the input of a mainboard is designed for microphones and carries supply voltage on the pin that would be used for the right audio channel on a headphone jack.&#xD;&#xA;&#xD;&#xA;There are 3 possible solutions:&#xD;&#xA;&#xD;&#xA;1) Use the line output of your keyboard instead (if it has one)&#xD;&#xA;&#xD;&#xA;2) Use an external audio interface that can deal with stereo signals&#xD;&#xA;&#xD;&#xA;3) Use a 3.5mm stereo -&gt; 2x 3.5mm mono cable and leave one of the mono ends disconnected&#xD;&#xA;&#xD;&#xA;**EDIT:**&#xD;&#xA;&#xD;&#xA;4) (probably the best) Use the blue Line-In jack as it is designed for handling stereo signals. If your keyboard has a Line-Out jack, use it instead of the headphone jack to feed the Line-In as the levels are different.&#xD;&#xA;&#xD;&#xA;After I heard your samples again (not in the train this time), the problem became quite obvious: use the same power outlet for your keyboard and your computer, that should deal with the 50/60 Hz noise floor. The high frequency hiss may be a result of your sound card acting strange as result of that." ContentLicense="CC BY-SA 3.0" />
  <row Id="39694" PostHistoryTypeId="2" PostId="23620" RevisionGUID="8391c304-7393-45fb-a2cc-f83d6b16a663" CreationDate="2013-09-22T19:59:53.980" UserId="7283" UserDisplayName="Claudiu" Text="I have an electric keyboard which has pretty good-sounding output. It has two headphone jacks which provide the same output which sounds good with my headphones. I wanted to record the output so I got this [male-to-male audio cable](http://www.amazon.com/gp/product/B0000932A9/ref=oh_details_o00_s00_i00?ie=UTF8&amp;psc=1) and connected one of the jacks to the red jack in my computer's sound card. I managed to set it up and get a recording, but the result is quite noisy: see [here](https://soundcloud.com/csaftoiu/comptine-take2-noise-reduced/s-0hkGx) for an example. Essentially there's a lot of background noise, and that's after I applied the noise reduction in [WavePad](http://www.nch.com.au/wavepad/index.html). (Here is the [pre-noise-reduction one](https://soundcloud.com/csaftoiu/comptine-take2-normalized-no/s-0DrSw).)&#xD;&#xA;&#xD;&#xA;How do I get the recording to have less noise in it? There is no noise if I plug  my headphones directly into the jack and I'd like the recorded output to be the same.&#xD;&#xA;&#xD;&#xA;Additional details as requested: I'm using the [Yamaha P65](http://usa.yamaha.com/products/musical-instruments/keyboards/digitalpianos/p_series/p-65/?mode=model#tab=product_lineup&amp;list=within&amp;mode=paging). I'm using one of the 2 mini headphone jacks (3.5mm) as output. The soundcard model is the built-in soundcard for my motherboard whose model number escapes me, yet I will find a way to look it up if needed. The input socket is also 3.5mm audio input." ContentLicense="CC BY-SA 3.0" />
  <row Id="39695" PostHistoryTypeId="1" PostId="23620" RevisionGUID="8391c304-7393-45fb-a2cc-f83d6b16a663" CreationDate="2013-09-22T19:59:53.980" UserId="7283" UserDisplayName="Claudiu" Text="How to improve recording signal quality/reduce noise?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39696" PostHistoryTypeId="3" PostId="23620" RevisionGUID="8391c304-7393-45fb-a2cc-f83d6b16a663" CreationDate="2013-09-22T19:59:53.980" UserId="7283" UserDisplayName="Claudiu" Text="&lt;audio-recording&gt;&lt;noise&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39697" PostHistoryTypeId="36" PostId="23622" RevisionGUID="71967c2a-2056-4944-959d-83bcef248ab8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5391/audio-normalization-tool-based-on-a-dynamic-calculation-of-local-maximum-amplitu" />
  <row Id="39698" PostHistoryTypeId="2" PostId="23623" RevisionGUID="904334c0-9064-426b-bfde-8d166a640028" CreationDate="2012-11-23T04:13:01.553" UserId="7393" UserDisplayName="altarvic" Text="Have you tried [Levelator][1] ? (though i have not used it)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.conversationsnetwork.org/levelator" ContentLicense="CC BY-SA 3.0" />
  <row Id="39699" PostHistoryTypeId="2" PostId="23622" RevisionGUID="d5856ff0-5239-44d7-b433-cfcc3b0082b8" CreationDate="2012-11-23T02:30:49.487" UserId="7255" UserDisplayName="rraallvv" Text="Presumably most audio tools when regarding volume normalization, find the global maximum volume and normalizes the entire audio file based on that value, to avoid clipping.&#xD;&#xA;&#xD;&#xA;It sounds very logical, but is not practical when volume varies in such a way that periods where there is very loud sounds are intercalated with periods of very quiet sounds&#xD;&#xA;&#xD;&#xA;For instance in a movie with ocationals explosions, with very quiet scenes in between, where people are whispering most of the time.&#xD;&#xA;&#xD;&#xA;So, it would be good to find an out-of-the-box tool that normalizes an audio file dynamicaly calculating the local maximum volume amplitude" ContentLicense="CC BY-SA 3.0" />
  <row Id="39700" PostHistoryTypeId="1" PostId="23622" RevisionGUID="d5856ff0-5239-44d7-b433-cfcc3b0082b8" CreationDate="2012-11-23T02:30:49.487" UserId="7255" UserDisplayName="rraallvv" Text="Audio normalization tool based on a dynamic calculation of local maximum amplitude" ContentLicense="CC BY-SA 3.0" />
  <row Id="39701" PostHistoryTypeId="3" PostId="23622" RevisionGUID="d5856ff0-5239-44d7-b433-cfcc3b0082b8" CreationDate="2012-11-23T02:30:49.487" UserId="7255" UserDisplayName="rraallvv" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39702" PostHistoryTypeId="36" PostId="23623" RevisionGUID="e086ddeb-b5dc-47b0-b7bf-9da3f720b80a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5391/audio-normalization-tool-based-on-a-dynamic-calculation-of-local-maximum-amplitu/5393#5393" />
  <row Id="39703" PostHistoryTypeId="36" PostId="23624" RevisionGUID="7d2d9c2c-6381-4283-a71b-4787e8734a36" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5391/audio-normalization-tool-based-on-a-dynamic-calculation-of-local-maximum-amplitu/5395#5395" />
  <row Id="39704" PostHistoryTypeId="36" PostId="23625" RevisionGUID="8ab3dff3-e32d-4b3e-93a2-a62e773a3bac" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5391/audio-normalization-tool-based-on-a-dynamic-calculation-of-local-maximum-amplitu/5401#5401" />
  <row Id="39705" PostHistoryTypeId="2" PostId="23624" RevisionGUID="b3d206e8-7a44-4431-8941-3eedd5383e53" CreationDate="2012-11-23T12:03:17.453" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="In the old days a quick and dirty way to get a little more out of audio would use &quot;maximizing&quot; where you found the max top and then scaled all data to the max value within the available bit range (in those days 8-, 12- and 16-bit - today most are 24-bit or floating point).&#xD;&#xA;&#xD;&#xA;However, this approach is linear and doesn't work so well as we hear sound logarithmic. That is, even if we double the amplitude's value we won't hear it as &quot;double volume&quot;. For that decibel is used and RMS (root-mean-square).&#xD;&#xA;&#xD;&#xA;All movies and commercial music tracks are manually crafted - a process called mastering which gives the final touch to a track and is what makes it sound so good (though you find cheap services that can process your music and claim it will be mastered using automatic settings - not the same).&#xD;&#xA;&#xD;&#xA;The main tools to get a proper master is EQ, compressor, limiter and sometimes a bunch of other tools. The mastering engineer will often have his own bag of tools and settings. And a compressor isn't just any compressor (or limiter, EQ etc.). Each has its own flavor and characteristics. But it comes down to the human ear, in particular the one of the engineer. The environment for mastering is very important as well and you will find the top-notch equipment in such studios.&#xD;&#xA;&#xD;&#xA;I would like to mention this as this site target more the professional aspect in audio-video productions.&#xD;&#xA;&#xD;&#xA;You can get a quick-fix with tools such as Levelator, although, you will never be able to get what you hear in movies or music with it. If you are seeking that kind of sound (movie and music) you will either learn how to master (or even basic mixing techniques can help you to get better sound) or send the audio to a studio that provides mastering. Mastering is considered a separate art/skill in music/audio production and takes a while to learn.&#xD;&#xA;&#xD;&#xA;There is however no standard process to work on an audio track. This is because each track is different and require different approaches and settings. This is the main reason why automatic tools of today cannot produce what an engineer can produce.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39706" PostHistoryTypeId="2" PostId="23625" RevisionGUID="e687c62b-410d-4505-baeb-bfb0de264faf" CreationDate="2012-11-23T23:27:19.880" UserDisplayName="Georg Holzmann" Text="We built a software which does exactly that (and more):&#xD;&#xA;auphonic.com&#xD;&#xA;&#xD;&#xA;It's free, like the levelator, but also performs well on music regions.&#xD;&#xA;&#xD;&#xA;Actually audio loudness normalization is also a hot topic ATM, see e.g.:&#xD;&#xA;https://auphonic.com/blog/2012/08/02/loudness-measurement-and-normalization-ebu-r128-calm-act/&#xD;&#xA;or&#xD;&#xA;https://auphonic.com/blog/2011/07/25/loudness-normalization-and-compression-podcasts-and-speech-audio/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39707" PostHistoryTypeId="36" PostId="23626" RevisionGUID="2c2c8459-00a1-4553-b967-3fa56ca8258e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8267/how-to-record-yelling" />
  <row Id="39708" PostHistoryTypeId="36" PostId="23627" RevisionGUID="dca0ddd2-b36c-4f5a-9a59-e079901bd1b8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8267/how-to-record-yelling/8268#8268" />
  <row Id="39709" PostHistoryTypeId="36" PostId="23628" RevisionGUID="4feb79db-61c3-42eb-b6b7-5be0321263e6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8267/how-to-record-yelling/8270#8270" />
  <row Id="39710" PostHistoryTypeId="36" PostId="23629" RevisionGUID="c3a93f66-a5f6-4ace-83b7-03b355197d46" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8267/how-to-record-yelling/8326#8326" />
  <row Id="39711" PostHistoryTypeId="2" PostId="23627" RevisionGUID="89e16b82-2043-4ebe-99de-ad927dd6b268" CreationDate="2013-07-01T04:39:20.577" UserId="7174" Text="There are a few types of clipping.  Microphones can physically clip if they are forced to vibrate too far, but this would generally take some pretty intense sound.  Clipping can also occur if the pre-amp gains the audio up too much.  Generally, you will want to reduce the pre-amp until the audio you are sampling does not clip.  If you still get a distortion at minimum pre-amp gain, then you will need to move further away from the microphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="39712" PostHistoryTypeId="2" PostId="23628" RevisionGUID="496c4c8d-9bca-4d6a-b110-127701df371c" CreationDate="2013-07-01T04:49:17.000" UserId="7312" UserDisplayName="Eugene S" Text="The most obvious answer is using compression on the input signal. The sound volume will be controlled and will stay below chosen threshold without loosing the character or sounding distant.&#xD;&#xA;&#xD;&#xA;Not using a too sensitive microphone will help as well. The best choice here will be a good dynamic mic like Shure SM58 or SM57, but of course any other one will probably do the job. Attaching a pop filter on a microphone could do magic!" ContentLicense="CC BY-SA 3.0" />
  <row Id="39713" PostHistoryTypeId="2" PostId="23629" RevisionGUID="cccac572-5b3a-44ea-981f-c321140b32f4" CreationDate="2013-07-05T12:22:03.027" UserId="7542" UserDisplayName="Don Nickel" Text="Pointing the microphone will also help a lot with recording high volume sources. Point the diaphram off center (like at the forehead of the subjects). This is specifically to deal with distortion that happens at the mic.&#xD;&#xA;&#xD;&#xA;Used the same technique for recording vocals with a subject that could &quot;bury the needles&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="39714" PostHistoryTypeId="2" PostId="23626" RevisionGUID="399d794d-f296-4cd4-a689-2abc7a22a52d" CreationDate="2013-07-01T02:16:50.120" UserId="7398" UserDisplayName="BenV" Text="I'm working on an audio drama and there are some scenes involving yelling.  How do I capture this without distortion but also without it sounding like it's being recorded from a distance?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39715" PostHistoryTypeId="1" PostId="23626" RevisionGUID="399d794d-f296-4cd4-a689-2abc7a22a52d" CreationDate="2013-07-01T02:16:50.120" UserId="7398" UserDisplayName="BenV" Text="How to record yelling?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39716" PostHistoryTypeId="3" PostId="23626" RevisionGUID="399d794d-f296-4cd4-a689-2abc7a22a52d" CreationDate="2013-07-01T02:16:50.120" UserId="7398" UserDisplayName="BenV" Text="&lt;audio-recording&gt;&lt;dialog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39717" PostHistoryTypeId="36" PostId="23630" RevisionGUID="01e6713b-ae85-435d-b2f0-1b92fab5944f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8049/recording-with-a-mixer" />
  <row Id="39718" PostHistoryTypeId="36" PostId="23631" RevisionGUID="ec2a8dfb-0e29-43c5-8671-46cc939f51c3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8049/recording-with-a-mixer/8051#8051" />
  <row Id="39719" PostHistoryTypeId="2" PostId="23631" RevisionGUID="56bf691d-46ce-44a4-b70f-1b20eed8ed56" CreationDate="2013-06-05T13:45:40.643" UserId="7174" Text="This is an extremely basic live board that isn't really designed for recording.  What are you doing with monitors and headphones?  Do they actually have independent feeds?  If not, I would suggest simply using the headphone output on your EMU and feed in in to a headphone distribution amplifier to send the output to multiple outputs.&#xD;&#xA;&#xD;&#xA;You are getting noise on the stereo output and monitor output because they are running at +4db for output to an amplifier.  The added power is making it noisy on the EMU which probably expects line input to be something like an electric guitar input rather than a higher line level signal like the +4db signal you are sending it.  I'm actually a little surprised that it even works with the Phones output since I would kind of expect a similar problem there, but it is a lower power level so it might fall within range.&#xD;&#xA;&#xD;&#xA;The aux output is for monitors or a grouped effects rack.  The purpose is that it can have a separate mix sent to it which is controlled by the aux knobs on each channel.  A single aux channel is extremely limited and would primarily be used in a live environment or an older analog recording setup.&#xD;&#xA;&#xD;&#xA;Rec Out is for use with a tape or CD deck.  Lower end decks typically take input on RCA, so that is what most lower end boards put out.  That's also why the 2TR IN is RCA.  Sometimes these are labeled as tape out and tape in. " ContentLicense="CC BY-SA 3.0" />
  <row Id="39720" PostHistoryTypeId="2" PostId="23632" RevisionGUID="8518ee17-2796-49dd-aabf-e44332e9cd35" CreationDate="2013-06-27T19:01:38.840" UserDisplayName="Alexander Ivanov" Text="Actually the problem is fixed - it was a combination of interference form my computer (the mixer was standing on top) and interference from my neighbors (CRT TV set on the other side of the concrete wall). Moving the mixer and my audio interface away fixed the problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="39721" PostHistoryTypeId="2" PostId="23630" RevisionGUID="68b7608d-180f-4d9f-a70a-7b50328bd796" CreationDate="2013-06-05T12:16:03.463" UserDisplayName="Alexander Ivanov" Text="I've recently bought a small mixer ([YAMAHA MG102C](http://usa.yamaha.com/products/live_sound/mixers/analog-mixers/mg_series_c_models/mg102c/)) for my semi-complex routing needs and have trouble incorporating it in my current setup. The mixer works flawlessly but when the time comes for recording the sound I cannot find a reasonable way to connect the mixer to my sound card ([E-MU Tracker Pre](http://www.creative.com/emu/products/product.aspx?pid=17511)).&#xD;&#xA;&#xD;&#xA;There is an obvious output, but I need a good explanation why it was made like that...&#xD;&#xA;&#xD;&#xA;So, there are basically 5 ways to get sound out of the mixer:&#xD;&#xA;&#xD;&#xA; - **stereo outs**  &#xD;&#xA;   This produces noise when recording, but works fine when connected to an amp &gt; speakers.&#xD;&#xA; - **monitor outs**  &#xD;&#xA;   Same as above, and I need it for my monitors anyway&#xD;&#xA; - **phones**  &#xD;&#xA;   I don't think I should be recording off here, and I need it for my phones&#xD;&#xA; - **aux**  &#xD;&#xA;   This is a single mono line, what the... why would I even need that?&#xD;&#xA; - **rec out**  &#xD;&#xA;   This looks like the right one  to use but I have a few problems with that:&#xD;&#xA;&#xD;&#xA;First off, why RCA? These cables are unbalanced and are thinner than a TS line == more prone to picking up noise. On top of that, unlike the +4dBu (~1.8dBV) lines on other outs, this thing is -10dBV which results in almost 12dBV difference in signal level while the noise floor stays the same. Shouldn't the recording signal be of top quality and be given more priority than the other outs?&#xD;&#xA;&#xD;&#xA;What would be the correct way to connect the mixer to my sound-card for the best recording quality?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39722" PostHistoryTypeId="1" PostId="23630" RevisionGUID="68b7608d-180f-4d9f-a70a-7b50328bd796" CreationDate="2013-06-05T12:16:03.463" UserDisplayName="Alexander Ivanov" Text="Recording with a mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="39723" PostHistoryTypeId="3" PostId="23630" RevisionGUID="68b7608d-180f-4d9f-a70a-7b50328bd796" CreationDate="2013-06-05T12:16:03.463" UserDisplayName="Alexander Ivanov" Text="&lt;audio-recording&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39724" PostHistoryTypeId="36" PostId="23632" RevisionGUID="263f4b3c-5c20-4a18-8249-f91de70318be" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8049/recording-with-a-mixer/8244#8244" />
  <row Id="39725" PostHistoryTypeId="36" PostId="23633" RevisionGUID="b4a0f40b-6c87-480f-9560-afcf60a2e2b3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7446/how-to-beatmatch-a-section-of-a-track-using-free-software-on-windows-to-create" />
  <row Id="39726" PostHistoryTypeId="2" PostId="23634" RevisionGUID="d39a74ce-6826-4abf-aad2-0447802a1591" CreationDate="2013-03-21T11:17:38.887" UserId="7312" UserDisplayName="Eugene S" Text="What you need, is just manually find the repeatable part of the song you want to use, create new track in Audacity and multiply this part desired amount of times. Simply speaking, just cut it when it feels right and then copy paste the same part one after another. If it doesn't sound plausible, re-cut.&#xD;&#xA;&#xD;&#xA;Most &quot;beat-finders&quot; just find the BPM value and will not help you here." ContentLicense="CC BY-SA 3.0" />
  <row Id="39727" PostHistoryTypeId="2" PostId="23633" RevisionGUID="34356a1a-da4e-4f0b-8b31-facff1bab7e9" CreationDate="2013-03-21T02:10:02.817" UserDisplayName="listen" Text="To my amusement I haven't found any readily made ringtone of the song Cellular Phone by Dopplereffekt. I just want to make the main theme (about 3.5 sec.) to a cool ringtone but I don't know how to match the beat. So after the theme ends, it should start again by matching the beat.&#xD;&#xA;&#xD;&#xA;How do I accomplish this by using free software on Windows? I have Audacity. I can also download free trial version of paid software as well.&#xD;&#xA;&#xD;&#xA;Ps. You can find the song on [YouTube][1]. I think that's fair use to cut that 3.5 secs out of it. I know how to extract the audio out of YouTube (using FlashGot with Firefox, then extract the audio with FLV Extract), convert it to a WAV (with Fre:ac) and import it to editor software, I just fall short of the beatmatch part.&#xD;&#xA;&#xD;&#xA;So far I learned from @Ken that this &quot;beatmatching&quot; is called *editing by signature and bars*.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=V8lLTYmpE8I" ContentLicense="CC BY-SA 3.0" />
  <row Id="39728" PostHistoryTypeId="1" PostId="23633" RevisionGUID="34356a1a-da4e-4f0b-8b31-facff1bab7e9" CreationDate="2013-03-21T02:10:02.817" UserDisplayName="listen" Text="How to beatmatch a section of a track using free software (on Windows) to create a ringtone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39729" PostHistoryTypeId="3" PostId="23633" RevisionGUID="34356a1a-da4e-4f0b-8b31-facff1bab7e9" CreationDate="2013-03-21T02:10:02.817" UserDisplayName="listen" Text="&lt;audio&gt;&lt;windows&gt;&lt;freeware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39730" PostHistoryTypeId="36" PostId="23634" RevisionGUID="9acad754-bb91-4b44-bb2c-8b3a8a962c87" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7446/how-to-beatmatch-a-section-of-a-track-using-free-software-on-windows-to-create/7449#7449" />
  <row Id="39731" PostHistoryTypeId="36" PostId="23635" RevisionGUID="9a0e5b6b-4273-4a21-8b60-8c14bd3cd6a0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7952/microphone-v-phone-line-levels-during-interviews" />
  <row Id="39732" PostHistoryTypeId="36" PostId="23636" RevisionGUID="ad5192db-3d45-44da-a8aa-9d89cbc6d508" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7952/microphone-v-phone-line-levels-during-interviews/7953#7953" />
  <row Id="39733" PostHistoryTypeId="2" PostId="23636" RevisionGUID="000399d5-0f17-4a05-b3cb-2b1673017554" CreationDate="2013-05-23T22:48:30.923" UserDisplayName="Serge" Text="Your set-up seems quite weird to me. Channel 1 is panned to the right, while channel 2/3 is also to the right. Shouldn't it be panned to the left, so that you can record each signal in a different track?&#xD;&#xA;&#xD;&#xA;Also, you seem to connect both Left and Right output channels to the AutoHybrid input. This way, the person you are talking to would also hear his own voice. This could be troublesome if a considerable delay existed.&#xD;&#xA;&#xD;&#xA;Although this might not be an immediate solution for your problem, I would connect it as follows:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;You could also try to set a lower trim in channel 1, and turn up a bit the master output. This could make the mic overdrive a little less (but don't expect a miracle. I just think it would be helpful to avoid forcing the preamp).&#xD;&#xA;&#xD;&#xA;In what concerns to the signal levels, the AutoHybrid seems to be receiving a weak signal from the mixer. This is actually unlikely to happen (I guess the PC gets a pretty strong signal). The AutoHybrid manual states the following:&#xD;&#xA;&#xD;&#xA;&gt; **Null Adjust** &#xD;&#xA;&#xD;&#xA;&gt;The Null Adjust is a 15 turn pot used to determine how&#xD;&#xA;&gt; much of your Send audio is delivered to the Caller output jack. Use a&#xD;&#xA;&gt; small flatblade screwdriver to make adjustments to this control. To&#xD;&#xA;&gt; find the absolute nu.. for any telephone line, follow this procedure:&#xD;&#xA;&#xD;&#xA;&gt; 1. Place a call to a quiet location.&#xD;&#xA;&gt; 2. Send a signal into the AutoHybrid Send jack at a moderate level. A test signal or tone works best.&#xD;&#xA;&gt; 3. Connect the Caller output jack to a meter or scope, or listen to this signal through your external audio equipment.&#xD;&#xA;&gt; 4. Try to remember the position of the adjustment screwdriver blade and the number of turns you are making as your first adjust clockwise,&#xD;&#xA;&gt; then back to the original position, then counter clockwise. When the&#xD;&#xA;&gt; level of this signal is at a minimum, you have achieved the maximum&#xD;&#xA;&gt; null for the phone line. The maximum null you can achieve is&#xD;&#xA;&gt; approximately 20 dB.&#xD;&#xA;&#xD;&#xA;This makes me think that this pot isn't properly adjusted, so the device is actually attenuating its input. Messing around with it should work in case the previous didn't.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Y2Yxe.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="39734" PostHistoryTypeId="2" PostId="23635" RevisionGUID="81ba6298-e881-4d0a-b48d-bde944f2a877" CreationDate="2013-05-23T21:39:47.797" UserDisplayName="Don" Text="I have a Behringer Xenyx 502 mixer.  &#xD;&#xA;&#xD;&#xA;My problem is the microphone levels are always much hotter than the phone line.  Boosting the phone line isn't the problem as much as not overdriving the microphone into the red.  But that seems to be the only way people on the phone can hear me.  &#xD;&#xA;&#xD;&#xA;When my microphone levels look normal, they say they can't hear me.  I don't know mixers very well, but I must not have the adjustments right.  If I can't make this work, do I need an even simpler, cheapie Radio Shack mixer?  &#xD;&#xA;&#xD;&#xA;See image below to see how I have it wired to my PC...&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/in7j9.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="39735" PostHistoryTypeId="1" PostId="23635" RevisionGUID="81ba6298-e881-4d0a-b48d-bde944f2a877" CreationDate="2013-05-23T21:39:47.797" UserDisplayName="Don" Text="Microphone v Phone Line Levels during Interviews" ContentLicense="CC BY-SA 3.0" />
  <row Id="39736" PostHistoryTypeId="3" PostId="23635" RevisionGUID="81ba6298-e881-4d0a-b48d-bde944f2a877" CreationDate="2013-05-23T21:39:47.797" UserDisplayName="Don" Text="&lt;audio&gt;&lt;mixing&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39737" PostHistoryTypeId="36" PostId="23637" RevisionGUID="e9ac3343-8f59-44e7-8405-ca2056aa4881" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7805/how-to-remove-noise-caused-by-very-loud-sounds-in-a-recording" />
  <row Id="39738" PostHistoryTypeId="2" PostId="23638" RevisionGUID="3b58e715-30d9-45d4-b244-daa566094f06" CreationDate="2013-05-05T10:32:56.197" UserId="7312" UserDisplayName="Eugene S" Text="Your mic is ok. What you hear is called [Audio Clipping][1]. Clipping limits a signal once it exceeds a certain threshold of signal values representation.&#xD;&#xA;&#xD;&#xA;You can also find some explanation [here][2].&#xD;&#xA;&#xD;&#xA;Unfortunately, when clipping introduced - the original signal is not reconstructable.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Clipping_%28audio%29&#xD;&#xA;  [2]: http://avp.stackexchange.com/questions/446/what-is-clipping-distortion-what-causes-it-and-how-to-avoid-it-when-recordin" ContentLicense="CC BY-SA 3.0" />
  <row Id="39739" PostHistoryTypeId="2" PostId="23637" RevisionGUID="0bdf7c64-391f-4ec4-b938-3e00c5e837c1" CreationDate="2013-05-05T09:12:10.487" UserDisplayName="Petru Dimitriu" Text="I've recently recorded a choir. The choir was singing very loud and the recording sounds badly where high or loud notes are heard, perhaps because the microphone didn't support such loudness or frequencies. What filter should I apply to remove or diminish this effect?&#xD;&#xA;&#xD;&#xA;[Listen to a sample of my recording][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://dl.dropboxusercontent.com/u/25865427/sample.mp3&#xD;&#xA;&#xD;&#xA;Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="39740" PostHistoryTypeId="1" PostId="23637" RevisionGUID="0bdf7c64-391f-4ec4-b938-3e00c5e837c1" CreationDate="2013-05-05T09:12:10.487" UserDisplayName="Petru Dimitriu" Text="How to remove noise caused by very loud sounds in a recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39741" PostHistoryTypeId="3" PostId="23637" RevisionGUID="0bdf7c64-391f-4ec4-b938-3e00c5e837c1" CreationDate="2013-05-05T09:12:10.487" UserDisplayName="Petru Dimitriu" Text="&lt;audio-recording&gt;&lt;clipping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39742" PostHistoryTypeId="36" PostId="23638" RevisionGUID="a307efbd-6785-4f86-8f97-03c47bfd22e9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7805/how-to-remove-noise-caused-by-very-loud-sounds-in-a-recording/7806#7806" />
  <row Id="39743" PostHistoryTypeId="36" PostId="23639" RevisionGUID="948bd74b-4d7c-49f3-a56c-607192d2e586" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7805/how-to-remove-noise-caused-by-very-loud-sounds-in-a-recording/7813#7813" />
  <row Id="39744" PostHistoryTypeId="2" PostId="23639" RevisionGUID="f32baf9c-1f61-40e9-9e5d-fa7bef282224" CreationDate="2013-05-05T21:22:33.823" UserId="7405" UserDisplayName="Andy aka" Text="Definitely clipping and a poor quality mp3 - was that the mp3 taken from your phone?&#xD;&#xA;&#xD;&#xA;Clipping is destructive - you lose information that is basically impossibly to recover. I tried a 5-band multiband compressor on the recording but it is so poor quality i gave up after a minute." ContentLicense="CC BY-SA 3.0" />
  <row Id="39745" PostHistoryTypeId="36" PostId="23640" RevisionGUID="0126bcc7-abce-4792-a2ab-8d29726488e8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9175/how-does-amplitude-rescaling-work-in-filters" />
  <row Id="39746" PostHistoryTypeId="36" PostId="23641" RevisionGUID="4898b644-503e-49a1-a1af-f845645e5875" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9175/how-does-amplitude-rescaling-work-in-filters/9178#9178" />
  <row Id="39747" PostHistoryTypeId="2" PostId="23641" RevisionGUID="aafc1fca-82a3-4410-9bed-49eee700ab56" CreationDate="2013-10-14T20:58:07.270" UserId="7405" UserDisplayName="Andy aka" Text="You could try a few values.&#xD;&#xA;&#xD;&#xA;If a = 0 then the amplitude remains at unity i.e. the algorithm acts as a 1 sample delay.&#xD;&#xA;&#xD;&#xA;If a = 1 then athe amplitude is also unity with the output = the input&#xD;&#xA;&#xD;&#xA;Somewhere in between 0 and 1 I think is where you are operating and if you did a quick spreadsheet and kept the input constant at &quot;1&quot; i.e. a dc level then you'd see how it shapes up.&#xD;&#xA;&#xD;&#xA;For instance try 0.5. First time thru o/p = 0.5 of the input because previous = 0&#xD;&#xA;&#xD;&#xA; - Next time output = 0.5 + 0.5(1 - 0.5) = 0.75&#xD;&#xA; - Next time output = 0.75 + 0.5(1 - 0.75) = 0.875&#xD;&#xA; - Next time output = 0.875 + 0.5(1 - 0.875) = 0.9375&#xD;&#xA;&#xD;&#xA;It looks to me like it doesn't need rescaling because it seems to be heading for a final value of 1. And it does look like a low pass filter.&#xD;&#xA;&#xD;&#xA;If you want to try some other interesting filters in software [**THIS**][1] might give you a few extra pointers - see the appendix about trying stuff out in excel.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jamesoakwood.co.uk/Digital%20filter%20design%20for%20Analogue%20engineers.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="39748" PostHistoryTypeId="2" PostId="23640" RevisionGUID="cfaef131-4197-4868-8ba1-565e6a998448" CreationDate="2013-10-14T20:00:34.467" UserDisplayName="Qqwy" Text="Today I tried implementing my own simple low-pass filter using the pseudocode [from Wikipedia][1] as a starting point.&#xD;&#xA;Specifically, this code:&#xD;&#xA;&#xD;&#xA;       for i from 1 to n&#xD;&#xA;           y[i] := y[i-1] + α * (x[i] - y[i-1])&#xD;&#xA;&#xD;&#xA;Which can also be written as:&#xD;&#xA;&#xD;&#xA;    for each sample:&#xD;&#xA;        filtered_sample = previous_filtered_sample + α * (input_sample - previous_filtered_sample)&#xD;&#xA;&#xD;&#xA;*I've implemented a quick and dirty version [here][2], using Floatbeat.*&#xD;&#xA;&#xD;&#xA;When decreasing **α** (the smoothing factor of the filter, in other words: we are decreasing the cutoff frequency of the filter), the resulting signal gets softer and softer. This is of course not strange since we are losing energy when removing frequencies.&#xD;&#xA;&#xD;&#xA;However, when applying a filter and doing a filter sweep in my DAW, the amplitude keeps constant: It seems that the amplitude gets re-scaled to offset this problem.&#xD;&#xA;&#xD;&#xA;So, my question: How do I know with what value to multiply my filtered signal to give it the same amplitude it had before the filter?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Lowpass_filter&#xD;&#xA;  [2]: http://greggman.com/downloads/examples/html5bytebeat/html5bytebeat.html#t=1&amp;e=0&amp;s=44100&amp;bb=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" ContentLicense="CC BY-SA 3.0" />
  <row Id="39749" PostHistoryTypeId="1" PostId="23640" RevisionGUID="cfaef131-4197-4868-8ba1-565e6a998448" CreationDate="2013-10-14T20:00:34.467" UserDisplayName="Qqwy" Text="How does Amplitude-rescaling work in filters?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39750" PostHistoryTypeId="3" PostId="23640" RevisionGUID="cfaef131-4197-4868-8ba1-565e6a998448" CreationDate="2013-10-14T20:00:34.467" UserDisplayName="Qqwy" Text="&lt;audio&gt;&lt;filter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39751" PostHistoryTypeId="36" PostId="23642" RevisionGUID="e2b36d7c-d948-44aa-a754-90dffc2e6713" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/636/what-is-the-best-way-to-mic-a-hammered-dulcimer" />
  <row Id="39752" PostHistoryTypeId="2" PostId="23643" RevisionGUID="c2e3c3ad-e0e0-447c-ab21-422fde216bad" CreationDate="2011-01-19T14:40:21.047" UserDisplayName="Bill Gribble" Text="For a solo acoustic instrument recording, I would find a nice-sounding room and try to capture the whole performance with a stereo mic setup.  &#xD;&#xA;&#xD;&#xA;By &quot;nice-sounding&quot;, I mean &#xD;&#xA;&#xD;&#xA;- No noticeable external noise sources (traffic, air conditioning/heat, etc)&#xD;&#xA;- &quot;live&quot; (reverberant) but not too live.  You can damp liveness with carpets, furniture, etc.&#xD;&#xA;- Not so small as to have problems with standing wave phase cancellation.  Bathroom too small; bedroom maybe depending on size; living room better.&#xD;&#xA;&#xD;&#xA;By &quot;stereo mic setup&quot;, I mean a MS (mid-side) setup if you can ([WikiRecording][1]) or XY ([WikiRecording][2]) if you can't.  &#xD;&#xA;&#xD;&#xA;MS requires 2 mics, not usually the same type, one being a figure-8 pickup pattern, and a little bit of fancy footwork to combine the signals, either on your mixing board or in the computer. A typical mid-side setup has a large-diaphragm condensor with a figure-8 pattern and a small-diaphragm condensor with a cardioid pattern.  &#xD;&#xA;&#xD;&#xA;XY requires 2 mics, as identical as you can get them, with a unidirectional polar pattern (usually cardioid).  Condensor or dynamic mics will work fine, though small-diaphragm condensors are traditional. &#xD;&#xA;&#xD;&#xA;By &quot;capture the whole performance&quot;, I mean set up the stereo mic rig aimed at the instrument but back a bit (it's your creative choice how far back, I would start at 3 feet from the instrument and move back from there to capture more room ambience if you like it).  At that distance the mic patterns are wide enough that you don't need to worry about exactly which part of the instrument you point at. &#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wikirecording.org/Mid-Side_Microphone_Technique&#xD;&#xA;  [2]: http://www.wikirecording.org/XY_Stereo_Microphone_Technique" ContentLicense="CC BY-SA 2.5" />
  <row Id="39753" PostHistoryTypeId="2" PostId="23642" RevisionGUID="76fce0b1-7396-4bc5-aa64-ba5685c43a4e" CreationDate="2011-01-19T10:00:37.917" UserId="25174" UserDisplayName="Error 454" Text="Looking for some suggestions on getting the most authentic recorded sound from a Hammered Dulcimer.  The model I am mic'ing has 2 sound holes.&#xD;&#xA;&#xD;&#xA; 1. What would be the ideal mic **type(s)** (i.e. dynamic, ribbon, condensor).&#xD;&#xA; 2. Where would be the ideal mic position(s)?&#xD;&#xA; 3. Would it be better to record in a room with nice sounding acoustics/reverb or a padded sound room with no acoustics?&#xD;&#xA;&#xD;&#xA;    " ContentLicense="CC BY-SA 2.5" />
  <row Id="39754" PostHistoryTypeId="1" PostId="23642" RevisionGUID="76fce0b1-7396-4bc5-aa64-ba5685c43a4e" CreationDate="2011-01-19T10:00:37.917" UserId="25174" UserDisplayName="Error 454" Text="What is the best way to mic a hammered dulcimer?" ContentLicense="CC BY-SA 2.5" />
  <row Id="39755" PostHistoryTypeId="3" PostId="23642" RevisionGUID="76fce0b1-7396-4bc5-aa64-ba5685c43a4e" CreationDate="2011-01-19T10:00:37.917" UserId="25174" UserDisplayName="Error 454" Text="&lt;audio-recording&gt;&lt;acoustics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39756" PostHistoryTypeId="36" PostId="23643" RevisionGUID="91c915bc-640a-4d0a-859c-027457a3ea4b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/636/what-is-the-best-way-to-mic-a-hammered-dulcimer/637#637" />
  <row Id="39757" PostHistoryTypeId="36" PostId="23644" RevisionGUID="f974675a-3269-4d1f-9cfe-d5fe272b3083" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/636/what-is-the-best-way-to-mic-a-hammered-dulcimer/658#658" />
  <row Id="39758" PostHistoryTypeId="36" PostId="23645" RevisionGUID="23a25bc5-a03d-4a90-9e01-dea37cfc7e68" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/636/what-is-the-best-way-to-mic-a-hammered-dulcimer/662#662" />
  <row Id="39759" PostHistoryTypeId="2" PostId="23644" RevisionGUID="850102fc-9e3a-4fbf-93e2-83f45a9c0fa0" CreationDate="2011-01-21T19:05:08.320" UserDisplayName="Ted Yoder" Text="I'm not trying make the previous person sound bad but it doesn't have to be very complicated. &#xD;&#xA;&#xD;&#xA; I just got done recording my 3rd hammer dulcimer CD and here's what I've learned from some great engineers in Nashville. &#xD;&#xA;&#xD;&#xA; Ribbons would be ideal but they're very expensive. But if you have the money, go with ribbons. I use Audio Technica 3035's. For some reason you can't go wrong with Audio Technica. They just sound awesome. These are condenser mics.&#xD;&#xA;&#xD;&#xA; Placement is key. If you get too close you'll run the risk of over loading the mic capsule and then the sound will be brittle and thin. My best results were 8-12 inches away from the sound board one on the left and right side right over the tuning pins angled toward the treble bridge. &#xD;&#xA;&#xD;&#xA; Just remember if it doesn't sound good in the cans it's not going to sound good when you're mixing and mastering. You can't cut corners with the recording part. &#xD;&#xA;&#xD;&#xA; Let me know if this was any help or if you have any other questions. " ContentLicense="CC BY-SA 2.5" />
  <row Id="39760" PostHistoryTypeId="2" PostId="23645" RevisionGUID="4d4d18a0-5e6c-4110-8a3e-9eb10caccfb0" CreationDate="2011-01-21T23:27:00.417" UserDisplayName="Minutiaman" Text="Go figure... ask a certain number of audiophiles a question and you'll get an equal number of answers.&#xD;&#xA;&#xD;&#xA;Here's my take:&#xD;&#xA;&#xD;&#xA;The dulcimer, like the piano, is a percussion instrument which has two basic tonal elements going on.  You have the initial strike of the hammer and then the resonant response of the string/chamber/soundboard.&#xD;&#xA;&#xD;&#xA;When afforded the luxury, I like to capture an instrument like this with multiple sets of mics and blend them to achieve the final sound.&#xD;&#xA;&#xD;&#xA;If money is no object, a binaural setup is fantastic for capturing the perspective of the instrumentalist.  I've had great success with the Neumann's KU-100 positioned just above the head of the musician, centered on the instrument.&#xD;&#xA;&#xD;&#xA;In lieu of such a setup, I prefer to go with a matched pair of mics set up in an XY configuration.  You might get some pleasant results with a pair of ribbon mics configured like this because of the bidirectional nature of the microphone pickup pattern.  Royer's 122 is a personal favorite with Coles coming up close behind.&#xD;&#xA;&#xD;&#xA;Then, depending on the quality of the environment, I'd set up a stereo pair of mics that, when blended with my 'close mics' will provide the desired depth of sound I'm looking for.  With each of these setups, the distance from the source is going to affect the balance between the strike of the hammers and the resonance of the instrument.  The further away, the less prominent the attack.&#xD;&#xA;&#xD;&#xA;As with any setup using multiple pairs of mics, check the phase between the mics (left/right) and then between each pair.  Adjust accordingly.&#xD;&#xA;&#xD;&#xA;One other option that comes to mind is the Barkus/Berry 4000 Planar Wave piano pickup.  I wouldn't use it as my sole source, but it does provide some different tones that can be very cool.&#xD;&#xA;&#xD;&#xA;Oh, yeah.  You can also get some fun results by setting the dulcimer on different types of surfaces.  When the instrument couples with the surface, some interesting tones can be achieved.  Of course, the inverse is also true.&#xD;&#xA;&#xD;&#xA;Good Luck... Break a string!" ContentLicense="CC BY-SA 2.5" />
  <row Id="39761" PostHistoryTypeId="36" PostId="23646" RevisionGUID="5ad66bfb-9153-460b-978a-6f93849060f8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7142/least-expensive-microphone-for-hiss-free-pc-recordng" />
  <row Id="39762" PostHistoryTypeId="36" PostId="23647" RevisionGUID="02eb9a13-c91c-46d4-ad3f-f874ff1f6568" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7142/least-expensive-microphone-for-hiss-free-pc-recordng/7151#7151" />
  <row Id="39763" PostHistoryTypeId="36" PostId="23648" RevisionGUID="9a8df259-d52a-432e-9879-6f96ce72a185" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7142/least-expensive-microphone-for-hiss-free-pc-recordng/7158#7158" />
  <row Id="39764" PostHistoryTypeId="36" PostId="23649" RevisionGUID="bdf7aaab-ce65-46fb-9dac-0f76e15f2b79" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7142/least-expensive-microphone-for-hiss-free-pc-recordng/7170#7170" />
  <row Id="39765" PostHistoryTypeId="2" PostId="23647" RevisionGUID="fa6cbfb7-79c9-4145-a3bd-21484a5b763a" CreationDate="2013-02-14T10:19:20.140" UserId="7016" Text="The problem is not really going to be the mic in your headset, although obviously a cheap mic is likely to be lower quality than a good one.&#xD;&#xA;&#xD;&#xA;The problem is that recording in to a normal PC is at a very low voltage, so the difference between noise (mains hum, interference etc) and the signal you want is not that great, so when you amplify the signal you also amplify the noise, leading to hiss/buzz/hum.&#xD;&#xA;&#xD;&#xA;If you want to record at better quality, the single best thing you can do is add a proper soundcard to your PC - and by proper, I mean a powered, external sound card. This gives you a much improved amplifier and lower noise floor, and gets the signal up to a decent voltage (typically line voltage) before it gets to your PC, which means it is much more resistant to interference.&#xD;&#xA;&#xD;&#xA;Many external sound cards will also let you use XLR balanced connections to microphones - which are much more resistant to interference. " ContentLicense="CC BY-SA 3.0" />
  <row Id="39766" PostHistoryTypeId="2" PostId="23648" RevisionGUID="e529d264-eb69-4d9d-a922-3868e4c51200" CreationDate="2013-02-14T14:35:51.413" UserId="7174" Text="It isn't just the signal to noise level, but also generally the isolation of the sound processing hardware.  On cheap, consumer sound cards, the audio processing is generally done on circuitry that is impacted by other things going on in the computer.  This variation results in noise in addition to the normal signal to noise issues inherent with just about any consumer grade mic (particularly that goes through a 1/8th inch jack).&#xD;&#xA;&#xD;&#xA;The only way you are likely to get hiss free audio is with a prosumer level capture device that has balanced inputs (XLR) to deal with the signal to noise issues and a power conditioned and isolated analog to digital converter.  You will also need a decent XLR based mic.  (Personally I highly recommend getting a used SM58 for a &quot;cheap&quot; quality option.  They are nearly indestructible so getting a used one should be ok.)&#xD;&#xA;&#xD;&#xA;Cheap is relative though, I'd expect the total cost would still be in the neighborhood of  $200 or more for all the pieces you'd need.  Another option, though a little more expensive, is to pick up a dedicated recorder like a Zoom H4N that will let you record stuff without the computer.  They run a few hundred dollars without the mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="39767" PostHistoryTypeId="2" PostId="23649" RevisionGUID="6a463420-0d49-40ef-957a-62ac61896a9e" CreationDate="2013-02-15T23:59:55.440" UserId="7189" Text="An external sound card and a good phantom-powered XLR mic is certainly the pro-audio way to solve this problem. However, I've had good experience with USB audio products for casual recording.&#xD;&#xA;&#xD;&#xA;I use a [Blue Snowball][1] for Skype meetings. The Snowball is a bit quieter than the mic on my macbook pro, but I can move it away from my mac's fan noise, so the overall quality is much better. One of my friends prefers the [Logitech G330 headset][2], and that also produces good results. I've experienced hiss problems with other Logitech products on my Mac, but then Logitech doesn't (or at the time didn't) deliver mac-specific drivers for their gaming devices.&#xD;&#xA;&#xD;&#xA;There are plenty of podcaster-oriented USB microphone products that will be more than adequate for recording hiss-free voice. You really only need to take the soundcard route if you plan on recording multiple sources at once, or need more power than the USB bus can provide.&#xD;&#xA;&#xD;&#xA;The &quot;fuzz&quot; sounds may be your breath blowing across the mic. You can either speak across, rather than into, the mic or you can look for a better windscreen and/or pop filter.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://bluemic.com/snowball/&#xD;&#xA;  [2]: http://www.logitech.com/en-us/product/gaming-headset-g330" ContentLicense="CC BY-SA 3.0" />
  <row Id="39768" PostHistoryTypeId="2" PostId="23650" RevisionGUID="e74cd99d-940d-4734-81ad-b92710664320" CreationDate="2013-05-23T01:13:31.260" UserDisplayName="Olumide" Text="Problem solved. I bought me a [preamplifier][1], with good gain control.&#xD;&#xA;&#xD;&#xA;I also bought a condenser microphone but I suspect a dynamic microhone would have done just as well.&#xD;&#xA;&#xD;&#xA;  [1]: http://uk.focusrite.com/usb-audio-interfaces/scarlett-2i2" ContentLicense="CC BY-SA 3.0" />
  <row Id="39769" PostHistoryTypeId="2" PostId="23646" RevisionGUID="30f3db5e-6c45-4d36-824f-d78b37d46d97" CreationDate="2013-02-14T01:03:17.280" UserDisplayName="Olumide" Text="I'm having difficulty recording hiss-free voice audio using my PC using a USB headset combo, at least I think the problem is my headset because the built-in speaker gives much better quality, but the recordings aren't very loud and have brief, ocassional fuzz sounds. What is the least expensive type of microphone that would give hiss-free recordings." ContentLicense="CC BY-SA 3.0" />
  <row Id="39770" PostHistoryTypeId="1" PostId="23646" RevisionGUID="30f3db5e-6c45-4d36-824f-d78b37d46d97" CreationDate="2013-02-14T01:03:17.280" UserDisplayName="Olumide" Text="Least expensive microphone for hiss-free PC recordng" ContentLicense="CC BY-SA 3.0" />
  <row Id="39771" PostHistoryTypeId="3" PostId="23646" RevisionGUID="30f3db5e-6c45-4d36-824f-d78b37d46d97" CreationDate="2013-02-14T01:03:17.280" UserDisplayName="Olumide" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39772" PostHistoryTypeId="36" PostId="23650" RevisionGUID="241e3ab7-10d8-4eee-9dd2-44fc4297e573" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7142/least-expensive-microphone-for-hiss-free-pc-recordng/7945#7945" />
  <row Id="39773" PostHistoryTypeId="36" PostId="23651" RevisionGUID="3043c232-7efc-44a3-93e8-4c9a966f6552" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7040/how-to-troubleshoot-audio-imbalance" />
  <row Id="39774" PostHistoryTypeId="2" PostId="23652" RevisionGUID="c1d92267-7dc6-472b-a875-7d45c1028670" CreationDate="2013-02-03T13:05:47.670" UserId="7213" UserDisplayName="Jim Mack" Text="Your question contains part of the answer: eliminate the speakers as a factor by trying headphones, or by connecting the current right speaker to the left channel and so on to see if the imbalance follows the speakers. If they're not the problem, do all inputs to the amp show the same effect? If so, it's very likely the amp.&#xD;&#xA;&#xD;&#xA;If there's only one input and you can't evaluate that condition, I'd suggest moving up the chain and reversing the left and right inputs to the amp. If the imbalance switches sides, then it's the device feeding the amp. If that device is a preamp with inputs of its own, continue up the chain flipping sides until something pops out." ContentLicense="CC BY-SA 3.0" />
  <row Id="39775" PostHistoryTypeId="2" PostId="23651" RevisionGUID="bb363be0-41ef-40e3-9508-734629fc735a" CreationDate="2013-02-03T12:33:30.330" UserId="7206" UserDisplayName="909 Niklas" Text="Despite that the balance is set to neutral (middle) the right channel delivers clearly lower audio than the left channel for all I/O. I didn't try with headphones directly from the amp. The amp is Sony STR-DE515 and the speakers are B&amp;W DM601. Is there a way to measure where the drop is?&#xD;&#xA;&#xD;&#xA;## Update ##&#xD;&#xA;&#xD;&#xA;I switched the cables to see whether the fault was the speaker and it isn't. Switching the cables swiches the fault to the other speaker. So the fault is the amp or the cable(?)&#xD;&#xA;&#xD;&#xA;## Update 2 ##&#xD;&#xA;&#xD;&#xA;The troubleshooting leads to the conclusion that the amp is faulty. So how can an amp lose 75 % of a channel instead of everything?&#xD;&#xA;&#xD;&#xA;## Update 3 ##&#xD;&#xA;I handed the amp to an audio repair shop who said it was a circuit in the amp that was faulty so instead I got a new all analog amp, it doesn't have a remote control and it's only teo channels (no surround) but the two channels sound great (my new amp is a NAD). " ContentLicense="CC BY-SA 3.0" />
  <row Id="39776" PostHistoryTypeId="1" PostId="23651" RevisionGUID="bb363be0-41ef-40e3-9508-734629fc735a" CreationDate="2013-02-03T12:33:30.330" UserId="7206" UserDisplayName="909 Niklas" Text="How to troubleshoot audio imbalance?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39777" PostHistoryTypeId="3" PostId="23651" RevisionGUID="bb363be0-41ef-40e3-9508-734629fc735a" CreationDate="2013-02-03T12:33:30.330" UserId="7206" UserDisplayName="909 Niklas" Text="&lt;audio&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39778" PostHistoryTypeId="36" PostId="23652" RevisionGUID="366576b0-a709-425d-b40f-ab3cca2e209d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7040/how-to-troubleshoot-audio-imbalance/7041#7041" />
  <row Id="39779" PostHistoryTypeId="36" PostId="23653" RevisionGUID="67b874f2-9197-49bb-b93d-e641622be7fb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5450/equalization-basics-how-is-sample-rate-frequency-related-to-audio-frequency" />
  <row Id="39780" PostHistoryTypeId="36" PostId="23654" RevisionGUID="8a5dbc8d-6bd8-4131-971e-525b7a86ccf4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5450/equalization-basics-how-is-sample-rate-frequency-related-to-audio-frequency/5452#5452" />
  <row Id="39781" PostHistoryTypeId="2" PostId="23654" RevisionGUID="f296bd84-9344-480a-980b-5d0df2a09fc7" CreationDate="2012-11-29T09:07:53.773" UserId="7196" UserDisplayName="Robert" Text="The two are not directly related. Sample rate frequency relates to the number of audio samples per second, whereas audio frequency is to do with the number of vibrations per second caused by the actual sound (which gives you the pitch)." ContentLicense="CC BY-SA 3.0" />
  <row Id="39782" PostHistoryTypeId="2" PostId="23655" RevisionGUID="c13ae783-7f5c-4bc1-b2bf-0604190965cb" CreationDate="2012-11-29T13:44:06.203" UserId="7189" Text="The [Nyquist-Shannon theorem][1] indicates that the highest frequency that can be sampled is 1/2 of the sampling frequency. However, it does *not* follow that you can simply adjust your sample rate to extract lower frequencies.&#xD;&#xA;&#xD;&#xA;The reason for this is [aliasing][2]: when a signal is sampled at a rate less than twice the greatest frequency that occurs in the signal, the frequencies above half the sample rate will appear as lower frequency signals in the final output. These lower frequency samples weren't part of the original signal - they are an artifact of the interaction between the sampling rate and the high frequency content in the original signal.&#xD;&#xA;&#xD;&#xA;To address this issue, a signal should be low-pass filtered at a frequency that is 1/2 the sample rate in order to avoid aliasing.&#xD;&#xA;&#xD;&#xA;If you are looking for an algorithm for filtering digital signals, check on http://dsp.stackexchange.com.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Nyquist%E2%80%93Shannon_sampling_theorem&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Aliasing#Sampling_sinusoidal_functions" ContentLicense="CC BY-SA 3.0" />
  <row Id="39783" PostHistoryTypeId="2" PostId="23653" RevisionGUID="87a23fce-95c8-44ba-a177-14d2e0997d17" CreationDate="2012-11-29T07:53:54.003" UserDisplayName="testCoder" Text="How is sample rate frequency related to audio frequency?&#xD;&#xA;&#xD;&#xA;For example, say I have an audio file with a sample rate of 44100 Hz, 1 byte per sample (256 different values), and, for simplicity, a single channel. &#xD;&#xA;&#xD;&#xA;I know that human hearing can perceive frequencies from 20Hz to 20kHz.  Consider for example, 1 second of sound: it consists of 44100 values which can be from 0 to 256.  &#xD;&#xA;&#xD;&#xA;How can I detect how to divide 44100 (sample rate) by 20Hz and 62Hz, 125Hz .... 16khz (for example 10 band eq). In other words how to define if the specified sample refers to 20Hz or 62Hz or 16kHz, etc.?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39784" PostHistoryTypeId="1" PostId="23653" RevisionGUID="87a23fce-95c8-44ba-a177-14d2e0997d17" CreationDate="2012-11-29T07:53:54.003" UserDisplayName="testCoder" Text="Equalization basics: How is sample rate frequency related to audio frequency?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39785" PostHistoryTypeId="3" PostId="23653" RevisionGUID="87a23fce-95c8-44ba-a177-14d2e0997d17" CreationDate="2012-11-29T07:53:54.003" UserDisplayName="testCoder" Text="&lt;audio&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39786" PostHistoryTypeId="36" PostId="23655" RevisionGUID="d3a34336-a5c1-4baf-915a-ad962d7bc705" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5450/equalization-basics-how-is-sample-rate-frequency-related-to-audio-frequency/5454#5454" />
  <row Id="39787" PostHistoryTypeId="36" PostId="23656" RevisionGUID="1015c701-3e72-46e3-867a-5cdb099804d4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2419/simple-free-program-to-add-audio-to-video" />
  <row Id="39788" PostHistoryTypeId="36" PostId="23657" RevisionGUID="46f2951d-d5c3-4929-b261-4e945178727e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2419/simple-free-program-to-add-audio-to-video/2966#2966" />
  <row Id="39789" PostHistoryTypeId="36" PostId="23658" RevisionGUID="8b683747-aa4f-4efa-9384-cef6bb627577" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2419/simple-free-program-to-add-audio-to-video/6845#6845" />
  <row Id="39790" PostHistoryTypeId="36" PostId="23659" RevisionGUID="1bd73cc7-6eef-41a8-b944-70a52e216691" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2419/simple-free-program-to-add-audio-to-video/9383#9383" />
  <row Id="39791" PostHistoryTypeId="36" PostId="23660" RevisionGUID="e8ca92fa-1b35-447a-a18e-b74ae0a15781" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2419/simple-free-program-to-add-audio-to-video/9386#9386" />
  <row Id="39792" PostHistoryTypeId="2" PostId="23657" RevisionGUID="77ad11c2-d513-4e47-8d1e-07835bbd57d6" CreationDate="2012-01-04T20:47:48.620" UserDisplayName="Justinas Dūdėnas" Text="I just used Windows Live Movie Maker exactly for that. It could be that it differs from Windows Movie Maker (which was superseded, afaik) on this aspect. You should try it, if you can." ContentLicense="CC BY-SA 3.0" />
  <row Id="39793" PostHistoryTypeId="2" PostId="23658" RevisionGUID="290c27fa-67c5-48af-ad8f-70bb6a87b6bf" CreationDate="2013-01-15T18:21:01.620" UserDisplayName="evilsoup" Text="The command-line tool ffmpeg can do this perfectly well.&#xD;&#xA;&#xD;&#xA;    ffmpeg -i input.mp4 -i input.mp3 -c copy output.mp4&#xD;&#xA;&#xD;&#xA;If the input video alread has an audio track that you want to replace, you have to use `-map` options like so (this will take all video streams from the first input, and all audio streams from the second input):&#xD;&#xA;&#xD;&#xA;    ffmpeg -i input.mp4 -i input.mp3 -map 0:v -map 1:a -c copy output.mp4&#xD;&#xA;&#xD;&#xA;It's an amazing tool, and if you want to you can do almost any editing task with it (short of chroma key, and even that will probably be added at some point).&#xD;&#xA;&#xD;&#xA;See [here](https://ffmpeg.org/download.html) for how to get ffmpeg (in your case, scroll down to 'Windows Builds')." ContentLicense="CC BY-SA 3.0" />
  <row Id="39794" PostHistoryTypeId="2" PostId="23659" RevisionGUID="60d9704c-2b24-40be-902f-22e7dcb454bb" CreationDate="2013-11-12T07:06:51.247" UserDisplayName="Liza Brown" Text="You can try YouTube Video Editor, it's an online free video maker, which can help you insert audio to video. But there is only one restrain, you need to upload your video to YouTube first." ContentLicense="CC BY-SA 3.0" />
  <row Id="39795" PostHistoryTypeId="2" PostId="23660" RevisionGUID="442a1411-e63f-479c-a2fb-9b0b68ed43c5" CreationDate="2013-11-12T08:43:44.270" UserId="7262" UserDisplayName="Volodya" Text="For this I would actually recommend MKV-merge, it has a nice gui interface, and if you are sattisfied with using MKV as the container (it can take almost every codec out there), then you are set.&#xD;&#xA;&#xD;&#xA;MKV-merge will do absolutely no re-encoding, and will simply put whatever streams that you want, one besides another. The output of it can be played by any video player that is worth talking about.&#xD;&#xA;&#xD;&#xA;If you need to have different container, then you should go with avlib or ffmpeg (whichever one you prefer)." ContentLicense="CC BY-SA 3.0" />
  <row Id="39796" PostHistoryTypeId="2" PostId="23656" RevisionGUID="35117e2a-83b8-4852-bfdb-67c692cb9022" CreationDate="2011-10-01T09:43:02.670" UserDisplayName="vondip" Text="I am looking for a small free tool that will allow me to add some audio to my video. Windows movie maker doesn't seem to work well from some reason.&#xD;&#xA;&#xD;&#xA;Any recommendations?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39797" PostHistoryTypeId="1" PostId="23656" RevisionGUID="35117e2a-83b8-4852-bfdb-67c692cb9022" CreationDate="2011-10-01T09:43:02.670" UserDisplayName="vondip" Text="Simple free program to add audio to video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39798" PostHistoryTypeId="3" PostId="23656" RevisionGUID="35117e2a-83b8-4852-bfdb-67c692cb9022" CreationDate="2011-10-01T09:43:02.670" UserDisplayName="vondip" Text="&lt;video&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39799" PostHistoryTypeId="36" PostId="23661" RevisionGUID="b1f858fe-50f1-4570-aa5b-0af3ad146713" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/749/how-do-i-remove-echo-from-an-audio-recording" />
  <row Id="39800" PostHistoryTypeId="36" PostId="23662" RevisionGUID="c7cb2d1e-5832-4c61-bda5-93a025edb584" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/749/how-do-i-remove-echo-from-an-audio-recording/750#750" />
  <row Id="39801" PostHistoryTypeId="36" PostId="23663" RevisionGUID="07976782-bc3b-4782-b80c-e9603cbdf24f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/749/how-do-i-remove-echo-from-an-audio-recording/778#778" />
  <row Id="39802" PostHistoryTypeId="2" PostId="23662" RevisionGUID="2f288b9d-c1f1-4d3d-901f-d347bc439c9e" CreationDate="2011-02-04T05:45:11.897" UserDisplayName="d-_-b" Text="It's not really possible to remove it completly. You could use a gate, but that would not remove any echo trailing into the voice. If you have an impulse signature you could reverse engineer the echo, but for what you want to do, it seems like you should get a better audio source." ContentLicense="CC BY-SA 2.5" />
  <row Id="39803" PostHistoryTypeId="2" PostId="23663" RevisionGUID="f6838971-03f5-48ea-8387-161bcab4d976" CreationDate="2011-02-08T21:37:07.640" UserDisplayName="user484" Text="Try a transient designer or enveloper. Don't expect perfect results, but they will work better than a standard gate on dynamic signals like voice." ContentLicense="CC BY-SA 2.5" />
  <row Id="39804" PostHistoryTypeId="2" PostId="23661" RevisionGUID="35a4f1c7-616e-422b-9bea-adbd887268e2" CreationDate="2011-02-04T01:17:46.110" UserDisplayName="Noah" Text="I'm working with the audio file of a drama recorded in a hall where most of the dialog has an echo. Not as bad as a stadium echo, but significant nonetheless.&#xD;&#xA;&#xD;&#xA;Since it is in the foreign language, I am trying to learn, I need it to be as clear as possible.  I've tried a number of techniques and filters with a variety of programs.  &#xD;&#xA;&#xD;&#xA;Sadly, no success.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any advice on how to removing this echo?" ContentLicense="CC BY-SA 2.5" />
  <row Id="39805" PostHistoryTypeId="1" PostId="23661" RevisionGUID="35a4f1c7-616e-422b-9bea-adbd887268e2" CreationDate="2011-02-04T01:17:46.110" UserDisplayName="Noah" Text="How do I remove echo from an audio recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="39806" PostHistoryTypeId="3" PostId="23661" RevisionGUID="35a4f1c7-616e-422b-9bea-adbd887268e2" CreationDate="2011-02-04T01:17:46.110" UserDisplayName="Noah" Text="&lt;audio-recording&gt;&lt;noise-cancelling&gt;&lt;echo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39807" PostHistoryTypeId="36" PostId="23664" RevisionGUID="e3439a90-6606-45ee-8a99-eda1c403662a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4500/m-box-mini-wont-record-with-logic" />
  <row Id="39808" PostHistoryTypeId="36" PostId="23665" RevisionGUID="dd87abe7-eb38-4e48-a892-c692f51d93b0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4500/m-box-mini-wont-record-with-logic/4501#4501" />
  <row Id="39809" PostHistoryTypeId="2" PostId="23665" RevisionGUID="b574767e-8576-4bd2-b9a1-bc43e059b1d0" CreationDate="2012-08-01T09:47:16.163" UserDisplayName="JPollock" Text="This happens to me all the time with my mBox 2 in Logic. Generally unplugging the USB cable, waiting a minue and plugging it back in fixes it. I think it is caused by your computer going to sleep and then waking up (which I silly.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="39810" PostHistoryTypeId="2" PostId="23664" RevisionGUID="5a75b097-34c3-463f-83df-58b340963ca1" CreationDate="2012-08-01T01:19:50.083" UserDisplayName="Lucas" Text="I am using an mbox mini with a macbook, it has been working fine. But all of a sudden logic won't record. I get nothing from either channels, microphone or guitar, so it's not phantom power, it's not mic/line or di/line switches. I can hear the instrument or microphone fine when I listen to what's coming straight from the mbox. But for some reason it isn't making its way into logic. Logic is set to the mbox and play back plays fine. I have checked input assignments and it seems to be in order. &#xD;&#xA;&#xD;&#xA;Any help would be much appreciated, I am stuck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="39811" PostHistoryTypeId="1" PostId="23664" RevisionGUID="5a75b097-34c3-463f-83df-58b340963ca1" CreationDate="2012-08-01T01:19:50.083" UserDisplayName="Lucas" Text="m-BOX Mini wont record with Logic" ContentLicense="CC BY-SA 3.0" />
  <row Id="39812" PostHistoryTypeId="3" PostId="23664" RevisionGUID="5a75b097-34c3-463f-83df-58b340963ca1" CreationDate="2012-08-01T01:19:50.083" UserDisplayName="Lucas" Text="&lt;audio-recording&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39813" PostHistoryTypeId="36" PostId="23666" RevisionGUID="43a38960-34fe-47b8-8c69-a46aac062814" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4134/determining-streaming-container-format" />
  <row Id="39814" PostHistoryTypeId="36" PostId="23667" RevisionGUID="1d168c41-1f76-4d5d-a853-9e3838caee1b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4134/determining-streaming-container-format/4172#4172" />
  <row Id="39815" PostHistoryTypeId="2" PostId="23667" RevisionGUID="0db7767b-0c2c-4132-8b97-c2ba6fd276d4" CreationDate="2012-06-12T17:22:58.187" UserId="7304" UserDisplayName="Julian" Text="Capture a chunk in Wireshark and then chose &quot;decode as&quot; and keep picking different A/V formats and see if any of them work. If none of that helps, upload a 100 kbyte wireshark pcap file and link to it here and I'll take a look." ContentLicense="CC BY-SA 3.0" />
  <row Id="39816" PostHistoryTypeId="2" PostId="23666" RevisionGUID="c2916335-3b0e-432b-a4a2-03a1724bd6d3" CreationDate="2012-06-07T19:40:02.557" UserDisplayName="Jay" Text="I'm completely new to video/audio formats, containers, and protocols. However, I have to figure out how to decode a bitstream that contains audio and video. I do not know the transport protocol, container format, or codecs used -- but I have been able to deduce a few things:&#xD;&#xA;&#xD;&#xA;- It's not RTP&#xD;&#xA;- It's over UDP on port 443&#xD;&#xA;- Audio and video are in datagrams&#xD;&#xA;- audio datagram payloads are always 76 bytes in length, and there are about 42 of them a second.&#xD;&#xA;- video datagram payloads are a maximum of 536 bytes, average is around 500 bytes, and there are about 62 of them a second.&#xD;&#xA;&#xD;&#xA;How should I even begin to try to decode it?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39817" PostHistoryTypeId="1" PostId="23666" RevisionGUID="c2916335-3b0e-432b-a4a2-03a1724bd6d3" CreationDate="2012-06-07T19:40:02.557" UserDisplayName="Jay" Text="Determining streaming container format" ContentLicense="CC BY-SA 3.0" />
  <row Id="39818" PostHistoryTypeId="3" PostId="23666" RevisionGUID="c2916335-3b0e-432b-a4a2-03a1724bd6d3" CreationDate="2012-06-07T19:40:02.557" UserDisplayName="Jay" Text="&lt;video&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39819" PostHistoryTypeId="36" PostId="23668" RevisionGUID="9a6fa2b9-a352-4ac2-8b5d-5a95a8b014b2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9268/purchasing-a-portable-digital-recorder-for-professional-video-work" />
  <row Id="39820" PostHistoryTypeId="2" PostId="23669" RevisionGUID="a8b6d2ce-3622-4188-845a-4c517f878075" CreationDate="2013-10-26T21:04:34.000" UserId="7343" UserDisplayName="d.free" Text="The main things you should look for are the following:&#xD;&#xA;&#xD;&#xA;ADC: Analog to digital converter, which turns the XLR signals into digital bits. More expensive recorders will have better ADCs - look for one with a high SNR, dynamic range, etc.&#xD;&#xA;&#xD;&#xA;Preamp: Does it have enough power to run your mics? Some require more juice than others.&#xD;&#xA;&#xD;&#xA;Connectivity: Are you recording to an SD card or to the line inputs of your camera?&#xD;&#xA;&#xD;&#xA;Power: How long does the battery last? Can you charge it on the go?&#xD;&#xA;&#xD;&#xA;To be honest, 24bit/96kHz isn't the most important thing if the recorder is crap. Look at the specs for your recorder to find the best hardware for the price (I don't know how much you're willing to spend) and if possible do a test recording at the store. Sometimes, cheap hardware actually performs admirably." ContentLicense="CC BY-SA 3.0" />
  <row Id="39821" PostHistoryTypeId="2" PostId="23668" RevisionGUID="c9b2bf66-97d0-4e1d-95b4-c697b7fee64f" CreationDate="2013-10-26T19:19:40.090" UserDisplayName="Hugh Guiney" Text="I am an independent filmmaker. I already own a prosumer-grade camcorder and I am looking to complement it with an external audio field recorder. Perusing B&amp;H, portable options with XLR inputs range from [$180–$6,650](http://www.bhphotovideo.com/c/search?Ns=p_PRICE_2%7c0&amp;ci=14934&amp;N=4248627700+4294956135&amp;srtclk=sort). I know that audio is “80% of what you see” (or some such figure), so I don’t mind spending on quality, but when even low-end offerings are capable of 24-bit/96kHz WAV recording, how do I decide how much to budget for such a purchase? Does quality plateau after a certain price point?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39822" PostHistoryTypeId="1" PostId="23668" RevisionGUID="c9b2bf66-97d0-4e1d-95b4-c697b7fee64f" CreationDate="2013-10-26T19:19:40.090" UserDisplayName="Hugh Guiney" Text="Purchasing A Portable Digital Recorder for Professional Video Work" ContentLicense="CC BY-SA 3.0" />
  <row Id="39823" PostHistoryTypeId="3" PostId="23668" RevisionGUID="c9b2bf66-97d0-4e1d-95b4-c697b7fee64f" CreationDate="2013-10-26T19:19:40.090" UserDisplayName="Hugh Guiney" Text="&lt;audio-recording&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39824" PostHistoryTypeId="36" PostId="23669" RevisionGUID="8464d066-22aa-4620-add7-a94b1cb1e53e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9268/purchasing-a-portable-digital-recorder-for-professional-video-work/9269#9269" />
  <row Id="39825" PostHistoryTypeId="36" PostId="23670" RevisionGUID="58ea2352-5130-4ddb-9c46-ed42eacaeba2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9268/purchasing-a-portable-digital-recorder-for-professional-video-work/9274#9274" />
  <row Id="39826" PostHistoryTypeId="36" PostId="23671" RevisionGUID="321da674-b840-449d-ad31-b03d8715e7a7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9268/purchasing-a-portable-digital-recorder-for-professional-video-work/9275#9275" />
  <row Id="39827" PostHistoryTypeId="2" PostId="23671" RevisionGUID="e4b43a2e-ebc3-476f-8517-12b026aade3e" CreationDate="2013-10-27T18:10:41.480" UserDisplayName="Patrick" Text="It all boils down to preference and price point. In my opinion, it's not necessary to spend upwards of $1000 on a field recorder when really, it's more about your mics and editing in post. Even the best recorder will sound bad without the proper cables, mics, preamps, and capable audio mixers." ContentLicense="CC BY-SA 3.0" />
  <row Id="39828" PostHistoryTypeId="2" PostId="23670" RevisionGUID="86b565eb-061d-4736-8373-9b38cec6c480" CreationDate="2013-10-27T16:58:10.660" UserDisplayName="steve n" Text="The majority of the film jobs I've had lately are as sound mixer and I use the Tascam DR40, it records  in as high as 24 bit 96 k and I'm very happy with it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39829" PostHistoryTypeId="36" PostId="23672" RevisionGUID="e8cde8a0-5f83-4287-bbf4-f269b6517310" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8239/audio-interface-guitar-pedal-chain-audio-interface" />
  <row Id="39830" PostHistoryTypeId="36" PostId="23673" RevisionGUID="7f2483a2-52b8-454b-829f-094b6574a773" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8239/audio-interface-guitar-pedal-chain-audio-interface/8240#8240" />
  <row Id="39831" PostHistoryTypeId="2" PostId="23673" RevisionGUID="ef654260-aeba-45e5-ae7e-e36347e7ae62" CreationDate="2013-06-27T14:42:23.643" UserId="7174" Text="Since your interface has an instrument input and the stomp boxes are designed to work with an instrument line, I would hazard that the best quality results will likely result from going in to the instrument input.  The trick will be to get the output from the audio interface down to the correct impedance for the pedals which may require a significant amount of pad." ContentLicense="CC BY-SA 3.0" />
  <row Id="39832" PostHistoryTypeId="2" PostId="23672" RevisionGUID="835ae709-905c-4fb5-8407-3a91c88cefb9" CreationDate="2013-06-27T13:55:54.783" UserDisplayName="user4286" Text="I have a bunch of guitar pedals (stompboxes) that are sitting idle. I'd like to run a mono track of music from my computer through these pedals and record it back into the computer again. The audio might be anything from drums to a synth. Of course I'd like the quality of the audio to be as high as possible.&#xD;&#xA;&#xD;&#xA;I have a Presonus Firebox which I believe I could use to do this. Here are its specs:&#xD;&#xA;&#xD;&#xA;http://www.presonus.com/products/FireBox/techspecs&#xD;&#xA;&#xD;&#xA;My understanding is that the preamp instrument inputs will be suitable but that I could use a DI box and input to the mic inputs instead? Is this correct? What will the difference in quality be do you think? &#xD;&#xA;&#xD;&#xA;What about the line inputs? Can I connect these directly to the pedal chain or is the output impedance too high? &#xD;&#xA;&#xD;&#xA;__UPDATE:__&#xD;&#xA;&#xD;&#xA;The outputs from the firebox are balanced TRS and have a 51 Ohm output impedance.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39833" PostHistoryTypeId="1" PostId="23672" RevisionGUID="835ae709-905c-4fb5-8407-3a91c88cefb9" CreationDate="2013-06-27T13:55:54.783" UserDisplayName="user4286" Text="Audio Interface &gt; Guitar Pedal Chain &gt; Audio Interface" ContentLicense="CC BY-SA 3.0" />
  <row Id="39834" PostHistoryTypeId="3" PostId="23672" RevisionGUID="835ae709-905c-4fb5-8407-3a91c88cefb9" CreationDate="2013-06-27T13:55:54.783" UserDisplayName="user4286" Text="&lt;audio-recording&gt;&lt;effects&gt;&lt;impedance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39835" PostHistoryTypeId="36" PostId="23674" RevisionGUID="88e12dc2-784f-4abe-ba7b-2010e171582e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1282/what-do-i-need-to-make-reasonable-quality-amateur-recordings-of-vocals-piano-to" />
  <row Id="39836" PostHistoryTypeId="36" PostId="23675" RevisionGUID="b08173fe-8420-4cfb-834e-4437dbd40235" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1282/what-do-i-need-to-make-reasonable-quality-amateur-recordings-of-vocals-piano-to/1285#1285" />
  <row Id="39837" PostHistoryTypeId="36" PostId="23676" RevisionGUID="7142568f-57e4-45c1-859b-7ffac8124c82" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1282/what-do-i-need-to-make-reasonable-quality-amateur-recordings-of-vocals-piano-to/1286#1286" />
  <row Id="39838" PostHistoryTypeId="2" PostId="23675" RevisionGUID="2789121c-fb6c-426b-9f8b-a72dff1a8f49" CreationDate="2011-04-26T18:24:10.847" UserId="17571" UserDisplayName="Zeronyne" Text="This is a very tricky question because much of it is subjective. What may sound acceptable or even good to you may not be bearable for someone else and vice versa.&#xD;&#xA;&#xD;&#xA;That said, there are several tiers of techniques and equipment that need rising levels of money and expertise. So I will try to answer the question as simply as possible.&#xD;&#xA;&#xD;&#xA;The simplest way to try to improve the quality of sound would be to get two or more microphones (and stands), a small mixer, and some cables. One or more mics for the piano and a good vocal mic with good off-axis rejection through a mixer will give you much more control over your audio quality into your camcorder. If you haven;t done this before, you should talk to someone who at least dabbles in recording to give you some basic instruction on the use of a mixer.&#xD;&#xA;&#xD;&#xA;Once you do this, I imagine your biggest challenge will be getting a quality sound from your piano. amateur acoustic piano recordings on Youtube are uniformly boomy and overbearing. You can reduce this effect through the use of some sound absorption (blankets), but the placement is HIGHLY dependent on your environment. anything that cannot be solved by mic position and treatment of the space might be addressed by using an outboard equalization unit, but this may be beyond your scope.&#xD;&#xA;&#xD;&#xA;Obviously, there is much more you could do, but without involving a computer or some outboard gear that requires at least a rudimentary knowledge of audio production, I think the steps above will help you get the sound you are looking for :not bad. It will at least be better than it is. There are many, many microphones and mixers that would fit the bill...you really need to specify a budget to get concrete suggestions. &#xD;&#xA;&#xD;&#xA;If the software you are using to edit your video enables you to edit the audio separately from your video, there is a lot more you can do." ContentLicense="CC BY-SA 3.0" />
  <row Id="39839" PostHistoryTypeId="2" PostId="23676" RevisionGUID="2640e748-6ecd-445e-be5f-68e4b35127be" CreationDate="2011-04-26T18:44:08.033" UserId="7471" UserDisplayName="Mark Heath" Text="Before you buy any microphones, you will have to consider how you will connect them into your laptop. It sounds like you don't have a separate sound card, and the microphone input on your laptop is likely to be poor quality.&#xD;&#xA;&#xD;&#xA;There are several options. First you could get a microphone that has a built-in USB interface (eg the [Samson C01U][1]). This will be the cheapest option, but may start to prove awkward if you want to use more than one microphone. &#xD;&#xA;&#xD;&#xA;Another option is to get yourself a budget USB audio interface. For example, the [Alesis iO2][2], will allow you to connect two microphones at once, and provides &quot;phantom power&quot;, which is important if you want to use a [condenser microphone][3]. &#xD;&#xA;&#xD;&#xA;The third option is to get a camcorder with external audio input and use a mixer to feed the signals from the microphone into that.&#xD;&#xA;&#xD;&#xA;On to the microphones themselves, you can spend almost as much as you want on a microphone. One example of an entry level condenser microphone is the [SE Electronics SE2000][4]. Dynamic vocal microphones are a bit cheaper (e.g. [Sennheiser e-845][5])&#xD;&#xA;&#xD;&#xA;As for whether you need one or two microphones, it will be easier to get a good balance if you had one microphone for voice and one for piano, otherwise, the piano could easily overpower your voice. However, with good mic placement you should be able to get a decent recording with just one microphone, certainly a lot better than you were getting before.&#xD;&#xA;&#xD;&#xA;Finally, on the software question, there are a lot of choices for budget audio recording. The free [audacity][6] program may well be all that you need, and will let you adjust the levels between each microphone. I'm not sure that it can capture video at the same time though, so you may need to find a different video capture program, preferably one that lets you do some basic editing and mixing of the two channels of audio after capturing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.samsontech.com/products/productpage.cfm?prodid=1810&#xD;&#xA;  [2]: http://www.alesis.com/io2&#xD;&#xA;  [3]: http://homerecording.about.com/od/microphones101/a/mic_types.htm&#xD;&#xA;  [4]: http://www.seelectronics.com/sE2000.html&#xD;&#xA;  [5]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_wired-microphones_vocal-microphones_evolution-800_004515&#xD;&#xA;  [6]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39840" PostHistoryTypeId="2" PostId="23674" RevisionGUID="2af15abf-bc8a-47d3-93a4-6b0e458a3d38" CreationDate="2011-04-26T16:43:44.530" UserDisplayName="Brian Schroth" Text="I have been recording myself playing piano and posting to Youtube, just so friends can take a look at how my progress is with the instrument for the most part, but also to post tutorials for some songs I've learned and just for fun in general. I have been using the built in webcam on my laptop (the only recording device I have) and the quality is of course not very good. &#xD;&#xA;&#xD;&#xA;I would like to invest in upgrading my equipment so that the recordings actually sound decent. I'm looking more for &quot;not bad&quot; quality rather than really good quality, as this is strictly amateur and fairly unimportant so I'd like to spend as little as possible. What do I need to do this, and how much will it cost? Do I need a separate mic for the vocals and the piano? What about software? I know approximately nothing about recording.&#xD;&#xA;&#xD;&#xA;The piano is an upright Cable Nelson CN216." ContentLicense="CC BY-SA 3.0" />
  <row Id="39841" PostHistoryTypeId="1" PostId="23674" RevisionGUID="2af15abf-bc8a-47d3-93a4-6b0e458a3d38" CreationDate="2011-04-26T16:43:44.530" UserDisplayName="Brian Schroth" Text="What do I need to make reasonable quality amateur recordings of vocals/piano to put on Youtube?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39842" PostHistoryTypeId="3" PostId="23674" RevisionGUID="2af15abf-bc8a-47d3-93a4-6b0e458a3d38" CreationDate="2011-04-26T16:43:44.530" UserDisplayName="Brian Schroth" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;software&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39843" PostHistoryTypeId="36" PostId="23677" RevisionGUID="0cec67f8-d3e9-4e9f-89ae-69ba73e2d716" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3309/in-what-order-do-i-make-edits-to-audio-in-a-video-clip" />
  <row Id="39844" PostHistoryTypeId="2" PostId="23678" RevisionGUID="ff43e55b-3e73-4a78-b6c3-11e3a366c82b" CreationDate="2012-02-15T08:15:18.113" UserDisplayName="Chard" Text="Typically you would sync all media first. There may not be a defining action and/or distinctive sound in the media that allows you to effectively sync audio and visual in the part of the clip that you want to keep - so it is best to have the entire clip on the timeline to assist with syncing. In filmmaking, syncing audio and vision is made easy via the use of a clapper board, wherein the board states which take is about to be shot (or what take has just been shot in the case of a tail slate), the clapper loader reads out the take number and then 'claps' the board. The sharp spike in audio is then used to match up the connecting of the two pieces of the board – thereby syncing the media. If you were to sync media after editing you would have to sync up a massive amount of clips instead of just the individual takes.&#xD;&#xA;&#xD;&#xA;After syncing comes editing. Cut everything together they way you want it, discard the things you don't want.&#xD;&#xA;&#xD;&#xA;Lastly you apply effects and level audio – make it all nice and pretty.&#xD;&#xA;&#xD;&#xA;I'm not too sure about the workflow of Kdenlive to Audacity, so there is a chance this technique might not be the best for you. However, this is the way things are generally done when making a film or any type of video that requires syncing and heavy editing. " ContentLicense="CC BY-SA 3.0" />
  <row Id="39845" PostHistoryTypeId="2" PostId="23677" RevisionGUID="79913b48-08b1-46a3-95d3-78f5b5f868e8" CreationDate="2012-02-15T07:12:20.283" UserId="8124" UserDisplayName="Dave M G" Text="I have a video of a live performance that was recorded on three different cameras. One of the cameras captured the audio much better than expected, so that is the main audio track I am choosing to use.&#xD;&#xA;&#xD;&#xA;The main portion of the audio consists of one person talking. I want to edit the audio to trim out a couple of mistakes and unnecessary parts. Then I'm going to take it, and the video that goes with it, and combine them with clips from other videos. In the end, the video currently attached to the audio will probably only be on screen for about 10% of the time.&#xD;&#xA;&#xD;&#xA;I think I have three things I need to do before I start adding in other clips:&#xD;&#xA;&#xD;&#xA; - Edit the audio to trim out unwanted sections.&#xD;&#xA;&#xD;&#xA; - Apply effects to the audio, such filtering noise or adjusting levels&#xD;&#xA;   and things like that.&#xD;&#xA;   &#xD;&#xA; - Edit the base video so that it syncs with the audio. *(By &quot;base&quot; video,&#xD;&#xA;   I mean the one that came from the same camera that I'm getting the&#xD;&#xA;   audio. Even though it will be covered by other clips most of the&#xD;&#xA;   time, it needs to sync for when it is shown.)*&#xD;&#xA;&#xD;&#xA;So, my question is:&#xD;&#xA;&#xD;&#xA;What order do I do these steps in?&#xD;&#xA;&#xD;&#xA;I can see advantages and disadvantages in various combinations. Is there a standard approach, or are there considerations based on desired results?&#xD;&#xA;&#xD;&#xA;In case it matters: I'll be doing the video editing in Kdenlive, with some audio editing done with Audacity." ContentLicense="CC BY-SA 3.0" />
  <row Id="39846" PostHistoryTypeId="1" PostId="23677" RevisionGUID="79913b48-08b1-46a3-95d3-78f5b5f868e8" CreationDate="2012-02-15T07:12:20.283" UserId="8124" UserDisplayName="Dave M G" Text="In what order do I make edits to audio in a video clip?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39847" PostHistoryTypeId="3" PostId="23677" RevisionGUID="79913b48-08b1-46a3-95d3-78f5b5f868e8" CreationDate="2012-02-15T07:12:20.283" UserId="8124" UserDisplayName="Dave M G" Text="&lt;audio&gt;&lt;editing&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39848" PostHistoryTypeId="36" PostId="23678" RevisionGUID="780bd428-0eb1-400f-af40-b3f668b36a69" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3309/in-what-order-do-i-make-edits-to-audio-in-a-video-clip/3311#3311" />
  <row Id="39849" PostHistoryTypeId="36" PostId="23679" RevisionGUID="81145f2a-4679-4b6d-981a-60b95fe30f09" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2407/is-it-common-to-have-problems-when-recording-audio-on-a-computer-as-opposed-to-a" />
  <row Id="39850" PostHistoryTypeId="2" PostId="23680" RevisionGUID="53cf2faf-48bd-4c63-a349-76b9af41fae6" CreationDate="2011-09-30T05:21:39.427" UserId="7294" UserDisplayName="Warrior Bob" Text="Using computers to record doesn't necessarily cause quality problems in and of itself, but it does introduce a number of variables that you otherwise wouldn't have to worry about:&#xD;&#xA;&#xD;&#xA;- **Latency:** Digitizing audio into a computer involves buffering samples, and then processing them. It is possible to minimize it with good hardware, but as far as I know it cannot be completely eliminated.&#xD;&#xA;- **Drivers:** Hardware attached to a computer requires driver software, which can be buggy. Not all manufacturers' drivers are of the same quality, and it's often not clear whether an issue is related to your configuration or to bad drivers.&#xD;&#xA;- **Resources:** Your audio software and hardware have to compete for CPU time and memory, just like any other application. This means that it's possible to interrupt your audio due to other applications using system resources, even when it seems like they shouldn't affect audio at all. This can show up in unexpected ways, such as your audio dropping when your wireless card attempts to find a network (this has happened to me).&#xD;&#xA;- **Recording software:** DAW and recording software can be very complicated, since there are a lot of options.&#xD;&#xA;- **General complexity:** There are more changeable parts involved that could come from different manufacturers (interface, usb/firewire, CPU/RAM, hard drive, operating system), so it's a more complicated machine. &#xD;&#xA;&#xD;&#xA;There are ways to deal with each of these. If you're monitoring your recording through hardware, or perhaps you don't need to monitor it (such as a podcast where you've already got your levels set and don't need to hear yourself), you can get around the latency issue. Alternately, you could invest in hardware that can handle lower latencies. You can avoid driver problems by sticking to hardware that's known to have good driver support, or that you've been able to try out. You can minimize other applications' resource use by not running other software. And even very complicated systems can be learned.&#xD;&#xA;&#xD;&#xA;For what it's worth, I personally use my laptop and a firewire interface for all of my general recording, and it has worked out very well for me - I don't mind the complexity compared to a recorder, since the tradeoff in flexibility is preferable to me. I don't run much non-music software on this computer, and I keep the wireless off during important recordings. Latency is a minor issue, but has been tolerable - I use my interface's hardware monitoring feature when I need to.&#xD;&#xA;&#xD;&#xA;As far as specs, the more power the better, but any machine capable of running its operating system with plenty of room to spare should be adequate. Check the recommendations on your interface hardware as well as recommendation software, and add in some extra breathing room. It is possible to happily record on older hardware so long as you're using software from a similar era." ContentLicense="CC BY-SA 3.0" />
  <row Id="39851" PostHistoryTypeId="2" PostId="23679" RevisionGUID="7ef53568-4856-4a41-b46b-fe2f0c8fe084" CreationDate="2011-09-30T02:58:05.080" UserId="20859" UserDisplayName="Ian Dunn" Text="I'm going to be recording a podcast and I'm trying to decide if I need to buy a multi-track recorder, or if I can get away with recording to my laptop (via an audio interface). I've noticed some comments here and there alluding to problems when recording to a computer (hard drive hiccups, driver issues, etc), and I'm worried that the using my laptop might introduce problems. A multi-track recorder isn't really in my budget, though.&#xD;&#xA;&#xD;&#xA;Is it common to have quality problems when recording to a laptop? Are there recommended system requirements for hard drive speed, available RAM, etc? If problems are common, are there ways to minimize or fix them?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39852" PostHistoryTypeId="1" PostId="23679" RevisionGUID="7ef53568-4856-4a41-b46b-fe2f0c8fe084" CreationDate="2011-09-30T02:58:05.080" UserId="20859" UserDisplayName="Ian Dunn" Text="Is it common to have problems when recording audio on a computer as opposed to a multi-track recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39853" PostHistoryTypeId="3" PostId="23679" RevisionGUID="7ef53568-4856-4a41-b46b-fe2f0c8fe084" CreationDate="2011-09-30T02:58:05.080" UserId="20859" UserDisplayName="Ian Dunn" Text="&lt;audio-recording&gt;&lt;laptop&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39854" PostHistoryTypeId="36" PostId="23680" RevisionGUID="e51183ea-286d-4603-bc5d-08cedd641f00" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2407/is-it-common-to-have-problems-when-recording-audio-on-a-computer-as-opposed-to-a/2408#2408" />
  <row Id="39855" PostHistoryTypeId="36" PostId="23681" RevisionGUID="0fa509df-621b-47a8-a6aa-ac13528c46ce" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2407/is-it-common-to-have-problems-when-recording-audio-on-a-computer-as-opposed-to-a/2409#2409" />
  <row Id="39856" PostHistoryTypeId="2" PostId="23681" RevisionGUID="0dc97253-aecf-498c-828e-0d1581372bb4" CreationDate="2011-09-30T05:39:51.900" UserDisplayName="gauss256" Text="In addition to the concerns that Warrior Bob has noted, computer recordings can be noisy.  And they tend to have surprisingly inaccurate recording speeds which will be a problem if you want to sync with video.  (If not, it's not an issue.)&#xD;&#xA;&#xD;&#xA;A portable audio recorder like a Zoom H4n will set you back a few hundred dollars, but will deliver much better quality, be easier to use and will allow better quality mics to be used." ContentLicense="CC BY-SA 3.0" />
  <row Id="39857" PostHistoryTypeId="36" PostId="23682" RevisionGUID="0b312144-85be-4ef7-86d6-6e623de74b9d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4439/audio-conversion-from-optical-audio-to-3-5-analog-jack" />
  <row Id="39858" PostHistoryTypeId="2" PostId="23683" RevisionGUID="a788ac2d-7705-42a1-b35f-dc042d411fb5" CreationDate="2012-07-23T20:45:00.987" UserDisplayName="JMFR" Text="A DAC converter like the one linked, will look through the stream of bits coming from the optical/toslink connection and create an analog bit stream from them. The quality associated with this box will most likely result from the power output (SNR) of the actual DAC chip itself, this will be the quality limiting factor since the other connection is purely analog. An RCA to 3.5mm can be easily acquired from many electronics retailers. i.e. RadioShack [Y adapter][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.radioshack.com/product/index.jsp?productId=3449316" ContentLicense="CC BY-SA 3.0" />
  <row Id="39859" PostHistoryTypeId="2" PostId="23682" RevisionGUID="07c590f1-f54b-4353-b923-61d08123ff35" CreationDate="2012-07-23T20:32:03.223" UserDisplayName="Patrick" Text="I need a DAC to convert from optical audio (coming from Apple TV) to a 3.5 analog jack.&#xD;&#xA;&#xD;&#xA;I was thinking to buy something like [this][1], but I'm wondering if:&#xD;&#xA;&#xD;&#xA;1- can I easily find an adapter from 2 RCA outputs to a 3.5mm jack ?&#xD;&#xA;&#xD;&#xA;2- Is the final audio quality lower after the d-a conversion and the RCA-3.5 adapter ?&#xD;&#xA;&#xD;&#xA;thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.de/Digital-Toslink-Analog-stereo-Konverter/dp/B004O2P0CS/ref=sr_1_5?ie=UTF8&amp;qid=1343075109&amp;sr=8-5" ContentLicense="CC BY-SA 3.0" />
  <row Id="39860" PostHistoryTypeId="1" PostId="23682" RevisionGUID="07c590f1-f54b-4353-b923-61d08123ff35" CreationDate="2012-07-23T20:32:03.223" UserDisplayName="Patrick" Text="Audio conversion from optical audio to 3,5 analog jack" ContentLicense="CC BY-SA 3.0" />
  <row Id="39861" PostHistoryTypeId="3" PostId="23682" RevisionGUID="07c590f1-f54b-4353-b923-61d08123ff35" CreationDate="2012-07-23T20:32:03.223" UserDisplayName="Patrick" Text="&lt;audio&gt;&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39862" PostHistoryTypeId="36" PostId="23683" RevisionGUID="35277813-61e5-4dda-9618-c48cef93d898" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4439/audio-conversion-from-optical-audio-to-3-5-analog-jack/4440#4440" />
  <row Id="39863" PostHistoryTypeId="36" PostId="23684" RevisionGUID="72e0497d-7e0d-493f-b7a1-b27e30923fc1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9360/planning-a-simple-setup-for-recording-violin" />
  <row Id="39864" PostHistoryTypeId="2" PostId="23685" RevisionGUID="84aa8fd0-2cee-4339-9e42-e66c6dd9ec9b" CreationDate="2013-11-10T02:14:52.037" UserId="7200" UserDisplayName="leftaroundabout" Text="Well, it depends! The first important consideration: what style do you play / wish to record? For a classical performance, you need quite a different sound than for a folky dance tune, a jazzy improvisation or even a rock or metal lead role.&#xD;&#xA;&#xD;&#xA;The main part of the differences in sound is the room component. For a classical recording, you want a good-sounding room/hall with a considerable amount of natural reverberation. That's probably not feasible for you right now, so I shan't discuss it further here.&#xD;&#xA;&#xD;&#xA;For other styles, such a concert-hall approach generally isn't really needed or even desirable. Still, it's advisable to record in a room with pleasant acoustic character: unless you place the microphone(s) very close to the instruments, the room will be audible.&#xD;&#xA;&#xD;&#xA;Microphones&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;In my experience, it's impossible to get a properly &quot;smooth&quot; sound when recording string instruments with close microphones only. This probably has to do with the _combination_ of the instrument's sound surfaces: only if all emission directions contribute to the overall sound (via reflections), it sums up to something with both good bow definition and pleasant body tone.&lt;br&gt;&#xD;&#xA;That said, even a close-mic sound has its applications; it tends to be pretty harsh, but the immediateness makes it possible to place in a loud rock environment audacious solo parts that would with more traditional sound just &quot;drown&quot; in the mix.&#xD;&#xA;If you want precisely that, you need just one microphone. A large-diaphragm condenser mic (e.g. AKG C3000, low-budget Behringer B1) would be my preference here: it gives you a very full, powerful sound. But you might even try a dynamic microphone (e.g. the classic Shure SM57), this would give you an even harsher mid-oriented tone.&#xD;&#xA;&#xD;&#xA;More likely, you _should_ permit some natural room sound dissipation as part of your recording, with not-too-close mics. You won't get around condenser technology then, only this offers the treble-fidelity, linearity and noise ratio required for a really good &quot;natural listening experience&quot;.&#xD;&#xA;&#xD;&#xA;A single large-diaphragm mic, merely placed a bit further away, can yield quite a good base sound. However, the reverb part usually comes out much more efficient in stereo, so (keeping it simple) I would prefer a matched stereo pair of small-diaphragm mics. The Oktava Mk12 has become a quite popular still-affordable choice, and for even less money there's again a Behringer offer, the C2. There also are readily-built stereo microphones around; those are easy to set up (at the expense of flexibility, but that may not matter much to you).&#xD;&#xA;&#xD;&#xA;Connecting to the PC&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;You need an audio interface with at least two built-in mic preamps incl. 48V phantom power (that's needed for condenser mics). There's a wealth of such interfaces available, e.g. M-Audio Fast Track pro, Focusrite Sapphire...&#xD;&#xA;&#xD;&#xA;That's pretty much it then, just connect the microphones to the interface with XLR cables and the interface to the PC with the USB or FireWire cable.&#xD;&#xA;&#xD;&#xA;Software&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;Apart from the drivers for the interface (ASIO is de-facto standard on Windows) you need a [DAW](http://en.wikipedia.org/wiki/Digital_audio_workstation). For you application the free [Audacity](http://audacity.sourceforge.net/) should be fine; should you need some more post-arranging, editing &amp; FX stuff I'd recommend [Reaper](http://reaper.fm)." ContentLicense="CC BY-SA 3.0" />
  <row Id="39865" PostHistoryTypeId="2" PostId="23684" RevisionGUID="75dfbb9a-9e48-4ca9-91e5-7ecb7a74a734" CreationDate="2013-11-09T21:48:16.340" UserId="8131" UserDisplayName="FunkyFresh84" Text="I am an amateur violinist. I would like to start to record my playing, doing the recording myself. I will be playing and recording classical, eastern European folk and Jazz. I would like your help in planning a simple but reasonable quality setup for recording to my PC. I don't currently have any recording equipment apart from a Windows PC. &#xD;&#xA;&#xD;&#xA;So I need your help with three things -&#xD;&#xA;&#xD;&#xA;An overview of the components that are required. So, what sort of microphone do I need? How do I connect the microphone to the PC. Do I need any boxes to relay the microphone through before connecting to the PC? What software should I use to capture the input? Is there simple to use or free software available? Is there anything I should generally be aware of when recording to a PC?&#xD;&#xA;&#xD;&#xA;What should I consider when choosing individual pieces of equipment for recording violin? What should I consider when looking at second hand equipment?&#xD;&#xA;&#xD;&#xA;And could you give any instruction and advice on recording? Are there any good introductory tutorials on recording in general and or recording acoustic instruments like violin?&#xD;&#xA;&#xD;&#xA;Also I'm not so much interested in pickups as it seems to me that they don't generally produce sound of a fine quality.&#xD;&#xA;&#xD;&#xA;Thank you very much for reading and helping me get started with recording!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39866" PostHistoryTypeId="1" PostId="23684" RevisionGUID="75dfbb9a-9e48-4ca9-91e5-7ecb7a74a734" CreationDate="2013-11-09T21:48:16.340" UserId="8131" UserDisplayName="FunkyFresh84" Text="Planning a simple setup for recording violin" ContentLicense="CC BY-SA 3.0" />
  <row Id="39867" PostHistoryTypeId="3" PostId="23684" RevisionGUID="75dfbb9a-9e48-4ca9-91e5-7ecb7a74a734" CreationDate="2013-11-09T21:48:16.340" UserId="8131" UserDisplayName="FunkyFresh84" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;home-studio&gt;&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39868" PostHistoryTypeId="36" PostId="23685" RevisionGUID="52fd63e3-1423-4163-8006-317afa23c0f4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9360/planning-a-simple-setup-for-recording-violin/9362#9362" />
  <row Id="39869" PostHistoryTypeId="36" PostId="23686" RevisionGUID="0ccb4344-efd6-4c2d-afee-bbda96670afa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7551/using-home-system-for-pa-duties" />
  <row Id="39870" PostHistoryTypeId="36" PostId="23687" RevisionGUID="65f4d514-9cb5-4c39-9eab-8dc61e677da1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7551/using-home-system-for-pa-duties/7554#7554" />
  <row Id="39871" PostHistoryTypeId="2" PostId="23687" RevisionGUID="cad25bff-65a3-4d54-9bf7-3beb536cd681" CreationDate="2013-03-31T23:37:06.017" UserId="7174" Text="It really depends on how large the lot is and how loud you want the volume.  It's probably going to be a bit of a trick to get a signal into a consumer amp (I guess maybe a tape out could do it if you have a tape out on the mixer), but the speakers should work as long as you don't exceed their limits.  They may or may not be powerful enough though since outdoors is going to be a lot harder to cover than indoors (also, exposure to the elements may not  be great for the speakers).&#xD;&#xA;&#xD;&#xA;I don't think there is really going to be an better bet than trying a dry run.  Be sure to plug in the speakers before turning on the amp and turn on the amp at the lowest level.  Don't push them past the point where you hear distortion and it is unlikely that you will damage them." ContentLicense="CC BY-SA 3.0" />
  <row Id="39872" PostHistoryTypeId="2" PostId="23686" RevisionGUID="afc093c3-ec3d-471e-9840-1ce1ad0e7cb0" CreationDate="2013-03-31T15:38:02.763" UserDisplayName="user3873" Text="I have a 150W amp and these two Pioneer speakers (6 ohms, 75W each) that have 8 inch woofers and look pretty powerful. I'm wondering if they can be used for PA duty as well... I have a friend who wants to borrow this for use as a PA system for his outdoor party. The sound does not have to be really loud, but loud enough (these speakers produce 91db at 1W), and the amp will be connected to a mixer that is linked to an XLR mic (for speaking, not singing) and a computer for playing music.&#xD;&#xA;&#xD;&#xA;It seems that my system is capable enough... I've pushed it hard at my own home and the sound still appears good. However, I'm not sure what I'll be like outdoors (I dont want to test it in my backyard since its tiny and I dont want any complaints, while my friend has a large lot)&#xD;&#xA;&#xD;&#xA;We will rent PA speakers if we have to, but I'm wondering if my system can do the job without any damage to the amp or speakers. Only recorded (not live) music will be played through the speakers, so the dynamic range to not too large. However, I just dont want to toast my system.&#xD;&#xA;&#xD;&#xA;P.S. If PA speakers are to be rented, how much power is necessary?&#xD;&#xA;&#xD;&#xA;Picture of speakers:&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/sQxTb.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="39873" PostHistoryTypeId="1" PostId="23686" RevisionGUID="afc093c3-ec3d-471e-9840-1ce1ad0e7cb0" CreationDate="2013-03-31T15:38:02.763" UserDisplayName="user3873" Text="Using Home System for PA Duties" ContentLicense="CC BY-SA 3.0" />
  <row Id="39874" PostHistoryTypeId="3" PostId="23686" RevisionGUID="afc093c3-ec3d-471e-9840-1ce1ad0e7cb0" CreationDate="2013-03-31T15:38:02.763" UserDisplayName="user3873" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39875" PostHistoryTypeId="36" PostId="23688" RevisionGUID="a603d52f-7fb3-4d33-bc5e-f48ba06f9c0a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1876/what-are-the-most-common-text-based-music-audio-notation-systems" />
  <row Id="39876" PostHistoryTypeId="36" PostId="23689" RevisionGUID="bbf6f8fa-5581-4258-8f74-14271773204c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1876/what-are-the-most-common-text-based-music-audio-notation-systems/1884#1884" />
  <row Id="39877" PostHistoryTypeId="2" PostId="23689" RevisionGUID="df2e9109-11c7-4665-aff3-f2fac38d6caa" CreationDate="2011-07-15T11:40:20.363" UserId="7231" UserDisplayName="NReilingh" Text="Are you looking to generate typeset notation, a synthesized waveform, or both? I ask because the reason not many of these systems exist is because they would have to be _incredibly_ complex to do the work of any common sequencer or notation program.&#xD;&#xA;&#xD;&#xA;[LilyPond](http://lilypond.org/) exists; its primary purpose is generating beautiful typesetting of music input in a TeX-like manner. It can also output MIDI, but its primary purpose is the typesetting, and already it's so ridiculously complex that I just always use Sibelius unless some really specific edge case shows itself.&#xD;&#xA;&#xD;&#xA;[ABC Notation](http://abcnotation.com/) is much less complex and much more limited as a result, but seems to have widespread adoption in folk music communities.&#xD;&#xA;&#xD;&#xA;It sounds a little like you want some text-based manner of controlling a waveform generator. If that's the case, you may consider editing your question title to that effect.&#xD;&#xA;&#xD;&#xA;If you're looking for really detailed sequencer tools like a text-based [Reason](http://www.propellerheads.se/products/reason/) or something, you may be out of luck. That would fall into the category of &quot;already complicated enough _with_ a GUI; head-explodingly complex to try to wedge into a text interface.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39878" PostHistoryTypeId="2" PostId="23688" RevisionGUID="5e8db942-1414-423e-9773-b60f764ae1a3" CreationDate="2011-07-15T00:47:10.663" UserId="18923" UserDisplayName="joe larson" Text="I am trying to find a good all-text (type able) musical notation system that already exists* and that has some usage and credibility.  &#xD;&#xA;&#xD;&#xA;Ideally, such a system would allow very simple musical notation:&#xD;&#xA;&#xD;&#xA;    D2 E2 C2 C1 G1&#xD;&#xA;&#xD;&#xA;As well as allow for the encoding of more complex concepts like what kind of waveform should be used, duration (expressed in milliseconds or as number of beats), the tempo, pauses, etc.  Some completely made up examples of what I mean here:&#xD;&#xA;&#xD;&#xA;    BPM-100 SIN-A1 PAUSE-1.5 SAW-C1-2 SINE-G#2-.5 SINE-Eb1-200ms&#xD;&#xA;&#xD;&#xA;It would be even better if it had conventions for defining waveforms that could be used, specifying attack, volume changes, pans, frequency changes, etc.&#xD;&#xA;&#xD;&#xA;(Also, I wasn't sure whether this question belonged here or on the Musical Practice and Performance SE site, let me know if I got it wrong)&#xD;&#xA;&#xD;&#xA;*OK, I'd actually love to invent my own, but that is often a bad idea as my ugly example indicates.." ContentLicense="CC BY-SA 3.0" />
  <row Id="39879" PostHistoryTypeId="1" PostId="23688" RevisionGUID="5e8db942-1414-423e-9773-b60f764ae1a3" CreationDate="2011-07-15T00:47:10.663" UserId="18923" UserDisplayName="joe larson" Text="What are the most common text-based music/audio notation systems?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39880" PostHistoryTypeId="3" PostId="23688" RevisionGUID="5e8db942-1414-423e-9773-b60f764ae1a3" CreationDate="2011-07-15T00:47:10.663" UserId="18923" UserDisplayName="joe larson" Text="&lt;editing&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39881" PostHistoryTypeId="36" PostId="23690" RevisionGUID="f99e6c0d-8f29-461e-945d-20823e33eec7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4314/playing-a-channel-whilst-recording-another-in-sound-forge" />
  <row Id="39882" PostHistoryTypeId="36" PostId="23691" RevisionGUID="4dc82d98-7272-4cfc-8b14-6f60b3dd1c93" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4314/playing-a-channel-whilst-recording-another-in-sound-forge/4464#4464" />
  <row Id="39883" PostHistoryTypeId="36" PostId="23692" RevisionGUID="cbd38fd2-bfd5-4ee9-8076-399934d0b16e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4314/playing-a-channel-whilst-recording-another-in-sound-forge/8648#8648" />
  <row Id="39884" PostHistoryTypeId="2" PostId="23691" RevisionGUID="3b5be0a6-24d0-4064-a649-0f7e849ce5a3" CreationDate="2012-07-26T17:11:09.100" UserDisplayName="Mors Violenta" Text="Sound Forge doesn't have that option, as I recall. You should use an application designed for multitrack recording, rather than a wave editor. My advice is to use, if you are amateur in audio production, [Cockos Reaper][1]. Very small by size but it's very effective. If you have some experience in audio production you could use for example Cubase, or Nuendo or some similar application.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://reaper.fm" ContentLicense="CC BY-SA 3.0" />
  <row Id="39885" PostHistoryTypeId="2" PostId="23692" RevisionGUID="28af7e81-7b50-4ebd-8fad-d0c6de79e209" CreationDate="2013-08-08T08:43:43.753" UserId="12790" UserDisplayName="Ron Kyle" Text="If you do 5.1 channel audio in sound forge instead of 2 channel, you can use each channel as a multitrack recorder of sorts.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39886" PostHistoryTypeId="2" PostId="23690" RevisionGUID="dfe54995-9e45-42e3-9ed2-92959a1fc5af" CreationDate="2012-06-29T10:21:47.663" UserDisplayName="ThePower" Text="Basically, I'm doing some recording in sound forge pro 10. I have 4 channels, 2 of which have the backing track on and the other 2 are to be recorded on. Is there any way that I can play the backing track whilst I am recording to the other 2 channels? I can select play, but then the record button becomes deactivated.&#xD;&#xA;&#xD;&#xA;It would make my life much easier if I can play the backing track whilst recording the vocals as then I won't have to realign the vocals to match the backing track once recorded.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39887" PostHistoryTypeId="1" PostId="23690" RevisionGUID="dfe54995-9e45-42e3-9ed2-92959a1fc5af" CreationDate="2012-06-29T10:21:47.663" UserDisplayName="ThePower" Text="Playing a channel whilst recording another in Sound Forge" ContentLicense="CC BY-SA 3.0" />
  <row Id="39888" PostHistoryTypeId="3" PostId="23690" RevisionGUID="dfe54995-9e45-42e3-9ed2-92959a1fc5af" CreationDate="2012-06-29T10:21:47.663" UserDisplayName="ThePower" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;software&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39889" PostHistoryTypeId="36" PostId="23693" RevisionGUID="3277d9a2-8196-4eec-a9d0-7db0449c09c2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/887/achieving-uniform-level-in-lengthy-spoken-word-recordings" />
  <row Id="39890" PostHistoryTypeId="36" PostId="23694" RevisionGUID="d9e9bb19-42a8-4ef0-9366-702c62f9bebc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/887/achieving-uniform-level-in-lengthy-spoken-word-recordings/889#889" />
  <row Id="39891" PostHistoryTypeId="36" PostId="23695" RevisionGUID="5a6f1b35-e8d9-4582-b61f-83fbab888e2c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/887/achieving-uniform-level-in-lengthy-spoken-word-recordings/891#891" />
  <row Id="39892" PostHistoryTypeId="36" PostId="23696" RevisionGUID="75fdb90a-17f3-4b73-8295-edd8e63e6dd5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/887/achieving-uniform-level-in-lengthy-spoken-word-recordings/892#892" />
  <row Id="39893" PostHistoryTypeId="36" PostId="23697" RevisionGUID="d097047f-5bf2-4255-a060-0a65ff58ce87" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/887/achieving-uniform-level-in-lengthy-spoken-word-recordings/893#893" />
  <row Id="39894" PostHistoryTypeId="36" PostId="23698" RevisionGUID="f0b45db2-7572-487a-ba4f-aa91f6f0c146" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/887/achieving-uniform-level-in-lengthy-spoken-word-recordings/1202#1202" />
  <row Id="39895" PostHistoryTypeId="2" PostId="23694" RevisionGUID="c2c10f2c-2a32-4a94-aaba-69ef1b4ebd52" CreationDate="2011-02-22T22:18:50.497" UserId="7294" UserDisplayName="Warrior Bob" Text="I suspect a bit of [dynamic range compression][1] might be exactly what you need.  Using compressors can be a bit tricky to get dialed in exactly right, but their purpose is to make louder parts closer in volume to the quieter parts, which seems to be what you're trying to do.  If the resulting sound is too quiet overall, you can always turn it up after the compression.  Some compressors have a &quot;makeup&quot; function that does exactly this.&#xD;&#xA;&#xD;&#xA;Perhaps Sound Forge has a compressor function or plugin?  As with anything else, check through your recording to make sure you like the results of it.  Like with most things, there isn't really a magic bullet.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Audio_compressor" ContentLicense="CC BY-SA 2.5" />
  <row Id="39896" PostHistoryTypeId="2" PostId="23695" RevisionGUID="b17af944-94fb-40f7-82ae-ab999de4e785" CreationDate="2011-02-23T08:50:13.467" UserDisplayName="jlebre" Text="For a couple of months I worked with a colleague doing audiobook releases. Long winded sessions of volume automation and a slight compression where our best tools when the editing was finished.&#xD;&#xA;Now Waves as vocal rider, which can be adjusted for sensitivity or material.&#xD;&#xA;&#xD;&#xA;Yes, dynamic compression would be a good way to start (automated process) but having something squashing against it is probably something you don't want to hear.&#xD;&#xA;&#xD;&#xA;Most softwares will allow you to automate level, if you are up for the task.&#xD;&#xA;&#xD;&#xA;Sound Forge supports VSTs. I haven't used Sound forge for a couple of versions now so I'm not sure if they included anything similar, but at least you can use external plugins of the sort.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39897" PostHistoryTypeId="2" PostId="23697" RevisionGUID="4e457d25-035d-4737-b2b9-ae8466269793" CreationDate="2011-02-23T15:00:06.977" UserId="7202" UserDisplayName="Lennart Regebro" Text="For questions from the audience, there is only one good solution: A microphone that get passed around. If this isn't available I try to remember to always repeat the question for the benefit of the recording when I do my talks.&#xD;&#xA;&#xD;&#xA;Other than that, adding compression will help a lot. If you have enough compression the audience questions will be audible too, but you'll get a lot of hiss and noise. In that case do not apply the same compression on the whole file, because you'll get hiss every time there is a pause in the speech, and that's annoying. But first applying one compression level on the whole track to get the main talk correct, and then applying another on the audience question bits isn't usually that much work.&#xD;&#xA;&#xD;&#xA;Sony Soundforge 10 sure has an effect for this, it's such a simple effect that I can't imagine they don't include it, and the [technical spec page][1] indeed mentions &quot;Dynamics&quot;. If you have an earlier version it may be different, but if there is *any* effects, surely a compressor is included.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sonycreativesoftware.com/audiostudio/techspec" ContentLicense="CC BY-SA 2.5" />
  <row Id="39898" PostHistoryTypeId="2" PostId="23698" RevisionGUID="eb968002-3cd7-4476-bfc7-cd624bc0438d" CreationDate="2011-04-20T03:28:11.780" UserId="7216" UserDisplayName="AnonJr" Text="There is an excellent program out there called &quot;[The Levelator][1]&quot;. All you need to do is drop the raw audio file (WAV or AIFF) onto the app and wait for it to do its job.&#xD;&#xA;&#xD;&#xA;From the site:&#xD;&#xA;&#xD;&#xA;&gt; So what is The Levelator®? It's&#xD;&#xA;&gt; software that runs on Windows, OS X&#xD;&#xA;&gt; (universal binary), or Linux (Ubuntu)&#xD;&#xA;&gt; that adjusts the audio levels within&#xD;&#xA;&gt; your podcast or other audio file for&#xD;&#xA;&gt; variations from one speaker to the&#xD;&#xA;&gt; next, for example. It's not a&#xD;&#xA;&gt; compressor, normalizer or limiter&#xD;&#xA;&gt; although it contains all three. It's&#xD;&#xA;&gt; much more than those tools, and it's&#xD;&#xA;&gt; much simpler to use. The UI is&#xD;&#xA;&gt; dirt-simple: Drag-and-drop any WAV or&#xD;&#xA;&gt; AIFF file onto The Leveler's&#xD;&#xA;&gt; application window, and a few moments&#xD;&#xA;&gt; later you'll find a new version which&#xD;&#xA;&gt; just sounds better.&#xD;&#xA;&#xD;&#xA;I use it to level out church sermons (same ... variable volume ... issue you mentioned) and it works wonderfully. Leo LaPorte has mentioned that he uses it for the various TWiT Network podcasts - that's how I first heard about it.&#xD;&#xA;&#xD;&#xA;It's free, so why not download it and at least give it a try?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.conversationsnetwork.org/levelator" ContentLicense="CC BY-SA 3.0" />
  <row Id="39899" PostHistoryTypeId="2" PostId="23696" RevisionGUID="c3e772af-77ec-4fa3-9cb7-d708d116a378" CreationDate="2011-02-23T10:00:49.293" UserId="8220" UserDisplayName="notthetup" Text="Try to see if the 'Leveller' function in Audacity (it's free, so it won't hurt to try) does what you want.. I have been using it for podcasts and it has worked pretty well. But I haven't tested it in very long voice recording. If it does work, then we can look at finding something similar for SoundForge." ContentLicense="CC BY-SA 2.5" />
  <row Id="39900" PostHistoryTypeId="2" PostId="23693" RevisionGUID="3901d3c1-193e-478f-a8eb-383f16a9a597" CreationDate="2011-02-22T21:57:04.257" UserDisplayName="moodforaday" Text="I often make lengthy recordings of spoken word for Internet distribution - lectures, public debates, etc. The resulting wave files have a highly uneven level - from whisper-quiet (questions from the audience) to moderate (main speakers, close to the mic) to very high (applause, etc.) It is quite tedious to go over a two-hour long wave file, select it bits but bits and manually amplify or de-amplify parts as needed to achieve some uniformity. &#xD;&#xA;&#xD;&#xA;I thought this would be an obvious feature to include in various sound editing apps (I'm on Windows), but in fact the opposite is the case. The various &quot;normalize&quot; functions only work across multiple tracks, but not within a single waveform. I use Sony Sound Forge primarily, and Sony's support tells me nothing like I need is available there. &#xD;&#xA;&#xD;&#xA;I don't really know much about sound processing, so perhaps there is something obvious that escapes me. Basically, I'm imagining a feature that would &quot;even out&quot; the volume within a single waveform. (Normalization doesn't.) Is there a way to automate this process? &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39901" PostHistoryTypeId="1" PostId="23693" RevisionGUID="3901d3c1-193e-478f-a8eb-383f16a9a597" CreationDate="2011-02-22T21:57:04.257" UserDisplayName="moodforaday" Text="Achieving uniform level in lengthy spoken word recordings" ContentLicense="CC BY-SA 2.5" />
  <row Id="39902" PostHistoryTypeId="3" PostId="23693" RevisionGUID="3901d3c1-193e-478f-a8eb-383f16a9a597" CreationDate="2011-02-22T21:57:04.257" UserDisplayName="moodforaday" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39903" PostHistoryTypeId="36" PostId="23699" RevisionGUID="1ff2c9b8-a133-417a-8380-c874369d92a5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/768/cubase-metronome-silent" />
  <row Id="39904" PostHistoryTypeId="36" PostId="23700" RevisionGUID="64d9446b-4075-4ae6-94b6-c4c7c112b2d9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/768/cubase-metronome-silent/772#772" />
  <row Id="39905" PostHistoryTypeId="2" PostId="23700" RevisionGUID="7cf40a18-ef6a-4146-8351-d22cdc51d3da" CreationDate="2011-02-07T23:59:09.593" UserDisplayName="Kim Burgaard" Text="The metronome in Cubase can either be set up to send MIDI events, or to generate audio clicks. &#xD;&#xA;&#xD;&#xA;You access the metronome settings from Tranport menu:&#xD;&#xA;&#xD;&#xA; 1. Go to the Transport menu&#xD;&#xA; 2. Select the &quot;Metronome Setup...&quot; entry&#xD;&#xA; 3. In the Metronome Setup dialog, check either MIDI Click or Audio Click. You might be able to select both although I've never done that myself.&#xD;&#xA;&#xD;&#xA;If you chose MIDI, then you need to make sure the MIDI events are routed to either a soft synth, or a real MIDI device.&#xD;&#xA;&#xD;&#xA;If you chose Audio, then adjust the volume in the Metronome Setup dialog before you crank up your monitors." ContentLicense="CC BY-SA 2.5" />
  <row Id="39906" PostHistoryTypeId="2" PostId="23699" RevisionGUID="09361d47-6545-4c80-b8f4-cda862032bcc" CreationDate="2011-02-07T19:37:31.163" UserDisplayName="bensynthpop" Text="I've just bought Cubase 6 and installed it today. Managed to get my instruments coming out fine but for some reason the click sound is just not working.&#xD;&#xA;&#xD;&#xA;I'm enabling click and count in on the transport bar but hearing nothing. Please help me.&#xD;&#xA;&#xD;&#xA;I'm new to Cubase (returning after nearly 10 years since I used to use Cubasis). I've seen another thread that says to enable it in the control room setup. I think I've done this but not sure.&#xD;&#xA;&#xD;&#xA;Anyone?&#xD;&#xA;&#xD;&#xA;My system spec is: Cubase 6 PC, Windows 7 Ultimate 64 bit, Intel Core i7 930 overclocked to 4 GHz, 6GB RAM&#xD;&#xA;EMU 0404 PCI Soundcard (using latest EMU ASIO drivers)" ContentLicense="CC BY-SA 2.5" />
  <row Id="39907" PostHistoryTypeId="1" PostId="23699" RevisionGUID="09361d47-6545-4c80-b8f4-cda862032bcc" CreationDate="2011-02-07T19:37:31.163" UserDisplayName="bensynthpop" Text="Cubase Metronome silent" ContentLicense="CC BY-SA 2.5" />
  <row Id="39908" PostHistoryTypeId="3" PostId="23699" RevisionGUID="09361d47-6545-4c80-b8f4-cda862032bcc" CreationDate="2011-02-07T19:37:31.163" UserDisplayName="bensynthpop" Text="&lt;audio-recording&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="39909" PostHistoryTypeId="36" PostId="23701" RevisionGUID="9f39c17f-aba6-448f-abb5-4271f6dcc112" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8097/how-do-i-make-my-autohybrid-louder-connected-to-my-pa-system" />
  <row Id="39910" PostHistoryTypeId="36" PostId="23702" RevisionGUID="a8d32f73-aed4-493c-b150-46ae7e0e9eea" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8097/how-do-i-make-my-autohybrid-louder-connected-to-my-pa-system/8098#8098" />
  <row Id="39911" PostHistoryTypeId="2" PostId="23702" RevisionGUID="d9009d83-5d33-4cf6-89ab-19f003238452" CreationDate="2013-06-10T20:21:23.910" UserId="7405" UserDisplayName="Andy aka" Text="Do the hard of hearing folk in the church pick-up the signal OK? If they do then you need to amplify the balanced signal from the graphic equalizer to the JK audio autohybrid.&#xD;&#xA;&#xD;&#xA;That's probably what you need to do but i guess that doesn't get you much further so if you are in the UK call in to Maplin and ask them for help and if you are in the US call in at Radio shack and tell them what you need.&#xD;&#xA;&#xD;&#xA;Don't forget to tell them you have a balanced output and this may require an audio transformer to give you an unbalanced output that is more suitable for a cheap audio amp found in these sort of retail outlets. You may also need an unbalced to balancing transformer to feed the hybrid - checks the specs of it and see what it says.&#xD;&#xA;&#xD;&#xA;Possibly you'll be able to get a little amp that is balanced input and output." ContentLicense="CC BY-SA 3.0" />
  <row Id="39912" PostHistoryTypeId="2" PostId="23703" RevisionGUID="e3a96bf9-6eaf-4bff-a382-2b434bf1ad17" CreationDate="2013-06-10T23:04:15.870" UserId="7174" Text="Using a pre-amp between the EQ and the AutoHybrid should handle your needs.  I have personally used [this][1] tube pre-amp before, though I was using the unbalanced input to the balanced output, but I believe it should work for your needs as well.  It isn't the best quality ever made, but it is a decent value for the money.&#xD;&#xA;&#xD;&#xA;Seeing what your system layout is like now, this is probably your best bet.  It would be preferable to branch off the audio from the amp prior to the 31 band, but it looks like the amp that is doubling as your mixer doesn't provide the outputs necessary without multiple steps or a major overhaul and modernization of the system, so the preamp should be good enough.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.zzounds.com/item--BEHMIC200" ContentLicense="CC BY-SA 3.0" />
  <row Id="39913" PostHistoryTypeId="2" PostId="23701" RevisionGUID="40a94eec-61b2-413e-a6b6-313004b3cb53" CreationDate="2013-06-10T20:00:20.023" UserId="24427" UserDisplayName="SoaperGEM" Text="I'm not an audio engineer, but I could sure use the help of one!&#xD;&#xA;&#xD;&#xA;Recently I helped my church purchase a little box called an [AutoHybrid][1] by JK Audio. It basically takes a balanced line-level output and broadcasts it over a telephone line. This is useful for us because it allows church members who can't make it to a service one day to be able to &quot;call in&quot; and listen along. We just plug the box into the PA system, call into a number, and go.&#xD;&#xA;&#xD;&#xA;I've verified that it's working. However, it's SUPER quiet... to the point that it's basically un-usable.&#xD;&#xA;&#xD;&#xA;Here's an explanation of our set up. Most of this equipment is pretty old.&#xD;&#xA;&#xD;&#xA; * TOA Series A-506A Amplifier&#xD;&#xA; * Peavey 1/3 Octave EQ-31 Graphic Equalizer&#xD;&#xA; * Shure UT-4 Wireless Microphone&#xD;&#xA; * Gentner Assistive Listening FM Transmitter&#xD;&#xA; * JK Audio AutoHybrid&#xD;&#xA;&#xD;&#xA;I actually drew up a diagram as best I could of how all this equipment is connected to each other, so [take a look if you want all the specifics][2]. But basically, there are two main (wired) microphones that plug directly into the amplifier, then the amp sends an output to the equalizer, which in turn sends an output back to the amplifier. And currently the AutoHybrid is plugged into the equalizer, because there was nowhere else to plug it in. And again, this actually does work in that it is broadcasting the signal over the phone... it's just far too quiet.&#xD;&#xA;&#xD;&#xA;What do I need to do to make the AutoHybrid louder without breaking the current system? Someone I spoke with earlier had suggested adding either a mixer or a distribution amplifier to receive the microphone signals before sending it to the equalizer, but I'm not totally sure how I would have to re-wire everything to make that work.&#xD;&#xA;&#xD;&#xA;Thanks so much in advance!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.jkaudio.com/autohybrid.htm&#xD;&#xA;  [2]: http://gordon-myers.com/church.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="39914" PostHistoryTypeId="1" PostId="23701" RevisionGUID="40a94eec-61b2-413e-a6b6-313004b3cb53" CreationDate="2013-06-10T20:00:20.023" UserId="24427" UserDisplayName="SoaperGEM" Text="How do I make my AutoHybrid louder? (connected to my PA system)" ContentLicense="CC BY-SA 3.0" />
  <row Id="39915" PostHistoryTypeId="3" PostId="23701" RevisionGUID="40a94eec-61b2-413e-a6b6-313004b3cb53" CreationDate="2013-06-10T20:00:20.023" UserId="24427" UserDisplayName="SoaperGEM" Text="&lt;audio&gt;&lt;hardware&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39916" PostHistoryTypeId="36" PostId="23703" RevisionGUID="2bb9ff72-2059-4b0f-9ea0-493c7a012db9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8097/how-do-i-make-my-autohybrid-louder-connected-to-my-pa-system/8101#8101" />
  <row Id="39917" PostHistoryTypeId="36" PostId="23704" RevisionGUID="0395b769-d543-4820-94a4-a5b021da1efe" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1963/how-do-i-record-audio-and-video-screen-capture-for-tutorials-on-daws-with-screen" />
  <row Id="39918" PostHistoryTypeId="36" PostId="23705" RevisionGUID="7f956ef1-bf75-4418-b246-35587583cc28" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1963/how-do-i-record-audio-and-video-screen-capture-for-tutorials-on-daws-with-screen/1964#1964" />
  <row Id="39919" PostHistoryTypeId="2" PostId="23705" RevisionGUID="91367086-dae8-498a-b851-9c415c3414f7" CreationDate="2011-07-27T18:18:44.263" UserId="7459" UserDisplayName="bigp" Text="So far I've only found this one alternative suggested by a user of ScreenFlow:&#xD;&#xA;&#xD;&#xA;http://blogs.telestream.net/screenflow/2010/09/how-to-route-daw-audio-into-screenflow/&#xD;&#xA;&#xD;&#xA;He suggest to download **WireTap Anywhere**, which has a 30-day trial.&#xD;&#xA;&#xD;&#xA;http://www.ambrosiasw.com/utilities/wta&#xD;&#xA;&#xD;&#xA;But this still isn't a free solution, and considering I already bought ScreenFlow, I don't feel like tossing money in the fire by purchasing WTA for $129.00USD which will only act as a middle-man between the DAW and ScreenFlow.&#xD;&#xA;&#xD;&#xA;My only free alternative at this point might have to be to patch my MOTU Traveler back into itself and have ScreenFlow listen to that Stereo channel input. **\*Argggh!!\***" ContentLicense="CC BY-SA 3.0" />
  <row Id="39920" PostHistoryTypeId="2" PostId="23706" RevisionGUID="193e20f9-93c6-4fb4-a547-1831f620025a" CreationDate="2011-09-30T19:36:20.423" UserId="7459" UserDisplayName="bigp" Text="Although this violates a bit my request of not using SoundFlower(bed) or Aggregate Devices, on Mac OSX's Audio MIDI settings, if you create an Aggregate Device with your Audio Interface hardware AND Soundflower (2-channels), you should be able to &quot;feed&quot; into it from your DAW and &quot;listen&quot; to SoundFlower from ScreenFlow.&#xD;&#xA;&#xD;&#xA;Here's a Video Tutorial that shows how I've accomplished this, using this very technique to record this video! :)&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=PnTry_AK6Ts&#xD;&#xA;&#xD;&#xA;This example shows how to route things up in a Record &amp; Reason scenario. Other DAWs should be able to do something similar, since they usually allow you to pick which Audio device you want to output to." ContentLicense="CC BY-SA 3.0" />
  <row Id="39921" PostHistoryTypeId="2" PostId="23704" RevisionGUID="d0daf264-64e4-4a4a-87e3-4423f5f6162f" CreationDate="2011-07-27T17:44:20.753" UserId="7459" UserDisplayName="bigp" Text="My question might be a bit too specific, but essentially I'm trying to create my own tutorial material of **How-To's** in Propellerhead Reason 6. I'm using ScreenFlow as my Screen-recording software.&#xD;&#xA;&#xD;&#xA;So my process has been overly complicated at this point (and I'm sure there's ways to simplify it), which involves:&#xD;&#xA;&#xD;&#xA;- Properly booting up the right software in the right sequence (Reason 6, JackServer, ScreenFlow);&#xD;&#xA;- Taking like 5mins to properly configure / map the routings between Reason 6 and JackServer's inputs and outputs (including monitor-outputs enabled to loop back into a Reason 6 Audio Track).&#xD;&#xA;- Start ScreenFlow, configure the recording settings to capture only screen video, no audio;&#xD;&#xA;- While the count-down starts (from ScreenFlow), I jump back in Reason 6, make sure the monitoring Audio Track is armed, and start recording my Mic and all sounds emitted during my session;&#xD;&#xA;- AFTER that is all done, I stop recording in both applications, have to export the WAV from Reason 6, import it into ScreenFlow.... and then video composite / editing begins!&#xD;&#xA;&#xD;&#xA;The thing that sucks with ScreenFlow, although it does allow JackServer as a sound-source, it DOESN'T actually capture any sound.&#xD;&#xA;&#xD;&#xA;Is there any way to cut down on the amount of &quot;fudging-around&quot; with Audio drivers / Aggregate Devices or SoundFlower(bed) just for the sake of capturing audio from Reason 6 directly into ScreenFlow without having to import a separately recorded WAV file?&#xD;&#xA;&#xD;&#xA;I'm hoping for an answer that won't tell me I have to buy YET another software or piece of hardware. But if it's free, perfect! :)&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;NOTE: My Audio Interface is a MOTU-Traveler, operating on Mac OSX Snow Leopard." ContentLicense="CC BY-SA 3.0" />
  <row Id="39922" PostHistoryTypeId="1" PostId="23704" RevisionGUID="d0daf264-64e4-4a4a-87e3-4423f5f6162f" CreationDate="2011-07-27T17:44:20.753" UserId="7459" UserDisplayName="bigp" Text="How do I record audio and video screen-capture for Tutorials on DAWs with ScreenFlow?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39923" PostHistoryTypeId="3" PostId="23704" RevisionGUID="d0daf264-64e4-4a4a-87e3-4423f5f6162f" CreationDate="2011-07-27T17:44:20.753" UserId="7459" UserDisplayName="bigp" Text="&lt;video&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39924" PostHistoryTypeId="36" PostId="23706" RevisionGUID="0995883c-33f1-4fec-8e86-d6fdadf2d061" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1963/how-do-i-record-audio-and-video-screen-capture-for-tutorials-on-daws-with-screen/2416#2416" />
  <row Id="39925" PostHistoryTypeId="36" PostId="23707" RevisionGUID="1809bb16-2b4c-4332-ad0d-017968671761" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1963/how-do-i-record-audio-and-video-screen-capture-for-tutorials-on-daws-with-screen/3499#3499" />
  <row Id="39926" PostHistoryTypeId="2" PostId="23707" RevisionGUID="ee3b0b5b-21a3-4217-9184-0c1e790ab105" CreationDate="2012-03-08T16:46:29.203" UserId="9762" UserDisplayName="Yar" Text="Personally, I've been doing this by recording WITHIN the DAW and then syncing the tracks. You could even do this by creating some noise in the DAW that also has a visual aspect (e.g., turning a synth on and off). &#xD;&#xA;&#xD;&#xA;I'm working with Ableton Live and a video camera (and an iPad, to be honest), but same difference. Results here: http://www.youtube.com/watch?feature=player_embedded&amp;v=yVawXxGuwXU&#xD;&#xA;&#xD;&#xA;This is a PITA but you sync the tracks ONCE, generally. I actually do it with a clap on both recordings, then turn off the input track that has the clap on the DAW to do the rest of the tutorial." ContentLicense="CC BY-SA 3.0" />
  <row Id="39927" PostHistoryTypeId="36" PostId="23708" RevisionGUID="e909dab5-d58e-4ab0-8099-1b8ef1891b0e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9767/differences-between-waves-cl-2a-and-uad-la-2a" />
  <row Id="39928" PostHistoryTypeId="36" PostId="23709" RevisionGUID="1b1804c6-c02e-4f5c-85e9-98f145186bcb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9767/differences-between-waves-cl-2a-and-uad-la-2a/9782#9782" />
  <row Id="39929" PostHistoryTypeId="36" PostId="23710" RevisionGUID="f08d6bf2-9e7a-4c0c-bf8c-e3676d651a60" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9767/differences-between-waves-cl-2a-and-uad-la-2a/9797#9797" />
  <row Id="39930" PostHistoryTypeId="2" PostId="23709" RevisionGUID="347f3650-9f55-4ebf-b33d-14a0445a8c19" CreationDate="2013-12-29T06:36:10.060" UserId="7008" Text="I haven't directly compared those two in a shoot-out, but I can attest that most UAD plugins sound better to me than their Waves counterparts. They are possibly the highest quality plugins I've ever used. I don't touch many Waves plugs since we acquired some UAD2 cards. &#xD;&#xA;&#xD;&#xA;CPU usage will be lower with the UAD plugins, because the UAD cards are meant to handle the grunt of the processing, at the expense of the bandwidth of whatever connection you use to get the UAD2 card hooked up to your computer. So if you use a ton of firewire hard drives, then you get a UAD2 Satellite, you'll have issues because even if you don't use many plugins, the UAD2 reserves the bandwidth that it might need (this might have changed since I last read about the satellites). &#xD;&#xA;&#xD;&#xA;If you're interested, I found this interview with UAD's chief scientist to be pretty cool:&#xD;&#xA;&#xD;&#xA;http://createdigitalmusic.com/2011/02/modeling-analog-in-a-digital-age-a-conversation-with-universal-audios-chief-scientist/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39931" PostHistoryTypeId="2" PostId="23710" RevisionGUID="7f881341-89e7-4801-8e88-fcfd573fb0da" CreationDate="2013-12-30T21:41:34.380" UserDisplayName="Nick" Text="[This article][1] compares a number of LA-2A plugs.  [Here is another in video format.][2] &#xD;&#xA;&#xD;&#xA;They focus on the sound of the plug ins not really the CPU usage.  I would imagine the UAD plugs would be a clear winner on CPU load since they off load most of it.  Personally they all sound good enough to me (I haven't tried the UADs since I don't have the break out box).  They should be smooth, slow attack, transparent compressors with a touch of tube modeling. &#xD;&#xA;&#xD;&#xA;I know you asked specifically about waves but there are a number of others as well to consider:&#xD;&#xA;&#xD;&#xA; - [CA-2A][3] &#xD;&#xA; - [VC-2A][4] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.attackmagazine.com/features/model-behaviour-uad-la-2a-emulations-hardware/&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=4mV52vxXmc4&#xD;&#xA;  [3]: http://www.cakewalk.com/products/ca-2a/&#xD;&#xA;  [4]: http://www.native-instruments.com/en/products/komplete/effects/vc-2a/" ContentLicense="CC BY-SA 3.0" />
  <row Id="39932" PostHistoryTypeId="2" PostId="23708" RevisionGUID="06b10414-ef0e-4d5f-8b4b-dae8a8590fa8" CreationDate="2013-12-27T13:06:25.680" UserId="6971" Text="I bought the Waves Classic Compressors bundle yesterday and wondered if there is a noticeable difference between those and the one from UAD regarding sound and CPU usage.&#xD;&#xA;&#xD;&#xA;Has anybody tried both and compared them?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39933" PostHistoryTypeId="1" PostId="23708" RevisionGUID="06b10414-ef0e-4d5f-8b4b-dae8a8590fa8" CreationDate="2013-12-27T13:06:25.680" UserId="6971" Text="Differences between Waves CL-2A and UAD LA-2A" ContentLicense="CC BY-SA 3.0" />
  <row Id="39934" PostHistoryTypeId="3" PostId="23708" RevisionGUID="06b10414-ef0e-4d5f-8b4b-dae8a8590fa8" CreationDate="2013-12-27T13:06:25.680" UserId="6971" Text="&lt;audio&gt;&lt;compression&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39943" PostHistoryTypeId="36" PostId="23714" RevisionGUID="30d5731d-d383-44e5-a7cb-7355456a3526" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8242/active-passive-speakers-powered-or-unpowered-mixers" />
  <row Id="39944" PostHistoryTypeId="2" PostId="23715" RevisionGUID="8d904d50-0baa-4de4-a4c9-d7d6e4976184" CreationDate="2013-06-27T18:40:40.090" UserId="7174" Text="Generally you want to avoid powered mixers for all but the simplest cases.  They greatly limit your ability to expand and are more trouble to maintain since the amplifier and the mixer are in the same unit.  They are most commonly used for simple setups where only basic controls are needed and quick, portable setup is a necessity.&#xD;&#xA;&#xD;&#xA;Using an unpowered mixer, fed in to a power amp and then fed in to unpowered speakers will give you the most adjustable, future proof, easy to maintain system.  There is great advantage in being able to swap out pieces individually instead of having to replace a more expensive piece of hybrid gear.&#xD;&#xA;&#xD;&#xA;The speakers to use depend on what you are trying to do.  For a small room where you want accurate sound, I'd recommend picking up a decently reviewed pair of studio monitors in whatever your price range is." ContentLicense="CC BY-SA 3.0" />
  <row Id="39945" PostHistoryTypeId="2" PostId="23714" RevisionGUID="9c2c3ed6-3656-465d-8a7f-b521c034610f" CreationDate="2013-06-27T17:16:21.213" UserDisplayName="Frederik Spang" Text="I've been searching for mixers, and speakers. I'm setting up a small practice room in my basement.&#xD;&#xA;&#xD;&#xA;I've been using my school's. This was working, never really looked much into speaker types and mixers.&#xD;&#xA;&#xD;&#xA;So!&#xD;&#xA;&#xD;&#xA;Is there a common guide for figuring out different mixers?  Powered mixers, unpowered, when to use what loudspeakers? Active/Passive?&#xD;&#xA;&#xD;&#xA;I'm looking at buying a [Behringer UB1002](http://cachepe.zzounds.com/media/quality,85/UB-1002_top-ad90e4ce13e3874213fe769079c63550.jpg), to begin with, seeing as I don't need anything larger than this. &#xD;&#xA;&#xD;&#xA;Which speakers would match, and why?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39946" PostHistoryTypeId="1" PostId="23714" RevisionGUID="9c2c3ed6-3656-465d-8a7f-b521c034610f" CreationDate="2013-06-27T17:16:21.213" UserDisplayName="Frederik Spang" Text="Active/Passive Speakers - Powered or Unpowered mixers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39947" PostHistoryTypeId="3" PostId="23714" RevisionGUID="9c2c3ed6-3656-465d-8a7f-b521c034610f" CreationDate="2013-06-27T17:16:21.213" UserDisplayName="Frederik Spang" Text="&lt;audio&gt;&lt;speakers&gt;&lt;mixer&gt;&lt;behringer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39948" PostHistoryTypeId="36" PostId="23715" RevisionGUID="f68ff504-fd24-424d-be9a-b82a59fb9d38" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8242/active-passive-speakers-powered-or-unpowered-mixers/8243#8243" />
  <row Id="39949" PostHistoryTypeId="36" PostId="23716" RevisionGUID="fc9636cf-58d8-4fbf-b9cf-d9e8d43384ec" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7651/tascam-dr-40-for-lecture-and-speeches" />
  <row Id="39950" PostHistoryTypeId="36" PostId="23717" RevisionGUID="e6ea0954-19a7-446d-acd8-287c88f6c1cc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7651/tascam-dr-40-for-lecture-and-speeches/7652#7652" />
  <row Id="39951" PostHistoryTypeId="2" PostId="23717" RevisionGUID="a7d58d35-f978-49c9-9c31-231280c1e6f2" CreationDate="2013-04-14T00:02:01.227" UserId="7189" Text="That class of audio recorder is going to be more than adequate for recording lectures and speeches. Your main limitation will be that you have a pair of microphones far from the speakers, so you will pick up the ambience and reverberation of the room. But that should still be adequate for personal use.&#xD;&#xA;&#xD;&#xA;If you really want to be *discreet*, then you might want to consider one of the recorders that looks more like ordinary consumer electronics. The sub-$100 recorders are usually small and thin, and the Sony M10 looks vague like a cell phone, particularly the red version." ContentLicense="CC BY-SA 3.0" />
  <row Id="39952" PostHistoryTypeId="2" PostId="23716" RevisionGUID="065a4c5c-437a-4b73-aafa-71f69d167026" CreationDate="2013-04-13T16:15:53.497" UserId="7239" UserDisplayName="Evan Carroll" Text="I'd like to get either the DR-40 or the DR-100mkii but one of the things I would need the unit for is recording lectures and speeches. Are either of these sufficient without external mics and preamps? Would you feel save putting the DR-40 in a town-hall setting to record what is going on?&#xD;&#xA;&#xD;&#xA;I often go to political meetings and I just want something fairly discrete and easy to set up that I can record the speaker with. Then if I want to interview, I'd like to use an XLR input and the unit at the same time to conduct an interview. I think either device will be plenty for the interview-need, but do either of them have sufficient mics and pre-amps to record a speech?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39953" PostHistoryTypeId="1" PostId="23716" RevisionGUID="065a4c5c-437a-4b73-aafa-71f69d167026" CreationDate="2013-04-13T16:15:53.497" UserId="7239" UserDisplayName="Evan Carroll" Text="Tascam DR-40 for Lecture and Speeches?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39954" PostHistoryTypeId="3" PostId="23716" RevisionGUID="065a4c5c-437a-4b73-aafa-71f69d167026" CreationDate="2013-04-13T16:15:53.497" UserId="7239" UserDisplayName="Evan Carroll" Text="&lt;audio-recording&gt;&lt;tascam&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39955" PostHistoryTypeId="36" PostId="23718" RevisionGUID="32624f06-5ae7-45da-952b-3a28f8514fa0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5018/fix-for-terrible-hard-drive-noise-audio-interference" />
  <row Id="39956" PostHistoryTypeId="36" PostId="23719" RevisionGUID="9b75f2f2-d0a9-4b68-9b72-6581541345b4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5018/fix-for-terrible-hard-drive-noise-audio-interference/5039#5039" />
  <row Id="39957" PostHistoryTypeId="2" PostId="23719" RevisionGUID="305ae1ce-ce9c-4618-8661-30504d2f1e6d" CreationDate="2012-10-16T10:12:17.447" UserId="7200" UserDisplayName="leftaroundabout" Text="Yup, that's definitely switching–power-supply bursts. (Has nothing whatsoever to do with hard drives, though it may sound somewhat similar.)&#xD;&#xA;&#xD;&#xA;How exactly this gets in the signal path I don't know, but you might be able to eliminate it by changing your grounding configuration. One thing to try is to directly connect the interface to ground, for instance by connecting an unused TRS input of the interface to any jack of a turned-off (but mains–plugged-in) guitar amp. That sometimes has an effect for external (USB or FireWire) interfaces, for an internal PCI one I'm afraid it's less likely. Similarly, you could try to ground the DI-Box by connecting its link output to a guitar amp (in fact, that's quite usually done anyway when recording guitars: one channel DI, one channel amp mic).&#xD;&#xA;&#xD;&#xA;Your computer's power supply is almost certainly grounded, however the problem might vanish if you _remove_ the ground connection. _I would **not** recommend this, though_, it's just a (very unsafe) last resort that will sometimes fix such noise problems, but might as well worsen them.&#xD;&#xA;&#xD;&#xA;As for the DI-Box, this seems to be a passive model? (Couldn't now find any details through Google, though... seems to be a _really_ cheap no-name thing?) Passive DIs aren't really suited for high-impedance passive instruments such as electric guitar, they tend to have quite a substantial effect on the pickups' response. A normal active DI probably won't fix your problem, either, but a proper preamp might; for instance I like using my Presonus TubePre, which also gives a nice natural soft overdrive. With such a preamp, you can put the gain on the interface much lower; if that's where the noise comes in its level in the recording should then be so low that an ordinary noise gate can well deal with it." ContentLicense="CC BY-SA 3.0" />
  <row Id="39958" PostHistoryTypeId="2" PostId="23718" RevisionGUID="d86c9647-43cb-48e8-b297-5e87a043271d" CreationDate="2012-10-15T00:40:52.570" UserId="7886" UserDisplayName="MrKatSwordfish" Text="When recording direct input instrument audio using Ableton, my recording is plagued with a terrible noise interference that sounds like the clicks and movements of my PCs internal Hard Disk drive. This noise is relatively subtle, but when using VST amplification effects with drive or distortion (such as those found in Guitar Rig, or in some DAWs) the noise becomes so severe that it makes the audio useless for any music production. To me, the noise sounds different from a low frequency hum or constant buzz. This noise is, somehow, directly related to my computer's hard drive movement noises.&#xD;&#xA;&#xD;&#xA;Here's some information on my setup and various test setups that I've used to try to eliminate this interference:&#xD;&#xA;&#xD;&#xA;- *Guitars* (Both *single-coil and humbucking* pick-ups tested. No significant change.)&#xD;&#xA;[*TS cable* running from guitar to...]&#xD;&#xA;- Inexpensive *DI Box* (LiveWire PDI. Bought for this issue. No significant change.)&#xD;&#xA;[*XLR cable* running from DI Box to...]&#xD;&#xA;- *M-Audio Delta1010LT PCI Audio Interface.*&#xD;&#xA;- Audio is being recorded using *Ableton* and *NI Guitar Rig 5*.&#xD;&#xA;&#xD;&#xA;[Just yesterday I had a friend bring over his *Focusrite Saffire FireWire Audio Interface* in order to test to see if the interface itself was the problem. Unfortunately, the noise continued to exist in the signal... I completely removed the Delta1010LT from my computer when testing my friend's Saffire.]&#xD;&#xA;&#xD;&#xA;My PC, Monitors, Speakers, etc. are all plugged into 2 surge protectors which are plugged into two adjacent power sockets on the same 2-socket wall power outlet. Both of the surge protectors have ground indication lights, which are lit up.&#xD;&#xA;&#xD;&#xA;Finally, I should also mention that the interference only occurs when recording (and playback of said recordings). Playing back audio from synth/sampler VSTs, youtube videos, games, other people's music, etc. is always fine and without interference. *The interference occurs only when I record audio and playback the audio that I've recorded on this setup.*&#xD;&#xA;&#xD;&#xA;**What steps can I take to remove or greatly reduce this strange hard-drive noise from my audio recordings?**&#xD;&#xA;&#xD;&#xA;**edit:** Here's a quick sample recording of the noise. (Recorded in Ableton, using some drive from Native Instruments Guitar Rig 5 VST.)&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/katanaswordfish/recording-noise-sample-example&#xD;&#xA;&#xD;&#xA;**edit:** AND here's a second recording of the horrible noise pattern. This is broken into 3 chunks. In the first chunk, it's telecaster -&gt; DI -&gt; interface -&gt; DAW -&gt; GuitarRig.. In the second chunk I removed the guitar from the equation. The noise changed, but if you listen carefully you can still hear that same interference pattern! In the third and final chunk I removed the DI box as well, so it's only the internal PCI audio interface, the DAW, and GituarRig!&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/katanaswordfish/recording-noise-sample&#xD;&#xA;&#xD;&#xA;This noise is killing me! **Any ideas how I can fix this?**" ContentLicense="CC BY-SA 3.0" />
  <row Id="39959" PostHistoryTypeId="1" PostId="23718" RevisionGUID="d86c9647-43cb-48e8-b297-5e87a043271d" CreationDate="2012-10-15T00:40:52.570" UserId="7886" UserDisplayName="MrKatSwordfish" Text="Fix for terrible &quot;Hard Drive Noise&quot; Audio Interference?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39960" PostHistoryTypeId="3" PostId="23718" RevisionGUID="d86c9647-43cb-48e8-b297-5e87a043271d" CreationDate="2012-10-15T00:40:52.570" UserId="7886" UserDisplayName="MrKatSwordfish" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;noise&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39961" PostHistoryTypeId="36" PostId="23720" RevisionGUID="869f3620-fea3-466f-844c-8670970f5ea6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8165/join-audio-files-into-one-mp3" />
  <row Id="39962" PostHistoryTypeId="36" PostId="23721" RevisionGUID="f6c2c939-35a5-4a14-bd1a-196b6c8da494" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8165/join-audio-files-into-one-mp3/8170#8170" />
  <row Id="39963" PostHistoryTypeId="36" PostId="23722" RevisionGUID="dde1de4f-1172-4e75-8a54-21e2410c25db" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8165/join-audio-files-into-one-mp3/8179#8179" />
  <row Id="39964" PostHistoryTypeId="2" PostId="23721" RevisionGUID="6955e77b-bce8-44d9-b960-0e1f3a11bd5f" CreationDate="2013-06-20T17:03:33.167" UserId="7343" UserDisplayName="d.free" Text="I haven't tried it, but it's a portable app that does what you need and has quite a lot of downloads. It's not an editor, it seems like a program that is designed just for this specific task.&#xD;&#xA;&#xD;&#xA;http://download.cnet.com/Merge-MP3/3000-2169_4-10410936.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="39965" PostHistoryTypeId="2" PostId="23722" RevisionGUID="45c9f82c-1d6a-4ac4-bb98-b759e8d176c2" CreationDate="2013-06-21T04:43:38.020" UserId="7393" UserDisplayName="altarvic" Text="[AVS Audio converter][1] can merge audio files into one.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avs-video-suite.org" ContentLicense="CC BY-SA 3.0" />
  <row Id="39966" PostHistoryTypeId="2" PostId="23723" RevisionGUID="9a9d014e-f327-495d-b6d1-e9e2a24e01b1" CreationDate="2013-06-21T13:34:12.683" UserId="7093" Text="I just tried this in [Reaper][1].  If you drag and drop the files onto a new project it will prompt you for what you want to do with the files.  You will need to make sure that you have the files sorted in the order you want them in Windows Explorer before you drag and drop them into Reaper.&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;If you select Single Track it will put all of the mp3 files end to end on a single track.  You can then render the output to whatever format you desire.&#xD;&#xA;&#xD;&#xA;**This process will decode and re-encode the mp3 files** and will cause some quality loss as compared to the originals.  If there is software out there that can combine the files without re-encoding them that is probably the way to go.  If not, this is a simple way to get what you want.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.reaper.fm/download.php&#xD;&#xA;  [2]: http://i.stack.imgur.com/RctVM.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="39967" PostHistoryTypeId="2" PostId="23720" RevisionGUID="0b402659-8f1d-4363-a3eb-2149d38611df" CreationDate="2013-06-20T14:33:38.077" UserId="7257" UserDisplayName="le_garry" Text="I have a bunch of mp3 files I would like to consolidate into a single mp3. What software is able to do this quick and effectively? I have tried online conversion tools and they don't work so well. I looked at Helium Audio Joiner and I think it will do what I want, but is there a standard tool for this out there already? I don't want Audacity or any tool where I have to manually fit in each track. I just want them joined at the end." ContentLicense="CC BY-SA 3.0" />
  <row Id="39968" PostHistoryTypeId="1" PostId="23720" RevisionGUID="0b402659-8f1d-4363-a3eb-2149d38611df" CreationDate="2013-06-20T14:33:38.077" UserId="7257" UserDisplayName="le_garry" Text="Join audio files into one mp3?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39969" PostHistoryTypeId="3" PostId="23720" RevisionGUID="0b402659-8f1d-4363-a3eb-2149d38611df" CreationDate="2013-06-20T14:33:38.077" UserId="7257" UserDisplayName="le_garry" Text="&lt;audio&gt;&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39970" PostHistoryTypeId="36" PostId="23723" RevisionGUID="a24b40af-0e72-42fc-9f02-6508f8160461" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8165/join-audio-files-into-one-mp3/8180#8180" />
  <row Id="39971" PostHistoryTypeId="36" PostId="23724" RevisionGUID="d70be12e-aa25-43c3-96fb-1eee3623fdc4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8103/delete-part-of-audio" />
  <row Id="39972" PostHistoryTypeId="36" PostId="23725" RevisionGUID="39acebb8-b829-4a9d-8c4f-c7c32a01c603" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8103/delete-part-of-audio/8104#8104" />
  <row Id="39973" PostHistoryTypeId="36" PostId="23726" RevisionGUID="3065c2fd-a95c-4241-acb1-8ed29fdfc5ba" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8103/delete-part-of-audio/8105#8105" />
  <row Id="39974" PostHistoryTypeId="36" PostId="23727" RevisionGUID="c369a412-fd6f-487f-ac17-b82af26210b8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8103/delete-part-of-audio/8110#8110" />
  <row Id="39975" PostHistoryTypeId="2" PostId="23725" RevisionGUID="99d77ebc-28d8-486a-94d2-65bd764cb691" CreationDate="2013-06-11T01:57:08.467" UserId="7213" UserDisplayName="Jim Mack" Text="This is an ordinary function of any audio editor -- it's what editing is. I don't know of a specific tool within your program to do this, or what specific challenges you see. But unless there are odd or unusual circumstances, it's a simple matter for an experienced operator to join two segments.&#xD;&#xA;&#xD;&#xA;In a program like Audacity (free), you might place the two segments on different tracks, with appropriate spacing, and make a short dissolve between the tracks -- fade the first track out while fading the second one in. But without access to the actual sound, it's hard to be any more specific." ContentLicense="CC BY-SA 3.0" />
  <row Id="39976" PostHistoryTypeId="2" PostId="23726" RevisionGUID="d65bc1fb-2ce6-4d13-b0f7-481d40dda3dc" CreationDate="2013-06-11T01:58:33.550" UserId="7174" Text="Normally you cut on a break in the sound.  If not, as long as the sound on the other end of both is roughly the same, you could try a cross fade.  Otherwise, you are pretty much out of luck.  &#xD;&#xA;&#xD;&#xA;Sounds are very complex things for the most part and if we're very good at picking out if they don't line up right.  Almost any sudden change is going to be noticeable to an attentive listener." ContentLicense="CC BY-SA 3.0" />
  <row Id="39977" PostHistoryTypeId="2" PostId="23727" RevisionGUID="7a7bade0-c12c-4102-8478-da1450d6b6e5" CreationDate="2013-06-11T10:03:34.803" UserDisplayName="InfluenceJamie" Text="The easiest way is to view the wav form of the track in audition, zoom in so it's obvious and cut it together manually. I don't believe there is a program or plugin that automatically finds two different points that would cut together well. Hopefully if you zoom in close enough, it's easy to see two sets of wav forms in similar shapes or at similar levels to cut together." ContentLicense="CC BY-SA 3.0" />
  <row Id="39978" PostHistoryTypeId="2" PostId="23724" RevisionGUID="5a246dac-f33d-49ae-94ef-1fb8b7ec4fb3" CreationDate="2013-06-11T01:00:22.273" UserDisplayName="Ali" Text="How can I delete part of an audio file while there would be no distortion in mixing point of two other parts? Let's say two other parts (after and before deleted part) are mixed together smartly so it's not possible to recognize that something between them is missing. Maybe a smart filter that mix two remaining part in a place which both have same frequency.&#xD;&#xA;&#xD;&#xA;I currently use Adobe Audition and I couldn't find anything to do this. If audition can't do this, suggestion on other apps that maybe can do this would be appreciated. &#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="39979" PostHistoryTypeId="1" PostId="23724" RevisionGUID="5a246dac-f33d-49ae-94ef-1fb8b7ec4fb3" CreationDate="2013-06-11T01:00:22.273" UserDisplayName="Ali" Text="Delete part of audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="39980" PostHistoryTypeId="3" PostId="23724" RevisionGUID="5a246dac-f33d-49ae-94ef-1fb8b7ec4fb3" CreationDate="2013-06-11T01:00:22.273" UserDisplayName="Ali" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39981" PostHistoryTypeId="36" PostId="23728" RevisionGUID="6d7f6f9c-0dd0-49dc-96bd-21ae82bf3066" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3162/voice-recording-for-radio-what-effects-are-used" />
  <row Id="39982" PostHistoryTypeId="36" PostId="23729" RevisionGUID="580c6078-3ec4-4c4d-9071-8809e44b50a6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3162/voice-recording-for-radio-what-effects-are-used/3167#3167" />
  <row Id="39983" PostHistoryTypeId="2" PostId="23729" RevisionGUID="395c8e62-dc89-471c-a01b-d69d932b46ec" CreationDate="2012-01-29T22:24:19.970" UserDisplayName="Kieren Johnstone" Text="Radio output in general will be compressed to within a millimeter of its life.  With multi-band compression in particular you can boost the loudness a hell of a lot and everything will sound very full.&#xD;&#xA;&#xD;&#xA;But, as with everything, it depends:&#xD;&#xA;&#xD;&#xA;* What you want it to sound like&#xD;&#xA;* What the actual requirements are (anyone need anything specific?)&#xD;&#xA;* What the source material is like&#xD;&#xA;&#xD;&#xA;In terms of other 'effects', specifically effects, a small touch of reverb is fairly common in general although not so much on VOs.&#xD;&#xA;&#xD;&#xA;Processing-wise, though:&#xD;&#xA;&#xD;&#xA;* Noise gate, to cut background noise in a very simple way&#xD;&#xA;* Compression (including multi-band) to boost signal strength/volume&#xD;&#xA;* EQ to adjust tonality slightly, remove noise or add presence, remove sibilance etc..&#xD;&#xA;&#xD;&#xA;But as I said, depends completely on the 3 points at the top.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39984" PostHistoryTypeId="2" PostId="23728" RevisionGUID="85cd8b32-86b1-4914-acd2-035d47069315" CreationDate="2012-01-29T13:38:20.373" UserId="12947" UserDisplayName="Nicola Peluchetti" Text="I'm recording my voice for my radio show. I used to record at the radio studio but we have a problem and so i'm stuck at home with Sound Forge.  &#xD;&#xA;I record the voice with a Cobalt C04 Mic that sounds ok to me, then i use &quot;Normalize&quot; and then &quot;Wave Hammer&quot;.  &#xD;&#xA;What are the effects that are most commonly used on voice?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39985" PostHistoryTypeId="1" PostId="23728" RevisionGUID="85cd8b32-86b1-4914-acd2-035d47069315" CreationDate="2012-01-29T13:38:20.373" UserId="12947" UserDisplayName="Nicola Peluchetti" Text="Voice recording for radio, what effects are used?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39986" PostHistoryTypeId="3" PostId="23728" RevisionGUID="85cd8b32-86b1-4914-acd2-035d47069315" CreationDate="2012-01-29T13:38:20.373" UserId="12947" UserDisplayName="Nicola Peluchetti" Text="&lt;audio-recording&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39987" PostHistoryTypeId="36" PostId="23730" RevisionGUID="9355ed84-b61b-487d-b926-739b8d2eb90a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9650/how-should-i-select-a-microphone-to-use-with-a-sound-recorder-used-as-a-pre-amp" />
  <row Id="39988" PostHistoryTypeId="2" PostId="23730" RevisionGUID="97f30a57-5063-41b3-9499-d597da6a5f95" CreationDate="2013-12-13T00:50:36.343" UserId="7489" UserDisplayName="OwenM" Text="I have a Canon 550d, which I have started to do some video work with.  Recently while recording a friends blues band at a gig, the location I was in was too close to the speakers, causing the audio to clip (the onboard is good, but not that great anyway).&#xD;&#xA;&#xD;&#xA;Through various voluntary work I do, I have access to three different solid state recorders which I could use as a preamp: Zoom H2N, Zoom H4N, Marantz PMD661 - my understanding is that with all of these a line to mic cable would be appropriate to connect them to the DSLR, and also that whilst the internal mics are better than the DSLR mic, they still aren't fantastic.&#xD;&#xA;&#xD;&#xA;What should I look for when buying a mic to use with one of these recorders (the H4N and PMD661 have two XLR connections, I'm pretty sure the H2N only has 3.5mm stereo mic input). At the moment my intended uses are:&#xD;&#xA;1) future band recordings (live gig venue)&#xD;&#xA;2) field recording (I have another friend who runs geology courses and is interested in making a video in the mountains!)&#xD;&#xA;&#xD;&#xA;I appreciate that these are two very different situations - one has power available, no wind, and I can park right outside so no problem taking as much kit as I want.  The other doesn't" ContentLicense="CC BY-SA 3.0" />
  <row Id="39989" PostHistoryTypeId="1" PostId="23730" RevisionGUID="97f30a57-5063-41b3-9499-d597da6a5f95" CreationDate="2013-12-13T00:50:36.343" UserId="7489" UserDisplayName="OwenM" Text="How should I select a microphone to use with a sound recorder used as a pre-amp for a DSLR" ContentLicense="CC BY-SA 3.0" />
  <row Id="39990" PostHistoryTypeId="3" PostId="23730" RevisionGUID="97f30a57-5063-41b3-9499-d597da6a5f95" CreationDate="2013-12-13T00:50:36.343" UserId="7489" UserDisplayName="OwenM" Text="&lt;audio-recording&gt;&lt;dslr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39991" PostHistoryTypeId="36" PostId="23731" RevisionGUID="779bd029-c69b-4b17-bf8e-51c44d432c31" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6880/how-to-remove-the-vocals-from-a-song-basic-methods-wont-work" />
  <row Id="39992" PostHistoryTypeId="36" PostId="23732" RevisionGUID="88ada635-5260-4d4b-8141-ad45fd4ff87e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6880/how-to-remove-the-vocals-from-a-song-basic-methods-wont-work/6881#6881" />
  <row Id="39993" PostHistoryTypeId="2" PostId="23732" RevisionGUID="b8b33783-71cf-4feb-967e-1931ac860443" CreationDate="2013-01-19T08:53:59.800" UserId="7016" Text="This implies that your track is in mono. Centre channel extraction gets the difference of the L and R tracks - making the assumption that the difference broadly equates to a middle channel, which is usually where the vocals are.&#xD;&#xA;&#xD;&#xA;If your song is old, it may have been recorded in mono, which means there is no difference between L and R channels (or almost no difference - the squeak is the difference)&#xD;&#xA;&#xD;&#xA;In this circumstance, this question is a duplicate of [**Removal of Voice from single track in Audacity**][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/q/5244/674" ContentLicense="CC BY-SA 3.0" />
  <row Id="39994" PostHistoryTypeId="2" PostId="23731" RevisionGUID="736587e0-0fea-4dc0-91bf-a7a4012ffecc" CreationDate="2013-01-19T07:56:07.670" UserId="14891" UserDisplayName="EApubs" Text="&gt; **Possible Duplicate:**  &#xA;&gt; [Removal of voice from single track in audacity](http://avp.stackexchange.com/questions/5244/removal-of-voice-from-single-track-in-audacity)  &#xA;&#xA;&lt;!-- End of automatically inserted text --&gt;&#xA;&#xA;I have an old song. I need to remove the vocals and get only the music from it. I used Audacity (Effects &gt; Vocal Remover). After applying, there's no sound!&#xD;&#xA;&#xD;&#xA;I used Audition (the Center Channel Extractor). After applying, a tiny noise came (a small squeeking). Nothing else.&#xD;&#xA;&#xD;&#xA;Is there another way to do this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="39995" PostHistoryTypeId="1" PostId="23731" RevisionGUID="736587e0-0fea-4dc0-91bf-a7a4012ffecc" CreationDate="2013-01-19T07:56:07.670" UserId="14891" UserDisplayName="EApubs" Text="How To Remove the Vocals from a Song? Basic methods won't work" ContentLicense="CC BY-SA 3.0" />
  <row Id="39996" PostHistoryTypeId="3" PostId="23731" RevisionGUID="736587e0-0fea-4dc0-91bf-a7a4012ffecc" CreationDate="2013-01-19T07:56:07.670" UserId="14891" UserDisplayName="EApubs" Text="&lt;audio&gt;&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="39997" PostHistoryTypeId="36" PostId="23733" RevisionGUID="a7f339c2-c745-46ce-bc21-e58f35b17aaf" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4381/buzzing-sound-when-recording-to-laptop" />
  <row Id="39998" PostHistoryTypeId="2" PostId="23734" RevisionGUID="4cdd5745-2704-4007-a47d-92d3be95ccf7" CreationDate="2012-07-08T09:53:20.417" UserId="7200" UserDisplayName="leftaroundabout" Text="That's a well-known problem.&#xD;&#xA;&#xD;&#xA;First of all, you shouldn't be using the microphone connector on the laptop. These inputs are usually not only particularly susceptible to buzzing noises, but also to all kinds of distortion and aliasing. Use an external audio interface, there are very affordable USB ones available.&#xD;&#xA;&#xD;&#xA;Using an interface with XLR inputs, connected to the mixer with balanced (!) microphone or TRS cables, the problem will probably be solved already. If not or there are no balanced outputs available on the mixer, you can use a DI-box to both balance and ground-lift an unbalanced pair of outputs, or you can try to use an unbalanced connection directly (some interfaces somehow manage to get even that working with hardly any of the buzzing).&#xD;&#xA;&#xD;&#xA;Of course, it would be better to fix the problem right at the source, which is the laptop's switching power supply. I tried this once. The main trouble would appear to be that the ground connection runs straight past the switching circuitry,&#xD;&#xA;&#xD;&#xA;                                 ╭┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄╮          &#xD;&#xA;          Phase ─────────────────┆──Switching circ.──┆────────────────── +&#xD;&#xA;       Mains                     ┆   Power supply    ┆                       Laptop&#xD;&#xA;         Ground ─────────────────┆─────────┴─────────┆────────────────── Ground&#xD;&#xA;                                 ╰┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄╯          &#xD;&#xA;&#xD;&#xA; there picking up a lot of the transients. This can be avoided by putting the power supply in a &quot;loop&quot;, like&#xD;&#xA;&#xD;&#xA;                                 ╭┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄╮      &#xD;&#xA;                      ┌──────────┆──Switching circ.──┆───────────┐&#xD;&#xA;                      │          ┆   Power supply    ┆           │&#xD;&#xA;                      │  ┌───────┆─────────┴─────────┆───        │&#xD;&#xA;                      │  │       ╰┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄╯           │                       &#xD;&#xA;                      │  │                                       │&#xD;&#xA;                      │  │                                       │&#xD;&#xA;          Phase ──────┘  │                                       └────────── +&#xD;&#xA;       Mains             │                                                      Laptop&#xD;&#xA;         Ground ─────────┴────────────────────────────────────────────────── Ground&#xD;&#xA;&#xD;&#xA;which does however not quite suffice, some noise still seems to be introduced to the ground loop back from the DC output. This should however be fixable with a fat inductor in that line, but I haven't tried that yet." ContentLicense="CC BY-SA 3.0" />
  <row Id="39999" PostHistoryTypeId="2" PostId="23733" RevisionGUID="506b6694-5b57-4192-9209-3cedd98bcf89" CreationDate="2012-07-08T07:30:11.663" UserDisplayName="Greg" Text="I'm part of a church and we are looking to record sermons using a laptop and our sound desk. Everything works fine until we connect the laptop to mains power. Searching on Google I found [this post][1]  which explains the problem is to do with some sort of voltage issue. Is there anything except for running the laptop off batteries that could fix the problem? I am connecting using a standard RCA to 3.5&quot; cable running from the monitor out on the sound desk to the microphone connector on the laptop.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://forum.audacityteam.org/viewtopic.php?f=26&amp;t=4769" ContentLicense="CC BY-SA 3.0" />
  <row Id="40000" PostHistoryTypeId="1" PostId="23733" RevisionGUID="506b6694-5b57-4192-9209-3cedd98bcf89" CreationDate="2012-07-08T07:30:11.663" UserDisplayName="Greg" Text="Buzzing sound when recording to laptop" ContentLicense="CC BY-SA 3.0" />
  <row Id="40001" PostHistoryTypeId="3" PostId="23733" RevisionGUID="506b6694-5b57-4192-9209-3cedd98bcf89" CreationDate="2012-07-08T07:30:11.663" UserDisplayName="Greg" Text="&lt;audio-recording&gt;&lt;laptop&gt;&lt;distortion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40002" PostHistoryTypeId="36" PostId="23734" RevisionGUID="c2c5d87b-b2a0-48bd-afca-dc00faf381f7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4381/buzzing-sound-when-recording-to-laptop/4382#4382" />
  <row Id="40003" PostHistoryTypeId="36" PostId="23735" RevisionGUID="be14ffd0-5706-4aa5-937f-4c8c81279d99" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4381/buzzing-sound-when-recording-to-laptop/4385#4385" />
  <row Id="40004" PostHistoryTypeId="2" PostId="23735" RevisionGUID="56570d16-6044-4e9d-ac72-abc94cb7f552" CreationDate="2012-07-08T16:35:20.707" UserDisplayName="JPollock" Text="Everything that user leftaroundabout said is correct. &#xD;&#xA;Simpler solution: try putting a three prong to two prong adapter on the laptops power supply. This should break the ground loop that is causing the noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="40005" PostHistoryTypeId="36" PostId="23736" RevisionGUID="e8b5b464-da66-4ebf-9d1b-d327fe8cc3a3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1602/what-are-the-vst-recorder-plug-ins-on-the-market" />
  <row Id="40006" PostHistoryTypeId="36" PostId="23737" RevisionGUID="0bfce579-389e-403f-ac77-2522fbd0b241" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1602/what-are-the-vst-recorder-plug-ins-on-the-market/1603#1603" />
  <row Id="40007" PostHistoryTypeId="2" PostId="23737" RevisionGUID="bd99d31b-438f-4b7a-be37-ac701747b3ac" CreationDate="2011-06-16T14:39:09.380" UserId="7471" UserDisplayName="Mark Heath" Text="[Voxengo][1] have a plugin called [Recorder][2] that does what you want, available for Windows only though. It's free too.&#xD;&#xA;&#xD;&#xA;![Voxengo Recorder Plugin][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.voxengo.com/&#xD;&#xA;  [2]: http://www.voxengo.com/product/recorder/&#xD;&#xA;  [3]: http://i.stack.imgur.com/O8C5r.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="40008" PostHistoryTypeId="2" PostId="23738" RevisionGUID="dd32aeba-ade9-40ae-8c74-0adbd6703349" CreationDate="2011-06-17T09:08:23.633" UserId="7100" Text="http://www.kvraudio.com/forum/archive/effects/2004-02/35651.php&#xD;&#xA;&#xD;&#xA;http://www.softpedia.com/downloadTag/VST+recorder&#xD;&#xA;&#xD;&#xA;http://www.hgsounds.com/shop/vst-plugins/hgs-wav-recorder-vst-plugin&#xD;&#xA;&#xD;&#xA;http://www.loopers-delight.com/LDarchive/200306/msg01128.html&#xD;&#xA;&#xD;&#xA;http://flstudio.image-line.com/documents/edison.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="40009" PostHistoryTypeId="2" PostId="23736" RevisionGUID="74cde123-c2ed-4d3a-ab58-3374dd47afa5" CreationDate="2011-06-16T13:05:23.367" UserId="7100" Text="I would like to record the audio in one point of my session in my VST-compatible host. What are the **free &amp; commercial VST recorder plugin available on the market**?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="40010" PostHistoryTypeId="1" PostId="23736" RevisionGUID="74cde123-c2ed-4d3a-ab58-3374dd47afa5" CreationDate="2011-06-16T13:05:23.367" UserId="7100" Text="What are the VST recorder plug-ins on the market?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40011" PostHistoryTypeId="3" PostId="23736" RevisionGUID="74cde123-c2ed-4d3a-ab58-3374dd47afa5" CreationDate="2011-06-16T13:05:23.367" UserId="7100" Text="&lt;audio-recording&gt;&lt;plugins&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40012" PostHistoryTypeId="36" PostId="23738" RevisionGUID="8b185036-6bd4-4efe-8309-7e0b9fd58d61" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1602/what-are-the-vst-recorder-plug-ins-on-the-market/1610#1610" />
  <row Id="40013" PostHistoryTypeId="36" PostId="23739" RevisionGUID="e6952e9f-9208-4a54-b287-722852b47123" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3132/can-someone-please-explain-to-me-what-each-bar-of-the-equalizer-means" />
  <row Id="40014" PostHistoryTypeId="36" PostId="23740" RevisionGUID="9f95518a-1dcf-4eff-a899-50b01afd7f55" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3132/can-someone-please-explain-to-me-what-each-bar-of-the-equalizer-means/3133#3133" />
  <row Id="40015" PostHistoryTypeId="36" PostId="23741" RevisionGUID="9cba3f5d-64f6-4171-b6f4-47d4a9c3db32" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3132/can-someone-please-explain-to-me-what-each-bar-of-the-equalizer-means/3135#3135" />
  <row Id="40016" PostHistoryTypeId="2" PostId="23740" RevisionGUID="ec397c93-0c45-4ab4-8b81-26bd30632220" CreationDate="2012-01-25T16:51:59.493" UserId="7200" UserDisplayName="leftaroundabout" Text="There are two approaches in which you can learn it.&#xD;&#xA;&#xD;&#xA;First one: use your ears! Experiment with what happens when you tweak the EQ settings for various kinds of audio, e.g. voice recordings, full mixed music tracks or white noise. You will soon get a feeling about what the highs/mids/lows are and which frequencies are prominent in which instruments. As a rough overview&#xD;&#xA;&#xD;&#xA; - All bass instruments (including bass drums / timpani) feature, obviously, predominantly (but not exclusively!) low frequencies. They are usually the only instruments you strongly hear at below 100 Hz.&#xD;&#xA; - &quot;Loud-sounding&quot; instruments, e.g. brass, snare drums, electric guitars, also loud voices, have strong higher-mid frequencies.&#xD;&#xA; - Instruments that sound &quot;light&quot;, &quot;crisp&quot; etc., like cymbals, small percussion, acoustic guitars, &quot;clear&quot; &quot;open&quot; voices... have lots of highs.&#xD;&#xA;&#xD;&#xA;From this it's readily deduced that musical styles which strongly feature a particular class of instruments also tend to have emphasis the frequencies these instruments are focused on; for instance in rock music there is a lot of mid frequencies, bass-heavy grooves have a lot of lows and &quot;unplugged&quot; or pop songs in general get their characteristic sound from lots of highs. However you need to be careful with such statements: most music styles feature instruments from all these classes, and depending on the mix the overall frequency distribution may be quite unlike the expented one.&#xD;&#xA;&#xD;&#xA;The other approach is the physical one. When talking of &quot;mids/highs/lows&quot;, one is essentially referring to the Fourier transform of a signal. This is a mechanism by which you can decompose any sound (_sound_ being a description of how air pressure behaves in time, namely how the air _oscillates_) into a sum of uniform basis oscillations, namely sine oscillations, which can be thought of as &quot;pure frequencies&quot;. Low frequencies are wide, slow oscillations, which can naturally only occur in sufficiently big instruments; so all acoustic bass instruments are somewhat large-ish. High frequencies, i.e. fast and small oscillations, are more predominantly produced by small instruments, but also in big instruments provided the fast oscillations are not dampened by soft materials.&#xD;&#xA;&#xD;&#xA;When you use an equalizer, you can imagine this happens: the incoming signal is first Fourier-transformed into this frequency space, there you then have a single &quot;volume fader&quot; for each frequency component, and at the output the signal is transformed back to a single time-space signal. (Most EQs are not actually implemented in this way, but it is possible.) Just, you can't precisely control every frequency on its own (there are far too many) with a graphic EQ, instead a whole range of frequencies will be bundled into a _frequency band_; that's what you control with those bars. Depending on the application you may need to cut or boost very narrow band very precisely, in this case you need either a graphic EQ with a great lot of bands (typically 31 in professional applications) or, even more precise and therefore often preferred in studios, _parametric EQs_ which allow you to select exactly what range you frequencies you whish to manipulate." ContentLicense="CC BY-SA 3.0" />
  <row Id="40017" PostHistoryTypeId="2" PostId="23741" RevisionGUID="57ef9c88-2794-410b-aea0-05f3e6e035f5" CreationDate="2012-01-25T21:12:57.263" UserId="7188" Text="While I think that the answer provided by leftaroundabout is totally spot on and correct, I would like to add the following to simplify:&#xD;&#xA;&#xD;&#xA;Think of the equalizer as set of filters. What are you filtering? The musical or sonic spectra, typically in the 20 Hz to 20 K Hz range (human hearing). Each filter addresses a select band of frequencies from this spectra.&#xD;&#xA;&#xD;&#xA;A common break down of the audio spectra into bands:&#xD;&#xA;30Hz (low bass), 100Hz (mid-bass), 1kHz (midrange), 10kHz (upper midrange) and 20kHz (treble or high-frequency).&#xD;&#xA;&#xD;&#xA;Using light as an analogy: a light equalizer would be like taking a light source and running it through a prism then taking each color and boosting or reducing it as you like to create your own spectra.&#xD;&#xA;&#xD;&#xA;For further reading, &quot;What is the Difference Between a Graphic and a Parametric Equalizer?&quot;&#xD;&#xA;http://stereos.about.com/od/introductiontostereos/a/equalizers.htm&#xD;&#xA;&#xD;&#xA;More on EQ:&#xD;&#xA;http://productionadvice.co.uk/using-eq/&#xD;&#xA;&#xD;&#xA;EQ tutorial from ProSonus:&#xD;&#xA;http://www.presonus.com/community/learn/musicians/eq-tutorial/&#xD;&#xA;&#xD;&#xA;Hope this helps" ContentLicense="CC BY-SA 3.0" />
  <row Id="40018" PostHistoryTypeId="2" PostId="23739" RevisionGUID="d521b5d2-6cb6-4e10-b4df-d5d8e3b02321" CreationDate="2012-01-25T14:04:40.370" UserDisplayName="Dido" Text="I mean I'm pretty new to sound engineering. Can somebody at least introduce me to what each bar on the equalizer of a music player stands for and how would they effect the quality and perception of music? What are highs, lows and mids? How can different genres of music like electronic/trance/rock/metal/jazz be identified on the basis of the shapes of their high-low-mids...Links are also very welcome.." ContentLicense="CC BY-SA 3.0" />
  <row Id="40019" PostHistoryTypeId="1" PostId="23739" RevisionGUID="d521b5d2-6cb6-4e10-b4df-d5d8e3b02321" CreationDate="2012-01-25T14:04:40.370" UserDisplayName="Dido" Text="Can someone please explain to me what each bar of the equalizer means?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40020" PostHistoryTypeId="3" PostId="23739" RevisionGUID="d521b5d2-6cb6-4e10-b4df-d5d8e3b02321" CreationDate="2012-01-25T14:04:40.370" UserDisplayName="Dido" Text="&lt;audio-recording&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40021" PostHistoryTypeId="36" PostId="23742" RevisionGUID="4a2ba169-97ed-48f9-b912-da87b8194fa7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4865/how-do-i-publish-my-own-song" />
  <row Id="40022" PostHistoryTypeId="2" PostId="23743" RevisionGUID="d2f596ed-4922-4bfd-ac06-c66e05e2e22e" CreationDate="2012-10-03T04:16:50.920" UserId="7218" UserDisplayName="Robert Harvey" Text="The usual way, I suppose.  &#xD;&#xA;&#xD;&#xA;&gt; All you need to do to establish a legal copyright is affix a copyright&#xD;&#xA;&gt; notice on your recording or lyrics. The term &quot;affix&quot; simply means you&#xD;&#xA;&gt; write your name and the year the song was written next to the&#xD;&#xA;&gt; copyright symbol.&#xD;&#xA;&gt; &#xD;&#xA;&gt; The format looks like this: © YOUR NAME 2011&#xD;&#xA;&gt; &#xD;&#xA;&gt; That's all there is to it. In fact, it's not even necessary to include&#xD;&#xA;&gt; a copyright notice on subsequent recordings. The writer still has&#xD;&#xA;&gt; copyright protection.&#xD;&#xA;&gt; &#xD;&#xA;&gt; Because copyright law provides clear protections at the time of&#xD;&#xA;&gt; creation, experienced songwriters often wait to file formal copyrights&#xD;&#xA;&gt; (with the U.S. Office of Copyrights) until their songs are polished,&#xD;&#xA;&gt; rewritten, completed and ready to be published or released&#xD;&#xA;&gt; commercially.&#xD;&#xA;&gt; &#xD;&#xA;&gt; When a song is completed and ready to show, it's also ready to be&#xD;&#xA;&gt; registered with the [U.S. Copyright Office](http://www.copyright.gov/forms).&#xD;&#xA;&#xD;&#xA;http://www.songwritersresourcenetwork.com/copyrights.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="40023" PostHistoryTypeId="2" PostId="23742" RevisionGUID="465822f2-6cc4-4daa-beff-5baa096a9252" CreationDate="2012-09-30T12:22:43.897" UserDisplayName="IrishChieftain" Text="I'm recording my own blues number this morning on someone elses album. They will be giving me credit but what's the easiest way for me to publish this and protect my copyright?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40024" PostHistoryTypeId="1" PostId="23742" RevisionGUID="465822f2-6cc4-4daa-beff-5baa096a9252" CreationDate="2012-09-30T12:22:43.897" UserDisplayName="IrishChieftain" Text="How Do I Publish My Own Song" ContentLicense="CC BY-SA 3.0" />
  <row Id="40025" PostHistoryTypeId="3" PostId="23742" RevisionGUID="465822f2-6cc4-4daa-beff-5baa096a9252" CreationDate="2012-09-30T12:22:43.897" UserDisplayName="IrishChieftain" Text="&lt;audio-recording&gt;&lt;copyright&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40026" PostHistoryTypeId="36" PostId="23743" RevisionGUID="665f8d84-bc27-43bd-8d3b-759e82f855f7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4865/how-do-i-publish-my-own-song/4906#4906" />
  <row Id="40027" PostHistoryTypeId="36" PostId="23744" RevisionGUID="de5623e7-f1ef-42f1-b12f-e7d713943490" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7078/how-to-make-a-voice-sound-heavier-and-more-mature-in-audacity" />
  <row Id="40028" PostHistoryTypeId="36" PostId="23745" RevisionGUID="eb6abcd9-c972-4923-b3d6-e77117d5e660" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7078/how-to-make-a-voice-sound-heavier-and-more-mature-in-audacity/7086#7086" />
  <row Id="40029" PostHistoryTypeId="2" PostId="23745" RevisionGUID="0e01b820-395b-449b-a974-f327b25ba078" CreationDate="2013-02-08T10:02:29.353" UserId="7016" Text="You can certainly drop the pitch, but the tricky bit is that a tenor voice has a very different timbre - there are different harmonics, different resonances etc.&#xD;&#xA;&#xD;&#xA;The preferred solution would be to get someone with a deep voice to help you :-)&#xD;&#xA;&#xD;&#xA;If you have no-one else to help then try a combination of lowering the pitch, and stretching the time frame. The two together can help.&#xD;&#xA;&#xD;&#xA;Alternatively, there are apps (for iPhone, Android, PC etc) which will change your voice - some are pretty silly, but some don't just change the pitch, but they change the tone, so that could be what you want.&#xD;&#xA;&#xD;&#xA;Google for **Voice changer**" ContentLicense="CC BY-SA 3.0" />
  <row Id="40030" PostHistoryTypeId="2" PostId="23744" RevisionGUID="32c13c6a-dfe9-4fbe-a226-8b766287adf9" CreationDate="2013-02-07T19:53:56.127" UserDisplayName="Pacha" Text="I am making a game, and I am using my voice for the sound effects of the spells of the cleric. I'm saying some things in latin.&#xD;&#xA;&#xD;&#xA;What I want to do is modify my voice so that it sounds more mature and more &quot;tenor&quot;.&#xD;&#xA;&#xD;&#xA;I tried modifying the pitch values in Audacity, but no luck yet. &#xD;&#xA;&#xD;&#xA;Can anyone point me in the direction to do this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40031" PostHistoryTypeId="1" PostId="23744" RevisionGUID="32c13c6a-dfe9-4fbe-a226-8b766287adf9" CreationDate="2013-02-07T19:53:56.127" UserDisplayName="Pacha" Text="How to make a voice sound heavier and more mature in Audacity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40032" PostHistoryTypeId="3" PostId="23744" RevisionGUID="32c13c6a-dfe9-4fbe-a226-8b766287adf9" CreationDate="2013-02-07T19:53:56.127" UserDisplayName="Pacha" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40033" PostHistoryTypeId="36" PostId="23746" RevisionGUID="101e92bb-7347-46e2-a25f-83b35bb1fd5c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7835/in-what-units-is-a-samples-amplitude-value-represented-and-how-it-relates-to-t" />
  <row Id="40034" PostHistoryTypeId="36" PostId="23747" RevisionGUID="2a89775d-ee6f-460e-a47e-783a8df14e5f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7835/in-what-units-is-a-samples-amplitude-value-represented-and-how-it-relates-to-t/7837#7837" />
  <row Id="40035" PostHistoryTypeId="36" PostId="23748" RevisionGUID="73d37b27-a997-4bf3-844c-0aa177b9736e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7835/in-what-units-is-a-samples-amplitude-value-represented-and-how-it-relates-to-t/7838#7838" />
  <row Id="40036" PostHistoryTypeId="2" PostId="23747" RevisionGUID="8d17107e-005c-4b9d-806f-0fd27d637db4" CreationDate="2013-05-08T14:29:23.420" UserId="7174" Text="The first thing to realize is that dB is a logarithmic scale.  For every 10dB change, the signal level changes by an order of magnitude.  0db means the signal is unaltered when sampling or &quot;full power&quot; when dealing with a recording.  -infinity is 0 signal strength and the amplitude of the signal can be anywhere in between.  &#xD;&#xA;&#xD;&#xA;To get a +dB level, amplification has to be done on the signal.  For example, when you see something like +10dB on a sound board, this means the sound board is amplifying the signal that it received to be 10 times as powerful or 3.162 times the amplitude.&#xD;&#xA;&#xD;&#xA;The level in-between 0 and -infinity is determined based on where the current power or amplitude falls on the logarithmic scale.  The equations won't format nicely for display here, but the Wikipedia article on decibel has them very nicely formatted if you want further reading on the subject." ContentLicense="CC BY-SA 3.0" />
  <row Id="40037" PostHistoryTypeId="2" PostId="23748" RevisionGUID="4922f759-a8d3-4263-859a-7eb492d8a25c" CreationDate="2013-05-08T14:31:50.610" UserId="7213" UserDisplayName="Jim Mack" Text="There is no direct or absolute correspondence between 'original' amplitude and sample value. The concept of dB itself is one of relative amplitude -- unless you specify a reference value, as in dBa or dBm, all you know about a decibel is that it represents a (logarithmic) ratio. There is no 'zero dB' as such.&#xD;&#xA;&#xD;&#xA;In asking about original amplitude do you mean the sound pressure level of some audio? Or the voltage generated by the pickup transducer, or some other measurement? What about a sound that originated electronically, that is, with no 'original' value, just a sampled digital representation?&#xD;&#xA;&#xD;&#xA;In any event, knowing that the decibel is a logarithmic ratio, you can establish any baseline you like, for example 32767 as 0 dB[naxa] (these numbers are unsigned: -32767 has the same amplitude as +32767). A value 1/2 of that is 3 dB lower, because 3.0 is log10 of 2. This gets complicated when you discuss power ratios vs voltage ratios, but the idea is the same.&#xD;&#xA;&#xD;&#xA;I'm sure others will add to this, there's a lot I haven't touched on." ContentLicense="CC BY-SA 3.0" />
  <row Id="40038" PostHistoryTypeId="2" PostId="23749" RevisionGUID="c0a34022-28f0-4433-baf7-6bf72f803372" CreationDate="2013-05-08T14:50:38.053" UserId="7405" UserDisplayName="Andy aka" Text="Once a signal is digitized it is treated as a number (as you quite rightly point out) and for 16bits the range of numbers are -32768 to +32767. The numbers are created by an analogue to digital converter.&#xD;&#xA;&#xD;&#xA;The analogue to digital converter (ADC) will have a maximum input range from -X volts to +X volts (i.e. real signals that you could measure inside your mixer or on the input to a PC sound card). &#xD;&#xA;&#xD;&#xA;This range of real signals is translated to digital numbers and if the real analogue signal exceeds what the input range is (volts) you will get a limit number of -32768 or +32767 i.e. the signal will be digitally converted but clipped to these limits.&#xD;&#xA;&#xD;&#xA;And you are right in your assumption - a number that is -32768 or +32767 is regarded as 0dB.&#xD;&#xA;&#xD;&#xA;So, if you had a repetitive signal that brushed against top and bottom limit on your digital VU meter (as per in a DAW or wave editor) it would display the peaks as 0dB. if the signal were numerically half the size i.e. -16384 to +16384, the VU meter would display the peak as -6dB.&#xD;&#xA;&#xD;&#xA;A quarter sized signal would be -12dB. In fact, each time the amplitude in numbers (or volts for that matter) drops to a half, the dB level drops by 6dB. This is a rough guide to calculating other signal's dB amplitudes.&#xD;&#xA;&#xD;&#xA;On playback, a digital to analogue convertor turns the numbers into voltages that ultimately go to your speakers (after an amplifier). The loudness totally depends on how loud you want it to be - volume controls, bigger amps etc determine this.&#xD;&#xA;&#xD;&#xA;And yes, the minimum possible amplitude corresponds to silence and, for a 16 bit ADC, will be -96dB. It's no coincidence that a 16bit signal has potentially 16 x 6dB (96dB) of dynamic range. A 24 bit signal has potentially 24 x 6dB (144dB) of dynamic range.&#xD;&#xA;&#xD;&#xA;**EDIT** - it's might be worth mentioning that back in the early (ish) days of telephony, Bell Laboratories conducted experiments; real folk were asked to judge perceived sound level intensities. &#xD;&#xA;&#xD;&#xA;The result, for mid-spectrum sounds (1kHz area), for a halving of perceived loudness became the &quot;Bel&quot; and, one-tenth of a bell is a deci-bel. It was found that this tied in nicely with the fact that ten times the power of a sound causes a perceived doubling in loudness.&#xD;&#xA;&#xD;&#xA;10x power = 1bel = 10 decibels increase. This is another way of judging sounds - if your peak signal reduces by 10dB then it has approximately halved in loudness (mid bands of spectrum)." ContentLicense="CC BY-SA 3.0" />
  <row Id="40039" PostHistoryTypeId="2" PostId="23746" RevisionGUID="7d24ac13-45a0-4c72-a145-f2dde5ec5138" CreationDate="2013-05-08T12:21:38.363" UserId="9575" UserDisplayName="naxa" Text="I'm new to digital audio signals and read about [sampling rate on hydrogenaudio](http://wiki.hydrogenaudio.org/index.php?title=Sampling_rate).&#xD;&#xA;&#xD;&#xA;What this doesn't mention is how *a single sample*'s value, ranging from -32768 to 32767 in a 16 bit, *relates* to any real-world amplitude. Since I sometimes use [replay gain](http://wiki.hydrogenaudio.org/index.php?title=ReplayGain), I guess this information is simply lost either in the AD conversion or in the data format. &#xD;&#xA;&#xD;&#xA;Also replay gain means to me that once there were a real-world amplitude and then there is an intended amplitude interpretation (aka replay-gain) and finally there is always an actual loudness value when the playback happens.&#xD;&#xA;&#xD;&#xA;I saw that in many applications the amplitudes of wave files are expressed in negative dB values. I guess this is because there is a maximum amplitude value coming from the bits (and representation 'technique') used to represent the amplitude range, and the maximum amplitude possible in the file is taken as 0 dB.&#xD;&#xA;&#xD;&#xA;Is my hypothesis regarding this right? &#xD;&#xA;How do I calculate the dBs of the rest of the samples once I decided that the maximum possible amplitude is &quot;0 dB&quot;? Does the minimum possible amplitude equal &quot;silence&quot;?&#xD;&#xA;Are there file formats that store the original amplitude?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40040" PostHistoryTypeId="1" PostId="23746" RevisionGUID="7d24ac13-45a0-4c72-a145-f2dde5ec5138" CreationDate="2013-05-08T12:21:38.363" UserId="9575" UserDisplayName="naxa" Text="In what units is a sample's amplitude value represented, and how it relates to the real world?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40041" PostHistoryTypeId="3" PostId="23746" RevisionGUID="7d24ac13-45a0-4c72-a145-f2dde5ec5138" CreationDate="2013-05-08T12:21:38.363" UserId="9575" UserDisplayName="naxa" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;sampling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40042" PostHistoryTypeId="36" PostId="23749" RevisionGUID="4f06bd83-00cd-49e0-b7c9-46cce383f0a4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7835/in-what-units-is-a-samples-amplitude-value-represented-and-how-it-relates-to-t/7839#7839" />
  <row Id="40043" PostHistoryTypeId="36" PostId="23750" RevisionGUID="1da621b4-d5d0-4675-98e4-7b063c11fe9f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7835/in-what-units-is-a-samples-amplitude-value-represented-and-how-it-relates-to-t/7858#7858" />
  <row Id="40044" PostHistoryTypeId="2" PostId="23750" RevisionGUID="4af6ea33-ce0f-44df-a9e4-6f7443b5623d" CreationDate="2013-05-10T16:17:20.450" UserDisplayName="jodles" Text="I'm surprised nobody else has mentioned this, but the unit in the digital domain is *dBFS*, where FS stands for Full Scale. 0 dBFS represents the maximum digital signal level. A signal would clip in the digital domain above 0 dBFS. Note, however that just restraining a signal to just below 0 dBFS might not be enough to avoid clipping: Depending on the method of signal reconstruction in a DAC, a signal might clip during reconstruction. There's a good article called &quot;0dBFS+ Levels in Digital Mastering&quot; that explains more: http://www.tcelectronic.com/media/1018207/nielsen_lund_2000_0dbfs_le.pdf&#xD;&#xA;&#xD;&#xA;As indicated by the other posts above, there is no direct relation to real world signal levels, but there are plenty of standards that define what it should be. Most notably:&#xD;&#xA;&#xD;&#xA; - The European broadcating union (EBU): +18 dBu at 0 dBFS&#xD;&#xA;   &#xD;&#xA; - BBC spec: −18 dBFS = PPM &quot;4&quot; = 0 dBu&#xD;&#xA;&#xD;&#xA;For more info check out the Wikipedia article: http://en.wikipedia.org/wiki/DBFS" ContentLicense="CC BY-SA 3.0" />
  <row Id="40045" PostHistoryTypeId="36" PostId="23751" RevisionGUID="ecad6a8c-a26a-425e-95b1-f03f2e3e3db3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3673/how-do-i-improve-the-recording-levels-when-rcording-from-mixer-to-laptop" />
  <row Id="40046" PostHistoryTypeId="2" PostId="23751" RevisionGUID="651852d3-b819-4075-ba72-0c33d61dcf1d" CreationDate="2012-03-30T22:10:22.033" UserDisplayName="Samuel Jack" Text="I'm an amateur when it comes to all things audio, but I've been put in charge of the audio system at our church.&#xD;&#xA;&#xD;&#xA;We're making the switch from recording sermons directly to CD to recording to a laptop. I've set up our Mixer (a Phonic Impact II) so that one of its aux channels feeds into the laptop via a Berhinger USB audio interface ( a U202, IIRC). We're using Audacity to record.&#xD;&#xA;&#xD;&#xA;Recording works OK if we use a lapel mic. In other words, we get a good level of signal showing up in audacity's waveform. But if we use our shotgun mics on the lectern, the signal is too quiet on the laptop (very low peaks in the waveform).&#xD;&#xA;&#xD;&#xA;I've just installed two AKG C747s on the lectern in the hope that that would solve the problem, but it hasn't altered anything.&#xD;&#xA;&#xD;&#xA;I've tried turning up the gain on the shotgun mics, but that hasn't helped. Neither does turning up the gain in audacity itself - it doesn't bring the signal to anywhere near the level of the lapel mic.&#xD;&#xA;&#xD;&#xA;What am I doing wrong? And how can I put it right?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40047" PostHistoryTypeId="1" PostId="23751" RevisionGUID="651852d3-b819-4075-ba72-0c33d61dcf1d" CreationDate="2012-03-30T22:10:22.033" UserDisplayName="Samuel Jack" Text="How do I improve the recording levels when rcording from mixer to laptop?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40048" PostHistoryTypeId="3" PostId="23751" RevisionGUID="651852d3-b819-4075-ba72-0c33d61dcf1d" CreationDate="2012-03-30T22:10:22.033" UserDisplayName="Samuel Jack" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40049" PostHistoryTypeId="36" PostId="23752" RevisionGUID="024e94e6-8a3f-4e0f-a40e-b759097e0169" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6939/what-should-i-look-for-in-microphones-for-home-audio-monitoring-nanny-audio-cam" />
  <row Id="40050" PostHistoryTypeId="36" PostId="23753" RevisionGUID="04050dc0-e22f-4061-b00f-07ef1d46ac67" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6939/what-should-i-look-for-in-microphones-for-home-audio-monitoring-nanny-audio-cam/7311#7311" />
  <row Id="40051" PostHistoryTypeId="36" PostId="23754" RevisionGUID="795fd721-608f-40c8-97e5-5acf76777ddc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6939/what-should-i-look-for-in-microphones-for-home-audio-monitoring-nanny-audio-cam/7321#7321" />
  <row Id="40052" PostHistoryTypeId="36" PostId="23755" RevisionGUID="319dc06c-d1ac-4e86-bc31-1699cc99d26a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6939/what-should-i-look-for-in-microphones-for-home-audio-monitoring-nanny-audio-cam/7555#7555" />
  <row Id="40053" PostHistoryTypeId="2" PostId="23753" RevisionGUID="3109fcde-9fc3-4472-be58-b59e4436d63c" CreationDate="2013-03-05T01:42:52.117" UserId="7212" UserDisplayName="KeithS" Text="Honestly, my answer to this question, in which you infer that you plan to rely primarily on audio, is &quot;do it *any other way* than you are planning&quot;.&#xD;&#xA;&#xD;&#xA;Here's why; I work for an alarm monitoring company. In our line of work, where every signal from an alarm panel could be snot-nosed employees playing around or a matter of life and death, it's video, *not* audio, that determines whether we call the cops. If you have live video, you can see a problem; you can see the masked man with a gun, or the belligerent drunk accosting people outside the front door. Or, you can see that there isn't a problem; what sounded like a violent argument or gunfire on the audio feed, if you have one, was the TV in the breakroom turned up just a little too loud on the Spike channel.&#xD;&#xA;&#xD;&#xA;If you have audio, you hear... raised voices, maybe. More likely you'll hear a lot of environmental noise; condenser mics, which are pretty much a must for &quot;ambient&quot; micing (further then 2 feet), will pick up a lot of noise, even in a relatively quiet setting like your home. If the TV's on, or the microwave is running, that's all you'll hear and it will drown out even loud conversation. You'll also get a lot of false positives from someone yelling or shooting a gun on TV.&#xD;&#xA;&#xD;&#xA;Another reason is the lack of &quot;graceful degradation&quot;. If the customer's internet connection is slow or they're using most of it when we load up their video feeds, we'll get a lower framerate. Annoying, but we can still accurately assess what's happening with as few as 1 frame per second per camera. Most audio codecs on the other hand, especially live streams, simply have to stream continuously; more than a second of &quot;buffer&quot; is unacceptable because the sounds won't be anywhere close to the images, and less than that is next to useless if the Internet connection is even slightly herky-jerky. For this reason, we don't bother with VoIP solutions for audio, unless the customer insists on it and has a reliable, high-upload-bandwidth Internet pipeline available. &#xD;&#xA;&#xD;&#xA;That's why monitoring systems are so video-centric; cinema-quality dialogue recording is a technical impossibility outside of a sound stage, and what you hear on audio isn't necessarily happening in the room at the time. We install audio systems costing thousands of dollars at our client locations, and have exactly these same problems. You won't solve it for $100/mic hooked to your computer.&#xD;&#xA;&#xD;&#xA;So why do we install audio monitoring at all? One word; interactivity. If everything *seems* to be OK, we can call in over the intercom feature of our audio systems, and verify audibly with the customer that everything actually is alright. The customer, and anyone else in the store at the time, now knows we're watching them. We can, however, perform the same verification with a phone call, and such &quot;voice-downs&quot; always, *always* follow a visual scan of the situation on-site via the cameras; calling or voicing down to a site when you don't know what's going on can get people killed.&#xD;&#xA;&#xD;&#xA;Now, as a *supplement* to video, a condenser microphone is acceptable. Most video camera systems have at least one audio input. I would recommend an omni boundary mic; the omni capsule will mean there's no &quot;proximity effect&quot; where you gain or lose bassiness depending on the person's distance form the microphone (which can greatly affect intelligibility). Boundary mics are used for a wide variety of applications, including being excellent for videoconferencing as they'll pick up anyone around the table who talks.&#xD;&#xA;&#xD;&#xA;If this mic can be placed a short distance (within about 10 feet) from an input to a system that can send you the audio (probably your computer), then an unbalanced line between them should be fine. Most computers expect an unbalanced &quot;computer mic&quot; or a USB mic, like this [CAD U7 computer boundary mic][1]; these use unbalanced circuits for signal. A powered USB hub will act as a rudimentary repeater, but you'll still be limited to about 20 feet from the computer tower. You could also invest in a &quot;professional&quot; boundary mic with XLR connections, like this [Shure MX393-O][2], and hook it up to your computer's line-in with something like this: [Pyle-Pro 2-Channel Mixer][3] - It says 2-channel, and technically it is, but basically it is little more than a microphone preamp with phantom power and rudimentary gain controls, and will serve as a converter between the mic's XLR connector and your computer's line-in or USB audio input. The mic is $200, the amp is $75. If you want more mics in more places, you can invest in a rackmount mixer like this [ART MX821][4] that can handle up to 8 microphones and output one combined mix of them into your computer (line-in only; no USB function with this particular unit).&#xD;&#xA;&#xD;&#xA;Understand that all anyone has to do is turn off or unplug any part of this &quot;net nanny&quot; system and it's dead. The fact that this is not intended to be a secret system means you'll have to consider what to do *when*, not *if*, this system gets intentionally powered off or disconnected by someone. We get around it by making as much of our AV systems physically inaccessible as we can; you'd need a ladder, a screwdriver, and more time than it's worth to get to a mic or camera, while you'd need a key, or a crowbar and more time than it's worth, to get into the cage containing the recording computer. Despite this, we still have to put some pretty beefy UPS units on all the core components of the surveillance system and network infrastructure, in order to keep the device sending us data in a power failure long enough to determine whether it's a service failure or someone trying to keep us from seeing what's about to happen next.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/CAD-U7-Desktop-Condenser-Recording/dp/B001AIQGTK&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/product/126758-REG/Shure_MX393_O_MX393_O_Omni_Directional_Boundary.html&#xD;&#xA;  [3]: http://www.amazon.com/Pyle-Pro-PAD10MXU-Channel-Mixer-Interface/dp/B003CY6OHY&#xD;&#xA;  [4]: https://www.directproaudio.com/product.cfm?directid=64841" ContentLicense="CC BY-SA 3.0" />
  <row Id="40054" PostHistoryTypeId="2" PostId="23754" RevisionGUID="e0cd4294-1653-4fd1-b6ca-6b14bcf1fd61" CreationDate="2013-03-05T18:12:41.917" UserDisplayName="AtlantaDan" Text="KeithS is correct on most likely going with a &quot;condenser&quot; microphone.. As he mentioned it may pick up additional &quot;noise&quot; and such as this type microphone is designed to basically pickup any sounds with-in a pretty wide field... But, they have gotten pretty good and &quot;setup correctly&quot; (for your situation) can be perfect for discerning &quot;noise&quot; from the audio you are looking for. Especially if you are setting it up for particular things such as &quot;loud outbursts&quot; or &quot;altercations..&quot;&#xD;&#xA;&#xD;&#xA;I would specifically recommend possibly a **stereo condenser** microphone and even better would be one (for your situation) with a USB connection... Or (since hiding the device is not an issue, possibly an advantage (?)) something like **Samson - SAMTR Meteor Mic** (which can be found at Best Buy) http://www.bestbuy.com/site/Samson+-+SAMTR+Meteor+Mic+With+USB+Cable+and+Pouch/1950242.p?id=1218303699398&amp;skuId=1950242 &#xD;&#xA;&#xD;&#xA;(As far as the stereo condenser... this would give you additional options and clarity... also may be the answer in determining different sides of a discussion and help determine who did/said what...&#xD;&#xA;&#xD;&#xA;**The Reason** I recommend USB is because, if you are developing this as a system.. I imagine a computer will be involved and most likely some software (which I imagine would be custom and thus the &quot;actual product&quot; in the package...). This would give you the best bus/interface to &quot;add to/connect&quot; to you monitoring software and has voice recognition capabilities... Which is where I see this project going and the point... Even opens possibilities to maybe add features like &quot;text-transcriptions&quot; of any outbursts, etc. The options would be endless.. even reading/setting EQ, Intensity/Velocity, and Db's to accomplish what you are trying to achieve... And, as mentioned with a stereo mic, things such as help in determining different sides of a discussion, this may be the answer...&#xD;&#xA;&#xD;&#xA;I hope this helps...&#xD;&#xA;&#xD;&#xA;As far as my opinion on this idea... I like it, but have no comment.. As whether it's worth trying, was not the question..." ContentLicense="CC BY-SA 3.0" />
  <row Id="40055" PostHistoryTypeId="2" PostId="23755" RevisionGUID="82a54f9e-dcbd-4bf0-881c-3b5d6106e3dd" CreationDate="2013-04-01T08:39:56.520" UserDisplayName="Christos Amarandos" Text="From a Home Security/Automation point of view the ELK M1 (or NESS M1) allows you to place their microphones throughout your home and connect them back to the M1 Alarm Panel in which you can listen into via the internet or by dialing over the phone.&#xD;&#xA;&#xD;&#xA;Not only can you listen in you can also enable two-way communication in which you can listen in but also heard.&#xD;&#xA;&#xD;&#xA;Here are some links:&#xD;&#xA;&#xD;&#xA;Microphone/Speaker - http://www.elkproducts.com/product-catalog/elk-m1twsf-flush-mount-two-way-speaker-microphone&#xD;&#xA;M1 Panel - http://www.elkproducts.com/product-catalog/m1-gold-cross-platform-control" ContentLicense="CC BY-SA 3.0" />
  <row Id="40056" PostHistoryTypeId="2" PostId="23752" RevisionGUID="7032ff24-13c7-4444-b46f-4e57ad4e8e0d" CreationDate="2013-01-24T17:11:12.413" UserId="7195" UserDisplayName="DVK" Text="When building a home monitoring &quot;nanny audio cam&quot; system, the main component seems to be microphones/sound pickups.&#xD;&#xA;&#xD;&#xA;The qualities that I think I need for such microphones for this system seem to be:&#xD;&#xA;&#xD;&#xA; - *Sensitivity to somewhat loud human voice.* &#xD;&#xA;&#xD;&#xA;   They should pick up human - including children - conversing in normal tones.&#xD;&#xA; &#xD;&#xA;   I do NOT need super-sensitivity to pick up whispers/quiet conversations (the main purpose of the system is dealing with some kinds of arguments/tantrums/altercations involving the children, meaning that anything less loud than a quiet conversation is irrelevant). Having said that, I don't need something special that will exclude quiet conversations either, just don't care about them.&#xD;&#xA;&#xD;&#xA; - *Ability to pick up voice/noise in a fairly wide area - one per room.* &#xD;&#xA;&#xD;&#xA;    Ideally, I'd like a single mike in a small bedroom or a large living room (25x30 ft?) each.&#xD;&#xA;&#xD;&#xA;    If that's impossible, a separate concern is interference between same-room pickups.&#xD;&#xA;&#xD;&#xA; - *Clarity.* &#xD;&#xA;&#xD;&#xA;   Very important. If there is shouting, I need to be able to tell what the shouting is about in detail, as if I was there, as opposed to merely the fact that voices are raised with unintelligible speech.&#xD;&#xA;&#xD;&#xA; - *Look and feel.*&#xD;&#xA;&#xD;&#xA;   I definitely do NOT need the microphones to be hidden. Looking nice/ergonomic is a slight plus but nowhere near a major factor.&#xD;&#xA;&#xD;&#xA; - *Connectivity*&#xD;&#xA;&#xD;&#xA;   Don't care about details, but ideally would be something that can be connected to a central recording hardware (PC-based). Does NOT have to be wireless, unless distances are somehow a concern for sound transmission quality over a given type of connector.&#xD;&#xA;&#xD;&#xA;   All things being equal, a pickup with IP connectivity (Ethernet port) would be the best, but NOT at the cost of more important features.&#xD;&#xA;&#xD;&#xA; - *Cost:* &#xD;&#xA;&#xD;&#xA;   I'm unsure of what my options here are, but preferably below $100/piece and ideally below $50/piece. However, I'm more concerned with functionality than price, if these price points can never fulfill my needs.&#xD;&#xA;&#xD;&#xA;**So, my questions are:**&#xD;&#xA;&#xD;&#xA;1. What are the possible kinds of microphones that fulfill my needs that I should consider?&#xD;&#xA;&#xD;&#xA;2. What technical specifications should I look for in such microphones?&#xD;&#xA;&#xD;&#xA;3. What are the other factors I failed to consider in the list above given the stated purpose of the system (see background section below for details).&#xD;&#xA;&#xD;&#xA;4. What are the extra features I should consider in the microphones for such a system?&#xD;&#xA;&#xD;&#xA;5. Are my cost price points above even remotely reasonable for the features/factors I desire?&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;**Background**: &#xD;&#xA;&#xD;&#xA;I'm looking into a project of building an **audio** home monitoring system. Most of existing security/monitoring systems I'm aware of seem to be video centered, and either lack audio, or have very poor audio quality.&#xD;&#xA;&#xD;&#xA;The system would be for &quot;nanny cam&quot; type of situation monitoring - e.g. ensuring real-time or post-factum that no bad behavior occurs verbally in the house when other people with lower level of trust are there - e.g. nanny/babysitter and children. &#xD;&#xA;&#xD;&#xA;The main purpose of the system is dealing with some kinds of arguments/tantrums/altercations involving the children, either for me to be able to call in real-time to intervene, or to investigate exactly what happened later.&#xD;&#xA;&#xD;&#xA;I am planning to ask a series of questions related to building such a system, and on Meta it was indicated that such questions are on-topic&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40057" PostHistoryTypeId="1" PostId="23752" RevisionGUID="7032ff24-13c7-4444-b46f-4e57ad4e8e0d" CreationDate="2013-01-24T17:11:12.413" UserId="7195" UserDisplayName="DVK" Text="What should I look for in microphones for home audio monitoring &quot;nanny audio cam&quot; system" ContentLicense="CC BY-SA 3.0" />
  <row Id="40058" PostHistoryTypeId="3" PostId="23752" RevisionGUID="7032ff24-13c7-4444-b46f-4e57ad4e8e0d" CreationDate="2013-01-24T17:11:12.413" UserId="7195" UserDisplayName="DVK" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40059" PostHistoryTypeId="36" PostId="23756" RevisionGUID="53d859f2-940a-4fe7-9ded-2ce2f3480256" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8736/running-long-audio-cables" />
  <row Id="40060" PostHistoryTypeId="36" PostId="23757" RevisionGUID="64dffdcb-4f34-42e5-9b72-b9dc39b48ff8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8736/running-long-audio-cables/8737#8737" />
  <row Id="40061" PostHistoryTypeId="2" PostId="23757" RevisionGUID="14f63c15-9835-4f5a-ab1e-907ed4aefce7" CreationDate="2013-08-16T05:29:13.263" UserId="7312" UserDisplayName="Eugene S" Text="I think the most straight forward solution would be using a [DI unit][1]. Once you connect it to your source(PC), you will have a balanced signal which you can safely carry on a balanced cable for 100ft (or even more).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/DI_unit" ContentLicense="CC BY-SA 3.0" />
  <row Id="40062" PostHistoryTypeId="2" PostId="23758" RevisionGUID="fc4c48e2-c345-4e65-8573-6c08e110d133" CreationDate="2013-08-16T15:08:57.997" UserId="7174" Text="You will absolutely have to use a DirectBox for this.  You may also need a transformer to clean up impedance mismatches and noise coming out of the PC.  Note that a headphone output from a computer is going to be powered, not line level.  If you have a professional audio card in there, then going straight to a DI should be ok, but if not, then you will need the transformer.&#xD;&#xA;&#xD;&#xA;Another option would be to send the feed optically if you have an optical output, though consumer optical audio is only rated for about 30ish feet.  Not sure how far it actually makes it in the real world though, as I've never personally tried and you would then need a converter for the optical signal on the other end.&#xD;&#xA;&#xD;&#xA;You could also use an amp close to the computer to boost the signal and send it to the speakers.  It really depends on if you have any other inputs that are needed.  Either option should work well, but the key is to minimize the amount of time the signal spends at an unbalanced headphone level and accounting for the mismatch in impedance between consumer and professional gear and the ground noise that comes from poorly isolated consumer audio gear in the computer." ContentLicense="CC BY-SA 3.0" />
  <row Id="40063" PostHistoryTypeId="2" PostId="23756" RevisionGUID="f2a345ff-809d-4769-973c-12a297511e1b" CreationDate="2013-08-16T04:27:12.233" UserDisplayName="Paul" Text="I need to run 1 or more audio cable(s) from an un-amped and most likely unbalanced source which is an expensive computer setup. I need to run the cable 100+ feet. &#xD;&#xA;&#xD;&#xA;How do I figured out what equipment I need and my physical limitations with cables and equipment?&#xD;&#xA;&#xD;&#xA;The ideas I have are:&#xD;&#xA;&#xD;&#xA; 1. Run cable from source to amp.&#xD;&#xA; 2. Put the amp close to the machine and run the cable directly to the speakers.&#xD;&#xA; 3. Find some product to bridge the gap and prevent damage to equipment on both sides." ContentLicense="CC BY-SA 3.0" />
  <row Id="40064" PostHistoryTypeId="1" PostId="23756" RevisionGUID="f2a345ff-809d-4769-973c-12a297511e1b" CreationDate="2013-08-16T04:27:12.233" UserDisplayName="Paul" Text="Running long audio cables" ContentLicense="CC BY-SA 3.0" />
  <row Id="40065" PostHistoryTypeId="3" PostId="23756" RevisionGUID="f2a345ff-809d-4769-973c-12a297511e1b" CreationDate="2013-08-16T04:27:12.233" UserDisplayName="Paul" Text="&lt;audio&gt;&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40066" PostHistoryTypeId="36" PostId="23758" RevisionGUID="ad4b075c-c10f-4c02-8a4a-9a5f1abe6c1f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8736/running-long-audio-cables/8743#8743" />
  <row Id="40067" PostHistoryTypeId="36" PostId="23759" RevisionGUID="e392597e-d1d0-49c4-b57c-0477ed47df56" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2755/portable-player-to-replace-minidisc" />
  <row Id="40068" PostHistoryTypeId="36" PostId="23760" RevisionGUID="5d631bbb-5702-42fc-8ac6-db921de66a40" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2755/portable-player-to-replace-minidisc/2760#2760" />
  <row Id="40069" PostHistoryTypeId="2" PostId="23760" RevisionGUID="2565cd19-fd2e-4d42-b78d-59c7063110d1" CreationDate="2011-12-06T21:53:19.460" UserDisplayName="Bryce Alan Flurie" Text="Check out the Tascam DR40.I just got one and love it more than my Zoom H4N. You can name the file ont the device... that is a great feature.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40070" PostHistoryTypeId="2" PostId="23761" RevisionGUID="9630e440-3546-4497-ace4-ce032fe6b12e" CreationDate="2011-12-07T01:42:48.997" UserId="7189" Text="Give the [Sony M10][1] a try. Battery life is insane, particularly on a pair of Eneloops. &#xD;&#xA;&#xD;&#xA;The manual is available [here][2].&#xD;&#xA;&#xD;&#xA;I just ran a test on my M10 - after a power cycle, the M10 remembers which track you were playing, but not the position within the track. The Sony has very good battery life, so you could just slide the power button to &quot;lock&quot; mode and keep it in on/standby mode until you are ready to continue. That won't work very well if you go weeks between listening, but may not be too bad for a few hours.&#xD;&#xA;&#xD;&#xA;Another option to consider is an iPhone or iPod Touch and TASCAM / [Chris Randall][3]'s [PCMRecorder][4]. And if you need better recording quality, [add the Tascam iM2][5] that PCMRecorder was designed for.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Sony-PCM-M10-Portable-Recorder-High-Speed/dp/B002R56C4O&#xD;&#xA;  [2]: http://pro.sony.com/bbsc/assetDownloadController/PCM-M10%20Manual.pdf?path=Asset%20Hierarchy$Professional$SEL-yf-generic-153707$SEL-yf-generic-153750SEL-asset-177805.pdf&amp;id=StepID$SEL-asset-177805$original&amp;dimension=original&#xD;&#xA;  [3]: http://www.analogindustries.com/blog/entry.php?blogid=1322926769768&#xD;&#xA;  [4]: http://click.linksynergy.com/fs-bin/stat?id=sTCd28A32go&amp;offerid=146261&amp;type=3&amp;subid=0&amp;tmpid=1826&amp;RD_PARM1=http%253A%252F%252Fitunes.apple.com%252Fus%252Fapp%252Fpcmrecorder%252Fid481055155%253Fmt%253D8%2526uo%253D4%2526partnerId%253D30&#xD;&#xA;  [5]: http://tascam.com/product/im2/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40071" PostHistoryTypeId="2" PostId="23759" RevisionGUID="95d0c4d7-d868-4115-bea6-81a1464bb920" CreationDate="2011-12-06T13:33:31.990" UserDisplayName="stijn" Text="I've been using minidisc players for the last decade. Since that technology is as good as dead, and so will by my last player soon, I'm in the market for the latest and greatest portable music player with at least the same functionality as md.&#xD;&#xA;&#xD;&#xA; - records form line in/mic in to wav/mp3&#xD;&#xA; - built-in mics is abonus but not required&#xD;&#xA; - plays wav/mp3 to headphone/line out&#xD;&#xA; - decent uncoloured output stage&#xD;&#xA; - removable storage like SDHC cards or else huge capaicty like 500G&#xD;&#xA; - it has to remember last play position after power off&#xD;&#xA; - battery life of at least 20/30 hours on one set/charge&#xD;&#xA; - hold function&#xD;&#xA; - portable, eg max 60*10*20mm or so&#xD;&#xA; - actual harware buttons is a bonus&#xD;&#xA; - bookmark function is bonus as well&#xD;&#xA; - I'm willing to pay a lot for something great as I use the device like an hour a day&#xD;&#xA;&#xD;&#xA;So far I tried the Tascam DR08 and Roland R05, and while close to what I'm after they didn't gave me that 'wow what a fantastic device' feeling I got from my md players. Tascam felt a bit cheap but sound quality was good. Doesn't remember play position (likely because it's mainly a recorder and not a player). The R05 feels and looks much more sturdy, but the playback sound quality was lacking (too much high mid, not much low end) and also does not remember play position. Menu organization was not all that either.. Recording quality on both of them was pretty awesome for such small devices though.&#xD;&#xA;&#xD;&#xA;**update** two days ago I found a PCM-M10 for only 190euros which is a gooe deal here in Europe. And it was love at first use:&#xD;&#xA;&#xD;&#xA;- coming from a one-line MD screen the display is outstanding, and the ui is very responsive (not so much on DR08 and R05). I have no problem with the menu structure at all, nor with the folder structure&#xD;&#xA;- build is solid, buttons are solid, placement needs some getting used to (well, after 2 walks of an hour I could already play/pause/forward/volume without getting it out of my pocket so no complaints there. Try that with a touch device :]) Only con so far: the device is not exactly small, it's like today's smartphones but twice as thick. I can live with that though.&#xD;&#xA;- recording quality is really, really good for a device most would not consider 'pro' and with not a huge price tag. Only tried with the built-in mics, which pick up everything in a good way. Line-in is also very good. Pretty sure it beats any of th MD devices I owned.&#xD;&#xA;- then for the most important matter as I'm going to use it as a player 90% of the time: playback sound quality is simply outstanding. Again better than any MD I owned, and I'd even say it comes close to audiophile players like HM-801 (only one I heard in those regions, but costs 3 or 4 times more and does not record)" ContentLicense="CC BY-SA 3.0" />
  <row Id="40072" PostHistoryTypeId="1" PostId="23759" RevisionGUID="95d0c4d7-d868-4115-bea6-81a1464bb920" CreationDate="2011-12-06T13:33:31.990" UserDisplayName="stijn" Text="portable player to replace minidisc" ContentLicense="CC BY-SA 3.0" />
  <row Id="40073" PostHistoryTypeId="3" PostId="23759" RevisionGUID="95d0c4d7-d868-4115-bea6-81a1464bb920" CreationDate="2011-12-06T13:33:31.990" UserDisplayName="stijn" Text="&lt;audio-recording&gt;&lt;mp3&gt;&lt;playback&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40074" PostHistoryTypeId="36" PostId="23761" RevisionGUID="0ecb4f19-c404-4a90-95b6-2187cbe31092" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2755/portable-player-to-replace-minidisc/2768#2768" />
  <row Id="40075" PostHistoryTypeId="36" PostId="23762" RevisionGUID="641b4d28-beb3-456f-86c8-43e41a012cd3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2755/portable-player-to-replace-minidisc/2779#2779" />
  <row Id="40076" PostHistoryTypeId="2" PostId="23762" RevisionGUID="2813ffde-d6a0-4f53-8087-9bd90809b527" CreationDate="2011-12-08T20:28:29.373" UserDisplayName="Michael" Text="We use a [Sony PCM-D50][1] at work and I can't recommend it enough.  Sound quality is good enough for our engineering (automotive sound quality) use and the built quality is top notch.  It's a bit more pricey than some of the others, but I would consider this &quot;professional&quot;-quality equipment.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Sony-Professional-Portable-24-bit-Recorder/dp/B000WTWXFE" ContentLicense="CC BY-SA 3.0" />
  <row Id="40077" PostHistoryTypeId="36" PostId="23763" RevisionGUID="233c4a5c-b7c9-4396-8341-f30895366672" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3495/recording-from-turntables-to-laptop-causes-heavy-distortion" />
  <row Id="40078" PostHistoryTypeId="36" PostId="23764" RevisionGUID="ab3a7904-996e-444a-ac36-e2b08b35b62f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3495/recording-from-turntables-to-laptop-causes-heavy-distortion/3502#3502" />
  <row Id="40079" PostHistoryTypeId="2" PostId="23764" RevisionGUID="0ffa23e9-2498-4418-91be-1efbd02caf34" CreationDate="2012-03-08T21:29:33.940" UserId="7188" Text="The 'mic' input on your laptop is designed for a microphone's low level input. It has a preamp to boost the signal to 'line' level hence if you are feeding a line level signal into a 'mic' input it will be amplified into clipping aka distortion.&#xD;&#xA;&#xD;&#xA;Assuming that your 3 channel mixer has &quot;phono&quot; level inputs and line level outputs, it would be good to get yourself a USB line level input device for your computer. Here is an example of such a device:&#xD;&#xA;&#xD;&#xA;http://www.altoedge.com/usbaudio/input.html&#xD;&#xA;&#xD;&#xA;Disclaimer: I have not used this product and do not have any recommendations regarding its performance.&#xD;&#xA;&#xD;&#xA;It appears there are tons of devices like this one, choose wisely and test to be sure it does what you expect it to before you purchase it." ContentLicense="CC BY-SA 3.0" />
  <row Id="40080" PostHistoryTypeId="2" PostId="23763" RevisionGUID="89499e87-d929-4c28-a890-0df55b3d4e9d" CreationDate="2012-03-08T15:10:05.490" UserId="7207" UserDisplayName="Curt" Text="When trying to record a mix from my vinyl turntables, to my laptop, I'm getting heavy distortion, especially during the heavy bass sections of the mix.&#xD;&#xA;&#xD;&#xA;I'm running my turntables into a 3 channel mixer, then outputting via RCA &quot;Record&quot; ports, to a small headphone jack into my laptop's microphone port.&#xD;&#xA;&#xD;&#xA;My mixer is a [Numark DM2050 3 Channel Mixer][1]&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;I've tried using Windows Sound Recorder and [Audacity][3], but these both produce heavy distortion.&#xD;&#xA;&#xD;&#xA;How can I avoid the heavy distortion caused? Someone has told me I'm supposed to use &quot;line-in&quot; on my laptop, but I only have headphone and microphone ports. What is the difference with &quot;line-in&quot; and is this what I should be using?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.numark.com/product/dm2050&#xD;&#xA;  [2]: http://i.stack.imgur.com/4mAjh.jpg&#xD;&#xA;  [3]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40081" PostHistoryTypeId="1" PostId="23763" RevisionGUID="89499e87-d929-4c28-a890-0df55b3d4e9d" CreationDate="2012-03-08T15:10:05.490" UserId="7207" UserDisplayName="Curt" Text="Recording from Turntables to Laptop causes heavy distortion" ContentLicense="CC BY-SA 3.0" />
  <row Id="40082" PostHistoryTypeId="3" PostId="23763" RevisionGUID="89499e87-d929-4c28-a890-0df55b3d4e9d" CreationDate="2012-03-08T15:10:05.490" UserId="7207" UserDisplayName="Curt" Text="&lt;audio-recording&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40089" PostHistoryTypeId="36" PostId="23767" RevisionGUID="1078629e-cff5-4fe0-bf43-7079afabf610" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9806/using-simultaneous-focusrite-2i2-and-2i4" />
  <row Id="40090" PostHistoryTypeId="2" PostId="23768" RevisionGUID="24472699-4524-4e5b-b070-e12f2a562fa0" CreationDate="2013-12-31T20:33:23.657" UserId="7174" Text="Hardware wise, you might end up with some differences in latency that could result in slight differences in the timing of the recordings, but you could probably adjust for that if it is an issue, so I wouldn't expect it to be too major since you are using such similar hardware.  (Note, I don't have direct experience on that, but I don't see a technical reason that I'd expect it to be a problem, at least for simple stuff.)  If you feel like upgrading later, you can use interfaces that support a word clock signal and they will be able to keep themselves exactly in sync using that word clock, but with your current hardware, that isn't an option.&#xD;&#xA;&#xD;&#xA;Mac OS also provides support for aggregate devices that will combine the interfaces in to a single virtual interface that you can use in Logic Pro X.  More details about how to do so can be found directly from Apple's documentation [here](http://support.apple.com/kb/ht3956).  If the link goes bad, you simply need to go to the Sound options, create a new aggregate interface and add all the channels from the devices you want to use to it." ContentLicense="CC BY-SA 3.0" />
  <row Id="40091" PostHistoryTypeId="2" PostId="23767" RevisionGUID="ca70c3e2-4960-4e94-ab8f-d57c2c8d71a7" CreationDate="2013-12-31T20:15:35.573" UserDisplayName="MaxF" Text="I am looking at doing home recording on my 13&quot; Macbook Pro (mid-2012) and was wondering if it would be possible to use a Focusrite 2i2 and a Focusrite 2i4 at the same time so that I could have 4 mics go into the preamps and have midi all at the same time? Logic Pro X is the recording program I normally use." ContentLicense="CC BY-SA 3.0" />
  <row Id="40092" PostHistoryTypeId="1" PostId="23767" RevisionGUID="ca70c3e2-4960-4e94-ab8f-d57c2c8d71a7" CreationDate="2013-12-31T20:15:35.573" UserDisplayName="MaxF" Text="Using simultaneous Focusrite 2i2 and 2i4?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40093" PostHistoryTypeId="3" PostId="23767" RevisionGUID="ca70c3e2-4960-4e94-ab8f-d57c2c8d71a7" CreationDate="2013-12-31T20:15:35.573" UserDisplayName="MaxF" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40094" PostHistoryTypeId="36" PostId="23768" RevisionGUID="1157c95d-ca46-4a7c-a292-e264201030c7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9806/using-simultaneous-focusrite-2i2-and-2i4/9808#9808" />
  <row Id="40095" PostHistoryTypeId="36" PostId="23769" RevisionGUID="569f9402-6124-4fa7-9a64-d3a389842668" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4783/how-can-i-record-my-singing-voice-the-way-i-hear-it" />
  <row Id="40096" PostHistoryTypeId="2" PostId="23770" RevisionGUID="20c1bbc1-1a65-4471-bed3-29d3e1767711" CreationDate="2012-09-20T21:09:00.310" UserId="7016" Text="As sound waves travel through bone as well as air, of course you will sound different to a recording. When you play back a recording you just won't get any of those sounds transmitted through your skull.&#xD;&#xA;&#xD;&#xA;You will be able to approximate the sound by using an equaliser and boosting our cutting frequency ranges - trial and error is your best bet here, as no-one else will know how you sound to yourself. " ContentLicense="CC BY-SA 3.0" />
  <row Id="40097" PostHistoryTypeId="2" PostId="23769" RevisionGUID="a9c16c58-94dd-4aa7-919e-a3f66c5f21e8" CreationDate="2012-09-20T16:30:47.660" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="When I hear myself sing, which I only do in my car to and from work everyday now just to practice (which is about 2 hours total), I actually like the way my voice sounds. It is at least tolerable.&#xD;&#xA;&#xD;&#xA;My workplace also sells a huge number of products, one of which is earplugs. So again while singing in my car, but with earplugs this time, I still like the way my voice sounds regardless of if I have one or two earplugs in. Not quite as much as without the earplugs but I still like it.&#xD;&#xA;&#xD;&#xA;I started this practicing after I just tried winging it after buying a [Sterling Audio ST51 Large Diaphragm FET Condenser Microphone](http://www.guitarcenter.com/Sterling-Audio-ST51-Large-Diaphragm-FET-Condenser-Microphone-104477104-i1323300.gc?&amp;source=4WWRWXGP&amp;cagpspn=pla&amp;=) and it sounded terrible. Thinking back I was probably singing out of my pitch range which made it difficult to keep the notes I was trying for, but it still sounded terrible even when I sang the same part but an octave or two lower just for an attempt at harmony.&#xD;&#xA;&#xD;&#xA;It embarrassed me to the point where I went and bought [Melodyne](http://www.celemony.com/cms/index.php?id=melodyne) from a friend. I haven't had a chance to use this with my DAW yet due to his version being old and incompatible with it.&#xD;&#xA;&#xD;&#xA;Anyways, after doing a decent amount of research and also having a couple lessons on recording and mastering vocals in this free class I attend, I realized that I hadn't done anything terribly wrong when I tried recording my voice. I added a compressor and EQ'd it to raise the bass and high frequencies since it sounded seriously lacking in bass tones. I was an appropriate distance away from the mic. Since the room I'm in has a TERRIBLE echo, I recorded myself in between a little fort I made out of my comforter. I did this because I used to be in a band way back in high school and we recorded in a studio once and the guy liked us so was explaining a lot of what he was doing since we didn't technically pay him to mix or master our recordings but he was a good guy ^_^.&#xD;&#xA;&#xD;&#xA;Anyways even after all of this, I still sounded like I was 13 in that stage where my voice is cracking. It wasn't literally cracking, but the high parts sounded atrocious.&#xD;&#xA;&#xD;&#xA;What gives? For the tl;dr type, **how do I get that sound from my head that I like?** I thought wearing earplugs was supposed to make you hear your voice more as it actually is.&#xD;&#xA;&#xD;&#xA;I remember reading somewhere about how your not used to hearing how your voice actually sounds and something with how your brain automatically blocks the common wavelengths in your voice to improve hearing other things or something? Please any help would be appreciated. I know my voice is not good or anything special but I honestly don't think my voice is [*that* bad](http://www.youtube.com/watch?v=R7qR5JZcLbc)" ContentLicense="CC BY-SA 3.0" />
  <row Id="40098" PostHistoryTypeId="1" PostId="23769" RevisionGUID="a9c16c58-94dd-4aa7-919e-a3f66c5f21e8" CreationDate="2012-09-20T16:30:47.660" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="How can I record my singing voice the way I hear it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40099" PostHistoryTypeId="3" PostId="23769" RevisionGUID="a9c16c58-94dd-4aa7-919e-a3f66c5f21e8" CreationDate="2012-09-20T16:30:47.660" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40100" PostHistoryTypeId="36" PostId="23770" RevisionGUID="84f4f2ef-7516-455e-8f8f-0b845fa53819" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4783/how-can-i-record-my-singing-voice-the-way-i-hear-it/4784#4784" />
  <row Id="40101" PostHistoryTypeId="36" PostId="23771" RevisionGUID="ecab5c2b-6aa3-4880-aadf-4cfd81ee9cee" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4783/how-can-i-record-my-singing-voice-the-way-i-hear-it/4804#4804" />
  <row Id="40102" PostHistoryTypeId="36" PostId="23772" RevisionGUID="e63514b3-faed-4ca8-b2d1-af7c44a5a42a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4783/how-can-i-record-my-singing-voice-the-way-i-hear-it/7241#7241" />
  <row Id="40103" PostHistoryTypeId="2" PostId="23771" RevisionGUID="8997a6cb-0ea9-4d2c-9bc9-93c9adab7ead" CreationDate="2012-09-22T11:20:04.230" UserDisplayName="dandellion" Text="None of us hear our voices as they are. As Dr. mayhem pointed, you hear your voice through bones (and skull is a pretty complicated system with lots of small resonating cavities) and through the air. Have in mind that your ears are behind your mouth so the air part that you hear is mostly reflected around. All that is then filtered by the brain (which is, if I remember right but don't take my word for it) a psychological process learned in the early childhood to somewhat level your voice and other people's voices. &#xD;&#xA;&#xD;&#xA;Now, singing in the car and with earplugs actually made that difference even bigger. Not only that you lowered the ratio of &quot;air&quot; voice, you changed the resonance structure of your skull. And car is a tight and upholstered space so you probably muted the sound quite a bit. Theoretically, I find it strange that you find your voice good in that environment. &#xD;&#xA;&#xD;&#xA;Anyway, the point is not to make it sound like it is in your head but to sound good. Just as you would do with any other voice. So, EQ's and compressor are your friends. Though part is that you are working with your own voice and, if it's any consolidation, about 98% of sound engineers I met hate doing that. &#xD;&#xA;&#xD;&#xA;But before you start playing with EQ's, have a nice recording in the first place. Experiment with different rooms, probably with something that will pump lower frequencies (if it sounds good in the car) and with low reverberation. But don't be shy to try spaces with more reverberation, there is a reason so many people sing in the bathrooms with all those sound-reflecting tiles around them. :)&#xD;&#xA;&#xD;&#xA;And btw, the room you mentioned probably didn't have any echo (it takes 17.5 meters to the wall to have echo) but reverberation. First one is when you can actually distinguish original from the reflected sound. later is when they mix together." ContentLicense="CC BY-SA 3.0" />
  <row Id="40104" PostHistoryTypeId="2" PostId="23772" RevisionGUID="accfe15b-24a1-4b42-a874-109e0e6aec00" CreationDate="2013-02-25T17:36:44.030" UserId="13271" UserDisplayName="Ben Brocka" Text="You basically need a [Binaural microphone](http://en.wikipedia.org/wiki/Binaural_recording). I haven't used one myself, but the way these work is by capturing sound at the same place you hear sound; within your ears, one mic in each ear. &#xD;&#xA;&#xD;&#xA;The shape of your head and ears shapes the sound you hear, so you'll need to replicate that shape (or just use your own head/ears) to capture &quot;what you hear&quot;, in addition to capturing the room's acoustics (to actually record how you sound in your car, you'd need to be in your car). These recordings are often done with a dummy head, but the dummy head versions are very expensive." ContentLicense="CC BY-SA 3.0" />
  <row Id="40105" PostHistoryTypeId="36" PostId="23773" RevisionGUID="03967679-38c7-4b27-8485-f6a4a8a45b9a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2162/what-should-i-be-looking-for-in-an-audio-interface-field-recorder" />
  <row Id="40106" PostHistoryTypeId="2" PostId="23774" RevisionGUID="40ad8371-5a2d-400c-96b4-af096060ceb9" CreationDate="2011-08-18T17:16:46.460" UserDisplayName="Bryce Alan Flurie" Text="It comes down to how much control you think you need and how many inputs. If you get a Marantz 660 or Zoom H4n style recorder you get two XLR inputs and control over the levels. If you need more inputs then you need to put a mixer in front of it. Another thing to consider if if you need phantom power to your mics, or if you even need mics and want to use what is on the recorder." ContentLicense="CC BY-SA 3.0" />
  <row Id="40107" PostHistoryTypeId="2" PostId="23773" RevisionGUID="25380614-5088-47dc-861e-c07253dded5b" CreationDate="2011-08-18T16:32:48.237" UserDisplayName="daviesgeek" Text="I am looking for a good audio interface for recording, but I don't really know what features I am looking for on an interface. I will be using it for field recording, so I don't know if it would be advantageous to use a field recorder instead of an audio interface. I know I want an XLR input, but besides that I don't know what else I want/need. I am also on a somewhat tight budget, so I'm looking for something preferably $200." ContentLicense="CC BY-SA 3.0" />
  <row Id="40108" PostHistoryTypeId="1" PostId="23773" RevisionGUID="25380614-5088-47dc-861e-c07253dded5b" CreationDate="2011-08-18T16:32:48.237" UserDisplayName="daviesgeek" Text="What should I be looking for in an audio interface/field recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40109" PostHistoryTypeId="3" PostId="23773" RevisionGUID="25380614-5088-47dc-861e-c07253dded5b" CreationDate="2011-08-18T16:32:48.237" UserDisplayName="daviesgeek" Text="&lt;audio-recording&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40110" PostHistoryTypeId="36" PostId="23774" RevisionGUID="e37d7dfc-16c5-48dd-91c1-e84eed421672" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2162/what-should-i-be-looking-for-in-an-audio-interface-field-recorder/2164#2164" />
  <row Id="40111" PostHistoryTypeId="36" PostId="23775" RevisionGUID="beb6bae2-5506-4ac5-8d39-124b2176c0ab" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8483/occasional-pops-in-recording-with-audacity-and-roland-duo-capture" />
  <row Id="40112" PostHistoryTypeId="36" PostId="23776" RevisionGUID="9acdb1bf-96a1-4177-959d-086f5375bcc6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8483/occasional-pops-in-recording-with-audacity-and-roland-duo-capture/8484#8484" />
  <row Id="40113" PostHistoryTypeId="36" PostId="23777" RevisionGUID="199de3af-18fc-4f85-a6f4-b00c880b7055" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8483/occasional-pops-in-recording-with-audacity-and-roland-duo-capture/8486#8486" />
  <row Id="40114" PostHistoryTypeId="2" PostId="23776" RevisionGUID="f9fb0c34-fc60-43f1-959f-f87f35ac2784" CreationDate="2013-07-24T13:19:36.073" UserId="7174" Text="It would be helpful if you were able to post a sample of the audio, but the first thing that comes to mind, particularly if you are using an analog means of audio capture (1/4 inch cable for example), then it is quite possibly a problem with the cable or connectors.  Sparks in the cable or at the connectors tend to be a common source of popping, but without a sample to listen to, it's impossible to identify for sure." ContentLicense="CC BY-SA 3.0" />
  <row Id="40115" PostHistoryTypeId="2" PostId="23777" RevisionGUID="b9765496-ea0a-4711-b251-5794f9e9754b" CreationDate="2013-07-24T18:31:21.997" UserId="7542" UserDisplayName="Don Nickel" Text="I got something like that due to a power supply issue. Very infrequent loud pops in the audio... turns out it was someone turning the lights on and off in the other room. A heater/AC unit can cause the same thing.&#xD;&#xA;&#xD;&#xA;This was an odd case, and may not be your issue though.&#xD;&#xA;&#xD;&#xA;For troubleshooting: You've got a laptop - so I'd try recording at another location first. You can try to isoloate the power using a uninterrupted power supply (UPS).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40116" PostHistoryTypeId="2" PostId="23775" RevisionGUID="11ae69e6-f1c7-4cb1-a8ae-08042186a725" CreationDate="2013-07-24T09:21:51.680" UserDisplayName="Ozor Mox" Text="I am having a problem attempting to record from a Yamaha P-140 stage piano to Audacity 2.0.3 using a Roland Duo Capture USB audio interface. The recording comes out almost perfectly, apart from occasional tiny &quot;pops&quot; in the audio. Maybe 3 or 4 of these occur over a 2 minute recording. Zooming in on the offending section in Audacity shows that the wave is &quot;broken&quot;, i.e. in both the left and right channels it jumps suddenly up or down and is not a smooth wave like the rest of the recording.&#xD;&#xA;&#xD;&#xA;What I know so far:&#xD;&#xA;&#xD;&#xA; - I have a dual boot of Ubuntu 12.10 and Windows 7 and the effect is identical in both.&#xD;&#xA; - I have changed the sample rate on the Duo Capture from 44.1k to 48k with no effect.&#xD;&#xA; - I have changed the EXT option from * to ** on the Duo Capture with no effect (it must be on ** to be recognised at all in Ubuntu).&#xD;&#xA; - My laptop should be easily powerful enough to record without dropouts, the CPU usage goes no higher than 10% while recording. It has 6 GB of RAM. Therefore, I have not yet changed any quality settings in Audacity (apart from the sample rate to match the audio interface).&#xD;&#xA; - The Duo Capture is plugged into a USB 3.0 port.&#xD;&#xA; - I haven't yet tried any other recording software, but I've always read Audacity is quite highly rated.&#xD;&#xA;&#xD;&#xA;I'm fairly sure the cause of this is not the piano, but I don't know whether it could be the audio interface, the laptop or the software. Any ideas at all?&#xD;&#xA;&#xD;&#xA;(Later today I can upload a screenshot of the broken waveform if my description isn't clear enough)&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="40117" PostHistoryTypeId="1" PostId="23775" RevisionGUID="11ae69e6-f1c7-4cb1-a8ae-08042186a725" CreationDate="2013-07-24T09:21:51.680" UserDisplayName="Ozor Mox" Text="Occasional pops in recording with Audacity and Roland Duo Capture" ContentLicense="CC BY-SA 3.0" />
  <row Id="40118" PostHistoryTypeId="3" PostId="23775" RevisionGUID="11ae69e6-f1c7-4cb1-a8ae-08042186a725" CreationDate="2013-07-24T09:21:51.680" UserDisplayName="Ozor Mox" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40119" PostHistoryTypeId="36" PostId="23778" RevisionGUID="5ffe6a62-7135-40cf-89fc-a32c62d54c06" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5671/how-do-i-convert-5-1-footage-to-stereo-in-premiere-pro-cs-5-5" />
  <row Id="40120" PostHistoryTypeId="36" PostId="23779" RevisionGUID="a21024e0-b318-404f-a981-4a28768ddae5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5671/how-do-i-convert-5-1-footage-to-stereo-in-premiere-pro-cs-5-5/5678#5678" />
  <row Id="40121" PostHistoryTypeId="2" PostId="23779" RevisionGUID="568848d9-a301-4a86-858e-a662afcdb5c1" CreationDate="2012-12-26T21:54:12.210" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="Work with submixes&#xD;&#xA;-&#xD;&#xA;A submix is a track that combines audio signals routed to it from specific audio tracks or track sends in the same sequence. A submix is an intermediate step between audio tracks and the master track. Submixes are useful if you want to work with a number of audio tracks in the same way. For example, you can use a submix to apply identical audio and effect settings to three tracks of a five-track sequence. Submixes can help make the best use of your computer’s processing power by allowing you to apply one instance of an effect instead of multiple instances.&#xD;&#xA;&#xD;&#xA;Like audio tracks that contain clips, submixes can be mono, stereo, or 5.1 surround. Submixes appear as fully functional tracks in both the Audio Mixer and a Timeline panel—you can edit submix track properties just as you edit a track containing audio clips. However, submixes are different from audio tracks in the following ways:&#xD;&#xA;&#xD;&#xA; - Submix tracks can’t contain clips, so you can’t record to them. Therefore, they don’t contain any recording or device input options or clip editing properties.&#xD;&#xA;&#xD;&#xA; - In the Audio Mixer, submixes have a darker background than other tracks.&#xD;&#xA;&#xD;&#xA; - In a Timeline panel, submixes don’t have a Toggle Track Output icon or a Display Style icon .&#xD;&#xA;&#xD;&#xA;Create a submix in a Timeline panel&#xD;&#xA;&#xD;&#xA; 1. Choose Sequence &gt; Add Tracks.&#xD;&#xA; 2. Specify options in the Audio Submix Tracks section, and then click OK.&#xD;&#xA;&#xD;&#xA;Simultaneously create a submix and assign a send&#xD;&#xA;&#xD;&#xA; 1. If necessary, display the effects/sends panel in the Audio Mixer by clicking the triangle to the left of an automation option’s menu.&#xD;&#xA; 2. Choose Create Mono Submix, Create Stereo Submix, or Create 5.1 Submix from any of the five sends list menus in the Audio Mixer.&#xD;&#xA;&#xD;&#xA;![Choosing submix type in Audio Mixer][1]  &#xD;&#xA;*Choosing submix type in Audio Mixer*&#xD;&#xA;&#xD;&#xA;**Route a track’s output to a submix**  &#xD;&#xA;In the Audio Mixer, select the submix name from the track output menu at the bottom of the track.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;Route tracks with sends&#xD;&#xA;-&#xD;&#xA;Each track contains five sends, located in the Effects And Sends panel in the Audio Mixer. Sends are often used to route a track’s signal to a submix track for effects processing. The submix can return the processed signal to the mix by routing it to the master track, or it can route the signal to another submix. A send includes a level knob that controls the ratio of the send track volume to the submix volume. This value is called the wet/dry ratio, with “wet” referring to the effects-processed submix signal and “dry” referring to the signal from the send track. A wet/dry ratio of 100% indicates that the wet signal is output at full strength. The submix volume affects the wet signal, and the send track’s volume affects the dry signal.&#xD;&#xA;&#xD;&#xA;A send can be applied pre-fader or post-fader, and the outcome is that the track audio is sent either before or after the track’s volume fader is applied. With a pre-fader send, adjusting the track fader doesn’t affect the output level from the send. A post-fader send maintains the wet/dry ratio, fading the wet and dry signals simultaneously as you adjust the send track’s volume.&#xD;&#xA;&#xD;&#xA;*Note: You cannot assign a track send to the Master track in a 16-channel sequence.*&#xD;&#xA;&#xD;&#xA;Send a track to a submix&#xD;&#xA;-&#xD;&#xA; 1. (Optional) To display the Effects And Sends panel in the Audio Mixer, click the Show/Hide Effects And Sends triangle at the left side of the Audio Mixer.&#xD;&#xA; 2. In the Effects And Sends panel, do one of the following:&#xD;&#xA;&#xD;&#xA; - To send to an existing submix, click a Send Assignment Selection triangle and choose a submix name from the menu.&#xD;&#xA;&#xD;&#xA; - To create and send a new submix, click a Send Assignment Selection triangle and choose one of the following: Create Mono Submix, Create Stereo Submix, or Create 5.1 Submix.&#xD;&#xA;&#xD;&#xA; ![Sends][2]  &#xD;&#xA;*Sends* &#xD;&#xA;*A. Name of submix assigned to send, and Send Assignment menu. B. Send mute C. Control knob for selected send property D. Send Properties menu*&#xD;&#xA;&#xD;&#xA;Edit Send settings&#xD;&#xA;-&#xD;&#xA; 1. (Optional) To display the Effects And Sends panel in the Audio Mixer, click the Show/Hide Effects And Sends triangle at the left of the Audio Mixer.&#xD;&#xA; 2. In the Effects And Sends panel, click the Send Assignment Selection triangle and choose a send from the menu.&#xD;&#xA; 3. (Optional) Choose the send property you want to edit from the Selected Parameter menu below the selected send property control.&#xD;&#xA;&#xD;&#xA;![Choosing from Selected Parameter menu ][3]  &#xD;&#xA;*Choosing from Selected Parameter menu*&#xD;&#xA;&#xD;&#xA; 4. Change the value of the property using the control knob above the Send Assignment Properties menu at the bottom of the sends list.&#xD;&#xA;&#xD;&#xA;Work with sends&#xD;&#xA;-&#xD;&#xA; 1. (Optional) To display the Effects And Sends panel in the Audio Mixer, click the Show/Hide Effects And Sends triangle at the left side of the Audio Mixer.&#xD;&#xA; 2. Do any of the following:&#xD;&#xA;&#xD;&#xA;  - To designate a send as a pre-fader or post-fader, right-click (Windows) or Control-click (Mac OS) a send and choose Pre-Fader or Post-Fader from the context menu.&#xD;&#xA;&#xD;&#xA;  - To mute a send, click the Send Mute button next to the send control knob for the selected send property.&#xD;&#xA;&#xD;&#xA;  - To delete a send, choose None from the Send Assignment Selection menu.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;Downmixing to fewer channels&#xD;&#xA;-&#xD;&#xA;Whenever you route track output to a track or device with fewer channels, Premiere Pro must downmix the audio to the number of channels in the destination track. Downmixing is often practical or necessary because a sequence’s audio may be played back on audio gear supporting fewer audio channels than the original mix. For example, you might create a DVD with 5.1 surround audio, but some customers may use speaker systems or televisions that support only stereo (2 channels) or mono (1 channel). However, downmixing can also occur in a project when you assign track output to a track that has fewer channels. Premiere Pro provides a 5.1 Mixdown Type option that lets you choose how to translate 5.1 surround audio into stereo or mono audio. You can choose from various combinations of Front channels, Rear channels, and the LFE (low-frequency effects, or subwoofer) channel.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;Change 5.1 audio to stereo or mono&#xD;&#xA;-&#xD;&#xA; 1. Choose Edit &gt; Preferences &gt; Audio (Windows) or Premiere Pro &gt; Preferences &gt; Audio (Mac OS).&#xD;&#xA; 2. Choose a 5.1 Mixdown Type from the menu, and click OK.&#xD;&#xA;&#xD;&#xA;*Note: To preserve the integrity of left/right channel assignments, you can avoid using downmix options that include the LFE channel.*&#xD;&#xA;&#xD;&#xA;Routing track output&#xD;&#xA;-&#xD;&#xA;By default, track output is routed to the master track. You can also route the complete track signal to a submix track or master track by using the Track Output Assignment menu at the bottom of each track in the Audio Mixer. The output signal contains all properties specified for that track, including automation, effects, pan/balance, solo/mute, and fader settings. In the Audio Mixer, all submixes are grouped to the right of all audio tracks. You can output a track to any submix, but to prevent feedback loops, Premiere Pro allows a submix to be routed only to a submix to the right of it, or to the master track. The output menu lists only the tracks that follow these rules.&#xD;&#xA;&#xD;&#xA;*Note: It’s possible to create a send/return arrangement with an effects submix.*&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;Route or turn off track output&#xD;&#xA;-&#xD;&#xA; Do any of the following:&#xD;&#xA;&#xD;&#xA; - To route track output to another track, select a submix or Master from the Track Output Assignment menu at the bottom of each track in the Audio Mixer.&#xD;&#xA;&#xD;&#xA; -  To completely turn off track output, click the Toggle Track Output icon to hide the speaker icon for a track in a Timeline panel. This setting causes the track to output no signal but doesn’t change its signal routing.&#xD;&#xA;&#xD;&#xA;Source:  &#xD;&#xA;http://help.adobe.com/en_US/premierepro/cs/using/WS1c9bc5c2e465a58a91cf0b1038518aef7-7f23a.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/FEoPk.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/2cm1A.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/ToEhR.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="40122" PostHistoryTypeId="2" PostId="23778" RevisionGUID="4e2a9509-ea8f-4af7-a0ee-8a4560acdb97" CreationDate="2012-12-25T17:14:26.190" UserId="20878" UserDisplayName="Roy" Text="Since my camera is recording at 5.1 format, every time I drag footage into a sequence, it automatically creates 5.1 tracks. I'd like to avoid it and convert all the 5.1 tracks to a stereo track. How can this be done?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40123" PostHistoryTypeId="1" PostId="23778" RevisionGUID="4e2a9509-ea8f-4af7-a0ee-8a4560acdb97" CreationDate="2012-12-25T17:14:26.190" UserId="20878" UserDisplayName="Roy" Text="How do I convert 5.1 footage to stereo in premiere pro cs 5.5?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40124" PostHistoryTypeId="3" PostId="23778" RevisionGUID="4e2a9509-ea8f-4af7-a0ee-8a4560acdb97" CreationDate="2012-12-25T17:14:26.190" UserId="20878" UserDisplayName="Roy" Text="&lt;audio&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40125" PostHistoryTypeId="36" PostId="23780" RevisionGUID="01d7f4e0-cde1-49ee-8870-c652c7f0f59d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1430/cd-recorder-that-can-burn-directly-to-cd-from-microphone-and-burn-to-another-dis" />
  <row Id="40126" PostHistoryTypeId="2" PostId="23781" RevisionGUID="78c5e895-b404-46a7-a8f3-e962c849295d" CreationDate="2011-05-17T16:18:21.890" UserId="7093" Text="I think [this][1] will be about what you are looking for.  It can record 2 cd's at once and has balanced inputs so you can plug the microphone directly in, although you may need a pre-amp for the mic.&#xD;&#xA;&#xD;&#xA;To get more options just do a Google search on &quot;[dual cd recorder][2]&quot; and you should be able to find some additional options.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/store/detail/CDR882?utm_source=CSE&amp;utm_medium=PPC&amp;utm_campaign=none&amp;utm_term=CDR882-Dual_Pro_CD_Burner_Player&amp;SID=0&amp;zmam=89202644&amp;zmas=1&amp;zmac=1&amp;zmap=CDR882&#xD;&#xA;  [2]: http://www.google.com/search?q=dual%20cd%20recorder&amp;ie=utf-8&amp;oe=utf-8&amp;aq=t&amp;rls=org.mozilla:en-US:official&amp;client=firefox-a#q=dual%20cd%20recorder&amp;hl=en&amp;client=firefox-a&amp;hs=G72&amp;rls=org.mozilla:en-US:official&amp;prmd=ivns&amp;source=univ&amp;tbm=shop&amp;tbo=u&amp;sa=X&amp;ei=dZ7STefKHciBtgf-w-CjCg&amp;ved=0CHIQrQQ&amp;bav=on.2,or.r_gc.r_pw.&amp;fp=7b2a1dda4f65c836&amp;biw=1600&amp;bih=1051" ContentLicense="CC BY-SA 3.0" />
  <row Id="40127" PostHistoryTypeId="2" PostId="23780" RevisionGUID="fbbd3a66-2caf-4c3b-8269-91fde396ca7e" CreationDate="2011-05-17T15:49:36.267" UserDisplayName="Xaisoft" Text="I am looking for something that will enable me to record/burn directly to a cd and if possible making another copy of the burned disc, so I don't have to burn it to a computer hard-drive first and then burn it to a blank disc.  Is there anything like that?  If burning to another disc is not an option, then what are some good cd recorders?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40128" PostHistoryTypeId="1" PostId="23780" RevisionGUID="fbbd3a66-2caf-4c3b-8269-91fde396ca7e" CreationDate="2011-05-17T15:49:36.267" UserDisplayName="Xaisoft" Text="CD Recorder that can burn directly to CD from Microphone and burn to another disc?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40129" PostHistoryTypeId="3" PostId="23780" RevisionGUID="fbbd3a66-2caf-4c3b-8269-91fde396ca7e" CreationDate="2011-05-17T15:49:36.267" UserDisplayName="Xaisoft" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40130" PostHistoryTypeId="36" PostId="23781" RevisionGUID="703d35c7-0ad8-4115-aef9-cf2d8be10021" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1430/cd-recorder-that-can-burn-directly-to-cd-from-microphone-and-burn-to-another-dis/1431#1431" />
  <row Id="40131" PostHistoryTypeId="36" PostId="23782" RevisionGUID="ff8c79b7-5fa1-44f2-8c6b-2d2c577de8a2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1430/cd-recorder-that-can-burn-directly-to-cd-from-microphone-and-burn-to-another-dis/1512#1512" />
  <row Id="40132" PostHistoryTypeId="2" PostId="23782" RevisionGUID="eba89890-22d9-4d75-9906-1a61b1cc1f5f" CreationDate="2011-05-31T18:01:07.880" UserDisplayName="Karen" Text="I have a Roland CD-2e. Look it up online it is awesome. I use it for all my vocal lessons AND record my shows LIVE right to a CD or SD card if I want to edit it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="40133" PostHistoryTypeId="36" PostId="23783" RevisionGUID="dbe076dc-3396-4d89-a5f2-166e27dfca34" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3978/noise-cancelling-solution-near-train-tracks" />
  <row Id="40134" PostHistoryTypeId="36" PostId="23784" RevisionGUID="34bde5e2-33d1-4f3c-84e0-209b42e6ccf3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3978/noise-cancelling-solution-near-train-tracks/3980#3980" />
  <row Id="40135" PostHistoryTypeId="2" PostId="23784" RevisionGUID="e10b53b0-3ce7-4602-ac49-da7cc2e50554" CreationDate="2012-05-13T15:04:57.920" UserId="12830" UserDisplayName="dwwilson66" Text="Since budget is an issue, let's think outside the box. Have you considered soundproofing your workspace? Not the whole room, but imagine a personal sound booth...it can be as simple as a few sheets of &lt;a href=&quot;http://www.amazon.com/Crate-Convoluted-Inch-Mattress-Topper/dp/B000MZYDF6&quot;&gt;eggcrate&lt;/a&gt; hanging from the ceiling to an elaborate soundproof room, depending how handy you are. I've done something similar for recording voiceover in a noisy manufacturing shop client site; I used some secondhand cubicle walls I acquired with a foamcore &amp; eggcrate panel on the top. Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="40136" PostHistoryTypeId="2" PostId="23783" RevisionGUID="b668e6b4-f608-4eac-81e4-716e32e18bfa" CreationDate="2012-05-12T20:49:39.687" UserDisplayName="Steve the Maker" Text="I've done a lot of call center work in the past.  Recently I've been offered a position working from home.  I would like to accept it, but I live near a large intermodal and my house is about 200 feet from 4 sets of freight train tracks.  We get about 100 trains a day so muting the sound is not an option.  I've looked into sound proofing options, but my house is about 100 years old and the cost to put that much mass into a home office is unrealistically expensive.&#xD;&#xA;&#xD;&#xA;The two options I am considering right now are a mid-range desk microphone or a tactical throat microphone.  These options leave me with a few questions.&#xD;&#xA;&#xD;&#xA;If I use a throat mic does it still need active noise cancellation?  Is it possible to configure a studio mic in such a way that it will not pick-up a room filled with train sounds?  Is it possible to actively cancel the train noises using a second microphone mounted near my window or on the outside of my house?&#xD;&#xA;&#xD;&#xA;I know that this is questions and answers only, so I'm not asking for a &quot;best of&quot; list, but if you can recommend specific equipment that will accomplish this task I would appreciate it.  I'd like to spend as little as possible, and anything over $500 is out of reach for the moment." ContentLicense="CC BY-SA 3.0" />
  <row Id="40137" PostHistoryTypeId="1" PostId="23783" RevisionGUID="b668e6b4-f608-4eac-81e4-716e32e18bfa" CreationDate="2012-05-12T20:49:39.687" UserDisplayName="Steve the Maker" Text="Noise cancelling solution near train tracks" ContentLicense="CC BY-SA 3.0" />
  <row Id="40138" PostHistoryTypeId="3" PostId="23783" RevisionGUID="b668e6b4-f608-4eac-81e4-716e32e18bfa" CreationDate="2012-05-12T20:49:39.687" UserDisplayName="Steve the Maker" Text="&lt;audio-recording&gt;&lt;noise-cancelling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40139" PostHistoryTypeId="36" PostId="23785" RevisionGUID="9187a01d-1966-4888-b691-08eaaa54f2a4" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4346/is-it-a-good-idea-to-use-headphones-for-audio-production" />
  <row Id="40140" PostHistoryTypeId="36" PostId="23786" RevisionGUID="cffc99ff-8ca3-499c-b386-8b91518eb211" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4346/is-it-a-good-idea-to-use-headphones-for-audio-production/4347#4347" />
  <row Id="40141" PostHistoryTypeId="36" PostId="23787" RevisionGUID="913ee5dd-21bc-4769-bcf1-577dd36e239d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4346/is-it-a-good-idea-to-use-headphones-for-audio-production/4348#4348" />
  <row Id="40142" PostHistoryTypeId="36" PostId="23788" RevisionGUID="b393b2f2-a306-4fe4-8a55-5d2cfc81d504" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4346/is-it-a-good-idea-to-use-headphones-for-audio-production/4364#4364" />
  <row Id="40143" PostHistoryTypeId="36" PostId="23789" RevisionGUID="98f4b46b-2c11-47ae-85b9-40070ed94aeb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4346/is-it-a-good-idea-to-use-headphones-for-audio-production/4366#4366" />
  <row Id="40144" PostHistoryTypeId="2" PostId="23786" RevisionGUID="6e0a8808-1846-4c4c-a87b-08b57bc07f12" CreationDate="2012-07-03T14:36:49.427" UserId="7213" UserDisplayName="Jim Mack" Text="The best course I can recommend is to use the best tools and resources you have available. Headphones are not ideal, but they're better than bad speakers, and probably better than even good speakers in a bad listening environment.&#xD;&#xA;&#xD;&#xA;A lot depends on what you're mixing and what the target environment will be. Mixing music or voice that will mainly be consumed on earbuds is different than mixing for a concert venue, a movie theater, or a TV in a living room.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40145" PostHistoryTypeId="2" PostId="23787" RevisionGUID="29d4dde9-d4e9-430e-ac1b-e1a64f7dca36" CreationDate="2012-07-03T15:18:53.837" UserId="12830" UserDisplayName="dwwilson66" Text="While I agree with Jim, to use the best tools you can, I always recommend headphones, if for no other reason to isolate what you're recording from the background noise. You have no idea how many times I've not heard the applicance running in the background until I had my headphones on. Alternately, you may hear a lawnmower outside, but only upon wearing headphones will you realize that your mic isn't even picking it up.&#xD;&#xA;&#xD;&#xA;When it comes to mixing, a lot of the craft is to interweave the subtleties of each track. Without headphones, a lot of those subtle details may get lost. &#xD;&#xA;&#xD;&#xA;Shoestring budget-wise, save your pennies and make the investment. Even a cheap, $7 pair of earbuds will help you isolate unwanted noise from your recordings and help you hear the subtle dynamics of your mix. &#xD;&#xA;&#xD;&#xA;Those considerations are so important to making good audio, that I'd recommend borrowing headphones or earbuds from someone until you can invest in a decent set. " ContentLicense="CC BY-SA 3.0" />
  <row Id="40146" PostHistoryTypeId="2" PostId="23788" RevisionGUID="cf22c34d-6884-4c64-84b7-6285099409f3" CreationDate="2012-07-05T11:34:54.830" UserDisplayName="MrFingerDrums" Text="I use headphones for stuff like late night tracking , mobile production but will always check my tracks on a good pair of speakers in the morning&#xD;&#xA;&#xD;&#xA;Sennheiser HD25 series are the bare minimum IMO&#xD;&#xA;&#xD;&#xA;Headphones are great to get into production but you will need a pair of decent speakers sooner rather than later . &#xD;&#xA;&#xD;&#xA;A mid range pair of Hi Fi speakers will be enough to cover your needs .&#xD;&#xA;&#xD;&#xA;A lot of knowledge and information can be found at sites like gearstlutz.com and KVR&#xD;&#xA;&#xD;&#xA;This reply is dependent on how serious you are about it  if you are just looking to mess about with audio on the weekend etc  none of these answers matter just use what you got or can afford to get&#xD;&#xA;&#xD;&#xA;Have Fun  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40147" PostHistoryTypeId="2" PostId="23789" RevisionGUID="48a83d98-84c2-4a70-8b33-11643a35270a" CreationDate="2012-07-05T13:12:02.220" UserId="6957" Text="It is a good idea to avail yourself to as many different listening environments as possible.  As others have mentioned, higher quality monitors and higher quality listening environments will allow for more precise control.&#xD;&#xA;&#xD;&#xA;However, unless your end user will be listening in that same high quality environment, some of that precision will be lost to the listener.&#xD;&#xA;&#xD;&#xA;If your media will be consumed on laptop speakers, it is a good idea to know what that sounds like (and perhaps make adjustments accordingly).&#xD;&#xA;&#xD;&#xA;If your media will be consumed on headphones, it is a good idea to know what that sounds like.&#xD;&#xA;&#xD;&#xA;etc...&#xD;&#xA;&#xD;&#xA;Headphones as a sole means of production...? probably not.  But then again, *anything* as a sole means of production... probably not." ContentLicense="CC BY-SA 3.0" />
  <row Id="40148" PostHistoryTypeId="2" PostId="23785" RevisionGUID="6d213222-d023-4899-b0a0-0e1051505d9a" CreationDate="2012-07-03T13:53:13.143" UserDisplayName="Tibi" Text="Is it generally a good idea to use headphones in the production/mixing of audio?&#xD;&#xA;&#xD;&#xA;And what can I do if my speakers are terrible (e.g. laptop speakers), and I'm on a shoestring budget?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40149" PostHistoryTypeId="1" PostId="23785" RevisionGUID="6d213222-d023-4899-b0a0-0e1051505d9a" CreationDate="2012-07-03T13:53:13.143" UserDisplayName="Tibi" Text="Is it a good idea to use headphones for audio production?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40150" PostHistoryTypeId="3" PostId="23785" RevisionGUID="6d213222-d023-4899-b0a0-0e1051505d9a" CreationDate="2012-07-03T13:53:13.143" UserDisplayName="Tibi" Text="&lt;audio&gt;&lt;mixing&gt;&lt;speakers&gt;&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40151" PostHistoryTypeId="36" PostId="23790" RevisionGUID="9ea49bee-2ba3-4760-8327-8b196da212ce" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2953/cost-effective-ways-to-start-a-home-studio-with-pro-tools" />
  <row Id="40152" PostHistoryTypeId="36" PostId="23791" RevisionGUID="400e5803-d65b-445e-80e9-76f2d6111701" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2953/cost-effective-ways-to-start-a-home-studio-with-pro-tools/2960#2960" />
  <row Id="40153" PostHistoryTypeId="2" PostId="23791" RevisionGUID="78f48895-6901-4262-884e-72665a9befa0" CreationDate="2012-01-03T15:49:17.097" UserId="9511" UserDisplayName="Johnny Bigoode" Text="Sell your Pro Tools license and equipment and buy Reaper. &#xD;&#xA;&#xD;&#xA;It's cheap, good and functional. &#xD;&#xA;With whatever left of this trade off you can buy some decent recording equip. &#xD;&#xA;&#xD;&#xA;You can also get a UAD soundcard for heavy duty processing and analog emulation. &#xD;&#xA;&#xD;&#xA;In short: If you have a limited budget you don't need Pro Tools. &#xD;&#xA;&#xD;&#xA;Now, the rest of it - equipment, room treatment, brand of mics and etc we will need a little bit more input. &#xD;&#xA;&#xD;&#xA;If you are recording Grassroot Folk/Blues as a one man band, you'll just need a single mic - probably something like a Shure or a MXL, a steel string guitar, a banjo and assorted percussion. &#xD;&#xA;&#xD;&#xA;But if you're into choirs, you'll probably want to invest on 4 or 6 microphones and NOT use your studio as a recording environment - try talking to your local church, they are usually very helpful on this. &#xD;&#xA;&#xD;&#xA;If you are gonna record a band, you still need to think how you will be recording - everyone together? Or artist per artist? Do you have space to have separated rooms? Do you OWN the building you're installing the studio? Is this a garage thing? &#xD;&#xA;&#xD;&#xA;There are simply too many variables. &#xD;&#xA;&#xD;&#xA;But I do repeat.&#xD;&#xA;If you have a budget you don't need Pro Tools. &#xD;&#xA;In fact, I can't find good reasons for anyone wanting to use Pro Tools. &#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;You might not like Reaper, but there's Cubase, Nuendo and even Ableton Live. There's Adobe Audition and many more. AVID made a good job making an awesome name for Pro Tools, but for at least 5 years they don't have any special tech that makes it attractive. And then again, Universal Audio has an awesome Plug In library. " ContentLicense="CC BY-SA 3.0" />
  <row Id="40154" PostHistoryTypeId="2" PostId="23790" RevisionGUID="6c09bd7d-bcf3-44c3-92f1-08dabc79bde0" CreationDate="2012-01-02T15:40:32.407" UserDisplayName="Fred" Text="What is the best way to purchase Pro tools and computer in order to run it?  I am starting up in creating my own studio and based on your advice and other positive input from many other sources I want to use pro tools and start creating my own recordings." ContentLicense="CC BY-SA 3.0" />
  <row Id="40155" PostHistoryTypeId="1" PostId="23790" RevisionGUID="6c09bd7d-bcf3-44c3-92f1-08dabc79bde0" CreationDate="2012-01-02T15:40:32.407" UserDisplayName="Fred" Text="Cost-effective ways to start a home studio with Pro Tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40156" PostHistoryTypeId="3" PostId="23790" RevisionGUID="6c09bd7d-bcf3-44c3-92f1-08dabc79bde0" CreationDate="2012-01-02T15:40:32.407" UserDisplayName="Fred" Text="&lt;audio&gt;&lt;home-studio&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40163" PostHistoryTypeId="36" PostId="23794" RevisionGUID="c243427e-a141-4513-afc2-1699e1852f8e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2813/what-is-the-bare-minimum-i-need-to-experiment-with-recording-my-voice-over-a-bea" />
  <row Id="40164" PostHistoryTypeId="2" PostId="23795" RevisionGUID="3695aaec-3a84-4f4e-a02c-6d89ed1e8c63" CreationDate="2011-12-16T01:13:35.943" UserId="7189" Text="There is a solution to your problem that doesn't involve buying anything. You simply make a multitrack recording, and compensate for latency after the fact by moving your beat forward in time.&#xD;&#xA;&#xD;&#xA;Here is an outline of the procedure:&#xD;&#xA;&#xD;&#xA; 1. Open up your beat file.&#xD;&#xA; 1. press record, this should record your new material to a new mono track below your beat Press play, note that your beat and vocals don't match up.&#xD;&#xA; 1. Switch to the Time Shift Tool - it looks like a horizontal double-ended arrow, like this: `&lt;-&gt;`.&#xD;&#xA; 1. Grab your beat and slide it to the right very slightly. You may need to zoom in.&#xD;&#xA; 1. Press play, listen to your track.&#xD;&#xA; 1. Repeat steps 5 and 6 until the beat lines up with your vocals. &#xD;&#xA; 1. You may need to do some sliding to the left and right to get it perfect. Also, zooming can help.&#xD;&#xA; 1. If the latency is inconsistent between your vocals and your beat, you may need to slice your vocals into sections and adjust them individually. How many sections depends on your music and vocals.&#xD;&#xA;&#xD;&#xA;No matter how awesome your gear is, there is *always* latency in digital audio systems. Sometimes you notice it, sometimes you don't. This is a great opportunity to lean how to clean things up. If this is too much work, you may want to look into getting a lower-latency sound card and mic. But beware that there aren't any magic bullets. Things get better but they will never be perfect.&#xD;&#xA;&#xD;&#xA;Audacity alone is a more powerful tool than the best stuff that pros had access to in the mid-'90s, and that didn't stop them from making amazing music.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Update: here is a [discussion on the Audacity Forum about latency compensation in Audacity 1.3.x][1]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://forum.audacityteam.org/viewtopic.php?t=4726&amp;f=21" ContentLicense="CC BY-SA 3.0" />
  <row Id="40165" PostHistoryTypeId="2" PostId="23794" RevisionGUID="9d347272-ffcf-4d2a-9b78-69d820c12da4" CreationDate="2011-12-14T22:59:50.670" UserDisplayName="danieltalsky" Text="I'm using the (I know, very sad) setup of Audacity on Windows 7 with an onboard sound card, and using the mic on a Microsoft LifeCam.&#xD;&#xA;&#xD;&#xA;I'm dragging an MP3 into audacity, and then attempting to record a vocal track to it.&#xD;&#xA;&#xD;&#xA;At first I thought I was horribly off beat, but then someone mentioned that this was most likely a latency problem.&#xD;&#xA;&#xD;&#xA;I honestly think the mic on the USB webcam is fine, sound-quality-wise for my experiments, but the latency is a dealbreaker.&#xD;&#xA;&#xD;&#xA;Do I need to purchase a decent soundcard?  Will a PCI soundcard work or do I need something external?  Do I need to get a real vocal mic with line out?&#xD;&#xA;&#xD;&#xA;I did try installing ASIO4ALL, but it doesn't look like there's an easy way to make it work with audacity OR my onboard sound card driver, and I'm not even sure that would solve the problem.&#xD;&#xA;&#xD;&#xA;I am an absolute newb, so knowing what questions I need to answer or just a general direction to look for hardware or software would be a great help.  I'm eventually willing to invest in equipment but I REALLY want to be able to make some proof-of-concept recordings before I invest more than the absolute bare minimum." ContentLicense="CC BY-SA 3.0" />
  <row Id="40166" PostHistoryTypeId="1" PostId="23794" RevisionGUID="9d347272-ffcf-4d2a-9b78-69d820c12da4" CreationDate="2011-12-14T22:59:50.670" UserDisplayName="danieltalsky" Text="What is the bare minimum I need to experiment with recording my voice over a beat without so much latency?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40167" PostHistoryTypeId="3" PostId="23794" RevisionGUID="9d347272-ffcf-4d2a-9b78-69d820c12da4" CreationDate="2011-12-14T22:59:50.670" UserDisplayName="danieltalsky" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40168" PostHistoryTypeId="36" PostId="23795" RevisionGUID="10e11862-677b-46bc-b456-6e1ee3b509f0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2813/what-is-the-bare-minimum-i-need-to-experiment-with-recording-my-voice-over-a-bea/2819#2819" />
  <row Id="40169" PostHistoryTypeId="36" PostId="23796" RevisionGUID="0325ceb0-9b85-49dc-b654-2e0487bf5e2b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3361/change-input-source-in-sox-when-recording" />
  <row Id="40170" PostHistoryTypeId="2" PostId="23796" RevisionGUID="460a856b-5fff-49cb-8031-3f1188e6d0d9" CreationDate="2012-02-19T13:40:43.600" UserId="2690" Text="I would like to change the input source when recording something in sox from the default input source to the speakers. &#xD;&#xA;&#xD;&#xA;Is that possible? If so, how can I specify the input sources in sox?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40171" PostHistoryTypeId="1" PostId="23796" RevisionGUID="460a856b-5fff-49cb-8031-3f1188e6d0d9" CreationDate="2012-02-19T13:40:43.600" UserId="2690" Text="Change input source in sox when recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="40172" PostHistoryTypeId="3" PostId="23796" RevisionGUID="460a856b-5fff-49cb-8031-3f1188e6d0d9" CreationDate="2012-02-19T13:40:43.600" UserId="2690" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40173" PostHistoryTypeId="36" PostId="23797" RevisionGUID="d910b681-1789-42c2-a8f3-205c06838c1b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8318/cubase-blocks-other-programs-from-recording-audio" />
  <row Id="40174" PostHistoryTypeId="2" PostId="23797" RevisionGUID="758bffcf-1ba0-4ed7-bca3-fe428857f678" CreationDate="2013-07-05T04:10:45.610" UserId="7206" UserDisplayName="909 Niklas" Text="When I run cubase with the asio4all driver, I can no longer record audio with audacity. I used to record with audacity th playback from cubase but now I get an error message in audacity that I can't record because another application is using the program. If I exit cubase then other program can access the sound. I use an external USB soundcard (plexgear). Is there a resolution for this problem?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40175" PostHistoryTypeId="1" PostId="23797" RevisionGUID="758bffcf-1ba0-4ed7-bca3-fe428857f678" CreationDate="2013-07-05T04:10:45.610" UserId="7206" UserDisplayName="909 Niklas" Text="Cubase blocks other programs from recording audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="40176" PostHistoryTypeId="3" PostId="23797" RevisionGUID="758bffcf-1ba0-4ed7-bca3-fe428857f678" CreationDate="2013-07-05T04:10:45.610" UserId="7206" UserDisplayName="909 Niklas" Text="&lt;audio-recording&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40177" PostHistoryTypeId="36" PostId="23798" RevisionGUID="3692e69a-1d4a-433d-b7d6-4da04e238de9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9243/how-to-record-myself-djing-with-a-pc-midi-controller-and-a-mixer-setup" />
  <row Id="40178" PostHistoryTypeId="2" PostId="23799" RevisionGUID="4dabcf62-485a-4e7e-b22f-dc5a3e9b6c5d" CreationDate="2013-10-24T13:59:03.490" UserId="7174" Text="What you are experiencing is impedance mismatch and consumer audio.  The mic input is a mic level input rather than a line input, however even if you had a line input, consumer line input is not the same impedance as professional line input (which is what comes out of the mixer) so you'd still have problems.&#xD;&#xA;&#xD;&#xA;What you really need is a USB Audio interface for the laptop that supports professional line input.  Hook the mixer in to that and you should be fine, you'll remove the clipping and get much higher quality than the slightly cheaper solution of throwing a bunch of giant pads on the line output to bring it down to mic level." ContentLicense="CC BY-SA 3.0" />
  <row Id="40179" PostHistoryTypeId="2" PostId="23798" RevisionGUID="1b9c8ddf-5dae-4166-90d7-8489f8739f23" CreationDate="2013-10-23T23:21:59.800" UserDisplayName="echad" Text="I like making megamixes for fun but can't use pre-listening feature while recording.&#xD;&#xA;&#xD;&#xA;My setup: Virtual DJ software on PC, Denon HC-4500 midi controller, and a DJM3000 mixer.&#xD;&#xA;&#xD;&#xA;Currently the Virtual DJ has the best quality recording. But if i rely on it instead of the mixer output, then I can use the mixer's feature of pre-listening to other songs.&#xD;&#xA;&#xD;&#xA;I've tried routing the master output of the mixer to the laptop microphone jack, but havent had good luck tuning it to good quality." ContentLicense="CC BY-SA 3.0" />
  <row Id="40180" PostHistoryTypeId="1" PostId="23798" RevisionGUID="1b9c8ddf-5dae-4166-90d7-8489f8739f23" CreationDate="2013-10-23T23:21:59.800" UserDisplayName="echad" Text="How to record myself djing with a pc, midi controller and a mixer setup?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40181" PostHistoryTypeId="3" PostId="23798" RevisionGUID="1b9c8ddf-5dae-4166-90d7-8489f8739f23" CreationDate="2013-10-23T23:21:59.800" UserDisplayName="echad" Text="&lt;audio-recording&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40182" PostHistoryTypeId="36" PostId="23799" RevisionGUID="bdaff84f-fe0e-4fe4-b7aa-6799b0e46ddd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9243/how-to-record-myself-djing-with-a-pc-midi-controller-and-a-mixer-setup/9250#9250" />
  <row Id="40183" PostHistoryTypeId="36" PostId="23800" RevisionGUID="6c807d90-0275-42b8-b8b1-ab8fefa84257" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9243/how-to-record-myself-djing-with-a-pc-midi-controller-and-a-mixer-setup/9255#9255" />
  <row Id="40184" PostHistoryTypeId="2" PostId="23800" RevisionGUID="69b5de9c-ba25-48bb-ad7d-af0d2fa01858" CreationDate="2013-10-24T17:31:19.047" UserId="7294" UserDisplayName="Warrior Bob" Text="Cueing is generally important to DJ mixing. If I follow you correctly, your ideal setup is basically using Virtual DJ as just virtual decks: the audio is going into separate mixer channels via the Denon's two stereo outputs, and you're doing the actual cuing and mixing on the DJM3000.&#xD;&#xA;&#xD;&#xA;What you need is some way to record the output of the mixer.&#xD;&#xA;&#xD;&#xA;Currently, plugging that into the laptop's microphone jack isn't sounding that great. This is, in all likelihood, because the mic jack isn't designed for line level inputs, and is cheaply made to boot. It's never going to sound that great. If you're determined to record on your computer, some other kind of input will be necessary to get a decent sound. You might have a stereo line-in jack that sounds decent enough to use, or you could invest in an external interface like AJ Henderson suggested [in his answer](http://avp.stackexchange.com/a/9250/95). You'll have to run some other software in parallel with Virtual DJ to handle that recording, if that's not a problem then this should work fine.&#xD;&#xA;&#xD;&#xA;You don't have to use your computer though - **anything that can record stereo line-in decently should work**.&#xD;&#xA;&#xD;&#xA;You could use a portable stereo recorder:&#xD;&#xA;&#xD;&#xA;![A portable stereo recorder][1]&#xD;&#xA;&#xD;&#xA;Another computer:&#xD;&#xA;&#xD;&#xA;![if you have one handy][2]&#xD;&#xA;&#xD;&#xA;Really, anything at all if you like the sound of it and it accepts line-in:&#xD;&#xA;&#xD;&#xA;![I have no idea if this one accepts line-in or not][3]&#xD;&#xA;&#xD;&#xA;(All of these images are just categorical examples found on Google Images, not specific models).&#xD;&#xA;&#xD;&#xA;The only piece in your signal chain that should be reducing your quality that noticeably is your microphone jack. Everything else, barring defects or failures, should be plenty high-quality. You'll never completely match the fidelity of an all-digital recording within Virtual DJ (that doesn't have to go through any analog signal path at all) but the difference should be minimal and, if your equipment sounds particularly good, possibly preferable.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/dJfWY.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/lJHiK.jpg&#xD;&#xA;  [3]: http://i.stack.imgur.com/AaCJQ.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="40185" PostHistoryTypeId="36" PostId="23801" RevisionGUID="87ca4eaf-7dda-481f-acb0-21b259357cc3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1442/how-do-you-use-gain-effectively" />
  <row Id="40186" PostHistoryTypeId="2" PostId="23802" RevisionGUID="66195103-3602-434f-af33-76b5c0305e94" CreationDate="2011-05-20T19:16:25.037" UserId="7471" UserDisplayName="Mark Heath" Text="Here's a brief overview to get you started. Hopefully others will answer with some more details too.&#xD;&#xA;&#xD;&#xA;'**Gain**' controls are typically used to get a good input level. So for example if you had a microphone with a very low output signal, you would boost the gain to get a better level into your mixing desk or audio interface. If you had a synthesizer plugged in you might need to turn the gain down to stop the signal distorting. Gain controls are often controlling an amplifier behind the scenes - i.e. your signal can 'gain' strength after going through the gain stage of your audio equipment. So gain is usually the first control in the signal path of your recording equipment. &#xD;&#xA;&#xD;&#xA;'**Volume**' controls on the other hand tend to be at the end of the signal chain and are more likely to be attenuating rather than amplifying the signal. So on a mixing desk, having got a good level from each input at the gain stage, you use the volume faders to adjust the relative volumes of each channel to achieve a good mix. You are not typically amplifying those signals any more though.&#xD;&#xA;&#xD;&#xA;A guitar amp is a good example of how this works. The first control is often called &quot;Gain&quot; or 'drive' and guitarists often deliberately turn this really high to get a nice distorted sound from a tube preamp. However, the final control is called Volume and governs simply how loud the sound coming out of your speaker is. With gain right up and volume low you can play distorted sounds without annoying the neighbours. With gain low and volume high you get a loud sound but no distortion.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40187" PostHistoryTypeId="2" PostId="23801" RevisionGUID="3cdde9e6-90c2-4ea6-b092-4bebfb3c2805" CreationDate="2011-05-20T18:56:03.797" UserId="7217" UserDisplayName="Garet Claborn" Text="Have read a few descriptions and understand basically what gain is, but I am quite the novice with audio work. &#xD;&#xA;&#xD;&#xA;I've never heard gain or it's usage described by those who are really familiar with it and I don't really get the difference between gain and volume boost.&#xD;&#xA;&#xD;&#xA;&gt; **EDIT** So if I understand correctly, gain directly boosts a signal from a line or input while volume handles the output, and volume isn't really for boosting either.&#xD;&#xA;&gt; &#xD;&#xA;&gt; Would this mean you in most settings getting 'close to' as much gain as possible without any hiss/background noise is ideal?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40188" PostHistoryTypeId="1" PostId="23801" RevisionGUID="3cdde9e6-90c2-4ea6-b092-4bebfb3c2805" CreationDate="2011-05-20T18:56:03.797" UserId="7217" UserDisplayName="Garet Claborn" Text="How do you use gain effectively?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40189" PostHistoryTypeId="3" PostId="23801" RevisionGUID="3cdde9e6-90c2-4ea6-b092-4bebfb3c2805" CreationDate="2011-05-20T18:56:03.797" UserId="7217" UserDisplayName="Garet Claborn" Text="&lt;audio-recording&gt;&lt;setup&gt;&lt;electronics&gt;&lt;gain&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40190" PostHistoryTypeId="36" PostId="23802" RevisionGUID="1b93159a-69b7-4ec9-99ce-89eaeb54d75d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1442/how-do-you-use-gain-effectively/1443#1443" />
  <row Id="40191" PostHistoryTypeId="36" PostId="23803" RevisionGUID="95c3e71c-22cd-4ee4-9469-9c395070c127" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1442/how-do-you-use-gain-effectively/1444#1444" />
  <row Id="40192" PostHistoryTypeId="36" PostId="23804" RevisionGUID="98730080-ed25-418d-9bb7-f4900af2904f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1442/how-do-you-use-gain-effectively/1445#1445" />
  <row Id="40193" PostHistoryTypeId="36" PostId="23805" RevisionGUID="8a821fba-0ec7-4670-9062-9190e66f1662" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1442/how-do-you-use-gain-effectively/6984#6984" />
  <row Id="40194" PostHistoryTypeId="36" PostId="23806" RevisionGUID="17ea1ad5-2ed7-4c41-98cb-8927547a9c4d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1442/how-do-you-use-gain-effectively/6986#6986" />
  <row Id="40195" PostHistoryTypeId="2" PostId="23803" RevisionGUID="63f31084-59e6-4c37-b4bd-5a5b7ea627f1" CreationDate="2011-05-20T20:56:17.140" UserId="17571" UserDisplayName="Zeronyne" Text="Gain staging is one of the most important things you can do to maximize the signal to noise ratio of your studio or PA set up. To set up your system so that every link in the chain, from source to speakers, is sending the maximum about of signal but not clipping, insures that you are minimizing the amount of noise reaching your amp (or recorder). The Yamaha Pa rep for the Midwest used to do this dramatic demo where he would take program material and play it really loudly through a large PA array. Because he had gain staged correctly, when he brought down the faders, there was practically no hiss whatsoever. Compare that to most venues when you can hear hiss over extremely loud music.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40196" PostHistoryTypeId="2" PostId="23804" RevisionGUID="a3dfec92-ac2b-42b2-972c-ee49e72ec7bb" CreationDate="2011-05-21T00:10:40.590" UserDisplayName="Rohjay" Text="There are two main stages in signal flow when recording audio:&#xD;&#xA;&#xD;&#xA;**TO TAPE** &amp; **FROM TAPE**&#xD;&#xA;&#xD;&#xA;This is a little outdated of a label, but **TO TAPE** would be the signal flow getting the audio you're wanting to record to the storage device - it used to be actual reels of tape, now it's typically a hard drive.  This is where **GAIN** comes into play.  Gain is the control that governs how 'hot' a preamp is being driven **TO TAPE**.  When you store that audio data, the gain is typically the level a given track is recorded at.&#xD;&#xA;&#xD;&#xA;Volume on the other hand, is simply an attenuation that has no bearing on the stored raw audio.  Volume settings can be stored, but it's impact is not placed on the stored data (audio).  I could be mistaken on this last bit, but I've always understood &quot;Volume&quot; controls to ONLY attenuate and not amplify.&#xD;&#xA;&#xD;&#xA;If you think of a CD that you play on your car stereo, gain was used in the preamps to get the audio recorded... volume is how loud you play it in your car.  The data on the CD isn't affected, but you experience a difference in perceived loudness.&#xD;&#xA;&#xD;&#xA;Hope that helps!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40197" PostHistoryTypeId="2" PostId="23805" RevisionGUID="9164f6a7-6d3f-49fe-8641-129d403dd0ac" CreationDate="2013-01-28T23:10:18.320" UserDisplayName="Sam Van Kerckhoven" Text="I would like to add this little bit of information, which might be useful but is probably just (somewhat) interesting ;-)&#xD;&#xA;&#xD;&#xA;In many modern DAW's, you'll find that the Volume Controls also can work as gain, as they're by default set at 0 dB and you would normally only pull the down, but you can also push them past the 0 dB at which moment you'd use the volume control to amplify the signal.&#xD;&#xA;&#xD;&#xA;The difference between the two, would then be that the gain is usually at the beginning of the  chain while your gain achieved with the volume would usually be at the end of the chain.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40198" PostHistoryTypeId="2" PostId="23806" RevisionGUID="e1f6e808-9bef-4f50-beda-659682294fc1" CreationDate="2013-01-29T13:20:14.790" UserId="6957" Text="In simplest terms, the gain is used to adjust the strength (i.e. voltage level) of the signal, whether that be within the electrical components of the mixing board, within the software DAW, signal sent to magnetic tape, etc.  Volume, on the other hand, is used to adjust the loudness of the signal as you perceive it, whether that is through speakers, or headphones, etc.&#xD;&#xA;&#xD;&#xA; - Gain = internal voltages&#xD;&#xA;&#xD;&#xA; - Volume = perceived loudness&#xD;&#xA;&#xD;&#xA;Clearly, these two are inter-related.  Also, keep in mind that not all equipment maintains the distinction in their labeling." ContentLicense="CC BY-SA 3.0" />
  <row Id="40199" PostHistoryTypeId="36" PostId="23807" RevisionGUID="2e24c59e-e017-48a8-a619-491907473cc1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5494/is-it-possible-to-separate-voices-from-one-mp3-file" />
  <row Id="40200" PostHistoryTypeId="36" PostId="23808" RevisionGUID="622c9bc9-4eb6-4e49-81f2-f90bcd7887ca" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5494/is-it-possible-to-separate-voices-from-one-mp3-file/5495#5495" />
  <row Id="40201" PostHistoryTypeId="36" PostId="23809" RevisionGUID="f9ea17ae-a198-4b96-a141-c540d323449f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5494/is-it-possible-to-separate-voices-from-one-mp3-file/5498#5498" />
  <row Id="40202" PostHistoryTypeId="2" PostId="23808" RevisionGUID="2f42cbd0-c5e3-484f-b1ee-f6ce3a3b137d" CreationDate="2012-12-04T15:46:30.470" UserId="7213" UserDisplayName="Jim Mack" Text="Take &quot;no&quot; for an answer. (-:&#xD;&#xA;&#xD;&#xA;If the voices occupy distinct frequency ranges you might be able to use bandpass filters to separate them. But this is highly unlikely, as most voices have most of their ranges in common.&#xD;&#xA;&#xD;&#xA;Switch Audacity to FFT view to see where the voices fall in the audio spectrum." ContentLicense="CC BY-SA 3.0" />
  <row Id="40203" PostHistoryTypeId="2" PostId="23809" RevisionGUID="e2356814-dca9-463c-bdfe-b0e6c7bb7025" CreationDate="2012-12-04T18:54:34.960" UserId="7189" Text="Yes, it is possible, but it isn't easy.&#xD;&#xA;&#xD;&#xA;There are a number of free tools for editing audio in the frequency domain. I haven't had much luck isolating specific sounds with them, but I have been able to do some sonic manipulation that wasn't possible with traiditional audio editors.&#xD;&#xA;&#xD;&#xA; * [Tapestrea][1], from the [Princeton Sound Lab][2].&#xD;&#xA; * [Spectro-edit][3]&#xD;&#xA; * [SPEAR][4]&#xD;&#xA;&#xD;&#xA;The latest version of [Melodyne][5] is supposed to be able to pick out individual instruments and notes from chords. I haven't used it myself, and it is fairly expensive. But professionals who have used it seem to swear by it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://taps.cs.princeton.edu&#xD;&#xA;  [2]: http://soundlab.cs.princeton.edu&#xD;&#xA;  [3]: http://code.google.com/p/spectro-edit/&#xD;&#xA;  [4]: http://www.klingbeil.com/spear/&#xD;&#xA;  [5]: http://www.celemony.com/cms/index.php?id=products_editor&amp;L=0" ContentLicense="CC BY-SA 3.0" />
  <row Id="40204" PostHistoryTypeId="2" PostId="23807" RevisionGUID="a7191238-c0ae-4cdb-874c-70373b52686c" CreationDate="2012-12-04T15:31:11.933" UserDisplayName="arnab" Text="I want to separate 2 or more voices from one audio file,  &#xD;&#xA;is there any software to this ?&#xD;&#xA;&#xD;&#xA;I have done some googling and seen that the answer is NO in most cases.&#xD;&#xA;&#xD;&#xA;But I think at least there should be a way to see different frequencies (just like waveforms) and edit those manually ?&#xD;&#xA;&#xD;&#xA;I use audacity for editing audio occasionally but don't know if it can do this ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40205" PostHistoryTypeId="1" PostId="23807" RevisionGUID="a7191238-c0ae-4cdb-874c-70373b52686c" CreationDate="2012-12-04T15:31:11.933" UserDisplayName="arnab" Text="Is it possible to separate voices from one mp3 file?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40206" PostHistoryTypeId="3" PostId="23807" RevisionGUID="a7191238-c0ae-4cdb-874c-70373b52686c" CreationDate="2012-12-04T15:31:11.933" UserDisplayName="arnab" Text="&lt;audio-recording&gt;&lt;audio&gt;&lt;mixing&gt;&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40207" PostHistoryTypeId="36" PostId="23810" RevisionGUID="6fc560c1-7fde-4750-b96a-7d5fea14e3bb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2693/how-to-do-live-monitoring-of-audio-input-on-mac-i-e-hear-the-input-sound-on-a" />
  <row Id="40208" PostHistoryTypeId="2" PostId="23811" RevisionGUID="50067a5e-cdac-4e28-ab97-95b17aef329f" CreationDate="2011-12-23T14:33:04.283" UserId="9511" UserDisplayName="Johnny Bigoode" Text="Audio monitoring is application dependent. &#xD;&#xA;&#xD;&#xA;For example, when using Ableton Live all you have to do is to set up a channel using EXT.IN (or whatever input your using) and change the the monitoring from AUTO to ON. &#xD;&#xA;&#xD;&#xA;Most application will have you change the monitoring of a specific channel to on - some of them you'll just need to 'arm' the track, which basically means clicking on the record button of the channel you want to monitor. &#xD;&#xA;&#xD;&#xA;Using internal system audio routing for monitoring is not recommended since it's relevant to be able to control the channel's volume while monitoring. &#xD;&#xA;&#xD;&#xA;I don't know what software you're using but it's possible to use Audacity on a Mac - there's specific instructions to enable audio monitor [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://wiki.audacityteam.org/index.php?title=Recording_levels#Monitoring_the_audio_using_playthrough" ContentLicense="CC BY-SA 3.0" />
  <row Id="40209" PostHistoryTypeId="2" PostId="23810" RevisionGUID="e1a0c551-9192-42da-a9a4-433a388fa2fd" CreationDate="2011-11-25T02:47:49.490" UserId="9744" UserDisplayName="therobyouknow" Text="How to do live monitoring of audio input on Mac? (i.e. hear the input sound on audio out)&#xD;&#xA;&#xD;&#xA;Is there a generic way to do this or is is application specific?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40210" PostHistoryTypeId="1" PostId="23810" RevisionGUID="e1a0c551-9192-42da-a9a4-433a388fa2fd" CreationDate="2011-11-25T02:47:49.490" UserId="9744" UserDisplayName="therobyouknow" Text="How to do live monitoring of audio input on Mac? (i.e. hear the input sound on audio out)" ContentLicense="CC BY-SA 3.0" />
  <row Id="40211" PostHistoryTypeId="3" PostId="23810" RevisionGUID="e1a0c551-9192-42da-a9a4-433a388fa2fd" CreationDate="2011-11-25T02:47:49.490" UserId="9744" UserDisplayName="therobyouknow" Text="&lt;audio&gt;&lt;mac&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40212" PostHistoryTypeId="36" PostId="23811" RevisionGUID="ddec1226-b0c8-4f90-bc21-87e5ccb9cf8b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2693/how-to-do-live-monitoring-of-audio-input-on-mac-i-e-hear-the-input-sound-on-a/2885#2885" />
  <row Id="40213" PostHistoryTypeId="36" PostId="23812" RevisionGUID="43d6b5b5-4c0a-4235-b20d-91f130ff90b7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2781/what-is-the-equivalent-samplerate-and-bitdepth-of-fm-radio" />
  <row Id="40214" PostHistoryTypeId="2" PostId="23813" RevisionGUID="1d2d3a50-8888-45eb-af63-e9cd730fa83d" CreationDate="2011-12-09T12:31:58.123" UserDisplayName="Flimzy" Text="There isn't a single, simple answer for this question.  [This forum post](http://www.head-fi.org/t/366117/radio-bitrates) explains:&#xD;&#xA;&#xD;&#xA;&gt; You can estimate the approximate Audio information [1] content of FM by using the bandwidth and dynamic range. FM pretty much tops out at about 15K and the dynamic range is about 70db. Each bit represents approx 6db so we need just under 12 bits and a sampling rate of 30K.&#xD;&#xA;&#xD;&#xA;&gt; Thus = 12 x 30,000 x 2 (2 channels) = 720Kbps (CD is 1411kbps) that is uncompressed.&#xD;&#xA;&#xD;&#xA;&gt; 1. FM transmission is somewhat more complex than that with carriers and what have you but we are not interested in that level of accuracy.&#xD;&#xA;&#xD;&#xA;and...&#xD;&#xA;&#xD;&#xA;&gt; This question is also complicated by the fact that virtually all radio stations nowadays use lossy compression extensively in their production process. So from a quality standpoint, it really could be far worse than you might think.&#xD;&#xA;&#xD;&#xA;If you're looking for a compression bitrate to use, the answer gets even more complicated, as it depends on the compression format and algorithm you're using. However, I found [a table of recommended bitrates for various source media](http://hireme.geek.nz/bitrates.html).  From this, you can see that for analog sources such as FM radio, analog tape or LPs, and an MP3 target, the author recommends 92-128kbps.&#xD;&#xA;&#xD;&#xA;And see the [audacity wiki](http://wiki.audacityteam.org/index.php?title=Sample_Rates#32_kHz_.2F_14.5_kHz) for an explanation of FM sample rates.  In summary, you can use a 32 kHz sampling rate with &quot;only a little quality loss.&quot;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40215" PostHistoryTypeId="2" PostId="23812" RevisionGUID="ef7c1d32-a8a6-4a3c-a0c1-457d18427ada" CreationDate="2011-12-08T22:29:53.460" UserId="7100" Text="At its best transmission quality, what is the equivalent samplerate and bitdepth of FM radio?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="40216" PostHistoryTypeId="1" PostId="23812" RevisionGUID="ef7c1d32-a8a6-4a3c-a0c1-457d18427ada" CreationDate="2011-12-08T22:29:53.460" UserId="7100" Text="What is the equivalent samplerate and bitdepth of FM radio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40217" PostHistoryTypeId="3" PostId="23812" RevisionGUID="ef7c1d32-a8a6-4a3c-a0c1-457d18427ada" CreationDate="2011-12-08T22:29:53.460" UserId="7100" Text="&lt;audio&gt;&lt;radio&gt;&lt;bit-depth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40218" PostHistoryTypeId="36" PostId="23813" RevisionGUID="15d9a071-7c48-418e-bdcd-c059c2e806b5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2781/what-is-the-equivalent-samplerate-and-bitdepth-of-fm-radio/2784#2784" />
  <row Id="40219" PostHistoryTypeId="36" PostId="23814" RevisionGUID="a2d2c7d5-c24a-4c09-96d3-f9d27c89130d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5470/bass-inaudible-in-mix-through-bad-speakers" />
  <row Id="40220" PostHistoryTypeId="36" PostId="23815" RevisionGUID="136d9001-af0c-4e3d-a0b6-27f219e6d983" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5470/bass-inaudible-in-mix-through-bad-speakers/5472#5472" />
  <row Id="40221" PostHistoryTypeId="36" PostId="23816" RevisionGUID="a0c72b66-c849-4318-a478-c9c6e0fc8ce2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5470/bass-inaudible-in-mix-through-bad-speakers/5473#5473" />
  <row Id="40222" PostHistoryTypeId="2" PostId="23815" RevisionGUID="516a3127-9188-4b65-a19f-6acb387c31d5" CreationDate="2012-12-01T13:31:52.673" UserId="6957" Text="A couple things come to mind...&#xD;&#xA;&#xD;&#xA;Unless you're mixing for internet streaming, don't base your mix on how it sounds through laptop speakers.  Those little 1&quot; drivers are just plain incapable of producing anything down in the bass fundamentals range.&#xD;&#xA;&#xD;&#xA;You say you've tried EQing in some higher frequencies.  You can only &quot;EQ in&quot; what's already there of course, so try to stick with octaves of the existing fundamentals.  For example, if your bass fundamentals live in the 80-120Hz range, try boosting in the 160-240Hz range.  Certainly not what you'd consider &quot;highs&quot;, but perhaps high enough to stay in a laptop's speakers range.&#xD;&#xA;&#xD;&#xA;I'm assuming your line-in source is a bass guitar??  I don't have a ton of experience here, but I know, as you've found out, that you can get some great bass tone when recording line-in.  You could make changes with the tone knob during tracking, or run it through some DSP after the fact.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="40223" PostHistoryTypeId="2" PostId="23816" RevisionGUID="8c644f9c-b5da-48e5-b9c7-1b4b13e3eb81" CreationDate="2012-12-01T15:02:12.273" UserId="7200" UserDisplayName="leftaroundabout" Text="Josh said most there is to say already. If you like the sound you have now over studio monitors (something NS-10 like, without subwoofers) then you shouldn't worry about it sounding horrible over laptop speakers – _all_ music does.&#xD;&#xA;&#xD;&#xA;If it already sounds bad over such monitors or smaller hifi speakers, you probably _should_ do something about it. Again, EQing only helps if the frequencies you try to boost are already there. Now, modern bass guitars usually have a really large frequency spectrum (often reaching higher than many electric guitars!) and so do sawtooth-based bass synths. In such a case it should be possible to boost some frequencies in the mid-range to get the bass audible.&#xD;&#xA;&#xD;&#xA;But some older basses (particularly with flatwound-strings) as well as sine-based bass synths simply _don't_ have significant amounts of frequencies above 200 Hz, so you won't get anywhere with EQs. What you can still do in such a case is to overdrive the sound. That in fact happens on pretty much all old rock recordings: the bass was always too quiet, so they'd usually turn up the amps to the limit, and in these days with valve technology this inevitably meant quite a bit of (smooth &amp; pleasant!) nonlinear distortion, which creates harmonics that aren't present in the original signal, but are coherent with the signal so you normally don't notice this too much in a mix. Today you can do all of this with software plugIns, my personal favourite is iZotope Trash." ContentLicense="CC BY-SA 3.0" />
  <row Id="40224" PostHistoryTypeId="2" PostId="23814" RevisionGUID="8212aa43-53bd-42e3-a282-0b7be11590ce" CreationDate="2012-12-01T07:33:17.287" UserDisplayName="Mason" Text="I'm working on mixing an album right now, and it's all sounding pretty good but I'm having an issue with the bass. I really like the tone I have, but depending on the speakers it's being played through it may not be audible because it doesn't have much treble in it.&#xD;&#xA;&#xD;&#xA;Now obviously, if the speakers don't play bass frequencies, there's nothing you can do as far as adding bass to the mix. So in general this is a non issue, however a few songs have sections where everything except for the bass drops out, and one song that features the bass playing a melody throughout the whole song and the other instruments are sparse and quiet.&#xD;&#xA;&#xD;&#xA;So here's my question: What should I do? I've tried to fix it in the mix by just EQing in some high frequencies, but the high frequencies just don't exist in the current recording so EQ alone won't work, I would have to do something more clever. As it's only a few specific sections that this matters for, I do have the option of rerecording them--but I want to make sure I still get a good tone if I do this. The current recording is all line-in, I had planned on reamping it but liked the line-in tone too much to mess with it. Could that possibly make a difference?&#xD;&#xA;&#xD;&#xA;There's also the option of ignoring the issue altogether, I haven't extensively compared the album's sound on many different sound systems yet, the only place I've noticed this issue is on my MacBook's speakers. If the MacBook speakers are like strange in the fact that they have this deficiency, then I would be less motivated to fix it if it had a detrimental effect on the tone. Does anyone have any experience with this issue? Honestly if there was a good way to fix this in the mix, that'd be preferable, but if the best option is to rerecord or reamp I'll just have to do that." ContentLicense="CC BY-SA 3.0" />
  <row Id="40225" PostHistoryTypeId="1" PostId="23814" RevisionGUID="8212aa43-53bd-42e3-a282-0b7be11590ce" CreationDate="2012-12-01T07:33:17.287" UserDisplayName="Mason" Text="Bass Inaudible In Mix Through Bad Speakers" ContentLicense="CC BY-SA 3.0" />
  <row Id="40226" PostHistoryTypeId="3" PostId="23814" RevisionGUID="8212aa43-53bd-42e3-a282-0b7be11590ce" CreationDate="2012-12-01T07:33:17.287" UserDisplayName="Mason" Text="&lt;audio-recording&gt;&lt;mixing&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40227" PostHistoryTypeId="36" PostId="23817" RevisionGUID="9e9d984e-8e47-4c1d-9bcf-338413db3b75" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1705/heavy-metal-vocal-equipment-and-processing" />
  <row Id="40228" PostHistoryTypeId="36" PostId="23818" RevisionGUID="c0f2a888-512a-467f-b978-0d81e8d897d8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1705/heavy-metal-vocal-equipment-and-processing/1741#1741" />
  <row Id="40229" PostHistoryTypeId="36" PostId="23819" RevisionGUID="f5089d39-2807-47dd-a766-07686b478b51" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1705/heavy-metal-vocal-equipment-and-processing/1762#1762" />
  <row Id="40230" PostHistoryTypeId="36" PostId="23820" RevisionGUID="d32e085d-8988-4e02-aa9f-a6a184dbdcb6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1705/heavy-metal-vocal-equipment-and-processing/4490#4490" />
  <row Id="40231" PostHistoryTypeId="2" PostId="23818" RevisionGUID="f72a7227-9b0c-41bc-b3a6-4043017c5e11" CreationDate="2011-07-06T07:56:36.463" UserId="7016" Text="The simplest way to get that sound is actually not to buy plugins or expensive gear, but to overload some of the components you have, as that is how a lot of the classic metal bands did it.&#xD;&#xA;&#xD;&#xA;For example, singing/screaming at high volume into cheap microphones distorts like crazy, or if that doesn't get you the right sound (maybe you have a modern mic which copes well with high volume) crank up the gain on the mic amplifier so that it begins to distort and clip. &#xD;&#xA;&#xD;&#xA;Of course you can add a distortion box into the mix if you want something extreme, try with a normal guitar distortion first - you might find it is too much.&#xD;&#xA;&#xD;&#xA;For a couple of our songs we use a distortion plugin in Cubase on the vocals - but that is to make it sound more like a radio/megaphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="40232" PostHistoryTypeId="2" PostId="23819" RevisionGUID="4530a69e-e95e-466a-95e7-cd929ddda287" CreationDate="2011-07-06T15:00:11.410" UserId="2506" Text="Classic Heavy Metal vocals from the era after the initial period of scuzzier Doom are often reverbed/delayed then selectively EQed and compressed. Of course depending on the subgenre (power, thrash etc) your mileage may very - but I wouldn't necessarily go and simply overdrive all of your gear to achieve the sound, it won't sound as good.&#xD;&#xA;&#xD;&#xA;Some engineers use the trick of saturating the vocal on the way into the desk by driving the preamp and then just applying FX and compression to the resulting recording, this adds harmonics and has a distinctly different sound. You can achieve similar results today by using a quality amp and driving it hard, or taking the raw vocal through something like a Tubescreamer, Culture Vulture or a Distressor and being judicious with its use. Don't overegg the pudding though. :-)&#xD;&#xA;&#xD;&#xA;If you're not capable (or budgeted) for hardware, software has plenty of good offerings - the venerable Waves plugins are generally very good but very pricey; Voxengo stuff is great for the price (!) and PSP Audioware stuff is also very good quality (the Xenon limiter is awesome). If you can stretch to buying a UAD expansion card, you can get some bloody AMAZING quality software processing which is almost (even to veteran engineers) indistinguishable from the original hardware on which they're modelled." ContentLicense="CC BY-SA 3.0" />
  <row Id="40233" PostHistoryTypeId="2" PostId="23820" RevisionGUID="983f700b-cc9b-4b4b-b5b9-88fcd7f67fe4" CreationDate="2012-07-30T20:39:45.220" UserId="17571" UserDisplayName="Zeronyne" Text="I would like to offer a counter argument. Overdriving a preamp or adding distortion to the vocal does not make a vocal sound like Metallica or Judas Priest. Those vocals are warm and clear as a bell. Even Brian Johnson's vocals are recorded as clean as possible (Mutt Lang influence).&#xD;&#xA;&#xD;&#xA;If I have only two grand to spend for my vocal chain, I would get a decent mic, a great pre and eq, and an awesome compressor. You are going to want to get as strong and consistent of a signal onto your track as possible, and a compressor is vital for that. Your mic is going to need some serious headroom. The pre will add warmth and the eq will let you notch out any clashing frequencies. I would add any overdrive or blatant effect after the fact so you can control its strength. Distortion on vocals sounds cool until it starts to cancel out your guitar's distortion.&#xD;&#xA;&#xD;&#xA;If you want specific brand and model recommendations, message me. And as always, this is just my 2 cents.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="40234" PostHistoryTypeId="2" PostId="23817" RevisionGUID="7d586796-8d1d-46ab-9196-cb057df9e837" CreationDate="2011-07-06T00:31:03.913" UserDisplayName="Kayle" Text="I'm in an upstart metal band and, currently, we have little recording equipment. Because I work in video production, I have some audio software on my computer for the occasions that I need it (Cakewalk Sonar &amp; Reason), so I am the one who will be recording and processing our demos.&#xD;&#xA;&#xD;&#xA;I really don't know what kind of mic, pre-amp, or software effects lend to the classic heavy metal sound (think metallica, judas priest, testament) in a recording environment. This is only for demos, so it doesn't need to sound pro... but I want to do the best I can for under $2k. &#xD;&#xA;&#xD;&#xA;Any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40235" PostHistoryTypeId="1" PostId="23817" RevisionGUID="7d586796-8d1d-46ab-9196-cb057df9e837" CreationDate="2011-07-06T00:31:03.913" UserDisplayName="Kayle" Text="Heavy Metal Vocal Equipment and Processing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40236" PostHistoryTypeId="3" PostId="23817" RevisionGUID="7d586796-8d1d-46ab-9196-cb057df9e837" CreationDate="2011-07-06T00:31:03.913" UserDisplayName="Kayle" Text="&lt;effects&gt;&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40237" PostHistoryTypeId="36" PostId="23821" RevisionGUID="2c0e0653-a5fd-486c-ad9f-b6d6ee4755f5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8898/does-cpuscaling-have-any-signifcant-effect-on-audio-production" />
  <row Id="40238" PostHistoryTypeId="36" PostId="23822" RevisionGUID="a8884b02-d5ac-4a15-a83f-3e790037ad8e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8898/does-cpuscaling-have-any-signifcant-effect-on-audio-production/8899#8899" />
  <row Id="40239" PostHistoryTypeId="36" PostId="23823" RevisionGUID="27c993a9-8a79-4756-95d4-474a1f3dd2ea" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8898/does-cpuscaling-have-any-signifcant-effect-on-audio-production/9334#9334" />
  <row Id="40240" PostHistoryTypeId="2" PostId="23822" RevisionGUID="6d4f1d2d-da2a-4428-9042-4fde7fabbc49" CreationDate="2013-09-06T16:20:07.247" UserId="7174" Text="The easiest way would probably be to check the speed at which the CPU is running.  Just about any performance monitor should be able to tell you this.  If the CPU isn't being scaled up when running a CPU intensive program, then it would be having an impact, but generally such system automatically increase CPU speed as soon as the system is using more than a certain % of CPU time, so it's doubtful that it should cause a significant issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="40241" PostHistoryTypeId="2" PostId="23823" RevisionGUID="caacb079-a10a-4089-9d0e-752249126267" CreationDate="2013-11-07T03:03:14.470" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="Scaling the frequency for example down to half means the data rate is halved for the audio. However, audio data has very low bandwidth requirements in modern computers so the real-world effect of this will be minimal.&#xD;&#xA;&#xD;&#xA;It would only be under very high load (or if you use a high number of channels) this may have an actual effect. If you use your system mainly for audio production you probably want to turn off this service as you want actual frequencies for your audio monitoring.&#xD;&#xA;&#xD;&#xA;I believe the main purpose for this service is a more generic use where you may run Linux on a laptop and batteries, and can therefor contribute to &quot;save&quot; a little bit of energy." ContentLicense="CC BY-SA 3.0" />
  <row Id="40242" PostHistoryTypeId="2" PostId="23821" RevisionGUID="62867ef0-7963-44a3-a128-917acc8b03b5" CreationDate="2013-09-06T16:12:42.853" UserId="7344" UserDisplayName="Dave" Text="By default most Linux distributions have the [cpuscaling][1] service on by default.  In principle, it should &quot;get out of the way&quot; and run the processor at full speed once there is significant load.  However, it seems plausible that that it could get in the way, possibly intermittently.&#xD;&#xA;&#xD;&#xA;Has anyone measured any significant impact of this feature, with respect to real-time audio recording/production/processing?&#xD;&#xA;&#xD;&#xA;What would be a good approach to try to detect/measure whether this service has any effect on my system's performance?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://wiki.archlinux.org/index.php/CPU_Frequency_Scaling" ContentLicense="CC BY-SA 3.0" />
  <row Id="40243" PostHistoryTypeId="1" PostId="23821" RevisionGUID="62867ef0-7963-44a3-a128-917acc8b03b5" CreationDate="2013-09-06T16:12:42.853" UserId="7344" UserDisplayName="Dave" Text="Does cpuscaling have any signifcant effect on audio production?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40244" PostHistoryTypeId="3" PostId="23821" RevisionGUID="62867ef0-7963-44a3-a128-917acc8b03b5" CreationDate="2013-09-06T16:12:42.853" UserId="7344" UserDisplayName="Dave" Text="&lt;audio-recording&gt;&lt;performance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40245" PostHistoryTypeId="36" PostId="23824" RevisionGUID="7cb88d48-a135-435b-bd82-883975902788" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5198/silent-disco-equipment" />
  <row Id="40246" PostHistoryTypeId="2" PostId="23824" RevisionGUID="b1d8341b-c69f-4558-b88e-dce374e896e7" CreationDate="2012-10-29T13:11:53.773" UserDisplayName="GusDeCooL" Text="I get quote from my client to make event with **Silent Disco**  &#xD;&#xA;What is the hardware required for Silent Disco?&#xD;&#xA;&#xD;&#xA;Here is some link referral, but I'm looking advise from expertise have done this.  &#xD;&#xA;&#xD;&#xA; 1. http://en.wikipedia.org/wiki/Silent_disco  &#xD;&#xA; 2. http://silentdisco.com/v2/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40247" PostHistoryTypeId="1" PostId="23824" RevisionGUID="b1d8341b-c69f-4558-b88e-dce374e896e7" CreationDate="2012-10-29T13:11:53.773" UserDisplayName="GusDeCooL" Text="Silent Disco Equipment" ContentLicense="CC BY-SA 3.0" />
  <row Id="40248" PostHistoryTypeId="3" PostId="23824" RevisionGUID="b1d8341b-c69f-4558-b88e-dce374e896e7" CreationDate="2012-10-29T13:11:53.773" UserDisplayName="GusDeCooL" Text="&lt;audio&gt;&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40249" PostHistoryTypeId="36" PostId="23825" RevisionGUID="10f03cbe-6362-4c6f-8640-f4e0934fcb06" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5716/desktop-speakers-for-a-macbookpro" />
  <row Id="40250" PostHistoryTypeId="2" PostId="23826" RevisionGUID="603783dc-f312-43c7-8001-424844cd02dc" CreationDate="2012-12-31T13:37:00.987" UserId="6957" Text="If sound quality is at the top of your list, I would first be looking for speakers that are powered.  That is, look for a set that has it's own wall plug rather than allowing the MBP to push the speakers.  The laptop's headphone amp will not be sufficient to push any speakers very loud.&#xD;&#xA;&#xD;&#xA;There are many 2.1 systems (left, right, and sub) that fit this bill.  Many of these are quite inexpensive, though as a rule, you get what you pay for.  If you can find a set where each individual speaker has its own power source, all the better.  Otherwise, often you'll find that the sub is powered, while the left and rights are not.&#xD;&#xA;&#xD;&#xA;If you're willing to spend a bit more (sometimes quite a bit more), you could look into powered studio monitors.  You'd undoubtedly be getting the best quality sound with this approach.  They're typically, full frequency range (or nearly full, save some low end), capable of much higher volumes, and otherwise just higher quality materials.&#xD;&#xA;&#xD;&#xA;If you go this route, do pay attention to the variety of audio inputs on the studio monitors though.  As they're primarily geared for a studio setup, they'll often have 1/4&quot; jacks, XLR jacks, or a combination.  You would just have to get the proper adapter for your laptop's audio out." ContentLicense="CC BY-SA 3.0" />
  <row Id="40251" PostHistoryTypeId="2" PostId="23825" RevisionGUID="c9364af6-d1f8-4d02-a1ce-ccd41df44b95" CreationDate="2012-12-31T04:06:05.793" UserDisplayName="JohnZ" Text="I have a reasonably small desk with minimal space behind it, and I am in a reasonably small room. I don't crank music very loud (but once in a while I enjoy something high volume), and I am far more concerned with the quality of sound rather than max volume or aesthetics (although aesthetics are always a delightful plus.) I have a MacbookPro and I either stream from my iTunes or I just plug in one of my cds. I listen to all types of music from Opeth to Metallica to Rage Against the Machine to Alan Jackson to Armin Van Buuren to Zero7 to Vivaldi to Liszt to Muse etc etc etc You get the point. &#xD;&#xA;&#xD;&#xA;What do you suggest is best for my situation and hopefully why?&#xD;&#xA;&#xD;&#xA;what characteristics should I look for in a set of speakers that would help make my decision easier?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40252" PostHistoryTypeId="1" PostId="23825" RevisionGUID="c9364af6-d1f8-4d02-a1ce-ccd41df44b95" CreationDate="2012-12-31T04:06:05.793" UserDisplayName="JohnZ" Text="Desktop speakers for a MacbookPro?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40253" PostHistoryTypeId="3" PostId="23825" RevisionGUID="c9364af6-d1f8-4d02-a1ce-ccd41df44b95" CreationDate="2012-12-31T04:06:05.793" UserDisplayName="JohnZ" Text="&lt;audio&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40254" PostHistoryTypeId="36" PostId="23826" RevisionGUID="98ab62b6-c05a-4121-ae35-c1378cfe3213" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5716/desktop-speakers-for-a-macbookpro/5718#5718" />
  <row Id="40261" PostHistoryTypeId="36" PostId="23829" RevisionGUID="b5f356e0-f16b-4449-80a3-ad230c3eb458" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9126/audio-cd-16-bit-or-24-bit" />
  <row Id="40262" PostHistoryTypeId="36" PostId="23830" RevisionGUID="298ed6b6-a007-4c46-8613-72294f847e35" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9126/audio-cd-16-bit-or-24-bit/9127#9127" />
  <row Id="40263" PostHistoryTypeId="2" PostId="23830" RevisionGUID="d0e24282-7016-4220-a905-a86c8638b6a4" CreationDate="2013-10-05T11:14:37.287" UserId="7266" UserDisplayName="Marcks Thomas" Text="Audio CDs are encoded with 16-bit values. Higher bitrates are generally used for editing, not for playback. You can write 24-bit WAV files to an optical disc, of course, but it will not be a standards complying audio CD." ContentLicense="CC BY-SA 3.0" />
  <row Id="40264" PostHistoryTypeId="2" PostId="23829" RevisionGUID="9959f372-4040-4988-80cb-5e2d96ae0e66" CreationDate="2013-10-05T10:27:09.950" UserDisplayName="Vlastimil Mařík" Text="I want to create my own audio CD. Should I render WAV files to 16 bit or 24 bit depth?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40265" PostHistoryTypeId="1" PostId="23829" RevisionGUID="9959f372-4040-4988-80cb-5e2d96ae0e66" CreationDate="2013-10-05T10:27:09.950" UserDisplayName="Vlastimil Mařík" Text="Audio CD 16 bit or 24 bit?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40266" PostHistoryTypeId="3" PostId="23829" RevisionGUID="9959f372-4040-4988-80cb-5e2d96ae0e66" CreationDate="2013-10-05T10:27:09.950" UserDisplayName="Vlastimil Mařík" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40267" PostHistoryTypeId="36" PostId="23831" RevisionGUID="076dfb89-7805-4d15-a82b-96b1b6f7294d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3402/how-do-i-test-audio-cables" />
  <row Id="40268" PostHistoryTypeId="36" PostId="23832" RevisionGUID="0aff7afe-390a-44c7-a124-8a067105df00" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3402/how-do-i-test-audio-cables/3410#3410" />
  <row Id="40269" PostHistoryTypeId="36" PostId="23833" RevisionGUID="d678f9b2-63bf-4d6a-abdb-6a03214dfd67" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3402/how-do-i-test-audio-cables/3418#3418" />
  <row Id="40270" PostHistoryTypeId="2" PostId="23832" RevisionGUID="e90c3c82-359d-4719-987f-08a4ac3fd8c2" CreationDate="2012-02-26T06:52:03.443" UserId="7189" Text="You can buy a cable tester, just search for &quot;audio cable tester&quot; and lots of results will pop up.&#xD;&#xA;&#xD;&#xA;As far as what causes cable failures, it is mostly mechanical stress. Unplugging a cable by the cable rather than the jack will transmit force to the relatively weak solder joints. Repeatedly doing this will cause the solder joints to fail. Mechanical stress can also sometimes cause bits of shielding wire to make contact with one of the signal wires, causing a short. Sometimes just opening and carefully closing the housing of a connector will fix that failure. Other times you need to trim and re-solder.&#xD;&#xA;&#xD;&#xA;**DANGER DO NOT TRY THIS**&#xD;&#xA;&#xD;&#xA;An *interesting* but definitely **not recommended** [solution for a faulty cable is described here][1] - a *sealed* 12v battery is connected to the tip and shield of a two-conductor cable. Any faults will be rapidly vaporized. Note that this is **very dangerous**. Car and motorcycle batteries are typically lead-acid, and can build up hydrogen gas. A spark near a battery **can** result in an explosion which **will** cause serious harm! Further, if the cable in question has a big short, it could get hot and burn you. If your cable is made of flammable material, it could catch fire and burn you. **DON'T TRY THIS**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.muffwiggler.com/forum/viewtopic.php?p=650799#650799" ContentLicense="CC BY-SA 3.0" />
  <row Id="40271" PostHistoryTypeId="2" PostId="23833" RevisionGUID="3abf480d-fcbb-454a-839b-13f29b8ba0fe" CreationDate="2012-02-27T21:54:13.040" UserId="7188" Text="Alternately, if you can't afford a cable tester, you can buy or build a cheap continuity tester or borrow a volt meter (digital or analog).&#xD;&#xA;&#xD;&#xA;Example of testing cables with a cable tester and a meter:&#xD;&#xA;https://www.youtube.com/watch?v=98e4JdPvMbE&#xD;&#xA;&#xD;&#xA;(one problem with this example is that he does not test for shorts. Remedy: take the same probe to the remaining pins to be sure it does not zero on pins the signal is not suppose to be present on.)&#xD;&#xA;&#xD;&#xA;Example of home made continuity tester:&#xD;&#xA;https://www.youtube.com/watch?v=LFdvxasvLb4&#xD;&#xA;&#xD;&#xA;If you know that your cable has continuity (no opens) and no shorts, then you might still be scratching your head about noise issues. Line noise can have many sources:&#xD;&#xA;&#xD;&#xA;1) ground loops, there are a ton of ways to have ground loops, here are few that come to mind: multiple and inconsistent ground sources, outlets not grounded properly, faulty ground connection inside your equipment...&#xD;&#xA;&#xD;&#xA;2) proximity issues, placing a cable too close to a power field especially if the power is unbalanced and the audio cable does not have very good shielding will make things worse.&#xD;&#xA;&#xD;&#xA;3) cable integrity, compare a good shielded cable with a poor one, this should convince you to test and compare cables when you are purchasing replacements.&#xD;&#xA;&#xD;&#xA;4) utility line noise: Sometimes it's not your equipment or your cables. If you have an O'scope take a look at the AC coming out of the wall at the gig. If you see huge spikes moving through the AC it may be from that guy welding next door, or some other source in the neighborhood, or even the fluorescent lights at the gig or a bad ballast, or light dimmers that use SCR's. You might consider a line filter/power conditioner to clean this up.&#xD;&#xA;&#xD;&#xA;Power Conditioning:&#xD;&#xA;http://www.isa.org/InTechTemplate.cfm?template=/ContentManagement/ContentDisplay.cfm&amp;ContentID=82300&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40272" PostHistoryTypeId="2" PostId="23831" RevisionGUID="84554f4c-f081-4cb3-9407-3ae1f8e7ba7b" CreationDate="2012-02-25T06:26:53.720" UserId="7045" Text="I have dozens and dozens of cables. XLR, 1/4&quot;, a few TRS cables, and some adapters and hybrids. Some are less than a few years old, some are decades old, a few may be older than I am. And every so often, I notice that one of them is a bit noisy, and I replace it or, if possible, repair it. (Sometimes the jack connections are the problem, and those can be resoldered.) &#xD;&#xA;&#xD;&#xA;However, I'd prefer that I not make these discoveries in the middle of a gig, or a recording session. &#xD;&#xA;&#xD;&#xA;How can I go about testing cables? What exactly causes line noise in cables? Is there a way to find out what part of the cable is producing it? (I'd rather cut off the bad bit and have a good-quality, if shorter, cable.) Are certain kinds of cabling more susceptible to degradation? " ContentLicense="CC BY-SA 3.0" />
  <row Id="40273" PostHistoryTypeId="1" PostId="23831" RevisionGUID="84554f4c-f081-4cb3-9407-3ae1f8e7ba7b" CreationDate="2012-02-25T06:26:53.720" UserId="7045" Text="How do I test audio cables?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40274" PostHistoryTypeId="3" PostId="23831" RevisionGUID="84554f4c-f081-4cb3-9407-3ae1f8e7ba7b" CreationDate="2012-02-25T06:26:53.720" UserId="7045" Text="&lt;audio&gt;&lt;noise&gt;&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40275" PostHistoryTypeId="36" PostId="23834" RevisionGUID="027a378d-6ea0-4267-bfc3-aef8349fa5fb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3591/make-quiet-parts-louder-and-loud-parts-quieter" />
  <row Id="40276" PostHistoryTypeId="36" PostId="23835" RevisionGUID="a85fe92b-b1f5-4e2f-982c-b89c0652eeda" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3591/make-quiet-parts-louder-and-loud-parts-quieter/3593#3593" />
  <row Id="40277" PostHistoryTypeId="2" PostId="23835" RevisionGUID="08e3db8a-8206-400a-8fd7-a1030ba1c7ad" CreationDate="2012-03-16T23:28:02.733" UserId="12830" UserDisplayName="dwwilson66" Text="Most DAWs (digital audio workstations) have a normalize feature that'll even things out. If you're doing analog, you'll do the same thing, but patched through some kind of processor in your mastering suite.&#xD;&#xA;&#xD;&#xA;Of course, this is all predicated by your audio being completely usable and not clipped. If you got strange anomalies, you may need to fix those in post before normalizing. &#xD;&#xA;&#xD;&#xA;If you were more exact about what type of audio, how it was recorded, which tools you're using, and maybe a clip of the differences, I could add more specific details." ContentLicense="CC BY-SA 3.0" />
  <row Id="40278" PostHistoryTypeId="2" PostId="23836" RevisionGUID="28473310-f2dd-4cc3-9179-94fa3de3c780" CreationDate="2012-03-20T17:56:43.793" UserId="7294" UserDisplayName="Warrior Bob" Text="If I've understood you correctly, the basic problem is that you have both your recorded source audio (your game, in this case) and microphone input recorded together, which is to say, on the same track in Audacity. Ideally, you'd have those on two separate tracks, so that you can adjust their volume (or other properties) separately.&#xD;&#xA;&#xD;&#xA;You may want to look into [ducking](http://en.wikipedia.org/wiki/Ducking) your game audio so that it automatically lowers in volume whenever you're talking. I don't know if you can set this up in Audacity, but you should be able to do this in most [DAW](http://en.wikipedia.org/wiki/Digital_audio_workstation) programs with a bit of diving into the manual. Most of those packages aren't free, though.&#xD;&#xA;&#xD;&#xA;Failing this, one way to bring the quietest and loudest parts together on the same track is by using a compression effect. What this does is proportionally reduce any volume louder than a certain level. That point is called the threshold, and amount of reduction is called the ratio. A 3:1 ratio, for example, means that any audio above the threshold will be one third as loud as it would be without the effect. You can use this to lower your voice's volume. You will, however, experience a bit of a &quot;compressed&quot; sound to it, which is simultaneously more of a &quot;studio&quot; sound, but it brings with it some mild distortion. Adjust it to taste." ContentLicense="CC BY-SA 3.0" />
  <row Id="40279" PostHistoryTypeId="2" PostId="23834" RevisionGUID="b71cf16d-8064-4338-8b36-993b895153b8" CreationDate="2012-03-16T22:03:34.007" UserDisplayName="Ronan Forman" Text="I was recording gameplay of Mass Effect 3 and for some reason the mic input is way louder than the game volume. They're both recorded on the same track but it has really loud parts and really quiet parts, is there any way to make it so that it's all closer to the same volume?&#xD;&#xA;&#xD;&#xA;I normally use Audacity for audio editing but am willing to try other free alternatives. " ContentLicense="CC BY-SA 3.0" />
  <row Id="40280" PostHistoryTypeId="1" PostId="23834" RevisionGUID="b71cf16d-8064-4338-8b36-993b895153b8" CreationDate="2012-03-16T22:03:34.007" UserDisplayName="Ronan Forman" Text="Make quiet parts louder and loud parts quieter" ContentLicense="CC BY-SA 3.0" />
  <row Id="40281" PostHistoryTypeId="3" PostId="23834" RevisionGUID="b71cf16d-8064-4338-8b36-993b895153b8" CreationDate="2012-03-16T22:03:34.007" UserDisplayName="Ronan Forman" Text="&lt;audio&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40282" PostHistoryTypeId="36" PostId="23836" RevisionGUID="4ca563c6-d1bd-477c-b959-83eae35449e8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3591/make-quiet-parts-louder-and-loud-parts-quieter/3614#3614" />
  <row Id="40283" PostHistoryTypeId="36" PostId="23837" RevisionGUID="4f5cb5fd-58a7-4639-935a-3be8aa1305a7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1164/software-for-live-multi-tracking-recording-mixing" />
  <row Id="40284" PostHistoryTypeId="2" PostId="23838" RevisionGUID="e5978c52-bf11-4095-acbb-fb4951ca65f3" CreationDate="2011-04-13T17:47:52.260" UserId="7093" Text="[Reaper][1] is a DAW for PC or Mac which will allow you to record as many tracks as your interface will allow.  It comes with many standard effects and supports VST plugins as well.  It supports just about any routing configuration you can think up.  It also has an excellent [&quot;how to&quot; manual][2] to get you started with recording in Reaper.&#xD;&#xA;&#xD;&#xA;Reaper's project and track templates should help reduce the amount of post processing you need to do.  It also has several different ways to automate repetitive tasks using macros and such. Just about every action has its own customizable keystroke.&#xD;&#xA;&#xD;&#xA;It goes for $225 ($60 discounted license for non professional use) and has a fully functional non-expiring demo to allow you to properly evaluate the program.&#xD;&#xA;&#xD;&#xA;I am currently using Reaper with an M-Audio ProFire 2626 interface recording 4 tracks (44.1kHz/24bit) at once with no issues on a Pentium 4 2.8gHz single processor machine with 4gb ram.  On playback, I frequently have 5 or more tracks with several real-time effects each with no trouble.&#xD;&#xA;&#xD;&#xA;If you are looking for something for free, try [Audacity][3].  I have only used it for 2 track recording from my PC sound card, but it does support multi-track recording.  It may require some effort to get it to work with your interface, and it does not support real-time effects, but it is free.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.reaper.fm/index.php&#xD;&#xA;  [2]: http://www.reaper.fm/userguide.php&#xD;&#xA;  [3]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40285" PostHistoryTypeId="2" PostId="23837" RevisionGUID="cd323b19-3a86-47ab-bb8f-7ff134bfc4ed" CreationDate="2011-04-13T15:52:12.147" UserDisplayName="Alex Miller" Text="So I'm looking for a piece of software for recording multi-track live audio (PC or Mac is fine, I have system for both).  That meets several key requirements:&#xD;&#xA;&#xD;&#xA; 1. Can record at least 4 tracks&#xD;&#xA; 2. Works with basic USB/Firewire audio interfaces (eg M-Audio gear)&#xD;&#xA; 3. Does full mixing and at least basic effects (ie: want compressors on several channels)&#xD;&#xA; 4. Can create aux sends and send them out live to the outputs on the M-Audio gear&#xD;&#xA;&#xD;&#xA;I'll be recording a podcast and interviews with remote guests (via Skype) and really want to cut down the amount of post processing work needed and be able to carry the least amount of equipment with me, hence the desire for software that can handle both the recording mixing AND the live mixing for the mix-minus feeds back.&#xD;&#xA;&#xD;&#xA;Thanks, " ContentLicense="CC BY-SA 3.0" />
  <row Id="40286" PostHistoryTypeId="1" PostId="23837" RevisionGUID="cd323b19-3a86-47ab-bb8f-7ff134bfc4ed" CreationDate="2011-04-13T15:52:12.147" UserDisplayName="Alex Miller" Text="Software for Live Multi-Tracking Recording &amp; Mixing" ContentLicense="CC BY-SA 3.0" />
  <row Id="40287" PostHistoryTypeId="3" PostId="23837" RevisionGUID="cd323b19-3a86-47ab-bb8f-7ff134bfc4ed" CreationDate="2011-04-13T15:52:12.147" UserDisplayName="Alex Miller" Text="&lt;software&gt;&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40288" PostHistoryTypeId="36" PostId="23838" RevisionGUID="ee10d72e-2e53-4f62-b87d-54049537b7b6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1164/software-for-live-multi-tracking-recording-mixing/1165#1165" />
  <row Id="40289" PostHistoryTypeId="36" PostId="23839" RevisionGUID="24dcb915-7d0a-4b17-8c7e-be48d282f5dd" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1164/software-for-live-multi-tracking-recording-mixing/1166#1166" />
  <row Id="40290" PostHistoryTypeId="36" PostId="23840" RevisionGUID="c2c03b24-89f3-40dd-9375-4dee757ed30e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1164/software-for-live-multi-tracking-recording-mixing/1167#1167" />
  <row Id="40291" PostHistoryTypeId="2" PostId="23839" RevisionGUID="9cf03bb3-457b-4f49-8693-17799ceeefc5" CreationDate="2011-04-13T20:27:07.827" UserId="17571" UserDisplayName="Zeronyne" Text="Reaper is awesome, but you should not discount Pro Tools, which now is unified and works with any compliant hardware (not just Digi/MAudio). There is a reason why it's the industry standard among professionals. For you application as you've stated it, there are many DAWs that will fit the bill, including the aforementioned Reaper, but for broadcast recording and cleaning up lower grade audio without going into a dedicated audio editor, Pro Tools may have more pre and post processing plug ins that are useful.&#xD;&#xA;&#xD;&#xA;Some will try to suggest that Pro Tools' real-time processing and bounce would slow your workflow. The truth is, if you know what you're doing with bus paths, you can treat your audio and mix it, then send the whole mix to a separate track, from which you can instantly export your final, polished product. We do it with up to 32 simultaneous channels at work, and we export two-hour concerts in ten to fifteen minutes. &#xD;&#xA;&#xD;&#xA;The quality of work Pro Tools produces makes it the #1 choice for most audio recording applications. " ContentLicense="CC BY-SA 3.0" />
  <row Id="40292" PostHistoryTypeId="2" PostId="23840" RevisionGUID="e721bf5c-a3e2-4e5f-9980-bb86f8dd4a4d" CreationDate="2011-04-14T11:46:56.427" UserDisplayName="James Litewski" Text="I'm pretty sure Fl Studio can do all of that : http://www.image-line.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40293" PostHistoryTypeId="36" PostId="23841" RevisionGUID="9555fd13-22d5-4753-9a90-10ce5adf51bc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5260/whats-the-difference-between-consumer-and-pro-audio-music-equipment" />
  <row Id="40294" PostHistoryTypeId="2" PostId="23842" RevisionGUID="030383b8-aaef-4eac-855e-db403ad7032b" CreationDate="2012-11-05T22:22:56.593" UserId="7294" UserDisplayName="Warrior Bob" Text="The major difference between &quot;pro&quot; and &quot;consumer&quot; equipment is generally their suitability for their purpose. A home theater setup needs to sound pleasing to the ear without much manual work, only fill up one room with sound, and play from generally a single source. It also (usually) needs to be affordable enough that people will by them. A huge live-sound rig, however, might have to fill up an arena without distorting, mix together lots of sound sources with varying properties, and be adjustable by a human operator to fit the situation. They generally cost more since they're more like business investments for work purposes than consumer purchases for entertainment&#xD;&#xA;&#xD;&#xA;However, I think the core of your question is really whether consumer and pro equipment are *compatible*. As in, could you use them together. At a basic level, they are - both of them generally deal with analog audio signals running over cables, however there are a variety of standards for voltage that are important to understand. In general getting this right is called [impedance matching](https://en.wikipedia.org/wiki/Impedance_matching). You don't want to send a quiet signal into something expecting a semi-loud one, and you *definitely* don't want to send a too-loud signal into a system expecting something quieter. At best the signal will clip, and at worst it could damage the hardware.&#xD;&#xA;&#xD;&#xA;Some examples:&#xD;&#xA;&#xD;&#xA;Electric guitar into hi-fi stereo&#xD;&#xA;==&#xD;&#xA;&#xD;&#xA;An electric guitar signal is very faint (&quot;instrument level&quot;), much quieter than what a hi-fi system would be expecting (&quot;line level&quot;, if I remember right), and so it's reasonable to assume that it wouldn't sound very good, if you could hear it at all. However, you could use a guitar amplifier with a line-level output jack, and that would probably work very well so long as you don't turn it up too loud and distort the signal through clipping.&#xD;&#xA;&#xD;&#xA;In the case of an electric guitar, it's also worth noting that the amplifier is a very large part of the sound, and skipping the amp generally makes a guitar sound thin and undesirable.&#xD;&#xA;&#xD;&#xA;iPod into a guitar amp&#xD;&#xA;==&#xD;&#xA;In general, there are two problems with doing this: the iPod is outputting a headphone-level signal, and might be too loud for the amp, causing distortion and possibly damage if your amp isn't rated to deal with those levels. Secondly, most guitar amps don't just make things louder, they also change the sound significantly, usually with creative use of distortion.&#xD;&#xA;&#xD;&#xA;Many guitar amps, particularly combo-style practice amps, have separate line-level inputs which will accept an iPod or CD player just fine, as they are generally amplified separately from the guitar to avoid distortion.&#xD;&#xA;&#xD;&#xA;--&#xD;&#xA;&#xD;&#xA;So yes, these sorts of things can be combined, but you have to make sure the signals are appropriate. There's more to it than just cabling.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40295" PostHistoryTypeId="2" PostId="23841" RevisionGUID="8f450528-2e92-4e6d-b951-9b7ac8021126" CreationDate="2012-11-05T21:06:59.437" UserDisplayName="Rob Kam" Text="Besides that pro audio equipment is bigger and louder, requires cooling fans, is more rugged, might have different connections, etc.&#xD;&#xA;&#xD;&#xA;What's are the practical difference between consumer audio and pro audio music systems? For example, (with suitable connectors and wiring) can an electric guitar be plugged into a Hi-Fi power-amplifier, maybe via a mixing desk, or an iPod into a guitar practice amp?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40296" PostHistoryTypeId="1" PostId="23841" RevisionGUID="8f450528-2e92-4e6d-b951-9b7ac8021126" CreationDate="2012-11-05T21:06:59.437" UserDisplayName="Rob Kam" Text="What's the difference between consumer and pro audio music equipment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40297" PostHistoryTypeId="3" PostId="23841" RevisionGUID="8f450528-2e92-4e6d-b951-9b7ac8021126" CreationDate="2012-11-05T21:06:59.437" UserDisplayName="Rob Kam" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40298" PostHistoryTypeId="36" PostId="23842" RevisionGUID="7fce00e6-f532-42f2-a5b2-03dbff33aa0c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5260/whats-the-difference-between-consumer-and-pro-audio-music-equipment/5262#5262" />
  <row Id="40299" PostHistoryTypeId="36" PostId="23843" RevisionGUID="8b07f3e5-a0c2-4ec6-8e51-1b9f71e4c3fa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3368/how-do-i-get-a-digital-voice-recorder-to-separate-out-multiple-conversations-tak" />
  <row Id="40300" PostHistoryTypeId="36" PostId="23844" RevisionGUID="550672c6-b0eb-4dde-a2e8-51855f484ef2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3368/how-do-i-get-a-digital-voice-recorder-to-separate-out-multiple-conversations-tak/3369#3369" />
  <row Id="40301" PostHistoryTypeId="2" PostId="23844" RevisionGUID="a07bce3e-7808-40d2-b731-621e5264d026" CreationDate="2012-02-20T02:42:44.033" UserId="7045" Text="While it's possible to do a little bit of this with clever EQ, separating multiple conversations out from each other on the same recording is a non-trivial task: You could spend a lot of time doing it, and your results would still not be very good. &#xD;&#xA;&#xD;&#xA;Some human voices may be higher than others, but they all coexist in more or less the same range. If you had two voices that were vastly different on the same recording, you might be able to do a decent job of making them clearer. But several people all speaking at once can't easily be separated out, or not with ant sort of true separation. &#xD;&#xA;&#xD;&#xA;There are no recorders that, to my knowledge, do this automatically. You'd need to capture each conversation separately on a multitrack recorder to truly have this capability. (Getting one may be within your budget; any modern laptop can handle this, running free multitrack software and an inexpensive USB interface, with a few mics plugged into it.) A multitrack recorder is any recorder that captures several separate streams of audio on parallel tracks of tape (or on a digital file) and plays all the tracks back in sync. " ContentLicense="CC BY-SA 3.0" />
  <row Id="40302" PostHistoryTypeId="2" PostId="23843" RevisionGUID="c68f7af1-62c3-406d-9654-453e7c90df44" CreationDate="2012-02-20T01:31:25.183" UserDisplayName="InquilineKea" Text="When multiple conversations happen at once, the voice recorder can't recapture any individual conversations at all. Is there a way to separate out the two streams? Or are there any digital voice recorders that do it automatically?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40303" PostHistoryTypeId="1" PostId="23843" RevisionGUID="c68f7af1-62c3-406d-9654-453e7c90df44" CreationDate="2012-02-20T01:31:25.183" UserDisplayName="InquilineKea" Text="How do I get a digital voice recorder to separate out multiple conversations taking place in the same setting?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40304" PostHistoryTypeId="3" PostId="23843" RevisionGUID="c68f7af1-62c3-406d-9654-453e7c90df44" CreationDate="2012-02-20T01:31:25.183" UserDisplayName="InquilineKea" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40305" PostHistoryTypeId="36" PostId="23845" RevisionGUID="9e338c69-329b-416e-acd4-3135addbdb57" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/697/amp-mini-jack-pc-mic-port-ok" />
  <row Id="40306" PostHistoryTypeId="2" PostId="23846" RevisionGUID="f5192ced-f5cf-43fe-9d06-73685113ef7f" CreationDate="2011-01-28T03:31:53.700" UserDisplayName="Kim Burgaard" Text="The setup you describe works with most amps and computer microphone/line-in ports. You should be fine unless your bass amp sends out an exotic high voltage signal, or you have a very special input on your computer. Lots of people record and produce music this way and it's a great way to get your feet wet before you decide whether more dedicated equipment is worthwhile.&#xD;&#xA;&#xD;&#xA;If your computer has a microphone port and a line-in port, then try the line-in port first. The microphone port has a pre-amp that is meant for amplifying signals that are much weaker than the signal coming from your bass amp.&#xD;&#xA;&#xD;&#xA;Don't forget to turn down the bass amp headphone out as well as the input gain on the computer before you connect the cables.&#xD;&#xA;&#xD;&#xA;You might experience some noise in your recording (see [here][1] and [here][2]). If that's the case, consider recording with an external audio device. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audio.stackexchange.com/questions/592/what-is-this-incredibly-annoying-noise&#xD;&#xA;  [2]: http://audio.stackexchange.com/questions/261/how-can-i-clean-up-my-laptops-sound-card-input/267#267" ContentLicense="CC BY-SA 2.5" />
  <row Id="40307" PostHistoryTypeId="2" PostId="23845" RevisionGUID="ec91925f-e2dd-4dae-a751-b53ef0ac9248" CreationDate="2011-01-28T00:36:11.580" UserDisplayName="RasmusWriedtLarsen" Text="I have a bass amp with a Jack output for headphones. I bought a **Jack &lt;&gt; Mini-Jack** converter, and a **Mini-Jack &lt;&gt; Mini-Jack** cable.&#xD;&#xA;&#xD;&#xA;I thought that I could just throw these things together, and put the Mini-Jack in my computers port for microphones, but now I'm having my doubts.&#xD;&#xA;&#xD;&#xA;My guess is that the amp will send out power through the headphones cable that is connected to it, while the computer would do an other thing with a microphone cable.. possibly both send and receive.. &#xD;&#xA;&#xD;&#xA;At least I'm worried that I will destroy something if I try and connect everything, so if anyone could shed some light on this, I would greatly appreciate it!" ContentLicense="CC BY-SA 2.5" />
  <row Id="40308" PostHistoryTypeId="1" PostId="23845" RevisionGUID="ec91925f-e2dd-4dae-a751-b53ef0ac9248" CreationDate="2011-01-28T00:36:11.580" UserDisplayName="RasmusWriedtLarsen" Text="AMP &gt; Mini-jack &gt; PC mic port = ok?" ContentLicense="CC BY-SA 2.5" />
  <row Id="40309" PostHistoryTypeId="3" PostId="23845" RevisionGUID="ec91925f-e2dd-4dae-a751-b53ef0ac9248" CreationDate="2011-01-28T00:36:11.580" UserDisplayName="RasmusWriedtLarsen" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40310" PostHistoryTypeId="36" PostId="23846" RevisionGUID="16fee5eb-9d85-4f27-8e37-29eca0edd221" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/697/amp-mini-jack-pc-mic-port-ok/698#698" />
  <row Id="40317" PostHistoryTypeId="36" PostId="23849" RevisionGUID="7baf17e7-231d-4dfc-b828-65436cc51125" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/712/monitoring-multiple-usb-microphones" />
  <row Id="40318" PostHistoryTypeId="2" PostId="23850" RevisionGUID="3d232ff2-1e01-4753-b785-91b2e99a6d07" CreationDate="2011-01-30T04:12:19.413" UserDisplayName="d-_-b" Text="USB was designed as a general purpose bus. Hence, there will always be some latency. The more devices you have connected to the bus, the more problems you will run into. I suppose the only purpose a USB large diaphragm mic would have is for one or two mics during a pod cast. I would never use such a mic in my studio.&#xD;&#xA;&#xD;&#xA;That being said, if you plan on adding more mics to your setup, you will have problems with USB.&#xD;&#xA;&#xD;&#xA;My general advice is to stay away from USB for audio/video/realtime application. USB works well for printers.&#xD;&#xA;&#xD;&#xA;Whether you can do real time monitoring depends on the software/driver included with the mic. Since the mic is USB, obviously you'll be doing the no-latency monitoring via software.&#xD;&#xA;&#xD;&#xA;If the desire to use less gear is related to cost, then there are many things you can do. You can get a small mixer and mics. You can get a multi-channel interface and mics. I don't think either be that expensive.&#xD;&#xA;&#xD;&#xA;If you want to minimize gear because of space, or hassle, then get a multi-channel FW interface and a bunch of mics. 8 channels is quite common these days.&#xD;&#xA;&#xD;&#xA;I've asked some questions as comments to your question. If you give more details, the answer will be clearer." ContentLicense="CC BY-SA 2.5" />
  <row Id="40319" PostHistoryTypeId="2" PostId="23849" RevisionGUID="ed590701-8bf9-40fb-b753-5260c961ed72" CreationDate="2011-01-29T16:24:11.600" UserDisplayName="Tom Miller" Text="I am in the planning stages of producing a podcast consisting 2 or more people in the same room.  I have a large diaphragm USB condenser mic, and another non-USB mic.  At this point, I need to decide which direction to build out the configuration, whether it is using USB mics or non-USB mics.  I would like to minimize the amount of gear necessary to pull this off, which leads me down the USB road...&#xD;&#xA;&#xD;&#xA;My question is this: Is there a way to monitor 2 or more USB microphones live, simultaneously, and with 0-latency?&#xD;&#xA;&#xD;&#xA;Any ideas would be greatly appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="40320" PostHistoryTypeId="1" PostId="23849" RevisionGUID="ed590701-8bf9-40fb-b753-5260c961ed72" CreationDate="2011-01-29T16:24:11.600" UserDisplayName="Tom Miller" Text="Monitoring multiple USB microphones" ContentLicense="CC BY-SA 2.5" />
  <row Id="40321" PostHistoryTypeId="3" PostId="23849" RevisionGUID="ed590701-8bf9-40fb-b753-5260c961ed72" CreationDate="2011-01-29T16:24:11.600" UserDisplayName="Tom Miller" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;live&gt;&lt;monitoring&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40322" PostHistoryTypeId="36" PostId="23850" RevisionGUID="1537453b-ca7f-4e17-86d2-fc3d3581896c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/712/monitoring-multiple-usb-microphones/716#716" />
  <row Id="40323" PostHistoryTypeId="36" PostId="23851" RevisionGUID="86b4f609-7cce-4273-9bb3-b820f1aa9390" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/712/monitoring-multiple-usb-microphones/719#719" />
  <row Id="40324" PostHistoryTypeId="36" PostId="23852" RevisionGUID="38f968f4-4c1d-45e1-9c1c-5d878f28cf6e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/712/monitoring-multiple-usb-microphones/724#724" />
  <row Id="40325" PostHistoryTypeId="36" PostId="23853" RevisionGUID="12f0ddb6-e574-42f3-a250-c3083b18fb5d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/712/monitoring-multiple-usb-microphones/3929#3929" />
  <row Id="40326" PostHistoryTypeId="2" PostId="23851" RevisionGUID="75c645f4-fb42-4ea3-b079-b19a957e7626" CreationDate="2011-01-31T07:36:21.400" UserId="8220" UserDisplayName="notthetup" Text="I agree with Sims that it's highly likely that you'd end up with problems. But, if you still want it give it a try (and I have done it, and why not??.. it's free), here's what you can do. &#xD;&#xA;&#xD;&#xA;You'll need a Mac, as it can aggregate multiple Audio devices. I have tried it with two USB microphones attached to my MacBook and 'aggregated' them as a single 2 channel device, when I then recorded using Audacity (or your favorite recording software).&#xD;&#xA;&#xD;&#xA;Here's how you can [setup aggregate devices][1].  &#xD;&#xA;&#xD;&#xA;If you're on Windows side, there's so simple way to do something like this. I'd recommend then you go for the HW solution with a USB or Firewire mixer.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://support.apple.com/kb/HT3956" ContentLicense="CC BY-SA 2.5" />
  <row Id="40327" PostHistoryTypeId="2" PostId="23852" RevisionGUID="9e0a1971-a340-42f1-81dc-fc7ca86bc2de" CreationDate="2011-01-31T16:48:36.657" UserId="7209" UserDisplayName="Brad" Text="It is best to use regular microphones and a small mixer, which then hooks to a USB or other sound interface to your computer.&#xD;&#xA;&#xD;&#xA;The reason is that USB microphones are simply regular microphones with built-in sound cards.  Even if you set them to sample at 44.1kHz for example, they will drift apart over time, as their clock rates are completely independent.&#xD;&#xA;&#xD;&#xA;As others have said, zero-latency monitoring in this computer configuration isn't possible anyway.  Zero-latency monitoring works with an internal analog mixer.  Any time you are monitoring through a computer, with any interface, there will be latency.  Although these days it is possible to get the latency down to an acceptable amount (&lt;10ms or so).&#xD;&#xA;&#xD;&#xA;If you use a regular analog mixer, you can monitor in your headphones regularly this way while you record.&#xD;&#xA;&#xD;&#xA;If you do choose to attach a couple USB devices to record audio with, use [ASIO4ALL][1].  It will allow you to use multiple sound devices with one ASIO driver, so you can record from them simultaneously.  You may still have clock drift issues, but you will be unlikely to notice them unless you are recording over long periods of time.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.asio4all.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="40328" PostHistoryTypeId="2" PostId="23853" RevisionGUID="9fef3dc3-5139-4e64-8b18-43219aa56175" CreationDate="2012-05-05T18:57:48.810" UserDisplayName="Richard Tasker" Text="You could try a multi-channel USB microphone like the [Microcone][1]. This gives 6 separate audio channels which are highly directional. Not sure it will meet your latency requirements but worth a look.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dev-audio.com/products/microcone/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40329" PostHistoryTypeId="36" PostId="23854" RevisionGUID="48f58197-ff40-4591-8d3a-222c1a7272ba" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8294/why-dont-my-vst-instruments-have-sound-in-cubase" />
  <row Id="40330" PostHistoryTypeId="2" PostId="23854" RevisionGUID="7514f05b-69f1-469f-8f61-fc164bc8aa1b" CreationDate="2013-07-03T04:18:12.237" UserId="7206" UserDisplayName="909 Niklas" Text="My VST instruments lost their sound in cubase. I connected two MIDi interfaces that control the Roland TR909 and the Cyclone 303 bass, they work via MIDI but a) My MIDI keyboard makes no sound and b) VST tracks and VST instruments make no sound. To inspect the matter I've recorded a video with the issue that you may inspect [here][1]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=79COpCaiVUI&amp;feature=youtu.be&#xD;&#xA;  [2]: http://i.stack.imgur.com/r2Pq1.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/c4wv7.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="40331" PostHistoryTypeId="1" PostId="23854" RevisionGUID="7514f05b-69f1-469f-8f61-fc164bc8aa1b" CreationDate="2013-07-03T04:18:12.237" UserId="7206" UserDisplayName="909 Niklas" Text="Why don't my VST instruments have sound in cubase?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40332" PostHistoryTypeId="3" PostId="23854" RevisionGUID="7514f05b-69f1-469f-8f61-fc164bc8aa1b" CreationDate="2013-07-03T04:18:12.237" UserId="7206" UserDisplayName="909 Niklas" Text="&lt;audio&gt;&lt;midi&gt;&lt;vst&gt;&lt;cubase&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40333" PostHistoryTypeId="36" PostId="23855" RevisionGUID="0da76766-622f-4c35-a881-0ff29bb47ba8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9318/how-to-loop-vinyl-records" />
  <row Id="40334" PostHistoryTypeId="2" PostId="23856" RevisionGUID="c118b61c-b825-42fb-8ce0-6a632d6a05d3" CreationDate="2013-11-04T17:54:15.090" UserId="7294" UserDisplayName="Warrior Bob" Text="It's hard to say for sure, but I believe you're right in this case - the tape marker appears to pass underneath the headshell, and there's a pronounced &quot;pop&quot; sound as it does so. I believe the tape is bumping the stylus back into the previous groove, thus creating an endless loop. It's worth mentioning that the artist in this video was using that &quot;loop&quot; as a sound design tool, where the sound of the pop was part of the composition. That is not always desirable in looping, but it's a consequence of how he's done it here.&#xD;&#xA;&#xD;&#xA;It is possible to cut a groove in a record such that the stylus returns back to the same point every revolution. Many records do this at the very end, so record players that do not automatically raise the tonearm (such as the one in the video) will not be damaged - they can just spin indefinitely. However, I'm not aware of many records that have done this anywhere except at the end.&#xD;&#xA;&#xD;&#xA;As a practical matter, many cases of live &quot;vinyl&quot; looping are actually achieved with effects or software. You can sample a phrase playing on a vinyl record and immediately loop it, or you can use timecoded [control vinyl](http://en.wikipedia.org/wiki/Vinyl_emulation_software) to control audio playback in software, with attendant features such as looping and other effects. Both of these techniques are in common use today by DJs, although the latter is more common than the former." ContentLicense="CC BY-SA 3.0" />
  <row Id="40335" PostHistoryTypeId="2" PostId="23855" RevisionGUID="994f871f-2a61-44fa-81f5-898450b42d4e" CreationDate="2013-11-04T17:30:38.387" UserId="7176" Text="In [this video][1] the opening is accompanied by the sound of a looped vinyl. At 9 seconds in you can see the vinyl record with several tape markers.&#xD;&#xA;&#xD;&#xA;How is the looping of the vinyl achieved? Is it because the needle jumps back at a tape marker? Or is it a special needle/arm combination that stays at one position?&#xD;&#xA;How does live, analog vinyl looping work?&#xD;&#xA;&#xD;&#xA;  [1]:https://vimeo.com/78213028" ContentLicense="CC BY-SA 3.0" />
  <row Id="40336" PostHistoryTypeId="1" PostId="23855" RevisionGUID="994f871f-2a61-44fa-81f5-898450b42d4e" CreationDate="2013-11-04T17:30:38.387" UserId="7176" Text="How to loop vinyl records?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40337" PostHistoryTypeId="3" PostId="23855" RevisionGUID="994f871f-2a61-44fa-81f5-898450b42d4e" CreationDate="2013-11-04T17:30:38.387" UserId="7176" Text="&lt;audio&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40338" PostHistoryTypeId="36" PostId="23856" RevisionGUID="38234427-8900-4ce3-99c2-7be25626c5f7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9318/how-to-loop-vinyl-records/9319#9319" />
  <row Id="40339" PostHistoryTypeId="36" PostId="23857" RevisionGUID="ae78682c-46fb-4e87-89c1-6512e1ee45c1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9318/how-to-loop-vinyl-records/9320#9320" />
  <row Id="40340" PostHistoryTypeId="2" PostId="23857" RevisionGUID="26fddb10-feb4-4693-bf3c-e700533f3fc1" CreationDate="2013-11-04T18:19:40.867" UserId="7174" Text="A record works by cutting horizontal grooves in vertical troths that the needle runs through.  These are typically a loop which works from the outside to the inside of the record.  In order to make a loop, either the spiral is replaced with a circle (with the loop lasting as long as the rotation can hold audio, or you can force it by placing tape over part of the record that won't allow the needle to continue down the spiral and forces it to skip back up to the previous ring." ContentLicense="CC BY-SA 3.0" />
  <row Id="40341" PostHistoryTypeId="36" PostId="23858" RevisionGUID="a49388c0-63a5-4950-b235-b5c9845af217" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9975/which-quality-windows-compatible-daw" />
  <row Id="40342" PostHistoryTypeId="36" PostId="23859" RevisionGUID="d5935473-a247-4b5c-9a84-265dfd9efb4a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9975/which-quality-windows-compatible-daw/9979#9979" />
  <row Id="40343" PostHistoryTypeId="2" PostId="23859" RevisionGUID="30e9bbf4-a73b-42fb-8db8-5e57c61fe245" CreationDate="2014-01-20T18:01:29.970" UserId="7542" UserDisplayName="Don Nickel" Text="As far as I know, Pro-tools is the only thing that can use Pro-Tools plug-ins. Almost all DAWs (with exception to Reason) use VSTs.&#xD;&#xA;&#xD;&#xA;Most of the availible DAWs are good, it really depends on your workflow, so I would take note of that and start there.&#xD;&#xA;&#xD;&#xA;Generally, they don't like software request questions on stack exchange, because the answers will usually be quite subjective." ContentLicense="CC BY-SA 3.0" />
  <row Id="40344" PostHistoryTypeId="2" PostId="23858" RevisionGUID="1754a9b4-ba3a-470f-ba4f-ea1edb6d16ec" CreationDate="2014-01-20T15:41:39.617" UserId="18012" UserDisplayName="Laurence Hipkiss" Text="I have a small project studio and for my, mainly small scale singer songwriter acoustic, projects I use an Intel Mac coupled to an RME FireFace in the studio. I run Logic Studio on that machine. &#xD;&#xA;&#xD;&#xA;I am creating another small set-up away from the main studio using a Carillon built, i5 64bit Windows7  PC. I have a Focusright Forte linked to that PC but at the moment no DAW.&#xD;&#xA;&#xD;&#xA;I work in the folk music singer songwriter field and my requirements are just not big enough to warrant a full blown Pro-Tools set up. However I do want software quality and access pro plug ins.&#xD;&#xA;&#xD;&#xA;Your views and thoughts would be appreciated...&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Lozz" ContentLicense="CC BY-SA 3.0" />
  <row Id="40345" PostHistoryTypeId="1" PostId="23858" RevisionGUID="1754a9b4-ba3a-470f-ba4f-ea1edb6d16ec" CreationDate="2014-01-20T15:41:39.617" UserId="18012" UserDisplayName="Laurence Hipkiss" Text="Which quality Windows compatible DAW?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40346" PostHistoryTypeId="3" PostId="23858" RevisionGUID="1754a9b4-ba3a-470f-ba4f-ea1edb6d16ec" CreationDate="2014-01-20T15:41:39.617" UserId="18012" UserDisplayName="Laurence Hipkiss" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40347" PostHistoryTypeId="36" PostId="23860" RevisionGUID="5f367bf9-e434-45da-b5af-5522bdf5eea9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1714/imitating-a-phone-call" />
  <row Id="40348" PostHistoryTypeId="2" PostId="23861" RevisionGUID="e5096282-52b5-4f38-8b3e-5a32871211cc" CreationDate="2011-07-06T02:02:54.177" UserDisplayName="Sidnicious" Text="Downsampling it to 8KHz will get you most of the way toward that telephone sound.&#xD;&#xA;&#xD;&#xA;[**Here’s a demo.**][1]&#xD;&#xA;&#xD;&#xA;Then, to get even closer, use a band pass filter to knock out everything below about 500Hz and above 2000Hz (you can find an example of using Audacity’s equalizer to do this [here][2]).&#xD;&#xA;&#xD;&#xA;[**Here’s a demo with the full effect.**][3] (Same recording, I didn’t feel like making a second, more-descriptive one. :-) )&#xD;&#xA;&#xD;&#xA;(For whatever reason, my copy of Chrome glitches a bit while playing these back. Not sure why. Other programs handle them fine.)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://external.sidneysm.com/8khz-demo.mp3&#xD;&#xA;  [2]: http://forum.audacityteam.org/viewtopic.php?f=28&amp;t=5081&#xD;&#xA;  [3]: http://external.sidneysm.com/telephone-demo.mp3" ContentLicense="CC BY-SA 3.0" />
  <row Id="40349" PostHistoryTypeId="2" PostId="23860" RevisionGUID="e30dc8dd-8a51-4eee-ae16-015dab909334" CreationDate="2011-07-06T01:16:28.833" UserDisplayName="johnny1bucket" Text="I was wondering if there was an easy way to do a voice over of a phone call with it actually sounding like someone on the phone instead of just a voice over?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40350" PostHistoryTypeId="1" PostId="23860" RevisionGUID="e30dc8dd-8a51-4eee-ae16-015dab909334" CreationDate="2011-07-06T01:16:28.833" UserDisplayName="johnny1bucket" Text="Imitating a phone call?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40351" PostHistoryTypeId="3" PostId="23860" RevisionGUID="e30dc8dd-8a51-4eee-ae16-015dab909334" CreationDate="2011-07-06T01:16:28.833" UserDisplayName="johnny1bucket" Text="&lt;effects&gt;&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40352" PostHistoryTypeId="36" PostId="23861" RevisionGUID="c447dac0-a434-44c0-a462-141dd7b20d22" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1714/imitating-a-phone-call/1716#1716" />
  <row Id="40353" PostHistoryTypeId="36" PostId="23862" RevisionGUID="c0ab97d9-524c-4f25-a2aa-656657763e99" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/584/vocal-mic-placement-setup-and-technique" />
  <row Id="40354" PostHistoryTypeId="36" PostId="23863" RevisionGUID="32a33f4f-9d72-4949-898c-9c3fdb18b1a1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/584/vocal-mic-placement-setup-and-technique/586#586" />
  <row Id="40355" PostHistoryTypeId="2" PostId="23863" RevisionGUID="13763f12-392e-4029-ab50-af4fe8243a43" CreationDate="2011-01-13T21:38:23.323" UserDisplayName="Bill Gribble" Text="I think some combination of the following will help:&#xD;&#xA;&#xD;&#xA; - **Work the mic.**  The closer to the mic, the louder the signal, obviously, but also use the [proximity effect][1] to your advantage.  Years of listening to recordings have attuned us that the bass boost when the singer eats the mic means &quot;intimacy&quot;. &#xD;&#xA;&#xD;&#xA; - **Use a compressor.**  &quot;Keeping the loud parts and the quiet parts closer together&quot; is practically the compressor's job description.  Careful compressor usage is not something you can &quot;hear&quot;, it just makes the quiet parts stand up a little. &#xD;&#xA;&#xD;&#xA;On positioning... the main thing is that you want to point it at your face when your head and neck are in a comfortable position for singing, and you don't move your head around unless you intend to.  If it's more than 12 inches away your room better sound good because you're going to hear it. &#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Proximity_effect_(audio)" ContentLicense="CC BY-SA 2.5" />
  <row Id="40356" PostHistoryTypeId="2" PostId="23862" RevisionGUID="6e694c22-d413-49fe-95b5-e8db40d2c86b" CreationDate="2011-01-13T20:10:35.237" UserDisplayName="Micah" Text="I have [AT4050][1] for my home studio that I'm using as a vocal mic. I have a rather powerful voice (not a screamer, just tend to be loud) and I'm trying to figure out the best way to position mic (distance, angle, etc), what pattern to use, and any tips on how to get the quiter parts of the song to standout without peaking out on the louder parts of the song.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audio-technica.com/cms/wired_mics/0380b2cd58766334/index.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="40357" PostHistoryTypeId="1" PostId="23862" RevisionGUID="6e694c22-d413-49fe-95b5-e8db40d2c86b" CreationDate="2011-01-13T20:10:35.237" UserDisplayName="Micah" Text="Vocal mic placement, setup, and technique" ContentLicense="CC BY-SA 2.5" />
  <row Id="40358" PostHistoryTypeId="3" PostId="23862" RevisionGUID="6e694c22-d413-49fe-95b5-e8db40d2c86b" CreationDate="2011-01-13T20:10:35.237" UserDisplayName="Micah" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40359" PostHistoryTypeId="36" PostId="23864" RevisionGUID="87fcacee-d111-4788-aa50-e4ae4d68935f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8704/streaming-pure-audio-without-video-with-iis-smooth-streaming" />
  <row Id="40360" PostHistoryTypeId="2" PostId="23865" RevisionGUID="dfbf0656-3293-4c81-9301-4f554065f712" CreationDate="2013-08-14T02:08:41.660" UserId="7174" Text="I don't believe there is a way to do what you are looking for mostly because there isn't much of a practical reason for it.  Pretty much any reasonably modern connection is going to handle streaming audio without buffering, so running multiple bitrates and trying to switch between them on the fly shouldn't be necessary.  Also, changing from stereo to mono as bandwidth changes would likely have a negative impact on the overall listening experience.&#xD;&#xA;&#xD;&#xA;Due to the extremely limited to non-existent need for such bandwidth scaling technology on audio only feeds, I'm not aware of any format or streaming server that supports this.  That isn't to say there might not be one, but none of the major media servers I know of bother.  128Kbps is only a little over twice the speed of an old 56k modem.  Even the most basic of DSL and cellular data connections exceed that.&#xD;&#xA;&#xD;&#xA;Adaptive Bitrate Streaming is the term you are looking for if you want to do more digging to see if you can find something that does it for audio only that I have missed." ContentLicense="CC BY-SA 3.0" />
  <row Id="40361" PostHistoryTypeId="2" PostId="23864" RevisionGUID="7e1c99ce-c109-44a5-8421-64fd844137d8" CreationDate="2013-08-13T19:48:38.967" UserId="7228" UserDisplayName="Louis Somers" Text="Is it possible to use [IIS Smooth Streaming][1] for audio without any Video? If so, how do I encode it?&#xD;&#xA;&#xD;&#xA;I downloaded [Expression Encoder 4][2], but I can't get it to encode to audio. It's converting my audio files into video streams. I'd like it to have multiple bandwidths from 128Kbps stereo down to 16kbps mono and have it adapt the stream to the bandwidth, just like the video streams.&#xD;&#xA;&#xD;&#xA;Is that possible with IIS Smooth Streaming, and do I encode with Expression Encoder or should I prepare the content differently?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.iis.net/media/experiencesmoothstreaming&#xD;&#xA;  [2]: http://www.microsoft.com/en-us/download/details.aspx?id=24601" ContentLicense="CC BY-SA 3.0" />
  <row Id="40362" PostHistoryTypeId="1" PostId="23864" RevisionGUID="7e1c99ce-c109-44a5-8421-64fd844137d8" CreationDate="2013-08-13T19:48:38.967" UserId="7228" UserDisplayName="Louis Somers" Text="Streaming pure Audio without Video with IIS smooth streaming?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40363" PostHistoryTypeId="3" PostId="23864" RevisionGUID="7e1c99ce-c109-44a5-8421-64fd844137d8" CreationDate="2013-08-13T19:48:38.967" UserId="7228" UserDisplayName="Louis Somers" Text="&lt;audio&gt;&lt;stereo&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40364" PostHistoryTypeId="36" PostId="23865" RevisionGUID="ec150945-c71c-4ec6-830d-bfb686e776b8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8704/streaming-pure-audio-without-video-with-iis-smooth-streaming/8706#8706" />
  <row Id="40365" PostHistoryTypeId="36" PostId="23866" RevisionGUID="4e6de509-83e3-4f88-87f2-38c284fbd437" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8913/increased-headroom-vs-resolution-with-24bit-audio-recording" />
  <row Id="40366" PostHistoryTypeId="36" PostId="23867" RevisionGUID="acc2ff6a-c467-4e4b-9fee-04ef38b6e503" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8913/increased-headroom-vs-resolution-with-24bit-audio-recording/8914#8914" />
  <row Id="40367" PostHistoryTypeId="36" PostId="23868" RevisionGUID="80b35df3-1eeb-4ddc-8da1-1b97bbae07b5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8913/increased-headroom-vs-resolution-with-24bit-audio-recording/8915#8915" />
  <row Id="40368" PostHistoryTypeId="36" PostId="23869" RevisionGUID="bc0ad47b-302b-4a3c-82ab-9b678d982b0d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8913/increased-headroom-vs-resolution-with-24bit-audio-recording/8956#8956" />
  <row Id="40369" PostHistoryTypeId="36" PostId="23870" RevisionGUID="ca716631-f233-4bf7-8ffe-1927891a42e2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8913/increased-headroom-vs-resolution-with-24bit-audio-recording/8962#8962" />
  <row Id="40370" PostHistoryTypeId="2" PostId="23867" RevisionGUID="9db72eed-20af-463e-a2fe-d5f8b9668ccf" CreationDate="2013-09-08T22:12:34.440" UserId="7405" UserDisplayName="Andy aka" Text="The only error in your question is this as far as I can tell: -&#xD;&#xA;&#xD;&#xA;&gt; What I found surprising was the fact that moving to a 24bit recording&#xD;&#xA;&gt; process doesn't result in a higher resolution per sample, but rather a&#xD;&#xA;&gt; wider dynamic range.&#xD;&#xA;&#xD;&#xA;In fact 24 bits provides more resolution in the same analogue voltage range AND this means more dynamic range.&#xD;&#xA;&#xD;&#xA;Yes, a 24bit device probably works on the same range of voltages but consider a song that is being mixed....&#xD;&#xA;&#xD;&#xA;Maybe there are 16 channels of audio comprising the mix; each one is a different instrument and, when played together, at some point in the &quot;mix&quot; the peak signal is reached i.e. it's just on the verge of clipping. No problem so far I hope?&#xD;&#xA;&#xD;&#xA;Each of the 16 individual tracks cannot be the same amplitude as the &quot;mixed&quot; track and you could say the amplitude of each individual track was 16 times smaller in amplitude and, if this was a 16-bit digital mixer, each individual track would be only utilizing the lower 12 bits (ensuring keep the &quot;mix&quot; remains within 16 bits).&#xD;&#xA;&#xD;&#xA;Because of this, an individual track has quite a poor resolution (12 bit) and will be a little grainy but, with a 24 bit system, each track would be able to be defined within 20 bits and therefore much better than a rendered CD (16 bits)." ContentLicense="CC BY-SA 3.0" />
  <row Id="40371" PostHistoryTypeId="2" PostId="23868" RevisionGUID="781996b1-cd89-49fd-a9f9-00688d135124" CreationDate="2013-09-09T02:46:26.927" UserId="7174" Text="First, I'd like to take a moment to point out that that article only argues that 24bit sampling is useless for end user playback.  I'm also not 100% convinced by the article personally, but that's neither here nor there.&#xD;&#xA;&#xD;&#xA;As for the dynamic range, yes, the 24 bits expands the dynamic range in the same way that it does for a camera.  For both audio and cameras the extra bits go to both expanding the absolute range and also to make more values between those absolutes.  It can cover both a wider set of signal levels as well as more detail in the signal.  (If you think about it, this is kind of obvious as an increase in 8 bits would be 256 times louder if the same scale was maintained and that is uselessly loud.  In fact, 1 bit more would be more than we could use in that case.)  &#xD;&#xA;&#xD;&#xA;The reason that the article argues that it isn't useful is that the extra resolution is below the limit of what the ear can distinguish.  This is similar to the foolishness of the DPI wars in the smartphone industry since beyond a certain point, the eye can't physically resolve the resolution that is being displayed.&#xD;&#xA;&#xD;&#xA;So for purposes of recording, where algorithms CAN work on the extra resolution, it is worth storing in 24bit, but when it comes to final mixed down audio, the article argues it won't add much since people won't be able to tell the difference." ContentLicense="CC BY-SA 3.0" />
  <row Id="40372" PostHistoryTypeId="2" PostId="23869" RevisionGUID="9cf487d6-18cd-4fd0-8093-f18f1431c7a1" CreationDate="2013-09-13T01:03:35.107" UserId="7194" Text="#All Digital Audio Articles are Flawed.&#xD;&#xA;&#xD;&#xA;&gt; I've been doing a bit of reading on 16bit vs 24bit audio and came across this article that claims 24bit/192kHz playback is basically pointless (but, that's not what I'm hear to discuss).&#xD;&#xA;&#xD;&#xA;There is endless online debates on virtually all aspects of digital audio, and articles as the one you have cited are common triggers.&#xD;&#xA;&#xD;&#xA;The reason is that all these articles are flawed and incomplete. There are 3 reasons for this:&#xD;&#xA;&#xD;&#xA; - **Digital audio theory is complex** - I've been teaching digital audio for years, and can assert that it takes about 60 frontal hours of teaching to only cover the topic on a fundamental level. Authors of articles can not provide such vast amount of information, thus the explanations are always incomplete.&#xD;&#xA; - **Authors are often biased and pointing** - Most authors try to argue a certain thing, but they choose not to show the cases which will object their arguments. Authors can guard their argument by carefully picking terms, so the argument itself is reasonable and logical. But you can easily be misled to believe A also means B, but B was never actually mentioned. For instance, it may justified to say that it is pointless recording at 192kHz, but only if the audio is never to be processed in the digital domain (there are benefits processing at higher sample rates and higher bit depths). The point is that &quot;recording&quot; does not mean &quot;processing&quot;, so the statement &quot;it is pointless to record at 192kHz&quot; is reasonable, but it still doesn't mean there are no benefits in doing that.&#xD;&#xA; - **There's an undetermined gap between theory and practice** - People's opinion is often subdivided on the theoretical and practical levels. The theorists will claim that any issue, audible or not should be accounted for; The practical ones claim that issues should only be accounted for if audible and distinguishable. The problem is that whether or not issues will be audible depends on countless variables that change on a case basis - so whether or not 16 bit will be audibly distinguishable from 24 bit depends on the signal being processed, amount and nature of the processing, the monitoring setup, to name a few. So it's anyone's guess really.&#xD;&#xA;&#xD;&#xA;#Resolution in Digital Audio&#xD;&#xA;&#xD;&#xA;&gt; What I found surprising was the fact that moving to a 24bit recording process doesn't result in a higher resolution per sample, but rather a wider dynamic range.&#xD;&#xA;&#xD;&#xA;The term `resolution` is nearly always misused in the context of digital audio. Digital audio books use the term to describe &quot;the amount of information&quot; we have on something. This may apply to the resolution of frequency spectrum analysis, which can be done at lower or higher resolutions.&#xD;&#xA;&#xD;&#xA;But if applied directly to digital audio, the word means &quot;the amount of information we have on the signal&quot;. In that context, it is perfectly correct to say (from [The Scientist and Engineer's Guide to Digital Signal Processing](http://www.amazon.co.uk/Scientist-Engineers-Digital-Signal-Processing/dp/0966017633/ref=sr_1_2?s=books&amp;ie=UTF8&amp;qid=1379034452&amp;sr=1-2&amp;keywords=the+scientist+and+engineer%27s+guide+to+digital+signal+processing)):&#xD;&#xA;&#xD;&#xA;&gt; &quot;An analog signal formed from frequencies between 0Hz and 10 kHz will have exactly the same resolution as a digital signal sampled at 20 kHz.&quot;&#xD;&#xA;&#xD;&#xA;Perhaps surprisingly, sampling theory does not account for dynamic range - the theory states that as long as a signal is sampled at equal intervals at least twice as fast from the highest frequency present, the signal representation is perfect and complete - that is, we have all the information we need to recreate the signal.&#xD;&#xA;&#xD;&#xA;But what about dynamic range you may ask? By the sampling theorem, digital audio has infinite sampling range. However, the practice of rounding (quantising) continuous analogue voltage to discrete digital values yields an error, and this error translates to noise, and this noise determines the signal to noise ratio of the system, which most people consider the dynamic range of the system (which is not perfectly correct as depending on the frequency content we can hear sounds below the noise floor; it depends whether you define dynamic range as physical or perceptual phenomenon).&#xD;&#xA;&#xD;&#xA;Now could you say that a digital audio with a higher bit depth has more resolution? It is certainly tempting, but here is the catch:&#xD;&#xA;&#xD;&#xA;&gt; A 1 bit ADC at very high sample rates will yield a higher Signal-to-Noise ratio (thus dynamic range) than 24 bit ADC at very low sample rates.&#xD;&#xA;&#xD;&#xA;In fact, nearly all modern ADCs are built with 1-bit Delta Sigma converters in them. Whether you choose 16 or 24 bits, and whether you choose 44.1 or 192kHz, the converters first sample with 1 bit at high sample rates, only then convert it to your choice of format.&#xD;&#xA;&#xD;&#xA;So what is `resolution` really? Nika Aldrich brilliantly explains it in his book [Digital Audio Explain for The Audio Engineer](http://www.amazon.co.uk/Digital-Audio-Explained-Engineer/dp/141960001X/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1379031330&amp;sr=1-1&amp;keywords=digital+audio+explained):&#xD;&#xA;&#xD;&#xA;&gt; Until now the term &quot;resolution&quot; has not been used in conjunction with bit depth of digital recordings in the book... The term &quot;resolution&quot; implies a subjective measure of quality... There are, however, only four characteristics of a waveform.. &quot;Resolution&quot; is not one of them.&#xD;&#xA;&#xD;&#xA;#Digital Audio is not Digital Photography&#xD;&#xA;&#xD;&#xA;&gt;I would have assumed this to work in a similar way as digital images.&#xD;&#xA;&#xD;&#xA;The analogy between the two is intuitive, in fact it would be weird if people didn't make it. But digital audio and photography are not the same, not in the core at least. In fact, the analogy to camera sensors is a prime reason to why people fail to grasp digital audio.&#xD;&#xA;&#xD;&#xA;Digital sensors involve 1 sample (of varying intervals) of a matrix of pixels - otherwise, one sample with many measurements. Digital audio involves many samples of equal intervals *over time*, each made of a single measurement. The process is not the same.&#xD;&#xA;&#xD;&#xA;Resolution in digital photography equates the number of pixels per image. But higher resolution (more pixels) in digital images does not necessarily mean higher quality - higher resolution sensors mean the matrix is made of smaller pixel sensor, so less photons hit each pixel sensor, which yields more noise. This is what Apple is trying to convince people:&#xD;&#xA;&#xD;&#xA;![A photo of Apple's keynote saying &quot;Bigger Pixels = Better Picture&quot;][1]&#xD;&#xA;&#xD;&#xA;Digital audio does not conform to the same principles. More bits to describe a sample simply mean less rounding, so less noise. But this is not the same as the noise we talk about with photography.&#xD;&#xA;&#xD;&#xA;You are correct making the comparison between colour depth (8 or 16 bit per channel), to bit depth in audio. But neither noise or resolution is part of this.&#xD;&#xA;&#xD;&#xA;#Dynamic Range in Digital Audio&#xD;&#xA;&#xD;&#xA;To begin with, all ADCs are calibrated to a specific window of input voltage. For simplicity, lets consider the range to be -1V to +1V. Regardless of the sampling bit depth (24 bit, 16 bit, or 1 bit - which is what is actually used internally) the voltage measurements are always taken for the same voltage range.&#xD;&#xA;&#xD;&#xA;Now imagine you have to map 1 bit into this range. You have two step (quantas) - `0` and `1`. It would be sensible to put these at -0.5V (`0`) and +0.5V (`1`).&#xD;&#xA;&#xD;&#xA;Now if you pick arbitrary input values and round them to the nearest step, you'll see the error will never be higher than 0.5V. For instance, an input of +1V will be rounded to +0.5V. This rounding generates noise, and the noise highest peak can be at +0.5V (the maximum rounding error).&#xD;&#xA;&#xD;&#xA;If we now use 2 bit sampling, we get four quantisation steps: -0.75V (`0`), -0.25V (`1`), +0.25V (`2`), +0.75V (`3`).&#xD;&#xA;&#xD;&#xA;This time the maximum rounding error is 0.25V, so the quantisation noise highest peak will be at 0.25V - half of that with 1 bit conversion.&#xD;&#xA;&#xD;&#xA;So every time you add a bit, the quantisation noise level halves.&#xD;&#xA;&#xD;&#xA;As previously explained, we consider the signal to noise ratio as the dynamic range of the system.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Rq0D7.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="40373" PostHistoryTypeId="2" PostId="23870" RevisionGUID="8588fa86-cb4a-466c-a8cf-21673925c1fc" CreationDate="2013-09-13T04:44:59.860" UserId="8159" UserDisplayName="Jamil" Text="The sample rate has nothing to do with the bit depth. It's true, you allow for more precise measurements with a higher bit depth. If your synthesizer is outputting 16-bit digital audio, then a 24-bit processor will essentially leave it at 16-bit, but if you do any processing to the audio itself in 24-bit, the end result will be more accurate at 24-bit resolution.&#xD;&#xA;&#xD;&#xA;More bits = more bit depth, as you mentioned. It's really the accuracy, although 8-bit vs. 16-bit is a rather large difference perception-wise." ContentLicense="CC BY-SA 3.0" />
  <row Id="40374" PostHistoryTypeId="2" PostId="23866" RevisionGUID="a274c54b-a739-42c3-b1ae-007fb345fdce" CreationDate="2013-09-08T21:29:18.127" UserDisplayName="Pak" Text="I've been doing a bit of reading on 16bit vs 24bit audio and came across [this](http://xiph.org/~xiphmont/demo/neil-young.html) article that claims 24bit/192kHz playback is basically pointless (but, that's not what I'm hear to discuss).&#xD;&#xA;&#xD;&#xA;What I found surprising was the fact that moving to a 24bit recording process doesn't result in a higher resolution per sample, but rather a wider dynamic range.&#xD;&#xA;&#xD;&#xA;I would have assumed this to work in a similar way as digital images.  If you are using 8 bits per channel and look at the red channel, a value of 0 corresponds to black and 255 corresponds to the reddest of the reds.  If you increase this to 16 bits, you don't get a redder red than what you had with 8 bits.  Instead, a value of 65535 now corresponds to the reddest red and you can represent more shades of red between black (0) and red (65535).&#xD;&#xA;&#xD;&#xA;Back to audio: Let's say you have an analog signal of a sine wave coming out of a preamp and into a 16bit ADC and the peak of this signal corresponds to a value of 65535.  If you now swap out the ADC with a 24bit one, wouldn't the peaks of same signal now correspond to 16 million something?  I understand with the extra bits that we can now represent a much quieter signal (relative to our original signal) and I guess this kind of explains the wider dynamic range thing.  But, aren't we still representing the same range of input voltages?&#xD;&#xA;&#xD;&#xA;I'm clearly missing something and would appreciate some enlightenment." ContentLicense="CC BY-SA 3.0" />
  <row Id="40375" PostHistoryTypeId="1" PostId="23866" RevisionGUID="a274c54b-a739-42c3-b1ae-007fb345fdce" CreationDate="2013-09-08T21:29:18.127" UserDisplayName="Pak" Text="Increased headroom vs resolution with 24bit audio recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="40376" PostHistoryTypeId="3" PostId="23866" RevisionGUID="a274c54b-a739-42c3-b1ae-007fb345fdce" CreationDate="2013-09-08T21:29:18.127" UserDisplayName="Pak" Text="&lt;audio-recording&gt;&lt;bit-depth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40377" PostHistoryTypeId="36" PostId="23871" RevisionGUID="5ec68477-9685-4305-9998-7c6b27a67150" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3288/voiceover-drowns-in-music-how-do-i-make-it-more-dominant" />
  <row Id="40378" PostHistoryTypeId="2" PostId="23872" RevisionGUID="78b66bac-82a3-44aa-97f6-5f58f3dedb88" CreationDate="2012-02-13T20:25:22.447" UserId="7210" UserDisplayName="Friend of Kim" Text="Just add a compressor on your voice-over. Set the ratio to 2:1. Set a middle long release and a bit faster attack. (Or auto if you have it.) Then you lower the threshold until it gets better. Just play with the ratio and threshold until you get it right.&#xD;&#xA;&#xD;&#xA;What the compressor does is that if the audio gets over the threshold in volume it will wait the number of milliseconds you set as the attack. Then it will increase 1 dB per 2 dB the audio really increases. This is the ratio. 2:1 is this: If the audio increases 4 dB, the output will be 2 dB increasment.&#xD;&#xA;&#xD;&#xA;When the level dips below the threshold it will turn off the compressing (the 2:1) after the selected milliseconds in release. This will turn down your volume, thus allowing you to turn up everything. Therefore everything will be louder, instead of like it is before the compressor: Not loud, with loud peaks. The compressor reduces the peaks, so you can increase the volume to get the overall volume up.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;Since the compressor turns everything down you can increase the output gain to turn the volume back up.&#xD;&#xA;&#xD;&#xA;The soft knee turns the compressor on gradually, the more knee the more soft in the beginning. It's like this: If you have ratio to 2:1 and threshold of -10.&#xD;&#xA;&#xD;&#xA;    Without knee (in consept):&#xD;&#xA;    -10: -10&#xD;&#xA;    -8: -9&#xD;&#xA;    -5: -7.5&#xD;&#xA;    -2: -6&#xD;&#xA;    -1: -5.5&#xD;&#xA;    &#xD;&#xA;    With knee (in consept):&#xD;&#xA;    -10: -10&#xD;&#xA;    -8: -9.5&#xD;&#xA;    -5: -8&#xD;&#xA;    -2: -6&#xD;&#xA;    -1: -5.5&#xD;&#xA;&#xD;&#xA;The gate threshold is the minimum volume the audio got to have to go through the compressor. A gate is simply a expander (see below) with attack = 0 ms, release = 0 ms and ratio = 999999999:1.&#xD;&#xA;&#xD;&#xA;Oh, I see that you have set up the expander! The compressor ratio turns the volume down if it gets over the threshold, the expander ratio turns the volume down if it gets BELOW the threshold. Thus making the sound twice as low if it is below the threshold, as you have set it up now. Set it to 0, because you don't want to reduce what's below the threshold, because you want to reduce what't over the threshold to turn UP what's below it, not DOWN.&#xD;&#xA;&#xD;&#xA;The graph tells you how the audio will be affected by the compressor. The x-axis (the horizontal) tells you the input, and the y-axis (the vertical) tells you the output level." ContentLicense="CC BY-SA 3.0" />
  <row Id="40379" PostHistoryTypeId="2" PostId="23871" RevisionGUID="5b765f4b-58d1-4335-a3eb-e5820e0f7d2c" CreationDate="2012-02-13T19:22:58.037" UserId="19700" UserDisplayName="Pieter" Text="Total newbie here, not sure if this is the right place to post this. I'm trying to record some station IDs for an online radio station thingamajig I'm doing. I'm using a Samson C03U. My voiceovers sound okay when isolated.&#xD;&#xA;&#xD;&#xA;However, I've noticed that my voice sounds very quiet when played over music, even when I lower the volume of the music and raise that of my voice. I've made sure to record my voice at the highest possible volume without generating peaks and to stay close to the microphone. The waveform doesn't look odd to my untrained eye.&#xD;&#xA;&#xD;&#xA;I've found [these](http://avp.stackexchange.com/questions/1178/why-do-my-vocal-recordings-sound-thin-and-muffled) [related](http://avp.stackexchange.com/questions/3162/voice-recording-for-radio-what-effects-are-used) threads on the matter, but I'm wondering specifically if there are any audio FX plugins for Sonar I can run my voice through to help me achieve better results.&#xD;&#xA;&#xD;&#xA;As I said, I'm a total newbie so I don't know anything about compression and all that jazz. I find it hard to wrap my head around abstract sound theory without *hearing* how certain effects affect input. Until now I've just been trying out stuff and seeing what sticks.&#xD;&#xA;&#xD;&#xA;My microphone has a bunch of recording modes but I don't know if they're relevant to what I want to do. The theoretical explanation in the manual isn't doing it for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="40380" PostHistoryTypeId="1" PostId="23871" RevisionGUID="5b765f4b-58d1-4335-a3eb-e5820e0f7d2c" CreationDate="2012-02-13T19:22:58.037" UserId="19700" UserDisplayName="Pieter" Text="Voiceover drowns in music. How do I make it more dominant?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40381" PostHistoryTypeId="3" PostId="23871" RevisionGUID="5b765f4b-58d1-4335-a3eb-e5820e0f7d2c" CreationDate="2012-02-13T19:22:58.037" UserId="19700" UserDisplayName="Pieter" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;software&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40382" PostHistoryTypeId="36" PostId="23872" RevisionGUID="18cc2baf-d917-44d3-a47d-de56c6aa330b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3288/voiceover-drowns-in-music-how-do-i-make-it-more-dominant/3291#3291" />
  <row Id="40383" PostHistoryTypeId="36" PostId="23873" RevisionGUID="8e3c5926-596c-44ea-8419-a6f804a75fe9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3288/voiceover-drowns-in-music-how-do-i-make-it-more-dominant/3292#3292" />
  <row Id="40384" PostHistoryTypeId="36" PostId="23874" RevisionGUID="a19fedf2-c79e-484b-8eec-31206bdd52c2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3288/voiceover-drowns-in-music-how-do-i-make-it-more-dominant/3303#3303" />
  <row Id="40385" PostHistoryTypeId="36" PostId="23875" RevisionGUID="de61b7c9-d10e-455d-992b-9c504e8cb8fc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3288/voiceover-drowns-in-music-how-do-i-make-it-more-dominant/3304#3304" />
  <row Id="40386" PostHistoryTypeId="36" PostId="23876" RevisionGUID="9727e5d6-93f4-483c-9bbc-40664874f508" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3288/voiceover-drowns-in-music-how-do-i-make-it-more-dominant/4484#4484" />
  <row Id="40387" PostHistoryTypeId="2" PostId="23874" RevisionGUID="84d78c8f-962a-4275-91a8-4c7d3656fe0b" CreationDate="2012-02-14T17:47:12.943" UserId="7298" UserDisplayName="Liudvikas Bukys" Text="In addition to the fine suggestion from 50ndr33 to compress your voice channel, you might also set up your compressor to use a side channel: use your voice channel as a trigger to compress everything including the music.  This will cause the music to &quot;duck&quot; when you speak." ContentLicense="CC BY-SA 3.0" />
  <row Id="40388" PostHistoryTypeId="2" PostId="23875" RevisionGUID="ffe3296b-93e5-4f13-85d0-3d33a329b9b7" CreationDate="2012-02-14T19:02:40.090" UserId="2506" Text="A lot's been said about compression but nothing's been said about **intelligibility**. If you're producing VOs, trails, bumpers, idents or jingles with vocals over a bed, EQ is also your friend here. If you critically listen to professional productions, they often lowpass AND highpass music under speech in addition to heavily compressing and EQing the vocals. Here's how I'd produce a jingle with music:&#xD;&#xA;&#xD;&#xA;on the music:&#xD;&#xA;&#xD;&#xA;&lt;ol&gt;&#xD;&#xA;&lt;li&gt;compress at a high ratio (start at 5:1 and consider anything up to or over 10:1)&lt;/li&gt;&#xD;&#xA;&lt;li&gt;lowpass the bed at ~15 kHz and highpass at ~200 Hz&lt;/li&gt;&#xD;&#xA;&lt;li&gt;take some of the high end (10 khz+) out of the music and also notch out a little at 1, 2 and 5 kHz&lt;/li&gt;&#xD;&#xA;&lt;br /&gt;&#xD;&#xA;...and on the vocals:&#xD;&#xA;&lt;br /&gt;&#xD;&#xA;&lt;br /&gt;&#xD;&#xA;&lt;li&gt;add an exciter to the vocals and adjust to taste (basically adds some 'shimmer' in the high frequencies, the smallest amount of short-tail reverb and likely also some gentle mid-side compression to subtly widen the stereo image&lt;/li&gt;&#xD;&#xA;&lt;ul&gt;&lt;li&gt;If you want to do it the manual way, sculpt the EQ - fill in the gaps you made in the music, so 1, 2 and 5 kHz (area of greatest intelligibility in human speech to begin with) and also crank the frequencies above 10 kHz and below 150 Hz.&lt;/li&gt;&lt;/ul&gt;&#xD;&#xA;&lt;li&gt;compress the vocals at a high ration (&gt;=5:1, &lt;=10:1) with moderate attack, sustain and release to bring up the level and iron out transients and peaky phrases&lt;/li&gt;&#xD;&#xA;&lt;li&gt;set the master buss compressor so it 'pumps' nicely; the audio rides at a consistent level until the vocal, at a much higher level, makes the compressor duck the level of the mixed signals whilst keeping the main output level the same.&lt;/li&gt;&#xD;&#xA;&lt;/ol&gt;&#xD;&#xA;&#xD;&#xA;You could even slap a multiband compressor on the output instead if you want to further sculpt the response in frequency bands.&#xD;&#xA;&#xD;&#xA;Overengineered? Probably. However, that's the standard process I'd go through for &quot;pro&quot; radio jingles. You can get all fancy-pants on them but think of the following whilst editing:&#xD;&#xA;&#xD;&#xA; - **what kind medium am I producing for?** (radio which is always heavily processed to begin with to deal with small speakers and their limited frequency response)&#xD;&#xA; - **ASSUME MONO!** Clock radios, portables, in-store PAs and even TVs don't necessarily have two speakers so if you apply loads of mid/side processing or 'stereo widening' effects your music might disappear when summed to mono!&#xD;&#xA; - **how obnoxiously in peoples' faces do you want to be?** The station will likely use processing to 'calm' any severely loud signals, but there are now established EBU standards for &quot;loudness&quot; which you would do well to read up on. Nobody likes having to reach for the radio to turn it down during the ad breaks. *I vastly prefer a jingle / advert / ident where it's CLEAR but not simply LOUD.*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Final afterthoughts: when setting up a mic, set it to cardioid or super-/hypercardioid (to eliminate as much room noise as possible) and experiment with 'working' the mic; the closer you are to the capsule, the more 'presence' you will hear in the resulting sound.&#xD;&#xA;&#xD;&#xA;The same voice recorded six inches and thirty-six inches from the same microphone will sound remarkably different, and you usually want to go for the close-miced option for the desirable boost in the midrange.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;Happy producing :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="40389" PostHistoryTypeId="2" PostId="23876" RevisionGUID="59755985-d6e4-4c88-829d-a906567f04fd" CreationDate="2012-07-29T17:31:43.417" UserDisplayName="Ryan Christman" Text="Are you using an effect called &quot;ducking&quot;?  Ducking is used all over the place.  Basically what it does is automatically reduce the volume of backing tracks (music in this case) when it detects input from an audio source such as a microphone.&#xD;&#xA;&#xD;&#xA;This effect is used in DJing all the time and it's also used in many video games and movies." ContentLicense="CC BY-SA 3.0" />
  <row Id="40390" PostHistoryTypeId="2" PostId="23873" RevisionGUID="22adf134-12bc-4b55-8a0b-df30d52b9a0d" CreationDate="2012-02-13T20:29:50.923" UserId="7188" Text="&quot;Trying out stuff&quot; is still an option for even the seasoned recording engineer who is faced with some thing they have not experienced yet. There is no end to the over all learning curve as technology changes the target moves.&#xD;&#xA;&#xD;&#xA;Before you try to compress your voice over track, review your signal path from mic to recording software to be sure all is optimized. Try another mic to see if you see any improvements, also with the original mic try a different recording package. Are you getting the same result when changing these variables?&#xD;&#xA;&#xD;&#xA;Where are you recording the voice? Are you in an isolation booth like environment that blocks all the ambient background sounds?&#xD;&#xA;&#xD;&#xA;Consider that there are natural born talented voices and some of these folks have developed this talent with a lot of hard work and now make a living to do VO work.&#xD;&#xA;Their voices are already pleasing and interesting and carry volume without compression from the get go. Although audio engineers like to boost things anyways.&#xD;&#xA;:&gt;&#xD;&#xA;&#xD;&#xA;Treat your voice over like you are going on stage at the MET. Warm up your voice. Sing some scales, hold long notes, take deep breaths, stand up right, learn to manage your diaphragm, and rehearse the content. Get a friend to listen to you while you perform for positive feedback.&#xD;&#xA;&#xD;&#xA;Link: &#xD;&#xA;http://www.vocalsplendor.com/diaphragm.html&#xD;&#xA;&#xD;&#xA;Lastly, you might not be cut out for this kind of work, so don't be too proud to allow a substitute to see if this is better or not.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40391" PostHistoryTypeId="36" PostId="23877" RevisionGUID="07252798-6c9f-4111-a50c-5fa92b31e7d1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2178/how-can-i-limit-live-audio-from-the-clipping-effect" />
  <row Id="40392" PostHistoryTypeId="2" PostId="23878" RevisionGUID="3c22210b-1ba8-4722-8fc4-17f04e22f5db" CreationDate="2011-08-22T00:09:34.740" UserDisplayName="gauss256" Text="Avoiding clipping while recording a live event is critical because it can't be fixed in post. The following techniques will help.&#xD;&#xA;&#xD;&#xA;1. If your audio recorder has a built-in limiter function, turn it on.&#xD;&#xA;&#xD;&#xA;2. Record at a 24-bit depth and turn down the gain a little.  You will likely be going out to 16 bits in the final production, and the extra bits during recording will give some more headroom without losing audio quality.&#xD;&#xA;&#xD;&#xA;3. Split the audio feed and run it into two different inputs.  Set the gain at different levels on those two inputs, one &quot;hot&quot; and one &quot;not&quot;.  The one with higher gain will have the best audio quality (least noise) but the one with the lower gain is insurance in case the first one clips.&#xD;&#xA;&#xD;&#xA;4. Do a sound check ahead of the event and set the levels so they it doesn't clip at the loudest moments.  Then back it off a little from that.&#xD;&#xA;&#xD;&#xA;5. Monitor the recording constantly while the event is on.  If you detect clipping, turn down the gain.  You may end up with some brief clipping but it's better than the whole thing being clipped.&#xD;&#xA;&#xD;&#xA;6. Know your equipment.  You can't always trust the meters.  For example, it is easy to overload an audio recorder by putting a line level feed into a mic input.  Turning down the gain may look like it's keeping the levels at a good point, but in fact the clipping can happen before the meters see the signal.&#xD;&#xA;&#xD;&#xA;7. If you are taking a feed from a sound board, be aware of the difference between line level and mic level.  Set your recorder up appropriately.  If you need to adjust the levels to keep them right, change the levels at the source (sound board) " ContentLicense="CC BY-SA 3.0" />
  <row Id="40393" PostHistoryTypeId="2" PostId="23877" RevisionGUID="54feac89-70b2-4e54-be4a-8340f5847340" CreationDate="2011-08-21T22:01:37.163" UserId="7912" UserDisplayName="hunterp" Text="When audio becomes too loud, it clips. How can I limit?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40394" PostHistoryTypeId="1" PostId="23877" RevisionGUID="54feac89-70b2-4e54-be4a-8340f5847340" CreationDate="2011-08-21T22:01:37.163" UserId="7912" UserDisplayName="hunterp" Text="How can I limit live audio from the &quot;clipping&quot; effect?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40395" PostHistoryTypeId="3" PostId="23877" RevisionGUID="54feac89-70b2-4e54-be4a-8340f5847340" CreationDate="2011-08-21T22:01:37.163" UserId="7912" UserDisplayName="hunterp" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40396" PostHistoryTypeId="36" PostId="23878" RevisionGUID="307e1412-ca15-40f5-b084-3a1deed8458b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2178/how-can-i-limit-live-audio-from-the-clipping-effect/2179#2179" />
  <row Id="40397" PostHistoryTypeId="36" PostId="23879" RevisionGUID="65ef195c-4634-4223-b6db-522d7bccb076" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7466/headphones-impedance-and-the-spl" />
  <row Id="40398" PostHistoryTypeId="36" PostId="23880" RevisionGUID="7fef78e7-791e-4c4b-a374-619f0c66aeb7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7466/headphones-impedance-and-the-spl/7467#7467" />
  <row Id="40399" PostHistoryTypeId="36" PostId="23881" RevisionGUID="04dbed9e-c48a-49bd-800a-b95cf585cd74" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7466/headphones-impedance-and-the-spl/7471#7471" />
  <row Id="40400" PostHistoryTypeId="2" PostId="23880" RevisionGUID="d038e69f-fc91-45bf-991d-5b83c928b94c" CreationDate="2013-03-22T17:54:27.753" UserId="7174" Text="Size isn't all that matters in determining how much SPL will be put out.  How far the diaphragm can move and with what force the magnets can move also matters.  If you have a giant diaphragm and it only moves a small distance then it is not going to be nearly as loud as if a similar diaphragm is moving much further and displacing more air (stronger pressure wave)." ContentLicense="CC BY-SA 3.0" />
  <row Id="40401" PostHistoryTypeId="2" PostId="23881" RevisionGUID="a286c871-19da-4e3f-8c17-d196ee830b97" CreationDate="2013-03-23T08:46:20.327" UserId="7312" UserDisplayName="Eugene S" Text="Usually that's right, given that you plug both of them to the same source. The headphones size has nothing to to with it. Headphone impedance is usually increased by wire thickness and wire loops. While more loops creates a larger field and thinner wire usually works out to a lighter, more responsive diaphragm, resulting in a more accurate response. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Few facts:&#xD;&#xA;&#xD;&#xA; * High impedance headphone requires **more** voltage but **less** current&#xD;&#xA; * Low impedance headphone  requires **less** voltage but **more** current&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;That actually means that low impedance headphones usually used for portable players since they can provide less voltage. While high impedance headphones usually used for professional purposes with equipment with sufficient voltage source." ContentLicense="CC BY-SA 3.0" />
  <row Id="40402" PostHistoryTypeId="2" PostId="23879" RevisionGUID="8e13da80-5797-4146-8580-379797d09f75" CreationDate="2013-03-22T16:12:09.297" UserDisplayName="Sunny Reborn Pony" Text="The headphones A has an impedance of 32 Ohms.&#xD;&#xA;&#xD;&#xA;The headphones B has an impedance of 250 Ohms.&#xD;&#xA;&#xD;&#xA;Both of the headphones are similar by size.&#xD;&#xA;&#xD;&#xA;Is it right that the headphones B will play quieter by 250/32=7.8, if we talk about the sound pressure level?&#xD;&#xA;&#xD;&#xA;7.8 times is approximately 9 dB." ContentLicense="CC BY-SA 3.0" />
  <row Id="40403" PostHistoryTypeId="1" PostId="23879" RevisionGUID="8e13da80-5797-4146-8580-379797d09f75" CreationDate="2013-03-22T16:12:09.297" UserDisplayName="Sunny Reborn Pony" Text="Headphones impedance and the SPL" ContentLicense="CC BY-SA 3.0" />
  <row Id="40404" PostHistoryTypeId="3" PostId="23879" RevisionGUID="8e13da80-5797-4146-8580-379797d09f75" CreationDate="2013-03-22T16:12:09.297" UserDisplayName="Sunny Reborn Pony" Text="&lt;audio&gt;&lt;headphones&gt;&lt;impedance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40405" PostHistoryTypeId="5" PostId="23731" RevisionGUID="3bea616e-ea5d-415b-8502-000cc4903e9e" CreationDate="2014-01-24T12:44:20.290" UserId="6387" Comment="deleted 219 characters in body" Text="I have an old song. I need to remove the vocals and get only the music from it. I used Audacity (Effects &gt; Vocal Remover). After applying, there's no sound!&#xD;&#xA;&#xD;&#xA;I used Audition (the Center Channel Extractor). After applying, a tiny noise came (a small squeeking). Nothing else.&#xD;&#xA;&#xD;&#xA;Is there another way to do this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40406" PostHistoryTypeId="4" PostId="22432" RevisionGUID="71e11ac9-c840-4c30-8280-65ca6203ee33" CreationDate="2014-01-24T13:11:09.923" UserId="-1" Comment="remove urgent from title" Text="Micing a kick drum with a large diaphragm condenser?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40407" PostHistoryTypeId="24" PostId="22432" RevisionGUID="71e11ac9-c840-4c30-8280-65ca6203ee33" CreationDate="2014-01-24T13:11:09.923" Comment="Proposed by 91.119.197.12|fd8327a3-eba5-4353-a5a6-9d436e30e937 approved by 6957 edit id of 55" ContentLicense="CC BY-SA 3.0" />
  <row Id="40408" PostHistoryTypeId="5" PostId="22107" RevisionGUID="4d2c5c78-b4d3-4565-8ead-c056cb7f1018" CreationDate="2014-01-24T13:15:01.147" UserId="6957" Comment="added comment to answer" Text="I recently saw the film Gravity, which deals with the &quot;silence&quot; of space excellently.  Worth checking out.&#xD;&#xA;&#xD;&#xA;Unlike most films set in space, they did not steer away from the fact that in space the is no sound due to the lack of atmosphere. Therefore in this film there was little or very muffled sounds that were there beautifully complemented by a very delicate, but powerful score. &#xD;&#xA;&#xD;&#xA;I was also taken by the use of digetic and non-digetic music as well as the spatialization (I saw it in a 5.1 theatre, but I'd be keen to see it again in a Atoms theatre). At first the spatialization seemed a bit odd as it breaks with convention, but after a couple on mins it seemed normal" ContentLicense="CC BY-SA 3.0" />
  <row Id="40413" PostHistoryTypeId="36" PostId="23882" RevisionGUID="173589f3-f613-4016-8011-110a8269c24c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7247/avconv-screen-recording-to-flv-audio-drifts-out-of-sync" />
  <row Id="40414" PostHistoryTypeId="2" PostId="23882" RevisionGUID="6a73a0ac-eab7-4ebe-845e-499654e78590" CreationDate="2013-02-26T01:37:12.847" UserDisplayName="Rena" Text="I've been using avconv to capture my screen and audio input and stream live to twitch.tv, but the audio is always about a second or two behind the video. This doesn't seem to be an issue on the remote end, as I get the same result saving to a local file.&#xD;&#xA;&#xD;&#xA;The audio is coming from a capture card (Dazzle DVC100) and the video is the capture card's input displayed in mplayer along with some other windows. Locally, the audio and video are in perfect sync.&#xD;&#xA;&#xD;&#xA;The script I'm using to run avconv is:&#xD;&#xA;&lt;pre&gt;#!/bin/bash&#xD;&#xA;INRES=&quot;850x480&quot; # input resolution&#xD;&#xA;OUTRES=&quot;850x480&quot;&#xD;&#xA;SCREENPOS=&quot;+3160,200&quot; #X, Y offset to grab on screen&#xD;&#xA;FPS=&quot;12&quot; # target FPS&#xD;&#xA;BITRATE=&quot;-b 192k&quot;&#xD;&#xA;STREAM_KEY=&quot;secret-stream-key&quot;&#xD;&#xA;&#xD;&#xA;if [ &quot;$1&quot; = &quot;live&quot; ]; then&#xD;&#xA;	# output to live stream and to local file&#xD;&#xA;	FILE=&quot;/home/rena/video/live/live-`date '+%a-%y%m%d-%H%M%S'`.flv&quot;&#xD;&#xA;	OUTPUT=&quot;-f flv rtmp://live.justin.tv/app/$STREAM_KEY -f flv $FILE&quot;&#xD;&#xA;else&#xD;&#xA;	if [ &quot;$1&quot; = &quot;test&quot; ]; then&#xD;&#xA;		OUTPUT=&quot;-f flv out.flv&quot; # output to video file&#xD;&#xA;	else&#xD;&#xA;		echo &quot;usage: $0 [live|test]&quot;&#xD;&#xA;		exit 1&#xD;&#xA;	fi&#xD;&#xA;fi&#xD;&#xA;&#xD;&#xA;#order matters here! need to set the sample rate before specifying the input source.&#xD;&#xA;ARATE=22050&#xD;&#xA;AUDIO=&quot;-f pulse -sample_rate $ARATE -i alsa_input.usb-Pinnacle_Systems_GmbH_DVC100-01-DVC100.analog-stereo&quot;&#xD;&#xA;&#xD;&#xA;#more quality/speed tweaks&#xD;&#xA;TWEAKS=&quot;-g 3 -filter_complex asyncts=min_delta\=0&quot;&#xD;&#xA;&#xD;&#xA;#stuff that probably shouldn't be changed for the most part&#xD;&#xA;QUAL=&quot;libvpx-720p&quot;&#xD;&#xA;VCODEC=&quot;libx264&quot;&#xD;&#xA;&#xD;&#xA;avconv $AUDIO -b 2k -f x11grab -show_region 1 -s &quot;$INRES&quot; -r &quot;$FPS&quot; $TWEAKS -i :0.0$SCREENPOS -vcodec &quot;$VCODEC&quot; -s &quot;$OUTRES&quot; $BITRATE -threads 0 $OUTPUT&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA;The asyncts filter seems to help a lot (without it, the audio could be as much as 3 minutes behind by the end of a 10-minute video) but still the audio is always about 2 seconds behind the video.&#xD;&#xA;&#xD;&#xA;Things that I've tried that haven't helped:&#xD;&#xA;&#xD;&#xA; - Decreasing audio sampling rate (no effect)&#xD;&#xA; - Increasing audio sampling rate (FLV doesn't support any higher)&#xD;&#xA; - Using the -itsoffset flag to delay the video stream (no effect, the flag doesn't seem to be doing anything)&#xD;&#xA; - Adjusting the video and audio bitrates (no effect, unless using a very high bitrate, then video frames drop and the audio lag is more noticeable)&#xD;&#xA;&#xD;&#xA;The last item makes me think that there might be frames dropping, but it doesn't look like they are. I had read about a similar issue someone had, that was related to &quot;duplicate&quot; frames being dropped. I'm not sure how to test or correct frame drop issues, though.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The ffmpeg command is:&#xD;&#xA;````ffmpeg -f pulse -sample_rate 22050 -i alsa_input.pci-0000_00_14.2.analog-stereo -b:v 2k -f x11grab -show_region 1 -s 850x480 -r 12 -g 3 -i :0.0+3160,200 -vcodec libx264 -s 850x480 -b 192k -threads 0 -f flv out.flv````&#xD;&#xA;&#xD;&#xA;The output from ffmpeg is:&#xD;&#xA;&#xD;&#xA;	WARNING: gnome-keyring:: couldn't connect to: /run/user/rena/keyring-QDecyk/pkcs11: No such file or directory&#xD;&#xA;	ffmpeg version 0.10.6-6:0.10.6-0ubuntu0jon1 Copyright (c) 2000-2012 the FFmpeg developers&#xD;&#xA;	  built on Nov 12 2012 12:53:40 with gcc 4.7.2&#xD;&#xA;	  configuration: --arch=amd64 --enable-pthreads --enable-runtime-cpudetect --extra-version='6:0.10.6-0ubuntu0jon1' --libdir=/usr/lib/x86_64-linux-gnu --disable-stripping --prefix=/usr --enable-bzlib --enable-libdc1394 --enable-libfreetype --enable-frei0r --enable-gnutls --enable-libgsm --enable-libmp3lame --enable-librtmp --enable-libopencv --enable-libopenjpeg --enable-libpulse --enable-libschroedinger --enable-libspeex --enable-libtheora --enable-vaapi --enable-vdpau --enable-libvorbis --enable-libvpx --enable-zlib --enable-gpl --enable-postproc --enable-libcdio --enable-x11grab --enable-libx264 --shlibdir=/usr/lib/x86_64-linux-gnu --enable-shared --disable-static&#xD;&#xA;	  libavutil      51. 35.100 / 51. 35.100&#xD;&#xA;	  libavcodec     53. 61.100 / 53. 61.100&#xD;&#xA;	  libavformat    53. 32.100 / 53. 32.100&#xD;&#xA;	  libavdevice    53.  4.100 / 53.  4.100&#xD;&#xA;	  libavfilter     2. 61.100 /  2. 61.100&#xD;&#xA;	  libswscale      2.  1.100 /  2.  1.100&#xD;&#xA;	  libswresample   0.  6.100 /  0.  6.100&#xD;&#xA;	  libpostproc    52.  0.100 / 52.  0.100&#xD;&#xA;	[pulse @ 0x12bdbe0] Estimating duration from bitrate, this may be inaccurate&#xD;&#xA;	Input #0, pulse, from 'alsa_input.pci-0000_00_14.2.analog-stereo':&#xD;&#xA;	  Duration: N/A, start: 0.314092, bitrate: N/A&#xD;&#xA;		Stream #0:0: Audio: pcm_s16le, 22050 Hz, 2 channels, s16, 705 kb/s&#xD;&#xA;	[x11grab @ 0x12bb480] device: :0.0+3160,200 -&gt; display: :0.0 x: 3160 y: 200 width: 850 height: 480&#xD;&#xA;	[x11grab @ 0x12bb480] shared memory extension found&#xD;&#xA;	[x11grab @ 0x12bb480] Estimating duration from bitrate, this may be inaccurate&#xD;&#xA;	Input #1, x11grab, from ':0.0+3160,200':&#xD;&#xA;	  Duration: N/A, start: 1365239924.136518, bitrate: 156672 kb/s&#xD;&#xA;		Stream #1:0: Video: rawvideo (BGRA / 0x41524742), bgra, 850x480, 156672 kb/s, 12 tbr, 1000k tbn, 12 tbc&#xD;&#xA;	Please use -b:a or -b:v, -b is ambiguous&#xD;&#xA;	Incompatible pixel format 'bgra' for codec 'libx264', auto-selecting format 'yuv420p'&#xD;&#xA;	[buffer @ 0x12bc6c0] w:850 h:480 pixfmt:bgra tb:1/1000000 sar:0/1 sws_param:&#xD;&#xA;	[buffersink @ 0x12bc7a0] auto-inserting filter 'auto-inserted scale 0' between the filter 'src' and the filter 'out'&#xD;&#xA;	[scale @ 0x12cd8e0] w:850 h:480 fmt:bgra -&gt; w:850 h:480 fmt:yuv420p flags:0x4&#xD;&#xA;	[libx264 @ 0x12b9e60] using cpu capabilities: MMX2 SSE2Fast SSSE3 FastShuffle SSE4.2 AVX XOP FMA4 SSEMisalign LZCNT&#xD;&#xA;	[libx264 @ 0x12b9e60] profile High, level 2.2&#xD;&#xA;	[libx264 @ 0x12b9e60] 264 - core 123 r2189 35cf912 - H.264/MPEG-4 AVC codec - Copyleft 2003-2012 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=12 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=12 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=abr mbtree=1 bitrate=192 ratetol=1.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00&#xD;&#xA;	Output #0, flv, to 'out.flv':&#xD;&#xA;	  Metadata:&#xD;&#xA;		encoder         : Lavf53.32.100&#xD;&#xA;		Stream #0:0: Video: h264 ([7][0][0][0] / 0x0007), yuv420p, 850x480, q=-1--1, 192 kb/s, 1k tbn, 12 tbc&#xD;&#xA;		Stream #0:1: Audio: mp3 ([2][0][0][0] / 0x0002), 22050 Hz, 2 channels, s16, 128 kb/s&#xD;&#xA;	Stream mapping:&#xD;&#xA;	  Stream #1:0 -&gt; #0:0 (rawvideo -&gt; libx264)&#xD;&#xA;	  Stream #0:0 -&gt; #0:1 (pcm_s16le -&gt; libmp3lame)&#xD;&#xA;	Press [q] to stop, [?] for help&#xD;&#xA;	frame=  118 fps= 12 q=-1.0 Lsize=     285kB time=00:00:05.06 bitrate= 460.7kbits/s    &#xD;&#xA;	video:200kB audio:79kB global headers:0kB muxing overhead 2.037969%&#xD;&#xA;	[libx264 @ 0x12b9e60] frame I:1     Avg QP:26.90  size: 28427&#xD;&#xA;	[libx264 @ 0x12b9e60] frame P:74    Avg QP:30.63  size:  1968&#xD;&#xA;	[libx264 @ 0x12b9e60] frame B:43    Avg QP:37.52  size:   701&#xD;&#xA;	[libx264 @ 0x12b9e60] consecutive B-frames: 40.7% 28.8% 10.2% 20.3%&#xD;&#xA;	[libx264 @ 0x12b9e60] mb I  I16..4: 42.1% 28.1% 29.8%&#xD;&#xA;	[libx264 @ 0x12b9e60] mb P  I16..4:  2.4%  1.9%  0.8%  P16..4:  9.7%  1.7%  1.2%  0.0%  0.0%    skip:82.3%&#xD;&#xA;	[libx264 @ 0x12b9e60] mb B  I16..4:  0.2%  0.2%  0.2%  B16..8:  9.7%  0.9%  0.1%  direct: 0.3%  skip:88.5%  L0:46.5% L1:51.7% BI: 1.8%&#xD;&#xA;	[libx264 @ 0x12b9e60] final ratefactor: 30.71&#xD;&#xA;	[libx264 @ 0x12b9e60] 8x8 transform intra:35.7% inter:44.7%&#xD;&#xA;	[libx264 @ 0x12b9e60] coded y,uvDC,uvAC intra: 24.9% 38.3% 28.7% inter: 2.1% 3.7% 1.5%&#xD;&#xA;	[libx264 @ 0x12b9e60] i16 v,h,dc,p: 66% 32%  2%  0%&#xD;&#xA;	[libx264 @ 0x12b9e60] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu:  9% 11% 61%  3%  4%  3%  3%  2%  3%&#xD;&#xA;	[libx264 @ 0x12b9e60] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 24% 23% 27%  4%  6%  4%  4%  3%  4%&#xD;&#xA;	[libx264 @ 0x12b9e60] i8c dc,h,v,p: 50% 25% 22%  3%&#xD;&#xA;	[libx264 @ 0x12b9e60] Weighted P-Frames: Y:0.0% UV:0.0%&#xD;&#xA;	[libx264 @ 0x12b9e60] ref P L0: 67.4%  6.1% 17.0%  9.6%&#xD;&#xA;	[libx264 @ 0x12b9e60] ref B L0: 80.8% 16.8%  2.4%&#xD;&#xA;	[libx264 @ 0x12b9e60] ref B L1: 96.0%  4.0%&#xD;&#xA;	[libx264 @ 0x12b9e60] kb/s:166.14&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40415" PostHistoryTypeId="1" PostId="23882" RevisionGUID="6a73a0ac-eab7-4ebe-845e-499654e78590" CreationDate="2013-02-26T01:37:12.847" UserDisplayName="Rena" Text="avconv screen recording to FLV, audio drifts out of sync" ContentLicense="CC BY-SA 3.0" />
  <row Id="40416" PostHistoryTypeId="3" PostId="23882" RevisionGUID="6a73a0ac-eab7-4ebe-845e-499654e78590" CreationDate="2013-02-26T01:37:12.847" UserDisplayName="Rena" Text="&lt;audio-recording&gt;&lt;live&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40417" PostHistoryTypeId="36" PostId="23883" RevisionGUID="0b4bd2b6-27d8-4a6b-9f94-750e796d94eb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1477/acoustic-guitar-sound-of-dylan-mtv-unplugged" />
  <row Id="40418" PostHistoryTypeId="2" PostId="23884" RevisionGUID="b71c4094-2833-4631-b969-051efb962159" CreationDate="2011-07-16T21:09:06.343" UserDisplayName="Brandon Rollyson" Text="That is a pretty straight forward acoustic sound.  As with any recording you should start with the best instrument/musician you can afford (unless you're going for special sounds) so you're right with the decent guitar.  &#xD;&#xA;&#xD;&#xA;It sounds like (to me) that this recording used a piezo pickup rather than miking or using a magnetic pickup.  What method you use to record acoustic guitar depends on many factors:  how loud is the stage volume?  does the artist need to move around a lot?  what style of music will be played?  &#xD;&#xA;&#xD;&#xA;I'm guessing that the monitors were screaming hence they used a piezo pickup to help avoid feedback.  Your humbucker will have more low end response than a piezo pickup, so if you choose to record with it you will have to roll off more lows (low shelf -3 to -6 from 500Hz down, again guessing).  &#xD;&#xA;&#xD;&#xA;Different mics will all sound different and what's even more depressing is moving a mic even 1/2&quot; makes a drastic change in sound picked up.  A good place to start is placing a condenser mic about 3&quot;-6&quot; away from the end of the fretboard.  This keeps it out of the way of the strumming hand and gets good output from the soundhole.  For more fret noise/high end stuff angle the mic more towards the nut, for more bassy sounds turn the mic into the soundhole.  &#xD;&#xA;&#xD;&#xA;As far as EQ you're probably heading in the right direction but also remember that compression was probably used and it can do as much to affect sound as EQ.  Distortion, however is never appropriate in acoustic music (normally)." ContentLicense="CC BY-SA 3.0" />
  <row Id="40419" PostHistoryTypeId="2" PostId="23883" RevisionGUID="6c7e545f-57b1-4322-b7fd-fe6c3b739aaf" CreationDate="2011-05-27T17:22:23.617" UserDisplayName="Elian Ebbing" Text="I really like the sound of the acoustic rhythm guitars on the Dylan MTV unplugged album. I am not sure how to describe the sound, so here is a short sample:&#xD;&#xA;&#xD;&#xA;[Short sample of Dylan MTV unplugged (John Brown)][1]&#xD;&#xA;&#xD;&#xA;I was wondering if anyone has any suggestions on how to recreate this sound? My initial thoughts are:&#xD;&#xA;&#xD;&#xA; * Obviously a decent acoustic guitar, and I think new strings would help a lot.&#xD;&#xA; * Since this is live, I guess it is recorded with a guitar pickup. Is this essential? I have multiple mics, but I only have one guitar pickup ([a rare earth humbucking pickup][2]). What kind of microphone or pickup would be best for this sound&#xD;&#xA; * Use equalizing to remove a lot of sound somewhere in the 800-1200 Hz range&#xD;&#xA; * Maybe a little bit distortion?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ebbing-dev.net/guitar-sample.mp3&#xD;&#xA;  [2]: http://www.fishman.com/products/view/rare-earth-humbucking" ContentLicense="CC BY-SA 3.0" />
  <row Id="40420" PostHistoryTypeId="1" PostId="23883" RevisionGUID="6c7e545f-57b1-4322-b7fd-fe6c3b739aaf" CreationDate="2011-05-27T17:22:23.617" UserDisplayName="Elian Ebbing" Text="Acoustic guitar sound of Dylan MTV unplugged" ContentLicense="CC BY-SA 3.0" />
  <row Id="40421" PostHistoryTypeId="3" PostId="23883" RevisionGUID="6c7e545f-57b1-4322-b7fd-fe6c3b739aaf" CreationDate="2011-05-27T17:22:23.617" UserDisplayName="Elian Ebbing" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40422" PostHistoryTypeId="36" PostId="23884" RevisionGUID="29c38d5b-b693-44dd-89f6-4d79f4d0c5fa" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1477/acoustic-guitar-sound-of-dylan-mtv-unplugged/1898#1898" />
  <row Id="40428" PostHistoryTypeId="5" PostId="22117" RevisionGUID="9aa13f5f-a51a-4bff-a1ea-7dcb617b7ba8" CreationDate="2014-01-24T13:44:37.263" UserId="6957" Comment="formatting, spelling" Text="Not only can you, but you should mix with different speakers. &#xD;&#xA;&#xD;&#xA;I have 13 speakers in my room - 3 brands, 7 diferent hz (range) speakers and two diferent amplifers and still planing to buy more. I don't know anyone else who has something like that and I can tell that the sound is perfect, best I've even heard, comparing to others.&#xD;&#xA;&#xD;&#xA;Why? Becouse every speaker has a gap in hz frecvence.. So it makes max full sound, with all frequencies.. Subwoofers, 25hz, 35hz, 25hz, 20hz, for full and deep bass.. the same goes on mid frequencies, and high frequencies, one speaker 20khz other 25khz, for max full sound and quality, with minimal gap in frequencies. &#xD;&#xA;&#xD;&#xA;Just pick all speakers with the same value of ohms, so all speakers will sound in the same volume (loudness)." ContentLicense="CC BY-SA 3.0" />
  <row Id="40429" PostHistoryTypeId="5" PostId="22164" RevisionGUID="90d0b87a-f9ce-42b6-a890-9a035d1abc15" CreationDate="2014-01-24T13:51:04.170" UserId="6957" Comment="paragraphs" Text="First off, I think it's cool they didn't just ask you to make it sound like Transformers! But I think it's a difficult task because the sound in the clip is very stylised and not actually in very tight sync to the action. &#xD;&#xA;&#xD;&#xA;It feels like you hear more swooping/flying around and atmos than actual synchronised movement sounds, so perhaps part of the challenge is how to implement sounds like those into the game. Might be more difficult if your mech is walking most of the time. &#xD;&#xA;&#xD;&#xA;The sounds themselves seem like old-school synth and effects, lots of resonant filter sweeps of different material running through effects and reverb. On the synth side you could try different combinations of oscillators and ring modulation both modulated with LFO sweeps. I'd also try starting with the sounds you've got and trying effect them more heavily. &#xD;&#xA;&#xD;&#xA;I've been making some interesting sounds by loading in snippets of sounds (music also works well) in as impulse responses into an IR reverb, depending on the sounds and mix it can add a kind of resonance, fusing the two sounds together. I'd try this on some of your mechanical sounds using synth snippets as IR's, then start pitch shifting and layering again with these. &#xD;&#xA;&#xD;&#xA;Good luck though, sounds like a fun project!" ContentLicense="CC BY-SA 3.0" />
  <row Id="40488" PostHistoryTypeId="36" PostId="23886" RevisionGUID="0b37a2b7-66e6-416e-88f3-57de05599668" CreationDate="2014-01-24T17:30:32.697" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8785/why-sound-system-and-headphones-directly-connected-to-pedal-have-different-outpu" />
  <row Id="40489" PostHistoryTypeId="36" PostId="23887" RevisionGUID="029fbe6a-8f6d-4481-9adb-95a47ee7bfce" CreationDate="2014-01-24T17:30:32.697" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8785/why-sound-system-and-headphones-directly-connected-to-pedal-have-different-outpu/8786#8786" />
  <row Id="40490" PostHistoryTypeId="36" PostId="23888" RevisionGUID="5b52c648-d451-4fe1-91d6-591dc5b3a913" CreationDate="2014-01-24T17:30:32.697" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8785/why-sound-system-and-headphones-directly-connected-to-pedal-have-different-outpu/10031#10031" />
  <row Id="40491" PostHistoryTypeId="2" PostId="23887" RevisionGUID="194473b8-f7e9-4d21-91da-805824f57b94" CreationDate="2013-08-05T10:03:30.987" UserId="7016" Text="To take your points directly:&#xD;&#xA;&#xD;&#xA;1. The sound system is not playing stereo out. It is playing mono through both speakers (very different to stereo)&#xD;&#xA;2. Sure&#xD;&#xA;3. The wiring for mono and stereo jacks is different, with the mono having a single piece of metal covering the space of two of the channels on the stereo jack. Have you checked that the jack has a mono plug and stereo socket, rather than the other way round?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40492" PostHistoryTypeId="2" PostId="23888" RevisionGUID="dd0e0e4a-9fa8-479b-be52-8e404a958603" CreationDate="2014-01-24T01:09:53.680" UserDisplayName="Max Thunder" Text="The problem is related to headphones cabling. Some have 4 wires (2 for each channel) kept apart from each other, from headphones to the jack socket, while cheaper ones (but not always) have a Y splitter in the middle where the 4 wires become 3 (both ground (-) cables coming from left and right shells are joined together). Depending on relative impedances, this can lead to severe crosstalk when adapters are used. Some extension cables work the same. " ContentLicense="CC BY-SA 3.0" />
  <row Id="40493" PostHistoryTypeId="2" PostId="23886" RevisionGUID="e918f5b0-ec13-441e-bcb8-4864500a30fd" CreationDate="2013-08-05T00:50:30.227" UserDisplayName="efpies" Text="I have the Zoom G2.1Nu effects pedal. It has a 6.3mm **mono** out. I use a **stereo** adapter 6.3mm-to-3.5mm jack. Pedal is connected to the Mac via USB so the Mac's audio output is going through it.&#xD;&#xA;&#xD;&#xA;I have a 2.1 sound system with some... ummm... control unit ([here it is][1]) and headphones.&#xD;&#xA;&#xD;&#xA;So the question described below.&#xD;&#xA;&#xD;&#xA; 1. Sound system (about $120) playing **stereo** sound from guitar (which has mono&#xD;&#xA;    out), as well as from Mac.&#xD;&#xA; 2. Some **very cheap** (about $10) headphones and sound systems also play **stereo** sound.&#xD;&#xA; 3. Headphones (about $30) playing **mono** sound to the right channel from both sources even when connected to the 3.5mm out on any of those sound systems (though they are 100% working with **stereo** output from iPhone or Mac directly).&#xD;&#xA;&#xD;&#xA;Why so?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ixbt.com/multimedia/acoustic/winter-2011/foto/edifier-large.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="40494" PostHistoryTypeId="1" PostId="23886" RevisionGUID="e918f5b0-ec13-441e-bcb8-4864500a30fd" CreationDate="2013-08-05T00:50:30.227" UserDisplayName="efpies" Text="Why sound system and headphones directly connected to pedal have different output (mono/stereo)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40495" PostHistoryTypeId="3" PostId="23886" RevisionGUID="e918f5b0-ec13-441e-bcb8-4864500a30fd" CreationDate="2013-08-05T00:50:30.227" UserDisplayName="efpies" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40496" PostHistoryTypeId="36" PostId="23889" RevisionGUID="78ff7f9e-799f-4d68-a9e4-a113f16d7e80" CreationDate="2014-01-24T17:33:16.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9687/is-mono-single-channel-audio-always-played-to-both-speakers" />
  <row Id="40497" PostHistoryTypeId="2" PostId="23890" RevisionGUID="b363b188-6d94-46f7-aa7a-eb2918b7293d" CreationDate="2013-12-17T03:24:17.837" UserId="7213" UserDisplayName="Jim Mack" Text="If the second channel is really an inversion of the first, deleting it would be an improvement, because as it is the two will cancel out and nothing will be heard in a mono configuration (when the channels are summed). &#xD;&#xA;&#xD;&#xA;If you have any way of checking correlation, 100% negative correlation would indicate true inversion.&#xD;&#xA;&#xD;&#xA;A mono signal will generally be heard equally in both stereo channels, so there's no danger of one side 'going dark'. But a better plan is to replicate the mono signal in both stereo channels, so it will be compatible with most modern audio setups." ContentLicense="CC BY-SA 3.0" />
  <row Id="40498" PostHistoryTypeId="2" PostId="23889" RevisionGUID="ecff5bff-2c74-44fa-9246-38a4db3e145e" CreationDate="2013-12-17T03:03:02.210" UserId="11190" UserDisplayName="Clay Nichols" Text="I've got some audio that was recorded mono but converted to pseudo stereo by inverting the audio and copying it to a second channel.&#xD;&#xA;&#xD;&#xA;I'm trying to reverse the process and wondering if I should just delete one channel&#xD;&#xA;&#xD;&#xA;**Are there any downsides to having a single channel (mono) audio?**&lt;br&gt;&#xD;&#xA;(Assuming that the original audio was recorded as a single channel)&#xD;&#xA;For example, if someone has their left or right speaker turned off/down would that cause the audio to not be heard?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40499" PostHistoryTypeId="1" PostId="23889" RevisionGUID="ecff5bff-2c74-44fa-9246-38a4db3e145e" CreationDate="2013-12-17T03:03:02.210" UserId="11190" UserDisplayName="Clay Nichols" Text="Is mono (single channel) audio always played to *both speakers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40500" PostHistoryTypeId="3" PostId="23889" RevisionGUID="ecff5bff-2c74-44fa-9246-38a4db3e145e" CreationDate="2013-12-17T03:03:02.210" UserId="11190" UserDisplayName="Clay Nichols" Text="&lt;stereo&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40501" PostHistoryTypeId="36" PostId="23890" RevisionGUID="15bf6178-b6ea-42c2-b9a0-c605e334db76" CreationDate="2014-01-24T17:33:16.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9687/is-mono-single-channel-audio-always-played-to-both-speakers/9688#9688" />
  <row Id="40502" PostHistoryTypeId="36" PostId="23891" RevisionGUID="8b032bef-91c6-4b0e-adc2-77769012e6e9" CreationDate="2014-01-24T17:33:54.850" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9635/how-to-best-sum-32-microphones-to-4-lines" />
  <row Id="40503" PostHistoryTypeId="36" PostId="23892" RevisionGUID="d63e9afe-b96b-4606-b3a4-171c8e886630" CreationDate="2014-01-24T17:33:54.850" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9635/how-to-best-sum-32-microphones-to-4-lines/9639#9639" />
  <row Id="40504" PostHistoryTypeId="2" PostId="23892" RevisionGUID="d50b0dc0-2c92-467c-86bb-4e4e55933bc6" CreationDate="2013-12-11T23:02:50.277" UserId="7200" Text="There certainly are plain summing mixers available – mainly for modular studio setups, where you have the channel strips seperately; that's a pretty high-grade application so they tend to be rather expensive per-feature. One device with _exactly_ the configuration you're asking for is the Speck Electronics X-Sum. Of course, these devices don't have mic preamps, though. Those are available in 19&quot; ab well, but again mostly aimed at the studio segment.&#xD;&#xA;&#xD;&#xA;I think you're better of actually using a full mixer; digital models can obviously be packed to 19&quot; on any scale! And then you can still control that submix remotely from FOH, via tablet or whatever.&#xD;&#xA;&#xD;&#xA;The Allen &amp; Heath iDR-32 works great. A bit overkill perhaps. The Behringer X32 is supposed to be surprisingly reliable (though I don't think it's out there for long enough that we can be sure...), maybe the rack version plus one S16 is ideal for your application.&#xD;&#xA;&#xD;&#xA;Sure, it still has its cost.&#xD;&#xA;&#xD;&#xA;As for DIY... mixing is actually extremely simple, you basically connect all the signals together with decoupling resistors and feed that to a follow-up amplifier (basically one OP amp). Cost: like, 5€. The problem is that you need a stable signal to start with, so this is really all about the mic preamps. With 4 SM-Pro PR8E hooked up to such a DIY mixer you'd stay below 800€ total." ContentLicense="CC BY-SA 3.0" />
  <row Id="40505" PostHistoryTypeId="2" PostId="23891" RevisionGUID="678b2cbe-3f98-483b-9b0f-90fde291976b" CreationDate="2013-12-11T21:09:09.823" UserId="21343" UserDisplayName="AlexanderBrevig" Text="I need to find a way (not using a large mixer on stage) to sum 32 microphones to 4 lines. In a small package (preferably rack mounted).&#xD;&#xA;&#xD;&#xA;Per now I use a large soundcraft mixer and aux sends. It pains me each time I have to rig up the mixer just to use as a simple summing mixer.&#xD;&#xA;&#xD;&#xA;I'm willing to go down a DIY route if anyone know of a suitable/modifiable circuit.&#xD;&#xA;&#xD;&#xA;I'd preferably buy something but I have found nothing suitable.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It will end up into my Soundcraft Si Compact (the stagebox is not an option because I need more that 40 ins to my mix, this is a way of getting 'around' that).&#xD;&#xA;&#xD;&#xA;Any help and pointers will be appreciated!" ContentLicense="CC BY-SA 3.0" />
  <row Id="40506" PostHistoryTypeId="1" PostId="23891" RevisionGUID="678b2cbe-3f98-483b-9b0f-90fde291976b" CreationDate="2013-12-11T21:09:09.823" UserId="21343" UserDisplayName="AlexanderBrevig" Text="How to best sum 32 microphones to 4 lines" ContentLicense="CC BY-SA 3.0" />
  <row Id="40507" PostHistoryTypeId="3" PostId="23891" RevisionGUID="678b2cbe-3f98-483b-9b0f-90fde291976b" CreationDate="2013-12-11T21:09:09.823" UserId="21343" UserDisplayName="AlexanderBrevig" Text="&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40509" PostHistoryTypeId="2" PostId="23893" RevisionGUID="03e34bfc-4388-4241-9fec-4e2aaa0fd92a" CreationDate="2014-01-24T18:37:55.347" UserId="1216" Text="ha, well the choice IS difficult! &#xD;&#xA;i love the dpa 4060 but i would never use it in very quiet conditions. the noise floor becomes an issue quickly, but on city ambiences or indoor stuff with people, it works wonders. and it goes up to 40khz with a very linear curve. very clean sound great for pitching when recording close mic'ed sources. randy thom once said something 'any mic becomes directional if get it close enought to the source'. &#xD;&#xA; &#xD;&#xA;i've never used the telinga's, can't you rent those and try them out? &#xD;&#xA;telinga is a pretty renowned though small company so they sell quality mic's, i read that everywhere.&#xD;&#xA;&#xD;&#xA;the lineaudio mic's are pretty good aswell, but have low output, so you need a really good preamp (sound devices, sonosax) a h4n won't make it sound good (and adds a lot of noise). they are also good for louder ambiences and really affordable.&#xD;&#xA;&#xD;&#xA;good luck&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40510" PostHistoryTypeId="2" PostId="23894" RevisionGUID="5d821558-e1d6-4dd1-b18f-da4169ec71a3" CreationDate="2014-01-24T18:41:36.470" UserId="1216" Text="normally a noise reduction plug in won't introduce 'reverb' it could however enhance the perception of the reverb/roomnoises. &#xD;&#xA;In what type of room are you recording and what is the source?&#xD;&#xA;What type of noise reduction are you using: are you using any expanders or multiband compressors?  &#xD;&#xA;If you compress recordings too hard it will enhance background noise and also reverb from the recording.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40511" PostHistoryTypeId="36" PostId="23895" RevisionGUID="50a72379-9b1a-42c8-ac16-9e37282fc752" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2603/how-do-i-tell-os-x-that-an-arbitrary-controller-is-a-midi-device" />
  <row Id="40512" PostHistoryTypeId="2" PostId="23896" RevisionGUID="24f2ff5a-96fa-43aa-b21b-3fe5cd8670e2" CreationDate="2011-11-09T14:39:30.523" UserDisplayName="horatio" Text="Obvious question: you installed the drivers for it, correct?&#xD;&#xA;&#xD;&#xA;There is a driver DMG on their support site. Looks to be the driver only without the cruft." ContentLicense="CC BY-SA 3.0" />
  <row Id="40513" PostHistoryTypeId="2" PostId="23895" RevisionGUID="3550b453-9681-4cdb-a5bd-ae7a0b7e7097" CreationDate="2011-11-08T06:07:50.147" UserDisplayName="VxJasonxV" Text="I own a [Novation Twitch](http://novationmusic.com/twitch), and Novation has released a &quot;MIDI Programming guide&quot;. Tonight, I've been working on some Quartz Composer based visualizations, and naturally I wanted to add a component of customization based off some suitable hardware I already own (the Twitch). So, I plugged it in and started pressing buttons.&#xD;&#xA;&#xD;&#xA;Applications used to monitor MIDI such as [MIDISpy](http://itunes.apple.com/us/app/midispy/id432601430?mt=12) never list any events as occurring, and I realized also that the Twitch does not show up in the built-in Audio MIDI Setup app in OS X.&#xD;&#xA;&#xD;&#xA;My current theory is that OS X does not think the Twitch is a MIDI controller, and something &quot;special&quot; has to happen before it will interact with it like one.&#xD;&#xA;&#xD;&#xA;Does anyone know what that &quot;special&quot; thing is? There is no ability to add a MIDI device in Audio MIDI Setup, only add Aggregate Input or Multiple Output Devices based off the devices already listed." ContentLicense="CC BY-SA 3.0" />
  <row Id="40514" PostHistoryTypeId="1" PostId="23895" RevisionGUID="3550b453-9681-4cdb-a5bd-ae7a0b7e7097" CreationDate="2011-11-08T06:07:50.147" UserDisplayName="VxJasonxV" Text="How do I tell OS X that an arbitrary controller is a MIDI device?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40515" PostHistoryTypeId="3" PostId="23895" RevisionGUID="3550b453-9681-4cdb-a5bd-ae7a0b7e7097" CreationDate="2011-11-08T06:07:50.147" UserDisplayName="VxJasonxV" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40516" PostHistoryTypeId="36" PostId="23896" RevisionGUID="3c6cea4c-1e69-452a-ad73-04166837209f" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2603/how-do-i-tell-os-x-that-an-arbitrary-controller-is-a-midi-device/2613#2613" />
  <row Id="40517" PostHistoryTypeId="36" PostId="23897" RevisionGUID="fd826d9e-f78c-499d-9e33-441325d3d849" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4356/how-does-sending-midi-over-usb-compare-to-using-a-dedicated-midi-interface" />
  <row Id="40518" PostHistoryTypeId="36" PostId="23898" RevisionGUID="8314125b-cb7a-4b13-a2c9-935953976f8f" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4356/how-does-sending-midi-over-usb-compare-to-using-a-dedicated-midi-interface/4360#4360" />
  <row Id="40519" PostHistoryTypeId="2" PostId="23898" RevisionGUID="efa394b7-af52-4535-bc84-c3a59ac22273" CreationDate="2012-07-04T18:52:17.000" UserDisplayName="JPollock" Text="It is better to use USB, it saves having to buy and power a MIDI interface and you avoid the extra latency that is built into an old school midi port (3 ms.) Also in a ping it's easier to find a USB cable than a MIDI cable." ContentLicense="CC BY-SA 3.0" />
  <row Id="40520" PostHistoryTypeId="2" PostId="23897" RevisionGUID="a17c1f1e-7b3f-4655-9729-642ffe4efd9c" CreationDate="2012-07-04T09:37:41.627" UserDisplayName="Rob Kam" Text="Is there an informed comparison between sending MIDI over USB versus directly from a MIDI interface on a PC expansion card - would a MIDI interface on a sound card provide some useful system enhancement over using a plain USB 2.0 connection (perhaps to a MIDI converter anyway)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40521" PostHistoryTypeId="1" PostId="23897" RevisionGUID="a17c1f1e-7b3f-4655-9729-642ffe4efd9c" CreationDate="2012-07-04T09:37:41.627" UserDisplayName="Rob Kam" Text="How does sending MIDI over USB compare to using a dedicated MIDI interface?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40522" PostHistoryTypeId="3" PostId="23897" RevisionGUID="a17c1f1e-7b3f-4655-9729-642ffe4efd9c" CreationDate="2012-07-04T09:37:41.627" UserDisplayName="Rob Kam" Text="&lt;midi&gt;&lt;electronics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40523" PostHistoryTypeId="36" PostId="23899" RevisionGUID="465d051f-525c-46a0-a141-f4e67dd8947b" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3386/how-can-i-automate-loop-signature-changes-in-ableton" />
  <row Id="40524" PostHistoryTypeId="36" PostId="23900" RevisionGUID="2119a308-c2bd-4687-8472-650c9bccb4a7" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3386/how-can-i-automate-loop-signature-changes-in-ableton/3462#3462" />
  <row Id="40525" PostHistoryTypeId="2" PostId="23900" RevisionGUID="dfcee748-63bb-4e1f-b53e-cb995633b205" CreationDate="2012-03-05T16:40:36.057" UserId="9511" UserDisplayName="Johnny Bigoode" Text="On a very personal view, I'd recommend just leaving it to 15/8 - it's just easier. &#xD;&#xA;&#xD;&#xA;I think [this][1] might help a little, but the easiest way to do it is by right cliking on the siganure filed (it's on the right of the tempo field) and clicking 'Edit Automation'. &#xD;&#xA;&#xD;&#xA;If I remember correctly, that will show a signature automation on the master track. &#xD;&#xA;&#xD;&#xA;Make the loop the way you want it and then copy/paste the automation across the track. &#xD;&#xA;&#xD;&#xA;Then again, I'm not 100% sure on this answer, and I can't open Ableton to confirm this now. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=iKmaMMaiHrM" ContentLicense="CC BY-SA 3.0" />
  <row Id="40526" PostHistoryTypeId="2" PostId="23899" RevisionGUID="f8d71da6-dfc3-4adf-87e2-c0f8da920c4b" CreationDate="2012-02-23T10:40:07.573" UserId="6933" Text="I'm trying to make a loop which has one bar of 7/8 and one bar of 4/4, but I don't want to have to manually do that (ie right-clicking the Arrangement View and changing sig) to several minutes' worth of music. Should I just set the sig to 15/8 and put up with it? For instance, it seems lots of people use a master tempo track to handle tempo changes - is there some kind of signature track I could make that does this, but every run-through of a loop? Thanks in advance.&#xD;&#xA;&#xD;&#xA;![The normal method of time sig changes][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/FWX8B.png&#xD;&#xA;&#xD;&#xA;Edit: I ended up just going with 15/8; couldn't find a solution. Oh well." ContentLicense="CC BY-SA 3.0" />
  <row Id="40527" PostHistoryTypeId="1" PostId="23899" RevisionGUID="f8d71da6-dfc3-4adf-87e2-c0f8da920c4b" CreationDate="2012-02-23T10:40:07.573" UserId="6933" Text="How can I automate/loop signature changes in Ableton?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40528" PostHistoryTypeId="3" PostId="23899" RevisionGUID="f8d71da6-dfc3-4adf-87e2-c0f8da920c4b" CreationDate="2012-02-23T10:40:07.573" UserId="6933" Text="&lt;midi&gt;&lt;ableton-live&gt;&lt;automation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40529" PostHistoryTypeId="36" PostId="23901" RevisionGUID="c2e1bff4-9324-4233-a604-e09b2b017702" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2183/akai-apc20-40-midi-control" />
  <row Id="40530" PostHistoryTypeId="2" PostId="23902" RevisionGUID="64a79cbd-eb8e-497a-8c63-984a8bf0c2d1" CreationDate="2011-08-22T22:35:24.397" UserId="7209" Text="Absolutely. That is how it works. See http://www.cycling74.com/forums/topic.php?id=20355#post-106507 for basic mapping information. Basically, different velocities are for different LED colors.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40531" PostHistoryTypeId="2" PostId="23901" RevisionGUID="d2b2571a-b3ec-4bd5-b768-d42723246413" CreationDate="2011-08-22T16:55:56.263" UserDisplayName="Sam" Text="The [AKAI APC20](http://www.akaipro.com/apc20) is a MIDI controller, which has controls that light up on it. The lights correspond to the status of a clip in Ableton, but is there any way to change these lights by issuing MIDI commands to the controller using another device (ie. my laptop)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40532" PostHistoryTypeId="1" PostId="23901" RevisionGUID="d2b2571a-b3ec-4bd5-b768-d42723246413" CreationDate="2011-08-22T16:55:56.263" UserDisplayName="Sam" Text="Akai APC20/40 MIDI Control" ContentLicense="CC BY-SA 3.0" />
  <row Id="40533" PostHistoryTypeId="3" PostId="23901" RevisionGUID="d2b2571a-b3ec-4bd5-b768-d42723246413" CreationDate="2011-08-22T16:55:56.263" UserDisplayName="Sam" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40534" PostHistoryTypeId="36" PostId="23902" RevisionGUID="9a31ed86-e979-496c-9aaf-c443d22b9f1e" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2183/akai-apc20-40-midi-control/2190#2190" />
  <row Id="40535" PostHistoryTypeId="36" PostId="23903" RevisionGUID="5dd77b9d-7b9c-4ffe-b28f-92dfe6e8e3f9" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4600/what-equipment-do-i-need-to-change-a-stage-piano-to-play-b3-organ" />
  <row Id="40536" PostHistoryTypeId="2" PostId="23903" RevisionGUID="286712cb-640d-4655-bc8d-6b1b1b2eb928" CreationDate="2012-08-18T19:21:51.963" UserDisplayName="Lora" Text="I have a 200 korg stage piano and would like to add the B3 organ and other piano sound to my keyboard. Can anyone tell me how that can be done? What equipment do I need to do this and can it be done without using the computer while playing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40537" PostHistoryTypeId="1" PostId="23903" RevisionGUID="286712cb-640d-4655-bc8d-6b1b1b2eb928" CreationDate="2012-08-18T19:21:51.963" UserDisplayName="Lora" Text="What equipment do I need to change a stage piano to play B3 organ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40538" PostHistoryTypeId="3" PostId="23903" RevisionGUID="286712cb-640d-4655-bc8d-6b1b1b2eb928" CreationDate="2012-08-18T19:21:51.963" UserDisplayName="Lora" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40539" PostHistoryTypeId="36" PostId="23904" RevisionGUID="c23f0355-22ca-408b-910b-b2704f2cbc3f" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5684/how-can-i-reproduce-an-xg-voice-faithfully-in-a-performance-on-yamaha-mu-100" />
  <row Id="40540" PostHistoryTypeId="36" PostId="23905" RevisionGUID="9bf6fff6-8816-47bc-89ee-fb381baef8c6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5684/how-can-i-reproduce-an-xg-voice-faithfully-in-a-performance-on-yamaha-mu-100/5730#5730" />
  <row Id="40541" PostHistoryTypeId="2" PostId="23905" RevisionGUID="198ef913-6877-486b-a969-972295bbdf96" CreationDate="2013-01-02T15:08:13.470" UserId="7189" Text="I can't help you with your exact problem, but I do have an alternate solution for you to consider: get a nice rackmount sampler and sample your XG voices, then trigger the sampled voices live. That guarantees that you will get exactly the sound that you expect. You can often pick up Akai S3000-series samplers for peanuts. They take standard SIMMs for memory expansion, and some will take an internal or external SCSI drive for storage. If you are careful, you should be able to get up and running for under $100." ContentLicense="CC BY-SA 3.0" />
  <row Id="40542" PostHistoryTypeId="2" PostId="23904" RevisionGUID="496e9cdd-bfbf-465d-9fb5-2b6fd7a9a87d" CreationDate="2012-12-28T01:30:16.670" UserDisplayName="Michael" Text="Anybody an expert on the [Yamaha MU 100][1]? I bought a used one. I have a keyboard midi controller inputting into it, and it outputs directly to a speaker. I use it for live performance.&#xD;&#xA;&#xD;&#xA;When I go to the XG mode (press Mode switch, then press Select to highlight XG), I can choose any of hundreds of MIDI voices that sound great.&#xD;&#xA;&#xD;&#xA;When I go to performance mode (press Mode, then press Select to highlight PFM), I can choose any of the existing Internal performances.&#xD;&#xA;&#xD;&#xA;I can replace the MIDI voice of an existing Internal performance with one of the XG voices. When I do this, the voice is clearly based on the XG voice, but it sounds different from the XG voice. I don't know what's wrong with the voice. There are a multitude of settings that could be affecting the voice: revberb, EQ, Attack Time, etc. I've adjusted both the performance settings and the individual voice settings on that performance, and I've tried to match them to what appears on the XG voice, but it still always sounds wrong. &#xD;&#xA;&#xD;&#xA;I want to reproduce exactly the XG voice in my performance. That way I can apply a keyboard split to a couple of XG voices to simulate two different instruments in my left and right hand.&#xD;&#xA;&#xD;&#xA;Can anyone tell me how to faithfully reproduce the XG voice in PFM (performance) mode? I know almost nothing about digital music, but this feels like it should be easy to me, like it should be possible to clear whatever settings exist on a performance when replacing the performance's voice with a new XG voice. &#xD;&#xA;&#xD;&#xA;I copy the XG voice into the performance this way:&#xD;&#xA;&#xD;&#xA;1. In performance mode, I use the Value + / Value - buttons to choose a performance number. For the sake of simplicity I choose Internal performance 088, which has only one part.&#xD;&#xA;&#xD;&#xA;2. I press both Part buttons at once to adjust the part.&#xD;&#xA;&#xD;&#xA;3. I use the Select + / Select - and Value + / Value - to choose a voice. The banks and numbers match those in XG mode exactly. For example, choosing bank 00, voice 074 chooses a flute.&#xD;&#xA;&#xD;&#xA;When I go to play the Performance, it sounds &quot;flutish,&quot; but it's clearly not the same flute.&#xD;&#xA;&#xD;&#xA;Here's a [Google spreadsheet][2] of settings I discovered and tried to adjust.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://usa.yamaha.com/products/music-production/tone-generators/mu100/?mode=model&#xD;&#xA;  [2]: https://docs.google.com/spreadsheet/ccc?key=0Avb_kjFgf1xjdGFETVNzRGZQZURfVG1NdnlJRjBnZ1E" ContentLicense="CC BY-SA 3.0" />
  <row Id="40543" PostHistoryTypeId="1" PostId="23904" RevisionGUID="496e9cdd-bfbf-465d-9fb5-2b6fd7a9a87d" CreationDate="2012-12-28T01:30:16.670" UserDisplayName="Michael" Text="How can I reproduce an XG voice faithfully in a Performance on Yamaha MU-100" ContentLicense="CC BY-SA 3.0" />
  <row Id="40544" PostHistoryTypeId="3" PostId="23904" RevisionGUID="496e9cdd-bfbf-465d-9fb5-2b6fd7a9a87d" CreationDate="2012-12-28T01:30:16.670" UserDisplayName="Michael" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40545" PostHistoryTypeId="36" PostId="23906" RevisionGUID="5b601596-6c63-4e93-a77e-3ce86c9ec018" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3629/how-does-an-electronic-keyboard-sustain-pedal-work" />
  <row Id="40546" PostHistoryTypeId="2" PostId="23907" RevisionGUID="0d6be2f1-a80a-4759-a9fc-a91bf3ba7c13" CreationDate="2012-03-23T17:51:10.627" UserId="7093" Text="The sustain pedal on a standard MIDI keyboard is simply a switch (that's why it is also called a footswitch).  Some keyboards (Like my [Kurzweil PC-88][1]) have multiple footswitch jacks that can assigned to different MIDI functions, most map it directly to sustain.&#xD;&#xA;&#xD;&#xA;Plugging the footswitch directly into your audio input won't accomplish what you want and could potentially damage the equipment.&#xD;&#xA;&#xD;&#xA;In order to use the footswitch as a MIDI controller, you will need to plug it into the proper jack on your keyboard and attach the keyboard's MIDI jacks to your computer.  Then you can use software such as [MIDI-OX][2] to remap the controller message to do what you want.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.kurzweilmusic.com/Product.php?id=145&#xD;&#xA;  [2]: http://www.midiox.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40547" PostHistoryTypeId="2" PostId="23906" RevisionGUID="9eaa498d-ce4d-4231-8305-464a3112f539" CreationDate="2012-03-23T17:33:08.350" UserDisplayName="Archagon" Text="I'm just starting to experiment with digital audio, MIDI in particular. My electronic keyboard has a sustain pedal with what looks like a standard 1⁄4 in. connector. I know there are MIDI sustain pedals out there, but I think it would be super-cool if I could figure out a way to hook it up to my computer. How does a keyboard sustain pedal work? Would it be possible to plug it into one of my audio inputs and script something up to make the computer think it's a MIDI controller?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40548" PostHistoryTypeId="1" PostId="23906" RevisionGUID="9eaa498d-ce4d-4231-8305-464a3112f539" CreationDate="2012-03-23T17:33:08.350" UserDisplayName="Archagon" Text="How does an electronic keyboard sustain pedal work?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40549" PostHistoryTypeId="3" PostId="23906" RevisionGUID="9eaa498d-ce4d-4231-8305-464a3112f539" CreationDate="2012-03-23T17:33:08.350" UserDisplayName="Archagon" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40550" PostHistoryTypeId="36" PostId="23907" RevisionGUID="1660408e-2780-4aaa-b4dc-474fd4e2c3fc" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3629/how-does-an-electronic-keyboard-sustain-pedal-work/3632#3632" />
  <row Id="40551" PostHistoryTypeId="36" PostId="23908" RevisionGUID="50a53b73-cb3a-4045-90fd-0e77cb630e00" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3629/how-does-an-electronic-keyboard-sustain-pedal-work/3638#3638" />
  <row Id="40552" PostHistoryTypeId="2" PostId="23908" RevisionGUID="6637bf66-cd60-45cf-b0b1-867cb714e622" CreationDate="2012-03-24T16:07:48.830" UserId="7209" Text="You can do what you want with a joystick adapter.&#xD;&#xA;&#xD;&#xA;http://sewelldirect.com/USB-to-Gameport-Adapter-for-Joysticks-Controllers-and-Gamepads.asp&#xD;&#xA;&#xD;&#xA;![Gameport pinout][1]&#xD;&#xA;&#xD;&#xA;*(From: http://www.connecthowto.com/tag/line-input/)*&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/WdnGk.gif&#xD;&#xA;&#xD;&#xA;You can use the pins for buttons 1-4 to attach pedals to.  Then, you can use one of the many pieces of software, such as MJOY (http://www.otk.it/mjoy/) to map the &quot;joystick&quot; to MIDI functions." ContentLicense="CC BY-SA 3.0" />
  <row Id="40553" PostHistoryTypeId="36" PostId="23909" RevisionGUID="47dc0454-1a13-4345-9b9c-7276dc42be22" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9809/daisy-chaining-midi-kaoss-pad-3-roland-rd-300-and-mainstage-3" />
  <row Id="40554" PostHistoryTypeId="2" PostId="23910" RevisionGUID="8ee3253b-26b5-43c8-b77d-c9da101021d4" CreationDate="2014-01-01T16:43:21.920" UserId="7322" UserDisplayName="Tobias" Text="sorry, it won't work like this.&#xD;&#xA;&#xD;&#xA;Do you need any interaction between the Roland and the Kaoss, or do you want both of their signals &quot;just&quot; being received by the Mac?&#xD;&#xA;&#xD;&#xA;You are connecting the MIDI Out from Kaoss Pad to the MIDI IN of the Roland and then via USB from the Roland to your Mac. With that setup, the Roland would &quot;react&quot; to MIDI commands from the Kaoss, but will not relay them to the Mac.&#xD;&#xA;&#xD;&#xA;In order to daisy-chain MIDI devices, they need to have a MIDI Thru port as well. &#xD;&#xA;&#xD;&#xA;Check out these pages for example:&#xD;&#xA;&#xD;&#xA; - [Introduction to Computer Music, Vol. I, Chapter 3][1]&#xD;&#xA; - [MIDI Connections][2]&#xD;&#xA;&#xD;&#xA;But why so complicated? Both, the Roland and the Kaoss have USB ports, right? So just connect each of them to your MacBook Pro via USB separately, either with a USB-hub or without if you have enough USB-ports left on the Mac.&#xD;&#xA;&#xD;&#xA;Another solution would be to use a MIDI merger and a USB audio interface, but no need to buy all that stuff if two USB cables do the same.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.de/imgres?sa=X&amp;espv=210&amp;es_sm=91&amp;tbm=isch&amp;tbnid=guoP1eConVnxzM:&amp;imgrefurl=http://www.indiana.edu/~emusic/etext/MIDI/chapter3_MIDI2.shtml&amp;docid=zZGGer7XUOWk2M&amp;imgurl=http://www.indiana.edu/~emusic/etext/MIDI/MIDI_images/MIDI1.GIF&amp;w=476&amp;h=221&amp;ei=-T_EUuDVD4TSsga4zICoBw&amp;zoom=1&amp;iact=rc&amp;dur=313&amp;page=1&amp;tbnh=121&amp;tbnw=260&amp;start=0&amp;ndsp=26&amp;ved=1t:429,r:0,s:0,i:83&amp;tx=159&amp;ty=79&amp;biw=1532&amp;bih=788&#xD;&#xA;  [2]: http://www.harfesoft.de/aixphysik/sound/midi/pages/midicnct.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="40555" PostHistoryTypeId="2" PostId="23909" RevisionGUID="5307e73a-ad37-4309-9300-83af41a4869d" CreationDate="2014-01-01T00:24:08.367" UserDisplayName="MaxF" Text="I am trying to daisy chain my Kaoss Pad 3 to my Roland RD-300sx keyboard to my Macbook Pro (13&quot; mid-2012) in order to use with Mainstage 3 and am having problems. I have a normal midi cable going from my Kaoss Pad midi out to my Roland mini in. Then my roland is connected to my computer by USB. My computer recognizes the Roland but not the Kaoss Pad. What do I need to do to make it recognize both?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40556" PostHistoryTypeId="1" PostId="23909" RevisionGUID="5307e73a-ad37-4309-9300-83af41a4869d" CreationDate="2014-01-01T00:24:08.367" UserDisplayName="MaxF" Text="Daisy Chaining Midi: Kaoss Pad 3, Roland RD-300, and Mainstage 3" ContentLicense="CC BY-SA 3.0" />
  <row Id="40557" PostHistoryTypeId="3" PostId="23909" RevisionGUID="5307e73a-ad37-4309-9300-83af41a4869d" CreationDate="2014-01-01T00:24:08.367" UserDisplayName="MaxF" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40558" PostHistoryTypeId="36" PostId="23910" RevisionGUID="29609e3b-5dd4-4a11-ba14-60e0931093d9" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9809/daisy-chaining-midi-kaoss-pad-3-roland-rd-300-and-mainstage-3/9810#9810" />
  <row Id="40559" PostHistoryTypeId="36" PostId="23911" RevisionGUID="c92e7988-5eab-46bc-a1a6-4184b2372669" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1413/exporting-logic-to-ableton" />
  <row Id="40560" PostHistoryTypeId="36" PostId="23912" RevisionGUID="128b7878-758a-4b08-af9c-c2c2c3332262" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1413/exporting-logic-to-ableton/1423#1423" />
  <row Id="40561" PostHistoryTypeId="2" PostId="23912" RevisionGUID="d7a0f6ee-dc20-4099-a1f3-40dfb3b8438b" CreationDate="2011-05-17T09:56:48.823" UserId="7471" UserDisplayName="Mark Heath" Text="Rendering stems is the usual way to transfer an entire mix from one DAW into another. However, you may be able to use [ReWire][1] to achieve what you want.&#xD;&#xA;&#xD;&#xA;It looks like Ableton Live can act as a ReWire client (&quot;Device&quot;) and Logic as a ReWire host (&quot;Mixer&quot;) allowing you to treat Live like a virtual instrument in Logic. Have a look at [this tutorial][2]. I'm not sure the same can be done the other way round - Live can be a &quot;Mixer&quot; but I don't think Logic can be used as a &quot;Device&quot;.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/ReWire&#xD;&#xA;  [2]: http://www.ableton.com/pages/rewire/logic_pro" ContentLicense="CC BY-SA 3.0" />
  <row Id="40562" PostHistoryTypeId="2" PostId="23913" RevisionGUID="c5f0829a-ed65-49e8-9a40-4ce550e769ee" CreationDate="2011-05-27T21:15:09.677" UserId="9447" UserDisplayName="Fortes" Text="If what you want to do is perform a live act with Ableton of your tracks produced in logic i would recommend a method that is kind of slow and tedious but once you got it going it will give you a great number of possibilities to play with during the live act..&#xD;&#xA;&#xD;&#xA;I use two groups of 7 audio tracks in my live act, you can use whatever number of tracks fill your need but always have the same number of tracks for all your tunes (picture this like if i where to have a deck A and deck B )&#xD;&#xA;&#xD;&#xA;The worst part is that you have to export all your tracks from logic bouncing them not once but seven times! &#xD;&#xA;and separating or grouping your sounds to match the tracks you will be going to use (in my case Kick, hihats-claps-snares, bass, bass2, synth/Piano,Percusions, Ambient)&#xD;&#xA;I don't bounce them all at once because i want all the effects in my master channel to be applied to all of the separated tracks so the sound of the original track doesn't change.&#xD;&#xA;&#xD;&#xA;After you have done that you should have 7 different tracks that played together make your original track &#xD;&#xA;&#xD;&#xA;Now it is time to go to Ableton and import those 7 tracks into your arrangement view, i usualy set ableton's tempo to the tempo on the tracks that are being imported to make the warping process easier.&#xD;&#xA; Warping your tracks correctly is another whole subject and there are plenty of tutorials out there explaining how to do this, i usually adjust the first warp marker to be on its place and live does a good job warping the whole track correctly.&#xD;&#xA;&#xD;&#xA;Now that you have your 7 separated tracks all lined up and warped, you should be able to play them and hear your complete original song perfectly, and hear it correctly even if you change the tempo of the live act.&#xD;&#xA;&#xD;&#xA;The next step is to chop all your tracks in 8 bar or 16 bar loops (using comnd+E with a selection will do the trick) and then select all of them and drag them to your Session View (drag and click tab).&#xD;&#xA;&#xD;&#xA;Now you have a list of scenes that played sequentially play your original tune but you can fool around with all your sounds and have complete control on the tune.&#xD;&#xA;&#xD;&#xA;Make this with some other tracks and you can start combining all your tunes in a whole new way!!..&#xD;&#xA;&#xD;&#xA;a great tutorial explaining this can be found at:&#xD;&#xA;&#xD;&#xA;[http://www.cosm.co.nz/index.php?option=com_community&amp;view=videos&amp;task=video&amp;userid=67&amp;videoid=18&amp;Itemid=0][1]&#xD;&#xA;&#xD;&#xA;that tutorial doesn't use logic, but it explains all the basics of the technique&#xD;&#xA;&#xD;&#xA;This has changed the way I perform live...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cosm.co.nz/index.php?option=com_community&amp;view=videos&amp;task=video&amp;userid=67&amp;videoid=18&amp;Itemid=0" ContentLicense="CC BY-SA 3.0" />
  <row Id="40563" PostHistoryTypeId="2" PostId="23911" RevisionGUID="e79e7cc2-f473-4e65-818b-75af51895f6a" CreationDate="2011-05-16T13:40:27.800" UserDisplayName="Tyler Beaton" Text="I write/compose all of my music in Apple Logic and I would like to use Ableton Live to sequence different scenes of audio from it. &#xD;&#xA;&#xD;&#xA;What is the best way to export? &#xD;&#xA;&#xD;&#xA;I am familiar with bouncing stems of tracks but the sound always changes when the audio effects are baked in. Perhaps a better idea would be to slave Ableton Live into Logic? &#xD;&#xA;&#xD;&#xA;If so is there a way of creating scenes that pull from logic tracks?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40564" PostHistoryTypeId="1" PostId="23911" RevisionGUID="e79e7cc2-f473-4e65-818b-75af51895f6a" CreationDate="2011-05-16T13:40:27.800" UserDisplayName="Tyler Beaton" Text="Exporting Logic to Ableton?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40565" PostHistoryTypeId="3" PostId="23911" RevisionGUID="e79e7cc2-f473-4e65-818b-75af51895f6a" CreationDate="2011-05-16T13:40:27.800" UserDisplayName="Tyler Beaton" Text="&lt;logic-pro&gt;&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40566" PostHistoryTypeId="36" PostId="23913" RevisionGUID="95237320-fb6e-4aea-98e9-feccc08266c5" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1413/exporting-logic-to-ableton/1481#1481" />
  <row Id="40567" PostHistoryTypeId="36" PostId="23914" RevisionGUID="f0a1e8af-7056-4ea4-a8b6-3e1aad4dc7c0" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1413/exporting-logic-to-ableton/5641#5641" />
  <row Id="40568" PostHistoryTypeId="36" PostId="23915" RevisionGUID="0c6869cf-99ac-4ad2-baeb-d24d56143456" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1413/exporting-logic-to-ableton/9709#9709" />
  <row Id="40569" PostHistoryTypeId="2" PostId="23915" RevisionGUID="282b3419-5cd3-4b7b-b968-28b13c5d77cb" CreationDate="2013-12-20T11:02:14.943" UserDisplayName="Doctor Mix" Text="Here's a video we've done just about that!&#xD;&#xA;How to export tracks in Logic 9 and X&#xD;&#xA;http://youtu.be/P7I05w3iRn4&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;How do you like it?&#xD;&#xA;:-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="40570" PostHistoryTypeId="2" PostId="23914" RevisionGUID="d9b3796f-8f5e-49ce-a00a-4260637376b8" CreationDate="2012-12-21T17:29:45.933" UserDisplayName="Luke" Text="You might also try bouncing from Logic in real time? I've noticed certain automations bouncing differently than I've edited them, but bouncing correctly when I bounce in real time." ContentLicense="CC BY-SA 3.0" />
  <row Id="40571" PostHistoryTypeId="36" PostId="23916" RevisionGUID="357bd9b1-b7ad-4693-9c63-130ef6677bf6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4330/emulating-spoken-and-rap-vocals-in-midi" />
  <row Id="40572" PostHistoryTypeId="36" PostId="23917" RevisionGUID="3697e204-0e35-4bed-90ea-d4e40c28fc77" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4330/emulating-spoken-and-rap-vocals-in-midi/4333#4333" />
  <row Id="40573" PostHistoryTypeId="36" PostId="23918" RevisionGUID="ccdca0c8-3022-472f-98fe-490876abd2d8" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4330/emulating-spoken-and-rap-vocals-in-midi/4338#4338" />
  <row Id="40574" PostHistoryTypeId="36" PostId="23919" RevisionGUID="27f849a9-204a-414d-8650-f13968f1ea72" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4330/emulating-spoken-and-rap-vocals-in-midi/4361#4361" />
  <row Id="40575" PostHistoryTypeId="36" PostId="23920" RevisionGUID="c7c62330-b658-467b-8f76-8a40fc87e1cb" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4330/emulating-spoken-and-rap-vocals-in-midi/4514#4514" />
  <row Id="40576" PostHistoryTypeId="2" PostId="23917" RevisionGUID="66290a0d-4846-48db-815d-9454e375c8ce" CreationDate="2012-07-02T09:05:47.760" UserId="7016" Text="Unfortunately your theory of how the human voice is made up is not accurate enough to make this possible - you just can't get the detail. &#xD;&#xA;&#xD;&#xA;However, there are a wide range of examples of partial emulation of vocal tones, using combinations of effects and notes - see Steve Vai's guitar at the start of California Girls or Greasy Kid's Stuff for a couple. He uses the combination of a Wah (which allows you to create a lot of vowel sounds) and sliding guitar notes.&#xD;&#xA;&#xD;&#xA;It still doesn't come across as speech, but if you listen carefully you can guess at the words he is trying to pick out." ContentLicense="CC BY-SA 3.0" />
  <row Id="40577" PostHistoryTypeId="2" PostId="23918" RevisionGUID="72df757f-588d-4b23-9a4a-945ee3a179d6" CreationDate="2012-07-02T15:54:13.007" UserDisplayName="JPollock" Text="I've never tried it but Yamaha's Vocaloid technology was developed for this purpose. I think it's more designed for robots and anime characters, but maybe with the right processing in Logic it could work for what you need.&#xD;&#xA;Check out http://en.m.wikipedia.org/wiki/Vocaloid for more info.&#xD;&#xA;If you try this please report back results, I'd be curious to know how it goes" ContentLicense="CC BY-SA 3.0" />
  <row Id="40578" PostHistoryTypeId="2" PostId="23919" RevisionGUID="adc9b739-7a06-4510-9bbf-6c1c15bfd5c8" CreationDate="2012-07-05T00:12:40.270" UserId="7189" Text="The easiest solution would be to just use apple's `say` text-to-speech program. Try `$ say hello` on the command line.&#xD;&#xA;&#xD;&#xA;Any sound can be [broken down into a series of sine waves][1]. The easy way to do that is via the [Fourier Transformation][2]. Then you can re-synthesizer with an inverse-fourier tranformation, which essentially means playing back the sine waves with the proper coefficients.&#xD;&#xA;&#xD;&#xA;If you want to go really crazy, you can resynthesize a sound with something other than a sine wave, [like a piano][3]:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=muCPjK4nGY4&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Additive_synthesis&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Fourier_transform&#xD;&#xA;  [3]: http://puredata.info/Members/hans/automatenklavier/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40579" PostHistoryTypeId="2" PostId="23920" RevisionGUID="11a79131-bed0-489c-af35-905028425ed4" CreationDate="2012-08-03T15:15:01.463" UserDisplayName="JPollock" Text="Another possible solution is autorap:&#xD;&#xA;http://itunes.apple.com/us/app/autorap/id524299475&amp;+Synthtopia&#xD;&#xA;And iOS and android app that you speak in to and then it rapifies it... I'm afraid to try this." ContentLicense="CC BY-SA 3.0" />
  <row Id="40580" PostHistoryTypeId="2" PostId="23916" RevisionGUID="3f87c3b3-caaa-4470-8045-fb804723944c" CreationDate="2012-07-01T23:22:05.867" UserDisplayName="user1159454" Text="I'm pretty sure that what I'm trying to do is impossible but I figured I'd try anyway. I'm making a MIDI file using tuxguitar I'll later export into Logic for refining, and there's rap/spoken vocals in this song. In theory the human voice is made of tones and pitches that fluctuate between each other too fast to call it a musical note...in my theory anyway. So I'd think some degree of replication of the tone could be achieved by various sliding notes, but I have no idea of where to even start, what tone to begin, end, slide to, etc.&#xD;&#xA;&#xD;&#xA;Here's an mp3 of a quick humming of the kind of thing I want to accomplish in MIDI. &#xD;&#xA;&#xD;&#xA;If it's not impossible to do with a virtual instrument or MIDI, could you show me where to start, or point me to a tutorial or something? &#xD;&#xA;&#xD;&#xA;http://www.filedropper.com/raptone&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="40581" PostHistoryTypeId="1" PostId="23916" RevisionGUID="3f87c3b3-caaa-4470-8045-fb804723944c" CreationDate="2012-07-01T23:22:05.867" UserDisplayName="user1159454" Text="Emulating spoken and rap vocals in MIDI" ContentLicense="CC BY-SA 3.0" />
  <row Id="40582" PostHistoryTypeId="3" PostId="23916" RevisionGUID="3f87c3b3-caaa-4470-8045-fb804723944c" CreationDate="2012-07-01T23:22:05.867" UserDisplayName="user1159454" Text="&lt;midi&gt;&lt;logic-pro&gt;&lt;pitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40583" PostHistoryTypeId="36" PostId="23921" RevisionGUID="2b9edd4b-ff95-484c-8044-15f6ea0c622e" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3/transposing-instruments-in-logic-pro" />
  <row Id="40584" PostHistoryTypeId="36" PostId="23922" RevisionGUID="a3bc13d7-4311-41ea-9f85-c283ccf71950" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3/transposing-instruments-in-logic-pro/79#79" />
  <row Id="40585" PostHistoryTypeId="2" PostId="23922" RevisionGUID="1e9901dd-209e-44c2-b6eb-641b6916d2e7" CreationDate="2010-12-07T23:02:48.597" UserDisplayName="Redbeard" Text="The easiest way would be to score as usual and set the transposition offset in the track parameters, or if you want to be more specific, in the region parameters. These are both edited in the inspector area. See [this page][1] from the Logic Pro 9 manual.&#xD;&#xA;&#xD;&#xA;  [1]: http://goo.gl/kgJPI" ContentLicense="CC BY-SA 2.5" />
  <row Id="40586" PostHistoryTypeId="2" PostId="23921" RevisionGUID="352d88cb-06bd-4d9d-b36b-8181c0721b75" CreationDate="2010-12-07T20:22:52.160" UserDisplayName="fluteflute" Text="When composing in Logic Pro, how can I work with transposing instruments (for example a Clarinet in B♭) in the Score window?" ContentLicense="CC BY-SA 2.5" />
  <row Id="40587" PostHistoryTypeId="1" PostId="23921" RevisionGUID="352d88cb-06bd-4d9d-b36b-8181c0721b75" CreationDate="2010-12-07T20:22:52.160" UserDisplayName="fluteflute" Text="Transposing Instruments in Logic Pro" ContentLicense="CC BY-SA 2.5" />
  <row Id="40588" PostHistoryTypeId="3" PostId="23921" RevisionGUID="352d88cb-06bd-4d9d-b36b-8181c0721b75" CreationDate="2010-12-07T20:22:52.160" UserDisplayName="fluteflute" Text="&lt;logic-pro&gt;&lt;scoring&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40589" PostHistoryTypeId="36" PostId="23923" RevisionGUID="1457daff-b464-4d25-a0e4-46385022e096" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1545/can-i-play-pure-piano-tunes-with-a-quasimidi-raven" />
  <row Id="40590" PostHistoryTypeId="2" PostId="23924" RevisionGUID="a434bb6e-2860-494d-b161-c3675e191f2a" CreationDate="2011-06-05T15:33:24.900" UserId="7209" Text="I would happily trade you for a synth with a piano mode.  :-D&#xD;&#xA;&#xD;&#xA;I don't have one of these, but the nature of this synth is a bit different than a sampler with basic envelope.  If there is a piano sample on there, I suspect the reason that it won't go on the full keyboard is because it would sound terrible!  You would be loading one &quot;piano&quot; sample for the whole keyboard and simply changing the pitch of it.&#xD;&#xA;&#xD;&#xA;Modern piano emulators have a different sample for every single note, and at a handful of velocities.&#xD;&#xA;&#xD;&#xA;If you want a basic piano sound to get started, you can map the MIDI input from your Raven to the basic general MIDI synth built into your computer.  [MIDI-OX][1] allows you to do this very easily.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.midiox.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40591" PostHistoryTypeId="2" PostId="23923" RevisionGUID="0cb34571-088d-40cc-9f3e-b98950a2cd81" CreationDate="2011-06-04T23:23:17.530" UserId="7276" UserDisplayName="TheBlastOne" Text="Being a total noob in this topic...**I have a [Quasimidi Raven synth](http://www.vintagesynth.com/misc/raven.php)) on my desk and would like to play just plain vanilla Piano sounds on, or with, it. Is it possible?** Or do I have to hook it up to my PC (using MIDI to what? USB? Using what software?) and use the PC to generate the sound in realtime?&#xD;&#xA;&#xD;&#xA;As far I can see, there is no config aboard the Raven that puts piano on the whole manual. It usually is right-hand piano, left-hand something else. Maybe I can upload the piano-only definition from my PC to the synth?&#xD;&#xA;&#xD;&#xA;My primary target is not recording, but re-using the &quot;shelf-ware&quot; Raven for finding out if I can get the hang on playing piano as the first step." ContentLicense="CC BY-SA 3.0" />
  <row Id="40592" PostHistoryTypeId="1" PostId="23923" RevisionGUID="0cb34571-088d-40cc-9f3e-b98950a2cd81" CreationDate="2011-06-04T23:23:17.530" UserId="7276" UserDisplayName="TheBlastOne" Text="Can I play pure Piano tunes with a Quasimidi Raven?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40593" PostHistoryTypeId="3" PostId="23923" RevisionGUID="0cb34571-088d-40cc-9f3e-b98950a2cd81" CreationDate="2011-06-04T23:23:17.530" UserId="7276" UserDisplayName="TheBlastOne" Text="&lt;midi&gt;&lt;piano&gt;&lt;usb&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40594" PostHistoryTypeId="36" PostId="23924" RevisionGUID="c70fa075-a3c0-4234-bfa0-2b55348484f9" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1545/can-i-play-pure-piano-tunes-with-a-quasimidi-raven/1546#1546" />
  <row Id="40595" PostHistoryTypeId="36" PostId="23925" RevisionGUID="d533c3e6-c24b-4d05-898f-3d95d0033026" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4890/how-do-i-examine-controller-data-such-as-for-the-sustain-pedal-in-reaper" />
  <row Id="40596" PostHistoryTypeId="2" PostId="23926" RevisionGUID="e8e2088c-9a8c-473c-8294-66411e43eefc" CreationDate="2012-10-01T20:51:14.800" UserId="7093" Text="In Reaper, you can view controller data in the MIDI editor.  &#xD;&#xA;&#xD;&#xA;To open the editor, right click on the MIDI track you wish to view and select Built-in MIDI editor-&gt;Open in editor.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;In the MIDI editor there is a drop down list in the lower left corner.  Select 64 Hold Pedal (on/off).  You should see the sustain pedal controller data in the bottom portion of the window.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/l2Qvm.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="40597" PostHistoryTypeId="2" PostId="23925" RevisionGUID="8d106bd3-9d51-4d62-aa03-fed942688845" CreationDate="2012-10-01T18:51:49.693" UserId="7215" UserDisplayName="American Luke" Text="I have Reaper 4.261 and am trying to view the controller data (specifically for the sustain pedal). I've tried reading the manual, but it didn't help much. &#xD;&#xA;&#xD;&#xA;How do I view the controller data in Reaper?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40598" PostHistoryTypeId="1" PostId="23925" RevisionGUID="8d106bd3-9d51-4d62-aa03-fed942688845" CreationDate="2012-10-01T18:51:49.693" UserId="7215" UserDisplayName="American Luke" Text="How do I examine controller data such as for the Sustain Pedal in Reaper?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40599" PostHistoryTypeId="3" PostId="23925" RevisionGUID="8d106bd3-9d51-4d62-aa03-fed942688845" CreationDate="2012-10-01T18:51:49.693" UserId="7215" UserDisplayName="American Luke" Text="&lt;midi&gt;&lt;reaper&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40600" PostHistoryTypeId="36" PostId="23926" RevisionGUID="37f649a3-44d2-413f-9b76-1c76d8b69888" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4890/how-do-i-examine-controller-data-such-as-for-the-sustain-pedal-in-reaper/4892#4892" />
  <row Id="40601" PostHistoryTypeId="36" PostId="23927" RevisionGUID="380b5d55-f301-4349-a808-751134c0ad93" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/703/looking-for-software-for-converting-audio-midi" />
  <row Id="40602" PostHistoryTypeId="2" PostId="23928" RevisionGUID="69befcfa-e4d1-4883-862f-8f69c5d8600b" CreationDate="2011-01-28T18:53:09.003" UserDisplayName="Nik Reiman" Text="The best audio -&gt; midi software out there is definitely [Melodyne][1]. You might find it a bit expensive, but it's a difficult task and it does a good job at it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.celemony.com/cms/" ContentLicense="CC BY-SA 2.5" />
  <row Id="40603" PostHistoryTypeId="2" PostId="23927" RevisionGUID="5287e5c9-285e-4af1-a5ec-9791cff88d21" CreationDate="2011-01-28T16:37:56.933" UserDisplayName="Fuxi" Text="I'd like to study grooves/midi notation from some old songs - any recommendations for audio to midi software?" ContentLicense="CC BY-SA 2.5" />
  <row Id="40604" PostHistoryTypeId="1" PostId="23927" RevisionGUID="5287e5c9-285e-4af1-a5ec-9791cff88d21" CreationDate="2011-01-28T16:37:56.933" UserDisplayName="Fuxi" Text="looking for software for converting audio -&gt; midi" ContentLicense="CC BY-SA 2.5" />
  <row Id="40605" PostHistoryTypeId="3" PostId="23927" RevisionGUID="5287e5c9-285e-4af1-a5ec-9791cff88d21" CreationDate="2011-01-28T16:37:56.933" UserDisplayName="Fuxi" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40606" PostHistoryTypeId="36" PostId="23928" RevisionGUID="b637a8e6-34ff-43a4-9795-217e4c3e2404" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/703/looking-for-software-for-converting-audio-midi/704#704" />
  <row Id="40607" PostHistoryTypeId="36" PostId="23929" RevisionGUID="f34d12d6-2d68-43fb-9541-162f6d2cde4e" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5148/has-anybody-tried-using-git-version-control-for-session-control-of-audio-recordi" />
  <row Id="40608" PostHistoryTypeId="2" PostId="23930" RevisionGUID="aea3045e-829e-4991-b45e-81d25e7449e2" CreationDate="2012-10-27T08:35:51.543" UserDisplayName="Kelly Christoffersen" Text="Yes, I have been using **Mercurial** (hg) with **Logic Pro** for a while now and with great results. Also coming from a software development background I find the main benefit to be the comments for each changeset and the ability to go back and branch from an earlier version to try out alternate production or composition techniques.&#xD;&#xA;&#xD;&#xA;As mentioned you will likely pay for the benefits with the cost of increased disk space for binary files if they can't be clearly diffed. But in my experience this has not been bad since it is actually the project files that change. Also, Mercurial does have binary diff support though I have not tried it with audio files since ideally you want your recorded tracks to stay untouched by destructive edits for reuse.&#xD;&#xA;&#xD;&#xA;Finally, the peace of mind that comes from being able to revert right back to a specific revision is priceless to me. &#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;One practical note; be sure to ignore any transient or generated files that will waste space or save machine specific metadata. &#xD;&#xA;&#xD;&#xA;Here is my excudes file used with Mercurial and Logic Pro (via OS X, naturally):&#xD;&#xA;&#xD;&#xA;**.hgignore**&#xD;&#xA;&#xD;&#xA;    syntax: glob&#xD;&#xA;&#xD;&#xA;    .DS_Store&#xD;&#xA;&#xD;&#xA;    displayState&#xD;&#xA;    documentData.orig&#xD;&#xA;    windowImage.jpg&#xD;&#xA;&#xD;&#xA;    Project File Backups&#xD;&#xA;    Undo Data&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="40609" PostHistoryTypeId="2" PostId="23929" RevisionGUID="1c32db18-32d5-4d3e-9ab7-3f19b6e4041c" CreationDate="2012-10-23T15:50:15.983" UserId="7462" UserDisplayName="byronyasgur" Text="Has anybody tried using [GIT][1] version control for session control of audio recordings? &#xD;&#xA;&#xD;&#xA;I have used GIT in programming and it works very well, and is easy to use too. It works great for collaboration, which I find interesting as I may send a song to someone to do some work on and it would be a handy way of merging sessions and being able to jump back easily to a previous session. Also it would be awesome to be able to work with teams of people in remote locations ... but I have read somewhere that it doesn't work well with audio and this has put me off the experiment myself so I thought I'd better ask for other peoples experiences first.&#xD;&#xA;&#xD;&#xA;I suppose in audio recording and mixing scenarios the arrangement is such a small file that it's just as easy to keep multiple versions of that file ie `song_recording_1`, `song_recording_2`, `song_mix_1`, `song_mix_2` etc but I thought it would be interesting to see if there's been any experimentation with GIT or any other version control and what conclusions are being reached.&#xD;&#xA;&#xD;&#xA;To be honest, ( and I know my system is a bit old so I am open to correction ) I find it strange that I haven't seen any type of version control already built into any DAW that I'm aware of ... it seems like it should be a fairly easy thing to add considering it would only be a matter of keeping track of sessions, which it more or less does already ... does anyone know why it hasn't been implemented yet ... I suppose most people operate some form of manual session control.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Git_%28software%29" ContentLicense="CC BY-SA 3.0" />
  <row Id="40610" PostHistoryTypeId="1" PostId="23929" RevisionGUID="1c32db18-32d5-4d3e-9ab7-3f19b6e4041c" CreationDate="2012-10-23T15:50:15.983" UserId="7462" UserDisplayName="byronyasgur" Text="Has anybody tried using GIT version control for session control of audio recordings?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40611" PostHistoryTypeId="3" PostId="23929" RevisionGUID="1c32db18-32d5-4d3e-9ab7-3f19b6e4041c" CreationDate="2012-10-23T15:50:15.983" UserId="7462" UserDisplayName="byronyasgur" Text="&lt;logic-pro&gt;&lt;daw&gt;&lt;pro-tools&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40612" PostHistoryTypeId="36" PostId="23930" RevisionGUID="216bd44e-b5e3-4f42-ad04-915f93bf829c" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5148/has-anybody-tried-using-git-version-control-for-session-control-of-audio-recordi/5172#5172" />
  <row Id="40613" PostHistoryTypeId="36" PostId="23931" RevisionGUID="4a257ca0-61bb-468e-8bb0-5ab67e62b960" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9008/logic-pro-how-to-delete-an-empty-midi-section" />
  <row Id="40614" PostHistoryTypeId="2" PostId="23932" RevisionGUID="bcae33de-2e96-420a-bca3-aacfc8e7f407" CreationDate="2013-09-20T18:25:41.800" UserId="7194" Text="You can either trim the end of the region by dragging it from the right bottom corner of the region.&#xD;&#xA;&#xD;&#xA;Or you can use the scissors tool (`Esc`, then `5`), split the region 8 bars in and delete the half that is silent (then double click `Esc` to go back to the pointer tool).&#xD;&#xA;&#xD;&#xA;Alternatively, in the piano roll, you can set the end marker for the region - it is shown as a rectangle on the timeline, and you can drag it." ContentLicense="CC BY-SA 3.0" />
  <row Id="40615" PostHistoryTypeId="2" PostId="23931" RevisionGUID="d37d9bf3-ff84-4020-8051-097bc7eff1bc" CreationDate="2013-09-20T13:19:15.710" UserDisplayName="torr" Text="Say I have a 16 bar MIDI region full of MIDI events.&#xD;&#xA;&#xD;&#xA;Now I delete the last eight bars of events -- and am left with a long section of silence which I'd like to get rid of. After deleting this section, the final duration of my MIDI region should be 8 bars.&#xD;&#xA;&#xD;&#xA;I have not found how to do this on Logic documentation.&#xD;&#xA;&#xD;&#xA;Any help is greatly appreciated.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40616" PostHistoryTypeId="1" PostId="23931" RevisionGUID="d37d9bf3-ff84-4020-8051-097bc7eff1bc" CreationDate="2013-09-20T13:19:15.710" UserDisplayName="torr" Text="Logic Pro - How to delete an empty MIDI section?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40617" PostHistoryTypeId="3" PostId="23931" RevisionGUID="d37d9bf3-ff84-4020-8051-097bc7eff1bc" CreationDate="2013-09-20T13:19:15.710" UserDisplayName="torr" Text="&lt;midi&gt;&lt;editing&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40618" PostHistoryTypeId="36" PostId="23932" RevisionGUID="aaeec935-d17a-4cec-b432-fefc9b70df5c" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9008/logic-pro-how-to-delete-an-empty-midi-section/9010#9010" />
  <row Id="40619" PostHistoryTypeId="36" PostId="23933" RevisionGUID="e440cca2-82d0-4b6f-84a6-495db4bff3de" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4681/sustain-pedal-in-a-midi-file" />
  <row Id="40620" PostHistoryTypeId="2" PostId="23934" RevisionGUID="59429282-7131-4e4b-84a8-0b1ca732a812" CreationDate="2012-09-08T21:47:04.190" UserId="7189" Text="According to the [manual][1], your YPG-535 uses the [standard controller][2] - CC# 64 - for the sustain pedal. It is possible that Windows Media Player ignores controller data and just plays the notes. You will need to examine the MIDI File in an editor or DAW that will show you controller values as well as notes. If you see CC 64 set to ON when you played the sostuneto pedal, then the file is fine.&#xD;&#xA;&#xD;&#xA;Update: [Reaper](http://www.reaper.fm/) should work for examining the MIDI file in detail. You can download the trial version for free, and the full version isn't expensive.&#xD;&#xA;&#xD;&#xA;  [1]: http://usa.yamaha.com/products/musical-instruments/keyboards/digitalpianos/dgx_series/ypg-535/?mode=model&#xD;&#xA;  [2]: http://www.tweakheadz.com/midi_controllers.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="40621" PostHistoryTypeId="2" PostId="23933" RevisionGUID="94545bcd-1986-4b96-ae82-3c59e5ee0d37" CreationDate="2012-09-08T20:38:17.403" UserId="7215" UserDisplayName="American Luke" Text="I recorded a piece with my keyboard (a Yamaha YPG-535). When I play it back on the keyboard, it sounded great. I put it on a flash drive in MIDI format and plugged it into my computer (Windows 7). I played it in Windows Media Player and I noticed it was not playing the sustain pedal. I opened it in Musescore 1.2, and everything else was notated correctly. &#xD;&#xA;&#xD;&#xA;Why was the sustain pedal not transferred to the MIDI file, and how should I fix this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40622" PostHistoryTypeId="1" PostId="23933" RevisionGUID="94545bcd-1986-4b96-ae82-3c59e5ee0d37" CreationDate="2012-09-08T20:38:17.403" UserId="7215" UserDisplayName="American Luke" Text="Sustain pedal in a MIDI file" ContentLicense="CC BY-SA 3.0" />
  <row Id="40623" PostHistoryTypeId="3" PostId="23933" RevisionGUID="94545bcd-1986-4b96-ae82-3c59e5ee0d37" CreationDate="2012-09-08T20:38:17.403" UserId="7215" UserDisplayName="American Luke" Text="&lt;midi&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40624" PostHistoryTypeId="36" PostId="23934" RevisionGUID="5c6b8297-3fb1-4d00-96c1-f2c2a22eb3ac" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4681/sustain-pedal-in-a-midi-file/4682#4682" />
  <row Id="40631" PostHistoryTypeId="36" PostId="23937" RevisionGUID="423e9880-34bd-46b1-aa7c-90b9b76565a9" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3663/which-daw-can-handle-simultaneous-editing-of-midi-channels-instruments-per-tra" />
  <row Id="40632" PostHistoryTypeId="36" PostId="23938" RevisionGUID="7b95a57d-8b5b-4827-9f94-e7d1719a2c8c" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3663/which-daw-can-handle-simultaneous-editing-of-midi-channels-instruments-per-tra/3665#3665" />
  <row Id="40633" PostHistoryTypeId="36" PostId="23939" RevisionGUID="2b79ec44-7f4c-4e1a-bf9c-968ca4e92a18" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3663/which-daw-can-handle-simultaneous-editing-of-midi-channels-instruments-per-tra/3714#3714" />
  <row Id="40634" PostHistoryTypeId="2" PostId="23938" RevisionGUID="6bb724f7-fecb-4df9-96d8-4bf0f6d5d34e" CreationDate="2012-03-29T09:21:00.127" UserId="7016" Text="Cubase and Sonar will both let you alter parameters of groups of tracks as well as single tracks, so you could group all your cellos and fade them all in using one control if required.&#xD;&#xA;&#xD;&#xA;In fact you could do the same with any parameter, and automate the entire thing.&#xD;&#xA;&#xD;&#xA;I've used both for many years - probably current preference for usability is Cubase, but Sonar isn't far off in terms of functionality." ContentLicense="CC BY-SA 3.0" />
  <row Id="40635" PostHistoryTypeId="2" PostId="23939" RevisionGUID="959a56dc-7cad-431b-b488-19f9e6b1afc6" CreationDate="2012-04-07T05:42:30.073" UserId="7234" UserDisplayName="fluffy" Text="Logic allows you to select multiple MIDI regions simultaneously and edit the notes within them all in conjunction.  This allows you to do much of what you want, while still keeping the individual tracks separate." ContentLicense="CC BY-SA 3.0" />
  <row Id="40636" PostHistoryTypeId="2" PostId="23937" RevisionGUID="cee481b4-c2a7-409d-8463-3f4bacbea517" CreationDate="2012-03-29T00:27:33.660" UserId="7459" UserDisplayName="bigp" Text="I'm looking for a list of DAWs that supports editing MIDI of multiple instruments in one single track.&#xD;&#xA;&#xD;&#xA;For example, if I had a group of cellos playing slightly differently, I could separate them in different MIDI channels (preferably color-identified) and edit them as one unified track, as opposed to being split in multiple tracks / clips. &#xD;&#xA;&#xD;&#xA;Just for illustration, basically imagine the dark-red notes are one instrument (ex: *cello*), the pinkish-red as another (ex: *viola*), and the palest-red is yet another instrument (ex: *flute*).&#xD;&#xA;&#xD;&#xA;![A mockup of what I mean (in Ableton Live)][1]&#xD;&#xA;&#xD;&#xA;Again, this is just a mockup screenshot. In Ableton Live, those note-color variations actually signify the strength of the velocities for each note in that given MIDI instrument track (unless, otherwise you cleverly layer an instrument-rack in multiple keyboard split ranges, but that's not a solution here).&#xD;&#xA;&#xD;&#xA;Does any DAW exists (preferably Mac compatible) that can do this?&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/iCGoc.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="40637" PostHistoryTypeId="1" PostId="23937" RevisionGUID="cee481b4-c2a7-409d-8463-3f4bacbea517" CreationDate="2012-03-29T00:27:33.660" UserId="7459" UserDisplayName="bigp" Text="Which DAW can handle simultaneous editing of MIDI channels / instruments per tracks?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40638" PostHistoryTypeId="3" PostId="23937" RevisionGUID="cee481b4-c2a7-409d-8463-3f4bacbea517" CreationDate="2012-03-29T00:27:33.660" UserId="7459" UserDisplayName="bigp" Text="&lt;midi&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40639" PostHistoryTypeId="36" PostId="23940" RevisionGUID="bf0e9088-28dc-476b-ba9b-0f97776a5688" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5157/does-logic-pro-have-a-scripting-language" />
  <row Id="40640" PostHistoryTypeId="2" PostId="23941" RevisionGUID="4e746c6b-a835-4642-b077-70d7c2dd67ef" CreationDate="2012-10-26T21:40:21.283" UserId="7189" Text="I'm not sure how deep [AppleScript](https://developer.apple.com/library/mac/#documentation/AppleScript/Conceptual/AppleScriptX/AppleScriptX.html) support in Logic is, but that would be the first place to check.&#xD;&#xA;&#xD;&#xA;If AppleScript won't do it, then you might try just directly processing MIDI. If you don't need results in real time, then it is easy. Just code up a MIDI processor using your favorite language and library (easy libraries exist for perl and Python. I suspect that good libraries exist for Java, Ruby and other popular languages). You can save individual tracks as MIDI and process them.&#xD;&#xA;&#xD;&#xA;Alternately, you can use the Apple IAC bus to create a virtual port. Send MIDI notes from Logic to this port, and then listen to that port with your script. You could setup a second IAC bus to send processed data back to Logic, but be careful of infinite MIDI loops." ContentLicense="CC BY-SA 3.0" />
  <row Id="40641" PostHistoryTypeId="2" PostId="23940" RevisionGUID="214c9de7-5edf-4739-9222-e65e4d7e9a25" CreationDate="2012-10-25T07:54:06.680" UserId="203" Text="Nerdy question: Does Logic Pro supply any sort of API which allows me to traverse track, check if they send MIDI out and if so, spit out a list of the notes on those tracks ?&#xD;&#xA;&#xD;&#xA;If not, is there any clever way to automate that (get a list of the midi notes for a track) ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40642" PostHistoryTypeId="1" PostId="23940" RevisionGUID="214c9de7-5edf-4739-9222-e65e4d7e9a25" CreationDate="2012-10-25T07:54:06.680" UserId="203" Text="Does Logic Pro have a scripting language?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40643" PostHistoryTypeId="3" PostId="23940" RevisionGUID="214c9de7-5edf-4739-9222-e65e4d7e9a25" CreationDate="2012-10-25T07:54:06.680" UserId="203" Text="&lt;logic-pro&gt;&lt;automation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40644" PostHistoryTypeId="36" PostId="23941" RevisionGUID="e39bbc24-35d6-4974-bb55-225c938b6c07" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5157/does-logic-pro-have-a-scripting-language/5170#5170" />
  <row Id="40645" PostHistoryTypeId="36" PostId="23942" RevisionGUID="44c63efa-cb79-4796-ad8f-e80f95bd7906" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3746/no-output-sound-from-midi-in-cubase" />
  <row Id="40646" PostHistoryTypeId="2" PostId="23943" RevisionGUID="36fd2d1c-0484-4c77-9509-39ae1f1e6fcd" CreationDate="2012-04-15T19:07:32.170" UserId="7294" UserDisplayName="Warrior Bob" Text="It's hard to provide an authoritative answer to troubleshooting questions like these (they're kind of open ended), but I'll try and describe how I imagine the situation should look, which hopefully will be enough information to diagnose the problem.&#xD;&#xA;&#xD;&#xA;First off, it's critical to understand that MIDI and audio are not the same thing. MIDI is an instructional code that doesn't produce any sound. Rather, MIDI messages can be interpreted by audio devices which produce audio based on those instructions (Microsoft GS Wavetable Synth is one such device). You likely already know this, but I mention it just in case.&#xD;&#xA;&#xD;&#xA;As I understand the situation, Cubase, via the Tascam, is getting MIDI messages from your Roland keyboard, and must then must send those notes somewhere if they're going to mean anything. You've got three basic places you can send those MIDI notes in your current setup:&#xD;&#xA;&#xD;&#xA;1. Back out to your keyboard&#xD;&#xA;---&#xD;&#xA;Connect the MIDI OUT from your Tascam to the MIDI IN on the Roland, and configure Cubase to send MIDI out that output. The audio will be generated by your keyboard and played through the keyboard. You'll get exactly the sound that you're used to from your keyboard, but it won't go through your headphones since that audio is not being routed to Cubase or the Tascam. You can solve this by connecting the audio out from the keyboard to the audio in of the Tascam. Of course you'll have to deal with a bit of latency since that's always present when dealing with digital audio, but that particular Tascam interface appears to have a hardware monitoring feature which might let you get around this.&#xD;&#xA;&#xD;&#xA;2. Out to the GM synth&#xD;&#xA;---&#xD;&#xA;Select 'Microsoft GS Wavetable Synth' as the output routing, like you tried. Now the MIDI will be synthesized by whatever device that is, probably a built-in MIDI synthesizer on your computer's internal soundcard. The only problem is that the audio is probably only going through that soundcard, and not your Tascam. This is likely why you can hear it through your speakers, but not your headphones. Some soundcards may have options for routing this audio to different destinations (such as Cubase), but in my experience that is not generally the case.&#xD;&#xA;&#xD;&#xA;3. To some synthesizer in Cubase&#xD;&#xA;---&#xD;&#xA;You've got MIDI data in Cubase. You could always route it to some synthesizer plugin. This is the most convenient option since it's all in software so you don't need to do any further routing, but you'll have latency to worry about, and the plugins at your disposal may or may not be the sound you want.&#xD;&#xA;&#xD;&#xA;Something you may consider, no matter which of these routings you end up choosing, is getting a hardware audio mixer, and mixing the output of all of your sound sources (Tascam interface, Roland keyboard, internal soundcard) together, so you can hear them on one set of speakers or one pair of headphones. This is what I do in my little home studio, and it works very well for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="40647" PostHistoryTypeId="2" PostId="23942" RevisionGUID="5b32449f-a651-4c03-93d3-df780b497d4c" CreationDate="2012-04-12T20:12:23.760" UserDisplayName="Stijn Geukens" Text="I just bought myself a Tascam US-122 for recording my music. Setting up and recording guitar bits was easy enough but now I'm trying to add some piano. For this I have a Roland (E-36) keyboard that I connect though MIDI (in/out) on my Tascam. &#xD;&#xA;&#xD;&#xA;It was looking good at the start; I could see that Cubase was receiving when I played something on my Roland. Problem is that I could not hear it through my headphones (that are connected to the Tascam) nor from my PC speakers when I select the Tascam as the output audio device. This does work when I do the same with my guitar.   &#xD;&#xA;If I select 'Microsoft GS Wavetable Synth' as output routing then I can hear the music from my speakers although sometimes with a delay (which as I've read has to do with buffering).&#xD;&#xA;&#xD;&#xA;Any idea what I need to alter on my setup in order to hear the playback through my Tascam?&#xD;&#xA;&#xD;&#xA;UPDATE:  &#xD;&#xA;not sure if this is related but I don't see the point (and I guess there should be a point) in connecting the MIDI output on the Tascam to the MIDI input of the Roland. I can hear the (original) music on my keyboard regardless if that cable is connected or not.&#xD;&#xA;&#xD;&#xA;UPDATE2:  &#xD;&#xA;In the mean time (after reading many posts) I installed reaper but there I face the same issue: I can hear my keyboard (through the headphones that are connected to the Tascam) if I select Microsoft GS Wavetable Synth as hardware output device (but then there's the latency issue). If I select TASCAM MIDI as hardware output I hear nothing." ContentLicense="CC BY-SA 3.0" />
  <row Id="40648" PostHistoryTypeId="1" PostId="23942" RevisionGUID="5b32449f-a651-4c03-93d3-df780b497d4c" CreationDate="2012-04-12T20:12:23.760" UserDisplayName="Stijn Geukens" Text="No output sound from midi in cubase" ContentLicense="CC BY-SA 3.0" />
  <row Id="40649" PostHistoryTypeId="3" PostId="23942" RevisionGUID="5b32449f-a651-4c03-93d3-df780b497d4c" CreationDate="2012-04-12T20:12:23.760" UserDisplayName="Stijn Geukens" Text="&lt;midi&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40650" PostHistoryTypeId="36" PostId="23943" RevisionGUID="ca1d1f77-02d7-4bf1-b5f8-bf968c507716" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3746/no-output-sound-from-midi-in-cubase/3752#3752" />
  <row Id="40651" PostHistoryTypeId="36" PostId="23944" RevisionGUID="163ee8ad-789e-4694-a963-28bb867c4c6d" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3746/no-output-sound-from-midi-in-cubase/5468#5468" />
  <row Id="40652" PostHistoryTypeId="2" PostId="23944" RevisionGUID="afd147b9-e47a-4bd7-a4de-88a6a8c74e9b" CreationDate="2012-12-01T01:13:01.000" UserDisplayName="Jubbs" Text="There does seem to be an inherent problem related to mixing both a Midi controlled software synth and normal Audio through a USB device into Cubase to be recorded etc. From what I have experienced and gathered from stuff on the web, its a case of hitting a device one way system, you can't have it going both ways, so routing one will always take a longer path than another. Latency then through timings and interpretation from Midi to synth makes the whole thing messy, I haven't found a way round controlling a PC software synth with a midi keyboard through a USB interface and recording the PC's output in Cubase, as there seems to be a conflict with which program takes control of the device driver first to deliver the sound.&#xD;&#xA;&#xD;&#xA;I can't even get Cubase to record the output from Steinbergs Legacy software on the PC, but thats just probably me.&#xD;&#xA;&#xD;&#xA;If that makes sense to you, welcome to my nightmare." ContentLicense="CC BY-SA 3.0" />
  <row Id="40653" PostHistoryTypeId="36" PostId="23945" RevisionGUID="3fddcd1a-f146-4f67-a0c5-60f44c3f5696" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2191/where-can-i-download-midi-files-of-videogame-music" />
  <row Id="40654" PostHistoryTypeId="2" PostId="23946" RevisionGUID="6876fc13-9429-465c-ab46-1fb23349df4f" CreationDate="2011-08-25T13:45:39.483" UserDisplayName="Ray Dey" Text="I tend to use [VGMusic][1] and [The Midi Shrine][2] for this kind of thing. &#xD;&#xA;&#xD;&#xA;[HQMidi][3] also has covers of Final Fantasy theme tunes on there.&#xD;&#xA;&#xD;&#xA;Hope that helps! :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.vgmusic.com&#xD;&#xA;  [2]: http://www.midishrine.com&#xD;&#xA;  [3]: http://www.hqmidi.com/games/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="40655" PostHistoryTypeId="2" PostId="23945" RevisionGUID="d432db77-a430-46e7-ac32-aaf71358f0fb" CreationDate="2011-08-23T05:38:32.910" UserDisplayName="James Litewski" Text="I'm interested in creating remixes of music from video games such as Final Fantasy. I understand that MIDI files exist of this music and can be an excellent reference since they spell out every note, and I was curious if there was a reliable site or archive that offered them for download.&#xD;&#xA;&#xD;&#xA;I guess scores could work also, but I'm really new to them." ContentLicense="CC BY-SA 3.0" />
  <row Id="40656" PostHistoryTypeId="1" PostId="23945" RevisionGUID="d432db77-a430-46e7-ac32-aaf71358f0fb" CreationDate="2011-08-23T05:38:32.910" UserDisplayName="James Litewski" Text="Where can I download midi files of videogame music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40657" PostHistoryTypeId="3" PostId="23945" RevisionGUID="d432db77-a430-46e7-ac32-aaf71358f0fb" CreationDate="2011-08-23T05:38:32.910" UserDisplayName="James Litewski" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40658" PostHistoryTypeId="36" PostId="23946" RevisionGUID="e1d3665d-7b79-4fa0-890c-c23207652be5" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2191/where-can-i-download-midi-files-of-videogame-music/2204#2204" />
  <row Id="40659" PostHistoryTypeId="36" PostId="23947" RevisionGUID="fa38de11-d5af-4796-a156-16e6be580463" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1151/keyboard-in-a-musical-pit-band" />
  <row Id="40660" PostHistoryTypeId="2" PostId="23948" RevisionGUID="51245572-7c89-4bda-9cfe-11bec9886d3d" CreationDate="2011-04-10T16:24:17.350" UserId="7209" Text="You just need a one-button change of patch?  Assuming your synth doesn't have programmable buttons readily available, the [Behringer FCB1010][1] pedalboard can do this for you, and is actually quite cheap.  &#xD;&#xA;&#xD;&#xA;It can be a hassle to program it, but once you learn how, isn't difficult.  (A basic programming guide can be adapted from here:  http://www.voes.be/fcb1010/pdf/fcb1010%20programming%20without%20software.pdf)&#xD;&#xA;&#xD;&#xA;Alternatively, you can get some software to program it from your PC here:  https://secure.mtnsys.com/faq-fcb/pceditorbeta.htm  Once programmed of course, the PC is no longer needed.&#xD;&#xA;&#xD;&#xA;It has 10 banks or so, so you should be able to line up all of your patches no problem.  10 buttons per bank are available.  As a bonus, you get a pair of variable pedals.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.behringer.com/EN/Products/FCB1010.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="40661" PostHistoryTypeId="2" PostId="23947" RevisionGUID="51db7b9a-e840-4bd4-be61-108d231e3593" CreationDate="2011-04-10T15:34:00.150" UserDisplayName="Mark Pim" Text="I'm preparing the keyboard part for a local amateur musical and I'd like it to make use of a number of sounds.&#xD;&#xA;&#xD;&#xA;The keyboard that's probably going to be used is one of the standard consumer MIDI keyboards with a big list of sounds and a keypad to punch them in. Often the problem with these is during a quick patch change it's too easy to hit the wrong key and get the completely wrong sound.&#xD;&#xA;&#xD;&#xA;I have always assumed that professionally all the patch changes are pre-programmed and the player simply advances to the next sound via a pedal or button on a dedicated MIDI box.&#xD;&#xA;&#xD;&#xA;What are the best ways for me to achieve this? Are there some cheap (ish) MIDI controllers that I can program with a list of sounds for the player to use? Should I hook the keyboard up to my laptop and invest in something like [QLab][1]?&#xD;&#xA;&#xD;&#xA;What **is** the 'standard' way to run keyboards in modern pits? I'm interested to learn what kind of options are available to me.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://figure53.com/qlab/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40662" PostHistoryTypeId="1" PostId="23947" RevisionGUID="51db7b9a-e840-4bd4-be61-108d231e3593" CreationDate="2011-04-10T15:34:00.150" UserDisplayName="Mark Pim" Text="Keyboard in a musical pit band" ContentLicense="CC BY-SA 3.0" />
  <row Id="40663" PostHistoryTypeId="3" PostId="23947" RevisionGUID="51db7b9a-e840-4bd4-be61-108d231e3593" CreationDate="2011-04-10T15:34:00.150" UserDisplayName="Mark Pim" Text="&lt;midi&gt;&lt;live&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40664" PostHistoryTypeId="36" PostId="23948" RevisionGUID="78710481-784f-48b2-ad65-b3c30622bc7d" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1151/keyboard-in-a-musical-pit-band/1152#1152" />
  <row Id="40665" PostHistoryTypeId="36" PostId="23949" RevisionGUID="2bb16b74-55cb-4362-9a33-f2bd1e30322c" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1151/keyboard-in-a-musical-pit-band/2252#2252" />
  <row Id="40666" PostHistoryTypeId="2" PostId="23949" RevisionGUID="09ce64de-cdcc-42b8-ae18-f86fbbd4fdd8" CreationDate="2011-09-01T23:47:22.390" UserId="25220" UserDisplayName="Joe McMahon" Text="Speaking from my experience, here are some basic ideas:&#xD;&#xA;&#xD;&#xA; 1. Be familiar with your instrument. If you are trying to remember how to do X while onstage, you are much more likely to screw it up. Get familiar with the kit you'll be using in a practice setting before you try to use it onstage.&#xD;&#xA; 2. Set up patchsets if you can that have only the patches you want for the given piece loaded, then save them under the name of the piece. This way you can load &quot;Song X&quot; and know you only have the patches you want for that song.&#xD;&#xA; 3. Write down a cue sheet for yourself to make it simple to set up as you go along.&#xD;&#xA; 4. Practice the patch changes, instrument setup, etc. until they're second nature.&#xD;&#xA;&#xD;&#xA;Live, I've used a MIDI patch manager to load patchsets into my keyboard per song, and have also used Ableton Live and Garageband as VST hosts for synthesis and effects.&#xD;&#xA;&#xD;&#xA;Ideally, you want to be able to think about the music and not about setting up your instrument, so everything you can do to make that easier for yourself is key - especially practicing the steps you need to set up for each song. You might want to either have a gigging setup of your own (MIDI controller or synth you like, paired with the laptop running Ableton Live or even Garageband), or see if they'll loan you the keyboard so you can get familiar with it. &#xD;&#xA;&#xD;&#xA;I have to say that my experience with Somebody Else's Keyboard is similar to that with house pianos: unless the venue takes really good care of its instruments, you'll have a similar experience but even moreso because now you have electronics to go bad as well as mechanicals." ContentLicense="CC BY-SA 3.0" />
  <row Id="40667" PostHistoryTypeId="36" PostId="23950" RevisionGUID="6b2e8e6a-5a07-4cff-a8e1-28b072be3a77" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2265/whats-the-difference-between-logic-and-soundtrackpro" />
  <row Id="40668" PostHistoryTypeId="2" PostId="23951" RevisionGUID="334e2cfc-274b-4d19-b7c6-04a0d3832847" CreationDate="2011-09-03T18:43:20.227" UserDisplayName="Ian C." Text="SoundTrack Pro is specifically targeted at creating and mixing music for video production. It has knowledge of SMTPE and other video-audio synchronization technologies and the layout is geared towards viewing video and audio simultaneously so you can score, mix and master to the visuals.&#xD;&#xA;&#xD;&#xA;Logic Pro is targeted at just creating, mixing and mastering music. It's optimized for viewing multitrack audio, editing audio samples, working with MIDI data and other primarily audio-specific functions.&#xD;&#xA;&#xD;&#xA;As of Logic Pro 8, SoundTrack Pro has been shipped as a sub-component of the entire Logic Studio suite of tools. So buy Logic, get SoundTrack Pro. With the release of Logic Studio 9 we're up to [SoundTrack Pro 3][1]. So buying Logic Studio doesn't mean giving up SoundTrack Pro.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.apple.com/logicstudio/soundtrackpro/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40669" PostHistoryTypeId="2" PostId="23950" RevisionGUID="554ca292-516e-458b-8fe7-413368c8153b" CreationDate="2011-09-02T23:19:49.957" UserId="9651" UserDisplayName="Caleb" Text="I have SoundTrackPro and I'm considering of switching to Logic Pro. Is there any difference between the two? " ContentLicense="CC BY-SA 3.0" />
  <row Id="40670" PostHistoryTypeId="1" PostId="23950" RevisionGUID="554ca292-516e-458b-8fe7-413368c8153b" CreationDate="2011-09-02T23:19:49.957" UserId="9651" UserDisplayName="Caleb" Text="What's the difference between Logic and SoundTrackPro?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40671" PostHistoryTypeId="3" PostId="23950" RevisionGUID="554ca292-516e-458b-8fe7-413368c8153b" CreationDate="2011-09-02T23:19:49.957" UserId="9651" UserDisplayName="Caleb" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40672" PostHistoryTypeId="36" PostId="23951" RevisionGUID="690e6b82-b4cd-4ac7-ae9e-f7b588ca9125" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2265/whats-the-difference-between-logic-and-soundtrackpro/2267#2267" />
  <row Id="40673" PostHistoryTypeId="36" PostId="23952" RevisionGUID="328fe14f-cf3a-44df-8641-3177c1ade827" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1109/how-do-i-configure-midi-in-reaper" />
  <row Id="40674" PostHistoryTypeId="2" PostId="23953" RevisionGUID="c4ae33e2-db23-4672-8437-2e48479bf032" CreationDate="2011-03-29T16:30:10.050" UserId="7093" Text="Clicking the IO button on the track brings up the routing for the track.  I had not selected anything for MIDI Hardware output.  Selecting the GM wavetable synth from my sound card fixed the problem.&#xD;&#xA;&#xD;&#xA;For an excellent guide on getting started with Reaper and MIDI [look here][1] (PDF).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://stash.reaper.fm/7453/Art_of_Reabanks.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="40675" PostHistoryTypeId="2" PostId="23952" RevisionGUID="31f50e0b-c1e1-400b-b3f4-2c9bc80237ff" CreationDate="2011-03-29T03:16:01.397" UserId="7093" Text="I have a keyboard (set to MIDI channel 1) plugged into the MIDI In on my M-Audio Profire 2626.&#xD;&#xA;&#xD;&#xA;I have added a track to my project and selected MIDI Input-&gt;Profire 2626 MIDI-&gt;All Channels as my input.  I selected Monitor Input.  I added ReaControlMIDI to my effects, checked Enable, loaded GM.reabank, selected General MIDI and Acoustic Grand Piano.&#xD;&#xA;&#xD;&#xA;When I play the keyboard, the MIDI level meter on the track moves, but I get no sound.  I get the same results with the virtual keyboard.&#xD;&#xA;&#xD;&#xA;I switched the effect to reaSynth and it works fine, showing both the MIDI level meter and the audio level meter.&#xD;&#xA;&#xD;&#xA;What am I missing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="40676" PostHistoryTypeId="1" PostId="23952" RevisionGUID="31f50e0b-c1e1-400b-b3f4-2c9bc80237ff" CreationDate="2011-03-29T03:16:01.397" UserId="7093" Text="How do I configure MIDI in Reaper" ContentLicense="CC BY-SA 2.5" />
  <row Id="40677" PostHistoryTypeId="3" PostId="23952" RevisionGUID="31f50e0b-c1e1-400b-b3f4-2c9bc80237ff" CreationDate="2011-03-29T03:16:01.397" UserId="7093" Text="&lt;midi&gt;&lt;reaper&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40678" PostHistoryTypeId="36" PostId="23953" RevisionGUID="262bdc21-8b49-430f-b223-61f9760b6e3a" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1109/how-do-i-configure-midi-in-reaper/1114#1114" />
  <row Id="40679" PostHistoryTypeId="36" PostId="23954" RevisionGUID="f0f1716e-fed8-4073-ade2-1c0e5aabd69b" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1253/replace-recording-for-midi-in-logic-pro" />
  <row Id="40680" PostHistoryTypeId="36" PostId="23955" RevisionGUID="99146b15-7358-41de-a5f5-abc66c38a3a8" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1253/replace-recording-for-midi-in-logic-pro/1314#1314" />
  <row Id="40681" PostHistoryTypeId="36" PostId="23956" RevisionGUID="fdde7bf9-2e28-404d-8301-6f9809c025f5" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1253/replace-recording-for-midi-in-logic-pro/2279#2279" />
  <row Id="40682" PostHistoryTypeId="2" PostId="23955" RevisionGUID="0ae11454-b851-4369-a48f-582abf9354ac" CreationDate="2011-04-29T22:21:10.283" UserId="9447" UserDisplayName="Fortes" Text="I think you can find the answer to your problems in Settings &gt; Recording &gt; MIDI &gt; Overlapping Recordings....&#xD;&#xA;&#xD;&#xA;or take a look at this part of the LogicPro Manual: [Midi Take Recording][1]&#xD;&#xA;&#xD;&#xA;Hope this helps&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://documentation.apple.com/en/logicpro/usermanual/index.html#chapter=14&amp;section=19&amp;tasks=true" ContentLicense="CC BY-SA 3.0" />
  <row Id="40683" PostHistoryTypeId="2" PostId="23956" RevisionGUID="9cb1b12b-866e-4fde-b760-732baaa50c89" CreationDate="2011-09-06T20:32:03.850" UserDisplayName="bot_bot" Text="Right click the record button in the arrange window&#xD;&#xA;Select &quot;Record Settings&quot;&#xD;&#xA;Select &quot;Recording&quot; from the top menu&#xD;&#xA;Under Midi select the &quot;Overlapping Recordings&quot; Menu&#xD;&#xA;Select &quot;Create tracks in cycle record&quot;&#xD;&#xA;&#xD;&#xA;This will create a new track with the previous loop on it every time a new pass is made. &#xD;&#xA;&#xD;&#xA;The first pass appears as normal, the second pass appears to be on the first, but at the end of this pass the a new track is created with the first loop on it, and so on....&#xD;&#xA;&#xD;&#xA;All newly created tracks play while recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="40684" PostHistoryTypeId="2" PostId="23954" RevisionGUID="f3fbc6a7-c6a7-406a-997b-c5f8b893f677" CreationDate="2011-04-23T04:36:25.883" UserDisplayName="Yuriy Nemtsov" Text="I'd like to be able to do the following:&#xD;&#xA;&#xD;&#xA;1. Set recording quantization to 1/8&#xD;&#xA;2. Loop an 8-beat region&#xD;&#xA;3. Keep replace-recording until I like the tune&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;This breaks my creative flow. &#xD;&#xA;&#xD;&#xA;I've tried every combination of the overlapping recording + the replace button to no avail. Please help, or tell me if it isn't possible with MIDI in Logic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/qqup2.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="40685" PostHistoryTypeId="1" PostId="23954" RevisionGUID="f3fbc6a7-c6a7-406a-997b-c5f8b893f677" CreationDate="2011-04-23T04:36:25.883" UserDisplayName="Yuriy Nemtsov" Text="Replace-recording for MIDI in Logic Pro" ContentLicense="CC BY-SA 3.0" />
  <row Id="40686" PostHistoryTypeId="3" PostId="23954" RevisionGUID="f3fbc6a7-c6a7-406a-997b-c5f8b893f677" CreationDate="2011-04-23T04:36:25.883" UserDisplayName="Yuriy Nemtsov" Text="&lt;midi&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40687" PostHistoryTypeId="36" PostId="23957" RevisionGUID="626e3371-f9d0-4706-b6f0-c9e8862e1452" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8705/monitoring-midi-input-from-external-roland-a-500pro-controller" />
  <row Id="40688" PostHistoryTypeId="36" PostId="23958" RevisionGUID="16d5b98a-2370-4a1d-a473-b7ef8ccf43bc" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8705/monitoring-midi-input-from-external-roland-a-500pro-controller/8720#8720" />
  <row Id="40689" PostHistoryTypeId="2" PostId="23958" RevisionGUID="60eb3fc0-9275-4a46-8d79-20a5176aa284" CreationDate="2013-08-14T22:13:50.957" UserDisplayName="Maxime Labelle" Text="Answering my own question since I finally figured out what went wrong.&#xD;&#xA;&#xD;&#xA;The Roland A-500PRO controller exposes three MIDI ports :&#xD;&#xA;&#xD;&#xA;1. MIDI IN&#xD;&#xA;2. PRO1 IN&#xD;&#xA;3. PRO2 IN&#xD;&#xA;&#xD;&#xA;MIDI messages from the controller are, by default, split between ports PRO1 IN and PRO2 IN. Note messages as well as Pitch Bend and Modulation messages go through the PRO1 IN port. All other control change messages go through PRO2 IN port.&#xD;&#xA;&#xD;&#xA;As far as MIDIOX is concerned, no messages go through the MIDI IN port, so I had o select either one of the PRO1 IN or PRO2 IN ports, or both. Although, in practice - for Cubase or, I suspect, other DAWs - the MIDI IN port is a combination of the other two ports.&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="40690" PostHistoryTypeId="2" PostId="23957" RevisionGUID="b856cb7c-e4ed-45cb-a0cd-d0a11df31d5f" CreationDate="2013-08-13T20:15:46.100" UserDisplayName="Maxime Labelle" Text="I'm trying to make a [Roland A-500PRO][1] USB MIDI Controller work with Steinberg's [Cubase LE AI Elements 6][2] for Windows. By default, except the 49 keyboard keys, *none* of the other sliders, knobs or transport controls work.&#xD;&#xA;&#xD;&#xA;I'm able to play and record songs with the Roland A-500PRO keys but I have to use the computer keyboard and mouse for starting and stopping the recording, or changing the volume of a track for instance, which is *very* frustrating.&#xD;&#xA;&#xD;&#xA;The Roland A-500PRO has the concept of a *Control Map* which is designed to send specific MIDI messages when using a specific controller. It comes with a simple to use software editor in order to customize an existing or create a new *Control Map* from scratch.&#xD;&#xA;&#xD;&#xA;I would like to be able to use this editor to customize the Roland A-500PRO so that it works with Cubase, but I figure I would have two strategies.&#xD;&#xA;&#xD;&#xA;1. Either customize the Roland A-500PRO *Control Map* in order to produce MIDI messages as expected by Cubase...&#xD;&#xA;2. Or, instruct Cubase to trigger the desired function when receiving specific MIDI messages from the Roland A-500 PRO controller.&#xD;&#xA;&#xD;&#xA;In order to do that I would like to monitor the MIDI messages sent by the Roland A-500PRO controller when pressing specific keys or using specific controls. However, I have been unable to find a way to do that.&#xD;&#xA;&#xD;&#xA;I'm aware of several MIDI monitoring software but I could not make any of these work.&#xD;&#xA;&#xD;&#xA; - [Midi Test][3] : this software simple does not work. It simply fails with a &quot;MIDI no properly initialized&quot; message, even though MIDI works perfectly well with Cubase.&#xD;&#xA; - [Midi Monitor][4] : this software is hard to understand. It ran once and successfully detected the Roland A-500PRO input and output MIDI ports, but I did not manage to use it. Now, it fails to run with a &quot;Unable to create C:\windows\System32\WINMM174.SYS&quot; message.&#xD;&#xA; - [MidiOX][5] : this software sounds like the best bet but I'm unable to make it produce MIDI message when using the Roland A-500PRO controller.&#xD;&#xA;&#xD;&#xA;Please, can someone point me in the right direction?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.roland.com/products/en/A-500PRO/&#xD;&#xA;  [2]: http://www.steinberg.net/en/products/cubase/start.html&#xD;&#xA;  [3]: http://earthvegaconnection.com/evc/products/miditest/index.html&#xD;&#xA;  [4]: http://obds.free.fr/midimon/indexfr.htm&#xD;&#xA;  [5]: http://midiox.com/index.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="40691" PostHistoryTypeId="1" PostId="23957" RevisionGUID="b856cb7c-e4ed-45cb-a0cd-d0a11df31d5f" CreationDate="2013-08-13T20:15:46.100" UserDisplayName="Maxime Labelle" Text="Monitoring MIDI Input from external Roland A-500PRO Controller" ContentLicense="CC BY-SA 3.0" />
  <row Id="40692" PostHistoryTypeId="3" PostId="23957" RevisionGUID="b856cb7c-e4ed-45cb-a0cd-d0a11df31d5f" CreationDate="2013-08-13T20:15:46.100" UserDisplayName="Maxime Labelle" Text="&lt;midi&gt;&lt;cubase&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40693" PostHistoryTypeId="36" PostId="23959" RevisionGUID="09042348-ab99-45fb-a369-032030f9ce5f" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9612/play-from-beginning-in-ableton-live-9" />
  <row Id="40694" PostHistoryTypeId="2" PostId="23960" RevisionGUID="95ebcb26-9053-41ca-bc19-2306620d64de" CreationDate="2013-12-10T19:30:33.200" UserId="7294" UserDisplayName="Warrior Bob" Text="In Live, the spacebar plays from the start marker position. However, fn + left arrow (OSX) or Home (Win) should move the playhead to the beginning.&#xD;&#xA;&#xD;&#xA;If you're using a MIDI controller for transport control, you can double-tap the &quot;Stop&quot; button which will return the marker to the beginning as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="40695" PostHistoryTypeId="2" PostId="23959" RevisionGUID="5dd79dd1-c825-4710-b529-e4a13fdbefac" CreationDate="2013-12-09T18:42:37.367" UserId="17548" UserDisplayName="user3997" Text="In Logic, I press enter twice and then space and I can play from the beginning of a track and resets my playhead.  How can I do this in Ableton Live 9 ? It always starts me at where my playhead is and it's annoying. " ContentLicense="CC BY-SA 3.0" />
  <row Id="40696" PostHistoryTypeId="1" PostId="23959" RevisionGUID="5dd79dd1-c825-4710-b529-e4a13fdbefac" CreationDate="2013-12-09T18:42:37.367" UserId="17548" UserDisplayName="user3997" Text="Play from beginning in Ableton Live 9" ContentLicense="CC BY-SA 3.0" />
  <row Id="40697" PostHistoryTypeId="3" PostId="23959" RevisionGUID="5dd79dd1-c825-4710-b529-e4a13fdbefac" CreationDate="2013-12-09T18:42:37.367" UserId="17548" UserDisplayName="user3997" Text="&lt;logic-pro&gt;&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40698" PostHistoryTypeId="36" PostId="23960" RevisionGUID="3b1e5294-9ad9-4db6-be3b-bbee1d0759a9" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9612/play-from-beginning-in-ableton-live-9/9623#9623" />
  <row Id="40699" PostHistoryTypeId="36" PostId="23961" RevisionGUID="e0927964-4b8b-4457-9f8c-038c50b913c1" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5154/how-to-show-track-score-as-drum-notation-in-logic-pro" />
  <row Id="40700" PostHistoryTypeId="36" PostId="23962" RevisionGUID="b72523d0-4863-49d9-9b0a-70e6b1ace1fe" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5154/how-to-show-track-score-as-drum-notation-in-logic-pro/7679#7679" />
  <row Id="40701" PostHistoryTypeId="2" PostId="23962" RevisionGUID="280a65a9-47c3-4e83-a3a8-4f2c0c787a3c" CreationDate="2013-04-17T21:44:37.497" UserDisplayName="Mattias Nordqvist" Text="Thank you for asking this question, because I have been wondering about this myself. A few reputation points is all the motivation I need to actually go find out. :)&#xD;&#xA;&#xD;&#xA;I managed to get drum notation by just successfully doing what you tried to. The magic trick is not to double click the style scheme for the track. Just click and hold, and a menu will appear. From there, you can choose #Drums.&#xD;&#xA;&#xD;&#xA;However, you will find out that when you try to place a note in the score view, logic is behaving weird. While you click and hold to place a note, the note does not give the expected sound, given its position in the score. This seems to be true for all notes except some Toms. As soon as a note is placed though, it jumps to its expected position. This behavior makes it almost impossible to work with the score, even though it looks good when done. So I found this [pdf][1] which explains how to make everything work as expected. It is for logic pro 8 but I tried it using logic pro 9, and it seems to work here as well.  Good Luck. :)&#xD;&#xA;&#xD;&#xA;  [1]: http://samuelmorse.info/files/drum_set_logic.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="40702" PostHistoryTypeId="2" PostId="23961" RevisionGUID="64a53cf0-7488-45e6-9c33-2b58661b1016" CreationDate="2012-10-24T23:01:09.870" UserDisplayName="xster" Text="If I opened a midi on Logic Pro 9 and had a drum track, how can I show the track's score in drums notation? I have trouble finding any documentations for it online and I can't seem to actually change the style scheme for the track. It looks like a dropdown menu but doesn't drop down and double clicking it seems to open a style editor and any changes doesn't apply to the track." ContentLicense="CC BY-SA 3.0" />
  <row Id="40703" PostHistoryTypeId="1" PostId="23961" RevisionGUID="64a53cf0-7488-45e6-9c33-2b58661b1016" CreationDate="2012-10-24T23:01:09.870" UserDisplayName="xster" Text="How to show track score as drum notation in Logic Pro?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40704" PostHistoryTypeId="3" PostId="23961" RevisionGUID="64a53cf0-7488-45e6-9c33-2b58661b1016" CreationDate="2012-10-24T23:01:09.870" UserDisplayName="xster" Text="&lt;midi&gt;&lt;logic-pro&gt;&lt;scoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40705" PostHistoryTypeId="36" PostId="23963" RevisionGUID="837a4ff2-e6b9-4df2-a78d-672b8f051058" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8473/prevent-logic-pro-x-from-scrolling-to-the-top-while-using-flex-pitch" />
  <row Id="40706" PostHistoryTypeId="2" PostId="23963" RevisionGUID="82f69c52-05c7-4b6f-81ea-5cb8b8594679" CreationDate="2013-07-23T13:42:25.563" UserDisplayName="flogehring" Text="When using Flex Pitch Logic snaps to the top of the track overview even though the track I have selected and that I'm working on is way down.&#xD;&#xA;&#xD;&#xA;Is there any way to prevent this from happening?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40707" PostHistoryTypeId="1" PostId="23963" RevisionGUID="82f69c52-05c7-4b6f-81ea-5cb8b8594679" CreationDate="2013-07-23T13:42:25.563" UserDisplayName="flogehring" Text="Prevent Logic Pro X from scrolling to the top while using Flex Pitch" ContentLicense="CC BY-SA 3.0" />
  <row Id="40708" PostHistoryTypeId="3" PostId="23963" RevisionGUID="82f69c52-05c7-4b6f-81ea-5cb8b8594679" CreationDate="2013-07-23T13:42:25.563" UserDisplayName="flogehring" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40709" PostHistoryTypeId="36" PostId="23964" RevisionGUID="3ded2c71-ea6f-46c1-9a61-cd9a20d9d6ad" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7634/unwanted-quantize-markers-in-logic-pro" />
  <row Id="40710" PostHistoryTypeId="36" PostId="23965" RevisionGUID="ac23f34a-2f59-4155-a6b2-bff6e89daf0c" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7634/unwanted-quantize-markers-in-logic-pro/7647#7647" />
  <row Id="40711" PostHistoryTypeId="2" PostId="23965" RevisionGUID="1ef2ed08-53d9-47c7-a105-4454ee4d61a1" CreationDate="2013-04-13T03:56:31.967" UserDisplayName="user3938" Text="Never seen this happen, but you could try double clicking the audio region to bring it up in the sample editor. Then click the transient editor button to highlight, and try clicking the left arrow until it gets rid of the markers you don't want.&#xD;&#xA;&#xD;&#xA;Will also say that if Logic is acting glitchy, you should click Preferences&gt;Initialize All Except Key Commands. Works like a charm.&#xD;&#xA;&#xD;&#xA;E" ContentLicense="CC BY-SA 3.0" />
  <row Id="40712" PostHistoryTypeId="2" PostId="23966" RevisionGUID="d050f023-7858-4fa9-855f-d68c4654f770" CreationDate="2013-04-17T20:52:54.953" UserDisplayName="Mattias Nordqvist" Text="Okay, so I solved this myself. I realized that as soon as I click a quantize marker (not transient marker) and move it slightly, it turns into a flex marker, and all quantize markers to the left of my brand new flex marker disappear. Transient markers are still there though. Perfect. They just shouldn't have been there in the first place." ContentLicense="CC BY-SA 3.0" />
  <row Id="40713" PostHistoryTypeId="2" PostId="23964" RevisionGUID="cb9ddf8a-b20f-473e-9edc-c27a97223077" CreationDate="2013-04-11T21:07:12.587" UserDisplayName="Mattias Nordqvist" Text="When flexing a region in Logic 9, you are probably familiar with the grey transient markers that logic creates. Also, if you choose to quantize the region logic creates white quantize markers. The white markers are not supposed to show up unless you choose to quantize the region. My region's quantize setting is set to off(3840), but quantize markers show up anyway. Does anyone know how to remove the white markers in any other way than manually right-clicking and choosing 'Delete flex marker' on each and every one?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40714" PostHistoryTypeId="1" PostId="23964" RevisionGUID="cb9ddf8a-b20f-473e-9edc-c27a97223077" CreationDate="2013-04-11T21:07:12.587" UserDisplayName="Mattias Nordqvist" Text="Unwanted quantize markers in logic pro" ContentLicense="CC BY-SA 3.0" />
  <row Id="40715" PostHistoryTypeId="3" PostId="23964" RevisionGUID="cb9ddf8a-b20f-473e-9edc-c27a97223077" CreationDate="2013-04-11T21:07:12.587" UserDisplayName="Mattias Nordqvist" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40716" PostHistoryTypeId="36" PostId="23966" RevisionGUID="f01f8f25-0cad-455c-92a3-09e9f3c357d5" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7634/unwanted-quantize-markers-in-logic-pro/7676#7676" />
  <row Id="40717" PostHistoryTypeId="36" PostId="23967" RevisionGUID="8a3e287b-c701-4e17-bc02-c7ee065357aa" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4029/where-can-i-find-the-windows-95-startup-sound-transcribed-into-music-notation-or" />
  <row Id="40718" PostHistoryTypeId="2" PostId="23968" RevisionGUID="29eb52c2-700d-42e9-b367-702b69733f4b" CreationDate="2012-05-27T02:19:53.257" UserId="7231" UserDisplayName="NReilingh" Text="Well, that was fun!&#xD;&#xA;&#xD;&#xA;It's actually a pretty complex piece of synthesizer work--the link ObscureRobot posted in the comments sheds some light on this.&#xD;&#xA;&#xD;&#xA;Since the music isn't exactly metered, I didn't bother to attempt to quantify that in transcription (I didn't bother to typeset it either, that would've been more trouble than it's worth). So, I used spatial notation with some relative rhythms notated.&#xD;&#xA;&#xD;&#xA;Every instrument is bathed in reverb and tends to 'ping' on the attack with a long decay. I hear four different voices: the &quot;bell&quot; synth that dominates the first few seconds, the piano that enters afterwards, a string-like synth, and a round bass-ish timbre.&#xD;&#xA;&#xD;&#xA;I think this sound's inception may be somewhat similar to that of the THX sound--very much dependent on the individual pieces of equipment used to create it, all of which are antiques nowadays. You'd have to ask Brian Eno in order to get much deeper than this--and he probably wan't working in notation in the first place.&#xD;&#xA;&#xD;&#xA;![Transcription of the Windows 95 Startup Chime][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/KtuXK.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="40719" PostHistoryTypeId="2" PostId="23967" RevisionGUID="5b74b610-3da0-4175-94ea-099871d9b286" CreationDate="2012-05-21T05:15:26.637" UserId="7236" UserDisplayName="Cole Johnson" Text="Not sure if this is the right spot for this, but I know how to get the Windows 95 startup sound as a WAV, but is there a MIDI anywhere? Or do I have to sit at my piano and try to recreate it (as it is one note at a time)" ContentLicense="CC BY-SA 3.0" />
  <row Id="40720" PostHistoryTypeId="1" PostId="23967" RevisionGUID="5b74b610-3da0-4175-94ea-099871d9b286" CreationDate="2012-05-21T05:15:26.637" UserId="7236" UserDisplayName="Cole Johnson" Text="Where can I find the Windows 95 Startup Sound transcribed into music notation or MIDI?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40721" PostHistoryTypeId="3" PostId="23967" RevisionGUID="5b74b610-3da0-4175-94ea-099871d9b286" CreationDate="2012-05-21T05:15:26.637" UserId="7236" UserDisplayName="Cole Johnson" Text="&lt;midi&gt;&lt;windows&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40722" PostHistoryTypeId="36" PostId="23968" RevisionGUID="790fa52c-a722-442b-933e-42c25cff6354" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4029/where-can-i-find-the-windows-95-startup-sound-transcribed-into-music-notation-or/4067#4067" />
  <row Id="40723" PostHistoryTypeId="36" PostId="23969" RevisionGUID="5a3265ea-764b-4fb8-93bf-acc46ffdc2e0" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1021/how-to-achieve-best-sound-in-midi-playback" />
  <row Id="40724" PostHistoryTypeId="36" PostId="23970" RevisionGUID="bed25a20-aaa1-4d32-a59d-45b9ea8f3734" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1021/how-to-achieve-best-sound-in-midi-playback/1022#1022" />
  <row Id="40725" PostHistoryTypeId="36" PostId="23971" RevisionGUID="3e4da98f-8aa3-4ee9-b970-8bfcddd01545" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1021/how-to-achieve-best-sound-in-midi-playback/1024#1024" />
  <row Id="40726" PostHistoryTypeId="2" PostId="23970" RevisionGUID="9b75400a-0c30-4b89-9e8d-bc789326f045" CreationDate="2011-03-14T20:46:25.773" UserId="7294" UserDisplayName="Warrior Bob" Text="Yes there are!  &#xD;&#xA;&#xD;&#xA;MIDI is a set of instructional codes to tell the synth what notes to play and when.  There's a standard (&quot;General MIDI&quot;, GM for short) that gives numbers to common instruments, so that the synthesizer can know that some notes for instrument X should be played with a grand piano sound, but instrument Y refers to a violin sound.  I forget the exact numberings but that's the idea.&#xD;&#xA;&#xD;&#xA;So any synthesizer you might have that implements GM can play back the MIDI data from those files.  Many hardware synthesizers have done this (it's really common on keyboards, and I've also seen rackmount synth boxes and even MIDI drum modules that implement GM).  I don't know of any standalone software synths that do, but there's no reason why they couldn't.  I know there are some synthesizer plugins (Synth1 by Ichiro Toda, for example) for larger audio tools which have a default instrument mapping that matches the GM numbers.&#xD;&#xA;&#xD;&#xA;The quality of sound reproduction is entirely up to your synthesizer.  Generally a synth tends to have some instruments that it can model better than others." ContentLicense="CC BY-SA 2.5" />
  <row Id="40727" PostHistoryTypeId="2" PostId="23971" RevisionGUID="e64407cb-c7ec-4717-8328-263e3d792f00" CreationDate="2011-03-14T23:42:40.687" UserId="319" Text="You can get a better synth or use samplers.  Audio samples will make your sounds more realistic, since they are actual recordings of instruments.  There are hardware units and software (plugin) units.  Some sound cards have better GM synths onboard too - this might be the easiest option, but it still won't sound realistic, as it's being synthesized." ContentLicense="CC BY-SA 2.5" />
  <row Id="40728" PostHistoryTypeId="2" PostId="23972" RevisionGUID="6a42a0fa-2fcc-4aee-9f27-4e6324c72b97" CreationDate="2011-03-22T00:39:48.413" UserDisplayName="d-_-b" Text="As you want a software solution, you could try a GM soundfont software synth. For exmaple RGC's SFZ. It looks like Cakewalk (cough) has bough RCG:&#xD;&#xA;http://www.cakewalk.com/products/SFZ/default.aspx&#xD;&#xA;&#xD;&#xA;It looks like this is still free however.&#xD;&#xA;&#xD;&#xA;There are a few others if you look around that may serve you well:&#xD;&#xA;http://www.synthfont.com/&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40729" PostHistoryTypeId="2" PostId="23969" RevisionGUID="a98c9570-3643-4364-8342-6afd51319544" CreationDate="2011-03-14T20:08:13.723" UserDisplayName="Alex" Text="I have some midi files, and I'm playing them back with Microsoft GS synthesizer.  Are there alternative synthesizers or methods for improving the sound reproduction to be more like real instruments?" ContentLicense="CC BY-SA 2.5" />
  <row Id="40730" PostHistoryTypeId="1" PostId="23969" RevisionGUID="a98c9570-3643-4364-8342-6afd51319544" CreationDate="2011-03-14T20:08:13.723" UserDisplayName="Alex" Text="How to achieve best sound in MIDI playback" ContentLicense="CC BY-SA 2.5" />
  <row Id="40731" PostHistoryTypeId="3" PostId="23969" RevisionGUID="a98c9570-3643-4364-8342-6afd51319544" CreationDate="2011-03-14T20:08:13.723" UserDisplayName="Alex" Text="&lt;midi&gt;&lt;playback&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40732" PostHistoryTypeId="36" PostId="23972" RevisionGUID="dca3d1bb-7a3c-41e8-b036-e1248adae73e" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1021/how-to-achieve-best-sound-in-midi-playback/1078#1078" />
  <row Id="40733" PostHistoryTypeId="36" PostId="23973" RevisionGUID="a0bfc6dd-fc15-4b60-9356-5c8dd48f39b1" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1021/how-to-achieve-best-sound-in-midi-playback/5717#5717" />
  <row Id="40734" PostHistoryTypeId="2" PostId="23973" RevisionGUID="e81bb19a-8641-4f92-a908-203c09e21bab" CreationDate="2012-12-31T12:40:25.910" UserDisplayName="Sky25" Text="It's way easier than all that. Download this app:  [coolsoft virtual midi synth][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://coolsoft.altervista.org/en/virtualmidisynth&#xD;&#xA;&#xD;&#xA;and one of the many soundfonts listed there, configure it to and voila!. " ContentLicense="CC BY-SA 3.0" />
  <row Id="40735" PostHistoryTypeId="36" PostId="23974" RevisionGUID="3c765ff8-1564-4f22-9554-4a302bbc5cef" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2447/how-do-you-use-the-caps-lock-keyboard-in-pro-tools" />
  <row Id="40736" PostHistoryTypeId="2" PostId="23974" RevisionGUID="1ad1cb70-5f44-4c94-8a8d-68752bbe7eee" CreationDate="2011-10-08T06:32:41.300" UserDisplayName="James Litewski" Text="I can't seem to get the Caps-lock keyboard in Pro Tools to work.. I even have had trouble with my midi keyboard; so maybe I'm just having all around trouble with midi input. Anyway, both the Caps-lock keyboard, and my usb keyboard work with Logic.&#xD;&#xA;&#xD;&#xA;I'm running OS X 10.6.8, and working with Pro Tools 9.0.5&#xD;&#xA;&#xD;&#xA;So, does anyone know what might be wrong..?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40737" PostHistoryTypeId="1" PostId="23974" RevisionGUID="1ad1cb70-5f44-4c94-8a8d-68752bbe7eee" CreationDate="2011-10-08T06:32:41.300" UserDisplayName="James Litewski" Text="How do you use the Caps-lock keyboard in Pro Tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40738" PostHistoryTypeId="3" PostId="23974" RevisionGUID="1ad1cb70-5f44-4c94-8a8d-68752bbe7eee" CreationDate="2011-10-08T06:32:41.300" UserDisplayName="James Litewski" Text="&lt;midi&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40739" PostHistoryTypeId="36" PostId="23975" RevisionGUID="80d4769b-b10c-4ac4-8ca5-ae884f35b680" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1089/ableton-live-osculator-touchosc-send-all-values-to-remote-control-device" />
  <row Id="40740" PostHistoryTypeId="2" PostId="23976" RevisionGUID="c73035d2-1129-4089-a99c-19d6c6f7828f" CreationDate="2011-03-25T06:19:16.660" UserId="7294" UserDisplayName="Warrior Bob" Text="I know of no way to do this using stock Ableton Live while a project is running.  However, I believe that Live sends out the positions of those controls when you first open a project, so if you can close and re-open the project, I think you can get the values where you want them.&#xD;&#xA;&#xD;&#xA;It's a workaround rather than a proper solution, but short of some kind of crazy Max4Live patch I can't think of any way to transmit all of this information at once in Live." ContentLicense="CC BY-SA 2.5" />
  <row Id="40741" PostHistoryTypeId="2" PostId="23975" RevisionGUID="24c45c65-ca0d-40e0-a79e-0a0d110abcbc" CreationDate="2011-03-24T22:34:57.613" UserDisplayName="Florian Dobler" Text="I'm using TouchOSC on an iPad to remote control many values in an Ableton Live Project. To translate between OSC (TouchOSC) and MIDI (Ableton Live) I'm using OSCulator.&#xD;&#xA;&#xD;&#xA;Now when I startup TouchOSC on the iPad, all controls are by default set to zero. What I would like is to make Ableton Live send ALL the correct values to the iPad, so that the controls are updated.&#xD;&#xA;&#xD;&#xA;To be clear: Bidirectional communication works fine, when I change a value in Ableton Live, the iPad gets updated. But I would like to update ALL the controls at once using a script, tool, dark magic - whatever you guys can think of.&#xD;&#xA;&#xD;&#xA;Thanks for your help!" ContentLicense="CC BY-SA 2.5" />
  <row Id="40742" PostHistoryTypeId="1" PostId="23975" RevisionGUID="24c45c65-ca0d-40e0-a79e-0a0d110abcbc" CreationDate="2011-03-24T22:34:57.613" UserDisplayName="Florian Dobler" Text="Ableton Live / Osculator / TouchOSC: Send all values to remote control device" ContentLicense="CC BY-SA 2.5" />
  <row Id="40743" PostHistoryTypeId="3" PostId="23975" RevisionGUID="24c45c65-ca0d-40e0-a79e-0a0d110abcbc" CreationDate="2011-03-24T22:34:57.613" UserDisplayName="Florian Dobler" Text="&lt;midi&gt;&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40744" PostHistoryTypeId="36" PostId="23976" RevisionGUID="7c8a689c-ddb1-4ccc-a91a-114bc52c4969" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1089/ableton-live-osculator-touchosc-send-all-values-to-remote-control-device/1090#1090" />
  <row Id="40745" PostHistoryTypeId="36" PostId="23977" RevisionGUID="66418f80-3e9d-4ea6-81a4-83b773e8447a" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1089/ableton-live-osculator-touchosc-send-all-values-to-remote-control-device/2611#2611" />
  <row Id="40746" PostHistoryTypeId="36" PostId="23978" RevisionGUID="0a998255-850c-48b7-a483-77e345513ab1" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1089/ableton-live-osculator-touchosc-send-all-values-to-remote-control-device/4095#4095" />
  <row Id="40747" PostHistoryTypeId="2" PostId="23978" RevisionGUID="fe551e99-e7e9-4fff-b364-f79190fe8d0c" CreationDate="2012-05-31T09:07:45.197" UserDisplayName="boxyd" Text="I had the same problem. &#xD;&#xA;This is item on OSCulator forum that can help you to make work a tip with double &quot;command M&quot; it works with ableton live, perhaps it can help you to make it work with other programs !&#xD;&#xA;&#xD;&#xA;http://www.osculator.net/forum/threads/1735-Fader-on-rotary-for-ableton-live-only-min-and-max?p=7871#post7871" ContentLicense="CC BY-SA 3.0" />
  <row Id="40748" PostHistoryTypeId="2" PostId="23977" RevisionGUID="ffcbdcb9-5d7b-4c00-93fe-894583cd98cd" CreationDate="2011-11-09T06:05:01.923" UserDisplayName="Greg" Text="You can make a quick max for live patch that uses liveremote or liveobject to quickly scan through every possible parameter and send a &quot;bang&quot; to it (this would have the same effect as quickly touching all the knobs and sliders and buttons etc).  &#xD;&#xA;&#xD;&#xA;One of those max4live objects lets you scroll through controls by id or something like that so you just make a counter and metro that bangs every millisecond (you might have to go a tiny bit slower just so all your stuff doesn't crash at once) and just get it to find the current value of that slider/know/whatever and resend it to itself.  &#xD;&#xA;&#xD;&#xA;Erm, so you want to use liveobserver (I can't remember what it's called but it's something like that).  But the answer is that it's easy you just have to read about the max objects who's names start with live.(name) and are related to live.remote.&#xD;&#xA;&#xD;&#xA;I wish I could remember what the names are so I wouldn't sound like such a space cadet but it's a lot easier than it may seem.  This approach also has the added bonus of teaching you a bit about the live.remote/object/observer/etc objects (if you don't already know about them) which is awesome, cause they're pretty darn cool.&#xD;&#xA;&#xD;&#xA;:) good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="40749" PostHistoryTypeId="36" PostId="23979" RevisionGUID="a6961422-3af0-4b45-a10b-df74cb2d95de" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3344/how-do-i-extend-the-keyboard-range-of-certain-ni-instruments" />
  <row Id="40750" PostHistoryTypeId="36" PostId="23980" RevisionGUID="bfc49ee0-f2f5-4698-bdf8-71f35913f9ee" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3344/how-do-i-extend-the-keyboard-range-of-certain-ni-instruments/3363#3363" />
  <row Id="40751" PostHistoryTypeId="2" PostId="23980" RevisionGUID="84be502c-d007-42ff-bb08-871dda8718b6" CreationDate="2012-02-19T14:36:22.223" UserId="7459" UserDisplayName="bigp" Text="Although this is an answer that depends on another software to solve this problem, here's the approach I took for the time being.&#xD;&#xA;&#xD;&#xA;Since my host program that I'm using is **Ableton live**, I *grouped* the Kontakt player so that it plays on channel #1 of the combined instrument.&#xD;&#xA;&#xD;&#xA;Then, I recorded (in Session view) the output of the highest note in the Kontakt instrument by holding the note down for a **few seconds** (that is, for however long you need to capture a couple or more rotations of the sound's &quot;evolution&quot;, characteristics, timbre, etc.)&#xD;&#xA;&#xD;&#xA;Once recorded, I dragged-n-dropped the Audio Clip under Channel #1 so it creates a new Simpler on Channel #2 of the combined instrument. I then Right-Click the **Simpler** to upgrade it to a **Sampler**.&#xD;&#xA;&#xD;&#xA;I setup the combined instruments' keyboard ranges so that **Kontakt** only goes up to **C6**, and the **Sampler** starts at **C#6 to all the way to the end** (although yes, that will give you very unrealistic sounds from C7 onwards, or even before that octave).&#xD;&#xA;&#xD;&#xA;Then, it's important to set the **root key** of the **Sampler** so that it recognizes C6 as the &quot;normal&quot; pitch of the sampled sound. Anything else you play in the comprised notes range will simply be *pitch variations* of the C6 sample.&#xD;&#xA;&#xD;&#xA;If you require the instrument to loop infinitely as you hold the key (passed the length of time the sample was originally recorded) then you can do so by selecting the loop button (with the *two forward arrows*) and cropping up the region where you want the sample to loop. The START and END of where the sample is &quot;triggered&quot; doesn't have to be exactly the loop regions. The START can be a little earlier from the LOOP-START point, and the END can be a little later than the LOOP-END point. You also may want to have your loop &quot;crossfade&quot; to make the transition from loop-to-loop smoother and eliminate potential clicks or pops (although, you really should take care of this by selecting *zero-crossing* points).&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;You may notice that some instruments sounds like they boost **supersonic frequencies** when they are pitched-up (even by a single semitone), which can be **dealt with by inserting a gentle LP EQ filter** on the Channel #2 containing the **Sampler**. There may even be a way to do this directly from the Sampler by using the Keytrack feature to inversely lower the amount of frequencies cut-out as you play higher and higher notes. This can be a subtle or stronger amount depending on how much high-frequencies normally occurred in the sampled sound.&#xD;&#xA;&#xD;&#xA;Hope this can help others stuck in the same situation :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/DFo6O.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="40752" PostHistoryTypeId="2" PostId="23979" RevisionGUID="a75433a3-04ed-4ea1-b350-ce442ee0dd3a" CreationDate="2012-02-18T01:34:00.017" UserId="7459" UserDisplayName="bigp" Text="I'm using Native Instruments **Vintage Organs** in Kontakt 5.&#xD;&#xA;&#xD;&#xA;There is certain keys above **C6** that I would like to play, but since the instrument wasn't programmed to contain samples on those keys, they haven't stretched them out beyond that octave.&#xD;&#xA;&#xD;&#xA;- *How can I stretch the keys above C6 so it spreads one extra octave (to C7)?*&#xD;&#xA;&#xD;&#xA;**I'm not too worried about the impact of quality, I just want to learn how to stretch notes in its intimidating instrument editor!**" ContentLicense="CC BY-SA 3.0" />
  <row Id="40753" PostHistoryTypeId="1" PostId="23979" RevisionGUID="a75433a3-04ed-4ea1-b350-ce442ee0dd3a" CreationDate="2012-02-18T01:34:00.017" UserId="7459" UserDisplayName="bigp" Text="How do I extend the keyboard range of certain NI instruments?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40754" PostHistoryTypeId="3" PostId="23979" RevisionGUID="a75433a3-04ed-4ea1-b350-ce442ee0dd3a" CreationDate="2012-02-18T01:34:00.017" UserId="7459" UserDisplayName="bigp" Text="&lt;midi&gt;&lt;keyboard&gt;&lt;programming&gt;&lt;kontakt&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40755" PostHistoryTypeId="36" PostId="23981" RevisionGUID="d235259a-8c8d-4d53-98a2-201d2f770463" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1265/obtaining-aif-piano-note-sounds-on-imac-for-iphone-app" />
  <row Id="40756" PostHistoryTypeId="36" PostId="23982" RevisionGUID="bfa67d00-f692-4e9d-92d9-9258280bbdd0" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1265/obtaining-aif-piano-note-sounds-on-imac-for-iphone-app/1266#1266" />
  <row Id="40757" PostHistoryTypeId="2" PostId="23982" RevisionGUID="3200fd00-e9a1-4087-b2f1-a2fc4b9a8b14" CreationDate="2011-04-25T07:34:28.343" UserId="7471" UserDisplayName="Mark Heath" Text="There are loads of free sampled pianos on the web. The University of Iowa had [free piano samples][1] already in AIFF format, but [their site][2] seems to be unavailable at the moment.&#xD;&#xA;&#xD;&#xA;A lot of the other [free sampled pianos are in SF2 format][3], meaning you would have to find a free utility to extract the WAVs, and convert them to AIFF, which may be more laborious than you want.&#xD;&#xA;&#xD;&#xA;**Update:** Years ago I started writing a utility in C# that could extract the WAVs from SF2 files (the [code to parse SF2][4] is still available in [NAudio][5]). However, I abandoned it because someone else created a good freeware one called [sfZed][6], which should do what you want assuming you have found a piano soundfont you like.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://rekkerd.org/musical-instrument-samples-from-the-university-of-iowa-electronic-music-studios/&#xD;&#xA;  [2]: http://theremin.music.uiowa.edu/MIS.piano.html&#xD;&#xA;  [3]: http://www.sf2midi.com/soundfonts/listing-sound-fonts/piano/&#xD;&#xA;  [4]: http://naudio.codeplex.com/SourceControl/changeset/view/72238#7704&#xD;&#xA;  [5]: http://naudio.codeplex.com&#xD;&#xA;  [6]: http://audio.clockbeat.com/sfZed.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="40758" PostHistoryTypeId="2" PostId="23981" RevisionGUID="3529b646-4cd7-466f-92f3-87986436ee05" CreationDate="2011-04-25T06:53:01.487" UserDisplayName="iPadDeveloper2011" Text="I'm trying to get some (individual) piano note sounds (4 octaves worth), in .aif format, for an iPhone app.  My mac has a MIDI connection to a keyboard, and I can get the notes via Garage band and iTunes, but that is a lot of mucking around.  Is there an easier way? " ContentLicense="CC BY-SA 3.0" />
  <row Id="40759" PostHistoryTypeId="1" PostId="23981" RevisionGUID="3529b646-4cd7-466f-92f3-87986436ee05" CreationDate="2011-04-25T06:53:01.487" UserDisplayName="iPadDeveloper2011" Text="obtaining .aif piano note sounds on imac for iphone app" ContentLicense="CC BY-SA 3.0" />
  <row Id="40760" PostHistoryTypeId="3" PostId="23981" RevisionGUID="3529b646-4cd7-466f-92f3-87986436ee05" CreationDate="2011-04-25T06:53:01.487" UserDisplayName="iPadDeveloper2011" Text="&lt;midi&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40761" PostHistoryTypeId="36" PostId="23983" RevisionGUID="8626876f-1efc-4eed-9ee0-26df0384836b" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2630/what-is-the-most-effective-way-to-reverse-engineer-sysex-format-for-my-old-yamah" />
  <row Id="40762" PostHistoryTypeId="2" PostId="23984" RevisionGUID="4bdef50f-27ae-4d2b-9551-e5455010894f" CreationDate="2011-11-14T04:25:28.800" UserId="982" Text="The short (painful) answer is to start with the default patch, change parameters one at a time, and look through the hex dumps to see what changed in the output.  If you have a list of parameters that you care about editing most, start with those, because then you get *something* up and running quickly that has partial support.  Then you can add more parameters over time as you identify them.&#xD;&#xA;&#xD;&#xA;Specifically, to start:&#xD;&#xA;&#xD;&#xA;1. Dump out the default patch.&#xD;&#xA;2. Change a single parameter, then dump that out.&#xD;&#xA;3. Use the default patch as a template to create an editor that lets you select either the default value, or what you changed that value to.&#xD;&#xA;4. Change that parameter to its max/min values, and dump out patches for those.  Hopefully that will give you enough insight to allow full editing of a single parameter.&#xD;&#xA;5. Repeat as needed.&#xD;&#xA;&#xD;&#xA;Some parameters may be bit fields, some may be one or two bytes, etc.  Having [documentation for the general sysex format][1] will be helpful, because some small parts will be dictated by that spec (as opposed to Yamaha specific).  If you can find documentation for some other piece of Yamaha gear (esp. something released in the same time period), it may give you some insight into how they tend to design formats as a company.  If you can't find something from Yamaha, even reading through documentation of the sysex format for some other company may help.&#xD;&#xA;&#xD;&#xA;For example, taking a look at the [hexdump][2] of a couple patches from the [Planet Groove archive][3], we can identify a few things just by inspection.&#xD;&#xA;&#xD;&#xA;![Yamaha Patch Hex Dump][4]&#xD;&#xA;&#xD;&#xA;From looking at the [midi spec][5], and both of these patches, it looks like all the patches are going to begin with `0xf0`, and end with `0xf7`. In addition, the `0x43` (which follows the `0xf0`) is Yamaha's [Manufacturer ID][6].&#xD;&#xA;&#xD;&#xA;&gt;     Table 2: Expanded Status Bytes List&#xD;&#xA;&gt; &#xD;&#xA;&gt;     Binary |Hex| Dec    Function              2nd Byte   3rd Byte&#xD;&#xA;&gt;     11110000= F0= 240   System Exclusive      **         ** &#xD;&#xA;&gt;     11110111= F7= 247   End of SysEx (EOX)    none       none&#xD;&#xA;&gt;     &#xD;&#xA;&gt;     ** Note: System Exclusive (data dump) 2nd byte= Vendor ID &#xD;&#xA;&gt;     (or Universal Exclusive) followed by more data bytes and &#xD;&#xA;&gt;     ending with EOX.&#xD;&#xA;  &#xD;&#xA;Even though this is only two example patches, there's a good chance that the patch format always has seven sysex messages in sequence (each starting/ending with `0xf0 0x43 0x00 0x4b 0x00` / `0xf7`), that are always the same length.  The task is just to follow the above procedure to reverse the individual parameters.  &#xD;&#xA;&#xD;&#xA;A few other observations:&#xD;&#xA;&#xD;&#xA;+ It looks like the first couple bytes after each header are related to the length of each message (i.e.`0x2e`, `0x17`, `0x09`, `0x29`, `0x29`, `0x29`, `0x29`, each followed by `0x60`), but I'm not sure exactly what the relationship is.  If the fields always do stay the same length, the good news is that it doesn't really matter.   &#xD;&#xA;&#xD;&#xA;+ It looks like the patch name is always eight [ASCII characters][7], and is always in the same place, so the first bare-bones version of the editor could just allow editing that.&#xD;&#xA;&#xD;&#xA;+ One of the fields in each message may be a checksum for that message.  If you try creating an editor for the patch name, and the resulting patch doesn't load, that may be what the issue is.  If that happens, to test it further, try changing some binary parameter in the default patch (i.e. an on/off option), and see if only one localized bit/byte changes, or if two [non-localized] bytes change.  If there is a checksum, finding Yamaha documentation for some other piece of gear is probably your best bet for figuring it out.  Barring that, there's a description of a Roland checksum in this document[ \[pdf\]][8], which at least will get you started on attempting to guess how it works.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The whole process could be relatively easy, or it could be brutal, but this is a good way to get started.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sonicspot.com/guide/midifiles.html&#xD;&#xA;  [2]: http://linux.about.com/library/cmd/blcmdl1_hexdump.htm&#xD;&#xA;  [3]: http://www.planet-groove.com/yamaha/patches-cs1x.html&#xD;&#xA;  [4]: http://i.stack.imgur.com/SBOOJ.png&#xD;&#xA;  [5]: http://www.midi.org/techspecs/midimessages.php&#xD;&#xA;  [6]: http://www.sonicspot.com/guide/midimanufacturers.html&#xD;&#xA;  [7]: http://en.wikipedia.org/wiki/ASCII&#xD;&#xA;  [8]: http://www.2writers.com/eddie/TutSysEx.PDF" ContentLicense="CC BY-SA 3.0" />
  <row Id="40763" PostHistoryTypeId="2" PostId="23983" RevisionGUID="4b8fe682-7401-480a-81ce-c0415b281767" CreationDate="2011-11-13T10:15:24.233" UserDisplayName="Mats Wiklander" Text="I have recently put my old Yamaha CS1x back into service and realised that the world has moved on when it comes to the software support for this blue beast.&#xD;&#xA;&#xD;&#xA;So I was thinking of writing a software tool for editing patches and I quickly ran into trouble. There is to my knowledge no documentation on the SysEx patch dump format available.&#xD;&#xA;&#xD;&#xA;What is the most effective and least error prone way to reverse engineer the SysEx patch dump format?&#xD;&#xA;&#xD;&#xA;Has anyone done something similar, and what approach worked best?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40764" PostHistoryTypeId="1" PostId="23983" RevisionGUID="4b8fe682-7401-480a-81ce-c0415b281767" CreationDate="2011-11-13T10:15:24.233" UserDisplayName="Mats Wiklander" Text="What is the most effective way to reverse engineer SysEx format for my old Yamaha CS1x" ContentLicense="CC BY-SA 3.0" />
  <row Id="40765" PostHistoryTypeId="3" PostId="23983" RevisionGUID="4b8fe682-7401-480a-81ce-c0415b281767" CreationDate="2011-11-13T10:15:24.233" UserDisplayName="Mats Wiklander" Text="&lt;midi&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40766" PostHistoryTypeId="36" PostId="23984" RevisionGUID="2cfe190b-67cd-4077-a256-5d9fba4b2c4a" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2630/what-is-the-most-effective-way-to-reverse-engineer-sysex-format-for-my-old-yamah/2632#2632" />
  <row Id="40767" PostHistoryTypeId="36" PostId="23985" RevisionGUID="4ef02b1c-64e0-42a3-936a-792e997665ed" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2630/what-is-the-most-effective-way-to-reverse-engineer-sysex-format-for-my-old-yamah/3796#3796" />
  <row Id="40768" PostHistoryTypeId="2" PostId="23985" RevisionGUID="9ea6283d-71c0-4435-a900-32cd2a0d1531" CreationDate="2012-04-22T18:37:23.157" UserId="22791" UserDisplayName="Wouter van Nifterick" Text="Don't bother reverse engineering. &#xD;&#xA;Just look at the end of your owners manual.&#xD;&#xA;It's all there.&#xD;&#xA;&#xD;&#xA;That manual is a must-have if you plan on writing an editor. Google for &quot;cs1x owners manual&quot;. I just did it, and this was the first that popped up:&#xD;&#xA;[http://www.synthfool.com/docs/Yamaha/CS_Series/Yamaha%20CS-1X%20Owners%20Manual.pdf][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Note: I don't own a cs1x, but I'm the author of editors for various Yamaha synths (YS100, B200, DX21, FS1-R).&#xD;&#xA;Yamaha always documents about every bit that can be controlled. You sometimes just need some minor reverse engineering to find out the exact meaning of values to convert them to values that are easy to understand for users (Hertz, Decibel, ...).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.synthfool.com/docs/Yamaha/CS_Series/Yamaha%20CS-1X%20Owners%20Manual.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="40769" PostHistoryTypeId="36" PostId="23986" RevisionGUID="d3b2f780-b61f-4f4a-8699-27e130739b30" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3271/how-can-i-store-midi-sysex-from-hardware-synthesizers-on-my-computer" />
  <row Id="40770" PostHistoryTypeId="36" PostId="23987" RevisionGUID="8c52899a-f08a-4cb3-9ea3-09845dc8f381" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3271/how-can-i-store-midi-sysex-from-hardware-synthesizers-on-my-computer/3276#3276" />
  <row Id="40771" PostHistoryTypeId="2" PostId="23987" RevisionGUID="3c1eb728-5912-4f4d-ad87-1f90be126590" CreationDate="2012-02-11T15:31:19.440" UserId="7209" Text="I use [MIDI-Ox][1] for this.&#xD;&#xA;&#xD;&#xA;If you go into the SysEx window, there is an option for receiving a dump and sending it.&#xD;&#xA;&#xD;&#xA; 1. Click View-&gt;SysEx&#xD;&#xA; 2. Click SysEx-&gt;Receive Manual Dump&#xD;&#xA;&#xD;&#xA;Nothing vendor-specific needed.  You don't need to interpret the data... just store it and play it back.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.midiox.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40772" PostHistoryTypeId="2" PostId="23988" RevisionGUID="09886855-0fd1-478a-ad34-5454517e84b3" CreationDate="2012-02-13T22:49:26.063" UserId="25220" UserDisplayName="Joe McMahon" Text="[Sysex Librarian][1] will work for you if you're on a Mac. I've successfully used this with my Ensoniq VFXsd and SD-1, both of which are quite finicky about receiving SysEx.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.snoize.com/SysExLibrarian/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40773" PostHistoryTypeId="2" PostId="23986" RevisionGUID="4faa3ee2-4e8d-427d-af5a-a4f41e9a0066" CreationDate="2012-02-11T01:28:39.830" UserId="7294" UserDisplayName="Warrior Bob" Text="I have a couple of hardware synthesizers and I understand that one of their features is to transmit their current settings (and all of their preset settings) by sending them out as MIDI SysEx data. I understand it's possible to store these dumps on a computer, but I'm not sure how this is done. Does it require vendor-specific software for each device, or is there a general solution? What does the workflow look like?&#xD;&#xA;&#xD;&#xA;It would be great to make backups of my synth's settings, so that I can try editing them without fear of losing previous settings." ContentLicense="CC BY-SA 3.0" />
  <row Id="40774" PostHistoryTypeId="1" PostId="23986" RevisionGUID="4faa3ee2-4e8d-427d-af5a-a4f41e9a0066" CreationDate="2012-02-11T01:28:39.830" UserId="7294" UserDisplayName="Warrior Bob" Text="How can I store MIDI SysEx from hardware synthesizers on my computer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40775" PostHistoryTypeId="3" PostId="23986" RevisionGUID="4faa3ee2-4e8d-427d-af5a-a4f41e9a0066" CreationDate="2012-02-11T01:28:39.830" UserId="7294" UserDisplayName="Warrior Bob" Text="&lt;midi&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40776" PostHistoryTypeId="36" PostId="23988" RevisionGUID="51d0b0d8-db08-40f1-b281-097ad3835b09" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3271/how-can-i-store-midi-sysex-from-hardware-synthesizers-on-my-computer/3294#3294" />
  <row Id="40777" PostHistoryTypeId="36" PostId="23989" RevisionGUID="65da25e9-babc-449f-9c0f-d42c91e22931" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4727/is-it-possible-to-connect-an-alesis-dm6-to-reason-and-track-drums" />
  <row Id="40778" PostHistoryTypeId="36" PostId="23990" RevisionGUID="9a58a434-5629-4692-8318-7089cda47171" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4727/is-it-possible-to-connect-an-alesis-dm6-to-reason-and-track-drums/5257#5257" />
  <row Id="40779" PostHistoryTypeId="36" PostId="23991" RevisionGUID="769376c2-8954-45e0-855c-0a0b36f208ca" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4727/is-it-possible-to-connect-an-alesis-dm6-to-reason-and-track-drums/6985#6985" />
  <row Id="40780" PostHistoryTypeId="2" PostId="23990" RevisionGUID="8aa1193e-edfe-4545-8969-65af4c789657" CreationDate="2012-11-05T17:50:30.970" UserId="17571" UserDisplayName="Zeronyne" Text="This is a fairly simple process. There are other ways to do this, and I am assuming that you just want to control Reason's sounds with your drum kit (recording the actual audio from your DM6 is a separate question), but here is the simplest way to get started.&#xD;&#xA;&#xD;&#xA;ON YOUR DM6:&#xD;&#xA;Press PATTERN to select Pattern Select Mode&#xD;&#xA;Press VALUE +/- to select &quot;--n&quot;&#xD;&#xA;&#xD;&#xA;This will send the GM Standard MIDI note messages to Reason.&#xD;&#xA;&#xD;&#xA;In Reason, go to Preferences/Controllers (sorry, I'm not in my studio...I will edit this later for clarity), and choose the DM6 (it may show up as a generic interface) as your main controller.&#xD;&#xA;&#xD;&#xA;Now when you highlight a track that's assigned to a device, it should play right off the bat. Try a synth first to make sure all of your pads are transmitting. Sometimes, the Reason drum presets are missing some assignments.&#xD;&#xA;&#xD;&#xA;This should at least get you started." ContentLicense="CC BY-SA 3.0" />
  <row Id="40781" PostHistoryTypeId="2" PostId="23991" RevisionGUID="0d379111-1d3a-4aa4-b101-09c4baf0fb5f" CreationDate="2013-01-29T12:47:34.700" UserDisplayName="user3547" Text="It should play right off the bat, but in case it doesn't click RIGHT on the track and select &quot;Lock [name you've given e-drum kit] to This Device.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40782" PostHistoryTypeId="2" PostId="23989" RevisionGUID="d3c25a36-07ce-4d44-8500-d0e91ddc22fc" CreationDate="2012-09-14T20:14:46.123" UserDisplayName="Benjia" Text="I'm brand new to audio production as of this week and I could do with a hand! I know that the basic answer is 'yes' but I want to know how specifically I can make the connection, the only connection I have between my DM6 and my PC is the USB lead, is that sufficient or do I need extra hardware? And if that is sufficient, how do I get Reason to recognise my DM6 as a control surface?&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="40783" PostHistoryTypeId="1" PostId="23989" RevisionGUID="d3c25a36-07ce-4d44-8500-d0e91ddc22fc" CreationDate="2012-09-14T20:14:46.123" UserDisplayName="Benjia" Text="Is it possible to connect an Alesis DM6 to Reason and track drums?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40784" PostHistoryTypeId="3" PostId="23989" RevisionGUID="d3c25a36-07ce-4d44-8500-d0e91ddc22fc" CreationDate="2012-09-14T20:14:46.123" UserDisplayName="Benjia" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40785" PostHistoryTypeId="36" PostId="23992" RevisionGUID="12b305ba-5394-4dbc-bc8e-3196a08cc51d" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2521/automate-volume-cc-of-kontakt-instruments-in-logic" />
  <row Id="40786" PostHistoryTypeId="36" PostId="23993" RevisionGUID="0372b8a1-6ee0-44e3-8d70-3ed9c82f48f5" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2521/automate-volume-cc-of-kontakt-instruments-in-logic/2996#2996" />
  <row Id="40787" PostHistoryTypeId="2" PostId="23993" RevisionGUID="58dce8d8-960b-4111-afe4-bafcb7099fd6" CreationDate="2012-01-10T15:39:22.837" UserDisplayName="cluedat" Text="The way I did this was to assign a cc 11 to each volume slider in the multi (the default midi assignment is cc 7).&#xD;&#xA;&#xD;&#xA;To do that, you open the browse pane in Kontakt, go to the Auto tab, then choose the Midi automation tab.&#xD;&#xA;&#xD;&#xA;Now drag cc 11 onto each instruments volume slider.  &#xD;&#xA;&#xD;&#xA;If each instrument is on its own midi channel then its volume slider will respond only to a cc 11 message on that channel.  You'd need to set that up on your hardware.  i.e. set a knob or slider on your controller to transmit cc 11 on whatever midi channel you want to control.  &#xD;&#xA;&#xD;&#xA;There's a slightly fancier way to do it here that gives you a bit more control:&#xD;&#xA;&#xD;&#xA; http://www.logicprohelp.com/forum/viewtopic.php?t=30689&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40788" PostHistoryTypeId="2" PostId="23992" RevisionGUID="9181e167-68f5-4ea1-b8a9-3d5d3aa435af" CreationDate="2011-10-21T13:07:13.690" UserDisplayName="Steve" Text="I have a multi-instrument kontakt open in Logic, with 4 different instruments assigned to MIDI channels 1-4. Then I have 4 instrument tracks in the arrange each assigned to channels 1-4 of that instrument. A standard use of multi instrument.&#xD;&#xA;&#xD;&#xA;Using automation such as modulation in this way is fine - each channel (1-4) can have its own modulation automation, independent of one another, which only affects the internal kontakt instrument it is routed to (as you'd expect). E.G. However, when I try to use automation on volume, for example, it affects the global kontakt channel, rather than the volume setting of the instrument within kontakt (hope this makes sense).&#xD;&#xA;&#xD;&#xA;My question is, if I could assign a MIDI CC to the internal volume control of each kontakt instrument, I could ignore the volume CC and assign my own. This way, i could have each instrument track changing volume independently of each other (much like you can do with modulation).&#xD;&#xA;&#xD;&#xA;How would I go about doing this? I have tried right-clicking on the volume slider, which gives me the option to assign a MIDI CC, but this requires me to move a hardware controller of some sort, and not just assign a specific channel to it.&#xD;&#xA;&#xD;&#xA;Sorry if this isn't very clear, I hope somebody understands what I mean!&#xD;&#xA;&#xD;&#xA;A good counter example is DP - adjusting volume of individual tracks does not affect the volume on the multi-instrument track - just the volume of the kontakt instrument that the channel is being routed to...&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="40789" PostHistoryTypeId="1" PostId="23992" RevisionGUID="9181e167-68f5-4ea1-b8a9-3d5d3aa435af" CreationDate="2011-10-21T13:07:13.690" UserDisplayName="Steve" Text="automate volume CC of Kontakt instruments in Logic" ContentLicense="CC BY-SA 3.0" />
  <row Id="40790" PostHistoryTypeId="3" PostId="23992" RevisionGUID="9181e167-68f5-4ea1-b8a9-3d5d3aa435af" CreationDate="2011-10-21T13:07:13.690" UserDisplayName="Steve" Text="&lt;midi&gt;&lt;logic-pro&gt;&lt;automation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40795" PostHistoryTypeId="36" PostId="23995" RevisionGUID="e2e4217b-566a-4566-af1c-9c6e71e97bbb" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/135/what-does-the-term-quantization-refer-to" />
  <row Id="40796" PostHistoryTypeId="2" PostId="23996" RevisionGUID="203c5fd7-3e54-4ce1-8f86-2a44cc0657a2" CreationDate="2010-12-08T16:28:34.287" UserDisplayName="Clint Miller" Text="Quantization aligns (or &quot;snaps&quot;) the MIDI data (usually musical notes) to the tempo (or subdivisions, thereof) of the composition. You can think of it as an automatic &quot;clean-up&quot; for MIDI data that was close to exact, but not quite exact.&#xD;&#xA;&#xD;&#xA;It will often have configurable options, such as quantize to 1/4 notes, 1/8 notes, 1/16 notes, etc... (subdivisions of the project tempo).&#xD;&#xA;&#xD;&#xA;I'll quote [Wikipedia's article][1], because they put it well:&#xD;&#xA;&#xD;&#xA;&gt; In digital music processing technology, quantization is the process of aligning a set of musical notes to a precise setting. This results in notes being set on beats and on exact fractions of beats. ...the dimensions of this timing grid are set beforehand. When one instructs the music application to quantize a certain group of MIDI notes in a song, the program moves each note to the closest point on the timing grid.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Quantization_(music)" ContentLicense="CC BY-SA 2.5" />
  <row Id="40797" PostHistoryTypeId="2" PostId="23995" RevisionGUID="26541594-7e90-481b-acd5-d218fb3af61c" CreationDate="2010-12-08T16:25:26.043" UserDisplayName="Kevin Y" Text="Many DAWs have the option to &quot;quantize&quot; a set of notes. What does it do?" ContentLicense="CC BY-SA 2.5" />
  <row Id="40798" PostHistoryTypeId="1" PostId="23995" RevisionGUID="26541594-7e90-481b-acd5-d218fb3af61c" CreationDate="2010-12-08T16:25:26.043" UserDisplayName="Kevin Y" Text="What does the term quantization refer to?" ContentLicense="CC BY-SA 2.5" />
  <row Id="40799" PostHistoryTypeId="3" PostId="23995" RevisionGUID="26541594-7e90-481b-acd5-d218fb3af61c" CreationDate="2010-12-08T16:25:26.043" UserDisplayName="Kevin Y" Text="&lt;midi&gt;&lt;daw&gt;&lt;terminology&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40800" PostHistoryTypeId="36" PostId="23996" RevisionGUID="ce45241b-6ae2-4145-9141-69080364eba2" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/135/what-does-the-term-quantization-refer-to/136#136" />
  <row Id="40801" PostHistoryTypeId="36" PostId="23997" RevisionGUID="a0e10a41-0360-45f8-8195-0ca750af9f4b" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/135/what-does-the-term-quantization-refer-to/988#988" />
  <row Id="40802" PostHistoryTypeId="2" PostId="23997" RevisionGUID="afcb0157-c611-4ecf-a38c-c9d2fc4422d6" CreationDate="2011-03-09T23:06:26.360" UserDisplayName="Evik James" Text="I use an analogy to illustrate what quantization is.&#xD;&#xA;&#xD;&#xA;Imagine that a beat is like the rung of a ladder. An entire ladder with sixteen rungs is like a measure with sixteen notes.&#xD;&#xA;&#xD;&#xA;While climbing the ladder, your foot can aim for any rung or land anywhere near a rung, but it will always end up exactly on a rung.&#xD;&#xA;&#xD;&#xA;Quantization is the process that pushes your foot to one rung or the other.  &#xD;&#xA;&#xD;&#xA;Does this make sense?" ContentLicense="CC BY-SA 2.5" />
  <row Id="40803" PostHistoryTypeId="36" PostId="23998" RevisionGUID="2a1d92ef-342a-441b-87b3-92a2cb75f2ec" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2114/what-is-the-midi-format-used-on-the-yamaha-psr-e423-portable-keyboard" />
  <row Id="40804" PostHistoryTypeId="36" PostId="23999" RevisionGUID="ba059acb-4a6b-44d1-95cf-98c45b3d3562" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2114/what-is-the-midi-format-used-on-the-yamaha-psr-e423-portable-keyboard/2166#2166" />
  <row Id="40805" PostHistoryTypeId="2" PostId="23999" RevisionGUID="edb65130-5e3d-4b0c-b908-2fe8da87f9cb" CreationDate="2011-08-19T03:32:21.327" UserDisplayName="Wheat Williams" Text="While I can't offer any information on your specific model of Yamaha keyboard, here are some resources you can use to learn more about Standard MIDI files in general. I think your question has more to do with that anyway.&#xD;&#xA;&#xD;&#xA;Interest in Standard MIDI files is not what it used to be. Here are some resources.&#xD;&#xA;&#xD;&#xA;[Wikipedia article][1] explaining the difference between Format 0 and Format 1 Standard MIDI Files.&#xD;&#xA;&#xD;&#xA;[MIDI File Format Specification][2] from the MIDI Manufacturers Association.&#xD;&#xA;&#xD;&#xA;[MIDI File Format explanation][3] from The Sonic Spot.&#xD;&#xA;&#xD;&#xA;[The Yamaha Musicsoft web site][4]--one of the last companies in the business of selling commercial Standard MIDI files in various formats, usually for use on their digital pianos.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/MIDI#File_formats&#xD;&#xA;  [2]: http://www.midi.org/aboutmidi/tut_midifiles.php&#xD;&#xA;  [3]: http://www.sonicspot.com/guide/midifiles.html&#xD;&#xA;  [4]: http://www.yamahamusicsoft.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40806" PostHistoryTypeId="2" PostId="23998" RevisionGUID="c4a1dc85-c06c-4345-ada1-b10446e2b381" CreationDate="2011-08-14T01:05:22.787" UserDisplayName="makerofthings7" Text="The PSR-e423 has some features that only seems to work with some MIDI files, and not just the random ones I download from the internet.&#xD;&#xA;&#xD;&#xA;Some formats have the ability to show the notes on the LCD display, which in turn, teach me the song, and the song's tempo.&#xD;&#xA;&#xD;&#xA;I'm trying to find a search term, conversion tool, or some magic word that lets me identify compatible MIDIs and non-compatible MIDIs&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40807" PostHistoryTypeId="1" PostId="23998" RevisionGUID="c4a1dc85-c06c-4345-ada1-b10446e2b381" CreationDate="2011-08-14T01:05:22.787" UserDisplayName="makerofthings7" Text="What is the midi format used on the Yamaha PSR-e423 portable keyboard?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40808" PostHistoryTypeId="3" PostId="23998" RevisionGUID="c4a1dc85-c06c-4345-ada1-b10446e2b381" CreationDate="2011-08-14T01:05:22.787" UserDisplayName="makerofthings7" Text="&lt;midi&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40809" PostHistoryTypeId="36" PostId="24000" RevisionGUID="9c96b28b-9269-4eef-8c56-2bb3968899fe" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4286/complete-song-master-and-mixing-tutorial" />
  <row Id="40810" PostHistoryTypeId="2" PostId="24001" RevisionGUID="7939d823-8945-418e-9974-31f88a06b14c" CreationDate="2012-06-27T18:41:54.973" UserId="12830" UserDisplayName="dwwilson66" Text="A simple [google search][1] has Apple's site, where [this link][2] is described as &quot;Watch video tutorials that show you how to compose, record, mix, and perform with ... &quot; as it's first result. That pretty much sounds like what you need. &#xD;&#xA;&#xD;&#xA;However, from Stack's FAQs, [this link][3] includes, as its first point, &#xD;&#xA;&#xD;&#xA;&gt; **Do your homework**&#xD;&#xA;&gt; &#xD;&#xA;&gt; Have you thoroughly searched for an answer before asking your&#xD;&#xA;&gt; question? Sharing your research helps everyone. Tell us what you found&#xD;&#xA;&gt; and why it didn’t meet your needs. This demonstrates that you’ve taken&#xD;&#xA;&gt; the time to try to help yourself, it saves us from reiterating obvious&#xD;&#xA;&gt; answers, and most of all it helps you get a more specific and relevant&#xD;&#xA;&gt; answer!&#xD;&#xA;&#xD;&#xA;Your reputation score tells me you're a little green, but seriously--check out the FAQ. You'll get better results with your questions if you understand the expectations. Just sayin'.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.google.com/search?hl=en&amp;safe=active&amp;rls=com.microsoft:en-us:IE-Address&amp;q=logic%20studio%20video%20tutorial&amp;oq=logic%20studio%20video%20tutorial&amp;gs_l=serp.3..0i30j0i5i30j0i8i30l4.306909.306909.0.312429.1.1.0.0.0.0.841.841.6-1.1.0...0.0.vjBOc_3Fyrw&#xD;&#xA;  [2]: http://www.apple.com/logicpro/how-to/&#xD;&#xA;  [3]: http://avp.stackexchange.com/questions/how-to-ask" ContentLicense="CC BY-SA 3.0" />
  <row Id="40811" PostHistoryTypeId="2" PostId="24000" RevisionGUID="20708aec-8552-4939-9ac9-3d8abccda3a0" CreationDate="2012-06-27T03:40:55.917" UserDisplayName="holms" Text="I hope this is not offtopic. I need a video tutorial for complete song production specially for logic studio. If you can't find specially for logic studio, for any other audio editor is fine also. Goal is to record one song with few instruments and learn to make complete mixing and mastering.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40812" PostHistoryTypeId="1" PostId="24000" RevisionGUID="20708aec-8552-4939-9ac9-3d8abccda3a0" CreationDate="2012-06-27T03:40:55.917" UserDisplayName="holms" Text="Complete song master and mixing tutorial" ContentLicense="CC BY-SA 3.0" />
  <row Id="40813" PostHistoryTypeId="3" PostId="24000" RevisionGUID="20708aec-8552-4939-9ac9-3d8abccda3a0" CreationDate="2012-06-27T03:40:55.917" UserDisplayName="holms" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40814" PostHistoryTypeId="36" PostId="24001" RevisionGUID="d1fe3659-64cc-4576-9ce7-7039ccf4a2bc" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4286/complete-song-master-and-mixing-tutorial/4302#4302" />
  <row Id="40815" PostHistoryTypeId="36" PostId="24002" RevisionGUID="1761341a-93ea-4a5a-a38e-1b4a269ec3fa" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3142/how-to-change-pitch-bend-in-midi" />
  <row Id="40816" PostHistoryTypeId="2" PostId="24003" RevisionGUID="eb25e9da-9018-456a-b90c-894398d5abba" CreationDate="2012-01-26T18:23:46.073" UserId="7294" UserDisplayName="Warrior Bob" Text="Assuming you recorded your MIDI into MIDI clips (and weren't recording just the audio out from Kontakt), there certainly is! &#xD;&#xA;&#xD;&#xA;Pitchbend messages are stored in clip envelopes, similar to other MIDI CC messages. Open your MIDI clip in clip view at the bottom, and click on the &quot;e&quot; in the lower left corner to bring up the Envelopes box. In the choosers there, find Pitchbend (I believe it's under MIDI Control, but I don't have it in front of me to check).&#xD;&#xA;&#xD;&#xA;The pitchbend curve should show up in the clip editing box. Select the range where you have extra Pitchbend movement you don't want and delete it." ContentLicense="CC BY-SA 3.0" />
  <row Id="40817" PostHistoryTypeId="2" PostId="24002" RevisionGUID="620d7e43-bf90-44a9-af23-252b04986228" CreationDate="2012-01-26T18:08:39.433" UserId="7210" Text="I use Kontakt 4 to play a guitar on my keyboard on my song. So, naturally I use MIDI. I've recorded the whole song a couple of times and it's perfect except for one movement with the pitchbend knob on my piano.&#xD;&#xA;&#xD;&#xA;Is there any way to fix this in Ableton Live now, or do I have to record all over again?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40818" PostHistoryTypeId="1" PostId="24002" RevisionGUID="620d7e43-bf90-44a9-af23-252b04986228" CreationDate="2012-01-26T18:08:39.433" UserId="7210" Text="How to Change Pitch Bend in MIDI?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40819" PostHistoryTypeId="3" PostId="24002" RevisionGUID="620d7e43-bf90-44a9-af23-252b04986228" CreationDate="2012-01-26T18:08:39.433" UserId="7210" Text="&lt;midi&gt;&lt;ableton-live&gt;&lt;pitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40820" PostHistoryTypeId="36" PostId="24003" RevisionGUID="4301549e-d8f3-43fc-96dc-6b68df8f6f0e" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3142/how-to-change-pitch-bend-in-midi/3143#3143" />
  <row Id="40821" PostHistoryTypeId="36" PostId="24004" RevisionGUID="e4adacb3-70c2-4f4a-b81e-6b008360ee62" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1521/vocals-plugin-or-robot-voice" />
  <row Id="40822" PostHistoryTypeId="36" PostId="24005" RevisionGUID="e0b509cc-2783-4159-b3ed-efbed4a94b82" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1521/vocals-plugin-or-robot-voice/1522#1522" />
  <row Id="40823" PostHistoryTypeId="36" PostId="24006" RevisionGUID="f254edea-7503-4149-ae17-f9cf5cefdffd" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1521/vocals-plugin-or-robot-voice/1523#1523" />
  <row Id="40824" PostHistoryTypeId="36" PostId="24007" RevisionGUID="849d15d8-f0e7-46db-9021-bf9545518d08" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1521/vocals-plugin-or-robot-voice/1525#1525" />
  <row Id="40825" PostHistoryTypeId="2" PostId="24005" RevisionGUID="e1767c24-d0c3-4ecb-9e0f-82e948c4ef2b" CreationDate="2011-06-01T10:29:03.430" UserId="6559" Text="*I haven't tried this with Logic-Pro (so feel free to vote down if its not appropriate!) ...*&#xD;&#xA;but you could take a look at the VST based [Vocaloid](http://www.vocaloid.com/en/) (and more background on [wikipedia](http://en.wikipedia.org/wiki/Vocaloid)), that allows you to specify lyrics phonetically, as well as pitch, of a vocal &quot;instrument&quot;.&#xD;&#xA;&#xD;&#xA;I haven't looked at this since the early versions, which I didn't find particularly useful. I seem to recall reviews saying it may be ok for backing vocals, or guide tracks, rather than the lead you're looking for. &#xD;&#xA;&#xD;&#xA;If they could improve it they'd certainly get my money. Like you, recording vocals is the weak link in my songs. The quality of the singing and recording is not good, and trying to craft the rest of the song without the vocal laid down, or with a replacement instrument instead, is not ideal either." ContentLicense="CC BY-SA 3.0" />
  <row Id="40826" PostHistoryTypeId="2" PostId="24006" RevisionGUID="d6f04368-6162-44d3-8a2f-752e61ca833e" CreationDate="2011-06-01T11:26:31.037" UserId="7471" UserDisplayName="Mark Heath" Text="You have three options:&#xD;&#xA;&#xD;&#xA;1. **Sing it yourself.** You may think you are a &quot;horrible bad vocalist&quot; but you might be surprised how much you can improve with a little practice. Especially considering that you can do tricks like using an auto-tune effect, or recording at a pitch more suited to your vocal range, or using comping to select the best phrases from several takes. I'm not a good singer, but with a bit of perseverance, I can usually get something tolerable.&#xD;&#xA;&#xD;&#xA;2. **Ask a friend to sing**. It's worth asking a few friends if they would be willing to do your vocals for you. Also, on a lot of DAW recording forums there is a section for &quot;collaboration&quot; requests - you might be able to send someone a backing track and ask them to sing it for you.&#xD;&#xA;&#xD;&#xA;3. **Use a software instrument**. There have been several attempts to create virtual singers, like [Yamaha's &quot;Leon&quot; and &quot;Lola&quot;][1]. However, creating realistic sounding parts is incredibly difficult and a lot more research and development is needed before this becomes a genuinely viable option if realism matters to you.&#xD;&#xA;&#xD;&#xA;If you're willing to spend money, I'd be more inclined to offer to buy a friend a beer for singing a track instead of purchasing a virtual singer instrument which would be time consuming and frustrating to use.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/mar04/articles/vocaloidlandl.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="40827" PostHistoryTypeId="2" PostId="24007" RevisionGUID="c3d6997c-b707-4a45-b5b3-fb669726ac4a" CreationDate="2011-06-01T12:07:35.793" UserId="7202" Text="If you absolutely refuse to just sing it, and have no friends you can coerce into doing it, you can use some sort of pitch-correction software, more commonly called &quot;Auto-tune&quot;. This will sound more natural than a robot voice, unless you have really extreme settings.&#xD;&#xA;&#xD;&#xA;You could also use a Vocoder (which I suspect the robot voice effect is). This takes an instrument (like a synthesizer) that plays the melody, and shapes it's sound according to the sound of your singing. This is an awesome effect popularized by early synthpop such as Kraftwerk, and also used to great effect by ELO ([sample][1]) and something you hear WAY to seldom nowadays. A similar effect to the vocoder is talk box, as used in Bon Jovis &quot;Livin on a Prayer&quot; intro.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/File:Elo_blue_sky.ogg" ContentLicense="CC BY-SA 3.0" />
  <row Id="40828" PostHistoryTypeId="2" PostId="24004" RevisionGUID="780ea6cf-2b47-4fba-ab72-bfcc79978220" CreationDate="2011-06-01T06:42:51.930" UserId="17717" UserDisplayName="Christian" Text="I am a horrible bad vocalist and don't have the time to set up a real band, but still want to get some vocals on my hobbyist music project. I am open to anything (and yes, I know nothing can replace a good singer - but still I want to go such a way)&#xD;&#xA;&#xD;&#xA;I was wondering if plugins like the &quot;EastWest Choir&quot;, which simulates a choir does sound. Is it so good I could use it as &quot;front end&quot; vocals? Is there anything similar?&#xD;&#xA;&#xD;&#xA;The other alternative is a Robot Voice plugin, but I don't know if there are any good ones. &#xD;&#xA;&#xD;&#xA;What I don't want is &quot;only samples&quot;. I would like to express my own lyrics.&#xD;&#xA;&#xD;&#xA;Any recommendations? I am amateur but willing to pay a few bucks. Of course, I would like to save money if possible. A good mix between cost and quality would be perfect.&#xD;&#xA;&#xD;&#xA;My environment is Mac OSX, Logic Pro 8 and AU. I own the latest MBP so speed should be no problem, in most cases." ContentLicense="CC BY-SA 3.0" />
  <row Id="40829" PostHistoryTypeId="1" PostId="24004" RevisionGUID="780ea6cf-2b47-4fba-ab72-bfcc79978220" CreationDate="2011-06-01T06:42:51.930" UserId="17717" UserDisplayName="Christian" Text="Vocals plugin or Robot voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="40830" PostHistoryTypeId="3" PostId="24004" RevisionGUID="780ea6cf-2b47-4fba-ab72-bfcc79978220" CreationDate="2011-06-01T06:42:51.930" UserId="17717" UserDisplayName="Christian" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40831" PostHistoryTypeId="36" PostId="24008" RevisionGUID="277f0395-ca55-4863-8546-a4b168b839aa" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/482/adjusting-midi-latency-in-ableton-live" />
  <row Id="40832" PostHistoryTypeId="2" PostId="24009" RevisionGUID="eea2905d-78e4-4bea-9add-0bd9916468c9" CreationDate="2010-12-30T18:51:18.090" UserDisplayName="Ed J" Text="Unless you're doing epic synth solos chances are you could easily solve this problem using the 'Quantise' function.&#xD;&#xA;&#xD;&#xA;Simply right-click in the piano-roll and select the 'Quantise Settings' option: this will allow you to quantise right down to 1/32note triplets (IIRC).&#xD;&#xA;&#xD;&#xA;OR you can even turn on auto-quantise from the Edit menu (Record Quantisation), which will let you quantise what you're playing as you play it, which can be useful in a live setting if your timing is a little off." ContentLicense="CC BY-SA 2.5" />
  <row Id="40833" PostHistoryTypeId="2" PostId="24008" RevisionGUID="6498e323-bccf-4ebe-99e1-bd24e25e3e96" CreationDate="2010-12-30T17:53:56.227" UserId="7209" Text="When I record MIDI tracks in Ableton Live, is there any way to adjust it so the MIDI notes I record are automatically shifted to their correct positions, correcting for the lag time on my MIDI adapter?&#xD;&#xA;&#xD;&#xA;I can easily adjust the latency for sync/realtime messages, but this setting has no effect on regular notes.&#xD;&#xA;&#xD;&#xA;I am recording my Juno-106 both on MIDI and on audio, but I want to record the MIDI so I can go back and fix a note here and there, and then play everything back with the Juno correctly in time." ContentLicense="CC BY-SA 2.5" />
  <row Id="40834" PostHistoryTypeId="1" PostId="24008" RevisionGUID="6498e323-bccf-4ebe-99e1-bd24e25e3e96" CreationDate="2010-12-30T17:53:56.227" UserId="7209" Text="Adjusting MIDI latency in Ableton Live" ContentLicense="CC BY-SA 2.5" />
  <row Id="40835" PostHistoryTypeId="3" PostId="24008" RevisionGUID="6498e323-bccf-4ebe-99e1-bd24e25e3e96" CreationDate="2010-12-30T17:53:56.227" UserId="7209" Text="&lt;midi&gt;&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40836" PostHistoryTypeId="36" PostId="24009" RevisionGUID="5cc5da40-51bb-4b99-9ac7-a2f2e0bd802f" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/482/adjusting-midi-latency-in-ableton-live/483#483" />
  <row Id="40837" PostHistoryTypeId="36" PostId="24010" RevisionGUID="25b6d99b-b659-4fea-924a-c11720efb91a" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/482/adjusting-midi-latency-in-ableton-live/485#485" />
  <row Id="40838" PostHistoryTypeId="36" PostId="24011" RevisionGUID="a4bc0585-90e4-4539-8d88-9544b394eda3" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/482/adjusting-midi-latency-in-ableton-live/7707#7707" />
  <row Id="40839" PostHistoryTypeId="2" PostId="24010" RevisionGUID="97fb6de9-cae6-4102-bb6e-30885a21977f" CreationDate="2010-12-30T22:08:51.797" UserId="7202" Text="It sounds like you have found the lag adjust, and you also need to make sure the latency settings for the audio card is correct.&#xD;&#xA;&#xD;&#xA;Also, I have been plagued by a bug in several versions where MIDI recorded notes get a long lag if monitoring is on or off (I can't remember which) so make tests with that, turn off and on monitoring on the channel you record on. I don't have Live on this computer, so I can't tell you exactly, but fiddle around and see if it gets better." ContentLicense="CC BY-SA 2.5" />
  <row Id="40840" PostHistoryTypeId="2" PostId="24011" RevisionGUID="7182648c-af69-4d93-9293-5e6780842e08" CreationDate="2013-04-21T09:55:38.367" UserId="12790" UserDisplayName="Ron Kyle" Text="If it's the lag time on your midi adapter, then the lag should be constant throughout the entire midi recording... so just select all the midi notes in the edit view, zoom way in and move the notes until you can hear it's where you want it.&#xD;&#xA;&#xD;&#xA;As for doing it on the fly, or in real-time I don't think there's a way to automate that, though I could be wrong. I'm sure you could do it with Max, but that's usually the case." ContentLicense="CC BY-SA 3.0" />
  <row Id="40841" PostHistoryTypeId="36" PostId="24012" RevisionGUID="c38f60d2-d7eb-4739-96ab-b68799b16fde" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2128/which-software-sequencers-are-good-for-live-performances" />
  <row Id="40842" PostHistoryTypeId="36" PostId="24013" RevisionGUID="4b39665a-a842-43f8-92d4-38d341a33ff5" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2128/which-software-sequencers-are-good-for-live-performances/2129#2129" />
  <row Id="40843" PostHistoryTypeId="36" PostId="24014" RevisionGUID="eae74c4f-0504-4c6b-a5bb-2c8aba5cf864" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2128/which-software-sequencers-are-good-for-live-performances/2172#2172" />
  <row Id="40844" PostHistoryTypeId="2" PostId="24013" RevisionGUID="e52e2b59-80e5-49ae-8102-bf82e7caacaa" CreationDate="2011-08-16T12:45:46.483" UserId="7093" Text="You could try [Ableton Live][1].  I have heard of many people using it for live performances.  It can play back MIDI and recorded audio, does looping and many other things, so it should meet your needs.&#xD;&#xA;&#xD;&#xA;If you are on a budget, you could try [Reaper][2].&#xD;&#xA;&#xD;&#xA;Both programs have a free trial, so you can try them both and see which better fits your needs and style.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ableton.com/live-8&#xD;&#xA;  [2]: http://www.reaper.fm/index.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="40845" PostHistoryTypeId="2" PostId="24014" RevisionGUID="54402fa7-a803-43aa-aee6-4f70c96c2720" CreationDate="2011-08-19T21:05:12.950" UserId="7178" Text="[Renoise](http://renoise.com/) is great for live performances.  Be sure to also check out the [Duplex](http://tools.renoise.com/tools/duplex) plugin which provides automatic MIDI/OSC controller mappings." ContentLicense="CC BY-SA 3.0" />
  <row Id="40846" PostHistoryTypeId="2" PostId="24012" RevisionGUID="2a299491-c88d-4141-a3ec-e298ceba9405" CreationDate="2011-08-16T11:04:43.220" UserDisplayName="rafalcieslak" Text="I'm looking for software sequencer that is designed to be helpful in live performances. Almost every software sequencers I know is rather a MIDI note-sheet editor, which forces it's users to use it offline only.&#xD;&#xA;&#xD;&#xA;Could you please recommend me a piece of software that aims for **live** sequencing? Preferably MIDI, but any other protocol too." ContentLicense="CC BY-SA 3.0" />
  <row Id="40847" PostHistoryTypeId="1" PostId="24012" RevisionGUID="2a299491-c88d-4141-a3ec-e298ceba9405" CreationDate="2011-08-16T11:04:43.220" UserDisplayName="rafalcieslak" Text="Which software sequencers are good for live performances?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40848" PostHistoryTypeId="3" PostId="24012" RevisionGUID="2a299491-c88d-4141-a3ec-e298ceba9405" CreationDate="2011-08-16T11:04:43.220" UserDisplayName="rafalcieslak" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40849" PostHistoryTypeId="36" PostId="24015" RevisionGUID="f69a5c12-84c7-4187-ac3a-18b93603dcfc" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2549/eliminating-recording-latency-what-hardware-and-settings-are-needed" />
  <row Id="40850" PostHistoryTypeId="36" PostId="24016" RevisionGUID="ecffbb89-f093-4014-a4d1-885e0ae30ff8" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2549/eliminating-recording-latency-what-hardware-and-settings-are-needed/2550#2550" />
  <row Id="40851" PostHistoryTypeId="36" PostId="24017" RevisionGUID="ad4fbf4c-13a1-4d99-8e30-db0e47c0ff14" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2549/eliminating-recording-latency-what-hardware-and-settings-are-needed/2555#2555" />
  <row Id="40852" PostHistoryTypeId="2" PostId="24016" RevisionGUID="deb7e4a2-7906-4605-80e2-072e53278133" CreationDate="2011-10-26T20:56:34.243" UserDisplayName="fénix" Text="Delay comes from different sources but it **mainly** comes from the sound card. Your sound card is just like your graphics card &quot;if you want to play fancy games you will have to get one that makes all that calculations on time&quot;.&#xD;&#xA;&#xD;&#xA;Which card are you using?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40853" PostHistoryTypeId="2" PostId="24017" RevisionGUID="e3198bcc-f979-4360-acbf-7c616c8eebcb" CreationDate="2011-10-27T08:48:28.360" UserDisplayName="JayP" Text="**Assuming** that you have a modern processor and a decent amount of RAM, the weak link in the chain is likely to be your built-in sound chip, or the sound chip drivers, or a combination of both.&#xD;&#xA;&#xD;&#xA;Again assuming that you're playing to a click, the reason that the MIDI appears to be late, is that the click is reaching your ears late, because of the excessive latency in your sound chip/sound chip drivers.&#xD;&#xA;&#xD;&#xA;On Windows, for decent response, you really need [ASIO][1] drivers.  The most important feature that they provide is a proper system of **timing/synchronisation**.  When working with anything more complicated than iTunes, these elements are of the utmost importance.&#xD;&#xA;&#xD;&#xA;If you were on a Mac, things would be slightly different - Mac audio drivers use an API known as CoreAudio, which does provide the proper timing and synchronisation.  This is *not* to say Macs are superior - indeed many of them probably have exactly the same sound chip that you've got.  Decent hardware drivers are key here!&#xD;&#xA;&#xD;&#xA;Here are the steps I would try to rectify this:&#xD;&#xA;&#xD;&#xA;* Download and install the latest drivers for your sound card from the manufacturer website.  If you're lucky, they'll provide ASIO drivers.&#xD;&#xA;* [ASIO4ALL][2] is a good stop gap for those that don't have access to ASIO drivers for their sound card.  However, it's really a make or break solution - it either works perfectly or you're back to step one.  I've also known ASIO4ALL to cause kernel panics in Windows (also known as the blue screen of death or BSOD).  Simply un-installing it will revert this behaviour.&#xD;&#xA;* Finally, if those two don't work, look into purchasing a decent USB/FireWire external sound card.  There are many manufacturers out there.  Go to someone like [Sound on Sound][3] for decent, well-informed and independent advice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Audio_Stream_Input/Output&#xD;&#xA;  [2]: http://www.asio4all.com&#xD;&#xA;  [3]: http://www.soundonsound.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="40854" PostHistoryTypeId="2" PostId="24018" RevisionGUID="589c53ed-a47b-4908-beca-e73a644cabd3" CreationDate="2011-10-27T17:24:05.607" UserId="7294" UserDisplayName="Warrior Bob" Text="Here are all the places I know of between pressing a key and hearing the sound where latency is likely to be introduced:&#xD;&#xA;&#xD;&#xA; 1. **Your MIDI interface**: This might be built into your keyboard or it might be another device with a female DIN jack on it. Some of these are less latent than others, but the variation is usually pretty small. However, a lot of these work over...&#xD;&#xA; 2. **USB**: USB generally introduces a nonzero amount of latency. It's usually not much though, unless your USB bus is flooded with data. Firewire has this problem as well, although IMHO to a much smaller extent.&#xD;&#xA; 3. **Audio buffers**: Processing digital audio involves sampling a short amount of it and then processing those samples. Your plugins all do this, as do parts of your environment (Cubase, in your case). Again, it's pretty short and not likely to be noticed, unless you have a plugin that needs a particularly large buffer. Most of those will have a setting, like you found in Kontakt, for the length of the buffer. Smaller buffer, less latency.&#xD;&#xA; 4. **Output buffer**: This is the big buffer that stores the output of your audio software on its way to your soundcard, and is the source of most latency problems. This is the one that is managed by ASIO drivers on Windows, and Core Audio on OSX. This buffer tends to be larger, because it's insurance against pops and clicks that can occur when audio software has to compete for system resources. The bigger the buffer, the longer you can wait before having to calculate some more samples.&#xD;&#xA; 5. **Driver/hardware**: Some audio hardware (or drivers) can include their own internal latency. This is not easily detectible since it doesn't have to be reported to the OS, like the output buffer does. &#xD;&#xA;&#xD;&#xA;50 ms is a *lot* of latency in this kind of situation. You have said that Asio4All reports 13ms of latency, which is troublesome but not unusable. And it may be correct: that output buffer may well be 13ms long. But what about Kontakt's buffer? If that plugin has its own internal delay, then that'll be added to whatever Asio4All is working with. Most modern computers, unless they're bogged down with background processes, ought to be able to get under 15-20ms without too much trouble.&#xD;&#xA;&#xD;&#xA;In general, the trick is to figure out the minimum latency you can work with without running out of buffer under load, which will sound like popping and glitches. Your limitations are the free resources in your system: available CPU, RAM, and I/O. Your integrated soundcard is probably fine latencywise, so long as it plays nicely with Asio4All. It might not. Try playing back basic audio recordings in a program like Cubase, using no plugins, and see what the latency feels like - this will eliminate Kontakt from the equation. How long after you press play is it until you hear sound? Maybe play along with a simple softsynth such as [Synth1][1] that isn't processing anything terribly complicated (turn the effects off).&#xD;&#xA;&#xD;&#xA;As an aside, it's a good idea to look for things that might be intermittently ruining your audio stream, and get rid of them. On my Macbook Pro, which is plenty powerful for audio, I still get audio dropouts when the wireless finds a new network. When working with audio, I generally turn wifi and bluetooth off.&#xD;&#xA;&#xD;&#xA;As for your second question about offsets in recording, the recording environment does know the ASIO buffer size and many of them have an automatic compensation feature. However, it generally does not know the delay due to your audio drivers, nor due to your MIDI interface. Some software (I know Ableton Live has this, not sure about Cubase) allows you to specify the amount of latency above the ASIO buffer if you happen to know it or can measure it, and it will compensate your recordings based on whatever you put in.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.kvraudio.com/get/214.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="40855" PostHistoryTypeId="2" PostId="24015" RevisionGUID="9d929f82-c9cd-4cf8-8a14-629f0bad5e0c" CreationDate="2011-10-26T16:38:08.230" UserDisplayName="Szabolcs" Text="I am very new to this field, so please bear with me.&#xD;&#xA;&#xD;&#xA;When recording MIDI, there are several kinds of annoying delays.  I would like to know what can I do to reduce/eliminate this by changing settings, or, when this is not possible on basic hardware, what kind of (cheap -- for home) hardware do I need?&#xD;&#xA;&#xD;&#xA;I have to deal with two kinds of delay:&#xD;&#xA;&#xD;&#xA;1. When playing from a connected MIDI keyboard through a software synthesizer such as [Kontakt][1], there's a tiny delay between pressing a key and hearing the sound.  Even though it is a very short delay, it makes it impossible to play fast.  What is needed to minimize this delay?  Is the CPU speed significant, or does it depend on the sound card?  There's a setting in Kontakt to compromise between quality (crackle) and latency.  I can turn it down to 50 ms, but I'm not sure this figure is correct (it's still too slow).  When using ASIO4ALL, the program claims a delay of 13 ms, but in practice it feels similar to what I get with DirectX.&#xD;&#xA;&#xD;&#xA;2. When recording a new MIDI track in Cubase (at the same time as playing the existing tracks), in the final result there will be a short delay between the previously existing and the newly recorded track.  It is possible to correct this later manually.  Is it possible to change settings to correct this?  (This *must* be possible if the computer can know how great the delay is due to different factors, and automatically shifts the new track in time to correct for it.)&#xD;&#xA;&#xD;&#xA;EDIT: This is on Windows XP, but I'm also interested in Windows 7 solutions.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.native-instruments.com/#/en/products/producer/kontakt-5-player/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40856" PostHistoryTypeId="1" PostId="24015" RevisionGUID="9d929f82-c9cd-4cf8-8a14-629f0bad5e0c" CreationDate="2011-10-26T16:38:08.230" UserDisplayName="Szabolcs" Text="Eliminating recording latency -- what hardware and settings are needed?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40857" PostHistoryTypeId="3" PostId="24015" RevisionGUID="9d929f82-c9cd-4cf8-8a14-629f0bad5e0c" CreationDate="2011-10-26T16:38:08.230" UserDisplayName="Szabolcs" Text="&lt;midi&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40858" PostHistoryTypeId="36" PostId="24018" RevisionGUID="a7f3e463-37f5-4928-ba69-e36c8af9c4e1" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2549/eliminating-recording-latency-what-hardware-and-settings-are-needed/2559#2559" />
  <row Id="40859" PostHistoryTypeId="36" PostId="24019" RevisionGUID="51c396a7-5fc0-4634-a26b-6cf3c454f0e8" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8625/parsing-midi-file-with-unknown-bytes" />
  <row Id="40860" PostHistoryTypeId="2" PostId="24019" RevisionGUID="2b5ba6ff-63df-43b5-a9d5-02ea508fb3b3" CreationDate="2013-08-06T03:27:53.157" UserId="9706" UserDisplayName="glaba" Text="I have a midi file which was generated using MuseScore. It plays well in Windows Media Player, but causes my midi reading program to crash. &#xD;&#xA;&#xD;&#xA;    4d 54 68 64 = MThd&#xD;&#xA;    00 00 00 06 = Header length of 6&#xD;&#xA;    00 01 = Track format 1&#xD;&#xA;    00 02 = two tracks&#xD;&#xA;    01 e0 = 480 delta-ticks per quarter note&#xD;&#xA;    &#xD;&#xA;    4d 54 72 6b = MTrk&#xD;&#xA;    00 00 00 86 = length of 0x86&#xD;&#xA;    00 ff 58 04 04 02 18 08 = time signature&#xD;&#xA;    00 ff 59 02 00 00 = key signature&#xD;&#xA;    00 c0 00 = program change (channel 1)&#xD;&#xA;    02 b0 07 64 = control mode change (channel 1)&#xD;&#xA;    02 0a = running status&#xD;&#xA;    40 02 = running status&#xD;&#xA;    5b 1e = running status&#xD;&#xA;    02 5d = running status&#xD;&#xA;    1e ac 78 90 = Aftertouch event (channel 13, not really applicable in this context)&#xD;&#xA;    3e 50 = running status&#xD;&#xA;    83 5f 3e = delta time (83 5f) and 3e, which is not a status byte&#xD;&#xA;    (more bytes for context): 00 01 40 50&#xD;&#xA;&#xD;&#xA;What exists in the MIDI standard that I've overlooked here? &#xD;&#xA;&#xD;&#xA;Lots of edits later: For those who read this earlier, I completely misread the MIDI file when I first wrote this, due to lag in Notepad++. I've got the correct bytes now, and I'm sure of it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="40861" PostHistoryTypeId="1" PostId="24019" RevisionGUID="2b5ba6ff-63df-43b5-a9d5-02ea508fb3b3" CreationDate="2013-08-06T03:27:53.157" UserId="9706" UserDisplayName="glaba" Text="parsing MIDI file with unknown bytes" ContentLicense="CC BY-SA 3.0" />
  <row Id="40862" PostHistoryTypeId="3" PostId="24019" RevisionGUID="2b5ba6ff-63df-43b5-a9d5-02ea508fb3b3" CreationDate="2013-08-06T03:27:53.157" UserId="9706" UserDisplayName="glaba" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40863" PostHistoryTypeId="36" PostId="24020" RevisionGUID="4b4bedb0-1c46-4db4-a44a-fad8ca3391f4" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8282/which-midi-interface-to-get-for-more-channels" />
  <row Id="40864" PostHistoryTypeId="2" PostId="24020" RevisionGUID="a3d57b1f-35f2-46d6-86af-c4bc3fb39ec2" CreationDate="2013-07-02T08:58:39.187" UserId="7206" Text="I own Roland UM-4 that was a good MIDI interface but it's not working with 64-bit windows or similar so I've bought a cheap 1-channel plexgear MIDI interface which is not enough when I now also own the Cyclone Analogic TT303, I want at least 2 channels MIDI and preferrably 3 or 4 channels like the UM 4 has but it's incompatible with 64-bit os. &#xD;&#xA;&#xD;&#xA;Can you tell me what I could use to buy and whether I also need a sound card? My gear is&#xD;&#xA;&#xD;&#xA;Roland TR909&#xD;&#xA;Cyclone TT303&#xD;&#xA;Mackie ProFX8 &#xD;&#xA;Graphite 49 MIDI controller&#xD;&#xA;Roland Juno 60 &#xD;&#xA;Cubase + Reason + FL + WIndows 7&#xD;&#xA;&#xD;&#xA;## Update ##&#xD;&#xA;I looked at a midisport 4-channel interface for abt USD 120 that seemed good. I also bought a second 1-channel plexgear interface to quickly get the connection I need from the local radio shack. Then I also might get a better soundcard since the soundcard I own today is cheap and bad - the Sony Vaio internal soundcard and a plexgear external usb soundcard. I have put my money in the instruments (Roland TR 909, Cyclone TT303, Roland Juno 60) and I will now wire everything so that we can make techno. " ContentLicense="CC BY-SA 3.0" />
  <row Id="40865" PostHistoryTypeId="1" PostId="24020" RevisionGUID="a3d57b1f-35f2-46d6-86af-c4bc3fb39ec2" CreationDate="2013-07-02T08:58:39.187" UserId="7206" Text="Which MIDi interface to get for more channels?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40866" PostHistoryTypeId="3" PostId="24020" RevisionGUID="a3d57b1f-35f2-46d6-86af-c4bc3fb39ec2" CreationDate="2013-07-02T08:58:39.187" UserId="7206" Text="&lt;midi&gt;&lt;windows&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40867" PostHistoryTypeId="36" PostId="24021" RevisionGUID="c2b21b18-9bbc-455e-9bd5-f684f3febe14" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/63/how-can-i-manually-emulate-the-sonic-abilities-of-the-nes" />
  <row Id="40868" PostHistoryTypeId="36" PostId="24022" RevisionGUID="dfa5159d-96cc-49d4-828d-75edba4cd4ff" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/63/how-can-i-manually-emulate-the-sonic-abilities-of-the-nes/98#98" />
  <row Id="40869" PostHistoryTypeId="36" PostId="24023" RevisionGUID="9284d74b-7b12-494f-a36a-47a347d41c48" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/63/how-can-i-manually-emulate-the-sonic-abilities-of-the-nes/104#104" />
  <row Id="40870" PostHistoryTypeId="36" PostId="24024" RevisionGUID="edbfef3b-4f47-477d-857d-d82d1604f2bd" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/63/how-can-i-manually-emulate-the-sonic-abilities-of-the-nes/224#224" />
  <row Id="40871" PostHistoryTypeId="36" PostId="24025" RevisionGUID="3b919513-10c6-4e45-af2f-b7aa3a8df728" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/63/how-can-i-manually-emulate-the-sonic-abilities-of-the-nes/253#253" />
  <row Id="40872" PostHistoryTypeId="36" PostId="24026" RevisionGUID="a15f936a-eba0-4252-9411-1b5b9ab4cd90" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/63/how-can-i-manually-emulate-the-sonic-abilities-of-the-nes/621#621" />
  <row Id="40873" PostHistoryTypeId="2" PostId="24022" RevisionGUID="48d8110d-89b6-4855-9df9-89d128d0a93e" CreationDate="2010-12-08T03:51:34.620" UserDisplayName="davetron5000" Text="Who knows if it's still available, but there's a cartridge that allows MIDI control of an NES…that should certainly allow you only what the developers had: [http://www.wayfar.net/0xf00000_overview.php](http://www.wayfar.net/0xf00000_overview.php)" ContentLicense="CC BY-SA 2.5" />
  <row Id="40874" PostHistoryTypeId="2" PostId="24024" RevisionGUID="fdd0d98e-84e1-446a-8fa1-eeb16646efb5" CreationDate="2010-12-10T19:50:22.260" UserId="7209" Text="I recommend checking out [FamiTracker][1], for a much more raw, and direct method of programming the NES.  Using that for a bit will give you a better idea.&#xD;&#xA;&#xD;&#xA;It is my understanding that each game production company made their own tools and assemblers so they weren't bashing out raw bytes in memory to achieve what they wanted.  I'd imagine this is why certain companies (Konami comes to mind) had really similar patterns in their music.  (Of course it is also possible that the same folks did game after game.)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://famitracker.shoodot.net" ContentLicense="CC BY-SA 2.5" />
  <row Id="40875" PostHistoryTypeId="2" PostId="24025" RevisionGUID="2a7ec842-d68b-4fa6-9009-1c0174580ef4" CreationDate="2010-12-13T23:14:31.050" UserDisplayName="Dewb" Text="Check out programs like Nanoloop or LSDJ on a Gameboy or emulator to get a feel for how the limits of the chip shape the way people write for it.  You have amplitude and filter envelopes ranging from instant to a few seconds. I believe the hardware enables pitch bending as well if the software supports it.&#xD;&#xA;&#xD;&#xA;For me personally the biggest feature of the &quot;NES sound&quot; -- other than the filtered square wave -- is the use of rapid arpeggiators to get around the limited polyphony.  On the Gameboy, the noise channel is monophonic, one synth channel can do chords (of up to 4 notes) and the remaining two channels are monophonic but arpeggiated. &#xD;&#xA;&#xD;&#xA;If, for example, you replace a quarter-note chord with sixteen 64th notes arpeggiated over the same 3 or 4 notes, I bet that will already start to sound &quot;videogamey&quot; to your ears.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40876" PostHistoryTypeId="2" PostId="24026" RevisionGUID="d1caab70-190a-4a62-823b-6b0e16247f20" CreationDate="2011-01-18T10:47:54.907" UserDisplayName="Sud" Text="&quot;faux delay&quot; is pretty simple, you can just repeat the notes at whatever delay interval you want with descending velocity.&#xD;&#xA;Pulse waves and a noise source are really where it's at if you're looking for &quot;video gamey&quot; sounds in my opinion. Playing around with the pulse width will give you many timbres.&#xD;&#xA;It's very fun and inspirational to limit yourself like this! Especially these days where we have way too many possibilities." ContentLicense="CC BY-SA 2.5" />
  <row Id="40877" PostHistoryTypeId="2" PostId="24023" RevisionGUID="2e3664bd-391e-420f-88b1-b64e4f46e966" CreationDate="2010-12-08T06:26:49.233" UserDisplayName="Krummelz" Text="Hey! I don't know much about how the early consoles worked. But if you're interested, here's a VST plugin you could have a look at. It's called the Magical 8-Bit plugin. It might give you an idea or two somewhere. You could also hook this up to a midi controller, I'm sure?&#xD;&#xA;&#xD;&#xA;I downloaded this a while ago, but since then the site has changed to japanese. Here is the link -&gt; http://www.ymck.net/magical8bitplug/index.html. If you use Google Chrome, it will translate the page for you. " ContentLicense="CC BY-SA 2.5" />
  <row Id="40878" PostHistoryTypeId="2" PostId="24021" RevisionGUID="d9faee0d-392b-420b-970a-4c4c668db5fc" CreationDate="2010-12-07T21:57:02.683" UserDisplayName="Willbill" Text="I am interested in recreating chiptunes in a NES (8 bit) style&#xD;&#xA;&#xD;&#xA;A google search has shown that the original NES had 2 pulsewave, a triangle, noise, some sort of sampling channel and that emulations of these sounds can be obtained from various VST instruments such as triforce. What isn't so obvious to me however is finding out how to manually emulate what the nes could do with these sounds using midi.&#xD;&#xA;&#xD;&#xA;My question is what level of control did/do nes programmers have over the sound chip and for each element how can it be emulated (preferably using midi).&#xD;&#xA;&#xD;&#xA;The sort of thing I want to know is Is there pitch bench, amplitude envelope etc. &#xD;&#xA;&#xD;&#xA;Also if anyone knows how to reproduce specific effects such as the faux delay effect often heard on nes tunes that would be great too  " ContentLicense="CC BY-SA 2.5" />
  <row Id="40879" PostHistoryTypeId="1" PostId="24021" RevisionGUID="d9faee0d-392b-420b-970a-4c4c668db5fc" CreationDate="2010-12-07T21:57:02.683" UserDisplayName="Willbill" Text="How can I manually emulate the sonic abilities of the NES?" ContentLicense="CC BY-SA 2.5" />
  <row Id="40880" PostHistoryTypeId="3" PostId="24021" RevisionGUID="d9faee0d-392b-420b-970a-4c4c668db5fc" CreationDate="2010-12-07T21:57:02.683" UserDisplayName="Willbill" Text="&lt;midi&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40881" PostHistoryTypeId="36" PostId="24027" RevisionGUID="71050b30-72c4-40ab-9cd9-9d02a3a6efe6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2911/delta-44-can-you-chain-a-midi-thru-cable-to-the-pci-card" />
  <row Id="40882" PostHistoryTypeId="36" PostId="24028" RevisionGUID="f763144e-f841-4627-a6d5-acb7a50debed" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2911/delta-44-can-you-chain-a-midi-thru-cable-to-the-pci-card/2977#2977" />
  <row Id="40883" PostHistoryTypeId="2" PostId="24028" RevisionGUID="008f9403-2460-4a3a-80b8-ce4179391483" CreationDate="2012-01-07T11:51:29.753" UserDisplayName="az01" Text="The delta 44 hasn't any MIDI i/o at all. I had  one a few years ago, so it's 100% sure (just look at the breakout box, there are only 6.35 jacks !). You can couple the D44 with a 24/96 which has a MIDI interface, or maybe use a Midi usb interface." ContentLicense="CC BY-SA 3.0" />
  <row Id="40884" PostHistoryTypeId="2" PostId="24027" RevisionGUID="855c1b2d-1e04-46d2-9d7d-fecdfc31ebfe" CreationDate="2011-12-28T21:55:24.947" UserDisplayName="WuckaChucka" Text="I just bought a Delta 44 PCI card/break out box and the seller had a MIDI computer cable chained into the PCI card.  While I could record on channels 1 and 2, 3 and 4 were very very quiet with a low signal-to-noise ratio.  Once I removed the MIDI cable, channels 3 and 4 were fine.&#xD;&#xA;&#xD;&#xA;Searching through the Delta 44, the only reference to the word &quot;MIDI&quot; is within the context of the &quot;MIDI Man&quot; guitar/mic adapter that M-Audio sells; I couldn't find anything that would lead me to believe that the M-Audio supports MIDI.&#xD;&#xA;&#xD;&#xA;Can someone confirm whether this is true or not?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40885" PostHistoryTypeId="1" PostId="24027" RevisionGUID="855c1b2d-1e04-46d2-9d7d-fecdfc31ebfe" CreationDate="2011-12-28T21:55:24.947" UserDisplayName="WuckaChucka" Text="Delta 44: can you chain a MIDI thru cable to the PCI card?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40886" PostHistoryTypeId="3" PostId="24027" RevisionGUID="855c1b2d-1e04-46d2-9d7d-fecdfc31ebfe" CreationDate="2011-12-28T21:55:24.947" UserDisplayName="WuckaChucka" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40887" PostHistoryTypeId="36" PostId="24029" RevisionGUID="7c1e3a9c-4896-45c6-a8f9-85f9a7b725a4" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2094/how-do-i-interface-with-midi-files-in-darkwave" />
  <row Id="40888" PostHistoryTypeId="2" PostId="24029" RevisionGUID="0291dbe8-b155-4a4e-99ae-d0c40b838229" CreationDate="2011-08-12T00:49:58.080" UserDisplayName="apollodude217" Text="I've had oodles of fun with Darkwave so far, mostly by writing simple midi on a per-instrument basis, but I do not see how to save that midi and apply it to, say, other instruments.  How can I save and play midi files in Darkwave so that I don't have to duplicate my efforts so much?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40889" PostHistoryTypeId="1" PostId="24029" RevisionGUID="0291dbe8-b155-4a4e-99ae-d0c40b838229" CreationDate="2011-08-12T00:49:58.080" UserDisplayName="apollodude217" Text="How do I interface with midi files in Darkwave?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40890" PostHistoryTypeId="3" PostId="24029" RevisionGUID="0291dbe8-b155-4a4e-99ae-d0c40b838229" CreationDate="2011-08-12T00:49:58.080" UserDisplayName="apollodude217" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40891" PostHistoryTypeId="36" PostId="24030" RevisionGUID="eb6513a8-19f9-46d5-8d98-7ad192ab29fc" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7764/logic-pro-9-importing-and-editing-drum-recordings-from-a-pro-tools-session" />
  <row Id="40892" PostHistoryTypeId="2" PostId="24031" RevisionGUID="615b8651-e9da-448a-9983-5c2420ea4856" CreationDate="2013-05-02T05:26:23.527" UserDisplayName="Electric Monk" Text="For whom it may concern - this is what I eventually did:&#xD;&#xA;Pro Tools exports split-stereo files as pairs of files with an identical name and a .L.wav and .R.wav suffix accordingly. When logic detects such a pair during import, it automatically combines it into an interleaved region. &#xD;&#xA;&#xD;&#xA;What I ended up doing was renaming all files with the aforementioned name pattern, using OS X's Automator, to a .Left.wav and .Right.wav pattern (before importing them), fooling Logic and preventing it from combining it in the first place." ContentLicense="CC BY-SA 3.0" />
  <row Id="40893" PostHistoryTypeId="2" PostId="24030" RevisionGUID="dc0123b5-ed03-4a21-875c-71e79dcdb7e0" CreationDate="2013-04-29T05:49:27.907" UserDisplayName="Electric Monk" Text="I'm editing drums from a session recorded in Pro Tools, consisting of 10 close-mic tracks and 7 overhead / room tracks. The latter are in split-stereo format, and when importing them, Logic automatically packs the left and right files together in the media bin. Which is fine with me, but comp-editing these tracks is impossible. The official solution a-la Apple seems  to be going over to the media bin, splitting these files one-by-one back into separate left and right tracks, deleting the stereo tracks from the arrange window and adding the mono ones instead. However, with 3-4 takes per song and 3 distinct stereo pairs, this is a small nightmare.&#xD;&#xA;&#xD;&#xA;Does anyone know of a way to either enable comp-editing on stereo tracks (unlikely) or stopping Logic from joining these tracks to begin with?&#xD;&#xA;&#xD;&#xA;I also did a bit of research and one solution seems to be to disable Universal Track Mode; however, doing that causes Logic to not play back any sound in my sessions, presumably because they already make use of UTM.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="40894" PostHistoryTypeId="1" PostId="24030" RevisionGUID="dc0123b5-ed03-4a21-875c-71e79dcdb7e0" CreationDate="2013-04-29T05:49:27.907" UserDisplayName="Electric Monk" Text="Logic Pro 9: importing and editing drum recordings from a Pro Tools session" ContentLicense="CC BY-SA 3.0" />
  <row Id="40895" PostHistoryTypeId="3" PostId="24030" RevisionGUID="dc0123b5-ed03-4a21-875c-71e79dcdb7e0" CreationDate="2013-04-29T05:49:27.907" UserDisplayName="Electric Monk" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40896" PostHistoryTypeId="36" PostId="24031" RevisionGUID="fa2f47ba-cf0f-44df-ae69-7d3444773002" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7764/logic-pro-9-importing-and-editing-drum-recordings-from-a-pro-tools-session/7790#7790" />
  <row Id="40897" PostHistoryTypeId="36" PostId="24032" RevisionGUID="38d55ad0-18f1-4d52-98be-2d62e2c2d3ea" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3010/connecting-linux-midi-source-to-ios-network-midi-device" />
  <row Id="40898" PostHistoryTypeId="2" PostId="24033" RevisionGUID="52b5948c-c1cc-46c6-8f0b-6ece7d39f4f4" CreationDate="2012-01-12T21:17:44.470" UserDisplayName="John Lazzaro" Text="&quot;RTP MIDI&quot; in the iOS world is a combination of two standards:&#xD;&#xA;the RFC 4596/6295 standard for sending MIDI streams over RTP&#xD;&#xA;links, and a thin session management protocol Apple invented&#xD;&#xA;for setting up the RTP MIDI sessions. The Scenic project appears&#xD;&#xA;to support the first but not the second, and thus won't work in&#xD;&#xA;your application. To my knowledge, no one has done a Linux tool&#xD;&#xA;that does what you want. The only idea that comes to mind is to&#xD;&#xA;try and get Tobias Erichsen's Windows rtpMIDI driver to work for&#xD;&#xA;you using one of the common methods for getting a Windows&#xD;&#xA;app to run on a predominantly Linux box (WINE, dual booting, &#xD;&#xA;a VM with Windows running on one of the virtual machines, etc)." ContentLicense="CC BY-SA 3.0" />
  <row Id="40899" PostHistoryTypeId="2" PostId="24032" RevisionGUID="66a3ee65-f448-482e-8c6f-727f65448c62" CreationDate="2012-01-11T21:43:10.320" UserDisplayName="Bill Gribble" Text="I'd like to send MIDI data from a Linux box to an app on an iPhone (Animoog) which supports Network MIDI connections.  As I understand it, the Apple Network MIDI spec uses RTP plus Bonjour to establish sessions.  &#xD;&#xA;&#xD;&#xA;I have found a Linux tool called midistream (from the [Scenic][1] project) which purports to stream MIDI over RTP.  However, I can't get midistream and Animoog (or MidiBridge, a MIDI diagnostic/routing app for iPhone) to talk to each other. &#xD;&#xA;&#xD;&#xA;Anyone know how to connect a Linux MIDI source to an iPhone app over wifi? &#xD;&#xA;&#xD;&#xA;  [1]: http://scenic.sat.qc.ca/en/Scenic" ContentLicense="CC BY-SA 3.0" />
  <row Id="40900" PostHistoryTypeId="1" PostId="24032" RevisionGUID="66a3ee65-f448-482e-8c6f-727f65448c62" CreationDate="2012-01-11T21:43:10.320" UserDisplayName="Bill Gribble" Text="Connecting Linux MIDI source to iOS Network Midi device?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40901" PostHistoryTypeId="3" PostId="24032" RevisionGUID="66a3ee65-f448-482e-8c6f-727f65448c62" CreationDate="2012-01-11T21:43:10.320" UserDisplayName="Bill Gribble" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40902" PostHistoryTypeId="36" PostId="24033" RevisionGUID="360e96f3-b721-40b8-bd4c-b67168fc8725" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3010/connecting-linux-midi-source-to-ios-network-midi-device/3019#3019" />
  <row Id="40903" PostHistoryTypeId="36" PostId="24034" RevisionGUID="8c1f2dc7-5d2e-4b21-9fa7-0c3d22e5414d" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5329/usb-midi-controller-freezes-when-used-with-live-drawing-software-tagtool" />
  <row Id="40904" PostHistoryTypeId="2" PostId="24034" RevisionGUID="108b0e79-a916-4f0c-bc78-165682f1142a" CreationDate="2012-11-14T18:54:06.727" UserDisplayName="Gilliom" Text="I do live drawing performances with the &quot;Tagtool&quot;-software (the old skool version: http://www.tagtool.org/wp/). It is a piece of software that allows you to draw using a drawing tablet and an arduino-based controller and animate these drawings live with a game controller (and project them as a performance). &#xD;&#xA;&#xD;&#xA;Instead of using a arduino-based controller I wanted to use a KORG NanoKontrol2 MIDI-controller. I had seen a video of someone using the older version Nanokontrol which seemed to work fine and the Tagtool-software can easily be altered to run with MIDI.&#xD;&#xA;&#xD;&#xA;I managed to hook up everything ok and could control the values of color, transparency, line-thickness, etc... with the sliders of the MIDI-controller like I expected. However, this only works when I move the sliders gently! When I move them too fast, the whole thing just freezes and none of the values can be moved. I have to restart the tagtool-program in order for it to work again.&#xD;&#xA;&#xD;&#xA;I already posted this question to a forum dedicated to the Tagtool itself, but nobody seemed to have any idea what this could be, nor had they encountered this problem before (so it's not a known issue when using MIDI to control the Tagtool).&#xD;&#xA;&#xD;&#xA;I have managed to find a workaround which solves my problem, but it is just a workaround and I still have no idea what is going on exactly...&#xD;&#xA;&#xD;&#xA;In testing whether it was the Nanokontrol which was the problem or the software, I hooked it up to some other software which all seemed to work fine. No Freezing. At one point I used the MIDI-tester software MIDI-OX to see the values of the sliders and knobs. This worked fine too, no freezes. So I concluded the controller itself was ok.&#xD;&#xA;&#xD;&#xA;But when I then started the Tagtool program again, this also worked perfectly! No more freezing whatsoever...&#xD;&#xA;&#xD;&#xA;I shut everything down and started everything up again, and the freezing was back! What had happened? The first time I had left that MIDI-OX program running and the second time I didn't. So for some reason, as long as I keep MIDI-OX running in the background, I can fiddle those MIDI-knobs as fast as I can, no problem.&#xD;&#xA;&#xD;&#xA;Of course, this is just a work around. I would be very interested to know what is actually happening here, and why the Tagtool freezes without the MIDI-OX." ContentLicense="CC BY-SA 3.0" />
  <row Id="40905" PostHistoryTypeId="1" PostId="24034" RevisionGUID="108b0e79-a916-4f0c-bc78-165682f1142a" CreationDate="2012-11-14T18:54:06.727" UserDisplayName="Gilliom" Text="USB-MIDI controller freezes when used with live-drawing software &quot;Tagtool&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40906" PostHistoryTypeId="3" PostId="24034" RevisionGUID="108b0e79-a916-4f0c-bc78-165682f1142a" CreationDate="2012-11-14T18:54:06.727" UserDisplayName="Gilliom" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40907" PostHistoryTypeId="36" PostId="24035" RevisionGUID="f954894d-f3ac-4641-b306-e84ef399baac" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3159/logic-express-spacebar-isnt-playing-audio-except-in-the-arrange-window" />
  <row Id="40908" PostHistoryTypeId="2" PostId="24036" RevisionGUID="d8c97ad3-3f19-4814-9ea2-ece1a37bb81e" CreationDate="2012-01-29T06:24:11.097" UserId="7045" Text="After poring over the Logic manual, I finally found the answer: There was some sort of problem with the Key Commands assignments. (I suspect this happened when when I was attempting to program a controller some time back.) I reset the assignments and it took care of the problem.  &#xD;&#xA;&#xD;&#xA;From the Logic Express 9 user manual:  &#xD;&#xA;&#xD;&#xA;&gt; **To initialize all key command assignments**&#xD;&#xA;&gt; &#xD;&#xA;&gt; Choose Options &gt; Initialize all Key Commands in the Key Commands window.&#xD;&#xA;&#xD;&#xA;(The Key Commands window is accesible from the main menu bar: Logic Express &gt; Preferences &gt; Key Commands...)" ContentLicense="CC BY-SA 3.0" />
  <row Id="40909" PostHistoryTypeId="2" PostId="24035" RevisionGUID="da1c8406-ee0d-46bc-be0f-e3de74452b23" CreationDate="2012-01-29T02:16:43.647" UserId="7045" Text="The title says it all: When I press the spacebar to play or pause audio, unless I'm in the arrange window, the screen flashes and nothing else happens. My friend who has Logic Pro says this isn't the case for him; is this a difference between Pro and Express, or do I have something set incorrectly? (This is in all projects, so I'm assuming it's a global setting.) " ContentLicense="CC BY-SA 3.0" />
  <row Id="40910" PostHistoryTypeId="1" PostId="24035" RevisionGUID="da1c8406-ee0d-46bc-be0f-e3de74452b23" CreationDate="2012-01-29T02:16:43.647" UserId="7045" Text="Logic Express: Spacebar isn't playing audio except in the arrange window" ContentLicense="CC BY-SA 3.0" />
  <row Id="40911" PostHistoryTypeId="3" PostId="24035" RevisionGUID="da1c8406-ee0d-46bc-be0f-e3de74452b23" CreationDate="2012-01-29T02:16:43.647" UserId="7045" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40912" PostHistoryTypeId="36" PostId="24036" RevisionGUID="eb163866-c0b5-4f8b-b29c-db336f340a4a" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3159/logic-express-spacebar-isnt-playing-audio-except-in-the-arrange-window/3161#3161" />
  <row Id="40913" PostHistoryTypeId="36" PostId="24037" RevisionGUID="71f2e2ff-1f8c-498d-bcdd-21e59c6858c0" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8396/what-synthesizer-should-i-get-if-i-like-vintage-sound-e-g-roland-juno-60" />
  <row Id="40914" PostHistoryTypeId="36" PostId="24038" RevisionGUID="2cc60950-8e67-4c5e-a346-fdfccf57f197" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8396/what-synthesizer-should-i-get-if-i-like-vintage-sound-e-g-roland-juno-60/8403#8403" />
  <row Id="40915" PostHistoryTypeId="36" PostId="24039" RevisionGUID="d1538308-1d84-42f4-9c04-8e69080385ce" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8396/what-synthesizer-should-i-get-if-i-like-vintage-sound-e-g-roland-juno-60/8405#8405" />
  <row Id="40916" PostHistoryTypeId="2" PostId="24038" RevisionGUID="89dc7882-9503-413f-9724-b3cbae74dc65" CreationDate="2013-07-14T13:01:16.157" UserId="7016" Text="There are many modern synthesizers that have older-style tones and voices built in. &#xD;&#xA;&#xD;&#xA;I think I have seen Juno voices on a couple of the more recent Rolands. Not sure if they are multi-timbral or accurate reconstructions though. " ContentLicense="CC BY-SA 3.0" />
  <row Id="40917" PostHistoryTypeId="2" PostId="24039" RevisionGUID="c5949eb3-2787-4f77-95d3-5f4fdbf2ef14" CreationDate="2013-07-14T20:05:21.473" UserId="7542" UserDisplayName="Don Nickel" Text="If you are willing to go the VST route, there are a couple emulators out there. [TAL-U-NO-LX][1] comes to mind.&#xD;&#xA;&#xD;&#xA;VST emulators (arguably) usually do a decent job of sounding very close to the actual hardware, but they require a computer and usually a host to run them.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://kunz.corrupt.ch/products/tal-u-no-lx" ContentLicense="CC BY-SA 3.0" />
  <row Id="40918" PostHistoryTypeId="2" PostId="24040" RevisionGUID="a87a7063-e6f2-4882-8a8a-1ac1b73fd54d" CreationDate="2013-07-14T22:48:38.133" UserId="7189" Text="Do you care more about the synth or the sound?&#xD;&#xA;&#xD;&#xA;If it is all about the sound, then get yourself a copy of [Native Instruments Kontakt][1] and borrow your Juno back to record some patches. Then have fun in Kontakt. Another option would be to buy one of the smaller Moogs and sample that. Sure, it is monophonic, but you only need to record one note at a time into your sampler.&#xD;&#xA;&#xD;&#xA;If it is about the tactile interface of the Juno, then you need to find another hardware synth. From a user interface perspective, the [Novation Supernova II Keyboard][2] is, by far, my favorite. Unfortunately, they are hard to find, have power supply issues, and can sound a bit digital at times.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.native-instruments.com/en/products/komplete/synths-samplers/kontakt-5/&#xD;&#xA;  [2]: http://www.soundonsound.com/sos/dec00/articles/novation.asp" ContentLicense="CC BY-SA 3.0" />
  <row Id="40919" PostHistoryTypeId="2" PostId="24037" RevisionGUID="a9daa664-1318-4809-9120-8e283f4cf97e" CreationDate="2013-07-13T08:48:18.783" UserId="7206" Text="I like a warm, dry sound like Roland Juno 60 but the vintage Juno are not multitimbral. Is there a modern synthesizer, perhaps digital but preferably analogue, that has the warm sound of Roland Juno 60 and also is multitimbral? I used to own a Roland Juno 60 and play it with the DCB converter but I gave it away to a friend and now I want another synthesizer. &#xD;&#xA;&#xD;&#xA;## Update ##&#xD;&#xA;I've gotten a Roland Juno 106 for SEK 5500 (abt 820 USD) and I'm happy with it even though it's not multitimbral. " ContentLicense="CC BY-SA 3.0" />
  <row Id="40920" PostHistoryTypeId="1" PostId="24037" RevisionGUID="a9daa664-1318-4809-9120-8e283f4cf97e" CreationDate="2013-07-13T08:48:18.783" UserId="7206" Text="What synthesizer should I get if I like vintage sound e.g. Roland Juno 60?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40921" PostHistoryTypeId="3" PostId="24037" RevisionGUID="a9daa664-1318-4809-9120-8e283f4cf97e" CreationDate="2013-07-13T08:48:18.783" UserId="7206" Text="&lt;midi&gt;&lt;synthesizer&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40922" PostHistoryTypeId="36" PostId="24040" RevisionGUID="2325da5d-0846-4e34-86bd-0779a53257a1" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8396/what-synthesizer-should-i-get-if-i-like-vintage-sound-e-g-roland-juno-60/8406#8406" />
  <row Id="40923" PostHistoryTypeId="36" PostId="24041" RevisionGUID="88119577-47fc-4c46-96d8-d1d76f678266" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3668/does-logic-pro-support-rewire-64-bit-for-reason-6" />
  <row Id="40924" PostHistoryTypeId="36" PostId="24042" RevisionGUID="de65b210-1213-458b-9326-eb18984dc1e4" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3668/does-logic-pro-support-rewire-64-bit-for-reason-6/3695#3695" />
  <row Id="40925" PostHistoryTypeId="36" PostId="24043" RevisionGUID="c61cff8f-1f7e-424c-945c-9ed9e642b1fc" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3668/does-logic-pro-support-rewire-64-bit-for-reason-6/4208#4208" />
  <row Id="40926" PostHistoryTypeId="2" PostId="24042" RevisionGUID="13c63f79-fd6c-45b7-aba1-86b9a4deaa00" CreationDate="2012-04-03T20:06:18.807" UserDisplayName="617kevin" Text="As far as I know to date, rewire doesn't support 64 bit, but you can have Logic run in 32 bit to get around that problem by going to logic in your applications folder; right click; get info; check the box that says run at 32 bit." ContentLicense="CC BY-SA 3.0" />
  <row Id="40927" PostHistoryTypeId="2" PostId="24043" RevisionGUID="1527aabb-1993-4997-a7e6-e80f92af500a" CreationDate="2012-06-19T00:45:47.253" UserDisplayName="Patrick" Text="Rewire does support 64bit but the Host application must implement it. I'm not sure if apple has updated Logic to run rewire in 64bit mode if not then as the other user stated you can run logic in 32bit mode as instructed." ContentLicense="CC BY-SA 3.0" />
  <row Id="40928" PostHistoryTypeId="2" PostId="24041" RevisionGUID="8f5ce687-e064-49d3-ae98-d5f2feab83d8" CreationDate="2012-03-29T19:28:13.027" UserId="7459" UserDisplayName="bigp" Text="Assuming that Logic Pro is in itself 64-bit compatible, does it also support ReWire in 64-bit mode so that Reason 6 can be used with it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40929" PostHistoryTypeId="1" PostId="24041" RevisionGUID="8f5ce687-e064-49d3-ae98-d5f2feab83d8" CreationDate="2012-03-29T19:28:13.027" UserId="7459" UserDisplayName="bigp" Text="Does Logic Pro support Rewire 64-bit (for Reason 6)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40930" PostHistoryTypeId="3" PostId="24041" RevisionGUID="8f5ce687-e064-49d3-ae98-d5f2feab83d8" CreationDate="2012-03-29T19:28:13.027" UserId="7459" UserDisplayName="bigp" Text="&lt;logic-pro&gt;&lt;mac&gt;&lt;system&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40931" PostHistoryTypeId="36" PostId="24044" RevisionGUID="34fc52e1-83e6-484a-b54b-58ee3378c59d" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5642/how-to-resolve-missing-wav-files-inside-logics-exs-samples" />
  <row Id="40932" PostHistoryTypeId="36" PostId="24045" RevisionGUID="90ea50c8-60cf-44b2-b572-3634f5f20e95" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5642/how-to-resolve-missing-wav-files-inside-logics-exs-samples/5643#5643" />
  <row Id="40933" PostHistoryTypeId="2" PostId="24045" RevisionGUID="a3fa7d33-0ec9-4829-86a6-abea46e57fd2" CreationDate="2012-12-21T18:17:48.933" UserDisplayName="Chris" Text="There are lots of different answers to this sort of problem on Google. The way *I* finally solved it was by doing all of the following:&#xD;&#xA;&#xD;&#xA;1. Upgrade from OS X 10.6 to OS X 10.8.2 (Mountain Lion)&#xD;&#xA;2. Redownload Logic. (First drag Logic to the trash, and then redownload from the App Store.)&#xD;&#xA;3. Inside Logic, redownload all the content from the &quot;Install Additional Content...&quot; feature&#xD;&#xA;&#xD;&#xA;Some people apparently had success by only doing #3, but I tried that several times without success.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40934" PostHistoryTypeId="2" PostId="24044" RevisionGUID="515bf656-53f0-450b-b746-10b641405078" CreationDate="2012-12-21T18:17:48.933" UserDisplayName="Chris" Text="I've been experiencing this problem with Logic Pro 9.1.8, downloaded from the Apple App Store. But Googling around suggests other people have similar issues with earlier Logics and with physical install CDs/DVDs.&#xD;&#xA;&#xD;&#xA;Anyway, after installing Logic and all of downloading all the instruments and loops from the &quot;Download Additional Content...&quot; menu item, I found that some of the downloaded samples did not work. In particular:&#xD;&#xA;&#xD;&#xA;1. I'd click on an affected samples in the Library, I'd get a message along these lines: &quot;ESX Instrument: Piano &amp; String Layer: 16n7aD#3.wav file not found.&quot;&#xD;&#xA;&#xD;&#xA;2. I'd have a choice to either continue or search for the file. Search proved pointless, since if I clicked search it would just ask me the same &quot;continue or search&quot; question again.&#xD;&#xA;&#xD;&#xA;3.  If I clicked continue, then it would apply the same in question to my current track. BUT that sample would be messed up. In particular, while some MIDI pitches/volumes would play, there would be a certain range of MIDI pitches/volumes for which the sample wouldn't generate any sound. (Which makes sense because one, but not all, of the wav files for the sample was missing.)&#xD;&#xA;&#xD;&#xA;The  result was having a number of samples that only half-worked, which seemed annoying.&#xD;&#xA;&#xD;&#xA;In my case, I noticed that I could get the same wav-not-found messages inside my GarageBand '09. In particular, if I went into my Jam Packs in GarageBand (the Jam Packs that Logic had downloaded) and clicked on one of the samples that was messed up in Logic, then GarageBand would also give me a message about wav files missing inside esx files." ContentLicense="CC BY-SA 3.0" />
  <row Id="40935" PostHistoryTypeId="1" PostId="24044" RevisionGUID="515bf656-53f0-450b-b746-10b641405078" CreationDate="2012-12-21T18:17:48.933" UserDisplayName="Chris" Text="How to resolve missing WAV files inside Logic's EXS Samples?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40936" PostHistoryTypeId="3" PostId="24044" RevisionGUID="515bf656-53f0-450b-b746-10b641405078" CreationDate="2012-12-21T18:17:48.933" UserDisplayName="Chris" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40937" PostHistoryTypeId="36" PostId="24046" RevisionGUID="41a595f9-b64c-4e84-89ac-235da778a07a" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1259/how-can-i-get-more-sounds-for-my-roland-d20" />
  <row Id="40938" PostHistoryTypeId="36" PostId="24047" RevisionGUID="00361d59-3d75-407f-ad68-0ba4f4dd4e29" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1259/how-can-i-get-more-sounds-for-my-roland-d20/1260#1260" />
  <row Id="40939" PostHistoryTypeId="36" PostId="24048" RevisionGUID="02fecb63-66a7-4231-9cde-17c3bcc31361" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1259/how-can-i-get-more-sounds-for-my-roland-d20/1261#1261" />
  <row Id="40940" PostHistoryTypeId="2" PostId="24047" RevisionGUID="27efbc13-48c1-49a7-8e50-dbdf73e3699b" CreationDate="2011-04-23T20:37:07.877" UserId="7471" UserDisplayName="Mark Heath" Text="You can buy soundbanks for the Roland D20. For example, try [this site][1]. It also includes instructions for how to load them (you don't use the floppy drive, you send them via MIDI from your PC).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.patchmanmusic.com/rolandd5d10d20.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="40941" PostHistoryTypeId="2" PostId="24048" RevisionGUID="96a1010c-a7e7-49af-8ca6-30855c0abd2f" CreationDate="2011-04-23T20:42:18.843" UserId="7093" Text="You can get more sounds either by [purchasing disks][1] made specifically for the D-20 or you can get [MIDI (.mid) or Sysex (.syx) files][2] to send to your keyboard from your computer via MIDI.  You can get a copy of the [owners manual here][3].  See chapter 5 of the owners manual volume 2 for instructions on how to transfer/receive data via MIDI.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://cgi.ebay.com/Roland-D20-10-5-4-bank-set-synth-patches-/350374838893?pt=LH_DefaultDomain_0&amp;hash=item5193f7c26d&#xD;&#xA;  [2]: http://www.patchmanmusic.com/rolandd5d10d20.html&#xD;&#xA;  [3]: http://www.avtandil.narod.ru/d20e.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="40942" PostHistoryTypeId="2" PostId="24046" RevisionGUID="ca2bc20a-9d68-467a-9041-c577966f1584" CreationDate="2011-04-23T20:05:53.267" UserId="9651" UserDisplayName="Caleb" Text="[The synthesizer](http://www.vintagesynth.com/roland/d20.php) has an old floppy disc drive and a MIDI input, but I don't know how to use it with my brother's Mac. " ContentLicense="CC BY-SA 3.0" />
  <row Id="40943" PostHistoryTypeId="1" PostId="24046" RevisionGUID="ca2bc20a-9d68-467a-9041-c577966f1584" CreationDate="2011-04-23T20:05:53.267" UserId="9651" UserDisplayName="Caleb" Text="How can I get more sounds for my Roland D20?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40944" PostHistoryTypeId="3" PostId="24046" RevisionGUID="ca2bc20a-9d68-467a-9041-c577966f1584" CreationDate="2011-04-23T20:05:53.267" UserId="9651" UserDisplayName="Caleb" Text="&lt;midi&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40945" PostHistoryTypeId="36" PostId="24049" RevisionGUID="19da5cfc-99c4-40e0-8a4f-b122b7bfc536" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1064/which-software-for-adding-triggers-to-an-acoustic-drum-kit-to-make-it-into-a-usb" />
  <row Id="40946" PostHistoryTypeId="2" PostId="24050" RevisionGUID="b6d28e8b-633e-4b0f-bc19-de291d3f8f40" CreationDate="2011-03-21T05:45:04.633" UserDisplayName="Kim Burgaard" Text="If you don't care about the sound the acoustic drums are making while you trigger samples on the PC, then consider using the drum kit from the Rock Band video game instead: [How to use Rock Band Drum Set as MIDI Drums][1].&#xD;&#xA;&#xD;&#xA;Buying a used Rock Band drum kit might end up being more cost effective than getting the triggers and a MIDI controller for your acoustic drums. Also, some of the DIY-solutions trigger solutions require you to screw stuff into your drums.&#xD;&#xA;&#xD;&#xA;Regardless of the solution you go with, get used to dealing with latency issues. Personally, I can't play while monitoring the triggered samples. Even a very low latency is enough to mess with me.&#xD;&#xA;&#xD;&#xA;Alternatively, consider recording the acoustic drums, then trigger samples based on beat detection instead.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ehow.com/how_2308292_use-drum-set-midi-drums.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="40947" PostHistoryTypeId="2" PostId="24049" RevisionGUID="8b03eb81-6818-447b-a06d-87433c7e4189" CreationDate="2011-03-20T17:47:08.313" UserId="10057" UserDisplayName="Vass" Text="I would like to turn an acoustic drum kit into a digital one, played through a PC. While the drum kit is being played on it would be good, to hear the drum kit act as a sequencer and here the samples live being played from the PC's speakers. &#xD;&#xA;&#xD;&#xA;So I gather that, I can stuff the inside of the drums with towels/shirts/etc, and then add the proper triggers to them, get electronic cymbals (triggering the cymbals seems like a big chore). Now I don't think that I want a complete drum module/brain like the ones on complete stand alone electronic kits (eg Roland V group or Alesis DM etc) which have tons of features I'd like to perform on the PC in software. I just want the trigger-MIDI converter which I can then connect to my PC (preferably via USB?), and then have software to be the sequencer (maybe as a VSTi plugin for Reaper/CuBase etc?).&#xD;&#xA;&#xD;&#xA;What are these interfaces refered to as ('trigger to midi interface'? there doesn't seem to many options of brands), and are they cross compatible with different brands? Like a Ddrum triggers with a Roland trigger interface that outputs MIDI?&#xD;&#xA;&#xD;&#xA;What software can I use to draw output from this interface? &#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40948" PostHistoryTypeId="1" PostId="24049" RevisionGUID="8b03eb81-6818-447b-a06d-87433c7e4189" CreationDate="2011-03-20T17:47:08.313" UserId="10057" UserDisplayName="Vass" Text="Which software for adding triggers to an acoustic drum kit to make it into a USB drum kit?" ContentLicense="CC BY-SA 2.5" />
  <row Id="40949" PostHistoryTypeId="3" PostId="24049" RevisionGUID="8b03eb81-6818-447b-a06d-87433c7e4189" CreationDate="2011-03-20T17:47:08.313" UserId="10057" UserDisplayName="Vass" Text="&lt;software&gt;&lt;midi&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40950" PostHistoryTypeId="36" PostId="24050" RevisionGUID="9fc177e4-710d-4646-9e2a-5631f65413bc" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1064/which-software-for-adding-triggers-to-an-acoustic-drum-kit-to-make-it-into-a-usb/1066#1066" />
  <row Id="40951" PostHistoryTypeId="36" PostId="24051" RevisionGUID="198c2224-fc85-4f57-b92a-b59f759587c7" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1064/which-software-for-adding-triggers-to-an-acoustic-drum-kit-to-make-it-into-a-usb/7144#7144" />
  <row Id="40952" PostHistoryTypeId="2" PostId="24051" RevisionGUID="5943c5c2-14a6-48b1-b130-29350ca4bbd9" CreationDate="2013-02-14T02:47:39.437" UserDisplayName="Michaelangelo" Text="Posting information about the current status of Triggering, Midi, Positional Sensing, and Drum Modules in 2013.&#xD;&#xA;&#xD;&#xA;A commercial drum &quot;brain&quot; module does a few things:&#xD;&#xA;&#xD;&#xA;+ Plays the drum sample so you can hear it&#xD;&#xA;+ Converts the input trigger voltage to a MIDI note&#xD;&#xA;+ Detects how hard the drum/cymbal was hit (velocity)&#xD;&#xA;+ Detects where the drum/cymbal was hit.  The common vernacular is &quot;positional sensing&quot; but that is not an accurate term, it really is &quot;radius inference&quot;.&#xD;&#xA;&#xD;&#xA;The major disadvantage with commercial drum modules is that usually you can NOT use your own drum samples!  Sure you can tweak parameters to modify the sound but that isn't close to using a complete custom sound.  Yup, even on those &quot;high end&quot; Roland modules. :-/  The other limitation is that the built-in drum sounds are sound artificial well, because they are.  They don't sound &quot;full&quot; like a real acoustic set.  There are comparisons on YouTube such as the &quot;Roland TD-12 sound vs Superior Drummer 2.0&quot; that demonstrate how much &quot;richer&quot; using real drum samples are.&#xD;&#xA;&#xD;&#xA;There are a couple of cheaper hardware solutions that go by the name TMI - Trigger Midi Interface - a device that separate the drum sample playback from the conversion of the input trigger voltage to MIDI.  The rationale is that you will use software (a program on your PC/Mac) to &quot;mix&quot; the drum samples in real-time.&#xD;&#xA;&#xD;&#xA;Sorted from most expensive to least expensive:&#xD;&#xA;&#xD;&#xA; * Rolands TMC-6 www.rolandus.com/products/details/224&#xD;&#xA; * Alesis Trigger | iO www.alesis.com/triggerio&#xD;&#xA; * DIY megaDrum www.megadrum.info/&#xD;&#xA; * DIY microDrum microdrum.altervista.org/blog/&#xD;&#xA;&#xD;&#xA;The commercial TMI devices do NOT support positional sensing as the drum companies want to upsell you an expensive drum module for that capability!  The DIY megaDrum _does_ support positional sensing but the firmware is sadly proprietary and closed source -- the community is very active though.  The microDrum is based entirely on the Ardruino open hardware and is open source however, at this time, it does not support positional sensing; its community is extremely small.&#xD;&#xA;&#xD;&#xA;The disadvantage of triggered MIDI is the latency.  The total time it takes from when you physically hit the pad to the time the drum sample is produced.  Acoustic drums obviously don't have this latency, but the tradeoff is that instead of having access to unlimited sounds you are limited to just a few, along with the lack of good volume control.&#xD;&#xA;&#xD;&#xA;Standard MIDI only has a baudrate of 31250 due to it being serial.  It is possible to use the higher baud of 11520 but that requires custom firmware/hardware.  Some TMI devices will output directly to USB to help minimize the latency.&#xD;&#xA;&#xD;&#xA;The popular drum samplers are:&#xD;&#xA;&#xD;&#xA; * Toontrack's &quot;Superior Drummer&quot; or &quot;EZDrummer&quot;&#xD;&#xA; * XLN Audio's &quot;Addictive Drums&quot;&#xD;&#xA; * Native Instruments' &quot;Abbey Road&quot;&#xD;&#xA;&#xD;&#xA;Other software DAW (Digital Audio Workstation) that might be of interest:&#xD;&#xA;&#xD;&#xA; * Reason&#xD;&#xA; * Fruity Loops&#xD;&#xA; * GarageBand&#xD;&#xA; * Cubase&#xD;&#xA;&#xD;&#xA;For more details see wikipedia &quot;Digital_audio_workstation&quot;&#xD;&#xA;&#xD;&#xA;Another acoustic solution is that you CAN trigger MIDI from any audio source using software:&#xD;&#xA;&#xD;&#xA; * eTrigger www.etrigger.net/ (which was a rewrite of its predecessor &quot;edrum monitor&quot;)&#xD;&#xA; * AudioFront's &quot;dsp Trigger&quot; www.audiofront.net/dspTrigger.php&#xD;&#xA;&#xD;&#xA;One can even pre-trigger to really minimize the latency!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40953" PostHistoryTypeId="36" PostId="24052" RevisionGUID="1d7f5b86-62a1-4cdb-ab26-41dc49f77fcb" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5787/cubase-midi-device-and-latency" />
  <row Id="40954" PostHistoryTypeId="36" PostId="24053" RevisionGUID="7b4f7be3-fa62-4e3b-acb1-7cc6ce56e3e5" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5787/cubase-midi-device-and-latency/5788#5788" />
  <row Id="40955" PostHistoryTypeId="2" PostId="24053" RevisionGUID="9fac5d82-cc1f-42dc-91eb-5491ba230e3d" CreationDate="2013-01-09T20:44:24.940" UserId="7219" UserDisplayName="Stephen Hazel" Text="the biggest portion of latency is almost always in the software synthesizer.&#xD;&#xA;&#xD;&#xA;the lame ones (who don't use the minimum latency that the sound card says it can handle) have to be configured for the number of millisecs of audio they will buffer.&#xD;&#xA;Or, if they're REALLY lame, you won't be able to change that buffer size and will have to just suffer with their latency (I'm looking at you, built in Microsoft Synthesizer)&#xD;&#xA;&#xD;&#xA;You will notice that exact number of millisec latency plus a couple more if you're playing tons of chords at once, etc.  (midi latency).&#xD;&#xA; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40956" PostHistoryTypeId="2" PostId="24054" RevisionGUID="bd844681-3523-4ad9-a006-2ebcf93567c5" CreationDate="2013-01-10T02:17:41.073" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="Latency is due to the audio driver for the audio card. Cubase uses ASIO-drivers (an invention by Steinberg themselves) which mean they are optimized for the sound card *if* the manufacturer of the sound card makes ASIO-drivers available.&#xD;&#xA;&#xD;&#xA;For sound cards that doesn't support ASIO there are workarounds such as DirectX ASIO (built-in in Cubase IIRC) and [Asio4All][1] driver wrapper.&#xD;&#xA;&#xD;&#xA;In other words, it doesn't have so much to do with Cubase as to how the drivers work and are configured as well as the system's hardware.&#xD;&#xA;&#xD;&#xA;Number one adjustment is always the buffer size. And here's why:&#xD;&#xA;&#xD;&#xA;##How buffers work&#xD;&#xA;&#xD;&#xA;Audio data is processed using double or triple buffering. This is 2 or 3 buffers that are filled with data and then rotated so that while one buffer is played at the sound card, another buffer is filled with new data.&#xD;&#xA;&#xD;&#xA;The buffers are rotated based on a timer, so no matter what, the buffers get rotated regardless of what currently is in the buffer. This is because the buffers are of a certain size which is related to data-rate and therefor synchronization - so this is important.&#xD;&#xA;&#xD;&#xA;The software fills a buffer (f.ex after a MIDI note is received) and signal that it has finished and then receives a new buffer to fill. The process of rotating buffer is however expensive CPU-wise and to compensate for this one increase buffer size.&#xD;&#xA;&#xD;&#xA;If the cost is still too high the CPU cannot process the data fast enough and fill a buffer before it gets rotated resulting in that the buffer contains no data or in some cases uncleared data which will cause noise and gaps in the audio.&#xD;&#xA;&#xD;&#xA;This means that the buffer size must be increased more. And now the timer problem arises: the mentioned timer waits for the buffer based on its size. That means the bigger buffer, the longer wait.&#xD;&#xA;&#xD;&#xA;If the delay becomes too long (&gt;10ms) you will start to notice the delay when you play the keyboard compared to when the audio arrive at the speakers.&#xD;&#xA;&#xD;&#xA;The obvious solution is therefor to tweak the buffer size so that the delay is lower as well as the CPU able to fill them before they get rotated internally.&#xD;&#xA;&#xD;&#xA;At this point another factor comes into play, the harddisk if you are loading recordings/samples from disk - this applies also when you freeze tracks (I'm not covering this here, but in essence: the more fragmented it is the more time the disk controller use to look up file chains, seek sectors - with the exception of SSD disks - and load data into memory which add to the load on the CPU).&#xD;&#xA;&#xD;&#xA;##Some solutions&#xD;&#xA;&#xD;&#xA; - Always use a dedicated ASIO driver. These are optimized and work *directly* with the soundcard bypassing the system chain and therefor also reducing the CPU usage as well as delays.&#xD;&#xA;&#xD;&#xA; - Tweak the soundcard's buffers so that you find a balance between size and CPU capability. If you have a lot going on in the DAW the more the CPU is strained and therefor require a bigger buffer leading to increased delay. &quot;Freezing&quot; tracks that contains soft-synths and long effect-chains is always wise in these situation.&#xD;&#xA;&#xD;&#xA; - Optimize the harddisk by defragmenting it (seek permanent solutions such as [Diskeeper][2]). Can you reformat the disk with larger sector sizes then this is preferred (use f.ex. 16kb block sizes). This way more data is loaded per request and reduces overhead due to number of requests.&#xD;&#xA;&#xD;&#xA; - Is there enough memory in the computer so it doesn't swap to page file which again increase the bottleneck regarding the harddisk? Cubase is not necessarily having its data swapped, but other parts of the system may. Again, freezing tracks is a good way to get around this problem as well if putting in more memory isn't an option.&#xD;&#xA;&#xD;&#xA; - Do you work in 32-float? Try reducing to 24-bit or even 16-bit if needed. 16-bit consume only 50% of the data amount compared to 24-bit integer and 32-bits float, and is easier to process. At the final stage set 24-bit for render (Cubase uses 32-bit float internally when doing a final render). If you use samples this isn't always an option, but you can work with downsampled version of them and replace them at the final stage. It also affect some soft-synths as well as effects that adopt to the project's bit-resolution and therefor uses more CPU to process the sounds.&#xD;&#xA;&#xD;&#xA; - Upgrade hardware.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.asio4all.com/&#xD;&#xA;  [2]: http://www.condusiv.com/products/diskeeper/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40957" PostHistoryTypeId="2" PostId="24052" RevisionGUID="3326eead-d811-4116-bcc8-646d6025f555" CreationDate="2013-01-09T12:26:20.147" UserId="6755" Text="I hope someone can clear something up for me because internet research doesn't cover this exact question.&#xD;&#xA;&#xD;&#xA;I am currently running Cubase with a midi keyboard (Akai MPK49) connected via USB. If I was to try and improve latency times will changing my sound card work on the basis that I still want to connect my keyboard through USB?&#xD;&#xA;&#xD;&#xA;My keyboard doesn't go through my any midi sound card, nor do I want it to. But the way I see it is when the keyboard sends a note message to Cubase there's obviously a delay between Cubase sending that sound to the sound card to then replicate that sound through my monitors." ContentLicense="CC BY-SA 3.0" />
  <row Id="40958" PostHistoryTypeId="1" PostId="24052" RevisionGUID="3326eead-d811-4116-bcc8-646d6025f555" CreationDate="2013-01-09T12:26:20.147" UserId="6755" Text="Cubase, midi device and Latency" ContentLicense="CC BY-SA 3.0" />
  <row Id="40959" PostHistoryTypeId="3" PostId="24052" RevisionGUID="3326eead-d811-4116-bcc8-646d6025f555" CreationDate="2013-01-09T12:26:20.147" UserId="6755" Text="&lt;midi&gt;&lt;keyboard&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40960" PostHistoryTypeId="36" PostId="24054" RevisionGUID="3e1ba8e1-6ecb-4ec1-956b-0ab0ae250990" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5787/cubase-midi-device-and-latency/5789#5789" />
  <row Id="40961" PostHistoryTypeId="36" PostId="24055" RevisionGUID="f179ecbd-26ef-4859-966a-acebad77d4ce" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9402/combine-midi-files" />
  <row Id="40962" PostHistoryTypeId="2" PostId="24056" RevisionGUID="cf4e48fc-2614-4e5a-b8d6-352ae0773483" CreationDate="2013-11-14T08:05:21.500" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="You can use a DAW such as Cubase (or any other similar). This has functions to import your MIDI files which allow you to split the embedded tracks (based on channels).&#xD;&#xA;&#xD;&#xA;You will then get the note data spread to multiple tracks and can move them around as any clip. Assign a sound to the track and you're good to go.&#xD;&#xA;&#xD;&#xA;You can finally export your project as a new MIDI file.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40963" PostHistoryTypeId="2" PostId="24055" RevisionGUID="2f014efc-7e7a-40f3-ab7c-847c129f6e8f" CreationDate="2013-11-13T23:54:25.590" UserId="6833" Text="I'm working on a project where we have a large number of MIDI files and want to combine them into new files with more notes. We want to combine them both in parallel, so that two combined files play at the same time and put their sounds on different tracks, and in series, so that one file plays its sequence, and then on the measure afterwards, the next MIDI file starts playing. Are there any tools or techniques to accomplish this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40964" PostHistoryTypeId="1" PostId="24055" RevisionGUID="2f014efc-7e7a-40f3-ab7c-847c129f6e8f" CreationDate="2013-11-13T23:54:25.590" UserId="6833" Text="Combine MIDI files" ContentLicense="CC BY-SA 3.0" />
  <row Id="40965" PostHistoryTypeId="3" PostId="24055" RevisionGUID="2f014efc-7e7a-40f3-ab7c-847c129f6e8f" CreationDate="2013-11-13T23:54:25.590" UserId="6833" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40966" PostHistoryTypeId="36" PostId="24056" RevisionGUID="df64058b-dcd6-4963-b493-ff0cdee55eff" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9402/combine-midi-files/9403#9403" />
  <row Id="40967" PostHistoryTypeId="36" PostId="24057" RevisionGUID="cc297f4e-7a27-4271-83ad-e228b0031f9b" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9309/loading-harmor-and-other-synths-into-cubase-5" />
  <row Id="40968" PostHistoryTypeId="2" PostId="24058" RevisionGUID="e232f9ae-48d2-430a-802a-9a246fd5edeb" CreationDate="2013-11-09T05:23:30.610" UserId="7311" UserDisplayName="Ben Franchuk" Text="The procedure of adding such plug-ins into a Cubase installation is quite simple- Below is a tutorial on how to do the such.&#xD;&#xA;&#xD;&#xA;**Step One-** Open Cubase. For this specific procedure, one does not need open a project.&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;**Step Two-** Go up to the &quot;Devices&quot; menu and hit up on it. In the drop-down menu that appears, hit the &quot;Plug-in Information&quot; list item. This will open up a window detailing currently installed plugins.&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;**Step Three-** In this next window, hit both the &quot;Update&quot; and &quot;Update Plug-in information&quot; buttons. This will search registered plug-in folders for newly installed VSTs and Plug-ins, and if it finds any, proceed to install them for use in production.&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;If it does not find your desired plug-ins, odds are that they are in a different folder than the one that you thought they were. If this is the case, hit the &quot;VST 2x Plug-in Paths&quot; button, between the &quot;Update&quot; buttons. This will open a Select Folder dialog, and you can select the folder where you installed your plug-in or plug-ins.&#xD;&#xA;&#xD;&#xA;If this still doesn't solve the problem and your plug-ins still don't install, then likely your plug-ins are either too new for your version of Cubase (Cubase 5 Does not have the capabilities of running VST x3 Plug-ins, for example) or you ended up with a botched install.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/BWxWJ.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/zwaP8.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/nJy62.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="40969" PostHistoryTypeId="2" PostId="24057" RevisionGUID="e78302c4-bd79-4956-abbd-ba1e4cfc31a3" CreationDate="2013-11-03T23:49:32.383" UserId="7311" UserDisplayName="Ben Franchuk" Text="I Recently got a copy of Image-Line's Harmor (as well as a bunch of other synths made by the same company), and was hoping to load them into my copy of Cubase 5. I Do know this is possible as I have seen people do it before, but I have no idea where to start.&#xD;&#xA;&#xD;&#xA;When I installed Harmor it automatically decided to install right into the VST Plugin folder of my Cubase installation, yet the instrument fails to appear in Cubase. I Can still launch Harmor on its own from my start menu, but have no way of getting sound from it into cubase.&#xD;&#xA;&#xD;&#xA;I Have no idea weather this is an actual problem with an install or if I'm just missing something here.&#xD;&#xA;&#xD;&#xA;*Cubase 5, Windows 7 Pro x64 bit*" ContentLicense="CC BY-SA 3.0" />
  <row Id="40970" PostHistoryTypeId="1" PostId="24057" RevisionGUID="e78302c4-bd79-4956-abbd-ba1e4cfc31a3" CreationDate="2013-11-03T23:49:32.383" UserId="7311" UserDisplayName="Ben Franchuk" Text="Loading Harmor (and other synths) into Cubase 5" ContentLicense="CC BY-SA 3.0" />
  <row Id="40971" PostHistoryTypeId="3" PostId="24057" RevisionGUID="e78302c4-bd79-4956-abbd-ba1e4cfc31a3" CreationDate="2013-11-03T23:49:32.383" UserId="7311" UserDisplayName="Ben Franchuk" Text="&lt;midi&gt;&lt;cubase&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40972" PostHistoryTypeId="36" PostId="24058" RevisionGUID="c2b895f7-8882-4b29-bb2d-220046d64d73" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9309/loading-harmor-and-other-synths-into-cubase-5/9355#9355" />
  <row Id="40973" PostHistoryTypeId="36" PostId="24059" RevisionGUID="8084b3d3-8219-41c6-89ff-9bffd6ac78b2" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/814/will-an-emagic-logic-control-work-properly-with-logic-8-or-9" />
  <row Id="40974" PostHistoryTypeId="2" PostId="24060" RevisionGUID="61c242d8-0b97-4b53-9891-a8502b408644" CreationDate="2011-02-16T21:39:50.200" UserId="319" Text="It seems to work pretty well with 9.  I can see the time code, record enable tracks, undo, click track, transport, scroll around banks, view effects, see track names, so yeah...working.  Sometimes the logic control confuses me and I'm not really sure I totally understand all the view modes - but I get by." ContentLicense="CC BY-SA 2.5" />
  <row Id="40975" PostHistoryTypeId="2" PostId="24059" RevisionGUID="5f23f562-6602-45c9-8c55-240a8968737f" CreationDate="2011-02-14T18:09:28.650" UserDisplayName="Ian C." Text="The Mackie website is hopeless when it comes to determining compatibility. Will the original, Emagic-branded, Logic Control unit work with Logic 8 or 9? Will you get full functionality out of it (channel names appearing and time code showing up properly, for example)?&#xD;&#xA;&#xD;&#xA;Edit: It was originally released with Logic 5 -- back when Emagic wasn't owned by Apple, that's why I'm wondering if compatibility has been maintained as Logic progressed through its versions." ContentLicense="CC BY-SA 2.5" />
  <row Id="40976" PostHistoryTypeId="1" PostId="24059" RevisionGUID="5f23f562-6602-45c9-8c55-240a8968737f" CreationDate="2011-02-14T18:09:28.650" UserDisplayName="Ian C." Text="Will an Emagic Logic Control work properly with Logic 8 or 9?" ContentLicense="CC BY-SA 2.5" />
  <row Id="40977" PostHistoryTypeId="3" PostId="24059" RevisionGUID="5f23f562-6602-45c9-8c55-240a8968737f" CreationDate="2011-02-14T18:09:28.650" UserDisplayName="Ian C." Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="40978" PostHistoryTypeId="36" PostId="24060" RevisionGUID="5441be4c-2706-4f02-abdd-9d4d3ca6ce3e" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/814/will-an-emagic-logic-control-work-properly-with-logic-8-or-9/827#827" />
  <row Id="40979" PostHistoryTypeId="36" PostId="24061" RevisionGUID="dca42b1a-5a37-447a-a8b4-a982d0259195" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2246/why-does-my-oxygen25-work-with-logic-but-not-pro-tools" />
  <row Id="40980" PostHistoryTypeId="2" PostId="24061" RevisionGUID="47d127a3-5da1-4412-a5f2-8e01cca0e16e" CreationDate="2011-08-31T20:01:27.887" UserDisplayName="James Litewski" Text="&gt; **Possible Duplicate:**  &#xA;&gt; [My Oxygen25 midi keyboard wont work with Pro Tools 9, help..?](http://avp.stackexchange.com/questions/2452/my-oxygen25-midi-keyboard-wont-work-with-pro-tools-9-help)  &#xA;&#xA;&lt;!-- End of automatically inserted text --&gt;&#xA;&#xA;So, I have an Oxygen25 midi keyboard. When I use it with Logic, things work fine; but when I try to use it with Pro Tools I get this:&#xD;&#xA;&#xD;&#xA;![Pro Tools Error][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/ZbG1e.png&#xD;&#xA;&#xD;&#xA;I've tried to restart Pro Tools, and unplug and replug all my hardware.. But nothing seems to fix it. Can someone tell me what I'm doing wrong?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40981" PostHistoryTypeId="1" PostId="24061" RevisionGUID="47d127a3-5da1-4412-a5f2-8e01cca0e16e" CreationDate="2011-08-31T20:01:27.887" UserDisplayName="James Litewski" Text="Why does my Oxygen25 work with Logic, but not Pro Tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40982" PostHistoryTypeId="3" PostId="24061" RevisionGUID="47d127a3-5da1-4412-a5f2-8e01cca0e16e" CreationDate="2011-08-31T20:01:27.887" UserDisplayName="James Litewski" Text="&lt;midi&gt;&lt;logic-pro&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40983" PostHistoryTypeId="36" PostId="24062" RevisionGUID="4cb680d0-335e-4c4c-b223-153d78c384da" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9763/how-can-i-map-midi-controller-faders-to-midi-cc-values-through-software-in-cubas" />
  <row Id="40984" PostHistoryTypeId="36" PostId="24063" RevisionGUID="5df5da0a-42e7-4ebd-a4cc-fbc3a4bf9a42" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9763/how-can-i-map-midi-controller-faders-to-midi-cc-values-through-software-in-cubas/9766#9766" />
  <row Id="40985" PostHistoryTypeId="2" PostId="24063" RevisionGUID="c1158c25-f166-487b-97da-b1c11be06930" CreationDate="2013-12-27T13:05:06.383" UserId="17516" UserDisplayName="Francisco Carvalho" Text="I wanna help, so don't judge me if I am answering this in a bad way (I can not comment). Just say that this is not what you're looking for and I edit this answer...&#xD;&#xA;&#xD;&#xA;So, **first of all**, you need to figure of **WHAT IS A MIDI CONTROLER?**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;MIDI controller is used in two senses.&#xD;&#xA;--------------------------------------&#xD;&#xA;&#xD;&#xA;    &#xD;&#xA;&#xD;&#xA; 1. In one sense, a controller is hardware or software which generates&#xD;&#xA;    and transmits MIDI data to MIDI-enabled devices.&#xD;&#xA;&#xD;&#xA;    &#xD;&#xA;&#xD;&#xA; 1. In the other more technical sense, a MIDI controller is an&#xD;&#xA;    abstraction of the hardware used to control a performance, but which&#xD;&#xA;    is not directly related to note-on/note-off events. A slider&#xD;&#xA;    assigned to open and close a low-pass filter on a synthesizer may be&#xD;&#xA;    assigned to controller 18, for example. Changes in the position of&#xD;&#xA;    the slider are transmitted along with &quot;18&quot; so that they are&#xD;&#xA;    distinguished from changes in the value of other controllers.&#xD;&#xA;&#xD;&#xA;*Part of my answer, you should say what is your Midi Controler to improve help.*&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;**Second**, my experience with midi controlers is only in Reason, in Music Producer, but the process is the same. **You got 2 ways**:&#xD;&#xA;&#xD;&#xA; 1. **WAY ONE**: if your Midi Controler is a specific know of the software (for example, if cubase has built-in all of configuration needed for your Midi controler) you can just set them ON. (see link below)&#xD;&#xA; 2. **WAY TWO**: if not, you need to configure all of your faders and knobs to do a specific performance. Check [this video][1] to know how.&#xD;&#xA;&#xD;&#xA;Might this could helps...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=DeNyL136b64" ContentLicense="CC BY-SA 3.0" />
  <row Id="40986" PostHistoryTypeId="2" PostId="24062" RevisionGUID="af742a47-6f9e-4fc7-bfad-eaec53f1981f" CreationDate="2013-12-27T08:43:02.220" UserId="6609" Text="It seems like a simple question, but I'm at a loss. I have a simple MIDI keyboard with some knobs and faders, and I'd like to use one of the faders to control CC11. I cannot figure out how to do this, though. I can get expression no problem into the lanes in the key editor, but no option to link that to a MIDI control.&#xD;&#xA;&#xD;&#xA;Currently I'm in the demo version of Cubase 7 (elements) so that *might* be why, but I don't know if I can buy this if I can't do this basic thing. I want to avoid setting the midi CC directly from my keyboard if possible, and most plugins have a simple midi learn function. So why not Cubase? Looking through the generic remote settings I can find a few parameters that are able to be automated but no simple midi cc stuff. Any help here would be appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="40987" PostHistoryTypeId="1" PostId="24062" RevisionGUID="af742a47-6f9e-4fc7-bfad-eaec53f1981f" CreationDate="2013-12-27T08:43:02.220" UserId="6609" Text="How can I map midi controller faders to midi CC values through software in Cubase?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40988" PostHistoryTypeId="3" PostId="24062" RevisionGUID="af742a47-6f9e-4fc7-bfad-eaec53f1981f" CreationDate="2013-12-27T08:43:02.220" UserId="6609" Text="&lt;midi&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40989" PostHistoryTypeId="36" PostId="24064" RevisionGUID="7ec3e8b3-dccd-4f63-b9e9-108584067678" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1421/using-an-electronic-drum-kit-as-a-midi-controller" />
  <row Id="40990" PostHistoryTypeId="2" PostId="24065" RevisionGUID="4f2a88f1-bdc4-4dba-af09-ff581a350780" CreationDate="2011-05-17T06:14:57.457" UserId="7471" UserDisplayName="Mark Heath" Text="To send the MIDI messages from the drum kit to the computer you will need a MIDI interface. Also, since for playing drums live you want very low latency (sub 10ms), you will need a reasonably good audio interface (most soundcards intended for recording will come with [ASIO drivers][1] that allow working at low latencies).&#xD;&#xA;&#xD;&#xA;![mbox][2]&#xD;&#xA;&#xD;&#xA;The [Avid mbox][3] would be fine since it contains a combined MIDI and audio interface. There are plenty of similar options available from other manufacturers. In the picture above you can see the standard MIDI connectors - you will need something with these connectors on them. You will also need a standard MIDI cable to connect from the MIDI out of your TD9 to the MIDI in of your interface.&#xD;&#xA;&#xD;&#xA;If you already have a good audio interface, you can simply buy a MIDI to USB interface. For example, the [Roland UM1-EX][4] is a cheap and simple solution, and doesn't require you to purchase a MIDI cable since it contains a built-in one.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Audio_Stream_Input/Output&#xD;&#xA;  [2]: http://i.stack.imgur.com/gN25p.png&#xD;&#xA;  [3]: http://www.avid.com/US/products/Mbox/features&#xD;&#xA;  [4]: http://www.roland.com/products/en/UM-1EX/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40991" PostHistoryTypeId="2" PostId="24064" RevisionGUID="04d07542-ddc2-41d0-b778-17d08fef88e3" CreationDate="2011-05-17T01:06:33.257" UserDisplayName="Smashery" Text="I am trying to set up my Roland TD9KX2 for use as a MIDI controller with Superior Drummer 2.0 to do some recording. As I understand it, I need a DAW (thinking of trying REAPER). What cable do I need to connect it all up? Do I need extra hardware on top of that? Like an M-Box, or a special sound card or anything?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40992" PostHistoryTypeId="1" PostId="24064" RevisionGUID="04d07542-ddc2-41d0-b778-17d08fef88e3" CreationDate="2011-05-17T01:06:33.257" UserDisplayName="Smashery" Text="Using an Electronic Drum Kit as a MIDI controller" ContentLicense="CC BY-SA 3.0" />
  <row Id="40993" PostHistoryTypeId="3" PostId="24064" RevisionGUID="04d07542-ddc2-41d0-b778-17d08fef88e3" CreationDate="2011-05-17T01:06:33.257" UserDisplayName="Smashery" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="40994" PostHistoryTypeId="36" PostId="24065" RevisionGUID="769a3ff4-be30-48b6-890a-8e8e56e1140b" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1421/using-an-electronic-drum-kit-as-a-midi-controller/1422#1422" />
  <row Id="40995" PostHistoryTypeId="36" PostId="24066" RevisionGUID="11fcc163-eb68-4642-9393-c7f68a60f917" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4964/is-there-software-to-capture-and-view-raw-midi-data-coming-from-a-controller" />
  <row Id="40996" PostHistoryTypeId="2" PostId="24067" RevisionGUID="2f911528-53ea-4694-aa58-9648a0eb5fca" CreationDate="2012-10-10T05:21:15.000" UserId="7189" Text="I think [MIDIMonitor][1] will do what you want.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.snoize.com/MIDIMonitor/" ContentLicense="CC BY-SA 3.0" />
  <row Id="40997" PostHistoryTypeId="2" PostId="24066" RevisionGUID="fd278ee6-7bba-4db3-804b-7d8fd76f49cf" CreationDate="2012-10-09T23:06:12.563" UserId="6957" Text="This is partially out of curiosity, and partly, potentially, useful.&#xD;&#xA;&#xD;&#xA;The gist of what I'm looking for is an application (preferably OSX, though it wouldn't be a deal breaker to be Windows or *nix, and preferably free) that would capture MIDI controller data as it entered the computer, whether that be SysEx, channel, system, controller, note on/off, pots, you name it. **All** of it.&#xD;&#xA;&#xD;&#xA;I'm not terribly concerned with the format that the data would be presented.  I'm sure it would be interesting however it was presented.  I picture, basically, a window that fills up with text (midi data) as I send data through.  My guess would be that it parsed out whatever OSX's core Midi software saw.&#xD;&#xA;&#xD;&#xA;I am not interested in a large piece of software that &quot;also does MIDI&quot;, or has some extra small feature amongst the DAW backdrop.  Looking for a small footprint.&#xD;&#xA;&#xD;&#xA;tl;dr, The last time I had all of my gear set up, my keyboard controller (an [Alesis Q25](http://alesis.com/q25)) kept throwing pitch bend data on its own.  I was sure that the data stopped when the controller was unplugged, but I had no way of pinning down exactly what was going on.  I eventually gave up." ContentLicense="CC BY-SA 3.0" />
  <row Id="40998" PostHistoryTypeId="1" PostId="24066" RevisionGUID="fd278ee6-7bba-4db3-804b-7d8fd76f49cf" CreationDate="2012-10-09T23:06:12.563" UserId="6957" Text="Is there software to capture and view raw MIDI data coming from a controller?" ContentLicense="CC BY-SA 3.0" />
  <row Id="40999" PostHistoryTypeId="3" PostId="24066" RevisionGUID="fd278ee6-7bba-4db3-804b-7d8fd76f49cf" CreationDate="2012-10-09T23:06:12.563" UserId="6957" Text="&lt;software&gt;&lt;midi&gt;&lt;osx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41000" PostHistoryTypeId="36" PostId="24067" RevisionGUID="b34f5898-528b-4ace-b44f-c63cb710ec4f" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4964/is-there-software-to-capture-and-view-raw-midi-data-coming-from-a-controller/4966#4966" />
  <row Id="41001" PostHistoryTypeId="36" PostId="24068" RevisionGUID="dc6d61cc-5f23-4247-9e6e-65080928150f" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4964/is-there-software-to-capture-and-view-raw-midi-data-coming-from-a-controller/4972#4972" />
  <row Id="41002" PostHistoryTypeId="36" PostId="24069" RevisionGUID="acfebdd9-91a7-45ca-a264-5d3868a17576" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4964/is-there-software-to-capture-and-view-raw-midi-data-coming-from-a-controller/4976#4976" />
  <row Id="41003" PostHistoryTypeId="2" PostId="24068" RevisionGUID="008033ae-d679-4426-be02-0a7765e2cd38" CreationDate="2012-10-10T23:39:42.163" UserId="7209" Text="A Windows alternative would be MIDI-OX.  Solid stuff.&#xD;&#xA;&#xD;&#xA;http://www.midiox.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="41004" PostHistoryTypeId="2" PostId="24069" RevisionGUID="a3a8af68-cff5-448d-9cee-7b1dd7b523e1" CreationDate="2012-10-11T11:02:38.777" UserId="7211" Text="[Pure Data][1] is an extremely powerful piece of freeware designed and coded by the creator of MAX/MSP.&#xD;&#xA;&#xD;&#xA;I've used it a number of times to create powerful midi controlled synthesizers which you can build and fully customize yourself. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://puredata.info/" ContentLicense="CC BY-SA 3.0" />
  <row Id="41005" PostHistoryTypeId="36" PostId="24070" RevisionGUID="159db909-e6bd-4f29-902f-a6548af0ff3d" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2312/recording-in-free-time-in-a-song-with-a-click-track" />
  <row Id="41006" PostHistoryTypeId="36" PostId="24071" RevisionGUID="aeb5c089-7243-4acd-84ac-6538a04c755f" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2312/recording-in-free-time-in-a-song-with-a-click-track/2314#2314" />
  <row Id="41007" PostHistoryTypeId="2" PostId="24071" RevisionGUID="2f1d7946-6845-46a9-81d7-f65ac07db6e7" CreationDate="2011-09-13T20:14:43.160" UserId="7093" Text="I would recommend initially recording at least one track in sections so you can get the timing right, and then later discarding that track.  &#xD;&#xA;&#xD;&#xA;You could possibly record the first section of the guitar part in free time on one track then in another take/track record the second section with the click track.  You could then record all the other tracks with that as your time base and eventually re-record the guitar part in one take.&#xD;&#xA;&#xD;&#xA;Another option would be to start a metronome or click track using some sort of foot pedal." ContentLicense="CC BY-SA 3.0" />
  <row Id="41008" PostHistoryTypeId="2" PostId="24072" RevisionGUID="59121b74-2e0b-4bd4-abb3-69beec3c21b2" CreationDate="2011-09-13T22:17:12.777" UserId="7200" Text="First of all, I have to say I deeply disagree that this songs needs any kind of click. It completely lives from the dynamic tempo, just one of those cases where a click would in fact &quot;distract from the energy&quot;. The problem is just that the drums are very poor on this track.&#xD;&#xA;&#xD;&#xA;The way to get such a dynamic song right properly is to have the drums, bass and guitar play the base track simultaneously in a single room (or seperate rooms, but live-connected through latency-free audio). As this option seems not available to you, I would choose either of:&#xD;&#xA;&#xD;&#xA; 1. Start with the drum track. You will need to play the beginning with a very basic rhythm thinking of the guitar, and emulating its natural tempo changes. After you have then overdubbed the actual guitar, remove the drums in the beginning. Chances are that part won't work ideally, so it may be better to&#xD;&#xA; 2. Play the guitar beginning until the point where the drums take over the rhythmic dominance. Proceed from that point as in 1.&#xD;&#xA; 3. Play the complete guitar track. Then dynamically fit a click track to this track. I used to do this quite often, back then I did it with Cubase 3, which made this task very simple (&quot;time warp&quot; it was called I believe). I haven't tried it in any other program so far. — Onto this dynamic click track (guitar mute!), record everything else. In the end, you're probably going to have to redo the guitar, too.&#xD;&#xA;&#xD;&#xA;If you're determined to do it with a fixed-tempo click, you can do as in 3. but only do the initial guitar up to the first bar where the click should take over." ContentLicense="CC BY-SA 3.0" />
  <row Id="41009" PostHistoryTypeId="2" PostId="24070" RevisionGUID="3394f07b-b741-4aa7-802a-6b9285f837e9" CreationDate="2011-09-13T18:56:20.010" UserId="7045" Text="Usually, the choice of whether or not to use a click track is dependent on the song: Is a precise rhythm important? Will the click track detract from the energy of the song? Is editing and moving sections of audio around something I'll need to do for this project? Is there a live drummer? &#xD;&#xA;&#xD;&#xA;In this particular situation, I have a longer song that starts out very slowly and then builds over three verses, then reaches a crescendo in the single chorus that's followed by a couple minutes of soloing. A full band slowly joins in over that time. I'll be recording this myself - this isn't a project with a band. (This song is part of my personal side-project album.)&#xD;&#xA;&#xD;&#xA;I think that the song could benefit from a click track that kicks in later on in the song. However, the beginning of the song needs to be done very freely. &#xD;&#xA;&#xD;&#xA;Here's my demo of the song, so you can get a feel for the arrangement. Please excuse the mediocre pitch-corrected vocals and errors. &#xD;&#xA;&#xD;&#xA;http://soundcloud.com/neilfein/the-rain-is-back-demo-for&#xD;&#xA;&#xD;&#xA;this is fairly close to the feel I want, but it's too disorganized near the end - I think a click-track or sequenced drums will allow the guitar and bass to be in sync better, but since the first verses are in such free time, I won't know where to start them out. &#xD;&#xA;&#xD;&#xA;Is there any way to do this short of a full band in the studio? I'd really prefer to avoid recording this in sections or editing the audio by hand after recording it. (Logic's flrx-time is great for occasional timing errors, but not so much for a long song.) &#xD;&#xA;&#xD;&#xA;I'm using Logic Express 9. I tend to track in Garageband, but can do it in Logic. " ContentLicense="CC BY-SA 3.0" />
  <row Id="41010" PostHistoryTypeId="1" PostId="24070" RevisionGUID="3394f07b-b741-4aa7-802a-6b9285f837e9" CreationDate="2011-09-13T18:56:20.010" UserId="7045" Text="Recording in free time in a song with a click track" ContentLicense="CC BY-SA 3.0" />
  <row Id="41011" PostHistoryTypeId="3" PostId="24070" RevisionGUID="3394f07b-b741-4aa7-802a-6b9285f837e9" CreationDate="2011-09-13T18:56:20.010" UserId="7045" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41012" PostHistoryTypeId="36" PostId="24072" RevisionGUID="e0fb4cd8-c340-46b7-a0aa-53e2a664e364" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2312/recording-in-free-time-in-a-song-with-a-click-track/2317#2317" />
  <row Id="41013" PostHistoryTypeId="36" PostId="24073" RevisionGUID="ff445bf8-4da6-46c1-99bd-df3fb587c0f5" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1135/midi-interface-which-is-compatible-with-2010-macbook-pro" />
  <row Id="41014" PostHistoryTypeId="36" PostId="24074" RevisionGUID="06be1068-21ce-401c-93fd-4d4a1a6d5db6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1135/midi-interface-which-is-compatible-with-2010-macbook-pro/1136#1136" />
  <row Id="41015" PostHistoryTypeId="36" PostId="24075" RevisionGUID="3aa67696-926f-405b-a145-3ad7335369ef" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1135/midi-interface-which-is-compatible-with-2010-macbook-pro/1137#1137" />
  <row Id="41016" PostHistoryTypeId="36" PostId="24076" RevisionGUID="4a84fce1-507e-459c-8397-1731e30805b8" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1135/midi-interface-which-is-compatible-with-2010-macbook-pro/1143#1143" />
  <row Id="41017" PostHistoryTypeId="36" PostId="24077" RevisionGUID="196b1ce9-f6ae-46c7-af4c-99f6e9d2de54" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1135/midi-interface-which-is-compatible-with-2010-macbook-pro/2704#2704" />
  <row Id="41018" PostHistoryTypeId="36" PostId="24078" RevisionGUID="a8bd4b8d-6cc3-46a7-b295-01ebd522a0e6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1135/midi-interface-which-is-compatible-with-2010-macbook-pro/4128#4128" />
  <row Id="41019" PostHistoryTypeId="2" PostId="24074" RevisionGUID="886b40d7-4464-4826-8ad8-b2b6d67a0ff9" CreationDate="2011-04-06T21:27:01.177" UserId="7093" Text="In order to get a MIDI interface that has it's own power adapter, you may need to check out an audio interface with MIDI also.  &#xD;&#xA;&#xD;&#xA;The [M-Audio Fast Track Pro][1] is a USB interface that has both audio and MIDI Inputs/Outputs and is compatible with both Mac and PC.  According to the specs, it can be powered by USB or by an *&quot;optional&quot;* AC power adapter.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.guitarcenter.com/M-Audio-Fast-Track-Pro-Mobile-USB-Audio-MIDI-Interface-103520185-i1126084.gc" ContentLicense="CC BY-SA 2.5" />
  <row Id="41020" PostHistoryTypeId="2" PostId="24075" RevisionGUID="bd46199f-a6dc-4a11-8126-7c166346f8b7" CreationDate="2011-04-07T00:37:15.353" UserDisplayName="Ian C." Text="I use a [Roland/CalkWalk UM-1G][1] USB MIDI interface with my 2010 MacBook Pro and it works without any issues at all.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rolandus.com/products/productdetails.php?ProductId=1091&amp;ParentId=436" ContentLicense="CC BY-SA 2.5" />
  <row Id="41021" PostHistoryTypeId="2" PostId="24076" RevisionGUID="0286064f-1e14-400d-a148-ac6d2f49e76d" CreationDate="2011-04-07T15:52:11.213" UserId="17571" UserDisplayName="Zeronyne" Text="You may want to try a MIDIsport UNO, but buy it from somewhere that has an exhange policy. It has worked fine on my Powerbook. Have you considered that it may be an issue " ContentLicense="CC BY-SA 2.5" />
  <row Id="41022" PostHistoryTypeId="2" PostId="24077" RevisionGUID="3be30c7e-7491-4bb2-a6ca-af192f8ecc22" CreationDate="2011-11-27T05:34:01.077" UserId="7189" Text="I picked up an EMagic AMT8 from EBay for cheap, and it works perfectly with Snow Leopard on my MacBook Pro." ContentLicense="CC BY-SA 3.0" />
  <row Id="41023" PostHistoryTypeId="2" PostId="24078" RevisionGUID="30b19a47-b260-433c-93c3-4ba4c6a5cbdf" CreationDate="2012-06-06T22:55:49.340" UserId="9762" UserDisplayName="Yar" Text="I'm working with a Roland Edirol UM-2ex which is cheap and works well. However, you might want to consider the $150+ iConnect if you  have any use for that kind of connectivity.&#xD;&#xA;&#xD;&#xA;On Macbook Pro 2011 with SL and now Lion." ContentLicense="CC BY-SA 3.0" />
  <row Id="41024" PostHistoryTypeId="2" PostId="24073" RevisionGUID="1a402c14-ee60-454d-9513-509d1522aa28" CreationDate="2011-04-06T17:36:15.453" UserDisplayName="Nick" Text="I am looking for a MIDI interface for my 2010 macbook pro.  I currently have a MAudio midisport 4x4 which has always served me well but it is USB powered and it seems that the macbook pro does not put out enough electricity over USB to power it.  The USB light does not even turn on.  I also only really need 1 in and 1 out so it is a little over kill.  Almost all of the other MIDI interfaces I have seen are also USB powered so I am worried I will run into the same problem.  Any suggestions?&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/ytwDz.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="41025" PostHistoryTypeId="1" PostId="24073" RevisionGUID="1a402c14-ee60-454d-9513-509d1522aa28" CreationDate="2011-04-06T17:36:15.453" UserDisplayName="Nick" Text="MIDI interface which is compatible with 2010 macbook pro" ContentLicense="CC BY-SA 2.5" />
  <row Id="41026" PostHistoryTypeId="3" PostId="24073" RevisionGUID="1a402c14-ee60-454d-9513-509d1522aa28" CreationDate="2011-04-06T17:36:15.453" UserDisplayName="Nick" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41027" PostHistoryTypeId="36" PostId="24079" RevisionGUID="4a18a1d8-3df1-4574-8f52-0697e786d20a" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2353/mapping-mod-and-pitch-bend-controls-to-a-knob-in-ableton" />
  <row Id="41028" PostHistoryTypeId="36" PostId="24080" RevisionGUID="d75fa495-27e6-40cb-8d20-fb45deaa6bb6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2353/mapping-mod-and-pitch-bend-controls-to-a-knob-in-ableton/2357#2357" />
  <row Id="41029" PostHistoryTypeId="2" PostId="24080" RevisionGUID="981e509c-ff97-49ad-82c7-d60d61a764b1" CreationDate="2011-09-22T15:46:19.273" UserId="7209" Text="You're thinking about the mapping backwards.  You don't want to map controls to other controls on your keyboard... just map the knobs to the same thing that pitch bend and modulation would have been mapped to within Ableton.&#xD;&#xA;&#xD;&#xA;Click MIDI, then click what you want to control, then turn the knob.  That's all there is to it.&#xD;&#xA;&#xD;&#xA;As far as a standalone unit for modulation and pitch bending, I used to use a joystick for this.  I wired the joystick output to the expression pedal inputs on my keyboard.  You can also use a PC joystick directly with drivers that map them to MIDI." ContentLicense="CC BY-SA 3.0" />
  <row Id="41030" PostHistoryTypeId="2" PostId="24081" RevisionGUID="da0a7ab7-28c7-465f-9dc2-3b2a43bada83" CreationDate="2011-10-14T21:53:11.857" UserId="7294" UserDisplayName="Warrior Bob" Text="Ableton Live does not allow you to map incoming MIDI signals to pitchbend information in MIDI tracks. It would be useful, but it is not supported.&#xD;&#xA;&#xD;&#xA;Your controller's knobs probably send MIDI Continuous Controller (CC) data. As Brad pointed out in the comments, modulation is CC 1, but pitchbend is its own type of message. The simplest solution, if your controller is programmable, is to program one knob to CC 1 and one to pitchbend, but not all controllers are, and of those that are not all of them support pitchbend.&#xD;&#xA;&#xD;&#xA;The other, more general solution is to use some third-party MIDI mapping software such as MIDI-OX or Bome's MIDI translator. Route the MIDI from your controller to the software, transform two CCs from your knobs to pitchbend and modulation (CC 1), and then route the software's output into Live.&#xD;&#xA;&#xD;&#xA;Neither of these solutions are specific to Live of course - the same idea might apply to most any DAW software. However, if you happen to have Max4Live, you could probably write up a patch within Ableton that would perform the necessary transformation." ContentLicense="CC BY-SA 3.0" />
  <row Id="41031" PostHistoryTypeId="2" PostId="24079" RevisionGUID="45511438-78aa-47a9-83b7-143e3915b47f" CreationDate="2011-09-22T01:06:48.967" UserDisplayName="einsteinx2" Text="I'm in between full sized MIDI keyboards at the moment and picked up an Akai MPK Mini to use for the time being and as a travel controller. I love it but it's missing the mod and pitch wheels that most keyboards have.&#xD;&#xA;&#xD;&#xA;Does anyone have any idea how to map those functions in Ableton Live to two of the Mini's knobs? (Should apply to knobs on any MIDI controller.) I keep reading online that it's possible and easy to do, but I can't figure it out. When I go into mapping mode I can't seem to select the mod or pitch bend envelopes to map them.&#xD;&#xA;&#xD;&#xA;Also, side question, is anyone aware of a standalone mod and pitch bend wheel controller? Like literally just those two controls as they usually are on a keyboard but by themselves?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41032" PostHistoryTypeId="1" PostId="24079" RevisionGUID="45511438-78aa-47a9-83b7-143e3915b47f" CreationDate="2011-09-22T01:06:48.967" UserDisplayName="einsteinx2" Text="Mapping Mod and Pitch bend controls to a knob in Ableton?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41033" PostHistoryTypeId="3" PostId="24079" RevisionGUID="45511438-78aa-47a9-83b7-143e3915b47f" CreationDate="2011-09-22T01:06:48.967" UserDisplayName="einsteinx2" Text="&lt;midi&gt;&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41034" PostHistoryTypeId="36" PostId="24081" RevisionGUID="86a28937-f2f2-4698-802a-2f9498519939" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2353/mapping-mod-and-pitch-bend-controls-to-a-knob-in-ableton/2467#2467" />
  <row Id="41035" PostHistoryTypeId="36" PostId="24082" RevisionGUID="a891c49f-2a10-43bf-ad7d-a719ff9b1c22" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7697/how-can-i-make-a-section-in-a-song-sound-like-its-coming-from-an-am-radio" />
  <row Id="41036" PostHistoryTypeId="36" PostId="24083" RevisionGUID="1afda565-c12d-4338-905e-2d0a9328d059" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7697/how-can-i-make-a-section-in-a-song-sound-like-its-coming-from-an-am-radio/7698#7698" />
  <row Id="41037" PostHistoryTypeId="36" PostId="24084" RevisionGUID="b8e20ef8-77de-47cc-b321-68371a509a09" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7697/how-can-i-make-a-section-in-a-song-sound-like-its-coming-from-an-am-radio/7699#7699" />
  <row Id="41038" PostHistoryTypeId="2" PostId="24083" RevisionGUID="921073e8-8356-4609-8aee-523c178cad99" CreationDate="2013-04-20T22:27:36.133" UserId="6833" Text="Three plug-ins I'm already thinking about using are&#xD;&#xA;&#xD;&#xA; 1. I'll use Bitcrusher (a distortion plug-in that decreases the quality of the incoming audio) to make it sound like the recording quality of a radio show&#xD;&#xA;&#xD;&#xA; 2. I'll use EVOC 20 TrackOscillator, a vocoder, to process the audio like a radio recording&#xD;&#xA;&#xD;&#xA; 3. I'll use [Vinyl][1], a third-party plug-in that simulates the sounds of scratches on a record being played, to simulate radio static.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.izotope.com/products/audio/vinyl/" ContentLicense="CC BY-SA 3.0" />
  <row Id="41039" PostHistoryTypeId="2" PostId="24084" RevisionGUID="d64def34-2088-485b-b48f-7f487f59a998" CreationDate="2013-04-20T22:52:13.790" UserDisplayName="GratuiTous" Text="Most EQ's have a preset called **Radio or Old Phone**.  Simply just find the preset and enable it!&#xD;&#xA;&#xD;&#xA;A cool tip for automation purposes would be to open a separate EQ, apply the **Radio/Old Phone** preset to it, then automate it to turn off and on only when needed!" ContentLicense="CC BY-SA 3.0" />
  <row Id="41040" PostHistoryTypeId="2" PostId="24085" RevisionGUID="61121f07-214d-42f4-893a-8db1d9889303" CreationDate="2013-04-21T11:06:41.190" UserId="7312" UserDisplayName="Eugene S" Text="I guess you'll be able to reach the desired result by applying these effects:&#xD;&#xA;&#xD;&#xA; * **EQ** - Boost around 2KHz and cut everywhere else. (You can play with the frequencies and see which one suits you the best. To do that just boost one frequency and swipe it across the area).&#xD;&#xA;&#xD;&#xA; * **Distortion** - After setting the EQ, you could add just a bit of distortion to the signal.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**P.S.** And of course, as GratiTous mentioned, you can use the presets which often supplied with many software." ContentLicense="CC BY-SA 3.0" />
  <row Id="41041" PostHistoryTypeId="2" PostId="24082" RevisionGUID="f872cc97-879a-4f30-bca5-477ce7c73cc6" CreationDate="2013-04-20T22:27:36.133" UserId="6833" Text="I am working on a project in Logic Pro, and for part of my song, I want to make it sound like an AM radio is playing a segment from a talk show reporting on a sport event. What effects can I apply to achieve this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41042" PostHistoryTypeId="1" PostId="24082" RevisionGUID="f872cc97-879a-4f30-bca5-477ce7c73cc6" CreationDate="2013-04-20T22:27:36.133" UserId="6833" Text="How can I make a section in a song sound like it's coming from an AM radio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41043" PostHistoryTypeId="3" PostId="24082" RevisionGUID="f872cc97-879a-4f30-bca5-477ce7c73cc6" CreationDate="2013-04-20T22:27:36.133" UserId="6833" Text="&lt;effects&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41044" PostHistoryTypeId="36" PostId="24085" RevisionGUID="0f820acb-3c17-4de1-8ef6-ce4b4c0ee2e6" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7697/how-can-i-make-a-section-in-a-song-sound-like-its-coming-from-an-am-radio/7709#7709" />
  <row Id="41045" PostHistoryTypeId="36" PostId="24086" RevisionGUID="518d6c82-64c5-459c-93e0-594b25288e59" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7697/how-can-i-make-a-section-in-a-song-sound-like-its-coming-from-an-am-radio/7723#7723" />
  <row Id="41046" PostHistoryTypeId="2" PostId="24086" RevisionGUID="3533f54f-923f-47d2-af18-850cd73f6682" CreationDate="2013-04-22T22:16:30.853" UserId="12790" UserDisplayName="Ron Kyle" Text="I feel your choice of plugins might get you near the sound you want to hear in your song (heck, they might even get you somewhere better!) but as for recreating the distinct sound of AM radio (specifically AM TALK radio)... well, I'll just say that your way seems like WAY more work than it needs to be and start with the explanation. &#xD;&#xA;&#xD;&#xA;Before we start recreating &quot;the AM sound&quot; we should take a second and define what the differences we are trying to recreate ARE. It's obvious that it sounds DIFFERENT but what are those differences? Well, people usually say that FM radio sounds both cleaner and brighter than AM... when they say cleaner, they usually mean that AM is more &quot;static-y&quot; and FM isn't but if you removed all the static I'd be willing to bet they'd still say FM sounded clearer and brighter than noise-free AM signal. This is because the &quot;AM talk radio&quot; sound is due entirely to AM radio stations' baseband being limited to 5kHZ of bandwidth where FM stations' baseband is limited to 15kHz. Neither are large enough to include the full range of human hearing (15Hz-ish -&gt; 22kHz-ish) which is why FM doesn't sound like a CD but more like a 128-192kbitrate mp3.&#xD;&#xA;&#xD;&#xA;In all that I said two things- that I don't think a simulation of static is necessary (or desired) to get the &quot;AM sound&quot; that you want&#xD;&#xA;and&#xD;&#xA;There are two detectable ways in which noise/interference/static-free AM sounds different than FM- they have been termed &quot;brightness&quot; and &quot;clarity&quot; and ARE seperate differences, yet they have the same origin- 5kHz of signal vs 15kHz of signal. &#xD;&#xA;(I say 5kHz instead of 10kHz which is what AM is really allocated by the FCC, but we are gonna call it 5Hz for a reason that I may or may not get into; I just didn't want to give bad info.)&#xD;&#xA;&#xD;&#xA;Have you ever listened to AM talk radio stations on XM or Sirius radio? Noticed that they sound WAY different? To me, it sounds like no matter how loud I turn it up, I just can't quite make out some of the things they said. If you flip over to the same broadcast on actual AM radio the difference between the two will be immediately apparent- it's like on XM radio, an AM talk radio broadcast is lopped off on both ends of its frequency range and it's this little stream of signal lost in this big range of &quot;empty frequency&quot; its been mixed with and the empty frequencies fill the space at a cost to overall volume. But I digress...&#xD;&#xA;&#xD;&#xA;According to the FCC regulations of AM radio- &quot;Emissions 10.2kHz to 20kHz removed from the carrier must be attenuated at least 25 dB below the unmodulated carrier level&quot;. Above 20kHz the attenuation keeps ramping up and the FCC quote about it was long enough to require paraphrasing. ;)&#xD;&#xA;&#xD;&#xA;What this boils down to for us is that since they start lopping off the AM signal by turning down the volume 25dB over 10k-&gt;20kHz, in the interests of maintaining a loud signal most AM talk radio broadcasts lop off everything above and below a 5kHz-ish sized width of band. Therefore all you should have to do is  resample your audio at a lower rate- somewhere between 5kHz and 10kHz is about right... also, I would suggest doing it this way in Soundforge; that's what I'm thinking of as I write this- SF even calls one of its resample presets &quot;radio quality&quot;. However it's really quite a basic thing so while I'm certain there are many programs that will do it (bitcrusher does it but it also does more stuff to get its sound so it might not sound right) I can only really speak for the audible results of doing it in SoundForge... I'd go out on a limb and say audacity as well, but there's a WORLD of difference in how their normalize function ends up sounding so maybe they can screw up resampling, too. :)&#xD;&#xA;&#xD;&#xA;Or, of course, you could attenuate the signal 25dB for the freq range of 10.2-20k, maybe 35dB for 20k-30k and then 50dB+ above 30k. Or just half the volume of 10k-20k and cut the rest.&#xD;&#xA;&#xD;&#xA;Additionally, you could always use two smartphones; one to play the audio on speaker and one to record it with the mic of the other phone. Two iPhones would work superbly, as would many Androids as well.&#xD;&#xA;&#xD;&#xA;If you are still hung up on clarity of signal, you could probably use the vocoder and modulate your audio signal with noise and play with that. I'll bet it would be a convincing replication of AM interference. At least it'd probably sound cool.&#xD;&#xA;  &#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="41047" PostHistoryTypeId="36" PostId="24087" RevisionGUID="6e2dfb89-06a9-4f68-a19a-f9b8039af741" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9066/does-the-logic-x-legacy-and-compatibility-content-overwrite-the-new-content" />
  <row Id="41048" PostHistoryTypeId="2" PostId="24087" RevisionGUID="91518078-aaa9-4e61-937e-ee0584c0c770" CreationDate="2013-09-26T15:35:42.230" UserId="7243" UserDisplayName="Josh" Text="I'm trying to help a friend install and configure Logic Pro X from GarageBand which he was previously using and I am confused by the &quot;Legacy and Compatibility&quot; content which I can install. I understand that this content is lower-CPU usage versions and content from the old GarageBand/Logic 8 and 9, is that correct?&#xD;&#xA;&#xD;&#xA;What specifically is confusing me is that when I check the box to install the &quot;Legacy and Compatibility&quot; package, the checkboxes for new packages above become checked and the lines are disabled indicating I cannot uncheck them. Does this nean that I will be *overwriting* the *new* versions of these instruments with the *legacy* versions? That's not what I want.&#xD;&#xA;&#xD;&#xA;Is it possible to have *both* the new Logic Pro X content *and* the &quot;Legacy and Compatibility&quot; package installed or are they mutually exclusive?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41049" PostHistoryTypeId="1" PostId="24087" RevisionGUID="91518078-aaa9-4e61-937e-ee0584c0c770" CreationDate="2013-09-26T15:35:42.230" UserId="7243" UserDisplayName="Josh" Text="Does the Logic X Legacy and Compatibility content overwrite the new content?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41050" PostHistoryTypeId="3" PostId="24087" RevisionGUID="91518078-aaa9-4e61-937e-ee0584c0c770" CreationDate="2013-09-26T15:35:42.230" UserId="7243" UserDisplayName="Josh" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41051" PostHistoryTypeId="36" PostId="24088" RevisionGUID="3c69b4cb-0f5f-43cb-a854-dd11b1246260" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/460/how-does-the-midi-data-for-polyphonic-aftertouch-differ-from-normal-aftertouch" />
  <row Id="41052" PostHistoryTypeId="2" PostId="24089" RevisionGUID="ba6979d6-d8c4-4420-a48d-e7dd3e9f0183" CreationDate="2010-12-27T20:19:59.077" UserDisplayName="Kim Burgaard" Text="Aftertouch and polyphonic aftertouch are two different event types in the [MIDI standard][1]:&#xD;&#xA;&#xD;&#xA;    1010nnnn	0kkkkkkk  0vvvvvvv	Polyphonic Key Pressure (Aftertouch).  This&#xD;&#xA;                                    message is most often sent by pressing down on the&#xD;&#xA;                                    key after it &quot;bottoms out&quot;. (kkkkkkk) is the key&#xD;&#xA;                                    (note) number. (vvvvvvv) is the pressure value.&#xD;&#xA;&#xD;&#xA;    1101nnnn	0vvvvvvv		    Channel Pressure (After-touch). This message is&#xD;&#xA;                                    most often sent by pressing down on the key after&#xD;&#xA;                                    it &quot;bottoms out&quot;. This message is different from&#xD;&#xA;                                    polyphonic after-touch. Use this message to send&#xD;&#xA;                                    the single greatest pressure value (of all the&#xD;&#xA;                                    current depressed keys). (vvvvvvv) is the pressure&#xD;&#xA;                                    value.&#xD;&#xA;&#xD;&#xA;Both kinds of aftertouch are tied to a specific MIDI channel.  In addition, the polyphonic variant is also, as you noted yourself, tied to a specific note.&#xD;&#xA;&#xD;&#xA;A synthesizer or MIDI controller can send an arbitrary amount of both polyphonic key pressure and channel pressure events (or at least as fast as the MIDI link allows).&#xD;&#xA;&#xD;&#xA;  [1]: http://www.midi.org/techspecs/midimessages.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="41053" PostHistoryTypeId="2" PostId="24088" RevisionGUID="e3222039-2cff-4db1-8853-52bfd053092a" CreationDate="2010-12-27T19:53:10.653" UserId="7294" UserDisplayName="Warrior Bob" Text="From what I understand, aftertouch in MIDI is a parameter (like a continuous controller) that a synthesizer can respond to.  I have heard that some keyboards can send polyphonic aftertouch data, where the aftertouch information is sent per-note.  But how does this work, if aftertouch is just one parameter?  Is there a mechanism where the note data can be set alongside the aftertouch data, or is it just aftertouch per-channel, which would max out at 16 &quot;notes&quot; and intrude on the other channels?  Or are these two sent as entirely different data in the first place?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41054" PostHistoryTypeId="1" PostId="24088" RevisionGUID="e3222039-2cff-4db1-8853-52bfd053092a" CreationDate="2010-12-27T19:53:10.653" UserId="7294" UserDisplayName="Warrior Bob" Text="How does the MIDI data for polyphonic aftertouch differ from &quot;normal&quot; aftertouch?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41055" PostHistoryTypeId="3" PostId="24088" RevisionGUID="e3222039-2cff-4db1-8853-52bfd053092a" CreationDate="2010-12-27T19:53:10.653" UserId="7294" UserDisplayName="Warrior Bob" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41056" PostHistoryTypeId="36" PostId="24089" RevisionGUID="6575e9ca-0a22-4711-901a-e92accb44e21" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/460/how-does-the-midi-data-for-polyphonic-aftertouch-differ-from-normal-aftertouch/461#461" />
  <row Id="41057" PostHistoryTypeId="36" PostId="24090" RevisionGUID="856bc8d1-77ea-47f0-b84e-6c0df2811edd" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/460/how-does-the-midi-data-for-polyphonic-aftertouch-differ-from-normal-aftertouch/462#462" />
  <row Id="41058" PostHistoryTypeId="36" PostId="24091" RevisionGUID="b336664b-2f3a-4f59-b4c0-f290cb8a5022" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/460/how-does-the-midi-data-for-polyphonic-aftertouch-differ-from-normal-aftertouch/463#463" />
  <row Id="41059" PostHistoryTypeId="36" PostId="24092" RevisionGUID="cc5ec44d-3875-40e5-b18b-2067ed27302f" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/460/how-does-the-midi-data-for-polyphonic-aftertouch-differ-from-normal-aftertouch/4537#4537" />
  <row Id="41060" PostHistoryTypeId="2" PostId="24090" RevisionGUID="ee2415d7-90ac-40f4-9717-1b7f2cfd00c7" CreationDate="2010-12-27T20:20:14.000" UserId="7294" UserDisplayName="Warrior Bob" Text="Some better googling led me to the answer.  They are indeed separate data and aren't the same thing.&#xD;&#xA;&#xD;&#xA;&quot;Normal&quot; aftertouch actually isn't aftertouch.  It's [Channel Pressure][1] and uses a different status byte than [Aftertouch][2].  &#xD;&#xA;&#xD;&#xA;Channel pressure is just a pressure value, global to the channel, while aftertouch sends the note number in addition to pressure as part of its data.  Only one channel is required.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://home.roadrunner.com/~jgglatt/tech/midispec/pressure.htm&#xD;&#xA;  [2]: http://home.roadrunner.com/~jgglatt/tech/midispec/aftert.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="41061" PostHistoryTypeId="2" PostId="24091" RevisionGUID="25fa4baf-07a1-4a7c-99fa-b7d1e1f330c8" CreationDate="2010-12-28T09:37:38.627" UserDisplayName="Nik Reiman" Text="Kim Burgaard pretty much hit the nail on the head, but I wanted to add just one small bit of explanation.&#xD;&#xA;&#xD;&#xA;The reason that we have two different types of aftertouch is that the sensors used to measure aftertouch are somewhat expensive from a manufacturing perspective, and therefore most mid- to low-end MIDI keyboards have only one sensor for all keys.  More expensive keyboards have per-key aftertouch sensors, but both types are capable of sending some type of aftertouch data." ContentLicense="CC BY-SA 2.5" />
  <row Id="41062" PostHistoryTypeId="2" PostId="24092" RevisionGUID="7a3696c2-d9fb-4430-ad17-e14cee02b19d" CreationDate="2012-08-07T19:15:47.240" UserId="7219" UserDisplayName="Stephen Hazel" Text="i guess this question is old, but it should be noted that VERY few keyboards can generate polyphonic aftertouch (a note specific control - also known as &quot;note pressure&quot;), but almost all synth keyboards can generate CHANNEL aftertouch (a control for affecting all the notes in a channel - &quot;channel pressure&quot;).&#xD;&#xA;&#xD;&#xA;ALSO, it should be noted that not all synthesizers even RESPOND to polyphonic aftertouch.  I mean, what does monophonic aftertouch (channel pressure) =do= to the sound?  Usually adds something like vibrato, same sort of thing a mod wheel would do.&#xD;&#xA;&#xD;&#xA;What does polyphonic aftertouch (note pressure) =do= to the sound?  Mmmm, whatever the synthesizer is programmed to do.  But it's PER NOTE - so maybe the 3rd of a chord gets vibrato, but not the 1st and 5th (for example).&#xD;&#xA;&#xD;&#xA;The reason not many synthesizers even respond to note pressure (poly aftertouch) is&#xD;&#xA;&#xD;&#xA;1. it's rare to even SEE it from a keyboard.&#xD;&#xA;&#xD;&#xA;2. response to it has to be programmed per the preset and that adds greatly to what a preset can be expected to do (and must be implemented and saved and so forth).&#xD;&#xA;&#xD;&#xA;3. note pressure sends a FLOOD of messages over midi.  And can clog up responding to NOTES fast enough causing hiccups in the sound - bad news.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41063" PostHistoryTypeId="36" PostId="24093" RevisionGUID="c351d51d-264e-42bc-bac5-a43f41487dc6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2547/generate-individual-midi-files-of-piano-notes" />
  <row Id="41064" PostHistoryTypeId="36" PostId="24094" RevisionGUID="48abe610-12c5-4709-9792-1f03f5bde481" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2547/generate-individual-midi-files-of-piano-notes/2551#2551" />
  <row Id="41065" PostHistoryTypeId="36" PostId="24095" RevisionGUID="eabd926e-5118-40fc-8f7d-4caf2c8692fd" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2547/generate-individual-midi-files-of-piano-notes/2553#2553" />
  <row Id="41066" PostHistoryTypeId="2" PostId="24094" RevisionGUID="ae65dd9d-f91e-4828-bafc-8fcd059d65ca" CreationDate="2011-10-26T21:02:21.930" UserDisplayName="fénix" Text="I thought that rosegarden could export to .midi files...&#xD;&#xA;&#xD;&#xA;Nevertheless here you have a list&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/List_of_MIDI_editors_and_sequencers&#xD;&#xA;&#xD;&#xA;Some of them GPL. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41067" PostHistoryTypeId="2" PostId="24095" RevisionGUID="9c2abac6-5307-40fa-8167-d22fc8d9ed05" CreationDate="2011-10-27T00:11:13.693" UserId="7189" Text="Rosegarden should do the job.&#xD;&#xA;&#xD;&#xA;If you have programming skills, it is extremely easy to generate MIDI files like this with python or perl and the appropriate MIDI library.&#xD;&#xA;&#xD;&#xA;Along similar lines, I wrote some tiny Pure Data patches for holding long, droning notes. You can get them at the [Pure Data forum][1] (you have to sign in to see the attached files).&#xD;&#xA;&#xD;&#xA;Update - [here are the Pure Data patches on github][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://puredata.hurleur.com/sujet-5170-drone-tools&#xD;&#xA;  [2]: https://github.com/obscurerobot/Audio/tree/master/PureData/Drone%20Control" ContentLicense="CC BY-SA 3.0" />
  <row Id="41068" PostHistoryTypeId="2" PostId="24093" RevisionGUID="2351b294-7737-4556-84d9-074ac86a2413" CreationDate="2011-10-26T14:32:55.007" UserDisplayName="a sandwhich" Text="For a project I am currently working on I need individual midi files of single piano notes as though the note was held for 4 seconds before release. I have found a few toy online midi keyboards that can generate the exact notes desired, but there is no output option. What software (Windows or linux) would allow me to generate a specific piano key and output that note as a file? I have played around with rosegarden and been unsuccessful, and I do not have access to a physical synthesizer or keyboard." ContentLicense="CC BY-SA 3.0" />
  <row Id="41069" PostHistoryTypeId="1" PostId="24093" RevisionGUID="2351b294-7737-4556-84d9-074ac86a2413" CreationDate="2011-10-26T14:32:55.007" UserDisplayName="a sandwhich" Text="Generate individual midi files of piano notes" ContentLicense="CC BY-SA 3.0" />
  <row Id="41070" PostHistoryTypeId="3" PostId="24093" RevisionGUID="2351b294-7737-4556-84d9-074ac86a2413" CreationDate="2011-10-26T14:32:55.007" UserDisplayName="a sandwhich" Text="&lt;midi&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41071" PostHistoryTypeId="36" PostId="24096" RevisionGUID="7144726b-6382-462f-b2e4-80fafafc98a2" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7102/how-to-reduce-bleed-on-vocal-and-instrument-mics-in-a-live-recording" />
  <row Id="41072" PostHistoryTypeId="36" PostId="24097" RevisionGUID="e05897f8-520b-4d85-909b-16b2e32a32da" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7102/how-to-reduce-bleed-on-vocal-and-instrument-mics-in-a-live-recording/7108#7108" />
  <row Id="41073" PostHistoryTypeId="36" PostId="24098" RevisionGUID="370ee914-af8c-4a22-b411-753e7081801b" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7102/how-to-reduce-bleed-on-vocal-and-instrument-mics-in-a-live-recording/7168#7168" />
  <row Id="41074" PostHistoryTypeId="2" PostId="24097" RevisionGUID="4a87c144-47de-45b0-a697-a4e3be3985b2" CreationDate="2013-02-11T14:43:36.337" UserId="7174" Text="Reduce stage noise is my #1 piece of advice.  If using monitors, switch to in-ears.  Often times a lot of the bleed actually comes from monitors as opposed to instruments or voices themselves.  Also, using microphones with a more directional pickup can help to isolate the sound they pick up if it is a fixed source.  Finally, if the sources in question fill different frequency ranges, it may be possible to use the EQ to reduce some of the cross over." ContentLicense="CC BY-SA 3.0" />
  <row Id="41075" PostHistoryTypeId="2" PostId="24098" RevisionGUID="bd7478fb-302c-4e13-8c3e-b7e8bd716fd7" CreationDate="2013-02-15T18:44:08.820" UserId="7178" Text="**Phase inversion** may help.&#xD;&#xA;&#xD;&#xA;Take a clean (no post-processing) mono vocal track and a clean mono instrument track.  Invert the phase of one of them, and start playback.  Listen closely while adjusting the relative playback positions of the tracks (offsetting a few samples at a time), to bring them closer to phase alignment.  You may notice a slight improvement in isolation.  Then bounce the pair of tracks to a single track, and use that bounced track in your final mix.&#xD;&#xA;&#xD;&#xA;Of course, since in your recording the sound waves are scattered by acoustic reflections, there may not be any remaining perceptible phase coherence, so it might not help significantly, but it might be enough to give you some more options in post mixing.  (I've successfully used this technique to improve isolation on a few muddy live recordings, anyway.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="41076" PostHistoryTypeId="2" PostId="24096" RevisionGUID="f0d369a4-1a49-4e07-bf41-2cb3d5f1928f" CreationDate="2013-02-10T17:48:08.073" UserId="7045" Text="I've been mixing the multitrack Logic project files of a live performance. Overall audio quality is good, but there's a lot of bleed on the tracks. Bleed is expected in a situation like this, but it's worse than is usual due to the acoustics of the room. (I think this is mostly because of lots of high-acoustic reflections from a wall of windows behind the band. Other live recordings of the same band with much the same setup don't have these problems.) &#xD;&#xA;&#xD;&#xA;A couple of the songs are good but the vocals need work. The performer in question was playing mandolin and singing, both captured by separate mics on stage. (He forgot his preamp that day so couldn't plug into the board.) Of course, the reverse will also be needed. &#xD;&#xA;&#xD;&#xA;I'd like to fly in some vocal tracks from another live performance for the first few songs, where the singer was just warming up but the band was playing well, but I'll have to do a better job of isolating these tracks more so I have more freedom to edit. **How can I reduce vocal bleed on an instrument mic and vice-versa?**&#xD;&#xA;&#xD;&#xA;The recording has additional problems, such as a lot of bleed into the drum mics (an overhead condensor and a dynamic mic for the cajon) but drums are more easily gated to deal with this. What strategies should I use to deal with this? " ContentLicense="CC BY-SA 3.0" />
  <row Id="41077" PostHistoryTypeId="1" PostId="24096" RevisionGUID="f0d369a4-1a49-4e07-bf41-2cb3d5f1928f" CreationDate="2013-02-10T17:48:08.073" UserId="7045" Text="How to reduce bleed on vocal and instrument mics in a live recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41078" PostHistoryTypeId="3" PostId="24096" RevisionGUID="f0d369a4-1a49-4e07-bf41-2cb3d5f1928f" CreationDate="2013-02-10T17:48:08.073" UserId="7045" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41079" PostHistoryTypeId="36" PostId="24099" RevisionGUID="89abed07-a763-48bb-b611-f50884614be8" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2429/is-there-a-way-to-use-virtual-instruments-from-protools-in-logic" />
  <row Id="41080" PostHistoryTypeId="36" PostId="24100" RevisionGUID="8e61b661-8347-42d2-a6c8-2ec1f5838172" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2429/is-there-a-way-to-use-virtual-instruments-from-protools-in-logic/2436#2436" />
  <row Id="41081" PostHistoryTypeId="36" PostId="24101" RevisionGUID="7dbef996-3c3e-469c-b097-035f7990a7e0" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2429/is-there-a-way-to-use-virtual-instruments-from-protools-in-logic/2463#2463" />
  <row Id="41082" PostHistoryTypeId="36" PostId="24102" RevisionGUID="717c2ae1-e092-4d4d-939f-5494207d19ca" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2429/is-there-a-way-to-use-virtual-instruments-from-protools-in-logic/2483#2483" />
  <row Id="41083" PostHistoryTypeId="36" PostId="24103" RevisionGUID="c1024b07-ec4f-4022-9b74-412ab264a7da" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2429/is-there-a-way-to-use-virtual-instruments-from-protools-in-logic/4283#4283" />
  <row Id="41084" PostHistoryTypeId="2" PostId="24100" RevisionGUID="973df9a8-161f-4df0-a37e-9a5efc64d0d1" CreationDate="2011-10-05T16:23:41.620" UserDisplayName="eighteyes" Text="I use [Soundflower](http://cycling74.com/products/soundflower/) for routing the awesome instruments from Logic into Live. Usually, I just setup a MainStage for it, since I don't need any of the DAW overhead. You can do the same thing for ProTools to Logic, I believe. &#xD;&#xA;&#xD;&#xA;Soundflower is a virtual patch bay within your computer that shows up as new outputs and inputs. I like it because it is fairly seamless once it's setup.&#xD;&#xA;&#xD;&#xA;It's a tad tricky to setup, but what in audio land isn't? My recommendation is to use 256 as your buffer size, and get used to the occasional pops and clicks. &#xD;&#xA;&#xD;&#xA;If you want the easy / tedious solution, use [Audio Hijack](http://www.rogueamoeba.com/audiohijackpro/) and record your PT riffs. " ContentLicense="CC BY-SA 3.0" />
  <row Id="41085" PostHistoryTypeId="2" PostId="24102" RevisionGUID="a22a9b60-2e1e-418e-92b4-e025003dee3b" CreationDate="2011-10-17T14:41:25.753" UserDisplayName="JayP" Text="The effective answer is, it depends which plug-in!&#xD;&#xA;&#xD;&#xA;Check out [this article][1].  If you're working with DSP-based TDM plug-ins, it looks like you can use these from within Logic, for example.  It even sounds like Logic will import the plug-in settings across from Pro Tools.&#xD;&#xA;&#xD;&#xA;Sadly, if you're working with the more common RTAS or AS format plug-ins, then you cannot use these directly from within Logic.&#xD;&#xA;&#xD;&#xA;Many plug-in manufacturers, such as [Native Instruments][3] provide their plug-ins in multiple formats (VST, AU and RTAS), and Logic can host AU format plug-ins.  I expect most plug-in creators do something similar.&#xD;&#xA;&#xD;&#xA;Otherwise, you're left with using one of the other methods suggested, such as ReWire, or bouncing down the audio and importing it into Logic.  These methods will be fine, but are unfortunately less flexible and more time consuming.  ReWire is great, but you'll need a hefty machine to run both DAWs simultaneously to a decent capacity.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://documentation.apple.com/en/logicpro/tdmguide/index.html#chapter=2&amp;section=2&amp;tasks=true&#xD;&#xA;  [2]: http://www.waves.com&#xD;&#xA;  [3]: http://www.native-instruments.de" ContentLicense="CC BY-SA 3.0" />
  <row Id="41086" PostHistoryTypeId="2" PostId="24101" RevisionGUID="06c9423c-2258-4bf6-87b0-8af20b40357c" CreationDate="2011-10-13T16:01:03.513" UserId="7294" UserDisplayName="Warrior Bob" Text="Do you need those instruments to play in realtime? If not, you can sequence/play them in Pro Tools, and record their output as audio which can then be imported into Logic." ContentLicense="CC BY-SA 3.0" />
  <row Id="41087" PostHistoryTypeId="2" PostId="24103" RevisionGUID="0d7a69ae-f878-4686-bc82-24ed6d289321" CreationDate="2012-06-26T20:02:42.390" UserDisplayName="JPollock" Text="Here is what I have done with some succes in the past:&#xD;&#xA;Set up two interfaces on one computer and plug the outs of Pro Tools interface into the ins on the Logic interface. Then I routed midi tracks in logic out to the IAC bus, and in Pro Tools I created instruments that were fed by that same IAC bus. I set logic to output MIDI beat clock on the IAC bus and Pro Tools to sync to beat clock on the IAC bus. It takes a few seconds to lock up by it works.&#xD;&#xA;&#xD;&#xA;The timing will be a bit washy, s for best results, when you're ready export the midi tracks from logic, import to pro tools, render as audio and import that back to Logic." ContentLicense="CC BY-SA 3.0" />
  <row Id="41088" PostHistoryTypeId="2" PostId="24099" RevisionGUID="4dd265db-c62a-4d0b-9338-d1e41d07c1b0" CreationDate="2011-10-04T06:50:46.687" UserDisplayName="James Litewski" Text="I have both ProTools and Logic. But currently I've had more practice with using Logic, but I like some of the Virtual Instruments ProTools offers. I'm guessing it's possible to use those instruments in Logic.. So, if it is possible, how can I do so?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41089" PostHistoryTypeId="1" PostId="24099" RevisionGUID="4dd265db-c62a-4d0b-9338-d1e41d07c1b0" CreationDate="2011-10-04T06:50:46.687" UserDisplayName="James Litewski" Text="Is there a way to use Virtual Instruments from ProTools in Logic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41090" PostHistoryTypeId="3" PostId="24099" RevisionGUID="4dd265db-c62a-4d0b-9338-d1e41d07c1b0" CreationDate="2011-10-04T06:50:46.687" UserDisplayName="James Litewski" Text="&lt;logic-pro&gt;&lt;pro-tools&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41091" PostHistoryTypeId="36" PostId="24104" RevisionGUID="db4b6144-47a8-4d64-b32a-e87a7dab3505" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4175/does-the-midi-protocol-make-it-possible-to-specify-pitches-for-specific-tones" />
  <row Id="41092" PostHistoryTypeId="2" PostId="24105" RevisionGUID="f0346dad-6a57-42b4-8982-6012dec3abda" CreationDate="2012-06-13T15:12:20.707" UserId="7189" Text="There is a MIDI spec for sending [MIDI Tuning Messages][1], but not all synthesizers support it. &#xD;&#xA;&#xD;&#xA;Some specific synths that have good support for alternative tunings:&#xD;&#xA;&#xD;&#xA; - The Access Virus has a sophisticated predictive system called [Pure Tuning][2] (seems to have been around since the Virus C, also present in the more recent TI series)&#xD;&#xA; - Korg is generally very good about offering alternative tuning options in their workstations and high-end synths. The Z1 comes with a number of built-in tunings, and you can create your own.&#xD;&#xA; - The DIY [Shruthi-1][3] has some of the usual western tunings as well as a number of Indian tunings.&#xD;&#xA; - The Roland XV5080 has options for setting up alternate tunings, not sure if it came with any predefined alternatives&#xD;&#xA; - The Yamaha EX5 includes a number of alternative tuning systems, but it doesn't look like you can create custom tunings. (A number of interesting features from the EX5 never made it in to the Motif line, so download the manual before buying a different Yamaha workstation)&#xD;&#xA;&#xD;&#xA;Update: all of the synths I list above have front-panel access to the alternative tunings. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.midi.org/techspecs/midituning.php&#xD;&#xA;  [2]: http://www.soundonsound.com/sos/nov03/articles/accessredback.htm&#xD;&#xA;  [3]: http://mutable-instruments.net/shruthi1/manual" ContentLicense="CC BY-SA 3.0" />
  <row Id="41093" PostHistoryTypeId="2" PostId="24104" RevisionGUID="89de1aa1-dd64-4bcd-bac9-8a6d84d379ca" CreationDate="2012-06-13T12:25:11.337" UserId="6885" Text="I want to write a MIDI processor on the computer that &quot;detunes&quot; specific tones and leaves the others intact. But up to now I only found the pitch wheel MIDI message to go into this direction.&#xD;&#xA;However, if I send a pitch wheel message, all tones are detuned. I only want it to be specific ones. Is there any way I can accomplish that with MIDI?&#xD;&#xA;&#xD;&#xA;Or, more generally, how can one have &quot;just scales&quot; on MIDI?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41094" PostHistoryTypeId="1" PostId="24104" RevisionGUID="89de1aa1-dd64-4bcd-bac9-8a6d84d379ca" CreationDate="2012-06-13T12:25:11.337" UserId="6885" Text="Does the MIDI protocol make it possible to specify pitches for specific tones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41095" PostHistoryTypeId="3" PostId="24104" RevisionGUID="89de1aa1-dd64-4bcd-bac9-8a6d84d379ca" CreationDate="2012-06-13T12:25:11.337" UserId="6885" Text="&lt;midi&gt;&lt;pitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41096" PostHistoryTypeId="36" PostId="24105" RevisionGUID="0dc6709b-f655-4848-9b53-ab8c64b3c68a" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4175/does-the-midi-protocol-make-it-possible-to-specify-pitches-for-specific-tones/4178#4178" />
  <row Id="41097" PostHistoryTypeId="36" PostId="24106" RevisionGUID="bc8e740b-e236-46d1-a80c-6fd2f321ac84" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9610/equivalent-of-logics-flex-mode-in-ableton-live-9" />
  <row Id="41098" PostHistoryTypeId="2" PostId="24107" RevisionGUID="67b925bf-7f30-4f76-84b5-0496d8d54177" CreationDate="2013-12-10T20:23:52.540" UserId="7294" UserDisplayName="Warrior Bob" Text="Logic's Flex Time and Ableton's Warping are conceptually similar, in that they're timestretching based on markers. &#xD;&#xA;&#xD;&#xA;In Live, audio is stored in Audio Clips, and the Clip View editor will pop up if you double-click one. Warping is not done from the Arrangement View timeline - it's done within the clip itself. &#xD;&#xA;&#xD;&#xA;If the Warp switch is engaged on the Sample pane in the lower-left of Clip View, you can create Warp Markers by doubleclicking in the timeline area, just below the ruler. You will see one marker created by default at the beginning of the clip. The way warping is controlled is by creating Warp Markers for each position you are interested in, and moving that warp marker to the correct position in musical time. So if your sample is 1.5 bars long, you position your markers so that it begins on the 1.1.1 point in the clip timeline, and ends on 3.1.1. The timeline within the clip is *relative to the clip itself*. However, once you know your clip is two bars long, it will be the correct length in the Arrangement view and you can position and loop it however you need.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41099" PostHistoryTypeId="2" PostId="24106" RevisionGUID="85b957d3-9dd0-4158-833b-6481f49cd337" CreationDate="2013-12-09T17:29:21.470" UserId="17548" UserDisplayName="user3997" Text="In Logic, I use flex mode to stretch or condense a track into a certain area.  So if it is 1.5 bars I can stretch it to two bars to fit my drum pattern.  &#xD;&#xA;&#xD;&#xA;I know Warp mode in Live 9 can edit clips but I can't figure out how to do it in the arrange window to where I can manually stretch or condense the clip.&#xD;&#xA;&#xD;&#xA;In Logic, I would hold down option and then go to side of clip to stretch it.  &#xD;&#xA;&#xD;&#xA;Is there anyway I can do this in Ableton Live 9???" ContentLicense="CC BY-SA 3.0" />
  <row Id="41100" PostHistoryTypeId="1" PostId="24106" RevisionGUID="85b957d3-9dd0-4158-833b-6481f49cd337" CreationDate="2013-12-09T17:29:21.470" UserId="17548" UserDisplayName="user3997" Text="Equivalent of Logic's Flex Mode in Ableton Live 9" ContentLicense="CC BY-SA 3.0" />
  <row Id="41101" PostHistoryTypeId="3" PostId="24106" RevisionGUID="85b957d3-9dd0-4158-833b-6481f49cd337" CreationDate="2013-12-09T17:29:21.470" UserId="17548" UserDisplayName="user3997" Text="&lt;logic-pro&gt;&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41102" PostHistoryTypeId="36" PostId="24107" RevisionGUID="0a2b3a4a-e11a-484c-9117-4edb4b2f9aee" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9610/equivalent-of-logics-flex-mode-in-ableton-live-9/9625#9625" />
  <row Id="41103" PostHistoryTypeId="36" PostId="24108" RevisionGUID="d0799eb4-49c9-44e3-a264-eb87dcbcc7db" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7478/keyboard-vs-midi-controller-for-midi-input" />
  <row Id="41104" PostHistoryTypeId="36" PostId="24109" RevisionGUID="5f6d59c6-5ade-42ae-9599-30b6a88127ae" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7478/keyboard-vs-midi-controller-for-midi-input/7479#7479" />
  <row Id="41105" PostHistoryTypeId="2" PostId="24109" RevisionGUID="c10bf333-8955-4cb8-b5d7-a668f4b9b2a4" CreationDate="2013-03-23T20:45:37.027" UserId="7189" Text="It is rare to find a new electronic keyboard that doesn't also have MIDI. So if you want some basic sounds and the ability to play away from your computer, then go ahead and get a keyboard with sounds built into it.&#xD;&#xA;&#xD;&#xA;Dedicated MIDI controller keyboards may offer more control via knobs, faders and sometimes pads. If you need any of that stuff, then you may prefer to go with a MIDI controller.&#xD;&#xA;&#xD;&#xA;The third large category that you are missing is used keyboards. Check your local source of used gear (ebay and craigslist are my usual starting points), and you may find some excellent values.&#xD;&#xA;&#xD;&#xA;Personally, I find that the midrange and high-end synths of a decade or two ago have vastly better feel than comparable modern controller keyboards. My Yamaha EX-5 has 76 keys and a better keybed that any controller keyboard I've used. Similarly, the hammer-action Roland and Yamaha keyboards of the past are far better than any of the 88 key controllers available new now." ContentLicense="CC BY-SA 3.0" />
  <row Id="41106" PostHistoryTypeId="2" PostId="24108" RevisionGUID="cf522993-fd55-494b-8c68-827c7075bb18" CreationDate="2013-03-23T19:06:02.433" UserDisplayName="ian93" Text="If I want to spend $150-250 on a keyboard, should I get a MIDI keyboard (like something from M-Audio) or an electronic keyboard type of device (like something from Yamaha)? Can most electronic keyboards be used as MIDI controllers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41107" PostHistoryTypeId="1" PostId="24108" RevisionGUID="cf522993-fd55-494b-8c68-827c7075bb18" CreationDate="2013-03-23T19:06:02.433" UserDisplayName="ian93" Text="Keyboard vs. MIDI controller for MIDI input" ContentLicense="CC BY-SA 3.0" />
  <row Id="41108" PostHistoryTypeId="3" PostId="24108" RevisionGUID="cf522993-fd55-494b-8c68-827c7075bb18" CreationDate="2013-03-23T19:06:02.433" UserDisplayName="ian93" Text="&lt;midi&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41109" PostHistoryTypeId="36" PostId="24110" RevisionGUID="683e8394-a6e8-406b-8b18-0edf328be4e2" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7752/importing-midi-into-reason-5" />
  <row Id="41110" PostHistoryTypeId="36" PostId="24111" RevisionGUID="f1218dbd-9d2c-40a7-9b79-34a67e2db9b9" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7752/importing-midi-into-reason-5/7927#7927" />
  <row Id="41111" PostHistoryTypeId="2" PostId="24111" RevisionGUID="a2a20e6f-8de2-469e-9ed3-8e4dbb0d5e68" CreationDate="2013-05-19T17:35:17.780" UserDisplayName="Daniel Masuda" Text="You can move-it by drag and drop sequencer clips between tracks. Use &quot;Song Position Pointer tool&quot; to set start point of clips that you wanna move in the beginning of clip." ContentLicense="CC BY-SA 3.0" />
  <row Id="41112" PostHistoryTypeId="2" PostId="24110" RevisionGUID="629d7899-5bc4-4504-9342-eaea8f5f2ea8" CreationDate="2013-04-26T19:38:42.843" UserDisplayName="user3990" Text="I have just upgraded from Reason 3 to Reason 5 (I know, I'm behind the times but I like programs that work).&#xD;&#xA;&#xD;&#xA;In Reason 3, I would import a MIDI file (which I create with an external sequencer) then create instruments. Then I would assign the tracks to instruments. Should I need to change the tracks (a frequent need!), I could delete the tracks without deleting the instruments. After reimporting the MIDI file, I would again assign the tracks to the already existing instruments.&#xD;&#xA;&#xD;&#xA;In Reason 5, importing a MIDI file causes a combinator to be created automatically for every track. I can set up the combinators or replace them directly with other instruments. Should I wish to change the tracks, I can delete them without deleting the instruments, but when I reimport the MIDI, new combinators are created. &#xD;&#xA;&#xD;&#xA;How I can assign the tracks to the already existing instruments?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41113" PostHistoryTypeId="1" PostId="24110" RevisionGUID="629d7899-5bc4-4504-9342-eaea8f5f2ea8" CreationDate="2013-04-26T19:38:42.843" UserDisplayName="user3990" Text="Importing MIDI into Reason 5" ContentLicense="CC BY-SA 3.0" />
  <row Id="41114" PostHistoryTypeId="3" PostId="24110" RevisionGUID="629d7899-5bc4-4504-9342-eaea8f5f2ea8" CreationDate="2013-04-26T19:38:42.843" UserDisplayName="user3990" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41115" PostHistoryTypeId="36" PostId="24112" RevisionGUID="8347c0a1-73c3-4dee-ac32-27b139c25f2e" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6913/audio-effect-loop-on-a-keyboard-key" />
  <row Id="41116" PostHistoryTypeId="2" PostId="24112" RevisionGUID="add933de-ff09-4d73-aa00-7727a0a356e0" CreationDate="2013-01-23T09:57:53.963" UserId="7840" UserDisplayName="themirror" Text="Using Mac/Linux/Windows SOFTWARE with an attached MIDI keyboard:&#xD;&#xA;&#xD;&#xA;What's the simplest way to, on-demand in live performance, capture a 1-second recording from a microphone and then play it on a loop repeatedly while a particular piano key is pressed?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41117" PostHistoryTypeId="1" PostId="24112" RevisionGUID="add933de-ff09-4d73-aa00-7727a0a356e0" CreationDate="2013-01-23T09:57:53.963" UserId="7840" UserDisplayName="themirror" Text="Audio effect: loop on a keyboard key" ContentLicense="CC BY-SA 3.0" />
  <row Id="41118" PostHistoryTypeId="3" PostId="24112" RevisionGUID="add933de-ff09-4d73-aa00-7727a0a356e0" CreationDate="2013-01-23T09:57:53.963" UserId="7840" UserDisplayName="themirror" Text="&lt;software&gt;&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41119" PostHistoryTypeId="36" PostId="24113" RevisionGUID="8f73eb02-26b0-40d8-a509-d91cba18cbdc" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1528/looking-for-a-midi-note-re-mapper-vst" />
  <row Id="41120" PostHistoryTypeId="2" PostId="24114" RevisionGUID="06818d4e-c3fd-43c6-9434-a4732bdbe73e" CreationDate="2012-01-28T14:34:05.173" UserId="7210" Text="Could this help you?&#xD;&#xA;http://www.midikarval.net/MidiMapper.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="41121" PostHistoryTypeId="2" PostId="24113" RevisionGUID="d65fd169-f80e-43fb-81f4-b35c84dc0476" CreationDate="2011-06-02T08:10:38.220" UserDisplayName="egasimus" Text="I write drum tracks in Guitar Pro using standard General Midi note numbers (#35/#36 kick, #38/#40 snare, etc.), then use MIDI-Yoke (a virtual MIDI port) to redirect the notes to VSTHost (a tiny standalone VST host), where I can listen to the song before moving it to my DAW.&#xD;&#xA;&#xD;&#xA;My problem is that the drum VST that I use has note mappings that differ from the standard GM mapping (say, my kickdrum is #40 and my snare is #55). I'm looking for a no-frills, intuitive MIDI VST that allows me to re-map the notes one by one, and save those maps." ContentLicense="CC BY-SA 3.0" />
  <row Id="41122" PostHistoryTypeId="1" PostId="24113" RevisionGUID="d65fd169-f80e-43fb-81f4-b35c84dc0476" CreationDate="2011-06-02T08:10:38.220" UserDisplayName="egasimus" Text="Looking for a MIDI note re-mapper VST." ContentLicense="CC BY-SA 3.0" />
  <row Id="41123" PostHistoryTypeId="3" PostId="24113" RevisionGUID="d65fd169-f80e-43fb-81f4-b35c84dc0476" CreationDate="2011-06-02T08:10:38.220" UserDisplayName="egasimus" Text="&lt;midi&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41124" PostHistoryTypeId="36" PostId="24114" RevisionGUID="530b5412-4f1c-4ea7-a729-9f84bf480507" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1528/looking-for-a-midi-note-re-mapper-vst/3155#3155" />
  <row Id="41125" PostHistoryTypeId="36" PostId="24115" RevisionGUID="5f42629f-d09a-4d15-afb5-12483cc1875a" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7202/live-control-of-rewired-application-parameter-using-midi-controller-in-ableton" />
  <row Id="41126" PostHistoryTypeId="36" PostId="24116" RevisionGUID="edd49421-aca2-43c9-ba9a-20a732630592" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7202/live-control-of-rewired-application-parameter-using-midi-controller-in-ableton/7209#7209" />
  <row Id="41127" PostHistoryTypeId="2" PostId="24116" RevisionGUID="2cf22843-c850-4449-9a08-d38c2ff2f274" CreationDate="2013-02-21T14:38:54.563" UserDisplayName="Hiren Umradia" Text="If I understand you correctly, you want to automate reason perimeters through Ableton Live. I found a really good youtube video on this topic:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=VGu1d8gQ9-A&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;Hiren" ContentLicense="CC BY-SA 3.0" />
  <row Id="41128" PostHistoryTypeId="2" PostId="24115" RevisionGUID="e8492ea4-2cdb-4673-b790-665476a3dee3" CreationDate="2013-02-20T00:12:30.207" UserId="7242" UserDisplayName="CaptainProg" Text="I am running Reason rewired through Ableton Live. I would like to be able to control one of the parameters of a Subtractor Synthesiser within Reason whilst rewire is active. The actual parameter is a LFO rate.&#xD;&#xA;&#xD;&#xA;Currently, the best solution I have come across is to create a different clip for each LFO oscillation rate and set a different envelope automation level to each clip (the clips contain no notes). In this case, I assign a different MIDI trigger to each of the LFO rates I'd like to use live.&#xD;&#xA;&#xD;&#xA;However, this is a little cumbersome. First of all, I'd like to avoid having to actually *launch* my Ableton set, since in my experience, this is when things are most likely to crash (I'm using Ableton in Windows with a bunch of VSTs, and believe me, this is a recipe for disaster on stage if I hit the play button). Secondly, in order to control the LFOs by this method I need several trigger buttons free; ideally I'd be able to use a rotary and adjust it on-the-fly.&#xD;&#xA;&#xD;&#xA;Any ideas how I can access the parameter? I know that the 'LFO rate' from Reason is mapped to MIDI CC #26, but I can't seem to control this through direct CC assignment from my MIDI controller either; presumably Ableton hijacks MIDI ports when it is open, so I need to have something that involves Ableton." ContentLicense="CC BY-SA 3.0" />
  <row Id="41129" PostHistoryTypeId="1" PostId="24115" RevisionGUID="e8492ea4-2cdb-4673-b790-665476a3dee3" CreationDate="2013-02-20T00:12:30.207" UserId="7242" UserDisplayName="CaptainProg" Text="Live control of rewired application parameter using MIDI controller in Ableton" ContentLicense="CC BY-SA 3.0" />
  <row Id="41130" PostHistoryTypeId="3" PostId="24115" RevisionGUID="e8492ea4-2cdb-4673-b790-665476a3dee3" CreationDate="2013-02-20T00:12:30.207" UserId="7242" UserDisplayName="CaptainProg" Text="&lt;midi&gt;&lt;ableton&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41131" PostHistoryTypeId="36" PostId="24117" RevisionGUID="d3bb05de-486c-4c54-ab55-e14b18dc85eb" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9363/do-logic-pro-x-track-stacks-play-poorly-with-smart-controls" />
  <row Id="41132" PostHistoryTypeId="36" PostId="24118" RevisionGUID="7a0ea6e5-2199-41e5-a247-89a35f72dc88" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9363/do-logic-pro-x-track-stacks-play-poorly-with-smart-controls/9364#9364" />
  <row Id="41133" PostHistoryTypeId="2" PostId="24118" RevisionGUID="80893091-4cab-464f-a3c4-b3c37bea970e" CreationDate="2013-11-10T04:02:38.643" UserDisplayName="Chris" Text="Ok, I think the mystery is explained by &quot;articulation IDs&quot;, a new concept added in Logic Pro X.&#xD;&#xA;&#xD;&#xA;Here's what articulation IDs are about: Each MIDI note now can have (always has?) an &quot;articulation ID&quot; stored with it. Some ESX24 synth patches ignore this, but others, like several of the choir patches and several of the string patches, use them to decide which sample variant to play. For the Female Chamber Choir in particular, there are four different articulation IDs that the patch knows of, for &quot;ah&quot;, &quot;oo&quot;, &quot;uu&quot;, and &quot;mm&quot; sounds, respectively. Each of these vowel sounds has its own totally independent set of samples, and the articulation ID tells logic which one to use.&#xD;&#xA;&#xD;&#xA;Importantly, each MIDI note event can have only a single articulation ID associated with it.&#xD;&#xA;&#xD;&#xA;As for the smart control connection: What the &quot;Ah&quot; &quot;Uu&quot; &quot;Oo&quot; and &quot;Mm&quot; buttons in the smart control do is change the default articulation ID for notes on that track. (It affects both MIDI Thru notes and recorded notes.) This, in turn, changes which samples the ESX24 sampler is going to play for each MIDI note. When you play MIDI thru data into that track, or when you record notes onto that track, each note will get marked with the track's default articulation ID.&#xD;&#xA;&#xD;&#xA;Finally, here's what happens with track stacks, unless I've really confused myself:&#xD;&#xA;&#xD;&#xA;* Say you select the &quot;Sum 2&quot; track and play MIDI thru notes with your MIDI keyboard (or, alternatively, say you record MIDI notes while the &quot;Sum&quot; track is selected).&#xD;&#xA;* The &quot;Sum&quot; track needs to have a default articulation ID. Internet rumor has it (and this meets my experience so far) that logic looks at the lowest numbered default articulation used by its sub-tracks, and using that as the default articulation ID for the &quot;Sum&quot; track.&#xD;&#xA;* In the case of the example here, it turns out that &quot;ah&quot; has a lower articulation ID (ID 1, I think) than &quot;uu&quot; (ID 2, I think), so logic picks the articulation ID for &quot;ah&quot; as its default articulation ID&#xD;&#xA;* Now any notes coming in on the &quot;Sum&quot; track are going to be played with articulation ID 1, which means with &quot;ah&quot;.&#xD;&#xA;* Even though the default articulation ID for the &quot;uu&quot; track is *not* 1, that's just the *default* ID. The incoming MIDI data from the Sum track, however, gives each note a particular, default-overriding ID, and that ID, again, is 1, which, again, is for &quot;ah&quot;.&#xD;&#xA;&#xD;&#xA;To return to the original post but using these terms, the post thought that when MIDI data from from the &quot;Sum&quot; track got sent to each sub-track, each track's default articulation ID would determine which samples would get played. What actually happens, though, is that articulation IDs get set by the sum track *before* notes are passed to the sub-track, with the result that the default articulation ID doesn't have any effect. (Default only applies when notes don't already have an ID.)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41134" PostHistoryTypeId="2" PostId="24117" RevisionGUID="7c307fea-8fee-4dc8-b207-6afc234d379f" CreationDate="2013-11-10T04:02:38.643" UserDisplayName="Chris" Text="New to Logic Pro X 10.0.4 here. I think I'm missing something, because I feel like Logic is messing with me when I try to use Smart Controls together with Track Stacks.&#xD;&#xA;&#xD;&#xA;The way I can think to explain it is by example.&#xD;&#xA;&#xD;&#xA;Setup:&#xD;&#xA;&#xD;&#xA; 1. Create a new Software Instrument track, and set it to patch &quot;Female Chamber Choir&quot;. In Smart Controls for the track, set the choir to sing &quot;Ah&quot;.&#xD;&#xA; 1. Create another new Software Instrument track, and against pick patch &quot;Female Chamber Choir&quot;. This time, in Smart Controls, set the choir to sing &quot;Uu&quot;.&#xD;&#xA; 1. Select both tracks, and then them into a summing track stack. The &quot;super-track&quot; that combines my two choir tracks will be called something like &quot;Sum 1&quot; or &quot;Sum 2&quot;.&#xD;&#xA;&#xD;&#xA;Now these things work as expected:&#xD;&#xA;&#xD;&#xA; 1. If I click on my first track and press keys on my MIDI keyboard, the choir sings &quot;Ah&quot;, as expected.&#xD;&#xA; 1. If I click on my second track and press keys on my MIDI keyboard, the choir sings &quot;Uu&quot;, as expected.&#xD;&#xA;&#xD;&#xA;But here's what confuses me to death: Now I click the top-level track that's supposed to sum my two choir tracks (called &quot;Sum 1&quot; or &quot;Sum 2&quot; or whatever). My expectation is that I'll hear both &quot;Ahs&quot; and &quot;Uhs&quot; together, and that I can use the sub-volume controls to adjust the ratio between the two. But instead, I *only* hear &quot;ahs&quot;. In fact, even if I mute the &quot;ah&quot; subtrack, such that all the input to the &quot;Sum&quot; track is coming from the &quot;Uu&quot; track, then *still* all I hear is &quot;ahs&quot;.&#xD;&#xA;&#xD;&#xA;My theory is that this has something to do with smart controls, because so far other uses of track stacks, when I don't use smart controls, are making sense to me.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41135" PostHistoryTypeId="1" PostId="24117" RevisionGUID="7c307fea-8fee-4dc8-b207-6afc234d379f" CreationDate="2013-11-10T04:02:38.643" UserDisplayName="Chris" Text="Do Logic Pro X Track Stacks play poorly with Smart Controls?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41136" PostHistoryTypeId="3" PostId="24117" RevisionGUID="7c307fea-8fee-4dc8-b207-6afc234d379f" CreationDate="2013-11-10T04:02:38.643" UserDisplayName="Chris" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41137" PostHistoryTypeId="36" PostId="24119" RevisionGUID="df3cfeaa-d621-4dac-8b35-8f47655cdba6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1091/midi-cc-button-settings-on-a-behringer-bcr2000" />
  <row Id="41138" PostHistoryTypeId="36" PostId="24120" RevisionGUID="1cb2ca01-fff7-4180-9924-53907f089426" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1091/midi-cc-button-settings-on-a-behringer-bcr2000/1093#1093" />
  <row Id="41139" PostHistoryTypeId="2" PostId="24120" RevisionGUID="6798e322-b6d4-453a-991a-89b9b5d6a106" CreationDate="2011-03-25T21:37:15.123" UserDisplayName="RyanScottLewis" Text="I uploaded the default settings via SysEx then did what I did in the edit again and it works." ContentLicense="CC BY-SA 2.5" />
  <row Id="41140" PostHistoryTypeId="2" PostId="24119" RevisionGUID="b7b91973-2d1d-4a94-9f97-ecbd167c6055" CreationDate="2011-03-25T06:47:54.770" UserDisplayName="RyanScottLewis" Text="I have a Behringer BCR2000 which has customizable midi cc buttons along the top just like the BCF2000. I was wondering if I could press button 1 and set midi cc #90 (or whatever number) to 0, then press button 2 and set midi #90 to 25. Pressing button 3 would set #90 to 75 and so on. Is this possible? Thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;edit;&#xD;&#xA;&#xD;&#xA;I've assigned two buttons to the same CC number (97, in this case.)&#xD;&#xA;Set the `on` value for the first button to 0.&#xD;&#xA;Set the `on` value for the second button to 25.&#xD;&#xA;Set the `off` value for both buttons to &quot;off&quot; (disabled)&#xD;&#xA;&#xD;&#xA;Now, when I link a knob to the CC number of the buttons, only the first one set does anything and it just decrements the current value of the knob by 10. Very strange." ContentLicense="CC BY-SA 2.5" />
  <row Id="41141" PostHistoryTypeId="1" PostId="24119" RevisionGUID="b7b91973-2d1d-4a94-9f97-ecbd167c6055" CreationDate="2011-03-25T06:47:54.770" UserDisplayName="RyanScottLewis" Text="MIDI CC Button Settings on a Behringer BCR2000" ContentLicense="CC BY-SA 2.5" />
  <row Id="41142" PostHistoryTypeId="3" PostId="24119" RevisionGUID="b7b91973-2d1d-4a94-9f97-ecbd167c6055" CreationDate="2011-03-25T06:47:54.770" UserDisplayName="RyanScottLewis" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41143" PostHistoryTypeId="36" PostId="24121" RevisionGUID="53b77328-6ab5-4eed-bfa6-79c20a0676f8" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6914/beatboxing-to-midi-in-realtime" />
  <row Id="41144" PostHistoryTypeId="36" PostId="24122" RevisionGUID="2bd67eeb-d7ad-4204-b687-628bb597a020" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6914/beatboxing-to-midi-in-realtime/7137#7137" />
  <row Id="41145" PostHistoryTypeId="2" PostId="24122" RevisionGUID="b0d912cf-5fa6-4d66-9e6a-f694b5f6721e" CreationDate="2013-02-13T12:47:19.943" UserId="21343" UserDisplayName="AlexanderBrevig" Text="This may not be an answer per se, but as a software developer and musician I'd like to shed some light on why I think you would not be satisfied with any software claiming to do this.&#xD;&#xA;&#xD;&#xA;WHY IT PROBABLY IS NOT GOING TO WORK AS GOOD AS YOU NEED IT TO:&#xD;&#xA;&#xD;&#xA;    In order for the software to decide what midi note to play,&#xD;&#xA;    it will need to analyze enough data in order to make a good choice. &#xD;&#xA;    This will introduce a severe latency.&#xD;&#xA;&#xD;&#xA;A POSSIBLE SOLUTION:&#xD;&#xA;&#xD;&#xA;I think, the best solution for anything like this would be to prerecord what *you* think a HH sounds like, a bass drum, a ride, crash and snare. If you could keep the drum count low, and assure that each sound is significantly different from all the others then it could probably be done with less than 10ms latency. &#xD;&#xA;You'll need fewer samples differentiating between a bass drum and a high hat, than the tim, and the tam.&#xD;&#xA;&#xD;&#xA;If the software required you to enter some samples of yourself beat-boxing each drum sound; the problem domain would no longer be that of matching your sound to a best guess over a mathematical and statistical representation of a 'snare drum sound', but rather a much simpler approximation, trying to find a close match between your sound and a prerecording of *you* for that same sound.&#xD;&#xA;There is also the problem of sample hold. A good heuristic for this might be to simply wait to send the MIDI OFF message until there is silence on the mic. That way, you could hold a bass drum for as long as you had breath.&#xD;&#xA;&#xD;&#xA;    There might be some programs out there that can analyze an audio stream &#xD;&#xA;    for certain sounds that you enter yourself, and trigger a reaction to those.&#xD;&#xA;    If that reaction could be to send a MIDI message you've got a solution.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Actually, as I wrote this answer it seems like an interesting and challenging project. Let me know if you still have not found anything in a few days time, will you? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41146" PostHistoryTypeId="2" PostId="24121" RevisionGUID="7451ffa7-7349-45e0-8a28-c31f07568e5b" CreationDate="2013-01-23T10:02:13.493" UserId="7840" UserDisplayName="themirror" Text="I'm interested in having a live performance setup wherein I essentially beatbox into a microphone and have my beats sounded by a MIDI drum rack.&#xD;&#xA;&#xD;&#xA;So I'm looking for software (whether a feature of a DAW or whether a standalone VST/etc module) that will in REALTIME trigger MIDI drum voices (i.e. generate MIDI Notes) in response to the input from the microphone.&#xD;&#xA;&#xD;&#xA;Ableton Live version 9 contains this functionality (including smart sensing of different percussive sounds i.e. snare versus kick versus crash) but not in realtime." ContentLicense="CC BY-SA 3.0" />
  <row Id="41147" PostHistoryTypeId="1" PostId="24121" RevisionGUID="7451ffa7-7349-45e0-8a28-c31f07568e5b" CreationDate="2013-01-23T10:02:13.493" UserId="7840" UserDisplayName="themirror" Text="Beatboxing to MIDI in realtime" ContentLicense="CC BY-SA 3.0" />
  <row Id="41148" PostHistoryTypeId="3" PostId="24121" RevisionGUID="7451ffa7-7349-45e0-8a28-c31f07568e5b" CreationDate="2013-01-23T10:02:13.493" UserId="7840" UserDisplayName="themirror" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41149" PostHistoryTypeId="36" PostId="24123" RevisionGUID="b8dbc9ef-9cbb-4cfa-b6e5-30f21629809e" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4/what-the-difference-between-the-types-of-dithering-algorithms-in-logic-pro" />
  <row Id="41150" PostHistoryTypeId="2" PostId="24124" RevisionGUID="fcc92a69-87ae-4983-ac51-4f4dbfd0800b" CreationDate="2010-12-07T20:39:19.757" UserId="7592" UserDisplayName="Pelle ten Cate" Text="Two of the three options use noise shaping, which is basic filtering of the additional dithering noise.&#xD;&#xA;&#xD;&#xA;If you understand the effect of dithering, you will probably be familiar with its big drawback: the introduction of noise. While the noise should be randomly generated to get the best dithering results, the most significant reason we dither is actually to prevent rounding errors when lowering our resolution, e.g. by getting back from 24 bits (or even 32 bits) to e.g. 16 bits for CD production.&#xD;&#xA;&#xD;&#xA;Noise can be more irritating on certain frequency bands. (6 kHz is the most famous frequency band for irritating noise, as far as I know.) Noise shaping is used to get rid of this, by actually not adding white noise to the signal, but slightly filtered noise, so that the total amount of energy still masks the rounding errors, while the dithering signal is more pleasant to listen to.&#xD;&#xA;&#xD;&#xA;Especially if you are going to downsample from 96KHz (or 88,2KHz) to 44,1KHz, it is useful to get the noise into the high frequency bands, since most of them will be filtered away during the downsampling." ContentLicense="CC BY-SA 2.5" />
  <row Id="41151" PostHistoryTypeId="2" PostId="24123" RevisionGUID="4bfc06c8-63d7-4558-a76c-08879e8583a4" CreationDate="2010-12-07T20:24:45.147" UserDisplayName="Clint Miller" Text="I understand what the dithering process does, but I'm not clear what the difference is between the different types available when you are bouncing a project for export." ContentLicense="CC BY-SA 2.5" />
  <row Id="41152" PostHistoryTypeId="1" PostId="24123" RevisionGUID="4bfc06c8-63d7-4558-a76c-08879e8583a4" CreationDate="2010-12-07T20:24:45.147" UserDisplayName="Clint Miller" Text="What the difference between the types of dithering algorithms in Logic Pro?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41153" PostHistoryTypeId="3" PostId="24123" RevisionGUID="4bfc06c8-63d7-4558-a76c-08879e8583a4" CreationDate="2010-12-07T20:24:45.147" UserDisplayName="Clint Miller" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41154" PostHistoryTypeId="36" PostId="24124" RevisionGUID="b077bde7-ed92-4863-991c-1b99afdce4e5" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4/what-the-difference-between-the-types-of-dithering-algorithms-in-logic-pro/16#16" />
  <row Id="41155" PostHistoryTypeId="36" PostId="24125" RevisionGUID="2566f59f-a576-4dd7-a326-b4ade1624e8d" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4/what-the-difference-between-the-types-of-dithering-algorithms-in-logic-pro/3528#3528" />
  <row Id="41156" PostHistoryTypeId="2" PostId="24125" RevisionGUID="6c0962ca-aaf1-4f4f-bf61-6ba4580e0fd5" CreationDate="2012-03-12T01:38:07.700" UserDisplayName="Sean Michael Dorian" Text="I pulled up the Logic manual to take a look at what they said about this. Below is an exact copy from the book:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&gt; Bouncing and Dithering&#xD;&#xA;&gt;&#xD;&#xA;&gt;Logic Pro provides you with the professional POWr (Psychoacoustically Optimized Wordlength Reduction) and UV22HR dither algorithms, designed to convert 24-bit recordings to 16-bit files (as required for CD burning, for example).&#xD;&#xA;&#xD;&#xA;&gt;POWr dithering can be applied when:&#xD;&#xA;&#xD;&#xA;    Bouncing audio files to disk&#xD;&#xA;&#xD;&#xA;    Exporting OMF files (See Exporting OMF Files.)&#xD;&#xA;&#xD;&#xA;    Exporting AAF files (See Working with AAF Files.)&#xD;&#xA;&#xD;&#xA;&gt;You can choose between the following dithering modes:&#xD;&#xA;&#xD;&#xA;    None: No dithering is applied.&#xD;&#xA;    POWr #1 (Dithering): A special dithering curve is used to minimize quantization noise.&#xD;&#xA;    POWr #2 (Noise Shaping): Additional noise shaping is used over a wide frequency range, which can extend the dynamic range of the bounce file by 5–10 dB.&#xD;&#xA;    POWr #3 (Noise Shaping): Additional, optimized noise shaping is used, which can extend the dynamic range by 20 dB within the 2–4 kHz range—the range the human ear is most sensitive to.&#xD;&#xA;&#xD;&#xA;    Note: Noise Shaping minimizes the side effects caused by bit reduction. It does this by moving the quantization noise spectrum to the frequency range above 10 kHz—the range the human ear is least sensitive to. Technically, this process is known as spectral displacement.&#xD;&#xA;    UV22HR: Allows for the best possible sound resolution when bouncing 24-bit recordings into 16-bit files.&#xD;&#xA;&#xD;&#xA;&gt;The dithering mode that sounds best to you is primarily dependent on the audio material, and your personal taste. Audition the audio material with each of the dithering modes to determine the right setting. In some cases, you may find that the best results are achieved by using no dithering at all.&#xD;&#xA;&gt;&#xD;&#xA;&gt;**Important: Dithering the same audio signal multiple times should be avoided.**" ContentLicense="CC BY-SA 3.0" />
  <row Id="41157" PostHistoryTypeId="36" PostId="24126" RevisionGUID="2e5b8bbb-661c-4de7-bd61-53655d7c5a17" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2417/can-i-map-coarse-and-fine-tempo-control-to-a-single-midi-controller-in-ableton-l" />
  <row Id="41158" PostHistoryTypeId="2" PostId="24127" RevisionGUID="34ff3bb8-5050-4133-8758-163f2fce2b00" CreationDate="2011-10-01T04:08:34.400" UserId="7294" UserDisplayName="Warrior Bob" Text="I ended up discovering the answer by accident. If you map only the left-hand portion of the tempo (the coarse control), the fine control sweeps to match.&#xD;&#xA;&#xD;&#xA;I have mapped the left-hand side to a knob and can confirm that I can have finer-than-integer tempo resolution, which is the intended behavior." ContentLicense="CC BY-SA 3.0" />
  <row Id="41159" PostHistoryTypeId="2" PostId="24126" RevisionGUID="49808fec-c1ba-4dc7-81a0-f50b6ee46da4" CreationDate="2011-09-30T20:45:53.360" UserId="7294" UserDisplayName="Warrior Bob" Text="One of the nice features of Ableton Live is its quick MIDI mappings. I can enter MIDI map mode and quickly assign an interface element to a knob or slider on a MIDI controller.&#xD;&#xA;&#xD;&#xA;I am trying to map Live's global tempo control to a MIDI knob. When I enter MIDI map mode, the tempo control looks like this:&#xD;&#xA;&#xD;&#xA;![Screen-crop of Live's tempo section in MIDI map mode][1]&#xD;&#xA;&#xD;&#xA;The left and right sides of the tempo are &quot;coarse&quot; and &quot;fine&quot; control, respectively, and are mapped separately. I can clearly assign a knob to each one, but I would like to use one knob to control them both. Ideally, I could sweep between several coarse positions, and the fine control would update to catch the positions in between.&#xD;&#xA;&#xD;&#xA;I feel like I've missed something. Is this arrangement possible? It would be conceptually simpler to have one &quot;tempo&quot; knob to deal with, instead of having to manage two of them.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/mVlg5.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="41160" PostHistoryTypeId="1" PostId="24126" RevisionGUID="49808fec-c1ba-4dc7-81a0-f50b6ee46da4" CreationDate="2011-09-30T20:45:53.360" UserId="7294" UserDisplayName="Warrior Bob" Text="Can I map coarse and fine tempo control to a single MIDI controller in Ableton Live?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41161" PostHistoryTypeId="3" PostId="24126" RevisionGUID="49808fec-c1ba-4dc7-81a0-f50b6ee46da4" CreationDate="2011-09-30T20:45:53.360" UserId="7294" UserDisplayName="Warrior Bob" Text="&lt;midi&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41162" PostHistoryTypeId="36" PostId="24127" RevisionGUID="4e85dba0-c8b7-4e99-944a-83aaed9c59a9" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2417/can-i-map-coarse-and-fine-tempo-control-to-a-single-midi-controller-in-ableton-l/2418#2418" />
  <row Id="41163" PostHistoryTypeId="36" PostId="24128" RevisionGUID="4c362f7f-fa51-4ae0-9b6e-7320a42f30f7" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4081/selecting-a-master-mode-program-on-a-yamaha-motifxs-sysex-command-from-an-ipad" />
  <row Id="41164" PostHistoryTypeId="36" PostId="24129" RevisionGUID="ea00a142-44ab-4ede-ace4-74b84f300639" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4081/selecting-a-master-mode-program-on-a-yamaha-motifxs-sysex-command-from-an-ipad/5351#5351" />
  <row Id="41165" PostHistoryTypeId="2" PostId="24129" RevisionGUID="473978a7-48d0-411e-b904-596b3f24cd03" CreationDate="2012-11-17T16:16:54.297" UserDisplayName="Steve" Text="You can do this - but only through system exclusive messages, I have made it work using the iPad app Midi Designer, and the Line 6 Midi Mobilizer.&#xD;&#xA;&#xD;&#xA;The system Ex command for Master change is `f0 43 10 7f 03 0a 00 00 xx f7`&#xD;&#xA;&#xD;&#xA;`xx` is the master number from 1-128, but remember it will be master `-1` in hex, so master `A07` would be `06`, Master `C16` would be `2E` (not `2F`)&#xD;&#xA;&#xD;&#xA;Hope this helps - note if you use MIDI Designer to leave off the `f0` at the start and the `f7` at the end of the string above" ContentLicense="CC BY-SA 3.0" />
  <row Id="41166" PostHistoryTypeId="2" PostId="24128" RevisionGUID="b83de11b-c5ed-48cf-b677-81a7c887e91f" CreationDate="2012-05-29T00:39:19.067" UserDisplayName="Gary" Text="Anyone know of an iPad app that can send SysEx commands? The end result I'm looking for is this: I'd like to create a set list page where it would have the list of songs, and each song name is actually a button. Once pressed it would send the necessary SysEx command to choose a Master Mode Program in my Yamaha Motif synthesizer, - in this 'Master Mode', the Motif does not respond to normal Program Change messeges and requires SysEx commands." ContentLicense="CC BY-SA 3.0" />
  <row Id="41167" PostHistoryTypeId="1" PostId="24128" RevisionGUID="b83de11b-c5ed-48cf-b677-81a7c887e91f" CreationDate="2012-05-29T00:39:19.067" UserDisplayName="Gary" Text="Selecting a Master Mode program on a Yamaha MotifXS (SysEx command) from an iPad app" ContentLicense="CC BY-SA 3.0" />
  <row Id="41168" PostHistoryTypeId="3" PostId="24128" RevisionGUID="b83de11b-c5ed-48cf-b677-81a7c887e91f" CreationDate="2012-05-29T00:39:19.067" UserDisplayName="Gary" Text="&lt;midi&gt;&lt;ipad&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41169" PostHistoryTypeId="36" PostId="24130" RevisionGUID="29177a1a-470b-41d1-a447-8ccbfe8e25ec" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2201/should-my-headphones-literally-be-vibrating-from-bass" />
  <row Id="41170" PostHistoryTypeId="36" PostId="24131" RevisionGUID="461b62f1-738a-42a5-880f-b188b86694c7" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2201/should-my-headphones-literally-be-vibrating-from-bass/2203#2203" />
  <row Id="41171" PostHistoryTypeId="2" PostId="24131" RevisionGUID="19f7ff32-a05c-4ac8-852d-cbb95f38ae9b" CreationDate="2011-08-24T17:35:00.800" UserId="7093" Text="In general, you should be very careful how loud you listen to music, both through headphones and through speakers, so you do not damage your hearing.  You should be listening at the lowest level that still allows you to hear what you need to.  Listening at higher volumes for short periods will allow you to better hear the nuances of the music, but should be kept to an absolute minimum.&#xD;&#xA;&#xD;&#xA;If the headphones are vibrating with the bass, they are probably really good at reproducing the lower frequencies.  If you are not hearing any distortion, you are probably not damaging the headphones, but it is still possible that the excess vibrations will cause damage over time.&#xD;&#xA;&#xD;&#xA;In general, when in doubt, turn it down a bit." ContentLicense="CC BY-SA 3.0" />
  <row Id="41172" PostHistoryTypeId="2" PostId="24130" RevisionGUID="7b69f8a4-ad32-43e0-a8d9-7d6558815cc2" CreationDate="2011-08-24T13:53:50.940" UserDisplayName="James Litewski" Text="I'm doing some work in Logic, and right now I'm messing around with some bass. I've gotten to a point where my headphones actually vibrate somewhat, like a tiny massage on the sides of my head.. Is that harmful toward me or the headphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41173" PostHistoryTypeId="1" PostId="24130" RevisionGUID="7b69f8a4-ad32-43e0-a8d9-7d6558815cc2" CreationDate="2011-08-24T13:53:50.940" UserDisplayName="James Litewski" Text="Should my headphones literally be vibrating from bass?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41174" PostHistoryTypeId="3" PostId="24130" RevisionGUID="7b69f8a4-ad32-43e0-a8d9-7d6558815cc2" CreationDate="2011-08-24T13:53:50.940" UserDisplayName="James Litewski" Text="&lt;logic-pro&gt;&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41185" PostHistoryTypeId="36" PostId="24136" RevisionGUID="b9f12bff-7eb8-4b32-9605-ef679267f8a6" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1411/is-it-possible-to-move-multitrack-files-between-sequencers" />
  <row Id="41186" PostHistoryTypeId="2" PostId="24137" RevisionGUID="b8e1b5fc-e637-4113-8cd5-a254de9b35ce" CreationDate="2011-05-16T06:40:42.040" UserId="7471" UserDisplayName="Mark Heath" Text="What you are looking for is a feature often called &quot;render stems&quot;. For each track it contains a single WAV file rendered from the start of that track. Yes this is very wasteful of disk space, but you can at least easily import the files into any other DAW and they will line up correctly. It is up to you whether you need to export with effects on or not.&#xD;&#xA;&#xD;&#xA;Here's how to [export multiple stems in Logic][1]. If a DAW doesn't have a special export stems feature, you can do it manually by soloing each track one at a time and saving to WAV.&#xD;&#xA;&#xD;&#xA;Having done this, many DAWs will then let you split the silence off the front of the stems and free up the wasted disk space.&#xD;&#xA;&#xD;&#xA;  [1]: http://support.apple.com/kb/HT3650" ContentLicense="CC BY-SA 3.0" />
  <row Id="41187" PostHistoryTypeId="2" PostId="24136" RevisionGUID="e5681a66-0606-4eb1-a239-565db93d0774" CreationDate="2011-05-16T03:34:13.820" UserId="7045" Text="Is it possible to take a file tracked in, say, Logic or Garageband, and move it to Reaper or Audacity? This would be useful when a client wants to review the multitrack files before mixing, but doesn't have a Mac and can't run the programs I use. &#xD;&#xA;&#xD;&#xA;Of course, I could track in Reaper or Audacity, but that would involve a learning curve. &#xD;&#xA;&#xD;&#xA;I'm not looking for a solution that would move over mixing settings, just place the raw audio into a file in the same position it's in. Moving WAV files over one by one is error-prone and can cause problems with syncing. &#xD;&#xA;&#xD;&#xA;Barring a software solution, might there be a way to use timecode to sync individual audio files? " ContentLicense="CC BY-SA 3.0" />
  <row Id="41188" PostHistoryTypeId="1" PostId="24136" RevisionGUID="e5681a66-0606-4eb1-a239-565db93d0774" CreationDate="2011-05-16T03:34:13.820" UserId="7045" Text="Is it possible to move multitrack files between sequencers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41189" PostHistoryTypeId="3" PostId="24136" RevisionGUID="e5681a66-0606-4eb1-a239-565db93d0774" CreationDate="2011-05-16T03:34:13.820" UserId="7045" Text="&lt;logic-pro&gt;&lt;reaper&gt;&lt;timecode&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41190" PostHistoryTypeId="36" PostId="24137" RevisionGUID="242b9c3d-8548-415b-8209-22e7c5f82c92" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1411/is-it-possible-to-move-multitrack-files-between-sequencers/1412#1412" />
  <row Id="41191" PostHistoryTypeId="36" PostId="24138" RevisionGUID="1ec3bae5-a50f-40f6-a327-4985f1e0bafe" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9534/how-to-merge-midi-tracks" />
  <row Id="41192" PostHistoryTypeId="36" PostId="24139" RevisionGUID="655ae567-79e2-4877-98f1-31f141a562a1" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9534/how-to-merge-midi-tracks/9621#9621" />
  <row Id="41193" PostHistoryTypeId="2" PostId="24139" RevisionGUID="ed44032b-c3f3-4618-a5f2-8e4539d0e9f5" CreationDate="2013-12-10T19:04:42.377" UserDisplayName="ZeroFlux" Text="There should be a few different ways to collapse and merge those MIDI files quickly. I use &lt;a href=&quot;http://www.reaper.fm/&quot;&gt;REAPER&lt;/a&gt; as my primary DAW, so I'm going to reference possible solutions in that package. Reaper does have a fully functional, open-ended trial version, so no worries there. There are two main strategies I see though in any package:&#xD;&#xA;&#xD;&#xA;1. Implode all MIDI tracks and then glue together&#xD;&#xA;2. Record MIDI output of all tracks into one new MIDI master track&#xD;&#xA;&#xD;&#xA;You can find an excellent resource detailing how to do this exactly in REAPER over at their &lt;a href=&quot;http://forum.cockos.com/showthread.php?t=26054&quot;&gt;official forum&lt;/a&gt;. But it's essentially just a few right-clicks away." ContentLicense="CC BY-SA 3.0" />
  <row Id="41194" PostHistoryTypeId="2" PostId="24140" RevisionGUID="9062a7d3-538e-4339-bf83-7b2dfd14167c" CreationDate="2014-01-12T01:48:09.817" UserId="7115" Text="&#xD;&#xA;I'm an author. I have *4 published books* which I used MIDI *for all the processes.* I recommend you to use **Sibelius or Finale** for any kind of MIDI notation issues. They are *very friendly working* with MIDI instruments as well.&#xD;&#xA;&#xD;&#xA;[Sibelius](http://www.sibelius.com/home/index_flash.html),&#xD;&#xA;[Finale](http://www.finalemusic.com)&#xD;&#xA;&#xD;&#xA;Hope it helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="41195" PostHistoryTypeId="2" PostId="24138" RevisionGUID="2eea5759-1312-4b18-b4f5-4b6ce173d4d1" CreationDate="2013-11-30T10:44:05.780" UserId="7180" Text="I'm currently (well was) recording in a studio and we use MIDI for certain instrumentation. &#xD;&#xA;&#xD;&#xA;When I received the midi track from the producer he had managed to separate every MIDI track into single notes: there was a single midi track for each note line for each instrument.&#xD;&#xA;&#xD;&#xA;I'm wondering if there is an easy way to simply merge the midi tracks into one.&#xD;&#xA;I'm trying to refrain from having to move each note track into the others. &#xD;&#xA;&#xD;&#xA;I'm currently using the following programs: Guitar pro, Reason, FL Studio.&#xD;&#xA;&#xD;&#xA;If someone could provide me with some insight I would greatly appreciate it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="41196" PostHistoryTypeId="1" PostId="24138" RevisionGUID="2eea5759-1312-4b18-b4f5-4b6ce173d4d1" CreationDate="2013-11-30T10:44:05.780" UserId="7180" Text="How to merge MIDI tracks" ContentLicense="CC BY-SA 3.0" />
  <row Id="41197" PostHistoryTypeId="3" PostId="24138" RevisionGUID="2eea5759-1312-4b18-b4f5-4b6ce173d4d1" CreationDate="2013-11-30T10:44:05.780" UserId="7180" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41198" PostHistoryTypeId="36" PostId="24140" RevisionGUID="b8e95770-8a3a-4718-b89e-2af0fbb576a6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9534/how-to-merge-midi-tracks/9894#9894" />
  <row Id="41199" PostHistoryTypeId="36" PostId="24141" RevisionGUID="5e625e6b-80a2-4f2e-9b4f-63aae6cf7b24" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9534/how-to-merge-midi-tracks/9938#9938" />
  <row Id="41200" PostHistoryTypeId="2" PostId="24141" RevisionGUID="438cdea4-eb20-43d2-b349-a2e19e603e3b" CreationDate="2014-01-16T12:57:47.347" UserDisplayName="Fred Rick Akpotosu-Nartey" Text="if you r in a studio then you should be able to pull two midis in a programm like reason  / ableton propeller. Pull it Together and it should be joined + you choose what instruments are supposed to be used instead of the Midi Original." ContentLicense="CC BY-SA 3.0" />
  <row Id="41201" PostHistoryTypeId="36" PostId="24142" RevisionGUID="16888609-1931-4b2f-bf48-e8feb5636b78" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5183/in-logic-can-i-change-the-settings-of-plugins-on-a-group-of-channels-at-the-sam" />
  <row Id="41202" PostHistoryTypeId="36" PostId="24143" RevisionGUID="681d0d85-028c-4662-99ea-910c7c5628de" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5183/in-logic-can-i-change-the-settings-of-plugins-on-a-group-of-channels-at-the-sam/5185#5185" />
  <row Id="41203" PostHistoryTypeId="36" PostId="24144" RevisionGUID="c308d90d-18b2-4fcb-a27b-651e0cc411fb" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5183/in-logic-can-i-change-the-settings-of-plugins-on-a-group-of-channels-at-the-sam/7253#7253" />
  <row Id="41204" PostHistoryTypeId="2" PostId="24143" RevisionGUID="a205f2f2-7a58-4c88-9a4d-333cafa3d314" CreationDate="2012-10-28T16:42:53.577" UserId="19024" UserDisplayName="Iain Dawson" Text="I came up with a bad, inextensible and mix-compromising solution: make a Surround bus and use multi-mono effects. This makes panning awkward/[impossible](http://help.apple.com/logicpro/mac/9.1.6/en/logicpro/usermanual/index.html#chapter=39%26section=10), puts all effects post-fader (unless you're willing to put up with using the multi-channel gain plugin as a mixer) and you're limited to five channels at a time, so I'm not sure I'd consider it an improvement.&#xD;&#xA;&#xD;&#xA;![Five channels routed to a 7-channel surround aux with multi-mono effects][1]&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/PtI7L.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="41205" PostHistoryTypeId="2" PostId="24144" RevisionGUID="200d8fd1-65eb-4b96-a013-9af9c952ffb2" CreationDate="2013-02-26T12:27:26.177" UserId="13269" UserDisplayName="Philip Graham" Text="If you have a hardware midi controller with dials or faders you could assign the midi CC of one of them to the parameters you wish to change on each instance and set all tracks to armed. This would change them all instead of just one in the same way that you can play multiple instruments at once." ContentLicense="CC BY-SA 3.0" />
  <row Id="41206" PostHistoryTypeId="2" PostId="24142" RevisionGUID="9eb034e8-f6ea-4f96-bca8-c9320d221383" CreationDate="2012-10-28T15:03:22.497" UserId="19024" UserDisplayName="Iain Dawson" Text="My vocal recording workflow often involves having five or more channels with harmonies of the same part. They have to be pitch corrected and compressed independently and, since I greatly prefer to compress post-EQ, they must all be EQ'd independently too. This leads to a situation where I have five (or often more) identical channel strips with redundant effect definitions (but not redundant DSP) on each one.&#xD;&#xA;&#xD;&#xA;This means that to audition an effect change, I must change one and then duplicate it across all other vocal channels, which often leads to a reluctant approach to refining the effects on what tend to be the most important parts of a track.&#xD;&#xA;&#xD;&#xA;What I would like is a way to effectively alias effects such that I can change one defining effect parameter and have it propagate to all the other channels automatically. Is this possible? If so, how?&#xD;&#xA;&#xD;&#xA;![Redundant effect definitions in five vocal channel strips][1]&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/bcnbn.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="41207" PostHistoryTypeId="1" PostId="24142" RevisionGUID="9eb034e8-f6ea-4f96-bca8-c9320d221383" CreationDate="2012-10-28T15:03:22.497" UserId="19024" UserDisplayName="Iain Dawson" Text="In Logic, can I change the settings of plugins on a group of channels at the same time?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41208" PostHistoryTypeId="3" PostId="24142" RevisionGUID="9eb034e8-f6ea-4f96-bca8-c9320d221383" CreationDate="2012-10-28T15:03:22.497" UserId="19024" UserDisplayName="Iain Dawson" Text="&lt;logic-pro&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41209" PostHistoryTypeId="36" PostId="24145" RevisionGUID="01d1d4a3-c93f-4028-9157-bfd9dc8f7f5e" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5687/how-to-change-the-current-playing-tone-via-midi" />
  <row Id="41210" PostHistoryTypeId="36" PostId="24146" RevisionGUID="d4a0df95-8516-4cf2-895f-2e30f833b23c" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5687/how-to-change-the-current-playing-tone-via-midi/5688#5688" />
  <row Id="41211" PostHistoryTypeId="2" PostId="24146" RevisionGUID="d8bc5ee7-59c0-46f8-9c11-66c793510088" CreationDate="2012-12-28T18:09:33.967" UserId="7189" Text="You don't need Sysex, you just need to send the Program Change message.&#xD;&#xA;&#xD;&#xA;According to the [MIDI spec](http://www.midi.org/techspecs/midimessages.php), that is:&#xD;&#xA;&#xD;&#xA;    Status: 1100nnnn&#xD;&#xA;    Data: 0ppppppp&#xD;&#xA;&#xD;&#xA;Where `nnnn` is the four bit MIDI channel number, and `ppppppp` is the seven bit program number.&#xD;&#xA;&#xD;&#xA;If your module supports more than 127 patches, you may need to use a [bank select message](http://home.roadrunner.com/~jgglatt/tutr/bank.htm) to access them." ContentLicense="CC BY-SA 3.0" />
  <row Id="41212" PostHistoryTypeId="2" PostId="24145" RevisionGUID="75e58a2e-e3fc-4aa6-8bce-6da2fedbbf3f" CreationDate="2012-12-28T14:06:25.290" UserDisplayName="Hemme" Text="I'd like to be able to change the active tone of my digital piano while I'm playing it, using the MIDI interface.&#xD;&#xA;&#xD;&#xA;I tried sending SysEx strings similar to the following but the piano kind of ignores them:&#xD;&#xA;&#xD;&#xA;F0 41 10 42 12 40 1x 00 00 03 yy F7&#xD;&#xA;&#xD;&#xA;My piano is compliant to GM2, GS and XG lite standards.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41213" PostHistoryTypeId="1" PostId="24145" RevisionGUID="75e58a2e-e3fc-4aa6-8bce-6da2fedbbf3f" CreationDate="2012-12-28T14:06:25.290" UserDisplayName="Hemme" Text="How to change the current playing tone via MIDI" ContentLicense="CC BY-SA 3.0" />
  <row Id="41214" PostHistoryTypeId="3" PostId="24145" RevisionGUID="75e58a2e-e3fc-4aa6-8bce-6da2fedbbf3f" CreationDate="2012-12-28T14:06:25.290" UserDisplayName="Hemme" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41215" PostHistoryTypeId="36" PostId="24147" RevisionGUID="7313ae3f-a287-48c6-8cf9-5e0fea219daf" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1180/are-there-any-keyboard-shortcuts-for-efficient-midi-piano-roll-editing-in-adob" />
  <row Id="41216" PostHistoryTypeId="36" PostId="24148" RevisionGUID="27b7cace-726a-460f-a511-fe7211623989" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1180/are-there-any-keyboard-shortcuts-for-efficient-midi-piano-roll-editing-in-adob/1290#1290" />
  <row Id="41217" PostHistoryTypeId="2" PostId="24148" RevisionGUID="cdf3d630-57c0-48ad-b5c4-6b0f3f7f0b7a" CreationDate="2011-04-26T20:04:02.937" UserId="17571" UserDisplayName="Zeronyne" Text="&#xD;&#xA;&#xD;&#xA;From the Audition Help pages:&#xD;&#xA;&#xD;&#xA;Choose Edit &gt; Keyboard Shortcuts And MIDI Triggers.&#xD;&#xA;&#xD;&#xA;Filter the list of commands as needed:&#xD;&#xA;Select (Show All) or a specific group from the Category menu.&#xD;&#xA;Click the Multitrack, Edit View, and CD View buttons to access commands for each application view.&#xD;&#xA;&#xD;&#xA;In the Command Name column, select the command you want to customize.&#xD;&#xA;&#xD;&#xA;To assign a keyboard shortcut, click inside the Press New Shortcut Key box, and press the desired key combination.&#xD;&#xA;&#xD;&#xA;To remove a keyboard shortcut, click the appropriate Clear button.&#xD;&#xA;&#xD;&#xA;Note: If you enter a key combination that’s already in use, Adobe Audition notifies you in the Conflicting Keys box. Click Clear, and enter a different shortcut before continuing.&#xD;&#xA;(Optional) To save a customized shortcut set, click Save As, type a unique name, and click Save.&#xD;&#xA;&#xD;&#xA;When you finish making changes, click OK." ContentLicense="CC BY-SA 3.0" />
  <row Id="41218" PostHistoryTypeId="2" PostId="24147" RevisionGUID="1e35133a-542d-4ab0-bf51-c59e7d7fc3c8" CreationDate="2011-04-15T18:20:19.733" UserId="23005" UserDisplayName="Cyril" Text="I'm aware Audition CS 5.5 is on its way, but this question is about version 3.&#xD;&#xA;&#xD;&#xA;It seems such a hassle to switch between the &quot;select&quot; and &quot;draw&quot; tools in the Audition 3 sequencer. There's no hybrid tool (apparently), and if I'm editing a part of a piano roll and just want to move the cursor, I have to get my mouse all the way over to the toolbar and then back. And then again. It really slows me down and drives me nuts.&#xD;&#xA;&#xD;&#xA;I couldn't find a way to assign any keyboard shortcuts to these tools. Is there a way?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41219" PostHistoryTypeId="1" PostId="24147" RevisionGUID="1e35133a-542d-4ab0-bf51-c59e7d7fc3c8" CreationDate="2011-04-15T18:20:19.733" UserId="23005" UserDisplayName="Cyril" Text="Are there any keyboard shortcuts for efficient MIDI (piano roll) editing in Adobe Audition 3?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41220" PostHistoryTypeId="3" PostId="24147" RevisionGUID="1e35133a-542d-4ab0-bf51-c59e7d7fc3c8" CreationDate="2011-04-15T18:20:19.733" UserId="23005" UserDisplayName="Cyril" Text="&lt;midi&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41221" PostHistoryTypeId="36" PostId="24149" RevisionGUID="67fa15f8-c658-46d7-bb63-931f8750b69c" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4864/patch-change-with-mainstage-does-not-sync-ultrabeat-patterns" />
  <row Id="41222" PostHistoryTypeId="36" PostId="24150" RevisionGUID="96c55560-a886-4cd1-8152-20bc9d104809" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4864/patch-change-with-mainstage-does-not-sync-ultrabeat-patterns/8221#8221" />
  <row Id="41223" PostHistoryTypeId="2" PostId="24150" RevisionGUID="cab59ba3-3a0d-4408-856c-db7d5ac12a40" CreationDate="2013-06-26T15:37:04.507" UserId="7196" Text="I know this is an old question but I use Mainstage and had similar issues. &#xD;&#xA;&#xD;&#xA;The way I eventually overcame it was by making each section a &quot;song&quot;, rather than a &quot;patch&quot;.&#xD;&#xA;&#xD;&#xA;When I switch from one &quot;song&quot; to another (which I do with a MIDI foot switch) the Ultrabeat patterns remain synchronised, even if there is also a tempo change." ContentLicense="CC BY-SA 3.0" />
  <row Id="41224" PostHistoryTypeId="2" PostId="24149" RevisionGUID="0eedafad-91e6-4c2d-95ee-1e11b867fbe3" CreationDate="2012-09-30T09:59:50.473" UserDisplayName="John Doe Smith" Text="I'm trying to use Apples Mainstage for Live-Performances. And because I have no drummer I am using UltraBeat as a Drum-Sequencer (or drum machine).&#xD;&#xA;&#xD;&#xA;Following Situation:&#xD;&#xA;In MainStage I created a &quot;concert&quot; which consists out of &quot;songs&quot;. IN this songs I have &quot;Patches&quot; who are changing by a MIDI-command … like &quot;Intro&quot; -&gt; &quot;Verse&quot; -&gt; &quot;Chorus&quot; -&gt; and so on …&#xD;&#xA;&#xD;&#xA;At the Intro I have a Drum-Pattern in UltraBeat … and in &quot;Verse&quot; or &quot;Chorus&quot; there are different patterns (also in UltraBeat) ...&#xD;&#xA;&#xD;&#xA;WHAT I WANT is that when I change the MainStage-Patch from &quot;Intro&quot; to &quot;Verse&quot;, that the drum-pattern of the &quot;Verse&quot; isn't starting from beginning or .. IT SHOULD BE SYNCHRONISED .. so that there is a clean transition between the 2 patches.&#xD;&#xA;&#xD;&#xA;THX in advance!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="41225" PostHistoryTypeId="1" PostId="24149" RevisionGUID="0eedafad-91e6-4c2d-95ee-1e11b867fbe3" CreationDate="2012-09-30T09:59:50.473" UserDisplayName="John Doe Smith" Text="Patch Change with MainStage does not sync UltraBeat Patterns" ContentLicense="CC BY-SA 3.0" />
  <row Id="41226" PostHistoryTypeId="3" PostId="24149" RevisionGUID="0eedafad-91e6-4c2d-95ee-1e11b867fbe3" CreationDate="2012-09-30T09:59:50.473" UserDisplayName="John Doe Smith" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41227" PostHistoryTypeId="36" PostId="24151" RevisionGUID="e4bad440-5168-4ee7-b553-b427ab83f2d3" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2123/how-can-i-manually-convert-sheet-music-into-a-midi-and-define-what-track-they-a" />
  <row Id="41228" PostHistoryTypeId="36" PostId="24152" RevisionGUID="2ad456ad-e3d6-4178-a2e5-cbee996d06c7" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2123/how-can-i-manually-convert-sheet-music-into-a-midi-and-define-what-track-they-a/2130#2130" />
  <row Id="41229" PostHistoryTypeId="36" PostId="24153" RevisionGUID="edfa243b-1e6e-43da-885c-6beb3b0b9cf6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2123/how-can-i-manually-convert-sheet-music-into-a-midi-and-define-what-track-they-a/2132#2132" />
  <row Id="41230" PostHistoryTypeId="2" PostId="24152" RevisionGUID="d968dbef-2832-40f3-b394-e03b6f2c49cc" CreationDate="2011-08-16T13:03:45.287" UserId="7093" Text="You could use [Ableton Live][1] or [Reaper][2] or some other program to create the MIDI file.&#xD;&#xA;&#xD;&#xA;Once you have chosen a program attach your keyboard to your computer via MIDI.  Then, you can either record yourself playing the song live and fix the notes you miss, or you can use your keyboard as an input device to enter the notes manually.&#xD;&#xA;&#xD;&#xA;When you are done, simply export into a MIDI file.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ableton.com/live-8&#xD;&#xA;  [2]: http://www.reaper.fm/index.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="41231" PostHistoryTypeId="2" PostId="24153" RevisionGUID="0b321b51-b6bd-4447-99dd-de21a235b21d" CreationDate="2011-08-16T22:16:02.160" UserId="7209" Text="I would recommend notation software, such as Finale." ContentLicense="CC BY-SA 3.0" />
  <row Id="41232" PostHistoryTypeId="2" PostId="24151" RevisionGUID="7e3428e1-8513-4885-8134-3e4abca7b742" CreationDate="2011-08-16T00:47:14.543" UserDisplayName="makerofthings7" Text="I am learning how to play the piano, and am a bit new to the technology in audio.  I read this [great introduction into MIDI][1] but need to know how I can construct a MIDI file from sheet music.&#xD;&#xA;&#xD;&#xA;Why am I asking? I want to create a MIDI file that will take advantage of the cooler features of my PSR-e423 keyboard.  One feature is that it will &quot;grade&quot; you on tempo, and correctness of notes.  This grading system only works on notes played on Channel 1, and this channel can be easily substituted for other instruments.  I can enable/disable 5 concurrent channels.&#xD;&#xA;&#xD;&#xA;I think I've gone too far randomly downloading software (scala, etc) and have no idea if the software I found accomplishes my goal.  I'll even work with a free trial if you know of one.&#xD;&#xA;&#xD;&#xA;Any tips are appreciated.  I can't wait to get started!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.midi.org/aboutmidi/intromidi.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="41233" PostHistoryTypeId="1" PostId="24151" RevisionGUID="7e3428e1-8513-4885-8134-3e4abca7b742" CreationDate="2011-08-16T00:47:14.543" UserDisplayName="makerofthings7" Text="How can I manually convert sheet music into a MIDI, and define what track they are on?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41234" PostHistoryTypeId="3" PostId="24151" RevisionGUID="7e3428e1-8513-4885-8134-3e4abca7b742" CreationDate="2011-08-16T00:47:14.543" UserDisplayName="makerofthings7" Text="&lt;midi&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41235" PostHistoryTypeId="36" PostId="24154" RevisionGUID="53d8cc8c-f759-4b9f-aecf-8b7221bf8fdb" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4148/creating-midi-files-explanation-of-time-division-in-header-chunk" />
  <row Id="41236" PostHistoryTypeId="36" PostId="24155" RevisionGUID="acc8ae28-2b5a-4354-872b-7e7d923c7bd9" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4148/creating-midi-files-explanation-of-time-division-in-header-chunk/4150#4150" />
  <row Id="41237" PostHistoryTypeId="2" PostId="24155" RevisionGUID="9f368905-e987-4602-b18c-fe7a8b6c78ce" CreationDate="2012-06-09T16:29:32.693" UserDisplayName="az01" Text="With higher PPQ resolutions events *can* be more accurate (but it's not necessarly the case). For example at 24 ppq you can only have 24 different positions between two blacks. This has an impact when you interpret the MIDI events to fill a structure. Let's say that your MIDI application has a MIDI clock with a 96 PPQ resolution and you want to open a MIDI file with a resolution of 192 PPQ. Then you'll have to quantize the events..." ContentLicense="CC BY-SA 3.0" />
  <row Id="41238" PostHistoryTypeId="2" PostId="24154" RevisionGUID="cae8a255-f7e2-4d3c-b1ce-c119b593d024" CreationDate="2012-06-09T02:08:09.687" UserId="17896" UserDisplayName="rakemanyohneth" Text="I've been reading about MIDI file structure as I'm interested in writing an application that would read/write files in this format, but I'm a little confused about time divison in the header chunk.&#xD;&#xA;&#xD;&#xA;My understanding is that this part is essentially 16 bits, where if the sign bit is 1 the remaining bits specify an SMPTE timecode, and if it's 0 then the bits specify the number of ticks/pulses per quarter note (PPQ).&#xD;&#xA;&#xD;&#xA;My questions, specifically, are:&#xD;&#xA;&#xD;&#xA; - What does a higher/lower PPQ do to a MIDI file? Does this change the quality of the sound? My understanding is that it does not affect tempo&#xD;&#xA; - How does the SMPTE timecode affect the MIDI file in playback?&#xD;&#xA;&#xD;&#xA;Essentially, I'm trying to understand what these actually mean to the end result." ContentLicense="CC BY-SA 3.0" />
  <row Id="41239" PostHistoryTypeId="1" PostId="24154" RevisionGUID="cae8a255-f7e2-4d3c-b1ce-c119b593d024" CreationDate="2012-06-09T02:08:09.687" UserId="17896" UserDisplayName="rakemanyohneth" Text="Creating MIDI Files - Explanation of time division in header chunk" ContentLicense="CC BY-SA 3.0" />
  <row Id="41240" PostHistoryTypeId="3" PostId="24154" RevisionGUID="cae8a255-f7e2-4d3c-b1ce-c119b593d024" CreationDate="2012-06-09T02:08:09.687" UserId="17896" UserDisplayName="rakemanyohneth" Text="&lt;midi&gt;&lt;timecode&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41241" PostHistoryTypeId="36" PostId="24156" RevisionGUID="77a6f7a0-9f78-4d42-9230-ebbc7c559f57" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8426/why-do-sounds-reset-in-cubase-after-loop-returns" />
  <row Id="41242" PostHistoryTypeId="36" PostId="24157" RevisionGUID="906130d1-21d6-465c-94d6-40a3638d4385" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8426/why-do-sounds-reset-in-cubase-after-loop-returns/8431#8431" />
  <row Id="41243" PostHistoryTypeId="2" PostId="24157" RevisionGUID="26ee27ab-8394-46b5-b9ce-ebe63d4f165d" CreationDate="2013-07-18T19:14:05.413" UserId="7405" UserDisplayName="Andy aka" Text="This is half guess and half intuition: -&#xD;&#xA;&#xD;&#xA;Maybe the default midi settings for the cubase track need to be set correctly so that when the loop goes back to the start, cubase doesn't issue default midi instrument settings?&#xD;&#xA;&#xD;&#xA;If you set start and end loop points within the extents of the track does it loop and keep the same settings OK?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41244" PostHistoryTypeId="2" PostId="24156" RevisionGUID="79262874-6e87-4d1e-b491-af1f7b84a717" CreationDate="2013-07-17T22:11:58.640" UserId="7206" Text="I've got a Nord Modular and a Roland Juno 106 and a TR909 wired with Cubase that sound good until the loop returns, then the Nord Modular and the Juno switch sounds to the default sounds. Why is this happening and how can I resolve it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41245" PostHistoryTypeId="1" PostId="24156" RevisionGUID="79262874-6e87-4d1e-b491-af1f7b84a717" CreationDate="2013-07-17T22:11:58.640" UserId="7206" Text="Why do sounds reset in cubase after loop returns?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41246" PostHistoryTypeId="3" PostId="24156" RevisionGUID="79262874-6e87-4d1e-b491-af1f7b84a717" CreationDate="2013-07-17T22:11:58.640" UserId="7206" Text="&lt;midi&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41247" PostHistoryTypeId="36" PostId="24158" RevisionGUID="af67ae98-58f2-4d4c-97d1-5a0301fc9f57" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9611/how-can-i-automate-track-levels-while-recording-in-logic-mainstage-or-garageban" />
  <row Id="41248" PostHistoryTypeId="36" PostId="24159" RevisionGUID="e08eb2fd-1a5f-4e8a-9aa7-8f45a972df85" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9611/how-can-i-automate-track-levels-while-recording-in-logic-mainstage-or-garageban/9672#9672" />
  <row Id="41249" PostHistoryTypeId="2" PostId="24159" RevisionGUID="7f8d803d-c511-4cc7-94ba-752505041bf5" CreationDate="2013-12-15T23:59:51.123" UserId="7228" UserDisplayName="Louis Somers" Text="One clumsy way to do it is by putting any sequencer between your Korg nanoKontrol and computer. Record once into the sequencer, and you will be able to &quot;replay&quot; the volume envelopes from the sequencer. My guess is that a hardware sequencer would be easier to set up in this scenario.&#xD;&#xA;&#xD;&#xA;A more elegant solution would be to do it directly in your DAW but I'm unfamiliar with Logic Pro 9 and Mainstage 2. I use [Adobe Audition][1] which has &quot;automation lanes&quot; on which you can set envelopes for volume, pan etc. You can do so without the track being populated with recorded clips (note that the edit points and envelopes are not the same ones as shown on the recorded &quot;clip&quot; itself). Once you set these, you can save the &quot;multitrack session&quot;, and use it as a template for future recordings. I guess the process would be similar with your software. Search the help for &quot;Envelope&quot;.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.adobe.com/nl/products/audition.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="41250" PostHistoryTypeId="2" PostId="24160" RevisionGUID="2cc044e9-485a-4682-8cc4-8c1cf126a185" CreationDate="2013-12-16T18:44:59.453" UserId="7294" UserDisplayName="Warrior Bob" Text="I haven't personally worked with Logic or Mainstage much, but the basic steps I'm outlining here seem to be fairly DAW-agnostic, and I have applied them in both Reaper and Ableton Live so I presume they work similarly. I'll talk about Logic here since that seems to be the more common choice.&#xD;&#xA;&#xD;&#xA;# Concepts #&#xD;&#xA;&#xD;&#xA;There are a couple of basic ideas you're going to use here. &#xD;&#xA;&#xD;&#xA;There's **Automation**, in which parameters (track volumes, in your case) are programmed to move independently of the audio recordings. Automation can set up by hand as a post-production step, or can be recorded in realtime, which is what you'll be doing. It sounds like you already understand this concept, but I'm including it here for completeness.&#xD;&#xA;&#xD;&#xA;Then there's **MIDI parameter control**. This is where a parameter is tied to a given MIDI message, and its position continuously updates when that message arrives with a new value. By default your nanoKontrol sends MIDI Continuous Controller messages on each of its sliders, so you'll assign the corresponding message numbers.&#xD;&#xA;&#xD;&#xA;# The Basic Idea #&#xD;&#xA;&#xD;&#xA;You've probably intuited this already: for the volume of each track you're recording on, you want to assign the MIDI message to the corresponding nanoKontrol slider. So slider 1 controls Track 1 volume, slider 2 controls track 2, etc. Then, you need Logic to capture these updates as automations while you're recording your audio.&#xD;&#xA;&#xD;&#xA;Straightforward enough, but how do we actually implement this?&#xD;&#xA;&#xD;&#xA;## First: Assign MIDI to track levels ##&#xD;&#xA;&#xD;&#xA;Logic includes preset control surface support for a lot of MIDI controllers, but the nanoKontrol doesn't appear to be one of them, so you have to make those MIDI assignments yourself. According to [the Logic 9 Control Surfaces Support Guide](http://documentation.apple.com/en/logicpro/controlsurfacessupport/Logic%20Pro%209%20Control%20Surfaces%20Support%20(en).pdf) (that's a PDF link, relevant section is Chapter 2), you do this using the Controller Assignments window. Click the parameter to which you want to assign a MIDI message (so, in your case, one of the on-screen track faders), and: &#xD;&#xA;&#xD;&#xA;&gt;Choose Logic Pro &gt; Preferences &gt; Control Surfaces &gt; Learn Assignment for [parameter&#xD;&#xA;name]. (Alternately, you can use the Learn new Controller Assignment key command,&#xD;&#xA;default: Command-L, to open the Controller Assignments window, and activate Learn&#xD;&#xA;mode.)&#xD;&#xA;&#xD;&#xA;&gt;The Controller Assignments window opens in Easy view, with the Learn Mode button&#xD;&#xA;activated. In most cases, the name of the selected parameter is shown in the Parameter&#xD;&#xA;field.&#xD;&#xA;&#xD;&#xA;&gt; Move the hardware controller you want to assign to the selected parameter.&#xD;&#xA;&#xD;&#xA;Once the window is open you can apparently keep clicking more parameters and moving more faders to assign them. There documentation describes some other modes you can use to do more elaborate things but this will suffice for getting those assignments made.&#xD;&#xA;&#xD;&#xA;## Second: Set up automation&#xD;&#xA;&#xD;&#xA;(I'm basically copy/pasting from the [Logic Manual's section on automation](https://help.apple.com/logicpro/mac/9.1.6/en/logicpro/usermanual/index.html#chapter=28%26section=0), so you can read that for more detail. The images are taken from that page.)&#xD;&#xA;&#xD;&#xA;For each of your tracks that you want controlled by your controller, you need to set the automation mode. This is done using either track headers:&#xD;&#xA;&#xD;&#xA;![Selecting an automation mode from a track header][1]&#xD;&#xA;&#xD;&#xA;or from mixer channels:&#xD;&#xA;&#xD;&#xA;![Selecting an automation mode from a mixer channel][2]&#xD;&#xA;&#xD;&#xA;The mode you probably want is **Latch**, which means &quot;overwrite automation when you move the parameter, and leave it where you put it when you let go.&quot; Since your MIDI controller is controlling that parameter, any movements on the controller should now be picked up as automation as you are recording.&#xD;&#xA;&#xD;&#xA;That's it!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/8ooJe.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/pUR08.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="41251" PostHistoryTypeId="2" PostId="24158" RevisionGUID="01201583-7d91-41b6-8543-68537e261862" CreationDate="2013-12-09T18:05:19.847" UserDisplayName="shennan" Text="Greetings AV Community,&#xD;&#xA;&#xD;&#xA;I was wondering if I could get some help with how to set-up a podcast in Logic Pro 9 or Mainstage 2?&#xD;&#xA;&#xD;&#xA;I have a Korg nanoKontrol for controlling volumes, and a Focusrite 6i6 for the various inputs. There will be two mic inputs and a couple of line inputs for playing music. I have Logic Pro 9 and Mainstage 2 (unsure which is best for my needs).&#xD;&#xA;&#xD;&#xA;What I want is the ability to record all the inputs and control the volume automation on each of the channels as I'm recording. This is to minimise post-production work, but retaining the ability to tweak volumes on the channels post-production incase there are some slip-ups.&#xD;&#xA;&#xD;&#xA;Does anyone have any advice on how to get this to work? At the moment I only seem to be able to adjust the master volumes on the channels, and automation seems to be keyframe-based, so I can't get it working during recording.&#xD;&#xA;&#xD;&#xA;Am I making any sense?&#xD;&#xA;&#xD;&#xA;***Question in a Nut Shell:***&#xD;&#xA;&#xD;&#xA;How do I use a midi controller to adjust volume automation on a track while recording in Logic/Main Stage/Garage Band such that I can do some basic live mixing for a podcast?&#xD;&#xA;&#xD;&#xA;***Clarification Update:***&#xD;&#xA;&#xD;&#xA;Any of the above software packages is fine. Don't need to know all of them - just want to achieve what I have outlined in the question, with any of the DAW's that I currently own." ContentLicense="CC BY-SA 3.0" />
  <row Id="41252" PostHistoryTypeId="1" PostId="24158" RevisionGUID="01201583-7d91-41b6-8543-68537e261862" CreationDate="2013-12-09T18:05:19.847" UserDisplayName="shennan" Text="How can I automate track levels while recording in Logic, MainStage or GarageBand?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41253" PostHistoryTypeId="3" PostId="24158" RevisionGUID="01201583-7d91-41b6-8543-68537e261862" CreationDate="2013-12-09T18:05:19.847" UserDisplayName="shennan" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41254" PostHistoryTypeId="36" PostId="24160" RevisionGUID="49235b3b-f503-4fa9-a796-cac6f603e95e" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9611/how-can-i-automate-track-levels-while-recording-in-logic-mainstage-or-garageban/9677#9677" />
  <row Id="41255" PostHistoryTypeId="36" PostId="24161" RevisionGUID="f6546232-d2ed-4a91-929d-a1fbdf0fdc3d" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3788/logic-pro-es2-high-notes-lost" />
  <row Id="41256" PostHistoryTypeId="2" PostId="24161" RevisionGUID="fa9cf119-73d3-432b-ba1c-e156cd3fdf98" CreationDate="2012-04-20T23:57:28.963" UserDisplayName="141.80" Text="everyone.&#xD;&#xA;&#xD;&#xA;I'm a Beginner Dubstep producer. I'm using Logic Pro to make sounds and so on.&#xD;&#xA;&#xD;&#xA;So, I Have a big problem, the ES2 cutoff 1+2 lost the high notes as far as it's played, it sounds like compressor.&#xD;&#xA;&#xD;&#xA;If someone could help me, please answer this question.&#xD;&#xA;&#xD;&#xA;Sorry for my poor english :D&#xD;&#xA;&#xD;&#xA;. " ContentLicense="CC BY-SA 3.0" />
  <row Id="41257" PostHistoryTypeId="1" PostId="24161" RevisionGUID="fa9cf119-73d3-432b-ba1c-e156cd3fdf98" CreationDate="2012-04-20T23:57:28.963" UserDisplayName="141.80" Text="Logic Pro ES2 High notes lost" ContentLicense="CC BY-SA 3.0" />
  <row Id="41258" PostHistoryTypeId="3" PostId="24161" RevisionGUID="fa9cf119-73d3-432b-ba1c-e156cd3fdf98" CreationDate="2012-04-20T23:57:28.963" UserDisplayName="141.80" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41259" PostHistoryTypeId="36" PostId="24162" RevisionGUID="4a6eb4a6-b22a-4f90-aed9-48d5f503649c" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7766/how-to-route-midi-cc-7-to-instrument-instead-of-track" />
  <row Id="41260" PostHistoryTypeId="36" PostId="24163" RevisionGUID="1a86f5cf-c933-4267-8578-6c2932397643" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7766/how-to-route-midi-cc-7-to-instrument-instead-of-track/7771#7771" />
  <row Id="41261" PostHistoryTypeId="2" PostId="24163" RevisionGUID="2679e766-b8f6-42b7-8994-03447afe2e75" CreationDate="2013-04-29T23:52:21.947" UserId="7189" Text="Use the Environment. Drop in a Fader that listens to incoming MIDI CCs and transforms them into Fader messages. Then figure out which settings will get you to your virtual instrument. You may also need a transformer to filter MIDI CC7 from hitting your sequencer input." ContentLicense="CC BY-SA 3.0" />
  <row Id="41262" PostHistoryTypeId="2" PostId="24162" RevisionGUID="ee83d426-6940-4225-8a10-a6078c3c5b4c" CreationDate="2013-04-29T15:45:17.960" UserDisplayName="dilig0" Text="In Logic Pro 9, by default, the MIDI CC#7 is assigned to the volume of an instrument track.&#xD;&#xA;&#xD;&#xA;I need to skip this assignment so the MIDI CC#7 goes directly to the virtual instrument.&#xD;&#xA;&#xD;&#xA;How can this be done?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41263" PostHistoryTypeId="1" PostId="24162" RevisionGUID="ee83d426-6940-4225-8a10-a6078c3c5b4c" CreationDate="2013-04-29T15:45:17.960" UserDisplayName="dilig0" Text="How to route MIDI CC #7 to instrument instead of track" ContentLicense="CC BY-SA 3.0" />
  <row Id="41264" PostHistoryTypeId="3" PostId="24162" RevisionGUID="ee83d426-6940-4225-8a10-a6078c3c5b4c" CreationDate="2013-04-29T15:45:17.960" UserDisplayName="dilig0" Text="&lt;midi&gt;&lt;logic-pro&gt;&lt;volume&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41265" PostHistoryTypeId="36" PostId="24164" RevisionGUID="d4a44a18-3cc0-4dbd-b496-83893b566266" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4099/can-midi-designer-control-other-ipad-apps" />
  <row Id="41266" PostHistoryTypeId="36" PostId="24165" RevisionGUID="2e7ced58-f61f-40a5-9f1d-5249e26bfbfd" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4099/can-midi-designer-control-other-ipad-apps/4127#4127" />
  <row Id="41268" PostHistoryTypeId="2" PostId="24165" RevisionGUID="dfd4d48f-07b1-428b-80c7-8c76549af57d" CreationDate="2012-06-06T22:52:16.053" UserId="9762" UserDisplayName="Yar" Text="**Note:** I am the author of MIDI Designer. Also: at the time this question was asked, MIDI Designer did not present its own virtual MIDI ports. That feature has been added.&#xD;&#xA;&#xD;&#xA;MIDI Designer can control other apps, even if the other apps do not present a Virtual MIDI Port. In addition, MIDI Designer allows you to selectively activate/deactivate virtual MIDI connections.&#xD;&#xA;&#xD;&#xA;Video demonstrating virtual MIDI with MIDI Designer is here: http://www.youtube.com/watch?v=AphJI5-Dl-Q&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41270" PostHistoryTypeId="2" PostId="24164" RevisionGUID="323fef5a-689f-44bb-8d2f-80d320a83b2b" CreationDate="2012-06-02T17:51:19.020" UserDisplayName="Robert Lauriston" Text="I installed MIDI Designer on my iPad, but I can't find any way to configure it to control another iPad app, such as Animoog or Samplewiz. Is that possible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41271" PostHistoryTypeId="1" PostId="24164" RevisionGUID="323fef5a-689f-44bb-8d2f-80d320a83b2b" CreationDate="2012-06-02T17:51:19.020" UserDisplayName="Robert Lauriston" Text="Can MIDI Designer control other iPad apps?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41272" PostHistoryTypeId="3" PostId="24164" RevisionGUID="323fef5a-689f-44bb-8d2f-80d320a83b2b" CreationDate="2012-06-02T17:51:19.020" UserDisplayName="Robert Lauriston" Text="&lt;midi&gt;&lt;ipad&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41273" PostHistoryTypeId="36" PostId="24167" RevisionGUID="45f660ab-2f71-4fda-a9bc-442dcf73d114" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8385/how-to-move-all-notes-in-the-cubase-midi-editor-one-octave-up" />
  <row Id="41274" PostHistoryTypeId="2" PostId="24168" RevisionGUID="4b774d08-486d-4837-8fae-62a02b810d58" CreationDate="2013-07-11T19:28:37.690" UserId="7405" UserDisplayName="Andy aka" Text="Cubase (C4 on my PC) allows you to insert a track fx for midi tracks that lets you globally raise all notes up or down as many semitones as you want: -&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;I've got acoustic piano track fx, transpose feature circled. Maybe this will let you do what you need.&#xD;&#xA;&#xD;&#xA;If you only need to apply this to a section of the track you can set up a control track where you only apply transpose in certain areas.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/4SkXY.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="41275" PostHistoryTypeId="2" PostId="24167" RevisionGUID="16bfaf95-7740-4d6d-bf6a-1138daded639" CreationDate="2013-07-11T07:12:13.287" UserId="7206" Text="I have a rather long bass track that I want to play one octave up. I want every note to change to one octave up. For smaller chunk of notes I can select many and just drag them but it's not working in zoomed out mode for many many notes. Is there a function that can move many notes for me. I use Cubase and its MIDI editor. " ContentLicense="CC BY-SA 3.0" />
  <row Id="41276" PostHistoryTypeId="1" PostId="24167" RevisionGUID="16bfaf95-7740-4d6d-bf6a-1138daded639" CreationDate="2013-07-11T07:12:13.287" UserId="7206" Text="How to move all notes in the Cubase MIDI editor one octave up?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41277" PostHistoryTypeId="3" PostId="24167" RevisionGUID="16bfaf95-7740-4d6d-bf6a-1138daded639" CreationDate="2013-07-11T07:12:13.287" UserId="7206" Text="&lt;midi&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41278" PostHistoryTypeId="36" PostId="24168" RevisionGUID="d950faac-ea6b-4020-a58b-b341ef6d398c" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8385/how-to-move-all-notes-in-the-cubase-midi-editor-one-octave-up/8387#8387" />
  <row Id="41279" PostHistoryTypeId="36" PostId="24169" RevisionGUID="044123e4-68eb-429b-8c53-4106d98e344f" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1214/ims-20-for-logic-pro" />
  <row Id="41280" PostHistoryTypeId="2" PostId="24170" RevisionGUID="2bdea8ae-21ae-403e-ab5e-e7b0dfab35c7" CreationDate="2011-04-21T05:37:03.297" UserId="7294" UserDisplayName="Warrior Bob" Text="Korg [publishes a plugin][1] that emulates the MS-20 synthesizer.  This is the same synthesizer that is emulated by the iMS-20 iPad app, so you should be able to get the sound you're looking for.  &#xD;&#xA;&#xD;&#xA;It's available in AU and VST format so it should work with Logic, and I presume you can use MIDI with it like most any other virtual instrument, so you should be able to do whatever kind of MIDI looping and overdubbing that you want.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.korg.com/Product.aspx?pd=588" ContentLicense="CC BY-SA 3.0" />
  <row Id="41281" PostHistoryTypeId="2" PostId="24169" RevisionGUID="d461f32b-9e8f-4a74-8913-645a869c98f6" CreationDate="2011-04-20T22:00:10.147" UserDisplayName="Yuriy Nemtsov" Text="Is there an iMS-20 equivalent for Logic (apart from &quot;es m&quot;)?&#xD;&#xA;&#xD;&#xA;I'm mainly interested in two things: (1) the unique sound, (2) overlapping recording for MIDI, so that I would be able to leave a loop on, and try getting the best tune out of 20 or so tries." ContentLicense="CC BY-SA 3.0" />
  <row Id="41282" PostHistoryTypeId="1" PostId="24169" RevisionGUID="d461f32b-9e8f-4a74-8913-645a869c98f6" CreationDate="2011-04-20T22:00:10.147" UserDisplayName="Yuriy Nemtsov" Text="iMS-20 for Logic Pro" ContentLicense="CC BY-SA 3.0" />
  <row Id="41283" PostHistoryTypeId="3" PostId="24169" RevisionGUID="d461f32b-9e8f-4a74-8913-645a869c98f6" CreationDate="2011-04-20T22:00:10.147" UserDisplayName="Yuriy Nemtsov" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41284" PostHistoryTypeId="36" PostId="24170" RevisionGUID="24aa6090-a2f9-4fe1-a309-b4c54a615b7d" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1214/ims-20-for-logic-pro/1217#1217" />
  <row Id="41285" PostHistoryTypeId="36" PostId="24171" RevisionGUID="fce3f776-a208-403e-8bc6-029e10d57362" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1976/does-logic-9-solve-the-lost-midi-mapping-problems-that-were-present-in-logic-8" />
  <row Id="41286" PostHistoryTypeId="2" PostId="24172" RevisionGUID="37d05e9e-a4a2-449d-a1db-52c5b1b7775d" CreationDate="2011-08-02T03:20:43.790" UserDisplayName="Ian C." Text="In my specific case: yes. The upgrade seems to have solved the problem. At least, I've gone two days now (and many project open/close cycles) without the mappings disappearing. That's not something I was ever able to do with Logic 8." ContentLicense="CC BY-SA 3.0" />
  <row Id="41287" PostHistoryTypeId="2" PostId="24171" RevisionGUID="405b8086-7b4d-4b5e-98a0-38d3ed931726" CreationDate="2011-07-29T14:17:35.587" UserDisplayName="Ian C." Text="This is a follow up to [this question I asked months ago][1]. My MIDI mappings are still being lost even if I keep the Axiom turned on between sessions in Logic and it's maddening. It's a lot of work to rebuild them every session.&#xD;&#xA;&#xD;&#xA;[Apparently this is a known issue][2]. The solutions in that Apple Support thread don't work for me. Restoring the .cs file between sessions doesn't stop the mappings from disappearing completely.&#xD;&#xA;&#xD;&#xA;I'd upgrade to Logic 9 if I knew the money spent would buy me a solution to this problem. Can anyone confirm or deny that this issue is gone in Logic 9 when you're using an M-Audio Axiom (generation 1) controller?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/256/why-does-logic-8-lose-the-daw-controller-mappings-from-my-m-audio-axiom-49-betwee&#xD;&#xA;  [2]: https://discussions.apple.com/thread/2402208?threadID=2402208" ContentLicense="CC BY-SA 3.0" />
  <row Id="41288" PostHistoryTypeId="1" PostId="24171" RevisionGUID="405b8086-7b4d-4b5e-98a0-38d3ed931726" CreationDate="2011-07-29T14:17:35.587" UserDisplayName="Ian C." Text="Does Logic 9 solve the lost MIDI mapping problems that were present in Logic 8?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41289" PostHistoryTypeId="3" PostId="24171" RevisionGUID="405b8086-7b4d-4b5e-98a0-38d3ed931726" CreationDate="2011-07-29T14:17:35.587" UserDisplayName="Ian C." Text="&lt;midi&gt;&lt;logic-pro&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41290" PostHistoryTypeId="36" PostId="24172" RevisionGUID="9b2ed870-faca-42ea-82e9-8b0e9a5af495" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1976/does-logic-9-solve-the-lost-midi-mapping-problems-that-were-present-in-logic-8/1988#1988" />
  <row Id="41295" PostHistoryTypeId="36" PostId="24174" RevisionGUID="980df11d-52f6-4508-89e7-d1ec802920e1" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4565/synthesizer-resources" />
  <row Id="41296" PostHistoryTypeId="36" PostId="24175" RevisionGUID="080c7e36-b4d3-4169-8eb2-7cf24b951427" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4565/synthesizer-resources/4566#4566" />
  <row Id="41297" PostHistoryTypeId="2" PostId="24175" RevisionGUID="dc1d3818-338b-4723-80f8-b2f27d532112" CreationDate="2012-08-13T20:10:35.047" UserId="7189" Text="Sound On Sound's *[Synth Secrets][1]* series is a goldmine of info about synthesizers.&#xD;&#xA;&#xD;&#xA;&gt; My problem is I have no clue where to start.&#xD;&#xA;&#xD;&#xA;Start by talking to people. In person if you can, or in forums. Try to avoid buying stuff right away. Use free software like Audacity and Pure Data as well as the demo modes of the various commercial DAWs and synths.&#xD;&#xA;&#xD;&#xA;This is a big question, and probably better served by a community wiki or some other general purpose resource. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/allsynthsecrets.htm/" ContentLicense="CC BY-SA 3.0" />
  <row Id="41298" PostHistoryTypeId="2" PostId="24174" RevisionGUID="bc6b41e9-9bd3-42e4-ab91-5f71e9764a49" CreationDate="2012-08-13T19:44:57.917" UserId="22615" UserDisplayName="Vixen" Text="&gt; **Possible Duplicate:**  &#xA;&gt; [I want to learn how to make electronic music. Where do I start?](http://avp.stackexchange.com/questions/1556/i-want-to-learn-how-to-make-electronic-music-where-do-i-start)  &#xA;&#xA;&lt;!-- End of automatically inserted text --&gt;&#xA;&#xA;I'm interested in starting making electronic music. My problem is I have no clue where to start.&#xD;&#xA;&#xD;&#xA;I know little about synthesizers in general, where can I find some guides/tutorials of how they work and so on.&#xD;&#xA;&#xD;&#xA;Second, what should I look(hear) for when trying/buying equipment? (One alternative is a midi-keyboard and plugging it into the computer, but don't know what i miss except the hardware buttons and the &quot;instruments own sound&quot; so to say)&#xD;&#xA;&#xD;&#xA;What effects/hardware buttons are good to have?&#xD;&#xA;&#xD;&#xA;I'm interested in music/sounds similar to c64,hardstyle,dubstep,electroica,trance,EBM." ContentLicense="CC BY-SA 3.0" />
  <row Id="41299" PostHistoryTypeId="1" PostId="24174" RevisionGUID="bc6b41e9-9bd3-42e4-ab91-5f71e9764a49" CreationDate="2012-08-13T19:44:57.917" UserId="22615" UserDisplayName="Vixen" Text="Synthesizer resources" ContentLicense="CC BY-SA 3.0" />
  <row Id="41300" PostHistoryTypeId="3" PostId="24174" RevisionGUID="bc6b41e9-9bd3-42e4-ab91-5f71e9764a49" CreationDate="2012-08-13T19:44:57.917" UserId="22615" UserDisplayName="Vixen" Text="&lt;midi&gt;&lt;hardware&gt;&lt;synthesizer&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41301" PostHistoryTypeId="36" PostId="24176" RevisionGUID="8d439ef8-3c85-495d-bd94-faef72b95f7a" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8610/utilities-to-output-better-sounds-via-midi-for-live-performance" />
  <row Id="41302" PostHistoryTypeId="36" PostId="24177" RevisionGUID="3dc16461-a8a8-4157-b685-0c94a6d2b0ee" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8610/utilities-to-output-better-sounds-via-midi-for-live-performance/8611#8611" />
  <row Id="41303" PostHistoryTypeId="2" PostId="24177" RevisionGUID="0d97f1a9-72bc-4dfc-a781-469093c8e8fa" CreationDate="2013-08-02T22:16:04.393" UserId="7219" UserDisplayName="Stephen Hazel" Text="If you can stand the key feel of that thing, just try using the onboard sounds.&#xD;&#xA;See if you can get by with em.&#xD;&#xA;&#xD;&#xA;If not, do what guitar players do and throw the sound through some effects unit.&#xD;&#xA;&#xD;&#xA;If you take a laptop to a gig, don't plan on having it very long :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41304" PostHistoryTypeId="2" PostId="24178" RevisionGUID="1bec2d9b-d224-4d1a-a397-8985590ab709" CreationDate="2013-08-03T23:29:03.803" UserId="6957" Text="Another option is to get yourself an external MIDI sound module.  These run the full price range, from sub-$100 to $2k+.&#xD;&#xA;&#xD;&#xA;Here's an [eBay category for MIDI sound modules](http://www.ebay.com/bhp/midi-sound-module).  You probably don't need something with a bunch of bells and whistles.&#xD;&#xA;&#xD;&#xA;Basically, you can use any keyboard controller you want (including the one you already have... it has MIDI outs right?), you just run the MIDI out to the IN of the sound module.  The sound module will have audio outputs to run to your amplifier/stage setup, etc..." ContentLicense="CC BY-SA 3.0" />
  <row Id="41305" PostHistoryTypeId="2" PostId="24176" RevisionGUID="fa252f2a-2542-4434-9ade-c8a4f8fd16fa" CreationDate="2013-08-02T19:33:07.813" UserDisplayName="Josiah" Text="**Background:**&#xD;&#xA;&#xD;&#xA;I have a pretty standard (and cheap) Yamaha YPG 235 digital piano. I really have never bothered to get a new machine because I keep my piano plugged into Garageband via MIDI with the computer hooked up to some nicer speakers. This allows me to use better (more realistic) piano and synth sounds at home.&#xD;&#xA;&#xD;&#xA;**Question:**&#xD;&#xA;&#xD;&#xA;I soon have to start playing live and I do not have a Mac laptop (only a desktop). I have a Windows laptop and am looking for some utility to simply receive the MIDI, add a better sound to it, and play it back through the laptop live. Quality of sound is really the most important thing right now.&#xD;&#xA;&#xD;&#xA;I tried Mixcraft, and although it does work, the latency is terrible and most of the sounds are quite low quality.&#xD;&#xA;&#xD;&#xA;What are some useful utilities using MIDI for live performances on Windows? If the world was perfect, a very simple, lightweight program that takes in MIDI, adds the effect, and plays it back out would be amazing. However, I am find with more recording-based environments (like Mixcraft) as long as they work well.&#xD;&#xA;&#xD;&#xA;**Note:** &#xD;&#xA;&#xD;&#xA;Although usually software recommendations aren't appreciated around SE, in this case I believe it is very useful information for piano players and therefore should be considered.&#xD;&#xA;&#xD;&#xA;**Note 2:**&#xD;&#xA;&#xD;&#xA;This live event is a very low-profile, small gathering. I don't make anything from these events, so an amazing performance setup isn't really what I'm after. Just hoping for some way to make the keyboard sound better without buying a new one." ContentLicense="CC BY-SA 3.0" />
  <row Id="41306" PostHistoryTypeId="1" PostId="24176" RevisionGUID="fa252f2a-2542-4434-9ade-c8a4f8fd16fa" CreationDate="2013-08-02T19:33:07.813" UserDisplayName="Josiah" Text="Utilities to output better sounds via MIDI for live performance" ContentLicense="CC BY-SA 3.0" />
  <row Id="41307" PostHistoryTypeId="3" PostId="24176" RevisionGUID="fa252f2a-2542-4434-9ade-c8a4f8fd16fa" CreationDate="2013-08-02T19:33:07.813" UserDisplayName="Josiah" Text="&lt;midi&gt;&lt;live-performance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41308" PostHistoryTypeId="36" PostId="24178" RevisionGUID="f91a902f-637c-436a-9458-718705244be8" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8610/utilities-to-output-better-sounds-via-midi-for-live-performance/8612#8612" />
  <row Id="41309" PostHistoryTypeId="36" PostId="24179" RevisionGUID="cb89b0b5-a297-40f0-8074-94a62c27b721" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4843/exporting-multiple-tracks-to-midi-in-ableton-live" />
  <row Id="41310" PostHistoryTypeId="36" PostId="24180" RevisionGUID="110fddf6-59e1-4b0a-a6ec-98ab77df7c9e" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4843/exporting-multiple-tracks-to-midi-in-ableton-live/7850#7850" />
  <row Id="41311" PostHistoryTypeId="2" PostId="24180" RevisionGUID="3bae03b8-2fc9-4c40-afc7-2e35cc181bb4" CreationDate="2013-05-09T21:31:28.647" UserId="14856" UserDisplayName="Pristine Kavalostka" Text="&lt;h1&gt;Alternative 1: Scripting Software:&lt;/h1&gt;&#xD;&#xA;&#xD;&#xA;It seems that Ableton Live hasn't such functionality (batch midi exporting). But you could try to use some scripting software like AutoIt, AutoHotkey or WinAutomation. Give it a try. (Considering it's possible to export midi for individual tracks).&#xD;&#xA;&#xD;&#xA;WinAutomation will appear more user-friendly, the construction of scripts rely on a list with all commands and a nice description of them. See:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;AutoIt is more like a compiler, you'll program by typing, not by clicking as WinAutomation:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;&lt;h1&gt;Alternative 2: MIDI Yoke:&lt;/h1&gt;&#xD;&#xA;&#xD;&#xA;You could also use [MIDI Yoke](http://www.midiox.com/) as well. It'll create virtual MIDI ports in your computer - just route every Ableton Live midi channel to one of these ports, then open a multi-track MIDI recorder and put it to record from MIDI Yoke ports, now you'll just need to press play on ableton live and wait until the end of the music.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/8gBqW.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/rhDCi.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="41312" PostHistoryTypeId="2" PostId="24179" RevisionGUID="b3b304e1-7050-4377-bd68-f612856267bf" CreationDate="2012-09-27T06:24:32.033" UserId="6933" Text="I want to export my multi-track compositions in Ableton to MIDI to make them usable in Sibelius and to make them less susceptible to &quot;ageing out&quot; (what with proprietary project formats and all that annoying jazz). I can't seem to find an easy way of turning .als files into a batch of .midis or anything similar. Any ideas? &#xD;&#xA;&#xD;&#xA;You can export one track to MIDI, but it's way, way, too cumbersome to manually flatten all of my tracks into one and then export that; not least because you can't have unison notes without destroying information in one of the tracks. &#xD;&#xA;&#xD;&#xA;I don't care about preserving any timbre/instrument information whatsoever - let's pretend that it's just raw note information completely abstracted from implementation and production (but if we can keep that, too, all the merrier).&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="41313" PostHistoryTypeId="1" PostId="24179" RevisionGUID="b3b304e1-7050-4377-bd68-f612856267bf" CreationDate="2012-09-27T06:24:32.033" UserId="6933" Text="Exporting multiple tracks to MIDI in Ableton Live" ContentLicense="CC BY-SA 3.0" />
  <row Id="41314" PostHistoryTypeId="3" PostId="24179" RevisionGUID="b3b304e1-7050-4377-bd68-f612856267bf" CreationDate="2012-09-27T06:24:32.033" UserId="6933" Text="&lt;midi&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41315" PostHistoryTypeId="36" PostId="24181" RevisionGUID="cc8e98c6-fd8b-4edc-a334-d6dfb9dd5f8b" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2219/how-do-i-get-logic-to-export-the-sounds-recorded-from-kontak-w-symphobia" />
  <row Id="41316" PostHistoryTypeId="2" PostId="24181" RevisionGUID="4facc286-ccdc-4c86-9154-eb86460642e7" CreationDate="2011-08-28T12:33:32.770" UserDisplayName="Bruce" Text="I can get the sounds recorded and on separate tracks but they wont export.  It just says there is nothing to export.&#xD;&#xA;&#xD;&#xA;Also I cant get Kontak in a regular channel strip with level meter. It will only come up in aux channels and then there is no control thru the master out, and if Kontak is closed after recording then there is no sound at all.  The tracks have the midi &quot;notes&quot; there.  I've tried importing the actual Symphobia samples but so far that hasn't helped. &#xD;&#xA;&#xD;&#xA;I'm running logic on a MAC G5 OSx dual 2.3ghz  &#xD;&#xA;&#xD;&#xA;Any idea what I'm missing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41317" PostHistoryTypeId="1" PostId="24181" RevisionGUID="4facc286-ccdc-4c86-9154-eb86460642e7" CreationDate="2011-08-28T12:33:32.770" UserDisplayName="Bruce" Text="How do I get Logic to export the sounds recorded from Kontak w/ Symphobia?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41318" PostHistoryTypeId="3" PostId="24181" RevisionGUID="4facc286-ccdc-4c86-9154-eb86460642e7" CreationDate="2011-08-28T12:33:32.770" UserDisplayName="Bruce" Text="&lt;logic-pro&gt;&lt;sampling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41319" PostHistoryTypeId="36" PostId="24182" RevisionGUID="6be0aea1-7a1c-493d-b532-09c00159b86e" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1354/cakewalk-um-3g-midi-interface-for-midi-drums" />
  <row Id="41320" PostHistoryTypeId="2" PostId="24183" RevisionGUID="984c0703-e72b-49d9-9a05-9b198b5e96ec" CreationDate="2011-05-05T21:20:41.173" UserId="7471" UserDisplayName="Mark Heath" Text="The MIDI interface itself should work fine in terms of transfering MIDI signals to your PC. I have a similar setup with the UM1-EX and a TD3KV drum kit. Your bigger challenge will be getting your PC set up with very low latency. You will need a fast PC and an audio interface with good drivers, as for playing drums you really need as low latency as possible. I find it hard to tolerate more than 5ms latency playing the drums even though I can cope with longer latencies for keyboard sounds.&#xD;&#xA;&#xD;&#xA;You should also bear in mind that you might need to adjust the velocity curve in your sampler or pad sensitivity on your kit as I have found that the MIDI velocity levels coming out of my TD3KV did not map nicely to the right velocities on my sound module (EZDrummer in my case)." ContentLicense="CC BY-SA 3.0" />
  <row Id="41321" PostHistoryTypeId="2" PostId="24182" RevisionGUID="5b8a301d-0321-4cb0-be7f-10041ae9920c" CreationDate="2011-05-05T19:42:33.567" UserDisplayName="Sorantis" Text="I'm going to by a MIDI drum set (probably Roland TD4KX2) together with Alesis Percpad.&#xD;&#xA;My aim is to connect both devices to my PC and use Superior Drummer for sound.&#xD;&#xA;I was thinking about buying an external sound card, but the problem is that they don't have more than one MIDI I/O. Then I came across [Cakewalk UM-3G][1] Interface, and now I think I'll go with this one. But I'd like to know for sure, that by connecting my drums to PC I'll get desired result (host sound from Superior Drummer, and have minimal latency while playing)&#xD;&#xA;&#xD;&#xA;So my question is, whether UM-3G would fit my needs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rolandus.com/products/productdetails.php?ProductId=1093&amp;ParentId=436" ContentLicense="CC BY-SA 3.0" />
  <row Id="41322" PostHistoryTypeId="1" PostId="24182" RevisionGUID="5b8a301d-0321-4cb0-be7f-10041ae9920c" CreationDate="2011-05-05T19:42:33.567" UserDisplayName="Sorantis" Text="Cakewalk UM-3G MIDI Interface for midi drums" ContentLicense="CC BY-SA 3.0" />
  <row Id="41323" PostHistoryTypeId="3" PostId="24182" RevisionGUID="5b8a301d-0321-4cb0-be7f-10041ae9920c" CreationDate="2011-05-05T19:42:33.567" UserDisplayName="Sorantis" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41324" PostHistoryTypeId="36" PostId="24183" RevisionGUID="c202e6c8-b33c-4754-bfe5-4c7c54218ca3" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1354/cakewalk-um-3g-midi-interface-for-midi-drums/1355#1355" />
  <row Id="41325" PostHistoryTypeId="36" PostId="24184" RevisionGUID="21acdee7-00c6-47bb-92db-2ba29c8ed869" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4294/how-can-i-use-the-ipad-as-a-midi-controller-directly-via-usb-with-reason-or-abl" />
  <row Id="41326" PostHistoryTypeId="36" PostId="24185" RevisionGUID="8110d513-ffa9-46d5-ba1d-bb5227377772" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4294/how-can-i-use-the-ipad-as-a-midi-controller-directly-via-usb-with-reason-or-abl/4296#4296" />
  <row Id="41327" PostHistoryTypeId="36" PostId="24186" RevisionGUID="9b88de16-00f1-4399-a7df-fca658b26880" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4294/how-can-i-use-the-ipad-as-a-midi-controller-directly-via-usb-with-reason-or-abl/4297#4297" />
  <row Id="41328" PostHistoryTypeId="36" PostId="24187" RevisionGUID="9449ec87-e55c-4a89-9767-cfe9aad2f63c" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4294/how-can-i-use-the-ipad-as-a-midi-controller-directly-via-usb-with-reason-or-abl/4367#4367" />
  <row Id="41329" PostHistoryTypeId="2" PostId="24185" RevisionGUID="933976b6-7d5d-434f-b4eb-397cf9b4a1d6" CreationDate="2012-06-27T14:00:38.010" UserId="6957" Text="Although you may still require a MIDI/USB device to plug into the latop, [this](http://line6.com/midimobilizer/) Line 6 device would keep everything wired along the way.  I don't have any personal experience with it however." ContentLicense="CC BY-SA 3.0" />
  <row Id="41330" PostHistoryTypeId="2" PostId="24187" RevisionGUID="ab2e9001-2ade-49d5-8533-dbb4b0ed9e65" CreationDate="2012-07-05T17:08:48.560" UserDisplayName="Zettt" Text="You need the Apple Camera Connection Kit which includes a connector with a USB outlet. Just use this and a USB cable to connect to your Mac. If the app supports CoreMIDI it should work just fine. &#xD;&#xA;You can check using &quot;Audio MIDI Setup.app&quot; on your Mac. This is also the place where you configure your Mac to use Wireless MIDI sent from an iPad. (no cables required; also CoreMIDI)" ContentLicense="CC BY-SA 3.0" />
  <row Id="41331" PostHistoryTypeId="2" PostId="24186" RevisionGUID="9951a39a-2a4a-4195-823e-4641c462c26c" CreationDate="2012-06-27T14:34:29.597" UserDisplayName="horatio" Text="You need to determine the manner in which the midi is sent by your app, but basically, you want something that can bridge devices. This can be some form of hardware, or it can be software (sometimes called a midi bridge or &quot;software dongle&quot;).&#xD;&#xA;&#xD;&#xA;As an example, I use a usb joystick as a midi controller by using an application that converts joystick inputs to midi outputs and then I bridge that with another small driver that lets me route the midi to whatever hardware or software device I like.&#xD;&#xA;&#xD;&#xA;Without more information about the nature of your application it is hard to say if it can use a USB connection.&#xD;&#xA;&#xD;&#xA;Two quick things to check out (I have not used either of these):&#xD;&#xA;&#xD;&#xA;http://nerds.de/en/ipmidi_osx.html&#xD;&#xA;&#xD;&#xA;http://itunes.apple.com/us/app/midibridge/id449160859?mt=8" ContentLicense="CC BY-SA 3.0" />
  <row Id="41332" PostHistoryTypeId="2" PostId="24184" RevisionGUID="38439234-5426-45ba-8fa6-66ef1532727f" CreationDate="2012-06-27T13:17:14.363" UserId="7459" UserDisplayName="bigp" Text="Some apps allow to communicate via Wifi on a home-network, but I'm sometimes getting MIDI overflow errors in Reason. I'm guessing there will be lower latency delays if I use a direct connection via USB (iPad connection to USB-port on a laptop) like so:&#xD;&#xA;&#xD;&#xA;**[ iPad with some MIDI app on it ]-----------[ USB-Port on Laptop ]**&#xD;&#xA;&#xD;&#xA;Does it require any extra adapters / iPad accessories to have some other kind of USB connectivity to the Laptop? Is there any OSX applications that can &quot;translate&quot; the USB signal to MIDI data coming from the iPad?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41333" PostHistoryTypeId="1" PostId="24184" RevisionGUID="38439234-5426-45ba-8fa6-66ef1532727f" CreationDate="2012-06-27T13:17:14.363" UserId="7459" UserDisplayName="bigp" Text="How can I use the iPad as a MIDI controller directly via USB (with Reason or Ableton Live)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41334" PostHistoryTypeId="3" PostId="24184" RevisionGUID="38439234-5426-45ba-8fa6-66ef1532727f" CreationDate="2012-06-27T13:17:14.363" UserId="7459" UserDisplayName="bigp" Text="&lt;midi&gt;&lt;usb&gt;&lt;ipad&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41335" PostHistoryTypeId="36" PostId="24188" RevisionGUID="2722301c-3974-4387-a2c8-230825b8d412" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1098/region-editing-in-arrange-audible-clicking-at-start-end" />
  <row Id="41336" PostHistoryTypeId="36" PostId="24189" RevisionGUID="818b1701-2e95-403f-b5fb-6e46d95d4c5d" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1098/region-editing-in-arrange-audible-clicking-at-start-end/1101#1101" />
  <row Id="41337" PostHistoryTypeId="36" PostId="24190" RevisionGUID="ca8d10cd-6386-4d16-8874-53ce4e45a7f2" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1098/region-editing-in-arrange-audible-clicking-at-start-end/1106#1106" />
  <row Id="41338" PostHistoryTypeId="36" PostId="24191" RevisionGUID="43516d2c-4386-4b09-8c00-891d05542ac4" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1098/region-editing-in-arrange-audible-clicking-at-start-end/7683#7683" />
  <row Id="41339" PostHistoryTypeId="2" PostId="24189" RevisionGUID="46c76f57-f737-46d4-bc1d-24078b5d7b34" CreationDate="2011-03-27T18:55:45.047" UserId="7294" UserDisplayName="Warrior Bob" Text="If I understand the issue correctly, it's because even with edges on zero crossings, you're often going from zero to full volume on that clip in the space of several milliseconds.  &#xD;&#xA;&#xD;&#xA;Several DAWs (I know Ableton Live does this, and I think Reaper does too, but I'm not familiar with the others) allow an option to put a 4-ms (or thereabout) fade in and out on audio regions like that.  Often it works out pretty well, but for some things (comp tracks) it can cause somewhat noticeable drops in between region edges.  &#xD;&#xA;&#xD;&#xA;If Logic supports something like this, then enable it - if not, you can manually create a very short fade on the edges, although I realize this could get somewhat tedious." ContentLicense="CC BY-SA 2.5" />
  <row Id="41340" PostHistoryTypeId="2" PostId="24190" RevisionGUID="222c1f53-6cb7-4faf-847d-47a2c24397cf" CreationDate="2011-03-28T13:05:53.200" UserId="7093" Text="When I cut and paste audio, I usually try to zoom in and do it at a zero crossing.  If that is not possible, I will edit the wave form directly to eliminate the click.  I know Audacity can modify the wave form, and I'm sure some other DAWs can do it.&#xD;&#xA;&#xD;&#xA;It's a much more manual and time consuming approach, but I have had pretty good results." ContentLicense="CC BY-SA 2.5" />
  <row Id="41341" PostHistoryTypeId="2" PostId="24191" RevisionGUID="6523657e-7da2-419f-a9e8-b4c65547c3e7" CreationDate="2013-04-18T14:26:10.747" UserId="8301" UserDisplayName="Logickal" Text="While I'm not sure why you're having problems with the zero-crossing in the first place, it's easy enough to put a small fade on the beginning of the region to eliminate it.  You can either use the Fade Tool to draw in the fade on the region, or select the region and look in the region Parameter Box (left sidebar).  You'll see fields for applying a Fade In and Fade Out/Xfade in milliseconds, with optional curve." ContentLicense="CC BY-SA 3.0" />
  <row Id="41342" PostHistoryTypeId="2" PostId="24188" RevisionGUID="2bb62ec0-237f-42ce-a9ba-715699f6262d" CreationDate="2011-03-27T14:21:15.503" UserDisplayName="Agos" Text="I'm using Logic Pro 9 as a musician (mainly electric bass parts). However, this may be DAW-agnostic.  &#xD;&#xA;&#xD;&#xA;When editing, I often would like to move, repeat, and otherwise work on regions that are as small as two or four bars. The problem is that **most** of my regions end up making an audible clicking noise at the beginning and end, where I cut them.&#xD;&#xA;&#xD;&#xA;This is my workflow:&#xD;&#xA;&#xD;&#xA; - Record some takes using cycle recording&#xD;&#xA; - Find and select the best take&#xD;&#xA; - Check if timing is ok using flex, eventually move something.&#xD;&#xA; - Cut to the desired length, using snap to beat/bar/whatever.&#xD;&#xA;&#xD;&#xA;I understand precisely the cause of clicks: what it's not clear is how to avoid them. In the arrange window, the *Snap Edits to Zero Crossings* option in the *Audio* menu is (obviously) checked. This appears to have no effect whatsoever.&#xD;&#xA;&#xD;&#xA;The sample editor is really a pain to use: by default it moves the anchor, and when unlocked it messes up the Flex edits: I see flex markers moving with respect to transients and frankly I can't understand why. Moreover, undoing any change to the regions that happened because of work in the sample editor results in the selection changing, but not the region requiring an use of the selection-&gt;region command every time I want to undo.&#xD;&#xA;&#xD;&#xA;So: what is the best way to just have *those two bars* I want without clicking noises on the start end?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41343" PostHistoryTypeId="1" PostId="24188" RevisionGUID="2bb62ec0-237f-42ce-a9ba-715699f6262d" CreationDate="2011-03-27T14:21:15.503" UserDisplayName="Agos" Text="Region editing in arrange, audible clicking at start/end" ContentLicense="CC BY-SA 2.5" />
  <row Id="41344" PostHistoryTypeId="3" PostId="24188" RevisionGUID="2bb62ec0-237f-42ce-a9ba-715699f6262d" CreationDate="2011-03-27T14:21:15.503" UserDisplayName="Agos" Text="&lt;noise&gt;&lt;editing&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41345" PostHistoryTypeId="36" PostId="24192" RevisionGUID="f11da1da-3dfb-426b-a6ef-f61077575529" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5433/traktor-s2-controller-and-kaoss-pad-integration" />
  <row Id="41346" PostHistoryTypeId="36" PostId="24193" RevisionGUID="42e7e20f-676b-45eb-b0c5-2dbf8c0a6921" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5433/traktor-s2-controller-and-kaoss-pad-integration/5665#5665" />
  <row Id="41347" PostHistoryTypeId="2" PostId="24193" RevisionGUID="06d90984-9949-4fa9-8ca1-76775997aa7e" CreationDate="2012-12-24T20:42:14.353" UserId="7016" Text="You can take the audio output from the Kaoss Pad and send it into the S2's input, however you may find the volume it's not exactly what you want. &#xD;&#xA;&#xD;&#xA;The usual way you would do this is use a preamp to match impedance, to reduce losses, and to set the volume on the S2 input to a suitable level. " ContentLicense="CC BY-SA 3.0" />
  <row Id="41348" PostHistoryTypeId="2" PostId="24192" RevisionGUID="8bc96209-edab-4602-b17c-9dc80c8f7248" CreationDate="2012-11-27T22:04:38.363" UserDisplayName="madphp" Text="Anyone know if its possible to hook up a Kaoss pad to a traktor s2 midi controller?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41349" PostHistoryTypeId="1" PostId="24192" RevisionGUID="8bc96209-edab-4602-b17c-9dc80c8f7248" CreationDate="2012-11-27T22:04:38.363" UserDisplayName="madphp" Text="Traktor s2 controller and Kaoss Pad integration" ContentLicense="CC BY-SA 3.0" />
  <row Id="41350" PostHistoryTypeId="3" PostId="24192" RevisionGUID="8bc96209-edab-4602-b17c-9dc80c8f7248" CreationDate="2012-11-27T22:04:38.363" UserDisplayName="madphp" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41351" PostHistoryTypeId="36" PostId="24194" RevisionGUID="f47d4e9d-399f-4be9-b609-8cffced6ba95" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7997/what-are-the-pros-and-cons-of-a-midi-interface-compared-to-midi-to-usb-cable" />
  <row Id="41352" PostHistoryTypeId="36" PostId="24195" RevisionGUID="98fbb02d-ed66-4223-b1a2-e4ec56de1495" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7997/what-are-the-pros-and-cons-of-a-midi-interface-compared-to-midi-to-usb-cable/7998#7998" />
  <row Id="41353" PostHistoryTypeId="36" PostId="24196" RevisionGUID="371d029f-cca1-4b62-b63f-ec3f012cec2e" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7997/what-are-the-pros-and-cons-of-a-midi-interface-compared-to-midi-to-usb-cable/8004#8004" />
  <row Id="41354" PostHistoryTypeId="2" PostId="24195" RevisionGUID="b5200787-c1fb-4ae4-870b-e725f5b66fc9" CreationDate="2013-05-30T12:28:05.587" UserId="7174" Text="The cable includes an in-line MIDI adapter.  (MIDI and USB are not compatible signals.)  M-Audio is a respected manufacturer while the other one is a no brand adapter.  It might not work as well or might not support as many channels, but at $5, it's hard to go wrong giving it a try and the reviews seem to indicate it will work for your purposes.&#xD;&#xA;&#xD;&#xA;If I had to take a guess, the cable may be doing more in software where the M-Audio is more likely to have a dedicated MIDI processing chip in the unit.  This doesn't practically mean much for most use cases though since computers are plenty powerful now as long as the driver isn't buggy." ContentLicense="CC BY-SA 3.0" />
  <row Id="41355" PostHistoryTypeId="2" PostId="24196" RevisionGUID="3616721b-2851-4d22-bdfe-e35e75567b67" CreationDate="2013-05-30T18:31:08.783" UserId="7294" UserDisplayName="Warrior Bob" Text="Your &quot;MIDI-USB cable&quot; *is* a MIDI interface: a computer-addressable device that accepts and sends MIDI messages through MIDI DIN jacks. In this case both of the indicated devices are specifically *USB* MIDI interfaces.&#xD;&#xA;&#xD;&#xA;Featurewise, there's likely no difference between them. The price differential is probably due to name and build quality. Sometimes the fancier devices have some extra features such as message transformations and filters, but these are unnecessary unless you already have a specific use for them, and those are easily done in software anyway.&#xD;&#xA;&#xD;&#xA;Higher-end interfaces, as I understand it, may also have slightly lower latency or better jitter correction, but as far as I know these sorts of things don't show up until well into the several-hundreds-of-dollars range.&#xD;&#xA;&#xD;&#xA;Anecdotally, I've found that the super-cheap no-name interfaces such as that cable often have spotty drivers and odd behaviors. My friend has one that randomly sends E3 notes, which makes it effectively unusable for practical work. Of course, low-end M-Audio equipment used to also have driver/stability issues, so it's hard to say. &#xD;&#xA;&#xD;&#xA;Considering the extremely low price of that cable however, it might be worth it just to try it. If it works for you, great! You aren't missing out on anything." ContentLicense="CC BY-SA 3.0" />
  <row Id="41356" PostHistoryTypeId="2" PostId="24197" RevisionGUID="f4c2caf6-caf1-407d-898b-eb7fd04650dc" CreationDate="2013-05-30T21:00:59.920" UserId="7189" Text="As AJ Henderson and Warrior Bob mentioned, those cables are also MIDI interfaces.&#xD;&#xA;&#xD;&#xA;I have several of the cable-style MIDI interfaces, as well as an old eMagic AMT8 and a MOTU 828 MK2. A few of my synths with USB interfaces function as USB-MIDI interfaces, but I rarely use them for that purpose. I also have the Elektron TM-1 interface for my MachineDrum.&#xD;&#xA;&#xD;&#xA;For typical MIDI music stuff, the cheap cable-style interfaces are perfectly fine. They generally transmit and receive MIDI notes, and can handle a bit of CC data too. They generally fail when you try to do complex SYSEX tasks, like firmware updates. Even my &quot;EMU&quot; branded X-MIDI failed, so don't think that a nice brand name on a cable-style interface will help. They probably all come out of the same factory in Shenzhen. Just buy the cheapest one you can find.&#xD;&#xA;&#xD;&#xA;My MOTU is my go-to interface for firmware updates, I've never had trouble with it. I suspect that the AMT8 would be fine too, but I only plug that in when I need to work with a lot of MIDI devices at the same time, which is rare.&#xD;&#xA;&#xD;&#xA;I've only ever used the TM-1 to do a firmware update on my MachineDrum. I thought that since the TM-1 is designed for high-speed sample-over-MIDI transfers, it would make for a quick update. Not at all - the update actually took hours. This is probably wise on Elektron's part - you don't want to add any risk to a firmware update procedure. The process probably runs at a low MIDI bitrate and includes a lot of error correction codes.&#xD;&#xA;&#xD;&#xA;For your intended use, the cable-style interface should be just fine. If you decide that you need more ports in the future, look at used 4x4 and 8x8 interfaces. As long as they can connect to your computer and drivers are available, an old interface will be just as good as a new one." ContentLicense="CC BY-SA 3.0" />
  <row Id="41357" PostHistoryTypeId="2" PostId="24194" RevisionGUID="95b185ca-1ff1-4a82-aa4e-5aff611e94f0" CreationDate="2013-05-30T11:23:26.027" UserId="7176" Text="Is there a reason why one would choose a [MIDI interface](http://www.m-audio.com/products/en_us/MIDISPORT1x1.html) instead of a simple [MIDI to USB cable](http://www.amazon.com/dp/B0017H4EBG)?  &#xD;&#xA;There's a tenfold price difference between the two and I don't know in what regard the interface would perform better compared to the cable. &#xD;&#xA;&#xD;&#xA;My intended usage for the cable or interface is to connect a MIDI keyboard to the computer such that musical notation software can read the played notes.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41358" PostHistoryTypeId="1" PostId="24194" RevisionGUID="95b185ca-1ff1-4a82-aa4e-5aff611e94f0" CreationDate="2013-05-30T11:23:26.027" UserId="7176" Text="What are the pro's and con's of a MIDI interface compared to MIDI to USB cable?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41359" PostHistoryTypeId="3" PostId="24194" RevisionGUID="95b185ca-1ff1-4a82-aa4e-5aff611e94f0" CreationDate="2013-05-30T11:23:26.027" UserId="7176" Text="&lt;midi&gt;&lt;usb&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41360" PostHistoryTypeId="36" PostId="24197" RevisionGUID="68512ee6-9375-42ce-96e5-f3ee5ac508e9" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7997/what-are-the-pros-and-cons-of-a-midi-interface-compared-to-midi-to-usb-cable/8006#8006" />
  <row Id="41361" PostHistoryTypeId="36" PostId="24198" RevisionGUID="87563bad-d1a6-40ff-8588-c925741261e0" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9411/is-there-a-way-to-use-logic-pro-plugins-to-modulate-pitch" />
  <row Id="41362" PostHistoryTypeId="2" PostId="24199" RevisionGUID="31a73a00-7a0e-4fd4-8a1a-91c18559d5f0" CreationDate="2013-11-24T21:36:47.540" UserId="7194" Text="Yes.&#xD;&#xA;&#xD;&#xA;The tape delay (as well as other delays) has an LFO that modulates the delay time, in turn this will result in a modulation of pitch. Just keep the output on 100% wet, but use the delay as an insert (not a send)." ContentLicense="CC BY-SA 3.0" />
  <row Id="41363" PostHistoryTypeId="2" PostId="24198" RevisionGUID="57c1c012-ce36-47fa-8373-98947b8f7d84" CreationDate="2013-11-16T03:25:44.127" UserId="6833" Text="I would like to attach an LFO to one of my tracks and have it modulate pitch/frequency. Is there any way to accomplish this using the factory plug-ins in Logic Pro?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41364" PostHistoryTypeId="1" PostId="24198" RevisionGUID="57c1c012-ce36-47fa-8373-98947b8f7d84" CreationDate="2013-11-16T03:25:44.127" UserId="6833" Text="Is there a way to use Logic Pro plugins to modulate pitch?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41365" PostHistoryTypeId="3" PostId="24198" RevisionGUID="57c1c012-ce36-47fa-8373-98947b8f7d84" CreationDate="2013-11-16T03:25:44.127" UserId="6833" Text="&lt;logic-pro&gt;&lt;plugins&gt;&lt;modulation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41366" PostHistoryTypeId="36" PostId="24199" RevisionGUID="18052545-7ed2-423b-84a3-ca581f34382e" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9411/is-there-a-way-to-use-logic-pro-plugins-to-modulate-pitch/9484#9484" />
  <row Id="41367" PostHistoryTypeId="36" PostId="24200" RevisionGUID="33afeef6-a263-4d2b-b14c-2c71901eaa8b" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2034/how-to-connect-two-2-midi-devices-to-an-audio-interface-with-only-one-1-midi" />
  <row Id="41368" PostHistoryTypeId="36" PostId="24201" RevisionGUID="9d8c07f7-a84f-4e48-a9d8-18bd9442cf83" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2034/how-to-connect-two-2-midi-devices-to-an-audio-interface-with-only-one-1-midi/2036#2036" />
  <row Id="41369" PostHistoryTypeId="36" PostId="24202" RevisionGUID="284b5b24-38aa-4511-a488-8fa2955661f3" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2034/how-to-connect-two-2-midi-devices-to-an-audio-interface-with-only-one-1-midi/2039#2039" />
  <row Id="41370" PostHistoryTypeId="2" PostId="24201" RevisionGUID="d3c4fc81-b3bb-4aef-bbcb-5ed4e44b585e" CreationDate="2011-08-07T14:58:24.580" UserId="7200" Text="It shouldn't be much of a problem, just set the microKorg to some channel the KR-370 does not use (you can simply try chn 2, but it depends – just do some experimenting) and connect its output to the MIDI in at the Roland, the output of which goes into the MOTU." ContentLicense="CC BY-SA 3.0" />
  <row Id="41371" PostHistoryTypeId="2" PostId="24202" RevisionGUID="102b3bb6-d657-4b75-8074-62cedbf5578a" CreationDate="2011-08-08T02:20:03.457" UserId="7234" UserDisplayName="fluffy" Text="MIDI is designed such that on a single signal chain you have one sender that is broadcasting events on up to 16 channels; the default MIDI port chain (IN/OUT/THRU) only allows you to have one controller.  Basically you have your sequencer's OUT hooked to your controller's IN, your controller's OUT hooked up to your sequencer's IN, and your other receivers daisy-chained via IN to THRU.  This is how MIDI was designed in the low-level protocol, and so without additional hardware it is all you can do.&#xD;&#xA;&#xD;&#xA;In order to get around this limitation and have multiple controllers on a single sequencer, there are two basic options:&#xD;&#xA;&#xD;&#xA;1. Have multiple MIDI inputs, one for each controller's OUT&#xD;&#xA;2. Multiplex multiple controllers' OUT ports into a single IN via a rather uncommon device called a MIDI merger&#xD;&#xA;&#xD;&#xA;I have never used a MIDI merger but I suspect that they are very timing-sensitive and unlikely to be particularly reliable.  You are probably better off getting a multi-input interface.  Personally, I use the TAPco LINK.midi 4x4, but there are quite a few on the market at varying price points.&#xD;&#xA;&#xD;&#xA;Also, nowadays, many MIDI controllers also have a built in USB-MIDI bridge and can be connected directly to your computer by USB.  That is basically a special case of solution number 1.  It also tends to be fairly error-prone, as many USB-MIDI bridges aren't terribly reliable in light of the variable event timing that USB tends to introduce.&#xD;&#xA;&#xD;&#xA;In summary, my recommendation (and solution) is to get a multiple-input MIDI interface." ContentLicense="CC BY-SA 3.0" />
  <row Id="41372" PostHistoryTypeId="2" PostId="24200" RevisionGUID="ac832492-b1d2-45a1-b439-55fe64a8cf3a" CreationDate="2011-08-07T14:34:56.883" UserId="7459" UserDisplayName="bigp" Text="I have one large keyboard (Roland KR-370 [MIDI IN/OUT]) and a small one with pitch/mod wheel (microKorg [MIDI IN/OUT/THRU) and I'm trying to connect them to my Audio Interface (MOTU Traveler [MIDI IN/OUT]).&#xD;&#xA;Is there any way I can pass my Roland's MIDI into the IN or THRU ports of the microKorg, and carry it through it's MIDI Out port while still being able to use the microKorg as well?&#xD;&#xA;&#xD;&#xA;Is this possible? Will I need some complex MIDI channel configuration for this to work?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;(I'm new to the use of MIDI Thru, but I figured it could play a role in here to daisy chain devices?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="41373" PostHistoryTypeId="1" PostId="24200" RevisionGUID="ac832492-b1d2-45a1-b439-55fe64a8cf3a" CreationDate="2011-08-07T14:34:56.883" UserId="7459" UserDisplayName="bigp" Text="How to connect two (2) MIDI devices to an Audio Interface with only one (1) MIDI In port?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41374" PostHistoryTypeId="3" PostId="24200" RevisionGUID="ac832492-b1d2-45a1-b439-55fe64a8cf3a" CreationDate="2011-08-07T14:34:56.883" UserId="7459" UserDisplayName="bigp" Text="&lt;midi&gt;&lt;hardware&gt;&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41375" PostHistoryTypeId="36" PostId="24203" RevisionGUID="1808fa98-d3f7-491b-944f-e8fe5dbcddfa" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1258/how-is-midi-used-with-a-keyboard" />
  <row Id="41376" PostHistoryTypeId="36" PostId="24204" RevisionGUID="16cf93fa-d95f-4a8f-9903-a6ac5e646863" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1258/how-is-midi-used-with-a-keyboard/1262#1262" />
  <row Id="41377" PostHistoryTypeId="36" PostId="24205" RevisionGUID="aeb054e2-aa3b-4c23-9d59-3cac64368cdb" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1258/how-is-midi-used-with-a-keyboard/1281#1281" />
  <row Id="41378" PostHistoryTypeId="2" PostId="24204" RevisionGUID="8a8364da-dc91-4eec-922f-2f524b1ba2d9" CreationDate="2011-04-23T20:59:27.253" UserId="7093" Text="You will need some sort of MIDI connection on your computer.  I'm not sure which MIDI interfaces are available for the Mac, but For the PC most every sound card has a MIDI connection.  Usually the joystick port doubles as a MIDI interface and requires an [adapter cable][1].  &#xD;&#xA;&#xD;&#xA;You will then need to plug one [MIDI cable][2] from the MIDI Out on your keyboard to the MIDI In on your computer, and another from the MIDI In on your keyboard to the MIDI Out on your computer.&#xD;&#xA;&#xD;&#xA;Now that your computer is hooked up to the keyboard, you need software on your computer to talk to the keyboard via MIDI.  On the Mac you can use Garage Band.  [Reaper][3] is an inexpensive program which works on Mac or PC. &#xD;&#xA;&#xD;&#xA;Using the software, you will be able to record and play back music from the keyboard.  The software also should allow you to send information to the keyboard including [sounds][4] and other system data (see the [D-20 manual][5] volume 2 chapter 5).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Cables-27033-Cable-Joystick-Pass-Through/dp/B0002J242G&#xD;&#xA;  [2]: http://www.amazon.com/Foot-Long-MIDI-Connect-Cable/dp/B000068NTU/ref=sr_1_2?s=electronics&amp;ie=UTF8&amp;qid=1303591904&amp;sr=1-2&#xD;&#xA;  [3]: http://www.reaper.fm/index.php&#xD;&#xA;  [4]: http://www.patchmanmusic.com/rolandd5d10d20.html&#xD;&#xA;  [5]: http://www.avtandil.narod.ru/d20e.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="41379" PostHistoryTypeId="2" PostId="24205" RevisionGUID="98b71392-0e41-46f9-a314-d2d719fa4c4c" CreationDate="2011-04-26T15:55:12.667" UserId="17571" UserDisplayName="Zeronyne" Text="Friend of George answered perfectly, and this will probably be the most useful application of MIDI for you in the long run.&#xD;&#xA;&#xD;&#xA;But there are many other things you can do with MIDI prior to hooking it up to a computer.&#xD;&#xA;&#xD;&#xA;First off, let's face it, the D-20's sound engine leaves much to be desired. It's pretty bad. But the keyboard and on board controls are fine. You can find countless used sound modules at music stores and on Craigslist. If you are just starting out, look for a module that has a good complement of sounds you may enjoy and are appropriate for your style of music. Then it's just a simple matter of hooking up the MIDI out of the D20 into the MIDI in of the module. Be sure to hook up the audio outs of the module as well...MIDI doesn't transmit any audio whatsoever...think of it as the D20's keys telling the module what notes to play. If you also hook up the audio outs of the D20 into a mixer with the module, you now have a very versatile synth that has several layers utilizing several different methods of synthesis. Now the brash attack of what the D20 laughlingly calls a piano sound becomes a really evocative attack for a warm analog pad from the module. This USED to be the way things were done prior to powerful computers, and I would argue that, even with cheap synths, it creates a sound that is hard to get from any single software synth no matter how powerful.&#xD;&#xA;&#xD;&#xA;You can also use MIDI to sync up a drum machine with the built in sequencer on the D20. I don't know that I would have the patience to program full songs into the UI nightmare that is the circa 1990 Roland on board sequencer, but it's perfect for patterns, and it's great for hooking up to a drum machine to lock them in time with each other. If you are a guitarist, it provides a nice canvas on which to try ideas and motifs. You can hook up the MIDI ports in either direction depending on which device is assuming tempo and meter control. If you do decide to do this, there is ample documentation out there on the Net.&#xD;&#xA;&#xD;&#xA;Eventually, you are going to want to hook up to a computer, but in the meanwhile, there are many other live applications that you should play with to get a comprehensive overview of MIDI." ContentLicense="CC BY-SA 3.0" />
  <row Id="41380" PostHistoryTypeId="2" PostId="24203" RevisionGUID="6764fdd7-2a2a-43bb-9841-219672ef499a" CreationDate="2011-04-23T19:40:12.473" UserId="9651" UserDisplayName="Caleb" Text="How is MIDI used with a keyboard? I have a roland d-20, and I've heard that it connects with MIDI through USB. But what exactly is MIDI? How does it differ from a microphone input?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41381" PostHistoryTypeId="1" PostId="24203" RevisionGUID="6764fdd7-2a2a-43bb-9841-219672ef499a" CreationDate="2011-04-23T19:40:12.473" UserId="9651" UserDisplayName="Caleb" Text="How is MIDI used with a keyboard?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41382" PostHistoryTypeId="3" PostId="24203" RevisionGUID="6764fdd7-2a2a-43bb-9841-219672ef499a" CreationDate="2011-04-23T19:40:12.473" UserId="9651" UserDisplayName="Caleb" Text="&lt;midi&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41383" PostHistoryTypeId="36" PostId="24206" RevisionGUID="8b6ba8a4-6dd8-44f0-a5c5-232a2d170cdf" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1332/guide-for-midi" />
  <row Id="41384" PostHistoryTypeId="2" PostId="24207" RevisionGUID="bba0d234-a247-4d04-94ce-fad6dc777af0" CreationDate="2011-05-02T22:59:43.940" UserId="7471" UserDisplayName="Mark Heath" Text="Have a read of this short [Introduction to MIDI][1] PDF from Roland. This will give you an overview of what MIDI is and what it can be used for. Then you might be in a better position to tell us what topics you are interested in exploring further.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.midi.org/aboutmidi/intromidi.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="41385" PostHistoryTypeId="2" PostId="24206" RevisionGUID="36117074-9de9-4614-b28a-75725409a394" CreationDate="2011-05-02T22:02:06.423" UserId="9651" UserDisplayName="Caleb" Text="*Where can I get the Roland D-20 guide book for MIDI?&#xD;&#xA;I looked at RolandUs.com but they didn't have it there.*" ContentLicense="CC BY-SA 3.0" />
  <row Id="41386" PostHistoryTypeId="1" PostId="24206" RevisionGUID="36117074-9de9-4614-b28a-75725409a394" CreationDate="2011-05-02T22:02:06.423" UserId="9651" UserDisplayName="Caleb" Text="Guide for MIDI?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41387" PostHistoryTypeId="3" PostId="24206" RevisionGUID="36117074-9de9-4614-b28a-75725409a394" CreationDate="2011-05-02T22:02:06.423" UserId="9651" UserDisplayName="Caleb" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41388" PostHistoryTypeId="36" PostId="24207" RevisionGUID="8e87b7de-89b7-4eeb-b368-56da70c324ca" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1332/guide-for-midi/1334#1334" />
  <row Id="41389" PostHistoryTypeId="36" PostId="24208" RevisionGUID="d876d751-6196-4024-876a-38100ea65961" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1332/guide-for-midi/1336#1336" />
  <row Id="41390" PostHistoryTypeId="2" PostId="24208" RevisionGUID="0419970f-3fce-42e8-96dc-82609f1666c7" CreationDate="2011-05-03T20:37:45.257" UserId="7093" Text="The manual actually says:&#xD;&#xA;&#xD;&#xA;&gt; When using the D-20 in Multi Timbral mode, please read the ***supplied*** &quot;MIDI Guide book&quot; before this owners manual.&#xD;&#xA;&#xD;&#xA;Apparently the keyboard originally came with the MIDI Guide book.  I was unable to find it online.&#xD;&#xA;&#xD;&#xA;From what I have seen in the D-50 owners manuals about MIDI and from what I can infer from the D-20 manual, I don't think it would be much help to you.  &#xD;&#xA;&#xD;&#xA;The document recommended by Mark Heath would be a great place to start.  On page 7 it describes that &quot;Multitimbral&quot; simply means that the device can play multiple sounds at the same time." ContentLicense="CC BY-SA 3.0" />
  <row Id="41391" PostHistoryTypeId="36" PostId="24209" RevisionGUID="21ddaf6a-9589-44cd-be0b-d4354f20e560" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7498/cubase-and-randomizing-midi" />
  <row Id="41392" PostHistoryTypeId="36" PostId="24210" RevisionGUID="e96b61b8-9ed7-4f38-8c31-631ac57343a4" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7498/cubase-and-randomizing-midi/7504#7504" />
  <row Id="41393" PostHistoryTypeId="36" PostId="24211" RevisionGUID="e297e49a-8e55-4eaf-8705-39a5cf99e3d0" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7498/cubase-and-randomizing-midi/7564#7564" />
  <row Id="41394" PostHistoryTypeId="2" PostId="24210" RevisionGUID="f2882b3f-3b15-4e6b-ae5d-8a784d345f72" CreationDate="2013-03-27T01:52:14.493" UserId="7312" UserDisplayName="Eugene S" Text="There are few dedicated options available in Cubase for that purpose (there might be more).&#xD;&#xA;&#xD;&#xA; **1. The Random Quantize setting**&#xD;&#xA;&#xD;&#xA;This setting affects the result of the quantizing. It allows you to set a “distance” in ticks (120ths of sixteenth notes). Events will be quantized to random positions within the specified “distance” from the quantize grid, thus creating a more “loose” quantizing. Much like the Non Quantize setting, this allows for slight variations, while at the same time keeping notes from ending up too far from the grid.&#xD;&#xA;&#xD;&#xA; **2. Iterative Quantize**&#xD;&#xA;&#xD;&#xA;It works like this:&#xD;&#xA;Instead of moving a note to the closest quantize grid position, Iterative Quantize moves it only part of the way. You specify how much the notes should be moved towards the&#xD;&#xA;grid with the “Iterative Strength” setting in the Quantize Setup dialog. Iterative Quantize also differs from “regular” quantization in that the operation is not based on the notes’ original positions but on their current, quantized position. This makes&#xD;&#xA;it possible to repeatedly use Iterative Quantize, gradually moving the notes closer to the quantize grid until you’ve found the desired timing." ContentLicense="CC BY-SA 3.0" />
  <row Id="41395" PostHistoryTypeId="2" PostId="24211" RevisionGUID="78d2ad9b-69c7-40c2-b48c-5f31424e8dae" CreationDate="2013-04-02T13:07:19.710" UserDisplayName="jordinja" Text="Eugene's answer above is excellent, and outlines some key features in Cubase that you should find useful in this task.&#xD;&#xA;&#xD;&#xA;I'd just like to add that you can adjust the velocity of the MIDI events also -  this effectively changes the volume, but it is more akin to the force with which the note is struck (ie pressing a piano key softly would equate to low velocity).&#xD;&#xA;&#xD;&#xA;The Logical Editor can be used to change the velocity of MIDI notes, I found a tutorial here which looks like it might help you:&#xD;&#xA;&#xD;&#xA;[[TUTORIAL] How to humanise a midi (drum) track in Cubase][1]&#xD;&#xA;&#xD;&#xA;[MIDI Quantizing and Humanizing Functions in Cubase][2]&#xD;&#xA;&#xD;&#xA;When you open the MIDI clip window, the velocity can be selected in the automation strip at the bottom, and you can use various tools to draw velocity in there. You may have already experimented with that, but I'm just mentioning it because I only found the additional tools after I'd been using Cubase for a while.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ultimatemetal.com/forum/f-o-h/739500-tutorial-how-humanise-midi-drum-track-cubase.html &quot;[TUTORIAL] How to humanise a midi &amp;#40;drum&amp;#41; track in Cubase&quot;&#xD;&#xA;  [2]: http://academic.pgcc.edu/~njudy/mt/quantize.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="41396" PostHistoryTypeId="2" PostId="24209" RevisionGUID="f1d42e23-3605-4829-8d20-4233bc893e0e" CreationDate="2013-03-26T09:08:56.373" UserId="7325" UserDisplayName="Dave Rook" Text="I use a lot of VST's and midi. The problem is, my midi program (Guitar Pro) exports midi as it's written, all at the same constant volume and in 'perfect' time.&#xD;&#xA;&#xD;&#xA;When I run a VST through, it's un-realstic and changing each note one at a time in Cubase is too laborious. &#xD;&#xA;&#xD;&#xA;Is there an automated way to do this, to 'offest' the timing and volume by a percentage? " ContentLicense="CC BY-SA 3.0" />
  <row Id="41397" PostHistoryTypeId="1" PostId="24209" RevisionGUID="f1d42e23-3605-4829-8d20-4233bc893e0e" CreationDate="2013-03-26T09:08:56.373" UserId="7325" UserDisplayName="Dave Rook" Text="Cubase and randomizing midi" ContentLicense="CC BY-SA 3.0" />
  <row Id="41398" PostHistoryTypeId="3" PostId="24209" RevisionGUID="f1d42e23-3605-4829-8d20-4233bc893e0e" CreationDate="2013-03-26T09:08:56.373" UserId="7325" UserDisplayName="Dave Rook" Text="&lt;midi&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41399" PostHistoryTypeId="36" PostId="24212" RevisionGUID="bcec0062-669f-45c3-96f9-3466392d3f0c" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2909/can-i-use-a-midi-computer-cable-as-a-straight-through-male-to-male-midi-cable" />
  <row Id="41400" PostHistoryTypeId="2" PostId="24213" RevisionGUID="fc9bf76d-7925-42c5-89a8-0ebc60573f11" CreationDate="2011-12-28T18:56:49.343" UserId="7093" Text="I don't think the cable will work by itself.  &#xD;&#xA;&#xD;&#xA;If you connect it to a computer and tell your software to use MIDI out as MIDI thru, it should work, but you might experience some latency.&#xD;&#xA;&#xD;&#xA;For convenience and reliability (and to reduce latency) I recommend getting a regular MIDI cable.  You can [find them on Amazon][1] for under $5.&#xD;&#xA;&#xD;&#xA;If you are adventurous, you could probably make your own by cutting and splicing the cables you already have.  This would require some knowledge of cable making and the proper cable pinout.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/gp/search/ref=sr_nr_p_36_5?bbn=11091801&amp;keywords=midi%20cable&amp;sort=relevancerank&amp;qid=1325098263&amp;rh=k:midi%20cable,n:11091801&amp;rnid=386685011&amp;low-price=&amp;high-price=5&amp;x=0&amp;y=0" ContentLicense="CC BY-SA 3.0" />
  <row Id="41401" PostHistoryTypeId="2" PostId="24212" RevisionGUID="57e6eefd-efe1-4861-b779-2f8b0967c261" CreationDate="2011-12-28T18:06:39.887" UserDisplayName="WuckaChucka" Text="I have a UA-4FX USB interface that has one MIDI IN and one MIDI OUT DIN5 connectors.&#xD;&#xA;&#xD;&#xA;My Casio keyboard has the same.  &#xD;&#xA;&#xD;&#xA;I have two MIDI &quot;computer&quot; cables like so:&#xD;&#xA;&#xD;&#xA;![cable][1]&#xD;&#xA;&#xD;&#xA;Is it possible to link this up (or just use one cable, but run the MIDI IN portion of the cable to the OUT of the keyboard, and the MIDI OUT portion of the cable to the IN of the UA-4FX)?  Any combination of one and/or two of these cables going to work or do I need to purchase a male-to-male DIN5 cable?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/yHQ4h.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="41402" PostHistoryTypeId="1" PostId="24212" RevisionGUID="57e6eefd-efe1-4861-b779-2f8b0967c261" CreationDate="2011-12-28T18:06:39.887" UserDisplayName="WuckaChucka" Text="Can I use a MIDI computer cable as a straight through male-to-male MIDI cable?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41403" PostHistoryTypeId="3" PostId="24212" RevisionGUID="57e6eefd-efe1-4861-b779-2f8b0967c261" CreationDate="2011-12-28T18:06:39.887" UserDisplayName="WuckaChucka" Text="&lt;midi&gt;&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41404" PostHistoryTypeId="36" PostId="24213" RevisionGUID="b379dcfb-9386-492b-a571-0a19d03aed02" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2909/can-i-use-a-midi-computer-cable-as-a-straight-through-male-to-male-midi-cable/2910#2910" />
  <row Id="41405" PostHistoryTypeId="36" PostId="24214" RevisionGUID="48b23b03-f647-4e36-8de2-b4b7420f702c" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8379/converting-vst-track-to-midi" />
  <row Id="41406" PostHistoryTypeId="2" PostId="24215" RevisionGUID="d8bb4b77-5c62-4279-a91b-62a93ae85ab8" CreationDate="2013-07-11T15:06:59.400" UserId="7294" UserDisplayName="Warrior Bob" Text="If your &quot;VST&quot; track just has MIDI data in it already (which is being sent to a VST), then you should be able to copy that MIDI data out just as you describe. If it isn't (say, it's got audio data that's just being processed by a VST) then there no universal way to do this, since MIDI is not audio.&#xD;&#xA;&#xD;&#xA;Some tools do exist that will attempt to transcribe note data from audio recordings as MIDI, but I haven't had a lot of luck with them." ContentLicense="CC BY-SA 3.0" />
  <row Id="41407" PostHistoryTypeId="2" PostId="24214" RevisionGUID="a4505688-c282-401d-a439-37ddf592f161" CreationDate="2013-07-10T18:34:15.283" UserId="7206" Text="What I usually do when I do this is that I just copy paste from the vst track to the midi track which works in cubase, but is there a way to convert a vst track to a midi track?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41408" PostHistoryTypeId="1" PostId="24214" RevisionGUID="a4505688-c282-401d-a439-37ddf592f161" CreationDate="2013-07-10T18:34:15.283" UserId="7206" Text="Converting vst track to midi?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41409" PostHistoryTypeId="3" PostId="24214" RevisionGUID="a4505688-c282-401d-a439-37ddf592f161" CreationDate="2013-07-10T18:34:15.283" UserId="7206" Text="&lt;midi&gt;&lt;vst&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41410" PostHistoryTypeId="36" PostId="24215" RevisionGUID="78b233d6-b7e6-422b-bae2-ee21c9fe2d57" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8379/converting-vst-track-to-midi/8386#8386" />
  <row Id="41411" PostHistoryTypeId="36" PostId="24216" RevisionGUID="71e3adb7-105c-41b4-9177-1248cf31c43d" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5446/ableton-live-8-midi-tracks-recorded-without-a-tempo-reference-need-export-to-si" />
  <row Id="41412" PostHistoryTypeId="2" PostId="24216" RevisionGUID="feaf3b84-c6c7-45d0-8607-20d6bc118da4" CreationDate="2012-11-29T02:49:36.320" UserDisplayName="Andre M" Text="Having successfully extracted a midi performance from a pc circa 1986, into Ableton Live8, I now have copied each track into its own MIDI file and imported these files into the notation software I'm using (Sibelius). &#xD;&#xA;&#xD;&#xA;The problem comes in where the measures Sibelius created (probably from the tempo data in Live8's midi file) do not line up with the intended measure breaks - of course. &#xD;&#xA;&#xD;&#xA;What's the best way to produce a correctly metered score here? Again, the working pieces are:  &#xD;&#xA; &#xD;&#xA;- Original source Midi file, run from the Midi out of a 1986 computer.&#xD;&#xA;- Ableton Live8 to record midi&#xD;&#xA;Sibelius, to notate.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41413" PostHistoryTypeId="1" PostId="24216" RevisionGUID="feaf3b84-c6c7-45d0-8607-20d6bc118da4" CreationDate="2012-11-29T02:49:36.320" UserDisplayName="Andre M" Text="Ableton Live 8 MIDI tracks recorded without a tempo reference. Need export to Sibelius notation software" ContentLicense="CC BY-SA 3.0" />
  <row Id="41414" PostHistoryTypeId="3" PostId="24216" RevisionGUID="feaf3b84-c6c7-45d0-8607-20d6bc118da4" CreationDate="2012-11-29T02:49:36.320" UserDisplayName="Andre M" Text="&lt;midi&gt;&lt;ableton-live&gt;&lt;scoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41415" PostHistoryTypeId="36" PostId="24217" RevisionGUID="7187eddf-64d0-4f21-b527-22ae292c91c4" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8371/can-i-convert-cakewalk-wrk-files-to-midi" />
  <row Id="41416" PostHistoryTypeId="2" PostId="24218" RevisionGUID="86e59c64-dd85-46d3-b968-3b8d0affec53" CreationDate="2013-07-10T08:16:58.147" UserId="7196" Text=".wrk files are full project files with a lot more information in them than just the MIDI. In order to extract the MIDI information you would first have to open the files. Unfortunately this means you'd need either a version Cakewalk or Sonar.&#xD;&#xA;&#xD;&#xA;The (perhaps) better news is that there's a [trial version][1] of Sonar.&#xD;&#xA;You should hopefully be able to open your files from there.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cakewalk.com/Products/SONAR/Web-Trial.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="41417" PostHistoryTypeId="2" PostId="24217" RevisionGUID="7f2696b3-daaf-477b-896b-e32f5211ee3b" CreationDate="2013-07-10T05:50:41.660" UserId="6833" Text="I have a bunch of .wrk files from when I owned a couple of Cakewalk programs. I don't have any of my Cakewalk software anymore, though. Is there any way I can open the files up or convert them to MIDI without buying new software?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41418" PostHistoryTypeId="1" PostId="24217" RevisionGUID="7f2696b3-daaf-477b-896b-e32f5211ee3b" CreationDate="2013-07-10T05:50:41.660" UserId="6833" Text="Can I convert Cakewalk .wrk files to MIDI?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41419" PostHistoryTypeId="3" PostId="24217" RevisionGUID="7f2696b3-daaf-477b-896b-e32f5211ee3b" CreationDate="2013-07-10T05:50:41.660" UserId="6833" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41420" PostHistoryTypeId="36" PostId="24218" RevisionGUID="6362756b-99a9-4fa9-b8c9-d8bcfea10881" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8371/can-i-convert-cakewalk-wrk-files-to-midi/8372#8372" />
  <row Id="41421" PostHistoryTypeId="36" PostId="24219" RevisionGUID="307484c1-93ee-4717-add1-504551b3777f" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5786/how-do-i-set-a-maximum-duration-for-notes-in-command-line-timidity-synthesis" />
  <row Id="41422" PostHistoryTypeId="2" PostId="24219" RevisionGUID="e5cd58bc-4e0b-46fe-a592-024e5d3a8910" CreationDate="2013-01-09T22:25:10.453" UserDisplayName="Brandon" Text="I'm using the following command to synthesize MIDIs:&#xD;&#xA;&#xD;&#xA;    timidity -A120 -a in.mid Ow2 -o out.wav&#xD;&#xA;&#xD;&#xA;However, some of the notes drag on for longer than I'd like and leave a metallic sound. I'd like to add an option to this command&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41423" PostHistoryTypeId="1" PostId="24219" RevisionGUID="e5cd58bc-4e0b-46fe-a592-024e5d3a8910" CreationDate="2013-01-09T22:25:10.453" UserDisplayName="Brandon" Text="How do I set a maximum duration for notes in command line TiMidity synthesis?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41424" PostHistoryTypeId="3" PostId="24219" RevisionGUID="e5cd58bc-4e0b-46fe-a592-024e5d3a8910" CreationDate="2013-01-09T22:25:10.453" UserDisplayName="Brandon" Text="&lt;midi&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41425" PostHistoryTypeId="36" PostId="24220" RevisionGUID="9e6a3df9-4284-4a38-84f7-586c8fc640de" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7763/looking-to-make-a-smooth-pitch-bend-in-logic-audio-file" />
  <row Id="41426" PostHistoryTypeId="36" PostId="24221" RevisionGUID="02ada6a5-d098-457b-aab6-78ef457bc9d8" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7763/looking-to-make-a-smooth-pitch-bend-in-logic-audio-file/7770#7770" />
  <row Id="41427" PostHistoryTypeId="2" PostId="24221" RevisionGUID="a8d49064-bb75-4b2a-872a-2b82d35e6063" CreationDate="2013-04-29T22:50:17.823" UserId="7189" Text="It *is* possible to do a smooth pitch bend with Logic and the Pitch Shifter II plugin, but it isn't easy. The core problem is that Logic is built around MIDI, and most MIDI messages are 7-bit. A 7-bit number can represent any of 127 different values, which isn't very many when you are dealing with pitch bends.&#xD;&#xA;&#xD;&#xA;Fortunately, Logic *does* support a special kind of MIDI message - the 14 bit CC message. 14 bit messages are actually two 7-bit messages sent one after the other. The first message contains the first, and the second contains the second 7 bits.&#xD;&#xA;&#xD;&#xA;If you were dealing with MIDI hardware, it wouldn't be too difficult to figure out how to do the routing. Since you are dealing with Logic plugins, you need some additional magic, which is described in this [Blue Cat Audio tutorial][1]. We won't be using any Blue Cat plugins for this, but this is the only place I've seen instructions on how to control Logic plugins from the environment.&#xD;&#xA;&#xD;&#xA;Here are the step-by-step instructions:&#xD;&#xA;&#xD;&#xA;1. Open up your Logic project that has an audio track. Make sure the Pitch Shifter II plugin is inserted into that track in the TOP slot in the inserts list. Per the Blue Cat tutorial, that will assign the Pitch Shifter II to channel 2.&#xD;&#xA;2. Open the Logic Environment: Window | Environment&#xD;&#xA;3. You should be in the Mixer view in the Environment window. If you aren't, use the dropdown in the upper left to select &quot;Mixer&quot;&#xD;&#xA;4. Create three vertical faders by using the New menu, then select Fader, then Fader 1. Repeat twice so that you thee faders&#xD;&#xA;5. Rename the first fader &quot;pitch&quot; by holding down command and clicking on the label below the first fader. Rename the second one MSB and the third one LSB. This step isn't critical, but it will make the tutorial easier to follow. You may also want the Pitch fader to be much taller than the other two.&#xD;&#xA;6. Connect the output of the Pitch fader to the MSB fader&#xD;&#xA;7. Connect the output of the Pitch fader to the LSB fader&#xD;&#xA;8. Connect the output of the MSB fader to the track that has the PShifter II plugin&#xD;&#xA;9. Connect the output of the LSB fader to the track that has the PShifter II plugin&#xD;&#xA;10. Your Environment should look roughly like this:&#xD;&#xA;&#xD;&#xA; ![Fader Arrangement][2]&#xD;&#xA;&#xD;&#xA;10. Now click on the title of the Pitch fader, and make the following settings. The Input and Output settings **must** match. The range could go to the full 14-bit range, but Pitch Shifter II only allows 12 semitones, and `12 * 127 = 1542`.&#xD;&#xA; 1. Output: `Control`&#xD;&#xA; 2. Channel: `1`&#xD;&#xA; 3. -1-: `20`&#xD;&#xA; 4. Input: `Control`&#xD;&#xA; 5. Channel: `1`&#xD;&#xA; 6. -1-: `20`&#xD;&#xA; 7. Range: `0 1542`&#xD;&#xA;&#xD;&#xA; ![Pitch Settings][3]&#xD;&#xA;&#xD;&#xA;11. Now make the following settings for MSB:&#xD;&#xA; 1. Output: `Fader`&#xD;&#xA; 2. Channel: `2`&#xD;&#xA; 3. -1-: `1`&#xD;&#xA; 4. Input: `Control`&#xD;&#xA; 5. Channel: `1`&#xD;&#xA; 6. -1-: `20`&#xD;&#xA; 7. Range: `0 12`&#xD;&#xA;&#xD;&#xA; ![MSB Settings][4]&#xD;&#xA;&#xD;&#xA;12. Now make the following settings for LSB:&#xD;&#xA; 1. Output: `Fader`&#xD;&#xA; 2. Channel: `2`&#xD;&#xA; 3. -1-: `2`&#xD;&#xA; 4. Input: `Control`&#xD;&#xA; 5. Channel: `1`&#xD;&#xA; 6. -1-: `52` (this is the LSB CC that corresponds to MSB CC 20)&#xD;&#xA; 7. Range: `0 127`&#xD;&#xA;&#xD;&#xA; ![LSB Settings][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;You should now be able to smoothly adjust Pitch Shifter II using the large Pitch fader.&#xD;&#xA;&#xD;&#xA;**Why This Works**&#xD;&#xA;&#xD;&#xA;The Pitch fader generates a 14-bit MIDI CC message, which is great for smooth pitch bends. If Pitch Shifter II was a piece of MIDI hardware, then we would be done. Since it is a plugin, we need to turn the 14-bit CC into two separate Fader messages which point to the Semitones and Cents controls. We do that by sending the output of Pitch to both MSB and LSB. The MSB and LSB are both configured to take Control inputs (remember that Pitch is outputting Control), but they produce Fader outputs. &#xD;&#xA;&#xD;&#xA;Pitch is outputting on CC 20, but since it is generating 14-bit CC messages, it will be outputting a second message on CC 52 (you can find this in a MIDI CC reference, or you can just look at the -1- menu an see that Logic helpfully identifies 52 as the LSB controller for 20. You could use any MSB-LSB pairing you want, I picked 20 arbitrarily, and that mandates that we use 52 as the LSB). &#xD;&#xA;&#xD;&#xA;The next thing we need to do is adjust the Fader output settings so that they correspond to Pitch Shifter's needs. The Blue Cat link above indicates that the first insert will have channel 2, so I used that for both MSB and LSB. Then I experimented and found that when Output -1-: is set to 2 for LSB, LSB controls Cents. When Output -1-: is set to 1 for MSB, MSB controls Semitones.&#xD;&#xA;&#xD;&#xA;The last thing I needed to do was scale down the maximum value of MSB and Pitch. Recall that we are working with 14-bit values. `2^14 = 16384`, so we can use values from 0 to 16383. However, Semitones can only take on 13 values (I realize now that I was wrong - it can take on -12 to +12, including zero. That is 26 values. But you should be able to figure out how to clear up this problem on your own), so I set the maximum value of MSB and Pitch accordingly. (Note to editors: if you want to go back and fix this error in my answer, please also redo the screenshots for MSB and Pitch so that they match the updated text.)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bluecataudio.com/Tutorials/Tutorial_SideChain_LogicPro/&#xD;&#xA;  [2]: http://i.stack.imgur.com/G7Y4k.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/r6R9x.png&#xD;&#xA;  [4]: http://i.stack.imgur.com/MlzNq.png&#xD;&#xA;  [5]: http://i.stack.imgur.com/lIdKl.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="41428" PostHistoryTypeId="2" PostId="24220" RevisionGUID="a41d155f-03ff-422b-b986-31eaae8ae100" CreationDate="2013-04-28T23:40:25.950" UserId="17548" UserDisplayName="user3997" Text="I'm trying to make a smooth pitch bend down 5 semi tones or so.  &#xD;&#xA;&#xD;&#xA;I have Melodyne and was trying it with that.&#xD;&#xA;&#xD;&#xA;I was also trying to do it using the built in Pitch Shift plug-in via the automation window.  I have to choose either semitones or cents.  &#xD;&#xA;&#xD;&#xA;I can't get the desired effect with semitones because it jumps too fast, and with cents, the range is not available to go multiple semitones." ContentLicense="CC BY-SA 3.0" />
  <row Id="41429" PostHistoryTypeId="1" PostId="24220" RevisionGUID="a41d155f-03ff-422b-b986-31eaae8ae100" CreationDate="2013-04-28T23:40:25.950" UserId="17548" UserDisplayName="user3997" Text="Looking to make a smooth pitch bend in Logic [Audio FIle]" ContentLicense="CC BY-SA 3.0" />
  <row Id="41430" PostHistoryTypeId="3" PostId="24220" RevisionGUID="a41d155f-03ff-422b-b986-31eaae8ae100" CreationDate="2013-04-28T23:40:25.950" UserId="17548" UserDisplayName="user3997" Text="&lt;effects&gt;&lt;logic-pro&gt;&lt;pitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41431" PostHistoryTypeId="36" PostId="24222" RevisionGUID="63a879f3-fa23-4536-bbe9-8d9d4d1a3cfa" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2212/how-to-sync-midi-to-audio-logic-8" />
  <row Id="41432" PostHistoryTypeId="36" PostId="24223" RevisionGUID="d0802d4c-6e95-43f0-9642-6d7e592f5e8e" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2212/how-to-sync-midi-to-audio-logic-8/2825#2825" />
  <row Id="41433" PostHistoryTypeId="36" PostId="24224" RevisionGUID="969e2907-1847-410a-848b-74d1c2296b07" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2212/how-to-sync-midi-to-audio-logic-8/4567#4567" />
  <row Id="41434" PostHistoryTypeId="2" PostId="24223" RevisionGUID="e4a9260b-8847-4db5-8f0b-e2e7ac91eea5" CreationDate="2011-12-16T16:49:09.330" UserDisplayName="user1736" Text="Annotated it in what ? how ? Logic will take any midi part and try and sync its tempo map to it, assuming its in some kind of straight 8s or 16s timing. Load the audio file into logic and convert audio to midi, then map the midi to tempo. strange way of doing it though, you can just map audio to midi easily inside logic anyway, no need for scripts n such, its easy to do tempo maps like that, I find melodyne infinitely better for sorting that stuff out tho." ContentLicense="CC BY-SA 3.0" />
  <row Id="41435" PostHistoryTypeId="2" PostId="24224" RevisionGUID="a0403081-4489-453c-bfd8-421e763f4fa5" CreationDate="2012-08-14T01:53:21.390" UserId="7189" Text="&gt; but I can easily turn it into a csv or other format by writing a&#xD;&#xA;&gt; script to do so.&#xD;&#xA;&#xD;&#xA;If you are scripting in something like Perl or Python, there are MIDI libraries that are very easy to use. Instead of CSV, grab a library and output the MIDI that you want. Then drop the MIDI file into logic, and you will have your timing data." ContentLicense="CC BY-SA 3.0" />
  <row Id="41436" PostHistoryTypeId="2" PostId="24222" RevisionGUID="13550c83-757d-42d8-b851-bb3296d408d2" CreationDate="2011-08-26T23:08:23.593" UserDisplayName="John Seales" Text="I've annotated an audio file with the beat locations. Now I want to create a midi file that is synced with the audio.&#xD;&#xA;&#xD;&#xA;The annotation is in xml format, but I can easily turn it into a csv or other format by writing a script to do so. I can also easily turn the beat timings into tempo data.&#xD;&#xA;&#xD;&#xA;I'm hoping I can load a correctly formatted file into Logic and then I can use that as the tempo map.&#xD;&#xA;&#xD;&#xA;How do I do it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41437" PostHistoryTypeId="1" PostId="24222" RevisionGUID="13550c83-757d-42d8-b851-bb3296d408d2" CreationDate="2011-08-26T23:08:23.593" UserDisplayName="John Seales" Text="How to sync midi to audio - Logic 8" ContentLicense="CC BY-SA 3.0" />
  <row Id="41438" PostHistoryTypeId="3" PostId="24222" RevisionGUID="13550c83-757d-42d8-b851-bb3296d408d2" CreationDate="2011-08-26T23:08:23.593" UserDisplayName="John Seales" Text="&lt;midi&gt;&lt;logic-pro&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41439" PostHistoryTypeId="36" PostId="24225" RevisionGUID="49a1b88e-abdd-4da4-841b-3d9d988e07a3" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2024/how-to-sync-playback-control-of-record-and-reaper-without-rewire" />
  <row Id="41440" PostHistoryTypeId="36" PostId="24226" RevisionGUID="f5404729-f960-4473-babb-78943c99bfcc" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2024/how-to-sync-playback-control-of-record-and-reaper-without-rewire/2032#2032" />
  <row Id="41441" PostHistoryTypeId="2" PostId="24226" RevisionGUID="9a72427f-25a7-4fb0-85fc-4661c43cf854" CreationDate="2011-08-06T22:18:17.610" UserId="7209" Text="If both Record and Reaper support MIDI sync from an external source, you can use virtual ports with [MIDI Yoke][1] (or similar), and then a separate application (such as [MIDIOX][2]) to send the play/stop parts.&#xD;&#xA;&#xD;&#xA;This isn't Rewire though, so the loop start and end points won't work.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.midiox.com/index.htm?http://www.midiox.com/myoke.htm&#xD;&#xA;  [2]: http://www.midiox.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="41442" PostHistoryTypeId="2" PostId="24225" RevisionGUID="3bad7fcd-4970-4e51-835f-4e515a63d240" CreationDate="2011-08-05T21:47:12.673" UserId="7459" UserDisplayName="bigp" Text="Is there a way to transmit the &quot;play/stop/record/loop&quot; commands to both DAWs so that they play in sync?&#xD;&#xA;&#xD;&#xA;Because of Record's lack of MIDI-Out support AND not being able to take incoming audio from external sources while in ReWire mode, I'm trying to work my way around it by feeding Reaper's output-channels into some of Record's input-channels (via Soundflower). It's not very practical, but I will have to write MIDI clips in Reaper (for VST instruments) and then MIDI clips in Record (for Record &amp; Reason devices).&#xD;&#xA;&#xD;&#xA;But now comes yet another issue, how can I sync both together? Does it require an external hardware MIDI-clock of some kind?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41443" PostHistoryTypeId="1" PostId="24225" RevisionGUID="3bad7fcd-4970-4e51-835f-4e515a63d240" CreationDate="2011-08-05T21:47:12.673" UserId="7459" UserDisplayName="bigp" Text="How to sync playback control of Record and Reaper, without ReWire?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41444" PostHistoryTypeId="3" PostId="24225" RevisionGUID="3bad7fcd-4970-4e51-835f-4e515a63d240" CreationDate="2011-08-05T21:47:12.673" UserId="7459" UserDisplayName="bigp" Text="&lt;midi&gt;&lt;reaper&gt;&lt;playback&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41445" PostHistoryTypeId="36" PostId="24227" RevisionGUID="2676b517-2f21-436b-933b-4c592e30dd7e" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1291/software-playing-real-sounds-not-midi-when-writing-scores" />
  <row Id="41446" PostHistoryTypeId="2" PostId="24228" RevisionGUID="148bb371-935d-41f0-8a7d-6c7388e40a1a" CreationDate="2011-04-27T07:31:35.313" UserId="7471" UserDisplayName="Mark Heath" Text="Usually the approach that will get you the most realistic results will be to use sampled instruments. You can buy an all-in-one sampler with a wide variety of bundled sounds, or if you are willing to spend more, you can buy sets of samples on an instrument by instrument basis (e.g. piano, strings, drums are often sold separately).&#xD;&#xA;&#xD;&#xA;For example, Native Instruments has a sampler called [Kontakt][1] which comes with 43 GB of samples, but you can also buy individual pianos from them such as [Alicia's Keys][2] or [Berlin Concert Grand][3]. Almost all other companies that make samplers have a similar lineup - you can expand the factory settings with additional libraries. These days, the add-on libraries often come with their own VST player, meaning you don't need to buy the full sampler, and their GUI is optimised for the instrument in question.&#xD;&#xA;&#xD;&#xA;The other thing to bear in mind if you want complete realism is the need for 'articulations'. For example, strings can be played legato, pizzicato etc. Different samplers and sample sets offer different ways of triggering these articulations. You will also need a DAW (Digital Audio Workstation) that lets you sequence your song and play it through the samplers using MIDI. For example the latest [Cubase][4] has introduced better support for controlling articulations and dynamics.&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.native-instruments.com/#/en/products/producer/kontakt-4/&#xD;&#xA;  [2]: http://www.native-instruments.com/#/en/products/producer/powered-by-kontakt/alicias-keys/&#xD;&#xA;  [3]: http://www.native-instruments.com/#/en/products/producer/powered-by-kontakt/berlin-concert-grand/&#xD;&#xA;  [4]: http://www.steinberg.net/en/products/cubase/cubase6_start.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="41447" PostHistoryTypeId="2" PostId="24227" RevisionGUID="a759b3f1-7d27-4b22-9d1f-162dfe2bc0a7" CreationDate="2011-04-27T07:05:57.817" UserDisplayName="PaN1C_Showt1Me" Text="Is there any software able to synthesize **music based on real sounds**, not midi when writing scores? I mean something really offering all known instrument sounds and sound dynamics, no matter what it costs and no matter what performance it requires..&#xD;&#xA;&#xD;&#xA;Thank you !" ContentLicense="CC BY-SA 3.0" />
  <row Id="41448" PostHistoryTypeId="1" PostId="24227" RevisionGUID="a759b3f1-7d27-4b22-9d1f-162dfe2bc0a7" CreationDate="2011-04-27T07:05:57.817" UserDisplayName="PaN1C_Showt1Me" Text="Software playing real sounds not midi when writing scores" ContentLicense="CC BY-SA 3.0" />
  <row Id="41449" PostHistoryTypeId="3" PostId="24227" RevisionGUID="a759b3f1-7d27-4b22-9d1f-162dfe2bc0a7" CreationDate="2011-04-27T07:05:57.817" UserDisplayName="PaN1C_Showt1Me" Text="&lt;software&gt;&lt;midi&gt;&lt;sampling&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41450" PostHistoryTypeId="36" PostId="24228" RevisionGUID="5fd3c396-add6-44f7-9d05-b1b98bc399ac" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1291/software-playing-real-sounds-not-midi-when-writing-scores/1292#1292" />
  <row Id="41451" PostHistoryTypeId="36" PostId="24229" RevisionGUID="73c33892-9e1f-4e63-9a83-f249f54cef73" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1291/software-playing-real-sounds-not-midi-when-writing-scores/1293#1293" />
  <row Id="41452" PostHistoryTypeId="36" PostId="24230" RevisionGUID="120655ac-8d6e-4e47-82db-785b06df3bb6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1291/software-playing-real-sounds-not-midi-when-writing-scores/2192#2192" />
  <row Id="41453" PostHistoryTypeId="2" PostId="24229" RevisionGUID="a972a22d-a12f-4958-95d9-fbd1650df4c7" CreationDate="2011-04-27T13:55:54.640" UserId="7209" Text="Finale has its own built-in synthesizers/samplers that try to recreate real instruments.  Of course, the only way to get the real thing is to actually use real people.  Not every stylistic aspect is in your score, and the computer isn't very good at guessing." ContentLicense="CC BY-SA 3.0" />
  <row Id="41454" PostHistoryTypeId="2" PostId="24230" RevisionGUID="f2f12d48-27ff-4663-a2a2-cce4907ef860" CreationDate="2011-08-23T10:33:01.813" UserId="7532" UserDisplayName="No'am Newman" Text="Reason allows midi notes to be played through sampled instruments. As Mark Heath pointed out, there is the need for articulation, which doesn't really happen with most samples. Also, the notes have to be written correctly for an instrument, meaning the stylistic touches which enable us to differentiate between instruments. A piano hits a note full on, but some instruments 'slide into' a note. " ContentLicense="CC BY-SA 3.0" />
  <row Id="41455" PostHistoryTypeId="36" PostId="24231" RevisionGUID="0cec563b-52d5-4e1e-9d6b-65ac3bbdfacc" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8555/difference-between-channel-and-track-in-midi-files" />
  <row Id="41456" PostHistoryTypeId="36" PostId="24232" RevisionGUID="88c65077-a6a7-4390-87b3-a9b26d0e9ecd" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8555/difference-between-channel-and-track-in-midi-files/8557#8557" />
  <row Id="41457" PostHistoryTypeId="2" PostId="24232" RevisionGUID="c220d093-b39a-47be-92cc-6e71652a8e0e" CreationDate="2013-07-29T16:03:07.187" UserId="7174" Text="A channel is a set of tracks.  Generally each channel would be a different instrument, though some instruments may use multiple channels.  Tracks then contain different parallel information from that instrument.&#xD;&#xA;&#xD;&#xA;For far more details on the subject than will fit in a Q/A format, I suggest taking a look at Wikipedia's article on [MIDI][1], which has a lot of great detail.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/MIDI" ContentLicense="CC BY-SA 3.0" />
  <row Id="41458" PostHistoryTypeId="2" PostId="24233" RevisionGUID="a1d5ece0-e9fe-4e78-b78b-7e4764cfbe0d" CreationDate="2013-08-25T00:01:29.460" UserDisplayName="MillKa" Text="This site ( [Jeff Glatt - MIDI info][1] ) has lots of information about MIDI.&#xD;&#xA;&#xD;&#xA;The **MIDI data stream protocol** (what goes over the wire) is a stream of bytes (values 00000000-1111111 binary = 0-255 decimal = 00-FF hexadecimal).&#xD;&#xA;&#xD;&#xA;Values 00-7F (0-127) are **data bytes**, used e.g. for the note number and/or many other parameters.&#xD;&#xA;&#xD;&#xA;Values 80-FF (128-255) are **status/command bytes**, used for MIDI commands:&#xD;&#xA;&#xD;&#xA; - 8x: Note On &#xD;&#xA; - 9x: Note Off &#xD;&#xA; - Ax: Key Pressure / Aftertouch (polyphonic - per key)&#xD;&#xA; - Bx: Control Change (e.g. Modulation Wheel)&#xD;&#xA; - Cx: Program Change (to select instrument/sound/voice)&#xD;&#xA; - Dx: Key Pressure / Aftertouch (per channel)&#xD;&#xA; - Ex: Pitch Bend&#xD;&#xA;&#xD;&#xA;where x is the channel number.&#xD;&#xA;&#xD;&#xA;The status bytes in the range 80-EF encode the **channel number** in the lower 4 bits (0000-1111 = 0-15 = 0-F).  For example, 82 is a Note On command for channel 2.  These status bytes are **channel messages**, because they are directed to one specific channel of a MIDI device.&#xD;&#xA;&#xD;&#xA;Status bytes F0-FF are **system messages**, because they are directed to all channels of a MIDI device.&#xD;&#xA;&#xD;&#xA;MIDI connections using classical (non-USB) hardware use round 5-pin DIN connectors and cables.  To send MIDI data from device A (e.g keyboard) to device B (e.g. tone generator), you connect the MIDI-OUT port of device A to the MIDI-IN port of device B.  &#xD;&#xA;&#xD;&#xA;Next, you set the MIDI transmit channel of the keyboard to channel 0 and then you press a key.  The keyboard will send a byte with the value 80 (8 = NoteOn, 0 = channel 0) over the cable to the tone generator, followed by two data bytes for note number and velocity.  The tone generator receives these 3 bytes.  Because the first byte specified channel 0, the tone generator uses the sound currently selected for channel 0 to play the note.  The second byte specifies the note number (0-127) and the third byte specifies the velocity.&#xD;&#xA;&#xD;&#xA;If the keyboard can be split into two independent regions for right and left hand, you can set the transmit channel for each region, e.g. channel 0 for right hand region and channel 1 for left hand region.  Keys played on the right hand region will then be sent to channel 0 (status byte 80), keys played on the left hand region will be sent to channel 1 (status byte 81).  The tone generator receives these notes indepently on two channels and can play the right hand notes on channel 0 with e.g. a piano voice, and the left hand notes on channel 1 with e.g. a string voice.&#xD;&#xA;&#xD;&#xA;Older electronic organs usually had an upper and lower manual plus pedals played by foot, each sending on its own channel (e.g. 0=upper, 1=lower, 2=pedal).  Therefore, the connected tone generator can play three different voices on three channels.  If the manuals can be split, you can control even more channels (e.g. 0= upper right, 1= upper left, 2= lower right, 3= lower left, 4= pedal).  Even older church or theater organs had even more manuals.  &#xD;&#xA;&#xD;&#xA;However, you can send **at most 16 channels over one port**, because there are only 4 bits available to encode the channel.  If you need more channels, you need more ports, e.g. a second MIDI-OUT port to send channels 17-32.&#xD;&#xA;&#xD;&#xA;These days, MIDI devices often use USB cables instead of the classical ports.  This allows multiple virtual ports.  For example, when I connect my Yamaha PSR-S950 keyboard to my PC via USB, the PC shows two virtual MIDI-OUT ports A and B connected to my keyboard, each with 16 channels.  Using a sequencer program, I can send data on 32 independent channels (0-15 via port A, 16-31 via port B) to play 32 different instruments at the same time.&#xD;&#xA;&#xD;&#xA;A sequencer program organizes its MIDI data in tracks.  Each track can contain MIDI data for at most 16 channels.  To play a song with 32 instruments, at least two tracks are required (channel 0-15 for port A in track 1, channel 16-32 for port B in track 2, ...).&#xD;&#xA;&#xD;&#xA;A SMF0 file (Standard Midi File - format 0) has only one track.  All channel messages as well as the channel-independent system messages are stored in one single track.  That makes it hard to edit a track, because everything is one big pile of data.&#xD;&#xA;&#xD;&#xA;A SMF1 file (Standard Midi File - format 1) can contain more than one track.  For example:&#xD;&#xA;&#xD;&#xA; - Track 1 contains the notes played by right hand with a piano voice on channel 0.&#xD;&#xA; - Track 2 contains the notes played by left hand with the same piano voice on channel 0, too.  &#xD;&#xA; - Track 3 contains the bass voice on channel 1.&#xD;&#xA; - Track 4 contains a clarinet voice on channel 2.&#xD;&#xA; - Track 5 contains the drums on channel 9.&#xD;&#xA;&#xD;&#xA;.. and so on ..&#xD;&#xA;&#xD;&#xA;You can map channels to tracks pretty much any way you want.  &#xD;&#xA;&#xD;&#xA;For example, you can merge tracks 3 and 4 to a single track.  Since bass uses channel 1 and clarinet uses channel 2, both voices can be played independently from each other.  Merging bass and clarinet in one track doesnt make terribly much sense musically, but its technically possible.&#xD;&#xA;&#xD;&#xA;Or you can merge tracks 1 and 2, since they both use the same channel and the same voice.  But maybe you want to use two different piano voices for right and left hand.  If you assign track 1 to port A and track 2 to port B, you can select two different voices.  &#xD;&#xA;&#xD;&#xA;Or you change track 2 from channel 0 to channel 3.  Then you can use two different voices, even when both tracks are assigned to the same port.  &#xD;&#xA;The limitation is at most 16 channels per track.&#xD;&#xA;&#xD;&#xA;If two tracks use the same channel (or channels) on the same port, they can be edited independently in the sequencer, but they cannot be played independently from each other, because when the sequencer sends the data in the tracks, all tracks assigned to port A get merged to one data stream.  All tracks assigned to port B get merged to another data stream.&#xD;&#xA;&#xD;&#xA;In the example above, a program change from piano to strings at measure 4 in track 1 will select strings for track 2, too - because both are using channel 0 on port A.&#xD;&#xA;&#xD;&#xA;The correct mapping therefore depends on the architecture of the connected tone generator.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://home.roadrunner.com/~jgglatt/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41459" PostHistoryTypeId="2" PostId="24231" RevisionGUID="86f73682-b83a-4511-b644-42f0813d3f63" CreationDate="2013-07-29T15:45:54.800" UserId="9706" UserDisplayName="glaba" Text="I'm creating a program to read/write MIDI files, but I've run into a problem that confuses me. There are 2 bytes dedicated to the number of tracks, which means that there could potentially be 65536 tracks. However, there are only 16 channels. Does this mean that there are 16 channels per track? Or are there really only 16 tracks allowed? &#xD;&#xA;And, is there a difference in meaning depending on whether you're in format 0, 1 or 2?&#xD;&#xA;&#xD;&#xA;EDIT: I viewed this post, which says that there are 16 channels per track, but it might not be right, because it was in the context of a certain program: http://forum.cockos.com/showthread.php?t=78919" ContentLicense="CC BY-SA 3.0" />
  <row Id="41460" PostHistoryTypeId="1" PostId="24231" RevisionGUID="86f73682-b83a-4511-b644-42f0813d3f63" CreationDate="2013-07-29T15:45:54.800" UserId="9706" UserDisplayName="glaba" Text="difference between channel and track in midi files" ContentLicense="CC BY-SA 3.0" />
  <row Id="41461" PostHistoryTypeId="3" PostId="24231" RevisionGUID="86f73682-b83a-4511-b644-42f0813d3f63" CreationDate="2013-07-29T15:45:54.800" UserId="9706" UserDisplayName="glaba" Text="&lt;midi&gt;&lt;encoding&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41462" PostHistoryTypeId="36" PostId="24233" RevisionGUID="04a8b369-5326-4d00-b453-e428a1b5b2b6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8555/difference-between-channel-and-track-in-midi-files/8809#8809" />
  <row Id="41463" PostHistoryTypeId="36" PostId="24234" RevisionGUID="0e214317-4101-4f77-97a0-1eda13457e8d" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9315/are-there-other-patches-available-for-purchase-other-than-those-logic-pro-x-ship" />
  <row Id="41464" PostHistoryTypeId="2" PostId="24234" RevisionGUID="bb3ca95e-8998-42e7-ace7-f131e9ad765a" CreationDate="2013-11-04T13:43:21.250" UserId="14544" UserDisplayName="Warren van Rooyen" Text="There are many places one can get patches for 3rd party plugins like Massive. &#xD;&#xA;&#xD;&#xA;The value I see in this is that patches are neatly organised according to genre, genres Logic's patches may just miss if there are pretty specific sounds I'm after. &#xD;&#xA;&#xD;&#xA;I was wondering if it's possible to purchase patch packs for Logic Pro X that are neatly organised by type. &#xD;&#xA;&#xD;&#xA;I tried Googling, but it just brought up illegal download patch results." ContentLicense="CC BY-SA 3.0" />
  <row Id="41465" PostHistoryTypeId="1" PostId="24234" RevisionGUID="bb3ca95e-8998-42e7-ace7-f131e9ad765a" CreationDate="2013-11-04T13:43:21.250" UserId="14544" UserDisplayName="Warren van Rooyen" Text="Are there other patches available for purchase other than those Logic Pro X ships with?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41466" PostHistoryTypeId="3" PostId="24234" RevisionGUID="bb3ca95e-8998-42e7-ace7-f131e9ad765a" CreationDate="2013-11-04T13:43:21.250" UserId="14544" UserDisplayName="Warren van Rooyen" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41467" PostHistoryTypeId="36" PostId="24235" RevisionGUID="a6adc0c2-a10a-423a-96df-d1653c49da32" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/640/logic-8-creating-drum-tracks-using-midi" />
  <row Id="41468" PostHistoryTypeId="36" PostId="24236" RevisionGUID="b5604ef1-3081-495d-abe3-df503f9ca922" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/640/logic-8-creating-drum-tracks-using-midi/642#642" />
  <row Id="41469" PostHistoryTypeId="36" PostId="24237" RevisionGUID="15c91997-acb6-4d12-8d58-69d168de1df9" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/640/logic-8-creating-drum-tracks-using-midi/689#689" />
  <row Id="41470" PostHistoryTypeId="36" PostId="24238" RevisionGUID="feccfe95-bc66-4ac0-8f25-5c95de8f7fb0" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/640/logic-8-creating-drum-tracks-using-midi/821#821" />
  <row Id="41471" PostHistoryTypeId="36" PostId="24239" RevisionGUID="1cda0608-86e3-441c-8c1d-c084a53d17f6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/640/logic-8-creating-drum-tracks-using-midi/826#826" />
  <row Id="41472" PostHistoryTypeId="2" PostId="24236" RevisionGUID="f8a24ff7-e83d-4901-ab03-0828fc98b850" CreationDate="2011-01-19T20:07:47.577" UserId="7294" UserDisplayName="Warrior Bob" Text="This isn't specific to Logic or MIDI, but I like to have all of the different drum sounds on different tracks so that they can be processed independently.  This isn't a necessity unless the sound you want is based on having this separation (for example, some electronic music where you might want to put a special effect on the hihats but not the kick and snare) but I find it to be useful in general for EQ and editing.&#xD;&#xA;&#xD;&#xA;The tradeoff is in complexity and processing power: more tracks means more things to keep track of, more things to check if something goes wrong, and of course more computer power to process the extra audio, although this last concern isn't really a big deal until you use lots of effects.  Just summing audio is not very computationally expensive.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41473" PostHistoryTypeId="2" PostId="24237" RevisionGUID="e62228f2-928e-40eb-b20d-0026798c5958" CreationDate="2011-01-26T20:49:32.083" UserDisplayName="bot_bot" Text="I tend to make specific &quot;packs&quot; of hits, using NI Battery or Logics Sampler I'll build one pre-set of 10 or so kicks, another of high-hats, another of snares etc..... &#xD;&#xA;I find it handy to help develop my own sound (I write electronic stuff), my template project opens with the plug-ins loaded and ready to go. &#xD;&#xA;Then if I need to I can still separate the individual drums. &#xD;&#xA;I'll often process and re-sample loops I come up with, chop them up and re-sequence.&#xD;&#xA;I also run each channel to a drum bus, so I can add some processing to the drums as a whole before they go to the outputs.&#xD;&#xA;&#xD;&#xA;For my Novation Drum Station I've got individual inputs into Logic, and the same idea with a summing bus, sequence, experiment, record and process. then resample etc..." ContentLicense="CC BY-SA 2.5" />
  <row Id="41474" PostHistoryTypeId="2" PostId="24238" RevisionGUID="ce226d7a-afbb-4c7a-b1ba-9662b9d1a70c" CreationDate="2011-02-16T07:54:45.353" UserId="9447" UserDisplayName="Fortes" Text="&#xD;&#xA;&#xD;&#xA;You really want to have everyone of your sounds separated in a different track so it can have its own EQ, Compressor, etc..  You can then send groups of your tracks to a common bus to add the same reverb to all your hi hats or stuff like that.&#xD;&#xA;&#xD;&#xA;One of the best Batterys out there is Logic's UltraBeat (i am not shure if it is only available for logic pro)&#xD;&#xA;&#xD;&#xA;It is also very easy to have all your different tracks processed independently:&#xD;&#xA;&#xD;&#xA; - You have to select a multiOutput&#xD;&#xA;   instance of UltraBeat. &#xD;&#xA; - Create some&#xD;&#xA;   auxiliary objects in the environment.&#xD;&#xA; - Open UltraBeat and select a different&#xD;&#xA;   output for the tracks you are using&#xD;&#xA;   (next to its name) &#xD;&#xA; - Select your auxiliary's inputs as UB 1-2, UB 2-3,&#xD;&#xA;   Etc... (remember to set your tracks&#xD;&#xA;   to stereo)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="41475" PostHistoryTypeId="2" PostId="24239" RevisionGUID="6aa61ee1-d9d2-4c55-a59d-5bc0acc32016" CreationDate="2011-02-16T21:35:41.313" UserId="319" Text="I would use UltraBeat and use the multiple outputs.  Make sure you get the multi output version when you pick it - or you can change it at any time without losing settings.  To get to those outputs, look at your UltraBeat in the mixer or environment, there will be a little plus sign which will add aux tracks for your additional outputs.  Then you select the output on the left side of ultrabeat per sample.  &#xD;&#xA;&#xD;&#xA;Ok, that's how you do it, but why would you?  UltraBeat has quite a bit of processing inside of the plugin, so you can get pretty far without complicating things.  If you want external plugins on something, follow the directions above and you'll be set up in a minute or two.  &#xD;&#xA;&#xD;&#xA;You'll probably want to route all those outputs back to another bus so you can effect all the drums as a group.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="41476" PostHistoryTypeId="2" PostId="24235" RevisionGUID="51b59bc2-d7f4-440f-be5e-c8502c0f608a" CreationDate="2011-01-19T20:02:30.913" UserDisplayName="gwc" Text="What is the best way to setup drums in Logic 8 when using MIDI?  Is it better to split all of the different drum parts into separate tracks like base drums, cymbals, high hat etc.?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41477" PostHistoryTypeId="1" PostId="24235" RevisionGUID="51b59bc2-d7f4-440f-be5e-c8502c0f608a" CreationDate="2011-01-19T20:02:30.913" UserDisplayName="gwc" Text="Logic 8 - Creating Drum Tracks using MIDI" ContentLicense="CC BY-SA 2.5" />
  <row Id="41478" PostHistoryTypeId="3" PostId="24235" RevisionGUID="51b59bc2-d7f4-440f-be5e-c8502c0f608a" CreationDate="2011-01-19T20:02:30.913" UserDisplayName="gwc" Text="&lt;midi&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41479" PostHistoryTypeId="36" PostId="24240" RevisionGUID="53c70997-c27a-4b78-b2de-ffd7637d34c2" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4284/m-audio-midisport-uno-not-working" />
  <row Id="41480" PostHistoryTypeId="36" PostId="24241" RevisionGUID="aca57f8f-bfd5-45b6-9bf0-39250450c958" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4284/m-audio-midisport-uno-not-working/4295#4295" />
  <row Id="41481" PostHistoryTypeId="2" PostId="24241" RevisionGUID="cf529304-cd5b-425d-81f4-7549be6fee7b" CreationDate="2012-06-27T13:47:23.697" UserId="7093" Text="It is possible that the Uno is not receiving enough power from the PC to operate.  Sometimes the front USB ports on a computer don't put out as much power as the rear USB ports.  &#xD;&#xA;&#xD;&#xA;If you are using a desktop computer try plugging the Uno into the ports on the back of the computer.&#xD;&#xA;&#xD;&#xA;Also, look at this question and the comments on it for some additional information about MIDI interfaces.  The Uno is specifically mentioned in the comments:&#xD;&#xA;&#xD;&#xA;&gt; I've got an M-Audio Uno and I'm having some problems with it. Not yet totally sure the blame lies with the Uno but it's looking probable, and there are quite a few negative reviews and reports of issues with this device...&#xD;&#xA;&#xD;&#xA;There is also the possibility that the device or the port it is plugged into is bad.  You may want to contact customer support and see if they have any additional suggestions." ContentLicense="CC BY-SA 3.0" />
  <row Id="41482" PostHistoryTypeId="2" PostId="24240" RevisionGUID="739978f5-878d-4c49-a237-a2df5417e0f2" CreationDate="2012-06-26T23:40:57.810" UserDisplayName="ees" Text="I am trying to run my Casio WK-1630 keyboard into my computer using an m-audio midisport uno.  When I plug it into the usb port, one green light on the uno starts blinking.  If I press a key on the keyboard, the midi 'in' light blinks once but then will blink no more upon further key presses.  A couple times it worked for about twenty seconds.  Every time I pressed or released a key the 'in' light would blink, which I assume is correct behavior.&#xD;&#xA;&#xD;&#xA;I have installed and uninstalled drivers from m-audio up the wazoo.  I've tried new ones and old ones.  At one point Reaper was actually listing an input midi device (even though the uno wasn't working, Reaper apparently recognized the driver).&#xD;&#xA;&#xD;&#xA;I'm running XP service pack 3 on a desktop that I bought in about 2006.&#xD;&#xA;&#xD;&#xA;Please let me know if there is more information I should provide.&#xD;&#xA;&#xD;&#xA;Is it a setting on my usb port?  Is there another driver I should try?&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="41483" PostHistoryTypeId="1" PostId="24240" RevisionGUID="739978f5-878d-4c49-a237-a2df5417e0f2" CreationDate="2012-06-26T23:40:57.810" UserDisplayName="ees" Text="m-audio midisport uno not working" ContentLicense="CC BY-SA 3.0" />
  <row Id="41484" PostHistoryTypeId="3" PostId="24240" RevisionGUID="739978f5-878d-4c49-a237-a2df5417e0f2" CreationDate="2012-06-26T23:40:57.810" UserDisplayName="ees" Text="&lt;midi&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41485" PostHistoryTypeId="36" PostId="24242" RevisionGUID="b33ff80a-5172-4a11-a1c9-b37c43cf116f" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/240/how-do-i-sync-a-mac-and-windows-laptop-running-ableton-live" />
  <row Id="41486" PostHistoryTypeId="2" PostId="24243" RevisionGUID="6ef1e923-e155-42bb-8f89-03cf33292e24" CreationDate="2010-12-13T15:15:16.420" UserId="7209" Text="Try [rtpMIDI][1] from Tobais Erichsen to add a MIDI interface on your PC compatible with the OS X network MIDI interface.&#xD;&#xA;&#xD;&#xA;MIDI sync should work just fine.  My guess is that if it isn't, your external MIDI interface is dropping some messages (maybe due to a full buffer?), and you are losing some timing clock messages.  I've seen this happen with many MIDI interfaces... specifically those from Alesis.&#xD;&#xA;&#xD;&#xA;Please post back if this doesn't work for you.  You might also try a different MIDI adapter.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tobias-erichsen.de/rtpMIDI.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="41487" PostHistoryTypeId="2" PostId="24242" RevisionGUID="95372a7a-b6f5-49a7-aa11-4c6941511119" CreationDate="2010-12-13T11:40:23.537" UserDisplayName="Nik Reiman" Text="A friend of mine and I want to jam together on our laptops using Live.  I've got a Mac, and he's got a PC running Windows 7.  Using MIDI to sync the two laptops is *very* unreliable; even with Live 8, there is noticeable clock drift, and if we want to change the tempo, the laptops go out of sync and everything sounds terrible until the MIDI clock &quot;settles&quot;.&#xD;&#xA;&#xD;&#xA;On Mac OSX, this is a no-brainer: use the network MIDI interface and airport (or ethernet), and everything works great.  But how can I sync a Mac with a PC with the same level of reliability and synchronization?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41488" PostHistoryTypeId="1" PostId="24242" RevisionGUID="95372a7a-b6f5-49a7-aa11-4c6941511119" CreationDate="2010-12-13T11:40:23.537" UserDisplayName="Nik Reiman" Text="How do I sync a Mac and Windows laptop running Ableton Live?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41489" PostHistoryTypeId="3" PostId="24242" RevisionGUID="95372a7a-b6f5-49a7-aa11-4c6941511119" CreationDate="2010-12-13T11:40:23.537" UserDisplayName="Nik Reiman" Text="&lt;midi&gt;&lt;ableton&gt;&lt;windows&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41490" PostHistoryTypeId="36" PostId="24243" RevisionGUID="8c9be284-5dd5-4e18-aec4-e6b460f80a10" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/240/how-do-i-sync-a-mac-and-windows-laptop-running-ableton-live/244#244" />
  <row Id="41491" PostHistoryTypeId="36" PostId="24244" RevisionGUID="e30b7c20-8472-496f-a85f-f02dc4e435a7" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/240/how-do-i-sync-a-mac-and-windows-laptop-running-ableton-live/311#311" />
  <row Id="41492" PostHistoryTypeId="36" PostId="24245" RevisionGUID="4a75d3a0-c79f-477a-9668-da39a6ffff0f" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/240/how-do-i-sync-a-mac-and-windows-laptop-running-ableton-live/7706#7706" />
  <row Id="41493" PostHistoryTypeId="2" PostId="24245" RevisionGUID="302b00f4-3d30-47e1-9d1a-29bcdbc3115b" CreationDate="2013-04-21T09:50:08.860" UserId="12790" UserDisplayName="Ron Kyle" Text="This happens because the quality of the internal soundcard on the PC laptop is crap and whatever it is using for its clock (even if its synced it still keeps its own time) is not very solid.&#xD;&#xA;&#xD;&#xA;I am assuming that you are attempting to do this via a network and therefore aren't using either an external soundcard (firewire or usb, MAudio Fastrack for ex) or an external MIDI interface (MOTU MTP AV, for example) on the PC. The MacBooks have a surprisingly Pro Audio capable soundcard and as such are quite capable of keeping sync with other MacBooks yet a PC Laptop's built-in soundcard will almost NEVER be up to snuff. Sorry but you need a Audio/MIDI interface for the PC or another Macbook to make it work over the network.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="41494" PostHistoryTypeId="2" PostId="24244" RevisionGUID="443f1fa4-6459-478b-b4ab-0c441cac4cd4" CreationDate="2010-12-15T21:36:42.947" UserDisplayName="Some1Else" Text="I've even noticed the integrated network MIDI sync in Mac OS produces bad results. A hardware MIDI sync option is probably your best bet. Firewire sound cards with MIDI interfaces on both ends should work flawlessly.&#xD;&#xA;&#xD;&#xA;Cheap alternative shot might be using OSC? I've had better experience with OSC for controlling VDMX from Live over the network. That might involve sending TAP commands from one end to another with a Max4Live device, or using an OSC MIDI wrapper." ContentLicense="CC BY-SA 2.5" />
  <row Id="41495" PostHistoryTypeId="36" PostId="24246" RevisionGUID="36d2be23-f3cc-4a81-b3f7-db1fcc1851e9" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1507/can-i-trigger-the-logic-pro-caps-lock-keyboard-without-using-caps-lock" />
  <row Id="41496" PostHistoryTypeId="36" PostId="24247" RevisionGUID="979008d8-4106-45e4-a67c-ac5dd7de1ff9" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1507/can-i-trigger-the-logic-pro-caps-lock-keyboard-without-using-caps-lock/1527#1527" />
  <row Id="41497" PostHistoryTypeId="2" PostId="24247" RevisionGUID="5802ee00-79fc-4be0-8026-5e0f24c038dc" CreationDate="2011-06-01T17:16:20.347" UserId="17717" UserDisplayName="Christian" Text="With Logic Pro 9 there is the Keyboard Commands manager: &#xD;&#xA;&#xD;&#xA;- [Saving Time with Logic Pro 9: Keyboard Shortcuts](http://audio.tutsplus.com/tutorials/logic-pro/saving-time-with-logic-pro-9-keyboard-shortcuts/)&#xD;&#xA;&#xD;&#xA;I think this will help you." ContentLicense="CC BY-SA 3.0" />
  <row Id="41498" PostHistoryTypeId="2" PostId="24248" RevisionGUID="5d679ffa-af51-4384-92ac-95a8a96b12fa" CreationDate="2011-08-02T21:13:42.040" UserId="7234" UserDisplayName="fluffy" Text="Logic Pro does not provide any way to enable the Caps Lock keyboard without using Caps Lock, unfortunately.  However, on the Mac you can hook up multiple keyboards and only disable Caps Lock on your primary one, or you can try an ultra-compact USB-MIDI keyboard such as the Oxygen8 or Korg NanoKEY.&#xD;&#xA;&#xD;&#xA;Also, if you just want to sequence a quick riff and don't mind doing that in GarageBand, you can always access GarageBand's &quot;musical typing&quot; mode via cmd-shift-K, and then copy the recorded sequence into Logic." ContentLicense="CC BY-SA 3.0" />
  <row Id="41499" PostHistoryTypeId="2" PostId="24246" RevisionGUID="32b6fcf3-35de-4dcb-9048-0273cb076892" CreationDate="2011-05-31T01:45:44.447" UserDisplayName="nertzy" Text="As a programmer, I don't like to leave Caps Lock enabled on my Mac, because it causes all sorts of unintended errors.&#xD;&#xA;&#xD;&#xA;But, as a musician, I use Logic Pro. I want to use its Caps Lock keyboard, but I'd rather not have to re-enable Caps Lock every time. Is there a way to map this to a new key?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41500" PostHistoryTypeId="1" PostId="24246" RevisionGUID="32b6fcf3-35de-4dcb-9048-0273cb076892" CreationDate="2011-05-31T01:45:44.447" UserDisplayName="nertzy" Text="Can I trigger the Logic Pro caps lock keyboard without using Caps Lock?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41501" PostHistoryTypeId="3" PostId="24246" RevisionGUID="32b6fcf3-35de-4dcb-9048-0273cb076892" CreationDate="2011-05-31T01:45:44.447" UserDisplayName="nertzy" Text="&lt;logic-pro&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41502" PostHistoryTypeId="36" PostId="24248" RevisionGUID="e5898350-f101-4980-9c57-720f632e657f" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1507/can-i-trigger-the-logic-pro-caps-lock-keyboard-without-using-caps-lock/1997#1997" />
  <row Id="41503" PostHistoryTypeId="36" PostId="24249" RevisionGUID="7e8c17d3-ab86-4965-a9e6-a4fc33efc6cd" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/743/does-a-yamaha-fc3-or-roland-dp-10-pedal-work-in-a-yamaha-p200-foot-controller-pl" />
  <row Id="41504" PostHistoryTypeId="36" PostId="24250" RevisionGUID="f33c78f8-0c4d-4f17-9bd4-7d69bf4356b2" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/743/does-a-yamaha-fc3-or-roland-dp-10-pedal-work-in-a-yamaha-p200-foot-controller-pl/745#745" />
  <row Id="41505" PostHistoryTypeId="36" PostId="24251" RevisionGUID="7bdb1537-94c6-48a1-a98b-8db4ba7a6017" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/743/does-a-yamaha-fc3-or-roland-dp-10-pedal-work-in-a-yamaha-p200-foot-controller-pl/746#746" />
  <row Id="41506" PostHistoryTypeId="36" PostId="24252" RevisionGUID="9b10d4f1-9ff3-43fc-9bea-60004618a6af" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/743/does-a-yamaha-fc3-or-roland-dp-10-pedal-work-in-a-yamaha-p200-foot-controller-pl/1132#1132" />
  <row Id="41507" PostHistoryTypeId="2" PostId="24250" RevisionGUID="5fc847dd-450e-4a5c-9b81-11dacb0ff4a8" CreationDate="2011-02-03T05:46:56.727" UserDisplayName="d-_-b" Text="In the P200 spec it says:&#xD;&#xA;&#xD;&#xA;Foot Switch -	FOOT CONTROLLER, SUSTAIN, SOSTENUTO, SOFTLINE IN (L/MONO, R; 1/4&quot; phone)&#xD;&#xA;&#xD;&#xA;So it is very possible that it is an on/off type switch rather than a variable type switch that you would get with a volume foot controller (Yamaha FC7). However, for sustain, you really only need a switch. Continous sustain, like the kind you get when you &quot;lock down&quot; the sustain pedal of piano would obviously need to be done on the pedal. In other words the pedal needs to physically lock. OR you could program your synth to do something like a toggle: press once to turn sustain &quot;on&quot; and press again to turn it &quot;off&quot;. However, that depends on the synth/software you are using." ContentLicense="CC BY-SA 2.5" />
  <row Id="41508" PostHistoryTypeId="2" PostId="24251" RevisionGUID="34bbef07-c27b-499f-beca-27505a6fdfe6" CreationDate="2011-02-03T14:58:15.390" UserId="7209" Text="Yes, the &quot;foot controller&quot; input on your keyboard is the only input that will support levels other than &quot;on&quot; or &quot;off&quot;.&#xD;&#xA;&#xD;&#xA;Most of the pedals for this are the type that rock back and forth.  There are pedals (such as the [Yamaha FC3][1]) that are in the format you describe.  Attach these to your foot controller input, and you are good to go.&#xD;&#xA;&#xD;&#xA;Most pedals are fairly universal.  Sometimes a particular pedal may not be exactly calibrated to the range of your keyboard, but most will work just fine.  the FC3 specifically states it is compatible with your keyboard.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.activemusician.com/item--HL.00701194?ref=fg&amp;ovchn=SCU&amp;ovtac=CMP&amp;ovcpn=&amp;ovcrn=Yamaha+FC3+Continuous+Sustain+Pedal" ContentLicense="CC BY-SA 2.5" />
  <row Id="41509" PostHistoryTypeId="2" PostId="24252" RevisionGUID="c46ded73-5b26-44ef-9652-7a35f33f5ce1" CreationDate="2011-04-05T13:17:55.973" UserId="7093" Text="There are two types of footswitches for keyboards.  Those in which the connection is normally opened and those which are normally closed.  Some even have a switch to change between the two.  Most modern keyboards automatically detect which is plugged in when you turn on the keyboard.  &#xD;&#xA;&#xD;&#xA;If you have the footswitch depressed when the keyboard is turned on, it will act as a continuous sustain when released and only release the notes when you depress the switch." ContentLicense="CC BY-SA 2.5" />
  <row Id="41510" PostHistoryTypeId="2" PostId="24249" RevisionGUID="5fd1cf7a-b51d-4dce-a351-9b834ee65c36" CreationDate="2011-02-03T00:43:29.457" UserDisplayName="Qberticus" Text="I have a Yamaha P200 keyboard and I wanted to start using it as a midi controller. I've learned that the sustain input and pedal (FC4) currently only acts as a switch. I would like to use software that supports a continuous sustain input. So, I'm wondering if it's possible to use some of the continuous sustain pedals via the foot controller input?&#xD;&#xA;&#xD;&#xA;I know that the Yamaha FC7 foot controller will work, however, I really would like to keep with the damper pedal style and feel so I'm not looking at this option atm." ContentLicense="CC BY-SA 2.5" />
  <row Id="41511" PostHistoryTypeId="1" PostId="24249" RevisionGUID="5fd1cf7a-b51d-4dce-a351-9b834ee65c36" CreationDate="2011-02-03T00:43:29.457" UserDisplayName="Qberticus" Text="Does a Yamaha FC3 or Roland DP-10 pedal work in a Yamaha P200 foot controller plug?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41512" PostHistoryTypeId="3" PostId="24249" RevisionGUID="5fd1cf7a-b51d-4dce-a351-9b834ee65c36" CreationDate="2011-02-03T00:43:29.457" UserDisplayName="Qberticus" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41513" PostHistoryTypeId="36" PostId="24253" RevisionGUID="9a30ac3e-84c6-4951-80ee-f88f33d9d97e" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2769/ktdrumtrigger-with-64-bit-cubase-5-5-3" />
  <row Id="41514" PostHistoryTypeId="2" PostId="24254" RevisionGUID="4ae71e29-db86-41a3-a670-b424e02f0264" CreationDate="2011-12-19T06:40:59.143" UserDisplayName="karlgrz" Text="I can't really explain why 64-bit MIDI input and output doesn't work simultaneously in Cubase 5.5.3. &#xD;&#xA;&#xD;&#xA;What I __CAN__ confirm is that installing 32-bit Cubase 5 and then running all the updates to 5.5.3 on a 64-bit Windows 7 Ultimate machine allows KTDrumTrigger to work just as advertised. &#xD;&#xA;&#xD;&#xA;As an aside, I can't believe how much more stable the 32-bit version is over 64-bit. The only downside is 32-bit takes a bit longer for processing (i.e. initial program cold start, VST track processing such as normalize or compression, etc.), which I will trade any day for the stability I've experienced since uninstalling 64-bit. I used to expect crashes every time I fired up Cubase, but with 32-bit installation I haven't had a single one. I don't know what Steinberg is doing, but I hope they fixed that in Cubase 6, that's pretty poor development practices to introduce such a large gap in behavior across environments." ContentLicense="CC BY-SA 3.0" />
  <row Id="41515" PostHistoryTypeId="2" PostId="24253" RevisionGUID="1d40e517-f6b3-4a5b-89d3-35549ed60c52" CreationDate="2011-12-07T07:08:38.883" UserDisplayName="karlgrz" Text="I google'd around to find a way to replace a poor sounding snare track with samples, and fell upon KTDrumTrigger VST plugin. The behavior of this plugin is exactly what I am looking for:&#xD;&#xA;&#xD;&#xA; - turn audio &quot;hits&quot; into midi notes, to be output into a midi channel (Battery 3, for example).&#xD;&#xA;&#xD;&#xA;I can confirm that MIDI works on my setup (I use a MIDI keyboard all the time for drums and keyboard sounds, etc.). &#xD;&#xA;&#xD;&#xA;I see lots of reports online that MIDI bus on Cubase 5 64-bit just does not support this kind of behavior, but 32-bit does. Is there a way to work this? Anyone have any success?&#xD;&#xA;&#xD;&#xA;__UPDATE__&#xD;&#xA;&#xD;&#xA;Here's a [link][1] to one of the articles.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cubase.net/phpbb2/viewtopic.php?p=975119&amp;sid=19169d77282bc8b357852e000685591c" ContentLicense="CC BY-SA 3.0" />
  <row Id="41516" PostHistoryTypeId="1" PostId="24253" RevisionGUID="1d40e517-f6b3-4a5b-89d3-35549ed60c52" CreationDate="2011-12-07T07:08:38.883" UserDisplayName="karlgrz" Text="KTDrumTrigger with 64-bit Cubase 5.5.3" ContentLicense="CC BY-SA 3.0" />
  <row Id="41517" PostHistoryTypeId="3" PostId="24253" RevisionGUID="1d40e517-f6b3-4a5b-89d3-35549ed60c52" CreationDate="2011-12-07T07:08:38.883" UserDisplayName="karlgrz" Text="&lt;midi&gt;&lt;vst&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41518" PostHistoryTypeId="36" PostId="24254" RevisionGUID="a075dc17-4f3c-46d6-902f-c730e6e0735f" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2769/ktdrumtrigger-with-64-bit-cubase-5-5-3/2839#2839" />
  <row Id="41519" PostHistoryTypeId="36" PostId="24255" RevisionGUID="419df988-c24c-415d-9dd3-f2acd6c219eb" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8187/simplest-way-to-play-midi-sounds-from-osc-midi-inputs" />
  <row Id="41520" PostHistoryTypeId="36" PostId="24256" RevisionGUID="5b7c87e3-d818-4a3f-bb65-7465317356ee" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8187/simplest-way-to-play-midi-sounds-from-osc-midi-inputs/8201#8201" />
  <row Id="41521" PostHistoryTypeId="36" PostId="24257" RevisionGUID="b6c3ed67-44a0-4a43-937e-ed87f9febe11" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8187/simplest-way-to-play-midi-sounds-from-osc-midi-inputs/8203#8203" />
  <row Id="41522" PostHistoryTypeId="2" PostId="24256" RevisionGUID="f1fe1d6c-f058-4f3e-99b5-c8067bf695c7" CreationDate="2013-06-24T19:07:37.653" UserId="7294" UserDisplayName="Warrior Bob" Text="Yes there is! &#xD;&#xA;-&#xD;&#xA;There are many freeware synthesizers whose express purpose is turning instructions like MIDI into sound. Currently it's far more common to support MIDI than OSC (I couldn't name one that supports OSC off the top of my head), but there's no reason why one couldn't exist.&#xD;&#xA;&#xD;&#xA;Most of these &quot;softsynths&quot; tend to be released in Steinberg's [VST format](https://en.wikipedia.org/wiki/Virtual_Studio_Technology), in which they act as a &quot;plug-in&quot; to other hosting software, usually a [Digital Audio Workstation](http://en.wikipedia.org/wiki/Digital_audio_workstation) environment like Ableton Live, REAPER, Pro Tools or similar programs. The host handles routing the MIDI data to the plugin and managing the audio output. There are other plugin formats too, like Apple's Audio Units, but VST is pretty pervasive and most hosts have some support for it. Likewise, there are also standalone versions of some synths that don't require a host, but I don't know of any free ones offhand.&#xD;&#xA;&#xD;&#xA;Most DAW packages cost money, but there do exist some free ones such as [Ardour](https://ardour.org/). You can also, if you just want to play with your VST synthesizer but don't need the other features, find a standalone host that just loads the VST, nothing more.&#xD;&#xA;&#xD;&#xA;Try these for free&#xD;&#xA;-&#xD;&#xA;If you're on OSX, you can actually just use GarageBand, which should be preinstalled. It handles MIDI inputs and loading virtual instruments. If you don't like the included instruments, you can use [Alphakanal Automat](http://www.440audio.com/en/software/v3097-Alphakanal-Automat/), a free AU synth plugin that GarageBand can host.&#xD;&#xA;&#xD;&#xA;On Windows, I'm fond of [Ichiro Toda's Synth1](http://www.kvraudio.com/product/synth1-by-ichiro-toda) VST plugin. It is also free, and you can host it in any VST host. The free evaluation version of [REAPER](http://reaper.fm) will host it nicely and has the nice property of not being a time-limited despite basically being a demo.&#xD;&#xA;&#xD;&#xA;Going further&#xD;&#xA;-&#xD;&#xA;There's more to MIDI than notes. Once you're all set up and happily playing your softsynths from your iPad keyboard, you might also want to be able to control the synth *parameters* from your iPad as well. See if your software supports sending MIDI [continuous controller messages](http://electronicmusic.wikia.com/wiki/Continuous_controller), which are analagous to knob/slider movements. Most synth plugins will respond to these, but there is some setup to map your CCs to the desired parameters. Check your particular host's documentation to find out how this is done in your host." ContentLicense="CC BY-SA 3.0" />
  <row Id="41523" PostHistoryTypeId="2" PostId="24257" RevisionGUID="bf5f599d-a74b-46c6-9320-0bc37f6ab6b3" CreationDate="2013-06-24T20:18:12.863" UserId="6993" Text="If you already have MIDI messages being transmitted into you workstation, then you have a plethora of options. The choice is vast, it mostly depends on what your requirements are (usage pattern, sound quality, solely playing or processing and of course price).&#xD;&#xA;&#xD;&#xA;For starters you could try getting **[Kontakt Player][1]** a free version of the flagship *Native Instrument*'s sampler. It's very easy to start with and can work in standalone mode if what you need is &quot;just playing&quot;. The full version is one of the most renowned samplers in the industry, so you can't go wrong this way.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.native-instruments.com/en/products/komplete/synths-samplers/kontakt-5-player/free-download/" ContentLicense="CC BY-SA 3.0" />
  <row Id="41524" PostHistoryTypeId="2" PostId="24255" RevisionGUID="563d8fba-d1c8-4ca8-9682-422af5d60eec" CreationDate="2013-06-22T19:12:34.083" UserDisplayName="user4261" Text="I'd like to use an iPad with software which provides an isomorphic keyboard (the app called Musix) to make some music, but the built-in MIDI instruments don't sound very good. The software can send OSC and MIDI outputs over wifi, I have managed to make them appear on my computer using rtpMIDI.&#xD;&#xA;&#xD;&#xA;**Is there a simple, preferably free, piece of software that can turn these inputs into sounds?** e.g. for concreteness, the sounds of a piano.&#xD;&#xA;&#xD;&#xA;I've read around online and I understand that there are large software suites that will do this--DAWs like Reason, and Ableton, etc.... But I find them very difficult to use and I don't need all of their features.&#xD;&#xA;&#xD;&#xA;I am somewhat comfortable programming in Python (perhaps other languages if required) so I can do simple transformations of the input data if it required. But I'm really looking for something as user-friendly as Synthesia. If only I was able to use the OSC inputs as input for that--and if it had a &quot;free play&quot; mode--that would be perfect.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41525" PostHistoryTypeId="1" PostId="24255" RevisionGUID="563d8fba-d1c8-4ca8-9682-422af5d60eec" CreationDate="2013-06-22T19:12:34.083" UserDisplayName="user4261" Text="Simplest way to play MIDI sounds from OSC/MIDI inputs" ContentLicense="CC BY-SA 3.0" />
  <row Id="41526" PostHistoryTypeId="3" PostId="24255" RevisionGUID="563d8fba-d1c8-4ca8-9682-422af5d60eec" CreationDate="2013-06-22T19:12:34.083" UserDisplayName="user4261" Text="&lt;midi&gt;&lt;ipad&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41527" PostHistoryTypeId="36" PostId="24258" RevisionGUID="d6747981-6281-43fd-b5de-77f6a695ee88" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/256/why-does-logic-8-lose-the-daw-controller-mappings-from-my-m-audio-axiom-49-betwe" />
  <row Id="41528" PostHistoryTypeId="2" PostId="24259" RevisionGUID="590b1ca9-8db1-4275-99a4-e823db74219e" CreationDate="2010-12-14T03:42:58.877" UserId="7398" UserDisplayName="BenV" Text="This often happens when you launch Logic before the Axiom is powered on.  This causes the MIDI Input port settings under Preferences -&gt; Control Surfaces -&gt; Controller Assignments to get reset to an incorrect value.&#xD;&#xA;&#xD;&#xA;The good news, if this is what's happening in your case, is that you don't have to relearn all the mappings, just go through and change the MIDI Input port setting for each learned parameter back to the correct port.  The bad news is that there's not a permanent fix yet (that I know of), unless you count &quot;always start up your Axiom before you launch Logic&quot;." ContentLicense="CC BY-SA 2.5" />
  <row Id="41529" PostHistoryTypeId="2" PostId="24258" RevisionGUID="f6c6c904-de25-48c0-b5e7-9efa3d21202e" CreationDate="2010-12-14T00:28:10.257" UserDisplayName="Ian C." Text="This is terribly frustrating. I spend 20 minutes setting up the controller surface mappings in Logic so that the Play key maps to the Play/Pause command in Logic, faders map to channels, and so on, only to have Logic lose those settings the next time I start a project.&#xD;&#xA;&#xD;&#xA;I've tried saving a a project template after making the mappings and opening the next new project using this template, but the mappings are still gone.&#xD;&#xA;&#xD;&#xA;Is there a way to make the MIDI-controller-to-DAW-function mappings persist from session to session? I'm trying to avoid bringing along both the Axiom (for performance input) and my Frontier Design's AlphaTrack when I travel with my laptop rig. Do it all from just the Axiom.&#xD;&#xA;&#xD;&#xA;Edit: still happens even if the Axiom is left on between sessions. [Apparently this is a Logic 8 issue][1] but the workarounds suggested in that thread aren't working for me. Anyone have any more insight on this for me? Greatly appreciated.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://discussions.apple.com/thread/2402208?threadID=2402208" ContentLicense="CC BY-SA 2.5" />
  <row Id="41530" PostHistoryTypeId="1" PostId="24258" RevisionGUID="f6c6c904-de25-48c0-b5e7-9efa3d21202e" CreationDate="2010-12-14T00:28:10.257" UserDisplayName="Ian C." Text="Why does Logic 8 lose the DAW controller mappings from my M-Audio Axiom 49 between sessions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41531" PostHistoryTypeId="3" PostId="24258" RevisionGUID="f6c6c904-de25-48c0-b5e7-9efa3d21202e" CreationDate="2010-12-14T00:28:10.257" UserDisplayName="Ian C." Text="&lt;midi&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41532" PostHistoryTypeId="36" PostId="24259" RevisionGUID="204907cb-1ad2-4e68-8057-e00120177d6b" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/256/why-does-logic-8-lose-the-daw-controller-mappings-from-my-m-audio-axiom-49-betwe/260#260" />
  <row Id="41533" PostHistoryTypeId="36" PostId="24260" RevisionGUID="10b62e8b-b024-468a-a9ca-c705b437db6c" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/942/playing-a-midifile-through-a-workstation" />
  <row Id="41534" PostHistoryTypeId="36" PostId="24261" RevisionGUID="3d5db582-6b41-4c4d-b974-1f6e90cad7bc" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/942/playing-a-midifile-through-a-workstation/945#945" />
  <row Id="41535" PostHistoryTypeId="36" PostId="24262" RevisionGUID="5e8d8179-1472-49ca-9466-a23e6d417cf2" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/942/playing-a-midifile-through-a-workstation/978#978" />
  <row Id="41536" PostHistoryTypeId="2" PostId="24261" RevisionGUID="23e56de5-f563-410b-8a4c-ae739990e560" CreationDate="2011-03-01T13:05:11.640" UserDisplayName="PWDM" Text="Depends on the workstation you are using.&#xD;&#xA;&#xD;&#xA;Most should be able to play MIDI files.&#xD;&#xA;&#xD;&#xA;You should not need to use a laptop if you can load the MIDI file into the workstation." ContentLicense="CC BY-SA 2.5" />
  <row Id="41537" PostHistoryTypeId="2" PostId="24262" RevisionGUID="cc859c8b-e3a8-450c-862a-406de30bcd81" CreationDate="2011-03-08T14:12:36.800" UserId="7209" Text="Yes, this is definitely possible.  What you want to do is hook up that keyboard/synth via MIDI to your computer, and set the MIDI out to the MIDI that goes to the keyboard.&#xD;&#xA;&#xD;&#xA;In XP, you can find this under Control Panel, Sounds and Audio Devices, the Audio tab, and down towards the bottom, MIDI music playback.  Change the default device.  Once you've done this, play a MIDI file with just about anything, and your keyboard will handle it.&#xD;&#xA;&#xD;&#xA;Sequencer software will often use its own independent MIDI configuration, so if you are using something more than a typical media player, check its settings for the primary MIDI out to use." ContentLicense="CC BY-SA 2.5" />
  <row Id="41538" PostHistoryTypeId="2" PostId="24260" RevisionGUID="ae49b70e-ec96-449e-8c95-69de4dab19c4" CreationDate="2011-03-01T02:47:22.623" UserDisplayName="user574" Text="Can you play a midifile thorough a workstation (via connected laptop) but play a sound on the keyboard not in the midifile? And if so, how? Thank You." ContentLicense="CC BY-SA 2.5" />
  <row Id="41539" PostHistoryTypeId="1" PostId="24260" RevisionGUID="ae49b70e-ec96-449e-8c95-69de4dab19c4" CreationDate="2011-03-01T02:47:22.623" UserDisplayName="user574" Text="Playing a midifile through a workstation" ContentLicense="CC BY-SA 2.5" />
  <row Id="41540" PostHistoryTypeId="3" PostId="24260" RevisionGUID="ae49b70e-ec96-449e-8c95-69de4dab19c4" CreationDate="2011-03-01T02:47:22.623" UserDisplayName="user574" Text="&lt;midi&gt;&lt;playback&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41541" PostHistoryTypeId="36" PostId="24263" RevisionGUID="8d093d22-866a-48f2-a92d-fc8f8d8a449d" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/239/how-do-i-map-a-second-midi-controller-to-act-as-a-reset-button-in-ableton-live" />
  <row Id="41542" PostHistoryTypeId="36" PostId="24264" RevisionGUID="140b9484-a1c3-4664-9c79-a1e508f097f5" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/239/how-do-i-map-a-second-midi-controller-to-act-as-a-reset-button-in-ableton-live/242#242" />
  <row Id="41543" PostHistoryTypeId="2" PostId="24264" RevisionGUID="5832bac8-d748-41cf-968e-5a89d4263212" CreationDate="2010-12-13T13:25:02.653" UserDisplayName="Ed J" Text="There's a very good chance that you can do this with dummy clips.&#xD;&#xA;&#xD;&#xA;Dummy clips are simple automations that set parameters via the Clip Envelope automation area. You can then trigger these clips via a midi trigger and they will reset the parameters for you.&#xD;&#xA;&#xD;&#xA;The only issue with them is that you will struggle to use them on the same track as your audio clip, so you have to route the FX via another track (not a return).&#xD;&#xA;&#xD;&#xA;After that all you'd need to do is set the MIDI mode of your controller to &quot;pickup&quot; and get used to manually zeroing the knob.&#xD;&#xA;&#xD;&#xA;[Tom Cosm][1] has a setup that uses this (if I remember correctly) to save live 'presets' to his FX tracks, which you can see in his DJ megaset:&#xD;&#xA;&#xD;&#xA; http://cosm.co.nz/index.php?option=com_content&amp;view=article&amp;id=164:dj-megaset-10&amp;catid=20:news&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cosm.co.nz/" ContentLicense="CC BY-SA 2.5" />
  <row Id="41544" PostHistoryTypeId="2" PostId="24263" RevisionGUID="ba569411-0996-4620-8ad8-4ced133d545c" CreationDate="2010-12-13T11:36:20.390" UserDisplayName="Nik Reiman" Text="I am in the process of creating an experimental liveset where I manipulate the pitch of the loops in realtime.  I have mapped a knob on a MIDI controller to change the pitch of the sound, which is currently being handled via an audio effects rack for flexibility's sake.&#xD;&#xA;&#xD;&#xA;It would be great if I could map a second MIDI control, such as a button, to the same knob to reset its position to 0.  Unfortunately this seems to be much harder than I thought it would be for the following reasons:&#xD;&#xA;&#xD;&#xA; * Live doesn't let you map multiple MIDI controllers to a single object&#xD;&#xA; * Live uses the same mapping ranges for MIDI devices and the keyboard, so you can't use a keyboard key instead without screwing up the MIDI mapping for the original knob&#xD;&#xA; * The audio effects rack will let you have another effects rack inside of it, but you can't map the knobs between them and assign both knobs to different MIDI controllers&#xD;&#xA; * Even if I remap the MIDI button to send the same CC as the knob, Live will use the knob's mapping range, which means it won't act as a &quot;reset&quot; as I need it to&#xD;&#xA;&#xD;&#xA;Is there any way to do this without having to resort to third-party software such as MidiOx?  I'd really rather not have to run MIDI remapping software during my set." ContentLicense="CC BY-SA 2.5" />
  <row Id="41545" PostHistoryTypeId="1" PostId="24263" RevisionGUID="ba569411-0996-4620-8ad8-4ced133d545c" CreationDate="2010-12-13T11:36:20.390" UserDisplayName="Nik Reiman" Text="How do I map a second MIDI controller to act as a &quot;reset&quot; button in Ableton Live?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41546" PostHistoryTypeId="3" PostId="24263" RevisionGUID="ba569411-0996-4620-8ad8-4ced133d545c" CreationDate="2010-12-13T11:36:20.390" UserDisplayName="Nik Reiman" Text="&lt;midi&gt;&lt;ableton&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41547" PostHistoryTypeId="36" PostId="24265" RevisionGUID="12246bf5-a3c9-48c3-bb69-6a8b64618e31" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1694/can-i-create-multiple-mixes-within-the-same-project-in-logic" />
  <row Id="41548" PostHistoryTypeId="36" PostId="24266" RevisionGUID="a2f6191c-4af5-41a7-8509-e8fea9db0cea" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1694/can-i-create-multiple-mixes-within-the-same-project-in-logic/1699#1699" />
  <row Id="41549" PostHistoryTypeId="2" PostId="24266" RevisionGUID="1277e029-cab3-41fd-91cd-998a80d263a2" CreationDate="2011-07-05T23:35:19.747" UserId="7294" UserDisplayName="Warrior Bob" Text="Conceptually, you could group your tracks together and then duplicate the group. Mute your first group, and make whatever changes you want on the duplicated tracks to make a new mix, and then solo/unmute the groups as a whole to A/B the two mixes.&#xD;&#xA;&#xD;&#xA;I don't know how to do this in Logic specifically, but the basic idea is something that I imagine most [DAW][1] software such as Logic could handle. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Digital_audio_workstation" ContentLicense="CC BY-SA 3.0" />
  <row Id="41550" PostHistoryTypeId="2" PostId="24267" RevisionGUID="5dd764f5-3d7a-4c6f-b784-2a7eb8afa6cf" CreationDate="2011-07-08T08:29:10.100" UserDisplayName="bot_bot" Text="You Can route your audio channels to multiple buses, so your main audio channels don't have an output, you don't do any mixing on those channels. So for example if you have 5 channels of audio, route them to buses 1 to 5, do your mix on the buses, send them directly to a sub-mix on bus 11 and from there to the master out. &#xD;&#xA;For your second mix route the original audio channels to buses 6 to 10, sub mix them to bus 12 then the master. &#xD;&#xA;&#xD;&#xA;you can A/B the two mixes by switching between bus 11 and 12 with the solo button.&#xD;&#xA;&#xD;&#xA;Alternatively you could record your mix data in the arrange. Mute the mix when you're finished and record the second take, then just mute/un-mute the data channels as you wish. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41551" PostHistoryTypeId="2" PostId="24265" RevisionGUID="a679f3a7-dae7-48a1-8aa0-490954432152" CreationDate="2011-07-05T07:53:53.483" UserDisplayName="Westicle" Text="I've created a drum mix based around the overheads mics. I'd like to produce another mix within the same project based around a couple of room mics we set so I can A/B the two mixes.&#xD;&#xA;&#xD;&#xA;Is that possible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41552" PostHistoryTypeId="1" PostId="24265" RevisionGUID="a679f3a7-dae7-48a1-8aa0-490954432152" CreationDate="2011-07-05T07:53:53.483" UserDisplayName="Westicle" Text="Can I create multiple mixes within the same project in Logic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41553" PostHistoryTypeId="3" PostId="24265" RevisionGUID="a679f3a7-dae7-48a1-8aa0-490954432152" CreationDate="2011-07-05T07:53:53.483" UserDisplayName="Westicle" Text="&lt;mixing&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41554" PostHistoryTypeId="36" PostId="24267" RevisionGUID="fadd961d-20e8-4800-8e81-6864a54419d3" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1694/can-i-create-multiple-mixes-within-the-same-project-in-logic/1810#1810" />
  <row Id="41555" PostHistoryTypeId="36" PostId="24268" RevisionGUID="092f6908-347d-45d7-b357-2000290edc48" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1694/can-i-create-multiple-mixes-within-the-same-project-in-logic/2040#2040" />
  <row Id="41556" PostHistoryTypeId="2" PostId="24268" RevisionGUID="0f5a7d0a-d62d-417c-8682-c274accb1234" CreationDate="2011-08-08T03:12:02.033" UserDisplayName="bobsbarricades" Text="Another way is to make folders.&#xD;&#xA;&#xD;&#xA;From CH 13 of the manual:&#xD;&#xA;&#xD;&#xA;http://imm.io/7LCC&#xD;&#xA;&#xD;&#xA;Just put together some screen shots since I couldn't figure out how to carry over the formatting.  Hope it helps!  With Folders you can just copy the entire folder, mix differentl, mute/unmute.  Easy =)" ContentLicense="CC BY-SA 3.0" />
  <row Id="41557" PostHistoryTypeId="36" PostId="24269" RevisionGUID="4c6e2dae-a960-4acb-bd7d-42c0be5a53d7" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/537/pro-tools-midi-setup" />
  <row Id="41558" PostHistoryTypeId="2" PostId="24270" RevisionGUID="050a22ef-e64e-4eb8-8954-65c50e9d8c5b" CreationDate="2011-01-07T22:11:46.653" UserDisplayName="Nic" Text="That particular one will work, no problem, per http://www.motu.com/techsupport/technotes/can-i-use-motu-hardware-in-pro-tools-software&#xD;&#xA;&#xD;&#xA;I recommend that unit as well. I've used many, and they have never let me down." ContentLicense="CC BY-SA 2.5" />
  <row Id="41559" PostHistoryTypeId="2" PostId="24269" RevisionGUID="420666d5-c8dc-4d7b-8438-028ba5c93a90" CreationDate="2011-01-07T21:17:06.723" UserId="7398" UserDisplayName="BenV" Text="I would like to get set up to record MIDI through Pro Tools.  I'm hoping I can just connect my MIDI devices to a MIDI interface like this:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;then run it through USB to the Mac, and then be able to access the devices from Pro Tools.&#xD;&#xA;Can someone confirm that this is correct and that I don't have to bring MIDI in through my Pro Tools interface?&#xD;&#xA;  [1]: http://i.stack.imgur.com/zUhT7.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="41560" PostHistoryTypeId="1" PostId="24269" RevisionGUID="420666d5-c8dc-4d7b-8438-028ba5c93a90" CreationDate="2011-01-07T21:17:06.723" UserId="7398" UserDisplayName="BenV" Text="Pro Tools MIDI setup" ContentLicense="CC BY-SA 2.5" />
  <row Id="41561" PostHistoryTypeId="3" PostId="24269" RevisionGUID="420666d5-c8dc-4d7b-8438-028ba5c93a90" CreationDate="2011-01-07T21:17:06.723" UserId="7398" UserDisplayName="BenV" Text="&lt;midi&gt;&lt;pro-tools&gt;&lt;hardware&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41562" PostHistoryTypeId="36" PostId="24270" RevisionGUID="4e4eb884-ea2b-43de-a4b7-075cde2249d7" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/537/pro-tools-midi-setup/538#538" />
  <row Id="41563" PostHistoryTypeId="36" PostId="24271" RevisionGUID="ac846749-e0e8-45b6-9bd0-d56f1ba9cdb6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/537/pro-tools-midi-setup/644#644" />
  <row Id="41564" PostHistoryTypeId="2" PostId="24271" RevisionGUID="f47cec3c-d09e-480f-aa68-73bb40e8c905" CreationDate="2011-01-19T23:45:51.083" UserDisplayName="jlebre" Text="Those MOTU units are brilliant. We have loads of them running everything from HUI from our SSLs to MIDI Keyboard controllers.&#xD;&#xA;&#xD;&#xA;You should be able to just select the desired ports in ProTools straight away. If any problems, you can use MIDI STUDIO on your mac os (sorry not sure if you are mac or win user) from within protools and do the setup graphically, fast, intuitively.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41565" PostHistoryTypeId="36" PostId="24272" RevisionGUID="b06e22f9-fb90-4ebb-b009-a331b032f298" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9074/can-i-use-vst-plug-ins-in-logic" />
  <row Id="41566" PostHistoryTypeId="2" PostId="24273" RevisionGUID="df16e8c1-33b1-4a11-9494-aef0053f862a" CreationDate="2013-09-28T12:34:30.393" UserId="7016" Text="- [FXpansion VST to AU Adapter][1] is a commercial tool&#xD;&#xA;- [JVSTwRapper][2] is free&#xD;&#xA;&#xD;&#xA;Both seem to work equally well&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fxpansion.com/index.php?page=5&amp;tab=22&#xD;&#xA;  [2]: http://jvstwrapper.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="41567" PostHistoryTypeId="2" PostId="24272" RevisionGUID="081f5e84-8acc-4470-8603-3ea2dd008946" CreationDate="2013-09-28T06:12:07.443" UserId="6833" Text="Logic only accepts Audio Unit plug-ins. Is there a way around this to use VST plug-ins too?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41568" PostHistoryTypeId="1" PostId="24272" RevisionGUID="081f5e84-8acc-4470-8603-3ea2dd008946" CreationDate="2013-09-28T06:12:07.443" UserId="6833" Text="Can I use VST plug-ins in Logic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41569" PostHistoryTypeId="3" PostId="24272" RevisionGUID="081f5e84-8acc-4470-8603-3ea2dd008946" CreationDate="2013-09-28T06:12:07.443" UserId="6833" Text="&lt;logic-pro&gt;&lt;vst&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41570" PostHistoryTypeId="36" PostId="24273" RevisionGUID="f89be896-f04b-4060-b47d-fab6b0a4f2e7" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9074/can-i-use-vst-plug-ins-in-logic/9076#9076" />
  <row Id="41571" PostHistoryTypeId="36" PostId="24274" RevisionGUID="00aeed5c-e436-4da3-840b-1c2671afbfbe" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9074/can-i-use-vst-plug-ins-in-logic/9095#9095" />
  <row Id="41572" PostHistoryTypeId="2" PostId="24274" RevisionGUID="6765da9f-099e-4747-8805-3d8f00ea77b3" CreationDate="2013-09-30T22:33:35.643" UserId="6833" Text="In general, the type of tool I'm looking for is called a &quot;VST wrapper&quot;. When @Dr. Mayhem's answer goes out of date, you can search for VST wrappers and see what tools are available." ContentLicense="CC BY-SA 3.0" />
  <row Id="41573" PostHistoryTypeId="36" PostId="24275" RevisionGUID="ed81696d-937f-4bb5-aa9b-802037a2ac8c" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3724/midi-sysex-utility" />
  <row Id="41574" PostHistoryTypeId="36" PostId="24276" RevisionGUID="97798ab6-1865-41d6-8db9-abe2ed966d88" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3724/midi-sysex-utility/4152#4152" />
  <row Id="41575" PostHistoryTypeId="2" PostId="24276" RevisionGUID="230ca716-ed4b-4984-9fa2-358b0d594507" CreationDate="2012-06-09T16:38:55.460" UserDisplayName="az01" Text="[MIDIox][1] has some good sysex handling features: you can send, receive, and it has a small hex editor. But it has no library.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.midiox.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="41576" PostHistoryTypeId="2" PostId="24275" RevisionGUID="19699303-2875-4033-a163-5180d1f9ce55" CreationDate="2012-04-08T23:19:26.227" UserDisplayName="Ian C." Text="I've been using [SysEx Librarian][1] for...well, a long time now. It's functional but it's far from friendly and feature reach. Most notably: it's failed to keep up with the massive increase in transmit and receive speeds the MIDI protocol has gained from being ported to run over USB lines.&#xD;&#xA;&#xD;&#xA;Is there a modern alternative to SysEx Librarian out there?&#xD;&#xA;&#xD;&#xA;I need the following:&#xD;&#xA;&#xD;&#xA; - Receive and save to disk blocks of SysEx messages as one single file (Record Many in SysEx Librarian)&#xD;&#xA; - Receive and save to disk single SysEx messages (Record On in SysEx Librarian)&#xD;&#xA; - Play back SysEx data saved in files on disk over any selected MIDI interface at modern speeds&#xD;&#xA;&#xD;&#xA;And the really nice to have stuff would be:&#xD;&#xA;&#xD;&#xA; - SysEx library view and navigation that allows for a tree structure (SysEx Librarian is one big, flat list of files which gets unwieldily when you've got a lot of files saved)&#xD;&#xA; - Library search feature, especially the ability to search for specific bit-strings in files&#xD;&#xA; - SysEx hex editor&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.snoize.com/SysExLibrarian/" ContentLicense="CC BY-SA 3.0" />
  <row Id="41577" PostHistoryTypeId="1" PostId="24275" RevisionGUID="19699303-2875-4033-a163-5180d1f9ce55" CreationDate="2012-04-08T23:19:26.227" UserDisplayName="Ian C." Text="MIDI SysEx utility?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41578" PostHistoryTypeId="3" PostId="24275" RevisionGUID="19699303-2875-4033-a163-5180d1f9ce55" CreationDate="2012-04-08T23:19:26.227" UserDisplayName="Ian C." Text="&lt;midi&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41579" PostHistoryTypeId="36" PostId="24277" RevisionGUID="1e0a0f0e-41e9-4a46-895b-5990cc96d602" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8409/what-settings-could-cause-latency-in-recording-but-not-in-monitoring-in-cubase" />
  <row Id="41580" PostHistoryTypeId="36" PostId="24278" RevisionGUID="4f1368cd-e94f-4e30-85b7-13f5dbdb82b6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8409/what-settings-could-cause-latency-in-recording-but-not-in-monitoring-in-cubase/8410#8410" />
  <row Id="41581" PostHistoryTypeId="36" PostId="24279" RevisionGUID="c9ed5f5b-365f-4fef-98a0-86908accf74b" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8409/what-settings-could-cause-latency-in-recording-but-not-in-monitoring-in-cubase/8414#8414" />
  <row Id="41582" PostHistoryTypeId="2" PostId="24278" RevisionGUID="05f11050-a0dc-4e84-a649-a88e3ec7fd03" CreationDate="2013-07-15T17:49:42.053" UserId="7405" UserDisplayName="Andy aka" Text="This is my gut-feeling about many DAWs. Don't read this as anything but a possible cause.&#xD;&#xA;&#xD;&#xA;**If I've missed the point of this question, please let me know and I'll delete it.**&#xD;&#xA;&#xD;&#xA;You say playback is fine. But how do you know? Well, you think you know because eveything sounds in sync - but you don't really know when your playback actually begins because there could easily be a 200ms delay between hitting play and hearing your existing tracks. My setup suffers from playback &quot;delay&quot; and some of the midi notes I capture (during record) are well off the mark - All the notes are precisely positioned relative to each other but there could be anything up to a half beat delay.&#xD;&#xA;&#xD;&#xA;So your PC has a low latency for capturing notes but cubase it is trying to position the midi notes recorded on the track with reference to playback delay and this is a bit hit and miss I've found - this applies to midi from my USB keyboard.&#xD;&#xA;&#xD;&#xA;If I'm recording guitar/sax/vox etc I generally find it's spot on." ContentLicense="CC BY-SA 3.0" />
  <row Id="41583" PostHistoryTypeId="2" PostId="24279" RevisionGUID="afb8a865-b183-4070-89af-7a1d3486e9a5" CreationDate="2013-07-16T19:25:24.947" UserId="7462" UserDisplayName="byronyasgur" Text="Solved. It turned out to be that I needed to set Cubase to use &quot;Use system timestamp&quot;. More info on [this][1] page &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/dec07/articles/cubasetech_1207.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="41584" PostHistoryTypeId="2" PostId="24277" RevisionGUID="7710e65c-b37e-4934-8221-21140b3fe22b" CreationDate="2013-07-15T17:21:58.433" UserId="7462" UserDisplayName="byronyasgur" Text="I have alesis dm5 plugged into cubase via midi triggering sounds from DFH superior. I have the buffer size in cubase set so that I have a fairly low latency ( about 6ms ) which I find fine to play with. On playback ( montoring via cubase ) everything works fine but when I hit record even though the monitoring still sounds fine when I play back the recording my drums are delayed by about 130mS. &#xD;&#xA;&#xD;&#xA;I am baffled because I thought that the buffer setting in cubase was the main thing that determined latency and also I can't understand how cubase allows me to monitor properly but it's not able to to record the notes while it's playing them back to me. What I'm looking for are pointers to other settings I need to look into. I presume this must be to do with cubase and not the alesis or midi interface or DFH because like I said the sounds do get all the way in and out of cubase without any latency, just not recorded.&#xD;&#xA;&#xD;&#xA;I have done some experimenting and I find that it seems to be to do with the Dm5 despite what I thought. I think this now because I don't have the issue when I trigger DFH from the keyboard but I still don't understand how the notes are able to get to DFH on time but not recorded on time" ContentLicense="CC BY-SA 3.0" />
  <row Id="41585" PostHistoryTypeId="1" PostId="24277" RevisionGUID="7710e65c-b37e-4934-8221-21140b3fe22b" CreationDate="2013-07-15T17:21:58.433" UserId="7462" UserDisplayName="byronyasgur" Text="What settings could cause latency in recording but not in monitoring in cubase?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41586" PostHistoryTypeId="3" PostId="24277" RevisionGUID="7710e65c-b37e-4934-8221-21140b3fe22b" CreationDate="2013-07-15T17:21:58.433" UserId="7462" UserDisplayName="byronyasgur" Text="&lt;midi&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41587" PostHistoryTypeId="36" PostId="24280" RevisionGUID="f648dbf3-0b87-4f36-a6f8-daa3f11faa69" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4372/midi-osc-control-surface-status" />
  <row Id="41588" PostHistoryTypeId="36" PostId="24281" RevisionGUID="9b88ab33-56d0-4200-b34f-5c554470759f" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4372/midi-osc-control-surface-status/4376#4376" />
  <row Id="41589" PostHistoryTypeId="2" PostId="24281" RevisionGUID="fc2512a7-44da-4327-b3b9-09704fca5624" CreationDate="2012-07-06T17:05:45.310" UserId="7209" Text="Yes, this is very commonly done.&#xD;&#xA;&#xD;&#xA;At least in MIDI though, there is no magic label protocol.  Extended functionality like this is usually done through [&quot;system exclusive&quot; messages (SysEx)][1].  Basically, a SysEx message contains some identifying information (usually manufacturer ID and model ID), and then the rest of the message is just raw data.  The format of this data is up to the manufacturer.  MIDI simply carries the data.  There are no pre-defined message formats for the data within a SysEx message, although many manufacturers do stick to fairly consistent formats for many similar models.&#xD;&#xA;&#xD;&#xA;SysEx data isn't usually the only data sent to an external controller.  For example, the APC40 receives note on/off messages to control the LEDs on its launch buttons.  Many controllers respond to patch change messages as well.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://electronicmusic.wikia.com/wiki/System_exclusive" ContentLicense="CC BY-SA 3.0" />
  <row Id="41590" PostHistoryTypeId="2" PostId="24282" RevisionGUID="33336cc2-d1e8-4727-8e75-a55707b1df41" CreationDate="2012-09-17T14:16:45.550" UserId="14713" UserDisplayName="b20000" Text="Several examples exist of device that supports receiving MIDI or OSC messages for visual feedback, as you describe. The [Jazzmutant Lemur](http://www.jazzmutant.com/lemur_overview.php) touchscreen controller (discontinued but an iOS app exists), [Monome](http://monome.org/devices) grid controller, and [Percussa Audiocubes](http://www.percussa.com) all support this.&#xD;&#xA;&#xD;&#xA;For the AudioCubes, for example, this is done through [a &quot;MIDIBridge&quot; software layer](http://land.percussa.com/audiocubes-midibridge). You can send MIDI data from the cubes' network to any hardware or software that supports MIDI, but you can also send MIDI from any hardware or software device to the cubes, via MIDIBridge. The MIDI data can be used to change the colours of the cubes in sync with the sound or music (or video or other lighting). OSC is also supported.&#xD;&#xA;&#xD;&#xA;For MIDI, this works is through MIDI Continuous control changes, not system exclusive. Sysex messages are typically used for stuff like firmware updates or sample dumps, not for simple &#xD;&#xA;visual feedback like changing colours." ContentLicense="CC BY-SA 3.0" />
  <row Id="41591" PostHistoryTypeId="2" PostId="24280" RevisionGUID="00df78ba-32ea-4c4b-986f-81ce4f5f4388" CreationDate="2012-07-06T05:58:35.230" UserId="7840" UserDisplayName="themirror" Text="I'm new to MIDI and OSC, and I'm just wondering if it's possible to have software on a PC send data to a control surface rather than the other way around.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Why?&#xD;&#xA;Here's a simple example: Let's say I have a control surface that consists of a bank of knobs where each knob has a tiny LCD next to it as a &quot;label&quot;.  Then I can load up a particular &quot;scene&quot; on the PC, and each knob on the control surface is assigned to a particular parameter, with the name of the parameter it controls showing up on the tiny LCD next to it.&#xD;&#xA;&#xD;&#xA;Does MIDI or OSC allow you do to this? Is there some kind of &quot;labeling&quot; functionality built into these protocols? Are there control surfaces at all like the one I described?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41592" PostHistoryTypeId="1" PostId="24280" RevisionGUID="00df78ba-32ea-4c4b-986f-81ce4f5f4388" CreationDate="2012-07-06T05:58:35.230" UserId="7840" UserDisplayName="themirror" Text="MIDI/OSC: Control Surface status" ContentLicense="CC BY-SA 3.0" />
  <row Id="41593" PostHistoryTypeId="3" PostId="24280" RevisionGUID="00df78ba-32ea-4c4b-986f-81ce4f5f4388" CreationDate="2012-07-06T05:58:35.230" UserId="7840" UserDisplayName="themirror" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41594" PostHistoryTypeId="36" PostId="24282" RevisionGUID="f582b3bd-9aaf-4957-a70b-a9816a9b50d6" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4372/midi-osc-control-surface-status/4743#4743" />
  <row Id="41595" PostHistoryTypeId="36" PostId="24283" RevisionGUID="734b7e94-8b19-4c09-8dfc-6b1c4e591c84" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4259/musescore-output-to-midi-keyboard" />
  <row Id="41596" PostHistoryTypeId="36" PostId="24284" RevisionGUID="c55da54f-67a9-492b-904c-a4ba73e74ebf" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4259/musescore-output-to-midi-keyboard/4305#4305" />
  <row Id="41597" PostHistoryTypeId="2" PostId="24284" RevisionGUID="a9f318e4-6ce7-4151-9599-41b16073dd15" CreationDate="2012-06-27T21:06:23.897" UserDisplayName="Duncan" Text="MuseScore does not support direct output to a MIDI device.&#xD;&#xA;(I think that is because it is designed to work on different operating systems where MIDI implementations are totally different)&#xD;&#xA;&#xD;&#xA;**However**, it can use the JACK software to provide this function.&#xD;&#xA;For an explanation, see [the following entry on the MuseScore forums][1]&#xD;&#xA;&#xD;&#xA;For additional clarification, please post a question on the MuseScore forums and someone much more knowledgeable than me will help with any problem you have with this.&#xD;&#xA;Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://musescore.org/en/node/3267 &quot;an entry on the MuseScore forums&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41598" PostHistoryTypeId="2" PostId="24283" RevisionGUID="f63d3cee-41f9-4f7a-b926-b346c99ffcde" CreationDate="2012-06-23T12:19:50.617" UserDisplayName="Shevek" Text="My 10 year old son is learning to play the piano and has a [Yamaha PSR-E213][1]&#xD;&#xA;&#xD;&#xA;We also have a laptop and a [Midisport 2x2][2] USB interface and he wants to start using them together.&#xD;&#xA;&#xD;&#xA;We have successfully connected [MuseScore][3] to the keyboard and he is able to see his playing on the keyboard appearing on the laptop.&#xD;&#xA;&#xD;&#xA;However, we cannot figure out how to get the playback from MuseScore to sound through the keyboard's speakers.&#xD;&#xA;&#xD;&#xA;MIDI OUT on the keyboard is connected to IN-A on the 2x2 and MIDI IN on the keyboard is connected to OUT-A on the 2x2. Only the IN-A LED is lit on the 2x2.&#xD;&#xA;&#xD;&#xA;Is this possible?  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://uk.yamaha.com/en/products/musical-instruments/keyboards/digitalkeyboards/portable_keyboards/psr-e213/&#xD;&#xA;  [2]: http://www.m-audio.com/products/en_us/MIDISPORT2x2.html&#xD;&#xA;  [3]: http://musescore.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="41599" PostHistoryTypeId="1" PostId="24283" RevisionGUID="f63d3cee-41f9-4f7a-b926-b346c99ffcde" CreationDate="2012-06-23T12:19:50.617" UserDisplayName="Shevek" Text="MuseScore output to MIDI keyboard" ContentLicense="CC BY-SA 3.0" />
  <row Id="41600" PostHistoryTypeId="3" PostId="24283" RevisionGUID="f63d3cee-41f9-4f7a-b926-b346c99ffcde" CreationDate="2012-06-23T12:19:50.617" UserDisplayName="Shevek" Text="&lt;midi&gt;&lt;windows&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41601" PostHistoryTypeId="36" PostId="24285" RevisionGUID="10aa6ccf-92ce-44a8-84a7-e73214b41510" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2167/software-hardware-requirements-for-home-recording" />
  <row Id="41602" PostHistoryTypeId="2" PostId="24286" RevisionGUID="462e996c-423b-4326-8ded-93c183c9b5a9" CreationDate="2011-08-19T13:35:21.457" UserId="7093" Text="The only trouble you might have recording directly into the PC with either the instruments or microphones would be with low recording levels and excess noise due to the nature of the internal PC sound card.  Also, you will want to use the line in (if it exists) for instruments rather than the mic input.  If you are just recording the songs for your own purposes or to share with family and friends, this method will work just fine.  If you were looking for a more professional sounding recording, you will probably need to invest in some additional hardware.&#xD;&#xA;&#xD;&#xA;To get the best sounding recording you will want a [USB recording interface][1].  Just about any of them will give you a cleaner recording than the internal sound card.  You will want one with at least 2 inputs if you want to record the keyboard in stereo.  You will also want to make sure that it has MIDI, as some of the less expensive ones only do audio.  I would recommend trying one from [M-Audio][2], as a good starting point.  They sound great and are about mid range as far as the price.&#xD;&#xA;&#xD;&#xA;As for the software, [Reaper][3] will probably be your best bet.  Reaper is a full featured DAW which will allow you to record MIDI and audio.  You can add effects and add as many tracks as you need.&#xD;&#xA;&#xD;&#xA;I am currently using an M-Audio interface with Reaper to record Keyboard, Piano, Drums and Vocals.  It can work for you too :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.com/search?q=usb%20recording%20interface&amp;ie=utf-8&amp;oe=utf-8&amp;aq=t&amp;rls=org.mozilla:en-US:official&amp;client=firefox-a#q=usb%20recording%20interface&amp;hl=en&amp;safe=active&amp;client=firefox-a&amp;hs=8D5&amp;rls=org.mozilla:en-US:official&amp;prmd=ivns&amp;source=univ&amp;tbm=shop&amp;tbo=u&amp;sa=X&amp;ei=B2JOTqK-EKqJsgLEsZWFBw&amp;ved=0CFUQrQQ&amp;bav=on.2,or.r_gc.r_pw.&amp;fp=68d0a0b7d04b6842&amp;biw=1280&amp;bih=913&#xD;&#xA;  [2]: http://www.m-audio.com/index.php?do=products.family&amp;ID=USBinterfaces&#xD;&#xA;  [3]: http://www.reaper.fm/index.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="41603" PostHistoryTypeId="2" PostId="24285" RevisionGUID="ee50eae3-2019-414a-9b0c-3b91d12e1aff" CreationDate="2011-08-19T06:54:29.087" UserDisplayName="Stijn Geukens" Text="I'm as novice as one can be regarding home recording, hence my broad question.&#xD;&#xA;&#xD;&#xA;I play guitar (classical/electric) and keyboard (MIDI output available) and I want to (try to) record some songs I've written. So, I wan't to be able to play the keyboard, the guitar and vocal stuff and record this using a PC. Next to this I want to add drums and other instruments and edit the result.&#xD;&#xA;&#xD;&#xA;Does software like reaper, mixcraft, ... address these requirements?&#xD;&#xA;I guess I need a soundcard with MIDI input for the keyboard to branch it to the PC? &#xD;&#xA;What would be the best way to record electrical guitar on a PC? Simply use the mic input of your soundcard?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41604" PostHistoryTypeId="1" PostId="24285" RevisionGUID="ee50eae3-2019-414a-9b0c-3b91d12e1aff" CreationDate="2011-08-19T06:54:29.087" UserDisplayName="Stijn Geukens" Text="Software/Hardware requirements for home recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="41605" PostHistoryTypeId="3" PostId="24285" RevisionGUID="ee50eae3-2019-414a-9b0c-3b91d12e1aff" CreationDate="2011-08-19T06:54:29.087" UserDisplayName="Stijn Geukens" Text="&lt;software&gt;&lt;midi&gt;&lt;home-studio&gt;&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41606" PostHistoryTypeId="36" PostId="24286" RevisionGUID="c3de72df-d147-4beb-b36b-775baf3f5891" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2167/software-hardware-requirements-for-home-recording/2168#2168" />
  <row Id="41607" PostHistoryTypeId="36" PostId="24287" RevisionGUID="6f4e6832-929f-4bc8-baad-a5252915767f" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2167/software-hardware-requirements-for-home-recording/2251#2251" />
  <row Id="41608" PostHistoryTypeId="2" PostId="24287" RevisionGUID="2e4b1c88-506e-44a9-94c4-ae07da596cbe" CreationDate="2011-09-01T23:20:36.520" UserId="25220" UserDisplayName="Joe McMahon" Text="@FriendOfGeorge's answer here is a good one; I might suggest that you consider a small mixer plus one of the Zoom H-series recorders as another option, especially if you plan on growing your studio.&#xD;&#xA;&#xD;&#xA;They function nicely as USB audio interfaces in addition to being decent recorders; with the mixer, you have the option of picking something with as many inputs as you like, and mixing those down to a stereo mix to send to your computer, or doing a track at a time. You can use whatever stompboxes or mics you like, connected to the mixer, and you won't need to swap stuff around as much if you have a lot of different things you'd like to record." ContentLicense="CC BY-SA 3.0" />
  <row Id="41609" PostHistoryTypeId="36" PostId="24288" RevisionGUID="c20726a4-d795-42f2-86ae-61fd6a580838" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8713/how-do-you-change-the-default-windows-midi-with-something-better" />
  <row Id="41610" PostHistoryTypeId="2" PostId="24289" RevisionGUID="81bff43c-db65-495b-8053-f2278d5c1e2a" CreationDate="2013-08-19T21:09:30.287" UserDisplayName="MillKa" Text="I am using these two MIDI drivers on Windows XP Professional 32 bit and Windows 7 Ultimate 64 bit:&#xD;&#xA;&#xD;&#xA;1) [BASSMIDI Driver][1]&#xD;&#xA;&#xD;&#xA;2) [CoolSoft VirtualMidiSynth][2]&#xD;&#xA;&#xD;&#xA;Both drivers are installed as MME (MS Multimedia Extension) MIDI drivers, just like the standard MS GS Wavetable Synth.  &#xD;&#xA;&#xD;&#xA;Both use the BASS audio library, which contains a software synthesizer, that emulates the EMU sound chip of Creative Soundblaster audio cards (and compatible hardware).  These chips use Soundfonts (SF2 files), that contain the wavetables (audio samples) for the various instruments.  In other words, these two drivers are software replacements for the Wavetable MIDI hardware on earlier soundcards, but without their hardware limitations (number of voices, size of SoundFont).&#xD;&#xA;&#xD;&#xA;Both drivers work in Windows XP, Vista, 7 (32 and 64 bit).  I haven't tested Windows 8 yet.&#xD;&#xA;&#xD;&#xA;Driver #2 has a nicer User Interface, but supports just one port (16 MIDI channels).&#xD;&#xA;&#xD;&#xA;Driver #1 is open source and supports two ports (2 x 16 MIDI channels).&#xD;&#xA;&#xD;&#xA;Both drivers can be installed and used side-by-side with each other and the standard MS GS Synth.&#xD;&#xA;&#xD;&#xA;When selecting a SoundFont, I would recommend to start with the GeneralUser SoundFont by Christian Collins (see CoolSoft site for the link), because - in my opinion - its sounds are quite well balanced and can be used for classic and contemporary music.  There are many more SoundFonts available, as well as applications to create and edit SoundFonts.&#xD;&#xA;&#xD;&#xA;-------------------&#xD;&#xA;&#xD;&#xA;The two MIDI drivers I mentioned above use SoundFonts.&#xD;&#xA;&#xD;&#xA;There is another MIDI driver ( [VST MIDI driver][3] ), which uses VST plugins instead of SoundFonts.  Its from the same author as the BASS MIDI driver.  Its open source and supports 2 ports.&#xD;&#xA;&#xD;&#xA;-------------------&#xD;&#xA;&#xD;&#xA;**Update:** &#xD;&#xA;Oops, the link to the VST MIDI driver didn't survive the move.  It is fixed now.&#xD;&#xA;&#xD;&#xA;MS deleted the User Interface part for **default MIDI device selection** from the **Sounds Control Panel** in Windows Vista, 7 and 8 - however, the windows registry settings still exists.  Therefore, the configuration programs for all three drivers above allow to select the default MIDI device driver and store that setting in the corresponding registry setting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://kode54.net/bassmididrv/ &quot;BASSMidi Driver&quot;&#xD;&#xA;  [2]: http://coolsoft.altervista.org/en/virtualmidisynth&#xD;&#xA;  [3]: http://www.mudlord.info/products.html&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41611" PostHistoryTypeId="2" PostId="24288" RevisionGUID="90440ff4-50b6-413e-9ceb-a344c9d4aa0e" CreationDate="2013-08-14T12:38:59.843" UserDisplayName="Alexander Troup" Text="*I want to find a good midi library so that I can replace the default [Microsoft GS Wavetable Synth][1].*  &#xD;&#xA;&#xD;&#xA;[MuseScore][2] is the main program I'm using which relies on midi at the moment.  I'm open to the possibility that I need to update to something better than basic midi altogether, but I don't have the money for Cubase, ProTools, Ableton etc at the moment. &#xD;&#xA;&#xD;&#xA;According to [this site][3], I found that the samples currently used are oooooooold.  &#xD;&#xA;&#xD;&#xA;(This question originally stems from [this question][4] over at [Music.StackExchange][5])&#xD;&#xA;&#xD;&#xA;Any Ideas?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Microsoft_GS_Wavetable_SW_Synth#Microsoft_GS_Wavetable_SW_Synth&#xD;&#xA;  [2]: http://musescore.org/&#xD;&#xA;  [3]: http://www.vgmusic.com/phpBB3/viewtopic.php?f=16&amp;t=15107&#xD;&#xA;  [4]: http://music.stackexchange.com/questions/11626/how-do-you-increase-the-default-volume-of-musescore&#xD;&#xA;  [5]: http://music.stackexchange.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="41612" PostHistoryTypeId="1" PostId="24288" RevisionGUID="90440ff4-50b6-413e-9ceb-a344c9d4aa0e" CreationDate="2013-08-14T12:38:59.843" UserDisplayName="Alexander Troup" Text="How do you change the default Windows midi with something better?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41613" PostHistoryTypeId="3" PostId="24288" RevisionGUID="90440ff4-50b6-413e-9ceb-a344c9d4aa0e" CreationDate="2013-08-14T12:38:59.843" UserDisplayName="Alexander Troup" Text="&lt;midi&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41614" PostHistoryTypeId="36" PostId="24289" RevisionGUID="feabe9dc-7a40-4476-acfb-57b7e0441ed0" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8713/how-do-you-change-the-default-windows-midi-with-something-better/8770#8770" />
  <row Id="41615" PostHistoryTypeId="36" PostId="24290" RevisionGUID="8824122d-510c-4dee-a2bf-c1e0adc180c5" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8713/how-do-you-change-the-default-windows-midi-with-something-better/8800#8800" />
  <row Id="41616" PostHistoryTypeId="2" PostId="24290" RevisionGUID="91d94919-3e1f-4250-b32d-02e3336528d5" CreationDate="2013-08-23T10:10:32.880" UserDisplayName="Prashanth" Text="Try [Audacity][1], it is both a MIDI Editor and VST Host.&#xD;&#xA;&#xD;&#xA;If you are looking for free VST instruments which produce good sounds, you can look [here][2]. You can look for Free VST hosts in the same website.&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/&#xD;&#xA;  [2]: http://bedroomproducersblog.com/free-vst-plugins/&#xD;&#xA;&#xD;&#xA;All the best!" ContentLicense="CC BY-SA 3.0" />
  <row Id="41617" PostHistoryTypeId="36" PostId="24291" RevisionGUID="a65897ff-0535-44c5-900a-19523ee3532d" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2452/my-oxygen25-midi-keyboard-wont-work-with-pro-tools-9-help" />
  <row Id="41618" PostHistoryTypeId="36" PostId="24292" RevisionGUID="5df3e126-6ea8-465f-85c1-798ad91e9624" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2452/my-oxygen25-midi-keyboard-wont-work-with-pro-tools-9-help/2544#2544" />
  <row Id="41619" PostHistoryTypeId="2" PostId="24292" RevisionGUID="48b35b7d-4968-4440-87eb-2bc5ebdf13e0" CreationDate="2011-10-26T10:06:38.497" UserDisplayName="JayP" Text="@neilfein is correct in his comment.  The mistake you have made is to set **send to** to be Xpand2.  This should in fact be set to **Oxygen 25**.  This is because Pro Tools needs to know where to receive input from, and where to send output to, in terms of your keyboard (i.e., it needs two-way communication).&#xD;&#xA;&#xD;&#xA;In a USB-based keyboard, this doesn't really make logical sense - there is only one cable which acts as both MIDI in and MIDI out.&#xD;&#xA;&#xD;&#xA;So why should you have to make these choices at all?  These options exist because you could (in theory) be connecting your keyboard via traditional MIDI cables, meaning that your **receive from** and **send to** ports could actually be different physical MIDI interfaces.  In this scenario, these settings make more logical sense.&#xD;&#xA;&#xD;&#xA;To summarise, you need to set both your **receive from** and **send to** to **Oxygen 25**.  Then it should work.&#xD;&#xA;&#xD;&#xA;The [link][1] that @NeilFein provided also contains handy tips on using the MIDI controllers on your Oxygen 25 to control Pro Tools.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.m-audio.com/index.php?do=support.faq&amp;ID=3bd39018a88f65191feeee50b5952c24" ContentLicense="CC BY-SA 3.0" />
  <row Id="41620" PostHistoryTypeId="2" PostId="24291" RevisionGUID="a43af156-bfe8-4e04-8e4c-93019d364a5a" CreationDate="2011-10-10T08:14:58.797" UserDisplayName="James Litewski" Text="So, I have Pro Tools 9 and a 3rd Gen Oxygen25 midi keyboard (usb). Both are made by Avid, yet I can't get them to work together.. The keyboard even works with Logic Pro 9, just not Pro Tools 9...&#xD;&#xA;&#xD;&#xA;I'm running OS X 10.6.8 on a Mac Book Pro (15-inch). Also, it's Pro Tools 9.0.2![enter image description here][1]![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/lwUR4.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/yvsfu.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="41621" PostHistoryTypeId="1" PostId="24291" RevisionGUID="a43af156-bfe8-4e04-8e4c-93019d364a5a" CreationDate="2011-10-10T08:14:58.797" UserDisplayName="James Litewski" Text="My Oxygen25 midi keyboard wont work with Pro Tools 9, help..?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41622" PostHistoryTypeId="3" PostId="24291" RevisionGUID="a43af156-bfe8-4e04-8e4c-93019d364a5a" CreationDate="2011-10-10T08:14:58.797" UserDisplayName="James Litewski" Text="&lt;logic-pro&gt;&lt;pro-tools&gt;&lt;mac&gt;&lt;avid&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41623" PostHistoryTypeId="36" PostId="24293" RevisionGUID="b794c2f4-c0fa-4b90-8e8e-1a1a2767b4d5" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5/how-to-properly-mix-superior-drummer-2" />
  <row Id="41624" PostHistoryTypeId="36" PostId="24294" RevisionGUID="801a8bc2-e61d-47e4-b924-4e77fb3ac726" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5/how-to-properly-mix-superior-drummer-2/82#82" />
  <row Id="41625" PostHistoryTypeId="36" PostId="24295" RevisionGUID="24050482-e24f-41b2-a3df-ab3d64d708cd" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5/how-to-properly-mix-superior-drummer-2/5230#5230" />
  <row Id="41626" PostHistoryTypeId="2" PostId="24294" RevisionGUID="1eed9094-937a-4df7-91e8-7728aed003e9" CreationDate="2010-12-08T00:24:26.790" UserDisplayName="Brian Ashburn" Text="I like to use my other plugins for compression and EQ with Superior Drummer. I tend to look at things like the SSL plugin and McDSP's set. They give me a lot more control over the compression and EQ which keeps me close to the way that I mix it live as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="41627" PostHistoryTypeId="2" PostId="24295" RevisionGUID="16f298d4-559f-4481-aff3-e0c72c17f153" CreationDate="2012-11-02T15:39:59.310" UserDisplayName="Eric Tannery" Text="I bounce the audio &amp; use [this template in pro tools](http://www.protoolsitb.com/index.php?dispatch=products.view&amp;product_id=10) (not free)&#xD;&#xA;&#xD;&#xA;![template screenshot][1]&#xD;&#xA;&#xD;&#xA;&gt; **Description**&#xD;&#xA;&gt;&#xD;&#xA;&gt; Learn how to mix drums in Pro Tools in this session.  Comes with&#xD;&#xA;&gt; complete audio drum tracks.  Learn how to mix Kick, Snare, Hats, Toms,&#xD;&#xA;&gt; OH, Room, mono Room, parallel compression. &#xD;&#xA;&#xD;&#xA;&gt;Includes 2 sessions (same&#xD;&#xA;&gt; audio) &#xD;&#xA;&#xD;&#xA;&gt;Session 1: Mixed with Waves SSL, CLA-Signature, CLA-Classic&#xD;&#xA;&gt; compressors, McDSP AC2, TheGlue Compressor, and Waves Renaissance&#xD;&#xA;&gt; plugins. &#xD;&#xA;&#xD;&#xA;&gt;Session 2: Mixed with Digi EQ &amp; Compressors that come with&#xD;&#xA;&gt; Pro Tools.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/z41Y4.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="41628" PostHistoryTypeId="2" PostId="24293" RevisionGUID="1b19d355-00bd-4881-8311-6ea61a6c74b2" CreationDate="2010-12-07T20:25:11.830" UserDisplayName="Sorantis" Text="How do you mix Superior Drummer drums?&#xD;&#xA;Do you use built-in mixer, or you use 3d party plugins?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41629" PostHistoryTypeId="1" PostId="24293" RevisionGUID="1b19d355-00bd-4881-8311-6ea61a6c74b2" CreationDate="2010-12-07T20:25:11.830" UserDisplayName="Sorantis" Text="How to properly mix Superior Drummer 2.*" ContentLicense="CC BY-SA 2.5" />
  <row Id="41630" PostHistoryTypeId="3" PostId="24293" RevisionGUID="1b19d355-00bd-4881-8311-6ea61a6c74b2" CreationDate="2010-12-07T20:25:11.830" UserDisplayName="Sorantis" Text="&lt;midi&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41631" PostHistoryTypeId="36" PostId="24296" RevisionGUID="99bc89e4-52e2-4ca6-8f3b-1cbbb7e78240" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2785/is-there-a-wifi-midi-controller-keyboard" />
  <row Id="41632" PostHistoryTypeId="2" PostId="24297" RevisionGUID="a92a8589-1dab-448c-8b2d-d9625e1d3b51" CreationDate="2011-12-09T16:26:04.840" UserId="7189" Text="The [CME UF-series][1] keyboards support a built-in [MIDI-over-wireless][2] system.&#xD;&#xA;&#xD;&#xA;My first guess was the [Rockband wireless keyboard][3]. Unfortunately, it [doesn't appear to transmit MIDI data over its bluetooth connection][4].&#xD;&#xA;&#xD;&#xA;If you are up for a DIY project, here are some instructions on [building a wireless MIDI link using XBee radios][5]. Should be able to fit inside the case of most MIDI controllers.&#xD;&#xA;&#xD;&#xA;The EMU [Shortboard][6] and [Longboard][7] are worth a look. They can be [wireless][8] and can run on batteries.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cme-pro.com/products-list/product-uf50607080.html&#xD;&#xA;  [2]: http://www.cme-pro.com/en/product-detail.php?product_id=1&#xD;&#xA;  [3]: http://www.amazon.com/Rock-Band-Wireless-Keyboard-Xbox-360/dp/B003RS19N4&#xD;&#xA;  [4]: http://www.cycling74.com/forums/topic.php?id=33283&#xD;&#xA;  [5]: http://www.ladyada.net/make/xbee/midibee.html&#xD;&#xA;  [6]: http://www.creative.com/emu/products/product.aspx?category=922&amp;pid=19165&#xD;&#xA;  [7]: http://www.creative.com/emu/products/product.aspx?category=922&amp;pid=19112&#xD;&#xA;  [8]: http://www.creative.com/emu/products/product.aspx?category=902&amp;pid=18609" ContentLicense="CC BY-SA 3.0" />
  <row Id="41633" PostHistoryTypeId="2" PostId="24296" RevisionGUID="6c15fd81-c59c-4853-8e7d-f99f7531fff5" CreationDate="2011-12-09T12:54:33.817" UserDisplayName="JoaoHornburg" Text="I own a M-Audio Axiom which I plug into my MacBook Pro to use MainStage (part of Logic Studio). Recently I bought an iPad and downloaded some &quot;controller apps&quot;. What most surprised my is that those apps send MIDI data over wi-fi to my Mac. No USB connection needed.&#xD;&#xA;&#xD;&#xA;After seeing the light, I'm now wanting to eliminate as much cables from my setup as possible. So, I'm looking for a MIDI controller keyboard (similar to Axiom) which connects to a wi-fi network and sends all MIDI data over wi-fi.&#xD;&#xA;&#xD;&#xA;I've googled for it, but found nothing. Does anyone know a controller with such capabilities?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41634" PostHistoryTypeId="1" PostId="24296" RevisionGUID="6c15fd81-c59c-4853-8e7d-f99f7531fff5" CreationDate="2011-12-09T12:54:33.817" UserDisplayName="JoaoHornburg" Text="Is there a wifi MIDI controller keyboard?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41635" PostHistoryTypeId="3" PostId="24296" RevisionGUID="6c15fd81-c59c-4853-8e7d-f99f7531fff5" CreationDate="2011-12-09T12:54:33.817" UserDisplayName="JoaoHornburg" Text="&lt;midi&gt;&lt;mac&gt;&lt;wireless&gt;&lt;ipad&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41636" PostHistoryTypeId="36" PostId="24297" RevisionGUID="87c9b3d5-8b48-4c0b-a2e4-d2423b9fb7b1" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2785/is-there-a-wifi-midi-controller-keyboard/2786#2786" />
  <row Id="41637" PostHistoryTypeId="36" PostId="24298" RevisionGUID="81da1fc8-d223-40fc-93b3-cdafa5d2abdb" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7673/control-ableton-tempo-from-maxmsp" />
  <row Id="41638" PostHistoryTypeId="36" PostId="24299" RevisionGUID="0079695f-2f7f-44b7-a859-f784926078ca" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7673/control-ableton-tempo-from-maxmsp/7678#7678" />
  <row Id="41639" PostHistoryTypeId="2" PostId="24299" RevisionGUID="bb2e91cd-af57-47a2-8a2d-af0598884e93" CreationDate="2013-04-17T21:36:28.457" UserId="7016" Text="Midi information is 7-bit, however the sync function getting information from an MSP uses a float for bpm, so you shouldn't have this problem.&#xD;&#xA;&#xD;&#xA;Have a look at this page for some info: http://www.cycling74.com/docs/max5/refpages/msp-ref/sync~.html&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41640" PostHistoryTypeId="2" PostId="24300" RevisionGUID="0e38f0fa-a992-4cb5-acf9-f00293f1d2c4" CreationDate="2013-04-19T16:07:16.243" UserId="7294" UserDisplayName="Warrior Bob" Text="Live's tempo can be mapped to MIDI CCs in two parts: coarse and fine. You can map one CC to coarse, and one to fine, so your coarse setting can have 128 steps of resolution, and between each of those, you can set a further 128 steps with the other CC. When you enter MIDI-mapping mode (cmd+M), you can see that the global tempo has two mappable areas.&#xD;&#xA;&#xD;&#xA;To further increase your precision, you can open Live's browser during MIDI mapping and specify the maximum and minimum tempo range that your 128 steps will represent. If you never plan to go below, say, 60bpm or above 200, then you can specify these as the endpoints, and now your CC steps are just under 2bpm apart instead of 5. The narrower you go, the finer the resolution.&#xD;&#xA;&#xD;&#xA;![Image from MacProVideo.com][1]&#xD;&#xA;&#xD;&#xA;This also generically works for any parameter you map using the mapping interface.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/eheR2.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="41641" PostHistoryTypeId="2" PostId="24298" RevisionGUID="5a199a7b-de80-416d-89e8-6848455cafbd" CreationDate="2013-04-17T18:06:38.850" UserId="7240" UserDisplayName="rob-gordon" Text="My question is firstly- is midi cc information integer only. 0 - 127, but not 5.55&#xD;&#xA;&#xD;&#xA;The reason I ask is that I'm trying to control the tempo in Ableton Live from MaxMSP Patch (not Max for Live).&#xD;&#xA;&#xD;&#xA;I found out that cc 0 registers a tempo of 20bpm, and cc 127 registers a tempo of 999bpm&#xD;&#xA;&#xD;&#xA;But it seems like my accuracy is totally ruined, because each cc integer is about 9bpm apart, and 9bpm off isn't very convincing. Too messy&#xD;&#xA;&#xD;&#xA;I'm wondering if there is something I missed, or maybe another protocol to use. Does anyone have any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41642" PostHistoryTypeId="1" PostId="24298" RevisionGUID="5a199a7b-de80-416d-89e8-6848455cafbd" CreationDate="2013-04-17T18:06:38.850" UserId="7240" UserDisplayName="rob-gordon" Text="Control Ableton Tempo from MaxMSP" ContentLicense="CC BY-SA 3.0" />
  <row Id="41643" PostHistoryTypeId="3" PostId="24298" RevisionGUID="5a199a7b-de80-416d-89e8-6848455cafbd" CreationDate="2013-04-17T18:06:38.850" UserId="7240" UserDisplayName="rob-gordon" Text="&lt;midi&gt;&lt;ableton&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41644" PostHistoryTypeId="36" PostId="24300" RevisionGUID="9b792769-4855-4d36-a50b-eb537ad67917" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7673/control-ableton-tempo-from-maxmsp/7690#7690" />
  <row Id="41645" PostHistoryTypeId="36" PostId="24301" RevisionGUID="0c84b786-aa35-4995-a772-00bfc2945881" CreationDate="2014-01-24T19:56:07.947" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9622/over-my-head-looking-for-an-inexpensive-way-to-mic-both-my-flute-and-violin-for" />
  <row Id="41646" PostHistoryTypeId="36" PostId="24302" RevisionGUID="862ff18a-2654-4a9e-a553-391131c10a7f" CreationDate="2014-01-24T19:56:07.947" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9622/over-my-head-looking-for-an-inexpensive-way-to-mic-both-my-flute-and-violin-for/9626#9626" />
  <row Id="41647" PostHistoryTypeId="36" PostId="24303" RevisionGUID="8efe0b24-b9cc-48c3-952d-21de0d994d2b" CreationDate="2014-01-24T19:56:07.947" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9622/over-my-head-looking-for-an-inexpensive-way-to-mic-both-my-flute-and-violin-for/9881#9881" />
  <row Id="41648" PostHistoryTypeId="2" PostId="24302" RevisionGUID="f33d7743-762b-4ee3-a4b5-8575c94ca6bf" CreationDate="2013-12-10T20:58:26.047" UserId="7200" Text="I'm afraid for that budget you're not going to get it any better than a single stationary mic. Both flute and violin are rather easier to mic and bring out in a PA mix than acoustic guitars, mandolins etc., so if that's the context, you have no drums, electric guitars etc., I'd stay with a single mic. Of course, you need to set it up right!&#xD;&#xA;&#xD;&#xA;First, you should choose a suitable model. Condenser mics are generally clearer than dynamic mics and therefore preferrable for acoustic instruments; in particular violins come through much better in my experience. Unfortunately condensers are also rather more prone to feedback etc. problems. You definitely do not want an omnidirectional one, that only works well for recording or in the very close range. A cardioid one is already considerably less susceptive, e.g Behringer C2 if your budget is so limited. A supercardioid would probably be even better; those are available in the low-price range mainly as camera mics... probably not ideal to set up, but might work.&#xD;&#xA;&#xD;&#xA;You want to place the mic slightly over-head pointing down at about 45°, of course not too far away but it also shouldn't be necessary to have it right in your face (if you don't need an Ian Anderson sound). Most important is the position relative to the PA and the monitors (if any); speakers and mic each should point away from each other as much as possible.&#xD;&#xA;&#xD;&#xA;Then you need to set up the mix. You want to cut away pretty much all the bass range as a starting point, that should already get you rid of a lot of feedback / rumble problems. You probably don't have much fine-grained parametric EQ possibilities with your console, but as much as possible you should try to find the frequencies most prone to feedback, and minimise those.&#xD;&#xA;&#xD;&#xA;If you manage to get loud enough this way, then you should at any rate have a pretty nice, natural sound for both flute and violin. And no problems with switching etc..&#xD;&#xA;&#xD;&#xA;If you say this definitely doesn't work, you've tried all, well – (but I doubt it, for as I said guitar miking has _at least_ as much feedback trouble) then you're in for a rather nasty hack with direct-pickup solutions for that money, and probably won't achieve a really pleasant sound.&#xD;&#xA;&#xD;&#xA;Cheap violin pickups have a strong tendency to sound creaky, dry, harsh... you can achieve a somewhat acceptable sound, but it requires first a good preamp, and then lots of artificial reverb. Some of the more expensive models actually work quite nicely.&#xD;&#xA;&#xD;&#xA;Omnidirectional gooseneck mics, as I said, suffer from feedback at least as much as a cardoid on a stand. There are some specialist models available that can probably offer the best live sound possible at all, but I'm afraid not feasible for you.&#xD;&#xA;&#xD;&#xA;For flute, any close mic should get you rid of feedback. but close unshielded condensers would probably also suffer form lots of breath sound etc., so I'm again not sure if that would even help.&#xD;&#xA;&#xD;&#xA;No, I think the real problem is not the single mic. It's probably not that you're too quiet, at all – unless you're actually playing to quiet to begin with!&lt;br&gt;&#xD;&#xA;More likely, you just feel you're too quiet _yourself_. That's completely normal perception especially for people with little live experience. You can't solve this by making you overall louder, what you'd need is proper monitoring. But if you don't have monitors already, then that's again not in your price scope.&#xD;&#xA;&#xD;&#xA;&lt;hr&gt;&#xD;&#xA;&#xD;&#xA;As for your other points, keyboard as preamp... nah, forget it, such hacks are almost bound to break live. You need proper XLR mic connections.&#xD;&#xA;&#xD;&#xA;Or, well, yeah: wireless is definitely an option nowadays. Modern systems work very well, the bands used by police etc. are also seperate completely since everything is digital. Only, _the price..._" ContentLicense="CC BY-SA 3.0" />
  <row Id="41649" PostHistoryTypeId="2" PostId="24303" RevisionGUID="cf41b12f-1282-4128-a36b-82ab0e060b3f" CreationDate="2014-01-10T20:01:10.667" UserDisplayName="user5352" Text="You have a few core requirements...&#xD;&#xA;&#xD;&#xA; - amplification (being heard by the audience)&#xD;&#xA; - monitoring (hearing yourself)&#xD;&#xA; - performance (playing well)&#xD;&#xA;&#xD;&#xA;First, it's *all about the performance*, really.  You should learn to play flute with a vocal mic (see: Ian Anderson of Jethro Tull).  Violin/viola can be micked with a cardioid condenser placed near/above head level pointing down, if the general stage volume isn't too loud.  Learn to adapt to these two common scenarios.&#xD;&#xA;&#xD;&#xA;You seem to indicate your current gig has a P.A. that provides adequate amplification.  Most pro gigs will have a P.A. - you should structure your gear so that you'll be ready for pro gigs, as well as personal.&#xD;&#xA;&#xD;&#xA;One good solution is a &quot;keyboard amp&quot; - they reproduce the full frequency range well, many can be tipped back or lifted up to provide direct monitoring (nearby and aimed at your head), and many also have XLR outputs to send to a P.A. system.  A similar, better solution would be a small (4 channel, both mic and line inputs) mixer and powered speakers (your &quot;personal P.A.&quot;).  Even cheapo computer speakers might get the job done.&#xD;&#xA;&#xD;&#xA;Most importantly, you want to &quot;capture the source instrument&quot; well.  For stage violin that's a bridge transducer, or for less money a body transducer (a $5 acoustic guitar one will work OK).  For flute it's a clip-on mic (such as the Audix ADX10FLP).  Leave them plugged into your personal mixer and mute any you're not using.&#xD;&#xA;&#xD;&#xA;Send the mixer AUX outputs to your &quot;monitor&quot; speakers, and the main outputs to the P.A., and you're good to go.  This set up will allow you to control your various volumes both in your monitors and &quot;in the house&quot; (the audience), possibly allow for adding effects such as reverb, and plug in easily to P.A. systems of any size.  You'll get mobility (clip-ons are the way to go here) and personal monitoring.&#xD;&#xA;&#xD;&#xA;Because you can get the mixer and speakers for $50, I recommend you put considerable research and/or money into finding awesome mics/transducers - *by far* the most important component in the signal chain is the first link: capturing the natural sound of the instrument.&#xD;&#xA;&#xD;&#xA;For flute, compare against: http://www.countryman.com/countryman-microphones-integral-to-flutist-michael-masons-performances&#xD;&#xA;&#xD;&#xA;For violin, try this site: http://www.electricviolinshop.com/mighty-mini-pickup-system.html&#xD;&#xA;&#xD;&#xA;Your price point is a little low if you want high quality, but you can make do with some EQ and effects.  But I strongly recommend you put some time and possibly money into researching and acquiring good mics/transducers - they'll hold up for years and work in every situation short of a symphony.  HTH!" ContentLicense="CC BY-SA 3.0" />
  <row Id="41650" PostHistoryTypeId="2" PostId="24301" RevisionGUID="a01bb8fd-f712-4d1a-9929-219225cf5c83" CreationDate="2013-12-10T19:28:05.597" UserDisplayName="moirla" Text="The more I look at microphones and amplifiers and PA systems and pickups (oh my) the more I am realizing that I have no idea what I am doing.  (sorry the question is so long, it's kind of a stream of consciousness thing.  there's a tl;dr down at the bottom.**)  &#xD;&#xA;&#xD;&#xA;I am a multi-instrumentalist playing with a volunteer band that plays at several retirement and nursing communities in the area a few times a year.  We've played indoors in a room with school cafeteria acoustics, indoors in a smaller/warmer dining room area, and outdoors on a cement patio. The people in the band who have gigged before and have their own equipment have set me up with a mic and mic stand a few times and done their best to place it so that I can be heard with either instrument, but it is not really an ideal situation.  I have to have my face right in the mic while fluting and therefore can't really see my music or the rest of the band, and it is rather too close for comfort while I am bowing the violin.  &#xD;&#xA;&#xD;&#xA;Ideally, I would like to have a setup that is somewhat self contained and possibly wireless if I am going to be moving around and switching up instruments all the time.  (I'm kind of klutzy.)  I'm also not above picking something up that fits my budget (under $100) and almost does the job and DIYing a rig that better suits my needs. &#xD;&#xA;&#xD;&#xA;I was originally considering getting a small practice amp that I could clip onto my person (such as the Honeytone N10B) and just switch cables between a lavalier mic clipped to the headjoint of my flute and a violin pickup as needed:&#xD;&#xA;Cherub-WCP-60V-Violin-Pickup (amazon)  $7.20;&#xD;&#xA;Danelectro-N10BK-Honey-Tone-Black (amazon) $19.99;&#xD;&#xA;Audio-Technica-ATR-3350-Omnidirectional-Condenser-Microphone (amazon) $18.99 (picture shows a watch battery, so I assume this means phantom power is optional?);&#xD;&#xA;1/8 to 1/4&quot; adapter (already own).  &#xD;&#xA;&#xD;&#xA;While I like the roughly $50 price point of that set up, further reading on this site has lead me to believe that a practice amp will not have enough juice to carry over the other instruments, particularly not when they are also mic'd. &#xD;&#xA;&#xD;&#xA;So, possibly a personal PA system?  I do believe that I could get away with using a single headset mic for both instruments, provided I can keep it out of the way of both the shoulder rest and the bow on my violin, and a headset seems to come packaged with the PA systems I have looked at.  But I'm really not at all certain how to determine if one of these in my price range would hold it's own with the rest of the group?   Idea: Or, could something like this also serve as a line-out to the mixer rather than serve as the speaker itself?  Actually, my keyboard has a 1/4&quot; mic in (complete with separate volume knob) and a 1/4&quot; line out which certainly makes me think the idea is viable.  Granted, my keyboard is a bit cumbersome compared to something I might be able to clip to my person, but it also might turn out to be one piece of the puzzle that I don't have to purchase.  &#xD;&#xA;&#xD;&#xA;Actually, yeah, do they make microphone switches that would allow me to have two microphones plugged into the same cable on the mixing board and just switch between whichever one I want to be active?  I think I could maneuver around a single cable that came directly to my belt or something if I were able to easily alternate between inputs, or if I were using just a single headset mic.  That could work very well for me and might even let me get away with spending a little bit more money on the mic. &#xD;&#xA;&#xD;&#xA;(After reading more into wireless systems, I do not think this will be practical financially or even in application.  I don't know if anyone else in the group currently uses a wireless system and whether we'd have to continuously juggle frequencies at each different venue, one of which is adjacent to the township police and fire/rescue facility and might therefore be subject to additional radio activity.  Additionally, I probably would prefer to not have to pay for both a transmitter and a receiver in addition to the microphone itself.)   &#xD;&#xA;&#xD;&#xA;**So, the tl;dr version:&#xD;&#xA;Budget is $100 or less for all&#xD;&#xA;&#xD;&#xA;1) volunteer multi-instrumentalist on a budget: can't stand having stationary mic in face, what are my options (some thoughts in the text above)?  I play flute and violin and whatever else I can get my hands on with several vocalists, a bass guitar, a banjo, two acoustic guitars and a ukulele/acoustic guitar/mandolin. The group plays mic'd.&#xD;&#xA;&#xD;&#xA;2) is there such thing as a microphone switch (ie, a device that would allow me to plug multiple sources into a single input on the mixer and designate which source is active, like an hdmi switch for the tv)?  my search results on Amazon seemed sketchy so I thought maybe it had a different name if it existed. &#xD;&#xA;&#xD;&#xA;3) can I/should I consider using my keyboard as microphone/cable manager to help realize my dream of musical mobility?  Will it save me money?  Is it just too clunky to bother (Casio LK 165)?  Or is it just too weird to have a keyboard on stage when no one intends to actually play it?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks for your input. &#xD;&#xA;&#xD;&#xA;-Kim" ContentLicense="CC BY-SA 3.0" />
  <row Id="41651" PostHistoryTypeId="1" PostId="24301" RevisionGUID="a01bb8fd-f712-4d1a-9929-219225cf5c83" CreationDate="2013-12-10T19:28:05.597" UserDisplayName="moirla" Text="over my head: looking for an inexpensive way to mic both my flute and violin for live performance with mic'd acoustic group?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41652" PostHistoryTypeId="3" PostId="24301" RevisionGUID="a01bb8fd-f712-4d1a-9929-219225cf5c83" CreationDate="2013-12-10T19:28:05.597" UserDisplayName="moirla" Text="&lt;microphone&gt;&lt;live&gt;&lt;budget&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41653" PostHistoryTypeId="36" PostId="24304" RevisionGUID="4b9c9f4a-dc0f-4054-be91-4e20089e7813" CreationDate="2014-01-24T20:04:00.950" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9560/plugin-to-dynamically-align-phase-add-delay-between-two-mics-where-one-is-m" />
  <row Id="41654" PostHistoryTypeId="2" PostId="24304" RevisionGUID="d2d7904c-b3c9-4979-90b5-b3308c562c12" CreationDate="2013-12-03T21:18:00.660" UserId="7228" UserDisplayName="Louis Somers" Text="We occasionally have a situation where one speaker is wearing a wireless microphone and another speaker is not. (Usually a translator would be using the wireless headset, standing next to a guest speaker).&#xD;&#xA;&#xD;&#xA;When the speaker wearing the wireless headset moves away or nearer to from the fixed mic, a sweeping phase sound is audible.&#xD;&#xA;&#xD;&#xA;No one has complained so far and I hope I'm the only one hearing it, but I'd like to fix it for the recording (at least).&#xD;&#xA;&#xD;&#xA;So far I have only found static plugins like [InPhase][1], [Auto-Align][2], and so on, but these do not add or subtract delay dynamically with the moving mic. I'm sure it shouldn't be hard to do the following part (phase-locked-loop style of follow the leader), but I guess that smearing the difference in delay out smoothly could be a relatively heavy process.&#xD;&#xA;&#xD;&#xA;I've been searching with various keywords like &quot;Doppler compensation&quot;, &quot;dynamic phase correction&quot; and so, but maybe I'm using the wrong ones? The closest I could find was [Pi][3] but the description is a bit fuzzy about what it's actually doing.&#xD;&#xA;&#xD;&#xA;A similar thing happens with a mic above a white-board and an overhead &quot;shotgun&quot; mic pointing to the whiteboard from the sealing. When the speaker walks to-and-fro between these two mics there would also be some phase shifting. Though I havn't been able to audibly identify these (yet) I'd still like to keep them in-phase.&#xD;&#xA;&#xD;&#xA;It would be even greater if we could have such correction in the Live setting, but for now I'd settle with a plug-in when mixing down the final recording.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waves.com/plugins/inphase&#xD;&#xA;  [2]: http://www.soundradix.com/products/auto-align&#xD;&#xA;  [3]: http://primeplugins.com/sound-radix/pi.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="41655" PostHistoryTypeId="1" PostId="24304" RevisionGUID="d2d7904c-b3c9-4979-90b5-b3308c562c12" CreationDate="2013-12-03T21:18:00.660" UserId="7228" UserDisplayName="Louis Somers" Text="Plugin to &quot;Dynamically&quot; align phase (add delay) between two mics (where one is moving)" ContentLicense="CC BY-SA 3.0" />
  <row Id="41656" PostHistoryTypeId="3" PostId="24304" RevisionGUID="d2d7904c-b3c9-4979-90b5-b3308c562c12" CreationDate="2013-12-03T21:18:00.660" UserId="7228" UserDisplayName="Louis Somers" Text="&lt;microphone&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41657" PostHistoryTypeId="36" PostId="24305" RevisionGUID="65a1278b-e1f0-47e5-a59b-acd3dfe4af1e" CreationDate="2014-01-24T20:04:26.480" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9655/how-to-adjust-the-frequency-of-a-microphone-to-match-another-frequency-response" />
  <row Id="41658" PostHistoryTypeId="36" PostId="24306" RevisionGUID="668638e3-747a-4433-b759-0d4ae6523a6f" CreationDate="2014-01-24T20:04:26.480" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9655/how-to-adjust-the-frequency-of-a-microphone-to-match-another-frequency-response/9678#9678" />
  <row Id="41659" PostHistoryTypeId="2" PostId="24306" RevisionGUID="d9296bef-a23d-4e3c-b42b-d8c38de8eb2b" CreationDate="2013-12-16T22:36:40.613" UserId="7405" UserDisplayName="Andy aka" Text="Given the shape of the desired frequency response I'd say it might be a little tricky (around 8 kHz) using anything other than a graphic equalizer such as a 3rd octave type. You can get these as plug-ins.&#xD;&#xA;&#xD;&#xA;Around 8 kHz it does look like it might be too much to expect from a multiband parametric equalizer (of the type that comes with Cubase) - the dip is a problem.&#xD;&#xA;&#xD;&#xA;I'd also point out that room acoustics can dramatically alter the frequency response of a microphone and you may not get entirely what you expect from a GE however, this would tend to be more marked below 1kHz where sound relections are at there most annoying BUT don't rule out this being a problem.&#xD;&#xA;&#xD;&#xA;It's not an exact science really." ContentLicense="CC BY-SA 3.0" />
  <row Id="41660" PostHistoryTypeId="2" PostId="24307" RevisionGUID="e2a84066-9ea8-49af-83f2-a4201f8dd805" CreationDate="2013-12-17T00:46:53.873" UserId="22950" UserDisplayName="TomXP411" Text="The first question is always: what's your application? Why do you need such close EQ curve matching, and is it possible there's a better way to accomplish your objective than using software to manipulate your audio? (For example: if you're trying to match an existing mic in a recording setup, would it make more sense to replace them both?)&#xD;&#xA;&#xD;&#xA;Personally, I would use a multiband parametric EQ or an FIR filter. Start by recording clean audio, then use the EQ to add whatever control you need. &#xD;&#xA;&#xD;&#xA;Without getting into the specifics of how to set up and operate a filter, here are some general tips:&#xD;&#xA;&#xD;&#xA; - Start by plotting a graph of the *difference* between these two curves. Determine how precise you need to be, and plot out a series of filters with center points and Q values that match the adjustments you need. Your final graph will show peaks where the black and red lines differ the most, especially at the left and right side of the curve.&#xD;&#xA; - Use a parametric equalizer VST plugin that allows for several bands in one instance of the plugin.&#xD;&#xA; - Find one that allows for using a graph to control the plugin: some plugins just have virtual knobs on the interface. What you want is one that lets you actually draw points on a line graph and shows you the resulting curve. Your final curve should match the plot you created.&#xD;&#xA;&#xD;&#xA;The key here is in knowing the *difference* between your two graphs. Then you can plot the curve you need and implement it in your filter of choice.&#xD;&#xA;&#xD;&#xA;I haven't evaluated any VST's recently, but here's a site with both an FIR and parametric EQ plugin. Both let you visualize your filters on a graph: http://www.reaper.fm/reaplugs/&#xD;&#xA;&#xD;&#xA;Here's an article that describes using a parametric EQ: http://music.tutsplus.com/tutorials/how-to-use-a-parametric-equalizer--audio-2301&#xD;&#xA;&#xD;&#xA;You can also get hardware devices that do the same job. I use a Berhinger Feedback Destroyer in my bass amp stack, and digital parametric equalizers can be had for around $300 online." ContentLicense="CC BY-SA 3.0" />
  <row Id="41661" PostHistoryTypeId="2" PostId="24305" RevisionGUID="c9d96ad6-c16d-4d13-b5e5-e01a2d12b223" CreationDate="2013-12-13T13:50:10.797" UserDisplayName="redreggae" Text="In the picture you see the frequency response of two microphones. The black line is my source mic and the red line is the desired frequency.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;I know there are so called mic modeller plugins but I only like to change the frequency via equalizer to match another frequency. So what would be the best workflow and how can I controll the results of the equalizer tweaking?&#xD;&#xA;&#xD;&#xA;By the way: I work with Cubase 5. So if there is a (free) VST-Plugin it can help me, too. But I'm more interested in a general way of EQ tweaking.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/AA1dk.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="41662" PostHistoryTypeId="1" PostId="24305" RevisionGUID="c9d96ad6-c16d-4d13-b5e5-e01a2d12b223" CreationDate="2013-12-13T13:50:10.797" UserDisplayName="redreggae" Text="How to adjust the frequency of a microphone to match another frequency response?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41663" PostHistoryTypeId="3" PostId="24305" RevisionGUID="c9d96ad6-c16d-4d13-b5e5-e01a2d12b223" CreationDate="2013-12-13T13:50:10.797" UserDisplayName="redreggae" Text="&lt;microphone&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41664" PostHistoryTypeId="36" PostId="24307" RevisionGUID="a2769f5b-9a46-4d09-81be-00a833993d2c" CreationDate="2014-01-24T20:04:26.480" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9655/how-to-adjust-the-frequency-of-a-microphone-to-match-another-frequency-response/9679#9679" />
  <row Id="41665" PostHistoryTypeId="36" PostId="24308" RevisionGUID="a2252637-0151-4124-94c9-8970e81fbb1b" CreationDate="2014-01-24T20:04:26.480" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9655/how-to-adjust-the-frequency-of-a-microphone-to-match-another-frequency-response/9680#9680" />
  <row Id="41666" PostHistoryTypeId="2" PostId="24308" RevisionGUID="bf908c88-464f-4ec6-b145-a098aca55690" CreationDate="2013-12-17T00:47:40.610" UserId="7200" Text="When trying to digitally emulate some given frequency response, it's generally more effective to use not traditional EQing approaches ([IIR](http://en.wikipedia.org/wiki/Infinite_impulse_response) filters) but [FIR](http://en.wikipedia.org/wiki/Finite_impulse_response). How this basically works is quite easy to understand: you create a spectrum of the signal you want to modify, _actually modify that spectrum_ in the obvious way (basically, scale each ω-point by the difference between source and target response) and transform that modified spectrum back into an audible signal. Yup, that's possible! Well, not exactly the spectrums: those are Fourier transforms, with phase disregarded. If you properly consider the phase, then the transformation is fully inversible (in fact, [it's basically self-inverse, i.e. applying it twice will yield the original signal](http://en.wikipedia.org/wiki/Inverse_Fourier_transform)).&#xD;&#xA;&#xD;&#xA;This has become a very common technique, dedicated Plugins include for instance [ReaFIR](http://www.reaper.fm/reaplugs/). That, unlike parametric EQs (not to speak of graphic ones), allows you to specify a complete frequency response curve as fine-grained as your spectrums are." ContentLicense="CC BY-SA 3.0" />
  <row Id="41667" PostHistoryTypeId="2" PostId="24309" RevisionGUID="cbe54eba-6d2d-40d2-9da1-3afc40439b49" CreationDate="2014-01-24T20:32:39.687" UserId="7212" Text="dBFS is a decibel scale that uses the maximum possible digital sample value as the reference 0dB (FS is short for &quot;full-scale&quot;, and in this scale 0dB represents a hard &quot;peak&quot;, instead of a &quot;unity&quot; or &quot;nominal&quot; level as is commonly seen in analog references). Exactly what absolute digital value is used as the reference value for 0dBFS depends on the sample bit size (common ones are 8, 16 and 24 bits per sample) and whether the audio format uses signed or unsigned arithmetic (&quot;zero&quot; could either represent the center point, or the absolute minimum value of a sample representing a &quot;trough&quot; in the waveform). You don't need to know the number value 0dBFS stands for specifically; that's part of the point of using it.&#xD;&#xA;&#xD;&#xA;The -20dBFS reference tone is used at the beginning of tracks that have been gain-adjusted or mastered so that the maximum signal level of the rest of the track is right at 0dBFS without exceeding it. As long as the reference tone stays with the track and is never modified or not modified differently from the rest of the track, you can quickly and easily perform any gain adjustments necessary to get the track back to &quot;reference&quot; levels for further work in your DAW. You can also use the same reference tone to gain-balance analog equipment used for playback; 20dB of headroom is a best practice for most analog audio equipment as well (though this varies much more widely among brands and types of equipment)&#xD;&#xA;&#xD;&#xA;Similar reference tones can also be used to calibrate the gain structure of your incoming audio interface system, such as a USB microphone preamp, to maximize SNR on both sides of the ADC/DAC and allow you, the recording engineer, to set proper analog gain levels for any real-world source you're plugging into the computer, based on any available level indicator. You can do this calibration by setting up a &quot;loopback&quot; from the line-outs of your interface to the line-ins, playing the tone, setting the head amps on the interface so they're clipping hard (don't have your speakers hooked up or turned on for this), then setting the input level of the computer's recording device so the level is just barely at 0dBFS. Now, if the interface indicates clipping, you're also maxing out the computer, and vice versa." ContentLicense="CC BY-SA 3.0" />
  <row Id="41668" PostHistoryTypeId="36" PostId="24310" RevisionGUID="76b52d1f-36a0-4675-836c-db1fd00a95d5" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8582/headphones-output-for-sony-alpha-a77" />
  <row Id="41669" PostHistoryTypeId="36" PostId="24311" RevisionGUID="9791f86a-2d22-4705-9aee-031a1aeedcab" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8582/headphones-output-for-sony-alpha-a77/8583#8583" />
  <row Id="41670" PostHistoryTypeId="2" PostId="24311" RevisionGUID="c35590c5-6b0d-406b-bfd3-d2562f85a562" CreationDate="2013-07-30T17:43:07.650" UserId="7174" Text="You should be able to get the audio off the HDMI output.  Something like [this](http://www.adafruit.com/products/1151?gclid=CI3qgILi17gCFcuj4AodUjcAbA) will do the job nicely." ContentLicense="CC BY-SA 3.0" />
  <row Id="41671" PostHistoryTypeId="2" PostId="24312" RevisionGUID="041b50d9-92de-4171-bf49-1ed54b737e8a" CreationDate="2013-08-06T12:14:14.303" UserDisplayName="Kestutis ITDev" Text="I ended up buying Sony external 5&quot; Portable screen with Headphone output and 15 meters of lighweight directional HDMI cable from Amazon. Works well, records realtime. If you're doing PRO interviews, you need to go away from your camera and have external screen (makes in color focused place when PEAKING on), and you're also getting a headphone output as well. AJHenderson solution to use VGA+Audio converter from HDMI works well too (additional miniHDMI-&gt;HDMI adapter required), but I use mostly external screen way - because when I decide to do professionally I do it in full, otherwise I take a minimal setup.&#xD;&#xA;&#xD;&#xA;[http://store.sony.com/webapp/wcs/stores/servlet/ProductDisplay?catalogId=10551&amp;storeId=10151&amp;langId=-1&amp;productId=8198552921666479348][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://store.sony.com/webapp/wcs/stores/servlet/ProductDisplay?catalogId=10551&amp;storeId=10151&amp;langId=-1&amp;productId=8198552921666479348" ContentLicense="CC BY-SA 3.0" />
  <row Id="41672" PostHistoryTypeId="2" PostId="24310" RevisionGUID="8d31dc70-44c0-4188-b8c4-c4c94c85b0fb" CreationDate="2013-07-30T16:53:03.163" UserDisplayName="Kestutis ITDev" Text="I have AKG D5S super-cardial dinamic XLR microphone.&#xD;&#xA;&#xD;&#xA;I have 20 meters XLR female-&gt;3.5mm angled stereo cable&#xD;&#xA;&#xD;&#xA;I have Sony A77 camera&#xD;&#xA;&#xD;&#xA;All this works well recording the sound.&#xD;&#xA;&#xD;&#xA;There is Sony A99, which has a headphones output on the camera.&#xD;&#xA;&#xD;&#xA;I also have Shure XLR-2-USB amplifier, and this amplifier is two fingers size, Zero latency and has a headphones output. It works well if I connect my microphone to computer.&#xD;&#xA;&#xD;&#xA;My questions is that - maybe there is some things like:&#xD;&#xA;&#xD;&#xA;**XLR female to 3.5mm converter WITH heaphones output**&#xD;&#xA;&#xD;&#xA;&gt; (so 3.5mm 2 signal outputs, and one XLR input. One 3.5mm stereo output&#xD;&#xA;&gt; will go to camera, the other one is to connect my headphones)&#xD;&#xA;&#xD;&#xA;Or maybe small XLR amplifier, with XLR input and XLR output or 3.5mm output.&#xD;&#xA;&#xD;&#xA;Or maybe there is 3.5mm amplifier with battery with 3.5mm output.&#xD;&#xA;&#xD;&#xA;Any of these is fine.&#xD;&#xA;&#xD;&#xA;Because I can figure out the way how I can hear the sound realtime.&#xD;&#xA;&#xD;&#xA;Thanks a lot :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="41673" PostHistoryTypeId="1" PostId="24310" RevisionGUID="8d31dc70-44c0-4188-b8c4-c4c94c85b0fb" CreationDate="2013-07-30T16:53:03.163" UserDisplayName="Kestutis ITDev" Text="Headphones output for Sony Alpha A77" ContentLicense="CC BY-SA 3.0" />
  <row Id="41674" PostHistoryTypeId="3" PostId="24310" RevisionGUID="8d31dc70-44c0-4188-b8c4-c4c94c85b0fb" CreationDate="2013-07-30T16:53:03.163" UserDisplayName="Kestutis ITDev" Text="&lt;microphone&gt;&lt;headphones&gt;&lt;xlr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41675" PostHistoryTypeId="36" PostId="24312" RevisionGUID="f9693b6b-09ef-46ed-a21b-aa4a8826f762" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8582/headphones-output-for-sony-alpha-a77/8629#8629" />
  <row Id="41676" PostHistoryTypeId="36" PostId="24313" RevisionGUID="d7d52246-52d3-4405-a36a-debf6ffce434" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/997/live-percussion-recording-microphone-questions" />
  <row Id="41677" PostHistoryTypeId="36" PostId="24314" RevisionGUID="e5aca47d-7b10-45a3-840f-0ca387de2bf0" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/997/live-percussion-recording-microphone-questions/998#998" />
  <row Id="41678" PostHistoryTypeId="36" PostId="24315" RevisionGUID="c37cb10c-c95c-409d-a590-617ab5d6d4dc" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/997/live-percussion-recording-microphone-questions/1028#1028" />
  <row Id="41679" PostHistoryTypeId="2" PostId="24314" RevisionGUID="7056c42b-76ce-4b5d-a85b-434414377bb2" CreationDate="2011-03-11T14:53:39.780" UserId="7309" UserDisplayName="jwernerny" Text="How you mic it really depends on the feel you want from the recording.  &#xD;&#xA;&#xD;&#xA;If you want it to feel like you are listening to a truly acoustic concert with no sound re-enforcement (e.g. chamber orchestra, Jazz trio, choir), I would go with a stereo recording made with two mics spaced about 1 head-width apart at distance a listener would nominally be at.  I like to put the microphones up about 6 to 10 feet, pointing slightly down.  You will probably want to use good, neutral sounding, full-range cardiod microhones designed for general music recording.&#xD;&#xA;&#xD;&#xA;If you are looking to have a &quot;produced&quot; sound, then you want to run multiple mics for both the voices and the percussion.  Each mic should be fed into it's own track for later mix down.  [Micing the percussion is an interesting question in itself and really depends on what percussion instruments.  I have been lucky enough to find that many instrumentalists actually know how best to mic their instruments for their playing style. (hint, hint)]&#xD;&#xA;&#xD;&#xA;Mic questions really could be their own question.  There are specialized mics for just about everything now, and different mics have different sounds.  There are some very broad generalities, one of which is that a good quality mic for audio recording will typically have some sort of XLR output.  The other is the better the mic, the more it usually costs." ContentLicense="CC BY-SA 2.5" />
  <row Id="41680" PostHistoryTypeId="2" PostId="24315" RevisionGUID="dd78f386-7a49-444f-9fe5-f563ca4c79d7" CreationDate="2011-03-15T02:25:30.847" UserId="319" Text="I have a firebox as well - mostly use it for output, but also tried recording some acoustic guitar on it once with a shure sm57 (dynamic cardioid).  &#xD;&#xA;&#xD;&#xA;The preamps on the firebox have a hard time with the shure.  Here is a thread talking about how to boost the preamps on the firebox:  http://homerecording.com/bbs/equipment-forums/microphones/my-sm57-into-firebox-189323/ - there is a 12db boost somewhere in the software - nice to know.&#xD;&#xA;&#xD;&#xA;I have a preamp with 70db of gain and it makes the 57 sound great and quiet as well - but it's a bit expensive. &#xD;&#xA;&#xD;&#xA;Back to your REAL question though - definitely mic both of the performers.  In that type of setting I'd use two cardioid mics with the performers facing each other and the mics pointing away from each other.  Typically, cardioid mics don't pick up what is behind them, so you can get good separation in the same room.  You can verify this by looking at your microphone's data sheet and learning to read the polar pattern.  &#xD;&#xA;&#xD;&#xA;Use XLR cables into the two preamps on the firebox.  Adjust the inputs to handle the peaks of the performance, which you should see in your DAW software when you arm the tracks.  Aim for a -6dB peak there - maybe a little lower just to be safe.  Percussion and voice can be very unpredictable - and you don't want to mess up when they start to get comfortable and a bit wild!&#xD;&#xA;&#xD;&#xA;You mention a 'kick' so I'm curious if there are other instruments, as I've never heard of a vocalist singing with a drum kit, absent guitar or keyboard.&#xD;&#xA;&#xD;&#xA;Good luck and have fun!&#xD;&#xA;  &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41681" PostHistoryTypeId="2" PostId="24313" RevisionGUID="13e0faf1-fdc9-457b-817e-1686d92d4b2d" CreationDate="2011-03-11T13:38:16.713" UserDisplayName="Jesus Cuenca" Text="I want to record a live performance focused on percussion and voice. I have a Mac and a Presonus Firebox.&#xD;&#xA;&#xD;&#xA;To start I'm considering a simple mono recording, since the most important to me is the clarity of the sound. That is, good voice sound and good percussion sound.&#xD;&#xA;&#xD;&#xA;I made some quick tests with a cheap microphone and suffered 2 problems:&#xD;&#xA;&#xD;&#xA; 1. the drums interfere in the voice quality (loud kicks &quot;eat&quot; the signal) and &#xD;&#xA; 2. low signal (even with Firebox mic level to the max, the sound is hardly audible). I guess it's either due to the mic itself (poor quality) or the cable/plug type &#xD;&#xA;&#xD;&#xA;Questions are...&#xD;&#xA;&#xD;&#xA; 1. what mic position do you suggest? Close to singers? Mimicking the listener position (in front of musicians, centered)? Ground level, or hanging of the ceiling?&#xD;&#xA; 2. what features of the mic you would recommend? XLR plug? Mic type? Unidirectional, omnidirectional...?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="41682" PostHistoryTypeId="1" PostId="24313" RevisionGUID="13e0faf1-fdc9-457b-817e-1686d92d4b2d" CreationDate="2011-03-11T13:38:16.713" UserDisplayName="Jesus Cuenca" Text="Live percussion recording - microphone questions" ContentLicense="CC BY-SA 2.5" />
  <row Id="41683" PostHistoryTypeId="3" PostId="24313" RevisionGUID="13e0faf1-fdc9-457b-817e-1686d92d4b2d" CreationDate="2011-03-11T13:38:16.713" UserDisplayName="Jesus Cuenca" Text="&lt;microphone&gt;&lt;live&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41684" PostHistoryTypeId="36" PostId="24316" RevisionGUID="472dc670-8171-42bc-a284-27c35255d052" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3427/what-is-the-difference-between-a-dead-cat-and-a-foam-screen" />
  <row Id="41685" PostHistoryTypeId="36" PostId="24317" RevisionGUID="8c475a50-6089-4a89-9707-c70bf2d2cfc6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3427/what-is-the-difference-between-a-dead-cat-and-a-foam-screen/3429#3429" />
  <row Id="41686" PostHistoryTypeId="2" PostId="24317" RevisionGUID="43d3056a-de8f-4a98-a6af-edc038b929d6" CreationDate="2012-02-29T00:06:00.957" UserId="7016" Text="The dead cat is supposed to have slightly better wind noise reduction, but the foam screens are cheaper and don't suffer from the same problems the dead cat has (dirt and objects getting stuck, it losing its fluff when wet etc) which lead to it ending up with very poor wind noise reduction." ContentLicense="CC BY-SA 3.0" />
  <row Id="41687" PostHistoryTypeId="2" PostId="24318" RevisionGUID="232fea88-3cca-481f-94fa-6c5280938b94" CreationDate="2012-02-29T01:24:46.520" UserDisplayName="Bryce Alan Flurie" Text="The dead cat is vastly superior in cutting down on the wind noise. I've used both and it really is light years apart. If you are doing docu work outside, the dead cat is a must. A zeppelin is great, but expensive and bulky. I use a dead cat for international shooting and find it the best compromise between foam and the zep..." ContentLicense="CC BY-SA 3.0" />
  <row Id="41688" PostHistoryTypeId="2" PostId="24316" RevisionGUID="66eb1649-5d76-467f-8591-8d5101bd8dff" CreationDate="2012-02-28T22:19:46.483" UserId="7210" Text="What is the difference between a [dead cat](http://en.wikipedia.org/wiki/Microphone#Blimps) (the furry ones) and a foam screen when it comes to the result? Is one of them better than the other? Do they have different applications?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41689" PostHistoryTypeId="1" PostId="24316" RevisionGUID="66eb1649-5d76-467f-8591-8d5101bd8dff" CreationDate="2012-02-28T22:19:46.483" UserId="7210" Text="What is the difference between a dead cat and a foam screen?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41690" PostHistoryTypeId="3" PostId="24316" RevisionGUID="66eb1649-5d76-467f-8591-8d5101bd8dff" CreationDate="2012-02-28T22:19:46.483" UserId="7210" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41691" PostHistoryTypeId="36" PostId="24318" RevisionGUID="e1ae25e6-6719-4ffd-a4bf-7464e6511dde" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3427/what-is-the-difference-between-a-dead-cat-and-a-foam-screen/3430#3430" />
  <row Id="41692" PostHistoryTypeId="36" PostId="24319" RevisionGUID="5f4ff99b-55b5-4334-98ea-2762a4272895" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2082/usb-mic-vs-xlr-3-5mm-or-1-4-inch-connector" />
  <row Id="41693" PostHistoryTypeId="2" PostId="24320" RevisionGUID="996ff5a0-59b7-4d1a-9dc8-b36ee0836e06" CreationDate="2011-08-10T20:37:26.237" UserDisplayName="Bryce Alan Flurie" Text="When it comes to just the connector, the XLR is the best. It is a &quot;pro&quot; audio connector. 1/4&quot; would be second. Stay away from the mini plugs if you can. If you are doing &quot;double system&quot; audio for video, your best bet is a shotgun mic and a separate audio recorder. " ContentLicense="CC BY-SA 3.0" />
  <row Id="41694" PostHistoryTypeId="2" PostId="24319" RevisionGUID="5037df82-67f5-45f6-96b9-2444aff372b0" CreationDate="2011-08-10T20:12:50.327" UserDisplayName="daviesgeek" Text="What are the advantages of having a USB mic over having a XLR, 3.5mm, or 1/4 inch connector? I.e. quality, price, portability. I am looking at recording sound for video and I'm not sure what type connector I should get. No matter what connection, I think I will be recording the sound straight to a computer. One thing about USB mics is that I have to get a long USB cord. Will this lower the sound quality at all?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41695" PostHistoryTypeId="1" PostId="24319" RevisionGUID="5037df82-67f5-45f6-96b9-2444aff372b0" CreationDate="2011-08-10T20:12:50.327" UserDisplayName="daviesgeek" Text="USB mic vs. XLR, 3.5mm, or 1/4 inch connector" ContentLicense="CC BY-SA 3.0" />
  <row Id="41696" PostHistoryTypeId="3" PostId="24319" RevisionGUID="5037df82-67f5-45f6-96b9-2444aff372b0" CreationDate="2011-08-10T20:12:50.327" UserDisplayName="daviesgeek" Text="&lt;microphone&gt;&lt;usb&gt;&lt;xlr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41697" PostHistoryTypeId="36" PostId="24320" RevisionGUID="2751666f-deac-421a-8514-2d746b416aed" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2082/usb-mic-vs-xlr-3-5mm-or-1-4-inch-connector/2083#2083" />
  <row Id="41698" PostHistoryTypeId="36" PostId="24321" RevisionGUID="fd2ee8d6-02ac-442a-add4-478ba2dfe3ae" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2082/usb-mic-vs-xlr-3-5mm-or-1-4-inch-connector/2085#2085" />
  <row Id="41699" PostHistoryTypeId="2" PostId="24321" RevisionGUID="02a59566-b77b-4280-ae78-d4bb1fad665b" CreationDate="2011-08-10T22:04:20.437" UserId="7093" Text="The USB mic will be much easier to connect to the computer (no extra cables or equipment needed) and, as a bonus, bypass the notoriously noisy internal sound card.&#xD;&#xA;&#xD;&#xA;The only issue you might have with the USB mic is the sound quality, which will be based on the quality of mic and the quality of the D/A converters in the mic itself.&#xD;&#xA;&#xD;&#xA;I would recommend finding a couple of USB mics in your price range and checking out some reviews to see if anyone complains about excess noise or poor quality sound.  If you can't find a good one, you may need to go with a regular mic with an XLR connector and a USB interface." ContentLicense="CC BY-SA 3.0" />
  <row Id="41700" PostHistoryTypeId="36" PostId="24322" RevisionGUID="5a652dba-5e48-4b0a-8a99-5dd1fbf1c7e1" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/970/transient-response-time-of-typical-computer-microphone" />
  <row Id="41701" PostHistoryTypeId="2" PostId="24323" RevisionGUID="d65343d1-8415-4932-a246-e84d17d33b03" CreationDate="2011-04-23T11:16:34.107" UserId="7471" UserDisplayName="Mark Heath" Text="The characteristics of the recording of an impulse response depend on the room you are in. The more reverberation, the longer the sound will take to die away. If you search the internet you will find loads of places selling or giving away free impulse responses. Some die away after a second or two, others last for several seconds. For your project you could download some of these impulses and compare them with those you recorded to see if you are getting similar transient response times with your microphone.&#xD;&#xA;&#xD;&#xA;Here's some sites to get you started:&#xD;&#xA;&#xD;&#xA;- [Open Impluse Response Library][1].&#xD;&#xA;- [Noise Vault][2]&#xD;&#xA;- [Samplicity][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://irlibrary.org/&#xD;&#xA;  [2]: http://noisevault.com/index.php?page=ir-library&#xD;&#xA;  [3]: http://www.samplicity.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="41702" PostHistoryTypeId="2" PostId="24322" RevisionGUID="f726bef1-3af0-44d5-8219-c1920606d568" CreationDate="2011-03-07T18:50:19.207" UserDisplayName="Carlos" Text="What is the the transient response time of the usual (cheap) PC microphone?&#xD;&#xA;&#xD;&#xA;I have recorded the burst of rubber balloons (for a school project -- measuring the speed of sound) and found that it takes some 10 ms for the transient to die away. Is this a typical value? I would like to know if this is part of the signal or just an artifact from the microphone.   " ContentLicense="CC BY-SA 2.5" />
  <row Id="41703" PostHistoryTypeId="1" PostId="24322" RevisionGUID="f726bef1-3af0-44d5-8219-c1920606d568" CreationDate="2011-03-07T18:50:19.207" UserDisplayName="Carlos" Text="Transient response time of typical computer microphone?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41704" PostHistoryTypeId="3" PostId="24322" RevisionGUID="f726bef1-3af0-44d5-8219-c1920606d568" CreationDate="2011-03-07T18:50:19.207" UserDisplayName="Carlos" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41705" PostHistoryTypeId="36" PostId="24323" RevisionGUID="95651762-78da-4d1c-917a-1940ad7f204d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/970/transient-response-time-of-typical-computer-microphone/1256#1256" />
  <row Id="41712" PostHistoryTypeId="36" PostId="24326" RevisionGUID="0e880241-708a-4b75-b290-1837c2bb217b" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/877/best-way-to-mic-up-a-group-discussion" />
  <row Id="41713" PostHistoryTypeId="36" PostId="24327" RevisionGUID="110f7fba-b063-487a-a6d9-708c4c50b69c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/877/best-way-to-mic-up-a-group-discussion/878#878" />
  <row Id="41714" PostHistoryTypeId="36" PostId="24328" RevisionGUID="e82d66fe-b286-4efc-ab16-1d22f5234170" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/877/best-way-to-mic-up-a-group-discussion/882#882" />
  <row Id="41715" PostHistoryTypeId="2" PostId="24327" RevisionGUID="7d6f2530-8eae-4958-93cb-9c922a151a6f" CreationDate="2011-02-22T13:21:42.297" UserDisplayName="d-_-b" Text="Since each participant is not isolated, you may as well go for an omni directional mic. Monitor the levels before hand to make sure you can hear everyone clearly.&#xD;&#xA;&#xD;&#xA;If you have to, you can always tweak it in post.&#xD;&#xA;&#xD;&#xA;The other alternative is a bunch of semi-cheap headsets (headphone " ContentLicense="CC BY-SA 2.5" />
  <row Id="41716" PostHistoryTypeId="2" PostId="24328" RevisionGUID="15002e65-3dac-4e34-9ba2-581455c5c554" CreationDate="2011-02-22T17:46:45.547" UserDisplayName="Ron" Text="When you're at a table, a [boundry effect microphone](http://www.recording-microphones.co.uk/boundary-microphones.shtml) is a nice way to go -- provided you don't have anyone thumping for emphasis.  &#xD;&#xA;&#xD;&#xA;I like my Crown PZM-30D.  I often use it at Church.  In that case, I'm doing live sound reinforcement, while at the same time, I've got a second mix for remote rooms and recording to mp3 and DVD.  I keep a PZM-30D stuck to the inside of the lid on the open grand piano.  I only run the PZM into the record mix.  So, the piano goes onto the mix at normal levels, and, if there is some Q&amp;A or someone stands to speak and I can't get a wireless handheld to them in time, I just crank up the PZM and it picks them up fine with just a little bit of reverb off of the tall walls.&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;To answer your sub-question:  Recording studios use large diaphragm cardioid mics.  You can see them in use if you watch the DVD extras on any animated movie.  The actors are about four inches from the mic.  Not eating the mic, but still very much in your face.  The gain is cranked way up, but they're in a dead room.  If they have more than one actor in the studio, they're separated by five or six feet to avoid crosstalk.  Their goal is high fidelity.&#xD;&#xA;&#xD;&#xA;Important factors to consider:&#xD;&#xA;How unobtrusive do you want to be?  A big mic and stand in front of each person will get in their way.  They'll want to make eye contact with the other participants.&#xD;&#xA;&#xD;&#xA;How much will they move around?  If they don't talk into the mounted mic, then you're going to have parts of the conversation fade out unless you are there making moment by moment adjustments to the gains.  And, your mixer had better have auto-ducking to keep the background noise from all the open mics from drowning out the person talking.&#xD;&#xA;&#xD;&#xA;How big is your table and recording space?  Individual mics, unless they are lapel-worn, are going to take up a lot of room, and you're going to be pushing everyone further away from each other to avoid cross-talk interference.  (Auto-ducking would also help avoid the interference.)&#xD;&#xA;&#xD;&#xA;How often are you doing this?  Setting up and packing up more mics takes more time.  You have more points of failure to check -- cables, connections, knobs, switches.&#xD;&#xA;&#xD;&#xA;On the other hand, you can have an intimate conversation around a round or roughly square table with a single hemispherical BZM in the middle.  Setup time is short.  The BZM actually rejects noise transmitted by the surface it is on very well.  If your participants are equidistant, gain issues are nonexistent.  &#xD;&#xA;&#xD;&#xA;A single BZM mic handled a 9-person teleconference table on a system I helped to engineer 30 years ago.  There were millions of dollars of PTZ cameras, switches, projectors, touchscreens, codecs, and satellite uplinks -- and then there was one BZM sitting on the table.  All that video and computer gear would be useless if you couldn't hear the other end, but the BZM did the job. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41717" PostHistoryTypeId="2" PostId="24329" RevisionGUID="d45cbc93-9a5b-42e0-aa93-bdaf82554186" CreationDate="2011-03-10T20:57:54.337" UserDisplayName="Opie" Text="Unfortunately, the choice of microphone and positioning is going to be dependent on the acoustics of the room that the recording is being used in.  If it's a fairly quiet room, then an omni mic would do a pretty good job. However, if there is noticeable air handling noise or other background noise, the microphone(s) will need to be closer to the people talking. As the mics move close to the talkers, more mics will be needed to get appropriate coverage. In poor rooms, it is necessary to have a gooseneck mic per talker in order to get the mic close enough to the talker. &#xD;&#xA;&#xD;&#xA;Also, when using multiple mics like this, you'll want to use an automatic mixer. Think of this: If you have 8 open directional mics, you'll end up picking up so much ambient noise, that the sound quality will be similar to using a single omni mic. Thus, an auto mixer is essential to keep the unused microphones gated off.&#xD;&#xA;&#xD;&#xA;Your application is extremely similar to teleconferencing, so any advice that you see for teleconferencing would also apply to you.&#xD;&#xA;&#xD;&#xA;See the following links:&#xD;&#xA;&#xD;&#xA;[Acoustics of Teleconference Rooms][1]&#xD;&#xA;&#xD;&#xA;[Audio Systems Guide to Meeting Facilities][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://shure.custhelp.com/app/answers/detail/a_id/4074&#xD;&#xA;  [2]: http://www.shure.com/idc/groups/public/documents/webcontent/us_pro_audio_for_meetings_ea.pdf&#xD;&#xA;  [3]: http://www.shure.com/americas/how-to/cdf_en_ea_audiodistance" ContentLicense="CC BY-SA 2.5" />
  <row Id="41718" PostHistoryTypeId="2" PostId="24326" RevisionGUID="0d217e0c-1fd2-49dc-b21b-8a5f27d7beef" CreationDate="2011-02-22T10:21:45.497" UserDisplayName="glenatron" Text="I'd like to record some round-table type discussions for a podcasting project I have in mind, but although I've done some recording of music I don't really know how to start with this.&#xD;&#xA;&#xD;&#xA;Should I be looking at omni-directional microphones or several directional ones? If possible I would like to avoid having a microphone per participant just because that could need a fair few mics more than I have. Having people interacting in the same space, I would guess that levels of bleed are likely to affect the ability to change things too significantly even if I can mic everyone up? &#xD;&#xA;&#xD;&#xA;I'd be particularly interested to know how radio shows that use discussions or radio dramas work around having multiple participants in the same room.&#xD;&#xA;&#xD;&#xA;Following on from @ntt's comment, I would expect to be working indoors, in a room of our choosing ( but along the lines of chosen from a few people's houses rather than chosen from a selection of high quality studios ) so advice on the best type of space to use for this is also helpful. I was assuming that somewhere reasonably sonically dead without too much in the way of echoes, boomy flooring and so on." ContentLicense="CC BY-SA 2.5" />
  <row Id="41719" PostHistoryTypeId="1" PostId="24326" RevisionGUID="0d217e0c-1fd2-49dc-b21b-8a5f27d7beef" CreationDate="2011-02-22T10:21:45.497" UserDisplayName="glenatron" Text="Best way to mic up a group discussion" ContentLicense="CC BY-SA 2.5" />
  <row Id="41720" PostHistoryTypeId="3" PostId="24326" RevisionGUID="0d217e0c-1fd2-49dc-b21b-8a5f27d7beef" CreationDate="2011-02-22T10:21:45.497" UserDisplayName="glenatron" Text="&lt;microphone&gt;&lt;vocals&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41721" PostHistoryTypeId="36" PostId="24329" RevisionGUID="03fb9bf1-46d7-4619-9673-be282edfedc9" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/877/best-way-to-mic-up-a-group-discussion/994#994" />
  <row Id="41722" PostHistoryTypeId="36" PostId="24330" RevisionGUID="f4952735-883d-4948-bad8-473c6e8917f5" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1203/digital-audio-gain-past-100-for-my-computer-mic-win-xp" />
  <row Id="41723" PostHistoryTypeId="36" PostId="24331" RevisionGUID="39396fe0-b8c2-408e-a333-1a35d1a4c48b" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1203/digital-audio-gain-past-100-for-my-computer-mic-win-xp/1204#1204" />
  <row Id="41724" PostHistoryTypeId="2" PostId="24331" RevisionGUID="bb87dc6f-23c8-4554-84fb-cf8c02ceeb41" CreationDate="2011-04-20T04:19:45.980" UserId="7334" UserDisplayName="imsky" Text="Yes, look into Microphone Boost. http://www.youtube.com/watch?v=OMMyrfZ08gg" ContentLicense="CC BY-SA 3.0" />
  <row Id="41725" PostHistoryTypeId="2" PostId="24330" RevisionGUID="a17ba127-7072-4ec4-8a2c-8ace210efc52" CreationDate="2011-04-20T03:51:20.350" UserDisplayName="user773" Text="I would like to use my computer mic to talk with a friend. The problem is that the mic comes in *way* too quiet. On ubuntu, I have an option to set the mic volume to around 400%, and the quality is such that it actually sounds fine at this volume and I can refrain from yelling into the mic with my lips 1-inch away. Is there a way to do something similar on win-XP? I've been looking around for an hour but don't see a way. Perhaps some there is some software which can do this kind of thing out there...&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="41726" PostHistoryTypeId="1" PostId="24330" RevisionGUID="a17ba127-7072-4ec4-8a2c-8ace210efc52" CreationDate="2011-04-20T03:51:20.350" UserDisplayName="user773" Text="Digital audio gain past 100% for my computer mic? (win XP)" ContentLicense="CC BY-SA 3.0" />
  <row Id="41727" PostHistoryTypeId="3" PostId="24330" RevisionGUID="a17ba127-7072-4ec4-8a2c-8ace210efc52" CreationDate="2011-04-20T03:51:20.350" UserDisplayName="user773" Text="&lt;microphone&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41728" PostHistoryTypeId="36" PostId="24332" RevisionGUID="38f47d2b-d8ce-4e77-b557-ec2143ebcc4e" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/115/what-specifications-should-i-look-for-when-buying-a-budget-microphone" />
  <row Id="41729" PostHistoryTypeId="36" PostId="24333" RevisionGUID="c4c5d4a3-f0b9-485d-88d4-28ec31c1b757" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/115/what-specifications-should-i-look-for-when-buying-a-budget-microphone/116#116" />
  <row Id="41730" PostHistoryTypeId="36" PostId="24334" RevisionGUID="d9e3e779-624a-4613-b704-b2499a79b809" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/115/what-specifications-should-i-look-for-when-buying-a-budget-microphone/133#133" />
  <row Id="41731" PostHistoryTypeId="36" PostId="24335" RevisionGUID="74f02625-a7e8-459a-a517-f11ad9f12048" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/115/what-specifications-should-i-look-for-when-buying-a-budget-microphone/139#139" />
  <row Id="41732" PostHistoryTypeId="2" PostId="24333" RevisionGUID="60be058c-87b5-4705-a4f8-6bb1e88e25d5" CreationDate="2010-12-08T12:47:36.217" UserId="7592" UserDisplayName="Pelle ten Cate" Text="First, be careful with microphones that do not list certain specifications at all. Most of the time, if a microphone isn't accompanied with certain specifications, there is an obvious reason for it.&#xD;&#xA;&#xD;&#xA;Have a look at sensitivity, a microphone that is not sensitive enough can get you into having to turn up the volume of your pre-amplifier to such a level that it introduces noise. Secondly, check the frequency range. For vocal recordings, you should be good with most of the microphones, but some really cheap mics do miss a lot of low frequencies. &#xD;&#xA;&#xD;&#xA;Decide whether you wish to buy a condensor microphone or a dynamic microphone. While both can result in pretty good sound on vocal, a condensor microphone gets the transients better since its membrane is lighter (in weight), which means a plus to the intelligibility of the words. Drawback however is that a condensor mic normally should be used in conjunction with a pre-amplifier that has +48v phantom power.&#xD;&#xA;&#xD;&#xA;Also, take a look at the &quot;self noise&quot; levels, some are significantly higher than others." ContentLicense="CC BY-SA 2.5" />
  <row Id="41733" PostHistoryTypeId="2" PostId="24334" RevisionGUID="d998544a-760b-46ed-bc15-1a727e90a191" CreationDate="2010-12-08T15:56:27.897" UserDisplayName="Kim Burgaard" Text="If condenser microphones (and the pre-amplifier with phantom power) is outside your price range, then I strongly recommend you take a look at the Shure SM58 dynamic microphone.  You can get far cheaper microphones, but the SM58 has very usable sound and it's built to last.&#xD;&#xA;&#xD;&#xA;And I really mean last.  I have three SM58 that I bought used more than 15 years ago.  They didn't look too great when I bought them.  In the meanwhile they've been dragged everywhere, dropped from an impressive range of heights, and even rolled in pools of water, coffee and beer from toppled cups and bottles. You can probably imagine they don't smell that great.  But they just keep on going and going.&#xD;&#xA;&#xD;&#xA;I know you asked for specs, not specific models. But since your emphasis is on budget, a number of compromises must be made which completely depend on your style and preferences and the scenarios you intend to use the microphone for." ContentLicense="CC BY-SA 2.5" />
  <row Id="41734" PostHistoryTypeId="2" PostId="24335" RevisionGUID="43587f73-623a-46de-8cb0-dc1bbb28d212" CreationDate="2010-12-08T16:57:57.707" UserId="4012" Text="Caution: Professional mics like SM58 etc are supposed to be connected to pre-amps, mixers etc. If you connect a SM58 to your computer's inbuilt mic slot you'll get only a very feeble sound.&#xD;&#xA;&#xD;&#xA;If you are planning to upgrade from voice-chat style headset-mics, you should consider buying an audio interface too, (Try M-Audio mobile-pre or similar), or you could go for a USB condenser Mic (Like [Samson C01U][1]) &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Nowadays some voice-chat headsets come with very decent noise-cancelling mics. There are some clip-on condenser mics for use with computers too. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Specs to look for in mics&#xD;&#xA;===&#xD;&#xA;&#xD;&#xA; 1. **Impedance**: *Lower is better* - low impedance mics pick up less low-level noise, and transmit high-frequency signals better over long cables. Pro mics can have an impedance of 200 Ohms or lower ([Wikipedia](http://en.wikipedia.org/wiki/Microphone#Impedance-matching))&#xD;&#xA;&#xD;&#xA; 2. **Sensitivity**: The ability to pick up low-volume sounds. Often given as something like &quot;-65dB ± 5dB&quot;, which means that some frequencies will pick up sounds as quiet as -70dB, while some will be less sensitive. *Higher value with less variance is better* (remembering that you're dealing with negatives).&#xD;&#xA;&#xD;&#xA; 3. **Frequency Response**: If a range is given, (eg. 40Hz-16kHz), then this is the range of frequencies that the mic will pick up. *A bigger range is better*.&#xD;&#xA;&#xD;&#xA;  - Frequency response and sensitivity can also be displayed as a graph. In this case, the frequency response range refers to the range of frequencies where sensitivity is high. The graph gives far more information than the range. An example from [wikipedia](http://en.wikipedia.org/wiki/Microphone#Measurements_and_specifications):&#xD;&#xA;![frequency response graph][2]&#xD;&#xA;The Oktava gives a more even response than the Shure. *Look for a flat graph*, as this gives even volume regardless of frequency.&#xD;&#xA;&#xD;&#xA; 4. **Polar Pattern**: Sensitivity in a given direction. Omni directional microphones pick up sound equally from in front and from the sides. Directional mikes pick up more sound from in front. Shotgun mics are highly directional mics, and pick up sound a lot from in front, and only a little from the sides. *Use omnidirectional mics for recording ambient sounds, and directional mics for targeted recording.*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Of course, there are many other factors, check wikipedia, and it's difficult to judge a mic purely by the specs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.samsontech.com/products/productpage.cfm?prodID=1810&amp;brandID=2&#xD;&#xA;  [2]: http://i.stack.imgur.com/sD0Uc.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="41735" PostHistoryTypeId="2" PostId="24332" RevisionGUID="2bdc6ba7-48d0-4211-a7d1-a463d2b60fd7" CreationDate="2010-12-08T12:22:26.463" UserDisplayName="Tom Wijsman" Text="For amateur purposes I might consider buying a budget microphone to record my vocals, as I have the thoughts that my current cheap home headset microphone won't suffice to get some quality.&#xD;&#xA;&#xD;&#xA;What specifications should I look for when deciding which microphone to buy?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41736" PostHistoryTypeId="1" PostId="24332" RevisionGUID="2bdc6ba7-48d0-4211-a7d1-a463d2b60fd7" CreationDate="2010-12-08T12:22:26.463" UserDisplayName="Tom Wijsman" Text="What specifications should I look for when buying a budget microphone?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41737" PostHistoryTypeId="3" PostId="24332" RevisionGUID="2bdc6ba7-48d0-4211-a7d1-a463d2b60fd7" CreationDate="2010-12-08T12:22:26.463" UserDisplayName="Tom Wijsman" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41738" PostHistoryTypeId="36" PostId="24336" RevisionGUID="e66ae429-e553-4d95-8f2c-94a277f51033" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1010/gang-vocal-recording-techniques" />
  <row Id="41739" PostHistoryTypeId="36" PostId="24337" RevisionGUID="adfc93ce-0e52-453f-8170-907ed9f236f1" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1010/gang-vocal-recording-techniques/1014#1014" />
  <row Id="41740" PostHistoryTypeId="2" PostId="24337" RevisionGUID="6846be6f-b3d6-4395-8289-e9e40d95e7ef" CreationDate="2011-03-14T08:22:24.100" UserId="7592" UserDisplayName="Pelle ten Cate" Text="Are you trying to record a gang, or record yourself several times and create a gang? In the latter case, there is no scientific difference between using an OMNI mic with panning, and using any co-incident stereo system, all these techniques rely on intensity based stereophony.&#xD;&#xA;&#xD;&#xA;What you can try though - depending of the amount of overdubs you plan - is recording yourself several times using an ORTF or AB system. If you do it only once, it will sound crappy because of the comb filter effect, but if you do it multiple (= 20+) times, this comb filter effect won't bother you any more since you mix all the sources together. That would mean: 2 channels, one completely L, one completely R (i.e. don't pan!), and the only thing you vary is the position where you stand. Try playing around with different distances as well as different angles. (Creating a depth image is the power of an AB/ORTF.) Don't change the microphone placement." ContentLicense="CC BY-SA 2.5" />
  <row Id="41741" PostHistoryTypeId="2" PostId="24336" RevisionGUID="243f1de2-20d8-4245-9aa8-afdc49e411b1" CreationDate="2011-03-14T03:30:03.063" UserDisplayName="philwinkle" Text="Up until recently, I've recorded all gang vocals with multiple passes with varying positions around a single omnidirectional microphone (Avantone CV12)... this has worked well, and with varying degrees of pan, reverb, compression, you get a very convincing 'small crowd' sound.&#xD;&#xA;&#xD;&#xA;I've heard a lot of fuss about mid/side and blumlein techniques for this - my question is - have you recorded gang/chant vox (or even simulated choir) with these techniques successfully?  What are the upsides/downsides?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41742" PostHistoryTypeId="1" PostId="24336" RevisionGUID="243f1de2-20d8-4245-9aa8-afdc49e411b1" CreationDate="2011-03-14T03:30:03.063" UserDisplayName="philwinkle" Text="Gang Vocal Recording Techniques" ContentLicense="CC BY-SA 2.5" />
  <row Id="41743" PostHistoryTypeId="3" PostId="24336" RevisionGUID="243f1de2-20d8-4245-9aa8-afdc49e411b1" CreationDate="2011-03-14T03:30:03.063" UserDisplayName="philwinkle" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41744" PostHistoryTypeId="36" PostId="24338" RevisionGUID="2337fea3-a5ac-4338-922b-05321dfee183" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1096/lavalier-for-video-production" />
  <row Id="41745" PostHistoryTypeId="36" PostId="24339" RevisionGUID="e9dda094-174b-40ad-966e-3660fa024a40" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1096/lavalier-for-video-production/1097#1097" />
  <row Id="41746" PostHistoryTypeId="36" PostId="24340" RevisionGUID="05a8ac5d-5d22-4d38-bb33-c103186a3bcc" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1096/lavalier-for-video-production/1112#1112" />
  <row Id="41747" PostHistoryTypeId="2" PostId="24339" RevisionGUID="59950dc4-4cd0-488e-a679-f00563590321" CreationDate="2011-03-27T12:24:45.117" UserDisplayName="user695" Text="I've come across these Giant Squid mics that look interesting (http://www.giant-squid-audio-lab.com). I like this guy's philosophy. If he mics are at least as good as Audio Technica's I'll be happy.&#xD;&#xA;&#xD;&#xA;Anyone tried out his mics and got any comments?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41748" PostHistoryTypeId="2" PostId="24340" RevisionGUID="4e490fab-83fb-487b-b6a4-4efeb5c03538" CreationDate="2011-03-29T10:27:38.293" UserDisplayName="Fhilip K" Text="I got an email from Darren at Giant Squid saying that it should work fine straight into a Zoom H1.&#xD;&#xA;&#xD;&#xA;My current camera is a Sanyo HD2000. It looks like it's got 'plug-in power' (Microphone input (plug-in power type: φ2.5mm,φ3.5mm adaptor bundled). So it looks good to work without the ($60) battery pack if I went with the Giant Squid.&#xD;&#xA;&#xD;&#xA;Any other suggestions as to which entry level lav to get for video? What was your experience with the Giant Squid - would you use it again for the same or different purpose?&#xD;&#xA;&#xD;&#xA;Source: http://sanyo.com/xacti/english/products/vpc_hd2000/spec.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="41749" PostHistoryTypeId="2" PostId="24338" RevisionGUID="8ef0bc6a-0c24-4afb-88a0-f5347f9c0c54" CreationDate="2011-03-27T04:36:15.290" UserDisplayName="user693" Text="Looking for a Lavalier microphone for video production. The Rode Lavalier Mic looks like the best bang for buck in regards to quality for price. But really for my current budget the many times cheaper Audio Technica ATR3350 Lavalier Microphone is a serious contender for my $$.&#xD;&#xA;&#xD;&#xA;I'm thinking of making do with either straight into the camera (the long cable that comes with the AT makes it perfect for this) or into a (currently unpurchased) Zoom H1 for the portability.&#xD;&#xA;&#xD;&#xA;Does anyone have any experience with these mics? Any comments or suggestions?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 2.5" />
  <row Id="41750" PostHistoryTypeId="1" PostId="24338" RevisionGUID="8ef0bc6a-0c24-4afb-88a0-f5347f9c0c54" CreationDate="2011-03-27T04:36:15.290" UserDisplayName="user693" Text="Lavalier for video production" ContentLicense="CC BY-SA 2.5" />
  <row Id="41751" PostHistoryTypeId="3" PostId="24338" RevisionGUID="8ef0bc6a-0c24-4afb-88a0-f5347f9c0c54" CreationDate="2011-03-27T04:36:15.290" UserDisplayName="user693" Text="&lt;microphone&gt;&lt;video&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41752" PostHistoryTypeId="36" PostId="24341" RevisionGUID="b501eab0-2b22-4087-a0e7-abaa7a90e06c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1030/how-do-i-match-a-microphone-to-a-preamp" />
  <row Id="41753" PostHistoryTypeId="36" PostId="24342" RevisionGUID="29cb854a-01b6-42e7-bc87-66f7a71073a2" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1030/how-do-i-match-a-microphone-to-a-preamp/1047#1047" />
  <row Id="41754" PostHistoryTypeId="2" PostId="24342" RevisionGUID="1af8af86-d405-4944-a5d7-b12acef27e80" CreationDate="2011-03-17T21:27:53.783" UserId="7592" UserDisplayName="Pelle ten Cate" Text="By their connector. In general if a mic. comes with an XLR connector, it should basically work fine with a normal preamp. (Whether it needs +48V phantom power is a different issue).&#xD;&#xA;&#xD;&#xA;Almost all microphones that need a different power source have different connectors. Normally, the power sources that they are shipped with can be used to &quot;convert&quot; that connector to a standard format, so that it can be used at line level or as microphone signal.&#xD;&#xA;&#xD;&#xA;__Edit__: Microphones can have different sensitivities. A SM57 for example is known for needing quite a bit of gain on a regular preamp, so for getting a clean signal on a soft source, either use a different mic. or use a preamp that can give you a lot of gain without getting noisy." ContentLicense="CC BY-SA 2.5" />
  <row Id="41755" PostHistoryTypeId="2" PostId="24343" RevisionGUID="4aa9f583-d979-47a1-90e4-7a2e666c88b4" CreationDate="2011-03-21T04:54:17.500" UserDisplayName="Joe Mac" Text="Well, if you'd like to relate datasheet-listed sensitivity to needed gain, it's pretty straightforward math.&#xD;&#xA;&#xD;&#xA;Standard professional line level audio is considered to be +4dBu, so we can reasonably say we want a preamp with sufficient gain to bring up the signal to this level.  We just need to compute the output level of the microphone in dBu (almost surely a negative number) and subtract it from +4 to get the gain required in dB.  &#xD;&#xA;&#xD;&#xA;In case you're bothered by the unit change (from dBu to dB), just know that it's due to the nature of logarithms (and thus, dB).  That is, we're comparing two signal levels to a known reference level (the u of dBu), and then comparing them to each other (the u drops out of the equation and we could have used any reference in place of u to get the same result)&#xD;&#xA;&#xD;&#xA;We have a sound pressure wave that can be expressed in Pascals ((Pa), standard unit of pressure).  The sensitivity can be expressed in (mV)/(Pa).  The product of these two quantities is the number of millivolts of electrical potential in the signal sent from the microphone to the preamp in response to that many Pascals of pressure.&#xD;&#xA;&#xD;&#xA;The wikipedia page for sound pressure has a table &#xD;&#xA;(http://en.wikipedia.org/wiki/Sound_pressure#Examples_of_sound_pressure_and_sound_pressure_levels) that you can check to get a feel for rough Pascal values of various sounds.  For the purposes of this explanation, I'm going to pick a value at the top of the approximate range for &quot;normal conversation at 1 m&quot; : [2*10^-3 (Pa:RMS)].  (According to the same table, this is about [60 (dB:SPL)])&#xD;&#xA;&#xD;&#xA;Now let's say the microphone has a (somewhat &quot;typical&quot;) sensitivity of [10 (mV)/(Pa)].  When transducing the sound, it should send the preamp: &#xD;&#xA;&#xD;&#xA; - [10 (mV)/(Pa)] * [2*10^-2 (Pa:RMS)] &#xD;&#xA; - = [2*10^-1 mV:RMS] &#xD;&#xA; - = [2*10^-4 V:RMS]&#xD;&#xA;&#xD;&#xA;To convert this into dBu, you have to take the logarithm of the ratio of the voltage you have to the reference voltage for dBu: [.7746 (V:RMS)]&#xD;&#xA;&#xD;&#xA; - 20 Log([2*10^-4 V:RMS]/[.7746 (V:RMS)])&#xD;&#xA; - = 20 Log(.0002/.7746)&#xD;&#xA; - = 20 * -3.588&#xD;&#xA; - = [-71.76 (dBu)]&#xD;&#xA;&#xD;&#xA;You can also use this handy dBu calculator and reference page:&#xD;&#xA;http://www.sengpielaudio.com/calculator-db-volt.htm&#xD;&#xA;(Try typing .0002 V into the rightmost calcultaor, you'll get the same -71.76 dBu result)&#xD;&#xA;&#xD;&#xA;The same site also has another reference page about sensitivity:&#xD;&#xA;http://www.sengpielaudio.com/calculator-transferfactor.htm&#xD;&#xA;&#xD;&#xA;So, anyway, we have a signal of [-71.76 (dBu)], and we want it to be [+4 (dBu)], so:&#xD;&#xA;&#xD;&#xA; - [+4 (dBu)] - [-71.76 (dBu)]&#xD;&#xA; - = (4 + 71.76) (dB)&#xD;&#xA; - = [75.76 (dB)]&#xD;&#xA;&#xD;&#xA;We need the preamp to give about 76 dB of gain to get the signal all the way up to standard pro audio level, although with standard use, you'll probably want some headroom, and may not want to give it the full 76.&#xD;&#xA;&#xD;&#xA;If you run through the math for a few other sensitivity ratings, you can get a feel for what the numbers really mean.  Doubling the sensitivity (to [20 (mV)/(Pa)]) doubles the voltage and gives a 6dB boost to the output (that's 6dB your preamp doesn't need to provide).  Halving the sensitivity is a 6dB cut.  This is perhaps the most useful rule of thumb to know.  Consider a mic you are familiar with and find out its sensitivity, then compare other sensitivities to this one with the above rule in mind.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41756" PostHistoryTypeId="2" PostId="24341" RevisionGUID="1e8a8b03-5b8e-4f1d-87eb-d360ce47d1a3" CreationDate="2011-03-15T04:22:26.097" UserId="319" Text="How can I tell if a microphone with work with a given preamp?&#xD;&#xA;&#xD;&#xA;**Some preamps don't have the power for dynamic or ribbon mics.  How can I tell if a certain mic is extra needy in the gain department?**  What number on the microphone spec sheet will tell me how much gain I need on my preamp?  &#xD;&#xA;&#xD;&#xA;I want to look at an information sheet for the mic and preamp and be able to tell what will work together reasonably well - no concern for tonal issues.  What about setting jumpers on the preamp which select resistance (Ohms)?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41757" PostHistoryTypeId="1" PostId="24341" RevisionGUID="1e8a8b03-5b8e-4f1d-87eb-d360ce47d1a3" CreationDate="2011-03-15T04:22:26.097" UserId="319" Text="How do I match a microphone to a preamp" ContentLicense="CC BY-SA 2.5" />
  <row Id="41758" PostHistoryTypeId="3" PostId="24341" RevisionGUID="1e8a8b03-5b8e-4f1d-87eb-d360ce47d1a3" CreationDate="2011-03-15T04:22:26.097" UserId="319" Text="&lt;microphone&gt;&lt;impedance&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41759" PostHistoryTypeId="36" PostId="24343" RevisionGUID="92db0d4a-44ed-44e0-b882-b378ee841600" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1030/how-do-i-match-a-microphone-to-a-preamp/1065#1065" />
  <row Id="41760" PostHistoryTypeId="36" PostId="24344" RevisionGUID="6b925422-ee13-49f9-a25f-b9b463e6715e" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1640/cleaning-up-large-group-dialog-quickly" />
  <row Id="41761" PostHistoryTypeId="36" PostId="24345" RevisionGUID="db697d84-267b-4e42-9ac4-3b3acf0e94a6" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1640/cleaning-up-large-group-dialog-quickly/7084#7084" />
  <row Id="41762" PostHistoryTypeId="2" PostId="24345" RevisionGUID="66d2d7a7-1542-4f8d-b09f-9bb75d21cbca" CreationDate="2013-02-08T05:15:29.220" UserDisplayName="Benji York" Text="I am more familiar with sound reinforcement, but I will suggest getting three Yamaha Portico 5045s (they are each two-channel, so three would handle your six inputs).  They are a bit pricy (about $1300 USD at the time of this writing) but they have a reputation for being able to clean up spoken-word inputs in an almost magical way.&#xD;&#xA;&#xD;&#xA;If you have a good relationship with a reseller you might be able to audition them.  Alternatively, I have seen them available at rental houses, so you may be able to try them out that way." ContentLicense="CC BY-SA 3.0" />
  <row Id="41763" PostHistoryTypeId="2" PostId="24344" RevisionGUID="4cb3ff6e-f19b-4365-a62e-867b3f2b9804" CreationDate="2011-06-21T20:11:55.343" UserDisplayName="SeanBlake" Text="I have more experience mixing music than dialog. Every two weeks I have to mix about 2-3 hours of dialog from a room with roughly 30 people and pump it out in half a day. There are six microphones spread out in the room in an effort to capture everyone. They come into the camera split over three different channels. &#xD;&#xA;&#xD;&#xA;Currently, I import these tracks into FCP then send them to Apple Soundtrack to mix. I then high-pass each channel and throw in some notch filters where I can hear a distinct hum. I then use the  multipressor on each channel as an expander to reduce noise when nobody is talking near this mic.&#xD;&#xA;&#xD;&#xA;I then throw a compressor on the master to even things out (unfortunately sucking up a little noise floor in the process)&#xD;&#xA;&#xD;&#xA;After all of this, it still sounds pretty bad. &#xD;&#xA;&#xD;&#xA;Unfortunately, since we are seriously under mic'd, the operator has to ride the faders to get everyone at a relatively consistent volume. This means my noise floor is never constant. Actually, at some points my noise floor is louder than my dialog is at other points. To add to this, the operator also has a camera to take care of so he cannot always bring the fader up/down right away. &#xD;&#xA;&#xD;&#xA;I would sit here and automate levels in Soundtrack but the turn around time does not allow it. I need to be able to throw the effects on, call up some presets, tweak them appropriately and bounce this bad boy. &#xD;&#xA;&#xD;&#xA;I am looking for suggestions at the recording and/or mixing stage. Keep in mind that we have one operator on the floor and that he has a camera to operate as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="41764" PostHistoryTypeId="1" PostId="24344" RevisionGUID="4cb3ff6e-f19b-4365-a62e-867b3f2b9804" CreationDate="2011-06-21T20:11:55.343" UserDisplayName="SeanBlake" Text="Cleaning up large group dialog quickly" ContentLicense="CC BY-SA 3.0" />
  <row Id="41765" PostHistoryTypeId="3" PostId="24344" RevisionGUID="4cb3ff6e-f19b-4365-a62e-867b3f2b9804" CreationDate="2011-06-21T20:11:55.343" UserDisplayName="SeanBlake" Text="&lt;mixing&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41766" PostHistoryTypeId="36" PostId="24346" RevisionGUID="d6b20ebd-6b85-4728-9f0b-6c92b64437c2" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/122/how-to-mic-a-50-persons-choir-standing-behind-an-orchestra" />
  <row Id="41767" PostHistoryTypeId="36" PostId="24347" RevisionGUID="16911c5d-498f-4f96-8e91-0639ab5de04b" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/122/how-to-mic-a-50-persons-choir-standing-behind-an-orchestra/209#209" />
  <row Id="41768" PostHistoryTypeId="36" PostId="24348" RevisionGUID="95b89e58-dcce-479c-b4d1-b897fbbee971" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/122/how-to-mic-a-50-persons-choir-standing-behind-an-orchestra/300#300" />
  <row Id="41769" PostHistoryTypeId="2" PostId="24347" RevisionGUID="5c6d1006-9b72-4499-a28d-9c45c64b51ea" CreationDate="2010-12-10T05:39:48.830" UserId="7398" UserDisplayName="BenV" Text="There's no perfect solution to this one.  As you mentioned omnis are out of the question so go with cardioids or figure-8s with the nulls pointed at the brass and percussion.  You could also put up some reflectors behind the orchestra to help reduce the bleed.  &#xD;&#xA;Where to place the mics is just a matter of finding the best compromise - far enough from the orchestra to prevent bleed, and far enough from the choir to get a good blend." ContentLicense="CC BY-SA 2.5" />
  <row Id="41770" PostHistoryTypeId="2" PostId="24348" RevisionGUID="1fb8c54e-a3bb-4324-9bfb-fd834ab2dcb3" CreationDate="2010-12-15T19:24:56.273" UserDisplayName="Daniel Rumley" Text="There are a couple general rules about recording orchestras.  One is that at least 80% of the sound should come from the main array in front of the orchestra.  Another is the you should never treat spot mics as independent elements, cross talk is a good thing.  If you have an AB omni or ORTF cardioid setup in the front of the orchestra,  it is perfectly acceptable to use a widely spaced pair of omnis in the rear to capture the choir.  In fact, it is one of the most common methods.  Wide cardioids like the schoeps mk21 or dpa 4015 are also popular for this.  Space them wide enought to capture the entire choir and pan them appropriately in the sound field.  I would really discourage using a second coincident technique like ORTF or XY.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="41771" PostHistoryTypeId="2" PostId="24346" RevisionGUID="b507cdef-0112-4ff8-94b1-de0a4ac26b3b" CreationDate="2010-12-08T13:27:30.440" UserId="7592" UserDisplayName="Pelle ten Cate" Text="In a certain line-up of a live recording in a classical concert hall, there is a 50 persons choir situated behind a symphony orchestra with quite a few trombones, timpanies and a percussion section. The choir is as wide as the orchestra itself.&#xD;&#xA;&#xD;&#xA;I now want to add support microphones for the choir for two reasons: to improve the balance in the mix, and to improve the intelligibility of their part. I hope to get good results with the following prerequisites:&#xD;&#xA;&#xD;&#xA;1. I prefer not to spend more than 2 audio channels, and use 2 condensor mics.&#xD;&#xA;2. I wish to have least possible crosstalk from the brass section and the percussion.&#xD;&#xA;3. I like these mics rather to give me the sound of a choir than the sound of a few singers in particular.&#xD;&#xA;4. I want to have the choir balanced well, i.e. not only hearing the middle singers or one voice louder than another.&#xD;&#xA;&#xD;&#xA;Now, my own thoughts:&#xD;&#xA;&#xD;&#xA;* Using omnis is not an option due to the heavy crosstalk, neither is using very remotely positioned microphones. (Not good for intelligibility, and also hard to deal with crosstalk) &#xD;&#xA;* Using a XY or ORTF is good against the cross talk, but any system that places the two mics close together only gives me the middle few singers.&#xD;&#xA;&#xD;&#xA;Recommendations?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41772" PostHistoryTypeId="1" PostId="24346" RevisionGUID="b507cdef-0112-4ff8-94b1-de0a4ac26b3b" CreationDate="2010-12-08T13:27:30.440" UserId="7592" UserDisplayName="Pelle ten Cate" Text="How to mic a 50 persons choir standing behind an orchestra" ContentLicense="CC BY-SA 2.5" />
  <row Id="41773" PostHistoryTypeId="3" PostId="24346" RevisionGUID="b507cdef-0112-4ff8-94b1-de0a4ac26b3b" CreationDate="2010-12-08T13:27:30.440" UserId="7592" UserDisplayName="Pelle ten Cate" Text="&lt;stereo&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41774" PostHistoryTypeId="36" PostId="24349" RevisionGUID="fabc6b9a-b7c2-43be-b9aa-39dc4add9d0d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4276/how-can-i-test-microphones-to-determine-their-quality" />
  <row Id="41775" PostHistoryTypeId="36" PostId="24350" RevisionGUID="87640b0d-a0be-4321-8e9a-26eb65190ca6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4276/how-can-i-test-microphones-to-determine-their-quality/4277#4277" />
  <row Id="41776" PostHistoryTypeId="36" PostId="24351" RevisionGUID="8cfcef29-a323-4e13-8123-851618c87c73" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4276/how-can-i-test-microphones-to-determine-their-quality/4278#4278" />
  <row Id="41777" PostHistoryTypeId="2" PostId="24350" RevisionGUID="907c842a-8f1b-40b1-b0e5-a9cffa09d35a" CreationDate="2012-06-25T22:36:52.447" UserId="7200" Text="If you mean bad in the sense in which a bad cable is bad – i.e., broken or fine – simply connect the microphone to a mixer with headphone output or an active speaker, tap on the microphone and say something into it. You'll notice if one doesn't work, there will be no sound! Or e.g. heavily distorted sound, or failing sound when you jiggle the plug etc.&#xD;&#xA;&#xD;&#xA;Determining _how_ good a microphone is is another matter. Reasonably robust dynamic microphones tend to remain quite constant in their sound quality up to the point where they completely fail, so if you see a microphone of a good brand that does work at all you can usually assume that it works _well_, for instance having some SM58s is always a comfort. Though different types of microphones do of course perform different for different tasks: reliable as such dynamic microphones are, I'd hesitate to use them to e.g. record a piano or other acoustic instruments because the sound isn't quite as &quot;open&quot; as it ought to be. Usually, one has to know how each microphone sounds, but that requires a lot of experience. It is also possible to precisely measure all the acoustic properties of a microphone, but that's really complicated and doesn't seem to be what you need." ContentLicense="CC BY-SA 3.0" />
  <row Id="41778" PostHistoryTypeId="2" PostId="24351" RevisionGUID="8f25ffaf-3e8b-4fbf-a75b-baf41754e1c2" CreationDate="2012-06-26T06:45:31.177" UserDisplayName="JPollock" Text="I'm afraid this might sound cliche or condescending, but try them out and trust your ears. If you knew what each mic was you could look up all their specs, but that information may not be all that useful to you. I could, and would be happy to answer questions about what those specs mean, but I think it's much more useful to you to just trust that the one that sounds the best is likely the best.&#xD;&#xA;&#xD;&#xA;You should also google the makes and models of each of the different makes and models to find out what they are best used for (voice, instrument, etc.) or ask about them on hear. In the end I'm guessing you took on this responsibility less to learn about which microphone is best for what and more to help out your church. That's why my advise to you is to ask for the opinion of others (on here or IRL) and trust your ears. Learning the specs, and what the specs mean is one thing, but learning what the changes in these specs sound like, that's a totally different thing. To quote (or at least paraphrase) Joe Meek &quot;If it sounds good, it is good.&quot;&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="41779" PostHistoryTypeId="2" PostId="24349" RevisionGUID="2553d410-073c-49b6-85d0-57fc0708cb9c" CreationDate="2012-06-25T19:31:37.837" UserDisplayName="Scott" Text="I recently inherited the leadership of the audio/video committee at my church. I bought a cable tester to check all the audio cables and adapters, and tossed anything that didn't pass. Now I'm faced with a small collection of microphones (approximately ten) that nobody seems to know which of them are good and which are defective. This past Friday one of my guys was doing a live event and ended up selecting a microphone that is apparently bad. How do I go about testing these microphones to make sure they're working properly as designed?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41780" PostHistoryTypeId="1" PostId="24349" RevisionGUID="2553d410-073c-49b6-85d0-57fc0708cb9c" CreationDate="2012-06-25T19:31:37.837" UserDisplayName="Scott" Text="How can I test microphones to determine their quality?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41781" PostHistoryTypeId="3" PostId="24349" RevisionGUID="2553d410-073c-49b6-85d0-57fc0708cb9c" CreationDate="2012-06-25T19:31:37.837" UserDisplayName="Scott" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41782" PostHistoryTypeId="36" PostId="24352" RevisionGUID="e20fc9ca-0cab-432e-9930-f7a052e749a6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2934/how-to-reduce-wind-noise-audio-overload-on-built-in-microphones" />
  <row Id="41783" PostHistoryTypeId="36" PostId="24353" RevisionGUID="021c7150-cc25-4d44-b612-abdfd0bfffbf" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2934/how-to-reduce-wind-noise-audio-overload-on-built-in-microphones/2936#2936" />
  <row Id="41784" PostHistoryTypeId="36" PostId="24354" RevisionGUID="65ee1bd0-d60c-4662-b141-d2be68d7d312" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2934/how-to-reduce-wind-noise-audio-overload-on-built-in-microphones/2945#2945" />
  <row Id="41785" PostHistoryTypeId="36" PostId="24355" RevisionGUID="61f1a085-ded9-435b-8450-b0cff4dadb59" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2934/how-to-reduce-wind-noise-audio-overload-on-built-in-microphones/3675#3675" />
  <row Id="41786" PostHistoryTypeId="36" PostId="24356" RevisionGUID="f495e7f1-b21a-4dce-b747-4cfbfed2515a" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2934/how-to-reduce-wind-noise-audio-overload-on-built-in-microphones/5466#5466" />
  <row Id="41787" PostHistoryTypeId="2" PostId="24353" RevisionGUID="59cd68a3-170d-4c26-8c0d-544e7c9d9d3d" CreationDate="2011-12-31T03:17:32.260" UserId="7189" Text="Adding some felt or faux-fur is a good place to start. Felt will probably attenuate, but may not help much with the wind noise. Faux-fur is great at killing wind noise, but doesn't attenuate much.&#xD;&#xA;&#xD;&#xA;I don't have any experience with their products, but the windscreens [pictured at TheWindCutter][1] look good. Also take a look at the [Rycote Mini Windjammers][2].&#xD;&#xA;&#xD;&#xA;You will definitely have more control over your audio by moving to a dedicated recording device, but you will still need to solve the wind noise problem. I use the [ADPCM2 windscreen][3] with my [Sony M10][4].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.thewindcutter.com/shop/&#xD;&#xA;  [2]: http://www.rycote.com/products/mini_windjammer/&#xD;&#xA;  [3]: http://pro.sony.com/bbsc/ssr/cat-audio/cat-audioaccessories/product-ADPCM2/&#xD;&#xA;  [4]: http://pro.sony.com/bbsc/ssr/cat-audio/cat-recorders/product-PCMM10/B/" ContentLicense="CC BY-SA 3.0" />
  <row Id="41788" PostHistoryTypeId="2" PostId="24355" RevisionGUID="f42a6f0d-81fd-4dfa-b8ee-56934599066c" CreationDate="2012-03-31T08:00:51.533" UserDisplayName="Mark" Text="You can't repair wind noise after the recording is done. I actually have [a Kickstarter page](http://www.kickstarter.com/projects/838432503/deadcatdot-wind-noise-suppressors) for a product I'm making designed to solve this problem, using the same faux-fur principles as &quot;dead cat&quot; noise suppressors but for small microphones. I think it would help a lot." ContentLicense="CC BY-SA 3.0" />
  <row Id="41789" PostHistoryTypeId="2" PostId="24356" RevisionGUID="65944905-d012-44fa-84bf-2e255eb4561a" CreationDate="2012-11-30T21:37:23.027" UserDisplayName="Michael" Text="&#xD;&#xA;It would be best to use an external mic that can be positioned where less wind would strike it. A hand-held recorder, like the Zoom H1 recorder (under $100.00) would be an affordable choice for most people. Hand-held recorders have built-in microphones and also a jack for using an external mic. These recorders have adjustable record levels that can be set for best results (most cameras don't have this feature). &#xD;&#xA;&#xD;&#xA;Whenever recording in windy conditions, you should cover your mic with a good fur windscreen.&#xD;&#xA;&#xD;&#xA;www.thewindcutter.com can supply you with windscreens for any external microphone. We also have highly effective WindJackets for hand-held recorders. For your cameras built-in mic, we have Stick-On WindCutters. " ContentLicense="CC BY-SA 3.0" />
  <row Id="41790" PostHistoryTypeId="2" PostId="24354" RevisionGUID="b2aa2571-955e-4d54-976b-fec34755f2d3" CreationDate="2012-01-01T10:56:56.253" UserDisplayName="Code Poet" Text="You might want to try out the noise reduction filter in Adobe products. All Adobe video products have the filter - Premiere Pro, After Effects, to name a few." ContentLicense="CC BY-SA 3.0" />
  <row Id="41791" PostHistoryTypeId="2" PostId="24352" RevisionGUID="4e6c6256-250e-4579-836a-038996c06dd7" CreationDate="2011-12-30T18:27:53.993" UserDisplayName="peterg22" Text="I have 2 cameras with on-board microphones (Nikon D5100, Canon Powershot G7), and I'm predictably having problems with high wind noise, and when recording short clips at gigs (with permission) with very high audio levels. Does anyone know how I could generally reduce the overall audio level? I've considered sticking felt tabs over the mic cover but this I feel is not the way to do it. &#xD;&#xA;&#xD;&#xA;I suspect that I'll end up recording the audio on another device, but this is yet another thing to carry, and go wrong, so, advice please!" ContentLicense="CC BY-SA 3.0" />
  <row Id="41792" PostHistoryTypeId="1" PostId="24352" RevisionGUID="4e6c6256-250e-4579-836a-038996c06dd7" CreationDate="2011-12-30T18:27:53.993" UserDisplayName="peterg22" Text="How to reduce wind noise / audio overload on built-in microphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41793" PostHistoryTypeId="3" PostId="24352" RevisionGUID="4e6c6256-250e-4579-836a-038996c06dd7" CreationDate="2011-12-30T18:27:53.993" UserDisplayName="peterg22" Text="&lt;video&gt;&lt;microphone&gt;&lt;live&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41794" PostHistoryTypeId="36" PostId="24357" RevisionGUID="520c3c59-888c-49f3-a5b0-e18921d627f3" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2444/wired-external-video-microphone-interference" />
  <row Id="41795" PostHistoryTypeId="36" PostId="24358" RevisionGUID="53a73106-e68f-445c-bdaf-a128c2336c26" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2444/wired-external-video-microphone-interference/2445#2445" />
  <row Id="41796" PostHistoryTypeId="2" PostId="24358" RevisionGUID="88189d2d-59fa-4104-b3c5-678ce3a9f7ad" CreationDate="2011-10-07T11:27:00.157" UserId="7016" Text="Those sorts of things could definitely be causes - but you probably can't do much about telling them to stop, so you should concentrate on what you can improve:&#xD;&#xA;&#xD;&#xA;The wire between the mic and the camera is going to be the biggest problem - it is acting as an antenna, and as microphone signals are very low you need to improve your signal to noise ratio.&#xD;&#xA;&#xD;&#xA;Options:&#xD;&#xA;&#xD;&#xA; - Use a shielded or balanced cable - probably your easiest option. You can get balanced cables for mics that are very resistant to interference but this will depend on what your camera supports&#xD;&#xA; - Use a pre-amp at the mic to increase the signal - this reduces the effect interference will have&#xD;&#xA; - Record audio at the mic (thus shortening the wire) and add it to the video later - you will need to look at synchronisation, etc" ContentLicense="CC BY-SA 3.0" />
  <row Id="41797" PostHistoryTypeId="2" PostId="24357" RevisionGUID="1f5a6697-2182-499d-aec7-27a416d698dd" CreationDate="2011-10-07T04:39:58.667" UserDisplayName="Jay" Text="I'm shooting footage on a college campus using a wired external shotgun.  In certain places on campus, there's an occasional buzz--like someone using a sped-up morse code--followed by a few seconds of thumping.  It doesn't happen all over campus, and it's not constant.  Since the environment is a college campus, there's a ton of stuff &quot;in the air&quot;: phones, internet, the campus network, security guards on radios...  First, could these be the causes of the interference, and if so, is there something to do about it?&#xD;&#xA;&#xD;&#xA;Thanks for any advice." ContentLicense="CC BY-SA 3.0" />
  <row Id="41798" PostHistoryTypeId="1" PostId="24357" RevisionGUID="1f5a6697-2182-499d-aec7-27a416d698dd" CreationDate="2011-10-07T04:39:58.667" UserDisplayName="Jay" Text="wired external video microphone interference" ContentLicense="CC BY-SA 3.0" />
  <row Id="41799" PostHistoryTypeId="3" PostId="24357" RevisionGUID="1f5a6697-2182-499d-aec7-27a416d698dd" CreationDate="2011-10-07T04:39:58.667" UserDisplayName="Jay" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41800" PostHistoryTypeId="36" PostId="24359" RevisionGUID="69c4361b-f9d2-4afd-b3bd-68c3c8750577" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7531/transmit-speakers-voice-over-bluetooth-headset-to-a-camcorder" />
  <row Id="41801" PostHistoryTypeId="2" PostId="24359" RevisionGUID="2c2df8f0-175e-4e0e-81bb-218a0aa10149" CreationDate="2013-03-28T23:59:28.780" UserDisplayName="Bobík" Text="Do you know about some cheap bluetooth receiver to connect to camcoder's audio input? I want to use bluetooth headset ([BackBeat 903+][1]) to transmit speaker's voice to be synchronized with video and recorded by the camcorder (Panasonic HDC-HS300). The camcorder have a JAG mic input.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.plantronics.com/us/product/backbeat-903-plus" ContentLicense="CC BY-SA 3.0" />
  <row Id="41802" PostHistoryTypeId="1" PostId="24359" RevisionGUID="2c2df8f0-175e-4e0e-81bb-218a0aa10149" CreationDate="2013-03-28T23:59:28.780" UserDisplayName="Bobík" Text="Transmit speaker's voice over bluetooth headset to a camcorder" ContentLicense="CC BY-SA 3.0" />
  <row Id="41803" PostHistoryTypeId="3" PostId="24359" RevisionGUID="2c2df8f0-175e-4e0e-81bb-218a0aa10149" CreationDate="2013-03-28T23:59:28.780" UserDisplayName="Bobík" Text="&lt;microphone&gt;&lt;wireless&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41804" PostHistoryTypeId="36" PostId="24360" RevisionGUID="77e684e0-1b8b-41d5-a58b-36884249e045" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3693/what-microphone-is-used-in-these-videos" />
  <row Id="41805" PostHistoryTypeId="2" PostId="24361" RevisionGUID="8a61006f-9ea7-4172-886d-c91a7b84116b" CreationDate="2012-04-03T19:55:47.190" UserId="7188" Text="I wanted to add that she has very pleasing tone and natural voice.&#xD;&#xA;&#xD;&#xA;After careful visual inspection, I am pretty certain that this is an AKG Perception 220 Condenser mic.&#xD;&#xA;&#xD;&#xA;The mount comes with it, at least at this site:&#xD;&#xA;&#xD;&#xA;http://www.musiciansfriend.com/pro-audio/akg-perception-220-condenser-microphone&#xD;&#xA;&#xD;&#xA;&quot;Spider-type shock mount and metal case included&quot;&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;A Pop Filter is generally a good idea, but she is not on top of the mic as she is back a bit playing the keyboard, so in her case a pop filter probably will not make any difference. However, in the Elton John tune she is on top of the mic and I really don't hear any objectionable pops, she has her &quot;puffs&quot; right.&#xD;&#xA;:&gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/uZW2Z.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="41806" PostHistoryTypeId="2" PostId="24360" RevisionGUID="efe16121-b481-41f3-8cef-cad9f130c329" CreationDate="2012-04-03T10:29:52.990" UserDisplayName="Ben" Text="What microphone (and mount) does this girl use in her videos?&#xD;&#xA;&#xD;&#xA;Examples:&#xD;&#xA;&#xD;&#xA; - http://www.youtube.com/watch?v=tu812Bs_0RM&#xD;&#xA; - http://www.youtube.com/watch?v=SYuCEYfe6LM&#xD;&#xA; - http://www.youtube.com/watch?v=IGO3GfLrFZE&#xD;&#xA;&#xD;&#xA;Also:  Would using a pop filter help her?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41807" PostHistoryTypeId="1" PostId="24360" RevisionGUID="efe16121-b481-41f3-8cef-cad9f130c329" CreationDate="2012-04-03T10:29:52.990" UserDisplayName="Ben" Text="What microphone is used in these videos?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41808" PostHistoryTypeId="3" PostId="24360" RevisionGUID="efe16121-b481-41f3-8cef-cad9f130c329" CreationDate="2012-04-03T10:29:52.990" UserDisplayName="Ben" Text="&lt;microphone&gt;&lt;filter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41809" PostHistoryTypeId="36" PostId="24361" RevisionGUID="a8a5fd65-5616-4276-95c8-9f2b9fa07791" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3693/what-microphone-is-used-in-these-videos/3694#3694" />
  <row Id="41810" PostHistoryTypeId="36" PostId="24362" RevisionGUID="997c3e02-2667-4dbb-b7e7-1d734d656ffe" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/588/mic-stand-for-sterling-st51-mic" />
  <row Id="41811" PostHistoryTypeId="36" PostId="24363" RevisionGUID="f548fc78-2f30-4b97-9bd6-67ee06a9be54" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/588/mic-stand-for-sterling-st51-mic/593#593" />
  <row Id="41812" PostHistoryTypeId="2" PostId="24363" RevisionGUID="59410fd1-4e41-4214-b61b-38e181bea676" CreationDate="2011-01-14T15:17:25.597" UserDisplayName="Micah" Text="You can always get a shock mount for it: [Shock Mount][1] &#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://compare.ebay.com/like/290402145383?ltyp=AllFixedPriceItemTypes&amp;var=sbar&amp;rvr_id=198123947911&amp;crlp=1_263602_304662&amp;UA=%3F*I%3F&amp;GUID=12a1c30112c0a06c1b52cbe2ff8407d8&amp;itemid=290402145383&amp;ff4=263602_304662&#xD;&#xA;  [2]: http://i.stack.imgur.com/ZWdA8.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="41813" PostHistoryTypeId="2" PostId="24364" RevisionGUID="e90eb520-e24e-4662-980e-67aab976ef0b" CreationDate="2011-01-14T18:16:39.957" UserId="7209" Text="That looks like an adapter to go from a standard tripod threading (like, for cameras) to standard threading for a microphone clip.&#xD;&#xA;&#xD;&#xA;![Gitzo G1145 Bushing Microphone Adapter][1]&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/Gitzo-G1145-Bushing-Microphone-Adapter/dp/B00023JDSU&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/7CmTV.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="41814" PostHistoryTypeId="2" PostId="24362" RevisionGUID="29e571fc-9ab3-480d-8589-cb04e05a0e26" CreationDate="2011-01-14T03:29:58.320" UserDisplayName="Bryan Matthews" Text="Sorry for the n00b question.  Hopefully this is an appropriate place to post.&#xD;&#xA;&#xD;&#xA;I recently bought a couple of mics.  1) a Sterling ST51, and 2) a MXL V900.  I gave the MXL to my brother for christmas because it came with a boom stand.  Curiously, I noticed that the adapter that came with the Sterling mic doesn't fit the boom stand.&#xD;&#xA;&#xD;&#xA;I tried some googling around for types of mic stand adapters, without much luck.  I think I picked up on standard vs. european style, but I don't really know what that means.&#xD;&#xA;&#xD;&#xA;Anyway, I would like to buy a stand for the Sterling mic, but I don't know what kind of stand to buy.  [Here][1] is a picture of the adapter.  Please help if you can identify the style or any info on what kind of stand I can buy.  Thanks!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.flickr.com/photos/mattheyan/5353100467/" ContentLicense="CC BY-SA 2.5" />
  <row Id="41815" PostHistoryTypeId="1" PostId="24362" RevisionGUID="29e571fc-9ab3-480d-8589-cb04e05a0e26" CreationDate="2011-01-14T03:29:58.320" UserDisplayName="Bryan Matthews" Text="Mic stand for sterling ST51 mic" ContentLicense="CC BY-SA 2.5" />
  <row Id="41816" PostHistoryTypeId="3" PostId="24362" RevisionGUID="29e571fc-9ab3-480d-8589-cb04e05a0e26" CreationDate="2011-01-14T03:29:58.320" UserDisplayName="Bryan Matthews" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41817" PostHistoryTypeId="36" PostId="24364" RevisionGUID="c11a8050-7ab1-4287-bc66-a12fd3365f68" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/588/mic-stand-for-sterling-st51-mic/594#594" />
  <row Id="41818" PostHistoryTypeId="36" PostId="24365" RevisionGUID="f2fe95fe-31a4-486e-ac35-6f28918d8644" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5005/how-much-would-i-need-to-spend-on-a-condenser-microphone-to-get-a-reliable-profe" />
  <row Id="41819" PostHistoryTypeId="2" PostId="24366" RevisionGUID="026f7514-3a59-4dc3-b20f-5e5e828524d3" CreationDate="2012-10-13T19:22:40.240" UserId="6957" Text="It's difficult to answer because the microphone is but one link in the chain, and you don't mention what else you're using.&#xD;&#xA;&#xD;&#xA;Having said that, the B1 is probably sufficient for basic studio recording.  I've not used one myself, but there are many ways to overcome one deficiency or another.  &#xD;&#xA;&#xD;&#xA;If your mic is the weak link in the chain, a top notch preamp can help to keep you on par.  If your preamp is lacking, a nice mic and compressor can pick up the slack.  And even with less than stellar gear in general, a solid understanding of recording and mixing techniques can make up a _lot_ of ground.&#xD;&#xA;&#xD;&#xA;In short, I wouldn't worry too much about any one piece of gear, as chances are, you will have  others areas that you can work to pick up any slack.  &#xD;&#xA;&#xD;&#xA;If you're dead set on picking up a new mic, more power to you, that's great!  Get the best one you can afford, but know that &quot;reliable professional sound&quot; is a function of the whole package.  No magic bullets.  A $3500 U87 is no guarantee, you still have to know how to use it." ContentLicense="CC BY-SA 3.0" />
  <row Id="41820" PostHistoryTypeId="2" PostId="24365" RevisionGUID="749ee8e4-9e36-4e31-98bc-37c6f287e5eb" CreationDate="2012-10-13T14:51:57.617" UserId="7462" UserDisplayName="byronyasgur" Text="I realise the question is a bit like asking how long is a piece of string, but consider my scenario. I have a Berringer B1, which cost about €80 I think. I know that I can get a good vocal sound from it, but we are hoping to embark on recording an album for release and I want to buy ( if I need to ) a better vocal mic. My problem is I understand very little of the difference between an €50 mic and a €5000 mic in terms of how much it will add to the end result, other than the fact that I assume there is some 'law of diminishing returns' at work here.&#xD;&#xA;&#xD;&#xA;I would be glad to continue using the B1 but I suspect that at €80 it may not be good enough considering the top of the pile mics cost several thousand.&#xD;&#xA;&#xD;&#xA;Could anybody give me any guidelines.&#xD;&#xA;&#xD;&#xA;I am looking mainly at recording single male and female vocals and acoustic guitar, mainly folk/rock/jazz in style. &#xD;&#xA;&#xD;&#xA;**My other gear (and studio):**&#xD;&#xA;&#xD;&#xA; - **A to D:** MOTU 8pre and Traveller&#xD;&#xA; - **Outboard:** I don't compress or treat the sound going down, just straight into the Moto units. I have a DBX tube preamp but I dont use it that much. I would use plugins for my reverb etc.&#xD;&#xA;&#xD;&#xA; - **DAW:** Cubase sx3&#xD;&#xA;&#xD;&#xA; - **PC:** .. windows xp sp1 ... a bit out of date.&#xD;&#xA;&#xD;&#xA; - **Mics:** Other than the B1, a good few dynamics, 57/beta58's, a pair of cheap drum overheads ( tbone )&#xD;&#xA;&#xD;&#xA; - **Speakers:** Tannoy Reveals&#xD;&#xA;&#xD;&#xA; - **Amp:** Samson&#xD;&#xA;&#xD;&#xA; - **Studio:** single room, treated with panel bass traps ( 4 low 2 mid ) and a slot resonator. Natural diffusion via bookcases. Carpet floor though. Generally a nice room.&#xD;&#xA;&#xD;&#xA;**My own experience** I have been recording on and off ( mostly off tbh ) for about 20 years and have actually recorded and released an album before ( and gotten satisfactory results ) but for that album I borrowed a friend's 2 grand tube mic and I haven't really taken taken that much interest in getting a 'great' sound, eg I don't even remember what my friend's mic was and obviously if i'm asking this question I don't know where the lines are drawn wrt mics. I built my own studio about 4 years ago ( hasn't been used much since actually ) but I would say that the area I fell down in was the vocal mic. I dont know why I spent 1500 on pre amps and 80 on my main large diaphragm mic but seemingly I did!" ContentLicense="CC BY-SA 3.0" />
  <row Id="41821" PostHistoryTypeId="1" PostId="24365" RevisionGUID="749ee8e4-9e36-4e31-98bc-37c6f287e5eb" CreationDate="2012-10-13T14:51:57.617" UserId="7462" UserDisplayName="byronyasgur" Text="How much would I need to spend on a condenser microphone to get a reliable professional vocal sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41822" PostHistoryTypeId="3" PostId="24365" RevisionGUID="749ee8e4-9e36-4e31-98bc-37c6f287e5eb" CreationDate="2012-10-13T14:51:57.617" UserId="7462" UserDisplayName="byronyasgur" Text="&lt;microphone&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41823" PostHistoryTypeId="36" PostId="24366" RevisionGUID="e689b7eb-a9a0-4a54-81b6-837f7ba0a61a" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5005/how-much-would-i-need-to-spend-on-a-condenser-microphone-to-get-a-reliable-profe/5007#5007" />
  <row Id="41824" PostHistoryTypeId="36" PostId="24367" RevisionGUID="acc7ac78-1b81-4df0-b4d8-100e1c035fcf" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7431/connect-a-6-3mm-microphone-to-usb" />
  <row Id="41825" PostHistoryTypeId="36" PostId="24368" RevisionGUID="d6a257c5-edec-4f3b-85bd-fee9321a4da0" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7431/connect-a-6-3mm-microphone-to-usb/7432#7432" />
  <row Id="41826" PostHistoryTypeId="36" PostId="24369" RevisionGUID="f02745e2-7668-457f-a901-2461843436fd" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7431/connect-a-6-3mm-microphone-to-usb/7433#7433" />
  <row Id="41827" PostHistoryTypeId="2" PostId="24368" RevisionGUID="952b0b28-58c0-4ff9-b865-e1686a2d7e89" CreationDate="2013-03-20T02:06:15.320" UserId="7174" Text="As far as 1/8 inch inputs go.  There is no particular reason a cheap USB interface should be any different from the one built in to your system.  In many cases, the built in one may even be better.  There may be a boost option available in your recording device settings that will let you amplify the sound further.  I unfortunately do not have an XP machine hanging around anymore to give more detailed instructions however." ContentLicense="CC BY-SA 3.0" />
  <row Id="41828" PostHistoryTypeId="2" PostId="24369" RevisionGUID="ad2b2a2f-f42b-438a-8137-3a1d75bce22f" CreationDate="2013-03-20T06:47:39.950" UserId="7312" UserDisplayName="Eugene S" Text="If you intend to use the mic with your PC only (and given that you don't have a fancy audio interface with preamps), the better choice would be to use a cheap condenser mic, just like those intended for skype and those which are supplied as a part of a headset, [example][1]. The reasoning behind this is that usually the dynamic mics have a lower sensitivity and really open up only when fed to a preamp, while the condenser mics sensitivity is much higher. Adapters will not help you to resolve this problem and you have only 2 options:&#xD;&#xA;&#xD;&#xA; 1. Buy a condenser mic instead&#xD;&#xA; 2. Buy an audio interface with a preamp (or just a preamp). &#xD;&#xA;&#xD;&#xA;Since the second option is much more expensive it depends on your need in audio quality.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.co.uk/Trust-TRUST-MC-1200-PC-Microphone/dp/B000185ALA/ref=sr_1_2?s=computers&amp;ie=UTF8&amp;qid=1363761632&amp;sr=1-2" ContentLicense="CC BY-SA 3.0" />
  <row Id="41829" PostHistoryTypeId="2" PostId="24367" RevisionGUID="05b7b234-7ec2-4cd2-97a8-fa59de082807" CreationDate="2013-03-20T00:21:52.787" UserDisplayName="Gary" Text="I bought [this microphone](http://www.amazon.com/dp/B000XI6O2W/). It has a 6.3mm-to-3.5mm adapter, so I can plug it into my Windows XP computer's headphone jack.&#xD;&#xA;&#xD;&#xA;However, the volume is too low. So, I'd like to try plugging it into a USB port via an adapter, like [this one](http://www.amazon.com/dp/B001MSS6CS/). I'd like to try this because I have another USB headset that has great volume on the computer, and one of the reviews for the microphone I bought also recommended getting a USB adapter because the volume is otherwise too low without one.&#xD;&#xA;&#xD;&#xA;So, my question is, would sending the audio from the 6.3mm microphone to the 3.5mm adapter and then to the USB adapter decrease the sound quality significantly, while also increasing the volume? Is there a 6.3mm-to-USB adapter that exists and that I should buy instead?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41830" PostHistoryTypeId="1" PostId="24367" RevisionGUID="05b7b234-7ec2-4cd2-97a8-fa59de082807" CreationDate="2013-03-20T00:21:52.787" UserDisplayName="Gary" Text="Connect a 6.3mm microphone to USB" ContentLicense="CC BY-SA 3.0" />
  <row Id="41831" PostHistoryTypeId="3" PostId="24367" RevisionGUID="05b7b234-7ec2-4cd2-97a8-fa59de082807" CreationDate="2013-03-20T00:21:52.787" UserDisplayName="Gary" Text="&lt;microphone&gt;&lt;windows&gt;&lt;headphones&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41832" PostHistoryTypeId="36" PostId="24370" RevisionGUID="b9fbbdac-37c8-4897-bbd0-7ef0cef4c48f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7055/is-there-a-significant-difference-in-sound-quality-between-1-4-jacks-and-three" />
  <row Id="41833" PostHistoryTypeId="2" PostId="24371" RevisionGUID="b7220043-9430-4aec-b991-c0682e800072" CreationDate="2013-02-05T08:49:27.460" UserDisplayName="Fred42vid" Text="The 3-pin XLR connector has two advantages over a 1/4&quot; connector.&#xD;&#xA;&#xD;&#xA; 1. It provides [balanced audio][1], which means that the cable is protected against electrical interferences from mobile phones or other devices. The longer the cable the more this can be an issue, if you don't use XLR cables.&#xD;&#xA; 2. A XLR cable can transport 48 V phantom power that some microphones need. Of course your mixer must be able to supply this phantom power, too, if you want to use these microphones.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Balanced_audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="41834" PostHistoryTypeId="2" PostId="24370" RevisionGUID="1243b296-a46b-45d2-a801-e24a2b3cc886" CreationDate="2013-02-05T06:49:23.843" UserId="8124" UserDisplayName="Dave M G" Text="I have a mixer that has 4 microphone channels. Each one has both a 1/4&quot; jack input, and a three pronged input (XLR). I can choose one or the other for connecting my microphone.&#xD;&#xA;&#xD;&#xA;I am about to buy cords for my microphones, and I wondered if there was any particular reason to believe that one type of input was any better or worse than the other?&#xD;&#xA;&#xD;&#xA;*(Please also note, I am not an audio engineer or experienced in audio production, so an answer with facts about &quot;ohms&quot; or &quot;impedance&quot; or other technical terms will go over my head. Please provide that information if you feel others may find it helpful, but I'm personally hoping for an answer in terms of results that a layman like me can use when choosing to purchase cables. Thanks for your understanding.)*" ContentLicense="CC BY-SA 3.0" />
  <row Id="41835" PostHistoryTypeId="1" PostId="24370" RevisionGUID="1243b296-a46b-45d2-a801-e24a2b3cc886" CreationDate="2013-02-05T06:49:23.843" UserId="8124" UserDisplayName="Dave M G" Text="Is there a significant difference in sound quality between 1/4&quot; jacks and three pronged XLR inputs for microphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41836" PostHistoryTypeId="3" PostId="24370" RevisionGUID="1243b296-a46b-45d2-a801-e24a2b3cc886" CreationDate="2013-02-05T06:49:23.843" UserId="8124" UserDisplayName="Dave M G" Text="&lt;microphone&gt;&lt;cable&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41837" PostHistoryTypeId="36" PostId="24371" RevisionGUID="5c8e4915-6ad1-4483-abda-2f3de89d1d4b" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7055/is-there-a-significant-difference-in-sound-quality-between-1-4-jacks-and-three/7056#7056" />
  <row Id="41838" PostHistoryTypeId="36" PostId="24372" RevisionGUID="1e5fc8bd-8689-4c90-9d2f-e1794c5bc23f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7055/is-there-a-significant-difference-in-sound-quality-between-1-4-jacks-and-three/7124#7124" />
  <row Id="41839" PostHistoryTypeId="2" PostId="24372" RevisionGUID="42a3fb21-8f5e-411c-9aea-644c3f7ffd0a" CreationDate="2013-02-12T22:04:03.710" UserId="7212" Text="Fred42Vid's answer is good (though the 1/4&quot; jack is probably a balanced TRS). I wanted to add something, though; on a mixer, when you have both a TRS and an XLR, they sometimes have subtly different signal paths. Specifically, the microphone input is often run through a second op-amp to boost its signal by about 20dBu before the main gain stage (controllable with the gain knob). This is because XLR typically carries relatively weak &quot;mic-level&quot; signals, while TS/TRS typically carries higher-strength &quot;line-level&quot; signal. &#xD;&#xA;&#xD;&#xA;Now, this line between &quot;mic-level&quot; and &quot;line-level&quot; is very blurry, and you may find yourself boosting a weak TRS input with the gain knob, while at the same time padding or turning down a hot condenser mic. I'm just saying that very often, mixer XLR inputs get their own preamp designed specifically to boost microphone signal to working line levels, while a TRS is assumed to already be at that level.&#xD;&#xA;&#xD;&#xA;Apart from that, the main advantage to XLR over TRS, all other things being equal, is phantom power; it is typically sent from pins 2 and 3 of the XLR input, and not from the TRS (the design of a 1/4&quot; plug generally makes sending power along it risky; there's no positive latching mechanism, and contacts for various elements of the connector can contact other portions of the plug causing shorts and other damage). Both of these jacks are used for balanced, low-impedance connections; you don't usually plug an unbalanced, high-impedance 1/4&quot; TS plug into a mixer (though some mixers, especially for home studios, can even deal with that)." ContentLicense="CC BY-SA 3.0" />
  <row Id="41840" PostHistoryTypeId="36" PostId="24373" RevisionGUID="a3a52216-3c12-4094-a289-f926a7982d4f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/14/two-microphone-setup-to-record-voice-and-acoustic-guitar" />
  <row Id="41841" PostHistoryTypeId="36" PostId="24374" RevisionGUID="e67b176d-5e99-4868-87fb-e4034ed62695" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/14/two-microphone-setup-to-record-voice-and-acoustic-guitar/19#19" />
  <row Id="41842" PostHistoryTypeId="36" PostId="24375" RevisionGUID="3b5e0bb9-4592-4f51-bb6e-6cd9afd473a6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/14/two-microphone-setup-to-record-voice-and-acoustic-guitar/492#492" />
  <row Id="41843" PostHistoryTypeId="2" PostId="24374" RevisionGUID="26bd672d-5b8f-4221-942c-a9458e2c3293" CreationDate="2010-12-07T20:39:37.993" UserDisplayName="Stuart Marsh" Text="I remember watching a Dave Weiner Riff of the week about recording acoustic guitar:&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=A_ZMChcnKck][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=A_ZMChcnKck&#xD;&#xA;&#xD;&#xA;He goes through mic choice and placement for different sounds.  &#xD;&#xA;&#xD;&#xA;Placing the mic near the sound hole gives thick sound with lots of mids and lows, whereas a placement near the middle of the neck gives all highs.&#xD;&#xA;&#xD;&#xA;Ideally you would use a mic at each position and then mix the output, giving a good harmonic range." ContentLicense="CC BY-SA 2.5" />
  <row Id="41844" PostHistoryTypeId="2" PostId="24375" RevisionGUID="46412c10-b364-4f67-9505-e8face93c739" CreationDate="2011-01-01T14:54:27.710" UserId="7045" Text="I like recording the guitar by capturing the input from a mic like an SM-57 at the soundhole as well as the pickup, if the guitar has a good pickup. That gives you a better spectrum of sounds to choose from later when mixing. Experiment with angles until you get a balanced sound, but you'll need to position the mic so the talent doesn't brush the mic when picking and strumming. For vocals, whatever mic the singer prefers close to their mouth will be fine, hopefully one that's fairly directional. &#xD;&#xA;&#xD;&#xA;You don't say if this is live or in the studio, but it shouldn't matter that much when recording vocals and guitar together. If this is a live-in-the-studio situation, try using a condenser mic to capture room sounds in addition to the above. (In a performance situation, a condenser mic would be overkill to capture crowd noise.) " ContentLicense="CC BY-SA 2.5" />
  <row Id="41845" PostHistoryTypeId="2" PostId="24376" RevisionGUID="4c253419-2d69-484d-a565-55131b813fce" CreationDate="2011-01-11T22:04:45.913" UserDisplayName="Bill Gribble" Text="Your big problem is that the guitar is going to be all up in your vocal mic and vice versa.  To minimize this: &#xD;&#xA;&#xD;&#xA; - Get the mics as close to the source as is practical.  You'd like to get the vocal mic right on the singer's mouth and the guitar mic as close to the instrument as possible (I like 12th fret usually but lower bout is also good, and a bit further from singer's mouth).  Performer technique will be your limiting factor here.&#xD;&#xA; &#xD;&#xA; - Choose mics with the right patterns.  A figure-8 on the vocal, pointed up at the mouth a bit so that the side null points to the guitar, will reject the guitar pretty well.  A tighter pattern on the vocal mic will help in any case (hypercardioid instead of cardioid)&#xD;&#xA;&#xD;&#xA; - Be careful of reflections.  Record in a relatively dead space; use spot-treatments to kill direct reflections that you can see&#xD;&#xA;&#xD;&#xA; - Watch for phase cancellation problems, especially if you can't get the mics close to the sources (remember the 3:1 rule)&#xD;&#xA;&#xD;&#xA;OR, quit fighting to separate your sources, you will just be frustrated anyway.  Record with an MS stereo setup, carefully positioned to balance guitar and vocal the way you want it. Get a good-sounding room, take your time setting up, and hit record.  Done and done.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41846" PostHistoryTypeId="2" PostId="24373" RevisionGUID="41e57403-f34c-4a9d-8799-7b3e68146201" CreationDate="2010-12-07T20:33:53.223" UserDisplayName="brian_d" Text="what are some good microphone setups for recording a single singer/guitar player with two microphones? Position, types, levels, etc. Thanks!&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 2.5" />
  <row Id="41847" PostHistoryTypeId="1" PostId="24373" RevisionGUID="41e57403-f34c-4a9d-8799-7b3e68146201" CreationDate="2010-12-07T20:33:53.223" UserDisplayName="brian_d" Text="Two microphone setup to record voice and acoustic guitar" ContentLicense="CC BY-SA 2.5" />
  <row Id="41848" PostHistoryTypeId="3" PostId="24373" RevisionGUID="41e57403-f34c-4a9d-8799-7b3e68146201" CreationDate="2010-12-07T20:33:53.223" UserDisplayName="brian_d" Text="&lt;microphone&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41849" PostHistoryTypeId="36" PostId="24376" RevisionGUID="120cc909-5696-44fd-98cc-53338c18720f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/14/two-microphone-setup-to-record-voice-and-acoustic-guitar/566#566" />
  <row Id="41850" PostHistoryTypeId="36" PostId="24377" RevisionGUID="f3c00d71-f25e-40ed-8b3a-edfeef8bfbf3" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/14/two-microphone-setup-to-record-voice-and-acoustic-guitar/5169#5169" />
  <row Id="41851" PostHistoryTypeId="2" PostId="24377" RevisionGUID="9e5971ae-b7db-4586-bf09-a4536403a4ee" CreationDate="2012-10-26T20:06:40.473" UserId="6957" Text="A couple more possibilities...&#xD;&#xA;&#xD;&#xA;You can make use of a microphone's polar pattern here.  Of course they all have their dead spots, and depending on what's comfortable, you could probably use a few different ones to accomplish your goal.  Cardioid and Figure 8 come to mind.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![Figure8 Polar Pattern][1]![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&lt;sub&gt;[source](http://en.wikipedia.org/wiki/Microphone)&lt;/sub&gt;&#xD;&#xA;&#xD;&#xA;Imagine using two mics, both with a figure 8 polar pattern.&#xD;&#xA;If you oriented the vocal mic such that the guitar was at 90 or 270, you would get quite a bit of isolation.  Likewise with the guitar mic.&#xD;&#xA;&#xD;&#xA;Yet another possibility is to put a baffle of some kind between the vocal mic and the guitar mic.&#xD;&#xA;&#xD;&#xA;![baffle setup][3]&#xD;&#xA;&lt;sub&gt;[source](http://www.diyzguy.com/acoustic-isolation-keeping-acoustic-guitars-out-of-vocal-tracks/)&lt;/sub&gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/JeNNz.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/EKb03.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/SrDGf.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="41852" PostHistoryTypeId="36" PostId="24378" RevisionGUID="64271107-49ef-4ac6-ada8-145c5868d5bf" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1975/interview-microphone-for-sony-handycam-hdr-cx500e" />
  <row Id="41853" PostHistoryTypeId="2" PostId="24379" RevisionGUID="b401669d-0758-4a3b-9a30-0e114c7df369" CreationDate="2011-07-29T15:01:07.770" UserDisplayName="Bryce Alan Flurie" Text="Since you don't have a proper audio input, I'd go with a separate audio recorder. Tons of options... it all comes down to budget. If you get one with usable built in mics, you could place it close to the talent for recording. Best bet is a mic run into the recorder though." ContentLicense="CC BY-SA 3.0" />
  <row Id="41854" PostHistoryTypeId="2" PostId="24378" RevisionGUID="2b7cf1d2-3512-4a53-bd54-e043f9e787ef" CreationDate="2011-07-29T11:01:43.313" UserDisplayName="LKM" Text="We're recording interviews in a reasonably quiet room using a Sony HDR-CX500E. While the picture quality is acceptable, the audio quality isn't. We're using Sony's own shotgun microphone, but it's picking up a lot of background noise, and the voices sound thin.&#xD;&#xA;&#xD;&#xA;Unfortunately, this camera doesn't have a 3.5mm microphone jack, only Sony's proprietary shoe (Advanced Interface Shoe, or AIS). As far as I can tell, only Sony makes microphones for this, and it only makes small shotgun-like microphones.&#xD;&#xA;&#xD;&#xA;What options should I look at? Did I miss a good microphone that works with AIS and the HDR-CX500E? Or is it my best option to record audio separately, maybe with a USB microphone, and synchronize it with the video afterwards?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41855" PostHistoryTypeId="1" PostId="24378" RevisionGUID="2b7cf1d2-3512-4a53-bd54-e043f9e787ef" CreationDate="2011-07-29T11:01:43.313" UserDisplayName="LKM" Text="Interview Microphone for Sony Handycam HDR-CX500E" ContentLicense="CC BY-SA 3.0" />
  <row Id="41856" PostHistoryTypeId="3" PostId="24378" RevisionGUID="2b7cf1d2-3512-4a53-bd54-e043f9e787ef" CreationDate="2011-07-29T11:01:43.313" UserDisplayName="LKM" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41857" PostHistoryTypeId="36" PostId="24379" RevisionGUID="bc0eceb0-5ef9-4cce-9d50-1e9690123b0e" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1975/interview-microphone-for-sony-handycam-hdr-cx500e/1977#1977" />
  <row Id="41858" PostHistoryTypeId="36" PostId="24380" RevisionGUID="ab409d4a-fdca-4ae3-ab64-bebeb6ba906c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/571/setting-up-a-home-vocal-booth" />
  <row Id="41859" PostHistoryTypeId="2" PostId="24381" RevisionGUID="753239b2-fc0f-48df-adde-f27064fb3433" CreationDate="2011-01-12T14:18:30.390" UserDisplayName="david.mchonechase" Text="I just recorded some vocals in a similar sized room this past weekend. One trick I found online was to take extra boom mic stands and some sheets or blankets. Use those to create &quot;walls&quot; around the vocalist, especially behind them (where the mic will be pointing). Make sure the blanket wall is taller than the vocalist. &#xD;&#xA;&#xD;&#xA;I've also found it helpful to simply have lots of stuff elsewhere in the room - pillows, cushions, shoe boxes, etc. (Assuming they don't rattle or make some other noise :). That's especially true in the corners and along the wall. " ContentLicense="CC BY-SA 2.5" />
  <row Id="41860" PostHistoryTypeId="2" PostId="24380" RevisionGUID="9ec5c036-8dcc-421d-bd57-9112bb76005c" CreationDate="2011-01-12T13:10:41.363" UserDisplayName="steevc" Text="I'm looking at recording some vocals and looking for tips on how to get good results on a budget.&#xD;&#xA;&#xD;&#xA;My set-up is based around a Zoom H4 on a tripod with a pop filter. As this is hooked up to the PC I can't move it very far.&#xD;&#xA;&#xD;&#xA;The room is 3x5m. As it's a home office/study used by the whole family there is not much scope for sound treatments on the room as a whole, but I've see talk of using cushions etc around the mic to reduce the effect of the room. I'd consider something like that as long is it can be easily set up when it is needed.&#xD;&#xA;&#xD;&#xA;Suggestions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41861" PostHistoryTypeId="1" PostId="24380" RevisionGUID="9ec5c036-8dcc-421d-bd57-9112bb76005c" CreationDate="2011-01-12T13:10:41.363" UserDisplayName="steevc" Text="Setting up a home 'vocal booth'" ContentLicense="CC BY-SA 2.5" />
  <row Id="41862" PostHistoryTypeId="3" PostId="24380" RevisionGUID="9ec5c036-8dcc-421d-bd57-9112bb76005c" CreationDate="2011-01-12T13:10:41.363" UserDisplayName="steevc" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41863" PostHistoryTypeId="36" PostId="24381" RevisionGUID="462a79de-116e-4166-86ea-3f785c5ec256" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/571/setting-up-a-home-vocal-booth/572#572" />
  <row Id="41864" PostHistoryTypeId="36" PostId="24382" RevisionGUID="097efcba-87df-4e06-b69a-c08cd81066f6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/571/setting-up-a-home-vocal-booth/934#934" />
  <row Id="41865" PostHistoryTypeId="2" PostId="24382" RevisionGUID="78bfab89-367b-4015-8826-c5b53f5f64bb" CreationDate="2011-02-27T19:45:37.087" UserId="4012" Text="DIY: Portable Mini Vocal Booth -&#xD;&#xA;http://www.instructables.com/id/Portable-Mini-Vocal-Booth/" ContentLicense="CC BY-SA 2.5" />
  <row Id="41866" PostHistoryTypeId="36" PostId="24383" RevisionGUID="21c87ea9-8137-4d6f-b334-1719b1219721" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2373/what-causes-proximity-effect" />
  <row Id="41867" PostHistoryTypeId="36" PostId="24384" RevisionGUID="4215e6cc-b190-4f7f-b61c-629d5b455823" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2373/what-causes-proximity-effect/2374#2374" />
  <row Id="41868" PostHistoryTypeId="2" PostId="24384" RevisionGUID="a1588a30-74b1-4133-817d-bd52c9bcef50" CreationDate="2011-09-24T07:35:03.127" UserDisplayName="kima" Text="I don't think it's limited to condenser mics; it applies to pressure-gradient mics in general. I think it has to do with the fact that the membrane has a different frequency response in the near and in the far field. Most of the time the proximity effect is very helpful actually. " ContentLicense="CC BY-SA 3.0" />
  <row Id="41869" PostHistoryTypeId="2" PostId="24385" RevisionGUID="248eb9fa-2a5e-493b-a4ca-9fb0a0ff66ea" CreationDate="2012-01-17T21:46:30.320" UserDisplayName="Andy G" Text="Directional mics (eg cardioids) work by allowing sound to reach the rear of the diaphragm as well as the front. Because the sound wave travels further to reach the rear of the diaphragm it is delayed and so is out of phase with the wave at the front of the diaphragm. This phase difference causes a pressure difference because the two waves, one front and one rear, are not at the same amplitude at the same time. The diaphragm moves due to the pressure difference caused by the out of phase waves at it's front and rear. &#xD;&#xA;&#xD;&#xA;HOWEVER, because the distance from front to rear of the diaphragm is fixed the phase delay varies with frequency. Low frequencies have long wavelengths, therefore the relatively short distance from the front to the rear of the diaphragm is a small fraction of the wavelength and thus the phase difference is small. Small phase difference = small pressure difference = less output. High frequencies have much shorter wavelengths therefore the distance to the rear of the diaphragm is a much greater fraction of the wavelength and the phase difference is much greater. Bigger phase difference = bigger pressure difference = more output. The sensitivity due to phase difference rises by 6dB per octave as the frequency rises. This is the 'pressure gradient' refered to. To compensate the diaphragm is damped to roll it's frequency response off by 6dB per octave. Result: Flat(ish!) frequency response. &#xD;&#xA;&#xD;&#xA;BUT, the sound pressure level falls off as the distance from the source increases. Doubling the distance reduces the sound pressure to approximately 1/4 of its value. Remember the sound has to go an extra distance to the rear of the diaphragm. It loses pressure level simply due to the extra distance travelled. THis effect is not frequency dependant. The closer the mic is to the sound source the more pressure is lost in the extra distance between front and back of the diaphragm because the sound pressure level is greater the closer the mic gets to the source. The mic also reacts to the difference in pressure due to the loss of pressure to the wave at the rear of the diaphragm as a result of the extra distance it has travelled. &#xD;&#xA;&#xD;&#xA;So we have two components causing pressure difference at the mic diaphragm. 1) The pressure difference due to phase difference due to the extra distance travelled by the rear wave  (pressure gradient component) and 2) the pressure difference due solely to the extra distance travelled by the rear wave (Pressure component). The phase pressure difference is frequency dependant. The distance pressure difference is not, BUT remember, the response of the diaphragm is reduced (damped) by 6dB per octave as the frequency increases to compensate for the frequency dependant effect of the phase difference. This is fine as long as the phase difference component of the sound is dominant. At close proximities the pressure difference due to the extra distance to the rear becomes dominant. Because the diaphragm is damped at 6dB per octave as the frequency rises the higher frequencies are attenuated more the closer the mic is to the sound source. Attenuating the higher frequencies obviously accentuates the lower bass frequencies, therefore the bass response rises as the source gets nearer. In practice the pressure component only really dominates the pressure gradient component at very close distances to the source. Hence, the proximity effect, or 'bass tip up'   " ContentLicense="CC BY-SA 3.0" />
  <row Id="41870" PostHistoryTypeId="2" PostId="24383" RevisionGUID="94622be6-8785-4951-b095-3250595ff7b1" CreationDate="2011-09-23T21:04:21.570" UserId="7209" Text="What is the source of proximity effect... the boost in lower frequencies as a vocalist gets close to a condenser mic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41871" PostHistoryTypeId="1" PostId="24383" RevisionGUID="94622be6-8785-4951-b095-3250595ff7b1" CreationDate="2011-09-23T21:04:21.570" UserId="7209" Text="What causes proximity effect?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41872" PostHistoryTypeId="3" PostId="24383" RevisionGUID="94622be6-8785-4951-b095-3250595ff7b1" CreationDate="2011-09-23T21:04:21.570" UserId="7209" Text="&lt;microphone&gt;&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41873" PostHistoryTypeId="36" PostId="24385" RevisionGUID="5bf2480f-e63b-4347-9c1e-5c16edddbd20" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2373/what-causes-proximity-effect/3066#3066" />
  <row Id="41874" PostHistoryTypeId="36" PostId="24386" RevisionGUID="1df53602-3058-4112-bfb6-8a49c4d948aa" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2099/what-is-a-good-cardioid-mic-for-video" />
  <row Id="41875" PostHistoryTypeId="2" PostId="24387" RevisionGUID="3bf37fad-af93-4ebd-94d6-b011b942264d" CreationDate="2011-08-18T06:56:11.453" UserDisplayName="Chard" Text="[Option 1][1]: Rode Videomic (with booming kit) $169. Basic, very cheap, will do the job for an amateur project. Connects to DSLR with the 1/8&quot; cable.&#xD;&#xA;&#xD;&#xA;[Option 2][2]: Azden SGM-1X $150. Basic mic once again. Apparently performs better than the video mic. XLR output. Boom not included.&#xD;&#xA;&#xD;&#xA;[Option 3][3]: Audio-Technica AT897 $260. Shotgun polar patter (very directional). XLR output with 1/8&quot; connector. Boom not included.&#xD;&#xA;&#xD;&#xA;You can read up on all the specs if you follow those links. You can find many tests of these products online, just search for it in google. &#xD;&#xA;&#xD;&#xA;How you use the microphone is more important than the type of microphone. A professional with the cheapest mic will record better audio then an amateur with the best mic. It'd definitely be worth your while to research booming techniques. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/757227-REG/Rode_VideoMic_Booming_Kit.html&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/product/238826-REG/Azden_SGM_1X_SGM_1X_Shotgun_Mic.html&#xD;&#xA;  [3]: http://www.bhphotovideo.com/c/product/481529-REG/Audio_Technica_AT897_Shotgun_Microphone.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="41876" PostHistoryTypeId="2" PostId="24386" RevisionGUID="fa0587a0-6a48-4268-81a0-6efb9afdcab1" CreationDate="2011-08-12T21:24:33.263" UserDisplayName="daviesgeek" Text="I am going to be recording audio-for-video on the field and I am trying to figure out what type of mic to use. We are also on an extremely tight budget, so I am looking for something under $200. I think we also need a mic fish pole, so I need one that will mount on a fish pole. Any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41877" PostHistoryTypeId="1" PostId="24386" RevisionGUID="fa0587a0-6a48-4268-81a0-6efb9afdcab1" CreationDate="2011-08-12T21:24:33.263" UserDisplayName="daviesgeek" Text="What is a good cardioid mic for video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41878" PostHistoryTypeId="3" PostId="24386" RevisionGUID="fa0587a0-6a48-4268-81a0-6efb9afdcab1" CreationDate="2011-08-12T21:24:33.263" UserDisplayName="daviesgeek" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41879" PostHistoryTypeId="36" PostId="24387" RevisionGUID="e6f12081-a937-4a89-b6e9-06a337572c4f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2099/what-is-a-good-cardioid-mic-for-video/2157#2157" />
  <row Id="41880" PostHistoryTypeId="36" PostId="24388" RevisionGUID="76dd9d20-fbdb-45c4-8087-7508519a3430" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2099/what-is-a-good-cardioid-mic-for-video/2160#2160" />
  <row Id="41881" PostHistoryTypeId="2" PostId="24388" RevisionGUID="d3351820-bf30-4888-ae94-49b1dd0fbfdb" CreationDate="2011-08-18T13:14:22.660" UserDisplayName="Bryce Alan Flurie" Text="I would agree with the AT897. I used one of those for a couple years before I upgraded to a Senny ME66. I'd recommend checking on eBay. Mics are a great thing to buy used. You can get much more mic for your money buying used." ContentLicense="CC BY-SA 3.0" />
  <row Id="41882" PostHistoryTypeId="36" PostId="24389" RevisionGUID="9e7cafcc-33cd-43d5-ba35-b1b71da4ecac" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/15/all-round-vocal-mic" />
  <row Id="41883" PostHistoryTypeId="36" PostId="24390" RevisionGUID="7ec1cfd5-9090-430f-addd-d97f33eb3531" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/15/all-round-vocal-mic/29#29" />
  <row Id="41884" PostHistoryTypeId="36" PostId="24391" RevisionGUID="d5abcaf3-47d6-4060-91cb-04900b222dc6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/15/all-round-vocal-mic/39#39" />
  <row Id="41885" PostHistoryTypeId="36" PostId="24392" RevisionGUID="84159baa-a361-4d5d-9045-ebb50c623c4a" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/15/all-round-vocal-mic/42#42" />
  <row Id="41886" PostHistoryTypeId="36" PostId="24393" RevisionGUID="ce3105e1-73b9-42f7-8c94-b7e961e120ed" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/15/all-round-vocal-mic/49#49" />
  <row Id="41887" PostHistoryTypeId="2" PostId="24390" RevisionGUID="b10fc5d3-e316-4442-8020-dbcddb218eb5" CreationDate="2010-12-07T20:56:34.763" UserId="8336" UserDisplayName="Sklivvz" Text="A part from the classic SM-58, I've had joys with SM-57 and Beta 58. These are all similar, the Beta being the clearest of the lot. These are fine both live and in studio.&#xD;&#xA;&#xD;&#xA;Another option is using cheap condenser microphones (I've used the AKG C1000 for instruments and AKG C3000 for voice) which are within your budget and decent for the price. These would be for studio." ContentLicense="CC BY-SA 2.5" />
  <row Id="41888" PostHistoryTypeId="2" PostId="24391" RevisionGUID="dce03b0c-712c-4f21-ab60-40c7e1c6a262" CreationDate="2010-12-07T21:05:59.480" UserDisplayName="Skilldrick" Text="For live vocals, I don't think the SM58 can be beat. One of the best (and under-rated) features of it is its durability - it's not going to get damaged easily, even if it's being thrown around the stage by a maniac lead singer." ContentLicense="CC BY-SA 2.5" />
  <row Id="41889" PostHistoryTypeId="2" PostId="24392" RevisionGUID="f7e1f87f-c6a8-4efe-b99b-088d91e009b0" CreationDate="2010-12-07T21:09:01.837" UserDisplayName="jan" Text="My 2 cents:  &#xD;&#xA;I use [Audix OM5][1] mics for the backing vocals: good rejection of the drum cymbals on a small stage.  &#xD;&#xA;(if it's a really noisy stage, OM7 is even better at it, but more expensive).  &#xD;&#xA;Don't expect the clarity, presence &amp; fidelity of a [KMS105][2]: the Audix is a ROCK mic.&#xD;&#xA;&#xD;&#xA;If you don't know what's coming: SM58Beta can't be beat as an allrounder.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audixusa.com/docs/products/OM5.shtml&#xD;&#xA;  [2]: http://www.neumann.com/?lang=en&amp;id=current_microphones&amp;cid=kms105_description" ContentLicense="CC BY-SA 2.5" />
  <row Id="41890" PostHistoryTypeId="2" PostId="24393" RevisionGUID="31e14dfb-1c99-4aa2-bae1-385dca208555" CreationDate="2010-12-07T21:17:40.877" UserId="8064" UserDisplayName="Rich Bruchal" Text="As always, mic selection is somewhat subjective, but I've had good experiences with the Sennheiser e Series. You might want to take a look at the e935 &amp; e945 (dynamic) &amp; e865 (condenser) - they would seem to fit your budget. I found them a step up from the 57 &amp; 58 in sound quality. Probably not quite as durable (what is, really?) but they're not fragile either." ContentLicense="CC BY-SA 2.5" />
  <row Id="41891" PostHistoryTypeId="2" PostId="24389" RevisionGUID="7f5b16e7-056b-4d8b-b874-ab90869b634b" CreationDate="2010-12-07T20:35:01.957" UserId="13188" UserDisplayName="Mark Henderson" Text="What should I be looking for when purchasing a good all-rounder vocal mic?&#xD;&#xA;&#xD;&#xA;We've dealt in Shure SM58's for years. Are there other alternatives? What qualities should I be looking for when shopping around?&#xD;&#xA;&#xD;&#xA;It's for a medium-budget setup. I would say $200 per microphone would be acceptable. Being used for live vocals in soft rock/pop." ContentLicense="CC BY-SA 2.5" />
  <row Id="41892" PostHistoryTypeId="1" PostId="24389" RevisionGUID="7f5b16e7-056b-4d8b-b874-ab90869b634b" CreationDate="2010-12-07T20:35:01.957" UserId="13188" UserDisplayName="Mark Henderson" Text="All-round vocal mic" ContentLicense="CC BY-SA 2.5" />
  <row Id="41893" PostHistoryTypeId="3" PostId="24389" RevisionGUID="7f5b16e7-056b-4d8b-b874-ab90869b634b" CreationDate="2010-12-07T20:35:01.957" UserId="13188" UserDisplayName="Mark Henderson" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41894" PostHistoryTypeId="36" PostId="24394" RevisionGUID="d47b54c5-c6e4-4446-b0a8-cd3d295c8318" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7059/is-there-a-low-cost-microphone-that-can-record-an-audience" />
  <row Id="41895" PostHistoryTypeId="36" PostId="24395" RevisionGUID="b2449eb4-6b2e-400e-90d1-bda68dc6cc3f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7059/is-there-a-low-cost-microphone-that-can-record-an-audience/7085#7085" />
  <row Id="41896" PostHistoryTypeId="36" PostId="24396" RevisionGUID="da267553-e652-483d-bd11-3b0358351a2c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7059/is-there-a-low-cost-microphone-that-can-record-an-audience/7123#7123" />
  <row Id="41897" PostHistoryTypeId="36" PostId="24397" RevisionGUID="f046db08-1288-492f-b10e-ed0f4e007c65" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7059/is-there-a-low-cost-microphone-that-can-record-an-audience/7140#7140" />
  <row Id="41898" PostHistoryTypeId="2" PostId="24395" RevisionGUID="e8fce8b8-b140-4541-9661-d30768990ead" CreationDate="2013-02-08T05:35:59.547" UserDisplayName="Benji York" Text="I have been in a similar situation when recording and broadcasting church services.&#xD;&#xA;&#xD;&#xA;I have had good results using cardioid condenser microphones.  The cardioid pickup pattern is actually a good thing if you are placing the microphones near the stage, pointing at the audience.  This is because sound coming off of the stage (the performer or monitors) will be attenuated relative to the sounds coming from the audience.&#xD;&#xA;&#xD;&#xA;If you can suspend one or more microphones above the audience, you will likely get even better results.  This is because sound energy decreases with the square of the distance it travels (the inverse square law of sound), so if you can half the distance from the sound source to the microphone you will quadruple the energy received at the mic.  In this scenario you do have to worry more about the sound from the PA being picked up by your audience mics.&#xD;&#xA;&#xD;&#xA;For suspended microphones, a cardioid pickup pattern may well work, or you may get better results from omnidirectional mics depending on the size of the venue and height of the microphones." ContentLicense="CC BY-SA 3.0" />
  <row Id="41899" PostHistoryTypeId="2" PostId="24396" RevisionGUID="f4ababfd-e9f7-4289-9e54-eb7fa01a4561" CreationDate="2013-02-12T21:36:21.567" UserId="7212" Text="The &quot;audience mic&quot; is a common channel on the mixer for a live event, especially comedy and shows with crowd interaction.&#xD;&#xA;&#xD;&#xA;You definitely want a &quot;condenser&quot; microphone, first off. Most of the mics you put on a stand for spoken word and even a lot of singing are &quot;dynamic&quot;. The difference is primarily in how the microphone's diaphragm turns vibrations into sound, and the short of it is that condensers are more sensitive to minute vibrations, which is desirable in a wide array of situations, but they require a power source in order to produce their signal (this is typically provided along the signal wires themselves by the mixing board, which is called &quot;phantom power&quot;). They're also more expensive; you can get an excellent dynamic microphone between $100 and $200, while the really nice condensers (relatively speaking) can top $1000. You don't need that kind of mic for what you're doing; the best I'd bother with for an audience mic is a $500 AT4050 multi-pattern (and only because the mic would be versatile enough that I'd have it sitting around in my mic trunk to use for any gig that got up on stage).&#xD;&#xA;&#xD;&#xA;Second, the pickup pattern of the microphone is important. There are two patterns you can consider for an audience mic; a &quot;cardioid&quot; pattern or an &quot;omni&quot; pattern (that AT4050 I mentioned allows you to choose either one). There are also &quot;figure 8&quot; and &quot;supercardioid&quot; patterns; they're more suited to specific situations, and not a great fit for yours (though if you got a figure-8 and a cardioid you could experiment with a mid-side configuration; that's probably more than you need). &#xD;&#xA;&#xD;&#xA;A cardioid mic is pretty simple; it's most sensitive to a sound source that it's pointed directly at, and it's least sensitive to a sound source directly behind it, with all other possible directions around the grill of the mic generally falling into a gradient between the two. On the plus side, a cardioid can be aimed away from any speaker cabinets on-stage, placing them in the mic's deaf spot, and so it will reject bleed-over and feedback from them. The downside is that all &quot;directional&quot; mics including cardioids are subject to the &quot;proximity effect&quot;; the closer a source is to the microphone, the bassier the sound gets, and the reverse is true as you back away. This may require you to find your EQ balance for the crowd mic while the show is underway, depending on who's sitting close to the audience mic and how loud they're laughing or shouting.&#xD;&#xA;&#xD;&#xA;An omnidirectional microphone is even simpler; at every point around it, no matter how it's positioned, it's equally sensitive to sound. This means that an omni is pretty hard to point in the wrong place; you just put it somewhere and it will do its job. Omnis also have no proximity effect; someone closer to the mic will sound louder, but not bassier. The downside is that because it has no &quot;deaf spot&quot; in its pattern, you have to be careful where you put an omni in the room; an omni too close to a speaker will bleed over, feed back, etc. Now, you aren't going to want to route any of the audience mic's signal to the mains, so feedback shouldn't be an issue; it should only go into your recording feed (usually either a matrix or a pair of auxes), but you still have to control bleedover because it can induce a delay effect into your recording mix (you'll be recording the comedian through his mic, through the audience mic, *and* through his mic, out the speakers and into the audience mic, all at slightly different times). &#xD;&#xA;&#xD;&#xA;Usually, isolation of an omni is done simply by keeping its gain low; with the signal level low, bleed-over will be low. Audience laughter is usually loud enough that you don't want a lot of gain on the audience mic anyway. You will have trouble hearing one guy in a crowd shout out something to the guy on stage; even the best setups don't close-mic everybody in the audience. It's generally considered an acceptable tradeoff, given that what the audience mic normally gives you is the laugh track to the routine, which is a cue to the listener that they should be laughing as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="41900" PostHistoryTypeId="2" PostId="24397" RevisionGUID="314a75c3-9363-43f5-845e-ae2c86a576c7" CreationDate="2013-02-13T23:39:22.957" UserDisplayName="user3628" Text="Definitely use a powered condenser microphone.  Most run on +48V &quot;Phantom Power&quot; supplied by the mixing board.  A powered mic like this, with an omnidirectional pickup pattern will pick up a mosquito farting in the back of the room.&#xD;&#xA;&#xD;&#xA;You can then filter out the unwanted portion of noise at mixdown with eq or compression.&#xD;&#xA;Try using your main vocal mic to trigger a compressor that lowers the volume of the audience when you are talking. (google &quot;sidechain compressor&quot;) This will lower their volume just when words are coming out of your mouth, but in between your words, their volume can be as loud as you want it to be. They call this technique &quot;ducking&quot; because the audience track volume will duck down out of the way when you are talking. " ContentLicense="CC BY-SA 3.0" />
  <row Id="41901" PostHistoryTypeId="2" PostId="24394" RevisionGUID="8d054c96-e0b8-4281-b89d-a3b536b783a5" CreationDate="2013-02-05T16:14:42.553" UserId="8124" UserDisplayName="Dave M G" Text="I'm a newbie to audio recordings, but one thing I have learned is that most microphones that I come across are designed to record a small area close to them. I think the term is &quot;cardioid&quot;.&#xD;&#xA;&#xD;&#xA;What I want to do is record an audience, in various sizes of rooms from about 50 to 100 people, during a standup performance. I've discovered that if you take a regular microphone, the kind singers and standups use, and just turn it and point it at the audience, it doesn't seem to capture the whole room. The audience is distant and quiet. Also, sometimes people will say stuff to the comedian, but it won't get picked up, because they're out of the range of the mike.&#xD;&#xA;&#xD;&#xA;I need to be somewhat portable, and also not spend a mint, so I'm hoping there's a particular type of microphone suited for catching an audience, as opposed to needing a whole array of mikes or something. Ideally a single microphone that can be positioned somewhere on the stage and directed at the audience. Maybe it's not that simple, I don't know.&#xD;&#xA;&#xD;&#xA;What is the best way to record an audience independently from the performance?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41902" PostHistoryTypeId="1" PostId="24394" RevisionGUID="8d054c96-e0b8-4281-b89d-a3b536b783a5" CreationDate="2013-02-05T16:14:42.553" UserId="8124" UserDisplayName="Dave M G" Text="Is there a low cost microphone that can record an audience?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41903" PostHistoryTypeId="3" PostId="24394" RevisionGUID="8d054c96-e0b8-4281-b89d-a3b536b783a5" CreationDate="2013-02-05T16:14:42.553" UserId="8124" UserDisplayName="Dave M G" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41904" PostHistoryTypeId="36" PostId="24398" RevisionGUID="9dfbba01-a9b5-4004-9483-ce70002e3470" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/473/how-to-amplify-mans-voice-in-a-noisy-recording" />
  <row Id="41905" PostHistoryTypeId="36" PostId="24399" RevisionGUID="032039c4-ff92-4172-b3ea-7e704281911c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/473/how-to-amplify-mans-voice-in-a-noisy-recording/474#474" />
  <row Id="41906" PostHistoryTypeId="36" PostId="24400" RevisionGUID="a7616ea5-1fd1-4128-b4a8-40cd980efb64" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/473/how-to-amplify-mans-voice-in-a-noisy-recording/479#479" />
  <row Id="41907" PostHistoryTypeId="36" PostId="24401" RevisionGUID="80a8805a-598f-4e8e-a9ec-cdbfbe137db7" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/473/how-to-amplify-mans-voice-in-a-noisy-recording/481#481" />
  <row Id="41908" PostHistoryTypeId="36" PostId="24402" RevisionGUID="528c5b0b-c51c-4c88-abb8-8bf431288e5c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/473/how-to-amplify-mans-voice-in-a-noisy-recording/491#491" />
  <row Id="41909" PostHistoryTypeId="36" PostId="24403" RevisionGUID="3fbb9946-c9fb-4dd3-a091-8c2cc6162a20" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/473/how-to-amplify-mans-voice-in-a-noisy-recording/529#529" />
  <row Id="41910" PostHistoryTypeId="2" PostId="24399" RevisionGUID="0b5301db-f87d-4f13-806a-a629a9366d7e" CreationDate="2010-12-29T20:38:31.173" UserDisplayName="mtrw" Text="_(I submitted this answer to the SO version of this question, I assume one or the other will be closed, not trying to pad rep or anything)_&#xD;&#xA;&#xD;&#xA;You might look into the [LMS algorithm][1] by Widrow and Hoff. You could apply it to each of your mixed recordings, using man.wav as the desired reference and woman.wav as the disturbance signal. There's also a way to use it for directional antenna arrays, here's an [overview][2].&#xD;&#xA;&#xD;&#xA;Also, look into the Filtered-X LMS algorithm. If I recall correctly (which is a big if) it provides better performance in the case of relatively narrowband references, which probably includes voices.&#xD;&#xA;&#xD;&#xA;If you don't get to use man.wav and woman.wav, the keywords to look into are blind source separation and higher order statistics.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Least_mean_squares_filter&#xD;&#xA;  [2]: http://www.antenna-theory.com/arrays/weights/lms.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="41911" PostHistoryTypeId="2" PostId="24400" RevisionGUID="930b5ff2-fb1b-4e54-91db-00b8a6c579b5" CreationDate="2010-12-30T15:43:56.763" UserId="7202" Text="Why from the 5 recordings? Why not start with the personal microphones of the speakers? &#xD;&#xA;&#xD;&#xA;That is going to be **way** easier. Then you can mix in the other 5 for background noise or raise the volume of these when somebody in the audience is saying something." ContentLicense="CC BY-SA 2.5" />
  <row Id="41912" PostHistoryTypeId="2" PostId="24401" RevisionGUID="db576be1-5fa6-4b44-b83f-b1e8085afcc4" CreationDate="2010-12-30T17:37:36.310" UserId="90" Text="The &quot;[cocktail party problem][1]&quot; is actually a famous example in signal processing, and there are several different [Blind signal separation][3] or [Source separation][4] algorithms to solve it in different conditions.  Are you doing this for homework in such a class?  I've got an [example of one on my website][2], but this statistical method (ICA) wouldn't work well for you because sound doesn't travel instantaneously.&#xD;&#xA;&#xD;&#xA;I don't know if there are any more end-user solutions, like DAW plug-ins that do stuff like this, but it's at least theoretically possible.&#xD;&#xA;&#xD;&#xA;If this is a one-off, you might be able to do this manually.  Try just putting the man and woman on separate tracks and inverting the signal of the woman, then shift the position of the recordings relative to each other (delay of sound is 1 ms per foot) until the two copies of her voice are perfectly in sync (maybe you can see peaks in the waveform display).  Then lower the gain of the woman recording until it perfectly cancels out with the part in the man recording.  Then you could add all the other recordings and do the same thing with them to make it better.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Cocktail_party_effect&#xD;&#xA;  [2]: http://www.endolith.com/wordpress/2009/11/22/a-simple-fastica-example/&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Blind_signal_separation&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Source_separation" ContentLicense="CC BY-SA 2.5" />
  <row Id="41913" PostHistoryTypeId="2" PostId="24402" RevisionGUID="95b980f6-1e0b-4bf9-8ac6-6eca6eb1262f" CreationDate="2011-01-01T13:35:52.210" UserDisplayName="gnibbler" Text="If you have precise coordinates of each of the microphones, you may be able to reinforce the mans voice by calculating the time the sound travels to each of the microphones, and applying delays to the various sound tracks.&#xD;&#xA;&#xD;&#xA;I would first try combining the signal from the man's microphone and the other 5 microphones&#xD;&#xA;&#xD;&#xA;Now do the same for the woman's microphone and see if it improves further if you subtract some of that signal from the other sound tracks." ContentLicense="CC BY-SA 2.5" />
  <row Id="41914" PostHistoryTypeId="2" PostId="24403" RevisionGUID="4b4700aa-b715-4f78-88b8-4d5e5f1bacfe" CreationDate="2011-01-06T21:04:49.137" UserDisplayName="Herschel" Text="Not being educated in sound recording I would have to answer this problem in a practical manner and from my real world experience.&#xD;&#xA;&#xD;&#xA;If you have a mic on subject A/B and 5 other mics in the room, as a practical means you would want to create a sync sound that you could then take all 7 independent recordings and sync them up in a multi-track editor such as ProTools or Sonar.&#xD;&#xA;&#xD;&#xA;I do a lot of video with music shooting and find that you have to have a classic clapper sound or snare drum hit to sync the waveforms. In the video world there is this great plug-in call Plural-Eyes that do the leg-work.&#xD;&#xA;&#xD;&#xA;It's not so hard once you sync up all seven recordings in ProTools to mix them correctly.&#xD;&#xA;&#xD;&#xA;Now, if this is a theoretical exercise, smarter people than I have supplied answers. ;-)&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41915" PostHistoryTypeId="2" PostId="24398" RevisionGUID="5d95ea1b-31db-4ba7-a428-e9bdce0e6f17" CreationDate="2010-12-29T18:52:24.650" UserDisplayName="genesiss" Text="There is a party and as usual people are grouped. We have 2 groups - in first there is a woman who is telling a story at the moment. In second, there is a man, telling interesting anecdote. We have 7 microphones in the room:&#xD;&#xA;&#xD;&#xA; - one is attached to mans head&#xD;&#xA; - one is attached to womans head&#xD;&#xA; - five are placed around the room&#xD;&#xA;&#xD;&#xA;So - I've got 7 recordings:&#xD;&#xA;&#xD;&#xA;- man.wav (a man telling his anecdote)&#xD;&#xA;- woman.wav (a woman telling her story)&#xD;&#xA;- 5 recordings, where voices of two storytellers are mixed&#xD;&#xA;&#xD;&#xA;I want to generate a signal from 5 recordings (where voices are mixed), so that mans voice would be louder and more focused then womans.&#xD;&#xA;&#xD;&#xA;Can you give me some ideas please? How can I help myself with man.wav and woman.wav? How can these 5 recordings from different angles help me?&#xD;&#xA;&#xD;&#xA;Thank you. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41916" PostHistoryTypeId="1" PostId="24398" RevisionGUID="5d95ea1b-31db-4ba7-a428-e9bdce0e6f17" CreationDate="2010-12-29T18:52:24.650" UserDisplayName="genesiss" Text="How to amplify mans voice in a noisy recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41917" PostHistoryTypeId="3" PostId="24398" RevisionGUID="5d95ea1b-31db-4ba7-a428-e9bdce0e6f17" CreationDate="2010-12-29T18:52:24.650" UserDisplayName="genesiss" Text="&lt;microphone&gt;&lt;filter&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41918" PostHistoryTypeId="36" PostId="24404" RevisionGUID="e9eb2490-c324-45ab-b846-a463682dbb87" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/92/all-around-workhorse-studio-mics" />
  <row Id="41919" PostHistoryTypeId="2" PostId="24405" RevisionGUID="7e0c39d6-78df-48a4-9933-32dcbab58e21" CreationDate="2010-12-08T02:11:31.200" UserId="7294" UserDisplayName="Warrior Bob" Text="I have no experience with those mics that you mentioned, but a common response to this question on other forums is a [Shure SM-57][1].  It is a simple dynamic cardioid mic that is very durable and seems to be useful in a wide variety of recording situations, but is particularly useful for recording snare drums and guitar cabinets due to its high tolerance for very loud noises.&#xD;&#xA;&#xD;&#xA;I use one myself in a small bedroom studio and have found it to be a nice all-around mic to start with.  They're not terribly expensive either, generally being found at around $100 US new.&#xD;&#xA;&#xD;&#xA;I often hear &quot;every studio should have at least one of these&quot; and I tend to agree.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.shure.com/americas/products/microphones/sm/sm57-instrument-microphone" ContentLicense="CC BY-SA 2.5" />
  <row Id="41920" PostHistoryTypeId="2" PostId="24404" RevisionGUID="91cb0ff5-3d14-47dc-9088-740f8a486c10" CreationDate="2010-12-08T01:59:04.987" UserId="8064" UserDisplayName="Rich Bruchal" Text="I'm starting a small project studio &amp; I need a couple of relatively inexpensive versatile workhorse mics that can do it all (at least to start). I've looked at the AKG C2000B &amp; C1000S to start with. Any experience with these? Any other suggestions? " ContentLicense="CC BY-SA 2.5" />
  <row Id="41921" PostHistoryTypeId="1" PostId="24404" RevisionGUID="91cb0ff5-3d14-47dc-9088-740f8a486c10" CreationDate="2010-12-08T01:59:04.987" UserId="8064" UserDisplayName="Rich Bruchal" Text="All Around Workhorse Studio Mics" ContentLicense="CC BY-SA 2.5" />
  <row Id="41922" PostHistoryTypeId="3" PostId="24404" RevisionGUID="91cb0ff5-3d14-47dc-9088-740f8a486c10" CreationDate="2010-12-08T01:59:04.987" UserId="8064" UserDisplayName="Rich Bruchal" Text="&lt;home-studio&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41923" PostHistoryTypeId="36" PostId="24405" RevisionGUID="ecdd8bfc-59ae-4031-bfc5-078eb1ebfe10" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/92/all-around-workhorse-studio-mics/93#93" />
  <row Id="41924" PostHistoryTypeId="36" PostId="24406" RevisionGUID="65240696-409b-4b17-b3a7-d0eccd42c761" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/92/all-around-workhorse-studio-mics/96#96" />
  <row Id="41925" PostHistoryTypeId="36" PostId="24407" RevisionGUID="2d39ef20-a735-4db8-9289-43db9f339739" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/92/all-around-workhorse-studio-mics/108#108" />
  <row Id="41926" PostHistoryTypeId="36" PostId="24408" RevisionGUID="c9887609-ca13-4d46-93d5-86133d62aee3" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/92/all-around-workhorse-studio-mics/427#427" />
  <row Id="41927" PostHistoryTypeId="36" PostId="24409" RevisionGUID="229c4e81-b790-4ccc-b45d-94305c2e162b" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/92/all-around-workhorse-studio-mics/1244#1244" />
  <row Id="41928" PostHistoryTypeId="2" PostId="24406" RevisionGUID="bf68ecce-5a26-41b9-84eb-b6d4e91c6b0c" CreationDate="2010-12-08T03:04:45.903" UserId="7856" UserDisplayName="Corey" Text="I have been very impressed with the Audio-Technica Pro 37.&#xD;&#xA;&#xD;&#xA;I have several of these and use them for live reinforcement and recording. They have been very versatile and have a great sound.&#xD;&#xA;&#xD;&#xA;http://www.sweetwater.com/store/detail/Pro37/" ContentLicense="CC BY-SA 2.5" />
  <row Id="41929" PostHistoryTypeId="2" PostId="24407" RevisionGUID="d8f377f6-bc37-4cef-bafd-44bef5f32dda" CreationDate="2010-12-08T09:27:32.260" UserId="7592" UserDisplayName="Pelle ten Cate" Text="It is a good idea to have a few dynamic mikes, (Shure SM-57 or SM-58, &quot;Beta&quot; models are a lot prettier in my opinion, but also a bit more expensive) My advice: don't save on these mics by buying cheaper alternatives.&#xD;&#xA;&#xD;&#xA;In addition, a few SDC (Small Diaphragm Condensor) mikes should also always come in handy. The DPA 4006 and 4011 are very hard to beat, but also very expensive ($1900 a piece). Alternatively, you could work with Neumann mics (KM183/184, KM130), they are a bit cheaper. If Neumann is still to expensive, AudioTechnica makes quite OK SDCs as well. I have a pair of very affordable custom built mics from America called 'Little Blondies', they perform fabulous on guitars and drums. See here: http://j.mp/g5mC2A (Credits to the guy who makes these!)&#xD;&#xA;&#xD;&#xA;Then, I wouldn't record anything if I didn't have large diaphragm mics. If you can afford a AKG C414, get one. You will never regret it. Other of my favorites (more expensive) are the Neumann U87 and U89, and the TLM193. If these are all too expensive, try the cheap Studio Projects B1 (or B3 if you need multiple directionality patterns.) I heard quite some people get decent results with these." ContentLicense="CC BY-SA 2.5" />
  <row Id="41930" PostHistoryTypeId="2" PostId="24409" RevisionGUID="acef422e-b3b4-468c-84b4-83c99fd96557" CreationDate="2011-04-22T15:00:17.090" UserId="17571" UserDisplayName="Zeronyne" Text="I'm new here, but for completeness' sake, I'd like to add my two cents. A C1000 is an excellent mic in terms of versatility, and a matched pair of them have been in my mic cabinet since the beginning of time. However, it is not technically a true all around workhorse like a 57 (although apart from snare, male vox, and guitar cabinets, I don't really like 57s). C1000s are *great* for acoustic guitar, drum overheads, piano overheads (along with a close mic), and anywhere you need clear definition on the top end, but they seem really colored for other close-mic techniques. You may actually like that type of sound, but for me, I'd go for a large diaphragm condensor in those situations. " ContentLicense="CC BY-SA 3.0" />
  <row Id="41931" PostHistoryTypeId="2" PostId="24408" RevisionGUID="b79d53e9-8441-42cd-84d4-98dda38081aa" CreationDate="2010-12-23T00:15:32.850" UserDisplayName="Nathan" Text="I'm super happy with the [AT2041 package][1], which is a very versatile combination for under $150&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.com/search?q=AT2041" ContentLicense="CC BY-SA 2.5" />
  <row Id="41932" PostHistoryTypeId="36" PostId="24410" RevisionGUID="303fe3ca-d8d6-449a-820a-03b0197431e5" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2309/do-all-usb-microphones-that-offer-monitoring-appear-as-output-devices-to-the-c" />
  <row Id="41933" PostHistoryTypeId="2" PostId="24411" RevisionGUID="dbe7ee40-c209-4446-bd20-c749b02c14de" CreationDate="2011-09-13T13:16:08.337" UserId="7209" Text="I don't think this is a safe assumption.  I used one a couple months ago that provided an audio output to the computer, but it wasn't wired up anywhere.  It did offer an output, but it was only the output directly from the mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="41934" PostHistoryTypeId="2" PostId="24410" RevisionGUID="325eb073-3b4f-4539-a0f8-1d10f0ca9b67" CreationDate="2011-09-13T03:02:49.570" UserDisplayName="Kyle Cronin" Text="I've been looking around at various USB microphones and I've noticed that some of them offer a monitoring feature. While it's clear that this means that I will be able to listen to the sound picked up by the microphone with headphones, it's less clear whether all microphones that offer such a feature allow additional audio from the computer to play through the headphones as well. &#xD;&#xA;&#xD;&#xA;My use case is for podcasting. Obviously when doing a podcast it's important to be able to hear other participants in the conversation from the computer, so I'm wondering if it's safe to purchase a microphone that has monitoring and assume it can act as a computer output as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="41935" PostHistoryTypeId="1" PostId="24410" RevisionGUID="325eb073-3b4f-4539-a0f8-1d10f0ca9b67" CreationDate="2011-09-13T03:02:49.570" UserDisplayName="Kyle Cronin" Text="Do all USB microphones that offer 'monitoring' appear as output devices to the computer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41936" PostHistoryTypeId="3" PostId="24410" RevisionGUID="325eb073-3b4f-4539-a0f8-1d10f0ca9b67" CreationDate="2011-09-13T03:02:49.570" UserDisplayName="Kyle Cronin" Text="&lt;microphone&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41937" PostHistoryTypeId="36" PostId="24411" RevisionGUID="ee20466f-9248-48fe-8819-69082b3c07d9" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2309/do-all-usb-microphones-that-offer-monitoring-appear-as-output-devices-to-the-c/2310#2310" />
  <row Id="41938" PostHistoryTypeId="36" PostId="24412" RevisionGUID="f1840998-5772-4e87-af05-c585113daeba" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/819/how-can-i-get-the-most-clear-sound-out-of-an-electric-guitar-line-in-or-micin" />
  <row Id="41939" PostHistoryTypeId="36" PostId="24413" RevisionGUID="740c700b-4d58-4c42-a5a7-4f208d707a83" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/819/how-can-i-get-the-most-clear-sound-out-of-an-electric-guitar-line-in-or-micin/829#829" />
  <row Id="41940" PostHistoryTypeId="36" PostId="24414" RevisionGUID="41920716-d7e5-408f-812d-f34dc4fac90b" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/819/how-can-i-get-the-most-clear-sound-out-of-an-electric-guitar-line-in-or-micin/854#854" />
  <row Id="41941" PostHistoryTypeId="36" PostId="24415" RevisionGUID="2f927bf6-a707-4a31-bdeb-a202d860bf61" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/819/how-can-i-get-the-most-clear-sound-out-of-an-electric-guitar-line-in-or-micin/861#861" />
  <row Id="41942" PostHistoryTypeId="2" PostId="24413" RevisionGUID="f9594275-bd39-487d-a158-4444c2249e6c" CreationDate="2011-02-16T21:48:42.000" UserId="319" Text="You really should start with a good recorded signal - so consider getting a suitable amp or working on the tone before futzing around in the computer.  If you have the mic right up on the grill of the cab, you'll be getting extra bass, so pull it back a bit and you'll get a little more treble in the signal.  Moving the microphone left and right will also change eq of the signal depending on where it is on the speaker cone.&#xD;&#xA;&#xD;&#xA;I'd recommend cutting low mids a bit and boosting above 500hz to add some brightness.  The amp simulator in Logic 9 is pretty nice and can radically change a tone - not sure if that comes in express now." ContentLicense="CC BY-SA 2.5" />
  <row Id="41943" PostHistoryTypeId="2" PostId="24414" RevisionGUID="ac8ac195-3efe-4221-8a03-4408817e6340" CreationDate="2011-02-19T10:10:16.027" UserDisplayName="d-_-b" Text="Line in of course. That will be the most clear.&#xD;&#xA;&#xD;&#xA;The problem is it will also be the most clean, which is probably not what you are after.&#xD;&#xA;&#xD;&#xA;In any case, when I record electric guitar, I usually have the guitar going into a mixer from where I can record the clean signal and send the signal to the guitarist's rig. That way he (it's usually a guy) can play how he feels best. I also record that signal as well for reference. Then I use FX prcessors to tweak the clean signal exactly how it fits well into the mix and represents the sound the guitarist/band wants.&#xD;&#xA;&#xD;&#xA;That being said, I'm not very into a grungy sound. However, if you are, feel free to re-mic the clean signal if you want to get some cab/mic distortion. Make sure you are comfortable trashing your mic. It will sound really dirty then. ;)&#xD;&#xA;&#xD;&#xA;The advantage this has is you can re-mic it as many times as you need without the guitarist. He won't have to play it over and over until you figured out the perfect sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="41944" PostHistoryTypeId="2" PostId="24415" RevisionGUID="3dfd6d96-0eae-4d7a-a7de-7e7b2fe5e719" CreationDate="2011-02-20T12:31:38.367" UserDisplayName="jlebre" Text="Do not go line in. Guitars have a really high impedance that is not compatible with the line in buffers on most desks and sound cards. If you have a built in DI on your desk or soundcard, chances are it's built with a really low quality transformer (if at all - using instead really really cheap op-amps without a transformer for the output - which is present in more expensive models of active DI's).&#xD;&#xA;&#xD;&#xA;I think we would start going of topic by mentioning the trouble of impedance on guitars but the internet is full of it. There's a great debacle on true bypass switches for pedals vs. buffers for the exact same reason.&#xD;&#xA;&#xD;&#xA;Which leads me to the second point of not using line in. Not only you will warp the sound of your guitar pickups (which can go easily up to a grand) if you don't have buffers on your pedals and other effects you will change these too! say you spent a while dialing in a nice distortion an applying a filter on your delay line, or you calibrated the boost on your wha pedal - all gone!&#xD;&#xA;&#xD;&#xA;Now, your amp. It's not uncommon that I have to be the mad surgeon and operate on the amp before being able to record. If you get yourself something with  valves for the amplifier st age (Something like a Marshall JCM800 and are recording some &quot;clean&quot; guitars for your rock album chances are you will want to drive the amp really really hard for that valve headroom slight distortion) things will rattle. Take the pegs off, other screws that are loose. If the leather cover is loose, it will also rattle. If your amp has a reverb tank (spring) you will want to decouple it and pad it somehow. I think you are getting the drift - the sound has to be clean at the source.&#xD;&#xA;&#xD;&#xA;Now, it's not uncommon that you'll have several microphones on your cab. Say, dynamic and condenser, ribbon close by and condenser far back. I think the trick here is to consider the microphone dampening factor - this will act as a natural compression as well. For instance, the U87 is going to be much lazier than a royer ribbon, so you will probably have more of the transient coming through, hence more clarity per note. It is very important that your notes still have a nice, defined attack, specially if you are trying to cut through distortion.&#xD;&#xA;&#xD;&#xA;When you get two or more microphones together, you should be aiming at combining them to take best part of each. Say you like that transient response of the Royer, but you feel like bottom end - a nice condenser capacitor could probably do the job - just slide it in until you are happy.&#xD;&#xA;&#xD;&#xA;IF you have a good passive or active DI, you will have a line out and a through put. The line out feed it to your DAW (Logic isn't it?) just in case. You can always reamp it later) the through put to your amp. This is an unchanged copy of your signal - it has probably just gone through a resistor series network to get a duplicate.&#xD;&#xA;&#xD;&#xA;Something else to consider would be mic placement in the room and in front of the cone:&#xD;&#xA;&#xD;&#xA; - A microphone directly in front of the cone will have harsh, bright tones, but also more defined transients. Ribbons that actually have a LPF slope are a good help on this, but most of the time the polar pattern of a microphone can be your friend - twist your microphone around a bit.&#xD;&#xA; - A microphone on the side of the cone will be much mellow-er.&#xD;&#xA; - A microphone place more inside the room will benefit from the room characteristic. Reverb is a natural form of amplification and equalization (by adding to the source with each reflection it gets). But it will be more washed out and defined. But you might find the microphone right at the cone as being to agressive, so maybe a mix between both is in order.&#xD;&#xA;&#xD;&#xA;If I'm under pressure and have to get a sound quick in 15 minutes I'll get someone to just get me a DI, a C414 and a 57. Seriously, I hate to say I have a recipe, I would very much prefer a database of I tried that, didn't like that, but sometimes time is a factor, specially when renting microphones, renting a studio, having a session musician in, etc.&#xD;&#xA;&#xD;&#xA;Also, when you DI, you have a dilemma - DI before or after the pedals! you might need to DI After the pedals to cover some more exotic effects that you might not have access to at a later stage.&#xD;&#xA;&#xD;&#xA;And, gates can also have a nice effect on it. Have a look at [this][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://proguitarshop.com/store/effects-distortion-pedals-mxr-distortion-pedals-c-602_12_196/mxr116-fullbore-metal-distortion-p-1063" ContentLicense="CC BY-SA 2.5" />
  <row Id="41945" PostHistoryTypeId="2" PostId="24412" RevisionGUID="3bede3e0-ee16-48bf-834a-c2c3c7fdff29" CreationDate="2011-02-15T15:28:59.853" UserDisplayName="user514" Text="I am recording a Guitar track, through mic'ing a guitar cab. I have gotten a decent sound out of it, but I am having troubles getting good clarity. I am using logic express 9. Are there any inserts or effects I can use to get a very good to excellent quality tone, or should I go line in with it? I would love any input anyone has! Thank you!" ContentLicense="CC BY-SA 2.5" />
  <row Id="41946" PostHistoryTypeId="1" PostId="24412" RevisionGUID="3bede3e0-ee16-48bf-834a-c2c3c7fdff29" CreationDate="2011-02-15T15:28:59.853" UserDisplayName="user514" Text="How can I get the most clear sound out of an electric guitar? line in, or mic'ing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41947" PostHistoryTypeId="3" PostId="24412" RevisionGUID="3bede3e0-ee16-48bf-834a-c2c3c7fdff29" CreationDate="2011-02-15T15:28:59.853" UserDisplayName="user514" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41948" PostHistoryTypeId="36" PostId="24416" RevisionGUID="26fbf653-d7d9-4b2e-ab76-a89d22d38425" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3544/miking-a-drum-kit-with-a-cajon-2-or-3-mics" />
  <row Id="41949" PostHistoryTypeId="2" PostId="24417" RevisionGUID="b4ff7703-f634-49f7-a8ff-edafde549fd6" CreationDate="2012-03-13T11:30:14.463" UserId="7200" Text="I'd definitely use the Cajon+BD+overhead route, with a condenser microphone for OH (cymbals and percussion never sound nearly as clear as they should, when using dynamic mics). The main possible issue is that the snare might not be powerful enough, but it should be ok if you align the microphone well. As an example for IMO astonishing drum sounds recorded with only two microphones, see [this YouTube artist](http://www.youtube.com/user/einAstronaut) (he explains his setup [here](http://www.youtube.com/watch?v=D4nOEUVviP0)). In your particular case, you'd probably best put the OH behind the congas, pointing past those on the snare.&#xD;&#xA;&#xD;&#xA;_Yes_, of course the snare will also be quite present on the vocal microphone, but in my experience what sounds loud on such a microphone track completely drowns in the mix anyway. The cymbals usually come through best, but without the necessary presence. So I wouldn't count on that.&#xD;&#xA;&#xD;&#xA;To avoid that thin, washed-out sound the most important thing is to have nice dry signals of BD and Cajon." ContentLicense="CC BY-SA 3.0" />
  <row Id="41950" PostHistoryTypeId="2" PostId="24416" RevisionGUID="b203b921-5d60-47f5-aed8-c226cdf25ea6" CreationDate="2012-03-13T00:00:15.503" UserId="7045" Text="**The situation:**&#xD;&#xA;&#xD;&#xA;My band is playing this weekend, and the drummer has decided to bring a larger kit than usual. We're planning to record the gig using a multitracker with 8 mic pres, which gives us three drum mics. We now have to come up with a way to mic it for recording. Room sound *should* be sufficient for the live audio. &#xD;&#xA;&#xD;&#xA;Here's the kit he'll be using, as seen from overhead: &#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/jUaaX.jpg&#xD;&#xA;&#xD;&#xA;**The setup:**&#xD;&#xA;&#xD;&#xA;A **[cajon](http://en.wikipedia.org/wiki/Cajon)** is, for those unfamiliar with it, a box-shaped piece of percussion you sit on while playing, so it serves as the drum stool. It's a huge part of his sound, so it'll get its own mic.&#xD;&#xA; &#xD;&#xA;As you can see, there are also two snares and two conga heads, as well as toms and cymbals. &#xD;&#xA;&#xD;&#xA;**Mic setup possibilities:**&#xD;&#xA;&#xD;&#xA;Since the cajon is the center of his sound, it'll get its own mic, an SM57 placed behind it on a short gooseneck floor stand. I reckon it'll also pick up the kick drum pretty well, since it'll be *so* low to the ground. &#xD;&#xA;&#xD;&#xA;The obvious move will be to complement this with an overhead mic to pick up everything else. If I go this route, should I use a condenser mic? (Amplifying the drums won't be an issue in this situation, so feedback from a sensitive mic isn't a problem.) Or am I better off using two SM57 mics, maybe one over the congas and one over the snare in the middle? Or perhaps a stereo pattern way overhead? (Our booms probably won't go that high.) &#xD;&#xA;&#xD;&#xA;The drummer will also have a vocal mic, which will almost certainly pick up a lot of snare. So perhaps I should concentrate on the cymbals and toms for that third mic? &#xD;&#xA;&#xD;&#xA;**Other issues:**&#xD;&#xA;&#xD;&#xA;I'm concerned about stage space. I think we have a couple of hours for setup for this show,  which will be four hours long - storage space on my laptop my be an issue, so fewer tracks means a bit of a space saving.&#xD;&#xA;&#xD;&#xA;Since we have no plans to do overdubs with this recording, some bleed isn't a terrible problem. Avoiding thin, washed-out sound is the goal. &#xD;&#xA;&#xD;&#xA;**So:**&#xD;&#xA;&#xD;&#xA;Given all this, what are my options? How can I get a clean recording of this setup, with a minimum amount of mics and setup?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="41951" PostHistoryTypeId="1" PostId="24416" RevisionGUID="b203b921-5d60-47f5-aed8-c226cdf25ea6" CreationDate="2012-03-13T00:00:15.503" UserId="7045" Text="Miking a drum kit with a cajon - 2 or 3 mics?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41952" PostHistoryTypeId="3" PostId="24416" RevisionGUID="b203b921-5d60-47f5-aed8-c226cdf25ea6" CreationDate="2012-03-13T00:00:15.503" UserId="7045" Text="&lt;live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41953" PostHistoryTypeId="36" PostId="24417" RevisionGUID="6edf63c8-418a-46ee-baf0-ae3b8189754f" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3544/miking-a-drum-kit-with-a-cajon-2-or-3-mics/3547#3547" />
  <row Id="41954" PostHistoryTypeId="36" PostId="24418" RevisionGUID="3d9004f9-58c2-42e7-b0d2-e74b324e5690" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/573/what-to-look-for-in-a-vocal-mic-for-a-small-home-studio" />
  <row Id="41955" PostHistoryTypeId="36" PostId="24419" RevisionGUID="cbfa8df9-3800-411d-8a03-6d405a7a3da8" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/573/what-to-look-for-in-a-vocal-mic-for-a-small-home-studio/574#574" />
  <row Id="41956" PostHistoryTypeId="36" PostId="24420" RevisionGUID="1ab7f398-be47-40ef-bb56-6a74e08d4ae0" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/573/what-to-look-for-in-a-vocal-mic-for-a-small-home-studio/577#577" />
  <row Id="41957" PostHistoryTypeId="36" PostId="24421" RevisionGUID="f58338e9-8c05-498e-b7ad-4a7de82bf3d2" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/573/what-to-look-for-in-a-vocal-mic-for-a-small-home-studio/638#638" />
  <row Id="41958" PostHistoryTypeId="2" PostId="24419" RevisionGUID="5cff612a-164e-48d8-af66-4a136083f6e4" CreationDate="2011-01-12T16:01:46.893" UserDisplayName="Bill Gribble" Text="There is a flood of decent microphones on the market (junky ones too... there's just a flood of ALL kinds of microphones on the market).   Pick a price point and you can have more options than you can sensibly deal with.  Ask yourself: &#xD;&#xA;&#xD;&#xA; - What am I going to be recording with this microphone?  Any possibility of using it for anything other than vocals? (maybe miking an amp, or an acoustic instrument, or drums?)  &#xD;&#xA; - What am I going to plug this microphone into?  If it's a &quot;sound card&quot; you might need a preamp of some kind, which you need to budget for&#xD;&#xA; - What am I going to do with the recordings I make?  &#xD;&#xA;&#xD;&#xA;Answering those questions will help you pick a price point and give you some idea of the characteristics of a mic you might find useful. " ContentLicense="CC BY-SA 2.5" />
  <row Id="41959" PostHistoryTypeId="2" PostId="24420" RevisionGUID="78381d21-e6fe-4d7c-8234-0517b2644820" CreationDate="2011-01-12T20:39:11.970" UserId="7202" Text="A microphone that works well for vocals and is in a god price-range yet is good quality is the Shure SM-57. It also has the benefit to be an excellent mic to record electric guitars. As such it is pretty much the first microphone to buy of any kind.&#xD;&#xA;&#xD;&#xA;If you want something that has a more transparent top, you probably want a large-diaphragm condensor. There are an almost infinite number of those around, and I haven't used more than a couple, so I can't really recommend anything, and I bought my vocal mix ten years ago ( Oktava MK-319) and the market has changed with well known budget brands like Audio-Technica introducing the AT2020 for $99!&#xD;&#xA;&#xD;&#xA;But I'd recommend you to get an SM57 first, and build from there." ContentLicense="CC BY-SA 2.5" />
  <row Id="41960" PostHistoryTypeId="2" PostId="24421" RevisionGUID="58888068-0886-4ac5-b2fb-15da3e4c77e9" CreationDate="2011-01-19T16:00:04.767" UserId="8064" UserDisplayName="Rich Bruchal" Text="Check out http://audio.stackexchange.com/questions/15/all-round-vocal-mic for some ideas" ContentLicense="CC BY-SA 2.5" />
  <row Id="41961" PostHistoryTypeId="2" PostId="24418" RevisionGUID="7ab39ba9-2976-448c-99dc-655c4ba311f6" CreationDate="2011-01-12T14:53:58.497" UserDisplayName="Micah" Text="I'm just getting started with recording at home. I've done some recording in a band in a real studio in the past, but never really learned anything about the equipment and how to use it. I'm wanting to record some ideas at home to play around with. I'm looking for a good vocal mic but have no idea where to start. What should I be looking for in a quality mic?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41962" PostHistoryTypeId="1" PostId="24418" RevisionGUID="7ab39ba9-2976-448c-99dc-655c4ba311f6" CreationDate="2011-01-12T14:53:58.497" UserDisplayName="Micah" Text="What to look for in a vocal mic for a small home studio" ContentLicense="CC BY-SA 2.5" />
  <row Id="41963" PostHistoryTypeId="3" PostId="24418" RevisionGUID="7ab39ba9-2976-448c-99dc-655c4ba311f6" CreationDate="2011-01-12T14:53:58.497" UserDisplayName="Micah" Text="&lt;microphone&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41964" PostHistoryTypeId="36" PostId="24422" RevisionGUID="397298eb-8fed-4270-9b63-9f1ef21264e6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2230/microphone-windscreens-how-effective-necessary-are-they" />
  <row Id="41965" PostHistoryTypeId="36" PostId="24423" RevisionGUID="033e9abd-a62a-450c-81c6-6750a87944b4" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2230/microphone-windscreens-how-effective-necessary-are-they/2231#2231" />
  <row Id="41966" PostHistoryTypeId="36" PostId="24424" RevisionGUID="d909b5ad-b542-4973-93f0-7014a02845b4" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2230/microphone-windscreens-how-effective-necessary-are-they/2292#2292" />
  <row Id="41967" PostHistoryTypeId="36" PostId="24425" RevisionGUID="ac860ebc-4f43-433f-a110-f05129941074" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2230/microphone-windscreens-how-effective-necessary-are-they/2617#2617" />
  <row Id="41968" PostHistoryTypeId="2" PostId="24423" RevisionGUID="aac1d03b-abb5-415b-a23d-9449ae819e8e" CreationDate="2011-08-30T00:02:20.803" UserDisplayName="Richard Campbell" Text="A lot of mikes do ship with windscreens (since they are quite inexpensive), the ones that don't often aren't for voice - you don't need a windscreen on a mike amplifying a guitar, for example.&#xD;&#xA;&#xD;&#xA;Traditional foamy windscreens wear out too - the foam breaks down, they get full of gunk and quite nasty. A really dirty foamy can actually affect recording quality, blocking out some of the high end.&#xD;&#xA;&#xD;&#xA;There are also alternatives to windscreens for vocal recording as well, such as pop filters and &quot;dead cats&quot;... what you use depends on the microphone you have, what you're trying to record and the conditions you're recording in.&#xD;&#xA;&#xD;&#xA;A [pop filter][1] is a better choice for a large diaphragm microphone meant for broadcast quality recording - and heck, they make double pop filters if you're really poppy!&#xD;&#xA;&#xD;&#xA;![microphone pop filter][2]&#xD;&#xA;&#xD;&#xA;The [&quot;dead cat&quot; or &quot;blimp&quot; or &quot;windmuff&quot; type of microphone windscreens][4] are meant to block out outdoor wind noise. They create a dead air space around the suspended microphone, taking a lot more wind noise out than a foamy could.&#xD;&#xA;&#xD;&#xA;![dead cat microphone windscreen][3]&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Pop_filter&#xD;&#xA;  [2]: http://i.stack.imgur.com/03QXb.jpg&#xD;&#xA;  [3]: http://i.stack.imgur.com/0q3pu.jpg&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Microphone#Blimps" ContentLicense="CC BY-SA 3.0" />
  <row Id="41969" PostHistoryTypeId="2" PostId="24424" RevisionGUID="234994c7-9ddc-46c9-b7f2-ea88818f8220" CreationDate="2011-09-09T08:39:50.757" UserId="7271" UserDisplayName="Tomas" Text="It indeed makes a difference.&#xD;&#xA;&#xD;&#xA;*I'm not understanding that would cause manufacturers to skip adding a windscreen to their microphones?*&#xD;&#xA;&#xD;&#xA;Maybe they want you to buy extra accessories?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41970" PostHistoryTypeId="2" PostId="24425" RevisionGUID="03aa4f39-4056-4aaf-bb57-793ddfc48b5c" CreationDate="2011-11-10T10:43:00.370" UserId="7016" Text="For a fixed headset to use in the office, especially in a hot-desk environment I wouldn't see any need in a windscreen, as the more important point is positioning of the mic away from your breath. I have mine just to the side of my mouth - close, but no wind noise. &#xD;&#xA;&#xD;&#xA;For a mobile phone headset for use outside - you definitely need something!" ContentLicense="CC BY-SA 3.0" />
  <row Id="41971" PostHistoryTypeId="2" PostId="24422" RevisionGUID="10c9f8ae-d272-4d8b-8496-11ef678c01ca" CreationDate="2011-08-29T23:51:53.553" UserDisplayName="Jeff Atwood" Text="I've done a fair bit of podcast recording using a headset that has a small integrated foam windscreen over the mic. I never thought much about it, until we recently purchased some wireless headsets that do *not* have windscreens over the mic -- and I could *swear* I've heard a lot more breathing noises on calls as a result. &#xD;&#xA;&#xD;&#xA;So, I bought [these aftermarket foam windscreens][2] to put over the mic boom on the headset:&#xD;&#xA;&#xD;&#xA;![headset / lavalier microphone windscreens][1]&#xD;&#xA;&#xD;&#xA;I received it, installed it, and did a little on and off testing while breathing directly on on the mic in exaggerated fashion using the loopback skype call service.&#xD;&#xA;&#xD;&#xA;It indeed *does* make a big difference; without the windscreen the breath noises are very loud and peak-y. With the windscreen, you can still hear the breathing, but it goes from &quot;loud shrill uncomfortable white noise&quot; to &quot;oh, someone is breathing&quot;.&#xD;&#xA;&#xD;&#xA;Given my positive test results, I am wondering why any microphone would ship *without* a windscreen. It's just an inexpensive piece of foam that seems very effective in my (limited) testing, so is there any downside I'm not understanding that would cause manufacturers to skip adding a windscreen to their microphones?&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/UUNuH.jpg&#xD;&#xA;  [2]: http://www.amazon.com/gp/product/B004H6PC4M" ContentLicense="CC BY-SA 3.0" />
  <row Id="41972" PostHistoryTypeId="1" PostId="24422" RevisionGUID="10c9f8ae-d272-4d8b-8496-11ef678c01ca" CreationDate="2011-08-29T23:51:53.553" UserDisplayName="Jeff Atwood" Text="Microphone windscreens -- how effective / necessary are they?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41973" PostHistoryTypeId="3" PostId="24422" RevisionGUID="10c9f8ae-d272-4d8b-8496-11ef678c01ca" CreationDate="2011-08-29T23:51:53.553" UserDisplayName="Jeff Atwood" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41974" PostHistoryTypeId="36" PostId="24426" RevisionGUID="5ec49795-730f-4f1a-b7ac-1caa85873a9f" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6911/tips-for-silently-prompting-people-to-not-get-too-close-to-mics" />
  <row Id="41975" PostHistoryTypeId="36" PostId="24427" RevisionGUID="e85d7030-9f4f-4a32-b533-faa71c943ddb" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6911/tips-for-silently-prompting-people-to-not-get-too-close-to-mics/6916#6916" />
  <row Id="41976" PostHistoryTypeId="36" PostId="24428" RevisionGUID="53a1fcc4-f61c-47b6-a07b-b39e25b2bbb0" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6911/tips-for-silently-prompting-people-to-not-get-too-close-to-mics/6919#6919" />
  <row Id="41977" PostHistoryTypeId="36" PostId="24429" RevisionGUID="6f283eb5-c3cf-4af3-838e-e68e8fc2963d" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6911/tips-for-silently-prompting-people-to-not-get-too-close-to-mics/6924#6924" />
  <row Id="41978" PostHistoryTypeId="36" PostId="24430" RevisionGUID="8f61b550-eb8c-48c4-aecc-ceb68eae4acb" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6911/tips-for-silently-prompting-people-to-not-get-too-close-to-mics/6961#6961" />
  <row Id="41979" PostHistoryTypeId="2" PostId="24427" RevisionGUID="df640ff3-7613-4c4c-8138-917ea92dec24" CreationDate="2013-01-23T12:53:12.687" UserId="7176" Text="As the mic is mounted on a stand a [pop-filter](http://en.wikipedia.org/wiki/Pop_filter) would be a very easy solution.  &#xD;&#xA;If this is visually not acceptable (as it's a video project) you could think of adding a physical barrier between the person and the stand. For example a (DIY version of) [this barrier](http://static5.depositphotos.com/1038855/492/i/950/depositphotos_4927091-Rope-barrier.jpg)." ContentLicense="CC BY-SA 3.0" />
  <row Id="41980" PostHistoryTypeId="2" PostId="24428" RevisionGUID="60105e89-9623-4896-9960-f8fc525fe2ae" CreationDate="2013-01-23T14:52:12.073" UserId="7174" Text="Is the audio level clipping or is it actually a pop from breath or spit or something?  If the audio level is simply clipping, then a gain adjustment may be all that is needed.  If it is actually a problem with breathing on the mic or spit hitting the diaphragm, then you either have to tell them or use some kind of barrier.  I don't know any other options." ContentLicense="CC BY-SA 3.0" />
  <row Id="41981" PostHistoryTypeId="2" PostId="24429" RevisionGUID="6acf200e-9cce-4b71-b8b2-a83da0639c51" CreationDate="2013-01-23T20:46:13.947" UserId="7188" Text="Sometimes a pop filter is not enough.&#xD;&#xA;&#xD;&#xA;If you have an audio engineer on site monitoring the signal while the singers are recording this live or in a studio have the engineer work out a hand signal that can be interpreted as &quot;back off from the mic&quot;.&#xD;&#xA;&#xD;&#xA;Perhaps a reverse high five or a simple hand retracting would work. The key here is to have both the audio engineer and the talent on the same page to whatever gesture is chosen.&#xD;&#xA;&#xD;&#xA;Think about how professional baseball players use hand signals all the time to communicate from coaches to players and players to players e.g. catcher and pitcher. When you think about the complicated signals these guys use this seems like a walk in the park." ContentLicense="CC BY-SA 3.0" />
  <row Id="41982" PostHistoryTypeId="2" PostId="24430" RevisionGUID="00589624-4dac-4841-9d91-f51e254b859b" CreationDate="2013-01-26T23:58:38.623" UserDisplayName="Ben" Text="Something that helps in recording studios is to get people to sing over the mic rather than directly into it. You'll notice that they generally hang a condensor mic from the roof and position it at eye level, higher than the mouth. This gets rid of all sorts of pops and plosives, as the wind generated from speaking doesn't crash into the mic.&#xD;&#xA;&#xD;&#xA;For a speaking engagement, you can simply set up two mics – one that is a little closer and higher, which you turn right down, and position the real mic underneath it. This helps for people who naturally want to go right up to the mic and talk directly into it – which never sounds as nice as talking over it and turning the mic up a little more. I'd also look at getting a foam 'sock' for the mic, and using a high quality dynamic mic, for example an SM-57.&#xD;&#xA;&#xD;&#xA;Hope this has helped." ContentLicense="CC BY-SA 3.0" />
  <row Id="41983" PostHistoryTypeId="2" PostId="24426" RevisionGUID="d9106886-05a8-4cde-aca9-a0fe20dabd2b" CreationDate="2013-01-23T09:53:23.877" UserId="9744" UserDisplayName="therobyouknow" Text="In a recent video project I came across some &quot;popping&quot; which I believe was in part due to the person being too close to the mic.&#xD;&#xA;&#xD;&#xA;Without verbally prompting them, what would help remind them to keep the correct distance? Any tips, devices etc.?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41984" PostHistoryTypeId="1" PostId="24426" RevisionGUID="d9106886-05a8-4cde-aca9-a0fe20dabd2b" CreationDate="2013-01-23T09:53:23.877" UserId="9744" UserDisplayName="therobyouknow" Text="Tips for silently prompting people to not get too close to mics?" ContentLicense="CC BY-SA 3.0" />
  <row Id="41985" PostHistoryTypeId="3" PostId="24426" RevisionGUID="d9106886-05a8-4cde-aca9-a0fe20dabd2b" CreationDate="2013-01-23T09:53:23.877" UserId="9744" UserDisplayName="therobyouknow" Text="&lt;noise&gt;&lt;noise-cancelling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="41986" PostHistoryTypeId="36" PostId="24431" RevisionGUID="4c2ce85f-ecee-4549-b85d-2d6bfdf300b9" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/206/how-should-i-mic-a-classical-guitar" />
  <row Id="41987" PostHistoryTypeId="36" PostId="24432" RevisionGUID="c1ca7d1e-0953-438c-a6ae-50c730b3938b" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/206/how-should-i-mic-a-classical-guitar/208#208" />
  <row Id="41988" PostHistoryTypeId="36" PostId="24433" RevisionGUID="141a3384-d3be-417f-a9e6-b826a42d7fcf" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/206/how-should-i-mic-a-classical-guitar/210#210" />
  <row Id="41989" PostHistoryTypeId="2" PostId="24432" RevisionGUID="317faa97-2e13-4e94-9342-bedce64d3c16" CreationDate="2010-12-10T05:25:34.950" UserId="7398" UserDisplayName="BenV" Text="The standard configuration is 2 mics, one pointed at the sound hole (but from an angle, not directly out from the sound hole) and one up on the neck around the 12th fret.  The first mic will give you the tone of the guitar (mids and lows), and the 2nd one adds the highs as well as some strumming and fret noise.&#xD;&#xA;&#xD;&#xA;As always, this is just a starting point.  Always test your setup and make sure your happy with the sound you're getting before recording a bunch of takes.  I like to walk around the guitarist and see what it sounds like from different angles and positions, and then try to place my mics to capture the sounds I liked." ContentLicense="CC BY-SA 2.5" />
  <row Id="41990" PostHistoryTypeId="2" PostId="24433" RevisionGUID="9fddfe87-08c9-409a-ae11-dda4d9fddf66" CreationDate="2010-12-10T11:22:42.847" UserId="7592" UserDisplayName="Pelle ten Cate" Text="I respectfully disagree with mic-ing the neck of the guitar in classical music, the fret sounds of a guitar are most likely considered disturbing. My personal favorite: create an XY-looking stereo pair (XY = make the capsules touch each other, and have them in a relative angle of 90º) with omnidirectional SDCs, and pan them 100% L and 100% R This sounds ridiculous, but above 10KHz OMNI mics aren't really OMNI, so below 10KHz all sound gets into the center, while the high frequencies spread widely over the stereo image. This works fantastic when done with DPA 4006, but these most likely exceed your budget very far. (They are $1800 each). Though, it can be done with any omnidirectional SDC.&#xD;&#xA;&#xD;&#xA;If you don't feel comfortable buying omnidirectional SDCs because you are not sure whether you are going to use them, you could try the same setup with cardioid-pattern microphones (which - if you are unfamiliar with directionality patterns - are more directional than OMNIs), but then I would play around a bit with the angle, 90º might be just a bit too much." ContentLicense="CC BY-SA 2.5" />
  <row Id="41991" PostHistoryTypeId="2" PostId="24431" RevisionGUID="45aaeaf5-5ed5-488a-bead-94961a5b4c96" CreationDate="2010-12-10T04:58:45.717" UserDisplayName="Robert Fisher" Text="I’d like to record some classical guitar. I have Garage Band and a couple of generic USB mics. I also have a two-channel M-Audio preamp/audio interface, so recommendations for better mics for the amateur or “prosumer” would also be welcome." ContentLicense="CC BY-SA 2.5" />
  <row Id="41992" PostHistoryTypeId="1" PostId="24431" RevisionGUID="45aaeaf5-5ed5-488a-bead-94961a5b4c96" CreationDate="2010-12-10T04:58:45.717" UserDisplayName="Robert Fisher" Text="How should I mic a classical guitar?" ContentLicense="CC BY-SA 2.5" />
  <row Id="41993" PostHistoryTypeId="3" PostId="24431" RevisionGUID="45aaeaf5-5ed5-488a-bead-94961a5b4c96" CreationDate="2010-12-10T04:58:45.717" UserDisplayName="Robert Fisher" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="41994" PostHistoryTypeId="36" PostId="24434" RevisionGUID="b2bd5fd5-55d7-44a3-80b2-0979b54fe1ec" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3739/recording-gunshots" />
  <row Id="41995" PostHistoryTypeId="36" PostId="24435" RevisionGUID="df15f2c8-cd6a-4d3f-9255-74ce01900750" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3739/recording-gunshots/3743#3743" />
  <row Id="41996" PostHistoryTypeId="2" PostId="24435" RevisionGUID="24fbab5e-b01a-4710-8218-2055e67d5f4a" CreationDate="2012-04-11T21:46:28.100" UserId="7188" Text="I understand that you want an external mic for your Go Pro Hero 2 as to improve the audio quality of the internal mic. Go Pro Hero 2 has 3.5mm stereo mic input so the following are compatible Stereo Mics with 3.5mm plug.&#xD;&#xA;&#xD;&#xA;Low budget version:&#xD;&#xA;Audio Technica Pro24CM (about $70 at B&amp;H)&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Transducer 	Fixed-charge back plate, permanently polarized condenser&#xD;&#xA;Polar Pattern 	X/Y Stereo&#xD;&#xA;Frequency Response 	100Hz - 17kHz&#xD;&#xA;Dynamic Range (Typical) 	82dB, 1kHz at Max SPL&#xD;&#xA;Signal-to-Noise Ratio 	57dB, 1kHz at 1 Pa&#xD;&#xA;Maximum Input Sound Level 	119dB SPL, 1 kHz at 1% T.H.D.&#xD;&#xA;Power Requirements 	2-10VDC plug-in power&#xD;&#xA;Output Impedance 	600 ohms&#xD;&#xA;Output Connectors 	3.5 mm stereo mini plug on cable&#xD;&#xA;Pad 	No&#xD;&#xA;Low Frequency Roll-Off 	No&#xD;&#xA;Dimensions (LxDiameter) 	4.59 x 0.83&quot; (116.5 x 21mm)&#xD;&#xA;Weight 	3.9 oz (111 g) &#xD;&#xA;&#xD;&#xA;Here is an example of this mic at work hooked up to a GoPro HD Hero2.&#xD;&#xA;This fella wanted to record the exhaust pipes on his vette, this video convinced me that it did a decent job. I should think it would do well for machine guns too.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=ai_E87u7CfM&#xD;&#xA;&#xD;&#xA;&quot;Weather was killer here today, got the microphone mounted up on the frame directly between the mufflers, and ran it to front of car, mounted GoPro on windshield and took it out for a short video...&#xD;&#xA;Sounds amazing! This was with no audio editing either...&quot;&#xD;&#xA;&#xD;&#xA;High End Version (about as much as your Go Pro... $299 at B&amp;H)&#xD;&#xA;Rode Stereo VideoMic Pro&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;Transducer 	Pressure Gradient, JFET impedance converter&#xD;&#xA;Polar Pattern 	XY Cardioid (Coincident)&#xD;&#xA;Frequency Range 	40Hz ~ 20,000Hz (selectable HPF@75Hz)&#xD;&#xA;Output Impedance 	200Ω&#xD;&#xA;Maximum Output 	+4.2dBu (@ 1% THD into 1kΩ)&#xD;&#xA;Power Supply 	9V alkaline battery&#xD;&#xA;Connection 	1/8&quot; (3.5mm) stereo mini-jack&#xD;&#xA;SPL 	134dB, max (1 kHz, 1% THD into 1kΩ)&#xD;&#xA;Sensitivity 	-38dB re 1V/P (12.6mV @ 94dB SPL) ±2dB @ 1kHz&#xD;&#xA;EIN 	20dBA SPL (A - weighted per IEC651)&#xD;&#xA;Dynamic Range 	100dB (per IEC651)&#xD;&#xA;Signal to Noise Ratio 	73dB SPL (A - weighted per IEC651)&#xD;&#xA;Dimensions 	2.6 x 4.25 x 5.1&quot; (66 x 108 x 130 mm)&#xD;&#xA;Weight 	4.1 oz (117 g) (without battery) &#xD;&#xA;&#xD;&#xA;Famously regarded director of photography, Philip Bloom talks about this mic here:&#xD;&#xA;http://philipbloom.net/2012/01/18/rodesvmp/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Fi3h8.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/SQqTY.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="41997" PostHistoryTypeId="2" PostId="24434" RevisionGUID="585d13d7-0cf7-44cc-baf2-3ffbc785b225" CreationDate="2012-04-11T15:32:15.547" UserDisplayName="James" Text="What type of external microphone is best to use to record gunshots? I am looking for a microphone that will give me a high quality and rich detail such as : http://youtu.be/hVjfaSOUGXo&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="41998" PostHistoryTypeId="1" PostId="24434" RevisionGUID="585d13d7-0cf7-44cc-baf2-3ffbc785b225" CreationDate="2012-04-11T15:32:15.547" UserDisplayName="James" Text="Recording Gunshots" ContentLicense="CC BY-SA 3.0" />
  <row Id="41999" PostHistoryTypeId="3" PostId="24434" RevisionGUID="585d13d7-0cf7-44cc-baf2-3ffbc785b225" CreationDate="2012-04-11T15:32:15.547" UserDisplayName="James" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42000" PostHistoryTypeId="36" PostId="24436" RevisionGUID="043b1fb8-fd6c-4066-be1a-7b0250ffcd94" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3533/is-the-zoom-h4n-supposed-to-make-metal-clinching-sounds" />
  <row Id="42001" PostHistoryTypeId="2" PostId="24437" RevisionGUID="1f0be06d-ccac-4c32-b39f-63c25fe8448a" CreationDate="2012-03-15T00:27:46.813" UserId="12830" UserDisplayName="dwwilson66" Text="Definitely handling noise. I'm not a big fan of the little handle that came with the thing, so I jury rigged a mount 1/4&quot; - 3/8&quot; - 5/8&quot;...the first is a standard tripod screw mount adapter, the second is a mic stand adapter. I epoxied them together so they don't make noise, added an o-ring at the 1/4&quot; end to minimize noise at the h4n, and I've got the 5/8&quot; end screwed to a table mic stand.&#xD;&#xA;&#xD;&#xA;For handheld, I can unscrew the post from the base, wrap a foam handlebar grip around it, and viola...no noise. 3/8&quot; female is also standard for boom poles...if you want to have your h4n on a boom.&#xD;&#xA;&#xD;&#xA;Whatever you do, make sure you have an assortment of neoprene or rubber washers...they go a long way to minimizing sound at the connecting points.&#xD;&#xA;&#xD;&#xA;Other solutions: I've got a tripod quick release mounting plate I can screw to the back, then set it on a tripod...hands-free = no handling noise.&#xD;&#xA;&#xD;&#xA;One of the other miracle things is a fig-rig clamp. 3/8 AND 1/4 screws, and the inside of the clamp is lined with cork or rubber. You can clamp it to anything in the 3/4&quot; to 1&quot; range...lightstands, c-stands, broompoles for a cheap boom-pole...very versatile!&#xD;&#xA;&#xD;&#xA;Adapters: &#xD;&#xA;http://www.bhphotovideo.com/c/product/554344-REG/Manfrotto_120_120_Converter_Plate_for.html&#xD;&#xA;&#xD;&#xA;http://www.bhphotovideo.com/c/product/305934-REG/AKG_KM216_BLACK_3_8_Male_to_5_8_.html&#xD;&#xA;&#xD;&#xA;Stand:&#xD;&#xA;http://www.bhphotovideo.com/c/product/154670-REG/K_M_23200_500_55_Table_Top_Microphone_Stand.html&#xD;&#xA;&#xD;&#xA;Fig-Rig Clamp&#xD;&#xA;http://www.bhphotovideo.com/c/product/381895-REG/Manfrotto_595CLA_595CLA_Fig_Rig_Clamp.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="42002" PostHistoryTypeId="2" PostId="24436" RevisionGUID="471387dd-9b8e-45d6-a3be-3e678ee160d4" CreationDate="2012-03-12T16:11:00.860" UserId="7210" Text="I just got the Zoom H4n and did a test recording. You can hear a metallic clinching noise all the time if you don't put it on a table. There is considerably less clinching noises if you have the wind screen on, so I suspect it is because of something loose or similar in the microphones. Is it supposed to be like this, or can I change it and get one without these sounds?&#xD;&#xA;&#xD;&#xA;Here is a sample I made. It is the 18. recording made by the H4n. http://snd.sc/zq85xa&#xD;&#xA;Here is the same clip uploaded to YouTube: http://www.youtube.com/watch?v=1LZOt8FpBkw&#xD;&#xA;&#xD;&#xA;The right channel makes these metal sounds once in a while, not very loud, but the left channel makes a lot of them, loud, all the time.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42003" PostHistoryTypeId="1" PostId="24436" RevisionGUID="471387dd-9b8e-45d6-a3be-3e678ee160d4" CreationDate="2012-03-12T16:11:00.860" UserId="7210" Text="Is the Zoom H4n supposed to make metal clinching sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42004" PostHistoryTypeId="3" PostId="24436" RevisionGUID="471387dd-9b8e-45d6-a3be-3e678ee160d4" CreationDate="2012-03-12T16:11:00.860" UserId="7210" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42005" PostHistoryTypeId="36" PostId="24437" RevisionGUID="be8a56fa-e38c-4c3f-ac31-76c6d4d9125e" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3533/is-the-zoom-h4n-supposed-to-make-metal-clinching-sounds/3571#3571" />
  <row Id="42006" PostHistoryTypeId="36" PostId="24438" RevisionGUID="632458ca-ec75-4c75-abff-c5cc0f2c5425" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3374/shotgun-on-boom-or-handheld" />
  <row Id="42007" PostHistoryTypeId="2" PostId="24439" RevisionGUID="e863936d-bf86-4c26-82f4-1ab99a14688e" CreationDate="2012-02-21T10:22:03.377" UserId="7016" Text="The main point of having a handheld or boom mic is to keep it away from the face. &#xD;&#xA;&#xD;&#xA;When filming, your focus is on the individual, so usually a shot will have face, or head, or head and shoulders, or head and torso - so you will see that the camera tends to not go above the head but can capture a lot of below-the-head images. So a mic above the head is less likely to end up in shot.&#xD;&#xA;&#xD;&#xA;You also get the added benefit that a boom operator can position the mic appropriately - and a good operator will have a much better idea of where to position it than most people do." ContentLicense="CC BY-SA 3.0" />
  <row Id="42008" PostHistoryTypeId="2" PostId="24438" RevisionGUID="15b927e9-17d9-4e2d-976d-63b561aa5580" CreationDate="2012-02-20T21:35:57.447" UserId="7210" Text="What's the benefits of using your shotgun on a boom pole instead of just holding it in your hands? As I see many people use the boom from above, why isn't it better to position the microphone at mouth level with your bare hands?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42009" PostHistoryTypeId="1" PostId="24438" RevisionGUID="15b927e9-17d9-4e2d-976d-63b561aa5580" CreationDate="2012-02-20T21:35:57.447" UserId="7210" Text="Shotgun on boom or handheld?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42010" PostHistoryTypeId="3" PostId="24438" RevisionGUID="15b927e9-17d9-4e2d-976d-63b561aa5580" CreationDate="2012-02-20T21:35:57.447" UserId="7210" Text="&lt;microphone&gt;&lt;boom-pole&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42011" PostHistoryTypeId="36" PostId="24439" RevisionGUID="91e76d21-12b1-4f9d-84f0-b9d787b5521e" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3374/shotgun-on-boom-or-handheld/3376#3376" />
  <row Id="42012" PostHistoryTypeId="36" PostId="24440" RevisionGUID="aea3ec84-c1e8-4c06-a9e0-23db0f2cda00" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8181/who-can-recommend-a-camera-for-shooting-a-vlog" />
  <row Id="42013" PostHistoryTypeId="2" PostId="24440" RevisionGUID="1d823d9d-0fad-4447-aaa1-dab8042c101b" CreationDate="2013-06-21T17:35:48.930" UserDisplayName="primeOwltech" Text="I am producing a vlog, and I must upgrade cameras as my current one ([Kodak PlaySport](http://www.amazon.com/Kodak-PlaySport-Waterproof-Pocket-Camera/dp/B0030MITDK)) does not have an input for an external microphone. Something similar is all I need right now in the way of camera types.&#xD;&#xA;&#xD;&#xA;What would you recommend?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42014" PostHistoryTypeId="1" PostId="24440" RevisionGUID="1d823d9d-0fad-4447-aaa1-dab8042c101b" CreationDate="2013-06-21T17:35:48.930" UserDisplayName="primeOwltech" Text="Who can recommend a camera for shooting a vlog?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42015" PostHistoryTypeId="3" PostId="24440" RevisionGUID="1d823d9d-0fad-4447-aaa1-dab8042c101b" CreationDate="2013-06-21T17:35:48.930" UserDisplayName="primeOwltech" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42016" PostHistoryTypeId="36" PostId="24441" RevisionGUID="0cae0e37-f6d9-43a8-9b0c-1ae26c557fe8" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1239/art-tube-mp-doesnt-register-any-input" />
  <row Id="42017" PostHistoryTypeId="36" PostId="24442" RevisionGUID="d2795c5a-7e27-4e98-8892-68bc1052c74a" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1239/art-tube-mp-doesnt-register-any-input/1241#1241" />
  <row Id="42018" PostHistoryTypeId="2" PostId="24442" RevisionGUID="68546b95-119f-4dd5-ba33-085a2ce37afd" CreationDate="2011-04-22T08:56:58.737" UserId="7471" UserDisplayName="Mark Heath" Text=" - It's a dynamic mic, so you don't need the phantom power switch on your preamp, but it might be worth trying the 20dB boost button.&#xD;&#xA; - Are you sure the on/off switch on the microphone is on? (a common mistake)&#xD;&#xA; - Do you have anything else you can try plugging into your preamp (e.g. a guitar).&#xD;&#xA; - Was the preamp bought new? It contains a tube, which can break." ContentLicense="CC BY-SA 3.0" />
  <row Id="42019" PostHistoryTypeId="2" PostId="24441" RevisionGUID="f573b9e4-dc00-49df-9441-57e8318d5e48" CreationDate="2011-04-22T04:35:14.477" UserDisplayName="Josh M." Text="I have a NADY SP-4C mic plugged into an ART Tube MP Studio preamp which, in turn, is plugged into my laptop's mic/line-in. All connected via 1/4&quot; (laptop is 1/4&quot; to 1/8&quot;, of course).&#xD;&#xA;&#xD;&#xA;The Tube MP does not register any movement on the level meter when I talk into the mic, no matter what position the dials/buttons are in.&#xD;&#xA;&#xD;&#xA;The only time I get needle movement is when I press/un-press the +48v/Phantom power button.&#xD;&#xA;&#xD;&#xA;If I plug the mic directly into the laptop, I can record okay but the levels are low (which is why I bought the Tube MP).&#xD;&#xA;&#xD;&#xA;I don't know what I'm doing audio-wise but am very technical otherwise. Am I missing something? Can someone guide me regarding what settings I should try on the Tube MP? I'm not getting any throughput at all.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42020" PostHistoryTypeId="1" PostId="24441" RevisionGUID="f573b9e4-dc00-49df-9441-57e8318d5e48" CreationDate="2011-04-22T04:35:14.477" UserDisplayName="Josh M." Text="ART Tube MP doesn't register any input." ContentLicense="CC BY-SA 3.0" />
  <row Id="42021" PostHistoryTypeId="3" PostId="24441" RevisionGUID="f573b9e4-dc00-49df-9441-57e8318d5e48" CreationDate="2011-04-22T04:35:14.477" UserDisplayName="Josh M." Text="&lt;microphone&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42022" PostHistoryTypeId="36" PostId="24443" RevisionGUID="8df53f25-44fb-4a2f-956d-fbef4a73b9ba" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2498/what-should-i-look-for-in-a-microphone-that-would-be-used-in-a-noisy-environment" />
  <row Id="42023" PostHistoryTypeId="2" PostId="24444" RevisionGUID="c2a8a4f9-e1cd-40d7-b8f4-f30be784e75e" CreationDate="2011-10-19T13:02:30.647" UserId="7605" UserDisplayName="mghicks" Text="The [microphone pattern][1] is how we describe from where the mic will pick up sounds.  &#xD;&#xA;&#xD;&#xA;Even with (uni-)directional mics, sounds originating from behind can reflect off surfaces and still be picked up.  You may need to [take additional steps to control noise][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Microphone#Microphone_polar_patterns&#xD;&#xA;  [2]: http://avp.stackexchange.com/questions/174/cheap-diy-solutions-like-using-egg-cartons" ContentLicense="CC BY-SA 3.0" />
  <row Id="42024" PostHistoryTypeId="2" PostId="24443" RevisionGUID="6fc36ffd-cdce-4e31-ba48-4664a96b972a" CreationDate="2011-10-19T06:22:35.017" UserDisplayName="TML" Text="I have a weekly podcast that is recorded in a friend's home, and we are looking to upgrade the quality of our sound. Ideally, I would like to move from our current single omni-directional microphone to two individual microphones (we tend to speak at different volumes and have different tonal qualities to our voices that I would like to minimize by adjusting the input); however, the room we record in is rather small and I'm concerned about the two microphones picking up the other person, as well as picking up ambient sounds in the house (toilets flushing, banging on the table, air conditioner, etc.)&#xD;&#xA;&#xD;&#xA;I'm open to spending around $200 / mic, but I'm not sure how I can tell prior to purchasing whether the microphone is going to pick up a lot of the external sounds.&#xD;&#xA;&#xD;&#xA;Note that I'm not asking for specific microphone suggestions; I'm trying to figure out how to tell without purchasing it how well a given microphone will work in the environment (specifically, only accepting sound from directly in front of the mic.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="42025" PostHistoryTypeId="1" PostId="24443" RevisionGUID="6fc36ffd-cdce-4e31-ba48-4664a96b972a" CreationDate="2011-10-19T06:22:35.017" UserDisplayName="TML" Text="What should I look for in a microphone that would be used in a noisy environment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42026" PostHistoryTypeId="3" PostId="24443" RevisionGUID="6fc36ffd-cdce-4e31-ba48-4664a96b972a" CreationDate="2011-10-19T06:22:35.017" UserDisplayName="TML" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42027" PostHistoryTypeId="36" PostId="24444" RevisionGUID="835e338f-dd3d-497d-9f62-389791e6213c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2498/what-should-i-look-for-in-a-microphone-that-would-be-used-in-a-noisy-environment/2501#2501" />
  <row Id="42028" PostHistoryTypeId="36" PostId="24445" RevisionGUID="18d35eff-30fd-4305-864b-74bd34fedf28" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2380/power-supply-noise-in-cheap-condenser-mic-is-this-normal" />
  <row Id="42029" PostHistoryTypeId="36" PostId="24446" RevisionGUID="38c499c1-2edd-4222-897a-c9f3738da69d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2380/power-supply-noise-in-cheap-condenser-mic-is-this-normal/2821#2821" />
  <row Id="42030" PostHistoryTypeId="36" PostId="24447" RevisionGUID="37dd5e7c-b165-4fc2-91d9-b515e937f6e8" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2380/power-supply-noise-in-cheap-condenser-mic-is-this-normal/3049#3049" />
  <row Id="42031" PostHistoryTypeId="2" PostId="24446" RevisionGUID="9fd9fc8c-19fa-4461-ae41-473f05cfa272" CreationDate="2011-12-16T06:19:00.237" UserDisplayName="user1736" Text="Your mic is broken, simple as that, even the manufacturer says so. Mic noises are a constant problem though, I've seen all kinds of weird things cause noises. One old cheap trick is to phase reverse the noise if you really liked the take. Record the your take through the mic, then record the take again *just recording the noise itself* - then play the two together and phase reverse the noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="42032" PostHistoryTypeId="2" PostId="24447" RevisionGUID="7c920fa7-a1f5-4242-a24f-be64460be766" CreationDate="2012-01-16T14:47:26.530" UserId="7539" UserDisplayName="slim" Text="My best guess is that something in the mic or the mic cable is picking up RF interference.&#xD;&#xA;&#xD;&#xA;The reason I suspect this is that you said that moving the USB cable affects the noise. &#xD;&#xA;&#xD;&#xA;The problem isn't in the digital domain, so the USB cable isn't picking up interference. Therefore it must be emitting RF.&#xD;&#xA;&#xD;&#xA;You only get the problem in one mic. Therefore the *design* of the mic must be sufficiently shielded/balanced to cope with the level of RF coming from your USB cable and elsewhere. But some manufacturing flaw means the shielding or the balancing isn't sufficient on the other mic.&#xD;&#xA;&#xD;&#xA;Open the mic up only to the extent your warranty allows. There may be an obviously broken connection (which would defeat the balance on your XLR cable). If so, it's up to you whether you call in your warranty, or try to fix it yourself. Otherwise, get it fixed on warranty." ContentLicense="CC BY-SA 3.0" />
  <row Id="42033" PostHistoryTypeId="2" PostId="24445" RevisionGUID="d07566b5-b68c-4762-bc81-ebe25860fe3e" CreationDate="2011-09-26T18:05:33.847" UserId="7230" UserDisplayName="Kevin Reid" Text="Wanting a microphone that picked up less noise and was more sensitive to soft sounds than the mic built into my laptop, I picked up the cheapest condenser mic I could find on Amazon, the [Nady SPC-15](http://www.nady.com/spc15.html) — in fact, I bought two as there was a special. It is connected to a M-Audio Fast Track Pro USB audio interface.&#xD;&#xA;&#xD;&#xA;However, there is a constant noise distinctly audible when the gain is turned high, on *one* of the microphones. This noise varies in pitch or disappears entirely depending on:&#xD;&#xA;&#xD;&#xA;   * the physical layout of the USB cable and hub (noise still present without the hub) connecting the audio interface to the computer and power source,&#xD;&#xA;   * the setting of the gain knob on the audio interface and whether one or two microphones are connected, and&#xD;&#xA;   * physical disturbance of the microphone.&#xD;&#xA;&#xD;&#xA;I would guess based on this evidence that the microphone is picking up the noise from its phantom power.&#xD;&#xA;&#xD;&#xA;[Here is a recording of the noise, and its absence with the other microphone.](http://switchb.org/kpreid/2011/mic-noise) In this recording, I swapped *only* the mic, using the same cable and input jack. (The other input jack gives the same results.)&#xD;&#xA;&#xD;&#xA;I want to know whether this noise's presence in one microphone&#xD;&#xA;&#xD;&#xA;   * indicates a defective unit?&#xD;&#xA;   * is normal manufacturing variation in cheap condenser mics?&#xD;&#xA;   * is a consequence of abuse, and if so what kind? (Mechanical? Hot-plugging? Leaving the mic powered for long periods?) I am especially concerned about this because the microphone without the noise is the one I have not used as much.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42034" PostHistoryTypeId="1" PostId="24445" RevisionGUID="d07566b5-b68c-4762-bc81-ebe25860fe3e" CreationDate="2011-09-26T18:05:33.847" UserId="7230" UserDisplayName="Kevin Reid" Text="Power supply noise in cheap condenser mic: is this normal?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42035" PostHistoryTypeId="3" PostId="24445" RevisionGUID="d07566b5-b68c-4762-bc81-ebe25860fe3e" CreationDate="2011-09-26T18:05:33.847" UserId="7230" UserDisplayName="Kevin Reid" Text="&lt;microphone&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42036" PostHistoryTypeId="36" PostId="24448" RevisionGUID="864b701b-c829-41f0-bb7c-55bfc3c30d9e" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8828/boardroom-conference-voip-solution-with-multiple-headsets" />
  <row Id="42037" PostHistoryTypeId="2" PostId="24449" RevisionGUID="bad591e7-69df-4591-8d1e-0f22c6d41ad8" CreationDate="2013-08-27T14:36:17.123" UserId="7174" Text="There are many systems and solutions for this kind of problem, though I don't know of any exactly as you describe (and they would be unnecessarily complex).  The main options I've seen used well include devices such as Microsoft's RoundTable which selectively uses directional mics to key in on the speaker without causing feedback.  This however only works for groups of up to about 12 or 15.  Another nice feature of the RoundTable is that it can support video that will automatically follow the speaker and also provide a full room panoramic shot.&#xD;&#xA;&#xD;&#xA;Beyond that, you move in to the realm of boundary mics.  Boundary mics are microphones that can be placed on each table or even in front of each speaker.  A well designed conference system using boundary mics should key in only on the mics of speakers and should avoid feedback problems.  The mics can either be permanently installed or rechargeable wireless units that sit in a charger at the door.  Good systems also have an individual mute switch on each mic.&#xD;&#xA;&#xD;&#xA;Theoretically, a similar setup could be done with headset mics, but then you have to worry about a variety of issues including sanitary concerns, proper fitting, noise from motion, more difficulty in muting/checking mute status, etc.  You can't really have everyone in the organization have their own dedicated headset since it would be difficult for the system to tell if someone is in the room or simply next door.  Most such systems use a similar (to the boundary mics) charging station that activates the headsets when they are removed." ContentLicense="CC BY-SA 3.0" />
  <row Id="42038" PostHistoryTypeId="2" PostId="24448" RevisionGUID="198c55ec-3b43-4940-8814-e92727eccc3a" CreationDate="2013-08-27T10:50:06.457" UserDisplayName="Hightower" Text="* This question may not be relevant, however since the forum is Beta, I will try anyway. &#xD;&#xA;&#xD;&#xA;Most small to medium companies use Skype, Gotomeeting, Link, Google talk, etc... to communicate remotely. Our problem, is that often the mic and speaker setup results in too much feedback (even with noise reducing mics...etc) &#xD;&#xA;&#xD;&#xA;I have read that the best solution is to have headsets for each member. &#xD;&#xA;&#xD;&#xA;Is there any software or hardware which can act as a &quot;Hub&quot; which can control multiple concurrent headsets,ether via jack, wireless or bluetooth? that way we can allocate a headset/bluetooth earpiece to all employees, whereby they could simply walk into the meeting and have connectivity to the call. &#xD;&#xA;&#xD;&#xA;thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="42039" PostHistoryTypeId="1" PostId="24448" RevisionGUID="198c55ec-3b43-4940-8814-e92727eccc3a" CreationDate="2013-08-27T10:50:06.457" UserDisplayName="Hightower" Text="Boardroom Conference VOIP Solution with multiple headsets" ContentLicense="CC BY-SA 3.0" />
  <row Id="42040" PostHistoryTypeId="3" PostId="24448" RevisionGUID="198c55ec-3b43-4940-8814-e92727eccc3a" CreationDate="2013-08-27T10:50:06.457" UserDisplayName="Hightower" Text="&lt;microphone&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42041" PostHistoryTypeId="36" PostId="24449" RevisionGUID="466d0062-5dbc-4b8d-9c4a-45ccb100a38b" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8828/boardroom-conference-voip-solution-with-multiple-headsets/8831#8831" />
  <row Id="42042" PostHistoryTypeId="36" PostId="24450" RevisionGUID="78fb42b8-1c38-4b36-8a5e-7dbbbc765d47" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1748/external-mic-sound-recorder-recommendations" />
  <row Id="42043" PostHistoryTypeId="2" PostId="24451" RevisionGUID="4f93a9f5-f650-479b-b03c-e8f57b1e742d" CreationDate="2011-07-06T13:47:52.660" UserId="2506" Text="The H4n has a decent heritage as a consumer-level device, but you may wish to consider slightly more expensive gear. Depending on your budget, you can go for a Nagra (Swiss-made, a venerable heritage as THE highest quality reel-to-reel manufacturers and today they also make very pricey  but excellent - solid state units). If you don't have a blank cheque to hand over, you could also consider Edirol (Roland), Fostex or something very handy like a [Marantz PMD660][1] or [Tascam DR-100][2].&#xD;&#xA;&#xD;&#xA;I myself own a Zoom H2 and whilst it's excellent for the price, it does have a few shortcomings:&#xD;&#xA;&#xD;&#xA; - the gain switch is wired after the digitisation step, so if your audio clips on the way in you'll just be either adding or removing 10dB from the already-clipped signal&#xD;&#xA; - the SNR and circuitry-induced noise is not quite as good as some more expensive devices, a consideration if you're doing broadcast-level audio (although H2s are happily used for ENG)&#xD;&#xA; - handling noise with the H2's plastic body is AWFUL unless you have a silicon jacket on it, and even then it's not great! Also the external inputs are a bit noisier than I'd like, not had a chance to compare the H4n but there's a great users forum at http://2090.org/zoom/bbs/viewforum.php?f=15 which I strongly suggest you join if you become a Zoom owner.&#xD;&#xA;&#xD;&#xA;If you're in the UK, somewhere like [Solid State Sound][3] is a good place to start when shopping around, they have tech specs and decent images for loads of devices. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;As a final consideration, if your audio inputs aren't quite suited to driving a decent mic but you still want to print the audio to tape along with the video (as a backup if anything else) you could consider something like a [juicedLink][4] unit to preamp the incoming sound. They also make a unit (the [DS214][5]) specifically for use in conjunction with devices like the H4n to give you a dual system setup (read: both units simultaneously record) which looks particularly interesting.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;(Update, July 22nd 2011)&#xD;&#xA;&#xD;&#xA;As an adjunct to my original answer, if you want to listen to a quick 'n dirty &quot;straight out the box&quot; recording comparison of all the reasonably priced solid state field recorders available today... DV247 just did one! It's hardly scientific but should give you a half decent idea as to how each unit 'sounds', plus a few pros and cons. Take a listen at http://magazine.dv247.com/2011/06/17/portable-digital-audio-recorder-comparison/.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.d-mpro.com/users/folder.asp?FolderID=3629&#xD;&#xA;  [2]: http://www.solidstatesound.co.uk/tascam_dr-100.htm&#xD;&#xA;  [3]: http://www.solidstatesound.co.uk/&#xD;&#xA;  [4]: http://www.juicedlink.com/audio-preamps-mixers-etc-c-66&#xD;&#xA;  [5]: http://www.juicedlink.com/audio-preamps-mixers-etc-c-66/ds214" ContentLicense="CC BY-SA 3.0" />
  <row Id="42044" PostHistoryTypeId="2" PostId="24450" RevisionGUID="afe570f7-39e2-4d9b-bc9a-1b94b9f664de" CreationDate="2011-07-06T11:59:45.013" UserDisplayName="Colum" Text="The Nikon d3100 does not have an external microphone port, which is normally not a problem (built in mic is great) unless your doing AF-A, then you get lens noises. For a shot that requires zooming and focusing, you get some noises from the lens, which I want to avoid.&#xD;&#xA;&#xD;&#xA;What would be a good external audio recorder that I could hook a shotgun mic into? So when I am doing cretin kind of shot I could record on the external mic and then sync the audio up later" ContentLicense="CC BY-SA 3.0" />
  <row Id="42045" PostHistoryTypeId="1" PostId="24450" RevisionGUID="afe570f7-39e2-4d9b-bc9a-1b94b9f664de" CreationDate="2011-07-06T11:59:45.013" UserDisplayName="Colum" Text="External Mic/Sound Recorder recommendations" ContentLicense="CC BY-SA 3.0" />
  <row Id="42046" PostHistoryTypeId="3" PostId="24450" RevisionGUID="afe570f7-39e2-4d9b-bc9a-1b94b9f664de" CreationDate="2011-07-06T11:59:45.013" UserDisplayName="Colum" Text="&lt;microphone&gt;&lt;dslr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42047" PostHistoryTypeId="36" PostId="24451" RevisionGUID="dcb5ab55-b175-4475-ab79-483ba9b677e1" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1748/external-mic-sound-recorder-recommendations/1755#1755" />
  <row Id="42048" PostHistoryTypeId="36" PostId="24452" RevisionGUID="54af3468-6420-4a4b-9abe-0ee33b94c728" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1748/external-mic-sound-recorder-recommendations/1761#1761" />
  <row Id="42049" PostHistoryTypeId="2" PostId="24452" RevisionGUID="de3d5ffd-544c-422f-b612-3f2e1ec429de" CreationDate="2011-07-06T14:52:05.693" UserId="7200" Text="While recorders with built-in microphones like those from Zoom are quite popular, I consider them badly-suited especially for video purposes. You definitely need the possibility to plug in decent external microphones, and then it's questionable if you will ever need any internal microphones at all.&#xD;&#xA;&#xD;&#xA;If you can afford it and don't mind carrying the weight, get one of those professional field recorders like Tascam DR-680, Fostex FR2 or even a Nagra. They give you uncompromising high quality, reliable performance and good handling, for instance through well-operable gain controls. You also have multiple channels, which can be useful in a variety of situations.&#xD;&#xA;&#xD;&#xA;If you appreciate low weight/size and affordable price (if only to be able to spend more on microphones, which can arguably contribute more to a good sound than any preamp/recorder), and only need 2 channels, I would recommend the M-Audio Microtrack II. It is _really_ lightweight (and pretty cheap) and might still give you everything you need: professional mic preamps with phantom power (though only through ¼″ TRS rather than XLR, but fully-symmetric), and decent ADCs with 24 bit 96 kHz. You probably want 24 bit, because even with good analog gain pots you should always leave a bit headroom for field recordings unless you don't care if the limiter sometimes cuts away the dynamic range, and with a small recorder like the microtrack even more so as it's quite difficult to set the gain precisely. With that specific model you also have the drawback of a not consumer-exchangeable lithium battery, so you may need a portable USB power supply." ContentLicense="CC BY-SA 3.0" />
  <row Id="42050" PostHistoryTypeId="36" PostId="24453" RevisionGUID="d25dc4ed-14a9-4022-9920-119af8bf70c5" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1361/condenser-mics-maximum-spl-in-relation-to-distortion-physical-damage-and-a-10" />
  <row Id="42051" PostHistoryTypeId="36" PostId="24454" RevisionGUID="dd13e086-84c9-4da8-aa09-3b102647bdb1" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1361/condenser-mics-maximum-spl-in-relation-to-distortion-physical-damage-and-a-10/1429#1429" />
  <row Id="42052" PostHistoryTypeId="2" PostId="24454" RevisionGUID="9dd600e1-d92f-4568-a33a-1f0ec1c635fe" CreationDate="2011-05-17T15:06:24.367" UserDisplayName="Owen Kelly" Text="If you can achieve 143dBSPL in a studio, I would be very seriously more concerned about your own ears than the microphone. 130dBSPL is the estimated threshold of pain, roughly 4.34 times quieter than 143dBSPL (if my math is correct).&#xD;&#xA;&#xD;&#xA;If you take [Inverse Square Law][1] into consideration, if you feel the mic is being subjected to too much level, move it further back. I would suggest you will be fine in a studio with that microphone, if you take standard precautions. Test everything at a reasonable level, and start raising the gain until the mic distorts, then pull it back.&#xD;&#xA;&#xD;&#xA;Dropping a condensor is a solid way to destroy it (in most cases), though I do not know if blowing into it causes damage. I would suggest blowing into it while it is turned on, could cause damage.&#xD;&#xA;&#xD;&#xA;[All about dbSPL][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Inverse-square_law&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Sound_pressure" ContentLicense="CC BY-SA 3.0" />
  <row Id="42053" PostHistoryTypeId="2" PostId="24453" RevisionGUID="b4151de1-fa4b-4575-9d05-9053fa181c2a" CreationDate="2011-05-06T19:47:01.427" UserDisplayName="Ton-ton Sleeping Bag" Text="Over the next few months I'll be trying to learn how to record my band. I have a few newbie questions on some condenser microphone concepts. I just want to make sure I understand this all correctly. Specifically I was looking at the spec for a [CAD M179][1] microphone. I noticed the spec states the following for the Max SPL.&#xD;&#xA;&#xD;&#xA;**Max SPL:** 143dB, 1% THD, attenuator engaged&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://cadaudio.com/M179.php&#xD;&#xA;&#xD;&#xA;And this got me thinking about a few things. I want to know if it is correct to say the following?&#xD;&#xA;&#xD;&#xA;1) I probably won't see 143dB in a studio setting unless I was recording a gun shot or something, in which case I wouldn't be in a studio. &#xD;&#xA;&#xD;&#xA;2) Inside the Mic itself is a diaphragm which is connected to a pre-amp circuit. The -10dB attenuator is located between the diaphragm and the pre-amp.&#xD;&#xA;&#xD;&#xA;3) If the attenuator was **not** engaged, the Max SPL would be 133dB.&#xD;&#xA;&#xD;&#xA;3) The 1% THD that would occur at 143dB SPL is due the the preamplifier distorting and not the diaphragm. &#xD;&#xA;&#xD;&#xA;4) If I were to raise the SPL beyond 143dB not only would the pre-amp distort the signal from the diaphragm, but the diaphragm would itself start to generate a distorted signal. If I continued to raise the SPL even further the SPL would be so high as to cause permanent physical damage to the diaphragm.  &#xD;&#xA;&#xD;&#xA;5) Generally speaking. If the sound source were to momentarily (on the order of milliseconds) peak above 143dB, would the microphone incur any damage? Alternatively if the sound source were to momentarily peak above 143dB for say 1-2 seconds, would the microphone incur any damage? &#xD;&#xA;&#xD;&#xA;6) Is blowing into a condenser Mic enough to cause damage to the diaphragm? Would dropping the mic on the ground be enough to damage the diaphragm?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42054" PostHistoryTypeId="1" PostId="24453" RevisionGUID="b4151de1-fa4b-4575-9d05-9053fa181c2a" CreationDate="2011-05-06T19:47:01.427" UserDisplayName="Ton-ton Sleeping Bag" Text="Condenser Mics: Maximum SPL in relation to Distortion, Physical Damage and a -10dB Attenuator" ContentLicense="CC BY-SA 3.0" />
  <row Id="42055" PostHistoryTypeId="3" PostId="24453" RevisionGUID="b4151de1-fa4b-4575-9d05-9053fa181c2a" CreationDate="2011-05-06T19:47:01.427" UserDisplayName="Ton-ton Sleeping Bag" Text="&lt;microphone&gt;&lt;distortion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42056" PostHistoryTypeId="36" PostId="24455" RevisionGUID="136202e2-d6d2-4e45-881a-dfc12630bd61" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/326/basics-of-micing-drumset-cymbals" />
  <row Id="42057" PostHistoryTypeId="2" PostId="24456" RevisionGUID="33cd7a41-5b2b-4e0e-af74-9edc2aef8e3f" CreationDate="2010-12-16T17:44:20.760" UserDisplayName="jan" Text="Cymbals&#xD;&#xA;-------&#xD;&#xA;The regular way of micing cymbals on (R'nR) drumsets is by using *OverHeads* (OH)&#xD;&#xA;Usually a set of 2 comdensator microphones.&#xD;&#xA;&#xD;&#xA;It depends on how many cymbals and their placement, how you best place the mics.  &#xD;&#xA;&#xD;&#xA;The exact placement is highly a matter of engineer preference I think: I'll describe what I do.&#xD;&#xA;&#xD;&#xA;With a standard R'nR kit, I usually place the 2 mics roughly 50 cm apart, 2 mter high.&#xD;&#xA;I place them above the rim of the toms facing the audience, point them backwards roughly at the snare, slightly outwards. This way they're pointing away from most of the instruments &amp; monitors. Some prefer them very close together, some more pointing to the cymbals...&#xD;&#xA;&#xD;&#xA;I place them so high because that way, I can use them as 'natural reverb' channel of the rest of the kit, giving it more *air*.  This depends on stage volume: I mic loud bands closer(lower).&#xD;&#xA;&#xD;&#xA;If there is only one Ride &amp; one other cymbal, I tend to place them closer &amp; more direct.&#xD;&#xA;I even dare to skip one OH to make the looks cleaner on a small kit.&#xD;&#xA;&#xD;&#xA;If you've channels to spare, a separate condesator mic is placed close to the bell of the Ride cymbal, sometimes underneath.&#xD;&#xA;If you have a lot of channels to spare, you mic every cymbal separately, but that's more Metallica-level.  &#xD;&#xA;&#xD;&#xA;My preferred pattern is Hypercardioid.&#xD;&#xA;&#xD;&#xA;Microphones with large membranes are used sometimes, but I prefer small membranes ([KM184][1]).  &#xD;&#xA;Another favorite on riders is the [AKG 414][2]&#xD;&#xA;&#xD;&#xA;As a basic starting point for equalising:, I turn up the Hi-pass filter to 400Hz.  &#xD;&#xA;Afterwards I sometimes tweak the high mids to remove 'tube-like' sounds, the high shelf turned slightly up.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Hihats&#xD;&#xA;------&#xD;&#xA;I usually place condenser mic roughtly 5 cm above the HiHat, pointing to the bell.  &#xD;&#xA;Roughly the same EQ as a starting point.&#xD;&#xA;The high mids of an HiHat sound totally different from other cymbals. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.neumann.com/?lang=en&amp;id=current_microphones&amp;cid=km180_description&#xD;&#xA;  [2]: http://www.akg.com/site/products/powerslave,id,1128,pid,1128,nodeid,2,_language,EN.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="42058" PostHistoryTypeId="2" PostId="24455" RevisionGUID="dbb0ae7a-9c4a-4228-8736-7dea26a0c453" CreationDate="2010-12-16T15:44:07.307" UserId="6865" Text="I always watch when they're miking the drum-sets at shows I go to. Most of the time the bass, snare, and all of the toms are have their own mic. But what about cymbals? They tend to be a lot louder and sound different when miked from different places, so I imagine the miking would have a big impact on the recorded sound.&#xD;&#xA;&#xD;&#xA;What's the best place to mic the cymbals from? above, below, from the side? What about hi-hats? Do they usually each get their own mic? I would guess you would mic them from above, but I want to get some advice for getting the best quality from someone with experience." ContentLicense="CC BY-SA 2.5" />
  <row Id="42059" PostHistoryTypeId="1" PostId="24455" RevisionGUID="dbb0ae7a-9c4a-4228-8736-7dea26a0c453" CreationDate="2010-12-16T15:44:07.307" UserId="6865" Text="Basics of micing drumset cymbals?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42060" PostHistoryTypeId="3" PostId="24455" RevisionGUID="dbb0ae7a-9c4a-4228-8736-7dea26a0c453" CreationDate="2010-12-16T15:44:07.307" UserId="6865" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42061" PostHistoryTypeId="36" PostId="24456" RevisionGUID="de6fc0c1-7081-4e6a-87cf-850d8f477324" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/326/basics-of-micing-drumset-cymbals/329#329" />
  <row Id="42062" PostHistoryTypeId="36" PostId="24457" RevisionGUID="078dd72f-2609-4129-a1cf-f6e5b5a623ec" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/326/basics-of-micing-drumset-cymbals/429#429" />
  <row Id="42063" PostHistoryTypeId="2" PostId="24457" RevisionGUID="7fe357e5-f882-42b0-9684-c731ffc4d1ef" CreationDate="2010-12-23T15:38:16.957" UserDisplayName="mitch_moop" Text="You can also try an xy overhead mic arrangement, with two matched small diaphragm condensor (SDC) mics in an XY arrangment like so: http://www.wikirecording.org/XY_Stereo_Microphone_Technique .  To go with this approach, you'd also want to pic up a stereo mic bar - google &quot;stereo mic bar&quot; for an idea, they can be had for under ten bucks.&#xD;&#xA;&#xD;&#xA;There are some good, affordable SDC mics on the market that can be picked up new or used that will work great for this.  The same mics will also work for a spaced stereo pair arrangement like jan suggested.  These are probably the two best starting points for the novice with a low budget home setup.&#xD;&#xA;&#xD;&#xA;I mic directly above the kit, in the left-right center, over the back edge of the crash cymbals (nearest to the drummer), about 2 feet above the cymbals.  You get a nice stereo image of the entire kit this way, not just of the cymbals; typically your mix only needs a bit of additional mic'ing on the snare and kick to get a full sound, and the majority of your drum sound will be from the stereo pair.  You'll want to adjust the positioning of the stereo pair a bit if you find that one of the mics is aimed straight at something and is getting overloaded, for example you might get overwhelmed by a hi-hat or floor tom.&#xD;&#xA;&#xD;&#xA;Lastly, for the low budget home recordist (like myself), you'll probably notice a much bigger improvement in your drum sound by upgrading your cymbals and replacing any old heads on your drums.  The classic new band mistake is to go into a studio with an entry level drum kit, with three year old heads on everything, and entry level, beat up cymbals, and tell the engineer &quot;We want the drums to sound like John Bonham.&quot;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.com/products/catalog?q=stereo+mic+bar&amp;oe=utf-8&amp;rls=org.mozilla:en-US:official&amp;client=firefox-a&amp;um=1&amp;ie=UTF-8&amp;cid=12922398726121382875&amp;ei=c2kTTfr5L4aglAf777HQDA&amp;sa=X&amp;oi=product_catalog_result&amp;ct=result&amp;resnum=2&amp;ved=0CCsQ8wIwAQ#" ContentLicense="CC BY-SA 2.5" />
  <row Id="42064" PostHistoryTypeId="36" PostId="24458" RevisionGUID="e110af19-33cc-4281-a924-051eb5cd8758" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6988/miking-a-mixed-choir-instrument-ensemble-on-a-budget" />
  <row Id="42065" PostHistoryTypeId="36" PostId="24459" RevisionGUID="c57c5265-b778-47ed-ab43-d903ca309a93" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6988/miking-a-mixed-choir-instrument-ensemble-on-a-budget/7002#7002" />
  <row Id="42066" PostHistoryTypeId="2" PostId="24459" RevisionGUID="ccacdfcc-c860-4f5f-af91-75c1fbd23ac6" CreationDate="2013-01-30T14:11:58.227" UserId="7174" Text="On that kind of a budget, have you considered any purpose built recorders?  There are a number of portable recorders that include stereo mics built in that you can simply place and hit record.  The best choice tends to change pretty quickly as new models come out, but reading online reviews for current selections would likely yield a sufficient quality result in your price range if the main thing you want is just a recording of the audio as it is heard in the room.&#xD;&#xA;&#xD;&#xA;With budgeting concerns removed, certainly the best sound would be to put two direct mics (or even piano mics) on the grand, direct mic the cello, violin and whatever fixed percussion you can and then area mic the bells and the choir.  The best micing for the choir's gonna depend on how they are positioned, but probably a mic in front and off to the left and right (probably could even use the existing LAVs from a tall boom stand would be sufficient.  It would require a mix down instead of just being a simple recording, but it makes it so it isn't a permanent setup and is going to get a far superior sound to just doing a room recording unless you have really great acoustics." ContentLicense="CC BY-SA 3.0" />
  <row Id="42067" PostHistoryTypeId="2" PostId="24458" RevisionGUID="f221c7f3-16c5-4dd9-96c1-d775643ac2cb" CreationDate="2013-01-29T19:00:11.607" UserId="7212" Text="**The space:** Church sanctuary, roughly ballpark-shaped, about 40 to 50 feet on a side. Stone walls and floor with cloth hangings and carpeted aisle runners, wood pews with cushions, high vaulted plank and beam roof. Chancel area has two deep steps that form the &quot;stage&quot; for the performance.&#xD;&#xA;&#xD;&#xA;**The ensemble:** A choir of about 25 members center-stage, plus piano (Yamaha C3 6' grand, high dynamic range, mellow tone, typically placed front and center), cello (typically house-right of the choir toward the front), violin (ditto), and misc percussion (handbells, snare, usually far house right).&#xD;&#xA;&#xD;&#xA;**The problem:** The installed hanging omnis that normally capture events like this performance are being removed to &quot;clean up&quot; the look for the front of the church, as part of a general audio overhaul. There are good reasons for this decision (they're only needed for these special performances, not for weekly services, they're not positioned well, and half of them are dead anyway); however, nobody in charge of the audio overhaul has thought of how sound will get to the mixing board once they're gone.&#xD;&#xA;&#xD;&#xA;**The goal:** to buy a microphone setup to be used to record (not reinforce) these special performances, that will capture a full, balanced sound of the ensemble as heard by the live audience. Stereo recording is preferable, but the primary goal is to buy the best stuff we can afford to do the job we need.&#xD;&#xA;&#xD;&#xA;**The budget: US$500**. That has to include mounts and cabling. Stands I think we can scrounge.&#xD;&#xA;&#xD;&#xA;**The contenders:** I've done a little homework and found a few mikes that are generally well-reviewed by audio pros and home amateurs alike:&#xD;&#xA;&#xD;&#xA;- **AKG C2000b** - S-A LDC; generally well liked as a &quot;bang-for-your-buck&quot; mike with good sound at a very reasonable price ($200 retail, so a pair would be $400).&#xD;&#xA;- **AT 4040** - S-A LDC; industry workhorse, every pro has used one at least once. Getting a pair for the stated budget will depend on what my wholesaler can do for me ($300 retail).&#xD;&#xA;- **Rode NT5** - F-A SDC; well-reviewed as drum overheads, also gets good reviews for guitar and ensemble vocals. $425 a pair.&#xD;&#xA;- **Oktava MK012** - F-A SDC; I have yet to find a reviewer (pro, amateur, home or studio) that didn't like these on anything you'd point an SDC at in the first place. Right at $500 for a matched pair with cardioid capsules only.&#xD;&#xA;- **Other suggestions welcome.** As stated, the key is quality and value; I don't mind spending money on good equipment, but if there's a mic I don't know about that *really* sounds as good as more expensive competitors for hundreds less, let's hear it.&#xD;&#xA;&#xD;&#xA;**The question:** If you were in my position, with my budget and no microphones on-hand that you'd use, what would you go out and buy, and how would you set it up? I have a basic primer of the common stereo miking techniques, and pretty much any of these can be set up in any configuration so I can play around with what I get, but I just don't have a lot of experience to tell me what the best equipment to start with would be, and I don't have money to experiment.&#xD;&#xA;&#xD;&#xA;**The EDIT:** I missed a key piece of information which I had thought would be inferred; there is a mixer (and not a bad one either) for the existing sound system which is not going anywhere, no matter what happens to the overheads or any other mike in the space. Also available is a recording unit; a Zoom H4 that normally records weekly services by being plugged into the mixing board's matrix. It has a built-in coincident pair and so is capable of being a free-standing recorder, but as I told AJ, having done it both ways with the same system, I have a clear preference for mikes through the mixer to the recorder if it can be done. So basically I really do need just the microphones if we can swing it; everything from there in the signal chain already exists.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42068" PostHistoryTypeId="1" PostId="24458" RevisionGUID="f221c7f3-16c5-4dd9-96c1-d775643ac2cb" CreationDate="2013-01-29T19:00:11.607" UserId="7212" Text="Miking a mixed choir/instrument ensemble on a budget" ContentLicense="CC BY-SA 3.0" />
  <row Id="42069" PostHistoryTypeId="3" PostId="24458" RevisionGUID="f221c7f3-16c5-4dd9-96c1-d775643ac2cb" CreationDate="2013-01-29T19:00:11.607" UserId="7212" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42070" PostHistoryTypeId="36" PostId="24460" RevisionGUID="172941e8-3fa7-4ff6-a672-a4047c7685a8" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7685/what-is-a-good-mic-in-the-200-range-for-miking-an-acoustic-guitar-for-use-with" />
  <row Id="42071" PostHistoryTypeId="36" PostId="24461" RevisionGUID="987d7de4-c25c-4359-838b-0f217e7ed7a6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7685/what-is-a-good-mic-in-the-200-range-for-miking-an-acoustic-guitar-for-use-with/7716#7716" />
  <row Id="42072" PostHistoryTypeId="2" PostId="24461" RevisionGUID="ba31c27b-ecd3-4ea9-8d80-dbee26a668bb" CreationDate="2013-04-22T10:44:57.430" UserId="7325" UserDisplayName="Dave Rook" Text="I suggest the SM-57 or AKG C 1000 s.&#xD;&#xA;&#xD;&#xA;I've used both in studio and live, for acoustic and electric guitars. The quality is down to the engineer (as always) but I've always had clear results with it. Out of the two, I much prefer the AKG but it is battery powered where as the Shure is not!&#xD;&#xA;&#xD;&#xA;Although, if you can get a Sennheiser MD 421 II Large Diaphragm Dynamic Microphone second hand on Ebay, that is where I put my money!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42073" PostHistoryTypeId="2" PostId="24460" RevisionGUID="7cbfff99-a99b-4384-b087-41b7c0d6e931" CreationDate="2013-04-19T11:24:36.303" UserDisplayName="Luke" Text="I am considering purchasing an Apogee Duet (iPad/Mac version), to do a simple guitar/vocal setup. I already have an SM58 for vocals, but I need a mic for the guitar (steel string acoustic).&#xD;&#xA;&#xD;&#xA;I have an M-Audio Nova condenser mic which I haven't used in years. I don't remember it being the greatest quality, but it could have been the M-Audio interface/preamps. &#xD;&#xA;&#xD;&#xA;Is the Oktava MK-319 a good option if I can get a second-hand one off EBay for $200? Can anyone suggest a $200-$250 mic out-the-box?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42074" PostHistoryTypeId="1" PostId="24460" RevisionGUID="7cbfff99-a99b-4384-b087-41b7c0d6e931" CreationDate="2013-04-19T11:24:36.303" UserDisplayName="Luke" Text="What is a good mic in the $200 range for miking an acoustic guitar (for use with Apogee duet portable studio)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42075" PostHistoryTypeId="3" PostId="24460" RevisionGUID="7cbfff99-a99b-4384-b087-41b7c0d6e931" CreationDate="2013-04-19T11:24:36.303" UserDisplayName="Luke" Text="&lt;microphone&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42076" PostHistoryTypeId="36" PostId="24462" RevisionGUID="647da3c1-9c47-46fd-ad4c-b11db8127cea" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8672/cant-get-rid-of-this-humming-noise-in-recordings" />
  <row Id="42077" PostHistoryTypeId="36" PostId="24463" RevisionGUID="2fa8878d-d16e-4565-b11e-1f1964a1c81d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8672/cant-get-rid-of-this-humming-noise-in-recordings/8673#8673" />
  <row Id="42078" PostHistoryTypeId="2" PostId="24463" RevisionGUID="14db3b4b-3628-42dc-b730-7c80208a39d6" CreationDate="2013-08-10T11:06:54.160" UserId="7405" UserDisplayName="Andy aka" Text="I don't think it's coming from your microphone because there is a small stereo width to the noise at all frequencies. The microphone can only produce perfectly mono sounds. Here's an enhanced spectrum of the noise: -&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Very noticeable are the sequence of peaks at precisely 1kHz, 2kHz, 3, 4, 5, 6, 7 (not 8), 9, 10, 11, 12kHz etc....&#xD;&#xA;&#xD;&#xA;These are very unlikely to be made by the microphone because they are pretty much spot on the 1kHz mark plus harmonics.&#xD;&#xA;&#xD;&#xA;Try accessing the microphone wires and shorting them out if possible - does the noise go away? Alternatively, does the mic have an on-off switch to kill audio - what does it sound like then?&#xD;&#xA;&#xD;&#xA;Are there any other controls on the microphone? Do you have it at maximum gain? Does it have an AGC circuit that, in the absense of sound ramps up the amplification? &#xD;&#xA;&#xD;&#xA;**EDIT** - following a discussion in comments it became clear that the owner of the mic had its gain set at minimum. THIS IS NOT IDEAL AT ALL. Analogue gain needs to be set near maximum to ensure that sufficient signal feeds the analogue to digital converter or you will get noise and noticeable fragmentation of the signal due to trying to digitize a weak signal and not getting enough &quot;bits&quot;. Nearly all ADCs have a small amount of &quot;digital&quot; processing signal imparted to the analogue signal they are trying to capture.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/mqj5u.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="42079" PostHistoryTypeId="2" PostId="24464" RevisionGUID="f77bef70-1a60-4b2d-9df7-5b1e9bec36d8" CreationDate="2013-08-12T06:53:11.303" UserId="18044" UserDisplayName="Andrew" Text="Well, it turns out that our worthless electricition did not properly ground the outlets in this room - I used a tester to verify this. This would explain the humming noise in my recordings and also some other unmentioned audio problems I've had in the past. I'm going to fix the grounding for the outlet and assume this problem will be solved. I was able to verify the line noise went away when the mic was powered by a grounded power source.&#xD;&#xA;&#xD;&#xA;**Update:** I re-checked the grounding of my electrical outlet and it is properly grounded. I misread the output of the tester. This means that something about my desktop pc was causing the noise. Rather than spend more hours trying to narrow down what the source of the electronic interference or grounding issue was, I went out to Radio Shack and bought a &quot;Ground Loop Isolator&quot; RCA cord and used that on the aux output of the microphone. This brought the line noise from -40db down to -85db and I can no longer hear it - I can only see it on the spectral graph. I consider this &quot;good enough&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="42080" PostHistoryTypeId="2" PostId="24462" RevisionGUID="58dafb62-ab0b-470c-a371-0c82d94d6db4" CreationDate="2013-08-10T05:54:57.360" UserId="18044" UserDisplayName="Andrew" Text="I have a brand new Blue Yeti USB microphone on a shock mount attached to a boom - no vibration noise possibilities in this setup. I have tested this in a dead silent enclosed room using a Macbook Pro with the fans on the lowest RPM (basically off). I have also tested using a desktop PC, and tested using a wall-powered USB hub. In all of these scenarios, there exists a subtle high-pitched hum that sounds very electronic and unlike ambient noise. What is causing it and how do I get rid of it? I've tried two different USB cords: one short and one long. Here is an unedited audio clip of the noise: https://dl.dropboxusercontent.com/u/7345145/noise.wav&#xD;&#xA;&#xD;&#xA;The deep humming is probably my desktop computer fans - I'm referring to the higher pitched buzzing noise over it.&#xD;&#xA;&#xD;&#xA;The gain is at the lowest setting on the microphone dials, and it is set to cardioid mode. The microphone level setting in Windows 7 is set to 22, though as I said I tried this on a Macbook Pro and heard the same electronic noise. I would really appreciate any advise with this, I'm at the point of pulling my hair out. &#xD;&#xA;&#xD;&#xA;**Edit:**&#xD;&#xA;I ran a male to male 3.5mm headphone cord from the mic output to the line in on my Creative Titanium HD card input. At first test the results looked much better (and quieter) in the waveform, but after amplifying the levels to -0.1db for my voice, I could also hear the same electronic hum again. Here is an audio clip of the hum: https://dl.dropboxusercontent.com/u/7345145/noise_2.wav" ContentLicense="CC BY-SA 3.0" />
  <row Id="42081" PostHistoryTypeId="1" PostId="24462" RevisionGUID="58dafb62-ab0b-470c-a371-0c82d94d6db4" CreationDate="2013-08-10T05:54:57.360" UserId="18044" UserDisplayName="Andrew" Text="Can't get rid of this humming noise in recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="42082" PostHistoryTypeId="3" PostId="24462" RevisionGUID="58dafb62-ab0b-470c-a371-0c82d94d6db4" CreationDate="2013-08-10T05:54:57.360" UserId="18044" UserDisplayName="Andrew" Text="&lt;microphone&gt;&lt;home-studio&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42083" PostHistoryTypeId="36" PostId="24464" RevisionGUID="f254baf4-ad0d-47bb-b261-5d63ad52fdab" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8672/cant-get-rid-of-this-humming-noise-in-recordings/8683#8683" />
  <row Id="42084" PostHistoryTypeId="36" PostId="24465" RevisionGUID="89b84616-417c-477e-a95b-cc7cbf8ad8e1" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3332/whats-a-good-feature-film-microphone" />
  <row Id="42085" PostHistoryTypeId="2" PostId="24466" RevisionGUID="42ec33e6-b7b1-4b39-acc9-c5b6a89eeb14" CreationDate="2012-02-18T01:53:55.623" UserDisplayName="Seth Perlstein" Text="If you want to shoot on location then get a shotgun mic with a boom. If you want to overdub the voice over in a studio, then get a large diaphragm condenser mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="42086" PostHistoryTypeId="2" PostId="24465" RevisionGUID="f524170f-76b8-4bce-8e26-d366366a881d" CreationDate="2012-02-16T20:01:46.203" UserId="7210" Text="Can you get a good microphone for feature films for around $800 - $850? If so, which? (Should be good for action, normal indoors filming and normal outdoors filming.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="42087" PostHistoryTypeId="1" PostId="24465" RevisionGUID="f524170f-76b8-4bce-8e26-d366366a881d" CreationDate="2012-02-16T20:01:46.203" UserId="7210" Text="What's a good Feature film microphone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42088" PostHistoryTypeId="3" PostId="24465" RevisionGUID="f524170f-76b8-4bce-8e26-d366366a881d" CreationDate="2012-02-16T20:01:46.203" UserId="7210" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42089" PostHistoryTypeId="36" PostId="24466" RevisionGUID="8fdb81c5-14f1-43c0-ad54-8a237b08ca88" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3332/whats-a-good-feature-film-microphone/3345#3345" />
  <row Id="42090" PostHistoryTypeId="36" PostId="24467" RevisionGUID="9837f756-3c8b-43b0-a6a2-d5dfa88ac38d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9553/which-device-to-plug-microphone-to-to-get-realistic-realtime-church-reverberatio" />
  <row Id="42091" PostHistoryTypeId="36" PostId="24468" RevisionGUID="d89c2843-5a82-41b8-adc1-9fd99f42901d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9553/which-device-to-plug-microphone-to-to-get-realistic-realtime-church-reverberatio/9556#9556" />
  <row Id="42092" PostHistoryTypeId="36" PostId="24469" RevisionGUID="cf401748-f3a8-4b27-baa3-941dc9dd27ca" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9553/which-device-to-plug-microphone-to-to-get-realistic-realtime-church-reverberatio/9598#9598" />
  <row Id="42093" PostHistoryTypeId="36" PostId="24470" RevisionGUID="7c48453f-bce2-4502-b528-c374d32e13e1" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9553/which-device-to-plug-microphone-to-to-get-realistic-realtime-church-reverberatio/9601#9601" />
  <row Id="42094" PostHistoryTypeId="2" PostId="24468" RevisionGUID="e4ca04ab-5f53-4e50-9b36-b7beaba2caa1" CreationDate="2013-12-03T17:58:42.370" UserId="7174" Text="If you want high quality, then don't use a digital audio recorder as your microphone.  Get a good condenser mic, a sound hole mic or a mic you can mount in the sound chamber of the guitar itself and then if you need more reverb you can use a traditional effects unit or effects petal depending on if you are using a powered mic or not." ContentLicense="CC BY-SA 3.0" />
  <row Id="42095" PostHistoryTypeId="2" PostId="24469" RevisionGUID="65093566-0c12-4e1f-8b41-62aaf8162d9b" CreationDate="2013-12-08T06:44:46.137" UserId="7189" Text="If you want to add reverb to your signal, then you need a reverb unit.&#xD;&#xA;&#xD;&#xA;There are two ways to approach this. You can use a standalone reverb unit, or you could use a plugin running on a computer (as well as an audio interface to get audio in and out of the computer). The computer gives you more flexibility, but it also gives you more latency (that is, plugins on a computer will have a few milliseconds of delay). A standalone reverb unit has the advantage of much faster boot times, less chance of crashing, and typically much lower latency than a computer.&#xD;&#xA;&#xD;&#xA;Reverb units range from minimalistic &quot;pedal&quot; designs intended for guitar players up through large multi-part rack systems. *Personally* I find the sweet-spot to be in the 1U rack mount units. There are a *ton* of great digital reverbs from the last decade or so in the $50-$200 range out on the used market. The Eventide Space is also excellent, but its sound may be too artificial for you (I love it *because* of its &quot;unrealistic&quot; patches).&#xD;&#xA;&#xD;&#xA;AVP isn't about recommending specific gear, so your next step (after deciding whether to go with a hardware reverb or a software plugin) is to go read reviews and listen to the various units out there. I find that Lexicon tends to make more &quot;realistic&quot; reverbs than some of the other brands out there, so that may be a good place to start.&#xD;&#xA;&#xD;&#xA;AJ Henderson makes a good point, though. If you want your realistic reverb to sound *good* you need to feed a great signal into it. I agree with you that the D50 has excellent microphones, but those same mice will pick up a lot of the ambience of the space you are in. You want to feed a dry signal into your reverb for best results. However, if you run your signal into your reverb unit and then play it in a concert hall, you will get the hall's natural reverb on top of yours.&#xD;&#xA;&#xD;&#xA;Actually solving your problem probably involves some study of acoustics and a lot of experimentation. You may have better luck hiring an audio engineer with experience doing this kind of thing." ContentLicense="CC BY-SA 3.0" />
  <row Id="42096" PostHistoryTypeId="2" PostId="24470" RevisionGUID="07f4fd8f-7cda-42b0-ac63-122362057b9f" CreationDate="2013-12-08T18:28:28.533" UserId="7200" Text="It's rather obvious, but anyway sayin': whatever device produces the reverb, it will do so _as an electronic signal_, not as sound right away! So you foremostly need a PA to make this audible in a large hall. With such a somewhat large-scale PA, there comes a console that nowadays almost always has a DSP unit built in (or a proper 19&quot; reverb unit). Using a PA, you should definitely have a proper live-suited condenser mic, that works not just for adding the reverb but also providing a good direct sound.&#xD;&#xA;&#xD;&#xA;Any solution without a PA is bound to become kind of hackish. Apparently, you want a genuine acoustic performance, with just the reverb added as a special effect. Well, why not try something completely unusual then? Place a single speaker well away from the stage (perhaps on the back wall), pointing _at the ceiling_. Connect it directly to the microphone (or, your PCM-D50). Turn the volume so the speaker is a little quieter than the guitar itself. This won't sound like a church, but will emphasize the hall's natural sound and give an unexpected room feeling. Since the speaker is so far away, you shouldn't have any feedback issues.&#xD;&#xA;&#xD;&#xA;Of course, you might also combine that with a digital reverb. But it still won't sound like a church then, because that to a large deal has to do with the spatial distribution of the reflexes, which you can't hope to get close to with anything less than at least a stereo PA." ContentLicense="CC BY-SA 3.0" />
  <row Id="42097" PostHistoryTypeId="2" PostId="24467" RevisionGUID="3cf507cb-203f-47cc-bab4-8304f6c26ab3" CreationDate="2013-12-03T16:17:54.933" UserDisplayName="Skippy Fastol" Text="I am the happy owner of a [Sony PCM-D50][1].&#xD;&#xA;&#xD;&#xA;I play classical guitar.&#xD;&#xA;&#xD;&#xA;What electronic device should I plug the jack output of the Sony microphone to get high quality reverb?&#xD;&#xA;&#xD;&#xA;Any advice to avoid feedback that may result? My goal is to play the guitar in a large concert hall and add reverb on the fly.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://pro.sony.com/bbsc/ssr/cat-audio/resource.latest.bbsccms-assets-cat-audio-latest-pcmd50.shtml" ContentLicense="CC BY-SA 3.0" />
  <row Id="42098" PostHistoryTypeId="1" PostId="24467" RevisionGUID="3cf507cb-203f-47cc-bab4-8304f6c26ab3" CreationDate="2013-12-03T16:17:54.933" UserDisplayName="Skippy Fastol" Text="Which device to plug microphone to to get realistic realtime church reverberation for classical guitar" ContentLicense="CC BY-SA 3.0" />
  <row Id="42099" PostHistoryTypeId="3" PostId="24467" RevisionGUID="3cf507cb-203f-47cc-bab4-8304f6c26ab3" CreationDate="2013-12-03T16:17:54.933" UserDisplayName="Skippy Fastol" Text="&lt;microphone&gt;&lt;reverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42100" PostHistoryTypeId="36" PostId="24471" RevisionGUID="077ef60a-f220-4934-a26e-77cf850c797e" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/364/does-constant-phantom-power-24-7-to-a-microphone-wear-it-out-faster" />
  <row Id="42101" PostHistoryTypeId="2" PostId="24472" RevisionGUID="5ce00171-83ad-4ac5-987a-b29d8494a5b1" CreationDate="2010-12-19T10:34:14.303" UserId="8336" UserDisplayName="Sklivvz" Text="In my opinion, your audio card would wear out first, being the most complicated piece of equipment which also continually produces the 48V voltage. Secondly, the FET inside the microphone would wear out, and the mic capsule for last.&#xD;&#xA;&#xD;&#xA;It seems to me that the capsule in this mic is quite sturdy, as it can withstand 131dB!&#xD;&#xA;&#xD;&#xA;In other words: the microphone should be considered &quot;in use&quot; whenever the phantom power is turned on. Being electrically active, it will tend to break over time :-)&#xD;&#xA;&#xD;&#xA;I would advice you to turn off any unused equipment, at least for the night, every day. It not only will wear out your various electronic components, but it's also anti-economical and unfriendly towards the environment." ContentLicense="CC BY-SA 2.5" />
  <row Id="42102" PostHistoryTypeId="2" PostId="24471" RevisionGUID="bf69742f-8bc7-4b3c-beec-57b7d031f5e1" CreationDate="2010-12-17T22:36:22.030" UserId="457" Text="I'm currently using a nicer microphone ([Studio Project C1][1], a large diaphragm condenser mic)  as my main microphone on my PC.  It's running through an [M-Audio FireWire Solo][2].  I use it for gaming, skype, etc.  Will having the phantom power on 24/7 wear the mic out faster, or have any other negative effects?  Should I be turning the phatom power off when I'm not using the mic?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.studioprojectsusa.com/c1.html&#xD;&#xA;  [2]: http://www.m-audio.com/products/en_us/FireWireSolo.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="42103" PostHistoryTypeId="1" PostId="24471" RevisionGUID="bf69742f-8bc7-4b3c-beec-57b7d031f5e1" CreationDate="2010-12-17T22:36:22.030" UserId="457" Text="Does constant phantom power (24/7) to a microphone wear it out faster?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42104" PostHistoryTypeId="3" PostId="24471" RevisionGUID="bf69742f-8bc7-4b3c-beec-57b7d031f5e1" CreationDate="2010-12-17T22:36:22.030" UserId="457" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42105" PostHistoryTypeId="36" PostId="24472" RevisionGUID="c4f09cb0-ec65-4f38-ace4-347fa0662a02" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/364/does-constant-phantom-power-24-7-to-a-microphone-wear-it-out-faster/376#376" />
  <row Id="42106" PostHistoryTypeId="36" PostId="24473" RevisionGUID="82ae69bf-5085-4939-9921-38c73fe558fa" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/364/does-constant-phantom-power-24-7-to-a-microphone-wear-it-out-faster/2826#2826" />
  <row Id="42107" PostHistoryTypeId="2" PostId="24473" RevisionGUID="fd7d1b2f-bcf1-4975-a1b5-1a487d2688bd" CreationDate="2011-12-16T17:01:45.630" UserDisplayName="user1736" Text="I agree with @sklivvz on the environmental angle, but from stories ive heard in studios over the years, they would leave equipment ON all the time. It was a given for them that equipment usually breaks when getting its first burst of power, and thats true to a certain extent, probably more for mixing desks which was what this case was based on, but I wouldnt recommend leaving it on all the time anyway, at least until someone figures out an infinite source of energy that we dont have to kill each other over :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="42108" PostHistoryTypeId="36" PostId="24474" RevisionGUID="56156b2d-9e99-4e0d-b061-702e448394c6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2757/using-both-dynamic-and-condenser-microphone-to-record-vocal" />
  <row Id="42109" PostHistoryTypeId="2" PostId="24475" RevisionGUID="5074e673-76d3-437f-86dd-6a06c4eb048c" CreationDate="2011-12-06T22:52:09.300" UserDisplayName="Joe Stavitsky" Text="Condenser looks to be a Neumann, can't tell what the dynamic is (if it is a dynamic, plenty of condensers in that form factor). My best guess is that the &quot;dynamic&quot; is being used for outboard or vst effects. IIRC their vocals are heavily distorted. Such distortion is much easier to control with a separate channel of audio. This way you can mix together distorted and clean sound to make tasty things. &#xD;&#xA;&#xD;&#xA;Something similar was done on Tyrannosaurus Hives by the Hives. They mixed outputs from their electric guitar pickups with mics that were placed really close to their instruments, resulting in a really &quot;bright&quot; sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="42110" PostHistoryTypeId="2" PostId="24474" RevisionGUID="f72a4e81-43ce-4eae-a403-cd72a5d94d44" CreationDate="2011-12-06T15:15:47.390" UserId="7942" UserDisplayName="Jean-François Côté" Text="I just finished listening to the DVD off the new Korn album (Korn III). The DVD is &quot;studio/videoclip&quot; and we see real footage of the recording of the album. On most of the song, we see the singer (Jonathan Davis) being recorded with both a dynamic microphone and a condenser microphone. &#xD;&#xA;&#xD;&#xA;So my question is: Does this setting have some advantage over using only one mic? Or maybe there is always just one mic recording at the time and it's only there, ready for any occasion?&#xD;&#xA;&#xD;&#xA;You can see a part of the DVD [here][1]&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=4z3gDEd5v0o" ContentLicense="CC BY-SA 3.0" />
  <row Id="42111" PostHistoryTypeId="1" PostId="24474" RevisionGUID="f72a4e81-43ce-4eae-a403-cd72a5d94d44" CreationDate="2011-12-06T15:15:47.390" UserId="7942" UserDisplayName="Jean-François Côté" Text="Using both dynamic and condenser microphone to record vocal?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42112" PostHistoryTypeId="3" PostId="24474" RevisionGUID="f72a4e81-43ce-4eae-a403-cd72a5d94d44" CreationDate="2011-12-06T15:15:47.390" UserId="7942" UserDisplayName="Jean-François Côté" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42113" PostHistoryTypeId="36" PostId="24475" RevisionGUID="0c9eee24-9626-4436-8c9b-c6862ba7186f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2757/using-both-dynamic-and-condenser-microphone-to-record-vocal/2762#2762" />
  <row Id="42114" PostHistoryTypeId="36" PostId="24476" RevisionGUID="76cb83f9-0f57-4a5b-862a-71f414bb313c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2757/using-both-dynamic-and-condenser-microphone-to-record-vocal/2783#2783" />
  <row Id="42115" PostHistoryTypeId="2" PostId="24476" RevisionGUID="8838da74-6db2-45f6-8876-af01c568526a" CreationDate="2011-12-09T10:30:07.153" UserId="7200" Text="The dynamic (or what else it is) mic likely has a tighter polar pattern than the condenser and also a more midrange-focused frequency respone. Both is useful if you want to apply effects on the signal, especially distortion, because then the room reflections and the low frequency components tend to make the sound undefined/muddy. On the other hand, for a clean signal, the open and full sound of a large-diaphragm microphone is obviously quite desirable. By using two different microphones for this, it is possible to get the benefits of both ways: a powerful overdriven sound that still doesn't feel to &quot;narrow&quot;.&#xD;&#xA;&#xD;&#xA;It can work even better if you also place place the microphones at different distances. I once made a record where I had the singer sing directly into her SM58 as she would do live, while also recording with a large-diaphragm about 1 foot away. This can, however, lead to phase-cancelling problems if you don't adjust the track delays accordingly." ContentLicense="CC BY-SA 3.0" />
  <row Id="42116" PostHistoryTypeId="36" PostId="24477" RevisionGUID="873ff58f-26a9-4b4c-8ea5-9e47c5c524c3" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8888/usb-power-enough-for-a-mic-preamp" />
  <row Id="42117" PostHistoryTypeId="36" PostId="24478" RevisionGUID="36446ea8-ba69-4066-a910-360894979fd2" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8888/usb-power-enough-for-a-mic-preamp/8889#8889" />
  <row Id="42118" PostHistoryTypeId="36" PostId="24479" RevisionGUID="1afe034e-bc41-41c1-8175-c04cab25cef0" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8888/usb-power-enough-for-a-mic-preamp/8890#8890" />
  <row Id="42119" PostHistoryTypeId="36" PostId="24480" RevisionGUID="7bc38b55-fb62-452a-8c4b-b4a0cb4289d3" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8888/usb-power-enough-for-a-mic-preamp/8905#8905" />
  <row Id="42120" PostHistoryTypeId="2" PostId="24478" RevisionGUID="4afb1b38-01d7-44a5-b81a-7f43f1c1f3bd" CreationDate="2013-09-05T22:30:56.753" UserId="7016" Text="It won't necessarily be lower quality, but it could be.&#xD;&#xA;&#xD;&#xA;USB ports can quite happily deliver 5v at 2 amps - but if your PC/laptop/mac is under heavy load you may find that it drops a bit, or the 5v isn't very pure so you may get fluctuations in the power supply to your mic adaptor.&#xD;&#xA;&#xD;&#xA;The same thing happens with a mains supply, but it can be easier to filter out the 50/60Hz mains hum than to filter out the wide range of high pitched interference you can get from components within your computer. You can also get a higher voltage easily from rectifying and smoothing mains current, as opposed to having to upscale from your USB's 5V with an inverter." ContentLicense="CC BY-SA 3.0" />
  <row Id="42121" PostHistoryTypeId="2" PostId="24479" RevisionGUID="28c59ded-aa3d-4611-8fb3-8e4cd7b9fe8d" CreationDate="2013-09-06T02:20:05.907" UserId="7200" Text="High-quality linear components generally need more than 5V supply, insofar the claim is reasonable.&#xD;&#xA;&#xD;&#xA;However, it is nowadays not a big deal to include a [DC-DC converter](http://en.wikipedia.org/wiki/DC-DC_converter) to attain a higher voltage. Of course this needs more current, but USB offers rather plenty of Amps. Then you also have enough headroom to smoothen out most interference with fixed-voltage regulators etc.. Some people will claim that this never achieves as clean results as a traditional 60Hz AC trafo, but there is no real, scientifically sound reason why this should be so.&#xD;&#xA;&#xD;&#xA;Most USB interfaces apparently go the DC-DC conv. route, otherwise they also couldn't provide 48V phantom power." ContentLicense="CC BY-SA 3.0" />
  <row Id="42122" PostHistoryTypeId="2" PostId="24480" RevisionGUID="4e612d41-4319-46a9-875a-fc928c589981" CreationDate="2013-09-07T08:50:21.733" UserDisplayName="Johannes Eichberger" Text="In theory, there are electro-physical reasons as mentioned by Dr Mayhem.&#xD;&#xA;&#xD;&#xA;In practice, you will find AC power supplies almost only on larger multi-channel USB interfaces and hardly ever on a one-channel or two-channel device. If you do some research and explore reviews about audio quality of USB interfaces, you will find out that the quality of semi-professional USB-powered audio devices is notably good nowadays. Renowned manufacturers use the same microphone pre-amps as in large multi-channel devices and thus deliver comparable audio quality.&#xD;&#xA;&#xD;&#xA;So in theory, there is a difference, but in practice, the only difference is that small one-channel or two-channel devices are USB-powered for mobility reasons without a notable loss of quality." ContentLicense="CC BY-SA 3.0" />
  <row Id="42123" PostHistoryTypeId="2" PostId="24477" RevisionGUID="e4c65448-cb90-41fe-872d-9a19d3026bb7" CreationDate="2013-09-05T22:25:58.073" UserId="7840" UserDisplayName="themirror" Text="I've seen some vague claims that an XLR microphone-to-usb that's powered solely by USB will necessarily sound worse than one powered by a separate power source (a wall wart) because the preamp will necessarily be of lower quality?&#xD;&#xA;&#xD;&#xA;Is there any objective reasoning behind that? " ContentLicense="CC BY-SA 3.0" />
  <row Id="42124" PostHistoryTypeId="1" PostId="24477" RevisionGUID="e4c65448-cb90-41fe-872d-9a19d3026bb7" CreationDate="2013-09-05T22:25:58.073" UserId="7840" UserDisplayName="themirror" Text="USB power enough for a Mic preamp?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42125" PostHistoryTypeId="3" PostId="24477" RevisionGUID="e4c65448-cb90-41fe-872d-9a19d3026bb7" CreationDate="2013-09-05T22:25:58.073" UserId="7840" UserDisplayName="themirror" Text="&lt;microphone&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42126" PostHistoryTypeId="36" PostId="24481" RevisionGUID="9540e5a2-899f-4a2c-98b0-cc1aaf98b4e6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1626/xlr-vs-usb-microphone" />
  <row Id="42127" PostHistoryTypeId="2" PostId="24482" RevisionGUID="d9d77df5-ab37-406e-b1f1-30a3356e7de7" CreationDate="2011-06-20T15:06:39.257" UserId="7294" UserDisplayName="Warrior Bob" Text="The Fast Track Pro is an audio interface. It takes an analog signal and converts it to digital, and provides a way to connect to the computer. The USB microphone simply has a built-in interface.&#xD;&#xA;&#xD;&#xA;It comes down to what you want. If you specifically don't want to always use the Fast Track Pro, then the USB mic might be a good option, although like you said, you'll be tied to its interface so if it exhibits driver, latency, or quality problems you can't escape them.&#xD;&#xA;&#xD;&#xA;If you go with the XLR, you'll have to use an interface like the Fast Track, but I think this is an advantage - you probably get better preamps with a dedicated interface, and the microphone is portable to anything that accepts XLR. If you already like the Fast Track, then you can lean on its already-known properties for quality and latency. If you don't, you can always upgrade interfaces at some point.&#xD;&#xA;&#xD;&#xA;Personally I'm inclined to suggest XLR since it's such a standard for mics. I imagine that if you're already DJing and building a simple recording setup that you already have the Fast Track ready and available so it's no extra work to use it for recording, say, a podcast. You're still recording voice.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42128" PostHistoryTypeId="2" PostId="24481" RevisionGUID="1d0bc7be-dc98-40a8-a0e0-c9fd4ed39e96" CreationDate="2011-06-20T12:51:06.673" UserDisplayName="mfcabrera" Text="I have a Fast Track Pro  (which as an XLR pre-amp) mostly used for DJing tasks. Now, I am in the process of creating a small (really cheap) recording studio in my home. I was looking for cheap Mics, and I found a few like the Samson C01, for example, which has two models; one with a USB connector, and one with a standard XLR connector.  &#xD;&#xA;&#xD;&#xA;Now, I am not sure which one to buy. If I choose the USB one I am afraid of having latency issues or lesser sound quality, but if I choose the XLR I will always be required to use my Fast Track Pro in order to record (even if just creating a Podcast, not recording voice or an instrument).  &#xD;&#xA;&#xD;&#xA;Which option do you think is the best in this particular situation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42129" PostHistoryTypeId="1" PostId="24481" RevisionGUID="1d0bc7be-dc98-40a8-a0e0-c9fd4ed39e96" CreationDate="2011-06-20T12:51:06.673" UserDisplayName="mfcabrera" Text="XLR vs USB Microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="42130" PostHistoryTypeId="3" PostId="24481" RevisionGUID="1d0bc7be-dc98-40a8-a0e0-c9fd4ed39e96" CreationDate="2011-06-20T12:51:06.673" UserDisplayName="mfcabrera" Text="&lt;microphone&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42131" PostHistoryTypeId="36" PostId="24482" RevisionGUID="9adb2318-3992-4da4-8dd7-075cff73d043" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1626/xlr-vs-usb-microphone/1628#1628" />
  <row Id="42132" PostHistoryTypeId="36" PostId="24483" RevisionGUID="93eb6557-e32c-45e6-9820-1bf51a627f5f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1626/xlr-vs-usb-microphone/1647#1647" />
  <row Id="42133" PostHistoryTypeId="2" PostId="24483" RevisionGUID="0f6ddf59-6734-47dd-b5c7-de361731cc5c" CreationDate="2011-06-24T14:39:33.447" UserId="17571" UserDisplayName="Zeronyne" Text="Please, please, please get a mic with an XLR over a USB connection unless you are just cranking out podcasts. If you are recording songs, you will eventually want to introduce a nice preamp and maybe some analog eq and compression into your signal path. This will be impossible of the A/D is built into the mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="42134" PostHistoryTypeId="36" PostId="24484" RevisionGUID="0243a6c7-7038-4076-bd33-3e6c21be348a" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/61/suggestions-for-micing-violins" />
  <row Id="42135" PostHistoryTypeId="2" PostId="24485" RevisionGUID="949b4b8a-1dd3-41b8-90fd-05ae9d4e0392" CreationDate="2010-12-07T23:39:33.320" UserDisplayName="Kim Burgaard" Text="There's a lot of personal preferences that goes into this decision, but I personally prefer recording acoustic instruments with a large diaphragm condenser microphone.  You can position the microphone very closely to the instrument, provided the violinist doesn't move around a lot when playing, and you can experiment with placing the microphone closer to the body or the neck. When placed properly, you should be able to capture a much more full bodied sound.&#xD;&#xA;&#xD;&#xA;Alternatively, you can get dedicated violin microphones that are attached to the instrument.  They will give you a very intimate sound, and some would argue unnatural or intimate, since the recorded sound will be closer to that of the violin player than of a typical listener.  The freestanding microphone gives you a lot of freedom to try to get the sound you want before you hit the mixer.&#xD;&#xA;&#xD;&#xA;For a more thorough setup, consider setting up two microphones; a condenser microphone close to the instrument and another microphone to pick up ambient room sounds. Between the two microphones you can decide how much fret noise and other noises from the violin you wish to pick up and thus how &quot;intimate&quot; you want the sound to appear to the listener.  You might even find that the room's effect on the ambient microphone sometimes work as a nice subtle effect in your mix.&#xD;&#xA;&#xD;&#xA;When you record multiple violins, especially if you capture all violins with one microphone, make sure you position the players to avoid phasing problems. Try varying how the players stand around the microphone, e.g. facing each other, side by side, or at an angle.  Just a few degrees can sometimes make a huge difference for other instruments and I don't see how violins would be any different in this regard." ContentLicense="CC BY-SA 2.5" />
  <row Id="42136" PostHistoryTypeId="2" PostId="24484" RevisionGUID="3437eaab-e67c-4a33-b5d4-75fe2e2ac99c" CreationDate="2010-12-07T21:44:41.513" UserId="7398" UserDisplayName="BenV" Text="I have a session coming up where I will be recording a couple violins.  I've done a few violin sessions in the past and never been happy with the violin sound I've ended up with - it's always been too thin and harsh.  Any tips on mic placement to get a more mellow sound?  I'm in a home studio with a mediocre room at best so I don't want a lot of room sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="42137" PostHistoryTypeId="1" PostId="24484" RevisionGUID="3437eaab-e67c-4a33-b5d4-75fe2e2ac99c" CreationDate="2010-12-07T21:44:41.513" UserId="7398" UserDisplayName="BenV" Text="Suggestions for micing violins" ContentLicense="CC BY-SA 2.5" />
  <row Id="42138" PostHistoryTypeId="3" PostId="24484" RevisionGUID="3437eaab-e67c-4a33-b5d4-75fe2e2ac99c" CreationDate="2010-12-07T21:44:41.513" UserId="7398" UserDisplayName="BenV" Text="&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42139" PostHistoryTypeId="36" PostId="24485" RevisionGUID="c1560854-f90b-44de-860c-371b899fc7f8" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/61/suggestions-for-micing-violins/80#80" />
  <row Id="42140" PostHistoryTypeId="36" PostId="24486" RevisionGUID="e5919594-e658-4b06-af29-22ef8caebf21" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7989/what-mic-should-i-used-to-record-a-roundtable-discussion-in-a-noisy-convention-c" />
  <row Id="42141" PostHistoryTypeId="36" PostId="24487" RevisionGUID="79ce5b5a-73f0-4a21-a49a-946dfc204ad4" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7989/what-mic-should-i-used-to-record-a-roundtable-discussion-in-a-noisy-convention-c/7990#7990" />
  <row Id="42142" PostHistoryTypeId="2" PostId="24487" RevisionGUID="11d9020e-a951-411d-a88e-0e082d62361d" CreationDate="2013-05-29T16:21:23.380" UserId="7174" Text="A Cardioid Boundary mics on the table pointed at each speaker should be fine as long as it isn't being used live.  They can just point in the general direction of the speaker and then be gained up to pick up the speaking clearly.  There will still be a fair bit of background noise probably, but it should be possible to make out the speaker as long as there is a boundary mic in front of each speaker individually.&#xD;&#xA;&#xD;&#xA;Obviously you'd get better quality from a microphone being closer to the speaker.  But I think you should probably get OK results for you purposes without it.  It wouldn't be a bad idea to do a trial run though and be prepared for either eventuality.  Noise levels can vary greatly at a conference depending on where you are and how crowded the area you are in is." ContentLicense="CC BY-SA 3.0" />
  <row Id="42143" PostHistoryTypeId="2" PostId="24486" RevisionGUID="68050c1c-9777-4a96-915c-20da03159b87" CreationDate="2013-05-29T16:11:41.687" UserDisplayName="user4134" Text="I've been tasked to record multiple round table discussions at a conference that my company is going to in about a month. &#xD;&#xA;&#xD;&#xA;From what I've been told here's the setup: &#xD;&#xA;&#xD;&#xA; - The table itself is literally a roundtable that's about 6ft in length&#xD;&#xA; - The acoustics are going to be horrifying because it's a convention&#xD;&#xA;   center which is the equivalent of recording a discussion in a stadium&#xD;&#xA; - There will be thousands of people walking around our booth so there&#xD;&#xA;   will be tons of ambient noise&#xD;&#xA; - They want to mics to be able to sit on the table and go from there, no one will be there to continually point a boom mic to the person talking &#xD;&#xA;&#xD;&#xA;Now my company is hoping that there's a low profile option so there isn't a huge mic in everyone's face to get decent audio but I don't know if that's possible. The sound we want to get from these conversations, is for research only, we want to be able to hear what people are saying but it doesn't have to be THX quality.&#xD;&#xA;&#xD;&#xA;Does anyone know a way where this could work and get some semi-decent audio? I've done some research and found conference call mics, but I don't know if that would work in a noisy room. &#xD;&#xA;&#xD;&#xA;I appreciate any help." ContentLicense="CC BY-SA 3.0" />
  <row Id="42144" PostHistoryTypeId="1" PostId="24486" RevisionGUID="68050c1c-9777-4a96-915c-20da03159b87" CreationDate="2013-05-29T16:11:41.687" UserDisplayName="user4134" Text="What mic should I used to record a roundtable discussion in a noisy convention center?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42145" PostHistoryTypeId="3" PostId="24486" RevisionGUID="68050c1c-9777-4a96-915c-20da03159b87" CreationDate="2013-05-29T16:11:41.687" UserDisplayName="user4134" Text="&lt;microphone&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42146" PostHistoryTypeId="36" PostId="24488" RevisionGUID="a0a24ff5-890b-4c10-8382-37237325a680" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2793/voice-narration-mastering" />
  <row Id="42147" PostHistoryTypeId="36" PostId="24489" RevisionGUID="279e90dd-4559-4919-8b77-eb9491a178d1" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2793/voice-narration-mastering/2795#2795" />
  <row Id="42148" PostHistoryTypeId="36" PostId="24490" RevisionGUID="8d066cfb-86f1-4fc4-8a79-1a927b2e5db1" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2793/voice-narration-mastering/3364#3364" />
  <row Id="42149" PostHistoryTypeId="2" PostId="24489" RevisionGUID="f6df585e-c8bd-4122-ba21-c11e0d21ec49" CreationDate="2011-12-13T09:54:00.870" UserId="7471" UserDisplayName="Mark Heath" Text="On the microphone front, you will find that a lot of the better quality microphones have [XLR connectors][1] and many require [phantom power][2]. Because of this, you can't simply buy a good microphone and plug it straight into your computer without an good audio interface as well. However, for screencasting, where you generally require just one microphone, you can get them with a USB interface built in, which can save you money. Two of the best known are the [Samson C01U][3] and the [Blue microphones Snowball][4]. Both would be perfectly adequate for screencasts.&#xD;&#xA;&#xD;&#xA;As for mastering the audio, the most important thing is getting a good consistent volume level. For this you would need a compressor. Here's [a tutorial][5] on how to compress the dynamic range using the compressor that comes with [Audacity][6].&#xD;&#xA;&#xD;&#xA;Other things you could look into for mastering your audio are removing background noise (also covered in that tutorial), and possibly EQing a little if your voise sounds too boomy or nasal.&#xD;&#xA;&#xD;&#xA;For more reading, I recommend a web search on &quot;mastering podcasts&quot;, as that will lead you to plenty of tutorials focussed on mastering spoken word recordings.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/XLR_connector&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Phantom_power&#xD;&#xA;  [3]: http://www.samsontech.com/samson/products/microphones/usb-microphones/c01u/&#xD;&#xA;  [4]: http://www.bluemic.com/snowball/&#xD;&#xA;  [5]: http://www.geeks.com/techtips/2006/techtips-10dec06.htm&#xD;&#xA;  [6]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="42150" PostHistoryTypeId="2" PostId="24490" RevisionGUID="c15b61a4-6d94-4e6e-bde6-ab203d52aeff" CreationDate="2012-02-19T14:42:16.007" UserDisplayName="Bob Denny" Text="Im also just learning about this. I have two USB microphones, both of which are quite good. My favorite is the AudioTechnica 2020USB, a side-address condenser mic. The other one is a Røde Podcaster, an end-address dynamic mic. They have their differences. The AudioTechnica is more sensitive and sweeter at the top end, but it will pick up room resonance and background noise. The Røde requires talking up close but it is better with untreated areas.&#xD;&#xA;&#xD;&#xA;With the USB mics you can do all of your mixing and EQ on your computer. No problem having several USB mics plugged in at the same time, as long as your mixing software lets you assign them to separate busses. &#xD;&#xA;&#xD;&#xA;I just wanted to add to the previous post to alert you to some good USB mics." ContentLicense="CC BY-SA 3.0" />
  <row Id="42151" PostHistoryTypeId="2" PostId="24488" RevisionGUID="ca9e0978-a744-4e79-8e66-d7fad18a31ef" CreationDate="2011-12-12T12:54:35.170" UserDisplayName="Nikolay Dyankov" Text="I'm a web developer who wants to start making screencasts, with emphasis on quality. One of the things that I have to take care of is the voice quality - I want it to be as good as possible for a reasonable amount of investment.&#xD;&#xA;&#xD;&#xA;First - Microphone. Can you please recommend me a good entry-level product?&#xD;&#xA;&#xD;&#xA;Second - Mastering. I've never done this before, but I know it's important for the quality and it will make my screencasts sound that much more professional. Can you please point me in the right direction, where to find a good guide, theory, software, tutorial, reading material, or just about anything that will help me get this done." ContentLicense="CC BY-SA 3.0" />
  <row Id="42152" PostHistoryTypeId="1" PostId="24488" RevisionGUID="ca9e0978-a744-4e79-8e66-d7fad18a31ef" CreationDate="2011-12-12T12:54:35.170" UserDisplayName="Nikolay Dyankov" Text="Voice narration mastering?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42153" PostHistoryTypeId="3" PostId="24488" RevisionGUID="ca9e0978-a744-4e79-8e66-d7fad18a31ef" CreationDate="2011-12-12T12:54:35.170" UserDisplayName="Nikolay Dyankov" Text="&lt;microphone&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42154" PostHistoryTypeId="36" PostId="24491" RevisionGUID="4d06af5c-afb5-456a-9897-b736f0998124" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1044/recording-acoustic-guitar-with-zoom-h4" />
  <row Id="42155" PostHistoryTypeId="2" PostId="24492" RevisionGUID="d7b7e6e1-a781-4631-bb67-81748be62673" CreationDate="2011-03-17T21:35:41.633" UserId="7592" UserDisplayName="Pelle ten Cate" Text="The H4 comes with an XY-style stereo microphone system, which can be quite a thrill to record an acoustic guitar with, provided that the device is placed at the correct angle and distance.&#xD;&#xA;&#xD;&#xA;As a start, try pointing the device to the guitar just above the hole, at the end of the fingerboard. Depending on acoustics and the amount of stereo separation, vary the distance between the device and the instrument. Attach the device to some kind of stand to make the position perfect. &#xD;&#xA;&#xD;&#xA;If you are getting too much fret noise, rather than moving the device away from it, tilt the device away from it, i.e. point the microphone end a bit more towards the bottom of the guitar. The XY microphones in the H4 are cardioid, that means they are less sensitive on the side than they are on the front. " ContentLicense="CC BY-SA 2.5" />
  <row Id="42156" PostHistoryTypeId="2" PostId="24491" RevisionGUID="0889731a-b912-4c2e-a2f1-ef58b591871b" CreationDate="2011-03-17T12:49:29.610" UserDisplayName="steevc" Text="I've been trying some recording of my acoustic with the H4. I was playing fingerstyle, so not as loud as when using a pick/plectrum. [This recording][1] was with the H4 on a tripod just next to my hand (neck side). It's picking up a lot of fretting hand noise and there's a fair bit of variation in level as some notes just ring out louder.&#xD;&#xA;&#xD;&#xA;Any suggestions on how to get the best from this set-up? Would any of the H4 effects or mic models be worth using?&#xD;&#xA;&#xD;&#xA;BTW I'm using a Dean Performer E guitar. This has a pickup which I need to try some time. I'm wondering if it's worth mixing the pickup with a mic recording, but that would mean getting a mic I can plug into the H4 as you can't use the internal mics with the inputs at the same time.&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/steevc/empty-spaces" ContentLicense="CC BY-SA 2.5" />
  <row Id="42157" PostHistoryTypeId="1" PostId="24491" RevisionGUID="0889731a-b912-4c2e-a2f1-ef58b591871b" CreationDate="2011-03-17T12:49:29.610" UserDisplayName="steevc" Text="Recording acoustic guitar with Zoom H4" ContentLicense="CC BY-SA 2.5" />
  <row Id="42158" PostHistoryTypeId="3" PostId="24491" RevisionGUID="0889731a-b912-4c2e-a2f1-ef58b591871b" CreationDate="2011-03-17T12:49:29.610" UserDisplayName="steevc" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42159" PostHistoryTypeId="36" PostId="24492" RevisionGUID="c97a11ee-9bb8-4645-9582-9a00b8ea1b0e" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1044/recording-acoustic-guitar-with-zoom-h4/1048#1048" />
  <row Id="42160" PostHistoryTypeId="36" PostId="24493" RevisionGUID="243e58d4-9e92-4442-b85c-916cb182fe00" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1387/product-recommendation-shotgun-microphone-for-speech" />
  <row Id="42161" PostHistoryTypeId="2" PostId="24494" RevisionGUID="e738d97d-668b-47e7-b4f4-9df849ae6219" CreationDate="2011-05-16T13:45:24.240" UserDisplayName="Tyler Beaton" Text="The Rode Video mic is by far the best shotgun mic you can purchase in terms of bang for buck. Check it out, [here.][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/363083-REG/Rode_VIDEOMIC_VideoMic_Camera_Mounted.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="42162" PostHistoryTypeId="2" PostId="24493" RevisionGUID="05c1ff95-bb1c-49fe-84a5-172bf22c03f9" CreationDate="2011-05-09T17:47:02.750" UserId="7840" UserDisplayName="themirror" Text="I'm brand new to sound, and I want to begin documentary filmmaking.  What are some microphone models I should look at?  Preferably cheap and on ebay!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42163" PostHistoryTypeId="1" PostId="24493" RevisionGUID="05c1ff95-bb1c-49fe-84a5-172bf22c03f9" CreationDate="2011-05-09T17:47:02.750" UserId="7840" UserDisplayName="themirror" Text="Product recommendation: shotgun microphone for speech" ContentLicense="CC BY-SA 3.0" />
  <row Id="42164" PostHistoryTypeId="3" PostId="24493" RevisionGUID="05c1ff95-bb1c-49fe-84a5-172bf22c03f9" CreationDate="2011-05-09T17:47:02.750" UserId="7840" UserDisplayName="themirror" Text="&lt;microphone&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42165" PostHistoryTypeId="36" PostId="24494" RevisionGUID="bd29bfcd-0214-4aec-a15b-8f279aec2388" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1387/product-recommendation-shotgun-microphone-for-speech/1414#1414" />
  <row Id="42166" PostHistoryTypeId="36" PostId="24495" RevisionGUID="82ceb390-a550-4616-a211-e6aef76d8ec3" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1387/product-recommendation-shotgun-microphone-for-speech/1425#1425" />
  <row Id="42167" PostHistoryTypeId="2" PostId="24495" RevisionGUID="c90548b1-3834-40b7-88eb-b572fa1b3ed5" CreationDate="2011-05-17T14:14:49.213" UserDisplayName="Owen Kelly" Text="I personally own the Rode VideoMic and Rode NTG3, for the same purpose as you require. The NTG3 is lightyears ahead of the VideoMic, but thats appropriate for the associated price, and the fact it requires 48v.&#xD;&#xA;&#xD;&#xA;There is a new VideoMic out which is smaller, and from what I have heard (from the actual mic, not people talking about the mic) it is very capable.&#xD;&#xA;&#xD;&#xA;Getting the mic as close to the subject as possible will aid far more than mic choice, if budget is you main concern. With that in mind you may consider a far cheaper shotgun mic, that you can hold in your had just off screen." ContentLicense="CC BY-SA 3.0" />
  <row Id="42168" PostHistoryTypeId="36" PostId="24496" RevisionGUID="bbf03037-00ec-4472-8be0-e0383e28ad49" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1373/what-are-those-switches-on-my-microphone-having-something-to-do-with-directions" />
  <row Id="42169" PostHistoryTypeId="2" PostId="24497" RevisionGUID="7ff691b0-f574-4b7b-835b-b3b0d66dab59" CreationDate="2011-05-07T17:48:12.760" UserId="7471" UserDisplayName="Mark Heath" Text="From your description it sounds like a [microphone polar pattern][1] switch, which governs whether the microphone should only pick up sounds coming directly from the front, or whether it should record sounds from all directions. Usually there will be a &quot;cardioid&quot; position, which suppresses sound from the back.&#xD;&#xA;&#xD;&#xA;The MAudio [Sputnik][2] and [Solaris][3] microphones both feature &quot;selectable cardioid, figure-8, and omni polar patterns&quot;&#xD;&#xA;&#xD;&#xA;*answer updated now we know which microphone we are talking about...*&#xD;&#xA;&#xD;&#xA;To understand the little pictures. The top of the diagram is the front of your microphone. It is a 360 degree plot of the responsiveness of the microphone from all angles - the further the point is from the centre, the louder the response is.&#xD;&#xA;&#xD;&#xA;The **omni pattern** is the easiest to understand - it will pick up sounds equally from all directions. This is good if you are using a single microphone to try to pick up everything in a room.&#xD;&#xA;&#xD;&#xA;![Omnidirectional pattern][4]&#xD;&#xA;&#xD;&#xA;The **cardioid pattern** attempts to accept sounds from the front, and reject them from the back. This would be useful for example when recording a single vocalist. It is important to know which side of your microphone is the &quot;front&quot; (usually has the manufacturer logo on it)&#xD;&#xA;&#xD;&#xA;![Cardioid Pattern][5]&#xD;&#xA;&#xD;&#xA;The **figure of eight** pattern rejects sounds from the side, but front and back can be used. So for example if you were recording two singers, one either side of the mic you could use that setting. &#xD;&#xA;&#xD;&#xA;![Figure of Eight Pattern][6]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Microphone#Microphone_polar_patterns&#xD;&#xA;  [2]: http://www.m-audio.com/products/en_us/Sputnik.html&#xD;&#xA;  [3]: http://www.m-audio.com/products/en_us/Solaris.html&#xD;&#xA;  [4]: http://i.stack.imgur.com/Pstb9.png&#xD;&#xA;  [5]: http://i.stack.imgur.com/HGeku.png&#xD;&#xA;  [6]: http://i.stack.imgur.com/5gQeh.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="42170" PostHistoryTypeId="2" PostId="24496" RevisionGUID="adf52bdf-f962-422d-aacc-4ac18ab65bb0" CreationDate="2011-05-07T16:15:44.080" UserDisplayName="Richard Rodriguez" Text="My microphone (M-audio [Solaris](http://www.m-audio.com/products/en_au/Solaris.html)) has this switch with 3 different pictures/diagrams (it's not volume, neither lowcut). I think it has something to do with directions from where the microphone records the audio?&#xD;&#xA;&#xD;&#xA;Could anyone explain those or at least tell me how they are called, so I can google for it?&#xD;&#xA;&#xD;&#xA;**EDIT:**&#xD;&#xA;&#xD;&#xA;Sorry guys, the microphone is really M-audio Solaris, my bad. As Mark Heath already mentioned, the diagrams are *microphone polar pattern*. So, could anyone explain those diagrams? I can't really understand them. Are they supposed to be top view, or are they front view? I don't get them at all." ContentLicense="CC BY-SA 3.0" />
  <row Id="42171" PostHistoryTypeId="1" PostId="24496" RevisionGUID="adf52bdf-f962-422d-aacc-4ac18ab65bb0" CreationDate="2011-05-07T16:15:44.080" UserDisplayName="Richard Rodriguez" Text="What are those switches on my microphone, having something to do with directions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42172" PostHistoryTypeId="3" PostId="24496" RevisionGUID="adf52bdf-f962-422d-aacc-4ac18ab65bb0" CreationDate="2011-05-07T16:15:44.080" UserDisplayName="Richard Rodriguez" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42173" PostHistoryTypeId="36" PostId="24497" RevisionGUID="4b5f2cbe-a145-46d9-a49c-262801185c34" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1373/what-are-those-switches-on-my-microphone-having-something-to-do-with-directions/1375#1375" />
  <row Id="42174" PostHistoryTypeId="36" PostId="24498" RevisionGUID="0d57d133-ff0d-4bee-975b-3a29e4a3518f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/319/does-it-hurt-to-send-phantom-power-to-a-mic-with-its-own-power-supply" />
  <row Id="42175" PostHistoryTypeId="2" PostId="24499" RevisionGUID="a95c492f-d86f-4ef1-83f1-da629e60a2fd" CreationDate="2010-12-16T08:26:37.520" UserId="7592" UserDisplayName="Pelle ten Cate" Text="It depends. On a lot of things, but mostly on the particular microphone. Phantom power in general is not evil for almost all dynamic mics who don't need it, but if you for instance plug a ribbon mic in a phantom powered input without switching it off first, you might just destroy the microphone completely. &#xD;&#xA;&#xD;&#xA;You will most likely find the answer inside the documentation of your particular microphone. :) If not, please share with us which microphone you plan doing this on, so we can help you further. " ContentLicense="CC BY-SA 2.5" />
  <row Id="42176" PostHistoryTypeId="2" PostId="24498" RevisionGUID="27c45b4b-5f01-41e5-b2d8-6d5d11cc6663" CreationDate="2010-12-16T05:57:48.267" UserId="7398" UserDisplayName="BenV" Text="And if not, why is there a switch on the preamp?  Why not just send phantom power all the time?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42177" PostHistoryTypeId="1" PostId="24498" RevisionGUID="27c45b4b-5f01-41e5-b2d8-6d5d11cc6663" CreationDate="2010-12-16T05:57:48.267" UserId="7398" UserDisplayName="BenV" Text="Does it hurt to send phantom power to a mic with its own power supply?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42178" PostHistoryTypeId="3" PostId="24498" RevisionGUID="27c45b4b-5f01-41e5-b2d8-6d5d11cc6663" CreationDate="2010-12-16T05:57:48.267" UserId="7398" UserDisplayName="BenV" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42179" PostHistoryTypeId="36" PostId="24499" RevisionGUID="2b5030b6-2d50-47f5-83bf-561d865e55c6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/319/does-it-hurt-to-send-phantom-power-to-a-mic-with-its-own-power-supply/321#321" />
  <row Id="42180" PostHistoryTypeId="36" PostId="24500" RevisionGUID="065f34b0-688a-452d-8219-6e37589c6ceb" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/319/does-it-hurt-to-send-phantom-power-to-a-mic-with-its-own-power-supply/328#328" />
  <row Id="42181" PostHistoryTypeId="36" PostId="24501" RevisionGUID="134b96fb-d20e-4980-9484-82c29e84a9bb" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/319/does-it-hurt-to-send-phantom-power-to-a-mic-with-its-own-power-supply/664#664" />
  <row Id="42182" PostHistoryTypeId="2" PostId="24500" RevisionGUID="540cef5b-ca89-46c8-bd4c-9e2dc160b962" CreationDate="2010-12-16T17:38:50.577" UserDisplayName="Daniel Rumley" Text="If you are refering to tube microphone power supplies, no phantom power will not damage anything.  Like Pelle said though, you can damage some older passive ribbon microphones without protection diodes.  Best to check first.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="42183" PostHistoryTypeId="2" PostId="24501" RevisionGUID="edbcf467-9633-4e84-a22f-307c2bc8cdb0" CreationDate="2011-01-22T00:12:43.907" UserDisplayName="jlebre" Text="Phantom power is usually relatively harmless. Most of the danger consist when people have their mic-lines normalled on the patchbay and are crosspatching.&#xD;&#xA;&#xD;&#xA;As said, refer to the documentation on that particular microphone. As a rule of thumb older ribbons might be completely unprotected (ie. absence of transformer or some kind of protection diode (quoting Daniel Rumley here :) ) but most modern dynamics, generally all the condensers - even the ones with their own psu - and even modern design of ribbon microphones will be alright with a constant feed.&#xD;&#xA;&#xD;&#xA;why do they have a off button? again, you might have to use a patchbay to crosspatch, you might be in a live scenario where a second console is introduce - although if the setup is expensive enough you'll have some really expensive splitters that will make this not be an issue - and it's a good practice to power down +48dc on microphones before powering them off.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42184" PostHistoryTypeId="36" PostId="24502" RevisionGUID="13bbf274-7f7b-406c-9bff-8e77d369f794" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9522/home-recording-how-to-isolate-non-constant-street-car-noise" />
  <row Id="42185" PostHistoryTypeId="36" PostId="24503" RevisionGUID="2cf7db09-b69c-4d83-bf2b-8b4b41c92b72" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9522/home-recording-how-to-isolate-non-constant-street-car-noise/9524#9524" />
  <row Id="42186" PostHistoryTypeId="36" PostId="24504" RevisionGUID="a139e076-95e5-42db-bd02-1bac99d18cd0" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9522/home-recording-how-to-isolate-non-constant-street-car-noise/9525#9525" />
  <row Id="42187" PostHistoryTypeId="2" PostId="24503" RevisionGUID="cb9d68da-b46f-45d4-9ae4-4cb4729854f1" CreationDate="2013-11-29T04:42:39.817" UserDisplayName="FerretallicA" Text="Acoustic foam won't do much when you're using the laptop's microphone (almost certainly omni-directional). Using a decent directional microphone (eg: http://www.amazon.com/Shure-SM58-LC-Cardioid-Microphone-without/dp/B000CZ0R42) will kill most 'outside' environmental noise, and anything exceptional like a really loud truck horn which slips through can be easily removed with any half decent audio editor.&#xD;&#xA;&#xD;&#xA;If you don't want to spend the money on a decent microphone and insist on recording in the presence of significant environment noise, try using something like Adobe Audition. It's not as good as not having the noise picked up to begin with but its &quot;Capture Noise Reduction Profile&quot; tool will do a much better job than applying generic EQ or hi/lo pass filters." ContentLicense="CC BY-SA 3.0" />
  <row Id="42188" PostHistoryTypeId="2" PostId="24504" RevisionGUID="5f93f733-3e25-457c-8e8d-acb443ceee59" CreationDate="2013-11-29T18:22:51.923" UserId="7174" Text="Unfortunately the only option is to prevent the noise from getting captured in the first place.  Better mics that are more directional and better sound insulation is the only real option.  If it is very loud noise though, it is going to be very hard to prevent entirely and it might actually be cheaper to rent a studio for doing your recording than trying to fix the problem within your apartment.&#xD;&#xA;&#xD;&#xA;So in order of things to try, I'd try putting a heavy blanket on the floor beneath your box.  Next, try a microphone that is more highly directional and localized and experiment with angles to try to reduce the noise, but it's likely going to bounce around a fair bit, so it probably won't fix it entirely.  You also will have a problem that if air can get in your box, so can sound, so you could try a box in a box to help prevent the noise from getting, but that starts getting costly to build two soundproof boxes and it still won't necessarily fix it depending on how loud it is." ContentLicense="CC BY-SA 3.0" />
  <row Id="42189" PostHistoryTypeId="2" PostId="24502" RevisionGUID="e9135f59-dffd-483e-a1b5-59e288cec83f" CreationDate="2013-11-29T01:12:20.947" UserId="6831" Text="I moved into this 2 BR apartment on the 5th floor in a building residing in a main street (didn't think about it when I got it ), and even at night (even after 1-3 AM) there's always a car or a truck that moves in front of our building every minute or two.&#xD;&#xA;&#xD;&#xA;I need to record some software tutorials for community channel and for possible commercial production offer as well.&#xD;&#xA;&#xD;&#xA;With the noise coming from the street, and not being constant noise that I can isolate with an audio editor, I'm unable to make these recordings.&#xD;&#xA;&#xD;&#xA;I have tried Acoustic Foam, making a box around me and the laptop, but this didn't seem to make a difference. I have tried going into a room with closed window and door but the window is only glass and the noise still comes (lower, but obvious) when closed. I also tried going to toilet, but the echo was so strong even with foam.&#xD;&#xA;&#xD;&#xA;Any other ideas to try? I cannot replace the windows / balcony etc. as I'm only renting. " ContentLicense="CC BY-SA 3.0" />
  <row Id="42190" PostHistoryTypeId="1" PostId="24502" RevisionGUID="e9135f59-dffd-483e-a1b5-59e288cec83f" CreationDate="2013-11-29T01:12:20.947" UserId="6831" Text="Home recording, how to isolate non-constant street car noise?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42191" PostHistoryTypeId="3" PostId="24502" RevisionGUID="e9135f59-dffd-483e-a1b5-59e288cec83f" CreationDate="2013-11-29T01:12:20.947" UserId="6831" Text="&lt;microphone&gt;&lt;home-studio&gt;&lt;noise&gt;&lt;noise-reduction&gt;&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42192" PostHistoryTypeId="36" PostId="24505" RevisionGUID="8b186e26-be73-4c7b-9ce3-72daa585bdcf" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/455/how-to-eliminate-50-hz-noise-from-microphone" />
  <row Id="42193" PostHistoryTypeId="36" PostId="24506" RevisionGUID="c19142ba-e768-4bcb-835e-7b3bd3d4405c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/455/how-to-eliminate-50-hz-noise-from-microphone/456#456" />
  <row Id="42194" PostHistoryTypeId="36" PostId="24507" RevisionGUID="51e62b63-51be-4182-a375-25dbfa1b768c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/455/how-to-eliminate-50-hz-noise-from-microphone/510#510" />
  <row Id="42195" PostHistoryTypeId="36" PostId="24508" RevisionGUID="1dc5d697-06e6-41c5-8c5d-5f68790a3ddf" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/455/how-to-eliminate-50-hz-noise-from-microphone/2002#2002" />
  <row Id="42196" PostHistoryTypeId="2" PostId="24506" RevisionGUID="dceebd39-9e6a-4838-9b99-1acf66c72e91" CreationDate="2010-12-26T20:42:35.893" UserId="7398" UserDisplayName="BenV" Text="To confirm that the body of your mic is grounded properly you can use an ohm multimeter and measure between the body and pin 1 of the mic.  If it shows more than 0 ohms then you have a grounding problem with your mic.&#xD;&#xA;&#xD;&#xA;You should also try swapping out mic cables and, if possible, try a different preamp to see if that's where the issue lies." ContentLicense="CC BY-SA 2.5" />
  <row Id="42197" PostHistoryTypeId="2" PostId="24507" RevisionGUID="09df7504-61b2-46cf-80b3-46b474e97447" CreationDate="2011-01-04T01:47:37.167" UserDisplayName="msutherl" Text="If you are unable to remove the noise via analog means, you can use a noise reduction plugin. Many plugins have 50hz, 60hz, etc. presets built in, but you can also record in the noise and the plugin will subtract that frequency component from the signal.&#xD;&#xA;&#xD;&#xA;Otherwise, the ghetto way to do it is to use a notch-filter at 50hz." ContentLicense="CC BY-SA 2.5" />
  <row Id="42198" PostHistoryTypeId="2" PostId="24508" RevisionGUID="7f2cbe72-fdac-4428-8412-3619290af018" CreationDate="2011-08-03T18:19:15.320" UserId="2506" Text="Run all of your equipment from a common ground (simplest way: string everything off a single multiway adapter, although be careful of the current draw on the poor socket and your house's RCDs and building ringmain if you have multiple 13A devices!).&#xD;&#xA;&#xD;&#xA;If you have to cross power and audio cables, do so at right angles. NEVER run power and audio cables in parallel.&#xD;&#xA;&#xD;&#xA;Use balanced connections wherever possible; XLR microphones and monitors from a balanced mixer or amp is desirable. Balanced TRS is less desirable but 'works' although you may still get some noise ingress.&#xD;&#xA;&#xD;&#xA;Check the wiring of your microphone if you're getting buzz / hum until you touch the body / capsule. You mentioned the mic is a headset mic; you may have an easier time just ditching it and buying a newer/better one." ContentLicense="CC BY-SA 3.0" />
  <row Id="42199" PostHistoryTypeId="2" PostId="24505" RevisionGUID="f5a6dd15-f037-4438-8bcb-ed9c3c81f385" CreationDate="2010-12-26T16:15:50.317" UserDisplayName="Vanuan" Text="Can anyone recommend a good technique on microphone grounding and elimination of 50 Hz noise?&#xD;&#xA;&#xD;&#xA;**Update**&#xD;&#xA;&#xD;&#xA;This is a simple headphone mic. &#xD;&#xA;When I touch mic's body the noise is decreased significally.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42200" PostHistoryTypeId="1" PostId="24505" RevisionGUID="f5a6dd15-f037-4438-8bcb-ed9c3c81f385" CreationDate="2010-12-26T16:15:50.317" UserDisplayName="Vanuan" Text="How to eliminate 50 Hz noise from microphone?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42201" PostHistoryTypeId="3" PostId="24505" RevisionGUID="f5a6dd15-f037-4438-8bcb-ed9c3c81f385" CreationDate="2010-12-26T16:15:50.317" UserDisplayName="Vanuan" Text="&lt;microphone&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42202" PostHistoryTypeId="36" PostId="24509" RevisionGUID="c80d8f6a-8036-4933-aec8-28c3ff4bd95c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/596/what-is-impedance-and-why-do-i-care-when-buying-a-microphone" />
  <row Id="42203" PostHistoryTypeId="2" PostId="24510" RevisionGUID="24dada2b-3521-4ce6-889a-c8f5049b4344" CreationDate="2011-01-15T18:43:10.770" UserId="7398" UserDisplayName="BenV" Text="**Definition**  &#xD;&#xA;Impedance is essentially a measure of how much a device resists, or impedes, the flow of alternating electrical current (AC).  It is measured in ohms, the symbol for which is `Ω`.&#xD;&#xA;&#xD;&#xA;**Lower is Better**  &#xD;&#xA;With microphones, a lower impedance is usually desirable.  High-impedance microphones can cause a loss of high-frequency signal and are more prone to signal noise (hum or buzz), especially over long distances.&#xD;&#xA;&#xD;&#xA;Generally, microphone impedance of less than 600Ω is considered &quot;low impedance&quot; and anything greater than 10,000Ω is considered &quot;high impedance&quot;.&#xD;&#xA;&#xD;&#xA;**Impedance matching**  &#xD;&#xA;Microphones should generally be connected to devices (i.e., mixers) with a higher impedance than the microphone.  Connecting a mic to a device of lower impedance causes a loss of signal.&#xD;&#xA;&#xD;&#xA;**Resources**  &#xD;&#xA;&#xD;&#xA; - http://www.mediacollege.com/audio/microphones/impedance.html&#xD;&#xA; - http://en.wikipedia.org/wiki/Microphone#Impedance-matching&#xD;&#xA; - http://shure.custhelp.com/app/answers/detail/a_id/224&#xD;&#xA; - http://rupertneve.com/company/notes/impedance-and-noise/" ContentLicense="CC BY-SA 2.5" />
  <row Id="42204" PostHistoryTypeId="2" PostId="24509" RevisionGUID="d663db9c-7ae5-4d5f-8d17-b7c843017a76" CreationDate="2011-01-14T22:00:07.867" UserDisplayName="Micah" Text="I've been researching some mics and aside from reviews I've been looking at the specs. I'm not sure I understand what impedance is and why I care about it when purchasing a mic." ContentLicense="CC BY-SA 2.5" />
  <row Id="42205" PostHistoryTypeId="1" PostId="24509" RevisionGUID="d663db9c-7ae5-4d5f-8d17-b7c843017a76" CreationDate="2011-01-14T22:00:07.867" UserDisplayName="Micah" Text="What is impedance and why do I care when buying a microphone?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42206" PostHistoryTypeId="3" PostId="24509" RevisionGUID="d663db9c-7ae5-4d5f-8d17-b7c843017a76" CreationDate="2011-01-14T22:00:07.867" UserDisplayName="Micah" Text="&lt;microphone&gt;&lt;electronics&gt;&lt;impedance&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42207" PostHistoryTypeId="36" PostId="24510" RevisionGUID="53bff756-4be1-406f-893f-fb1165635bbd" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/596/what-is-impedance-and-why-do-i-care-when-buying-a-microphone/602#602" />
  <row Id="42208" PostHistoryTypeId="36" PostId="24511" RevisionGUID="2fbf168e-6a94-464c-82fb-da07e03ebd2d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/596/what-is-impedance-and-why-do-i-care-when-buying-a-microphone/663#663" />
  <row Id="42209" PostHistoryTypeId="2" PostId="24511" RevisionGUID="f1d382c2-4fd5-452b-8d73-e4508f2d6d91" CreationDate="2011-01-22T00:04:02.603" UserDisplayName="jlebre" Text="Yes, has BenV said, impedance is a measure of how a device resists or impedes the flow. The catch is, it's also frequency dependant.&#xD;&#xA;&#xD;&#xA;Some more expensive preamps will even allow you to select several input impedances for the device allowing you to approximate the one for your microphone, or if you are in the mood to try something different, well... &#xD;&#xA;&#xD;&#xA;I usually notice problems straight away with older ribbon microphones, or some dynamic. Condenser microphones have built in circuitries or a dedicated transformer so you will usually find that they have an pretty consistent average of what their impedance value might be.&#xD;&#xA;&#xD;&#xA;Thing is, a difference between 100ohms to 1kohm can change drastically the sound! not only the loss of high frequency but the low end response gets slightly modified. An example is the actual physical resistance that a microphone has. The damper the microphone is usually the thicker the bottom end will sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="42210" PostHistoryTypeId="36" PostId="24512" RevisionGUID="d39eb406-2608-4da1-b872-8040be2c50e6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5173/plugging-in-unplugging-dynamic-mics-with-the-channel-on" />
  <row Id="42211" PostHistoryTypeId="36" PostId="24513" RevisionGUID="477f4578-9eb4-4813-8ae6-7dd5b265a6d7" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5173/plugging-in-unplugging-dynamic-mics-with-the-channel-on/5174#5174" />
  <row Id="42212" PostHistoryTypeId="2" PostId="24513" RevisionGUID="b923c20c-65a1-4363-a2e1-b6f4cc969b62" CreationDate="2012-10-27T09:47:47.247" UserId="7016" Text="Certainly, some old capacitor microphones could be damaged by phantom power, so you were always expected to wait 30 seconds after turning off phantom power before unplugging the microphone, and never to plug in microphones while phantom power was on!&#xD;&#xA;&#xD;&#xA;Not so sure it is an issue these days - of more concern is that when you unplug, you may get a very loud signal at the amps or desk - which could potentially damage them!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42213" PostHistoryTypeId="2" PostId="24512" RevisionGUID="bf2d694c-a975-4c6a-820a-995089c61cfb" CreationDate="2012-10-27T09:43:00.773" UserDisplayName="By137" Text="Is it true that plugging in/unplugging dynamic mics when the channel is turned on can lead to damage to the mic? If it is true, shouldn't it be true of damage to any equipment connected using XLR connectors?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42214" PostHistoryTypeId="1" PostId="24512" RevisionGUID="bf2d694c-a975-4c6a-820a-995089c61cfb" CreationDate="2012-10-27T09:43:00.773" UserDisplayName="By137" Text="Plugging in/Unplugging dynamic mics with the channel on" ContentLicense="CC BY-SA 3.0" />
  <row Id="42215" PostHistoryTypeId="3" PostId="24512" RevisionGUID="bf2d694c-a975-4c6a-820a-995089c61cfb" CreationDate="2012-10-27T09:43:00.773" UserDisplayName="By137" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42216" PostHistoryTypeId="36" PostId="24514" RevisionGUID="14727511-1b42-48be-9e50-1e23dbfa658c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1641/how-to-transmit-sound-from-my-microphone-to-my-speakers" />
  <row Id="42217" PostHistoryTypeId="36" PostId="24515" RevisionGUID="6e2c4c25-1e9d-4157-9f19-6c21c1027c12" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1641/how-to-transmit-sound-from-my-microphone-to-my-speakers/1643#1643" />
  <row Id="42218" PostHistoryTypeId="36" PostId="24516" RevisionGUID="c6fb95d2-0c5d-437d-b828-ad11c017c6e5" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1641/how-to-transmit-sound-from-my-microphone-to-my-speakers/1651#1651" />
  <row Id="42219" PostHistoryTypeId="2" PostId="24515" RevisionGUID="e52049a1-6755-4e31-8974-b64c5ae1a2a9" CreationDate="2011-06-23T19:31:59.957" UserId="7231" UserDisplayName="NReilingh" Text="The &quot;Big Boxes&quot; you have are both subwoofers with integrated amplifiers. You must connect each speaker to its appropriate amplifier, however, the Panasonic system requires a sound source that outputs 5.1 channel sound on RCA plugs. (The RCA marked &quot;SW&quot; would output sound from the &quot;big box&quot; itself.)&#xD;&#xA;&#xD;&#xA;Your Videocon amplifier has a passthrough, you could connect the output on the Videocon to the FL/FR plugs on the Panasonic to make use of at least two of the Panasonic's speakers.&#xD;&#xA;&#xD;&#xA;Given the equipment you have, you may have some success plugging the microphone directly into the PC2 Input on the Videocon. None of this equipment is very high quality, and microphones typically need to be preamplified before the level is suitable for use with a speaker system. Additionally, the PC2 input is probably stereo TRS, while the plug for your microphone is just TS, so your mileage may vary.&#xD;&#xA;&#xD;&#xA;Plug it in, crank it, and see what happens." ContentLicense="CC BY-SA 3.0" />
  <row Id="42220" PostHistoryTypeId="2" PostId="24516" RevisionGUID="44d3f652-01ca-48ef-a084-6335201ecb37" CreationDate="2011-06-25T12:57:41.450" UserId="7016" Text="I think you're really going to need a preamp. I don't have specs on the input requirements for your kit, but although they may have amplifiers built in, you'll want them driven at line level.&#xD;&#xA;&#xD;&#xA;And your mic just isn't going to manage anywhere near that.&#xD;&#xA;&#xD;&#xA;Get yourself a cheap preamp (even **[this one from Maplin][1]** for £4 should be enough) &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.maplin.co.uk/mono-preamp-kit-220052" ContentLicense="CC BY-SA 3.0" />
  <row Id="42221" PostHistoryTypeId="2" PostId="24514" RevisionGUID="c089b31c-fb0f-4184-99eb-e1feb078302d" CreationDate="2011-06-23T18:35:26.560" UserId="7696" UserDisplayName="Sathyaish" Text="Sorry I feel like an idiot asking this, but hey, I don't know what I don't know.&#xD;&#xA;&#xD;&#xA;I have a microphone and some speakers and some box like things that you can attach speakers to ([pictures here](http://www.aguywithalaptop.com/micspeakersquestion.htm &quot;Pictures of the speakers and the microphone&quot;)), and I want that whatever I say in the microphone should come out of the speakers loudly.&#xD;&#xA;&#xD;&#xA;I think out of the two box like things I have that connect speakers to them, one of them is called a woofer and I think it's purpose is to equalize and also amplify sound but I can't be sure. The other one of the boxes seems like a useless thing that you just connect speakers to. It's just so you can connect speakers to it and channelize whatever sound you want into the speakers.&#xD;&#xA;&#xD;&#xA;Well, I used to use one of these box like things, the woofer (Videocon brand) with my television set and DVD player. The other one is a Phillips make.&#xD;&#xA;&#xD;&#xA;Before you begin to wonder why I bought these things if I know so little about using them, I just dug all these things out from my basement. They'd been lying there for years now. I got them free with some other stuff I bought at different times." ContentLicense="CC BY-SA 3.0" />
  <row Id="42222" PostHistoryTypeId="1" PostId="24514" RevisionGUID="c089b31c-fb0f-4184-99eb-e1feb078302d" CreationDate="2011-06-23T18:35:26.560" UserId="7696" UserDisplayName="Sathyaish" Text="How to transmit sound from my microphone to my speakers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42223" PostHistoryTypeId="3" PostId="24514" RevisionGUID="c089b31c-fb0f-4184-99eb-e1feb078302d" CreationDate="2011-06-23T18:35:26.560" UserId="7696" UserDisplayName="Sathyaish" Text="&lt;microphone&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42224" PostHistoryTypeId="36" PostId="24517" RevisionGUID="8dd6abd2-9808-4ee4-aa3d-a101fe4c5f64" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4685/for-videocasting-what-is-the-best-microphone" />
  <row Id="42225" PostHistoryTypeId="36" PostId="24518" RevisionGUID="15cfc60e-de9e-410b-85a0-a4a751a8206f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4685/for-videocasting-what-is-the-best-microphone/4690#4690" />
  <row Id="42226" PostHistoryTypeId="36" PostId="24519" RevisionGUID="910e619f-8f4a-486b-81f3-8ff376084a0d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4685/for-videocasting-what-is-the-best-microphone/4699#4699" />
  <row Id="42227" PostHistoryTypeId="2" PostId="24518" RevisionGUID="b4389169-381e-4111-9a8f-7447c3fcb959" CreationDate="2012-09-09T11:00:10.190" UserId="7211" Text="Personally I use an sE X1. It's a large diaphragm cardioid condenser mic with a surprisingly flat frequency response for the price (the only peak is a slight jump of +3dB at 10kHz). I've left a link for a specs below:&#xD;&#xA;&#xD;&#xA;[sE X1 technical specs][1]&#xD;&#xA;&#xD;&#xA;[sE X1 on GAK][2] (£119) (it also prices the same on dv247)&#xD;&#xA;&#xD;&#xA;[sE X1 bundle][3] Plus for an extra £70 you can get a pop-shield and reflection filter.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Of course this is not the only option. A [Rode NT2A][4] (£219) or [NT1A][5] (£145) is always a solid bet for vocal recording as is the [Audio Technical AT2020][6] (only around £80 if you're on a strict budget!). Plus I bet you could find better prices for each of these mics if you looked around a bit.&#xD;&#xA;&#xD;&#xA;That's all I can really think of off the top of my head. Ask if you have any further questions :D&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.seelectronics.com/se-x1-microphone&#xD;&#xA;  [2]: http://www.gak.co.uk/en/s.e.-electronics-se-x1-large-diaphragm-condenser/29460&#xD;&#xA;  [3]: http://www.gak.co.uk/en/s.e.-electronics-sex1-project-studio-reflection-filter-bundle/39946&#xD;&#xA;  [4]: http://www.gak.co.uk/en/rode-nt-2a/5744&#xD;&#xA;  [5]: http://www.gak.co.uk/en/rode-nt1-a-complete-vocal-recording-solution-free-boom-mic-stand-free-pop-shield-and-free-shockmount/31723&#xD;&#xA;  [6]: http://www.gak.co.uk/en/audio-technica-at-2020/809" ContentLicense="CC BY-SA 3.0" />
  <row Id="42228" PostHistoryTypeId="2" PostId="24519" RevisionGUID="c8b1fe1b-1412-407e-ac99-ae733f75b35f" CreationDate="2012-09-10T22:02:07.017" UserDisplayName="Phasefire" Text="I really like the Blue Yeti, it's pretty darn cheap and it has a dial to change what type of mic it is so you should be able to use it for different projects&#xD;&#xA;(like voice-overs, and podcasts).&#xD;&#xA;It's less then $150 and here's a link  (holy cow now it's only $100 on amazon)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.bluemic.com/yeti/&#xD;&#xA;I own 2 and my girlfriend uses hers for professional voice over gigs and is super happy with it .&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42229" PostHistoryTypeId="2" PostId="24517" RevisionGUID="62cbf102-757a-4bd3-8127-652f00e0c80b" CreationDate="2012-09-09T03:16:47.813" UserId="7239" UserDisplayName="Evan Carroll" Text="I've done quite a bit of podcasting with an SM58.. Now, I'm doing videocasting, what's the best microphone to record sound? I want it to be more aesthetic: I don't want the microphone to be seen in the video -- I think that rules out dynamic microphones. It seems like a unidirectional condenser would be best? Any ideas of the best type of microphone to handle sound coming from a fixed direction, but preferably doesn't require obstructing the path of sight.&#xD;&#xA;&#xD;&#xA;I've done some reviews, it seems like condenser microphones are really not made to be used more than 2 feet away from the sound source. They sound really over-gained and not isolated. I'm still undecided.&#xD;&#xA;&#xD;&#xA;I found these videos to be useful:&#xD;&#xA;&#xD;&#xA;In this video you can see the USB AT202 (which I imagine is not as good as my current sound set up)&#xD;&#xA;&#xD;&#xA;&gt; http://www.youtube.com/watch?v=0QhhtEA4GnQ shows the AT2020 in a similar application&#xD;&#xA;&#xD;&#xA;In this video you can see the Sure SM93 in a similar setting. It's pretty unobtrusive and delivers an impressive result.&#xD;&#xA;&#xD;&#xA;&gt; http://www.youtube.com/watch?v=r19PbXJ4whY shows the Shure SM93 in a similar application.&#xD;&#xA;&#xD;&#xA;Someone help me decide!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42230" PostHistoryTypeId="1" PostId="24517" RevisionGUID="62cbf102-757a-4bd3-8127-652f00e0c80b" CreationDate="2012-09-09T03:16:47.813" UserId="7239" UserDisplayName="Evan Carroll" Text="For videocasting, what is the best microphone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42231" PostHistoryTypeId="3" PostId="24517" RevisionGUID="62cbf102-757a-4bd3-8127-652f00e0c80b" CreationDate="2012-09-09T03:16:47.813" UserId="7239" UserDisplayName="Evan Carroll" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42232" PostHistoryTypeId="36" PostId="24520" RevisionGUID="8d3abd1d-6865-4285-903f-4972517d60b9" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2116/fix-manage-loose-connections-on-microphones-xlr" />
  <row Id="42233" PostHistoryTypeId="2" PostId="24521" RevisionGUID="8fce4835-7859-491c-9b87-5b9dab6dbce1" CreationDate="2011-08-14T15:15:28.957" UserDisplayName="johnny1bucket" Text="well it could be a problem with either of them, look at the female adaptor on the cable and see if the small metal tab on it is bent or deformed in anyway, if it is then you may have to buy a new cord. If it is not bent&#xD;&#xA; ![female adapter on cord][1]&#xD;&#xA;&#xD;&#xA;then look at the port on the microphone and see if that looks deformed in any way, if it is then you can either buy a new microphone, or void the warranty and replace only the connecter by opening the casing cutting the wires attached and reattach them to the new one.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/qy2At.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="42234" PostHistoryTypeId="2" PostId="24520" RevisionGUID="294536e9-26fa-4f34-8baa-1af6e76ce0d5" CreationDate="2011-08-14T03:04:41.433" UserDisplayName="user135" Text="I have a small home studio, and use about a dozen microphones.  As it is a home studio, I work on a limited budget.  I purchased inexpensive cables and used (but good) microphones.  However, recently some of the XLR-mic connections are getting loose.  Specifically, I have two beta-58s that do not get strong connections with the cables.  If the mics are moved around during recording, the cables can jostle slightly (but stay attached)&#xD;&#xA;&#xD;&#xA;Is this a problem with cheap (and poorly fitted) cables?  Should these microphones ever *develop* connection problems?  At this point, is there a way to fix the problem without replacing the cables/mics, or would replacement be the best bet?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42235" PostHistoryTypeId="1" PostId="24520" RevisionGUID="294536e9-26fa-4f34-8baa-1af6e76ce0d5" CreationDate="2011-08-14T03:04:41.433" UserDisplayName="user135" Text="Fix / manage loose connections on microphones (XLR)" ContentLicense="CC BY-SA 3.0" />
  <row Id="42236" PostHistoryTypeId="3" PostId="24520" RevisionGUID="294536e9-26fa-4f34-8baa-1af6e76ce0d5" CreationDate="2011-08-14T03:04:41.433" UserDisplayName="user135" Text="&lt;microphone&gt;&lt;xlr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42237" PostHistoryTypeId="36" PostId="24521" RevisionGUID="dca2128d-1296-4afd-8fbe-57297b25b196" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2116/fix-manage-loose-connections-on-microphones-xlr/2117#2117" />
  <row Id="42238" PostHistoryTypeId="36" PostId="24522" RevisionGUID="5ae66821-66c6-444d-84db-5c341a0dd877" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2116/fix-manage-loose-connections-on-microphones-xlr/2118#2118" />
  <row Id="42239" PostHistoryTypeId="2" PostId="24522" RevisionGUID="5eefbf07-6a72-43c6-b7a4-1344a1d02725" CreationDate="2011-08-14T18:22:46.543" UserDisplayName="bobsbarricades" Text="I feel lucky that my college professor took the time in studio class to teach us how to make, maintain, and repair cables.  &#xD;&#xA;&#xD;&#xA;He also made us make all 200+ cables to the studio..&#xD;&#xA;&#xD;&#xA;Johnny gives good advice for wobbling.  But the best thing IMO, is to just buy new XLR's. Keep the cable and fix it!&#xD;&#xA;&#xD;&#xA;I just found this and he does a great job at explaining all the good bits of doing it.  Highly recommend you watch this video set.&#xD;&#xA;&#xD;&#xA;http://www.ehow.com/video_4419675_soldering-xlr-microphone-cables.html&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42240" PostHistoryTypeId="36" PostId="24523" RevisionGUID="e2c7df6f-a76d-4520-a7d5-c365b417527b" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/575/are-there-any-cheaper-alternatives-to-the-sm81" />
  <row Id="42241" PostHistoryTypeId="36" PostId="24524" RevisionGUID="6119c5f5-83ed-4a72-80ab-754ea4d6fac1" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/575/are-there-any-cheaper-alternatives-to-the-sm81/576#576" />
  <row Id="42242" PostHistoryTypeId="2" PostId="24524" RevisionGUID="20cc4104-78e8-4358-92e4-0bd41556a08d" CreationDate="2011-01-12T18:45:59.347" UserDisplayName="Bill Gribble" Text="The SM81 is a classic &quot;small-diaphragm condensor&quot; microphone.  Search for this term on Sweetwater or other pro-audio store site and you will find that it is a densely populated space.  &#xD;&#xA;&#xD;&#xA;The SM81 is a popular mic that has been around a long time, so you can probably find one used for a bit cheaper.&#xD;&#xA;&#xD;&#xA;To stay with new mics, you can find something like the Audio-Technica 450 for about $250, Rode NT5-S for a bit over $200, the Avantone CK-1 for about $150, and on down the scale.  All of them have something to offer; [GearSlutz][1] will have a boatload of opinion about any particular one.&#xD;&#xA;&#xD;&#xA;  [1]: http://gearslutz.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="42243" PostHistoryTypeId="2" PostId="24523" RevisionGUID="4267c60a-3e55-40cd-9200-6190e624d12f" CreationDate="2011-01-12T17:54:08.163" UserDisplayName="Micah" Text="I'm wanting a good mic for recording an acoustic guitar in my home studio. Everything I read says the SM81 is the way to go. But at $350 new it's a bit more then what I can spend. Can anyone recommend a few decent alternatives?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42244" PostHistoryTypeId="1" PostId="24523" RevisionGUID="4267c60a-3e55-40cd-9200-6190e624d12f" CreationDate="2011-01-12T17:54:08.163" UserDisplayName="Micah" Text="Are there any cheaper alternatives to the SM81?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42245" PostHistoryTypeId="3" PostId="24523" RevisionGUID="4267c60a-3e55-40cd-9200-6190e624d12f" CreationDate="2011-01-12T17:54:08.163" UserDisplayName="Micah" Text="&lt;microphone&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42246" PostHistoryTypeId="36" PostId="24525" RevisionGUID="2dc3d715-4b60-41a8-876c-63ace1141f6d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1298/how-can-i-clean-vocal-microphone-grill" />
  <row Id="42247" PostHistoryTypeId="2" PostId="24526" RevisionGUID="2fc57c41-db21-400d-a17c-042e1bea2e6a" CreationDate="2011-04-28T16:36:39.290" UserId="7093" Text="Here is a [link to some advice directly from Shure][1].  &#xD;&#xA;&#xD;&#xA;It basically recommends removing the grill and windscreen and cleaning it with water and some mild detergent if necessary.  &#xD;&#xA;&#xD;&#xA;For the grille they recommend using a toothbrush with soft bristles to remove lipstick or other stuff stuck in the grille.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.prosoundweb.com/article/properly_cleaning_your_microphones/" ContentLicense="CC BY-SA 3.0" />
  <row Id="42248" PostHistoryTypeId="2" PostId="24525" RevisionGUID="0af235ae-1f20-4849-b91a-22d5867b9f57" CreationDate="2011-04-28T15:42:53.343" UserDisplayName="NR4TR" Text="Every stage vocalist knows that excessive using of microphones leads to grill corrosion and clogging. &#xD;&#xA;&#xD;&#xA;What is a fast and effective way of the microphone grill cleaning? Let it be Shure SM58 grill, but tips for other mics are welcomed as well :)&#xD;&#xA;&#xD;&#xA;Thanks in regards" ContentLicense="CC BY-SA 3.0" />
  <row Id="42249" PostHistoryTypeId="1" PostId="24525" RevisionGUID="0af235ae-1f20-4849-b91a-22d5867b9f57" CreationDate="2011-04-28T15:42:53.343" UserDisplayName="NR4TR" Text="How can I clean vocal microphone grill?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42250" PostHistoryTypeId="3" PostId="24525" RevisionGUID="0af235ae-1f20-4849-b91a-22d5867b9f57" CreationDate="2011-04-28T15:42:53.343" UserDisplayName="NR4TR" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42251" PostHistoryTypeId="36" PostId="24526" RevisionGUID="9e0a192f-7399-4796-b3e6-65655b95a812" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1298/how-can-i-clean-vocal-microphone-grill/1299#1299" />
  <row Id="42252" PostHistoryTypeId="36" PostId="24527" RevisionGUID="711a671a-941f-4ea7-b624-c8216fd1583f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/935/single-mic-close-miked-solution-for-acoustic-guitar" />
  <row Id="42253" PostHistoryTypeId="36" PostId="24528" RevisionGUID="8e10368d-7f6f-4100-a5ec-2d9ac145c5b5" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/935/single-mic-close-miked-solution-for-acoustic-guitar/941#941" />
  <row Id="42254" PostHistoryTypeId="36" PostId="24529" RevisionGUID="8f73fb10-16cb-4938-b2f5-140380ea740a" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/935/single-mic-close-miked-solution-for-acoustic-guitar/975#975" />
  <row Id="42255" PostHistoryTypeId="2" PostId="24528" RevisionGUID="40912047-0465-44eb-9fb4-f159eb430d00" CreationDate="2011-02-28T23:54:28.130" UserDisplayName="d-_-b" Text="I have a b3 (studio projects). It's a 1st generation, so the sound may differ. However, I've found it very nice for recording guitar because it's very bright. You'll hear the fingering details. I'm not sure if that's the sound you want, but found it very easy to mix and eq to get the sound I wanted from both classical (nylon string) and folk (steel string) guitars. It only cost about 100USD w/ some coupon at the time. I think it's more now that SP is not a startup anymore. (I remember the first Enties&#xD;&#xA;&#xD;&#xA;I've found that using that mic, I don't need one for the finger board and one for the mouth. Though, it's not easy to fix certain things in post if you get too much detail, but eqing is your friend. Then again, if the guitarist's playing sucks that much that I need to get surgical, I don't want to record him.&#xD;&#xA;&#xD;&#xA;Experiment with positioning. It may be that you do not need two mics for the guitar.&#xD;&#xA;&#xD;&#xA;Another solution to your limited inputs is record two separate takes. Of course this may not sit well with the musician. &quot;It so ruins the flow. I just can't get in the mood.&quot; [rolls eyes]&#xD;&#xA;&#xD;&#xA;Mic reference:&#xD;&#xA;&#xD;&#xA; - http://www.studioprojectsusa.com/b3_tech.html&#xD;&#xA; - http://www.studioprojectsusa.com/c1_tech.html&#xD;&#xA;&#xD;&#xA;The older version also has a pad switch. You can see in the Google images the silver version is the older one. Though, I can't see any with the rear showing.&#xD;&#xA;&#xD;&#xA;I only bring this up because I don't have the newer one." ContentLicense="CC BY-SA 2.5" />
  <row Id="42256" PostHistoryTypeId="2" PostId="24529" RevisionGUID="7c8e26a0-f9cc-47ee-8310-a4acdd31a3d6" CreationDate="2011-03-07T21:50:00.650" UserId="319" Text="I have a pair of rode nt5s which are good for acoustics. Maybe you'll want to look for a supercardioid condenser since you want a tight pattern - shure beta 98? I don't have any supercardioid, and can't say how well they reject, but you can see the polar patterns online - looks like good rear rejection for 6k plus.  &#xD;&#xA;&#xD;&#xA;A good preamp can make a sm57 sound much better - but probably not quite like a condenser." ContentLicense="CC BY-SA 2.5" />
  <row Id="42257" PostHistoryTypeId="2" PostId="24527" RevisionGUID="4c4163cf-5ba1-4235-8ca3-28b4e12bbe65" CreationDate="2011-02-27T22:37:49.353" UserId="7045" Text="My [current setup](http://audio.stackexchange.com/questions/14/two-microphone-setup-to-record-voice-and-acoustic-guitar/492#492) for recording acoustic guitar is to use an SM-57 and, depending on the music, either mix in the input from my condenser mic for room sound (a Studio Projects C-1) or mix in the input from the pickup. &#xD;&#xA;&#xD;&#xA;I'll be recording a solo musician in a few weeks who prefers to record live -- female vocal and steel-string guitar together -- so I'm looking at a three-mic setup. (Her guitar has no pickup or internal mic.) The audio interface I currently use have only has two inputs. She's looking for a close-miked detailed sound. &#xD;&#xA;&#xD;&#xA;The obvious solution is to run the external mics into a mixing board then into the interface. Are there any single-mic solutions that would cost less than a couple hundred dollars? The SM-57, while a great mic, doesn't pick up anywhere near the amount of detail that a good condenser mic does, and the C-1 I have is far too wide-area a mic for this. (The SM-81 looks sweet, but a bit too pricey just now.) &#xD;&#xA;&#xD;&#xA;The room I record in is fairly dead, but unfortunately has a little background noise, so mics with fairly tight patterns work best. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42258" PostHistoryTypeId="1" PostId="24527" RevisionGUID="4c4163cf-5ba1-4235-8ca3-28b4e12bbe65" CreationDate="2011-02-27T22:37:49.353" UserId="7045" Text="Single-mic close-miked solution for acoustic guitar?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42259" PostHistoryTypeId="3" PostId="24527" RevisionGUID="4c4163cf-5ba1-4235-8ca3-28b4e12bbe65" CreationDate="2011-02-27T22:37:49.353" UserId="7045" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42260" PostHistoryTypeId="36" PostId="24530" RevisionGUID="289cb1c7-f963-40d1-a4af-e75c875b6d60" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4481/software-solution-for-boosting-low-microphone-recording-volume-windows-7-blue" />
  <row Id="42261" PostHistoryTypeId="2" PostId="24531" RevisionGUID="efc0b902-d93f-4d71-8b9a-d0c1e8e1aca9" CreationDate="2012-07-29T17:10:14.353" UserDisplayName="Ryan Christman" Text="Your best option is like you said, to increase the gain on the USB microphone.  When you say it picks up too much sound and the recording quality suffers, I'm assuming what you mean is that the audio signal is beginning to clip.  You just have to find the right gain level that's just loud enough to pick up what you're doing but not loud enough to where it clips.  The only way to truly be able to turn it up as loud as you want and not have recording quality suffer is if you have a limiter installed between your microphone and your computer.  Hardware limiters can be very pricey though.&#xD;&#xA;&#xD;&#xA;Also, a really important question: are you recording into some sort of DAW?  Like Logic Pro, Pro Tools or Cubase or something like that?  If so, then you are be able to boost the volume of your signal in those DAW's by adding effects such as compression.  Let me know." ContentLicense="CC BY-SA 3.0" />
  <row Id="42262" PostHistoryTypeId="2" PostId="24530" RevisionGUID="667efc86-a286-43af-a991-48d22532eba7" CreationDate="2012-07-28T19:29:25.743" UserDisplayName="Merritt" Text="When using a Blue Yeti (USB) or the built-in microphone on my g930 headset recorded volume is at an unacceptably low level. &#xD;&#xA;&#xD;&#xA;I have tried &#xD;&#xA;&#xD;&#xA;    Control Panel&#xD;&#xA;    -&gt; Sound&#xD;&#xA;    -&gt; Recording&#xD;&#xA;    -&gt; Right Click on Device X and select Properties&#xD;&#xA;    -&gt; Click on the Levels Tab&#xD;&#xA;    -&gt; Increase Microphone volume to 100%&#xD;&#xA;&#xD;&#xA;but the sound is still not even close to loud enough. &#xD;&#xA;&#xD;&#xA;Is there a software option out there for boosting the microphone volume recording level? I can get decent volume levels by increasing the Gain level on the Yeti, but then it picks up too much sound and the recording quality suffers.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42263" PostHistoryTypeId="1" PostId="24530" RevisionGUID="667efc86-a286-43af-a991-48d22532eba7" CreationDate="2012-07-28T19:29:25.743" UserDisplayName="Merritt" Text="Software Solution For Boosting Low Microphone Recording Volume (Windows 7, Blue Yeti USB)" ContentLicense="CC BY-SA 3.0" />
  <row Id="42264" PostHistoryTypeId="3" PostId="24530" RevisionGUID="667efc86-a286-43af-a991-48d22532eba7" CreationDate="2012-07-28T19:29:25.743" UserDisplayName="Merritt" Text="&lt;microphone&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42265" PostHistoryTypeId="36" PostId="24531" RevisionGUID="489c906a-93ed-48ea-9a8f-bc58dea244a9" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4481/software-solution-for-boosting-low-microphone-recording-volume-windows-7-blue/4483#4483" />
  <row Id="42266" PostHistoryTypeId="36" PostId="24532" RevisionGUID="cb35d6e2-5b23-4ea1-8193-584ab76df93b" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5035/dynamic-mic-windscreen-shape" />
  <row Id="42267" PostHistoryTypeId="2" PostId="24533" RevisionGUID="3b6074a3-eb8c-40f8-ad76-7641ce614888" CreationDate="2012-10-15T22:19:02.107" UserId="6957" Text="Aesthetics... and yes...  &#xD;&#xA;&#xD;&#xA;I could probably drum up some intelligent sounding reason for having one shape over another, but the shape is not going to determine the performance of the windscreen.  &#xD;&#xA;&#xD;&#xA;If something did change it's performance, it would be material, density, thickness.  At least one of those aspects could be altered by shape I suppose." ContentLicense="CC BY-SA 3.0" />
  <row Id="42268" PostHistoryTypeId="2" PostId="24532" RevisionGUID="46dc47c4-eaa8-4f25-b3a0-53b8a018059c" CreationDate="2012-10-15T22:08:44.567" UserDisplayName="Ryan Bell" Text="Does the shape of a handheld dynamic microphone's windscreen (i.e. a rounded top vs a flat top) have any effect on the sound, or is it just for aesthetics? " ContentLicense="CC BY-SA 3.0" />
  <row Id="42269" PostHistoryTypeId="1" PostId="24532" RevisionGUID="46dc47c4-eaa8-4f25-b3a0-53b8a018059c" CreationDate="2012-10-15T22:08:44.567" UserDisplayName="Ryan Bell" Text="Dynamic mic windscreen shape" ContentLicense="CC BY-SA 3.0" />
  <row Id="42270" PostHistoryTypeId="3" PostId="24532" RevisionGUID="46dc47c4-eaa8-4f25-b3a0-53b8a018059c" CreationDate="2012-10-15T22:08:44.567" UserDisplayName="Ryan Bell" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42271" PostHistoryTypeId="36" PostId="24533" RevisionGUID="0fc1a337-5a15-42ec-952c-a37c4954f366" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5035/dynamic-mic-windscreen-shape/5036#5036" />
  <row Id="42272" PostHistoryTypeId="36" PostId="24534" RevisionGUID="5a642b2f-80e4-4c04-854f-6b740044b917" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5035/dynamic-mic-windscreen-shape/5038#5038" />
  <row Id="42273" PostHistoryTypeId="2" PostId="24534" RevisionGUID="94d258c4-8df1-48e1-adb4-43a9f5980a27" CreationDate="2012-10-16T02:21:46.630" UserDisplayName="Andrew James" Text="Yes, it is just aesthetics; the sound of a handheld dynamic microphone’s windscreen does not depend on the shape. It is just an accessory. The sound depends on the distance to the mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="42274" PostHistoryTypeId="36" PostId="24535" RevisionGUID="7432b809-36df-49ee-a15f-e361712cd650" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5794/does-the-playstation2-official-microphone-offer-good-audio-quality" />
  <row Id="42275" PostHistoryTypeId="36" PostId="24536" RevisionGUID="d5492561-0453-483a-8662-36dc041320c5" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5794/does-the-playstation2-official-microphone-offer-good-audio-quality/5800#5800" />
  <row Id="42276" PostHistoryTypeId="2" PostId="24536" RevisionGUID="958fe7bf-3f29-4bec-bb44-866b70bce268" CreationDate="2013-01-10T15:32:36.617" UserId="7294" UserDisplayName="Warrior Bob" Text="&quot;Good quality&quot; is a very vague thing where microphones are concerned, and with audio in general. While you can assume that those mics, marketed as they are towards videogames, are likely to be cheaply produced under loose design requirements, it may very well be that those mics are good enough for your purposes. They *do* work for their games after all, and even the cheapest mics are generally good enough for what people need them for. &#xD;&#xA;&#xD;&#xA;If you have two of them already, the best test for whether they'll work for you is just to try them out and see! Make your own recordings and see if you like them.&#xD;&#xA;&#xD;&#xA;Regarding your second question, the USB adapter is a built-in audio interface, which performs preamplification and digital conversion. Such processes do have an effect on audio quality, although it can be fairly subtle compared to the characteristics of the mic itself. If you're really asking whether or not you can use it, the answer is &quot;yes.&quot; Again, you have it already, so you can just give it a try." ContentLicense="CC BY-SA 3.0" />
  <row Id="42277" PostHistoryTypeId="2" PostId="24537" RevisionGUID="51327b22-a0b0-4ca7-861e-b62e5ac97662" CreationDate="2013-01-11T09:14:35.363" UserDisplayName="eephyne" Text="Well finally i did dig up those microphones to test them. They appear to do just fine , i don't really know the audio terms but there is a little blank noise in the background but at a really low level.&#xD;&#xA;&#xD;&#xA;Using jack (finally they are 3.5) or USB doesn't make difference (at least for me) except the fact that usb got two input so it can be stereo ." ContentLicense="CC BY-SA 3.0" />
  <row Id="42278" PostHistoryTypeId="2" PostId="24535" RevisionGUID="9878d022-634e-4f07-90ed-3f716c41b10a" CreationDate="2013-01-10T13:19:34.867" UserDisplayName="eephyne" Text="I want to record some stuff without too much noise.  I have two PS2 microphones (they came with the Singstar game I think) somewhere.&#xD;&#xA;&#xD;&#xA;Do they offer sufficient audio recording quality?  If someone had a recorded example, it would be awesome.&#xD;&#xA;&#xD;&#xA;If it is good, does using the USB adapter change something (I don't have a 6.3 &gt; 3.5 mm jack adapter)? &#xD;&#xA;&#xD;&#xA;I know not everybody has the same requirements concerning audio quality; for me, something like broadcast radio FM is good enough.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42279" PostHistoryTypeId="1" PostId="24535" RevisionGUID="9878d022-634e-4f07-90ed-3f716c41b10a" CreationDate="2013-01-10T13:19:34.867" UserDisplayName="eephyne" Text="Does the PlayStation2 official microphone offer good audio quality?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42280" PostHistoryTypeId="3" PostId="24535" RevisionGUID="9878d022-634e-4f07-90ed-3f716c41b10a" CreationDate="2013-01-10T13:19:34.867" UserDisplayName="eephyne" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42281" PostHistoryTypeId="36" PostId="24537" RevisionGUID="3b2f2d67-b6f9-4002-9b2d-7049299f0e6a" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5794/does-the-playstation2-official-microphone-offer-good-audio-quality/5808#5808" />
  <row Id="42282" PostHistoryTypeId="36" PostId="24538" RevisionGUID="c9ef8537-99c4-4dff-a5aa-7d1c93fa0852" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5591/help-to-identify-this-solo-recording-setup" />
  <row Id="42283" PostHistoryTypeId="2" PostId="24539" RevisionGUID="4ca1bf8f-5ca5-47ca-954b-3967d9c1c1a7" CreationDate="2012-12-16T09:33:25.787" UserId="7016" Text="The reason for using microphones of different types is generally to get the best features of both. Key would be:&#xD;&#xA;&#xD;&#xA;- The Sony, a condenser mic, has a sound which is often considered brittle and sharp, but very good for vocals&#xD;&#xA;- Ribbon mics usually have a more broadly balanced output, so aren't as peaky in a particular frequency range&#xD;&#xA;- The sound pickup gives a slightly different spread as well, with the condenser mic being a bit more directional&#xD;&#xA;&#xD;&#xA;In terms of mixing they would both be EQ'ed individually to get the sound the producer wants - this is very subjective, but with two differing microphones you just get more parameters to play with to bring out the sound you want in that venue.&#xD;&#xA;&#xD;&#xA;Also have a read of [this question on microphone differences.][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/q/4854/674" ContentLicense="CC BY-SA 3.0" />
  <row Id="42284" PostHistoryTypeId="2" PostId="24538" RevisionGUID="eb95eb3f-60d8-4c7e-874b-b086b4f4d15a" CreationDate="2012-12-16T03:49:18.320" UserId="7824" UserDisplayName="Henrik Söderlund" Text="Looking at [this video from youtube](http://youtu.be/56AKl4uHKjA?hd=1) featuring the amazing Bob McChensey playing the trombone, I can identify two microphones, the Royer R-121 and the old Sony C-37A. I can see both mics in use, would you guys have any idea how they would be mixed and why they have used both?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42285" PostHistoryTypeId="1" PostId="24538" RevisionGUID="eb95eb3f-60d8-4c7e-874b-b086b4f4d15a" CreationDate="2012-12-16T03:49:18.320" UserId="7824" UserDisplayName="Henrik Söderlund" Text="Help to identify this solo recording setup" ContentLicense="CC BY-SA 3.0" />
  <row Id="42286" PostHistoryTypeId="3" PostId="24538" RevisionGUID="eb95eb3f-60d8-4c7e-874b-b086b4f4d15a" CreationDate="2012-12-16T03:49:18.320" UserId="7824" UserDisplayName="Henrik Söderlund" Text="&lt;microphone&gt;&lt;mixing&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42287" PostHistoryTypeId="36" PostId="24539" RevisionGUID="97286804-91d4-4f22-8077-dc94832a75b8" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5591/help-to-identify-this-solo-recording-setup/5592#5592" />
  <row Id="42288" PostHistoryTypeId="36" PostId="24540" RevisionGUID="e680a425-c998-4f1b-9338-8b4b72cc25e2" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/272/micing-a-big-square-room" />
  <row Id="42289" PostHistoryTypeId="2" PostId="24541" RevisionGUID="6a2b2d74-b3ff-4f26-a9c0-5d9a23a7961a" CreationDate="2010-12-14T20:14:07.617" UserId="7592" UserDisplayName="Pelle ten Cate" Text="Let me just give a general answer here, because many people might end up in this situation today or tomorrow.&#xD;&#xA;&#xD;&#xA;You could do several things to get rid of this boomy sound. In my opinion, you are using too many microphones to do this recording with.&#xD;&#xA;&#xD;&#xA;First, two items apart from microphone placement.&#xD;&#xA;&#xD;&#xA;### Getting rid of the boominess&#xD;&#xA;&#xD;&#xA;If you record in this same room often, get your hands on a measurement microphone and record a sweep from a studio monitor in this room. That should give you an impression of the room's frequency response. Now, you can do a basic frequency analysis (most DAWs are capable of doing this) on the signal and design an inverse filter for it. Don't overdo this though, digital filtering to get rid of acoustic shortcomings is quite a nasty thing to do.&#xD;&#xA;&#xD;&#xA;To get rid of the low frequencies in the hall acoustically, try putting Helmholtz absorbers near the corners of the room. Additionally, try to get rid of as many reflections as possible by hanging curtains on the walls. A carpet can do miracles as well. This is especially a good idea in square rooms, or rooms that have parallell walls.&#xD;&#xA;&#xD;&#xA;### Microphones&#xD;&#xA;&#xD;&#xA;Then, make sure your microphones don't pick up any sound of frequencies that can not be produced by your musicians. Most men can't reach frequencies below 100 Hz, so if your microphones come with a 120 Hz roll-off filter or cut-off filter, try applying that on your support microphones. Especially if you are using cardioid (or any other non-omni) microphone that is placed closely to the singers, do this to get rid of the microphone's [Proximity effect][1]. (Don't do this immediately on your main microphones, they shouldn't have this problem in the first place.)&#xD;&#xA;&#xD;&#xA;On mic placement: I had very good results with multiple close XY pairs; you get as much directionality as you want (because you are allowed to pan XY pairs) without comb filter effects due to phasing problems, while you can still keep your balance. You didn't put any information on how the signal levels were in the mix of your support microphones. If you put them too high, the comb filters that you get by mixing two microphones together that are close, but not at the same place might well be part of the source of your problem. &#xD;&#xA;&#xD;&#xA;I would start with the following setup:&#xD;&#xA;&#xD;&#xA;### Main mics&#xD;&#xA;&#xD;&#xA;For main microphones, I would prefer AB over XY. (If less than 25 singers or if the room is very reverberant, I would go for a hybrid system like ORTF though, I've had very good results with the Schoeps MK-21 semi-cardioid for this purpose, but any semi or cardioid should do fine. Don't use figure-8 or super/hypercardioids, this is generally a bad idea). Make sure you are aware of the microphone distance to get the correct SRA. (Stereo recording angle.) If you don't know how to do this, it basically comes down to &quot;listen, and adjust&quot;. Basic rule: the closer the main microphones are to the choir, the smaller the distance should be. This may sound unlogical, but, well, unless I am writing another long story, you'll have to do with &quot;It just works that way&quot;. Keep the microphone distance between 51 and 70 cm, but in this case, I would suggest to put the microphones closeer to 51 cm. Again: keep listening and adjusting where needed.&#xD;&#xA;&#xD;&#xA;General rule about AB systems: __never check your stereo image quality using headphones__. While you can get a good impression when using an XY, when using AB, the stereo image gets widened by 80% when listening through headphones, so you really can't here when you are using the right microphone distance. Always use a stereo setup of monitors. Don't have monitors? As a general rule: 51 cm distance records 180˚, 70cm records 90˚. Roughly estimate the OVA (operational viewing angle) of your choir from the spot where you put the AB, and then make an educated guess for a microphone distance.&#xD;&#xA;&#xD;&#xA;Make sure your main microphones are of the best type you have available, and using the best preamps you have available.&#xD;&#xA;&#xD;&#xA;### Support mics.&#xD;&#xA;&#xD;&#xA;Then, I would put 2 XY pairs (3 if the choir has &gt; 80 people), one on the left side, one on the right side, both pairs being at least 2 meters distanced from each other, to avoid - yes, again - the comb filter effect. Start panning the XY on the left to L-C and the right XY to C-R. &#xD;&#xA;&#xD;&#xA;Place these microphones facing the singers rather than above them.&#xD;&#xA;&#xD;&#xA;I would get rid of the microphones behind the choir. Unless you have a good philosophy for putting them there, I think they really are not recording sound that is of great contribution in your mix.&#xD;&#xA;&#xD;&#xA;You don't necessarily have the best result with XYs that have angles of 90˚. If you place them really close, you might get good results with much lower, or much higher angles. Play around with this a little.&#xD;&#xA;&#xD;&#xA;### Accoustics&#xD;&#xA;&#xD;&#xA;If you want to pick up the accoustics from this room, you would be better of getting two omnis or cardioids in the corners behind the main microphone rather than placing them behind the choir. &#xD;&#xA;&#xD;&#xA;### Mixing&#xD;&#xA;&#xD;&#xA;Always start with listening only to your main microphones. If you don't like what you hear in terms of acoustical balance (between direct sound and reflective or reverberant sound) or in terms of stereo width or acoustical disturbing signals, fix it in the placement. You don't want to fix these issues with your support microphones, that's not what they are there for. Also, don't apply EQ to your main microphones, (at least, not initially) just put some real effort in getting the best available sound using these microphones.&#xD;&#xA;&#xD;&#xA;Then mix the support microphones in. Try to use the support microphones only to fix balancing issues and to improve the overall intelligibility. If you end up with something that you don't like, start with shutting these mics down, and find out where it went wrong. Just a bit like software debugging. &#xD;&#xA;&#xD;&#xA;So, a few comments on your question: &#xD;&#xA;&#xD;&#xA;* I think you are using far too many mics for this purpose. (Personal opinion, people may well disagree with me, but I strongly believe the additional value of many microphones is very limited.) &#xD;&#xA;* The _overhead from behind mics_ are expected not to be of great contribution as support microphones. &#xD;&#xA;* Support microphones might be too close together, so when mixed into the same channel (either L and/or R) they can introduce comb filter effects, which could be part of the cause of the sound issues.&#xD;&#xA;* Main microphone XY wouldn't be my choice either on a choir, while it records stereo very precise and analytically, it doesn't give you any depth information (because there is no time-based stereo.)&#xD;&#xA;&#xD;&#xA;  [1]: http://j.mp/1aoS4G" ContentLicense="CC BY-SA 2.5" />
  <row Id="42290" PostHistoryTypeId="2" PostId="24540" RevisionGUID="30119811-45ad-43b3-983f-71841b95287c" CreationDate="2010-12-14T14:58:26.647" UserId="7398" UserDisplayName="BenV" Text="I do a lot of remote recording sessions for church choirs.  Often they use fellowship halls, which typically have a big rectangular room with a relatively low flat ceiling.  Obviously, this is less than ideal - I always end up with a boomy sound.  &#xD;&#xA;&#xD;&#xA;We generally use 8 &quot;close&quot; mics - 4 in front and 4 overhead from behind - plus an XY pair.&#xD;&#xA; What can I do different with micing to minimize the effects of the room?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42291" PostHistoryTypeId="1" PostId="24540" RevisionGUID="30119811-45ad-43b3-983f-71841b95287c" CreationDate="2010-12-14T14:58:26.647" UserId="7398" UserDisplayName="BenV" Text="Micing a big square room" ContentLicense="CC BY-SA 2.5" />
  <row Id="42292" PostHistoryTypeId="3" PostId="24540" RevisionGUID="30119811-45ad-43b3-983f-71841b95287c" CreationDate="2010-12-14T14:58:26.647" UserId="7398" UserDisplayName="BenV" Text="&lt;acoustics&gt;&lt;location-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42293" PostHistoryTypeId="36" PostId="24541" RevisionGUID="a51d4c69-57aa-40c5-862f-793c4c508158" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/272/micing-a-big-square-room/276#276" />
  <row Id="42294" PostHistoryTypeId="36" PostId="24542" RevisionGUID="cf935922-784b-4509-8f69-e032a6a9f4bd" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8968/lavalier-vs-shotgun-mic-for-beginner-level-interviews" />
  <row Id="42295" PostHistoryTypeId="36" PostId="24543" RevisionGUID="cbff571c-47a1-4198-b24c-d20ce62cc17d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8968/lavalier-vs-shotgun-mic-for-beginner-level-interviews/8969#8969" />
  <row Id="42296" PostHistoryTypeId="36" PostId="24544" RevisionGUID="01e0b792-d5fd-4deb-a11d-f5880c193d9a" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8968/lavalier-vs-shotgun-mic-for-beginner-level-interviews/8971#8971" />
  <row Id="42297" PostHistoryTypeId="2" PostId="24543" RevisionGUID="efebe12e-ffa2-445c-97df-ee35076b47bd" CreationDate="2013-09-13T10:29:13.483" UserId="7194" Text="There are a few things to consider:&#xD;&#xA;&#xD;&#xA;##Lavalier Mic&#xD;&#xA;&#xD;&#xA; - The attachment of lavalier mics is pretty straight forward.&#xD;&#xA; - A lot depends on what the mic is connected to. Different recorders will work better or worse with different mics. So getting a good sound is often a matter of trial and error. This will be particularly the case if you plan to connect the microphone directly to your DSLR. DSLR manufacturers share little of their microphone input specs; so it's really hard to tell what the quality will be like until you try your setup. To my knowledge, most people seeking high-quality recording with lavalier mics and a DSLR go for a separate recorder (like the Zoom).&#xD;&#xA; - You should also consider the extension lead if you are to use one - it can reduce the overall quality, and if connected directly to the DSLR can put constraints on its position and movement.&#xD;&#xA; - Overall, the lavalier mic option could be cheaper than a shotgun. But it does require more research and experiment until you find the right setup. When I connected the cheapest lapel mic on Amazon to my 600D, the quality was fair - there was noise and the timbre of the voice was slightly distorted, but it was usable.&#xD;&#xA;&#xD;&#xA;##Shotgun&#xD;&#xA;&#xD;&#xA; - The nice thing about these is that their connection is standard - XLR that requires phantom power. So you either have it on your video camera, you buy a box to facilitate that, or you use a recorder that has that. But the quality is far more consistent compared to lavalier mics.&#xD;&#xA; - A shotgun without operator can be an issue though. The microphone is long and can be hard to conceal in the shot. Also, positioning the mic without appropriate stands can be hard. I've once did an interview, and the only place I could conceal it was below the table; with the arm attached it was a nightmare - I would have much preferred just having the mic on a normal mic stand if I could.&#xD;&#xA; - In terms of audio quality, you should expect a shotgun to pick more room than a lavalier. That is, a lavalier will provide a more intimate, professional sounding recording (unless the shotgun is in close proximity to the speaker).&#xD;&#xA; - The design of shotgun + boom was meant to allow the recording of a moving source. Your source will be stationary, so you're not using the mic for its prime intended usage.&#xD;&#xA;&#xD;&#xA;All in all, I think you should favour the lavalier option, despite involving a bit more research time." ContentLicense="CC BY-SA 3.0" />
  <row Id="42298" PostHistoryTypeId="2" PostId="24544" RevisionGUID="942a394b-34d3-4e25-b743-4401d02fa54b" CreationDate="2013-09-13T13:29:30.017" UserId="7174" Text="For your situation I would go with the LAV.  It will likely appear in the shot, which is a little (very little) less professional looking and you have to position it carefully to ensure that it doesn't get bumped or brushed.  It is, however, FAR easier to setup properly, more tolerant of background noise and doesn't require as close of monitoring.&#xD;&#xA;&#xD;&#xA;A shotgun mic can produce better overall quality, but either has to be used in a fairly quiet environment or operated by a technician who can keep it properly angled with a proper suspension mount to avoid movement noise.  If you don't have a mic boom and operator, LAV is the way to go if it is an option." ContentLicense="CC BY-SA 3.0" />
  <row Id="42299" PostHistoryTypeId="2" PostId="24542" RevisionGUID="0c0d1e0e-94a1-4ae2-9693-89321f33a430" CreationDate="2013-09-13T05:27:31.743" UserDisplayName="erotsppa" Text="I'm about to do an interview for my company. We are a small company and we didn't want to hire someone so I thought I could just help out since I already have a lot of the DSLR equipment. &#xD;&#xA;&#xD;&#xA;As a beginner, should I be buying a lavalier mic or shotgun? Which is easier to use as a beginner? Would the wire from the lavalier be a headache to attach? I will be interviewing the CEO so his time is precious. &#xD;&#xA;&#xD;&#xA;Also, I don't plan to bring a lot of gear to site so even if I used a shotgun boom I won't have the stand to put it above him. It might have to be in front of him to the side etc. &#xD;&#xA;&#xD;&#xA;What is your recommendation? " ContentLicense="CC BY-SA 3.0" />
  <row Id="42300" PostHistoryTypeId="1" PostId="24542" RevisionGUID="0c0d1e0e-94a1-4ae2-9693-89321f33a430" CreationDate="2013-09-13T05:27:31.743" UserDisplayName="erotsppa" Text="Lavalier vs shotgun mic for beginner level interviews?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42301" PostHistoryTypeId="3" PostId="24542" RevisionGUID="0c0d1e0e-94a1-4ae2-9693-89321f33a430" CreationDate="2013-09-13T05:27:31.743" UserDisplayName="erotsppa" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42302" PostHistoryTypeId="36" PostId="24545" RevisionGUID="3cf5fe3f-944c-4799-97c0-1a835e1629f1" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9749/how-to-improve-voice-quality-for-podcast-lessons-in-setup-postproduction" />
  <row Id="42303" PostHistoryTypeId="36" PostId="24546" RevisionGUID="da068829-4b62-4972-99eb-ced275d01613" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9749/how-to-improve-voice-quality-for-podcast-lessons-in-setup-postproduction/9750#9750" />
  <row Id="42304" PostHistoryTypeId="36" PostId="24547" RevisionGUID="4eca76c4-2ef3-4ea9-a53c-604c8924b860" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9749/how-to-improve-voice-quality-for-podcast-lessons-in-setup-postproduction/9759#9759" />
  <row Id="42305" PostHistoryTypeId="2" PostId="24546" RevisionGUID="bf525a4b-19a8-49b7-bcef-9a62eee2e6e5" CreationDate="2013-12-25T01:54:32.247" UserId="7174" Text="Hardware and software isn't going to make a lot of difference.  There is a saying crap in - crap out.  Your best bet is to work on vocal lessons to address nasal issues.  Nasal issues are fully avoidable by learning to use your diaphragm for speaking and learning how to enunciate clearly.&#xD;&#xA;&#xD;&#xA;You can't change the tone of voice without the quality going and/or sounding unnatural after the fact since the audio has to be synthesised to adjust frequency without adjusting the speed of playback.  You can use an EQ to make it sound more clear and less muddy, but it won't actually change the tone.&#xD;&#xA;&#xD;&#xA;Good audio equipment simply captures what is actually happening clearly without noise.  Software simply tunes the sound to accentuate what is already there.  You can use tricks like frequency shifting and reverb to try and make a bad sound sound better, but it will still be a bad sound or at best mediocre." ContentLicense="CC BY-SA 3.0" />
  <row Id="42306" PostHistoryTypeId="2" PostId="24547" RevisionGUID="d0f24233-6661-49be-9c35-f46e30a325eb" CreationDate="2013-12-26T19:24:21.203" UserId="7008" Text="Agreeing with AJ Henderson, getting your vocal performance in a better place would be key. &#xD;&#xA;&#xD;&#xA;You can also look into audio plugins like iZotope Nectar, which is great all in one plugin for working with vocals. It can help emphasize the lower end of your voice, tame and compress the nasal-y mids, add some harmonic distortion, as well as reverb.&#xD;&#xA;&#xD;&#xA;http://www.izotope.com/products/audio/nectar/" ContentLicense="CC BY-SA 3.0" />
  <row Id="42307" PostHistoryTypeId="2" PostId="24545" RevisionGUID="c244cc17-ab17-4a8e-b3c6-16cc39457565" CreationDate="2013-12-25T01:26:27.420" UserDisplayName="Stefano Borini" Text="I am planning to do video podcast lessons, similar to [CGP Grey](http://www.youtube.com/CGPGrey) production but on a different topic. What amazes me in CGP Grey is the quality and clarity of the voice.&#xD;&#xA;&#xD;&#xA;I am sure there are different factors contributing to the final result&#xD;&#xA;&#xD;&#xA;1. Initially good voice&#xD;&#xA;2. Good microphone&#xD;&#xA;3. Postproduction tricks&#xD;&#xA;&#xD;&#xA;As far as I was able to gather about the last two points, he uses a Rode Podcaster, and Final Cut Pro X. I am planning to buy the same equipment. For the first point I personally start with a big disadvantage, as my voice is very nasal. I know some tips from a singer friend of mine, but I doubt I can make it better.&#xD;&#xA;&#xD;&#xA;My question is: given the above HW/SW makeup, how does one improve a nasal voice &#xD;&#xA;to have the best possible quality? Microphone setup and positioning, magic FCP options, filtering, special software to add to the mix?&#xD;&#xA;&#xD;&#xA;Please keep into account I am completely clueless about the topic.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42308" PostHistoryTypeId="1" PostId="24545" RevisionGUID="c244cc17-ab17-4a8e-b3c6-16cc39457565" CreationDate="2013-12-25T01:26:27.420" UserDisplayName="Stefano Borini" Text="How to improve voice quality for podcast lessons in setup/postproduction?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42309" PostHistoryTypeId="3" PostId="24545" RevisionGUID="c244cc17-ab17-4a8e-b3c6-16cc39457565" CreationDate="2013-12-25T01:26:27.420" UserDisplayName="Stefano Borini" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42310" PostHistoryTypeId="36" PostId="24548" RevisionGUID="bf84ce6c-9b30-459c-8720-2d9bb47278c6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/388/podcast-recording-tips" />
  <row Id="42311" PostHistoryTypeId="2" PostId="24549" RevisionGUID="c98f4487-e69c-44b1-961c-f618edfd14a0" CreationDate="2010-12-20T09:52:00.610" UserId="7202" Text="Having a good microphone is essential, and a condenser like the Samson has the basic qualities in it. I have no experience with USB microphones though, so I'm not sure if you can do anything about the white noise.&#xD;&#xA;&#xD;&#xA;The white noise is most likely coming from a mismatch of levels, that the microphone preamp is set too low, and that the level then is boosted somewhere else, in the recording software or in the computers input mixer. Make sure you set the microphones level as high as you can without getting distortion. According to the manual there is a utility you can install to set the level that also has a VU meter. The level should be almost reaching the top, but not quite, when you are sitting as you are when recording the podcast. If you then are getting distortion it's because another level (like the recording level in OS X or garageband) is too high. Setting these level correctly should minimize the white noise.&#xD;&#xA;&#xD;&#xA;If this doesn't work, then the white noise is coming from the preamplifier itself (which is built into the mic). It's then either broken, or just surprisingly bad quality (but I'd guess broken, it *should* be good enough).&#xD;&#xA;&#xD;&#xA;As you say giving each person a little lapel condenser is the best option, because it means the microphone is close to each persons mouth, so you don't get much echo from the room. But as you also not, it's expensive. If your room isn't too echoey, having a condenser microphone that is not of the USB variety and a separate microphone preamp should be good enough. But that's still probably a $200 affair or so." ContentLicense="CC BY-SA 2.5" />
  <row Id="42312" PostHistoryTypeId="2" PostId="24548" RevisionGUID="52d2c8f7-f203-46d4-a7b1-b567e0bb3091" CreationDate="2010-12-20T07:55:50.980" UserDisplayName="Ran" Text="What would be the best affordable setup for recording a 3-4 person podcast all in one room?  &#xD;&#xA;I think my main problems are with the hardware...  &#xD;&#xA;I've tried a few things: using a condenser (Samson C01U http://www.samsontech.com/products/productpage.cfm?prodid=1810) but there'd too much  white noise, I tried connecting a few usb mics to garageband but their reception range was just too close (you literally had to eat the mic to get a proper voice out, maybe they were just crappy...).    &#xD;&#xA;I would imagine that an optimal setup would include a personal pinned microphone for each speaker and an external mixer but I was hoping maybe there's a word of advice before purchasing those (affordable is the key) or just an advice which ones to get.&#xD;&#xA;&#xD;&#xA;I use osx's garageband to record and levelator after recording.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42313" PostHistoryTypeId="1" PostId="24548" RevisionGUID="52d2c8f7-f203-46d4-a7b1-b567e0bb3091" CreationDate="2010-12-20T07:55:50.980" UserDisplayName="Ran" Text="Podcast recording tips" ContentLicense="CC BY-SA 2.5" />
  <row Id="42314" PostHistoryTypeId="3" PostId="24548" RevisionGUID="52d2c8f7-f203-46d4-a7b1-b567e0bb3091" CreationDate="2010-12-20T07:55:50.980" UserDisplayName="Ran" Text="&lt;mixing&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42315" PostHistoryTypeId="36" PostId="24549" RevisionGUID="eede8b70-a072-40d1-84a8-df6951792c97" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/388/podcast-recording-tips/391#391" />
  <row Id="42316" PostHistoryTypeId="36" PostId="24550" RevisionGUID="f1298bbf-9207-4be3-8cb5-e61d7114739b" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/388/podcast-recording-tips/395#395" />
  <row Id="42317" PostHistoryTypeId="2" PostId="24550" RevisionGUID="f98f0ace-8c0d-489d-86b1-1285101a0bc7" CreationDate="2010-12-20T15:52:26.927" UserId="7294" UserDisplayName="Warrior Bob" Text="I used to run a small two-person podcast first using Windows/Audition and later OSX/Garageband.  The best setup we ever had was one mic per person, into a mixer, and record the output of the mixer.  We used two dynamic mics at first and later switched to one USB dynamic and one condenser, going into separate inputs (so no mixer).&#xD;&#xA;&#xD;&#xA;It was important to keep the input gain on the mic preamp high enough that there was a high signal to noise ratio, but low enough that the voices didn't bleed too much into the wrong mic.  But fortunately, since this was just a podcast, it was okay if there was a bit of bleed.  &#xD;&#xA;&#xD;&#xA;There is no reason that you couldn't use a USB mic.  Conceptually It's the same as any other mic, just with a built-in preamp and USB interface, although USB mics tend to be more inexpensive.  If they're truly that low-output when you used them, check your recording preferences in OSX.  The inputs might just be turned down.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42318" PostHistoryTypeId="36" PostId="24551" RevisionGUID="21351e9b-7244-4314-a252-821558bb6115" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2864/best-way-equipment-to-record-a-group-outdoors" />
  <row Id="42319" PostHistoryTypeId="36" PostId="24552" RevisionGUID="220ecf8c-a1d7-4226-823f-4093a9ed1bbc" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2864/best-way-equipment-to-record-a-group-outdoors/2886#2886" />
  <row Id="42320" PostHistoryTypeId="2" PostId="24552" RevisionGUID="6871e6ec-571d-4b1d-a404-7ec8bd85b085" CreationDate="2011-12-23T15:00:05.973" UserId="9511" UserDisplayName="Johnny Bigoode" Text="Let's start with the two mics question: you should only use two mics if you're able to record them in separate channels.&#xD;&#xA;&#xD;&#xA;IT IS NOT A GOOD IDEA TO USE A Y CABLE TO MIX BOTH MICS WITHOUT A MIXER. &#xD;&#xA;&#xD;&#xA;Why? Well, if you're using two microphones you be getting a STEREO recording - and that's awesome! You can work with Mid/Side eq to balance the sounds and even set the mics in a binaural set up (more information en.wikipedia.org/wiki/Binaural_recording - listen to the audio samples with a pair of headphones to understand what it is)&#xD;&#xA;&#xD;&#xA;But then, why shouldn't you use a y cable to get a mono mix of two mics? &#xD;&#xA;&#xD;&#xA;Depending on the position of the microphone they may cancel each other, you might get phase problems and even a lot of artifacts provided by noise captured from both mics. &#xD;&#xA;&#xD;&#xA;This excelent [article from SHURE][1](PDF) has some information about recording:&#xD;&#xA;&#xD;&#xA;On pages 21/22 there's some application of stereo mic recording and on page 29-31 there's some information on phase canceling, comb filtering. &#xD;&#xA;&#xD;&#xA;Now, that covers the mic placement and stereo recording part of the question. &#xD;&#xA;The outdoors part is a little bit more complicated. &#xD;&#xA;&#xD;&#xA;You should read [this short article from Soundonsound][2]&#xD;&#xA;&#xD;&#xA;The main recommendations they make are: &#xD;&#xA;&#xD;&#xA;1.) Fur protection on the mic. &#xD;&#xA;2.) Shotgun directional mic. &#xD;&#xA;&#xD;&#xA;The fur is an essential thing to do - the shotgun part (using a omnidirectional mic) is a little bit more complex - there's is no easy answer about what you should do. Take note that the Shure article covers different types of recording positions for microphones, depending on what the situation is. &#xD;&#xA;&#xD;&#xA;There is also this [awesome article about field recording][3].&#xD;&#xA;&#xD;&#xA;It's the opposite of what you wanna do, but still good information. &#xD;&#xA;&#xD;&#xA;NOW WHAT WOULD I DO IF I WERE YOU:&#xD;&#xA;Buy a fur protection for your mic and go to a windy place and record something, check if the fur is enough for recording outdoors without wind noise. &#xD;&#xA;&#xD;&#xA;Get a cellphone/boombox/guitar+singer and try to record it/he/she. &#xD;&#xA;&#xD;&#xA;Check the recording later, see how is the wind affecting the recording - is a simple filter enough to remove the artifacts? &#xD;&#xA;&#xD;&#xA;And more importantly: when you say 'group of people' and 'spread across the park' - how many people are we talking about and how spread are they?&#xD;&#xA;&#xD;&#xA;The main problems you'll encounter are obvious: shotgun mics will not record everyone and non directional mics will capture wind noise. I have little experience with outdoor group recordings - the most I've done was capturing a voice/acoustic guitar performance on a windy park. I used a cardioid mic with fur coat for the vocals and recorded the guitar DI. &#xD;&#xA;&#xD;&#xA;But then again I cannot stress this enough: Test your situation. Just go around and experiment with what you got.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.shure.com/idc/groups/public/documents/webcontent/us_pro_micsmusicstudio_ea.pdf&#xD;&#xA;  [2]: http://www.soundonsound.com/sos/sep07/articles/qa0907_5.htm&#xD;&#xA;  [3]: http://www.soundandmusic.org/artist-area/artists-toolkit/how-tos/fieldrecording" ContentLicense="CC BY-SA 3.0" />
  <row Id="42321" PostHistoryTypeId="2" PostId="24551" RevisionGUID="d0adb7ed-91b8-4115-8e6c-2df534a84e06" CreationDate="2011-12-20T21:45:07.117" UserDisplayName="Joanne Smith" Text="I am trying to find a good way to record a group of people spread out along a field in a park. There will be wind.  I had planned on using a windsock.  I used an AT2020USB mic and was surprised that the mic on my Web Cam put out better audio.  I read one of these articles that said perhaps an Omidirectional mic would be good, but then they were talking about how it might pick up too most other sounds local to a park.&#xD;&#xA;&#xD;&#xA;Could anyone please help me figure out what equipment I would need to buy to have good quality audio in this type of situation?  I'm using a laptop with Vista on it.  I'd like to get away with one mic so I don't have to buy a mixer as I have to move my laptop around while I'm livestreaming already.  Can you use two mics without a mixing board?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42322" PostHistoryTypeId="1" PostId="24551" RevisionGUID="d0adb7ed-91b8-4115-8e6c-2df534a84e06" CreationDate="2011-12-20T21:45:07.117" UserDisplayName="Joanne Smith" Text="Best Way/Equipment To Record A Group Outdoors" ContentLicense="CC BY-SA 3.0" />
  <row Id="42323" PostHistoryTypeId="3" PostId="24551" RevisionGUID="d0adb7ed-91b8-4115-8e6c-2df534a84e06" CreationDate="2011-12-20T21:45:07.117" UserDisplayName="Joanne Smith" Text="&lt;laptop&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42324" PostHistoryTypeId="36" PostId="24553" RevisionGUID="eaf80d83-78cf-4cde-8bb9-529c37c06d62" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8476/picking-up-hum-noise-from-wood-table" />
  <row Id="42325" PostHistoryTypeId="36" PostId="24554" RevisionGUID="f07767d1-42e2-460c-b4d2-a45c9ee77c3f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8476/picking-up-hum-noise-from-wood-table/8477#8477" />
  <row Id="42326" PostHistoryTypeId="36" PostId="24555" RevisionGUID="09ea4225-8a04-4da9-a4cf-e8c9989266c4" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8476/picking-up-hum-noise-from-wood-table/8480#8480" />
  <row Id="42327" PostHistoryTypeId="2" PostId="24554" RevisionGUID="ed13f32d-3b77-47f6-ace4-e8c16f5de9b5" CreationDate="2013-07-23T14:53:01.270" UserId="7174" Text="It is hard to guess without hearing the sound, but most probably it is a vibration being transmitted up the mic.  A very small vibration (from say a computer fan) could be transmitted through the table and multiplied as it moves up the stem of the microphone.  By the time it gets to the microphone's diaphragm, it could easily be significant enough to get picked up by the microphone.&#xD;&#xA;&#xD;&#xA;Shock mounting or really any kind of dampening should help.  I would try just putting a towel between the desk and the microphone before trying more elaborate solutions." ContentLicense="CC BY-SA 3.0" />
  <row Id="42328" PostHistoryTypeId="2" PostId="24555" RevisionGUID="b247bb26-3e95-4ea6-a3fc-d27480770ab8" CreationDate="2013-07-23T19:52:39.277" UserDisplayName="Andrew Ng" Text="The hum noise is coming from vibrations transferred from minute movements (fidgeting, fans, air conditioning) up through the wooden table that are being picked up by your microphone. A shockmount is the simple solution for your problem. If you don't want to spend too much money on one, check out this [DIY shockmount][1]. I've found that rubber bands can really do the trick!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://lifehacker.com/5634539/build-a-diy-microphone-shockmount-on-the-cheap" ContentLicense="CC BY-SA 3.0" />
  <row Id="42329" PostHistoryTypeId="2" PostId="24553" RevisionGUID="f76a5869-46cf-4214-bd1e-697290754fde" CreationDate="2013-07-23T14:43:20.753" UserDisplayName="Machinegon" Text="I have a Marshall Electronics USB microphone with a tripod stand that's connected to my computer. I pick a &quot;hum&quot; noise coming from the wood table where the microphone stands(if I lift it in the air the &quot;hum&quot; goes away).&#xD;&#xA;&#xD;&#xA;What's the cheapest possible way to get ride of the &quot;hum&quot;? I considered buying a shock mount for the microphone but I'm not sure this will do, also if I remove it from the wood table I need to buy a stand." ContentLicense="CC BY-SA 3.0" />
  <row Id="42330" PostHistoryTypeId="1" PostId="24553" RevisionGUID="f76a5869-46cf-4214-bd1e-697290754fde" CreationDate="2013-07-23T14:43:20.753" UserDisplayName="Machinegon" Text="Picking up hum noise from wood table" ContentLicense="CC BY-SA 3.0" />
  <row Id="42331" PostHistoryTypeId="3" PostId="24553" RevisionGUID="f76a5869-46cf-4214-bd1e-697290754fde" CreationDate="2013-07-23T14:43:20.753" UserDisplayName="Machinegon" Text="&lt;microphone&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42332" PostHistoryTypeId="36" PostId="24556" RevisionGUID="bb38c71c-008d-4ec2-8e25-9e9c4016f994" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8723/wire-mono-microphone-to-stereo-jack" />
  <row Id="42333" PostHistoryTypeId="36" PostId="24557" RevisionGUID="fa5f6e56-aaa7-40ca-81d4-6e15d8add5b9" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8723/wire-mono-microphone-to-stereo-jack/8725#8725" />
  <row Id="42334" PostHistoryTypeId="2" PostId="24557" RevisionGUID="d911c8ab-01ff-468e-9c7f-d6bfd3dd8d94" CreationDate="2013-08-15T13:34:21.707" UserId="7174" Text="Without knowing what kinds of connections you are dealing with, it's not really possible to answer your question directly.  There are a few different reasons you could have 3 conductors on the plug.  It may be that it is stereo, it may be that it is balanced and on consumer gear, it may be that it supports both a microphone and a mono audio output at the same time.&#xD;&#xA;&#xD;&#xA;Generally speaking, stereo mics are pretty rare.  The vast majority of microphones are mono and when you want stereo, it's typical to hook up two mono microphones.  Unless you are dealing with a cellphone, it's also pretty rare to have a mono input and mono output in the same connection.  &#xD;&#xA;&#xD;&#xA;If it is a balanced input, then you will need to make a balanced signal to feed to it.  You can do this with a device called a direct box which will take an unbalanced signal and turn it in to a balanced one.  In the case of an unbalanced mic, you're normally best to switch to using a balanced mic rather than an unbalanced one, since unbalanced mics are normally consumer quality.&#xD;&#xA;&#xD;&#xA;If this actually is a production related question, then if you can post images of the connectors you are talking about, we can give a more definitive answer." ContentLicense="CC BY-SA 3.0" />
  <row Id="42335" PostHistoryTypeId="2" PostId="24556" RevisionGUID="fac8ff34-4152-4c5f-b5dc-ac3516891cea" CreationDate="2013-08-15T12:38:22.763" UserDisplayName="user4535" Text="I have a microphone with 2 wires, and a cable jack with 3 wires.&#xD;&#xA;How do I wire them together?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Basically i took apart a usb headset and got a microphone with 2 wires, then i cut a jack cable 3.5mm. I'd like to rebuild the microphone if it's possible, to use it on a pc&#xD;&#xA;&#xD;&#xA;I'm not good on these things, but I think the mic has a positive and a ground wire, while the 3.5mm cable has a positive a negative and a ground wire.&#xD;&#xA;&#xD;&#xA;-I'm sorry, I realized now it is offtopic, but this had to be something like a free time project. It's the first time i try something like this, so after looking for some help on the net for some time, I read something similar on this website. I was so frustrated that i just subscribed and typed, without reading, so please remove my question if it's an off topic :(" ContentLicense="CC BY-SA 3.0" />
  <row Id="42336" PostHistoryTypeId="1" PostId="24556" RevisionGUID="fac8ff34-4152-4c5f-b5dc-ac3516891cea" CreationDate="2013-08-15T12:38:22.763" UserDisplayName="user4535" Text="Wire mono microphone to stereo jack?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42337" PostHistoryTypeId="3" PostId="24556" RevisionGUID="fac8ff34-4152-4c5f-b5dc-ac3516891cea" CreationDate="2013-08-15T12:38:22.763" UserDisplayName="user4535" Text="&lt;microphone&gt;&lt;cable&gt;&lt;stereo&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42338" PostHistoryTypeId="36" PostId="24558" RevisionGUID="877601e8-a1f5-495c-8951-30e7aa463927" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4791/skype-conference-call-microphone" />
  <row Id="42339" PostHistoryTypeId="2" PostId="24559" RevisionGUID="3fbe15ea-db0a-4d18-93c1-f1d1dfcb6b27" CreationDate="2012-09-21T22:10:13.307" UserId="7189" Text="I realize that you think you don't want a USB mic, but I'm going to recommend one anyway: The [Blue Snowball][1]. I use one frequently for my Skype calls, and it does a much better job of rejecting the fan noise of my MacBook Pro than the built-in mic.&#xD;&#xA;&#xD;&#xA;Keep in mind that the audio ports on a PC are descendants of the original SoundBlaster card. One of the features that has persisted over the decades is low-voltage plug-in power. Rather than a mono signal or the balanced mono signal that you'd expect from pro-audio gear, the PC microphone port appears to be mono with an extra low-voltage power line. You can easily identify microphones intended for plug-in power by their 3.5mm TRS (&quot;stereo&quot;) jacks. If you plug one of these microphones into your mac, you will get nothing. This is because the audio-in jack on your mac expects a line-level signal, which is what you would get from a CD player. Without plug-in power, the signal will be too weak for your mac to detect. The problem is that just about all the inexpensive microphones out there are intended for PCs and their plug-in power ports.&#xD;&#xA;&#xD;&#xA;So you have two options. You could get a microphone pre-amp (expensive) or a small mixer with microphone pre-amps (possibly less expensive, but also lower quality than a standalone microphone pre) and a pro-audio mic (also expensive). Or you could get a high quality &quot;podcasting&quot; mic with a built-in pre-amp and USB interface.&#xD;&#xA;&#xD;&#xA;The first conference mic that you linked to has a 3.5mm stereo plug and needs a &quot;sound card with a mic-in socket.&quot; That sounds to me like the mic needs an audio interface with plug-in power. Even if it doesn't, it generates a mic-level signal (much lower voltage than line-level), so your mac won't hear anything&#xD;&#xA;&#xD;&#xA;The Philips mic doesn't provide enough information to judge whether it will work in your situation.&#xD;&#xA;&#xD;&#xA;Even if the two conference mics *were* likely to work with your mac, they probably wouldn't solve your problem. An omnidirectional mic will pick up sound from every direction. You complain about your mic picking up &quot;robotic sounds.&quot; That could either be a consequence of a really bad audio interface or background noise from your computer or something else near your conference area. A more directional mic will allow you to adjust what is picked up by your mic by turning it.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bluemic.com/snowball/" ContentLicense="CC BY-SA 3.0" />
  <row Id="42340" PostHistoryTypeId="2" PostId="24558" RevisionGUID="80223062-3e27-4ec0-b0c7-8f513cd226fa" CreationDate="2012-09-21T16:56:58.500" UserDisplayName="Timothy Steffens" Text="I'm looking for advice on a microphone to purchase for Skype conference calls, using a Mac mini. We've been using a usb mic, but we get a lot of noise during the conference calls (robotic sounds). &#xD;&#xA;&#xD;&#xA;I've found a couple:&#xD;&#xA;&#xD;&#xA;Omni-directional Conference Microphone:&#xD;&#xA;http://www.altoedge.com/microphones/conference-phone-vec.html&#xD;&#xA;&#xD;&#xA;Philips Speech Boundary Conference Microphone:&#xD;&#xA;http://www.amazon.com/Philips-Conference-Microphone-CONFERENCE-MICROPHONE/dp/B00655CSDG&#xD;&#xA;&#xD;&#xA;Please advise on a quality microphone that does NOT connect via USB and works well with Skype conference calls.&#xD;&#xA;&#xD;&#xA;Thank you" ContentLicense="CC BY-SA 3.0" />
  <row Id="42341" PostHistoryTypeId="1" PostId="24558" RevisionGUID="80223062-3e27-4ec0-b0c7-8f513cd226fa" CreationDate="2012-09-21T16:56:58.500" UserDisplayName="Timothy Steffens" Text="skype conference call microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="42342" PostHistoryTypeId="3" PostId="24558" RevisionGUID="80223062-3e27-4ec0-b0c7-8f513cd226fa" CreationDate="2012-09-21T16:56:58.500" UserDisplayName="Timothy Steffens" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42343" PostHistoryTypeId="36" PostId="24559" RevisionGUID="968f1648-fe72-40da-ae9c-59d95c32b96e" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4791/skype-conference-call-microphone/4797#4797" />
  <row Id="42344" PostHistoryTypeId="36" PostId="24560" RevisionGUID="d57052a8-917e-4633-8646-84ee7b3f0e8a" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4791/skype-conference-call-microphone/6893#6893" />
  <row Id="42345" PostHistoryTypeId="2" PostId="24560" RevisionGUID="3051db39-33cc-4543-a03f-e8da6be1e968" CreationDate="2013-01-21T13:57:26.173" UserDisplayName="user3507" Text="With a single person on the line we use a usb headset. The audio quality is quite acceptable for voice over IP such as skype. Not every single usb headset works on a MAC, so be sure it is mac compatible. We like Logitech but any name brand will likely give you a good result. The headset will keep the mic close to your mouth (presence) and keep extraneous background (ambient) noises to a minimum. The separation of the earphones and mic keeps feedback to an absolute minimum." ContentLicense="CC BY-SA 3.0" />
  <row Id="42346" PostHistoryTypeId="36" PostId="24561" RevisionGUID="857226a6-e03b-4903-a4be-1300202abd75" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/327/basics-of-miking-a-marching-snare" />
  <row Id="42347" PostHistoryTypeId="36" PostId="24562" RevisionGUID="b3d33bee-d7e9-475a-a887-80a45d4c8021" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/327/basics-of-miking-a-marching-snare/339#339" />
  <row Id="42348" PostHistoryTypeId="36" PostId="24563" RevisionGUID="a4afa1b4-a9e5-42b4-acfa-8b9bca340632" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/327/basics-of-miking-a-marching-snare/648#648" />
  <row Id="42349" PostHistoryTypeId="2" PostId="24562" RevisionGUID="94a88f77-813d-4c54-a849-9f817fb1cefe" CreationDate="2010-12-17T04:02:35.337" UserDisplayName="chris" Text="I think one on top and one on the bottom are enough.  Use good quality dynamic mics, and they should pick up everything.&#xD;&#xA;&#xD;&#xA;If possible, run the signals from the mics thru an oscilliscope to make sure that the signals from the top and bottom are not out of phase - if that's not possible, use your ears.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42350" PostHistoryTypeId="2" PostId="24563" RevisionGUID="62f9f47d-2fc3-469c-9811-fb30131fae1d" CreationDate="2011-01-20T13:50:10.383" UserDisplayName="number7" Text="I'd suggest __one on top__, a few inches above the head, only slightly turned to the surface of the snare. Then __one on the bottom__, also a few inches from the bottom of the drum. Basically you just have to try different positions and distances, because that varies depending on the specific type of snare you're trying to record. &#xD;&#xA;&#xD;&#xA;If you're going to hold the drum while standing, you obviously can't use an overhead mic. But if you have it on a stand, I'd suggest adding a third mic __overhead__ so you can get a bit more ambience." ContentLicense="CC BY-SA 2.5" />
  <row Id="42351" PostHistoryTypeId="2" PostId="24561" RevisionGUID="45aaf2aa-bd43-4b93-94a6-40192cfd1374" CreationDate="2010-12-16T16:04:08.047" UserId="6865" Text="I've seen a lot of Drum Core International soloist videos that have awesome quality of sound. Optimally I figured there would be one mike for the top and one for the bottom to get the full range of sound. Rim clicks and rim shots tend to have different projections, and I want to capture as much of the range of sounds as possible Any good tips about mike placement, distance, etc.?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42352" PostHistoryTypeId="1" PostId="24561" RevisionGUID="45aaf2aa-bd43-4b93-94a6-40192cfd1374" CreationDate="2010-12-16T16:04:08.047" UserId="6865" Text="Basics of miking a marching snare" ContentLicense="CC BY-SA 2.5" />
  <row Id="42353" PostHistoryTypeId="3" PostId="24561" RevisionGUID="45aaf2aa-bd43-4b93-94a6-40192cfd1374" CreationDate="2010-12-16T16:04:08.047" UserId="6865" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42354" PostHistoryTypeId="36" PostId="24564" RevisionGUID="6bdf29b2-a42e-4654-ad93-2e29df98dad7" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1045/use-android-smartphone-to-record-sound" />
  <row Id="42355" PostHistoryTypeId="2" PostId="24565" RevisionGUID="f02a1391-b1ba-4e42-8856-f76305042469" CreationDate="2011-03-18T11:11:42.583" UserId="20454" UserDisplayName="5arx" Text="Not sure about the Nexus S, but I have an HTC Desire HD and have successfully done this with one of these: http://bit.ly/g9HckJ  (cheaper but functionally identical copies are available ;-)). Works pretty well, especially with this: http://soundcloud.com/apps/android&#xD;&#xA;&#xD;&#xA;I wouldn't have thought the audio jack on the Nexus would be any different.&#xD;&#xA;&#xD;&#xA;Good luck, HTH" ContentLicense="CC BY-SA 2.5" />
  <row Id="42356" PostHistoryTypeId="2" PostId="24564" RevisionGUID="e225a4ab-fb3a-4305-9f41-ed39a08d6735" CreationDate="2011-03-17T15:19:03.320" UserDisplayName="Bno" Text="Would it be possible to use a smartphone (in my case a Nexus S) to record sound using an external microphone. I guess I could use an adaptor to connect the microphone to the audio jack and use the default voice recording app. Not sure if that would work though. &#xD;&#xA;&#xD;&#xA;Any ideas on this?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42357" PostHistoryTypeId="1" PostId="24564" RevisionGUID="e225a4ab-fb3a-4305-9f41-ed39a08d6735" CreationDate="2011-03-17T15:19:03.320" UserDisplayName="Bno" Text="Use Android smartphone to record sound" ContentLicense="CC BY-SA 2.5" />
  <row Id="42358" PostHistoryTypeId="3" PostId="24564" RevisionGUID="e225a4ab-fb3a-4305-9f41-ed39a08d6735" CreationDate="2011-03-17T15:19:03.320" UserDisplayName="Bno" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42359" PostHistoryTypeId="36" PostId="24565" RevisionGUID="e45e82c5-93b3-469b-bdef-55cb6c626f6d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1045/use-android-smartphone-to-record-sound/1049#1049" />
  <row Id="42360" PostHistoryTypeId="36" PostId="24566" RevisionGUID="89829595-a8e4-4f7a-acc3-98e53c403f92" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1045/use-android-smartphone-to-record-sound/4965#4965" />
  <row Id="42361" PostHistoryTypeId="2" PostId="24566" RevisionGUID="8b38d101-cb48-48ec-ba44-2d76b2097ea5" CreationDate="2012-10-10T00:07:36.370" UserId="7216" Text="I've used two different devices to record audio on my Nexus S - http://amzn.com/B004XC6KHS and http://amzn.com/B005NZ05J8&#xD;&#xA;&#xD;&#xA;The former is a mic, and will mute the speaker; the latter is designed to be used with any XLR or 1/4 inch audio input. Both will plug in to the audio jack and can be used by any audio recording app. I've used two, but don't have the links handy." ContentLicense="CC BY-SA 3.0" />
  <row Id="42362" PostHistoryTypeId="36" PostId="24567" RevisionGUID="9ac7b995-cb7b-4ccf-a6cb-4782fd51ba78" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3698/microphone-extras-for-video-tutorials-screencasts" />
  <row Id="42363" PostHistoryTypeId="36" PostId="24568" RevisionGUID="a5de41de-aea6-43de-93fa-c0f4ee805cc8" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3698/microphone-extras-for-video-tutorials-screencasts/3699#3699" />
  <row Id="42364" PostHistoryTypeId="36" PostId="24569" RevisionGUID="3872d67b-608a-44e1-81de-e89f96a19871" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3698/microphone-extras-for-video-tutorials-screencasts/3700#3700" />
  <row Id="42365" PostHistoryTypeId="36" PostId="24570" RevisionGUID="c053fab6-8a7e-4c4e-bf25-54415e9da258" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3698/microphone-extras-for-video-tutorials-screencasts/4121#4121" />
  <row Id="42366" PostHistoryTypeId="2" PostId="24568" RevisionGUID="80a99528-ebff-4696-bdc8-c4e47dbf4f5d" CreationDate="2012-04-04T17:32:35.990" UserId="7294" UserDisplayName="Warrior Bob" Text="Type of mic&#xD;&#xA;---&#xD;&#xA;There are three basic kinds of mics you're likely to run into: *dynamic*, *condenser*, and *ribbon*. Dynamics are straightforward moving-cone mics, condensers use an electric field, and ribbons use a very sensitive and delicate metal ribbon.&#xD;&#xA;&#xD;&#xA;Both dynamic and condenser mics will work great for your purposes, so you don't necessarily have to restrict yourself if you don't want to. Condensers, in my experience, tend to be slightly &quot;crisper,&quot; and a bit more sensitive to subtleties, but tend to require &quot;phantom power&quot; from whatever they're plugged into (usually a preamplifier, often built into a mixer or USB interface). I find this sensitivity to be an important quality for music, but for making tutorials where you just want to have a clear, understandable voice, I don't see any advantage over a dynamic unless you specifically prefer the sound of them. Ribbon mics are delicate and expensive and don't offer much advantage to recording voiceovers, so you can safely ignore them for now.&#xD;&#xA;&#xD;&#xA;The go-to dynamic mic for many purposes is a [Shure SM-57] or SM-58 (the 58 is the same thing with a different grille, aimed at vocalists). These are often recommended because they are inexpensive (generally under $100 US), work great, mostly hold their value on the used market, and [are durable to an almost silly level](http://www.youtube.com/watch?v=33QPLbQi9FI).&#xD;&#xA;&#xD;&#xA;The disadvantage compared to the two mics you posted (which seem fine to me) is that those mics already have the recording interface built in, so you don't need any other hardware. Since I imagine you don't need to do any hardware processing to your microphone signal, having it built in would be pretty convenient.&#xD;&#xA;&#xD;&#xA;Directionality&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;To reduce typing noise, make sure your microphone is directional, and point it towards your mouth (maybe slightly off, experiment for the best sound). A directional mic pics up sound mainly from one direction, so sounds from the other directions are de-emphasized. You can take advantage of this property to reduce keyboard noise. The Audio Technica you linked is directional (it claims a 'cardioid' polar pattern on the Amazon page, which will work nicely) and I imagine the AKG is as well, as it's pretty common. Avoid &quot;omni&quot; or &quot;figure-eight&quot; pickup patterns as these pick up from more than one direction.&#xD;&#xA;&#xD;&#xA;Stand/mount&#xD;&#xA;---&#xD;&#xA;You need some kind of stand for your mic, because it will sound inconsistent as you move around, and because holding it in your hands is a giant pain in the rear, especially when you're trying to type. &#xD;&#xA;&#xD;&#xA;For podcasting at home, you probably either want a small desktop stand (like the Audio Technica mic you linked appears to come with), or a freestanding one like [this](http://www.amazon.com/Stage-Stands-7701B-Tripod-Microphone/dp/B000978D58/ref=pd_bxgy_MI_img_c). You'll also need a mount that fits your mic, that screws onto the stand (many mics come with one). If you have the space, I would advise the latter, because an on-desktop stand tends to transmit thumps and desk noise to the microphone, and you're going to be typing a lot. By not having the mic physically coupled to the desk, you can avoid a lot of this. &#xD;&#xA;&#xD;&#xA;Many mics have a highpass-filter option which filters out lower noises like thuds and bumps to some extent. It helps, but I'd still recommend a separate stand.&#xD;&#xA;&#xD;&#xA;You can also reduce this using a shockmount. They generally look like the one pictured on [this wikipedia page](http://en.wikipedia.org/wiki/Shock_mount). I personally haven't found them necessary for just speaking into, but I felt it was worth mentioning.&#xD;&#xA;&#xD;&#xA;Pop filter&#xD;&#xA;---&#xD;&#xA;The purpose of a pop filter is to help reduce noise from certain kinds of sounds called [plosives](https://en.wikipedia.org/wiki/Plosive). These are the popping &quot;p&quot;, &quot;t&quot;, &quot;b&quot;, and other sounds that are annoyingly over-emphasized in microphones because of the little blast of air that comes out of your mouth. A pop filter helps reduce that air movement while  keeping the sound pretty much untouched otherwise. These don't have to be expensive or elaborate - nylon hose stretched over a ring works great, as do inexpensive commercial solutions.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42367" PostHistoryTypeId="2" PostId="24569" RevisionGUID="b89ac468-3b73-4f03-9f0d-f51fa87ad544" CreationDate="2012-04-04T17:54:01.377" UserId="12830" UserDisplayName="dwwilson66" Text="Condenser mic va. dynamic mic: personally, I think either is a good choice for general recording. The basic difference is that Condensers' signals are based on capacitors and Dynamic on electromagnets. Condensers are more susceptible to weather conditions, as the pickup element is generally very tiny, but the small mass of material that needs to be moved by the sound waves to produce signal results in a larger dynamic range. They require a power source...usually a AA battery, or, in your case USB. What I've noticed about dynamic mics is that they have a narrower dynamic range but it's really hard to get feedback out of 'em 'cause they'er less susceptible to the environmental noises around. it's almost like it takes more powerful sound waves to get 'em going. For voice applications though, I've got both in my kit, and they work just fine. &#xD;&#xA;&#xD;&#xA;The AT2020 is a good choice, but I doubt, unless you go with a lavalier, that you'll be able to effectively isolate your voice from environmental sounds like keyboards. Unless you invest in a silent keyboard. Surprisingly, computer fans are terribly noisy when there's a mic nearby...I think we're so acclimated to the white noise that we don't nmecessarily hear it all the time. To counter that, get a cheap furniture pad and clamp it to your desk--assuming the computer's under the desk. Just make sure there's enough airflow; you don't want to wrap the box tightly and have it overheat 'cause the vents are blocked. &#xD;&#xA;&#xD;&#xA;That being said, AudioTechnica's ATR3350 is an OK mic for voice recording. It's economical records really clean audio, and while it's not got the best dynamic range, I've found it to be more than adequate for recording speech. It has a miniplug end that you should be able to plug in to your computer. http://www.soundprofessionals.com/cgi-bin/gold/item/ATR3350 .&#xD;&#xA;&#xD;&#xA;There are USB lavaliers -- http://www.soundprofessionals.com/cgi-bin/gold/item/SP-USB-LAPEL-2 -- but I've personally not had experience with them. &#xD;&#xA;&#xD;&#xA;Lavaliers usually have pop screens that come with them standard; they help soften the hard POP of a 'P' sound, and sibilance in &quot;S&quot; sounds. If you choose not to go with a lavalier, I have two pieces of advice for you:&#xD;&#xA;&#xD;&#xA;1.) do not have your mic on the same surface on which you'll be working. Suspend it from the ceiling, get a floor stand...you'll be surprised how well vibrations from your tabletop record...even if it's not visibly shaking or moving, sound waves are travelling through it.&#xD;&#xA;2.) Pop screen on the cheap: Get a wire coathanger. Make a loop about 8-10&quot; in diameter. Pull a pair of panythose over the loop. Add a second or third pair if you're no happy with the results. Clamp it to your mic stand, position it between your mouth and the mic...you are good to go.&#xD;&#xA;&#xD;&#xA;good luck!&#xD;&#xA;d" ContentLicense="CC BY-SA 3.0" />
  <row Id="42368" PostHistoryTypeId="2" PostId="24570" RevisionGUID="67a99802-2b3f-42da-a87e-cd589ef5c48e" CreationDate="2012-06-06T17:46:27.250" UserDisplayName="Phasefire" Text="Get a Yeti!&#xD;&#xA;It has a dial and multiple capsules so you can change it depending on your recording needs.&#xD;&#xA;&#xD;&#xA;I got 1 for my birthday and I've bought 2 friends mics since then.&#xD;&#xA;My girlfreind uses it for voice over gigs and we use it when we're guests on podcasts.&#xD;&#xA;&#xD;&#xA;It's great multipurpose and easy to use, runs on USB.&#xD;&#xA;&#xD;&#xA;I use it with Audacity , free editing software.&#xD;&#xA;&#xD;&#xA;http://www.bluemic.com/yeti/" ContentLicense="CC BY-SA 3.0" />
  <row Id="42369" PostHistoryTypeId="2" PostId="24567" RevisionGUID="64af10cd-e341-4b06-aece-07067e56fd7b" CreationDate="2012-04-04T14:59:19.850" UserDisplayName="Ben" Text="**For making video-tutorials/screencasts, what is a good, yet affordable microphone and what additional extras do I need?** &#xD;&#xA;&#xD;&#xA;The tutorials will revolve around programming, so things to consider might be filtering out the typing-noise; I won't be singing or playing instruments.&#xD;&#xA;&#xD;&#xA;My budget is around $150. What I have learned so far (mainly from amazon customer reviews) is that I should probably get a *&quot;condenser mic&quot;* (why?), that I will need a *stable stand/mount* (so that shaking the table doesn't influence the audio?) and that I should probably also get a *&quot;pop-filter&quot;* (why exactly?).&#xD;&#xA;&#xD;&#xA;As you can see, any help would be greatly appreciated!&#xD;&#xA;&#xD;&#xA;**Mics that have been suggested to me so far are:**&#xD;&#xA;&#xD;&#xA;- [Audio-Technica AT2020 USB Condenser USB Microphone][1] ($100)&#xD;&#xA;- [AKG PERCEPTION 120 USB Microphone for Recording][2] ($150)&#xD;&#xA;- [Samson CO1U USB Condenser Microphone][3] ($80)&#xD;&#xA;&#xD;&#xA;I would like something that I can plug into my PC (Windows) and that readily works.&#xD;&#xA;&#xD;&#xA;*PS: I have been browsing around this site and found some similar questions, however I found that those often revolve around having to record multiple persons simultaneously or involve lots of tech speak.*&#xD;&#xA;&#xD;&#xA;*PPS: In case you were wondering, this is not related to my other question about Christina's mic. That was just curiosity. I think my needs are different.*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Audio-Technica-AT2020-USB-Condenser-Microphone/dp/B001AS6OYC/ie=UTF8&amp;qid=1333056552&amp;sr=8-2&#xD;&#xA;  [2]: http://www.amazon.com/AKG-PERCEPTION-120-USB-Microphone/dp/B003DSI62U/ref=sr_1_1?s=musical-instruments&amp;ie=UTF8&amp;qid=1333551286&amp;sr=1-1&#xD;&#xA;  [3]: http://www.amazon.com/Samson-CO1U-USB-Condenser-Microphone/dp/B000AP1RE8" ContentLicense="CC BY-SA 3.0" />
  <row Id="42370" PostHistoryTypeId="1" PostId="24567" RevisionGUID="64af10cd-e341-4b06-aece-07067e56fd7b" CreationDate="2012-04-04T14:59:19.850" UserDisplayName="Ben" Text="Microphone/Extras for video-tutorials/screencasts" ContentLicense="CC BY-SA 3.0" />
  <row Id="42371" PostHistoryTypeId="3" PostId="24567" RevisionGUID="64af10cd-e341-4b06-aece-07067e56fd7b" CreationDate="2012-04-04T14:59:19.850" UserDisplayName="Ben" Text="&lt;microphone&gt;&lt;filter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42372" PostHistoryTypeId="36" PostId="24571" RevisionGUID="0c9ee029-b719-4660-91a4-ede7e41d103d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/421/what-are-the-most-used-types-of-microphones-and-what-are-they-best-used-for" />
  <row Id="42373" PostHistoryTypeId="36" PostId="24572" RevisionGUID="2fe8f7e7-27b6-456b-9045-0fae986eb79a" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/421/what-are-the-most-used-types-of-microphones-and-what-are-they-best-used-for/422#422" />
  <row Id="42374" PostHistoryTypeId="36" PostId="24573" RevisionGUID="b837f5c2-54d3-4d44-9f9e-2cae980ae975" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/421/what-are-the-most-used-types-of-microphones-and-what-are-they-best-used-for/423#423" />
  <row Id="42375" PostHistoryTypeId="2" PostId="24572" RevisionGUID="a8ef7ee3-b667-4bd3-a8a8-754029b29b9c" CreationDate="2010-12-22T20:55:38.300" UserId="7218" UserDisplayName="Robert Harvey" Text="The most common types of microphones are condenser and dynamic.&#xD;&#xA;&#xD;&#xA;In general, condenser microphones have a flat, extended frequency response, and are the best choice for far-proximity applications such as choirs and orchestras.&#xD;&#xA;&#xD;&#xA;In general, dynamic microphones are good for near proximity, high SPL applications such as drums and individual instruments.&#xD;&#xA;&#xD;&#xA;There are also certain microphones that are suitable for specific applications.  The [Shure SM-57][1] works particularly well for miking snare drums and electric guitar cabinets, for example, although it is also a great, rugged, inexpensive general purpose mic.&#xD;&#xA;&#xD;&#xA;Shure and Audio Technica publish a wealth of excellent background and technical information about microphones and their proper use.  If you read these publications and study microphone specification sheets, you will develop an excellent background of knowledge for effectively using the right type of microphones in almost any setting.&#xD;&#xA;&#xD;&#xA;**Shure Publications**&#xD;&#xA;&lt;br&gt; http://www.shure.com/americas/support/publications/index.htm&#xD;&#xA;&#xD;&#xA;**Audio Technica - A Brief Guide to Microphones** &lt;br&gt;&#xD;&#xA;http://www.audio-technica.com/cms/site/9904525cd25e0d8d/index.html/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.shure.com/americas/products/microphones/sm/sm57-instrument-microphone" ContentLicense="CC BY-SA 2.5" />
  <row Id="42376" PostHistoryTypeId="2" PostId="24573" RevisionGUID="253a4ac9-509d-4893-aa6f-c8bdba8712d7" CreationDate="2010-12-22T22:30:22.790" UserId="7294" UserDisplayName="Warrior Bob" Text="There are a few major kinds of microphones:&#xD;&#xA;&#xD;&#xA;**Dynamic** mics use an electromagnet attached to a diaphrahm.  They're comparatively durable, so they generally can stand up to higher SPL.  These are commonly used live, as well as for lound instruments like snare drums and guitar cabinets.  A lot of really good ones are inexpensive as well (Shure SM57 and SM58, for example).&#xD;&#xA;&#xD;&#xA;**Condenser** mics use a conductive diaphragm as part of a capacitor.  Because of this, they require external power, referred to as phantom power.  They are quite sensitive, particularly to high frequencies, but because of this they don't handle as much volume, so you don't usually see these as much up next to drums.  But they're splendid for vocals and many instruments.  Condensers come in large and small diaphragm variants.&#xD;&#xA;&#xD;&#xA;**Ribbon** mics use a thin, very sensitive foil suspended in a magnetic field.  They're extremely sensitive to transients and have a very wide frequency response, but they're expensive and delicate.  In my opinion they sound simply amazing for vocals though.&#xD;&#xA;&#xD;&#xA;These are the major types.  There are exceptions to these of course - dynamics with a particularly wide and smooth frequency response, condensers that handle high SPL, and there's even at least one ribbon that takes phantom power, so while you should know these characteristics, in the end it is best to know the properties the mics you have access to.&#xD;&#xA;&#xD;&#xA;Choosing a mic is a matter of fitting the right tool to the task at hand.  Make sure you have a mic that can handle the appropriate SPL, that covers the frequencies you need covered, and most importantly, sounds good to you when you try it.  Don't just choose one based on numbers, but try it out on whatever source you have.  If you can, try a few mics that seem to fit the bill and choose the one you think sounds best.&#xD;&#xA;&#xD;&#xA;And this might sound silly, but ask around!  See what other people prefer for recording the kinds of things you are recording.  Then give 'em a try :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="42377" PostHistoryTypeId="2" PostId="24571" RevisionGUID="e5995326-b2fe-4b51-ace0-d713f901335a" CreationDate="2010-12-22T19:58:11.253" UserId="6865" Text="I've seen many different types of microphones, and I feel like I should know some of most important ones before getting any farther. What are the most commonly mic types and how does one decide which to use?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42378" PostHistoryTypeId="1" PostId="24571" RevisionGUID="e5995326-b2fe-4b51-ace0-d713f901335a" CreationDate="2010-12-22T19:58:11.253" UserId="6865" Text="What are the most used types of microphones and what are they best used for?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42379" PostHistoryTypeId="3" PostId="24571" RevisionGUID="e5995326-b2fe-4b51-ace0-d713f901335a" CreationDate="2010-12-22T19:58:11.253" UserId="6865" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42380" PostHistoryTypeId="36" PostId="24574" RevisionGUID="a1a7ba0d-6793-4772-bf3a-6f0cb607c61e" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1910/what-equipment-should-i-use-to-record-a-conversation-cheaply" />
  <row Id="42381" PostHistoryTypeId="36" PostId="24575" RevisionGUID="0923896a-19a4-4a54-9ff1-9da7dc207ebe" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1910/what-equipment-should-i-use-to-record-a-conversation-cheaply/1922#1922" />
  <row Id="42382" PostHistoryTypeId="2" PostId="24575" RevisionGUID="b8e8f5d8-b5a6-43e1-95ec-f036083c65d0" CreationDate="2011-07-20T16:36:01.293" UserDisplayName="Bryce Alan Flurie" Text="Endangered languages, cool gig. Your question of &quot;can I get away with it&quot; is more philosophical than a gear question.... sure you can get away with it, but if you value your work, then you probably want to take it up a level. Since it sounds like (no pun intended) audio would be a priority for you, I would find a used Zoom digital recorder, like the H1 or even better a H2... if you place one of those just outside of frame you will have editable quality audio. Since picture is secondary, use whatever point and shoot you can get your hands on... Most P and S cameras don't have a mic input so you would be out of luck plugging a mic into it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="42383" PostHistoryTypeId="2" PostId="24574" RevisionGUID="d0393cdf-35d4-45d2-89b3-c4ff62ba921b" CreationDate="2011-07-19T06:22:27.030" UserDisplayName="Jay Bazuzi" Text="I do work with endangered languages. &#xD;&#xA;&#xD;&#xA;Sometimes we get a chance to have a conversation with one of the few remaining speakers of a language, and we'd like to get the best possible recording of their voice, so we can study it later. We'd also like good video of their upper body, as that's an important part of language.&#xD;&#xA;&#xD;&#xA;Here's an example, with Yiddish: http://vimeo.com/20128505&#xD;&#xA;&#xD;&#xA;Often the spaces are far from ideal - outdoors with wind or traffic, or kids playing in the same room.&#xD;&#xA;&#xD;&#xA;Our budget is tiny. We can't afford much equipment. We usually can't dedicate a person to operating equipment - it should be fire-and-forget.&#xD;&#xA;&#xD;&#xA;We can't put an omnidirectional mic in the middle, as we need that space to be open. A lapel mic seems like a good choice, since only the fluent speaker's voice really matters, and it's unobtrusive.&#xD;&#xA;&#xD;&#xA;We also do a group practice conversation. Here's an example, with Squamish: http://youtu.be/UQImIstZpTM&#xD;&#xA;&#xD;&#xA;Would it be sufficient to use a $20 lapel mic, a $20 tripod, and a basic point-and-shoot camera?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42384" PostHistoryTypeId="1" PostId="24574" RevisionGUID="d0393cdf-35d4-45d2-89b3-c4ff62ba921b" CreationDate="2011-07-19T06:22:27.030" UserDisplayName="Jay Bazuzi" Text="What equipment should I use to record a conversation, cheaply?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42385" PostHistoryTypeId="3" PostId="24574" RevisionGUID="d0393cdf-35d4-45d2-89b3-c4ff62ba921b" CreationDate="2011-07-19T06:22:27.030" UserDisplayName="Jay Bazuzi" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42386" PostHistoryTypeId="36" PostId="24576" RevisionGUID="df43e99a-0cc4-4f0f-8877-11d35e60bfa6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3455/does-the-price-trick-you-windscreen" />
  <row Id="42387" PostHistoryTypeId="2" PostId="24577" RevisionGUID="a4338694-b0f6-485a-96a6-1546aa586d69" CreationDate="2012-03-06T17:59:17.333" UserDisplayName="Bryce Alan Flurie" Text="My guess is that foam wind screen is a Senny and not an aftermarket. The dead cat pictured looks like a pretty cheapo model." ContentLicense="CC BY-SA 3.0" />
  <row Id="42388" PostHistoryTypeId="2" PostId="24576" RevisionGUID="6bd8f9b4-bdbe-49a9-962b-b12c248ee6b8" CreationDate="2012-03-02T23:21:17.830" UserId="7210" Text="&gt; Foam screen:&#xD;&#xA;&gt; http://www.fotovideo.no/WebPages/Produkt/ProduktInfo.aspx?plid=68839&amp;WebSiteMapNodeID=1000001&amp;ref=acdc1213&#xD;&#xA;&gt; &#xD;&#xA;&gt; Dead cat:&#xD;&#xA;&gt; http://viewitem.eim.ebay.no/WINDSCHUTZ-WINDFELL-SENNHEISER-MIKROFON-ME-66--ME66/380295316555/item&#xD;&#xA;&#xD;&#xA;I thought dead cat windscreens [were generally considered better than foam screens](http://avp.stackexchange.com/questions/3427/what-is-the-difference-between-a-dead-cat-and-a-foam-screen), but here you can see that the foam screen is the more expensive of the two. Why? Is the foam screen actually better than the dead cat? (The prices here can be divided by 5,7 to get USD.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="42389" PostHistoryTypeId="1" PostId="24576" RevisionGUID="6bd8f9b4-bdbe-49a9-962b-b12c248ee6b8" CreationDate="2012-03-02T23:21:17.830" UserId="7210" Text="Does the price trick you? (Windscreen)" ContentLicense="CC BY-SA 3.0" />
  <row Id="42390" PostHistoryTypeId="3" PostId="24576" RevisionGUID="6bd8f9b4-bdbe-49a9-962b-b12c248ee6b8" CreationDate="2012-03-02T23:21:17.830" UserId="7210" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42391" PostHistoryTypeId="36" PostId="24577" RevisionGUID="e3089bbf-209e-44cf-a7e5-aa5eb5a898f0" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3455/does-the-price-trick-you-windscreen/3476#3476" />
  <row Id="42392" PostHistoryTypeId="36" PostId="24578" RevisionGUID="7d200e30-2abb-4bc9-8593-b0609a15c4bb" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5539/is-this-audio-signal-path-enough-correct" />
  <row Id="42393" PostHistoryTypeId="36" PostId="24579" RevisionGUID="7ed40111-02ab-45c2-9d1b-b5f676cced7c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5539/is-this-audio-signal-path-enough-correct/5540#5540" />
  <row Id="42394" PostHistoryTypeId="2" PostId="24579" RevisionGUID="40102b3a-a33b-48d2-b4ea-e56a37a70021" CreationDate="2012-12-10T08:30:33.080" UserId="7189" Text="Both the Apogee Duet and Apogee One are USB interfaces, which is a good thing since your MacBook Air doesn't have Firewire.&#xD;&#xA;&#xD;&#xA;I don't have much experience with microphones, but it looks like you have picked reasonable gear at a reasonable price point. One of the reasons I haven't worked much with mics is that that particular rabbit hole runs *deep*, and I'm busy enough with synths. So, start with what you have listed above, but don't be surprised at all if you upgrade every piece of your chain over time. That's a feature - you can't start with perfect gear because you don't yet know what is perfect for your application and to your ears. Experiment a lot and try out various things to get a sound you really like." ContentLicense="CC BY-SA 3.0" />
  <row Id="42395" PostHistoryTypeId="2" PostId="24580" RevisionGUID="c42550bf-a401-4cb3-bddd-5b162c036c17" CreationDate="2012-12-10T21:42:14.187" UserId="7200" Text="Mic&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;A ribbon mic for flute is quite an interesting choice. Might sound great, however you should be careful not to get too close to the mic: ribbons tend to be _very_ sensitive to air flow. Now, it depends what you mean by &quot;solo&quot; flute;&#xD;&#xA;&#xD;&#xA;- if you mean classical solo pieces than a larger distance is not a problem, however using just one mic will never give a very full room sound – typically not satisfying in such recordings, this can of course be made good for with digital reverb but I prefer a real room, provided its acoustics are ok.&#xD;&#xA;- if you mean, flute solos for rock music then you need a reasonably close microphone. As I said, that's a problem with a ribbon, but you could try to use a pop killer like singers often do in the studio. I've never seen this for flute, but it might work.&#xD;&#xA;&#xD;&#xA;If you're just starting with recording, I'd recommend something more conventional. Get two small-diaphragm condenser mics, these allow for all kinds of recording setups, close miking, stereo room miking, whatever you want.&#xD;&#xA;&#xD;&#xA;Preamp&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;I've never used the cloudlifter. This is certainly not a bad idea for ribbon mics, but it can't really be better than a good general-purpose microphone preamp.&#xD;&#xA;&#xD;&#xA;With condenser mics, even lower-quality mic preamps should give you as good SNR as a ribbon mic with _any_ preamp.&#xD;&#xA;&#xD;&#xA;Interface&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;The Apogee Duet is certainly a good device, but I know it as pretty much a specialist for low-latency audio _output only_ (like keyboarders need live when running VST synths), so I wouldn't recommend it if you only want to record acoustic instruments. Get something with good preamps and ADs; RME is great in that regard but even the cheaper models by M-Audio or Tascam are pretty ok (not for ribbon mics without external preamp, but for condensers all right). Of course there's nothing wrong with the Apogee, either.&#xD;&#xA;&#xD;&#xA;PC&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;The Macbook Air is hardly the ideal recording laptop, but if you only need to record one instrument this pretty much doesn't matter _at all_, a 1998 Pentium II would be just as fine. Perhaps most important is a quiet fan and clean power supply, any Mac is usually ok in that regard." ContentLicense="CC BY-SA 3.0" />
  <row Id="42396" PostHistoryTypeId="2" PostId="24578" RevisionGUID="d3bfb1a5-921d-4ecc-afe4-65f0f529048b" CreationDate="2012-12-10T06:34:51.597" UserId="7824" UserDisplayName="Henrik Söderlund" Text="After reading on the forum here, I have narrowed down some options to record classical solo flute (recital style in concert hall or similar) via the following setup. This is where I will start looking - I simply would like to confirm that I am thinking correctly.&#xD;&#xA;&#xD;&#xA; 1. Cascade Fat Head short ribbon microphone. Possibly a matched pair?&#xD;&#xA; 2. Cloudlifter CL2 Microphone activator&#xD;&#xA; 3. Apogeee Duet One firewire or the new Duet2 USB2&#xD;&#xA; 4. Macbook Air (already owned)&#xD;&#xA; 5. Adobe Audition CS6 (already owned)&#xD;&#xA;&#xD;&#xA;Am I missing something in the path here, or should consider something completely different? Budget and quality are obviously of importance. I realise that the choice of preamp will affect the overall sound of the recording, hence I would appreciate some other smart options for me to listen to before committing." ContentLicense="CC BY-SA 3.0" />
  <row Id="42397" PostHistoryTypeId="1" PostId="24578" RevisionGUID="d3bfb1a5-921d-4ecc-afe4-65f0f529048b" CreationDate="2012-12-10T06:34:51.597" UserId="7824" UserDisplayName="Henrik Söderlund" Text="Is this audio signal path enough/correct?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42398" PostHistoryTypeId="3" PostId="24578" RevisionGUID="d3bfb1a5-921d-4ecc-afe4-65f0f529048b" CreationDate="2012-12-10T06:34:51.597" UserId="7824" UserDisplayName="Henrik Söderlund" Text="&lt;microphone&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42399" PostHistoryTypeId="36" PostId="24580" RevisionGUID="6b56c7e8-a679-4856-893c-bc37f39651bf" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5539/is-this-audio-signal-path-enough-correct/5547#5547" />
  <row Id="42400" PostHistoryTypeId="36" PostId="24581" RevisionGUID="717855d9-fbf8-477b-8a5e-83ea6924596d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5202/looking-for-microphones-for-location-identification-decibel-level" />
  <row Id="42401" PostHistoryTypeId="36" PostId="24582" RevisionGUID="3357ebcc-aea6-42d8-ad7a-b64b4929eb85" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5202/looking-for-microphones-for-location-identification-decibel-level/5203#5203" />
  <row Id="42402" PostHistoryTypeId="2" PostId="24582" RevisionGUID="d4e409bb-c9a7-41e7-8747-ecc16212779f" CreationDate="2012-10-29T20:20:50.883" UserId="7225" UserDisplayName="Ken Fyrstenberg" Text="If you want to detect from where in a room a sound occur you will need to use a technique called [triangulation][1]. This will require optimally three microphones which you record calibrated with the same lag (or a known lag, or you won't be able to calculate the accurate position as in a small room as this occurs within a millisecond).&#xD;&#xA;&#xD;&#xA;You then use the relation between the sample offset (the higher recording frequency, the  more accurate result) in each of the sample to find the distance from each microphone, and the intersection will be the location.&#xD;&#xA;&#xD;&#xA;If you only need a &quot;sense&quot; of position you can do with &lt;strike&gt;one or&lt;/strike&gt; (correction: with one you will need to already know the time of the event to calculate the distance, ie. the sound device records the synchronized time of its transmission, but this will probably not be the case here) two microphones. This will give you the distance to the microphone, but it is open in the circular plane (radius from the mic) from where the sound came from. If you have a directional sensitive mic you can get closer using the dB level, but you will not know if sound came from left or right, top or bottom.&#xD;&#xA;&#xD;&#xA;With two microphone you can determine from where between the two mics the sound came from, but as with one, not from which side on the axis which cross the axis between the two mics.&#xD;&#xA;&#xD;&#xA;As with decibel you will of course need to calibrate your inputs to a known sound at a known decibel (ie. a sinus based sound played at 0 dB). You will also need to define from where in the room it is 0 dB, a fixed distance from the mic, as a 0 dB sound is 0 dB one cm/inch from the mic as well as 1 m/foot from the mic.&#xD;&#xA;&#xD;&#xA;Please note that the calculated position will be quantized relative to the quality of the recording equipment and recording frequency.&#xD;&#xA;&#xD;&#xA;There is of course a technique called acoustic location, but then you are more in the field of sonars and radars - I assumed in my answer this is not what you're asking for.&#xD;&#xA;&#xD;&#xA;  [1]: https://en.wikipedia.org/wiki/Triangulation" ContentLicense="CC BY-SA 3.0" />
  <row Id="42403" PostHistoryTypeId="2" PostId="24581" RevisionGUID="3c92330e-fa7c-4f04-8793-96336194d86b" CreationDate="2012-10-29T18:52:31.643" UserDisplayName="Cory" Text="I'm starting a project that involves pinpointing a sound within a room the size of a living room, where only a single distinct sound will occur. The best device will be able to pinpoint the sound, give a sense of where within a closed space the sound occurred, report the relative time it occurred, and the decibel level. It is an option that I could use multiple devices for a single room if the problem calls for it. I have a soft budget of $300.&#xD;&#xA;&#xD;&#xA;If you know of such of a device, please post about it here." ContentLicense="CC BY-SA 3.0" />
  <row Id="42404" PostHistoryTypeId="1" PostId="24581" RevisionGUID="3c92330e-fa7c-4f04-8793-96336194d86b" CreationDate="2012-10-29T18:52:31.643" UserDisplayName="Cory" Text="Looking for microphones for location identification, decibel level" ContentLicense="CC BY-SA 3.0" />
  <row Id="42405" PostHistoryTypeId="3" PostId="24581" RevisionGUID="3c92330e-fa7c-4f04-8793-96336194d86b" CreationDate="2012-10-29T18:52:31.643" UserDisplayName="Cory" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42406" PostHistoryTypeId="36" PostId="24583" RevisionGUID="76e918db-5f79-4b32-8b73-f737523f7037" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/156/where-did-the-31-rule-come-from" />
  <row Id="42407" PostHistoryTypeId="2" PostId="24584" RevisionGUID="583def6e-fbef-430a-8cea-e589b3b19bad" CreationDate="2010-12-08T22:35:14.193" UserId="7398" UserDisplayName="BenV" Text="Short answer is that it's just a good rule a thumb.&#xD;&#xA;&#xD;&#xA;Basically you run into phasing issues when the same sound reaches two different mics at different times *at similar levels*.  The 3:1 rule is to ensure that the sound level in the more distant mic is enough lower than the sound level in the near mic that that effects of the phase difference will not be noticable.&#xD;&#xA;&#xD;&#xA;[These][1] [articles][2] have good detailed explanations.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.recordingeq.com/articles/321eq.html&#xD;&#xA;  [2]: http://www.recordingeq.com/EQ/req1001/mmi.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="42408" PostHistoryTypeId="2" PostId="24583" RevisionGUID="39d4e4be-1c9a-4e7f-a207-b92cff122eea" CreationDate="2010-12-08T22:20:23.810" UserId="7294" UserDisplayName="Warrior Bob" Text="I have read that when recording through multiple microphones, that each microphone should be far enough away from each other such that the distance between mics is at least three times the distance from each mic to its intended source, to avoid phase issues.  This is known as the 3:1 rule.&#xD;&#xA;&#xD;&#xA;I'm interested to know where this rule came from.  Is there something special about the geometry of a 3:1 ratio, or is it just a rule of thumb?  Why 3:1 and not some other ratio?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42409" PostHistoryTypeId="1" PostId="24583" RevisionGUID="39d4e4be-1c9a-4e7f-a207-b92cff122eea" CreationDate="2010-12-08T22:20:23.810" UserId="7294" UserDisplayName="Warrior Bob" Text="Where did the 3:1 rule come from?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42410" PostHistoryTypeId="3" PostId="24583" RevisionGUID="39d4e4be-1c9a-4e7f-a207-b92cff122eea" CreationDate="2010-12-08T22:20:23.810" UserId="7294" UserDisplayName="Warrior Bob" Text="&lt;stereo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42411" PostHistoryTypeId="36" PostId="24584" RevisionGUID="f41176b8-c0f1-47ff-901c-eb707ce06af2" CreationDate="2014-01-24T20:00:44.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/156/where-did-the-31-rule-come-from/157#157" />
  <row Id="42412" PostHistoryTypeId="36" PostId="24585" RevisionGUID="690d8bb6-a32a-405b-b533-88a1ac7a6fc9" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1371/bluetooth-headset-as-a-microphone" />
  <row Id="42413" PostHistoryTypeId="2" PostId="24586" RevisionGUID="6026287d-050c-4195-834f-f6d6c343ddae" CreationDate="2011-05-07T20:27:44.543" UserId="7045" Text="You'll get the best audio quality with a boom mic and a field recorder who knows how o use the equipment well. However, if quality is your primary concern and you don't have a skilled boom operator, you might consider looking into lavalier mics. &#xD;&#xA;&#xD;&#xA;Lavalier mics would essentially do what you're considering doing with the bluetooth headsets. You clip one onto everyone who's going to speak, pair them with the receivers, then plug them into either a mixing board or audio interface directly and record. (You'll need a setup like this with the BT headsets as well.)&#xD;&#xA;&#xD;&#xA;Some cameras will allow you to record audio in stereo, but unless you only have two actors, you'll be better off capturing the audio separately is possible.&#xD;&#xA;&#xD;&#xA;I understand that audio captured on an external device (like a laptop or field recorder) can be synced to the video later by using timecode or manually by the sound of the clapboard. &#xD;&#xA;&#xD;&#xA;Bluetooth headsets are likely to be using gates or other noise reduction technology that will sound terrible. These systems are designed so you can understand what somebody is saying, at the expense of sacrificing realism such as background noise. " ContentLicense="CC BY-SA 3.0" />
  <row Id="42414" PostHistoryTypeId="2" PostId="24585" RevisionGUID="b9a6406e-7402-4a34-963e-08b9ef5f7767" CreationDate="2011-05-07T05:23:18.377" UserId="7840" UserDisplayName="themirror" Text="Edit: For those of you who mentioned this -- I will use a separate system to record environmental sounds using a high quality mic.  The bluetooth idea is ONLY for recording the speech of many subjects without picking up background noise.  And isn't that what BT headsets are designed for?&#xD;&#xA;&#xD;&#xA;Hopefully this isn't too subjective...&#xD;&#xA;&#xD;&#xA;I'm preparing to begin documentary film making.  I want to have a mic close to the mouth of every person in a scene.&#xD;&#xA;&#xD;&#xA;One cheap option would be to buy a bunch of old ipods (possibly install RockBox) and buy some mics to record with.&#xD;&#xA;&#xD;&#xA;But a simpler and cheaper option would be to buy a bunch of bluetooth headsets and set a nearby laptop to record them.&#xD;&#xA;&#xD;&#xA;--------&#xD;&#xA;Question:&#xD;&#xA;**Are there any bluetooth headsets, new or old, that are WIDELY KNOWN to have VERY GOOD MICROPHONE QUALITY?**&#xD;&#xA;&#xD;&#xA;Obviously I'm referring to the audio quality of the entire system from mic to transmission, and I realize that the bluetooth protocol itself introduces serious lossy compression, but it IS designed with the acoustic qualities of SPEECH in mind." ContentLicense="CC BY-SA 3.0" />
  <row Id="42415" PostHistoryTypeId="1" PostId="24585" RevisionGUID="b9a6406e-7402-4a34-963e-08b9ef5f7767" CreationDate="2011-05-07T05:23:18.377" UserId="7840" UserDisplayName="themirror" Text="Bluetooth headset as a microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="42416" PostHistoryTypeId="3" PostId="24585" RevisionGUID="b9a6406e-7402-4a34-963e-08b9ef5f7767" CreationDate="2011-05-07T05:23:18.377" UserId="7840" UserDisplayName="themirror" Text="&lt;microphone&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42417" PostHistoryTypeId="36" PostId="24586" RevisionGUID="59948ad6-bec4-4842-8a8a-cf8cf44223da" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1371/bluetooth-headset-as-a-microphone/1381#1381" />
  <row Id="42418" PostHistoryTypeId="36" PostId="24587" RevisionGUID="ba51eed2-dd1e-47a5-a48d-ba482a27d500" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1933/question-about-very-low-volume-with-one-microphone-cable" />
  <row Id="42419" PostHistoryTypeId="36" PostId="24588" RevisionGUID="7c4deffb-0432-40e2-baa3-276d135e4708" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1933/question-about-very-low-volume-with-one-microphone-cable/1936#1936" />
  <row Id="42420" PostHistoryTypeId="36" PostId="24589" RevisionGUID="51969d6f-8307-4248-ace6-5ccb5448c34e" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1933/question-about-very-low-volume-with-one-microphone-cable/1937#1937" />
  <row Id="42421" PostHistoryTypeId="2" PostId="24588" RevisionGUID="2f1353e0-77f0-4312-ad71-ae54de069289" CreationDate="2011-07-22T19:17:34.553" UserId="7942" UserDisplayName="Jean-François Côté" Text="My advice would be that it's not worth it to waste time repairing that cable (best term in my opinion). An XLR cable can be bought for something like $10 on ebay. &#xD;&#xA;&#xD;&#xA;The reason why a cable has stopped working well? Well, there are many. It could range from bad cable from the beginning, broken or bad connection inside, bad soldering, etc. If you dropped the cable a couple of times, the pins could be damaged (with a XLR cable it is very rare) but if you put on a bad adapter, I could have damaged the pins...&#xD;&#xA;&#xD;&#xA;So my advice again, buy another cable and put that one in the trash :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="42422" PostHistoryTypeId="2" PostId="24589" RevisionGUID="4a9cb6f7-1987-4275-88bf-ef2406d7f515" CreationDate="2011-07-22T19:42:51.327" UserId="2506" Text="There could be a bad solder to one of the pins or a damaged wire inside the cable (they're always &quot;cables&quot;, to me at least! Wires go inside cables - aka 'cores' - and leads are only for power transmission).&#xD;&#xA;&#xD;&#xA;Is the XLR wired correctly? There are nonstandard cables floating around with XLR ends - there's no quick way to tell except unscrew an end and examine the pin config.&#xD;&#xA;&#xD;&#xA;Fundamentally though.... It's buggered. XLRs are ten a penny these days, just bin it and buy a couple more. ;-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="42423" PostHistoryTypeId="2" PostId="24587" RevisionGUID="ec29d923-d009-43df-abc2-f45f1bee41bd" CreationDate="2011-07-22T18:45:47.537" UserId="14771" UserDisplayName="Chelonian" Text="I have one black cord/wire/cable (best term?) for use with my two microphones (a Shure SM57 and an Audix OM2) with XLR connectors on both ends.  The problem is that when those mics (or another dynamic mic I borrowed) are used through that cord, the sound is VERY VERY QUIET.&#xD;&#xA;&#xD;&#xA;When I use the same mics (or the borrowed one) with a *different* (borrowed) cord, the sound is properly loud.  If I crank the gain on the amp the mics are going into with the low cord, I can hear/record my voice, but it is at least 1/10th as loud as it should be, so much so that it is useless.&#xD;&#xA;&#xD;&#xA;My questions are:  what could cause this? Can I fix it? (and is it worth it?  I've never bought a mic wire before, just got this from someone). I should note, I've long used a rather bent XLR-to-1/4&quot; adaptor onto the end of the cord, with the &quot;prong&quot; bent 20 degrees from true, so this may be part of what messed up this cord.&#xD;&#xA;&#xD;&#xA;I'd just like to understand how this works.&#xD;&#xA;&#xD;&#xA;Thanks. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42424" PostHistoryTypeId="1" PostId="24587" RevisionGUID="ec29d923-d009-43df-abc2-f45f1bee41bd" CreationDate="2011-07-22T18:45:47.537" UserId="14771" UserDisplayName="Chelonian" Text="question about very low volume with one microphone cable" ContentLicense="CC BY-SA 3.0" />
  <row Id="42425" PostHistoryTypeId="3" PostId="24587" RevisionGUID="ec29d923-d009-43df-abc2-f45f1bee41bd" CreationDate="2011-07-22T18:45:47.537" UserId="14771" UserDisplayName="Chelonian" Text="&lt;microphone&gt;&lt;xlr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42426" PostHistoryTypeId="36" PostId="24590" RevisionGUID="5f11903b-bb15-4274-8c9e-40dc6c49a039" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5233/how-why-do-mac-laptop-mics-suffer-from-hiss-so-much-less-than-pc-laptops" />
  <row Id="42427" PostHistoryTypeId="2" PostId="24591" RevisionGUID="568e9234-e8a2-4516-9238-b6e75650a604" CreationDate="2012-11-02T18:36:14.267" UserId="7200" Text="Pretty certainly _yes_ to **1** here, this is an area where most PC laptop manufacturers apparently don't care for quality at all – namely, to answer **2**, they tend to use the cheapest microphones and preamps available (it has little to do with software), which is IMO absolutely ok because **3.** you should _always_ use external microphones if you care for quality at all, there really isn't any way to get truely acceptable results with standard internal laptop microphones, not with PCs and not with Macs either.&#xD;&#xA;&#xD;&#xA;&lt;hr&gt;&#xD;&#xA;&#xD;&#xA;**edit** I hadn't listened to your video there. Well, that's really quite extreme, I've never had _such_ a great amount of noise even with cheap PC built-ins. Sure there isn't some other source present that you're also capturing?&#xD;&#xA;&#xD;&#xA;Anyway, as I said you'll never get good results with the hardware built into normal laptops, you need external microphones, and by that I also meant to include a proper external preamp. USB audio interfaces are a good choice, Id recommend some combination like M-Audio Fast-Track MKII and Behringer B1, though that may be a bit of an overkill depending on what you want to use it for.&#xD;&#xA;&#xD;&#xA;As you said you can also use a USB microphone / headset." ContentLicense="CC BY-SA 3.0" />
  <row Id="42428" PostHistoryTypeId="2" PostId="24590" RevisionGUID="62111008-326f-4b36-835a-62206f6549a9" CreationDate="2012-11-02T16:53:22.493" UserDisplayName="Jamie Kitson" Text="A friend and I have been looking into mic hiss recently. We have come to the conclusion that Mac laptops (MacBooks?) suffer much less than PC laptops. Experimenting I have found that&#xD;&#xA;&#xD;&#xA;1. [Using an external mic](http://www.youtube.com/watch?v=VAYH9RRyN7s) does not help very much.&#xD;&#xA;1. Installed software on my Windows install does reduce hiss, but makes my voice sound [like I am underwater](http://soundcloud.com/jamiekitson/realtek-audio-options).&#xD;&#xA;&#xD;&#xA;So my questions are:&#xD;&#xA;&#xD;&#xA;1. Is it true that Mac laptops are (generally) better than PC laptops in this way?&#xD;&#xA;1. If so is this down to software or hardware?&#xD;&#xA;1. Is there anything that can be done, bar using USB mics?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42429" PostHistoryTypeId="1" PostId="24590" RevisionGUID="62111008-326f-4b36-835a-62206f6549a9" CreationDate="2012-11-02T16:53:22.493" UserDisplayName="Jamie Kitson" Text="How/why do Mac laptop mics suffer from hiss so much less than PC laptops?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42430" PostHistoryTypeId="3" PostId="24590" RevisionGUID="62111008-326f-4b36-835a-62206f6549a9" CreationDate="2012-11-02T16:53:22.493" UserDisplayName="Jamie Kitson" Text="&lt;microphone&gt;&lt;mac&gt;&lt;windows&gt;&lt;laptop&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42431" PostHistoryTypeId="36" PostId="24591" RevisionGUID="776e894a-95af-4983-91b4-99bbabaf660d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5233/how-why-do-mac-laptop-mics-suffer-from-hiss-so-much-less-than-pc-laptops/5235#5235" />
  <row Id="42432" PostHistoryTypeId="36" PostId="24592" RevisionGUID="c62bf163-c5db-475f-b91f-34efeccaa29e" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5233/how-why-do-mac-laptop-mics-suffer-from-hiss-so-much-less-than-pc-laptops/5240#5240" />
  <row Id="42433" PostHistoryTypeId="2" PostId="24592" RevisionGUID="b015d49f-2697-4c8a-a075-e33009725ad9" CreationDate="2012-11-03T01:07:09.100" UserId="7016" Text="I think your question is actually very misleading.&#xD;&#xA;&#xD;&#xA;Some Windows based laptops have far superior sound to Macs, and some are much worse. &#xD;&#xA;&#xD;&#xA;The thing Macs have is consistency, as Apple has control over the entire hardware, whereas there are a million different Windows laptops.&#xD;&#xA;&#xD;&#xA;So for your 3 questions:&#xD;&#xA;&#xD;&#xA; - 1 - not better generally, nor worse generally, just more consistent than windows laptops.&#xD;&#xA; - 2 - hardware&#xD;&#xA; - 3 - always use a soundcard, as @left says&#xD;&#xA;&#xD;&#xA;However the audio you have recorded sounds like no laptop I have ever heard - I would assume something is wrong with the machine if I heard that. Even cheap ones should sound much quieter!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42434" PostHistoryTypeId="36" PostId="24593" RevisionGUID="47e84e34-44b0-4a99-88ed-dba38bb24631" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3299/whats-a-good-microphone-for-movie-making" />
  <row Id="42435" PostHistoryTypeId="2" PostId="24594" RevisionGUID="9319135f-3686-401d-bb37-185e7f609436" CreationDate="2012-02-15T02:28:09.790" UserDisplayName="Bryce Alan Flurie" Text="For DSLR film making you can't go wrong with a Sennheiser ME66 into a Zoom H4N.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42436" PostHistoryTypeId="2" PostId="24593" RevisionGUID="f8c77642-abf7-4077-b5ca-f4962b3a3c6f" CreationDate="2012-02-14T15:01:46.460" UserId="7210" Text="What's a good microphone for movie making with a DSLR? I'm going to use it both indoors and outdoors. It has to be stereo.. I can use both a boom microphone and a hot shoe microphone.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42437" PostHistoryTypeId="1" PostId="24593" RevisionGUID="f8c77642-abf7-4077-b5ca-f4962b3a3c6f" CreationDate="2012-02-14T15:01:46.460" UserId="7210" Text="What's a good microphone for movie making?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42438" PostHistoryTypeId="3" PostId="24593" RevisionGUID="f8c77642-abf7-4077-b5ca-f4962b3a3c6f" CreationDate="2012-02-14T15:01:46.460" UserId="7210" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42439" PostHistoryTypeId="36" PostId="24594" RevisionGUID="9aafcd48-f28b-4977-b5a4-72ec81b35398" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3299/whats-a-good-microphone-for-movie-making/3308#3308" />
  <row Id="42440" PostHistoryTypeId="36" PostId="24595" RevisionGUID="3d1f14e6-1e47-471d-bf5f-a1e6a9cadf9f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3299/whats-a-good-microphone-for-movie-making/4380#4380" />
  <row Id="42441" PostHistoryTypeId="36" PostId="24596" RevisionGUID="cb95a214-fe9a-4bca-b865-fdb5f1775533" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3299/whats-a-good-microphone-for-movie-making/7278#7278" />
  <row Id="42442" PostHistoryTypeId="2" PostId="24595" RevisionGUID="6c2a2d79-99f6-463f-9e12-7eb87c528da7" CreationDate="2012-07-08T04:18:08.023" UserDisplayName="Jed" Text="I've been doing a little research on the Zoom H4N, and it appears that you can get really good quality from the [Tascam DR40][1], and it's $160 vs. the ~$300 price of the Zoom. Regarding shotgun mics, based on your budget you're going to have to settle for something sub par. Though from what I've read you &quot;can&quot; get away with just using the Zoom or Tascam device by itself, again it may not be optimal for what you want, but it's a great way to do it on a small budget.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/gp/product/B005NACC6M/ref=as_li_ss_tl?ie=UTF8&amp;tag=jmgpho-20&amp;linkCode=as2&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B005NACC6M" ContentLicense="CC BY-SA 3.0" />
  <row Id="42443" PostHistoryTypeId="2" PostId="24596" RevisionGUID="7834fb86-b5b8-41d4-81e9-f6b74ebfdf62" CreationDate="2013-03-01T20:40:06.297" UserDisplayName="Aaron" Text="Just doing some research for a friend and ran across this thread. It may be a bit late to throw in a couple of cents, but in my experience you will want to try to keep your dialog as separate as possible from the other sounds. The ME66 will certainly do the trick, provided you have a good boom operator, but if you are hoping to capture other sounds you should strive for as much isolation as possible and get those other audio events on a different channel. This will give you a lot more control in post. The dialog itself should always be recorded on a single mono channel, no stereo needed. Hope you have found the process fun and rewarding." ContentLicense="CC BY-SA 3.0" />
  <row Id="42444" PostHistoryTypeId="36" PostId="24597" RevisionGUID="79b56197-7571-4235-8d2a-a448a0afccfb" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3029/beginner-question-on-how-to-connect-a-microphone-to-my-tvs-external-speakers" />
  <row Id="42445" PostHistoryTypeId="2" PostId="24598" RevisionGUID="193e7ff0-3d32-48df-b53b-1ecf086465d9" CreationDate="2012-01-14T06:22:08.740" UserId="7209" Text="$30 mixers are typically plenty good for karaoke, and should work well for your purpose.&#xD;&#xA;&#xD;&#xA;A pre-amp for microphones would give you a line-level output from the mics, which is close to that you'll find on the audio inputs of your home theater receiver, or whatever you are using to power your speakers.  These pre-amps are built into mixers." ContentLicense="CC BY-SA 3.0" />
  <row Id="42446" PostHistoryTypeId="2" PostId="24597" RevisionGUID="529b53a3-1c43-4f5f-a794-4f5ed8a216bb" CreationDate="2012-01-13T20:33:37.043" UserDisplayName="mugetsu" Text="I have a new set of karaoke microphones that I need to connect to my speakers. I have heard that I would either need a pre-amp or a mixer to connect the microphone to my speakers. I'm not quite sure which one I should get. I know that the mixer mixes my microphone's audio with my TV's audio output, which then can be outputted through my speakers. And that a pre-amp just amplifies the audio signal. Which one should I be getting? And does the quality of the product matter?&#xD;&#xA;&#xD;&#xA;There are some $30 mixers on amazon, but I have no idea if they are good enough for karaoke.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42447" PostHistoryTypeId="1" PostId="24597" RevisionGUID="529b53a3-1c43-4f5f-a794-4f5ed8a216bb" CreationDate="2012-01-13T20:33:37.043" UserDisplayName="mugetsu" Text="Beginner question on how to connect a microphone to my TV's external speakers" ContentLicense="CC BY-SA 3.0" />
  <row Id="42448" PostHistoryTypeId="3" PostId="24597" RevisionGUID="529b53a3-1c43-4f5f-a794-4f5ed8a216bb" CreationDate="2012-01-13T20:33:37.043" UserDisplayName="mugetsu" Text="&lt;microphone&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42449" PostHistoryTypeId="36" PostId="24598" RevisionGUID="6361e556-11aa-425e-819d-ef5a5224b4aa" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3029/beginner-question-on-how-to-connect-a-microphone-to-my-tvs-external-speakers/3036#3036" />
  <row Id="42450" PostHistoryTypeId="36" PostId="24599" RevisionGUID="e1375ddb-44d4-4d7c-8083-d0c902d80ebd" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1377/microphone-for-recording-sounds-on-the-mac" />
  <row Id="42451" PostHistoryTypeId="2" PostId="24600" RevisionGUID="e52f7ca9-3967-4a01-943d-b79f7ac2465b" CreationDate="2011-05-07T19:52:38.377" UserId="7471" UserDisplayName="Mark Heath" Text="Almost any professional microphone will give you much better results than the built-in one that your laptop has. One issue is that you will not be able to connect a studio microphone directly into your PC (they typically have [XLR connectors][1] on them). &#xD;&#xA;&#xD;&#xA;Here are two basic options you could choose between:&#xD;&#xA;&#xD;&#xA;1. Buy a USB audio interface with microphone input and a budget studio microphone. It would need to support &quot;[phantom power][2]&quot; if you wanted to use a condensor microphone.&#xD;&#xA;2. Buy a USB microphone such as the [Samson C01U][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/XLR_connector&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Phantom_power&#xD;&#xA;  [3]: http://www.samsontech.com/products/productpage.cfm?prodid=1810" ContentLicense="CC BY-SA 3.0" />
  <row Id="42452" PostHistoryTypeId="2" PostId="24599" RevisionGUID="e0856e9c-c7fa-4d37-b100-61b132e542da" CreationDate="2011-05-07T19:39:43.533" UserDisplayName="Mikhalo Ivanokov" Text="I've bought Logic Studio and want to record some sounds in a very quiet environment. Those sounds are the basis for sound effects used in movies and software. It's so much fun to create them. &#xD;&#xA;&#xD;&#xA;What I do is I take all kinds of stuff that makes a cool sound and try to record that sound. For example opening a can of Coke, or dropping something into a cup of water.&#xD;&#xA;&#xD;&#xA;Right now I do that with the build-in mic of my MacBook Pro laptop with Solid State Drive (SSD). There is still a very silent noise in the recording probably coming from the built-in ventilation and the sounds are not recorded really loud. The mic is too far away.&#xD;&#xA;&#xD;&#xA;Now the question is: What kind of microphone would be best for recording silent sound effects like these?&#xD;&#xA;&#xD;&#xA;- Button klicks&#xD;&#xA;- Clock mechanics&#xD;&#xA;- Stirring a cup of tea&#xD;&#xA;- Drawing with a pen on paper&#xD;&#xA;- etc.&#xD;&#xA;&#xD;&#xA;Do I need a condenser microphone with a cardioid pattern like the one below?&#xD;&#xA;&#xD;&#xA;![source: Wikipedia][1]&#xD;&#xA;&#xD;&#xA;I was reading up on microphones on Wikipedia and realized it's a huge topic, so I hope for some advice from other sound designers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/8b2g9.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="42453" PostHistoryTypeId="1" PostId="24599" RevisionGUID="e0856e9c-c7fa-4d37-b100-61b132e542da" CreationDate="2011-05-07T19:39:43.533" UserDisplayName="Mikhalo Ivanokov" Text="Microphone for recording sounds on the Mac?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42454" PostHistoryTypeId="3" PostId="24599" RevisionGUID="e0856e9c-c7fa-4d37-b100-61b132e542da" CreationDate="2011-05-07T19:39:43.533" UserDisplayName="Mikhalo Ivanokov" Text="&lt;microphone&gt;&lt;field-recording&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42455" PostHistoryTypeId="36" PostId="24600" RevisionGUID="f999c119-133d-4c77-8f47-84e7d1156dc0" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1377/microphone-for-recording-sounds-on-the-mac/1379#1379" />
  <row Id="42456" PostHistoryTypeId="36" PostId="24601" RevisionGUID="385ddcb2-6b50-46b4-92d9-44d8d4b65e8b" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1377/microphone-for-recording-sounds-on-the-mac/1380#1380" />
  <row Id="42457" PostHistoryTypeId="36" PostId="24602" RevisionGUID="7327509a-0680-4276-b24d-a24f178a5aad" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1377/microphone-for-recording-sounds-on-the-mac/1428#1428" />
  <row Id="42458" PostHistoryTypeId="2" PostId="24601" RevisionGUID="49fac028-a187-4446-8dd6-ac7e9e6a8ec1" CreationDate="2011-05-07T19:53:28.363" UserId="7045" Text="I'd suggest seeking out a more directional mic than one with the cardoid-style pattern you're looking at now, possibly even a shotgun mic. (My first guess woud be to check out Audio-Technica mics, but that's just a guess.) &#xD;&#xA;&#xD;&#xA;You'll also need an audio interface, and almost certainly one that has phantom power to feed the condenser microphone. The good news is that a Firewire interface would be overkill, since the latency issues that typically come with USB interfaces won't be an issue with this application. Look for an interface that has a single XLR input with phantom power. Apogee is reputed to have good audio interfaces, but I can't speak to the quality of their microphone preamps. (MOTU preamps are top-notch, but most of their products would be overkill for your purposes.)  " ContentLicense="CC BY-SA 3.0" />
  <row Id="42459" PostHistoryTypeId="2" PostId="24602" RevisionGUID="d7873b86-5eb2-4fad-93e9-e42f645dc216" CreationDate="2011-05-17T14:43:21.960" UserDisplayName="Owen Kelly" Text="As a fellow foley enthusiast i would highly recommend looking into a field recorder when you budget allow.&#xD;&#xA;&#xD;&#xA;For foley, the benefit of field recorders is their portability. If you can take it anywhere you will begin recording everything, and you will end up with a library of sounds far more eclectic than you could achieve if you had to lug a laptop around.&#xD;&#xA;&#xD;&#xA;The [zoom h1][1] would be my budget reccomendation. [Here][2] is a good, though slightly out dated comparison.&#xD;&#xA;&#xD;&#xA;If you're recording in a dedicated enviroment, then I would suggest investing in a good shotgun. If you can't justify a grand for a decent interface + mic, try something like a rode videomic plugged into a video camera (assuming you have one), and record with that.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.zoom.co.jp/english/products/h1/&#xD;&#xA;  [2]: http://reviews.cnet.com/4321-11314_7-6608500.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="42460" PostHistoryTypeId="36" PostId="24603" RevisionGUID="9ca8719f-40de-4f51-a7d1-1ab24ae9d419" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7030/why-can-i-only-use-2-microphones-with-my-4-channel-usb-mixer" />
  <row Id="42461" PostHistoryTypeId="36" PostId="24604" RevisionGUID="a9806eef-7504-4528-a4f0-0153e121e156" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7030/why-can-i-only-use-2-microphones-with-my-4-channel-usb-mixer/7031#7031" />
  <row Id="42462" PostHistoryTypeId="2" PostId="24604" RevisionGUID="59ff149c-1e2e-462c-bfb3-c637a8c09007" CreationDate="2013-02-02T10:43:37.507" UserId="7016" Text="If you look at the information on the web page you linked to, this is by design:&#xD;&#xA;&#xD;&#xA;&gt; Channels one and two have independent gain trims, while channels three&#xD;&#xA;&gt; and four are configured as a stereo pair at the level and pan&#xD;&#xA;&gt; controls.&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;&gt; The MultiMix 4 USB mixer has four input channels, all of which can&#xD;&#xA;&gt; accept a 1/4&quot; line input. You can can plug XLR microphones into&#xD;&#xA;&gt; channels one and two, including condensers thanks to the mixer's&#xD;&#xA;&gt; switchable 48V-phantom power supply.&#xD;&#xA;&#xD;&#xA;So you cannot use this as a 4 input mic mixer. You'll either need to pick up a different mixer or try pre-amplifying the inputs, as channels 3 and 4 are line level." ContentLicense="CC BY-SA 3.0" />
  <row Id="42463" PostHistoryTypeId="2" PostId="24605" RevisionGUID="03b22811-e3b0-4695-ae18-671dc5d1b442" CreationDate="2013-02-02T10:46:03.537" UserId="6755" Text="1/4&quot; Jack Inputs don't have a preamp like XLR connections. In other words if your microphone needs power from the mixer you won't get it from a 1/4&quot; socket. To prove a point, try connecting something else at &quot;Line level&quot;. Like a CD player and listen to see whether that comes through.&#xD;&#xA;&#xD;&#xA;I assume your not familiar with &quot;Line level&quot;, so here'a reference explaining a bit about it: http://www.ovnilab.com/articles/linelevel.shtml&#xD;&#xA;&#xD;&#xA;You can either buy a preamp unit or swap the mixer for something with 4 preamps.&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="42464" PostHistoryTypeId="2" PostId="24603" RevisionGUID="3af0eaa4-e7ff-4af9-9285-2b2a0683cc0c" CreationDate="2013-02-02T09:02:06.833" UserId="8124" UserDisplayName="Dave M G" Text="I just bought an [Alesis MultiMix 4 USB][1].&#xD;&#xA;&#xD;&#xA;What I wanted it for was the ability to connect 4 microphones to my computer via USB, in order to record a podcast where 4 people could be individually miked. I was so concerned about USB driver issues, that I think I did not look into other issues.&#xD;&#xA;&#xD;&#xA;The problem is that if I plug a microphone in to the inputs for channels 3 and 4, I get absolutely no response.&#xD;&#xA;&#xD;&#xA;What puzzles me is that I can use the 1/4&quot; line-in jacks on channels 1 and 2 and they work fine. So what's the deal with channels 3 and 4? I can clearly see they don't have as many controls and features as channels 1 and 2, but I thought they would at least be able to take a line in from a microphone.&#xD;&#xA;&#xD;&#xA;What is going on with channels 3 and 4? Why do they not register any microphone input?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.alesis.com/multimix4usb" ContentLicense="CC BY-SA 3.0" />
  <row Id="42465" PostHistoryTypeId="1" PostId="24603" RevisionGUID="3af0eaa4-e7ff-4af9-9285-2b2a0683cc0c" CreationDate="2013-02-02T09:02:06.833" UserId="8124" UserDisplayName="Dave M G" Text="Why can I only use 2 microphones with my 4 channel USB mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42466" PostHistoryTypeId="3" PostId="24603" RevisionGUID="3af0eaa4-e7ff-4af9-9285-2b2a0683cc0c" CreationDate="2013-02-02T09:02:06.833" UserId="8124" UserDisplayName="Dave M G" Text="&lt;microphone&gt;&lt;usb&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42467" PostHistoryTypeId="36" PostId="24605" RevisionGUID="6fd153ea-6d91-4c3c-9e95-b33b1c157dbf" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7030/why-can-i-only-use-2-microphones-with-my-4-channel-usb-mixer/7032#7032" />
  <row Id="42468" PostHistoryTypeId="36" PostId="24606" RevisionGUID="3352d7d5-66ef-46e1-bf55-e18c663af48a" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3436/do-xlr-cables-wear-out" />
  <row Id="42469" PostHistoryTypeId="2" PostId="24607" RevisionGUID="cb8c223f-7bca-40d3-b8c3-83884943f789" CreationDate="2012-03-02T02:10:40.510" UserId="7231" UserDisplayName="NReilingh" Text="If you use a new crappy cable, it's going to sound worse than a well-made and cared for high-quality cable that's 10 years old.&#xD;&#xA;&#xD;&#xA;But by the same token, a well-used workhorse cable that's been cared for properly for 10 years might not sound as good as something studio-grade.&#xD;&#xA;&#xD;&#xA;Age really has nothing to do with it. Quality, construction, and care are what matter here. When care is absent, then age makes a difference--but that would be visually noticeable." ContentLicense="CC BY-SA 3.0" />
  <row Id="42470" PostHistoryTypeId="2" PostId="24606" RevisionGUID="2e5c21ab-efb0-4f17-b64c-41a2f9696215" CreationDate="2012-03-01T22:22:37.067" UserId="7210" Text="Is there any noticeable difference in sound quality if you use a new XLR cable instead of a well-used 10 years old one? &#xD;&#xA;&#xD;&#xA;I work at our local church and can borrow a cable from there to do some recording for a short film instead of buying it.." ContentLicense="CC BY-SA 3.0" />
  <row Id="42471" PostHistoryTypeId="1" PostId="24606" RevisionGUID="2e5c21ab-efb0-4f17-b64c-41a2f9696215" CreationDate="2012-03-01T22:22:37.067" UserId="7210" Text="Do XLR cables wear out?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42472" PostHistoryTypeId="3" PostId="24606" RevisionGUID="2e5c21ab-efb0-4f17-b64c-41a2f9696215" CreationDate="2012-03-01T22:22:37.067" UserId="7210" Text="&lt;microphone&gt;&lt;cable&gt;&lt;xlr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42473" PostHistoryTypeId="36" PostId="24607" RevisionGUID="8e5d446f-b341-4caf-ab6f-e791d933aac4" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3436/do-xlr-cables-wear-out/3437#3437" />
  <row Id="42474" PostHistoryTypeId="36" PostId="24608" RevisionGUID="2304d01e-0915-4c87-8322-c0ac64e85b12" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3435/sennheiser-me66-vs-shure-sm81" />
  <row Id="42475" PostHistoryTypeId="2" PostId="24609" RevisionGUID="1ae69978-facf-4c1c-8eb5-d54d26dd81db" CreationDate="2012-03-02T19:42:23.993" UserDisplayName="Bryce Alan Flurie" Text="SM81 is a great little mic. I've used it for acoustic instruments before, but for video production you want the ME66. 81 is a cardioid pattern, 66 is a true shotgun. Only way the 81 would give you usable audio would be in a very controlled environment. " ContentLicense="CC BY-SA 3.0" />
  <row Id="42476" PostHistoryTypeId="2" PostId="24608" RevisionGUID="712edf01-7e2e-4906-847d-cb925b0bcae0" CreationDate="2012-03-01T22:11:33.023" UserId="7210" Text="I'm about to make a short video and have available a Shure SM81 that I can borrow when I need it. &#xD;&#xA;&#xD;&#xA;Is it worth it to buy the Sennheiser ME66 in this case? &#xD;&#xA;&#xD;&#xA;What are the differences between them? &#xD;&#xA;&#xD;&#xA;Is the SM81 actually a shotgun? &#xD;&#xA;&#xD;&#xA;Is the SM81 suitable for recording for films like the ME66 is?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42477" PostHistoryTypeId="1" PostId="24608" RevisionGUID="712edf01-7e2e-4906-847d-cb925b0bcae0" CreationDate="2012-03-01T22:11:33.023" UserId="7210" Text="Sennheiser ME66 vs Shure SM81" ContentLicense="CC BY-SA 3.0" />
  <row Id="42478" PostHistoryTypeId="3" PostId="24608" RevisionGUID="712edf01-7e2e-4906-847d-cb925b0bcae0" CreationDate="2012-03-01T22:11:33.023" UserId="7210" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42479" PostHistoryTypeId="36" PostId="24609" RevisionGUID="7f95f1b5-2262-434f-8b33-9c159d1aa30a" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3435/sennheiser-me66-vs-shure-sm81/3450#3450" />
  <row Id="42480" PostHistoryTypeId="36" PostId="24610" RevisionGUID="5e68e2bb-577f-4a70-acf6-beaa5f08101e" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1557/how-do-i-use-a-microphone-on-my-pc-sound-card-to-automatically-create-a-sweet-s" />
  <row Id="42481" PostHistoryTypeId="36" PostId="24611" RevisionGUID="353da781-2af4-4233-9250-abada4c4e193" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1557/how-do-i-use-a-microphone-on-my-pc-sound-card-to-automatically-create-a-sweet-s/1596#1596" />
  <row Id="42482" PostHistoryTypeId="36" PostId="24612" RevisionGUID="2e613da6-2d9e-4fb5-a14a-5e8c8d25a2f6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1557/how-do-i-use-a-microphone-on-my-pc-sound-card-to-automatically-create-a-sweet-s/1839#1839" />
  <row Id="42483" PostHistoryTypeId="2" PostId="24611" RevisionGUID="06ac93de-fbb3-4696-9414-e5bb5184b4da" CreationDate="2011-06-15T12:23:02.977" UserDisplayName="phasetransitions" Text="Gravitas,&#xD;&#xA;&#xD;&#xA;As a loudspeaker designer let me state, unequivocally, that &quot;dumb&quot; digital room correction with time reversed gazillion tap FIR filters is a terrible idea.&#xD;&#xA;&#xD;&#xA;That said, if you want to play with it affordably have a look at [Brute FIR][1]. You'll need an acceptable quality omni microphone, like the [Audix TM1][2]. There are plenty of reasonably priced usb sound cards.&#xD;&#xA;&#xD;&#xA;I'd have to write a small novel to explain why these room correction setups don't work well, but now you can go experiment and learn that for yourself.&#xD;&#xA;&#xD;&#xA;If your interested in reading a paper on what sort of things can be addressed properly with this type of processing, I'll refer you to the following [AES paper][3] by my friend Dave Gunness, formerly of EV, EAW, and now head of engineering at [Fulcrum-Acoustic][4].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.duffroomcorrection.com/wiki/Brutefir&#xD;&#xA;  [2]: http://www.audixusa.com/docs/products/TM1.shtml&#xD;&#xA;  [3]: http://fulcrum-acoustic.com/wordpress/wp-content/uploads/2008/03/improving-loudspeaker-transient-response-with-digital-signal-processing-2005.pdf&#xD;&#xA;  [4]: http://www.fulcrum-acoustic.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="42484" PostHistoryTypeId="2" PostId="24612" RevisionGUID="8a54763b-1468-42e2-b7ca-ab0d69f399b6" CreationDate="2011-07-10T17:31:35.780" UserDisplayName="Tedd Hansen" Text="Windows (Vista and 7 at least) has Room Correction. Look at Properties of your speakers under &quot;Sound&quot; in Control Panel.&#xD;&#xA;&#xD;&#xA;Not sure this is what you are looking for though. (Just dropped by this site at random.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="42485" PostHistoryTypeId="2" PostId="24610" RevisionGUID="78aa7ae1-e42b-4850-9f27-a0a277aed14a" CreationDate="2011-06-07T18:13:01.837" UserDisplayName="Contango" Text="Are there any PC sound cards I can buy which support &quot;digital room correction&quot;, a feature found on high-end amplifiers, namely the ability to use a microphone to automatically calibrate your sound card to create &quot;sweet spot&quot; that has excellent frequency response?&#xD;&#xA;&#xD;&#xA;**Update**&#xD;&#xA;&#xD;&#xA;Searched for &quot;Digital Room Correction&quot;, and found [DRC: Digital Room Correction][1], software to help do just what I've described. The author of this program is using a TerraTec EWX 24/96 sound card. However, I'm looking for other sound cards with this ability built in as part of the sound card driver.&#xD;&#xA;&#xD;&#xA;**Update**&#xD;&#xA;&#xD;&#xA;Found [DRC - Digital Room Correction - Wiki][2].&#xD;&#xA;&#xD;&#xA;**Update**&#xD;&#xA;&#xD;&#xA;Found AudioLense from http://www.juicehifi.com/. Plug a microphone into your sound card, and this software corrects for the acoustics of your room. Now to find some more competitors to this software, for comparison.&#xD;&#xA;&#xD;&#xA;**Update**&#xD;&#xA;&#xD;&#xA;AudioLense recommends &quot;[Professional sound cards or DACs from Lynx or RME][3].&quot; Its a pity these cards are the price of a Small African Nation.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://drc-fir.sourceforge.net/&#xD;&#xA;  [2]: http://www.duffroomcorrection.com/wiki/Main_Page&#xD;&#xA;  [3]: http://www.duffroomcorrection.com/images/f/fb/Audiolense_wiki.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="42486" PostHistoryTypeId="1" PostId="24610" RevisionGUID="78aa7ae1-e42b-4850-9f27-a0a277aed14a" CreationDate="2011-06-07T18:13:01.837" UserDisplayName="Contango" Text="How do I use a microphone on my PC sound card to automatically create a &quot;sweet spot&quot; with excellent frequency response?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42487" PostHistoryTypeId="3" PostId="24610" RevisionGUID="78aa7ae1-e42b-4850-9f27-a0a277aed14a" CreationDate="2011-06-07T18:13:01.837" UserDisplayName="Contango" Text="&lt;microphone&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42488" PostHistoryTypeId="36" PostId="24613" RevisionGUID="fe2053f0-1c97-4a18-bb5e-cfc2eb0b9a67" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8397/is-it-safe-to-plug-amplifiers-headphone-output-into-the-computer" />
  <row Id="42489" PostHistoryTypeId="2" PostId="24614" RevisionGUID="45badbf5-dde7-4b1f-a043-3528a1df1c48" CreationDate="2013-07-13T18:35:03.023" UserId="7174" Text="A headphone output and a line input should have the same or close impedance.  It shouldn't damage a mic input, but it might be overly loud and noisy.  The line input should work well though." ContentLicense="CC BY-SA 3.0" />
  <row Id="42490" PostHistoryTypeId="2" PostId="24613" RevisionGUID="5c36f97f-9229-4f84-87a3-1328b0d67150" CreationDate="2013-07-13T17:59:52.037" UserDisplayName="Allan" Text="I'd like to record a spoken voice track, but I don't know if the devices will play well together. My main concern is not exploding anything :) I did try and Google this (for hours) but couldn't find any definitive answers.&#xD;&#xA;&#xD;&#xA;What I'd like to do is plug an AKG D880 microphone into a Fender Frontman PR241 amplifier, and then plug the amplifier's headphone output into the microphone input of my computer. Is it OK to do that?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42491" PostHistoryTypeId="1" PostId="24613" RevisionGUID="5c36f97f-9229-4f84-87a3-1328b0d67150" CreationDate="2013-07-13T17:59:52.037" UserDisplayName="Allan" Text="Is it safe to plug amplifier's headphone output into the computer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42492" PostHistoryTypeId="3" PostId="24613" RevisionGUID="5c36f97f-9229-4f84-87a3-1328b0d67150" CreationDate="2013-07-13T17:59:52.037" UserDisplayName="Allan" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42493" PostHistoryTypeId="36" PostId="24614" RevisionGUID="bdc5a08e-f7b2-4174-8935-6ed975c852f5" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8397/is-it-safe-to-plug-amplifiers-headphone-output-into-the-computer/8398#8398" />
  <row Id="42494" PostHistoryTypeId="36" PostId="24615" RevisionGUID="57adadab-f56e-4846-9a1c-e5d5ee9c464c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1357/best-mic-for-cajon-percussions-in-100-150-price-range" />
  <row Id="42495" PostHistoryTypeId="36" PostId="24616" RevisionGUID="2e6bbad9-8a32-4b99-b62b-627f29d53648" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1357/best-mic-for-cajon-percussions-in-100-150-price-range/1871#1871" />
  <row Id="42496" PostHistoryTypeId="2" PostId="24616" RevisionGUID="fb0b4fba-d349-458d-8264-ac913ea14eb0" CreationDate="2011-07-14T00:28:16.017" UserDisplayName="DreLambo" Text="Have you considered trying an AKG D12, they are commonly used to record kick drums, so they should provide you with the low end that you are currently lacking. You should be able to pick one up within your price range, I wouldn't use them on hi-hats though!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42497" PostHistoryTypeId="2" PostId="24615" RevisionGUID="d52e331e-c34a-4701-96ba-ad781496a69d" CreationDate="2011-05-06T10:18:57.610" UserDisplayName="Edza" Text="I have a nice mic for acoustic guitar and voice, but it sounds awful when I try to record cajon. My cajon has a very deep bass and it almost isn't present.&#xD;&#xA;&#xD;&#xA;Potentially besides cajon I would also want to record hi-hats, but nothing else of the standard drumset.&#xD;&#xA;&#xD;&#xA;I am completely clueless in audio equipment, which would be the best mic for this in the 100$-150$ price range?&#xD;&#xA;&#xD;&#xA;Or maybe a set of mics? I only have a single microphone stand.&#xD;&#xA;&#xD;&#xA;Thanks. :)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42498" PostHistoryTypeId="1" PostId="24615" RevisionGUID="d52e331e-c34a-4701-96ba-ad781496a69d" CreationDate="2011-05-06T10:18:57.610" UserDisplayName="Edza" Text="Best mic for cajon/percussions in 100$-150$ price range?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42499" PostHistoryTypeId="3" PostId="24615" RevisionGUID="d52e331e-c34a-4701-96ba-ad781496a69d" CreationDate="2011-05-06T10:18:57.610" UserDisplayName="Edza" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42500" PostHistoryTypeId="2" PostId="24617" RevisionGUID="6726de80-4256-42c1-b823-1d8211a45b47" CreationDate="2014-01-24T21:11:59.490" UserId="7212" Text="Sounds like a female voice, pitch-adjusted upwards for a synth-y quality, with a little fuzz for a buzzy static edge, a drop of phase shift for shimmer, and a short but noticeable time delay to introduce a second copy of the voice. The recording itself may be doubled instead of a delay; it's so short and heavily processed it's hard to tell." ContentLicense="CC BY-SA 3.0" />
  <row Id="42501" PostHistoryTypeId="2" PostId="24618" RevisionGUID="68faab18-3d38-4c68-aded-acf8588e7521" CreationDate="2014-01-24T21:36:39.090" UserId="7220" Text="I've asked around and Googled cajon recording techniques. I'm following the guidelines given by many but for some reason my cajon always comes out sounding like I'm slapping pieces of paper.&#xD;&#xA;&#xD;&#xA;Currently my setup is an Audix D6 at a 45 degree angle to the edge of the rear hole and an Audix i5 catching the front of the attack a few inches away. I tried compressing and EQing it with no luck. We even moved into the bathroom to see if we could get a different sound.&#xD;&#xA;&#xD;&#xA;Could this be a phase issue? Perhaps my room sucks? I think the cajon sounds great in the room but once I get it on equipment, that I know works well, it sounds terrible." ContentLicense="CC BY-SA 3.0" />
  <row Id="42502" PostHistoryTypeId="1" PostId="24618" RevisionGUID="68faab18-3d38-4c68-aded-acf8588e7521" CreationDate="2014-01-24T21:36:39.090" UserId="7220" Text="How to record a cajon without it sounding terrible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42503" PostHistoryTypeId="3" PostId="24618" RevisionGUID="68faab18-3d38-4c68-aded-acf8588e7521" CreationDate="2014-01-24T21:36:39.090" UserId="7220" Text="&lt;drum&gt;&lt;record&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42504" PostHistoryTypeId="2" PostId="24619" RevisionGUID="5ac31207-0e8a-43ef-a7bc-1fe66384f610" CreationDate="2014-01-24T21:46:01.670" UserId="7212" Text="Most film is art, not life/reality. Sound designers have to match the visual art on screen with the sonic art of their mix, and that usually includes a certain amount of &quot;realer than real&quot;.&#xD;&#xA;&#xD;&#xA;Case in point, when we see some big impact on screen, such as a lightning bolt, we as audience members expect to hear it, much as we expect to hear the starship Enterprise whooshing by at warp speed, even though there's no air (and thus no air movement to create the &quot;whoosh&quot;) in space. We also expect to see it match up with the visual effect on the screen; this both increases the overall impact of whatever just happened, and keeps us suspending disbelief that we're not watching a movie, we're looking through a window into another universe. Hearing a delayed sound effect might jerk us out of the director's world and wonder what's going on with the media system, and once we've left, it's hard to get us back.&#xD;&#xA;&#xD;&#xA;The speed of sound delay would also, even in the ideal, make us feel further from the action. You see a lightning bolt hit a distant mountainside. 3 seconds later, you hear an ear-splitting thunderclap. While that might be totally accurate to the scope of the shot, in the ultimate ideal of the audience totally suspending reality and believing they're physically in this world you've created, they'll be thinking &quot;damn, I'm glad I'm not over there&quot;.&#xD;&#xA;&#xD;&#xA;As a different example, let's say that, in the climactic scene of Return of the King, Peter Jackson decided that the sound produced by Sauron's eye imploding and then exploding should be accurately delayed based on the camera's distance, because the event produced a shockwave and so it would be believable to have the sound hit you when the visual shockwave reached the camera. First off, at its full height that tower is almost a mile high. To have the entirety of it in frame, even as it's collapsing, without any vertical compression of perspective, the camera has to be even further away from it. So, the shot of Sauron exploding and the tower disintegrating from the shock would be unfolding in front of you, sound-effect-less, for over 4 seconds before the shock wave (and thus the sound) hits the observer at the camera. While PJ might have been able to make it work, that's a long time to be expecting the biggest explosion ever heard in Middle Earth and not get it.&#xD;&#xA;&#xD;&#xA;Despite the practical difficulties in making these types of sound delays believable in film, such delays are sometimes used, but in &quot;enhanced&quot; situations; the visual effects team might speed up the speed of sound, and thus the shockwave, to lessen the time the shot has to go on before the sonic payoff. As an audience, we're not sitting there with a stopwatch and laser rangefinder to figure out whether the speed of sound is accurate in the shot; we see a big shockwave, then a short moment later we see and feel it hit us and go &quot;whoa, this is pretty realistic&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="42505" PostHistoryTypeId="5" PostId="24619" RevisionGUID="4f127fb9-e102-4244-aba9-06862fec056e" CreationDate="2014-01-24T21:56:31.127" UserId="7212" Comment="added 1323 characters in body" Text="Most film is art, not life/reality. Sound designers have to match the visual art on screen with the sonic art of their mix, and that usually includes a certain amount of &quot;realer than real&quot;, suspending some of what we &quot;know&quot; about physics in order to tell the story in a way that translates to this 2-dimensional, 2-sense media.&#xD;&#xA;&#xD;&#xA;Case in point, when we see some big impact on screen, such as a lightning bolt, we as audience members expect to hear it, much as we expect to hear the starship Enterprise whooshing by at warp speed, even though there's no air (and thus no air movement to create the &quot;whoosh&quot;) in space. We also expect to see it match up with the visual effect on the screen; this both increases the overall impact of whatever just happened, and keeps us suspending disbelief that we're not watching a movie, we're looking through a window into another universe. Hearing a delayed sound effect might jerk us out of the director's world and wonder what's going on with the media system, and once we've left, it's hard to get us back.&#xD;&#xA;&#xD;&#xA;The speed of sound delay would also, even in the ideal, make us feel further from the action. You see a lightning bolt hit a distant mountainside. 3 seconds later, you hear an ear-splitting thunderclap. While that might be totally accurate to the scope of the shot, in the ultimate ideal of the audience totally suspending reality and believing they're physically in this world you've created, they'll be thinking &quot;damn, I'm glad I'm not over there&quot;, when in cinema the location of the camera can jump from place to place as needed, and the very next jump cut could put the audience right in the thick of the aftermath of that thunderbolt.&#xD;&#xA;&#xD;&#xA;That also introduces another problem; from the previous perspective, the thunderbolt happened three seconds ago. So, when you jump-cut to the site of the impact, do you show it at the moment the thunderbolt hits, effectively going back in time 3 seconds, or do you show it in &quot;real-time&quot;, as if the camera instantaneously moved in space while time progresses &quot;normally&quot;?&#xD;&#xA;&#xD;&#xA;As a different example, let's say that, in the climactic scene of Return of the King, Peter Jackson decided that the sound produced by Sauron's eye imploding and then exploding should be accurately delayed based on the camera's distance, because the event produced a big visual shockwave and so it would be believable to have the sound hit you when the shock reached the camera. First off, at its full height that tower is almost a mile high. To have the entirety of it in frame, even as it's collapsing, without any vertical compression of perspective, the camera has to be even further away from it. So, the shot of Sauron exploding and the tower disintegrating from the shock would be unfolding in front of you, sound-effect-less, for over 4 seconds before the shock wave (and thus the sound) hits the observer at the camera. While PJ might have been able to make it work, that's a long time to be expecting the biggest explosion ever heard in Middle Earth and not get it.&#xD;&#xA;&#xD;&#xA;Despite the practical difficulties in making these types of sound delays believable in film, such delays are sometimes used, but in &quot;enhanced&quot; situations; the visual effects team might speed up the speed of sound, and thus the shockwave, to lessen the time the shot has to go on before the sonic payoff. As an audience, we're not sitting there with a stopwatch and laser rangefinder to figure out whether the speed of sound is accurate in the shot; we see a big shockwave, then a short moment later we see and feel it hit us and go &quot;whoa, this is pretty realistic&quot;.&#xD;&#xA;&#xD;&#xA;You'll also see sound designers architecting a &quot;double explosion&quot;. They'll engineer a big, powerful explosion sound right at the moment you see it, then the visual effects guys will put in a massive shock wave, and as that passes by the camera the sound designers will add an extra &quot;whoosh&quot;. Or, with a slight delay (and a really fast shockwave), the designers will engineer a small crescendo to the big boom, so you know it's coming. These little audio tricks aren't what you hear in comparable &quot;real life&quot; events, but then again, neither is the sound of a movie punch or a movie explosion compared to the real thing." ContentLicense="CC BY-SA 3.0" />
  <row Id="42506" PostHistoryTypeId="2" PostId="24620" RevisionGUID="aac5f24f-001c-49f9-830a-34755075d03a" CreationDate="2014-01-24T22:03:55.217" UserId="5624" Text="Last night I was playing The Last of Us, not a film, a video game. There was a cut scene where the characters look off into the distance and a storm can be seen brewing on the horizon. Lighting fills the clouds but the thunder breaks a second later as it would in real life. It worked really well and gave the game a sense of reality. It also worked as a cue to tell me, the player, that the storm, which was over the place I had to get to, was still a fair distance away.&#xD;&#xA;&#xD;&#xA;I think in this way a delay between the lighting strike and the thunder crash is something you could think about using." ContentLicense="CC BY-SA 3.0" />
  <row Id="42507" PostHistoryTypeId="2" PostId="24621" RevisionGUID="9115ab3a-49e2-49a4-82a8-e08b9b69dafb" CreationDate="2014-01-24T22:21:38.777" UserId="5624" Text="Do your mics sound good individually?&#xD;&#xA;&#xD;&#xA;We actually experience phase issues everywhere. This is what gives a space it's sound and what changes the sound of an object or microphone when placed around in a space. However in the OPs case it's quite likely that the two mics are out of phase.&#xD;&#xA;&#xD;&#xA;As a common example, this occurs each time you mic up a snare drum on the top and bottom. When you hit the snare, the top head goes in with the stick while the bottom head pushes out. This moves the air around the heads with them, thus the top mic will see a waveform that goes down then up and the bottom mic will see a waveform that does the opposite, up then down.&#xD;&#xA;&#xD;&#xA;Zoom into your waveforms and see if this is what your are experiencing.&#xD;&#xA;&#xD;&#xA;This is fixed simply by hitting the phase invert button on your track!&#xD;&#xA;&#xD;&#xA;Once your mics are going in the same direction, usually you want them going up then down, you may also find there is a slight time offset as well. This occurs when one mic is closer to the impact than another. Simply drag the delayed waveform over until it lines up with the first one.&#xD;&#xA;&#xD;&#xA;Now your drum should sound thick and full.&#xD;&#xA;&#xD;&#xA;If you have a nice sounding room, I'd also reccomend to try placing the mic a couple of feet from the drum, rather than close miking it." ContentLicense="CC BY-SA 3.0" />
  <row Id="42508" PostHistoryTypeId="2" PostId="24622" RevisionGUID="2595de01-88bc-4c01-ac93-b0fc30a30cbe" CreationDate="2014-01-24T22:28:07.190" UserId="7212" Text="To offer an actual answer to the question instead of a string of comments, I would start with just one or the other mic, get what you like out of it, then add the second. My choice is the D6 at the soundhole of the cajon, because that will give you the fundamental bass &quot;thump&quot; of the thing, as well as a decent amount of the snares, tambourine or other internal janglies that your particular instrument has suspended in it. Play with this mic's position and relative angle to the port. You don't want the disphragm of the mic at or too close to the actual level of the port, because the turbulence produced by the interaction of the air inside and outside the drum at this point will cause issues. A few inches outside the port and pointed directly at it will typically get you the best &quot;boom&quot;; a few inches inside will de-emphasize the bassy nature of the drum in favor of the impact and the internals.&#xD;&#xA;&#xD;&#xA;Once you have the sound you like there, if it fits the mix, then forget the i5. However, if you want more of the &quot;slap&quot; of hand on wood than you get from behind the drum, then place your i5 pointed at this area of contact. Now the fun begins; you need to make sure the i5 isn't cancelling out anything you want from the D6, by very carefully moving the i5 to position it so that the fundamental frequency it's getting is &quot;in-phase&quot; with the D6's. The easiest way to do this is to give direction to a stage hand while you yourself PFL these two channels. As the assistant moves the mike directly toward or away from the box, you'll hear different frequencies get louder or softer. It doesn't take much.&#xD;&#xA;&#xD;&#xA;Depending on the mic placement and the drum structure, you might be able to get enough access to measure and adjust the relative distances. Take a piece of string, and go inside the cajon, to the center of the front panel (the *tapa*) at about the height from the base at which the player normally strikes it (if he hits all over, find the geometric center). Hold the string against the *tapa* with one hand, while pulling it taut with the other, out to the microphone head. Mark the point at which the string touches the head, then keeping hold of both points on the string, move out in front of the cajon and stretch the string from the same point on the front of the *tapa* out toward the i5 (don't change your hold on the other end to adjust length). The string should just barely graze the i5's grille; have someone else move the mic in or out from the *tapa* until it's at the right distance and out of the way of the drummer's hands." ContentLicense="CC BY-SA 3.0" />
  <row Id="42509" PostHistoryTypeId="5" PostId="24622" RevisionGUID="724a6804-10b3-4a20-ac42-0c44a35ed0ac" CreationDate="2014-01-24T22:34:25.227" UserId="7212" Comment="added 740 characters in body" Text="To offer an actual answer to the question instead of a string of comments, I would start with just one or the other mic, get what you like out of it, then add the second. My choice is the D6 at the soundhole of the cajon, because that will give you the fundamental bass &quot;thump&quot; of the thing, as well as a decent amount of the snares, tambourine or other internal janglies that your particular instrument has suspended in it. Play with this mic's position and relative angle to the port. You don't want the disphragm of the mic at or too close to the actual level of the port, because the turbulence produced by the interaction of the air inside and outside the drum at this point will cause issues. A few inches outside the port and pointed directly at it will typically get you the best &quot;boom&quot;; a few inches inside will de-emphasize the bassy nature of the drum in favor of the impact and the internals.&#xD;&#xA;&#xD;&#xA;Once you have the sound you like there, if it fits the mix, then forget the i5. However, if you want more of the &quot;slap&quot; of hand on wood than you get from behind the drum, then place your i5 pointed at this area of contact. Now the fun begins; you need to make sure the i5 isn't cancelling out anything you want from the D6, by very carefully moving the i5 to position it so that the fundamental frequency it's getting is &quot;in-phase&quot; with the D6's. The easiest way to do this is to give direction to a stage hand while you yourself PFL these two channels. As the assistant moves the mike directly toward or away from the box, you'll hear different frequencies get louder or softer. It doesn't take much.&#xD;&#xA;&#xD;&#xA;Depending on the mic placement and the drum structure, you might be able to get enough access to measure and adjust the relative distances. Take a piece of string, and go inside the cajon, to the center of the front panel (the *tapa*) at about the height from the base at which the player normally strikes it (if he hits all over, find the geometric center). Hold the string against the *tapa* with one hand, while pulling it taut with the other, out to the microphone head. Mark the point at which the string touches the head, then keeping hold of both points on the string, move out in front of the cajon and stretch the string from the same point on the front of the *tapa* out toward the i5 (don't change your hold on the other end to adjust length). The string should just barely graze the i5's grille; have someone else move the mic in or out from the *tapa* until it's at the right distance and out of the way of the drummer's hands.&#xD;&#xA;&#xD;&#xA;If this is a dedicated recording session, and you're not also playing for an audience, then you have control over the space and what else is in it. If you like the way the cajon sounds naturally in your space, then don't close-mic it, room-mic it; set up one or two small-diaphragm condensers at a distance from the instrument such that you get a good overall mix of the instrument itself and the surrounding room.&#xD;&#xA;&#xD;&#xA;Mic placement is an art in itself. There's math, to be sure, just like there's math behind the perspective in a painting, but there are also so many variables that it's impractical to try to calculate the ideal microphone selection and placement. The best thing to do is experiment until you find something that works." ContentLicense="CC BY-SA 3.0" />
  <row Id="42510" PostHistoryTypeId="2" PostId="24623" RevisionGUID="14184946-afaa-4532-bc6e-b02698f30025" CreationDate="2014-01-24T22:45:20.173" UserId="1228" Text="A show usually has a leader reference tone and also has pops, known as sync pops or head pops (versus tail pops) or casually just called &quot;2 pop&quot;.  The reference tone is in regard to calibration level, the 2 pop is (secondarily for calibration) but primarily for ensuring sync - especially when we';re talking about ProTools sessions containing the complimentary sound assets pertaining to the show.  The tail pop is basically the same, but to ensure there is no sync drift, as would happen if an incorrect framerate was utilized or Drop vs No Drop when in 29.97.  These get printed to stems and printmasters for the same reason, to ensure sync for layback.&#xD;&#xA;&#xD;&#xA;The reference tone of 20dBFS is in reference to the fact that this tone should be pegging the meters at -20dBFS through the entire signal chain, and the mains should calibrated as such that -20dBFS either projects at an equivalent sound level of 85 dBSP (theatrical dub stage), 82 dBFS (near/mid-field stage or edit suite), or 78/79 dBSPL (TV sub stage).  Really depends upon what work you do.  But this reference tone assumes that you have already utilized pink noise with an RTA to calibrate your system to the appropriate SPL reference level across the entire frequency spectrum on the mains.  So while pink noise (the Dolby file is the best one out there) is for actually calibrating your mains, the reference tone is for the internal signal flow leading up to the mains.  Which, if you pinked correctly, the tone should hit you at an appropriately, but comfortably, present (but not loud) level.&#xD;&#xA;&#xD;&#xA;20dBFS also tends to be where the dialogue RMS sits in the mix in a theatrical mix.  Peaks of normal dialogue tend to hit around -12dBFS, with loud projections around -6dBFS.  But the average energy of your dialogue will sit right in the -20dBFS pocket most of the time.  Which, as the reference tone tells you, is an appropriately-present level.&#xD;&#xA;&#xD;&#xA;The role of a dialogue EDITOR is to make sense of the OMF and minimally balance the levels &quot;in the ballpark&quot; so that the energy sits in the aforementioned pocket.  So in a sense, yes the reference tone is your guide for dialogue levels - but perceptually, NOT literally by the meters.  How the reference tone feels  perceptually to you, is how the dialogue's presence should also feel perceptually.  Mostly, your job here is to edit the material only.&#xD;&#xA;&#xD;&#xA;The dialogue MIXER will be taking this balancing out the levels as they should be for a transparent and flowing track.&#xD;&#xA;&#xD;&#xA;Let the mixer make the final volume decisions, and don't tie their hands with Normalization, etc.  it'll be a waste of your time to do so and you'll be dealing with a less-than-pleasant mixer by locking them into decisions only they are qualified to make." ContentLicense="CC BY-SA 3.0" />
  <row Id="42511" PostHistoryTypeId="5" PostId="24623" RevisionGUID="1f27d4f5-e09b-4ce9-8340-8e46fe587e8a" CreationDate="2014-01-24T23:23:33.070" UserId="1228" Comment="added 18 characters in body; added 2 characters in body" Text="A show usually has a leader reference tone and also has pops, known as sync pops or head pops (versus tail pops) or casually just called &quot;2 pop&quot;.  The reference tone is in regard to calibration level, the 2 pop is (secondarily for calibration) but primarily for ensuring sync - especially when we';re talking about ProTools sessions containing the complimentary sound assets pertaining to the show.  The tail pop is basically the same, but to ensure there is no sync drift, as would happen if an incorrect framerate was utilized or Drop vs No Drop when in 29.97.  These get printed to stems and printmasters for the same reason, to ensure sync for layback.&#xD;&#xA;&#xD;&#xA;The reference tone of 20dBFS is in reference to the fact that this tone should be pegging the meters at -20dBFS through the entire signal chain, and the mains should calibrated as such that -20dBFS either projects at an equivalent sound level of 85 dBSPL (theatrical dub stage), 82 dBSPL (near/mid-field stage or edit suite), or 78/79 dBSPL (TV sub stage).  Really depends upon what work you do.  But this reference tone assumes that you have already utilized pink noise with an RTA to calibrate your system to the appropriate SPL reference level across the entire frequency spectrum on the mains.  So while pink noise (the Dolby file is the best one out there) is for actually calibrating your mains, the reference tone is for the internal signal flow leading up to the mains.  Which, if you pinked correctly, the tone should hit you at an appropriately, but comfortably, present (but not loud) level.&#xD;&#xA;&#xD;&#xA;20dBFS also tends to be where the dialogue RMS sits in the mix in a theatrical mix.  Peaks of normal dialogue tend to hit around -12dBFS, with loud projections around -6dBFS.  But the average energy of your dialogue will sit right in the -20dBFS pocket most of the time.  Which, as the reference tone tells you, is an appropriately-present level.&#xD;&#xA;&#xD;&#xA;The role of a dialogue EDITOR is to make sense of the OMF and minimally balance the levels &quot;in the ballpark&quot; so that the energy sits in the aforementioned pocket.  So in a sense, yes the reference tone is your guide for dialogue levels - but perceptually, NOT literally by the meters.  How the reference tone feels  perceptually to you, is how the dialogue's presence should also feel perceptually.  Mostly, your job here is to edit the material only.&#xD;&#xA;&#xD;&#xA;The dialogue MIXER will be taking this balancing out the levels as they should be for a transparent and flowing track.&#xD;&#xA;&#xD;&#xA;Let the mixer make the final volume decisions, and don't tie their hands with Normalization, etc.  it'll be a waste of your time to do so and you'll be dealing with a less-than-pleasant mixer by locking them into decisions only they are qualified to make.&#xD;&#xA;&#xD;&#xA;Hope it helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42512" PostHistoryTypeId="2" PostId="24624" RevisionGUID="268f5e23-b7c9-45af-bba3-466f00e8ae24" CreationDate="2014-01-24T23:31:01.873" UserId="7222" Text="I want to fade a noise (beeping noise, like a heart monitor) in and out during different scenes/moments in a movie without the audience noticing the change. It should appear as being there all the time, but the audience should notice the change, when it gets in a new time. I hope that is understandable :D&#xD;&#xA;&#xD;&#xA;I thought of more or less crossfading it to a white/brown noise or so, but that did not work out as expected.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42513" PostHistoryTypeId="1" PostId="24624" RevisionGUID="268f5e23-b7c9-45af-bba3-466f00e8ae24" CreationDate="2014-01-24T23:31:01.873" UserId="7222" Text="What is the best/easiest way to fade a sound (beeping noise) in and out without the audience noticing that its gone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42514" PostHistoryTypeId="3" PostId="24624" RevisionGUID="268f5e23-b7c9-45af-bba3-466f00e8ae24" CreationDate="2014-01-24T23:31:01.873" UserId="7222" Text="&lt;sound-design&gt;&lt;film&gt;&lt;recommendations&gt;&lt;silence&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42515" PostHistoryTypeId="2" PostId="24625" RevisionGUID="8b2c20b7-d500-4074-8f8d-c8b17eac7fbd" CreationDate="2014-01-24T23:32:04.600" UserId="7212" Text="Treebeard in the LoTR movies. They recorded John Rhys-Davies performing the lines in a deeper register than his normal voice, and a little slower, then pitch-shifted that, then ran it out of studio monitors through an interchangeable maze of wooden tunnels with various hard and soft baffles to give it the woody echo, then EQed the hell out of it for all the bass they could get away with.&#xD;&#xA;&#xD;&#xA;Most of the fantastical characters in the LoTR trilogy got similar treatment. The Mouth of Sauron, played by Bruce Spence, received considerable attention considering his part was cut from the theatrical release; compare Spence's on-set dialogue in the BTS documentaries with the final mix of the Extended Edition. Even relatively ordinary characters had their moments, such as when a conversation between the Fellowship at the base of Orthanc tower and Saruman and Wormtongue at the summit had to sound like their voices spanned the gulf of a tower a quarter-mile high, when the actors weren't screaming at the top of their lungs on-set. Same thing for Saruman addressing his Uruk-Hai army before sending them to Helm's Deep. In fact, due to the relatively poor availability and quality of sound stages in New Zealand (most such scenes were done in warehouses, usually in the traffic pattern of New Zealand's major airport), I think something like 92% of the dialog in the movies had to be ADRed at Park Road because they couldn't salvage the on-set audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="42516" PostHistoryTypeId="2" PostId="24626" RevisionGUID="83851d02-e1ad-4663-a3cb-9abeb2de5655" CreationDate="2014-01-24T23:44:59.723" UserId="7212" Text="The first thing is, don't make it totally gone at any point. Listen to the audio of medical dramas like Grey's Anatomy; the sound never really leaves the soundtrack completely. Fade it down and up, but not completely out.&#xD;&#xA;&#xD;&#xA;Second, use viewpoint changes in the camera editing to adjust the level of the sound; take the opportunities when the camera moves further away from the sound source to reduce the sound level in a more natural way, then it's up to you whether to being the level back up when the viewpoint returns to put the monitor back in frame. You'll to pay attention to your stereo/surround image as well to make it believable; with the sound in center field while the camera has the monitor in view, when the camera moves right the sound moves left and v.v.&#xD;&#xA;&#xD;&#xA;Third, you can usually get away with fading &quot;background&quot; sounds down slightly as a character starts speaking (or is just about to); we've become accustomed enough to the compressed sound of modern mastered audio that this doesn't sound jarring. Some of this really is from compression inherent in mastering and in broadcast transmission, but you can use a touch of it yourself in media formats like movies that are typically less compressed.&#xD;&#xA;&#xD;&#xA;When the audience needs to remember the sound is there, or pay attention to a change in that sound, you simply bring it back up to prominence in the mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="42517" PostHistoryTypeId="5" PostId="24622" RevisionGUID="a61f942e-fdc5-4c4e-a862-d179cf8348be" CreationDate="2014-01-24T23:53:06.813" UserId="7212" Comment="added 234 characters in body" Text="To offer an actual answer to the question instead of a string of comments, I would start with just one or the other mic, get what you like out of it, then add the second. My choice is the D6 at the soundhole of the cajon, because that will give you the fundamental bass &quot;thump&quot; of the thing, as well as a decent amount of the snares, tambourine or other internal janglies that your particular instrument has suspended in it. Play with this mic's position and relative angle to the port. You don't want the disphragm of the mic at or too close to the actual level of the port, because the turbulence produced by the interaction of the air inside and outside the drum at this point will cause issues. A few inches outside the port and pointed directly at it will typically get you the best &quot;boom&quot;; a few inches inside will de-emphasize the bassy nature of the drum in favor of the impact and the internals.&#xD;&#xA;&#xD;&#xA;Once you have the sound you like there, if it fits the mix, then forget the i5. However, if you want more of the &quot;slap&quot; of hand on wood than you get from behind the drum, then place your i5 pointed at this area of contact. Now the fun begins; you need to make sure the i5 isn't cancelling out anything you want from the D6, by very carefully moving the i5 to position it so that the fundamental frequency it's getting is &quot;in-phase&quot; with the D6's. The easiest way to do this is to give direction to a stage hand while you yourself PFL these two channels. As the assistant moves the mike directly toward or away from the box, you'll hear different frequencies get louder or softer. It doesn't take much.&#xD;&#xA;&#xD;&#xA;Depending on the mic placement and the drum structure, you might be able to get enough access to measure and adjust the relative distances. Take a piece of string, and go inside the cajon, to the center of the front panel (the *tapa*) at about the height from the base at which the player normally strikes it (if he hits all over, find the geometric center). Hold the string against the *tapa* with one hand, while pulling it taut with the other, out to the microphone head. Mark the point at which the string touches the head, then keeping hold of both points on the string, move out in front of the cajon and stretch the string from the same point on the front of the *tapa* out toward the i5 (don't change your hold on the other end to adjust length). The string should just barely graze the i5's grille; have someone else move the mic in or out from the *tapa* until it's at the right distance and out of the way of the drummer's hands. Then, because the D6 is exactly the same distance *behind* the *tapa* as the i5 is in front of it, these two mics will be perfectly out of phase, so you'll need to invert polarity on one or the other so the signals combine correctly.&#xD;&#xA;&#xD;&#xA;If this is a dedicated recording session, and you're not also playing for an audience, then you have control over the space and what else is in it. If you like the way the cajon sounds naturally in your space, then don't close-mic it, room-mic it; set up one or two small-diaphragm condensers at a distance from the instrument such that you get a good overall mix of the instrument itself and the surrounding room.&#xD;&#xA;&#xD;&#xA;Mic placement is an art in itself. There's math, to be sure, just like there's math behind the perspective in a painting, but there are also so many variables that it's impractical to try to calculate the ideal microphone selection and placement. The best thing to do is experiment until you find something that works." ContentLicense="CC BY-SA 3.0" />
  <row Id="42523" PostHistoryTypeId="2" PostId="24627" RevisionGUID="0f627d24-d232-494d-90ee-5ffd1dec756f" CreationDate="2014-01-25T00:26:37.030" UserId="432" Text="Keith gave you some great tips already. In particular, the idea of change is a key psychoacoustic cue to pay attention to something. The more regular and static a particular sound is, and the longer it remains that way, the more likely we are to ignore it. Get it to the point where we are ignoring it, and any little change draws your attention back to it. This requires time though, and sometimes we don't have the requisite amount to pull this off.&#xD;&#xA;&#xD;&#xA;Something else you can do is utilize another masking sound to obscure the entrance and exit of the sound. So, here I disagree with Keith. There are times when you can take it out completely, but it's very context dependent. In the very least, you can use this masking sound(s) to hide a volume change that moves this sound between background and foreground. That will help counteract the problem of not having enough time for the psychoacoustic effect to take hold." ContentLicense="CC BY-SA 3.0" />
  <row Id="42524" PostHistoryTypeId="2" PostId="24628" RevisionGUID="43f0a0c8-c4fc-4393-974e-77f296210b2e" CreationDate="2014-01-25T00:39:11.423" UserId="6425" Text="Just one thing: a Recording is only as good as the room you record it! " ContentLicense="CC BY-SA 3.0" />
  <row Id="42525" PostHistoryTypeId="2" PostId="24629" RevisionGUID="6566de36-185a-474e-a0f9-761abbb7d4ce" CreationDate="2014-01-25T00:44:06.300" UserId="6425" Text="Something that realy helps is a insane amount of roomtone/atmo. A Lot of Professional Series have huge amount of those-&gt; fadeing Sounds will be masked by atmo! Also as stated before use Loud Sounds and Camera changes to start or stop longer Sounds! " ContentLicense="CC BY-SA 3.0" />
  <row Id="42526" PostHistoryTypeId="2" PostId="24630" RevisionGUID="1f487fe1-f57e-4bf7-975f-35e9eaff7fc4" CreationDate="2014-01-25T00:53:39.273" UserId="7223" Text="I'm curious to know if anyone has ever made this sound themselves or have an idea on how to recreate this sound. I use Propellerheads Reason 7 and would love to recreate this sound to use in some of my songs.&#xD;&#xA;&#xD;&#xA;Here's the link&#xD;&#xA;http://youtu.be/irfSOiH1_Ns&#xD;&#xA;&#xD;&#xA;The sound starts at around 0:45 in." ContentLicense="CC BY-SA 3.0" />
  <row Id="42527" PostHistoryTypeId="1" PostId="24630" RevisionGUID="1f487fe1-f57e-4bf7-975f-35e9eaff7fc4" CreationDate="2014-01-25T00:53:39.273" UserId="7223" Text="Recreating the signature sound from &quot;Epic&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42528" PostHistoryTypeId="3" PostId="24630" RevisionGUID="1f487fe1-f57e-4bf7-975f-35e9eaff7fc4" CreationDate="2014-01-25T00:53:39.273" UserId="7223" Text="&lt;sound-design&gt;&lt;beginner&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42529" PostHistoryTypeId="2" PostId="24631" RevisionGUID="70d500a9-29d3-43ca-85b6-719c2cfe8f27" CreationDate="2014-01-25T00:55:55.393" UserId="7223" Text="Try adding a Low-Pass filter to the beeping sound and automating it. The more high frequency is cut out, it will sound as if it's fading out." ContentLicense="CC BY-SA 3.0" />
  <row Id="42530" PostHistoryTypeId="2" PostId="24632" RevisionGUID="2f858721-2762-48de-bb6a-ffdded5fce81" CreationDate="2014-01-25T01:34:57.267" UserId="3994" Text="The little worm thing in Eraserhead had a sound associated with it that also played when the woman came to the protagonists door, so I felt that sound/worm represented adulterous feelings. There was a lot of stuff like that in Eraserhead. It was only through the sound that I could really understand the very abstract visuals." ContentLicense="CC BY-SA 3.0" />
  <row Id="42531" PostHistoryTypeId="2" PostId="24633" RevisionGUID="677f3610-eca3-4191-9d45-e2bade806f65" CreationDate="2014-01-25T02:40:12.193" UserId="5624" Text="One that immediately comes to mind is Héctor Salamanca in Breaking Bad. His bell is such a definitive sound and such an amazing piece of sound design on the writters behalf." ContentLicense="CC BY-SA 3.0" />
  <row Id="42532" PostHistoryTypeId="36" PostId="24634" RevisionGUID="9b16b369-321e-4ead-b339-42a53dc59246" CreationDate="2014-01-25T09:27:12.357" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9110/take-a-signal-on-mini-headphone-and-have-a-computer-capture-the-stream-to-a-wav" />
  <row Id="42533" PostHistoryTypeId="36" PostId="24635" RevisionGUID="178b02e4-295c-4d4f-a569-18050a0e0d1a" CreationDate="2014-01-25T09:27:12.357" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9110/take-a-signal-on-mini-headphone-and-have-a-computer-capture-the-stream-to-a-wav/9111#9111" />
  <row Id="42534" PostHistoryTypeId="36" PostId="24636" RevisionGUID="2e7f512b-0b87-4414-9274-5cc6452a170e" CreationDate="2014-01-25T09:27:12.357" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9110/take-a-signal-on-mini-headphone-and-have-a-computer-capture-the-stream-to-a-wav/9113#9113" />
  <row Id="42535" PostHistoryTypeId="2" PostId="24635" RevisionGUID="7d386c2e-d157-4a4d-a11b-55383cdee963" CreationDate="2013-10-03T09:55:37.690" UserId="7016" Text="Any recording software will let you do this. Hook up a connection from your headphone out on your Korg to the line input on your computer sound card and use something like Audacity to record, sort out levels, remove noise etc. and produce wav files.&#xD;&#xA;&#xD;&#xA;If you don't have a line input, you can use a mic input, but you need to make sure you don't introduce too much noise.&#xD;&#xA;&#xD;&#xA;Ideally, set the output volume on the Korg as high as it will go without distorting  - that way you get the greatest signal to noise ratio. Then set your input gain in order to avoid distortion or noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="42536" PostHistoryTypeId="2" PostId="24636" RevisionGUID="06ccaec8-88a4-4fb6-a0ae-5f17f95084bb" CreationDate="2013-10-03T14:15:19.060" UserId="7174" Text="Since the original is digital, I would try to find a way to transfer the data digitally.  You are going to get quality loss (significant quality loss using consumer gear) if you run it through an analog line out and in to a line input or mic input on your PC.  Any basic recording software can handle this and it can be done with a very cheap cable, but the quality will be poor relative to the original.&#xD;&#xA;&#xD;&#xA;Korg actually has a guide [here](http://www.korg.com/services/downloads/pdf/D12_FAQs.pdf) for exporting your individual tracks as wav files or the finished, mixed tracks.  Basically it looks like you copy the tracks to a clipboard and then export the clipboard." ContentLicense="CC BY-SA 3.0" />
  <row Id="42537" PostHistoryTypeId="2" PostId="24634" RevisionGUID="01eab0c4-73bc-45ce-b371-b98c7cb3fd07" CreationDate="2013-10-02T22:19:34.397" UserId="7753" UserDisplayName="Eric Auld" Text="I have an old digital 12-track recorder made by Korg. The technology is quite outmoded now, but I'd like to capture some of the music I recorded on it.&#xD;&#xA;&#xD;&#xA;There are ways to burn the music to CD's (with some effort), but I think perhaps the easiest way would be to find a way to take a mini-headphone signal into a computer and record it directly into .wav (or .mp3 or whatever). &#xD;&#xA;&#xD;&#xA;Does anyone know how in general to take a signal on mini-headphone and have a computer capture the stream to a .wav?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42538" PostHistoryTypeId="1" PostId="24634" RevisionGUID="01eab0c4-73bc-45ce-b371-b98c7cb3fd07" CreationDate="2013-10-02T22:19:34.397" UserId="7753" UserDisplayName="Eric Auld" Text="take a signal on mini-headphone and have a computer capture the stream to a .wav" ContentLicense="CC BY-SA 3.0" />
  <row Id="42539" PostHistoryTypeId="3" PostId="24634" RevisionGUID="01eab0c4-73bc-45ce-b371-b98c7cb3fd07" CreationDate="2013-10-02T22:19:34.397" UserId="7753" UserDisplayName="Eric Auld" Text="&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42540" PostHistoryTypeId="36" PostId="24637" RevisionGUID="014b2221-9a6b-400b-b8cd-c7c16f86b135" CreationDate="2014-01-25T09:27:27.373" UserId="-1" Comment="from http://avp.stackexchange.com/questions/441/what-does-poles-mean-in-relation-to-a-filter" />
  <row Id="42541" PostHistoryTypeId="36" PostId="24638" RevisionGUID="5397d124-798f-4c65-b34f-ee9a9c15bbca" CreationDate="2014-01-25T09:27:27.373" UserId="-1" Comment="from http://avp.stackexchange.com/questions/441/what-does-poles-mean-in-relation-to-a-filter/442#442" />
  <row Id="42542" PostHistoryTypeId="2" PostId="24638" RevisionGUID="0b8a2bd4-b196-4796-875e-04b7543dd3ee" CreationDate="2010-12-24T13:25:06.373" UserDisplayName="NES" Text="Please read the Paragraph &quot;Up the pole&quot; on this site&#xD;&#xA;&#xD;&#xA;http://www.soundonsound.com/sos/sep99/articles/synthsecrets.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="42543" PostHistoryTypeId="2" PostId="24639" RevisionGUID="ed02f89e-d156-4b9f-ab36-66061d562295" CreationDate="2010-12-25T09:16:53.113" UserId="7202" Text="It's just a way of saying how many dB per octave a filter has. &#xD;&#xA;&#xD;&#xA;A simple filter has a slope of 6 dB per octave. A two-pole has a slope of 12 dB/oct, and 4-pole 24 db/oct.&#xD;&#xA;&#xD;&#xA;As a further explanation to this, some synths have two 2-pole filters that can be either high-pass or low-pass, so they can be configured as a 24dB/oct lowpass, 24db/oct high pass or a 12dB/oct bandpass filter (and very unusually, a 12dB/oct notch filter." ContentLicense="CC BY-SA 2.5" />
  <row Id="42544" PostHistoryTypeId="2" PostId="24637" RevisionGUID="f0800ba0-7b65-41be-858d-c9f65ee3c05a" CreationDate="2010-12-24T11:17:24.810" UserDisplayName="Ed J" Text="Sometimes filters are referred to in terms of dB/Octave (a 24dB/O is a common low pass filter setup, for example), however sometimes they are referred to in terms of 'Poles' (I've seen switchable 2/4Pole LPFs).&#xD;&#xA;&#xD;&#xA;What does 'Poles' refer to when you are talking about filters, and how does changing the number of 'Poles' change the resulting sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42545" PostHistoryTypeId="1" PostId="24637" RevisionGUID="f0800ba0-7b65-41be-858d-c9f65ee3c05a" CreationDate="2010-12-24T11:17:24.810" UserDisplayName="Ed J" Text="What does 'Poles' mean in relation to a filter?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42546" PostHistoryTypeId="3" PostId="24637" RevisionGUID="f0800ba0-7b65-41be-858d-c9f65ee3c05a" CreationDate="2010-12-24T11:17:24.810" UserDisplayName="Ed J" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42547" PostHistoryTypeId="36" PostId="24639" RevisionGUID="cf7d9da8-2438-4869-b01c-a90f091fc8d2" CreationDate="2014-01-25T09:27:27.373" UserId="-1" Comment="from http://avp.stackexchange.com/questions/441/what-does-poles-mean-in-relation-to-a-filter/444#444" />
  <row Id="42548" PostHistoryTypeId="36" PostId="24640" RevisionGUID="4bdf2923-2560-4c99-b16f-8ff030cd5f73" CreationDate="2014-01-25T09:27:27.373" UserId="-1" Comment="from http://avp.stackexchange.com/questions/441/what-does-poles-mean-in-relation-to-a-filter/488#488" />
  <row Id="42549" PostHistoryTypeId="2" PostId="24640" RevisionGUID="3d21eafd-1242-4d1b-885b-73a5797eb286" CreationDate="2010-12-31T20:10:17.053" UserDisplayName="msutherl" Text="In the digital domain, &quot;Poles&quot; come from the Z-transform of the impulse response of a filter, known as the transfer function.&#xD;&#xA;&#xD;&#xA;**Impulse Response**&#xD;&#xA;&#xD;&#xA;The [impulse response][1] of a [filter][2] is the output when you feed it an impulse. An [impulse][3] is signal that looks like this: [1 0 0 0 0 ...] – a pure digital click. The impulse response is important because it turns out that it is sufficient to characterize any [linear, time-invarient (LTI)][4] filter completely. You can _[convolve][5]_ a signal by the impulse response of a filter to 'apply' that filter to the signal. This is how [convolution reverb][6] works, for instance: an impulse response of a room (conceived as a filter) is recorded and your signal is convolved with that impulse response in realtime by the reverb plugin. &#xD;&#xA;&#xD;&#xA;**Convolution**&#xD;&#xA;&#xD;&#xA;[Discrete convolution][7] is a mathematical operation that takes two discrete functions and generates a new function that multiplies every output of one function with every output of the other and sums them all. Convolution is expressed abstractly as: &#xD;&#xA;&#xD;&#xA;![alt text][8]&#xD;&#xA;&#xD;&#xA;So, the function (f∗g)[n] (&quot;f convolved with g of n&quot;) gives you a sum that represents multiplying every output of the function f[n] with the corresponding output of the function g[n] and combining them all. The dependent variable 'n' determines how the outputs of the two functions are lined up, or which outputs of g[n] are multiplied with which 'corresponding' outputs of f[n]. Typically we take f[n] to be x[n], the input to the system and g[n] to be h[n], the impulse response of a filter, so: &#xD;&#xA;&#xD;&#xA;`y[n]=SUM(x[m]-h[n-m])` – (convolution of input x[n] with filter h[n])&#xD;&#xA;&#xD;&#xA;A way to think about convolution is that you are generating a function that slides the output of two functions past each other, multiplying each element by each corresponding element and summing as you go along. The [wikipedia entry][9] has a good animated diagram for this.&#xD;&#xA;&#xD;&#xA;**Transfer Function**&#xD;&#xA;&#xD;&#xA;&quot;Poles&quot; (and &quot;zeros) come from what's known as the [transfer function][10]: H(z) = Y(z)/X(z), which comes from the z-transform of the impulse response of the filter: h[n]. The transfer function expresses that the z-transform of the impulse response is equal to the z transform of the output (y[n]) of the system x[n] -&gt; [Filter] -&gt; y[n] (the input convolved with the impulse response of the filter) _divided by_ the z transform of the input (x[n]). This follows from the fact that multiplication in the &quot;z-domain&quot; is equivalent to convolution in the time domain. Just as the output of the system, y[n] is equal to &lt;code&gt;x[n]∗h[n]&lt;/code&gt; (remember, &lt;code&gt;∗&lt;/code&gt; denotes convolution, not multiplication), in the z domain, the output of the system, Y(z) is equal to H(z)X(z) (the z-transform of the impulse response multiplied by the z-transform of the input).&#xD;&#xA;&#xD;&#xA;**Z-Transform**&#xD;&#xA;&#xD;&#xA;The z-transform is one of many different 'transforms' such as the famous [Fourier transform][11] and the [Laplace transform][12]. The essence of a transform is that you are multiplying each output of a function onto a new &quot;[basis][13]&quot;. The [canonical][14] example of a basis is the axes of a 3-dimensional plot: [x,y,z]. What's essential about a basis is that if we treat the axes x, y, and z as vectors (lines), you cannot 'get' one of the axes by adding one of the other axes with anything at all (a number or another line [vector] in the space). A basis is precisely a [vector][15] (line) that cannot be created by linear combination of other vectors. So, a shape in 3D space can be expressed by considering its position relation to the axes [x,y,z]. Likewise, a [signal][16] can be characterized by considering its value at a give time-step n. Just as [x,y,z] is a basis onto which we can &quot;project&quot; 3D shapes, the set of discrete time steps n from -inf to +inf is a basis onto which we can project a function. &#xD;&#xA;&#xD;&#xA;What 'transforms' do is they take a function and project it onto a new basis. Typically functions are projected onto &quot;time&quot; (n in discrete systems, t in continuous systems). The Fourier transform, on the other hand, projects a function onto an infinite array of sine waves of ever increasing frequency. This is accomplished simply by multiplication. If we want to project the function f[n] into &quot;Fourier space&quot;, we just do SUM(f[n]*sin[n]). (However, please note that this is a naive explanation. The Fourier transform is _actually_ a projection onto complex functions of the form e^i*n. e^i*n is equivalent to cos[n]+i*sin[n]. '*' denotes multiplication here.)&#xD;&#xA;&#xD;&#xA;The [z-transform][17] projects a function onto a gigantic polynomial. Remember, a polynomial is a function that looks like this:&#xD;&#xA;&#xD;&#xA;![alt text][18]&#xD;&#xA;&#xD;&#xA;Remember solving equations like this?&#xD;&#xA;&#xD;&#xA;![alt text][19]&#xD;&#xA;&#xD;&#xA;Just as in the Fourier transform we project f[n] onto an array of sine waves of ever increasing frequency, in the z-transform we project f[n] onto an array of polynomial terms of ever increasing &quot;degree&quot;. It looks like this: SUM(f[n]*z^-n) or:&#xD;&#xA;&#xD;&#xA;![alt text][20]&#xD;&#xA;&#xD;&#xA;z^-n is a [complex number][21] z = (y,x) raised to the negative nth power. The effective doing the z-transform on a function is that you are projecting the output into the 2-dimensional &quot;z-plane&quot;. By analyzing the response of the z-transform of the frequency response of a filter in the z-plane, we can learn about it.&#xD;&#xA;&#xD;&#xA;**Poles and Zeros**&#xD;&#xA;&#xD;&#xA;Poles and zeros come into the picture when we take a look at what the transfer function actually looks like in practice. From wikipedia, we learn that the transfer function can be massaged into a factored form where H(z) = [factored-polynomial-1]/[factored-polynomial-2] like so:&#xD;&#xA;&#xD;&#xA;![alt text][22]&#xD;&#xA;&#xD;&#xA;With the z-transform of the impulse response of the filter in question so represented, we can start to analyze the properties of the filter. Indeed, the reason that one uses the z-transform in the first place is that it is a particularly good representation for analyzing the properties of filters. One of the things that the transfer function shows, once it is in factored form, is when the equation will go to infinity and when it will go to zero. A point, or a value of z for which the equation is equal to infinity is called a pole. A point, or a value z for which the equation is equal to zero is called a zero. The location of poles and zeros can tell you a lot about the frequency response of a filter.&#xD;&#xA;&#xD;&#xA;**The Fourier Transform is a Subset of the Z-Transform**&#xD;&#xA;&#xD;&#xA;Before we can understand why, we must first note that the z-transform contains the Fourier transform. In fact, the Fourier transform is just the Z-transform evaluated on the [unit circle][23]. The unit circle is a circle in the 2D complex number space that is centered around the origin, z = (0,0) and has a radius of 1. Yes, this is the same unit circle from trigonometry. Position on the unit circle corresponds to the frequency response of the filter at that _frequency_. Frequency here is express in radians. So, if we evaluate H(z) at z = pi/2 = 90 degrees, we get an idea of what the filter is going to do to signals at that frequency. Frequency here is &quot;normalized&quot;. 0 is the lowest frequency, pi is the highest frequency, but pi is not necessarily 20khz. -pi corresponds to a negative frequency. In practice, negative frequencies are not reproduced by your speakers and are ignored except for in the math. Let's, however, assume that pi = 20khz. If that's the case, then the response at pi/2 corresponds to the response at 10khz.&#xD;&#xA;&#xD;&#xA;**Pole Zero Analysis**&#xD;&#xA;&#xD;&#xA;The reason that pole zero analysis is useful is that it lets us see the contours of the frequency response on the z-plane around the unit circle. A pole creates a peak that will amplify certain frequencies and a zero creates a valley that will attenuate certain frequencies. The z-transform is more useful than the Fourier transform for this kind of analysis because sometimes the poles and zeros are outside of the unit circle, in which case their effect on the frequency response is indirect. The best way to understand this is through a diagram:&#xD;&#xA;&#xD;&#xA;![alt text][24]&#xD;&#xA;![alt text][25]&#xD;&#xA;&#xD;&#xA;And more conventionally we see [2D pole-zero plots][26] like this where x's are poles and o's are zeros.&#xD;&#xA;&#xD;&#xA;![alt text][27]&#xD;&#xA;&#xD;&#xA;Again, tracing the unit circle lets you see the response at different frequencies and the z-transform lets you see the mathematical properties of the function that influence the frequency response. Tracing the unit circle and projecting it into 2D Euclidian space gives you the familiar frequency response diagram:&#xD;&#xA;&#xD;&#xA;![alt text][28]&#xD;&#xA;&#xD;&#xA;Please correct me if I made any mistakes in my explanation. I'm not a signal processing student/professional – I've just taken one course in DSP. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Impulse_response&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Filter_(signal_processing)&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Impulse_function&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/LTI_system_theory&#xD;&#xA;  [5]: http://en.wikipedia.org/wiki/Convolution&#xD;&#xA;  [6]: http://en.wikipedia.org/wiki/Convolution_reverb&#xD;&#xA;  [7]: http://en.wikipedia.org/wiki/Convolution#Discrete_convolution&#xD;&#xA;  [8]: http://i.stack.imgur.com/hYZR8.png&#xD;&#xA;  [9]: http://en.wikipedia.org/wiki/Convolution&#xD;&#xA;  [10]: http://en.wikipedia.org/wiki/Transfer_function&#xD;&#xA;  [11]: http://en.wikipedia.org/wiki/Fourier_transform&#xD;&#xA;  [12]: http://en.wikipedia.org/wiki/Laplace_transform&#xD;&#xA;  [13]: http://en.wikipedia.org/wiki/Basis_(linear_algebra)&#xD;&#xA;  [14]: http://en.wikipedia.org/wiki/Canonical_basis&#xD;&#xA;  [15]: http://en.wikipedia.org/wiki/Euclidean_vector&#xD;&#xA;  [16]: http://en.wikipedia.org/wiki/Signal_(electronics)&#xD;&#xA;  [17]: http://en.wikipedia.org/wiki/Z_transform&#xD;&#xA;  [18]: http://i.stack.imgur.com/b3HsT.png&#xD;&#xA;  [19]: http://i.stack.imgur.com/VNlKi.png&#xD;&#xA;  [20]: http://i.stack.imgur.com/dhJyg.png&#xD;&#xA;  [21]: http://en.wikipedia.org/wiki/Complex_number&#xD;&#xA;  [22]: http://i.stack.imgur.com/S2sCm.png&#xD;&#xA;  [23]: http://en.wikipedia.org/wiki/Unit_circle&#xD;&#xA;  [24]: http://i.stack.imgur.com/cO7Q3.gif&#xD;&#xA;  [25]: http://i.stack.imgur.com/FP51o.png&#xD;&#xA;  [26]: http://en.wikipedia.org/wiki/Pole–zero_plot&#xD;&#xA;  [27]: http://i.stack.imgur.com/bNzN4.png&#xD;&#xA;  [28]: http://i.stack.imgur.com/dS9U3.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="42550" PostHistoryTypeId="36" PostId="24641" RevisionGUID="af622f36-6527-44fb-9600-da07550daf82" CreationDate="2014-01-25T09:27:47.000" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8498/how-to-create-the-muffled-sound-effect-like-hearing-through-walls" />
  <row Id="42551" PostHistoryTypeId="36" PostId="24642" RevisionGUID="d0ed909d-d008-4752-8c02-7dd399a45654" CreationDate="2014-01-25T09:27:47.000" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8498/how-to-create-the-muffled-sound-effect-like-hearing-through-walls/8499#8499" />
  <row Id="42552" PostHistoryTypeId="36" PostId="24643" RevisionGUID="c765a066-b78d-4679-9625-b0c010a93a34" CreationDate="2014-01-25T09:27:47.000" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8498/how-to-create-the-muffled-sound-effect-like-hearing-through-walls/8508#8508" />
  <row Id="42553" PostHistoryTypeId="2" PostId="24642" RevisionGUID="245b0ba3-b142-4f40-a565-ea8edc43e66b" CreationDate="2013-07-26T07:25:55.583" UserDisplayName="Andrew Ng" Text="To create a muffled sound, you need to alter the equalization of the audio clip. If you're familiar with highs, mids, and lows, it is natural to eliminate the treble in order to create the desired effect. Afterwards, you can also decrease the mids to keep it below the decibel level of the bass. If you have the bass, mids, and trebles in decreasing levels of decibels you should have your muffled sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="42554" PostHistoryTypeId="2" PostId="24643" RevisionGUID="d39b8d44-921c-4c2e-803f-a490f5061bae" CreationDate="2013-07-26T22:56:22.747" UserDisplayName="tomh" Text="As the other comment said.  Try a low-pass parametric filter.  Adjust the frequency down to about 300 Hz, maybe lower, and see how you go." ContentLicense="CC BY-SA 3.0" />
  <row Id="42555" PostHistoryTypeId="2" PostId="24641" RevisionGUID="a99b8aa9-1438-46e8-95fb-b5f919bab4b4" CreationDate="2013-07-26T05:31:44.870" UserDisplayName="xster" Text="I don't know what's the correct technical audio term for it. How do you create the sound effect to simulate hearing a sound source from far away through thick walls? Kinda like you would hear standing outside a club house where music is playing loudly inside and you only hear the muffled bass. &#xD;&#xA;&#xD;&#xA;Please be technically detailed." ContentLicense="CC BY-SA 3.0" />
  <row Id="42556" PostHistoryTypeId="1" PostId="24641" RevisionGUID="a99b8aa9-1438-46e8-95fb-b5f919bab4b4" CreationDate="2013-07-26T05:31:44.870" UserDisplayName="xster" Text="How to create the muffled sound effect like hearing through walls?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42557" PostHistoryTypeId="3" PostId="24641" RevisionGUID="a99b8aa9-1438-46e8-95fb-b5f919bab4b4" CreationDate="2013-07-26T05:31:44.870" UserDisplayName="xster" Text="&lt;effects&gt;&lt;sound-effects&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42558" PostHistoryTypeId="36" PostId="24644" RevisionGUID="a9678684-c17a-4071-8795-b4af6799253e" CreationDate="2014-01-25T09:28:02.017" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5354/filtering-sounds-to-make-it-appear-underwater" />
  <row Id="42559" PostHistoryTypeId="36" PostId="24645" RevisionGUID="831690e6-4d40-49da-8c71-33f4eda97102" CreationDate="2014-01-25T09:28:02.017" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5354/filtering-sounds-to-make-it-appear-underwater/5501#5501" />
  <row Id="42560" PostHistoryTypeId="36" PostId="24646" RevisionGUID="20294726-232f-43f9-9ab8-169ffd40e445" CreationDate="2014-01-25T09:28:02.017" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5354/filtering-sounds-to-make-it-appear-underwater/7194#7194" />
  <row Id="42561" PostHistoryTypeId="36" PostId="24647" RevisionGUID="92c03945-638e-42c7-9473-4b59761bacde" CreationDate="2014-01-25T09:28:02.017" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5354/filtering-sounds-to-make-it-appear-underwater/7429#7429" />
  <row Id="42562" PostHistoryTypeId="2" PostId="24645" RevisionGUID="ffbf969a-909e-4250-a701-bdf2804d7599" CreationDate="2012-12-05T00:11:57.293" UserDisplayName="Jack" Text="Mid EQ works aswell. Alot of Metalcore/ Hardcore use this for intro effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="42563" PostHistoryTypeId="2" PostId="24646" RevisionGUID="faa4732e-3f12-4f8c-8a72-23a3327cb37e" CreationDate="2013-02-18T20:48:23.380" UserId="13269" UserDisplayName="Philip Graham" Text="Another option could be to add a chorus effect to your filtering, this often blurs the sound slightly and extreme chorusing can give the slight gargling effect associated with the &quot;underwater&quot; effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="42564" PostHistoryTypeId="2" PostId="24647" RevisionGUID="3818e764-8c8e-4ec8-a36d-f6e126662d06" CreationDate="2013-03-19T19:41:13.400" UserId="7449" UserDisplayName="Andrew Prentice" Text="Low frequency oscillators modulating pitch, amplitude, filter/resonance amount, or combinations of these would produce an underwater effect. This could be done as a direct effect or in combination with a vocoder." ContentLicense="CC BY-SA 3.0" />
  <row Id="42565" PostHistoryTypeId="2" PostId="24644" RevisionGUID="3cd1a50d-654b-46af-a842-10a07fafec0d" CreationDate="2012-11-18T00:51:15.773" UserId="7255" UserDisplayName="rraallvv" Text="Is there a commonly accepted filtering process to make sounds appear as if they are recorded underwater&#xD;&#xA;&#xD;&#xA;It could be a generic low-pass/band-pass filter?&#xD;&#xA;&#xD;&#xA;What cutoff frecuencies could I use?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42566" PostHistoryTypeId="1" PostId="24644" RevisionGUID="3cd1a50d-654b-46af-a842-10a07fafec0d" CreationDate="2012-11-18T00:51:15.773" UserId="7255" UserDisplayName="rraallvv" Text="Filtering sounds to make it appear underwater" ContentLicense="CC BY-SA 3.0" />
  <row Id="42567" PostHistoryTypeId="3" PostId="24644" RevisionGUID="3cd1a50d-654b-46af-a842-10a07fafec0d" CreationDate="2012-11-18T00:51:15.773" UserId="7255" UserDisplayName="rraallvv" Text="&lt;editing&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42568" PostHistoryTypeId="36" PostId="24648" RevisionGUID="4b284086-6eb5-4a7a-bbc9-24d508b6f210" CreationDate="2014-01-25T09:28:16.830" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1104/i-want-the-perfect-gun-sound-can-i-make-it-myself-any-tip-theory" />
  <row Id="42569" PostHistoryTypeId="36" PostId="24649" RevisionGUID="e7504832-6d55-48c8-b218-f27db0ea335f" CreationDate="2014-01-25T09:28:16.830" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1104/i-want-the-perfect-gun-sound-can-i-make-it-myself-any-tip-theory/1108#1108" />
  <row Id="42570" PostHistoryTypeId="2" PostId="24649" RevisionGUID="8a97c757-6bba-4e1a-9e90-8d0761f95bab" CreationDate="2011-03-28T16:12:10.317" UserDisplayName="Ron" Text="You can rent a gun at your local sporting range.  Or, just ask someone if you can record over their shoulder.  Take hearing protection along -- both in- and over-ear if you have it." ContentLicense="CC BY-SA 2.5" />
  <row Id="42571" PostHistoryTypeId="2" PostId="24650" RevisionGUID="7a4abf37-d2ca-4420-b707-587ecb131dfc" CreationDate="2011-03-30T02:12:22.747" UserDisplayName="Kim Burgaard" Text="It seems to me that gun sounds in movies and games are very, very far from the way real gun shots actually sound, both live and recorded. Movie and game gun sound effects are typically very heavy in the low end, which gives the impression of &quot;punch&quot; and &quot;force&quot;. There might be plenty of low frequency content in real gun shots, but to me, it sounds like they are completely dominated by transients in the mid to high frequency range. So in order to record great sound effects for games you might want to turn to other sources like fireworks or recordings of high caliber artillery.&#xD;&#xA;&#xD;&#xA;In order to record &quot;dry&quot; sounds without a lot of ambient sound reflections, you might need special microphones that can cope with the sound pressure level (SPL) generated by firearms. According to [this source][1], gunfire noise reaches 155+ dB. A sampling of the max. SPL of popular condenser microphones from Neumann, AKG and RODE seem to fall well below this level. The max. SPL rating of the Shure MK57 dynamic microphone is 150dB.&#xD;&#xA;&#xD;&#xA;There are plenty of sound effect library CDs that offer various recordings of gun shots.&#xD;&#xA;&#xD;&#xA;Regardless of where you obtain recordings of gun shots, fireworks, etc., I would expect to spend a fair amount of time post processing the sound with compressors, EQ, tube distortion, and other effects to find just the right timbre and expression to match the style of the game and the other sound effects.&#xD;&#xA;&#xD;&#xA;There are people who [make a living off making sound effects][2] for games and movies; I am sure there's much more to the art of making sound effects than what I just outlined here. For example, the Wikipedia article I just linked to mention that:&#xD;&#xA;&#xD;&#xA;&gt;  heavy staple gun combined with other small metal sounds make good gun noises[&#xD;&#xA;&#xD;&#xA;As for the gun sound changing character depending on the environment, you might want to consider achieving this using real-time DSP effects, provided you haven't completely used up the CPU load budget. Unless you create a huge number of fixed sample variations, you will be able to create much more realistic changes to the sound using simple reverb and echo effects in-game. The ear is extremely sensitive to changes in reverb, so you will need to keep track of a large number of fixed samples in order to create convincing transitions as the player moves around in the game's different environments. With real-time DSP you basically just need to adjust the decay time, delay time and dry/wet ratio of the reverb DSP in response to the player's position and the environment.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freehearingtest.com/hia_gunfirenoise.shtml&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Foley_artist" ContentLicense="CC BY-SA 2.5" />
  <row Id="42572" PostHistoryTypeId="2" PostId="24648" RevisionGUID="287957a3-0add-484a-ba2c-47ebcadabb44" CreationDate="2011-03-28T10:43:24.637" UserId="8284" UserDisplayName="jokoon" Text="I'm a (still learning) game programmer, and I wanted to know if there is some knowledge base for making good gun sounds.&#xD;&#xA;&#xD;&#xA;So far I collected .WAV for Metal Gear Solid, Resident Evil 2 &amp; 3, but I want some more !&#xD;&#xA;&#xD;&#xA;Sounds I don't have and wish I have are in Die Hard 2 on PSX&#xD;&#xA;http://www.youtube.com/watch?v=tg4a-i4OYDE&#xD;&#xA;&#xD;&#xA;...and the awesome Time Crisis gun sounds, which change if you are outside, in a close environment or else (I count 3 sounds at least):&#xD;&#xA;http://www.youtube.com/watch?v=mJgpJ1VWtxk&#xD;&#xA;&#xD;&#xA;Also the automatic rifle sounds in the tv show Generation Kill: are these real sounds, blank point, or else ?&#xD;&#xA;&#xD;&#xA;How do sound engineers work gun sounds ? How can I modify existing ones ? I know a little theory about pitch and pan, low/high frequency filter, what can I do with audacity and all that ? any sound I can mimic with real objects ?&#xD;&#xA;&#xD;&#xA;I like rifle sound which look &quot;dry&quot;, a very quick snap noise like &quot;tac&quot;..." ContentLicense="CC BY-SA 2.5" />
  <row Id="42573" PostHistoryTypeId="1" PostId="24648" RevisionGUID="287957a3-0add-484a-ba2c-47ebcadabb44" CreationDate="2011-03-28T10:43:24.637" UserId="8284" UserDisplayName="jokoon" Text="I want the perfect gun sound, can I make it myself ? Any tip/theory ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42574" PostHistoryTypeId="3" PostId="24648" RevisionGUID="287957a3-0add-484a-ba2c-47ebcadabb44" CreationDate="2011-03-28T10:43:24.637" UserId="8284" UserDisplayName="jokoon" Text="&lt;pitch&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42575" PostHistoryTypeId="36" PostId="24650" RevisionGUID="b5552356-a471-4b1b-b37b-2aa9303024a9" CreationDate="2014-01-25T09:28:16.830" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1104/i-want-the-perfect-gun-sound-can-i-make-it-myself-any-tip-theory/1115#1115" />
  <row Id="42576" PostHistoryTypeId="36" PostId="24651" RevisionGUID="0139d1e3-49bc-44a0-862c-118bb0430c6b" CreationDate="2014-01-25T09:28:16.830" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1104/i-want-the-perfect-gun-sound-can-i-make-it-myself-any-tip-theory/1148#1148" />
  <row Id="42577" PostHistoryTypeId="36" PostId="24652" RevisionGUID="fd8a4915-030a-4751-b6a2-25b641dd2ed5" CreationDate="2014-01-25T09:28:16.830" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1104/i-want-the-perfect-gun-sound-can-i-make-it-myself-any-tip-theory/1153#1153" />
  <row Id="42578" PostHistoryTypeId="36" PostId="24653" RevisionGUID="e3a47f02-399f-4cb6-b083-1d7a73cdf2b0" CreationDate="2014-01-25T09:28:16.830" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1104/i-want-the-perfect-gun-sound-can-i-make-it-myself-any-tip-theory/1668#1668" />
  <row Id="42579" PostHistoryTypeId="36" PostId="24654" RevisionGUID="1178ebbb-ac56-452a-8501-4a8118821221" CreationDate="2014-01-25T09:28:16.830" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1104/i-want-the-perfect-gun-sound-can-i-make-it-myself-any-tip-theory/2384#2384" />
  <row Id="42580" PostHistoryTypeId="2" PostId="24651" RevisionGUID="b167b6d0-0527-4129-8ab3-4316b3f7cd8d" CreationDate="2011-04-10T13:14:21.530" UserDisplayName="decasteljau" Text="Looking at t[his video from EA DICE][1].  (makers of the Battlefield series).  You will see that the microphone type/brand/model has a very big impact on the resulting sounds.  Also the distance too has a large impact.&#xD;&#xA;&#xD;&#xA;&quot;The perfect&quot; gun sound is really subjective.  It depends on the style you may want to give to your game (realistic, cartoon, real-life youtube-like, etc..).&#xD;&#xA;&#xD;&#xA;So, during recording, use as many microphone you can find.  Use quality pre-amp, and try several distances.  Choose a safe location.&#xD;&#xA;&#xD;&#xA;The location is an issue.  Because most of the time, you will record in a large empty space for security reasons.  If your game's location is more a city, the recording you will make will not match your need: a gun in a desert does not sound like a gun in a city.&#xD;&#xA;&#xD;&#xA;If your gun sound is heard from many distances in your game or if you want to abstract the most possible the location from the recording, you may want to record it the more dry possible and apply the wet portion (reverb) at run-time.  You may use a convolution reverb for best results.&#xD;&#xA;&#xD;&#xA;Please keep in mind that you should not use the sound files you find in video games, as the content in games is copyrighted.&#xD;&#xA;&#xD;&#xA;Another [video][2] (west texas gun shoot-mic comparisons) I found out to very interesting.  Basically, mixing different mic from different distances and angles gives impressing results.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vimeo.com/20869893&#xD;&#xA;  [2]: http://vimeo.com/23313309" ContentLicense="CC BY-SA 3.0" />
  <row Id="42581" PostHistoryTypeId="2" PostId="24652" RevisionGUID="6f57b95e-ebb9-4ceb-b312-ac689ca446f3" CreationDate="2011-04-12T01:35:16.983" UserId="7653" UserDisplayName="Joel Spolsky" Text="The most surprising part of the experience of hearing a gunshot up close is the quiet.&#xD;&#xA;&#xD;&#xA;Yep, you read that right! It's not the loud noise... it's the fact that 150 db right next to your ears numb them a bit and for a few seconds after the gunshot everything goes quiet while your eardrums recover.&#xD;&#xA;&#xD;&#xA;To create a realistic gunshot sound in a game, lower all other ambient noises afterwards for a few seconds... maybe replace them with a little bit of ringing for good measure. (IIRC Call of Duty does a nice job of this)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42582" PostHistoryTypeId="2" PostId="24653" RevisionGUID="26dc62b8-c24e-4ca6-a904-f8b04709ffda" CreationDate="2011-06-29T08:20:35.530" UserId="6559" Text="[Social Sound Design][1] has a post on this subject too.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/1284/how-do-you-create-the-deadliest-sounding-gunshots" ContentLicense="CC BY-SA 3.0" />
  <row Id="42583" PostHistoryTypeId="2" PostId="24654" RevisionGUID="c43f42b7-1b5a-4428-a5f3-a61f019c6223" CreationDate="2011-09-26T23:47:10.137" UserDisplayName="H_7" Text="Not sure about the explosion part of the sound, but the bullet...&#xD;&#xA;&#xD;&#xA;The bullet makes a twirllll sound very fast and very treble. You can reproduce very near this effect with a steel cable stretched and a little hammer. Hit the cable with the hammer, and the zunning sound is exactly the same. Very used in old west films.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42584" PostHistoryTypeId="36" PostId="24655" RevisionGUID="2de36a84-7f8f-49ea-a823-9db9d71629c9" CreationDate="2014-01-25T09:28:29.190" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8752/how-can-i-compress-podcasts-consistently-and-reliably-to-go-onto-google-play-mus" />
  <row Id="42585" PostHistoryTypeId="36" PostId="24656" RevisionGUID="2fa38e35-d515-4b62-bd94-e294ff6f0298" CreationDate="2014-01-25T09:28:29.190" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8752/how-can-i-compress-podcasts-consistently-and-reliably-to-go-onto-google-play-mus/8754#8754" />
  <row Id="42586" PostHistoryTypeId="36" PostId="24657" RevisionGUID="2c07288d-b098-43bf-abb1-6490898f82d4" CreationDate="2014-01-25T09:28:29.190" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8752/how-can-i-compress-podcasts-consistently-and-reliably-to-go-onto-google-play-mus/8756#8756" />
  <row Id="42587" PostHistoryTypeId="36" PostId="24658" RevisionGUID="13ad47e2-2c1c-4c79-9f4b-b7ce754a8632" CreationDate="2014-01-25T09:28:29.190" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8752/how-can-i-compress-podcasts-consistently-and-reliably-to-go-onto-google-play-mus/8787#8787" />
  <row Id="42588" PostHistoryTypeId="2" PostId="24656" RevisionGUID="b416b2fa-abdf-4a84-bb38-6b9465b8c03d" CreationDate="2013-08-17T08:37:59.157" UserDisplayName="Tortilla" Text="If you don't care about some quality loss, you can run the original audio track for each episode through a lossy audio encoder first (creating an mp3 or AAC file, for instance), then run the resulting file through a lossless FLAC or WAV encoder. The result will be an exact copy of the lower-quality audio in FLAC or WAV format, which should technically work under Google's guidelines. This is not an ideal solution, since quality is lost, but if you have exhausted all other measures, such as editing, it's viable.&#xD;&#xA;&#xD;&#xA;How much compression you will need in the lossy phase is hard to predict, you'll just need to experiment. Make the lossy encoder settings as high-quality as possible while keeping the final output under 250MB. Also keep in mind that even if the lossy file is pretty small, making it FLAC or WAV will increase its size dramatically, so your experimentation will need to include both steps in the processing chain.&#xD;&#xA;&#xD;&#xA;I hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="42589" PostHistoryTypeId="2" PostId="24657" RevisionGUID="a0d6f2da-7b5e-4c93-ad4f-6306b446ff10" CreationDate="2013-08-17T16:04:03.147" UserId="7174" Text="The problem is that Google Play Music does not currently have support for Podcasts.  Due to this, it is going to be next to impossible for you to get a file down to the necessary size without breaking it into sections and publishing them as an album.  &#xD;&#xA;&#xD;&#xA;Even at the 320kbps quality that Google Play produces for end user consumption from the FLAC files, you would be looking at over 250MB for two hours of audio, so even going against the guidelines and trying to apply compression prior to making a FLAC would result in a vastly sub-standard result (because FLAC isn't going to be as small as the compressed audio you worked from most likely)." ContentLicense="CC BY-SA 3.0" />
  <row Id="42590" PostHistoryTypeId="2" PostId="24658" RevisionGUID="2883b3e2-8a74-4b17-87aa-3603e0c96c64" CreationDate="2013-08-21T21:52:05.673" UserId="7205" Text="Maybe you could try to reduce the sample rate. Does they say anything about a required sample rate ?&#xD;&#xA;&#xD;&#xA;I guess you're recording in 44Hz, you should try to reduce it to 22Hz. It will lower the quality, but it can be unnoticed, especially if it's mostly voice, and your file will be around half the initial size.&#xD;&#xA;&#xD;&#xA;I just tried it on a FLAC song and the result is pretty good (and I go from 62 MB to 36 MB)" ContentLicense="CC BY-SA 3.0" />
  <row Id="42591" PostHistoryTypeId="2" PostId="24655" RevisionGUID="bf3d55bc-3ab8-4443-97bb-7e94052cc1af" CreationDate="2013-08-17T05:05:29.867" UserDisplayName="Supuhstar" Text="After getting a complete, confirmed Artist's account on Google Play Music and attempting to upload my podcasts, I realized there was a requirement that all provided files must be `FLAC` or `WAV` files **under 250MB**. My files are already in the highest &quot;compression&quot; that `FLAC` offers, but the smallest one is ~260MB. **Does anyone know how to compress a 1.5- to 2-hour `FLAC` (or `WAV` if you're a wizard) file to under 250MB?**&#xD;&#xA;&#xD;&#xA;I already talked with Google Play Music Artist Support, and they said this:&#xD;&#xA;&#xD;&#xA;&gt; Unfortunately this is out of the artist support area of knowledge and expertise. We can only advise that for files larger than about 250 MB, you'll need to either break them apart, or try downgrading the file type. There are many forms you can check out where other users might be more helpful.&#xD;&#xA;&#xD;&#xA;Well, I figure there is no forum better at this than a Stack Exchange one, so... here I am! &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42592" PostHistoryTypeId="1" PostId="24655" RevisionGUID="bf3d55bc-3ab8-4443-97bb-7e94052cc1af" CreationDate="2013-08-17T05:05:29.867" UserDisplayName="Supuhstar" Text="How can I compress podcasts consistently and reliably to go onto Google Play Music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42593" PostHistoryTypeId="3" PostId="24655" RevisionGUID="bf3d55bc-3ab8-4443-97bb-7e94052cc1af" CreationDate="2013-08-17T05:05:29.867" UserDisplayName="Supuhstar" Text="&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42594" PostHistoryTypeId="36" PostId="24659" RevisionGUID="dfae5789-a639-4854-b5f8-0f300d433493" CreationDate="2014-01-25T09:28:41.833" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7686/how-can-i-compress-my-bassline-like-the-linked-boris-brejcha-track" />
  <row Id="42595" PostHistoryTypeId="2" PostId="24660" RevisionGUID="dfeff2bc-7d16-41e1-8234-6563587b7a3c" CreationDate="2013-04-20T03:31:56.973" UserDisplayName="JPollock" Text="I am assuming by &quot;lowgain attack&quot; you mean &quot;slow attack.&quot; A slow attack time, allows the original transient to come through before engaging the compression circuit. You want a fairly strong compression with medium to slow attack time, with a pretty fast release. Timing the release will be key. If the compressor doesn't release before the next note, you will not get that growling sound. To get technical for a second, you want the attack time + the amount fo time the signal is above the threshold + the release time to be slightly less then the length of the note. DON'T DO THAT MATH. Use your ears. Set the ratio way to high and over do it a little so you get the compresser to give you a really serious pumping sound and then back of the ratio, and probably the release, time until it sounds right. You want to feel the compressor dig in and let go along with the motion of the filter." ContentLicense="CC BY-SA 3.0" />
  <row Id="42596" PostHistoryTypeId="2" PostId="24659" RevisionGUID="6c871c12-8176-4255-8a19-e669e3e0f334" CreationDate="2013-04-19T12:24:13.800" UserDisplayName="141.80" Text="I'm trying to compress a bassline to sound smoothly with lowgain attack, but it is hard to accomplish this mission. &#xD;&#xA;&#xD;&#xA;Does anyone know how to help me make my bassline sound like this:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=u5topaKIwls&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm making this on ES2 in Logic.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42597" PostHistoryTypeId="1" PostId="24659" RevisionGUID="6c871c12-8176-4255-8a19-e669e3e0f334" CreationDate="2013-04-19T12:24:13.800" UserDisplayName="141.80" Text="How can I compress my bassline like the linked Boris Brejcha track?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42598" PostHistoryTypeId="3" PostId="24659" RevisionGUID="6c871c12-8176-4255-8a19-e669e3e0f334" CreationDate="2013-04-19T12:24:13.800" UserDisplayName="141.80" Text="&lt;compression&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42599" PostHistoryTypeId="36" PostId="24660" RevisionGUID="b57a4736-f97c-4375-8611-f70813a2f358" CreationDate="2014-01-25T09:28:41.833" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7686/how-can-i-compress-my-bassline-like-the-linked-boris-brejcha-track/7695#7695" />
  <row Id="42600" PostHistoryTypeId="36" PostId="24661" RevisionGUID="1cc7ab03-f8b5-4427-b9ec-9f9d62e6cfdb" CreationDate="2014-01-25T09:28:55.287" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7111/live-rock-band-having-issues-with-vocals-being-buried" />
  <row Id="42601" PostHistoryTypeId="36" PostId="24662" RevisionGUID="bca04de9-17f4-4ebd-8a5e-5707994f65b0" CreationDate="2014-01-25T09:28:55.287" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7111/live-rock-band-having-issues-with-vocals-being-buried/7114#7114" />
  <row Id="42602" PostHistoryTypeId="36" PostId="24663" RevisionGUID="5fc54848-b3f4-4916-ac99-e39f4779679d" CreationDate="2014-01-25T09:28:55.287" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7111/live-rock-band-having-issues-with-vocals-being-buried/7122#7122" />
  <row Id="42603" PostHistoryTypeId="36" PostId="24664" RevisionGUID="008c72ca-64dc-45d8-b31b-9835d511bce2" CreationDate="2014-01-25T09:28:55.287" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7111/live-rock-band-having-issues-with-vocals-being-buried/7167#7167" />
  <row Id="42604" PostHistoryTypeId="2" PostId="24662" RevisionGUID="1d235752-7241-4bb0-8146-57590be3942d" CreationDate="2013-02-11T19:00:58.430" UserId="7045" Text="Ah, the old question: How do I make the vocals heard over a band with a tiny PA? It's not always easy. &#xD;&#xA;&#xD;&#xA;Compression won't help you; it may actually make things worse by making feedback more likely. It sounds like you're using underpowered PAs, and if you want the vocals to be loud enough you'll need the band to play more quietly. But the band has to *want* to turn down for this to work. Small PA sets can not make a vocal loud without feeding back; it's the nature of the beast. &#xD;&#xA;&#xD;&#xA;###Getting the band on-board&#xD;&#xA;&#xD;&#xA;Many bands will tend to play louder as they go along, people turning up their amps all the time as they go. Make sure everyone is on the same page about keeping the volume down. Appoint a band member to be the &quot;gain police&quot;: When (person) says &quot;turn down&quot; or gives you a sign to turn down, you do it. Whoever's doing the mixing would be a good person to do this. If people won't turn down as needed, you may have a problem. Have a talk with them. &#xD;&#xA;&#xD;&#xA;On-stage amps take control away from whoever's mixing the band, and are considered A Bad Thing by most live engineers. And, in general, you'll want to get the vocalist loud enough to be heard over the drums. I'd consider doing that first during sound check, only then bringing in the rest of the band. It'll illustrate the problem to everyone. &#xD;&#xA;&#xD;&#xA;###Sound check&#xD;&#xA;&#xD;&#xA;Good sound starts with learning the room. When you get to a room, walk around, listen for trouble spots likely to cause feedback like walls of marble or lots of glass windows. If you set up your stage area in a carpeted area, do so. &#xD;&#xA;&#xD;&#xA;An empty room (i.e., no audience) has different acoustics than a full room. You can learn to compensate for that over time. &#xD;&#xA;&#xD;&#xA;Before you even set up the stage, strategize. How can you set up the mains to minimize feedback? (See the &quot;Mics&quot; section for more on that.) Will the band be able to hear themselves? Can the amps be turned away from the singer so she can hear herself better? &#xD;&#xA;&#xD;&#xA;###Mics&#xD;&#xA;&#xD;&#xA;Placing a mic carefully can help a lot. Make sure the vocal mic isn't pointed at the mains. Where possible, put the mains in *front* of the band, facing the audience. Get used to playing without hearing yourself well. Some singers can't do this, and your vocalist may want to invest in an in-ear monitor if she needs to hear herself well to stay on-pitch. &#xD;&#xA;&#xD;&#xA;When you set up, intentionally try to find what frequencies make the mic feed back so you can avoid them later. &#xD;&#xA;&#xD;&#xA;What kind of mic is the singer using? A more directional mic left on a stand, an SM57, will make it easier to turn the singer up without it feeding back. &#xD;&#xA;&#xD;&#xA;###Amps&#xD;&#xA;&#xD;&#xA;Many tube amps present a challenge: It's tough to get a good tone unless they're turned up **VERY LOUDLY**. I'd spend some time with the amp, trying to find that sweet spot of low gain and good tone. The same applies to the bass amp. On the guitar amp in particular, try removing any effects or turning them down. You may have to sacrifice some yummy tonal goodness to make this work. &#xD;&#xA;&#xD;&#xA;If you can't turn an amp down, you may want to get another, smaller amp. If you have monitors, the bass can even use a DI box feeding into the PA, forgoing the amp entirely. &#xD;&#xA;&#xD;&#xA;###Drums&#xD;&#xA;&#xD;&#xA;If you can, I'd do as little as possible with the drums. &#xD;&#xA;&#xD;&#xA;Getting a drum kit to be quiet is difficult. It's easy to say to a drummer, &quot;play quietly&quot;, but that can be tough to do. Some drummers are capable of playing very quietly indeed, some aren't. You can try damping the drums, but be careful: It'll make them sound different. &#xD;&#xA;&#xD;&#xA;###Conclusion&#xD;&#xA;&#xD;&#xA;All good sound is a compromise, and you need to make a few decisions and trade-offs. Do a little reading on sound reinforcement, which is amplifying a band to be as loud as the amps and drums. Good luck! &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42605" PostHistoryTypeId="2" PostId="24663" RevisionGUID="47d30636-2c4d-4e9a-b6b3-5a7e485d092d" CreationDate="2013-02-12T14:39:59.490" UserId="7174" Text="Neil Fein wrote a great post about what you can do, but another thing to consider is to make sure you talk with the sound guy about how you want it to sound.  If there is a dedicated engineer there and it is a smaller venue, chances are good that they aren't very good and may be used to the &quot;living room experience&quot; ie, crank the bass and the guitars and ignore the fact that they can't hear the vocals anymore.&#xD;&#xA;&#xD;&#xA;If you are trying to pull the vocals out and it isn't working, the first thing is to check is to solo the vocal mic and see what the ratio of signal (vocals) to noise (other instruments) coming through the mic.  If the voice is fairly drowned out in the mic channel, then micing and/or stage noise needs to come down.&#xD;&#xA;&#xD;&#xA;A good second test after that is fixed is to figure out what the dynamic range of the PA system is.  Try turning off the PA and see how much the volume changes in comparison to what is coming from the stage (monitors and amps).  If there isn't much of a change, then stage volume HAS to come down.  Without dynamic range to work with, no amount of mixing or PA system is going to compensate for the problem within the desired volume levels.&#xD;&#xA;&#xD;&#xA;Finally, if there is a good amount of head room left over for the PA system to work in, then it might be an EQ issue.  It's important that EQs be set properly to bring out both the tone and enunciation (or crispness) of the vocalist's voice.  Without the higher frequency band associated with their enunciation, they are going to sound muddy and blend in to either the rest of the instruments." ContentLicense="CC BY-SA 3.0" />
  <row Id="42606" PostHistoryTypeId="2" PostId="24664" RevisionGUID="c07e6137-e038-4a67-85e5-0d3838e58f2c" CreationDate="2013-02-15T18:29:34.073" UserId="7178" Text="A non-technical suggestion: consider revising your song arrangements and playing style so that the instrumentalists **interplay** with the vocalist — be quiet when she is singing, be loud when she isn't.&#xD;&#xA;&#xD;&#xA;Create interlocking patterns, moving the accented notes you play to occur when the vocalist takes a breath or pauses between phrases.&#xD;&#xA;&#xD;&#xA;Make sure every instrumentalist is focusing on *listening* to the vocalist — if the instrumentalists can hear and understand the vocalist, chances are the audience will be able to, too." ContentLicense="CC BY-SA 3.0" />
  <row Id="42607" PostHistoryTypeId="2" PostId="24661" RevisionGUID="26cb6fbd-4e01-4ceb-a64f-5904f9529527" CreationDate="2013-02-11T18:03:28.380" UserDisplayName="user3617" Text="We are an independent touring band that has been having issues with the vocals being lost in the mix.  Our singer is constantly told that she's being drowned out by the band.  The band consists of a female lead vocalist, 1 guitarist (using a 25 watt tube 1x10 combo that is never pushed to more than 25% of it's capable volume) 1 bassist (using a 4x10 cab with a 300 watt head) and a drummer (using a 3 piece jazz size kit)  &#xD;&#xA;&#xD;&#xA;The band definitely gets loud but isn't HEAVY METAL loud.  Most of the PA systems we wind up using are small powered mixers with 2 mains, most places won't even have monitors when we're on the road.  &#xD;&#xA;&#xD;&#xA;We've wondered if using compression on the vocals would help keep her on top of the mix, or if there are any tricks we can employ in running our own sound that might help out." ContentLicense="CC BY-SA 3.0" />
  <row Id="42608" PostHistoryTypeId="1" PostId="24661" RevisionGUID="26cb6fbd-4e01-4ceb-a64f-5904f9529527" CreationDate="2013-02-11T18:03:28.380" UserDisplayName="user3617" Text="Live rock band having issues with vocals being buried" ContentLicense="CC BY-SA 3.0" />
  <row Id="42609" PostHistoryTypeId="3" PostId="24661" RevisionGUID="26cb6fbd-4e01-4ceb-a64f-5904f9529527" CreationDate="2013-02-11T18:03:28.380" UserDisplayName="user3617" Text="&lt;mixing&gt;&lt;compression&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42610" PostHistoryTypeId="36" PostId="24665" RevisionGUID="a7eacb2c-186a-4fb2-a4f4-e1eb948cd12b" CreationDate="2014-01-25T09:29:05.990" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6960/how-do-i-use-the-insert-i-o-on-my-behringer-mixer" />
  <row Id="42611" PostHistoryTypeId="2" PostId="24666" RevisionGUID="92393f86-070f-43c6-8662-8ccc08f1ec53" CreationDate="2013-01-27T03:18:56.493" UserId="6957" Text="A compressor would be an ideal use for an insert.  An insert is both the input and the output.  &#xD;&#xA;&#xD;&#xA;They use a TRS (tip-ring-sleeve) connector.  The tip, for instance, will be the send, and the ring would be the return.  The mixer usually labels the insert so you know which is input and which is output.&#xD;&#xA;&#xD;&#xA;You'd use a 'Y' cable.  The bottom of the 'Y' is TRS.  The tops of the 'Y' are both TS.  Keep in mind that the insert is mono.  &#xD;&#xA;&#xD;&#xA;Here's a nice graphic from a [Mackie pdf](http://www.mackie.com/pdf/dfxseries_hu.pdf)&#xD;&#xA;&#xD;&#xA;![Insert &quot;Y&quot; Cable Graphic][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/ym0X9.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="42612" PostHistoryTypeId="2" PostId="24665" RevisionGUID="a15c6eaa-b325-4c4a-8a80-2d6f9cac7499" CreationDate="2013-01-26T23:09:11.433" UserId="7239" UserDisplayName="Evan Carroll" Text="My Behringer X2442USB has a feature called Insert I/O. I understand what Behringer has to say about this feature but now how to use it.&#xD;&#xA;&#xD;&#xA;From the manual, &#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;INSERT&#xD;&#xA;&#xD;&#xA;* Insert points enable the processing of a signal with dynamic processors&#xD;&#xA;    or equalizers. They are sourced pre-fader, pre-EQ and pre-aux send.&#xD;&#xA;    Detailed information on using insert points can be found in chapter 5.3.&#xD;&#xA;* Unlike the X2442USB, the X1622USB, X1832USB and X2222USB have&#xD;&#xA;    their insert points located on the rear of the console.&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;The manual also says this about Main Insert,&#xD;&#xA;&#xD;&#xA;* These are the insert points for the main mix. In the signal path, they are&#xD;&#xA;post-main mix amp, but pre-main fader(s). Use them to insert, for example,&#xD;&#xA;a dynamics processor or graphic equalizer. Please also note the information&#xD;&#xA;on insert points in chapter 5.3.&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;But, why how do they work. I'd like to use an Alessi 3632 Vocal Compressor? Is this an ideal application of a Insert? What sends out to the compressor, what returns from from the compressor (ports on the X2442)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42613" PostHistoryTypeId="1" PostId="24665" RevisionGUID="a15c6eaa-b325-4c4a-8a80-2d6f9cac7499" CreationDate="2013-01-26T23:09:11.433" UserId="7239" UserDisplayName="Evan Carroll" Text="How do I use the Insert I/O on my Behringer Mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42614" PostHistoryTypeId="3" PostId="24665" RevisionGUID="a15c6eaa-b325-4c4a-8a80-2d6f9cac7499" CreationDate="2013-01-26T23:09:11.433" UserId="7239" UserDisplayName="Evan Carroll" Text="&lt;compression&gt;&lt;mixer&gt;&lt;behringer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42615" PostHistoryTypeId="36" PostId="24666" RevisionGUID="77ee819c-1a56-42b4-8aa1-c4ab8c060118" CreationDate="2014-01-25T09:29:05.990" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6960/how-do-i-use-the-insert-i-o-on-my-behringer-mixer/6963#6963" />
  <row Id="42616" PostHistoryTypeId="36" PostId="24667" RevisionGUID="822bab63-031a-4794-aa6d-a9a0d3ec8b33" CreationDate="2014-01-25T09:29:17.350" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4790/is-it-wrong-to-use-compression-on-the-master-bus" />
  <row Id="42617" PostHistoryTypeId="2" PostId="24668" RevisionGUID="0c6f58aa-7a0a-453a-a935-233800b6df20" CreationDate="2012-09-21T18:17:28.140" UserId="7294" UserDisplayName="Warrior Bob" Text="There are two questions here that I think should be addressed separately:&#xD;&#xA;&#xD;&#xA;**Question 1: &quot;is this a bad method of practice?&quot;**&#xD;&#xA;&#xD;&#xA;As I understand it, the reason it's considered &quot;better&quot; to compress individual tracks and not the master bus is because you have a finer degree of control, especially in today's digital world where you could instance a compressor on every track if you wanted to. From what I can tell, a lot of beginners online seem to like putting a big compressor or limiter on the master and calling it good, and so this advice is usually given to stop them from doing that.&#xD;&#xA;&#xD;&#xA;Gentle master bus compression can sound very nice, and I personally use it myself (incidentally, also for electronic music) as I find it to be a pleasing effect once I've got the rest of the tracks generally mixed the way I want them. Using it is not &quot;wrong&quot; and I would encourage you to experiment with it and find the best way to make it work for you.&#xD;&#xA;&#xD;&#xA;**Question 2: &quot;What confuses me about this is some people say mastering adds the &quot;sparkle and shine&quot; to the song while also evening out the levels to make all your songs sound more even, which I assume they do in part with COMPRESSION ON THE MASTER CANDIDATE. Isn't this what your do while mixing though?&quot;**&#xD;&#xA;&#xD;&#xA;The best online writeup I've personally read about this is [Tarekith's Guide to Mastering](http://tarekith.com/assets/mastering.html). In it, he points out that while professional mastering provides a lot of benefits (such as a fresh pair of trained ears and a lot of specialized equipment), most people mastering their own work generally just want to get the levels and frequency balance right. Both of these are best done in mixdown, and since you're *also* the one doing the mixdown, there's no longer a reason to master your own work:&#xD;&#xA;&#xD;&#xA;&gt; &quot;Yeah yeah&quot;, I hear you muttering, &quot;but how do I master my songs in the first place?&quot;&#xD;&#xA;&#xD;&#xA;&gt; To put it bluntly, you don't.&#xD;&#xA;&#xD;&#xA;&gt; What?&#xD;&#xA;&#xD;&#xA;&gt; Let me say this again, in case you skipped over it. If you are writing and releasing your own songs, there is no reason to “master” them per se.&#xD;&#xA;&#xD;&#xA;&gt; Everything you need to do to make a song sound polished and balanced can be done in the mixdown, and this is where you should focus 100% of all your attention.&#xD;&#xA;&#xD;&#xA;So, yes, that is exactly what you do while mixing. If part of your mixing involves master bus compression, then great - that's how your mix technique works! " ContentLicense="CC BY-SA 3.0" />
  <row Id="42618" PostHistoryTypeId="2" PostId="24667" RevisionGUID="97ccba41-51fe-40b9-a800-d6d1fe74d98b" CreationDate="2012-09-21T14:36:30.623" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="I've read some pretty conflicting statements about what people should or shouldn't do when it comes to putting effects on the master bus. In general, *what I always do* is put on a compressor but have it set to *very gently* compress the mix and make sure it doesn't clip. I normally don't have a clipping problem but since I mainly mainly make electronic music, sometimes some extreme synth basses with a strong mid section don't like to agree with me when added on top of other sounds. &#xD;&#xA;&#xD;&#xA;I know its better to compress the individual tracks and not the master bus, but I can tell a difference in the overall quality of the sound when I use a compressor gently. I still try to leave a good amount of headroom. &#xD;&#xA;&#xD;&#xA;So to get down to it **is this a bad method of practice?** I honestly like the sound better if I use a little compression. I don't fully understand what mastering engineers actually do yet but if you feel like explaining that feel free. &#xD;&#xA;&#xD;&#xA;**What confuses me about this is some people say mastering adds the *&quot;sparkle and shine&quot;* to the song while also evening out the levels to make all your songs sound more even, which I assume they do in part with COMPRESSION ON THE *MASTER CANDIDATE***. Isn't this what your do while mixing though? I thought getting that *&quot;magic&quot;* into your track came from getting all the pieces to fit together nicely. Please correct me here. I want to learn it all.&#xD;&#xA;&#xD;&#xA;**I don't get why I should add compression later when it sounds good now**&#xD;&#xA;&#xD;&#xA;**Also keep in mind, I mainly make electronic music and mostly use VSTi's which are sometimes difficult to mix while maintaining the sound you want**" ContentLicense="CC BY-SA 3.0" />
  <row Id="42619" PostHistoryTypeId="1" PostId="24667" RevisionGUID="97ccba41-51fe-40b9-a800-d6d1fe74d98b" CreationDate="2012-09-21T14:36:30.623" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="Is it wrong to use compression on the master bus?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42620" PostHistoryTypeId="3" PostId="24667" RevisionGUID="97ccba41-51fe-40b9-a800-d6d1fe74d98b" CreationDate="2012-09-21T14:36:30.623" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;mixing&gt;&lt;compression&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42621" PostHistoryTypeId="36" PostId="24668" RevisionGUID="b1f3c895-d02b-4c52-8f05-39cde8be8977" CreationDate="2014-01-25T09:29:17.350" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4790/is-it-wrong-to-use-compression-on-the-master-bus/4793#4793" />
  <row Id="42622" PostHistoryTypeId="36" PostId="24669" RevisionGUID="e50588b8-c795-4bb7-a442-659ceade2f05" CreationDate="2014-01-25T09:29:27.413" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4764/recording-mixing-mastering-drums" />
  <row Id="42623" PostHistoryTypeId="36" PostId="24670" RevisionGUID="33ce3214-55be-4599-899b-b6f5b9e975ed" CreationDate="2014-01-25T09:29:27.413" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4764/recording-mixing-mastering-drums/4765#4765" />
  <row Id="42624" PostHistoryTypeId="2" PostId="24670" RevisionGUID="3813bd4b-19a3-45e6-8ccf-674bf4e48218" CreationDate="2012-09-18T10:32:21.300" UserId="7016" Text="On mixing drums down,&#xD;&#xA;&#xD;&#xA;The top pro:&#xD;&#xA;&#xD;&#xA; - Once your drum mix is right you don't need to worry about individual levels - it is just done&#xD;&#xA;&#xD;&#xA;The main con:&#xD;&#xA;&#xD;&#xA; - A particular song might require pulling out some tones from a particular drum to give some headroom to another instrument, but your only alternative is to use an equaliser&#xD;&#xA;&#xD;&#xA;We tend to mix down prior to a live gig, but in the studio we keep each drum track separate so we can tweak as needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="42625" PostHistoryTypeId="2" PostId="24671" RevisionGUID="52deee1c-57f4-4e18-93f3-c5791cde54c2" CreationDate="2012-09-18T17:04:56.073" UserId="7200" Text="It's common and good practice to mix the drums to a group track, in pretty much any situation; that group track might well have a compressor (possibly even multiband) on it, but I still wouldn't call this _mastering_. Unless you're limited by CPU performance, it's not useful to bounce that group track to a fixed file; just leave the group track as it is so you can step down into the single mic tracks if it turns out to be necessary for the final mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="42626" PostHistoryTypeId="2" PostId="24669" RevisionGUID="d41fbe0d-d70a-499f-ad67-e5e857d0b8ff" CreationDate="2012-09-18T07:31:55.887" UserDisplayName="Kyle Sevenoaks" Text="I'm working on a project where I am to mix/master drums to a backing track (sort of a drum-replacement project.)&#xD;&#xA;&#xD;&#xA;I've gotten the drums to sound pretty great on their own but was just wondering if I should mix down the drums into one track before mixing it in with the rest of the music? It's all midi instruments (aside from the drums, obviously) so I understand it would be a good thing to keep the drums separate to mix better with the other instruments, but also I'd like to sort of compress the drums together so they come forward more in the mix, seeing as this is a drumming project. &#xD;&#xA;&#xD;&#xA;So what are the pros and cons of mixing drums down before mixing with the other instruments? Or am I being totally crazy? :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="42627" PostHistoryTypeId="1" PostId="24669" RevisionGUID="d41fbe0d-d70a-499f-ad67-e5e857d0b8ff" CreationDate="2012-09-18T07:31:55.887" UserDisplayName="Kyle Sevenoaks" Text="Recording/mixing/mastering drums" ContentLicense="CC BY-SA 3.0" />
  <row Id="42628" PostHistoryTypeId="3" PostId="24669" RevisionGUID="d41fbe0d-d70a-499f-ad67-e5e857d0b8ff" CreationDate="2012-09-18T07:31:55.887" UserDisplayName="Kyle Sevenoaks" Text="&lt;mixing&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42629" PostHistoryTypeId="36" PostId="24671" RevisionGUID="62c9c207-01d9-4660-856d-d413251cd134" CreationDate="2014-01-25T09:29:27.413" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4764/recording-mixing-mastering-drums/4766#4766" />
  <row Id="42630" PostHistoryTypeId="36" PostId="24672" RevisionGUID="50fe9ac3-38ea-4702-b3d7-33b675e49aa3" CreationDate="2014-01-25T09:29:38.540" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4069/re-encoding-mp3-reduces-quality" />
  <row Id="42631" PostHistoryTypeId="36" PostId="24673" RevisionGUID="b2b05a2e-521f-4125-a30a-2f4f344916d5" CreationDate="2014-01-25T09:29:38.540" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4069/re-encoding-mp3-reduces-quality/4070#4070" />
  <row Id="42632" PostHistoryTypeId="36" PostId="24674" RevisionGUID="4d7ee5a7-4d7a-457f-8489-2071d02ac57c" CreationDate="2014-01-25T09:29:38.540" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4069/re-encoding-mp3-reduces-quality/4075#4075" />
  <row Id="42633" PostHistoryTypeId="2" PostId="24673" RevisionGUID="258a4e56-a012-45c1-a5fb-44854144aa95" CreationDate="2012-05-27T14:57:36.337" UserDisplayName="lewebdalex" Text="Each time you save (overwrite) your MP3 file, the &quot;MP3 compression&quot; applies.&#xD;&#xA;So, each time, you lose quality." ContentLicense="CC BY-SA 3.0" />
  <row Id="42634" PostHistoryTypeId="2" PostId="24674" RevisionGUID="e7be6647-fb95-476f-876c-5c9e260939a0" CreationDate="2012-05-28T02:49:18.423" UserId="7093" Text="When you encode a WAV file to an MP3, some information is irretrievably lost.  When you decode the MP3 back to a WAV file, the decoder recreates something close to the original waveform, but not exact due to the lost information.  When you re-encode the WAV file back to MP3 once again information is lost.  The second MP3 file is of lesser quality than the original MP3 since the WAV file the second MP3 file was encoded from is of lesser quality than the original.&#xD;&#xA;&#xD;&#xA;See [this answer][1] for an example of what happens to audio and video when you encode a video to a compressed format many times.  Information is lost every time it is encoded.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/a/3851/126" ContentLicense="CC BY-SA 3.0" />
  <row Id="42635" PostHistoryTypeId="2" PostId="24672" RevisionGUID="a324006f-036d-4e75-b2d0-be59d0171cfb" CreationDate="2012-05-27T14:56:05.543" UserDisplayName="user1058210" Text="If we have an MP3 file and we decode it to an uncompressed WAV file and then later encode it to MP3 again at the same sample rate - why is it that the quality gets degraded?&#xD;&#xA;&#xD;&#xA;This is a past exam question that I can't figure out.  I know it has something to do with the fact that the MP3 codec uses lossy compression, but I can't figure out at what point it would remove more from it... - can anyone figure this out?  Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42636" PostHistoryTypeId="1" PostId="24672" RevisionGUID="a324006f-036d-4e75-b2d0-be59d0171cfb" CreationDate="2012-05-27T14:56:05.543" UserDisplayName="user1058210" Text="Re-encoding MP3 reduces quality" ContentLicense="CC BY-SA 3.0" />
  <row Id="42637" PostHistoryTypeId="3" PostId="24672" RevisionGUID="a324006f-036d-4e75-b2d0-be59d0171cfb" CreationDate="2012-05-27T14:56:05.543" UserDisplayName="user1058210" Text="&lt;compression&gt;&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42638" PostHistoryTypeId="36" PostId="24675" RevisionGUID="872f54a1-2ea7-460b-a8b5-4303acf00d45" CreationDate="2014-01-25T09:29:48.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2720/is-buying-a-compressor-a-good-thing-for-vocal-recording" />
  <row Id="42639" PostHistoryTypeId="36" PostId="24676" RevisionGUID="45a7c72e-b563-4947-abe0-61fe97e993c5" CreationDate="2014-01-25T09:29:48.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2720/is-buying-a-compressor-a-good-thing-for-vocal-recording/2721#2721" />
  <row Id="42640" PostHistoryTypeId="36" PostId="24677" RevisionGUID="0bebe410-cdbb-4baf-a766-6469306c8433" CreationDate="2014-01-25T09:29:48.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2720/is-buying-a-compressor-a-good-thing-for-vocal-recording/2722#2722" />
  <row Id="42641" PostHistoryTypeId="2" PostId="24676" RevisionGUID="e3d62118-bef8-4afc-b80d-3a677c8ba9ea" CreationDate="2011-11-30T11:07:33.723" UserId="6559" Text="For my home studio, I went for an external [pre-amp/compressor](http://www.dbxpro.com/286S/index.php) as a means of improving the quality of the vocals, as discussed in [this question](http://avp.stackexchange.com/q/111/741). It allows the raw vocal to be captured in a more controlled manner for subsequent processing. [As a caveat, I'm not familiar with the Firebox, so I'm not sure whether this is the weak link in your system.]  &#xD;&#xA;&#xD;&#xA;*n.b.* My choice was coloured by the need for the device to be rack-mountable and within a certain budget. &#xD;&#xA; &#xD;&#xA;The other item I considered was external EQ but, for my setup, capturing the vocal clean and applying EQ changes through my DAW has been sufficient." ContentLicense="CC BY-SA 3.0" />
  <row Id="42642" PostHistoryTypeId="2" PostId="24677" RevisionGUID="2fb3b0e9-dd80-4776-aabb-d74c78e36770" CreationDate="2011-11-30T11:32:46.417" UserId="7016" Text="I would definitely recommend compressors. We use hardware compressors for as many channels as possible (8 I think) so we don't load the computer's CPU unnecessarily. &#xD;&#xA;&#xD;&#xA;It makes a great difference to the separation and quality." ContentLicense="CC BY-SA 3.0" />
  <row Id="42643" PostHistoryTypeId="2" PostId="24678" RevisionGUID="7af1eabc-6cf4-44a4-a336-f81bc0a2de47" CreationDate="2011-12-01T13:33:21.523" UserDisplayName="Markus Koivisto" Text="Your pre-amp should be plenty good. You should be able to use a compressor in-the-box. Compressing while tracking could be beneficial, but not strictly necessary. Unless you can articulate exactly why you would need an out-board compressor, chances are you actually don't. Most live venues will have compressors so there's no need to get your own in most cases.&#xD;&#xA;&#xD;&#xA;Things to think about in order of importance:&#xD;&#xA;&#xD;&#xA;1. Improving your performance. Performance is king. If you are doing rock/metal, consider looking into the [Zen of Screaming][1] DVD series, or better yet, an actual teacher. Improving your performance is the biggest thing you can do to improve the end product. &#xD;&#xA;2. Microphone technique. Are you an appropriate distance away from the mic? Do you use the characterics of the microphone to enhance your performance? Are you modulating your distance from the mic, i.e. backing away when singing louder so you won't peak the levels? Look at what very good singers do, the ones with a ton of stage experience tend to do this subconsiously.&#xD;&#xA;2. The room you record in. Is the room appropriate for what you are trying to do? Do you have unwanted room ambience? It can be as simple as setting up a deadening panel (portable vocal booth or similar) behind your mic or singing under a set of furniture blankets, or as involved as building a vocal booth or just finding a good-sounding room to record in.&#xD;&#xA;3. The microphone. Your microphone is decent enough - I have the same one. You are unlikely to find a significantly better microphone without diving into the 500-dollar range or beyond.&#xD;&#xA;4. The pre-amp. Your presonus box has very good pre-amps and you are unlikely to find anything better before you start shelling out 500 dollars or more, and odds are it's not the weak link at all.&#xD;&#xA;&#xD;&#xA;Knowledge is better than gear. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.melissacross.com/home.php?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42644" PostHistoryTypeId="2" PostId="24675" RevisionGUID="18702bc7-56e6-43e8-9d3f-7b45ae7b975e" CreationDate="2011-11-30T01:18:43.923" UserId="7942" UserDisplayName="Jean-François Côté" Text="I have a little home studio and so far, just recording with my Studio Project B1 microphone right in my Presonus Firebox was ok for vocals. I have some money to spend on an upgrade for this setup, and some people suggested for me to get a compressor. This should help my vocal take to be more even and remove some unwanted noise.&#xD;&#xA;&#xD;&#xA;Would you suggest this add-on to my current setup? Or would you suggest something else? I was also thinking about an effect rack, to replace the bad plugins that I have. Some people also suggest that I should get a better pre-amp (instead of relying on the one built-in the sound card).&#xD;&#xA;&#xD;&#xA;Any help will be appreciated!&#xD;&#xA;&#xD;&#xA;***EDIT***&#xD;&#xA;I record vocal mainly for rock/Alternative/Metal music but it could also be soft vocals with acoustic guitar." ContentLicense="CC BY-SA 3.0" />
  <row Id="42645" PostHistoryTypeId="1" PostId="24675" RevisionGUID="18702bc7-56e6-43e8-9d3f-7b45ae7b975e" CreationDate="2011-11-30T01:18:43.923" UserId="7942" UserDisplayName="Jean-François Côté" Text="Is buying a compressor a good thing for vocal recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42646" PostHistoryTypeId="3" PostId="24675" RevisionGUID="18702bc7-56e6-43e8-9d3f-7b45ae7b975e" CreationDate="2011-11-30T01:18:43.923" UserId="7942" UserDisplayName="Jean-François Côté" Text="&lt;effects&gt;&lt;compression&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42647" PostHistoryTypeId="36" PostId="24678" RevisionGUID="e7037973-7d51-43ee-b265-fed6e45fafc0" CreationDate="2014-01-25T09:29:48.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2720/is-buying-a-compressor-a-good-thing-for-vocal-recording/2727#2727" />
  <row Id="42648" PostHistoryTypeId="36" PostId="24679" RevisionGUID="05dea0a5-1dd4-42b9-8c17-a623e62be4f6" CreationDate="2014-01-25T09:29:48.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2720/is-buying-a-compressor-a-good-thing-for-vocal-recording/2765#2765" />
  <row Id="42649" PostHistoryTypeId="2" PostId="24679" RevisionGUID="8766b2e1-bbe9-4e73-88dd-3e9d9f86b20f" CreationDate="2011-12-06T23:22:38.160" UserDisplayName="Joe Stavitsky" Text="Buy a better mic FIRST. In order of importance;&#xD;&#xA;&#xD;&#xA;Mic&#xD;&#xA;&#xD;&#xA;Preamp&#xD;&#xA;&#xD;&#xA;Compressor" ContentLicense="CC BY-SA 3.0" />
  <row Id="42650" PostHistoryTypeId="36" PostId="24680" RevisionGUID="da353215-ea64-40b7-83e5-7f6736905e5e" CreationDate="2014-01-25T09:29:57.853" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3655/why-does-a-flac-file-have-a-lower-bit-rate-than-the-cd-file" />
  <row Id="42651" PostHistoryTypeId="36" PostId="24681" RevisionGUID="efc0e523-00a3-446b-a82d-43c019cfce2d" CreationDate="2014-01-25T09:29:57.853" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3655/why-does-a-flac-file-have-a-lower-bit-rate-than-the-cd-file/3656#3656" />
  <row Id="42652" PostHistoryTypeId="36" PostId="24682" RevisionGUID="06812a70-51d5-4c59-aefd-b8c71cf813e1" CreationDate="2014-01-25T09:29:57.853" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3655/why-does-a-flac-file-have-a-lower-bit-rate-than-the-cd-file/3657#3657" />
  <row Id="42653" PostHistoryTypeId="2" PostId="24681" RevisionGUID="d8af817b-16bd-412c-a210-6313853bc947" CreationDate="2012-03-27T13:51:11.413" UserId="17107" UserDisplayName="Mulvya" Text="FLAC is Free Lossless Audio Codec where Codec = **co** mpressor/**dec** ompressor, so yes the lower bitrate is due to compression.&#xD;&#xA;&#xD;&#xA;And yes, the original stream is obtained upon decompression." ContentLicense="CC BY-SA 3.0" />
  <row Id="42654" PostHistoryTypeId="2" PostId="24682" RevisionGUID="2e0f9b33-508f-40cd-91c6-73c4f59e4363" CreationDate="2012-03-27T13:59:48.870" UserId="7093" Text="Since FLAC by definition is lossless compression there shouldn't be any data loss unless there is an error during encoding.&#xD;&#xA;&#xD;&#xA;In my experience, when you compress a WAV file to FLAC it reduces the size by about 1/3. ([The FLAC web site][1] claims even better compression, and as @Mulvya pointed out in the comments, this is due to the content of the recording).  The bitrate for the FLAC file you have is about 1/3 less than the bitrate of the WAV file.&#xD;&#xA;&#xD;&#xA;I would guess that the numbers you are seeing are probably due to the compression.&#xD;&#xA;&#xD;&#xA;  [1]: http://flac.sourceforge.net/comparison.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="42655" PostHistoryTypeId="2" PostId="24683" RevisionGUID="c89bbe6f-7f1a-4ae1-b6fb-f77a327425e0" CreationDate="2012-03-28T17:58:33.507" UserId="7268" UserDisplayName="derobert" Text="It's just how bit rate is defined. It's &quot;bits of data per second&quot;. So if you compress something, even losslessly, it's at a lower bitrate.&#xD;&#xA;&#xD;&#xA;The association between &quot;low bitrate&quot; and &quot;low quality&quot; comes from lossy codecs like MP3, which let you trade off quality for file size. Lossless codecs like FLAC instead let you trade off CPU time (at least during compression) for file size." ContentLicense="CC BY-SA 3.0" />
  <row Id="42656" PostHistoryTypeId="2" PostId="24680" RevisionGUID="74b9271f-abf4-4bd5-8f6e-cfd9fa75e70f" CreationDate="2012-03-27T12:48:08.963" UserDisplayName="Jonathan" Text="I ripped a CD to FLAC. Comparing the two versions of the same song with MediaMonkey, I noticed the original CD bit rate is 1411 kbps:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;whereas the FLAC file has a bit rate of 906 kbps:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;Why is this? Is this a loss of data, or just a reflection of the compression (i.e. decompression while playing reverts the bit rate back to the CD's original bit rate)?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/6jRNr.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/ScmPX.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="42657" PostHistoryTypeId="1" PostId="24680" RevisionGUID="74b9271f-abf4-4bd5-8f6e-cfd9fa75e70f" CreationDate="2012-03-27T12:48:08.963" UserDisplayName="Jonathan" Text="Why does a FLAC file have a lower bit rate than the CD file?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42658" PostHistoryTypeId="3" PostId="24680" RevisionGUID="74b9271f-abf4-4bd5-8f6e-cfd9fa75e70f" CreationDate="2012-03-27T12:48:08.963" UserDisplayName="Jonathan" Text="&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42659" PostHistoryTypeId="36" PostId="24683" RevisionGUID="20e649a0-7b9f-465b-bf55-75376fceb5c5" CreationDate="2014-01-25T09:29:57.853" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3655/why-does-a-flac-file-have-a-lower-bit-rate-than-the-cd-file/3660#3660" />
  <row Id="42660" PostHistoryTypeId="36" PostId="24684" RevisionGUID="5ed1a743-8713-4cb6-b782-57244da00f8e" CreationDate="2014-01-25T09:30:08.447" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2671/whats-the-best-ubiquitous-format-for-compressed-voice-audio" />
  <row Id="42661" PostHistoryTypeId="2" PostId="24685" RevisionGUID="81e3af00-812d-416c-bfe9-d53b497bb3cf" CreationDate="2011-11-21T00:47:15.067" UserId="7016" Text="The only ubiquitous one is mp3. AAC is great on Apple products, but only mp3 works on everything. &#xD;&#xA;&#xD;&#xA;When storing voice audio you can go for a very low quality, and potentially use mono if you don't require stereo. This will give you very high compression - approaching that of speex.&#xD;&#xA;&#xD;&#xA;From the [Wikipedia comparison page][1]&#xD;&#xA;&#xD;&#xA;Bit Rate:&#xD;&#xA;&#xD;&#xA; - mp3   8 to 320 kbit/s&#xD;&#xA; - speex 2.15 to 44.2 kbit/s&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Comparison_of_audio_codecs" ContentLicense="CC BY-SA 3.0" />
  <row Id="42662" PostHistoryTypeId="2" PostId="24684" RevisionGUID="a16111a9-cfe8-4dbf-a768-05fc14477490" CreationDate="2011-11-20T23:51:10.603" UserDisplayName="Rob Mosher" Text="I'm sharing records from phone conferences on my website, and would like to save space. It would be nice if I could use speex as I get about 5:1 compression compared to mp3. However most people would need help getting speex to play on their computer, and can't play it on their portable devices.&#xD;&#xA;&#xD;&#xA;What can I use to get good compression for speech that average people will be able to play? " ContentLicense="CC BY-SA 3.0" />
  <row Id="42663" PostHistoryTypeId="1" PostId="24684" RevisionGUID="a16111a9-cfe8-4dbf-a768-05fc14477490" CreationDate="2011-11-20T23:51:10.603" UserDisplayName="Rob Mosher" Text="What's the best ubiquitous format for compressed voice audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42664" PostHistoryTypeId="3" PostId="24684" RevisionGUID="a16111a9-cfe8-4dbf-a768-05fc14477490" CreationDate="2011-11-20T23:51:10.603" UserDisplayName="Rob Mosher" Text="&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42665" PostHistoryTypeId="36" PostId="24685" RevisionGUID="62aec388-2d8f-4c84-b723-61009b08cc2a" CreationDate="2014-01-25T09:30:08.447" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2671/whats-the-best-ubiquitous-format-for-compressed-voice-audio/2672#2672" />
  <row Id="42666" PostHistoryTypeId="36" PostId="24686" RevisionGUID="54b8c1b9-7452-4dae-9b1e-e841c0fde42b" CreationDate="2014-01-25T09:30:08.447" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2671/whats-the-best-ubiquitous-format-for-compressed-voice-audio/2678#2678" />
  <row Id="42667" PostHistoryTypeId="36" PostId="24687" RevisionGUID="59cd7bb0-175e-46e1-a2db-3c3b0e9ec050" CreationDate="2014-01-25T09:30:08.447" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2671/whats-the-best-ubiquitous-format-for-compressed-voice-audio/2686#2686" />
  <row Id="42668" PostHistoryTypeId="2" PostId="24686" RevisionGUID="99772fdd-1a38-4d8e-9423-0172893e8a58" CreationDate="2011-11-22T03:21:18.470" UserId="7856" UserDisplayName="Corey" Text="GSM encoded WAV files are a good option.&#xD;&#xA;&#xD;&#xA;I did some testing and got very good file size reduction results with perfectly acceptable audio quality.&#xD;&#xA;&#xD;&#xA;The original file directly from my phone system was 272 KB. The file I converted into GSM was 28KB.&#xD;&#xA;&#xD;&#xA;Here are the links for the sample files.&#xD;&#xA;Orignal File&#xD;&#xA;http://dl.dropbox.com/u/3594910/random_audio/vmail_16783201700_221_20110217160445.wav&#xD;&#xA;&#xD;&#xA;GSM File&#xD;&#xA;http://dl.dropbox.com/u/3594910/random_audio/vmail_16783201700_221_20110217160445_GSM.wav" ContentLicense="CC BY-SA 3.0" />
  <row Id="42669" PostHistoryTypeId="2" PostId="24687" RevisionGUID="911bb02e-ae4e-4065-bf17-517e7c9b2629" CreationDate="2011-11-24T02:55:46.063" UserDisplayName="Dipan Mehta" Text="It depends on what is your target platform. Is it computers or mobile phones or something else? What OS is this? &#xD;&#xA;&#xD;&#xA;As such, I believe speex is definitely a better choice. It is a speech codec, whereas mp3 is an audio codec. Speex *is* supported by most platforms.&#xD;&#xA;&#xD;&#xA;To ease the download try using *Gstreamer* or *ffmpeg* where this comes built-in. So user's don't have to put so much extra work into it. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42670" PostHistoryTypeId="36" PostId="24688" RevisionGUID="75783d8e-55a0-4f67-9988-6a235816550b" CreationDate="2014-01-25T09:30:19.527" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2646/tool-for-improving-old-recordings" />
  <row Id="42671" PostHistoryTypeId="36" PostId="24689" RevisionGUID="b631b4c5-37bd-4e54-ab0c-905a92a0af5f" CreationDate="2014-01-25T09:30:19.527" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2646/tool-for-improving-old-recordings/2649#2649" />
  <row Id="42672" PostHistoryTypeId="2" PostId="24689" RevisionGUID="bc7ebbad-2a3a-4ad0-a28b-8df269b10dff" CreationDate="2011-11-16T09:58:49.207" UserId="7016" Text="The way mp3's are encoded and compressed doesn't lend itself well to this at all, so you need to convert to wav anyway. The way I would do it is to script up the following:&#xD;&#xA;&#xD;&#xA;convert mp3 to wav&#xD;&#xA;pipe wav into FL studio&#xD;&#xA;run the plugin&#xD;&#xA;export as mp3&#xD;&#xA;&#xD;&#xA;(if the FL studio steps can be scripted too, all the better, but I don't know the app)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42673" PostHistoryTypeId="2" PostId="24688" RevisionGUID="2fcbed2e-248e-412f-9cb0-45b011eb0e0a" CreationDate="2011-11-15T20:27:30.037" UserId="7841" UserDisplayName="interstar" Text="I'm looking for a tool like this, but not quite sure what to call it. I have a number of MP3s of recordings I did on 4-track tape back in the day. I quite like them but the recording is fairly poor and lacking in bass etc.&#xD;&#xA;&#xD;&#xA;I also use FL Studio, in which I have an effect called Soundgoodizer, which just seems to be some presets of http://flstudio.image-line.com/help/html/plugins/Maximus.htm. It doesn't really have any controls but adds a lot of oomph and crispness to the sounds.&#xD;&#xA;&#xD;&#xA;What I'm looking for is something similar that I can run my mp3s through. I don't really want to have to convert them all into WAV files, import them into FL Studio as audio tracks (some of them are around 40 minutes long) and then export the whole thing again. There must be something that will just import an MP3 directly, equalize, compress and do whatever else the Soundgoodizer does (with sensible presets but the option to tweak), and then save it as a new mp3?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42674" PostHistoryTypeId="1" PostId="24688" RevisionGUID="2fcbed2e-248e-412f-9cb0-45b011eb0e0a" CreationDate="2011-11-15T20:27:30.037" UserId="7841" UserDisplayName="interstar" Text="Tool for improving old recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="42675" PostHistoryTypeId="3" PostId="24688" RevisionGUID="2fcbed2e-248e-412f-9cb0-45b011eb0e0a" CreationDate="2011-11-15T20:27:30.037" UserId="7841" UserDisplayName="interstar" Text="&lt;effects&gt;&lt;compression&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42676" PostHistoryTypeId="36" PostId="24690" RevisionGUID="62387d1c-a2c0-4a41-8c88-c1ffb3ceb89b" CreationDate="2014-01-25T09:30:28.263" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2402/where-does-levelator-fit-in-with-traditional-compression-gating-limiting" />
  <row Id="42677" PostHistoryTypeId="2" PostId="24691" RevisionGUID="57863d9d-5e10-4208-9f72-ed960433c3c1" CreationDate="2011-09-29T08:41:56.577" UserDisplayName="gauss256" Text="The recommended order of operations is as follows.&#xD;&#xA;&#xD;&#xA;1. (If needed) Noise reduction.&#xD;&#xA;&#xD;&#xA;2. (Most people don't do this) Normalization/compression/gating on individual tracks.&#xD;&#xA;&#xD;&#xA;3. Apply Levelator to mixed output, before any music is added.&#xD;&#xA;&#xD;&#xA;4. Add music, convert to MP3.&#xD;&#xA;&#xD;&#xA;Step #2 is generally not needed because The Levelator does all those things for you.  But if you really want to do your own compression, etc. that is the stage to do it at.&#xD;&#xA;&#xD;&#xA;Bruce (co-author of The Levelator)" ContentLicense="CC BY-SA 3.0" />
  <row Id="42678" PostHistoryTypeId="2" PostId="24690" RevisionGUID="9d9ba009-53a8-439d-95b5-192c78a164f6" CreationDate="2011-09-29T07:16:02.667" UserDisplayName="Kyle Cronin" Text="I understand the basic concepts of compression, expansion, gating, and limiting, but I'm still working on best applying them to my podcast to achieve the best resulting sound. I'm also working on trying to figure out where Levelator fits in, and when and where are the ideal times for using each effect.&#xD;&#xA;&#xD;&#xA;There are basically three points where I can apply the Levelator:&#xD;&#xA;&#xD;&#xA;* Directly to the raw input of the individual tracks&#xD;&#xA;* To the individual tracks after normalization/compression/gating/etc processing&#xD;&#xA;* To the mixed output before it's converted to MP3&#xD;&#xA;&#xD;&#xA;My question is, where should I apply it? Conceivably, I could apply it at every stage, but that would be tedious and might be potentially damaging to the resultant audio. Also, the Levelator is a literal black box that you drop audio files on, magic happens, and you get audio back. Are there some effects I should avoid before or after applying Levelator? I don't want to over-compress or do other things that make it sound over-processed." ContentLicense="CC BY-SA 3.0" />
  <row Id="42679" PostHistoryTypeId="1" PostId="24690" RevisionGUID="9d9ba009-53a8-439d-95b5-192c78a164f6" CreationDate="2011-09-29T07:16:02.667" UserDisplayName="Kyle Cronin" Text="Where does Levelator fit in with traditional compression/gating/limiting?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42680" PostHistoryTypeId="3" PostId="24690" RevisionGUID="9d9ba009-53a8-439d-95b5-192c78a164f6" CreationDate="2011-09-29T07:16:02.667" UserDisplayName="Kyle Cronin" Text="&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42681" PostHistoryTypeId="36" PostId="24691" RevisionGUID="263d165d-ab4a-4b4a-bdf6-4f9db1033a5b" CreationDate="2014-01-25T09:30:28.263" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2402/where-does-levelator-fit-in-with-traditional-compression-gating-limiting/2403#2403" />
  <row Id="42682" PostHistoryTypeId="36" PostId="24692" RevisionGUID="574cde5c-337e-41a4-a5b2-2c2fb384577f" CreationDate="2014-01-25T09:30:37.527" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1901/techniques-on-mastering" />
  <row Id="42683" PostHistoryTypeId="36" PostId="24693" RevisionGUID="edac1998-8541-458c-bec2-14b0a5c34c4f" CreationDate="2014-01-25T09:30:37.527" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1901/techniques-on-mastering/1902#1902" />
  <row Id="42684" PostHistoryTypeId="2" PostId="24693" RevisionGUID="2a134f07-6396-4807-bf51-c1dd7a5d6950" CreationDate="2011-07-17T14:42:39.697" UserId="7200" Text="Both plugins are not very well-suited for mastering, I'm afraid. Tube-style saturation/overdrive is great for single input signals because its asymmetric clipping adds not just odd harmonics but also warmer-sounding even ones; but in the mix you will already have plenty of both and these asymmetric characteristics are rather a drawback when you want a tight overall sound. You rather want a tape-style saturation, this results in a particular kind of dynamic-sounding compression while adding neither the unnatural pumping of solid-state compressors nor heavy clipping artifacts. And this CamelPhat thing seems to be designed rather to give assorted signals an extra push , but that's no good to apply on all channels together: the boosted frequencies (in your case it seems to be the HF) will just be annoying without really bringing out anything in the mix.&#xD;&#xA;&#xD;&#xA;Get some plugins that are designed for more subtle modifications. Multiband compressors can do a great job in the mastering. Also try multiple EQs with very gentle settings rather than single large boosts or cuts. The most important thing in mastering is that you should not notice anything was done at all unless you make a direct comparison." ContentLicense="CC BY-SA 3.0" />
  <row Id="42685" PostHistoryTypeId="2" PostId="24694" RevisionGUID="e8146d1d-0b08-456f-9334-3730b4ee2df8" CreationDate="2011-07-21T21:30:09.900" UserId="319" Text="If you're looking to create dynamically interesting music then you should go easy on the compression.  Compression can give a kind of 'warmth' by making everything sound bigger and bringing out the bass.&#xD;&#xA;&#xD;&#xA;I've over compressed everything in the past trying to keep up with the 'pros' and I just can't do it like they do.  It makes my ears hurt.  And even the pros do it to loud.  &#xD;&#xA;&#xD;&#xA;&gt; I suppose then my question is, what qualities tend to work best in the&#xD;&#xA;&gt; final sound that is produced, and what techniques can be used to go&#xD;&#xA;&gt; about getting a richer sound from an audio signal?&#xD;&#xA;&#xD;&#xA;What a question!  You can modify things all along the way since you have a computer.  Use a different kick drum or bass sample if you need more bass.  EQ the instrument for a bit more low end.  Go easy on the cymbals and HF percussion, they are still heard at lower levels.  Of course you can EQ the entire mix if you'd like to raise all the bass levels.  &#xD;&#xA;&#xD;&#xA;Instruments may produce richer or thinner sounds.  Microphones may produce the same.  There are so many choices, it's hard to know what to do.  &#xD;&#xA;&#xD;&#xA;Depending on your music style, you may just want to directly compare your bass levels right from the start - I find I need to pump it up.  There's alot of talk about subtractive EQing - but don't be afraid to boost that bass.&#xD;&#xA;&#xD;&#xA;Anyway, that's some opinions from an amateur doing this for 10 years, so take that for what it's worth.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42686" PostHistoryTypeId="2" PostId="24692" RevisionGUID="cd65ac9f-33df-4cae-a93d-7544ff86e866" CreationDate="2011-07-17T11:26:43.857" UserDisplayName="AlexW" Text="I'm interested in creating the most 'dynamically interesting' sound from music that I've produced on a computer, which includes vocal samples, bass, rhythm and instruments.&#xD;&#xA;&#xD;&#xA;At first I was happy with the final sound, but I've come to realise it was too HF dominant in the final mix, with not enough emphasis in the lower freq. positions. Also, being a wholly digital production, it can be argued as needing that elusive injection of warmth.&#xD;&#xA;&#xD;&#xA;I'm used to thinking about A/B'ing the mix with a production I like the sound of (i.e. switching between my music and the music of some producing I really like and testing for differences etc.)&#xD;&#xA;&#xD;&#xA;I'm also aware of the technique of adding a little white noise into the background (tape hiss). This is a good technique.&#xD;&#xA;&#xD;&#xA;I suppose then my question is, what qualities tend to work best in the final sound that is produced, and what techniques can be used to go about getting a richer sound from an audio signal?&#xD;&#xA;&#xD;&#xA;Also, general techniques that are known to work for enhancing the music created or arranged by a producer..?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.voxengo.com/product/tubeamp/&#xD;&#xA;  [2]: http://www.kvraudio.com/db/camelphat_by_camel_audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="42687" PostHistoryTypeId="1" PostId="24692" RevisionGUID="cd65ac9f-33df-4cae-a93d-7544ff86e866" CreationDate="2011-07-17T11:26:43.857" UserDisplayName="AlexW" Text="Techniques on Mastering" ContentLicense="CC BY-SA 3.0" />
  <row Id="42688" PostHistoryTypeId="3" PostId="24692" RevisionGUID="cd65ac9f-33df-4cae-a93d-7544ff86e866" CreationDate="2011-07-17T11:26:43.857" UserDisplayName="AlexW" Text="&lt;compression&gt;&lt;equalization&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42689" PostHistoryTypeId="36" PostId="24694" RevisionGUID="5bb31461-8552-4934-90f4-5f87d104f19e" CreationDate="2014-01-25T09:30:37.527" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1901/techniques-on-mastering/1928#1928" />
  <row Id="42690" PostHistoryTypeId="36" PostId="24695" RevisionGUID="f5d4edae-2e71-425f-b6ff-3fd6cf6dbdc4" CreationDate="2014-01-25T09:30:37.527" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1901/techniques-on-mastering/3048#3048" />
  <row Id="42691" PostHistoryTypeId="2" PostId="24695" RevisionGUID="da192f5d-24de-40ee-b896-c3477246efd0" CreationDate="2012-01-16T12:08:39.140" UserDisplayName="Marcin" Text="things that could add some final polishing:&#xD;&#xA;&#xD;&#xA; - using Multiband Exciter&#xD;&#xA; - Tape saturation. The best would be analog, but it could be also some vst&#xD;&#xA; - Automation of final mix volume (lower on verse, higher on chorus ect.)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42692" PostHistoryTypeId="36" PostId="24696" RevisionGUID="8cafb5f2-e2b1-42e9-9f91-7de892c8b028" CreationDate="2014-01-25T09:30:47.700" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1478/best-lossy-format-for-music" />
  <row Id="42693" PostHistoryTypeId="2" PostId="24697" RevisionGUID="66f77024-0d3f-4efe-88e0-fdde4055cda9" CreationDate="2011-05-27T21:05:40.460" UserId="7016" Text="You may find a lot of subjective answers here, and some of the quality seems to be dependent on what you play the files on - for example AAC and low quality mp3s will be fine on your iPod through headphones, but pop them on a decent system with good speakers and they will sound crap ([Skeptics question here][1])&#xD;&#xA;&#xD;&#xA;Each of the lossy formats has its own way of deciding what to lose (the wonderfully named [psychoacoustics][2]) and you may prefer one over another.&#xD;&#xA;&#xD;&#xA;I don't like the way AAC, Mp3 or WMA compression sounds on low or medium bitrates, but on high I can't tell the difference between them. Ogg I actually like slightly less at low bitrates than the others, but morally I like it :-)&#xD;&#xA;&#xD;&#xA;So I use mp3 or ogg in all my audio players, at high bitrate/quality settings (or flac in the devices that support it)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://skeptics.stackexchange.com/q/3219/619&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Psychoacoustics" ContentLicense="CC BY-SA 3.0" />
  <row Id="42694" PostHistoryTypeId="2" PostId="24696" RevisionGUID="cb27f342-b111-49c7-9cda-fdfaf0ba66e8" CreationDate="2011-05-27T20:31:25.910" UserDisplayName="Alex" Text="Which one of the lossy file formats like Ogg, AAC, Mp3, Wma has the best quality/size ratio?&#xD;&#xA;I've seen that AACs are smaller than MP3 at the same bitrates. Do they sound worse than MP3?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42695" PostHistoryTypeId="1" PostId="24696" RevisionGUID="cb27f342-b111-49c7-9cda-fdfaf0ba66e8" CreationDate="2011-05-27T20:31:25.910" UserDisplayName="Alex" Text="Best lossy format for music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42696" PostHistoryTypeId="3" PostId="24696" RevisionGUID="cb27f342-b111-49c7-9cda-fdfaf0ba66e8" CreationDate="2011-05-27T20:31:25.910" UserDisplayName="Alex" Text="&lt;compression&gt;&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42697" PostHistoryTypeId="36" PostId="24697" RevisionGUID="d9af2913-a3d0-497e-8ca1-8ca63a751094" CreationDate="2014-01-25T09:30:47.700" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1478/best-lossy-format-for-music/1479#1479" />
  <row Id="42698" PostHistoryTypeId="36" PostId="24698" RevisionGUID="1b075a81-ba6d-47ac-841f-69564d834155" CreationDate="2014-01-25T09:30:47.700" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1478/best-lossy-format-for-music/1482#1482" />
  <row Id="42699" PostHistoryTypeId="36" PostId="24699" RevisionGUID="7a3784f8-a26b-47e0-8b4a-29f280dd7af0" CreationDate="2014-01-25T09:30:47.700" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1478/best-lossy-format-for-music/1483#1483" />
  <row Id="42700" PostHistoryTypeId="2" PostId="24698" RevisionGUID="70ddbf13-708f-4707-b6a0-c9f9c8f306f1" CreationDate="2011-05-28T00:11:04.147" UserDisplayName="boehj" Text="A good place to look for this type of info is [Hydrogenaudio](http://wiki.hydrogenaudio.org/index.php?title=Main_Page). But... because this is so subjective (quality) it ultimately comes down to doing some listening tests yourself.&#xD;&#xA;&#xD;&#xA;As a purely pragmatic thing, I'd use .mp3 for lossy compression as it's established itself as the gold standard for better or worse." ContentLicense="CC BY-SA 3.0" />
  <row Id="42701" PostHistoryTypeId="2" PostId="24699" RevisionGUID="1ae90b77-85b8-4482-a20d-513898ca6fab" CreationDate="2011-05-28T15:51:24.073" UserId="7093" Text="I personally think that WMA or Ogg sound better at lower bitrates than MP3.  At higher bitrates I don't notice as much of a difference.&#xD;&#xA;&#xD;&#xA;For my MP3 player I tend to encode everything at the smallest file size I can without constantly hearing the compression artifacts.  &#xD;&#xA;&#xD;&#xA;I currently am using Ogg at [compression level 0][1] which is roughly equivilant to 64 Kbps.  The only thing I don't like about the format is that Windows Media Player does not like it, so I must add my music to my MP3 player manually instead of being able to sync using WMP.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://vorbis.com/faq/#quality" ContentLicense="CC BY-SA 3.0" />
  <row Id="42702" PostHistoryTypeId="36" PostId="24700" RevisionGUID="ba86f0c5-e0c4-4b50-b226-ebf0a3254c6e" CreationDate="2014-01-25T09:30:57.763" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1393/side-chain-sources-for-a-compressor-working-on-a-guitar-or-bass-signal" />
  <row Id="42703" PostHistoryTypeId="36" PostId="24701" RevisionGUID="8cbd8688-16f3-4c60-944f-68f46bab3d86" CreationDate="2014-01-25T09:30:57.763" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1393/side-chain-sources-for-a-compressor-working-on-a-guitar-or-bass-signal/1394#1394" />
  <row Id="42704" PostHistoryTypeId="2" PostId="24701" RevisionGUID="8e9c069d-08c0-41f6-be87-349febab6c9a" CreationDate="2011-05-11T14:47:15.353" UserId="17571" UserDisplayName="Zeronyne" Text="If you have a bass line that is closely (or exactly) mirroring the kick drum, triggering the bass compression with the much sharper attack of the kick can tighten up the line. Even if you push it to the point where it sounds unnatural, it can still be very musical.&#xD;&#xA;&#xD;&#xA;For both guitar and bass, it's fun to trigger a gate with a different signal. The last time I did this, which was years ago, I had a washy guitar sound with tons of delay playing chords, and the bass was opening and closing an extremely tight gate. It sounded a bit unpleasant dry, but with a little overall reverb softening, it was striking and effective." ContentLicense="CC BY-SA 3.0" />
  <row Id="42705" PostHistoryTypeId="2" PostId="24702" RevisionGUID="4b03ccbe-267a-450e-b073-32fed6a5ac51" CreationDate="2011-05-11T17:47:35.800" UserId="7294" UserDisplayName="Warrior Bob" Text="There are a few scenarios that spring immediately to mind:&#xD;&#xA;&#xD;&#xA;- If the overtones (or fundamenals, really) of your guitar or bass are in the same range as a vocalist, you can use the vocal signal as the sidechain input, &quot;ducking&quot; those instruments out of the way during vocal passages. I tend to think this works better for more rhythmic vocals, although I don't have a whole lot of experience to back that up.&#xD;&#xA;&#xD;&#xA;- Of course if you're making [French House music][1] you can always compress half of the mix with a kickdrum sidechain, which makes everything nice and bouncy. :)&#xD;&#xA;&#xD;&#xA;- As Zerodyne said, a gentle compressor on a bass triggered by the kickdrum can allow the kick to punch through the bassline a little better, without necessarily having to EQ out the common frequencies from one track.&#xD;&#xA;&#xD;&#xA;You can also use it for making simple guitar-synth effects as well - use a heavy compressor with a long release time to make the sound ramp up, and use a controller to trigger a drum sample that isn't in the mix, but is used as a control for the compressor.  You can strum a chord at the same time as one of these triggers, and you'll hear the chord rise in volume as the compressor releases. This technique generalizes to many kinds of instruments, although it's definitely an &quot;effect&quot; rather than a natural sound.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/French_house" ContentLicense="CC BY-SA 3.0" />
  <row Id="42706" PostHistoryTypeId="2" PostId="24700" RevisionGUID="19ccfdfb-4e0a-472f-baaa-ec40653ab2fa" CreationDate="2011-05-11T13:46:21.603" UserDisplayName="Ian C." Text="I've only ever used side chain triggering for compressors acting on drums. Where a kick signal compresses snare and toms. I'm trying to figure out some interesting use cases for side chain compression on a guitar or bass signal. What would a typical side chain trigger be for these instruments? What context would I use this kind of side chain triggered compression on guitar or bass under?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42707" PostHistoryTypeId="1" PostId="24700" RevisionGUID="19ccfdfb-4e0a-472f-baaa-ec40653ab2fa" CreationDate="2011-05-11T13:46:21.603" UserDisplayName="Ian C." Text="Side chain sources for a compressor working on a guitar or bass signal?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42708" PostHistoryTypeId="3" PostId="24700" RevisionGUID="19ccfdfb-4e0a-472f-baaa-ec40653ab2fa" CreationDate="2011-05-11T13:46:21.603" UserDisplayName="Ian C." Text="&lt;effects&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42709" PostHistoryTypeId="36" PostId="24702" RevisionGUID="5705bb12-09fa-41d6-93a1-7c8684f0425d" CreationDate="2014-01-25T09:30:57.763" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1393/side-chain-sources-for-a-compressor-working-on-a-guitar-or-bass-signal/1396#1396" />
  <row Id="42710" PostHistoryTypeId="36" PostId="24703" RevisionGUID="fe3f2b56-e317-47ec-bf3d-a92f8854cc80" CreationDate="2014-01-25T09:31:06.780" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1608/how-to-remove-keys-on-a-roland-xp-80" />
  <row Id="42711" PostHistoryTypeId="2" PostId="24704" RevisionGUID="8e734d8e-b111-4b7e-b55f-977ff1cdb685" CreationDate="2011-06-17T13:10:57.787" UserId="7093" Text="Removing the black plastic strip should allow you to slide the key toward the &quot;hinge&quot; end and it should come out quite easily from there.  Any other method will be very difficult and risk breaking the keys.  &#xD;&#xA;&#xD;&#xA;You may be able to only partially remove the strip by peeling it only part way off.  I seem to remember doing something like this when removing the keys from my D-50, but it has been quite a while.&#xD;&#xA;&#xD;&#xA;The only worry here is that the strip will not stick back in place.  You should be able to test this by peeling back only a small section and see if you can put it back again and get it to stick properly." ContentLicense="CC BY-SA 3.0" />
  <row Id="42712" PostHistoryTypeId="2" PostId="24703" RevisionGUID="97d7443d-be58-4cda-b0ef-9c9de0927913" CreationDate="2011-06-17T07:47:08.190" UserDisplayName="John" Text="(I saw similar questions answered here, so I'm posting this one.  If it's off-topic, please accept my apologies.)&#xD;&#xA;&#xD;&#xA;Two keys are broken on a Roland XP-80 keyboard I play.  I can see that the plastic is broken (in the same place: at the hinge on the end.)&#xD;&#xA;&#xD;&#xA;Here's a picture:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;[http://i.stack.imgur.com/GHRBV.jpg][2]&#xD;&#xA;&#xD;&#xA;All I can see to do is one of the following:&#xD;&#xA;&#xD;&#xA; - Remove the black plastic strip at the top (glued on) and the green felt strip at the bottom (also glued on) to remove the keys.  The prongs on the bottom of the key (at the bottom of the image) prevent me from taking the key out without breaking it, which suggests that I can't put the new keys *in* without breaking *them*.&#xD;&#xA; - Bend up a tab (just above the green felt) to allow enough play to remove it.&#xD;&#xA;&#xD;&#xA;Has anyone done this before?  I've looked all around without much luck, and the KB is fairly old, well past support, and probably not hiring someone to fix.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/GHRBV.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/GHRBV.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="42713" PostHistoryTypeId="1" PostId="24703" RevisionGUID="97d7443d-be58-4cda-b0ef-9c9de0927913" CreationDate="2011-06-17T07:47:08.190" UserDisplayName="John" Text="How to remove keys on a Roland XP-80?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42714" PostHistoryTypeId="3" PostId="24703" RevisionGUID="97d7443d-be58-4cda-b0ef-9c9de0927913" CreationDate="2011-06-17T07:47:08.190" UserDisplayName="John" Text="&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42715" PostHistoryTypeId="36" PostId="24704" RevisionGUID="d76cec06-ee15-4c9c-94ed-b8684f2f923b" CreationDate="2014-01-25T09:31:06.780" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1608/how-to-remove-keys-on-a-roland-xp-80/1613#1613" />
  <row Id="42716" PostHistoryTypeId="36" PostId="24705" RevisionGUID="81b5ce12-fe02-45bc-b28c-97b91d04ec63" CreationDate="2014-01-25T09:31:17.407" UserId="-1" Comment="from http://avp.stackexchange.com/questions/674/how-do-key-signature-calculating-algorithms-usually-work" />
  <row Id="42717" PostHistoryTypeId="36" PostId="24706" RevisionGUID="9f194ce2-3060-488a-8ecf-222db30cf7ed" CreationDate="2014-01-25T09:31:17.407" UserId="-1" Comment="from http://avp.stackexchange.com/questions/674/how-do-key-signature-calculating-algorithms-usually-work/681#681" />
  <row Id="42718" PostHistoryTypeId="2" PostId="24706" RevisionGUID="66903082-4928-48dc-9631-3b891f679f2e" CreationDate="2011-01-25T12:40:58.233" UserDisplayName="ees" Text="This is not authoritative at all but here is my best guess.  It does a simple frequency analysis to see what notes are present.  Each key as 7 notes that can be present and 5 that cannot.  As soon as it detects a note that is not in a key, it can rule that key out.&#xD;&#xA;&#xD;&#xA;Then, the keys of C and A minor (for example) have the same notes so the answer it has so far is ambiguous.  It then sees whether the piece contains more Cs or As to pick between the two.&#xD;&#xA;&#xD;&#xA;If this answer is totally out to lunch please feel free to correct it." ContentLicense="CC BY-SA 2.5" />
  <row Id="42719" PostHistoryTypeId="2" PostId="24705" RevisionGUID="5419245e-ddb9-4ef4-be05-7a1772e6df5d" CreationDate="2011-01-24T20:13:01.443" UserId="6865" Text="Whenever I play a song in Virtual DJ, it instantly gives me the key. How does this work? How are major or minors handled? Is there an analysis of the most common notes that is broken down to figure out what's most prominent?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42720" PostHistoryTypeId="1" PostId="24705" RevisionGUID="5419245e-ddb9-4ef4-be05-7a1772e6df5d" CreationDate="2011-01-24T20:13:01.443" UserId="6865" Text="How do key signature calculating algorithms usually work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42721" PostHistoryTypeId="3" PostId="24705" RevisionGUID="5419245e-ddb9-4ef4-be05-7a1772e6df5d" CreationDate="2011-01-24T20:13:01.443" UserId="6865" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42722" PostHistoryTypeId="36" PostId="24707" RevisionGUID="03113d22-fe84-4ceb-ac56-4e1b5738b854" CreationDate="2014-01-25T09:31:27.423" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1184/outputting-2-different-audio-signals-from-a-computer-pc-laptop" />
  <row Id="42723" PostHistoryTypeId="2" PostId="24708" RevisionGUID="28bc04e4-1726-4c11-a401-3ee8fcd12d05" CreationDate="2011-04-18T00:10:27.183" UserId="7334" UserDisplayName="imsky" Text="You will have to get a second sound card. Most MP3 players allow you to choose the output device, so you'll need at least 2 output devices (i.e. sound cards) to do this from a PC. You can get an inexpensive USB one for about $10." ContentLicense="CC BY-SA 3.0" />
  <row Id="42724" PostHistoryTypeId="2" PostId="24707" RevisionGUID="12838658-ca2a-442b-90cc-3ec3842d432d" CreationDate="2011-04-16T23:43:52.197" UserId="10057" UserDisplayName="Vass" Text="I want to use my laptop to hold a cool party where there is 2 different sources of music. 1 for hip hop, and the other jazz. I would like to play the tracks simultaneously and have them outputted either on a head phone jack and USB or 2 USB outputs. So I would need the signals to not get overlapped, is this possible? Do I need special software?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42725" PostHistoryTypeId="1" PostId="24707" RevisionGUID="12838658-ca2a-442b-90cc-3ec3842d432d" CreationDate="2011-04-16T23:43:52.197" UserId="10057" UserDisplayName="Vass" Text="outputting 2 different audio signals from a computer (PC/laptop)" ContentLicense="CC BY-SA 3.0" />
  <row Id="42726" PostHistoryTypeId="3" PostId="24707" RevisionGUID="12838658-ca2a-442b-90cc-3ec3842d432d" CreationDate="2011-04-16T23:43:52.197" UserId="10057" UserDisplayName="Vass" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42727" PostHistoryTypeId="36" PostId="24708" RevisionGUID="084b85be-0b39-43fc-b6e3-134397b2e9fb" CreationDate="2014-01-25T09:31:27.423" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1184/outputting-2-different-audio-signals-from-a-computer-pc-laptop/1190#1190" />
  <row Id="42728" PostHistoryTypeId="36" PostId="24709" RevisionGUID="e521c67e-bce0-4899-a5f0-ec6cd9e300a6" CreationDate="2014-01-25T09:31:27.423" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1184/outputting-2-different-audio-signals-from-a-computer-pc-laptop/1196#1196" />
  <row Id="42729" PostHistoryTypeId="36" PostId="24710" RevisionGUID="1373dc99-a773-4ee4-b748-a2fbfceb1f18" CreationDate="2014-01-25T09:31:27.423" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1184/outputting-2-different-audio-signals-from-a-computer-pc-laptop/1215#1215" />
  <row Id="42730" PostHistoryTypeId="2" PostId="24709" RevisionGUID="19bbad3c-8312-4a89-aea7-44dc893404e8" CreationDate="2011-04-18T14:33:12.190" UserId="7294" UserDisplayName="Warrior Bob" Text="You can do this either with two sound cards and software to use each one (per imsky's answer) or with one sound card that has multiple stereo outputs.&#xD;&#xA;&#xD;&#xA;If you take the one sound card route, you'll need software that can send your music (presumably MP3s or something like that) out to the disparate outputs.  It sounds kind of like you're looking to DJ a party, and there are many programs that are designed for exactly this.  The only one I have any experience with is Mixxx, which is free, but I found it initially confusing.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="42731" PostHistoryTypeId="2" PostId="24710" RevisionGUID="d3ad9b23-bb9f-4ab0-bb04-1df27d5cd965" CreationDate="2011-04-20T23:24:31.310" UserDisplayName="Redbeard" Text="While imsky's answer is probably what you wanted, another option is to use the channels of your stereo output separately. &#xD;&#xA;&#xD;&#xA;Have one VLC instance panned to the left playing one type of music, another instance panned to the right playing the other type of music and split the stereo into two mono outputs." ContentLicense="CC BY-SA 3.0" />
  <row Id="42732" PostHistoryTypeId="36" PostId="24711" RevisionGUID="6ddb8ead-ab27-461d-bcc8-f396f8baeb44" CreationDate="2014-01-25T09:31:37.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/56/where-to-find-general-tutorials-about-minimal-house-beat-programming" />
  <row Id="42733" PostHistoryTypeId="36" PostId="24712" RevisionGUID="6fae866f-3995-4e03-9dbf-a3e1da3e46f8" CreationDate="2014-01-25T09:31:37.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/56/where-to-find-general-tutorials-about-minimal-house-beat-programming/138#138" />
  <row Id="42734" PostHistoryTypeId="2" PostId="24712" RevisionGUID="724ecf9f-7f64-44c2-9f3d-0a6408845970" CreationDate="2010-12-08T16:45:20.927" UserId="7294" UserDisplayName="Warrior Bob" Text="Look for tutorials for your tools of choice (MPC, Ableton, whatever).  Once you understand how to use those, it should be clear how to program to the style of your choosing.  There are a number of books on drum machine programming with examples for particular styles, which is also a good starting point.&#xD;&#xA;&#xD;&#xA;If you have access to some genre-specific loop libraries, some of those include example MIDI sequences to show how the beat structures work.  Study those to figure out why the style you like works.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="42735" PostHistoryTypeId="2" PostId="24711" RevisionGUID="7e731376-09f8-4887-a443-afacb40a348f" CreationDate="2010-12-07T21:28:53.333" UserDisplayName="Fuxi" Text="i've searched the net for good tutorials about minimal house beat programming.&#xD;&#xA;there's a lot tuts @ youtube but nothing specific for beat programming.&#xD;&#xA;&#xD;&#xA;any ideas?&#xD;&#xA;&#xD;&#xA;thx" ContentLicense="CC BY-SA 2.5" />
  <row Id="42736" PostHistoryTypeId="1" PostId="24711" RevisionGUID="7e731376-09f8-4887-a443-afacb40a348f" CreationDate="2010-12-07T21:28:53.333" UserDisplayName="Fuxi" Text="where to find general tutorials about minimal house beat programming?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42737" PostHistoryTypeId="3" PostId="24711" RevisionGUID="7e731376-09f8-4887-a443-afacb40a348f" CreationDate="2010-12-07T21:28:53.333" UserDisplayName="Fuxi" Text="&lt;programming&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42738" PostHistoryTypeId="36" PostId="24713" RevisionGUID="704fb936-9d48-4f9b-82b1-2a5ed30ffdce" CreationDate="2014-01-25T09:31:45.080" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2670/in-ear-monitoring-and-or-hearing-assistance-via-fm-radio" />
  <row Id="42739" PostHistoryTypeId="36" PostId="24714" RevisionGUID="1517d73d-f130-4a74-92d8-bea0af56d4b3" CreationDate="2014-01-25T09:31:45.080" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2670/in-ear-monitoring-and-or-hearing-assistance-via-fm-radio/7083#7083" />
  <row Id="42740" PostHistoryTypeId="2" PostId="24714" RevisionGUID="5d51e363-d03d-46ea-8b99-a9aa6aef0e54" CreationDate="2013-02-08T04:56:32.857" UserDisplayName="Benji York" Text="There are legal low-power FM transmitters but they are of low enough quality that when paired with a typical inexpensive FM receiver I doubt you (or your users) will be happy with the results.&#xD;&#xA;&#xD;&#xA;Unfortunately in-ear monitoring is still new enough that the only decent quality options are a bit pricey, starting at over $600 US.&#xD;&#xA;&#xD;&#xA;For hearing assistance, the current mainstream approach are inductive loops.  They are more popular in the UK, but some hearing aids come with receivers built in and those without can still use headphone style receivers." ContentLicense="CC BY-SA 3.0" />
  <row Id="42741" PostHistoryTypeId="2" PostId="24713" RevisionGUID="485b90a8-a457-4ce6-ab30-22b0307832c5" CreationDate="2011-11-20T23:27:08.980" UserId="7856" UserDisplayName="Corey" Text="I am researching an in-ear monitoring system for selected choir members and was wondering if an FM transmitter paired with small “Walkman” style receivers would do the trick. I am also interested in a general hearing assistance set up.&#xD;&#xA;&#xD;&#xA;So two questions really...&#xD;&#xA;One... Are there any “legal” transmitters available for use in the US with maximum allowable range without any licensing requirements?&#xD;&#xA;&#xD;&#xA;Two... Are there any “low-power” licensed options?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42742" PostHistoryTypeId="1" PostId="24713" RevisionGUID="485b90a8-a457-4ce6-ab30-22b0307832c5" CreationDate="2011-11-20T23:27:08.980" UserId="7856" UserDisplayName="Corey" Text="In-Ear monitoring and/or hearing assistance via FM radio" ContentLicense="CC BY-SA 3.0" />
  <row Id="42743" PostHistoryTypeId="3" PostId="24713" RevisionGUID="485b90a8-a457-4ce6-ab30-22b0307832c5" CreationDate="2011-11-20T23:27:08.980" UserId="7856" UserDisplayName="Corey" Text="&lt;broadcasting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42744" PostHistoryTypeId="36" PostId="24715" RevisionGUID="e08211de-7df7-4b2e-bc72-ac9c6746274f" CreationDate="2014-01-25T09:31:56.267" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8674/how-to-record-my-mackie-digitally-via-usb" />
  <row Id="42745" PostHistoryTypeId="36" PostId="24716" RevisionGUID="070917ac-3810-459a-aac7-f74908890c2b" CreationDate="2014-01-25T09:31:56.267" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8674/how-to-record-my-mackie-digitally-via-usb/8675#8675" />
  <row Id="42746" PostHistoryTypeId="2" PostId="24716" RevisionGUID="b0f1fd2b-8df1-4983-a295-379b1bd649b5" CreationDate="2013-08-10T15:38:00.500" UserId="7405" UserDisplayName="Andy aka" Text="Does your Mackie have a USB output? If it does then you may need to load drivers onto your PC so that it recognizes the mackie mixer. These drivers probably came with your mixer when you acquired it.&#xD;&#xA;&#xD;&#xA;If it doesn't have a USB output then you'll need a USB analogue to digital converter maybe like [this][1]: -&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundsliveshop.com/p/Numark_STEREO_iO_DJ_USB_Audio_Interface/NUMARK-STEREOIO?CAWELAID=1830894445&amp;catargetid=1820249875&amp;cadevice=c&amp;cagpspn=pla&amp;gclid=CMbslPyZ87gCFUbHtAodqjQAtg&#xD;&#xA;  [2]: http://i.stack.imgur.com/NFxhJ.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="42747" PostHistoryTypeId="2" PostId="24717" RevisionGUID="81fb50a2-b4f5-4ba4-9995-cd714bf0ab94" CreationDate="2013-08-11T06:47:53.907" UserId="6610" Text="The ProFX8 will let you record only a stereo channel (or 2 mono) at a time. I am not familiar with Traction, but in Cubase you can go to menu Devices &gt; Device Setup and choose the Mackie from the first option field (Asio driver).&#xD;&#xA;&#xD;&#xA;Then you might need to go to Devices &gt; VST Conections to route the channels to the right input.    &#xD;&#xA;&#xD;&#xA;![enter image description here][1] &#xD;&#xA;Here you can choose in Device Port which channel from the Mackie goes to each channel of your audio card. Notice we are in the Input Tab.&#xD;&#xA;&#xD;&#xA;After that you can create your tracks and you can choose were the sound comes from to each track. Open the Mixer (F3 or in the menus) and you see this:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;In my example tracks 1,2,3 are Stereo so you just see &quot;Stereo In&quot; in the input field on top of each track. But track 4 &amp; 5 are mono and there you can choose if the audio should come from Left of the Stereo channel you get from the Mackie or Right.&#xD;&#xA;&#xD;&#xA;The its just to hit the red button on each track you want to recoed and press REC.&#xD;&#xA;&#xD;&#xA;As I said I don't know Tracktion, but there might be similarities in how to route the sound.&#xD;&#xA;&#xD;&#xA;EDIT: &#xD;&#xA;TO export from Cubase you have to first choose the area to Export. You can do this by choosing with the mouse (check the blue bar over the track in image below) or by choosing the track and pressing P (locators to selection).&#xD;&#xA;&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;Then what is left is to go to menu FILE &gt; EXPORT &gt; AUDIO MIXDOWN&#xD;&#xA;&#xD;&#xA;Was this kind of description what you were looking after?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Hf6G0.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/A2dKD.jpg&#xD;&#xA;  [3]: http://i.stack.imgur.com/EeNeY.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="42748" PostHistoryTypeId="2" PostId="24715" RevisionGUID="321f7cd5-fa91-4232-af82-cb1e487cadc3" CreationDate="2013-08-10T14:58:26.947" UserId="7206" Text="If I want to record my [Mackie ProFX8][1] mixer digitally via USB with my computer, how should I do it? I didn't think that the option appeared in Cubase. Background is that I'm trying to make sound files and the end file gets a background noise due to analog recording:&#xD;&#xA;&#xD;&#xA;http://avp.stackexchange.com/questions/8360/mp3-encoding-and-settings&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&gt;  No worries, integrated USB I/O takes the pain out of recording. Just&#xD;&#xA;&gt; connect the ProFX8 to a laptop, start up your included copy of&#xD;&#xA;&gt; Tracktion 3 Music Production Software (or almost any DAW software out&#xD;&#xA;&gt; there) and you can record the whole mix.&#xD;&#xA;&gt; &#xD;&#xA;&gt; No Driver Required for Supported Windows (PC) or OS X (Mac) Versions&#xD;&#xA;&#xD;&#xA;So I'm supposed to use the [Tracktion][2] program but it is not at all clear how to record in Tracktion. &#xD;&#xA;&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![enter image description here][4]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In Cubase I've gotten this far and it says nothing about a Mackie or any USB input:&#xD;&#xA;&#xD;&#xA;![enter image description here][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Maybe this setting below is correct but it doesn't say whether USB is the digital from the Mackie or the USB from the plexgear soundcard.&#xD;&#xA;&#xD;&#xA;![enter image description here][6]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And here is another setting I have that says nothing about Mackie and nothing about digital USB.&#xD;&#xA;&#xD;&#xA;![enter image description here][7]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![enter image description here][8]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mackie.com/products/profx8/&#xD;&#xA;  [2]: http://www.7bd.com/pdfs/T3_QS.pdf&#xD;&#xA;  [3]: http://i.stack.imgur.com/sLCFP.png&#xD;&#xA;  [4]: http://i.stack.imgur.com/i3U1d.png&#xD;&#xA;  [5]: http://i.stack.imgur.com/wDhI1.png&#xD;&#xA;  [6]: http://i.stack.imgur.com/KPTZQ.png&#xD;&#xA;  [7]: http://i.stack.imgur.com/iifNG.png&#xD;&#xA;  [8]: http://i.stack.imgur.com/UxHGd.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="42749" PostHistoryTypeId="1" PostId="24715" RevisionGUID="321f7cd5-fa91-4232-af82-cb1e487cadc3" CreationDate="2013-08-10T14:58:26.947" UserId="7206" Text="How to record my Mackie digitally via USB?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42750" PostHistoryTypeId="3" PostId="24715" RevisionGUID="321f7cd5-fa91-4232-af82-cb1e487cadc3" CreationDate="2013-08-10T14:58:26.947" UserId="7206" Text="&lt;cubase&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42751" PostHistoryTypeId="36" PostId="24717" RevisionGUID="3b9f2af3-5da3-44ab-b1d2-ac36c8e29361" CreationDate="2014-01-25T09:31:56.267" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8674/how-to-record-my-mackie-digitally-via-usb/8678#8678" />
  <row Id="42752" PostHistoryTypeId="36" PostId="24718" RevisionGUID="60311aa7-a782-46fe-ac08-edee3f9ee887" CreationDate="2014-01-25T09:31:56.267" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8674/how-to-record-my-mackie-digitally-via-usb/8791#8791" />
  <row Id="42753" PostHistoryTypeId="2" PostId="24718" RevisionGUID="df7a2f4e-bdd7-4af0-8863-fec22f854a4f" CreationDate="2013-08-22T17:14:18.827" UserDisplayName="Scott Carlson" Text="If you want to record each channel, you could get another interface with line in jacks, and use the effects sends from the Mackie.  Push the TS cable in until the first click, and that should send out. " ContentLicense="CC BY-SA 3.0" />
  <row Id="42754" PostHistoryTypeId="36" PostId="24719" RevisionGUID="5306dd8f-04ba-499c-8936-dbcd43c7779c" CreationDate="2014-01-25T09:32:05.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1305/using-akai-lpd8-as-drumkit-controller" />
  <row Id="42755" PostHistoryTypeId="36" PostId="24720" RevisionGUID="0c039cb4-4832-4188-975a-d295de4c6e8a" CreationDate="2014-01-25T09:32:05.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1305/using-akai-lpd8-as-drumkit-controller/1308#1308" />
  <row Id="42756" PostHistoryTypeId="2" PostId="24720" RevisionGUID="9b26eaaa-b982-44ac-933c-1bd68a8ef4c8" CreationDate="2011-04-29T07:36:09.000" UserId="7471" UserDisplayName="Mark Heath" Text="I'll answer for Reaper since that is what I use. &#xD;&#xA;&#xD;&#xA;The LPD8 sends out MIDI controller messages. The first thing you need to do is to ensure that your DAW is receiving those messages. In Reaper, go to preferences and make sure the LPD8 is enabled as a MIDI in device.&#xD;&#xA;&#xD;&#xA;![Enable MIDI in][1]&#xD;&#xA;&#xD;&#xA;To use it to control drums, select **Track | Insert Virtual Instrument on New Track...** and select your drum sampler plugin. For example, I have selected ToonTrack EZ-Drummer here:&#xD;&#xA;&#xD;&#xA;![EZDrummer in REAPER track][2]&#xD;&#xA;&#xD;&#xA;The important things to notice compared to simply adding an empty track are that it has set up four things for you:&#xD;&#xA;&#xD;&#xA; - the drum sampler has been added to the fx bin&#xD;&#xA; - the track has been armed for record&#xD;&#xA; - MIDI All devices and all channels has been set for input, so it will receive the MIDI from your LPD8&#xD;&#xA; - Record Monitoring has been turned on (so you will hear the noises made by the drum sampler)&#xD;&#xA;&#xD;&#xA;The next step is to ensure that your LPD8 is sending appropriate messages when you hit the drum pads. It can be configured to send many different message types, so you might need to refer to the manual and use the supplied software, but I strongly suspect that there will be a factory bank that sends MIDI note on messages for the most common note numbers that drum samplers are mapped to (e.g. kick drum = 36, snare = 38, closed hats = 42 etc)&#xD;&#xA;&#xD;&#xA;The second part of your question, to use the knobs to change parameters, you need to investigate a feature called MIDI Learn (which most DAWs support). This lets you tell the DAW which controller on your keyboard you want to use to control a specific parameter. Here's a tutorial on [using MIDI learn with Reaper][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/uOrVe.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/yv0pv.png&#xD;&#xA;  [3]: http://wiki.cockos.com/wiki/index.php/How_to_use_MIDI_Learn" ContentLicense="CC BY-SA 3.0" />
  <row Id="42757" PostHistoryTypeId="2" PostId="24719" RevisionGUID="6473c5d8-b248-4eb5-a052-6b91dd8f3602" CreationDate="2011-04-28T22:57:19.210" UserDisplayName="gomad" Text="I have an [Akai LPD8][1] pad controller. But it's not doing me any good.&#xD;&#xA;&#xD;&#xA;Does anyone have any advice on **using** this neat little thing?&#xD;&#xA;&#xD;&#xA;I have been evaluating Reaper, and I have Tracktion3 (which is less than great, especially on Windows 7 64-bit). But I can't figure out how to:&#xD;&#xA;&#xD;&#xA;* use the pads as triggers for sounds - especially drum sounds&#xD;&#xA;* use the knobs as controls for faders - or **any** parameter&#xD;&#xA;&#xD;&#xA;Has anyone had any success using this gizmo in either of these fashions?&#xD;&#xA;&#xD;&#xA;I have the Tracktion3 Ultimate Bundle, but most of the software is so old that I can't find support for it online. Is there anything out there I can use to make it into a drumset?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Akai-Pro-LPD8-Laptop-Controller/dp/B002M8EEW8" ContentLicense="CC BY-SA 3.0" />
  <row Id="42758" PostHistoryTypeId="1" PostId="24719" RevisionGUID="6473c5d8-b248-4eb5-a052-6b91dd8f3602" CreationDate="2011-04-28T22:57:19.210" UserDisplayName="gomad" Text="Using Akai LPD8 as drumkit, controller" ContentLicense="CC BY-SA 3.0" />
  <row Id="42759" PostHistoryTypeId="3" PostId="24719" RevisionGUID="6473c5d8-b248-4eb5-a052-6b91dd8f3602" CreationDate="2011-04-28T22:57:19.210" UserDisplayName="gomad" Text="&lt;reaper&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42760" PostHistoryTypeId="36" PostId="24721" RevisionGUID="8c4898c7-75dc-4ceb-8401-d037671590a1" CreationDate="2014-01-25T09:32:13.393" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7314/how-do-i-know-what-volume-to-set-my-podcasts-at" />
  <row Id="42761" PostHistoryTypeId="36" PostId="24722" RevisionGUID="db4e4132-1ec0-4e4e-8fb3-fe271f14b874" CreationDate="2014-01-25T09:32:13.393" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7314/how-do-i-know-what-volume-to-set-my-podcasts-at/7317#7317" />
  <row Id="42762" PostHistoryTypeId="2" PostId="24722" RevisionGUID="479e4e78-1d6b-4567-9ee7-dd7f04ef050f" CreationDate="2013-03-05T11:16:10.037" UserDisplayName="Sascha Kaupp" Text="One word: Normalization.&#xD;&#xA;&#xD;&#xA;Normalization is the process of finding the loudest part of a recording and making it reach the 0 dB level so the loudest part of your recording is as loud as technically corret.&#xD;&#xA;&#xD;&#xA;In general, the standard for the highest volume of a recording is defined as 0 dB. Everything which is not as loud will be mentioned as something with a negative value, like -6 dB, which is half the volume of 0 dB.&#xD;&#xA;&#xD;&#xA;Aside from the details of leveling, you might want to achieve a recording which is never louder than 0 dB (altough that's technically possible but leads to distortion when you're too fare above), with the loudest part reaching exactly this volume and the lower parts should not be too far away from it, meaning, you might want to maintain a constant volume between -20 dB and 0 dB.&#xD;&#xA;&#xD;&#xA;You might already have used gain control on the microphones to make them sound about as loud as each other. If you record each microphone separately, you can use the Normalize filter of Audacity to match the 0 dB for the loudest parts. &#xD;&#xA;&#xD;&#xA;You might even want to look into the Audacity Compressor tutorial [1] to see how you can enhance overall volume level of each microphone recording.&#xD;&#xA;&#xD;&#xA;If you are set with the result of each microphone, you can mix down the entire project and check if you want additional Normalization of the final project. If each microphone is leveled good, you might not even need this step.&#xD;&#xA;&#xD;&#xA;[1] http://manual.audacityteam.org/man/Compressor" ContentLicense="CC BY-SA 3.0" />
  <row Id="42763" PostHistoryTypeId="2" PostId="24723" RevisionGUID="df10ad26-78a2-4325-8e15-bf2c2e938144" CreationDate="2013-03-06T00:55:05.177" UserId="7174" Text="First, I think we should probably address the concept of volume.  The level of a signal has nothing to do with volume.  You don't have volume until it is actually put through speakers and you are a hearing it a certain distance from those speakers.  Instead you have a &quot;level&quot;.  &#xD;&#xA;&#xD;&#xA;The level is a measure of signal strength and it isn't subjective, but rather based on what the minimum and maximum signal level are for the system you are working with.  All the way off is always negative infinity and it works it's way up to 0 which is the ideal maximum signal level for the device to maintain the best quality.  However, nobody talks at exactly the same level all the time, so the signal is going to vary some.  On most good equipment, it can peak a little above 0db(signal, not volume), but ideally you want to keep the gain set to be at 0 and a little below it most of the time.  &#xD;&#xA;&#xD;&#xA;Eventually, if the signal gets too powerful, it will exceed what the device can handle and you end up with the waveform getting cut off at the top and bottom.  This results in a partially square wave rather than a rounded one and is called clipping.&#xD;&#xA;&#xD;&#xA;When setting the gain for recording, your primary goal is to get the majority of the signal as close to 0 as possible (the best possible quality), but you also have to make sure that the signal does not clip, which will render that part of the recording unusable.  You also don't want it too much lower than 0db because then the amount of noise that is recorded will increase in relation to the amount of actual signal.&#xD;&#xA;&#xD;&#xA;After recording, when you get in to Audacity, it is simply scaling the signal when you adjust the levels.  It makes the signal behave as if it is more or less powerful than it originally was so that you can mix it with other inputs.  It is all just math being done on the signal and doesn't actually alter the waveform's basic shape, just makes it have a lower amplitude.&#xD;&#xA;&#xD;&#xA;The difference between the highest and lowest volumes on a recording is called the dynamic range.  Generally, recordings will have a larger dynamic range than will typically make an ideal listening at home.  For this reason, a concept called dynamic compression is frequently used.  Dynamic compression is a process by which the highest levels can be automatically gained down and the lower levels can be brought up.  This results in less of a difference between the highest and lowest signal levels and decreases the dynamic range.  This makes a more level volume when someone plays back the audio later.&#xD;&#xA;&#xD;&#xA;Ideally the signal will be compressed and then the level raised to be close to 0 to minimize the noise that will be generated in the playback device and maximize the signal level.  Then when the device plays it back, it can accurately process the signal to produce output to the speakers at a level that is consistent with other recordings and will have a similar volume to other things that the user was listening to.&#xD;&#xA;&#xD;&#xA;That's a pretty quick overview of a lot of what goes in to a recording, but I hope it helps give a deeper understanding of the answer to your question." ContentLicense="CC BY-SA 3.0" />
  <row Id="42764" PostHistoryTypeId="2" PostId="24721" RevisionGUID="a34fe16a-b2f8-4a78-acba-81715e191352" CreationDate="2013-03-05T08:06:26.407" UserId="8124" UserDisplayName="Dave M G" Text="Recently I have been making podcasts which consist largely of two to four people talking. I am a complete newbie to the process, and I know little or nothing about audio production.&#xD;&#xA;&#xD;&#xA;Volume is something that has always confused me. First, when recording, I can adjust the gain of the microphone input. Then in Audacity I have a million different ways of adjusting the volume. And then ultimately when a listener downloads and plays my podcast, they can adjust the playback volume to their tastes. There are all these stages which impact the final volume, and it seems to me they're all measured relative to each other, and thus lack any kind of objective measure.&#xD;&#xA;&#xD;&#xA;I'd like to be consistent among my podcasts, and also hopefully fall in line with some kind of standard so that my podcasts aren't wildly louder or quieter than most other things they listen to.&#xD;&#xA;&#xD;&#xA;But it all baffles me because it seems that listening volume is so relative and subjective.&#xD;&#xA;&#xD;&#xA;Is there a way to determine a good output volume that isn't just based on trial and error and feel?&#xD;&#xA;&#xD;&#xA;*Please bear in mind when answering that technical terminology is likely to be too advanced for me to follow.*" ContentLicense="CC BY-SA 3.0" />
  <row Id="42765" PostHistoryTypeId="1" PostId="24721" RevisionGUID="a34fe16a-b2f8-4a78-acba-81715e191352" CreationDate="2013-03-05T08:06:26.407" UserId="8124" UserDisplayName="Dave M G" Text="How do I know what volume to set my podcasts at?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42766" PostHistoryTypeId="3" PostId="24721" RevisionGUID="a34fe16a-b2f8-4a78-acba-81715e191352" CreationDate="2013-03-05T08:06:26.407" UserId="8124" UserDisplayName="Dave M G" Text="&lt;volume&gt;&lt;gain&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42767" PostHistoryTypeId="36" PostId="24723" RevisionGUID="2840f1c2-12a5-4ada-b9b7-8df42ebedeb6" CreationDate="2014-01-25T09:32:13.393" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7314/how-do-i-know-what-volume-to-set-my-podcasts-at/7325#7325" />
  <row Id="42768" PostHistoryTypeId="36" PostId="24724" RevisionGUID="e122e19c-41f8-4aff-919a-0634ff602676" CreationDate="2014-01-25T09:32:13.393" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7314/how-do-i-know-what-volume-to-set-my-podcasts-at/7342#7342" />
  <row Id="42769" PostHistoryTypeId="2" PostId="24724" RevisionGUID="f6cc191b-2346-448b-ad74-cded8153f703" CreationDate="2013-03-07T12:25:25.217" UserDisplayName="Fred42vid" Text="In the production chain that you can control, your final audio level is called [programme level][1], as far as I know. There are recommendations for television (at least in Europe) that the programme level should not exceed -9 dB, with exceptions. But for web videos there is no such regulation. As a result you often have to readjust your loud speaker's volume while switching from one YouTube video to the other. Some clips limit themselfes to -9 dB, others use the full range up to 0 dB. &quot;The louder the better&quot; results in what is called the [loudness war][2].&#xD;&#xA;&#xD;&#xA;For your podcasts you have to define your own standard, so that at least your own visitors don't have to increase/decrease their speaker's volume while switching from one podcast to the other. My personal rule that I have set for my own videos is:&#xD;&#xA;&#xD;&#xA; - I apply a little compression on all voices, just enough to make&#xD;&#xA;   passages spoken in a low voice as clearly understandable as passages&#xD;&#xA;   spoken in a louder voice.&#xD;&#xA;&#xD;&#xA; - Then I manually remove all peaks, or make them more silent. (Without this, the next step, the normalization, would amplify wrong.)&#xD;&#xA;&#xD;&#xA; - Before exporting I normalize the whole track to -3 dB. The level of -3 dB was my personal decision.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Programme_level&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Loudness_war" ContentLicense="CC BY-SA 3.0" />
  <row Id="42770" PostHistoryTypeId="36" PostId="24725" RevisionGUID="619eafaf-435f-4b6c-b954-65b7e8c2eb54" CreationDate="2014-01-25T09:32:21.457" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7/in-ear-monitors-alternatives" />
  <row Id="42771" PostHistoryTypeId="36" PostId="24726" RevisionGUID="a2043f33-d6a0-49a9-973a-f3ae4341c461" CreationDate="2014-01-25T09:32:21.457" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7/in-ear-monitors-alternatives/22#22" />
  <row Id="42772" PostHistoryTypeId="36" PostId="24727" RevisionGUID="8e6156e6-6b69-4472-9092-a4d158118131" CreationDate="2014-01-25T09:32:21.457" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7/in-ear-monitors-alternatives/502#502" />
  <row Id="42773" PostHistoryTypeId="36" PostId="24728" RevisionGUID="7ee91aa8-9658-4647-b957-faced63179cf" CreationDate="2014-01-25T09:32:21.457" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7/in-ear-monitors-alternatives/503#503" />
  <row Id="42774" PostHistoryTypeId="2" PostId="24726" RevisionGUID="0fbf8e5e-ffa1-4392-be3a-9cfdf35a3409" CreationDate="2010-12-07T20:44:08.923" UserDisplayName="Ian C." Text="We just went down this road with my tribute act. Doing up the entire band with wireless IEMs was going to be well beyond our meager means. So I've got a &quot;budget IEM&quot; setup that tries to capture the spirit of the idea without breaking the bank.&#xD;&#xA;&#xD;&#xA;Let me go over my setup.&#xD;&#xA;&#xD;&#xA;We're use our own Behringer console just for doing our monitor mix. It's a [Eurodesk SX3282][1] -- not the greatest board but it has enough Aux sends to get the job done and we got it used, in a flight case, for CAD$500 -- deal. We run split a minimal drum mic mix, vocal mics, bass signal, my guitar (I run direct out of an AxeFx), the keyboard, our backing track unit, and a room mic for ambience in to this board. And then we do 6 sub-mixes, one for each guy in the band. The sub-mixing is a bit tricky because you can only use 6 auxes on a channel strip at any one time and two are always post-fader which is annoying, but so be it. Some day we'll graduate up to a proper monitor mix matrix mixer.&#xD;&#xA;&#xD;&#xA;We run all the aux mixes in to a headphone amplifier. We're using an [OSP HPA-400][2] to drive the cans for everyone but the singer. The singer's IEM mix we run straight to his wireless transmitter unit.&#xD;&#xA;&#xD;&#xA;Only our singer has a wireless IEM and mix. We all play wired instruments so we figured that wired IEMs wouldn't actually be a big deal and that's turned out to be mostly true.&#xD;&#xA;&#xD;&#xA;From the headphone amp we run long cords to our IEMs. We all bought our own. I picked up some [Ultimate Ears 600s][3] on sale for ~$70. I have the IEM cable and my guitar cable tied together over their lengths and I loop a bit of the IEM cable over the guitar strap button my guitar to keep myself from accidentally yanking on it too hard. From there it runs up the back of my shirt just it would from a belt pack.&#xD;&#xA;&#xD;&#xA;It sounds awkward but once you work out keeping the guitar and IEM cables connected (I used some velcro bands along the length of my cable) it's really not noticeable. You're used to managing your guitar cable so this just piggybacks the IEM feed along for the ride.&#xD;&#xA;&#xD;&#xA;And once you go IEM + personal mixes, it's so hard to go back to stage monitors and a shared mix.&#xD;&#xA;&#xD;&#xA;All that was put together for about $300/member in our 5 piece. The singer did buy his own wireless unit and I'm not including that in the price. And the nice thing about it is, as we build gig money, we can all expand to wireless with our gig money when we want. The way I see it is there's no point in my going wireless IEM until I can also afford to go wireless guitar -- so I'm banking to buy both solutions at the same time.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.behringer.com/EN/Products/SX3282.aspx&#xD;&#xA;  [2]: http://www.ospworldwide.com/productcart/pc/viewPrd.asp?idproduct=6811&amp;idcategory=54&#xD;&#xA;  [3]: http://ultimateears.com/en-us/products/600" ContentLicense="CC BY-SA 2.5" />
  <row Id="42775" PostHistoryTypeId="2" PostId="24727" RevisionGUID="531d7895-454b-4e0b-ab19-b100ccbf9a6c" CreationDate="2011-01-03T01:17:47.640" UserId="18000" UserDisplayName="rjmunro" Text="IEMs need not cost very much if you are on a budget. I mix sound in a church and when we had a strings section in a large carol concert, they were struggling to hear the lead, but if we turned up their monitors we quickly had issues with isolation and even feedback. So I got [the FM transmitter I use for listening to MP3s in my car][1], and asked if anyone in the band had an FM radio in their phone. Several people did, and the feedback from the players who tried them was very positive.&#xD;&#xA;&#xD;&#xA;The other option is to not go wireless. I've heard of a hi-fi amp being used along with a load of splitters and extension cables. If you go that route, do put a compressor/limiter in the signal chain to avoid risking damaging peoples ears.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/BELKIN-TuneCast-II-Transmitter-Player/dp/B003W3EJF4" ContentLicense="CC BY-SA 2.5" />
  <row Id="42776" PostHistoryTypeId="2" PostId="24728" RevisionGUID="e9846b70-ecb6-40ff-8a4f-4822d267be93" CreationDate="2011-01-03T01:28:10.893" UserId="18000" UserDisplayName="rjmunro" Text="2 monitors for 9 people doesn't sound like very many. Ideally get 1 monitor each and get them as close as possible unless they are standing very close together, e.g. 2 backing singers. Make sure they are pointing in the right direction. You don't need to give each monitor it's own separate mix if you don't have enough AUXes on the desk." ContentLicense="CC BY-SA 2.5" />
  <row Id="42777" PostHistoryTypeId="2" PostId="24725" RevisionGUID="f6b4e6c6-c2a9-4e59-b05f-47529d81e8a4" CreationDate="2010-12-07T20:26:54.853" UserDisplayName="lfoust" Text="In a live setting with 4 singers and 5 musicians we are really having trouble hearing ourselves with our current 2 floor monitor setup. One suggestion I have heard was to consider using in ear monitors. This definitely seems like it would help but seems like it would also be very expensive. What are some alternatives which can allow people to hear themselves and others well without increasing the on-stage sound too much." ContentLicense="CC BY-SA 2.5" />
  <row Id="42778" PostHistoryTypeId="1" PostId="24725" RevisionGUID="f6b4e6c6-c2a9-4e59-b05f-47529d81e8a4" CreationDate="2010-12-07T20:26:54.853" UserDisplayName="lfoust" Text="In Ear Monitors - Alternatives?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42779" PostHistoryTypeId="3" PostId="24725" RevisionGUID="f6b4e6c6-c2a9-4e59-b05f-47529d81e8a4" CreationDate="2010-12-07T20:26:54.853" UserDisplayName="lfoust" Text="&lt;live&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42780" PostHistoryTypeId="36" PostId="24729" RevisionGUID="d8bd62be-fa75-45ff-b300-8d006b99e673" CreationDate="2014-01-25T09:32:29.457" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9120/mic-input-vs-instrument-input" />
  <row Id="42781" PostHistoryTypeId="36" PostId="24730" RevisionGUID="66cf24a4-b269-41d4-96c2-1142cc2c7ed4" CreationDate="2014-01-25T09:32:29.457" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9120/mic-input-vs-instrument-input/9121#9121" />
  <row Id="42782" PostHistoryTypeId="36" PostId="24731" RevisionGUID="7aaea71e-7585-4eef-8e7d-00344fde984c" CreationDate="2014-01-25T09:32:29.457" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9120/mic-input-vs-instrument-input/9125#9125" />
  <row Id="42783" PostHistoryTypeId="2" PostId="24730" RevisionGUID="511efc96-6d03-4816-a76e-68c5a4a0ef46" CreationDate="2013-10-04T21:32:50.770" UserId="7405" UserDisplayName="Andy aka" Text="For me a mic input is usually a balanced input and has &quot;extra&quot; electronics inside that give a few dB more gain with a lower noise circuit. &#xD;&#xA;&#xD;&#xA;If you put your mic into a normal line-input connector the gain (amplification) will be lower and when you correct this by upping the volume on that channel, you'll hear more hiss and background noise.&#xD;&#xA;&#xD;&#xA;When you say &quot;more compressed (have less amplitude range)&quot; this is perhaps a little confusing - the amplitude of the signal will still have the same range but the presence of noise means the useful dynamic range of the input is reduced." ContentLicense="CC BY-SA 3.0" />
  <row Id="42784" PostHistoryTypeId="2" PostId="24731" RevisionGUID="4de0bf5f-6ad1-4f5f-8608-b2bb19802350" CreationDate="2013-10-05T09:09:09.330" UserId="7200" Text="The instrument input in devices like the iTrack solo is very much something different from a TRS-jack microphone input!&#xD;&#xA;&#xD;&#xA;- It is _unbalanced_, [the specifications page says so explicitly](http://global.focusrite.com/ipad-audio-interfaces/itrack-solo/specifications). Makes sense, because electric guitars / basses etc. virtually never have balanced outputs (don't ask me why this has never caught on). This means, it's actually not even a TRS input, just a TS input.&#xD;&#xA;&#xD;&#xA;- Its impedance and gain is optimised for such instruments. You need to know that electric guitars are – from a modern electronics point of view – build very primitively: the signal comes straight from the induced voltage in a coil with a great lot of windings. Because there are so many windings, this results in a quite high signal voltage, so the instrument input doesn't need that much gain&lt;sup&gt;1&lt;/sup&gt;. However, the fat coil also brings quite a substantial problem: it has a high inductive impedance, so if you a guitar to any noteworthy capacitive or ohmic load (like an ordinary mic input), it will form an LC / RC filter circuit, the pickup will start to cut the treble, the sound becomes &quot;muffled&quot;. Similarly but with the oppsite result, passive piëzo PUs have a capacitive innner impedance, so connecting one of those to a low-impedance input will cut the bass range.&#xD;&#xA;&#xD;&#xA; Perhaps more critical, high-impedance connections are very susceptible to all kinds of interference: electrostatic and electromagnetic hum, triboelectric pops, mobile phone stray fields... so you generally need to use pretty high-quality guitar cables for trouble-free operation.&#xD;&#xA;&#xD;&#xA; Microphones (save for some exotic models such as the [&quot;bicycle lamp&quot;](http://www.shure.eu/products/microphones/520dx)) solve all of these problems by using low-impedance outputs:&#xD;&#xA;    - Dynamic microphones have coils just like guitar pickups, but with much less windings. This lowers the impedance. Unfortunately, it also lowers the output voltage, so you may need quite a lot of gain on a microphone preamp. But due to the lower impedance, it's still rather easier to design a low-noise mic preamp with such a gain capability than it is to design a similarly low-noise guitar input stage. Further, because microphone lines are balanced they have a lot less trouble with hum etc. (particularly magnetic hum) than guitar cables.&#xD;&#xA;    - Condenser microphones have a built-in &quot;pre-preamp&quot;. This decouples the (itself _very_ high impedance) condenser capsule from the line connection. It needs a power source for sure, but condensers require 48 V phantom anyway&#xD;&#xA; for biasing the capsule. And through the active circuitry, you get a desirable low-impedance output while at the same time having reasonably high signal voltage, so you're basically safe from all interference. This is one of the reasons why condensers excel at picking up quiet sound sources, or for room recordings.&#xD;&#xA;&#xD;&#xA;To sum it up – an &quot;instrument&quot; input has, unlike a mic input&#xD;&#xA;&#xD;&#xA;1. Higher impedance&#xD;&#xA;2. Lower maximum gain&#xD;&#xA;3. It is unbalanced&#xD;&#xA;4. No 48 V phantom power capability.&#xD;&#xA;&#xD;&#xA;All of this makes it not completely unsuitable as a microphone input, but you wouldn't want to use this combination for professional work.&#xD;&#xA;&#xD;&#xA;&lt;hr&gt;&#xD;&#xA;&#xD;&#xA;&lt;sup&gt;1&lt;/sup&gt;Guitar amps have, of course, lots of gain, but not so much to properly adjust the input level but to grossly _overdrive_ the input stage, by boosting the already high signal even more strongly so it exceeds the supply voltage and becomes thus clipped." ContentLicense="CC BY-SA 3.0" />
  <row Id="42785" PostHistoryTypeId="2" PostId="24729" RevisionGUID="27af5a3b-3200-4234-a85e-70a0b11b1300" CreationDate="2013-10-04T20:43:03.850" UserId="7840" UserDisplayName="themirror" Text="I just got a Focusrite iTrack Solo.&#xD;&#xA;This has two inputs. One has an XLR jack and one has a TRS jack.&#xD;&#xA;&#xD;&#xA;It appears that the idea was that you would use the XLR jack for a mic and the TRS jack for an electric guitar.&#xD;&#xA;&#xD;&#xA;But I want to hook up two mics, and I have an adapter that goes from XLR to TRS (NOT TS, I know the difference!). According to some posts online, XLR to TRS doesn't lose anything, whereas XLR to TS gives a 6db reduction.&#xD;&#xA;&#xD;&#xA;In Ableton, I tried recording with the same mic on each input. The difference I notice is that on the &quot;instrument input&quot; with my adapter, the amplitude of the recorded signal in Ableton appears much smaller.&#xD;&#xA;&#xD;&#xA;Questions:&#xD;&#xA;&#xD;&#xA;On the iTrack Solo or any similar device, what's the difference between a &quot;mic&quot; input and an &quot;instrument&quot; input? Could it be that the &quot;instrument&quot; input lacks a preamp at all?&#xD;&#xA;&#xD;&#xA;If so, what does that mean for my recording quality other than that the input signal available to Ableton will necessarily be more compressed (have less amplitude range)? Is a mic connected to an &quot;instrument&quot; input always going to have less depth and definition than the same mic connected to a &quot;mic&quot; input with a good preamp (such as Focusrite)?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42786" PostHistoryTypeId="1" PostId="24729" RevisionGUID="27af5a3b-3200-4234-a85e-70a0b11b1300" CreationDate="2013-10-04T20:43:03.850" UserId="7840" UserDisplayName="themirror" Text="Mic input vs Instrument input" ContentLicense="CC BY-SA 3.0" />
  <row Id="42787" PostHistoryTypeId="3" PostId="24729" RevisionGUID="27af5a3b-3200-4234-a85e-70a0b11b1300" CreationDate="2013-10-04T20:43:03.850" UserId="7840" UserDisplayName="themirror" Text="&lt;preamp&gt;&lt;input&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42788" PostHistoryTypeId="36" PostId="24732" RevisionGUID="0525abb7-d725-4e68-9a9d-914f9f1d221d" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9151/how-to-input-audio-to-android" />
  <row Id="42789" PostHistoryTypeId="36" PostId="24733" RevisionGUID="3ee31a97-6697-4469-a3af-a066024af71d" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9151/how-to-input-audio-to-android/9152#9152" />
  <row Id="42790" PostHistoryTypeId="2" PostId="24733" RevisionGUID="ccad9169-1d79-40ca-9285-da4adca5d771" CreationDate="2013-10-10T17:43:11.990" UserId="7174" Text="It depends on your device.  Some Android phones support a headset input through the headphone jack (such as through [this](http://www.sweetwater.com/store/detail/MI10?utm_source=Google&amp;utm_medium=PPC&amp;utm_campaign=none&amp;device=c&amp;network=g&amp;matchtype=&amp;gclid=CNnLjvznjLoCFc6e4Aod2FMAuA) device [Traveler Guitar MI-10]).  In that case, a simple adapter can allow you to feed an audio line in.  &#xD;&#xA;&#xD;&#xA;Other devices allow what is called host support for USB.  If this is the case, then you may be able to use a USB audio interface if it has driver support for Android (not sure if there are any such products yet)  (Update: There appears to have been some success [here](http://betanews.com/2012/12/22/now-you-can-record-to-your-android-device-via-usb-audio-interface/). [USB Audio Recorder Pro App] )  &#xD;&#xA;&#xD;&#xA;A third option that should be more universal would be to look for a bluetooth device that can take a line input and feed it in to whatever software you are using in Android.  Exact support would depend on the profiles your device supports, but something like [this](http://www.amazon.com/Britelink-Bluetooth-Transmitter-Transmitter-Streaming/dp/B005HMT7QY) [Britelink Bluetooth Audio Transmitter] could possibly work.&#xD;&#xA;&#xD;&#xA;It would also be important to check the documentation of whatever software you want to use on Android since the devices supported by a particular application may not include all options." ContentLicense="CC BY-SA 3.0" />
  <row Id="42791" PostHistoryTypeId="2" PostId="24732" RevisionGUID="3423af60-cca4-4421-a16e-7e95d324f336" CreationDate="2013-10-10T17:28:11.400" UserDisplayName="Cengiz Frostclaw" Text="I want to know if there is a way to connect my guitar (or any other kind of audio source) to my Android phone. As far as I know, the only input socket is the &quot;mini-usb&quot; input on the phone. So I guess I'm looking for a way to convert audio signals to usb, then make it an input to an Android app.&#xD;&#xA;&#xD;&#xA;The app should take the signal, and deliver it to the sound output. The reason is to process the sound.&#xD;&#xA;&#xD;&#xA;Any clues for doing such a thing?&#xD;&#xA;Thanks for any help :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="42792" PostHistoryTypeId="1" PostId="24732" RevisionGUID="3423af60-cca4-4421-a16e-7e95d324f336" CreationDate="2013-10-10T17:28:11.400" UserDisplayName="Cengiz Frostclaw" Text="How to input audio to Android?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42793" PostHistoryTypeId="3" PostId="24732" RevisionGUID="3423af60-cca4-4421-a16e-7e95d324f336" CreationDate="2013-10-10T17:28:11.400" UserDisplayName="Cengiz Frostclaw" Text="&lt;daw&gt;&lt;usb&gt;&lt;iphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42794" PostHistoryTypeId="36" PostId="24734" RevisionGUID="e826a912-8bea-42a7-90f4-6b3315ee02d2" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5419/vestax-spin-algoriddim-djay-streaming-online" />
  <row Id="42795" PostHistoryTypeId="2" PostId="24735" RevisionGUID="2f5cc0ce-fe71-46c9-82a7-c35de2b52f9f" CreationDate="2012-11-26T21:32:56.147" UserDisplayName="esmitex" Text="I found out how to do it without audio hijack pro thanks to this: http://avp.stackexchange.com/questions/1094/redirect-audio-output-from-a-streaming-app-to-a-dj-app. I just used soundflower. I set my master output to &quot;Soundflower Ch 2&quot; in Algoriddim Djay, I set my Soundflower 2ch output to &quot;SPIN&quot; and I set &quot;Soundflower Ch 2&quot; as my input in Ustream. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42796" PostHistoryTypeId="2" PostId="24734" RevisionGUID="05f230f3-8c8f-4603-a157-0732e6100168" CreationDate="2012-11-26T17:29:22.593" UserDisplayName="esmitex" Text="I am using Algoriddim djay with a midi controller (Vestax spin). When I am mixing I can route the output audio and the monitoring (pre-cueing) output on my controller, it works fine. &#xD;&#xA;&#xD;&#xA;However, when I want to stream online (on ustream.tv) with audio hijack pro and sound flower I can hear the main output through my computer and I cannot hear sound from the pre-cueing output I set before. The audio configuration has not changed in Algoriddim Djay and as soon as I stop &quot;hijacking&quot; the sound in audio hijack I can hear my from my monitoring channel again.&#xD;&#xA;&#xD;&#xA;I was able to mix before with the same settings, I do not know why it is not working anymore. " ContentLicense="CC BY-SA 3.0" />
  <row Id="42797" PostHistoryTypeId="1" PostId="24734" RevisionGUID="05f230f3-8c8f-4603-a157-0732e6100168" CreationDate="2012-11-26T17:29:22.593" UserDisplayName="esmitex" Text="Vestax SPIN &amp; Algoriddim Djay - Streaming online" ContentLicense="CC BY-SA 3.0" />
  <row Id="42798" PostHistoryTypeId="3" PostId="24734" RevisionGUID="05f230f3-8c8f-4603-a157-0732e6100168" CreationDate="2012-11-26T17:29:22.593" UserDisplayName="esmitex" Text="&lt;software&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42799" PostHistoryTypeId="36" PostId="24735" RevisionGUID="91e8198b-2dec-4d34-b277-dddeec582b34" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5419/vestax-spin-algoriddim-djay-streaming-online/5423#5423" />
  <row Id="42800" PostHistoryTypeId="36" PostId="24736" RevisionGUID="7e3d03cb-c4fb-432b-89f0-eee3b965eca5" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/709/whats-the-difference-between-a-synthesizer-and-a-sequencer" />
  <row Id="42801" PostHistoryTypeId="2" PostId="24737" RevisionGUID="7cfacd14-ef0a-4f6a-a7fd-030d77271078" CreationDate="2011-01-29T03:06:21.357" UserId="7398" UserDisplayName="BenV" Text="A **sequencer** is a tool where you can record and edit the &quot;definition&quot; of music.  Think of a sheet of music - It tells you what notes to play, how long each note is, and how loud or soft to play.  Now imagine that you can specify each of these parameters very precisely for each note.  That is what a sequencer does.&#xD;&#xA;&#xD;&#xA;A **synthesizer** generates audio (sound).  You tell it what note to play, how loud and how long to play it, and what sound to use, and it generates the waveform of the specified sound at the specified pitch and volume for the specified duration.&#xD;&#xA;&#xD;&#xA;There are several ways to tell a synthesizer what to play.  Some synths have a keyboard that allows you to pass this information to the synth by what keys you press, how hard you press them, and how long you hold them.  &#xD;&#xA;Alternatively, you could connect your sequencer directly to your synth.  The sequencer tells it what to play and how to play it, and the synthesizer generates the sound based on this information.&#xD;&#xA;&#xD;&#xA;[This article][1] also has a good comparison.&#xD;&#xA;&#xD;&#xA;  [1]: http://musicandlight-unlimited.com/audio/what_is_synth_samp_seq.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="42802" PostHistoryTypeId="2" PostId="24736" RevisionGUID="a5b083a2-531f-4b54-a4d2-e69bac5aa0f4" CreationDate="2011-01-29T02:16:06.547" UserDisplayName="Tshepang" Text="In an attempt to determine the difference between the two, Wikipedia left me confused. Can you help?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42803" PostHistoryTypeId="1" PostId="24736" RevisionGUID="a5b083a2-531f-4b54-a4d2-e69bac5aa0f4" CreationDate="2011-01-29T02:16:06.547" UserDisplayName="Tshepang" Text="What's the difference between a synthesizer and a sequencer?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42804" PostHistoryTypeId="3" PostId="24736" RevisionGUID="a5b083a2-531f-4b54-a4d2-e69bac5aa0f4" CreationDate="2011-01-29T02:16:06.547" UserDisplayName="Tshepang" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42805" PostHistoryTypeId="36" PostId="24737" RevisionGUID="b56a15d6-7a16-4d7b-88a4-e3fc0a7bda99" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/709/whats-the-difference-between-a-synthesizer-and-a-sequencer/710#710" />
  <row Id="42806" PostHistoryTypeId="36" PostId="24738" RevisionGUID="c2300f3c-01c6-4469-9127-5eadab171bd7" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7473/using-original-m-box-with-garageband-and-os-10-6-8" />
  <row Id="42807" PostHistoryTypeId="36" PostId="24739" RevisionGUID="bfb264e8-3a67-4aaa-8179-d3cbaf8d7b72" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7473/using-original-m-box-with-garageband-and-os-10-6-8/7530#7530" />
  <row Id="42808" PostHistoryTypeId="2" PostId="24739" RevisionGUID="afc5cf19-9a90-481b-9da3-d62ad567a9d6" CreationDate="2013-03-28T18:37:35.357" UserId="7174" Text="Are you running things in to both inputs.  The inputs are mono.  If you are using a stereo line, you will need to break out the right and left inputs separately." ContentLicense="CC BY-SA 3.0" />
  <row Id="42809" PostHistoryTypeId="2" PostId="24738" RevisionGUID="407ed01d-be37-4f9d-980b-cced8b6d03d7" CreationDate="2013-03-23T13:50:43.230" UserDisplayName="Adam" Text="I installed drivers as suggested. Computer/Garageband is recognizing the mBox and I am getting a signal, but it's only mono. Any ideas?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42810" PostHistoryTypeId="1" PostId="24738" RevisionGUID="407ed01d-be37-4f9d-980b-cced8b6d03d7" CreationDate="2013-03-23T13:50:43.230" UserDisplayName="Adam" Text="Using Original m-BOX with Garageband and OS 10.6.8" ContentLicense="CC BY-SA 3.0" />
  <row Id="42811" PostHistoryTypeId="3" PostId="24738" RevisionGUID="407ed01d-be37-4f9d-980b-cced8b6d03d7" CreationDate="2013-03-23T13:50:43.230" UserDisplayName="Adam" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42812" PostHistoryTypeId="36" PostId="24740" RevisionGUID="96e1edc0-cdd3-4dc0-9296-6e8141a1ad4c" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1002/equipment-new-interface-necessary-or-not-using-mackie-402-vlz3-with-2010-imac" />
  <row Id="42813" PostHistoryTypeId="2" PostId="24741" RevisionGUID="abaf426e-484a-41af-8aaa-664d84d24831" CreationDate="2011-03-13T15:21:10.380" UserDisplayName="d-_-b" Text="I doubt that the quality of any on board sound card is clean enough for studio usage.&#xD;&#xA;&#xD;&#xA;I would say that a new interface is necessary. Try getting one with balanced inputs and outputs. That should pair well with you mixer. You may also want to get an interface with more channels. Lastly, go with firewire. For various reasons it's better than USB - yes even USB 3." ContentLicense="CC BY-SA 2.5" />
  <row Id="42814" PostHistoryTypeId="2" PostId="24740" RevisionGUID="6c95d1dc-2043-4cd0-8805-6f20f1f35b24" CreationDate="2011-03-12T04:42:28.323" UserId="7231" UserDisplayName="NReilingh" Text="Okay, so I'm looking for advice on what's the most appropriate equipment decision for my situation.&#xD;&#xA;&#xD;&#xA;I started with a 2007 MacBook Pro, and I eventually realized that the integrated Intel sound card really sounded like garbage. I was hearing tons of strange artifacts and subtle distortion. I tried out a Behringer U-Control UCA200 I had lying around (that's the drop-in 2in/2out USB-RCA interface they bundle with all their mixers) just to output audio to headphones, and discovered a huge improvement.&#xD;&#xA;&#xD;&#xA;Then, I expanded my setup to a mini studio of sorts, adding a Mackie 402-VLZ3 mixer with the tape input/output connected to the UCA200. Thus, I'm treating the mixer as a control for all the audio I/O of the computer. I've since upgraded to a 2010 iMac, but yesterday the UCA200 seems to have kicked the bucket. It works for about a minute before failing completely and needs to be replugged. Definitely not workable.&#xD;&#xA;&#xD;&#xA;So the question is this: Is there a higher-quality replacement I could get to replace the failed UCA200? Or, perhaps an entirely different kind of interface is in order. I really like the mic preamps and headphone amp of the Mackie mixer and would like to keep using it, but I don't think duplicating all of that functionality in a piece of USB or FireWire hardware is practical. Perhaps I should just use minijack-RCA cables from the in/out jacks on the iMac and forego a USB interface entirely? Seems a little tacky for some reason, but perhaps the quality on those integrated interfaces have improved from 2007 MBPs to 2010 iMacs." ContentLicense="CC BY-SA 2.5" />
  <row Id="42815" PostHistoryTypeId="1" PostId="24740" RevisionGUID="6c95d1dc-2043-4cd0-8805-6f20f1f35b24" CreationDate="2011-03-12T04:42:28.323" UserId="7231" UserDisplayName="NReilingh" Text="Equipment: new interface necessary or not? (Using Mackie 402-VLZ3 with 2010 iMac)" ContentLicense="CC BY-SA 2.5" />
  <row Id="42816" PostHistoryTypeId="3" PostId="24740" RevisionGUID="6c95d1dc-2043-4cd0-8805-6f20f1f35b24" CreationDate="2011-03-12T04:42:28.323" UserId="7231" UserDisplayName="NReilingh" Text="&lt;usb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42817" PostHistoryTypeId="36" PostId="24741" RevisionGUID="672b0560-942e-4cb7-ace6-bf5d051878c5" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1002/equipment-new-interface-necessary-or-not-using-mackie-402-vlz3-with-2010-imac/1006#1006" />
  <row Id="42818" PostHistoryTypeId="36" PostId="24742" RevisionGUID="c81e7af2-27e0-4a8e-bf6c-fab827a0fdd5" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1002/equipment-new-interface-necessary-or-not-using-mackie-402-vlz3-with-2010-imac/2041#2041" />
  <row Id="42819" PostHistoryTypeId="2" PostId="24742" RevisionGUID="63ebf017-80e5-4467-b5a6-d6b540a5115f" CreationDate="2011-08-08T11:20:27.793" UserDisplayName="bobsbarricades" Text="Great list of highly recommended Audio interfaces (I've ben looking to replace my Focusrite SaffireLE - of which I learned was pretty much made to break down over time....i dislike that company now.)&#xD;&#xA;&#xD;&#xA;[TC Impact Twin][1]&#xD;&#xA;&#xD;&#xA;[Edirol FA-66][2]&#xD;&#xA;&#xD;&#xA;[NI Audio 6][3] (also a 10 version)&#xD;&#xA;&#xD;&#xA;[Apoggee Duet 2][4] (1 is great too.  The 2 I believe just came out).&#xD;&#xA;&#xD;&#xA;[Presonus Firebox][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tcelectronic.com/impacttwin.asp&#xD;&#xA;  [2]: http://www.roland.com/products/en/FA-66/&#xD;&#xA;  [3]: http://www.native-instruments.com/#/en/products/dj/traktor-audio-6/&#xD;&#xA;  [4]: http://www.apogeedigital.com/products/duet2.php&#xD;&#xA;  [5]: http://www.presonus.com/products/detail.aspx?productid=4&#xD;&#xA;&#xD;&#xA;Those are the higher quality entry range before you get into rack mounts...which are much more expensive. And yes, firewire. =)&#xD;&#xA;&#xD;&#xA;Have a blessed one!  Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42820" PostHistoryTypeId="36" PostId="24743" RevisionGUID="159e3f27-208a-4c8a-a490-71160c8708f1" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7589/guitar-sounding-synth" />
  <row Id="42821" PostHistoryTypeId="36" PostId="24744" RevisionGUID="4cc05e1f-847c-4964-8178-e841f009dd8f" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7589/guitar-sounding-synth/7592#7592" />
  <row Id="42822" PostHistoryTypeId="36" PostId="24745" RevisionGUID="b3bcfe9d-e8ba-452c-a4b4-3796e93190d1" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7589/guitar-sounding-synth/7599#7599" />
  <row Id="42823" PostHistoryTypeId="2" PostId="24744" RevisionGUID="daad5f24-aed6-4b82-8a19-6e1bfa747ae0" CreationDate="2013-04-05T05:07:55.430" UserId="7189" Text="To me, that &quot;guitar&quot; sound seems fairly close to a square wave - maybe a saw that has been heavily low-pass filtered with little or no resonance and then heavily distorted. The &quot;vocoder&quot; sound you are hearing is probably just a vowel / formant filter. If you don't have a formant filter, you can use [parallel bandpass filters][1] to accomplish the same thing.&#xD;&#xA;&#xD;&#xA;Distortion is a big part of the electric guitar sound. The problem guitar players have is that a plucked string decays quickly. If you want your note to last longer, you amp it way up. This causes the characteristic distortion that we associate with electric guitars, but it also takes longer for the massively amplified signal to decay past the clipping point. During that time, it sounds like the note is being held, when it is actually decaying before the amp. &#xD;&#xA;&#xD;&#xA;If you want something more guitar-like, try [Karplus-Strong][2] synthesis. You can get a decent guitar sound by sending a very short click or burst of noise through a delay that is between 1 and 50ms. Adjust the length of the delay to tune the &quot;string&quot;. Turn up the feedback of your delay (probably 80%-99%) to get a realistic note. Note that you will still have the same problem that players of real guitars have with sustain.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/mar01/articles/synthsec.asp&#xD;&#xA;  [2]: https://en.wikipedia.org/wiki/Karplus%E2%80%93Strong_string_synthesis" ContentLicense="CC BY-SA 3.0" />
  <row Id="42824" PostHistoryTypeId="2" PostId="24745" RevisionGUID="c36f5f58-0777-411f-9fba-2f76426863b4" CreationDate="2013-04-05T23:33:17.747" UserId="7016" Text="You can get this exact sound from various digital effects pedals - my Line6 HD500 and an earlier Zoom 9000 both had presets that could do this.&#xD;&#xA;&#xD;&#xA;You need a noise gate and compressor - to give you a sharp attack and then keep the signal gain at a high level until you stop the note. Once you have that envelope shaping, you can use whatever waveform you need, and as ObscureRobot suggests, a square wave will give quite a good synth noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="42825" PostHistoryTypeId="2" PostId="24743" RevisionGUID="794ebcca-9410-449e-a681-86305da631b3" CreationDate="2013-04-04T21:30:51.840" UserDisplayName="Olly" Text="I am trying to make a synthesised sound thats kindof sounds like a guitar/vocoded synth that is currently present in this track by Fedde Le Grand from 1 minute 32. It kinda sounds like something Daft Punk would also use.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=Lv6s7TxG-5s#t=1m32s&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42826" PostHistoryTypeId="1" PostId="24743" RevisionGUID="794ebcca-9410-449e-a681-86305da631b3" CreationDate="2013-04-04T21:30:51.840" UserDisplayName="Olly" Text="Guitar Sounding Synth" ContentLicense="CC BY-SA 3.0" />
  <row Id="42827" PostHistoryTypeId="3" PostId="24743" RevisionGUID="794ebcca-9410-449e-a681-86305da631b3" CreationDate="2013-04-04T21:30:51.840" UserDisplayName="Olly" Text="&lt;synthesizer&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42828" PostHistoryTypeId="36" PostId="24746" RevisionGUID="8a65fd19-8a0b-4967-b755-01dd6e4fa7c8" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1138/setting-up-tascam-fw-1804-with-newest-macbook-pro-model" />
  <row Id="42829" PostHistoryTypeId="2" PostId="24747" RevisionGUID="45c88a84-1647-49aa-a18e-d30e8719bbec" CreationDate="2011-04-28T05:05:29.737" UserDisplayName="David Budiac" Text="D'oh. I found out the issue was w/ the particular FW 400 to 800 cable I was using. It seemed to work fine w/ my external FW 400 drive, but not the 1804. Just bought another. Problem solved.&#xD;&#xA;&#xD;&#xA;After emailing and calling Tascam support, I had pretty much given up. They couldn't help me, and said there wouldn't likely be anything in terms of firmware upgrades for the 1804 since it's no longer in production/support. (It's still super lame I have to boot into 32-bit mode to use this thing)&#xD;&#xA;&#xD;&#xA;Anyway, I decided to keep my old MBP around until I could make a move. When testing on the old MBP I was using a 400 to 400 cable. And didn't think much of it cause I had already proven that my 400 to 800 cable works w/ my external HD. I accidentally connected my 400 to 800 cable and got the same issue I was having w/ my new MBP. Feeling really dumb, I bought another cable off Amazon.&#xD;&#xA;&#xD;&#xA;If want any advice from this post... just buy a few FW 400 to 800 cables until one works. Apparently, the cables can *partially* work. The cables are cheap enough I suppose." ContentLicense="CC BY-SA 3.0" />
  <row Id="42830" PostHistoryTypeId="2" PostId="24746" RevisionGUID="2a00aedf-5aa8-438b-84a1-9701c152eb6f" CreationDate="2011-04-07T05:43:29.000" UserDisplayName="David Budiac" Text="Recently picked up a brand new MBP (the new one w/ the Thunderbolt port). Upgraded from a Intel Core 2 Duo MBP (non-unibody). I have an old Tascam FW-1804 that works fine on my old MBP, but I can't get it to work on my new one. Here's what I've done...&#xD;&#xA;&#xD;&#xA; 1. Picked up a FW 400 to 800 cable. Unibody MacBook Pro's only have 800. New MBP connects fine to an old FW 400 external drive, but &quot;Audio MIDI Setup&quot; could not see the 1804.&#xD;&#xA;&#xD;&#xA; 2. Found out I had to start my new MBP in 32-bit mode by holding &quot;3&quot; and &quot;2&quot; on start up in order for &quot;Audio MIDI Setup&quot; &amp; my DAWs to recognize the 1804. &lt;http://discussions.apple.com/thread.jspa?messageID=12207068&gt;&#xD;&#xA;&#xD;&#xA; 3. &quot;Audio MIDI Setup&quot;, GB, and Logic could now see the 1804, but it did not register any input sound.&#xD;&#xA;&#xD;&#xA; 4. Tried upgrading the 1804 firmware to 1.7 on the new MBP. Took much longer than normal because the updater often kept logging a &quot;FLASH programming error&quot;, and restarting its cycle, but eventually completed successfully. After the upgrade, all the lights on the interface stopped working, and input sound was still not registering in any of the DAWs.&#xD;&#xA;&#xD;&#xA; 5. Fired up my old MBP, and re-updated firmware to 1.7. Went much faster with no &quot;FLASH programming error&quot;s. The interface's lights were restored. I tested the 1804 on the old MBP and it worked like a champ.&#xD;&#xA;&#xD;&#xA; 6. Tried once again on the new MBP, and it still was not registering any sound from the inputs.&#xD;&#xA;&#xD;&#xA;Both my MBPs are running the latest version of Snow Leopard. I don't have to start in &quot;32-bit&quot; mode on my old MBP even though it's a 64-bit machine.&#xD;&#xA;&#xD;&#xA;I know I probably should take this up with Tascam support, but I've heard pretty bad things about their customer support. I also know that my 1804 is pretty old and I should probably upgrade anyway, but honestly I'm hoping to hold out for Thunderbolt interface. The whole USB/FW external audio interface industry really hasn't progressed much since I bought my 1804, and other than this lame compatibility issue, I see no reason to upgrade.&#xD;&#xA;&#xD;&#xA;Hopefully somebody can help! Cheers!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42831" PostHistoryTypeId="1" PostId="24746" RevisionGUID="2a00aedf-5aa8-438b-84a1-9701c152eb6f" CreationDate="2011-04-07T05:43:29.000" UserDisplayName="David Budiac" Text="Setting up Tascam FW-1804 with newest MacBook Pro model" ContentLicense="CC BY-SA 2.5" />
  <row Id="42832" PostHistoryTypeId="3" PostId="24746" RevisionGUID="2a00aedf-5aa8-438b-84a1-9701c152eb6f" CreationDate="2011-04-07T05:43:29.000" UserDisplayName="David Budiac" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42833" PostHistoryTypeId="36" PostId="24747" RevisionGUID="1e74a370-ab5d-4483-8625-0ed34c5867e9" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1138/setting-up-tascam-fw-1804-with-newest-macbook-pro-model/1295#1295" />
  <row Id="42834" PostHistoryTypeId="36" PostId="24748" RevisionGUID="f8e442bc-45ac-4a0b-9d6e-81502c79f798" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3628/how-can-i-properly-use-opmize-rewire-to-join-ableton-live-8-2-and-reason-5" />
  <row Id="42835" PostHistoryTypeId="36" PostId="24749" RevisionGUID="66bdaccf-9673-4338-a58e-573977663e36" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3628/how-can-i-properly-use-opmize-rewire-to-join-ableton-live-8-2-and-reason-5/3630#3630" />
  <row Id="42836" PostHistoryTypeId="2" PostId="24749" RevisionGUID="2f5aea11-5b0a-4a46-acf5-c546f091db6f" CreationDate="2012-03-23T17:37:12.347" UserId="7093" Text="I think that the RAM on your computer is the problem.  &#xD;&#xA;&#xD;&#xA;Each time you install an update to Windows it will take up a tiny bit more memory just for the OS.  I have an old laptop with Windows XP on it.  With a clean install it would play DVDs just fine.  After installing all the updates it would use more memory for the OS and DVD playback would be jumpy.&#xD;&#xA;&#xD;&#xA;For Windows 7, you should be able to upgrade to at least 1GB preferably 2GB.  [Newegg.com][1] is a good place to go to get the RAM.&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;Since you have 2GB of RAM already, that doesn't seem to be the issue.  It is still possible that one of the Windows updates has caused the problem.  Make sure that you check for updated drivers for your external sound card and check for updates to Reason and Ableton Live.&#xD;&#xA;  [1]: http://www.newegg.com/Store/SubCategory.aspx?SubCategory=147&amp;name=Desktop-Memory" ContentLicense="CC BY-SA 3.0" />
  <row Id="42837" PostHistoryTypeId="2" PostId="24748" RevisionGUID="81999ce2-8360-485f-92da-3f1a58aeaaed" CreationDate="2012-03-23T16:32:26.933" UserId="9511" UserDisplayName="Johnny Bigoode" Text="I've been having these problems for weeks now and I haven't been able to find a decent fix for it. &#xD;&#xA;&#xD;&#xA;If I make a complex track on Reason, and Reason alone and my DSP is not high, and it's overloading my processor and then take this track and open it rewired into Ableton, my processor usage is usually around 80% and when I hit play my soundcard is simply not able to handle all the information. &#xD;&#xA;&#xD;&#xA;I'm currently using a [Roland Cakewalk UA 25 EX][1] external USB soundcard. &#xD;&#xA;&#xD;&#xA;I though the sound card could be causing problems, so I lowered the resolution 48 and raised my latency to the maximum so the system would stay stable. &#xD;&#xA;&#xD;&#xA;It just didn't, it doesn't ever get stable anymore. &#xD;&#xA;&#xD;&#xA;If I do manage to get reason's consumption under control as soon as I start making new tracks on Ableton my processing goes beyond 100%. &#xD;&#xA;&#xD;&#xA;I have never had this kind of problem in this magnitude. And I used to route all tracks from reason to separated tracks into Ableton, making Ableton my Mixer for Reason. &#xD;&#xA;&#xD;&#xA;It worked like a charm, I managed to drop various VSTs on the tracks and re-do all the mixing and mastering via Ableton. &#xD;&#xA;&#xD;&#xA;Now it's simply impossible. I noticed this is specially true when I use the True Bass Refill - which seems to grab a lot of RAM. &#xD;&#xA;&#xD;&#xA;My main problem is: I'm not using more effects than I used to. Even older track projects are running like a piece of dodo. Even when I made all my production on Reason, after everything was done, I would route it into Ableton to master it (that 'The Glue Compressor' is simply my favorite compressor ever) but now that's impossible! &#xD;&#xA;&#xD;&#xA;Anyways, the only solution I can think of is reformatting my PC. But I REALLY didn't want to do that, I currently have no space for a backup and I don't want to spend money on a new hard drive. &#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;BTW: I'm running a Athlon 64 X2, with 2GB Ram and Windows 7 64b. I know it's a outdated spec, but then again, why would I start having problems just now? &#xD;&#xA;&#xD;&#xA;Ableton+Reason never seem to use more than 800mb, at least the task manager doesn't indicate anything more than that. &#xD;&#xA;&#xD;&#xA;EDIT2:&#xD;&#xA;After checking something around stackoverflow it seems that computers naturally get slower, specially when various people share it. &#xD;&#xA;&#xD;&#xA;I'm gonna try reformatting everything this week and then post the results. &#xD;&#xA;  [1]: http://www.rolandus.com/products/productdetails.php?ProductId=970" ContentLicense="CC BY-SA 3.0" />
  <row Id="42838" PostHistoryTypeId="1" PostId="24748" RevisionGUID="81999ce2-8360-485f-92da-3f1a58aeaaed" CreationDate="2012-03-23T16:32:26.933" UserId="9511" UserDisplayName="Johnny Bigoode" Text="How can I properly use/opmize REWIRE to join Ableton Live 8.2 and Reason 5" ContentLicense="CC BY-SA 3.0" />
  <row Id="42839" PostHistoryTypeId="3" PostId="24748" RevisionGUID="81999ce2-8360-485f-92da-3f1a58aeaaed" CreationDate="2012-03-23T16:32:26.933" UserId="9511" UserDisplayName="Johnny Bigoode" Text="&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42840" PostHistoryTypeId="36" PostId="24750" RevisionGUID="328736cd-af20-4d94-9015-231ab74fb87e" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9353/exporting-wav-files-with-korg-krome-workstation" />
  <row Id="42841" PostHistoryTypeId="2" PostId="24750" RevisionGUID="5c0e8894-8049-43b1-8335-c7f720f7a8f6" CreationDate="2013-11-08T20:36:41.853" UserId="8343" UserDisplayName="MattCamp" Text="In SEQ mode of the Korg Krome I want to export my recorded tracks to my SD card. Unfortunately they come out as some weird file type (after I plug my SD into my computer). How can I export as a usable file type like .wav or .mp3&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="42842" PostHistoryTypeId="1" PostId="24750" RevisionGUID="5c0e8894-8049-43b1-8335-c7f720f7a8f6" CreationDate="2013-11-08T20:36:41.853" UserId="8343" UserDisplayName="MattCamp" Text="Exporting .wav files with Korg Krome Workstation" ContentLicense="CC BY-SA 3.0" />
  <row Id="42843" PostHistoryTypeId="3" PostId="24750" RevisionGUID="5c0e8894-8049-43b1-8335-c7f720f7a8f6" CreationDate="2013-11-08T20:36:41.853" UserId="8343" UserDisplayName="MattCamp" Text="&lt;software&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42844" PostHistoryTypeId="36" PostId="24751" RevisionGUID="76ba8567-f895-4190-8fd2-6183a8926786" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8335/how-do-i-find-a-prom-chip-for-a-roland-d20" />
  <row Id="42845" PostHistoryTypeId="36" PostId="24752" RevisionGUID="ec7d4bdc-03ed-48da-808c-4e84c1a6f861" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8335/how-do-i-find-a-prom-chip-for-a-roland-d20/8336#8336" />
  <row Id="42846" PostHistoryTypeId="2" PostId="24752" RevisionGUID="a94367fc-4257-4045-b724-4b9710297c12" CreationDate="2013-07-06T17:15:16.553" UserId="7189" Text="Try contacting Roland or your official Roland Service Center first. Korg and Yamaha both have reputations for helping out with their products even when they are long out of warranty. Roland doesn't have that reputation as much, but you should still start by asking them.&#xD;&#xA;&#xD;&#xA;If you can't get Roland to supply you with a chip, then look for forums where people who maintain old Roland gear hang out. It seems unlikely that anyone would stock ROM chips like this, so you are looking for someone who (a) has a D20 already, (b) knows how to pull and read the PROM chip and (c) has a new blank chip to burn the data to.&#xD;&#xA;&#xD;&#xA;Finally, if you can't find a friendly helper in a forum, check eBay and similar. Again, you are unlikely to find someone who offers exactly what you want. Your best bet will be to find someone who deals in old synth ROMs and PROMs or someone who deals in old Roland parts, Ideally both." ContentLicense="CC BY-SA 3.0" />
  <row Id="42847" PostHistoryTypeId="2" PostId="24751" RevisionGUID="febce86c-6fe5-441b-8288-0857eb5871ce" CreationDate="2013-07-06T16:22:47.553" UserDisplayName="james" Text="I'm looking for the `u16` prom chip for CPU board of a Roland D20,&#xD;&#xA;would anybody have any idea where i can get one?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42848" PostHistoryTypeId="1" PostId="24751" RevisionGUID="febce86c-6fe5-441b-8288-0857eb5871ce" CreationDate="2013-07-06T16:22:47.553" UserDisplayName="james" Text="How do I find a PROM chip for a Roland D20?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42849" PostHistoryTypeId="3" PostId="24751" RevisionGUID="febce86c-6fe5-441b-8288-0857eb5871ce" CreationDate="2013-07-06T16:22:47.553" UserDisplayName="james" Text="&lt;synthesizer&gt;&lt;keyboard&gt;&lt;electronics&gt;&lt;replacement-parts&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42850" PostHistoryTypeId="36" PostId="24753" RevisionGUID="0c64e6e5-55ff-41b6-b7cd-3b13153fd2a4" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5209/i-want-to-add-line-out-jacks-to-a-digital-piano-with-built-in-speakers" />
  <row Id="42851" PostHistoryTypeId="36" PostId="24754" RevisionGUID="903f4405-1417-4cd7-bdba-7748608c1ee7" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5209/i-want-to-add-line-out-jacks-to-a-digital-piano-with-built-in-speakers/5300#5300" />
  <row Id="42852" PostHistoryTypeId="2" PostId="24754" RevisionGUID="aa6dea49-8611-4b3d-935d-03ba2eab31ae" CreationDate="2012-11-09T23:59:44.750" UserDisplayName="Benji York" Text="Unfortunately this will not work.  Or more specifically, it will not work well.  The problem is that the signal sent to the speakers is very different than the line level signal expected by the amps.&#xD;&#xA;&#xD;&#xA;There are speaker level to line level converters (most often used in car audio), but the resulting signal often leaves something to be desired.&#xD;&#xA;&#xD;&#xA;If you are willing to mod the piano you could tap the line level signals before they are sent to the on-board amp." ContentLicense="CC BY-SA 3.0" />
  <row Id="42853" PostHistoryTypeId="2" PostId="24753" RevisionGUID="6890ac27-cf89-47c5-a132-81c20f4e79c2" CreationDate="2012-10-30T21:20:25.077" UserDisplayName="Richard Landry" Text="I have a Casio Privia PX575r Stereo Piano.&#xD;&#xA;&#xD;&#xA;Both the left &amp; right channels have their own onboard [LF]woofer AND [HF]tweeter. On each L &amp; R stereo channel I intend to install an onboard 'line out jack' respectively. &#xD;&#xA;&#xD;&#xA;Each Piano L &amp; R channel will be sent to its own 'new' jack and thus to its own [Behringer 1800FX keyboard active speaker] amp.....so that the Piano's instrument tones can be PANNED between the two Behringers.  &#xD;&#xA;&#xD;&#xA;Let's just consider the Left Stereo Channel.&#xD;&#xA;&#xD;&#xA;To maintain the left channel's individual [LF] woofer &amp; individual [HF] tweeter signals into one Left Channel jack....I intend to solder each speaker's [+][-] hot terminals to one TRS guitar Jack...the woofer to the TRS tip..&amp;..the tweeter to the TRS ring. Their common ground wires will be added to the Jack at the same ground point. &#xD;&#xA;&#xD;&#xA;This prevents the woofer talking to and 'blowing out' the tweeter. My assumption is the tweeter 'brilliance' frequencies are lost if I do not include it. &#xD;&#xA;&#xD;&#xA;The external AMP will have a balanced [mono Line In]. &#xD;&#xA;&#xD;&#xA;Will this work? What did I miss? Your thoughts please? Thanks a bunch. Richard." ContentLicense="CC BY-SA 3.0" />
  <row Id="42854" PostHistoryTypeId="1" PostId="24753" RevisionGUID="6890ac27-cf89-47c5-a132-81c20f4e79c2" CreationDate="2012-10-30T21:20:25.077" UserDisplayName="Richard Landry" Text="I want to add line out jacks to a digital piano with built-in speakers" ContentLicense="CC BY-SA 3.0" />
  <row Id="42855" PostHistoryTypeId="3" PostId="24753" RevisionGUID="6890ac27-cf89-47c5-a132-81c20f4e79c2" CreationDate="2012-10-30T21:20:25.077" UserDisplayName="Richard Landry" Text="&lt;synthesizer&gt;&lt;speakers&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42856" PostHistoryTypeId="36" PostId="24755" RevisionGUID="478749e5-c89a-4295-9112-ebeffb7a56d0" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9142/ceiling-speakers-central-switch" />
  <row Id="42857" PostHistoryTypeId="36" PostId="24756" RevisionGUID="cf20685f-c49f-4c15-9b56-a1c70e0c4c48" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9142/ceiling-speakers-central-switch/9143#9143" />
  <row Id="42858" PostHistoryTypeId="36" PostId="24757" RevisionGUID="93dbef67-73e1-45e4-822b-befce593abbe" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9142/ceiling-speakers-central-switch/9145#9145" />
  <row Id="42859" PostHistoryTypeId="36" PostId="24758" RevisionGUID="3eb0a3bc-15d8-4b72-acfe-7da02cd34e0a" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9142/ceiling-speakers-central-switch/9154#9154" />
  <row Id="42860" PostHistoryTypeId="2" PostId="24756" RevisionGUID="11db8575-a1b2-471b-bb10-f59d17c59378" CreationDate="2013-10-08T13:16:32.063" UserDisplayName="Joe Stavitsky" Text="You need a central processor/head unit. Which one depends on the type of speakers and size of your rooms. I am assuming this is a commercial space?&#xD;&#xA;&#xD;&#xA;Past a certain distance between speakers, it becomes impractical to use a simple head unit and you will need to use multiple smaller units. Your best bet is to go to a local a/v supply and ask them. If you tell me where you are geographically I may be able to suggest somebody. " ContentLicense="CC BY-SA 3.0" />
  <row Id="42861" PostHistoryTypeId="2" PostId="24757" RevisionGUID="32f02b31-205d-49a7-b248-02237102a1f4" CreationDate="2013-10-08T13:43:19.460" UserId="7174" Text="As far as wiring, you generally want to run them in series in loops for each zone.  You then need a head unit that supports however many zones, though you can also use variable resistors to branch off multiple circuits from one feed with differing volumes, but the same signal going to each, but you still need separate circuits for each zone that are wired together at the volume controls (or the head unit if you want different outputs for each.)&#xD;&#xA;&#xD;&#xA;Depending on the power needed, you may be able to use a simple head unit, but the best quality will result from matching the power output and resistance of the speakers to the head unit you use.  In a pinch, I've run over 20 speakers in 3 zones off of one receiver and amplifier with decent enough quality, but it depends on the speakers and your quality needs." ContentLicense="CC BY-SA 3.0" />
  <row Id="42862" PostHistoryTypeId="2" PostId="24758" RevisionGUID="f6d27f30-9a7b-4d7f-9117-57aa099a45fd" CreationDate="2013-10-12T01:58:10.370" UserDisplayName="stu.h" Text="Universal Remote Control, Speakercraft, Niles, Savant, Control4, Crestron and AMX all make great products for distributed whole house audio (and video). They are listed in general order of least expensive to most expensive. Least expensive does not mean low quality. &#xD;&#xA;&#xD;&#xA;These companies all have solution such as multi-room amplifiers (that can share sources or have their own dedicated sources) and slick ways to control and interface with A LOT of other products. Each system has the ability to control almost every aspect of your home with the right equipment. &#xD;&#xA;&#xD;&#xA;I would contact a &quot;Custom Integration&quot; specialist to cause the least mount of stress." ContentLicense="CC BY-SA 3.0" />
  <row Id="42863" PostHistoryTypeId="2" PostId="24755" RevisionGUID="f1f5bcf8-1e9b-4daf-9e25-396918b0480b" CreationDate="2013-10-08T12:58:51.577" UserDisplayName="PaN1C_Showt1Me" Text="I have **16** 2-way **ceiling speakers** (2-way speaker, RMS: 30W, Max: 60W, 8 Ohm&#xD;&#xA;(coax, polypropylen membrane)) and I would like to have a box, to which I could connect them all and 1 (maybe more) input interface. So the audio signal would be transported to all of them. (Your whole house is playing music.). Additionaly, I would appreciate a possibility to switch some zones on/off. Third, it would be good if I could control the box remotely. The flat is not big though.. only about 80m^2&#xD;&#xA;&#xD;&#xA;I have no idea how it is called and if it is possible. Any idea? Thank you very much&#xD;&#xA;&#xD;&#xA;These are my speakers:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/XCN9V.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="42864" PostHistoryTypeId="1" PostId="24755" RevisionGUID="f1f5bcf8-1e9b-4daf-9e25-396918b0480b" CreationDate="2013-10-08T12:58:51.577" UserDisplayName="PaN1C_Showt1Me" Text="Ceiling speakers central switch" ContentLicense="CC BY-SA 3.0" />
  <row Id="42865" PostHistoryTypeId="3" PostId="24755" RevisionGUID="f1f5bcf8-1e9b-4daf-9e25-396918b0480b" CreationDate="2013-10-08T12:58:51.577" UserDisplayName="PaN1C_Showt1Me" Text="&lt;speakers&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42866" PostHistoryTypeId="36" PostId="24759" RevisionGUID="9d38f361-acd1-4273-b5eb-0f5a8be25b95" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1587/how-do-i-synthesize-this-sound" />
  <row Id="42867" PostHistoryTypeId="2" PostId="24760" RevisionGUID="d8a4489a-42a6-4966-bcdf-e7c78b41c93d" CreationDate="2011-06-15T00:35:37.520" UserDisplayName="SeanBlake" Text="Sounds to me like just one sawtooth with a lowpass, cut-off frequency set relatively high (900? 2k? 5k? experiment. Find the sweet spot) with some Q to taste. There might be a bit of bit crushing going on too, I hear some of that typical ringing (could just be the Youtube compression though lol). You can mess around with some filters. You can bring up the lows a bit with an EQ and try scooping the mids a bit, see how it sounds. With the highs, they are what's giving you that rubber texture so we don't want to eliminate them but if they are too sharp or loud we go from thick nasty rubber to cheap shiny plastic (imo). &#xD;&#xA;&#xD;&#xA;Then in the KMFBD sequence he sounds like he's bending down to notes that are so low you can just almost count the oscillations. With this kind of bass it's all about the bends, hearing the oscillation rate change. Makes it mad rubbery.&#xD;&#xA;&#xD;&#xA;Then consider enhancing the bottom end with something like Waves RBass or my personal favorite, the &quot;Bass Shift&quot; knob in the Brainworks BX mastering EQ. &#xD;&#xA;&#xD;&#xA;Oh and maybe split out just the top end and throw a little verb on there to make the sound a bit bigger.&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;&#xD;&#xA;Blake" ContentLicense="CC BY-SA 3.0" />
  <row Id="42868" PostHistoryTypeId="2" PostId="24759" RevisionGUID="1e8f6c3c-4639-4615-9029-ea1941ab0828" CreationDate="2011-06-13T21:07:32.393" UserId="17686" UserDisplayName="Daniel Cassidy" Text="I’ve been wondering for a while how to synthesize a sound similar to the [bassline in *Megalomaniac*][1] by KMFDM. The sound I’m referring to is the one that sound-feels a bit like someone gently but firmly caressing your brain with a plastic comb.&#xD;&#xA;&#xD;&#xA;I’ve heard similar sounds in a number of other electronic tracks, so I’m guessing it must be fairly well known. I feel like it ought to be fairly easy to reproduce, but I simply have no idea how to do so!&#xD;&#xA;&#xD;&#xA;A different example of the sort of thing I’m looking for is the track *[Sukk my Sawto0th][2]* by Megaman, which was featured on the cover disc of July’s issue of Computer Music. I’ve [uploaded a snippet][2] of that track to YouTube to illustrate what I mean, although I much prefer the sound of the KMFDM track.&#xD;&#xA;&#xD;&#xA;I’ve always assumed that the sound is based on layered sawtooth waves, and the title of the second track above seems to support that assumption. I also suspect that there is a sawtooth or square LFO (with a relatively high frequency) controlling the cut-off of a low-pass filter or similar. However, I’ve never managed to synthesize a sound even remotely close to the KMFDM one.&#xD;&#xA;&#xD;&#xA;Can anyone offer some tips on how to create this sound?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/fvZqWq0ZNjk?t=0m13s&#xD;&#xA;  [2]: http://youtu.be/iHGfUkOmhxQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="42869" PostHistoryTypeId="1" PostId="24759" RevisionGUID="1e8f6c3c-4639-4615-9029-ea1941ab0828" CreationDate="2011-06-13T21:07:32.393" UserId="17686" UserDisplayName="Daniel Cassidy" Text="How do I synthesize this sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42870" PostHistoryTypeId="3" PostId="24759" RevisionGUID="1e8f6c3c-4639-4615-9029-ea1941ab0828" CreationDate="2011-06-13T21:07:32.393" UserId="17686" UserDisplayName="Daniel Cassidy" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42871" PostHistoryTypeId="36" PostId="24760" RevisionGUID="69af8198-a41d-4967-a3e9-f155252217b6" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1587/how-do-i-synthesize-this-sound/1593#1593" />
  <row Id="42872" PostHistoryTypeId="36" PostId="24761" RevisionGUID="9f871acb-8cbb-4d3b-bc7d-16d13077a973" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1924/ableton-live-synths-analog-vs-operator" />
  <row Id="42873" PostHistoryTypeId="2" PostId="24762" RevisionGUID="9ebfb54b-d4e2-4666-a618-d2c5dfbc58b8" CreationDate="2011-07-21T20:33:56.203" UserId="7294" UserDisplayName="Warrior Bob" Text="The major difference between the two is that Analog is a virtual analog synthesizer and is subtractive, while Operator is primarily an FM synthesizer so the approaches to using them are [fairly different][1].  Analog tries to model the circuitry and characteristics of classic analog synthesizers, including their quirks. Operator is unashamedly digital, like many FM synthesizers. If you put an Ableton Spectrum object after Analog and Operator in turn (you can try this in the demo), you can see that Analog's sinewave generator has some subtle overtones in it, like I imagine analog hardware might, while Operator's is more &quot;pure.&quot; &#xD;&#xA;&#xD;&#xA;There are a few feature differences that might be important, too - Analog has two &quot;channels&quot; each containing an oscillator, filter, and LFO, however you can route between them a little bit before and after the filter section. Analog also has a formant filter as one of its filter types which Operator doesn't have. Operator, on the other hand, has only one LFO and filter, but it has four oscillators which can be either audible or used to modulate each others' frequency.&#xD;&#xA;&#xD;&#xA;In general, Analog makes traditional older synthesizer noises, whereas Operator tends to sound a bit more modern. I personally think both are useful.&#xD;&#xA;&#xD;&#xA;I'm not sure what exactly constitutes an industrial rock synth sound, but you definitely know the sound you're looking for - try searching through the presets for both Analog and Operator and seeing what their creators have come up with. Since you're using Ableton Live, check the &quot;Instrument Rack&quot; presets as well. Presets aren't the entire story, but they're usually a good way to get a quick feel for what a particular synth is capable of. There might even be a sound very like what you're looking for and if so, you've found your synth. &#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Synthesizer#Types_of_synthesis" ContentLicense="CC BY-SA 3.0" />
  <row Id="42874" PostHistoryTypeId="2" PostId="24761" RevisionGUID="6da6a4a0-5141-4cfd-9413-5fd3f2308532" CreationDate="2011-07-20T18:49:01.067" UserDisplayName="Lebowski156" Text="I've been researching Ableton Live 8, and I'm wondering, what is the main difference in sound and limitations between the Analog and Operator instruments? I'm looking for an industrial rock type synth sound and I was wondering if anyone has advice.&#xD;&#xA;&#xD;&#xA;I've looked into both of the instruments but I dont know how they would actually sound being played by someone who has learned how to use them. :/&#xD;&#xA;&#xD;&#xA;Thanks," ContentLicense="CC BY-SA 3.0" />
  <row Id="42875" PostHistoryTypeId="1" PostId="24761" RevisionGUID="6da6a4a0-5141-4cfd-9413-5fd3f2308532" CreationDate="2011-07-20T18:49:01.067" UserDisplayName="Lebowski156" Text="Ableton Live synths: Analog vs. Operator" ContentLicense="CC BY-SA 3.0" />
  <row Id="42876" PostHistoryTypeId="3" PostId="24761" RevisionGUID="6da6a4a0-5141-4cfd-9413-5fd3f2308532" CreationDate="2011-07-20T18:49:01.067" UserDisplayName="Lebowski156" Text="&lt;synthesizer&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42877" PostHistoryTypeId="36" PostId="24762" RevisionGUID="4e40b5ad-8756-41c3-a8a1-121d40e3021a" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1924/ableton-live-synths-analog-vs-operator/1927#1927" />
  <row Id="42878" PostHistoryTypeId="36" PostId="24763" RevisionGUID="7809c155-bec8-427d-8cf0-c6ba32d103c0" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1924/ableton-live-synths-analog-vs-operator/2747#2747" />
  <row Id="42879" PostHistoryTypeId="36" PostId="24764" RevisionGUID="366a1e46-49bc-4ec4-99ca-ca91178d35bb" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1924/ableton-live-synths-analog-vs-operator/4755#4755" />
  <row Id="42880" PostHistoryTypeId="2" PostId="24763" RevisionGUID="356597f1-4f06-4ea0-8130-cfdecee3ea61" CreationDate="2011-12-05T18:55:21.767" UserDisplayName="z5h" Text="I agree with everything Warrior Bob Mentioned.    &#xD;&#xA;&#xD;&#xA;Here's a bit more info:  &#xD;&#xA;An &quot;algorithm&quot; in an FM synth is the arrangement of what oscillators modulate each other and how they are chained.&#xD;&#xA;&#xD;&#xA;One of the algorithms in Operator is a flat one where none of the oscillators modulate each other. In this mode, it is basically laid out like most traditional analog synths, and you can explore most of what can be done on a traditional analog subtractive synth.&#xD;&#xA;   &#xD;&#xA;What you won't get from this (as Warrior Bob Mentioned) are the quirks of true analog synths - the subtle imperfections - that give them their characteristic organic warm sound. Ableton's Analog synth attempts to emulate these imperfections. &#xD;&#xA;&#xD;&#xA;You can get HUGE milage out of either synth." ContentLicense="CC BY-SA 3.0" />
  <row Id="42881" PostHistoryTypeId="2" PostId="24764" RevisionGUID="7c98c289-060d-41cc-afe2-334434163d96" CreationDate="2012-09-17T19:42:01.233" UserId="14713" UserDisplayName="b20000" Text="I can add to Warrior Bob's answer that analog is a synth that came from Applied Acoustics Systems, the creators of the famous Tassman synth, a physical modeling synthesizer. Operator was developed by Ableton itself. Why is this important? Because analog has a very specific sound. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42882" PostHistoryTypeId="36" PostId="24765" RevisionGUID="1c2dfd43-686f-41be-85fe-035cccf34149" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/548/good-soundcard-for-windows-7-no-latency-audio-midi-in-out" />
  <row Id="42883" PostHistoryTypeId="36" PostId="24766" RevisionGUID="100ea83c-eead-4fe5-83e6-efa4531ec45d" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/548/good-soundcard-for-windows-7-no-latency-audio-midi-in-out/549#549" />
  <row Id="42884" PostHistoryTypeId="36" PostId="24767" RevisionGUID="2c979687-669e-4cc9-9936-d8d92d461566" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/548/good-soundcard-for-windows-7-no-latency-audio-midi-in-out/550#550" />
  <row Id="42885" PostHistoryTypeId="36" PostId="24768" RevisionGUID="db83b052-4ff0-4f8a-8054-962ba016bd90" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/548/good-soundcard-for-windows-7-no-latency-audio-midi-in-out/691#691" />
  <row Id="42886" PostHistoryTypeId="36" PostId="24769" RevisionGUID="0ba73a49-980f-4dc2-8118-ff702c102124" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/548/good-soundcard-for-windows-7-no-latency-audio-midi-in-out/741#741" />
  <row Id="42887" PostHistoryTypeId="36" PostId="24770" RevisionGUID="003ef179-5d99-4770-a9ce-323d5852c8a0" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/548/good-soundcard-for-windows-7-no-latency-audio-midi-in-out/3779#3779" />
  <row Id="42888" PostHistoryTypeId="36" PostId="24771" RevisionGUID="32d3890e-1618-4919-980b-4cea56818088" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/548/good-soundcard-for-windows-7-no-latency-audio-midi-in-out/3793#3793" />
  <row Id="42889" PostHistoryTypeId="2" PostId="24766" RevisionGUID="2008e38d-fa43-4cf8-b09c-9bec71563a8b" CreationDate="2011-01-10T01:47:15.000" UserId="7209" Text="There will always be latency with software synths, or any audio processed by your computer.  When soundcards advertise &quot;no-latency monitoring&quot;, what they mean is that it has a built-in analog mixer to allow you to hear the audio on the output just as it comes in the input, via analog.  (By the way, your current card supports this)&#xD;&#xA;&#xD;&#xA;First, make sure you are using ASIO and that there isn't a problem with it.  Your card supports ASIO, which must be used for low-latency.&#xD;&#xA;&#xD;&#xA;Next, read the answers on this question:  http://audio.stackexchange.com/questions/464/what-is-the-key-parameter-for-a-sound-card-if-i-want-to-record-at-home-using-gui  &#xD;&#xA;&#xD;&#xA;It answers almost the same question." ContentLicense="CC BY-SA 2.5" />
  <row Id="42890" PostHistoryTypeId="2" PostId="24767" RevisionGUID="e5aea5ff-2f95-4f1f-aba4-e654f9a49601" CreationDate="2011-01-10T02:16:37.630" UserDisplayName="DRL" Text="// - Edit&#xD;&#xA;Is it possible that you have not configured your DAW to use the Emu card; you should really have very low latency with that card&#xD;&#xA;&#xD;&#xA;I have an M-Audio 2496 PCI card it 4 ins/outs including midi, its a very good card and cheap (£70-80); i am currently achieving latency of around 5ms using pretty old and low powered hardware; this allows real time audio monitoring whilst recording; the latency is not noticeable at all.&#xD;&#xA;&#xD;&#xA;Previously i was using the usb interface on an allen heath z14 mixer; which is a brilliant mixer however the latency over usb was unusable for me. (25ms+) I got that down to 16ms using the [asio4all][1] driver; which is 'almost' usable for real time; anything under 10ms and you should be ok.&#xD;&#xA;&#xD;&#xA;I still use the allen heath; however now i have an analogue line out to the M-Audio card, which i cant recommend enough; it has solved all of my problems. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.asio4all.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="42891" PostHistoryTypeId="2" PostId="24769" RevisionGUID="9339cfe8-6de8-42bc-b570-43aff96fba55" CreationDate="2011-02-02T19:45:57.933" UserDisplayName="horatio" Text="I was using realtek onboard sound for a while and had the ASIO4ALL driver as suggested elsewhere in this thread, and I found that (in addition to adjusting the buffer setting) raising the sample rate from 44/48k to 96k was crucial for getting latency to an imperceptible level.&#xD;&#xA;&#xD;&#xA;AFAIK, midi has nothing to do with ASIO and latency, but if you are using the card to monitor the sound live, then you will experience latency." ContentLicense="CC BY-SA 2.5" />
  <row Id="42892" PostHistoryTypeId="2" PostId="24771" RevisionGUID="4d3d1a10-a99a-4537-bb3d-b1db17981b90" CreationDate="2012-04-22T12:43:41.060" UserId="7304" UserDisplayName="Julian" Text="I like RME cards. I chose them because they had good linux drivers but they are great on Windows too. The built-in DSP based router provides very low latency from in to out and does mixing. They are really easy to use with either prosumer or pro interfaces.&#xD;&#xA;&#xD;&#xA;They are expensive compared to consumer devices, but cheap compared to high end pro cards." ContentLicense="CC BY-SA 3.0" />
  <row Id="42893" PostHistoryTypeId="2" PostId="24768" RevisionGUID="52e6ba24-1a4d-4d53-a8fb-6e5d82d8eb9e" CreationDate="2011-01-27T14:17:19.140" UserDisplayName="user434" Text="I have a Creative Soundblaster X-Fi PCI-card, which is obvisouly not a &quot;professional&quot; card for music recording, but for me it gives very good results.&#xD;&#xA;&#xD;&#xA;The card is promoted as being very good for gaming, but also having great recording properties.&#xD;&#xA;&#xD;&#xA;When recording guitar with a software effect/amp (which means that besides recording the pc also has to process the sound) latency is stable at 2milliseconds, which is low enough. There is an option for 1 millisecond, but that lags for me.&#xD;&#xA;&#xD;&#xA;I have a Quad Core 6600 processor (processor is important if you want to achieve low latency, as the computer has to process the sound, not only record it)&#xD;&#xA;&#xD;&#xA;So if you have any processor better or as good as that, this card will give you the same latency properties I have (2 milliseconds).&#xD;&#xA;You can get this card for a little less than approx. $120, and you also get a very good gaming audiocard.&#xD;&#xA;&#xD;&#xA;(And yes, it supports ASIO of course)&#xD;&#xA;&#xD;&#xA;(I saw that you have an i7 so obvisouly a better processor than mine ). In that case you will probably be able to use the 1ms latency seting, which is like lower than any human can notice)" ContentLicense="CC BY-SA 2.5" />
  <row Id="42894" PostHistoryTypeId="2" PostId="24770" RevisionGUID="aaf56f4d-3394-49f5-8e98-9b6c8708410a" CreationDate="2012-04-19T12:53:10.553" UserDisplayName="dippleman" Text="you may wanna just get a mac/build a hackintosh. im sorry if i sound like an apple fanboy but im using the intergrated sound card on my ga-h55m-s2v motherboard hackintosh. on windows i get horrible latency but on my osx side there is absolutely no latency at all. you said u have intel cpu so im pretty sure it's supported just google it and look around at insanelymac.com&#xD;&#xA;http://tonymacx86.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="42895" PostHistoryTypeId="2" PostId="24765" RevisionGUID="11350100-b696-43ce-97a5-575d66eac1b9" CreationDate="2011-01-10T01:43:36.647" UserDisplayName="bensynthpop" Text="I currently have an EMU 0404 PCI soundcard in a new system I built at a very high spec. (Core i7 930 overclocked to run at 4GHz, 6GB RAM, Windows 7 64bit)&#xD;&#xA;&#xD;&#xA;I've been tearing my hair out as I'm getting awful latency on the soundcard that is preventing me from doing anything with MIDI controlled sound on the card - no softsynths, virtual drum machines etc so its just not workable.&#xD;&#xA;&#xD;&#xA;What should I be using instead? Any tips?&#xD;&#xA;&#xD;&#xA;Ive got a novation USB controller keyboard I'll be using as main input so will only not need that many audio inputs." ContentLicense="CC BY-SA 2.5" />
  <row Id="42896" PostHistoryTypeId="1" PostId="24765" RevisionGUID="11350100-b696-43ce-97a5-575d66eac1b9" CreationDate="2011-01-10T01:43:36.647" UserDisplayName="bensynthpop" Text="Good soundcard for Windows 7, no latency audio + MIDI in/out" ContentLicense="CC BY-SA 2.5" />
  <row Id="42897" PostHistoryTypeId="3" PostId="24765" RevisionGUID="11350100-b696-43ce-97a5-575d66eac1b9" CreationDate="2011-01-10T01:43:36.647" UserDisplayName="bensynthpop" Text="&lt;windows&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42898" PostHistoryTypeId="36" PostId="24772" RevisionGUID="f5d415e4-e591-49a6-8439-437a1e00c7a2" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/484/making-space-in-a-synth-heavy-mix-for-electric-guitar" />
  <row Id="42899" PostHistoryTypeId="36" PostId="24773" RevisionGUID="f2b6815a-01d5-445e-8780-1eadff300d91" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/484/making-space-in-a-synth-heavy-mix-for-electric-guitar/486#486" />
  <row Id="42900" PostHistoryTypeId="36" PostId="24774" RevisionGUID="4a3c2f9e-a04a-4d54-815a-7273eeaa95ef" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/484/making-space-in-a-synth-heavy-mix-for-electric-guitar/487#487" />
  <row Id="42901" PostHistoryTypeId="2" PostId="24773" RevisionGUID="0995874a-bd08-4ee5-9657-ae47f19edadb" CreationDate="2010-12-30T22:35:01.407" UserId="7218" Text="If you find getting a good mix difficult under live conditions, the problem might be stage volume.  If the instruments are too loud on stage, it can become difficult to control the overall sound through the mains, because you are also fighting the sound that is coming off the stage.&#xD;&#xA;&#xD;&#xA;I would try having the musicians dial back their stage amps a bit.  I think you will find that it is easier to get a better mix this way.  You will also be doing your band members a favor by saving their hearing." ContentLicense="CC BY-SA 2.5" />
  <row Id="42902" PostHistoryTypeId="2" PostId="24774" RevisionGUID="178da78c-2343-4e77-adb7-e0cd025c4067" CreationDate="2010-12-31T15:28:42.257" UserId="7592" UserDisplayName="Pelle ten Cate" Text="I used to get great results with the right type of side-chain compression. If the entrance of the guitar sound dims the synth sound just a bit (really, just a few dBs can make a huge difference) it will most likely solve your problem. Keep the attack time short, especially when the room you perform in is reverberant - so you deal appropriately with the acoustics of the hall." ContentLicense="CC BY-SA 2.5" />
  <row Id="42903" PostHistoryTypeId="2" PostId="24775" RevisionGUID="24b875e8-0ae7-4cab-b2c1-56deda534106" CreationDate="2011-01-01T23:32:24.343" UserId="7218" Text="Given the new information you provided, my new suggestion is to thin out the synths.  You can keep one as stereo (presumably you have some sort of pad sound that needs to stay stereo), but the rest of them should be mono, and you can scatter them throughout the sound field with pans.  That should leave enough room for the guitar.&#xD;&#xA;&#xD;&#xA;I didn't mention stereo manipulation before because many venues don't have it.  Those that do seem to get bent out of shape when you try to use it." ContentLicense="CC BY-SA 2.5" />
  <row Id="42904" PostHistoryTypeId="2" PostId="24772" RevisionGUID="351a22fe-ce2e-4d4b-b747-052f5d79d535" CreationDate="2010-12-30T21:09:57.167" UserDisplayName="Ian C." Text="I've got a Duran Duran tribute and the band is, obviously, big synth sound heavy. Trying to fit the guitar in to the live mix has been a constant struggle. I've put notch filters on the synth channels with the Q set medium wide and centered around 1kHz but it's still getting buried. Most songs aren't mixing a variety of guitar sounds, they stick to one of clean funk, dirty clean or well overdriven.&#xD;&#xA;&#xD;&#xA;I'm looking for mixing tips to make the guitar poke through all those pads and square wave synths that are the backbone of this type of 80's pop-rock sound.&#xD;&#xA;&#xD;&#xA;Edit: except for the dummer we all run direct. My guitars are AxeFx, direct to FoH. Keys, obviously direct. Bass: direct. The drums are mic'ed." ContentLicense="CC BY-SA 2.5" />
  <row Id="42905" PostHistoryTypeId="1" PostId="24772" RevisionGUID="351a22fe-ce2e-4d4b-b747-052f5d79d535" CreationDate="2010-12-30T21:09:57.167" UserDisplayName="Ian C." Text="Making space in a synth-heavy mix for electric guitar?" ContentLicense="CC BY-SA 2.5" />
  <row Id="42906" PostHistoryTypeId="3" PostId="24772" RevisionGUID="351a22fe-ce2e-4d4b-b747-052f5d79d535" CreationDate="2010-12-30T21:09:57.167" UserDisplayName="Ian C." Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="42907" PostHistoryTypeId="36" PostId="24775" RevisionGUID="4688510a-5a95-40be-86ff-d2e81c45af6d" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/484/making-space-in-a-synth-heavy-mix-for-electric-guitar/493#493" />
  <row Id="42908" PostHistoryTypeId="36" PostId="24776" RevisionGUID="2716b035-69b2-464d-82aa-2ffce4e9fb14" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/484/making-space-in-a-synth-heavy-mix-for-electric-guitar/937#937" />
  <row Id="42909" PostHistoryTypeId="2" PostId="24776" RevisionGUID="9bc723b9-8e2d-4afd-8450-6a28cd0e399e" CreationDate="2011-02-28T09:24:54.173" UserDisplayName="user569" Text="Have you tried a Transient Modulator? - It can bring the instrument out of the mix without raising the fader!" ContentLicense="CC BY-SA 2.5" />
  <row Id="42910" PostHistoryTypeId="36" PostId="24777" RevisionGUID="38929eb9-a031-4176-b382-69d065893d87" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2504/motu-828-mk2-how-do-you-toggle-4db-10db-for-each-of-the-inputs-from-the-front" />
  <row Id="42911" PostHistoryTypeId="2" PostId="24778" RevisionGUID="d5c73b0d-61ea-4cb5-821b-6b9e356a1edf" CreationDate="2011-10-25T00:52:37.723" UserId="7189" Text="I was chatting with [SF Logic Ninja (David Earl)][1] and [Rob Michael][2] earlier today, and it happens that we all have MOTU 828 mkII audio interfaces. David remembered that the param knob controls the +6dB and +4/-10 dB settings, so I gave that a try. No luck on my unit. Later, I opened my MOTU up, blew some canned air into it, and reassembled it. Now my MOTU front panel controls work properly - it was the param knob.&#xD;&#xA;&#xD;&#xA;In short: When your 828 mkII is in mixer mode (display says `Gain`), turn the `param` knob to the right until it says `4/10`. That's the +4/-10 mode. Use the `cursor` and `value` knobs to select +4dB or -10dB for each input. Turn the `param` knob one more click to the right, and you get `+6dB`, which does exactly what it says, just like `4/10` mode.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/user/SFLogicNinja&#xD;&#xA;  [2]: http://www.youtube.com/user/atmosmusic" ContentLicense="CC BY-SA 3.0" />
  <row Id="42912" PostHistoryTypeId="2" PostId="24777" RevisionGUID="9ad7b8aa-fe5b-49e1-9153-c6f1ec9800fc" CreationDate="2011-10-20T02:41:50.653" UserId="7189" Text="Using MOTU's CueMix software, you can toggle +4dB/-10dB on each of the inputs (as well as &quot;Boost&quot;). I've figured out how to do just about everything else from the front panel of my 828mk2, but can't see how to toggle this setting.&#xD;&#xA;&#xD;&#xA;Note that MOTU only provides documentation for the 828 Mk3 currently. It appears that the 828 Mk2 manual was available previously in hardcopy, but never in PDF format. I contacted MOTU, and they suggested I use the mk3 manual. Unfortunately, the front panel is different on the Mk2, so the Mk3 manual doesn't help.&#xD;&#xA;&#xD;&#xA;My underlying problem is that I own synthesizers that range from balanced +4dB output to unbalanced -10dB. The unbalanced output is very quiet, and I often want to switch over to -10dB mode and possibly turn on &quot;boost&quot; without having to load another app on my computer." ContentLicense="CC BY-SA 3.0" />
  <row Id="42913" PostHistoryTypeId="1" PostId="24777" RevisionGUID="9ad7b8aa-fe5b-49e1-9153-c6f1ec9800fc" CreationDate="2011-10-20T02:41:50.653" UserId="7189" Text="MOTU 828 mk2: How do you toggle +4dB/-10dB for each of the inputs from the front panel?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42914" PostHistoryTypeId="3" PostId="24777" RevisionGUID="9ad7b8aa-fe5b-49e1-9153-c6f1ec9800fc" CreationDate="2011-10-20T02:41:50.653" UserId="7189" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42915" PostHistoryTypeId="36" PostId="24778" RevisionGUID="d3d507dd-a805-4aca-8887-27ad317b818e" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2504/motu-828-mk2-how-do-you-toggle-4db-10db-for-each-of-the-inputs-from-the-front/2541#2541" />
  <row Id="42916" PostHistoryTypeId="36" PostId="24779" RevisionGUID="d316410d-b4c8-4e62-b270-ce680214a659" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9417/are-there-any-synthesizers-comparable-to-a-virus-ti-but-significantly-less-expe" />
  <row Id="42917" PostHistoryTypeId="36" PostId="24780" RevisionGUID="cff3468c-73ab-4932-ad34-799b37723e56" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9417/are-there-any-synthesizers-comparable-to-a-virus-ti-but-significantly-less-expe/9432#9432" />
  <row Id="42918" PostHistoryTypeId="2" PostId="24780" RevisionGUID="111ed3e0-24c0-49b6-8716-8fadece68898" CreationDate="2013-11-18T17:11:12.373" UserId="7294" UserDisplayName="Warrior Bob" Text="Feature-wise, I'm sure there are plenty, however if you're chasing the &quot;sound&quot; of a particular instrument, there really isn't going to be any substitute.&#xD;&#xA;&#xD;&#xA;That said, if you think other synthesizers sound &quot;thin, weak, or retro&quot; (not terms I normally associate with synths) than what you may be liking about the Virus is simply that it employs a variety of synthesis techniques - subtractive, FM, wavetable, and phase modulation.  A lot of synthesizers focus on one technique, with that technique's characteristics. So, another synth with a similar variety of timbral techniques might be what you're after. I have hunch, perhaps unfounded, that it's the wavetable technique that most interests you since you used words like &quot;full&quot; and &quot;modern.&quot;&#xD;&#xA;&#xD;&#xA;If you're interested in wavetable capable hardware, look into machines such as [Waldorf's Blofeld](http://en.wikipedia.org/wiki/Blofeld_(synthesizer)). Desktop or rack modules are, in general, less expensive than keyboards. If you're alright with software, there are a huge variety of everything-under-the-sun synthesizers such as [Native Instruments' Massive](http://www.native-instruments.com/en/products/komplete/synths-samplers/massive/) which is quite popular at the moment.&#xD;&#xA;&#xD;&#xA;There isn't really an authoritative answer to this question (i.e. there's no standard &quot;poor man's Virus&quot; and of course it's down to your taste anyway) but synths similar to those two are where I would start looking." ContentLicense="CC BY-SA 3.0" />
  <row Id="42919" PostHistoryTypeId="2" PostId="24779" RevisionGUID="d64122a4-5af3-4d74-b4f6-9b9306632867" CreationDate="2013-11-17T19:52:11.740" UserId="8159" UserDisplayName="Jamil" Text="I really like the sound of the Access Virus TI, however, they're out of my price range. Most synthesizers sound thin, weak, or retro. I am looking for something with a full, very pleasant, and modern sound, similar to the Virus TI. I would also like it to be very flexible. Are there any synthesizers that could serve this purpose?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42920" PostHistoryTypeId="1" PostId="24779" RevisionGUID="d64122a4-5af3-4d74-b4f6-9b9306632867" CreationDate="2013-11-17T19:52:11.740" UserId="8159" UserDisplayName="Jamil" Text="Are there any synthesizers comparable to a virus ti, but significantly less expensive?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42921" PostHistoryTypeId="3" PostId="24779" RevisionGUID="d64122a4-5af3-4d74-b4f6-9b9306632867" CreationDate="2013-11-17T19:52:11.740" UserId="8159" UserDisplayName="Jamil" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42922" PostHistoryTypeId="36" PostId="24781" RevisionGUID="956669a6-f967-42a7-be59-661a3e60bba1" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4829/low-sawtooth-and-speech-type-oscillator-synth-notes-cause-sound-and-tone-change" />
  <row Id="42923" PostHistoryTypeId="2" PostId="24782" RevisionGUID="44d51a85-a8ef-4901-9bd3-bb383c5b7bde" CreationDate="2012-09-24T17:41:14.193" UserId="7189" Text="&gt; By slow I mean the regular notes have a sort of bite and feeling as if&#xD;&#xA;&gt; someone were strumming them ridiculously fast (best way I can describe&#xD;&#xA;&gt; it). When they are played in this low note range the reverberation or&#xD;&#xA;&gt; super fast strumming effect slows down more and more the lower it&#xD;&#xA;&gt; gets. Its almost analogous to someone applying and LFO to the bass at&#xD;&#xA;&gt; a extremely high rate, but this rate gets lower and lower evenly as&#xD;&#xA;&gt; the pitch goes down.&#xD;&#xA;&#xD;&#xA;Are you using a sub oscillator, or detuning any of your main oscillators?&#xD;&#xA;&#xD;&#xA;It is easy to generate the effect you are talking about by adding a low-frequency saw wave to your oscillators. The saw is low enough that your ears don't perceive its fundamental frequency as sound but you do hear it modulating the upper frequencies.&#xD;&#xA;&#xD;&#xA;Try *slowly* sweeping a high-pass filter from about 50 Hz to 200 Hz to get rid of those very low frequencies.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;I created a patch in massive that replicates the same low-frequency beating that your soundcloud sample demonstrates. I'm using Ableton, so I dropped an `EQ Three` right after massive, turned `GainLow` down to `-inf`. I found that frequencies values between 50 Hz and 100 Hz preserve most of the character of my patch, though the &quot;beating&quot; is reduced near 100 Hz. &#xD;&#xA;&#xD;&#xA;You don't need to do this in Ableton or with EQ Three - any DAW and any EQ plugin should do the job." ContentLicense="CC BY-SA 3.0" />
  <row Id="42924" PostHistoryTypeId="2" PostId="24781" RevisionGUID="018bcfa7-12df-4623-a438-5da9611ec6cf" CreationDate="2012-09-24T16:26:30.950" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="In my current song I created a bass I really like in [NI Massive](http://www.native-instruments.com/#/en/products/producer/massive/). The only problem is that in my melody, there are a few notes that are REALLY low, c1, c0 range. It also has a decent amount of mid-range tones in this synth.&#xD;&#xA;&#xD;&#xA;When the synth is played in this low range, it causes them to get slightly detuned and makes them sound *slow*. By slow I mean the regular notes have a sort of bite and feeling as if someone were strumming them ridiculously fast (best way I can describe it). When they are played in this low note range the reverberation or super fast strumming effect slows down more and more the lower it gets. Its almost analogous to someone applying and LFO to the bass at a extremely high rate, but this rate gets lower and lower evenly as the pitch goes down.&#xD;&#xA;&#xD;&#xA;This is extremely frustrating because when I raise those notes up an octave they sound great but it totally throws off the melody. I wrote a melody that works well with the sound because of this but if possible I would like to use the original.&#xD;&#xA;&#xD;&#xA;**EDIT:** Here is a clip from the song that shows what is happening. The first part has the really low notes and the second part is the revised edition but if you listen carefully you can hear the slight detuning of the notes in that part. The melody matches the theory of my chord structure... so it shouldn't be this off.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/gooby-pls-1/low-test&#xD;&#xA;&#xD;&#xA;**EDIT:** One last thing in case anybody knows much about Massive. The three oscillators I chose were a sawtooth (I believe sin/saw 1 with the wavetable position all the way on saw), deep throat, and modern talking (not the overused dubstep method). The last two are talking/vocal/formant type oscillators.&#xD;&#xA;&#xD;&#xA;**Why does it do this and can it be avoided?**" ContentLicense="CC BY-SA 3.0" />
  <row Id="42925" PostHistoryTypeId="1" PostId="24781" RevisionGUID="018bcfa7-12df-4623-a438-5da9611ec6cf" CreationDate="2012-09-24T16:26:30.950" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="low sawtooth and speech type oscillator synth notes cause sound and tone change" ContentLicense="CC BY-SA 3.0" />
  <row Id="42926" PostHistoryTypeId="3" PostId="24781" RevisionGUID="018bcfa7-12df-4623-a438-5da9611ec6cf" CreationDate="2012-09-24T16:26:30.950" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42927" PostHistoryTypeId="36" PostId="24782" RevisionGUID="c0338779-1e14-4e56-926a-e1e5073f359f" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4829/low-sawtooth-and-speech-type-oscillator-synth-notes-cause-sound-and-tone-change/4830#4830" />
  <row Id="42928" PostHistoryTypeId="36" PostId="24783" RevisionGUID="98b3d476-a499-4040-896f-7e29c07afe79" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4829/low-sawtooth-and-speech-type-oscillator-synth-notes-cause-sound-and-tone-change/4832#4832" />
  <row Id="42929" PostHistoryTypeId="2" PostId="24783" RevisionGUID="1b32722a-301c-4256-9bc5-046e24df9bf5" CreationDate="2012-09-24T21:41:53.507" UserDisplayName="Lukas Woltjer" Text="As ObscureRobot is getting to, your problem is coming from interferences, particularly from frequencies you can't hear. As you play lower, the frequency difference (in Hz) between the octaves (or whatever harmonic you have playing) decreases, and therefore the apparent LFO rate decreases.&#xD;&#xA;&#xD;&#xA;For example, An A octave has one note at 220 and another at 440. That's a difference of 220 Hz, which will not be noticed as a &quot;strumming&quot;. If you drop to sub-levels, then the differences can much more noticeably be heard as &quot;strumming&quot;.&#xD;&#xA;&#xD;&#xA;A high-pass filter might work, but the harmonics of the low frequencies might remain. I would try adjusting the gain on the lowest oscillator. See what works, and keeps your bass sounding how you want it too. If the bass starts sounding to weak, without enough bottom, you could try changing to a sine wave for the lowest oscillator. They tend to sound fuller." ContentLicense="CC BY-SA 3.0" />
  <row Id="42930" PostHistoryTypeId="36" PostId="24784" RevisionGUID="74afbec5-796b-42d0-ad52-31a887f1d597" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5550/is-fm8-a-good-synth-for-a-beginner" />
  <row Id="42931" PostHistoryTypeId="2" PostId="24785" RevisionGUID="f7e53ec7-6fd0-44c1-b651-f73454a6e6a1" CreationDate="2012-12-11T02:35:35.897" UserId="7189" Text="I love FM synthesis, but it is generally a bit on the esoteric side. FM8 is probably one of the easier FM synths to learn. But even after mastering it, you will still have a hard time achieving a particular sound that you want. FM8 *is* great for making weird bloopy, bleepy, buzzy, metallic sounds. And basses.&#xD;&#xA;&#xD;&#xA;If you don't have it already, I'd recommend upgrading to Live Suite, and working with the synths you get there. Downtempo / chillout is more about great sample manipulation than crazy synthesis, so you probably don't need much more than that.&#xD;&#xA;&#xD;&#xA;Although I have FM8 and am comfortable working with it, I tend to gravitate towards Ableton's Operator or one of my hardware FM boxes. There is something about a pushbutton interface that works really well for FM, so I've managed to get a lot of use out of my TG77.&#xD;&#xA;&#xD;&#xA;If you were to go the Native Instruments route, buying one of the Komplete packages is usually a much better deal than individual synths. So if you only want FM8, I would wait until you have an interest in Reaktor or Massive as well. Then just get Komplete.&#xD;&#xA;&#xD;&#xA;If you want to work though the Synth Secrets (which is an *excellent* resource, by the way), then a modular environment like [Reaktor](http://www.native-instruments.com/en/products/producer/reaktor-5/), [Pure Data](http://puredata.info) (which is free), [Max/MSP](http://cycling74.com/products/max/) or an actual modular synth is the best way to go. You can get a lot out of a fixed-function softsynth or hardware synth, but modular will give you the greatest flexibility.&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;For others wondering if they should start with FM8 or another FM synth: If you are just curious about synthesis and want to mess around and see quick results then start with an (possibly virtual) analog style subtractive synth instead. You can make a lot of cool sounds that way, and the results are easy and intuitive. If you are really dedicated to learning about synthesis, and have the motivation to see things through, then there is no reason *not* to start with FM. Particularly if you find a DX7 at a garage sale for $50 (or any of Yamaha's other synths, from the 4-op TX81z, through the SY99 and on to the FS1r). It won't be as easy to learn FM, but it also won't be any easier later. FM is just obtuse and the only way to learn it is to get your hands dirty. So, if circumstances present themselves, feel free to start with FM. Be prepared to dedicate yourself, and don't go our of your way unless you are ready." ContentLicense="CC BY-SA 3.0" />
  <row Id="42932" PostHistoryTypeId="2" PostId="24784" RevisionGUID="28ddd54f-1a22-4daf-b5b4-aeb3fdedd11d" CreationDate="2012-12-10T22:42:23.423" UserDisplayName="Serhat Özgel" Text="I am an absolute beginner and trying to learn by using Ableton Live. I would like to produce downtempo and chill-out but at this point I am open to any kind of information that can teach me. I want to start learning sound synthesis and thinking of trying FM8 since I heard so much good things about it.&#xD;&#xA;Is beginning to learn with FM8 is a good investment of my time at this stage or should I begin with something simpler or different? Can I apply the techniques I learn in FM8? For e.g. if I tried and learn all of the information listed on [synth secrets][1] , will I be able to apply these in FM8 or will I need to look for specific kind of guides?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/allsynthsecrets.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="42933" PostHistoryTypeId="1" PostId="24784" RevisionGUID="28ddd54f-1a22-4daf-b5b4-aeb3fdedd11d" CreationDate="2012-12-10T22:42:23.423" UserDisplayName="Serhat Özgel" Text="Is FM8 a good synth for a beginner?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42934" PostHistoryTypeId="3" PostId="24784" RevisionGUID="28ddd54f-1a22-4daf-b5b4-aeb3fdedd11d" CreationDate="2012-12-10T22:42:23.423" UserDisplayName="Serhat Özgel" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42935" PostHistoryTypeId="36" PostId="24785" RevisionGUID="90152d29-bb69-4193-9a70-0a40af341e5f" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5550/is-fm8-a-good-synth-for-a-beginner/5553#5553" />
  <row Id="42936" PostHistoryTypeId="36" PostId="24786" RevisionGUID="58de1461-b11d-4cd5-9b5c-97d970ae647d" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2491/where-can-i-find-a-multioscillator-synth" />
  <row Id="42937" PostHistoryTypeId="2" PostId="24787" RevisionGUID="7d721e95-12f0-4313-93fb-94c6aad7339d" CreationDate="2011-10-18T15:58:00.543" UserId="7189" Text="You could start out with a powerful &quot;[Analog][1]&quot; style or [FM][2] style synth like Native Instruments' Massive or [FM8][3].&#xD;&#xA;&#xD;&#xA;If you are really focused on [additive synthesis][4] or you'd just like something more flexible, consider the following modular environments:&#xD;&#xA;&#xD;&#xA;Linux Friendly:&#xD;&#xA;&#xD;&#xA; - [CSound][5] - text mode synthesis and composition language. Extremely powerful, moderately steep learning curve&#xD;&#xA; - [SuperCollider][6] - text mode synthesis language. Extremely powerful, steep learning curve. More modern than CSound&#xD;&#xA; - [PureData][7] - graphical modular environment. Very powerful, moderate learning curve&#xD;&#xA;&#xD;&#xA;Windows / OSX:&#xD;&#xA;&#xD;&#xA; - [Max/MSP][8] - essentially a commercial and more pretty version of PureData (or vice-versa)&#xD;&#xA; - Native Instruments' [Reaktor][9] - commercial modular environment. Great if you want access to their huge library of community synths&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Subtractive_synthesis&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Frequency_modulation_synthesis&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/FM8&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Additive_synthesis&#xD;&#xA;  [5]: http://www.csounds.com/&#xD;&#xA;  [6]: http://supercollider.sourceforge.net/&#xD;&#xA;  [7]: http://puredata.info/&#xD;&#xA;  [8]: http://en.wikipedia.org/wiki/Max_%28software%29&#xD;&#xA;  [9]: http://en.wikipedia.org/wiki/Reaktor" ContentLicense="CC BY-SA 3.0" />
  <row Id="42938" PostHistoryTypeId="2" PostId="24786" RevisionGUID="b0d7633b-c212-4234-9bc9-4bceaf78fbbd" CreationDate="2011-10-18T14:44:35.940" UserDisplayName="oneat" Text="I need synth where I could use some oscillators (unlimited amount the best) and make them influence each other. For example I could choose for first to be multiplied by second to make the result and so on. Or I could use mathematical expressions to design waves. Any ideas?&#xD;&#xA;&#xD;&#xA;I am using Linux as my operating system. &#xD;&#xA;&#xD;&#xA;ADD:&#xD;&#xA;&#xD;&#xA;I'd like also not only add them together but for example make function which could represent changing of volume or frequency in time. (When track is starting up they use increasing frequency sound like in thunder-prodigy). Something more expended." ContentLicense="CC BY-SA 3.0" />
  <row Id="42939" PostHistoryTypeId="1" PostId="24786" RevisionGUID="b0d7633b-c212-4234-9bc9-4bceaf78fbbd" CreationDate="2011-10-18T14:44:35.940" UserDisplayName="oneat" Text="Where can I find a multioscillator synth?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42940" PostHistoryTypeId="3" PostId="24786" RevisionGUID="b0d7633b-c212-4234-9bc9-4bceaf78fbbd" CreationDate="2011-10-18T14:44:35.940" UserDisplayName="oneat" Text="&lt;synthesizer&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42941" PostHistoryTypeId="36" PostId="24787" RevisionGUID="2b99eb47-8e6c-44f0-967a-6341e67b35f1" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2491/where-can-i-find-a-multioscillator-synth/2492#2492" />
  <row Id="42942" PostHistoryTypeId="36" PostId="24788" RevisionGUID="1c6e8402-b0d1-46a6-b55e-f656bf0b8314" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2491/where-can-i-find-a-multioscillator-synth/4754#4754" />
  <row Id="42943" PostHistoryTypeId="2" PostId="24788" RevisionGUID="da188a29-e1b3-4f97-9234-64473e129a78" CreationDate="2012-09-17T19:38:39.503" UserId="14713" UserDisplayName="b20000" Text="If you are on Linux I recommend supercollider or pure data. There are also other modular synths on Linux, which are more turn key than PD or supercollider, which are more like programming languages. Check out this project http://alsamodular.sourceforge.net/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42944" PostHistoryTypeId="36" PostId="24789" RevisionGUID="d9759177-18fc-4668-addf-ea35968f2f0f" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9495/a-budget-audio-interface-with-surface-controls-and-multi-track-recording-ability" />
  <row Id="42945" PostHistoryTypeId="36" PostId="24790" RevisionGUID="96c9c260-c9a9-4521-ab40-9578b3b2bca5" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9495/a-budget-audio-interface-with-surface-controls-and-multi-track-recording-ability/9498#9498" />
  <row Id="42946" PostHistoryTypeId="2" PostId="24790" RevisionGUID="0b1441e3-a511-429b-9eba-01db9e479405" CreationDate="2013-11-25T20:00:56.850" UserId="7174" Text="From your link. &quot;The R16 functions as an audio interface enabling direct input of sound to a computer. Support for high quality 24-bit/96kHz encoding ensures great sound. Eight input channels and two output channels can be used simultaneously.&quot;  Presonus also makes similar products." ContentLicense="CC BY-SA 3.0" />
  <row Id="42947" PostHistoryTypeId="2" PostId="24791" RevisionGUID="3a5fb6b4-9aae-4d69-b3f9-0178c25af530" CreationDate="2013-12-11T08:57:59.857" UserDisplayName="shennan" Text="Although AJ Henderson's answer does clarify things somewhat, I've decided to answer my own question.&#xD;&#xA;&#xD;&#xA;Being new to audio production, I think I was confusing the different elements of a production stack. My question was asking for an all-singing, all-dancing interface: something that acted as in i/o, and a controller at the same time.&#xD;&#xA;&#xD;&#xA;I realise now that this is a big ask, and that there's nothing wrong with taking a more modular approach. In the end I went with the Focusrite 6i6 and a Korg nanoKontrol.&#xD;&#xA;&#xD;&#xA;The Focusrite interface handles my multi-track recording needs, while the Korg ticks the box for a budget control.&#xD;&#xA;&#xD;&#xA;Now, all I need to do is make sure my software is set-up accordingly - something I have outlined in [this queston](http://avp.stackexchange.com/questions/9611/how-can-i-automate-track-levels-while-recording-in-logic-mainstage-garageband)." ContentLicense="CC BY-SA 3.0" />
  <row Id="42948" PostHistoryTypeId="2" PostId="24789" RevisionGUID="e3c07d0d-945e-4c65-a970-00bb5e06789c" CreationDate="2013-11-25T17:32:15.930" UserDisplayName="shennan" Text="I'm currently trying to find an interface which meets my needs for podcast recording. The needs are as follows:&#xD;&#xA;&#xD;&#xA;- at least 2 XLR microphone inputs.&#xD;&#xA;- at least 3 line inputs for recording turntables or other line audio.&#xD;&#xA;- the ability to record all tracks separately via USB/Firewire/Thunderbolt onto a Macbook Pro.&#xD;&#xA;- good support for Logic Pro, Audacity or even GarageBand.&#xD;&#xA;&#xD;&#xA;Essentially, I want to be able to create a good live mix through an interface with robust controls, but have the option of tweaking levels post-recording on the computer-end through the separately recorded tracks.&#xD;&#xA;&#xD;&#xA;Is there anything on the market that would allow this?&#xD;&#xA;&#xD;&#xA;I've been looking at the [Zoom R16](http://www.zoom.co.jp/products/r16) but it's unclear as to whether this allows you to record more than the standard one track on the computer-end via the USB.&#xD;&#xA;&#xD;&#xA;Finding it hard to distinguish the lexicon used in the specs of these machines to determine if they output more than one track/mix/master etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="42949" PostHistoryTypeId="1" PostId="24789" RevisionGUID="e3c07d0d-945e-4c65-a970-00bb5e06789c" CreationDate="2013-11-25T17:32:15.930" UserDisplayName="shennan" Text="A budget audio interface with surface controls and multi-track recording ability" ContentLicense="CC BY-SA 3.0" />
  <row Id="42950" PostHistoryTypeId="3" PostId="24789" RevisionGUID="e3c07d0d-945e-4c65-a970-00bb5e06789c" CreationDate="2013-11-25T17:32:15.930" UserDisplayName="shennan" Text="&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42951" PostHistoryTypeId="36" PostId="24791" RevisionGUID="2a2e7c58-127a-4a6c-bc8e-9139e62dd107" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9495/a-budget-audio-interface-with-surface-controls-and-multi-track-recording-ability/9632#9632" />
  <row Id="42952" PostHistoryTypeId="36" PostId="24792" RevisionGUID="d10a0963-11d0-47b3-bd4e-46c7c790a57e" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7820/synthesising-pure-tones" />
  <row Id="42953" PostHistoryTypeId="36" PostId="24793" RevisionGUID="27164087-71d2-4584-ac82-360109c150ad" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7820/synthesising-pure-tones/7840#7840" />
  <row Id="42954" PostHistoryTypeId="2" PostId="24793" RevisionGUID="449939ff-b464-4f47-a9b1-aa7c81e4ffd8" CreationDate="2013-05-08T19:26:40.883" UserId="7405" UserDisplayName="Andy aka" Text="Definition of vibrato I'm using is a periodic change in the pitch of a note. What happens when a musical note consisting of a multiple of pure tones is subject to vibrato? I'm answering this way because the perceptual effect of what happens may vary between different listeners. &#xD;&#xA;&#xD;&#xA;Listener 'A' may hear something gliding back and forth whereas Listener 'B' may notice volume changes as the note is periodically altered. The volume change is usually called tremelo and all the notes in the &quot;sound&quot; will rise and fall in amplitude by the same amount if the sound is synthesized in a simple way BUT, synthesis of a tremelo effect may be subtler and vary some of the multiple pure tones in amplitude more or less than others - this of course raises or lowers the overall volume but, will also lead to timbral variations in the sound and this may produce effects that are more like a real instrument.&#xD;&#xA;&#xD;&#xA;Vibrato changes pitch and my take on it is this; if you have a set of synthesized pure tones that make up the sound, the ratio of each tone relative to the lowest note creates a certain timbre (ignoring their relative amplitudes) - natural instruments like violins, guitars (all of them I suppose) owe their distinctive sound to the harmonics superimposed upon the lowest note. These harmonics are exact multiples of the frequency of the base note and so vibrato should affect all the individual tones equally. By equal I mean if the base note shifts up and down 1% in frequency then the harmonics should also OR, you'll end up with different musical intervals and a clashing harmonically.&#xD;&#xA;&#xD;&#xA;I'm not saying you shouldn't do this - I'm saying that, in the main, a natural instrument when subject to vibrato wouldn't do this.&#xD;&#xA;&#xD;&#xA;You may, of course be synthesizing fifths or thirds and in this instant you definitely won't want to be drifting the individual tones at different percentages to the base note." ContentLicense="CC BY-SA 3.0" />
  <row Id="42955" PostHistoryTypeId="2" PostId="24792" RevisionGUID="eddf0f9d-7672-4969-88e5-6fe7a33fe981" CreationDate="2013-05-06T03:58:07.993" UserDisplayName="Sami" Text="In synthesising a musical note consisting of multiple pure tones combined, what is the perceptual effect of giving all tones in the note the same vibrato and/or tremolo?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42956" PostHistoryTypeId="1" PostId="24792" RevisionGUID="eddf0f9d-7672-4969-88e5-6fe7a33fe981" CreationDate="2013-05-06T03:58:07.993" UserDisplayName="Sami" Text="Synthesising pure tones" ContentLicense="CC BY-SA 3.0" />
  <row Id="42957" PostHistoryTypeId="3" PostId="24792" RevisionGUID="eddf0f9d-7672-4969-88e5-6fe7a33fe981" CreationDate="2013-05-06T03:58:07.993" UserDisplayName="Sami" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42958" PostHistoryTypeId="36" PostId="24794" RevisionGUID="6473d72b-b840-4daa-84b7-87210b18db71" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5780/s-pdif-ports-should-can-i-use-them" />
  <row Id="42959" PostHistoryTypeId="36" PostId="24795" RevisionGUID="6824a2f4-d0ea-444b-9cb5-4bd2c45a5b0b" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5780/s-pdif-ports-should-can-i-use-them/5781#5781" />
  <row Id="42960" PostHistoryTypeId="36" PostId="24796" RevisionGUID="441d1e16-81dc-46a0-a8c5-9c229eb55ba4" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5780/s-pdif-ports-should-can-i-use-them/5785#5785" />
  <row Id="42961" PostHistoryTypeId="2" PostId="24795" RevisionGUID="c3949b9a-d156-4e9c-9c56-e2417b610763" CreationDate="2013-01-09T13:12:37.280" UserId="6957" Text="The S/PDIF I/O on the Saffire Pro 24 is stereo.  The Optical is an 8-track ADAT input.  &#xD;&#xA;&#xD;&#xA;The use case for using the S/PDIF I/O would be for using a digital stereo source or destination.  You could use put an outboard digital effects processor in that loop, or say, get audio from a separate digital recorder into your computer, or bounce a stereo mix out to a digital tape recorder, etc.&#xD;&#xA;&#xD;&#xA;For reference:&#xD;&#xA;&#xD;&#xA;![Saffire Pro 24 Rear Panel][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Another graphic from [the website](http://us.focusrite.com/firewire-audio-interfaces/saffire-pro-24):&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/NBIBa.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/iACse.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="42962" PostHistoryTypeId="2" PostId="24796" RevisionGUID="776e55a8-a417-441b-9a97-af5d1158a376" CreationDate="2013-01-09T18:25:49.753" UserId="7189" Text="There is no benefit to connecting your audio interface to your computer via S/PDIF if you can already make a good Firewire connection.&#xD;&#xA;&#xD;&#xA;Some additional detail: The big problem with S/PDIF is that it lacks any form of flow control. That means that the sender sends bits out, and the receiver receives them. There is no way for the receiver to request a retransmission or even verify that all the bits are good. In practice, this isn't much of a problem, but it is a minor disadvantage compared with Firewire.&#xD;&#xA;&#xD;&#xA;Audio over Firewire *could* implement flow control, error control, etc. There is plenty of bandwidth for rich control channels. The same is true of USB.&#xD;&#xA;&#xD;&#xA;The only reason to use S/PDIF is when you have a device that only speaks S/PDIF (or AES/EBU). But if you have a high quality audio interface with S/PDIF, you are better off routing your S/PDIF signals into that interface along with the rest of your audio than into your computer.&#xD;&#xA;&#xD;&#xA;As usual, when you have the opportunity to test out two options you should run some experiments on your own. It is possible, but unlikely, that the S/PDIF on your computer is better than on your Focusrite. The only way to find out is to develop some tests, run them, and evaluate them." ContentLicense="CC BY-SA 3.0" />
  <row Id="42963" PostHistoryTypeId="2" PostId="24794" RevisionGUID="419ae222-aded-4dd9-b6f9-1b67c6b27b3f" CreationDate="2013-01-09T13:03:54.027" UserDisplayName="Jim" Text="My Saffire Pro 24 Firewire audio interface has S/pdif in/out ports. My&#xD;&#xA;computer also has s/pdif in/out ports. My interface is already connected&#xD;&#xA;to my computer bia firewire. Would there be any benefit or usages&#xD;&#xA;to connecting the audio interface to the computer via S/pdif S well as&#xD;&#xA;firewire? If the answer is yes can you direct me to proper connection&#xD;&#xA;Protocols? Thank you, Jim" ContentLicense="CC BY-SA 3.0" />
  <row Id="42964" PostHistoryTypeId="1" PostId="24794" RevisionGUID="419ae222-aded-4dd9-b6f9-1b67c6b27b3f" CreationDate="2013-01-09T13:03:54.027" UserDisplayName="Jim" Text="S/pdif ports - Should/can I use them?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42965" PostHistoryTypeId="3" PostId="24794" RevisionGUID="419ae222-aded-4dd9-b6f9-1b67c6b27b3f" CreationDate="2013-01-09T13:03:54.027" UserDisplayName="Jim" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42966" PostHistoryTypeId="36" PostId="24797" RevisionGUID="ec7d985b-62ab-46f8-9cad-30e9866e4c29" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6993/old-motu-828-mk1-on-a-modern-system" />
  <row Id="42967" PostHistoryTypeId="36" PostId="24798" RevisionGUID="47c6f848-ee0f-4d33-8d7d-b4b5a4956035" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6993/old-motu-828-mk1-on-a-modern-system/8408#8408" />
  <row Id="42968" PostHistoryTypeId="2" PostId="24798" RevisionGUID="d2f6f6b5-29c8-4f0d-8832-9043ea76ef32" CreationDate="2013-07-15T10:29:28.053" UserDisplayName="user4367" Text="I'm using an 828 mk1 on my mac book pro and it runs fine. It only has two mic pre's on the unit and you may have some latency issues running VSTs live." ContentLicense="CC BY-SA 3.0" />
  <row Id="42969" PostHistoryTypeId="2" PostId="24797" RevisionGUID="5a6a186d-b8e8-43cd-8572-87a201e2ac00" CreationDate="2013-01-30T02:18:47.120" UserId="7840" UserDisplayName="themirror" Text="I'm brand new to pro audio recording, and I'm putting together my system right now.  I'm interested in buying a MOTU 828 Mk1 interface in order to pipe 4 XLR mics through the 828, through firewire, into the Mac, into some software VSTs, then back out through firewire to the 828 and output to some live monitors.  In other words, the whole point is to apply some VST effects to some Microphones.&#xD;&#xA;&#xD;&#xA;Since the 828 Mk1 is fairly old hardware, I just want to check with anyone who has used this device to make sure that there won't be any hangups using it in the scenario I described on a current Mac with Firewire.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42970" PostHistoryTypeId="1" PostId="24797" RevisionGUID="5a6a186d-b8e8-43cd-8572-87a201e2ac00" CreationDate="2013-01-30T02:18:47.120" UserId="7840" UserDisplayName="themirror" Text="Old MOTU 828 Mk1 on a modern system" ContentLicense="CC BY-SA 3.0" />
  <row Id="42971" PostHistoryTypeId="3" PostId="24797" RevisionGUID="5a6a186d-b8e8-43cd-8572-87a201e2ac00" CreationDate="2013-01-30T02:18:47.120" UserId="7840" UserDisplayName="themirror" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42972" PostHistoryTypeId="36" PostId="24799" RevisionGUID="63d65ae1-d242-4f71-82ff-241cd907a8e5" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2256/how-to-make-a-pad-synth-feel-like-it-occupies-a-large-space-without-the-use-of-a" />
  <row Id="42973" PostHistoryTypeId="36" PostId="24800" RevisionGUID="55250e90-4a1f-4cb8-a11b-86351e588b60" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2256/how-to-make-a-pad-synth-feel-like-it-occupies-a-large-space-without-the-use-of-a/2263#2263" />
  <row Id="42974" PostHistoryTypeId="2" PostId="24800" RevisionGUID="d98e144e-4cac-4820-8aa4-c55d7a23f6a7" CreationDate="2011-09-02T20:58:13.173" UserDisplayName="djdanlib" Text="The sample &quot;Fried Napthalin&quot; sounds like it uses filter sweeps, chorus/vibrato (which seems to slightly tweak the pitch as well) and maybe some reverb.&#xD;&#xA;&#xD;&#xA;You do need to try different types of reverbs. Not all types sound the same or are appropriate for a particular sound or mix. Remember, less is more." ContentLicense="CC BY-SA 3.0" />
  <row Id="42975" PostHistoryTypeId="2" PostId="24801" RevisionGUID="1ab87c2e-d624-4482-94d6-71b20121ff7a" CreationDate="2011-09-04T09:24:17.550" UserDisplayName="Shane Kilkelly" Text="I think there are a few reasons why the NI demo material sounds so good, and it's not just because of the reverb. Let me explain:&#xD;&#xA;  &#xD;&#xA;- First, the demos on the NI site are very, very well produced, in every way. What you're hearing is not any one particular effect that &quot;makes it&quot;. We're talking world-class engineers carefully producing a world-class demo for a world-class product.   &#xD;&#xA;This is, by definition, hard to match.&#xD;&#xA;&#xD;&#xA;- Second, for most of the demos I hear both Delay and Reverb being used to give a sense of space to the sound. This is important. As you've already found out, simply cranking up a Reverb tends to ruin the sound more than it helps. A well chosen Delay effect will give a sense of space without &quot;drowning&quot; the instrument itself. For a very quick example, go listen to a Rhianna song. Her songs usually have a decent sense of space but there is very little Reverb in use. Listen carefully to the vocals and you'll find they are absolutely caked in Delay, usually multiple Delay chains firing off in all directions.&#xD;&#xA;&#xD;&#xA;- Third, Reverb is inherently difficult to work with. It's just quite hard to get it right, and so easy to over-do it. My advice is to practice using different types of reverb on different material. Play with the settings, test out what happens when you set the pre-delay higher, or lower. Or what differece the reverb time makes.&#xD;&#xA;  &#xD;&#xA;Try loading up a clean session in your DAW, put on a few snare hits in a loop and experiment with a few different Reverb plugins. Listen to the reverb channel in isolation, and mixed in with the original snare track. Pay careful attention to how each parameter works and what it does to the sound.&#xD;&#xA;  &#xD;&#xA;With a little practice you will be much better able to use Reverb effectively in your mixes." ContentLicense="CC BY-SA 3.0" />
  <row Id="42976" PostHistoryTypeId="2" PostId="24799" RevisionGUID="7e58143f-466f-48a4-a40d-92ae787b5be1" CreationDate="2011-09-02T17:33:38.333" UserId="7459" UserDisplayName="bigp" Text="After listening to a number of NI (Native Instruments) synth patches on their official website, it got me curious as to how they sculpt their sounds to feel so distant, but yet present and full (if that makes any sense)?&#xD;&#xA;&#xD;&#xA;Often times, if I try to make my own with a reverb Send-FX (or Insert-FX even), it can flood the track way too easily or washes-up the chords too much. For example, if I play keys from a totally different chords, it doesn't always harmonically blend nicely with the previous chord's Reverb **&quot;residues&quot;**.&#xD;&#xA;&#xD;&#xA;Is there no way to avoid using Reverb units for this? Or is this type of sound achieved by also using the ADSR (Attack / Decay / Sustain / Release) for the Amplitude and/or Filter?&#xD;&#xA;&#xD;&#xA;I don't have the above mentioned software / patches - so it is very hard for me to see how the NI team done it themselves, but I would think there's a few general tricks that can serve as a guide to achieve this in any Sound Generating software out there (ex: Reason, Ableton Live, FL Studio, etc).&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;**EDIT 1: Here's a link to the Absynth 5 instrument from NI. You can click the 4th link (the Demo tracks) in their right-pane navigation. (Flash Player required)**&#xD;&#xA;&#xD;&#xA;http://www.native-instruments.com/#/en/products/producer/absynth-5/?content=939" ContentLicense="CC BY-SA 3.0" />
  <row Id="42977" PostHistoryTypeId="1" PostId="24799" RevisionGUID="7e58143f-466f-48a4-a40d-92ae787b5be1" CreationDate="2011-09-02T17:33:38.333" UserId="7459" UserDisplayName="bigp" Text="How to make a pad-synth feel like it occupies a large space without the use of a reverb effect?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42978" PostHistoryTypeId="3" PostId="24799" RevisionGUID="7e58143f-466f-48a4-a40d-92ae787b5be1" CreationDate="2011-09-02T17:33:38.333" UserId="7459" UserDisplayName="bigp" Text="&lt;synthesizer&gt;&lt;reverb&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42979" PostHistoryTypeId="36" PostId="24801" RevisionGUID="7cb7de7b-dbd2-410b-a3ad-fbfef70c41c3" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2256/how-to-make-a-pad-synth-feel-like-it-occupies-a-large-space-without-the-use-of-a/2271#2271" />
  <row Id="42980" PostHistoryTypeId="36" PostId="24802" RevisionGUID="52adbffb-dbd5-479c-bb46-4f71cc3b07ba" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2256/how-to-make-a-pad-synth-feel-like-it-occupies-a-large-space-without-the-use-of-a/7703#7703" />
  <row Id="42981" PostHistoryTypeId="2" PostId="24802" RevisionGUID="03aeab4b-9d5f-4b81-8265-b6854f8d0682" CreationDate="2013-04-20T23:16:31.400" UserDisplayName="GratuiTous" Text="You can create 2 layers of the same PAD.&#xD;&#xA;&#xD;&#xA;PAD #1 leave as it, but route PAD #1 to a new audio track/insert which we'll call PAD #2.&#xD;&#xA;&#xD;&#xA;With PAD #2, you can use a stereo widening + reverb, while keeping PAD #1 untouched.&#xD;&#xA;&#xD;&#xA;You can then blend PAD #2 with the stereo and reverb into PAD #1 to get that extra wideness.&#xD;&#xA;&#xD;&#xA;Note, you can also change the EQ on PAD #2 and PAD #1 will still be untouched.&#xD;&#xA;&#xD;&#xA;Here's a video regarding widening!&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=ZcFRxEMrG34&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42982" PostHistoryTypeId="36" PostId="24803" RevisionGUID="953a14eb-0b42-40fd-a611-97f4194a2865" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5758/sustain-pedal-problem" />
  <row Id="42983" PostHistoryTypeId="36" PostId="24804" RevisionGUID="87e9a247-1840-4992-9e6f-b0def4571daa" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5758/sustain-pedal-problem/5764#5764" />
  <row Id="42984" PostHistoryTypeId="2" PostId="24804" RevisionGUID="ab2d56a8-6dc8-478c-b605-3a3b3c4c13e8" CreationDate="2013-01-07T17:15:32.540" UserId="7093" Text="Here is a troubleshooting guide for your sustain pedal:&#xD;&#xA;&#xD;&#xA;**Sustains Continually:**&#xD;&#xA;&#xD;&#xA;Some keyboards will read the &quot;polarity&quot; of the sustain pedal when they are first turned on.  If you have your foot on the pedal when you turn on the keyboard it will sustain all notes until you press the pedal (the pedal works in reverse).  To fix this, simply turn off the keyboard and turn it back on making sure you don't have your foot on the pedal.&#xD;&#xA;&#xD;&#xA;Another potential problem is that sometimes a keyboard will behave strangely when changing sounds while you have some keys depressed.  My keyboard will sometimes leave a note or two on when I change sounds like this.  My keyboard has a &quot;panic button&quot; which shuts off all notes.  For yours you may need to turn it off to fix this type of problem.&#xD;&#xA;&#xD;&#xA;**Doesn't sustain at all**&#xD;&#xA;&#xD;&#xA;If the sustain pedal works with certain sounds and not with others, it is probable that the sound is not programmed to use the sustain pedal.  In this case you should be able to program the sound to use the sustain pedal.&#xD;&#xA;&#xD;&#xA;If the sustain pedal only works intermittently on the same sound, the problem could be either with the sustain pedal itself (most likely in the cable) or with the connector or electronics in the keyboard.  The easiest way to test this is to plug in a known good sustain pedal and see if it fixes the problem.  If not, the problem is probably in the keyboard.  &#xD;&#xA;&#xD;&#xA;If you find that the problem is with the sustain pedal itself, you can easily replace the cable with an inexpensive instrument cable (some soldering skills may be required)." ContentLicense="CC BY-SA 3.0" />
  <row Id="42985" PostHistoryTypeId="2" PostId="24803" RevisionGUID="e3cf39f3-43f9-4c8e-8051-2b4ca82a60a0" CreationDate="2013-01-05T23:21:05.560" UserDisplayName="Babs Gibward" Text="I am using a Roland XP80 keyboard and find that at times, the pedal makes no difference. At other times the notes sustain continually. I have an FS-300 pedal that was recommended for use on the Roland keyboard which has the polarity switch, but even when this is changed the problem continues.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42986" PostHistoryTypeId="1" PostId="24803" RevisionGUID="e3cf39f3-43f9-4c8e-8051-2b4ca82a60a0" CreationDate="2013-01-05T23:21:05.560" UserDisplayName="Babs Gibward" Text="Sustain Pedal problem" ContentLicense="CC BY-SA 3.0" />
  <row Id="42987" PostHistoryTypeId="3" PostId="24803" RevisionGUID="e3cf39f3-43f9-4c8e-8051-2b4ca82a60a0" CreationDate="2013-01-05T23:21:05.560" UserDisplayName="Babs Gibward" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42988" PostHistoryTypeId="36" PostId="24805" RevisionGUID="14e066a5-0608-4bd3-b54c-6a6bacd66490" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8796/how-to-make-a-bass-layer-follow-a-specific-scale" />
  <row Id="42989" PostHistoryTypeId="2" PostId="24805" RevisionGUID="4d0f9820-ed35-4340-a2d5-19267eee7a44" CreationDate="2013-08-22T22:28:04.150" UserId="7376" UserDisplayName="Stian" Text="I don't know if this is the right place to be asking this, but giving it a shot!&#xD;&#xA;&#xD;&#xA;I'm using Mainstage 2, and I want to make a patch that has two layers/instruments. When I say &quot;layers&quot; I mean that two sounds/instruments should be triggered simultaneously when a key on the keyboard is pressed. The idea being to play both lead and bass notes with just one key. The problem is that the bass isn't playing just one octave lower, it's playing more like 15 semitones lower. But if I tune the bass synth 15 semitones down it will sound OK on some notes but not on others.&#xD;&#xA;&#xD;&#xA;The reason for this is of course that the bass doesn't follow the scale that the lead is played in, because the synth doesn't know what scale it is..&#xD;&#xA;&#xD;&#xA;So I'm wondering if there is a way to make the bass &quot;follow&quot; the scale that the lead is played in?&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;Example:&#xD;&#xA;&#xD;&#xA;The lead is   &#xD;&#xA;D A B - B D C# - These are the keys I'm pressing on the keyboard, and then I want the bass to play  &#xD;&#xA;B F# G - G B A - one octave lower. The scale is B minor." ContentLicense="CC BY-SA 3.0" />
  <row Id="42990" PostHistoryTypeId="1" PostId="24805" RevisionGUID="4d0f9820-ed35-4340-a2d5-19267eee7a44" CreationDate="2013-08-22T22:28:04.150" UserId="7376" UserDisplayName="Stian" Text="How to make a bass layer follow a specific scale?" ContentLicense="CC BY-SA 3.0" />
  <row Id="42991" PostHistoryTypeId="3" PostId="24805" RevisionGUID="4d0f9820-ed35-4340-a2d5-19267eee7a44" CreationDate="2013-08-22T22:28:04.150" UserId="7376" UserDisplayName="Stian" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42992" PostHistoryTypeId="36" PostId="24806" RevisionGUID="20013993-aed6-4a11-a204-3b575cfbcff2" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5392/audio-interface-sample-rate-issue" />
  <row Id="42993" PostHistoryTypeId="36" PostId="24807" RevisionGUID="a854fe57-5497-4190-9968-3677dd67aac8" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5392/audio-interface-sample-rate-issue/5424#5424" />
  <row Id="42994" PostHistoryTypeId="2" PostId="24807" RevisionGUID="3f0ef424-27c2-45d7-b01d-9f6c7e5fd554" CreationDate="2012-11-26T22:49:10.063" UserDisplayName="Anthony Nicholls" Text="*&quot;48kHz sample rate, A-wtd&quot;* is just telling you under what conditions the *&quot;114dB&quot;* dynamic range reading was achieved. It doesn't really tell you a-lot in all honesty, however almost all modern audio interfaces (including this one) will be more than cable of a decent quality recording and sound reproduction.&#xD;&#xA;&#xD;&#xA;In regards to sample rates it's not something to get to hung-up about, many arguments come about related to sample rates, but in reality 44.1kHz is 'more' than adequate for any regular audio needs, 48kHz is very handy for the purpose of audio for video for compatibility reasons.&#xD;&#xA;&#xD;&#xA;To justify my reasoning behind this, first read up on the *Nyquist-shannon theorem*. This states that a signal can be perfectly reconstructed provided that the maximum frequency (bandlimit) does not exceed half of the sampling rate (i.e. recording at a higher sample rate does not provide more information as the signal can already be 'perfectly' reconstructed, it is not an approximation!). &#xD;&#xA;So given this information a sample rate of 44.1kHz allows a theoretical maximum frequency of 22.05kHz before an effect known as 'aliasing' occurs. One argument is that this would require a very steep low-pass filter to prevent any frequencies exceeding 22.05kHz getting through (and causing aliasing), while allowing all frequencies below 22.05kHz through. However consider that at very best our ears can hear a maximum of about 20kHz, this would have to be quite a high level in comparison to other frequencies as we dont hear all frequencies of equal level (*Equal Loudness Contour*), and to be honest you will soon find anything above about 17/18kHz isn't really desirable (you may not even be able to hear it!). &#xD;&#xA;&#xD;&#xA;If your end medium is going to be a set sample rate (such as CD at 44.1kHz or video at 48kHz), then it may be worth sticking to these rates which reduces possibility of other noises being introduced at the conversion stage (see: *src.infinitewave.ca*).&#xD;&#xA;I'll add one more point and that's, if you need to capture frequencies outside the audible range or would like to for whatever purpose then of course 88.2kHz or 96kHz or even higher sampling rates are acceptable choices, but remember that few microphones can capture frequencies this high!&#xD;&#xA;&#xD;&#xA;For some further reading on the subject should it interest you try these:&#xD;&#xA;&#xD;&#xA; - [http://www.soundonsound.com/sos/jun05/articles/qa0605_6.htm][1]&#xD;&#xA; - [http://www.soundonsound.com/sos/jul12/articles/qanda-0712-1.htm][2]&#xD;&#xA;   (some talk here of why you 'might' want to go to 88.2kHz or 96kHz)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;also check out Lavry-engineering if you become interested from a more technical point of view.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/jun05/articles/qa0605_6.htm&#xD;&#xA;  [2]: http://www.soundonsound.com/sos/jul12/articles/qanda-0712-1.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="42995" PostHistoryTypeId="2" PostId="24806" RevisionGUID="50c459dc-cd59-442d-830f-d3a7504f0db0" CreationDate="2012-11-23T03:08:52.127" UserDisplayName="Juan Loki" Text="I'm looking at the PreSonus Audiobox 22VSL USB 2.0 and it says it has the option of 44.1kHz, 48kHz, 88.2kHz, and 96kHz sample rates, but it says its digital to analoge and analoge to digital conversion dynamic range sample rates are &quot;114dB, 48kHz sample rate, A-wtd&quot; &#xD;&#xA;I was wondering which sample rate should I be paying attention to and what the difference between the two are." ContentLicense="CC BY-SA 3.0" />
  <row Id="42996" PostHistoryTypeId="1" PostId="24806" RevisionGUID="50c459dc-cd59-442d-830f-d3a7504f0db0" CreationDate="2012-11-23T03:08:52.127" UserDisplayName="Juan Loki" Text="Audio interface sample rate issue" ContentLicense="CC BY-SA 3.0" />
  <row Id="42997" PostHistoryTypeId="3" PostId="24806" RevisionGUID="50c459dc-cd59-442d-830f-d3a7504f0db0" CreationDate="2012-11-23T03:08:52.127" UserDisplayName="Juan Loki" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="42998" PostHistoryTypeId="36" PostId="24808" RevisionGUID="f97ed993-7669-4146-bcee-5aec6e23c5a8" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7417/need-help-recreating-soulwax-synth-sound" />
  <row Id="42999" PostHistoryTypeId="36" PostId="24809" RevisionGUID="a8e7f8af-1d15-43b8-94fe-0e382d54f278" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7417/need-help-recreating-soulwax-synth-sound/7419#7419" />
  <row Id="43000" PostHistoryTypeId="2" PostId="24809" RevisionGUID="cb0ff5a2-e7db-44d5-a594-b0f86e1f1800" CreationDate="2013-03-17T22:27:23.263" UserId="7234" UserDisplayName="fluffy" Text="Sounds like a pretty standard dubstep bass lead.  Those are usually done by feeding a fundamental wave (usually a square wave) through a ring modulator, and playing with cutoff, resonance, and square wave duty cycle to make the swoopy noises." ContentLicense="CC BY-SA 3.0" />
  <row Id="43001" PostHistoryTypeId="2" PostId="24808" RevisionGUID="86e305e9-1606-4d51-9a6f-8d08134e57ef" CreationDate="2013-03-17T13:46:41.820" UserDisplayName="blop" Text="Can anyone give me some advice on how to recreate the synth from [this song? (starting at 1:38)][1]&#xD;&#xA;Specifically, I want to recreate it on a Yamaha Motif ES6 and I've tried different things but I just can't get anywhere close. I get that it's kind of a dubstep sound but there's more than just a wobble to it, right?&#xD;&#xA;&#xD;&#xA;I'd appreciate any tips on how to get to a similar sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=jb1jBn0uEOc#t=1m38s" ContentLicense="CC BY-SA 3.0" />
  <row Id="43002" PostHistoryTypeId="1" PostId="24808" RevisionGUID="86e305e9-1606-4d51-9a6f-8d08134e57ef" CreationDate="2013-03-17T13:46:41.820" UserDisplayName="blop" Text="Need help recreating soulwax synth sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="43003" PostHistoryTypeId="3" PostId="24808" RevisionGUID="86e305e9-1606-4d51-9a6f-8d08134e57ef" CreationDate="2013-03-17T13:46:41.820" UserDisplayName="blop" Text="&lt;synthesizer&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43004" PostHistoryTypeId="36" PostId="24810" RevisionGUID="4201e31e-1ac9-4b2f-a6ea-a1faf46cf7c8" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3263/when-going-digital-what-are-some-things-to-be-aware-of" />
  <row Id="43005" PostHistoryTypeId="2" PostId="24810" RevisionGUID="985bc087-25b6-47a9-8310-f4388ae012c2" CreationDate="2012-02-10T18:45:52.020" UserDisplayName="Natster" Text="We currently have a normal analogue system that supports about 25 channels of sound input.  We want to switch our sound board to digital.  Is this straight forward or is there things we need to be aware of?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43006" PostHistoryTypeId="1" PostId="24810" RevisionGUID="985bc087-25b6-47a9-8310-f4388ae012c2" CreationDate="2012-02-10T18:45:52.020" UserDisplayName="Natster" Text="When going digital what are some things to be aware of?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43007" PostHistoryTypeId="3" PostId="24810" RevisionGUID="985bc087-25b6-47a9-8310-f4388ae012c2" CreationDate="2012-02-10T18:45:52.020" UserDisplayName="Natster" Text="&lt;system&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43008" PostHistoryTypeId="36" PostId="24811" RevisionGUID="5107f5ea-4a7a-4537-b4a5-829f4229c85c" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/910/what-could-cause-a-project-not-be-transported-in-reaper-when-using-asio4all-with" />
  <row Id="43009" PostHistoryTypeId="36" PostId="24812" RevisionGUID="1fdf449f-0196-4236-824c-18e3a1d541c7" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/910/what-could-cause-a-project-not-be-transported-in-reaper-when-using-asio4all-with/914#914" />
  <row Id="43010" PostHistoryTypeId="36" PostId="24813" RevisionGUID="f72d89cc-541f-4ebd-94eb-beaeecb15e29" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/910/what-could-cause-a-project-not-be-transported-in-reaper-when-using-asio4all-with/1287#1287" />
  <row Id="43011" PostHistoryTypeId="2" PostId="24812" RevisionGUID="fab8bbb5-fcbf-4b88-b260-db0f5fbe8b36" CreationDate="2011-02-25T17:39:48.590" UserId="7209" Text="Sounds to me like the clock is stuck.  Have you enabled any external digital inputs, such as S/PDIF on any interface?  Usually the interfaces internal clock will try to sync to something external in those cases.&#xD;&#xA;&#xD;&#xA;You might also try enabling different combinations of inputs and outputs in the ASIO4ALL control panel.  Perhaps you can get ASIO4ALL to use a different card as its sync master." ContentLicense="CC BY-SA 2.5" />
  <row Id="43012" PostHistoryTypeId="2" PostId="24813" RevisionGUID="3806e234-9d25-400f-95e4-b8c6efdbfd44" CreationDate="2011-04-26T19:29:52.047" UserId="7471" UserDisplayName="Mark Heath" Text="ASIO4All seems to be one of the very few audio drivers that will let you aggregate soundcards, so if it doesn't work then your options are limited. Have you considered getting yourself an audio interface with enough inputs and outputs for your requirements (e.g. the [Tascam US-600][1])?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tascam.com/product/us-600/" ContentLicense="CC BY-SA 3.0" />
  <row Id="43013" PostHistoryTypeId="2" PostId="24811" RevisionGUID="b54dcc9f-6a2f-4963-8263-1fe711fdee24" CreationDate="2011-02-25T12:07:12.063" UserId="9520" UserDisplayName="Oliver Giesen" Text="(Feel free to edit the title if you find a better way of describing the &quot;transport&quot; aspect of this problem.)&#xD;&#xA;&#xD;&#xA;The problem is this: I'm trying to set up my Zoom H2 in Reaper via the Asio4All driver, so that I can connect multiple interfaces for input and monitor the mixed output (while recording) via the onboard soundcard. However, as soon as I enable the H2's input in the A4A-control panel, the project no longer &quot;transports&quot; when I hit Play or Record, i.e. the position indicator remains stationary, the timecode does not progress and no playback is heard. I don't even have to actually hook up the H2 input to any track. It's simply enabling it that triggers this.&#xD;&#xA;&#xD;&#xA;With the H2's own ASIO driver everything is working as expected but that way I'm restricted to using the H2's in- and outputs only.&#xD;&#xA;&#xD;&#xA;I'm using Asio4All v2.10 and Reaper 3.75/4.0a41 on Windows 7 SP1 32bit. In the process of investigating this I've already updated all audio drivers as well as the H2's firmware to the latest available versions.&#xD;&#xA;&#xD;&#xA;Any ideas how to further diagnose this and where best to get help (hopefully here!)? I already tried on the [Reaper][1] and [Asio4All][2] forums but so far to no avail.&#xD;&#xA;&#xD;&#xA;  [1]: http://forum.cockos.com/showthread.php?t=75399&#xD;&#xA;  [2]: http://mtippach.proboards.com/index.cgi?board=likelynotabugbutthereisaproblem&amp;action=display&amp;thread=2548" ContentLicense="CC BY-SA 2.5" />
  <row Id="43014" PostHistoryTypeId="1" PostId="24811" RevisionGUID="b54dcc9f-6a2f-4963-8263-1fe711fdee24" CreationDate="2011-02-25T12:07:12.063" UserId="9520" UserDisplayName="Oliver Giesen" Text="What could cause a project not be transported in Reaper when using Asio4All with Zoom H2?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43015" PostHistoryTypeId="3" PostId="24811" RevisionGUID="b54dcc9f-6a2f-4963-8263-1fe711fdee24" CreationDate="2011-02-25T12:07:12.063" UserId="9520" UserDisplayName="Oliver Giesen" Text="&lt;setup&gt;&lt;windows&gt;&lt;reaper&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43016" PostHistoryTypeId="36" PostId="24814" RevisionGUID="af3461f6-edf0-4d37-8db0-01f6ba625fbd" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3977/original-mbox-with-protools-8" />
  <row Id="43017" PostHistoryTypeId="36" PostId="24815" RevisionGUID="9963c37e-3c1e-4181-b74d-2f5c5ff1fb98" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3977/original-mbox-with-protools-8/7872#7872" />
  <row Id="43018" PostHistoryTypeId="2" PostId="24815" RevisionGUID="49fce2ce-a3e5-4781-b801-62778944cd41" CreationDate="2013-05-11T16:28:50.237" UserDisplayName="Arcegis" Text="Have you tried the USB-Audio.de ASIO Driver ? There is a version for the MBox (The 2.8.40) that is TORRENT-distributed, it might help you. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="43019" PostHistoryTypeId="2" PostId="24814" RevisionGUID="179fc73a-3b67-4a30-8d82-6b4fd0721e1e" CreationDate="2012-05-12T17:29:13.833" UserDisplayName="Stanley" Text="I'm running Pro tools 8 on OS X 10.7.3 I have a MBox2 Micro all works fine. But I also have an original Mbox is there anyway to get this working with this version of pro tools and OS X?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43020" PostHistoryTypeId="1" PostId="24814" RevisionGUID="179fc73a-3b67-4a30-8d82-6b4fd0721e1e" CreationDate="2012-05-12T17:29:13.833" UserDisplayName="Stanley" Text="Original Mbox with protools 8" ContentLicense="CC BY-SA 3.0" />
  <row Id="43021" PostHistoryTypeId="3" PostId="24814" RevisionGUID="179fc73a-3b67-4a30-8d82-6b4fd0721e1e" CreationDate="2012-05-12T17:29:13.833" UserDisplayName="Stanley" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43022" PostHistoryTypeId="36" PostId="24816" RevisionGUID="4059fd8e-3bc5-4ea7-8efc-4bc4c634da49" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2780/how-to-record-voiceguitar-on-a-macbook-usb-sound-card" />
  <row Id="43023" PostHistoryTypeId="36" PostId="24817" RevisionGUID="e1b2fcaa-77f5-4e41-8afb-e974504edd47" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2780/how-to-record-voiceguitar-on-a-macbook-usb-sound-card/2787#2787" />
  <row Id="43024" PostHistoryTypeId="2" PostId="24817" RevisionGUID="2ca34607-bdb3-43be-a7e4-c7c3682b64bd" CreationDate="2011-12-09T23:50:36.460" UserId="7294" UserDisplayName="Warrior Bob" Text="I'm assuming that this MacBook does not have a firewire port, so you're limited to USB.&#xD;&#xA;&#xD;&#xA;An external soundcard for recording is usually called an **audio interface**, and you may have more luck searching using this term. I usually start with major site known to carry them, such as Amazon, Musician's Friend, Zzounds, or Sweetwater. There are many such sites, but these are some of the larger ones.&#xD;&#xA;&#xD;&#xA;Since you've already been recording a mixed signal through a PC's line in port, I'm presuming that:&#xD;&#xA;&#xD;&#xA; - You aren't concerned about recording multiple instruments to separate tracks simultaneously&#xD;&#xA; - You also aren't overly worried about the quality of the digital converter (the majority of &quot;line-in ports&quot; on PCs are not famous for their fidelity or quality)&#xD;&#xA; - This is mostly &quot;for fun&quot;&#xD;&#xA;&#xD;&#xA;This means that you don't necessarily need more than two channels (since you're only recording stereo), and you don't need preamplifiers or XLR jacks, since you've already got the mixer.&#xD;&#xA;&#xD;&#xA;Ordinarily, [shopping recommendations aren't a good fit for this site][1], but given the assumptions above, I'd have a hard time not recommending a [Behringer UCA202][2]:&#xD;&#xA;&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;It not great (stero in and out, no preamps, so-so brand), but the one I have sounded better than any of my computers' line-in ports up to that point, and it's generally found new for around $30 US. It'll get you going for cheap and I can confirm that it works on both a G4 Mac Mini and on last year's Macbook Pro. It is class-compliant so you do not need to install drivers.&#xD;&#xA;&#xD;&#xA;But if you want something a bit better but still in that range, here are also a variety of $100 interfaces available from many manufacturers with various improvements (better quality, better preamps, more features, whatever) but I can't really make a recommendation in that space that won't be irrelevant in a few years(and therefore not really useful on this site). I recommend going to any of the sites I mentioned above, or any like them, and browsing the &quot;audio interfaces&quot; section, sorted by price. Take the ones whose qualities you like and read reviews from people who have used them.&#xD;&#xA;&#xD;&#xA;Once you've got an interface for the MacBook, the recording process should be exactly the same as it was on your PC. &#xD;&#xA;&#xD;&#xA;  [1]: http://blog.stackoverflow.com/2010/11/qa-is-hard-lets-go-shopping/&#xD;&#xA;  [2]: http://www.behringer.com/EN/Products/UCA202.aspx&#xD;&#xA;  [3]: http://i.stack.imgur.com/PEIVf.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="43025" PostHistoryTypeId="2" PostId="24816" RevisionGUID="b340485e-448b-4b78-b853-d2ca1e966888" CreationDate="2011-12-08T20:29:11.433" UserDisplayName="pmilligan57" Text="I have a couple e855 Sennheiser mics and 1202-VLZ Mackie mixer. When my son was visiting recently, we connected the mics+mixer to the stereo line-in of my PC desktop and captured some decent recordings of his voice+guitar with Audacity. He would like to take the mics and mixer with him so he can record at his place, but he has a MacBook which does not have a line-in. &#xD;&#xA;&#xD;&#xA;The most obvious solution is to get some kind of USB soundcard, but I'm not sure what all I should be looking for, and I am having trouble finding soundcards that specifically known to work with a MacBook. I was hoping you might recommend hardware options and volunteer any recording advice relevant to this particular situation. I would prefer to start with lower cost options (under $100 if possible). &#xD;&#xA;&#xD;&#xA;I contacted Creative asking about their X-FI products and they said their only USB product that works with Mac is the [Sound Blaster Wireless](http://us.store.creative.com/Creative-Sound-Blaster-Wireless-Transmitter-with/M/B002BDU95A.htm)." ContentLicense="CC BY-SA 3.0" />
  <row Id="43026" PostHistoryTypeId="1" PostId="24816" RevisionGUID="b340485e-448b-4b78-b853-d2ca1e966888" CreationDate="2011-12-08T20:29:11.433" UserDisplayName="pmilligan57" Text="How to record (voice+guitar) on a MacBook? USB sound card?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43027" PostHistoryTypeId="3" PostId="24816" RevisionGUID="b340485e-448b-4b78-b853-d2ca1e966888" CreationDate="2011-12-08T20:29:11.433" UserDisplayName="pmilligan57" Text="&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43028" PostHistoryTypeId="36" PostId="24818" RevisionGUID="60230f2f-613c-4dba-8dcb-1194c5d1f6ee" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6908/which-popular-synthesizer-voices-are-available-for-software" />
  <row Id="43029" PostHistoryTypeId="36" PostId="24819" RevisionGUID="30b917d3-4047-4b9c-aab1-f5fe67b1d6ff" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6908/which-popular-synthesizer-voices-are-available-for-software/6909#6909" />
  <row Id="43030" PostHistoryTypeId="2" PostId="24819" RevisionGUID="03cfd63c-3367-4153-b93b-f87aa429b2b4" CreationDate="2013-01-23T09:43:20.530" UserId="9744" UserDisplayName="therobyouknow" Text="Take a look at:&#xD;&#xA;&#xD;&#xA; - Reason software (many vintage, classic synths emulated)&#xD;&#xA; - Korg Legacy software (many of their own synths emulated)&#xD;&#xA;&#xD;&#xA;Not sure about the VST side of the above, there may be support but I would invite you to research this further." ContentLicense="CC BY-SA 3.0" />
  <row Id="43031" PostHistoryTypeId="2" PostId="24818" RevisionGUID="8a27f153-d506-460e-95ac-8ba647e6af5a" CreationDate="2013-01-23T08:44:38.790" UserId="7840" UserDisplayName="themirror" Text="Since the 1970s, there have been tens of thousands of synthesizer sounds, hundreds of which have become so popular that they are instantly recognizable, as well as dozens of synthesizer &quot;models&quot; (not sure what the correct term is) such &quot;XG&quot; or &quot;AWM2&quot;.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Which of these are available in commercial or open-source software packages or modules such as VSTs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43032" PostHistoryTypeId="1" PostId="24818" RevisionGUID="8a27f153-d506-460e-95ac-8ba647e6af5a" CreationDate="2013-01-23T08:44:38.790" UserId="7840" UserDisplayName="themirror" Text="Which popular synthesizer voices are available for software?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43033" PostHistoryTypeId="3" PostId="24818" RevisionGUID="8a27f153-d506-460e-95ac-8ba647e6af5a" CreationDate="2013-01-23T08:44:38.790" UserId="7840" UserDisplayName="themirror" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43034" PostHistoryTypeId="36" PostId="24820" RevisionGUID="c19f943a-b013-408e-8b81-0174c0e7e812" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1333/where-can-i-get-a-memory-card-m-256d-or-m-256e" />
  <row Id="43035" PostHistoryTypeId="2" PostId="24821" RevisionGUID="49bab1c6-c2d6-4d9b-951d-d37f08c1300d" CreationDate="2011-05-03T13:24:31.023" UserId="7471" UserDisplayName="Mark Heath" Text="You can get M-256E memory cards on ebay" ContentLicense="CC BY-SA 3.0" />
  <row Id="43036" PostHistoryTypeId="2" PostId="24820" RevisionGUID="187b12ce-c666-4a40-a36c-9e458dfa0449" CreationDate="2011-05-02T22:50:55.137" UserId="9651" UserDisplayName="Caleb" Text="These things are really old and no longer generally available, but I'd like to get one of them to get more Patches/Sounds for my keyboard. Is there still a way to acquire them?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43037" PostHistoryTypeId="1" PostId="24820" RevisionGUID="187b12ce-c666-4a40-a36c-9e458dfa0449" CreationDate="2011-05-02T22:50:55.137" UserId="9651" UserDisplayName="Caleb" Text="Where can I get a Memory Card M-256D or M-256E" ContentLicense="CC BY-SA 3.0" />
  <row Id="43038" PostHistoryTypeId="3" PostId="24820" RevisionGUID="187b12ce-c666-4a40-a36c-9e458dfa0449" CreationDate="2011-05-02T22:50:55.137" UserId="9651" UserDisplayName="Caleb" Text="&lt;keyboard&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43039" PostHistoryTypeId="36" PostId="24821" RevisionGUID="cc309a5b-c07d-4a17-bc47-bed1d6b45a08" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1333/where-can-i-get-a-memory-card-m-256d-or-m-256e/1335#1335" />
  <row Id="43040" PostHistoryTypeId="36" PostId="24822" RevisionGUID="f99822ce-b268-4bcb-a4e2-d2c6ce8778ef" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3588/focusrite-scarlett-18i6-no-output-in-fl-studio" />
  <row Id="43041" PostHistoryTypeId="36" PostId="24823" RevisionGUID="87d3904b-7f03-4e61-9d16-4086be96d83c" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3588/focusrite-scarlett-18i6-no-output-in-fl-studio/7701#7701" />
  <row Id="43042" PostHistoryTypeId="2" PostId="24823" RevisionGUID="a33a2133-ca40-4bb0-ba62-622d7c0be12a" CreationDate="2013-04-20T23:04:32.120" UserDisplayName="GratuiTous" Text="Inside FL Studio, hit F10 to open options.&#xD;&#xA;&#xD;&#xA;1. Enable the scarlett audio interface.&#xD;&#xA;2. Make sure volume is turned up a bit.&#xD;&#xA;3. Try the MIX KNOB.  Make sure it's turned to the right.&#xD;&#xA;4.  Go to the audio settings, it looks like a speaker, and turn from Primary Driver, to the Focusrite option.&#xD;&#xA;&#xD;&#xA;If these do not work, make sure you have installed your drivers from http://global.focusrite.com/downloads !!" ContentLicense="CC BY-SA 3.0" />
  <row Id="43043" PostHistoryTypeId="2" PostId="24822" RevisionGUID="6a796fc6-d4a7-470a-91bc-582cc6a35903" CreationDate="2012-03-16T20:28:35.950" UserDisplayName="Adarsh K" Text="I am using Focusrite scarlett 18i6 with FL studio, I can see input and output meter in the mixer active, but I cannot hear any sound in my speaker, How do i map the output to speaker?&#xD;&#xA;Beginner here, any help appreciated  " ContentLicense="CC BY-SA 3.0" />
  <row Id="43044" PostHistoryTypeId="1" PostId="24822" RevisionGUID="6a796fc6-d4a7-470a-91bc-582cc6a35903" CreationDate="2012-03-16T20:28:35.950" UserDisplayName="Adarsh K" Text="Focusrite scarlett 18i6- No output in fl studio" ContentLicense="CC BY-SA 3.0" />
  <row Id="43045" PostHistoryTypeId="3" PostId="24822" RevisionGUID="6a796fc6-d4a7-470a-91bc-582cc6a35903" CreationDate="2012-03-16T20:28:35.950" UserDisplayName="Adarsh K" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43046" PostHistoryTypeId="36" PostId="24824" RevisionGUID="9d3f67e8-f535-4dd3-8d11-30364b285e4f" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/856/windows-7-line-in-latency-issue" />
  <row Id="43047" PostHistoryTypeId="36" PostId="24825" RevisionGUID="8f63b3f6-3126-48ef-ae21-4aed156a826a" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/856/windows-7-line-in-latency-issue/859#859" />
  <row Id="43048" PostHistoryTypeId="36" PostId="24826" RevisionGUID="e679675c-8d20-46d9-9213-307753a8d17e" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/856/windows-7-line-in-latency-issue/871#871" />
  <row Id="43049" PostHistoryTypeId="36" PostId="24827" RevisionGUID="559814b3-dd5f-4665-bf5d-30b8c09f1e21" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/856/windows-7-line-in-latency-issue/896#896" />
  <row Id="43050" PostHistoryTypeId="36" PostId="24828" RevisionGUID="36d3184b-0713-4d52-bb47-736e396f99a7" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/856/windows-7-line-in-latency-issue/906#906" />
  <row Id="43051" PostHistoryTypeId="36" PostId="24829" RevisionGUID="923f8563-b60c-4f45-bb9a-340126a7edb4" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/856/windows-7-line-in-latency-issue/4518#4518" />
  <row Id="43052" PostHistoryTypeId="2" PostId="24825" RevisionGUID="7ced7641-64e9-4890-983a-54a185e52227" CreationDate="2011-02-20T02:15:16.603" UserDisplayName="d-_-b" Text="&gt; &quot;the line in port on the computer&quot;&#xD;&#xA;&#xD;&#xA;&gt; &quot;I'm almost sure that the manufacturer&#xD;&#xA;&gt; of the on-board sound card is&#xD;&#xA;&gt; RealTek.&quot;&#xD;&#xA;&#xD;&#xA;DAW recording 101: on board sound cards are useless&#xD;&#xA;&#xD;&#xA;On board sound cards, the one that comes built into your motherboard is designed to make beeps and whistles and now-a-days telephony. It is not designed for high qualily, low latency sampling.&#xD;&#xA;&#xD;&#xA;No matter what machine you have, you will get very poor performance with an on-board sound card.&#xD;&#xA;&#xD;&#xA;With Windows, you'll need a sound card with ASIO drivers that was designed for studio use. It doesn't have to be mutli-channel, or even high bit/frequency sample rate. But it needs decent ASIO drivers. If you want to record good quality, you'll need something with decent AD converters that can sample high bit rates at high frequency.&#xD;&#xA;&#xD;&#xA;DAW recording 102: get a decent machine&#xD;&#xA;&#xD;&#xA;It's not so much that the netbook is under powered for sampling. It's that it probably has cheap/poor quality components. I'm specifically reffering to the either the lack of firewire or a cheap chipset. USB will almost never achieve low latency. The way zero-latency monitoring is done with USB devices is the sound is monitored before it enters the USB bus. This is a good solution. However, you will not be able to hear any FX. Also, any software synths or samples will become difficult to play.&#xD;&#xA;&#xD;&#xA;The reason why you can acheive lower latency with firewire is because firewire has it's own dedicated processor and in turn also puts less load on the CPU. However, poor qulity firewire controllers have their own set of problems.&#xD;&#xA;&#xD;&#xA;If you are only recording one instrument at a time and you don't want to play software sythns/samplers, you could do fine with a stereo USB sound card and your netbook. There are many with built-in mic pres for very cheap.&#xD;&#xA;&#xD;&#xA;You might be able to also get some alternate drivers that may emulate zero-latency monitoring. However, this is highly unlikely simply because of the AD-bus-software-bus-DA round trip.&#xD;&#xA;&#xD;&#xA;Windows Vista and later have considerable amount of overhead. If you want to have a well performing machine, use linux or Windows XP. Of course you could also shell out for an Apple, but if you know what you are doing, Apples offer no extra benefits." ContentLicense="CC BY-SA 2.5" />
  <row Id="43053" PostHistoryTypeId="2" PostId="24826" RevisionGUID="69b0e49f-9726-47cb-9754-513af80bac9e" CreationDate="2011-02-21T13:01:06.247" UserDisplayName="Eugene Bujak" Text="On Windows, get &lt;a href=&quot;http://en.wikipedia.org/wiki/Audio_Stream_Input/Output&quot;&gt;ASIO&lt;/a&gt;-compatible audio interface. Firewire or USB since you're on laptop.&#xD;&#xA;&#xD;&#xA;This is the most proper solution to your problem.&#xD;&#xA;&#xD;&#xA;You can try to install ASIO4ALL wrapper, which just lies to your OS and software that your internal interface can do ASIO, but it's considered a hack by any means. Your mileage may vary if you go this path, I went this path myself, and it can easily become unstable." ContentLicense="CC BY-SA 2.5" />
  <row Id="43054" PostHistoryTypeId="2" PostId="24827" RevisionGUID="d6830554-d602-4e4a-8622-154bcacffe3c" CreationDate="2011-02-24T05:34:11.737" UserId="7856" UserDisplayName="Corey" Text="The latency is probably a result of having only a &quot;soft&quot; connection between the input jack and the output jack on your netbook.&#xD;&#xA;&#xD;&#xA;I'm assuming you have selected &quot;Listen to this device&quot; from the Input properties of the &quot;Recording Device&quot;.&#xD;&#xA;&#xD;&#xA;This is unfortunately becoming more common with commodity chipsets as would be found in a netbook computer.&#xD;&#xA;&#xD;&#xA;In older (even cheap) chipsets, there was an actual &quot;hard&quot; link between the input and output jacks that could be attenuated by using the &quot;line&quot; or &quot;mic&quot; level in the windows volume mixer. There was no A/D or D/A conversion needed and therefore no latency.&#xD;&#xA;&#xD;&#xA;Because this &quot;hard&quot; link has been eliminated from the circuitry, the audio must be sampled via the A/D, routed through the Windows audio API, then decoded by the D/A and spit back out the output. This of course takes time, and leads to the delay you are noticing." ContentLicense="CC BY-SA 2.5" />
  <row Id="43055" PostHistoryTypeId="2" PostId="24828" RevisionGUID="b53d3a86-46f6-4078-bdf7-e38b6934e0c4" CreationDate="2011-02-24T21:17:45.170" UserDisplayName="horatio" Text="I use my computer essentially as an amp, but I did get mine working with live monitoring in Reaper while using realtek onboard sound. I have a much beefier setup than a netbook though.&#xD;&#xA;&#xD;&#xA;The best (lowest) latency for me:&#xD;&#xA;&#xD;&#xA;1) ASIO4ALL - must have you will NOT get low latency using WDM or DirectWhatever&#xD;&#xA;&#xD;&#xA;2) set sampling rate to 96khz" ContentLicense="CC BY-SA 2.5" />
  <row Id="43056" PostHistoryTypeId="2" PostId="24829" RevisionGUID="74171e46-0d6c-4e36-baed-be641a3a4989" CreationDate="2012-08-05T03:57:46.533" UserDisplayName="James Poulose" Text="Welcome to the club :-). I had exactly the same issue and this is how i solved it. You basically need two setting changes to fix this latency.&#xD;&#xA;&#xD;&#xA;1) Go to Control Panel-&gt;Sound-&gt;Playback. Open the properties for 'Speakers'. Go to 'Levels' tab and scroll down through the list of ports and choose your line in port. Increase the volume slider to 90%-100% level.&#xD;&#xA;&#xD;&#xA;2) Go to Control Panel-&gt;Sound-&gt;Recording. Locate your line in port there(If audio is already coming in via line in, you should see a dancing bar). Open properties of that port and go to 'Listen' tab. Un-check 'Listen to this device'.&#xD;&#xA;&#xD;&#xA;You should be fine now. I had zero latency when i tried these. BTW, i was trying with a digital keyboard." ContentLicense="CC BY-SA 3.0" />
  <row Id="43057" PostHistoryTypeId="2" PostId="24824" RevisionGUID="defa130f-5112-44d2-9606-88e1de3de061" CreationDate="2011-02-19T23:31:30.963" UserId="7713" UserDisplayName="CheeseConQueso" Text="I'm running Windows 7 Pro 32-bit on my Dell Latitude 2100 netbook and I'm having an issue with the line in device/driver/functionality.&#xD;&#xA;&#xD;&#xA;The device &amp; driver are stock:&#xD;&#xA;&#xD;&#xA; - Driver Date: 7/13/2009 &#xD;&#xA; - Driver Version: 6.1.7600.16385&#xD;&#xA;&#xD;&#xA;My setup is bass guitar running through a 12' long instrument cable (1/4&quot;) with a 1/4&quot; female to 1/8&quot; male adapter into the line in port on the computer. Then the 15' long headphones/line out cable goes into a standard set of powered speakers.&#xD;&#xA;&#xD;&#xA;I'm almost sure that the manufacturer of the on-board sound card is RealTek.&#xD;&#xA;&#xD;&#xA;The problem is that there is latency (when monitoring input) between the source and the speakers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;How do I get rid of this latency?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks for any help." ContentLicense="CC BY-SA 2.5" />
  <row Id="43058" PostHistoryTypeId="1" PostId="24824" RevisionGUID="defa130f-5112-44d2-9606-88e1de3de061" CreationDate="2011-02-19T23:31:30.963" UserId="7713" UserDisplayName="CheeseConQueso" Text="Windows 7 Line In Latency Issue" ContentLicense="CC BY-SA 2.5" />
  <row Id="43059" PostHistoryTypeId="3" PostId="24824" RevisionGUID="defa130f-5112-44d2-9606-88e1de3de061" CreationDate="2011-02-19T23:31:30.963" UserId="7713" UserDisplayName="CheeseConQueso" Text="&lt;windows&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43060" PostHistoryTypeId="36" PostId="24830" RevisionGUID="4bb5fcb3-d41c-4b2c-9f8b-8338482fdb48" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5561/how-to-use-emotiv-epoc-or-ambient-theaudeo-with-ableton-live" />
  <row Id="43061" PostHistoryTypeId="2" PostId="24831" RevisionGUID="35449896-81d4-45c7-9789-3db4aaf77881" CreationDate="2012-12-12T03:11:49.897" UserId="7189" Text="If you want to make a plugin for Ableton, you need to look up [VST plugins](http://en.wikipedia.org/wiki/Virtual_Studio_Technology).&#xD;&#xA;&#xD;&#xA;PD is [Pure Data](http://puredata.info), a free modular MIDI and audio processing environment. PD is similar to [Max/MSP](http://cycling74.com/products/max/), which directly integrates into Live via [Max4Live](https://www.ableton.com/en/live/max-for-live/)." ContentLicense="CC BY-SA 3.0" />
  <row Id="43062" PostHistoryTypeId="2" PostId="24830" RevisionGUID="81994d35-4077-4ba5-bd2f-b37afb831196" CreationDate="2012-12-11T23:34:47.387" UserDisplayName="uav" Text="![headset](http://i.stack.imgur.com/ePTRo.gif)  &#xD;&#xA;![dongle](http://i.stack.imgur.com/fXoaw.jpg)&#xD;&#xA;&#xD;&#xA;I know C/Java/Python and I want to make a plug-in for Ableton Live. **Is this possible and where to start?**&#xD;&#xA;&#xD;&#xA;I found some software chain on the Emotiv forums: MindYourOSCs -&gt; PD -&gt; MidiYoke -&gt; Ableton Live  &#xD;&#xA;So what is PD?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43063" PostHistoryTypeId="1" PostId="24830" RevisionGUID="81994d35-4077-4ba5-bd2f-b37afb831196" CreationDate="2012-12-11T23:34:47.387" UserDisplayName="uav" Text="How to use Emotiv EPOC or Ambient TheAudeo with Ableton Live?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43064" PostHistoryTypeId="3" PostId="24830" RevisionGUID="81994d35-4077-4ba5-bd2f-b37afb831196" CreationDate="2012-12-11T23:34:47.387" UserDisplayName="uav" Text="&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43065" PostHistoryTypeId="36" PostId="24831" RevisionGUID="6d6089c8-84ba-4c87-877b-f3f6178964ad" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5561/how-to-use-emotiv-epoc-or-ambient-theaudeo-with-ableton-live/5562#5562" />
  <row Id="43066" PostHistoryTypeId="36" PostId="24832" RevisionGUID="75e17c42-5798-48e4-93d4-749b4aead047" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4916/how-do-i-achieve-a-cleaner-sound" />
  <row Id="43067" PostHistoryTypeId="2" PostId="24833" RevisionGUID="1335214c-509b-4dee-a619-5573d97a8ee3" CreationDate="2012-10-05T13:57:34.553" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="Here are some techniques and things I used improperly for a long time that I think will help you. Luckily for you, I've researched a lot of techniques for dubstep and EDM in general. And I have a lot of experience with NI Massive.&#xD;&#xA;&#xD;&#xA;What I did for a long time was **use the EQ too boost the loudness of my instruments which is NOT what you want to do.** Using the EQ to effectively *layer* the sounds is key to removing mud from your track. **Some people like to do this with multiband compressors but I find this to change the overall sound sometimes, and if overused, it can peak pretty bad.**&#xD;&#xA;&#xD;&#xA;**One really good technique which most new artists under-use is using the EQ to have each separate sound fill out certain and varied frequency ranges to reduce overlap.** For example, what I like to do is have my kick drum raised with the EQ at ~100hz and lowered a decent amount at ~200hz and lowered significantly around 30hz to 60hz. What this does is make room for the common strongest frequencies of the snare (200) and sub bass (30-70). For a more specific and personal touch, I sometimes raise the kick at an extremely high pitch frequency (varies on the song itself) which gives it that slight high pitched punch often used in EDM and lower then the mid ranges very slightly too to make room for my synths and to. Next, I do the same thing as earlier with the frequency specific EQing to the snare and sub but oppositely. Raise the snare ~200hz and lower everything below that a good amount. I like to cut off the really high frequencies on snares but that is just me. Then with the sub, I boost it at 30-70hz and lower everything from 120z and above. Significantly so on the higher frequencies. **Also for almost every sound in my song that isn't a kick drum, snare, or sub, I lower the frequencies at ~200hz and ~120hz and below.** What this does is remove the overlap from the different sounds giving more room for the bass, kick drum, and snare.&#xD;&#xA;&#xD;&#xA;**Another thing to take note of is the overall *image* of the song.** Generally highs are set to be mostly stereo with limited mono. Then with lows, are generally mostly mono, with very limited stereo. This is a technique I discovered fairly recently which has helped immensely.&#xD;&#xA;&#xD;&#xA;**Another tool that is underused, misunderstood, or overlooked by beginners is compressing sounds with a wide gain range.** I'd do some research into how a compressor works exactly and when to use it. But to put it simply **a compressor controls the peak and range of an individual track's gain level.** Think of it as squashing the gain to fit within a certain range.&#xD;&#xA;&#xD;&#xA;Specifically with dubstep (brostep actually, but don't mind the name even though it was created as an insult) growls or wobbles, I do the same as above (lower at 100 and 200) but raise it in between 100 and 200 to give it a little punch and then raise it again in the mid tones from 250-500hz or above. I tend to have a separate synth designated as the sub for wobbles and growls so that a sub oscillator within those synths will not distort the others. With non dubstep songs, I try to keep the mid range sounds separate from the typical dubstep sound range by generally not increasing it between 100 and 200hz. This really depends on preference and the specific song. Heck, it could sound great even in a trance song which typically aren't known for having overly strong bass levels.&#xD;&#xA;&#xD;&#xA;The mix-down styles will vary from genre to genre and will depend on what samples or recordings you are using. **Always use a spectrum analyzer to check the peaks of each sound and to find where some unwanted frequencies are.** That is a key element to all of my mixing. Using compressors correctly will generally fix the peaking problem a lot of beginners have when mixing. **Just be careful not to overuse compressors. I know many people who advised me to compress every element of my songs just because they were told it was a good idea.** They didn't even know why it was a good idea or why they did it.&#xD;&#xA;&#xD;&#xA;**There are also some techniques specifically used in NI Massive.** One is to add a dimension expander effect to do exactly what the name implies. Adding some additional voices under the voicing tab is a good idea too if you want to add more fullness to the sound. On envelope 4 (the gain envelope) a lot of people raise the main level so that the volume stays consistent while the note is held since it set to lower automatically after the initial note is played. One thing Skrillex does a lot with some of his signature sounds is use a hardclipper filter to give them more bite and intensity. Formant oscillators and scream filters are also a commonly used elements in dubstep songs and I personally love them. Don't forget to try out different settings, modulation effects, wave tables position, and amp position for the oscillators too. Also try changing the wave forms, like the default spectrum to bend+, bend+/-, bend-, or formant like I just mentioned.&#xD;&#xA;&#xD;&#xA;**Another thing to keep in mind is that you don't want to stick with only one synthesizer.** FM8 for example is another great NI synth which is actually more often used by Skrillex than massive. Even if you used the exact same filters, effects, and oscillators in Massive as you did in FM8, it would sound totally different. This is because FM8 is an FM synthesizer while Massive is an additive synthesizer. Personally I've been falling in love with FM8 and reFX Nexus 2 and have been using Massive less than I used to.&#xD;&#xA;&#xD;&#xA;**WOOPS SORRY FOR THE TL;DR BUT TRUST ME IT IS WORTH THE READ.**" ContentLicense="CC BY-SA 3.0" />
  <row Id="43068" PostHistoryTypeId="2" PostId="24832" RevisionGUID="9a36a2e3-7516-4b21-ba83-b2fc68a69c09" CreationDate="2012-10-04T21:11:20.340" UserId="14544" UserDisplayName="Warren van Rooyen" Text="All producers want that world standard sound.&#xD;&#xA;&#xD;&#xA;Since production has gone digital, this is possible from a home studio with the right knowledge.&#xD;&#xA;&#xD;&#xA;I attempted to achieve the fullness of sound created by top producers. I ended up adding so many sounds and effects that I had a murky clipping production of an album. The frequency was spent.&#xD;&#xA;&#xD;&#xA;I know the big answer could be, do more with less. I've come to understand that better.&#xD;&#xA;&#xD;&#xA;At the same time, there are still techniques that give sufficient fullness so that one can do more with less e.g. adding reverb with low damp for percussion instruments.&#xD;&#xA;&#xD;&#xA;I was wondering what other tricks you know. Another example I can give you to expand is Skrillex. There are a billion Dubstep artists out there using run of the mill Massive synths. He's getting an extremely unique 'fullness' out of his synths.&#xD;&#xA;&#xD;&#xA;It means he uses the same programs and same synths doing similar things e.g. using synths in three octaves as the only synth in a powerful section of the song; but he's obviously getting noticably better results. &#xD;&#xA;&#xD;&#xA;Please provide me with some of the secrets you've found that could allow me the confidence in doing more with less." ContentLicense="CC BY-SA 3.0" />
  <row Id="43069" PostHistoryTypeId="1" PostId="24832" RevisionGUID="9a36a2e3-7516-4b21-ba83-b2fc68a69c09" CreationDate="2012-10-04T21:11:20.340" UserId="14544" UserDisplayName="Warren van Rooyen" Text="How do I achieve a cleaner sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43070" PostHistoryTypeId="3" PostId="24832" RevisionGUID="9a36a2e3-7516-4b21-ba83-b2fc68a69c09" CreationDate="2012-10-04T21:11:20.340" UserId="14544" UserDisplayName="Warren van Rooyen" Text="&lt;synthesizer&gt;&lt;music&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43071" PostHistoryTypeId="36" PostId="24833" RevisionGUID="ed6e5193-bb13-4dce-b889-81ae8581b061" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4916/how-do-i-achieve-a-cleaner-sound/4922#4922" />
  <row Id="43072" PostHistoryTypeId="36" PostId="24834" RevisionGUID="82c78f1c-43fe-4690-b868-1105affd9ca7" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4916/how-do-i-achieve-a-cleaner-sound/4923#4923" />
  <row Id="43073" PostHistoryTypeId="2" PostId="24834" RevisionGUID="695c3ab2-7370-4cf4-9053-31564e3fa448" CreationDate="2012-10-05T14:10:10.990" UserId="6957" Text="A solid understanding of, and lots of experience with mixing is of course difficult to do without.  But I wouldn't necessarily consider that a trick.&#xD;&#xA;&#xD;&#xA;I think one of the industry standard _tricks_ is [TC Electronic's Finalizer](http://www.tcelectronic.com/studiodynamicsandeq.asp).&#xD;&#xA;&#xD;&#xA;It uses a combination of frequency based compression, limiters, normalizers, etc. to really fill out the frequency space.&#xD;&#xA;&#xD;&#xA;They're not cheap&#xD;&#xA;&#xD;&#xA;Although this piece is one of the best known, there are other mastering DSPs that all attempt to do similar things.  I would look at mastering equipment to reach for those &quot;radio ready&quot; mixes." ContentLicense="CC BY-SA 3.0" />
  <row Id="43074" PostHistoryTypeId="36" PostId="24835" RevisionGUID="2a402f11-ffc9-4c08-b732-0567d721811c" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3683/audio-interface-or-mixer-for-live-radio-on-the-cheap" />
  <row Id="43075" PostHistoryTypeId="36" PostId="24836" RevisionGUID="d10c1bd0-7f39-4fd4-8a35-9db862f9d3f2" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3683/audio-interface-or-mixer-for-live-radio-on-the-cheap/3684#3684" />
  <row Id="43076" PostHistoryTypeId="2" PostId="24836" RevisionGUID="888c2995-2bb1-4aa3-ae17-6eeb176be8b8" CreationDate="2012-04-02T18:12:17.517" UserId="7093" Text="I wouldn't recommend either.  The Behringer only sends 2 channels to the computer, and the Quattro doesn't have drivers for anything past Windows XP (with no mention of 64 bit).  From my past experience with trying to do things &quot;on the cheap&quot; I've found that you need to very careful what you buy.  Make sure you are not going to have to buy another one in six months because it is no longer supported or no longer suits your needs.&#xD;&#xA;&#xD;&#xA;Now to answer your real question:  **Which audio interface to buy**.&#xD;&#xA;&#xD;&#xA;First you need to find a device that has at least 4 inputs.  The better ones will have [XLR][2] and [TRS][3] connectors.  Since you are looking to use microphones with TRS connectors you should be able to find a cheaper interface.  Just make sure that you can plug all your microphones in using minimal adapters.  **Be careful of mixers with a USB interface**.  Usually they only send 2 channels to the computer.  There are however a few [exceptions][1].&#xD;&#xA;&#xD;&#xA;Once you find a likely interface you need to read the specs, features, and sometimes even the user manual to find out if the device will send more than 2 channels to the computer.  If it doesn't specify and it is USB 1.0 it probably only sends out a stereo mix to the computer.  I wouldn't recommend buying anything that doesn't actually tell you it will allow you to record at least 4 channels.&#xD;&#xA;&#xD;&#xA;M-Audio has some [nice interfaces][4], but the new ones which would have 4+ inputs and drivers for the latest OS's start at $250 usd.&#xD;&#xA;&#xD;&#xA;Alesis also has [several options][5] that would fit your needs, the cheapest being the iO4.  Any of the Multimix USB 2.0 mixers will send all inputs plus the stereo mix to the computer.&#xD;&#xA;&#xD;&#xA;Tascam has [a few to choose from][6].  The US-600 seems like the most likely candidate.&#xD;&#xA;&#xD;&#xA;I also found a few DJ type interfaces on Google which have 4 RCA inputs.  One of these might meet your needs.&#xD;&#xA;&#xD;&#xA;Before you buy anything read the reviews and check for things like driver incompatibility issues, excessive noise, etc.  If you find that many people are having the same problem, you will likely have it also.&#xD;&#xA;&#xD;&#xA;Just about any interface that supports 4 inputs will sound pretty good.  If you find you need better quality you may need to find one with some good quality Pre-amps.&#xD;&#xA;&#xD;&#xA;To answer your second question:  **Just about any microphone will work for your current needs**.&#xD;&#xA;&#xD;&#xA;Mic placement and setting the proper levels will go a long way to making a decent sounding mix with even the cheapest microphones.  With a poor quality microphone you will get more noise, and the voices will not sound as good as with a better mic, but it still should be good enough for your current needs.  You may be able to fix some of the noise and EQ the voices on the computer to make them sound better.&#xD;&#xA;&#xD;&#xA;If you don't already have the microphones, you can ask a new question about what to look for in a low priced microphone.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://alesis.com/multimix8usb20&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/XLR_connector&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/TRS_connector&#xD;&#xA;  [4]: http://m-audio.com/index.php?do=products.family&amp;ID=USBinterfaces&#xD;&#xA;  [5]: http://alesis.com/recording&#xD;&#xA;  [6]: http://tascam.com/applications/recording/pc_audio_interface/" ContentLicense="CC BY-SA 3.0" />
  <row Id="43077" PostHistoryTypeId="2" PostId="24835" RevisionGUID="12a5aa79-2e5a-4483-859a-9ace27127982" CreationDate="2012-04-02T13:48:05.083" UserDisplayName="takosuke" Text="similar questions have been asked, but the answers don't fully suit me because they are centered on issues other than the audio interface itself, which is my main incognita&#xD;&#xA;&#xD;&#xA;http://avp.stackexchange.com/questions/2354/equipment-setup-for-recording-a-podcast&#xD;&#xA;&#xD;&#xA;http://avp.stackexchange.com/questions/774/what-production-tools-should-we-look-at-for-a-weekly-podcast&#xD;&#xA;&#xD;&#xA;http://avp.stackexchange.com/questions/388/podcast-recording-tips&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I want to get some cheap box with three or four inputs to do a live radio show. Amazing quality is not an issue, but I do want to have the voices as separate tracks (to apply cheesy effects to them), and I want to be able to plug cheap mikes with jack/minijack connections. &#xD;&#xA;And it should be under the 100 bucks mark. If there's nothing under that, i'll just go for this http://www.behringer.com/EN/Products/1204USB.aspx which is 150 in amazon i guess (edit: the behringer doesnt give me separate tracks, thought it was too good to be true!)&#xD;&#xA;&#xD;&#xA;I'm looking at a m-audio Quattro on ebay going on for cheap, will something like that do?Can i plug cheap mikes to that and have everything as separate tracks?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43078" PostHistoryTypeId="1" PostId="24835" RevisionGUID="12a5aa79-2e5a-4483-859a-9ace27127982" CreationDate="2012-04-02T13:48:05.083" UserDisplayName="takosuke" Text="audio interface or mixer for live radio on the cheap" ContentLicense="CC BY-SA 3.0" />
  <row Id="43079" PostHistoryTypeId="3" PostId="24835" RevisionGUID="12a5aa79-2e5a-4483-859a-9ace27127982" CreationDate="2012-04-02T13:48:05.083" UserDisplayName="takosuke" Text="&lt;radio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43092" PostHistoryTypeId="36" PostId="24842" RevisionGUID="b6f7ce82-634e-4077-aeb8-0a480894a368" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7578/what-instruments-are-these" />
  <row Id="43093" PostHistoryTypeId="2" PostId="24843" RevisionGUID="a3077f76-ad86-415a-a520-b26115bb7706" CreationDate="2013-04-03T23:43:34.617" UserId="7188" Text="The entire clip you provided is performed on a synthesizer which begins with a bowed cello like setting in the lower register accenting the first beat while a pizzicato double bass plays the next 7 beats. This repeats, so by the 3rd time the cello like instrument sounds at 0:15 a melodic element is introduced which might be best described as a combination of harpsichord and bell like tone. At 0:47 a bell like finger piano sound continues this melody.&#xD;&#xA;&#xD;&#xA;If you wanted to copy the timbre you might want to start with working with strings and bell like tones. The tone that it ends with is a combination of strings, bell tone, and winds. There are no live acoustic sounds in this clip, it's 100% synth'ed." ContentLicense="CC BY-SA 3.0" />
  <row Id="43094" PostHistoryTypeId="2" PostId="24842" RevisionGUID="2041415f-71de-46a9-b85e-510eb9729664" CreationDate="2013-04-03T17:22:59.723" UserDisplayName="blop" Text="Can anyone tell what instruments are used in the &quot;Killing the Fairy&quot; song? Specifically at [0:15][2] and [0:47][3]?&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Qsf2ixvmGtU&#xD;&#xA;&#xD;&#xA;I feel like the first one could also be achieved with a synthesizer, but wouldn't know how to do that, so any help in that regard would also be appreciated.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=Qsf2ixvmGtU&amp;t=0m15s&#xD;&#xA;  [3]: http://www.youtube.com/watch?v=Qsf2ixvmGtU&amp;t=0m47s" ContentLicense="CC BY-SA 3.0" />
  <row Id="43095" PostHistoryTypeId="1" PostId="24842" RevisionGUID="2041415f-71de-46a9-b85e-510eb9729664" CreationDate="2013-04-03T17:22:59.723" UserDisplayName="blop" Text="What instruments are these?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43096" PostHistoryTypeId="3" PostId="24842" RevisionGUID="2041415f-71de-46a9-b85e-510eb9729664" CreationDate="2013-04-03T17:22:59.723" UserDisplayName="blop" Text="&lt;synthesizer&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43097" PostHistoryTypeId="36" PostId="24843" RevisionGUID="f5c3a524-3548-46fc-b8ce-0761c68e3790" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7578/what-instruments-are-these/7581#7581" />
  <row Id="43098" PostHistoryTypeId="36" PostId="24844" RevisionGUID="94145422-d271-4b5c-be4c-c4697789ac71" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4857/diy-electronics-repair-how-to-find-what-part-i-need" />
  <row Id="43099" PostHistoryTypeId="2" PostId="24845" RevisionGUID="e337e908-714b-4020-9103-6ca906cc779e" CreationDate="2012-09-29T04:45:33.660" UserId="7230" UserDisplayName="Kevin Reid" Text=" 1. Disassemble the device until you can see the broken part.&#xD;&#xA; 2. Look for identifying codes on the part. (If it's like the picture you linked to, you might have to desolder it to look at the underside.)&#xD;&#xA; 3. Web search for all combinations of such codes, and try including the keyword &quot;datasheet&quot;. (You may have to add or remove hyphens/spaces, or use a prefix of the code; and some numbers may be date codes identifying batches, or serial numbers, which are not useful for this purpose.)&#xD;&#xA; 4. If you find an identically-numbered part for sale, that is most likely the same thing.&#xD;&#xA; 5. Otherwise, hopefully you find a datasheet (they are usually posted as PDF documents). Read the datasheet to understand the electrical and mechanical properties of the part you are replacing.&#xD;&#xA; 6. Using the information and terminology obtained from the datasheet, find another compatible part (comparing its datasheet to confirm) and buy it.&#xD;&#xA; 7. If you didn't find a datasheet, then you'll have to measure the characteristics of the device you're replacing and/or the circuit it is in. Since your broken slider is (I assume) still functional, just hard to actually slide, and is a simple potentiometer, you can measure the resistances between its terminals to find out its resistance range and pin configuration, then search for replacements and check their datasheets to see if they are compatible." ContentLicense="CC BY-SA 3.0" />
  <row Id="43100" PostHistoryTypeId="2" PostId="24844" RevisionGUID="3aa517b6-420a-4db6-a971-b3e33667343e" CreationDate="2012-09-28T16:40:43.750" UserDisplayName="ted.strauss" Text="I bought a [Korg EMX-1][1] on Ebay and it arrived with a slider snapped off.&#xD;&#xA;I'd like to fix this as cheaply as possible, and that starts with finding the replacement part, and maybe some guides to doing the repair.&#xD;&#xA;After some googling I found [this part][2] that looks like the right thing, but I don't know how to confirm that it will do the trick. Are there any resources for identifying correct replacement parts for commercial electronics?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.korg.com/EMX1&#xD;&#xA;  [2]: http://www.guitar-parts.com/catalog/korg-effects-level-fader-kp3" ContentLicense="CC BY-SA 3.0" />
  <row Id="43101" PostHistoryTypeId="1" PostId="24844" RevisionGUID="3aa517b6-420a-4db6-a971-b3e33667343e" CreationDate="2012-09-28T16:40:43.750" UserDisplayName="ted.strauss" Text="DIY electronics repair, how to find what part I need" ContentLicense="CC BY-SA 3.0" />
  <row Id="43102" PostHistoryTypeId="3" PostId="24844" RevisionGUID="3aa517b6-420a-4db6-a971-b3e33667343e" CreationDate="2012-09-28T16:40:43.750" UserDisplayName="ted.strauss" Text="&lt;synthesizer&gt;&lt;replacement-parts&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43103" PostHistoryTypeId="36" PostId="24845" RevisionGUID="125f8cf2-9ae1-42fd-96c7-bf86640113d9" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4857/diy-electronics-repair-how-to-find-what-part-i-need/4862#4862" />
  <row Id="43104" PostHistoryTypeId="36" PostId="24846" RevisionGUID="d900e4a1-b013-47c5-972a-6b69b091c793" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4857/diy-electronics-repair-how-to-find-what-part-i-need/4863#4863" />
  <row Id="43105" PostHistoryTypeId="2" PostId="24846" RevisionGUID="fc6750ab-5ed2-49b3-bf7d-55fda055707b" CreationDate="2012-09-29T07:48:55.470" UserId="7189" Text="You should start by contacting Korg. I've heard some interesting stories about Korg supplying parts for synths that are long out of production." ContentLicense="CC BY-SA 3.0" />
  <row Id="43106" PostHistoryTypeId="36" PostId="24847" RevisionGUID="3a220561-5cef-4a66-a2f4-92a8ecb1071d" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6956/cheapest-way-to-get-many-audio-inputs" />
  <row Id="43107" PostHistoryTypeId="36" PostId="24848" RevisionGUID="168b2725-922c-4df4-9c24-4c70b4e13d7a" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6956/cheapest-way-to-get-many-audio-inputs/6965#6965" />
  <row Id="43108" PostHistoryTypeId="2" PostId="24848" RevisionGUID="7513a7b1-2995-4fa2-85a6-8c9c9309877f" CreationDate="2013-01-27T06:08:53.413" UserId="7189" Text="The problem with running multiple audio interfaces simultaneously is that the drivers typically won't work. Even if they do, audio applications often are designed to work with a single interface at a time. If you are running OS X, you can aggregate audio interfaces together to appear as a single large interface.&#xD;&#xA;&#xD;&#xA;The problem with aggregation, either using OS X's aggregation interface, or a vendor's driver is that it is tricky to synchronize all of the audio interfaces.&#xD;&#xA;&#xD;&#xA;The other problem is that most inexpensive USB audio interfaces are running the USB at the slower 12 Mb/sec rate, not the faster 480 Mb/sec rate. The problem with this is that once one device slows the USB bus down, it slows down for everyone else (unless you have an exotic hub that allows streams of multiple speeds to coexist. These are hard to find, so you probably don't have one. I do, and I'm not convinced it actually works as advertised. It certainly didn't make my Virus TI happy). So even if you *could* get a bunch of cheap USB interfaces to coexist, you'd end up with fewer ports than if you just bought a bigger Firewire or 480 Mb/sec USB interface.&#xD;&#xA;&#xD;&#xA;From a software engineering perspective, you want to transport audio in large blocks from the interface to your application. But large blocks of audio means greater latency, and that is the opposite of what you want as a musician. So you need to find a happy medium between those two points. When you are running multiple interfaces together, the 'starting' time of the blocks coming form each interface will be different, and not all hardware provides a mechanism to synchronize those blocks. So you may end up with a lot of jitter in your recorded audio.&#xD;&#xA;&#xD;&#xA;For best results, pick an audio interface that has the number of ports you need and go with that. Some vendors (like MOTU) support multiple interfaces, so if you need a very large number of channels, pick a vendor that support expansion.&#xD;&#xA;&#xD;&#xA;If you are trying to save money, consider buying a used interface. However, beware that not all vendors are good at providing drivers for their legacy products. I've been very happy with my MOTU 828 mk2 on my mac, but that may not have enough ports for your application. Also, the early 828s were Firewire only, which may or may not be a problem for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="43109" PostHistoryTypeId="2" PostId="24847" RevisionGUID="97b10cd5-bba8-4f0f-b486-6f8039417ac3" CreationDate="2013-01-26T21:04:39.930" UserId="7840" UserDisplayName="themirror" Text="What are some cheap USB boxes on the market that offer many audio inputs, especially of the XLR variety?&#xD;&#xA;&#xD;&#xA;Is there any reason (i.e. software limitations, or latency) that I can't simply buy several boxes that each offer one or two inputs and connect them all to the PC via a USB hub?  In other words, if I want lots of audio inputs do I need to pay for a box with many inputs or can I just fudge it by using many boxes?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43110" PostHistoryTypeId="1" PostId="24847" RevisionGUID="97b10cd5-bba8-4f0f-b486-6f8039417ac3" CreationDate="2013-01-26T21:04:39.930" UserId="7840" UserDisplayName="themirror" Text="Cheapest way to get MANY Audio Inputs" ContentLicense="CC BY-SA 3.0" />
  <row Id="43111" PostHistoryTypeId="3" PostId="24847" RevisionGUID="97b10cd5-bba8-4f0f-b486-6f8039417ac3" CreationDate="2013-01-26T21:04:39.930" UserId="7840" UserDisplayName="themirror" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43112" PostHistoryTypeId="36" PostId="24849" RevisionGUID="58417e32-05e9-4cd6-ad77-5510b8a9e594" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1146/would-a-thunderbolt-audio-interface-decrease-latency-in-theory" />
  <row Id="43113" PostHistoryTypeId="36" PostId="24850" RevisionGUID="be81c899-a32e-4052-9eca-19259ecd0a08" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1146/would-a-thunderbolt-audio-interface-decrease-latency-in-theory/1147#1147" />
  <row Id="43114" PostHistoryTypeId="36" PostId="24851" RevisionGUID="22f36ee1-7674-402d-aff8-76a745a9e10c" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1146/would-a-thunderbolt-audio-interface-decrease-latency-in-theory/2590#2590" />
  <row Id="43115" PostHistoryTypeId="36" PostId="24852" RevisionGUID="1dcd2549-1613-4e4f-9736-d0cdd5f9a274" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1146/would-a-thunderbolt-audio-interface-decrease-latency-in-theory/4155#4155" />
  <row Id="43116" PostHistoryTypeId="2" PostId="24850" RevisionGUID="6fba29fd-622d-4d2c-ad73-c9aee44bdc7e" CreationDate="2011-04-10T03:59:40.130" UserDisplayName="user734" Text="Yes, a faster transference decreases latency, but as far as I'm concerned it wouldn't be any less latency than USB 3.0 or firewire if you are not transferring a large number of tracks. Latency relies more on hardware and processing power than the transfer itself.&#xD;&#xA;In the case of computer audio, the latency depends more on the driver and the transfer protocol, but I'm no expert. It would be hard to tell until we have reviews of latest audio equipment." ContentLicense="CC BY-SA 3.0" />
  <row Id="43117" PostHistoryTypeId="2" PostId="24851" RevisionGUID="269acb35-55ba-46f0-9ce7-b8464fe8fa00" CreationDate="2011-11-03T21:05:14.007" UserDisplayName="Paul" Text="Yes, GBs of data going from point A still has to be decoded and processed at point B. I can't  see how it's done without a large amount of parallel processing in the hardware." ContentLicense="CC BY-SA 3.0" />
  <row Id="43118" PostHistoryTypeId="2" PostId="24852" RevisionGUID="90b094e9-705e-45e9-9763-71ad108feedc" CreationDate="2012-06-10T08:30:55.393" UserDisplayName="DoktorHauser" Text=" - *Question 1*: In that case the used hardware components and the hardware drivers have substantial more influence on the signal latency than the bus/connection. So the answer is: Theoretically Yes but, practically No. Because it is absolute negligible. &#xD;&#xA;&#xD;&#xA; - *Question 2*: Yes it make some differences, but the reason is not the bandwidth (the nominal speed) but rather the interface latency. FireWire has a very low latency because of a flat topography and a very small protocol overhead. Also the devices can communicate directly with each other and have direct memory access. - The reason: FireWire (aka **M(usic)Lan**) was specially designed as low latency interface for music and video devices. " ContentLicense="CC BY-SA 3.0" />
  <row Id="43119" PostHistoryTypeId="2" PostId="24849" RevisionGUID="9ce3fe17-e1c7-4222-8454-5381398572ca" CreationDate="2011-04-09T21:43:53.993" UserDisplayName="David Budiac" Text="I've always been curious as to the latency limits of USB 2.0/3.0, Firewire 400/800, and now thunderbolt on audio interfaces. I'm really excited to see a thunderbolt audio interface on the market, but will that really allow for any improvements if I'm only concerned capturing say 8 mic inputs @ 24bit/196khz (for constant variables) at once?&#xD;&#xA;&#xD;&#xA;I've always tended to stay away from USB 2.0 in favor of firewire because I know it's faster, but does it really make a difference in terms of audio interfaces?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43120" PostHistoryTypeId="1" PostId="24849" RevisionGUID="9ce3fe17-e1c7-4222-8454-5381398572ca" CreationDate="2011-04-09T21:43:53.993" UserDisplayName="David Budiac" Text="Would a Thunderbolt audio interface decrease latency (in theory)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43121" PostHistoryTypeId="3" PostId="24849" RevisionGUID="9ce3fe17-e1c7-4222-8454-5381398572ca" CreationDate="2011-04-09T21:43:53.993" UserDisplayName="David Budiac" Text="&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43122" PostHistoryTypeId="36" PostId="24853" RevisionGUID="b710a3a6-1564-4b4e-b4a1-ffc452cd1b51" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3266/how-to-configure-lexicon-omega-as-a-main-soundcard" />
  <row Id="43123" PostHistoryTypeId="36" PostId="24854" RevisionGUID="cf9386fd-1b88-46d6-9a6f-ea5163e2f29b" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3266/how-to-configure-lexicon-omega-as-a-main-soundcard/3280#3280" />
  <row Id="43124" PostHistoryTypeId="2" PostId="24854" RevisionGUID="355635b3-1740-40af-a16a-bb96a4e4a7c1" CreationDate="2012-02-12T04:54:39.400" UserId="7093" Text="I have a M-Audio Firewire interface which only has 1 entry each for Playback and Recording.  I have it selected for playback and my regular sound card's microphone selected for recording.  In my DAW, I use the ASIO driver to connect to the interface for both recording and playback.  I can be playing back through the DAW and another application and hear both just fine.  You should be able to do the same, we just need to figure out which device selection is correct.&#xD;&#xA;&#xD;&#xA;I'm not sure why the Lexicon is showing up with three entries for each.  For Playback, I would guess that the speakers 2 entry is probably the right one for stereo output. &#xD;&#xA;&#xD;&#xA;For the recording device, I would set it to the Microphone on your built in sound card (VIA) since you will probably be using that for Skype.&#xD;&#xA;&#xD;&#xA;Your DAW will be able to use the ASIO drivers for both recording and playback and should not interfere with anything else." ContentLicense="CC BY-SA 3.0" />
  <row Id="43125" PostHistoryTypeId="2" PostId="24853" RevisionGUID="a72c4164-cc53-492b-b7cb-23da55f60815" CreationDate="2012-02-10T19:46:01.823" UserId="8283" UserDisplayName="Piluso" Text="I bought the [Lexicon Omega][1] to use as my mixer (primary soundcard) with my PC running Windows 7.&#xD;&#xA;&#xD;&#xA;At my desk, I need to use the Lexicon Omega as my primary soundcard to connect PC sound to my speakers, and to control Cubase and Reason rewired, Sound Forge, Skype, Youtube, Gtalk, and often many of these at the same time.&#xD;&#xA;&#xD;&#xA;The problem is I want to send ALL the audio to Lexicon, and many times two or more applications start a conflict.&#xD;&#xA;&#xD;&#xA;I have the PC USB connected to Omega USB. I go to Sounds And Audio devices in Windows 7 Control Panel and I have to set the Lexicon to the default playback device and default recording device.  Here are my options:&#xD;&#xA;&#xD;&#xA;PLAYBACK: &#xD;&#xA;&#xD;&#xA; - AMD HDMI Output - 2 AMD High Definition Audio Device:not connected &#xD;&#xA; - Speakers 2-USB Audio Device:Ready (Lexicon)&#xD;&#xA; - Speakers 4-USB Audio Device:Ready (Lexicon)&#xD;&#xA; - Speakers 5-USB Audio Device:Default Device (Lexicon)&#xD;&#xA; - Speakers-VIA High Definition Audio: Default Communication Device &#xD;&#xA; - SPDIF Interface (TX0)-VIA High Definition Audio: Ready&#xD;&#xA;&#xD;&#xA;RECORDING: &#xD;&#xA;&#xD;&#xA; - Lexicon Win USB 3-4 In Only - 2-USB Audio Device: Default Device &#xD;&#xA; - Lexicon Mac USB - 4-USB Audio Device: currently unavailable &#xD;&#xA; - Lexicon Win USB 1-2 In/out 5-USB Audio Device:unavailable &#xD;&#xA; - Microphone VIA High Definition Audio: Not connected &#xD;&#xA; - Audio CD - VIA High Definition Audio: Not connected &#xD;&#xA; - Line In - VIA High Definition Audio: Not connected &#xD;&#xA; - Stereo MIX - VIA High Def Audio: Ready&#xD;&#xA;&#xD;&#xA;Which one should I choose?&#xD;&#xA;&#xD;&#xA;I have installed the latest drivers version (ASIO Omega drivers).&#xD;&#xA;&#xD;&#xA;Does anyone have any ideas on how to make this work? I've tried everything my meager experience and knowledge can come up with.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.lexiconpro.com/product.php?id=6" ContentLicense="CC BY-SA 3.0" />
  <row Id="43126" PostHistoryTypeId="1" PostId="24853" RevisionGUID="a72c4164-cc53-492b-b7cb-23da55f60815" CreationDate="2012-02-10T19:46:01.823" UserId="8283" UserDisplayName="Piluso" Text="How to configure Lexicon Omega as a main soundcard?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43127" PostHistoryTypeId="3" PostId="24853" RevisionGUID="a72c4164-cc53-492b-b7cb-23da55f60815" CreationDate="2012-02-10T19:46:01.823" UserId="8283" UserDisplayName="Piluso" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43128" PostHistoryTypeId="36" PostId="24855" RevisionGUID="840c9383-b83a-4c5a-be38-5f34c95aa1ea" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/931/samples-sampling-the-use-of-these-terms-in-different-contexts" />
  <row Id="43129" PostHistoryTypeId="2" PostId="24856" RevisionGUID="3e7997cb-2ea8-4115-8180-9a05ca6bf673" CreationDate="2011-02-28T03:25:32.733" UserDisplayName="d-_-b" Text="In the audio engineering world, technically speaking, &quot;recording audio&quot; is &quot;sampling audio&quot;. You could use the terms interchangeably within certain contexts.&#xD;&#xA;&#xD;&#xA;There are a few things to consider:&#xD;&#xA;&#xD;&#xA;* &quot;Sampling&quot; or &quot;Sample&quot; is used to infer that the recording is of short duration.&#xD;&#xA;* A sample is not usually more than two channels. &quot;A four channel sample&quot; doesn't really sit right, but &quot;a stereo sample&quot; is legit.&#xD;&#xA;&#xD;&#xA;I suspect that this is because the first &quot;samplers&quot; did just that. With the advent of digital audio, the range of the word's use has widened, as samples and recording essentially use the same technology, but may be presented with different UIs or limitations. Whereas with the first samplers, the technology, although related, was quite specific to the machine:&#xD;&#xA;http://en.wikipedia.org/wiki/Sampler_%28musical_instrument%29#Historical_overview&#xD;&#xA;&#xD;&#xA;More thoughts:&#xD;&#xA;&#xD;&#xA;Doctors use the term different because you are physically taking a portion of the substance. Where as with audio, we are merely recording an impression of it for possible future reproduction. I suspect the term &quot;sample&quot; was used because of the limitation in length and channels." ContentLicense="CC BY-SA 2.5" />
  <row Id="43130" PostHistoryTypeId="2" PostId="24855" RevisionGUID="9c6c6994-22e8-4187-8459-1fd802b94e1d" CreationDate="2011-02-27T02:49:25.157" UserId="10057" UserDisplayName="Vass" Text="I am getting confused with different peoples' uses of the term 'sample' or 'sampling'. Some people using drum beat programs like fruity loops, generate a drum beat sequence and then take a subset (sample) of the loop's playing and use that 'sample'. That use makes straight forward sense. &#xD;&#xA;&#xD;&#xA; People doing foley artist stuff for movies, record a glass breaking to resuse it in place of another sound in a video, and refer to that 'sample'; is this correct usage?&#xD;&#xA;&#xD;&#xA; Then, some people wanting to make VSI from a single sample (sound clip) of a sound of a siren or horn to play over a range of notes/pitches, refer to their 'sample' when using it in cubase; is this also correct usage?&#xD;&#xA;&#xD;&#xA;What should a 'sample' or 'sampling' really refer too?&#xD;&#xA;&#xD;&#xA;Best," ContentLicense="CC BY-SA 2.5" />
  <row Id="43131" PostHistoryTypeId="1" PostId="24855" RevisionGUID="9c6c6994-22e8-4187-8459-1fd802b94e1d" CreationDate="2011-02-27T02:49:25.157" UserId="10057" UserDisplayName="Vass" Text="samples, sampling; the use of these terms in different contexts" ContentLicense="CC BY-SA 2.5" />
  <row Id="43132" PostHistoryTypeId="3" PostId="24855" RevisionGUID="9c6c6994-22e8-4187-8459-1fd802b94e1d" CreationDate="2011-02-27T02:49:25.157" UserId="10057" UserDisplayName="Vass" Text="&lt;synthesizer&gt;&lt;sampling&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43133" PostHistoryTypeId="36" PostId="24856" RevisionGUID="95c06c3d-bf9a-41a1-9b4e-ab6706258243" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/931/samples-sampling-the-use-of-these-terms-in-different-contexts/936#936" />
  <row Id="43134" PostHistoryTypeId="36" PostId="24857" RevisionGUID="5dde3234-5dc5-466f-a94a-b599939c2031" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/931/samples-sampling-the-use-of-these-terms-in-different-contexts/949#949" />
  <row Id="43135" PostHistoryTypeId="2" PostId="24857" RevisionGUID="aca4b000-9b33-41f5-be8a-61ce0996c17a" CreationDate="2011-03-03T14:28:58.507" UserDisplayName="Ralph Winters" Text="I think of a sample as a reproduction of a musical source by recording a number of snapshots per second of the original source.  This would be analygous to viewing a series of movie frames per second.  A CD recording is actually a sampled recording (44.1 thousand samples per second).  This is also related to the sound quality.  If the sample rate is lower than the frequence of the music source we are recording, some of the music nuances will be missed and the sample will not resemble the waveform(s) at all.&#xD;&#xA;&#xD;&#xA;-Ralph Winters" ContentLicense="CC BY-SA 2.5" />
  <row Id="43136" PostHistoryTypeId="36" PostId="24858" RevisionGUID="12abb35a-5df7-45ab-8285-563fb43f4f3c" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5372/audio-interfaces-internal-versus-external-usb-recommendation" />
  <row Id="43137" PostHistoryTypeId="36" PostId="24859" RevisionGUID="7fefdda1-781e-4aa8-85a8-0a0387f206e1" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5372/audio-interfaces-internal-versus-external-usb-recommendation/5373#5373" />
  <row Id="43138" PostHistoryTypeId="2" PostId="24859" RevisionGUID="de152767-7e64-4459-983e-895efa0e4dd3" CreationDate="2012-11-20T13:13:26.807" UserId="6957" Text="When you get into the situation where you've got multiple sources (Sibelius, Cubase, korg line-out, computer, etc.) and multiple destinations (Sibelius, Cubase, monitors, cans, etc.), I think what you really need is a mixer.&#xD;&#xA;&#xD;&#xA;I would look into getting a nice sound card and a small mixing board, and probably a digital link between the two that would support multiple channels simultaneously.  This would give you the flexibility to move signal to/from whichever device.&#xD;&#xA;&#xD;&#xA;I'm not 100% sure where the MIDI would fit into this picture, but my guess, is that you find a sound card with audio and MIDI both.&#xD;&#xA;&#xD;&#xA;In any case, I think if you assume the existence of a mixing board, it makes shopping for an interface much simpler, as you're no longer as concerned with how many of which kind of I/O it has, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="43139" PostHistoryTypeId="2" PostId="24860" RevisionGUID="656f4037-e4a2-4942-a5de-0d298cf665e8" CreationDate="2012-11-21T10:32:22.887" UserId="7016" Text="The usual reason for these being external are:&#xD;&#xA;&#xD;&#xA; 1. No conflict with internal devices&#xD;&#xA; 2. Size and heat requirements&#xD;&#xA; 3. Requirements for multiple interfaces: midi, spdif, line-in, mic etc&#xD;&#xA; 4. User interface requirements - mixer controls, EQ etc&#xD;&#xA; 5. Occasionally power requirements - an externally powered sound card can provide a lower noise floor, higher quality and dedicated preamps and compression where required.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43140" PostHistoryTypeId="2" PostId="24858" RevisionGUID="953340e9-4f85-4166-ae9e-9d294d782c6b" CreationDate="2012-11-20T10:09:44.653" UserDisplayName="d_mcg" Text="I'm looking at replacing my aging SB Live Value soundcard with something more modern with much lower latency and ASIO 2 support. I do quite a bit of music composition through Sibelius (7) and Cubase, so I notice that these require ASIO to work well. As it is the latency from Sibelius to the soundcard is very poor, and I'm running ASIO4All with 512 samples to minimise stuttery playback. I also have a Korg M3 keyboard for MIDI input and sound recording, and I'd like to be able to have both the sound from my computer and M3 output from the same speakers (or headphones). I'm also looking at using the soundcard/interface for primary audio output from my desktop.&#xD;&#xA;&#xD;&#xA;In my search, I've heard enough to avoid anything made by Creative. The popular M-Audio Audiophile 2496 seems to have compatibility issues with Windows 7 64-bit (which is what I'm running), so that would be a dealbreaker for me.&#xD;&#xA;&#xD;&#xA;I found a forum post recommending the **Asus Xonar Essence STX** soundcard for music production, and a salesman at a local music store recommended a **Focusrite Scarlett 2i2** or **2i4**. I notice the latter is an external USB 2.0 interface, whereas the former takes an internal PCI-e slot on the motherboard.&#xD;&#xA;&#xD;&#xA;I have the impression that internal soundcards/interfaces would be much faster and have less latency, given the proximity of the PCI bus, than external USB devices that would compete with other USB devices for bandwidth (even if USB 2 can theoretically reach 480 MB/s). However I cannot ignore that most of the audio interfaces sold today are external units connected by USB, Firewire or even Thunderbolt, so I'm not sure how much of a difference there would be.&#xD;&#xA;&#xD;&#xA;I have no problems opening my computer, since I've performed several upgrades in the past. Currently my system runs on an AMD Athlon 64 X2 4800+ with 6GB DDR2 RAM.&#xD;&#xA;&#xD;&#xA;Which would people recommend for my setup? Is there a reason why these interfaces are predominantly external USB?&#xD;&#xA;&#xD;&#xA;Many thanks in advance.&#xD;&#xA;&#xD;&#xA;**Update**&#xD;&#xA;&#xD;&#xA;Here are my priorities that influence what I'm looking for:&#xD;&#xA;&#xD;&#xA; - As little latency as possible when using soft synths (without dropped samples)&#xD;&#xA; - Good-quality sound reproduction / frequency response for mainly orchestral music&#xD;&#xA; - Not too expensive or top-end, but reasonably-priced for something of good quality&#xD;&#xA; - Works well with Windows 7 64-bit, stable drivers&#xD;&#xA;&#xD;&#xA;If an external interface is more suitable for me, I'd like this to be reasonably compact and bus-powered - hence the initial appeal of the Focusrite Scarletts. A full rack would be overkill." ContentLicense="CC BY-SA 3.0" />
  <row Id="43141" PostHistoryTypeId="1" PostId="24858" RevisionGUID="953340e9-4f85-4166-ae9e-9d294d782c6b" CreationDate="2012-11-20T10:09:44.653" UserDisplayName="d_mcg" Text="Audio Interfaces - Internal versus External (USB) recommendation" ContentLicense="CC BY-SA 3.0" />
  <row Id="43142" PostHistoryTypeId="3" PostId="24858" RevisionGUID="953340e9-4f85-4166-ae9e-9d294d782c6b" CreationDate="2012-11-20T10:09:44.653" UserDisplayName="d_mcg" Text="&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43143" PostHistoryTypeId="36" PostId="24860" RevisionGUID="fad1de29-8be6-4f1e-bb5a-fd533b119ca5" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5372/audio-interfaces-internal-versus-external-usb-recommendation/5377#5377" />
  <row Id="43148" PostHistoryTypeId="36" PostId="24862" RevisionGUID="7f0db66d-5169-4282-838b-18b59365b15c" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9576/do-i-need-an-adapter-or-also-a-transformer-for-a-japanese-roland-sh-101" />
  <row Id="43149" PostHistoryTypeId="2" PostId="24863" RevisionGUID="15c4ced8-983d-4f43-bccf-d1002fce3786" CreationDate="2013-12-06T13:31:29.290" UserId="6957" Text="Sweden's power grid runs at 220v if I am not mistaken.  Japan runs at 100v.  Most modern electronics are capable of dealing with the range.  Some older appliances are not.&#xD;&#xA;&#xD;&#xA;Check that the label near the keyboard's power cord shows 100-240v and 50-60 Hz. If it does not, you will need a &quot;step-down transformer&quot; (also called a converter).&#xD;&#xA;&#xD;&#xA;If it does, all you will need is the outlet shape adapter." ContentLicense="CC BY-SA 3.0" />
  <row Id="43150" PostHistoryTypeId="2" PostId="24862" RevisionGUID="70bac55a-ea3a-4dc8-96e1-5358d11d491c" CreationDate="2013-12-06T10:04:50.103" UserId="7206" Text="I bought a Roland SH-101 from Japan (via ebay) and received it to Stockholm (Swe) yesterday. The power connector looks like an american connector and I've previously had success with just a normal adaptor when connecting other equipment that I've bought from Asia that had this type of power connector. Is it safe to just use an adapter?&#xD;&#xA;&#xD;&#xA;The adapter is model ACP-100, 91-17367 Tamura-Sz. Input: AC100V 50-60 Hz, 10 VA, output: DC9V, 500 mA." ContentLicense="CC BY-SA 3.0" />
  <row Id="43151" PostHistoryTypeId="1" PostId="24862" RevisionGUID="70bac55a-ea3a-4dc8-96e1-5358d11d491c" CreationDate="2013-12-06T10:04:50.103" UserId="7206" Text="Do I need an adapter or also a transformer for a Japanese Roland SH-101?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43152" PostHistoryTypeId="3" PostId="24862" RevisionGUID="70bac55a-ea3a-4dc8-96e1-5358d11d491c" CreationDate="2013-12-06T10:04:50.103" UserId="7206" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43153" PostHistoryTypeId="36" PostId="24863" RevisionGUID="bba851a6-7bcd-4fb5-a0bd-b60d41272ace" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9576/do-i-need-an-adapter-or-also-a-transformer-for-a-japanese-roland-sh-101/9577#9577" />
  <row Id="43154" PostHistoryTypeId="36" PostId="24864" RevisionGUID="2f0221f8-6827-41c3-92fb-d6fef252b857" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8549/how-can-an-electronics-person-start-to-reverse-engineer-analog-synth-sounds" />
  <row Id="43155" PostHistoryTypeId="36" PostId="24865" RevisionGUID="3beeb503-0c47-4372-a421-b78e52a8d7de" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8549/how-can-an-electronics-person-start-to-reverse-engineer-analog-synth-sounds/8552#8552" />
  <row Id="43156" PostHistoryTypeId="36" PostId="24866" RevisionGUID="8dabf798-77d9-4566-835a-706395fa6320" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8549/how-can-an-electronics-person-start-to-reverse-engineer-analog-synth-sounds/8553#8553" />
  <row Id="43157" PostHistoryTypeId="36" PostId="24867" RevisionGUID="7d5c0d0e-6f9f-41c2-b5dc-7d88322b74d4" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8549/how-can-an-electronics-person-start-to-reverse-engineer-analog-synth-sounds/8560#8560" />
  <row Id="43158" PostHistoryTypeId="2" PostId="24865" RevisionGUID="db7471ec-f804-4f9d-9c55-d17063944470" CreationDate="2013-07-29T13:01:25.140" UserId="7344" UserDisplayName="Dave" Text="The *Sound on Sound* series of articles [Synth Secrets][2] provides a step-by-step approach for modeling  range of instruments using analog techniques.&#xD;&#xA;&#xD;&#xA;[Music, Physics and Engineering][1] by H. Olsen provides examples of mechanical and electrical analogues to various instruments, and is in general a useful, if dated, reference.  These examples are more directly useful for physical modelling and may  not directly map into analog synthesizer patches, but I still think that it is a useful starting point.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Music-Physics-Engineering-Harry-Olson/dp/0486217698/ref=sr_1_2?ie=UTF8&amp;qid=1375102387&amp;sr=8-2&amp;keywords=physics%20of%20sound&#xD;&#xA;  [2]: http://www.soundonsound.com/sos/allsynthsecrets.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="43159" PostHistoryTypeId="2" PostId="24866" RevisionGUID="6aa26129-6550-40c2-a550-761bf14f9349" CreationDate="2013-07-29T14:36:22.980" UserId="7189" Text="There are patch books out there that describe how to approximate various instruments and sound effects with a subtractive synth. Your best bet is probably to scour eBay for a few titles and see if they are close enough to what you are looking for. The Synth Secrets series that Dave mentions is the way to go if you want to build up your own patches from scratch.&#xD;&#xA;&#xD;&#xA;If your goal is to create recognizable timbres with a synthetic edge, definitely consider FM synthesis. You often hear people talking about the &quot;thinness&quot; of digital synthesizers, but what they are really talking about is early (digital) virtual-analog synths and romplers with weak or nonexistent filters. Some of the thickest, punchiest basslines came from Yamaha's DX series. And FM synthesis can *definitely* do otherworldly synthetic sounds.&#xD;&#xA;&#xD;&#xA;From a sound design perspective, you can accomplish a great deal with the 4-op Operator synth that is available with Ableton Live. Native Instruments' FM8 is also very powerful. Finally, the rackmount Yamaha boxes are very affordable and much more fun to play with than you might expect from a button-box.&#xD;&#xA;&#xD;&#xA;John Chowning's *FM Theory and Applications* is an excellent place to start on FM synthesis. It is out of print, but not too hard to find.&#xD;&#xA;&#xD;&#xA;Another option that is outside the scope of analog synths, but may still be useful to the asker is physical modeling synths. Physical Modeling is a set of synthesis strategies that are different from both &quot;analog&quot; subtractive synthesis and FM synthesis. Logic's Sculpture is an excellent software PM synth. Roland's SuperNatural synths seem to be very good, though expensive. And Korg's flagship workstations also include some degree of physical modeling. If you are on a budget, or just want something that is a bit more otherworldly, then Korg's Z1 and Prophecy shouldn't be overlooked. Yamaha's VL series is also worth a look, though substantially harder to program (yet more powerful) than the Korgs." ContentLicense="CC BY-SA 3.0" />
  <row Id="43160" PostHistoryTypeId="2" PostId="24867" RevisionGUID="06850034-53fc-4db8-ae77-b685329b7a44" CreationDate="2013-07-29T18:44:01.253" UserDisplayName="oberdada" Text="As always, experiment and use your ear!&#xD;&#xA;&#xD;&#xA;In the digital domain, physical modelling of acoustic instruments is often done with delay lines that may have allpass and lowpass filters in them. There may also be nonlinearities in the feedback loop. As for analog, delays can be made with bucket brigade devices. I have seen them recommended for Karplus-Strong type synthesis, but it may be possible to come up with other than plucked string timbres too. &#xD;&#xA;&#xD;&#xA;Doing faithful modelling in analog tends to become expensive though, as you may find that you need lots of components. For example, it is often useful to have the attack portion modeled separately from the rest of the note. With a short noise burst followed by a sinusoid or triangle wave you might get close to a flute sound, but that would take an oscillator, a noise source and two envelope generators.&#xD;&#xA;&#xD;&#xA;Another useful trick is to link the amplitude of a VCA with the cutoff of a lowpass filter, which is similar to the increase in high frequency content as instruments are played louder. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43161" PostHistoryTypeId="2" PostId="24864" RevisionGUID="f56f8b32-b79a-47ad-9b5a-a2633f2d3c77" CreationDate="2013-07-29T02:31:46.440" UserDisplayName="Joe Stavitsky" Text="[This question][1] discusses sound design for film in some depth. I'd like to look into similar strategies for building analog synth sounds which approach real instruments from the perspective of the waveform itself.What are the broad categories of waveform, modulation, and ADSR envelope that apply to the instruments of the orchestra and/or the rock ensemble? Are there any good books for this?&#xD;&#xA;&#xD;&#xA; Of course the goal is not to make a bassoon from a minimoog but there are sounds we can get that resemble real intruments, in the way grape soda resembles grape juice. &#xD;&#xA;&#xD;&#xA;  [1]: http://music.stackexchange.com/questions/10917/how-to-recreate-a-sound-on-a-synth" ContentLicense="CC BY-SA 3.0" />
  <row Id="43162" PostHistoryTypeId="1" PostId="24864" RevisionGUID="f56f8b32-b79a-47ad-9b5a-a2633f2d3c77" CreationDate="2013-07-29T02:31:46.440" UserDisplayName="Joe Stavitsky" Text="How can an electronics person start to reverse-engineer analog synth sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43163" PostHistoryTypeId="3" PostId="24864" RevisionGUID="f56f8b32-b79a-47ad-9b5a-a2633f2d3c77" CreationDate="2013-07-29T02:31:46.440" UserDisplayName="Joe Stavitsky" Text="&lt;synthesizer&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43164" PostHistoryTypeId="36" PostId="24868" RevisionGUID="cbb335eb-cb8f-49bd-8752-abecd19927d7" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2222/does-resetting-a-roland-d-5-or-d-20-erase-all-the-sounds-on-it" />
  <row Id="43165" PostHistoryTypeId="36" PostId="24869" RevisionGUID="2cff3e48-16b3-473f-87c1-d83604e8a4c2" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2222/does-resetting-a-roland-d-5-or-d-20-erase-all-the-sounds-on-it/2245#2245" />
  <row Id="43166" PostHistoryTypeId="2" PostId="24869" RevisionGUID="a785ad8e-c40a-44a3-9b89-db1c52dea3ca" CreationDate="2011-08-31T16:45:53.370" UserId="7093" Text="According to [this site][1], the D-5 cannot be reset, but the D-20 can.&#xD;&#xA;&#xD;&#xA;From what I can tell, resetting the D-20 will put it back to factory defaults without losing all the sounds.  (see the comments on [this answer][2])&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dlse.nl/synthrepair/reset.html&#xD;&#xA;  [2]: http://avp.stackexchange.com/questions/1258/roland-d20-how-to-use-midi/1281#1281" ContentLicense="CC BY-SA 3.0" />
  <row Id="43167" PostHistoryTypeId="2" PostId="24868" RevisionGUID="76e0b966-4a28-4fe8-b72d-ee35baeaf8d3" CreationDate="2011-08-29T00:56:44.080" UserDisplayName="Bill Lane" Text="I just picked up a Roland D-5 and a D-20 synthesizer but I want to reset them to their factory preset sounds. I understand from the [answer][1] to [this question][2] that I can reset the device, but I'm not sure if the procedure described restores the synth to factory settings, or simply erases everything. Which is it? I am interested only in a factory reset - I don't want to end up erasing everything and then have no sounds at all. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/1248/how-to-reset-a-roland-d-20/1249#1249&#xD;&#xA;  [2]: http://avp.stackexchange.com/questions/1248/how-to-reset-a-roland-d-20" ContentLicense="CC BY-SA 3.0" />
  <row Id="43168" PostHistoryTypeId="1" PostId="24868" RevisionGUID="76e0b966-4a28-4fe8-b72d-ee35baeaf8d3" CreationDate="2011-08-29T00:56:44.080" UserDisplayName="Bill Lane" Text="Does resetting a Roland D-5 or D-20 erase all the sounds on it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43169" PostHistoryTypeId="3" PostId="24868" RevisionGUID="76e0b966-4a28-4fe8-b72d-ee35baeaf8d3" CreationDate="2011-08-29T00:56:44.080" UserDisplayName="Bill Lane" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43170" PostHistoryTypeId="36" PostId="24870" RevisionGUID="3404a1e6-5df0-4f86-8cf0-78fbf4d26a7c" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1503/audio-interface-from-laptop-to-monitors-etc" />
  <row Id="43171" PostHistoryTypeId="36" PostId="24871" RevisionGUID="21a9e62a-77c6-4ddf-8c0f-18fd85ed95c5" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1503/audio-interface-from-laptop-to-monitors-etc/1504#1504" />
  <row Id="43172" PostHistoryTypeId="36" PostId="24872" RevisionGUID="89a14ff6-52ee-4a1b-b70f-4057f0f9da6c" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1503/audio-interface-from-laptop-to-monitors-etc/1986#1986" />
  <row Id="43173" PostHistoryTypeId="36" PostId="24873" RevisionGUID="dce5ec4e-0c08-44a6-90d6-feabc1fbb186" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1503/audio-interface-from-laptop-to-monitors-etc/1994#1994" />
  <row Id="43174" PostHistoryTypeId="2" PostId="24871" RevisionGUID="28bfe47c-0b2e-4f81-8f5c-78a4286c062e" CreationDate="2011-05-31T00:36:46.993" UserId="7334" UserDisplayName="imsky" Text="You'll need a [USB MIDI interface][1] and a mixer. A decent mixer is the [Behringer XENYX 802][2], which should suit your eventual need for more inputs. As far as the MPC, you can use the MIDI outs with Live, but if you just want to get the sound from it, I recommend investing in a S/PDIF cable if one didn't come with your Macbook.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/MU-Xmidi-1x1-MIDI-adapter/dp/B000JLU26W/ref=pd_cp_MI_2&#xD;&#xA;  [2]: http://www.zzounds.com/item--BEHXENTX802" ContentLicense="CC BY-SA 3.0" />
  <row Id="43175" PostHistoryTypeId="2" PostId="24872" RevisionGUID="a540a951-00f2-4011-8387-1fb3d8f0dcbe" CreationDate="2011-08-01T17:54:23.250" UserId="6503" Text="So your M-Audio MobilePre should be sufficient. You can run the MPC into Live using either 1/4&quot; or XLR on the MobilePre. Then, you can have the computer output both the MPC sound and the rest of your track on live through the MobilePre and out to the speakers." ContentLicense="CC BY-SA 3.0" />
  <row Id="43176" PostHistoryTypeId="2" PostId="24873" RevisionGUID="5ce7a6ce-d115-493a-961f-11557ba2021c" CreationDate="2011-08-02T20:47:43.043" UserId="7234" UserDisplayName="fluffy" Text="Regarding instrument control, you'll need a MIDI interface.  This is separate from your audio mix.&#xD;&#xA;&#xD;&#xA;If you simply want to have your output mixed to a live PA and then record the final mix, you just need a mixer with separate record and live outputs (most mixers will have this).  If you want to loop your external synthesizers through your computer and have your computer apply effects and such to them, you'll want a multi-channel recording interface. M-Audio and PreSonus both offer a wide range of them for various situations.  I've had better luck with PreSonus, and if your Mac has FireWire (like most of them do) you should be good to go with one of those.&#xD;&#xA;&#xD;&#xA;There are also many audio interfaces which have a MIDI interface built-in (usually just 1 input and 1 output), so if you're only trying to control a couple devices from a single controller or computer, that might be a good route to take.  Otherwise, there are many good cheap 4x4 UBN MIDI interfaces on the market, such as ones by TAPco or M-Audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="43177" PostHistoryTypeId="2" PostId="24870" RevisionGUID="3683d080-ff4b-4b16-be8c-99a56cee06e1" CreationDate="2011-05-30T22:31:45.227" UserDisplayName="Donn Felker" Text="Here's the set up I'm going to have for a little while and would like the to figure out what to buy to fit &quot;in the middle&quot;. My best understanding is a mixer of some sort, but I'm not sure what. That's the answer I'm looking to find here. :) &#xD;&#xA;&#xD;&#xA;I currently have: &#xD;&#xA;&#xD;&#xA;- MacBook Pro (15&quot;) Core 2 Duo, 8 GB Ram&#xD;&#xA;- 2 x M-Audio Powered Monitors&#xD;&#xA;- Midi Keyboard&#xD;&#xA;- Ableton Live&#xD;&#xA;- MPC1000&#xD;&#xA;- Mic&#xD;&#xA;&#xD;&#xA;I have a lot more gear than that, but I dont want to complicate matters. I want to basically be able to play Ableton, the MPC and the keyboard and have the audio output through the monitors. &#xD;&#xA;&#xD;&#xA;What do I need here? A mixer or what other type of audio interface? I have an M-Audio Mobile Pre, and while it works, it seems to be lacking inputs. I eventually want to be able to track from the MPC into Ableton (or ProTools, etc) and then record. The majority of my time at this point though, will be spent in Ableton Live and on the keyboard. &#xD;&#xA;&#xD;&#xA;Thanks for any input. " ContentLicense="CC BY-SA 3.0" />
  <row Id="43178" PostHistoryTypeId="1" PostId="24870" RevisionGUID="3683d080-ff4b-4b16-be8c-99a56cee06e1" CreationDate="2011-05-30T22:31:45.227" UserDisplayName="Donn Felker" Text="Audio Interface from Laptop to Monitors/etc" ContentLicense="CC BY-SA 3.0" />
  <row Id="43179" PostHistoryTypeId="3" PostId="24870" RevisionGUID="3683d080-ff4b-4b16-be8c-99a56cee06e1" CreationDate="2011-05-30T22:31:45.227" UserDisplayName="Donn Felker" Text="&lt;ableton&gt;&lt;monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43180" PostHistoryTypeId="36" PostId="24874" RevisionGUID="57042b0e-f72e-42c3-83bd-756806b42cf7" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7074/how-can-i-make-the-roland-d-20-sound-like-an-ordinary-piano" />
  <row Id="43181" PostHistoryTypeId="36" PostId="24875" RevisionGUID="2862a722-ceb4-4d89-a022-58b76c2069ee" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7074/how-can-i-make-the-roland-d-20-sound-like-an-ordinary-piano/7080#7080" />
  <row Id="43182" PostHistoryTypeId="2" PostId="24875" RevisionGUID="113da747-399d-49b7-91f0-5e6a418a1b75" CreationDate="2013-02-07T23:52:57.937" UserId="7189" Text="First, the D-20 isn't a piano. It is a synthesizer, which is a type of instrument that allows you to create a wide variety of sounds. The good news is that the D-20 was intended for creating realistic instrument sounds rather than just sci-fi bleeps and bloops. The bad news is that by 2013 standards, the D-20 is going to sound a lot less realistic than contemporary high-resolution sample-based keyboards.&#xD;&#xA;&#xD;&#xA;If there isn't a piano patch on your D-20 already, [then you may need to do a factory reset][1]. According to page 263 of the PDF [manual][2], the first three patches will be acoustic pianos, followed by a honkey-tonk piano and some electric pianos.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/1248/how-do-i-reset-a-roland-d-20&#xD;&#xA;  [2]: http://media.rolandus.com/manuals/D-20_OM.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="43183" PostHistoryTypeId="2" PostId="24874" RevisionGUID="c0ef9324-c344-4217-ad68-a47c72db9391" CreationDate="2013-02-07T14:40:19.817" UserDisplayName="Naja" Text="I just got this piano from a familymember, and I can't get it to sound like an ordinary piano? The sounds it makes are really wierd, like electronic and I just want to use for playing classical music. Thanks! :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="43184" PostHistoryTypeId="1" PostId="24874" RevisionGUID="c0ef9324-c344-4217-ad68-a47c72db9391" CreationDate="2013-02-07T14:40:19.817" UserDisplayName="Naja" Text="How can I make the Roland D-20 sound like an ordinary piano?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43185" PostHistoryTypeId="3" PostId="24874" RevisionGUID="c0ef9324-c344-4217-ad68-a47c72db9391" CreationDate="2013-02-07T14:40:19.817" UserDisplayName="Naja" Text="&lt;synthesizer&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43186" PostHistoryTypeId="36" PostId="24876" RevisionGUID="e74e22c6-6293-4aaf-a848-7b51737c2474" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4665/piano-hammer-i-e-how-to-get-proper-release-sounds-in-linux-and-the-most-compli" />
  <row Id="43187" PostHistoryTypeId="2" PostId="24876" RevisionGUID="4cec9ee8-ae62-49d5-bac3-16ed68d8d4c1" CreationDate="2012-09-03T22:03:01.503" UserDisplayName="przemoc" Text="I have Yamaha Clavinova Grand (198-Clavinova.sf2, [sfArk](http://soundfonts.homemusician.net/files/198-Clavinova.sfArk)) soundfont. It has hammer noise samples used as key release sounds. You can check it running [Viena SoundFont Editor](http://www.synthfont.com/#Viena), in Windows or Linux via Wine, by choosing `000:000 = Yamaha Clp-920` preset and clicking built-in keyboard.&#xD;&#xA;&#xD;&#xA;While the soundfont works fine in Windows (I get the proper hammer noise) using [BASSMIDI Driver](http://www.mudlord.info/bassmididrv/), it doesn't on Linux. I don't hear hammers (Timidity, LinuxSampler) or they're played wrongly (FluidSynth, actually as long as key is not released the hammer noise is played in loop).&#xD;&#xA;&#xD;&#xA;**Can it be that there is no complete enough SF2 support in any synthesizer engine on Linux? Or I am doing something wrong?**&#xD;&#xA;&#xD;&#xA;**Which SF2 engine is considered the most complete nowadays in Linux world?**&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;For the tests I use [VMPK](http://vmpk.sourceforge.net/) (of course in case of LinuxSampler I have to connect VMPK [manually](http://sourceforge.net/tracker/?func=detail&amp;aid=2846954&amp;group_id=236429&amp;atid=1100307)).&#xD;&#xA;&#xD;&#xA;My setup procedure:&#xD;&#xA;&#xD;&#xA;    jackd -d alsa -r 48000 -p 1024 -n 2 -s -X seq -D -C hw:0 -P hw:0&#xD;&#xA;                                            # seq for jack-only MIDI clients, like jack-keyboard&#xD;&#xA;    fluidsynth -a jack -m alsa_seq -r 48000 -g 0.2 -L 2 -o midi.alsa_seq.id=FluidSynth -j ~/soundfont/198-Clavinova.sf2&#xD;&#xA;    timidity -iA -B2,8 -Oj&#xD;&#xA;    linuxsampler&#xD;&#xA;    QSampler  # create Audio and MIDI devices, add 2 channels with 198-Clavinova.sf2&#xD;&#xA;    qjackctl  # connect Audio: LinuxSampler 0, 1 to playback_1, playback_2,&#xD;&#xA;              # change FluidSynth l_01, r_01 to playback_1, playback_2&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;timidity.cfg&#xD;&#xA;&#xD;&#xA;    soundfont /home/przemoc/soundfont/198-Clavinova.sf2&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm not on Linux right now (I had to recheck that it works ok on BASSMIDI Driver), so cannot provide LSCP file for LS, but it's the result of above mentioned actions in QSampler.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;BTW I'm not sure right now, but I think that Timidity doesn't have fully correct panning of the sounds. OTOH in FluidSynth panning information is apparently ignored IIRC. Don't remember how LS performed, but it was possibly the closest to what I hear from BASSMIDI Driver on Windows (except for hammer noise, of course)." ContentLicense="CC BY-SA 3.0" />
  <row Id="43188" PostHistoryTypeId="1" PostId="24876" RevisionGUID="4cec9ee8-ae62-49d5-bac3-16ed68d8d4c1" CreationDate="2012-09-03T22:03:01.503" UserDisplayName="przemoc" Text="Piano hammer, i.e. how to get proper release sounds in Linux and the most compliant SF2 engine" ContentLicense="CC BY-SA 3.0" />
  <row Id="43189" PostHistoryTypeId="3" PostId="24876" RevisionGUID="4cec9ee8-ae62-49d5-bac3-16ed68d8d4c1" CreationDate="2012-09-03T22:03:01.503" UserDisplayName="przemoc" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43190" PostHistoryTypeId="36" PostId="24877" RevisionGUID="3ca760dc-cb20-423c-b0d4-7ebc3b595668" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/938/pc-surround-sound-ports-and-spdif" />
  <row Id="43191" PostHistoryTypeId="2" PostId="24878" RevisionGUID="32d97256-4345-4d14-a2f2-153d99b558f3" CreationDate="2011-02-28T14:33:01.607" UserDisplayName="Ian C." Text="&gt; are these ports analog or digital?&#xD;&#xA;&#xD;&#xA;Analog.&#xD;&#xA;&#xD;&#xA;&gt; Should I be looking at a surround sound system that accepts SPDIF or are the 6 ports digital and immune to noise like the SPDIF connector and therefore no sound quality difference should be expected?&#xD;&#xA;&#xD;&#xA;I would personally prefer a S/PDIF connection. One cable is easier to run than many cables. I don't usually use the terms &quot;sound quality&quot; and &quot;on-board audio&quot; in the same sentence. :) I don't think you'll notice much of a difference between the two connection methods and if you did I doubt the problem would be interference over the wire run. More likely it'll come from poor D/A converters in the on-board card -- something you'd be bypassing if you used S/PDIF; in that case you'd be using a D/A in the speaker system.&#xD;&#xA;&#xD;&#xA;&gt; Or if the 6 ports are analog but SPDIF does not support 7.1 audio, am I stuck with analog only or can a combination of the two be used like stereo SPDIF for head phone use and analog for surround sound in movie watching?&#xD;&#xA;&#xD;&#xA;If the S/PDIF connection is stereo-only you're stuck using the analog outputs for a 7.1 speaker setup. You can use both S/PDIF and the analog outputs at the same time *on most audio interfaces*. I have no reason to doubt this isn't true in your case, but check the manual for the concise answer here. The tricky part of your request would be finding headphones with in-build DA that'll accept a digital signal over S/PDIF. That sounds like a rare product to me.&#xD;&#xA;&#xD;&#xA;&gt; If the 6 ports are analog, then how is it some of them can carry more than two signals? My assumption up to this point is each port is a two signals + ground&#xD;&#xA;&#xD;&#xA;They are [TRS connections][1]. They can carry two signals and a common ground wire is shared between them.&#xD;&#xA;&#xD;&#xA;&gt; Does SPDIF carry all 7.1 channels?&#xD;&#xA;&#xD;&#xA;Yes, S/PDIF can carry DTS or Dolby Digital encoded audio signals. Your sound card has to support outputting these encoded audio signals on its S/PDIF connection, obviously.&#xD;&#xA;&#xD;&#xA;&gt; I would like to purchase a decent surround sound system to connect to this. I intend to play games as well as watch blue ray movies. Any recommendations for a decent setup?&#xD;&#xA;&#xD;&#xA;Shopping questions aren't encouraged on SE sites. Maybe ask a new question on how to assess and purchase a good surround sound system for a computer? Though, honestly, this is skirting the mandate of the site.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/TRS_connector" ContentLicense="CC BY-SA 2.5" />
  <row Id="43192" PostHistoryTypeId="2" PostId="24877" RevisionGUID="48c926df-eb11-4cef-95a5-09b9a17fc0a0" CreationDate="2011-02-28T13:25:42.460" UserDisplayName="Eric M" Text="I'm trying to understand something and I think it's a terminology issue that is confusing the issue for me.&#xD;&#xA;&#xD;&#xA;I have a computer motherboard with both an optical SPDIF connector as well as 6 ports for audio output.  The motherboard is an ASUS Sabertooth X58.  Here is a photo of the ports:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The 6 connectors shown (Orange, black, grey, blue, green, pink) allow me to connect up a 7.1 speaker system.  My first question is, &#xD;&#xA;&#xD;&#xA;1.  are these ports analog or digital?  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;2.  Should I be looking at a surround sound system that accepts SPDIF or are the 6 ports digital and immune to noise like the SPDIF connector and therefore no sound quality difference should be expected?  Or if the 6 ports are analog but SPDIF does not support 7.1 audio, am I stuck with analog only or can a combination of the two be used like stereo SPDIF for head phone use and analog for surround sound in movie watching?&#xD;&#xA;&#xD;&#xA;3.  If the 6 ports are analog, then how is it some of them can carry more than two signals?  My assumption up to this point is each port is a two signals + ground.  &#xD;&#xA;&#xD;&#xA;4.  Does SPDIF carry all 7.1 channels?&#xD;&#xA;&#xD;&#xA;5.  I would like to purchase a decent surround sound system to connect to this.  I intend to play games as well as watch blue ray movies.  Any recommendations for a decent setup?  &#xD;&#xA;&#xD;&#xA;Here is a what the user manual shows:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/nSTnj.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/RNpCB.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="43193" PostHistoryTypeId="1" PostId="24877" RevisionGUID="48c926df-eb11-4cef-95a5-09b9a17fc0a0" CreationDate="2011-02-28T13:25:42.460" UserDisplayName="Eric M" Text="PC Surround Sound ports and SPDIF?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43194" PostHistoryTypeId="3" PostId="24877" RevisionGUID="48c926df-eb11-4cef-95a5-09b9a17fc0a0" CreationDate="2011-02-28T13:25:42.460" UserDisplayName="Eric M" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43195" PostHistoryTypeId="36" PostId="24878" RevisionGUID="90f04d54-f6d2-4ada-8b9e-ed52f2d224f5" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/938/pc-surround-sound-ports-and-spdif/939#939" />
  <row Id="43196" PostHistoryTypeId="36" PostId="24879" RevisionGUID="ecb1b105-e85b-48c4-99b6-934844492460" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1248/how-do-i-reset-a-roland-d-20" />
  <row Id="43197" PostHistoryTypeId="2" PostId="24880" RevisionGUID="b7f5c865-27ae-4a95-8824-023754bdc746" CreationDate="2011-04-22T21:10:52.300" UserDisplayName="gomad" Text="The Roland D-20 can be reset by following this procedure:&#xD;&#xA;&#xD;&#xA;&gt; HOLD TUNE/FUNCTION AND WRITE WHILE POWERING ON. &#xD;&#xA;&#xD;&#xA;According to a [synth reset guide page.](http://www.dlse.nl/synthrepair/reset.html)" ContentLicense="CC BY-SA 3.0" />
  <row Id="43198" PostHistoryTypeId="2" PostId="24879" RevisionGUID="7a8ce452-4ffe-4b80-9057-cc4e67ed7e06" CreationDate="2011-04-22T21:02:47.300" UserId="9651" UserDisplayName="Caleb" Text="I wanted to know if there was any way I could reset a Roland D-20 back to all its original settings." ContentLicense="CC BY-SA 3.0" />
  <row Id="43199" PostHistoryTypeId="1" PostId="24879" RevisionGUID="7a8ce452-4ffe-4b80-9057-cc4e67ed7e06" CreationDate="2011-04-22T21:02:47.300" UserId="9651" UserDisplayName="Caleb" Text="How do I reset a Roland D-20?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43200" PostHistoryTypeId="3" PostId="24879" RevisionGUID="7a8ce452-4ffe-4b80-9057-cc4e67ed7e06" CreationDate="2011-04-22T21:02:47.300" UserId="9651" UserDisplayName="Caleb" Text="&lt;synthesizer&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43201" PostHistoryTypeId="36" PostId="24880" RevisionGUID="53637f0c-bdb9-428a-bcd6-71c73c902e51" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1248/how-do-i-reset-a-roland-d-20/1249#1249" />
  <row Id="43202" PostHistoryTypeId="36" PostId="24881" RevisionGUID="7dfd1184-1d33-4b30-a949-7437ecf03909" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1248/how-do-i-reset-a-roland-d-20/1267#1267" />
  <row Id="43203" PostHistoryTypeId="2" PostId="24881" RevisionGUID="96a82ccd-47bd-4ee1-b06c-f34816752b3c" CreationDate="2011-04-25T14:18:21.957" UserId="17571" UserDisplayName="Zeronyne" Text="If you need the factory patches, they exist as .MID files here:&#xD;&#xA;&#xD;&#xA;http://www.rolandus.com/support/downloads_updates/eula.php?FileName=factorypatches.zip&#xD;&#xA;&#xD;&#xA;You can dump them into your D20 with any freeware MIDI sequencer and a MIDI interface." ContentLicense="CC BY-SA 3.0" />
  <row Id="43204" PostHistoryTypeId="36" PostId="24882" RevisionGUID="70b819a3-ccb7-4a49-b656-e463fc28b1fd" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1330/how-can-i-lock-my-keyboard" />
  <row Id="43205" PostHistoryTypeId="2" PostId="24883" RevisionGUID="9bf77298-f1d7-49d4-be2c-7efffe25c8ba" CreationDate="2011-05-02T21:08:16.510" UserId="17571" UserDisplayName="Zeronyne" Text="Nope. But you could take the power cord with you when you leave it." ContentLicense="CC BY-SA 3.0" />
  <row Id="43206" PostHistoryTypeId="2" PostId="24882" RevisionGUID="6b3898f0-e4da-4537-aafd-a5177986b8ab" CreationDate="2011-05-02T20:42:24.137" UserId="9651" UserDisplayName="Caleb" Text="I have a roland d-20. Is there anyway I can lock it so you need a password or combination of keys to unlock it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43207" PostHistoryTypeId="1" PostId="24882" RevisionGUID="6b3898f0-e4da-4537-aafd-a5177986b8ab" CreationDate="2011-05-02T20:42:24.137" UserId="9651" UserDisplayName="Caleb" Text="How can I lock my keyboard?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43208" PostHistoryTypeId="3" PostId="24882" RevisionGUID="6b3898f0-e4da-4537-aafd-a5177986b8ab" CreationDate="2011-05-02T20:42:24.137" UserId="9651" UserDisplayName="Caleb" Text="&lt;keyboard&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43209" PostHistoryTypeId="36" PostId="24883" RevisionGUID="a1e5d1d5-0a8f-4c7d-8cb9-b9f3c646c8da" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1330/how-can-i-lock-my-keyboard/1331#1331" />
  <row Id="43210" PostHistoryTypeId="36" PostId="24884" RevisionGUID="dd6f8ac0-63a3-47cc-b3d7-973b64ef6d45" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3154/is-this-sound-card-good-enough" />
  <row Id="43211" PostHistoryTypeId="2" PostId="24885" RevisionGUID="b71a3797-84d4-4b09-ba4b-43f1a0941846" CreationDate="2012-01-29T03:42:31.107" UserId="7189" Text="Digital is digital, so if you are using an optical cable between your sound card and sound system, you should be fine.&#xD;&#xA;&#xD;&#xA;But don't trust me, grab a S/PDIF cable and hook it up. How does it sounds?&#xD;&#xA;&#xD;&#xA;There are two main reasons for using external sound cards, neither of which apply to your situation.&#xD;&#xA;&#xD;&#xA; 1. External sound cards allow you to isolate the analog signal path from the high-frequency digital noise generated by your computer. You aren't using the analog output, so this isn't an issue for you.&#xD;&#xA; 2. External sound cards give you more space for I/O ports. My MOTU 828 has 12 ins, 10 outs, S/PDIF in/out and ADAT in/out, plus some other random stuff like MIDI and various clocking options. You don't need any of this stuff.&#xD;&#xA;&#xD;&#xA;Update:&#xD;&#xA;&#xD;&#xA;Another consideration is that 5.1 and up surround sound audio is going to be compressed when it is transmitted over the optical S/PDIF cable. I'm not familiar enough with the DVD and Blu-Ray specs to know whether the on-disc audio is compressed using the same codec, but I'd guess that it is. If it is, then switching to a sound card with individual analog outs for each channel won't improve your sound quality because you are already dealing with a compressed data stream." ContentLicense="CC BY-SA 3.0" />
  <row Id="43212" PostHistoryTypeId="2" PostId="24884" RevisionGUID="54cbc168-4f69-4a7e-8ee8-1dc438b4774e" CreationDate="2012-01-28T14:22:15.530" UserId="7210" Text="We have a sound system with 6.1 channels (7.1 if we use two active speakers in addition to the sub-woofer.) We're going to use the optical SPDIF connection. Are some sound cards better than others if they use optical SPDIF, because they don't do any DAC? In other words, are there any benefits of paying more for a [sound card][1] when we use the digital output?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.komplett.no/k/ki.aspx?sku=587208#extra" ContentLicense="CC BY-SA 3.0" />
  <row Id="43213" PostHistoryTypeId="1" PostId="24884" RevisionGUID="54cbc168-4f69-4a7e-8ee8-1dc438b4774e" CreationDate="2012-01-28T14:22:15.530" UserId="7210" Text="Is this sound card good enough?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43214" PostHistoryTypeId="3" PostId="24884" RevisionGUID="54cbc168-4f69-4a7e-8ee8-1dc438b4774e" CreationDate="2012-01-28T14:22:15.530" UserId="7210" Text="&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43215" PostHistoryTypeId="36" PostId="24885" RevisionGUID="c8960940-c2d6-4d36-97c7-0e974c638354" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3154/is-this-sound-card-good-enough/3160#3160" />
  <row Id="43216" PostHistoryTypeId="36" PostId="24886" RevisionGUID="6a5e8f97-b41d-4b18-a806-9ac43039a464" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2796/i-am-getting-a-hiss-in-the-recording-when-using-a-portable-digital-audio-recorde" />
  <row Id="43217" PostHistoryTypeId="36" PostId="24887" RevisionGUID="34cc96ce-65ce-402b-b954-0574d0f3fb46" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2796/i-am-getting-a-hiss-in-the-recording-when-using-a-portable-digital-audio-recorde/2797#2797" />
  <row Id="43218" PostHistoryTypeId="36" PostId="24888" RevisionGUID="6c568c5a-3b7c-46a0-b97a-7cd72c7659ae" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2796/i-am-getting-a-hiss-in-the-recording-when-using-a-portable-digital-audio-recorde/2801#2801" />
  <row Id="43219" PostHistoryTypeId="36" PostId="24889" RevisionGUID="79efee5d-6401-4097-961e-87f90ba000e3" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2796/i-am-getting-a-hiss-in-the-recording-when-using-a-portable-digital-audio-recorde/5115#5115" />
  <row Id="43220" PostHistoryTypeId="36" PostId="24890" RevisionGUID="481bbaab-dd34-41a7-a283-e54cc3d0afdd" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2796/i-am-getting-a-hiss-in-the-recording-when-using-a-portable-digital-audio-recorde/5124#5124" />
  <row Id="43221" PostHistoryTypeId="2" PostId="24887" RevisionGUID="41ec8845-f648-4ed8-81fa-a8ced41388fc" CreationDate="2011-12-13T11:41:24.663" UserDisplayName="Anthony Agius" Text="Technically, the PMD661 and that mic should be clean as a whistle. Maybe your gain is turned up too high? I don't know if changing the recording method would change that, but it could if you use a device with a better mic pre-amp, so the gain isn't so high and the hiss isn't introduced. Personally, I would try borrow another device and see if the hiss remains, rather than splashing out on new gear that may or may not resolve the issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="43222" PostHistoryTypeId="2" PostId="24888" RevisionGUID="ed2324dc-8bef-42b9-8aa0-b4b2ca772a0f" CreationDate="2011-12-13T23:15:00.057" UserId="13395" UserDisplayName="Ali Maxwell" Text="Hiss on a recording can be anything from faulty cables to something around the mic/unit that causes a hiss or a hum. My suggestion would be to try replacing the cables you use and try another device as Anthony suggested. &#xD;&#xA;&#xD;&#xA;Audio interfaces are good in that they allow you to record audio straight onto your computer, with no intermediate step, to edit quickly. They also provide all the options you would want, for example phantom power, monitor out, and pad buttons and input level settings. If you wish to buy one, I would recommend the [M-Audio Fast Track 2][1]. I use it's bigger brother, the Fast Track Pro, and get quality, clean audio each time. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.co.uk/products/catalog?q=audio%20interface&amp;hl=en&amp;client=safari&amp;rls=en&amp;bav=on.2,or.r_gc.r_pw.,cf.osb&amp;biw=1440&amp;bih=717&amp;um=1&amp;ie=UTF-8&amp;tbm=shop&amp;cid=5930990604947892730&amp;sa=X&amp;ei=w9rnTvqODse3hAfHv4DsCg&amp;ved=0CLABEPMCMAY#ps-sellers" ContentLicense="CC BY-SA 3.0" />
  <row Id="43223" PostHistoryTypeId="2" PostId="24889" RevisionGUID="52a400d5-a9fd-47e7-98a5-9787edb6bbf4" CreationDate="2012-10-18T19:56:17.700" UserId="6957" Text="As mentioned, there are a number a reasons that you could be ending up with a hiss in your recording.  All of those ideas are good possibilities.  &#xD;&#xA;&#xD;&#xA;Have you tried with one mic at a time?  to see if the hiss is localized to one mic or cable, etc.?&#xD;&#xA;&#xD;&#xA; - As to your question of whether the hiss is common, it is not inherent in digital recorders like the Marantz, or others like it.  Having said that, I have read some reviews that mention a hiss issue with this particular model.  They're internet reviews though, so I take it with a grain of salt.&#xD;&#xA; - To your question about a different/better setup, the Marantz records @ 16-bit, the Focusrite @ 24-bit.  Higher resolution, yes, but that also means more data (which is probably why the compact flash recorder uses 16-bit).  All else being equal, the primary differences between the two will be the preamp and the A/D converter.  An educated guess here... the Focusrite wins in both of those areas." ContentLicense="CC BY-SA 3.0" />
  <row Id="43224" PostHistoryTypeId="2" PostId="24890" RevisionGUID="ab404e35-461a-499f-b1dd-c89564eabb91" CreationDate="2012-10-19T07:10:13.737" UserDisplayName="Andrew James" Text="It's really all in the microphone. Try to purchase or rent a new one, and make sure it's the expensive one because poor quality microphones have so many disadvantages...better purchase the expensive one than regretting at the end of the day. " ContentLicense="CC BY-SA 3.0" />
  <row Id="43225" PostHistoryTypeId="2" PostId="24886" RevisionGUID="a31db7cb-cd6a-46dd-87b7-ab6dbdae8fba" CreationDate="2011-12-13T10:09:21.680" UserDisplayName="Harry" Text="I produce nature recordings accompanied with a separately recorded spoken word channel. &#xD;&#xA;&#xD;&#xA;My technical understanding is pretty minimal, I am just trying to get the cleanest sound and get on with the recordings. &#xD;&#xA;&#xD;&#xA;I have been using DPA 4060 omnidirectional mics for the nature recordings and a sennheiser me66 shotgun mic for spoken word. This has been rigged up to a marantz pmd661 portable recorder. I then use either garageband or audacity post production. &#xD;&#xA;&#xD;&#xA;I have found the mics to be excellent but find that there is a hiss present in the recordings.&#xD;&#xA; &#xD;&#xA;My question is whether this hiss is common with this level of portable recorders and whether I would do better coupling an audio interface (like the Focusrite Saffire PRO 14) to my macbook pro. &#xD;&#xA;&#xD;&#xA;There are times when I need the portability - and I will use the portable recorder for those times, but when the portability of the macbook pro and audio interface is not an issue, will I get better sound quality from it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43226" PostHistoryTypeId="1" PostId="24886" RevisionGUID="a31db7cb-cd6a-46dd-87b7-ab6dbdae8fba" CreationDate="2011-12-13T10:09:21.680" UserDisplayName="Harry" Text="I am getting a hiss in the recording when using a portable digital audio recorder." ContentLicense="CC BY-SA 3.0" />
  <row Id="43227" PostHistoryTypeId="3" PostId="24886" RevisionGUID="a31db7cb-cd6a-46dd-87b7-ab6dbdae8fba" CreationDate="2011-12-13T10:09:21.680" UserDisplayName="Harry" Text="&lt;field-recording&gt;&lt;laptop&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43228" PostHistoryTypeId="36" PostId="24891" RevisionGUID="64de968a-b03d-4d37-8829-9a24d94bb6ba" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9583/getting-audio-from-live-to-pass-through-to-scarlett-18i20" />
  <row Id="43229" PostHistoryTypeId="2" PostId="24891" RevisionGUID="3c624d52-513d-4cb2-b7fc-219d302e295e" CreationDate="2013-12-06T20:19:38.167" UserId="7190" Text="So I am trying to stream my setup to Mixlr, which provides a streaming interface where I can assign an audio device to send to the stream. There are a few options in the dropdown menu for each of the Scarlett 18i20's output channels, and there is one for the Scarlett 18i20's USB channel. Now I can hear both the audio from the Ableton Live DAW and the external instruments I have plugged into the audio interface, but I can't seem to get any audio from the USB channel, and the only time I do get audio from the interface to the Mixlr stream is if I select the 18i20's channels 3/4, which is the input channel used by the external instrument. &#xD;&#xA;&#xD;&#xA;Has anyone successfully been able to get the USB audio source from a FocusRite audio interface to provide audio to the USB device? How do I get this to work? I need to feed to the stream both the external instrument and the audio tracks within the DAW." ContentLicense="CC BY-SA 3.0" />
  <row Id="43230" PostHistoryTypeId="1" PostId="24891" RevisionGUID="3c624d52-513d-4cb2-b7fc-219d302e295e" CreationDate="2013-12-06T20:19:38.167" UserId="7190" Text="Getting Audio from Live to Pass Through to Scarlett 18i20" ContentLicense="CC BY-SA 3.0" />
  <row Id="43231" PostHistoryTypeId="3" PostId="24891" RevisionGUID="3c624d52-513d-4cb2-b7fc-219d302e295e" CreationDate="2013-12-06T20:19:38.167" UserId="7190" Text="&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43232" PostHistoryTypeId="36" PostId="24892" RevisionGUID="de97df1b-6f8a-4ce8-90e1-b901c66ace51" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/41/firewire-or-usb" />
  <row Id="43233" PostHistoryTypeId="36" PostId="24893" RevisionGUID="dcdf70ea-03fd-46a4-b17a-8d9542bb9600" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/41/firewire-or-usb/44#44" />
  <row Id="43234" PostHistoryTypeId="2" PostId="24893" RevisionGUID="eb39b7dd-4489-4853-a7da-0bb0421fdbe7" CreationDate="2010-12-07T21:10:25.377" UserDisplayName="Ian C." Text="I'm running my Apogee Duet on its own FireWire line. It is flawlessly fast and stable. Can't say I ever experienced this degree of stability and consistency with any USB-based audio gear.&#xD;&#xA;&#xD;&#xA;When given the choice, I will always pick FireWire now." ContentLicense="CC BY-SA 2.5" />
  <row Id="43235" PostHistoryTypeId="2" PostId="24894" RevisionGUID="8db44650-5ee8-40c8-b466-ac5fa7eff585" CreationDate="2010-12-07T21:11:06.200" UserId="13188" UserDisplayName="Mark Henderson" Text="Firewire became really popular in the mid-90's when Apple dropped traditional SCSI from their boxes and started pushing the Firewire format instead.&#xD;&#xA;&#xD;&#xA;Firewire has always been faster and have lower latency than USB, but obviously USB is a far more prevailant interface to be found on virtually every computer made in the last 15 years, but often you have to go hunting for Firewire interfaces.&#xD;&#xA;&#xD;&#xA;That said, most of the professional external digital devices run on Firewire - maybe because of the push from Apple in the 90's, but whatever the reason, it certainly seems superior to USB when doing digital production." ContentLicense="CC BY-SA 2.5" />
  <row Id="43236" PostHistoryTypeId="2" PostId="24892" RevisionGUID="4b460986-0dd2-46a3-81e1-e07a1c2852a4" CreationDate="2010-12-07T21:07:37.910" UserDisplayName="Donn Felker" Text="Which is better for audio recording? FireWire or USB audio interfaces? &#xD;&#xA;&#xD;&#xA;I've used USB quite a bit and struggled with a few latency issues (which have since been resolved) but the speeds of FireWire are interesting to me. &#xD;&#xA;&#xD;&#xA;I currently run a MacBookPro i5 w/ 8GB of ram. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43237" PostHistoryTypeId="1" PostId="24892" RevisionGUID="4b460986-0dd2-46a3-81e1-e07a1c2852a4" CreationDate="2010-12-07T21:07:37.910" UserDisplayName="Donn Felker" Text="FireWire or USB" ContentLicense="CC BY-SA 2.5" />
  <row Id="43238" PostHistoryTypeId="3" PostId="24892" RevisionGUID="4b460986-0dd2-46a3-81e1-e07a1c2852a4" CreationDate="2010-12-07T21:07:37.910" UserDisplayName="Donn Felker" Text="&lt;usb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43239" PostHistoryTypeId="36" PostId="24894" RevisionGUID="eaa8dec0-8abb-468c-bd1b-4369de65fe0b" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/41/firewire-or-usb/45#45" />
  <row Id="43240" PostHistoryTypeId="36" PostId="24895" RevisionGUID="6b741b46-b919-482f-9300-0be82695d5a1" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/41/firewire-or-usb/46#46" />
  <row Id="43241" PostHistoryTypeId="36" PostId="24896" RevisionGUID="d6d351c7-0889-4610-93d2-0d73f5006309" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/41/firewire-or-usb/551#551" />
  <row Id="43242" PostHistoryTypeId="36" PostId="24897" RevisionGUID="c056f000-059b-4226-8a9e-6d11294833b6" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/41/firewire-or-usb/558#558" />
  <row Id="43243" PostHistoryTypeId="36" PostId="24898" RevisionGUID="610a8505-75d6-48ff-b122-cf377506a0db" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/41/firewire-or-usb/815#815" />
  <row Id="43244" PostHistoryTypeId="36" PostId="24899" RevisionGUID="37302169-7ba7-40a9-8b42-46aa28592133" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/41/firewire-or-usb/828#828" />
  <row Id="43245" PostHistoryTypeId="36" PostId="24900" RevisionGUID="685546db-b025-45f9-a03e-a7a838cbccbf" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/41/firewire-or-usb/7378#7378" />
  <row Id="43246" PostHistoryTypeId="36" PostId="24901" RevisionGUID="f925640b-4960-497a-9d37-df2ec9d76fbd" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/41/firewire-or-usb/8805#8805" />
  <row Id="43247" PostHistoryTypeId="36" PostId="24902" RevisionGUID="3deeb0e0-936d-4f13-86cb-71274bfed41f" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/41/firewire-or-usb/8806#8806" />
  <row Id="43248" PostHistoryTypeId="2" PostId="24895" RevisionGUID="0d988ecd-ddc8-430b-813a-f728eb4a6c7a" CreationDate="2010-12-07T21:12:51.863" UserId="7856" UserDisplayName="Corey" Text="FireWire is often a better option, simple because there are so many other devices that may be connected to USB. By going with FireWire, your audio hardware will often have the entire bus to itself." ContentLicense="CC BY-SA 2.5" />
  <row Id="43249" PostHistoryTypeId="2" PostId="24896" RevisionGUID="3efc1677-2601-40b7-90c5-20811fd0fa78" CreationDate="2011-01-10T02:25:45.217" UserDisplayName="DRL" Text="In addition to all of the above answers; firewire also allows simultaneous independent track recording; as does USB 2.0 [alesis][1] and other audio hardware producers are now making some good devices for USB 2.0; USB 1.0 is the one you really want to avoid, unless you do not need track splitting and the higher bandwidth&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.alesis.com/multimix8usb20" ContentLicense="CC BY-SA 2.5" />
  <row Id="43250" PostHistoryTypeId="2" PostId="24897" RevisionGUID="9e436840-5bdd-4866-a4a8-41624436944b" CreationDate="2011-01-10T16:44:56.860" UserId="7209" Text="Which is better?  That depends on a lot of factors.&#xD;&#xA;&#xD;&#xA;**Bandwidth**&#xD;&#xA;&#xD;&#xA;Both FireWire (400 &amp; 800) and USB (2.0 and beyond) have plenty of bandwidth available for multi-track audio recording, even at high sample rates and bit depth.&#xD;&#xA;&#xD;&#xA;**Latency**&#xD;&#xA;&#xD;&#xA;Latency has much to do with the drivers, the host computer, and the audio interface used.&#xD;&#xA;&#xD;&#xA;Now, I've seen someone else talk a bit about throughput jitter.  (This has nothing to do with clock jitter on the interface.  Don't confuse the two.)  Basically, FireWire can operate in a mode where there is a steady stream of data sent from a device to the host computer.  &#xD;&#xA;&#xD;&#xA;With USB, data can also be sent in a fairly steady stream of data, but if another USB device on the same root hub (external hard drive for example) wants a ton of bandwidth, your audio interface shares what is available.  With FireWire, devices *also* share the available bandwidth when chained together... it is just less common to have more devices.&#xD;&#xA;&#xD;&#xA;This is not to say that USB is inferior in this area.  Simply plug your audio interface into a root hub by itself, or with low-bandwidth devices like your keyboard/mouse.  It's really that simple.  Don't have one available?  Buy a $10 card and plug it in.  Chances are you'd have to do the same for FireWire anyway, but that FireWire card will cost you $80.&#xD;&#xA;&#xD;&#xA;**Universality** (Is that a word?)&#xD;&#xA;&#xD;&#xA;How many computers made in the last decade (nearly?) have USB 2.0 interfaces?  You would be hard pressed to find one that didn't.&#xD;&#xA;&#xD;&#xA;How many with FireWire?  Many for sure, and you can always buy a FireWire interface for your computer, Mac or PC, desktop or laptop (assuming available expansion slot).  But if you drop your laptop on the way to a gig and need to borrow someone elses', you might not be so lucky to find that FireWire interface.  Whether this matters or not is up to you.  It may not matter one bit depending on your situation.&#xD;&#xA;&#xD;&#xA;**Bottom Line**&#xD;&#xA;&#xD;&#xA;You should choose an audio interface based on whether or not it meets your needs, and not on how it attaches to your computer.  While FireWire at a low level has some strengths for dedicated bandwidth, it matters very little (none for many) these days.&#xD;&#xA;&#xD;&#xA;You will always find people that say they used to use USB Audio Card X, and upgraded to FireWire Audio Card Y and noticed lower latency.  Well of course, they probably bought something a lot newer or better.  Either way, they are comparing apples and oranges.&#xD;&#xA;&#xD;&#xA;Here's a personal experience for you... on my rig at home, I have a Tascam US-1641 USB audio interface, and my input latency is under 3ms!  I haven't even optimized anything.  It's even plugged into a chained 7-port hub that is loaded up with a webcam, another audio interface, an external hard drive, and some other crap.  It's quite reliable.  But again, I'd urge you to look past personal experiences here and there and read through my points above.&#xD;&#xA;&#xD;&#xA;Choose an audio interface on its quality and features.  If you find something you like that uses FireWire, then go that route.  If you find something you like that is USB, go that route.  Don't ignore one or the other simply by how it attaches to your PC.  The reality is that doesn't matter anymore." ContentLicense="CC BY-SA 2.5" />
  <row Id="43251" PostHistoryTypeId="2" PostId="24898" RevisionGUID="042369f8-6f26-4fb2-99a3-3e748965c615" CreationDate="2011-02-14T22:07:26.907" UserDisplayName="Kelly Adams" Text="Another thing to consider in the Windows world (and maybe OSX as well, but I'm not familiar enough with that kernel), is latency due to Deferred Procedure Calls (DPCs). This can cause audio drop-outs and latency that is independent of the USB/FW choice. Several tools exist to measure and analyze DPC latency:&#xD;&#xA;&#xD;&#xA; - [The Syscon's DPC Latency Checker](http://www.thesycon.de/deu/latency_check.shtml)&#xD;&#xA; - [TC Electronics DPC Spike Checker](http://forum.tcelectronic.com/viewtopic.php?id=30)&#xD;&#xA;&#xD;&#xA;I would suggest that having the nicest, most expensive USB or FW interface will still have latency and drop-out issues when connected to a DAW with a bunch of drivers all trying to raise interrupts at a high priority.  Choosing between a supercharger and turbocharger to bolt onto a beat-up motor with poor compression and a slipping clutch isn't really a choice at all.&#xD;&#xA;&#xD;&#xA;Keep in mind that each processor has it's own DPC queue, so more procs or cores means less of a chance of contention between DPCs.  Therefore, I think there are a few choices you should make _before_ you choose between FW and USB:&#xD;&#xA;&#xD;&#xA; - Will the connected machine be used for just DAW work, or also be hooked to a bunch of non-audio devices that may have contentious drivers?&#xD;&#xA; - Can you demo or rely on a return policy to test the interface on your specific hardware?&#xD;&#xA; - Is there a trade-off between number of inputs/built-in FX/preamps on comparable gear with different interfaces?&#xD;&#xA; - Could my money be better spent upgrading (more cores/RAM/disk IO bandwidth) the DAW first?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 2.5" />
  <row Id="43252" PostHistoryTypeId="2" PostId="24899" RevisionGUID="c9391703-6601-41fd-a6f3-fd0040828895" CreationDate="2011-02-16T21:44:04.720" UserId="319" Text="There are companies making great USB interfaces now (RME).  I'm going USB due to the computer upgrade issues - ie apple not putting firewire on certain lower cost computers.  Very irritating.  I have one of those new pcmcia express cards which has also been removed from all but the 17&quot; Macbook Pro - so choose your connections for the long haul.  You'll need a new compute every few years, but can keep an interface for 10+ years." ContentLicense="CC BY-SA 2.5" />
  <row Id="43253" PostHistoryTypeId="2" PostId="24900" RevisionGUID="181cca96-beca-4091-ba68-1956bba430ac" CreationDate="2013-03-12T04:18:22.700" UserDisplayName="Roger" Text="USB passes each read/write packet through the CPU.&#xD;&#xA;&#xD;&#xA;Firewire bypasses each read/write packet, avoiding CPU usage.&#xD;&#xA;&#xD;&#xA;This has been the main issue with USB-1.0 and USB-2.0, and I'm unsure about USB-3.0.  Intel USB-3.0 requires proprietary Intel drivers, and there are no generic USB-3.0 drivers for Windows platforms, except for Linux.&#xD;&#xA;&#xD;&#xA;Many audio related manufacturers seem to be avoiding the PCI/PCI-E bus due to interference.   Personally, I prefer PCI/PCI-E as there's better performance overall. " ContentLicense="CC BY-SA 3.0" />
  <row Id="43254" PostHistoryTypeId="2" PostId="24901" RevisionGUID="279b201b-d3ff-4f2a-9178-210ed3046abf" CreationDate="2013-08-24T04:38:48.917" UserDisplayName="William Wendland" Text="I have been using the PC for recording since 1998. &#xD;&#xA;at first we used the regular onboard sound, it was garbage. &#xD;&#xA;&#xD;&#xA;I started using PCI sound cards which had pretty much a 0 latency. &#xD;&#xA;today a PCIe card would be the best choice. &#xD;&#xA;&#xD;&#xA;But if you do not have a PCI/PCIe slot available you are forced to use USB/Firewire&#xD;&#xA;&#xD;&#xA;I have used many USB devices and had nothing but problems with cracks. pops, dropouts, time outs, and latency. and I have always used top quality equipment. &#xD;&#xA;before someone makes the comment of using crappy computer equipment. &#xD;&#xA;&#xD;&#xA;With Firewire I get lower latency, and have not experienced the errors I had previously with USB. &#xD;&#xA;&#xD;&#xA;Here's why. USB not only shares bandwidth with other USB devices, it also shares the chipset which controls a lot of other components in the computer. &#xD;&#xA;&#xD;&#xA;Firewire has it's own dedicated chip, beware of shotty chip manufacturers. &#xD;&#xA;It's a direct BUS, unlike USB (Universal Serial BUS) it's not a bus at all. &#xD;&#xA;USB3 will be better, but I haven't seen any USB3 audio devices.  &#xD;&#xA;&#xD;&#xA;Why do you find USB on most computers, and not Firewire? &#xD;&#xA;USB is much cheaper to license and has become the standard, It's not better, just cheaper and broad. you will find that even today professionals use firewire over usb, and most high quality devices that are more expensive are equipped with firewire." ContentLicense="CC BY-SA 3.0" />
  <row Id="43255" PostHistoryTypeId="2" PostId="24902" RevisionGUID="f5f07145-702c-49a3-bf27-ed639c396914" CreationDate="2013-08-24T04:56:06.527" UserId="7787" UserDisplayName="audiomason" Text="FireWire (IEEE 1394) was designed for isochronous real-time data transfer.&#xD;&#xA;&#xD;&#xA;USB data transfer is asynchronous, and is therefore less reliable for time critical data (like sound or video)." ContentLicense="CC BY-SA 3.0" />
  <row Id="43256" PostHistoryTypeId="36" PostId="24903" RevisionGUID="53c9a25f-2792-4367-88e0-c23cf798c041" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2709/im-out-of-lfos-how-can-i-put-vibrato-on-my-synth-line-in-ableton-live" />
  <row Id="43257" PostHistoryTypeId="2" PostId="24904" RevisionGUID="7bf68ebf-ec37-4bbc-8b4f-b1a21b063aab" CreationDate="2011-11-29T04:51:24.053" UserDisplayName="staticsan" Text="It should be a fairly straightforward DSP effect, if you're happy to do it in the mixdown. Some chorus and rotating speaker effects can also be wound back until they're just vibrato.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43258" PostHistoryTypeId="2" PostId="24903" RevisionGUID="d702aa7b-c160-41d6-8aed-9e986397e2ce" CreationDate="2011-11-28T18:11:52.027" UserId="7294" UserDisplayName="Warrior Bob" Text="I'm adding a synthesizer line to a recording I'm working with. I've gotten a nice sound using Ableton's Operator FM synthesizer, and I'd like to add some vibrato to it. Generally, this is done by using an LFO tied to oscillator pitch, and varying the intensity of it over time.&#xD;&#xA;&#xD;&#xA;The problem I've run into is that Operator only has one LFO, and I've already used it as part of the design of the sound. It's not available for pitch modulation.&#xD;&#xA;&#xD;&#xA;Is there another way that I can achieve this vibrato sound, perhaps in post production? It doesn't need to be played realtime, I just need to get a finished recording.&#xD;&#xA;&#xD;&#xA;I'm using Ableton Live as my recording environment, but solutions using other tools are certainly welcome." ContentLicense="CC BY-SA 3.0" />
  <row Id="43259" PostHistoryTypeId="1" PostId="24903" RevisionGUID="d702aa7b-c160-41d6-8aed-9e986397e2ce" CreationDate="2011-11-28T18:11:52.027" UserId="7294" UserDisplayName="Warrior Bob" Text="I'm out of LFOs, how can I put vibrato on my synth line in Ableton Live?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43260" PostHistoryTypeId="3" PostId="24903" RevisionGUID="d702aa7b-c160-41d6-8aed-9e986397e2ce" CreationDate="2011-11-28T18:11:52.027" UserId="7294" UserDisplayName="Warrior Bob" Text="&lt;synthesizer&gt;&lt;ableton-live&gt;&lt;pitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43261" PostHistoryTypeId="36" PostId="24904" RevisionGUID="81f47689-3887-4a01-94af-3c396e1f06d5" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2709/im-out-of-lfos-how-can-i-put-vibrato-on-my-synth-line-in-ableton-live/2713#2713" />
  <row Id="43262" PostHistoryTypeId="36" PostId="24905" RevisionGUID="4c141191-2659-4c3b-a658-7bfe413f26f2" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2709/im-out-of-lfos-how-can-i-put-vibrato-on-my-synth-line-in-ableton-live/2714#2714" />
  <row Id="43263" PostHistoryTypeId="36" PostId="24906" RevisionGUID="366a2408-a961-49b9-931e-e50991b04204" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2709/im-out-of-lfos-how-can-i-put-vibrato-on-my-synth-line-in-ableton-live/4650#4650" />
  <row Id="43264" PostHistoryTypeId="36" PostId="24907" RevisionGUID="def4d2a2-e000-4478-a0fb-7298bf2c2584" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2709/im-out-of-lfos-how-can-i-put-vibrato-on-my-synth-line-in-ableton-live/4752#4752" />
  <row Id="43265" PostHistoryTypeId="2" PostId="24905" RevisionGUID="288b82e5-527c-46fb-8d46-c019938a1900" CreationDate="2011-11-29T10:05:50.133" UserDisplayName="egasimus" Text="There are also MIDI LFO plugins which you could link to your instrument's pitch. Can't really think of any off the top of my head since I've never had the need to use them, but some googling will probably find you a good one." ContentLicense="CC BY-SA 3.0" />
  <row Id="43266" PostHistoryTypeId="2" PostId="24906" RevisionGUID="318e4574-3bb0-462b-959a-a5bf3e743a2d" CreationDate="2012-08-30T08:49:23.020" UserDisplayName="IanDeQ" Text="I would have thought the Auto Filter would be a great choice for this. I use it for wobbly basslines and leads all the time and it has it's own LFO." ContentLicense="CC BY-SA 3.0" />
  <row Id="43267" PostHistoryTypeId="2" PostId="24907" RevisionGUID="d723f9d1-b389-496e-8dfc-cada62a15194" CreationDate="2012-09-17T19:33:23.457" UserId="14713" UserDisplayName="b20000" Text="Check out the free &lt;a href=&quot;http://land.percussa.com/software/soundor/&quot;&gt;SOUNDOR&lt;/a&gt; synth from Percussa, it's also an FM synth like Operator, but it has more complex modulation possibilities.&#xD;&#xA;&#xD;&#xA;Also, you might be interested in &lt;a href=&quot;http://land.percussa.com/audiocubes-improvisor/&quot;&gt;IMPROVISOR&lt;/a&gt;, which is a free app that works standalone and can send MIDI to any hardware or software device, and which is capable of generating complex LFOs based on waveforms you can draw yourself.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43268" PostHistoryTypeId="36" PostId="24908" RevisionGUID="71b34a27-febf-4296-8082-613de0e9a321" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7421/ipod-preamp-recording-quality" />
  <row Id="43269" PostHistoryTypeId="36" PostId="24909" RevisionGUID="a242b25f-a74f-48ce-9a83-d3c7b172401d" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7421/ipod-preamp-recording-quality/8782#8782" />
  <row Id="43270" PostHistoryTypeId="2" PostId="24909" RevisionGUID="ce556a8a-d7c3-4bbb-8d4e-45837951e580" CreationDate="2013-08-20T23:09:34.560" UserId="7330" UserDisplayName="dobrych" Text="In the line of iPods until model &quot;iPod Touch 2G&quot; Apple used analog line-in (specific pins in 30-pin apple dock connector). There was even some prosumer products like Alesis ProTrack that allowed to connect various sources to that input. It's legacy now since the Apple choose to replace the analog input with digital connections.&#xD;&#xA;&#xD;&#xA;For modern iPhones/iPods, there two options to connect external audio sources:&#xD;&#xA;&#xD;&#xA; 1. Low-quality mono microphone input via adaptors like iRig.&#xD;&#xA; 2. High quality external A/D converter that utilises Apple's digital protocol, like Sonoma Wire Works GuitarJack." ContentLicense="CC BY-SA 3.0" />
  <row Id="43271" PostHistoryTypeId="2" PostId="24908" RevisionGUID="55521863-d3c1-40d6-a5ea-a56ab31eea5b" CreationDate="2013-03-18T03:08:19.277" UserId="7840" UserDisplayName="themirror" Text="Is there any information out there on the quality of various iPod Touch and iPhone models audio-in via headphone jack?  Are there objective measures of the quality of the preamp and ADC?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43272" PostHistoryTypeId="1" PostId="24908" RevisionGUID="55521863-d3c1-40d6-a5ea-a56ab31eea5b" CreationDate="2013-03-18T03:08:19.277" UserId="7840" UserDisplayName="themirror" Text="iPod preamp recording quality" ContentLicense="CC BY-SA 3.0" />
  <row Id="43273" PostHistoryTypeId="3" PostId="24908" RevisionGUID="55521863-d3c1-40d6-a5ea-a56ab31eea5b" CreationDate="2013-03-18T03:08:19.277" UserId="7840" UserDisplayName="themirror" Text="&lt;iphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43275" PostHistoryTypeId="2" PostId="24911" RevisionGUID="e449e107-c805-46bd-85a6-be8147540b63" CreationDate="2014-01-25T14:09:38.650" UserId="7228" Text="I was looking for some simple headphone amplifiers for translation booths, to give the translators the ability to adjust the volume of their headphones. No need for super Hi-Fi quality in a relatively noisy place, but they should be of sturdy quality.&#xD;&#xA;&#xD;&#xA;My expectation was to find some gadgets below $20,- but it turns out that there's hardly anything on the market below $60,- (besides unassembled do-it-yourself kits).&#xD;&#xA;&#xD;&#xA;This seems crazy since a headphone amp is already built into almost every gadget that can produce audio. Looking at USB audio interfaces, these do drop under $40,- and could also do what I want, but it still feels like an overkill.&#xD;&#xA;&#xD;&#xA;Would it hurt the original amplifier if I adjust the volume to an excessive level and simply solder a stereo resistor between some jack-plugs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43276" PostHistoryTypeId="1" PostId="24911" RevisionGUID="e449e107-c805-46bd-85a6-be8147540b63" CreationDate="2014-01-25T14:09:38.650" UserId="7228" Text="What makes a headphone monitoring amplifier so expensive? any tips for alternatives?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43277" PostHistoryTypeId="3" PostId="24911" RevisionGUID="e449e107-c805-46bd-85a6-be8147540b63" CreationDate="2014-01-25T14:09:38.650" UserId="7228" Text="&lt;analog&gt;&lt;volume&gt;&lt;amplifier&gt;&lt;headphone&gt;&lt;monitor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43284" PostHistoryTypeId="2" PostId="24912" RevisionGUID="dd3e0f20-4d67-4b2d-acff-3925bb848498" CreationDate="2014-01-25T19:19:56.730" UserId="1228" Text="I agree with what's been said, although don't forget that part of what gives a sound its off-axis/down-the-hall timbre is how it resonates through the building materials.  So yes, highs will drop off but you'll likely need to bump sonewhere between 180 - 400 Hz where there's a nice resonant quality, just be careful of the 300 Hz muddiness.  This is where a bit of reverb, or better yet an IR, will help seal the deal.  Sometimes a short slap delay will help to, since early reflections are how our ears identify the space in which a sound propogates. &#xD;&#xA;&#xD;&#xA;EQ is but one part of the puzzle." ContentLicense="CC BY-SA 3.0" />
  <row Id="43285" PostHistoryTypeId="2" PostId="24913" RevisionGUID="296018ba-26f6-4927-8428-e0adfe8c3786" CreationDate="2014-01-25T19:30:43.590" UserId="5526" Text="I've had great luck using a home made impulse response created by slamming a 2x4 plank on the floor upstairs with a hammer hard, while recording it downstairs. Try taking the top of your sound off with a filter and send it through an IR like that." ContentLicense="CC BY-SA 3.0" />
  <row Id="43286" PostHistoryTypeId="2" PostId="24914" RevisionGUID="02406cf7-9651-4ae5-824b-3cd07babe2de" CreationDate="2014-01-25T20:52:25.870" UserId="1228" Text="Well, to be perfectly fair, you get what you pay for with these things.  I think $20 is not a reasonable expectation for a headphone amp at all.  Headphone amps are definitely in the professional sound market, and as such, they command both a certain build quality and price range. For any decent headphone amp I would expect to pay at least $100-200 minimum, if not more if it had other features.  There is a market for good quality product and people will buy it.  Many of us don't blink an eye when we buy a Sound Devices 7-series recorder (which clocks around $800-900 per preamp).  So considering that price gamut, and that many are willing to even pay that type of price, I wouldn't keep your hopes up for something around $20 with any sort of amp or preamp&#xD;&#xA;&#xD;&#xA;Most gadgets with basic headphone outs can't drive anything more than the 60-80 Ohm consumer headphones.  For studio headphones in the 250-600 Ohm range, it needs a more powerful amp to drive it.  And, the cost of that piece in said gadget is subsidized/wholesale to the manufacturer (that iPhone or MP3 player aren't $20 even though the part may be).  You also pay for higher quality components, better linearity of signal, and ruggedness usually with increased cost.&#xD;&#xA;&#xD;&#xA;Personally, and this is just my opinion, I would rather have piece of mind paying $200 than be worried and only paying $20." ContentLicense="CC BY-SA 3.0" />
  <row Id="43287" PostHistoryTypeId="2" PostId="24915" RevisionGUID="ecc022f6-f956-433d-b2ef-3984a15419b2" CreationDate="2014-01-25T22:07:45.540" UserId="7228" Text="Sounds like a stuccato pan flute to me. Maybe a synthetic version.&#xD;&#xA;&#xD;&#xA;Here's a link:&#xD;&#xA;[Stuccato Pan Flute][1]&#xD;&#xA;&#xD;&#xA;Could also be another wooden instrument though.&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/aCR1j85BcaQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="43288" PostHistoryTypeId="2" PostId="24916" RevisionGUID="90d8559f-169d-4ca5-b4e1-23ca1a2a2866" CreationDate="2014-01-25T22:59:59.143" UserId="6425" Text="It is definitely a sampled plucky sound. You really hear how it gets kinda longer on the lower notes imho.&#xD;&#xA;&#xD;&#xA;TO get the sound -&gt; Its a simple FM Pluck imo with huge amount of processing -&gt; distortion delays and reverb to get it biiiig :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="43289" PostHistoryTypeId="2" PostId="24917" RevisionGUID="3e202097-097a-4999-8035-c848ba977585" CreationDate="2014-01-26T01:08:15.893" UserId="7228" Text="You probably have selected some of the wanted audio while analyzing. You should take a quiet part of the track with pure noise to analyze, then after analyzing apply the noise reduction to the whole track (or the section you want filtered).&#xD;&#xA;&#xD;&#xA;See page 87 to 89 of the [Audition manual][1]. It has not changed much since Adobe have purchased Cool Edit Pro. The following is quoted from page 88:&#xD;&#xA;&#xD;&#xA;&gt;  1. In the Waveform Editor, select a range that contains only noise and is at least half a second long. To select noise in a specific&#xD;&#xA;&gt; frequency range, use the Marquee Selection tool. (See “Select spectral&#xD;&#xA;&gt; ranges” on page 39.)&#xD;&#xA;&gt;  2. Choose Effects&#xD;&#xA;&gt;     - Noise Reduction/Restoration&#xD;&#xA;&gt;     - Capture Noise Print.&#xD;&#xA;&gt;  3. In the Editor panel, select the range from which you want to remove noise.&#xD;&#xA;&gt;  4. Choose Effects&#xD;&#xA;&gt;     - Noise Reduction/Restoration&#xD;&#xA;&gt;     - Noise Reduction.&#xD;&#xA;&gt;  5. Set the desired options.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://help.adobe.com/en_US/audition/cs/using/audition_cs5.5_help.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="43290" PostHistoryTypeId="5" PostId="24917" RevisionGUID="195e7fd0-10ed-479f-80f7-353bbd45a2e4" CreationDate="2014-01-26T01:15:27.020" UserId="7228" Comment="Added the part about FFT sizes" Text="You probably have selected some of the wanted audio while analyzing. You should take a quiet part of the track with pure noise to analyze, then after analyzing apply the noise reduction to the whole track (or the section you want filtered).&#xD;&#xA;&#xD;&#xA;See page 87 to 89 of the [Audition manual][1]. It has not changed much since Adobe have purchased Cool Edit Pro. The following is quoted from page 88:&#xD;&#xA;&#xD;&#xA;&gt;  1. In the Waveform Editor, select a range that contains only noise and is at least half a second long. To select noise in a specific&#xD;&#xA;&gt; frequency range, use the Marquee Selection tool. (See “Select spectral&#xD;&#xA;&gt; ranges” on page 39.)&#xD;&#xA;&gt;  2. Choose Effects&#xD;&#xA;&gt;     - Noise Reduction/Restoration&#xD;&#xA;&gt;     - Capture Noise Print.&#xD;&#xA;&gt;  3. In the Editor panel, select the range from which you want to remove noise.&#xD;&#xA;&gt;  4. Choose Effects&#xD;&#xA;&gt;     - Noise Reduction/Restoration&#xD;&#xA;&gt;     - Noise Reduction.&#xD;&#xA;&gt;  5. Set the desired options.&#xD;&#xA;&#xD;&#xA;Another cause could be too high FFT sizes. Good settings range from 4096 to 8192.&#xD;&#xA;&#xD;&#xA;Here's another quote from the manual:&#xD;&#xA;&#xD;&#xA;&gt; FFT Size Determines how many individual frequency bands are analyzed.&#xD;&#xA;&gt; This option causes the most drastic changes in quality. The noise in&#xD;&#xA;&gt; each frequency band is treated separately, so with more bands, noise&#xD;&#xA;&gt; is removed with finer frequency detail. Good settings range from 4096&#xD;&#xA;&gt; to 8192.&#xD;&#xA;&gt; &#xD;&#xA;&gt; Fast Fourier Transform size determines the tradeoff between frequency-&#xD;&#xA;&gt; and time-accuracy. Higher FFT sizes might cause swooshing or&#xD;&#xA;&gt; reverberant artifacts, but they very accurately remove noise&#xD;&#xA;&gt; frequencies. Lower FFT sizes result in better time response (less&#xD;&#xA;&gt; swooshing before cymbal hits, for example), but they can produce&#xD;&#xA;&gt; poorer frequency resolution, creating hollow or flanged sounds.&#xD;&#xA;&#xD;&#xA;  [1]: http://help.adobe.com/en_US/audition/cs/using/audition_cs5.5_help.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="43291" PostHistoryTypeId="2" PostId="24918" RevisionGUID="ab5fd891-200a-435e-8fb4-bc0eba1e9ca0" CreationDate="2014-01-26T01:23:47.443" UserId="542" Text="If you want to save money look for used gear. If quality is not that important you should find something cheap on ebay,etc. " ContentLicense="CC BY-SA 3.0" />
  <row Id="43292" PostHistoryTypeId="2" PostId="24919" RevisionGUID="4bc192b0-cbda-4ade-8510-c0cc3b828b12" CreationDate="2014-01-26T07:03:21.397" UserId="6441" Text="Here's a simple headphone amplifier for $20.&#xD;&#xA;&#xD;&#xA;http://www.bhphotovideo.com/c/product/422075-REG/Behringer_MA400_MA400_MICROMON_Miniature.html&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43293" PostHistoryTypeId="2" PostId="24920" RevisionGUID="bc343ea0-64e6-4a98-a1ac-28a9e8510bee" CreationDate="2014-01-26T15:11:46.400" UserId="3196" Text="well, guys .. i am recently working on a short film. Part of the film has been shot inside the studio whereas the rest of it has been shot on location. There will be no ADR, so i will have to use the location tracks for the final mix. My director wants me to do a 5.1 mix of the film. there are a certain things which i would like to know :&#xD;&#xA; &#xD;&#xA;1] how do i treat my dialogue tracks that have been shot on location? i mean should i clean the tracks in such a way that the ambience gets removed as much as possible and then lay ambience track separately? my concern is when i try to level the dialogues the ambience also increases or decreases along with it.. since they are not separate. so i am a little confused about how to work on it&#xD;&#xA;&#xD;&#xA;2] how do you generally use the surround channels, what elements go into it ? (do you put ambience, effects in the surround? )&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43294" PostHistoryTypeId="1" PostId="24920" RevisionGUID="bc343ea0-64e6-4a98-a1ac-28a9e8510bee" CreationDate="2014-01-26T15:11:46.400" UserId="3196" Text="What elements to use 5.1 channels in film? how to clean dialogues?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43295" PostHistoryTypeId="3" PostId="24920" RevisionGUID="bc343ea0-64e6-4a98-a1ac-28a9e8510bee" CreationDate="2014-01-26T15:11:46.400" UserId="3196" Text="&lt;5.1&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43296" PostHistoryTypeId="2" PostId="24921" RevisionGUID="8fcfdd1b-1cd5-4e76-afcb-5feaca921df9" CreationDate="2014-01-26T17:50:44.753" UserId="5526" Text="In answer to 1)&#xD;&#xA;Use cross fades and volume automation to smooth out BG levels, keeping voices the same level (bearing perspective differences in mind). Cheat in alternate readings where noise is very bad. Cover very bumpy spots with sound effects such as car bys, etc. &#xD;&#xA;&#xD;&#xA;Cleaning out noise can be done, of course, but don't harm the voice quality in the process. " ContentLicense="CC BY-SA 3.0" />
  <row Id="43297" PostHistoryTypeId="2" PostId="24922" RevisionGUID="2233bb1b-3bf4-4427-891c-985593a1a1f3" CreationDate="2014-01-26T18:49:56.607" UserId="7241" Text="To answer question 2, the surrounds are generally used for ambiance unless you are doing something like action or sci-fi in which case you can be a bit more experimental and put sound FX or musical elements into the surrounds but be very careful - the last thing you want is for people to be distracted by FX coming from behind them. The basic way to do a 5.1 mix is to create a bus for the rear speakers with a reverb on and then just send some of your front stereo mix to the surround bus. If you have any 4 channel atmos recordings then you could use those to create space with the surrounds, but if not you can try using long atmos tracks and playing one part of the file in the front speakers and a latter part in the surrounds to give the illusion of a 4-channel recording. Just watch out for distracting elements in the rear speakers or looping elements." ContentLicense="CC BY-SA 3.0" />
  <row Id="43298" PostHistoryTypeId="5" PostId="24916" RevisionGUID="3856d7ac-1f15-422d-ab3d-6a45537baa1d" CreationDate="2014-01-26T21:46:36.613" UserId="6833" Comment="Cleaned up grammar" Text="It is definitely a sampled plucky sound. I can clearly hear it get longer on the lower notes.&#xD;&#xA;&#xD;&#xA;To get the sound, set up a track with a simple FM Pluck synth, then give it thick distortion, delays, and reverb to make the sound deliciously big." ContentLicense="CC BY-SA 3.0" />
  <row Id="43299" PostHistoryTypeId="24" PostId="24916" RevisionGUID="3856d7ac-1f15-422d-ab3d-6a45537baa1d" CreationDate="2014-01-26T21:46:36.613" Comment="Proposed by 6833 approved by 182, 7016 edit id of 56" ContentLicense="CC BY-SA 3.0" />
  <row Id="43301" PostHistoryTypeId="2" PostId="24923" RevisionGUID="c5d5d995-8534-4c0e-bc7d-21f00aeff0d0" CreationDate="2014-01-26T23:54:24.980" UserId="7247" Text="I've just bought a new microphone&#xD;&#xA;&#xD;&#xA;&gt; [Vivanco DM 30][1]&#xD;&#xA;&#xD;&#xA;&gt; Frequency range: 50-14.000 Hz&#xD;&#xA;&#xD;&#xA;&gt; Impedance: 500 ohm&#xD;&#xA;&#xD;&#xA;&gt; Sensitivity: 75 dB&#xD;&#xA;&#xD;&#xA;&gt; Housing: ABS&#xD;&#xA;&#xD;&#xA;and tried to record my voice with it. At first, I understood, that my built-in sound card has problems to record it loud enough, the recorded sound feels very odd and &quot;recorded&quot;.&#xD;&#xA;&#xD;&#xA;Is there any basic guide, how to make recorded sound track feel better, so I can record human actor voice for my game and it would not sound bad?&#xD;&#xA;&#xD;&#xA;I guess, the first problem is noise, and I was reading about that and I think I need to get &quot;pop shield&quot; and decent mic stand, but all of that is hardware.&#xD;&#xA;&#xD;&#xA;The question is - what do I need to do software-wise, to make recording sound better? Even in freeware Audacity, there are so many controls, I don't know where to start and what should I concentrate to.&#xD;&#xA;&#xD;&#xA;PS: I moved this question quickly here, from Game development stack, and I'm sorry, if this is already answered here. Did not know, if sound stack existed at first place.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.vivanco.com/Homepage/Products/Audio-und-TV-Equipment/Microphones/Dynamic-microphones-mono/vivanco-14510-dm-30-dynamic-microphone-mono.html?id=nsession" ContentLicense="CC BY-SA 3.0" />
  <row Id="43302" PostHistoryTypeId="1" PostId="24923" RevisionGUID="c5d5d995-8534-4c0e-bc7d-21f00aeff0d0" CreationDate="2014-01-26T23:54:24.980" UserId="7247" Text="How to make recorded voice sound good" ContentLicense="CC BY-SA 3.0" />
  <row Id="43303" PostHistoryTypeId="3" PostId="24923" RevisionGUID="c5d5d995-8534-4c0e-bc7d-21f00aeff0d0" CreationDate="2014-01-26T23:54:24.980" UserId="7247" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;voice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43305" PostHistoryTypeId="36" PostId="24924" RevisionGUID="6e084311-8ddd-4484-baef-07300190e5ce" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7094/which-daw-is-this" />
  <row Id="43306" PostHistoryTypeId="2" PostId="24925" RevisionGUID="9d07045b-87f4-429a-a3f6-0063e3b4209c" CreationDate="2013-02-10T03:16:36.423" UserId="7189" Text="That is Apple's [Logic][1] in mixer view.&#xD;&#xA;&#xD;&#xA;You can see another view of the mixer under the heading &quot;Pro mixing in all its glory&quot; [here][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.apple.com/logicpro&#xD;&#xA;  [2]: http://www.apple.com/logicpro/top-features/" ContentLicense="CC BY-SA 3.0" />
  <row Id="43307" PostHistoryTypeId="2" PostId="24924" RevisionGUID="25940e13-ff99-4297-b615-3a46b64d4ead" CreationDate="2013-02-09T19:38:05.333" UserDisplayName="Quakeboy" Text="I saw this from a screenshot on a youtube video. Please help me find out which DAW this is.&#xD;&#xA;&#xD;&#xA;![Please help me identify the DAW][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/LGRje.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="43308" PostHistoryTypeId="1" PostId="24924" RevisionGUID="25940e13-ff99-4297-b615-3a46b64d4ead" CreationDate="2013-02-09T19:38:05.333" UserDisplayName="Quakeboy" Text="Which DAW is this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43309" PostHistoryTypeId="3" PostId="24924" RevisionGUID="25940e13-ff99-4297-b615-3a46b64d4ead" CreationDate="2013-02-09T19:38:05.333" UserDisplayName="Quakeboy" Text="&lt;software&gt;&lt;daw&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43310" PostHistoryTypeId="36" PostId="24925" RevisionGUID="4bfcdfc0-e27f-481e-800d-c418e4c675c9" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7094/which-daw-is-this/7099#7099" />
  <row Id="43311" PostHistoryTypeId="36" PostId="24926" RevisionGUID="a8569038-1ae9-473e-a0db-a3a8d7b4c6ee" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1542/no-sound-from-liquid-saffire-56-on-os-x" />
  <row Id="43312" PostHistoryTypeId="2" PostId="24927" RevisionGUID="1d32ac4d-80d3-4018-abaa-8fcc6e926bde" CreationDate="2011-06-03T21:34:38.097" UserId="7460" UserDisplayName="slhck" Text="Oh, it turns out you sometimes have to manually **change the sync source to &quot;Internal&quot;** as seen here:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;If the &quot;Locked&quot; indicator on the unit does not show, it won't work.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/gsscR.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/kGe52.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="43313" PostHistoryTypeId="2" PostId="24926" RevisionGUID="c51729c7-fa99-4de9-9fc5-68928b325d8c" CreationDate="2011-06-03T20:17:34.920" UserId="7460" UserDisplayName="slhck" Text="&lt;sub&gt;I thought I'd share this here as I didn't find any other sources yet. Maybe you guys have some troubleshooting tips.&lt;/sub&gt;&#xD;&#xA;&#xD;&#xA;I am using a Liquid Saffire 56 on a Macbook Pro, running OS X 10.6. I use both Logic 9 and Cubase 4 (and have successfully run them with a Saffire Pro10IO before). However now, I can't get any sound out of the interface.&#xD;&#xA;&#xD;&#xA;I installed the Liquid Saffire software and I am able to use Mix Control in combination with the DAWs. I can see the output from the DAW both in the DAW meter and the main mix meter. Here is a screenshot: &#xD;&#xA;&#xD;&#xA;![][1]&#xD;&#xA;&#xD;&#xA;However, there is **no sound from the headphones and the monitors**. &#xD;&#xA;&#xD;&#xA;Things I've checked:&#xD;&#xA;&#xD;&#xA;- I connected the monitors to the appropriate monitor 1 and 2 jacks. They are definitely fully functional and set to a reasonable volume. &#xD;&#xA;- I made sure the monitor knob on the interface is working - it is set to 100%. No Dim or Mute switch is engaged.&#xD;&#xA;- I followed the guide on Focusrite's website that deals with headphone issues, still no avail.&#xD;&#xA;- I haven't changed any of the settings in Mix Control. Reverting to factory settings does not help.&#xD;&#xA;- Changing the ASIO driver from Saffire to Internal Audio instantly lets me hear sound on the Macbook, so there is definitely no issue on the DAW side.&#xD;&#xA;- The Firewire cable is working as the unit connects and I've used it on my older Saffire Pro before.&#xD;&#xA;&#xD;&#xA;The funny thing is that yesterday it was working perfectly. I didn't change anything. Restarting doesn't help either.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/CvMQt.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="43314" PostHistoryTypeId="1" PostId="24926" RevisionGUID="c51729c7-fa99-4de9-9fc5-68928b325d8c" CreationDate="2011-06-03T20:17:34.920" UserId="7460" UserDisplayName="slhck" Text="No sound from Liquid Saffire 56 on OS X" ContentLicense="CC BY-SA 3.0" />
  <row Id="43315" PostHistoryTypeId="3" PostId="24926" RevisionGUID="c51729c7-fa99-4de9-9fc5-68928b325d8c" CreationDate="2011-06-03T20:17:34.920" UserId="7460" UserDisplayName="slhck" Text="&lt;troubleshooting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43316" PostHistoryTypeId="36" PostId="24927" RevisionGUID="fa68728a-8da8-4575-bca8-423dc5a53478" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1542/no-sound-from-liquid-saffire-56-on-os-x/1543#1543" />
  <row Id="43317" PostHistoryTypeId="36" PostId="24928" RevisionGUID="bb1bbf40-f4d7-4111-86f4-f198fb052843" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1384/how-can-i-reduce-interference-with-two-radio-microphones" />
  <row Id="43318" PostHistoryTypeId="2" PostId="24929" RevisionGUID="00dd724a-4804-49ef-a748-106abbc5766c" CreationDate="2011-05-10T12:04:51.160" UserId="7016" Text="Generally, for best sound quality you want every mic to be paired with a receiver, and each pair to be on a different frequency. These can then be patched into a mixer.&#xD;&#xA;&#xD;&#xA;This not only reduces the likelihood of interference, but also lets you adjust the gain on each mic channel independently - which could be useful in situations such as the one you are describing." ContentLicense="CC BY-SA 3.0" />
  <row Id="43319" PostHistoryTypeId="2" PostId="24928" RevisionGUID="d625daa9-9535-4820-a7c2-7577fa08865a" CreationDate="2011-05-09T11:59:14.333" UserId="7569" UserDisplayName="pelms" Text="(Hopefully not off-topic noob question)  &#xD;&#xA;We have a hearing loop set up which uses a Sennheiser collar radio mic and receiver which works pretty well. We recently bought a handheld Sennheiser mic for use in meetings so that hearing loop users can hear speech from audience members. Unfortunately, when both mics are switched on, there is a lot of mid-high frequency interference which makes the system barely useable.  &#xD;&#xA;&#xD;&#xA;Is there any way to salvage this setup? I've tried various different frequencies and all sound pretty much the same. Do we need a receiver that runs on separate frequencies for each mic?  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43320" PostHistoryTypeId="1" PostId="24928" RevisionGUID="d625daa9-9535-4820-a7c2-7577fa08865a" CreationDate="2011-05-09T11:59:14.333" UserId="7569" UserDisplayName="pelms" Text="How can I reduce interference with two radio microphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43321" PostHistoryTypeId="3" PostId="24928" RevisionGUID="d625daa9-9535-4820-a7c2-7577fa08865a" CreationDate="2011-05-09T11:59:14.333" UserId="7569" UserDisplayName="pelms" Text="&lt;microphone&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43322" PostHistoryTypeId="36" PostId="24929" RevisionGUID="4203da67-d81c-44f5-9e04-d5e86d4a8428" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1384/how-can-i-reduce-interference-with-two-radio-microphones/1391#1391" />
  <row Id="43323" PostHistoryTypeId="36" PostId="24930" RevisionGUID="967143af-9908-4a4d-a368-532dca7e5242" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4444/midi-keyboard-connected-but-no-sound" />
  <row Id="43324" PostHistoryTypeId="36" PostId="24931" RevisionGUID="e337431d-ac13-4d8a-a65e-a25c98bf6af2" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4444/midi-keyboard-connected-but-no-sound/5407#5407" />
  <row Id="43325" PostHistoryTypeId="2" PostId="24931" RevisionGUID="630ac7d1-f73c-4d53-89f0-a9df21d4c22e" CreationDate="2012-11-25T00:51:45.750" UserDisplayName="esmitex" Text="In the audio preferences of Reaper check if you have the right sound card and output channels selected. If your midi keyboard is working correctly you should be able to have sound when using a standalone VSTi." ContentLicense="CC BY-SA 3.0" />
  <row Id="43326" PostHistoryTypeId="2" PostId="24930" RevisionGUID="2da66400-cb0c-4743-92d9-b7071762545e" CreationDate="2012-07-24T10:51:04.300" UserDisplayName="Luke" Text="I recently installed Reaper and have bought an Roland Um-One Midi cable to connect my Nord to the program. &#xD;&#xA;&#xD;&#xA;I've installed the drivers, and now upon entering Reaper I've found that my midi keyboard is being recognised (when I hit notes, sound bars are moving) but I'm getting no sound.&#xD;&#xA;&#xD;&#xA;I've selected a VST, have record monitoring on and selected the Um-One under all the midi settings- but alas, still no sound.&#xD;&#xA;&#xD;&#xA;I'm using a Mac, does this have something to do with my sound card? I see a lot of other tutorials talking about using an ASIO driver, but I can't select anything like that. &#xD;&#xA;&#xD;&#xA;I feel like I've tried everything! My computer is obviously reading the midi, but not giving me a sound. &#xD;&#xA;&#xD;&#xA;Any help would be muchly appreciated!!&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="43327" PostHistoryTypeId="1" PostId="24930" RevisionGUID="2da66400-cb0c-4743-92d9-b7071762545e" CreationDate="2012-07-24T10:51:04.300" UserDisplayName="Luke" Text="Midi Keyboard connected but no sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="43328" PostHistoryTypeId="3" PostId="24930" RevisionGUID="2da66400-cb0c-4743-92d9-b7071762545e" CreationDate="2012-07-24T10:51:04.300" UserDisplayName="Luke" Text="&lt;midi&gt;&lt;keyboard&gt;&lt;reaper&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43329" PostHistoryTypeId="36" PostId="24932" RevisionGUID="5694ce7f-507f-4739-a241-14eb8820e54c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5486/is-it-possible-to-create-a-master-quality-recording-of-acoustic-guitar-vocal-wit" />
  <row Id="43330" PostHistoryTypeId="36" PostId="24933" RevisionGUID="b3e562de-b446-4b71-a91e-e46b33863beb" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5486/is-it-possible-to-create-a-master-quality-recording-of-acoustic-guitar-vocal-wit/5487#5487" />
  <row Id="43331" PostHistoryTypeId="36" PostId="24934" RevisionGUID="67647a02-46fa-41d9-9623-36b4544750e2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5486/is-it-possible-to-create-a-master-quality-recording-of-acoustic-guitar-vocal-wit/5490#5490" />
  <row Id="43332" PostHistoryTypeId="2" PostId="24933" RevisionGUID="2e5f1f01-64c8-4952-9c95-5bb353aaf65b" CreationDate="2012-12-03T20:00:11.037" UserId="7225" Text="&gt; Will I be able to record master-quality [...] recordings using my iPad?&#xD;&#xA;&#xD;&#xA;No, mastering is a complete post-process which require know-how (mastering engineering is itself a discipline separate from recording- and mixing engineering, although it can be combined).&#xD;&#xA;&#xD;&#xA;That being said, you may or may not be able to get a good vocal recording from a recording device without much processing. If you mix in instruments you will need to consider mastering.&#xD;&#xA;&#xD;&#xA;There are aspects such as levels, EQ, compression and other factors which determine if it's fit for broadcast. But not without saying it also depends on the medium which in it is broadcast. For instance, mastering a news report isn't required at all. Is it broadcasting amateur recordings? then they won't expect mastered content and will process it to a certain degree themselves.&#xD;&#xA;&#xD;&#xA;Unless you have access to a studio setup specifically for mastering and you have the know-how, you may want to hand over the recording to a mastering company. On-line services that offer mastering of a recording comes in a bunch, some good, some bad, some expensive, some cheap.. it's not a simple choice. But look around for references and a fair price.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43333" PostHistoryTypeId="2" PostId="24934" RevisionGUID="75f991db-997e-4954-aba4-8f0bbffa32e6" CreationDate="2012-12-03T22:38:57.507" UserDisplayName="JPollock" Text="If you want to make master quality recordings, you're going to need a quality set of monitors fed by a much nicer digital to analog converter than the zoom. Also don't overlook the importance of the room you are recording and mixing in.&#xD;&#xA;&#xD;&#xA;With the right hardware I think that the iPad could do what you want. It has a lot of really neat soft synths and sequencers, and Wavemachine's Auria is a real deal DAW with some amount of real plugin support. So I think that the iPad could get it done, but just like any studio set up the hardware, and the room is more important than the computer." ContentLicense="CC BY-SA 3.0" />
  <row Id="43334" PostHistoryTypeId="2" PostId="24932" RevisionGUID="9d8cd485-b29f-4503-85a2-2c6538093148" CreationDate="2012-12-03T17:01:17.523" UserDisplayName="Ruth" Text="Will I be able to record master-quality (e.g., to submit for film-TV pitches at TAXI) recordings using my iPad?  Also have a Zoom H2, have Shure SLR mics, can put the guitar in directly.  Would like to be able to use rhythm tracks occasionally too.  What's the best resource for advice on making the most of iPad recording?  (Have had songs on TV before but those were studio recordings.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="43335" PostHistoryTypeId="1" PostId="24932" RevisionGUID="9d8cd485-b29f-4503-85a2-2c6538093148" CreationDate="2012-12-03T17:01:17.523" UserDisplayName="Ruth" Text="Is it possible to create a master quality recording of acoustic guitar/vocal with an iPad?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43336" PostHistoryTypeId="3" PostId="24932" RevisionGUID="9d8cd485-b29f-4503-85a2-2c6538093148" CreationDate="2012-12-03T17:01:17.523" UserDisplayName="Ruth" Text="&lt;audio-recording&gt;&lt;ipad&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43337" PostHistoryTypeId="36" PostId="24935" RevisionGUID="433ff84f-0bf1-4c7b-9d9a-c53282b8004c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1051/which-microphone-to-choose-for-a-piano-live-reinforcment" />
  <row Id="43338" PostHistoryTypeId="2" PostId="24936" RevisionGUID="217b5458-c718-4e8c-95e6-3bc392b64e0a" CreationDate="2011-03-18T21:25:56.163" UserId="7460" UserDisplayName="slhck" Text="I think in live situations you will run into the problem that only two condenser microphones will not capture the whole range of the piano effectively.&#xD;&#xA;&#xD;&#xA;* If you move them too close, you won't capture the whole sound board. &#xD;&#xA;* If you move them too far, you won't even be able to make out the piano in a live application, especially if there are other instruments to compete against in a mix.&#xD;&#xA;&#xD;&#xA;Then again it depends on the musical style:&#xD;&#xA;&#xD;&#xA;* If it's rock music, you want a close miking&#xD;&#xA;* If it's classical music, you might want to have a more &quot;ambient&quot; sound&#xD;&#xA;&#xD;&#xA;And of course on the player:&#xD;&#xA;&#xD;&#xA;* If the player is using little dynamics, you will have an easy job&#xD;&#xA;* If the player plays parts ranging from pianissimo to fortissimo, you will have a hell of a job to account for the dynamics, so that the mics don't clip but at the same time you get at least some signal&#xD;&#xA;&#xD;&#xA;That all being said, I'd suggest you to use an X/Y Stereo approach where the microphones are positioned as close as possible slightly above the player's head, pointed towards the middle region of the strings, because this is where &quot;most&quot; of the sound is coming from.&#xD;&#xA;&#xD;&#xA;As your budget is limited, using two condensers is probably the only way to go. Miking pianos is one of the hardest things to do in recording of instruments. In the end I'd just suggest you to experiment and see what fits best. Trust your ears." ContentLicense="CC BY-SA 2.5" />
  <row Id="43339" PostHistoryTypeId="2" PostId="24935" RevisionGUID="c1f4270c-2f93-4557-99c2-3d7a1bf208b4" CreationDate="2011-03-18T14:32:32.860" UserDisplayName="Artic" Text="I have ordered two MXL 603 mics. &#xD;&#xA;&#xD;&#xA;Will these work for miking piano? &#xD;&#xA;&#xD;&#xA;How should I position them? &#xD;&#xA;&#xD;&#xA;Is there a better way to do if for the same amount of money?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43340" PostHistoryTypeId="1" PostId="24935" RevisionGUID="c1f4270c-2f93-4557-99c2-3d7a1bf208b4" CreationDate="2011-03-18T14:32:32.860" UserDisplayName="Artic" Text="Which microphone to choose for a piano live reinforcment?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43341" PostHistoryTypeId="3" PostId="24935" RevisionGUID="c1f4270c-2f93-4557-99c2-3d7a1bf208b4" CreationDate="2011-03-18T14:32:32.860" UserDisplayName="Artic" Text="&lt;microphone&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43342" PostHistoryTypeId="36" PostId="24936" RevisionGUID="f7b8131d-5251-4e9d-b6bd-256f46dffc97" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1051/which-microphone-to-choose-for-a-piano-live-reinforcment/1055#1055" />
  <row Id="43347" PostHistoryTypeId="36" PostId="24938" RevisionGUID="7c661cb9-d951-48e3-9192-172170f0bc98" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8708/is-it-possible-to-raise-lower-the-volume-of-different-voices" />
  <row Id="43348" PostHistoryTypeId="36" PostId="24939" RevisionGUID="38aada87-67f6-4f0d-aa56-6122885e6b0c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8708/is-it-possible-to-raise-lower-the-volume-of-different-voices/8710#8710" />
  <row Id="43349" PostHistoryTypeId="36" PostId="24940" RevisionGUID="0d45c0e9-e318-456e-a0e8-53ca88a81dd8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8708/is-it-possible-to-raise-lower-the-volume-of-different-voices/8715#8715" />
  <row Id="43350" PostHistoryTypeId="2" PostId="24939" RevisionGUID="f3648780-3487-498f-bdea-d764eaa14e0b" CreationDate="2013-08-14T09:36:41.180" UserId="7312" UserDisplayName="Eugene S" Text="Basically what you want to do is:&#xD;&#xA;&#xD;&#xA; 1. Find the range of frequencies for each person. The main problem is here since frequencies might overlap. You said that one of the speakers is heard through a phone, maybe it will result in more easily separable frequency ranges.&#xD;&#xA; 2. Raise the volume of range of frequencies of the person you want to hear&#xD;&#xA; 3. Lower the other range accordingly. &#xD;&#xA;&#xD;&#xA;This is easily done using parametric equalizer which lets you choose any set of frequencies from audio signals, however I doubt there are any such software provided free. Also bear in mind that after all the voice still can be too low to hear\understand if there are too much overlapping frequencies." ContentLicense="CC BY-SA 3.0" />
  <row Id="43351" PostHistoryTypeId="2" PostId="24940" RevisionGUID="844ad3d2-3add-4df0-8447-1cd629276016" CreationDate="2013-08-14T13:43:26.307" UserId="7174" Text="Normally mixing is done with a single voice on each channel because it is impossible to completely separate one audio signal from another after they are combined.  Sound is additive and there isn't a way to identify one from the other to pull apart cleanly.&#xD;&#xA;&#xD;&#xA;That said, what you can do is enhance parts of the sound that will make one voice more clear than the other.  When we talk, the frequencies we use to distinguish words vary from person to person.  If you use an EQ to reduce the frequency of the child's voice and boost the ones of the voice of the speaker you want to hear, you may be able to make out what they are saying more easily.  &#xD;&#xA;&#xD;&#xA;It isn't a guarantee though and if the voices are close, there likely won't be anything you can do other than have someone listen to it with well trained ears that might be able to make it out." ContentLicense="CC BY-SA 3.0" />
  <row Id="43352" PostHistoryTypeId="2" PostId="24938" RevisionGUID="2df4b77f-4402-40ff-b22d-b97762e28b62" CreationDate="2013-08-14T06:45:53.310" UserDisplayName="Kate" Text="This is probably an extremely easy question for you, but I'm very new to this. I found a video file of my niece talking and screaming on my phone, but I'm trying to hear the voice in the background. Both voices are talking at almost the same time. The video file is about 40sec long. I was playing around with AVS Audio Editor but couldn't figure out how to lower the baby's voice, if it's even possible. It's the high frequency that I need to lower, the other is a low frequency, thinking that it can be done? Like I said, I'm new to this, so I got very confused with the terminology on other sites and forums. I'm hoping you guys can help me out or point me in the right direction at least. " ContentLicense="CC BY-SA 3.0" />
  <row Id="43353" PostHistoryTypeId="1" PostId="24938" RevisionGUID="2df4b77f-4402-40ff-b22d-b97762e28b62" CreationDate="2013-08-14T06:45:53.310" UserDisplayName="Kate" Text="Is it possible to raise/lower the volume of different voices?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43354" PostHistoryTypeId="3" PostId="24938" RevisionGUID="2df4b77f-4402-40ff-b22d-b97762e28b62" CreationDate="2013-08-14T06:45:53.310" UserDisplayName="Kate" Text="&lt;audio&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43355" PostHistoryTypeId="36" PostId="24941" RevisionGUID="29a09817-1dc6-4cbd-bada-0d0a144aedd1" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8783/looking-for-a-compact-portable-active-powered-speaker-such-as-a-behringer-205d" />
  <row Id="43356" PostHistoryTypeId="2" PostId="24942" RevisionGUID="b872ed71-4c32-4491-9c69-c0846e281cbb" CreationDate="2013-08-21T13:59:02.547" UserId="7174" Text="Answering the portions of your question related to quality and the why of things, speaking is much more mono-tonal than singing.  We use a much smaller set of frequencies and thus are used to picking out more nuances when speaking.  The EQ needs to be much more cleanly shaped and enunciation needs to be more pronounced in relation to tone because we key more off the syllables than the tone of voice for speech.&#xD;&#xA;&#xD;&#xA;When singing on the other hand, we are more interested in the tone.  How often do you not even notice what the lyrics are actually saying in music?  The primary thing we listen to is the tone of the voice and since singing changes notes, there is a lot of variation to that tone.  The syllables are still present, but they take a back seat in importance (which is part of why enunciating strongly is so important in singing.)&#xD;&#xA;&#xD;&#xA;Cheap speakers tend to do a good job with reproducing rough low frequencies which are more of where tone comes from, but lack the precision to do accurate higher frequencies at power, which is where we detect syllables and the actual content of speech.  Thus a &quot;muddy&quot; sound doesn't have a huge impact on singing, but is devastating for speech.&#xD;&#xA;&#xD;&#xA;EQing can also help adjust for this some.  A proper EQ is the main way to compensate for any limitations in the speaker or the listening environment.  The more options you have the better.  A cheap setup is likely to only have a few fixed frequencies that it can adjust.  A more elaborate system uses what is called parametric EQs which let you adjust the frequency and width of the area you are altering, but a decent parametric EQ costs more than your entire budget for a speaker.&#xD;&#xA;&#xD;&#xA;Noise and humming can come from any number of sources, though the most common for buzz is bad grounding.  If the reference levels of the ground are different for multiple parts of the system, you get ground differential which results in the fluctuations of the power itself being interpreted as signal and thus you get a buzz that matches up with the frequency of the power feeding it (60hz in the US).  Either ensuring common ground or using a ground lift are the most common ways of dealing with the problem, though it won't fix all cases (such as if the problem is occurring internally from a short).&#xD;&#xA;&#xD;&#xA;As for the product recommendation portions of your question.  You seem to have a decent understanding of your needs.  Product recommendations change rapidly so we avoid them on most Stack Exchange sites.  If you have a particular difference between two products that you aren't sure how it fits your situation, it is acceptable to ask about how that difference would impact your needs, but we don't generally say that &quot;product A is the best for your needs&quot; because product Z may come out tomorrow and make the answer incorrect." ContentLicense="CC BY-SA 3.0" />
  <row Id="43357" PostHistoryTypeId="2" PostId="24941" RevisionGUID="42bd7d6e-0c85-44ed-9669-1189f13521b2" CreationDate="2013-08-21T06:07:29.707" UserDisplayName="Feanne" Text="After the discussion on my previous question, [**&quot;If I want to use a microphone with a portable mini amp, will a preamp/mixer significantly improve the sound quality? This is for small live gigs&quot;**][1], I'm leaning towards getting an active powered speaker with multiple inputs and basic EQ/mixing for my small live gigs. **It certainly simplifies things if I can just plug sources (microphones, instrument) directly into one small box that handles everything.**&#xD;&#xA;&#xD;&#xA;Here's what I'd like in a compact portable active powered speaker:  &#xD;&#xA;- weighs less than 10 lbs  &#xD;&#xA;- costs around $200 or less  &#xD;&#xA;- multiple inputs: at least 2 microphone inputs (hopefully with built-in mic preamps and phantom power so I have the option for either condenser or dynamic mic) and at least 1 instrument input (for bass, guitar, looper, or voice live touch)  &#xD;&#xA;- basic EQ/mixing (at least, individual level controls for all inputs)  &#xD;&#xA;- line out/thru (can also be used as a monitor)  &#xD;&#xA;- can be powered by plugging in, or charging, or battery  &#xD;&#xA;&#xD;&#xA;I *am* willing to spend more if there's something out there that meets all my requirements and provides great sound quality!&#xD;&#xA;&#xD;&#xA;The **Behringer 205D** looks like my best bet, so far, because it only lacks the last one (it can't be battery powered).&#xD;&#xA;**The Mackie SRM150** looks very similar, however, it's pricier, and according to reviews, the sound quality is just the same, is that true?&#xD;&#xA;I was also looking at the **Vox Mini 3** or **ZT Lunchbox Acoustic** for my purposes, but these only have one microphone input, although, do they have better sound quality?&#xD;&#xA;&#xD;&#xA;I found these sound demos for the Behringer 205D on YouTube:  &#xD;&#xA;Speaking demo indoors -- http://www.youtube.com/watch?v=-kg7lYSbo4s  &#xD;&#xA;Speaking demo outdoors -- http://www.youtube.com/watch?v=_I9bmyX9XIo  &#xD;&#xA;Singing and guitar playing outdoors -- http://www.youtube.com/watch?v=dMB7tjHGbcM  &#xD;&#xA;&#xD;&#xA;Why is the sound quality of the Behringer 205D much better in the singing demo as compared to the speaking demos which sound muddy? Is it because of the microphone type (not specified in the demos)? Is it because the singing demo had the mic going through a separate vocal effects pad first before going to the Behringer 205D?&#xD;&#xA;&#xD;&#xA;**I'd be happy with the sound quality of the Behringer 205D as presented in the singing demo, can I do that by plugging a good microphone directly into the speaker? How else can I improve the sound quality and prevent noise/humming/muddiness? Can I do so without additional equipment (or if I need additional equipment can you recommend something portable or in-line)?**&#xD;&#xA;&#xD;&#xA;Do you have any particular microphone to recommend (I prefer bright tone) for my purpose? I haven't chosen a microphone yet, currently I'm considering:  &#xD;&#xA;- Shure 55SH Series II Iconic Unidyne Vocal Microphone  &#xD;&#xA;- Electro Voice ND767A  &#xD;&#xA;- MXL V87 or V89 Low-Noise Condenser Microphone  &#xD;&#xA;- Sennheiser 835  &#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/8774/" ContentLicense="CC BY-SA 3.0" />
  <row Id="43358" PostHistoryTypeId="1" PostId="24941" RevisionGUID="42bd7d6e-0c85-44ed-9669-1189f13521b2" CreationDate="2013-08-21T06:07:29.707" UserDisplayName="Feanne" Text="Looking for a compact portable active powered speaker, such as a Behringer 205D, for small live gigs. How can I improve sound quality?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43359" PostHistoryTypeId="3" PostId="24941" RevisionGUID="42bd7d6e-0c85-44ed-9669-1189f13521b2" CreationDate="2013-08-21T06:07:29.707" UserDisplayName="Feanne" Text="&lt;audio&gt;&lt;microphone&gt;&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43360" PostHistoryTypeId="36" PostId="24942" RevisionGUID="50361c16-a135-4907-aaae-22d907498aed" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8783/looking-for-a-compact-portable-active-powered-speaker-such-as-a-behringer-205d/8784#8784" />
  <row Id="43361" PostHistoryTypeId="36" PostId="24943" RevisionGUID="43e1927f-a7e8-4717-9672-963c169b4b7a" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9475/android-as-midi-sequencer-with-digital-piano" />
  <row Id="43362" PostHistoryTypeId="36" PostId="24944" RevisionGUID="db7b6263-6d1e-444d-8f55-bb222dc4fc68" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9475/android-as-midi-sequencer-with-digital-piano/9503#9503" />
  <row Id="43363" PostHistoryTypeId="36" PostId="24945" RevisionGUID="e7788541-72a7-4b69-a0de-719f3611c70c" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9475/android-as-midi-sequencer-with-digital-piano/9544#9544" />
  <row Id="43364" PostHistoryTypeId="2" PostId="24944" RevisionGUID="715f3f71-7710-4ac5-aaeb-87ded719510c" CreationDate="2013-11-26T18:55:09.940" UserId="7294" UserDisplayName="Warrior Bob" Text="I can't speak from experience since I don't own any Android devices, but in theory, yes it is possible. &#xD;&#xA;&#xD;&#xA;Assuming your Android tablet can handle class-compliant MIDI devices (i.e. if it can act as a USB host), and presuming that your piano acts as such a device when plugged in via USB (I can't say for sure with either of your devices, but this is not uncommon), then all you need is some sequencer app that can write to a generic MIDI interface. A quick Google search suggests that several sequencer apps exist, although I don't know if any support communicating to a USB device.&#xD;&#xA;&#xD;&#xA;If your piano isn't class compliant, it should still have MIDI DIN in and out ports, so a generic USB MIDI interface with DIN cables [such as this one](http://www.m-audio.com/products/en_us/Uno.html) ought to communicate with it in a similar way." ContentLicense="CC BY-SA 3.0" />
  <row Id="43365" PostHistoryTypeId="2" PostId="24945" RevisionGUID="53fc2acd-f9d0-4654-a3a5-c63cd5b79be3" CreationDate="2013-12-02T15:02:22.307" UserDisplayName="iov" Text="If CLP-170 is class compliant then it is possible starting with Android 3.1 if the device supports USB Host mode. I can tell you most of the phones do not support USB Host mode but tablets usually do. I own a Nexus 4 and a Nexus 7. &#xD;&#xA;&#xD;&#xA;I developed an app which is a lot more complex then a midi sequencer, my app acts like an Arranger (Auto accompaniment software, [midiArranger][1]) and it works great with Nexus 7, Nexus 10 and other. It is free and currently in beta testing. I asked the community what other devices they use and I will get back to you. I plan to develop a MIDI sequencer too, the ones I saw out there are not too good.&#xD;&#xA;&#xD;&#xA;If your device has a micro usb port you will need an USB OTG Cable like [this][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.android-midi-arranger.com&#xD;&#xA;  [2]: http://www.amazon.com/gp/product/B007X15HKC" ContentLicense="CC BY-SA 3.0" />
  <row Id="43366" PostHistoryTypeId="2" PostId="24943" RevisionGUID="896d9a5b-d0c7-4fdd-bf24-1580404d6d08" CreationDate="2013-11-23T12:38:12.763" UserId="18286" UserDisplayName="user1344545" Text="Is it possible to use an Android tablet as a MIDI sequencer with a [Yamaha Clavinova CLP-170 digital piano][1]? My Yamaha piano has a USB port.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://usa.yamaha.com/products/musical-instruments/keyboards/digitalpianos/clp_series/clp-170/?mode=model" ContentLicense="CC BY-SA 3.0" />
  <row Id="43367" PostHistoryTypeId="1" PostId="24943" RevisionGUID="896d9a5b-d0c7-4fdd-bf24-1580404d6d08" CreationDate="2013-11-23T12:38:12.763" UserId="18286" UserDisplayName="user1344545" Text="Android as MIDI sequencer with digital piano" ContentLicense="CC BY-SA 3.0" />
  <row Id="43368" PostHistoryTypeId="3" PostId="24943" RevisionGUID="896d9a5b-d0c7-4fdd-bf24-1580404d6d08" CreationDate="2013-11-23T12:38:12.763" UserId="18286" UserDisplayName="user1344545" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43369" PostHistoryTypeId="36" PostId="24946" RevisionGUID="8325fc76-5b3a-4a19-97eb-19eb9d704e4b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2901/stream-multiple-sound-sources-via-mms-rtsp-using-pulseaudio" />
  <row Id="43370" PostHistoryTypeId="2" PostId="24946" RevisionGUID="5526108c-0dcb-4309-aa17-d39148748fce" CreationDate="2011-12-27T15:39:37.043" UserDisplayName="sebastian nielsen" Text="I have a server with about 20 different sound capable applications.&#xD;&#xA;Lets say each application gets a ID between 10 and 30.&#xD;&#xA;&#xD;&#xA;I could then do it by launching each application by `padsp -s 127.0.0.1:99[ID] [application] [arguments]`&#xD;&#xA;&#xD;&#xA;Now I would want some possibility to stream this via a apache server to the public. I need to have 30 pulseaudio servers alive which can stream audio to a client which connected to my HTTP server. Lets say a user points their streaming client to mms://my-server-adress.com/stream/25&#xD;&#xA;&#xD;&#xA;Now that streaming server should take the sound from the pulseaudio server listening on port 9925 and stream that sound via mms/http to that client.&#xD;&#xA;&#xD;&#xA;How can this be accomplished?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43371" PostHistoryTypeId="1" PostId="24946" RevisionGUID="5526108c-0dcb-4309-aa17-d39148748fce" CreationDate="2011-12-27T15:39:37.043" UserDisplayName="sebastian nielsen" Text="Stream multiple sound sources via mms/rtsp using pulseaudio" ContentLicense="CC BY-SA 3.0" />
  <row Id="43372" PostHistoryTypeId="3" PostId="24946" RevisionGUID="5526108c-0dcb-4309-aa17-d39148748fce" CreationDate="2011-12-27T15:39:37.043" UserDisplayName="sebastian nielsen" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43373" PostHistoryTypeId="36" PostId="24947" RevisionGUID="620484fd-4ecd-4af8-b58c-e47f7736d655" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1878/how-can-i-simply-record-edit-and-export-one-track-of-v-o" />
  <row Id="43374" PostHistoryTypeId="36" PostId="24948" RevisionGUID="3c6daeec-2b3e-4697-8ebe-c07ce48a6b8e" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1878/how-can-i-simply-record-edit-and-export-one-track-of-v-o/1880#1880" />
  <row Id="43375" PostHistoryTypeId="36" PostId="24949" RevisionGUID="0c00f7a2-598c-4905-a652-1d6104b517f8" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1878/how-can-i-simply-record-edit-and-export-one-track-of-v-o/1881#1881" />
  <row Id="43376" PostHistoryTypeId="36" PostId="24950" RevisionGUID="99e27c21-1785-4099-81ea-605d9cb1bed1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1878/how-can-i-simply-record-edit-and-export-one-track-of-v-o/1907#1907" />
  <row Id="43377" PostHistoryTypeId="2" PostId="24948" RevisionGUID="20fce03b-d16a-4e2a-ae13-9270cba9faf9" CreationDate="2011-07-15T02:51:08.563" UserDisplayName="Colum" Text="I would try [WavePad][1], it has worked for me perfectly in the past. But now I use Final Cut/Logic Pro, which I would also recommend trying.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.nch.com.au/wavepad/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="43378" PostHistoryTypeId="2" PostId="24949" RevisionGUID="1936fe80-4c92-4534-8ec3-c997c06eaacf" CreationDate="2011-07-15T06:05:02.317" UserId="7231" Text="SoundStudio used to be a lot simpler in previous versions. Similar to Audacity, but native for the Mac and a little less complicated. I still use that old version when I don't need multitrack capability, but both the new version and Audacity can be a bit complicated.&#xD;&#xA;&#xD;&#xA;I would take a strong look at [Fission](http://www.rogueamoeba.com/fission/). Rogue Amoeba is a great software company that makes excellent Mac audio apps. It might be just what you're looking for in terms of the balance between simplicity and feature set--VERY Mac-like.&#xD;&#xA;&#xD;&#xA;The SIMPLEST hardware solution given the circumstances you describe will probably be a USB microphone, such as the [Audio Technica AT2020-USB](http://www.amazon.com/Audio-Technica-AT2020-USB-Condenser-Microphone/dp/B001AS6OYC). Pro-grade microphone, &quot;dirt simple&quot; USB connector.&#xD;&#xA;&#xD;&#xA;Configuring your audio interfaces on the software end _shouldn't_ be all that confusing. Here's some pointers that might help you out. Every audio input or output your system has access to is presented in the exact same way to the system and your software. You can view available devices by either going to System Preferences-&gt;Sound-&gt;Input or Output tabs or by opening the Audio MIDI Setup utility. (See /Applications/Utilities/Audio MIDI Setup or just Spotlight search it.)&#xD;&#xA;![Audio MIDI Setup](http://i.stack.imgur.com/SrJgB.png)&#xD;&#xA;From System Preferences or from the gear icon under the list you can select which device(s) to use for default input, playback, and system output. HOWEVER: Any application specifically used for audio processing is going to have its own means of selecting these interfaces that will supersede any selection made in System Preferences or Audio MIDI Setup. In most Mac-native apps, this selection will be somewhere in the application's own preferences. Apps like GarageBand, Sound Studio, even iChat and Skype have this device selection in their preferences.&#xD;&#xA;&#xD;&#xA;To summarize, the simplest &quot;step 3&quot; after the first two steps of acquiring hardware and software is to simply find the preference in your software that lets you select your audio devices, and then choose the one you want to use for input.&#xD;&#xA;&#xD;&#xA;**Edit:**  &#xD;&#xA;GarageBand '11 can do all of the recording/editing/exporting, but it's geared towards making music with loops and easy exporting to iTunes, so some things are going to be a little less obvious. There actually isn't a function to select a portion of audio waveform, but you can achieve the same thing by splitting tracks and automating track volume. It's got an auto-normalize function too. You should experiment with it to see if it'll work for your purposes.&#xD;&#xA;&#xD;&#xA;There is always going to be latency when converting from analog to digital, and how much depends on the quality of the A/D converter itself. The MicPort Pro is obviously a very high quality converter that has an analog headphone jack right on it that taps into the signal _before_ it is converted, but there will still be latency before it is processed by your software. Garageband can monitor any source, but that is all happening after the A/D conversion.&#xD;&#xA;&#xD;&#xA;You may want to check out [Blue Microphones](http://www.bluemic.com/); the [Yeti](http://www.amazon.com/Blue-Microphones-Yeti-USB-Microphone/dp/B002VA464S/ref=sr_1_1?ie=UTF8&amp;qid=1310842731&amp;sr=8-1) is a USB mic with a built-in headphone jack for monitoring, and the [Icicle](http://www.amazon.com/Blue-Microphones-Icicle-Converter-Preamp/dp/B001EW5YQS/ref=sr_1_15?ie=UTF8&amp;qid=1310842731&amp;sr=8-15) is a cheaper XLR-USB interface than the MicPort Pro." ContentLicense="CC BY-SA 3.0" />
  <row Id="43379" PostHistoryTypeId="2" PostId="24950" RevisionGUID="a5286452-a1d8-48d4-8aea-c2d837fc1c08" CreationDate="2011-07-18T20:16:10.823" UserDisplayName="Bryce Alan Flurie" Text="If you are just doing voice over, what about recording to a Zoom H4n or something... then you have some field recording options as well. " ContentLicense="CC BY-SA 3.0" />
  <row Id="43380" PostHistoryTypeId="2" PostId="24947" RevisionGUID="b678cbc6-c4fe-488f-8c78-f5a839ac4bb8" CreationDate="2011-07-15T01:47:43.547" UserDisplayName="Chap" Text="My sister has a mic, a good voice, and a Mac, and she's getting voice-over work.  I'm trying to help her set up a simple home studio, and so far we haven't hit on any combination of hardware and software that hasn't either been unreliable or ridiculous overkill.  Her needs are extremely simple: to record herself in one mono track, perform a few basic edits (normalize, insert, cut), and export as either uncompressed (WAV or AIFF) or MP3.&#xD;&#xA;&#xD;&#xA;We have tried SoundStudio, Audacity, and now ProTools LE 7.2 with Mbox 2, and the complexity has been comical in the extreme.  The last straw came when, after recording 50 minutes of material, she tried to output her work as a WAV file using the Bounce command, and learned that it would take ... 50 minutes!  (I now understand why, but that's not the point.)&#xD;&#xA;&#xD;&#xA;Half of the battle has been getting an A/D converter box that is DIRT SIMPLE to use (prior to Mbox we were using a &quot;Firebox&quot; I think), and getting the Mac and audio software to all be in agreement as to where the sound is coming in from.  The other half of the battle is finding audio software that is robust, simple, and can work with the hardware.  I'd hoped that a hardware/software solution like Digidesign would solve the integration problems, but it hasn't really made the job easier, and working out all the OS version dependencies was completely maddening.  &#xD;&#xA;&#xD;&#xA;It occurs to me that investing in a USB microphone might eliminate the hardware complexity.  If so, then it might be possible to use it with nearly any audio software, right?&#xD;&#xA;&#xD;&#xA;If someone can suggest a good, **minimal** solution, I'd be grateful." ContentLicense="CC BY-SA 3.0" />
  <row Id="43381" PostHistoryTypeId="1" PostId="24947" RevisionGUID="b678cbc6-c4fe-488f-8c78-f5a839ac4bb8" CreationDate="2011-07-15T01:47:43.547" UserDisplayName="Chap" Text="How can I simply record, edit, and export one track of V/O?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43382" PostHistoryTypeId="3" PostId="24947" RevisionGUID="b678cbc6-c4fe-488f-8c78-f5a839ac4bb8" CreationDate="2011-07-15T01:47:43.547" UserDisplayName="Chap" Text="&lt;audio-recording&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43383" PostHistoryTypeId="36" PostId="24951" RevisionGUID="5d3c5952-0e45-492d-bd7f-476ca13886b3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2304/how-can-i-combine-various-audio-inputs-into-1-optical-ouput-to-feed-into-my-surr" />
  <row Id="43384" PostHistoryTypeId="36" PostId="24952" RevisionGUID="f34d01df-8cfd-4ae0-85de-5e0a9dd0f85c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2304/how-can-i-combine-various-audio-inputs-into-1-optical-ouput-to-feed-into-my-surr/2306#2306" />
  <row Id="43385" PostHistoryTypeId="2" PostId="24952" RevisionGUID="0ed68eed-3438-4bf8-8655-0174198e79c5" CreationDate="2011-09-12T20:33:44.650" UserId="7234" Text="Using some rather expensive and specialized hardware, such as a [Dolby surround encoder][1].  If your stereo system has a discrete 5.1 analog input that would be easier to get set up either by manual cable-swapping or via a mixer that allows for multiple discrete submixes.  This may introduce some latency, however.&#xD;&#xA;&#xD;&#xA;Alternately, if your computer has multiple discrete audio inputs (or a firewire port and you want to buy an audio interface such as a PreSonus FireStudio), you may be able to set up a loopback mix or similar with some pro audio software that allows you to route the audio however you want.  That will definitely introduce some latency into the audio, however, which might make it less than optimal for gaming.&#xD;&#xA;&#xD;&#xA;You might just want to keep it simple and have a separate amplifier for your computer's music that you hook the music speakers up to.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dolby.com/professional/products/broadcast/surround-and-pro-logic/dp563.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="43386" PostHistoryTypeId="2" PostId="24951" RevisionGUID="45bdc6d7-25c8-4144-9d1b-ddee815b2338" CreationDate="2011-09-12T19:17:44.060" UserDisplayName="mike" Text="I have a setup in my house where I have 1 surround sound in a room with 4 things connected to it w/ optical audio and 1 with the standard red/white cables. What I want to do is be able to do is listen to all inputs at the same time (or just 1, so N inputs at the same time), and ideally control the volume for each input. &#xD;&#xA;&#xD;&#xA;So for example if I'm playing madden and additionally want to hear music from my computer, I want to be able to select those 2 inputs and have both playing over the surround sound.&#xD;&#xA;&#xD;&#xA;Is there some way that I can achieve this? Would it require an external mixer, or is there some other method?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43387" PostHistoryTypeId="1" PostId="24951" RevisionGUID="45bdc6d7-25c8-4144-9d1b-ddee815b2338" CreationDate="2011-09-12T19:17:44.060" UserDisplayName="mike" Text="How can I combine various audio inputs into 1 optical ouput to feed into my surround sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43388" PostHistoryTypeId="3" PostId="24951" RevisionGUID="45bdc6d7-25c8-4144-9d1b-ddee815b2338" CreationDate="2011-09-12T19:17:44.060" UserDisplayName="mike" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43389" PostHistoryTypeId="36" PostId="24953" RevisionGUID="074b6292-724d-48c7-81fa-c068cf829c96" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4077/updated-can-i-split-1-live-stereo-input-steam-into-2-mono-streams-in-mac-os" />
  <row Id="43390" PostHistoryTypeId="36" PostId="24954" RevisionGUID="0978f1b4-794e-4df0-adb4-0fe443f0d4c7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4077/updated-can-i-split-1-live-stereo-input-steam-into-2-mono-streams-in-mac-os/8520#8520" />
  <row Id="43391" PostHistoryTypeId="2" PostId="24954" RevisionGUID="97ff099e-3fc6-4d51-8a9f-4cca6d3f46d5" CreationDate="2013-07-27T13:06:26.867" UserDisplayName="tomh" Text="I think something like Soundflower would allow you to do this:&#xD;&#xA;&#xD;&#xA;http://cycling74.com/forums/topic/record-two-separate-audio-inputs/" ContentLicense="CC BY-SA 3.0" />
  <row Id="43392" PostHistoryTypeId="2" PostId="24953" RevisionGUID="99ca93a4-9282-4aae-9486-84e17f67f1f8" CreationDate="2012-05-28T18:09:45.060" UserDisplayName="Webdevbytes" Text="In Mac OS ...&#xD;&#xA;Can I create 2 mono audio streams (is buses the right word?) from a live stereo signal input?&#xD;&#xA;&#xD;&#xA;I do not need to record these streams. I just want to convert 1 stereo input into 2 mono inputs, that will then be broadcasted separatly.&#xD;&#xA;&#xD;&#xA;In essence, I am receiving a 2 channel signal that I would like to split, live, and reuse.&#xD;&#xA;&#xD;&#xA;Any help would be greatly appreciated&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43393" PostHistoryTypeId="1" PostId="24953" RevisionGUID="99ca93a4-9282-4aae-9486-84e17f67f1f8" CreationDate="2012-05-28T18:09:45.060" UserDisplayName="Webdevbytes" Text="Updated: Can I split 1 live stereo input steam into 2 mono streams, in Mac OS" ContentLicense="CC BY-SA 3.0" />
  <row Id="43394" PostHistoryTypeId="3" PostId="24953" RevisionGUID="99ca93a4-9282-4aae-9486-84e17f67f1f8" CreationDate="2012-05-28T18:09:45.060" UserDisplayName="Webdevbytes" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43395" PostHistoryTypeId="36" PostId="24955" RevisionGUID="bfd1113e-dec1-4589-b43b-7f1ec17fe3e7" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8445/good-piano-patch-for-nord-modular" />
  <row Id="43396" PostHistoryTypeId="2" PostId="24955" RevisionGUID="7a101263-afc0-41b0-b7a6-973d2347bf8f" CreationDate="2013-07-21T02:03:56.517" UserId="7206" Text="Do you know a good piano patch for the Nord Modular? Not grand piano, but for dance song. A piano sound I like is the piano from the song Someday by Ce Ce Rogers for a reference. " ContentLicense="CC BY-SA 3.0" />
  <row Id="43397" PostHistoryTypeId="1" PostId="24955" RevisionGUID="7a101263-afc0-41b0-b7a6-973d2347bf8f" CreationDate="2013-07-21T02:03:56.517" UserId="7206" Text="Good piano patch for Nord Modular?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43398" PostHistoryTypeId="3" PostId="24955" RevisionGUID="7a101263-afc0-41b0-b7a6-973d2347bf8f" CreationDate="2013-07-21T02:03:56.517" UserId="7206" Text="&lt;audio&gt;&lt;synthesizer&gt;&lt;sound&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43399" PostHistoryTypeId="36" PostId="24956" RevisionGUID="48b6bb63-f657-438a-8f21-6484de12878e" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/863/is-the-sony-vaio-i-link-port-a-regular-firewire-400-one" />
  <row Id="43400" PostHistoryTypeId="2" PostId="24957" RevisionGUID="1cb236e2-248a-4354-8a5f-90649439fd8f" CreationDate="2011-02-21T10:20:17.857" UserId="13395" UserDisplayName="Ali Maxwell" Text="The firewire port is indeed a 400 one, so should work fine with any firewire powered audio interface. I'm afraid I cannot give any personal experience as to what the laptop is like to live with.&#xD;&#xA;&#xD;&#xA;Hope this helps. " ContentLicense="CC BY-SA 2.5" />
  <row Id="43401" PostHistoryTypeId="2" PostId="24956" RevisionGUID="28a9c688-9a13-4e2c-b800-9108462cc731" CreationDate="2011-02-20T16:59:34.737" UserDisplayName="Osmosis Cones" Text="I'm thinking about getting a [Sony VAIO laptop][1] for audio production since they seem to be one of the few manufacturers that have some variation of a Firewire port nowadays. &#xD;&#xA;&#xD;&#xA;Would this port be compatible with M-Audio, RME and other Firewire 400 audio interfaces ?&#xD;&#xA;&#xD;&#xA;I'd appreciate any personal experiences with the VAIO laptops and audio production.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sony-asia.com/product/vpcf137hg &quot;Sony VAIO&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43402" PostHistoryTypeId="1" PostId="24956" RevisionGUID="28a9c688-9a13-4e2c-b800-9108462cc731" CreationDate="2011-02-20T16:59:34.737" UserDisplayName="Osmosis Cones" Text="Is the Sony VAIO i.link port a regular Firewire 400 one?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43403" PostHistoryTypeId="3" PostId="24956" RevisionGUID="28a9c688-9a13-4e2c-b800-9108462cc731" CreationDate="2011-02-20T16:59:34.737" UserDisplayName="Osmosis Cones" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43404" PostHistoryTypeId="36" PostId="24957" RevisionGUID="07783e57-ed80-404c-946a-ebe280a48448" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/863/is-the-sony-vaio-i-link-port-a-regular-firewire-400-one/869#869" />
  <row Id="43405" PostHistoryTypeId="36" PostId="24958" RevisionGUID="65ca17dd-2f6f-4741-a70b-cd8026d76bea" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/863/is-the-sony-vaio-i-link-port-a-regular-firewire-400-one/1893#1893" />
  <row Id="43406" PostHistoryTypeId="2" PostId="24958" RevisionGUID="1ef6a1be-d089-4474-8a64-8123a56c7131" CreationDate="2011-07-16T01:43:32.123" UserDisplayName="Rush" Text="Every vaio I've ever seen has been bullet proof (but pricey).  I'm an IT pro and I swear by them.  This being said the firewire/ilink/ieee1394 port will work for file transfer but I haven't found a way to stream audio or video from say into your stereo.  I have used my vaio with Digital Converters using ieee1394 (ilink) such as what you are looking for with M-Audio, RME (Fireface?) and others and they work perfectly.  Sony makes a very nice machine and is very good for working with audio.  Just watch the video card you buy as some of the high powered video cards will actually suck up enough bandwidth on the bus to put dropouts in your audio.  It was a big deal with the PCIExpress cards and may be with others too...&#xD;&#xA;&#xD;&#xA;Hope it helps!&#xD;&#xA;&#xD;&#xA;-Rush@gearslutz.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="43407" PostHistoryTypeId="36" PostId="24959" RevisionGUID="35ffd25c-44ff-4b00-aa2c-de3b4129343a" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5268/looking-for-a-set-of-sound-sensors-with-5-foot-capture-range" />
  <row Id="43408" PostHistoryTypeId="36" PostId="24960" RevisionGUID="f448705f-9393-4ef7-b29f-c23e1ee311ec" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5268/looking-for-a-set-of-sound-sensors-with-5-foot-capture-range/5269#5269" />
  <row Id="43409" PostHistoryTypeId="2" PostId="24960" RevisionGUID="00778e79-4455-480a-8962-d6550b65dbce" CreationDate="2012-11-06T09:44:51.107" UserId="7016" Text="&#xD;&#xA;For your use, distance is not your problem. All distance does is attenuate the signal, do you shouldn't be asking 'Can this pick up sound at 10ft' - instead you should find out the volume you expect at the sensor, and then find the spec of the mic to see if it will give you the signal you need. &#xD;&#xA;&#xD;&#xA; That device gives no information about the sound levels it is appropriate for. " ContentLicense="CC BY-SA 3.0" />
  <row Id="43410" PostHistoryTypeId="2" PostId="24959" RevisionGUID="db9f2aa4-aea1-45be-94f9-729569d19bc1" CreationDate="2012-11-06T06:10:00.637" UserDisplayName="Cory" Text="I need a few sound sensors that are relatively cheap (under $20 each preferred) that have a capture range of about 5 - 10 feet. It should essentially be just like this product&#xD;&#xA;&#xD;&#xA;http://www.emartee.com/product/42148/Mini%20Sound%20Sensor&#xD;&#xA;&#xD;&#xA;The only catch is I don't see any info about its strength of capturing sound. I will be placing the sensors at the corners of a room 10x10 (ft) and they need to work for the entire space. Thanks for your help " ContentLicense="CC BY-SA 3.0" />
  <row Id="43411" PostHistoryTypeId="1" PostId="24959" RevisionGUID="db9f2aa4-aea1-45be-94f9-729569d19bc1" CreationDate="2012-11-06T06:10:00.637" UserDisplayName="Cory" Text="Looking for a set of sound sensors with 5 foot capture range" ContentLicense="CC BY-SA 3.0" />
  <row Id="43412" PostHistoryTypeId="3" PostId="24959" RevisionGUID="db9f2aa4-aea1-45be-94f9-729569d19bc1" CreationDate="2012-11-06T06:10:00.637" UserDisplayName="Cory" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43421" PostHistoryTypeId="36" PostId="24964" RevisionGUID="df1808c5-f6e8-425e-b665-b57da993cc7c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/999/what-is-the-best-way-to-record-electric-guitar-on-heavy-distortion" />
  <row Id="43422" PostHistoryTypeId="36" PostId="24965" RevisionGUID="d61d500c-d344-4d09-ac65-b3a3f1b69dde" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/999/what-is-the-best-way-to-record-electric-guitar-on-heavy-distortion/1013#1013" />
  <row Id="43423" PostHistoryTypeId="36" PostId="24966" RevisionGUID="377ef5ab-8c55-49ca-86b2-25319bfd1876" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/999/what-is-the-best-way-to-record-electric-guitar-on-heavy-distortion/1029#1029" />
  <row Id="43424" PostHistoryTypeId="36" PostId="24967" RevisionGUID="9a180a9f-5a16-44cf-9ead-8fa364a13243" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/999/what-is-the-best-way-to-record-electric-guitar-on-heavy-distortion/1052#1052" />
  <row Id="43425" PostHistoryTypeId="36" PostId="24968" RevisionGUID="b70b3335-77d7-4057-b09e-77f01e9ca8fc" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/999/what-is-the-best-way-to-record-electric-guitar-on-heavy-distortion/1059#1059" />
  <row Id="43426" PostHistoryTypeId="2" PostId="24965" RevisionGUID="fcf3ddb3-45a4-4b55-86cd-369ea7161a83" CreationDate="2011-03-14T08:06:05.430" UserId="7592" UserDisplayName="Pelle ten Cate" Text="Try replacing the SM57 with a large diaphragm condenser microphone (such as a Neumann U89 or TLM 173), and play around with placement, directionality and volume. (I normally move the amp + mic to a separate room, and turn up the volume to a level that you shouldn't listen to using a human ear.) While a SM57 works fine in most situations, you could get a more crispy result using a condenser. " ContentLicense="CC BY-SA 2.5" />
  <row Id="43427" PostHistoryTypeId="2" PostId="24968" RevisionGUID="18beca5c-3626-4800-8ac7-eba5f42495f3" CreationDate="2011-03-19T10:08:22.393" UserDisplayName="RyanScottLewis" Text="I might be completely missing the point here but... Why record with a mic? Just plug the input of your recording device into the headphones port of your amp.&#xD;&#xA;&#xD;&#xA;Personally, I use [Guitar Rig 4][1] with [FL Studio][2] as my DAW. FL Studio comes with a great audio recording tool called [Edison][3]. &#xD;&#xA;&#xD;&#xA;So, in new mixer track in FL Studio, I'll change the input to my guitar, load Guitar Rig into the first effects slot and make it sound heavy and distorted. Then load a Limiter into the second effects slot to avoid clipping, then Edison into the third slot. Set up Edison to start recording on input (I usually have to add a noise gate in Guitar Rig to get this feature to work or the noise triggers Edison's record function) and I'm ready to go.&#xD;&#xA;&#xD;&#xA;FL Studio also comes with a sweet sample based drum machine called &quot;FPC&quot; which when combined with the above technique can end up with some really professional sounding metal music. **\m/**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.native-instruments.com/#/en/products/guitar/guitar-rig-4-pro/&#xD;&#xA;  [2]: http://flstudio.image-line.com/&#xD;&#xA;  [3]: http://www.image-line.com/documents/edison.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="43428" PostHistoryTypeId="2" PostId="24966" RevisionGUID="028ebf98-28e3-4201-8583-f76689dc9e54" CreationDate="2011-03-15T04:15:11.800" UserId="319" Text="I haven't recorded any metal for a few years, but I'll give it a try!&#xD;&#xA;&#xD;&#xA;Metal may not need much room noise - you mention clarity, so try backing off the room and see if that helps.&#xD;&#xA;&#xD;&#xA;Get a microphone with a good top end response - don't be afraid to shy from the 57 on guitar if you have something else to use.  Of course, make the amp sound good in the room.  &#xD;&#xA;&#xD;&#xA;Locate the speakers on the amp if you can't see them behind a cloth.  Move the mic to the left and right in front of the amplifier speaker until you hear the treble response you are looking for - don't just plop it there.  Helps to have a fancy studio to do this with an isolated control room, but you can move the mic and then say it's position while you keep the recorder rolling.   &#xD;&#xA;&#xD;&#xA;Some people also mic the back of the cab for extra bass - perhaps try that with your 2020 with the 57 on the grille.  Flip the phase on one of the mics and see how it sounds - it will sound better or worse or you won't be able to tell.  If it sounds better, leave the phase flipped, otherwise don't.&#xD;&#xA;&#xD;&#xA;You can also place both mics in the front and blend to taste.  &#xD;&#xA;&#xD;&#xA;Also, I'm not sure if they are still in use, but lots of metal guitarists I knew used those multi effect computer boxes, not normal pedals.  I always thought they sounded pretty bad, aside from the POD - which I bought as a recording enthusiast.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="43429" PostHistoryTypeId="2" PostId="24967" RevisionGUID="ab6a397d-f8c7-43f1-9c54-112c32e7ccdc" CreationDate="2011-03-18T15:49:55.830" UserDisplayName="user652" Text="To get a wider, more stereo, guitar sound, a common trick is to record the guitar track twice with different settings. Use your favorite guitar settings for the first take. Then record a second take to another track with differnt settings on your guitar and/or amp. Use a little less distortion, different eq settings (less bass, more mid/treble) on the second track. Then pan the first track left, the second right in your mixer. I think I'd keep effects such as reverb and delay the same on both tracks, probably adding them in the mixer and not during recording." ContentLicense="CC BY-SA 2.5" />
  <row Id="43430" PostHistoryTypeId="2" PostId="24964" RevisionGUID="d59fd4ec-1b86-43e6-8cd7-c6ec7125bfdb" CreationDate="2011-03-11T15:19:20.737" UserDisplayName="user514" Text="I am striving to record Electric Guitar on heavy distortion.  I'm using an SM57 and an Audio Technica AT2020 as a room mic.  I'm getting a pretty good sound but is there anything i can do to, really **UP**  the sound of it, and give it a lot more clarity?  &#xD;&#xA;&#xD;&#xA;I am not a Guitarist, but recording an Old School heavy metal, like Pantera, and Metallica.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43431" PostHistoryTypeId="1" PostId="24964" RevisionGUID="d59fd4ec-1b86-43e6-8cd7-c6ec7125bfdb" CreationDate="2011-03-11T15:19:20.737" UserDisplayName="user514" Text="What is the best way to record Electric Guitar on heavy distortion?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43432" PostHistoryTypeId="3" PostId="24964" RevisionGUID="d59fd4ec-1b86-43e6-8cd7-c6ec7125bfdb" CreationDate="2011-03-11T15:19:20.737" UserDisplayName="user514" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43433" PostHistoryTypeId="36" PostId="24969" RevisionGUID="bffbd318-912a-4e38-a58a-f64f18c9033a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/989/dubstep-whomps-on-logic-express-9" />
  <row Id="43434" PostHistoryTypeId="36" PostId="24970" RevisionGUID="f9c8bc76-2154-4df8-89aa-00db24ef50c9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/989/dubstep-whomps-on-logic-express-9/991#991" />
  <row Id="43435" PostHistoryTypeId="2" PostId="24970" RevisionGUID="79448dd9-04f1-477e-a6fe-68216fb0d751" CreationDate="2011-03-10T16:12:43.450" UserId="7294" UserDisplayName="Warrior Bob" Text="I believe what you're talking about is often referred to as a &quot;wobble bass&quot; and can be made in a variety of ways, for a variety of textures.&#xD;&#xA;&#xD;&#xA;Choose a synthesizer plugin to start with - you don't need any particular one, but just needs to have a nice lowpass filter, and a low-frequency oscillator (&quot;LFO&quot;) that can modulate the filter cutoff frequency.&#xD;&#xA;&#xD;&#xA;The basic idea is:&#xD;&#xA;&#xD;&#xA; 1. Get a really big oscillator sound somehow (presets can be good for this, or make your own)&#xD;&#xA; 2. Set the filter to lowpass.  Raise the resonance (sometimes called &quot;peak&quot;) setting on your lowpass filter a little bit above zero.   &#xD;&#xA; 3. Set the LFO to modulate the filter cutoff frequency.  Set the LFO depth to something huge, and the LFO rate to tempo sync, and something like 1/2 a measure.  If necessary, set the LFO waveform to something with a slope.  &#xD;&#xA; 4. Play a big sustained note through it.  It should be making a noise like &quot;wob wob wob wob&quot;&#xD;&#xA;&#xD;&#xA;After that, it's all about customizing the sound to your taste.  Try different waveforms, filters, LFO settings, whatever.  Try changing the LFO rate as it's playing.  Try adding vibrato if your synth does that.  Make sure your filter is filtering the whole sound, and not letting any of the oscillators get through unfiltered.  &#xD;&#xA;&#xD;&#xA;The key element in the dubstep / drum and bass wobble is the moving filter cutoff.  You can do this many ways, but the one I wrote up here is the one I've used.  You could also, for example, change the cutoff rate by hand, if you want a particular pattern of filter movement.  &#xD;&#xA;&#xD;&#xA;If the terms here don't make sense, by all means look them up.  They're fairly straightforward synthesizer terminology and apply to most synthesizers.  Your plugin probably has a manual that describes how to use them.  &#xD;&#xA;&#xD;&#xA;One more thing - and I know it sounds silly - but search YouTube for &quot;dubstep wobble bass&quot;.  There are lots of tutorials out there, however I don't know of any for Logic in particular." ContentLicense="CC BY-SA 2.5" />
  <row Id="43436" PostHistoryTypeId="2" PostId="24969" RevisionGUID="0f367430-3e01-43ca-a6e7-1135f4a45f3b" CreationDate="2011-03-10T14:34:20.320" UserDisplayName="user611" Text="I am looking to create Dubstep Whomp's on logic epress 9! anyone know of a good and easy to understand tutorial?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43437" PostHistoryTypeId="1" PostId="24969" RevisionGUID="0f367430-3e01-43ca-a6e7-1135f4a45f3b" CreationDate="2011-03-10T14:34:20.320" UserDisplayName="user611" Text="Dubstep Whomp's on logic express 9?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43438" PostHistoryTypeId="3" PostId="24969" RevisionGUID="0f367430-3e01-43ca-a6e7-1135f4a45f3b" CreationDate="2011-03-10T14:34:20.320" UserDisplayName="user611" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43439" PostHistoryTypeId="36" PostId="24971" RevisionGUID="fad8bd95-0623-43f3-b460-6aa956796578" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3094/best-sequence-in-a-daw-to-improve-a-poorly-recorded-voiceover" />
  <row Id="43440" PostHistoryTypeId="2" PostId="24972" RevisionGUID="33ef7389-80e9-4544-876e-edc3665503cc" CreationDate="2012-01-21T10:40:41.203" UserId="7200" Text="I'd start with the hum, as this becomes more difficult after any other editing step. But right at the beginning, you should be able to do it very well with a multiple-notch filter.&#xD;&#xA;&#xD;&#xA;Then I'd tackle clicks and pops. For this you get the best results by doing all of them manually, but it's of course very laborous. But fully automatic tools, in my experience, do too much harm to the desired signal. If the events are really loud it should be easy enough to track them in the waveform display, if they are rather subtle if may be better to just leave them there. For pops, a simple low-cut filter should already help quite a bit.&#xD;&#xA;&#xD;&#xA;Hiss. Once you've removed the louder other noises, it might be possible to cure this with an ordinary noise gate. If it's but little below the voice level, this won't work as well, but you might succeed with an FFT-based frequency domain noise gate. This might introduce somewhat strange audio artifacts, but it might be worth it.&#xD;&#xA;&#xD;&#xA;Only after all the undesired signals are surpressed as far as possible, you should start with bringing out the voice better. Here, you may have to experiment with the order of application yourself, but as a basis I'd suggest compressor-&gt;EQ." ContentLicense="CC BY-SA 3.0" />
  <row Id="43441" PostHistoryTypeId="2" PostId="24971" RevisionGUID="1d620c18-6c2e-42c4-9933-a8ab6882fb8b" CreationDate="2012-01-21T01:24:51.430" UserDisplayName="Alan Gilbertson" Text="I have a very specific production problem. The client has supplied voiceover clips for a video. These were recorded in a home office as 16-bit .wma files using, I believe, a headset, so there are problems. It is not possible to get a redo, but for the sake of my own conscience I want to give the client as good a product as is possible. Audio is not my field, by a long way, but I do have Audition (CS 5.5) available.&#xD;&#xA;&#xD;&#xA;The major problems, in order of obnoxiousness, are:&#xD;&#xA;&#xD;&#xA;- Background noise, mainly a low-level 60Hz hum with harmonics and a general mid-range hiss that sounds like an AC running. There is nothing in the recording above about 12k.&#xD;&#xA;&#xD;&#xA;- Low overall recording level (about -20 avg)&#xD;&#xA;&#xD;&#xA;- Variable voice level, requiring compression&#xD;&#xA;&#xD;&#xA;- Muddiness (baritone), requiring EQ in the 100-220 Hz range.&#xD;&#xA;&#xD;&#xA;- Variable vocal tone in places, caused, I think, by head movement relative to the mic.&#xD;&#xA;&#xD;&#xA;- Misc. clicks and pops&#xD;&#xA;&#xD;&#xA;I can convert the tracks to 32-bit floating point to gain some flexibility, and after several hours of study online, I think I can probably handle the individual steps of noise removal (multiple steps?), EQ, gain and compression. What I don't know is the *best sequence* to apply them to have the best possibility of a decent end product, and I've had no success in tracking down any best practices. It seems they must exist somewhere." ContentLicense="CC BY-SA 3.0" />
  <row Id="43442" PostHistoryTypeId="1" PostId="24971" RevisionGUID="1d620c18-6c2e-42c4-9933-a8ab6882fb8b" CreationDate="2012-01-21T01:24:51.430" UserDisplayName="Alan Gilbertson" Text="Best sequence in a DAW to improve a poorly recorded voiceover?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43443" PostHistoryTypeId="3" PostId="24971" RevisionGUID="1d620c18-6c2e-42c4-9933-a8ab6882fb8b" CreationDate="2012-01-21T01:24:51.430" UserDisplayName="Alan Gilbertson" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43444" PostHistoryTypeId="36" PostId="24972" RevisionGUID="1ce4c473-facf-47e3-bfe1-7c30d50af068" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3094/best-sequence-in-a-daw-to-improve-a-poorly-recorded-voiceover/3097#3097" />
  <row Id="43445" PostHistoryTypeId="36" PostId="24973" RevisionGUID="f8f149aa-477e-4b12-86cb-d2d57e52ea75" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2624/reaper-and-native-instruments-studio-drummer" />
  <row Id="43446" PostHistoryTypeId="36" PostId="24974" RevisionGUID="60b569ff-3329-4a62-a6ff-98338d24121c" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2624/reaper-and-native-instruments-studio-drummer/2661#2661" />
  <row Id="43447" PostHistoryTypeId="2" PostId="24974" RevisionGUID="43104ce5-d251-45c1-8174-cca3a63c972f" CreationDate="2011-11-18T16:34:30.063" UserId="7294" UserDisplayName="Warrior Bob" Text="You need the VST loaded in the track's FX list. MIDI data in REAPER tracks passes through the FX, and there needs to be some plugin there to interpret the MIDI and produce sounds, which are then passed to the track's output. This is true for any VST instruments in REAPER, not just Studio Drummer.&#xD;&#xA;&#xD;&#xA;Don't forget to check that the track monitoring is set correctly as well!" ContentLicense="CC BY-SA 3.0" />
  <row Id="43448" PostHistoryTypeId="2" PostId="24973" RevisionGUID="4366a946-ae8f-4cd7-a029-cade3cf43eb6" CreationDate="2011-11-12T01:42:05.503" UserDisplayName="Kevin" Text="I've installed Studio Drummer and Reaper.  I've done the basic setup in Reaper for the VST plugin and can pull the pre-recorded tracks from Studio Drummer into Reaper and it appears in the track as a MIDI file.  How do I get this MIDI track to playback with the VST sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43449" PostHistoryTypeId="1" PostId="24973" RevisionGUID="4366a946-ae8f-4cd7-a029-cade3cf43eb6" CreationDate="2011-11-12T01:42:05.503" UserDisplayName="Kevin" Text="Reaper and Native Instruments Studio Drummer" ContentLicense="CC BY-SA 3.0" />
  <row Id="43450" PostHistoryTypeId="3" PostId="24973" RevisionGUID="4366a946-ae8f-4cd7-a029-cade3cf43eb6" CreationDate="2011-11-12T01:42:05.503" UserDisplayName="Kevin" Text="&lt;midi&gt;&lt;vst&gt;&lt;reaper&gt;&lt;studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43451" PostHistoryTypeId="36" PostId="24975" RevisionGUID="d0ea8714-b5e5-47f7-b5e6-c7d06b30bc70" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7944/how-to-connect-alesis-mmt-8-to-roland-tr-909-with-cubase-and-samson-graphite-49" />
  <row Id="43452" PostHistoryTypeId="2" PostId="24976" RevisionGUID="c96d73cd-3b6e-49ed-bc34-fd2c47788db9" CreationDate="2013-05-25T03:54:14.087" UserId="7189" Text="It sounds like your MMT-8 is sending a MIDI Play signal to the TR-909, which causes the 909 to start playing whatever pattern has been stored. But your MMT-8 is *also* playing its own pattern, so you end up with a cacophony.&#xD;&#xA;&#xD;&#xA;I don't have an 909 myself, but according to [page 37 of the manual][1], you can put the 909 into external instrument mode by pressing the `shift` and `external instrument` keys together when in Pattern Write Mode. The manual says that this toggles between external and internal mode, which *may* mean that one mode is for controlling an external instrument with the 808 and the other is for using an external MIDI source to play the 909.&#xD;&#xA;&#xD;&#xA;Beware that the TR-909 can produce dangerously funky bass frequencies. If you can't get the machine to work, I can safely dispose of it for you for a low fee :-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.synthfool.com/docs/Roland/TR_Series/Roland%20TR-909%20Owners%20Manual.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="43453" PostHistoryTypeId="2" PostId="24975" RevisionGUID="04cfc0b2-695c-4362-9563-2bd8bce51373" CreationDate="2013-05-22T23:52:00.293" UserId="7206" Text="I want to connect [Alesis MMT-8][1] to [Roland TR-909][2] via MIDI. Carefully studying the manuals, I try to record what is pressed on the TR-909 by recording with the MMT8 and pressing instrument keys on the 909 but it gives me a cacaphony playing some random stuff that was saved on the 909, or nothing at all if I place the 909 on a part that has no 909 memory for it. Now I wonder why it plays the part stored from the 909, why I can't reset the TR-909 to factory values and how I connect the two pieces via MIDI? I tried various combinations of the MIDI setting such as &quot;unchanged&quot; and different channels for sending or receiving, but what could be the issue is the switch of the 909 from internal to external which I might've failed to perform. Can you help me?&#xD;&#xA;&#xD;&#xA;## Update ##&#xD;&#xA;I also tried connecting a [Samson Graphite 49][3] and turning the equipment on by default, the 909 listens to the 49 so the 909 is actually listening on MIDI, it's the isngla from the MMT that a) doesn't get reorded from the 909 and b) doesn't trigger MIDI correctly with the 909, it does trigger MIDI but it trigggers the internal. It might be the setting between eternal and internal on the 909 that I must set. What do you think?&#xD;&#xA;&#xD;&#xA;## Update 2 ##&#xD;&#xA;I've connected midi out from the Samson Graphite 49 to MIDI in to the MMT8 and then MIDI through from the MMT8 to the TR909, then the 909 listens to MIDI signals from the Samson keyboard but it's not possible to record and playback in Cubase. What am I doing wrong?&#xD;&#xA;&#xD;&#xA;![enter image description here][4]&#xD;&#xA;![enter image description here][5]&#xD;&#xA;&#xD;&#xA;## Update 130526 15:00 ##&#xD;&#xA;Now I can play the 909 and the synth recorded from Cubase and I can record and playback the synth with Cubase but I havn't got the MMt8 to work with the setup, the MMT8 might not be needed when I have Cubase.&#xD;&#xA;&#xD;&#xA;![enter image description here][6]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;## Update 130526 23:12 ##&#xD;&#xA;I've now recorded the result of the [soundcheck][7] from cubase with audiogalaxy. The MMT8 might be depracated by cubase and the main thing is that I got the 909 sequenced combined with a VST synth.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://manuals.fdiskc.com/flat/Alesis%20MMT-8%20Owners%20Manual.pdf&#xD;&#xA;  [2]: http://www.synthfool.com/docs/Roland/TR_Series/Roland%20TR-909%20Owners%20Manual.pdf&#xD;&#xA;  [3]: http://www.samsontech.com/site_media/support/manuals/Graphite49_OM_EN_v2.pdf&#xD;&#xA;  [4]: http://i.stack.imgur.com/dAuCQ.png&#xD;&#xA;  [5]: http://i.stack.imgur.com/4DeOB.png&#xD;&#xA;  [6]: http://i.stack.imgur.com/xono6.png&#xD;&#xA;  [7]: https://soundcloud.com/niklasr/909plussynth" ContentLicense="CC BY-SA 3.0" />
  <row Id="43454" PostHistoryTypeId="1" PostId="24975" RevisionGUID="04cfc0b2-695c-4362-9563-2bd8bce51373" CreationDate="2013-05-22T23:52:00.293" UserId="7206" Text="How to connect Alesis MMT-8 to Roland TR-909 with Cubase and Samson Graphite 49" ContentLicense="CC BY-SA 3.0" />
  <row Id="43455" PostHistoryTypeId="3" PostId="24975" RevisionGUID="04cfc0b2-695c-4362-9563-2bd8bce51373" CreationDate="2013-05-22T23:52:00.293" UserId="7206" Text="&lt;midi&gt;&lt;hardware&gt;&lt;cubase&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43456" PostHistoryTypeId="36" PostId="24976" RevisionGUID="9dda5307-2eb5-44bb-a89d-86af3a676248" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7944/how-to-connect-alesis-mmt-8-to-roland-tr-909-with-cubase-and-samson-graphite-49/7964#7964" />
  <row Id="43457" PostHistoryTypeId="36" PostId="24977" RevisionGUID="32582911-5ed5-4198-8e69-f2a01c021b9c" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7130/phantom-power-and-audio-recorders-and-microphones" />
  <row Id="43458" PostHistoryTypeId="36" PostId="24978" RevisionGUID="3a19953b-debf-45ad-87fd-d7255ce044c0" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7130/phantom-power-and-audio-recorders-and-microphones/7133#7133" />
  <row Id="43459" PostHistoryTypeId="36" PostId="24979" RevisionGUID="661f1ec9-a93b-4f04-9507-0a007aa2a60d" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7130/phantom-power-and-audio-recorders-and-microphones/7447#7447" />
  <row Id="43460" PostHistoryTypeId="2" PostId="24978" RevisionGUID="fa588c32-1617-4891-9fbe-b67530b96def" CreationDate="2013-02-13T04:39:27.783" UserId="7189" Text="It is extremely unlikely that a 1/8&quot; TRS microphone needs phantom power. Instead, it most likely needs [plug-in-power][1]. The difference is that phantom power is 48V, while plug-in-power can range from 3-5v. If you plug a plug-in-power device into a source of phantom power, there is a good chance you will damage it.&#xD;&#xA;&#xD;&#xA;Plug-in-power was originally a Sony thing, and then a SoundBlaster thing. Sony recorders are most likely to support plug-in-power. My [Sony M10][2] does, but it is well above your budget.&#xD;&#xA;&#xD;&#xA;Companies other than Sony may use a term other than plug-in-power. So you probably need to do some googling to see if you can find place where people mention both the Sony term and various non-sony terms.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Phantom_power#Other_microphone_powering_techniques&#xD;&#xA;  [2]: http://pro.sony.com/bbsc/ssr/cat-audio/resource.latest.bbsccms-assets-cat-audio-solutions-pcmm10.shtml" ContentLicense="CC BY-SA 3.0" />
  <row Id="43461" PostHistoryTypeId="2" PostId="24979" RevisionGUID="a2399d25-f83b-463c-a5a4-22d9e4056ba4" CreationDate="2013-03-21T04:50:01.753" UserId="7312" UserDisplayName="Eugene S" Text="Phantom power is a 48V of DC voltage usually usually applied to the studio level condenser mics. In your case it is obviously not the issue. Just plug this mic in any recorder with a 1/8 jack and you'll be fine.&#xD;&#xA;&#xD;&#xA;BTW, from the Olympus site:&#xD;&#xA;&#xD;&#xA;    &quot;Just plug the TP-8 jack into the &quot;MIC&quot; jack of your recorder&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43462" PostHistoryTypeId="2" PostId="24977" RevisionGUID="1155307d-1ea8-4d81-b709-11678ff3bc34" CreationDate="2013-02-13T03:41:54.927" UserDisplayName="user3624" Text="I want to get one of those ear microphone to used when recording cell phone conversations. I noticed on Amazon that one can get the [Olympus TP-8][1] at a decent price. But from the reviews on Amazon, it seems like there is something called &quot;phantom power&quot; meaning (if I understood it correctly) that the microphone needs power from the audio recorder to work. Apparently some audio recorders can supply this power and some can't. From Amazon I can't figure out which recorders have this power.&#xD;&#xA;&#xD;&#xA;Is there a way to figure this out? What should one look for in the description?&#xD;&#xA;&#xD;&#xA;I do already have an old RCA (RP5120-A) recorder, but it was very cheap and is old. I am guessing that this would not have &quot;phantom power&quot;. Is that right?&#xD;&#xA;&#xD;&#xA;Does one of the following audio recorders have this &quot;phantom power&quot;?&#xD;&#xA; &#xD;&#xA; - Olympus VN-702&#xD;&#xA; - Olympus WS-801&#xD;&#xA;&#xD;&#xA;Which other cheaper ($60 or less) recorders can be recommend that would have this &quot;phantom power&quot;?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Olympus-TP-8-Telephone-Pick-up-Microphone/dp/B008AGP5EW/ref=pd_sim_op_4" ContentLicense="CC BY-SA 3.0" />
  <row Id="43463" PostHistoryTypeId="1" PostId="24977" RevisionGUID="1155307d-1ea8-4d81-b709-11678ff3bc34" CreationDate="2013-02-13T03:41:54.927" UserDisplayName="user3624" Text="Phantom power and audio recorders and microphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="43464" PostHistoryTypeId="3" PostId="24977" RevisionGUID="1155307d-1ea8-4d81-b709-11678ff3bc34" CreationDate="2013-02-13T03:41:54.927" UserDisplayName="user3624" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43465" PostHistoryTypeId="36" PostId="24980" RevisionGUID="7eb643c2-4a8b-4278-82cf-0d8ed81f800f" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3667/trying-to-mix-a-symphonic-rock-metal-song" />
  <row Id="43466" PostHistoryTypeId="2" PostId="24980" RevisionGUID="78a2967e-e4fa-409f-86e6-11bcef9e9244" CreationDate="2012-03-29T16:37:34.347" UserDisplayName="user1159454" Text="(Just to note, I am NOT just trying to show my song here. I am asking a valid question about mixing this track that others may find helpful for their productions as well.)&#xD;&#xA;&#xD;&#xA;I'm sorry if this the wrong place to ask a question like this, but I couldn't find a stackexchange for music PRODUCTION, so it's worth a shot...&#xD;&#xA;&#xD;&#xA;This my first pro mixing project with Apple Logic, and I've always sucked at mixing and balancing the tracks. I was wondering if you kind folks could help me make this &#xD;&#xA;&#xD;&#xA;http://www.filedropper.com/vc&#xD;&#xA;&#xD;&#xA;http://www.filedropper.com/vcng (WITHOUT GUITAR)&#xD;&#xA;&#xD;&#xA;Sound more like this&#xD;&#xA;&#xD;&#xA;http://dis-gate.net/data/2007/free0603.mp3&#xD;&#xA;&#xD;&#xA;And maybe just share some &quot;Gotta know these&quot; basic mixing tips, or a place to look for them and learn from. How to pan things appropriately and such? I know it's up to the ear in the end but there's probably a common template for where to start right?&#xD;&#xA;&#xD;&#xA;I mean until recently I didn't even know to separate different parts of instruments into different tracks (kick, snare, toms, hihats, guitar1/guitar2, etc etc) and I still don't know if I'm doing that right...I MAY have overdone it.&#xD;&#xA;&#xD;&#xA;Currently my project looks like this.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://i.imgur.com/KFjOa.png&#xD;&#xA;&#xD;&#xA;http://i.imgur.com/oUTLF.png&#xD;&#xA;&#xD;&#xA;http://i.imgur.com/iB9oq.png&#xD;&#xA;&#xD;&#xA;http://i.imgur.com/ReK9J.png&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm using Sennheiser EH150 headphones also, and can't currently get good monitor speakers.&#xD;&#xA;&#xD;&#xA;I also I imported this project from Garageband if it matters." ContentLicense="CC BY-SA 3.0" />
  <row Id="43467" PostHistoryTypeId="1" PostId="24980" RevisionGUID="78a2967e-e4fa-409f-86e6-11bcef9e9244" CreationDate="2012-03-29T16:37:34.347" UserDisplayName="user1159454" Text="Trying to mix a Symphonic Rock/Metal song" ContentLicense="CC BY-SA 3.0" />
  <row Id="43468" PostHistoryTypeId="3" PostId="24980" RevisionGUID="78a2967e-e4fa-409f-86e6-11bcef9e9244" CreationDate="2012-03-29T16:37:34.347" UserDisplayName="user1159454" Text="&lt;mixing&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43469" PostHistoryTypeId="36" PostId="24981" RevisionGUID="663e1fb1-9352-430c-aa2b-ae09d942a0c5" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7942/why-is-my-cutting-equalizer-increasing-output-level" />
  <row Id="43470" PostHistoryTypeId="36" PostId="24982" RevisionGUID="b8f30fcb-8c2b-4a28-b046-fb3fd53565fc" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7942/why-is-my-cutting-equalizer-increasing-output-level/7943#7943" />
  <row Id="43471" PostHistoryTypeId="2" PostId="24982" RevisionGUID="edfb7f35-7e46-4471-91e4-bb3e998aa174" CreationDate="2013-05-22T21:57:10.230" UserId="7174" Text="Depending on the order of processing, it is possible that your cut is resulting in the compressor behaving less aggressively.  This in turn might result in the VU meter measuring the signal as stronger depending on how the compressor and VU meter are doing their processing." ContentLicense="CC BY-SA 3.0" />
  <row Id="43472" PostHistoryTypeId="2" PostId="24983" RevisionGUID="4ab01a2e-73c3-4ed0-813c-f60bd5abaef0" CreationDate="2013-05-24T12:43:35.503" UserId="7405" UserDisplayName="Andy aka" Text="Filtering a signal to remove certain parts of the spectrum on the face of it (and intuitively) should reduce the perceived sound level. This is what common-sense would tell us. However, when it comes to the reshaping of sound with filtering, lowering the sound level doesn't always equate to lowering the peak level. Yes, the perceived sound level may reduce but on many occasions the instantaneous peaks will increase. This does not mean your ears or meters are lying to you. &#xD;&#xA;&#xD;&#xA;Take a very simple repetitive waveform like a square wave. If you filtered it to enhance just the fundamental frequency you'd end up with a sinewave (pure tone) that is 27.3% higher in amplitude. This is a peak level increase of about 2.1dB.&#xD;&#xA;&#xD;&#xA;When you hear the squarewave you hear the fundamental frequency and all it's harmonics because that is, mathematically how a square wave is constructed. [Here][1] is a techy (but good) article that explains how a squarewave consists of a fundamental and harmonics.&#xD;&#xA;&#xD;&#xA;If you scroll to the lower half of the page you can see how they've constructed a squarewave from sinewave harmonics. Also notice in the formula (near page top), the 4/Pi - this, if you worked it out on your calculator = 1.273 and is the 27.3% higher in amplitude bit I referred to earlier.&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;So, in the case of a composite signal of a snare drum, many individual parts of the spectrum may be playing together and various filters may cause the peaks to increase and coincide. Remember the peak value on the meter only has to occur once in a few seconds to give the indication that the resulting filtered signal is bigger.&#xD;&#xA;&#xD;&#xA;**EDIT**&#xD;&#xA;[Here][3] is a link to a quote from SOS magazine. The quote is an answer to a question related to this subject: -&#xD;&#xA;&#xD;&#xA;&gt; Fundamentally, the filtering process changes the shape of the&#xD;&#xA;&gt; waveform, so although there may be less total energy in the signal,&#xD;&#xA;&gt; the peak amplitude may well increase.&#xD;&#xA;&#xD;&#xA;**END OF EDIT**&#xD;&#xA;&#xD;&#xA;There may be other reasons why it appears bigger but I hopefully have demonstrated that there is an absolutely rigourous mathematical reason too.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.allaboutcircuits.com/vol_2/chpt_7/2.html&#xD;&#xA;  [2]: http://i.stack.imgur.com/rkTrt.jpg&#xD;&#xA;  [3]: http://www.soundonsound.com/sos/dec10/articles/qa-1210-5.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="43473" PostHistoryTypeId="2" PostId="24981" RevisionGUID="bb58ca35-7576-490e-a499-49c5dce6d911" CreationDate="2013-05-22T20:57:34.833" UserDisplayName="Mattias Nordqvist" Text="I'm using logic studio latest version&#xD;&#xA;&#xD;&#xA;On one of my channel strips I'm having an ultrabeat drumkit with an overdrive and a compressor plugin. The track is only playing single snare hits. The channel level peak is at -5dB. So, I wanted to apply an equalizer to cut som frequencies. I usually start by cutting in the very high and low regions of the frequency spectrum. So apply the low cut at 48Hz, gain/slope at 24db/oct and a Q-value of 0.71. I can't hear much difference in my headphones, but the level meter is now showing peaks at 0.4dB. I didn't really expect a low cut to increase output level. Can somebody explain what's going on here? &#xD;&#xA;&#xD;&#xA;Image shows output level along with equalizer before and after equalizer is applied![Image shows output level along with equalizer before and after equalizer is applied][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/080Yo.png&#xD;&#xA;&#xD;&#xA;Extra information: Adding a high cut as well, increases output level even more, up to 0.7dB." ContentLicense="CC BY-SA 3.0" />
  <row Id="43474" PostHistoryTypeId="1" PostId="24981" RevisionGUID="bb58ca35-7576-490e-a499-49c5dce6d911" CreationDate="2013-05-22T20:57:34.833" UserDisplayName="Mattias Nordqvist" Text="Why is my cutting equalizer increasing output level?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43475" PostHistoryTypeId="3" PostId="24981" RevisionGUID="bb58ca35-7576-490e-a499-49c5dce6d911" CreationDate="2013-05-22T20:57:34.833" UserDisplayName="Mattias Nordqvist" Text="&lt;mixing&gt;&lt;logic-pro&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43476" PostHistoryTypeId="36" PostId="24983" RevisionGUID="a16a8155-26af-4327-9eda-0cfa4c7c3bb4" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7942/why-is-my-cutting-equalizer-increasing-output-level/7959#7959" />
  <row Id="43477" PostHistoryTypeId="36" PostId="24984" RevisionGUID="db02d103-db2f-4441-9aa5-093fed605625" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4806/how-can-i-quiet-a-noisy-computer-in-my-home-studio" />
  <row Id="43478" PostHistoryTypeId="2" PostId="24985" RevisionGUID="2a9ce54b-beb3-49b4-840e-89935c2ed916" CreationDate="2012-09-22T16:49:05.907" UserId="7231" Text="Put it in a different room!&#xD;&#xA;&#xD;&#xA;Professional studios do this by having a control room with all of the more noisy equipment, so in a home studio you're going to have to try to approximate that environment as best you can.&#xD;&#xA;&#xD;&#xA;On a MacBook, you may be able to limit CPU usage in the Energy Saver preference pane. I can't tell you specifically since I'm on an iMac, but I believe you can elect to constrain processor activity so it doesn't generate as much heat (and thus, require that the fan spin up to 100%). Of course, a more powerful computer would also improve the performance/heat output ratio." ContentLicense="CC BY-SA 3.0" />
  <row Id="43479" PostHistoryTypeId="2" PostId="24984" RevisionGUID="781c37c1-1d25-4503-8ab4-bb1991e480b8" CreationDate="2012-09-22T13:29:22.093" UserId="8300" UserDisplayName="bluevoodoo1" Text="I have a basic home studio setup with a Macbook, Apogee Duet, Logic, and a few microphones. Most times while recording, the fan on my laptop is spinning furiously; this is a problem when I record acoustic/classical guitars. How can I quiet my noisy laptop?!" ContentLicense="CC BY-SA 3.0" />
  <row Id="43480" PostHistoryTypeId="1" PostId="24984" RevisionGUID="781c37c1-1d25-4503-8ab4-bb1991e480b8" CreationDate="2012-09-22T13:29:22.093" UserId="8300" UserDisplayName="bluevoodoo1" Text="How can I quiet a noisy computer in my home studio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43481" PostHistoryTypeId="3" PostId="24984" RevisionGUID="781c37c1-1d25-4503-8ab4-bb1991e480b8" CreationDate="2012-09-22T13:29:22.093" UserId="8300" UserDisplayName="bluevoodoo1" Text="&lt;microphone&gt;&lt;noise&gt;&lt;laptop&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43482" PostHistoryTypeId="36" PostId="24985" RevisionGUID="794543c6-3e08-415c-9a72-0a1ba73c3dc9" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4806/how-can-i-quiet-a-noisy-computer-in-my-home-studio/4807#4807" />
  <row Id="43483" PostHistoryTypeId="36" PostId="24986" RevisionGUID="7886159e-e16a-48e5-9c1d-f266c370b96e" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4806/how-can-i-quiet-a-noisy-computer-in-my-home-studio/4809#4809" />
  <row Id="43484" PostHistoryTypeId="36" PostId="24987" RevisionGUID="6452f0a9-5366-47d9-a78e-1b4745f9b970" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4806/how-can-i-quiet-a-noisy-computer-in-my-home-studio/4812#4812" />
  <row Id="43485" PostHistoryTypeId="2" PostId="24986" RevisionGUID="2db341fb-367f-4373-aff3-689d3f22fba9" CreationDate="2012-09-22T18:14:33.650" UserId="7230" Text="To have lower fan speeds while also not having a cooked laptop, you need to have less heat to remove (i.e. reduce CPU or GPU load) or more efficient passive heat transfer. Luckily, modern MacBooks have metal cases which are quite thermally conductive, which allows many possibilities for improving cooling.&#xD;&#xA;&#xD;&#xA;* Chill the air around the laptop as much as you can (air conditioning, record in the winter, etc). The colder the environment is than the processors, the faster heat transfers out, so the less fan assistance needed.&#xD;&#xA;&#xD;&#xA;* Use larger, quieter external fans to move air past the laptop.&#xD;&#xA;&#xD;&#xA;* Place the laptop on a metal or glass table, for better conduction of heat transferred from the underside of the laptop.&#xD;&#xA;&#xD;&#xA;(You can also attempt to dampen the fan noise or isolate it from the recording; I'm addressing only improving cooling in this answer.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="43486" PostHistoryTypeId="2" PostId="24987" RevisionGUID="7126ee6e-8837-4191-8dd6-f128d76cb79c" CreationDate="2012-09-23T17:29:38.803" UserDisplayName="JPollock" Text="Every time you double the distance between the mic and the computer, the computer noise will be half as loud. So the easiest thing to do is get longer mic and USB cables, and of neccasary wireless keyboard/ mouse and get farther away from the computer." ContentLicense="CC BY-SA 3.0" />
  <row Id="43495" PostHistoryTypeId="36" PostId="24991" RevisionGUID="910e1047-df4a-492c-881d-761ee42377e5" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2642/assigning-analog-audio-to-play-with-hdmi-dvi-video-on-an-a-v-receiver" />
  <row Id="43496" PostHistoryTypeId="36" PostId="24992" RevisionGUID="7c0fb09c-9c0f-4784-b8e9-aac82fc80d28" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2642/assigning-analog-audio-to-play-with-hdmi-dvi-video-on-an-a-v-receiver/2643#2643" />
  <row Id="43497" PostHistoryTypeId="2" PostId="24992" RevisionGUID="4f034d3a-ac04-48ef-b900-7e31eec27915" CreationDate="2011-11-15T17:21:56.213" UserDisplayName="Danny" Text="I'm doing this now with a Sony STR-KS370, and it works great&#xD;&#xA;&#xD;&#xA;The ideal way to handle this would probably be to get a graphics card with an HDMI output that includes audio, but your solution is the best way to handle this without purchasing a new graphics card.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43498" PostHistoryTypeId="2" PostId="24993" RevisionGUID="70c3f55f-9a3c-4917-9e65-ce073350e1c8" CreationDate="2012-03-15T04:33:05.743" UserDisplayName="soxman" Text="To at least partially answer this question:  &#xD;&#xA;&gt;Is there a name for this feature (assigning/pairing analog audio with HDMI/DVI video) that I can use as a search term?  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Most audio/video receivers produced now handle analog and digital audio *and* video. Even most of the least expensive receivers nowadays have HDMI in/out. There isn't really a term for it, per se, as it is more typical than you might think, and exactly what most modern receivers are designed to do.&#xD;&#xA;&#xD;&#xA;&gt; Can you provide a recommendation on either specific receiver models or manufacturers that would meet my needs?  &#xD;&#xA;Is this the best way to go about this? If not, what should I be doing?  &#xD;&#xA;&#xD;&#xA;There is no better test of quality than your own ears as far as receivers go. That being said, I always give the following buying advice to people: &#xD;&#xA;&#xD;&#xA;Given two or more receivers (or home stereo components of any sort, really) where all things are equal (e.g., price, power output/wattage, connections), ALWAYS choose the heaviest one. The logic here is simple: the majority of a component's weight comes from (a) the chassis and (b) the power supply (the transformer). The bigger the power supply, the better the sound quality at higher volumes and the better overall performance of the receiver when multiple sources and speakers are running through it.  &#xD;&#xA;That is the fundamental buying advice that you should carry with you for the rest of your days.   &#xD;&#xA;Tried and true.  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43499" PostHistoryTypeId="2" PostId="24991" RevisionGUID="53132c12-137f-4a0e-8921-6845895d0737" CreationDate="2011-11-15T16:10:52.893" UserDisplayName="theraccoonbear" Text="I've got a computer I use to play a lot of media.  The computer has a DVI video output and a standard analog audio soundcard.  I currently have an audio-only receiver so I set the receiver to use the computer audio (3.5mm headphone plug to RCA) and tune the TV to accept the computer video (DVI to HDMI adapter).  For a variety of reasons, I would like to replace my current receiver with a new one and I'd like one that handles A/V switching and specifically this analog/digital pairing.  Given this setup, I'm wondering a couple of things...&#xD;&#xA;&#xD;&#xA; 1. Is there a name for this feature (assigning/pairing analog audio with HDMI/DVI video) that I can use as a search term?&#xD;&#xA; 2. Can you provide a recommendation on either specific receiver models or manufacturers that would meet my needs?&#xD;&#xA; 3. Is this the best way to go about this?  If not, what should I be doing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43500" PostHistoryTypeId="1" PostId="24991" RevisionGUID="53132c12-137f-4a0e-8921-6845895d0737" CreationDate="2011-11-15T16:10:52.893" UserDisplayName="theraccoonbear" Text="Assigning analog audio to play with HDMI/DVI video on an A/V receiver" ContentLicense="CC BY-SA 3.0" />
  <row Id="43501" PostHistoryTypeId="3" PostId="24991" RevisionGUID="53132c12-137f-4a0e-8921-6845895d0737" CreationDate="2011-11-15T16:10:52.893" UserDisplayName="theraccoonbear" Text="&lt;video&gt;&lt;audio&gt;&lt;digital&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43502" PostHistoryTypeId="36" PostId="24993" RevisionGUID="455efc45-9194-4f7d-8bf6-ca50493be93b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2642/assigning-analog-audio-to-play-with-hdmi-dvi-video-on-an-a-v-receiver/3572#3572" />
  <row Id="43503" PostHistoryTypeId="36" PostId="24994" RevisionGUID="2a98c463-7812-4f69-b27f-e6ae92c33232" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8814/how-to-record-two-sources-into-a-single-audio-file-in-linux" />
  <row Id="43504" PostHistoryTypeId="36" PostId="24995" RevisionGUID="5af89e83-a12a-4f12-91f3-e79cdf95c3f3" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8814/how-to-record-two-sources-into-a-single-audio-file-in-linux/8870#8870" />
  <row Id="43505" PostHistoryTypeId="2" PostId="24995" RevisionGUID="38f6b674-6abc-43ab-9ce2-4f0a67022adf" CreationDate="2013-09-03T15:25:20.893" UserDisplayName="kael" Text="This is really just to point you in a potentially useful direction, since I just stumbled upon this myself the other day, but there's a program called [SoX](http://linux.die.net/man/1/sox) that looks like it will easily do exactly what you're looking for. It's a pretty versatile program, and comes standard on [UbuntuStudio](http://ubuntustudio.org) (which is a distro you should definitely check out if you're doing audio work). Of course, if it's not standard in your distro, its only an apt-get away. I've been using SoX to play my music from the command line for the last week and have really been enjoying its controls and flexibility.&#xD;&#xA;&#xD;&#xA;Anyawy, hope that helps!&#xD;&#xA;&#xD;&#xA;-kael" ContentLicense="CC BY-SA 3.0" />
  <row Id="43506" PostHistoryTypeId="2" PostId="24996" RevisionGUID="7e2dff2f-c44f-4084-be01-f6bde527d203" CreationDate="2013-12-04T13:56:55.307" UserId="6885" Text="I think that [JACK](http://jackaudio.org/) is the right tool for the job, as for every nontrivial problem of sound recording under Linux (I'd recommend not to use PulseAudio here, or to [route it through JACK](http://jackaudio.org/pulseaudio_and_jack)).&#xD;&#xA;&#xD;&#xA;Have a look at the patchbay of a popular JACK GUI, called qjackctl:&#xD;&#xA;![http://qjackctl.sourceforge.net/qjackctl-ss1.html][1]&#xD;&#xA;&#xD;&#xA;You can rewire left and right channels of whatever programs and microphones you're using to wherever you want, e.g. the microphone and the incoming speech on the left and right recording channel of [Ardour](http://ardour.org/), the professional audio recording tool for Linux.&#xD;&#xA;&#xD;&#xA;If your SIP client does not support JACK directly, you can still [reroute its output](http://jackaudio.org/routing_alsa). Drop a comment (or open a separate question) if you need help on that.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/laeiM.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="43507" PostHistoryTypeId="2" PostId="24994" RevisionGUID="61330015-1a15-4138-a91a-60fba9e94012" CreationDate="2013-08-25T17:09:06.073" UserId="7725" UserDisplayName="MountainX" Text="I just found this forum. I previously asked my question at http://unix.stackexchange.com/q/88067/15010 but due to lack of response so far I want to ask here. (I can delete that prior question if advised.)&#xD;&#xA;&#xD;&#xA;I am attempting to record phone interviews conducted via VoIP (using SIP, not Skype). I want the caller's voice on one channel and my voice on the other. The Skype Call Recorder offers this option, but I need to do this on my local box running Linux and a SIP client that does not have built-in recording.&#xD;&#xA;&#xD;&#xA;I think `avconv` might allow me to accomplish my goal, but my question is broader because I'm inviting any response that will steer me in the right direction. However, if `avconv` is the right direction, I need help defining the audio stream inputs (see below).&#xD;&#xA;&#xD;&#xA;My distro is Kubuntu 12.04 LTS. &#xD;&#xA;&#xD;&#xA;My audio source hardware is listed at bottom. Specifically, I believe the two sources I want to record at the same time are:&#xD;&#xA;&#xD;&#xA;1. alsa_output.usb-Focusrite_Scarlett_2i2_USB-00-USB.analog-stereo.monitor/#2: Monitor of Scarlett 2i2 USB Analog Stereo&#xD;&#xA;2. alsa_input.usb-Focusrite_Scarlett_2i2_USB-00-USB.analog-stereo/#3: Scarlett 2i2 USB Analog Stereo&#xD;&#xA;&#xD;&#xA;I have confirmed that when I am conducting a VoIP interview, the interview subject's voice is on the monitor source above and my voice is on the other source listed above. I can record either source separately in Audacity. &#xD;&#xA;&#xD;&#xA;So far I cannot record both sources in a full duplex mode. Furthermore, I cannot so far achieve my goal of one voice recorded to the left channel and the other voice recorded to the right channel.&#xD;&#xA;&#xD;&#xA;[This great tutorial][1] gave me some clues but ultimately the full duplex mode described there does not meet my goals (and I cannot even get it to work anyway - it crashes pulse audio on my machine).&#xD;&#xA;&#xD;&#xA;This also seems relevant, but I am struggling to understand it: http://ubuntuforums.org/showthread.php?t=1962947&#xD;&#xA;&#xD;&#xA;Based on the link above, my first ***guess*** about how to do this is this simple script:&#xD;&#xA;&#xD;&#xA;    #!/bin/bash&#xD;&#xA;    OUTPUT=&quot;audio_`date +%Y-%m-%d_%H%M`&quot;&#xD;&#xA;    avconv \&#xD;&#xA;    -f alsa -ac 2 -i &lt;alsa_output.usb-Focusrite_Scarlett_2i2_USB-00-USB.analog-stereo.monitor&gt; \&#xD;&#xA;    -f alsa -ac 1 -i &lt;alsa_input.usb-Focusrite_Scarlett_2i2_USB-00-USB.analog-stereo&gt; \&#xD;&#xA;    -map 0:0 -map 1:0 \&#xD;&#xA;    -acodec flac \&#xD;&#xA;    -threads 0 \&#xD;&#xA;    -y $OUTPUT&#xD;&#xA;&#xD;&#xA;I assume I need to replace what is in angle brackets with the correct notation. &#xD;&#xA;I have no idea if the rest of the above script is even close... If I am on the right track with `avconv` I would appreciate some help with the above command.&#xD;&#xA;&#xD;&#xA;Here's my hardware info:&#xD;&#xA;&#xD;&#xA;    $ pacmd list-cards  &#xD;&#xA;    Welcome to PulseAudio! Use &quot;help&quot; for usage information.  &#xD;&#xA;    &gt;&gt;&gt; 3 card(s) available.  &#xD;&#xA;    [snip other cards]&#xD;&#xA;    index: 2&#xD;&#xA;    name: &lt;alsa_card.usb-Focusrite_Scarlett_2i2_USB-00-USB&gt;&#xD;&#xA;    driver: &lt;module-alsa-card.c&gt;&#xD;&#xA;    owner module: 6&#xD;&#xA;    properties:&#xD;&#xA;            alsa.card = &quot;1&quot;&#xD;&#xA;            alsa.card_name = &quot;Scarlett 2i2 USB&quot;&#xD;&#xA;            alsa.long_card_name = &quot;Focusrite Scarlett 2i2 USB at usb-0000:04:00.0-2, high speed&quot;&#xD;&#xA;            alsa.driver_name = &quot;snd_usb_audio&quot;&#xD;&#xA;            device.bus_path = &quot;pci-0000:04:00.0-usb-0:2:1.0&quot;&#xD;&#xA;            sysfs.path = &quot;/devices/pci0000:00/0000:00:1c.4/0000:04:00.0/usb3/3-2/3-2:1.0/sound/card1&quot;&#xD;&#xA;            udev.id = &quot;usb-Focusrite_Scarlett_2i2_USB-00-USB&quot;&#xD;&#xA;            device.bus = &quot;usb&quot;&#xD;&#xA;            device.vendor.id = &quot;1235&quot;&#xD;&#xA;            device.vendor.name = &quot;Novation EMS&quot;&#xD;&#xA;            device.product.id = &quot;8006&quot;&#xD;&#xA;            device.product.name = &quot;Scarlett 2i2 USB&quot;&#xD;&#xA;            device.serial = &quot;Focusrite_Scarlett_2i2_USB&quot;&#xD;&#xA;            device.string = &quot;1&quot;&#xD;&#xA;            device.description = &quot;Scarlett 2i2 USB&quot;&#xD;&#xA;            module-udev-detect.discovered = &quot;1&quot;&#xD;&#xA;            device.icon_name = &quot;audio-card-usb&quot;&#xD;&#xA;    profiles:&#xD;&#xA;            output:analog-stereo: Analog Stereo Output (priority 6000)&#xD;&#xA;            output:analog-stereo+input:analog-stereo: Analog Stereo Duplex (priority 6060)&#xD;&#xA;            output:analog-stereo+input:iec958-stereo: Analog Stereo Output + Digital Stereo (IEC958) Input (priority 6055)&#xD;&#xA;            output:iec958-stereo: Digital Stereo (IEC958) Output (priority 5500)&#xD;&#xA;            output:iec958-stereo+input:analog-stereo: Digital Stereo (IEC958) Output + Analog Stereo Input (priority 5560)&#xD;&#xA;            output:iec958-stereo+input:iec958-stereo: Digital Stereo Duplex (IEC958) (priority 5555)&#xD;&#xA;            input:analog-stereo: Analog Stereo Input (priority 60)&#xD;&#xA;            input:iec958-stereo: Digital Stereo (IEC958) Input (priority 55)&#xD;&#xA;            off: Off (priority 0)&#xD;&#xA;    active profile: &lt;output:analog-stereo+input:analog-stereo&gt;&#xD;&#xA;    sinks:&#xD;&#xA;            alsa_output.usb-Focusrite_Scarlett_2i2_USB-00-USB.analog-stereo/#1: Scarlett 2i2 USB Analog Stereo&#xD;&#xA;    sources:&#xD;&#xA;            alsa_output.usb-Focusrite_Scarlett_2i2_USB-00-USB.analog-stereo.monitor/#2: Monitor of Scarlett 2i2 USB Analog Stereo&#xD;&#xA;            alsa_input.usb-Focusrite_Scarlett_2i2_USB-00-USB.analog-stereo/#3: Scarlett 2i2 USB Analog Stereo&#xD;&#xA;    ports:&#xD;&#xA;            analog-output: Analog Output (priority 9900, available: unknown)&#xD;&#xA;                    properties:&#xD;&#xA;    &#xD;&#xA;            analog-input: Analog Input (priority 10000, available: unknown)&#xD;&#xA;                    properties:&#xD;&#xA;    &#xD;&#xA;            iec958-stereo-input: iec958-stereo-input (priority 0, available: unknown)&#xD;&#xA;                    properties:&#xD;&#xA;    &#xD;&#xA;            iec958-stereo-output: Digital Output (S/PDIF) (priority 0, available: unknown)&#xD;&#xA;                    properties:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here is more info on this hardware:&#xD;&#xA;&#xD;&#xA;    $ cat /proc/asound/cards&#xD;&#xA;     1 [USB            ]: USB-Audio - Scarlett 2i2 USB&#xD;&#xA;                          Focusrite Scarlett 2i2 USB at usb-0000:04:00.0-2, high speed&#xD;&#xA;&#xD;&#xA;    $ cat /proc/asound/card1/pcm0c/info &#xD;&#xA;    card: 1&#xD;&#xA;    device: 0&#xD;&#xA;    subdevice: 0&#xD;&#xA;    stream: CAPTURE&#xD;&#xA;    id: USB Audio&#xD;&#xA;    name: USB Audio&#xD;&#xA;    subname: subdevice #0&#xD;&#xA;    class: 0&#xD;&#xA;    subclass: 0&#xD;&#xA;    subdevices_count: 1&#xD;&#xA;    subdevices_avail: 0&#xD;&#xA;&#xD;&#xA;    $ cat /proc/asound/card1/pcm0p/info &#xD;&#xA;    card: 1&#xD;&#xA;    device: 0&#xD;&#xA;    subdevice: 0&#xD;&#xA;    stream: PLAYBACK&#xD;&#xA;    id: USB Audio&#xD;&#xA;    name: USB Audio&#xD;&#xA;    subname: subdevice #0&#xD;&#xA;    class: 0&#xD;&#xA;    subclass: 0&#xD;&#xA;    subdevices_count: 1&#xD;&#xA;    subdevices_avail: 1&#xD;&#xA;&#xD;&#xA;  [1]: http://www.linux.com/learn/tutorials/367395-weekend-project-record-from-skype-calls-and-other-apps-on-linux" ContentLicense="CC BY-SA 3.0" />
  <row Id="43508" PostHistoryTypeId="1" PostId="24994" RevisionGUID="61330015-1a15-4138-a91a-60fba9e94012" CreationDate="2013-08-25T17:09:06.073" UserId="7725" UserDisplayName="MountainX" Text="how to record two sources into a single audio file in Linux?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43509" PostHistoryTypeId="3" PostId="24994" RevisionGUID="61330015-1a15-4138-a91a-60fba9e94012" CreationDate="2013-08-25T17:09:06.073" UserId="7725" UserDisplayName="MountainX" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43510" PostHistoryTypeId="36" PostId="24996" RevisionGUID="9d35368f-3ce9-4d05-99c9-f3bafafb5ba6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8814/how-to-record-two-sources-into-a-single-audio-file-in-linux/9564#9564" />
  <row Id="43511" PostHistoryTypeId="36" PostId="24997" RevisionGUID="f2f63b15-0d8a-4074-be17-d593c397925a" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4394/how-to-fix-an-audio-set-with-wrong-levels" />
  <row Id="43512" PostHistoryTypeId="2" PostId="24998" RevisionGUID="7e541c78-4e12-449e-9a03-a6927aefd570" CreationDate="2012-07-13T00:03:12.003" UserId="7398" UserDisplayName="BenV" Text="I'm not 100% sure I understand your question, but here's what I think you need to do:&#xD;&#xA;&#xD;&#xA;1. Add some compression.  This will bring down the peaks closer to the average level.  It will only affect the peaks, not the rest of the audio.&#xD;&#xA;2. Normalize.  This will raise the level of the the *whole* audio clip to the specified level.&#xD;&#xA;&#xD;&#xA;The end result will be less variation in volume (shorter peaks) and a more even volume across all the audio clips." ContentLicense="CC BY-SA 3.0" />
  <row Id="43513" PostHistoryTypeId="2" PostId="24997" RevisionGUID="474aa395-f740-4464-bbd7-d0aa5af6ace2" CreationDate="2012-07-12T20:54:53.997" UserDisplayName="Gonzalo Larralde" Text="I have a set of 300 audios. I use those files in an App, as the voice of an animated character.&#xD;&#xA;&#xD;&#xA;So, the thing is, that I can't find a process that take the audio, and &quot;normalize&quot; its levels to make a plain file. The thing is, I've used a software (Sample Manager for Mac) to Normalize the audios, but the result I'm getting is not the expected, at all.&#xD;&#xA;&#xD;&#xA;As an example, I have this waveform:&#xD;&#xA;&#xD;&#xA;![Waveform][1] ![enter image description here][2]&#xD;&#xA;&#xD;&#xA;As you may see, when the character gets &quot;excited&quot;, the voice of the girl who made the audio raises a peak higher than the rest of the audio, and the same happens but with lower volumes. So, I need to stabilize the whole audio to a predefined level.&#xD;&#xA;&#xD;&#xA;The thing is, the character moves his mouth based on the output volume.&#xD;&#xA;&#xD;&#xA;Is a compressor what I need? A normalizer? What's the process to accomplish this?&#xD;&#xA;&#xD;&#xA;Sorry if I've been inexact in terms, or if my explanation is not very clear, I have no idea about audio, I'm a programmer :)&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/EzgM1.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/1q83R.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="43514" PostHistoryTypeId="1" PostId="24997" RevisionGUID="474aa395-f740-4464-bbd7-d0aa5af6ace2" CreationDate="2012-07-12T20:54:53.997" UserDisplayName="Gonzalo Larralde" Text="How to fix an audio-set with wrong levels" ContentLicense="CC BY-SA 3.0" />
  <row Id="43515" PostHistoryTypeId="3" PostId="24997" RevisionGUID="474aa395-f740-4464-bbd7-d0aa5af6ace2" CreationDate="2012-07-12T20:54:53.997" UserDisplayName="Gonzalo Larralde" Text="&lt;audio&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43516" PostHistoryTypeId="36" PostId="24998" RevisionGUID="6537748a-0aca-4573-b274-b85ef8ac1777" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4394/how-to-fix-an-audio-set-with-wrong-levels/4395#4395" />
  <row Id="43517" PostHistoryTypeId="36" PostId="24999" RevisionGUID="a36b62b3-ded1-4c7d-ab72-f843f9200c8c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4394/how-to-fix-an-audio-set-with-wrong-levels/4396#4396" />
  <row Id="43518" PostHistoryTypeId="2" PostId="24999" RevisionGUID="d34f8729-b93e-470f-99f6-3572d539528c" CreationDate="2012-07-13T00:41:23.420" UserDisplayName="Gonzalo Larralde" Text="Ok, I found it. What I needed was a Compressor finally.&#xD;&#xA;&#xD;&#xA;Using Sample Manger with this parameters I achieved what I needed.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/q22Xe.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="43519" PostHistoryTypeId="36" PostId="25000" RevisionGUID="98fcc292-70e9-4056-abcf-a71ae9590083" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9442/same-size-speaker-vs-subwoofer" />
  <row Id="43520" PostHistoryTypeId="36" PostId="25001" RevisionGUID="9312d294-ceba-466b-b550-31ac6cfcf96f" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9442/same-size-speaker-vs-subwoofer/9483#9483" />
  <row Id="43521" PostHistoryTypeId="36" PostId="25002" RevisionGUID="bca324c7-2287-4396-ac8e-1752c2d9188b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9442/same-size-speaker-vs-subwoofer/9752#9752" />
  <row Id="43522" PostHistoryTypeId="2" PostId="25001" RevisionGUID="0a201af3-0327-4aae-addb-b3b37142efe0" CreationDate="2013-11-24T21:31:23.640" UserId="7194" Text="The cone size is only one variable determining the lowest frequency to be produced by a speaker (read more [here](http://avp.stackexchange.com/questions/8977/inches-vs-watts-on-speakers-what-does-it-mean-what-is-the-difference/8982#8982)). As such, a 15'' sub is likely to output lower frequencies than one on a multiway speaker.&#xD;&#xA;&#xD;&#xA;But the only way to know for sure is by looking at the frequency response of each device." ContentLicense="CC BY-SA 3.0" />
  <row Id="43523" PostHistoryTypeId="2" PostId="25002" RevisionGUID="2aa5987a-d5bc-4035-9c3a-ad3053400ed0" CreationDate="2013-12-25T13:25:35.817" UserDisplayName="olduncledino" Text="The size of the driver is just one specification that you need to consider. Power handling, voicing, and crossover type will affect the performance. &#xD;&#xA;&#xD;&#xA;As an example, I have a pair of first generation JBL Eon PA speakers that use fifteen inch drivers. I also have a JBL Prosumer ten inch powered subwoofer. Neither product could be called esoteric, or super high performance. The bass produced by the Eons when pushed is really lacking. The little ten inch sub on the other hand can make the house shake to where you would think Godzilla was stomping on the roof.. &#xD;&#xA;&#xD;&#xA;So to answer your question, Yes... a dedicated subwoofer will probably generate more bass energy, than a set of stereo speakers. This will be especially true if the stereo speakers utilize a passive crossover. This doesn't mean you will achieve better overall sound. There will undoubtedly be an overlap of frequencies between the full range speakers and the sub which will tend to muddy up the lows. A proper Sub/Satellite system should be designed to work together. " ContentLicense="CC BY-SA 3.0" />
  <row Id="43524" PostHistoryTypeId="2" PostId="25000" RevisionGUID="d48ba9a7-d182-4939-a9ff-2d707959361f" CreationDate="2013-11-19T08:08:11.840" UserDisplayName="mrQQ" Text="say I currently have two active cabinets, with 15&quot; woofers on them.&#xD;&#xA;&#xD;&#xA;Would adding an additional 15&quot; subwoofer to the setup improve the lows, or just produce more of the same volume?&#xD;&#xA;&#xD;&#xA;How about 12&quot; subwoofer?&#xD;&#xA;&#xD;&#xA;The question is: what is the perceptible difference beetween the woofer in full frequency cabinet and subwoofer?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="43525" PostHistoryTypeId="1" PostId="25000" RevisionGUID="d48ba9a7-d182-4939-a9ff-2d707959361f" CreationDate="2013-11-19T08:08:11.840" UserDisplayName="mrQQ" Text="same size speaker vs subwoofer" ContentLicense="CC BY-SA 3.0" />
  <row Id="43526" PostHistoryTypeId="3" PostId="25000" RevisionGUID="d48ba9a7-d182-4939-a9ff-2d707959361f" CreationDate="2013-11-19T08:08:11.840" UserDisplayName="mrQQ" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43527" PostHistoryTypeId="36" PostId="25003" RevisionGUID="e7ec09d7-ec43-478c-b275-fa8a8471130b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8618/what-are-the-steps-phases-of-a-cd-album-production" />
  <row Id="43528" PostHistoryTypeId="36" PostId="25004" RevisionGUID="f23a72e8-ee80-42a4-801f-65f87f0ec970" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8618/what-are-the-steps-phases-of-a-cd-album-production/8619#8619" />
  <row Id="43529" PostHistoryTypeId="2" PostId="25004" RevisionGUID="21d7d2bf-6d2d-41c1-9263-35837e5a8921" CreationDate="2013-08-05T10:06:11.697" UserId="6610" Text="There are 5 stages/phases in a Album production: Recording &gt; Editing &gt; Mixing &gt; Mastering &gt; Printing. &#xD;&#xA;&#xD;&#xA;It's worth naming &quot;Pre-production&quot;, which is before the 5 steps and can be very important to make things go better. Pre-production can be a wide variety of things. All from making the music arrangements, defining artist identity, vision, and intention; to prepare files with tempo/midi or just creating the right files with track names; it can be taking photos, choosing microphones, asking for funding, decide the song list, etc.&#xD;&#xA;&#xD;&#xA;**Recording phase** is when you capture the sound of the instruments to a physical/digital media. This phase is very important. What does not go good here can be a nightmare to fix in the other phases, if even possible. So it has to have good quality musically but also in the sound to be captured. Spending time to find the right tone/balance between instrument and microphone is a good idea. &#xD;&#xA;&#xD;&#xA;Here all the instruments are, often, recorded to separate channels/tracks. Often more than one track per instrument in a attempt to capture the most of the &quot;moment&quot;, ie to get all the sound, all the juice from that instruments.&#xD;&#xA;&#xD;&#xA;Try to avoid leaking between different instruments. If you have sound from other instruments in a track it will be difficult to mix and give them space in the mix. If there is mixed instrument sound in a track one cannot afterwords add effects(reverb, echo, eq, distortion, etc) to one instrument without it affecting others.&#xD;&#xA;&#xD;&#xA;The recording device should be in as high resolution as possible. If digital we are talking about between 24~32 bits and 44~192 Khz. &#xD;&#xA;&#xD;&#xA;**Editing phase** is when one can for example: correct tuning issues, correct timing issues, choose takes, clear talking before after the takes in the recording, remove undesired breathing sounds. Digital editing is very powerful, it is possible even to change a wrong word or letter in a song, or correct strange noises in the room like a door sound or other. In some cases this phase can take long time. Here you can spend a lot of time and &quot;pay expensive&quot; for recording music that was not rehearsed and tight yet.&#xD;&#xA;&#xD;&#xA;Nowadays editing is not done with scissors &amp; cutting tape anymore, it's so intertwined with mixing that sometimes they are the same things. Just for a matter of order of things/what comes first can be good to keep them separated by name, but in practical terms they happen sometimes at same time. &#xD;&#xA;&#xD;&#xA;**Mixing phase** is when you choose: the volume of each instrument, if they should be listened more to the left or right in the speakers (panorate), add effects to try to create a room/place feeling or add effects like distortion, reversed sounds, compression or other. &#xD;&#xA;&#xD;&#xA;During mixing, effects/plugins and other terms are common. Like: compressor (limit the dynamic range of the sound), eq (changing the frequency spectrum/balance), side-chain compressing (compress a instrument based on another volume), bus channels, reverb (create the sound of a room/place), delay, multiband-compressor (compress different frequencies separately), de-esser(removing &quot;s&quot; and &quot;shh&quot; sounds in singing).&#xD;&#xA;&#xD;&#xA;Here also you will have a bad time if during the recording phase the instruments are not properly separated in different tracks. Mixing one instrument track that have sound from other instruments can work in acoustic recordings when all is well played. If not, big problems might come up.&#xD;&#xA;&#xD;&#xA;So, when mixing one controls many channels (can be hundreds) at the same time. Mixing also involves several final mix &amp; trial mastering exercises and &quot;listening&quot; different versions to recognize weakness and remixing to obtain a better sound before a proper mastering job is done. &#xD;&#xA;&#xD;&#xA;**Mastering phase** (also very well described [here][1]) is the audio last polish. Here the mixing should be done and exported from the many tracks in the mixing phase to the number of tracks that will be in the final product. Stereo (left/right) if it's a &quot;normal&quot; music production to be listened in a stereo, car or headphones; or 5.1 if it's a surround production. Anyway, the mixing files should be exported in the same audio definition (not downsampling bits and Khz) and just reduced to the tracks of the final product.&#xD;&#xA;&#xD;&#xA;In Mastering the main point is to make the sound tolerate different speakers. Making it sound as much &quot;the same&quot; as possible, in different speakers. During this phase some EQ comes in (if a frequency is added its often analogic eq, if removed its often digital eq), compressor comes in, volume (to remove undesired volume differences between songs that during mixing are not detected because often different songs are not compared at that stage), silence time between songs is adjusted, and ISRC (a unique international number to each track to identify the song) and text for the track titles are added. &#xD;&#xA;&#xD;&#xA;Mastering is often done by a professional other than the one mixing to avoid problems in the sound that come up when the same ears listen to the same thing many times; and to gather/add another opinion.&#xD;&#xA;&#xD;&#xA;From the Master session a &quot;glass master&quot; (physical CD to go to the factory), DDP master (digital file to send to factory), or another file will be produced to take to the next phase.&#xD;&#xA;&#xD;&#xA;**Printing phase** can be physically printing a CD in the factory, making a file for including in a film or making the files to sell in the internet. If you are making the final product for the consumer, only now you should downsample the audio to a consumer format. For a normal CD it should be 16bit/44.1 kHz. If you are printing a CD/DVD you will now need EAN code, a support for your product (plastic box, paper box, or other) and a book/page with cover photo and lyrics. Often you will need also to provide proof that you paid due copyrights to get your product out of the factory.&#xD;&#xA;&#xD;&#xA;**After these production steps** what is left is everything you need before the release date, and the follow up after the release. This includes promoting, contacting journalists, finding distributors/making it available so people can buy it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/119/what-is-mastering" ContentLicense="CC BY-SA 3.0" />
  <row Id="43530" PostHistoryTypeId="2" PostId="25003" RevisionGUID="7f94d46a-1295-41ab-8aef-1624189394c3" CreationDate="2013-08-05T10:06:11.697" UserId="6610" Text="What are the steps/phases of a CD/Album production? From the moment of recording to when it's out?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43531" PostHistoryTypeId="1" PostId="25003" RevisionGUID="7f94d46a-1295-41ab-8aef-1624189394c3" CreationDate="2013-08-05T10:06:11.697" UserId="6610" Text="What are the steps/phases of a CD/Album production" ContentLicense="CC BY-SA 3.0" />
  <row Id="43532" PostHistoryTypeId="3" PostId="25003" RevisionGUID="7f94d46a-1295-41ab-8aef-1624189394c3" CreationDate="2013-08-05T10:06:11.697" UserId="6610" Text="&lt;audio-recording&gt;&lt;editing&gt;&lt;mixing&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43533" PostHistoryTypeId="36" PostId="25005" RevisionGUID="5cf1948f-8cc9-4c84-b847-c0acb66ba9b1" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6873/low-cost-wearable-midi-motion-sensors" />
  <row Id="43534" PostHistoryTypeId="36" PostId="25006" RevisionGUID="ff02403b-a88c-44d2-9404-c9836ca5f627" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6873/low-cost-wearable-midi-motion-sensors/6876#6876" />
  <row Id="43535" PostHistoryTypeId="36" PostId="25007" RevisionGUID="eb17bb6f-d0a5-40b3-baf4-156f474d1f52" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6873/low-cost-wearable-midi-motion-sensors/6877#6877" />
  <row Id="43536" PostHistoryTypeId="36" PostId="25008" RevisionGUID="13dd143c-03fd-4437-bb70-fe05b6ce5f08" CreationDate="2014-01-24T18:30:53.230" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6873/low-cost-wearable-midi-motion-sensors/6882#6882" />
  <row Id="43537" PostHistoryTypeId="2" PostId="25006" RevisionGUID="49b998d4-7a13-4b83-b9c8-cb4bd3230367" CreationDate="2013-01-18T17:53:14.477" UserId="7189" Text="The XBox [Kinect][1] seems to be the low-cost solution these days. [Kinect MIDI Controller][2] project.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=I1G4MmfjOAY&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Kinect&#xD;&#xA;  [2]: http://kinectmidicontroller.codeplex.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="43538" PostHistoryTypeId="2" PostId="25007" RevisionGUID="8367251c-f5f5-4014-85c8-0a4421284c90" CreationDate="2013-01-18T17:56:51.903" UserDisplayName="horatio" Text="The wiimote is essentially a bluetooth camera and (according to [this video][1] [~2:42]) can track up to four points simultaneously.&#xD;&#xA;&#xD;&#xA;One can imagine a piece of software that recognizes the location of the four points as glyphs which can then be translated into notes or phrases.&#xD;&#xA;&#xD;&#xA;The only thing which need be attached to the person are Infrared LEDs. One can have more than 4 LEDS attached so that points are visible if the actor was to turn around, etc.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?feature=player_embedded&amp;v=5s5EvhHy7eQ#!" ContentLicense="CC BY-SA 3.0" />
  <row Id="43539" PostHistoryTypeId="2" PostId="25008" RevisionGUID="c6e6f135-5f20-4ec0-a297-12bf8721d3fe" CreationDate="2013-01-19T16:30:05.673" UserId="7209" Text="I did this a couple years back with Wii Remotes.  Lots of fun!&#xD;&#xA;&#xD;&#xA;I ended up writing software to do it.  I'll look around to see if I can find it, and will post back if I do.  In the mean time, you should be able to get these up and running using [GlovePie][1] and some MIDI loopback software, such as [MIDI Yoke][2] or [LoopBe][3].&#xD;&#xA;&#xD;&#xA;If you don't already have a Bluetooth adapter on your computer, go get [one that is compatible with the Wii Remote][4].  I bought mine for 50 cents on Amazon awhile back.  [Pair the Wii Remote to your computer][5].  Then, fire up GlovePie and use an existing script to verify that the Wii Remote is working.&#xD;&#xA;&#xD;&#xA;Once you've done that, you can write a script (or find one already out there) for outputting MIDI.  Configure your script to output to your loopback MIDI device.  In your audio software, configure it to use the other end of the loopback MIDI device.  Then, jump around a bit and make music.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://sites.google.com/site/carlkenner/glovepie&#xD;&#xA;  [2]: http://www.midiox.com/&#xD;&#xA;  [3]: http://www.nerds.de/en/loopbe1.html&#xD;&#xA;  [4]: http://wiibrew.org/wiki/List_of_Working_Bluetooth_Devices&#xD;&#xA;  [5]: http://code.google.com/p/giimote/wiki/GettingConnected" ContentLicense="CC BY-SA 3.0" />
  <row Id="43540" PostHistoryTypeId="2" PostId="25005" RevisionGUID="77aaba42-2831-46fb-9f66-819264c754ec" CreationDate="2013-01-18T06:23:03.787" UserId="7840" UserDisplayName="themirror" Text="I'm interested in beginning performance in which the movements of my body generates MIDI to control a synthesizer.&#xD;&#xA;&#xD;&#xA;It appears that most &quot;motion capture&quot; MIDI devices are very specialized and expensive.&#xD;&#xA;&#xD;&#xA;What are some low-cost alternatives out there? (I'm willing to do a little hacking-together!)&#xD;&#xA;The first thing that comes to mind is strapping a bunch of WiMotes to my limbs, but I'd prefer something that weighs less and with less latency between movement and data received on the PC." ContentLicense="CC BY-SA 3.0" />
  <row Id="43541" PostHistoryTypeId="1" PostId="25005" RevisionGUID="77aaba42-2831-46fb-9f66-819264c754ec" CreationDate="2013-01-18T06:23:03.787" UserId="7840" UserDisplayName="themirror" Text="Low-cost WEARABLE midi motion sensors" ContentLicense="CC BY-SA 3.0" />
  <row Id="43542" PostHistoryTypeId="3" PostId="25005" RevisionGUID="77aaba42-2831-46fb-9f66-819264c754ec" CreationDate="2013-01-18T06:23:03.787" UserId="7840" UserDisplayName="themirror" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43543" PostHistoryTypeId="36" PostId="25009" RevisionGUID="0f22009a-8d3d-4dfa-b019-95d0962e4122" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4824/vocal-recording-output-level-is-too-low-even-though-the-preamp-show-its-clipp" />
  <row Id="43544" PostHistoryTypeId="36" PostId="25010" RevisionGUID="1212d25f-53b3-44b2-a62a-00043f5728e4" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4824/vocal-recording-output-level-is-too-low-even-though-the-preamp-show-its-clipp/4833#4833" />
  <row Id="43545" PostHistoryTypeId="36" PostId="25011" RevisionGUID="88a67e87-b8f2-4436-817b-9eecf7253632" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4824/vocal-recording-output-level-is-too-low-even-though-the-preamp-show-its-clipp/4838#4838" />
  <row Id="43546" PostHistoryTypeId="2" PostId="25010" RevisionGUID="8d98bfb6-99cc-472b-a9a3-02862b0ebee4" CreationDate="2012-09-24T21:54:54.627" UserDisplayName="Lukas Woltjer" Text="If I understand correctly, the preamp is turned up to a gain where it is clipping. This means your problem is not with the mic, because it is giving the UA 101 a good signal to work with. The UA 101 is a USB interface, so its input into the DAW you're using is controlled by the software. Check the software settings, because the problem might be that you don't have the DAW input gain turned up, or possible the track monitoring not on.&#xD;&#xA;&#xD;&#xA;It would help to know what DAW you work with. I use Reaper, and it's very easy to keep track of levels with it's setup. Turn your monitors down before messing too much with this. You'll still want your hearing when you're done.&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="43547" PostHistoryTypeId="2" PostId="25011" RevisionGUID="1feafc1f-56db-4a56-8107-74edef3b3960" CreationDate="2012-09-25T11:51:21.220" UserId="7200" Text="&quot;to be heard above the music&quot; – above _what_ music? If it's some fully-mastered mixdown that you're replaying at 0dB, then this is no surprise: such a track has lots and lots of compression on it, making it way louder than a clean microphone track can ever possibly be. You may feel that it's the microphone that's too quiet, but in fact &quot;everything else is too loud&quot;. What you can do about that – well, turn up the _headphones level_, make the backing track quieter from the software side (something like -12 dB), correctly set the preamp gain to just-not-clipping, and start recording. That _should_ work out fine.&#xD;&#xA;&#xD;&#xA;Note that, for many musical styles, clean solid-state preamps aren't really great for the vocal tracks anyway. Have you ever tried a tube preamp? That allows you to set the gain quite a bit over the limit, resulting in a powerful, driven, yet still warm and pleasant vocal sound. This is also quite helpful to have on the recording headphones, as it gives a very direct, clear and still dynamic feedback to the singer. I also like to put a subtle analogue compressor (something like ratio 2.5:1, threshold -10 dB, soft knee, attack 10 ms, release 150 ms, gain +2 dB) right in the recording chain sometimes. All of this will make the signal a bit louder, without ADC clipping.&#xD;&#xA;&lt;br&gt;But you shouldn't do anything more powerful than this: the downside of all such measures is that you won't be able to alter the effect afterwards, like when you find the vocals should after all have a bit more &quot;open&quot; sound. No hard overdrive or brickwall limiting, please! It really shouldn't be necessary when you don't use too loud backing tracks.&#xD;&#xA;&#xD;&#xA;Of course, it's possible that your interface's preamp is simply broken. If the signal is even quieter than a backing track at perhaps -18 dB, then something is wrong. You should check this with your DAW like suggested by Lukas Woltjer." ContentLicense="CC BY-SA 3.0" />
  <row Id="43548" PostHistoryTypeId="2" PostId="25009" RevisionGUID="7251bf8f-069a-4f1d-be6c-71144637435a" CreationDate="2012-09-24T13:56:39.813" UserDisplayName="SecondThought" Text="I'm using behringer B-1 mic and a [Roland UA101 interface](http://www.rolandus.com/products/details/703), trying to record vocals. &#xD;&#xA;&#xD;&#xA;I'm using the 1st preamp input (with phantom enabled) and although the input is clipped, it's still really really low in the output.  Even when I'm using direct monitoring, the knob has to be set almost fully to the direct monitoring side to be heard above the music. &#xD;&#xA;&#xD;&#xA;Why is that? it's frustrating...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![Rear][1]&#xD;&#xA;![Front][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Abw9t.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/qRN4D.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="43549" PostHistoryTypeId="1" PostId="25009" RevisionGUID="7251bf8f-069a-4f1d-be6c-71144637435a" CreationDate="2012-09-24T13:56:39.813" UserDisplayName="SecondThought" Text="Vocal recording - Output level is too low even though the preamp show it's clipped" ContentLicense="CC BY-SA 3.0" />
  <row Id="43550" PostHistoryTypeId="3" PostId="25009" RevisionGUID="7251bf8f-069a-4f1d-be6c-71144637435a" CreationDate="2012-09-24T13:56:39.813" UserDisplayName="SecondThought" Text="&lt;microphone&gt;&lt;monitoring&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43551" PostHistoryTypeId="36" PostId="25012" RevisionGUID="ff0321b3-8b9e-4881-9ce1-5801f783e001" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8926/which-functional-specifications-are-most-important-in-an-audio-interface" />
  <row Id="43552" PostHistoryTypeId="36" PostId="25013" RevisionGUID="6c5cf883-10cc-4223-9733-1def429cd939" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8926/which-functional-specifications-are-most-important-in-an-audio-interface/8927#8927" />
  <row Id="43553" PostHistoryTypeId="36" PostId="25014" RevisionGUID="432c2b00-65b6-49a5-aab2-f195c8ee320c" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8926/which-functional-specifications-are-most-important-in-an-audio-interface/8928#8928" />
  <row Id="43554" PostHistoryTypeId="36" PostId="25015" RevisionGUID="b249a215-79b3-4dff-a61b-ebb99e4121a2" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8926/which-functional-specifications-are-most-important-in-an-audio-interface/8936#8936" />
  <row Id="43555" PostHistoryTypeId="2" PostId="25013" RevisionGUID="bc3f1506-fc0e-481e-b435-98ed42e94553" CreationDate="2013-09-10T13:39:11.937" UserDisplayName="blkhdy" Text="If your looking for a peice of h/w that will operate efficiantly, go with one that has history in the driver department. In this case, M-Audio. Line 6 has been at the front of dsp for amps and pedals but m-audio has a pretty decent track record with A/D converters. Alway go to the products webpage and check to see how easy it is to get support and download drivers, as this may be what makes your experince easy with trouble shooting the product." ContentLicense="CC BY-SA 3.0" />
  <row Id="43556" PostHistoryTypeId="2" PostId="25014" RevisionGUID="ab131aa4-e0ff-4e69-8a48-15d622f7d554" CreationDate="2013-09-10T14:05:59.380" UserId="7174" Text="You shouldn't have any significant problems with either as long as your expectations are in line with the price.  Line6 and M-Audio both make good gear.  M-Audio has more experience in the audio interface category, but Line6 has been doing digital pedals for a while now.  The main difference is that M-Audio has more experience with drivers and the software side of things, which probably give them an advantage, but either should do fine.&#xD;&#xA;&#xD;&#xA;Neither is a high end rig, but unless you are really looking to get in to the studio space, either of them should do fine for starting out and getting your hands dirty with basic to intermediate recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="43557" PostHistoryTypeId="2" PostId="25015" RevisionGUID="7e3e4682-49e6-418b-acdd-26aadfeeebbb" CreationDate="2013-09-11T12:18:37.330" UserId="7542" UserDisplayName="Don Nickel" Text="Check the OS specifications and the connections. &#xD;&#xA;&#xD;&#xA;If the device isn't specified for your OS, you may not be able to make it work - period. &#xD;&#xA;&#xD;&#xA;If the device uses firewire or USB 3.0 and you don't have those connections, you may need to buy additional hardware or be out of luck. If you buy additional hardware, make sure that also matches your OS.&#xD;&#xA;&#xD;&#xA;It helps to know what OS you're using, and what DAW you are using as well. Usually you want to make sure the interface and DAW both support the same technologies - like AISO... but most semi-pro and pro do now-a-days." ContentLicense="CC BY-SA 3.0" />
  <row Id="43558" PostHistoryTypeId="2" PostId="25012" RevisionGUID="6bc800b8-70a0-47bb-a182-7b9b247f0048" CreationDate="2013-09-10T11:14:24.477" UserDisplayName="Cengiz Frostclaw" Text="I want to buy an external sound card, and I have two choices (because others are crazy expensive here)&#xD;&#xA;&#xD;&#xA;1) [Line6 POD Studio GX][1]&#xD;&#xA;&#xD;&#xA;2) [M-Audio M-Track][2]&#xD;&#xA;&#xD;&#xA;I want to be able to connect my guitar and midi keyboard, record, and be able to play live, but I'm not sure what features I should compare.&#xD;&#xA;&#xD;&#xA;Should I look at latency, operating system compatibility, etc?&#xD;&#xA;&#xD;&#xA;Or which values should I look at in the specs?&#xD;&#xA;&#xD;&#xA;  [1]: http://line6.com/podstudiogx/&#xD;&#xA;  [2]: http://www.m-audio.com/products/en_us/MTrack.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="43559" PostHistoryTypeId="1" PostId="25012" RevisionGUID="6bc800b8-70a0-47bb-a182-7b9b247f0048" CreationDate="2013-09-10T11:14:24.477" UserDisplayName="Cengiz Frostclaw" Text="Which functional specifications are most important in an audio interface?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43560" PostHistoryTypeId="3" PostId="25012" RevisionGUID="6bc800b8-70a0-47bb-a182-7b9b247f0048" CreationDate="2013-09-10T11:14:24.477" UserDisplayName="Cengiz Frostclaw" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43561" PostHistoryTypeId="36" PostId="25016" RevisionGUID="1fa4b7b3-f67f-4fde-a3b0-058f89706934" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5380/can-madi-run-on-om3-50-125-fibre" />
  <row Id="43562" PostHistoryTypeId="2" PostId="25017" RevisionGUID="8fc67500-a922-4487-a604-f26a5e57214f" CreationDate="2012-11-23T12:31:17.700" UserDisplayName="jodles" Text="I have done some more research and come to a conclusion of my own:&#xD;&#xA;&#xD;&#xA;Fiber is not necessarily &quot;backwards-compatible&quot; as it depends on the optical transducers (laser and receiver) within each piece of MADI-supported equipment. There seem to be a trend in the industry towards 50/125, because a smaller glass core (50um vs 62.5um) reduces modal dispersion and thus allows for longer reach (see more [here, pdf][1]). &#xD;&#xA;&#xD;&#xA;The situation is a bit of a two-egged sword, as most new, non-MADI equipment run on OM2 or OM3 (50/125) and some include backwards compatibility with OM1 (62.5/125). However, MADI equipment is guaranteed to run on OM1 (because of the standard), but might not support OM2 or 3. E.g. Avid has published information about their XLogic IO products claiming that their transducers are optimised for both OM1 and OM2 (see [here, HTML][2]). (Note that Avid claims that OM1 allows for longer distances, which must be a typo.)&#xD;&#xA;&#xD;&#xA;So all-in-all, it doesn't seem necessarily straightforward. The bottom line is that it really depends on what equipment you eventually will put in, and what kind of fiber that that equipment has been designed to work with.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.netoptics.com/sites/default/files/pdf/resources/MultimodeFiber.pdf &quot;NetOptics: Multimode [pdf]&quot;&#xD;&#xA;  [2]: http://solid-state-logic-en.custhelp.com/cgi-bin/solid_state_logic_en.cfg/php/enduser/std_adp.php?p_faqid=2404&amp;p_created=1279813913&amp;p_sid=yAKXF-bl&amp;p_accessibility=0&amp;p_redirect=&amp;p_srch=1&amp;p_lva=&amp;p_sp=cF9zcmNoPTEmcF9zb3J0X2J5PSZwX2dyaWRzb3J0PSZwX3Jvd19jbnQ9NCw0JnBfcHJvZHM9NzAmcF9jYXRzPTAmcF9wdj0xLjcwJnBfY3Y9JnBfc2VhcmNoX3R5cGU9YW5zd2Vycy5zZWFyY2hfbmwmcF9wYWdlPTEmcF9zZWFyY2hfdGV4dD1maWJyZQ!!&amp;p_li=&amp;p_topview=1 &quot;Avid Support XLogic IO&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43563" PostHistoryTypeId="2" PostId="25016" RevisionGUID="6b52d157-1572-4aad-b135-a89e187d7892" CreationDate="2012-11-21T15:37:32.287" UserDisplayName="jodles" Text="AES10 specifies 62.5/125, or OM1, fiber for use with MADI. However, 50/125 fibers has advantages in bandwidth and distance and is now much more standard than the &quot;old&quot; OM1 standard. I'm not too well versed in fiber, so I'm reticent to use any other cable than what's recommended in the standard, but it would be good to be able to run other things down a fiber installation in the future, such as video.&#xD;&#xA;&#xD;&#xA;Will MADI run on 50/125 - OM3 - fiber? Or equivalently, is fiber &quot;backwards-compatible&quot; so to speak?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43564" PostHistoryTypeId="1" PostId="25016" RevisionGUID="6b52d157-1572-4aad-b135-a89e187d7892" CreationDate="2012-11-21T15:37:32.287" UserDisplayName="jodles" Text="Can MADI run on OM3 (50/125) fibre?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43565" PostHistoryTypeId="3" PostId="25016" RevisionGUID="6b52d157-1572-4aad-b135-a89e187d7892" CreationDate="2012-11-21T15:37:32.287" UserDisplayName="jodles" Text="&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43566" PostHistoryTypeId="36" PostId="25017" RevisionGUID="fdee0474-8d9a-4e17-b455-e6ee288aa633" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5380/can-madi-run-on-om3-50-125-fibre/5396#5396" />
  <row Id="43567" PostHistoryTypeId="36" PostId="25018" RevisionGUID="cc14bcd4-e83a-4201-bea6-90838b178f1f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8131/phantom-power-staying-on" />
  <row Id="43568" PostHistoryTypeId="2" PostId="25019" RevisionGUID="9a409668-c6d7-4b96-a0a5-12d5d7a69786" CreationDate="2013-06-15T22:15:59.953" UserId="7213" Text="Well, they do call it 'phantom' power (-:&#xD;&#xA;&#xD;&#xA;A typical condenser mic presents almost zero load to the power supply, so the voltage doesn't drain away quickly when the power is switched off. Typical, and nothing to be concerned about." ContentLicense="CC BY-SA 3.0" />
  <row Id="43569" PostHistoryTypeId="2" PostId="25018" RevisionGUID="f2a32206-4456-465e-ae53-2a18459b9f41" CreationDate="2013-06-15T21:46:40.577" UserId="21390" UserDisplayName="Mark A Johnson" Text="I just purchased a Behringer Xenyx 802 mixer and have a question about phantom power, which might be a general question--not just about the 802.&#xD;&#xA;&#xD;&#xA;There is a &quot;Phantom Power&quot; switch that turns it on for channels 1 and 2. When I turn it on with my condenser mic connected, everything works great: before turning on, no power and no sound; after turning on, power and sound. However, after turning it off, the power stays on for quite a while, eventually dying off, but it takes minutes sometimes.&#xD;&#xA;&#xD;&#xA;Is there a defect with my mixer or is it normal to have the power remain in the system for a time?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43570" PostHistoryTypeId="1" PostId="25018" RevisionGUID="f2a32206-4456-465e-ae53-2a18459b9f41" CreationDate="2013-06-15T21:46:40.577" UserId="21390" UserDisplayName="Mark A Johnson" Text="Phantom Power Staying On" ContentLicense="CC BY-SA 3.0" />
  <row Id="43571" PostHistoryTypeId="3" PostId="25018" RevisionGUID="f2a32206-4456-465e-ae53-2a18459b9f41" CreationDate="2013-06-15T21:46:40.577" UserId="21390" UserDisplayName="Mark A Johnson" Text="&lt;microphone&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43572" PostHistoryTypeId="36" PostId="25019" RevisionGUID="a273e646-5528-4960-bc96-7cc0fce9a4d4" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8131/phantom-power-staying-on/8132#8132" />
  <row Id="43573" PostHistoryTypeId="36" PostId="25020" RevisionGUID="b48d55b3-4905-4bbc-ad71-5413f6bd9338" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8054/samson-gtrack-usb-mic-on-windows-7" />
  <row Id="43574" PostHistoryTypeId="2" PostId="25020" RevisionGUID="b7beab55-1595-4cca-9335-08b6bd97f785" CreationDate="2013-06-05T20:42:05.277" UserId="7696" UserDisplayName="Sathyaish" Text="Has anyone used Samson GTrack on Windows 7? I read an Amazon review that almost changed my mind about buying the mic when I was about to hit the 'Add to Cart' button.&#xD;&#xA;&#xD;&#xA;I'd like to use the microphone for podcasting and for making screencasts.&#xD;&#xA;&#xD;&#xA;**Update**&#xD;&#xA;&#xD;&#xA;Here are some of the reviews I came across about it not working properly with Windows 7 (Home (Premium &amp; Basic) and Starter versions, and even some other versions of Windows like XP SP2 and Vista).&#xD;&#xA;&#xD;&#xA;They say that the mic produces a hiss sound when used with these operating systems.&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/review/RBU403WVQ06M1/ref=cm_cr_pr_perm?ie=UTF8&amp;ASIN=B0015MJE22&amp;linkCode=&amp;nodeID=&amp;tag=&#xD;&#xA;&#xD;&#xA;http://www.sevenforums.com/sound-audio/80270-samson-g-track.html&#xD;&#xA;&#xD;&#xA;http://forum.cakewalk.com/tm.aspx?m=1530713" ContentLicense="CC BY-SA 3.0" />
  <row Id="43575" PostHistoryTypeId="1" PostId="25020" RevisionGUID="b7beab55-1595-4cca-9335-08b6bd97f785" CreationDate="2013-06-05T20:42:05.277" UserId="7696" UserDisplayName="Sathyaish" Text="Samson GTrack USB mic on Windows 7" ContentLicense="CC BY-SA 3.0" />
  <row Id="43576" PostHistoryTypeId="3" PostId="25020" RevisionGUID="b7beab55-1595-4cca-9335-08b6bd97f785" CreationDate="2013-06-05T20:42:05.277" UserId="7696" UserDisplayName="Sathyaish" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43577" PostHistoryTypeId="36" PostId="25021" RevisionGUID="0856d042-2d63-474a-b79c-44c4a15b9002" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3887/reason-rewire-problem-in-protools-le-7-4-2" />
  <row Id="43578" PostHistoryTypeId="36" PostId="25022" RevisionGUID="4ff1e239-1464-421d-9fef-3809c3e9411d" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3887/reason-rewire-problem-in-protools-le-7-4-2/7355#7355" />
  <row Id="43579" PostHistoryTypeId="2" PostId="25022" RevisionGUID="68daf4cd-a174-4223-9d85-514b00cb0185" CreationDate="2013-03-08T16:53:07.307" UserDisplayName="shiitake" Text="I know this is pretty old but you will need to go and update your version of Reason to 3.0.5.  Per the proppellerhead website:&#xD;&#xA;&#xD;&#xA;*This is a mac-only update designed to bring Intel Mac compatibility to Reason. This update also includes the latest version of ReWire, so non-Intel mac users still benefit a lot from this update. With the new ReWire, Reason's sample loading times are dramaticly reduced when working in a rewire session.*&#xD;&#xA;&#xD;&#xA;More info: http://www.propellerheads.se/substance/words-wise/index.cfm?fuseaction=get_article&amp;article=january-2007" ContentLicense="CC BY-SA 3.0" />
  <row Id="43580" PostHistoryTypeId="2" PostId="25021" RevisionGUID="dcd7d32f-6d46-4628-adc9-78765d5ab386" CreationDate="2012-04-30T22:52:08.667" UserDisplayName="Nick B" Text="Pro Tools LE 7.4.2 on my Mac running OSX Leopard will not detect Reason 3.0.4.&#xD;&#xA;&#xD;&#xA;I have done the following:&#xD;&#xA;&#xD;&#xA; - Installed reason first, then Protools&#xD;&#xA; - Started a new session&#xD;&#xA; - Created an aux input, instr. input, and MIDI input&#xD;&#xA; - Then launched Reason&#xD;&#xA;&#xD;&#xA;However, reason is not showing up under the plugin in drop down menu. It is not in either multi-channel or multi-mono. &#xD;&#xA;&#xD;&#xA;I know that this is possible but why is it not working for me?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43581" PostHistoryTypeId="1" PostId="25021" RevisionGUID="dcd7d32f-6d46-4628-adc9-78765d5ab386" CreationDate="2012-04-30T22:52:08.667" UserDisplayName="Nick B" Text="Reason ReWire Problem in ProTools LE 7.4.2" ContentLicense="CC BY-SA 3.0" />
  <row Id="43582" PostHistoryTypeId="3" PostId="25021" RevisionGUID="dcd7d32f-6d46-4628-adc9-78765d5ab386" CreationDate="2012-04-30T22:52:08.667" UserDisplayName="Nick B" Text="&lt;audio-recording&gt;&lt;pro-tools&gt;&lt;osx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43583" PostHistoryTypeId="36" PostId="25023" RevisionGUID="ced675de-fbb9-4078-a130-f9c8987512bc" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2954/how-do-i-mic-a-drum-set-for-live-recording-a-rock-band" />
  <row Id="43584" PostHistoryTypeId="36" PostId="25024" RevisionGUID="f19f753f-1691-49ac-bd0f-841804927483" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2954/how-do-i-mic-a-drum-set-for-live-recording-a-rock-band/2955#2955" />
  <row Id="43585" PostHistoryTypeId="36" PostId="25025" RevisionGUID="2fdf7f9e-1476-48f3-a000-20acb904c944" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2954/how-do-i-mic-a-drum-set-for-live-recording-a-rock-band/2968#2968" />
  <row Id="43586" PostHistoryTypeId="36" PostId="25026" RevisionGUID="87b8db7e-367f-45c4-a4fd-4fc7b7fb32e9" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2954/how-do-i-mic-a-drum-set-for-live-recording-a-rock-band/2972#2972" />
  <row Id="43587" PostHistoryTypeId="36" PostId="25027" RevisionGUID="2750cbf6-0aaf-44ed-b4b7-86e0dfcf8907" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2954/how-do-i-mic-a-drum-set-for-live-recording-a-rock-band/2973#2973" />
  <row Id="43588" PostHistoryTypeId="2" PostId="25024" RevisionGUID="29ed1a43-7a64-4192-b537-00cc17943e76" CreationDate="2012-01-02T21:09:37.257" UserId="7016" Text="These two questions should help you out a bit:&#xD;&#xA;&#xD;&#xA; - For cymbals - [http://avp.stackexchange.com/q/326/674][1]&#xD;&#xA; - For the bass - [http://avp.stackexchange.com/q/841/674][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/q/326/674&#xD;&#xA;  [2]: http://avp.stackexchange.com/q/841/674" ContentLicense="CC BY-SA 3.0" />
  <row Id="43589" PostHistoryTypeId="2" PostId="25025" RevisionGUID="1048777a-f57c-40e3-b264-207d5115d94e" CreationDate="2012-01-05T19:01:47.057" UserId="7251" UserDisplayName="Phil" Text="Disclaimer:Most of my experience is from live work but the principles are the same.&#xD;&#xA;&#xD;&#xA;How you mic drums depends on how many channels you have got available and what the drum kit is.  As an example the last time I miced a drum it was a 6 piece and I had the following channels; kick, snare, Hat, Tom 1, Tom 2, Tom 3, Tom 4, Overhead Left, Overhead Right.  &#xD;&#xA;&#xD;&#xA;If I'd wanted more flexibility with the sound and had the equipment available I might have added another mic to the kick - one inside the shell, the other in front of it.  This gives flexibility to balance the click and the boom on a per song basis.  The other additional mic I might have used would have been on the underside of the snare so that more rattle could be added if needed.  Obviously with only 8 channels of input and needing to record multiple instruments in 1 take you can't do this, but you can see how you could change things if just recording drums.&#xD;&#xA;&#xD;&#xA;You have an 8 channel sound card so assuming guitar and bass are mono that leaves you with 6 channels for the drum kit.  As a minimum I'd mic the kick and snare with dynamics, and use the condenser as an overhead.  Once you've tried that and see how it sounds you could try adding more mics in such as for toms or the high hat.  &#xD;&#xA;&#xD;&#xA;As for how to position the mics it's a bit of trial and error, obviously one thing to make sure is they don't get in the way of the drum sticks or get hit by cymbals.  With the kick how the mic should be positioned depends on if it has a hole in the front or not.  If it does then a dynamic mic places on a jumper or duvet inside the drum can work well.  With the other drums I tend to aim the mic at the point where the stick will usually hit the skin, but pointing it away can give a less clicky sound.  The best thing you can do is try various positions around the drums and see how it affects the sound, and see which sound you prefer.&#xD;&#xA;&#xD;&#xA;Obviously doing multiple instruments in the same room you will get some spill into other mics (in the same way you do when mixing live) which isn't ideal.  One thing you might consider is moving the guitar amp into another room and using headphones so you can hear yourself.  This in conjunction with DIing the bass means the only spill will be from one drum mic into another which is always going to happen, but at least you won't be getting guitar bleeding in as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="43590" PostHistoryTypeId="2" PostId="25027" RevisionGUID="35e67404-6081-475b-8389-0baf90907e20" CreationDate="2012-01-06T04:17:43.997" UserDisplayName="Kim Burgess" Text="You can get an amazing nice natural sound using 3 mics on a kit - 1 in front and two overheads, however if you take this approach you'll definitely want isolation from your other sound sources.&#xD;&#xA;&#xD;&#xA;Check out [this page on wikiaudio][1]. It has some common placements using 1 - 4 mics. Alternatively, if you opt for a higher channel count [Shure has a great guide to placement][2] for kit and percussion.&#xD;&#xA;&#xD;&#xA;When doing your placement make sure you consider the phase difference created of the signals you'll be picking up (Google this if you're not already all over it). Its a really easy way to make a wicked kit sounds hollow and weak. One of the most effective ways to set your placement is to grab a set of headphones and a long cable, get your drummer playing and move the mics around on a loose stand. When you find a sweet spot lock it off and move to your next mic. Keep repeating this until you end up with the sounds you're chasing. Your ears are your best tool.&#xD;&#xA;&#xD;&#xA;Also, one thing to consider that is perhaps more important than your mic selection is going to be the space you're recording in. No matter how good your mics are and how perfect a placement you have if you're in a 'acoustically challenged' room its going to sound sub-par.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikiaudio.org/Recording_techniques:Drum_kit&#xD;&#xA;  [2]: http://www.shure.com/idc/groups/public/documents/webcontent/us_pro_mic_techniques_drums_ea.pdf?bcsi_scan_31154f8021efdec5=0&amp;bcsi_scan_filename=us_pro_mic_techniques_drums_ea.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="43591" PostHistoryTypeId="2" PostId="25026" RevisionGUID="8232eb77-781d-48e4-a531-65b7de0e1c25" CreationDate="2012-01-06T04:01:55.097" UserDisplayName="chris" Text="There are a couple of options.&#xD;&#xA;&#xD;&#xA;First, you could try it with a mic on the kick, snare and one or two overheads and see what it sounds like.  You probably won't get a really great sound off the toms, but it might be good enough.&#xD;&#xA;&#xD;&#xA;The next step up would be to mic everything - in addtion to kick, snare and overheads you'd need one mic per tom, and another for the high hat.  Some people also like to mic the underside of the snare for a bit of extra bite.&#xD;&#xA;&#xD;&#xA;Keep in mind that you can probably get away with mixing down live if channels start to be an issue - so for example, you can combine snare and high hat on one channel, and all the toms on another.  Worst case, you could mix the drum into two channels.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43592" PostHistoryTypeId="2" PostId="25023" RevisionGUID="7d55de18-5f07-43eb-b3f3-51df2af798b0" CreationDate="2012-01-02T16:53:49.970" UserDisplayName="yossarian" Text="I just got an 8-track (a Zoom R16) to start recording band rehearsals, work on original material, and get some quality versions of some of our tunes. At the moment, we're all in the same room, doing one take recordings. Bass, Drums, and Guitar. &#xD;&#xA;&#xD;&#xA;As a guitarist, I have a good feel of how to mic my amp, and our bassist is going DI. What I'm unsure of is how to mic a drum set. I currently have a bunch of cheap dynamic mics and 1 condenser. How many mics do I need to put on the kit? Where? What kind of mics? What kind of patterns? If I go back and record individual instruments, would I mic the drums differently?&#xD;&#xA;&#xD;&#xA;I know shopping recommendations are off limits, but are there any absolute industry standards like the sm-57?&#xD;&#xA;&#xD;&#xA;I don't have a ton of money to spend on mics. " ContentLicense="CC BY-SA 3.0" />
  <row Id="43593" PostHistoryTypeId="1" PostId="25023" RevisionGUID="7d55de18-5f07-43eb-b3f3-51df2af798b0" CreationDate="2012-01-02T16:53:49.970" UserDisplayName="yossarian" Text="How do I mic a drum set for live recording a rock band?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43594" PostHistoryTypeId="3" PostId="25023" RevisionGUID="7d55de18-5f07-43eb-b3f3-51df2af798b0" CreationDate="2012-01-02T16:53:49.970" UserDisplayName="yossarian" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43595" PostHistoryTypeId="36" PostId="25028" RevisionGUID="c85090f2-61b6-41c9-8d09-5d9a48464628" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1252/ableton-live-record-midi-cc-data-during-a-live-performance" />
  <row Id="43596" PostHistoryTypeId="36" PostId="25029" RevisionGUID="859c56e6-44a5-4ba8-84c7-13ed89cdf7a7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1252/ableton-live-record-midi-cc-data-during-a-live-performance/1345#1345" />
  <row Id="43597" PostHistoryTypeId="2" PostId="25029" RevisionGUID="10450328-5fab-4c95-8fb8-33b8d8255db0" CreationDate="2011-05-05T04:31:23.820" UserDisplayName="d-_-b" Text="AFAIK, Ableton Live does this just fine. You'll just need to assign the MIDI controllers to the instrument/parameter you want to control(Ctrl+M), and then press record." ContentLicense="CC BY-SA 3.0" />
  <row Id="43598" PostHistoryTypeId="2" PostId="25030" RevisionGUID="d3895076-a10a-4773-9e41-0884cfae195d" CreationDate="2011-05-17T21:50:19.963" UserDisplayName="JadedEvan" Text="Midi CC data can be recorded one of two ways in Ableton. &#xD;&#xA;&#xD;&#xA;1) Record the CC modulations while in Arrangement View. If you loop a section of the piece you're working on, you can fiddle with midi CC till the cows come home (so long as overdub is on (next to the transport controls)).&#xD;&#xA;&#xD;&#xA;2) Program the CC modulations in the clips in the Session View.  &#xD;&#xA;&#xD;&#xA;One of Ableton's biggest shortcomings right now is that you cannot &quot;jam&quot; in the Arrangement view and copy those CC changes into the Session View into clips. There is plenty of discussion of that on the Ableton forums as well as some tutorials regarding your question.&#xD;&#xA;&#xD;&#xA;Check http://forum.ableton.com/viewtopic.php?f=1&amp;t=162484&amp;hilit=+record+automation for starters." ContentLicense="CC BY-SA 3.0" />
  <row Id="43599" PostHistoryTypeId="2" PostId="25028" RevisionGUID="34636b3a-fc31-4e32-a5ba-20dec147575f" CreationDate="2011-04-23T00:52:17.607" UserId="7281" UserDisplayName="Tom Auger" Text="I'm really struggling with one little aspect of Live that has got me stumped. Suppose I've mapped a number of instrument parameters (LFOs, freq / filters, FX etc) to any number of dials, sliders or other MIDI controllers. As I'm laying down (live recording) the MIDI note data in Session View (ie: recording loops), I want to be able to modulate the parameters as well, in real-time; sometimes more than one parameter at a go. I'm finding that Ableton doesn't record the automation tracks until you go back and overdub. &#xD;&#xA;&#xD;&#xA;This is clearly totally bogus, and I'm hoping I'm just missing something here.&#xD;&#xA;&#xD;&#xA;The idea is to be able to improvise (and record the improvisation) with more than just the MIDI note data - I'd like my modulations to be recorded in real-time along with the note data that I'm performing. In short: capture the entire performance.&#xD;&#xA;&#xD;&#xA;Any thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43600" PostHistoryTypeId="1" PostId="25028" RevisionGUID="34636b3a-fc31-4e32-a5ba-20dec147575f" CreationDate="2011-04-23T00:52:17.607" UserId="7281" UserDisplayName="Tom Auger" Text="Ableton Live - record midi CC data during a live performance?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43601" PostHistoryTypeId="3" PostId="25028" RevisionGUID="34636b3a-fc31-4e32-a5ba-20dec147575f" CreationDate="2011-04-23T00:52:17.607" UserId="7281" UserDisplayName="Tom Auger" Text="&lt;audio-recording&gt;&lt;live&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43602" PostHistoryTypeId="36" PostId="25030" RevisionGUID="1d399ee6-3b4d-4172-b826-c73de8e3e3d1" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1252/ableton-live-record-midi-cc-data-during-a-live-performance/1433#1433" />
  <row Id="43603" PostHistoryTypeId="36" PostId="25031" RevisionGUID="e7110e1d-de17-459c-8608-49d779cba6e6" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1397/why-does-your-voice-sound-different-when-you-record-it" />
  <row Id="43604" PostHistoryTypeId="36" PostId="25032" RevisionGUID="8eab7647-0dfb-40cf-a6ab-d484a046c55f" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1397/why-does-your-voice-sound-different-when-you-record-it/1398#1398" />
  <row Id="43605" PostHistoryTypeId="2" PostId="25032" RevisionGUID="222fa1b9-ba7a-41ba-837f-f141d8f3e332" CreationDate="2011-05-12T17:06:50.703" UserId="17571" UserDisplayName="Zeronyne" Text="When you listen to your own voice while you are speaking or singing, you are not only hearing what is being projected; you are also hearing the internal resonances of your skull and, arguably, your entire body. You are also NOT hearing a lot of the frequency attenuation that results from projecting your voice through your nasal cavities. So you think you sound bassier and less nasal than others do, and you would both be right.&#xD;&#xA;&#xD;&#xA;Add to that, then, the vagaries of various microphones and their patterns and proximity effects, preamps, a/d convertors, the medium, d/a convertors, the cables, the amp, the speakers, and the room, all which color the sound in one way or another, and it's easy to see why you sound &quot;different&quot; on a recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="43606" PostHistoryTypeId="2" PostId="25031" RevisionGUID="83f43030-1543-43b6-b595-240004a40a67" CreationDate="2011-05-12T16:43:50.210" UserDisplayName="dvdhsu" Text="Is it just yourself, or can other people hear it too?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43607" PostHistoryTypeId="1" PostId="25031" RevisionGUID="83f43030-1543-43b6-b595-240004a40a67" CreationDate="2011-05-12T16:43:50.210" UserDisplayName="dvdhsu" Text="Why does your voice sound different when you record it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43608" PostHistoryTypeId="3" PostId="25031" RevisionGUID="83f43030-1543-43b6-b595-240004a40a67" CreationDate="2011-05-12T16:43:50.210" UserDisplayName="dvdhsu" Text="&lt;audio-recording&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43609" PostHistoryTypeId="36" PostId="25033" RevisionGUID="fddfb2f0-d944-474b-9648-6a0130c27c38" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7661/what-can-i-use-to-record-a-band-with" />
  <row Id="43610" PostHistoryTypeId="2" PostId="25034" RevisionGUID="37364ee6-1fbb-4a25-bd9b-7524df08b264" CreationDate="2013-04-15T18:31:20.463" UserId="7174" Text="It is actually preferable to record separately, however many bands don't like to do this because they may feel disconnected when recording the first few tracks.  A way around this is to record with an area mic with the full band and then begin laying down real tracks off of that.  The idea is that each performer will be setup one at a time and then play while listening to the recording so far on headphones.  In this way, you don't get any crossover from other instruments (not having guitar amps blaring in to the drum pickups for example is a good thing).&#xD;&#xA;&#xD;&#xA;After you have all the individual tracks recorded, you can simply discard the original group recording and be left with the high quality tracks.  You will also quite possibly want to layer on multiple versions of the same instrument or particularly vocals to give it a fuller sound.  There is a lot of room to play around when recording and to make sure you get things just right.&#xD;&#xA;&#xD;&#xA;As far as cheap but decent gear goes, MAudio is one of the more well known names and you are unlikely to go wrong with their gear.  As far as channels go, you could probably condense some if you needed.  It might be possible to do it in two passes, but that is more likely to have problems than doing separate instruments in multiple passes since each mic is going to pick up a little from the other instruments in the kit." ContentLicense="CC BY-SA 3.0" />
  <row Id="43611" PostHistoryTypeId="2" PostId="25033" RevisionGUID="8129ecbb-51c8-48cf-8619-47e9a1a04a4c" CreationDate="2013-04-15T17:44:05.137" UserId="7210" Text="I'm the audio engineer for a local band, and we want to record a little album. So we don't want to spend too much money on this..&#xD;&#xA;&#xD;&#xA;So obviously, I can't afford a studio mixer. And so I've looked at audio interfaces like M-Audio ProFire 2626 and similar.&#xD;&#xA;&#xD;&#xA;We have a drum kit which I mic with 8 mics which all require a pre-amp:&#xD;&#xA;&#xD;&#xA;  - Inside kick&#xD;&#xA;  - Outside kick&#xD;&#xA;  - Snare&#xD;&#xA;  - Tom 1&#xD;&#xA;  - Tom 2&#xD;&#xA;  - Tom 3 (Floor)&#xD;&#xA;  - Hi-hat&#xD;&#xA;  - Room mic&#xD;&#xA;&#xD;&#xA;Then we have some 1/4 jacks:&#xD;&#xA;&#xD;&#xA;  - Bass player&#xD;&#xA;  - Acoustic guitar&#xD;&#xA;  - Electric guitar (amp on the computer)&#xD;&#xA;&#xD;&#xA;Then we have some more XLRs that require a pre-amp:&#xD;&#xA;&#xD;&#xA;  - Vocal microphone 1&#xD;&#xA;  - Vocal microphone 2&#xD;&#xA;&#xD;&#xA;Then we're &quot;recording the piano&quot; via MIDI.&#xD;&#xA;&#xD;&#xA;Do we need to record everything simultaneously, or can we record it twice or thrice to get all the instruments recorded? We have never recorded before, so we don't know if it will be possible, or if it'll get out of beat...&#xD;&#xA;&#xD;&#xA;We don't want to spend more than $400 if possible. After looking around on the internet, I didn't find anything that had 8 pre-amps and at the same time didn't cost more than $1000.&#xD;&#xA;&#xD;&#xA;I'm not familiar with the companies here, as I only have experience with live mixing and already recorded music on the computer..&#xD;&#xA;&#xD;&#xA;What would you recommend for the job?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43612" PostHistoryTypeId="1" PostId="25033" RevisionGUID="8129ecbb-51c8-48cf-8619-47e9a1a04a4c" CreationDate="2013-04-15T17:44:05.137" UserId="7210" Text="What can I use to record a band with?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43613" PostHistoryTypeId="3" PostId="25033" RevisionGUID="8129ecbb-51c8-48cf-8619-47e9a1a04a4c" CreationDate="2013-04-15T17:44:05.137" UserId="7210" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43614" PostHistoryTypeId="36" PostId="25034" RevisionGUID="38b7ba6c-650e-46ca-b4c3-d96e8d7a5ed0" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7661/what-can-i-use-to-record-a-band-with/7662#7662" />
  <row Id="43615" PostHistoryTypeId="36" PostId="25035" RevisionGUID="2ff90e44-ffad-4d45-9017-b8b72bf94992" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7661/what-can-i-use-to-record-a-band-with/7663#7663" />
  <row Id="43616" PostHistoryTypeId="2" PostId="25035" RevisionGUID="2620722f-02a5-4606-b26f-75e9873cc654" CreationDate="2013-04-16T01:21:04.260" UserId="7312" UserDisplayName="Eugene S" Text="Thinking practically, I would suggest a one-by-one recording approach. Taking into consideration that you don't have any intentions to purchase any multichannel device (and even ProFire 2626 will not satisfy your needs hence only 8 inputs are preamped and will be enough to cover only your drum set). You could still want to purchase the 2626 M-Audio interface you mentioned, but just for the sake of drum recording (and this is just in case you want to record a multichannel drums).&#xD;&#xA;&#xD;&#xA;Just a general practical note, the one-by-one recording should start with drums and bass recordings (the rhythm section) and then adding up all the rest. It is very important to set a click (metronome) and use it all the way through, since you'll notice how everyone goes out of tempo very quickly if you don't use it (of course especially the drummer)." ContentLicense="CC BY-SA 3.0" />
  <row Id="43617" PostHistoryTypeId="36" PostId="25036" RevisionGUID="7e9016b8-ef1d-4513-bc99-3cfeb1318fd0" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1597/can-opening-closed-speaker-cabinets-for-service-affect-the-sound" />
  <row Id="43618" PostHistoryTypeId="2" PostId="25037" RevisionGUID="ef93a1c7-1871-4006-b93c-0d7b44b5dae3" CreationDate="2011-06-15T14:30:06.973" UserDisplayName="phasetransitions" Text="Neil,&#xD;&#xA;&#xD;&#xA;Boxes need to be resealed properly. Air leaks will change the performance of the cabinet. As long as you are careful about making sure the box's sealing materials goes back in place (or are replaced with new sealant/gaskets), you've got nothing to worry about.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43619" PostHistoryTypeId="2" PostId="25036" RevisionGUID="f58cdfbb-f952-4b7f-ab23-b2e57abcf181" CreationDate="2011-06-15T14:12:54.020" UserId="7045" Text="I have two pairs of speakers that could do with opening them up to investigate problems--one decades-old set of Celestion hi-fi speakers that has developed a rattle, the other a set of M-Audio Studidophile SP-5B powered monitors that needs a replacement LED power indicator. &#xD;&#xA;&#xD;&#xA;My question: I've heard that the mere act of opening a speaker cabinet can change the sound of a speaker. Is this true? If so, how does one open speakers to service them while countering this problem? &#xD;&#xA;&#xD;&#xA;Or is this something I don't need to worry about? " ContentLicense="CC BY-SA 3.0" />
  <row Id="43620" PostHistoryTypeId="1" PostId="25036" RevisionGUID="f58cdfbb-f952-4b7f-ab23-b2e57abcf181" CreationDate="2011-06-15T14:12:54.020" UserId="7045" Text="Can opening closed speaker cabinets for service affect the sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43621" PostHistoryTypeId="3" PostId="25036" RevisionGUID="f58cdfbb-f952-4b7f-ab23-b2e57abcf181" CreationDate="2011-06-15T14:12:54.020" UserId="7045" Text="&lt;speakers&gt;&lt;monitors&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43622" PostHistoryTypeId="36" PostId="25037" RevisionGUID="1348c4c5-9ceb-4664-80b3-884bc3bac4d6" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1597/can-opening-closed-speaker-cabinets-for-service-affect-the-sound/1598#1598" />
  <row Id="43623" PostHistoryTypeId="36" PostId="25038" RevisionGUID="683be7a4-0d46-4115-8186-d2cdb53c7e7c" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7046/can-logic-stretch-an-audio-region-with-a-varying-tempo-to-fit-an-existing-stabl" />
  <row Id="43624" PostHistoryTypeId="2" PostId="25039" RevisionGUID="770774db-2d22-4e08-b000-338d826f3aaa" CreationDate="2013-02-07T21:01:15.913" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="I believe you can use the Flex Tool you mentioned in your comment to do what you want. Here is a tutorial explaining how:&#xD;&#xA;&#xD;&#xA;http://apple-logic-studio.wonderhowto.com/how-to/warp-time-with-flex-time-tool-logic-pro-9-398064/&#xD;&#xA;&#xD;&#xA;Hitting Command + T when you have the matching number of measures selected in the cycle region, the audio clip in the track you have selected will stretch to fit the measure without effect the pitch.&#xD;&#xA;&#xD;&#xA;However, I believe this is more easily done in Ableton Live. Download the Ableton Live demo from https://www.ableton.com/en/trial/&#xD;&#xA;&#xD;&#xA;The Warp feature does exactly what you want to do.&#xD;&#xA;&#xD;&#xA;I don't think any program can do exactly what you want (with large sections of audio at once) except Ableton Warp function, and Ableton's auto-warp doesn't always do it perfect. It is still quite good though and usually gets the job done. It's also much easier than Logics Flex Tool in my opinion too" ContentLicense="CC BY-SA 3.0" />
  <row Id="43625" PostHistoryTypeId="2" PostId="25038" RevisionGUID="976925b2-4436-4911-8f5b-f75108ca18dc" CreationDate="2013-02-04T22:18:18.360" UserId="7045" Text="I'm currently working on a project where the basic tracks are being laid down by a musician who is, for reasons beyond his control, not able to be in the studio very often. (I'll call him &quot;Fred&quot;.) Rather than wait for when Fred can be in the studio to lay down scratch tracks, we can probably make better time if we're able to use some of the band's live recordings as scratch tracks. Then the drummer and I can get started on drums and bass and guitar until Fred can do his parts. (Not the best way to work, since it restricts us to what we did live, but it's better than not getting the album made.)  &#xD;&#xA;&#xD;&#xA;Unfortunately, this band often speeds up when playing live. The only way I know of to use those live tracks for this would be to chop up the basic tracks, wrestling them into a click-track grid. I've done this a few times, and it's a laborious, difficult process. &#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Logic has the capability to take an existing recording and, using a track with a clear beat (or a MIDI track, say a kick drum) adjusting the project's tempo to dynamically follow the recording. &#xD;&#xA;&#xD;&#xA;Is it possible to do the reverse? Take a piece of audio and time-stretch it to fit a predefined tempo? The audio doesn't need to sound great, just good enough for musicians in the studio to follow along. &#xD;&#xA;&#xD;&#xA;&lt;hr&gt; &#xD;&#xA;&#xD;&#xA;Edits: &#xD;&#xA;&#xD;&#xA;It's been pointed out in the comments that Ableton Live has the capability to do this, with a feature called Warp. The equivalent in Logic is called Flex Time. As far as I know, Flex Time won't work on an entire region of audio like Warp will (I think), but I could be wrong. &#xD;&#xA;&#xD;&#xA;To clarify: **The original file has a tempo that changes as it goes on. I want to change that file so it all has a single, steady tempo.** &#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/dNFvI.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="43626" PostHistoryTypeId="1" PostId="25038" RevisionGUID="976925b2-4436-4911-8f5b-f75108ca18dc" CreationDate="2013-02-04T22:18:18.360" UserId="7045" Text="Can Logic stretch an audio region with a varying tempo to fit an existing, stable project tempo?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43627" PostHistoryTypeId="3" PostId="25038" RevisionGUID="976925b2-4436-4911-8f5b-f75108ca18dc" CreationDate="2013-02-04T22:18:18.360" UserId="7045" Text="&lt;audio-recording&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43628" PostHistoryTypeId="36" PostId="25039" RevisionGUID="c46cdca0-4ebb-4edb-bd3f-60331165d66f" CreationDate="2014-01-24T18:14:45.273" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7046/can-logic-stretch-an-audio-region-with-a-varying-tempo-to-fit-an-existing-stabl/7079#7079" />
  <row Id="43629" PostHistoryTypeId="36" PostId="25040" RevisionGUID="855cfd49-fe70-4cc8-8807-e0763296e8d3" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/809/synthesizer-patch-how-to-do-something-like-this" />
  <row Id="43630" PostHistoryTypeId="2" PostId="25041" RevisionGUID="887d3f93-982a-4d2a-951a-18b894e83c8e" CreationDate="2011-02-14T10:57:02.897" UserId="7202" Text="I don't have any of those synths so I can't give you anything exact. (I'm using a Nord Modular, mainly).&#xD;&#xA;&#xD;&#xA;Anyway, the sound I get in my head when you say &quot;glassy&quot; would be a sine or triangle wave with either ring of FM modulation to give it some &quot;metallic&quot; overtones. To make the pitch falling you would have to use an envelope to modulate the oscillator frequency.&#xD;&#xA;&#xD;&#xA;If you can't assign an envelope like that (not all synths can) you could also get something similar by setting the filter resonance so high that the filter starts oscillating, and having the envelope modulate the filter frequency. This would give you a falling tone, and to make it more glassy you could play a note in a similar high frequency. That would create two tones that would interfere with each other, which may create a glassy effect. But I think the first one is closer to what you want." ContentLicense="CC BY-SA 2.5" />
  <row Id="43631" PostHistoryTypeId="2" PostId="25040" RevisionGUID="e42ffc5c-7823-47c1-bbe3-bb2b5eb563b4" CreationDate="2011-02-14T08:41:46.590" UserDisplayName="jlebre" Text="I need a really glassy sound, pitching down.&#xD;&#xA;A bit like stars in the sky, but it's supposed to be atmos in a strayed love song arrangement.&#xD;&#xA;&#xD;&#xA;I know I'm being vague as hell but I've been looking everywhere for an example. I'm pretty sure that radiohead have a song that has just drums, and a similar synth starting (falling from high pitch) at every snare beat.&#xD;&#xA;&#xD;&#xA;I know how the parameters of a synth work, I'm just not very creative at arriving to a starting point. Any ideas on how to should I start this as a preset? You can refer to Logic synths, Virus, reason's synths, or any of the arturia synths if it helps. &#xD;&#xA;&#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 2.5" />
  <row Id="43632" PostHistoryTypeId="1" PostId="25040" RevisionGUID="e42ffc5c-7823-47c1-bbe3-bb2b5eb563b4" CreationDate="2011-02-14T08:41:46.590" UserDisplayName="jlebre" Text="Synthesizer patch - how to do something like this" ContentLicense="CC BY-SA 2.5" />
  <row Id="43633" PostHistoryTypeId="3" PostId="25040" RevisionGUID="e42ffc5c-7823-47c1-bbe3-bb2b5eb563b4" CreationDate="2011-02-14T08:41:46.590" UserDisplayName="jlebre" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43634" PostHistoryTypeId="36" PostId="25041" RevisionGUID="a7769dc2-c033-43cf-9eae-c1ab261d416c" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/809/synthesizer-patch-how-to-do-something-like-this/810#810" />
  <row Id="43635" PostHistoryTypeId="36" PostId="25042" RevisionGUID="91339f7a-7fad-45b9-bf25-3d6e4f661799" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6928/tiny-usb-audio-recording-stick" />
  <row Id="43636" PostHistoryTypeId="36" PostId="25043" RevisionGUID="cd1144d2-234a-42df-8a05-cab9d5448479" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6928/tiny-usb-audio-recording-stick/6934#6934" />
  <row Id="43637" PostHistoryTypeId="36" PostId="25044" RevisionGUID="3190cd05-7365-44b6-80cb-fe33974ba0d1" CreationDate="2014-01-24T20:09:14.737" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6928/tiny-usb-audio-recording-stick/6936#6936" />
  <row Id="43638" PostHistoryTypeId="2" PostId="25043" RevisionGUID="bd4a94d0-16c8-485e-834d-ef0b8479eec1" CreationDate="2013-01-24T14:48:16.143" UserId="7174" Text="At consumer grade, the audio is going to be next to worthless.  The smallest thing I can think of that would get reasonable audio (without going with something like a lav mic to a larger recorder) would be something like one of Zoom's smaller recorders, but they are still a fair bit larger than even large thumb drive size." ContentLicense="CC BY-SA 3.0" />
  <row Id="43639" PostHistoryTypeId="2" PostId="25044" RevisionGUID="89fdee26-5b66-47ed-ac00-da05b964d1bf" CreationDate="2013-01-24T14:56:45.013" UserId="7093" Text="The [Sansa Clip+][1] might work well for your situation.  &#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;It has a voice recorder with surprisingly great quality for such an inexpensive ($35), tiny (1.36 x 2.16 x .60 in), and lightweight (.85oz) device.  I have used it to record a person speaking from across the room and found it quite adequate.  The microphone is very sensitive and not adjustable, so you will need to be careful to avoid clipping.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sandisk.com/products/music-video-players/clip-plus/&#xD;&#xA;  [2]: http://i.stack.imgur.com/T9cYK.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="43640" PostHistoryTypeId="2" PostId="25042" RevisionGUID="1472db41-f360-4758-8301-4ee50915f5a9" CreationDate="2013-01-24T04:24:44.947" UserId="7840" UserDisplayName="themirror" Text="Are you aware of any tiny USB-stick -sized audio recorders?  I'm considering that given a few of these might be very handy for miking people up for video recording without all the fuss of a wireless lavaliers and a real recording device.&#xD;&#xA;&#xD;&#xA;In other words, I wonder if there are some (even cheap consumer-grade) audio &quot;memo&quot; recorders or an MP3 &quot;player&quot; with a recording function that each person in the scene could affix to their clothing close to the mouth and get decent audio.&#xD;&#xA;&#xD;&#xA;Then just &quot;sync&quot; the various audio recordings with video by aligning a &quot;clap&quot; in the NLE." ContentLicense="CC BY-SA 3.0" />
  <row Id="43641" PostHistoryTypeId="1" PostId="25042" RevisionGUID="1472db41-f360-4758-8301-4ee50915f5a9" CreationDate="2013-01-24T04:24:44.947" UserId="7840" UserDisplayName="themirror" Text="tiny usb audio recording stick" ContentLicense="CC BY-SA 3.0" />
  <row Id="43642" PostHistoryTypeId="3" PostId="25042" RevisionGUID="1472db41-f360-4758-8301-4ee50915f5a9" CreationDate="2013-01-24T04:24:44.947" UserId="7840" UserDisplayName="themirror" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43643" PostHistoryTypeId="36" PostId="25045" RevisionGUID="2360f743-16df-4514-b942-615cd779cdc3" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5399/can-a-pa-microphone-be-plugged-into-a-computer" />
  <row Id="43644" PostHistoryTypeId="2" PostId="25046" RevisionGUID="f95bddd5-07c2-456e-86e9-6ddb6eed3030" CreationDate="2012-11-23T21:33:48.330" UserId="7200" Text="To answer the **title question**: _no_, a professional microphone cannot be plugged into a computer to produce in any way acceptable results. For condenser mics, this doesn't work _at all_ because they need 48 V phantom power, and dynamic mics have too low signal levels for the low-quality on-chip mic preamps that are used in virtually all consumer-grade sound cards, so it does work (using an XLR -&gt; 3.5 mm adapter, which is, like, never done) but with a horrible SNR.&#xD;&#xA;&#xD;&#xA;However, this question isn't really relevant because what you have there is not such a microphone – you obviously do not plug in the mic itself but the _receiver_, which is for the purpose of recording just an ordinary line-level device and should as such offer easily enough signal level to feed any input.&#xD;&#xA;&#xD;&#xA;It should, _in principle_. In practice however, my experience is that recording over consumer sound cards is always lottery, you must expect to end up with unacceptable amounts of static, strange distortions etc.. Often these problems can be solved with DI-boxes, but the only real solution is to use a proper audio interface. Most common these days are external USB interfaces." ContentLicense="CC BY-SA 3.0" />
  <row Id="43645" PostHistoryTypeId="2" PostId="25045" RevisionGUID="38be1259-89ee-4e4f-b790-a8bc6e7594af" CreationDate="2012-11-23T19:57:08.863" UserDisplayName="glibdud" Text="I purchased a cheap wireless handheld microphone (Nady DKW-3), of the style used in PAs and such. It has a 1/4&quot; output. I also purchased a 1/4&quot; to 3.5mm cord to plug the mic into my computer. I can use Audacity to record sound from the microphone, but even with the volume all the way up on both the microphone receiver and the sound card input, the vocal audio is moderate. I'd be able to compensate for this, but the mic receiver is also injecting a rather high level of static into the audio. (Turning the power off at the mic doesn't affect the static, but turning it off at the receiver cuts the static immediately.)&#xD;&#xA;&#xD;&#xA;So the question... are the audio systems for PAs and PCs not quite compatible? Do I need to get some sort of mixer/amp to sit between the mic and PC? Could the fact that the cable is TS on the 1/4&quot; side, but TRS on the 3.5mm side have any effect? Is this just what I need to expect from a cheap wireless mic?&#xD;&#xA;&#xD;&#xA;*Edit: To add a piece of info I discovered later, the &quot;high level of static&quot; I referenced above appeared to be due to the fact that I was plugging this into the Mic In of my sound card. When I switched to the Line In, the static went away. The low audio level issue remained, however.*" ContentLicense="CC BY-SA 3.0" />
  <row Id="43646" PostHistoryTypeId="1" PostId="25045" RevisionGUID="38be1259-89ee-4e4f-b790-a8bc6e7594af" CreationDate="2012-11-23T19:57:08.863" UserDisplayName="glibdud" Text="Can a PA microphone be plugged into a computer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43647" PostHistoryTypeId="3" PostId="25045" RevisionGUID="38be1259-89ee-4e4f-b790-a8bc6e7594af" CreationDate="2012-11-23T19:57:08.863" UserDisplayName="glibdud" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43648" PostHistoryTypeId="36" PostId="25046" RevisionGUID="5158b7be-ec93-4b93-883a-776adb7c802e" CreationDate="2014-01-25T09:36:41.693" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5399/can-a-pa-microphone-be-plugged-into-a-computer/5400#5400" />
  <row Id="43649" PostHistoryTypeId="36" PostId="25047" RevisionGUID="c8c3101f-3b27-441a-aca6-2db8a2cbfb2b" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1873/transcoding-dv-without-desyncs" />
  <row Id="43650" PostHistoryTypeId="2" PostId="25047" RevisionGUID="0e48c6db-5096-4ba8-ad2b-7fc509539708" CreationDate="2011-07-14T03:54:26.297" UserDisplayName="Thomas" Text="I've recorded DV video from my camcorder over FireWire, and it plays fine in OSX. However, when trying to transcode it to H.264 for editing and uploading it to YouTube, the audio desyncs. I've been using iMovie to record from my camcorder and then Handbrake to do the encoding with default settings. How can I avoid this problem?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43651" PostHistoryTypeId="1" PostId="25047" RevisionGUID="0e48c6db-5096-4ba8-ad2b-7fc509539708" CreationDate="2011-07-14T03:54:26.297" UserDisplayName="Thomas" Text="Transcoding DV Without Desyncs" ContentLicense="CC BY-SA 3.0" />
  <row Id="43652" PostHistoryTypeId="3" PostId="25047" RevisionGUID="0e48c6db-5096-4ba8-ad2b-7fc509539708" CreationDate="2011-07-14T03:54:26.297" UserDisplayName="Thomas" Text="&lt;video&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43659" PostHistoryTypeId="36" PostId="25050" RevisionGUID="fb3f2f28-0b3f-46ba-81eb-1537d3972cc9" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5290/what-does-garageband-have-compared-to-audacity" />
  <row Id="43660" PostHistoryTypeId="36" PostId="25051" RevisionGUID="cfd211b1-d7c8-45c1-b42a-6508f5eeed45" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5290/what-does-garageband-have-compared-to-audacity/5292#5292" />
  <row Id="43661" PostHistoryTypeId="36" PostId="25052" RevisionGUID="bd4ac978-18e7-4d22-9a96-15d515b465c7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5290/what-does-garageband-have-compared-to-audacity/5295#5295" />
  <row Id="43662" PostHistoryTypeId="2" PostId="25051" RevisionGUID="a14885b4-17b3-43d4-9bac-8c73c0f510ce" CreationDate="2012-11-08T21:23:27.380" UserDisplayName="Graviton" Text="Although Garageband is definitely good value for it's price if you just want to record something you can just as well use audacity.&#xD;&#xA;&#xD;&#xA;Garageband has a large library with sound effects and good sounding instruments like drums, strings,trumpets etc. so it's a good (and cheap) place to start with if you want to compose something more than just your voice and guitar, like adding a bit of rhythm (drums) or something like that.&#xD;&#xA;&#xD;&#xA;If you consider a professional career though, I would suggest something like propellerheads reason (although I must admit it's a bit price - about 400€). I believe you can download a demo here http://www.propellerheads.se." ContentLicense="CC BY-SA 3.0" />
  <row Id="43663" PostHistoryTypeId="2" PostId="25052" RevisionGUID="e7f66b3c-318e-49f4-b870-dc76e9051df1" CreationDate="2012-11-09T09:36:34.633" UserId="7016" Text="The one thing Garageband gives you in your use case is:&#xD;&#xA;&#xD;&#xA; - Ease of use!&#xD;&#xA;&#xD;&#xA;It is very user friendly for all your basic tasks, and offers you some nice additional features, like backing and drums.&#xD;&#xA;&#xD;&#xA;Audacity is cross-platform and for the basics is not too difficult to use, but for anything more than the basics can be tricky to configure, and it sounds like you do not need that." ContentLicense="CC BY-SA 3.0" />
  <row Id="43664" PostHistoryTypeId="2" PostId="25050" RevisionGUID="d5117850-9a43-4924-9e2e-df79ecd04262" CreationDate="2012-11-08T21:08:33.523" UserDisplayName="John" Text="Apple sells GarageBand for about $15/£10 currently. At this price point, what do I gain over something free like Audacity?&#xD;&#xA;&#xD;&#xA;My use-case is recording myself singing and playing guitar for home use, or for sticking on the internet for nobody to see." ContentLicense="CC BY-SA 3.0" />
  <row Id="43665" PostHistoryTypeId="1" PostId="25050" RevisionGUID="d5117850-9a43-4924-9e2e-df79ecd04262" CreationDate="2012-11-08T21:08:33.523" UserDisplayName="John" Text="What does GarageBand have compared to Audacity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43666" PostHistoryTypeId="3" PostId="25050" RevisionGUID="d5117850-9a43-4924-9e2e-df79ecd04262" CreationDate="2012-11-08T21:08:33.523" UserDisplayName="John" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43667" PostHistoryTypeId="36" PostId="25053" RevisionGUID="61873158-97f9-45a1-acaf-aaac328fccbc" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3561/sampling-frequency-vs-audio-frequency" />
  <row Id="43668" PostHistoryTypeId="36" PostId="25054" RevisionGUID="5e447331-44d6-4c66-b2fc-03b6d4d7fc26" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3561/sampling-frequency-vs-audio-frequency/3564#3564" />
  <row Id="43669" PostHistoryTypeId="36" PostId="25055" RevisionGUID="c853963a-bf6b-4c82-93e3-a2f6208ceeb7" CreationDate="2014-01-24T12:01:07.747" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3561/sampling-frequency-vs-audio-frequency/3570#3570" />
  <row Id="43670" PostHistoryTypeId="2" PostId="25054" RevisionGUID="d0be6e52-dce6-4cac-8693-6ccbbdf8628a" CreationDate="2012-03-14T07:25:46.173" UserId="7210" Text="Well, it seems like you have to forget everything you know about sampling frequency and frequencies in general.&#xD;&#xA;&#xD;&#xA;The frequency in terms of audio is the number of times the speaker membrane moves in and out per second. What makes it vibrate is that the power that is sent through the audio cable makes electromagnetism that pushes and pulls to the magnet inside the speaker.&#xD;&#xA;&#xD;&#xA;Thus, the sound wave we are speaking of is going like a curve up and down. Let's say this was a perfect sine wave:&#xD;&#xA;&#xD;&#xA;                 _               _&#xD;&#xA;               /   \           /   \&#xD;&#xA;    \         /     \         /     \&#xD;&#xA;    ---------------------------------------&#xD;&#xA;      \     /         \     /         \&#xD;&#xA;       \ _ /           \ _ /           \&#xD;&#xA;&#xD;&#xA;Say this is a pretty low frequency in terms of audio. If you use a low sampling rate to sample that it will be like this: (I've &quot;sampled&quot; the first 2/3 of the sound.)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;     |   |   |   |   |   |       _&#xD;&#xA;     |   |   | / | \ |   |     /   \&#xD;&#xA;    \|   |   |/  |  \|   |    /     \&#xD;&#xA;    -|---|---|---|---|---|-----------------&#xD;&#xA;     |\  |  /|   |   |\  |  /         \&#xD;&#xA;     | \ | / |   |   | \ | /           \&#xD;&#xA;&#xD;&#xA;This will result in a wave almost the same as the original one: (Here I've marked all the sampled points that we draw a line between. The mark is this: | This new line represents the sampled digital version of the analog signal that we started with.) &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;                   |               _&#xD;&#xA;                 /   \           /   \&#xD;&#xA;     \          /     \         /     \&#xD;&#xA;    --|--------|-------|--------------------&#xD;&#xA;       \     /          \     /         \&#xD;&#xA;        \ | /            \ | /           \&#xD;&#xA;&#xD;&#xA;If we use a high frequency sine wave it will look like this:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;         |       _       |       _       |&#xD;&#xA;         |     /   \     |     /   \     |&#xD;&#xA;    \    |    /     \    |    /     \    |&#xD;&#xA;    -----|---------------|---------------|--&#xD;&#xA;      \  |  /         \  |  /         \  |&#xD;&#xA;       \ | /           \ | /           \ |&#xD;&#xA;In this instance we sample only at the bottom of the curves. This leads to a wave that looks like this:&#xD;&#xA;    &#xD;&#xA;    &#xD;&#xA;    &#xD;&#xA;    ----------------------------------------------&#xD;&#xA;    &#xD;&#xA;    &#xD;&#xA;    _____|_______________|_______________|________&#xD;&#xA;&#xD;&#xA;The higher the sampling frequency the more often you sample where the curve is. And as you see with the high pitched sound, it only samples at the bottom of the curve. Then it draws a line between the different sampled points and you get a flat line.&#xD;&#xA;&#xD;&#xA;On the low pitched sound you can see that it samples the bottom, the middle and the top of the wave. If you draw a line through these points you will get a line that is almost the same.&#xD;&#xA;&#xD;&#xA;If you use 44.1 kHz it will be able to reproduce everything from 0 Hz (20 Hz) to 20 000 Hz, which is what we are able to hear. If you use a higher, like for example the 48 kHz you would be able to sample higher frequencies than you could actually hear. Though to the good ear there will be a difference, maybe because the high frequencies affects the other frequencies. &#xD;&#xA;&#xD;&#xA;So there you have it! Tell me in the comments if there is something you didn't understand." ContentLicense="CC BY-SA 3.0" />
  <row Id="43671" PostHistoryTypeId="2" PostId="25055" RevisionGUID="6b23d794-41bc-41e6-b153-696c26800076" CreationDate="2012-03-14T23:42:32.813" UserId="7188" Text="Not sure I like the reference only to a speaker.&#xD;&#xA;&#xD;&#xA;Frequency is expressed in cycles per second, also expressed in Hertz.&#xD;&#xA;A good example, &quot;A&quot; 440 is a standard pitch that is used to calibrate and tune orchestra instruments, it is the A above middle C, aka A4. If this was a pure sine wave it would vibrate at 440 times per second.&#xD;&#xA;&#xD;&#xA;Let's simplify sampling.&#xD;&#xA;&#xD;&#xA;If you have a painting that measures 40 feet across (think of something like Monet's Waterlilies) and I want to find out what it looks like by only seeing parts of it, how many slices would I need to recognize it?&#xD;&#xA;&#xD;&#xA;40 feet at a sample rate like 44Khz, might be like .01 resolution,&#xD;&#xA;.01 x 40 = .04 or about a slice every 1/2 inch. Surely you would see what is going on in the painting if I showed you what every 1/2 inch looked like.&#xD;&#xA;&#xD;&#xA;So applied to A 440 sampled at 44 Khz, I would be sampling a 440 cycles per second wave 44,000 times a second, and get a .01 resolution. I would be hearing it pretty good.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43672" PostHistoryTypeId="2" PostId="25053" RevisionGUID="db7a0d26-dcca-4a32-b0af-03cd912d8553" CreationDate="2012-03-14T05:13:17.883" UserDisplayName="user103241" Text="If I record something that is at 500Hz audio frequency then the sampling frequency will still be 44.1Hz. How does the 500Hz audio frequency fits with 44.1KHz sampling frequency? If the sampling frequency were 500Hz, would the size of file will  be smaller? If yes, then why do we use sampling frequency?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43673" PostHistoryTypeId="1" PostId="25053" RevisionGUID="db7a0d26-dcca-4a32-b0af-03cd912d8553" CreationDate="2012-03-14T05:13:17.883" UserDisplayName="user103241" Text="Sampling frequency Vs. Audio Frequency" ContentLicense="CC BY-SA 3.0" />
  <row Id="43674" PostHistoryTypeId="3" PostId="25053" RevisionGUID="db7a0d26-dcca-4a32-b0af-03cd912d8553" CreationDate="2012-03-14T05:13:17.883" UserDisplayName="user103241" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43675" PostHistoryTypeId="36" PostId="25056" RevisionGUID="a2af477a-8a1e-4888-8319-fe5ffc6cc23e" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3493/how-to-reduce-click-when-using-es2-synth" />
  <row Id="43676" PostHistoryTypeId="36" PostId="25057" RevisionGUID="ce83f66b-e53a-4268-8c33-4b149f595f3c" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3493/how-to-reduce-click-when-using-es2-synth/3496#3496" />
  <row Id="43677" PostHistoryTypeId="36" PostId="25058" RevisionGUID="2b8509af-90e2-4c35-aa8a-936dc1ab33b1" CreationDate="2014-01-25T09:35:37.377" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3493/how-to-reduce-click-when-using-es2-synth/9138#9138" />
  <row Id="43678" PostHistoryTypeId="2" PostId="25057" RevisionGUID="6a034d7b-a9ba-467c-95d3-8cc90e42a643" CreationDate="2012-03-08T15:14:20.353" UserId="7294" UserDisplayName="Warrior Bob" Text="I don't know for ES2 in particular (as I've not used it), but in other synthesizers this can mean that an oscillator waveform is not starting on a zero-crossing when the key is depressed. If this is the case, you have one of two immediate options:&#xD;&#xA;&#xD;&#xA;1. Adjust the phase of the oscillator, or alternately, force the oscillator to always begin on a zero-crossing. Your synth will have to have one of these two features. I don't know if ES2 does.&#xD;&#xA;2. Raise the attack time on the volume envelope to a few milliseconds, long enough for the click to be inaudible but for the sound to be mostly-instantaneous. &#xD;&#xA;&#xD;&#xA;I've generally had good luck using the second method when making bass wobbles for dubstep-style music." ContentLicense="CC BY-SA 3.0" />
  <row Id="43679" PostHistoryTypeId="2" PostId="25058" RevisionGUID="34974b56-65cb-44ec-9660-4d36d84f2f21" CreationDate="2013-10-08T03:47:14.117" UserDisplayName="Christine" Text="The Envelope affecting something in the router and the env decay is set to very short so the effect (maybe Cutoff) sounds like a click because it just shoots up the cutoff very quickly and brings it back down. &#xD;&#xA;&#xD;&#xA;Try bringing the env decay that affects the cutoff up, or lowering the router effect so the cutoff doesn't shoot up really high but maybe only half way." ContentLicense="CC BY-SA 3.0" />
  <row Id="43680" PostHistoryTypeId="2" PostId="25056" RevisionGUID="3c552d7b-fade-4152-b5dd-6f1920b799c3" CreationDate="2012-03-08T06:53:55.723" UserDisplayName="James Litewski" Text="I'm using ES2 in Logic to make basic bass/wobble tracks. Though, whenever I use it, I normally get a slight 'click' or 'pop' before each and every note that is played. Does anyone know how to reduce this..?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43681" PostHistoryTypeId="1" PostId="25056" RevisionGUID="3c552d7b-fade-4152-b5dd-6f1920b799c3" CreationDate="2012-03-08T06:53:55.723" UserDisplayName="James Litewski" Text="How to reduce 'click' when using ES2 synth" ContentLicense="CC BY-SA 3.0" />
  <row Id="43682" PostHistoryTypeId="3" PostId="25056" RevisionGUID="3c552d7b-fade-4152-b5dd-6f1920b799c3" CreationDate="2012-03-08T06:53:55.723" UserDisplayName="James Litewski" Text="&lt;logic-pro&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43683" PostHistoryTypeId="4" PostId="25040" RevisionGUID="d37279b4-43ec-43b1-a919-1e45d88140ea" CreationDate="2014-01-27T09:38:25.693" UserId="7202" Comment="Better title." Text="Synthesizer patch - how to do make a glassy sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="43684" PostHistoryTypeId="24" PostId="25040" RevisionGUID="d37279b4-43ec-43b1-a919-1e45d88140ea" CreationDate="2014-01-27T09:38:25.693" Comment="Proposed by 7202 approved by 2 edit id of 57" ContentLicense="CC BY-SA 3.0" />
  <row Id="43685" PostHistoryTypeId="4" PostId="25040" RevisionGUID="af60640a-17ae-405d-b48a-0aec076e3496" CreationDate="2014-01-27T09:48:24.557" UserId="6432" Comment="Improved title" Text="Synthesizer patch - how to make a glassy sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="43686" PostHistoryTypeId="2" PostId="25059" RevisionGUID="e141d31d-3e33-4909-a0ba-d43f121aa7f1" CreationDate="2014-01-27T09:49:23.850" UserId="7252" Text="You can split a stereo Channel into two mono channels in Audacity" ContentLicense="CC BY-SA 3.0" />
  <row Id="43687" PostHistoryTypeId="2" PostId="25060" RevisionGUID="e05f587f-a0b1-4268-a123-5e70a8b8bdbe" CreationDate="2014-01-27T13:58:11.863" UserId="28" Text="What you are hearing are the limitations of your equipment. For a studio recording of isolated voice, I would recommend a condenser microphone (as opposed to a dynamic microphone). @leftaroundabout's suggestion for a USB condenser would save you needing an additional preamp, phantom power, audio converter. This may be the quickest plug in and record solution.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;As to your question for ways to  improve the recording. There is a cliché expression: &quot;You can't polish a turd.&quot;&#xD;&#xA;&#xD;&#xA;If the recording is very low quality, it is difficult to transform it into a high quality recording. There are methods to help, Izotope RX is one of them (not free). But the simplest solution is to record again. Sorry, that's probably not what you want to hear!&#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="43688" PostHistoryTypeId="2" PostId="25061" RevisionGUID="db97ef26-5b1c-453d-b100-87bf47aa9887" CreationDate="2014-01-27T14:42:19.937" UserId="6425" Text="How to cook a good VoiceOver:&#xD;&#xA;&#xD;&#xA;1x Cardoid condenser mic 125€ +++&#xD;&#xA;1x Heavy mic stand with pop protection 70€ +&#xD;&#xA;1x Vocal booth 250€ ++ &#xD;&#xA;1x Quality mic preamp 200€ ++++&#xD;&#xA;1x Quality A/D converter/interface 200€++&#xD;&#xA;2x Quality XLR symmetrical mic cables 20€+&#xD;&#xA;1x Trained VO artist&#xD;&#xA;&#xD;&#xA;A high quality setup often costs between 3000€ and 8000€.&#xD;&#xA;&#xD;&#xA;Cheaper solutions can be achieved with 500€ - 1000€&#xD;&#xA;&#xD;&#xA;One take a cardioid condenser mic and put it in a vocal booth. The booth should have a reverb time of 0.03 - 0.3 seconds, a high diffusion and very controlled early reflections. After that one connects the microphone with the micpreamp and the mic preamp with the converter. The converter then needs to be connects with the PC/MAC. Activate 48V phantom power. After that simply record the VO artist into your DAW or on your Tape. Be sure to check the levels on the preamp on your converter and in your DAW. If you want a more &quot;professional&quot; sound try to slightly overdrive your mic preamp. If you have an EQ be sure to boost the highs by a slight amount. Cutting around 800 hz by 1-3 dB gives a smoother voice. After that treat the VO with: (following order) editing of breathes noises etc, highpassing (60-120 hz), compression (eg: opto+ssl, parallel compression 1176 all in), DeEssing, EQing (eg: damping mids, boosting highs), saturation/toning (optional), limiting (optional), volume/fader automation.&#xD;&#xA;&#xD;&#xA;This will result in a basic &quot;professional&quot; sounding VO, if every step is done correct!&#xD;&#xA;&#xD;&#xA;Peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="43689" PostHistoryTypeId="36" PostId="25062" RevisionGUID="2aeb6439-3700-43f2-9658-4c5319702764" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4810/i-would-like-to-learn-to-mix-tracks-into-a-dj-set-where-should-i-start" />
  <row Id="43690" PostHistoryTypeId="2" PostId="25063" RevisionGUID="12903b9a-c47d-464c-bc70-c3b59276b3b6" CreationDate="2012-09-24T11:32:32.000" UserDisplayName="Magrangs" Text="There are a few options open to you depending on what path you want to down (hardware/software).&#xD;&#xA;&#xD;&#xA;If you are looking to really learn how to beat match then there are a couple of options.&#xD;&#xA;&#xD;&#xA;1) Get yourself some second hand turntables (vinyl), a 2 channel mixer and some speakers.&#xD;&#xA;Gemini are a cheap, beginners brand that should do the trick (I started off on geminis) but they do however lack the build quality of the more expensive turntables&#xD;&#xA;&#xD;&#xA;2) CD turntables (http://www.decks.co.uk/products/cdplayers)&#xD;&#xA;&#xD;&#xA;3) MP3 turntables (such as traktor by native instruments http://www.native-instruments.com/#/en/products/dj/traktor/) (note: you will need a laptop/pc for this also as well as a midi controller)&#xD;&#xA;&#xD;&#xA;I have a slightly biased opinion on this as I started off on vinyl but I do think you get the 'feel' the music more with vinyl (but this is just an opinion). More and more people are turning to 3rd option with products such as traktor (which does look amazing) but the software can help you 'auto beat match' tracks which takes away an element of the process. Some people argue that it allows you to concentrate more on the mixing and creating an atmosphere, some people argue it takes away an element of skill.&#xD;&#xA;&#xD;&#xA;With the 3 options above, you would need to know the basics of beat matching and dance music composition. The latter is relatively easy as you only need to know a snippet (i.e. there are usually 4 beats to a bar and after 8 bars a new element comes in on the track). The first part takes time and patience. The idea is to layer up to tracks together, one will be played via the speakers and the other will be played via the headphones (usually). The idea is to listen to the two tracks, one ear listening to the track through the speakers, the other ear listens to the track through the headphones and then you have to determine which track is the slowest/fastest. &#xD;&#xA;&#xD;&#xA;The reason I like vinyl in this respect is when is when you are cuing the track in the headphones you can 'feel' the start of the beat through your fingertips. So you cue the track and then layer it on top of the other, and if the track in the headphones is faster (to learn this just takes practice, you can't really teach it) you need to slow it down using the pitch sliders on the sides of the turntables and if it is faster you need to speed it up.&#xD;&#xA;&#xD;&#xA;When both tracks are in sync (i.e. have the same tempo) you can then start to mix them together via the speakers using the mixer. I rewind the vinyl and count the bars and when the new element on the track in the speakers comes in I layer the track in the heaphones on top of that. This ensures that when something new comes in on one track, it comes in at the same time on the other. Slowly then bring the crossfader into the middle and then increase the volume of the other channel so both tracks can be heard through the speakers at the same time. It is your choice how creative you want to be in this stage. The goal is to fade out the other track and blend into the new track seamlessly.&#xD;&#xA;&#xD;&#xA;This does take time and practice so be patient and just  enjoy it and experiment with it.&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="43691" PostHistoryTypeId="2" PostId="25062" RevisionGUID="f7060521-6e39-4142-b010-c912ec8bef1f" CreationDate="2012-09-22T18:48:35.943" UserDisplayName="Ivan Zlatev" Text="To start with I would like to learn the basics of how to mix different tracks into a whole fluent set. Then I would like to learn how maybe &quot;remix&quot; the track a bit so that it fits after another track in a set? Basically want to start learning from scratch about &quot;DJing&quot; for fun (but not making the music - since that's out of my league).&#xD;&#xA;&#xD;&#xA;Where should I start? What theory do I need to know and what software is out there to help me out? Is it better to pick up some mixing hardware on eBay (and if yes - what would be something that's relatively cheap and will serve a newbie?)&#xD;&#xA;&#xD;&#xA;P.S: My target genre of music will be psytrance and trance if that makes a difference." ContentLicense="CC BY-SA 3.0" />
  <row Id="43692" PostHistoryTypeId="1" PostId="25062" RevisionGUID="f7060521-6e39-4142-b010-c912ec8bef1f" CreationDate="2012-09-22T18:48:35.943" UserDisplayName="Ivan Zlatev" Text="I would like to learn to mix tracks into a DJ set - where should I start?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43693" PostHistoryTypeId="3" PostId="25062" RevisionGUID="f7060521-6e39-4142-b010-c912ec8bef1f" CreationDate="2012-09-22T18:48:35.943" UserDisplayName="Ivan Zlatev" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43694" PostHistoryTypeId="36" PostId="25063" RevisionGUID="4c925ff2-3c95-4de6-9053-6137170d1321" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4810/i-would-like-to-learn-to-mix-tracks-into-a-dj-set-where-should-i-start/4821#4821" />
  <row Id="43695" PostHistoryTypeId="36" PostId="25064" RevisionGUID="2d89e097-4ac6-4680-b37d-a45a31f90cf1" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3511/looking-for-a-drum-mixer-recommendation-for-live-sound" />
  <row Id="43696" PostHistoryTypeId="36" PostId="25065" RevisionGUID="fd1cd60e-bd56-40e8-8e00-c5db0b8f4cd4" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3511/looking-for-a-drum-mixer-recommendation-for-live-sound/3515#3515" />
  <row Id="43697" PostHistoryTypeId="2" PostId="25065" RevisionGUID="2e10184a-d455-4fb3-98f4-6bc8e8cad871" CreationDate="2012-03-10T13:01:33.773" UserId="7016" Text="You will also want high quality compressors - one for each channel. If your desk has good ones, that could be fine, but we have always found separates allow you to correctly set your levels, and for a large drum kit that is essential." ContentLicense="CC BY-SA 3.0" />
  <row Id="43698" PostHistoryTypeId="2" PostId="25064" RevisionGUID="45f2406d-71af-41de-9831-a8574f63de82" CreationDate="2012-03-09T20:28:17.207" UserDisplayName="Tod" Text="I play in a 7 piece rock band, our snake only has so many inputs and I'm looking at moving to micing each tom (4) individually. That would mean 9 mics total but I'll still be able to use several sends on the snake.&#xD;&#xA;&#xD;&#xA;The one time I recorded in a studio the engineer made the drums sound awesome. He said the key was the high-quality pre-amps in his mixing board. So I'm thinking I want an eight channel mixer with high quality pre-amps. This may be a pipe-dream since I'm sure the mixer in the studio was extremely expensive. I'm not sure what else is essential other than high quality pre amps. It seems like noise-gates would be nice to have. Other effects seems unnecessary since the main board has the basic stuff needed there. I've been looking at the various on-line sites but there are just too many choices and no-one appears to make a drum mixer per-se. I would like to keep the budget in the $500 ballpark.&#xD;&#xA;&#xD;&#xA;*If I'm asking in the wrong SE site could someone point me to the correct one. The one for musicians seems to expressly not want this type of question.*&#xD;&#xA;&#xD;&#xA;**Update per comment request**&#xD;&#xA;On [Dino's FB page][2] he says it's a NEVE NEUMANN Malcome Toft Heavy Duty console - I suspect this is a couple or orders of magnitude more expensive than my proposed budget, not to mention a wee bit too big for the typical stage.&#xD;&#xA;![The mixing console from Dino's M4 Recording studio][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/SpGEg.jpg&#xD;&#xA;  [2]: https://www.facebook.com/pages/Dino-M4-Recording-Studio/247256515323829" ContentLicense="CC BY-SA 3.0" />
  <row Id="43699" PostHistoryTypeId="1" PostId="25064" RevisionGUID="45f2406d-71af-41de-9831-a8574f63de82" CreationDate="2012-03-09T20:28:17.207" UserDisplayName="Tod" Text="Looking for a drum mixer recommendation for live sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="43700" PostHistoryTypeId="3" PostId="25064" RevisionGUID="45f2406d-71af-41de-9831-a8574f63de82" CreationDate="2012-03-09T20:28:17.207" UserDisplayName="Tod" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43701" PostHistoryTypeId="36" PostId="25066" RevisionGUID="12a6b479-707d-4cb9-8255-e76da3622979" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7750/will-low-output-volume-affect-the-quality-of-the-sound" />
  <row Id="43702" PostHistoryTypeId="2" PostId="25067" RevisionGUID="3e2544a6-7ade-4a36-80fb-98747a8b74de" CreationDate="2013-04-26T08:57:40.837" UserId="7312" UserDisplayName="Eugene S" Text="You are right! &#xD;&#xA;&#xD;&#xA;The quality of the audio will be decreased if the volume lowered by software means. As you have correctly assumed, reducing volume in software is actually similar to reducing the bit depth. &#xD;&#xA;&#xD;&#xA;Generally, every 6 dB of attenuation is equivalent to reducing the bit depth by one. &#xD;&#xA;&#xD;&#xA;**Brief explanation**: Max volume level of your sound card output, can be considered as multiplied by 1. If the volume reduced, the signal is actually being multiplied by numbers less than one, which is causing the signal to be represented by less quantization levels (which is again - same as saying reduced bit depth).&#xD;&#xA;&#xD;&#xA;**Much better answer** is provided [here][1], including [this][2] link to a very helpful &quot;Digital vs. Analog Volume Controls&quot; comparison.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://superuser.com/a/492295/111772&#xD;&#xA;  [2]: http://www.esstech.com/PDF/digital-vs-analog-volume-control.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="43703" PostHistoryTypeId="2" PostId="25066" RevisionGUID="c940edc7-afe7-4c0d-b8c2-5d48b1eb245d" CreationDate="2013-04-26T08:11:40.867" UserDisplayName="TobiasE" Text="I recently bought a new pair of headphones and am currently using them on a Windows computer. I have connected the headphones directly to the built-in sound card of the computer and therefore I am using Windows volume controls to adjust the volume.&#xD;&#xA;&#xD;&#xA;Since the headphones are quite &quot;sensitive&quot; I have to use a rather low volume and this got me thinking...&#xD;&#xA;&#xD;&#xA;How does software controlled volume affect the quality of the output? Well, I guess there must be some reduction in quality of course, but is it 1:1 related to the selected volume?&#xD;&#xA;&#xD;&#xA;Lets assume that my sound card is set to 16 bit 44.1 kHz quality. If I set the volume to 50%, will that reduce the bit-depth to 15 bit and will 25% reduce it to 14 bit etc.?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43704" PostHistoryTypeId="1" PostId="25066" RevisionGUID="c940edc7-afe7-4c0d-b8c2-5d48b1eb245d" CreationDate="2013-04-26T08:11:40.867" UserDisplayName="TobiasE" Text="Will low output volume affect the quality of the sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43705" PostHistoryTypeId="3" PostId="25066" RevisionGUID="c940edc7-afe7-4c0d-b8c2-5d48b1eb245d" CreationDate="2013-04-26T08:11:40.867" UserDisplayName="TobiasE" Text="&lt;bit-depth&gt;&lt;volume&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43706" PostHistoryTypeId="36" PostId="25067" RevisionGUID="51d4f370-f547-4da4-a7a1-15a0e77496da" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7750/will-low-output-volume-affect-the-quality-of-the-sound/7751#7751" />
  <row Id="43707" PostHistoryTypeId="36" PostId="25068" RevisionGUID="640418fe-ae5b-48cf-84a6-a7ddb98ffad4" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/10036/pdf-version-of-the-ardour-manual" />
  <row Id="43708" PostHistoryTypeId="36" PostId="25069" RevisionGUID="f03fab78-bc6f-4094-8b6d-05510a5672ed" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/10036/pdf-version-of-the-ardour-manual/10047#10047" />
  <row Id="43709" PostHistoryTypeId="2" PostId="25069" RevisionGUID="3a3595eb-32c7-43a2-b592-509da03b30ce" CreationDate="2014-01-27T02:42:07.540" UserDisplayName="Alex" Text="Perhaps this link is useful: http://carlh.net/ardour/manual/ardour.pdf&#xD;&#xA;Which version are you looking for?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43710" PostHistoryTypeId="2" PostId="25068" RevisionGUID="c6504277-3e27-4b75-991c-5bd1f5c32402" CreationDate="2014-01-25T17:01:06.990" UserId="7073" Text="Is &quot;The Ardour Manual&quot; (http://manual.ardour.org/introducing-ardour/creating-music-with-ardour/) available in PDF format somewhere?&#xD;&#xA;&#xD;&#xA;I've only found a thread from 2007 concerning this matter (https://community.ardour.org/node/1188#comment-17015), however, the link http://www[.]ardourmanual.blogspot.com.es/ is no longer available." ContentLicense="CC BY-SA 3.0" />
  <row Id="43711" PostHistoryTypeId="1" PostId="25068" RevisionGUID="c6504277-3e27-4b75-991c-5bd1f5c32402" CreationDate="2014-01-25T17:01:06.990" UserId="7073" Text="PDF version of the Ardour manual" ContentLicense="CC BY-SA 3.0" />
  <row Id="43712" PostHistoryTypeId="3" PostId="25068" RevisionGUID="c6504277-3e27-4b75-991c-5bd1f5c32402" CreationDate="2014-01-25T17:01:06.990" UserId="7073" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43713" PostHistoryTypeId="36" PostId="25070" RevisionGUID="b50fb3d3-7f69-4bcc-9c77-07c2c79834b1" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9039/what-is-the-resolution-of-human-hearing" />
  <row Id="43714" PostHistoryTypeId="36" PostId="25071" RevisionGUID="c1335163-38ee-4ff6-84b8-8ca2f88c9b92" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9039/what-is-the-resolution-of-human-hearing/9043#9043" />
  <row Id="43715" PostHistoryTypeId="2" PostId="25071" RevisionGUID="06d6d9d5-f27f-49fc-baf5-85eeec7c56be" CreationDate="2013-09-24T09:03:05.337" UserId="7405" UserDisplayName="Andy aka" Text="I'm not saying this answers everything but the [Fletcher Munson][1] curves give an indication of how our hearing is sensitive to some frequencies and not others. Here is the graph taken from wiki that shows the FM curves and the ISO equal loudness curves for various sound pressure levels: -&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;A small side-note. As the sound intensity drops our ability to hear bass dramatically reduces and to some extent so does the treble - this is why on older stereo systems there was a &quot;loudness&quot; button - when the volume was low (whatever low means) you could press the button and it would boost the bass and treble a little bit.&#xD;&#xA;&#xD;&#xA;It's also worth noting that between 2kHz and 4kHz our ears are very sensitive and capable of &quot;hearing&quot; sound pressure levels significantly below 0dB (20 micro pascals)&#xD;&#xA;&#xD;&#xA;Personal experience leads me to believe that a human can detect a 1dB increase or decrease in SPL if they are concentrating.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Fletcher%E2%80%93Munson_curves&#xD;&#xA;  [2]: http://i.stack.imgur.com/sgKdO.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="43716" PostHistoryTypeId="2" PostId="25072" RevisionGUID="db177bd3-9eed-4bf0-9d7f-01d04fa409b5" CreationDate="2013-09-25T12:38:33.287" UserId="7194" Text="#Amplitude&#xD;&#xA;&#xD;&#xA;Taken from [here](http://evolver.fm/2012/10/04/guest-opinion-why-24192-music-downloads-make-no-sense/):&#xD;&#xA;&#xD;&#xA;&gt;The human ear can consciously discriminate amplitude differences of about 1dB, and experiments show subconscious awareness of amplitude differences under .2dB.&#xD;&#xA;&#xD;&#xA;Although a complete answer would probably have to account to the equal loudness contours - we may be able to tell a 1dB difference with 1kHz, but not so for 100Hz.&#xD;&#xA;&#xD;&#xA;#Frequency&#xD;&#xA;&#xD;&#xA;Taken from Wikipedia, which references to a masters research:&#xD;&#xA;&#xD;&#xA;&gt;It is difficult to establish how many cents are perceptible to humans; this accuracy varies greatly from person to person. One author stated that humans can distinguish a difference in pitch of about 5-6 cents.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="43717" PostHistoryTypeId="2" PostId="25070" RevisionGUID="25618aec-a4a3-464a-b906-315529723a59" CreationDate="2013-09-24T01:44:11.900" UserId="7511" UserDisplayName="naught101" Text="The [frequency range of human hearing](http://avp.stackexchange.com/questions/3312/how-is-it-possible-to-hear-something-at-44-1khz) is fairly common knowledge, at around. The [range of volumes we can hear](http://hyperphysics.phy-astr.gsu.edu/hbase/Sound/earsens.html) is between about 0 and 130 decibels.&#xD;&#xA;&#xD;&#xA;What is the resolution of human hearing between those limits, both in the frequency and amplitude domain? That is, what is the minimal change in frequency and amplitude that we can distinguish? Also, does this resolution change much along the range? For instance, do we have more difficulty determining the difference between a quarter tone at high frequencies than we do at low frequencies?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43718" PostHistoryTypeId="1" PostId="25070" RevisionGUID="25618aec-a4a3-464a-b906-315529723a59" CreationDate="2013-09-24T01:44:11.900" UserId="7511" UserDisplayName="naught101" Text="What is the resolution of human hearing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43719" PostHistoryTypeId="3" PostId="25070" RevisionGUID="25618aec-a4a3-464a-b906-315529723a59" CreationDate="2013-09-24T01:44:11.900" UserId="7511" UserDisplayName="naught101" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43720" PostHistoryTypeId="36" PostId="25072" RevisionGUID="dceb3b8f-d6f4-462f-9016-7531cafa9427" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9039/what-is-the-resolution-of-human-hearing/9052#9052" />
  <row Id="43721" PostHistoryTypeId="36" PostId="25073" RevisionGUID="382bbd6a-02ec-49bc-8208-6ad82436d6cd" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9039/what-is-the-resolution-of-human-hearing/9054#9054" />
  <row Id="43722" PostHistoryTypeId="2" PostId="25073" RevisionGUID="54b8c55b-2c83-44e9-9d8d-265c9e1cfa8c" CreationDate="2013-09-25T12:51:44.773" UserDisplayName="oberdada" Text="The search term is JND, just noticeable difference. Yes, the resolution changes over the frequency range, and of course this is true if frequency is given in cents from a reference and even more obvious if given in Hz.&#xD;&#xA;&#xD;&#xA;There's much more to read if you find a copy of Brian Moore's Hearing, or Psychoacoustics by Zwicker and Fastl. There is also data about spatial resolution and several other things.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43723" PostHistoryTypeId="36" PostId="25074" RevisionGUID="597e8f28-d7cb-424b-ab19-34be01f90b4e" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4614/what-is-a-snake-and-what-are-they-used-for" />
  <row Id="43724" PostHistoryTypeId="36" PostId="25075" RevisionGUID="4466d413-4a06-4290-9e35-5bd35baa1fe6" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4614/what-is-a-snake-and-what-are-they-used-for/4615#4615" />
  <row Id="43725" PostHistoryTypeId="2" PostId="25075" RevisionGUID="f7e3523f-6ab5-4b71-b2e3-2174b6679edb" CreationDate="2012-08-22T08:24:43.130" UserDisplayName="dotJack" Text="A snake:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Not really to pass it to a single channel or change effects around or anything - more of a organizational tool; keeping the studio / recording area tidy.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/94N7r.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="43726" PostHistoryTypeId="2" PostId="25076" RevisionGUID="bdf6f8b8-5c63-4e7a-8d45-c6415d81679e" CreationDate="2012-08-22T12:12:53.673" UserId="7093" Text="A snake is simply several cables bunched together.  It is typically used to route all or most of the signals between the stage and a mixing desk.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;There is usually a box at the stage end to plug all of the microphones and instruments into and simply cables at the other end to plug into the mixer.  &#xD;&#xA;&#xD;&#xA;Here is a [Wikipedia article][2] with more technical details on the cable itself.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/KO0CX.jpg&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Snake_cable" ContentLicense="CC BY-SA 3.0" />
  <row Id="43727" PostHistoryTypeId="2" PostId="25074" RevisionGUID="6d346953-bf33-43a8-bb99-5150160377e0" CreationDate="2012-08-22T06:53:52.437" UserDisplayName="Simon Gill" Text="I saw this referenced in a question about setting up microphones for drums.&#xD;&#xA;&#xD;&#xA;It seemed to be for collecting signals from multiple mics and passing them on to a single channel in a mixing desk. Is it basically a mixing desk with less features and a different shape?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43728" PostHistoryTypeId="1" PostId="25074" RevisionGUID="6d346953-bf33-43a8-bb99-5150160377e0" CreationDate="2012-08-22T06:53:52.437" UserDisplayName="Simon Gill" Text="What is a snake and what are they used for?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43729" PostHistoryTypeId="3" PostId="25074" RevisionGUID="6d346953-bf33-43a8-bb99-5150160377e0" CreationDate="2012-08-22T06:53:52.437" UserDisplayName="Simon Gill" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43730" PostHistoryTypeId="36" PostId="25076" RevisionGUID="5d1c6e6b-1520-4b12-98df-4cf6a48cad74" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4614/what-is-a-snake-and-what-are-they-used-for/4616#4616" />
  <row Id="43731" PostHistoryTypeId="36" PostId="25077" RevisionGUID="497cfe72-2e03-48b0-91c2-913fbddbb534" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9016/what-voice-effects-are-used-in-solomun-see-you-everyday-alone" />
  <row Id="43732" PostHistoryTypeId="36" PostId="25078" RevisionGUID="617b2fc0-75f7-45dc-8157-b04d0f1728fb" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9016/what-voice-effects-are-used-in-solomun-see-you-everyday-alone/9017#9017" />
  <row Id="43733" PostHistoryTypeId="2" PostId="25078" RevisionGUID="09d03d5e-68eb-40ab-8451-23ebf23d8db1" CreationDate="2013-09-21T20:56:14.360" UserId="7194" Text="If we are talking about the same effect (audible at 4:30), this does not sound like a vocoder (although it resembles it slightly).&#xD;&#xA;&#xD;&#xA;What I can hear is pitch shifting (so possibly a sort of harmoniser is involved), there is also some modulation of a filter of a sort with rather clear comb-effect or phase-effect. This modulation does not seem periodic, but rather correlated to his singing. There is also some distortion involved, which may also be the process in charge of the overall filtering of the timbre.&#xD;&#xA;&#xD;&#xA;I'm not aware of a multi-effect unit that offers this exact preset, but [SoundToys](https://www.soundtoys.com/product/) plugins, primarily Crystallizer, &#xD;&#xA;PhaseMistress and FilterFreak (and the possible combination of which) should get you pretty close." ContentLicense="CC BY-SA 3.0" />
  <row Id="43734" PostHistoryTypeId="2" PostId="25077" RevisionGUID="5d25ada4-1f60-4785-83e4-86fb6b07b48b" CreationDate="2013-09-21T18:40:48.390" UserDisplayName="aknewhope" Text="What effect(s) is(are) used on the male voice in the song by Solomun &quot;See You Everyday Alone (original mix)&quot;? Is it a layer of effects? Towards the end the effect is much less and I can actually understand the voice, but in the rest of the song the voice is hard to understand, and has a deep, dark, and sexy vibe to it. Is it running through a vocoder?&#xD;&#xA;&#xD;&#xA;Here are some different links to preview the songs. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;https://itunes.apple.com/us/album/challenge-everyday-ep/id461419358&#xD;&#xA;&#xD;&#xA;http://open.spotify.com/album/3hk3Nvql64R1OZGNkdkoPJ" ContentLicense="CC BY-SA 3.0" />
  <row Id="43735" PostHistoryTypeId="1" PostId="25077" RevisionGUID="5d25ada4-1f60-4785-83e4-86fb6b07b48b" CreationDate="2013-09-21T18:40:48.390" UserDisplayName="aknewhope" Text="What Voice effects are used in Solomun - See You Everyday Alone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43736" PostHistoryTypeId="3" PostId="25077" RevisionGUID="5d25ada4-1f60-4785-83e4-86fb6b07b48b" CreationDate="2013-09-21T18:40:48.390" UserDisplayName="aknewhope" Text="&lt;effects&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43737" PostHistoryTypeId="36" PostId="25079" RevisionGUID="3b12f1b9-cdc5-46c3-89f0-394807d74ff7" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5662/what-windows-based-daw-can-i-use-for-sample-arrangement" />
  <row Id="43738" PostHistoryTypeId="36" PostId="25080" RevisionGUID="0809aae0-0820-4de0-9a61-24a9694f6195" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5662/what-windows-based-daw-can-i-use-for-sample-arrangement/5664#5664" />
  <row Id="43739" PostHistoryTypeId="36" PostId="25081" RevisionGUID="3655e949-6bd5-403c-8a6e-31bc935f5101" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5662/what-windows-based-daw-can-i-use-for-sample-arrangement/5673#5673" />
  <row Id="43740" PostHistoryTypeId="36" PostId="25082" RevisionGUID="ca5a36cb-e5b4-4d07-9aa4-fec1d3c121e8" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5662/what-windows-based-daw-can-i-use-for-sample-arrangement/5679#5679" />
  <row Id="43741" PostHistoryTypeId="36" PostId="25083" RevisionGUID="29003b7d-4f4a-4c92-8143-982ccaae6b82" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5662/what-windows-based-daw-can-i-use-for-sample-arrangement/5704#5704" />
  <row Id="43742" PostHistoryTypeId="2" PostId="25080" RevisionGUID="f5208fae-c8d8-4d0f-bd1f-53d02c700f46" CreationDate="2012-12-24T11:46:41.800" UserId="7016" Text="You could look at getting demo versions of Cubase, Sonar or almost any other DAW. This is common functionality for almost all DAWs on the market. " ContentLicense="CC BY-SA 3.0" />
  <row Id="43743" PostHistoryTypeId="2" PostId="25081" RevisionGUID="8b26a0a4-1a8f-47ae-8d9e-650e451e9823" CreationDate="2012-12-26T03:09:57.097" UserId="7189" Text="Ableton Live is probably going the be the easiest DAW in which to accomplish your looping goals.&#xD;&#xA;&#xD;&#xA;You can setup two different samples in clips in two different tracks and adjust the speed at which each plays in real time. There are several different algorithms for changing speed. Some work better for drums, others work better for melodic material, etc.&#xD;&#xA;&#xD;&#xA;On the hardware side, this is fairly easy to do with the Elektron Octatrack. You just setup your two samples on two different tracks, and then set a one-shot trigger on each. That way, the samples loop indefinitely and independently of the tracks they are embedded in. But you can adjust the length and pitch of the samples in real time on the Octatrack as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="43744" PostHistoryTypeId="2" PostId="25082" RevisionGUID="4c438bd2-259c-4d0b-8bd1-ea046faead39" CreationDate="2012-12-26T22:10:48.707" UserId="7225" Text="For this specific task I would use something like Geist:  &#xD;&#xA;http://www.fxpansion.com/index.php?page=120&#xD;&#xA;&#xD;&#xA;A drum-machine, slicer and sequencer in-one.&#xD;&#xA;&#xD;&#xA;It's a stand-alone application as well as a plugin which mean you can use it without a DAW - if you later want it integrated with lets say Cubase, no problem either.&#xD;&#xA;&#xD;&#xA;From their promotional text:&#xD;&#xA;&#xD;&#xA;&gt; Sample, slice, sequence, mix, arrange, effect, resample. Geist is&#xD;&#xA;&gt; FXpansion's next-generation sampling drum machine, designed to create&#xD;&#xA;&gt; evolved, custom beats and grooves, freeing you from the limits of&#xD;&#xA;&gt; pre-packaged loops and over-complicated DAWs.&#xD;&#xA;&gt; &#xD;&#xA;&gt; Geist fuses creative sample-sculpting tools with fast pattern&#xD;&#xA;&gt; step-sequencing and arrangement. Browse through sounds with lightning&#xD;&#xA;&gt; speed, slice and assign loops to pads with a single click; sample,&#xD;&#xA;&gt; resample and build beats in a slick unified environment. Geist makes&#xD;&#xA;&gt; fiddly tasks with multiple apps a thing of the past.&#xD;&#xA;&#xD;&#xA;(I also see they have an offer until 31/12).&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43745" PostHistoryTypeId="2" PostId="25083" RevisionGUID="30e6b521-32b3-4d86-8060-0b6502990644" CreationDate="2012-12-29T03:58:51.843" UserDisplayName="Manny" Text="There's a free web based solution that will accomplish what you want.  It's still in Beta and has a lot of features that needs to be added but it can do all of what you required above.  The only limitation is it requires Chrome.  Here it is, [mashandmix.com][1]. &#xD;&#xA;&#xD;&#xA;  [1]: http://mashandmix.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="43746" PostHistoryTypeId="2" PostId="25079" RevisionGUID="0078fd30-ba67-449c-bdaf-6b9607309897" CreationDate="2012-12-24T08:55:32.633" UserDisplayName="sigil" Text="I want to make music where I layer samples over one another.  I don't just want these to be samples of notes--I have samples of drum breaks and guitar riffs that I'd like to sequence.  &#xD;&#xA;&#xD;&#xA;For example, let's say I have a one-measure 4/4 drum sample at 110 BPM and a two-measure 4/4 guitar sample at 125 BPM.  I would want to have two consecutive measures of the drum sample on my percussion track while the guitar sample is going on another track, with either the guitar slowed to match the drums or the drums sped up to match the guitar.&#xD;&#xA;&#xD;&#xA;My OS is Windows 7.  What Windows-based DAW will enable me to do this?  Ideally I want a free one, because I'm just getting started making sequenced music and want to play around with the tools before I start putting a lot of money into this.  I looked into LMMS, but that seems to be designed more for sequencing individual notes.  I've also worked with Audacity for stretching samples, but Audacity doesn't have the ability to enter samples in blocks." ContentLicense="CC BY-SA 3.0" />
  <row Id="43747" PostHistoryTypeId="1" PostId="25079" RevisionGUID="0078fd30-ba67-449c-bdaf-6b9607309897" CreationDate="2012-12-24T08:55:32.633" UserDisplayName="sigil" Text="What Windows-based DAW can I use for sample arrangement?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43748" PostHistoryTypeId="3" PostId="25079" RevisionGUID="0078fd30-ba67-449c-bdaf-6b9607309897" CreationDate="2012-12-24T08:55:32.633" UserDisplayName="sigil" Text="&lt;daw&gt;&lt;sampling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43749" PostHistoryTypeId="36" PostId="25084" RevisionGUID="602ce093-558b-46c2-b064-998d15280478" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4767/headphone-amp-for-shure-srh440" />
  <row Id="43750" PostHistoryTypeId="2" PostId="25085" RevisionGUID="b93ed0d2-6f0b-4efb-8713-0a7869af9eec" CreationDate="2012-09-24T22:17:53.930" UserDisplayName="Lukas Woltjer" Text="Here is a site with lots of different amps.&#xD;&#xA;&#xD;&#xA;http://www.headphone.com/headphone-amps/amplifiers.php&#xD;&#xA;&#xD;&#xA;I don't have any of these, but I have used the site before and they are quite particular about good sound. I'm guessing this could help you. As with anything, I recommend you read reviews and buy the best amp in your price range. This may not be the most expensive.&#xD;&#xA;&#xD;&#xA;As for why your Shures are sounding bad with the iPod, my guess is you're pushing the wee little amp too hard. It's not really designed to do more than drive the iPod earbuds, and with those you probably can't tell if the sound is bad or not :P&#xD;&#xA;&#xD;&#xA;When you connect the iPod to the amp, I recommend you turn up the iPod no more then 70%. Use the amp for most of the gain. It should be able to handle it better.&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="43751" PostHistoryTypeId="2" PostId="25084" RevisionGUID="a181de6b-26eb-4b4b-80a1-0f12615424b8" CreationDate="2012-09-18T23:04:16.200" UserId="6857" Text="My [Shure SRH440](http://www.amazon.com/Shure-SRH440-Professional-Studio-Headphones/dp/B002DP1FTU) has a very low, *poor* sound when I'm using my MP3 player ([Ipod nano](http://www.amazon.com/Shure-SRH440-Professional-Studio-Headphones/dp/B002DP1FTU)). Since the sound gets much better when I connect it to my Receiver ([a Sony one](http://www.amazon.com/Shure-SRH440-Professional-Studio-Headphones/dp/B002DP1FTU)) or even to the computer, I think that using a headphone amp could be good.&#xD;&#xA;&#xD;&#xA;So, what characteristics should I look for in a headphone amplifier? I'm not sure if suggesting specific brands / models is allowed in this site, but if it is, does someone have some recomendation ???" ContentLicense="CC BY-SA 3.0" />
  <row Id="43752" PostHistoryTypeId="1" PostId="25084" RevisionGUID="a181de6b-26eb-4b4b-80a1-0f12615424b8" CreationDate="2012-09-18T23:04:16.200" UserId="6857" Text="Headphone Amp for Shure SRH440" ContentLicense="CC BY-SA 3.0" />
  <row Id="43753" PostHistoryTypeId="3" PostId="25084" RevisionGUID="a181de6b-26eb-4b4b-80a1-0f12615424b8" CreationDate="2012-09-18T23:04:16.200" UserId="6857" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43754" PostHistoryTypeId="36" PostId="25085" RevisionGUID="04906295-0496-4248-8609-4590d0b8e3a6" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4767/headphone-amp-for-shure-srh440/4834#4834" />
  <row Id="43755" PostHistoryTypeId="36" PostId="25086" RevisionGUID="672849f0-f284-4222-8d16-b2a23f87b911" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4767/headphone-amp-for-shure-srh440/4921#4921" />
  <row Id="43756" PostHistoryTypeId="2" PostId="25086" RevisionGUID="1ae1c5da-5dfa-4b4f-ae19-8fc8dea55b5f" CreationDate="2012-10-05T12:52:02.800" UserId="6957" Text="There are a number of reports of the volume lock getting turned on on the iPod nano.  This is a &quot;feature&quot; that limits the output volume to save little ears.&#xD;&#xA;&#xD;&#xA;I don't know which nano you have, but somewhere in the neighborhood of `Settings`&gt;&gt;`Playback`&gt;&gt;`Volume Limits`&#xD;&#xA;&#xD;&#xA;Alternatively, you can always try resetting your nano to factory.  Method depends on your model." ContentLicense="CC BY-SA 3.0" />
  <row Id="43757" PostHistoryTypeId="36" PostId="25087" RevisionGUID="2e9846b3-c6c4-4b68-b0f4-31aae1305abc" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5217/why-does-my-sound-card-output-a-high-pitched-sometimes-oscillating-sound-or-whin" />
  <row Id="43758" PostHistoryTypeId="2" PostId="25088" RevisionGUID="225ea531-0f17-489a-8778-2d6fe1b73fb2" CreationDate="2012-11-01T03:25:58.227" UserId="7239" Text="For some reason Lenovo X200s and X201 have a problem with this. It's probably just specific to the Core 2 chipset:&#xD;&#xA;&#xD;&#xA;&gt; Intel(R) Core(TM)2 Duo CPU     L9600  @ 2.13GHz&#xD;&#xA;&#xD;&#xA;![BIOS with disabled power management][1]&#xD;&#xA;&#xD;&#xA;Anyway, simply disable all power management functionality in the BIOS. It will all cause a draw on something and result in high pitched audio fluctuation. Others with a Core2 have complained about this too.&#xD;&#xA;&#xD;&#xA;[Lenovo says this about the problem on a different product.](http://forums.lenovo.com/t5/Lenovo-3000-and-Essential/G560-High-frequency-sound-speed-step/ta-p/477903):&#xD;&#xA;&#xD;&#xA;&gt; Due to tolerances, the capacitors in some systems may resonate at high frequencies as the CPU's C-states change.  Not all systems will emit these sounds, and due to differences in environment, background noise, and individual user hear acuity, they may not be noticable. This is considered a normal phenomena.  Some customers have reported success using ThrottleStop to limit CPU fruquency changes..&#xD;&#xA;&#xD;&#xA;Different users report this problem with everything from USB DACs, to USB Headsets -- just about anything audio with USB.&#xD;&#xA;&#xD;&#xA;Here are some other computers that are plagued with this problem:&#xD;&#xA;&#xD;&#xA;* [Dell Latitude E6400 and E6500](http://www.evrim-sen.com/html/dell-latitude-e6500-sound-prob.htm)&#xD;&#xA;* [T42p](http://www.tomshardware.com/forum/28659-35-t42p-mysterious-speedstep-problems)&#xD;&#xA;* [Sony VAIO E](http://www.youtube.com/watch?v=NSKqlttAp-4)&#xD;&#xA;&#xD;&#xA;You can find numerious reports of this problem [on Tom's Hardware](https://www.google.com/#hl=en&amp;q=+site:tomshardware.com+speedstep+high+pitched) or even on the [Intel forums](https://www.google.com/#hl=en&amp;sclient=psy-ab&amp;q=+site:communities.intel.com+speedstep+high+pitched). Many describe this as a *whine*.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/U30OV.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="43759" PostHistoryTypeId="2" PostId="25087" RevisionGUID="81e2239c-1b3c-4ec1-82b7-a349806e56e9" CreationDate="2012-11-01T03:25:58.227" UserId="7239" Text="I've asked four questions now so I'm out of hints. Excuse this question for it's vagueness... Why the hell is my sound card emitting this high pitched squeal when I run it through a mixer with a USB sound card also running through the mixer from the same computer. For reference of past attempts, I've asked four questions trying to get to the bottom of this problem:&#xD;&#xA;&#xD;&#xA;1. [Stereo and mono cables and jacks? What happens when you cross them?](http://avp.stackexchange.com/q/5156/501)&#xD;&#xA;2. [What is the difference between a balanced and unbalanced mono jack?](http://avp.stackexchange.com/q/5178/501)&#xD;&#xA;3. [Does a USB Isolator work any different than a powered single-port USB Hub?](http://avp.stackexchange.com/q/5213/501)&#xD;&#xA;4. [Source of ground looping? Different ground for USB and laptop's line out?](http://avp.stackexchange.com/q/5205/501)&#xD;&#xA;&#xD;&#xA;I feel like I've learned everything that I need to know about audio equipment and none of it was relevant. I've even updated my BIOS!!! For reference, here are some of the system specs,&#xD;&#xA;&#xD;&#xA;    BIOS Information&#xD;&#xA;    	Vendor: LENOVO&#xD;&#xA;    	Version: 6DET71WW (3.21 )&#xD;&#xA;    	Release Date: 12/13/2011&#xD;&#xA;    &#xD;&#xA;    System Information&#xD;&#xA;    	Manufacturer: LENOVO&#xD;&#xA;    	Product Name: 746643U&#xD;&#xA;    	Version: ThinkPad X200s&#xD;&#xA;    &#xD;&#xA;    Intel(R) Core(TM)2 Duo CPU     L9600  @ 2.13GHz&#xD;&#xA;&#xD;&#xA;Here is the `lspci` info from the sound card:&#xD;&#xA;&#xD;&#xA;&gt; 00:1b.0 Audio device: Intel Corporation 82801I (ICH9 Family) HD Audio Controller (rev 03)&#xD;&#xA;&#xD;&#xA;Here is the `lsusb` info from my USB DAC:&#xD;&#xA;&#xD;&#xA;&gt; Bus 006 Device 003: ID 08bb:2902 Texas Instruments Japan PCM2902 Audio Codec&#xD;&#xA;&#xD;&#xA;Here is what `dmesg` outputs from the syslog when I plug it in:&#xD;&#xA;&#xD;&#xA;    new full-speed USB device number 3 using uhci_hcd&#xD;&#xA;    New USB device found, idVendor=08bb, idProduct=2902&#xD;&#xA;    New USB device strings: Mfr=1, Product=2, SerialNumber=0&#xD;&#xA;    Product: USB Audio CODEC &#xD;&#xA;    Manufacturer: Burr-Brown from TI              &#xD;&#xA;    input: Burr-Brown from TI               USB Audio CODEC  as /devices/pci0000:00/0000:00:1d.0/usb6/6-2/6-2:1.3/input/input13&#xD;&#xA;    hid-generic 0003:08BB:2902.0002: &gt;input,hidraw0: USB HID v1.00 Device [Burr-Brown from TI               USB Audio CODEC ] on usb-0000:00:1d.0-2/input3&#xD;&#xA;&#xD;&#xA;I already know the answer to this.. I've spent three days researching the problem and I want this to be out there for others to find.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43760" PostHistoryTypeId="1" PostId="25087" RevisionGUID="81e2239c-1b3c-4ec1-82b7-a349806e56e9" CreationDate="2012-11-01T03:25:58.227" UserId="7239" Text="Why does my sound card output a high pitched sometimes oscillating sound or whine?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43761" PostHistoryTypeId="3" PostId="25087" RevisionGUID="81e2239c-1b3c-4ec1-82b7-a349806e56e9" CreationDate="2012-11-01T03:25:58.227" UserId="7239" Text="&lt;noise&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43762" PostHistoryTypeId="36" PostId="25088" RevisionGUID="b199540f-d4ab-4dfd-9dd8-cdd424e047b8" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5217/why-does-my-sound-card-output-a-high-pitched-sometimes-oscillating-sound-or-whin/5218#5218" />
  <row Id="43763" PostHistoryTypeId="36" PostId="25089" RevisionGUID="60667476-9d8e-49d1-af0d-dc40e2a20fcf" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/386/keeping-multitrack-files-online" />
  <row Id="43764" PostHistoryTypeId="2" PostId="25090" RevisionGUID="8a059e37-d66c-490b-8a89-5b222cd04b43" CreationDate="2010-12-20T02:17:26.603" UserId="7398" UserDisplayName="BenV" Text="[DropBox][1] could probably used to accomplish this.  You can use up to 2 gigs for free, and it works on Windows, Mac, and Linux.  &#xD;&#xA;&#xD;&#xA;This would allow either of you to modify your notes and the changes would automatically be snynched to the other's computer.&#xD;&#xA;&#xD;&#xA;You can also check out some of the alternatives listed in [this article][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dropbox.com/&#xD;&#xA;  [2]: http://forums.dropbox.com/topic.php?id=2149" ContentLicense="CC BY-SA 2.5" />
  <row Id="43765" PostHistoryTypeId="2" PostId="25089" RevisionGUID="d456090b-4e51-437b-b970-4963112efb47" CreationDate="2010-12-20T01:44:03.447" UserId="7045" Text="I'm in the middle or recording an album, and my bandmate is in the next county. I'm currently using box.net to share mixes with him, but I have no easy way of sharing the multitrack files. &#xD;&#xA;&#xD;&#xA;I've got notes on the mixes on text files in the same folders as the files, and it'd be great if we could share those as well. (Of course, we'd actually work on them on a local drive.)  &#xD;&#xA;&#xD;&#xA;Does anyone know of a free or cheap FTP or backup site that'll take files up to 200 - 300 megabytes? &#xD;&#xA;&#xD;&#xA;Now for the part that's music-specific: If there were some way to keep mix notes online, something faster than, say, Google Documents, that would make this whole thing easier. &#xD;&#xA;&#xD;&#xA;(It's possible this belongs on SuperUser or the Web Apps site, but I'd like to hear what audio folk have to say about this.)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43766" PostHistoryTypeId="1" PostId="25089" RevisionGUID="d456090b-4e51-437b-b970-4963112efb47" CreationDate="2010-12-20T01:44:03.447" UserId="7045" Text="Keeping multitrack files online" ContentLicense="CC BY-SA 2.5" />
  <row Id="43767" PostHistoryTypeId="3" PostId="25089" RevisionGUID="d456090b-4e51-437b-b970-4963112efb47" CreationDate="2010-12-20T01:44:03.447" UserId="7045" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43768" PostHistoryTypeId="36" PostId="25090" RevisionGUID="4601d5ae-afcb-4128-9cad-dcf498f08fcc" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/386/keeping-multitrack-files-online/387#387" />
  <row Id="43769" PostHistoryTypeId="36" PostId="25091" RevisionGUID="4117c008-801b-4d0b-9d80-314a19d30033" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5836/how-to-make-the-sound-from-will-i-am-scream-and-shout" />
  <row Id="43770" PostHistoryTypeId="36" PostId="25092" RevisionGUID="a009b39d-f419-465f-aab2-80991d79d247" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5836/how-to-make-the-sound-from-will-i-am-scream-and-shout/6847#6847" />
  <row Id="43771" PostHistoryTypeId="2" PostId="25092" RevisionGUID="fad59635-04b5-41b2-bef0-d3d0dc68be64" CreationDate="2013-01-15T20:22:29.880" UserId="7225" Text="The voice is produced by using reverb-freeze, or reverb on a short vocal extract with full sustain. This is then fed to a channel which is gradually faded in.&#xD;&#xA;&#xD;&#xA;The filter is first a high-pass filter gradually increasing the threshold, then cross-fades fast into the same sound but on a low-pass filter. Or as this is highly likely using automation channels the filter cut-off type is just switched and the threshold value set to almost bottom again.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43772" PostHistoryTypeId="2" PostId="25091" RevisionGUID="fb057817-795e-4257-ba32-8a97fa69a76f" CreationDate="2013-01-13T22:46:01.860" UserDisplayName="Dave" Text="How do I make the sounds from http://www.youtube.com/watch?v=kYtGl1dX5qI from 0 to 13 seconds.&#xD;&#xA;&#xD;&#xA;More specifically the ambiant voice like sounds, the percussion and also the kind of filter sweep going on." ContentLicense="CC BY-SA 3.0" />
  <row Id="43773" PostHistoryTypeId="1" PostId="25091" RevisionGUID="fb057817-795e-4257-ba32-8a97fa69a76f" CreationDate="2013-01-13T22:46:01.860" UserDisplayName="Dave" Text="How to make the sound from Will.I.Am - Scream and Shout" ContentLicense="CC BY-SA 3.0" />
  <row Id="43774" PostHistoryTypeId="3" PostId="25091" RevisionGUID="fb057817-795e-4257-ba32-8a97fa69a76f" CreationDate="2013-01-13T22:46:01.860" UserDisplayName="Dave" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43775" PostHistoryTypeId="36" PostId="25093" RevisionGUID="2ef15ff9-4b3f-4f82-81e4-57fd225db631" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4794/how-to-avoid-a-muddy-mixdown" />
  <row Id="43776" PostHistoryTypeId="2" PostId="25094" RevisionGUID="2fc44e95-3be8-4282-b4d9-4038bf7f817e" CreationDate="2012-09-21T21:30:19.493" UserId="7016" Text="As we tend to work with up to 50 separate tracks before mixdown, including synths, drums, live instruments, vocals etc.,getting this right is essential in my band.&#xD;&#xA;&#xD;&#xA;Core to our approach is compression and equalisation:&#xD;&#xA;&#xD;&#xA; - Every channel has a compressor added for final mixdown to ensure we have a predefined range per channel&#xD;&#xA; - Each channel has an equalisation profile (sometimes with a temporal component) to ensure all frequency ranges have an equal weighting, so while I may play my guitars live with a fair amount of bass, in a studio mix I cut almost all my bass and mids as these areas are full of bass guitar, synths and some drums. Similarly, our bassist plays quite a trebly mix on stage, but in the studio we cut all his mids out and leave just enough treble to let his slap ring through (this varies - eg a song designed to sound fat will have more mid and bass etc, but you get the drift)&#xD;&#xA;&#xD;&#xA;So if you are getting a muddy mix, see how many tracks are all competing in that 200-300 Hz space and start to cull them one by one." ContentLicense="CC BY-SA 3.0" />
  <row Id="43777" PostHistoryTypeId="2" PostId="25093" RevisionGUID="04376e44-684a-41d5-977b-9f659e1f72db" CreationDate="2012-09-21T16:05:28.710" UserDisplayName="Magrangs" Text="Often times I am faced with a problem where I lack a decent amount of mid-range warmth in my sound. When producing a track with this in mind I am then often faced with a muddy sounding mid-range. How do people deal with this? I am aware that the 'mud frequency' is around the 200-300hz mark is it wise to literally eq this out? If so is it best to do this per channel or across the whole mix? Will this reduce any mid-range warmth?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="43778" PostHistoryTypeId="1" PostId="25093" RevisionGUID="04376e44-684a-41d5-977b-9f659e1f72db" CreationDate="2012-09-21T16:05:28.710" UserDisplayName="Magrangs" Text="How to avoid a muddy mixdown?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43779" PostHistoryTypeId="3" PostId="25093" RevisionGUID="04376e44-684a-41d5-977b-9f659e1f72db" CreationDate="2012-09-21T16:05:28.710" UserDisplayName="Magrangs" Text="&lt;mixing&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43780" PostHistoryTypeId="36" PostId="25094" RevisionGUID="a5c1221e-8b94-492e-9f15-4540682fd065" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4794/how-to-avoid-a-muddy-mixdown/4795#4795" />
  <row Id="43781" PostHistoryTypeId="36" PostId="25095" RevisionGUID="ae674409-b24e-4b22-910a-4a311ecde00c" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4794/how-to-avoid-a-muddy-mixdown/7199#7199" />
  <row Id="43782" PostHistoryTypeId="2" PostId="25095" RevisionGUID="9ff4c774-6838-47e2-a7de-379aa5a52136" CreationDate="2013-02-19T15:16:37.150" UserId="13269" UserDisplayName="Philip Graham" Text="Generally mud in mixes isn't a problem with a specific instrument or sound, its a general problem of too many instruments with content in that mid range. For instance you could create a mix where the only instrument playing in lets say 200 - 400hz is a synthline, but in reality guitars, drums, bass, etc all have different components of their sound which can extend into this range. One solution is to totally cut this content from these sources, but this will have a nasty side effect of killing some of their harmonic content and making them sound weird. It also likely leads to thin mixes like you were describing, your earlier problem of cutting away too hard in that region. &#xD;&#xA;&#xD;&#xA;My approach with this is to listen to my mix and decide on which instrument I want to have occupy this mid range region (normally with some form of eq visualiser). I will then apply complimentary eq, I will slightly dip the other instruments in that region, unless I am sure they should have no content there - in which case I use a filter or a notch to cut that area out of them. This approach stops them from sounding strange, and still gives a strong mid range to the mix as a whole (Try to avoid cutting more than about 3db over an octave range, this way you shouldnt leave anything too thin).&#xD;&#xA;&#xD;&#xA;As a final note, when you cut 200-300hz across the entire mix, you are actually cutting that range in every instrument, its like applying a cut on them all seperately. This really doesnt solve your problem of having clashing instruments in that range. You will have the same mud, just quieter. An effecient option could be to bus all the other instruments except your chosen one, for that range, together and cut the mid range on those all at once. That would still leave the one instrument in the mid range." ContentLicense="CC BY-SA 3.0" />
  <row Id="43783" PostHistoryTypeId="36" PostId="25096" RevisionGUID="6ddd2e03-c14a-442e-abaa-573dc03d492c" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5225/why-does-the-headset-buddy-3-5-mm-male-to-microphone-and-speaker-female-have-a-s" />
  <row Id="43784" PostHistoryTypeId="36" PostId="25097" RevisionGUID="1803f52e-b829-4a70-880c-1ef0ab6ffb18" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5225/why-does-the-headset-buddy-3-5-mm-male-to-microphone-and-speaker-female-have-a-s/5229#5229" />
  <row Id="43785" PostHistoryTypeId="2" PostId="25097" RevisionGUID="cbcb1bf7-cb01-4ace-831e-dd685d07ebef" CreationDate="2012-11-02T13:27:51.077" UserId="6957" Text="I'm having a tough time understanding what that reviewer is talking about.  &quot;Most headsets use stereo mics.&quot;?!?  A microphone is, in it's nature, mono.  &#xD;&#xA;&#xD;&#xA;The way your adapter is wired, yes, it is just a regular TRRS jack.  Left, Right, Mic, Ground (not necessarily in that order :).  I couldn't find any wiring diagrams for this adapter, but I don't think there's anything fishy going on.&#xD;&#xA;&#xD;&#xA;The adapter he refers to basically doubles the mono signal going into it so that there will be signal _at all_ on the right channel going out of it.  That may just have been necessary for him given the way his next female jack was wired up.  &#xD;&#xA;&#xD;&#xA;Once you get beyond TRS, there are a couple [standards](http://en.wikipedia.org/wiki/TRRS#TRRS_Standards) for how jacks are wired up.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="43786" PostHistoryTypeId="2" PostId="25096" RevisionGUID="1b29a68b-ec78-41df-bffc-5a199cdfaa5f" CreationDate="2012-11-02T04:12:59.473" UserId="7239" Text="I'm looking over this product by [Headset Buddy](http://www.amazon.com/gp/product/B002SK66OY/ref=cm_cd_asin_lnk). Simply, why does [this reviewer](http://www.amazon.com/review/ROWR0RF5LQ7XJ/ref=cm_srch_res_rtr_alt_1) claim the microphone jack is stereo:&#xD;&#xA;&#xD;&#xA;&gt; Mic port has to be stereo. Most headsets use stereo mics, so if you're using it with a headset it won't be a problem, but if you need to use a mono mic you'll have to purchase a &quot;mono to stereo&quot; adapter to use in combination with it - you can find one here: Cables To Go 40634 3.5mm Stereo Male to 3.5mm Mono Female Adapter (Metallic Silver)&#xD;&#xA;&#xD;&#xA;There aren't enough cables here for this to have two stereo channels right? This is just a regular TRRS connection?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43787" PostHistoryTypeId="1" PostId="25096" RevisionGUID="1b29a68b-ec78-41df-bffc-5a199cdfaa5f" CreationDate="2012-11-02T04:12:59.473" UserId="7239" Text="Why does the headset buddy 3.5 mm male to microphone and speaker female have a stereo jack for the microphone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43788" PostHistoryTypeId="3" PostId="25096" RevisionGUID="1b29a68b-ec78-41df-bffc-5a199cdfaa5f" CreationDate="2012-11-02T04:12:59.473" UserId="7239" Text="&lt;stereo&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43789" PostHistoryTypeId="36" PostId="25098" RevisionGUID="12041891-7e3e-48fc-9453-2c42e9f83b90" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8808/using-a-computer-headset-connected-to-a-voice-amplifier" />
  <row Id="43790" PostHistoryTypeId="36" PostId="25099" RevisionGUID="d75b0ec7-33e0-4e44-863a-4e853c36bc3e" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8808/using-a-computer-headset-connected-to-a-voice-amplifier/8810#8810" />
  <row Id="43791" PostHistoryTypeId="2" PostId="25099" RevisionGUID="05ac2330-5d82-45c0-b5f9-1cbe0e6bcd38" CreationDate="2013-08-25T03:55:28.540" UserId="7174" Text="What you need is a pre-amp.  A pre-amp is what takes a mic level signal up to line level.  An amp is what goes from line level to the level necessary to drive speakers.  The amp expects a line level input that it would boost up to speaker level.  The Line output on an amp is generally just a pass through or a duplication of the same signal as came in without any amplification.&#xD;&#xA;&#xD;&#xA;If it is a pass through then it would have no impact.  If it is duplicating it, then the ultra low signal level of a mic level vs a line level would end up adding a lot of noise due to colliding with the noise floor of the hardware duplicating the signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="43792" PostHistoryTypeId="2" PostId="25098" RevisionGUID="8e78232d-dd1d-4276-a8bd-3ca84832cd90" CreationDate="2013-08-24T18:42:29.023" UserDisplayName="hurley" Text="I'm trying to plug a stereo 3.5 mm headset microphone jack to a voice amplifier.&#xD;&#xA;&#xD;&#xA;So, besides being able to connect it directly to the PC, I'd like to be able to connect it first to an amplifier to add gain, and then plug it into the line-in of the PC from the line-out of the amplifier... &#xD;&#xA;&#xD;&#xA;But I'm not able to do it for some reason.&#xD;&#xA;&#xD;&#xA;Adapters won't work, and I even had a technician solder it to a mono plug, but I get strong digital noise and very low and distorted voice sound. &#xD;&#xA;&#xD;&#xA;Is there a work-around for this? Or do headsets with mono mic jack even exist?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43793" PostHistoryTypeId="1" PostId="25098" RevisionGUID="8e78232d-dd1d-4276-a8bd-3ca84832cd90" CreationDate="2013-08-24T18:42:29.023" UserDisplayName="hurley" Text="Using a computer headset connected to a voice amplifier?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43794" PostHistoryTypeId="3" PostId="25098" RevisionGUID="8e78232d-dd1d-4276-a8bd-3ca84832cd90" CreationDate="2013-08-24T18:42:29.023" UserDisplayName="hurley" Text="&lt;stereo&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43795" PostHistoryTypeId="36" PostId="25100" RevisionGUID="7c1b5faf-0748-4903-b200-caa854c24e96" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/758/wiring-a-1-4-headphone-jack-to-headphones" />
  <row Id="43796" PostHistoryTypeId="36" PostId="25101" RevisionGUID="6944edff-514b-483b-b2b6-5e92e8e3d44a" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/758/wiring-a-1-4-headphone-jack-to-headphones/760#760" />
  <row Id="43797" PostHistoryTypeId="36" PostId="25102" RevisionGUID="4b8198ff-2b21-4135-8ea3-f6002c5062f0" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/758/wiring-a-1-4-headphone-jack-to-headphones/786#786" />
  <row Id="43798" PostHistoryTypeId="36" PostId="25103" RevisionGUID="02ffcfce-938b-4c18-880d-d7be21968edf" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/758/wiring-a-1-4-headphone-jack-to-headphones/787#787" />
  <row Id="43799" PostHistoryTypeId="2" PostId="25101" RevisionGUID="1dc7dbb1-65ff-402e-a450-99ab30bc6385" CreationDate="2011-02-05T04:47:17.650" UserDisplayName="d-_-b" Text="I'm not sure if you can find this where you are, but I have this nifty little cable with a 3.5mm on one side and aligator clips on the other side. It's a nice thing for any technicians to have and will help solve your question." ContentLicense="CC BY-SA 2.5" />
  <row Id="43800" PostHistoryTypeId="2" PostId="25102" RevisionGUID="b6f90875-1002-42a6-8a01-bf4c4da24ed5" CreationDate="2011-02-09T18:05:14.750" UserDisplayName="jlebre" Text="If you still have the original 1/8&quot; TRS with a bit of wire coming out, you can test with a multimeter or any other tool with a continuity test of some sort which wire goes to which pin. I am guessing that 2 of them will go to the shield or 1 not even connected at all" ContentLicense="CC BY-SA 2.5" />
  <row Id="43801" PostHistoryTypeId="2" PostId="25103" RevisionGUID="b09c8e1a-f828-4c5b-837d-1772d1c52473" CreationDate="2011-02-09T21:54:12.093" UserId="7209" Text="Take your multimeter, put it on the resistance setting, and figure out what is connected to what.  Put one lead on one wire, and one on the other wire.  You are looking for something that will measure somewhere between 8 and 120 ohms or so.  Basically, anything that is not 0 ohms, and not completely open.&#xD;&#xA;&#xD;&#xA;Chances are your white and black wires will be the speaker on one side, and the red and blue will be the speaker on the other.  From there, it is likely that the black and blue wires are ground, and the red and white are hot.&#xD;&#xA;&#xD;&#xA;Connect the tip to the L+, the ring to the R+, and both grounds to the sleeve.&#xD;&#xA;![headphone pinout][1]&#xD;&#xA;&#xD;&#xA;The only thing wrong is that if this is wrong, you may either invert the polarity, or the L/R.  Neither will break anything, but if one ear is of one polarity, and the other is of the other, it may sound interesting.  That's why it is best to reference the original plug, if you still have it.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Pc03W.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="43802" PostHistoryTypeId="2" PostId="25100" RevisionGUID="583f6aaf-bf51-45df-b1d0-8ea8ac2e6013" CreationDate="2011-02-05T00:35:36.083" UserDisplayName="user473" Text="I've got a pair of Sennheiser HD555 headphones and I'm trying to wire on a 3.5mm connector to the end, and there are 4 wires in the cable. Black, White, Red, Blue. Which ones to I connect to the tip, ring, and sleeve of the connector? I can't really find much around the internet, but I'm probably not looking in the right spot. All I can find is explanations of what T.R.S. are/is." ContentLicense="CC BY-SA 2.5" />
  <row Id="43803" PostHistoryTypeId="1" PostId="25100" RevisionGUID="583f6aaf-bf51-45df-b1d0-8ea8ac2e6013" CreationDate="2011-02-05T00:35:36.083" UserDisplayName="user473" Text="Wiring a 1/4&quot; headphone jack to headphones." ContentLicense="CC BY-SA 2.5" />
  <row Id="43804" PostHistoryTypeId="3" PostId="25100" RevisionGUID="583f6aaf-bf51-45df-b1d0-8ea8ac2e6013" CreationDate="2011-02-05T00:35:36.083" UserDisplayName="user473" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43805" PostHistoryTypeId="36" PostId="25104" RevisionGUID="72a2c57e-8e9d-4eb5-9f9e-950315daefcf" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8028/how-to-i-open-the-vst-instrument-window-in-cubase" />
  <row Id="43806" PostHistoryTypeId="2" PostId="25105" RevisionGUID="983dfa07-4e6a-4b2e-a362-eb01cf680a87" CreationDate="2013-06-02T08:35:40.420" UserId="6755" Text="[Tutorial Video on Cubase VST](http://www.youtube.com/watch?v=ZqMlZ69Buwc)!&#xD;&#xA;&#xD;&#xA;Check out 3.20 - the **Edit Instrument** button is the button you want to press." ContentLicense="CC BY-SA 3.0" />
  <row Id="43807" PostHistoryTypeId="2" PostId="25104" RevisionGUID="095a8272-12ba-41a2-9bb8-cf5cb862299f" CreationDate="2013-06-02T04:35:16.300" UserId="7206" Text="I'm a cubase newbie and I wonder how I open the instrument window for my VST instrument? I want to open the window for an instrument track, the window where I can use filter knobs and the GUI for the software synth. " ContentLicense="CC BY-SA 3.0" />
  <row Id="43808" PostHistoryTypeId="1" PostId="25104" RevisionGUID="095a8272-12ba-41a2-9bb8-cf5cb862299f" CreationDate="2013-06-02T04:35:16.300" UserId="7206" Text="How to I open the VST instrument window in Cubase?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43809" PostHistoryTypeId="3" PostId="25104" RevisionGUID="095a8272-12ba-41a2-9bb8-cf5cb862299f" CreationDate="2013-06-02T04:35:16.300" UserId="7206" Text="&lt;vst&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43810" PostHistoryTypeId="36" PostId="25105" RevisionGUID="943798b2-38c7-412f-b255-b16b54dfdde9" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8028/how-to-i-open-the-vst-instrument-window-in-cubase/8029#8029" />
  <row Id="43811" PostHistoryTypeId="36" PostId="25106" RevisionGUID="b8d71c08-2f9f-4b71-8e7b-819bfd5f94e8" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7235/triggering-a-drum-module-from-recorded-tracks" />
  <row Id="43812" PostHistoryTypeId="36" PostId="25107" RevisionGUID="78216794-9783-4ab5-9abe-ad25ce0d40fe" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7235/triggering-a-drum-module-from-recorded-tracks/7239#7239" />
  <row Id="43813" PostHistoryTypeId="2" PostId="25107" RevisionGUID="9473bce6-1ea3-466b-878e-ef88fd3a4587" CreationDate="2013-02-25T10:59:48.480" UserId="13269" UserDisplayName="Philip Graham" Text="The first thing you will need to do is translate those acoustic tracks to midi. If they are seperate tracks (kick, snare etc on an audio track each) than you could look at drumagog, a plugin available for most sequencers. If you are in logic on a mac you con do a drum replace that will generate you midi notes that you can send via an audio interface to any drum module of your choice. As far as im aware most modern sequencers (cubase, pro tools etc) will have some form of drum replacement option that will translate those hits to midi." ContentLicense="CC BY-SA 3.0" />
  <row Id="43814" PostHistoryTypeId="2" PostId="25106" RevisionGUID="6c2dd829-8678-4f07-86ca-6d0dc7a9ed57" CreationDate="2013-02-24T17:46:53.037" UserDisplayName="user3677" Text="I want to use my recorded acustic drum tracks to trigger a drum module. How can I do this, and what is the best (inexpensive) drum module to use?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="43815" PostHistoryTypeId="1" PostId="25106" RevisionGUID="6c2dd829-8678-4f07-86ca-6d0dc7a9ed57" CreationDate="2013-02-24T17:46:53.037" UserDisplayName="user3677" Text="Triggering a drum module from recorded tracks" ContentLicense="CC BY-SA 3.0" />
  <row Id="43816" PostHistoryTypeId="3" PostId="25106" RevisionGUID="6c2dd829-8678-4f07-86ca-6d0dc7a9ed57" CreationDate="2013-02-24T17:46:53.037" UserDisplayName="user3677" Text="&lt;mixing&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43817" PostHistoryTypeId="36" PostId="25108" RevisionGUID="8947bc0e-f84d-4937-bcb5-04a76fec829c" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2211/what-do-the-pros-look-for-when-shopping-for-quality-pa-speakers" />
  <row Id="43818" PostHistoryTypeId="2" PostId="25109" RevisionGUID="547a68c0-e316-44a3-9b98-5123f3d91037" CreationDate="2011-08-31T03:02:35.543" UserId="2506" Text="Most stores and malls will use an inline array running at 50/70/100 Volts with a VERY bandpassed signal (probably 300Hz-8kHz, not that much more than the audio bandwidth of a telephone call). This allows the signal to be more easily amplified but sacrifices a good deal of fidelity - the speakers will be designed to reproduce the same frequency range for efficiency, but most importantly the *intelligibility* will be preserved as speech falls mostly into the 500Hz to 6kHz band. A good PA system will also contain signal processing for incoming audio, compressing, EQing and bandpassing the signal to make the most of the system's limited bandwidth.&#xD;&#xA;&#xD;&#xA;PA speakers found in shops are usually optimised for directionality and intelligibility over faithful sound reproduction; there's a reason they sound a bit tinny because, at their simplest, they're optimised for reproducing speech in a way that cuts through the general white noise of a store and allows humans to hear it. Off-the-shelf speaker systems or general PA systems won't cut it on their own.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;*Whilst I haven't had the opportunity to shepherd a large PA system build and installation through to reality, I did spend four years at University getting a degree in sound engineerng and production (and some of it stuck ;-) along with a big dollop of practical experience. I've rigged small and medium PAs in odd-shaped venues so I do have some tips to dispense - I welcome comments from more experienced people or people who do this as a day job!*&#xD;&#xA;&#xD;&#xA;I'd consider four things as most technically important when speccing a public address system:&#xD;&#xA;&#xD;&#xA; 1. Drivers' ability to accurately reproduce input signal&#xD;&#xA; 2. Desired directionality of speakers&#xD;&#xA; 3. Flexibility of installation&#xD;&#xA; 4. Discretion of system when installed&#xD;&#xA;&#xD;&#xA;And in terms of the build itself:&#xD;&#xA;&#xD;&#xA; 1. Physical size of venue and capacity&#xD;&#xA; 2. Dimensions of room and desired level(s) of amplification throughout&#xD;&#xA; 3. Intended use of system (you say vocal reinforcement)&#xD;&#xA; 4. The depth of your pockets&#xD;&#xA;&#xD;&#xA;You need to carefully plan out the system if you're covering a warehouse space, compensating for the room acoustic and delays experienced by listeners relative to the speaker's position is critical. Largely empty spaces will ***boom*** and reverberate pretty much as a given (with a *really* long [RT60][1]), so don't forget to get some human bodies in the space if you're auditioning speaker placement and listening positions. &#xD;&#xA;&#xD;&#xA;If you're after flexibility of installation above all else, you might want to consider the compromise of a more discreet but slightly inferior sound quality 50/70/100 Volt array (similar to what you see in some towns or at railway stations etc); the alternative is a fully-fledged line array akin to what you'd see at music concerts, if your space is huge and will be fully populated during performances.&#xD;&#xA;&#xD;&#xA;All options have their pros and cons - I would opt for a line array as (provided you spec it correctly) you can introduce microsecond delays to specific zones to to provide uniform, synchronised amplification of the speaker's voice throughout the venue accounting for propagation delay.&#xD;&#xA;&#xD;&#xA;You need to focus clearly on blocking out the PA - separating speakers into zones, speccing the correct amplification and dealing with placement. There are PA systems you can buy from established manufacturers that deal with specific issues of directionality, awkward mounting positions etc (things like slim profile speaker units, or downward-firing drivers shrouded in clear parabolic reflectors to avoid sound spillage outside of a particular floor area).&#xD;&#xA;&#xD;&#xA;Your budget will be the first question asked of you if you approach a PA company, I suggest you work with a professional installer if the task isn't a simple plug-and-play 'Mackie on stands' job. (As an aside, Bose manufacture their &quot;L1&quot; system, which is essentially an incredibly thin 'soundstick' paired with a sub for bass reinforcement - you might find that suitable for audience-facing sound reinforcement).&#xD;&#xA;&#xD;&#xA;If you want to do it on the cheap - something like Mackie SRM450s - above head height! - will work; getting them above head height on stands and angling them to fire  down over the audience is a useful trick as that'll avoid the front three rows absorbing all of the high frequency sound (resulting in a muffled mush for everyone else). Human bodies are a remarkably effective absorber of sound waves. Also, be careful with your placement - make sure you avoid lots of scatter and reflection from parallel surfaces.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Don't forget to have fun ;-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Reverberation#Reverberation_time" ContentLicense="CC BY-SA 3.0" />
  <row Id="43819" PostHistoryTypeId="2" PostId="25108" RevisionGUID="a2020e00-e72e-481b-acfb-e695e7c4f1f6" CreationDate="2011-08-26T16:17:17.487" UserDisplayName="Kalamane" Text="I'm building a sound system that will be used to pipe high quality audio throughout a warehouse.  It will also be used as a PA (Public Address) System.  Right now I have generic off-the-shelf speakers mounted in various locations, but they sound terrible and even at max volume don't reach everywhere I want them to.&#xD;&#xA;&#xD;&#xA;I'm no expert, but I've heard some pretty good speaker systems at grocery stores and malls.&#xD;&#xA;&#xD;&#xA;As I shop for my replacement speakers, what should I look for?  What do professionals use in grocery stores and other locations?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43820" PostHistoryTypeId="1" PostId="25108" RevisionGUID="a2020e00-e72e-481b-acfb-e695e7c4f1f6" CreationDate="2011-08-26T16:17:17.487" UserDisplayName="Kalamane" Text="What do the pros look for when shopping for quality PA speakers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43821" PostHistoryTypeId="3" PostId="25108" RevisionGUID="a2020e00-e72e-481b-acfb-e695e7c4f1f6" CreationDate="2011-08-26T16:17:17.487" UserDisplayName="Kalamane" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43822" PostHistoryTypeId="36" PostId="25109" RevisionGUID="bfc55c09-dfad-4375-b983-a763a6a7d623" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2211/what-do-the-pros-look-for-when-shopping-for-quality-pa-speakers/2240#2240" />
  <row Id="43823" PostHistoryTypeId="36" PostId="25110" RevisionGUID="10968a7f-276a-4988-95ee-ba403d74d214" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/53/mixing-piano-and-guitar" />
  <row Id="43824" PostHistoryTypeId="36" PostId="25111" RevisionGUID="2f18b8bc-09d8-464e-98c0-fbaee26395a8" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/53/mixing-piano-and-guitar/57#57" />
  <row Id="43825" PostHistoryTypeId="2" PostId="25111" RevisionGUID="5ed2cc96-af02-4dd3-b422-ee1b78804575" CreationDate="2010-12-07T21:29:00.480" UserDisplayName="Skilldrick" Text="Are the two just out of time? If so, then you're either going to have to do some serious audio quantizing work or just re-record.&#xD;&#xA;&#xD;&#xA;Otherwise, there are two basic options. Either EQ them so they're not occupying the same frequency bands, or pan them away from each other. Don't take either of these too far or it'll just sound weird, but a little bit will help separate them." ContentLicense="CC BY-SA 2.5" />
  <row Id="43826" PostHistoryTypeId="2" PostId="25112" RevisionGUID="8f2f1070-6f48-4f18-bb61-445e9d6c8a21" CreationDate="2010-12-07T21:31:19.797" UserDisplayName="davetron5000" Text="Try to find the sweet spot in each and give it a little EQ boost, while cutting that from the other tracks.  Also, cut areas where the tracks have no contribution, e.g. below 100hz for vox/guitar, and above 10khz for the guitar (e.g., you'll have to play with it).&#xD;&#xA;&#xD;&#xA;A more advanced trick is to use side-chaining compression between the vocals and one or both instruments.  Basically you arrange for a compressor on your instrument(s), but key the compressor *not* from the instrument(s) level(s), but from the vocals level.  When the vocals get loud, the instrument(s) will lower their volume dynamically and, if you get it right, musically.&#xD;&#xA;&#xD;&#xA;Generic steps:&#xD;&#xA;&#xD;&#xA;1. Send vox to a bus specifically for keying the side-chained compressor&#xD;&#xA;1. Add the compressor to the track(s) you want to compress&#xD;&#xA;1. Set the key input of the compressor to the bus you set up in #1 (note that not all s/w compressors have this, but the stock Pro Tools compressors do, e.g.)&#xD;&#xA;1. adjust things in the compressor until it sounds right; a good way to start is to set it to SEVERELY compress the instrument tracks so you can actually hear the (exaggerated) effect.  Then dial it back until it sounds good." ContentLicense="CC BY-SA 2.5" />
  <row Id="43827" PostHistoryTypeId="2" PostId="25110" RevisionGUID="c2f5cf71-5571-4983-949e-57a75f1baf60" CreationDate="2010-12-07T21:25:27.497" UserId="7398" UserDisplayName="BenV" Text="I'm trying to blend acoustic guitar and piano as background tracks behind vocals.  Individually, both tracks sound excellent, but when I combine them they step on each other and sound really bad.  &#xD;&#xA;Any tips (EQ, panning, or otherwise) on getting these two instruments to play nice together?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43828" PostHistoryTypeId="1" PostId="25110" RevisionGUID="c2f5cf71-5571-4983-949e-57a75f1baf60" CreationDate="2010-12-07T21:25:27.497" UserId="7398" UserDisplayName="BenV" Text="Mixing piano and guitar" ContentLicense="CC BY-SA 2.5" />
  <row Id="43829" PostHistoryTypeId="3" PostId="25110" RevisionGUID="c2f5cf71-5571-4983-949e-57a75f1baf60" CreationDate="2010-12-07T21:25:27.497" UserId="7398" UserDisplayName="BenV" Text="&lt;mixing&gt;&lt;equalization&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43830" PostHistoryTypeId="36" PostId="25112" RevisionGUID="60f6c850-c343-4dd7-8d08-2273d9205608" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/53/mixing-piano-and-guitar/58#58" />
  <row Id="43831" PostHistoryTypeId="36" PostId="25113" RevisionGUID="4279bc51-a8a0-467a-83af-2144e2f22921" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/53/mixing-piano-and-guitar/76#76" />
  <row Id="43832" PostHistoryTypeId="2" PostId="25113" RevisionGUID="9bad01f2-2e50-4618-83d9-90d181e50ebb" CreationDate="2010-12-07T22:46:56.793" UserDisplayName="Andrew" Text="Simply mixing the guitar and piano tracks at different volumes might help.  Pick one of the two as your primary instrument, and mix it louder.  The other can be mixed quieter (perhaps with a softening effect like chorus or reverb) to provide additional atmosphere." ContentLicense="CC BY-SA 2.5" />
  <row Id="43833" PostHistoryTypeId="36" PostId="25114" RevisionGUID="1a407d0c-b9b1-4c8e-80e6-71feb85e01f5" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8281/how-to-get-hi-hats-in-fl-studio-rewire-in-cubase" />
  <row Id="43834" PostHistoryTypeId="36" PostId="25115" RevisionGUID="bd5fb95d-42fa-42c9-a7f2-940e52c62954" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8281/how-to-get-hi-hats-in-fl-studio-rewire-in-cubase/8330#8330" />
  <row Id="43835" PostHistoryTypeId="2" PostId="25115" RevisionGUID="eeb05ac5-0764-456f-a059-6467eff171b4" CreationDate="2013-07-05T17:19:12.713" UserId="7542" UserDisplayName="Don Nickel" Text="There may be a limitation on the number of channels availible in rewire as well (either on the host side or the client side).&#xD;&#xA;&#xD;&#xA;If the high-hats are sample based, you may be able to pull them into a sampler in Cubase. The same is true for VSTs. FL Studio does have a couple of FL only plug-ins though.&#xD;&#xA;&#xD;&#xA;To move the song data, you might have to create a midi track in FL, copy the patterns to that track, and export the song (while in pattern mode) to MIDI... then import the MIDI track in Cubase.&#xD;&#xA;&#xD;&#xA;Another option is to use FL Studio directly as a VST itself inside of Cubase." ContentLicense="CC BY-SA 3.0" />
  <row Id="43836" PostHistoryTypeId="2" PostId="25114" RevisionGUID="254b919b-df34-44f4-9875-742b3a07149f" CreationDate="2013-07-02T03:03:58.340" UserId="7206" Text="I want to get hihats from fruity loops in cubase with rewire. I can get the kick and other sounds but there is no hihat available. How can I control it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43837" PostHistoryTypeId="1" PostId="25114" RevisionGUID="254b919b-df34-44f4-9875-742b3a07149f" CreationDate="2013-07-02T03:03:58.340" UserId="7206" Text="How to get hi-hats in FL studio rewire in cubase?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43838" PostHistoryTypeId="3" PostId="25114" RevisionGUID="254b919b-df34-44f4-9875-742b3a07149f" CreationDate="2013-07-02T03:03:58.340" UserId="7206" Text="&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43839" PostHistoryTypeId="36" PostId="25116" RevisionGUID="87c67069-5e21-46c1-b033-737d84b0f643" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/613/speakers-to-3-5mm-jack" />
  <row Id="43840" PostHistoryTypeId="2" PostId="25117" RevisionGUID="fc7679c1-8c4b-4a7d-bcee-8aa96f963cb1" CreationDate="2011-01-17T19:06:56.483" UserDisplayName="Bill Gribble" Text="Actually, it *is* just that simple.  If your speakers have a 3.5mm jack as input, they are expecting a headphone-level signal such as an iPod or other PMP output... which is pretty much what's on your mixer's RCA jacks. " ContentLicense="CC BY-SA 2.5" />
  <row Id="43841" PostHistoryTypeId="2" PostId="25116" RevisionGUID="3fd78f72-f775-4d97-a795-0a700c88f35b" CreationDate="2011-01-17T17:04:19.103" UserDisplayName="rmx" Text="wasnt sure whether this was better-suited to the Electronics stackexchange. If so please could you migrate it there?&#xD;&#xA;&#xD;&#xA;I have just moved into a much smaller flat and due to the size, I can't fit my rather large speakers in there. &#xD;&#xA;&#xD;&#xA;Is there any way I can get my mixer (picture) to output to my other (smaller) speakers, which use a single 3.5mm jack??&#xD;&#xA;&#xD;&#xA;I'm pretty sure its not as simple as just plugging one of these in: [http://www.google.co.uk/products/catalog?hl=en&amp;client=firefox-a&amp;q=speaker+cable+to+3.5mm+jack&amp;cid=5277653965180184999&amp;ei=DnU0TZq7GYit-AagrsXoDQ&amp;sa=title&amp;ved=0CAcQ8wIwADgA#p][1] but who knows.&#xD;&#xA;&#xD;&#xA;![][2]&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.co.uk/products/catalog?hl=en&amp;client=firefox-a&amp;q=speaker+cable+to+3.5mm+jack&amp;cid=5277653965180184999&amp;ei=DnU0TZq7GYit-AagrsXoDQ&amp;sa=title&amp;ved=0CAcQ8wIwADgA#p&#xD;&#xA;  [2]: http://i.stack.imgur.com/LvhQU.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="43842" PostHistoryTypeId="1" PostId="25116" RevisionGUID="3fd78f72-f775-4d97-a795-0a700c88f35b" CreationDate="2011-01-17T17:04:19.103" UserDisplayName="rmx" Text="Speakers to 3.5mm jack?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43843" PostHistoryTypeId="3" PostId="25116" RevisionGUID="3fd78f72-f775-4d97-a795-0a700c88f35b" CreationDate="2011-01-17T17:04:19.103" UserDisplayName="rmx" Text="&lt;hardware&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43844" PostHistoryTypeId="36" PostId="25117" RevisionGUID="6bed7101-973c-4d0f-9891-84325109d4b4" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/613/speakers-to-3-5mm-jack/614#614" />
  <row Id="43845" PostHistoryTypeId="36" PostId="25118" RevisionGUID="096c6fda-b62b-4adc-94a4-b0e550878fa2" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9002/app-for-audio-feedback-frequency-detection" />
  <row Id="43846" PostHistoryTypeId="36" PostId="25119" RevisionGUID="011cd56e-b827-43d6-b2b4-873096e231dc" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9002/app-for-audio-feedback-frequency-detection/9004#9004" />
  <row Id="43847" PostHistoryTypeId="36" PostId="25120" RevisionGUID="720dd2ef-4687-45e1-8737-93d6a86ec080" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9002/app-for-audio-feedback-frequency-detection/9005#9005" />
  <row Id="43848" PostHistoryTypeId="2" PostId="25119" RevisionGUID="07aad1ea-a9b8-4d15-ba9c-b8b359519044" CreationDate="2013-09-19T22:50:09.947" UserId="7405" UserDisplayName="Andy aka" Text="I guess the mixer guy, if he's on the ball is probably not going to use it. Here's my reasoning.&#xD;&#xA;&#xD;&#xA;1) If he's got a graphic equalizer to hand then he probably has a bargraph type spectrum analyser. I remember a Klark Teknik one that I used many years ago. It's probably all on a PC nowadays. Same principle though.&#xD;&#xA;&#xD;&#xA;2) If he's done a good job setting up the gig then he may well have used a pink-noise source to drive all the speakers and flattened the response already. I think the modern day trend might be to use a fast swept signal generator going thru all the audio bands.&#xD;&#xA;&#xD;&#xA;I don't want to pour water on your idea - it could certainly work but it's the convenience factor or maybe the inconvenience factor of using an android phone while you're mixing." ContentLicense="CC BY-SA 3.0" />
  <row Id="43849" PostHistoryTypeId="2" PostId="25120" RevisionGUID="8cc1db64-a0bb-416e-8662-e2cdaba72c4a" CreationDate="2013-09-20T01:31:50.933" UserId="7194" Text="&gt; Does the frequency need to be detected exactly or just seletecting its EQ band is sufficient and more interesting?&#xD;&#xA;&#xD;&#xA;Given you know the type of graphical equaliser the SE is facing, it would be much more usable to give the band rather than the frequency. But even more usable would be to show both.&#xD;&#xA;&#xD;&#xA;Please be aware that with real-time Fourier Analysis it is impractical to detect an exact frequency as the process involves bins which are rather low resolution.&#xD;&#xA;&#xD;&#xA;In addition, an issue you'll be facing is that most feedback starts at a low-frequency and quickly becomes high-frequency feedback due to the increase in harmonic content. So feedback detection is often a matter of working out the harmonics rather than a specific frequency.&#xD;&#xA;&#xD;&#xA;This is to say that after a short while, the dominant feedback frequencies may be 1K and 2.5K, but the engineer may actually pull down 500Hz based on noticing this low frequency just when the feedback started.&#xD;&#xA;&#xD;&#xA;&gt; Is for less experienced SEs detecting the corrent band by ear hard (neither fast, not precise) and more more experienced ones a lot easier?&#xD;&#xA;&#xD;&#xA;Yes. Inexperienced SE find it hard to recognised specific frequencies. With training, and with some talent, experienced engineers don't even think about it - they hear feedback and know immediately which band to approach on the GEQ.&#xD;&#xA;&#xD;&#xA;Note however, that engineers are often aware of the usual suspect frequencies from soundcheck.&#xD;&#xA;&#xD;&#xA;&gt; Does even for experienced SEs detection by ear get worse if they're tired after many hours of work and/or would they like to confirm his guess by an exact measurement?&#xD;&#xA;&#xD;&#xA;Anyone who is tired will under perform. But the effect on experienced engineers is little. Alcohol, on the other, will typically increase their response time more noticeably.&#xD;&#xA;&#xD;&#xA;&gt; There exist some general purpose real-time spectrum analyzer hardware units and mobile app. Do you thing a specialized app that would directly tell you the corresponding band on your EQ (in addition to the precise frequency) would be more beneficial?&#xD;&#xA;&#xD;&#xA;Not everyone can afford or work in a place where hardware solutions exist.&#xD;&#xA;&#xD;&#xA;As previously mentioned, feedback detection is not exactly spectrum analysis. So a specialised application would be beneficial.&#xD;&#xA;&#xD;&#xA;&gt; Also there exist some expensive hardware feedback eliminators that automatically adjust the EQ on your behalf. Some people tell that they are too aggressive in killing feedback at the expense of making the sound too dull. Do you thing a more lightweigtht and half-manual thing like a mobile app could serve better?&#xD;&#xA;&#xD;&#xA;Not sure I get this one - will the mobile app have audio in and out and will cut offending frequencies?&#xD;&#xA;&#xD;&#xA;&gt; Do you thing that maintaining the list of feedback frequencies that occured during the live performance would be useful? Eg. to quickly eliminate any of those if it occurs again.&#xD;&#xA;&#xD;&#xA;That depends whether the mic is stationary or not. Most feedback problem are caused when the mic is not stationary. For the former case - it could be beneficial, particularly taking a snapshot of the feedback frequencies from the sound check.&#xD;&#xA;&#xD;&#xA;&gt; Is it important that the feedback detection ignore normal instrument and voice tones that do not make a feedback?&#xD;&#xA;&#xD;&#xA;Normal instruments and voice should not interfere with feedback detection. I'm not sure what you mean by 'ignore'.&#xD;&#xA;&#xD;&#xA;&gt; Is the almost real-time responsiveness (eg. delay of just several milliseconds) really important?&#xD;&#xA;&#xD;&#xA;Several milliseconds is not an issue. Most feedbacks take around a second to build up, and the response of a human being can be between 30 - 500ms (depending on the distance from the fader).&#xD;&#xA;&#xD;&#xA;&gt; Do you think that it is critical that the app just gets along with the built-in microphone or connecting to an auxiliary audio outout from the mixing console is not a problem?&#xD;&#xA;&#xD;&#xA;The built in microphone is likely to distort. Background noise and room reverb could all interfere with the detection process. So a system where the FOH output is connected to the detection device should, in theory at least, work much better.&#xD;&#xA;&#xD;&#xA;&gt; Would a phone or a tablet with bigger screen be better suitable for such an app? Or it doesn't matter?&#xD;&#xA;&#xD;&#xA;Given the context in which it is used, there is a clear benefit for large screens, so a tablet would be better. However, tablets can more easily be stolen, but that's not your issue as a developer.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43850" PostHistoryTypeId="2" PostId="25118" RevisionGUID="ce4e01c9-7037-4713-8434-0d269b643a52" CreationDate="2013-09-19T21:40:48.733" UserDisplayName="Bohumir Zamecnik" Text="For curiosity I've started writing a **mobile application** that would **detect** when there's **audio feedback** on the **live stage** and what's the feedback frequency(ies) so that an sound engineer (SE) can turn down the corresponding **band**(s) on the **EQ**. And I'm wondering if anyone else is interested in this problem. I'm asking myself some questions regarding the fight with feedback. Could you please take a look at them and help me?&#xD;&#xA;&#xD;&#xA; 1. Does the frequency need to be detected exactly or just seletecting its EQ band is sufficient and more interesting?&#xD;&#xA; 2. Is for less experienced SEs detecting the corrent band by ear hard (neither fast, not precise) and more more experienced ones a lot easier?&#xD;&#xA; 3. Does even for experienced SEs detection by ear get worse if they're tired after many hours of work and/or would they like to confirm his guess by an exact measurement?&#xD;&#xA; 4. There exist some general purpose real-time spectrum analyzer hardware units and mobile app. Do you thing a specialized app that would directly tell you the corresponding band on your EQ (in addition to the precise frequency) would be more beneficial?&#xD;&#xA; 5. Also there exist some expensive hardware feedback eliminators that automatically adjust the EQ on your behalf. Some people tell that they are too aggressive in killing feedback at the expense of making the sound too dull. Do you thing a more lightweigtht and half-manual thing like a mobile app could serve better?&#xD;&#xA; 6. Do you thing that maintaining the list of feedback frequencies that occured during the live performance would be useful? Eg. to quickly eliminate any of those if it occurs again.&#xD;&#xA; 7. Is it important that the feedback detection ignore normal instrument and voice tones that do not make a feedback?&#xD;&#xA; 8. Is the almost real-time responsiveness (eg. delay of just several milliseconds) really important?&#xD;&#xA; 9. Do you think that it is critical that the app just gets along with the built-in microphone or connecting to an auxiliary audio outout from the mixing console is not a problem?&#xD;&#xA; 10. Would a phone or a tablet with bigger screen be better suitable for such an app? Or it doesn't matter?&#xD;&#xA;&#xD;&#xA;I'd be very grateful if you could look at those question and answer any one of them? Besides you raise your karma I could fine tune the hand-crafted app to your specific needs and provide you with a early beta versions :)&#xD;&#xA;&#xD;&#xA;Thanks a lot!" ContentLicense="CC BY-SA 3.0" />
  <row Id="43851" PostHistoryTypeId="1" PostId="25118" RevisionGUID="ce4e01c9-7037-4713-8434-0d269b643a52" CreationDate="2013-09-19T21:40:48.733" UserDisplayName="Bohumir Zamecnik" Text="App for audio feedback frequency detection?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43852" PostHistoryTypeId="3" PostId="25118" RevisionGUID="ce4e01c9-7037-4713-8434-0d269b643a52" CreationDate="2013-09-19T21:40:48.733" UserDisplayName="Bohumir Zamecnik" Text="&lt;software&gt;&lt;mixing&gt;&lt;live&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43853" PostHistoryTypeId="36" PostId="25121" RevisionGUID="f807029b-df2e-4950-8ec9-b86ce02b2bfb" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4677/sound-stopped-in-ableton-live-after-3rd-party-program-hear-was-installed" />
  <row Id="43854" PostHistoryTypeId="36" PostId="25122" RevisionGUID="43b0dc8c-2e7d-45be-90c0-1fc5df78f133" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4677/sound-stopped-in-ableton-live-after-3rd-party-program-hear-was-installed/4678#4678" />
  <row Id="43855" PostHistoryTypeId="2" PostId="25122" RevisionGUID="7aa4e899-09ad-403a-9027-c799ffb11d33" CreationDate="2012-09-07T16:44:40.603" UserId="7294" UserDisplayName="Warrior Bob" Text="As written, the question is bordering on too open-ended, but I'll give the most authoritative answer I can given the circumstances.&#xD;&#xA;&#xD;&#xA;To output sound, Ableton Live on OSX generally requires:&#xD;&#xA;&#xD;&#xA;-  Some kind of Core Audio compatible audio interface be chosen as the Audio Output Device in Audio Preferences:&#xD;&#xA;&#xD;&#xA;![Audio Preferences pane][1]&#xD;&#xA;&#xD;&#xA;- That at least one output (preferably at least two, for stereo) be selected under &quot;Output Config&quot; in the same menu:&#xD;&#xA;&#xD;&#xA;![Output Config menu][2]&#xD;&#xA;&#xD;&#xA;- That the audio engine be enabled. This is done by default when you select an interface.&#xD;&#xA;&#xD;&#xA;**This is all that is generally required**. You have suggested all of the major things that are usually wrong in this scenario, so I don't think you've missed anything. Live will deliver the master output audio to the driver for the selected output interface. If this isn't working out, then the problem is most likely outside of Live. If I had to guess, I'd say Hear has done something with the driver, possibly inserting itself and attempting to modify the output stream before it goes out to hardware, and it has some bugs. The [Hear website's recent changes list](http://hear.en.softonic.com/mac) includes &quot;Fixed incompatibilities with certain applications such as GarageBand.&quot; so I'd say this is likely.&#xD;&#xA;&#xD;&#xA;I'm speculating here since I've never used Hear, but if this is indeed the case, the solution is to either reconfigure or fix Hear, or eliminate it entirely. The user has apparently attempted to uninstall it, but the problem has persisted. This may be down to just figuring out how to cleanly uninstall an OSX driver or program, which is a kind of question [better handled at Apple.Stackexchange](http://apple.stackexchange.com/questions/470/how-do-i-uninstall-a-program-completely-on-a-mac) than here.&#xD;&#xA;&#xD;&#xA;Finally, since this is a production site and so it's assumed that this software is being used for production, I imagine it's probably not that good of an idea to use a &quot;bass and ambiance&quot; booster, as that will color the sound you're designing and give you an inaccurate idea of what your recording actually sounds like.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/geAPy.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/fW5yk.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="43856" PostHistoryTypeId="2" PostId="25123" RevisionGUID="8bb07b4c-ef31-402d-aa1f-15c686f366f0" CreationDate="2012-09-22T19:26:13.417" UserDisplayName="james" Text="This happened to me and I fixed ableton by deleting the plugin Hear left behind (i believe it's simply called Hear) under Macintosh HD/Library/Audio/Plug-Ins.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43857" PostHistoryTypeId="2" PostId="25121" RevisionGUID="f9f419d9-29b8-4de1-a5fa-70b39f731968" CreationDate="2012-09-07T15:41:22.110" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="Just reposting this question from Reddit trying to help this dude out&#xD;&#xA;&#xD;&#xA;&gt;I recently downloaded a program called Hear (&lt;http://hear.en.softonic.com/mac&gt;). It boosts many things like bass and ambiance in the output of your mac and makes everything sound nicer. Well I installed it and now Ableton no longer makes sound. It says that the audio engine is off and to turn it on in the preferences. After messing with every possible setting it still will not work. Every other sound on my computer plays fine and yes I have tried to uninstall hear but nothing works. Please someone help, I love Ableton and would hate to not be able to use it. Thank you in advance&#xD;&#xA;&#xD;&#xA;So this is how I responded&#xD;&#xA;&#xD;&#xA;&gt;since you're on mac check to make sure your audio drivers are up to date. do this by clicking the mac symbol in the upper left hand corner and pick the update option, cant remember what exactly it says (may be different depending on version) but it should be one of the first. after it searches for updates click more detail because it may have updates that you don't want, or not have any driver updates at all.&#xD;&#xA;if your driver is up to date try checking your settings in your midi settings. This actually is probably the case as the Hear program, from what you have described, sounds like it has acted as a go between your normal the sound input (any sound the computer would make) and the output (your internal or external speakers).&#xD;&#xA;You can find this by going to your applications folder. Applications/Utilities/Audio Midi Setup&#xD;&#xA;&#xD;&#xA;&gt;from there check to make sure you have your output set to whatever you want the audio to play from. Default is your internal speakers but it sounds like Hear screwed with it. Depending on what version of mac you have it will either be displayed as a selectable option in a drop down or you will just have to doubleclick on the desired output on the left.&#xD;&#xA;&#xD;&#xA;&gt;If you have tried this and it still doesn't work then open up ableton and go open up the preferences. Go into the audio tab. From here make sure your Driver Type is set to CoreAudio, since I believe this is the only type of Mac built in soundcard. Then make sure Built-In Output is selected as the audio output device, or if you are using a midi-interface, select whatever interface it is you own.&#xD;&#xA;&#xD;&#xA;&gt;oh wait. after trying all those steps to no avail, click on the Output Config button and select all options available to start off. If you know how this works you can set it to output how you want, but I'd try them all just to check.&#xD;&#xA;&#xD;&#xA;Anything I left out that he can try? Or does anyone know anything about this Hear program?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43858" PostHistoryTypeId="1" PostId="25121" RevisionGUID="f9f419d9-29b8-4de1-a5fa-70b39f731968" CreationDate="2012-09-07T15:41:22.110" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="Sound stopped in Ableton Live after 3rd party program Hear was installed" ContentLicense="CC BY-SA 3.0" />
  <row Id="43859" PostHistoryTypeId="3" PostId="25121" RevisionGUID="f9f419d9-29b8-4de1-a5fa-70b39f731968" CreationDate="2012-09-07T15:41:22.110" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;ableton&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43860" PostHistoryTypeId="36" PostId="25123" RevisionGUID="5055e40e-6795-4aa4-8bf9-110de1011294" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4677/sound-stopped-in-ableton-live-after-3rd-party-program-hear-was-installed/4811#4811" />
  <row Id="43861" PostHistoryTypeId="36" PostId="25124" RevisionGUID="2e444472-e7a6-4b75-a9ce-370560e41939" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8910/high-impedance-headphone-for-macbook-without-an-amp" />
  <row Id="43862" PostHistoryTypeId="2" PostId="25125" RevisionGUID="ec40cee7-b80e-4b70-af17-7fe94347c7ce" CreationDate="2013-09-07T21:57:09.400" UserId="7174" Text="It depends on the system that is driving them.  Some gear (particularly consumer gear) will start distorting more as it nears it's maximum power output.  On the one hand, you are further away from the noise floor, which means cleaner quiet parts, but on the other hand, if you have to push it so hard that it starts to distort the signal itself, then any gain you achieved is lost.&#xD;&#xA;&#xD;&#xA;If you want to use the higher impedance headphones I suggest that you use a small headphone amplifier or external DAC to power them." ContentLicense="CC BY-SA 3.0" />
  <row Id="43863" PostHistoryTypeId="2" PostId="25124" RevisionGUID="2a8b485c-f14f-4528-9466-bad0f68e8535" CreationDate="2013-09-07T20:26:11.217" UserId="5989" Text="I planned to compose song with my Macbook Pro and I like Beyerdynamic so I choose DT 990 as I wanted to try open back headphone.&#xD;&#xA;&#xD;&#xA;The problem is which impedance to choose?&#xD;&#xA;&#xD;&#xA;I don't plan to buy an amp, directly connecting to MBP is my desired workflow.&#xD;&#xA;&#xD;&#xA;However, as I searching around this is my problem :&#xD;&#xA;&#xD;&#xA;I know that my MBP can drive the lower impedance version louder. But what if on the 250 ohm version, I'm totally satisfy with the lower volume it provides (I'll have to turn up the volume of my computer a bit) This means 250 is better for me? For the reason of &quot;damp factor&quot; I've read.&#xD;&#xA;&#xD;&#xA;In other words, when driving high impedance headphones without an amp is the sound is just lower or some quality is loss? If no quality is loss I would go with higher impedance ones because I'mnot a loud listener.&#xD;&#xA;&#xD;&#xA;This is a quote from Beyerdynamic website's FAQ&#xD;&#xA;&#xD;&#xA;The impedance is determined by the voice coil (dynamic headphones), which is a winded copper wire (coated to avoid a short-circuit). This copper wire is available in nearly every length, but not in every gauge (thickness) and a thicker wire has less resistance than a thin wire (&quot;less fits through&quot;). The magnetic field of the voice coil depends on the number of windings of the coil, causing a low impedance system to use a thicker (also heavier) wire and since the membrane foil can't be infinitely light-weight, the moving mass (voice coil and diaphragm) is relatively high. It's pretty clear that a higher mass can't move as easily (following an audio signal) as a lower mass. This low mass can easily be accomplished with thinner (lower weight) wire, but the thinner wire has a higher impedance. This means that the DT 770 PRO with 250 ohms sound more natural, but plays (depending on the used headphone amplifier) not as loud as the 80 ohms version.&#xD;&#xA;&#xD;&#xA;This suggests the higher impedance ones is better... (but lower volume)" ContentLicense="CC BY-SA 3.0" />
  <row Id="43864" PostHistoryTypeId="1" PostId="25124" RevisionGUID="2a8b485c-f14f-4528-9466-bad0f68e8535" CreationDate="2013-09-07T20:26:11.217" UserId="5989" Text="High impedance headphone for MacBook without an amp?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43865" PostHistoryTypeId="3" PostId="25124" RevisionGUID="2a8b485c-f14f-4528-9466-bad0f68e8535" CreationDate="2013-09-07T20:26:11.217" UserId="5989" Text="&lt;headphones&gt;&lt;impedance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43866" PostHistoryTypeId="36" PostId="25125" RevisionGUID="7460f348-adc8-4c82-8932-2b0d876cb5dc" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8910/high-impedance-headphone-for-macbook-without-an-amp/8911#8911" />
  <row Id="43867" PostHistoryTypeId="36" PostId="25126" RevisionGUID="229139b0-6161-45e3-a4cc-27077248df01" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2086/good-audiophile-headphones" />
  <row Id="43868" PostHistoryTypeId="36" PostId="25127" RevisionGUID="a89b3f86-1e68-4884-b025-7354b8949c21" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2086/good-audiophile-headphones/2514#2514" />
  <row Id="43869" PostHistoryTypeId="36" PostId="25128" RevisionGUID="ce204d86-1fa0-4abf-9787-45b2a581b7c0" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2086/good-audiophile-headphones/2520#2520" />
  <row Id="43870" PostHistoryTypeId="2" PostId="25127" RevisionGUID="9f5500fa-00dd-44d0-a218-9069dc97ead1" CreationDate="2011-10-20T17:34:58.500" UserId="7189" Text="Do you enjoy listening to music on your Bose headphones? If so, stick with them. If not, what don't you like about the Bose headphones?&#xD;&#xA;&#xD;&#xA;I listen with a set of AKG K-240 mkII headphones. They are more comfortable than my previous favorite, the industry standard Sony MDR-7506. I've also got a set of Sony V700-DJ headphones, but those are just painful. At the office or when traveling, I prefer in-ear devices like the Etymotic ER-6i.&#xD;&#xA;&#xD;&#xA;As far as budget goes, how much do you want to spend? Personally, I find that the sweet spot is between USD $100 and $200. I'm not able to notice a difference above $200, so I don't spend more than that. Under $100 you can find some good deals (I got my ER-6i pair on sale for $50 or so) but build quality can suffer.&#xD;&#xA;&#xD;&#xA;Your options are everything out there. You can constrain your options by setting a budget range, or picking closed vs. open, on-ear/in-ear/over-ear, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="43871" PostHistoryTypeId="2" PostId="25128" RevisionGUID="b78d0ecb-e227-4796-b406-3aa127904893" CreationDate="2011-10-21T12:43:34.457" UserId="7309" UserDisplayName="jwernerny" Text="In my efforts to try to strike a balance between price and performance, I finally settled on a set of Koss UR40 headphones.  They are over the ear (surround the ear) headphones.  They run in the $25-$40, depending on where you get them.  I picked them because they seemed to get good reviews, I had owned other Koss headphones in the past that I liked, and I wasn't going to be upset if something happened to them as I took them from home to work to ...&#xD;&#xA;&#xD;&#xA;Sound wise, I am very happy with them.  Bass response, including the bottom end, is there, accurate, and not boomy.  High end response (10+kHz) is nice and crisp without sounding over boosted.&#xD;&#xA;&#xD;&#xA;In the past, I had a set of Bose Quiet Comfort headphones that my previous employer &quot;loaned&quot; people complaining about the noisy work environment.  (When I left there, I had to give them up, although I really liked them.)&#xD;&#xA;&#xD;&#xA;Comparing the Koss UR40 to the Bose is an interesting task: $40 headphones vs. $250+ headphones.  In terms of noise cancelling, the Bose win hands down.  The UR40 lets in a fair amount of ambient noise.  The Bose, well... that's what has made them famous.&#xD;&#xA;&#xD;&#xA;In terms of the reproduced sound, it hard to say which I liked better.  To me, the Bose always seemed like they had a [loudness circuit][1] in them.  By that, I mean the low end and top end seemed to be boosted a bit.  The sound was good without sounding boomy, and I really liked it.  While all of the frequencies are there on the Koss UR40, they response seems flatter, and I find myself dialing in my own loudness. [That's really my preference for the loudness sound.  On a truly flat sound system, I do tend to boost the very bottom lows and tweak up the highs.  I like to feel what I listen too, and I do love bright shiny things.]&#xD;&#xA;&#xD;&#xA;The other difference I found was in what I would call room presence.  (I'm sure there's a better name for it.)  When you listen to something from a pair of speakers placed in the room, the acoustics of the room at something -- a little delay here, a little more response here, *etc.*  When listening on headphones, you don't get the interaction of the sound in the room.  I sometimes call it &quot;flat&quot; or &quot;shallow&quot; -- there is no depth to the sound.  When I was using the Bose, I don't remember noticing that nearly as much if at all.  When I use the Koss UR40s, I do notice it.  I am guessing that there is some extra electronic magic going on with the noise cancelling on the Bose to help solve that issue.&#xD;&#xA;&#xD;&#xA;Speaking of Noise Cancelling: When we were offered a choice of headphones to combat the noisy work environment, I listened to several different brands of noise cancelling headphones.  All of them, including ones from some very well respected manufacturers, left made me feel queasy and slightly spacially disoriented after wearing them for 1/2 hour.  In a couple of units, I could actually hear very high frequency remnants of the noise cancelling algorithms.  (Yes, I do consider myself to have &quot;Golden Ears&quot; :))  The only exception was the Bose Quiet Comfort headphones.  Of the 80 or so of us who tried headphones, only a couple of us had that response, so YMMV.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.extron.com/company/article.aspx?id=loudnesscontrol_ts" ContentLicense="CC BY-SA 3.0" />
  <row Id="43872" PostHistoryTypeId="2" PostId="25126" RevisionGUID="6fe32fbb-56ee-4f46-8c7d-b9a4e35728d2" CreationDate="2011-08-11T02:25:08.037" UserDisplayName="oneself" Text="I've been using [Bose Quiet Comfort][1] headphones for a number of years now.  They've seen better times, and I think it's time to get new headphones.  I think they were pretty good, but I am wondering if I should get a more serious set.  Specifically, I was looking at [Sennheiser][2], but am open to any other company.&#xD;&#xA;&#xD;&#xA; - What should I be looking for in headphones that I would be using at home and at work to listen to music?&#xD;&#xA; - How much is reasonable to spend?&#xD;&#xA; - What are my options?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bose.com/controller?url=/shop_online/headphones/noise_cancelling_headphones/quietcomfort_15/index.jsp&#xD;&#xA;  [2]: http://www.sennheiserusa.com/dynamic-stereo-headphones-audiophile" ContentLicense="CC BY-SA 3.0" />
  <row Id="43873" PostHistoryTypeId="1" PostId="25126" RevisionGUID="6fe32fbb-56ee-4f46-8c7d-b9a4e35728d2" CreationDate="2011-08-11T02:25:08.037" UserDisplayName="oneself" Text="Good Audiophile Headphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="43874" PostHistoryTypeId="3" PostId="25126" RevisionGUID="6fe32fbb-56ee-4f46-8c7d-b9a4e35728d2" CreationDate="2011-08-11T02:25:08.037" UserDisplayName="oneself" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43875" PostHistoryTypeId="36" PostId="25129" RevisionGUID="58b82b7a-0f1d-463b-9f17-ec1102b2bf9f" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7704/identify-sound-effect" />
  <row Id="43876" PostHistoryTypeId="2" PostId="25130" RevisionGUID="4387b399-ad72-4db9-935b-ece0ef2e7c9f" CreationDate="2013-04-21T10:08:35.230" UserId="7016" Text="That is simply a backwards reverb effect - added post production. To get it you used to play the recording backwards through the reverb unit, record the output, and then play the track forwards again.&#xD;&#xA;&#xD;&#xA;With a modern DAW, it is as easy as selecting the section of the track you wish to use backwards reverb on and set the parameters. In this case the mix is quite mild, and the reverb time pretty short." ContentLicense="CC BY-SA 3.0" />
  <row Id="43877" PostHistoryTypeId="2" PostId="25129" RevisionGUID="a0f53da2-c93f-4162-a8e3-3a6719103dd9" CreationDate="2013-04-21T02:00:15.313" UserDisplayName="Chad" Text="What is the sound effect called from ~2:45-2:46 in the Nicki Minaj - High School video?&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=RnpyRe_7jZA" ContentLicense="CC BY-SA 3.0" />
  <row Id="43878" PostHistoryTypeId="1" PostId="25129" RevisionGUID="a0f53da2-c93f-4162-a8e3-3a6719103dd9" CreationDate="2013-04-21T02:00:15.313" UserDisplayName="Chad" Text="Identify Sound Effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="43879" PostHistoryTypeId="3" PostId="25129" RevisionGUID="a0f53da2-c93f-4162-a8e3-3a6719103dd9" CreationDate="2013-04-21T02:00:15.313" UserDisplayName="Chad" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43880" PostHistoryTypeId="36" PostId="25130" RevisionGUID="1c363178-7a62-459d-a1ea-a7c859792f94" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7704/identify-sound-effect/7708#7708" />
  <row Id="43881" PostHistoryTypeId="36" PostId="25131" RevisionGUID="6ccfe662-291a-4de9-a38a-381b728f9dff" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/257/how-to-determine-the-model-of-a-cheap-headset" />
  <row Id="43882" PostHistoryTypeId="2" PostId="25132" RevisionGUID="144db0e8-50ce-4328-be0f-e97de02e1596" CreationDate="2010-12-15T14:50:47.487" UserDisplayName="divided" Text="If you call Plantronics and explain your situation, they should help you.  I've dealt with them before and I haven't had any problems with them." ContentLicense="CC BY-SA 2.5" />
  <row Id="43883" PostHistoryTypeId="2" PostId="25131" RevisionGUID="b9e2212b-5aa6-45d2-8e43-500c900da67b" CreationDate="2010-12-14T01:22:49.613" UserId="13414" UserDisplayName="dgw" Text="I have a low-quality ($20-30) headset I use for recording. It's several years old but still works great... if it weren't for the ear pads. The foam pads are disintegrating.&#xD;&#xA;&#xD;&#xA;Preventing that kind of degradation is something for another question, but my question here is much simpler:&#xD;&#xA;&#xD;&#xA;How can I determine the model of headset I have? It has &quot;Plantronics&quot; molded into the rubber microphone arm, but I can't find a model number anywhere. Is there a good resource for finding out what headset model I have and how to get replacement foam ear pads?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43884" PostHistoryTypeId="1" PostId="25131" RevisionGUID="b9e2212b-5aa6-45d2-8e43-500c900da67b" CreationDate="2010-12-14T01:22:49.613" UserId="13414" UserDisplayName="dgw" Text="How to determine the model of a cheap headset?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43885" PostHistoryTypeId="3" PostId="25131" RevisionGUID="b9e2212b-5aa6-45d2-8e43-500c900da67b" CreationDate="2010-12-14T01:22:49.613" UserId="13414" UserDisplayName="dgw" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43886" PostHistoryTypeId="36" PostId="25132" RevisionGUID="1fefd622-fedc-4df1-8b86-9ffadf05539a" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/257/how-to-determine-the-model-of-a-cheap-headset/283#283" />
  <row Id="43887" PostHistoryTypeId="36" PostId="25133" RevisionGUID="dd0fdfb3-d929-4e4a-bf13-b0775a93871b" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7141/stereo-analyzervisualizer-as-a-vst-plugin" />
  <row Id="43888" PostHistoryTypeId="2" PostId="25134" RevisionGUID="42d0b6dc-9ce2-41be-83d4-8d4b41b86a01" CreationDate="2013-02-14T02:19:54.353" UserId="7189" Text="What you are looking for is often called a [Goniometer][1] or Correlation meter. There are plenty of VST plugins that will display a goniometer view for stereo correlation analysis. Just use your favorite search engine, now that you know the proper terms.&#xD;&#xA;&#xD;&#xA;[This][2] looks like what you are looking for. I don't have any experience with it myself, however.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Goniometer_%28audio%29&#xD;&#xA;  [2]: http://www.fluxhome.com/products/freewares/stereotool" ContentLicense="CC BY-SA 3.0" />
  <row Id="43889" PostHistoryTypeId="2" PostId="25133" RevisionGUID="058c3518-d9c1-4d1e-85a9-c5dca816b299" CreationDate="2013-02-14T00:45:40.760" UserDisplayName="Anton Cherkashyn" Text="I recently saw [this video][1] about stereo field. The author is using Stereo Analyzer feature of the `Inspector XL` software to visualize the resulting stereo effect, this is what it looks like:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;Unfortunately, this software has been discontinued, and was never available in 32 bit version, which makes it impossible for me to use it. Are there any other tools, preferably in a form of a VST plugin, that can visualize stereo field?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=ZvSooaUgVQw&#xD;&#xA;  [2]: http://i.stack.imgur.com/AupoP.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="43890" PostHistoryTypeId="1" PostId="25133" RevisionGUID="058c3518-d9c1-4d1e-85a9-c5dca816b299" CreationDate="2013-02-14T00:45:40.760" UserDisplayName="Anton Cherkashyn" Text="Stereo analyzer(visualizer) as a VST plugin" ContentLicense="CC BY-SA 3.0" />
  <row Id="43891" PostHistoryTypeId="3" PostId="25133" RevisionGUID="058c3518-d9c1-4d1e-85a9-c5dca816b299" CreationDate="2013-02-14T00:45:40.760" UserDisplayName="Anton Cherkashyn" Text="&lt;vst&gt;&lt;stereo&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43892" PostHistoryTypeId="36" PostId="25134" RevisionGUID="9c13ecb7-fd72-40df-a881-109a6a6ee75e" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7141/stereo-analyzervisualizer-as-a-vst-plugin/7143#7143" />
  <row Id="43893" PostHistoryTypeId="36" PostId="25135" RevisionGUID="0b7df28a-4c95-4d2e-a3da-9ae3909af667" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/204/automatic-crossfades-after-comping-a-track" />
  <row Id="43894" PostHistoryTypeId="36" PostId="25136" RevisionGUID="b8501b57-759c-4f14-a003-26e8069a9fcf" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/204/automatic-crossfades-after-comping-a-track/340#340" />
  <row Id="43895" PostHistoryTypeId="2" PostId="25136" RevisionGUID="caa51964-b97e-49b1-854f-9f1d94e124c2" CreationDate="2010-12-17T05:12:54.127" UserDisplayName="Laura" Text="I might be misunderstanding the question, but to automatically create fades, simply highlight any regions you want included, and hit command-f.  The regions need to be touching obviously.  Hope this helps.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="43896" PostHistoryTypeId="2" PostId="25137" RevisionGUID="06981bce-7797-4a74-9fbf-f97600576dac" CreationDate="2011-02-15T07:51:28.053" UserDisplayName="jlebre" Text="Yes, if you have your comped playlist, just drag selecting the whole thing (triple click with selector tool will highlight all the regions in the playlist - first to last) then hit command-F.&#xD;&#xA;&#xD;&#xA;Now, regardless of if the points actually hit on the right places, seems to me that it's a bit dangerous to do so. I find that the safest place to create a crossfade would be in the middle of words, next to plosives or T's, etc. (not nasal or long open vowels). Doing crossfades between words of different takes usually becomes really apparent - either the singer stood away of the microphone on that particular take, or he/she is more tired (say, first take of the day and last as an extreme example). the time you'd spend re tweeking could be longer than creating the fades on the right place first time around?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43897" PostHistoryTypeId="2" PostId="25135" RevisionGUID="d6073202-29b5-4747-b14a-a409c906c184" CreationDate="2010-12-09T23:43:48.080" UserId="7398" UserDisplayName="BenV" Text="I'm using Pro Tools' comping feature to use pieces of multiple takes.  Can I make Pro Tools automatically create crossfades on the transition points between regions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43898" PostHistoryTypeId="1" PostId="25135" RevisionGUID="d6073202-29b5-4747-b14a-a409c906c184" CreationDate="2010-12-09T23:43:48.080" UserId="7398" UserDisplayName="BenV" Text="Automatic crossfades after comping a track" ContentLicense="CC BY-SA 2.5" />
  <row Id="43899" PostHistoryTypeId="3" PostId="25135" RevisionGUID="d6073202-29b5-4747-b14a-a409c906c184" CreationDate="2010-12-09T23:43:48.080" UserId="7398" UserDisplayName="BenV" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43900" PostHistoryTypeId="36" PostId="25137" RevisionGUID="4c3646bd-77a9-4ada-9037-0d37e3762e80" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/204/automatic-crossfades-after-comping-a-track/818#818" />
  <row Id="43901" PostHistoryTypeId="36" PostId="25138" RevisionGUID="12743789-4c65-4268-a8c0-f134a0c2f2b4" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5750/what-books-and-resources-can-help-me-better-understand-my-daw" />
  <row Id="43902" PostHistoryTypeId="2" PostId="25139" RevisionGUID="1845b6dd-2db3-4e7f-8241-5e0b18fcc91b" CreationDate="2013-01-05T02:12:27.633" UserId="7225" Text="With Josh's comment in  mind I try to at least narrow down the answer -&#xD;&#xA;&#xD;&#xA;&gt; Audio bus&#xD;&#xA;&#xD;&#xA;This is an [auxiliary audio channel][1] (or track). Instead of adjusting each individual channel you have (one for each track) you can send the output of tracks, or create a group that contains selected tracks, and send the mixed output of these to a *audio bus*. This allow you to set effects and adjustment on the bus once instead of the same settings for each individual channel.&#xD;&#xA;&#xD;&#xA;&gt; mastering&#xD;&#xA;&#xD;&#xA;Is the [process of finalizing the mixed down track][2] (output of all) for commercial usage. This is where you increase the output gain, adjust the EQ and so forth. Normally this process is *not* performed by the mixing engineer or producer, &quot;you&quot; in most cases. Usually a track is sent off to mastering experts as this is its own art on its own.&#xD;&#xA;&#xD;&#xA;&gt; automation &#xD;&#xA;&#xD;&#xA;[Automation is a tool to help &quot;record&quot; fader movements, plugin settings][3] so they &quot;move around by themselves&quot; when playing back the tracks. this way you don't have to remember all settings for each playback or have 20 hands to adjust everything at once.&#xD;&#xA;&#xD;&#xA;It's kind of programming the settings but with visual aided tools. The data can be stored with the project and when you playback you will know that all settings will be adjusted exactly the same way - every time.&#xD;&#xA;&#xD;&#xA;&gt; latency&#xD;&#xA;&#xD;&#xA;[Latency, or delay][4], is a term used to describe the delay it takes for a sound to get through the audio hardware and to the loudspeakers. The more latency the more delay you will experience. The lower the better. This also affect MIDI as when a note is played it will take some time before the sound produced by the soft-synth gets to the speakers.&#xD;&#xA;&#xD;&#xA;The reason for high latency is  based on hardware capabilities and drivers. The better hardware and drivers, the lower latency there will be. The goal is always to get as close to 0 as possible.&#xD;&#xA;&#xD;&#xA;&gt; I can set the MIDI program change number for a track but when is that sent out?&#xD;&#xA;&#xD;&#xA;[MIDI data is a stream of bytes sent from the DAW to the MIDI port][5]. These are sent as packets containing various data. Some are for the note being played (ie. C#), others is to change programs and so forth. Consider the packets as commands to the synth.&#xD;&#xA;&#xD;&#xA;It's sent when the sequencer comes to the point which such data is stored.&#xD;&#xA;&#xD;&#xA;&gt; What's the difference between adjusting the volume and trimming?&#xD;&#xA;&#xD;&#xA;Both are the same. Trimming is perhaps a more detailed process of adjusting, to fine tune if you will. The goal is to avoid clipping/distortion in the final mix. It's normal to start with a low setting such as -15 dB to -10 dB and then &quot;trim&quot; while more tracks are added.&#xD;&#xA;&#xD;&#xA;If you work in 32-bit float mode in your DAW these settings affect the quality in a very small degree.&#xD;&#xA;&#xD;&#xA;Trimming can also be used with EQ settings to trim of high and low frequencies to allow more room for other frequencies. &#xD;&#xA;&#xD;&#xA;&gt; How can I increase the volume of a track without distorting the audio?&#xD;&#xA;&#xD;&#xA;See point above with mastering.&#xD;&#xA;&#xD;&#xA;If mastering isn't an option, try by adding [compressor][6] (dynamic range, not the data) and [limiter][7] (in principle they are the same, but they have different approaches). Play with pre-settings from the plugins and adjust as you want.&#xD;&#xA;&#xD;&#xA;The compressor will make the sound more even while the limiter is the one adding loudness to the whole mix.&#xD;&#xA;&#xD;&#xA;An un-mastered track will in many cases sound flat. When you deliver a mixed track for mastering the max volume is often low, in the range -4 to -3 dB. This is normal.&#xD;&#xA;&#xD;&#xA;&gt; How do audio effects and VST plugins work&#xD;&#xA;&#xD;&#xA;Audio produced by the DAW is buffered and delivered to the plugin. The plugin process it based on resolution and frequency and delivers back the buffer to the DAW which then forwards it to the driver for the sound card (ASIO driver in most cases).&#xD;&#xA;&#xD;&#xA;Most DAW allow to set EQ before or after it has been processed by the plugin.&#xD;&#xA;&#xD;&#xA;See also:  &#xD;&#xA;http://www.soundonsound.com/sos/dec00/articles/vst.asp&#xD;&#xA;&#xD;&#xA;  [1]: https://en.wikipedia.org/wiki/Mixing_console#Structure&#xD;&#xA;  [2]: https://en.wikipedia.org/wiki/Audio_mastering&#xD;&#xA;  [3]: https://en.wikipedia.org/wiki/Mix_automation&#xD;&#xA;  [4]: https://en.wikipedia.org/wiki/Latency_%28audio%29&#xD;&#xA;  [5]: http://entertainment.howstuffworks.com/midi2.htm&#xD;&#xA;  [6]: https://en.wikipedia.org/wiki/Dynamic_range_compression&#xD;&#xA;  [7]: https://en.wikipedia.org/wiki/Dynamic_range_compression#Limiting" ContentLicense="CC BY-SA 3.0" />
  <row Id="43903" PostHistoryTypeId="2" PostId="25138" RevisionGUID="77721e4a-f419-45f4-8107-a7c5e15d4c88" CreationDate="2013-01-04T21:19:41.227" UserId="7267" UserDisplayName="marczellm" Text="For some years now I have been occasionally recording music. The DAW I have is an older version of Cakewalk Sonar (8.5 LE I think). I can already record MIDI tracks from my keyboards, edit and/or create MIDI events and turn them into audio tracks with soft synths or rather send the MIDI back to the keyboard and record the audio output. I can also add effects and recognize the difference in the output. Then export to WAV or MP3.&#xD;&#xA;&#xD;&#xA;However it bothers me that I don't really understand what's going on. The program and its not very informative Help (and all the forums) uses a lot of unfamiliar terms like *audio bus* or *mastering* or *automation* or *latency*. I can set the MIDI program change number for a track but when is that sent out? What's the difference between adjusting the volume and *trimming*? How can I increase the volume of a track without distorting the audio? How do audio effects and VST plugins work (a bit deeper than 'click here to add reverb')? It's such a tangled web that I feel more comfortable doing everything on a synth's built-in sequencer.&#xD;&#xA;&#xD;&#xA;Can someone point me to a guide to *understanding* DAW software (as opposed to a quick tutorial on just *using* it)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43904" PostHistoryTypeId="1" PostId="25138" RevisionGUID="77721e4a-f419-45f4-8107-a7c5e15d4c88" CreationDate="2013-01-04T21:19:41.227" UserId="7267" UserDisplayName="marczellm" Text="What books and resources can help me better understand my DAW?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43905" PostHistoryTypeId="3" PostId="25138" RevisionGUID="77721e4a-f419-45f4-8107-a7c5e15d4c88" CreationDate="2013-01-04T21:19:41.227" UserId="7267" UserDisplayName="marczellm" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43906" PostHistoryTypeId="36" PostId="25139" RevisionGUID="42c50ad6-3527-4c54-9d76-c3673a7f5d95" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5750/what-books-and-resources-can-help-me-better-understand-my-daw/5753#5753" />
  <row Id="43907" PostHistoryTypeId="36" PostId="25140" RevisionGUID="9f91f379-2f4d-4a56-9d8d-a246428d8598" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5750/what-books-and-resources-can-help-me-better-understand-my-daw/6918#6918" />
  <row Id="43908" PostHistoryTypeId="36" PostId="25141" RevisionGUID="55e7c5c5-1f5f-4076-b973-3915aec75610" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5750/what-books-and-resources-can-help-me-better-understand-my-daw/6937#6937" />
  <row Id="43909" PostHistoryTypeId="2" PostId="25141" RevisionGUID="57556656-1522-4270-a464-33ea248f67e3" CreationDate="2013-01-24T15:44:08.360" UserDisplayName="Taoist" Text="I operate this website: http://en.wikiaudio.org hope it helps" ContentLicense="CC BY-SA 3.0" />
  <row Id="43910" PostHistoryTypeId="2" PostId="25140" RevisionGUID="bdc3ac8e-4bdb-4c2a-92bc-7e63977b09c0" CreationDate="2013-01-23T14:37:58.467" UserId="7176" Text="[dubstepforum.com][1] has a &quot;[Dubstep Production Bible](http://www.dubstepforum.com/viewtopic.php?t=14797&amp;start=0)&quot;. I've looked through it and although there are some dubstep specific chapters it contains a lot information that applies to music production in general.&#xD;&#xA;&#xD;&#xA;The linked page also contains a chapter with links to music production books and magazines. I think the [books section](http://www.dubstepforum.com/viewtopic.php?t=54804) is relevant for the question.  &#xD;&#xA;One book is recommended on dubstepforum.com as a&#xD;&#xA;&#xD;&#xA;&gt; *Really*, *really*, *really* good book!&#xD;&#xA;&#xD;&#xA;and by looking at the webpage of [The Computer Music Tutorial by Curtis Roads](http://mitpress.mit.edu/books/computer-music-tutorial) it seems that it will cover your needs.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA; -- *I am not associated with dubstepforum.com or with the publisher of Curtis Roads.*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dubstepforum.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="43911" PostHistoryTypeId="36" PostId="25142" RevisionGUID="637e5bad-86fe-46a6-994b-4f31458315a5" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4508/legality-of-sound-bites" />
  <row Id="43912" PostHistoryTypeId="2" PostId="25143" RevisionGUID="c8ca4bb3-609e-45e9-83a7-7bb5300333d3" CreationDate="2012-08-05T12:08:32.007" UserId="7016" Text="You are required to gain clearance, otherwise the owner of that sample could demand payment from you. &#xD;&#xA;&#xD;&#xA;From [this useful article on emusician.com][1]:&#xD;&#xA;&#xD;&#xA;&gt; Sampling potentially violates the law regarding two separate&#xD;&#xA;&gt; copyrights, the copyright of the musical composition (the PA&#xD;&#xA;&gt; Copyright) and the copyright of the sound recording (SR Copyright).&#xD;&#xA;&gt; You need to obtain the permission of those copyright holders before&#xD;&#xA;&gt; using the original song or master. The process of getting that&#xD;&#xA;&gt; permission is known as clearing the sample.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.emusician.com/career/0983/sampling-and-copyright---how-to-obtain-permission-to-use-samples/145303" ContentLicense="CC BY-SA 3.0" />
  <row Id="43913" PostHistoryTypeId="2" PostId="25142" RevisionGUID="dd6971da-7965-412d-894d-3de200e1bd92" CreationDate="2012-08-02T23:25:00.187" UserId="7236" Text="In some dance songs, there are sound bites used before the break (drop). Do sound bites fall under fair use, or does a producer need permission to use them legally?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43914" PostHistoryTypeId="1" PostId="25142" RevisionGUID="dd6971da-7965-412d-894d-3de200e1bd92" CreationDate="2012-08-02T23:25:00.187" UserId="7236" Text="Legality of Sound Bites" ContentLicense="CC BY-SA 3.0" />
  <row Id="43915" PostHistoryTypeId="3" PostId="25142" RevisionGUID="dd6971da-7965-412d-894d-3de200e1bd92" CreationDate="2012-08-02T23:25:00.187" UserId="7236" Text="&lt;sound-effects&gt;&lt;legal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43916" PostHistoryTypeId="36" PostId="25143" RevisionGUID="8917cc9b-28a1-4ce3-bf8b-0eca06298d90" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4508/legality-of-sound-bites/4519#4519" />
  <row Id="43917" PostHistoryTypeId="36" PostId="25144" RevisionGUID="56a1627c-1b23-45d5-8ecc-7e449da12902" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4508/legality-of-sound-bites/7543#7543" />
  <row Id="43918" PostHistoryTypeId="2" PostId="25144" RevisionGUID="335a9d2f-8cf9-44a6-9a1a-ba31ff084140" CreationDate="2013-03-30T12:09:27.443" UserId="7449" UserDisplayName="Andrew Prentice" Text="Another option would be to ask those artists where they found those royalty-free samples. Though there are sample collections that are sold on CD or DVD, there are also repositories of sound bites and samples that are in the public domain. One excellent source is the [Prelinger Archives][1]. Another is [freesound.org][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://archive.org/details/prelinger&#xD;&#xA;  [2]: http://freesound.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="43919" PostHistoryTypeId="36" PostId="25145" RevisionGUID="f9280516-1521-4784-a86c-56864571948a" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/230/unmute-d-command-on-startup" />
  <row Id="43920" PostHistoryTypeId="2" PostId="25146" RevisionGUID="c9e42ba9-539f-42da-b3e1-6f1208bcecbd" CreationDate="2010-12-13T20:46:27.373" UserId="7294" UserDisplayName="Warrior Bob" Text="From what I understand this behavior is by design and cannot be changed.  &#xD;&#xA;&#xD;&#xA;It's to prevent sending sudden spikes of voltage into monitors or amplifiers, and to protect your ears in the case of something like feedback that you didn't expect." ContentLicense="CC BY-SA 2.5" />
  <row Id="43921" PostHistoryTypeId="2" PostId="25145" RevisionGUID="8cd2b068-b541-478c-a986-dd6c4888bfd6" CreationDate="2010-12-11T02:58:04.093" UserId="7398" UserDisplayName="BenV" Text="Every time I start up the D-Command the main output is muted by default.  How can I make it start up unmuted?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43922" PostHistoryTypeId="1" PostId="25145" RevisionGUID="8cd2b068-b541-478c-a986-dd6c4888bfd6" CreationDate="2010-12-11T02:58:04.093" UserId="7398" UserDisplayName="BenV" Text="Unmute D-Command on startup" ContentLicense="CC BY-SA 2.5" />
  <row Id="43923" PostHistoryTypeId="3" PostId="25145" RevisionGUID="8cd2b068-b541-478c-a986-dd6c4888bfd6" CreationDate="2010-12-11T02:58:04.093" UserId="7398" UserDisplayName="BenV" Text="&lt;pro-tools&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43924" PostHistoryTypeId="36" PostId="25146" RevisionGUID="033ee4c3-bb06-4031-901b-bdd6c9ade8d8" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/230/unmute-d-command-on-startup/251#251" />
  <row Id="43925" PostHistoryTypeId="36" PostId="25147" RevisionGUID="87e1cc76-2ebe-4711-bbd1-d2385708b485" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/336/sound-system-noise-from-lighting-system" />
  <row Id="43926" PostHistoryTypeId="36" PostId="25148" RevisionGUID="6198b81e-06d6-4f9d-bab6-8710a3e90649" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/336/sound-system-noise-from-lighting-system/337#337" />
  <row Id="43927" PostHistoryTypeId="36" PostId="25149" RevisionGUID="87785538-694d-4657-9e86-159a120eae2b" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/336/sound-system-noise-from-lighting-system/338#338" />
  <row Id="43928" PostHistoryTypeId="36" PostId="25150" RevisionGUID="87a413b7-316c-41da-bce2-01bc49fe61a2" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/336/sound-system-noise-from-lighting-system/369#369" />
  <row Id="43930" PostHistoryTypeId="36" PostId="25152" RevisionGUID="e6b0a10f-6c0c-4846-9c6c-4881875eabdd" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/336/sound-system-noise-from-lighting-system/9049#9049" />
  <row Id="43931" PostHistoryTypeId="2" PostId="25148" RevisionGUID="396d08cb-03df-4a5c-ac9e-31f93fcf4007" CreationDate="2010-12-17T03:17:08.220" UserId="8064" UserDisplayName="Rich Bruchal" Text="I think trying to mix around this will be an exercise in frustration - your best bet is to try to fix the problem at the source. The dimmers (and/or associated cabling) are the most obvious likely source of the buzz. Even if the snake you're running has balanced lines, I'd want to move it away from them. And the other cables as well - if there are unbalanced line level cables going through there they can pick up buzz.&#xD;&#xA;&#xD;&#xA;Ideally, I'd want all the audio cabling on the other side of the theater from the lighting stuff. But if that's not possible, take a look at where some of the audio cabling is lying in relation to the dimmer packs &amp; lighting cables. If you can move them apart even by a foot or two, or arrange things so they are not running in parallel, you may be able to reduce the buzz significantly. You may have to experiment a bit to see which lines are causing the buzz - it may end up being more than one. With some luck, you may be able to solve the issue for now without rewiring. But I'd still lobby to reroute all the audio cables." ContentLicense="CC BY-SA 2.5" />
  <row Id="43932" PostHistoryTypeId="2" PostId="25149" RevisionGUID="8736467c-6787-4768-bd43-b67cb520fba6" CreationDate="2010-12-17T03:59:17.650" UserDisplayName="chris" Text="There are two possible causes (that I can think about) that would introduce lighting-related noise.  Determining the cause is difficult - once you know why, you can determine the steps to take to eliminate it.&#xD;&#xA;&#xD;&#xA;The first possible cause is RF (usually from dimmers) being picked up by some of the wiring.  If you suspect this is the cause, you can determine where it's coming from by a process of elimination.  I'd start at the amps and work my way back.  Is the noise there if the inputs to the amps are unplugged?  Are there crossovers, etc?&#xD;&#xA;&#xD;&#xA;If you can determine the source of the noise, the next thing to eliminate would be noise introduced via the power.  This won't work for amps, or anything that draws a lot of current, but if the noise is coming from the board, crossovers, EQs or similar low-current electronics, try running them off a good quality UPS - something that generates the power off the batteries would be ideal.&#xD;&#xA;&#xD;&#xA;You might get lucky, and narrow it down to a single source, but my guess is that its systematic - you can do lots of things to reduce it slightly, but short of rewiring the building you're going to have to live with it.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43933" PostHistoryTypeId="2" PostId="25150" RevisionGUID="6141172c-e100-4fb6-a3d6-77b16aef46f1" CreationDate="2010-12-18T20:49:06.450" UserId="7202" Text="As you mentioned, boosting the signal is essential. That's really sound engineering rule one, the signal should *always* be as high as possible without distorting in all parts of the chain.&#xD;&#xA;&#xD;&#xA;What's worked for me to minimize hum and buzz, in order of usefulness:&#xD;&#xA;&#xD;&#xA;1. Move signal cables away from power cables and power equipment (especially fluorescent lamps).&#xD;&#xA;2. Every signal that can go through a balanced cable should go through a balanced cable.&#xD;&#xA;3. Try to see if you can find which signal cables, if any, are the noisiest, and stop using them.&#xD;&#xA;4. Make sure the cable shielding is properly connected to ground.&#xD;&#xA;5. If you have a device that introduce buzz/hum and it uses a &quot;wall wart&quot;, make sure that's a good quality power adapter. Many cheaper adapters that output for example 9VDC will not filter away the 50/60Hz signal properly. I had this problem with a Boss compressor, but noticed that it didn't appear when I used the original Boss power adapter.&#xD;&#xA;6. Flip the power cables for all sound equipment around 180 degrees, one device at a time, so the &quot;left&quot; pin goes in the &quot;right&quot; hole, so to speak. Listen if it makes a difference.&#xD;&#xA;(This doesn't work in all countries).&#xD;&#xA;7. See if you can find exactly which devices that introduce most noise. Try putting power conditioners / hum filters on these devices.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43935" PostHistoryTypeId="2" PostId="25152" RevisionGUID="f110990f-94a4-493e-8898-b0e2809fb0bb" CreationDate="2013-09-24T23:53:37.153" UserDisplayName="AudiomanNH" Text="The fix to this is to isolate the audio system's AC from the lighting system's AC. This can be done professionally and with some expense with a large isolation transformer, but on a budget or on the fly, try to get the audio and lighting systems on separate circuits and if possible, on separate legs.  Also, I've been in situations where the lighting controller was located too close to the mixing console and it caused interference." ContentLicense="CC BY-SA 3.0" />
  <row Id="43936" PostHistoryTypeId="2" PostId="25147" RevisionGUID="3ea5bb44-497c-424a-844e-8ca73a6a226a" CreationDate="2010-12-17T02:36:35.183" UserId="13414" UserDisplayName="dgw" Text="I'm doing a lot of work in a relatively old theatre this year. The space is part of a church that probably hasn't put any money into maintenance and upgrades for the theatre (except for light bulbs, which we sometimes have to beg for anyway) in over a decade.&#xD;&#xA;&#xD;&#xA;Part of the space's oldness is antiquated wiring. I'm told by veterans of the space that electrical noise will come through the power system and get into the sound system. I've heard it, and sometimes it's impossible to tell where it's coming from. Supposedly, a hair dryer plugged in at the other end of the building can cause interference in the theatre.&#xD;&#xA;&#xD;&#xA;The biggest problem, though, seems to be the lighting system. When I turn the sound system on before a show (following dimmer check, but before any lights are brought up), there's no noticeable buzz in the speakers. As soon as I hit the pre-show light cue, though, a buzz shows up.&#xD;&#xA;&#xD;&#xA;When the lights cross-fade, the buzz modulates. I haven't been able to figure out what to do about the problem—not that I have much sound experience, but the guy who's been doing it for years just chalks it up to the space.&#xD;&#xA;&#xD;&#xA;His normal setup includes a large umbilical cable running from the mixing board in the booth to the speakers and amps on- and backstage. That cable runs along a wall about ten feet up; on the other side of the wall are the two Strand CD80 dimmer racks that house the theatre's 48 dimmers. There are also usually power and signal cables for the amps and speakers running across the floor near the racks.&#xD;&#xA;&#xD;&#xA;I've managed to mitigate most of the buzz in the house by turning down the speakers and boosting the amplification (so the overall output is reduced, but the signal is stronger compared to the noise). But there's still a noticeable buzz during silences, and it comes through quite loudly over the monitors.&#xD;&#xA;&#xD;&#xA;Are there any mixing techniques that can further reduce or eliminate (ha!) the audible component of the interference, or do I need to recommend an overhaul of the equipment inventory and standard setup procedures?" ContentLicense="CC BY-SA 2.5" />
  <row Id="43937" PostHistoryTypeId="1" PostId="25147" RevisionGUID="3ea5bb44-497c-424a-844e-8ca73a6a226a" CreationDate="2010-12-17T02:36:35.183" UserId="13414" UserDisplayName="dgw" Text="Sound system noise from lighting system" ContentLicense="CC BY-SA 2.5" />
  <row Id="43938" PostHistoryTypeId="3" PostId="25147" RevisionGUID="3ea5bb44-497c-424a-844e-8ca73a6a226a" CreationDate="2010-12-17T02:36:35.183" UserId="13414" UserDisplayName="dgw" Text="&lt;live&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43939" PostHistoryTypeId="36" PostId="25153" RevisionGUID="fcd7fc3f-2323-4c17-881f-6122603f9b33" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7095/running-two-different-versions-of-the-same-vst-instrument-at-the-same-time" />
  <row Id="43940" PostHistoryTypeId="2" PostId="25153" RevisionGUID="3bec2f99-c15f-4a44-b394-3a34ad6400fe" CreationDate="2013-02-10T00:05:32.180" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="I've been trying to set up my DAWs (specifically Ableton and FL Studio) so that I could have two working versions of the same SoftSynth running at the same time. Specifically the ones I've been trying to do are Native Instruments Massive versions 1.1.5 and 1.3 and FM8 1.1.1 and 1.2.1. &#xD;&#xA;&#xD;&#xA;The reason I'm doing this is because when Native Instruments updated these two synths, they created new filetypes for the presets which don't work in the old versions. This causes a lot of strain when I'm trying to collaborate with another artist who still has an older version.&#xD;&#xA;&#xD;&#xA;Every time I reinstall an older version, after apending the version to the dll files, the newer version will still show up but won't work.&#xD;&#xA;&#xD;&#xA;Is this possible to do on a windows PC?&#xD;&#xA;&#xD;&#xA;**EDIT:**&#xD;&#xA;&#xD;&#xA;I got both to work in FL Studio but now neither is showing up in Ableton. To get both working in FL Studio, I first installed the older versions. Then I renamed their dll and other files with their version. Then I installed the current versions and it worked." ContentLicense="CC BY-SA 3.0" />
  <row Id="43941" PostHistoryTypeId="1" PostId="25153" RevisionGUID="3bec2f99-c15f-4a44-b394-3a34ad6400fe" CreationDate="2013-02-10T00:05:32.180" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="running two different versions of the same VST instrument at the same time" ContentLicense="CC BY-SA 3.0" />
  <row Id="43942" PostHistoryTypeId="3" PostId="25153" RevisionGUID="3bec2f99-c15f-4a44-b394-3a34ad6400fe" CreationDate="2013-02-10T00:05:32.180" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;daw&gt;&lt;windows&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43951" PostHistoryTypeId="36" PostId="25157" RevisionGUID="4386703f-6d12-4247-bb8e-c7d575754fd5" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5438/sound-is-playing-slowly-in-after-effects-ram-playing" />
  <row Id="43952" PostHistoryTypeId="36" PostId="25158" RevisionGUID="74278147-10de-4a07-81e6-1b50c0a11074" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5438/sound-is-playing-slowly-in-after-effects-ram-playing/5439#5439" />
  <row Id="43953" PostHistoryTypeId="2" PostId="25158" RevisionGUID="04cb5f98-9dc2-472f-8d9e-f18c3751acc0" CreationDate="2012-11-28T08:59:01.927" UserId="7497" UserDisplayName="Inan Berbatov" Text="Have you checked your RAM Preview options?&#xD;&#xA;&#xD;&#xA;![RAM Preview options][1]&#xD;&#xA;&#xD;&#xA;If auto is selected, your frame rate might be modified. Set it to your comp's frame rate.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/USoqw.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="43954" PostHistoryTypeId="2" PostId="25157" RevisionGUID="b6ad7283-4904-48b3-b09f-13f47d1dcb17" CreationDate="2012-11-28T08:34:17.803" UserDisplayName="Victor" Text="When I play my composition in RAM Playing, the sound of my composition is being slowed down a lot, so it is completely changed, but in my render the sound plays at the correct speed...&#xD;&#xA;&#xD;&#xA;My After Effects version is CS6.&#xD;&#xA;My computer's configuration: &#xD;&#xA;&#xD;&#xA; - 12 GB RAM memory,&#xD;&#xA; - Intel Core i5 3.4GHz&#xD;&#xA; - nVidia Geforce GTS450&#xD;&#xA; - Windows 7 Ultimate 64 bits&#xD;&#xA;&#xD;&#xA;Here is a recorder video that will help you to understand the problem:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=SOLpyvuzQvI&amp;feature=youtu.be&#xD;&#xA;&#xD;&#xA;What is the problem? What else do you need to understand my problem, or to help me with it?&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="43955" PostHistoryTypeId="1" PostId="25157" RevisionGUID="b6ad7283-4904-48b3-b09f-13f47d1dcb17" CreationDate="2012-11-28T08:34:17.803" UserDisplayName="Victor" Text="Sound is playing slowly in After Effects RAM Playing" ContentLicense="CC BY-SA 3.0" />
  <row Id="43956" PostHistoryTypeId="3" PostId="25157" RevisionGUID="b6ad7283-4904-48b3-b09f-13f47d1dcb17" CreationDate="2012-11-28T08:34:17.803" UserDisplayName="Victor" Text="&lt;sound-effects&gt;&lt;playback&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43957" PostHistoryTypeId="36" PostId="25159" RevisionGUID="190bc37d-9762-4824-ae8c-36cc99ecd1c2" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/398/audio-tweaks-pre-encoding-for-high-quality-mp3-output" />
  <row Id="43958" PostHistoryTypeId="2" PostId="25160" RevisionGUID="42e54e84-9152-4bd0-a34c-e1f683b7e95f" CreationDate="2010-12-21T17:39:17.513" UserDisplayName="Ian C." Text="Best I've been able to come up with to this one (and I'm interested in a better answer here myself) is [a GearSlutz thread on what (if anything) anyone is doing differently to master for streaming audio][1]. The answer from Lupo is relevant and interesting. He suggests:&#xD;&#xA;&#xD;&#xA;&gt; Level is important. 'Hidden' overshots will be revealed through coding and decoding. ... Using an oversampled peak level meter to keep any /real/ peaks below zero is probably the best approach.&#xD;&#xA;&gt;&#xD;&#xA;&gt; Giving a specific dB figure is hard to do here, as it will vary a lot between different songs and mixing engineer treatments! If working in the blind, without oversampled metering, a ceiling of around -3dB is probably a good starting point. &#xD;&#xA;&#xD;&#xA;As for frequency content:&#xD;&#xA;&#xD;&#xA;&gt; As for frequency content, I think the only important thing is the good old rule - keep it flatish. Tiny little speakers have virtually no deep bass, but most of them have a hefty bass boost to compensate. The 2.1 setup with a ~80hz 'sub' and tiny sattelites are very common today! I think boosting in the upper bass region to make it sound better on laptops may introduce more problems on other systems like the boomy 2.1 setups. As long as I can get _any_ hint of a deep bass at all on my laptop, I'm satisfied! =)&#xD;&#xA;&#xD;&#xA;He also suggests the highest bit depth resolution you can use.&#xD;&#xA;&#xD;&#xA;So that jives with the low pass filter you were considering, but goes against using any extreme compression on the track to reduce dynamic contrast.&#xD;&#xA;&#xD;&#xA;I can't imagine an internet radio station that *doesn't* do its own compression and eq'ing. So compressing a track knowing it's going to get compressed *again* before broadcast doesn't seem worthwhile. I'd err on the side of handing them something that sounds good, dynamic -- don't compress it too much.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/where/50665-anyone-do-special-mastering-internet-streaming.html#10" ContentLicense="CC BY-SA 2.5" />
  <row Id="43959" PostHistoryTypeId="2" PostId="25159" RevisionGUID="e29cac36-b00a-446c-8ff9-5943888ade8d" CreationDate="2010-12-20T16:48:30.813" UserId="7209" Text="I run an internet radio station.  We encode our audio into MP3 at 128kbit, joint-stereo 44.1kHz, with [LAME][1].  Obviously there are limits to the quality that can be achieved with this bandwidth... that's not my question.&#xD;&#xA;&#xD;&#xA;I would like to know if there is any sort of pre-processing we can do with the audio to improve the sound of the resulting compressed audio, reducing the compression artifacts a bit.  I've noticed that some internet radio stations sound better than most.  [Hot 108 Jams][2] comes to mind.  I don't know if they're doing anything special, but my ear tells me it is better than many other stations.&#xD;&#xA;&#xD;&#xA;Some thoughts I've had:&#xD;&#xA;&#xD;&#xA; - Low-pass filter around 17kHz or 18kHz&#xD;&#xA; - Using a compressor and/or expander to reduce the dynamic contrast&#xD;&#xA;&#xD;&#xA;I plan to start experimenting soon.  Are there any suggestions you have for things to try?&#xD;&#xA;&#xD;&#xA;Again, my goal is to build a signal chain in such a way to reduce the artifacts introduced during the MP3 encoding process.  I am hoping to create a source signal that lends itself to being encoded into MP3,while sticking to the original signal as close as possible.&#xD;&#xA;&#xD;&#xA;Our source material is varied.  We play a wide variety of genres, from a wide variety of media.  Mostly everything is digital.  Much of our material is in MP3 format already.  (Sadly, the smaller labels find this to be an appropriate form of digital distribution.)  So, many cases we are re-compressing already MP3 compressed audio.&#xD;&#xA;&#xD;&#xA;Also, if it matters, we are currently using the line out of a [Mackie 1604VLZ Pro][3] into an [Alesis 3630][4] (for compression and limiting), and then into an [M-Audio Audiophile 192][5] for the stream.&#xD;&#xA;&#xD;&#xA;I hope to find a balance between tweaking the signal and leaving it alone, where the resulting 128kbit MP3 stream sounds best, and closest to the source material.&#xD;&#xA;&#xD;&#xA;  [1]: http://lame.sourceforge.net/inside.php&#xD;&#xA;  [2]: http://www.hot108.com/&#xD;&#xA;  [3]: http://www.mackie.com/pdf/1604vlzpro_ss.pdf&#xD;&#xA;  [4]: http://www.alesis.com/3630&#xD;&#xA;  [5]: http://www.m-audio.com/products/en_us/Audiophile192.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="43960" PostHistoryTypeId="1" PostId="25159" RevisionGUID="e29cac36-b00a-446c-8ff9-5943888ade8d" CreationDate="2010-12-20T16:48:30.813" UserId="7209" Text="Audio tweaks pre-encoding for high quality MP3 output" ContentLicense="CC BY-SA 2.5" />
  <row Id="43961" PostHistoryTypeId="3" PostId="25159" RevisionGUID="e29cac36-b00a-446c-8ff9-5943888ade8d" CreationDate="2010-12-20T16:48:30.813" UserId="7209" Text="&lt;mp3&gt;&lt;equalization&gt;&lt;filter&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="43962" PostHistoryTypeId="36" PostId="25160" RevisionGUID="a2d7c2b1-a1d9-4b64-992a-82ed02a1bc89" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/398/audio-tweaks-pre-encoding-for-high-quality-mp3-output/410#410" />
  <row Id="43963" PostHistoryTypeId="36" PostId="25161" RevisionGUID="7ed987e1-c756-49bd-982d-6072b4701e25" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3328/why-is-learning-how-to-use-daws-appear-more-difficult-than-video-editing-program" />
  <row Id="43964" PostHistoryTypeId="2" PostId="25162" RevisionGUID="544b1a11-f79e-4722-a424-247b02b7c612" CreationDate="2012-02-16T18:14:36.233" UserDisplayName="bot_bot" Text="I've only used Premier, dabbled with it that is, and I did find it reasonably straight forward to get into (with some perseverance). &#xD;&#xA;The only thing I can think of with music production software is the fact you're dealing with multiple concepts. &#xD;&#xA;When using music production software it may help to separate each area into it's constituent components and study them that way. typically you'll have a range of instruments, a multi-track recorder, a sequencer, processing units and effects units. &#xD;&#xA;If you break things down like that it'll be easier to get your head around what's going on. &#xD;&#xA;With the way technology is going the line between these various elements blurs more and more and can make it more difficult to get your head around. &#xD;&#xA;I use logic studio and ableton live. &#xD;&#xA;Sonar looks a lot like logic. &#xD;&#xA;I'd imagine it's easier to get your head around the concepts within sonar than it is with Ableton as it has a more traditional structure to it. &#xD;&#xA;&#xD;&#xA;OK - &#xD;&#xA;&#xD;&#xA;Sequencer: &#xD;&#xA;Used to control virtual or hardware instruments via MIDI messages. Due to the nature of MIDI being 8 bit messages generally things will work with settings from -128 to 0 to 127 (or is that the other way around) with a maximum of 16 channels per instrument. &#xD;&#xA;As such MIDI instruments use controllers to control the various aspects of their sound. Each channel can have up to 128 parameters that can be adjusted at the same time. &#xD;&#xA;There are various mappings for these controllers such as GM GS and XG. &#xD;&#xA;Some info on MIDI here:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/MIDI&#xD;&#xA;&#xD;&#xA;It's worth learning some of those control numbers off, especially if you're using hardware. &#xD;&#xA;Most Sequencers have multiple methods of working with data. Obviously you can record straight in, then there are usually score, matrix/piano roll, Hyper(in logic) and event editors. &#xD;&#xA;I find the matrix and event editors by far the most useful - not comfortable with the score editors at all and I think for techno, D&amp;B, Dubstep etc they make much more sense to use anyway. &#xD;&#xA;Matrix/piano rolls are a nice visual way to edit your events. The hyper editor in Logic is like a visual representation of sequenced events that the matrix doesn't show, like breath control, or random controllers that you might have assigned to specific things like lfo's on an external synth for example. The event editor will show you EVERYTHING a particular channel on your sequencer is outputting - hardcore nerdyness in there - excellent when you know what you're looking at/for.&#xD;&#xA;&#xD;&#xA; - Learn the basics of your sequencer - &#xD;&#xA;   - adding and setting up an instrument or midi channel&#xD;&#xA;   - assigning a VST or external hardware instrument&#xD;&#xA;   - making an empty pattern&#xD;&#xA;   - adding notes and controller information via the Martix Editor/Piano Roll&#xD;&#xA;   - adding/editing controllers messages through the event list (might not use this in the beginning, but after a while you'll how useful itcan be. &#xD;&#xA;   - adding and editing controller automation both within a clip and on the arrange view (that'll be similar to the video stuff).&#xD;&#xA;&#xD;&#xA;Synth/sampler/drum machine/VST/AU: Your instruments come in all shapes and sizes; hardware will stick to a lot of the MIDI rules outlined above, software may be a little more intuitive to use. VST's come both as multi-instruments (like hardware, usually up to 16 instruments per synth) and as single instances. Personally I'll generally use single instances as it's easier to look at IMO. to start with, pick one insturment you like and LEARN IT. rpesets are well and good, but if you have a synth you like and study it carefully, treat it like a PROPER insturment - think of how much time you'd spend trying to learn to play guitar, synths are no different - even if you're not physically playing them you have insane power at your hands and someone who knows what they're doing with one simple synth will produce far, far better results than someone who has every big brand plug in going, but little or no comprehension of how to use them. &#xD;&#xA;I'd recommend a good subtractive synth to begin with, very versatile and can do a lot. &#xD;&#xA;Spend 6 months with something like logic's [ES-1][1] will serve you far better than struggling with more complex instruments for the same period, especially when you're learning drum machines, sequencers and other complexities that go with a sequencer. &#xD;&#xA;As far as drum machines, the same rules apply - I love my Novation Drum Station, and I'm quite fond of NI Battery too. &#xD;&#xA;&#xD;&#xA;Learn your synths: &#xD;&#xA;&#xD;&#xA; - -Study different types of synthasis, start with subtractive. &#xD;&#xA;   - learn what each control on your synth does, how they relate to the sequencer and how they can be controlled by a keyboard with control messages. &#xD;&#xA;   &#xD;&#xA;   - study the different types of envelopes, what they do and how they are controlled.&#xD;&#xA;   - study oscillators, what they do and how they are controlled. &#xD;&#xA;   - learn polyphony, parts and voices.&#xD;&#xA;   - remember drum machines default to MIDI channel 10.&#xD;&#xA;&#xD;&#xA;Processors and effects:&#xD;&#xA;Devices that effect or change the sound it self are split into two camps, processors and effects. Processors are things used to sculpt the sound, I suppose, generally used subtly and usually applied before effects (although, there are no rules so to speak, take this section as a guide) and at insert points, located mid-way in the mixers signal path after the gain, and usually before the EQ if I recall correctly. Although with software you can place them anywhere you like, it's good to be aware of the principle. The reason being, if you have a noisy signal you're likely to want to remove that noise for example, before your apply your delay or reverb or whatever. &#xD;&#xA;Processors are things like Compressors, noise gates, energisers, filters, de-essers etc. &#xD;&#xA;Effects are the usual suspects like delays, reverbs, distortions, flangers, echos, phasers etc. &#xD;&#xA;Learn both, learn the difference. Processors used to enhance the best qualities of or remove the bad qualities of the sound, effects used embellish or totally fuck up the sound. &#xD;&#xA;To start with, it's good to know what each of the following processors does and what it's used for:&#xD;&#xA;&#xD;&#xA; - compressor&#xD;&#xA; - noise gate&#xD;&#xA; - de-esser&#xD;&#xA; - filters - low, medium, high and band pass filters.&#xD;&#xA;&#xD;&#xA;For effects, just play with them and see what they do, always good to have a well understood reverb, delay or distortion to hand though.      &#xD;&#xA;&#xD;&#xA;It's an endlessly massive subject, but if you break it down into manageable chunks you should move along more easily. &#xD;&#xA;Might help, since there's a group of you, if you took on specific aspects each. Take a synth each and become expert - one of you become the EQ/engineer guy, one of you take the effects etc...&#xD;&#xA;&#xD;&#xA;I won't even go into the Multi-track recording here. I'll leave that for another question. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=EUH3V7e66nM" ContentLicense="CC BY-SA 3.0" />
  <row Id="43965" PostHistoryTypeId="2" PostId="25161" RevisionGUID="c6d5f425-5aff-4a8d-92ff-d853d6589442" CreationDate="2012-02-16T11:26:29.220" UserId="10057" UserDisplayName="Vass" Text="Between some friends and me, we are finding it evidently more difficult to learn how to use DAWs than to use video editing programs like Sony Vegas and Premier. We are trying Roland CakeWalk Sonar 8, and Ableton Live and finding it complicated. It seems like there must be a concept in the DAWs, music production/editing which is hard to grasp and is avoiding our understanding. With Video the tracks, overlays, effects, transitions all seems to make sense for the final product. But the DAWs are losing us. It seems like the features and tools are scattered and do not all piece together. The terms used in the programs just don't have an intuitive translation to common sense which is easy to find.&#xD;&#xA;&#xD;&#xA;Are there a few sentences that should come to mind when engaging a DAW? Such as-Consider XX, whether you want YY and ZZ, also whether you want WW then address A/B/C&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43966" PostHistoryTypeId="1" PostId="25161" RevisionGUID="c6d5f425-5aff-4a8d-92ff-d853d6589442" CreationDate="2012-02-16T11:26:29.220" UserId="10057" UserDisplayName="Vass" Text="Why is learning how to use DAWs appear more difficult than Video editing programs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43967" PostHistoryTypeId="3" PostId="25161" RevisionGUID="c6d5f425-5aff-4a8d-92ff-d853d6589442" CreationDate="2012-02-16T11:26:29.220" UserId="10057" UserDisplayName="Vass" Text="&lt;editing&gt;&lt;ableton&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43968" PostHistoryTypeId="36" PostId="25162" RevisionGUID="dd906f58-40c9-42d1-b9cb-e2d4a2df1795" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3328/why-is-learning-how-to-use-daws-appear-more-difficult-than-video-editing-program/3330#3330" />
  <row Id="43969" PostHistoryTypeId="36" PostId="25163" RevisionGUID="ac3d0d73-1eec-441c-ac4d-fa877da90d89" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2284/do-you-know-other-wave-equations" />
  <row Id="43970" PostHistoryTypeId="36" PostId="25164" RevisionGUID="c8e43a1e-5bc1-4f01-bf96-755f9b03bb15" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2284/do-you-know-other-wave-equations/2316#2316" />
  <row Id="43971" PostHistoryTypeId="2" PostId="25164" RevisionGUID="1297edb5-f721-404b-9cae-203980b631b1" CreationDate="2011-09-13T21:02:42.690" UserId="7178" Text="_Sound On Sound_ magazine has [a series of articles on audio synthesis](http://www.soundonsound.com/search?PageSize=80&amp;Keyword=%22synth%20secrets%22) freely available on their website, outlining the theory and math involved in a variety of traditional synthesis techniques." ContentLicense="CC BY-SA 3.0" />
  <row Id="43972" PostHistoryTypeId="2" PostId="25165" RevisionGUID="c9999fd8-3758-48c3-b6fb-7587205812e0" CreationDate="2011-09-16T07:56:30.940" UserId="982" Text="The area of synthesis that's closest to the formulas you posted is [additive synthesis][1].  Before I get into some sounds, one useful way to break up the formulas is into a waveform and an envelope.  For example, in the following formula you posted, the waveform is the sin() part, and the envelope is the combination of exp() functions:&#xD;&#xA;    &#xD;&#xA;    f(t) = sin(2*pi*t*f) * exp(-t*4) * (1 - exp( -t*10 )) * 2&#xD;&#xA;&#xD;&#xA;In fact, it's helpful if you think in terms of standard components of an analog synth--[Waveforms][2], [Envelopes][3], and [LFOs][4].  An example of an LFO would be using a low frequency sinusoid as an envelope, as follows:&#xD;&#xA;&#xD;&#xA;**Amplitude Modulation**&#xD;&#xA;&#xD;&#xA;    sin(2*pi*t*f) * sin(2*pi*t*.01*f) * exp(-t*4)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/datageist/example-1-lfo-envelope&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Or you could use the LFO to modulate the frequency instead:&#xD;&#xA;&#xD;&#xA;**Frequency Modulation**&#xD;&#xA;&#xD;&#xA;    sin(2*pi*t * sin(2*pi*t*.003*f)) * exp(-t*4)&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/datageist/example-2-lfo-frequency&#xD;&#xA;&#xD;&#xA;Then you can get into different waveform types.  For example, a [sawtooth][5] with three harmonics:&#xD;&#xA;&#xD;&#xA;**Sawtooth Wave**&#xD;&#xA;&#xD;&#xA;    exp(-t*4) * (sin(2*pi*t*f) + 1/2 * sin(2*pi*t*f*2) + 1/3 * sin(2*pi*t*f*3))&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/datageist/example-3-sawtooth&#xD;&#xA;&#xD;&#xA;To add more harmonics to the sawtooth, the amplitudes are equal the inverse of the frequency, so the next few terms would be:&#xD;&#xA;&#xD;&#xA;    1/4 * sin(2*pi*t*f * 4) + 1/5 * sin(2*pi*t*f * 5) + ... + 1/n * sin(2*pi*t*f * n) &#xD;&#xA;&#xD;&#xA;The first few terms of a [square wave][6], on the other hand, are:&#xD;&#xA;&#xD;&#xA;**Square Wave** &#xD;&#xA;&#xD;&#xA;    exp(-t*4) * (sin(2*pi*t*f) + 1/3 * sin(2*pi*t*f*3) + 1/5 * sin(2*pi*t*f*5))&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/datageist/example-4-square&#xD;&#xA;&#xD;&#xA;The formula is the same as the sawtooth, except only odd frequencies are used (i.e. 1,3,5,7,9,11...).&#xD;&#xA;&#xD;&#xA;Those formulas are derived using [Fourier Series][7], and if you've had any calculus, I'd recommend [these Stanford lectures as an introduction][8].&#xD;&#xA;&#xD;&#xA;Just mixing and matching various envelopes and waveforms can yield a large number of sounds, but here are a few other things to try:&#xD;&#xA;&#xD;&#xA;**Detuning**&#xD;&#xA;&#xD;&#xA;     sin(2*pi*t*f) +  sin(2*pi*t*f*1.005) +  sin(2*pi*t*f*.995)&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/datageist/example-5-detune&#xD;&#xA;&#xD;&#xA;**Inharmonic Frequencies**&#xD;&#xA;&#xD;&#xA;Just about any &quot;random&quot; combination of frequencies will yield some kind of metallic-type sound.&#xD;&#xA;&#xD;&#xA;     exp(-t*4) * (sin(2*pi*t*f) + sin(2*pi*t*f*2.13232) + sin(2*pi*t*f*6.12342))&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/datageist/example-6-inharmonic-partials&#xD;&#xA;&#xD;&#xA;**Analog Kick Drum**&#xD;&#xA;&#xD;&#xA;The trick with these is to modulate both the frequency and the amplitude with an exponential.&#xD;&#xA;&#xD;&#xA;     exp(-t*4) * sin(2*pi*t*f * exp(-t*20))&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/datageist/example-7-analog-kick-drum&#xD;&#xA;&#xD;&#xA;**Reese Bass**&#xD;&#xA;&#xD;&#xA;This is just two sawtooths at 55hz, detuned by 50 cents (i.e. a factor of 2^(50/1200) = 1.0293)&#xD;&#xA;&#xD;&#xA;    detune = 1.0293&#xD;&#xA;    sin(2*pi*t*f) + 1/2 * sin(2*pi*t*f*2) + 1/3 * sin(2*pi*t*f*3) + &#xD;&#xA;    sin(2*pi*t*f*detune) + 1/2 * sin(2*pi*t*f*2*detune) + 1/3 * sin(2*pi*t*f*3*detune)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/datageist/example-8-reese-bass&#xD;&#xA;&#xD;&#xA;--&#xD;&#xA;&#xD;&#xA;It's really much easier to do this type of thing (i.e. sound rendering) with full programs rather than individual formulas.  If you want to get deeper into it, take a look at my answer to a related question [here][9].  Everything I reference there can be used as theory for deriving your own formulas.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Additive_synthesis&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Waveforms&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/ADSR_envelope#ADSR_envelope&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Low-frequency_oscillation&#xD;&#xA;  [5]: http://en.wikipedia.org/wiki/Sawtooth_wave&#xD;&#xA;  [6]: http://en.wikipedia.org/wiki/Square_wave&#xD;&#xA;  [7]: http://en.wikipedia.org/wiki/Fourier_series&#xD;&#xA;  [8]: http://see.stanford.edu/see/lecturelist.aspx?coll=84d174c2-d74f-493d-92ae-c3f45c0ee091&#xD;&#xA;  [9]: http://dsp.stackexchange.com/questions/192/what-does-one-need-to-know-in-order-to-build-a-software-synthesizer/196#196" ContentLicense="CC BY-SA 3.0" />
  <row Id="43973" PostHistoryTypeId="2" PostId="25163" RevisionGUID="2db16f2f-f498-4b71-9f64-250eeb66d04d" CreationDate="2011-09-07T16:06:19.610" UserDisplayName="Tommaso" Text="I know that if we run these formulas on some software like MatLab, we can obtain the waveforms of some effects:&#xD;&#xA;&#xD;&#xA;    - Ping wave:&#xD;&#xA;&#xD;&#xA;    f(t) = sin(2*pi*t*f) * exp(-t*4)&#xD;&#xA;&#xD;&#xA;    f(t) = sin(2*pi*t*f) * exp(-t*4) * (1 - exp( -t*10 )) * 2&#xD;&#xA;&#xD;&#xA;    - Ding-Dong wave&#xD;&#xA;&#xD;&#xA;    f(t) = sin(2*pi*t*725) * exp(-t*5) * (1 - exp(-t*30)) + (step(t-5) - step(t-.3)) * sin(2*pi*(t-.3)*565) * 1.3 * exp(-(t-.3)*5) * (1 - exp(-(t-.3)*30))&#xD;&#xA;&#xD;&#xA;Here `pi` is π; `step` is a function that returns: 0 for t &lt; 0, 1 for t &gt;= 0; `f` is the frequency in Hertz.&#xD;&#xA;&#xD;&#xA;Does anyone knows other formulas like these? I'm not looking for filters, or whatelse; i'm interested in equations to reproduce sounds like those I posted. Also links to books, sites, etc are welcome.&#xD;&#xA;&#xD;&#xA;Thanks everyone!" ContentLicense="CC BY-SA 3.0" />
  <row Id="43974" PostHistoryTypeId="1" PostId="25163" RevisionGUID="2db16f2f-f498-4b71-9f64-250eeb66d04d" CreationDate="2011-09-07T16:06:19.610" UserDisplayName="Tommaso" Text="Do you know other wave equations?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43975" PostHistoryTypeId="3" PostId="25163" RevisionGUID="2db16f2f-f498-4b71-9f64-250eeb66d04d" CreationDate="2011-09-07T16:06:19.610" UserDisplayName="Tommaso" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43976" PostHistoryTypeId="36" PostId="25165" RevisionGUID="fb454332-17d6-430c-80e8-c1465e4adb07" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2284/do-you-know-other-wave-equations/2328#2328" />
  <row Id="43977" PostHistoryTypeId="36" PostId="25166" RevisionGUID="20525f7b-8bb7-4fd4-a912-23412fb098d8" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7795/route-sound-from-programs-into-daw-windows" />
  <row Id="43978" PostHistoryTypeId="36" PostId="25167" RevisionGUID="86d7ed2e-7437-4c32-9244-2da97cc44f39" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7795/route-sound-from-programs-into-daw-windows/7799#7799" />
  <row Id="43979" PostHistoryTypeId="2" PostId="25167" RevisionGUID="9e4fd70e-9976-4ca0-b446-4472a3c62183" CreationDate="2013-05-04T14:49:49.273" UserId="7189" Text="* [JACK Audio][1] will do this on Linux, OSX and Windows.&#xD;&#xA;* [Soundflower][2] is similar, but only works on OSX.&#xD;&#xA;* [Rewire][3] must be explicitly supported by all applications involved in the audio routing process.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://jackaudio.org&#xD;&#xA;  [2]: http://cycling74.com/soundflower-landing-page/&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/ReWire" ContentLicense="CC BY-SA 3.0" />
  <row Id="43980" PostHistoryTypeId="2" PostId="25166" RevisionGUID="ae7d968e-e8c6-4a06-81f0-f920d845d07a" CreationDate="2013-05-04T01:20:59.247" UserId="7343" UserDisplayName="d.free" Text="I'm wondering if there are (free) programs that can take an audio signal from a program (and only that program) and route it as a virtual audio input into my DAW. For example, I might want to send audio from a DJ program into the DAW on Track 1, then connect a mic on Track 2 and mix both tracks together. It should also preferably stop the sound from the DJ program from going directly to the soundcard out, and route it to the DAW instead.&#xD;&#xA;&#xD;&#xA;Please not that the program has to be free, and I also don't want to use the &quot;stereo mix&quot; option on my soundcard since that will make a big mess (the audio goes through the DAW, through VST filters, and then out throught the soundcard)&#xD;&#xA;&#xD;&#xA;If there are alternatives to this (aside from using 2 computers) also let me know." ContentLicense="CC BY-SA 3.0" />
  <row Id="43981" PostHistoryTypeId="1" PostId="25166" RevisionGUID="ae7d968e-e8c6-4a06-81f0-f920d845d07a" CreationDate="2013-05-04T01:20:59.247" UserId="7343" UserDisplayName="d.free" Text="Route Sound From Programs Into DAW (Windows)" ContentLicense="CC BY-SA 3.0" />
  <row Id="43982" PostHistoryTypeId="3" PostId="25166" RevisionGUID="ae7d968e-e8c6-4a06-81f0-f920d845d07a" CreationDate="2013-05-04T01:20:59.247" UserId="7343" UserDisplayName="d.free" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43983" PostHistoryTypeId="36" PostId="25168" RevisionGUID="d051cbc2-24dd-4d13-b2b4-d7dd6f99005b" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2180/is-there-a-way-to-graphically-analyze-frequency-of-samples-instruments-in-renois" />
  <row Id="43984" PostHistoryTypeId="36" PostId="25169" RevisionGUID="65e91c47-6e6e-4f23-82c4-0e9904f27a43" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2180/is-there-a-way-to-graphically-analyze-frequency-of-samples-instruments-in-renois/2887#2887" />
  <row Id="43985" PostHistoryTypeId="2" PostId="25169" RevisionGUID="6efabf93-33c8-467b-a9ea-d6351c3b2164" CreationDate="2011-12-23T15:10:07.890" UserId="9511" UserDisplayName="Johnny Bigoode" Text="I'm not familiar with Renoise, but according to [this tutorial][1] it's possible to configure VSTs for a Windows environment. &#xD;&#xA;&#xD;&#xA;So, if you're using Windows, [here's your solution][2]:&#xD;&#xA;&#xD;&#xA;I personally use [MAnalyzer][3].&#xD;&#xA;&#xD;&#xA;If you don't like any of the solutions OR you're not using Windows you should try googling:&#xD;&#xA;spectrum analyzer&#xD;&#xA;&#xD;&#xA;I'm aware that you did ask for a 'static' graphical analyzer, but I'm wondering if you're problem is that the master spectrum is capturing the whole song instead of a single channel. &#xD;&#xA;&#xD;&#xA;And btw: I really wouldn't recommend anyone to do audio changes based on a graphical spectrum - music is about what you hear, and not what you listen. &#xD;&#xA;&#xD;&#xA;While doing that is fine when experimenting, it shouldn't become something you do all the time. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tutorials.renoise.com/wiki/VST/AU/LADSPA_Effects&#xD;&#xA;  [2]: http://www.best-free-vst.com/plugins/effects/audio-signal-spectrum-analyzer-01.php&#xD;&#xA;  [3]: http://www.meldaproduction.com/freevstplugins/manalyzer.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="43986" PostHistoryTypeId="2" PostId="25168" RevisionGUID="c6b19ba9-1122-4811-8c3c-6f8f6c3ccd52" CreationDate="2011-08-22T00:25:43.200" UserDisplayName="xster" Text="There's a master spectrum view but is there a way to use some static graphical representation of the frequency spectrum to adjust the different samples/instruments?&#xD;&#xA;&#xD;&#xA;Something to make it easier to play with the EQ of the tracks with graphical feedback." ContentLicense="CC BY-SA 3.0" />
  <row Id="43987" PostHistoryTypeId="1" PostId="25168" RevisionGUID="c6b19ba9-1122-4811-8c3c-6f8f6c3ccd52" CreationDate="2011-08-22T00:25:43.200" UserDisplayName="xster" Text="Is there a way to graphically analyze frequency of samples/instruments in Renoise?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43988" PostHistoryTypeId="3" PostId="25168" RevisionGUID="c6b19ba9-1122-4811-8c3c-6f8f6c3ccd52" CreationDate="2011-08-22T00:25:43.200" UserDisplayName="xster" Text="&lt;mixing&gt;&lt;daw&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43989" PostHistoryTypeId="36" PostId="25170" RevisionGUID="6f5306b6-7823-4772-9720-551ebecd2952" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3681/solo-a-track-with-a-gate-sidechained-to-a-grouped-track" />
  <row Id="43990" PostHistoryTypeId="2" PostId="25171" RevisionGUID="ba852f20-bd00-4fba-a49b-82a4f1c84f66" CreationDate="2012-07-11T10:58:51.193" UserDisplayName="tom van green" Text="Currently the simplest solution to achieve what you want would be following. Solo the track with the side chain (Track B) and the two sub tracks of Group Track A, but mute the group track.&#xD;&#xA;&#xD;&#xA;If you setup the mixer like that, the signals will flow to the group track (as they are also set to solo), but because the mixer is turned off, the signal doesn't get routed to the master track.&#xD;&#xA;&#xD;&#xA;Now you can select the group track as source in the sidechain and choose post-fx as source from the track.&#xD;&#xA;&#xD;&#xA;It's definitely not very suited for live situations, but if you just want to listen to your gated track during production it should be what you want.&#xD;&#xA;&#xD;&#xA;Also, keep in mind that you can execute some actions for multiple tracks. So you can select all tracks you want to solo with SHIFT or CTRL and then press solo for one of the tracks. All selected tracks will use that command.&#xD;&#xA;&#xD;&#xA;Currently I don't see any other way of achieving this without creating additional routing tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="43991" PostHistoryTypeId="2" PostId="25170" RevisionGUID="31983856-8884-4470-ba08-28fc4e7d20cf" CreationDate="2012-04-01T20:45:22.857" UserDisplayName="jsumners" Text="Assuming I have two tracks, Track A and Track B, where Track A is a group of tracks, how do I solo Track B if it has a Gate effect with a sidechain that targets Track A? An example of this situation is shown in the image attached to this question. The project shown in this image is also [available for download][1] (sounds awful, but shows the problem).&#xD;&#xA;&#xD;&#xA;In the given example, if Track B is soloed, then the Gate will no longer receive a signal because Track A stops sending a signal to the group. I could duplicate the group and create a ghost group, but that would incur significant CPU overhead in my real projects. Is there an efficient way to make this work?&#xD;&#xA;&#xD;&#xA;![Example Project][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://dl.dropbox.com/u/1038672/examples/Gate%20sidechain/Gate%20Sidechain%20Problem%20Project.zip&#xD;&#xA;  [2]: http://i.stack.imgur.com/r4PTB.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="43992" PostHistoryTypeId="1" PostId="25170" RevisionGUID="31983856-8884-4470-ba08-28fc4e7d20cf" CreationDate="2012-04-01T20:45:22.857" UserDisplayName="jsumners" Text="Solo a track with a Gate sidechained to a grouped track?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43993" PostHistoryTypeId="3" PostId="25170" RevisionGUID="31983856-8884-4470-ba08-28fc4e7d20cf" CreationDate="2012-04-01T20:45:22.857" UserDisplayName="jsumners" Text="&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="43994" PostHistoryTypeId="36" PostId="25171" RevisionGUID="30e5fead-ab83-4307-9bae-dcddb43431f4" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3681/solo-a-track-with-a-gate-sidechained-to-a-grouped-track/4390#4390" />
  <row Id="43995" PostHistoryTypeId="36" PostId="25172" RevisionGUID="8faa323b-c7ff-4b12-bbfb-0f552a29b4e6" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3696/mp3-codec-reencoding-effects" />
  <row Id="43996" PostHistoryTypeId="36" PostId="25173" RevisionGUID="ccc59b84-aa32-42ea-97e3-261541e2c462" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3696/mp3-codec-reencoding-effects/3697#3697" />
  <row Id="43997" PostHistoryTypeId="2" PostId="25173" RevisionGUID="2c83c1ef-b9a9-4f52-93e8-9bf3c0030b05" CreationDate="2012-04-04T05:52:37.677" UserId="17107" UserDisplayName="Mulvya" Text="You wouldn't get the same result as you would if encoding from the original source. The losses do compound. But 320 kbps is high enough that a one-generation-removed re-encode to 128 kbps would be perceptually acceptable." ContentLicense="CC BY-SA 3.0" />
  <row Id="43998" PostHistoryTypeId="2" PostId="25172" RevisionGUID="7e9477cc-1749-42b8-8bfa-d3126a4cf2f3" CreationDate="2012-04-04T05:06:04.113" UserDisplayName="rekh127" Text="Does encoding a low bit rate (say 128 kbps) Mp3 from a 320 kbps Mp3 produce the same thing as encoding it from the original lossless? Or does the way Mp3 work mean that the losses compound on each other?" ContentLicense="CC BY-SA 3.0" />
  <row Id="43999" PostHistoryTypeId="1" PostId="25172" RevisionGUID="7e9477cc-1749-42b8-8bfa-d3126a4cf2f3" CreationDate="2012-04-04T05:06:04.113" UserDisplayName="rekh127" Text="Mp3 codec reencoding effects" ContentLicense="CC BY-SA 3.0" />
  <row Id="44000" PostHistoryTypeId="3" PostId="25172" RevisionGUID="7e9477cc-1749-42b8-8bfa-d3126a4cf2f3" CreationDate="2012-04-04T05:06:04.113" UserDisplayName="rekh127" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44001" PostHistoryTypeId="36" PostId="25174" RevisionGUID="8fe6f7a3-14b5-4e00-844e-fb759ac530c0" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4915/fl-studio-replacement" />
  <row Id="44002" PostHistoryTypeId="36" PostId="25175" RevisionGUID="59986d44-57ca-4fe6-9959-a662582ee2df" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4915/fl-studio-replacement/4917#4917" />
  <row Id="44003" PostHistoryTypeId="36" PostId="25176" RevisionGUID="ab552abe-2808-4738-a2fa-67202b58a82a" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4915/fl-studio-replacement/4920#4920" />
  <row Id="44004" PostHistoryTypeId="36" PostId="25177" RevisionGUID="204b6538-1b73-4e33-81f8-ea7b01a7cbcc" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4915/fl-studio-replacement/4937#4937" />
  <row Id="44005" PostHistoryTypeId="36" PostId="25178" RevisionGUID="c006b446-15ce-4967-9861-a31abb158ab5" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4915/fl-studio-replacement/7326#7326" />
  <row Id="44006" PostHistoryTypeId="36" PostId="25179" RevisionGUID="54eb8d68-d7cd-4e74-a23c-e1d1212fee2a" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4915/fl-studio-replacement/7700#7700" />
  <row Id="44007" PostHistoryTypeId="36" PostId="25180" RevisionGUID="8588f286-4191-484a-9a45-9013c81fd9e0" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4915/fl-studio-replacement/7714#7714" />
  <row Id="44008" PostHistoryTypeId="2" PostId="25175" RevisionGUID="c012dee5-128c-4e32-8c8e-a46159ca681e" CreationDate="2012-10-05T07:00:22.560" UserId="7189" Text="I'm not a FL Studio user, but I'd be surprised to find that there are *no* active forums full of FL Studio users.&#xD;&#xA;&#xD;&#xA;That said, the other DAWs you suggest break down as follows:&#xD;&#xA;&#xD;&#xA; - ProTools is said to be great at audio and weak at MIDI. It seems to&#xD;&#xA;   be the go-to choice for full-serivce professional studios. As far as&#xD;&#xA;   I know, you can't run VSTs natively in ProTools, you have to run them&#xD;&#xA;   inside a RTAS wrapper. I wouldn't dive into ProTools unless you plan&#xD;&#xA;   to work professionally in audio, and even then it isn't clear that PT&#xD;&#xA;   is the best choice.&#xD;&#xA; - Cubase is the multi-platform traditional DAW. Its closest competition&#xD;&#xA;   seem to be Logic and Reaper. Cubase is the native home of VST&#xD;&#xA;   plugins. It handles MIDI and audio well.&#xD;&#xA; - Ableton Live has a lot of DAW-like features, but it is really a&#xD;&#xA;   performance tool for loop-based music. Live does a great job of&#xD;&#xA;   hosting VSTs, and it can also handle Audio Units on the mac.&#xD;&#xA;&#xD;&#xA;Some you didn't mention:&#xD;&#xA;&#xD;&#xA; - Logic only runs on the Mac platform, and only supports Audio Unit&#xD;&#xA;   plugin. Most commercial plugins are available in both AU and VST,&#xD;&#xA;   many free plugins are only available in one format or another. There&#xD;&#xA;   is some concern that the next version of Logic will be lobotomized&#xD;&#xA;   like Final Cut Pro X.&#xD;&#xA; - Reaper is an inexpensive traditional DAW. It seems to be a great&#xD;&#xA;   place to start for people who are interested in DAWs like Logic or&#xD;&#xA;   Cubase.&#xD;&#xA; - Renoise is also inexpensive, but has a sample-oriented tracker&#xD;&#xA;   interface.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44009" PostHistoryTypeId="2" PostId="25178" RevisionGUID="14cbd7e4-29ea-4526-8788-c1e34a708aad" CreationDate="2013-03-06T00:58:13.120" UserDisplayName="AtlantaDan" Text="FL-Studio has become one of the &lt;option&gt;BEST&lt;/option&gt; DAWS available now. It had humble beginnings, but has flourished in advancements over the years. On version 10 now, Image Line Software has created a powerful DAW for those that want to utilize both &lt;strong&gt;loops, synthesizers (VSTs), AND Live Recording&lt;/strong&gt;. (&lt;em&gt;and No, I do not work for Image Line or affiliated in any way.. - Though I would def. entertain an offer, hint hint :-)&lt;/em&gt;...  )&#xD;&#xA;&#xD;&#xA;I used FL-Studio extensively years ago and made a lot of progress, though at the time it had some limitations (As in, the beginning versions seemed to be a lot about the pre-recorded samples you had access too, which were not great), but I really enjoyed using it for producing music. I have recently gone back to FL-Studio and cannot believe the power it has now (and, like I said supports LIVE RECORDING very well, and track placement..).&#xD;&#xA;&#xD;&#xA;You would also not believe how many chart toppers there are today that FL-Studio played a major part in.&#xD;&#xA;&#xD;&#xA;As far as the learning curve, and finding help on how to use the software... The learning curve is Pretty Steep, but falls off pretty fast... I just learned it on my own, playing around with it. Once you get into the software and start constructing your music, &lt;em&gt;the best you can&lt;/em&gt;, before long you will be amazed at how far you have gotten with the program. As you mentioned, there are not really any official learning materials out there. This program is all about just jumping in and '&lt;em&gt;messing with stuff&lt;/em&gt;' till you figure it out... And in reality, the hard part is the art/creativity.. the rest is just technical things you will learn over time with trial and error..(as with anything).. And, YouTube (as well as resources like Stack) is a **Great** place to find all you need to know to use it... The rest is up to you. &#xD;&#xA;&#xD;&#xA;Give Fruity Loops a try. And, as I mentioned, just Jump in there, Mess around with things, and Do The Best You Can... Leave the rest up to your creativity..." ContentLicense="CC BY-SA 3.0" />
  <row Id="44010" PostHistoryTypeId="2" PostId="25179" RevisionGUID="74405557-edc8-476c-be33-a8f8cf9ff418" CreationDate="2013-04-20T23:00:04.527" UserDisplayName="GratuiTous" Text="Regarding what you will be using your program for, FL Studio seems to be best suited.&#xD;&#xA;&#xD;&#xA;FL Studio has tons of resources via their online forum -- http://forum.image-line.com/&#xD;&#xA;&#xD;&#xA;Scott, Nucleon, and others are actually surprisingly very helpful and answer quickly.&#xD;&#xA;&#xD;&#xA;Also to mention, you may be intersted in checking out my site http://www.Beatstruggles.com -- Geared towards FL Studio.&#xD;&#xA;&#xD;&#xA;It really is **understanding your DAW**.  This will be your most powerful tool.  You may be an amazing musician, but if you don't know how to record yourself, edit it via MIDI notes, or put on cool effects, your musician skills are worthless until you know what you're doing inside your DAW (Music program).&#xD;&#xA;&#xD;&#xA;**Also to mention, FL Studio 11 will be releasing very soon!**" ContentLicense="CC BY-SA 3.0" />
  <row Id="44011" PostHistoryTypeId="2" PostId="25176" RevisionGUID="607091cd-7d56-49ae-8262-5c34d9819a9e" CreationDate="2012-10-05T12:40:45.460" UserId="6957" Text="If you're interested in only minimal audio recording, I can recommend you try out the latest version of [Reason](http://www.propellerheads.se/products/reason/).  &#xD;&#xA;&#xD;&#xA;It only recently obtained the ability to natively record audio, but it has been around for quite a while doing MIDI, looping, sampling, etc.  It's kind of a studio-in-a-box solution, with _virtual_ studio rack gear.  By virtual, I mean it's virtually _real_...&#xD;&#xA;&#xD;&#xA;![Reason Rack Gear][1]&#xD;&#xA;&#xD;&#xA;&lt;sub&gt;[image source](http://www.propellerheads.se/products/reason/img/rack-closeup-1024px.jpg)&lt;/sub&gt;&#xD;&#xA;&#xD;&#xA;It's also super fun to play with :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/GVxp8.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="44012" PostHistoryTypeId="2" PostId="25177" RevisionGUID="4fb0e609-adc6-48c1-9b35-52094b7e63e7" CreationDate="2012-10-05T21:02:25.063" UserDisplayName="Tony" Text="I'm going to second Reason. It's awesome but they do not support VSTs and they never will support VSTs. So if you need those then I'd avoid it. It does have a very simple recording interface so unless you're looking to do some serious editing it should work fine. I definitely like that you can treat the recorded audio as any other rack it's very cool. The program is also super light weight and runs very well. And the lack of VST support is more than made up for with their proprietary options although their recent addition is a bit of a money grab and I'm a bit discouraged by it. Although everything I've seen so far is nice.&#xD;&#xA;&#xD;&#xA;Also I'd like to point out something, I have limited experience with Cubase and Ableton but I can tell you that FLStudios is about as easy as it gets. There are very limited free resources on learning Protools and Reason. I've been using Reason since sometime during version 3 and I would not consider myself an expert by any means; it's a large and difficult program and I doubt many people could truly consider themselves masters. &#xD;&#xA;&#xD;&#xA;With that being said, if the only reason you are switching is due to lack of learning materials I'd suggest just sticking with FL for now as the other options are much more expensive. You'll likely find the same amount of limited learning options for these programs as for FL Studios, especially if you're not willing to pay. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44013" PostHistoryTypeId="2" PostId="25180" RevisionGUID="7aba9aad-6443-424d-abd4-49f151910ad4" CreationDate="2013-04-21T19:00:22.170" UserId="12790" UserDisplayName="Ron Kyle" Text="If you use fruity loops, you would do well to try out Synapse Orion, I think you'll like it. Ultimately, FL is so good nowadays that you really only need to use something else if it lets you do things FL just won't. Therefore, I would suggest that you try Ableton rewired with FL or Orion. Ableton opens up SO MUCH with regards to getting things in time." ContentLicense="CC BY-SA 3.0" />
  <row Id="44014" PostHistoryTypeId="2" PostId="25174" RevisionGUID="80f7352b-3cc2-4ea2-a937-357074bdd720" CreationDate="2012-10-04T20:48:22.993" UserId="14544" UserDisplayName="Warren van Rooyen" Text="I've worked in Fl Studio up until now. As a result of a lack of learning material I want to switch, but to Ableton, Cubase or Protools and why?&#xD;&#xA;&#xD;&#xA;This arguments never seems to be firmly settled. People tend to say it's down to your preference. But there's the massive trouble I had with Fl Studio. No support, no courses, no nothing; so you can only get so good learning off Youtube...&#xD;&#xA;&#xD;&#xA;Ableton's the buzz. Cubase and Protools are the old faithfuls. Which should I go with and why?&#xD;&#xA;&#xD;&#xA;For what it's worth, I record drums and piano through midi and use loop and sample based stuff along with VST's. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44015" PostHistoryTypeId="1" PostId="25174" RevisionGUID="80f7352b-3cc2-4ea2-a937-357074bdd720" CreationDate="2012-10-04T20:48:22.993" UserId="14544" UserDisplayName="Warren van Rooyen" Text="Fl Studio replacement" ContentLicense="CC BY-SA 3.0" />
  <row Id="44016" PostHistoryTypeId="3" PostId="25174" RevisionGUID="80f7352b-3cc2-4ea2-a937-357074bdd720" CreationDate="2012-10-04T20:48:22.993" UserId="14544" UserDisplayName="Warren van Rooyen" Text="&lt;ableton&gt;&lt;music&gt;&lt;cubase&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44017" PostHistoryTypeId="36" PostId="25181" RevisionGUID="8749b5df-c031-41c3-a90e-f0cd7d2e2639" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3044/best-cable-to-connect-guitar-amp-to-speaker-cabinet" />
  <row Id="44018" PostHistoryTypeId="36" PostId="25182" RevisionGUID="15601e36-aa73-4b74-af07-d46dafeb03b6" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3044/best-cable-to-connect-guitar-amp-to-speaker-cabinet/3045#3045" />
  <row Id="44019" PostHistoryTypeId="36" PostId="25183" RevisionGUID="bc48955c-6358-4c5e-ac21-beaa0c210dea" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3044/best-cable-to-connect-guitar-amp-to-speaker-cabinet/3046#3046" />
  <row Id="44020" PostHistoryTypeId="2" PostId="25182" RevisionGUID="435c3e70-196c-40e6-bdaf-ab7b6cf443a0" CreationDate="2012-01-15T19:39:14.190" UserId="7016" Text="While you should use a cable designed for the job, this is not because using an instrument cable will damage speakers or the amp, but because an instrument cable is designed for low noise and low current, a speaker cable may have significant current going through it so needs to be able to cope with high power.&#xD;&#xA;&#xD;&#xA;(Actually, I guess if the cable does melt, a short circuit could damage the amp, so yes - it could damage your amp)&#xD;&#xA;&#xD;&#xA;In terms of brand or gauge - it really will not be important which you choose. There is an awful lot of hype over cables which may have x% oxygen, or gold foils etc, but this application is not generally one which requires a top spec signal to noise ratio, so a screen or shield is not needed (unlike your guitar lead which will have a shield to try and prevent mains interference etc)&#xD;&#xA;&#xD;&#xA;It would also be an unsuitable question here as the 'best' brand may change over time or from location to location. &#xD;&#xA;&#xD;&#xA;Just look for cables described as 'speaker cables' - ideally ones with &quot;Speakon&quot; connectors if your speaker cabinet has that type of connector." ContentLicense="CC BY-SA 3.0" />
  <row Id="44021" PostHistoryTypeId="2" PostId="25183" RevisionGUID="65c9efd8-892e-47b2-8409-a8e85a9a0d22" CreationDate="2012-01-15T21:07:53.407" UserDisplayName="Bill Gribble" Text="The best bang for your buck will be to make it yourself: buy a good brand of plugs (neutrik, switchcraft, etc) from Markertek or equivalent and use plain old 2-conductor AC extension cord for the cabling.  Banana plugs or Speakon are preferable to 1/4&quot; but not terribly common in guitar rigs. &#xD;&#xA;&#xD;&#xA;Make the cable as short as possible, but not too short! " ContentLicense="CC BY-SA 3.0" />
  <row Id="44022" PostHistoryTypeId="2" PostId="25181" RevisionGUID="b4b2b4d3-e44d-4bb9-923f-03468f7d7cfa" CreationDate="2012-01-15T16:00:00.087" UserDisplayName="Mark Richman" Text="What's the best 1/4&quot; cable (brand, gauge, etc.) to connect a guitar amp head to a speaker cabinet? I have a run of under 10 feet. I read using an instrument cable can damage the amp and speakers." ContentLicense="CC BY-SA 3.0" />
  <row Id="44023" PostHistoryTypeId="1" PostId="25181" RevisionGUID="b4b2b4d3-e44d-4bb9-923f-03468f7d7cfa" CreationDate="2012-01-15T16:00:00.087" UserDisplayName="Mark Richman" Text="Best cable to connect guitar amp to speaker cabinet?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44024" PostHistoryTypeId="3" PostId="25181" RevisionGUID="b4b2b4d3-e44d-4bb9-923f-03468f7d7cfa" CreationDate="2012-01-15T16:00:00.087" UserDisplayName="Mark Richman" Text="&lt;speakers&gt;&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44025" PostHistoryTypeId="36" PostId="25184" RevisionGUID="59d6a1b5-f876-476c-8564-cef66443d9b9" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1432/6-ohm-speakers-and-8-ohm-receiver" />
  <row Id="44026" PostHistoryTypeId="36" PostId="25185" RevisionGUID="3e89fd70-2281-4c4f-941a-25a49ee919a7" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1432/6-ohm-speakers-and-8-ohm-receiver/1434#1434" />
  <row Id="44027" PostHistoryTypeId="2" PostId="25185" RevisionGUID="df1efb6b-4c05-4ac9-a8b9-d2a3a0c28eaf" CreationDate="2011-05-18T16:32:55.977" UserId="17571" UserDisplayName="Zeronyne" Text="This is not a good idea. It may not blow up your system, but it certainly isn't the optimal setup, and I'm sure it voids the warranty (if you admit to doing it).&#xD;&#xA;&#xD;&#xA;Each output is looking for an 8 ohm load; you should really avoid going under the minimum. Here's an article that may help:&#xD;&#xA;&#xD;&#xA;http://www.prestonelectronics.com/audio/Impedance.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="44028" PostHistoryTypeId="2" PostId="25186" RevisionGUID="84d10bd3-afd9-42be-b647-49474a5263ed" CreationDate="2011-05-20T13:26:15.303" UserDisplayName="phasetransitions" Text="Teneff,&#xD;&#xA;&#xD;&#xA;tl;dr you can run your 6Ohm speakers fine with the receiver with out any concerns. You won't damage the speaker or the amp. If you drive the amp too hard for too long, it will simply shut down to protect itself and cool off.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;Technical details:&#xD;&#xA;&#xD;&#xA;Loudspeakers impedance rating are nominal, i.e. they pick a single number for the impedance that is supposedly representative of the overall impedance behavior of the loudspeaker.&#xD;&#xA;&#xD;&#xA;In reality, loudspeaker impedance is not a single number, and is indeed different at every frequency. The lowest impedance you will see out of a typical loudspeaker will typically be a few tenths of a Ohm above the DC resistance of the voice coil of the transducer that has the lowest DC resistance, and the impedance can go as high as 100Ohm or more in the low frequencies where the driver's mechanical behavior couples strongly to its electrical behavior.&#xD;&#xA;[Here][1] the lower line of the first graph shows the electrical impedance magnitude behavior versus frequency of typical well designed two way home loudspeaker. The minimum impedance is approximately 6 Ohms, and the maximum is over 20Ohms, and the impedance changes across the entire frequency spectrum. So impedance is not a single number, and the nominal impedance rating of the loudspeaker tells you essentially nothing.&#xD;&#xA;&#xD;&#xA;Now, in regards to the amplifier channels. Modern receiver amplifiers are voltage sources, and pretty good ones at that. This means that they follow ohms law V=IZ. This means that the amplifier supplies the current I, required by the impedance Z, at the given output voltage, V. Your receiver amplifiers have protection circuitry in them to protect the amplifier from trying to put out too much V or I into a given Z, regardless of what that Z is. If the demands on V or I are too great, the amplifier will simply go into a self protection mode.&#xD;&#xA;&#xD;&#xA;Most of the concerns about impedances of speakers hooked up to amps comes from the world of tube amplifiers, which are constant current (not constant voltage) sources. There, matching the impedance of the amplifier to the loudspeaker impedance is more important due to the load it places on the amplifier's output transformers. Also, vintage guitar/bass/hifi amps have no built in protection circuitry and can be damaged if overdriven into the wrong (i.e. too low) impedance at high levels.&#xD;&#xA;&#xD;&#xA;In sum,&#xD;&#xA;&#xD;&#xA;Buy your speakers, don't worry, and enjoy the music.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.zaphaudio.com/SR71.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="44029" PostHistoryTypeId="2" PostId="25184" RevisionGUID="9e927f75-b2f8-4244-92d1-aa5cc35c84e6" CreationDate="2011-05-17T18:25:25.473" UserId="7423" UserDisplayName="Teneff" Text="I have a [Sony Receiver STR-710][1] and by specification it's **8 ohm** only and output power 6 x 100 Watts . I'm wondering should I buy two pairs of **Yamaha NS-777** speakers which are **6 ohm** 100/250 Watts.&#xD;&#xA;&#xD;&#xA;Will I have any troubles because of the ohm differences?&#xD;&#xA;&#xD;&#xA;Can I damage the speakers or the amp?&#xD;&#xA;&#xD;&#xA;Is it good idea at all ?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sony.co.uk/product/hcs-home-cinema-receiver/str-dg710/tab/technicalspecs" ContentLicense="CC BY-SA 3.0" />
  <row Id="44030" PostHistoryTypeId="1" PostId="25184" RevisionGUID="9e927f75-b2f8-4244-92d1-aa5cc35c84e6" CreationDate="2011-05-17T18:25:25.473" UserId="7423" UserDisplayName="Teneff" Text="6 ohm speakers and 8 ohm receiver" ContentLicense="CC BY-SA 3.0" />
  <row Id="44031" PostHistoryTypeId="3" PostId="25184" RevisionGUID="9e927f75-b2f8-4244-92d1-aa5cc35c84e6" CreationDate="2011-05-17T18:25:25.473" UserId="7423" UserDisplayName="Teneff" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44032" PostHistoryTypeId="36" PostId="25186" RevisionGUID="bef15fdf-c09c-4a80-9342-c37c0a06dc1c" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1432/6-ohm-speakers-and-8-ohm-receiver/1441#1441" />
  <row Id="44033" PostHistoryTypeId="36" PostId="25187" RevisionGUID="e349cc0b-f4dd-4cad-be3d-319643030ec2" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9701/stereo-versus-mono-lps" />
  <row Id="44034" PostHistoryTypeId="36" PostId="25188" RevisionGUID="b8a03d12-8a23-42f3-a7ab-e60d31a61ab5" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9701/stereo-versus-mono-lps/9707#9707" />
  <row Id="44035" PostHistoryTypeId="2" PostId="25188" RevisionGUID="f7813812-a2b7-4be9-9313-160ad63ef474" CreationDate="2013-12-19T17:38:28.137" UserId="7284" UserDisplayName="Subliminy" Text="It's all about listeners' beliefs about what staying true to artistic integrity means. If a record was recorded mono (mostly very old recordings), and then re-mixed or re-mastered to be stereo, it means that someone other than the original artist or engineer has altered the source material. This concept is contrary to some people's desire for the original artistic intent, where the desire is for all of the imperfections of the original recording to remain intact.&#xD;&#xA;&#xD;&#xA;As for classical records, if they're in stereo, they were likely recorded that way, rather than digitally enhanced after the fact. Classical listeners generally prefer an experience where the recording process is as noninvasive as possible, and hope to gleam as much detail as they can from the performers, rather than the recordings. Classical recordings generally have minimal post-production for that reason. Stereo recordings offer more of those details, and it's a truer representation of the experience of the performance." ContentLicense="CC BY-SA 3.0" />
  <row Id="44036" PostHistoryTypeId="2" PostId="25187" RevisionGUID="6420e3fe-643e-41a3-8d77-bdf94e3b956f" CreationDate="2013-12-18T16:31:02.127" UserDisplayName="Charles Pehlivanian" Text="I'm not asking about anyone's preference, only an explanation of an observation. &#xD;&#xA;&#xD;&#xA;Jazz and Rock records recorded in mono are often preferred by active listeners, collectors. They command a higher price, for example. For classical records, the opposite is true. Even a recording that has been remastered to stereo will often be &quot;preferred&quot;, and command a higher price.&#xD;&#xA;&#xD;&#xA;Why is this? " ContentLicense="CC BY-SA 3.0" />
  <row Id="44037" PostHistoryTypeId="1" PostId="25187" RevisionGUID="6420e3fe-643e-41a3-8d77-bdf94e3b956f" CreationDate="2013-12-18T16:31:02.127" UserDisplayName="Charles Pehlivanian" Text="Stereo versus mono lps" ContentLicense="CC BY-SA 3.0" />
  <row Id="44038" PostHistoryTypeId="3" PostId="25187" RevisionGUID="6420e3fe-643e-41a3-8d77-bdf94e3b956f" CreationDate="2013-12-18T16:31:02.127" UserDisplayName="Charles Pehlivanian" Text="&lt;stereo&gt;&lt;analog&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44039" PostHistoryTypeId="36" PostId="25189" RevisionGUID="06d716d1-c346-47f5-8431-f94618db3c39" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9619/track-to-evaluate-internal-noise-level" />
  <row Id="44040" PostHistoryTypeId="36" PostId="25190" RevisionGUID="b39d27ef-a541-4271-a86a-f36f06982b5a" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9619/track-to-evaluate-internal-noise-level/9620#9620" />
  <row Id="44041" PostHistoryTypeId="36" PostId="25191" RevisionGUID="db801134-1a45-4e83-8db5-70ff0a57ea37" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9619/track-to-evaluate-internal-noise-level/9642#9642" />
  <row Id="44042" PostHistoryTypeId="36" PostId="25192" RevisionGUID="28796f94-a4c2-4f42-886d-c7c07bba714e" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9619/track-to-evaluate-internal-noise-level/9643#9643" />
  <row Id="44043" PostHistoryTypeId="2" PostId="25190" RevisionGUID="b0352747-01b4-438a-a2fb-6d903cb585bf" CreationDate="2013-12-10T17:47:12.473" UserId="7213" Text="It would be simple to create a track that consisted of digital samples of zero. Using Audacity, start a new session, add a stereo track at the sample rate and depth you desire, then select Silence for the duration you want. Save as an uncompressed file type (WAV, for example) and listen.&#xD;&#xA;&#xD;&#xA;You can of course save as any type you like, to see if the codec has any effect, and vary the sample rate etc to experiment." ContentLicense="CC BY-SA 3.0" />
  <row Id="44044" PostHistoryTypeId="2" PostId="25191" RevisionGUID="de4ccdd1-6b9f-4fe5-87fc-508a4b83ac4d" CreationDate="2013-12-12T11:28:54.547" UserId="21343" UserDisplayName="AlexanderBrevig" Text="It may be that your sound card has a 'gate', which practically disconnects it's circuit when not in use (that is to say, a digital silence - meaning a stream of 0s will not activate your sound card, thus it may appear silent because of this).&#xD;&#xA;&#xD;&#xA;If you want to get technical you could use a sine wave generator (I'm sure you can find one for Audacity) and either use your ears. Do you hear any noise?&#xD;&#xA;The more scientific way would be to connect an oscilloscope if you happen to have one, and take a look at the sine wave itself, and preferably a frequency response charting of the signal. A sine wave should have one clear peak. If you see other peaks, that means you have harmonic distortion.&#xD;&#xA;&#xD;&#xA;The bit resolution of your source and sound card will also affect the noise level you're going to experience. You get -6dB of noise per bit you add.&#xD;&#xA;&#xD;&#xA;16 bits = 16 * -6 = -96dB&#xD;&#xA;24 bits = 24 * -6 = -144dB&#xD;&#xA;This simply mean that any audio below these levels will not be audible, because the noise that is inherent because of the sample width is louder.&#xD;&#xA;&#xD;&#xA;What I'm getting at is this:&#xD;&#xA;*Spotify is not a reliable audio source for determining the system signal to noise ration as the tracks you get off Spotify has noise introduced because of sample rate and sample width.*" ContentLicense="CC BY-SA 3.0" />
  <row Id="44045" PostHistoryTypeId="2" PostId="25192" RevisionGUID="787afc4a-5378-4569-a23d-2d856f1dbc89" CreationDate="2013-12-12T15:36:44.497" UserId="7200" Text="We need to disambiguate a couple of things here.&#xD;&#xA;&#xD;&#xA;&quot;Internal noise level&quot; of a soundcard is an analogue phenomenon, coming from the DACs and the headphone amp. Unless you have an analogue volume pot on your external sound card, this noise level will be _completely independent_ of what you're doing. Certainly independent of software, so you can as well measure it with no file playing at all!&#xD;&#xA;&#xD;&#xA;As a matter of fact, that level may well be so low it's simply inaudible. That's certainly no big deal to achieve in a professional audio interface, after all we don't need to amplify any particularly low signal on a high-impedance channel (the only reason noise remains an issue for microphone preamps).&#xD;&#xA;&#xD;&#xA;Sure, laptop sound cards are notoriously noisy, but that mainly is a problem in the _inputs_ and when you connect to other devices with a ground difference that makes power-supply bursts audible.&#xD;&#xA;&#xD;&#xA;If you do hear a sound difference between internal and external sound card, but only between certain tracks (and be aware that this may always be just a placebo effect, or due to different total volume levels!) then it's probably not the internal noise but some specific kind of artifact. In particular, if the DAC is not designed well it will cause distortions on the whole dynamic range that is particularly obvious on low-level, high-frequency sounds. So if there is some noise on the _recording_ itself, the DAC might make this worse and it sounds like it's coming from the sound card itself. You might say this _is_ extra noise from the sound card itself, but I'd rather keep to saying it's distortion of the file's audio signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="44046" PostHistoryTypeId="2" PostId="25189" RevisionGUID="26d05bc7-b944-4d68-a1d4-a2b90d3851f7" CreationDate="2013-12-10T15:06:53.627" UserId="7318" UserDisplayName="daniel.sedlacek" Text="I am listening to Spotify/MP3 on my laptop with external sound card and headphones. &#xD;&#xA;&#xD;&#xA;Is there something like dedicated track that will help me evaluate the level of internal noise of my system? I found a track called digital silence but the system probably didn't output anything at all because I could not hear any noise, no matter the volume, but with some silence inside other tracks I was able to hear the noise difference between the laptop's internal sound card and the external one.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;There is this song on Spotify named [Digital Silence][1] but when I play it on max volume from my laptop (over headphones) I can't hear ANYTHING. While in case of other songs on max volume I think I can hear noise in them that gets improved when I use [external DAC][2]. My assumption is that the laptop will not output any signal at all in case of the Digital Silence track. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://play.spotify.com/album/0ukIPSztyTel8F3gtMbv2d&#xD;&#xA;  [2]: http://www.fiio.com.cn/products/index.aspx?MenuID=105026002" ContentLicense="CC BY-SA 3.0" />
  <row Id="44047" PostHistoryTypeId="1" PostId="25189" RevisionGUID="26d05bc7-b944-4d68-a1d4-a2b90d3851f7" CreationDate="2013-12-10T15:06:53.627" UserId="7318" UserDisplayName="daniel.sedlacek" Text="Track to evaluate internal noise level?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44048" PostHistoryTypeId="3" PostId="25189" RevisionGUID="26d05bc7-b944-4d68-a1d4-a2b90d3851f7" CreationDate="2013-12-10T15:06:53.627" UserId="7318" UserDisplayName="daniel.sedlacek" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44049" PostHistoryTypeId="36" PostId="25193" RevisionGUID="3cc7c3e8-66d2-44f9-87a7-c89752199937" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3919/compose-music-in-reason-synced-up-to-a-project-in-premiere" />
  <row Id="44050" PostHistoryTypeId="36" PostId="25194" RevisionGUID="c49ee854-b562-4479-97aa-24931f58112e" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3919/compose-music-in-reason-synced-up-to-a-project-in-premiere/4845#4845" />
  <row Id="44051" PostHistoryTypeId="36" PostId="25195" RevisionGUID="671d4a36-e910-4053-8f57-9eec4e862cb0" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3919/compose-music-in-reason-synced-up-to-a-project-in-premiere/5283#5283" />
  <row Id="44052" PostHistoryTypeId="2" PostId="25194" RevisionGUID="e44bf46d-14f8-48d4-adff-8e53db2f07ad" CreationDate="2012-09-27T15:32:27.017" UserDisplayName="Tony" Text="http://www.propellerheads.se/products/reason/index.cfm?article=rewire&amp;fuseaction=get_article&#xD;&#xA;&#xD;&#xA;This is a list of software that is compatible with Reason's Rewire. since it's not on that list, it's not possible, at least not in any sort of convenient way. &#xD;&#xA;&#xD;&#xA;Rewire does work with Audition but I'm not familiar with this software. If Audition syncs with premier you might be able to create some sort of chain. If you have Audition it might be worth a shot. Setting up Rewire is as easy as starting the programs in the right order, at least in my experience. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44053" PostHistoryTypeId="2" PostId="25195" RevisionGUID="bf07bc7d-144c-40bb-b97a-ba05e2348d0a" CreationDate="2012-11-07T17:23:31.267" UserDisplayName="Svet" Text="[Retouch](http://www.retouchcontrol.com/site_page.aspx?pageid=46). The only solution so far I've seen around but havent tried yet &#xD;&#xA;&#xD;&#xA;From the website...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&gt; **Overview** &#xD;&#xA;&gt; &#xD;&#xA;&gt; Ever wanted to sync video to Reason without needing to&#xD;&#xA;&gt; Rewire? Now you can!&#xD;&#xA;&gt; &#xD;&#xA;&gt; **ReSync** allows you to open any QuickTime supported video and syncs its&#xD;&#xA;&gt; playback to the Reason transport! Use the transport control buttons in&#xD;&#xA;&gt; Reason or even move the playhead with the mouse to scrub the playback,&#xD;&#xA;&gt; your music and video will stay in sync. &#xD;&#xA;&gt; &#xD;&#xA;&gt; **ReSync** opens any supported video in its native resolution size.&#xD;&#xA;&gt; However, you can resize the video window to any size you want,&#xD;&#xA;&gt; including full screen. Also, ReSync offers full control over the&#xD;&#xA;&gt; video's audio with dedicated &quot;Mute&quot; and &quot;Volume&quot; controls." ContentLicense="CC BY-SA 3.0" />
  <row Id="44054" PostHistoryTypeId="2" PostId="25193" RevisionGUID="16e04044-13f0-4232-9b45-6fd5fbdc396d" CreationDate="2012-05-04T09:32:51.407" UserDisplayName="Speldosa" Text="I have a movie in Premiere which I want to give a soundtrack. For this, I would like Reason to sync up with Premiere, so that I for example can put that epic etnodrum solo at the exact right time, or change the order of the clips to better fit the music. Basically, I would like for Reason and Premiere to sync up so that when one of the program is running, the other one is to, at the same place in the timeline.&#xD;&#xA;&#xD;&#xA;From my understanding, Premiere does not support ReWire, so that won't be an option." ContentLicense="CC BY-SA 3.0" />
  <row Id="44055" PostHistoryTypeId="1" PostId="25193" RevisionGUID="16e04044-13f0-4232-9b45-6fd5fbdc396d" CreationDate="2012-05-04T09:32:51.407" UserDisplayName="Speldosa" Text="Compose music in Reason, synced up to a project in Premiere" ContentLicense="CC BY-SA 3.0" />
  <row Id="44056" PostHistoryTypeId="3" PostId="25193" RevisionGUID="16e04044-13f0-4232-9b45-6fd5fbdc396d" CreationDate="2012-05-04T09:32:51.407" UserDisplayName="Speldosa" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44057" PostHistoryTypeId="36" PostId="25196" RevisionGUID="5aab5983-b268-4d98-b786-187c1a29df94" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/579/how-can-i-get-good-reverb-with-audacity" />
  <row Id="44058" PostHistoryTypeId="2" PostId="25197" RevisionGUID="d4991fc8-4a16-4d22-8ed0-5e07931b2247" CreationDate="2011-01-13T15:29:36.077" UserDisplayName="Bill Gribble" Text="There are a few pretty simple LADSPA reverb plugins that will work with Audacity.  Start looking at [Steve Harris' docs page][1]. &#xD;&#xA;&#xD;&#xA;I like the Plate Reverb he lists for vocals and general reverbiness, but if you are interested in a guitar reverb you want a &quot;spring reverb&quot; sound.&#xD;&#xA;&#xD;&#xA;The LADSPA Impulse Convolver has what appear to be compiled-in presets for about 20 different guitar amp spring reverb units; I haven't used it, but impulse convolution is a good (if computationally expensive) way to do reverb and if it does what it says on the tin you should find one of those sounds that work for you. &#xD;&#xA;&#xD;&#xA;  [1]: http://plugin.org.uk/ladspa-swh/docs/ladspa-swh.html&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44059" PostHistoryTypeId="2" PostId="25196" RevisionGUID="3bb73c38-7ef7-4327-b98f-72d0d60f843a" CreationDate="2011-01-13T06:02:45.330" UserDisplayName="jftuga" Text="I am looking for a simple way to get reverb from audacity - similar to a guitar amp that just has a knob from 1 to 10. Is GVerb the correct effect to use for this?  It looks too complicated and sounds horrible - even after fooling around with it.  How can I get good, easy-to-use reverb with Audacity, since I won't be recording with any reverb?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44060" PostHistoryTypeId="1" PostId="25196" RevisionGUID="3bb73c38-7ef7-4327-b98f-72d0d60f843a" CreationDate="2011-01-13T06:02:45.330" UserDisplayName="jftuga" Text="How can I get good reverb with audacity?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44061" PostHistoryTypeId="3" PostId="25196" RevisionGUID="3bb73c38-7ef7-4327-b98f-72d0d60f843a" CreationDate="2011-01-13T06:02:45.330" UserDisplayName="jftuga" Text="&lt;reverb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44062" PostHistoryTypeId="36" PostId="25197" RevisionGUID="1d9f36d0-dcc6-4b8d-8a8a-f5ecf0513f93" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/579/how-can-i-get-good-reverb-with-audacity/580#580" />
  <row Id="44063" PostHistoryTypeId="36" PostId="25198" RevisionGUID="a2a0e015-55da-4364-8997-3473b8f20c44" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/579/how-can-i-get-good-reverb-with-audacity/649#649" />
  <row Id="44064" PostHistoryTypeId="2" PostId="25198" RevisionGUID="b4908c51-d1c6-4f48-9f36-180185700db1" CreationDate="2011-01-20T14:38:50.580" UserDisplayName="Tony Andrews" Text="I'm not sure if you already knew this, but the best way to use GVerb is to duplicate the track you want reverb on and then apply GVerb to one of them.  Then you can adjust the level of reverb in the mix.&#xD;&#xA;&#xD;&#xA;See: [Audacity Wiki][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://wiki.audacityteam.org/index.php?title=GVerb#Duplicate_and_mix_together" ContentLicense="CC BY-SA 2.5" />
  <row Id="44065" PostHistoryTypeId="36" PostId="25199" RevisionGUID="a0c4bdb6-d564-45f7-af37-66f6cd06e3f5" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1815/how-can-i-simulate-a-palm-mute-effect-in-reason" />
  <row Id="44066" PostHistoryTypeId="2" PostId="25200" RevisionGUID="f6f32a92-d242-4c1b-ae05-d158071c92d3" CreationDate="2011-07-08T23:29:20.997" UserId="7200" Text="You can first try if a compressor with ≈ 400 ms attack, 30 ms decay, and rather violent threshold/ratio (something like -40 dB and ≥8:1) settings does the trick. If not, try a more conventional compressor setting (if the synthesized guitar has little dynamic range, that may not even be necessary) and put an expander/noise gate after it, which triggers only the note plucks. Fast attack and ≈ 400 ms decay.&#xD;&#xA;&#xD;&#xA;If neither of these works satisfyingly, you will need to resort to specialized envelope tools, or to using a proper palm mute sound in the first place.&#xD;&#xA;&#xD;&#xA;Note that, for a distorted sound, all tweaks can only work properly if you apply them _before_ the distortion. Once the signal has passed the amp, it will be alnost impossible to do anything about the playing technique characteristics." ContentLicense="CC BY-SA 3.0" />
  <row Id="44067" PostHistoryTypeId="2" PostId="25199" RevisionGUID="e8266265-2adf-47fc-8bf1-1037611eee5c" CreationDate="2011-07-08T20:05:53.683" UserDisplayName="Ray Dey" Text="I would like to simulate a palm mute on synthesized guitars in Reason. I'm not after too much realism, just the basic effect.&#xD;&#xA;&#xD;&#xA;Listening to some palm muting in metal, etc, I believe that a low pass filter would get me the frequency range, but how can I implement the percussive element into it?&#xD;&#xA;&#xD;&#xA;Hope I worded it correctly and thanks for any replies :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="44068" PostHistoryTypeId="1" PostId="25199" RevisionGUID="e8266265-2adf-47fc-8bf1-1037611eee5c" CreationDate="2011-07-08T20:05:53.683" UserDisplayName="Ray Dey" Text="How can I simulate a palm mute effect in Reason?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44069" PostHistoryTypeId="3" PostId="25199" RevisionGUID="e8266265-2adf-47fc-8bf1-1037611eee5c" CreationDate="2011-07-08T20:05:53.683" UserDisplayName="Ray Dey" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44070" PostHistoryTypeId="36" PostId="25200" RevisionGUID="6f220473-41c3-48c8-972b-0d6e9d2f122d" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1815/how-can-i-simulate-a-palm-mute-effect-in-reason/1816#1816" />
  <row Id="44071" PostHistoryTypeId="36" PostId="25201" RevisionGUID="4cdf8bf2-6eb1-4e80-87cf-4ffda712584e" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7204/how-do-you-organise-and-manage-a-project-when-re-sampling-audio-to-achieve-uniqu" />
  <row Id="44072" PostHistoryTypeId="2" PostId="25202" RevisionGUID="646edac9-d48a-42cb-9e09-66d998a078e8" CreationDate="2013-02-21T17:45:03.903" UserId="7189" Text="I think you need to look at the universe of possible solutions, try some of them out, and observe how they impact your work. Then decide which solution is the most effective solution for you.&#xD;&#xA;&#xD;&#xA;Some possibilities for you to try:&#xD;&#xA;&#xD;&#xA;* Create a giant project with all your samples and all your FX chains. Does this get unwieldy? Is it easy to find your way around?&#xD;&#xA;&#xD;&#xA;* Create smaller projects that are organized around similar samples and FX chains. Use these as a library, and copy out the FX chains and samples and into your new project as you need them. Can you come up with a schema or organizing principle that makes it easy to find what you are looking for later?&#xD;&#xA;&#xD;&#xA;* Create projects organized around compositional ideas. Leave unused chains and samples in the project but disabled. Does it help to think in terms of past projects and the successful and failed ideas associated with those projects?&#xD;&#xA;&#xD;&#xA;* Create projects organized around compositional ideas, but ruthlessly cull the chains and FX that don't work. Consider moving the failed ideas and processes into another project, or just delete them. Does it help to only catalog an idea once it has become part of a successful project?&#xD;&#xA;&#xD;&#xA;* Read widely about experimental music. Draw influence from people working with radically different technology, such as [Stockhausen's](http://en.wikipedia.org/wiki/Karlheinz_Stockhausen) tape editing, [Morton Feldman's](http://en.wikipedia.org/wiki/Morton_Feldman) visual scores, or [Pauline Oliveros'](http://en.wikipedia.org/wiki/Pauline_Oliveros) deep listening strategies. Take from others what appeals to you, and make it work within your own workflow.&#xD;&#xA;&#xD;&#xA;* Read widely about creativity in general. Find a painter that inspires you and come up with a way to apply their painting process to your composition.&#xD;&#xA;&#xD;&#xA;* Read widely beyond creativity. Pick a book on military history or business strategy. Apply the lessons learned to music production in your own way. [Brian Eno][1] used this route as a starting point for much of his studio innovation.&#xD;&#xA;&#xD;&#xA;* There is some good stuff in [this][2] three [part][3] Matmos [interview][4] too. Their process is interesting, and they reference a number of other artists that have interesting sound creation process as well.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Brian_eno&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=SFM0AuNjNU4&#xD;&#xA;  [3]: http://www.youtube.com/watch?v=Cuf4tuHYdeo&#xD;&#xA;  [4]: http://www.youtube.com/watch?v=JI4aJrJdOwI" ContentLicense="CC BY-SA 3.0" />
  <row Id="44073" PostHistoryTypeId="2" PostId="25201" RevisionGUID="306da797-7e76-44a7-88e8-4c262c96a08a" CreationDate="2013-02-20T15:48:19.717" UserDisplayName="Hiren Umradia" Text="I have been playing around with re-sampling audio for a while now when sound designing for my music projects. However, I have found it very difficult to manage all the different snippets of audio.&#xD;&#xA;&#xD;&#xA;I find my projects get very messy with many different snippets relating to one sound. I also have many FX chains that are dedicated to re-sampling. Some of these chains I reuse and some I don't. I tend to keep all of my FX chains open just in-case I need to go back and use them again but I don't know if this is the best approach. The DAW I am using is FL Studio.&#xD;&#xA;&#xD;&#xA;Has anyone got any tips on how I should approach re-sampling?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44074" PostHistoryTypeId="1" PostId="25201" RevisionGUID="306da797-7e76-44a7-88e8-4c262c96a08a" CreationDate="2013-02-20T15:48:19.717" UserDisplayName="Hiren Umradia" Text="How do you organise and manage a project when re-sampling audio to achieve unique sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44075" PostHistoryTypeId="3" PostId="25201" RevisionGUID="306da797-7e76-44a7-88e8-4c262c96a08a" CreationDate="2013-02-20T15:48:19.717" UserDisplayName="Hiren Umradia" Text="&lt;sound-design&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44076" PostHistoryTypeId="36" PostId="25202" RevisionGUID="77e43a7a-7cb2-4825-9afa-f1b7137fc24e" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7204/how-do-you-organise-and-manage-a-project-when-re-sampling-audio-to-achieve-uniqu/7212#7212" />
  <row Id="44077" PostHistoryTypeId="36" PostId="25203" RevisionGUID="9de4269a-ed70-42d1-9199-2af21542b881" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4479/how-to-merge-time-lapse-videos-and-soundtrack" />
  <row Id="44078" PostHistoryTypeId="36" PostId="25204" RevisionGUID="6d44911f-10dc-40fc-b94f-a9043c1b83f5" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4479/how-to-merge-time-lapse-videos-and-soundtrack/4487#4487" />
  <row Id="44079" PostHistoryTypeId="2" PostId="25204" RevisionGUID="c21ec8ac-7381-493b-97e7-04cb3a9233e0" CreationDate="2012-07-30T08:26:58.743" UserId="7016" Text="Pretty much any video editing software can do this - if you have Windows, you can use Moviemaker (free, bundled with Microsoft Live these days)&#xD;&#xA;&#xD;&#xA;The idea is you populate the timeline with all your video clips, and add whatever transitions you need, then add your audio to the sound track.&#xD;&#xA;&#xD;&#xA;The only problem is that Moviemaker does not support 3Gp, so use a free converter to change to mpg first." ContentLicense="CC BY-SA 3.0" />
  <row Id="44080" PostHistoryTypeId="2" PostId="25203" RevisionGUID="e6ac8850-2057-4ee5-b8f1-b8c6ae1e6688" CreationDate="2012-07-28T13:26:21.077" UserDisplayName="John Vice" Text="I want to create video clip with merged time-lapse short videos and a soundtrack accompanying it. I would prefer as short a learning curve as possible and a rapid  way to accomplish this. Adobe Premiere, but it seems too expensive for something I will barely use.&#xD;&#xA;&#xD;&#xA;My upload speed is too slow for online video editing *(1Mb/s - 120 KB/s)*, so I prefer to do everything on my local 2.6 Ghz dual core Intel processor based laptop with 8GB of RAM. I already have 2 5-7 second time lapse videos, 30 short videos and over 500 photos to choose from and only need to glue everything into over 4 minutes of soundtrack playback. I could use more soundtracks if needed of course but I want there to be transition between soundtracks. Videos were shot in 3GP and MOV formats.&#xD;&#xA;&#xD;&#xA;I appreciate your help and guidance as well as information on software (I very much prefer free or open source) I should use to accomplish this project." ContentLicense="CC BY-SA 3.0" />
  <row Id="44081" PostHistoryTypeId="1" PostId="25203" RevisionGUID="e6ac8850-2057-4ee5-b8f1-b8c6ae1e6688" CreationDate="2012-07-28T13:26:21.077" UserDisplayName="John Vice" Text="How to merge time-lapse videos and soundtrack?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44082" PostHistoryTypeId="3" PostId="25203" RevisionGUID="e6ac8850-2057-4ee5-b8f1-b8c6ae1e6688" CreationDate="2012-07-28T13:26:21.077" UserDisplayName="John Vice" Text="&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44083" PostHistoryTypeId="36" PostId="25205" RevisionGUID="3d30afae-527a-49a2-8fed-99010231d6e4" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/70/does-headphone-impedance-make-any-difference-except-for-volume" />
  <row Id="44084" PostHistoryTypeId="2" PostId="25205" RevisionGUID="434dfee0-1134-47ce-9ee8-33bde9bd8bc7" CreationDate="2010-12-07T22:17:14.663" UserDisplayName="Willbill" Text="&gt; **Possible Duplicate:**  &#xA;&gt; [What is the effect of impedance on headphone sound quality?](http://avp.stackexchange.com/questions/650/what-is-the-effect-of-impedance-on-headphone-sound-quality)  &#xA;&#xA;&lt;!-- End of automatically inserted text --&gt;&#xA;&#xA;Does headphone impedance make any difference except for volume?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44085" PostHistoryTypeId="1" PostId="25205" RevisionGUID="434dfee0-1134-47ce-9ee8-33bde9bd8bc7" CreationDate="2010-12-07T22:17:14.663" UserDisplayName="Willbill" Text="Does headphone impedance make any difference except for volume?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44086" PostHistoryTypeId="3" PostId="25205" RevisionGUID="434dfee0-1134-47ce-9ee8-33bde9bd8bc7" CreationDate="2010-12-07T22:17:14.663" UserDisplayName="Willbill" Text="&lt;headphones&gt;&lt;electronics&gt;&lt;impedance&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44087" PostHistoryTypeId="36" PostId="25206" RevisionGUID="1e4fcdb2-c2dc-45af-acc1-a0ba6667422a" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1031/what-exactly-is-a-bus-on-a-behringer-xenyx-mixer" />
  <row Id="44088" PostHistoryTypeId="2" PostId="25207" RevisionGUID="49cb3a0a-67ac-4e7d-89ab-840be30744ad" CreationDate="2011-03-15T12:45:37.233" UserDisplayName="Ron" Text="A buss is an additional output from the channels.  They are very important in live sound.&#xD;&#xA;&#xD;&#xA;Your mixer has eight pre-amps.  Each pre-amp feeds a variable amp controlled by the gain slider or knob.  That feeds the main (stereo) mix.  Then you can control a feed to auxiliary busses through separate controls.  You can feed one or more inputs to the aux buss, and there is a separate gain control for each.  According to the [manual](http://www.behringer.com/EN/downloads/pdf/502_P0576_M_EN.pdf), yours would go to an effects output for external processing.&#xD;&#xA;&#xD;&#xA;The aux buss can feed an internal effects channel, an aux output, or, on a bigger mixer, get mixed into the mains through a separate slider.  I do mostly live sound.  I use the main buss for the house speakers, and I use an aux buss for recording.  A grand piano doesn't really need any amplification (and the pianist might get upset if you try), but I mic the piano and only feed it to the recorder on the aux buss.  If I were recording a drum set, I would mic each piece of the set and balance all eight or so channels on a buss.  Then I could use a single control to mix that buss into the main mix without changing the balance." ContentLicense="CC BY-SA 2.5" />
  <row Id="44089" PostHistoryTypeId="2" PostId="25206" RevisionGUID="c0a8d0f3-5033-450f-ab8b-15a4d6299ac2" CreationDate="2011-03-15T09:50:38.817" UserDisplayName="RyanScottLewis" Text="I'm looking to buy a [Behringer Xenyx 802][1] which is an 8-Input 2-Bus mixer. &#xD;&#xA;&#xD;&#xA;My question is.. what does it mean by &quot;2-bus&quot;? &#xD;&#xA;&#xD;&#xA;I understand the concept of the word &quot;bus&quot; in this context as to mean sending multiple inputs to a single track, but how is this implemented in this device?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Behringer-802-Premium-8-Input-Preamps/dp/B000J5XS3C/ref=wl_mb_recs_1_dp" ContentLicense="CC BY-SA 2.5" />
  <row Id="44090" PostHistoryTypeId="1" PostId="25206" RevisionGUID="c0a8d0f3-5033-450f-ab8b-15a4d6299ac2" CreationDate="2011-03-15T09:50:38.817" UserDisplayName="RyanScottLewis" Text="What exactly is a &quot;bus&quot; on a Behringer Xenyx mixer?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44091" PostHistoryTypeId="3" PostId="25206" RevisionGUID="c0a8d0f3-5033-450f-ab8b-15a4d6299ac2" CreationDate="2011-03-15T09:50:38.817" UserDisplayName="RyanScottLewis" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44092" PostHistoryTypeId="36" PostId="25207" RevisionGUID="a181cea9-5faa-4533-a7f3-677898c0d114" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1031/what-exactly-is-a-bus-on-a-behringer-xenyx-mixer/1032#1032" />
  <row Id="44093" PostHistoryTypeId="36" PostId="25208" RevisionGUID="86974547-c3aa-4e45-93f9-2d66b9240429" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9884/doing-a-5-1-and-a-stereo-soundtrack-with-same-source-material-in-adobe-audition" />
  <row Id="44094" PostHistoryTypeId="2" PostId="25208" RevisionGUID="98ddb540-0319-44c7-8896-59b4002ae945" CreationDate="2014-01-10T23:08:49.037" UserDisplayName="Rune Jacobsen" Text="I'm a CC member so up to date on the software.&#xD;&#xA;&#xD;&#xA;I have some video clips with audio, and I am doing the sound mastering in Audition. I have the following clips to work with:&#xD;&#xA;&#xD;&#xA;- A: Stereo input from XLR microphone.&#xD;&#xA;- B: Stereo input from camera microphone.&#xD;&#xA;- C: Some music clips that match music that will also be audible on the first track.&#xD;&#xA;&#xD;&#xA;So far, I've focused on a simple stereo mix. The &quot;A&quot; input is the &quot;main&quot; audio, so it is king. I've set up a side chain compressor on the &quot;B&quot; track so that any voice (A is mainly speech, some music) makes it go silent, then you get audience reactions etc. whenever the main speaker is silent.&#xD;&#xA;&#xD;&#xA;This works relatively well and I am slowly arriving at a mix that doesn't make my ears bleed.&#xD;&#xA;&#xD;&#xA;Then I thought... how about I also make a 5.1 version, where I send the A audio to the front speakers (and center?), the B audio to the surround speakers, and the occasional music clips to the front? I think it could sound good, perhaps still with a wee bit ducking between A and B.&#xD;&#xA;&#xD;&#xA;But does anyone know if there is an easy workflow to do mastering for both of these at the same time, in the same file? The target for this will be BluRay disc (Encore until I stumble across anything better), and I would love not to have to repeat work in two different projects / multitracks in order to have one 2.0 and one 5.1 file. &#xD;&#xA;&#xD;&#xA;I am aware of concepts such as buses etc., but I know way too little about them to even guess if I can build something with them or not.&#xD;&#xA;&#xD;&#xA;Anyone? Thanks for any insight!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44095" PostHistoryTypeId="1" PostId="25208" RevisionGUID="98ddb540-0319-44c7-8896-59b4002ae945" CreationDate="2014-01-10T23:08:49.037" UserDisplayName="Rune Jacobsen" Text="Doing a 5.1 and a stereo soundtrack with same source material in Adobe Audition" ContentLicense="CC BY-SA 3.0" />
  <row Id="44096" PostHistoryTypeId="3" PostId="25208" RevisionGUID="98ddb540-0319-44c7-8896-59b4002ae945" CreationDate="2014-01-10T23:08:49.037" UserDisplayName="Rune Jacobsen" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44097" PostHistoryTypeId="36" PostId="25209" RevisionGUID="fe9a936b-a2c3-4233-a070-49ead8d3ca4d" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4022/understanding-waveform-representation" />
  <row Id="44098" PostHistoryTypeId="2" PostId="25210" RevisionGUID="d9734279-ce0c-4afc-8ce8-b55b35601baf" CreationDate="2012-05-19T22:42:39.743" UserDisplayName="william" Text="Sound is a series of negative and positive energy.  Technically the Y - Axis does represent &quot;loudness&quot; though loudness can be measured in many different ways.  A full positive to negative change is known as a &quot;cycle&quot;.  Faster cycles means higher pitches, slower cycles means lower pitches.  You can simulate this by dragging an object over a textured surface, the faster you drag, the higher the pitch.  Alternatively, you could also just blow air through your mouth (whistling).&#xD;&#xA;&#xD;&#xA;Its easier to think of the waveform as the &quot;base&quot; data.  A spectrogram plots the frequencies generated from that waveform over time.&#xD;&#xA;&#xD;&#xA;Also low and high pitches can play at the same time, it will look like the higher pitched sound is &quot;riding&quot; on top of the lower pitched sound in the waveform. The waveform is still a single value.&#xD;&#xA;&#xD;&#xA;From that one point of the waveform we can generate a spectrum of all frequencies at that given time.  We can then keep grabbing points over time to form a graph of frequencies over time, or a spectrogram.&#xD;&#xA;&#xD;&#xA;A spectrum, spectrogram are just different ways to graphically represent sound.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44099" PostHistoryTypeId="2" PostId="25209" RevisionGUID="73977bb1-f711-4596-a448-cef211964a77" CreationDate="2012-05-19T21:47:06.930" UserDisplayName="stefan.at.wpf" Text="I am new to audio things and I have trouble understand the waveform representation, e.g. in Audacity the y-axis goes from -1 up to +1 (please see screenshot below). What does this mean? What does the y Axis represent at all? I think it should be the loudness, but how can the loudness be negative? And don't I need multiple values at the same time on the y axis for different frequencies? Or do audio files only contain one value for a given time? I am just confused because on a spectogram one has multiple points for one point in time, on the waveform one has only one point... I already googled, but couldn't find an explanation. And help, including literature recommendations, are welcome. Thank you very much!&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;(I also checked the Audacity documentations on this, but it didn't help me!)&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/ScJTL.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="44100" PostHistoryTypeId="1" PostId="25209" RevisionGUID="73977bb1-f711-4596-a448-cef211964a77" CreationDate="2012-05-19T21:47:06.930" UserDisplayName="stefan.at.wpf" Text="Understanding waveform representation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44101" PostHistoryTypeId="3" PostId="25209" RevisionGUID="73977bb1-f711-4596-a448-cef211964a77" CreationDate="2012-05-19T21:47:06.930" UserDisplayName="stefan.at.wpf" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44102" PostHistoryTypeId="36" PostId="25210" RevisionGUID="53ef7324-d9c4-4300-bebf-e39c86129662" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4022/understanding-waveform-representation/4023#4023" />
  <row Id="44103" PostHistoryTypeId="36" PostId="25211" RevisionGUID="4b2e26d7-2674-441b-8a54-91c999ac7cb2" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4022/understanding-waveform-representation/4024#4024" />
  <row Id="44104" PostHistoryTypeId="2" PostId="25211" RevisionGUID="b92d0f94-8edc-4662-8947-6a481dbe1fce" CreationDate="2012-05-20T11:16:56.187" UserId="7016" Text="Imagine a swimming pool with no ripples. Then drop a pebble in. Ripples will move out from that point. If you choose a point to measure the height you will see it moves up and down from its rest point. Drop another pebble somewhere else and the ripples will interfere, adding and subtracting from each other. The waveform will look complex but the height at your measurement point will still just be one number. &#xD;&#xA;&#xD;&#xA;Instead of dropping pebbles, imagine vibrating paddles on the surface of the water at different speeds. This will give you a very chaotic looking waveform, but Fourier transforms (a branch of mathematics) you can take that waveform and derive the frequencies of the vibrations. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44105" PostHistoryTypeId="36" PostId="25212" RevisionGUID="130f8c29-9ad4-446f-872e-f30089daa1c5" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/875/using-effects-without-dry-wet-parameter-in-cubase" />
  <row Id="44106" PostHistoryTypeId="2" PostId="25213" RevisionGUID="1bcd8178-fe43-4af1-bc3e-8a80adaa3cbc" CreationDate="2011-02-21T21:56:18.553" UserDisplayName="Ian C." Text="I'd take the aux channel route to do this myself.&#xD;&#xA;&#xD;&#xA;Set up an aux channel with just your filter on it and have it take it's input from an aux buss. Lets say it's Aux Buss 1 as the input. Since there's no wet-dry blend on the filter VST there's no need to set it to 100% wet.&#xD;&#xA;&#xD;&#xA;On the channel you want to filter for a short period of time, add a pre-fader send to Aux Buss 1.&#xD;&#xA;&#xD;&#xA;Now open your curve editor for the channel. You're going to create one curve that sets the send 1 level to be the appropriate send level to your aux channel for the first 30 seconds of the song, and then after that turns it down to -inf so nothing gets sent. Similarly you'll create a curve that sets the fader on the channel strip to be -inf for however long you're sending audio to the aux buss. And then have that curve jump the fader up to the appropriate level at the same moment the send value is being dropped to -inf." ContentLicense="CC BY-SA 2.5" />
  <row Id="44107" PostHistoryTypeId="2" PostId="25212" RevisionGUID="f74a2005-5288-4f3e-8f3d-cc030634c279" CreationDate="2011-02-21T19:52:25.227" UserDisplayName="3mpty" Text="I have 2 tracks that I need to filter for, say, the first 30 seconds using one of the cubase builtin filters. I'm having problem figuring out how can I manage to do this using automations. I've tried with sends and insert effects, but there's no way to set dry/wet.&#xD;&#xA;&#xD;&#xA;I can bypass the problem creating one track that is filtered and another one for the non-filtered parts, but this seems kind of weird to me.&#xD;&#xA;&#xD;&#xA;What am I missing?&#xD;&#xA;&#xD;&#xA;Thank you very much ;)&#xD;&#xA;Ciao" ContentLicense="CC BY-SA 2.5" />
  <row Id="44108" PostHistoryTypeId="1" PostId="25212" RevisionGUID="f74a2005-5288-4f3e-8f3d-cc030634c279" CreationDate="2011-02-21T19:52:25.227" UserDisplayName="3mpty" Text="Using effects without dry/wet parameter in Cubase" ContentLicense="CC BY-SA 2.5" />
  <row Id="44109" PostHistoryTypeId="3" PostId="25212" RevisionGUID="f74a2005-5288-4f3e-8f3d-cc030634c279" CreationDate="2011-02-21T19:52:25.227" UserDisplayName="3mpty" Text="&lt;effects&gt;&lt;cubase&gt;&lt;automation&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44110" PostHistoryTypeId="36" PostId="25213" RevisionGUID="d47f0d25-ddf6-48cf-a210-fb2a58e68bf8" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/875/using-effects-without-dry-wet-parameter-in-cubase/876#876" />
  <row Id="44119" PostHistoryTypeId="36" PostId="25217" RevisionGUID="5daef836-9ca0-4d43-9a81-bf92cd7a579d" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6948/how-to-make-a-sample-note-sustained-or-long-in-reason-4" />
  <row Id="44120" PostHistoryTypeId="36" PostId="25218" RevisionGUID="e9e3f1c5-08ea-49bc-851b-a9592d0c2392" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6948/how-to-make-a-sample-note-sustained-or-long-in-reason-4/6990#6990" />
  <row Id="44121" PostHistoryTypeId="2" PostId="25218" RevisionGUID="ccbb2d82-8165-4441-9409-c32e23b41a03" CreationDate="2013-01-29T20:33:47.930" UserDisplayName="Tony" Text="Increase the release time on the sampler, it's on the bottom right hand corner or at the top in the Global Controls. It may or may not sound the way you expect or hope it would sound. It's the only thing that can be done within NN-XT itself, as far as I know, to increase the sustain of the note. The sample will greatly influence how nice this turns out. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44122" PostHistoryTypeId="2" PostId="25217" RevisionGUID="6fed9766-9fc3-49a3-a176-03a9336faa08" CreationDate="2013-01-25T12:01:03.860" UserId="9944" UserDisplayName="Alenanno" Text="In Reason 4, some notes play as long as the red bar in the editing window continues. Others have just a single touch with no release and no matter how long the bar, they don't sound continuously.&#xD;&#xA;&#xD;&#xA;How do I achieve this effect in such cases?&#xD;&#xA;&#xD;&#xA;For example, I loaded a sample in the NN-XT device (it's a simple &quot;uh-huh&quot;), but I'd like to transform it, make it sustained, so it gets longer as much as I want.&#xD;&#xA;&#xD;&#xA;Basically I'm talking about the difference between **pa!** vs **paaaaaaaaaa...**" ContentLicense="CC BY-SA 3.0" />
  <row Id="44123" PostHistoryTypeId="1" PostId="25217" RevisionGUID="6fed9766-9fc3-49a3-a176-03a9336faa08" CreationDate="2013-01-25T12:01:03.860" UserId="9944" UserDisplayName="Alenanno" Text="How to make a sample/note sustained or long in Reason 4?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44124" PostHistoryTypeId="3" PostId="25217" RevisionGUID="6fed9766-9fc3-49a3-a176-03a9336faa08" CreationDate="2013-01-25T12:01:03.860" UserId="9944" UserDisplayName="Alenanno" Text="&lt;sampling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44125" PostHistoryTypeId="36" PostId="25219" RevisionGUID="9c36d294-9075-488d-ac41-81b8c0cd9cec" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/142/sequencer-daw-with-a-decent-notation-score-editor" />
  <row Id="44126" PostHistoryTypeId="36" PostId="25220" RevisionGUID="dd39b41f-d34a-4e95-ad57-482c5ea47b75" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/142/sequencer-daw-with-a-decent-notation-score-editor/145#145" />
  <row Id="44127" PostHistoryTypeId="36" PostId="25221" RevisionGUID="641a2243-beb0-4bfe-8a9b-2d6f2f69defe" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/142/sequencer-daw-with-a-decent-notation-score-editor/146#146" />
  <row Id="44128" PostHistoryTypeId="36" PostId="25222" RevisionGUID="70cbd231-daf8-486f-befa-836821a5ffc3" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/142/sequencer-daw-with-a-decent-notation-score-editor/151#151" />
  <row Id="44129" PostHistoryTypeId="2" PostId="25220" RevisionGUID="e80074b7-2fe7-4036-9240-44d83130c010" CreationDate="2010-12-08T19:09:54.647" UserId="7294" UserDisplayName="Warrior Bob" Text="I believe Sibelius and Pro Tools are integrated, so you can write in Sibelius and import cleanly into Pro Tools, where you can use Pro Tools TDM or RTAS plugins.  I have never done this personally though, so consider this hearsay :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="44130" PostHistoryTypeId="2" PostId="25221" RevisionGUID="39e3c21a-7d5d-4a55-a7b0-72cb7c39c015" CreationDate="2010-12-08T19:12:47.350" UserDisplayName="Ian C." Text="&quot;Decent&quot; makes this a bit subjective (and heck, tool questions can border on religious from time to time) but I'll recommend looking at Logic Pro.&#xD;&#xA;&#xD;&#xA;I moved from a Cubase SX 3 to Logic 8 Pro system three years ago. I used to think SX 3's scoring capabilities were decent to pretty good but Logic, once I got used to the Mac and the Logic way of working, does a fantastic job at managing score writing and playback. You can move between piano roll and score editing. Because it's completely integrated with Logic you can audition the scores with whatever VSTi's you'd like to use (and Logic Pro comes with some impressive and extensive VSTi's). And you can produce some very nice looking printed score sheets at the end. I've scored about a dozen pit band pieces with Logic 8 now and I'm a convert.&#xD;&#xA;&#xD;&#xA;[This tutorial][1] covers producing printed sheet music, but it gives you a good overview and you can see the screens you'd be working with.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audio.tutsplus.com/tutorials/arrangement/how-to-create-a-song-sheet-in-logics-score-editor/" ContentLicense="CC BY-SA 2.5" />
  <row Id="44131" PostHistoryTypeId="2" PostId="25223" RevisionGUID="7c64d164-2ee5-4316-a599-437110a747f3" CreationDate="2011-02-10T13:41:47.687" UserId="6885" Text="You can try [Rosegarden][1] since it is totally free. It has score editing and recording functionality.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rosegardenmusic.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="44132" PostHistoryTypeId="2" PostId="25222" RevisionGUID="7aff444a-880f-42d3-89b7-48ce2efbac7e" CreationDate="2010-12-08T20:24:21.627" UserId="7592" UserDisplayName="Pelle ten Cate" Text="I had good results with Logic. While it is only available for Mac OS X as it has been bought by Apple many years ago, the old Windows version 5.5 was quite pleasing in this as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="44133" PostHistoryTypeId="2" PostId="25219" RevisionGUID="df1ae09d-953d-4c0c-a638-d2ac49bbd563" CreationDate="2010-12-08T17:24:30.860" UserId="4012" Text="Many DAWs/music production softwares (Reaper, FL Studio ...) rely on piano-roll to edit midi tracks.&#xD;&#xA;&#xD;&#xA;Are there nice sequencers/daws with very good notation/score editor (along with VSTi/plugin support for rendering the score).&#xD;&#xA;&#xD;&#xA;I know Cubase etc offer usable score editors. I'd prefer to work with the entire musical work as the score (as in Sibelius etc). I've used Harmony Assistant for sometime. Liked it very much. It has an internal sound synth, doesn't support vst plugins.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44134" PostHistoryTypeId="1" PostId="25219" RevisionGUID="df1ae09d-953d-4c0c-a638-d2ac49bbd563" CreationDate="2010-12-08T17:24:30.860" UserId="4012" Text="Sequencer/DAW with a decent Notation/Score Editor?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44135" PostHistoryTypeId="3" PostId="25219" RevisionGUID="df1ae09d-953d-4c0c-a638-d2ac49bbd563" CreationDate="2010-12-08T17:24:30.860" UserId="4012" Text="&lt;daw&gt;&lt;scoring&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44136" PostHistoryTypeId="36" PostId="25223" RevisionGUID="b7963978-f3a6-4db6-937f-5887d8da8043" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/142/sequencer-daw-with-a-decent-notation-score-editor/788#788" />
  <row Id="44137" PostHistoryTypeId="36" PostId="25224" RevisionGUID="aff1b55b-5172-4533-bb04-7b861ad768a5" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7520/audio-mixer-inputs-and-outputs" />
  <row Id="44138" PostHistoryTypeId="36" PostId="25225" RevisionGUID="d9ab71f1-9ee4-4067-9ae4-15aec6256f47" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7520/audio-mixer-inputs-and-outputs/7522#7522" />
  <row Id="44139" PostHistoryTypeId="36" PostId="25226" RevisionGUID="1698383c-ce7d-43fd-a6ba-845bceefe3c6" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7520/audio-mixer-inputs-and-outputs/7523#7523" />
  <row Id="44140" PostHistoryTypeId="36" PostId="25227" RevisionGUID="6d366668-e31e-4ee9-9af5-c571ca22cc91" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7520/audio-mixer-inputs-and-outputs/7524#7524" />
  <row Id="44141" PostHistoryTypeId="2" PostId="25225" RevisionGUID="8701101a-cf02-45da-b844-5f53f44b2f7e" CreationDate="2013-03-28T03:12:49.987" UserId="7174" Text="1) Almost no mixers have a left and right 1/4 inch line per track.  Tracks are generally mono.  There are rare exceptions with stereo tracks, but they are not that common and almost non-existent on cheaper boards and often use a TRS connector to have stereo in a single connection.  What you may be seeing is a 1/4&quot; line input and an 1/4&quot; TRS insert, which lets additional signal processing be done outside the board.  Pan knobs are used to do left and right alignment.  In the case of an actual stereo channel, a balance knob is used, which turns down either the left or right channel's feed to the corresponding output.&#xD;&#xA;&#xD;&#xA;2) A mixer has preamps built in.  That's what the gain adjusts.&#xD;&#xA;&#xD;&#xA;3) Generally balancing is based on the jack or will have a switch to adjust the setting.  It might also be able to make a guess by looking for signal level or checking if there is a ring.&#xD;&#xA;&#xD;&#xA;4) You can connect them, but a transformer in between them is recommended.  Alternately, some boards have a tape input which normally will use RCA jacks and be a consumer line level." ContentLicense="CC BY-SA 3.0" />
  <row Id="44142" PostHistoryTypeId="2" PostId="25226" RevisionGUID="2825b562-aeb0-430e-8e68-21a92db52406" CreationDate="2013-03-28T03:29:30.807" UserId="7189" Text="1. Most *inexpensive* mixers have 1/4&quot; stereo pairs. But keep in mind that each 1/4&quot; input is considered a &quot;channel&quot;, even though the stereo pairs are ganged together with a single fader. Typically, the right channel is normalled to the left, so if you plug a signal into the left input it will be duplicated on the right, just like a single channel with the pan control set to center.&#xD;&#xA;&#xD;&#xA;2. Cheap mixers have cheap preamps. If you are into exotic tube pre-amps (which may each cost more than a small mixer), then you will develop preferences for the preamps you want to use for a particular mic input.&#xD;&#xA;&#xD;&#xA;3. Most mixers that take a balanced input indicate that you will see a 3dB loss if you plug in an unbalanced signal - that's because you are only sending it half of a balanced signal. The mixer doesn't detect it, but the design of balanced 1/4&quot; inputs allows for rough compatibility with unbalanced signals.&#xD;&#xA;&#xD;&#xA;4. &quot;Home&quot; line-level signals are, I believe, 10db lower than &quot;pro&quot; signals. You can plug a &quot;home&quot; signal into pro-audio gear, but it will be quiet. Some mixers have a 10dB boost switch to account for this. On those that don't, you can use a preamp. Or just adjust the rest of your mix accordingly." ContentLicense="CC BY-SA 3.0" />
  <row Id="44143" PostHistoryTypeId="2" PostId="25227" RevisionGUID="6898d44c-9842-4447-94fc-21abcd5d52ec" CreationDate="2013-03-28T03:34:37.133" UserId="7312" UserDisplayName="Eugene S" Text=" 1. Most mixers will include some kind of routing facilities which will allow you to route the audio from a given input to desired outputs (main, sub, groups, etc..)&#xD;&#xA; 2. Usually, having an XLR port in your mixer will imply that there is a preamp as well. However its quality depends on the mixer quality and this is actually one of the most price defining parts at all. In some cheap mixers, the built-in preamp can be too weak (in gain sense) or too noisy.&#xD;&#xA; 3. The mixer does not need to know whether you media is balanced or not. The idea of balanced lines is transmitting (and receiving) the signal on both wires but with inverse phases. The input will receive whatever was transmitted and vice versa.&#xD;&#xA; 4. The most common nominal level for consumer audio equipment is −10 dBV, and the most common nominal level for professional equipment is 4 dBu. Regardless of that, you can connect your PC to your mixer however I'm not sure you'll have too much routing options if you are using the RCA inputs." ContentLicense="CC BY-SA 3.0" />
  <row Id="44144" PostHistoryTypeId="2" PostId="25224" RevisionGUID="3adfad2f-0e27-481d-81a0-dc34bfe8a2d2" CreationDate="2013-03-28T02:06:14.680" UserId="7343" UserDisplayName="d.free" Text="I'm curious about audio mixer inputs and outputs and have some questions.&#xD;&#xA;&#xD;&#xA; 1. Most mixers have 2 1/4&quot; line inputs per track, one for the left channel and one for the right. If I connect a mono device to only the left jack, would sound be output to both speakers?&#xD;&#xA; 2. Would I need a preamp if my mixer already has an XLR port?&#xD;&#xA; 3. How would the mixer know if the input is balanced or not? (E.g. balanced TRS or regular 1/4&quot; plug)&#xD;&#xA; 4. I've heard that professional line level inputs/outputs have a different current than home use line level controls. Does it mean that I can't connect (with good quality) a computer to my mixer or my mixer to my home amp (using 1/4&quot; to RCA adapters)" ContentLicense="CC BY-SA 3.0" />
  <row Id="44145" PostHistoryTypeId="1" PostId="25224" RevisionGUID="3adfad2f-0e27-481d-81a0-dc34bfe8a2d2" CreationDate="2013-03-28T02:06:14.680" UserId="7343" UserDisplayName="d.free" Text="Audio Mixer Inputs and Outputs" ContentLicense="CC BY-SA 3.0" />
  <row Id="44146" PostHistoryTypeId="3" PostId="25224" RevisionGUID="3adfad2f-0e27-481d-81a0-dc34bfe8a2d2" CreationDate="2013-03-28T02:06:14.680" UserId="7343" UserDisplayName="d.free" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44147" PostHistoryTypeId="36" PostId="25228" RevisionGUID="81bfe8ad-07e2-4495-985c-8a9a205faf8e" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1599/0db-mono-vs-0db-stereo" />
  <row Id="44148" PostHistoryTypeId="2" PostId="25229" RevisionGUID="f890b925-e837-4c77-b2ba-cb149ac28ecd" CreationDate="2011-06-15T22:14:30.957" UserId="7471" UserDisplayName="Mark Heath" Text="The difference is due to something known as &quot;[panning laws][1]&quot;. Imagine you have recorded a mono track, and it is currently panned centrally. You decide you want it panned all the way to the left. Did you want it to also drop to half volume at the same time? Probably not. Yet that is what would happen if the DAW simply turned off the signal going to the right speaker.&#xD;&#xA;&#xD;&#xA;So your DAW has a choice if it wants mono tracks to stay at the same volume as they are panned from side to side. It can either boost them by 3dB when they are fully left or right (and run the risk of clipping), or it can cut them by 3dB when they are central (which is what your DAW is doing).&#xD;&#xA;&#xD;&#xA;Many DAWs also let you configure the rate at which the 3dB will be added as you pan to one side, so you might be offered &quot;sine&quot; or &quot;square root&quot; options.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Pan_law" ContentLicense="CC BY-SA 3.0" />
  <row Id="44149" PostHistoryTypeId="2" PostId="25228" RevisionGUID="e9cfe5bd-60d5-42ec-8ccd-2421da20d3e9" CreationDate="2011-06-15T21:55:54.543" UserDisplayName="Eduard Wirch" Text="Let's assume I have a mono track in my DAW software. The track contains an audio file which was normalized to 0 db. If I play the track the volume gauge on the stereo out channel will go up only to -3db.&#xD;&#xA;&#xD;&#xA;Where does this difference come from? And how do you handle mono tracks during mixing? If nothing special is done the mono tracks will always sound quieter that the stereo tracks in the same mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="44150" PostHistoryTypeId="1" PostId="25228" RevisionGUID="e9cfe5bd-60d5-42ec-8ccd-2421da20d3e9" CreationDate="2011-06-15T21:55:54.543" UserDisplayName="Eduard Wirch" Text="0db mono vs. 0db stereo" ContentLicense="CC BY-SA 3.0" />
  <row Id="44151" PostHistoryTypeId="3" PostId="25228" RevisionGUID="e9cfe5bd-60d5-42ec-8ccd-2421da20d3e9" CreationDate="2011-06-15T21:55:54.543" UserDisplayName="Eduard Wirch" Text="&lt;mixing&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44152" PostHistoryTypeId="36" PostId="25229" RevisionGUID="36f102bb-af90-4bb7-adf7-229f0004b0fb" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1599/0db-mono-vs-0db-stereo/1600#1600" />
  <row Id="44153" PostHistoryTypeId="36" PostId="25230" RevisionGUID="84afbef3-2c00-4ca6-a360-8a536b04a9c6" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1599/0db-mono-vs-0db-stereo/1656#1656" />
  <row Id="44154" PostHistoryTypeId="2" PostId="25230" RevisionGUID="81cf09af-bb64-485a-9983-27528c07fa04" CreationDate="2011-06-26T19:49:24.880" UserDisplayName="mixerfriend" Text="  Mark is completely correct. I'll add a little to it. Acoustical summing at dead center in a near field should add 3dB to the sound energy over hard Right or Left, when patched directly (not using a pan pot).&#xD;&#xA;&#xD;&#xA;  The general purpose of the 'panning law' is to compensate for this acoustical summing when panning through center. When done right, as you pan your sound, it will keep the same apparent volume across the soundfield.&#xD;&#xA;&#xD;&#xA;  This phenomenon does not always behave perfectly, nor is it what mixers always want, so some analog and digital panners use different panning laws; say -5db down at the center, or different degrees of taper across the pan.&#xD;&#xA;&#xD;&#xA;  Under the circumstances you describe, your last sentence, &quot;If nothing special is done...&quot; is usually going to be untrue. Commonly, different panning laws only become an issue when the mixer needs to make a 'standardized' format conversion without remixing a new printmaster...as when turning an LCR stem into a stereo pair, for instance." ContentLicense="CC BY-SA 3.0" />
  <row Id="44155" PostHistoryTypeId="36" PostId="25231" RevisionGUID="9e685295-2052-49a8-9761-099c51b62618" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1560/format-conversion-safety-of-files-linked-from-audacity-projects" />
  <row Id="44156" PostHistoryTypeId="2" PostId="25232" RevisionGUID="8b901504-4a33-425a-a896-73fc06f377b1" CreationDate="2011-06-08T04:59:46.067" UserDisplayName="Davy" Text="Since FLAC is the &quot;free *lossless* audio codec&quot; it should retain the same bit-for-bit audio data.  This also implies that the audio parameters (bit rate, sample rate, channel count will be the same.  What's not certain is if other meta-data in the .wav file (e.g. comments, cues, etc) will be preserved when converted to flac and back again.  If you have none of this, then you should be fine.  If you do need preservation of these type of data, then it would depend on the conversion tool you're using.&#xD;&#xA;&#xD;&#xA;But certainly do test at least once before converting all your projects.&#xD;&#xA;&#xD;&#xA;Another alternative is to avoid any need for conserving space and invest in an adequate archiving solution:  either a large HDD or some optical solution such as CD, DVD or Blu-Ray (just depending on how big the total projects are).  It's nice to have an archive of discs simply labeled with your project name on them and sorted by project date.  I'd imagine that the time it takes to copy to/from this optical media would be comparable to the time it takes to convert to/from flac/wav.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44157" PostHistoryTypeId="2" PostId="25231" RevisionGUID="69684419-5cc2-4e96-b7a9-b48b6c9a4981" CreationDate="2011-06-07T23:39:48.707" UserId="13414" UserDisplayName="dgw" Text="If I record in WAV, create an Audacity project that links to those files, modify the project, export the final cuts, save everything, convert the WAV files to FLAC to save space, then convert the FLAC back to WAV in the future and open the Audacity project again, will anything break?&#xD;&#xA;&#xD;&#xA;Put more simply: Will going from WAV-&gt;FLAC-&gt;WAV result in bit-for-bit–identical WAV files before and after the conversions, or introduce errors that might mess up Audacity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44158" PostHistoryTypeId="1" PostId="25231" RevisionGUID="69684419-5cc2-4e96-b7a9-b48b6c9a4981" CreationDate="2011-06-07T23:39:48.707" UserId="13414" UserDisplayName="dgw" Text="Format conversion safety of files linked from Audacity projects" ContentLicense="CC BY-SA 3.0" />
  <row Id="44159" PostHistoryTypeId="3" PostId="25231" RevisionGUID="69684419-5cc2-4e96-b7a9-b48b6c9a4981" CreationDate="2011-06-07T23:39:48.707" UserId="13414" UserDisplayName="dgw" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44160" PostHistoryTypeId="36" PostId="25232" RevisionGUID="fea52da1-9cd5-4dd6-9e39-a34d40f76445" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1560/format-conversion-safety-of-files-linked-from-audacity-projects/1564#1564" />
  <row Id="44161" PostHistoryTypeId="36" PostId="25233" RevisionGUID="92502ade-bf4e-44ec-a602-fd4cc7eb8df1" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7671/how-to-insert-silence-in-session-view-ableton-live" />
  <row Id="44162" PostHistoryTypeId="36" PostId="25234" RevisionGUID="6ef8f033-f332-4b8b-a10f-4491373490ce" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7671/how-to-insert-silence-in-session-view-ableton-live/7672#7672" />
  <row Id="44163" PostHistoryTypeId="2" PostId="25234" RevisionGUID="0e911403-d246-479f-80ce-bacca9870bda" CreationDate="2013-04-17T17:30:12.430" UserId="7269" UserDisplayName="Gal Margalit" Text="Well, you gotta be on the envelope tab, then the option is available." ContentLicense="CC BY-SA 3.0" />
  <row Id="44164" PostHistoryTypeId="2" PostId="25235" RevisionGUID="f790057f-4102-482f-a2c4-a73e42514c7a" CreationDate="2013-04-19T16:53:30.390" UserId="12790" UserDisplayName="Ron Kyle" Text="Okay, how about this- not for LONG silences, but it kinda works.&#xD;&#xA;When you want to insert silence, first set the &quot;end&quot; time so that the loop is now longer by the amount of time you wish to insert. &#xD;&#xA;For a 2 measure loop (1.1 1.2 1.3 1.4, 2.1 2.2 2.3 2.4) if you want to insert 2/4 of a measure you would change the End value from 3.1.1 to 3.3.1.&#xD;&#xA;&#xD;&#xA;If it won't let you adjust the end point, click the warp button off, then back on and it should let you.&#xD;&#xA;&#xD;&#xA;Then Make a warp marker where you want the silence to be inserted, and another one a bit before it (about as far as the length of silence you wish to insert)&#xD;&#xA;&#xD;&#xA;grab the warp marker at the point you want the silence and drag it as far as the amount of silence you wish to insert.&#xD;&#xA;&#xD;&#xA;Then use the draw tool to draw the volume envelope to zero (mute) where you want the silence inserted.&#xD;&#xA;&#xD;&#xA;Got that? Kinda silly, but you can always just take it into the other view and do it; Ableton 9 has a consolodate back to the other view now that makes it a bit easier.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44165" PostHistoryTypeId="2" PostId="25233" RevisionGUID="671ceb3a-de5d-43f7-bc42-2bfb5ca64ffa" CreationDate="2013-04-17T17:19:58.327" UserId="7269" UserDisplayName="Gal Margalit" Text="How can one &quot;Insert silence&quot; **in session view** - to the loop itself?&lt;br/&gt;&#xD;&#xA;(Guess there must be an easier way than re-recording).&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="44166" PostHistoryTypeId="1" PostId="25233" RevisionGUID="671ceb3a-de5d-43f7-bc42-2bfb5ca64ffa" CreationDate="2013-04-17T17:19:58.327" UserId="7269" UserDisplayName="Gal Margalit" Text="How to &quot;Insert silence&quot; - in session view (Ableton Live)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44167" PostHistoryTypeId="3" PostId="25233" RevisionGUID="671ceb3a-de5d-43f7-bc42-2bfb5ca64ffa" CreationDate="2013-04-17T17:19:58.327" UserId="7269" UserDisplayName="Gal Margalit" Text="&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44168" PostHistoryTypeId="36" PostId="25235" RevisionGUID="d1c79889-c248-489c-ba8e-cad5e99db284" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7671/how-to-insert-silence-in-session-view-ableton-live/7691#7691" />
  <row Id="44169" PostHistoryTypeId="36" PostId="25236" RevisionGUID="8d860384-7ec0-44d7-ad3c-5bf03e891866" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1322/audacity-has-all-my-audio-but-blocks-are-repeated" />
  <row Id="44170" PostHistoryTypeId="2" PostId="25237" RevisionGUID="6525edd3-b28e-4ec9-a367-32da17990221" CreationDate="2011-05-02T06:48:09.900" UserId="7471" UserDisplayName="Mark Heath" Text="Since your profile says you are a programmer, then you can fix this fairly easily by writing a small program that will open your WAV file, then copy n bytes, skip n bytes, etc until the end of the file. You can also prove that the repeated chunks are bit identical too.&#xD;&#xA;&#xD;&#xA;Off the top of my head, here's the C# code I would write using my own library of audio utils  ([NAudio][1]). There are similar libraries available for other programming languages.&#xD;&#xA;&#xD;&#xA;    using (var reader = new WaveFileReader(&quot;myfile.wav&quot;))&#xD;&#xA;    {&#xD;&#xA;        using (var writer = new WaveFileWriter(&quot;fixed.wav&quot;, reader.WaveFormat);&#xD;&#xA;        {&#xD;&#xA;            // buffer size is the magic number - based on sample rate, bit depth, no of channels,&#xD;&#xA;            // and duration of the repeated segment,&#xD;&#xA;            byte[] buffer = new byte[5000];&#xD;&#xA;            int read;&#xD;&#xA;            do&#xD;&#xA;            {&#xD;&#xA;                // read the block to copy&#xD;&#xA;                read = reader.Read(buffer, 0, buffer.Length);&#xD;&#xA;                writer.Write(buffer, 0, read);&#xD;&#xA;                // read the block to discard&#xD;&#xA;                read = reader.Read(buffer, 0, buffer.Length);&#xD;&#xA;            } while (read &gt; 0);&#xD;&#xA;        }&#xD;&#xA;    }&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://naudio.codeplex.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="44171" PostHistoryTypeId="2" PostId="25236" RevisionGUID="a49e5642-3b46-48b5-9106-92fa17335819" CreationDate="2011-05-01T19:10:57.667" UserId="7296" UserDisplayName="Andrew Aylett" Text="I've just recorded about an hour of audio in Audacity.  All the data appears to be there, but unfortunately it's all duplicated -- it seems that blocks of roughly three seconds are repeated, and the recording is twice as long as it should be.  So if I was expecting to hear `abc` then I've actualy got `aabbcc`.&#xD;&#xA;&#xD;&#xA;All the blocks seem to be the same length, although I've not determined that length yet, and I hypothesise that they must be bit-identical, but I've not checked that either.  I'm looking for a way to de-duplicate the audio, leaving me with something I can use." ContentLicense="CC BY-SA 3.0" />
  <row Id="44172" PostHistoryTypeId="1" PostId="25236" RevisionGUID="a49e5642-3b46-48b5-9106-92fa17335819" CreationDate="2011-05-01T19:10:57.667" UserId="7296" UserDisplayName="Andrew Aylett" Text="Audacity has all my audio, but blocks are repeated" ContentLicense="CC BY-SA 3.0" />
  <row Id="44173" PostHistoryTypeId="3" PostId="25236" RevisionGUID="a49e5642-3b46-48b5-9106-92fa17335819" CreationDate="2011-05-01T19:10:57.667" UserId="7296" UserDisplayName="Andrew Aylett" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44174" PostHistoryTypeId="36" PostId="25237" RevisionGUID="3f8fa8fd-ff0a-4ebc-b361-260bf34f2cd6" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1322/audacity-has-all-my-audio-but-blocks-are-repeated/1329#1329" />
  <row Id="44175" PostHistoryTypeId="36" PostId="25238" RevisionGUID="04e530b8-cdd7-4ace-ac71-530ff7869394" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8973/why-are-vst-instrument-not-recording-in-cubase" />
  <row Id="44176" PostHistoryTypeId="36" PostId="25239" RevisionGUID="02bef160-7b61-4d74-92f9-be2a3bef5165" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8973/why-are-vst-instrument-not-recording-in-cubase/8975#8975" />
  <row Id="44177" PostHistoryTypeId="2" PostId="25239" RevisionGUID="5d5268fa-01d0-4aab-a01c-ab4c6e81ad2f" CreationDate="2013-09-14T23:50:49.863" UserId="7405" UserDisplayName="Andy aka" Text="I use file/export/audio_mixdown for recording **all** tracks that are either &#xD;&#xA;&#xD;&#xA; 1. Audio (guitar mic etc.) or&#xD;&#xA; 2. VST instruments.&#xD;&#xA;&#xD;&#xA;If I have my Yamaha keyboard on a midi track it won't record this with this method - I have to set my sound card up to be &quot;record what you hear&quot; and record the audio from the Yamaha (driven  by the midi track) onto an audio track.&#xD;&#xA;&#xD;&#xA;Then I do an export and it works fine.&#xD;&#xA;&#xD;&#xA;I use C4 but for as long as I can remember this is the way to do it.&#xD;&#xA;&#xD;&#xA;Maybe you've got a different problem or you are trying to record using a different method?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44178" PostHistoryTypeId="2" PostId="25238" RevisionGUID="85473e20-310e-4844-8f60-5b29628c96cd" CreationDate="2013-09-14T13:45:54.897" UserId="7206" Text="When I do a recording in cubase of the entire song onto one track, all the tracks except the VST instrument are recorded. Why are not the VST instruments recorded?&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/bxXfc.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="44179" PostHistoryTypeId="1" PostId="25238" RevisionGUID="85473e20-310e-4844-8f60-5b29628c96cd" CreationDate="2013-09-14T13:45:54.897" UserId="7206" Text="Why are VST instrument not recording in cubase?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44180" PostHistoryTypeId="3" PostId="25238" RevisionGUID="85473e20-310e-4844-8f60-5b29628c96cd" CreationDate="2013-09-14T13:45:54.897" UserId="7206" Text="&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44181" PostHistoryTypeId="36" PostId="25240" RevisionGUID="a5149ef6-c17a-4290-94cf-022e84b048b9" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5109/is-there-a-way-to-replicate-the-doppler-effect-shift" />
  <row Id="44182" PostHistoryTypeId="2" PostId="25241" RevisionGUID="89558060-0109-445e-88b5-0957c6b98554" CreationDate="2012-10-18T14:18:22.660" UserDisplayName="Magrangs" Text="Yes. Waves plugins have this: http://www.waves.com/Content.aspx?id=244&#xD;&#xA;&#xD;&#xA;Ive used it a few times and it sounds ok but it is not free however.&#xD;&#xA;&#xD;&#xA;Also Cakewalk sell this: http://www.store.cakewalk.com/b2cus/ProductInfo.aspx?productid=36-CWSF3.31-10E and it has a doppler as part of the surround package.&#xD;&#xA;&#xD;&#xA;Some free ones:&#xD;&#xA;&#xD;&#xA;http://freemusicsoftware.org/category/free-vst-effects-2/doppler&#xD;&#xA;&#xD;&#xA;http://www.vst4free.com/free_vst.php?plugin=ADopplerEn&amp;id=517&#xD;&#xA;&#xD;&#xA;http://laut8leise.de/_l8l/asa.html (called &quot;away&quot; but you may need to change the file extension to .iso for it to work in windows - http://www.fileinfo.com/extension/toast)&#xD;&#xA;&#xD;&#xA;http://www.kvraudio.com/product/spacestation_by_oli_larkin - seems to be unavailable but his website is still up http://www.olilarkin.co.uk/&#xD;&#xA;&#xD;&#xA;A basic replication could probably be achieved however with some pitch and volume automation.&#xD;&#xA;&#xD;&#xA;Taken from : http://forum.cockos.com/archive/index.php/t-106794.html&#xD;&#xA;&#xD;&#xA;&quot;Use pitch-shift and automate the envelope to have a tangential profile. Ie start with the sound pitched up a couple of semitones and over the period of time gradually start to drop the pitch, have the envelope slope at its steepest as it crosses pitch neutral, and then gradually bottom the slope out at 2 semitones pitched dowm. 2 semitones is a starting point, depends on relative velocities...&#xD;&#xA;&#xD;&#xA;If you follow a tangential shape for the pitch envelope, this will mimic the rate of change of source relative velocity and the resultant pitch change experienced by an observer being passed by a constant velocity sound source.&#xD;&#xA;&#xD;&#xA;The maths isn't that complicated if you had real numbers to play with, but it should follow a tangent function of variable positive and negative start and end pitches, with a zero-crossing angle dependent on how close you would be to the moving object (nearly vertical for fast and close, more gentle for slower or further away).&#xD;&#xA;&#xD;&#xA;Everything else is level, noise and timbre -add some rumble, white noise and filters and and volume envelope the lot of them ;)&#xD;&#xA;&#xD;&#xA;Have fun! :D&#xD;&#xA;&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44183" PostHistoryTypeId="2" PostId="25240" RevisionGUID="cdc99753-3140-4037-a504-93b6c5d2a3fa" CreationDate="2012-10-18T14:10:35.867" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="I was wondering if there is a way to imitate how the doppler effect or shift sounds. The specific way I'm planning to use it will be for a build up using a bass type synth, but that may be irrelevant. I thought about maybe panning with some volume automation, but my attempts weren't even close to correct.&#xD;&#xA;&#xD;&#xA;This gif will help&#xD;&#xA;&#xD;&#xA;![dop yo](http://upload.wikimedia.org/wikipedia/commons/c/c9/Dopplereffectsourcemovingrightatmach0.7.gif)" ContentLicense="CC BY-SA 3.0" />
  <row Id="44184" PostHistoryTypeId="1" PostId="25240" RevisionGUID="cdc99753-3140-4037-a504-93b6c5d2a3fa" CreationDate="2012-10-18T14:10:35.867" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="is there a way to replicate the doppler effect (shift)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44185" PostHistoryTypeId="3" PostId="25240" RevisionGUID="cdc99753-3140-4037-a504-93b6c5d2a3fa" CreationDate="2012-10-18T14:10:35.867" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44186" PostHistoryTypeId="36" PostId="25241" RevisionGUID="12a9eab2-b1da-412b-959f-ad4b040a4146" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5109/is-there-a-way-to-replicate-the-doppler-effect-shift/5110#5110" />
  <row Id="44187" PostHistoryTypeId="36" PostId="25242" RevisionGUID="7f009992-7dd0-421b-95ee-9cb739b93c0b" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5109/is-there-a-way-to-replicate-the-doppler-effect-shift/5114#5114" />
  <row Id="44188" PostHistoryTypeId="2" PostId="25242" RevisionGUID="f7b4a7c7-5e3b-4692-829d-8c687273c400" CreationDate="2012-10-18T18:31:14.727" UserId="7188" Text="Simple way and free way to &quot;suggest&quot; a Doppler effect.&#xD;&#xA;&#xD;&#xA;The two most significant factors that get this effect are point source position changing and a slight pitch shift.&#xD;&#xA;&#xD;&#xA;These can easily be done by panning the sound and dropping the pitch at the appropriate time--use you ears to determine the best mix.&#xD;&#xA;&#xD;&#xA;Yes, you can make this more sophisticated by adding slight changes of reverberation or sound reflection to convey how the sound would change near/far, also slight changes to the spectra by adding and subtracting hi and low end as per how higher frequencies will roll off as they gain distance, while lower frequencies are not as clearly muted. Additionally adding more background or subtracting background information, noise, and so on.&#xD;&#xA;&#xD;&#xA;Here is a wiki on all the factors involved with near/far perception of sound:&#xD;&#xA;http://en.wikipedia.org/wiki/Sound_localization&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44189" PostHistoryTypeId="36" PostId="25243" RevisionGUID="f286d0f9-3de7-4bb8-9799-5bde8dae8045" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1056/is-it-possible-to-remix-cds-songs-audio-within-reason-5-can-you-open-audio" />
  <row Id="44190" PostHistoryTypeId="36" PostId="25244" RevisionGUID="c607640f-b25d-4b83-b15b-541546cee75c" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1056/is-it-possible-to-remix-cds-songs-audio-within-reason-5-can-you-open-audio/1060#1060" />
  <row Id="44191" PostHistoryTypeId="36" PostId="25245" RevisionGUID="9051ec6d-8cb9-421f-866d-1ae2af1b883e" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1056/is-it-possible-to-remix-cds-songs-audio-within-reason-5-can-you-open-audio/1062#1062" />
  <row Id="44192" PostHistoryTypeId="36" PostId="25246" RevisionGUID="36c28a6f-651e-41f0-bf5c-57cfeb5c38dd" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1056/is-it-possible-to-remix-cds-songs-audio-within-reason-5-can-you-open-audio/1072#1072" />
  <row Id="44193" PostHistoryTypeId="36" PostId="25247" RevisionGUID="70e66b4e-b820-48d8-89c0-845caf5b50f0" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1056/is-it-possible-to-remix-cds-songs-audio-within-reason-5-can-you-open-audio/9295#9295" />
  <row Id="44194" PostHistoryTypeId="2" PostId="25244" RevisionGUID="35915b5c-bf5a-455a-bed1-39e9eb3a7cbe" CreationDate="2011-03-19T10:11:08.850" UserDisplayName="RyanScottLewis" Text="Opening pre-rendered audio is a basic function of any modern day DAW.&#xD;&#xA;&#xD;&#xA;I havn't used Reason 5 yet but I assume it will have this functionality. I know FL Studio does." ContentLicense="CC BY-SA 2.5" />
  <row Id="44195" PostHistoryTypeId="2" PostId="25245" RevisionGUID="5fcea2a2-9a92-4fa1-bbc9-37bd9890d22e" CreationDate="2011-03-20T00:02:08.343" UserDisplayName="Ian C." Text="You can't do this is Reason. Reason is a synthesis engine and sampler with some MIDI tracking capabilities, but not a full-featured DAW.&#xD;&#xA;&#xD;&#xA;You can do this in Record. Record is a full on DAW program, but with the Propellerhead Software take on how a DAW should be laid out." ContentLicense="CC BY-SA 2.5" />
  <row Id="44196" PostHistoryTypeId="2" PostId="25246" RevisionGUID="1d3f5b62-0eab-4566-8157-10f058024959" CreationDate="2011-03-21T21:54:42.867" UserDisplayName="Phatency" Text="It certainly is possible in Record, but in Reason too, although dreadful. Nonetheless, I will explain the procedure in Reason: &#xD;&#xA;First you will have to export material you are working on into .wav/.aif clips. Then the clips have to be loaded into either Redrum or NN-XT. The actual remixing process is theoretically simple, simply trigger the audio clips in the playlist normally (and remix to your hearts will).&#xD;&#xA;&#xD;&#xA;There are few advantages of doing this over other DAWs. Most of the time you will not be able to fast forward, because Reason doesn't directly support audio clips in playlist like other DAWs such as FL Studio or Cubase do. It simply triggers the sample once and plays it from start to finish (if not interrupted), and that's it. And because of the lack of support for audio clips in playlist you have little visual feedback about what you are doing. You can't simply see when a clip ends, you have to know it. But, if the audio clips you will be using are less than say, 5 seconds long, these might not be issues at all for you.&#xD;&#xA;&#xD;&#xA;Record deals with all the disadvantages I've mentioned, and is a much saner DAW to use when using longer audio clips." ContentLicense="CC BY-SA 2.5" />
  <row Id="44197" PostHistoryTypeId="2" PostId="25247" RevisionGUID="97fedd91-dff0-4f74-a4f1-442c8540bd65" CreationDate="2013-10-31T19:31:12.233" UserDisplayName="Tony" Text="This was not possible in Reason 5 and was limited in Record. You can now do some of the stated things in Reason 7 but I'd avoid using Reason for this type of work. That's not what it was meant for and you'll be better off looking into other software for audio editing. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44198" PostHistoryTypeId="2" PostId="25243" RevisionGUID="38fd5ed9-b8a9-450b-b4bb-053e4e69eb44" CreationDate="2011-03-18T22:06:42.570" UserDisplayName="user656" Text="I would like to sample audio from popular songs to remix - is this possible within Reason 5 or Record 1.5?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44199" PostHistoryTypeId="1" PostId="25243" RevisionGUID="38fd5ed9-b8a9-450b-b4bb-053e4e69eb44" CreationDate="2011-03-18T22:06:42.570" UserDisplayName="user656" Text="Is it possible to remix cds / songs / audio within Reason 5? Can you open audio or anything like that?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44200" PostHistoryTypeId="3" PostId="25243" RevisionGUID="38fd5ed9-b8a9-450b-b4bb-053e4e69eb44" CreationDate="2011-03-18T22:06:42.570" UserDisplayName="user656" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44201" PostHistoryTypeId="36" PostId="25248" RevisionGUID="a29c04dc-2819-4215-beb2-920567a131c0" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5284/sound-forge-pro-how-to-save-a-volume-envelope" />
  <row Id="44202" PostHistoryTypeId="2" PostId="25249" RevisionGUID="73db6f90-652b-4248-a0f0-fcb58f0c3cb6" CreationDate="2012-11-08T10:47:51.703" UserDisplayName="Magrangs" Text="I don't think this is possible. The envelope is tied to the file itself so it cannot be saved separately. You might be able to open the other file in a separate window and copy the envelope over to that window." ContentLicense="CC BY-SA 3.0" />
  <row Id="44203" PostHistoryTypeId="2" PostId="25248" RevisionGUID="a0e1c50a-d066-48ad-93df-8916900124ce" CreationDate="2012-11-07T20:47:45.350" UserId="16813" UserDisplayName="drake035" Text="I spend an hour creating an envelope volume for an audio file in Sound Forge and I need to apply the same envelope to another file. How to save this envelope and how to then apply it to a different file ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44204" PostHistoryTypeId="1" PostId="25248" RevisionGUID="a0e1c50a-d066-48ad-93df-8916900124ce" CreationDate="2012-11-07T20:47:45.350" UserId="16813" UserDisplayName="drake035" Text="Sound Forge Pro: how to save a volume envelope?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44205" PostHistoryTypeId="3" PostId="25248" RevisionGUID="a0e1c50a-d066-48ad-93df-8916900124ce" CreationDate="2012-11-07T20:47:45.350" UserId="16813" UserDisplayName="drake035" Text="&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44206" PostHistoryTypeId="36" PostId="25249" RevisionGUID="01ef3bc0-8338-4e39-9520-79d289317c92" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5284/sound-forge-pro-how-to-save-a-volume-envelope/5286#5286" />
  <row Id="44207" PostHistoryTypeId="36" PostId="25250" RevisionGUID="e323d5e3-8ede-45e9-a365-d3e426730d9f" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/592/what-is-this-incredibly-annoying-noise" />
  <row Id="44208" PostHistoryTypeId="2" PostId="25251" RevisionGUID="de11408e-5d91-4069-afa6-4c010f2a572e" CreationDate="2011-01-16T15:09:54.497" UserId="8336" UserDisplayName="Sklivvz" Text="It is a 1kHz pink noise as you can see here:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;It's the typical sound due to RF interference from electronic equipment, so a laptop or PC, or other system with a CPU.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/do5Ea.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="44209" PostHistoryTypeId="2" PostId="25250" RevisionGUID="8af17f04-25c9-42c0-ba2b-58736dec0971" CreationDate="2011-01-14T12:17:52.723" UserDisplayName="Sam" Text="I've been getting this noise out of my set top box, desktop and laptop audio outs into my mixer. I've also tried using usb soundcards out ($5 from ebay) and they don't eliminate the problem. I thought I had it figured the other day but then it came back.&#xD;&#xA;&#xD;&#xA;So I'm really at a dead end, so I'm wondering if someone can quickly identify what this could be. Ground loop (although it's not really a hum) or otherwise? It's not ambient microphone noise however as I have unplugged the microphone and it remains.&#xD;&#xA;&#xD;&#xA;I've also tried equing it out, but it's basically right in the middle and high bass, so it really cuts out from the audio if I play it through the mixer if I turn down the appropriate frequency groups. I've also tried entering the actual frequency numbers, but it was too much work for not enough return. So I just want to remove the sound.&#xD;&#xA;&#xD;&#xA;https://docs.google.com/leaf?id=0B2-0WipxCci4MTEzNTIzODQtZDUyOC00YmNkLTlkMmItZTg3NjZmYzRlMTQ2&amp;sort=name&amp;layout=list&amp;num=50" ContentLicense="CC BY-SA 2.5" />
  <row Id="44210" PostHistoryTypeId="1" PostId="25250" RevisionGUID="8af17f04-25c9-42c0-ba2b-58736dec0971" CreationDate="2011-01-14T12:17:52.723" UserDisplayName="Sam" Text="What is this incredibly annoying noise?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44211" PostHistoryTypeId="3" PostId="25250" RevisionGUID="8af17f04-25c9-42c0-ba2b-58736dec0971" CreationDate="2011-01-14T12:17:52.723" UserDisplayName="Sam" Text="&lt;equalization&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44212" PostHistoryTypeId="36" PostId="25251" RevisionGUID="4928f0a7-aeb2-41e8-a870-4854ccf9cb91" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/592/what-is-this-incredibly-annoying-noise/603#603" />
  <row Id="44213" PostHistoryTypeId="36" PostId="25252" RevisionGUID="bc7ff2ac-f4bf-4eb2-b521-cc136ac94c4c" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9987/hiss-or-hum-noise-from-active-speaker-system" />
  <row Id="44214" PostHistoryTypeId="2" PostId="25253" RevisionGUID="fd1c28f1-01cf-4a6d-8755-fdef900012eb" CreationDate="2014-01-21T14:18:59.097" UserId="7174" Text="No analog signal is ever perfectly clean.  This is where the term signal to noise ratio comes in.  The relative clarity of a signal is measured in the relationship between the signal and the noise.  The noise floor is the level below which signal and noise become indistinguishable.  The higher the quality the audio setup, the better it is at keeping the noise floor low, and thus, the quieter the signal it can reproduce.&#xD;&#xA;&#xD;&#xA;Since the noise is still there when you have no signal running to the speakers, what you are hearing is the noise floor of the speaker.  It isn't particularly uncommon for cheaper audio setups to have a very high noise floor that can be audible when no signal is being run.  The noise floor can be raised in a number of places.  If it is a digital signal coming in, then the Digital to Analog converter could be noisy.  Since they are active speakers, it is also quite possible that the amp itself is noisy.  The amp is probably the most common cause of the noise floor increasing.  &#xD;&#xA;&#xD;&#xA;Amps also tend to output a constant power level unless you adjust the power of the amp directly.  If the volume control is adjusting the signal strength rather than the amp's power level, then the noise would remain constant as the noise doesn't come from the signal, but is inherent to the amplification process itself." ContentLicense="CC BY-SA 3.0" />
  <row Id="44215" PostHistoryTypeId="2" PostId="25252" RevisionGUID="69c4e580-a84a-4afe-9bc5-d777986dc591" CreationDate="2014-01-21T08:27:28.953" UserDisplayName="K.K.Vinay Kumar" Text="everyone,&lt;br/&gt;&lt;p&gt;I've an Sony SRS-D8 Active Speaker System one and half year old. It produces an constant hum or hiss whatever it is called as whenever it is turned on &amp; whether it is connected to Dell Studio 15 laptop or to an Sony Walkman or just left disconnected without any input source &amp; kept on. I don't know whether it used to produce that hum or hiss when it was brand new or not but yesterday I took my ears very close to the speakers found that all the speakers including subwoofers &amp; tweaters produce hum or hiss noise.&lt;br/&gt;&lt;br/&gt;Is it normal for an Active an Speaker System to produce this audible hum or hiss when it is idle? Or is it due to the constant fluctuation in power? Or Is something broken in speakers?&lt;br/&gt;&lt;br/&gt;Note: It has 2 pin power plug &amp; When the speakers are on laptop will be in sleep mode with power switch in Off position. Hum or hiss doesn't vary with volume &amp; it is constant through out." ContentLicense="CC BY-SA 3.0" />
  <row Id="44216" PostHistoryTypeId="1" PostId="25252" RevisionGUID="69c4e580-a84a-4afe-9bc5-d777986dc591" CreationDate="2014-01-21T08:27:28.953" UserDisplayName="K.K.Vinay Kumar" Text="Hiss or hum noise from Active Speaker System" ContentLicense="CC BY-SA 3.0" />
  <row Id="44217" PostHistoryTypeId="3" PostId="25252" RevisionGUID="69c4e580-a84a-4afe-9bc5-d777986dc591" CreationDate="2014-01-21T08:27:28.953" UserDisplayName="K.K.Vinay Kumar" Text="&lt;speakers&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44218" PostHistoryTypeId="36" PostId="25253" RevisionGUID="269eb5ad-d83f-438d-9a4c-295bf3a37071" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9987/hiss-or-hum-noise-from-active-speaker-system/9988#9988" />
  <row Id="44219" PostHistoryTypeId="36" PostId="25254" RevisionGUID="ffc4d89b-ce9f-4ca8-b6e4-745ee09a5770" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/234/why-is-there-added-distortion-when-going-from-24-bit-to-16-bit" />
  <row Id="44220" PostHistoryTypeId="2" PostId="25255" RevisionGUID="8388c246-e54f-4fa9-95a7-0a818c5b843c" CreationDate="2010-12-12T05:32:20.853" UserId="9459" UserDisplayName="Matthew Read" Text="Dithering adds amplitude to all the signals in a digital sample. It forces the lower level amplitude values up to the next threshold level. These new higher amplitude signals now represent the sum of the dither noise and the previously existing amplitude. The lower level bits are filled in with the dither noise and become the least significant bits (in terms of amplitude) in the 24-bit signal. Then, as the file is cut from 24-bit to 16-bit, only the lower 8 bits is truncated thus leaving behind the previous signal plus some noise.  [Shamelessly copied from [here][1]].  See Pelle ten Cate's answer for more detail.&#xD;&#xA;&#xD;&#xA;Think about what happens when rounding a number between 0 and 1: The information is either &quot;included&quot; (as a 1) or &quot;removed&quot; (set to 0).  I.e., everything below 0.5 is &quot;ignored&quot; and everything greater than or equal to 0.5 is &quot;enhanced&quot; (increased to 1).  This is basically what happens to audio without dithering when converting from 24-bit to 16-bit.  Some information is completely removed, and some is altered, resulting in missing sounds and artifacts.  Dithering adds a random number to each value, meaning that some of the values that would have been rounded down are now rounded up, and some values that would be rounded up are rounded down.  This adds noise but prevents the weirdness introduced by pure rounding.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pcrecording.com/dither.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="44221" PostHistoryTypeId="2" PostId="25254" RevisionGUID="2d6fbc29-fb10-4e15-939a-f529698be900" CreationDate="2010-12-12T05:13:05.157" UserId="7209" Text="I've read a lot here about added noise when going from 24 bit to 16 bit.  I'd like to know why this exists.&#xD;&#xA;&#xD;&#xA;When converting a 24 bit signal to a 16 bit signal, why can't we simply round the 24 bit sample value to the nearest 16 bit sample value?  Sure there will be the loss of quality because the resulting recording is 16 bit and not 24 bit, but I don't see how the rounding process introduces any extra noise.&#xD;&#xA;&#xD;&#xA;Would an ADC at 16 bit not quantize the analog signal in a similar way?&#xD;&#xA;&#xD;&#xA;**Edit:** To clarify my question:  Why would converting a 24-bit recording to 16-bit introduce audible artifacts and distortion that wouldn't be present if the original recording were done in 16-bit in the first place?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44222" PostHistoryTypeId="1" PostId="25254" RevisionGUID="2d6fbc29-fb10-4e15-939a-f529698be900" CreationDate="2010-12-12T05:13:05.157" UserId="7209" Text="Why is there added distortion when going from 24 bit to 16 bit?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44223" PostHistoryTypeId="3" PostId="25254" RevisionGUID="2d6fbc29-fb10-4e15-939a-f529698be900" CreationDate="2010-12-12T05:13:05.157" UserId="7209" Text="&lt;bit-depth&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44224" PostHistoryTypeId="36" PostId="25255" RevisionGUID="2b79be04-6b04-46ef-b332-4f56a1310643" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/234/why-is-there-added-distortion-when-going-from-24-bit-to-16-bit/235#235" />
  <row Id="44225" PostHistoryTypeId="36" PostId="25256" RevisionGUID="11d85b6a-8615-4ab3-92fa-acfb0997f7df" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/234/why-is-there-added-distortion-when-going-from-24-bit-to-16-bit/236#236" />
  <row Id="44226" PostHistoryTypeId="2" PostId="25256" RevisionGUID="a17a553c-fd64-4a08-b2b4-f6d827e563c0" CreationDate="2010-12-12T08:49:07.403" UserId="7592" UserDisplayName="Pelle ten Cate" Text="First of all, there is (edit: _was)_ a potential terminology issue going on here. Please understand the following: Dithering noise is not something that exists, but something you can add to get rid of something that exists. That something is often called the _quantization noise_ caused by rounding errors during the sampling or the conversion back from 24 bits to 16 bits. It sounds like an aggressive noise that is most heard in high frequency range.&#xD;&#xA;&#xD;&#xA;A typical way to display a rounding error in a signal, is to think of a picture. Pictures also have bit depths in colors. Imagine you took a picture with your digital camera which has a nice color gradient from blue to green in it. To actually see this gradients, you need millions of colors between blue and green. Now imagine you change the bit depth from e.g. 24 bits colors, to 16 colors. (which is 4 bit.) by truncating the 20 least significant bits. You will suddenly see that instead of the gradient, all millions of colors are reduced to the nearest of the 16 colors in the 4 bits pallette, in this case just blue and green. While this idea works fine on images with sharp edges and little colors, it doesn't work on gradients because it _introduces a sharp lines between them_ at the place the color changes from blue to green. &#xD;&#xA;&#xD;&#xA;If you add dithering, there is some noise added to the signal. (Or, in this case, the picture.) Therefore the color values are changing slightly from their original value, each pixel. This means that at the point the sharp color-changing line was drawn, there is now a pattern of the two colors blended together, since the noise introduces a few green pixels on the blue side (because the random dithering made them just a bit greener), and a few blue pixels on the green side (idem) and it looks - well, still terrible, but the sharp color transition is gone. &#xD;&#xA;&#xD;&#xA;Exactly this happens in audio as well, Try recording a 16 bits signal, (make sure it is loud enough, so get it to 0 dB FS and add a compressor if necessary) and truncate the least significant 15 bits, reducing it back to 1 bit. You get a 1 bit signal that you really can't use. There is no way of recognizing the original back. Now (and this is really miraculous!) mix white noise in the least significant 15 bits (equivalent to -6 dB FS) and then truncate them to the one bit signal. You will hear the exact original signal, mixed in a huge LOT of white noise. But you can actually hear more information from the original than without dithering.&#xD;&#xA;&#xD;&#xA;Think of it this way: If you dither in those 15 bits (i.e. add a random value), you actually add information to the 16th (most significant) bit. See it this way.&#xD;&#xA;&#xD;&#xA;* If you truncate those bits, you round all values to 1 or 0 by checking whether they're above or below the sharp line of 0.5. &#xD;&#xA;* By adding dithering noise, it could possibly be that a 0.4 turns into a 1 as well, and a 0.6 turns into a 0. &#xD;&#xA; * The chance of a 0.4 becoming a 1 is bigger than the chance of a 0.1 becoming a 1, since you add a random number.&#xD;&#xA;&#xD;&#xA;So instead of drawing a fixed line saying all values below 0.5 will be 0, the rest will be 1, you state: All values will be 1 or 0. 0.9999 has most chance of turning into a 1; 0.0001 has most chance of turning into a 0. That is what dithering is.&#xD;&#xA;&#xD;&#xA;## ** The additional question **&#xD;&#xA;&#xD;&#xA;You asked: what is the difference between a 16 bits recorded signal, and a 24 bits recorded signal with the last 8 bits truncated? The real (theoretical) answer: there is no difference. If you don't plan to dither, and you are not increasing the signal volume to do something useful with the 8 least significant bits, you can as well record in 16 bits. ___BUT:___ There will be a big advantage if you dither.&#xD;&#xA;&#xD;&#xA;_&lt;sup&gt;This said, the real-time rounding mechanism of 16 bits recording equipment is often a bit different from rounding by truncation, since it deals with analog data, so there is still some kind of random bit-flipping in the converter going on, which acts a bit like dithering. Whether this is something you want in your signal depends on your equipment, your ears and most important, your opinion. :) I'm not going into detail about this though, but the conclusion is that you get more quantization noise from truncating a 24 bits signal than you get from sampling a signal to 16 bits. This is not going to be my point anyway.&lt;/sup&gt;_&#xD;&#xA;&#xD;&#xA;This sounds disappointing, but the reality is, you are asking the wrong question. The real question should be: ___What can I get in my 16 bits master when I record in 24 bits, what I can't get if I record directly to 16 bits?___&#xD;&#xA;&#xD;&#xA;So before you start asking the other obvious question: Yes! Still, do dither! It is the only way to move as much information as possible from the 8 least significant bits of the 24 bits signal, into the 16 bits signal. Think of the photograph with 16 colors. Nobody would recognize it if it wasn't dithered while the bit depth was still high. Also, your camera can't dither by itself, so it can't take recognizable photographs with 16 colors. To get the best: record (i.e. take picture) with high bit depth, dither, reduce. :)&#xD;&#xA;&#xD;&#xA;Now: the real bottom line.  &#xD;&#xA;Recording in 24 bits gives more detail in low dynamics. Details that you can add to you 16 bits master by dithering, that you can't get when recording in 16 bits directly.  &#xD;&#xA;Don't ask yourself the question: ___Should I dither?___  &#xD;&#xA;Instead, ask yourself the question: ___Do I want to record in 24 bits?___ And always dither if you do, to actually get the advantage of it. :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="44227" PostHistoryTypeId="36" PostId="25257" RevisionGUID="aba32323-cb24-407b-bc5e-789db8af6769" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3124/super-low-budget-chat-show-style-webcast" />
  <row Id="44228" PostHistoryTypeId="36" PostId="25258" RevisionGUID="64676b17-9418-46a8-b5a6-9fcd6b0dfe7a" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3124/super-low-budget-chat-show-style-webcast/7733#7733" />
  <row Id="44229" PostHistoryTypeId="36" PostId="25259" RevisionGUID="bd7d0b3c-61d9-4019-9dc6-1e246ab3ea5a" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3124/super-low-budget-chat-show-style-webcast/7736#7736" />
  <row Id="44230" PostHistoryTypeId="2" PostId="25258" RevisionGUID="ccf8c139-55e4-44d9-80b3-5562ecd15407" CreationDate="2013-04-24T08:31:34.990" UserId="20833" UserDisplayName="Kebman" Text="The &quot;correct&quot; answer is: Use the money on audio. &#xD;&#xA;&#xD;&#xA;This is the consensus in the low budget filmmaking community. If you only have one thing you can spend money on, use it on a sound engineer (or better mikes). &#xD;&#xA;&#xD;&#xA;Video quality usually matters less then good audio quality, nearly no matter the production. If you've got good audio, people will almost alway forgive bad video (of course depending on the topic at hand)." ContentLicense="CC BY-SA 3.0" />
  <row Id="44231" PostHistoryTypeId="2" PostId="25259" RevisionGUID="bbe5bb20-a34e-49f7-8992-0bd43b5abb3e" CreationDate="2013-04-24T13:46:21.520" UserId="7174" Text="Well first thing is that $100 or even $200 isn't going to get you very far.  Any single ideal component for this kind of thing costs well over $100 and most of them cost over $200.  That said, if you already have multiple camera angles to be able to cut between, the best bang for your buck will definitely be audio if you are using on-camera mics.&#xD;&#xA;&#xD;&#xA;On camera mics have a reputation for being poor.  Even the built in microphones in most $2k+ professional cameras are not considered ideal.  Conveniently, the biggest bang for the buck also happens to be the cheapest item you could get.  A microphone.  Ideally for something like this, you'd want to individually mic each speaker with a lapel or a countryman, but seeing as those are around $200 and more than $200 each (respectively) for decent quality, your best bet is probably to go with a cheap omnidirectional condenser mic (studio mic) that you can put in the center of the table and use for everyone.&#xD;&#xA;&#xD;&#xA;As one major caveat, note that this will not work well unless your recording environment is relatively quiet as it will also pick up any background noise very clearly." ContentLicense="CC BY-SA 3.0" />
  <row Id="44232" PostHistoryTypeId="2" PostId="25257" RevisionGUID="1ad980a7-9622-47bf-b938-d2d6917031c7" CreationDate="2012-01-24T20:14:55.820" UserDisplayName="Diarmuid Ó Muirgheasa" Text="Bit of a broad question here, but I'll try to be as specific as possible.&#xD;&#xA;&#xD;&#xA;Basically there are a group of us talking about doing a round-table chat-show style webcast. [Cracked.com's After Hours show][1] is an example of the kind of thing I'm talking about (quite different in terms of content, but a similar physical setup in terms of there being 4 people sat around a table).&#xD;&#xA;&#xD;&#xA;We're on a super low budget (read: almost no budget at all), as this is more of a proof-of-concept than anything more than that. I may be back here again if we decide that it's entertaining enough to be worth pursuing, but that's not just yet.&#xD;&#xA;&#xD;&#xA;We have access to quite a broad range of cheapo cameras, between phones that can record in 1080P and compact cameras that can do decent-ish video. What we don't have is any specialist audio recording equipment (nothing beyond built-in mics in cameras), or any lighting equipment. We also have a small bit of experience between us in editing/post-production, and access to at least some level of editing software on semi-decent hardware.&#xD;&#xA;&#xD;&#xA;My question is this: say you were going to spend $100 to make the proof-of-concept just a little but more professional, what would you do? Or $200? I know we'll be a long, long way from a professional feel, but just to take the edge off the amateur-ness.&#xD;&#xA;&#xD;&#xA;I feel that sound quality is going to be a bigger issue than camera quality (visuals are mostly to have problems caused by bad lighting, given that this will be recorded in a kitchen or living room somewhere). I've heard mention of a pressure zone microphone being a good way of recording a group of people sat around a table? Good ones seem to go for $150ish, I'm sure a second hand one can be had for less than this. Not sure what we'd actually record onto to - is straight to a PC line-in port a viable option?&#xD;&#xA;&#xD;&#xA;I know there's no &quot;correct&quot; answer to this, but I'm curious to see if anyone has any feelings on what can be done with almost no money at all, to improve on the base-line of 3 or 4 cameras on tripods around the table, with sound from built in mics.&#xD;&#xA;&#xD;&#xA;(Or indeed any must-read articles on any of this - obviously I'm googling around as well as posting here, but if anyone has anything in particular they feel I should read then post away).&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cracked.com/video_18311_4-terrifying-psychology-lessons-behind-famous-movie-monsters.html?wa_user1=1&amp;wa_user2=Movies%20&amp;%20TV&amp;wa_user3=video&amp;wa_user4=cracked_shows" ContentLicense="CC BY-SA 3.0" />
  <row Id="44233" PostHistoryTypeId="1" PostId="25257" RevisionGUID="1ad980a7-9622-47bf-b938-d2d6917031c7" CreationDate="2012-01-24T20:14:55.820" UserDisplayName="Diarmuid Ó Muirgheasa" Text="Super low budget chat-show style webcast" ContentLicense="CC BY-SA 3.0" />
  <row Id="44234" PostHistoryTypeId="3" PostId="25257" RevisionGUID="1ad980a7-9622-47bf-b938-d2d6917031c7" CreationDate="2012-01-24T20:14:55.820" UserDisplayName="Diarmuid Ó Muirgheasa" Text="&lt;camera&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44235" PostHistoryTypeId="36" PostId="25260" RevisionGUID="f9e60dee-4661-4bd6-a37c-a5e5d809fb47" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1541/easy-solution-for-controlling-5-or-more-speakers-from-a-single-computer" />
  <row Id="44236" PostHistoryTypeId="2" PostId="25261" RevisionGUID="c3f90120-7e90-4da9-8076-53f569fb4d08" CreationDate="2011-06-03T21:40:54.837" UserId="7093" Text="An easy solution would be to use a recording interface that has more than 5 outputs.&#xD;&#xA;&#xD;&#xA;I own a [M-Audio ProFire 2626][1] which has 8 analog inputs and 8 analog outputs that you can individually control and route any input to any output with the included software.  There are also [several other brands/models of interfaces][2] with the same number of outputs that are a bit cheaper.  You will need to shop around to find what fits your needs/budget.&#xD;&#xA;&#xD;&#xA;To send pre-recorded material to the outputs you will need software like [Audacity][3].  You will simply need to import each audio file that needs to go to a separate speaker to a separate track.  Then route each track to a different output channel.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.m-audio.com/products/en_us/ProFire2626.html&#xD;&#xA;  [2]: http://www.google.com/search?q=audio%20interface%208%20in%208%20out&amp;ie=utf-8&amp;oe=utf-8&amp;aq=t&amp;rls=org.mozilla:en-US:official&amp;client=firefox-a#q=audio%20interface%208%20in%208%20out&amp;hl=en&amp;client=firefox-a&amp;hs=yex&amp;rls=org.mozilla:en-US:official&amp;prmd=ivns&amp;source=univ&amp;tbm=shop&amp;tbo=u&amp;sa=X&amp;ei=d1TpTYuLCOTj0QHooNSfAQ&amp;ved=0CFIQrQQ&amp;bav=on.2,or.r_gc.r_pw.&amp;fp=6cac2ec68a1bcdb7&amp;biw=1600&amp;bih=1051&#xD;&#xA;  [3]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="44237" PostHistoryTypeId="2" PostId="25260" RevisionGUID="c5f2ab95-6aa1-4b70-84ce-cee603294b30" CreationDate="2011-06-03T19:10:13.937" UserDisplayName="Adam Arp" Text="I work in a sensory research lab and we wanted to set up 5 or more speakers and control them with one computer, probably running Matlab. Is there a ready hardware solution for controlling 5 or more channels with a single computer. The project requires to synchronize audio and visual stimuli in different locations at different times. The Audio doesn't need to be complex, but the speakers need to play the sounds separately, not necessarily concurrently.&#xD;&#xA;Thank you for reading!" ContentLicense="CC BY-SA 3.0" />
  <row Id="44238" PostHistoryTypeId="1" PostId="25260" RevisionGUID="c5f2ab95-6aa1-4b70-84ce-cee603294b30" CreationDate="2011-06-03T19:10:13.937" UserDisplayName="Adam Arp" Text="Easy solution for controlling 5 or more speakers from a single computer" ContentLicense="CC BY-SA 3.0" />
  <row Id="44239" PostHistoryTypeId="3" PostId="25260" RevisionGUID="c5f2ab95-6aa1-4b70-84ce-cee603294b30" CreationDate="2011-06-03T19:10:13.937" UserDisplayName="Adam Arp" Text="&lt;software&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44240" PostHistoryTypeId="36" PostId="25261" RevisionGUID="d5928d2f-1352-4bbb-a50c-8d4dbbd5fcca" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1541/easy-solution-for-controlling-5-or-more-speakers-from-a-single-computer/1544#1544" />
  <row Id="44241" PostHistoryTypeId="36" PostId="25262" RevisionGUID="a5b7570e-8aba-49ee-8c16-9506f847846c" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1541/easy-solution-for-controlling-5-or-more-speakers-from-a-single-computer/4206#4206" />
  <row Id="44242" PostHistoryTypeId="2" PostId="25262" RevisionGUID="74d32618-731f-49f8-8b4e-5c57cb997ad4" CreationDate="2012-06-19T00:05:04.530" UserDisplayName="Matt Mizumi" Text="The [M-Audio Delta 1010LT][1] PCI card has 8 unbalanced (&quot;RCA jack&quot;) outputs and is confirmed to interface correctly with Matlab using [Psychtoolbox][2]. It's a lot cheaper than the ProFire 2626 (currently about $200 US).&#xD;&#xA;&#xD;&#xA;Obviously, you'll need an amplifier that can deal with 5+ channels as well if you go this route.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.m-audio.com/products/en_us/Delta1010LT.html&#xD;&#xA;  [2]: http://psychtoolbox.org/PsychPortAudio" ContentLicense="CC BY-SA 3.0" />
  <row Id="44243" PostHistoryTypeId="36" PostId="25263" RevisionGUID="14641f72-c920-4d12-bec9-59ccef214737" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2368/which-software-should-be-installed-in-ubuntu-studio-to-work-with-video-game-musi" />
  <row Id="44244" PostHistoryTypeId="36" PostId="25264" RevisionGUID="13e7a84e-82ee-4e75-812f-3acbef85b375" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2368/which-software-should-be-installed-in-ubuntu-studio-to-work-with-video-game-musi/2393#2393" />
  <row Id="44245" PostHistoryTypeId="2" PostId="25264" RevisionGUID="3b2183e9-c42a-40d9-9d6e-db2bd2395b0f" CreationDate="2011-09-28T15:56:32.770" UserDisplayName="iillllllllllllllllllllllllllii" Text="Generally, Ardour is the go-to DAW for Linux. As for software with more specific purposes, I would just search through the software center for whatever you're looking for and see which one you like best- maybe starting with the ones with higher ratings.&#xD;&#xA;&#xD;&#xA;It is easier, with Linux, to take a more modular approach to music and sound development by using jack." ContentLicense="CC BY-SA 3.0" />
  <row Id="44246" PostHistoryTypeId="2" PostId="25263" RevisionGUID="d79d190f-5e85-483c-83c0-fbd240f030fb" CreationDate="2011-09-23T15:48:48.317" UserDisplayName="user1448" Text="I make music and sounds for video games. &#xD;&#xA;Which software should I install on Ubuntu Studio for this purpose?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44247" PostHistoryTypeId="1" PostId="25263" RevisionGUID="d79d190f-5e85-483c-83c0-fbd240f030fb" CreationDate="2011-09-23T15:48:48.317" UserDisplayName="user1448" Text="Which software should be installed in Ubuntu Studio to work with video game music and sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44248" PostHistoryTypeId="3" PostId="25263" RevisionGUID="d79d190f-5e85-483c-83c0-fbd240f030fb" CreationDate="2011-09-23T15:48:48.317" UserDisplayName="user1448" Text="&lt;daw&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44249" PostHistoryTypeId="36" PostId="25265" RevisionGUID="5603d289-9707-4433-b69a-e90f63245a62" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3193/totally-confused-with-the-plethora-of-different-electronic-music-production-hard" />
  <row Id="44250" PostHistoryTypeId="2" PostId="25266" RevisionGUID="1bcfc116-0822-426a-82a5-b9e557d28a24" CreationDate="2012-02-03T17:46:26.357" UserId="9511" UserDisplayName="Johnny Bigoode" Text="I bet this won't be the best answer but let's give it a shot shall we?&#xD;&#xA;Different DAWs do different things. &#xD;&#xA;I wouldn't recommend Ableton Live or Propellerhead Reason for someone who wants to record a live band - both DAWs are oriented to a more software generated sound and sample handling situation. &#xD;&#xA;The same way I wouldn't recommend Pro Tools for someone who wants to make electronic music. It's expensive and it was created to be a substitute for an 'analog' studio. &#xD;&#xA;&#xD;&#xA;Again, a DAW can be a complete solution with various internal instruments, for example REASON has an instrument called SUBTRACTOR which is a Software Subtraction Synthesizer. But the SUBTRACTOR is just an instrument within the DAW. If you use ABLETON you have ANALOG which is a classic analog software synthesizer. &#xD;&#xA;&#xD;&#xA;Let's try talking about this terminology.&#xD;&#xA;&#xD;&#xA; - USB MIDI keyboard :This is just they keyboard, like the keys on a piano. &#xD;&#xA; - USB / MIDI keyboard controller The CONTROLLER part means that you probably have KNOBS and FADERS on the instrument. &#xD;&#xA; - Synthesizer - Synth is something that creates sounds out of nowhere. You can go straight to wikipedia and search Synthesizer for some awesome information. A synth can also be **HARDSYNTH** or **SOFTSYNTH** Which mean that it can be a physical synth (Google Tb-303) or it can be a software based synth (Google Rebirth - an classic acid techno emulator). Remember that there are VARIOUS forms of synthesizer a sound. The most used is [Subtractive Synthesis][1]. But you also have GRAIN synths, FM, AM, and whatever more you may imagine.&#xD;&#xA; - [vocoder][2] is a sound effect usually used in vocals.  If you don't know what it sounds like, check out [this][3]. &#xD;&#xA; - dynamic effects sampler is a terminology used for fx boxes like Korg KP3 Kaoss Pad Dynamic Effects Sampler - It's mainly used in live situations but it may be used in a studio situation - but then again, it's a box with various types of audio effects. &#xD;&#xA; - digital home keyboard - We use this expression to talk about home keyboards - like  Casio CTK-533. Those are simple keyboards with a lot of presets. It's not a synth since you cannot create sounds, you can only use the ones that comes with it. &#xD;&#xA; - micro workstation I've no idea what that is, maybe you're talking about KORG's microSTATION. There are some specific pieces of hardware that contain everything you need to create electronic music - you can then record all these patterns on this keyboard and play them live. Underworld is a band that relies on this type of equipment very often. &#xD;&#xA; - sequential speaker switcher - Again, I have no idea what this means, but maybe it's the sequential switcher that is used in studios to route audio signal through different means - for example - I may record a guitar via DI (Direct Input) and the use this signal trough various speakers and amps that are connected to my system. &#xD;&#xA; - microsampler/sampler keyboard - Just check [this Wikipedia article][4] and then go to youtube and check Jordan Rudess experimenting with the iPad app sample wiz. &#xD;&#xA; - synthesizer keyboard - A synthesizer keyboard is the same as a synth. Usually we say synthesizer keyboard when the synth you're working with has it's own keyboard. You see, since MIDI is universal you can have a mute keyboard (a equipment that only sends MIDI data, it doesn't generate sound) and you can plug it to [this][5], which is a synth module. You can generate sound by itself, it needs an external keyboard. &#xD;&#xA; - note controller keyboard I can't imagine what this means. &#xD;&#xA; - digital workstation keyboard I'd say it's the same as the [microworkstation][6]&#xD;&#xA; - USB/MIDI pad control unit - Midi controlers come in many many many many many shapes. Usually you have something with pads or big buttons to record drums, like the APC40 or the http://midifighter.com/&#xD;&#xA; - groove sampler - This is a more complex situation. You see, when you write in MIDI instead of record with a MIDI keyboard you have no groove - all you have is a series of perfect played notes that have no sound variation what so ever. Real people don't play like that. They vary sightly their speed and volume as they play. A groove sampler comes in to help this situation.  It basically changes the note's place and velocity to give more groove. Some DAWs like Reason and Ableton have this kind of support integrated into their code. [This sound on sound article][7] talks about ReGrove which is Reason's solution. You can also check youtube to find practical examples of this. &#xD;&#xA; - sampler - Then again similar to the explanation given for the microsampler, it's something that helps you work with, well, samples - that is - recorded sound. It's behavior is similar to a synth, but instead of using generated sounds from oscillators or sound banks, it (usually) uses a library of pre recorded sounds. Reason's [Bass Refill][8] showcases the power of the NT-XT Sampler, which is another Reason instrument. On ableton you have the Sampler and Simpler that does this. And you even have hardware machines, like [Akai's MPCs][9]&#xD;&#xA; - sound module interface are massive instruments, check out a better definition [here][10] &#xD;&#xA;&#xD;&#xA;As a final note: Explore www.vintagesynth.com and http://www.synthmania.com/Famous%20Sounds.htm - the amount of information on electronic music is gigantic, we talked about a few effects, but we didn't cover chorus, flanger, phaser, delay, grain delay, glitch effects, and much much more. If you wanna go into electronic music I'd suggest getting Propellerhead Reason demo or Ableton Live demo and playing with it. &#xD;&#xA;&#xD;&#xA;I don't recommend other DAWs since I'm not sure if they provide a good set of factory instruments and patches to work with. And also, both Reason and Ableton have one of the best manuals I've seen - they fully explain every single detail of each instrument and what can be achieved. Also youtube has tons of tutorials for doing everything you may imagine. &#xD;&#xA;&#xD;&#xA;In the end, it really doesn't matter exactly which DAW you'll pick, but more like what can you do with it. All major DAWs can produce electronic sounds, but each one works in a deferential way. &#xD;&#xA;&#xD;&#xA;If you really want to learn more, getting your hands dirty is the best choice. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://wikipedia.org/wiki/Subtractive_synthesis&#xD;&#xA;  [2]: http://wikipedia.org/wiki/Vocoder&#xD;&#xA;  [3]: http://www.youtube.com/watch?v=Nzxyw_XgMyU%20-%20Ricardo%20Villalobos%20-%20Easy%20Lee&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Sampler_%28musical_instrument%29&#xD;&#xA;  [5]: http://www.davesmithinstruments.com/products/p8m/&#xD;&#xA;  [6]: http://en.wikipedia.org/wiki/Music_workstation&#xD;&#xA;  [7]: http://www.soundonsound.com/sos/dec08/articles/reasontech.htm&#xD;&#xA;  [8]: http://www.youtube.com/watch?v=Cgs3Bko1oYY&#xD;&#xA;  [9]: http://www.akaipro.com/mpc&#xD;&#xA;  [10]: http://en.wikipedia.org/wiki/Sound_module" ContentLicense="CC BY-SA 3.0" />
  <row Id="44251" PostHistoryTypeId="2" PostId="25265" RevisionGUID="79caa3f1-409a-44e6-99ce-2fd656125352" CreationDate="2012-02-02T23:50:26.617" UserId="10057" UserDisplayName="Vass" Text="I play some musical instruments and want to begin electronic music. I have read and understood the concept of MIDI being a format for representing sound and time. &#xD;&#xA;&#xD;&#xA;Now when presented with a DAW, and the vast number of different devices for electronic music production in shops, I am totally confused and do not know where to begin to understand what each does, what the names refer to, what overlaps or any recognizing from name to function.&#xD;&#xA;&#xD;&#xA;Keywords for devices&#xD;&#xA;&#xD;&#xA; - USB MIDI keyboard &#xD;&#xA; - USB / MIDI keyboard controller&#xD;&#xA; - synthesizer/vocorder&#xD;&#xA; - dynamic effects sampler&#xD;&#xA; - digital home keyboard&#xD;&#xA; - micro workstation&#xD;&#xA; - sequential speaker switcher&#xD;&#xA; - microsampler/sampler keyboard&#xD;&#xA; - synthesizer keyboard&#xD;&#xA; - note controller keyboard&#xD;&#xA; - digital workstation keyboard&#xD;&#xA; - USB/MIDI pad control unit&#xD;&#xA; - groove sampler&#xD;&#xA; - sampler&#xD;&#xA; - sound module interface&#xD;&#xA;&#xD;&#xA;The list could go on. I tried to find some tutorial or pdf that goes through things to give a conceptual overview but I failed to find such a thing. I expect that they definitely exist, so what are good keywords to search and understand what is going on? I also expect every device to not be too unique in its function, so how do I find the overlap and what function is being produced?&#xD;&#xA;&#xD;&#xA;Is the DAW not supposed to be able to do everything? So why does all of this hardware still exist?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44252" PostHistoryTypeId="1" PostId="25265" RevisionGUID="79caa3f1-409a-44e6-99ce-2fd656125352" CreationDate="2012-02-02T23:50:26.617" UserId="10057" UserDisplayName="Vass" Text="Totally confused with the plethora of different electronic music production hardware; any way to work out what they do?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44253" PostHistoryTypeId="3" PostId="25265" RevisionGUID="79caa3f1-409a-44e6-99ce-2fd656125352" CreationDate="2012-02-02T23:50:26.617" UserId="10057" UserDisplayName="Vass" Text="&lt;hardware&gt;&lt;daw&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44254" PostHistoryTypeId="36" PostId="25266" RevisionGUID="2c3c0af7-372f-4aef-844f-d6c5d0e0737a" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3193/totally-confused-with-the-plethora-of-different-electronic-music-production-hard/3198#3198" />
  <row Id="44255" PostHistoryTypeId="36" PostId="25267" RevisionGUID="98e8bda7-d25b-4db5-bcde-6ed1c63e019d" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1088/free-linux-tool-to-convert-flv-to-mp3" />
  <row Id="44256" PostHistoryTypeId="36" PostId="25268" RevisionGUID="58faced3-b8c6-43ae-a8e1-1b39ad3b9ef5" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1088/free-linux-tool-to-convert-flv-to-mp3/1301#1301" />
  <row Id="44257" PostHistoryTypeId="36" PostId="25269" RevisionGUID="99d50448-fa37-4e0c-8a43-f17b01080dc3" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1088/free-linux-tool-to-convert-flv-to-mp3/1868#1868" />
  <row Id="44258" PostHistoryTypeId="2" PostId="25268" RevisionGUID="bbe966cf-f251-452f-b3fe-0680cfc37b41" CreationDate="2011-04-28T17:02:07.123" UserDisplayName="tlvince" Text="Although you've already mentioned it, `ffmpeg` is the canonical (Linux) tool for this. I would recommend invoking `ffmpeg` directly (from the command line) with something like:&#xD;&#xA;&#xD;&#xA;    ffmpeg -i [infile].flv -vn -acodec libmp3lame -ab 128k [outfile].mp3&#xD;&#xA;&#xD;&#xA;... where&#xD;&#xA;&#xD;&#xA;    -vn                disable video&#xD;&#xA;    -acodec libmp3lame convert audio to mp3 using the lame codec&#xD;&#xA;    -ab 128k           set the audio bitrate to 128k&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;With an up-to-date install of `ffmpeg`, running:&#xD;&#xA;&#xD;&#xA;    ffmpeg -formats | grep &quot;FLV&quot;&#xD;&#xA;&#xD;&#xA;... should yield a line similar to:&#xD;&#xA;&#xD;&#xA;    DE flv             FLV format&#xD;&#xA;&#xD;&#xA;If you don't see that line, `ffmpeg` has not been compiled with `flv` support. If you are running Ubuntu (for example), the following tutorial may help [enabling restricted encoders in ffmpeg][1].&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;An initial sanity check for problematic files could be to check the file is *really* a Flash file by running:&#xD;&#xA;&#xD;&#xA;    file thefile.flv&#xD;&#xA;    thefile.flv: Macromedia Flash Video&#xD;&#xA;&#xD;&#xA;  [1]: http://ubuntuforums.org/showthread.php?t=1117283" ContentLicense="CC BY-SA 3.0" />
  <row Id="44259" PostHistoryTypeId="2" PostId="25269" RevisionGUID="3a2fed1d-5a93-43d5-93b4-d47a6cbb1488" CreationDate="2011-07-13T23:10:14.257" UserDisplayName="Mechanical snail" Text="The video may already contain audio in MP3 format. In this case it's better to copy the stream. This avoids re-encoding the audio, which takes time and involves quality loss.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;    ffmpeg -i [infile].flv -vn -acodec copy [outfile].mp3&#xD;&#xA;&#xD;&#xA;... where&#xD;&#xA;&#xD;&#xA;    -vn                drop the video stream&#xD;&#xA;    -acodec copy       copy audio stream directly to output mp3 file&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44260" PostHistoryTypeId="2" PostId="25267" RevisionGUID="1ee59271-7bb0-4115-9044-a271350c6342" CreationDate="2011-03-24T19:38:25.457" UserDisplayName="user683" Text="I'm looking for a free Linux tool that can convert a rather large collection of FLV files into MP3 format.  Most of the tools I've tried use ffmpeg under the hood, but they fail to convert many of the files, all passing up the error message from ffmpeg:&#xD;&#xA;&#xD;&#xA;&lt;pre&gt;[flv @ 0xb7f32388]Unsupported video codec (7)&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA;I've tried importing the FLV files into various other tools (iTunes, Audacity, Pitivi) but none of them work.  The odd thing is that the Totem movie player plays them just fine...  but it does not feature a way to extract the sound of a movie.&#xD;&#xA;&#xD;&#xA;What tools can you recommend?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44261" PostHistoryTypeId="1" PostId="25267" RevisionGUID="1ee59271-7bb0-4115-9044-a271350c6342" CreationDate="2011-03-24T19:38:25.457" UserDisplayName="user683" Text="Free Linux tool to convert FLV to MP3" ContentLicense="CC BY-SA 2.5" />
  <row Id="44262" PostHistoryTypeId="3" PostId="25267" RevisionGUID="1ee59271-7bb0-4115-9044-a271350c6342" CreationDate="2011-03-24T19:38:25.457" UserDisplayName="user683" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44263" PostHistoryTypeId="36" PostId="25270" RevisionGUID="fd53b0e6-9751-4a3a-9659-e5e354ba77fc" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1532/in-which-situations-is-audio-expansion-applied-opposite-of-compressors" />
  <row Id="44264" PostHistoryTypeId="2" PostId="25271" RevisionGUID="271b62cd-0830-4272-a047-6f94b65b8546" CreationDate="2011-06-02T19:56:36.293" UserId="17571" UserDisplayName="Zeronyne" Text="You should use an expander when an outright gate will sound really unnatural (and that is not the desire). For example, if your vocalist has a really distracting breathing sound when idle, an expander will reduce that without completely eliminating the attendant ambiance that makes a track sound coherent (which is why it's important to record a minute or &quot;silence&quot; when doing location recording.&#xD;&#xA;&#xD;&#xA;I personally try to use it over a gate whenever possible, especially if the recoding was tracked in an ideal or characterful situation. No reason to suck the life out of the &quot;silences&quot; if you don't have to. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44265" PostHistoryTypeId="2" PostId="25270" RevisionGUID="cb4c1021-14af-46da-8283-b9b703939178" CreationDate="2011-06-02T17:02:54.397" UserId="7459" UserDisplayName="bigp" Text="I've encountered from time to time some plugins that allows a threshold and a ratio to be set so that quieter sound can have an even more quieter level (or silenced altogether). Ableton Live actually has one in it's multiband compressor which, IMO, is very intuitive to use.&#xD;&#xA;&#xD;&#xA;I'm curious as to when would this typically be used though? Is it most often used as an effect? Is it used to do mixing corrections? How about mastering? Is there any cases in Audio Production that this would be my &quot;go to&quot; signal processor of choice?&#xD;&#xA;&#xD;&#xA;How is it most commonly used and what benefit does it provide?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44266" PostHistoryTypeId="1" PostId="25270" RevisionGUID="cb4c1021-14af-46da-8283-b9b703939178" CreationDate="2011-06-02T17:02:54.397" UserId="7459" UserDisplayName="bigp" Text="In which situations is Audio Expansion applied (opposite of compressors)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44267" PostHistoryTypeId="3" PostId="25270" RevisionGUID="cb4c1021-14af-46da-8283-b9b703939178" CreationDate="2011-06-02T17:02:54.397" UserId="7459" UserDisplayName="bigp" Text="&lt;mixing&gt;&lt;compression&gt;&lt;plugins&gt;&lt;mastering&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44268" PostHistoryTypeId="36" PostId="25271" RevisionGUID="31c5a0a9-a3d0-42e5-919d-76f70904bce5" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1532/in-which-situations-is-audio-expansion-applied-opposite-of-compressors/1535#1535" />
  <row Id="44269" PostHistoryTypeId="36" PostId="25272" RevisionGUID="b0266305-9f07-4480-be1e-f7068911098d" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7866/low-level-hiss-pop-and-squeal-in-basic-sound-studio-set-up" />
  <row Id="44270" PostHistoryTypeId="36" PostId="25273" RevisionGUID="392f21af-3d21-4812-908f-da6edac3f2fa" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7866/low-level-hiss-pop-and-squeal-in-basic-sound-studio-set-up/7867#7867" />
  <row Id="44271" PostHistoryTypeId="36" PostId="25274" RevisionGUID="c1c53f16-fd0c-4216-a97a-78eb8f3c89c7" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7866/low-level-hiss-pop-and-squeal-in-basic-sound-studio-set-up/7883#7883" />
  <row Id="44272" PostHistoryTypeId="2" PostId="25273" RevisionGUID="6e0228d3-1649-45c3-81bc-cea183fdf516" CreationDate="2013-05-11T15:18:59.943" UserId="7312" UserDisplayName="Eugene S" Text="If your system is plagued by hums and buzzes, there's a strong possibility they might be caused by ground loops. Use balanced connections where possible, and if you're getting hum problems when connecting an unbalanced source to a balanced destination, try making up a special cable, as shown below. Don't remove mains earths to try to solve ground loop hums: this can be very dangerous.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There is a great explanation about all kinds of noises, including how to deal with them [here][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/MkPQS.gif&#xD;&#xA;  [2]: http://www.soundonsound.com/sos/mar99/articles/20tips.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="44273" PostHistoryTypeId="2" PostId="25274" RevisionGUID="26c2ca0b-bbb3-424a-96a2-0ea05a9e0343" CreationDate="2013-05-13T14:22:51.240" UserId="7174" Text="From the description, are your monitors powered?  If so, then it sounds like it may be a problem with the grounding on the power for them differing from the grounding on your PC (or the fact that PCs often cause grounding differential because of their irregular power usage if your audio card has poor isolation (common on lower end audio hardware)).  &#xD;&#xA;&#xD;&#xA;The popping and squealing may also be the result of a bad cable going to the speakers.  Particularly if it is &quot;crackly&quot; or &quot;staticy&quot;.  Basically the threads of the cable can brush against each other making sparks if they have frayed some within the cable.  These sparks cause slight surges which result in pops." ContentLicense="CC BY-SA 3.0" />
  <row Id="44274" PostHistoryTypeId="2" PostId="25272" RevisionGUID="3385945c-c5a4-46db-8020-ccfc179b1fbf" CreationDate="2013-05-11T15:00:15.593" UserDisplayName="Brendan" Text="I have a basic studio setup which includes:&#xD;&#xA;&#xD;&#xA;PC running cool edit pro&#xD;&#xA;condenser mic&#xD;&#xA;preamp&#xD;&#xA;AD converter&#xD;&#xA;studio monitors and headphones&#xD;&#xA;&#xD;&#xA;That's it.  I am having low level hiss, pop, and squeal in the monitors only (not in the headphones) when I turn everything on and play tracks from cool edit pro.  When I have just the speakers on, I receive no noise.  Does anyone know what this might be?  &#xD;&#xA;&#xD;&#xA;Many thanks for you help." ContentLicense="CC BY-SA 3.0" />
  <row Id="44275" PostHistoryTypeId="1" PostId="25272" RevisionGUID="3385945c-c5a4-46db-8020-ccfc179b1fbf" CreationDate="2013-05-11T15:00:15.593" UserDisplayName="Brendan" Text="Low level hiss, pop and squeal in basic sound studio set up" ContentLicense="CC BY-SA 3.0" />
  <row Id="44276" PostHistoryTypeId="3" PostId="25272" RevisionGUID="3385945c-c5a4-46db-8020-ccfc179b1fbf" CreationDate="2013-05-11T15:00:15.593" UserDisplayName="Brendan" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44285" PostHistoryTypeId="36" PostId="25278" RevisionGUID="d15fb1ca-974f-4cf9-9f07-e45d2a4cbf97" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/97/are-outboard-processors-dead" />
  <row Id="44286" PostHistoryTypeId="2" PostId="25279" RevisionGUID="b1d3f8c3-af40-4269-9eb2-2798062b5d8a" CreationDate="2010-12-08T05:00:31.383" UserId="7294" UserDisplayName="Warrior Bob" Text="Analog and digital processors work in fundamentally different ways and therefore will always have some differences, however minor they may be in some cases.  It seems to be generally agreed that you don't &quot;need&quot; outboard hardware any more per se, however if you want the sound of a particular hardware unit, or if you want an 'analog' sound, there's no better way to get it than to use one of those units.&#xD;&#xA;&#xD;&#xA;Now, from a business perspective, if you're running a studio you might want to have some really nice outboard gear to impress your clients, or yourself :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="44287" PostHistoryTypeId="2" PostId="25278" RevisionGUID="21dc3e2b-e8c7-4b14-aa37-049116cb620f" CreationDate="2010-12-08T03:33:48.863" UserDisplayName="Kim Burgaard" Text="Do outboard processors such as compressors, reverb units, etc. have anything distinct advantages in any area today? I'm especially thinking of analog units because of the added D/A-A/D round-trip and all the additional issues this implies. Are there still short-comings of the digital models that can be found for pretty much every piece of famous audio gear by now?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44288" PostHistoryTypeId="1" PostId="25278" RevisionGUID="21dc3e2b-e8c7-4b14-aa37-049116cb620f" CreationDate="2010-12-08T03:33:48.863" UserDisplayName="Kim Burgaard" Text="Are outboard processors dead?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44289" PostHistoryTypeId="3" PostId="25278" RevisionGUID="21dc3e2b-e8c7-4b14-aa37-049116cb620f" CreationDate="2010-12-08T03:33:48.863" UserDisplayName="Kim Burgaard" Text="&lt;mixing&gt;&lt;daw&gt;&lt;hardware&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44290" PostHistoryTypeId="36" PostId="25279" RevisionGUID="557b84f4-f3f1-44f2-b7a4-0449dbb4465c" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/97/are-outboard-processors-dead/100#100" />
  <row Id="44291" PostHistoryTypeId="36" PostId="25280" RevisionGUID="879b0715-8ea8-4d2d-ac55-91feb2c10cdb" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/97/are-outboard-processors-dead/106#106" />
  <row Id="44292" PostHistoryTypeId="36" PostId="25281" RevisionGUID="daf47f1b-4c66-4301-b6cc-f208bae37f45" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/97/are-outboard-processors-dead/776#776" />
  <row Id="44293" PostHistoryTypeId="36" PostId="25282" RevisionGUID="33104319-6289-448a-ba84-d80d696358f3" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/97/are-outboard-processors-dead/928#928" />
  <row Id="44294" PostHistoryTypeId="2" PostId="25280" RevisionGUID="85c85653-c66f-4311-8880-767218a82dd8" CreationDate="2010-12-08T09:03:37.180" UserId="7592" UserDisplayName="Pelle ten Cate" Text="Apart from the distinct quality and the distinct &quot;sound&quot; of some hardware devices (which is the most likely reason for using this equipment), there are occasions where digital is not an option, especially when working with DXD/DSD recordings or any other kind of analog recordings. &#xD;&#xA;&#xD;&#xA;If you want to record an SACD, the available DSP stuff is very very limited. Or, it could be a choice of taste, i.e. if you would choose to record everything on analog 24 track tape, just because you want the 'tape' sound in your recording, digital plugins are a no-go as well. " ContentLicense="CC BY-SA 2.5" />
  <row Id="44295" PostHistoryTypeId="2" PostId="25281" RevisionGUID="a4c59b1d-443a-4bfa-996c-fc9e78773033" CreationDate="2011-02-08T11:26:07.140" UserDisplayName="jlebre" Text="...Or if you are lucky enough to run tape machine and dBX processing. True some encoding still require you to run on outboard.&#xD;&#xA;&#xD;&#xA;And i haven't found a replacement for the H3000s and H3500s.&#xD;&#xA;&#xD;&#xA;Then again, when you mean outboard, would you include space echos? Would you include Lexicon L480 and more recent? These units can't be emulated completely as IR doesn't take into account pitch drifts and others. If you are talking of EQ's, compressors, must stuff can be emulated nowadays with low cost to the processor - even spring reverbs and some exotic delays.&#xD;&#xA;&#xD;&#xA;As for a room full of gear, I'm lucky enough to record in a room full of gear but I do agree Preamps are a priority and if you are only after to impress (not some nutter that has a heart on AMS RMX processor) you'll be better off putting money on preamps (nice stuff from Avalon to Focusrite red downright to Manley's, Api's and other more exotic stuff you that you might think of) and you will still impress your client with tons of gorgeous gear. That first stage is essential to get it right.&#xD;&#xA;&#xD;&#xA;But having said that, if you don't have a nice room, nice instruments, and only a bunch of microphones with a really ridiculous sensitivity and high self-noise ratio, you'll probably better off betting on mixing gear - processors.&#xD;&#xA;- Anyone out there with a replacement for a 8051 on a plugin? ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="44296" PostHistoryTypeId="2" PostId="25282" RevisionGUID="3ffed935-3cd4-44df-b2e6-f4b5b5e02a82" CreationDate="2011-02-26T16:42:16.427" UserDisplayName="Pedro Sobota" Text="The thing with the outboards is the good ones will necessarily give much better sound than any plugins, even accounting for a possible D/A/D roundtrip. And this extra quality will make big difference in tracks where the fx is an important part of their stetic. Compressors and delays come to mind." ContentLicense="CC BY-SA 2.5" />
  <row Id="44297" PostHistoryTypeId="36" PostId="25283" RevisionGUID="5cd6a35b-0f43-4a11-abce-deb5de896a25" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/779/why-are-drums-generally-panned-to-the-listeners-perspective-but-piano-panned-to" />
  <row Id="44298" PostHistoryTypeId="36" PostId="25284" RevisionGUID="5e1b4971-0431-4a55-a30e-2383a4420773" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/779/why-are-drums-generally-panned-to-the-listeners-perspective-but-piano-panned-to/780#780" />
  <row Id="44299" PostHistoryTypeId="36" PostId="25285" RevisionGUID="b0033b45-9dc5-4d64-bb3d-17e47f541a67" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/779/why-are-drums-generally-panned-to-the-listeners-perspective-but-piano-panned-to/781#781" />
  <row Id="44300" PostHistoryTypeId="2" PostId="25284" RevisionGUID="65f123d6-80bc-4dbb-a5d2-b0117158074b" CreationDate="2011-02-09T09:33:20.333" UserId="7202" Text="Well, I don't know for sure, but I wonder if the statement is even correct. &#xD;&#xA;&#xD;&#xA;How often do you see a piano where the player face the audience? In most cases people encounter real pianos (ie at home) the piano faces the wall and the player has his/her back to the audience. In concert situations the pianist usually sits with his side to the audience, so there is no distinctive &quot;panning&quot; at all.&#xD;&#xA;&#xD;&#xA;So people &quot;know&quot; that the bass is to the left on a piano, because that's how they usually hear/see it in real life. Plus, most people has plonked on a piano at some time. While few people has played the drums, and mostly see drumsets in rock/jazz settings, with the drummer facing the crowd, hence people &quot;know&quot; that the hi-hat should be to the right, and the tom to the left, even if it's the other way around for the drummer.&#xD;&#xA;&#xD;&#xA;So I'd claim that both drums and pianos are usually panned to the listeners perspective.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44301" PostHistoryTypeId="2" PostId="25285" RevisionGUID="b38adfa3-9037-4f8e-80cb-33941c9084f5" CreationDate="2011-02-09T11:47:32.463" UserDisplayName="jlebre" Text="I pan drums to drummer perspective unless I'm doing FoH or DVD's (even multichannel mixing).&#xD;&#xA;I'm a drummer and I do believe that instruments should be in listening perspective before anything.&#xD;&#xA;&#xD;&#xA;Now, most of the times this is not my decision. If the producer wants to have listener perspective, he go it! but in a gig, if you have drummer perspective, I find it a bit weird to get used to.&#xD;&#xA;&#xD;&#xA;Lennart is right when says that people are more used to listener perspective as drums are rare to encounter BUT I don't think there is a rule. I don't think we should consider a rule. For cymbals like rides and other speciallity (like the bendy Paste one, etc.) I might consider the whole perspective issue to better fix them in the mix.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44302" PostHistoryTypeId="2" PostId="25283" RevisionGUID="bb88c647-3dc0-4fca-bf00-4a0496dbda06" CreationDate="2011-02-09T07:40:38.530" UserDisplayName="user487" Text="i've posed this question to many engineers (even a few who are drummers) and i'm still without an answer. what's even more befuddling is that i have a few recordings where the drums are panned to the player's perspective and it sounds fine (and even more authentic) to me. " ContentLicense="CC BY-SA 2.5" />
  <row Id="44303" PostHistoryTypeId="1" PostId="25283" RevisionGUID="bb88c647-3dc0-4fca-bf00-4a0496dbda06" CreationDate="2011-02-09T07:40:38.530" UserDisplayName="user487" Text="Why are drums generally panned to the listener's perspective but piano panned to the player's perspective?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44304" PostHistoryTypeId="3" PostId="25283" RevisionGUID="bb88c647-3dc0-4fca-bf00-4a0496dbda06" CreationDate="2011-02-09T07:40:38.530" UserDisplayName="user487" Text="&lt;mixing&gt;&lt;stereo&gt;&lt;piano&gt;&lt;panning&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44305" PostHistoryTypeId="36" PostId="25286" RevisionGUID="0188d360-797a-430f-8bfb-d2a8c87b226a" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7668/ableton-how-do-i-automatically-make-a-clip-on-beat" />
  <row Id="44306" PostHistoryTypeId="36" PostId="25287" RevisionGUID="748bbb6f-c883-4bf9-99f3-751735c44526" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7668/ableton-how-do-i-automatically-make-a-clip-on-beat/7670#7670" />
  <row Id="44307" PostHistoryTypeId="2" PostId="25287" RevisionGUID="a2c6191a-33c8-44f6-ac49-c323069325d3" CreationDate="2013-04-17T17:19:31.277" UserId="7294" UserDisplayName="Warrior Bob" Text="Universal Quantization is your friend&#xD;&#xA;-&#xD;&#xA;Clip recording in Ableton Live's Session View is quantized to the Universal Quantization setting and the project's bars/beats position. This works for both starting and stopping clips, which includes recording into them. You do not need to press &quot;stop&quot; precisely, only within the quantization amount before the next unit of time. For example, if you have 1-bar quantization specified, all of your clip triggers will engage on the next bar after the clip is triggered. You can press stop anytime during the last bar of your recording, and the recording will cease when that bar ends. In this way your recorded clips will always begin and end in sync with the project.&#xD;&#xA;&#xD;&#xA;So is good timing&#xD;&#xA;-&#xD;&#xA;Any timing errors *you* make in your performance will of course be captured as part of the clip - if you play notes early or late, they'll be recorded early or late, even though the clip itself starts and ends on beat, since that's what you played! You can fix this after recording manually or with the quantize feature, and there is a &quot;Record Quantization&quot; setting under the Edit menu which automatically quantizes the clip upon recording, however you do not always necessarily want your performance to be quantized. &#xD;&#xA;&#xD;&#xA;Watch out for audio latency&#xD;&#xA;-&#xD;&#xA;Now, there is one case that is particularly troublesome, and that is when you are playing your MIDI keyboard in time with the other sounds that you hear, and those sounds are delayed by some significant amount because of the inherent latency involved in buffered digital recording. You hear the sounds late, and so your on-time performance is captured with some delay. You can try playing with the output buffer in Live's Audio Preferences to alleviate this, although there is generally a point where too small of a buffer leads to pops, clicks, and errors in the audio stream, so there's a minimum latency you will have to deal with, either by learning to play your keyboard slightly early or by manually selecting all notes in the clip editor and sliding them back in time as a group." ContentLicense="CC BY-SA 3.0" />
  <row Id="44308" PostHistoryTypeId="2" PostId="25286" RevisionGUID="036a9b51-0e19-4a76-9d11-34db14f57007" CreationDate="2013-04-16T19:40:54.163" UserId="7840" UserDisplayName="themirror" Text="I can record a Clip from my MIDI keyboard and hit Play to hear it looped.  But it's difficult to hit the Record and Stop button at just the right time so that my Clip has a consistent, say, 4/4 rhythm when I play it.  Generally there are some fractions of a second of delay at the beginning or end of a clip.&#xD;&#xA;&#xD;&#xA;Ableton must have a feature to automatically cut the off-rhythm delay from the beginning and end of Clips, or some assistance to make the Clips I record have a consistent rhythm.  Where do I find that?&#xD;&#xA;&#xD;&#xA;To be more clear, for live performance, I obviously want every Clip I add into the mix to be aligned rhythmically with whatever else is playing." ContentLicense="CC BY-SA 3.0" />
  <row Id="44309" PostHistoryTypeId="1" PostId="25286" RevisionGUID="036a9b51-0e19-4a76-9d11-34db14f57007" CreationDate="2013-04-16T19:40:54.163" UserId="7840" UserDisplayName="themirror" Text="Ableton: How do I automatically make a Clip &quot;on beat&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44310" PostHistoryTypeId="3" PostId="25286" RevisionGUID="036a9b51-0e19-4a76-9d11-34db14f57007" CreationDate="2013-04-16T19:40:54.163" UserId="7840" UserDisplayName="themirror" Text="&lt;ableton&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44311" PostHistoryTypeId="36" PostId="25288" RevisionGUID="60d68ba7-8985-4235-9c1a-5f896581e231" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9670/vertical-panorama-in-mix" />
  <row Id="44312" PostHistoryTypeId="2" PostId="25289" RevisionGUID="7bf49a49-d69c-4741-be6f-cfdaa22f9328" CreationDate="2013-12-15T20:21:10.633" UserId="7200" Text="Not really, no. Only the most advanced surround sound systems support proper vertical panning (it would be called [tilting](http://en.wikipedia.org/wiki/Tilt_%28camera%29) I suppose). All standard systems have at all or at least the crucial speakers&lt;sup&gt;1&lt;/sup&gt; on the same vertical level, so there's not really any elevation information present. Any perceived top-bottom separation has indirect, psycho- or room-acoustical reasons.&#xD;&#xA;&#xD;&#xA;In your case, the most likely reason is simply that your monitors have tweeters which are in fact located at the top of the speaker cabinets, so the high-frequency components _do_ come from higher up than the bass- and midrange. Not much you can do about that, it's just specific to your listening conditions. You could somewhat mitigate the effect by giving the bass instruments lots of high-frequency components (by treble boosting and/or unsmoothened distortion), but this would obviously affect the whole mix very strongly. And in other listening environments, the elevation effect would work out completely different anyway, because the tweeters don't introduce that kind of spatial separation in the first place.&#xD;&#xA;&#xD;&#xA;In general, you _can_ employ some more subtle methods to virtually place instruments in the mix in other ways than just left-right. Obviously, reverb setup as well as compression has a lot of say in how &quot;far away&quot; an instrument appears to be. But that's about the only thing you can say easily, more sophisticated fine-graining of space involves lots of experience-driven and rather heuristic tuning of all mix parameters.&#xD;&#xA;&#xD;&#xA;Some sounds are just associated to come from above or below by cliché, so if you somehow manage to get it somewhat &quot;organ-like&quot;, &quot;stomp-like&quot; or whatever you might achieve some kind of pseudo-tilting through that. But there isn't one recipe to do something like that, you can at best just trial-and error yourself.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&lt;hr&gt;&#xD;&#xA;&lt;sup&gt;1&lt;/sup&gt;Subwoofers are often placed on floor-level, but [it's generally impossible to localise bass frequencies very accurately](http://en.wikipedia.org/wiki/Wavelength). Even for low-pitched instruments, we still take the location information mostly from their midrange sound components, so unless you have very small satellites and take a lot of the midrange from the sub[s] as well, this is unlikely to have much influence." ContentLicense="CC BY-SA 3.0" />
  <row Id="44313" PostHistoryTypeId="2" PostId="25288" RevisionGUID="e173795b-3ab3-4d07-ac68-2f062b1d98a2" CreationDate="2013-12-15T17:30:21.643" UserId="6561" Text="When I'm listening to tracks on my studio monitors I feel like the low-bass frequencies sounds are located in the bottom and the higher sound's frequency the higher position it has in the mix. Just imagine something like panorama but in vertical position. &#xD;&#xA;&#xD;&#xA;Is it possible to locate bass on the top and hats on the bottom? :D&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44314" PostHistoryTypeId="1" PostId="25288" RevisionGUID="e173795b-3ab3-4d07-ac68-2f062b1d98a2" CreationDate="2013-12-15T17:30:21.643" UserId="6561" Text="Vertical panorama in mix?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44315" PostHistoryTypeId="3" PostId="25288" RevisionGUID="e173795b-3ab3-4d07-ac68-2f062b1d98a2" CreationDate="2013-12-15T17:30:21.643" UserId="6561" Text="&lt;mixing&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44316" PostHistoryTypeId="36" PostId="25289" RevisionGUID="032568bf-e54c-401b-9cfb-dde6a1707188" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9670/vertical-panorama-in-mix/9671#9671" />
  <row Id="44317" PostHistoryTypeId="36" PostId="25290" RevisionGUID="32f550ab-75dc-40cc-9481-edb1b6a180a5" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/630/boost-volume-of-track-in-garageband" />
  <row Id="44318" PostHistoryTypeId="36" PostId="25291" RevisionGUID="1c4a6f2b-a679-4dd5-93d9-a3bf71fc9c85" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/630/boost-volume-of-track-in-garageband/632#632" />
  <row Id="44319" PostHistoryTypeId="2" PostId="25291" RevisionGUID="34fb0a9b-2c40-4850-9e78-2f58f55e8447" CreationDate="2011-01-18T22:34:30.653" UserId="7398" UserDisplayName="BenV" Text="Many plugins have the ability to adjust the level either before or after the effects processing.  You could throw one of these plugins on the track and boost the level without adding any other processing.&#xD;&#xA;&#xD;&#xA;The newer versions of Garage Band have the ability to normalize tracks (although it might only be available as an export option).  You could solo the track in question, export and normalize it, and then import the normalized audio." ContentLicense="CC BY-SA 2.5" />
  <row Id="44320" PostHistoryTypeId="2" PostId="25292" RevisionGUID="e701c033-f13e-4932-9446-ce11a64aebc1" CreationDate="2011-01-18T23:54:19.773" UserId="7045" Text="You can add a little bit of compression, boosting the gain that way. &#xD;&#xA;&#xD;&#xA;Another option is to open the audio file in a waveform editor like Peak and normalize the audio or increase the gain that way. (Right-click on the Garageband file in the Finder and navigate to the audio file.) This is an operation you won't be able to undo, so I'd back up that file first. &#xD;&#xA;&#xD;&#xA;If nothing else is working: Not exactly optimal, but if the track would sound good with a little distortion, you can run it through a guitar amp plug-in. (I wouldn't do this with, say vocals or a flute, but it might be good with bass or a hi-hat, depending on context.) " ContentLicense="CC BY-SA 2.5" />
  <row Id="44321" PostHistoryTypeId="2" PostId="25290" RevisionGUID="0d2c9fa9-238b-4a31-bd63-06e85d786934" CreationDate="2011-01-18T22:10:54.543" UserDisplayName="Bill Cheatham" Text="I have a track in Garageband that is recorded at a very low volume. If I could I would go back and redo it, but I can't, so I just have to live with it.&#xD;&#xA;&#xD;&#xA;So far, to boost the volume of this track, I have tried setting the track volume to the highest possible, but this is still too quiet. Is there a way to boost the 'raw' track, or a filter I could apply? &#xD;&#xA;&#xD;&#xA;It would also help to be able to see the waveforms in the Track Editor, where they aren't showing up because of the low volume." ContentLicense="CC BY-SA 2.5" />
  <row Id="44322" PostHistoryTypeId="1" PostId="25290" RevisionGUID="0d2c9fa9-238b-4a31-bd63-06e85d786934" CreationDate="2011-01-18T22:10:54.543" UserDisplayName="Bill Cheatham" Text="Boost volume of track in GarageBand" ContentLicense="CC BY-SA 2.5" />
  <row Id="44323" PostHistoryTypeId="3" PostId="25290" RevisionGUID="0d2c9fa9-238b-4a31-bd63-06e85d786934" CreationDate="2011-01-18T22:10:54.543" UserDisplayName="Bill Cheatham" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44324" PostHistoryTypeId="36" PostId="25292" RevisionGUID="2a819946-371a-4bfd-9da8-b542fb47533f" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/630/boost-volume-of-track-in-garageband/633#633" />
  <row Id="44325" PostHistoryTypeId="36" PostId="25293" RevisionGUID="1a319ed3-1aff-4441-8af9-58c40ec9cb85" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/630/boost-volume-of-track-in-garageband/634#634" />
  <row Id="44326" PostHistoryTypeId="36" PostId="25294" RevisionGUID="85720a00-adad-4aa6-a562-ee90eb4c2639" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/630/boost-volume-of-track-in-garageband/651#651" />
  <row Id="44327" PostHistoryTypeId="2" PostId="25293" RevisionGUID="11168ba5-d2c7-41cd-83fc-369cf09e528d" CreationDate="2011-01-19T00:19:15.260" UserId="17221" UserDisplayName="muntoo" Text="If you have the output Audio file, you can get [Audacity][1], and Effects-&gt;Compress it using the compression plugin (included, I believe). It's awesome. You can adjust how loud you want each sound range to be (within reason).&#xD;&#xA;&#xD;&#xA;You may need [LAME][2] if you have to open MP3s.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/&#xD;&#xA;  [2]: http://audacity.sourceforge.net/help/faq?s=install&amp;item=lame-mp3" ContentLicense="CC BY-SA 2.5" />
  <row Id="44328" PostHistoryTypeId="2" PostId="25294" RevisionGUID="72404c2b-d530-4abe-936c-a6bd7a8cf7cb" CreationDate="2011-01-20T18:45:45.233" UserDisplayName="user402" Text="Boost it before you import it into Garageband.. I use [Levalator][1] -- it's free and does a great job of evening out tracks before you start the editing process.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.conversationsnetwork.org/levelator" ContentLicense="CC BY-SA 2.5" />
  <row Id="44329" PostHistoryTypeId="36" PostId="25295" RevisionGUID="61f18abf-03f2-475b-b6a3-aa65f7d96e3a" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4147/what-do-i-need-to-know-to-decide-if-an-amp-will-work-with-speakers" />
  <row Id="44330" PostHistoryTypeId="2" PostId="25296" RevisionGUID="3a662d1f-07df-48ff-9631-4e7db664a613" CreationDate="2012-06-09T10:19:30.413" UserId="7016" Text="The key figure is the impedance - if this doesn't match the impedance the amp expects then you can damage the amp or speakers, so you either need an amp that can supply 6 ohm speakers or you need to alter the speaker impedance (4 or 8 ohm are more common so you may need to use an impedance matcher here)&#xD;&#xA;&#xD;&#xA;Once you have that sorted, don't try and use to much power. It is always safest to have an amp with a lower power output than the speakers are rated for. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44331" PostHistoryTypeId="2" PostId="25295" RevisionGUID="bf72e8f5-336a-4dc5-a66e-452110cb78bf" CreationDate="2012-06-09T01:28:29.500" UserDisplayName="StormShadow" Text="I have a pair of speakers from a Kenwood DG55.&#xD;&#xA;&#xD;&#xA;Here's the commercial for it from Japan, circa 1989:&#xD;&#xA;http://www.youtube.com/watch?v=SEmb-5TO75c&#xD;&#xA;&#xD;&#xA;It's an ancient system, and the components are not long for this earth, but the speakers are still in great shape. I want to buy a replacement amp instead of ditching everything. The speakers have the following written on them: &#xD;&#xA;&#xD;&#xA;Maximum input power: 90W&#xD;&#xA;&#xD;&#xA;Frequency Response: 40Hz - 20kHz&#xD;&#xA;&#xD;&#xA;Impedance: 6ohms&#xD;&#xA;&#xD;&#xA;I was thinking about this amp:&#xD;&#xA;http://www.amazon.com/Denon-AVR-1612-Channel-Theater-Receiver/dp/B004U403WM/ref=sr_1_7?ie=UTF8&amp;qid=1339205004&amp;sr=8-7&#xD;&#xA;&#xD;&#xA;But I heard that if you mismatch the amp with the speakers, it might not work, or worse yet, you could damage one or the other. I really don't want that to happen. How can I be sure that this amp won't fry the speakers, or vice versa?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="44332" PostHistoryTypeId="1" PostId="25295" RevisionGUID="bf72e8f5-336a-4dc5-a66e-452110cb78bf" CreationDate="2012-06-09T01:28:29.500" UserDisplayName="StormShadow" Text="What do I need to know to decide if an amp will work with speakers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44333" PostHistoryTypeId="3" PostId="25295" RevisionGUID="bf72e8f5-336a-4dc5-a66e-452110cb78bf" CreationDate="2012-06-09T01:28:29.500" UserDisplayName="StormShadow" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44334" PostHistoryTypeId="36" PostId="25296" RevisionGUID="90e1b365-d74f-4da3-9f28-03183161ae12" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4147/what-do-i-need-to-know-to-decide-if-an-amp-will-work-with-speakers/4149#4149" />
  <row Id="44339" PostHistoryTypeId="36" PostId="25298" RevisionGUID="f72834d2-7b8b-498c-b5a9-f8c0845ef4a2" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2091/where-can-i-find-free-sound-effects" />
  <row Id="44340" PostHistoryTypeId="36" PostId="25299" RevisionGUID="01de7970-03b4-44a4-9b04-b66c9e1d8cbf" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2091/where-can-i-find-free-sound-effects/2092#2092" />
  <row Id="44341" PostHistoryTypeId="36" PostId="25300" RevisionGUID="b4ff15fb-69de-47af-b472-4cbe8565fbe5" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2091/where-can-i-find-free-sound-effects/2093#2093" />
  <row Id="44342" PostHistoryTypeId="36" PostId="25301" RevisionGUID="78c97461-3cce-4e25-a84f-b503f9ec0461" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2091/where-can-i-find-free-sound-effects/2104#2104" />
  <row Id="44343" PostHistoryTypeId="36" PostId="25302" RevisionGUID="7e870595-9855-43df-8b48-cc628f0f3844" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2091/where-can-i-find-free-sound-effects/2372#2372" />
  <row Id="44344" PostHistoryTypeId="36" PostId="25303" RevisionGUID="4584e7f5-9cfe-4b3a-ab5f-1385cbeeafb5" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2091/where-can-i-find-free-sound-effects/4999#4999" />
  <row Id="44345" PostHistoryTypeId="36" PostId="25304" RevisionGUID="b0aece72-85a1-475d-9ed4-7d7ce9e8ddd8" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2091/where-can-i-find-free-sound-effects/5006#5006" />
  <row Id="44346" PostHistoryTypeId="36" PostId="25305" RevisionGUID="5c39b3ec-a8fa-4423-8c2b-3ab61d959006" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2091/where-can-i-find-free-sound-effects/5558#5558" />
  <row Id="44347" PostHistoryTypeId="36" PostId="25306" RevisionGUID="3e2e6238-2826-4e8c-a86d-17cdf10a8c9d" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2091/where-can-i-find-free-sound-effects/8599#8599" />
  <row Id="44348" PostHistoryTypeId="36" PostId="25307" RevisionGUID="6647e509-c5e3-40ef-a873-531c6d7c46cb" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2091/where-can-i-find-free-sound-effects/9748#9748" />
  <row Id="44349" PostHistoryTypeId="2" PostId="25299" RevisionGUID="7d481099-c191-43c9-91cd-1d146cc5fd82" CreationDate="2011-08-11T20:11:52.087" UserDisplayName="Ian C." Text="#[The Freesound Project][1]&#xD;&#xA;&#xD;&#xA;A collaborative database of Creative Commons licensed sounds. I've used it successfully in the past for CC-licensed samples of things like temple gongs and chants for my productions. It has some decent search capabilities. You can make requests for sounds through the forum.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="44350" PostHistoryTypeId="2" PostId="25300" RevisionGUID="d0f7882b-bfc3-4841-89fa-05957e0a87ab" CreationDate="2011-08-11T23:45:05.400" UserDisplayName="Chard" Text="#[SoundDogs][1]&lt;br /&gt; &#xD;&#xA;&#xD;&#xA;I used this site when I needed to get random noises for a film. &#xD;&#xA;&#xD;&#xA;Searching generic search terms probably won't get you very far, you tend to have to be a bit more specific.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sounddogs.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="44351" PostHistoryTypeId="2" PostId="25301" RevisionGUID="978a23ec-ed80-4ef4-8b13-62e80cbf114d" CreationDate="2011-08-12T22:35:54.057" UserDisplayName="daviesgeek" Text="##&lt;a href=&quot;http://www.freesfx.co.uk/&quot;&gt;FreeSFX&lt;/a&gt;##&#xD;&#xA;A great library of free sound effects submitted by users. Not all are professional quality, but hey, they're free!" ContentLicense="CC BY-SA 3.0" />
  <row Id="44352" PostHistoryTypeId="2" PostId="25302" RevisionGUID="ce4cf05d-5981-425e-8a3d-9192a8cabfdf" CreationDate="2011-09-23T21:03:26.657" UserId="7993" UserDisplayName="roybatty" Text="[ccmixter][1]&#xD;&#xA;========&#xD;&#xA;&#xD;&#xA;Creative commons licensed audio files and sample packs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ccmixter.org/view/media/samples/browse" ContentLicense="CC BY-SA 3.0" />
  <row Id="44353" PostHistoryTypeId="2" PostId="25303" RevisionGUID="8ad9ca19-6316-466e-8496-a77541f128fb" CreationDate="2012-10-13T06:28:11.207" UserDisplayName="josephsardin" Text="#[Lasonotheque](http://www.lasonotheque.org/en/)&#xD;&#xA;&#xD;&#xA;&gt; Founded by Joseph SARDIN in 2005, the music library aims to provide&#xD;&#xA;&gt; free and for all, a wide range of sounds and noises of a much higher&#xD;&#xA;&gt; quality than those typically found on the Internet." ContentLicense="CC BY-SA 3.0" />
  <row Id="44354" PostHistoryTypeId="2" PostId="25304" RevisionGUID="d1b628ce-25be-4b46-a277-20325f909736" CreationDate="2012-10-13T15:42:53.443" UserDisplayName="chris" Text="## BBC Sound Effects Library ##&#xD;&#xA;&#xD;&#xA;There are a number of torrents that contain the complete, 60 CD collection of royalty-free BBC sound effects.&#xD;&#xA;&#xD;&#xA;Searching for &quot;bbc royalty free sound effects library&quot; has a number of results that mention  &quot;free&quot; and &quot;royalty-free&quot;.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="44355" PostHistoryTypeId="2" PostId="25305" RevisionGUID="2798b922-039d-4fb7-b988-165b108a06f1" CreationDate="2012-12-11T16:59:18.290" UserDisplayName="MikS Music" Text="##&lt;a href=&quot;http://www.safemusiclist.com&quot;&gt;SafeMusicList&lt;/a&gt;&#xD;&#xA;&#xD;&#xA;If you're looking for free and legal sound effects or music check out this online directory:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In particular, the [free music](http://www.safemusiclist.com/category/free-music/) category." ContentLicense="CC BY-SA 3.0" />
  <row Id="44356" PostHistoryTypeId="2" PostId="25306" RevisionGUID="9e8d8f5d-5bcc-4be2-8ee7-d1e293378c80" CreationDate="2013-08-01T06:40:07.773" UserDisplayName="Morten Barfod Søegaard" Text="##&lt;a href=&quot;http://www.downloadfreesound.com&quot;&gt;DownloadFreeSound&lt;/a&gt;##&#xD;&#xA;&#xD;&#xA;is a new free online sound effect library.&#xD;&#xA;&#xD;&#xA;Great sound fx and music." ContentLicense="CC BY-SA 3.0" />
  <row Id="44357" PostHistoryTypeId="2" PostId="25307" RevisionGUID="33b8b08b-f7ba-488a-8b53-48d6b8d48ef5" CreationDate="2013-12-25T01:02:16.197" UserDisplayName="Dj Tech42" Text="#[Sweet Sound Effects][1]&#xD;&#xA;&#xD;&#xA;Sound effects produced by YouTube video producer Zach King: &#xD;&#xA;&#xD;&#xA;Not too many sounds, but they are pretty good.&#xD;&#xA;&#xD;&#xA;  [1]: http://sweetsoundeffects.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="44358" PostHistoryTypeId="2" PostId="25298" RevisionGUID="6305b4d2-9db7-41a0-87e4-d534b6422036" CreationDate="2011-08-11T19:23:56.907" UserDisplayName="yves schläpfer" Text="Free sound effects sites. One per answer. &#xD;&#xA;&#xD;&#xA;Please make sure that you are not posting a duplicate. If you see duplicates, please vote them down and comment to let the author know." ContentLicense="CC BY-SA 3.0" />
  <row Id="44359" PostHistoryTypeId="1" PostId="25298" RevisionGUID="6305b4d2-9db7-41a0-87e4-d534b6422036" CreationDate="2011-08-11T19:23:56.907" UserDisplayName="yves schläpfer" Text="Where can I find free sound effects?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44360" PostHistoryTypeId="3" PostId="25298" RevisionGUID="6305b4d2-9db7-41a0-87e4-d534b6422036" CreationDate="2011-08-11T19:23:56.907" UserDisplayName="yves schläpfer" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44361" PostHistoryTypeId="36" PostId="25308" RevisionGUID="81c6f6eb-1d07-40a3-9e2c-1fb58183fc3a" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7266/removing-hammering-noise-behind-speech" />
  <row Id="44362" PostHistoryTypeId="2" PostId="25309" RevisionGUID="ccb25925-9923-417d-b0dc-720854543ade" CreationDate="2013-03-01T02:14:44.793" UserId="7189" Text="Some things to consider:&#xD;&#xA;&#xD;&#xA;* Try some [audio dynamic range compression][1] - typically just called a 'compressor' plugin, but this is different from data compression. Since the voice is much louder than the hammering (I had to play it a few times to hear it), you might be able to set the knee somewhere between the level of the hammer and the voice and amp up the voice part. Multiband compression may also help, though the transient attack of the hammering sound probably covers a lot of spectrum space.&#xD;&#xA;&#xD;&#xA;* If you have access to it, give [Melodyne DNA][2] a try. Although it was designed for editing individual notes, that is essentially what you want to do - pull out the 'notes' of the hammering while keeping the dialog.&#xD;&#xA;&#xD;&#xA;* Finally, there are a number of free or open-source frequency domain audio editors that may help. [SPEAR][3] is one that I've played with, but there are several others out there.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Dynamic_range_compression&#xD;&#xA;  [2]: http://www.celemony.com/cms/index.php?id=dna&#xD;&#xA;  [3]: http://www.klingbeil.com/spear/" ContentLicense="CC BY-SA 3.0" />
  <row Id="44363" PostHistoryTypeId="2" PostId="25308" RevisionGUID="2601811c-1573-4d27-b920-c2ae2586106d" CreationDate="2013-03-01T01:51:29.020" UserDisplayName="Cel" Text="Rather unfortunate hammering noise presents itself in some footage I am processing, where the source of the sounds may actually be the heating / boiler in the building. &#xD;&#xA;&#xD;&#xA;You can [hear it here (in the video)](https://www.dropbox.com/s/h3qwy01xxksy1tm/hammering-removal.flv).&#xD;&#xA;&#xD;&#xA;Any idea how to remove it, I tried **Noise Reduction** in Adobe Audition CS6, but that did not help?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44364" PostHistoryTypeId="1" PostId="25308" RevisionGUID="2601811c-1573-4d27-b920-c2ae2586106d" CreationDate="2013-03-01T01:51:29.020" UserDisplayName="Cel" Text="removing hammering noise behind speech" ContentLicense="CC BY-SA 3.0" />
  <row Id="44365" PostHistoryTypeId="3" PostId="25308" RevisionGUID="2601811c-1573-4d27-b920-c2ae2586106d" CreationDate="2013-03-01T01:51:29.020" UserDisplayName="Cel" Text="&lt;noise&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44366" PostHistoryTypeId="36" PostId="25309" RevisionGUID="95b5a57a-4ed8-4e1c-aea7-47fc5b285460" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7266/removing-hammering-noise-behind-speech/7268#7268" />
  <row Id="44367" PostHistoryTypeId="36" PostId="25310" RevisionGUID="350dfc50-3fb0-4948-a3fa-f36207f87fa8" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8246/why-does-this-simple-pitch-shift-core-cell-in-reaktor-not-function-the-way-it-wa" />
  <row Id="44368" PostHistoryTypeId="2" PostId="25310" RevisionGUID="c1b6ee8b-207b-4324-936c-4cf9f0b823e5" CreationDate="2013-06-28T01:01:04.920" UserId="8159" UserDisplayName="Jamil" Text="I have created a circuit that does the following:&#xD;&#xA;&#xD;&#xA;1. Writes incoming audio data to an array, beginning at 0.&#xD;&#xA;2. Reads incoming audio data from array, beginning at one greater than where it was written. &#xD;&#xA;&#xD;&#xA; Ideally, it's supposed to write for the length of the repeat, then start reading.&#xD;&#xA;&#xD;&#xA;3. Every time a counter hits a predefined number (called &quot;pitch&quot;), the value called &quot;delay&quot; is incremented by +1.&#xD;&#xA;&#xD;&#xA;4. This delay is the maximum value of the array address, thus every time it increases, it adds a delay of one.&#xD;&#xA;&#xD;&#xA;5. In addition, the previous value is copied, each time the array location resets, preventing added high frequencies due to large changes from sample to sample.&#xD;&#xA;&#xD;&#xA;Effectively, this should progressively increase a delay every specified number of samples, adding a copied sample, and thus decrease the pitch by an amount determined by the &quot;pitch&quot; value.&#xD;&#xA;&#xD;&#xA;However, instead it presents the pitch with a crazy delay and crazy sound interference (although this varies, randomly, apparently, as sometimes it has not added a high frequency). &#xD;&#xA;&#xD;&#xA;Essentially, this is what the in looks like:&#xD;&#xA;&#xD;&#xA;    1234321234321234321234321&#xD;&#xA;&#xD;&#xA;This is what the out should look like with a pitch value of &quot;2&quot;&#xD;&#xA;&#xD;&#xA;    1223443221223443221223443221223443221&#xD;&#xA;&#xD;&#xA;Thus, the pitch should be 2/3rds of the original without noticeable distortion. &#xD;&#xA;&#xD;&#xA;Here's my program (it's mostly clocks and counters):&#xD;&#xA;&#xD;&#xA;![Reaktor Patch][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/zL1Iv.png&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44369" PostHistoryTypeId="1" PostId="25310" RevisionGUID="c1b6ee8b-207b-4324-936c-4cf9f0b823e5" CreationDate="2013-06-28T01:01:04.920" UserId="8159" UserDisplayName="Jamil" Text="Why does this simple pitch shift core cell in Reaktor not function the way it was intended to?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44370" PostHistoryTypeId="3" PostId="25310" RevisionGUID="c1b6ee8b-207b-4324-936c-4cf9f0b823e5" CreationDate="2013-06-28T01:01:04.920" UserId="8159" UserDisplayName="Jamil" Text="&lt;music&gt;&lt;programming&gt;&lt;reaktor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44371" PostHistoryTypeId="36" PostId="25311" RevisionGUID="a9a7a4c1-f89c-442f-a072-48c839747b89" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2266/how-do-i-record-sounds-in-pro-tools-le-8-from-komplete-7-specifically-absynth-5" />
  <row Id="44372" PostHistoryTypeId="2" PostId="25312" RevisionGUID="1c87658a-a724-40c1-9ef6-a298702d7736" CreationDate="2011-09-05T09:53:44.607" UserDisplayName="Shane Kilkelly" Text="It's been a while since I've used ProTools, so bear with me for a moment...&#xD;&#xA;  &#xD;&#xA;If you have a MIDI/Instrument track with the Instrument on it,   &#xD;&#xA;and you can hear the output sounds, and you want to record those sounds to audio,  &#xD;&#xA;you need to create an Audio track,   &#xD;&#xA;route the output from your instrument track to this new Audio track   &#xD;&#xA;&#xD;&#xA;(you may need to go through an AUX track in between the two, as I's said its been a while since I've worked with ProTools, so I'm a bit rusty on how it's done).&#xD;&#xA;  &#xD;&#xA;Then you can arm the audio track for recording and it should record the audio output from the Instrument track. &#xD;&#xA;  &#xD;&#xA;Now, on to the deeper issue.   &#xD;&#xA;It seems like you could benefit greatly from going right back to basics and learning how to use ProTools from the ground up. I don't mean this in a cruel way, we've all been there in the beginning. What I mean is that Midi tracks, Audio tracks, Aux channels and so forth are fundamental concepts in audio work.&#xD;&#xA;  &#xD;&#xA;I fear that even if a good, detailed answer is posted, without this basic knowledge you may still be in difficulty.   &#xD;&#xA;I recommend reading the manual, and maybe looking up some beginner tutorials on Youtube.&#xD;&#xA;  &#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="44373" PostHistoryTypeId="2" PostId="25311" RevisionGUID="51fce3e7-2358-4611-9e02-3ce5efae1b1b" CreationDate="2011-09-03T00:40:17.257" UserDisplayName="Carter" Text="I have Pro Tools LE 8 and I just picked up Komplete 7. After much effort I finally figured out how to add a plugin to a track. Right now I'm testing with Absynth. &#xD;&#xA;&#xD;&#xA;Note: I have no midi controller. Just using the keyboard and mouse at this point.&#xD;&#xA;&#xD;&#xA;So I add the absynth plugin to an audio track and Absynth pops up in pro tools. I click some keys and I can hear sounds through my head phones and I see bars bouncing around in pro tools. Awesome.&#xD;&#xA;&#xD;&#xA;I arm the track and hit record and nothing records. I thought maybe it needed to be a different kind of track, midi or auxilary or something, but it's become apparent that I don't know how to use those.&#xD;&#xA;&#xD;&#xA;How do I record these sounds?&#xD;&#xA;&#xD;&#xA;&lt;b&gt;Update&lt;/b&gt;: I still have no idea... I've tried to do this: http://www.ehow.com/how_4428304_use-instrument-tracks-protools.html&#xD;&#xA;&#xD;&#xA;and a bunch of variations of that via youtube and other googling. I see output, but nothing gets recorded. Do I have to have some midi controller other than just clicking keys with the mouse? That would be lame. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44374" PostHistoryTypeId="1" PostId="25311" RevisionGUID="51fce3e7-2358-4611-9e02-3ce5efae1b1b" CreationDate="2011-09-03T00:40:17.257" UserDisplayName="Carter" Text="How do I record sounds in Pro Tools LE 8 from Komplete 7 (specifically Absynth 5)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44375" PostHistoryTypeId="3" PostId="25311" RevisionGUID="51fce3e7-2358-4611-9e02-3ce5efae1b1b" CreationDate="2011-09-03T00:40:17.257" UserDisplayName="Carter" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44376" PostHistoryTypeId="36" PostId="25312" RevisionGUID="8b3963ff-3adb-4006-9de4-2dd0e193d672" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2266/how-do-i-record-sounds-in-pro-tools-le-8-from-komplete-7-specifically-absynth-5/2273#2273" />
  <row Id="44377" PostHistoryTypeId="36" PostId="25313" RevisionGUID="eafdfdf8-afa9-44ae-85d8-44ca2ce604bd" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/977/software-daw-comparison-to-hardware-studio-equipment" />
  <row Id="44378" PostHistoryTypeId="2" PostId="25314" RevisionGUID="dc1b7f50-e81d-4a9c-93eb-ba0a0dea81d1" CreationDate="2011-03-08T16:51:01.170" UserDisplayName="kivetros" Text="A DAW can more or less do everything except &quot;be a physical thing that you can feel&quot;. Ten years ago - even five years ago - there was a noticeable difference in quality between software and hardware, but these days, the gap has more than closed. &#xD;&#xA;&#xD;&#xA;One big pro of software is that, with one click, you can save _everything_ - synth patches, sequences, etc - then open a new project file and start over. With hardware, you have to manage all your synth patches individually and such. It's definitely a hassle when compared to software, in that respect - especially given that most synths that would be worth owning are so old that they don't have built-in patch memory. :D&#xD;&#xA;&#xD;&#xA;For the average musician, an all-software setup is adequate - even preferred. Now, some will argue that real synthesizers and FX units have a certain analouge warmth that is not reproducible with software, and this is true to an extent, but mostly with hardware FX units (IMO). There just isn't any beating a real valve or opto compressor for warmth, in my book... but I wouldn't worry about that to start out." ContentLicense="CC BY-SA 2.5" />
  <row Id="44379" PostHistoryTypeId="2" PostId="25313" RevisionGUID="168c1520-cf30-4ba8-89b7-220e909d9457" CreationDate="2011-03-08T12:36:31.920" UserId="10057" UserDisplayName="Vass" Text="I am getting confused about the line of separation today with what a DAW can do and what it can't. Maybe it can do everything nowadays and more than the hardware, or just not as clean as hardware? It definitely seems cheaper! &#xD;&#xA;&#xD;&#xA;Looking at the various equipment what are the pros cons? &#xD;&#xA;&#xD;&#xA;It is a very general question, it doesn't need to have thorough answers. Maybe put the parts that are most relevant to you.&#xD;&#xA;&#xD;&#xA;Best," ContentLicense="CC BY-SA 2.5" />
  <row Id="44380" PostHistoryTypeId="1" PostId="25313" RevisionGUID="168c1520-cf30-4ba8-89b7-220e909d9457" CreationDate="2011-03-08T12:36:31.920" UserId="10057" UserDisplayName="Vass" Text="software DAW comparison to hardware studio equipment" ContentLicense="CC BY-SA 2.5" />
  <row Id="44381" PostHistoryTypeId="3" PostId="25313" RevisionGUID="168c1520-cf30-4ba8-89b7-220e909d9457" CreationDate="2011-03-08T12:36:31.920" UserId="10057" UserDisplayName="Vass" Text="&lt;home-studio&gt;&lt;daw&gt;&lt;hardware&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44382" PostHistoryTypeId="36" PostId="25314" RevisionGUID="1741cbbd-7634-4afd-b127-855182551c2a" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/977/software-daw-comparison-to-hardware-studio-equipment/979#979" />
  <row Id="44383" PostHistoryTypeId="36" PostId="25315" RevisionGUID="90c5a7aa-4505-4fd6-bfda-6155d9b6f0b6" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/977/software-daw-comparison-to-hardware-studio-equipment/995#995" />
  <row Id="44384" PostHistoryTypeId="36" PostId="25316" RevisionGUID="91905b18-0012-4e6a-bd78-1234783f737f" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/977/software-daw-comparison-to-hardware-studio-equipment/1019#1019" />
  <row Id="44385" PostHistoryTypeId="2" PostId="25315" RevisionGUID="773f4051-7330-4a9a-bf5a-05bc019605a7" CreationDate="2011-03-11T00:37:43.093" UserId="319" Text="&gt;  Maybe it can do everything nowadays and more than the hardware, or just not as clean as hardware?&#xD;&#xA;&#xD;&#xA;Not sure what you mean here, but if you're talking sound, digital is clean, precise, surgical, exact...all that.  Some hardware can be the same, but the sought after hardware dulls things down a bit with distortion and other effects.  So if you're going to use the DAW, you may find you need to compensate for that with mic choice, saturation plugins and eq. Some people love the ultra clean sound - and that's fine.&#xD;&#xA;&#xD;&#xA;As kivetros mentioned, software can be easier to recall settings and managing your projects is definitely easier.  But working with the software can be more challenging - finding that setting hidden in the menus - when you have no idea what it's even called can be rough.  With hardware (aside from advanced synths and the like), you've got knobs and buttons which make operation simple.  But then they do simple things - so it's appropriate.  Maybe that's what you mean with clean - it's all laid in full sight, you're seeing the modules and the signal flow.&#xD;&#xA;&#xD;&#xA;If you're absolutely not a computer person (probably not since you're here!) or don't need to spend any more time during the day - maybe the software isn't right for you.  You can get a digital multi-track recorder for less than a computer, audio interface and software package from what I know.  &#xD;&#xA;&#xD;&#xA;On top of that, with a computer, you keep upgrading hardware, software and adding on plugins - the stuff can be a money pit, but I suppose it's also not mandatory to do so.  It's just hard to resist with all the cool new stuff coming out all the time." ContentLicense="CC BY-SA 2.5" />
  <row Id="44386" PostHistoryTypeId="2" PostId="25316" RevisionGUID="9ea73b88-2b12-45db-9860-9537f799c348" CreationDate="2011-03-14T17:53:17.953" UserId="7294" UserDisplayName="Warrior Bob" Text="They can do the same basic tasks.&#xD;&#xA;&#xD;&#xA;A software DAW is just another recording tool, based on different technology, for doing the same basic job as hardware recording equipment.&#xD;&#xA;&#xD;&#xA;Both software-based and all-hardware systems can record and edit audio information.  Both let you modify an audio signal using effects and processing.  Both of them can, at some level, handle all the major steps in most recording projects (tracking, editing, mixing, mastering, etc).  But just like any task where there are multiple possible tools, it's down to preference and suitability for the task.&#xD;&#xA;&#xD;&#xA;Software DAWs offer a lot of convenience because you can copy software, so you can do  things like have as many tracks or copies of an effect as your computer can handle.  But at the same time, they necessitate having a digital system, which means you have to deal with things like aliasing artifacts and sampling-buffer latency.  Moreover, a lot of people prefer the sound of many hardware units, and while there exist software recreations of these units, they are by nature imitations and therefore approximations.&#xD;&#xA;&#xD;&#xA;Nowadays it seems like it comes down to what you want to use and whether you think it suits your work." ContentLicense="CC BY-SA 2.5" />
  <row Id="44387" PostHistoryTypeId="36" PostId="25317" RevisionGUID="3c0cfedf-2f2d-44ff-8277-17a08db24b25" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1919/will-a-magnetically-shielded-studio-monitor-mess-up-my-hard-drive" />
  <row Id="44388" PostHistoryTypeId="36" PostId="25318" RevisionGUID="7bcb50af-f1a8-4de2-af21-36c1fb706133" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1919/will-a-magnetically-shielded-studio-monitor-mess-up-my-hard-drive/1920#1920" />
  <row Id="44389" PostHistoryTypeId="2" PostId="25318" RevisionGUID="241362e4-ffc6-403d-88a8-53fa069382a2" CreationDate="2011-07-20T14:26:23.830" UserId="7209" Text="You should be fine.  It takes quite a powerful magnet to mess up a hard drive, and you won't generally find that in a set of speakers.  Especially at 6&quot; away, I wouldn't worry.  Keep in mind that hard drives have incredibly powerful magnets in them.&#xD;&#xA;&#xD;&#xA;See this article for more:  http://www.pcworld.com/article/116572/busting_the_biggest_pc_myths.html&#xD;&#xA;&#xD;&#xA;As always though, have backups." ContentLicense="CC BY-SA 3.0" />
  <row Id="44390" PostHistoryTypeId="2" PostId="25317" RevisionGUID="e5fa6f82-88a3-4e76-b0d2-8a7872c03915" CreationDate="2011-07-20T13:49:48.563" UserDisplayName="Galen Gidman" Text="This may be a noob question and if it is, bear with me. :)&#xD;&#xA;&#xD;&#xA;I've got a pair of M-Audio Studiophile AV-40s that I'm wanting to put on my desk. The product description on Musician's Friend says...&#xD;&#xA;&#xD;&#xA;&gt;Unchecked, all speakers emit electromagnetic waves that can wreak havoc with your computer's video monitor or a nearby TV. The Studiophile AV 40 monitors are magnetically shielded so that all of your electronic equipment can coexist on your desktop without interference.&#xD;&#xA;&#xD;&#xA;It says nothing about hard drives. Is the magnet inside the speaker a danger to my hard drive in close proximity — about 6 inches — or does the shielding protect it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44391" PostHistoryTypeId="1" PostId="25317" RevisionGUID="e5fa6f82-88a3-4e76-b0d2-8a7872c03915" CreationDate="2011-07-20T13:49:48.563" UserDisplayName="Galen Gidman" Text="Will a magnetically shielded studio monitor mess up my hard drive?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44392" PostHistoryTypeId="3" PostId="25317" RevisionGUID="e5fa6f82-88a3-4e76-b0d2-8a7872c03915" CreationDate="2011-07-20T13:49:48.563" UserDisplayName="Galen Gidman" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44393" PostHistoryTypeId="36" PostId="25319" RevisionGUID="803c5acd-1056-4d96-bd6c-2dd2d17333b5" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7262/free-or-great-vst-panner-with-haas-effect" />
  <row Id="44394" PostHistoryTypeId="36" PostId="25320" RevisionGUID="125d106c-4d74-49b7-a1f9-7cd965abda43" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7262/free-or-great-vst-panner-with-haas-effect/7283#7283" />
  <row Id="44395" PostHistoryTypeId="36" PostId="25321" RevisionGUID="0a1af541-0b1f-4d28-bd42-73013753889f" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7262/free-or-great-vst-panner-with-haas-effect/7307#7307" />
  <row Id="44396" PostHistoryTypeId="36" PostId="25322" RevisionGUID="6cd71021-6ee6-4a26-8b09-9335b12e092a" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7262/free-or-great-vst-panner-with-haas-effect/7415#7415" />
  <row Id="44397" PostHistoryTypeId="2" PostId="25320" RevisionGUID="1b85c85f-df51-49e8-9ae2-d1274f268344" CreationDate="2013-03-02T12:11:43.533" UserId="7200" Text="Reaper has this as a native (and very usable) effect plugin. It's not one of [the plugins they offer as gratis VSTs](http://www.reaper.fm/reaplugs/index.php), but if you're considering to switch the DAW anyway do [give Reaper a try](http://www.reaper.fm/download.php), it's great and not quite GPL but about as free as proprietary software can get!&#xD;&#xA;&#xD;&#xA;As said by ObscureRobot, this kind of effect is really easy to write yourself, I built one a couple of years ago in SynthMaker. The UI is a bit different from what you asked for, but it should work fine for what you want." ContentLicense="CC BY-SA 3.0" />
  <row Id="44398" PostHistoryTypeId="2" PostId="25321" RevisionGUID="948f5db7-bc97-428f-95d2-24cf9a43680d" CreationDate="2013-03-04T21:39:16.563" UserId="7474" UserDisplayName="Pres" Text="You can do a basic implementation manually in any daw: &#xD;&#xA;&#xD;&#xA;1. Copy the track&#xD;&#xA;&#xD;&#xA;2. Pan both tracks left and right respectively and symmetrically&#xD;&#xA;&#xD;&#xA;3. The dry channel should be around 18dB louder than the Haas channel&#xD;&#xA;&#xD;&#xA;4. Add a time delay of 13ms-~50ms to 'Haas' channel'&#xD;&#xA;&#xD;&#xA;**Be careful how much Haas you use**, it affects the tonality of the track when summed to mono.&#xD;&#xA;&#xD;&#xA;If you have Reaktor, I think I still have an ensemble, which handled this nicely when I had Sonar and no plugin to do it without copying tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="44399" PostHistoryTypeId="2" PostId="25322" RevisionGUID="1d74b523-b55c-43f8-b02b-e79eb16123a5" CreationDate="2013-03-17T00:00:44.427" UserId="9633" UserDisplayName="user1167442" Text="There is  &lt;a href=&quot;http://www.vescofx.com/vfxFreeHaas&quot;&gt;Freehaas&lt;/a&gt;.&#xD;&#xA;&#xD;&#xA;I'm not sure how successful it is in implementing the haas effect, buit provides thickness to my mixes when I use it, and it's intuitive and light." ContentLicense="CC BY-SA 3.0" />
  <row Id="44400" PostHistoryTypeId="2" PostId="25319" RevisionGUID="bd1399d0-6348-4207-8f82-da9ea66cc7d3" CreationDate="2013-02-28T20:22:14.763" UserDisplayName="Jostein" Text="Do any of you know about a nice and simple stereo panning VST that also does haas (delay-based) panning? Preferably free, but if you have a good recommendation, then let it spill anyway..&#xD;&#xA;&#xD;&#xA;I'm just looking for two simple pots; one for traditional (volume-based) pan, and one for haas pan in either direction -- but it would actually have been nice as a part of the daw or a channel strip VST as well. What i'm really looking for is quick access to stereo experimentation. Maybe there are other types of psychoacoustic plugins worth mentioning as well?&#xD;&#xA;&#xD;&#xA;I'm mostly using Cubase for now, but I might try switching to Pro Tools or Logic." ContentLicense="CC BY-SA 3.0" />
  <row Id="44401" PostHistoryTypeId="1" PostId="25319" RevisionGUID="bd1399d0-6348-4207-8f82-da9ea66cc7d3" CreationDate="2013-02-28T20:22:14.763" UserDisplayName="Jostein" Text="Free (or great) VST panner with haas effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="44402" PostHistoryTypeId="3" PostId="25319" RevisionGUID="bd1399d0-6348-4207-8f82-da9ea66cc7d3" CreationDate="2013-02-28T20:22:14.763" UserDisplayName="Jostein" Text="&lt;mixing&gt;&lt;vst&gt;&lt;stereo&gt;&lt;panning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44403" PostHistoryTypeId="36" PostId="25323" RevisionGUID="34a2efdc-596c-49dd-b844-43bc57248f9f" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2509/can-i-use-my-original-mbox-at-all-with-my-lion-mac" />
  <row Id="44404" PostHistoryTypeId="36" PostId="25324" RevisionGUID="2a01e554-4ada-454a-8bd2-0f2323832d82" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2509/can-i-use-my-original-mbox-at-all-with-my-lion-mac/4180#4180" />
  <row Id="44405" PostHistoryTypeId="36" PostId="25325" RevisionGUID="642a9dd2-a520-47ab-9ebf-a0a78b646c40" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2509/can-i-use-my-original-mbox-at-all-with-my-lion-mac/4181#4181" />
  <row Id="44406" PostHistoryTypeId="36" PostId="25326" RevisionGUID="18c0d3d2-3f75-43b6-9fdd-64a36bf8cda3" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2509/can-i-use-my-original-mbox-at-all-with-my-lion-mac/4802#4802" />
  <row Id="44407" PostHistoryTypeId="2" PostId="25324" RevisionGUID="3119b638-5a60-48b0-b69e-98848859aa71" CreationDate="2012-06-13T23:53:52.593" UserDisplayName="jkooker" Text="I haven't tried it, but [folks on the Avid forums][forums] say Ploytec offers a paid, working driver. They offer a [free demo version][demo].&#xD;&#xA;&#xD;&#xA; [forums]: http://duc.avid.com/showthread.php?t=304830&#xD;&#xA; [demo]: http://www.usb-audio.com/download.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="44408" PostHistoryTypeId="2" PostId="25325" RevisionGUID="5e6efc38-69ad-4729-bea3-d6e91ebc6176" CreationDate="2012-06-14T07:04:24.213" UserDisplayName="DoktorHauser" Text="As far as i know the MBox is not an CoreAudio device, so first try this driver: &lt;a href=&quot;http://www.usb-audio.com/usb-audio_2.1.7.dmg&quot;&gt;Download&lt;/a&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44409" PostHistoryTypeId="2" PostId="25326" RevisionGUID="9a8f1b12-f8f1-4603-827c-37b2314c05cd" CreationDate="2012-09-22T08:00:32.473" UserDisplayName="LThorne" Text="I'm posting this because I just went through the same issue with OS X 10.7.5 on my macbook pro and my original MBox.&#xD;&#xA;&#xD;&#xA;DoktorHauser above is correct. I was able to use the generic driver for original MBox on OS X Lion. download it from http://www.usb-audio.com/usb-audio_2.1.7.dmg and install.&#xD;&#xA;&#xD;&#xA;I was then able to choose &quot;MBox Demo&quot; from System applet &gt; Audio &gt; Input and am now able to use my original MBox with Garageband which ships with OS x for free instead of laying out hundreds of dollars for a new MBox and Pro Tools 10.&#xD;&#xA;&#xD;&#xA;Hope this helps someone." ContentLicense="CC BY-SA 3.0" />
  <row Id="44410" PostHistoryTypeId="2" PostId="25323" RevisionGUID="e7bf91a1-cd2c-4d20-a5db-16f70773fdb6" CreationDate="2011-10-20T03:04:35.033" UserDisplayName="jkooker" Text="I've got an original Digidesign MBox that I haven't used in a couple years. I just discovered that Avid has [discontinued][1] support for the original MBox.&#xD;&#xA;&#xD;&#xA;I don't want to use ProTools; I just want to use the MBox as a simple USB audio interface for Audacity/Garageband. The [last standalone driver][2] Digidesign produced was for Mac OS X 10.5 Leopard. Is there any way I can get this device working with OS X 10.7 Lion?&#xD;&#xA;&#xD;&#xA;It just seems like a waste to have perfectly good hardware without even open source driver support.&#xD;&#xA;&#xD;&#xA;[1]: http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=363051&#xD;&#xA;[2]: http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=356937&amp;ssdFilterCommunity15=1409&amp;ssdFilterCommunity13=947&amp;ssdFilterCommunity11=0&amp;ssdFilterCommunity10=368&amp;ssdFilter_SearchKeyWord=&amp;page=1&amp;ssdSearchOperator=0&amp;ssdFilterCommunity3=1450&amp;Hilite=&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44411" PostHistoryTypeId="1" PostId="25323" RevisionGUID="e7bf91a1-cd2c-4d20-a5db-16f70773fdb6" CreationDate="2011-10-20T03:04:35.033" UserDisplayName="jkooker" Text="Can I use my original MBox at all with my Lion Mac?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44412" PostHistoryTypeId="3" PostId="25323" RevisionGUID="e7bf91a1-cd2c-4d20-a5db-16f70773fdb6" CreationDate="2011-10-20T03:04:35.033" UserDisplayName="jkooker" Text="&lt;usb&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44413" PostHistoryTypeId="36" PostId="25327" RevisionGUID="9b655c24-2772-4b72-9e8c-9fd72f9a7e2b" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7296/is-there-a-standard-way-to-prepare-lyrics-for-a-singer" />
  <row Id="44414" PostHistoryTypeId="2" PostId="25328" RevisionGUID="73c02e10-d015-4164-80fe-09f24eaedd53" CreationDate="2013-05-11T16:06:54.943" UserDisplayName="Arcegis" Text="Usually, people write a score including the lyrics and the notes. For electronic music, you can write the singing part in MIDI, convert the MIDI to a score (MuseScore does it very well using MusicXML), add lyrics (ith the same MuseScore), and send the score. It's when people will read and sing the score that you can judge their voice quality and ability to read a score :)&#xD;&#xA;As for the recording process : If you can rent a studio for a few hours, go to it with the music (without lyrics) already pre-mixed and pre-mastered and ask for the signer to sing over the music while you record what he/she sings. Then you will have some big files including the result, choose the best, edit it with the rest of your music (you can put effects on the voice, but use EFFECTS and only EFFECTS). Hope this helps :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="44415" PostHistoryTypeId="2" PostId="25327" RevisionGUID="9c12a430-8d95-4bcf-acd7-64f4dfb65354" CreationDate="2013-03-04T05:06:57.260" UserDisplayName="raphael" Text="I'm making some electronic music, and would like to prepare it for vocals. I know what the vocals are and where they should go, but would like to know if there is a standard way to prepare it for a singer? Or if not, a standard way the recording process is usually done?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44416" PostHistoryTypeId="1" PostId="25327" RevisionGUID="9c12a430-8d95-4bcf-acd7-64f4dfb65354" CreationDate="2013-03-04T05:06:57.260" UserDisplayName="raphael" Text="Is there a standard way to prepare lyrics for a singer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44417" PostHistoryTypeId="3" PostId="25327" RevisionGUID="9c12a430-8d95-4bcf-acd7-64f4dfb65354" CreationDate="2013-03-04T05:06:57.260" UserDisplayName="raphael" Text="&lt;music&gt;&lt;production&gt;&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44418" PostHistoryTypeId="36" PostId="25328" RevisionGUID="505715f1-2ee3-4d2a-a165-e6cda87cb4a2" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7296/is-there-a-standard-way-to-prepare-lyrics-for-a-singer/7869#7869" />
  <row Id="44419" PostHistoryTypeId="36" PostId="25329" RevisionGUID="e50d214a-81fa-4228-b7b5-5b082a910bb5" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/10040/record-cassettes-using-computer" />
  <row Id="44420" PostHistoryTypeId="36" PostId="25330" RevisionGUID="343d9309-f394-46a0-841a-0501b49dfe53" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/10040/record-cassettes-using-computer/10055#10055" />
  <row Id="44421" PostHistoryTypeId="2" PostId="25330" RevisionGUID="081f8c7c-60b7-4e63-9e0b-0d1cba896cee" CreationDate="2014-01-27T14:19:07.343" UserId="7174" Text="Use any decent quality tape deck.  Stereo recording tape decks are [quite common][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://lmgtfy.com/?q=stereo%20tape%20deck%20recorder" ContentLicense="CC BY-SA 3.0" />
  <row Id="44422" PostHistoryTypeId="2" PostId="25329" RevisionGUID="9ab79ef3-fe19-4706-8e5c-b84530cb26f9" CreationDate="2014-01-26T20:01:09.483" UserDisplayName="AdamLiveAndNude" Text="I know there are a lot of devices that take cassettes and digitize them into MP3s, but I'm looking to do the opposite. I'm looking for a device that I can plug my computer's (or phone or whatever) headphone jack into and record a cassette tape off of that line in. Most cassette recorders I've found can only record off of AM/FM or through a mono mic line. I'm looking for one that has a stereo aux line in and can record passably good quality music onto a cassette. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44423" PostHistoryTypeId="1" PostId="25329" RevisionGUID="9ab79ef3-fe19-4706-8e5c-b84530cb26f9" CreationDate="2014-01-26T20:01:09.483" UserDisplayName="AdamLiveAndNude" Text="Record cassettes using computer" ContentLicense="CC BY-SA 3.0" />
  <row Id="44424" PostHistoryTypeId="3" PostId="25329" RevisionGUID="9ab79ef3-fe19-4706-8e5c-b84530cb26f9" CreationDate="2014-01-26T20:01:09.483" UserDisplayName="AdamLiveAndNude" Text="&lt;mp3&gt;&lt;recording&gt;&lt;stereo&gt;&lt;analog&gt;&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44425" PostHistoryTypeId="36" PostId="25331" RevisionGUID="549eccf5-07df-4e3d-b102-bfca25a3f32b" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/679/easy-to-use-open-source-daw" />
  <row Id="44426" PostHistoryTypeId="36" PostId="25332" RevisionGUID="651271ba-3ce1-4172-a73c-257c77752f1f" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/679/easy-to-use-open-source-daw/683#683" />
  <row Id="44427" PostHistoryTypeId="36" PostId="25333" RevisionGUID="158be701-fe3b-456c-b6b6-7dd0af6cbefa" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/679/easy-to-use-open-source-daw/684#684" />
  <row Id="44428" PostHistoryTypeId="36" PostId="25334" RevisionGUID="0ffbb884-ec32-4b06-9182-271ed22eab35" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/679/easy-to-use-open-source-daw/708#708" />
  <row Id="44429" PostHistoryTypeId="36" PostId="25335" RevisionGUID="7916e4f1-4478-43ce-a31e-6242f46558c4" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/679/easy-to-use-open-source-daw/971#971" />
  <row Id="44430" PostHistoryTypeId="36" PostId="25336" RevisionGUID="1650e376-ad94-469e-921e-aa0add1fb4dd" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/679/easy-to-use-open-source-daw/1457#1457" />
  <row Id="44431" PostHistoryTypeId="36" PostId="25337" RevisionGUID="52e6faf0-f2f3-4635-9d5b-e42f105bd7d8" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/679/easy-to-use-open-source-daw/1458#1458" />
  <row Id="44432" PostHistoryTypeId="2" PostId="25332" RevisionGUID="39b4ede9-745d-475b-9dc8-c07ceea44c49" CreationDate="2011-01-25T14:40:43.783" UserDisplayName="Ian C." Text="**[Audacity][1]**&#xD;&#xA;&#xD;&#xA;&gt; Audacity® is free, open source software for recording and editing sounds. It is available for Mac OS X, Microsoft Windows, GNU/Linux, and other operating systems. Learn more about Audacity... Also check our Wiki and Forum for more information.&#xD;&#xA;&gt;&#xD;&#xA;&gt;The latest release of Audacity is 1.3.12 (Beta). This is our active &quot;work in progress&quot; version with our latest features. Documentation and translations into different languages are not quite complete. We recommend this version for more advanced users, and for everyone on Windows 7, Windows Vista and Mac OS X 10.6. See New Features in 1.3 for more information about the 1.3 Beta series.&#xD;&#xA;&gt;&#xD;&#xA;&gt;Audacity 1.2.6 is our main release, complete and fully documented, but no longer under development. You may install Audacity 1.2.6a and 1.3.12 on the same machine.&#xD;&#xA;&#xD;&#xA;Pair it with some [free plugins][2] and you're off and creating.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/&#xD;&#xA;  [2]: http://www.kvraudio.com/get.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="44433" PostHistoryTypeId="2" PostId="25333" RevisionGUID="e9547cf7-df34-4502-a31a-873f2453b114" CreationDate="2011-01-25T14:57:59.357" UserId="7592" UserDisplayName="Pelle ten Cate" Text="THE open source DAW is [ardour](http://www.ardour.org). It is built on jack, a low latency audio driver daemon, and it has all stuff that you expect in a DAW, multi-track recording/editing/mixing. No windows support though, which shouldn't be a pain for open source enthousiasts, as jack offers support for most well-known audio interfaces." ContentLicense="CC BY-SA 2.5" />
  <row Id="44434" PostHistoryTypeId="2" PostId="25334" RevisionGUID="053a44da-c47a-4212-8ddc-ab7469d7827d" CreationDate="2011-01-29T01:56:23.100" UserDisplayName="Benji York" Text="It sounds like you want a sequencer.&#xD;&#xA;&#xD;&#xA;I haven't used it but LMMS (Linux MultiMedia Studio) looks reasonable (if still young): http://lmms.sourceforge.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="44435" PostHistoryTypeId="2" PostId="25335" RevisionGUID="bcedac31-7e2b-4928-92f1-631380064e35" CreationDate="2011-03-07T20:00:30.350" UserDisplayName="kivetros" Text="&gt;I'm not interested in MIDI (nor do I actually know what it is)&#xD;&#xA;&#xD;&#xA;...&#xD;&#xA;&#xD;&#xA;Moving right along. You're looking for something like &lt;a href=&quot;http://www.audiotool.com/&quot;&gt;Audiotool&lt;/a&gt;. It's free and completely browser-based. It's got drum machines, synthesizers, FX, and so on and so forth. Unfortunately, there aren't a lot of free and open-source options when it comes to doing what you want to do - sequence MIDI data into a virtual synth. LMMS is an option, yes, but it's kinda terrible IMO. &#xD;&#xA;&#xD;&#xA;Oh, and there's &lt;a href=&quot;http://www.experimentalscene.com/software/darkwave-studio/&quot;&gt;Darkwave Studio&lt;/a&gt;. It is free and open-source, but it appears to be Windows only.&#xD;&#xA;&#xD;&#xA;It would be helpful for you to do a quick Google search for terms that you don't understand before posting here. It's easier for us to help you if you are willing to help yourself." ContentLicense="CC BY-SA 2.5" />
  <row Id="44436" PostHistoryTypeId="2" PostId="25336" RevisionGUID="2b5a8834-2192-42c4-b47c-c81f0e01027d" CreationDate="2011-05-23T11:24:05.317" UserId="4012" Text="&gt; ... with only a keyboard and a mouse.&#xD;&#xA;&#xD;&#xA;There are so many ways you can make some noise (er... music) with just a computer-keyboard and mouse. Concepts explained below are generic, but the softwares mentioned here run on linux.&#xD;&#xA;&#xD;&#xA;**Music Score Editors**&#xD;&#xA;&#xD;&#xA;You could use a music score editor to draw notes and compose music. Score Editors either use an internal synth or allow you to use a software synth plugin or soundfont.&#xD;&#xA;&#xD;&#xA;*Try: Muse Score, Denemo, Tux Guitar (write guitar tabs)*&#xD;&#xA;&#xD;&#xA;**Sequencers**&#xD;&#xA;&#xD;&#xA;A sequencer lets you record (or write by hand) and arrange musical snippets in many ways. Most sequencers have a piano-roll-view for writing notes by hand, some might include a notation editor.&#xD;&#xA;&#xD;&#xA;*Rosegarden, Muse, Seq24, lmms (as Benji York suggested), Hydrogen (drum machine)*&#xD;&#xA;&#xD;&#xA;Try some *Trackers* too.&#xD;&#xA;&#xD;&#xA;**Synth Plugins** &#xD;&#xA;&#xD;&#xA;A Synthesiser takes the notes you feed and produces the sound accordingly. You can use these syths along with your Score editor/sequencer.&#xD;&#xA;&#xD;&#xA;*Qsynth, Fluidsynth, amsynth, Bristol*&#xD;&#xA;&#xD;&#xA;You could use some effects plugins to process the sounds produced by these synths. Try some *LV2 plugins*. Eventually you'll need some real DAW software to record and process this audio. Try *Ardour*&#xD;&#xA;&#xD;&#xA;On a linux system you could connect these components together using *Jack*. Some linux distributions are tailor-made for media production, and come bundled with handful of Audio apps and synths. It's a good idea to begin with one of them. ex: *Puredyne, Puppy Studio, Ubuntu Studio*  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Get Geeky**&#xD;&#xA;&#xD;&#xA;Pure Data, Csound&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Sorry, too lazy to add links. tip: google. Good luck!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44437" PostHistoryTypeId="2" PostId="25337" RevisionGUID="077e49ff-c046-49df-9a1d-96660ed05829" CreationDate="2011-05-23T23:19:26.740" UserDisplayName="tom" Text="Linux... keyboard and mouse... newbie...?&#xD;&#xA;&#xD;&#xA;I'll second ananth.p's suggestion to try a *tracker* -- one of the easier computer music tools. It's essentially a standalone sampling synth / drum machine program with an old-school interface (see http://en.wikipedia.org/wiki/List_of_audio_trackers for screenshots and more info). Try *MilkyTracker* for starters.&#xD;&#xA;&#xD;&#xA;If you find trackers too limited, try a *sequencer*.  Think of it as a modular tracker -- you can connect it to all kinds of synths and effects via JACK (which is pretty complicated). *QTractor* is a relatively easy sequencer/DAW that nobody has mentioned. *Seq24* is an old-school sequencer with a tracker feel. Check out [LSD's video tutorials](http://wootangent.net/2010/10/linux-music-tutorial-seq24-part-1/) to see how it's used." ContentLicense="CC BY-SA 3.0" />
  <row Id="44438" PostHistoryTypeId="2" PostId="25331" RevisionGUID="fd1b8b4d-bc74-48cf-ba92-795af0438f72" CreationDate="2011-01-25T10:05:55.127" UserDisplayName="Tshepang" Text="I'm considering creating some instrumental music. I don't care about connecting external stuff (keyboard, mic, ...), so I only require something I'll control with only a keyboard and a mouse. Is there any [FLOSS][1] suitable for a newbie like me?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Free_and_open_source_software" ContentLicense="CC BY-SA 2.5" />
  <row Id="44439" PostHistoryTypeId="1" PostId="25331" RevisionGUID="fd1b8b4d-bc74-48cf-ba92-795af0438f72" CreationDate="2011-01-25T10:05:55.127" UserDisplayName="Tshepang" Text="Easy to use open source DAW?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44440" PostHistoryTypeId="3" PostId="25331" RevisionGUID="fd1b8b4d-bc74-48cf-ba92-795af0438f72" CreationDate="2011-01-25T10:05:55.127" UserDisplayName="Tshepang" Text="&lt;software&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44441" PostHistoryTypeId="36" PostId="25338" RevisionGUID="de0c5e2b-75c3-4bab-9ea2-9b34306f301f" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/608/daw-software-that-understand-about-notes-and-chords" />
  <row Id="44442" PostHistoryTypeId="36" PostId="25339" RevisionGUID="9f5a2724-6b4e-4a22-b4b6-18ff3559d092" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/608/daw-software-that-understand-about-notes-and-chords/620#620" />
  <row Id="44443" PostHistoryTypeId="36" PostId="25340" RevisionGUID="e0365c2e-6c7c-48c9-8539-e7c0773ebebd" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/608/daw-software-that-understand-about-notes-and-chords/639#639" />
  <row Id="44444" PostHistoryTypeId="36" PostId="25341" RevisionGUID="f29816ca-2ef3-4420-b11c-acc563580895" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/608/daw-software-that-understand-about-notes-and-chords/670#670" />
  <row Id="44445" PostHistoryTypeId="36" PostId="25342" RevisionGUID="b336d0ba-b73f-46d6-a7a1-640430cd779e" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/608/daw-software-that-understand-about-notes-and-chords/4756#4756" />
  <row Id="44446" PostHistoryTypeId="2" PostId="25339" RevisionGUID="d4be953d-99d3-4f49-9a92-0c7eb8c092ab" CreationDate="2011-01-18T10:16:46.493" UserDisplayName="jeebs" Text="The piano roll in Fruit Loops Studio has the option to change your left click action from adding a single note to adding a chord. As well as all kind of variations of major, minor, diminished etc. it gives you 9th/11th chords to keep adding notes up and up the scale for a big sound.&#xD;&#xA;&#xD;&#xA;It won't change any notes automatically as you change your song, but it does allow you to quickly flesh out a complex sound and accommodate alterations without much effort.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44447" PostHistoryTypeId="2" PostId="25340" RevisionGUID="042bd7fa-9dd0-4188-8d3f-befefe5780e0" CreationDate="2011-01-19T19:59:46.107" UserId="7294" UserDisplayName="Warrior Bob" Text="Are you talking about MIDI loops or loops of audio?  &#xD;&#xA;&#xD;&#xA;For MIDI loops in any DAW, you could select all of the relevant notes and shift them to their correct positions, which takes relatively little time (for example, to change from major to minor chords, select all of the thirds and move them a half-step in the correct direction).  &#xD;&#xA;&#xD;&#xA;But for audio, there is no &quot;perfect&quot; way to use this, as pitch information isn't explicitly stored in a waveform.  There's a program that claims to do this kind of isolation called Melodyne DNA, if I remember correctly, but like timestretching and transposition algorithms, it isn't perfect and will leave behind some artifacts.  I don't know of any DAW software that offers this kind of functionality." ContentLicense="CC BY-SA 2.5" />
  <row Id="44448" PostHistoryTypeId="2" PostId="25341" RevisionGUID="a214395d-8a0b-44b1-9ebc-ff0f2c0e8f1b" CreationDate="2011-01-23T20:31:58.287" UserDisplayName="bot_bot" Text="Using the Environment in Logic Studio you can create MIDI &quot;devices&quot; that will automatically force your playing into a particular key. &#xD;&#xA;I believe there are some built into Logic already." ContentLicense="CC BY-SA 2.5" />
  <row Id="44449" PostHistoryTypeId="2" PostId="25342" RevisionGUID="4a918430-a3de-4dd3-b641-f25b51b3ad4c" CreationDate="2012-09-17T20:02:36.230" UserId="14713" UserDisplayName="b20000" Text="The software is not very sexy, but Band in a Box by PG Music might be useful. It has features to help with chords and chord progressions and accompanying your melody. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44450" PostHistoryTypeId="2" PostId="25338" RevisionGUID="f463cc54-47ba-4411-bf8a-3727055470e1" CreationDate="2011-01-17T05:52:29.013" UserDisplayName="Damian" Text="This question is very specific. &#xD;&#xA;Is there any daw software with loops with the functionality of changing the tracks notes accordingly to a chosen chord? &#xD;&#xA;For example, I add a loop and then change the chord of a part of the song, and then all the notes of that part are changed accordingly. Not just transposing, so for example I can change from a major chord to a minor. &#xD;&#xA;I tested garage band and I've had never played with loops before. But it seems to me it's missing a functionality like that. " ContentLicense="CC BY-SA 2.5" />
  <row Id="44451" PostHistoryTypeId="1" PostId="25338" RevisionGUID="f463cc54-47ba-4411-bf8a-3727055470e1" CreationDate="2011-01-17T05:52:29.013" UserDisplayName="Damian" Text="Daw software that understand about notes and chords" ContentLicense="CC BY-SA 2.5" />
  <row Id="44452" PostHistoryTypeId="3" PostId="25338" RevisionGUID="f463cc54-47ba-4411-bf8a-3727055470e1" CreationDate="2011-01-17T05:52:29.013" UserDisplayName="Damian" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44453" PostHistoryTypeId="36" PostId="25343" RevisionGUID="43349052-c189-4aba-b5f4-c532a8128d4e" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/783/should-i-purchase-art-headamp-6-pro-headphone-amp-with-6-free-headphones-for-19" />
  <row Id="44454" PostHistoryTypeId="2" PostId="25344" RevisionGUID="57a4ce0b-55e1-4488-b2cb-358c5d5fd65c" CreationDate="2011-02-09T15:59:42.650" UserDisplayName="Ian C." Text="I have their older [HeadAmp four-output box][1]. It's been a solid little box. Quiet with preamps that have a ton of gain so you can drive loud signals over long cable runs. I think I paid ~CAD$75 maybe 8 years ago now. Didn't come with any cans. It's one of those little boxes I have in the home studio that I don't think about, use all the time, and if it was gone I'd miss it very much.&#xD;&#xA;&#xD;&#xA;I doubt the cans it's coming with are of great quality but, to me, that price seems pretty darn good.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.artproaudio.com/products.asp?type=91&amp;cat=14&amp;id=62" ContentLicense="CC BY-SA 2.5" />
  <row Id="44455" PostHistoryTypeId="2" PostId="25343" RevisionGUID="dbfb1d39-c6d9-425e-8e0b-119c8fbb1c36" CreationDate="2011-02-09T15:29:53.443" UserDisplayName="karlgrz" Text="I need a headphone amp for my basement studio. I'm in two metal bands and I'm trying to move to electronic drums and headphones for all our instruments.&#xD;&#xA;&#xD;&#xA;I saw this amp on both Guitar Center and Musician's Friend:&#xD;&#xA;&#xD;&#xA;http://pro-audio.musiciansfriend.com/product/ART-HeadAmp-6-PRO-Headphone-Amp-with-6-Free-Headphones?sku=485792&#xD;&#xA;&#xD;&#xA;It's priced the same ($199) with free shipping from both.&#xD;&#xA;&#xD;&#xA;The reviews seem good, but does anyone have any experience with this product?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44456" PostHistoryTypeId="1" PostId="25343" RevisionGUID="dbfb1d39-c6d9-425e-8e0b-119c8fbb1c36" CreationDate="2011-02-09T15:29:53.443" UserDisplayName="karlgrz" Text="Should I purchase ART HeadAmp 6 PRO Headphone Amp with 6 Free Headphones for $199?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44457" PostHistoryTypeId="3" PostId="25343" RevisionGUID="dbfb1d39-c6d9-425e-8e0b-119c8fbb1c36" CreationDate="2011-02-09T15:29:53.443" UserDisplayName="karlgrz" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44458" PostHistoryTypeId="36" PostId="25344" RevisionGUID="2dfc7721-1a0e-439f-864a-332105b805fb" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/783/should-i-purchase-art-headamp-6-pro-headphone-amp-with-6-free-headphones-for-19/784#784" />
  <row Id="44459" PostHistoryTypeId="36" PostId="25345" RevisionGUID="6533e837-15bf-484a-8e0e-69762fa2c26c" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3007/linux-tools-for-beginning-electronic-music-production" />
  <row Id="44460" PostHistoryTypeId="36" PostId="25346" RevisionGUID="a0c520a7-de15-4087-90b0-0512eba06cbb" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3007/linux-tools-for-beginning-electronic-music-production/3008#3008" />
  <row Id="44461" PostHistoryTypeId="36" PostId="25347" RevisionGUID="714a7760-03ac-4cba-a49f-40032a7d11dc" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3007/linux-tools-for-beginning-electronic-music-production/3009#3009" />
  <row Id="44462" PostHistoryTypeId="36" PostId="25348" RevisionGUID="d9b97854-be25-4526-9c94-fa94ec6708c4" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3007/linux-tools-for-beginning-electronic-music-production/5583#5583" />
  <row Id="44463" PostHistoryTypeId="36" PostId="25349" RevisionGUID="bec40e68-d0cd-4f08-bb4b-74c13c0ac2ec" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3007/linux-tools-for-beginning-electronic-music-production/8324#8324" />
  <row Id="44464" PostHistoryTypeId="2" PostId="25346" RevisionGUID="484ab987-9444-46f7-9cda-d91056d6965a" CreationDate="2012-01-11T17:34:49.263" UserId="9511" UserDisplayName="Johnny Bigoode" Text="Go check [Ubuntu Studio](http://ubuntustudio.org/) out. &#xD;&#xA;&#xD;&#xA;But here's the problem: the JACK Audio system used with Linux is not intuitive. The software as a whole is buggy, lagging and offer little support. I've tried producing with Linux but it's really REALLY hard. There's a very community doing it, so everything about it is rather limited. There's no 'hardcore' producing tools for Linux. &#xD;&#xA;&#xD;&#xA;All I can give you help with is pointing you in the direction that seems valid : Ubuntu Studio. You WILL need a lot of Linux knowledge since some parts of the usage is not very intuitive. &#xD;&#xA;&#xD;&#xA;Just a heads up: Look for their WIKI for driver support and extra software. If you are already using LINUX you can get the software list from their website and see what programs you should get. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44465" PostHistoryTypeId="2" PostId="25347" RevisionGUID="886546d5-61c4-4062-8341-f4de4b6e9fa4" CreationDate="2012-01-11T21:01:55.583" UserDisplayName="Bill Gribble" Text="[LinuxAudio.org][1] (check &quot;Resources&quot; link) for links; [JACKaudio.org][2] for JACK audio docs&#xD;&#xA;&#xD;&#xA;[Ardour][3] is an excellent Linux DAW &#xD;&#xA;&#xD;&#xA;[Audacity][4] is a very popular audio editor &#xD;&#xA;&#xD;&#xA;[PureData][5] is an audio/MIDI/video Swiss Army knife (by authors of, influenced by MAX/MSP)&#xD;&#xA;&#xD;&#xA;[SooperLooper][6] is a really cool looping sampler&#xD;&#xA;&#xD;&#xA;[Hydrogen][7] is a good drum machine&#xD;&#xA;&#xD;&#xA;[Rosegarden][8] is a good sequencer and score editor&#xD;&#xA;&#xD;&#xA;[SEQ24][9] is a quirky but cool and creative sequencer &#xD;&#xA;&#xD;&#xA;Have fun! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://linuxaudio.org &quot;Linux Audio homepage&quot;&#xD;&#xA;  [2]: http://jackaudio.org &quot;JACK homepage&quot;&#xD;&#xA;  [3]: http://ardour.org &quot;Ardour DAW&quot;&#xD;&#xA;  [4]: http://audacity.sourceforge.net &quot;Audacity&quot;&#xD;&#xA;  [5]: http://puredata.info &quot;PureData&quot;&#xD;&#xA;  [6]: http://essej.net/sooperlooper/&#xD;&#xA;  [7]: http://www.hydrogen-music.org/hcms/&#xD;&#xA;  [8]: http://www.rosegardenmusic.com/&#xD;&#xA;  [9]: http://www.filter24.org/seq24/" ContentLicense="CC BY-SA 3.0" />
  <row Id="44466" PostHistoryTypeId="2" PostId="25348" RevisionGUID="613d0ebb-6490-41f4-90aa-9bc63ac0e4f2" CreationDate="2012-12-14T22:51:18.490" UserDisplayName="Johnito" Text="It's not as hard as it seems. Here's a simple setup on an old EeePC 701 (but I also run it on my PC, both with WattOS installed). The blogpost is in Dutch, but the pictures basically tell all about configuring QjackCtl, with a simple midi-keyboard. Also I use Hydrogen, Yoshimi and Hydrogen, and record it in Audacity.&#xD;&#xA;  &#xD;&#xA;http://johnito.nl/blog/2012/05/27/howto-ion-midi-keyboard-op-linux-gebruiken/ " ContentLicense="CC BY-SA 3.0" />
  <row Id="44467" PostHistoryTypeId="2" PostId="25349" RevisionGUID="fbef7a2c-effe-4de6-be09-9f11d00d6b3d" CreationDate="2013-07-05T08:11:29.113" UserId="7299" UserDisplayName="harald" Text="Sorry for coming in late, but in addition to the other tools mentioned, here's a few more:&#xD;&#xA;&#xD;&#xA;  * [Renoise][1] is modeled after the old amiga tracker style interface, but with a lot of nice and advanced features. If you're not used to this kind of sequencer it may take some turns to make sense of it, but it's amazingly effective when you get the hang of it. Has a built in sample and instrument editor, and can use most plugin formats available on linux (incl. VST and LV2) as well as it's own built in effects. Great looping and custom instrument support.&#xD;&#xA;&#xD;&#xA;  * [Mixbus][2] is a commercial offering where the guys from [Harrison Consoles][3] have added their mixer logic to Ardour. For a more traditional DAW this is very capable, especially for mixing. It lags a bit behind Ardour on other features, which may or may not matter, depending on your needs.&#xD;&#xA;&#xD;&#xA;  * [Tracktion][4] has released a beta version of their music production/composition software for Linux. I haven't had time to play much with this one yet, but it looks interresting. Supports only the older LADSPA plugin standard in addition to native Linux VSTs, but has an interresting twist of setting up and routing effects between each others. You can of course mix internal and external (both LADSPA and VST) effects into &quot;stacks&quot; that you can apply to samples or loops. This one still has a few rouch edges, but it's worth checking out! This one also has a strong focus on looping if that's what you're after.&#xD;&#xA;&#xD;&#xA;Finally, I think it's worth mentioning that [Ardour][5] is progressing very nicely, and Ardour 3 is a big step towards matching other commercial DAW's I've used both in features and ease of use.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.renoise.com/&#xD;&#xA;  [2]: http://www.harrisonconsoles.com/mixbus/website/index.html&#xD;&#xA;  [3]: http://www.harrisonconsoles.com/joomla/index.php&#xD;&#xA;  [4]: http://www.tracktion.com/linux&#xD;&#xA;  [5]: http://ardour.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="44468" PostHistoryTypeId="2" PostId="25345" RevisionGUID="e0d55603-eecf-45fa-b112-de9c9f815e76" CreationDate="2012-01-11T15:45:46.860" UserDisplayName="oneat" Text="Ok I want to start music from the beginning. &#xD;&#xA;Just computer, mic, midi keyboard and nothing else.&#xD;&#xA;&#xD;&#xA;What programs should I use to:  &#xD;&#xA;&#xD;&#xA;- Create electronic samples&#xD;&#xA;- mix them, modulate and add effects&#xD;&#xA;- Create instruments based on them&#xD;&#xA;- Use later these instruments&#xD;&#xA;&#xD;&#xA;Also, where can I find good samples, sounds and good tutorials about creating sound as I want and use these programs?&#xD;&#xA;&#xD;&#xA;Any others ideas how should I start up?&#xD;&#xA;&#xD;&#xA;PS: of course everything free..." ContentLicense="CC BY-SA 3.0" />
  <row Id="44469" PostHistoryTypeId="1" PostId="25345" RevisionGUID="e0d55603-eecf-45fa-b112-de9c9f815e76" CreationDate="2012-01-11T15:45:46.860" UserDisplayName="oneat" Text="Linux tools for beginning electronic music production" ContentLicense="CC BY-SA 3.0" />
  <row Id="44470" PostHistoryTypeId="3" PostId="25345" RevisionGUID="e0d55603-eecf-45fa-b112-de9c9f815e76" CreationDate="2012-01-11T15:45:46.860" UserDisplayName="oneat" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44471" PostHistoryTypeId="36" PostId="25350" RevisionGUID="27cba789-686d-47dd-9e0a-95cf41357012" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3539/remove-drum-track-from-song-given-the-isolated-drum-track-and-the-song" />
  <row Id="44472" PostHistoryTypeId="36" PostId="25351" RevisionGUID="b99c07ad-7881-4079-b91a-bd7070de31ea" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3539/remove-drum-track-from-song-given-the-isolated-drum-track-and-the-song/3540#3540" />
  <row Id="44473" PostHistoryTypeId="36" PostId="25352" RevisionGUID="4575f08b-1474-4a05-bdff-b56050264e41" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3539/remove-drum-track-from-song-given-the-isolated-drum-track-and-the-song/3543#3543" />
  <row Id="44474" PostHistoryTypeId="36" PostId="25353" RevisionGUID="139ab760-e4cc-4989-ba9d-6a6c8c2fd6cd" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3539/remove-drum-track-from-song-given-the-isolated-drum-track-and-the-song/3903#3903" />
  <row Id="44475" PostHistoryTypeId="2" PostId="25351" RevisionGUID="c711eb97-f14b-401f-8e2c-19a86ffaa362" CreationDate="2012-03-12T21:38:03.313" UserId="7200" Text="I'm afraid that isolated track is not going to help you much. Multiband ducking / FFT substraction is possible, but only works at least _almost_ satisfyingly for signals in a limited frequency range; even then it leaves ugly artifacts and/or much of the signal you want to remove. Drums fill the whole spectrum, so this won't work at all. You may be thinking of ideal phase cancelling, but that only works with a plain digital mix of the track with something else; in a track that was recorded independently the phases have random relations to those you want to get rid of, so they won't cancel.&#xD;&#xA;&#xD;&#xA;Removal of anything from a record without completely destroying the track is still only possible by carefully removing the most audible frequencies of those events by hand, with a tool like [Algorithmix reNOVAtor](http://www.algorithmix.com/en/renovator.htm). Which is nicely usable for removing single sound events, removing an entire drum track is possible but extremely painful." ContentLicense="CC BY-SA 3.0" />
  <row Id="44476" PostHistoryTypeId="2" PostId="25352" RevisionGUID="e935a234-bb1a-429b-ba0f-293115718f3d" CreationDate="2012-03-12T22:36:27.823" UserId="7440" UserDisplayName="J.K." Text="If the drum tracks are identical, or close enough, you can try to align the tracks and invert the phase of the drum track.&#xD;&#xA;&#xD;&#xA;Although a lot of stuff that should be there will be removed in the process, even if you manage to cancel out the drums." ContentLicense="CC BY-SA 3.0" />
  <row Id="44477" PostHistoryTypeId="2" PostId="25353" RevisionGUID="95ccb085-9d76-40d3-a902-8875309f4351" CreationDate="2012-05-02T17:12:31.373" UserDisplayName="Jeremy Salwen" Text="The problem is that a drum hit is essentially white noise added to the signal.  If it is of high enough volume, then it really is impossible to pick out what is &quot;signal&quot; and what is &quot;noise&quot;.  Your separate track of drums is not going to help that much, because percussion is chaotic, that is, the signal will look different every time you play it, and thus techniques which involve canceling out the signal in the time domain aren't going to work, especially since those techniques are sensitive to exact timing.   As mentioned in another post, spectral based subtraction is also not going to help either, because percussion is generally spread spectrum:  It covers *all* frequencies, so you can't simply remove the frequencies it's located in and be left with something decent.&#xD;&#xA;&#xD;&#xA;My best guess would be to remove the transient sections by hand, and then simply interpolate the removed regions in the spectral domain, using a spectral editor.  The assumption that this technique works under is that the everything else in the recording besides the drums is varying slowly, i.e. lacking any other transient element at the time of the drum hits.  Of course, this is probably not true.  But my guess is you can't get any better.&#xD;&#xA;&#xD;&#xA;Oh, also one more possibility, is you can try using the transient-steady state separation in [aubio](http://aubio.org/).  Then you can spectrally subtract the second recording from just the transient part.  That probably should give you similar results to the above technique though." ContentLicense="CC BY-SA 3.0" />
  <row Id="44478" PostHistoryTypeId="2" PostId="25350" RevisionGUID="c4513313-fc38-4254-9f96-862a228fac47" CreationDate="2012-03-12T20:57:23.060" UserDisplayName="Milo" Text="I have a song for which I have the song itself, and an isolated drum track from a live performance that fits perfectly in time with the original. Given these 2 things, is there software that can do a decent job at removing the drum track or at least lowering it? I would really like to make a remix of it, but I need the drum track to be lowered.&#xD;&#xA;&#xD;&#xA;I do not care if the software is pricy, free, etc,&#xD;&#xA;&#xD;&#xA;If there is another way to remove drum tracks from songs I am open to that too.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44479" PostHistoryTypeId="1" PostId="25350" RevisionGUID="c4513313-fc38-4254-9f96-862a228fac47" CreationDate="2012-03-12T20:57:23.060" UserDisplayName="Milo" Text="Remove drum track from song given the isolated drum track and the song?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44480" PostHistoryTypeId="3" PostId="25350" RevisionGUID="c4513313-fc38-4254-9f96-862a228fac47" CreationDate="2012-03-12T20:57:23.060" UserDisplayName="Milo" Text="&lt;software&gt;&lt;editing&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44481" PostHistoryTypeId="36" PostId="25354" RevisionGUID="486c9e28-cffc-43b8-9fea-0228a18790be" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/958/is-garage-band-a-viable-tool-for-home-recording" />
  <row Id="44482" PostHistoryTypeId="36" PostId="25355" RevisionGUID="e74ac94f-b477-4b80-95bc-ed1591fa8b3a" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/958/is-garage-band-a-viable-tool-for-home-recording/959#959" />
  <row Id="44483" PostHistoryTypeId="2" PostId="25355" RevisionGUID="a0672b88-b59b-4838-9c41-aba7c838d69c" CreationDate="2011-03-05T16:55:56.073" UserDisplayName="Ian C." Text="Absolutely. I use it on my laptop, when I'm traveling and away from my desktop and Logic Pro rig, and it's outstanding.&#xD;&#xA;&#xD;&#xA;There are track limits, but they're generous and you can do things like bounce submixes to new projects to get around them. There's less features than Logic but honestly, most people getting started with computer-based recording and trying to do it on a budget, dont need those extra features.&#xD;&#xA;&#xD;&#xA;I think it's brilliantly done software and, hey, it's included with your Mac so why not use it, right? When you're ready to step up to Logic everything you did on GB moves to Logic without much hassle." ContentLicense="CC BY-SA 2.5" />
  <row Id="44484" PostHistoryTypeId="2" PostId="25356" RevisionGUID="56a7f3ac-02d1-4fa9-905a-91877f27bf99" CreationDate="2011-03-05T17:14:29.637" UserDisplayName="Kim Burgaard" Text="That depends on your goals and ambitions. It will serve all your basic recording, mixing and production needs, and many, many bands and solo musicians are taking their first steps with home recording using Garage Band, or similar software packages on other platforms.&#xD;&#xA;&#xD;&#xA;**Basic operation:**&#xD;&#xA;I spent many hours playing with a Fostex 4-track tape recorder when I was a kid. I wish I'd had the kind of power and flexibility Garage Band could have given me back then. I think the strongest appeal of Garage Band is that it is not just a watered down version of a feature-packed audio production software, but designed from the ground up to simple to use. I think most beginners will not feel limited by the options and features available in Garage Band. Like most other DAW-software, everything evolves around tracks in GarageBand. Each track has a horizontal lanes. Audio samples or MIDI notes are displayed as colored strips. The right side of each horizontal lane contains basic mixing controls--a fader, pan-pot, effects, as well as a VU-meter with digital clipping indication. Those controls can be automated.&#xD;&#xA;&#xD;&#xA;**Plugins:**&#xD;&#xA;Both Logic and GarageBand use the Audio Unit plugin interface. I believe that means any Audio Unit plugin can be used with GarageBand, although I haven't actually tried that.&#xD;&#xA;&#xD;&#xA;**Recording:**&#xD;&#xA;You can record up to eight tracks simultaneously with GarageBand to either four stereo tracks, eight mono tracks, or any combination in between.&#xD;&#xA;&#xD;&#xA;**Limitations:** The mixing model implemented in GarageBand doesn't try to mimic a real-world mixer with sends and buses.&#xD;&#xA;&#xD;&#xA; - No effect send &amp; return channels and no buses for grouping effects on multiple channels.&#xD;&#xA; - No effects on the master output.&#xD;&#xA;&#xD;&#xA;**Price:** GarageBand only cost a fraction of the big DAW software packages.&#xD;&#xA;&#xD;&#xA;You can find lots of other differences when you compare GarageBand with other DAW software, but the question again is, what do you need? What are your must-have features? &#xD;&#xA;&#xD;&#xA;Given the low price, I would say give it a spin, see if it works for you." ContentLicense="CC BY-SA 2.5" />
  <row Id="44485" PostHistoryTypeId="2" PostId="25354" RevisionGUID="8355e3f5-67ca-4a44-9b77-be1bfc88e4d0" CreationDate="2011-03-05T11:56:09.700" UserId="8336" UserDisplayName="Sklivvz" Text="Is Garage Band a good investment for a home studio?&#xD;&#xA;&#xD;&#xA;Are there any crippling limitations that would impact the quality of my productions?&#xD;&#xA;&#xD;&#xA;For example, limited number of tracks, bad performance in common situations, lack of good plugins, bad MIDI editor..." ContentLicense="CC BY-SA 2.5" />
  <row Id="44486" PostHistoryTypeId="1" PostId="25354" RevisionGUID="8355e3f5-67ca-4a44-9b77-be1bfc88e4d0" CreationDate="2011-03-05T11:56:09.700" UserId="8336" UserDisplayName="Sklivvz" Text="Is Garage Band a viable tool for home recording?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44487" PostHistoryTypeId="3" PostId="25354" RevisionGUID="8355e3f5-67ca-4a44-9b77-be1bfc88e4d0" CreationDate="2011-03-05T11:56:09.700" UserId="8336" UserDisplayName="Sklivvz" Text="&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44488" PostHistoryTypeId="36" PostId="25356" RevisionGUID="46ec5db8-cc93-4712-82d0-bc9ed2b4df2f" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/958/is-garage-band-a-viable-tool-for-home-recording/960#960" />
  <row Id="44489" PostHistoryTypeId="36" PostId="25357" RevisionGUID="4160935a-d830-4e9d-bc82-2f6773f866d1" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8021/are-mute-groups-only-for-monitors-and-can-scenes-be-layered" />
  <row Id="44490" PostHistoryTypeId="2" PostId="25358" RevisionGUID="a80c75d3-1267-4ad9-a4c7-21e260068a2a" CreationDate="2013-06-02T00:48:07.347" UserId="7174" Text="Mute groups are not just for monitors.  It is a quick way to mute different groupings of channels.  For example, if you have a speaker or multiple different bands, you can set each scene up with a mute group so that you can mute the unused channels all at once and then unmute them with a single button press.  I don't know of a single board that doesn't mute a channel entirely (in all outputs) when mute is pressed.  It should basically be the off switch for the channel as a whole.&#xD;&#xA;&#xD;&#xA;Mute groups is what you want for your situation.  Scenes is more for when the same channels need to have different values where as mute groups is a faster way to turn groups of channels on and off.  (For example, loading a scene for the worship team would lose any settings you've adjusted for that particular service, where as a mute group would leave the settings undisturbed.)&#xD;&#xA;&#xD;&#xA;The way we run our board is to have one scene for each worship team as a preset and individual channel presets for each speaker.  We also keep individual channel presets for the various band members in case we need to mix and match one in for a particular service.&#xD;&#xA;&#xD;&#xA;I wish I had mute groups because it would make my life alot easier, but unfortunately we use the Presonus 24.4.2 which doesn't have mute groups.  It's otherwise been a great board for us though, particularly with the multi-track recording and the tablet based mixing capability." ContentLicense="CC BY-SA 3.0" />
  <row Id="44491" PostHistoryTypeId="2" PostId="25357" RevisionGUID="d0f1f899-7fce-444f-bf01-ae684bda22f6" CreationDate="2013-06-02T00:18:25.020" UserId="7228" Text="Before you answer &quot;just try it&quot;: I can't since I haven't decided on the hardware yet.&#xD;&#xA;&#xD;&#xA;**Background:**&#xD;&#xA;I'm in the process of looking at digital mixers and comparing their capabilities in order to replace our current analog setup in a small church.&#xD;&#xA;&#xD;&#xA;Almost all digital mixers have &quot;scenes&quot; which are presets for fader positions, routing and pretty much everything than can be configured. Then there are also &quot;Mute groups&quot;, which are preset buttons that will remember which channels should mute.&#xD;&#xA;&#xD;&#xA;The [small mixer][1] I personally own also has mute buttons under the channel strips that would actually route the sound to an alt-bus. This does not appear to be so with the larger boards I'm currently looking at ([M-200i][2] / [X32-Producer][3]) which support multiple busses and aux outputs. As I understand it currently, the mute buttons are ment for muting on the monitors only, in order to single something out or so in a live situation, while letting the audience hear the full mix (please correct me if I'm wrong).&#xD;&#xA;&#xD;&#xA;**The question:**&#xD;&#xA;is best asked by specifying a scenario: Sometimes we have an interpreter on the stage, often not. In both cases I'd like to set up &quot;scenes&quot; or default values we can quickly jump to, for example song service, sermon, baptismal etc.. During the sermon I want to mute all the singing mics. If there is no interpreter I want to mute the interpreters mic as well. These are two different factors that have no relation to one another, so to cover all situations with scenes alone, I'd have to set up 4 separate scenes, and figure out a way to keep it transparent, or I could misuse the mute groups feature and swap the monitor and main output.&#xD;&#xA;&#xD;&#xA;I'm wondering how this is generally done? I'm quite sure there are many live situations dealing with more than two independent factors or dimensions. Would it be possible to enable multiple scenes at once like layers? (I haven't seen this mentioned before).&#xD;&#xA;&#xD;&#xA;Any pro-advice welcome, probably I'm thinking way in the wrong direction. Also a good source on a general mixing course that covers this would be welcome, at least if there is a solution that doesn't differ for every brand/board?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.phonic.com/en/helix-board-12-plus.html&#xD;&#xA;  [2]: http://www.roland.com/products/en/M-200i/&#xD;&#xA;  [3]: http://www.behringer.com/EN/Products/X32-PRODUCER.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="44492" PostHistoryTypeId="1" PostId="25357" RevisionGUID="d0f1f899-7fce-444f-bf01-ae684bda22f6" CreationDate="2013-06-02T00:18:25.020" UserId="7228" Text="Are &quot;mute groups&quot; only for monitors, and can &quot;scenes&quot; be layered?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44493" PostHistoryTypeId="3" PostId="25357" RevisionGUID="d0f1f899-7fce-444f-bf01-ae684bda22f6" CreationDate="2013-06-02T00:18:25.020" UserId="7228" Text="&lt;mixing&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44494" PostHistoryTypeId="36" PostId="25358" RevisionGUID="747c351a-22a3-4aea-9a64-93d31f4ee49f" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8021/are-mute-groups-only-for-monitors-and-can-scenes-be-layered/8022#8022" />
  <row Id="44495" PostHistoryTypeId="36" PostId="25359" RevisionGUID="1d84647b-2950-4da9-9332-dfe15a030344" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/71/setting-up-ableton-live-as-a-live-looper" />
  <row Id="44496" PostHistoryTypeId="36" PostId="25360" RevisionGUID="5a868e9f-abce-498b-b8b6-6280cd3c85ba" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/71/setting-up-ableton-live-as-a-live-looper/91#91" />
  <row Id="44497" PostHistoryTypeId="36" PostId="25361" RevisionGUID="5d528de3-16f8-4997-a8e7-93be259fc491" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/71/setting-up-ableton-live-as-a-live-looper/95#95" />
  <row Id="44498" PostHistoryTypeId="36" PostId="25362" RevisionGUID="68723db7-acd4-46f1-8c7e-a20e7b90f273" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/71/setting-up-ableton-live-as-a-live-looper/1200#1200" />
  <row Id="44499" PostHistoryTypeId="2" PostId="25360" RevisionGUID="06b19fa3-8616-4141-ad11-9e6ed9410285" CreationDate="2010-12-08T01:52:23.490" UserDisplayName="Tom Wijsman" Text="You might get on track by looking into the [Realtime Looping Essential Config](http://forum.ableton.com/viewtopic.php?f=4&amp;t=20174) or [Live Looping Tutorial](http://forum.ableton.com/viewtopic.php?t=63839)." ContentLicense="CC BY-SA 2.5" />
  <row Id="44500" PostHistoryTypeId="2" PostId="25361" RevisionGUID="d4c5404c-31a1-419b-81bf-944e5fbe9ee6" CreationDate="2010-12-08T02:19:04.050" UserId="7294" UserDisplayName="Warrior Bob" Text="Ableton's clips are useful as a live looping tool but if you want something more like a traditional guitar looping pedal, check out the [Ableton Looper effect][1] in Live 8.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ableton.com/pages/live_8/announcement/looper" ContentLicense="CC BY-SA 2.5" />
  <row Id="44501" PostHistoryTypeId="2" PostId="25362" RevisionGUID="336e20c9-011c-4465-a515-80a8a1469560" CreationDate="2011-04-19T12:31:27.860" UserDisplayName="kevtrout" Text="I recommend sooperlooper.  You can set it up as a plug-in with live.  &#xD;&#xA;&#xD;&#xA;[http://sonosaurus.com/sooperlooper/][1]&#xD;&#xA;&#xD;&#xA;Here's a sooperlooper forum thread about live and SL&#xD;&#xA;&#xD;&#xA;[http://sonosaurus.com/slforum/viewtopic.php?f=10&amp;t=23&amp;p=551&amp;hilit=kevtrout&amp;sid=fe4ca98e7ac8f25b219b4b9c10fe5360#p551][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sonosaurus.com/sooperlooper/&#xD;&#xA;  [2]: http://sonosaurus.com/slforum/viewtopic.php?f=10&amp;t=23&amp;p=551&amp;hilit=kevtrout&amp;sid=fe4ca98e7ac8f25b219b4b9c10fe5360#p551" ContentLicense="CC BY-SA 3.0" />
  <row Id="44502" PostHistoryTypeId="2" PostId="25363" RevisionGUID="64ddbdf7-2b29-45fc-a56d-17961f74ce7d" CreationDate="2011-04-29T01:12:10.357" UserId="7281" UserDisplayName="Tom Auger" Text="I find that the best way to do it is with some kind of foot pedal switch, like the FC-50. By mapping Start, stop, undo, delete and next track to your foot switches, you can easily perform your loop in realtime, get it right, and then advance to the next scene or track when you want to record the next variation.&#xD;&#xA;&#xD;&#xA;Looper is great for looping live audio, but is a little redundant for recording MIDI loops in realtime - since the built-in ableton live controls are a little more flexible. The challenge for me has always been seamlessly looping, overdubbing, and riffing in real-time and since I'm a keyboardist using both hands, the footpedal was the only way to go.&#xD;&#xA;&#xD;&#xA;I just looked at the Kid Beyond video and I don't think he's using Looper - it looks like he's arming a series of different tracks, all of which he's routed his mic input to. He's got a 1-bar control sync on so he doesn't have to be 100% precise with his foot pedal punch-in/punch-out. It looks like he just has each pedal keyed to the record / play button for the same scene across different tracks. This is why he has to pause for a bar after each recording before arming the next track. At the end of the day - whatever works for you right?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44503" PostHistoryTypeId="2" PostId="25359" RevisionGUID="000f4dd2-6090-4fa0-aefc-644f72c623be" CreationDate="2010-12-07T22:19:42.150" UserDisplayName="Willbill" Text="I have seen that [it is possible][1] to set up Ableton to work as a live looper&#xD;&#xA;&#xD;&#xA;How is it done? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=V8mlSWWZ9zQ" ContentLicense="CC BY-SA 2.5" />
  <row Id="44504" PostHistoryTypeId="1" PostId="25359" RevisionGUID="000f4dd2-6090-4fa0-aefc-644f72c623be" CreationDate="2010-12-07T22:19:42.150" UserDisplayName="Willbill" Text="Setting up ableton live as a live looper?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44505" PostHistoryTypeId="3" PostId="25359" RevisionGUID="000f4dd2-6090-4fa0-aefc-644f72c623be" CreationDate="2010-12-07T22:19:42.150" UserDisplayName="Willbill" Text="&lt;ableton&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44506" PostHistoryTypeId="36" PostId="25363" RevisionGUID="57459660-4568-4452-8986-d3ecbfaccacf" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/71/setting-up-ableton-live-as-a-live-looper/1307#1307" />
  <row Id="44507" PostHistoryTypeId="36" PostId="25364" RevisionGUID="5a9a8e22-9a26-4cee-9d48-8c870865200e" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/71/setting-up-ableton-live-as-a-live-looper/1851#1851" />
  <row Id="44508" PostHistoryTypeId="36" PostId="25365" RevisionGUID="a83d9f5e-7371-4581-8987-6653938f7b0a" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/71/setting-up-ableton-live-as-a-live-looper/7705#7705" />
  <row Id="44509" PostHistoryTypeId="2" PostId="25364" RevisionGUID="c2dc9009-205b-4922-acf2-0867df375da1" CreationDate="2011-07-12T09:46:13.880" UserDisplayName="ltackett" Text="Ignoring the basics and MIDI mapping for a moment; my setup for Looper in Live 8 is a bit more advanced, but very effective if you wanna get the most out of Ableton's loopers:&#xD;&#xA;&#xD;&#xA;    Setup Looper in an aux channel&#xD;&#xA;    Set Input -&gt; Output to Never&#xD;&#xA;    Any track you want to go to the looper, just turn up the aux send&#xD;&#xA;&#xD;&#xA;This way you can send any of your tracks to the looper channel through the aux send. Which is a great way use one looper for all your sounds.&#xD;&#xA;&#xD;&#xA;In the following example, you've got a basic one-loop setup for a microphone. Easy. Just map a key or a MIDI controller to the Multi-Button and you're looping like a king.&#xD;&#xA;&#xD;&#xA;![Single Looper in aux one][1]&#xD;&#xA;&#xD;&#xA;For a more advanced looper setup, you can group a chain of loopers together for setting up layers, which can be cut in and out by using key mappings on each Mute button in the group.&#xD;&#xA;&#xD;&#xA;![Multiple Loopers in chain][2]&#xD;&#xA;&#xD;&#xA;Then just add whatever sounds you wanna play with in your looper, map a button to the corresponding Arm buttons, and goof off with your killer loop setup.&#xD;&#xA;&#xD;&#xA;![Multiple Loopers, and multiple patches][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/CppHz.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/NjtaQ.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/JAK2q.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="44510" PostHistoryTypeId="2" PostId="25365" RevisionGUID="1f2c0bf2-242d-4764-a458-79f8aea28e26" CreationDate="2013-04-21T09:32:33.020" UserId="12790" UserDisplayName="Ron Kyle" Text="Just some clarifications:&#xD;&#xA;&#xD;&#xA;How to do it depends on what version of Ableton you're using; more specifically if it includes the &quot;Looper&quot; effect from Ableton. I'm not sure if it was in 7 or not, but def. included in 8+&#xD;&#xA;&#xD;&#xA;The Kid Beyond video is mentioned above- he most assuredly was not using looper as the video was made before Ableton HAD looper and is much of the reason they MADE looper.&#xD;&#xA;The way Kid Beyond does it is utilizing another program called Bome's Midi Translator Pro (Midi OX is a similar prog, but Bome's is rather unique) which is kind-of like a virtual midi patch bay but FAR more. Ableton used to link to a tutorial on how to do it (how often do you see Ableton referencing any third-party software?) but they went ahead and made Looper which does some CRAZY stuff the Kid Beyond way couldn't (without Max, at least :) ) so they likely don't have the link anymore. However, Bome's site has an tut @ &#xD;&#xA;http://www.bome.com/forums/viewtopic.php?t=1583&#xD;&#xA;&#xD;&#xA;While Looper does stuff the old way can't, so too are there things one can do with Bome's that Looper just can't, too. They each have their advantages but basically USING LOOPER IS WAY EASIER than setting up Bome's. (One should hope so, right?) Hope this helps.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44515" PostHistoryTypeId="36" PostId="25367" RevisionGUID="a181fbe0-e984-4530-8fce-8543335d486c" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2896/sound-system-for-home-theater-and-band" />
  <row Id="44516" PostHistoryTypeId="2" PostId="25368" RevisionGUID="a95eb8fc-ec97-41e0-97d1-d10c457e4960" CreationDate="2011-12-27T08:09:44.080" UserId="7231" Text="You're really looking at two completely different families of equipment--very rarely do you find situations where home theatre is being mixed with &quot;pro audio&quot;.&#xD;&#xA;&#xD;&#xA;Home theatre equipment is usually centered around a single viewing screen, and is geared towards very high fidelity audio in multiple channels, as well as surround. It's also easier for the consumer to understand and interact with, since typically there is a visual associated with your media, and you're only working from a single content source at a time.&#xD;&#xA;&#xD;&#xA;Pro audio equipment is generally geared towards flexibility, stereo audio, and enough power to carry out into a performance space. This equipment also has a very difficult learning curve if you don't already know what you're doing.&#xD;&#xA;&#xD;&#xA;The other thing to consider is that in a live band situation, you don't really -want- everyone's channel coming out of all 10 speakers in your surround sound system. You want some sort of spatial reference for the musicians related to the audience, and you want your sound reinforcement in a location that is not going to cause all sorts of feedback from microphones.&#xD;&#xA;&#xD;&#xA;These families of equipment are divided all the way up to professional movie theaters. Those super-high-end systems are designed for one thing: high quality multichannel audio for film presentation. Beyond that into multipurpose performance spaces and extremely large venues is all pro audio, with very complicated equipment and a focus on the raw power required to bring 1-3 channels of sound out to a thousand or more people.&#xD;&#xA;&#xD;&#xA;It's clear that you don't have the expertise needed to deal with a complicated pro audio mixer and system, and I'm SURE your father doesn't if he's asking you to do this. I would suggest finding a great set of speakers and a fine amplifier so that you have a great movie-watching and audio-listening experience, and then adding on the equipment needed to play instruments piecemeal.&#xD;&#xA;&#xD;&#xA;Home Theater&#xD;&#xA;-&#xD;&#xA;If money is no object, there are firms out there that will put together a top-quality system with the best equipment, like [this one](http://www.kipnis-studios.com/The_Kipnis_Studio_Standard/KSS.html).&#xD;&#xA;&#xD;&#xA;If you don't have 6 million dollars, some of the finer speaker brands are [Klipsch](http://www.klipsch.com) and [Bowers &amp; Wilkins](http://www.bowers-wilkins.com/). For a full surround system these can still run into tens of thousands of dollars, and that's not including a suitable (i.e. equally costly) amplifier.&#xD;&#xA;&#xD;&#xA;The next rung on the ladder (now in the $1,000-$2,000 range) is probably [Harman/Kardon](http://www.harmankardon.com/) or [JBL](http://www.jbl.com/) (Both now owned by Harman), or [Bose](http://www.bose.com/). Bose has worked really hard marketing-wise to nail down their brand association with &quot;high-end&quot; and corner a consumer market. Just don't be misled to think they're the best there is.&#xD;&#xA;&#xD;&#xA;As you come down in price, you'll notice more systems being offered as a package deal with a suitable amplifier bundled in with the whole surround sound speaker set. Sub-$500 is where you'll find all-in-one packages at Best Buy that include a Blu-Ray player integrated in the amplifier. These are easy to use, (relatively) cheap, and generally not a bad value for the money. If you want something with a bit of a pedigree and real quality, you can easily reach upwards of $10,000 for a nice set of speakers and an appropriate amplifier/receiver.&#xD;&#xA;&#xD;&#xA;As far as finding receivers is concerned, you'll need to make sure you match it with the number of channels for speakers you bought, as well as the recommended wattage for those speakers. For all components mentioned, it's worth going to an outlet and listening for yourself to the differences between the competing brands. It's tempting to spend extra money just because the price tag says it's better, but if you can't hear it for yourself, than what's the point?&#xD;&#xA;&#xD;&#xA;Pro Audio&#xD;&#xA;-&#xD;&#xA;This is a totally different topic, and for the reasons I mentioned earlier, you really don't want it interacting with your home theatre system. Home theatre is a closed system tasked with taking a single source and amplifying it for a room--pro audio live sound reinforcement is tasked with taking multiple sources, amplifying them, and doing it in such a way that doesn't cause feedback. Quality is inherently worse than home theatre, because sound reinforcement _can't_ saturate the entire space with the content in question. Furthermore, live sound is totally different from a recording studio environment, even though there is lots of overlap in your pro audio components.&#xD;&#xA;&#xD;&#xA;I'll describe a simple setup for an electric band with vocals. If all of the instruments are acoustic, there's really no point in reinforcing any part of the band for a home theatre-sized room. Also based on the size of the room, instruments like drumset or acoustic piano will not need to be amplified at all to compete with electric instruments.&#xD;&#xA;&#xD;&#xA;My primary resource for pro audio is [zZounds](http://www.zzounds.com/). This is raw personal preference--there are many sites like guitarcenter and musiciansfriend, but the thing I like about zZounds is the way they categorize their items--I find it very easy to find what I want and make comparisons to other similar pieces of equipment. (You'll want the &quot;Live Sound&quot; tab up at the top.)&#xD;&#xA;&#xD;&#xA;1. PA System (short for public address) comprised of Speakers, Amplifier, and Mixer&#xD;&#xA;2. Guitar Amp&#xD;&#xA;3. Bass Amp&#xD;&#xA;4. Microphone(s)&#xD;&#xA;&#xD;&#xA;**1.** Intentionally open-ended. You can get all of these components separately, but I really like systems with active loudspeakers (meaning, amplifier-integrated) that you can plug directly into a mixer. The popular Fender Passport systems are all of these in 1 (with an active _mixer_), but compromise significantly in quality. If you have an electronic keyboard, you can plug this directly into your PA instead of using a dedicated keyboard amp.&#xD;&#xA;&#xD;&#xA;**2.** Guitarists generally want a bit more control over their tone, and their sound is one you'll want to separate from your main PA.&#xD;&#xA;&#xD;&#xA;**3.** Same with bass, although the nature of their sound is less problematic to plug right into the PA, perhaps using a DI box, perhaps not.&#xD;&#xA;&#xD;&#xA;**4.** Get a Shure SM58 unless you can't afford it. No point in buying anything more expensive.&#xD;&#xA;&#xD;&#xA;- If no one sings and you have an acoustic piano, don't even bother with the PA--just tell the guitarists to turn it down (or put music in front of them--ha ha).&#xD;&#xA;&#xD;&#xA;**On pro audio brands**&#xD;&#xA;- I would never buy anything that says Nady on it (but that's just me). Behringer makes decent-quality equipment for cheap. A lot of their products are similar to those produced by Mackie, which is one of the best pro audio brands IMO. JBL makes great loudspeakers. Yamaha, as in every other industry, is consistent and good. Crown is known for amplifiers. Samson and Peavy I've never been too impressed with, but they're out there and not too expensive (Peavy's more known for guitar-related equipment, as is Fender). Hartke for bass amps? I don't really know. There are SO many opinions out there about these companies, and you can learn a HUGE amount just from browsing around the zZounds site.&#xD;&#xA;&#xD;&#xA;People can and have written volumes just on the topic of cables for either one of these equipment families. I'm not going to bother, but please don't buy Monster Cable." ContentLicense="CC BY-SA 3.0" />
  <row Id="44517" PostHistoryTypeId="2" PostId="25367" RevisionGUID="06cfa37b-20dc-4bbc-8bf1-29350513a5ab" CreationDate="2011-12-26T04:36:49.487" UserDisplayName="rabbid" Text="My father is building a home theater system in his new home. Since it will be sound proof he wants to use the room for playing music and dancing as well. So now I am tasked to find a sound system suitable for watching movies, listening to music, as well as playing instruments. &#xD;&#xA;&#xD;&#xA;As a side note I am also tasked with choosing the instruments. I am almost blind about this. I play a bit of piano and guitar and suddenly he thinks I'm an expert in everything related to music. &#xD;&#xA;&#xD;&#xA; - Any suggestions please? &#xD;&#xA; - What brand is good? &#xD;&#xA; - What kind of system is needed? &#xD;&#xA; - What devices are essential? &#xD;&#xA;&#xD;&#xA;I imagine there needs to be a sound mixer of some kind." ContentLicense="CC BY-SA 3.0" />
  <row Id="44518" PostHistoryTypeId="1" PostId="25367" RevisionGUID="06cfa37b-20dc-4bbc-8bf1-29350513a5ab" CreationDate="2011-12-26T04:36:49.487" UserDisplayName="rabbid" Text="Sound system for home theater and band" ContentLicense="CC BY-SA 3.0" />
  <row Id="44519" PostHistoryTypeId="3" PostId="25367" RevisionGUID="06cfa37b-20dc-4bbc-8bf1-29350513a5ab" CreationDate="2011-12-26T04:36:49.487" UserDisplayName="rabbid" Text="&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44520" PostHistoryTypeId="36" PostId="25368" RevisionGUID="3716720f-7bfd-48ab-8f17-acc25ae234c4" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2896/sound-system-for-home-theater-and-band/2899#2899" />
  <row Id="44521" PostHistoryTypeId="36" PostId="25369" RevisionGUID="b1ab73ee-385f-4650-ba29-30edcdc0e340" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/51/do-any-of-the-popular-daws-allow-you-to-insert-a-pause-into-a-project" />
  <row Id="44522" PostHistoryTypeId="2" PostId="25370" RevisionGUID="56574e1a-b783-40ca-89d8-7bf27b82b275" CreationDate="2010-12-08T13:58:16.310" UserId="7592" UserDisplayName="Pelle ten Cate" Text="Pretty much every DAW I know of does not have this functionality. Although that wouldn't mean that it would be impossible. &#xD;&#xA;&#xD;&#xA;If - for instance - you need this functionality for use during a live show, you could get around this problem using MIDI. If you add a MIDI track to your project, that plays MIDI events that are somehow rerouted back to your DAW as a control surface, you could simply add the appropriate command on that track that tells your DAW to stop. Just make sure the track is enabled, and the routing is correct, and you should be good to go.&#xD;&#xA;&#xD;&#xA;Depending on what software you are using, you might even be able to do this with no additional hardware, but I am not sure about that at all, as MIDI is not my daily business." ContentLicense="CC BY-SA 2.5" />
  <row Id="44523" PostHistoryTypeId="2" PostId="25369" RevisionGUID="a0ec00a2-9962-4c72-9739-8b85271931a5" CreationDate="2010-12-07T21:19:55.053" UserId="7856" UserDisplayName="Corey" Text="Do any of the popular DAWs allow you to insert a &quot;pause&quot; into a project.&#xD;&#xA;&#xD;&#xA;So for example, I click &quot;play&quot; at the beginning of a file, and the DAW plays back the audio until it comes to a &quot;pause&quot; marker and then pauses itself, until I press play again." ContentLicense="CC BY-SA 2.5" />
  <row Id="44524" PostHistoryTypeId="1" PostId="25369" RevisionGUID="a0ec00a2-9962-4c72-9739-8b85271931a5" CreationDate="2010-12-07T21:19:55.053" UserId="7856" UserDisplayName="Corey" Text="Do any of the popular DAWs allow you to insert a &quot;pause&quot; into a project." ContentLicense="CC BY-SA 2.5" />
  <row Id="44525" PostHistoryTypeId="3" PostId="25369" RevisionGUID="a0ec00a2-9962-4c72-9739-8b85271931a5" CreationDate="2010-12-07T21:19:55.053" UserId="7856" UserDisplayName="Corey" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44526" PostHistoryTypeId="36" PostId="25370" RevisionGUID="f0919aaa-19e1-4f80-9b21-71cdd91d134f" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/51/do-any-of-the-popular-daws-allow-you-to-insert-a-pause-into-a-project/128#128" />
  <row Id="44527" PostHistoryTypeId="36" PostId="25371" RevisionGUID="180b91e9-0659-42df-8097-98bc2e5a6ed2" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/51/do-any-of-the-popular-daws-allow-you-to-insert-a-pause-into-a-project/154#154" />
  <row Id="44528" PostHistoryTypeId="36" PostId="25372" RevisionGUID="abc43b0b-4a80-4ca2-8180-99151e55c421" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/51/do-any-of-the-popular-daws-allow-you-to-insert-a-pause-into-a-project/1591#1591" />
  <row Id="44529" PostHistoryTypeId="2" PostId="25371" RevisionGUID="7c893067-a898-400d-aa67-560079c12dc7" CreationDate="2010-12-08T20:59:39.220" UserDisplayName="Nick H" Text="I believe it would be possible with Ableton Live. You could split up both parts of the track, pre-pause and post-pause, and put in about a .5 second (however small you can make it) silence which you would place the loop markers around. You would start the track with the loop activated, and the playback would get caught in the silence (paused) until you pressed the loop button, deactivating it." ContentLicense="CC BY-SA 2.5" />
  <row Id="44530" PostHistoryTypeId="2" PostId="25372" RevisionGUID="11fea8e0-4efa-4202-9619-f72f1c79111e" CreationDate="2011-06-14T20:16:48.953" UserId="17686" UserDisplayName="Daniel Cassidy" Text="FL Studio has this functionality, which it calls “Time Markers”:&#xD;&#xA;&#xD;&#xA; * In the **Playlist** window, click on the **playlist menu button** (the small triangle at the top left), and choose **Time Markers** &gt; **Add One**. Alternatively, press the shortcut keys **Alt+T**.&#xD;&#xA; * Give your Time Marker a name.&#xD;&#xA; * The new Time Marker appears near the top of the window, just below the time bar and above all the tracks.&#xD;&#xA; * Drag the Time Marker to wherever you want a pause. The Time Marker snaps to beats/bars/lines/cells according to the project snap settings and the zoom level. Hold down **alt** to disable snapping.&#xD;&#xA; * Right click on the Time Marker and choose **Pause**.&#xD;&#xA;&#xD;&#xA;During playback, when the song hits the Time Marker, it will automatically pause. Press the play button to resume.&#xD;&#xA;&#xD;&#xA;You can also use Time Markers to create loops, skip sections, to loop/end the song at an arbitrary point or just to attach notes to certain points-in-time.&#xD;&#xA;&#xD;&#xA;See also: http://flstudio.image-line.com/help/html/playlist.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="44531" PostHistoryTypeId="36" PostId="25373" RevisionGUID="eb847f75-2c8f-4a9d-be2f-2652b2c2715b" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/378/how-early-how-often-do-i-need-to-mix-down" />
  <row Id="44532" PostHistoryTypeId="36" PostId="25374" RevisionGUID="50b9907c-b892-4437-a226-3fb50b88cba0" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/378/how-early-how-often-do-i-need-to-mix-down/379#379" />
  <row Id="44533" PostHistoryTypeId="36" PostId="25375" RevisionGUID="d3b00bf1-870a-401d-b0b9-42351b0c45d4" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/378/how-early-how-often-do-i-need-to-mix-down/384#384" />
  <row Id="44534" PostHistoryTypeId="36" PostId="25376" RevisionGUID="28240583-7a7d-4df3-8005-e0c348c631f8" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/378/how-early-how-often-do-i-need-to-mix-down/918#918" />
  <row Id="44535" PostHistoryTypeId="2" PostId="25374" RevisionGUID="8575b975-8577-4c97-973c-cad632de24f0" CreationDate="2010-12-19T16:27:25.667" UserId="7218" Text="This is going to depend greatly on each individual person's creative sensibilities.&#xD;&#xA;For myself, I'm always doing rough mixing during the creative process, because I want to see how a new sound &quot;sits in the mix.&quot; So the mix is an integral part of my song-making. But this works better on &quot;old-school&quot; equipment (outboard synthesizers, effects and mixers), because there's no danger of running out of processor power.  If you try this on a computer, you may reach a point where you run out of processor power, and then you have to start committing things (like your drum-set) to two-track sub-mixes.&#xD;&#xA;&#xD;&#xA;I don't recall a situation where I had to throw away an idea or musical part because I couldn't fit it into the mix later.  That does happen, but it happens more often for musical reasons than mix reasons, because you can always pull back other instruments or thin out the mix to make it fit.  I don't see any waste in that; it's just part of the creative and learning process.  If you are composing and mixing on a computer, it's not like you're committing studio time at $150 an hour to throwaway ideas.&#xD;&#xA;&#xD;&#xA;In short, do what fits your creative sensibilities.  In time, you will develop enough experience to know if a sound you are creating can be easily incorporated into the mix later.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44536" PostHistoryTypeId="2" PostId="25375" RevisionGUID="d9cf9208-a4bd-463c-804b-0babb466db91" CreationDate="2010-12-19T23:34:28.693" UserDisplayName="Redbeard" Text="I think the short answer would be, never mix-down, yet constantly mix. &#xD;&#xA;&#xD;&#xA;The longer answer would be that you should try to evolve the mix of the track/song as you go without mixing down. Use sends to aux channels if necessary. I personally prefer in-line mastering and I tend to mix and master as I develop the track. &#xD;&#xA;&#xD;&#xA;The one exception to the 'mix down' -- at times -- especially on dance tracks you'd want to create compressed and equalized versions of each of the samples you use, to allow you to maximize the mixing volume of the track across all frequency ranges." ContentLicense="CC BY-SA 2.5" />
  <row Id="44537" PostHistoryTypeId="2" PostId="25376" RevisionGUID="ef8aa2d5-5735-4972-b7ec-24c032803b26" CreationDate="2011-02-25T22:29:15.273" UserDisplayName="Pedro Sobota" Text="I negotiate this by only working with pans during the initial 'ideas/basic tracks' phase. If something does not sound exciting right off the bat, it's probably never going to (unless you mangle hard with it, which is more work); by the same token, if the basic tracks are good, with only basic panning and minimal fussing the mix tends to sound good, too.&#xD;&#xA;&#xD;&#xA;This has minimal impact on your early workflow.&#xD;&#xA;&#xD;&#xA;Then, you can leave the detailed treament for after you get this rough mix right." ContentLicense="CC BY-SA 2.5" />
  <row Id="44538" PostHistoryTypeId="2" PostId="25373" RevisionGUID="bd788fbc-ac8d-4655-ae7e-f332b676c995" CreationDate="2010-12-19T13:32:22.947" UserId="17859" UserDisplayName="daniel" Text="Mainly asking about electronic and house genres here:&#xD;&#xA;&#xD;&#xA;How much EQ/compression/panning/etc. tweaking should I expect to need once I've written my first few loops?  Does this depend on whether I'm assembling my own drum set or not?  Do some pre-assembled drum sets need more mixing down than others?&#xD;&#xA;&#xD;&#xA;I usually start writing house tracks by punching in a few 2 or 4-measure loops.  Sometimes I select my own drums, others I'll use a preset or artist drum set in Ableton or Maschine.  My friends have advised to always be mixing down, even during this initial layout phase, but I kind of feel like it interrupts the creative flow.  The rationale is that ideas that seem ok might be impossible to mix-down at later phases, and you end up wasting time on an untenable idea.&#xD;&#xA;&#xD;&#xA;I know this probably varies by person and setup, so I'd like to see if there are any good rules or benchmarks for knowing if/when you need to mixdown early." ContentLicense="CC BY-SA 2.5" />
  <row Id="44539" PostHistoryTypeId="1" PostId="25373" RevisionGUID="bd788fbc-ac8d-4655-ae7e-f332b676c995" CreationDate="2010-12-19T13:32:22.947" UserId="17859" UserDisplayName="daniel" Text="How early, how often do I need to mix-down?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44540" PostHistoryTypeId="3" PostId="25373" RevisionGUID="bd788fbc-ac8d-4655-ae7e-f332b676c995" CreationDate="2010-12-19T13:32:22.947" UserId="17859" UserDisplayName="daniel" Text="&lt;mixing&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44541" PostHistoryTypeId="36" PostId="25377" RevisionGUID="8098861a-4794-463f-a65c-b8c38ffe6192" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3780/what-equiment-software-does-skrillex-use" />
  <row Id="44542" PostHistoryTypeId="2" PostId="25378" RevisionGUID="4fdb69e5-73bc-49d0-83b1-82af3c1d729c" CreationDate="2012-04-20T10:55:08.623" UserId="7016" Text="He uses software and hardware synths - including his main one, the FM8.&#xD;&#xA;&#xD;&#xA;Some speculation on the dubstep forum that he uses Guitar Rig for some distortion effects.&#xD;&#xA;&#xD;&#xA;To be honest this is probably the best source for information: [How To Sound Like Skrillex &amp; Make Skrillex Bass][1] - a plethora of links, tutorials and discussion.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dubstepforum.com/viewtopic.php?f=8&amp;t=198681" ContentLicense="CC BY-SA 3.0" />
  <row Id="44543" PostHistoryTypeId="2" PostId="25377" RevisionGUID="254cd174-a16e-45f5-94da-a825121b4b39" CreationDate="2012-04-19T16:58:46.590" UserDisplayName="hydroparadise" Text="Does anybody out there know what kind of equipment skrillex uses to make his mixes fused with dubstep?  Is it purely software or does use a mixed setup?  I am curious how he sets up his samples, and then drops with gnarly screams, scrathes, and other noise effects he throws on his tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="44544" PostHistoryTypeId="1" PostId="25377" RevisionGUID="254cd174-a16e-45f5-94da-a825121b4b39" CreationDate="2012-04-19T16:58:46.590" UserDisplayName="hydroparadise" Text="What equiment/software does Skrillex use?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44545" PostHistoryTypeId="3" PostId="25377" RevisionGUID="254cd174-a16e-45f5-94da-a825121b4b39" CreationDate="2012-04-19T16:58:46.590" UserDisplayName="hydroparadise" Text="&lt;sound-effects&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44546" PostHistoryTypeId="36" PostId="25378" RevisionGUID="6d8054f0-4d39-4848-a563-c6018a366bd2" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3780/what-equiment-software-does-skrillex-use/3784#3784" />
  <row Id="44547" PostHistoryTypeId="36" PostId="25379" RevisionGUID="8ef220bf-dddf-42db-ab15-34c9ba5bbd1a" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3780/what-equiment-software-does-skrillex-use/4079#4079" />
  <row Id="44548" PostHistoryTypeId="2" PostId="25379" RevisionGUID="bc17589e-4827-4cea-8957-78cef8b222e2" CreationDate="2012-05-28T22:39:08.210" UserDisplayName="suderama" Text="At a broad level, he uses Ableton Live, which is popular with many similar producers such as Deadmau5. He also uses a Pioneer DJM 800 mixer and an EFX 1000 for effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="44549" PostHistoryTypeId="36" PostId="25380" RevisionGUID="ab0da1ea-f857-4d93-a968-a49a86fcc4b5" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4799/does-buying-komplete-8-help-me-at-all-if-i-already-own-ableton" />
  <row Id="44550" PostHistoryTypeId="2" PostId="25381" RevisionGUID="c08c8cfb-f6af-4312-a075-f2017b5b49ba" CreationDate="2012-09-21T23:35:47.550" UserId="7189" Text="Komplete includes a *lot* of samples, but it also includes several great synths and some effects.&#xD;&#xA;&#xD;&#xA;Some specifics:&#xD;&#xA;&#xD;&#xA;- **FM8** is a six-operator FM synth with arbitrary routings (including feedback) for all operators. Much more powerful than Operator, but also more complicated to get your head around.&#xD;&#xA;- **Massive** and **Absynth** are powerful subtractive synths that go well beyond what Analog can do.&#xD;&#xA;- **Reaktor** is what got me into Komplete in the first place. It is a highly flexible modular environment with a *great* library of synths and FX. Reaktor alone is worth the price of admission, though FM8, Massive and Absynth are faster to work with when they do what you need.&#xD;&#xA;- **Guitar Rig** is a box of guitar pedal simulators. Great for quickly trying out FX. Despite the name, Guitar Rig is GREAT for use with synths.&#xD;&#xA;&#xD;&#xA;That said, you can do a *lot* with the synths and FX included in Live. If you aren't sure why you need Komplete (or, anything, really) then don't buy it until you do. NI tends to release new versions of Komplete frequently, so it is possible that K9 is just around the corner." ContentLicense="CC BY-SA 3.0" />
  <row Id="44551" PostHistoryTypeId="2" PostId="25380" RevisionGUID="eb7833b3-6468-4e4e-9e5b-aadf5e7dd69e" CreationDate="2012-09-21T22:36:18.937" UserDisplayName="samoz" Text="Don't yell at me for asking a stupid question if this is dumb. &#xD;&#xA;&#xD;&#xA;I just started making music and I have been using Ableton the whole time. I was going to buy a Maschine controller so I can stop using my mouse and saw that there is some discount if I also get Komplete. However, I don't really understand what Komplete is I think. The impression that I get is it a collection of samples for various instruments.&#xD;&#xA;&#xD;&#xA;So what kind of benefits will Komplete give me if I am using Ableton and a Maschine controller?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44552" PostHistoryTypeId="1" PostId="25380" RevisionGUID="eb7833b3-6468-4e4e-9e5b-aadf5e7dd69e" CreationDate="2012-09-21T22:36:18.937" UserDisplayName="samoz" Text="Does buying Komplete 8 help me at all if I already own Ableton?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44553" PostHistoryTypeId="3" PostId="25380" RevisionGUID="eb7833b3-6468-4e4e-9e5b-aadf5e7dd69e" CreationDate="2012-09-21T22:36:18.937" UserDisplayName="samoz" Text="&lt;ableton&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44554" PostHistoryTypeId="36" PostId="25381" RevisionGUID="bb2b3f73-a112-4324-a936-f643451ce1b0" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4799/does-buying-komplete-8-help-me-at-all-if-i-already-own-ableton/4800#4800" />
  <row Id="44555" PostHistoryTypeId="36" PostId="25382" RevisionGUID="147bb23f-da8d-4093-9f76-9c173b3857f8" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4799/does-buying-komplete-8-help-me-at-all-if-i-already-own-ableton/8255#8255" />
  <row Id="44556" PostHistoryTypeId="2" PostId="25382" RevisionGUID="f029cbb9-837a-45ca-8189-fadbea1b27fe" CreationDate="2013-06-28T22:17:27.143" UserId="8159" UserDisplayName="Jamil" Text="Komplete is a collection of samplers (Kontakt and Battery), synthesizers (Massive, Absynth, Reaktor (which contains a few), and FM8), and effects (Guitar Rig). &#xD;&#xA;&#xD;&#xA;These are all off the top of my head. If you like those items, then I'd buy it. If you only want one or two of those, you can get those separately and not have to buy everything. If you are in no need of any of those, then don't buy it. From what I understand, Ableton comes with a lot to work with by default. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44557" PostHistoryTypeId="36" PostId="25383" RevisionGUID="9dfc2cfb-4116-4ed7-9f4f-e3cc9bf87b56" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6973/pro-tools-freeware-replacment" />
  <row Id="44558" PostHistoryTypeId="2" PostId="25384" RevisionGUID="473c7e42-7327-43ea-b279-c257e4dc6e05" CreationDate="2013-01-28T01:46:37.847" UserDisplayName="JPollock" Text="Your top choice for truly free (ie nonpropietary, and no license fee) is Ardour. Ardour is not incredibly simple to get setup, especially with VST support. It's not super difficult, but before you try it, I'd recomend reading about how to install it, add VST support and also about JACK, which it uses as its audio engine.&#xD;&#xA;&#xD;&#xA;You should also take a look at Reaper. It's not free in either sense, it is propitiatory, though it is super customization, and it requires a paid license. The license is both inexpensive ($60) and if you don't have a license everything works, perpetually, you just get a nag screen. Reaper can do most everything any other DAW does as-is or with an extra download form the site." ContentLicense="CC BY-SA 3.0" />
  <row Id="44559" PostHistoryTypeId="2" PostId="25383" RevisionGUID="e8580df3-7515-4590-9c86-8904bff9ad2a" CreationDate="2013-01-27T23:21:54.633" UserDisplayName="Joel B" Text="[Many people][1] believe Pro Tools to be the standard in high end audio production.  Can anyone recommend a free replacement that has as many of the essential features of Pro Tools as possible?  I completely understand that something free will not completely (or possibly even remotely) emulate the feature set of such an advanced DAW.  What I'm asking for is the next best thing in the freeware world, before I leap off the Pro Tools cliff.  Maybe a different direction to ask this question from could be, &quot;If I plan on going the Pro Tools route in the future, which freeware DAW will help me on that migration path by providing the easiest transition to Pro Tools?&quot;&#xD;&#xA;&#xD;&#xA;If it helps I'm currently using Audacity.  I'm interesting in getting into VST instruments to generate instrumentals.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/898/why-is-pro-tools-the-industry-standard-in-high-end-audio-production" ContentLicense="CC BY-SA 3.0" />
  <row Id="44560" PostHistoryTypeId="1" PostId="25383" RevisionGUID="e8580df3-7515-4590-9c86-8904bff9ad2a" CreationDate="2013-01-27T23:21:54.633" UserDisplayName="Joel B" Text="Pro Tools Freeware Replacment" ContentLicense="CC BY-SA 3.0" />
  <row Id="44561" PostHistoryTypeId="3" PostId="25383" RevisionGUID="e8580df3-7515-4590-9c86-8904bff9ad2a" CreationDate="2013-01-27T23:21:54.633" UserDisplayName="Joel B" Text="&lt;daw&gt;&lt;pro-tools&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44562" PostHistoryTypeId="36" PostId="25384" RevisionGUID="69aa8896-6467-476d-af65-e74eb259b4ac" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6973/pro-tools-freeware-replacment/6974#6974" />
  <row Id="44563" PostHistoryTypeId="36" PostId="25385" RevisionGUID="2d2a8316-08f6-4222-ae0b-cc8fb1e229da" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/18/linux-digital-recording-audacity-or-ardour" />
  <row Id="44564" PostHistoryTypeId="2" PostId="25386" RevisionGUID="f3cebe02-a035-4a97-b7f0-589b364e0698" CreationDate="2010-12-07T21:09:37.093" UserId="7856" UserDisplayName="Corey" Text="I believe Audacity is intended for stereo recording and basic editing.&#xD;&#xA;&#xD;&#xA;Ardour is aimed at the traditional DAW market, like other products such as Sonar &amp; ProTools.&#xD;&#xA;&#xD;&#xA;If you are looking to produce a podcast, Audacity is probably the best tool.&#xD;&#xA;If you are looking to produce a musical album, Ardour is probably the best tool." ContentLicense="CC BY-SA 2.5" />
  <row Id="44565" PostHistoryTypeId="2" PostId="25385" RevisionGUID="11acb94d-91cc-4e0a-b7b1-97e113355f09" CreationDate="2010-12-07T20:39:33.187" UserId="13188" UserDisplayName="Mark Henderson" Text="We're evaluating options for a live recording setup in a church. Because the budget is tight, we're looking at running Linux with two Delta 1010's.&#xD;&#xA;&#xD;&#xA;So far I've [Audacity][1] and [Ardour][2]. So far I'm leaning towards Ardour because it's got a more familiar environment for our uses, and it's bundled with a flavour of Ubuntu.&#xD;&#xA;&#xD;&#xA;What other pieces of software are out there for Linux?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/&#xD;&#xA;  [2]: http://ardour.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="44566" PostHistoryTypeId="1" PostId="25385" RevisionGUID="11acb94d-91cc-4e0a-b7b1-97e113355f09" CreationDate="2010-12-07T20:39:33.187" UserId="13188" UserDisplayName="Mark Henderson" Text="Linux digital recording — Audacity or Ardour?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44567" PostHistoryTypeId="3" PostId="25385" RevisionGUID="11acb94d-91cc-4e0a-b7b1-97e113355f09" CreationDate="2010-12-07T20:39:33.187" UserId="13188" UserDisplayName="Mark Henderson" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44568" PostHistoryTypeId="36" PostId="25386" RevisionGUID="4ae598c4-5ace-4979-b524-32033ce1c8ec" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/18/linux-digital-recording-audacity-or-ardour/43#43" />
  <row Id="44569" PostHistoryTypeId="36" PostId="25387" RevisionGUID="4e938552-61f4-4e04-981c-3f07ecfe5394" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/18/linux-digital-recording-audacity-or-ardour/137#137" />
  <row Id="44570" PostHistoryTypeId="36" PostId="25388" RevisionGUID="fe6f3972-b38a-40e1-a03b-6102327584e6" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/18/linux-digital-recording-audacity-or-ardour/140#140" />
  <row Id="44571" PostHistoryTypeId="2" PostId="25387" RevisionGUID="2ae2f7f6-8742-42a1-bcd0-070b754aec1a" CreationDate="2010-12-08T16:42:31.333" UserDisplayName="oracle certified professional" Text="Rosegarden is an alternative http://www.rosegardenmusic.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="44572" PostHistoryTypeId="2" PostId="25388" RevisionGUID="8d394fab-81ca-452d-a70e-728450a09f9b" CreationDate="2010-12-08T17:09:48.247" UserId="4012" Text="Audacity's recording capabilities are very very limited, and it can't record multiple tracks simultaneously (one 5.1 track - yes, 2 solo voices - no). It's only suitable for recording radio shows or lp/cassette conversions or may be your church program live, one mic non-stop.&#xD;&#xA;&#xD;&#xA;Ardour works great. probably the best choice, and there's *Jokosher*&#xD;&#xA;&#xD;&#xA;*Reaper* can be made to work in linux. Not free, but uncrippled, unexpiring trial version available. " ContentLicense="CC BY-SA 2.5" />
  <row Id="44573" PostHistoryTypeId="36" PostId="25389" RevisionGUID="0fb36574-41aa-4282-b912-494958440bb7" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1666/what-filter-or-process-should-i-apply-to-voice-to-make-it-sound-like-the-listene" />
  <row Id="44574" PostHistoryTypeId="2" PostId="25390" RevisionGUID="0f4eaab3-851e-4d5e-983c-edb904a438d2" CreationDate="2011-06-29T17:53:28.923" UserDisplayName="Jon Galloway" Text="I'd look for a VST plugin with a water preset. Several of them are discussed here: http://www.kvraudio.com/forum/viewtopic.php?t=174619&#xD;&#xA;&#xD;&#xA;I think several effects are required reverb, pitch sweeps, etc.&#xD;&#xA;&#xD;&#xA;Some generic underwater effects recommendations here: [http://www.musicofsound.co.nz/blog/underwater][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicofsound.co.nz/blog/underwater" ContentLicense="CC BY-SA 3.0" />
  <row Id="44575" PostHistoryTypeId="2" PostId="25389" RevisionGUID="0ea77e2c-655d-4b6e-94f2-c00230c5d54f" CreationDate="2011-06-28T18:58:53.460" UserId="11213" UserDisplayName="MatthewMartin" Text="The goal is to alter the sound of voice so it sounds as the listener is underwater or in the womb.&#xD;&#xA;&#xD;&#xA;I've got some experience with Audacity, so I'm most interested in how to do it using Audacity.&#xD;&#xA;&#xD;&#xA;And here is the link to the original question that [inspired this question][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://tech.groups.yahoo.com/group/conlang/message/180800" ContentLicense="CC BY-SA 3.0" />
  <row Id="44576" PostHistoryTypeId="1" PostId="25389" RevisionGUID="0ea77e2c-655d-4b6e-94f2-c00230c5d54f" CreationDate="2011-06-28T18:58:53.460" UserId="11213" UserDisplayName="MatthewMartin" Text="What filter or process should I apply to voice to make it sound like the listener is underwater?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44577" PostHistoryTypeId="3" PostId="25389" RevisionGUID="0ea77e2c-655d-4b6e-94f2-c00230c5d54f" CreationDate="2011-06-28T18:58:53.460" UserId="11213" UserDisplayName="MatthewMartin" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44578" PostHistoryTypeId="36" PostId="25390" RevisionGUID="467ed77e-60a8-472d-94db-48ff471b14a9" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1666/what-filter-or-process-should-i-apply-to-voice-to-make-it-sound-like-the-listene/1672#1672" />
  <row Id="44579" PostHistoryTypeId="36" PostId="25391" RevisionGUID="85db145c-e9ab-4eaf-b9f7-7152c7cf08b0" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/220/audio-software-with-alternative-user-interfaces-e-g-not-mimicking-a-mixer" />
  <row Id="44580" PostHistoryTypeId="36" PostId="25392" RevisionGUID="31ef2a99-0dd2-405c-96a9-ce0a047b83ab" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/220/audio-software-with-alternative-user-interfaces-e-g-not-mimicking-a-mixer/221#221" />
  <row Id="44581" PostHistoryTypeId="36" PostId="25393" RevisionGUID="4ac6d981-9e00-4add-83a6-a4dbb89c81f8" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/220/audio-software-with-alternative-user-interfaces-e-g-not-mimicking-a-mixer/231#231" />
  <row Id="44582" PostHistoryTypeId="36" PostId="25394" RevisionGUID="4d1d0926-0ca6-4e36-9e7d-46f46b0b6b85" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/220/audio-software-with-alternative-user-interfaces-e-g-not-mimicking-a-mixer/399#399" />
  <row Id="44583" PostHistoryTypeId="36" PostId="25395" RevisionGUID="e05bc125-4f2e-42f3-8034-c2b882deb86e" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/220/audio-software-with-alternative-user-interfaces-e-g-not-mimicking-a-mixer/409#409" />
  <row Id="44585" PostHistoryTypeId="36" PostId="25397" RevisionGUID="36527304-f5ea-4a59-bbcb-8f69bba1a660" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/220/audio-software-with-alternative-user-interfaces-e-g-not-mimicking-a-mixer/1122#1122" />
  <row Id="44586" PostHistoryTypeId="36" PostId="25398" RevisionGUID="c966a50f-dfb3-4c75-aac6-db30c39570b6" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/220/audio-software-with-alternative-user-interfaces-e-g-not-mimicking-a-mixer/1128#1128" />
  <row Id="44587" PostHistoryTypeId="2" PostId="25392" RevisionGUID="1b3f12dd-2533-4327-ae32-dc5dd155fdda" CreationDate="2010-12-10T16:22:33.353" UserId="7294" UserDisplayName="Warrior Bob" Text="I'm a big fan of [**Ableton Live**][1] which, while it still uses the tracks/mixer paradigm, doesn't really feel like it because of a &quot;session view&quot; feature which makes it feel more like a looping program than a traditional timeline-based DAW.  While it still uses virtual knobs everywhere, it's quite easy to control most of its parameters with outboard MIDI controllers, which largely eliminates the mouse issue.  It's perhaps not quite as un-traditional as you might be looking for, but it does move in that direction.&#xD;&#xA;&#xD;&#xA;There's also [**Renoise**][2] which is like an evolution of the old demoscene trackers, where instead of recording sounds on a horizontal timeline (mimicing a tape machine), you program sounds in vertical tracks to control either sample or plugin behavior.  It seems more a sequencer than a DAW.  I haven't personally used this one.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ableton.com/&#xD;&#xA;  [2]: http://www.renoise.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="44588" PostHistoryTypeId="2" PostId="25393" RevisionGUID="db8b3c8e-f021-47e2-bb9f-26fc75e263c9" CreationDate="2010-12-11T14:12:31.387" UserDisplayName="Pierre 303" Text="I'm a big fan of **buttons**. The [more buttons][1] I have, the more [happy][2] I'm.&#xD;&#xA;&#xD;&#xA;I think it's impossible to reproduce the feeling of rotating, pressing, touching buttons on a screen, even a touch screen.&#xD;&#xA;&#xD;&#xA;That's why I would recommend you to have a look at external midi controllers such as [Axiom series][3] from M-Audio or [Akai APC40][4] that has been desiged for Ableton.&#xD;&#xA;&#xD;&#xA;You will be able to use the power of computer audio and keep the power of the feeling of touching things ;)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.synthesizers.com/gsynthi1.jpg&#xD;&#xA;  [2]: http://www.synthtopia.com/content/wp-content/uploads/2010/11/jean-jacques-perrey-biography.jpg&#xD;&#xA;  [3]: http://www.m-audio.com/index.php?do=products.family&amp;ID=USBkeyboardcontrollers&#xD;&#xA;  [4]: http://www.akaipro.com/apc40" ContentLicense="CC BY-SA 2.5" />
  <row Id="44589" PostHistoryTypeId="2" PostId="25394" RevisionGUID="6313c3d6-a569-4602-842a-18d8acc33514" CreationDate="2010-12-20T17:51:53.790" UserDisplayName="Jörg W Mittag" Text="One of the most extreme examples is probably [Ecasound][1], which uses the Unix command-line as its user interface.&#xD;&#xA;  [1]: http://Eca.Cx/ecasound/" ContentLicense="CC BY-SA 2.5" />
  <row Id="44590" PostHistoryTypeId="2" PostId="25395" RevisionGUID="a7c06499-0a74-4ce5-aca3-e377ac1815b0" CreationDate="2010-12-21T15:55:50.130" UserId="7209" Text="You can always control your DAW over MIDI, and then use any software or hardware for your interface that you want.  That way, you don't lose any features or quality, but can get alternative control.&#xD;&#xA;&#xD;&#xA;I wrote some software awhile back that enables me to use brainwaves to control Ableton Live, among other things, utilizing an OCZ NIA for the hardware.  http://www.musatcha.com/software/MindMasterMIDI/&#xD;&#xA;&#xD;&#xA;Of course, it would take a lot of practice (nearly impossible) with that before you could get really fine control for recording purposes.  I mainly use it for tweaking effects, or spinning up the Leslie's on Native Instruments B4, so I don't have to take my hands away from the keyboard." ContentLicense="CC BY-SA 2.5" />
  <row Id="44592" PostHistoryTypeId="2" PostId="25397" RevisionGUID="795b798e-7ba8-48ac-a953-cacc799d91be" CreationDate="2011-04-01T07:44:15.217" UserDisplayName="user708" Text="Not a DAW, but well worth mentioning: [Synplant][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soniccharge.com/synplant" ContentLicense="CC BY-SA 2.5" />
  <row Id="44593" PostHistoryTypeId="2" PostId="25398" RevisionGUID="0842fcea-7869-4beb-9f9d-f28f6c5baaff" CreationDate="2011-04-04T12:00:53.727" UserDisplayName="bluszcz" Text="You can check energyXT &lt;- its using typical DAW layout (horizontal), but is much more user friendly (and simpler) than most daws." ContentLicense="CC BY-SA 2.5" />
  <row Id="44594" PostHistoryTypeId="2" PostId="25391" RevisionGUID="283ecf2f-aa60-465d-ba52-2ca70ee2fb98" CreationDate="2010-12-10T15:58:48.293" UserDisplayName="davetron5000" Text="Most audio software mimics a &quot;real&quot; device; most notably, a mixing console.  I find this makes things easy to learn and transfer, but is less optimal when using a mouse.&#xD;&#xA;&#xD;&#xA;What audio software exists that uses alternative user interfaces?  I'm mostly interested in DAWs or sequencers rather than plugins." ContentLicense="CC BY-SA 2.5" />
  <row Id="44595" PostHistoryTypeId="1" PostId="25391" RevisionGUID="283ecf2f-aa60-465d-ba52-2ca70ee2fb98" CreationDate="2010-12-10T15:58:48.293" UserDisplayName="davetron5000" Text="Audio software with alternative user interfaces (e.g. not mimicking a mixer)" ContentLicense="CC BY-SA 2.5" />
  <row Id="44596" PostHistoryTypeId="3" PostId="25391" RevisionGUID="283ecf2f-aa60-465d-ba52-2ca70ee2fb98" CreationDate="2010-12-10T15:58:48.293" UserDisplayName="davetron5000" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44597" PostHistoryTypeId="36" PostId="25399" RevisionGUID="a147e203-b860-4c6c-b4c3-1c58ef94b5ac" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5650/how-to-record-audio-in-ableton" />
  <row Id="44598" PostHistoryTypeId="36" PostId="25400" RevisionGUID="ce8a39d4-906a-4044-afc0-5785c75c6b8b" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5650/how-to-record-audio-in-ableton/5653#5653" />
  <row Id="44599" PostHistoryTypeId="36" PostId="25401" RevisionGUID="e20a166b-9c3c-4095-9584-5870474b69fb" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5650/how-to-record-audio-in-ableton/8864#8864" />
  <row Id="44600" PostHistoryTypeId="2" PostId="25400" RevisionGUID="6b61c28a-f198-4c86-9355-382535b92ea0" CreationDate="2012-12-23T01:50:21.717" UserId="7189" Text="1. Go to Preferences and make sure your audio interface is selected for input. You can select a different interface for input and output, so being able to hear VSTs coming out your interface doesn't ensure that Ableton is configured correctly. Also note that if you start Ableton up with the audio interface unplugged, Ableton will forget about it, and you will have to select it again.&#xD;&#xA;2. Pick an Audio track, or create a new one&#xD;&#xA;3. Click the Record button at the bottom of the track - this is the rectangle with a circle in it.&#xD;&#xA;4. Use the Audio From boxes to select your audio interface and the correct input. If you make some noise into the mic, you should see the meter bounce around in resposne.&#xD;&#xA;5. Hit the record button at the top of the screen to arm recording&#xD;&#xA;6. Hit the play button to actually start recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="44601" PostHistoryTypeId="2" PostId="25401" RevisionGUID="b7286a04-238b-45f6-b3f6-eb513e4f6fb9" CreationDate="2013-09-02T15:53:37.003" UserDisplayName="Jaskey" Text="![This shows the record enabled track][1]One thing that may help you that no-one has pointed out (sorry if you have already done this) is have you got your track record-ready?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/M4QWE.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="44602" PostHistoryTypeId="2" PostId="25399" RevisionGUID="4364b769-2002-4ce1-bc77-60f5944ea6f6" CreationDate="2012-12-22T16:05:52.100" UserDisplayName="David Aizenberg" Text="How do i record audio from mic with **Ableton** Live?&#xD;&#xA;Mic is connected to Line-In port of external audio card, card itself is recognized perfectly as i can hear VST's and such;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44603" PostHistoryTypeId="1" PostId="25399" RevisionGUID="4364b769-2002-4ce1-bc77-60f5944ea6f6" CreationDate="2012-12-22T16:05:52.100" UserDisplayName="David Aizenberg" Text="How to record audio in Ableton?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44604" PostHistoryTypeId="3" PostId="25399" RevisionGUID="4364b769-2002-4ce1-bc77-60f5944ea6f6" CreationDate="2012-12-22T16:05:52.100" UserDisplayName="David Aizenberg" Text="&lt;ableton&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44605" PostHistoryTypeId="36" PostId="25402" RevisionGUID="cc2dcac7-2952-4455-92b4-2aebae14c27d" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2351/connecting-ordinary-3-5mm-speakers-to-s-pdif" />
  <row Id="44606" PostHistoryTypeId="2" PostId="25403" RevisionGUID="18118583-1b21-4794-92d2-8c92a9f3a9c9" CreationDate="2011-09-21T22:27:35.607" UserId="7294" UserDisplayName="Warrior Bob" Text="You can't connect them with an ordinary audio adapter like one might expect, because the signals are fundamentally different. Your computer speakers expect an analog audio signal, but S/PDIF is a digital format.&#xD;&#xA;&#xD;&#xA;So you'll need some kind of device to accept digital S/PDIF in and translate it into analog audio out. I wouldn't know what to call them if I were trying to go find a device for this specific purpose, but many recording interfaces include S/PDIF and can perform this function, so I imagine they exist." ContentLicense="CC BY-SA 3.0" />
  <row Id="44607" PostHistoryTypeId="2" PostId="25402" RevisionGUID="71978973-76b8-483e-a84a-21ca19208e8c" CreationDate="2011-09-21T17:45:56.987" UserDisplayName="Nishant" Text="Not sure if this is the best place for this question, but here goes anyway. I recently got myself the [Logitech Revue][1] to stream Netflix etc. However, my TV has extremely poor 7W speakers and that makes me want to use my computer's speakers (2.1). Now the Revue only has an Audio optical output (S/PDIF) and my computer's speakers use a 3.5mm jack. Does anyone know of a way to connect these, or if it's even possible?&#xD;&#xA;TIA!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.logitech.com/en-us/smartTV/accessories/devices/revue-tvcam-bundle?WT.mc_id=AMR_Revue_Branded_GAW_Q2_FY12&amp;WT.srch=1&amp;gclid=CNeWpZXwrqsCFQw65QodOiYfIw" ContentLicense="CC BY-SA 3.0" />
  <row Id="44608" PostHistoryTypeId="1" PostId="25402" RevisionGUID="71978973-76b8-483e-a84a-21ca19208e8c" CreationDate="2011-09-21T17:45:56.987" UserDisplayName="Nishant" Text="Connecting ordinary 3.5mm speakers to S/PDIF?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44609" PostHistoryTypeId="3" PostId="25402" RevisionGUID="71978973-76b8-483e-a84a-21ca19208e8c" CreationDate="2011-09-21T17:45:56.987" UserDisplayName="Nishant" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44610" PostHistoryTypeId="36" PostId="25403" RevisionGUID="596d38f4-d326-4f93-b081-908165176763" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2351/connecting-ordinary-3-5mm-speakers-to-s-pdif/2352#2352" />
  <row Id="44611" PostHistoryTypeId="36" PostId="25404" RevisionGUID="74fb6101-a559-4044-9a22-fd32a048b073" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/111/what-is-are-the-first-effects-i-should-put-on-raw-vocal-recordings" />
  <row Id="44612" PostHistoryTypeId="2" PostId="25405" RevisionGUID="f6d2acf7-4b7c-4d1b-8e52-20d38a180992" CreationDate="2010-12-08T10:05:19.210" UserDisplayName="Ed J" Text="Definitely EQ. if you're not using a super-high quality mic then there's going to be a need for frequency compensation, and a good bit of EQing can make even simply lightly-reverbed vocal tracks sit much nicer in your mix.&#xD;&#xA;&#xD;&#xA;Also, don't drown your vocals in FX (unless that's the aim of the track, or you're using a vocoder ;) ). A good plate reverb, maybe a smidgen of delay (with automation to accentuate key words/sounds) and a little EQ will generally do the business." ContentLicense="CC BY-SA 2.5" />
  <row Id="44613" PostHistoryTypeId="2" PostId="25404" RevisionGUID="b3f7a8a1-9eab-4b9f-a48c-74f6642a33b1" CreationDate="2010-12-08T09:45:16.380" UserDisplayName="jeebs" Text="The main problem my finished tracks have is a poor quality vocal sound. I generally try to apply a dynamic range compression filter first and then add some reverb/chorus as appropriate but I can never get results that are good enough. What do you suggest is the best way to treat a good, untouched vocal take?&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44614" PostHistoryTypeId="1" PostId="25404" RevisionGUID="b3f7a8a1-9eab-4b9f-a48c-74f6642a33b1" CreationDate="2010-12-08T09:45:16.380" UserDisplayName="jeebs" Text="What is/are the first effect(s) I should put on raw vocal recordings?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44615" PostHistoryTypeId="3" PostId="25404" RevisionGUID="b3f7a8a1-9eab-4b9f-a48c-74f6642a33b1" CreationDate="2010-12-08T09:45:16.380" UserDisplayName="jeebs" Text="&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44616" PostHistoryTypeId="36" PostId="25405" RevisionGUID="a749940a-7570-42db-a90b-bdc3294650cc" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/111/what-is-are-the-first-effects-i-should-put-on-raw-vocal-recordings/113#113" />
  <row Id="44617" PostHistoryTypeId="36" PostId="25406" RevisionGUID="256c693c-8417-4bf3-bd69-41791fd593a0" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/111/what-is-are-the-first-effects-i-should-put-on-raw-vocal-recordings/120#120" />
  <row Id="44618" PostHistoryTypeId="36" PostId="25407" RevisionGUID="47ec1c3d-99b6-4372-bc57-7e52b5b3142f" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/111/what-is-are-the-first-effects-i-should-put-on-raw-vocal-recordings/921#921" />
  <row Id="44619" PostHistoryTypeId="2" PostId="25406" RevisionGUID="ee2c5f96-6b38-416b-b088-ab960f17ad0b" CreationDate="2010-12-08T12:54:44.073" UserId="7592" UserDisplayName="Pelle ten Cate" Text="What happened to dynamics?&#xD;&#xA;&#xD;&#xA;Depending on the situation, I use the following:&#xD;&#xA;&#xD;&#xA;EQ -&gt; A little compression -&gt; [monitor out for singer] -&gt; Multiband compression aka de-esser -&gt; compression -&gt; reverb&#xD;&#xA;&#xD;&#xA;Everything pre-fader except for the reverb. &#xD;&#xA;&#xD;&#xA;The first compressor is just making things a bit more comfortable for the singer and really shouldn't do much. The de-esser is not always necessary, but some singers need it, especially when recorded with a large diaphragm condenser. It should not be set up to make a huge difference either. The last compressor actually does the 'real' job. :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="44620" PostHistoryTypeId="2" PostId="25407" RevisionGUID="8f1ef6eb-94ee-44ad-ae7e-4ac1759b633f" CreationDate="2011-02-26T00:18:05.683" UserDisplayName="Pedro Sobota" Text="Compression, for me. Properly adjusted, will make your vocal more punchy giving a bit more impact to the song, as vocals are the most noticed things to listeners.&#xD;&#xA;&#xD;&#xA;A very good sounding, easy and cheap compressor is in [TB Ferox][1]. Notice this will also bring up whatever is between the words, such as background noise.&#xD;&#xA;&#xD;&#xA;If the voice is a bit muffled, you can try adding EQ above 15 kHz or such. It will sound more aggresive.&#xD;&#xA;&#xD;&#xA;Generally, however, other FX won't help with a not so good voice recording. If you feel the voice can't be made to sound decent, you definitely need a better recorded sound, probably in the order: better mic &gt; better preamp &gt; better room (taking the actual singer's voice out of the equation).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.toneboosters.com/tb-ferox/ &quot;TB Ferox&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44621" PostHistoryTypeId="36" PostId="25408" RevisionGUID="c692aa10-f1b6-4dee-a537-ffe10ca6c09b" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7443/is-it-possible-to-show-the-same-person-multiple-times-on-live-streaming" />
  <row Id="44622" PostHistoryTypeId="36" PostId="25409" RevisionGUID="3ad3fa96-394f-4752-a30c-6e5f06748aac" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7443/is-it-possible-to-show-the-same-person-multiple-times-on-live-streaming/7444#7444" />
  <row Id="44623" PostHistoryTypeId="36" PostId="25410" RevisionGUID="d33c3d8b-8087-4199-8803-d9590a8e5a3a" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7443/is-it-possible-to-show-the-same-person-multiple-times-on-live-streaming/7445#7445" />
  <row Id="44624" PostHistoryTypeId="2" PostId="25409" RevisionGUID="37a09847-0bfa-4c59-b416-7850edb85ccf" CreationDate="2013-03-20T22:11:38.847" UserId="7188" Text="Caution: I have never tried this but as a Tech it makes total sense for me to recommend you try it at least at a store or venue where you test it out first to be sure you have the right duck.&#xD;&#xA;&#xD;&#xA;A video mixer would allow you to take recorded material and live material and combine them into one video signal to feed to your device that streams video.&#xD;&#xA;&#xD;&#xA;The gotchas:&#xD;&#xA;&#xD;&#xA;1) interface connections from recorded source and live camera source should be consider carefully.&#xD;&#xA;&#xD;&#xA;2) video encoding of recorded source and live source should be considered if not tested before purchasing. SD, HD, Codecs, Containers, etc.&#xD;&#xA;&#xD;&#xA;3) video mixers can be expensive: price ranges in the ballpark of $500 to $5000" ContentLicense="CC BY-SA 3.0" />
  <row Id="44625" PostHistoryTypeId="2" PostId="25410" RevisionGUID="d1354969-1dc1-4671-a8c8-ff72eae51104" CreationDate="2013-03-20T23:43:59.160" UserId="7174" Text="Yes, this is totally possible as long as you have the ability to do a key.  You can either do a luma, chroma or alpha key.  It's the same as when the weatherman does the weather, but you switch the sources.  &#xD;&#xA;&#xD;&#xA;You would record whatever you wanted to be able to lay over top of the stream with either a dark background, a mono-color background, or a rotoscoped mask (alpha channel) (produced in a program like After Effects).  You could then key that video over top of the live video using a video mixer and stream the result." ContentLicense="CC BY-SA 3.0" />
  <row Id="44626" PostHistoryTypeId="2" PostId="25408" RevisionGUID="264caece-6198-434c-a9d0-ffd88e63469b" CreationDate="2013-03-20T21:22:02.447" UserDisplayName="Dan Ovidiu Boncut" Text="Is it possible to show the same person multiple times on live transmission? &#xD;&#xA;&#xD;&#xA;I'm referring to overlaying an existing video record over what's filmed live. &#xD;&#xA;&#xD;&#xA;Do you know of any examples? Or it has to be all recorded?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44627" PostHistoryTypeId="1" PostId="25408" RevisionGUID="264caece-6198-434c-a9d0-ffd88e63469b" CreationDate="2013-03-20T21:22:02.447" UserDisplayName="Dan Ovidiu Boncut" Text="Is it possible to show the same person multiple times on live streaming?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44628" PostHistoryTypeId="3" PostId="25408" RevisionGUID="264caece-6198-434c-a9d0-ffd88e63469b" CreationDate="2013-03-20T21:22:02.447" UserDisplayName="Dan Ovidiu Boncut" Text="&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44629" PostHistoryTypeId="36" PostId="25411" RevisionGUID="fb2579a4-abd1-45f7-b22a-68cbd6b0333d" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9135/cubase-randomly-outputs-noise-grain-over-playing-audio" />
  <row Id="44630" PostHistoryTypeId="36" PostId="25412" RevisionGUID="8306a0f4-821d-4d9d-9a20-b24308288920" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9135/cubase-randomly-outputs-noise-grain-over-playing-audio/9139#9139" />
  <row Id="44631" PostHistoryTypeId="2" PostId="25412" RevisionGUID="c3fd918e-8834-4203-ba94-611cca12f0ac" CreationDate="2013-10-08T07:25:40.787" UserId="7405" UserDisplayName="Andy aka" Text="How many audio tracks do you have in your project and how many effects are you using - try reducing the number of effects to see if the problem reduces or goes away. In one of the pull-down menus there is a CPU usage meter - what does this do when the audio breaks up." ContentLicense="CC BY-SA 3.0" />
  <row Id="44632" PostHistoryTypeId="2" PostId="25411" RevisionGUID="f872c5d2-93d6-44ad-bb9d-d3b521e67b62" CreationDate="2013-10-07T21:10:54.970" UserId="7311" UserDisplayName="Ben Franchuk" Text="After about 10 or so minutes of working in Cubase, I will randomly be playing audio and end up with the audio outputted to my headset to be extremely grainy and noisy. When I stop playing the audio, said grain goes away, but as soon as I play again the grain plays too.&#xD;&#xA;&#xD;&#xA;The only way I have found of fixing this problem is by saving my work, closing the software, and opening it again. I have no idea why this is happening.&#xD;&#xA;&#xD;&#xA;Initially, I thought it may have been a sound card problem, but after playing audio from different software for longer durations of time and it not having this problem, my theory was proven wrong.&#xD;&#xA;&#xD;&#xA;*Computer Specs:*&#xD;&#xA;&#xD;&#xA; - Windows 7 Enterprise SP1 64-bit&#xD;&#xA; - AMD Athlon Dual Core 2.80 GHz 5400B&#xD;&#xA; - 4.00 GB RAM&#xD;&#xA; - Onboard Sound (ASIO)" ContentLicense="CC BY-SA 3.0" />
  <row Id="44633" PostHistoryTypeId="1" PostId="25411" RevisionGUID="f872c5d2-93d6-44ad-bb9d-d3b521e67b62" CreationDate="2013-10-07T21:10:54.970" UserId="7311" UserDisplayName="Ben Franchuk" Text="Cubase randomly outputs noise/grain over playing audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="44634" PostHistoryTypeId="3" PostId="25411" RevisionGUID="f872c5d2-93d6-44ad-bb9d-d3b521e67b62" CreationDate="2013-10-07T21:10:54.970" UserId="7311" UserDisplayName="Ben Franchuk" Text="&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44635" PostHistoryTypeId="36" PostId="25413" RevisionGUID="4c680006-ef2c-40b3-a1de-cec7289f2ebc" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8107/how-to-quantize-velocity-in-cubase" />
  <row Id="44636" PostHistoryTypeId="36" PostId="25414" RevisionGUID="7572b6b2-59dc-4e1a-b028-03698b6a437f" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8107/how-to-quantize-velocity-in-cubase/8108#8108" />
  <row Id="44637" PostHistoryTypeId="2" PostId="25414" RevisionGUID="3f013779-018a-4777-9548-123f245605f7" CreationDate="2013-06-11T08:53:25.207" UserId="7312" UserDisplayName="Eugene S" Text="Take a look at the Logical Editor (menu-&gt; MIDI-&gt; Logical Editor). &#xD;&#xA;&#xD;&#xA;One of the possibilities I could think of is using the random velocity preset and setting both parameters to the same value. This way all the bars will become equal." ContentLicense="CC BY-SA 3.0" />
  <row Id="44638" PostHistoryTypeId="2" PostId="25415" RevisionGUID="39c8304e-b9a8-46c0-b144-de2975331d82" CreationDate="2013-06-11T17:17:58.963" UserId="7405" UserDisplayName="Andy aka" Text="Holding down ctrl while clicking the mouse on the specific note (or group of notes if you drag the mouse) will select as many midi notes as you require. Velocity is then shown and if all are the same value then reducing the velocity by say 20 will reduce the velocity on all the notes by 20.&#xD;&#xA;&#xD;&#xA;Unfortunately if one of the notes you selected had a velocity of (say) 30, it will reduce to 10." ContentLicense="CC BY-SA 3.0" />
  <row Id="44639" PostHistoryTypeId="2" PostId="25413" RevisionGUID="73e50ffa-b811-4846-9d45-b368144496c2" CreationDate="2013-06-11T08:02:08.643" UserId="7206" Text="I want to quantize not only tempo but velocity, since the first hit on the hi hat by MIDI is too strong. I can do it bar by bar, using the MIDI editor. But is there a way to select and quantize multiple tones to the same velocity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44640" PostHistoryTypeId="1" PostId="25413" RevisionGUID="73e50ffa-b811-4846-9d45-b368144496c2" CreationDate="2013-06-11T08:02:08.643" UserId="7206" Text="How to quantize velocity in Cubase?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44641" PostHistoryTypeId="3" PostId="25413" RevisionGUID="73e50ffa-b811-4846-9d45-b368144496c2" CreationDate="2013-06-11T08:02:08.643" UserId="7206" Text="&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44642" PostHistoryTypeId="36" PostId="25415" RevisionGUID="c9c5ff7d-154c-4197-93a2-6507f74f3695" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8107/how-to-quantize-velocity-in-cubase/8116#8116" />
  <row Id="44643" PostHistoryTypeId="36" PostId="25416" RevisionGUID="cae50f47-c372-4156-bbbf-9e0631ea194f" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9949/converting-surround-sound-headphone-jacks-to-optical" />
  <row Id="44644" PostHistoryTypeId="2" PostId="25416" RevisionGUID="6463885f-9262-4dfd-a874-67d8a74b46c3" CreationDate="2014-01-17T04:33:16.340" UserId="7675" UserDisplayName="user5407" Text="Hey there I am looking for some help on how to get my surround sound speakers working on my computer. &#xD;&#xA;&#xD;&#xA;The surround sound system uses 4x 3.5 mm headphone jacks. (it looks something like this: ![enter image description here][1] &#xD;&#xA;&#xD;&#xA;(with the USB being used for power only)&#xD;&#xA;&#xD;&#xA;What I am trying to do is run those through a receiver or converter so that I can convert them to a single toslink SPDIF optical cable that I can run into the back of my iMac.&#xD;&#xA;&#xD;&#xA;I have found this device which can do it for 5.1 one, but have been unable to find a similar device for 7.1: http://www.ebay.com/itm/Optical-SPDIF-Coaxial-Dolby-AC3-DTS-Digital-to-5-1-2-1-CH-Analog-Audio-Decoder-/261103761583&#xD;&#xA;&#xD;&#xA;Sony also makes a receiver that I think should be able to do it in theory (http://store.sony.ca/7.2channel-4k-wifi-network-a-v-receiver-zid31-STRDN1040/cat-31-catid-All-Receivers-Speakers-and-Stereo-Components), however it does not have 3.5mm headphone jacks in the back, rather the large analogue audio inputs. Is there some sort of adapter that I can use with this device?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I currently am using the Diamond Xtreme 7.1 USB sound card, however, it has been having severe driver problems since the release of Mavericks and has never had the greatest sound to begin with. Which is why I am looking at these alternative options that can run directly into the audio port rather than depending on USB audio drivers which may or may not work very well.&#xD;&#xA;&#xD;&#xA;Any other advice would be very welcome, I have been googling for hours trying to figure this out but I am more than likely just googling the wrong thing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/xY9wq.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="44645" PostHistoryTypeId="1" PostId="25416" RevisionGUID="6463885f-9262-4dfd-a874-67d8a74b46c3" CreationDate="2014-01-17T04:33:16.340" UserId="7675" UserDisplayName="user5407" Text="Converting Surround Sound Headphone Jacks to Optical" ContentLicense="CC BY-SA 3.0" />
  <row Id="44646" PostHistoryTypeId="3" PostId="25416" RevisionGUID="6463885f-9262-4dfd-a874-67d8a74b46c3" CreationDate="2014-01-17T04:33:16.340" UserId="7675" UserDisplayName="user5407" Text="&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44647" PostHistoryTypeId="36" PostId="25417" RevisionGUID="40cd0223-276e-4833-9db7-074be827ae38" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3527/how-to-change-the-bpm-of-a-recorded-drum-in-daw-is-that-possible" />
  <row Id="44648" PostHistoryTypeId="36" PostId="25418" RevisionGUID="7991fe68-795e-473c-bccd-fff3fb37ee8f" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3527/how-to-change-the-bpm-of-a-recorded-drum-in-daw-is-that-possible/3529#3529" />
  <row Id="44649" PostHistoryTypeId="36" PostId="25419" RevisionGUID="a78af37a-15a3-4dfe-a138-cb74b17bda31" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3527/how-to-change-the-bpm-of-a-recorded-drum-in-daw-is-that-possible/3713#3713" />
  <row Id="44650" PostHistoryTypeId="36" PostId="25420" RevisionGUID="33974bc8-74f0-487c-b10d-a17ea4740110" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3527/how-to-change-the-bpm-of-a-recorded-drum-in-daw-is-that-possible/4825#4825" />
  <row Id="44651" PostHistoryTypeId="2" PostId="25418" RevisionGUID="10d890e7-1696-44c6-a2d0-fe1a39d76c2e" CreationDate="2012-03-12T09:27:46.333" UserId="7016" Text="Reaper can set the tempo at any point during the song, or smoothly transition from one tempo to another over a fixed amount of time.&#xD;&#xA;&#xD;&#xA;Use the `Time Signature/Tempo Change` option from the  `Insert` menu, and to gradually move the tempo from the BPM of the section you mixed in from to the BPM of the section you will mix to, just use the `Gradually transition tempo to next marker` option." ContentLicense="CC BY-SA 3.0" />
  <row Id="44652" PostHistoryTypeId="2" PostId="25419" RevisionGUID="e93ac3ea-99db-4639-99cc-c535b2f2fbc6" CreationDate="2012-04-07T05:42:26.517" UserDisplayName="b3bop" Text="You are talking about changing the tempo of a track. This can be done with many tools (probably all tools you would call a daw) including Reaper.&#xD;&#xA;&#xD;&#xA;There are basically two approaches.&#xD;&#xA;&#xD;&#xA;Compressing the wave. Imagine a given file of audio data is 44100 samples long and this took 1 second to play. If you kept all 44100 samples but changed timing so that that all played over a half a second, you would be compressing the wave. This approach will alter the pitch. Another way to think of it is turning up the speed of a turn table. Faster means higher pitch. Old jazzers and some guitar players would play a record at half speed in order to slow down fast passages and play along. This resulted in the same sound pitched almost an octave below the original. Fine to jam and practice with and at a reasonable pace for a student. &#xD;&#xA;&#xD;&#xA;Interpolating a new wave. The idea here is to change the tempo without altering pitch. It is not immediately obvious how to do this computationally  and involves some linear algebra. If your a programmer and are interested, I am reading a book by Craig Lindley that includes some easy computational algorithms in java that are open source and I could send to you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Pragmatically, you should do this with Reaper or whatever other tool you are using. (Ableton, Audacity, etc.). They will almost certainly support method 2. But beware of the difference, and realize that you might be able to get away with altering the tempo of a drum track via method 1, as percussion is less prone to clash other parts of the mix because of some arbitrary shift in pitch. Imagine a vocal track on the other hand, whose harmonic relevance to the rest of the piece could be destroyed by a x.17% change in frequency." ContentLicense="CC BY-SA 3.0" />
  <row Id="44653" PostHistoryTypeId="2" PostId="25420" RevisionGUID="d286f795-5884-427a-b7e1-8f2a0d3a6350" CreationDate="2012-09-24T14:45:29.207" UserDisplayName="Magrangs" Text="There is a tool by propellerheads called recycle http://www.propellerheads.se/products/recycle/. It allows you to input audio and it detects transients and allows you split the file up into each drum hit or output to a file format called REX (which most modern daws accept). It is a very handy tool and will probably do you want. You can either drag each hit onto your track or you can drag the while rex file on and re-arrange until it fits your current tempo." ContentLicense="CC BY-SA 3.0" />
  <row Id="44654" PostHistoryTypeId="2" PostId="25417" RevisionGUID="b86be42a-9493-4724-a371-56efe43fae27" CreationDate="2012-03-11T21:33:23.113" UserDisplayName="mfcabrera" Text="This is weird because I did not know how to ask this question.  Let's say I want to remix a song. I have pre-record of the drums I want to use and I loop them... they are fixed of course of BPM (This is not a Midi track is a already wav file looped). And I also have the voice I want to remix with this drum. &#xD;&#xA;&#xD;&#xA;The problem is that they are in a distict &quot;BPM&quot; or speed so I would like them to match... how can be this done without say affecting say the pitch of the voice or the sound of the recorded drums?.&#xD;&#xA;&#xD;&#xA;Basically want I want to do is something similar to what you use software like Traktor that you can loop a song and move the BPM to match the one in another deck.&#xD;&#xA;&#xD;&#xA;I am using Reaper right now. It has the option of detecting/setting the BPM but of the overall song... not of a particular track.&#xD;&#xA;&#xD;&#xA;Any help or suggestion would be appreciated (I want to learn how to properly remix songs).&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Notes:&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44655" PostHistoryTypeId="1" PostId="25417" RevisionGUID="b86be42a-9493-4724-a371-56efe43fae27" CreationDate="2012-03-11T21:33:23.113" UserDisplayName="mfcabrera" Text="How to Change the &quot;BPM&quot; of a recorded drum in DAW? is that possible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44656" PostHistoryTypeId="3" PostId="25417" RevisionGUID="b86be42a-9493-4724-a371-56efe43fae27" CreationDate="2012-03-11T21:33:23.113" UserDisplayName="mfcabrera" Text="&lt;daw&gt;&lt;reaper&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44657" PostHistoryTypeId="36" PostId="25421" RevisionGUID="20b1e99d-a22a-41c7-879e-35c6e061127f" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/468/voiceover-recording-equipment" />
  <row Id="44658" PostHistoryTypeId="36" PostId="25422" RevisionGUID="48ab4ac5-8ec0-44a1-aa8f-95304918bf4c" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/468/voiceover-recording-equipment/470#470" />
  <row Id="44659" PostHistoryTypeId="36" PostId="25423" RevisionGUID="3b1246a8-63e1-43ed-a8ec-fb2b68a8f954" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/468/voiceover-recording-equipment/477#477" />
  <row Id="44660" PostHistoryTypeId="36" PostId="25424" RevisionGUID="e4bfc79b-04f3-4974-b917-a1cf51d20075" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/468/voiceover-recording-equipment/2232#2232" />
  <row Id="44661" PostHistoryTypeId="36" PostId="25425" RevisionGUID="7c5eab73-3958-4fc6-a9ce-5034ee011808" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/468/voiceover-recording-equipment/2234#2234" />
  <row Id="44662" PostHistoryTypeId="2" PostId="25422" RevisionGUID="9e19564b-e622-4c3b-aaa2-fbe4608c660c" CreationDate="2010-12-28T23:03:40.157" UserId="7294" UserDisplayName="Warrior Bob" Text="This is four or five questions in one so it's hard to provide a complete answer.  My knowledge can only help you with the technical question, so here it is as an answer anyway.&#xD;&#xA;&#xD;&#xA;**Hardware:** At a minimum, you'll need a microphone, a preamplifier for the microphone, and some kind of audio interface to record it all, assuming you want to use your pc.  Most recording-targeted interfaces have preamplifiers built in, which is convenient, although you may want a more specialized sound from a dedicated preamp.  The choice of microphones is an art unto itself, although in my (limited) personal experience, a nice condensor through a tube preamp and a bit of dynamic range compression sounds very nice for general spoken voice.&#xD;&#xA;&#xD;&#xA;**Software:** The free and simple wave recorder/editor **Audacity** is probably going to fulfill your needs splendidly.  If you need some feature it doesn't have, you can look into more specialized tools like DAW software, of which there is a ton." ContentLicense="CC BY-SA 2.5" />
  <row Id="44663" PostHistoryTypeId="2" PostId="25424" RevisionGUID="9e393d58-d8b5-43a6-bd8c-db5950a725aa" CreationDate="2011-08-30T00:19:43.927" UserDisplayName="Richard Campbell" Text="I agree with Warrior Bob about having a separate microphone and pre-amp. I go both ways as far as recording on your PC - and old, cranky PC can mess up a recording as well, and for single and double track work, a small, dedicated digital recorder can be a real life saver. Plus it gives you the option of recording in the field.&#xD;&#xA;&#xD;&#xA;I like the [Zoom H4n](http://www.zoom.co.jp/english/products/h4n/) but its a bit pricey for a basic set up. I also own an [M-Audio Micro Track II](http://www.m-audio.com/index.php?do=products.family&amp;ID=MTII) which is less expensive.&#xD;&#xA;&#xD;&#xA;Both those digital recorders have good built-in pre-amps, support a pair of phantom power microphones and removable digital media (SD or CF)... you can still use Audacity for editing, but you stop worrying about a virus scan or flaky driver on your PC messing up your recording.&#xD;&#xA;&#xD;&#xA;As far as microphones are concerned, for what you're describing, a large diaphragm condensor microphone will give you a nice rich voice tone. It doesn't have to be hugely expensive, an Audio-Technica AT2020 is about a hundred bucks and sounds great. They do require a decent stand and pop filter though.&#xD;&#xA;&#xD;&#xA;One other thing I'd add to the equation if you're serious about making good quality audio recordings - you probably don't have or want a full sized recording booth, you can dramatically improve the quality of your recordings with some sound-deadening gear. &#xD;&#xA;&#xD;&#xA;I have a [RealTrap Portable Vocal Booth](http://www.realtraps.com/p_pvb.htm) which sits behind my microphone and stops the bulk of reflected sound.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="44664" PostHistoryTypeId="2" PostId="25425" RevisionGUID="271deba3-1d36-4fbe-be5a-3dc3d75a14b6" CreationDate="2011-08-30T01:06:29.540" UserDisplayName="J H" Text="The [VO-BB forums](http://www.vo-bb.com/phpBB2/) were very helpful when I needed to produce some training videos. There are a lot of pros handing out free advice on that site. The biggest thing I've learned is that technique and practice is much more important than gear.&#xD;&#xA;&#xD;&#xA;I spent about $350 on a Studio Projects B1, Presonus AudioBox USB, cable, stand and pop filter. It does everything I need it to do and there are professional voiceover artists that got started with less than that.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44665" PostHistoryTypeId="2" PostId="25423" RevisionGUID="fc6f2e9d-c21f-48cf-aa0a-f7ad210fe1de" CreationDate="2010-12-30T10:05:15.907" UserDisplayName="Ali Inceoglu" Text="As a sofware there is a lot of different brands on the market, depens on your budget ofcourse. To get the professional sound you'll need a good sound card with mic preamps. As Warrior Bob mentioned you can use seperate preamp too. &#xD;&#xA;&#xD;&#xA;In my recording mobile setup pack i use RME Fire Face UC sound card wich has fantastic sound, classic Rode NT 2000 mic, and a Dell Studio Laptop.My main recording DAW is Cakewalk Sonar Producer Edition. I usually record demo for the singers with this setup and very happy with it. This maybe can give you a little idea for what you looking for.Hope will be helpful for you. You can search from net there is thousand's of brands out there!" ContentLicense="CC BY-SA 2.5" />
  <row Id="44666" PostHistoryTypeId="2" PostId="25421" RevisionGUID="0a578809-20e2-487f-86c4-187eb53c903e" CreationDate="2010-12-28T20:59:41.713" UserDisplayName="gsc" Text="I'm in the earliest stages of starting a 2nd career as a voice professional, and will be working from my home office. &#xD;&#xA;&#xD;&#xA;The work involves bidding on, and accepting voice-over jobs from commercial, corp, and private sector clients; the work could entail doing web-page greetings, product descriptions, instruction manuals, event narrations, etc. &#xD;&#xA;&#xD;&#xA;I'll be sending protected samples of my voice as resumes, in order to win jobs, and I don't want to use a paying studio. I've explored a few web pages, but have no clue what to purchase first, or any idea of exactly what I need. (Digital voice recorders, microphones, mixers, etc.)&#xD;&#xA;&#xD;&#xA;Q&amp;A: (5)&lt;br /&gt;&#xD;&#xA;1. What Software Do I need?&lt;br /&gt;&#xD;&#xA;2. What Hardware Do I need?&lt;br /&gt;&#xD;&#xA;3. What should I know about sending the high-quality recordings to potential employers?&lt;br /&gt;&#xD;&#xA;4. Are there recording professionals in this forum who can be hired, or consulted?&lt;br /&gt;&#xD;&#xA;5. Are their other resources available for operating a recording studio from my home/pc?&lt;br /&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44667" PostHistoryTypeId="1" PostId="25421" RevisionGUID="0a578809-20e2-487f-86c4-187eb53c903e" CreationDate="2010-12-28T20:59:41.713" UserDisplayName="gsc" Text="Voiceover Recording Equipment" ContentLicense="CC BY-SA 2.5" />
  <row Id="44668" PostHistoryTypeId="3" PostId="25421" RevisionGUID="0a578809-20e2-487f-86c4-187eb53c903e" CreationDate="2010-12-28T20:59:41.713" UserDisplayName="gsc" Text="&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44669" PostHistoryTypeId="36" PostId="25426" RevisionGUID="2b8bcfc9-f97b-48da-835d-020033b24c89" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8667/can-one-own-a-sound" />
  <row Id="44670" PostHistoryTypeId="2" PostId="25427" RevisionGUID="bb122d6e-c516-4fda-aee3-23f793252fb8" CreationDate="2013-08-09T18:17:51.477" UserId="7174" Text="I am not a lawyer, but your parallel is a little off.  A better parallel would be to say that someone owns the rights to make a particular type of specialized brush.  Midi instruments can be copyrighted as the method of synthesis is non-trivial.  You couldn't copyright, say, using basic fixed waveforms, but when you start combining things in to a midi instrument, it becomes something you can copyright.&#xD;&#xA;&#xD;&#xA;If the result can be described as a creative work, it can be protected.  Complex midi instruments and sound packs are generally creative unless they are pretty limited.  If you can reproduce it easily without using or reverse engineering their instrument, then it probably doesn't meet the burden of being a copyrightable work, but you'd be best to talk to a lawyer about where specifically that line is." ContentLicense="CC BY-SA 3.0" />
  <row Id="44671" PostHistoryTypeId="2" PostId="25426" RevisionGUID="c5519316-fe1e-41c9-ad42-8e06e017efa6" CreationDate="2013-08-09T18:07:40.517" UserDisplayName="phadaphunk" Text="Color *pretty much* is to a painting what sounds are to a song.&lt;br&gt;&#xD;&#xA;Since you can't own a color with copyrights, can you own a sound with copyrights ? &#xD;&#xA;&#xD;&#xA;If you can't this would be an easy answer to my [bit more complex question](http://avp.stackexchange.com/questions/8665/is-it-legal-to-use-a-soundfont/8666?noredirect=1#8666) about sound copyrights from video game companies." ContentLicense="CC BY-SA 3.0" />
  <row Id="44672" PostHistoryTypeId="1" PostId="25426" RevisionGUID="c5519316-fe1e-41c9-ad42-8e06e017efa6" CreationDate="2013-08-09T18:07:40.517" UserDisplayName="phadaphunk" Text="Can one own a sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="44673" PostHistoryTypeId="3" PostId="25426" RevisionGUID="c5519316-fe1e-41c9-ad42-8e06e017efa6" CreationDate="2013-08-09T18:07:40.517" UserDisplayName="phadaphunk" Text="&lt;sound&gt;&lt;copyright&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44674" PostHistoryTypeId="36" PostId="25427" RevisionGUID="5bc30cbc-3972-4916-bc83-a0350a636610" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8667/can-one-own-a-sound/8669#8669" />
  <row Id="44675" PostHistoryTypeId="36" PostId="25428" RevisionGUID="cd51361a-c8a1-4d7d-9ccf-a40688ef4050" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8667/can-one-own-a-sound/8670#8670" />
  <row Id="44676" PostHistoryTypeId="2" PostId="25428" RevisionGUID="e34eb9b3-75c4-4cab-ad29-ee163724ad4f" CreationDate="2013-08-09T21:25:19.757" UserId="7188" Text="With all due respect I beg to differ from AJ Henderson's answer.&#xD;&#xA;&#xD;&#xA;I don't think your parallel is off at all. Color and sound are a very good parallel in the context of trademarks and patents vs. copyright.&#xD;&#xA;&#xD;&#xA;Actually there is a patent for the color &quot;International Klein Blue (IKB)&quot;&#xD;&#xA;published in April 1961 after it was applied for by French artist Yves Klein.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;MORE about this here:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/International_Klein_Blue&#xD;&#xA;&#xD;&#xA;and other color trademarks:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Colour_trademark&#xD;&#xA;&#xD;&#xA;For sound, here are 8 sounds that have been trademarked:&#xD;&#xA;&#xD;&#xA;The MGM Lion roar,&#xD;&#xA;&#xD;&#xA;The NBC Chimes,&#xD;&#xA;&#xD;&#xA;The 20th Century Fox Fanfare,&#xD;&#xA;&#xD;&#xA;Harlem Globetrotter’s Theme (Sweet Georgia Brown),&#xD;&#xA;&#xD;&#xA;Lucasfilms THX Deep Note,&#xD;&#xA;&#xD;&#xA;Intel Inside Bong,&#xD;&#xA;&#xD;&#xA;Federal Signal Q2B Siren,&#xD;&#xA;&#xD;&#xA;AAMCO,&#xD;&#xA;&#xD;&#xA;Unfortunately the Harley-Davidson attempt to trademark their unique exhaust sound filed in 1994 was later withdrawn in 2000 after years of litigation with competitors that appeared to have no end in sight.&#xD;&#xA;&#xD;&#xA;More details here:&#xD;&#xA;http://en.wikipedia.org/wiki/Sound_trademark&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/KI0ZX.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="44677" PostHistoryTypeId="36" PostId="25429" RevisionGUID="49dbd6a0-5b89-4bfd-a2e3-5c2254d277e7" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2687/how-can-i-get-rid-of-phasing-on-source-audio" />
  <row Id="44678" PostHistoryTypeId="2" PostId="25430" RevisionGUID="89979309-0a1c-428f-8042-3ec7b525be43" CreationDate="2011-11-29T21:32:52.493" UserDisplayName="JMC Creative" Text="So the problem is (drumroll) the crappy sound manager that came on the laptop. The RealTek software was defaulted to &quot;filter out noise&quot; from the microphone. It, of course, was doing a _terrible_ job of it. I turned that off and &lt;s&gt;all was well&lt;/s&gt; I got tons of extra noise from the un-isolated inner workings. But at least I know where all _that_ sound is coming from.&#xD;&#xA;&#xD;&#xA;Thanks all for your comments." ContentLicense="CC BY-SA 3.0" />
  <row Id="44679" PostHistoryTypeId="2" PostId="25429" RevisionGUID="377d9aeb-8961-4dd2-bb62-4c7ecff88ba7" CreationDate="2011-11-24T03:08:29.553" UserDisplayName="JMC Creative" Text="I am trying to record a very simple demo with my laptop mic onto Audacity. I've used this same setup on other laptops with no problem. However when I attempt this on my current PC, I get this intense &quot;phasing&quot; effect. I haven't messed with the default Audacity settings. I have no idea why this is happening, let alone where to begin troubleshooting. Any help would be appreciated!&#xD;&#xA;&#xD;&#xA;Here is the sample:&#xD;&#xA;http://soundcloud.com/jakeparis/let-all-mortal-just-a-test/s-0dfUy" ContentLicense="CC BY-SA 3.0" />
  <row Id="44680" PostHistoryTypeId="1" PostId="25429" RevisionGUID="377d9aeb-8961-4dd2-bb62-4c7ecff88ba7" CreationDate="2011-11-24T03:08:29.553" UserDisplayName="JMC Creative" Text="How can I get rid of phasing on source audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44681" PostHistoryTypeId="3" PostId="25429" RevisionGUID="377d9aeb-8961-4dd2-bb62-4c7ecff88ba7" CreationDate="2011-11-24T03:08:29.553" UserDisplayName="JMC Creative" Text="&lt;laptop&gt;&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44682" PostHistoryTypeId="36" PostId="25430" RevisionGUID="2c3f63b1-d137-484c-ae3e-5172cc13ca8d" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2687/how-can-i-get-rid-of-phasing-on-source-audio/2718#2718" />
  <row Id="44683" PostHistoryTypeId="36" PostId="25431" RevisionGUID="5a7940d4-8bb3-4d99-abc5-0d7bd9a6cd9e" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1494/cooled-soundproof-enclosure-for-a-noisy-laptop-in-a-bedroom-studio" />
  <row Id="44684" PostHistoryTypeId="36" PostId="25432" RevisionGUID="a1b15ffa-619f-4aa1-a57e-b8687c0880cd" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1494/cooled-soundproof-enclosure-for-a-noisy-laptop-in-a-bedroom-studio/1506#1506" />
  <row Id="44685" PostHistoryTypeId="2" PostId="25432" RevisionGUID="5630a390-8a90-4297-ad6d-00f58f9df99d" CreationDate="2011-05-31T01:20:21.217" UserDisplayName="boehj" Text="In some cases, isolation boxes are used to avoid noises. Some people have done this with certain sound cards that have powerful/noisy fans to keep them cool.&#xD;&#xA;&#xD;&#xA;I'm pretty sure a similar idea could be used for the notebook itself.&#xD;&#xA;&#xD;&#xA;I'm no expert here though. My notebook sounds like a 747 taking off!" ContentLicense="CC BY-SA 3.0" />
  <row Id="44686" PostHistoryTypeId="2" PostId="25431" RevisionGUID="d50bbe2b-949c-4e81-a796-92e865bc86d8" CreationDate="2011-05-30T13:30:31.863" UserDisplayName="Shabbyrobe" Text="I recently bought a 2011 Macbook Pro (15&quot;) for, among other things, some serious audio in my bedroom studio.&#xD;&#xA;&#xD;&#xA;If I open up Pro Tools or Ableton and start working, within 5 minutes the MBP's fans turn on, spin up as fast as they can go, and never spin back down.&#xD;&#xA;&#xD;&#xA;Unfortunately, this makes the computer useless for recording as the fan noise clearly appears on any recorded track, and useless for mixing at low volume as the top end is completely overwhelmed by the sound of the computer.&#xD;&#xA;&#xD;&#xA;I'm stuck with the computer for the forseeable future, and the house I'm in is rented so I can't just get the tools out and build utility room in my studio. The only other thing I can think of is an enclosure.&#xD;&#xA;&#xD;&#xA;I've tried searching the web for help with the fan noise, but any apple discussion on normal forums tends to get quickly overwhelmed with trolls who are quite happy to declare &quot;I do not experience this problem, therefore nobody has this problem, therefore you're an idiot&quot; while offering absolutely no useful advice. Glad I remembered stackexchange!&#xD;&#xA;&#xD;&#xA;Anyway, is there anywhere I can purchase something like this for the laptop that keeps it cool while minimising the noise? If there isn't and I have to build one, can anyone point me in the direction of some guides or war stories from others trying to do the same?&#xD;&#xA;&#xD;&#xA;--&#xD;&#xA;&#xD;&#xA;Edit: [Neil Fein](http://apple.stackexchange.com/users/1758/neil-fein) is having a similar problem and has asked on the Apple Stackexchange. [His question](http://apple.stackexchange.com/questions/13522/how-can-i-keep-my-macbook-pro-cool-and-avoid-fan-noise) may provide some additional help for people arriving here with this problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="44687" PostHistoryTypeId="1" PostId="25431" RevisionGUID="d50bbe2b-949c-4e81-a796-92e865bc86d8" CreationDate="2011-05-30T13:30:31.863" UserDisplayName="Shabbyrobe" Text="Cooled, soundproof enclosure for a noisy laptop in a bedroom studio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44688" PostHistoryTypeId="3" PostId="25431" RevisionGUID="d50bbe2b-949c-4e81-a796-92e865bc86d8" CreationDate="2011-05-30T13:30:31.863" UserDisplayName="Shabbyrobe" Text="&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44689" PostHistoryTypeId="36" PostId="25433" RevisionGUID="c3546f68-1081-4830-a9aa-60fadcc36404" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/489/stereo-imaging-with-headphones" />
  <row Id="44690" PostHistoryTypeId="2" PostId="25434" RevisionGUID="53334a91-478b-4d64-8035-36fb749b6719" CreationDate="2011-01-01T09:13:39.870" UserId="7202" Text="With headphones you get complete separation, which you don't get with speakers. Therefore the stereo imaging is different. And it can be better, if the music is made to listen in headphones, but worse if it is not.&#xD;&#xA;&#xD;&#xA;An extreme example is Sargent Pepper. Listen to it on speakers, and then in headphones. There is no stereo field in any real sense, instead some instruments are simply in the left channel and others in the right. This sounds fine on speakers, but in headphones it can even be annoying and make your eyes water before you get used to it. It feels a bit like having water in your ear.&#xD;&#xA;&#xD;&#xA;And the opposite is true as well. If you mix with headphones, the stereo field will seem narrow and flat when listening in speakers. So since most people listen on speakers, most music is made for speakers and the stereo imaging tend to be wrong/too wide when listening on headphones. This is not a problem for popular music, but it is the kind of thing that annoys audiophiles who listen to music not because the songs are good, but to be impressed over how well you can hear the audience noise. :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="44691" PostHistoryTypeId="2" PostId="25433" RevisionGUID="63d8d682-497d-407a-ae9b-34861dba4720" CreationDate="2011-01-01T01:57:55.950" UserId="7209" Text="I've read that recordings with proper stereo imaging cannot appropriately be heard with headphones.  (This was a side note listed on [this article...][1])&#xD;&#xA;&#xD;&#xA;Is this true?  If so, what is the reasoning?  I was under the impression that headphones would be best for stereo imaging tests, as they are in a fixed position in relation to the listener.&#xD;&#xA;&#xD;&#xA;The [LEDR Test][2] page also seems to imply that headphones would be appropriate for stereo imaging listening.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mp3-tech.org/tests/pm/Introduction.htm&#xD;&#xA;  [2]: http://www.audiocheck.net/audiotests_ledr.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="44692" PostHistoryTypeId="1" PostId="25433" RevisionGUID="63d8d682-497d-407a-ae9b-34861dba4720" CreationDate="2011-01-01T01:57:55.950" UserId="7209" Text="Stereo imaging with headphones" ContentLicense="CC BY-SA 2.5" />
  <row Id="44693" PostHistoryTypeId="3" PostId="25433" RevisionGUID="63d8d682-497d-407a-ae9b-34861dba4720" CreationDate="2011-01-01T01:57:55.950" UserId="7209" Text="&lt;headphones&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44694" PostHistoryTypeId="36" PostId="25434" RevisionGUID="be0a121b-1b55-43e7-ae4e-10c31f0589b8" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/489/stereo-imaging-with-headphones/490#490" />
  <row Id="44695" PostHistoryTypeId="36" PostId="25435" RevisionGUID="280fa4ee-bc83-4e7a-8d80-c05a59d6b8fd" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/489/stereo-imaging-with-headphones/553#553" />
  <row Id="44696" PostHistoryTypeId="36" PostId="25436" RevisionGUID="db5451a7-3996-48b5-9f08-5afeeef584d0" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/489/stereo-imaging-with-headphones/555#555" />
  <row Id="44697" PostHistoryTypeId="2" PostId="25435" RevisionGUID="7be43ab6-46f6-4f7b-92fb-c669aee9a339" CreationDate="2011-01-10T05:10:35.207" UserDisplayName="Seth Nelson" Text="The reason is due to what is called a 'head-related transfer function', or HRTF. In particular, the attenuation of higher frequency sounds at one ear vs. the other ear and also the delay in arrival time between them. Sounds wrapping around the head, you see. With headphones directing those higher frequencies right down your ear canal(likewise, both left and right signals are heard simultaneously at their respective ear), the stereo image is sacrificed. There is also crosstalk, which I won't go into. Note that if you do 'dummy head' stereo recordings(binaural), you can only ever get the effect through headphones. Wild!" ContentLicense="CC BY-SA 2.5" />
  <row Id="44698" PostHistoryTypeId="2" PostId="25436" RevisionGUID="bab18ad8-d459-4627-a9c6-cc6cfe8a2688" CreationDate="2011-01-10T08:57:41.393" UserId="7592" UserDisplayName="Pelle ten Cate" Text="I am not sure why this question was asked, but if you intend to do a production that is meant to be listened to specifically with headphones, there is an option on which I would like to write a general note.&#xD;&#xA;&#xD;&#xA;Binaural system&#xD;&#xA;-&#xD;&#xA;&#xD;&#xA;You can record your stuff with a [binaural microphone system](http://en.wikipedia.org/wiki/Binaural_recording) (you don't have to get your hands on an artificial head, I got astonishing results when recording in the field with just a pair of headphones on my own head with a pair of DPA 4061 microphones glued onto the shells, I didn't care about front-rear distinction though.)&#xD;&#xA;&#xD;&#xA;If you happen to have a recording already done with intensity-based stereo that sounds good on a pair of studio loudspeakers, try applying the HRTFs manually to your signal. One plug-in that does this that impressed me very much is the [Wave Arts Panorama Plugin](http://wavearts.com/products/plugins/panorama/) which has several HRTFs on board for different artificial heads, and even a few of real heads, and it allows you to pan the sound around your entire head, as if it was surround. The surround effect is generated by filtering the signals so that your brain thinks the filtering was done by your earshells, because the sound is coming from behind.&#xD;&#xA;&#xD;&#xA;A general note for everybody who intends to use this technique for artificial surround: remember that ears are different. All people are expecting different filtering effects that matches their earshells. Therefore, a HRTF that works perfectly on your head might just not be the best one on other's heads. Keep this in mind while mixing, and ask multiple people to listen to your stereo/artificial surround image." ContentLicense="CC BY-SA 2.5" />
  <row Id="44699" PostHistoryTypeId="36" PostId="25437" RevisionGUID="dc9c21f4-9083-4fb0-bd98-a236b8c9b6d5" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2449/ghostly-effect-for-vocals-in-a-remix" />
  <row Id="44700" PostHistoryTypeId="2" PostId="25438" RevisionGUID="e97c3f27-d01a-4fcf-8cdb-d067e467bfa6" CreationDate="2011-10-09T02:55:19.270" UserId="982" Text="A less extreme version of the poltergeist effect might work:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=3_d9uwPj0t4" ContentLicense="CC BY-SA 3.0" />
  <row Id="44701" PostHistoryTypeId="2" PostId="25437" RevisionGUID="13d30832-a3a0-4829-8eec-09e7925f0407" CreationDate="2011-10-08T23:44:01.343" UserDisplayName="Kyle Sevenoaks" Text="I'm making a remix of a popular song. &#xD;&#xA;&#xD;&#xA;The effect I'm going for on the vox is kinda ghostly, almost as if it's not quite there.&#xD;&#xA;&#xD;&#xA;I'm using Reaper and so far I've seriously cut back a lot of the frequency ranges (all lows and highs, left in about 30% mids) added a delay (although I think a reverb would be better) and some fuzz distortion.&#xD;&#xA;&#xD;&#xA;It's almost there but some parts kind of &quot;come on&quot; too strongly, should I use a compressor to even out the dynamic range? Or a limiter to cut out any volume spikes? Or is there another way?&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/darkspore/darkspore-teardrop&#xD;&#xA;&#xD;&#xA;this is the track (so far)&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="44702" PostHistoryTypeId="1" PostId="25437" RevisionGUID="13d30832-a3a0-4829-8eec-09e7925f0407" CreationDate="2011-10-08T23:44:01.343" UserDisplayName="Kyle Sevenoaks" Text="&quot;Ghostly&quot; effect for vocals in a remix" ContentLicense="CC BY-SA 3.0" />
  <row Id="44703" PostHistoryTypeId="3" PostId="25437" RevisionGUID="13d30832-a3a0-4829-8eec-09e7925f0407" CreationDate="2011-10-08T23:44:01.343" UserDisplayName="Kyle Sevenoaks" Text="&lt;mixing&gt;&lt;effects&gt;&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44704" PostHistoryTypeId="36" PostId="25438" RevisionGUID="b448373e-adaa-417d-b124-2f5bc3aa0780" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2449/ghostly-effect-for-vocals-in-a-remix/2450#2450" />
  <row Id="44705" PostHistoryTypeId="36" PostId="25439" RevisionGUID="89914a26-ebed-4c61-bcf0-e62e7e18e387" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2449/ghostly-effect-for-vocals-in-a-remix/2461#2461" />
  <row Id="44706" PostHistoryTypeId="36" PostId="25440" RevisionGUID="6d711750-7627-4d5f-83b1-96e02cac2e77" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2449/ghostly-effect-for-vocals-in-a-remix/2485#2485" />
  <row Id="44707" PostHistoryTypeId="2" PostId="25440" RevisionGUID="7ec4a991-dcb2-4200-93b8-8c0daad446e1" CreationDate="2011-10-17T15:25:11.410" UserDisplayName="JayP" Text="Depending on whether you've recorded the vocals already or not, one method I've seen used before is to enclose the microphone (something as simple as a Shure SM58) within a tin can.  This creates a hollow, metallic, ringing sound, just like, well, a tin can!  If you've already recorded, I'm sure something similar could be created with some clever EQ.&#xD;&#xA;&#xD;&#xA;It sounds particularly good if you then chain on some delay or reverb on afterwards." ContentLicense="CC BY-SA 3.0" />
  <row Id="44708" PostHistoryTypeId="2" PostId="25439" RevisionGUID="fe523329-b2fd-454e-9263-f9db6dfc5627" CreationDate="2011-10-13T15:13:05.927" UserDisplayName="3lbFlax" Text="I would certainly add reverb, perhaps with a high-pass filter before it and a low but long tail.&#xD;&#xA;&#xD;&#xA;Also, depending on the kind of results you want, I would consider slowing the voice down a little. Rather than timestretching, I would lower the pitch 'naturally' (i.e. just slow down the playback as with a tape player) and then, if necessary, add some pitch-shifting to the results. Adding a very subtle envelope to the playback speed can also be effective." ContentLicense="CC BY-SA 3.0" />
  <row Id="44709" PostHistoryTypeId="36" PostId="25441" RevisionGUID="f134683d-2492-4abf-9d1d-42a4a2a2a2d7" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9033/setting-up-a-small-pa-system" />
  <row Id="44710" PostHistoryTypeId="36" PostId="25442" RevisionGUID="260f4299-fd07-4674-8f64-0849ac6c8c92" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9033/setting-up-a-small-pa-system/9034#9034" />
  <row Id="44711" PostHistoryTypeId="2" PostId="25442" RevisionGUID="21fdb2a1-8957-42dd-96c9-b8e825c44007" CreationDate="2013-09-22T19:39:30.420" UserId="7194" Text="If your PA system is similar to the likes of the Yamaha StagePas 500, then it offers a similar functionality to the Behringer Mixer.&#xD;&#xA;&#xD;&#xA;As such, you may wish to bypass the mixer altogether and plug your microphones directly to the PA Mixer.&#xD;&#xA;&#xD;&#xA;However, your Behringer mixer may offer some added functionality to your PA mixer (like better EQs or on-board effects). Also, using the Behringer mixer may give some extra flexibility as to where the mixer is placed.&#xD;&#xA;&#xD;&#xA;I may be able to provide a more accurate answer if you spell the model of both your PA and Behringer mixer.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44712" PostHistoryTypeId="2" PostId="25441" RevisionGUID="ac5a5cd3-8d78-4b95-9ac3-62cb630b3e0c" CreationDate="2013-09-22T19:23:06.753" UserDisplayName="Stuart Hillier" Text="My band has a Yamaha PA system and a small Behringer mixer.&#xD;&#xA;Both the PA amp and the mixer have mic sockets so which unit&#xD;&#xA;should the mics be plugged into?&#xD;&#xA;Any help would be most useful&#xD;&#xA;Stuart Hillier&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44713" PostHistoryTypeId="1" PostId="25441" RevisionGUID="ac5a5cd3-8d78-4b95-9ac3-62cb630b3e0c" CreationDate="2013-09-22T19:23:06.753" UserDisplayName="Stuart Hillier" Text="Setting up a small PA system" ContentLicense="CC BY-SA 3.0" />
  <row Id="44714" PostHistoryTypeId="3" PostId="25441" RevisionGUID="ac5a5cd3-8d78-4b95-9ac3-62cb630b3e0c" CreationDate="2013-09-22T19:23:06.753" UserDisplayName="Stuart Hillier" Text="&lt;mixing&gt;&lt;live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44715" PostHistoryTypeId="36" PostId="25443" RevisionGUID="c8fcdcab-6a7e-4faf-a653-05638a6f4ae0" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/317/how-does-one-setup-a-simple-ducker-in-protools" />
  <row Id="44716" PostHistoryTypeId="2" PostId="25444" RevisionGUID="ad601a88-2678-43de-9f89-409b62c3d2e2" CreationDate="2010-12-16T13:59:02.557" UserDisplayName="JohannV" Text="Set up a compressor on the stereo track (PT's own will do). Send the vocal track through a bus(mono) into the sidechain input of the compressor. Make sure to activate the sidechain, it's the knob with the key on it in the Sidechain section of the plugin. &#xD;&#xA;&#xD;&#xA;Experiment with the knobs in order to get it to sound smooth. &#xD;&#xA;&#xD;&#xA;Depends on what you are working on though. For bigger projects like commentary on a feature film it's a time saver bu not always the best choice.&#xD;&#xA;&#xD;&#xA;I wouldn't recommend it for smaller things like ads or infomercials, then it's best to do a volume automation manually. &#xD;&#xA;&#xD;&#xA;It can be hard to make it sound natural and smooth, bear in mind that in order to duck a signal it needs to reach the threshold first. So it'll never be as good as manual volume control.&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 2.5" />
  <row Id="44717" PostHistoryTypeId="2" PostId="25443" RevisionGUID="f0ad2e5b-9381-49e8-b38a-d34b32eb6d51" CreationDate="2010-12-16T00:27:52.803" UserDisplayName="Laura" Text="This seems like a simple thing to do, but for some reason no one's been able to give me a clear answer at all.  If I'm working with one stereo full mix track and one vocal track, how can I get the full mix to duck down when the voice over comes in?  I haven't got any external hardware to work with -- just the base ProTools 8 plugins.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="44718" PostHistoryTypeId="1" PostId="25443" RevisionGUID="f0ad2e5b-9381-49e8-b38a-d34b32eb6d51" CreationDate="2010-12-16T00:27:52.803" UserDisplayName="Laura" Text="How does one setup a simple ducker in ProTools?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44719" PostHistoryTypeId="3" PostId="25443" RevisionGUID="f0ad2e5b-9381-49e8-b38a-d34b32eb6d51" CreationDate="2010-12-16T00:27:52.803" UserDisplayName="Laura" Text="&lt;pro-tools&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44720" PostHistoryTypeId="36" PostId="25444" RevisionGUID="1ec9ff22-da62-4b5b-8e81-f1652a7a97d7" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/317/how-does-one-setup-a-simple-ducker-in-protools/323#323" />
  <row Id="44721" PostHistoryTypeId="36" PostId="25445" RevisionGUID="0aa00c4f-09a3-4c4d-8e21-09c60b63bb95" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5459/speakers-crackle-when-input-volume-to-amp-is-max" />
  <row Id="44722" PostHistoryTypeId="36" PostId="25446" RevisionGUID="00b7ad08-f190-4bf5-acc2-cd761b02e89b" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5459/speakers-crackle-when-input-volume-to-amp-is-max/5460#5460" />
  <row Id="44723" PostHistoryTypeId="36" PostId="25447" RevisionGUID="248067e6-e6c2-4e90-9fa1-9a03a1d60600" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5459/speakers-crackle-when-input-volume-to-amp-is-max/5461#5461" />
  <row Id="44724" PostHistoryTypeId="2" PostId="25446" RevisionGUID="c1744635-212c-4f29-b298-ff7c74cb69e4" CreationDate="2012-11-30T13:37:27.557" UserId="7196" Text="I'm not sure I follow your signal-flow description properly, however; generally speaking, no, audio quality does not improve if you reduce the input level.&#xD;&#xA;&#xD;&#xA;My guess is your issue is not with your speakers at all but lies elsewhere in the chain, possibly in the amplifier." ContentLicense="CC BY-SA 3.0" />
  <row Id="44725" PostHistoryTypeId="2" PostId="25447" RevisionGUID="1006b60e-b46a-46f4-bc60-f46bd56b4239" CreationDate="2012-11-30T14:28:20.350" UserDisplayName="esmitex" Text="Maybe he crackle sound is due to clipping. I know it happens when I am recording with the microphone I never put the input volume to the max because it will clipping if I talk too loud. &#xD;&#xA;&#xD;&#xA;Check this link, it might help you: http://electronicdesign.com/article/analog-and-mixed-signal/simple-additions-to-audio-amplifier-prevent-clippi-16243 " ContentLicense="CC BY-SA 3.0" />
  <row Id="44726" PostHistoryTypeId="2" PostId="25448" RevisionGUID="b98497e2-329d-4cf1-8bbe-ab0431742f94" CreationDate="2012-11-30T15:06:56.250" UserDisplayName="horatio" Text="If you are just using the normal output of the computer system, then you are sending too much signal to the amplifier: the computer is adding gain to the audio signal and then the amplifier is re-amplifying it. &#xD;&#xA;&#xD;&#xA;This is essentially how distortion pedals work for guitars: they add gain before the primary amplifier.&#xD;&#xA;&#xD;&#xA;Adjust the volume downwards on the computer and use the amp as the volume control (as you discovered)" ContentLicense="CC BY-SA 3.0" />
  <row Id="44727" PostHistoryTypeId="2" PostId="25445" RevisionGUID="03fe8736-2740-4e13-a2ca-b8f090eb7ac6" CreationDate="2012-11-30T13:26:58.510" UserDisplayName="Dremp" Text="When i turn the volume of the input to my &quot;amp&quot; to the max, my speakers crackle. If i turn the volume down of the input and up for the amp, so the volume is the same as before, it's perfectly fine. My question is if the audio quality gets better the lower the input volume is, or there's another reason for this? The speakers are almost brand new, and my brother have had the same problem with his 2-3 year old ones. Thanks&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;This is my amplifier http://nadelectronics.com/products/hifi-amplifiers/C-316BEE-Stereo-Integrated-Amplifier  &#xD;&#xA;&#xD;&#xA;    Computer -&gt; Amplifier -&gt; Speakers&#xD;&#xA;      100%        50%   &lt;- Crackle  &#xD;&#xA;      50%         100%  &lt;- No crackle" ContentLicense="CC BY-SA 3.0" />
  <row Id="44728" PostHistoryTypeId="1" PostId="25445" RevisionGUID="03fe8736-2740-4e13-a2ca-b8f090eb7ac6" CreationDate="2012-11-30T13:26:58.510" UserDisplayName="Dremp" Text="Speakers crackle when input volume to amp is max" ContentLicense="CC BY-SA 3.0" />
  <row Id="44729" PostHistoryTypeId="3" PostId="25445" RevisionGUID="03fe8736-2740-4e13-a2ca-b8f090eb7ac6" CreationDate="2012-11-30T13:26:58.510" UserDisplayName="Dremp" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44730" PostHistoryTypeId="36" PostId="25448" RevisionGUID="5ac9a4af-cc58-4035-afbb-120721ecb196" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5459/speakers-crackle-when-input-volume-to-amp-is-max/5462#5462" />
  <row Id="44731" PostHistoryTypeId="36" PostId="25449" RevisionGUID="c9549977-c726-4cf7-9ea9-15daf6055690" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1392/inverse-mute-group-for-yamaha-ls9" />
  <row Id="44732" PostHistoryTypeId="36" PostId="25450" RevisionGUID="ba6ed307-f08d-4ae4-b511-b63fc2f3e25a" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1392/inverse-mute-group-for-yamaha-ls9/8760#8760" />
  <row Id="44733" PostHistoryTypeId="2" PostId="25450" RevisionGUID="f8908e29-886f-4092-9b41-9dcb285e4d12" CreationDate="2013-08-18T03:59:05.910" UserDisplayName="Bob" Text="Brad,&#xD;&#xA;&#xD;&#xA;I have a similar situation. I work at a TV station that uses an LS9. Studio speakers need to be muted when mics are turned on. I have a temporary work around that I'm using now. I simply send a mix-minus feed to the studio, but a full feed to the transmitter. It's not an elegant solution, but it works.&#xD;&#xA;&#xD;&#xA;I'm looking into a midi-to-relay method because the talent here is used to hearing a relay &quot;click&quot; to know their mics are hot. I also want to have remote starts for some of the audio playback machines when certain channels are turned on. I'm probably going to try using a MIDI Solutions R8 8-output MIDI-controlled Relay Array. I found it at http://www.midisolutions.com/prodr8.htm.&#xD;&#xA;&#xD;&#xA;It's been a while since you posed your question. I'm quite interested in knowing if you've found a working solution?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Bob" ContentLicense="CC BY-SA 3.0" />
  <row Id="44734" PostHistoryTypeId="2" PostId="25449" RevisionGUID="e42f678a-0d48-410b-bda2-2f95797c70f5" CreationDate="2011-05-10T21:13:05.207" UserId="7209" Text="Is it possible to automatically mute an output channel on the LS9 when a particular input channel is turned on?&#xD;&#xA;&#xD;&#xA;This is for a radio studio.  I'd like the omni out that I have going to the studio speakers to be turned off when one of the two microphone inputs are turned on, so that I don't pick up music and such in the mics when people forget to turn them down.&#xD;&#xA;&#xD;&#xA;If I can't find a way to do it on the board itself, I will probably just resort to writing some simple software that listens for the MIDI when the channels are turned on, and sends the proper MIDI for turning off the output." ContentLicense="CC BY-SA 3.0" />
  <row Id="44735" PostHistoryTypeId="1" PostId="25449" RevisionGUID="e42f678a-0d48-410b-bda2-2f95797c70f5" CreationDate="2011-05-10T21:13:05.207" UserId="7209" Text="Inverse Mute Group for Yamaha LS9?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44736" PostHistoryTypeId="3" PostId="25449" RevisionGUID="e42f678a-0d48-410b-bda2-2f95797c70f5" CreationDate="2011-05-10T21:13:05.207" UserId="7209" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44737" PostHistoryTypeId="36" PostId="25451" RevisionGUID="6dc17967-62f6-453f-a48a-204956a1ad3e" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8157/what-is-this-static-in-front-of-the-audio-in-mp3" />
  <row Id="44738" PostHistoryTypeId="2" PostId="25452" RevisionGUID="9711ff4b-347c-42a5-98d0-dd36b91d0e93" CreationDate="2013-06-20T01:08:28.020" UserId="7189" Text="&gt; What I'm wondering is why does the algorithm decide to put the random values at the front of the first chunk instead of the end of the last chunk? I'm also wondering, why are the random values random? Why can't the encoder just use 0.0?&#xD;&#xA;&#xD;&#xA;The noise is almost certainly coming from the *decoder* not the *encoder*. The encoder processes the audio and produces a set of coefficients that represent the audio content. This is frequency-domain data, not the time domain data that you see when you open up the audio file in an editor like Audacity. When you open your MP3 file up, Audacity has to translate the MP3 data into audio data. So you aren't looking at what is stored in the MP3 file, you are looking at the result of transforming that data via your MP3 decoder into audio data.&#xD;&#xA;&#xD;&#xA;Most likely, the encoder isn't even recording `0.0` for the data. It stores the coefficients that represent the compressed data, and then probably also stores time offsets that allow the audio block to be properly positioned once it has been decoded." ContentLicense="CC BY-SA 3.0" />
  <row Id="44739" PostHistoryTypeId="2" PostId="25451" RevisionGUID="370a83ed-54c8-4919-b8f7-2f2712eec343" CreationDate="2013-06-18T21:04:55.893" UserId="7236" Text="&lt;sup&gt;I understand that MP3 is not recommended for production as it is lossy, but that is irrelevant here.&lt;/sup&gt;&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;I understand that the MP3 encoding algorithm inserts silence in the first second to pad out the block amongst other reasons. However, upon further inspection, the algorithm also inserts random nonsense values amongst the silence. Puzzled, I tried it out on a plain beat (`VES2 Bassdrum 001`) as shown below.&#xD;&#xA;&#xD;&#xA;![Exhibit A: 'VES2 Bassdrum 001' WAV][1]&#xD;&#xA;&#xD;&#xA;I then proceeded to export as MP3 at the highest quality possible with the [LAME plugin][2]:&#xD;&#xA;&#xD;&#xA;![Exhibit B: Exporting][3]&#xD;&#xA;&#xD;&#xA;Afterwards, I opened the exported file, and _lo and behold_, there was random &quot;static&quot; values before the kick! To be exact, 2257 samples worth of nonsense. That's ~0.0512 seconds worth of randomness:&#xD;&#xA;&#xD;&#xA;![Exhibit C: 'VES2 Bassdrum 001' MP3][4]&#xD;&#xA;&#xD;&#xA;If you also look closely, you can see the encoder chopped off some of the values at the end of the sample!&#xD;&#xA;&#xD;&#xA;Now, before you get after me for not knowing the algorithm has to insert values into a chunk to pad it out, I say to you, **I already know that**. I even mentioned it in the opening paragraph.&#xD;&#xA;&#xD;&#xA;What I'm wondering is _why_ does the algorithm decide to put the random values at the _front_ of the _first_ chunk instead of the _end_ of the _last_ chunk? I'm also wondering, why are the random values _random_? Why can't the encoder just use `0.0`?&#xD;&#xA;&#xD;&#xA; [1]: http://i.stack.imgur.com/pFQpx.png&#xD;&#xA; [2]: http://lame1.buanzo.com.ar/&#xD;&#xA; [3]: http://i.stack.imgur.com/JhSRp.png&#xD;&#xA; [4]: http://i.stack.imgur.com/bqyXR.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="44740" PostHistoryTypeId="1" PostId="25451" RevisionGUID="370a83ed-54c8-4919-b8f7-2f2712eec343" CreationDate="2013-06-18T21:04:55.893" UserId="7236" Text="What is this static in front of the audio in MP3?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44741" PostHistoryTypeId="3" PostId="25451" RevisionGUID="370a83ed-54c8-4919-b8f7-2f2712eec343" CreationDate="2013-06-18T21:04:55.893" UserId="7236" Text="&lt;mp3&gt;&lt;encoding&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44742" PostHistoryTypeId="36" PostId="25452" RevisionGUID="478f3dcf-a446-442f-b469-8b0a46225277" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8157/what-is-this-static-in-front-of-the-audio-in-mp3/8161#8161" />
  <row Id="44743" PostHistoryTypeId="36" PostId="25453" RevisionGUID="55b51d9e-3dd5-4259-84f8-6bc05c7d5958" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8840/a-mathematical-formula-describing-mains-hum" />
  <row Id="44744" PostHistoryTypeId="36" PostId="25454" RevisionGUID="d66e527d-1280-41a4-bf01-e8df7f2209c5" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8840/a-mathematical-formula-describing-mains-hum/8841#8841" />
  <row Id="44745" PostHistoryTypeId="2" PostId="25454" RevisionGUID="83a1bee9-c241-4da8-8d1a-52fdfb407d35" CreationDate="2013-08-28T14:24:51.517" UserId="7174" Text="It's a 50 or 60hz sine wave (depending on power frequency).  You aren't going to get more accurate than that.  The harmonics are going to depend on the particular power generation and will vary based on uncontrolled variations in both the grid and how the hum is actually being introduced in to the signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="44746" PostHistoryTypeId="2" PostId="25455" RevisionGUID="335c0c03-1156-4bff-bb92-a718e192b065" CreationDate="2013-08-28T22:05:32.233" UserId="7405" UserDisplayName="Andy aka" Text="As heard within amplifiers, the frequency can be 100/120Hz (2nd harmonic of 50 or 60Hz) because of the rectification process when converting AC to DC to power said amplifiers. There can also be a component that is the third harmonic of 50/60Hz as well and this is magnetically &quot;coupled&quot; from the AC transformer inside an amplifier.&#xD;&#xA;&#xD;&#xA;There are all sorts of variations too. Due to the rectification process and the magnetics of the transformer the second or third harmonic may well have overtones because of the peaky nature of current flowing into the rectifier when charging reservoir capacitors.&#xD;&#xA;&#xD;&#xA;So, it depends on what does the picking up and how close it is to the source. A guitar pickup (non humbucker of course!) may pick up a lot of 50H/60Hz from the current in wiring in the walls of your building.&#xD;&#xA;&#xD;&#xA;Why not take a recording of it and use some software to analyse the frequency spectra then generate sinewaves to recreate the components found in the spectra. Or just loop the sound you recorded as your &quot;sound&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="44747" PostHistoryTypeId="2" PostId="25453" RevisionGUID="b5416c35-5b16-419d-993d-c29e46a1d314" CreationDate="2013-08-28T13:47:10.303" UserId="18115" UserDisplayName="Maurycy Zarzycki" Text="Is there any mathematical formula which gives a better or worse approximation of [Mains Hum][1]? The idea is to programatically generate the sound.&#xD;&#xA;&#xD;&#xA;[1]:http://en.wikipedia.org/wiki/Mains_hum" ContentLicense="CC BY-SA 3.0" />
  <row Id="44748" PostHistoryTypeId="1" PostId="25453" RevisionGUID="b5416c35-5b16-419d-993d-c29e46a1d314" CreationDate="2013-08-28T13:47:10.303" UserId="18115" UserDisplayName="Maurycy Zarzycki" Text="A mathematical formula describing Mains Hum" ContentLicense="CC BY-SA 3.0" />
  <row Id="44749" PostHistoryTypeId="3" PostId="25453" RevisionGUID="b5416c35-5b16-419d-993d-c29e46a1d314" CreationDate="2013-08-28T13:47:10.303" UserId="18115" UserDisplayName="Maurycy Zarzycki" Text="&lt;noise&gt;&lt;programming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44750" PostHistoryTypeId="36" PostId="25455" RevisionGUID="97dfe677-5be6-415d-b5c3-a54b33c4550a" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8840/a-mathematical-formula-describing-mains-hum/8843#8843" />
  <row Id="44751" PostHistoryTypeId="36" PostId="25456" RevisionGUID="33a93852-6e29-4af9-9bed-3bde3799af19" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8840/a-mathematical-formula-describing-mains-hum/8847#8847" />
  <row Id="44752" PostHistoryTypeId="36" PostId="25457" RevisionGUID="dd4f3f81-acbc-4682-b707-95b8f6336817" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8840/a-mathematical-formula-describing-mains-hum/8966#8966" />
  <row Id="44753" PostHistoryTypeId="2" PostId="25456" RevisionGUID="4ccb4cbd-879a-4474-9b62-a0a6a521d9db" CreationDate="2013-08-29T07:22:04.637" UserId="7189" Text="The fastest way to solve this problem is simply sample a mains hum / ground loop and work with that. I would start by recording 5 minutes of ground hum. Then find a section of about a minute long that loops nicely (make sure that the start and end points are aligned to either both a rising or falling zero-crossing). Then progressively shorten the sample until it no longer sounds good. You should be able to do this easily in [Audacity][1]. You can even generate a 50Hz or 60Hz sine wave in Audacity and play around with adding various harmonics until you get something that you like.&#xD;&#xA;&#xD;&#xA;The slower way would be to still start with the mains hum, but instead of shortening below a 1-minute loop, use a [Fourier transformation][2] to determine the first few Cosine waves that make up your signal. Then you just code up an oscillator that is made up of those Cosine waves and their coefficients. You probably need fewer than 10 coefficients, but again you will want to experiment for yourself and pick what you like.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Fourier_transform" ContentLicense="CC BY-SA 3.0" />
  <row Id="44754" PostHistoryTypeId="2" PostId="25457" RevisionGUID="49332c44-a089-424d-b6ca-83553e2f4dbe" CreationDate="2013-09-13T04:57:54.807" UserId="8159" UserDisplayName="Jamil" Text="Take the Fourier Transformation of the recorded sound and you can reconstruct it from data.&#xD;&#xA;&#xD;&#xA;Wikipedia has a great article on Fourier Transformations. No need to explain it here. http://en.wikipedia.org/wiki/Fourier_transform" ContentLicense="CC BY-SA 3.0" />
  <row Id="44755" PostHistoryTypeId="36" PostId="25458" RevisionGUID="ad04d844-6035-4a18-8d88-b0c34f527eae" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4726/in-ableton-how-come-cropped-samples-arent-cropped-as-much-when-imported-later" />
  <row Id="44756" PostHistoryTypeId="2" PostId="25459" RevisionGUID="590dfa45-7fd7-4379-a370-fe9871b42b32" CreationDate="2012-09-21T17:17:47.380" UserId="7294" UserDisplayName="Warrior Bob" Text="In short: when you &quot;crop your samples in a Drum Rack,&quot; you aren't editing the samples - you're editing the Drum Rack (or the devices inside it). Yes, this can be confusing at first. &#xD;&#xA;&#xD;&#xA;Live doesn't copy audio files, it references them&#xD;&#xA;-&#xD;&#xA;&#xD;&#xA;In general there are two ways to load an audio file into Live and mess with it. Let's assume you're working with a .wav file:&#xD;&#xA;&#xD;&#xA;- You can load it **as a Live Clip** by dragging the .wav file from the browser into Session or Arrangement view. You can load the same .wav into lots of separate clips.&#xD;&#xA;- You can load it **into a device** such as a Sampler, Simpler, or into a Drum Rack cell (which actually just loads it into a Simpler, but puts the simpler in the drum rack cell automatically) by dragging it onto such a device. You can load the same .wav into lots of different devices&#xD;&#xA;&#xD;&#xA;Here's the confusing part: Live does not make a copy of the .wav file every time it's loaded. For example, if you put the same .wav file into 5 different Simpler devices, each with their own settings, the .wav file does not change. It's the *Simplers* that are all different. The .asd file does not save these settings - It wouldn't even make sense if it did, as there are five Simplers but only one .asd file. If you want to save your device settings, you need to save a preset for that device, or save that device inside a Live set. To import the sample into a new project, load the device preset.&#xD;&#xA;&#xD;&#xA;This is why you lose your device settings when you do your cropping in a Drum Rack, but you only save the .wav and .asd - you're losing all the settings for the Drum Rack.&#xD;&#xA;&#xD;&#xA;You can save presets for any device in Live, but you'll need to keep the sample .wav as well as the device preset files. One way to do this is to put all of your sample .wavs in some folder that won't change, and then save the device presets on their own somewhere else. This will work so long as the .wav files are still there every time you load up a preset that is looking for one of them. The downside to this is that you have to make sure you don't ever lose this folder or edit the files directly, since the presets depend on them. The upside is that you can get really creative about messing up your samples with device presets and you won't ever destroy any sample data.&#xD;&#xA;&#xD;&#xA;This sounds complicated, I just want to output .wav files!&#xD;&#xA;--&#xD;&#xA;If you want to save what you've done as simple audio, then you need to, you know, save them as audio. In Live, because everything is done by reference, the only easy save-as-audio feature is the Export Audio function, which renders whatever is on the timeline to audio. There is no batch &quot;save all my drum rack sounds as audio&quot; format, since there are cases where it wouldn't work - such as any clever macro knob assignments you've made.&#xD;&#xA;&#xD;&#xA;You can use the export feature by creating a MIDI clip on the timeline, and triggering each of your samples in turn with it. You can then export this region as a single long audio file, and cut it up into individual .wav files with any audio editor like Audacity.&#xD;&#xA;&#xD;&#xA;Yes, this method is a bit hacky, but it's because Live is a multitrack sequencer, recorder and looper - it's not a wave editor per se, so you have to get audio out of Live to do any serious wave editing tasks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44757" PostHistoryTypeId="2" PostId="25458" RevisionGUID="4a928c27-b8bb-4a87-a382-550ec55f79e4" CreationDate="2012-09-14T19:53:36.007" UserDisplayName="Carter" Text="I've been trying to archive my samples for later use.&#xD;&#xA;&#xD;&#xA;Assume I have a sample cropped perfectly in drum rack and I've verified that the sample is how I want it. I've then stored the .wav for the sample along with the .asd in my archive. When I later import the sample into a new Ableton project, I'm finding there will be some extra wave form from the original track on either side of the sample that was cropped out before.&#xD;&#xA;&#xD;&#xA;What this means is that my snare hit may have a tinge of the hi-hat that followed, which makes a slight pop at the end of the sample.&#xD;&#xA;&#xD;&#xA;This requires me to re-crop every single time I import the sample into Ableton.&#xD;&#xA;&#xD;&#xA;I thought maybe I would need to not only import the .wav sample, but also copy the .wav.asd file from the original sample into the new project, but that doesn't seem to do anything.&#xD;&#xA;&#xD;&#xA;As an aside, I'd ultimately like to be able to store the sample along with it's exact settings as I made it originally. For example, preserving release and attack settings.&#xD;&#xA;&#xD;&#xA;To import the sample, I'm just adding it from the browser window. Perhaps there is a different way to do this so cropping and other settings are preserved?&#xD;&#xA;&#xD;&#xA;**EDIT**: So, I found out that I can save my drum rack and that will save all the settings and such. However, this doesn't include with it the actual wav files it seems for the samples. Also, it saves it as a an ableton live specific format. I wish I could just save the wav files off somewhere cropped properly. Is this even possible?&#xD;&#xA;&#xD;&#xA;**EDIT**: Would it be better if I reformulated my question? This seems like an issue of simple sample management. How can I even store raw samples of the correct length? Forget about all the extra settings and such." ContentLicense="CC BY-SA 3.0" />
  <row Id="44758" PostHistoryTypeId="1" PostId="25458" RevisionGUID="4a928c27-b8bb-4a87-a382-550ec55f79e4" CreationDate="2012-09-14T19:53:36.007" UserDisplayName="Carter" Text="In Ableton, how come cropped samples aren't cropped as much when imported later?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44759" PostHistoryTypeId="3" PostId="25458" RevisionGUID="4a928c27-b8bb-4a87-a382-550ec55f79e4" CreationDate="2012-09-14T19:53:36.007" UserDisplayName="Carter" Text="&lt;ableton&gt;&lt;sampling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44760" PostHistoryTypeId="36" PostId="25459" RevisionGUID="70ea67ca-2216-456f-9b77-b29b2485a19c" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4726/in-ableton-how-come-cropped-samples-arent-cropped-as-much-when-imported-later/4792#4792" />
  <row Id="44761" PostHistoryTypeId="36" PostId="25460" RevisionGUID="70790db0-17d2-4625-ba7c-e5653378ec8d" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7758/ableton-record-everything-i-do-and-play-it-back-on-screen" />
  <row Id="44762" PostHistoryTypeId="36" PostId="25461" RevisionGUID="7cf77c66-223e-401d-a421-65bf3152846b" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7758/ableton-record-everything-i-do-and-play-it-back-on-screen/7765#7765" />
  <row Id="44763" PostHistoryTypeId="2" PostId="25461" RevisionGUID="741bb768-6158-4f3c-b22e-ab3ca40a576f" CreationDate="2013-04-29T14:52:38.940" UserId="7294" UserDisplayName="Warrior Bob" Text="There is no feature like this in Live. &#xD;&#xA;&#xD;&#xA;The closest thing I can think of is arming all tracks for recording, and capturing all audio, MIDI, and parameter movements (as automation). You'll be able to generally hear what happened and see what device parameters were changed, but you won't have a visual display of where your mouse moved, what windows you had opened, any menus you went into, and you won't be able to edit on the Arrangement while it's recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="44764" PostHistoryTypeId="2" PostId="25460" RevisionGUID="deb46c7f-2019-4115-8a6d-d18d41fb265a" CreationDate="2013-04-28T05:00:45.017" UserId="7840" UserDisplayName="themirror" Text="Is there a way to have Ableton record everything I do -- where I click, what I adjust, etc so that I can watch myself later?  The best way to do this might be to simply record a video of my screen using some screen recording software.&#xD;&#xA;&#xD;&#xA;But if I wanted to record my movements in Ableton every time I jam with it as a kind of learning archive for myself, I would quickly have terabytes of video.  So is there a way to just record my interactions (a la Windows 3.1 Macro Recorder) and play them back?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44765" PostHistoryTypeId="1" PostId="25460" RevisionGUID="deb46c7f-2019-4115-8a6d-d18d41fb265a" CreationDate="2013-04-28T05:00:45.017" UserId="7840" UserDisplayName="themirror" Text="Ableton: Record everything I do and play it back on-screen" ContentLicense="CC BY-SA 3.0" />
  <row Id="44766" PostHistoryTypeId="3" PostId="25460" RevisionGUID="deb46c7f-2019-4115-8a6d-d18d41fb265a" CreationDate="2013-04-28T05:00:45.017" UserId="7840" UserDisplayName="themirror" Text="&lt;ableton&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44767" PostHistoryTypeId="36" PostId="25462" RevisionGUID="c15d4df5-d726-48b4-bc67-a0d2d002bcb6" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/536/switch-to-playlist-view-from-d-command" />
  <row Id="44768" PostHistoryTypeId="2" PostId="25463" RevisionGUID="3f460689-6061-43a5-954c-26a6f502b244" CreationDate="2011-01-12T02:39:55.257" UserId="7398" UserDisplayName="BenV" Text="Got my answer [here][1].  Apparently there's no way to get to the expanded playlist view from the D-Command.  &#xD;&#xA;&#xD;&#xA;My illusion of the D-Command's omnipotence has been shattered.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://duc.avid.com/showthread.php?t=291774" ContentLicense="CC BY-SA 2.5" />
  <row Id="44769" PostHistoryTypeId="2" PostId="25462" RevisionGUID="5303a1f1-8a3d-4abe-b916-66155437fdee" CreationDate="2011-01-07T16:35:46.617" UserId="7398" UserDisplayName="BenV" Text="In Pro Tools:&#xD;&#xA;&#xD;&#xA;I know how to switch a track to volume, pan, mute, and waveform views, but how do I get to playlist view from the D-Command?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44770" PostHistoryTypeId="1" PostId="25462" RevisionGUID="5303a1f1-8a3d-4abe-b916-66155437fdee" CreationDate="2011-01-07T16:35:46.617" UserId="7398" UserDisplayName="BenV" Text="Switch to playlist view from D-Command" ContentLicense="CC BY-SA 2.5" />
  <row Id="44771" PostHistoryTypeId="3" PostId="25462" RevisionGUID="5303a1f1-8a3d-4abe-b916-66155437fdee" CreationDate="2011-01-07T16:35:46.617" UserId="7398" UserDisplayName="BenV" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44772" PostHistoryTypeId="36" PostId="25463" RevisionGUID="ed129e6a-b225-4d24-ab71-f69498caa57b" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/536/switch-to-playlist-view-from-d-command/567#567" />
  <row Id="44773" PostHistoryTypeId="36" PostId="25464" RevisionGUID="bdd7f204-9bc6-4f9c-90b6-4f2e5ba0413b" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2503/how-to-use-zoom-h4n-to-vary-speed-of-nearly-any-mp3-clip" />
  <row Id="44774" PostHistoryTypeId="36" PostId="25465" RevisionGUID="6d8372e2-fb4c-46b5-862f-4431bc909c27" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2503/how-to-use-zoom-h4n-to-vary-speed-of-nearly-any-mp3-clip/2507#2507" />
  <row Id="44775" PostHistoryTypeId="36" PostId="25466" RevisionGUID="da7850cd-cb34-4b6f-8783-4c3bbea77cfd" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2503/how-to-use-zoom-h4n-to-vary-speed-of-nearly-any-mp3-clip/2667#2667" />
  <row Id="44776" PostHistoryTypeId="2" PostId="25465" RevisionGUID="68e6d21a-abf3-477c-9889-b7194087969a" CreationDate="2011-10-20T02:48:14.060" UserId="7189" Text="I'm not sure why you are having trouble stretching audio on your Zoom, but it may have to do with the fact that MP3s are compressed and the Zoom may have trouble manipulating compressed data. You may have better luck with uncompressed audio like WAV files.&#xD;&#xA;&#xD;&#xA;[Audacity][1] is a great place to start. Although 1.3.x is in beta, I've found it to be very stable and a lot more powerful than 1.2.x. You will want to convert your MP3s to an uncompressed format like WAV before you start stretching.&#xD;&#xA;&#xD;&#xA;If you want to get *really* crazy, give [PaulStretch][2] a try. If you are looking for something with more of a mid-90s sound, take a look at [AKAIZER][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/&#xD;&#xA;  [2]: http://hypermammut.sourceforge.net/paulstretch/&#xD;&#xA;  [3]: http://akaizer.blogspot.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="44777" PostHistoryTypeId="2" PostId="25466" RevisionGUID="4c4be15b-eca5-49da-861e-6c145e48acfe" CreationDate="2011-11-19T23:48:00.893" UserId="7016" Text="I always get best results using raw wav files and encoding later. It's just easier all round - you end up with better quality sound as well, as you are only compressing/encoding once." ContentLicense="CC BY-SA 3.0" />
  <row Id="44778" PostHistoryTypeId="2" PostId="25464" RevisionGUID="bcdc37d6-a6f2-4e8f-aca9-f20f305b07a8" CreationDate="2011-10-20T00:41:08.590" UserDisplayName="IVI" Text="Zoom's H4N can vary speed of audio that it records, but often has trouble doing that to podcasts (from CBC, etc.). Is there a way to persuade it to work with nearly &quot;any&quot; MP3?&#xD;&#xA;&#xD;&#xA;If not, what FOSS software can do the job?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44779" PostHistoryTypeId="1" PostId="25464" RevisionGUID="bcdc37d6-a6f2-4e8f-aca9-f20f305b07a8" CreationDate="2011-10-20T00:41:08.590" UserDisplayName="IVI" Text="How to use ZOOM H4N to vary speed of nearly &quot;any&quot; MP3 clip?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44780" PostHistoryTypeId="3" PostId="25464" RevisionGUID="bcdc37d6-a6f2-4e8f-aca9-f20f305b07a8" CreationDate="2011-10-20T00:41:08.590" UserDisplayName="IVI" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44781" PostHistoryTypeId="36" PostId="25467" RevisionGUID="4ae3d0d4-b2f8-4c17-acec-cb1181a77299" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2159/file-renaming-of-mp3" />
  <row Id="44782" PostHistoryTypeId="36" PostId="25468" RevisionGUID="796ec30f-849b-4df4-8234-e50be4c366f7" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2159/file-renaming-of-mp3/2161#2161" />
  <row Id="44783" PostHistoryTypeId="36" PostId="25469" RevisionGUID="db681212-ace5-4d73-8fbc-37149a63212b" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2159/file-renaming-of-mp3/2174#2174" />
  <row Id="44784" PostHistoryTypeId="2" PostId="25468" RevisionGUID="d9c3191d-c281-4b5f-9e18-5523dd6917b2" CreationDate="2011-08-18T13:15:07.790" UserId="7093" Text="Try [MP3Tag][1].  It is free and allows you to set the tags from the filename.&#xD;&#xA;&#xD;&#xA;For your example, you would select all of the songs and use the 'Filename-Tag' command.  Enter '%track%-%artist%-%title%' and click OK.  This will fill in the track, artist and title tags with the correct information.  The album and other tags can be entered manually once per set of selected files.  You could then use the 'Tag-Filename' command to rename the files if you needed to using a similar method.&#xD;&#xA;&#xD;&#xA;You can also download album information including cover art for most CDs.&#xD;&#xA;&#xD;&#xA;To remove the extra underscores ('_') from the names, you could use a bulk file renaming utility such as [Bulk Rename Utility][2].  You will want to remove the underscores from the file names before you import the tag information.  Browse to the directory where the files are.  Under the 'Repl. (3) section, enter '_' (without the quotes) in the Replace text box and a single space in the With text box.  Select the files you wish to rename (the New Name column will show you a preview of the new file names).  Click the Rename button in the lower right corner of the form.  Now all of your file names will be free of those pesky underscores.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mp3tag.de/en/download.html&#xD;&#xA;  [2]: http://www.bulkrenameutility.co.uk/Main_Intro.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="44785" PostHistoryTypeId="2" PostId="25469" RevisionGUID="15cd9500-2b4b-4d2b-887f-e869f8c5fd55" CreationDate="2011-08-20T12:26:10.793" UserId="7309" UserDisplayName="jwernerny" Text="I've been using [EasyTag][1] for several years now.  It can work on single files or batch process files.  It is an FOSS project hosted at SourceForge, and is available as source and prebuilt for some platforms (Windows &amp; Linux).&#xD;&#xA;&#xD;&#xA;One of the features I really like is that it can auto-tag files based on a set of rules.  For instance, if you keep your music directories/named in a specific way, it can extra from that and rename stuff.&#xD;&#xA;&#xD;&#xA;For example, I name/organize my music in a form &quot;&lt;artist&gt;/&lt;album&gt;/&lt;track&gt;-&lt;title&gt;&quot;.  I can tell EasyTag to update the info based on the form I choose.  So if I have &quot;Sting/All This Time/08-Dienda.mp3&quot;, it would tag the file as Artist: Sting, Album: All This Time, Song: Dienda, Track:8.&#xD;&#xA;&#xD;&#xA;Similarly, EasyTag can also rename/move your files by applying the reverse process.  If I just had the file 08-Dienda.mp3 sitting in a directory and properly tagged, it would create the subdirectories Sting and Sting/All This Time and move the file there.  I often use  this feature when my wife purchases MP3.  First I properly tag it, then I have it moved into the correct directory.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://easytag.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="44786" PostHistoryTypeId="2" PostId="25467" RevisionGUID="11776481-1b6e-4645-9227-8cf408bdff4c" CreationDate="2011-08-18T13:00:25.240" UserDisplayName="Phill Fernandes" Text="I have a huge music collection and a good majority of it is Billboards Top 100. The Tags on the files are incorrect and the file names are similar.&#xD;&#xA;&#xD;&#xA;* 15-Kay_Kyser-Woody_Woodpecker.mp3&#xD;&#xA;* T#-Artist_Name-Song_Name.mp3&#xD;&#xA;&#xD;&#xA;What would be the best way to rename the files so they would be like this:&#xD;&#xA;&#xD;&#xA;* Artist - Title.mp3&#xD;&#xA;&#xD;&#xA;I'd rather not do this by hand because each CD, as the name indicates, has 100 tracks and I have about 5 or 6 of the CDs.&#xD;&#xA;&#xD;&#xA;I have tried using MediaMonkey but the software insists on trying to retag the files as if the song was performed by Kay Starr (no idea who that is) or 3 Doors Down.&#xD;&#xA;&#xD;&#xA;This is extremely annoying as you would imagine.&#xD;&#xA;&#xD;&#xA;Any ideas?? " ContentLicense="CC BY-SA 3.0" />
  <row Id="44787" PostHistoryTypeId="1" PostId="25467" RevisionGUID="11776481-1b6e-4645-9227-8cf408bdff4c" CreationDate="2011-08-18T13:00:25.240" UserDisplayName="Phill Fernandes" Text="File renaming of MP3" ContentLicense="CC BY-SA 3.0" />
  <row Id="44788" PostHistoryTypeId="3" PostId="25467" RevisionGUID="11776481-1b6e-4645-9227-8cf408bdff4c" CreationDate="2011-08-18T13:00:25.240" UserDisplayName="Phill Fernandes" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44795" PostHistoryTypeId="36" PostId="25472" RevisionGUID="56de954b-266f-469b-b15d-84114e6336dd" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8134/what-causes-the-background-hissing-in-speakers" />
  <row Id="44796" PostHistoryTypeId="36" PostId="25473" RevisionGUID="7eb6c5f2-ccb2-40cd-ad12-007bb0417886" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8134/what-causes-the-background-hissing-in-speakers/8135#8135" />
  <row Id="44797" PostHistoryTypeId="2" PostId="25473" RevisionGUID="4f676599-e446-43cc-bcaf-c873f56d157c" CreationDate="2013-06-16T08:49:05.593" UserId="6755" Text="It's noise interference caused by any number of things: &#xD;&#xA;&#xD;&#xA;Ever put your mobile phone next to a speaker when its calling out? You get feedback from the transmitted waves from your phone. &#xD;&#xA;&#xD;&#xA;Cables inside car dash that carry any power produce electromagnet waves, they also interfere with your audio signal if they're close enough to your auxiliary cable.&#xD;&#xA;&#xD;&#xA;Unless you shield your auxiliary cables then your always going to get some sort of interference. The interference signal isn't of a great magnitude, however by turning the volume up your amplifying the audio and any interference that follows.&#xD;&#xA;&#xD;&#xA;Electromagnetic Interference: http://en.wikipedia.org/wiki/Electromagnetic_interference" ContentLicense="CC BY-SA 3.0" />
  <row Id="44798" PostHistoryTypeId="2" PostId="25474" RevisionGUID="9f7aecc5-4415-401f-854e-9686572b4551" CreationDate="2013-06-16T11:12:29.817" UserId="7405" UserDisplayName="Andy aka" Text="**Thermal Noise**&#xD;&#xA;&#xD;&#xA;It's highly likely that what you are experiencing is a natural phenomeon that is entirely due to the internal electronic circuits within your amplifier. I'm not saying that external EMI doesn't come along now and then and cause noise because it does, however, what you have descibed is &quot;thermal noise&quot; - a constant hiss.&#xD;&#xA;&#xD;&#xA;Where does it occur? It occurs naturally in all resistors - components used to set the gain or DC levels within the amplifier. The resistors at the front-end of the amplifier will produce natural noise and because they are at the lowest part of the signal amplification chain, their noise will be dominant. Buying so-called &quot;better&quot; resistors is ineffective - this noise is at the atomic level and is not &quot;type&quot; related.&#xD;&#xA;&#xD;&#xA;Mathematically we can predict the general level of the noise and for a resistor this is encapsulated in the formula sqrt(4*K*R*B).&#xD;&#xA;&#xD;&#xA; - K = Boltzman's constant = 1.38 x 10-23 (1.38 divided by&#xD;&#xA;   100000000000000000000000) i.e. a very small number.&#xD;&#xA; - T = absolute temperature (ambient is about 300)&#xD;&#xA; - B = Bandwidth and for audio this is about 20,000 (20kHz - 20Hz still&#xD;&#xA;   approximates to 20k)&#xD;&#xA; - R = resistance of resistor&#xD;&#xA;&#xD;&#xA;So if you have a resistor of 1 million ohms at normal temperatures, it will produce a voltage noise, on an audio system of 18 micro volts - your amplifier chain may have a gain of 1000 so this becomes 18mV on your speakers. &#xD;&#xA;&#xD;&#xA;How loud is 18mV? If your speakers normally receive 10V (RMS) for normal listening, in dB quantities, the resistor noise is 55dB quieter so if you turn the volume up you are going to hear it. How many resistors could be contributing to the noise - well, the answer is more than 1 so this noise is going to be a bit bigger. [Here][1] is a calculator that works it out for you, copy of results below:-&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;Without your cable plugged-in there may be a mechanism that shorts out the input and thus shorts out the high value resistors that produce noise. The presence of the cable may also cause the internal amps to become activated too. It would be interesting to know if without your cable plugged-in the noise reduced at all - it's also likely that if you terminated your cable in 1kohm (standard impedance for some audio systems), the noise would reduce because the 1kohm shunts higher values and the net effect would be 0.57uV instead of 18uV (a reduction of 30dB). This would be normal operations and the noise would bearly be heard at all.&#xD;&#xA;&#xD;&#xA;**Is doesn't end with resistors**&#xD;&#xA;&#xD;&#xA;Thermal type noise also comes from the chip amplifiers inside your amp and although there isn't a formula, each manufacturer of (say) op-amps lists a figure for the equivalent input noise of the amplifier. A typical example of the type of op-amp that used to be fitted is the LF347 - this has an equivalent noise input of 20nV per sqrt(Hz). It sounds a complex meaningless value until you factor in bandwidth and for audio that is 20kHz - take the sqrt of 20,000 and multiply is by 20nV. The result is 2uV; somewhat higher than the noise produced by a 1kohm source (0.57uV) on the end of your cable (should you have connected one) but still a lot quieter than the open circuit cable that allows high value resistors (that typically set amplifier bias points) to dominate to noise.&#xD;&#xA;&#xD;&#xA;It's quite possible that changing the op-amp (that is first in the amplifier chain within your amp) to a lower noise type will give great reductions in noise. I've done it myself and virtually made background noise almost silent.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.daycounter.com/Calculators/Thermal-Noise-Calculator.phtml&#xD;&#xA;  [2]: http://i.stack.imgur.com/Ko7vP.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="44799" PostHistoryTypeId="2" PostId="25472" RevisionGUID="206e7e1f-61fe-47eb-af09-3acab7dbb35c" CreationDate="2013-06-16T06:54:15.497" UserDisplayName="Anonymous" Text="If I turn the volume up as high as it goes with the auxiliary cable plugged in, I can get a constant, quiet, hissing noise to come out of the speakers. &#xD;&#xA;&#xD;&#xA;What causes that &quot;static&quot;? " ContentLicense="CC BY-SA 3.0" />
  <row Id="44800" PostHistoryTypeId="1" PostId="25472" RevisionGUID="206e7e1f-61fe-47eb-af09-3acab7dbb35c" CreationDate="2013-06-16T06:54:15.497" UserDisplayName="Anonymous" Text="What causes the background hissing in speakers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44801" PostHistoryTypeId="3" PostId="25472" RevisionGUID="206e7e1f-61fe-47eb-af09-3acab7dbb35c" CreationDate="2013-06-16T06:54:15.497" UserDisplayName="Anonymous" Text="&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44802" PostHistoryTypeId="36" PostId="25474" RevisionGUID="7a478c96-06f8-48fc-897e-edcf62179156" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8134/what-causes-the-background-hissing-in-speakers/8136#8136" />
  <row Id="44803" PostHistoryTypeId="36" PostId="25475" RevisionGUID="a2dda8f1-74a7-4163-a726-4bd3b5570e6e" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1082/what-are-the-best-techniques-to-looping-in-protools" />
  <row Id="44804" PostHistoryTypeId="36" PostId="25476" RevisionGUID="55268150-a5f0-4213-a414-11265cf5d794" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1082/what-are-the-best-techniques-to-looping-in-protools/1083#1083" />
  <row Id="44805" PostHistoryTypeId="36" PostId="25477" RevisionGUID="1c4c8ffa-bbbb-49cc-8ef0-73088ceb0de4" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1082/what-are-the-best-techniques-to-looping-in-protools/1894#1894" />
  <row Id="44806" PostHistoryTypeId="36" PostId="25478" RevisionGUID="7429fa3e-ae79-4630-ace2-b45ab75eb057" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1082/what-are-the-best-techniques-to-looping-in-protools/3486#3486" />
  <row Id="44807" PostHistoryTypeId="2" PostId="25476" RevisionGUID="6a017c97-c9d3-4f48-a0d0-7d242baffd69" CreationDate="2011-03-22T20:31:29.263" UserId="7294" UserDisplayName="Warrior Bob" Text="I'm not a Pro Tools user but I've used a similar technique in other DAWs (GarageBand, Reaper, Live).  &#xD;&#xA;&#xD;&#xA;If the sample is not an even measure length:&#xD;&#xA;&#xD;&#xA; 1. Trim the recording (or add silence to it) until it's lined up exactly with whatever bar/beat division you want.  In some DAWs this is pretty straightforward, in some you may have to resample.  Turn on snap-to-grid if you have to.&#xD;&#xA; 2. Enable looping - it sounds like you have a loop trim tool for this.  &#xD;&#xA; 3. Loop away - your loop is now matched to the tempo.&#xD;&#xA;&#xD;&#xA;Now, this won't necessarily work for all samples - depending on what you're trying to do, it might be useful to use some time stretching algorithm to stretch the sample to a gridline, and then loop.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="44808" PostHistoryTypeId="2" PostId="25477" RevisionGUID="df55b99d-09a5-4335-8e96-3bfa7945d72d" CreationDate="2011-07-16T01:50:03.677" UserDisplayName="DreLambo" Text="Command+D in Pro-Tools on a mac will let you duplicate a region as many times as you want (not sure about PC's, try control+D if you're a PC user!), each region will start at the exact point the previous one finished...Sounds like this is what you're trying to do! " ContentLicense="CC BY-SA 3.0" />
  <row Id="44809" PostHistoryTypeId="2" PostId="25478" RevisionGUID="d9c92bbf-133b-4a9c-945b-c0f8f2a78c6c" CreationDate="2012-03-07T19:24:13.583" UserDisplayName="Michael MacDonald" Text="I just copy and paste them,&#xD;&#xA;but as for how you are trimming:&#xD;&#xA;&#xD;&#xA;make sure that it's set to &quot;grid&quot; in the top left hand corner.&#xD;&#xA;that way it will align everything to the grid automatically.&#xD;&#xA;You will also have to set your grid to samples instead of bars/beats and to what kind of beats you need to adjust to (1/4, 1/8, 1/16, 1/32, etc) if you haven't already.&#xD;&#xA;It's hard to explain where to go to do that, because it's so small,&#xD;&#xA;but it's over near the top right.&#xD;&#xA;&#xD;&#xA;That should solve the problem and if not this might also be helpful seeing as you're using loops. (shame on you!) just kidding.&#xD;&#xA;If you hold-click over the tool that allows you to adjust the length of the audio clip (the middle one I believe near the pencil tool)&#xD;&#xA;it will give you more options.&#xD;&#xA;One of them is called TCE (time compression expansion)&#xD;&#xA;This allows you to change the speed/length of a clip without changing its tone.&#xD;&#xA;This is an extremely useful tool,&#xD;&#xA;but you probably won't know what I mean until you try it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44810" PostHistoryTypeId="2" PostId="25475" RevisionGUID="e10e1c09-9e71-4009-b2f0-2cebdf7051c2" CreationDate="2011-03-22T16:56:41.857" UserDisplayName="Trip" Text="I've been doing this technique but I think its very &quot;hacky&quot;.&#xD;&#xA;&#xD;&#xA;I trim a region to the exact beginning and exact ending and use the loop trim tool to drag it out.&#xD;&#xA;&#xD;&#xA;The reason why this is hacky is because *eventually* it will fall of the mark. I'm not looping *by the bar/beat*, I'm looping by the *sample*.&#xD;&#xA;&#xD;&#xA;How do you loop?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44811" PostHistoryTypeId="1" PostId="25475" RevisionGUID="e10e1c09-9e71-4009-b2f0-2cebdf7051c2" CreationDate="2011-03-22T16:56:41.857" UserDisplayName="Trip" Text="What are the best techniques to looping in ProTools?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44812" PostHistoryTypeId="3" PostId="25475" RevisionGUID="e10e1c09-9e71-4009-b2f0-2cebdf7051c2" CreationDate="2011-03-22T16:56:41.857" UserDisplayName="Trip" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44813" PostHistoryTypeId="36" PostId="25479" RevisionGUID="ab810d39-a706-4b38-b589-cdf7d8ce89be" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/761/how-can-i-tell-whether-speakers-are-magnetically-shielded" />
  <row Id="44814" PostHistoryTypeId="2" PostId="25480" RevisionGUID="9c46b28a-05a2-4a29-94da-80cd0f3fc2be" CreationDate="2011-02-06T01:30:37.350" UserDisplayName="d-_-b" Text="Put them next to a CRT TV or computer screen. It's not a very high tech way to find out, but it's sure to change the image if they are not. Don't leave them there for long as they could damage your screen. You could also open them up and check visually. If you see bare magnet, they are not shielded. Then again, they could just be painted over.&#xD;&#xA;&#xD;&#xA;Either method is not sure. Also the sheilding may not very good but provide *some* degree of shielding. So even thought the manufacturer may state they are shielded, they might not be shielded very well at all.&#xD;&#xA;&#xD;&#xA;If you are really concerned and you don't trust the manuafacturer, you may want to use a gauss meter. I found this page:&#xD;&#xA;http://www.coolmagnetman.com/magmeter.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="44815" PostHistoryTypeId="2" PostId="25479" RevisionGUID="8b1e2a50-ae5f-4b32-b1bc-93d404aac03e" CreationDate="2011-02-05T14:57:16.320" UserDisplayName="oKtosiTe" Text="I have recently &quot;inherited&quot; a 2003 Philips sound system with fairly decent compact speakers.   &#xD;&#xA;&#xD;&#xA;The specifications in [the manual][1] do not appear to state whether the speakers are magnetically shielded. Is there any simple way to find out?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://download.p4c.philips.com/files/m/mz-1000_37/mz-1000_37_dfu_aen.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="44816" PostHistoryTypeId="1" PostId="25479" RevisionGUID="8b1e2a50-ae5f-4b32-b1bc-93d404aac03e" CreationDate="2011-02-05T14:57:16.320" UserDisplayName="oKtosiTe" Text="How can I tell whether speakers are magnetically shielded?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44817" PostHistoryTypeId="3" PostId="25479" RevisionGUID="8b1e2a50-ae5f-4b32-b1bc-93d404aac03e" CreationDate="2011-02-05T14:57:16.320" UserDisplayName="oKtosiTe" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44818" PostHistoryTypeId="36" PostId="25480" RevisionGUID="ebe0a45f-7df5-41f5-8520-324cc540a18e" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/761/how-can-i-tell-whether-speakers-are-magnetically-shielded/762#762" />
  <row Id="44819" PostHistoryTypeId="36" PostId="25481" RevisionGUID="6719b429-07dd-4c64-be20-f738c42fb22a" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1085/filter-applause-from-videos" />
  <row Id="44820" PostHistoryTypeId="36" PostId="25482" RevisionGUID="f7118787-4421-4fe5-8040-028382741cfd" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1085/filter-applause-from-videos/1110#1110" />
  <row Id="44821" PostHistoryTypeId="2" PostId="25482" RevisionGUID="2da76a44-1e49-4709-9678-d37c104a46c0" CreationDate="2011-03-29T03:44:11.783" UserDisplayName="d-_-b" Text="It sounds like you want to do this on the fly for your viewing pleasure. Unfortunately, sound engineers will recommend that you manually clean up your audio for the best result.&#xD;&#xA;&#xD;&#xA;This can be done in various ways. It sounds as though the camera's mic was used to capture audio, as the audience is louder than the stage. Therefore you will have some trouble removing audience noise while the stage is performing. It is possible, however. I recommend you use a tracker with good envelopes or a waveform editor with a pencil tool. It's not procedure that can be taught in a paragraph. If you really want to do it, why not ask another question relating to that.&#xD;&#xA;&#xD;&#xA;As far as automatic filtering, you've probably done the searches. Good luck." ContentLicense="CC BY-SA 2.5" />
  <row Id="44822" PostHistoryTypeId="2" PostId="25483" RevisionGUID="500ac386-f29c-46aa-9ef3-2db29aab85b3" CreationDate="2011-04-04T19:17:21.643" UserId="7202" Text="Vuvuzelas are easily filterable because they are using is a specific frequency. Applause are basically random &quot;clicks&quot; which use a lot of the spectrum, and as such can't really be filterable. You could possibly detect applause and automatically lower the volume. But it's probably not trivial.&#xD;&#xA;&#xD;&#xA;You might be able to get a good enough result by using a compressor or limiter, as that will lower the volume when it's high. " ContentLicense="CC BY-SA 2.5" />
  <row Id="44823" PostHistoryTypeId="2" PostId="25481" RevisionGUID="f02ca9b6-376d-46d5-b446-64ca188ec994" CreationDate="2011-03-24T10:40:50.993" UserId="7270" UserDisplayName="moose" Text="I asked this question before on stackoverflow ( http://stackoverflow.com/questions/5299338/filter-applause-from-videos ) and got the hint to ask it here:&#xD;&#xA;&#xD;&#xA;&gt; I am currently watching a video from&#xD;&#xA;&gt; 27C3 and I would like to filter the&#xD;&#xA;&gt; applause, as it is very loud. Is this&#xD;&#xA;&gt; possible? I have heard something like&#xD;&#xA;&gt; this was made for Vuvuzelas.&#xD;&#xA;&gt; &#xD;&#xA;&gt; I use Ubuntu. If this filter would&#xD;&#xA;&gt; work via ffmpeg / Audacity this would be great.&#xD;&#xA;&gt; If it is written in Python it would&#xD;&#xA;&gt; also be ok. I know the normalization with the VLC-Player, but thats not a very good solution&#xD;&#xA;&gt; &#xD;&#xA;&gt; Here is an example:&#xD;&#xA;&gt; http://www.youtube.com/watch?v=TIViQuCX7XM#t=5m4s" ContentLicense="CC BY-SA 2.5" />
  <row Id="44824" PostHistoryTypeId="1" PostId="25481" RevisionGUID="f02ca9b6-376d-46d5-b446-64ca188ec994" CreationDate="2011-03-24T10:40:50.993" UserId="7270" UserDisplayName="moose" Text="Filter applause from videos" ContentLicense="CC BY-SA 2.5" />
  <row Id="44825" PostHistoryTypeId="3" PostId="25481" RevisionGUID="f02ca9b6-376d-46d5-b446-64ca188ec994" CreationDate="2011-03-24T10:40:50.993" UserId="7270" UserDisplayName="moose" Text="&lt;noise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44826" PostHistoryTypeId="36" PostId="25483" RevisionGUID="3e5477e1-53a8-48b0-a84e-79b1db0439d5" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1085/filter-applause-from-videos/1129#1129" />
  <row Id="44827" PostHistoryTypeId="36" PostId="25484" RevisionGUID="e7c70542-ef6e-47be-ae8e-e85f7aa98d71" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1085/filter-applause-from-videos/1177#1177" />
  <row Id="44828" PostHistoryTypeId="2" PostId="25484" RevisionGUID="cab44cbc-0aec-4336-88ee-2cca362fc408" CreationDate="2011-04-15T10:42:25.370" UserDisplayName="Owen Kelly" Text="You're not going to be able to filter the applause out without creating an underwater/comb filtered sound that would make the audio unintelligible at best. That is due to the very nature of applause. It's not a uniform tone like a vuvzela.&#xD;&#xA;&#xD;&#xA;However, if your issue is that the applause is too loud you can combat the volume changes with a compressor. You would want a reasonably strong compression, so that the volume change between applause, and no applause is negligible. But it will depend heavily on the content you throw at it. So a one size fits all approach may be hard to find." ContentLicense="CC BY-SA 3.0" />
  <row Id="44829" PostHistoryTypeId="36" PostId="25485" RevisionGUID="4ff95e54-61cb-4fd9-9b26-77ad054df548" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/508/what-software-is-best-to-record-stereo-and-encode-mp3" />
  <row Id="44830" PostHistoryTypeId="36" PostId="25486" RevisionGUID="371a13e8-4c38-49a3-9cdb-4ddb355b11e3" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/508/what-software-is-best-to-record-stereo-and-encode-mp3/509#509" />
  <row Id="44831" PostHistoryTypeId="36" PostId="25487" RevisionGUID="125ac341-c799-4ecc-b316-574d71ee59db" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/508/what-software-is-best-to-record-stereo-and-encode-mp3/513#513" />
  <row Id="44832" PostHistoryTypeId="2" PostId="25486" RevisionGUID="477e8fe5-f394-4877-90fd-899b9c59aa81" CreationDate="2011-01-03T22:35:24.193" UserId="7202" Text="[Audacity][1] is a nice open source audio editor that can record, edit and export to mp3.&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="44833" PostHistoryTypeId="2" PostId="25487" RevisionGUID="71c7e183-5681-4c96-8be7-8fab376c1e66" CreationDate="2011-01-04T15:23:30.703" UserDisplayName="Ian C." Text="If reducing your steps is what you're after, have you considered a hardware approach? Something like a [Zoom H1][1] will record a decent stereo image if left in the middle of a rehearsal space and it'll save the data as MP3 right from the outset. All you have to do is download it from the device, upload it to your server. Doesn't really get much more point-and-shoot than that in the audio world. There's a whole slew of these pocket stereo recorders out on the market now, so you've got a lot of choice.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.samsontech.com/products/productpage.cfm?prodID=2053&amp;brandID=4" ContentLicense="CC BY-SA 2.5" />
  <row Id="44834" PostHistoryTypeId="2" PostId="25488" RevisionGUID="00014f20-bc0a-4498-a696-b92097af420c" CreationDate="2011-01-05T01:15:31.507" UserDisplayName="Kim Burgaard" Text="If you like GarageBand, then consider upgrading to the latest version.  GarageBand added the MP3 codec in version 4 (the current version, version 6, is bundled with iLife '11).&#xD;&#xA;&#xD;&#xA; 1. Select the &quot;**Export Song to Disk...**&quot; entry in the **Share** menu.&#xD;&#xA; 2. In the export dialog, pick &quot;Compress using: MP3 Encoder&quot;." ContentLicense="CC BY-SA 2.5" />
  <row Id="44835" PostHistoryTypeId="2" PostId="25485" RevisionGUID="7cf2d881-44ff-4d53-bdaf-64974e1c0533" CreationDate="2011-01-03T22:13:45.143" UserDisplayName="c3rin" Text="I want to be able to record band practices and then quickly create mp3s and send them out.  Fidelity doesn't matter so much, right now I'm using garage band, creating an m4a from garage band and then using ITunes to convert that file to mp3.  The last step is emailing out the mp3s (or uploading them to ftp server).  &#xD;&#xA;&#xD;&#xA;Is there any software that can help me reduce the number of steps I'm taking ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44836" PostHistoryTypeId="1" PostId="25485" RevisionGUID="7cf2d881-44ff-4d53-bdaf-64974e1c0533" CreationDate="2011-01-03T22:13:45.143" UserDisplayName="c3rin" Text="What software is best to record stereo and encode mp3" ContentLicense="CC BY-SA 2.5" />
  <row Id="44837" PostHistoryTypeId="3" PostId="25485" RevisionGUID="7cf2d881-44ff-4d53-bdaf-64974e1c0533" CreationDate="2011-01-03T22:13:45.143" UserDisplayName="c3rin" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44838" PostHistoryTypeId="36" PostId="25488" RevisionGUID="22c58b41-8cdc-44bc-8389-4f84068c22b2" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/508/what-software-is-best-to-record-stereo-and-encode-mp3/517#517" />
  <row Id="44839" PostHistoryTypeId="36" PostId="25489" RevisionGUID="2d1a41bc-7537-4735-90e2-a9c8d76e5ad9" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/508/what-software-is-best-to-record-stereo-and-encode-mp3/534#534" />
  <row Id="44840" PostHistoryTypeId="2" PostId="25489" RevisionGUID="11b47de9-5013-44e2-9ca2-f391b3e005b3" CreationDate="2011-01-07T00:42:45.367" UserDisplayName="Nathan" Text="Have you tried automating some of the steps with [Automator][1]?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://support.apple.com/kb/HT2488" ContentLicense="CC BY-SA 2.5" />
  <row Id="44841" PostHistoryTypeId="36" PostId="25490" RevisionGUID="9782d867-0fff-4274-8c24-a6dc27a8aa36" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8686/turn-mono-or-stereo-into-binaural" />
  <row Id="44842" PostHistoryTypeId="36" PostId="25491" RevisionGUID="76cc1d2a-f0ae-4df7-a278-3c4874eb0c02" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8686/turn-mono-or-stereo-into-binaural/8687#8687" />
  <row Id="44843" PostHistoryTypeId="36" PostId="25492" RevisionGUID="29c8a327-9a83-4c4b-bed3-6621e4c5fff8" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8686/turn-mono-or-stereo-into-binaural/8689#8689" />
  <row Id="44844" PostHistoryTypeId="36" PostId="25493" RevisionGUID="936de2c5-dd34-4cdb-aca8-a0df357f1ed3" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8686/turn-mono-or-stereo-into-binaural/8695#8695" />
  <row Id="44845" PostHistoryTypeId="2" PostId="25491" RevisionGUID="073ae466-8d10-45e8-a9e5-8b1217f9817e" CreationDate="2013-08-12T13:45:16.087" UserId="7539" UserDisplayName="slim" Text="You need some software that implements **Binaural Synthesis**.&#xD;&#xA;&#xD;&#xA;The first such application I found on Google was [&quot;Amphiotic Synthesis&quot;][1], however I have not tried it for myself.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.holistiks.com/amphiotik/modules.php?name=_hes_Documents&amp;file=_products_amsyn" ContentLicense="CC BY-SA 3.0" />
  <row Id="44846" PostHistoryTypeId="2" PostId="25492" RevisionGUID="a944272e-9b3d-4eaf-993b-0add8769ac8b" CreationDate="2013-08-12T18:05:00.360" UserId="7174" Text="There are two main ways that surround sound is produced.  The first, and most standard, is to record in either stereo or mono and then pan the sound between left and right and front and back speakers to place it as desired.  The other is to use an array of microphones to pickup the actual soundscape as it was live by recording things angled forward left, forward right, back left and back right (or whatever other channels are needed).  &#xD;&#xA;&#xD;&#xA;Your scenario falls under the first of these two and is not at all abnormal for how surround sound is produced.  It is actually the more standard approach.&#xD;&#xA;&#xD;&#xA;Once you have a surround mix of the audio, you would need to use some type of modeling to make &quot;virtual surround&quot; from the mix.  There are various tricks that can be used to make our brain think things are in front or behind even though we're actually hearing stereo.  This is the Binaural Synthesis that slim refers to in his answer, so I won't go in to more detail here." ContentLicense="CC BY-SA 3.0" />
  <row Id="44847" PostHistoryTypeId="2" PostId="25493" RevisionGUID="ca1de996-884c-4108-abc8-17dd9bd76524" CreationDate="2013-08-12T23:41:24.930" UserId="7787" UserDisplayName="audiomason" Text="You can use panning and reverb to simulate 3D positioning of a sound.  &#xD;&#xA;&#xD;&#xA;To do this you will need to to import your mono sound file into a DAW (digital audio workstation), apply reverb and panning and reverb to it, then export a new stereo sound file.&#xD;&#xA;&#xD;&#xA;This of course is only a simulation of 3D space.  To achieve more accurate spatial positioning you could re-record the speech using a set of binaural mics attached to a mannequin head." ContentLicense="CC BY-SA 3.0" />
  <row Id="44848" PostHistoryTypeId="2" PostId="25490" RevisionGUID="5685775d-e71f-4f12-8ba0-70d93e45000f" CreationDate="2013-08-12T13:31:15.270" UserDisplayName="Skyler 440" Text="Lets say I have a mono recording of my voice. With the user having headphones on, I want the sound to sound like someones talking from different directions in 3D. Is this possible, and if so, how would I go about doing it? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44849" PostHistoryTypeId="1" PostId="25490" RevisionGUID="5685775d-e71f-4f12-8ba0-70d93e45000f" CreationDate="2013-08-12T13:31:15.270" UserDisplayName="Skyler 440" Text="Turn Mono or Stereo into binaural" ContentLicense="CC BY-SA 3.0" />
  <row Id="44850" PostHistoryTypeId="3" PostId="25490" RevisionGUID="5685775d-e71f-4f12-8ba0-70d93e45000f" CreationDate="2013-08-12T13:31:15.270" UserDisplayName="Skyler 440" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44851" PostHistoryTypeId="36" PostId="25494" RevisionGUID="80887847-5701-4927-b599-f1a7219e9e82" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5790/wireless-headphone-modification" />
  <row Id="44852" PostHistoryTypeId="2" PostId="25495" RevisionGUID="7eac6572-e45b-42f2-a3c1-98c9a7a633b9" CreationDate="2013-01-10T08:37:57.090" UserId="7016" Text="Have a look on stage audio sales sites for 'wireless monitors' - there is a huge range. &#xD;&#xA;&#xD;&#xA;The cost may be a little high, but generally the bandwidth on these devices is very good. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44853" PostHistoryTypeId="2" PostId="25494" RevisionGUID="49e2ed0a-8242-418c-9258-93bd1c2b8d79" CreationDate="2013-01-10T03:45:48.303" UserId="7840" UserDisplayName="themirror" Text="I'm aware that there are a whole slew of products that serve to transmit the audio from an attached microphone (like a lavalier) wirelessly to a receiver unit.&#xD;&#xA;&#xD;&#xA;I'm in search of just the opposite: a hip-mounted (or otherwise worn on one's person) device for receiving audio from a wireless transmitter source and sending into some regular attached headphones.&#xD;&#xA;&#xD;&#xA;Bluetooth headphones don't cut it because of the latency and compression, and although there are lots of options for non-bluetooth wireless headphones, I'm looking for a device that lets ME choose the headphones and just does the wireless part." ContentLicense="CC BY-SA 3.0" />
  <row Id="44854" PostHistoryTypeId="1" PostId="25494" RevisionGUID="49e2ed0a-8242-418c-9258-93bd1c2b8d79" CreationDate="2013-01-10T03:45:48.303" UserId="7840" UserDisplayName="themirror" Text="Wireless headphone modification?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44855" PostHistoryTypeId="3" PostId="25494" RevisionGUID="49e2ed0a-8242-418c-9258-93bd1c2b8d79" CreationDate="2013-01-10T03:45:48.303" UserId="7840" UserDisplayName="themirror" Text="&lt;headphones&gt;&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44856" PostHistoryTypeId="36" PostId="25495" RevisionGUID="a62c870b-76fc-4587-b41b-4e0dda8f1cb3" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5790/wireless-headphone-modification/5792#5792" />
  <row Id="44857" PostHistoryTypeId="36" PostId="25496" RevisionGUID="8d3a9755-0495-4b8b-ad72-85ab02f6b878" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1099/i-am-purchasing-an-active-mackie-speaker-do-i-need-a-preamp" />
  <row Id="44858" PostHistoryTypeId="2" PostId="25497" RevisionGUID="212e74cf-e9a2-4b1d-a2a1-f5cf1eac3f42" CreationDate="2011-03-27T19:14:07.293" UserDisplayName="Ian C." Text="&gt; if I wanted to attach a CD Player, ipod or computer via a 3.5 stereo jack, do I need to purchase a preamp also?&#xD;&#xA;&#xD;&#xA;No. Both the 350 and 450 can have their input impedance switched between line and mic values. You'd just set the speaker to line impedance and you're okay to connect a CD player or an iPod directly to the speaker.&#xD;&#xA;&#xD;&#xA;If you're connecting an iPod: start with the volume at zero on the iPod and move it up slowly, watching the clip light on the speaker to make certain you're not clipping the input on the speaker with a too-hot output signal from the iPod.&#xD;&#xA;&#xD;&#xA;I would like to point out that both models do *not* include 3.5mm input jacks on them. The only connection method available on these speakers is via a balanced signal on an XLR connection. You'll need an adaptor to connect consumer-grade gear to these speakers." ContentLicense="CC BY-SA 2.5" />
  <row Id="44859" PostHistoryTypeId="2" PostId="25496" RevisionGUID="243428ef-19a6-4b69-a910-5ad42206b6a3" CreationDate="2011-03-27T18:23:35.417" UserId="17689" UserDisplayName="Ash" Text="I am purchasing either an Active Mackie [srm 350][1] or [srm 450][2]. I understand that these include an amplifier (as they are active speakers) as part of the design. &#xD;&#xA;&#xD;&#xA;As a simple example, if I wanted to attach a CD Player, ipod or computer via a 3.5 stereo jack, do I need to purchase a preamp also? If so why? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mackie.com/products/srm350/&#xD;&#xA;  [2]: http://www.mackie.com/products/srm350/" ContentLicense="CC BY-SA 2.5" />
  <row Id="44860" PostHistoryTypeId="1" PostId="25496" RevisionGUID="243428ef-19a6-4b69-a910-5ad42206b6a3" CreationDate="2011-03-27T18:23:35.417" UserId="17689" UserDisplayName="Ash" Text="I am purchasing an active mackie speaker - do I need a preamp?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44861" PostHistoryTypeId="3" PostId="25496" RevisionGUID="243428ef-19a6-4b69-a910-5ad42206b6a3" CreationDate="2011-03-27T18:23:35.417" UserId="17689" UserDisplayName="Ash" Text="&lt;speakers&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44862" PostHistoryTypeId="36" PostId="25497" RevisionGUID="26e83764-8043-4ffb-86b0-59fd0147180b" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1099/i-am-purchasing-an-active-mackie-speaker-do-i-need-a-preamp/1102#1102" />
  <row Id="44863" PostHistoryTypeId="36" PostId="25498" RevisionGUID="4f6c0417-7823-484f-9ed9-80fe044e8be5" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8370/what-are-good-tr909-and-tb303-default-settings-for-electronica-music" />
  <row Id="44864" PostHistoryTypeId="36" PostId="25499" RevisionGUID="10ff0b1e-a813-442c-b038-0ce8e106edc7" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8370/what-are-good-tr909-and-tb303-default-settings-for-electronica-music/8854#8854" />
  <row Id="44865" PostHistoryTypeId="2" PostId="25499" RevisionGUID="820e786b-c4e6-4e70-b58b-7f9b82833113" CreationDate="2013-08-29T19:28:01.323" UserId="17571" UserDisplayName="Zeronyne" Text="There are several factors here, and not all may apply to your situation.&#xD;&#xA;&#xD;&#xA;ReBirth is a really good simulation of 808s, 909s, and 303s, but they are a simulation of *ideal* versions of them. Your hardware setup is going to invariably differ to some degree. You do state that when you match the settings in ReBirth with your hardware, it sounds &quot;good&quot;. This would imply that other patches on ReBirth would similarly sound as good on your boxes. So my suggestion would be to load some ReBirth files (there are tens of thousands on the net) that match the sub-genre you are looking to emulate and replicate those settings to get started. Then you can tweak to your preference.&#xD;&#xA;&#xD;&#xA;If you don't mind spending a little more money, you could also get a decent compressor, which will really focus your sound and make it more punchy, but that may be a separate discussion altogether." ContentLicense="CC BY-SA 3.0" />
  <row Id="44866" PostHistoryTypeId="2" PostId="25498" RevisionGUID="5acff8bd-8a0f-4859-a166-1978362ee555" CreationDate="2013-07-10T04:26:46.480" UserId="7206" Text="I love house, techno, trance, disco, IDM, ambient, progressive and electronica sounds as french house, progressive house, acid house, warp records, guidance records, dragonfly records, bedrock records, border community, trax and easy street etc oldschool house and so.&#xD;&#xA;&#xD;&#xA;I really like the sound of the propellerheads rebirth and i want to recreate it with actual hardware and I already got a real Roland TR909 and the Cyclone TT303 bassbot which is a near perfect copy of the Roland 303. I also own a Roland Juno 60 so I have a pretty good base for vintage sounding dance music. &#xD;&#xA;&#xD;&#xA;Now I wonder what good default setting for my TR909 you can tell me? There are infinitely many combinations and I love most of them. I look at how propellerheads rebirth have the knobs in deafult position when the rebirth program is starting and if I put me knobs on the TR909 like that then it sounds good but thing is that is always sounds good so say that I want a sounds of classic fat house like a Roland TR909 like in the rebirth program and a 303, I would like to know good basic beginner deafult settings for a Roland TR909 + a TT303 (the later which is a TB303 Replica)&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="44867" PostHistoryTypeId="1" PostId="25498" RevisionGUID="5acff8bd-8a0f-4859-a166-1978362ee555" CreationDate="2013-07-10T04:26:46.480" UserId="7206" Text="What are good TR909 and TB303 default settings for electronica music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44868" PostHistoryTypeId="3" PostId="25498" RevisionGUID="5acff8bd-8a0f-4859-a166-1978362ee555" CreationDate="2013-07-10T04:26:46.480" UserId="7206" Text="&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44869" PostHistoryTypeId="36" PostId="25500" RevisionGUID="78c44181-4c14-48b8-ab79-8dfa880d7cb8" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4535/how-do-you-decide-how-much-to-charge-a-client-for-audio-music-jobs" />
  <row Id="44870" PostHistoryTypeId="2" PostId="25501" RevisionGUID="199b9849-26bf-4d02-9eb6-84c82d196bc4" CreationDate="2012-08-08T08:07:37.980" UserId="7016" Text="The single most important things are to make sure you feel like you are charging appropriately for the work you put in, and to tightly scope the work, with specific acceptance criteria, usage and contract terms.&#xD;&#xA;&#xD;&#xA;Even if it is a short deliverable, if your preparation time is going to be many hours due to a specific build then you should budget for that. If you are getting a cheaper deal through outsourcing some of the process, you can reflect that in your quote, but you don't have to.&#xD;&#xA;&#xD;&#xA;Experience should have a part to play, but it is up to you if you want to affect your rate based on the kit you own - the client is not going to care as long as you can deliver.&#xD;&#xA;&#xD;&#xA;Remember, it is business - so you want to make a profit, while not putting off customers by charging too much. Try and find out what local competitors are charging - but remember that **local** can be less relevant these days." ContentLicense="CC BY-SA 3.0" />
  <row Id="44871" PostHistoryTypeId="2" PostId="25500" RevisionGUID="f2c7f567-9e70-409b-a4ad-2de1fb59b7cd" CreationDate="2012-08-07T15:55:34.913" UserId="7459" UserDisplayName="bigp" Text="If you we're asked *&quot;How much do you charge for your Audio work?&quot;* (assuming that you can compose, record sequence, synth / sound design, mix and master), how do you come up with your price?&#xD;&#xA;&#xD;&#xA;What is a pretty common standard of getting paid as an audio engineer / musician? Do you charge the sum of each steps of the music production process? Do you make deals for doing everything in-house yourself (example: no outsourcing to other recording studios)?&#xD;&#xA;&#xD;&#xA;Do you let your experience affect the amount you charge?&#xD;&#xA;&#xD;&#xA;Does the equipment you own have a large impact?&#xD;&#xA;&#xD;&#xA;Do you ask some common questions back to the client to adjust your price? If so, what would some of those be?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44872" PostHistoryTypeId="1" PostId="25500" RevisionGUID="f2c7f567-9e70-409b-a4ad-2de1fb59b7cd" CreationDate="2012-08-07T15:55:34.913" UserId="7459" UserDisplayName="bigp" Text="How do you decide how much to charge a client for Audio / Music jobs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44873" PostHistoryTypeId="3" PostId="25500" RevisionGUID="f2c7f567-9e70-409b-a4ad-2de1fb59b7cd" CreationDate="2012-08-07T15:55:34.913" UserId="7459" UserDisplayName="bigp" Text="&lt;home-studio&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44874" PostHistoryTypeId="36" PostId="25501" RevisionGUID="826aae2c-5e47-46de-815c-89a8b9c272ad" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4535/how-do-you-decide-how-much-to-charge-a-client-for-audio-music-jobs/4540#4540" />
  <row Id="44875" PostHistoryTypeId="36" PostId="25502" RevisionGUID="c82d72b3-08b6-4b44-8861-f1a49d5c6019" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/985/is-it-possible-to-get-two-way-audio-using-rewire" />
  <row Id="44876" PostHistoryTypeId="36" PostId="25503" RevisionGUID="ea9c0696-e858-484e-9dcf-dd0cd74b20ed" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/985/is-it-possible-to-get-two-way-audio-using-rewire/986#986" />
  <row Id="44877" PostHistoryTypeId="2" PostId="25503" RevisionGUID="5a05e4d3-6996-43ee-8f74-a9349c8cb58d" CreationDate="2011-03-09T18:33:35.833" UserDisplayName="Ian C." Text="It's possible to do bi-directional audio and MIDI streams between programs with ReWire but it's not possible to do bi-directional audio streams with Reason.&#xD;&#xA;&#xD;&#xA;Reason doesn't allow incoming, realtime audio streams. It's just something Propellerhead has never wanted Reason to be. Similar to how it doesn't support VST plugins.&#xD;&#xA;&#xD;&#xA;I wish it was possible. I sure would love to run tracks through its mastering suite! Dance tracks sound like magic through those mastering tools in Reason." ContentLicense="CC BY-SA 2.5" />
  <row Id="44878" PostHistoryTypeId="2" PostId="25504" RevisionGUID="10841c55-d4be-42bd-9cb2-6245c4491dad" CreationDate="2011-03-10T18:10:50.643" UserId="7209" Text="Reason does support audio input, but in a very limited way.&#xD;&#xA;&#xD;&#xA;You have to use the Rebirth Input Machine.  I haven't seen any software use this directly, but if you use the ASIO4ALL driver for audio, it pipes the audio input into the ReBirth Input Machine.  I've been using the vocoder this way for years, and it works well.  The downside is that you are using ASIO4ALL rather than the native driver, which won't provide the same low-latency performance, but close depending on the card.&#xD;&#xA;&#xD;&#xA;I talked to a Propellerheads rep once about their lack of support for VSTs.  They don't support VSTs and what not because they don't want to provide tech support interfacing with buggy and problematic VST plugins, and then get blamed for crashes that are primarily a VST issue.&#xD;&#xA;&#xD;&#xA;Anyway, I think the real solution to your problem is to use [Record][1] with Reason.  It allows you to work with audio inputs, and you could run the outs from one program to Record/Reason.  Since you already own Reason, the upgrade isn't too expensive.  Last I checked, $100 or so.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.propellerheads.se/products/record/index.cfm?fuseaction=get_article&amp;article=rec4rsn" ContentLicense="CC BY-SA 2.5" />
  <row Id="44879" PostHistoryTypeId="2" PostId="25502" RevisionGUID="b2fe95e2-6008-49e8-a166-d24a014f8a24" CreationDate="2011-03-09T17:54:20.607" UserDisplayName="3mpty" Text="I'm using Cubase with Reason as a slave. I would like to process some VST instruments through Reason's own effects and then get the output back into Cubase. To me it seems like audio in ReWire is possible only in one-way direction, but maybe there's some kind of workaround.&#xD;&#xA;&#xD;&#xA;Any idea?&#xD;&#xA;Thank you very much." ContentLicense="CC BY-SA 2.5" />
  <row Id="44880" PostHistoryTypeId="1" PostId="25502" RevisionGUID="b2fe95e2-6008-49e8-a166-d24a014f8a24" CreationDate="2011-03-09T17:54:20.607" UserDisplayName="3mpty" Text="Is it possible to get two-way audio using ReWire?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44881" PostHistoryTypeId="3" PostId="25502" RevisionGUID="b2fe95e2-6008-49e8-a166-d24a014f8a24" CreationDate="2011-03-09T17:54:20.607" UserDisplayName="3mpty" Text="&lt;cubase&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44882" PostHistoryTypeId="36" PostId="25504" RevisionGUID="cf0cbeb2-c2d8-4cba-a71a-5754125f1004" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/985/is-it-possible-to-get-two-way-audio-using-rewire/992#992" />
  <row Id="44883" PostHistoryTypeId="36" PostId="25505" RevisionGUID="18654974-1798-4f5e-b6f2-3f20a33d1d5a" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9961/i-lost-my-pro-tools-9-installation-disc-can-someone-help" />
  <row Id="44884" PostHistoryTypeId="36" PostId="25506" RevisionGUID="7d808bd2-92c0-4ee5-9038-978ddb400d45" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9961/i-lost-my-pro-tools-9-installation-disc-can-someone-help/9970#9970" />
  <row Id="44885" PostHistoryTypeId="36" PostId="25507" RevisionGUID="6002ad68-0502-4004-b0a4-7819befc4f49" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9961/i-lost-my-pro-tools-9-installation-disc-can-someone-help/9973#9973" />
  <row Id="44886" PostHistoryTypeId="2" PostId="25506" RevisionGUID="99a581b4-8e40-4d8d-b464-2ea475eda030" CreationDate="2014-01-20T03:28:06.477" UserId="7180" Text="It does not appear there is a legal way to download Pro-Tools 9 from the AVID website. Sorry. &#xD;&#xA;&#xD;&#xA;You can contact the support and explain the problem to them to see if they can help, at this link: &#xD;&#xA;&#xD;&#xA;[http://www.avid.com/US/support/support-contact][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In the future make sure that you register your software. &#xD;&#xA;Additionally you can fully legally make an additional copy of the installation disc for your use only, and keep the original stored safely.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/US/support/support-contact" ContentLicense="CC BY-SA 3.0" />
  <row Id="44887" PostHistoryTypeId="2" PostId="25507" RevisionGUID="9b26f02d-af4a-46a0-81e8-0ed26e6401ef" CreationDate="2014-01-20T14:45:47.177" UserId="7174" Text="Avid provides replacement disks from their online store.  You can access it [here][1].  You could try contacting them to see if there is a download option, but it is possible they may only provide physical media for boxed copies.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://shop.avid.com/ccrz__Products?cartID=&amp;categoryId=a3yi0000000012RAAQ&amp;parentCategory=a3yi0000000011wAAA&amp;g=&amp;&amp;store=shop" ContentLicense="CC BY-SA 3.0" />
  <row Id="44888" PostHistoryTypeId="2" PostId="25505" RevisionGUID="fdc74767-52f1-4dfe-bd02-1bf2c808b5fa" CreationDate="2014-01-18T20:24:11.537" UserDisplayName="James Litewski" Text="Does anyone have a link to download the installation files for windows? Or might someone have an .img file or something they could send me? I'm not looking for a cracked version, I do own an iLok with a Pro Tools 9 license on it, I just need the installation files.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I know the Avid website has a way to download this, but my version of Pro Tools did not come with the activation code required, I only have a registration code." ContentLicense="CC BY-SA 3.0" />
  <row Id="44889" PostHistoryTypeId="1" PostId="25505" RevisionGUID="fdc74767-52f1-4dfe-bd02-1bf2c808b5fa" CreationDate="2014-01-18T20:24:11.537" UserDisplayName="James Litewski" Text="I lost my Pro Tools 9 Installation disc, can someone help?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44890" PostHistoryTypeId="3" PostId="25505" RevisionGUID="fdc74767-52f1-4dfe-bd02-1bf2c808b5fa" CreationDate="2014-01-18T20:24:11.537" UserDisplayName="James Litewski" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44891" PostHistoryTypeId="36" PostId="25508" RevisionGUID="4716d1d5-c80a-40f8-a3ec-e4cc3aa8d6ce" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/229/expand-track-playlist-from-d-command" />
  <row Id="44892" PostHistoryTypeId="36" PostId="25509" RevisionGUID="0ffae56f-3eae-46d9-b8f2-7be491cb91f9" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/229/expand-track-playlist-from-d-command/669#669" />
  <row Id="44893" PostHistoryTypeId="2" PostId="25509" RevisionGUID="b21a39b2-cb11-4642-a04d-042a5cf27eb3" CreationDate="2011-01-23T18:29:37.580" UserDisplayName="jlebre" Text="ok so track height you can change by using the track size buttons on the edit section of the desk (right hand side, under the ZOOM/NAVIGATE panel).&#xD;&#xA;if you are trying to change playlists, with the D-Command on Focus (not select as it will still follow the selection done with the edit selection on your window), and on the soft key section (the one with the 6 led scribble bits) it says playlist. It will put on the LED option to create playlist or to cycle through them.&#xD;&#xA;&#xD;&#xA;If you are trying to quickly change track views, may I suggest ctrl+cmd+left/right arrows? it will include the collapsed version of playlist view.&#xD;&#xA;&#xD;&#xA;Hope i helped!" ContentLicense="CC BY-SA 2.5" />
  <row Id="44894" PostHistoryTypeId="2" PostId="25508" RevisionGUID="ae83f074-df45-418a-81de-b1c7088683ab" CreationDate="2010-12-11T01:54:33.063" UserId="7398" UserDisplayName="BenV" Text="Is there a way to expand the playlist of a track from the D-Command?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44895" PostHistoryTypeId="1" PostId="25508" RevisionGUID="ae83f074-df45-418a-81de-b1c7088683ab" CreationDate="2010-12-11T01:54:33.063" UserId="7398" UserDisplayName="BenV" Text="Expand Track Playlist from D-Command" ContentLicense="CC BY-SA 2.5" />
  <row Id="44896" PostHistoryTypeId="3" PostId="25508" RevisionGUID="ae83f074-df45-418a-81de-b1c7088683ab" CreationDate="2010-12-11T01:54:33.063" UserId="7398" UserDisplayName="BenV" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44897" PostHistoryTypeId="36" PostId="25510" RevisionGUID="0e9e136d-a6b3-419c-8908-0fbdf3a07347" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2676/why-is-there-no-signal-above-11025-in-my-44100-recording" />
  <row Id="44898" PostHistoryTypeId="36" PostId="25511" RevisionGUID="c3296680-9690-43cb-9c4b-afefa7b1a87c" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2676/why-is-there-no-signal-above-11025-in-my-44100-recording/2679#2679" />
  <row Id="44899" PostHistoryTypeId="2" PostId="25511" RevisionGUID="0ef8128e-d2d0-45b0-a398-c5cf31801a10" CreationDate="2011-11-22T15:46:11.870" UserDisplayName="Michael" Text="Double check all your settings and make sure that &quot;Sample rate&quot; and &quot;Bandwidth&quot; are not being used interchangeably.  I'm thinking of this as an issue because you mention 22050 Hz, which just happens to be 2 x 11025.  &#xD;&#xA;&#xD;&#xA;If you *sample* something at 22050 Hz, your maximum *usable bandwidth* is 11025 Hz.  &#xD;&#xA;&#xD;&#xA;If you have the opportunity to set the bandwidth,  your sampling rate will be roughly twice that." ContentLicense="CC BY-SA 3.0" />
  <row Id="44900" PostHistoryTypeId="2" PostId="25510" RevisionGUID="a4e9d441-352d-4b6d-91a9-a9ea4d28bce2" CreationDate="2011-11-21T16:04:15.153" UserId="7265" UserDisplayName="buildsucceeded" Text="I'm analyzing an audio recording made on a newish MacBook Pro in Logic, using the internal mic. Looking at the spectrogram, there's nothing above 11025 Hz, which is disturbing— if it were, say, 15kHz I wouldn't be as worried, but this makes me feel like I'm not getting the sample rate I signed up for at some stage in my ADC.&#xD;&#xA;&#xD;&#xA;Any idea what's going on here? Have you seen anything like this? File is definitely 44100 and sounds normal.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;File was converted (original bit depth/sample rate/format, so should be literally the same file) using `Cmd-click-&gt;Save As New Audio File(s)` in Logic's Arrange window. Looking at the originally-recorded files shows normal content up to the expected 22050Hz.&#xD;&#xA;&#xD;&#xA;Submitted a bug to Logic on bugreport.apple.com...&#xD;&#xA;&#xD;&#xA;Can anyone reproduce this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44901" PostHistoryTypeId="1" PostId="25510" RevisionGUID="a4e9d441-352d-4b6d-91a9-a9ea4d28bce2" CreationDate="2011-11-21T16:04:15.153" UserId="7265" UserDisplayName="buildsucceeded" Text="Why is there no signal above 11025 in my 44100 recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44902" PostHistoryTypeId="3" PostId="25510" RevisionGUID="a4e9d441-352d-4b6d-91a9-a9ea4d28bce2" CreationDate="2011-11-21T16:04:15.153" UserId="7265" UserDisplayName="buildsucceeded" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44903" PostHistoryTypeId="36" PostId="25512" RevisionGUID="91897150-01cc-4de2-874b-f4ebb07000fc" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1033/adjusting-pcs-speaker-output-in-realtime" />
  <row Id="44904" PostHistoryTypeId="2" PostId="25513" RevisionGUID="0bb0a268-fdc1-4ad5-8b19-fdf689b3ccba" CreationDate="2011-03-16T02:01:09.863" UserId="319" Text="Using routing software such as jack or soundflower(os x only), you can intercept audio from one program and run it into another one.  Perhaps this will meet your need.  &#xD;&#xA;&#xD;&#xA;http://jackaudio.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="44905" PostHistoryTypeId="2" PostId="25512" RevisionGUID="33603586-2c02-4f3c-bf47-8e2295ba372b" CreationDate="2011-03-15T20:27:09.467" UserId="6459" Text="Is there any software available that allows me alter my PC's speaker output in realtime?&#xD;&#xA;&#xD;&#xA;I'd like to be able to change pitch. I'm used to editing my speakers properties in the enhancements tab but I'd like something more powerful and quicker to use." ContentLicense="CC BY-SA 2.5" />
  <row Id="44906" PostHistoryTypeId="1" PostId="25512" RevisionGUID="33603586-2c02-4f3c-bf47-8e2295ba372b" CreationDate="2011-03-15T20:27:09.467" UserId="6459" Text="Adjusting PC's speaker output in realtime" ContentLicense="CC BY-SA 2.5" />
  <row Id="44907" PostHistoryTypeId="3" PostId="25512" RevisionGUID="33603586-2c02-4f3c-bf47-8e2295ba372b" CreationDate="2011-03-15T20:27:09.467" UserId="6459" Text="&lt;software&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44908" PostHistoryTypeId="36" PostId="25513" RevisionGUID="3ce72945-85fd-4839-bb86-e73e65593af0" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1033/adjusting-pcs-speaker-output-in-realtime/1035#1035" />
  <row Id="44909" PostHistoryTypeId="36" PostId="25514" RevisionGUID="b83c5fb9-dced-478a-979b-425f287e8209" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3900/can-you-buy-pro-tools-standalone-software-only" />
  <row Id="44910" PostHistoryTypeId="2" PostId="25515" RevisionGUID="ac3acfc9-3c13-4d33-9fda-b45f5400ccc8" CreationDate="2012-05-02T14:42:04.960" UserId="7093" Text="According to [their website][1], you can. &#xD;&#xA;&#xD;&#xA;Your hardware should work with it.  On the Hardware Options page they say:&#xD;&#xA;&#xD;&#xA;&gt; **Third-party audio interfaces**&#xD;&#xA;&#xD;&#xA;&gt; With Pro Tools, you get the flexibility of using the software with practically any audio interface you already have or want. For ultimate quality and performance, choose an Avid interface or bundled hardware/software solution above. Or pair Pro Tools with any other audio interface that supports any of the following drivers:&#xD;&#xA;&#xD;&#xA;&gt; -   ASIO&#xD;&#xA;&gt; -   Core Audio&#xD;&#xA;&#xD;&#xA;I recommend getting the free 30 day trial and check it out to see if it will work.&#xD;&#xA;  [1]: http://shop.avid.com/store/category.do?category=pt10-software&#xD;&#xA;  [2]: http://avid.force.com/pkb/articles/en_US/Compatibility/en422327?popup=true" ContentLicense="CC BY-SA 3.0" />
  <row Id="44911" PostHistoryTypeId="2" PostId="25514" RevisionGUID="ca821b2d-4603-422b-8a62-33c95d8dd906" CreationDate="2012-05-02T12:01:12.767" UserId="9744" UserDisplayName="therobyouknow" Text="Can you buy Pro-Tools standalone? (software only)&#xD;&#xA;&#xD;&#xA;I have a Mac with a Tascam 144MkII audio IO and MIDI." ContentLicense="CC BY-SA 3.0" />
  <row Id="44912" PostHistoryTypeId="1" PostId="25514" RevisionGUID="ca821b2d-4603-422b-8a62-33c95d8dd906" CreationDate="2012-05-02T12:01:12.767" UserId="9744" UserDisplayName="therobyouknow" Text="Can you buy Pro-Tools standalone? (software only)" ContentLicense="CC BY-SA 3.0" />
  <row Id="44913" PostHistoryTypeId="3" PostId="25514" RevisionGUID="ca821b2d-4603-422b-8a62-33c95d8dd906" CreationDate="2012-05-02T12:01:12.767" UserId="9744" UserDisplayName="therobyouknow" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44914" PostHistoryTypeId="36" PostId="25515" RevisionGUID="f482248a-e59d-4bbc-b6b4-99dfa4a7ef18" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3900/can-you-buy-pro-tools-standalone-software-only/3902#3902" />
  <row Id="44915" PostHistoryTypeId="36" PostId="25516" RevisionGUID="399d867c-85e6-4d0e-a80b-afcf3bc9c2fe" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3845/how-to-avoid-clipping-when-explicitly-adding-audio-tracks" />
  <row Id="44916" PostHistoryTypeId="36" PostId="25517" RevisionGUID="5c80bd63-a46a-47e1-ac8b-f94368b22883" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3845/how-to-avoid-clipping-when-explicitly-adding-audio-tracks/3847#3847" />
  <row Id="44917" PostHistoryTypeId="36" PostId="25518" RevisionGUID="3d896dc2-95f9-4332-9387-edf23862c650" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3845/how-to-avoid-clipping-when-explicitly-adding-audio-tracks/3849#3849" />
  <row Id="44918" PostHistoryTypeId="36" PostId="25519" RevisionGUID="d2eea659-e8c2-480d-be41-f2aa9d0eaed6" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3845/how-to-avoid-clipping-when-explicitly-adding-audio-tracks/3853#3853" />
  <row Id="44919" PostHistoryTypeId="2" PostId="25517" RevisionGUID="255f4b6e-9b89-4ac8-b1ba-25aac713f37e" CreationDate="2012-04-26T20:57:12.477" UserDisplayName="Zettt" Text="Two uncorrelated signals sum up by about 3dB per additional signal (I couldn't find an English reference for this. Maybe someone else will.). To keep your sum from clipping, just turn down the volume of the individual tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="44920" PostHistoryTypeId="2" PostId="25518" RevisionGUID="d55170ff-a22b-44c3-bd07-0c4ec66d6531" CreationDate="2012-04-26T21:12:27.613" UserId="7188" Text="I believe Zettt has nailed an answer (nice one Zettt). I want to extend this to a bigger picture.&#xD;&#xA;&#xD;&#xA;There may be an algorithm but I don't know of it specifically as an equation. This is all about mixing sound tracks like you are a great chef cooking up an unbelievable dish. Start with the finest ingredients, in this case sounds you have already recorded that are clear, and do not clip at all. Your goal is to mix all the ingredients so you can taste each one without it overwhelming the others or losing its identity. This is why your ears like your taste buds will be the most important guide. Consider how a music arranger puts together a score for an orchestra. Take into account how the timbre of each instrument will have both an individual composite of harmonics and how these change over the entire instrument's range.&#xD;&#xA;&#xD;&#xA;For instance if I was mixing violins and a triangle, I already know that a triangle has a very odd set of harmonics, and I won't have to give that track much gain at all for me to hear it clearly. You rarely see a percussionist hitting a triangle very hard because its tone is so differently constructed that a slight hit will cut through the rest of the orchestra very easily.&#xD;&#xA;&#xD;&#xA;Mixing is not about adding one thing on top of each other, it's about balancing a blend that you can hear everything in the mix. Yes, you have to keep the gain under 0 dB, you can not have any clipping, not any or else you just burnt your dish.&#xD;&#xA;&#xD;&#xA;You can think of the spectra envelope of each instrument as a guide but allow for your ear to tell you when it's right.&#xD;&#xA;&#xD;&#xA;What controls do you have when you are mixing tracks?&#xD;&#xA;&#xD;&#xA;For one you have the gain of each track, then you have where it lives in the stereo field, is it best in the center? 15% to the right, 20% to the left?&#xD;&#xA;&#xD;&#xA;How you control the way an overall sound envelope is another factor, does it have a fast attack, does it fade away, do you want to have it ride in the distance, or bring it up front?&#xD;&#xA;&#xD;&#xA;Another thing to think about is the depth, how much reverb if any, this will also color the sound. Notice as you add reverb you loose some highs and it sounds like it's further away, is that what you want?&#xD;&#xA;&#xD;&#xA;Summary:&#xD;&#xA;Mixing sound is like making a great meal, you start with the best ingredients and allow each to stand out without overwhelming the others or getting lost. Be aware of your instruments spectra, envelopes, and how all this changes over the entire range. Be aware of what controls you do have and how these can be best set for your desired results.&#xD;&#xA;&#xD;&#xA;Finally, don't be afraid to try new things, take risks, you can always change it back before you make your master.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44921" PostHistoryTypeId="2" PostId="25519" RevisionGUID="a719b62e-8fbf-419d-bb77-0b3a6092d999" CreationDate="2012-04-27T17:28:27.313" UserId="7294" UserDisplayName="Warrior Bob" Text="A digital signal always has a maximum level. If summing two tracks to one signal drives the level above this point, it will clip.&#xD;&#xA;&#xD;&#xA;Most DAW tools I know of don't have any kind of fix for this. They will happily let you drive a signal to clipping, and leave the decisions of how to deal with this to you.&#xD;&#xA;&#xD;&#xA;There are a few standard techniques for getting around this:&#xD;&#xA;&#xD;&#xA;- Turn the tracks down before they clip.&#xD;&#xA;- Use a [dynamic range compressor](https://en.wikipedia.org/wiki/Dynamic_range_compression) on one or more individual tracks. What this does is automatically reduce the level of a signal by a percentage, but only when it's above a certain loudness level. Choose this level (the &quot;threshold&quot; control) and the ratio in such a way as to avoid clipping. &#xD;&#xA;- Use a limiter on the resultant signal before it hits the clipping stage. A limiter is just a [more extreme compressor](https://en.wikipedia.org/wiki/Dynamic_range_compression#Limiting), and I tend to use them more as a 'safety net' when I'm not sure how loud a signal is going to be driven.&#xD;&#xA;&#xD;&#xA;Keep in mind that compression and limiting do modify your signal, and therefore are distortions, albeit usually mild ones. Extremely compressed signals tend to sound distorted. &#xD;&#xA;&#xD;&#xA;When you describe an algorithm to automatically reduce peaking sounds, this is the sort of thing I think of." ContentLicense="CC BY-SA 3.0" />
  <row Id="44922" PostHistoryTypeId="2" PostId="25516" RevisionGUID="e2acf36f-1327-44d4-89d0-de07d8e55517" CreationDate="2012-04-26T19:47:04.303" UserDisplayName="Koen Van Damme" Text="When two or more audio tracks are simply &quot;added&quot; together, they may peak at the same time, causing the resulting &quot;sum&quot; track to be clipped.  I am looking for an algorithm or technique to bring the &quot;sum&quot; track back within limits, without causing too much distortion.  Are there any standard ways of doing this?  Please note that I'm not looking for a solution in a specific audio tool like audacity; rather, I want to understand how such tools implement track mixing." ContentLicense="CC BY-SA 3.0" />
  <row Id="44923" PostHistoryTypeId="1" PostId="25516" RevisionGUID="e2acf36f-1327-44d4-89d0-de07d8e55517" CreationDate="2012-04-26T19:47:04.303" UserDisplayName="Koen Van Damme" Text="How to avoid clipping when explicitly adding audio tracks?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44924" PostHistoryTypeId="3" PostId="25516" RevisionGUID="e2acf36f-1327-44d4-89d0-de07d8e55517" CreationDate="2012-04-26T19:47:04.303" UserDisplayName="Koen Van Damme" Text="&lt;mixing&gt;&lt;clipping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44925" PostHistoryTypeId="36" PostId="25520" RevisionGUID="d64ff07e-5c90-49ed-8693-06e06220e82d" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7934/pro-tool-10-3-4-and-ableton-9-0-4-no-rewire-visible" />
  <row Id="44926" PostHistoryTypeId="2" PostId="25521" RevisionGUID="13afe944-8f52-4f64-afc1-283e89f4539d" CreationDate="2013-05-25T01:07:02.417" UserId="8071" UserDisplayName="SouthFresh" Text="Pro Tools HD 10.3.5 and previous are all 32 bit applications.  Ableton Live 9.0.4 comes in both 32 and 64 bit flavors.  To successfully rewire the two applications they both have to be either 32 or both 64.  &#xD;&#xA;&#xD;&#xA;By reinstalling Ableton Live in 32 bit I was able to resolve this issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="44927" PostHistoryTypeId="2" PostId="25520" RevisionGUID="8e273af6-0531-438d-89f6-f125ea1584c6" CreationDate="2013-05-22T01:33:49.050" UserId="8071" UserDisplayName="SouthFresh" Text="I have Pro Tools HD 10.3.4 and Ableton Live 9.0.4 and for some reason Ableton doesn't show up as an instrument at all.  I can't even get so far as to have it tell me it won't work since I can't choose it from the list.&#xD;&#xA;&#xD;&#xA;I've reinstalled PT, reinstalled Ableton, reinstalled ReWire...  The installation of ReWire finishes, but I see no changes in my plugins, and nothing at all changes in Pro Tools.&#xD;&#xA;&#xD;&#xA;Many posts I've found around the net talk about problems with Ableton running as a slave, but I don't even see it to select it and watch it fail... if that would happen." ContentLicense="CC BY-SA 3.0" />
  <row Id="44928" PostHistoryTypeId="1" PostId="25520" RevisionGUID="8e273af6-0531-438d-89f6-f125ea1584c6" CreationDate="2013-05-22T01:33:49.050" UserId="8071" UserDisplayName="SouthFresh" Text="Pro Tool 10.3.4 and Ableton 9.0.4 no rewire visible" ContentLicense="CC BY-SA 3.0" />
  <row Id="44929" PostHistoryTypeId="3" PostId="25520" RevisionGUID="8e273af6-0531-438d-89f6-f125ea1584c6" CreationDate="2013-05-22T01:33:49.050" UserId="8071" UserDisplayName="SouthFresh" Text="&lt;ableton&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44930" PostHistoryTypeId="36" PostId="25521" RevisionGUID="005b01b0-9bd2-4158-99f7-1f36ae72f9c1" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7934/pro-tool-10-3-4-and-ableton-9-0-4-no-rewire-visible/7962#7962" />
  <row Id="44931" PostHistoryTypeId="36" PostId="25522" RevisionGUID="83702408-f462-4a96-a9e5-3e7fe7b2a99b" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/652/what-is-the-outside-volume-of-open-and-semi-closed-headphones" />
  <row Id="44932" PostHistoryTypeId="2" PostId="25523" RevisionGUID="21625476-7cc4-4e94-8eee-62f350811657" CreationDate="2011-01-21T05:01:09.497" UserId="7218" Text="Your experience with your coworker's second-hand sound is representative of what will happen to your coworkers if you use open headphones.  Which is to say, not much, unless you are really blasting the volume, at which point it would be uncomfortable for you as well as them.  It is unlikely that you would be listening to music at that volume level in a work environment.&#xD;&#xA;&#xD;&#xA;You are correct that the open designs sound better.  There is enough leakage, however, that recording studios tend to use the closed-style headphones, especially with vocalists doing overdubs.  &#xD;&#xA;&#xD;&#xA;For what it's worth, [these are the ones I use at work][1].  They're not full-size Beyer or Sennheizer cans by any means, but they are inexpensive; have a big, clear sound; and have very little sound leakage.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Koss-PortaPro-Headphones-with-Case/dp/B00001P4ZH" ContentLicense="CC BY-SA 2.5" />
  <row Id="44933" PostHistoryTypeId="2" PostId="25522" RevisionGUID="bc67b9f4-9119-4684-a744-168200b5c82b" CreationDate="2011-01-20T19:07:26.120" UserId="9437" UserDisplayName="Cory Klein" Text="I'm trying to decide between some Beyerdynamics 770's (closed), 880's (semi-closed), and 990's (open) headphones.  I will use them at home and at work.  It appears that the more open the headphones are, the greater the soundstage, and tighter fidelity.&#xD;&#xA;&#xD;&#xA;My concern is that I would be a disturbance to my coworker who sits 10 feet away.  He listens to music on his headphones, and I can occasionally hear music on his supra-aural headphones, though by the time it reaches my ears, it is not loud by any means.&#xD;&#xA;&#xD;&#xA;At low to moderate volume levels, would the music on a set of open, or semi-open cans, be loud enough to be a disturbance to somebody 10 feet away?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44934" PostHistoryTypeId="1" PostId="25522" RevisionGUID="bc67b9f4-9119-4684-a744-168200b5c82b" CreationDate="2011-01-20T19:07:26.120" UserId="9437" UserDisplayName="Cory Klein" Text="What is the outside volume of open and semi-closed headphones?" ContentLicense="CC BY-SA 2.5" />
  <row Id="44935" PostHistoryTypeId="3" PostId="25522" RevisionGUID="bc67b9f4-9119-4684-a744-168200b5c82b" CreationDate="2011-01-20T19:07:26.120" UserId="9437" UserDisplayName="Cory Klein" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="44936" PostHistoryTypeId="36" PostId="25523" RevisionGUID="85fa2803-623b-4b39-9c3c-a104de5b6aea" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/652/what-is-the-outside-volume-of-open-and-semi-closed-headphones/653#653" />
  <row Id="44937" PostHistoryTypeId="36" PostId="25524" RevisionGUID="ed5d1414-d300-4403-9d86-fcf77a291339" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9648/is-there-something-wrong-with-my-ears-perception-of-frequency-and-their-dynami" />
  <row Id="44938" PostHistoryTypeId="2" PostId="25525" RevisionGUID="89448b41-2dfa-4448-b9ae-1d6c2b1c037e" CreationDate="2013-12-13T00:23:23.357" UserId="7200" Text="All of that is perfectly normal.&#xD;&#xA;&#xD;&#xA;Boost vs. cut&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;What our ears do is not really a Fourier transform like in spectrum analysers&lt;sup&gt;1&lt;/sup&gt;, it's more comparable to an [auto-correlation](http://en.wikipedia.org/wiki/Autocorrelation) function. For instance, we still recognise pitches without a problem even when the fundamental frequency is completely missing! This is useful in natural hearing environments, since reflections may in fact cancel out single harmonics completely, but the autocorrelation isn't greatly affected by that. And that's just why also a single band cut from an EQ isn't really very audible, at least if you don't sweep it around much (that would be how a _phaser_ works). Incidentally, that's also the reason why sharp band cuts are a tool you can well use to fight feedback: even when those frequencies are then completely missing in the mix, our ears are able to make up for this.&#xD;&#xA;&#xD;&#xA;It's quite the opposite for sharp band _boosts_. Those are naturally associated with actual sound sources or at least strong resonances, which is why our ears are specialised in recognising them. A single peak in Fourier spectrum does also show up heavily in an autocorrelation diagram, unlike a single notch. Practically, this is the reason why you _should_ use notches to fight feedback, because the sharp peaks (feedback is essentially an overcritical resonance) are much more audible than sharp notches. Of course this makes it harder to hear where you need to put the notches; an effective if somewhat brutal practice is first tuning a sharp band boost to make it sound as _bad_ as possible, and then pulling the G below 0 to transform it into a barely audible yet effective band cut.&#xD;&#xA;&#xD;&#xA;Perfect pitch&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;That about recognising a note right on hearing is quite another issue. There are pretty few people who can do this, it's called [absolute pitch](http://en.wikipedia.org/wiki/Absolute_pitch) and is subject to a considerable amount of study. Musicians may have this more often than average people, but most actually don't. It's not a necessary thing for being a good musician nor sound engineer; often helpful but perhaps also distracting sometimes.&#xD;&#xA;&#xD;&#xA;When you hear a note and don't know what it is what do you do? Well, if you have the score you just look in and see, there it is. Or, if you know at least the harmonic context you realise &quot;aha, that's the third in a IV chord, so in D-major that would be a b&quot;.&#xD;&#xA;&#xD;&#xA;Seriously though, as a sound engineer you don't need to know about the musical pitches that badly, unless you want to communicate something to the musicians. Otherwise you basically just need a frequency value to put in as some EQ parameter or whatever. And reading out frequencies is best done with a dedicated device.&#xD;&#xA;&#xD;&#xA;Technical help, analysers&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;IMO there's nothing wrong at all with using metering tools etc. to make up. Many guys will tell you these are evil, you should rely on your ears alone, and old analogue boxes with unlabelled magic knobs beat everything etc. etc.. Mostly bogus if you ask me. What's correct is that you shouldn't just apply generic wisdom like &quot;always boost 80 Hz and 7 kHz on a bass drum&quot;, &quot;always put compressor on vocals&quot; etc. if the material in question doesn't require that. With enough experience, you _will_ hear when some kind of fix is necessary, and if you don't hear it then you don't need it either. If you do hear it and have some idea about how it might sound better, then why shouldn't you use any tool available? Spectrum analysers, being directly Fourier-based, can do some stuff the ear is trained _not_ to do, like sensing notches as well as peaks. They also have perfect pitch for sure, being designed through exact mathematical operations. Lots of information that can only be helpful, never hurt in coming up with the right parameter settings for EQ etc. – which is _obviously_ much easier when you can just jump to precise values without having to do laborous step-by-step tweaks.&#xD;&#xA;&#xD;&#xA;Sure, the more you can do with your ears alone the better. But it doesn't really matter how you obtain the information, as long as you produce a good end result. Anyone's ears are notoriously prone to the placebo effect, looking on meters is much more objective. Yet it's not like you're not working with your ears anymore. Ears remain terrific when it comes to judging overall sound, knowing which peak broadening is due to time-confinedness and which is actual frequency smearing, and identifying each of multiple sound sources. It's still your ears that tell you what needs to be done, even if it's you meters that tell you _how_ to do it.&#xD;&#xA;&#xD;&#xA;&lt;hr&gt;&#xD;&#xA;&#xD;&#xA;&lt;sup&gt;1&lt;/sup&gt;Many spectrum analysers do not work by the usual short-time discrete Fourier transform but with seperate bandpass filters; but conceptually that's still a Fourier transform since it models the signal by sinuoids." ContentLicense="CC BY-SA 3.0" />
  <row Id="44939" PostHistoryTypeId="2" PostId="25524" RevisionGUID="00e4aed9-c668-47d6-a572-83609a90dc11" CreationDate="2013-12-12T20:20:01.170" UserId="7228" Text="When using EQ, I have more difficulty hearing what's being suppressed compared to what's being boosted. For example if I put white noise on a channel and sweep the parametric EQ up and down the spectrum, I can hear the difference very clearly when the eq is boosting, but when it is suppressing, I need to widen the Q and deepen the gain to a greater extent before any difference becomes audible.&#xD;&#xA;&#xD;&#xA;Another aspect, when I hear a note, I have no clue which one it is. I can guess the octave with an accuracy of +/- 1, but the note itself is impossible. Unless I make sounds to which I can refer (hit some keys, which can be awkward in a live setting) I have no way of telling what note I'm hearing. I have a (crazy?) theory that musicians that can tell the note by hearing it, have noisy resonating ear-bones to witch they can relate. Probably the brain EQ's these frequency's out for them so they have a relatively flat conscious spectrum again&#xD;&#xA;&#xD;&#xA;Because of the two points above, I rely heavily on a spectrum analyzer (when ringing out mics for example). Also in post production, I really need the [metering tools][1], rather than relying on what I can actually hear. For example, I can see the compressor kicking in long before I can hear any effect and when slowly tweaking for some time it seems that my ears adapt to the processed sound and I need to press the A-B test/bypass button in order to call back or compare with the original.&#xD;&#xA;&#xD;&#xA;My guess is that these are normal human aspects, or am I just the wrong man on the job?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.izotope.com/products/audio/insight/" ContentLicense="CC BY-SA 3.0" />
  <row Id="44940" PostHistoryTypeId="1" PostId="25524" RevisionGUID="00e4aed9-c668-47d6-a572-83609a90dc11" CreationDate="2013-12-12T20:20:01.170" UserId="7228" Text="Is there something wrong with my ears? (perception of frequency and their dynamics)" ContentLicense="CC BY-SA 3.0" />
  <row Id="44941" PostHistoryTypeId="3" PostId="25524" RevisionGUID="00e4aed9-c668-47d6-a572-83609a90dc11" CreationDate="2013-12-12T20:20:01.170" UserId="7228" Text="&lt;sound&gt;&lt;filter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44942" PostHistoryTypeId="36" PostId="25525" RevisionGUID="61c5917e-6a85-49e5-b0a8-6ce289c1b2eb" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9648/is-there-something-wrong-with-my-ears-perception-of-frequency-and-their-dynami/9649#9649" />
  <row Id="44943" PostHistoryTypeId="36" PostId="25526" RevisionGUID="2b4f98ad-3142-4c3e-b037-67610012dbb1" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1175/has-my-guitar-rig-2-installation-messed-up-cubase-5" />
  <row Id="44944" PostHistoryTypeId="36" PostId="25527" RevisionGUID="88fde765-af02-4c75-a33b-7a989ed79570" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1175/has-my-guitar-rig-2-installation-messed-up-cubase-5/1607#1607" />
  <row Id="44945" PostHistoryTypeId="36" PostId="25528" RevisionGUID="919be62e-fa94-49fa-bd7e-65502428437f" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1175/has-my-guitar-rig-2-installation-messed-up-cubase-5/2640#2640" />
  <row Id="44946" PostHistoryTypeId="2" PostId="25527" RevisionGUID="335b4d1b-0cf0-48fc-933c-70702da97f35" CreationDate="2011-06-17T07:25:02.077" UserDisplayName="Eduard Wirch" Text="This is actually not the solution for you but a way you might find the solution on your own:&#xD;&#xA;&#xD;&#xA;Go and grab [Process Monitor][1]. This will monitor every action any process does on your system. Check what Cubase does during the mixer load up.&#xD;&#xA;&#xD;&#xA;Here is also a blog post which may help you get started with Process Monitor: [Mark Russinovich - The Case of the Slow Logons][2]&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;Here is one who had a similar problem. Perhaps the solution works for you: http://audio.stackexchange.com/questions/706/cubase-5-wont-open-projects-with-guitar-rig-after-update-5-5-2&#xD;&#xA;&#xD;&#xA;  [1]: http://technet.microsoft.com/en-us/sysinternals/bb896645&#xD;&#xA;  [2]: http://blogs.technet.com/b/markrussinovich/archive/2010/01/13/3305263.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="44947" PostHistoryTypeId="2" PostId="25528" RevisionGUID="2dd0fa30-c179-4c3c-a406-cb3e1f1d2d00" CreationDate="2011-11-15T13:06:31.163" UserId="7016" Text="We have latest versions of Cubase and Guitar Right in Windows 7 with no problems, in fact it is much faster than the old Win CO setup we had. &#xD;&#xA;&#xD;&#xA;So I think you just need to look at processes as per Eduard's post. You could have a clash somewhere, or an inadvertent time out. " ContentLicense="CC BY-SA 3.0" />
  <row Id="44948" PostHistoryTypeId="2" PostId="25526" RevisionGUID="437499e3-8e99-4fe0-850f-26737ddb22bb" CreationDate="2011-04-14T20:13:36.740" UserDisplayName="user751" Text="So I upgraded from Cubase SX3 on XP Home to Cubase 5 on Windows 7. Groove Agent went in just fine. Then came Guitar Rig 2 and the mixer in Cubase won't load in any reasonable amount of time. Go make a cup of tea and a sandwich and enjoy both and it might have loaded, with all manner of things 'not mapped'. It was all fine before Guitar Rig 2 went back on the hard drive, any thoughts?&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;Edit: &#xD;&#xA;&#xD;&#xA;Guitar Rig loads fine on its own. When I change patches there are different types of hum. The trouble comes when Cubase becomes involved. Cubase without Guitar Rig is fine. When instances of Guitar Rig are involved, things are as previously described.&#xD;&#xA;&#xD;&#xA;Also tried installing SX3 as well and the same trouble exists in both. I tried changing the properties of Guitar Rig's .exe file so that it opens as if in XP sp2 and that's no good either.&#xD;&#xA;&#xD;&#xA;Wondering if there is some kind of security problem with the various dongulators or if Windows 7 simply doesn't like Guitar Rig 2. Tried XP Pro sp3 as well but there are all manner of troubles with drivers for the motherboard as it is fairly new." ContentLicense="CC BY-SA 3.0" />
  <row Id="44949" PostHistoryTypeId="1" PostId="25526" RevisionGUID="437499e3-8e99-4fe0-850f-26737ddb22bb" CreationDate="2011-04-14T20:13:36.740" UserDisplayName="user751" Text="Has my Guitar Rig 2 installation messed up Cubase 5?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44950" PostHistoryTypeId="3" PostId="25526" RevisionGUID="437499e3-8e99-4fe0-850f-26737ddb22bb" CreationDate="2011-04-14T20:13:36.740" UserDisplayName="user751" Text="&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44951" PostHistoryTypeId="36" PostId="25529" RevisionGUID="f8748a53-ae0d-443f-8fb6-783077ef3539" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8919/what-is-0-db-in-digital-audio" />
  <row Id="44952" PostHistoryTypeId="36" PostId="25530" RevisionGUID="29147247-adab-4618-a750-b76d0f6589e8" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8919/what-is-0-db-in-digital-audio/8920#8920" />
  <row Id="44953" PostHistoryTypeId="36" PostId="25531" RevisionGUID="daa7b29a-a6c0-40a6-9c8f-bfb0017f142e" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8919/what-is-0-db-in-digital-audio/8921#8921" />
  <row Id="44954" PostHistoryTypeId="36" PostId="25532" RevisionGUID="fec0e662-2188-47b6-ba2d-84ddae4962c0" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8919/what-is-0-db-in-digital-audio/8924#8924" />
  <row Id="44955" PostHistoryTypeId="2" PostId="25530" RevisionGUID="67d12948-aef7-4e19-81b9-cae98404416b" CreationDate="2013-09-09T15:39:12.890" UserId="7213" Text="Since the dB is a ratio as you say, &quot;0 dB&quot; just means &quot;no change&quot;. In the context of digital sampling, I'd consider 'full scale' to be the reference point -- i.e. 255 in an 8-bit system -- making anything less a negative dB value. But unless it's specified, (as in dBa, dBm etc) it's just speculation and open to interpretation.&#xD;&#xA;&#xD;&#xA;There may be a DWS standard or consensus, but that's not my world so I can't say." ContentLicense="CC BY-SA 3.0" />
  <row Id="44956" PostHistoryTypeId="2" PostId="25531" RevisionGUID="93ca3770-2ba2-475e-a971-8acc2cc2e1cb" CreationDate="2013-09-09T16:47:54.257" UserId="7174" Text="It is the amount of change.  0dB is full signal, negative dBs are a reduction in signal (down to -infinity which is fully off) and +dB are when a signal has a gain applied.  0dB is also sometimes called Unity.  This is consistent across digital mixing and analog mixing where anything below 0dB is reductive (the source signal is reduced) and anything above 0dB (when the board or software supports it) applies a gain to the signal via a pre-amp (in analog processing) or increasing the amplitude by the selected amount(in digital).&#xD;&#xA;&#xD;&#xA;When metering, 0dB is often the either the maximum or ideal capability of the hardware or digital signal space you are working with.  In the case of setting it to the optimum strength, there will be some headroom above the ideal signal level before hitting clipping.  You should check documentation for the particular board or system you are using for the specific implementation." ContentLicense="CC BY-SA 3.0" />
  <row Id="44957" PostHistoryTypeId="2" PostId="25532" RevisionGUID="46ca3e1a-725e-4388-8947-04c710fcc5cb" CreationDate="2013-09-09T17:55:10.570" UserId="7405" UserDisplayName="Andy aka" Text="&gt; What is 0 dB in digital audio?&#xD;&#xA;&#xD;&#xA;0dB does actually represent the largest signal that a digital system can produce. Once a signal is in the digital domain it takes on a life of its own and 0dB remains full-scale. If you took a digital audio file (maybe from a CD or wav file) and loaded it onto another machine, the new machine would see the same binary numbers as the original machine so 0dB represents the biggest value numerically in the &quot;digital world&quot;.&#xD;&#xA;&#xD;&#xA;But what if you have different quantization levels i.e. 24bit instead of 16bit (CD audio)? Well, the biggest unsigned peak number on 16 bits is 65,536 and on 24 bits it is 16,777,216 BUT, for each 0dB is taken as their maximum value. The 24 bit &quot;system&quot; will have greater depth of clarity because it is representing an analogue signal with over 16 million digital levels whereas the 16 bit system is only representing an analogue signal with a bit over 65,000 digital levels.&#xD;&#xA;&#xD;&#xA;&gt; what are the decibels being based on?&#xD;&#xA;&#xD;&#xA;The decibel is one-tenth of 1 bel and years ago in Bell laboratories (clue in the name) they conducted listener tests to see how the average listener perceived sound levels of different amplitudes with loudness variations being introduced by longer cable lengths. The following quote is taken from **[Wikipedia][1]**&#xD;&#xA;&#xD;&#xA;&gt; The decibel originates from methods used to quantify reductions in&#xD;&#xA;&gt; audio levels in telephone circuits. These losses were originally&#xD;&#xA;&gt; measured in units of Miles of Standard Cable (MSC), where 1 MSC&#xD;&#xA;&gt; corresponded to the loss of power over a 1 mile (approximately 1.6 km)&#xD;&#xA;&gt; length of standard telephone cable at a frequency of 5000 radians per&#xD;&#xA;&gt; second (795.8 Hz), and roughly matched the smallest attenuation&#xD;&#xA;&gt; detectable to the average listener. Standard telephone cable was&#xD;&#xA;&gt; defined as &quot;a cable having uniformly distributed resistance of 88 ohms&#xD;&#xA;&gt; per loop mile and uniformly distributed shunt capacitance of .054&#xD;&#xA;&gt; microfarad per mile&quot; (approximately 19 gauge).[4] The transmission&#xD;&#xA;&gt; unit (TU) was devised by engineers of the Bell Telephone Laboratories&#xD;&#xA;&gt; in the 1920s to replace the MSC. 1 TU was defined as ten times the&#xD;&#xA;&gt; base-10 logarithm of the ratio of measured power to a reference power&#xD;&#xA;&gt; level.[5] The definitions were conveniently chosen such that 1 TU&#xD;&#xA;&gt; approximately equaled 1 MSC (specifically, 1.056 TU = 1 MSC).[6] In&#xD;&#xA;&gt; 1928, the Bell system renamed the TU the decibel.[7] Along with the&#xD;&#xA;&gt; decibel, the Bell System defined the bel, the base-10 logarithm of the&#xD;&#xA;&gt; power ratio, in honor of their founder and telecommunications pioneer&#xD;&#xA;&gt; Alexander Graham Bell.[8] The bel is seldom used, as the decibel was&#xD;&#xA;&gt; the proposed working unit.[9]&#xD;&#xA;&#xD;&#xA;+1dB means it got louder by about 10%. -1dB means it got quieter by about 10%.&#xD;&#xA;&#xD;&#xA;From other experiments it was determined that the human ear works logarithmically because each time a doubling of perceived sound level occured, the associated instrumentation showed that the power of the signal increased by ten times. The upshot of this is that a 10W amplifier/speaker is twice as loud as a 1W amp/spkr and that a 100W amp/spkr is four times louder than a 1W amp/spkr and twice as loud as the 10W rig.&#xD;&#xA;&#xD;&#xA;So in engineering, 10dB now represents a ten-fold increase in the power of a signal.&#xD;&#xA;&#xD;&#xA;In electronics, engineers use the term 0dBm and this refers to the power of 1mW. Other commonly used terms are dbuV where the u means micro and the V is voltage.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Decibel" ContentLicense="CC BY-SA 3.0" />
  <row Id="44958" PostHistoryTypeId="2" PostId="25533" RevisionGUID="f22a21b7-40ac-4dff-83ed-fb627f11d5cf" CreationDate="2013-09-13T03:29:46.727" UserId="7194" Text="#In The Old Days...&#xD;&#xA;&#xD;&#xA;Prior to the invention of electronic calculators, multiplying and dividing long numbers was a rather lengthy process. But that's something engineers (including audio ones) had to do quite often.&#xD;&#xA;&#xD;&#xA;[Logarithms](http://en.wikipedia.org/wiki/Logarithm) were invented in the 17th century to simplify calculations.&#xD;&#xA;&#xD;&#xA;We know this rules of logarithms:&#xD;&#xA;&#xD;&#xA;&gt; log(X * Y) = log(X) + log(Y)&#xD;&#xA;&#xD;&#xA;And&#xD;&#xA;&#xD;&#xA;&gt; log(X / Y) = log(X) - log(Y)&#xD;&#xA;&#xD;&#xA;While these look rather innocent, they conceal great power: the ability to replace complex multiplication and division calculations, with simple addition and subtraction calculations. The catch is that you needed to know the log value of numbers.&#xD;&#xA;&#xD;&#xA;But the benefit outweighed the pain, and soon books with log charts appeared showing the log value of numbers.&#xD;&#xA;&#xD;&#xA;So to multiply two long numbers, you find in the log chart the log of both first, add them, and then search the directory for the inverse log and you got the result.&#xD;&#xA;&#xD;&#xA;Logarithmic rulers soon appeared, allowing quicker calculations:&#xD;&#xA;&#xD;&#xA;![A photo of a logarithmic ruler][1] &#xD;&#xA;&#xD;&#xA;#Then Came Audio&#xD;&#xA;&#xD;&#xA;With advances in electronics and audio recording technology it soon became clear that our perception of loudness is not linear but rather exponential. That is to say, when reproduced via a speaker, the loudness change from 1V to 2V is not perceived as equal as the loudness change from 2V to 3V. The doubling of voltage was much closer to our loudness perception - 1V to 2V was roughly like 2V to 4V. &#xD;&#xA;&#xD;&#xA;While a doubling of voltage was not perceived as exact doubling of loudness, it was clear that our loudness perception is exponential.&#xD;&#xA;&#xD;&#xA;Log functions are exponential.&#xD;&#xA;&#xD;&#xA;#Bell Labs&#xD;&#xA;&#xD;&#xA;Now guess what? The engineers at Bell Laboratories decided to make the log an integral part of audio. They gathered what you may have gathered by now:&#xD;&#xA;&#xD;&#xA; - Logs make calculations easier.&#xD;&#xA; - Logs lend themselves better to the exponential nature of our hearing.&#xD;&#xA;&#xD;&#xA;So they simply devised a unit called *Bell* (in honour of Graham Bell), which in simple terms is nothing but a ratio between two measurements:&#xD;&#xA;&#xD;&#xA;&gt;Bell = log(m1 / m2)&#xD;&#xA;&#xD;&#xA;It soon been realised that for audio applications the Bells always had an extra significant digit to the right of the decimal point. So they introduced another unit called *decibel*, which, after working out the maths of the original definition of the bell, resulted in:&#xD;&#xA;&#xD;&#xA;&gt;dB = 10 * log(m1 / m2)&#xD;&#xA;&#xD;&#xA;#Power vs Voltage&#xD;&#xA;&#xD;&#xA;The decibel definition was devised for power measurements (watts), so we can look at it as a ratio between two power measurements:&#xD;&#xA;&#xD;&#xA;&gt;dB = 10 * log(p1 / p2)&#xD;&#xA;&#xD;&#xA;Once we throw into the equation voltages (where P = V^2 / R) and simplify it, the equation becomes:&#xD;&#xA;&#xD;&#xA;&gt;dB = 20 * log(v1 / v2)&#xD;&#xA;&#xD;&#xA;Practically speaking, all dB equations are 20log, other than these dealing with power measurements.&#xD;&#xA;&#xD;&#xA;#From Two Measurements to a Measurements and a Reference&#xD;&#xA;&#xD;&#xA;So far, dBs allow us to express the ratio between two measurements. But what if I've measured the level of my signal and I ask:&#xD;&#xA;&#xD;&#xA;&quot;How loud is this in dBs?&quot;&#xD;&#xA;&#xD;&#xA;The answer will be:&#xD;&#xA;&#xD;&#xA;&quot;Well, how loud compared to what?&quot;&#xD;&#xA;&#xD;&#xA;So the idea was to choose a reference, so we can express the level of something in dBs by measuring it and comparing it to a standard reference. In equation form:&#xD;&#xA;&#xD;&#xA;&gt; dB = log20(m / r)&#xD;&#xA;&#xD;&#xA;#dB systems&#xD;&#xA;&#xD;&#xA;So now we can develop various systems of dBs, each uses a different reference.&#xD;&#xA;&#xD;&#xA; - The dBm system uses 1mW as a reference.&#xD;&#xA; - The dBu system uses 0.775V as a reference (a number that was common in early electronic circuits).&#xD;&#xA; - The dBV system uses 1V as a reference (a much easier number to deal with).&#xD;&#xA;&#xD;&#xA;#dBFS&#xD;&#xA;&#xD;&#xA;When digital audio emerged, it needed its own dB system, which brought the need to choose a reference. But there was a problem:&#xD;&#xA;&#xD;&#xA;Digital audio can be 8 bits (sample values from 0 to 255) or 16 bit (0..65535) or 24 bit (0..16777216).&#xD;&#xA;&#xD;&#xA;It seems like the common thing in all these bit depths is the zero, but we can't use it as a reference as we'll get:&#xD;&#xA;&#xD;&#xA;&gt;dBFS = 20log(m / 0)&#xD;&#xA;&#xD;&#xA;While this is sufficient to rule out 0 as a reference, there is another fact to consider: We know that during ADC a higher bit depth extends the dynamic range downwards not upwards. In other words, the loudest analog voltage an ADC supports always translates to the highest value the bits can represent. If the analog limit is 1V, in an 8 bit system it will get a sample value of 255, but in a 16 bit system it will get 65535.&#xD;&#xA;&#xD;&#xA;This make the choice rather obvious - the reference for dBFS should be the highest sample value of the system bit depth. So:&#xD;&#xA;&#xD;&#xA;&gt;dBFS = 20log(sample value / highest possible sample value)&#xD;&#xA;&#xD;&#xA;Now in logs, if the numerator is smaller that the denominator, you always get a negative result; if the two are equal, you get 0. So in the case of 16 bits:&#xD;&#xA;&#xD;&#xA;&gt;0dB = 20log(65535 / 65535)&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;&gt; -6dB = 20log(32768 / 65535).&#xD;&#xA;&#xD;&#xA;Since the sample value can never exceed the highest sample value, dBFS values are always equal to, or smaller than 0.&#xD;&#xA;&#xD;&#xA;#dBVU and dBr&#xD;&#xA;&#xD;&#xA;All of this is sound, but there's a bit more.&#xD;&#xA;&#xD;&#xA;As users, we don't really care about the dB level of the signal within the system, we care for the dB level compared to the standard operating level of the system (above which you may clip).&#xD;&#xA;&#xD;&#xA;So audio meters don't show the dBu, dBV or dBFS level of the signal (some do, but as an extra). Instead they show 0dB as the standard operating level of the system. In analog this is known as 0dBVU (dB Volumatric Unit), and for digital as 0dBr (dB reference). For pro analog equipment 0dBVU is calibrated to +4dBu; for semi-pro  equipment it is -10dBV. So regardless of the device itself, and the dB system used, dBVU always tells me how much below or above the standard operating level of the system the signal is.&#xD;&#xA;&#xD;&#xA;DAWs are using 32 bit float internally, so the integer range of 0..65535 is aligned to the decimal range `0`..`1.0`; While 65535 is 0dBFS, `1.0` is 0dBr. But floating point systems can go above `1.0`, in fact, much higher than `1.0`. Yet as at some point you'll have to go back to integers, the 0dB you see is aligned with 0dBFS.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/f9b5e.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="44959" PostHistoryTypeId="2" PostId="25529" RevisionGUID="86bf1262-fa65-4c98-9af9-ede1fb555674" CreationDate="2013-09-09T15:14:41.447" UserId="7236" Text="Everyone here should know that the reason decibels (dB) are unitless is because it is a ratio:&#xD;&#xA;&#xD;&#xA;![decibel formula][1]&#xD;&#xA;&#xD;&#xA;So, I somewhat understand why decibels are &quot;negative&quot; in Audacity an other digital audio workstations. However, what I don't get is, _what_ are the decibels being based on? Like what would `0 dB` be?&#xD;&#xA;&#xD;&#xA; [1]: http://latex.codecogs.com/gif.latex?dB%20%3D%2010%20%5Clog_%7B10%7D%7B%5Cfrac%7BS_1%7D%7BS_2%7D%7D" ContentLicense="CC BY-SA 3.0" />
  <row Id="44960" PostHistoryTypeId="1" PostId="25529" RevisionGUID="86bf1262-fa65-4c98-9af9-ede1fb555674" CreationDate="2013-09-09T15:14:41.447" UserId="7236" Text="What is 0 dB in digital audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44961" PostHistoryTypeId="3" PostId="25529" RevisionGUID="86bf1262-fa65-4c98-9af9-ede1fb555674" CreationDate="2013-09-09T15:14:41.447" UserId="7236" Text="&lt;gain&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44962" PostHistoryTypeId="36" PostId="25533" RevisionGUID="03491507-846a-4739-95fe-74f113af9280" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8919/what-is-0-db-in-digital-audio/8959#8959" />
  <row Id="44963" PostHistoryTypeId="36" PostId="25534" RevisionGUID="292a1a5b-80ad-42b2-b26e-7e89304173a4" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8919/what-is-0-db-in-digital-audio/8960#8960" />
  <row Id="44964" PostHistoryTypeId="36" PostId="25535" RevisionGUID="dfd79a97-7f41-4c3a-bc7f-354715f38d67" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8919/what-is-0-db-in-digital-audio/8984#8984" />
  <row Id="44965" PostHistoryTypeId="2" PostId="25534" RevisionGUID="7c6297ab-86a5-4bd2-b7bc-e0106015ae54" CreationDate="2013-09-13T04:38:45.330" UserId="8159" UserDisplayName="Jamil" Text="It's really simple. It's the inverse ratio. So, 0 is no less. -3dB is the ratio for 3 dB less than 0.&#xD;&#xA;&#xD;&#xA;Decibels are used to describe a ratio, rather than a definite amplitude. To figure out negative decibels, you do the same thing you'd do with positive decibels, except with a negative number.&#xD;&#xA;&#xD;&#xA;To create a 3dB increase, you'd multiply the sound's power by 10^(3/10), or 1.9952623149688796013524553967395 (approximately twice the original amplitude). &#xD;&#xA;&#xD;&#xA;To create -3dB change, you'd multiply the sound's power by 10^(-3/10), or 0.50118723362727228500155418688495 (which is approximately 1/2 of the original sound).&#xD;&#xA;&#xD;&#xA;So, in short, it's just the inverse. 3dB is about twice the amplitude, and -3dB is about half of the amplitude." ContentLicense="CC BY-SA 3.0" />
  <row Id="44966" PostHistoryTypeId="2" PostId="25535" RevisionGUID="ab204647-166c-4dc0-a434-d7c2eae7c2f7" CreationDate="2013-09-17T01:12:57.963" UserId="7212" Text="It depends.&#xD;&#xA;&#xD;&#xA;With a logarithmic scale like the decibel (or bel; 1B = 10dB), you usually need a reference point, and this reference point cannot be zero (otherwise the math involves division or multiplication by zero which doesn't get you anywhere). This reference point depends on what you're measuring. In audio, that's usually one of the following:&#xD;&#xA;&#xD;&#xA;Voltage (potential): 0dBV = 1V, regardless of impedance. 0dBu = .7746V (the voltage inherent in a 600-ohm conductor dissipating one milliwatt of power). Home-quality audio equipment typically has a peak signal power handling of -10dBV (.316V), which itself is often marked as &quot;0dB&quot;, while professional audio is typically calibrated to a much more powerful +4dBu (1.228V)&#xD;&#xA;&#xD;&#xA;Wattage (power): 0dBm = 1mW. This is typically of value in wireless transmitters/receivers, to judge signal amplitude.&#xD;&#xA;&#xD;&#xA;Sound Pressure: 0dBSPL = 20uPA (= .00002N/m&lt;sup&gt;2&lt;/sup&gt;). This reference point was based on one series of tests to determine the threshold of silence in human hearing. Other studies say humans with healthy auditory systems may be able to differentiate sounds as faint as -10dB. These curves are calibrated for different kinds of sound environments; OSHA has two common &quot;weightings&quot;, A and C. A is based on the average spectrum of industrial noise, while C is based on the spectrum common in amplified audio. Exposure limits are officially defined for and measured using A-weighting." ContentLicense="CC BY-SA 3.0" />
  <row Id="44967" PostHistoryTypeId="36" PostId="25536" RevisionGUID="dfb76917-32dc-4524-93b6-527a0f24b914" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7286/audacity-exporting-time-track-to-csv" />
  <row Id="44968" PostHistoryTypeId="2" PostId="25537" RevisionGUID="1ba35ec4-184b-4965-8721-e69c688a977f" CreationDate="2013-03-03T11:21:51.260" UserDisplayName="Fred42vid" Text="The time track coordinates are written into the audacity project file (.aup), which is effectively an XML file. &#xD;&#xA;&#xD;&#xA;With this .aup file you have two possibilities:&#xD;&#xA;&#xD;&#xA; 1. If you're a programmer, you can write a simple XML to CSV converter,&#xD;&#xA;    that only extracts the XML tags you need.&#xD;&#xA; 2. Some spreadsheet programs can read XML files, too. The following works for MS Excel 2010 Starter, but not with LibreOffice Calc 3.6:&#xD;&#xA;    Open an empty table and drag your .aup file into it. In the&#xD;&#xA;    resulting table there are 2 columns&#xD;&#xA;    `/timetrack/envelope/controlpoint/@t` and&#xD;&#xA;    `/timetrack/envelope/controlpoint/@val` that have your requested data.&#xD;&#xA;    Just delete all the other columns and save this two-column-table as&#xD;&#xA;    a .csv file.&#xD;&#xA;&#xD;&#xA;Perhaps other users know an XML to CSV converter that does these steps automatically.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44969" PostHistoryTypeId="2" PostId="25536" RevisionGUID="b707996d-6840-4f38-a62c-1d9e594db24d" CreationDate="2013-03-03T00:50:26.370" UserDisplayName="Dominik" Text="I'm looking for a program that can export a [time track][1] to a csv file, preferably in Windows. Do you know one?&#xD;&#xA;&#xD;&#xA;I've already tried a bunch of free software, without success.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://manual.audacityteam.org/man/Time_Tracks" ContentLicense="CC BY-SA 3.0" />
  <row Id="44970" PostHistoryTypeId="1" PostId="25536" RevisionGUID="b707996d-6840-4f38-a62c-1d9e594db24d" CreationDate="2013-03-03T00:50:26.370" UserDisplayName="Dominik" Text="Audacity: Exporting time track to csv" ContentLicense="CC BY-SA 3.0" />
  <row Id="44971" PostHistoryTypeId="3" PostId="25536" RevisionGUID="b707996d-6840-4f38-a62c-1d9e594db24d" CreationDate="2013-03-03T00:50:26.370" UserDisplayName="Dominik" Text="&lt;software&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44972" PostHistoryTypeId="36" PostId="25537" RevisionGUID="2e4bbcf3-f81e-4be8-b09c-ff8a6626aa34" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7286/audacity-exporting-time-track-to-csv/7288#7288" />
  <row Id="44973" PostHistoryTypeId="36" PostId="25538" RevisionGUID="4bce3f27-735f-431d-8ec9-1e637e36d272" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2600/mp3-cd-in-car-stereo" />
  <row Id="44974" PostHistoryTypeId="36" PostId="25539" RevisionGUID="7b77ae1b-db52-4017-8a73-06e48b805755" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2600/mp3-cd-in-car-stereo/2605#2605" />
  <row Id="44975" PostHistoryTypeId="36" PostId="25540" RevisionGUID="1d59ca5e-6743-4036-85fb-667d5b799b3b" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2600/mp3-cd-in-car-stereo/3409#3409" />
  <row Id="44976" PostHistoryTypeId="36" PostId="25541" RevisionGUID="1d2ccfd3-32af-470d-bcad-87905b1eb88f" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2600/mp3-cd-in-car-stereo/5654#5654" />
  <row Id="44977" PostHistoryTypeId="2" PostId="25539" RevisionGUID="d1b3b98b-399e-44e2-98af-859590048d7e" CreationDate="2011-11-08T18:09:55.733" UserDisplayName="horatio" Text="Try scanning the mps3 on the CD using a validator such as http://mp3val.sourceforge.net/&#xD;&#xA;&#xD;&#xA;In addition, many devices have a nested directory limit (such as 2 or 3 deep max), very specific rules about acceptable file names, and potential problems with extended ID tag formats. You might try stripping any album covers and/or inspecting the ID tags for any odd characters (especially punctuation and/or accents) ( http://en.wikipedia.org/wiki/Mp3tag ).&#xD;&#xA;&#xD;&#xA;I would do this on temp copies, not on the original files. You also have the benefit of knowing a few specific files which fail, so you can scrutinize &amp; manipulate copies of those for clues." ContentLicense="CC BY-SA 3.0" />
  <row Id="44978" PostHistoryTypeId="2" PostId="25540" RevisionGUID="2e006db0-a3e9-4079-9b68-e1ad4132c9ba" CreationDate="2012-02-26T06:15:23.497" UserDisplayName="Hong" Text="In my case (Jetta 2007), MP3s encoded in VBR (one of the albums I bought from Amazon MP3) will randomly fail with &quot;Err Title&quot;. Very irritating. You can check whether an MP3 is encoded in VBR by right clicking on the track in iTunes and then choose Get Info. The info screen will have Bit Rate field, and VBR will be shown in parentheses if the MP3 is encoded in VBR." ContentLicense="CC BY-SA 3.0" />
  <row Id="44979" PostHistoryTypeId="2" PostId="25541" RevisionGUID="4ec17738-7434-4b6a-9e30-b39b8bb5860f" CreationDate="2012-12-23T03:36:46.747" UserDisplayName="Eric" Text="I had the same problem. Based on some suggestions in other forums, I tried five easy things.  One or more of the changes I made did fix the problem.  Here are the things I tried:&#xD;&#xA;&#xD;&#xA; 1. Deleted all of the album art from the song files.  Do this in a separate folder with copies of the songs, not in your primary music folder on your computer!  Otherwise you will lose your album cover art (if you care about that).  I suspect that this is what fixed the problem.  I use the free version of Winamp and it was easy to do from there.&#xD;&#xA; 2. I also deleted the v3.2 tags (ID3v2) from the song files.  Also easy to do using Winamp.  Make sure the v3.1 tags are there or the info won't show up on your car stereo LCD.&#xD;&#xA; 3. Burned at 16x instead of 40x.  This is the slowest setting available to me using my burning software.&#xD;&#xA; 4. I removed the playlist file from the burn folder before buring the CD.&#xD;&#xA; 5. I used a Memorex CD instead of OfficeDepot." ContentLicense="CC BY-SA 3.0" />
  <row Id="44980" PostHistoryTypeId="2" PostId="25538" RevisionGUID="e5e1a969-305e-4f4b-ac05-255a4d0c39f8" CreationDate="2011-11-06T22:52:23.413" UserDisplayName="Rickay" Text="I'm not sure if this is the right place for this question, so if it isn't feel free to move or delete it.&#xD;&#xA;&#xD;&#xA;I just burned an MP3 cd (let's call it CD 1) with about 80 songs on it, and it plays fine on my computer. When I put it in my car, though, only some of the songs play. The songs all started out in different formats (AAC, Protected AAC, Purchased AAC) but I converted them all (in iTunes) to MP3s ('MPEG audio file').&#xD;&#xA;&#xD;&#xA;I burned them all to a cd in iTunes (MP3 CD, 8x speed, just to be safe), and when I put it in my car, only some of the songs play.&#xD;&#xA;&#xD;&#xA;Strangely, I did the same thing with another CD (CD 2) and all of the songs played. Each cd had some songs imported from CDs and some downloaded from iTunes. Just to check, I made another copy of CD 1 and tried that in my car, but the same songs didn't play.&#xD;&#xA;&#xD;&#xA;It's a 2006 Hyundai Sonata, if that matters.&#xD;&#xA;&#xD;&#xA;Any ideas why only some of the songs, but not all, would be playing?&#xD;&#xA;&#xD;&#xA;Edit: I have two different songs, both at 192kbps. One plays and one doesn't. Another set of songs have different kbps, but both play. So I'm pretty sure that's not the problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="44981" PostHistoryTypeId="1" PostId="25538" RevisionGUID="e5e1a969-305e-4f4b-ac05-255a4d0c39f8" CreationDate="2011-11-06T22:52:23.413" UserDisplayName="Rickay" Text="MP3 cd in car stereo" ContentLicense="CC BY-SA 3.0" />
  <row Id="44982" PostHistoryTypeId="3" PostId="25538" RevisionGUID="e5e1a969-305e-4f4b-ac05-255a4d0c39f8" CreationDate="2011-11-06T22:52:23.413" UserDisplayName="Rickay" Text="&lt;stereo&gt;&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44983" PostHistoryTypeId="36" PostId="25542" RevisionGUID="547f2ca4-ef23-44e5-85c1-df22fcf1e8be" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4700/what-is-the-cheapest-way-to-produce-a-lot-of-bass" />
  <row Id="44984" PostHistoryTypeId="2" PostId="25543" RevisionGUID="2d74300d-60a5-4a43-879a-64651c9a6ad2" CreationDate="2012-09-11T10:31:51.547" UserId="7211" Text="Well obviously to produce a lot of bass you're going to need a big driver. All I can suggest is trying to track down a second hand sub or bass guitar amp and running ultra-low frequency test tones through them at high levels." ContentLicense="CC BY-SA 3.0" />
  <row Id="44985" PostHistoryTypeId="2" PostId="25542" RevisionGUID="ea3bcce5-eccc-4875-b104-364057958955" CreationDate="2012-09-10T22:28:32.050" UserDisplayName="Jerimee" Text="I'm trying to soundproof one room from noise coming from another room. I won't know how much bass will be generated from the other room until after the soundproof job is done.&#xD;&#xA;&#xD;&#xA;So I want to assume the worst case scenario. What is the cheapest way for me to produce the maximum amount of bass? I don't need high frequencies, and I'm not particularly interested in sound quality." ContentLicense="CC BY-SA 3.0" />
  <row Id="44986" PostHistoryTypeId="1" PostId="25542" RevisionGUID="ea3bcce5-eccc-4875-b104-364057958955" CreationDate="2012-09-10T22:28:32.050" UserDisplayName="Jerimee" Text="What is the cheapest way to produce a lot of bass?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44987" PostHistoryTypeId="3" PostId="25542" RevisionGUID="ea3bcce5-eccc-4875-b104-364057958955" CreationDate="2012-09-10T22:28:32.050" UserDisplayName="Jerimee" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44988" PostHistoryTypeId="36" PostId="25543" RevisionGUID="cbbaef2a-da50-4264-8add-e997e2f76e76" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4700/what-is-the-cheapest-way-to-produce-a-lot-of-bass/4709#4709" />
  <row Id="44989" PostHistoryTypeId="36" PostId="25544" RevisionGUID="9f2bd22f-56cf-4b7a-98de-65a098a7a0ff" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4700/what-is-the-cheapest-way-to-produce-a-lot-of-bass/4713#4713" />
  <row Id="44990" PostHistoryTypeId="2" PostId="25544" RevisionGUID="48dd7378-824b-45c9-8ed9-28ad4ef8c732" CreationDate="2012-09-12T01:57:56.173" UserId="7189" Text="Do you have access to the amp or monitors that will be used in the room you are soundproofing? If so, generate a sine wave sweep in [Audacity][1] that goes from 20 Hz to 200 Hz. Loop it. Then crank the volume as high as you can.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="44991" PostHistoryTypeId="36" PostId="25545" RevisionGUID="517e88b9-08c9-408a-879e-10ff2ead50d2" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8680/tips-on-remixing-a-song" />
  <row Id="44992" PostHistoryTypeId="2" PostId="25546" RevisionGUID="83645aa0-4bca-411a-b90b-bf7033cfcfc4" CreationDate="2013-08-11T12:54:08.180" UserId="7405" UserDisplayName="Andy aka" Text="Remixing doesn't necessarily mean you have to have perfect timing compared to cubase. If you have the individual tracks as entities in their own right then applying whatever fx, eq and compression to the individual tracks doesn't require it to hit the beats spot on.&#xD;&#xA;&#xD;&#xA;However, if you are adding midi instrumentation to the track then this is a different thing and what I'd be tempted to do (and it is long-winded for sure but worth the effort), is concentrate on aligning the drum beats first, then bass then the various instruments/vocals.&#xD;&#xA;&#xD;&#xA;There will be plenty of &quot;spaces&quot; on the beats to cut a small section out to advance the beats immediately following and of course you'll have to retard certain areas by adding small quiet sections. But, whatever you do to the drum tracks you should take note so that you can apply similar techniques to the rest of the tracks so that they line-up perfectly.&#xD;&#xA;&#xD;&#xA;If you don't take note of your editing operations all isn't lost because you can edit the other instruments independently.&#xD;&#xA;&#xD;&#xA;Another way (but one I've found confusing) is to dynamically alter the BPM in the tempo track." ContentLicense="CC BY-SA 3.0" />
  <row Id="44993" PostHistoryTypeId="2" PostId="25545" RevisionGUID="d1c4ca27-064e-47b6-8f03-8e4ea5e3dc35" CreationDate="2013-08-11T10:24:45.837" UserId="6755" Text="I'm currently trying to remix up &quot;Killing in the Name&quot; by Rage Against the Machine. Because it was recorded with real instruments I know that its not going to be perfectly in time. &#xD;&#xA;&#xD;&#xA;My first approach on this was to manually spilt the song into bars. I've set bpm to 123 (because I believe that to be the best average) and what I find is that some of my clips cover 4 bars on the Cubase grid and some don't, even though my clips are quantized manually to the next complete drum beat.&#xD;&#xA;&#xD;&#xA;What is the best approach to tackle this problem? &#xD;&#xA;&lt;br&gt;- Should I turn off &quot;Snap to grid&quot; and do everything manually (which would be very time consuming)? Therefore, completely ignoring the grid altogether .&#xD;&#xA;&lt;br&gt; - Should I group the bars together (to say... make a verse) and then time stretch so that they do line up perfectly on the grid? (Lose audio quality)&#xD;&#xA;&lt;br&gt; - Is there a better way I haven't thought of?&#xD;&#xA;&lt;br&gt; - Or give up and remix a song that was produced with perfect timing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="44994" PostHistoryTypeId="1" PostId="25545" RevisionGUID="d1c4ca27-064e-47b6-8f03-8e4ea5e3dc35" CreationDate="2013-08-11T10:24:45.837" UserId="6755" Text="Tips on remixing a song" ContentLicense="CC BY-SA 3.0" />
  <row Id="44995" PostHistoryTypeId="3" PostId="25545" RevisionGUID="d1c4ca27-064e-47b6-8f03-8e4ea5e3dc35" CreationDate="2013-08-11T10:24:45.837" UserId="6755" Text="&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="44996" PostHistoryTypeId="36" PostId="25546" RevisionGUID="6581d20f-74ea-4347-9e3a-efd43765de4b" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8680/tips-on-remixing-a-song/8681#8681" />
  <row Id="44997" PostHistoryTypeId="36" PostId="25547" RevisionGUID="741e1c74-4305-43da-a0c5-de64ebc7d8a7" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9627/produce-wavy-sound-in-pitch" />
  <row Id="44998" PostHistoryTypeId="36" PostId="25548" RevisionGUID="169dc3dd-329c-4618-88b8-9b5151350969" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9627/produce-wavy-sound-in-pitch/9629#9629" />
  <row Id="44999" PostHistoryTypeId="36" PostId="25549" RevisionGUID="9f670e24-19ed-45c8-8f4e-fa4c48a11c2c" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9627/produce-wavy-sound-in-pitch/9630#9630" />
  <row Id="45000" PostHistoryTypeId="2" PostId="25548" RevisionGUID="10313429-f551-47d3-a444-013ca0b9d25b" CreationDate="2013-12-10T22:29:37.637" UserId="7213" Text="The generic term for this is **vibrato**, though it wouldn't usually move 'between octaves' but rather in smaller increments like semitones.&#xD;&#xA;&#xD;&#xA;Applying a low-frequency oscillator to the pitch pin on a tone oscillator would achieve the effect. The amplitude of the LFO  would control the degree of pitch shift over time, and its frequency would affect how rapidly it shifts.&#xD;&#xA;&#xD;&#xA;In Ableton Live, you can do this using the LFOs on any of the Ableton synthesizers or on the Simpler instrument (if you're working with samples)." ContentLicense="CC BY-SA 3.0" />
  <row Id="45001" PostHistoryTypeId="2" PostId="25549" RevisionGUID="c9a4fc0a-c859-4ff9-a84b-b655ac9ba1ff" CreationDate="2013-12-11T07:15:38.800" UserId="7200" Text="I you want this to alternate pitch over a whole octave, but can't have the glide over all notes in between, then this is actually not vibrato but tremolo. The obvious way to achieve it is to set up two oscillators (possibly two entire synths) and modulate both in amplitude, with exactly opposite phase. You might for instance achieve this by having two instances of your synth in two tracks, one tuned an octave up, panned hard-left/hard-right, both routed to the same group channel with an auto-pan (auto-balance, actually) effect to achieve the antiphasal modulation, and then both channel mixed by removing the stereo width. In better synths, you patch together an equivalent simply with two oscillators.&#xD;&#xA;&#xD;&#xA;That's still not very efficient! For a rather more sophisticated solution, you can, instead of &quot;explicitly&quot; generating the octaves, use the fact that in a normal synth the octaves are already present anyway, as [harmonics](http://en.wikipedia.org/wiki/Harmonics). So all you really need to do is modulate the ratio of their amplitudes. This could in principle be done with a modulated EQ, but that would be even less efficient than the two-synths solution. A single [comb filter](http://en.wikipedia.org/wiki/Comb_filter) will also do the trick. Doing this externally is still cumbersome because you need to track the pitch; but it turns out most digital synths actually have a comb filter built right into their oscillators! It's called a &quot;sync&quot; parameter. Modulating that should be the ideal solution." ContentLicense="CC BY-SA 3.0" />
  <row Id="45002" PostHistoryTypeId="2" PostId="25547" RevisionGUID="0608f619-01cd-4425-a4e3-a327874b9b50" CreationDate="2013-12-10T21:00:05.010" UserDisplayName="user5144" Text="I've been trying to mimic a high-treble instrument I heard in a song where it basically goes between octaves in a wavy, smooth pattern. To do this on a piano you hit the note F3 then F4 repeatedly. But I want to make it automated and much more smoothly in Ableton Live.&#xD;&#xA;&#xD;&#xA;Do you get the effect I'm going for or is a soundclip needed? I can produce one and post it to vocaroo or someplace.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45003" PostHistoryTypeId="1" PostId="25547" RevisionGUID="0608f619-01cd-4425-a4e3-a327874b9b50" CreationDate="2013-12-10T21:00:05.010" UserDisplayName="user5144" Text="Produce 'wavy' sound in pitch?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45004" PostHistoryTypeId="3" PostId="25547" RevisionGUID="0608f619-01cd-4425-a4e3-a327874b9b50" CreationDate="2013-12-10T21:00:05.010" UserDisplayName="user5144" Text="&lt;live&gt;&lt;ableton&gt;&lt;pitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45005" PostHistoryTypeId="36" PostId="25550" RevisionGUID="4b963f71-2c5b-48d7-9cb6-82ffecff8eb7" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2592/how-can-i-test-earbuds-to-determine-their-quality" />
  <row Id="45006" PostHistoryTypeId="36" PostId="25551" RevisionGUID="5406d928-7e48-4f42-bf4e-a6b076ef2389" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2592/how-can-i-test-earbuds-to-determine-their-quality/2593#2593" />
  <row Id="45007" PostHistoryTypeId="2" PostId="25551" RevisionGUID="462c609a-4c64-4ace-8934-e5dab3bdadd9" CreationDate="2011-11-04T20:52:47.383" UserId="7093" Text="Ultimately the best test will be your ears.  &#xD;&#xA;&#xD;&#xA;If they sound good to you and you feel they were worth the price then you probably got a good deal." ContentLicense="CC BY-SA 3.0" />
  <row Id="45008" PostHistoryTypeId="2" PostId="25550" RevisionGUID="1b05c8fe-4294-479d-b0d8-3cf6cbc3c85d" CreationDate="2011-11-04T19:26:16.490" UserDisplayName="mugetsu" Text="I bought a pair of earbuds on eBay and I'm slightly concerned that they could be a knockoff. Its pretty difficult for me to tell if they are fakes or not since I have nothing to compare the sound with, and as far as I know, it sounds fine and better than my previous earbuds.&#xD;&#xA;&#xD;&#xA;Are there any simple methods to gauge the performance of the earbuds so I can get some numbers to compare with existing data for my earbuds? Things like impedance, frequency range, etc" ContentLicense="CC BY-SA 3.0" />
  <row Id="45009" PostHistoryTypeId="1" PostId="25550" RevisionGUID="1b05c8fe-4294-479d-b0d8-3cf6cbc3c85d" CreationDate="2011-11-04T19:26:16.490" UserDisplayName="mugetsu" Text="How can I test earbuds to determine their quality?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45010" PostHistoryTypeId="3" PostId="25550" RevisionGUID="1b05c8fe-4294-479d-b0d8-3cf6cbc3c85d" CreationDate="2011-11-04T19:26:16.490" UserDisplayName="mugetsu" Text="&lt;headphones&gt;&lt;performance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45011" PostHistoryTypeId="36" PostId="25552" RevisionGUID="85cee163-bc42-4aeb-9102-dbd5ed8a43e2" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/81/useful-reviews-or-best-ipad-remote-automation-controller-for-pro-tools" />
  <row Id="45012" PostHistoryTypeId="36" PostId="25553" RevisionGUID="f62579db-e598-4e1f-ab6a-a40c44ad5d9a" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/81/useful-reviews-or-best-ipad-remote-automation-controller-for-pro-tools/519#519" />
  <row Id="45013" PostHistoryTypeId="36" PostId="25554" RevisionGUID="96ccfc7f-1743-4c96-8e33-8957ca9bd47e" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/81/useful-reviews-or-best-ipad-remote-automation-controller-for-pro-tools/3505#3505" />
  <row Id="45014" PostHistoryTypeId="2" PostId="25553" RevisionGUID="6958faba-1729-4fa5-bfbc-8100cb366881" CreationDate="2011-01-05T15:11:24.967" UserDisplayName="Ian C." Text="**TouchOSC**&#xD;&#xA;&#xD;&#xA;[http://hexler.net/software/touchosc][1]&#xD;&#xA;&#xD;&#xA;Pros:&#xD;&#xA;&#xD;&#xA;   * Incredibly flexible. You can create your own custom interfaces and assign all kinds of control to the sliders, knobs and buttons&#xD;&#xA;   * Reasonably priced. Especially given there's an editor, the iPhone/iPad client, and then the receiver on the machine you're trying to control.&#xD;&#xA;   * Mature. It's being used and developed actively.&#xD;&#xA;   * A long list of supported apps you can control.&#xD;&#xA;&#xD;&#xA;Cons:&#xD;&#xA;&#xD;&#xA;   * The UIs you build are nice, but simple. They don't look like ProTools.&#xD;&#xA;   * It can be a little laggy at times.&#xD;&#xA;   * You have to to do some work to get it set up and running the way you like with your DAW and VSTs and what not.&#xD;&#xA;&#xD;&#xA;I'll admit, of the slew of control apps out there, this is the only one I've used. But that's because I really, really like it. Works well and once you get the hang of the UI it's very, very powerful. I ditched my wireless DAW controller once I got the hang of TouchOSC because it does remote start/stop/arm/pause/playback so much better than the dedicated hardware I had did, and it's more extensible.&#xD;&#xA;&#xD;&#xA;  [1]: http://hexler.net/software/touchosc" ContentLicense="CC BY-SA 2.5" />
  <row Id="45015" PostHistoryTypeId="2" PostId="25554" RevisionGUID="56323013-6ff4-48f6-8956-5116d0ca7a61" CreationDate="2012-03-08T22:38:57.097" UserId="9762" UserDisplayName="Yar" Text="**Disclaimer: I make this software myself.**&#xD;&#xA;&#xD;&#xA;I recommend [MIDI Designer][1]. It has many advantages over all the other offerings out there, but the best one is: **a free Lite version that really does EVERYTHING the Pro version does**. It's got two limits (no more than 12 controls and no &quot;colors&quot; for background pages), but aside from that it's the real thing, so you **can try before you buy.** I cannot imagine *not* giving users this choice.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?feature=player_embedded&amp;v=yVawXxGuwXU&#xD;&#xA;&#xD;&#xA;I made it for my own music making (I use Ableton Live, mostly) and for my band (we use hardware on some rigs, hardware and Reaper on others, and hardware and Cubase on others). This doesn't mean it's got to be good, but it means it's got to be performant.&#xD;&#xA;&#xD;&#xA;Also, the developer -- me -- is directly available, not just to answer questions, but also to respond to feedback about the app. 70% of the features I've added recently (about to show up when 1.03 drops) is directly culled from user feedback (and direct interaction with my user-testers).&#xD;&#xA;&#xD;&#xA;But again, try the Lite version for $0 and see what you think. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mididesigner.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="45016" PostHistoryTypeId="2" PostId="25552" RevisionGUID="b10f9cb4-f4ae-4056-a177-0a1fba797d64" CreationDate="2010-12-07T23:44:26.590" UserDisplayName="davetron5000" Text="The iPad seems to have quite a few remote automation controllers for DAWs, and it's hard to know which one is any good -- they are all fairly pricey (even by iPad app standards).&#xD;&#xA;&#xD;&#xA;Anyone have experience using these and/or a link to some honest reviews, since it's pretty hard to &quot;try before you buy&quot;?&#xD;&#xA;&#xD;&#xA;And example of an app I'm talking about it is [ProRemote](http://www.folabs.com/proremote.html)" ContentLicense="CC BY-SA 2.5" />
  <row Id="45017" PostHistoryTypeId="1" PostId="25552" RevisionGUID="b10f9cb4-f4ae-4056-a177-0a1fba797d64" CreationDate="2010-12-07T23:44:26.590" UserDisplayName="davetron5000" Text="Useful reviews or &quot;best&quot; iPad remote automation controller for Pro Tools?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45018" PostHistoryTypeId="3" PostId="25552" RevisionGUID="b10f9cb4-f4ae-4056-a177-0a1fba797d64" CreationDate="2010-12-07T23:44:26.590" UserDisplayName="davetron5000" Text="&lt;pro-tools&gt;&lt;automation&gt;&lt;ipad&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45019" PostHistoryTypeId="36" PostId="25555" RevisionGUID="1bfb4e44-7ead-4c39-8903-f3bf7a153219" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/853/mixing-acapella-and-instrumental-tracks-beginners-guide" />
  <row Id="45020" PostHistoryTypeId="36" PostId="25556" RevisionGUID="704de273-c5b4-4caa-8066-dab3b8ecba75" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/853/mixing-acapella-and-instrumental-tracks-beginners-guide/870#870" />
  <row Id="45021" PostHistoryTypeId="36" PostId="25557" RevisionGUID="0cc1e121-d18f-4c72-a576-929b2fe90009" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/853/mixing-acapella-and-instrumental-tracks-beginners-guide/909#909" />
  <row Id="45022" PostHistoryTypeId="36" PostId="25558" RevisionGUID="1a90c614-4def-4270-b4fc-5374c894a956" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/853/mixing-acapella-and-instrumental-tracks-beginners-guide/912#912" />
  <row Id="45023" PostHistoryTypeId="36" PostId="25559" RevisionGUID="e7116129-adcb-42c6-9a23-39e30684f3dd" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/853/mixing-acapella-and-instrumental-tracks-beginners-guide/919#919" />
  <row Id="45024" PostHistoryTypeId="2" PostId="25556" RevisionGUID="917e74d1-885d-4dc3-b897-eb8de123575c" CreationDate="2011-02-21T12:53:48.107" UserDisplayName="Eugene Bujak" Text="Try cockos reaper as your mixing software. Its' demo version is not limited in any way and if it's a one-time thing it should be most suitable for your needs.&#xD;&#xA;&#xD;&#xA;http://www.reaper.fm/" ContentLicense="CC BY-SA 2.5" />
  <row Id="45025" PostHistoryTypeId="2" PostId="25557" RevisionGUID="71b565bf-5089-4660-831d-8013122731bf" CreationDate="2011-02-25T08:54:38.623" UserDisplayName="Mikelangelo" Text="I would suggest ableton trial version, there you can try out the features and see if its fit for you. You dont need the ableton suite for matching songs together, there is a cheaper version for that. or if you buy some hardware you can get a small ableton version etc.&#xD;&#xA;&#xD;&#xA;Ableton is so easy to get started with and well executed when it comes to matching tempo of accapellas etc.&#xD;&#xA;&#xD;&#xA;Also ableton has a big community, you can easily find videos on youtube, vimeo etc about what you want to do.&#xD;&#xA;&#xD;&#xA;se [this][1] video for an example. just did a simple search :&quot;ableton accapella tutorial&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=-mkyvAxhhbg" ContentLicense="CC BY-SA 2.5" />
  <row Id="45026" PostHistoryTypeId="2" PostId="25559" RevisionGUID="c5fd281b-7819-4daf-acd4-994c70617344" CreationDate="2011-02-25T22:46:55.203" UserDisplayName="Pedro Sobota" Text="For easy samples, I recommend [freesound search][1]. Try searching for things like 'acoustic guitar' or 'beat'.&#xD;&#xA;&#xD;&#xA;For software, Reaper, cheap and good, and with a free tryout version.&#xD;&#xA;&#xD;&#xA;Since you are just starting out, you could have fun mixing ambient sounds and spoken words, for example, which would have you not need to sync BPM right off the bat -- these samples can be found on freesound. This way you can train your technique and experiment easily. BPM syncing is a bit more advanced, and for that [Ableton Live Intro][2] ($99) is probably a better choice, does the job well.&#xD;&#xA;&#xD;&#xA;In the start, seek pure fun -- swap samples and post your creations on [Soundcloud][3], show your friends.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org/searchText.php &quot;freesounds&quot;&#xD;&#xA;  [2]: http://www.ableton.com/live-intro &quot;Ableton Live Intro&quot;&#xD;&#xA;  [3]: http://www.soundcloud.com &quot;Soundcloud&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45027" PostHistoryTypeId="2" PostId="25558" RevisionGUID="ac187ac1-aab6-427a-9511-d6c7edbc0630" CreationDate="2011-02-25T15:57:00.717" UserId="7294" UserDisplayName="Warrior Bob" Text="The very first thing you'll need will be some tracks to mix together.  If you're just doing this for your own fun (and not to distribute, or anything where you'll get into legal entanglements) you can get tracks from anything you can find: movies, recordings, making your own, Googling for your favorite styles, whatever.&#xD;&#xA;&#xD;&#xA;Once you have some source material, you'll need a tool suited to what you want to do.  Start by picking one that sounds interesting and trying it out.  If it costs money, try the trial; you probably won't be able to save your work but you can probably tell pretty quickly whether it makes sense to you and then decide if it's worth the cost.  It sounds like you're already interested in Ableton Live, so try that one first.  I personally like it a lot but it's not everyone's cup of tea.&#xD;&#xA;&#xD;&#xA;Any serious audio workstation software ought to be enough for putting tracks against each other.  You don't need to try all of them, just find one that you like!&#xD;&#xA;&#xD;&#xA;Once you have some basic tools, learn about what goes into mixing a track - things like equalization and effects.   See if your tool can handle the ones you want, or if it can integrate something that can.  Lots of software can host &quot;plug-ins&quot; which act as virtual effects or instruments.  &#xD;&#xA;&#xD;&#xA;Finally, and I can't emphasize this enough, do it lots!  Software is cool in that you can experiment pretty much as far as you want to.  You can always just copy your files if you don't want to lose anything when trying something new." ContentLicense="CC BY-SA 2.5" />
  <row Id="45028" PostHistoryTypeId="2" PostId="25555" RevisionGUID="77650cb6-3e90-4dc4-87cc-dbd8bc825c35" CreationDate="2011-02-19T02:35:43.723" UserDisplayName="Blankasaurus" Text="I'd like to start mixing Acapella and Instrumental Tracks together.  I want something more than just bpm modification though.  Id like to be able to make breaks and possibly sample some stuff out.&#xD;&#xA;&#xD;&#xA;**I don't care about doing anything live**, I just want to mix the tracks and output a file.&#xD;&#xA;&#xD;&#xA;Where should I start?  I feel like what I need is Ableton Live or something, but I imagine there might be some free or cheaper software that meets my needs without costing so much or being so bloated with features. (I dont mind having a lot of features, I just dont want to drop 500 bucks on one of my tiny hobbies.)&#xD;&#xA;&#xD;&#xA;Suggestions on where to start, what to get, pros and cons, where to get instrumentals and acapellas etc?&#xD;&#xA;&#xD;&#xA;I'll keep a list of suggestion here for future beginners like myself..." ContentLicense="CC BY-SA 2.5" />
  <row Id="45029" PostHistoryTypeId="1" PostId="25555" RevisionGUID="77650cb6-3e90-4dc4-87cc-dbd8bc825c35" CreationDate="2011-02-19T02:35:43.723" UserDisplayName="Blankasaurus" Text="Mixing Acapella and Instrumental Tracks - Beginners Guide" ContentLicense="CC BY-SA 2.5" />
  <row Id="45030" PostHistoryTypeId="3" PostId="25555" RevisionGUID="77650cb6-3e90-4dc4-87cc-dbd8bc825c35" CreationDate="2011-02-19T02:35:43.723" UserDisplayName="Blankasaurus" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45031" PostHistoryTypeId="36" PostId="25560" RevisionGUID="d8460c9e-af7e-4691-8559-1c4c72d3087e" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4551/general-advice-about-sound-spatialization" />
  <row Id="45032" PostHistoryTypeId="36" PostId="25561" RevisionGUID="821d054d-27e5-4cf3-887f-87a8df5cf161" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4551/general-advice-about-sound-spatialization/4554#4554" />
  <row Id="45033" PostHistoryTypeId="2" PostId="25561" RevisionGUID="e823a3f1-2e8f-4a0c-96a3-58c47f9b875a" CreationDate="2012-08-10T17:15:14.970" UserId="7294" UserDisplayName="Warrior Bob" Text="The process you're describing is broadly known as **mixing**, and there are a few basic parts to it:&#xD;&#xA;&#xD;&#xA; - Setting volume levels appropriately using track levels and equalizers&#xD;&#xA; - Moving the sounds left and right in the stereo field (known as **panning**)&#xD;&#xA; - Moving the sounds &quot;forward&quot; and &quot;backward&quot; in the mix, generally done using a reverberation effect&#xD;&#xA;&#xD;&#xA;Getting a good blend of sounds involves finding an appropriate balance using all of these tools. The &quot;best&quot; way is frequently dependent on the style you're writing - classical or orchestral pieces often have sounds placed left/right and forward/back based on how they would be heard by an audience member. Popular music usually has bass, snare, and vocals dead center, and all other sounds panned to one side or another, although sometimes the drums are moved around to mimic their position on a drumset. These are broad generalizations though, and many engineers will do things differently based on the particular recording or their personal preferences.&#xD;&#xA;&#xD;&#xA;The book that helped me the most in learning to do this was [The Mixing Engineer's Handbook][1] by Bobby Owsinski. It is an excellent overview of the process and should give you plenty to work with as you grow and refine your skill. &#xD;&#xA;&#xD;&#xA;Don't expect to get an amazing mix immediately after reading it, though. Mixing is more about technique than knowledge, so put in the hours practicing and trying things and asking questions that come up on sites like this one.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bobbyowsinski.com/The_Mixing_Engineers_Handbook.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="45034" PostHistoryTypeId="2" PostId="25560" RevisionGUID="97d592f4-3a93-43fc-b408-b5c1b4166401" CreationDate="2012-08-10T12:59:00.937" UserDisplayName="Skippy Fastol" Text="I am composing music by layering various instruments of different types. Percussions, strings, lead, etc...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Is there a generally-agreed &quot;best&quot; way of putting those instruments in the auditive space? (e.g. the snare could come from the left side, the strings from the center with a reverb)&#xD;&#xA;&#xD;&#xA;There are too many ways of organizing the various instruments in the auditive space for me to try them all...&#xD;&#xA;&#xD;&#xA;I'd be particularly interested in references such as books." ContentLicense="CC BY-SA 3.0" />
  <row Id="45035" PostHistoryTypeId="1" PostId="25560" RevisionGUID="97d592f4-3a93-43fc-b408-b5c1b4166401" CreationDate="2012-08-10T12:59:00.937" UserDisplayName="Skippy Fastol" Text="General advice about sound spatialization" ContentLicense="CC BY-SA 3.0" />
  <row Id="45036" PostHistoryTypeId="3" PostId="25560" RevisionGUID="97d592f4-3a93-43fc-b408-b5c1b4166401" CreationDate="2012-08-10T12:59:00.937" UserDisplayName="Skippy Fastol" Text="&lt;mixing&gt;&lt;mastering&gt;&lt;panning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45037" PostHistoryTypeId="36" PostId="25562" RevisionGUID="ce0f2457-7106-4aeb-9ea3-38a4f3f48148" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5799/how-can-i-embed-instruments-into-propellerhead-reason-4" />
  <row Id="45038" PostHistoryTypeId="36" PostId="25563" RevisionGUID="0765c2aa-bec3-43ed-9dc4-547cd6b98fec" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5799/how-can-i-embed-instruments-into-propellerhead-reason-4/7711#7711" />
  <row Id="45039" PostHistoryTypeId="2" PostId="25563" RevisionGUID="0a733b15-9c76-480b-a071-96e1a10f1445" CreationDate="2013-04-21T12:53:48.350" UserDisplayName="Chipsgoumerde" Text="The only solution is Self-Contain song settings. However, it doesn't work with refills, it cannot be included into songs. So you would have to make a habit of saving your refills with your songs. . You can also watch this video:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=FDXDdus4kjM" ContentLicense="CC BY-SA 3.0" />
  <row Id="45040" PostHistoryTypeId="2" PostId="25562" RevisionGUID="18db6bde-23d6-4f47-8eba-7d3e2d3e47b2" CreationDate="2013-01-10T14:41:52.473" UserDisplayName="Housni" Text="I use a lot of external Refills for production. They're usually stored in external drives and I sometimes forget which drive it's stored in.&#xD;&#xA;&#xD;&#xA;I was wondering if there's a way I can &quot;embed&quot; a refill into an .rsn file so that I don't have to plug in my external drive that has the refill in order to be able to work with a file.&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="45041" PostHistoryTypeId="1" PostId="25562" RevisionGUID="18db6bde-23d6-4f47-8eba-7d3e2d3e47b2" CreationDate="2013-01-10T14:41:52.473" UserDisplayName="Housni" Text="How can I embed instruments into Propellerhead Reason 4?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45042" PostHistoryTypeId="3" PostId="25562" RevisionGUID="18db6bde-23d6-4f47-8eba-7d3e2d3e47b2" CreationDate="2013-01-10T14:41:52.473" UserDisplayName="Housni" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45043" PostHistoryTypeId="36" PostId="25564" RevisionGUID="81501683-e2e5-4bc7-a43c-5f6e87a78a74" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/515/vuvuzela-silencing-techniques" />
  <row Id="45044" PostHistoryTypeId="36" PostId="25565" RevisionGUID="6e694702-6014-48be-b524-497545f3d154" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/515/vuvuzela-silencing-techniques/516#516" />
  <row Id="45045" PostHistoryTypeId="2" PostId="25565" RevisionGUID="d4a975c9-d835-403f-bbd3-ae9305f07c39" CreationDate="2011-01-04T21:40:34.110" UserId="7398" UserDisplayName="BenV" Text="The characteristic that allows the vuvuzela to be isolated in removed is the fact that the sound is constant pitch.  So removing it is a fairly simple exercise in EQ:  &#xD;&#xA;1. Identify the base frequency (around 235 Hz) and harmonics (the strongest is the first harmonic around 470 Hz).  &#xD;&#xA;2. Add an EQ filter at each of the frequencies of step one with a narrow Q (to minimize impact to sound other than the vuvuzela) and turn the gain way down." ContentLicense="CC BY-SA 2.5" />
  <row Id="45046" PostHistoryTypeId="2" PostId="25566" RevisionGUID="be168a03-f5c8-4f2b-85ed-f12040dfef09" CreationDate="2011-01-05T19:43:29.443" UserId="7592" UserDisplayName="Pelle ten Cate" Text="It is not likely that you are going to be able to work around this using EQs, while leaving the rest of the sound intact / not weird sounding. The vuvuzela sound is quite broadband, as far as I know. (Never measured it though.)&#xD;&#xA;&#xD;&#xA;It is neither likely that many facts are known about the characteristics of the vuvuzela. That means, probably the best way to get around with it, is: get your hands on a few of these annoying things, sample them, do some frequency analysis and see what their characteristics are. &#xD;&#xA;&#xD;&#xA;Since the hum is the result of 1000s of vuvuzelas, you might well end up trying to work around it with a noise reduction plugin that can sample noise. I can recommend iZotope RX Denoiser for this purpose, although I don't know in advance what the results are going to be like. I would play around with it for some time though." ContentLicense="CC BY-SA 2.5" />
  <row Id="45047" PostHistoryTypeId="2" PostId="25564" RevisionGUID="342f5cc1-3b99-41c6-b098-b9b8554a54e5" CreationDate="2011-01-04T21:09:25.573" UserDisplayName="Jaime Soto" Text="Last year's soccer World Cup in South Africa brought about many [vuvuzela](http://en.wikipedia.org/wiki/Vuvuzela) silencing tools. What are the characteristics of vuvuzela noise that allow it to be silenced? What are some of the common techniques used for silencing vuvuzelas?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45048" PostHistoryTypeId="1" PostId="25564" RevisionGUID="342f5cc1-3b99-41c6-b098-b9b8554a54e5" CreationDate="2011-01-04T21:09:25.573" UserDisplayName="Jaime Soto" Text="Vuvuzela silencing techniques" ContentLicense="CC BY-SA 2.5" />
  <row Id="45049" PostHistoryTypeId="3" PostId="25564" RevisionGUID="342f5cc1-3b99-41c6-b098-b9b8554a54e5" CreationDate="2011-01-04T21:09:25.573" UserDisplayName="Jaime Soto" Text="&lt;noise&gt;&lt;filter&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45050" PostHistoryTypeId="36" PostId="25566" RevisionGUID="7df37a70-bf04-4f59-82e8-62e33c3cd89b" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/515/vuvuzela-silencing-techniques/524#524" />
  <row Id="45051" PostHistoryTypeId="36" PostId="25567" RevisionGUID="08e072c4-b648-4a3b-a8dc-34e987492b85" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/515/vuvuzela-silencing-techniques/686#686" />
  <row Id="45052" PostHistoryTypeId="36" PostId="25568" RevisionGUID="c9253958-c6aa-472e-8eaf-95bba5b98c08" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/515/vuvuzela-silencing-techniques/2315#2315" />
  <row Id="45053" PostHistoryTypeId="2" PostId="25567" RevisionGUID="e43b232d-79c6-4471-9de9-8e2782be466b" CreationDate="2011-01-26T06:22:36.167" UserDisplayName="jlebre" Text="Not wanting to be funny, but WAVES released a preset pack for a processing chain to get rid of vuvuzela for post when the world cup came out. A friend of mine was doing extensive editing on footage for some tv stations and he said it actually works. Might be worth to give it a shot? if you have an iLok you can even get a 15day trial!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45054" PostHistoryTypeId="2" PostId="25568" RevisionGUID="70e036ed-9425-4d2c-ac39-6ce37d006b22" CreationDate="2011-09-13T20:23:35.733" UserId="2506" Text="Vuvuzelas share the following common denominators:&#xD;&#xA;&#xD;&#xA; 1. same length&#xD;&#xA; 2. mostly plastic (at least at the World Cup)&#xD;&#xA; 3. same foul tonality&#xD;&#xA; 4. fundamental pitch is prominent, with a fairly simple series of harmonics&#xD;&#xA;&#xD;&#xA;All of this means some effective DSP can extract and banish the Vuvuzela's characteristic elephant-fart sound given a decent spectral fingerprint.&#xD;&#xA;&#xD;&#xA;I was quite impressed by Audionamix (the French workers of acoustic magic) who came up with probably the most impressive operational system -- in 48 hours, apparently -- for minusing the Vuvuzela drone from broadcast audio;  they demonstrated it in operation with some sample audio from German TV and later Canal+ (in France) implemented it into their signal chain for live broadcast. Unlike simple multiband compression and EQ, they repurposed their existing instrument extraction techniques (already available for those looking to upmix 2.0 masters to surround) and customised it just for Vuvuzela extraction.&#xD;&#xA;&#xD;&#xA;They still have their minisite online at http://audionamix.com/Vuvuzela/; [the statistics][1] make for some interesting reading. Their demonstration video's also [available on YouTube][2] if you've not already seen it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audionamix.com/Vuvuzela/statistics_uk.html&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=YTIQO7EuuT0&amp;feature=player_embedded" ContentLicense="CC BY-SA 3.0" />
  <row Id="45055" PostHistoryTypeId="36" PostId="25569" RevisionGUID="900141ce-b0ce-47ff-889d-86f3f82db6a0" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5134/adding-and-synchronising-audio-file-to-a-movie" />
  <row Id="45056" PostHistoryTypeId="36" PostId="25570" RevisionGUID="3f090a00-ecb5-44f7-8171-02fe2d75a4a1" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5134/adding-and-synchronising-audio-file-to-a-movie/5144#5144" />
  <row Id="45057" PostHistoryTypeId="36" PostId="25571" RevisionGUID="77bdf0fd-0b18-4d34-8ca4-0caed5626cfb" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5134/adding-and-synchronising-audio-file-to-a-movie/5146#5146" />
  <row Id="45058" PostHistoryTypeId="2" PostId="25570" RevisionGUID="0ae4470b-1ba4-4c31-9134-1aa7dae18a9a" CreationDate="2012-10-22T23:44:19.860" UserId="7188" Text="Most pro video editors will let you strip the audio track off once you put the entire movie in the timeline. Once you have removed the original audio track you can add your French version. The first issue will be, how do you know where your new track and movie line up? Do both have sync marks? Are you absolutely certain that both the video and new audio tracks have perfect interval timing? If they don't, what might appear as in sync in the beginning will quickly become totally out of sync in the end.&#xD;&#xA;&#xD;&#xA;You can download a trail version of Sony Vegas Pro and use it free for 30 days:&#xD;&#xA;&#xD;&#xA;http://www.sonycreativesoftware.com/download/trials/vegaspro&#xD;&#xA;&#xD;&#xA;UPDATE:&#xD;&#xA;If you choose Vegas Pro: Put your original movie on the timeline, right click the audio track, in the menu choose &quot;Group&quot; and next to that choose &quot;remove from&quot; then click the audio by itself, then right click and &quot;Delete&quot;. This 'group remove from' action allows you to remove the association the video and audio have and thereby allow you to remove the audio.&#xD;&#xA;&#xD;&#xA;The next issue will be, did you mean only the voice part? Were you expecting to just substitute the dialogue and keep the music and Foley from the original track? I won't even venture an answer on that part, sounds very tedious and expensive.&#xD;&#xA;&#xD;&#xA;As far as the legality. As long as this is for your own viewing, I don't think you will need to worry about the legal part. However, should you show lots of people, or worse publish this on Youtube or something, then yes you can expect that the long arm of the law will reach out and quash it.&#xD;&#xA;&#xD;&#xA;Quite honestly, I would just simply hire a very attractive translator and enjoy the movie with her." ContentLicense="CC BY-SA 3.0" />
  <row Id="45059" PostHistoryTypeId="2" PostId="25571" RevisionGUID="8bfd2d57-f5ff-48fc-b013-cc5e5f903ace" CreationDate="2012-10-23T03:52:13.510" UserDisplayName="Andrew James" Text="Get Adobe Premier Pro. Grab the original video with the one language you have to the editing box. Right-click the video and click UNLINK. Now your video and your audio is already unlinked from each other. Click the Audio Box where the Original Audio was and delete it. Now Grab the French movie to another Box of the timeline. Right Click the French Version and click  UNLINK. Now that the french version is already unlinked, its time to click the video of the french version and delete it leaving you with the Video of the original version and the Audio of the french version. Then synch it based on your skills. If you need to get some audio or video from the original or the french, it is always there for you to grab and adjust just by cutting it using the blade sign located at the upper left side of the editor.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45060" PostHistoryTypeId="2" PostId="25569" RevisionGUID="ab1b48c9-8d49-4a31-b1d5-3e424d0c7df0" CreationDate="2012-10-21T08:19:40.827" UserDisplayName="dole doug" Text="Let’s consider the following working scenario: I have some movies with audio in one language, and I have some audio recordings of the same films, but in French. I want to replace the original audio track with this alternative soundtrack. &#xD;&#xA;&#xD;&#xA;Can you tell me how can I do that? Do you know any free software which can help me? I assume that it is a lot of work with fitting and synchronizing.&#xD;&#xA;&#xD;&#xA;I wish to learn French language, and I was thinking it might be a good idea to watch the movies with French dialogues.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45061" PostHistoryTypeId="1" PostId="25569" RevisionGUID="ab1b48c9-8d49-4a31-b1d5-3e424d0c7df0" CreationDate="2012-10-21T08:19:40.827" UserDisplayName="dole doug" Text="Adding and synchronising audio file to a movie" ContentLicense="CC BY-SA 3.0" />
  <row Id="45062" PostHistoryTypeId="3" PostId="25569" RevisionGUID="ab1b48c9-8d49-4a31-b1d5-3e424d0c7df0" CreationDate="2012-10-21T08:19:40.827" UserDisplayName="dole doug" Text="&lt;replacement-parts&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45063" PostHistoryTypeId="36" PostId="25572" RevisionGUID="68605c37-3763-4c3e-a03a-dff3741d2de9" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8169/i-need-to-record-a-control-track-timecode-noise-as-a-wav-file-can-this-be-don" />
  <row Id="45064" PostHistoryTypeId="2" PostId="25573" RevisionGUID="8bd47256-fa80-4199-8d44-1d30389da16f" CreationDate="2013-06-20T18:27:12.173" UserId="7213" Text="I don't think either FCP or PT can generate LTC in software. Higher-end systems (like smoke) can.&#xD;&#xA;&#xD;&#xA;The usual trick is to digitize the LTC track from a beta deck or similar, and add that as an audio track in your project. &#xD;&#xA;&#xD;&#xA;If this is a continuing requirement, a sync-locked hardware TC gen isn't very expensive. Horita has one for under $300. http://www.horita.com/&#xD;&#xA;&#xD;&#xA;I've written s/w to do this, but I've never commercialized it -- at least since the Apple II version (-:" ContentLicense="CC BY-SA 3.0" />
  <row Id="45065" PostHistoryTypeId="2" PostId="25572" RevisionGUID="6cfefb16-b981-46f5-a9d2-854e29ac0a33" CreationDate="2013-06-20T16:41:48.637" UserDisplayName="Laura" Text="To sync up the Audio Description track, the client requires a separate Control Track, which I gather is an output of timecode that matches the audio sync.  Anyone familiar with this notion, and how would I do this through software?  I am using Pro Tools 10 and Final Cut Pro 7.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45066" PostHistoryTypeId="1" PostId="25572" RevisionGUID="6cfefb16-b981-46f5-a9d2-854e29ac0a33" CreationDate="2013-06-20T16:41:48.637" UserDisplayName="Laura" Text="I need to record a control track (timecode noise) as a WAV file. Can this be done through software only?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45067" PostHistoryTypeId="3" PostId="25572" RevisionGUID="6cfefb16-b981-46f5-a9d2-854e29ac0a33" CreationDate="2013-06-20T16:41:48.637" UserDisplayName="Laura" Text="&lt;final-cut-pro&gt;&lt;pro-tools&gt;&lt;sync&gt;&lt;timecode&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45068" PostHistoryTypeId="36" PostId="25573" RevisionGUID="6a98eb6a-6af6-4f54-844b-a39409b71fa4" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8169/i-need-to-record-a-control-track-timecode-noise-as-a-wav-file-can-this-be-don/8171#8171" />
  <row Id="45069" PostHistoryTypeId="36" PostId="25574" RevisionGUID="64ef5176-d3fa-4bb2-ab59-34f2b3b7788c" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8169/i-need-to-record-a-control-track-timecode-noise-as-a-wav-file-can-this-be-don/8173#8173" />
  <row Id="45070" PostHistoryTypeId="2" PostId="25574" RevisionGUID="11bcaf33-8cf3-452c-84bc-88d37573258f" CreationDate="2013-06-20T19:16:38.693" UserId="7174" Text="From what I can gather, it looks like a pretty specialized form of encoding that would need software or hardware designed specifically for writing and encoding the Audio Description information.  I don't think such features are built in to Pro Tools or Final Cut.  In fact, I could find very little information about any vendors with a solution for this.  It seems exceptionally limited.  I was unable to find anything in the way of plugins for using the mono-track with control track approach that the BBC uses." ContentLicense="CC BY-SA 3.0" />
  <row Id="45071" PostHistoryTypeId="36" PostId="25575" RevisionGUID="43492106-ed91-4357-aebf-ae72acdc3e6b" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1263/ableton-live-viewing-editing-cc-sostenuto-data" />
  <row Id="45072" PostHistoryTypeId="2" PostId="25576" RevisionGUID="c9a9f6bf-a735-408a-bc29-652d06e09992" CreationDate="2011-04-24T03:13:44.467" UserId="7093" Text="From the Ableton Live 7 User manual section 18.4:&#xD;&#xA;&#xD;&#xA;&gt; Choose &quot;MIDI Ctrl&quot; from a MIDI clip's&#xD;&#xA;&gt; Device chooser and use the Control&#xD;&#xA;&gt; chooser below it to select a specific&#xD;&#xA;&gt; MIDI controller. &#xD;&#xA;&#xD;&#xA;You can then select MIDI Ctrl | 64 - Hold Pedal or Show all Modulations and the sustain pedal data will show in the view." ContentLicense="CC BY-SA 3.0" />
  <row Id="45073" PostHistoryTypeId="2" PostId="25575" RevisionGUID="dd9d0aeb-82e0-49d7-83bb-0c23a302508b" CreationDate="2011-04-23T22:24:06.083" UserId="7281" UserDisplayName="Tom Auger" Text="Hey guys, hope someone knows the answer here. Unable to locate anything in the docs about it. If I record a piano track complete with sustain pedal, and the. Later in the MIDI editor I move the notes data, the pedal CC doesn't come along. Same is true for quantizing. How can I, first of all, view the pedal CC data (there's no automation track created for it)?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="45074" PostHistoryTypeId="1" PostId="25575" RevisionGUID="dd9d0aeb-82e0-49d7-83bb-0c23a302508b" CreationDate="2011-04-23T22:24:06.083" UserId="7281" UserDisplayName="Tom Auger" Text="Ableton Live - viewing / editing CC sostenuto data" ContentLicense="CC BY-SA 3.0" />
  <row Id="45075" PostHistoryTypeId="3" PostId="25575" RevisionGUID="dd9d0aeb-82e0-49d7-83bb-0c23a302508b" CreationDate="2011-04-23T22:24:06.083" UserId="7281" UserDisplayName="Tom Auger" Text="&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45076" PostHistoryTypeId="36" PostId="25576" RevisionGUID="cbbcc3dc-9f39-4750-abcc-40461055ae99" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1263/ableton-live-viewing-editing-cc-sostenuto-data/1264#1264" />
  <row Id="45077" PostHistoryTypeId="36" PostId="25577" RevisionGUID="689ff97c-a2f1-4379-9658-1443c8bca5fc" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5156/stereo-and-mono-cables-and-jacks-what-happens-when-you-cross-them" />
  <row Id="45078" PostHistoryTypeId="36" PostId="25578" RevisionGUID="37792793-e98b-4a7c-b540-abbbdd6c506a" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5156/stereo-and-mono-cables-and-jacks-what-happens-when-you-cross-them/5158#5158" />
  <row Id="45079" PostHistoryTypeId="36" PostId="25579" RevisionGUID="3e535fe4-739f-42b7-8354-b0096b1195a7" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5156/stereo-and-mono-cables-and-jacks-what-happens-when-you-cross-them/5159#5159" />
  <row Id="45080" PostHistoryTypeId="2" PostId="25578" RevisionGUID="3fe7b2ea-8959-4ad2-b7ad-31667c49c63f" CreationDate="2012-10-25T09:53:33.383" UserId="7016" Text="The simplest way to see these for yourself is to look at the metal connections on your jacks. You'll find a stereo one has one more metal ring than a mono one.&#xD;&#xA;&#xD;&#xA;The mono jack has a tip and a ring, and where that ring is overlaps two of the stereo jack's rings, so plugging a stereo jack into a mono plug effectively shorts your right channel to ground at the source, giving you a left channel only. Similarly plugging a mono jack into a stereo socket will allow you to hear your left channel only as your right channel in the amp will be grounded.&#xD;&#xA;&#xD;&#xA;Either of these combinations **probably won't** cause problems if your circuitry isn't designed to cope with that shorting, but it could, especially with old electronics, or badly designed circuits.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;The best plan is to use an adapter - a stereo socket to two mono plugs avoids you shorting right channel to ground.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/zluWE.gif&#xD;&#xA;  [2]: http://i.stack.imgur.com/MG28e.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="45081" PostHistoryTypeId="2" PostId="25579" RevisionGUID="0c502398-0527-4124-b4b7-1f2d2bd43779" CreationDate="2012-10-25T09:57:38.407" UserId="7200" Text="You can without any concerns plug a **stereo cable** into an **unbalanced mono jack**; as long as you only send mono signals (i.e. L and R channels equal) it will work just fine, except for the usually -3 dB pan law and possible short-cicuiting of the ring connector; the latter is however unlikely and not harmful for line connections. (It can be harmful for e.g. headphones connections, which you shouldn't be using.)&#xD;&#xA;&#xD;&#xA;You can also plug a **stereo cable** into a **_balanced_ mono jack**, but there's a caveat here: if you send mono signals, the L and R channels will exactly be cancelled by the common mode rejection, so you should pan anything you send hard-left. (If that's not a problem, you should also pan hard-left for `stereo-&gt;unbal.mono`, that also solves the two small problems I mentioned there).&#xD;&#xA;&#xD;&#xA;Both **balanced** to **unbalanced mono** vice versa usually works without problems, except obviously you won't get noise surpression in either case.&#xD;&#xA;&#xD;&#xA;Plugging a **mono cable** into a **stereo jack** will not work well. If it's unbalanced mono, the result will come out only on the left channel; if it's balanced it will come out L/R in _opposite phase_. Neither is usually acceptable, that's a major reason why hardly any professional device has stereo inputs." ContentLicense="CC BY-SA 3.0" />
  <row Id="45082" PostHistoryTypeId="2" PostId="25577" RevisionGUID="423e4e28-4099-4c08-9ffe-aa6c8f64d292" CreationDate="2012-10-25T02:06:02.327" UserId="7239" Text="I'm trying to get an understand of the effects of stereo and mono cables and jacks. This is complex because my mixer has both only mono jacks, and my devices -- most of them -- only have stereo outputs. Further, my microphone in on my computer is a mono and all of stereo-outs our balanced mono.&#xD;&#xA;&#xD;&#xA;Which one of these do I need an adapter for? Can I plug a stereo cable into a mono jack? Obviously -- it doesn't make sense to plug a mono cable into a stereo jack, but what happens if I do?&#xD;&#xA;&#xD;&#xA;S = Stereo; M = Mono;&#xD;&#xA;&#xD;&#xA;Could someone file in the ?&#xD;&#xA;&#xD;&#xA;      CABLES:       M  | S&#xD;&#xA;    J               &#xD;&#xA;    A           S|  ?  | X&#xD;&#xA;    C            ----------&#xD;&#xA;    K           M|  X  | ?&#xD;&#xA;    S" ContentLicense="CC BY-SA 3.0" />
  <row Id="45083" PostHistoryTypeId="1" PostId="25577" RevisionGUID="423e4e28-4099-4c08-9ffe-aa6c8f64d292" CreationDate="2012-10-25T02:06:02.327" UserId="7239" Text="Stereo and mono cables and jacks? What happens when you cross them?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45084" PostHistoryTypeId="3" PostId="25577" RevisionGUID="423e4e28-4099-4c08-9ffe-aa6c8f64d292" CreationDate="2012-10-25T02:06:02.327" UserId="7239" Text="&lt;stereo&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45085" PostHistoryTypeId="36" PostId="25580" RevisionGUID="e44b5aa4-7581-47cf-a490-fa33ac0f247b" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9695/how-to-check-how-matched-my-singing-is-to-others-in-audacity" />
  <row Id="45086" PostHistoryTypeId="36" PostId="25581" RevisionGUID="b9b1cb6c-36f1-413f-b9ca-62e306deb864" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9695/how-to-check-how-matched-my-singing-is-to-others-in-audacity/9714#9714" />
  <row Id="45087" PostHistoryTypeId="36" PostId="25582" RevisionGUID="9553baa4-3b35-47c5-962f-46c6ff05a353" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9695/how-to-check-how-matched-my-singing-is-to-others-in-audacity/9731#9731" />
  <row Id="45088" PostHistoryTypeId="2" PostId="25581" RevisionGUID="9c33ab2a-4fd4-4857-aee4-35dcae394004" CreationDate="2013-12-20T20:45:50.367" UserId="7405" UserDisplayName="Andy aka" Text="No it isn't; neither is it possible in wavelab or any other piece of software I've come across. Maybe someone out there knows differently?&#xD;&#xA;&#xD;&#xA;What you are asking about is the ability of software to detect (sometimes) very subtle changes in pitch. Vocal pitch changes are not uncommon even for the most perfect of singer and it is the human brain that ultimately makes the choice of singer A over singer B and despite all the pitch nuances that may be present (which again I'll state that are really quite impossible for software to rationalize), usually people prefer the voice that sounds nicest or more appropriate.&#xD;&#xA;&#xD;&#xA;Audacity, like wavelab (I believe) can tell you the average pitch of a note that is sung but it hasn't got the ability to be a judge.&#xD;&#xA;&#xD;&#xA;It's the same story with timing and rhythm." ContentLicense="CC BY-SA 3.0" />
  <row Id="45089" PostHistoryTypeId="2" PostId="25582" RevisionGUID="669371e7-457e-4b4b-809a-891d35a6d0e4" CreationDate="2013-12-23T15:24:58.463" UserId="7174" Text="While not related to Audacity, AutoTune can tell if you are slightly out of tune and even correct for being slightly out of tune, however that is the limit of what I know of for correction.  It wouldn't be able to match to a sample if the sample wasn't in tune though I don't think.&#xD;&#xA;&#xD;&#xA;Being off rhythm should be pretty obvious without a plugin as one sound would stop before the other if played together." ContentLicense="CC BY-SA 3.0" />
  <row Id="45090" PostHistoryTypeId="2" PostId="25580" RevisionGUID="6e31a0c4-c22e-49fe-91e3-49e968da74ad" CreationDate="2013-12-17T23:16:22.230" UserId="11171" UserDisplayName="Tim" Text="In Audacity, is it possible to check how matched my singing is to other's or just melody, such as out of tune, out of rhythm? The other's singing or melody can be a video on youtube. Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="45091" PostHistoryTypeId="1" PostId="25580" RevisionGUID="6e31a0c4-c22e-49fe-91e3-49e968da74ad" CreationDate="2013-12-17T23:16:22.230" UserId="11171" UserDisplayName="Tim" Text="How to check how matched my singing is to other's in Audacity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45092" PostHistoryTypeId="3" PostId="25580" RevisionGUID="6e31a0c4-c22e-49fe-91e3-49e968da74ad" CreationDate="2013-12-17T23:16:22.230" UserId="11171" UserDisplayName="Tim" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45093" PostHistoryTypeId="36" PostId="25583" RevisionGUID="ad02308c-d1e6-4bf0-a0de-25b48073b777" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2528/how-to-create-music-throughly-inside-computer-without-using-live-instrument-sou" />
  <row Id="45094" PostHistoryTypeId="36" PostId="25584" RevisionGUID="f99aa5c7-81b9-4c9f-b953-c2a1762b6959" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2528/how-to-create-music-throughly-inside-computer-without-using-live-instrument-sou/2532#2532" />
  <row Id="45095" PostHistoryTypeId="36" PostId="25585" RevisionGUID="8c333bc5-2f95-45c9-83f9-68dc6219d01b" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2528/how-to-create-music-throughly-inside-computer-without-using-live-instrument-sou/2546#2546" />
  <row Id="45096" PostHistoryTypeId="36" PostId="25586" RevisionGUID="2bed11ec-73bd-47f7-b04e-8895b2c10892" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2528/how-to-create-music-throughly-inside-computer-without-using-live-instrument-sou/8763#8763" />
  <row Id="45097" PostHistoryTypeId="2" PostId="25584" RevisionGUID="3a686f05-9a1b-42d2-a3cc-56d81543cda7" CreationDate="2011-10-22T22:18:27.863" UserId="7016" Text="So you'll need samples or midi instruments, and a package to stitch these together.&#xD;&#xA;&#xD;&#xA;I use Cubase or Sonar, but there are a range of free midi sequencers, synths and samplers you could use.&#xD;&#xA;&#xD;&#xA;Get yourself a decent soundcard, and if you want good quality output, get one with external hardware (I would recommend something like the M-Audio range as being cheap but good quality)&#xD;&#xA;&#xD;&#xA;An up to date CPU and at least 8 Gb of RAM will help immensely as well, and if you are storing large quantities of music, a large hard disk is essential." ContentLicense="CC BY-SA 3.0" />
  <row Id="45098" PostHistoryTypeId="2" PostId="25585" RevisionGUID="1872030c-c1b2-41e5-b5fe-85c2195b4846" CreationDate="2011-10-26T12:13:42.697" UserId="7539" UserDisplayName="slim" Text="This is a broad question, and there's no one right answer. Different people have different preferences, and the various software packages available try to differentiate themselves by working in different ways.&#xD;&#xA;&#xD;&#xA;If you have a Mac, GarageBand probably came with it. For many people it's good enough, and it's a solid introduction to the style of working used in Apple's more advanced Logic Pro.&#xD;&#xA;&#xD;&#xA;There is much argument about what the PC equivalent of GarageBand is, Reaper being one candidate.&#xD;&#xA;&#xD;&#xA;Cubase is the most famous of the traditional &quot;piano roll&quot; music production packages.&#xD;&#xA;&#xD;&#xA;Ableton Live! has a somewhat different workflow, that some people prefer.&#xD;&#xA;&#xD;&#xA;I want to give special mention to the &quot;tracker&quot; class of music software. This style of sample-sequencing software was popular on Amigas and other 16 bit platforms. OpenMPT one PC tracker app that's still being maintained.&#xD;&#xA;&#xD;&#xA;Few of these applications are free (OpenMPT is) but most of them have crippled or time-limited demos, to see if they're worth your money.&#xD;&#xA;&#xD;&#xA;The only answer is to try a few, and see what works for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="45099" PostHistoryTypeId="2" PostId="25586" RevisionGUID="d9b4aa0b-b9a6-4f03-8d67-b1851115f493" CreationDate="2013-08-19T07:25:50.567" UserDisplayName="Papouh" Text="If you want to create music from *inside* your computer, all you need is a [sequencing software][1]. You can record into these software packages, or create tracks from plugins already available in the software. Post-processing may then be done on these tracks after which they are mixed and the final output is mastered to publish an audio file (like a .wav or a .mp3).&#xD;&#xA;&#xD;&#xA;What sequencing software you should choose is a greatly subjective question. It depends on your OS and how much you're willing to spend. Do you want a bare minimum sequencing software or a full production suite? &#xD;&#xA;&#xD;&#xA;If it's the former, you can go with Audacity, which is cross-platform and open source. If it's the latter, Pro Tools on Mac is quite the standard for professional studio mixing and mastering (although it has a PC version too). FL Studio for Windows is good and comes with lots of plugins.&#xD;&#xA;&#xD;&#xA;However, if you want to record your instrument to an audio track, you will also need some other equipment. A mic, if your guitar does not have a pickup, and an external sound card if you want a high quality recording.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/List_of_MIDI_editors_and_sequencers" ContentLicense="CC BY-SA 3.0" />
  <row Id="45100" PostHistoryTypeId="2" PostId="25583" RevisionGUID="c450cfcd-47da-4804-9e97-7ad832caf541" CreationDate="2011-10-22T16:23:43.847" UserDisplayName="Saeed Neamati" Text="I have some themes, and I'd like to expand them and make some songs out of them. However, I can't afford studios and players and I'm just an ordinary guitar player. I'd like to create music totally inside computer. Is it possible? What do I need?&#xD;&#xA;&#xD;&#xA;I want to be able to create rhythms, and then create melodies, and then choose instruments (with close-to-real sound qualities), and then mix'em together, and stuff like that. But all done inside a computer.&#xD;&#xA;&#xD;&#xA;How can I achieve this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45101" PostHistoryTypeId="1" PostId="25583" RevisionGUID="c450cfcd-47da-4804-9e97-7ad832caf541" CreationDate="2011-10-22T16:23:43.847" UserDisplayName="Saeed Neamati" Text="How to create music throughly inside computer, without using live instrument sounds? What do I need?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45102" PostHistoryTypeId="3" PostId="25583" RevisionGUID="c450cfcd-47da-4804-9e97-7ad832caf541" CreationDate="2011-10-22T16:23:43.847" UserDisplayName="Saeed Neamati" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45103" PostHistoryTypeId="36" PostId="25587" RevisionGUID="a2413fd3-d407-47a1-b8b9-0a0b1d73027c" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7615/what-causes-the-130-133hz-hum-in-my-krk-vxt6-monitors" />
  <row Id="45104" PostHistoryTypeId="36" PostId="25588" RevisionGUID="e930fa57-a513-49cd-99a5-02c63dc961ac" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7615/what-causes-the-130-133hz-hum-in-my-krk-vxt6-monitors/7616#7616" />
  <row Id="45105" PostHistoryTypeId="36" PostId="25589" RevisionGUID="b7c6e178-f4f6-43d0-bf80-70eda69db672" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7615/what-causes-the-130-133hz-hum-in-my-krk-vxt6-monitors/7648#7648" />
  <row Id="45106" PostHistoryTypeId="2" PostId="25588" RevisionGUID="9048cbab-032f-42a5-9091-cc249659fd9c" CreationDate="2013-04-08T05:09:26.140" UserId="7189" Text="Are you examining your speakers with a sine sweep, or just your music?&#xD;&#xA;&#xD;&#xA;It is possible that the music was mastered strangely, and the monitors are just showing that to you. If the problem persists as you (slowly) sweep a sine wave from 50 Hz to 200 Hz, then you should contact KRK's technical support to see what they recommend.&#xD;&#xA;&#xD;&#xA;More on testing:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What does your spectrum analyzer look like while you are sweeping the sine wave? At 50Hz, you should see a single narrow peak at 50 Hz. Based on what you are describing, around 120-140Hz you are probably seeing something more like a mountain range. Also, is the peak in this distorted range much higher or lower than at other frequencies?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45107" PostHistoryTypeId="2" PostId="25589" RevisionGUID="ab37fe29-abac-4f58-8e6f-0cdc1d34a3f6" CreationDate="2013-04-13T04:02:16.613" UserDisplayName="user3938" Text="I'm thinking its not your monitors but your room. Try listening to your monitors in a different room, preferably a bigger one with different dimensions. My guess is that the low frequency noise won't be there, or it will be in a different frequency range.&#xD;&#xA;&#xD;&#xA;What you're most likely hearing is a build up standing waves due to reflections within the room. The best way to fix this is to add acoustic treatment such as Auralex foam. but more specifically bass traps. Bass traps are special treatments that deaden reflections of low frequencies, preventing them from bouncing all over your room and building up in certain frequency ranges. &#xD;&#xA;&#xD;&#xA;I recommend Mike Senior's Mix Secrets For The Small Studio. Has some great information about how to set up and properly treat your room. Your monitors are worthless if you don't treat your room. Best of luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="45108" PostHistoryTypeId="2" PostId="25587" RevisionGUID="d5e8cc5c-2bf3-4154-be31-f42386e530b6" CreationDate="2013-04-08T04:50:49.077" UserDisplayName="Jose Alejandro B" Text="I bought a new pair of [KRK VXT6 monitors](http://www.krksys.com/krk-studio-monitor-speakers/vxt/vxt6.html) last week and I think they sound amazing, but upon listening to some songs, I hear a weird noise specifically in the bass.&#xD;&#xA;&#xD;&#xA;I decided to analyze the weird sound that I heard with a spectrum analyzer (the ableton live spectrum).&#xD;&#xA;&#xD;&#xA;I saw that the weird sound comes around 130-133 Hz.&#xD;&#xA;&#xD;&#xA;I want to know if someone else gets that sound too.  Is it normal in this speaker, or is it some technical issue? (I bought the speakers in EEUU and I live in Venezuelaso it would be quite hard to return this item)" ContentLicense="CC BY-SA 3.0" />
  <row Id="45109" PostHistoryTypeId="1" PostId="25587" RevisionGUID="d5e8cc5c-2bf3-4154-be31-f42386e530b6" CreationDate="2013-04-08T04:50:49.077" UserDisplayName="Jose Alejandro B" Text="What causes the 130-133Hz hum in my KRK VXT6 monitors?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45110" PostHistoryTypeId="3" PostId="25587" RevisionGUID="d5e8cc5c-2bf3-4154-be31-f42386e530b6" CreationDate="2013-04-08T04:50:49.077" UserDisplayName="Jose Alejandro B" Text="&lt;ableton&gt;&lt;speakers&gt;&lt;noise&gt;&lt;monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45111" PostHistoryTypeId="36" PostId="25590" RevisionGUID="36581dcd-6393-4e2f-a19b-922824a562b6" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9618/open-reason-re-fills-outside-of-reason" />
  <row Id="45112" PostHistoryTypeId="36" PostId="25591" RevisionGUID="3261d3ce-0762-453c-b43b-4ccf26331a22" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9618/open-reason-re-fills-outside-of-reason/9624#9624" />
  <row Id="45113" PostHistoryTypeId="2" PostId="25591" RevisionGUID="c3ecc384-951c-421b-aef9-c62782587a25" CreationDate="2013-12-10T19:31:39.170" UserId="7294" UserDisplayName="Warrior Bob" Text="I'm unaware of any, but the traditional approach to this is to load them in Reason, and then connect Reason to any other app using ReWire. Reason then, essentially, acts like a hardware box connected to an input and output." ContentLicense="CC BY-SA 3.0" />
  <row Id="45114" PostHistoryTypeId="2" PostId="25590" RevisionGUID="082089cb-bf50-4102-87ff-347343ef1c52" CreationDate="2013-12-10T09:30:37.413" UserId="7180" Text="Is there any program that can open Reason's refill files? Other than Reason of course. &#xD;&#xA;I would potentially like to use some of the samples contained within the Reason refill in another DAW." ContentLicense="CC BY-SA 3.0" />
  <row Id="45115" PostHistoryTypeId="1" PostId="25590" RevisionGUID="082089cb-bf50-4102-87ff-347343ef1c52" CreationDate="2013-12-10T09:30:37.413" UserId="7180" Text="Open Reason Re-fills outside of Reason" ContentLicense="CC BY-SA 3.0" />
  <row Id="45116" PostHistoryTypeId="3" PostId="25590" RevisionGUID="082089cb-bf50-4102-87ff-347343ef1c52" CreationDate="2013-12-10T09:30:37.413" UserId="7180" Text="&lt;software&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45117" PostHistoryTypeId="36" PostId="25592" RevisionGUID="09ca8455-95ca-4363-b1f3-a78f49e52b98" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3070/is-it-worth-supporting-vst3" />
  <row Id="45118" PostHistoryTypeId="36" PostId="25593" RevisionGUID="337c7795-07ba-455a-87b8-95e7fdca3e0f" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3070/is-it-worth-supporting-vst3/3080#3080" />
  <row Id="45119" PostHistoryTypeId="36" PostId="25594" RevisionGUID="64e137db-f043-4aec-9068-af242652e7a2" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3070/is-it-worth-supporting-vst3/3100#3100" />
  <row Id="45120" PostHistoryTypeId="2" PostId="25593" RevisionGUID="de8e046f-b789-43cc-8bd7-05b62f7eb3e6" CreationDate="2012-01-19T22:19:14.287" UserId="7440" UserDisplayName="J.K." Text="I think side-chaining is only possible (or at least much simpler) with VST3 so if that's something you use you should give it some serious thought.&#xD;&#xA;&#xD;&#xA;VST3 also (allegedly) demand less of the CPU by stopping processing when there's no audio signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="45121" PostHistoryTypeId="2" PostId="25594" RevisionGUID="fe1a8373-a88c-45e1-a883-3081aad3bcbd" CreationDate="2012-01-21T20:15:27.433" UserDisplayName="Alexandre Prokoudine" Text="Probably this is a bit oftopic, but writing LADSPA is way too 90s today. Instead please target LV2 that is the state of the art API for effects and virtual instruments. Using a toolkit such as JUCE should help you with single concistent UI between VST/LV2/AU versions." ContentLicense="CC BY-SA 3.0" />
  <row Id="45122" PostHistoryTypeId="2" PostId="25592" RevisionGUID="4a65ab8c-e7d3-410d-9f4b-98ffea5f6be4" CreationDate="2012-01-18T09:09:51.927" UserDisplayName="Nik Reiman" Text="I'm writing a specialized plugin host which currently supports VST2.4 plugins only. When I have a bit of time, I will also include support for AudioUnits on the Mac and LADSPA on Linux.&#xD;&#xA;&#xD;&#xA;As one of the purposes of this host is to facilitate in plugin development, I was also considering VST3. However, a quick search at KVR's host database reveals that the only VST3-capable hosts are those made by Steinberg (though please correct me if I am wrong here). Though a handful of plugins support VST3, I haven't come across any plugins which only support this format and no others, while the reverse is certainly true for AudioUnits, RTAS, etc.&#xD;&#xA;&#xD;&#xA;Is there any point to supporting VST3 in a host? Is this something that people actually use or want? Or is everybody happy just using VST2.4 until the end of time?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45123" PostHistoryTypeId="1" PostId="25592" RevisionGUID="4a65ab8c-e7d3-410d-9f4b-98ffea5f6be4" CreationDate="2012-01-18T09:09:51.927" UserDisplayName="Nik Reiman" Text="Is it worth supporting VST3?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45124" PostHistoryTypeId="3" PostId="25592" RevisionGUID="4a65ab8c-e7d3-410d-9f4b-98ffea5f6be4" CreationDate="2012-01-18T09:09:51.927" UserDisplayName="Nik Reiman" Text="&lt;daw&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45125" PostHistoryTypeId="36" PostId="25595" RevisionGUID="666d197f-2a8a-4089-8789-f0027e974bd2" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/677/strip-right-channel-in-garageband" />
  <row Id="45126" PostHistoryTypeId="2" PostId="25596" RevisionGUID="1c3163a5-4369-4d89-bb15-836e096cb006" CreationDate="2011-01-26T12:47:38.667" UserId="8220" UserDisplayName="notthetup" Text="I would move the tracks to something like Audacity and do the L/R channel editing there. Audacity lets you split a stereo track and make a copy of L to R and so on..&#xD;&#xA;&#xD;&#xA;Ofcourse if you want to stick to Garageband, there is a long winded way. &#xD;&#xA;&#xD;&#xA;Pan it hard left.&#xD;&#xA;Export as mono. &#xD;&#xA;Re-import as mono..&#xD;&#xA;&#xD;&#xA;I can't think of any quick and easy method." ContentLicense="CC BY-SA 2.5" />
  <row Id="45127" PostHistoryTypeId="2" PostId="25595" RevisionGUID="8bdcf3d9-a249-4426-970c-68ac62717705" CreationDate="2011-01-24T21:54:23.207" UserDisplayName="Bill Cheatham" Text="I have recorded some tracks in GarageBand using a stereo setting, but only actually recorded onto the left channel. The right channel, due to some normalisation I did, is full of white noise.&#xD;&#xA;&#xD;&#xA;I currently have these tracks panned hard left. However, this means the whole output from the program is left channel only.&#xD;&#xA;&#xD;&#xA;Is there a way to either:&#xD;&#xA;&#xD;&#xA;  1.  Strip the right channel from the tracks, making them mono&#xD;&#xA;&#xD;&#xA;  2.  Duplicate the left channel into the right&#xD;&#xA;&#xD;&#xA;   or&#xD;&#xA;&#xD;&#xA;  3.  Pan the 'hard left' output from all the tracks to the centre, using the overall GB controls? (All the tracks are recorded like this).&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45128" PostHistoryTypeId="1" PostId="25595" RevisionGUID="8bdcf3d9-a249-4426-970c-68ac62717705" CreationDate="2011-01-24T21:54:23.207" UserDisplayName="Bill Cheatham" Text="Strip Right channel in GarageBand" ContentLicense="CC BY-SA 2.5" />
  <row Id="45129" PostHistoryTypeId="3" PostId="25595" RevisionGUID="8bdcf3d9-a249-4426-970c-68ac62717705" CreationDate="2011-01-24T21:54:23.207" UserDisplayName="Bill Cheatham" Text="&lt;stereo&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45130" PostHistoryTypeId="36" PostId="25596" RevisionGUID="e21ac561-e871-46d7-8f47-44555b6ae46b" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/677/strip-right-channel-in-garageband/688#688" />
  <row Id="45131" PostHistoryTypeId="36" PostId="25597" RevisionGUID="cf7ecf2c-6817-4e36-8a80-ab5c45036220" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/677/strip-right-channel-in-garageband/3552#3552" />
  <row Id="45132" PostHistoryTypeId="2" PostId="25597" RevisionGUID="9b58d675-734e-4b93-b57d-74e6a7387ad4" CreationDate="2012-03-13T16:58:47.700" UserDisplayName="JohnnyCanuck" Text="I have the same problem, the only way to do it is through the hard way as above or use an external editor. Sadly Garageband is geared mostly towards music and less and less for audio editors and podcasters. Logic and SoundTrack Pro by Apple do this as well as Adobe Audition. &#xD;&#xA;&#xD;&#xA;Sadly Audacity is terrible for this, since it won't let you manipulate audio files without creating projects. This ends up eating up a lot of disk space for what is essentially a temporary task. Smaller tools like MacSome (free) http://www.macsome.com/audio-editor-mac/index.html and Sound Studio http://felttip.com/ss/." ContentLicense="CC BY-SA 3.0" />
  <row Id="45137" PostHistoryTypeId="36" PostId="25599" RevisionGUID="e222faf0-cf1d-4eb9-a1df-b11882076fcb" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1447/vst-issue-with-reaper-and-superior-drummer" />
  <row Id="45138" PostHistoryTypeId="2" PostId="25600" RevisionGUID="630b93d5-435f-464b-81b5-ffe86c2a2eaf" CreationDate="2011-05-21T07:36:04.790" UserId="7471" UserDisplayName="Mark Heath" Text="In REAPER you need to ensure that it knows where the Superior Drummer VST effect is installed. Go to **Options | Preferences** and in the **Plug-Ins | VST section** check to see if the install path for the Superior Drummer VST DLL is included in the list:&#xD;&#xA;&#xD;&#xA;![REAPER VST Preferences][1]&#xD;&#xA;&#xD;&#xA;If it isn't, click **Add** and select the install folder for the VST DLL. Now click **Re-scan**.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/t54GF.png&#xD;&#xA;&#xD;&#xA;If you still can't see it in your VSTi section, it might also be because REAPER sometimes incorrectly detects the name of Toontrack VSTs. Look for anything with &quot;Toontrack&quot; in the name and try that." ContentLicense="CC BY-SA 3.0" />
  <row Id="45139" PostHistoryTypeId="2" PostId="25599" RevisionGUID="b98dcd70-eaa7-45fc-af86-f0e2e4d1cce1" CreationDate="2011-05-21T05:39:36.660" UserDisplayName="Smashery" Text="I've installed Superior Drummer and REAPER; but when I go to click on &quot;Insert virtual instrument on new track&quot;, Superior Drummer isn't available. Am I missing a step?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45140" PostHistoryTypeId="1" PostId="25599" RevisionGUID="b98dcd70-eaa7-45fc-af86-f0e2e4d1cce1" CreationDate="2011-05-21T05:39:36.660" UserDisplayName="Smashery" Text="VST Issue with REAPER and Superior Drummer" ContentLicense="CC BY-SA 3.0" />
  <row Id="45141" PostHistoryTypeId="3" PostId="25599" RevisionGUID="b98dcd70-eaa7-45fc-af86-f0e2e4d1cce1" CreationDate="2011-05-21T05:39:36.660" UserDisplayName="Smashery" Text="&lt;software&gt;&lt;daw&gt;&lt;reaper&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45142" PostHistoryTypeId="36" PostId="25600" RevisionGUID="23158aaa-7aa8-4a0e-b2da-9816f06c6fa4" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1447/vst-issue-with-reaper-and-superior-drummer/1448#1448" />
  <row Id="45143" PostHistoryTypeId="36" PostId="25601" RevisionGUID="b7f79a79-4d5a-4270-a68a-73c91fbd84b1" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/824/how-to-record-the-sound-of-an-acoustic-guitar-with-a-magnetic-pickup" />
  <row Id="45144" PostHistoryTypeId="36" PostId="25602" RevisionGUID="0bc32c85-c6bc-4d0f-832c-c4069a966722" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/824/how-to-record-the-sound-of-an-acoustic-guitar-with-a-magnetic-pickup/825#825" />
  <row Id="45145" PostHistoryTypeId="2" PostId="25602" RevisionGUID="7f1f7816-b24a-4740-94f6-14bb1c149ccd" CreationDate="2011-02-16T18:43:03.937" UserId="7202" Text="A magnetic pickup, like a dynamic microphone, doesn't require phantom power and can therefore be connected to any microphone preamplifier that can amplify the signal enough.  Magnetic pickups tend to have high impedance, which not all preamps like, which can result in that the higher frequencies get dampened.&#xD;&#xA;&#xD;&#xA;Your noise can be caused either by your computers microphone input being crap (highly likely) or that you aren't using shielded cables (less likely), which you need to do when using a microphone, or because the pickup isn't shielded (also highly likely).&#xD;&#xA;It can also be because you haven't been able to set the levels on your sound card correctly.&#xD;&#xA;&#xD;&#xA;In general it's a good idea to invest in an external preamplifier at least in the long run. There are many available with USB or firewire inputs that you can connect to your computer and have a good quality input from any sort of microphone. Many of them have both stereo inputs and stereo outputs and are then usually called USB audio interfaces. Make sure it take high-impedance sources (most do) for your guitar.&#xD;&#xA;&#xD;&#xA;If you get a preamp, a stereo preamp. They aren't that much more expensive and it's good to have stereo." ContentLicense="CC BY-SA 2.5" />
  <row Id="45146" PostHistoryTypeId="2" PostId="25601" RevisionGUID="36dda6d6-9a8e-44a3-b32b-eaf52bb60fa4" CreationDate="2011-02-16T17:29:40.110" UserDisplayName="user518" Text="I have a magnetic pickup... How can I use it to record the sound of a guitar to a laptop?&#xD;&#xA;&#xD;&#xA;I was told magnetic pickups should not be directly connected to a laptop (and that might be true, because I hear a lot of noise). What should the magnetic pickup be connected to, before I can input the sound to my computer?&#xD;&#xA;&#xD;&#xA;Should I have used a simple microphone?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45147" PostHistoryTypeId="1" PostId="25601" RevisionGUID="36dda6d6-9a8e-44a3-b32b-eaf52bb60fa4" CreationDate="2011-02-16T17:29:40.110" UserDisplayName="user518" Text="How to record the sound of an acoustic guitar with a magnetic pickup?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45148" PostHistoryTypeId="3" PostId="25601" RevisionGUID="36dda6d6-9a8e-44a3-b32b-eaf52bb60fa4" CreationDate="2011-02-16T17:29:40.110" UserDisplayName="user518" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45149" PostHistoryTypeId="36" PostId="25603" RevisionGUID="aff6015d-b3a7-407a-a7cb-08db808e5d72" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8702/regarding-starting-up-sound-of-3d-pinball" />
  <row Id="45150" PostHistoryTypeId="2" PostId="25604" RevisionGUID="4c8d7bbc-eb5a-4242-9bef-54e7514233b9" CreationDate="2013-08-14T02:21:12.390" UserDisplayName="Tortilla" Text="Turns out the sound is a bit more complex than one tone shifting upward. I located the .WAV file in the game's assets and examined it in Audition. Here's what it found:&#xD;&#xA;&#xD;&#xA;![Frequency analysis of the pinball startup sound][1]&#xD;&#xA;(Focus on the bottom half. The y-axis represents frequencies, with 1k at just above the middle. The yellow and red colors show which frequencies are being used at different points on the x-axis, which represents time)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;As you can see, there is indeed a build-up, but there are lots of tones involved even from the start. What this means is that it will probably be pretty difficult for someone who isn't experienced with audio programs to replicate from scratch.&#xD;&#xA;&#xD;&#xA;That said, you can try to find pre-made sounds that are fairly similar. Here are a few examples I found after a brief search (note: I didn't check the licenses for these listings):&#xD;&#xA;&#xD;&#xA; - [Electronic Powerup][2]&#xD;&#xA;   &#xD;&#xA; - [Sci-Fi 6][3]&#xD;&#xA;   &#xD;&#xA; - [Sci-Fi Effect][4]&#xD;&#xA;&#xD;&#xA;Simply searching &quot;Sci-Fi&quot; will give you tons of results just like these on FreeSound.org. I highly encourage you to find some sounds you like, then open them up in [Audacity][5] to do some tweaks like reversing them, slowing them down/speeding them up, etc. With the right sounds and a little tweaking, you can get pretty close to what you want with minimal work.&#xD;&#xA;&#xD;&#xA;Oh, and pay attention to the license information for each track you use, and always give attribution when requested (and, heck, even when it isn't requested, it's still a nice thing to do).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/OoEc4.jpg&#xD;&#xA;  [2]: http://www.freesound.org/people/StephenSaldanha/sounds/132560/&#xD;&#xA;  [3]: http://www.freesound.org/people/juskiddink/sounds/70047/&#xD;&#xA;  [4]: http://www.freesound.org/people/funkologic/sounds/184299/&#xD;&#xA;  [5]: http://audacity.sourceforge.net" ContentLicense="CC BY-SA 3.0" />
  <row Id="45151" PostHistoryTypeId="2" PostId="25603" RevisionGUID="9e163ecd-377a-4fcf-86ad-b0572b952d1e" CreationDate="2013-08-13T17:08:28.253" UserDisplayName="Karl" Text="starting at the beginning of the video http://www.youtube.com/watch?v=BZHFEYhLrdQ , that is the sound I am looking for. I want a sound that is similar to this sound to be used in my project.&#xD;&#xA;&#xD;&#xA;So what are some of the keywords should I use here? I've been browsing through freesound with keywords like &quot;power up&quot;, &quot;charging up&quot;, etc. but I could not find anything like that.&#xD;&#xA;&#xD;&#xA;Also, I see that the sound is pretty basic. It's one tone shifting frequency upward. Are there freeware out there that I can make a sound similar to this? I'm no sound engineer, so my knowledge in this field is very limited.&#xD;&#xA;&#xD;&#xA;Please help." ContentLicense="CC BY-SA 3.0" />
  <row Id="45152" PostHistoryTypeId="1" PostId="25603" RevisionGUID="9e163ecd-377a-4fcf-86ad-b0572b952d1e" CreationDate="2013-08-13T17:08:28.253" UserDisplayName="Karl" Text="Regarding &quot;starting up&quot; sound of 3D pinball" ContentLicense="CC BY-SA 3.0" />
  <row Id="45153" PostHistoryTypeId="3" PostId="25603" RevisionGUID="9e163ecd-377a-4fcf-86ad-b0572b952d1e" CreationDate="2013-08-13T17:08:28.253" UserDisplayName="Karl" Text="&lt;sound-effects&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45154" PostHistoryTypeId="36" PostId="25604" RevisionGUID="c5ba5548-82ad-4651-84b7-4f8695ac82a0" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8702/regarding-starting-up-sound-of-3d-pinball/8707#8707" />
  <row Id="45155" PostHistoryTypeId="36" PostId="25605" RevisionGUID="12b87f02-6f1f-4f69-9de0-3e0d2429753c" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1000/is-there-a-way-to-see-the-samples-used-by-abletons-impulse-instrument" />
  <row Id="45156" PostHistoryTypeId="2" PostId="25606" RevisionGUID="f94fe64a-5095-413b-85d9-02dfe0a152ef" CreationDate="2011-04-06T05:33:18.377" UserId="7294" UserDisplayName="Warrior Bob" Text="If you hover the mouse over the sample's slot in Impulse, the status bar at the bottom of the screen will show the path to the sample.&#xD;&#xA;&#xD;&#xA;Additionally, the hot-swap button for that slot (the button in the lower-right) will open the Ableton Browser and highlight that sample in the Library." ContentLicense="CC BY-SA 2.5" />
  <row Id="45157" PostHistoryTypeId="2" PostId="25605" RevisionGUID="60c6f25e-cad4-420f-9e73-e31ba04384ca" CreationDate="2011-03-11T22:12:14.223" UserId="7294" UserDisplayName="Warrior Bob" Text="I'm running Ableton Live 8, and I've got a few Live Packs that have given me some nice presets for Ableton's Impulse drum machine plugin.  However, I prefer their Drum Rack feature (due to the easy method of effecting individual drum suonds) and would like to use the same sounds in a Drum Rack instead of in Impulse.  Impulse slots just point to samples, and so in theory if I knew where the samples are, I could load them up into Drum Racks by hand.  But I haven't found a way to do this.&#xD;&#xA;&#xD;&#xA;Given a particular Impulse preset in Ableton Live, is there any way to list or find the samples that are used within it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45158" PostHistoryTypeId="1" PostId="25605" RevisionGUID="60c6f25e-cad4-420f-9e73-e31ba04384ca" CreationDate="2011-03-11T22:12:14.223" UserId="7294" UserDisplayName="Warrior Bob" Text="Is there a way to see the samples used by Ableton's Impulse instrument?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45159" PostHistoryTypeId="3" PostId="25605" RevisionGUID="60c6f25e-cad4-420f-9e73-e31ba04384ca" CreationDate="2011-03-11T22:12:14.223" UserId="7294" UserDisplayName="Warrior Bob" Text="&lt;ableton&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45160" PostHistoryTypeId="36" PostId="25606" RevisionGUID="ef3b3f2a-5e45-4142-bd81-9db8ac52c057" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1000/is-there-a-way-to-see-the-samples-used-by-abletons-impulse-instrument/1134#1134" />
  <row Id="45165" PostHistoryTypeId="36" PostId="25608" RevisionGUID="ecbf53a5-e2e6-47df-92da-f0b67e9278a6" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/943/sending-different-ranges-of-frequencies-to-separate-channels" />
  <row Id="45166" PostHistoryTypeId="2" PostId="25609" RevisionGUID="f06d9902-87cc-45ea-be95-f75a2389a94c" CreationDate="2011-03-01T08:25:31.473" UserId="7202" Text="Send everything to all three channels, and filter out the frequencies you want per channel." ContentLicense="CC BY-SA 2.5" />
  <row Id="45167" PostHistoryTypeId="2" PostId="25608" RevisionGUID="ca0db8b7-d361-4c53-925a-adcd75877f97" CreationDate="2011-03-01T06:17:05.140" UserDisplayName="RyanScottLewis" Text="How would I send specific ranges of frequencies to different channels like the example I made in photoshop below? Right now I'm using FL Studio 9.7&#xD;&#xA;&#xD;&#xA;![Example][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/iehLF.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="45168" PostHistoryTypeId="1" PostId="25608" RevisionGUID="ca0db8b7-d361-4c53-925a-adcd75877f97" CreationDate="2011-03-01T06:17:05.140" UserDisplayName="RyanScottLewis" Text="Sending different ranges of frequencies to separate channels?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45169" PostHistoryTypeId="3" PostId="25608" RevisionGUID="ca0db8b7-d361-4c53-925a-adcd75877f97" CreationDate="2011-03-01T06:17:05.140" UserDisplayName="RyanScottLewis" Text="&lt;mixing&gt;&lt;effects&gt;&lt;filter&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45170" PostHistoryTypeId="36" PostId="25609" RevisionGUID="d7c23f4a-4328-41fe-86a1-46f847b0d59a" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/943/sending-different-ranges-of-frequencies-to-separate-channels/944#944" />
  <row Id="45171" PostHistoryTypeId="36" PostId="25610" RevisionGUID="b2d10a9d-8d0d-42d0-9832-05c5e2508453" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5027/sharing-music-mixes-and-copyrights" />
  <row Id="45172" PostHistoryTypeId="2" PostId="25611" RevisionGUID="b3b9b23f-da76-4acc-91a8-80f166de70c3" CreationDate="2012-10-15T20:45:07.407" UserId="6957" Text="The first thing to say here is, I'm not a lawyer, nor do I play one on TV.  Second thing to say... you should talk to a lawyer to answer questions about your particular situation definitively.  &#xD;&#xA;&#xD;&#xA;Having said that, I found a [nice article](http://www.djtechtools.com/2012/03/25/legal-concerns-for-digital-djs-should-i-worry-about-copyright/) about the various issues related to DJing, etc.  I believe the bit below should be applicable to you, though I'd recommend reading the whole thing.  Very interesting...&#xD;&#xA;&#xD;&#xA;&gt; There is, however, a doctrine of copyright law called Fair Use that&#xD;&#xA;&gt; creates a limited exception to this rule. Fair Use is a defense to&#xD;&#xA;&gt; copyright infringement designed to encourage innovation, parody, and&#xD;&#xA;&gt; other beneficial results. The applicability of Fair Use to a given&#xD;&#xA;&gt; case is analyzed through four questions, which I’ve contextualized&#xD;&#xA;&gt; below. Here are the questions as they would relate to an unofficial&#xD;&#xA;&gt; remix:&#xD;&#xA;&gt; &#xD;&#xA;&gt; - What was the purpose of the remix? If it can be viewed as a&#xD;&#xA;&gt; progression or commentary on the original, you’re better off than if&#xD;&#xA;&gt; it simply tries to “cash-in” on a tune that someone else wrote. &#xD;&#xA;&gt; - What was the availability of the original song, and had it been released&#xD;&#xA;&gt; yet? It’s tougher to claim Fair Use if your remix is based on an&#xD;&#xA;&gt; advance or an unreleased track, because copyright law strives to&#xD;&#xA;&gt; protect the decision-making process of the original author as he&#xD;&#xA;&gt; decides whether or not to make his work public. &#xD;&#xA;&gt; - How much of the original song did you use in your remix? Looping just two bars of bass&#xD;&#xA;&gt; from the original with a host of new stems is much more likely be&#xD;&#xA;&gt; viewed as Fair Use than playing a song start-to-finish and adding a&#xD;&#xA;&gt; few vocals. &#xD;&#xA;&gt; - Has your remix diminished the value of the original song to the copyright holder? This isn’t confined to the idea that people&#xD;&#xA;&gt; might prefer the remix to the original when buying a record (since&#xD;&#xA;&gt; everyone’s doing so much of that lately); it’s relevant to licensing&#xD;&#xA;&gt; opportunities in film, television and commercials as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="45173" PostHistoryTypeId="2" PostId="25610" RevisionGUID="92b7001e-0340-424a-af46-ce7c73e2c42a" CreationDate="2012-10-15T20:03:27.573" UserDisplayName="Ivan Zlatev" Text="Say, I record a live mix I am doing at home for practice, using tracks which I have purchased. I would like to share this mix legally on the Internet. What are the copyright issues involved and how can I share the mix legally?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45174" PostHistoryTypeId="1" PostId="25610" RevisionGUID="92b7001e-0340-424a-af46-ce7c73e2c42a" CreationDate="2012-10-15T20:03:27.573" UserDisplayName="Ivan Zlatev" Text="Sharing music mixes and copyrights?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45175" PostHistoryTypeId="3" PostId="25610" RevisionGUID="92b7001e-0340-424a-af46-ce7c73e2c42a" CreationDate="2012-10-15T20:03:27.573" UserDisplayName="Ivan Zlatev" Text="&lt;mixing&gt;&lt;copyright&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45176" PostHistoryTypeId="36" PostId="25611" RevisionGUID="c530bff8-f7df-4c72-b784-6127f6c6b59c" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5027/sharing-music-mixes-and-copyrights/5028#5028" />
  <row Id="45177" PostHistoryTypeId="36" PostId="25612" RevisionGUID="1c0ce5aa-6bcb-40a3-a0eb-81d376912426" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5027/sharing-music-mixes-and-copyrights/5047#5047" />
  <row Id="45178" PostHistoryTypeId="2" PostId="25612" RevisionGUID="ef5f0553-a8b4-4f6b-9c7d-b7e10c8513ff" CreationDate="2012-10-16T17:28:56.840" UserDisplayName="Kmeixner" Text="For each individual music piece you would have to determine what the license you obtained it from was, whether or not that license allows for derivative works from it and if not you need to get permission from the person or corporation that owns the rights to the work:&#xD;&#xA;&#xD;&#xA;a) Is it licensed under Creative Commons? ( http://creativecommons.org/ ). If so does the chosen Creative Commons license allow adaptations? Or does it forbid it (Attribution-NoDerivs).&#xD;&#xA;&#xD;&#xA;b) Is it in the public domain? Are you sure it is in the public domain? (Copyright laws changed recently, the musical piece might be public domain but the CD recording of a particular orchastra performing it might not be, etc.)&#xD;&#xA;&#xD;&#xA;c) If it is not public domain or under Creative Commons who owns the publishing rights? Have you gotten their permission to use the material?&#xD;&#xA;&#xD;&#xA;If you purchased all of the music then what I would do is contact the publisher of each piece of music for with a description of how you intend to use it and get written permission from them that it is alright to use it before posting it publicly online. If you are going to be making money off of selling the music or are going to be exposed to a large audience then you should probably consider getting a lawyer involved just to be safe.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45179" PostHistoryTypeId="36" PostId="25613" RevisionGUID="0d0197f7-fdf7-4fc0-ae53-33434cfff1bf" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7494/proper-way-to-wear-grado-headphones" />
  <row Id="45180" PostHistoryTypeId="36" PostId="25614" RevisionGUID="e12c9ede-a4fe-4fca-b58d-d90ea9c69b22" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7494/proper-way-to-wear-grado-headphones/7499#7499" />
  <row Id="45181" PostHistoryTypeId="36" PostId="25615" RevisionGUID="76271dbc-8128-4433-8726-b4dfb65a5fe1" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7494/proper-way-to-wear-grado-headphones/7503#7503" />
  <row Id="45182" PostHistoryTypeId="36" PostId="25616" RevisionGUID="6831a9b6-9368-4079-b1a2-9f5ff487d0b9" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7494/proper-way-to-wear-grado-headphones/7515#7515" />
  <row Id="45183" PostHistoryTypeId="2" PostId="25614" RevisionGUID="1a1c0032-585c-4f3f-8b74-ea352a85d94f" CreationDate="2013-03-26T09:38:58.323" UserId="7325" UserDisplayName="Dave Rook" Text="This is very hard to answer but I have experienced the same issue (although with a different make). Like all headphones it depends on shapes and sizes (of your head, ears, headphones etc). You need to play with the settings until you get it right (until it feels great), but, it may be that the design isn't suited for you.&#xD;&#xA;&#xD;&#xA;The problem of course is, due to hygiene and health and safety, typically, you can never try before you buy with headphones!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45184" PostHistoryTypeId="2" PostId="25615" RevisionGUID="8f092c2b-c42e-4a2b-a5f4-ad1f735dab82" CreationDate="2013-03-26T23:26:19.157" UserId="7234" Text="This is a common complaint people have with Grados, due to the on-ear (as opposed to over-ear) design.  You can try flexing the headband out a bit to loosen its grip on your head, you can try replacing the earpads with a different material, or you can simply get used to it over time.  Alternatively, you can switch to over-ear headphones such as similar models by Audio-Technica or the like." ContentLicense="CC BY-SA 3.0" />
  <row Id="45185" PostHistoryTypeId="2" PostId="25616" RevisionGUID="4fc240c4-4181-4de2-a4e1-55777af6ae16" CreationDate="2013-03-28T00:27:29.897" UserDisplayName="escalation746" Text="I have some Grados and they are indeed uncomfortable. Another trick besides those mentioned  is to wear them so the headband is tilted forward or backwards, rather than being straight up over your head. Experiment and see if you can find a more comfortable position." ContentLicense="CC BY-SA 3.0" />
  <row Id="45186" PostHistoryTypeId="2" PostId="25613" RevisionGUID="494c9a7b-9c1c-45ee-8a6a-65b106b01581" CreationDate="2013-03-26T00:02:05.697" UserId="24597" UserDisplayName="Jonathan Winters" Text="I recently bought the Grado Prestige Series RS2i after having only used in-ear Shure's. I love the sound, really love them, but find that after about an hour they start to hurt my ears, probably because they are pressing them.&#xD;&#xA;&#xD;&#xA;Is this normal for on-the-ear headphones? Is there a chance I am wearing them incorrectly?  Does moving the headband further away or closer make a difference?&#xD;&#xA;&#xD;&#xA;Any suggestions are welcome" ContentLicense="CC BY-SA 3.0" />
  <row Id="45187" PostHistoryTypeId="1" PostId="25613" RevisionGUID="494c9a7b-9c1c-45ee-8a6a-65b106b01581" CreationDate="2013-03-26T00:02:05.697" UserId="24597" UserDisplayName="Jonathan Winters" Text="Proper way to wear Grado headphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45188" PostHistoryTypeId="3" PostId="25613" RevisionGUID="494c9a7b-9c1c-45ee-8a6a-65b106b01581" CreationDate="2013-03-26T00:02:05.697" UserId="24597" UserDisplayName="Jonathan Winters" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45189" PostHistoryTypeId="36" PostId="25617" RevisionGUID="d53a02f4-5018-42ad-8fbe-24ae50d1824a" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7977/what-do-white-notes-mean-in-cubase-key-editor" />
  <row Id="45190" PostHistoryTypeId="2" PostId="25618" RevisionGUID="05282efa-323a-4abf-96f8-c0f290ba88ca" CreationDate="2013-05-28T02:58:32.677" UserId="7312" UserDisplayName="Eugene S" Text="Seems that these notes appear to be muted for some reason. [Here][1] is an an explanation of how to &quot;unmute&quot; these.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cubase.net/phpbb2/viewtopic.php?t=54690&amp;sid=d04d8dbfcc84168b5f0a433662e24324" ContentLicense="CC BY-SA 3.0" />
  <row Id="45191" PostHistoryTypeId="2" PostId="25617" RevisionGUID="211c48fc-7b86-4eda-a7f6-c2d3c681df97" CreationDate="2013-05-28T01:59:46.640" UserId="7206" Text="In my key editor in Cubase, some MIDI notes are drawn white. What does it mean?&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/RpUVc.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="45192" PostHistoryTypeId="1" PostId="25617" RevisionGUID="211c48fc-7b86-4eda-a7f6-c2d3c681df97" CreationDate="2013-05-28T01:59:46.640" UserId="7206" Text="What do white notes mean in cubase key editor?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45193" PostHistoryTypeId="3" PostId="25617" RevisionGUID="211c48fc-7b86-4eda-a7f6-c2d3c681df97" CreationDate="2013-05-28T01:59:46.640" UserId="7206" Text="&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45194" PostHistoryTypeId="36" PostId="25618" RevisionGUID="c3e227f9-ab69-4237-80d4-245d65acbcb6" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7977/what-do-white-notes-mean-in-cubase-key-editor/7978#7978" />
  <row Id="45195" PostHistoryTypeId="36" PostId="25619" RevisionGUID="5aaa99b1-9fe6-4928-8cf7-e962a470a79d" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2242/what-should-i-look-for-in-good-headphones" />
  <row Id="45196" PostHistoryTypeId="2" PostId="25620" RevisionGUID="7987cd10-73f8-4fbd-bbcd-b829c8223618" CreationDate="2011-09-01T22:15:31.010" UserDisplayName="Dan S" Text="If you want closed headphones, the Sony MDR-7506 are a great value ($99), though they lean toward the larger side.  Yes they're sometimes used in the studio, but I've liked them as a field product as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="45197" PostHistoryTypeId="2" PostId="25619" RevisionGUID="75069f43-e51a-4ab3-80a7-72158e76ae53" CreationDate="2011-08-31T09:56:06.687" UserDisplayName="fredv" Text="I'm in the search of the best headphones to fit my needs. I hope somebody will help me because I try and I try but I haven't found the exact real headphones I want.&#xD;&#xA;&#xD;&#xA;I want to use them to mostly listen to a tablet or an iphone at office. &#xD;&#xA;I have already tried several headphones :&#xD;&#xA;&#xD;&#xA;**AKG 271 Studio** : really flat, useful for recording but the impedance is too high to use it on a mp3 player. I have kept it for use in my studio on a Fast Track Pro.&#xD;&#xA;&#xD;&#xA;**Q-Jays** : excellent sound, very small, good impedance for my needs but I don't always like intra-auricular headphones, I would prefer closed headphones with the same sound !&#xD;&#xA;&#xD;&#xA;**ATH-ESW9** : really nice, comfortable, with a lot of bass (too much maybe for me), but too expensive to let in my office (and semi opened so noisy) :)&#xD;&#xA;&#xD;&#xA;**ATH-AD700** : way too big, nice sound but they make too much noise outside (opened headphones)&#xD;&#xA;&#xD;&#xA;**Koss Portasound** : too much bass...&#xD;&#xA;&#xD;&#xA;I want a clear sound, not too much bass, low impedance to be able to listen high volume on a mp3 player, comfortable, not too big not too small closed headphones for less than $200&#xD;&#xA;&#xD;&#xA;Any ideas ? (not Sennheiser please)&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="45198" PostHistoryTypeId="1" PostId="25619" RevisionGUID="75069f43-e51a-4ab3-80a7-72158e76ae53" CreationDate="2011-08-31T09:56:06.687" UserDisplayName="fredv" Text="What should I look for in good headphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45199" PostHistoryTypeId="3" PostId="25619" RevisionGUID="75069f43-e51a-4ab3-80a7-72158e76ae53" CreationDate="2011-08-31T09:56:06.687" UserDisplayName="fredv" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45200" PostHistoryTypeId="36" PostId="25620" RevisionGUID="e4a422f5-b14a-4aee-a122-8572c7c5eaca" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2242/what-should-i-look-for-in-good-headphones/2249#2249" />
  <row Id="45201" PostHistoryTypeId="36" PostId="25621" RevisionGUID="ee897ea2-1d8e-4214-b6f0-ce4b7cddda98" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1005/m-audio-bx5a-just-died" />
  <row Id="45202" PostHistoryTypeId="36" PostId="25622" RevisionGUID="8ba829b2-1223-4ec7-ac46-0eb352743d69" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1005/m-audio-bx5a-just-died/2629#2629" />
  <row Id="45203" PostHistoryTypeId="2" PostId="25622" RevisionGUID="1497975a-8353-421e-87ac-9797b0eb2f39" CreationDate="2011-11-13T06:53:06.420" UserDisplayName="Danny" Text="One of my BX5a's had the same issue about a year ago and the culprit ended up being failed capacitors.&#xD;&#xA;You can usually spot them when you open the unit because they're bulging and often leaking dark colored goo.&#xD;&#xA;&#xD;&#xA;**If you're not experienced and comfortable working inside electronics, you should take them to a shop for repair. This is a potentially dangerous job, as capacitors can carry dangerously high voltage.**" ContentLicense="CC BY-SA 3.0" />
  <row Id="45204" PostHistoryTypeId="2" PostId="25621" RevisionGUID="a5696047-3d13-44d9-8e46-1b63234a39ae" CreationDate="2011-03-13T13:57:33.223" UserDisplayName="kivetros" Text="A little less than a year ago, I picked up a pair of BX5a's cheap off eBay. They've worked just great up until about five minutes ago. I was working on a minimal techno track with pretty heavy bass (which is admittedly not the norm for me), and I had the monitors going pretty loud, but it wasn't anything that I hadn't done before. I switched them off for a few minutes. When I pulled the track back up again and turned them back on, I noticed that my left monitor's light wasn't on, and that there was no sound coming from it - at all. I figured that I just hadn't turned it on, so I flipped the switch, and I saw the light turn on but fade out. It's been totally unresponsive ever since. Here's a quick list of things that I've done:&#xD;&#xA;&#xD;&#xA;- Switched power cord; nothing&#xD;&#xA;- Put the fuse from the working monitor in; nothing&#xD;&#xA;- Unplugged it, flipped the AC Select switch back and forth (from 115 to 230, and back again); no change&#xD;&#xA;&#xD;&#xA;I don't have a lot of time right now to mess with them, but I will probably open it up this afternoon or evening and have a look around with my multitester. I've never had it open before, so I'm wondering - other than the obvious, what should I look for?&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 2.5" />
  <row Id="45205" PostHistoryTypeId="1" PostId="25621" RevisionGUID="a5696047-3d13-44d9-8e46-1b63234a39ae" CreationDate="2011-03-13T13:57:33.223" UserDisplayName="kivetros" Text="M-Audio BX5a just died?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45206" PostHistoryTypeId="3" PostId="25621" RevisionGUID="a5696047-3d13-44d9-8e46-1b63234a39ae" CreationDate="2011-03-13T13:57:33.223" UserDisplayName="kivetros" Text="&lt;home-studio&gt;&lt;monitors&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45207" PostHistoryTypeId="36" PostId="25623" RevisionGUID="7cac1654-30a2-49e0-8180-92773075e4c9" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5069/what-causes-the-difference-in-cord-quality-between-brands" />
  <row Id="45208" PostHistoryTypeId="36" PostId="25624" RevisionGUID="44506937-dbbb-4e9d-ab97-63fb6f095806" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5069/what-causes-the-difference-in-cord-quality-between-brands/5070#5070" />
  <row Id="45209" PostHistoryTypeId="36" PostId="25625" RevisionGUID="5246a06e-6ca6-4e62-84ce-3b6119ca8eef" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5069/what-causes-the-difference-in-cord-quality-between-brands/5074#5074" />
  <row Id="45210" PostHistoryTypeId="2" PostId="25624" RevisionGUID="6b037acc-9de6-4406-b381-cf9646949b8f" CreationDate="2012-10-16T20:36:53.870" UserDisplayName="WLPhoenix" Text="Branding. Price. [Policy on stifling competition.][1]&#xD;&#xA;&#xD;&#xA;In all reality, a good cable shouldn't do anything between Point A and Point B. Any cable claims to that is either lying or doing something you don't want it to.&#xD;&#xA;&#xD;&#xA;I've found that the best cables I can get are the ones I make for myself at 1/10th the cost of the big brands. Even the lifetime warranty isn't worth the ability to fix it myself, as I'd rather not wait a 2-4 week downtime between cables.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://gizmodo.com/380055/blue-jeans-cable-calls-bs-on-monster-cable-patent-suit-vows-to-fight-to-bloody-death" ContentLicense="CC BY-SA 3.0" />
  <row Id="45211" PostHistoryTypeId="2" PostId="25625" RevisionGUID="82436571-3582-448d-9836-c500e1496749" CreationDate="2012-10-16T22:59:07.563" UserId="6957" Text="Travis, you have, perhaps unwittingly, stumbled upon a question that has raged for quite some time.  In short, there is no answer.  Or more to the point, there is no agreed-upon answer.  The Wikipedia entry on this is fairly concise for the tl;dr crowd...&#xD;&#xA;&#xD;&#xA;&gt; There is debate among audiophiles surrounding the impact that high-end&#xD;&#xA;&gt; cables have on audio systems with audibility of the changes central to&#xD;&#xA;&gt; the discussion. While some speaker wire marketers claim audible&#xD;&#xA;&gt; improvement with design or exotic materials, skeptics say that a few&#xD;&#xA;&gt; meters of speaker wire from the power amplifier to the binding posts&#xD;&#xA;&gt; of the loudspeakers cannot possibly have much influence because of the&#xD;&#xA;&gt; greater influence from complex crossover circuits found in most&#xD;&#xA;&gt; speakers and particularly from the speaker driver voice coils that&#xD;&#xA;&gt; have several meters of very thin wire. To justify claims of enhanced&#xD;&#xA;&gt; audio quality, many marketers of high-end speaker cables cite&#xD;&#xA;&gt; electrical properties such as skin effect, characteristic impedance or&#xD;&#xA;&gt; resonance; properties which are generally little understood by&#xD;&#xA;&gt; consumers. None of these have any measurable effect at audio&#xD;&#xA;&gt; frequencies, though each matters at radio frequencies.[12] Industry&#xD;&#xA;&gt; experts have disproved the higher quality claims through measurement&#xD;&#xA;&gt; of the sound systems and through double-blind ABX tests of&#xD;&#xA;&gt; listeners.[4][13] There is however agreement that the overall&#xD;&#xA;&gt; resistance of the speaker wire should not be too high.[4] As well, the&#xD;&#xA;&gt; observed problems with speaker cable quality are largest for passively&#xD;&#xA;&gt; crossed-over loudspeakers such as those typical of home stereos.[14]&#xD;&#xA;&#xD;&#xA;The Wikipedia entry also references Roger Russel, formerly of McIntosh Labs.  His [website on the subject](http://www.roger-russell.com/wire/wire.htm) goes into great detail, probably more than you were looking for, but interesting and worthwhile.  The graphic below comes directly from his site... to give you an idea of his perspective :)&#xD;&#xA;&#xD;&#xA;![From his site referenced above][1]&#xD;&#xA;&#xD;&#xA;&lt;sub&gt;[image source](http://www.roger-russell.com/wire/wirebusters3.jpg)&lt;/sub&gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/xkhNi.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="45212" PostHistoryTypeId="2" PostId="25626" RevisionGUID="c59988a9-8736-4c16-9a8f-d044016e8002" CreationDate="2012-10-17T10:38:53.123" UserId="7200" Text="The warnings from WLPhoenix and Josh are absolutely correct: most cable connections do _never_ have a significant influence on the sound, regardless of the cable brand.&#xD;&#xA;&#xD;&#xA;There is one important exception: guitar cables. Because most electric guitars have only primitive passive high-impedance electronics (the same applies to passive electric basses), supplied from a coil with high inductance, the sound changes quite strongly if you vary the cable capacitance. However, there is no such thing as an intrinsically good or bad value of the cable capacitance, it's mainly a matter of taste and what you're used to. A guitarist who normally plays with short-ish expensive cables (which tend to have a rather low capacitance) will be surprised and likely dismayed by the loss of treble if they try a longer cable by a less expensive brand, that's how such myths come about (&quot;my Monster cable sounds _so_ much better than this junk that guy lent me&quot;); but in much the same way, someone who normally uses very long cables might be dismayed by the nasty screaming and lack of mid-power their pickups develop when not connected to a big enough capacitance. Only they normally won't attribute this to the cable but to some other piece of equipment, because &quot;a cable that costs thrice as much can't _possibly_ be worse, can it&quot;?&#xD;&#xA;&#xD;&#xA;The passive nature of guitar pickups, unbalanced kind of connections, in combination with the typically used very high gain settings, also makes such lines particularly susceptible to all kinds of interference, which [are often hard to trace](http://avp.stackexchange.com/questions/5018/source-of-hard-drive-noise-audio-interference). Cables are quite often the culprit, and indeed this is something where more expensive cables are often _objectively_ better, since cheap ones tend to have bad shielding and sometimes unreliable connections.&#xD;&#xA;&#xD;&#xA;The last point applies to all kind of cables, not just guitar cables: I also avoid the very cheapest microphone cables, in my experience the failure rate goes dramatically up towards the very low-end of the price scale. But the ones just a little more costly are usually much better already; for instance I have been using the _Cordial CCM_ series a lot lately, they sound in no way different from high-end cables and I haven't experienced any failures yet. The plugs are a little too tight sometimes and the cables aren't quite as flexible as you'd like them to be (mechanically), but for fixed studio connections it's absolutely ok.&#xD;&#xA;&#xD;&#xA;Conclusion: buy cables that are proven reliable and noise-repellent by experiment. Depending on the application, you may need to spend a little more than the cheapest prices, but **never buy a cable _because_ it's expensive**. Try to convince your friend to do some blind tests, in most cases he won't be able to tell the difference between a $10 cable and a $100 one without looking." ContentLicense="CC BY-SA 3.0" />
  <row Id="45213" PostHistoryTypeId="2" PostId="25623" RevisionGUID="8af68c25-9ae9-4247-9ba2-af8ff0012807" CreationDate="2012-10-16T20:29:27.553" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="While &quot;jamming&quot; with a friend over the weekend, I noticed that every single one of the cables in his setup were the same brand. I even have one of the same type (but didn't know which it was from not paying a lot of attention when I bought it other than being told its really good) but upon asking he told me they were all *Mogami* cables and decided to state that it was the only brand he would ever be caught using, maybe other than *Monster*. &#xD;&#xA;&#xD;&#xA;I had never noticed a difference in sound quality when using different cords (at least if it wasn't broken or ratty). He swears up and down that it makes a huge difference. He didn't know exactly what causes the difference other than that it has to do with the way they are made.&#xD;&#xA;&#xD;&#xA;After a little research, it appeared that there was a general consensus about Mogami and Monster being two of the best brands. I read a little about why but got lost pretty quickly on what makes this difference.&#xD;&#xA;&#xD;&#xA;**So could someone explain in simple terms what makes one cord better than another? Maybe more specifically with Mogami and Monster?**" ContentLicense="CC BY-SA 3.0" />
  <row Id="45214" PostHistoryTypeId="1" PostId="25623" RevisionGUID="8af68c25-9ae9-4247-9ba2-af8ff0012807" CreationDate="2012-10-16T20:29:27.553" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="what causes the difference in cord quality between brands?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45215" PostHistoryTypeId="3" PostId="25623" RevisionGUID="8af68c25-9ae9-4247-9ba2-af8ff0012807" CreationDate="2012-10-16T20:29:27.553" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;cable&gt;&lt;quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45216" PostHistoryTypeId="36" PostId="25626" RevisionGUID="f0c973e9-1625-4ade-a021-8a750b4e04ed" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5069/what-causes-the-difference-in-cord-quality-between-brands/5076#5076" />
  <row Id="45217" PostHistoryTypeId="36" PostId="25627" RevisionGUID="0ce8923e-d309-4ca3-81c6-df84be34320c" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2522/how-do-i-keep-a-recording-session-tidy-and-organised" />
  <row Id="45218" PostHistoryTypeId="36" PostId="25628" RevisionGUID="b5035d56-f03b-4b4d-b894-395dedce9c6e" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2522/how-do-i-keep-a-recording-session-tidy-and-organised/2524#2524" />
  <row Id="45219" PostHistoryTypeId="2" PostId="25628" RevisionGUID="e61e18f2-734b-4159-aefe-7f603998a3c6" CreationDate="2011-10-21T20:24:54.900" UserId="7016" Text="One very simple technique we use is to colour-code all tracks, which does make it very easy to see which are drums, for example, or guitar. By using say Red for drums, green for guitar, blue for vocals, and then shades of the primary colour for detail (eg pink for cymbal, deep red for kick drum)&#xD;&#xA;&#xD;&#xA;It doesn't reduce the number of tracks, but it groups them visually in a very obvious way, which helps us." ContentLicense="CC BY-SA 3.0" />
  <row Id="45220" PostHistoryTypeId="2" PostId="25627" RevisionGUID="5ac63f12-ea18-415e-952b-fc4ef9d5d61e" CreationDate="2011-10-21T13:11:14.367" UserDisplayName="JayP" Text="Pro Tools is my DAW of choice.  I often work with large sessions, usually over 50 channels, plus auxiliary returns and masters.  I try to be as efficient as possible, but try as I might, I usually end up with a very messy looking session.  The regions list (known as the _clips list_ now in Pro Tools 10) is usually full of nonsensical, badly named, bits of audio, and that's before I've even started editing.&#xD;&#xA;&#xD;&#xA;Does anyone have any tips, or good work flow examples, for handling large sessions (or even small ones) efficiently?  In particular, I'd be interested to know how other people make use of things like mix groups and window configurations in their work.&#xD;&#xA;&#xD;&#xA;Here are some things that I have tried:&#xD;&#xA;&#xD;&#xA;1. Giving all my tracks names, so that regions appear with proper names in the regions list.  This is a good start, but once you've applied a few AS plug-ins to a region, the name can get pretty messy.&#xD;&#xA;2. Putting several different tracks into the same channel, where possible, the idea being to make efficient use of the available channels.  I don't like this much, because you end up with multiple instruments on the same fader.&#xD;&#xA;3. Regularly bouncing tracks down - for example, drums - into stereo tracks, the idea being to have fewer tracks on display.  This comes at the cost of flexibility - if I decide to change my drum sound later, it can be a pain.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45221" PostHistoryTypeId="1" PostId="25627" RevisionGUID="5ac63f12-ea18-415e-952b-fc4ef9d5d61e" CreationDate="2011-10-21T13:11:14.367" UserDisplayName="JayP" Text="How do I keep a recording session tidy and organised" ContentLicense="CC BY-SA 3.0" />
  <row Id="45222" PostHistoryTypeId="3" PostId="25627" RevisionGUID="5ac63f12-ea18-415e-952b-fc4ef9d5d61e" CreationDate="2011-10-21T13:11:14.367" UserDisplayName="JayP" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45223" PostHistoryTypeId="36" PostId="25629" RevisionGUID="143b67b2-e625-4dd9-bec6-b4293167de3c" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1100/s-pdif-from-pc-to-mixer" />
  <row Id="45224" PostHistoryTypeId="2" PostId="25630" RevisionGUID="9d4fcc34-246c-4598-94bd-7a658590fba2" CreationDate="2011-03-27T19:23:51.823" UserDisplayName="Ian C." Text="&gt; How well does this type of interface work between a (low end) PC sound card and a &quot;prosumer&quot; mixer (Yamaha LS9-32)?&#xD;&#xA;&#xD;&#xA;In my experience, coupling things together via S/PDIF is hit and miss. If both the sender and receiver can't find a sampling frequency and bit depth that they agree on, it isn't going to work. For example: I could run S/PDIF out from my AxeFx to my audio capture unit, but I'd have to run my projects at 48kHz/23-bit because that's all the AxeFx outputs and trying to use it with a project running at any other sampling frequency or bit depth is sonic suicide. It just won't work.&#xD;&#xA;&#xD;&#xA;Try it. But do so knowing it's all fraught with peril.&#xD;&#xA;&#xD;&#xA;&gt; Would I be better off going sound card's RCA out --&gt; direct box --&gt; mixer?&#xD;&#xA;&#xD;&#xA;For sheer interoperability convenience: yes. It'll Just Work(tm) if you do it that way. You are introducing another D/A and A/D conversion if you go this route (since the mixer is digital), but only your ears can tell you if that's bad. And as an aside: how strange it doesn't have an RCA connection for a tape unit input -- most mixers do for FoH music between sets and what not." ContentLicense="CC BY-SA 2.5" />
  <row Id="45225" PostHistoryTypeId="2" PostId="25629" RevisionGUID="03f1c358-0c2c-4f08-a9e8-99c3d021a556" CreationDate="2011-03-27T18:27:58.267" UserDisplayName="advs89" Text="## Background: ##&#xD;&#xA;&#xD;&#xA;I have a Yamaha LS9-32 mixer and I'm getting a new sound card for my PC to interface with the mixer.&#xD;&#xA;&#xD;&#xA;&gt; From the Yamaha LS9-32 User Manual:  &#xD;&#xA;&gt;&#xD;&#xA;&gt; **2TR IN DIGITAL jack**  &#xD;&#xA;This is a coaxial jack that inputs a stereo digital audio signal&#xD;&#xA;in consumer format (IEC-60958). The signal input&#xD;&#xA;from this jack can be patched to any input channel.&#xD;&#xA;  &#xD;&#xA;![S/PDIF on the LS9][1] &lt;-- This is the coaxial S/PDIF in on the Yamaha LS9 mixer.  &#xD;&#xA;&#xD;&#xA;I was looking at [this](http://www.bhphotovideo.com/c/product/516822-REG/Diamond_XS71_XtremeSound_7_1_24_bit_PCI_Sound.html) sound card with an S/PDIF out.&#xD;&#xA;&#xD;&#xA;![S/PDIF out on Sound Card][2] &lt;-- This is the coaxial S/PDIF out on the potential sound card. &#xD;&#xA;&#xD;&#xA;Question:&#xD;&#xA;---------&#xD;&#xA;&#xD;&#xA; - How well does this type of interface&#xD;&#xA;   work between a (low end) PC sound&#xD;&#xA;   card and a &quot;prosumer&quot; mixer (Yamaha&#xD;&#xA;   LS9-32).   &#xD;&#xA; - Would I be better off&#xD;&#xA;   going `sound card's RCA out --&gt;&#xD;&#xA;   direct box --&gt; mixer`?&#xD;&#xA; - Does anyone&#xD;&#xA;   have any experience with this?&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/thxjp.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/c8kDb.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="45226" PostHistoryTypeId="1" PostId="25629" RevisionGUID="03f1c358-0c2c-4f08-a9e8-99c3d021a556" CreationDate="2011-03-27T18:27:58.267" UserDisplayName="advs89" Text="S/PDIF from PC to Mixer" ContentLicense="CC BY-SA 2.5" />
  <row Id="45227" PostHistoryTypeId="3" PostId="25629" RevisionGUID="03f1c358-0c2c-4f08-a9e8-99c3d021a556" CreationDate="2011-03-27T18:27:58.267" UserDisplayName="advs89" Text="&lt;stereo&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45228" PostHistoryTypeId="36" PostId="25630" RevisionGUID="a5edd211-2717-4510-b153-94e341b59c8e" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1100/s-pdif-from-pc-to-mixer/1103#1103" />
  <row Id="45229" PostHistoryTypeId="36" PostId="25631" RevisionGUID="399c8d8e-3b17-4821-b061-03e0961f592b" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3927/cubase-dont-recognize-plugins" />
  <row Id="45230" PostHistoryTypeId="36" PostId="25632" RevisionGUID="a28e39b4-9e9d-4a63-bc9d-ca8d124d34c5" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3927/cubase-dont-recognize-plugins/3932#3932" />
  <row Id="45231" PostHistoryTypeId="2" PostId="25632" RevisionGUID="e7733758-5745-43c8-9368-67c3d23882cd" CreationDate="2012-05-05T23:37:41.767" UserId="7016" Text="I think the obvious suggestion is to reinstall the other plugins and see if they work like that one did.&#xD;&#xA;&#xD;&#xA;It could be that something in an update has become corrupted, affecting the registration of the plugins with Cubase. Reinstalling them should fix that issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="45232" PostHistoryTypeId="2" PostId="25631" RevisionGUID="bf6b6215-8f5a-46c6-bd60-52c685241067" CreationDate="2012-05-05T15:41:42.670" UserId="8283" UserDisplayName="Piluso" Text="Today I opened Cubase 5 and it did not recognize most VST plugins that I have installed.&#xD;&#xA;Even those who are part of projects already completed and saved and had used without problems.&#xD;&#xA;&#xD;&#xA;The plugins are installed, in fact I can use without problems, for example, with other Daws as FL Studio.&#xD;&#xA;&#xD;&#xA;I tried reinstalling one plugin (at random and without uninstalling it previously) and it worked.&#xD;&#xA;&#xD;&#xA;Any ideas or suggestions to solve the problem?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45233" PostHistoryTypeId="1" PostId="25631" RevisionGUID="bf6b6215-8f5a-46c6-bd60-52c685241067" CreationDate="2012-05-05T15:41:42.670" UserId="8283" UserDisplayName="Piluso" Text="Cubase don't recognize plugins" ContentLicense="CC BY-SA 3.0" />
  <row Id="45234" PostHistoryTypeId="3" PostId="25631" RevisionGUID="bf6b6215-8f5a-46c6-bd60-52c685241067" CreationDate="2012-05-05T15:41:42.670" UserId="8283" UserDisplayName="Piluso" Text="&lt;daw&gt;&lt;plugins&gt;&lt;vst&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45241" PostHistoryTypeId="36" PostId="25635" RevisionGUID="d2d99b27-f098-4ab9-b128-7da5a71989e2" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/951/how-do-i-properly-set-audio-levels-of-a-sound-system" />
  <row Id="45242" PostHistoryTypeId="36" PostId="25636" RevisionGUID="d1e59515-79db-4e60-85bf-f3aef306e4e1" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/951/how-do-i-properly-set-audio-levels-of-a-sound-system/954#954" />
  <row Id="45243" PostHistoryTypeId="36" PostId="25637" RevisionGUID="4f802fcf-bd10-42d6-9d83-99188d62eccc" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/951/how-do-i-properly-set-audio-levels-of-a-sound-system/956#956" />
  <row Id="45244" PostHistoryTypeId="2" PostId="25636" RevisionGUID="2fd72901-ae16-4e7f-8350-092e60c7d183" CreationDate="2011-03-04T11:24:14.407" UserId="7202" Text="The signals should in general throughout the whole system, be as high as possible without clipping (the exception on this is from preamps to poweramps, more on that later). When it comes to digital the difference is that the clipping is very hard, so it's more noticeable, so you need to be more careful (but on the other hand, you'll also notice it quicker).&#xD;&#xA;&#xD;&#xA;There isn't any absolute connection between the meters and the perceived volume, as that entirely depends on how much volume your power amps and speakers are outputting. There is an obvious relative connection, in as much as as long as you don't change any levels on the monitoring system, higher meter levels mean higher volume levels.&#xD;&#xA;&#xD;&#xA;The levels on the power amps should be so high that you feel it's the right level. In a live setting you can connect the power amps to the main output of the board if the amps have level adjustments as well, but it's usually handy to have an extra knob for volume adjustments, and therefore you often connect the power amps via a preamp, so you can adjust the volume separately from the main output, as you otherwise would have to adjust all the power amps separately (there are typically at least two, one left, one right, and in some cases can be many more, depending on the size of the system). This is so handy that many live mixers have dedicated speaker outputs with a separate volume for this (sometimes called &quot;master level&quot;, each brand tends to have different names). On studio mixers it's completely essential, and there the outputs are often called &quot;control room output&quot; or similar.&#xD;&#xA;&#xD;&#xA;This way you can make sure the mixer main level is nice and close to the 0db mark, while adjusting the sound level in the room either with the monitor level knob on the mixer, or the volume level on the preamp. This also means you have a good out level to stick into a system for recording the live audio, if you want to do that.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45245" PostHistoryTypeId="2" PostId="25637" RevisionGUID="b55b0f44-7103-4abd-be18-9cd1734d52ca" CreationDate="2011-03-04T16:15:39.740" UserId="7309" UserDisplayName="jwernerny" Text="On most mixers, the meter shows you the voltage swing (intensity) of the waveform.  The perceived volume of sound is actually more dependent on both the intensity and frequency components of what is heard and felt.  (That's what makes [loudness controls][1] and [vocal exciters][2] work.)&#xD;&#xA;&#xD;&#xA;As far as running a high level out of the mixer, I agree with you.  All of my live mixing background has been in the analog world where noise was the enemy.  To that end, I always ran things as hot as possible as far as possible, while leaving a fair amount of headroom to both mix and to compensate for musicians who &quot;give that extra effort&quot; in performance that they don't do during the sound check.&#xD;&#xA;&#xD;&#xA;AFAIK, on a GOOD digital system, the issue of noise is reduced and you have more headroom to play with.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.roger-russell.com/equalizers/equalizers.htm#loud&#xD;&#xA;  [2]: http://www.aphex.com/204.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="45246" PostHistoryTypeId="2" PostId="25635" RevisionGUID="60941c62-d788-4329-a735-d2715301ab9c" CreationDate="2011-03-03T15:47:42.213" UserId="7856" UserDisplayName="Corey" Text="I am looking for some “best practices” and advice on setting the initial levels of my mixing equipment and power amps.&#xD;&#xA;&#xD;&#xA;Are there any guide lines for this sort of thing?&#xD;&#xA;&#xD;&#xA;Traditionally I’ve always tried to keep my signal as high as possible coming out of my mixer.&#xD;&#xA;&#xD;&#xA;I know that the meters on the board are measurements of the electrical signal, but is there any correlation to the actual perceived volume.&#xD;&#xA;&#xD;&#xA;Also, I am using a digital mixer and a digital EQ. Are there any things to consider when dealing with a digital system vs an analog system." ContentLicense="CC BY-SA 2.5" />
  <row Id="45247" PostHistoryTypeId="1" PostId="25635" RevisionGUID="60941c62-d788-4329-a735-d2715301ab9c" CreationDate="2011-03-03T15:47:42.213" UserId="7856" UserDisplayName="Corey" Text="How do I properly set audio levels of a sound system?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45248" PostHistoryTypeId="3" PostId="25635" RevisionGUID="60941c62-d788-4329-a735-d2715301ab9c" CreationDate="2011-03-03T15:47:42.213" UserId="7856" UserDisplayName="Corey" Text="&lt;mixing&gt;&lt;live&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45249" PostHistoryTypeId="36" PostId="25638" RevisionGUID="7c2b83fd-fae0-4790-8838-cda99ae06acc" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9006/whats-the-limit-on-acceptable-free-use-of-creative-commons-music" />
  <row Id="45250" PostHistoryTypeId="36" PostId="25639" RevisionGUID="51b161dc-d972-40d8-a781-a730266cc23c" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9006/whats-the-limit-on-acceptable-free-use-of-creative-commons-music/9007#9007" />
  <row Id="45251" PostHistoryTypeId="36" PostId="25640" RevisionGUID="9cfdc28e-886b-4d76-8607-224de8e9731a" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9006/whats-the-limit-on-acceptable-free-use-of-creative-commons-music/9009#9009" />
  <row Id="45252" PostHistoryTypeId="36" PostId="25641" RevisionGUID="e89aa5bc-a717-42d6-a5bc-07e3b0e36530" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9006/whats-the-limit-on-acceptable-free-use-of-creative-commons-music/9023#9023" />
  <row Id="45253" PostHistoryTypeId="2" PostId="25639" RevisionGUID="8fac4c5e-a86e-4183-a0cb-787679cde5bb" CreationDate="2013-09-20T05:21:05.400" UserDisplayName="noaccount130920" Text="There are 6 types of Creative Commons licenses listed on this Web page:&#xD;&#xA;&#xD;&#xA;http://creativecommons.org/licenses/&#xD;&#xA;&#xD;&#xA;The most liberal license would be the one that only requires attribution:&#xD;&#xA;&#xD;&#xA;http://creativecommons.org/licenses/by/3.0/&#xD;&#xA;&#xD;&#xA;If a person only specifies that they're releasing their work under &quot;Creative Commons&quot;, to me that is ambiguous to the point of being useless information, considering that there are 6 types of licenses, and some of them forbid commercial use." ContentLicense="CC BY-SA 3.0" />
  <row Id="45254" PostHistoryTypeId="2" PostId="25640" RevisionGUID="6cdd45f1-d8c0-4e0e-ab19-9e65ec09b583" CreationDate="2013-09-20T17:24:18.020" UserId="7280" UserDisplayName="Jonathan Arkell" Text="Just be sure to conform to what is specified by the licence, and you will be fine. &#xD;&#xA;&#xD;&#xA;So obviously any Non Commercial license (NC) will not work for you.  The &quot;Share-Alike&quot; one may be one to avoid--I don't know how 'viral' it is.  If you put a (CC) (SA) song in a video, does that mean the video also has to be (CC) (SA)?  At the very least, talk to a lawyer about it.  So that leaves the By Attribution (BY).  That's easy, you jsut need to specify &quot;Music by Foo Such and Such&quot; and you're fine.   &#xD;&#xA;&#xD;&#xA;Also, ping the artist who's work you are using, and let them know!  They will quite likely be excited.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45255" PostHistoryTypeId="2" PostId="25641" RevisionGUID="f3891221-ce5d-4455-a5e5-9db4c299f958" CreationDate="2013-09-21T22:20:08.723" UserId="7174" Text="I am not a lawyer, but my understanding is that with CC licenses, as long as the licence doesn't specify share-alike or non-commercial, you would even be fine to use it in a screening that you charged for.  &#xD;&#xA;&#xD;&#xA;Non-commercial prohibits ALL commercial use, so if it has an NC tag on it, you can't use it.  &#xD;&#xA;&#xD;&#xA;If it has an SA (Share alike) tag on it, they you must license your derivative work under the same CC license type.  &#xD;&#xA;&#xD;&#xA;In all cases, attribution is required, so you must mention who the music is by in some way (such as credits at the end)." ContentLicense="CC BY-SA 3.0" />
  <row Id="45256" PostHistoryTypeId="2" PostId="25638" RevisionGUID="06c2c63d-a073-4f7f-b85c-3b4f21fee510" CreationDate="2013-09-20T03:46:18.373" UserDisplayName="Radrider33" Text="I've been reading through a lot of copyright related posts, but have yet to see the exact answer I'm looking for:&#xD;&#xA;&#xD;&#xA;I'm shooting and cutting an aerial videography reel for a local contracting company. It will be posted on their website as used to display what sorts of projects they've recently finished. I have done plenty of work for others but it's generally very platonic, and the media that I've done only really ends up on YouTube. This will be my first gig where I'm officially &quot;employed&quot; by a company, and I want to use music that won't get either of us sued. &#xD;&#xA;&#xD;&#xA;As far as I can tell, Creative Commons allows commercial use as long as commercial use isn't explicitly prohibited. For example: I usually browse the CC tracks from smaller, upcoming artists on SoundCloud to find something that I can use without worry. Is my assumption correct? This sample reel won't be &quot;sold&quot; like a film or aired on television, etc. It will only remain on their site. " ContentLicense="CC BY-SA 3.0" />
  <row Id="45257" PostHistoryTypeId="1" PostId="25638" RevisionGUID="06c2c63d-a073-4f7f-b85c-3b4f21fee510" CreationDate="2013-09-20T03:46:18.373" UserDisplayName="Radrider33" Text="What's the limit on acceptable free use of Creative Commons music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45258" PostHistoryTypeId="3" PostId="25638" RevisionGUID="06c2c63d-a073-4f7f-b85c-3b4f21fee510" CreationDate="2013-09-20T03:46:18.373" UserDisplayName="Radrider33" Text="&lt;music&gt;&lt;copyright&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45259" PostHistoryTypeId="36" PostId="25642" RevisionGUID="c281bc38-b539-4738-99ec-19333e9eb40b" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5328/looking-for-ambient-sounds-that-could-pass-as-1830s-london" />
  <row Id="45260" PostHistoryTypeId="2" PostId="25643" RevisionGUID="29c728f4-9d94-4b29-98ee-261109ea97e4" CreationDate="2012-11-14T21:28:39.310" UserId="7189" Text="The two things that come immediately to mind are that you should look at photography and sketches of 19th century London, and you should listen to any audio material you can find from cities that are at about that level of technological development.&#xD;&#xA;&#xD;&#xA;Photography and sketches will help you determine what noise-creating objects you need to simulate. It is safe to assume that there won't be cars and busses, but what sort of animals, trains, and steam engines should you expect?&#xD;&#xA;&#xD;&#xA;One thing to keep in mind is that the British Empire reached around the world before it started to fall apart. As a result, you might be able to find cities and villages which were former parts of the British Empire that have retained 19th century British urban technology. Look for recordings of these areas, if you can find them. Or travel to them if your budget allows.&#xD;&#xA;&#xD;&#xA;Finally, check out documentaries and period dramas set at the same time. If your goal is entertainment rather than documentary, then you may be better off sticking to the established cliches than authentic reproduction. There are some good articles about [Foley effects][1] that suggest that effective sound design is more important than authentic sound design.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Foley_%28filmmaking%29" ContentLicense="CC BY-SA 3.0" />
  <row Id="45261" PostHistoryTypeId="2" PostId="25642" RevisionGUID="2c28cc39-1f2a-4ee2-87d9-16434fe8235b" CreationDate="2012-11-14T17:33:14.780" UserDisplayName="bretterer" Text="I am working on a project that needs ambient street sounds from London in the 1830's.  I have been trying to build this up from nothing and it is going well, however I need some sort of underlying tone to tie everything together.  Does anyone have suggestions where to find something like this? The track is about 40 minutes long.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45262" PostHistoryTypeId="1" PostId="25642" RevisionGUID="2c28cc39-1f2a-4ee2-87d9-16434fe8235b" CreationDate="2012-11-14T17:33:14.780" UserDisplayName="bretterer" Text="Looking for ambient sounds that could pass as 1830's London" ContentLicense="CC BY-SA 3.0" />
  <row Id="45263" PostHistoryTypeId="3" PostId="25642" RevisionGUID="2c28cc39-1f2a-4ee2-87d9-16434fe8235b" CreationDate="2012-11-14T17:33:14.780" UserDisplayName="bretterer" Text="&lt;sound-effects&gt;&lt;sound-design&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45264" PostHistoryTypeId="36" PostId="25643" RevisionGUID="541353e1-fc11-47cb-9ba3-aab98624fbad" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5328/looking-for-ambient-sounds-that-could-pass-as-1830s-london/5334#5334" />
  <row Id="45265" PostHistoryTypeId="36" PostId="25644" RevisionGUID="20bf5ead-4377-4522-84a9-1162c9715186" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5328/looking-for-ambient-sounds-that-could-pass-as-1830s-london/5343#5343" />
  <row Id="45266" PostHistoryTypeId="2" PostId="25644" RevisionGUID="e2167e2e-c537-4eec-8e5c-ae4a7f34f503" CreationDate="2012-11-15T23:28:30.573" UserDisplayName="Chris James Champeau" Text="Check out [FreeSound](http://freesound.org) to find sound design elements." ContentLicense="CC BY-SA 3.0" />
  <row Id="45267" PostHistoryTypeId="36" PostId="25645" RevisionGUID="63072b0a-a468-429c-a16f-459d07c966d7" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3686/how-to-create-a-podcast-soundboard" />
  <row Id="45268" PostHistoryTypeId="36" PostId="25646" RevisionGUID="4552572e-eb2d-4381-b7cc-08e6e9b53b14" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3686/how-to-create-a-podcast-soundboard/3706#3706" />
  <row Id="45269" PostHistoryTypeId="36" PostId="25647" RevisionGUID="3e19c557-a425-4621-ac19-5727e7d0d0e2" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3686/how-to-create-a-podcast-soundboard/3709#3709" />
  <row Id="45270" PostHistoryTypeId="36" PostId="25648" RevisionGUID="e18051c0-0127-44da-93f2-abf03abe1cc6" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3686/how-to-create-a-podcast-soundboard/3710#3710" />
  <row Id="45271" PostHistoryTypeId="36" PostId="25649" RevisionGUID="465b1d0d-03ca-402f-93cd-e460bfc70932" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3686/how-to-create-a-podcast-soundboard/4112#4112" />
  <row Id="45272" PostHistoryTypeId="2" PostId="25646" RevisionGUID="d63de487-f454-43aa-9f7e-0679179e1d7d" CreationDate="2012-04-05T16:16:06.063" UserDisplayName="Michael" Text="I am interested in what people will suggest as far hardware solutions, but you may save yourself some money and setup if you just insert the sound effects after the fact (post-production). &#xD;&#xA;&#xD;&#xA;The basic process is to record your podcast as normal, and then in Audacity you can insert the sound effects or songs on a separate track and then mix down to a single file again. This is simply an alternative to your hardware solution - it may not fit in with the production process you had in mind." ContentLicense="CC BY-SA 3.0" />
  <row Id="45273" PostHistoryTypeId="2" PostId="25647" RevisionGUID="1b342d25-5052-4f11-8986-734ed9d0e7d0" CreationDate="2012-04-05T19:04:14.923" UserDisplayName="JohnnyCanuck" Text="Soundboards have typically been dedicated PC's routed to the main mixer for years now, I was using one in 1997. If you are using a mixer in your podcast, you should have a look at SoundBoard for the iPad from Ambrosia Software for $20 and the price of an iPad (which you may already have) you can replicate the exact functionality of a radio station soundboard. I am not sure if there are Android equivalents but since the tablets don't have fans, run silently and are touch screen they are ideal for this purpose. " ContentLicense="CC BY-SA 3.0" />
  <row Id="45274" PostHistoryTypeId="2" PostId="25648" RevisionGUID="c41d7980-02e3-4672-ab06-2206ac635b62" CreationDate="2012-04-06T02:52:17.930" UserId="7093" Text="A solution that might work for you would be to use a combination of hardware controller with software to generate the sound effects.&#xD;&#xA;&#xD;&#xA;The controller would look something like this:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Many people use [Ableton Live][2] for just what you are trying to do.  There are several hardware controllers that will work with it.  A few can be found [here][3].&#xD;&#xA;&#xD;&#xA;I have never used this type of setup, so I don't have any specific product recommendations, but this should at least give you an idea of where to start looking.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/fErmV.png&#xD;&#xA;  [2]: http://www.ableton.com/live-8&#xD;&#xA;  [3]: http://www.ableton.com/controllers" ContentLicense="CC BY-SA 3.0" />
  <row Id="45275" PostHistoryTypeId="2" PostId="25649" RevisionGUID="337711ed-5d1e-4d2f-b3f4-74c54eeddc91" CreationDate="2012-06-05T16:56:42.423" UserId="7294" UserDisplayName="Warrior Bob" Text="A &quot;physical device that is pre-programmed with the sounds of my choice&quot; is called a [sampler](http://en.wikipedia.org/wiki/Sampler_(musical_instrument)) and what kind you'll need is entirely up to your personal requirements. They can be [quite simple things](http://www.vintagesynth.com/roland/sp202.php) that basically just play back short recordings when you press a button, all the way up to [very elaborate devices](http://www.soundonsound.com/sos/dec08/articles/akaimpc5000.htm) that you can [compose entire albums with](http://en.wikipedia.org/wiki/Entroducing). I personally have used the Boss SP-202 in the first link, and can say that while loading sounds onto it can be a bit awkward, it works quite well and simply once they're loaded.&#xD;&#xA;&#xD;&#xA;However, to save cost, you may find that software works just as well for you, since you already have a computer running into your mixer. If you need physical buttons you can probably get a simple MIDI controller to trigger sounds with (a la [Friend of George's answer](http://avp.stackexchange.com/a/3710/95)), although at that point you may as well go with a hardware sampler for simplicity. " ContentLicense="CC BY-SA 3.0" />
  <row Id="45276" PostHistoryTypeId="2" PostId="25645" RevisionGUID="5995dd00-274a-40f4-a1f6-c50841b65737" CreationDate="2012-04-02T19:29:51.587" UserDisplayName="NewWorldOrderly" Text="I have been fairly successful setting up my own DIY podcast from my home.  I use XLR mics, a 8-channel mixer, and record with Audacity.&#xD;&#xA;&#xD;&#xA;The next step is adding additional sound elements to the podcast without having to fiddle around with lots of things on the computer.  I do have a computer feeding into the mix, but I mainly use this for searching the web, playing the intro/outro, playing songs, etc.&#xD;&#xA;&#xD;&#xA;For sound effects, I'd much prefer to have a physical device that is pre-programmed with the sounds of my choice.  What are some of the best options for this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45277" PostHistoryTypeId="1" PostId="25645" RevisionGUID="5995dd00-274a-40f4-a1f6-c50841b65737" CreationDate="2012-04-02T19:29:51.587" UserDisplayName="NewWorldOrderly" Text="How to create a podcast soundboard?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45278" PostHistoryTypeId="3" PostId="25645" RevisionGUID="5995dd00-274a-40f4-a1f6-c50841b65737" CreationDate="2012-04-02T19:29:51.587" UserDisplayName="NewWorldOrderly" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45279" PostHistoryTypeId="36" PostId="25650" RevisionGUID="b0ebbc71-f86f-4796-961b-7bc4ccd061ff" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4403/going-about-creating-a-new-song-in-a-daw" />
  <row Id="45280" PostHistoryTypeId="36" PostId="25651" RevisionGUID="947f1379-184d-4e95-a692-1366c52b5020" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4403/going-about-creating-a-new-song-in-a-daw/4404#4404" />
  <row Id="45281" PostHistoryTypeId="2" PostId="25651" RevisionGUID="8392ba84-0a2e-4577-b480-f6ed9361758b" CreationDate="2012-07-14T10:11:33.980" UserId="7016" Text="I don't know anyone who actually *writes* music in a DAW. DAW's are good for moving your basic tune to a more finished piece.&#xD;&#xA;&#xD;&#xA;Typically you'll get your concept from strumming a guitar, playing on a piano, singing a melody etc. or just jamming with the band.&#xD;&#xA;&#xD;&#xA;A simple next step is to pop a basic click track into a DAW and lay down a version, which you can then return to to change tones, instruments, keys, effects etc and add complete drum tracks.&#xD;&#xA;&#xD;&#xA;Then, from the producers I know, you have a massive number of improvement iterations, tweaking filters and delays, moving attack points etc., before even thinking about mastering, but I think most of those latter stages do not count as writing a song..." ContentLicense="CC BY-SA 3.0" />
  <row Id="45282" PostHistoryTypeId="2" PostId="25652" RevisionGUID="6cdc340d-f7eb-4cf4-8b98-3951622d9ff3" CreationDate="2012-07-16T21:20:42.333" UserId="6559" Text="In addition to using the DAW to mimic traditional songwriting steps -- doodling on a VST piano, or jamming with drum loop and arpeggiated bass -- you could use the DAW's features to seed the creative process. How about&#xD;&#xA;&#xD;&#xA; - try the different preset sounds (as you suggested) and try them with different effects too: a flanged piano will lead to you playing different rhythms and cadences than for an untreated instrument; a blippy echo on a synth may suggest a different tune.&#xD;&#xA; - try and recreate the structure and chord of a published song (can be good practice in refining your technical DAW skills) but make a conscious effort to diverge, dilute and replace the original over time.&#xD;&#xA; - Use the DAWs MIDI functions, e.g. Cubase allows you to &quot;delete black keys&quot;, or reverse the order of notes.&#xD;&#xA; - record MIDI based tracks using traditional drum kit sounds, then play them back on tuned percussion.&#xD;&#xA; - Try capturing tunes/chords using the list editor or score editor modes (rather than input from keyboard)&#xD;&#xA;&#xD;&#xA;As has been commented, there's no best method. Personally, I generally start with piano (not in the DAW, so that I don't get tempted to play with the myriad features), and prefer to have lyrics in mind too. Hopefully, your DAW may help if the Muse is playing hard to get." ContentLicense="CC BY-SA 3.0" />
  <row Id="45283" PostHistoryTypeId="2" PostId="25650" RevisionGUID="12caa85e-74e8-4da5-9e39-69c378643b0d" CreationDate="2012-07-14T01:02:11.977" UserId="7257" UserDisplayName="le_garry" Text="This is a question for the users who write music in a DAW; what is your process for starting a new song? Do you have an idea of what the song sounds like and go from there? Or do you mess around with instruments and keys until you find something that sounds cool? Which methodology is better?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45284" PostHistoryTypeId="1" PostId="25650" RevisionGUID="12caa85e-74e8-4da5-9e39-69c378643b0d" CreationDate="2012-07-14T01:02:11.977" UserId="7257" UserDisplayName="le_garry" Text="Going about creating a new song in a DAW?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45285" PostHistoryTypeId="3" PostId="25650" RevisionGUID="12caa85e-74e8-4da5-9e39-69c378643b0d" CreationDate="2012-07-14T01:02:11.977" UserId="7257" UserDisplayName="le_garry" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45286" PostHistoryTypeId="36" PostId="25652" RevisionGUID="2d544767-42c8-4cd6-81cf-44e0dd35c94c" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4403/going-about-creating-a-new-song-in-a-daw/4419#4419" />
  <row Id="45287" PostHistoryTypeId="36" PostId="25653" RevisionGUID="d9335f11-91e4-4269-b89f-e02a27211ebe" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4403/going-about-creating-a-new-song-in-a-daw/4430#4430" />
  <row Id="45288" PostHistoryTypeId="2" PostId="25653" RevisionGUID="7bc12382-aa3b-4608-9fcf-f11dbcf034a0" CreationDate="2012-07-18T16:48:52.983" UserId="7294" UserDisplayName="Warrior Bob" Text="There is no single right answer for this - writing music, using a DAW or otherwise, is an open-ended process and anything that works for you is legitimate.&#xD;&#xA;&#xD;&#xA;I personally use both approaches - starting with an idea, and starting with nothing and seeing what comes up - and have found success with both. For my purposes, the second one seems to be more effective, but this is probably because I tend to write electronic music where instrument timbre is very important - I'm more focused on the sound of the instruments than their arrangement, so beginning with an interesting sound I've created in my DAW is a natural starting point for inspiration. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45289" PostHistoryTypeId="36" PostId="25654" RevisionGUID="aefecc24-fc0a-4d2b-9b3a-d53184e7d2ee" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1580/is-it-possible-to-record-directly-to-a-computers-cd-drive" />
  <row Id="45290" PostHistoryTypeId="2" PostId="25655" RevisionGUID="214daa61-d104-4221-85a8-ece4f5a69e8e" CreationDate="2011-07-07T05:33:22.627" UserDisplayName="Clint Torres" Text="I may have found a program that does direct to CD audio recording, but feel like I need to ask you to not try this approach, and consider a normal recording workflow.&#xD;&#xA;&#xD;&#xA;If you're sending audio to the CD burner, then you're in HUGE danger of losing your recording if anything goes wrong with the computer, or with the disk.  It seems like you're choosing between either getting the recording, or getting the cd &quot;immediately&quot;.  Given that choice, I'd **always** choose to get the recording.  Even if some program was able to clone the audio stream and save a backup to your hard drive, I'd still be scared of using it, because who knows what would happen during a power failure (how long to reboot your recording setup?), or a system crash caused by an AWOL CD burner.&#xD;&#xA;&#xD;&#xA;If your customer is trying to make CDs quickly (say, after a concert), then it's still a better idea to bring a duplicator with you, and hit the record button as soon as the audience starts their final cheer.  It's just hard to imagine a situation where the priority would be on MAYBE getting a disk now, instead of getting a disk in just a few seconds.&#xD;&#xA;&#xD;&#xA;The program I found was made by... well... I have no idea.  There's a complete lack of addresses or other identifying locations or names on their website.  Considering your personal financial safety, it would be insanity to order anything from a company with just a website and an email address, especially if a client was going to rely on it.&#xD;&#xA;&#xD;&#xA;If all of this still didn't dissuade you, the program is called Direct Audio CD, at softgogo dot com.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45291" PostHistoryTypeId="2" PostId="25654" RevisionGUID="5bcc055f-2cb9-4a33-b20f-3d4b265c0d16" CreationDate="2011-06-12T00:39:09.393" UserId="7231" Text="I'm working with a client who needs to minimize the time between when recording is done and when the finalized audio CD ejects from the drive.&#xD;&#xA;&#xD;&#xA;All of the computer recording software I'm aware of will generate a file which can then be burned to an Audio CD. I know there is [external hardware](http://www.roland.com/products/en/CD-2i/index.html) I could buy that would burn an analog stream directly to disc, but I'm wondering if any software exists that can achieve this with a computer's internal optical drive. Ideally for Mac, though if it only exists for Windows or Linux I would be interested to hear about it.&#xD;&#xA;&#xD;&#xA;(Other alternatives have been explored; I would much rather not deal with optical media at all, but this is a highly specialized situation.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="45292" PostHistoryTypeId="1" PostId="25654" RevisionGUID="5bcc055f-2cb9-4a33-b20f-3d4b265c0d16" CreationDate="2011-06-12T00:39:09.393" UserId="7231" Text="Is it possible to record directly to a computer's CD drive?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45293" PostHistoryTypeId="3" PostId="25654" RevisionGUID="5bcc055f-2cb9-4a33-b20f-3d4b265c0d16" CreationDate="2011-06-12T00:39:09.393" UserId="7231" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45294" PostHistoryTypeId="36" PostId="25655" RevisionGUID="cee87eb7-328a-4572-83b5-e18f19d14475" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1580/is-it-possible-to-record-directly-to-a-computers-cd-drive/1791#1791" />
  <row Id="45295" PostHistoryTypeId="36" PostId="25656" RevisionGUID="ffc1f944-714b-43fc-a8a9-b6d460124a56" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9860/what-software-and-speakers-are-these-in-this-picture" />
  <row Id="45296" PostHistoryTypeId="2" PostId="25657" RevisionGUID="daab2b93-bee3-41e1-9480-7eae5359113a" CreationDate="2014-01-07T23:05:17.437" UserId="7174" Text="I can't tell the exact speaker model, but they are studio monitors from [KRK Systems][1].  The devices on the bottom of that photo are production switchers, which are designed for doing live video production.  The screens appear to be the monitors for the switchers themselves, so it isn't software, it is hardware.  You are also probably looking at atleast 25 grand worth of equipment there.&#xD;&#xA;&#xD;&#xA;I can identify the surface on the right as a [Panasonic AG-HMX100][2], which lists for about 6 grand, because I've used that particular model before, but the other's I'd need higher resolution to identify.  The left one is a [NewTek TriCaster 460][3].  That is also what you are seeing the screen for, at least on the left monitor, if not also the right.  The full kit for that is around 20 grand between switching hardware (not visible in the photo) and control surface.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.krksys.com/krk-studio-monitor-speakers.html&#xD;&#xA;  [2]: http://www.panasonic.com/business/provideo/AG-HMX100.asp&#xD;&#xA;  [3]: http://www.bhphotovideo.com/bnh/controller/home?O=&amp;sku=1021605&amp;is=REG&amp;Q=&amp;A=details" ContentLicense="CC BY-SA 3.0" />
  <row Id="45297" PostHistoryTypeId="2" PostId="25656" RevisionGUID="1f2a6db0-8a0b-4d39-a6b1-9f39c40043bc" CreationDate="2014-01-07T22:14:07.360" UserDisplayName="Jeferson Santos" Text="Could anyone help me? I would like to know what software/Interfaces and what speaker (the ones with the yellow ring) in this pic.&#xD;&#xA;&#xD;&#xA;![This is the pic][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/mSWYY.jpg&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="45298" PostHistoryTypeId="1" PostId="25656" RevisionGUID="1f2a6db0-8a0b-4d39-a6b1-9f39c40043bc" CreationDate="2014-01-07T22:14:07.360" UserDisplayName="Jeferson Santos" Text="What software and Speakers are these in this picture?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45299" PostHistoryTypeId="3" PostId="25656" RevisionGUID="1f2a6db0-8a0b-4d39-a6b1-9f39c40043bc" CreationDate="2014-01-07T22:14:07.360" UserDisplayName="Jeferson Santos" Text="&lt;software&gt;&lt;live&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45300" PostHistoryTypeId="36" PostId="25657" RevisionGUID="f71911a4-51c1-44df-bd34-4645b81e1cdd" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9860/what-software-and-speakers-are-these-in-this-picture/9861#9861" />
  <row Id="45301" PostHistoryTypeId="36" PostId="25658" RevisionGUID="e9897445-303e-4c86-8a50-9436b44775da" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1549/how-can-i-reduce-noise-with-many-cables" />
  <row Id="45302" PostHistoryTypeId="36" PostId="25659" RevisionGUID="e8fe200f-7759-41da-89ab-64e32df5a5a8" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1549/how-can-i-reduce-noise-with-many-cables/1550#1550" />
  <row Id="45303" PostHistoryTypeId="36" PostId="25660" RevisionGUID="629f980e-dcc2-49a8-9c2f-52baf4d517b1" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1549/how-can-i-reduce-noise-with-many-cables/1551#1551" />
  <row Id="45304" PostHistoryTypeId="2" PostId="25659" RevisionGUID="6904288c-f5f3-4a1a-a5d5-7da7ce3dd889" CreationDate="2011-06-06T15:15:02.723" UserId="7251" Text="I've never had problems cross talk between Mic channels,  if you think about a standard gig setup the Mic leads will be parallel for &gt;150m without problems. More likely to cause issues are power cables, in particular dimmed power from lighting racks, which is something I've experienced many times.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="45305" PostHistoryTypeId="2" PostId="25660" RevisionGUID="7adb3ae3-2519-4204-94f2-17ad192c41e9" CreationDate="2011-06-06T15:16:11.830" UserId="7045" Text="If you have 10 mics plugged in at all times, I can see that'd be a bit of a mess. However, if you're using good-quality XLR cables and using proper XLR connections (i.e., no XLR-to-1/4&quot; connectors), there's no reason you should be getting a lot of noise unless the cables are very long indeed. &#xD;&#xA;&#xD;&#xA;I've never heard that parellel cables add noise simply by virtue of them being parallel, (although I'm not as electrically inclined as I could be).&#xD;&#xA;&#xD;&#xA;Are the mics all plugged into your audio interface, or are they plugged into a mixing board first? Have you eliminated the board as a source of noise? If the board is plugged into your computer (I would hope it is!), what cables are you using? TTry testing them for noise as well. " ContentLicense="CC BY-SA 3.0" />
  <row Id="45306" PostHistoryTypeId="2" PostId="25661" RevisionGUID="1562c47c-c11a-4cea-add1-fd67dea72442" CreationDate="2011-06-06T15:16:36.337" UserId="7209" Text="You shouldn't have any trouble with this.  The voltages coming from microphones are next to nothing, and phantom power is DC and from the same source.  Think of a snake cable with 32+ channels in it, running a couple hundred feet.&#xD;&#xA;&#xD;&#xA;You only need to be concerned about power cables running in parallel to your microphone cables.  Even then, it generally isn't a huge problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="45307" PostHistoryTypeId="2" PostId="25658" RevisionGUID="2b4b3e6a-2d06-4a27-9966-49c5e18311f9" CreationDate="2011-06-06T13:24:31.070" UserDisplayName="user135" Text="I have a home studio with 10 microphones cabled up.  These cables all connect from the audio interface to the microphones, and follow generally the same path.  I have heard that parallel cables add noise to each other.&#xD;&#xA;&#xD;&#xA;Is this really a problem?  How can I avoid this, given that they are all coming from one place?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45308" PostHistoryTypeId="1" PostId="25658" RevisionGUID="2b4b3e6a-2d06-4a27-9966-49c5e18311f9" CreationDate="2011-06-06T13:24:31.070" UserDisplayName="user135" Text="How can I reduce noise with many cables?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45309" PostHistoryTypeId="3" PostId="25658" RevisionGUID="2b4b3e6a-2d06-4a27-9966-49c5e18311f9" CreationDate="2011-06-06T13:24:31.070" UserDisplayName="user135" Text="&lt;home-studio&gt;&lt;noise&gt;&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45310" PostHistoryTypeId="36" PostId="25661" RevisionGUID="6abd49b9-c975-47e3-8b0f-fbb5a6e6cc70" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1549/how-can-i-reduce-noise-with-many-cables/1552#1552" />
  <row Id="45311" PostHistoryTypeId="36" PostId="25662" RevisionGUID="89a2c73c-b65b-4bd6-923d-b4557cd14446" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1549/how-can-i-reduce-noise-with-many-cables/1553#1553" />
  <row Id="45312" PostHistoryTypeId="36" PostId="25663" RevisionGUID="69b5e8b1-f597-4a64-9f03-b28ea9706adc" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1549/how-can-i-reduce-noise-with-many-cables/1585#1585" />
  <row Id="45313" PostHistoryTypeId="2" PostId="25662" RevisionGUID="30a3a480-2a64-4d09-a78b-1ef55db6c193" CreationDate="2011-06-06T15:19:17.763" UserDisplayName="jeebs" Text="&gt; Is this really a problem?&#xD;&#xA;&#xD;&#xA;I doubt it but you can work this out yourself with a simple experiment. Set up your environment as you would for a real recording session. Record a minute or so of silence with all 10 microphones. Repeat with just 5 connected, then 1, then none. Compare the difference in the &quot;silent&quot; recordings e.g. is the peak amplitude of the background noise larger for your 10 microphone setup than any other?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45314" PostHistoryTypeId="2" PostId="25663" RevisionGUID="94995b81-bb0c-4ca6-a3a9-c40a195a69e0" CreationDate="2011-06-13T18:37:19.783" UserDisplayName="draeath" Text="What you're asking about is called crosstalk. That kind of signal at those intensities - it shouldn't be a problem. Just like everyone else is saying :)&#xD;&#xA;&#xD;&#xA;I'd have commented but I can't do so here yet." ContentLicense="CC BY-SA 3.0" />
  <row Id="45315" PostHistoryTypeId="36" PostId="25664" RevisionGUID="360a6b0d-4b1a-4764-801f-aa65ad045cd5" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/182/should-i-use-44-1khz-48khz-or-96khz-sampling-frequency-for-hobby-projects" />
  <row Id="45316" PostHistoryTypeId="36" PostId="25665" RevisionGUID="f1e0f0f5-3dc2-4791-a0f0-d0e5637d52b0" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/182/should-i-use-44-1khz-48khz-or-96khz-sampling-frequency-for-hobby-projects/186#186" />
  <row Id="45317" PostHistoryTypeId="36" PostId="25666" RevisionGUID="3cbbc547-1a80-4593-9897-a0832285af94" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/182/should-i-use-44-1khz-48khz-or-96khz-sampling-frequency-for-hobby-projects/189#189" />
  <row Id="45318" PostHistoryTypeId="36" PostId="25667" RevisionGUID="b9ed5d26-2f96-421a-9a44-8d4b01850934" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/182/should-i-use-44-1khz-48khz-or-96khz-sampling-frequency-for-hobby-projects/190#190" />
  <row Id="45319" PostHistoryTypeId="36" PostId="25668" RevisionGUID="0eb28e57-f143-4f16-b9f2-ec256bd6f104" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/182/should-i-use-44-1khz-48khz-or-96khz-sampling-frequency-for-hobby-projects/197#197" />
  <row Id="45320" PostHistoryTypeId="2" PostId="25665" RevisionGUID="1dd16452-056b-496e-8678-38a22912abd7" CreationDate="2010-12-09T12:02:42.403" UserDisplayName="ddeimeke" Text="I generate audio in the best quality possible, this means for my equipment 24bit/96 kHz and I am &quot;only&quot; doing a podcast.&#xD;&#xA;&#xD;&#xA;Reason for this is to have all possibilities open for processing after recording. If this is too much data for you to process, the first step could be to copy the original data to a file with less quality.&#xD;&#xA;&#xD;&#xA;Please check page 15 of [this presentation][1] (pdf). Even if it is in German you will get the point.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.niche09.de/downloads/BessererKlang_ConstantinGonzales_niche09.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="45321" PostHistoryTypeId="2" PostId="25666" RevisionGUID="e338a0ee-f148-475f-862b-e27a8f208465" CreationDate="2010-12-09T12:50:17.387" UserId="7592" UserDisplayName="Pelle ten Cate" Text="&gt; I understand why sampling at 44.1 KHz&#xD;&#xA;&gt; means frequencies approaching 22.05&#xD;&#xA;&gt; KHz begin to suffer from sampling&#xD;&#xA;&gt; artifacts due to the Nyquist theorem.&#xD;&#xA;&gt; I can't tell the difference, to be&#xD;&#xA;&gt; honest. Once my signal leaves the&#xD;&#xA;&gt; digital domain, my analogue gear&#xD;&#xA;&gt; probably masks a lot of the details in&#xD;&#xA;&gt; this region and my hearing is&#xD;&#xA;&gt; definitely not sensitive to 20KHz&#xD;&#xA;&gt; anymore.&#xD;&#xA;&#xD;&#xA;You can't tell this when doing an A-B comparison between a 96KHz track and a 44,1KHz track, but you can tell the difference at the end of a 16h session in 1 day between &quot;Why did id sound so good in the beginning?&quot; and &quot;Boy am I tired, let's continue tomorrow.&quot;&#xD;&#xA;&#xD;&#xA;I am always getting a moment of the first case when recording on a low sampling rate. I can't tell exactly how this works psychologically but the dirty filtering stuff on low sample rates definitely has to do with it. It exhausts the part of your brain that has to process it and tells you there is no difference, I guess. I never got generally disappointed about quality while working on 96KHz during the day." ContentLicense="CC BY-SA 2.5" />
  <row Id="45322" PostHistoryTypeId="2" PostId="25668" RevisionGUID="39c7ec8f-8949-4eb0-a28f-0df640c0f367" CreationDate="2010-12-09T17:27:58.957" UserDisplayName="davetron5000" Text="If you can't tell the difference, I wouldn't sweat it.  You may, someday, be able to tell the difference, but if you can't now, and your clients can't, I think this is a premature optimization of your setup.&#xD;&#xA;&#xD;&#xA;There may be a technical reason to do so, such as interchange with other systems/people." ContentLicense="CC BY-SA 2.5" />
  <row Id="45323" PostHistoryTypeId="2" PostId="25669" RevisionGUID="d963c39d-2de0-4655-ae03-eec8d591dd6c" CreationDate="2010-12-09T22:24:31.743" UserId="7294" UserDisplayName="Warrior Bob" Text="I tend to prefer something higher than 44.1KHz because (like you said) it's pretty close to the minimum useful frequency (according to Nyquist), and I try not to assume that I'm going to be using the audio in the same way all the time.  &#xD;&#xA;&#xD;&#xA;The best example I can think of is timestretching algorithms.  I'm a big fan of Ableton Live's warping, and at some point I want to invest in a DVS like Serato (or similar) and start playing my tracks at ridiculously high and low speeds, just to see what happens.  When I do that, the extra resolution should become apparent.  I don't KNOW this (never really experimented enough with it) but I'm pretty sure it's the case, and so I favor the higher rate.&#xD;&#xA;&#xD;&#xA;For me, it's about keeping my options open. " ContentLicense="CC BY-SA 2.5" />
  <row Id="45324" PostHistoryTypeId="2" PostId="25667" RevisionGUID="38ccc45a-a9ff-451b-92b2-6e6017ab06c5" CreationDate="2010-12-09T12:56:10.767" UserDisplayName="Kyle Sevenoaks" Text="I just stick with 44.1khz. sometimes I've ported projects over to another location and the sound equipment can't handle anything about 44.1khz. Plus there isn't much difference in the sound. &#xD;&#xA;&#xD;&#xA;The only advantage I can think of in using &gt;44.1 is more data to process after mixing down/bouncing/recording.. " ContentLicense="CC BY-SA 2.5" />
  <row Id="45325" PostHistoryTypeId="2" PostId="25664" RevisionGUID="a64d5389-f148-4133-92ab-b20145a0e947" CreationDate="2010-12-09T09:49:02.830" UserDisplayName="Kim Burgaard" Text="I use a firewire audio interface with a decent microphone pre-amp and the ability to sample up to 96KHz in 24-bit.&#xD;&#xA;&#xD;&#xA;I get why I'd want to use 24-bit for the added dynamic range, especially when using a lot of DSP plugins.  But I'm much less certain about the sampling frequency.&#xD;&#xA;&#xD;&#xA;I understand why sampling at 44.1 KHz means frequencies approaching 22.05 KHz begin to suffer from sampling artifacts due to the Nyquist theorem.  I can't tell the difference, to be honest.  Once my signal leaves the digital domain, my analogue gear probably masks a lot of the details in this region and my hearing is definitely not sensitive to 20KHz anymore.&#xD;&#xA;&#xD;&#xA;For the sake of obtaining slightly better fidelity of frequencies near 20KHz, I can switch to 48KHz.  In my setup I can playback sound recorded and mixed in 48KHz &quot;natively&quot;, but I know any potential listeners will be more likely to listen at 44.1KHz. If I burn to CD, it will definitely have to be resampled to 44.1KHz.  My philosophy is then that I'd rather do the resampling than rely on whatever arbitrary resampler the listener has.  I've been burned pretty badly by automatic resampling in Windows in the past.&#xD;&#xA;&#xD;&#xA;Finally there's 96KHz. More than twice as many samples per second than a regular CD.  I can see how this extra fidelity might benefit effects processing, especially if you do a lot of advanced processing.  I can also see how you might benefit with extreme pitch or time changes, since there's more material you can throw away, yet still maintain good fidelity. I don't burn 96KHz audio DVDs -- do anybody actually use this today?&#xD;&#xA;&#xD;&#xA;So the thing is, I can't really hear the difference when recording in 96KHz, but it takes up twice as much space and causes my DAW to work at least twice as much, meaning I can run much less concurrent DSP plugins at the same time.&#xD;&#xA;&#xD;&#xA;I don't think I can blame my equipment much and I don't have any plans to upgrade any of it for the moment.  I'm using the Mackie HR824 studio monitors in an acoustically decent location with the Mackie ONYX Satellite audio interface.&#xD;&#xA;&#xD;&#xA;Am I missing something? Are my ears shot? Are there other properties of recording in 96KHz that makes it worthwhile?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45326" PostHistoryTypeId="1" PostId="25664" RevisionGUID="a64d5389-f148-4133-92ab-b20145a0e947" CreationDate="2010-12-09T09:49:02.830" UserDisplayName="Kim Burgaard" Text="Should I use 44.1KHz, 48KHz or 96KHZ sampling frequency for hobby projects?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45327" PostHistoryTypeId="3" PostId="25664" RevisionGUID="a64d5389-f148-4133-92ab-b20145a0e947" CreationDate="2010-12-09T09:49:02.830" UserDisplayName="Kim Burgaard" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45328" PostHistoryTypeId="36" PostId="25669" RevisionGUID="8fcd7921-3e92-48c1-8f43-cf6859326af1" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/182/should-i-use-44-1khz-48khz-or-96khz-sampling-frequency-for-hobby-projects/202#202" />
  <row Id="45329" PostHistoryTypeId="36" PostId="25670" RevisionGUID="82e30108-6044-4a60-902c-61e16d0bd30c" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/182/should-i-use-44-1khz-48khz-or-96khz-sampling-frequency-for-hobby-projects/564#564" />
  <row Id="45330" PostHistoryTypeId="36" PostId="25671" RevisionGUID="5d174485-1332-4752-aed7-37a7f99ceef7" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/182/should-i-use-44-1khz-48khz-or-96khz-sampling-frequency-for-hobby-projects/671#671" />
  <row Id="45331" PostHistoryTypeId="36" PostId="25672" RevisionGUID="b454bee9-eb1d-4008-a771-d807cb0f8463" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/182/should-i-use-44-1khz-48khz-or-96khz-sampling-frequency-for-hobby-projects/855#855" />
  <row Id="45332" PostHistoryTypeId="36" PostId="25673" RevisionGUID="106e4538-5f8f-4352-a147-f62ba4d6a867" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/182/should-i-use-44-1khz-48khz-or-96khz-sampling-frequency-for-hobby-projects/920#920" />
  <row Id="45333" PostHistoryTypeId="2" PostId="25670" RevisionGUID="62f6ddf2-c02d-47ce-9f6e-1c9611b1eee1" CreationDate="2011-01-11T03:47:20.170" UserId="7218" Text="You get far more mileage out of going to 24 bit than you do by increasing the sampling frequency, especially when multitracking.&#xD;&#xA;&#xD;&#xA;The only reason I would go above 44.1 kHz is if I was especially interested in preserving the phase characteristics of very high frequency sounds (cymbals, for example), since the anti-aliasing filters do not have to be so steep at those sampling frequencies." ContentLicense="CC BY-SA 2.5" />
  <row Id="45334" PostHistoryTypeId="2" PostId="25671" RevisionGUID="00688b52-a0b6-4be4-94c5-03609a7827ca" CreationDate="2011-01-24T08:41:44.470" UserDisplayName="jlebre" Text="independently of hearing or not, there's the nyquist frequency, but I don't think that that should be to much of a factor to worry about. If you do hear the difference then do something about it, if you don't just let it be - it'll be less drain on your hard drive, RAM and processor, not to mention have to re-apply algorithms when bouncing etc.&#xD;&#xA;And why? because most ADC present you with something called oversampling. 4x and 8x oversampling isn't uncommon even for a consumer level cd recorder.&#xD;&#xA;&#xD;&#xA;On the other hand, there's the filter. For those of you a bit more tech savvy, try and figure out how many pole low-pass filter you would have to have to cut any sound beyond 22.05kHz leaving anything up to 20kHz untouched (remember the cut-off point already has a 3dB reduction. If you did figure it out, you realize that is practically unfeasible to build something like that and the distortion that would result from such a steep curve would be really unpleasant!&#xD;&#xA;&#xD;&#xA;Yes, true, despite all this there might still be a factor of how converters handle things. And I like to believe that I do hear a difference in most converters to justify a bump to 48kHz.&#xD;&#xA;&#xD;&#xA;I was doing some maintenance work on a NEVE DFC with some chaps from AMS-NEVE. It turns out that the console doesn't like to swap sample rates a lot. Then we tried to design a more successful workflow for that console and this is what I heard coming from them. We were talking about the similar DFC's installed at Pinewood Studios and where my colleague works, Lypsinc. They have theirs set up at 48kHz and the only reason they justify going upwards (96kHz) would be for animation due to extreme editing demands that can arise due to the nature of the job.&#xD;&#xA;&#xD;&#xA;I agree. I definitely struggle to do any proper elastic audio based editing with 44.1 and even Serato doesn't give me what I want.&#xD;&#xA;&#xD;&#xA;On a budget recording studio? I wouldn't think of more than 44.1kHz. Unless you are doing heavy TCE editing, you will have costumers coming in. They shouldn't walk out of your studio empty handedly. I always use the monitor path of my console to give the artist a downmix even in the very first session. You can see the pain - we have to spare half hour or so just to downmix from 48kHz just because I'm being &quot;posh&quot; :P&#xD;&#xA;Also, it depends on how much you want to spend on memory.&#xD;&#xA;&#xD;&#xA;Cheerios!&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45335" PostHistoryTypeId="2" PostId="25672" RevisionGUID="4ae5c491-5f33-48d4-8826-64f3fa2d2c78" CreationDate="2011-02-19T10:18:44.557" UserDisplayName="d-_-b" Text="24bit of course. 88.2 kHz for CDs and 96kHz for Video. They divide by 2 perfectly." ContentLicense="CC BY-SA 2.5" />
  <row Id="45336" PostHistoryTypeId="2" PostId="25673" RevisionGUID="a4c4b94f-7395-43fe-beed-1f68e27730fa" CreationDate="2011-02-25T23:49:02.223" UserDisplayName="Pedro Sobota" Text="I have asked this question to myself a few times in the past, too. If I can be a bit objective after I gained more experience:&#xD;&#xA;&#xD;&#xA;The difference between 44.1 or 48.2 and 99.6 will never, ever, amount to 0.2% of the difference between an inspired or non-inspired performance that's captured, or whether it's played in a good or a bad instrument.&#xD;&#xA;&#xD;&#xA;Bit rate is yes more important, keep it on the 24, but really, for sample rate to be a differentiator you gotta be on a very, very high level with the other things such as what you are actually recording." ContentLicense="CC BY-SA 2.5" />
  <row Id="45337" PostHistoryTypeId="36" PostId="25674" RevisionGUID="1d3a2365-cea0-422e-a84f-67a916e103f2" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/725/melodyne-nightmare" />
  <row Id="45338" PostHistoryTypeId="2" PostId="25674" RevisionGUID="e770eed9-2725-44c2-ac65-0a058d2420d9" CreationDate="2011-01-31T22:18:57.180" UserDisplayName="jlebre" Text="Does anyone else started noticing weird &quot;sampling&quot; noises on Melodyne over last updates of RTAS version (running old - aka before DNA Melodyne - last updated and Protools 8 or 9). Problem is on both and on several projects!&#xD;&#xA;&#xD;&#xA;I feel like i could kill someone I'll have to go take out the silence on every track and slide in the original breathing this is days worth of work!&#xD;&#xA;&#xD;&#xA;Please tell me that someone out there saw this and that an update fixed it? I'm even willing to pay for DNA update!!!" ContentLicense="CC BY-SA 2.5" />
  <row Id="45339" PostHistoryTypeId="1" PostId="25674" RevisionGUID="e770eed9-2725-44c2-ac65-0a058d2420d9" CreationDate="2011-01-31T22:18:57.180" UserDisplayName="jlebre" Text="Melodyne nightmare" ContentLicense="CC BY-SA 2.5" />
  <row Id="45340" PostHistoryTypeId="3" PostId="25674" RevisionGUID="e770eed9-2725-44c2-ac65-0a058d2420d9" CreationDate="2011-01-31T22:18:57.180" UserDisplayName="jlebre" Text="&lt;pro-tools&gt;&lt;daw&gt;&lt;editing&gt;&lt;vocals&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45341" PostHistoryTypeId="36" PostId="25675" RevisionGUID="b741e9cb-67c5-4c1d-85cf-dedc9c9b4b0a" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1403/questions-about-simple-single-track-line-in-recording" />
  <row Id="45342" PostHistoryTypeId="2" PostId="25676" RevisionGUID="5c024aff-c0a5-4d89-8354-0355fe40501e" CreationDate="2011-05-15T11:53:09.550" UserId="7093" Text="The signal levels generated by most keyboards should not be enough to damage the microphone/line-in jack when plugged in directly.  However, I do recommend you not turn the keyboard up past the point where it begins to distort just to make sure.&#xD;&#xA;&#xD;&#xA;To get the best recording level, First set the volume on the keyboard as high as possible without causing distortion or excess noise.  On my keyboard, the levels are low enough that I can turn the volume up all the way without distortion, but at about half volume, I start to get a lot of noise.  Because of this, I usually leave the volume at about 5 or 6.&#xD;&#xA;&#xD;&#xA;From there adjust the level in your DAW.  See this [answer][1] for a good explanation of digital distortion and how to avoid it.  To get the level, I usually just hit a few keys here and there to get the initial levels, then play a bit of a song that tends to be fairly loud to do the fine tuning.&#xD;&#xA;&#xD;&#xA;If you find that the noise levels in your recordings is still unacceptable, you may need to invest in a [recording interface][2], as the built in sound card on most computers are very noisy.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audio.stackexchange.com/questions/446/what-is-clipping-distortion-what-causes-it-and-how-to-avoid-it-when-recording/453#453&#xD;&#xA;  [2]: http://audio.stackexchange.com/questions/835/best-audio-interface-in-the-low-end" ContentLicense="CC BY-SA 3.0" />
  <row Id="45343" PostHistoryTypeId="2" PostId="25675" RevisionGUID="80f4bbd6-7ecf-4c14-8fd2-65b2feb0a348" CreationDate="2011-05-15T03:33:18.447" UserDisplayName="Maxim Zaslavsky" Text="I'm trying to create a simple recording of my electronic keyboard. It has a 1/4&quot; stereo output, and I've connected that into my computer's microphone/line-in jack. I only have a few questions:&#xD;&#xA;&#xD;&#xA; - Should I worry about the possibility of the signal &quot;overpowering&quot; my computer's input? How do I protect it against that?&#xD;&#xA; - What should I do to prevent digital distortion?&#xD;&#xA; - Where should I set volume highest - on my keyboard, or in my DAW/recording software? How should I balance the two to prevent noise and &quot;overpowering&quot;?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45344" PostHistoryTypeId="1" PostId="25675" RevisionGUID="80f4bbd6-7ecf-4c14-8fd2-65b2feb0a348" CreationDate="2011-05-15T03:33:18.447" UserDisplayName="Maxim Zaslavsky" Text="Questions about simple single-track line-in recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="45345" PostHistoryTypeId="3" PostId="25675" RevisionGUID="80f4bbd6-7ecf-4c14-8fd2-65b2feb0a348" CreationDate="2011-05-15T03:33:18.447" UserDisplayName="Maxim Zaslavsky" Text="&lt;noise&gt;&lt;keyboard&gt;&lt;distortion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45346" PostHistoryTypeId="36" PostId="25676" RevisionGUID="956da9b4-0256-427c-afc0-0752abbf0c5a" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1403/questions-about-simple-single-track-line-in-recording/1404#1404" />
  <row Id="45347" PostHistoryTypeId="36" PostId="25677" RevisionGUID="8ce6cc72-b5f4-4a41-ab89-260fa1e68c12" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1403/questions-about-simple-single-track-line-in-recording/1416#1416" />
  <row Id="45348" PostHistoryTypeId="2" PostId="25677" RevisionGUID="6feb1ebd-c9fd-4e94-8a52-14419f65bf4c" CreationDate="2011-05-16T15:46:52.327" UserDisplayName="Owen Kelly" Text="I'm just going to answer the levels part of this question, as you computer should be able to handle a LINE level signal to the LINE IN plug, but I can't be certain without knowing the hardware.&#xD;&#xA;&#xD;&#xA;Best practice in setting levels is to turn every right down, then plug it in.&#xD;&#xA;&#xD;&#xA;Set you instrument to 75% (rule of thumb) and your input gain to 75% (or unity gain).&#xD;&#xA;&#xD;&#xA;[note: depending on you instrument it may have a different tone at different volumes, as such you may want to use a volume quieter or louder than 75%, if you do you need to accomodate it with more or less gain.]&#xD;&#xA;&#xD;&#xA;Play as loud as you will when you will record and set the level to be hitting around -12db. I say around, as the number in not entirely important, but its a good point to aim for.&#xD;&#xA;&#xD;&#xA;You will play louder when you record than when you soundcheck. If you first take clips (distorts) at any point either adjust your performance or adjust the gain (input level).&#xD;&#xA;&#xD;&#xA;You ultimate goal with gain is to get as hot (loud) a signal as possible before distortion. This helps increase the signal to noise ratio. All gear inherently has a noise floor, which is where the electronic noise sits. Generally it is low enough that when properly recorded over it is inaudible." ContentLicense="CC BY-SA 3.0" />
  <row Id="45349" PostHistoryTypeId="36" PostId="25678" RevisionGUID="56e77b4b-4a3f-45a6-9db6-40a578699a33" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/650/what-is-the-effect-of-impedance-on-headphone-sound-quality" />
  <row Id="45350" PostHistoryTypeId="36" PostId="25679" RevisionGUID="4fb3bb2d-1d85-47dd-a685-74dc5f905ccb" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/650/what-is-the-effect-of-impedance-on-headphone-sound-quality/88#88" />
  <row Id="45351" PostHistoryTypeId="36" PostId="25680" RevisionGUID="7a062352-bb79-4e6c-a75e-30cc204a9cd5" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/650/what-is-the-effect-of-impedance-on-headphone-sound-quality/654#654" />
  <row Id="45352" PostHistoryTypeId="36" PostId="25681" RevisionGUID="86f5b092-498c-4fa0-8dec-62a1d3c4adb7" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/650/what-is-the-effect-of-impedance-on-headphone-sound-quality/656#656" />
  <row Id="45353" PostHistoryTypeId="36" PostId="25682" RevisionGUID="1a2e28d7-3b32-4bc0-a4f6-e6d214d954e5" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/650/what-is-the-effect-of-impedance-on-headphone-sound-quality/2741#2741" />
  <row Id="45354" PostHistoryTypeId="36" PostId="25683" RevisionGUID="31d3b202-9415-435f-9ef8-f25b0980a7fb" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/650/what-is-the-effect-of-impedance-on-headphone-sound-quality/3282#3282" />
  <row Id="45355" PostHistoryTypeId="2" PostId="25679" RevisionGUID="1c1bf663-20f3-488c-90d5-879915bb42ae" CreationDate="2010-12-08T01:37:46.090" UserId="7398" UserDisplayName="BenV" Text="High-impedance headphones are designed for studio-like applications where there may be multiple phones wired in parallel receiving an input signal from one source.  Low-impedance headphones are designed to be plugged directly into a single source, and can more effeciently generate sound from the lower level input signal.  &#xD;&#xA;&#xD;&#xA;High-impedance headphones are a little more durable (electronically), but require higher signal levels to produce the same output level of low-impedance headphones." ContentLicense="CC BY-SA 2.5" />
  <row Id="45356" PostHistoryTypeId="2" PostId="25680" RevisionGUID="2ab4dde4-1a36-468e-915a-e1aed91f644a" CreationDate="2011-01-21T15:03:12.103" UserDisplayName="Bill Gribble" Text="The power required to operate headphones is a function of the driver size and mass, whether the phones are open, closed, or in-ear, etc.  The impedance of headphones is usually designed to get an acceptable volume level (power = voltage^2 / impedance) at the voltage level expected on the driving equipment.  It's not necessarily a straightforward relationship of low impedance = cheap, high-impedance = pro.&#xD;&#xA;&#xD;&#xA;Many really fine headphones have large drivers (more power), are open-air (more power), AND expect to be run from higher-voltage professional/amplified equipment... which sort of cancels out the impedance question from a design perspective.  Apple earbuds are 23 ohms... my fave studio headphones, Audio-Technica ATH-M50s, are 38 ohms... one of the most common studio headphones, Sony MDR7506, are 63 ohms.   So, more &quot;pro&quot; headphones are higher impedance, but that just means that you will get less power (lower volume) on a low-voltage audio source. &#xD;&#xA;&#xD;&#xA;There are other good reasons to use an external amplifier... RF/EMI noise isolation, etc... but I think the main reason you might want to with better headphones is that the volume may be low with higher-impedance headphones. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45357" PostHistoryTypeId="2" PostId="25681" RevisionGUID="363e57e7-8586-4864-a8e6-31e171f4bb99" CreationDate="2011-01-21T18:23:23.403" UserId="7218" Text="&gt; In relation to achieving optimal sound&#xD;&#xA;&gt; quality, is there any advantage to&#xD;&#xA;&gt; pairing high-impedance headphones with&#xD;&#xA;&gt; an amplifier for listening on an MP3&#xD;&#xA;&gt; player or laptop, as opposed to just&#xD;&#xA;&gt; using low-impedance headphones?&#xD;&#xA;&#xD;&#xA;Yes, there is.  In fact, there is an advantage to using an external amplifier for *any* headphones.&#xD;&#xA;&#xD;&#xA;If you are resourceful, you could try [building a CMOY amp in an Altoids box][1], like the picture below.  The sound is awesome, and the cool factor is off the scale.&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;Why do amps like this improve the sound?  I could talk about slew rate, total harmonic distortion and a whole host of other factors, but the simple fact is that having a booster amp like this means that your original amplifier *doesn't have to work as hard.*  Most small audio output (including the headphone amps in the vast majority of computers and laptops) only produce about 100 milliwatts of power, and that's just not enough to insure high fidelity.&#xD;&#xA;&#xD;&#xA;Here's how impedance affects the performance of headphones: a lower impedance allows headphones to capture more power from the amplifier.  All other things being equal, they are going to be louder than headphones with a higher impedance, because higher impedance requires a higher voltage level from the amplifier to achieve the same relative loudness. This is why earbuds typically have a much lower impedance than other headphones; it is necessary to get adequate volume, given the low voltages provided by batteries.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ehow.com/how_7351296_altoids-headphone-amp-instructions.html&#xD;&#xA;  [2]: http://i.stack.imgur.com/KcTHe.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="45358" PostHistoryTypeId="2" PostId="25683" RevisionGUID="f930b952-40f9-461a-adc6-752aa3ec2034" CreationDate="2012-02-12T20:17:54.840" UserDisplayName="kpotter" Text="It seems that the ratio of source impedance to headphone impedance, i.e. damping factor is&#xD;&#xA;primarily discussed in terms of effect on amplitude and frequency response. In addition,&#xD;&#xA;remember that a higher impedance circuit will likely exhibit a reduced slew rate and slower&#xD;&#xA;rise time. This will effect the clarity and openness of the sound and possibly dull&#xD;&#xA;transit response.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="45359" PostHistoryTypeId="2" PostId="25682" RevisionGUID="60510099-b57c-4526-9435-af508a7fecc0" CreationDate="2011-12-05T08:14:12.157" UserDisplayName="ezcheese1" Text="Consider the difference between consumer and line level:  &#xD;&#xA;&#xD;&#xA;You need to match the impedance in order to preserve the condition of the gear, but pro line level (+4 dbu) is a hotter signal than consumer (-10 dbv).  The reason that professional monitors use the hotter signal, is because it is higher fidelity.  &#xD;&#xA;&#xD;&#xA;I assume that the same applies to headphones.  you get a wider dynamic range and more clarity in softer dynamics when you have a wider spectrum of amplitude, which is the property of the signal propagating through your resistors and cable." ContentLicense="CC BY-SA 3.0" />
  <row Id="45360" PostHistoryTypeId="2" PostId="25678" RevisionGUID="9f26037e-11f6-49b6-aa60-49514543a16f" CreationDate="2011-01-20T18:44:51.023" UserId="9437" UserDisplayName="Cory Klein" Text="Most headphones used with portable electronics are low-impedance, around 32 ohms.  This is because the power supplied by the device is limited due to it being battery powered, and the low impedance in the headphones allows higher volume levels.&#xD;&#xA;&#xD;&#xA;From my basic electrical engineering courses, my instinct is that higher impedance headphones would also create a more level frequency response, thus being more true to the original signal.  Is this true?&#xD;&#xA;&#xD;&#xA;In relation to achieving optimal sound quality, is there any advantage to pairing high-impedance headphones with an amplifier for listening on an MP3 player or laptop, as opposed to just using low-impedance headphones?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45361" PostHistoryTypeId="1" PostId="25678" RevisionGUID="9f26037e-11f6-49b6-aa60-49514543a16f" CreationDate="2011-01-20T18:44:51.023" UserId="9437" UserDisplayName="Cory Klein" Text="What is the effect of impedance on headphone sound quality?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45362" PostHistoryTypeId="3" PostId="25678" RevisionGUID="9f26037e-11f6-49b6-aa60-49514543a16f" CreationDate="2011-01-20T18:44:51.023" UserId="9437" UserDisplayName="Cory Klein" Text="&lt;headphones&gt;&lt;impedance&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45363" PostHistoryTypeId="36" PostId="25684" RevisionGUID="e5d5db48-2890-44a4-b137-b72655e7a81d" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/400/noise-removal-vs-adding-bed-noise" />
  <row Id="45364" PostHistoryTypeId="2" PostId="25685" RevisionGUID="39940829-026d-4348-991f-fca794f53cca" CreationDate="2010-12-20T18:16:13.783" UserId="7294" UserDisplayName="Warrior Bob" Text="While I don't know of any standard practice for this, I'd say use your ears.  You've tried it with the noise removal tool, now try it by adding room noise as best you can - if indeed the change is too noticeable, then scrap it.&#xD;&#xA;&#xD;&#xA;If you're not sure if your ears are deceiving you or not, have some friends listen to it on both your system and theirs, before and after processing.  See if they think the noise cancellation is distorting too much.  &#xD;&#xA;&#xD;&#xA;If it seems to be working for you, I can't think of any reason to change it!" ContentLicense="CC BY-SA 2.5" />
  <row Id="45365" PostHistoryTypeId="2" PostId="25684" RevisionGUID="3c2018c9-6b3d-4735-b30e-6d4afe24af4b" CreationDate="2010-12-20T18:10:25.053" UserId="7288" UserDisplayName="Jim McKeeth" Text="I've been recording podcasts and screen casts for a while now.  I've always ran all my audio through Audacity and used the noise cancellation to clean up the audio.  I've been happy with the results generally.&#xD;&#xA;&#xD;&#xA;I was attending a conference session on recording videos and they suggested recording some silent room noise, and then mixing it in the entire recording so the background noise was consistent after editing.  I asked him why he didn't just remove all the noise instead.  He said that the background noise sounded more natural, and noise removal distorted the audio too much.&#xD;&#xA;&#xD;&#xA;I know that not dealing with the slight amounts of background noise is not a good solution for edited audio since the change from noise to no noise, or different noise is very noticeable.&#xD;&#xA;&#xD;&#xA;I don't have any training in audio production, so I am curious what is the recommended method of dealing with this.  Is adding bed noise the preferred method?  Does using active noise cancellation really distort the audio that much (and I just don't notice it)?  &#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="45366" PostHistoryTypeId="1" PostId="25684" RevisionGUID="3c2018c9-6b3d-4735-b30e-6d4afe24af4b" CreationDate="2010-12-20T18:10:25.053" UserId="7288" UserDisplayName="Jim McKeeth" Text="Noise removal vs. adding bed noise" ContentLicense="CC BY-SA 2.5" />
  <row Id="45367" PostHistoryTypeId="3" PostId="25684" RevisionGUID="3c2018c9-6b3d-4735-b30e-6d4afe24af4b" CreationDate="2010-12-20T18:10:25.053" UserId="7288" UserDisplayName="Jim McKeeth" Text="&lt;noise&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45368" PostHistoryTypeId="36" PostId="25685" RevisionGUID="2993ed7b-8329-4135-8b32-4aac65a9e77f" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/400/noise-removal-vs-adding-bed-noise/401#401" />
  <row Id="45369" PostHistoryTypeId="36" PostId="25686" RevisionGUID="2ba7c395-64d4-4c0d-9c31-2e8d86d65d71" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/400/noise-removal-vs-adding-bed-noise/405#405" />
  <row Id="45370" PostHistoryTypeId="36" PostId="25687" RevisionGUID="617930aa-23e4-42b6-aaae-81c0ad92f36b" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/400/noise-removal-vs-adding-bed-noise/1172#1172" />
  <row Id="45371" PostHistoryTypeId="2" PostId="25686" RevisionGUID="08e5c741-3c8c-4e67-9a33-cb3f91db88e8" CreationDate="2010-12-20T21:43:13.590" UserDisplayName="Tom Wijsman" Text="![SINAD = (P_signal + P_noise + P_distortion)/(P_noise + P_distortion)][1]&#xD;&#xA;&#xD;&#xA;The [signal-to-noise and distortion ratio](http://en.wikipedia.org/wiki/SINAD) might be useful to think about.  &#xD;&#xA;You are either adding additional noise or you are kind of converting noise to distortion...&#xD;&#xA;&#xD;&#xA;Adding additional noise would have more effect on the SINAD ratio than converting noise into distortion. The same can be noticed with our ears, you hear a bit of noise much easier than a bit of distortion. I would rather have a clean speech that doesn't contain noise than a (non-)constant noise when using in-ears.&#xD;&#xA;&#xD;&#xA;(Unless you are turning the volume down so the noise would be less loud and thus less disturbing...)&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/0pSkk.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="45372" PostHistoryTypeId="2" PostId="25687" RevisionGUID="65aa9839-258d-428e-9604-fd8156de5d1e" CreationDate="2011-04-14T14:37:04.253" UserId="17571" UserDisplayName="Zeronyne" Text="Recording a bit (30 seconds to 1 minute) of ambient &quot;silence&quot; is common when shooting interviews, documentaries, locations shots, etc. Utilizing it goes a long way to making edits that are not jarring or distracting." ContentLicense="CC BY-SA 3.0" />
  <row Id="45373" PostHistoryTypeId="36" PostId="25688" RevisionGUID="cb8c7785-c9a9-44ab-b838-3cefb594d711" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2019/which-daw-when-rewired-with-record-reason-is-better-on-system-performance" />
  <row Id="45374" PostHistoryTypeId="36" PostId="25689" RevisionGUID="a782875c-4fea-47b6-8c0e-6f40db34c943" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2019/which-daw-when-rewired-with-record-reason-is-better-on-system-performance/2023#2023" />
  <row Id="45375" PostHistoryTypeId="2" PostId="25689" RevisionGUID="1b32bfd4-f45a-414c-9f49-fb06e26a349a" CreationDate="2011-08-05T02:58:52.570" UserId="7093" Text="I have had pretty good luck with [Reaper][1] on my old single processor PC (Reaper also works on the Mac).  &#xD;&#xA;&#xD;&#xA;I haven't done anything with sampling, but even with my slow computer I have been able to play back several tracks with EQ and lots of effects on each channel without taxing the system much.  Reaper also has a [way to link to other computers][2] running reaper over a network and offload some of the processing.&#xD;&#xA;&#xD;&#xA;It's free to try, and very inexpensive to buy if it works for you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.reaper.fm/index.php&#xD;&#xA;  [2]: http://wiki.cockos.com/wiki/index.php/ReaMote" ContentLicense="CC BY-SA 3.0" />
  <row Id="45376" PostHistoryTypeId="2" PostId="25688" RevisionGUID="f350ce3b-8c7d-4df5-b476-7ace756b3efc" CreationDate="2011-08-04T23:43:45.377" UserId="7459" UserDisplayName="bigp" Text="In general, I try to stick to Propellerhead Record / Reason to produce music. But now that I am investing in more natural-sounding external Sound Sample libraries (namely NI's Session Strings Pro and Modart's Pianoteq 3), it becomes trickier to integrate.&#xD;&#xA;&#xD;&#xA;Managing all the MIDI clips and automation in one place is one challenge, but playing everything together without a dramatic performance drop (and hear clipping problems) IS a huge deal.&#xD;&#xA;&#xD;&#xA;I've tried Record &amp; Ableton Live so far. Live shown me today that it was pushing my CPU around 80-90% usage.&#xD;&#xA;&#xD;&#xA;I'll admit, yes I'm doing my productions on a MacBook Pro. So I'm wondering...&#xD;&#xA;&#xD;&#xA;Is there any better DAW hosts out there that could be more &quot;gentle&quot; and CPU friendly for projects that rewires Record &amp; Reason into it?&#xD;&#xA;&#xD;&#xA;Sub-question: Since my system is 64-bit, should I only consider DAWs &amp; Plugins that are as well?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45377" PostHistoryTypeId="1" PostId="25688" RevisionGUID="f350ce3b-8c7d-4df5-b476-7ace756b3efc" CreationDate="2011-08-04T23:43:45.377" UserId="7459" UserDisplayName="bigp" Text="Which DAW, when rewired with Record / Reason, is better on system performance?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45378" PostHistoryTypeId="3" PostId="25688" RevisionGUID="f350ce3b-8c7d-4df5-b476-7ace756b3efc" CreationDate="2011-08-04T23:43:45.377" UserId="7459" UserDisplayName="bigp" Text="&lt;daw&gt;&lt;plugins&gt;&lt;performance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45379" PostHistoryTypeId="36" PostId="25690" RevisionGUID="23619eae-5b34-4ce4-ac4a-0b2a7a39d32e" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7674/how-to-set-follow-action-in-thirtytwos-ableton-live" />
  <row Id="45380" PostHistoryTypeId="2" PostId="25691" RevisionGUID="2560694c-3d46-4268-978f-6b96aa70af41" CreationDate="2013-04-19T15:44:49.173" UserId="7269" UserDisplayName="Gal Margalit" Text="After a small research, I don't think Ableton Live &quot;want&quot; you to loop by these measures,&#xD;&#xA;&lt;br/&gt;&#xD;&#xA;&#xD;&#xA;(checked on both live 8.0 &amp; 9.0,&#xD;&#xA;left a message on their boards, will update any further info)" ContentLicense="CC BY-SA 3.0" />
  <row Id="45381" PostHistoryTypeId="2" PostId="25690" RevisionGUID="3334d94f-3e52-4088-a376-ced17849f125" CreationDate="2013-04-17T18:48:53.763" UserId="7269" UserDisplayName="Gal Margalit" Text="When trying to set &quot;follow action&quot; to next loop, there isn't an input field for thirtytwos.&#xD;&#xA;&lt;br/&gt;&#xD;&#xA;(Time signature is 4/4, grid is 1/32)&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="45382" PostHistoryTypeId="1" PostId="25690" RevisionGUID="3334d94f-3e52-4088-a376-ced17849f125" CreationDate="2013-04-17T18:48:53.763" UserId="7269" UserDisplayName="Gal Margalit" Text="How to set &quot;Follow Action&quot; in thirtytwos? (Ableton Live)" ContentLicense="CC BY-SA 3.0" />
  <row Id="45383" PostHistoryTypeId="3" PostId="25690" RevisionGUID="3334d94f-3e52-4088-a376-ced17849f125" CreationDate="2013-04-17T18:48:53.763" UserId="7269" UserDisplayName="Gal Margalit" Text="&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45384" PostHistoryTypeId="36" PostId="25691" RevisionGUID="03069397-b87a-48f6-be22-8bda4b46e841" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7674/how-to-set-follow-action-in-thirtytwos-ableton-live/7689#7689" />
  <row Id="45385" PostHistoryTypeId="36" PostId="25692" RevisionGUID="ce95c096-a6d4-48ac-a13e-f32862b66470" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8949/how-do-i-know-what-latency-i-will-get" />
  <row Id="45386" PostHistoryTypeId="36" PostId="25693" RevisionGUID="cccb0b43-d476-4f36-8beb-9294b167c540" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8949/how-do-i-know-what-latency-i-will-get/8950#8950" />
  <row Id="45387" PostHistoryTypeId="36" PostId="25694" RevisionGUID="2a311df4-a876-4767-8ae6-20c31c017ae0" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8949/how-do-i-know-what-latency-i-will-get/8957#8957" />
  <row Id="45388" PostHistoryTypeId="36" PostId="25695" RevisionGUID="eca7733d-44bc-4290-82af-98174ba9f5ae" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8949/how-do-i-know-what-latency-i-will-get/8965#8965" />
  <row Id="45389" PostHistoryTypeId="2" PostId="25693" RevisionGUID="06f4f825-62f3-43e5-bf41-f408ac20e29e" CreationDate="2013-09-12T18:37:09.263" UserId="7174" Text="The best bet is to try it.  It depends on too many factors such as the quality of your USB ports, the speed of your processor, the architecture of your motherboard, the speed of your ram and hard disks, the software you are using, how clean your OS is, etc.  There is lots you can tweak, but you aren't really going to be able to estimate latency without trying it and seeing what you can get and then troubleshooting any problems that are causing slow downs." ContentLicense="CC BY-SA 3.0" />
  <row Id="45390" PostHistoryTypeId="2" PostId="25694" RevisionGUID="a07cd72c-8570-436e-b893-c11ba0ce4cf3" CreationDate="2013-09-13T01:15:16.967" UserId="7312" UserDisplayName="Eugene S" Text="**If the OS you are using is Windows** &#xD;&#xA;&#xD;&#xA;The most important factor in latency reduction is [ASIO drivers][1] which should be supported by your external sound card. Simple, non-professional\built-in sound cards, use Microsoft DirectSound interface between applications and the sound card. ASIO drivers can bypass the normal path between Windows OS and the sound card so that the application connects directly to sound card hardware.&#xD;&#xA;&#xD;&#xA;Yes, your PC peripherals are important factor as well, but I don't think you should be worried too much by the general latency performance.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Audio_Stream_Input/Output" ContentLicense="CC BY-SA 3.0" />
  <row Id="45391" PostHistoryTypeId="2" PostId="25695" RevisionGUID="8c6ced86-9892-4db2-a136-5799ac8eb82f" CreationDate="2013-09-13T04:55:36.767" UserId="8159" UserDisplayName="Jamil" Text="You set the latency, although there is a default. It depends on the card or interface, however, it generally will always have a good range of values. My computer's soundcard's buffer size can't be set as high as my interface's (layla24), which actually can be a problem. It's in the drivers, however, so you'd have to check into drivers to know exactly the maximum buffer setting." ContentLicense="CC BY-SA 3.0" />
  <row Id="45392" PostHistoryTypeId="2" PostId="25692" RevisionGUID="cf69e41b-d4f5-4487-b64f-cc02fcd306bc" CreationDate="2013-09-12T18:10:52.897" UserDisplayName="Cengiz Frostclaw" Text="Say I have an external sound card, like M-Audio M-Track, and I have connected it to my PC. Knowing the RAM value for my pc, how can I calculate what latency i will get, in terms of milliseconds?&#xD;&#xA;&#xD;&#xA;What factors does it depend on ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45393" PostHistoryTypeId="1" PostId="25692" RevisionGUID="cf69e41b-d4f5-4487-b64f-cc02fcd306bc" CreationDate="2013-09-12T18:10:52.897" UserDisplayName="Cengiz Frostclaw" Text="How do I know what latency I will get?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45394" PostHistoryTypeId="3" PostId="25692" RevisionGUID="cf69e41b-d4f5-4487-b64f-cc02fcd306bc" CreationDate="2013-09-12T18:10:52.897" UserDisplayName="Cengiz Frostclaw" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45395" PostHistoryTypeId="36" PostId="25696" RevisionGUID="a18d75dc-baa7-49a8-87ff-2ae703738150" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/864/how-to-mixdown-in-realtime-in-adobe-audition" />
  <row Id="45396" PostHistoryTypeId="2" PostId="25697" RevisionGUID="10b96b1d-6e27-467c-87e2-203a04ceab22" CreationDate="2011-02-21T04:30:49.610" UserDisplayName="phasetransitions" Text="Yes, you are missing Audition's automation functionality. Audition allows you to automate almost many parameters of the incoming audio. This functionality is not unique to Audition, but is common across all modern, commercial multi-track DAWs.&#xD;&#xA;&#xD;&#xA;To use automation in  go to multi-track screen, choose the channel you want to automate. At the bottom of the channel, where it says &quot;read&quot; you will see a triangle to the left. Click on that triangle and it will expand the automation lane below the track. Pull on the pulldown menu by the word &quot;read&quot; and change the setting to &quot;latch.&quot; Then, before adjusting your settings in latch mode, read everything in [this section][1] of the Adobe Audition manual. Then after you grasp that, I suggest reading about automating &quot;clips&quot; in the Audition Manual.&#xD;&#xA;&#xD;&#xA;  [1]: http://help.adobe.com/en_US/Audition/3.0/help.html?content=WS58a04a822e3e5010548241038980c2c5-7e60.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="45397" PostHistoryTypeId="2" PostId="25696" RevisionGUID="b874cd91-132a-42dd-8be8-8d7959901e77" CreationDate="2011-02-20T18:04:19.183" UserId="17584" UserDisplayName="Kirk Woll" Text="I have a multi-track setup with Adobe Audition and a Motu 828mk3.  I currently have three tracks laid down.  I want to mix those three tracks down into one track, but I need to constantly adjust the levels of the mix throughout the playback.  What I would like is for my existing tracks to act like it's its own input that I could then &quot;record&quot; on the new track.  &#xD;&#xA;&#xD;&#xA;However, this does not seem possible.  Audition only lets me tell a track to record off an actual input, and a track can only send its signal to an actual output.  Ideally, I would be able to tell my new track 4 to record its signal based off what's being sent to the master output (or any other output on my 828) from the other 3 tracks.  But alas, that can't happen.&#xD;&#xA;&#xD;&#xA;What I've tried instead is I got a patch cord and physically connected the Analog 1 output on my 828 to the Analog 1 *input* of my 828.  Now I send the 3 tracks to Analog 1 out and on track 4 I actually *record* off of the Analog 1 input.  This actually works great, but it strikes me as incredibly crude since I figure this should be possible to do without re-routing all the way back out to my Motu box -- I feel like this should be possible exclusively through Adobe Audition itself.   Am I missing something?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45398" PostHistoryTypeId="1" PostId="25696" RevisionGUID="b874cd91-132a-42dd-8be8-8d7959901e77" CreationDate="2011-02-20T18:04:19.183" UserId="17584" UserDisplayName="Kirk Woll" Text="How to mixdown in realtime in Adobe Audition" ContentLicense="CC BY-SA 2.5" />
  <row Id="45399" PostHistoryTypeId="3" PostId="25696" RevisionGUID="b874cd91-132a-42dd-8be8-8d7959901e77" CreationDate="2011-02-20T18:04:19.183" UserId="17584" UserDisplayName="Kirk Woll" Text="&lt;software&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45400" PostHistoryTypeId="36" PostId="25697" RevisionGUID="cb53cce4-5041-409f-b0a4-977b64eac722" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/864/how-to-mixdown-in-realtime-in-adobe-audition/867#867" />
  <row Id="45401" PostHistoryTypeId="36" PostId="25698" RevisionGUID="d3f65387-c1e0-44ac-a736-01788cd11383" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4822/where-can-i-find-generic-animal-sounds-for-a-childrens-game" />
  <row Id="45402" PostHistoryTypeId="36" PostId="25699" RevisionGUID="11d0fda9-5bf6-401f-9430-b04cba605772" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4822/where-can-i-find-generic-animal-sounds-for-a-childrens-game/4823#4823" />
  <row Id="45403" PostHistoryTypeId="2" PostId="25699" RevisionGUID="65cf47ec-befb-4b42-9a2b-c254dc216114" CreationDate="2012-09-24T13:40:20.903" UserDisplayName="Magrangs" Text="The freesound site is pretty good:&#xD;&#xA;http://www.freesound.org/&#xD;&#xA;&#xD;&#xA;There is also findsounds:&#xD;&#xA;http://www.findsounds.com/types.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="45404" PostHistoryTypeId="2" PostId="25698" RevisionGUID="f7f7eb76-c4ce-42a7-ad49-9c8d05612141" CreationDate="2012-09-24T13:22:43.120" UserDisplayName="Sam" Text="&gt; **Possible Duplicate:**  &#xA;&gt; [Where can I find free sound effects?](http://avp.stackexchange.com/questions/2091/where-can-i-find-free-sound-effects)  &#xA;&#xA;&lt;!-- End of automatically inserted text --&gt;&#xA;&#xA;I'm making an iPad app for children and need some generic, high-quality animal sounds. &#xD;&#xA;&#xD;&#xA;Any ideas where I can find some? The majority I've found so far have either had a lot of background noise or aren't a generic enough sound (Oo-oo for a monkey or a duck quacking...)&#xD;&#xA;&#xD;&#xA;Thanks in advance. &#xD;&#xA;Sam" ContentLicense="CC BY-SA 3.0" />
  <row Id="45405" PostHistoryTypeId="1" PostId="25698" RevisionGUID="f7f7eb76-c4ce-42a7-ad49-9c8d05612141" CreationDate="2012-09-24T13:22:43.120" UserDisplayName="Sam" Text="Where can I find generic animal sounds for a childrens game?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45406" PostHistoryTypeId="3" PostId="25698" RevisionGUID="f7f7eb76-c4ce-42a7-ad49-9c8d05612141" CreationDate="2012-09-24T13:22:43.120" UserDisplayName="Sam" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45407" PostHistoryTypeId="36" PostId="25700" RevisionGUID="0b4c5dcd-c212-4c99-8a9c-b118cf9803d8" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3390/podcast-recording-from-2-locations-with-ability-to-hear-clips-on-the-computer" />
  <row Id="45408" PostHistoryTypeId="36" PostId="25701" RevisionGUID="4aac732c-f964-4d04-9bd0-d3bcf177c0b6" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3390/podcast-recording-from-2-locations-with-ability-to-hear-clips-on-the-computer/3550#3550" />
  <row Id="45409" PostHistoryTypeId="2" PostId="25701" RevisionGUID="9b3071c3-dff4-41f2-8c2e-6d0632c79d20" CreationDate="2012-03-13T15:55:12.883" UserDisplayName="JohnnyCanuck" Text="You appear to be trying to do both a produced podcast with individually recorded tracks with live broadcast features. Unless you have big budget and manage multi-tasking I would avoid doing both. &#xD;&#xA;&#xD;&#xA;In order to play out Intros/outros, calls, liners and ads, you need a soundboard. Ambrosia SW make one for the Mac and  the iPad http://www.ambrosiasw.com/utilities/soundboard-mac/ and it is pretty decent. &#xD;&#xA;&#xD;&#xA;However you will need a way to loop it back into your Skype mix. This can either be done with a hardware soundcard (Saffire Pro 24 or MAudio) or a program like Wire Tap Anywhere (also Ambrosia) for the Mac that allows you to to create software live audio mixes and then patch them back into one channel. Neither hardware or software solution is cheap but what you are trying to accomplish is verging on pro-grade production.&#xD;&#xA;&#xD;&#xA;The easiest and cheapest way to do all this is to do it all in post production where you will have the most control. " ContentLicense="CC BY-SA 3.0" />
  <row Id="45410" PostHistoryTypeId="2" PostId="25700" RevisionGUID="a6403a69-5a2e-48b7-9ff2-a66683f4002b" CreationDate="2012-02-23T19:32:28.913" UserDisplayName="craig" Text="I am new to the podcast world and have started a series with a colleague in a different location.  We use Skype and each record our end of the conversation.  Then we merge the two calls together and we have our podcast.  Now I'm trying to incorporate some production into our endeavor.  I have music and sound clips on my computer that I would like to add live to the pod cast.  Is there a way to do that so that when I play a sound clip on my computer, it's both recorded on my end of the call AND my partner can hear it on his side? &#xD;&#xA;&#xD;&#xA;Any help is appreciated!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="45411" PostHistoryTypeId="1" PostId="25700" RevisionGUID="a6403a69-5a2e-48b7-9ff2-a66683f4002b" CreationDate="2012-02-23T19:32:28.913" UserDisplayName="craig" Text="Podcast recording from 2 locations with ability to hear clips on the computer" ContentLicense="CC BY-SA 3.0" />
  <row Id="45412" PostHistoryTypeId="3" PostId="25700" RevisionGUID="a6403a69-5a2e-48b7-9ff2-a66683f4002b" CreationDate="2012-02-23T19:32:28.913" UserDisplayName="craig" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45413" PostHistoryTypeId="36" PostId="25702" RevisionGUID="25d0af54-a068-40f1-9e85-237840d20789" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2355/what-are-good-resources-to-learn-the-production-side-for-an-end-user-focused-sof" />
  <row Id="45414" PostHistoryTypeId="36" PostId="25703" RevisionGUID="adaeca5e-33bf-42ee-86b5-1e6a58dcde07" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2355/what-are-good-resources-to-learn-the-production-side-for-an-end-user-focused-sof/2358#2358" />
  <row Id="45415" PostHistoryTypeId="2" PostId="25703" RevisionGUID="8ffc5f25-5c7c-4911-9130-a062d656db75" CreationDate="2011-09-22T16:47:17.313" UserId="982" Text="The best quick, comprehensive, practical introduction to the film pipeline that I know of is the [DV Rebel's Guide][1] by Stu Maschwitz.  It doesn't cover everything in depth, but it will give you enough terminology to know what else to search for.  Film and video have very different workflows, but based on your question, it sounds like that may be part of what you want to know.  Because that book is about replicating the film pipeline using digital video, it provides a unique insight into some of the differences.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/DV-Rebels-Guide-All-Digital-Approach/dp/0321413644/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1316701536&amp;sr=1-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="45416" PostHistoryTypeId="2" PostId="25702" RevisionGUID="3836b8ce-3b00-45d3-93b4-c4536d9247d3" CreationDate="2011-09-22T10:50:57.650" UserId="16430" UserDisplayName="Sander" Text="I'm a software developer type of person who works a lot with systems that stream media (movies, music videos etc) to end-users over various channels. I know a lot about video files and how to play them back and how to deliver them to the viewer and what formats should be used at the delivery end and how to use digital rights management.&#xD;&#xA;&#xD;&#xA;However, I know very little about the production side of video handling and would like to learn more, so I can better work with content producers in the software solutions I create. I want to understand what data formats are used by the studios and the reasons behind them, for example. I want to understand what a movie studio sends to a post-processing shop and I want to understand how different content is mixed together.&#xD;&#xA;&#xD;&#xA;I want to learn everything from the moment the media data enters the digital world (or perhaps even before that? Is physical analog film still used these days?) up to the moment where I get an encoded video file from the post-processing shop.&#xD;&#xA;&#xD;&#xA;What are some good, general resources to use for learning about this? Are there any such resources, or is it all experience and hands-on learning?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45417" PostHistoryTypeId="1" PostId="25702" RevisionGUID="3836b8ce-3b00-45d3-93b4-c4536d9247d3" CreationDate="2011-09-22T10:50:57.650" UserId="16430" UserDisplayName="Sander" Text="What are good resources to learn the production side for an end-user focused software guy?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45418" PostHistoryTypeId="3" PostId="25702" RevisionGUID="3836b8ce-3b00-45d3-93b4-c4536d9247d3" CreationDate="2011-09-22T10:50:57.650" UserId="16430" UserDisplayName="Sander" Text="&lt;mixing&gt;&lt;digital&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45419" PostHistoryTypeId="36" PostId="25704" RevisionGUID="132308fb-b831-4d66-bae1-b87c60cdca01" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5338/should-i-unfreeze-tracks-in-ableton-before-exporting-a-song" />
  <row Id="45420" PostHistoryTypeId="2" PostId="25705" RevisionGUID="d574f1f6-0964-48aa-838b-edb8d7d82045" CreationDate="2012-11-15T20:22:31.807" UserId="7189" Text="Whether a track is frozen or unfrozen in Ableton shouldn't make a difference in terms of audio quality but might make a difference in terms of audio content. The reason for this is that you might have modulations in your track that are complex enough that each time you play the track, the result is slightly different. When you freeze a track, you capture a particular set of modulations. That set of modulations might sound better or worse than the last one you listened to.&#xD;&#xA;&#xD;&#xA;I assume that when you freeze and flatten a track, the resulting audio is at the project rate. If your project rate is 96 KHz and your export rate is 192 KHz [as in your previous question](http://avp.stackexchange.com/q/5249/1530) then you may notice a difference between the quality of the unfrozen track and the frozen track. I'm making an assumption here that the frozen/flattened track will be sampled at the project rate, rather than the export rate.&#xD;&#xA;&#xD;&#xA;When I freeze a track, I usually start by duplicating the original track. Then I freeze the new track, and then flatten the new track. Finally, I mute the original track. This gives me the original material and modulations used to create the audio file, plus a static audio file that is both easy on the CPU and captures that particular set of modulations.&#xD;&#xA;&#xD;&#xA;You can take this a step further and export two versions of your track - one with frozen tracks, and one without. Then create a new Ableton project, and drop the two tracks into two different Audio tracks. Turn on the crossfader, and enable one track for the A side of the crossfader and another for the B side. Slide the fader all the way to the A side, and launch both clips at the same time. As your tracks play, move the fader back and forth. Can you tell a difference? Is one better or worse?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45421" PostHistoryTypeId="2" PostId="25704" RevisionGUID="684d7878-b7c0-44dd-9ea1-fdaec65870e6" CreationDate="2012-11-15T18:05:48.323" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="Should I unfreeze tracks in ableton before exporting a song? Just wondering if this will make any difference in the way it sounds. In the past I noticed when I exported songs with tracks frozen they didn't sound as good but it could have been some sort of placebo effect. I think I might have been playing around with the sample rate too so that could have been a problem. " ContentLicense="CC BY-SA 3.0" />
  <row Id="45422" PostHistoryTypeId="1" PostId="25704" RevisionGUID="684d7878-b7c0-44dd-9ea1-fdaec65870e6" CreationDate="2012-11-15T18:05:48.323" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="should I unfreeze tracks in ableton before exporting a song?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45423" PostHistoryTypeId="3" PostId="25704" RevisionGUID="684d7878-b7c0-44dd-9ea1-fdaec65870e6" CreationDate="2012-11-15T18:05:48.323" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45424" PostHistoryTypeId="36" PostId="25705" RevisionGUID="3a3c7590-c1cb-499f-ab9b-60da2fadbc5d" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5338/should-i-unfreeze-tracks-in-ableton-before-exporting-a-song/5342#5342" />
  <row Id="45425" PostHistoryTypeId="36" PostId="25706" RevisionGUID="a20f261b-4be1-4e61-a2d0-b31664b0e90f" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9420/voice-echoing-in-audacity" />
  <row Id="45426" PostHistoryTypeId="36" PostId="25707" RevisionGUID="7153b8f2-913b-4074-b1eb-d4071596dd1c" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9420/voice-echoing-in-audacity/9423#9423" />
  <row Id="45427" PostHistoryTypeId="36" PostId="25708" RevisionGUID="2ba08df5-78ff-49ec-a7ab-511d0502aa67" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9420/voice-echoing-in-audacity/9999#9999" />
  <row Id="45428" PostHistoryTypeId="2" PostId="25707" RevisionGUID="4b4b56fa-7583-4b07-a5e2-2355e5c1d44c" CreationDate="2013-11-18T05:17:39.587" UserId="7262" UserDisplayName="Volodya" Text="This can be done with Audacity's 'Echo' effect. You can set the Time delay to a small number (0.1 for example) and a smallish time decay factor (0.4?) to get the effect of 'being trapped in a large empty room'. But what it sounds like here is that they've kept the original as is and then used an altered copy of the same soundtrack with maybe half of a second delay.&#xD;&#xA;&#xD;&#xA;You will need to play with parameters to achieve what you want, but it can be done!&#xD;&#xA;&#xD;&#xA;Edit: Actually listening to it again, maybe they have used a larger decay factor with a larger delay, since you can hear the same echo multiple times... or maybe even applied a small echo on the top of the already existing echo." ContentLicense="CC BY-SA 3.0" />
  <row Id="45429" PostHistoryTypeId="2" PostId="25708" RevisionGUID="9baa3d41-5079-4d1e-a56d-5f7fa6376f95" CreationDate="2014-01-22T00:48:29.637" UserId="7188" Text="You can do this too in Vegas. Engage the audio effect button the audio clip portion, choose reverb in the menu &quot;add&quot;, once you get the pop up on this effect choose &quot;Cathedral&quot; that out be enough, if not, tweak the controls in the pop up." ContentLicense="CC BY-SA 3.0" />
  <row Id="45430" PostHistoryTypeId="2" PostId="25706" RevisionGUID="171a7e2a-6c19-48dc-bebe-2c13e4ad6c58" CreationDate="2013-11-18T01:45:55.570" UserDisplayName="user2551856" Text="How do I do the following effect. In this video :&#xD;&#xA;    http://www.youtube.com/watch?v=m-eOr0LhrGo&#xD;&#xA;&#xD;&#xA;At 1 minute exactly, there is a voice echo when the kid is being bullied. How did they do those echos. How could I do this in audacity or sony vegas." ContentLicense="CC BY-SA 3.0" />
  <row Id="45431" PostHistoryTypeId="1" PostId="25706" RevisionGUID="171a7e2a-6c19-48dc-bebe-2c13e4ad6c58" CreationDate="2013-11-18T01:45:55.570" UserDisplayName="user2551856" Text="Voice echoing in audacity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45432" PostHistoryTypeId="3" PostId="25706" RevisionGUID="171a7e2a-6c19-48dc-bebe-2c13e4ad6c58" CreationDate="2013-11-18T01:45:55.570" UserDisplayName="user2551856" Text="&lt;echo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45433" PostHistoryTypeId="36" PostId="25709" RevisionGUID="6b105ca3-adc9-43df-a168-bfbbf1af0ffc" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8360/mp3-encoding-and-settings" />
  <row Id="45434" PostHistoryTypeId="36" PostId="25710" RevisionGUID="30d987cb-9b8b-47fa-8e03-f3b080dcf1b0" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8360/mp3-encoding-and-settings/8364#8364" />
  <row Id="45435" PostHistoryTypeId="36" PostId="25711" RevisionGUID="ceca9ff7-58ff-4ee7-877c-3c91db345a7c" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8360/mp3-encoding-and-settings/8662#8662" />
  <row Id="45436" PostHistoryTypeId="2" PostId="25710" RevisionGUID="23132b69-90d0-4bad-9a8f-9cd04ff58b25" CreationDate="2013-07-09T13:26:18.130" UserId="14549" UserDisplayName="Stoyno" Text="Generally, there are two types of encoder availible: [lossless][1] and and [lossy compression][2].&#xD;&#xA;&#xD;&#xA;Studio applications should use lossy compression only as the last step to keep the audio quality high. In addition converting from one lossy file format to another lossy one e.g. from mp3 to aac results in a big quality loss. Even more than converting from a lossless to a lossy.&#xD;&#xA;&#xD;&#xA;You should also export your wave file in Cubase instead of using Audacity. As the last step before distributing your audio files you can compress them lossy.&#xD;&#xA;&#xD;&#xA;Which kpbs setting you use depends on what you want to do with it. In general you should try to use 320 CBR (constant bitrate) that VBR or lower CBR bitrates.&#xD;&#xA;&#xD;&#xA;If you want to archive audio files and want to keep the quality high you should use lossless fileformats like flac. This results in a smaller file size than wav files but has still the same quality.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Lossless_compression&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Lossy_data_compression" ContentLicense="CC BY-SA 3.0" />
  <row Id="45437" PostHistoryTypeId="2" PostId="25711" RevisionGUID="1176c19c-d622-438e-bd40-3d7008acd23b" CreationDate="2013-08-09T05:40:43.183" UserId="7312" UserDisplayName="Eugene S" Text="You should be able to create a Mix-Down directly in Cubase, without having to re-record your audio in Audacity and then encode it with Nero.&#xD;&#xA;&#xD;&#xA;To export and audio file in Cubase, follow the following steps:&#xD;&#xA;&#xD;&#xA; 1. File&#xD;&#xA; 2. Export&#xD;&#xA; 3. Audio Mix-Down&#xD;&#xA;&#xD;&#xA;There you should have all the options you need, like File Format, Audio Engine Output and all related settings.&#xD;&#xA;&#xD;&#xA;*I'm also almost sure that the Fraunhofer encoder codec is included in Cubase by default.*" ContentLicense="CC BY-SA 3.0" />
  <row Id="45438" PostHistoryTypeId="2" PostId="25709" RevisionGUID="ca6ec184-fc75-4cf7-9b05-384947b70f5e" CreationDate="2013-07-09T02:52:00.983" UserId="7206" Text="For encoding mp3s I use the Fraunhofer codec that I think sounds the best. I found it in Nero program and I can record my cubase arrangements in audacity and save it as a wav file in audacity and encode it in Nero. Now it sounds good but I wonder if you can &quot;approve&quot; my process or suggest a better way to do it, perhaps I won't have to use all 3 programs? I should be able to script the mp3 encoding with AutoIt but that is more a programming problem than a sound engineering issue. &#xD;&#xA;&#xD;&#xA;When I encode I select 256 bps stereo 41 khz sample rate. That setting is the lowest that sounds good. 128 or 192 is ok but 256 is good for me since I have quite a lot of drive space.&#xD;&#xA;&#xD;&#xA;Are these settings and methods correct?&#xD;&#xA;&#xD;&#xA;You can listen to my stuff at [www.soundcloud.com/niklasr][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundcloud.com/niklasr&#xD;&#xA;  [2]: http://i.stack.imgur.com/Px0Oq.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/6Sc6H.png&#xD;&#xA;&#xD;&#xA;I suppose I can record from the mixer to DAT or from the mixer to the PC, so that I will get the sound of the Mackie mixer which is connected via USB to  the computer but I also failed to record digitally which could reduce the noise. I suppose that the noise is component noise from the plexgear soundcard in the analog recording through the soundcard and that I can try with a real soundcard, or without the computer and a hardware sequencer and not use a computer at all since the background noise is computer component noise. " ContentLicense="CC BY-SA 3.0" />
  <row Id="45439" PostHistoryTypeId="1" PostId="25709" RevisionGUID="ca6ec184-fc75-4cf7-9b05-384947b70f5e" CreationDate="2013-07-09T02:52:00.983" UserId="7206" Text="mp3 encoding and settings" ContentLicense="CC BY-SA 3.0" />
  <row Id="45440" PostHistoryTypeId="3" PostId="25709" RevisionGUID="ca6ec184-fc75-4cf7-9b05-384947b70f5e" CreationDate="2013-07-09T02:52:00.983" UserId="7206" Text="&lt;mp3&gt;&lt;cubase&gt;&lt;encoding&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45441" PostHistoryTypeId="36" PostId="25712" RevisionGUID="700693e8-fb86-486a-be38-a50cb00e7c43" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3050/how-to-make-visualisation-syncronized-with-ableton-live" />
  <row Id="45442" PostHistoryTypeId="36" PostId="25713" RevisionGUID="c03870e8-22c0-4eab-ad13-e263a2aeb2aa" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3050/how-to-make-visualisation-syncronized-with-ableton-live/3056#3056" />
  <row Id="45443" PostHistoryTypeId="2" PostId="25713" RevisionGUID="09290e57-e77c-4462-a574-39fc3b66b7d8" CreationDate="2012-01-17T14:47:51.350" UserId="7100" Text="You can&#xD;&#xA;&#xD;&#xA; - use an existing visualization plug-in (VST or Audio Unit) inside of Ableton Live (see [this forum thread][1])&#xD;&#xA; - use a separate machine with a line in or a microphone feeding a dedicated visualization app (coded in Processing or whatever...)&#xD;&#xA; - ...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://yabb.jriver.com/interact/index.php?topic=30254.0" ContentLicense="CC BY-SA 3.0" />
  <row Id="45444" PostHistoryTypeId="2" PostId="25714" RevisionGUID="c129a649-ae42-4acc-9d29-e849de56b639" CreationDate="2012-01-17T16:54:16.770" UserId="7294" UserDisplayName="Warrior Bob" Text="Ableton Live can output MIDI notes/CCs pretty easily, so if you have visualization software that can use this to trigger visualizations, you should be set - you can just wire them togeter with some virtual-MIDI-port software (Bome's or OSX IAC or something like that).&#xD;&#xA;&#xD;&#xA;Ableton also has some kind of MIDI Sync feature, although I hear it's fairly buggy. I've not tried it myself.&#xD;&#xA;&#xD;&#xA;Finally, if you have the Max 4 Live addon, you can probably make a patch to sync up video using OSC or any pre-built tools for Max. Again, I've not tried this, as I don't have Max 4 Live." ContentLicense="CC BY-SA 3.0" />
  <row Id="45445" PostHistoryTypeId="2" PostId="25712" RevisionGUID="97106893-ddbb-4229-9779-c59f48c53cb4" CreationDate="2012-01-16T15:06:22.903" UserDisplayName="Marcin" Text="I need to make visualization which will be played live using Ableton.&#xD;&#xA;What software do you recommend to use, and how to synchronize music with visualization?&#xD;&#xA;&#xD;&#xA;I know a little bit of Processing.org, just basics but I assume there is some simpler software, that doesn't need coding." ContentLicense="CC BY-SA 3.0" />
  <row Id="45446" PostHistoryTypeId="1" PostId="25712" RevisionGUID="97106893-ddbb-4229-9779-c59f48c53cb4" CreationDate="2012-01-16T15:06:22.903" UserDisplayName="Marcin" Text="How to make visualisation syncronized with ableton live" ContentLicense="CC BY-SA 3.0" />
  <row Id="45447" PostHistoryTypeId="3" PostId="25712" RevisionGUID="97106893-ddbb-4229-9779-c59f48c53cb4" CreationDate="2012-01-16T15:06:22.903" UserDisplayName="Marcin" Text="&lt;ableton&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45448" PostHistoryTypeId="36" PostId="25714" RevisionGUID="5f3962b6-9fdc-4272-ace6-80ef66985176" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3050/how-to-make-visualisation-syncronized-with-ableton-live/3058#3058" />
  <row Id="45449" PostHistoryTypeId="36" PostId="25715" RevisionGUID="5e749e8f-6aa5-4745-8fb8-54de6c81ce85" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3050/how-to-make-visualisation-syncronized-with-ableton-live/4749#4749" />
  <row Id="45450" PostHistoryTypeId="2" PostId="25715" RevisionGUID="044914f5-4430-4dda-842d-7b6e6376301b" CreationDate="2012-09-17T15:59:40.580" UserId="14713" UserDisplayName="b20000" Text="Doesn't Live support video loading and syncing in recent versions? I remember seeing a screenshot somewhere of someone's project where he had loaded up a video and was working on the music synced to the video. But this is during production, and not live performance. &#xD;&#xA;&#xD;&#xA;If you're looking for a solution that works during live performance, you can run a VJ package simultaneously with Live, like Resolume or Avenue, of perhaps Modul8 if you are on Mac. If you want to program stuff yourself you can get into Max/MSP or Max4Live like already mentioned by Warrior Bob, or Processing, which you mentioned yourself. &#xD;&#xA;&#xD;&#xA;If you'd rather create visuals yourself as performer, synced with your music, and you don't want to use video, you can use an audiovisual tool like &lt;a href=&quot;http://land.percussa.com/audiocubes-midibridge&quot;&gt;AudioCubes&lt;/a&gt; by Percussa, which can sync to Ableton Live's tempo, and which can accept MIDI CC messages for colour mixing (which you can send from within Ableton Live MIDI clips). &#xD;&#xA;&#xD;&#xA;**Note: I'm a fan and user of audiocubes myself.** &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45451" PostHistoryTypeId="36" PostId="25716" RevisionGUID="61c8e3b2-a1af-47f6-8a33-4b648b29c6c3" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/618/compact-desk-for-daw-and-music-composition" />
  <row Id="45452" PostHistoryTypeId="2" PostId="25717" RevisionGUID="446cf84e-98d0-4f40-b981-93b0b00dd2b5" CreationDate="2011-01-18T01:54:21.673" UserId="7398" UserDisplayName="BenV" Text="I can think of three different configurations.  Which one you settle on will depend on how often you use the Yamaha and how you use it.  Spend a little time searching Google's image search to find some ideas.&#xD;&#xA;&#xD;&#xA; 1. **Keyboard and mouse in front of the Yamaha on the same surface.**  &#xD;&#xA;    This is a simple and common configuration.  It works good if the Yamaha is only lightly used.  A wireless keyboard and mouse are very useful in this setup.  [Here's][1] an example.&#xD;&#xA;&#xD;&#xA; 2. **Keyboard and mouse in a drawer under the Yamaha.**  &#xD;&#xA;    This is a good one if you use the Yamaha a lot.  You'll probably have to compromise on the height so that the Yamaha isn't too high to play on and the keyboard/mouse aren't too low to use comfortably.  [Here's][2] an example of this one.&#xD;&#xA;&#xD;&#xA; 3. **Keyboard and mouse beside the Yamaha.**  &#xD;&#xA;    I would only use this one if neither of the other two work.  It seems a little inconvenient to me, but I figured I'd mention it anyway.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.liljendal.dk/music/studio.htm&#xD;&#xA;  [2]: http://www.markmillermusic.org/blog/my-studio/" ContentLicense="CC BY-SA 2.5" />
  <row Id="45453" PostHistoryTypeId="2" PostId="25716" RevisionGUID="de4ab742-d5ec-43b9-b729-b2972cb875ce" CreationDate="2011-01-18T00:22:58.913" UserDisplayName="mummey" Text="We're finding that the desk for our daw, plus the keyboard to the side of it (Yamaha P-140) is getting to be a bit much for our space. Ideally we'd like the the computer and keyboard to share the same space so that the user doesn't have to turn his/her head to look at the screens when playing the keyboard.&#xD;&#xA;&#xD;&#xA;Are there solutions for this? If so what are people preferred? " ContentLicense="CC BY-SA 2.5" />
  <row Id="45454" PostHistoryTypeId="1" PostId="25716" RevisionGUID="de4ab742-d5ec-43b9-b729-b2972cb875ce" CreationDate="2011-01-18T00:22:58.913" UserDisplayName="mummey" Text="Compact desk for daw and music composition?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45455" PostHistoryTypeId="3" PostId="25716" RevisionGUID="de4ab742-d5ec-43b9-b729-b2972cb875ce" CreationDate="2011-01-18T00:22:58.913" UserDisplayName="mummey" Text="&lt;home-studio&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45456" PostHistoryTypeId="36" PostId="25717" RevisionGUID="39658485-b0cb-48b2-a813-fa346c3db69d" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/618/compact-desk-for-daw-and-music-composition/619#619" />
  <row Id="45457" PostHistoryTypeId="36" PostId="25718" RevisionGUID="cfe39070-193d-4a4b-b51d-394181d5efd9" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7090/passive-monitor-speakers-with-reference-amplifier-how-do-i-add-a-subwoofer" />
  <row Id="45458" PostHistoryTypeId="36" PostId="25719" RevisionGUID="e7e9a67b-0a14-4aeb-92b3-5fadb340c990" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7090/passive-monitor-speakers-with-reference-amplifier-how-do-i-add-a-subwoofer/7091#7091" />
  <row Id="45459" PostHistoryTypeId="2" PostId="25719" RevisionGUID="7d169103-7c94-4491-a079-a86e31bdaf27" CreationDate="2013-02-09T11:49:05.763" UserId="7016" Text="You can use a crossover before or after the amp - the only downside to placing it after the amp is that the amp needs to be able to drive the woofer as well as the existing monitors - requiring more power, and possibly reducing clarity.&#xD;&#xA;&#xD;&#xA;In this scenario I would probably run the crossover before the amp, and add a dedicated amp for the woofer. This way you can spec this second amp for your preferred response at low frequencies." ContentLicense="CC BY-SA 3.0" />
  <row Id="45460" PostHistoryTypeId="2" PostId="25718" RevisionGUID="a33424a5-0746-40c5-98c0-9d9f5230419b" CreationDate="2013-02-09T08:01:28.047" UserId="7239" Text="I see Behringer makes a two channel reference amplifier the A500. This amplifier is well regarded at the price point. They also make the 2030p (passive) reference monitors: these speakers have *excellent* reviews. There is one caveat with the speakers though -- they need a woofer.&#xD;&#xA;&#xD;&#xA;How would I hook up a woofer using a reference amp and passive speakers?&#xD;&#xA;&#xD;&#xA;Would that requires a crossover before the amp, and another amp for the woofer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45461" PostHistoryTypeId="1" PostId="25718" RevisionGUID="a33424a5-0746-40c5-98c0-9d9f5230419b" CreationDate="2013-02-09T08:01:28.047" UserId="7239" Text="Passive monitor speakers with reference amplifier, how do I add a subwoofer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45462" PostHistoryTypeId="3" PostId="25718" RevisionGUID="a33424a5-0746-40c5-98c0-9d9f5230419b" CreationDate="2013-02-09T08:01:28.047" UserId="7239" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45463" PostHistoryTypeId="36" PostId="25720" RevisionGUID="618cac5b-443d-4e4c-8393-b8fb4d8d152c" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/598/headphone-cables-coiled-v-s-straight" />
  <row Id="45464" PostHistoryTypeId="2" PostId="25721" RevisionGUID="5ed84e48-edc7-4a7e-a96e-daa6ee79b0b8" CreationDate="2011-01-15T01:15:35.213" UserId="7294" UserDisplayName="Warrior Bob" Text="As far as I've ever heard it's just a convenience that some people prefer.  I do not believe the coil has any appreciable effect on the electrical signal." ContentLicense="CC BY-SA 2.5" />
  <row Id="45465" PostHistoryTypeId="2" PostId="25720" RevisionGUID="84ed962a-e4a8-4c4b-85e5-ecaa6f55aa6c" CreationDate="2011-01-14T23:21:07.183" UserDisplayName="에이바" Text="What's the difference between the two? Is it just the convenience of one over the other or does it affect sound quality?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45466" PostHistoryTypeId="1" PostId="25720" RevisionGUID="84ed962a-e4a8-4c4b-85e5-ecaa6f55aa6c" CreationDate="2011-01-14T23:21:07.183" UserDisplayName="에이바" Text="Headphone cables: Coiled v.s Straight" ContentLicense="CC BY-SA 2.5" />
  <row Id="45467" PostHistoryTypeId="3" PostId="25720" RevisionGUID="84ed962a-e4a8-4c4b-85e5-ecaa6f55aa6c" CreationDate="2011-01-14T23:21:07.183" UserDisplayName="에이바" Text="&lt;cable&gt;&lt;headphones&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45468" PostHistoryTypeId="36" PostId="25721" RevisionGUID="d9021a67-3af4-41a5-b015-7b61ecb002bd" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/598/headphone-cables-coiled-v-s-straight/601#601" />
  <row Id="45469" PostHistoryTypeId="36" PostId="25722" RevisionGUID="4649c593-40df-4c12-8051-4631892bd153" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4027/mp3-date-tag-format" />
  <row Id="45470" PostHistoryTypeId="36" PostId="25723" RevisionGUID="9bfc5324-6acf-4c02-a61c-bd1fed9e048b" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4027/mp3-date-tag-format/4028#4028" />
  <row Id="45471" PostHistoryTypeId="2" PostId="25723" RevisionGUID="7eb3ce70-8d44-4993-95ca-950ad807c1aa" CreationDate="2012-05-20T21:21:08.500" UserId="7016" Text="Depends on what you are used to, I guess. I use DD/MM/YYYY, as I am in the UK, but I have some I got from friends in the US tagged MM/DD/YYYY.&#xD;&#xA;&#xD;&#xA;As long as you are consistent in your collection I don't think it matters at all." ContentLicense="CC BY-SA 3.0" />
  <row Id="45472" PostHistoryTypeId="2" PostId="25724" RevisionGUID="1fcf00aa-4c19-46d2-9ad3-a34b618b0d18" CreationDate="2012-05-21T13:12:26.553" UserDisplayName="Profpatsch" Text="MediaMonkey itself automatically converts the dates to the fitting format.&#xD;&#xA;So if you enter&#xD;&#xA;&#xD;&#xA;    YYYY-MM-DD&#xD;&#xA;&#xD;&#xA;It will show&#xD;&#xA;&#xD;&#xA;    DD.MM.YYYY&#xD;&#xA;&#xD;&#xA;in the library (maybe depending on the local settings of your computer) and automatically save the year in ID3V2's &quot;TYER&quot; tag and the date in the &quot;TDAT&quot; tag.&#xD;&#xA;&#xD;&#xA;This means it shouldn't matter which format you choose, every player implementing ID3V2 correctly should be able to display it the right way." ContentLicense="CC BY-SA 3.0" />
  <row Id="45473" PostHistoryTypeId="2" PostId="25722" RevisionGUID="746c82e6-ddfd-45ec-9c70-b3a3c9c8c35f" CreationDate="2012-05-20T19:49:27.957" UserDisplayName="Profpatsch" Text="I want to tag a whole lot of mp3s (in MediaMonkey) and I was wondering what format I should use for the &quot;date&quot; tag.&#xD;&#xA;&#xD;&#xA;Ideas:&#xD;&#xA;&#xD;&#xA;    DD.MM.YYYY&#xD;&#xA;    MM/DD/YYYY&#xD;&#xA;    MM.DD.YYYY&#xD;&#xA;    YYYY-MM-DD&#xD;&#xA;&#xD;&#xA;Is there any standard for this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45474" PostHistoryTypeId="1" PostId="25722" RevisionGUID="746c82e6-ddfd-45ec-9c70-b3a3c9c8c35f" CreationDate="2012-05-20T19:49:27.957" UserDisplayName="Profpatsch" Text="MP3 date tag format" ContentLicense="CC BY-SA 3.0" />
  <row Id="45475" PostHistoryTypeId="3" PostId="25722" RevisionGUID="746c82e6-ddfd-45ec-9c70-b3a3c9c8c35f" CreationDate="2012-05-20T19:49:27.957" UserDisplayName="Profpatsch" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45476" PostHistoryTypeId="36" PostId="25724" RevisionGUID="fa7b7155-d123-4061-91b7-7346c43cc46b" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4027/mp3-date-tag-format/4031#4031" />
  <row Id="45477" PostHistoryTypeId="36" PostId="25725" RevisionGUID="515ccc41-fff5-4494-89fb-07b8be8ccb64" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/583/how-to-read-and-use-a-phase-vectorscope" />
  <row Id="45478" PostHistoryTypeId="2" PostId="25726" RevisionGUID="18544902-a573-478f-bbca-59e8f9356f4a" CreationDate="2011-01-13T21:53:41.017" UserDisplayName="Bill Gribble" Text="The lissajous shape is generated by graphing the left signal on one axis against the right signal on the other axis.  So consider a few scenarios for a sine wave tone. &#xD;&#xA;&#xD;&#xA; - **Mono signal:** L is always equal to R, so the point (L, R) is always on the x=y line, so the plot is a straight line.  Vectorscopes usually rotate the axes 45 degrees, so x=y goes straight up and down instead of 45 degrees.&#xD;&#xA;&#xD;&#xA; - **180 degrees out of phase:** L is always equal to -R, so again a straight line but on the rotated axes the line x=-y goes straight left and right &#xD;&#xA;&#xD;&#xA; - **90 degrees out of phase:** L is following R (or vice versa) by 90 degrees, so the plot is a circle. &#xD;&#xA;&#xD;&#xA;So &quot;vertically-oriented&quot; patterns indicate in-phaseness, &quot;rounder&quot; patterns are out of phase to some extent, &quot;horizontally-oriented&quot; patterns are out of phase to the point of cancelling each other out. &#xD;&#xA;&#xD;&#xA;More complex frequency content will make this look like a mess... phase relationships are wavelength-dependent, so when some are out of phase, others are in phase.  You want to look at single frequencies or narrow bands.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="45479" PostHistoryTypeId="2" PostId="25725" RevisionGUID="69a96dbe-a6e5-4a9f-99c1-294c63be7ad3" CreationDate="2011-01-13T20:05:24.247" UserId="7459" UserDisplayName="bigp" Text="I been using Izotope Ozone 4 for some time, but I'm still a bit intimidated by the Vectorscope in the stereo-imaging section.&#xD;&#xA;&#xD;&#xA;When Mastering / Mixing a signal...&#xD;&#xA;&#xD;&#xA; - What &quot;lissajous shape&quot; are you trying to achieve?&#xD;&#xA; - And which ones should you absolutely avoid?&#xD;&#xA; - Should some phasing switches be used while verifying your signal (toggle L/R channels, Mono, etc)?&#xD;&#xA;&#xD;&#xA;I understand it is used to eliminate Phasing Issues, but how do you actually achieve this? Is this something that has to be typically verified and fixed *per instruments* **or** on the *overall master* mix?&#xD;&#xA;&#xD;&#xA;Any free online resources on this subject would be very appreciated.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 2.5" />
  <row Id="45480" PostHistoryTypeId="1" PostId="25725" RevisionGUID="69a96dbe-a6e5-4a9f-99c1-294c63be7ad3" CreationDate="2011-01-13T20:05:24.247" UserId="7459" UserDisplayName="bigp" Text="How to read and use a Phase / Vectorscope" ContentLicense="CC BY-SA 2.5" />
  <row Id="45481" PostHistoryTypeId="3" PostId="25725" RevisionGUID="69a96dbe-a6e5-4a9f-99c1-294c63be7ad3" CreationDate="2011-01-13T20:05:24.247" UserId="7459" UserDisplayName="bigp" Text="&lt;mixing&gt;&lt;stereo&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45482" PostHistoryTypeId="36" PostId="25726" RevisionGUID="1decdc48-2aec-450d-9c15-cf8133d61864" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/583/how-to-read-and-use-a-phase-vectorscope/587#587" />
  <row Id="45483" PostHistoryTypeId="36" PostId="25727" RevisionGUID="f613fe50-5bfe-4008-938a-0ea947d5c9f5" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4635/audio-cassette-to-digital-archiving-high-quality-complete-hardware-and-softwar" />
  <row Id="45484" PostHistoryTypeId="36" PostId="25728" RevisionGUID="ec14b126-c818-4f25-bd7e-56bbfeafac95" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4635/audio-cassette-to-digital-archiving-high-quality-complete-hardware-and-softwar/4636#4636" />
  <row Id="45485" PostHistoryTypeId="2" PostId="25728" RevisionGUID="2caff854-e20c-4166-960e-a119ed640784" CreationDate="2012-08-27T09:41:42.470" UserId="7016" Text="Ion do a range of these sorts of things - from audio to video etc. SOme do auto flipping to play both sides before stopping. The one you linked to also gets good reviews.&#xD;&#xA;&#xD;&#xA;The thing you need to remember is that audio circuitry these days can give you higher quality than your cassettes, at a very low price.&#xD;&#xA;&#xD;&#xA;So get one of them, run Audacity (which will automatically split into tracks etc) and it will cost you about £50. You don't need to spend hundreds." ContentLicense="CC BY-SA 3.0" />
  <row Id="45486" PostHistoryTypeId="2" PostId="25727" RevisionGUID="537b357d-ce30-4b22-8f23-bb9e165f7717" CreationDate="2012-08-27T02:16:00.527" UserDisplayName="Stephen Swensen" Text="I am a musician and I have around 100 audio cassette recordings of compositions I've done since I was a kid sitting in a box untouched for about 8 years and I am anxious to transfer and archive them to a loss-less digital format for long term safe-keeping.&#xD;&#xA;&#xD;&#xA;The kind of solution I envision is a nearly automatic, &quot;complete&quot; hardware and software solution. i.e. place tape in hardware, plug direct digital line (USB, whatever) into computer (Windows 7), hit &quot;go&quot; button and have software (either in the hardware devise or on a Windows PC) monitor the signal and automatically chop the feed into tracks (i.e. listening for pauses in the recordings). Auto flipping would be good too.&#xD;&#xA;&#xD;&#xA;I'm willing to spend a pretty penny (~$500, &amp;lt;$1000) for such a solution. I've honestly been searching for around the last 5 years and haven't found anything that fits my criteria. Recently I found http://www.cassettetousb.com/, but it looks like a toy.&#xD;&#xA;&#xD;&#xA;If anyone has any suggestions, I'd be grateful. Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="45487" PostHistoryTypeId="1" PostId="25727" RevisionGUID="537b357d-ce30-4b22-8f23-bb9e165f7717" CreationDate="2012-08-27T02:16:00.527" UserDisplayName="Stephen Swensen" Text="Audio Cassette to Digital Archiving: high-quality, complete hardware and software solution" ContentLicense="CC BY-SA 3.0" />
  <row Id="45488" PostHistoryTypeId="3" PostId="25727" RevisionGUID="537b357d-ce30-4b22-8f23-bb9e165f7717" CreationDate="2012-08-27T02:16:00.527" UserDisplayName="Stephen Swensen" Text="&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45489" PostHistoryTypeId="36" PostId="25729" RevisionGUID="fbde3696-07b3-4729-a097-abe1a8773ab0" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7808/how-to-fix-an-amplitude-cutoff" />
  <row Id="45490" PostHistoryTypeId="2" PostId="25729" RevisionGUID="7ea9c3fb-4fff-46db-bceb-b12c3ce1dff5" CreationDate="2013-05-05T16:59:11.907" UserDisplayName="Ahmed Farid" Text="I'm having a problem trying to find out the right terminology for a problem to be able to fix it: I record audio over a radio transceiver from the mic port.&#xD;&#xA;&#xD;&#xA;However by mistake, I recorded the sound from an audio while the volume was up too high, causing the amplitude to be chipped.&#xD;&#xA;&#xD;&#xA;**What is the professional definition for this problem? Is there a method to fix this using Audacity?**&#xD;&#xA;&#xD;&#xA;Here are the links for the sound files to assist your analysis.&#xD;&#xA;&#xD;&#xA;Original: https://www.dropbox.com/s/brqq7uec2fx4pbq/test1.mp3&#xD;&#xA;&#xD;&#xA;Recorded: https://www.dropbox.com/s/j0pm17oy5rjy963/test1n.mp3" ContentLicense="CC BY-SA 3.0" />
  <row Id="45491" PostHistoryTypeId="1" PostId="25729" RevisionGUID="7ea9c3fb-4fff-46db-bceb-b12c3ce1dff5" CreationDate="2013-05-05T16:59:11.907" UserDisplayName="Ahmed Farid" Text="How to fix an amplitude cutoff?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45492" PostHistoryTypeId="3" PostId="25729" RevisionGUID="7ea9c3fb-4fff-46db-bceb-b12c3ce1dff5" CreationDate="2013-05-05T16:59:11.907" UserDisplayName="Ahmed Farid" Text="&lt;sound&gt;&lt;volume&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45493" PostHistoryTypeId="36" PostId="25730" RevisionGUID="93c96705-fde5-4ac9-beca-88986f1126a8" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4998/how-can-i-convert-garage-band-files-so-i-can-use-them-on-audacity" />
  <row Id="45494" PostHistoryTypeId="36" PostId="25731" RevisionGUID="4b88b91a-d7f7-458d-ae23-1f174c4137b0" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4998/how-can-i-convert-garage-band-files-so-i-can-use-them-on-audacity/5008#5008" />
  <row Id="45495" PostHistoryTypeId="2" PostId="25731" RevisionGUID="823686dd-6475-4497-a43e-0b000c90f063" CreationDate="2012-10-13T23:03:57.470" UserId="7016" Text="This will depend a bit on exactly what is in the files. They may be just audio, but they may have midi bits and pieces in there as well.&#xD;&#xA;&#xD;&#xA;In your .band file, you should have a media subfolder, and the audio tracks should be in there (as .aiff files if I recall). Any audio app should let you import them and let you save as wav, mp3 or whatever. I'd use Audacity - full featured, free, multi platform...&#xD;&#xA;&#xD;&#xA;If you have non-audio pieces in there, like midi data etc., your only option is to find a Mac and run Garageband on it - then you can export in whatever format you like." ContentLicense="CC BY-SA 3.0" />
  <row Id="45496" PostHistoryTypeId="2" PostId="25730" RevisionGUID="478eeee3-271b-4009-9e1c-8ec941a2ca6a" CreationDate="2012-10-13T06:15:27.817" UserDisplayName="Rick" Text="I only have a pc. I used to have a mac but after my house got burgled I didn't. But my pc has both Windows XP and Linux on it so I am open to a solution which uses either os. The files are on an external hard drive which is why I still have them" ContentLicense="CC BY-SA 3.0" />
  <row Id="45497" PostHistoryTypeId="1" PostId="25730" RevisionGUID="478eeee3-271b-4009-9e1c-8ec941a2ca6a" CreationDate="2012-10-13T06:15:27.817" UserDisplayName="Rick" Text="How can I convert garage band files so I can use them on Audacity" ContentLicense="CC BY-SA 3.0" />
  <row Id="45498" PostHistoryTypeId="3" PostId="25730" RevisionGUID="478eeee3-271b-4009-9e1c-8ec941a2ca6a" CreationDate="2012-10-13T06:15:27.817" UserDisplayName="Rick" Text="&lt;windows&gt;&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45499" PostHistoryTypeId="36" PostId="25732" RevisionGUID="f696c03c-2d46-45c8-b0b1-d6d708defb05" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1324/headphone-amp-sliders-are-making-noise-worth-fixing-or-not" />
  <row Id="45500" PostHistoryTypeId="2" PostId="25733" RevisionGUID="4d7c6319-2471-4978-bf03-a08f5fc4ac49" CreationDate="2011-05-02T02:24:15.703" UserId="7093" Text="Volume knobs have a tendency to get &quot;scratchy&quot; over time.  This is caused by corrosion and dirt in the inner workings.  &#xD;&#xA;&#xD;&#xA;It's definitely worth fixing.  You can get a can of [DeoxIT][1] contact cleaner for about $15.  &#xD;&#xA;&#xD;&#xA;Just unplug the unit, open the case and spray the backs of the potentiometers.  Usually there is a small hole where you can use the tube that comes with the DeoxIT to get the insides really good.  Turn all the knobs all the way up and down.  Let it dry completely before plugging it back in.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.guitarcenter.com/CAIG-DeoxIT-D5S-6-Spray--Contact-Cleaner---Rejuvenator--5-oz--101175859-i1134929.gc" ContentLicense="CC BY-SA 3.0" />
  <row Id="45501" PostHistoryTypeId="2" PostId="25732" RevisionGUID="ef09cc7f-fb0b-4022-bb98-14b6d7b4b4fb" CreationDate="2011-05-02T01:31:05.187" UserId="7045" Text="I recently replaced my interface (that had two headphone jacks and volume pots) with a new interface that only has one of each. My next move was to pull my 13-year-old [Rolls HA-43 headphone amp](http://www.rolls.com/product.php?pid=HA43) out of the box-o-cables-and-stuff. I noticed that there's a crackling noise audible when you change the volume on any of the sliders. &#xD;&#xA;&#xD;&#xA;Here's the weird part: This happens on all of them. (Will double-check that it's all four channels, and not just the first two.) In the same way. And I'm fairly certain that it didn't used to make that noise. &#xD;&#xA;&#xD;&#xA;What might have caused this? Is it worthwhile to diagnose and fix, or should I just toss it out and buy a new one? " ContentLicense="CC BY-SA 3.0" />
  <row Id="45502" PostHistoryTypeId="1" PostId="25732" RevisionGUID="ef09cc7f-fb0b-4022-bb98-14b6d7b4b4fb" CreationDate="2011-05-02T01:31:05.187" UserId="7045" Text="Headphone amp sliders are making noise. Worth fixing or not?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45503" PostHistoryTypeId="3" PostId="25732" RevisionGUID="ef09cc7f-fb0b-4022-bb98-14b6d7b4b4fb" CreationDate="2011-05-02T01:31:05.187" UserId="7045" Text="&lt;headphones&gt;&lt;noise&gt;&lt;electronics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45504" PostHistoryTypeId="36" PostId="25733" RevisionGUID="9f90b56f-ac07-4d47-ad88-aac3658e1e57" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1324/headphone-amp-sliders-are-making-noise-worth-fixing-or-not/1325#1325" />
  <row Id="45505" PostHistoryTypeId="36" PostId="25734" RevisionGUID="4c95702f-54d2-4a82-b6fd-be73a21a715a" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8532/measurement-of-spldb-for-pc-headphones" />
  <row Id="45506" PostHistoryTypeId="36" PostId="25735" RevisionGUID="43b1b73f-efb4-4f83-a6ca-8414170737a2" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8532/measurement-of-spldb-for-pc-headphones/8540#8540" />
  <row Id="45507" PostHistoryTypeId="2" PostId="25735" RevisionGUID="835df57b-ba77-4b96-a711-30648c3b4119" CreationDate="2013-07-28T19:00:36.800" UserId="7174" Text="The only way to truly determine the SPL level of your headphones is to have it measured with a specialized device that goes in the ear while listening.  Generally it's pricy, but an audiologist would probably have one.  It's part of the fun of headphones and in-ears particularly.  They are really hard to get an accurate read of effective SPL due to how the sound enters the ear.&#xD;&#xA;&#xD;&#xA;You can get a conservative approximation by holding a normal SPL meter directly up to the driver of over the ear type since part of the sound from them isn't going to make it in, but with in-ears, there is no effective way to know short of in-canal metering." ContentLicense="CC BY-SA 3.0" />
  <row Id="45508" PostHistoryTypeId="2" PostId="25734" RevisionGUID="66270d95-19fc-4264-841f-c6561425263a" CreationDate="2013-07-28T14:01:46.567" UserDisplayName="Muhammad Mansoor" Text="I want to calculate the Sound Pressure Level (SPLdB) of My PC headphones. My headphone specs says:&#xD;&#xA;&#xD;&#xA;    Maximum Power Input = 50 mWatt&#xD;&#xA;    Rated Power = 25 mWatt&#xD;&#xA;    Impedance = 32Ohm&#xD;&#xA;    Sensitiviy = 100dBSPL/mWatt&#xD;&#xA;&#xD;&#xA;I used the formula&#xD;&#xA;&#xD;&#xA;    SPL(Pa) = Sensitivity * Power (A)&#xD;&#xA;&#xD;&#xA;and&#xD;&#xA;&#xD;&#xA;    SPL(dB) = 20 Log (SPL(Pa)/(2 * 10^-5)) (B)&#xD;&#xA;&#xD;&#xA;My questions are:&#xD;&#xA;&#xD;&#xA; 1. In formula (A) Which Power I have to use Maximum or rated?&#xD;&#xA;&#xD;&#xA; 2. The specs given at start are related to headphone only. PC soundcard output (say a fixed volume is selected at system volume control) does not play any role?&#xD;&#xA;&#xD;&#xA; 3. Are the given formulas correct? I have obtained them from googling.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45509" PostHistoryTypeId="1" PostId="25734" RevisionGUID="66270d95-19fc-4264-841f-c6561425263a" CreationDate="2013-07-28T14:01:46.567" UserDisplayName="Muhammad Mansoor" Text="Measurement of SPL(dB) for PC headphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="45510" PostHistoryTypeId="3" PostId="25734" RevisionGUID="66270d95-19fc-4264-841f-c6561425263a" CreationDate="2013-07-28T14:01:46.567" UserDisplayName="Muhammad Mansoor" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45511" PostHistoryTypeId="36" PostId="25736" RevisionGUID="a6aac38f-bd9a-4d88-ae6b-bacef08c8dc2" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1696/when-i-read-mpeg-4-aac-does-this-mean-aac-aac-version-1-or-aac-versi" />
  <row Id="45512" PostHistoryTypeId="36" PostId="25737" RevisionGUID="404fa5b1-77e6-4c75-9eab-7c5f9a31c86d" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1696/when-i-read-mpeg-4-aac-does-this-mean-aac-aac-version-1-or-aac-versi/1717#1717" />
  <row Id="45513" PostHistoryTypeId="2" PostId="25737" RevisionGUID="968e7e9f-8849-4fbc-9efb-7150f55f2b7a" CreationDate="2011-07-06T02:20:15.600" UserId="23372" UserDisplayName="Nick Bedford" Text="From [Wikipedia][1]:&#xD;&#xA;&#xD;&#xA;The chart on the side states that **MPEG-4 AAC** is Low Complexity, which is the AAC option.&#xD;&#xA;&#xD;&#xA;AAC+ V1 and V2 are the High Efficiency AAC versions of the codec.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/High-Efficiency_Advanced_Audio_Coding" ContentLicense="CC BY-SA 3.0" />
  <row Id="45514" PostHistoryTypeId="2" PostId="25736" RevisionGUID="387a646a-c78b-45b9-a39b-7aa12d2024d6" CreationDate="2011-07-05T19:54:10.140" UserDisplayName="navand" Text="I'm encoding .3gp videos.&#xD;&#xA;&#xD;&#xA;Instructions say, under audio codec: &quot;MPEG-4 AAC&quot;.&#xD;&#xA;&#xD;&#xA;On audio settings, I can choose between &quot;AAC&quot;, &quot;AAC+ Version 1&quot; and &quot;AAC+ Version 2&quot;.&#xD;&#xA;&#xD;&#xA;I'm lost. Can anyone enlighten me?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45515" PostHistoryTypeId="1" PostId="25736" RevisionGUID="387a646a-c78b-45b9-a39b-7aa12d2024d6" CreationDate="2011-07-05T19:54:10.140" UserDisplayName="navand" Text="When I read &quot;MPEG-4 AAC&quot;, does this mean 'AAC', 'AAC+ Version 1', or 'AAC+ Version 2'?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45516" PostHistoryTypeId="3" PostId="25736" RevisionGUID="387a646a-c78b-45b9-a39b-7aa12d2024d6" CreationDate="2011-07-05T19:54:10.140" UserDisplayName="navand" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45517" PostHistoryTypeId="36" PostId="25738" RevisionGUID="1aa5f7bd-8e27-4932-b32d-568f077a27b1" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/50/can-i-copy-tracks-in-pro-tools-without-copying-audio-regions" />
  <row Id="45518" PostHistoryTypeId="2" PostId="25739" RevisionGUID="a0b6e3ac-6acc-40d0-9bdf-268c013ce093" CreationDate="2010-12-07T21:25:36.390" UserDisplayName="davetron5000" Text="I believe when you do &quot;Duplicate Track&quot;, you have the option of what to duplicate; you can choose to not duplicate the regions, but preserve everything else…&#xD;&#xA;&#xD;&#xA;Don't have it in front of me to test, but I remember seeing those options last time I duped a track." ContentLicense="CC BY-SA 2.5" />
  <row Id="45519" PostHistoryTypeId="2" PostId="25738" RevisionGUID="ae0d3f54-29d5-4933-acf1-68fd236c50ad" CreationDate="2010-12-07T21:18:40.377" UserId="7398" UserDisplayName="BenV" Text="Can I copy tracks in ProTools without copying the audio regions on those tracks but still preserving the input, output, and pan settings?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45520" PostHistoryTypeId="1" PostId="25738" RevisionGUID="ae0d3f54-29d5-4933-acf1-68fd236c50ad" CreationDate="2010-12-07T21:18:40.377" UserId="7398" UserDisplayName="BenV" Text="Can I copy tracks in Pro Tools without copying audio regions?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45521" PostHistoryTypeId="3" PostId="25738" RevisionGUID="ae0d3f54-29d5-4933-acf1-68fd236c50ad" CreationDate="2010-12-07T21:18:40.377" UserId="7398" UserDisplayName="BenV" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45522" PostHistoryTypeId="36" PostId="25739" RevisionGUID="793c4913-cb80-4e48-97cc-be644887b944" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/50/can-i-copy-tracks-in-pro-tools-without-copying-audio-regions/54#54" />
  <row Id="45523" PostHistoryTypeId="36" PostId="25740" RevisionGUID="ed99098f-5453-42f8-8a11-899a6bd9630d" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/50/can-i-copy-tracks-in-pro-tools-without-copying-audio-regions/645#645" />
  <row Id="45524" PostHistoryTypeId="2" PostId="25740" RevisionGUID="4dbe5ca0-ac64-421e-9e0b-ff7533aa13e5" CreationDate="2011-01-20T00:03:58.290" UserDisplayName="jlebre" Text="Yes, you can use &quot;duplicate track&quot; dialog for this.&#xD;&#xA;Alt+D if i'm not mistaken although i usually mess these ones up when I'm not actually working" ContentLicense="CC BY-SA 2.5" />
  <row Id="45525" PostHistoryTypeId="36" PostId="25741" RevisionGUID="b07bdda0-3ed6-4bd3-ae04-456947336e94" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7263/reverse-voice-anonomizing-algorithms" />
  <row Id="45526" PostHistoryTypeId="2" PostId="25742" RevisionGUID="67e96bfc-e46a-4a9c-ba9e-753f65a507d0" CreationDate="2013-03-01T00:42:09.467" UserDisplayName="Sascha Kaupp" Text="Basically, if you mix two different frequencies (and this is the outcome of mixing audio with different pitch), you will get a multitude of frequencies. &#xD;&#xA;&#xD;&#xA;For example, if the original audio contains a frequency of 1000 hz at some point, this will be represented as 800 Hz and 700 Hz. If you now mix these frequencies, you will get the sum of these frequencies (1500 Hz) as well as the difference (100 Hz) in the resulting output. Now with this multitude of frequencies (100, 700, 800 and 1500 Hz) which are all on different levels, the signal is really distorted and the source signal is hard to reconstruct (probably what all those evildoers will want).&#xD;&#xA;&#xD;&#xA;As long as you have a single frequency you want to reconstruct, you might use up- and downmixing and then filtering out the leftover parts of the signal to regain the original frequency. This is what a radio usually does to get the audio signal from the radio frequency.&#xD;&#xA;&#xD;&#xA;If you have a mixture of frequencies that are changing all the time, it is nearly impossible to reconstruct the original audio, as you can only guess and try and filter, as you already did." ContentLicense="CC BY-SA 3.0" />
  <row Id="45527" PostHistoryTypeId="2" PostId="25741" RevisionGUID="34827732-c054-45bd-b5bc-bb47737925bd" CreationDate="2013-02-28T23:29:43.483" UserDisplayName="Chris Okyen" Text="In the movie saw, the voice of the recordimg tapes was a process similiar to having 2 identical recorded speach track which ones pitch is changed down some percent and the other tracks pitch is lowered more and then combined together. For instamce&#xD;&#xA;&#xD;&#xA;-20% track a&#xD;&#xA;-30% track b&#xD;&#xA;&#xD;&#xA;I tried to undo this with software by upping the pitch by the average of the 2 pitch deductions 25% but it doesnt sound high enough. How do you reverse such an algorithm?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45528" PostHistoryTypeId="1" PostId="25741" RevisionGUID="34827732-c054-45bd-b5bc-bb47737925bd" CreationDate="2013-02-28T23:29:43.483" UserDisplayName="Chris Okyen" Text="Reverse voice anonomizing algorithMs" ContentLicense="CC BY-SA 3.0" />
  <row Id="45529" PostHistoryTypeId="3" PostId="25741" RevisionGUID="34827732-c054-45bd-b5bc-bb47737925bd" CreationDate="2013-02-28T23:29:43.483" UserDisplayName="Chris Okyen" Text="&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45530" PostHistoryTypeId="36" PostId="25742" RevisionGUID="80bdae1c-6f10-4006-920b-a4fcaeccadca" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7263/reverse-voice-anonomizing-algorithms/7264#7264" />
  <row Id="45531" PostHistoryTypeId="36" PostId="25743" RevisionGUID="7e4d89b2-a312-4aaf-ab0b-e7879b761395" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7263/reverse-voice-anonomizing-algorithms/7284#7284" />
  <row Id="45532" PostHistoryTypeId="2" PostId="25743" RevisionGUID="af4d1756-139c-49b4-9a8b-99fe73985790" CreationDate="2013-03-02T12:42:11.260" UserId="7200" Text="_The following assumes the effect really works as you think. I don't actually know!_&#xD;&#xA;&#xD;&#xA;Before you start undoing any pitch-shift you will need to separate the tracks. This can't be done properly with ordinary EQing, but should be rather accomplishable with a [comb filter](http://en.wikipedia.org/wiki/Comb_filter), since speech (at least the parts that respond critically to a pitch-shift) consist mostly of &quot;ordinary&quot; harmonic overtones, i.e. frequency-multiples of some common fundamental. Unfortunaly, this fundamental frequency is not quite constant, it needs to be tracked dynamically. You might be able to employ a tool like Melodyne, but it only works for sure with manual trial-and-error-based tracking – an autocorellation or at least FFT spectrum should make this a lot easier – or specialised tools like [RX](http://www.izotope.com/products/audio/rx/) or [reNOVAtor](http://www.algorithmix.com/en/renovator.htm).&#xD;&#xA;&#xD;&#xA;Once you have seperated the channels, the rest should be easy." ContentLicense="CC BY-SA 3.0" />
  <row Id="45533" PostHistoryTypeId="36" PostId="25744" RevisionGUID="8b1bb5c3-7af4-41df-9958-7e63341d22a2" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2694/how-to-create-a-2-mix-in-the-same-project-cubase-5" />
  <row Id="45534" PostHistoryTypeId="2" PostId="25745" RevisionGUID="0282c2ad-99e0-4e3c-ba80-d6a54ac17aeb" CreationDate="2011-11-25T03:37:59.830" UserId="7294" UserDisplayName="Warrior Bob" Text="I don't know how to do this with Cubase specifically, but generically you can do this by using pre-fader [track sends][1]. What these do is send a percentage of the track's signal out to another track, usually called a return track. So you can have your main mix coming out your main outputs (just like you do already), but you can ALSO have a different mix going into this return, by varying the send levels on each track. You can probably assign the output of this return to go to outputs 3 and 4 on your soundcard, and bypass the master output. &#xD;&#xA;&#xD;&#xA;There are **pre-fader** sends, which is a percentage of the signal unaffected by the track's output fader, and **post-fader**, where it's a percentage of the signal after the fader has affected it. For making a separate mix, you don't care what's going out to the master output, so you want to use a pre-fader send if possible.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Aux-send" ContentLicense="CC BY-SA 3.0" />
  <row Id="45535" PostHistoryTypeId="2" PostId="25744" RevisionGUID="9ff6d51f-7947-4ca7-8a00-7a96a0bf7917" CreationDate="2011-11-25T03:18:44.063" UserId="7942" UserDisplayName="Jean-François Côté" Text="I will explain my question with an example: Let's say I have 10 tracks. I want the 10 tracks to be my main mix (the one I listen with my headphones). But I would also want to take 4 of the 10 tracks, mix them together and output them to a stereo output on line 3 and line 4 of my soundcard. This &quot;sub-mix&quot; will go to other hardware that doesn't need the whole mix.&#xD;&#xA;&#xD;&#xA;I want the 10 tracks to stay in the &quot;global&quot; mix that we hear when we listen, and I want 4 tracks to mix and output to a studio output." ContentLicense="CC BY-SA 3.0" />
  <row Id="45536" PostHistoryTypeId="1" PostId="25744" RevisionGUID="9ff6d51f-7947-4ca7-8a00-7a96a0bf7917" CreationDate="2011-11-25T03:18:44.063" UserId="7942" UserDisplayName="Jean-François Côté" Text="How to create a 2 mix in the same project (cubase 5)" ContentLicense="CC BY-SA 3.0" />
  <row Id="45537" PostHistoryTypeId="3" PostId="25744" RevisionGUID="9ff6d51f-7947-4ca7-8a00-7a96a0bf7917" CreationDate="2011-11-25T03:18:44.063" UserId="7942" UserDisplayName="Jean-François Côté" Text="&lt;mixing&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45538" PostHistoryTypeId="36" PostId="25745" RevisionGUID="b7d23ef0-56f9-4501-86da-ad4eff4104cd" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2694/how-to-create-a-2-mix-in-the-same-project-cubase-5/2695#2695" />
  <row Id="45539" PostHistoryTypeId="36" PostId="25746" RevisionGUID="e894a024-9f6c-4116-8395-0a75ac29de94" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/706/cubase-5-wont-open-projects-with-guitar-rig-after-update-5-5-2" />
  <row Id="45540" PostHistoryTypeId="2" PostId="25747" RevisionGUID="ff773d03-439b-414b-a110-5a5a981d5d69" CreationDate="2011-01-29T00:23:30.060" UserDisplayName="karlgrz" Text="In order to solve my problem, I renamed the VSTPlugins folder in my environment, in my case:&#xD;&#xA;&#xD;&#xA;    [System Driver] \ Program Files \ Steinberg \ Cubase 5 \ VSTPlugins&#xD;&#xA;&#xD;&#xA;changes to&#xD;&#xA;&#xD;&#xA;    [System Driver] \ Program Files \ Steinberg \ Cubase 5 \ VSTPlugins2&#xD;&#xA;&#xD;&#xA;Then I re-loaded my project and voila, it loaded! Now, it loaded, but there were errors, in my case:&#xD;&#xA;&#xD;&#xA;    The plug-in &quot;Guitar Rig 3&quot; could not be found for Insert 1 Channel &quot;Guitar&quot;!&#xD;&#xA;&#xD;&#xA;UPDATE: &#xD;&#xA;&#xD;&#xA;I __removed all references to Guitar Rig__, saved the project, and then closed it. Then I ***SHUT DOWN CUBASE***. &#xD;&#xA;&#xD;&#xA;Then I changed my VSTPlugins folder to it's original name, and re-loaded Cubase, and then the offending project. Bingo, worked like a charm! The project opened, but I have to re-add my Guitar Rig insert and choose the correct settings. Fortunately, I have presets mapped for most of my songs, but in the case where you don't, you might have some frustration ahead of you.&#xD;&#xA;&#xD;&#xA;I hope this saves someone the time I spent messing around with this. I'm glad I didn't re-install Cubase all over again.&#xD;&#xA;&#xD;&#xA;***NOTE***&#xD;&#xA;&#xD;&#xA;I also noticed this same behavior with Battery 3. Those are the only plugins I installed outside of what comes with Cubase 5. " ContentLicense="CC BY-SA 2.5" />
  <row Id="45541" PostHistoryTypeId="2" PostId="25746" RevisionGUID="42095add-104e-4383-a65d-109d8bc9395d" CreationDate="2011-01-29T00:15:46.353" UserDisplayName="karlgrz" Text="I'm running Windows 7 64-bit Ultimate and Cubase 5 64-bit. Been working like a charm.&#xD;&#xA;&#xD;&#xA;Earlier this week I installed the update to 5.5.2. Afterwards, I noticed that when I created a new project and used Guitar Rig 3 as a VST plugin it was working MUCH more performant! I was amazed!&#xD;&#xA;&#xD;&#xA;Then I went to try to re-load an old project that had Guitar Rig 3. Crash. Every time. No matter what.&#xD;&#xA;&#xD;&#xA;What do I do?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45542" PostHistoryTypeId="1" PostId="25746" RevisionGUID="42095add-104e-4383-a65d-109d8bc9395d" CreationDate="2011-01-29T00:15:46.353" UserDisplayName="karlgrz" Text="Cubase 5 won't open projects with Guitar Rig after update 5.5.2" ContentLicense="CC BY-SA 2.5" />
  <row Id="45543" PostHistoryTypeId="3" PostId="25746" RevisionGUID="42095add-104e-4383-a65d-109d8bc9395d" CreationDate="2011-01-29T00:15:46.353" UserDisplayName="karlgrz" Text="&lt;plugins&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45544" PostHistoryTypeId="36" PostId="25747" RevisionGUID="f8461853-70c8-48a3-bad3-b1068f42c7ff" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/706/cubase-5-wont-open-projects-with-guitar-rig-after-update-5-5-2/707#707" />
  <row Id="45545" PostHistoryTypeId="36" PostId="25748" RevisionGUID="2dfb317c-306b-46de-8299-2297ac858681" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2927/what-gear-do-i-need-to-start-home-recording" />
  <row Id="45546" PostHistoryTypeId="36" PostId="25749" RevisionGUID="0b760b09-ba86-4404-9212-bfe0f4147d63" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2927/what-gear-do-i-need-to-start-home-recording/2933#2933" />
  <row Id="45547" PostHistoryTypeId="2" PostId="25749" RevisionGUID="e198f886-6cfe-4e16-b208-b91e7390ae3f" CreationDate="2011-12-30T01:22:02.643" UserDisplayName="WuckaChucka" Text="I'm am by no means an expert -- I'm only now just getting back into recording for fun after a ten year hiatus.  Fortunately gear has gone up in performance and down in cost radically since I was a wannabe trying to record onto my Pentium Pro with my Soundblaster card.  Still a wannabe, but have better gear now.&#xD;&#xA;&#xD;&#xA;Now it sounds like your Dad's just doing this for fun, so I'm going to assume a modest budget and time-commitment here.  I'm in the same boat with some combination of guitar(s), bass, keyboards, percussion, and vocals depending on who's over.&#xD;&#xA;&#xD;&#xA;You'll need at the very least an 8-channel mixer and depending on how serious your Dad is, you can get decent quality recordings with a 4-track recording interface into your computer or laptop.  Most of the modern interfaces are USB-based and if you're planning on using a laptop, you'll need that.  If &#xD;&#xA;&#xD;&#xA;As far as mixer goes, I have a 25-year old Tascam M-308 that serves me well into my (new to me) Delta 44 I just picked up that gives me 4 discrete balanced inputs (and therefore tracks) in Adobe Audition, the software I'm currently using for recording.  The Delta 44 is a PCI card that's in my desktop computer in my office (that's conveniently right next to our jam area).&#xD;&#xA;&#xD;&#xA;Since we're jamming and there's no dedicated sound guy (or even proper isolation), I've spent some time getting the levels right, marking them with masking tape and making notes, so I can just hit record and not worry about any mics that are too hot, too cold, clipping, etc.&#xD;&#xA;&#xD;&#xA;The M-308 allows me to group channels together to sub-outs so that I can combine my 4 drum mics (two left and right overheads, one for snare, one for kick drum) into two tracks (using input 1 and input 2 on the Delta 44).  Depending on how many guitar players there are, I either run channel 3 (bass) direct to input 3 on the Delta 44 and channel 4 (guitar) direct to input 4 on the Delta 44.  If there's more guitars and/or a keyboard, I'll group a combination of guitar, keyboard, and bass to 3/4 sub-out and run that into input 3 and 4 on the Delta 44.&#xD;&#xA;&#xD;&#xA;I will likely get another Delta 44 in the near future when I see another used one up for sale and team them together to give me 8 discrete tracks so that I don't have to use the sub-outs and just run each channel of the mixer to it's own input on one of the Delta 44s.&#xD;&#xA;&#xD;&#xA;If your Dad's planning on doing overdubs (and recommended if he's really serious about the end result), he can probably get away with a 4-track interface for now: any more than 4 mics at a time for the drums will require some grouping to sub-outs, however, but with a little trial and error, he can make sure that there's a good overall sound.&#xD;&#xA;&#xD;&#xA;As for mics, I've always liked Shure SM-57 microphones as you can use them for close drum miking, guitar amps, and vocals (although I prefer an SM-58 for vocals).  These mics have been around for years and can be had for fairly cheap second-hand.  There's probably a ton of good mic options nowadays, however.  &#xD;&#xA;&#xD;&#xA;Definitely get XLR cables for your mics and use TRS balanced cables for your inputs and outputs.&#xD;&#xA;&#xD;&#xA;For monitoring, well, I've always just used my Fostex &quot;studio&quot; headphones I've had for years, but I just bought a set of M-Audio AV-40 &quot;Studiophile&quot; speakers.  I can't afford the luxury of rearranging my entire office just to accommodate proper near field monitors as I need to do real work in there and fit my multiple LCD monitors as well as the speakers, so these were a good compromise for me.  However, the M-Audio BX5a Deluxe are really nice, so if there's going to be a purpose-built recording/mixing desk in the basement, I would spend the extra on monitors.&#xD;&#xA;&#xD;&#xA;Hopefully this helps.  If you have specific questions (and a rough budget along with expectations for the end product), update your questiona accordingly." ContentLicense="CC BY-SA 3.0" />
  <row Id="45548" PostHistoryTypeId="2" PostId="25748" RevisionGUID="65eda795-3cd3-4ecb-ab89-39bb948191c8" CreationDate="2011-12-29T09:22:27.903" UserDisplayName="rabbid" Text="My dad is planning to build a home recording studio for him and his friends to use. Suggestions on recording gear and microphones? The instruments will most likely be:&#xD;&#xA;&#xD;&#xA;2 x electric guitars&#xD;&#xA;1 x bass guitar&#xD;&#xA;1 x keyboard&#xD;&#xA;2 x microphones&#xD;&#xA;?? x percussion (not sure if acoustic drums, electric drums, or any other kind of percussion)&#xD;&#xA;&#xD;&#xA;So I've been doing some reading and to my understanding all of these instruments will need to plug into a X-track mixer, right? And the mixer will connect to a computer either directly through a built-in USB, or through a USB interface. Is there another gear needed to connect the instruments to the mixer?&#xD;&#xA;&#xD;&#xA;question on drums, as I understand it to record an acoustic drum there needs to be multiple condenser mics that will record each piece separately; one for toms, one for cymbal, one for snare, etc. If we use an electric drum set will each piece be recorded separately automatically? Or will they be blended into one track?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="45549" PostHistoryTypeId="1" PostId="25748" RevisionGUID="65eda795-3cd3-4ecb-ab89-39bb948191c8" CreationDate="2011-12-29T09:22:27.903" UserDisplayName="rabbid" Text="What gear do I need to start Home recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45550" PostHistoryTypeId="3" PostId="25748" RevisionGUID="65eda795-3cd3-4ecb-ab89-39bb948191c8" CreationDate="2011-12-29T09:22:27.903" UserDisplayName="rabbid" Text="&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45555" PostHistoryTypeId="36" PostId="25751" RevisionGUID="fd48ff11-1778-40eb-a184-8ad7f8135796" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/898/why-is-pro-tools-the-industry-standard-in-high-end-audio-production" />
  <row Id="45556" PostHistoryTypeId="36" PostId="25752" RevisionGUID="7e7dc605-21a8-46dc-8990-0cf8ee7b0254" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/898/why-is-pro-tools-the-industry-standard-in-high-end-audio-production/900#900" />
  <row Id="45557" PostHistoryTypeId="36" PostId="25753" RevisionGUID="a2146f33-ffcc-4382-b680-265f41d2f1e7" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/898/why-is-pro-tools-the-industry-standard-in-high-end-audio-production/902#902" />
  <row Id="45558" PostHistoryTypeId="2" PostId="25752" RevisionGUID="1d5e6b17-51dd-432b-a3da-0c00410fbf36" CreationDate="2011-02-24T09:59:44.810" UserId="7202" Text="Specifically Pro Tools was very early on the market with professional level products, ie things you could record 24 bit on 32 channels or more on. This meant loads of studios invested in a Pro Tools system for those who needed to do that kind of editing. And that meant people learned to use Pro Tools because that was what available at the studio when they needed it, and that meant they wanted pro tools at the next studio, because they didn't want to re-learn.&#xD;&#xA;&#xD;&#xA;And hence it became industry standard. It's like Windows. Everybody uses it, nobody wants to re-learn, etc. Technical aspects are no longer relevant. Only being early, available and good enough.&#xD;&#xA;&#xD;&#xA;(This is not to be taken as a pitch against Pro Tools. I've never used it it's too expensive for me. I'm sure it's bloody awesome. But that's not the reason it's &quot;industry standard&quot;.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="45559" PostHistoryTypeId="2" PostId="25753" RevisionGUID="b6bf2b05-78f7-4009-a015-245a0c832bb9" CreationDate="2011-02-24T15:29:39.450" UserDisplayName="Ian C." Text="Their approach to building the entire DAW system was, from the outset, very different. And I believe that's what set them apart and got them entrenched in the professional audio scene. &#xD;&#xA;&#xD;&#xA;You couldn't, for the longest time, buy a version of ProTools that just ran on whatever computer you had in your studio. Instead, you bought rack-mounted boxes from ProTools that were loaded with general computational devices and DSP devices for accelerated audio processing. There were hard limits on what you could do with the box: a box would support X simultaneous tracks of audio at Y sampling and bit depth and Z plugins running.&#xD;&#xA;&#xD;&#xA;The use of dedicated hardware meant their development was simplified: they didn't have to write to buggy drivers, they didn't have to support myriad of hardware options. It meant they could converge faster, get things very stable. A ProTools setup was, especially in the early 90's, a setup that didn't crash (much, and not at all in comparison to things like Logic or Cubase or CakeWalk that ran on general hardware). It also didn't break a sweat when you ran it at the limit because the limit was set to ensure there was processing overhead available.&#xD;&#xA;&#xD;&#xA;If you wanted more tracks, more plugins, better bit depths, you just bought another processing box and expanded the computational power of your ProTools setup. You didn't have to &quot;know computers&quot; to expand it. It was, more or less, a drop in upgrade -- add the box, connect it in, and you got extra tracks in your sessions. Easy.&#xD;&#xA;&#xD;&#xA;The closed system also meant hardware controllers were easier to design. I'm fairly certain they were way out in front with the &quot;hands on&quot; interface, tactile sliders and knobs that controlled the &quot;in the box&quot; mix that was happening.&#xD;&#xA;&#xD;&#xA;So if you wanted something reliable in your studio, at first you bought ProTools. And then, over time, if you wanted what all the other pro studios in the area had, you bought ProTools. And if you wanted to move mixes from one studio to another, you bought ProTools.&#xD;&#xA;&#xD;&#xA;But at first, you bought ProTools because it was super stable, unlike all the other DAW options at the time." ContentLicense="CC BY-SA 2.5" />
  <row Id="45560" PostHistoryTypeId="2" PostId="25754" RevisionGUID="9825f282-afb0-49e2-b6c0-e5053704881c" CreationDate="2011-02-24T18:00:35.990" UserDisplayName="LeeDumond" Text="I’ve never answered a question here before. But as a Pro Tools veteran of 21+ years who’s worked sessions for major artists from coast to coast, and as a former contributing editor for *Recording Magazine*, I feel pretty qualified to answer this one.&#xD;&#xA;&#xD;&#xA;First of all, many people will be quick to tell you that Pro Tools is the industry standard because it was the first. While it’s true that it was the first, and while there’s no question that helped it establish an early foothold in the industry, that’s not the reason it has remained the tool of choice for high-end professionals. The reason is that it really *is* the best DAW on the market, and always has been.&#xD;&#xA;&#xD;&#xA;Do not let people tell you that Pro Tools owes its industry status to simple market inertia. That’s just crazy. If a facility is investing a quarter million dollars in a Pro Tools system (not difficult to do), you can bet your ass they are investigating every possible alternative with a fine-tooth comb. When a company realizes it could buy FOUR full-blown Logic rigs for the price of a single PT rig, and still chooses Pro Tools, it’s not because they are mindless lemmings.&#xD;&#xA;&#xD;&#xA;During my years at *Recording*, we staged several DAW “shootouts” on both Mac and PC, in which we would invite writers, hobbyists, and industry experts to compare them side by side, feature for feature. When pure features (and not price/costs of ownership) were considered, Pro Tools was the winner going away every time. There was usually a unanimous consensus on that. Nothing else even came close. Granted, it has been a few years since I was involved in that, but I strongly suspect this is still the case.&#xD;&#xA;&#xD;&#xA;You asked for specifics. I can tell you that Pro Tools strongest advantages are in the following:&#xD;&#xA;&#xD;&#xA; - Multitrack audio editing (that is, applying edits to multiple tracks simultaneously). The PT features and workflow in this area are unequalled in the industry. It is simply faster, easier, and more productive by at least an order of magnitude. If you do this all day, every day, a Pro Tools system will pay for itself many times over just in increased productivity.&#xD;&#xA;&#xD;&#xA; - Digidesign/Avid invests millions in developing the absolutely best effects money can buy, and those effects run on a rock-solid DSP platform.&#xD;&#xA;&#xD;&#xA; - Speaking of hardware -- Digidesign’s dedicated hardware platform is second to none. They build world-class consoles, interfaces, etc. that are built specifically to run Pro Tools.&#xD;&#xA;&#xD;&#xA; - They only support systems that run on computers with exact specifications that they control. They won’t just let you slap Pro Tools into any off-the-shelf Mac you have lying around or can manage to snag off of eBay. This lets them design and build systems that are designed to run on specific hardware, and rigorously test those systems to ensure 100% compatibility.&#xD;&#xA;&#xD;&#xA; - Working with video and film. Digidesign consciously targeted the film industry very early on, and as such were really the only viable option if you needed to sync to picture. Once they were purchased by Avid, that focus became even stronger.&#xD;&#xA;&#xD;&#xA; - Surround-sound. This is closely related to the above. Pro Tools supports every conceivable surround-sound format, both in software and hardware, and has from the beginning.&#xD;&#xA;&#xD;&#xA; - The best dealer network. Digidesign doesn’t whore out Pro Tools. They don’t just let any Joe Blow with a credit card become a reseller. There is a rigorous dealer training and certification process, part of which requires you to know and support the product.&#xD;&#xA;&#xD;&#xA; - They stand behind their product. I purchased (and still own) one of their Control 24 consoles. When the silk-screening on it turned out to be bad (some of the labels were starting to rub off) they replaced the ENTIRE board. And when they changed the design to use a switching power supply, they retrofitted mine at no charge (they paid truck shipping both ways too).&#xD;&#xA;&#xD;&#xA; - The best reps and support engineers. They have dedicated reps (think “evangelists” in the software field) who will go anywhere and do anything to help a customer. I once worked in a studio where Digidesgn sent a tech representative to help us with an install, and the guy stayed for *three weeks*.&#xD;&#xA;&#xD;&#xA;Granted, a lot of this stuff may not be important to you, especially if you’re a hobbyist or run a small commercial facility. But trust me, when you are shelling out well into six figures to outfit a room and paying engineers $100/hour to run it, it’s pretty important.&#xD;&#xA;&#xD;&#xA;There are some areas where Pro Tools hasn’t traditionally been that strong. They were pretty slow early on with adopting MIDI features for example, and still lag in that area behind competing systems. I could probably thinkof a few others, but quite frankly none come to mind at the moment.&#xD;&#xA;&#xD;&#xA;Be advised, all of my experience in this area is with Mac-based systems. I’ve never used or even seen Pro Tools run on a PC, so take that for what it’s worth.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45561" PostHistoryTypeId="2" PostId="25751" RevisionGUID="2e2d555b-0d16-438e-8fa1-3664c14bbd12" CreationDate="2011-02-24T07:41:11.250" UserDisplayName="Jon Galloway" Text="Are there some specific features which make Pro Tools so popular in high end audio? Most comparisons I've found with other DAW's are several years old and are pretty subjective. I'm interested in specifics." ContentLicense="CC BY-SA 2.5" />
  <row Id="45562" PostHistoryTypeId="1" PostId="25751" RevisionGUID="2e2d555b-0d16-438e-8fa1-3664c14bbd12" CreationDate="2011-02-24T07:41:11.250" UserDisplayName="Jon Galloway" Text="Why is Pro Tools the industry standard in high end audio production?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45563" PostHistoryTypeId="3" PostId="25751" RevisionGUID="2e2d555b-0d16-438e-8fa1-3664c14bbd12" CreationDate="2011-02-24T07:41:11.250" UserDisplayName="Jon Galloway" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45564" PostHistoryTypeId="36" PostId="25754" RevisionGUID="2022be87-b4ed-4a4f-9656-8e5812cf5ae4" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/898/why-is-pro-tools-the-industry-standard-in-high-end-audio-production/904#904" />
  <row Id="45565" PostHistoryTypeId="36" PostId="25755" RevisionGUID="c4396487-4348-472c-b9db-b1fe14683c1f" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/898/why-is-pro-tools-the-industry-standard-in-high-end-audio-production/5168#5168" />
  <row Id="45566" PostHistoryTypeId="36" PostId="25756" RevisionGUID="51a90147-52f1-4888-9807-fd61df1808a0" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/898/why-is-pro-tools-the-industry-standard-in-high-end-audio-production/5204#5204" />
  <row Id="45567" PostHistoryTypeId="2" PostId="25756" RevisionGUID="a71fe306-b590-4ea3-b517-2f1ac4a673af" CreationDate="2012-10-29T20:49:34.407" UserDisplayName="Dilan" Text="The better DAW depends on what you need.  &#xD;&#xA;&#xD;&#xA;As said before, Pro Tools is weaker when it comes to MIDI, so it depends - film composers are MIDI people 90% of the time.  Hans Zimmer, the biggest film composer out there, among many others such as Harry Gregson-Williams, does all his writing in Cubase. &#xD;&#xA;&#xD;&#xA;However, they also have Pro Tools running simultaneously on another screen.  &#xD;&#xA;&#xD;&#xA;Williams has an intriguing setup which, I think, records whatever he composes on Cubase into a  Pro Tools system simultaneous as audio tracks.  Zimmer writes in Cubase, does the mixing in Pro Tools.  So in some cases, one DAW is just not enough.  &#xD;&#xA;&#xD;&#xA;The truth is, Pro Tools, Cubase, Logic, Sonar, etc are pretty much all excellent and are capable of what you need.  &#xD;&#xA;&#xD;&#xA;I tried PreSonus and it's workflow is amazing, and that's the point - how's the workflow?  As for Pro Tools being &quot;first&quot;, first is a relative term.  I'd always thought of Cubase (Steinberg) as being earlier than Digidesign.  &#xD;&#xA;&#xD;&#xA;Steinberg invented VST's, which is a huge big deal in the DAW world.  But that's perhaps from a MIDI standpoint.  If you're a mainly a MIDI composer, you really don't need to fork out at all on Pro Tools - it's major strength is Audio file processing.  &#xD;&#xA;&#xD;&#xA;Also bear in mind that in readers' poll's and music magazine reviews, Pro Tools hasn't been number one, and in many cases even top 4 or 5 for several years including 2011 and 2012.  How good a DAW is depends on your needs as a musician, and your workflow style." ContentLicense="CC BY-SA 3.0" />
  <row Id="45568" PostHistoryTypeId="2" PostId="25755" RevisionGUID="881dc2d8-58c0-4b0e-9272-00600936f03f" CreationDate="2012-10-26T16:06:57.783" UserDisplayName="Bill" Text="Eh.  I sat at Avid in Tewksbury, MA in my own cube (I sold telecom to them) and have been a professional musician (opera house, Kennedy Center, DC), too, so I use my ears.  Why, Avid didn't even have their trademark on movies when the credits scroll until just recently. And that's not uniform.  Some have it; others don't.  Other DAWs do everything that PT does without the &quot;key&quot;, and nothing sounds as good as real sound.  It's not about &quot;how many songs can I get in this much RAM?&quot; or what's the club or arena audience look like... It's about doing it live..." ContentLicense="CC BY-SA 3.0" />
  <row Id="45569" PostHistoryTypeId="36" PostId="25757" RevisionGUID="1429c76f-4e77-4577-a365-6e314c19038b" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7979/new-earphones-ruined-my-music" />
  <row Id="45570" PostHistoryTypeId="2" PostId="25758" RevisionGUID="1a40295d-d0de-467d-8a40-7bd70cfaa29e" CreationDate="2013-05-28T13:33:26.540" UserId="7174" Text="Two possibilities I can think of.  First, if they are in-ear headphones (typically have some foam or soft plastic sleeve that looks like it could fit in to your ear) then they are actually designed to be inserted in to your ears.  Improper insertion can result in bad sound transmission and very poor sound quality, particularly on the lower ends.  It would sound very tinny like you seem to be describing.  Make sure they are inserted all the way, that your ear canals are not blocked by ear wax and that ear wax has not clogged the sound hole in the earphone itself.  It can sometimes feel a little weird the first time you put in in-ears but if you have the plug properly sized, it should become comfortable once you get used to it.&#xD;&#xA;&#xD;&#xA;It could also just be the fact that it is SkullCandy.  They are similar to Beats audio... ie, they are more concerned about marketing and image than about actual sound quality.  It does sound unlikely to be the problem though as such companies tend to prefer to be low quality in the sense of having overpowering bass at the expense of washed out and muddy everything else.  That said, in-ears don't have the best bass response in general because of their small size.  Until you move up in to the several hundred dollar pairs from reputable companies like Shure and Senheisser the bass will not compete with even fairly cheap (read $5) over the ear headphones and it won't compete with good over the ear headphones until at least the $530 or so point with the Shure SE535s being the cheapest real decent bass response in-ears that I know of.&#xD;&#xA;&#xD;&#xA;Disclaimer: I own a pair of SE535s and have not followed the in-ear market super close since I got them, so it's possible a decent set may be out cheaper now, but I have not heard of anything with solid bass response other than them that is cheaper." ContentLicense="CC BY-SA 3.0" />
  <row Id="45571" PostHistoryTypeId="2" PostId="25757" RevisionGUID="569d1959-d741-4a5b-89ec-60e7a3d57ec0" CreationDate="2013-05-28T09:15:11.440" UserDisplayName="Ortund" Text="Not sure what earphones they are, but I'm told they're made by Skull Candy...&#xD;&#xA;&#xD;&#xA;The sound coming out of them sounds... I don't know... hollow.&#xD;&#xA;&#xD;&#xA;I get echoes out of nowhere, bass sounds flat... It's like I'm listening through a piece of glass almost.&#xD;&#xA;&#xD;&#xA;I've tried fiddling with the equalizer on Windows Media Player and on my phone, but I can't seem to get it to sound right.&#xD;&#xA;&#xD;&#xA;The best way I could describe it is to use [Futuristic Lover by Katy Perry][1]. The drum beats in the beginning should sound very heavy, almost like when you beat the dust out of a rug or something, but now they sound more akin to tapping on the bottom of a frying pan.&#xD;&#xA;&#xD;&#xA;Can anyone help me fix this?&#xD;&#xA;&#xD;&#xA;  [1]:http://www.youtube.com/watch?v=2gdYtDL6qnU&amp;list=LLHg_CJQ74BnWvlIFmr_BZHw" ContentLicense="CC BY-SA 3.0" />
  <row Id="45572" PostHistoryTypeId="1" PostId="25757" RevisionGUID="569d1959-d741-4a5b-89ec-60e7a3d57ec0" CreationDate="2013-05-28T09:15:11.440" UserDisplayName="Ortund" Text="New earphones ruined my music" ContentLicense="CC BY-SA 3.0" />
  <row Id="45573" PostHistoryTypeId="3" PostId="25757" RevisionGUID="569d1959-d741-4a5b-89ec-60e7a3d57ec0" CreationDate="2013-05-28T09:15:11.440" UserDisplayName="Ortund" Text="&lt;playback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45574" PostHistoryTypeId="36" PostId="25758" RevisionGUID="ab6010e6-0e74-4a5b-98ab-101e412491dd" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7979/new-earphones-ruined-my-music/7981#7981" />
  <row Id="45575" PostHistoryTypeId="36" PostId="25759" RevisionGUID="3cf6f480-f70a-47a1-8104-286c8beabaa7" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/109/what-should-i-look-for-when-buying-a-subwoofer" />
  <row Id="45576" PostHistoryTypeId="36" PostId="25760" RevisionGUID="90a08997-a55f-4042-a138-3e0eef732057" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/109/what-should-i-look-for-when-buying-a-subwoofer/114#114" />
  <row Id="45577" PostHistoryTypeId="2" PostId="25760" RevisionGUID="c35938ca-9163-4dbb-9010-b2582e08c6bb" CreationDate="2010-12-08T12:13:32.740" UserDisplayName="Tom Wijsman" Text="First you might want to know about the [different types of subwoofers](http://hometheater.about.com/od/loudspeakerssubwoofers/bb/bybsubwqoofer.htm), [in-depth information on subwoofers](http://www.mobilesolutions-usa.com/howto/buyingasubwoofer.htm).&#xD;&#xA;&#xD;&#xA;Guess you should look around through different subwoofers on the internet and read their reviews,&#xD;&#xA;once you have the subwoofer you want you can [learn about where you need to place your subwoofer](http://www.prosoundweb.com/article/tech_tip_of_the_day_studio_subwoofer_placement/)." ContentLicense="CC BY-SA 2.5" />
  <row Id="45578" PostHistoryTypeId="2" PostId="25761" RevisionGUID="c24f18e3-22d3-4ffc-a1c2-dacd1556faeb" CreationDate="2010-12-17T21:20:24.403" UserId="7218" Text="To do this properly, you will need the frequency response curves for both your studio monitors and your subwoofer so that you can get the crossover frequency right:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;In the above graph, the red curved line is the subwoofer frequency response.  The green line is the frequency response of your studio monitors.  The crossover frequency is the point where the two lines cross.  &#xD;&#xA;&#xD;&#xA;In an ideal world, the point where they cross is -3db down for both.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/0OKqw.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="45579" PostHistoryTypeId="2" PostId="25759" RevisionGUID="716ecc48-2cf5-45e9-9956-384ae50be66e" CreationDate="2010-12-08T09:27:43.057" UserDisplayName="Nik Reiman" Text="I've got a pair of studio monitors which I'm very happy with, and am considering matching them with a sub.  Since I can only hear the sub in the store, and without the benefit of hearing how they'd sound with my current monitors, what can I do to make sure that they will sound good together?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45580" PostHistoryTypeId="1" PostId="25759" RevisionGUID="716ecc48-2cf5-45e9-9956-384ae50be66e" CreationDate="2010-12-08T09:27:43.057" UserDisplayName="Nik Reiman" Text="What should I look for when buying a subwoofer?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45581" PostHistoryTypeId="3" PostId="25759" RevisionGUID="716ecc48-2cf5-45e9-9956-384ae50be66e" CreationDate="2010-12-08T09:27:43.057" UserDisplayName="Nik Reiman" Text="&lt;monitors&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45582" PostHistoryTypeId="36" PostId="25761" RevisionGUID="06e0e0c1-0a86-4160-adb8-6974f1def716" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/109/what-should-i-look-for-when-buying-a-subwoofer/360#360" />
  <row Id="45583" PostHistoryTypeId="36" PostId="25762" RevisionGUID="066a35db-8657-4dea-bc21-b29abe06dc52" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/109/what-should-i-look-for-when-buying-a-subwoofer/381#381" />
  <row Id="45584" PostHistoryTypeId="36" PostId="25763" RevisionGUID="89f204c5-1409-4de4-bad2-90017900b2be" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/109/what-should-i-look-for-when-buying-a-subwoofer/2003#2003" />
  <row Id="45585" PostHistoryTypeId="2" PostId="25762" RevisionGUID="d90a569d-8abe-4c84-8464-7c8e2c238548" CreationDate="2010-12-19T20:49:03.140" UserId="7202" Text="Most studio monitor manufacturers will make subwoofers that match.&#xD;&#xA;&#xD;&#xA;Also, many active subwoofers will let you connect your speakers via the subwoofer, via it's own internal cutoff-filter, so you don't get an overlap in output. However, you can still get a mismatch if you instead of an overlap get a gap." ContentLicense="CC BY-SA 2.5" />
  <row Id="45586" PostHistoryTypeId="2" PostId="25763" RevisionGUID="a33302ad-d34b-455f-8148-f0a4856e4708" CreationDate="2011-08-03T18:26:52.100" UserId="2506" Text="I have a subwoofer in my home setup; however I have moved away from using it to monitor whilst mixing. If you speak to experienced mix engineers, they will ALWAYS recommend that instead of buying a subwoofer, you sort out your mix position with acoustic treatment - you can do a lot to improve the overall response of your room by installing bass traps (the more the merrier!) and diffusion between and above the mix position. Bass nodes are a massive problem in any room; you'll hear it as a 'lumpy' bass response (or excessively boomy at particular frequencies, in a pattern). As a result, you end up cranking the bass more and more to compensate - or EQing the bass in a weird way which actually sounds awful when you listen on another soundsystem.&#xD;&#xA;&#xD;&#xA;If you treat your room well, you can find you can then hear the actual low frequencies - which your nearfield monitors **are** cranking out! - but which were previously hidden by your room's suboptimal response. It didn't stop me buying a sub as much for listening pleasure as critical mixing :-)&#xD;&#xA;&#xD;&#xA;My advice is, generally, buy your sub - any decent one will do, just get one a sweepable crossover, gain and phase adjustments AND A BYPASS FOOTSWITCH! Put the sub in the mix position (where you sit) and adjust it so the rolloff isn't impinging upon your nearfields' rolloff. Then, get on your hands and knees and crawl around the room whilst listening to reference audio! When you find the position where the bass sounds the most natural and consistent, place the subwoofer there. It does mean you have to compromise your room wiring and equipment setup, but that's what you need to do to achieve as consistent a sound as posible (without resorting to loads of bass traps all over the place).&#xD;&#xA;&#xD;&#xA;The BBC use dual subwoofer setups in some mix studios, when I was in their Birmingham mix studio for The Archers drama serial a few years back I noted they had dual Genelec subs in opposite corners of the room. However, remember - the more subs you add, the more complexity you add and the more you compromise your room acoustics (so many room nodes!)" ContentLicense="CC BY-SA 3.0" />
  <row Id="45587" PostHistoryTypeId="36" PostId="25764" RevisionGUID="2c4080d6-de2f-4d3e-b888-d6b435c8ccf4" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7287/xperia-neo-v-compatible-earphones" />
  <row Id="45588" PostHistoryTypeId="36" PostId="25765" RevisionGUID="d0d6434b-aae7-4358-b7bb-1959c3726d24" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7287/xperia-neo-v-compatible-earphones/7289#7289" />
  <row Id="45589" PostHistoryTypeId="2" PostId="25765" RevisionGUID="ae8ed610-1dd7-4f0b-95e2-f4acaeea4834" CreationDate="2013-03-03T15:52:27.620" UserId="6957" Text="As far as audio goes, any headphones will work.  If you intend to use a headset with a built-in mic, you'll have to be sure it is set up with the OMTP TRRS layout.  See below...  &#xD;&#xA;&#xD;&#xA;![TRRS layout][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/8rSD2.jpg&#xD;&#xA;&#xD;&#xA;&lt;sub&gt;[source](http://talk.sonymobile.com/thread/62722)&lt;/sub&gt;&#xD;&#xA;&#xD;&#xA;Incidentally, there are also adapters ([here's an example on amazon](http://www.amazon.com/Sony-EC250-Headphones-Adaptor-1249-0456/dp/B009HW15UG)) to swap the ground/mic ring/sleeve layout.  Of course, if you're handy at it, you could also swap the wires with a little solder work." ContentLicense="CC BY-SA 3.0" />
  <row Id="45590" PostHistoryTypeId="2" PostId="25764" RevisionGUID="a191f4d8-30fa-44ef-b8f4-0dac88099489" CreationDate="2013-03-03T07:18:52.713" UserId="12659" UserDisplayName="ivorykoder" Text="I wanted to know if Sony XBA-3 earphones are compatible with Xperia Neo V phone?&#xD;&#xA;&#xD;&#xA;Also, how to find out the output impedance on the phone's headphone jack? Will there be any need of amplifier? If yes, which one?&#xD;&#xA;&#xD;&#xA;You may not answer all of those queries. Main concern is compatibility. :-)&#xD;&#xA;&#xD;&#xA;Thanks in advance. Expecting some help. :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="45591" PostHistoryTypeId="1" PostId="25764" RevisionGUID="a191f4d8-30fa-44ef-b8f4-0dac88099489" CreationDate="2013-03-03T07:18:52.713" UserId="12659" UserDisplayName="ivorykoder" Text="Xperia Neo V compatible earphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="45592" PostHistoryTypeId="3" PostId="25764" RevisionGUID="a191f4d8-30fa-44ef-b8f4-0dac88099489" CreationDate="2013-03-03T07:18:52.713" UserId="12659" UserDisplayName="ivorykoder" Text="&lt;headphones&gt;&lt;impedance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45593" PostHistoryTypeId="36" PostId="25766" RevisionGUID="ab3ab477-b5a0-4cfb-9019-c1d53fa6e2a2" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1279/what-are-some-good-headphones-for-running" />
  <row Id="45594" PostHistoryTypeId="2" PostId="25767" RevisionGUID="520ab006-fbd9-49e1-860a-3253811c3f75" CreationDate="2011-04-26T13:34:35.337" UserId="7093" Text="I really like [Sony's low end headphones][1].  They usually sell for around $10 usd and sound pretty good.  &#xD;&#xA;&#xD;&#xA;Since you will be running with them, I recommend the [type that hook on your ear][2].  I haven't done much running with them, but I have done lots of yard work without any issues.  They have a nice clear full sound, though they are a bit weaker on the low end than some of the [other models][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/gp/search/ref=sr_nr_p_36_5?bbn=172282&amp;keywords=sony+headphones&amp;qid=1303824549&amp;rh=n%3A172282%2Ck%3Asony+headphones&amp;rnid=386442011&amp;low-price=&amp;high-price=10&amp;x=9&amp;y=11&#xD;&#xA;  [2]: http://www.amazon.com/Sony-MDR-J10-Headphones-Non-Slip-Design/dp/B000092YR6/ref=sr_1_3?s=electronics&amp;ie=UTF8&amp;qid=1303824577&amp;sr=1-3&#xD;&#xA;  [3]: http://www.amazon.com/Sony-Lightweight-MDR-W08L-Vertical-Headphones/dp/B00005N6KG/ref=sr_1_2?s=electronics&amp;ie=UTF8&amp;qid=1303824614&amp;sr=1-2" ContentLicense="CC BY-SA 3.0" />
  <row Id="45595" PostHistoryTypeId="2" PostId="25766" RevisionGUID="72b81800-a8db-42a0-a9b6-e89d2b9339ce" CreationDate="2011-04-26T12:55:51.347" UserId="7289" UserDisplayName="Heather" Text="I'm looking for really great headphones with really great construction for running but can't find it.&#xD;&#xA;&#xD;&#xA;I try new headphones every month or so, but the only ones I can find are low quality with a really bad fastening system.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45596" PostHistoryTypeId="1" PostId="25766" RevisionGUID="72b81800-a8db-42a0-a9b6-e89d2b9339ce" CreationDate="2011-04-26T12:55:51.347" UserId="7289" UserDisplayName="Heather" Text="What are some good headphones for running" ContentLicense="CC BY-SA 3.0" />
  <row Id="45597" PostHistoryTypeId="3" PostId="25766" RevisionGUID="72b81800-a8db-42a0-a9b6-e89d2b9339ce" CreationDate="2011-04-26T12:55:51.347" UserId="7289" UserDisplayName="Heather" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45598" PostHistoryTypeId="36" PostId="25767" RevisionGUID="290f69ed-12d0-47e4-ba2d-ceab2a05cf69" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1279/what-are-some-good-headphones-for-running/1280#1280" />
  <row Id="45599" PostHistoryTypeId="36" PostId="25768" RevisionGUID="27f4d1ee-4684-480b-b2de-e0f184699b18" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8292/play-in-scale-like-abletons-push-controller-using-a-drum-rack-other" />
  <row Id="45600" PostHistoryTypeId="2" PostId="25769" RevisionGUID="e77538f6-3291-40d4-94ff-adbb394f1e62" CreationDate="2013-07-03T14:33:12.633" UserId="7294" UserDisplayName="Warrior Bob" Text="Live has a &quot;Scale&quot; MIDI device that filters incoming notes and snaps them to the closest &quot;correct&quot; scale note. You can find it under MIDI Effects in the browser. &#xD;&#xA;&#xD;&#xA;![image from hearandknow.wordpress.com/2013/01/01/generating-drum-fills/, found on GIS][1]&#xD;&#xA;&#xD;&#xA;This won't be as useful in a drum rack, where the contents of individual cells don't necessarily have any association with the note that triggers them, but for any tonal instrument it should work just fine.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/dYouK.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="45601" PostHistoryTypeId="2" PostId="25768" RevisionGUID="b3b50155-f50e-4bde-bed1-d8b86d6e9e24" CreationDate="2013-07-02T22:57:06.893" UserDisplayName="DavyCrockett" Text="Ableton's new Push controller allows one to play only in certain scales, is this something that can be mimic'ed in a drum rack or something else? Are there any VSTs that have this ability?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45602" PostHistoryTypeId="1" PostId="25768" RevisionGUID="b3b50155-f50e-4bde-bed1-d8b86d6e9e24" CreationDate="2013-07-02T22:57:06.893" UserDisplayName="DavyCrockett" Text="Play in scale like Ableton's Push controller using a drum rack/other?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45603" PostHistoryTypeId="3" PostId="25768" RevisionGUID="b3b50155-f50e-4bde-bed1-d8b86d6e9e24" CreationDate="2013-07-02T22:57:06.893" UserDisplayName="DavyCrockett" Text="&lt;ableton&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45604" PostHistoryTypeId="36" PostId="25769" RevisionGUID="64a64f92-8670-4549-9f4d-c0c63da88332" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8292/play-in-scale-like-abletons-push-controller-using-a-drum-rack-other/8299#8299" />
  <row Id="45605" PostHistoryTypeId="36" PostId="25770" RevisionGUID="5dc708f4-d95b-477b-9929-c3a824815e0c" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5348/what-video-editing-software-allows-for-easy-alignment-of-visual-transitions-with" />
  <row Id="45606" PostHistoryTypeId="36" PostId="25771" RevisionGUID="6f395764-94c4-4012-913d-93d3901aa3e1" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5348/what-video-editing-software-allows-for-easy-alignment-of-visual-transitions-with/5353#5353" />
  <row Id="45607" PostHistoryTypeId="36" PostId="25772" RevisionGUID="3e3895b3-70e8-4de3-aa20-cf4299371385" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5348/what-video-editing-software-allows-for-easy-alignment-of-visual-transitions-with/5355#5355" />
  <row Id="45608" PostHistoryTypeId="36" PostId="25773" RevisionGUID="6d5d2a8f-679a-4d93-9415-3d0ddb439133" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5348/what-video-editing-software-allows-for-easy-alignment-of-visual-transitions-with/5364#5364" />
  <row Id="45609" PostHistoryTypeId="2" PostId="25771" RevisionGUID="6b0e0b83-3449-4c93-bb6c-45c8356dba87" CreationDate="2012-11-17T20:33:09.483" UserId="7225" Text="I don't know of any editor that do this natively, but there are plugins such as the RedGiant's [Trapcode Sound-Keys (it has a free trial so you can check it out first)][1] which allow you to this is a fairly easy manner.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.redgiantsoftware.com/products/all/trapcode-sound-keys/" ContentLicense="CC BY-SA 3.0" />
  <row Id="45610" PostHistoryTypeId="2" PostId="25772" RevisionGUID="f281058e-75ec-4ce9-ae47-89b114a23340" CreationDate="2012-11-18T01:02:18.507" UserId="7255" UserDisplayName="rraallvv" Text="[Here][1] is a complete tutorial on how to make it using iMovie '11&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://support.apple.com/kb/PH2265?viewlocale=en_US" ContentLicense="CC BY-SA 3.0" />
  <row Id="45611" PostHistoryTypeId="2" PostId="25773" RevisionGUID="e0583d6c-278a-4305-b18e-cd3fdcff97e4" CreationDate="2012-11-19T23:03:03.620" UserDisplayName="Chris James Champeau" Text="Snap to beats works very good, but sometimes you may want more control, use the waveforms of the audio channel to see where the beats are, then this should be fairly easy and fully controllable " ContentLicense="CC BY-SA 3.0" />
  <row Id="45612" PostHistoryTypeId="2" PostId="25770" RevisionGUID="f7313635-8076-485e-a4d8-7dcf0bcb240a" CreationDate="2012-11-17T01:01:05.410" UserDisplayName="Village" Text="When editing video projects, I always try to align the transitions between cuts with the music. The timing of how fast the transitions happen and exactly when they appear should often be made to correspond with certain points in the music. Is there any software which allows for transitions to be “snapped” in place to key parts of the music, either manually or automatically, or otherwise provides a useful interface for adjusting the visual transitions to match the music?&#xD;&#xA;&#xD;&#xA;I use OS X." ContentLicense="CC BY-SA 3.0" />
  <row Id="45613" PostHistoryTypeId="1" PostId="25770" RevisionGUID="f7313635-8076-485e-a4d8-7dcf0bcb240a" CreationDate="2012-11-17T01:01:05.410" UserDisplayName="Village" Text="What video editing software allows for easy alignment of visual transitions with the soundtrack?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45614" PostHistoryTypeId="3" PostId="25770" RevisionGUID="f7313635-8076-485e-a4d8-7dcf0bcb240a" CreationDate="2012-11-17T01:01:05.410" UserDisplayName="Village" Text="&lt;sync&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45619" PostHistoryTypeId="36" PostId="25775" RevisionGUID="60750b31-24a1-47d5-acdd-d2e0432838b4" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4785/how-do-i-use-audacity-to-make-two-tracks-match-volume" />
  <row Id="45620" PostHistoryTypeId="36" PostId="25776" RevisionGUID="86f8b8c6-c42b-4e4c-9c49-c619a3cc0eeb" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4785/how-do-i-use-audacity-to-make-two-tracks-match-volume/4786#4786" />
  <row Id="45621" PostHistoryTypeId="36" PostId="25777" RevisionGUID="09852c61-bcf8-4549-8d7e-46ad5a3b9486" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4785/how-do-i-use-audacity-to-make-two-tracks-match-volume/4787#4787" />
  <row Id="45622" PostHistoryTypeId="2" PostId="25776" RevisionGUID="60baaf6f-b911-4834-b528-129fa7b25bd5" CreationDate="2012-09-21T08:06:05.013" UserId="7176" Text="The option you are probably looking for is called `Gain`. I don't have Audacity myself, but according to the [online help][1] you can adjust the gain of each track by the slider on the left of the track. The slider you need to adjust is the one with the `+` and the `-` sign below the `Mute` and `Solo` button.&#xD;&#xA;&#xD;&#xA;In your case you should move the slider of the top track (the one which is louder) to the `-` side, and the lower track slider should go to the `+` side.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/onlinehelp-1.2/track_audio.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="45623" PostHistoryTypeId="2" PostId="25777" RevisionGUID="03bdc0c8-0e69-4641-a3ef-07f7188ac62c" CreationDate="2012-09-21T11:28:01.177" UserId="7213" Text="In addition to Bart's advice, you can highlight the track and section you want to change, and select 'effects&gt;amplify' to alter just one part of one track.&#xD;&#xA;&#xD;&#xA;If the tracks have roughly the same amount of compression, the default offered, which is the highest gain that would result in no clipping, will do a fair job of matching the apparent volume between them. Otherwise, well, there's always &quot;Undo&quot; (-:&#xD;&#xA;&#xD;&#xA;To alter just a portion in the middle of a complex or continuous track, you can switch to 'envelope' mode, and adjust the volume profile as smoothly as you like for that area." ContentLicense="CC BY-SA 3.0" />
  <row Id="45624" PostHistoryTypeId="2" PostId="25775" RevisionGUID="08ec1408-390c-4f90-badd-d55018ab966f" CreationDate="2012-09-21T07:01:42.087" UserId="8124" UserDisplayName="Dave M G" Text="I have an Audacity project with two mono audio tracks. The first (on top) has been recorded at a high volume, and the second (on bottom) at a much lower volume.&#xD;&#xA;&#xD;&#xA;Forgive me if I'm not using the right terms, as I don't do much audio editing at all. To my ears, track one is louder, and looks more robust in the interface, than track two. But I don't know if this is an issue of &quot;gain&quot;, or &quot;amplitude&quot;, or maybe some other term.&#xD;&#xA;&#xD;&#xA;![audacity_tracks][1]&#xD;&#xA;&#xD;&#xA;It seems to me that the first track might be too loud, and so I think I might want to tone it down a little. And track two is definitely too quiet, so I want to bring it up to match track one.&#xD;&#xA;&#xD;&#xA;I'm sure this is a very simple question, but what tools should I be using to adjust the volume on these tracks, and what kind of output volume should I be targeting?&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/2nyRa.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="45625" PostHistoryTypeId="1" PostId="25775" RevisionGUID="08ec1408-390c-4f90-badd-d55018ab966f" CreationDate="2012-09-21T07:01:42.087" UserId="8124" UserDisplayName="Dave M G" Text="How do I use Audacity to make two tracks match volume?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45626" PostHistoryTypeId="3" PostId="25775" RevisionGUID="08ec1408-390c-4f90-badd-d55018ab966f" CreationDate="2012-09-21T07:01:42.087" UserId="8124" UserDisplayName="Dave M G" Text="&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45627" PostHistoryTypeId="36" PostId="25778" RevisionGUID="feabea0b-fc53-4e5f-b1f2-25141ede3d9b" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9289/mbox-2-mini-and-mac-mavericks-mac-osx-10-9-not-working-properly" />
  <row Id="45628" PostHistoryTypeId="36" PostId="25779" RevisionGUID="67edea49-e4dc-4c97-ae2b-dc4186dbaa79" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9289/mbox-2-mini-and-mac-mavericks-mac-osx-10-9-not-working-properly/9371#9371" />
  <row Id="45629" PostHistoryTypeId="2" PostId="25779" RevisionGUID="3063c4af-92d0-4d78-85cd-57c6955ca82c" CreationDate="2013-11-11T09:54:44.720" UserId="11152" UserDisplayName="Gerard Grundy" Text="I think the only way to get good buffer and full functionality of protools is to revert to Mountian Lion for now till Avid comes up with an update.  I have gone back to Mountain lion and I'm using protools 8.05.  It works great without any problems.  I also discovered that for Windows 7 64-bit Protools 8.0 works and my friend uses 8.01 and says it works well too ( I have not tested 8.01 yet but will when I have more data.&#xD;&#xA;&#xD;&#xA;I hope this help and please Vote as it's very easy to get banned from this site but hard to get votes!&#xD;&#xA;&#xD;&#xA;All the best :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="45630" PostHistoryTypeId="2" PostId="25778" RevisionGUID="a4e5ca98-4cd0-44e5-ad76-e6047f33b6ce" CreationDate="2013-10-30T00:05:47.750" UserId="11152" UserDisplayName="Gerard Grundy" Text="I managed to get *Protools 8.05* working on Mavericks.&#xD;&#xA;I installed protools first then, **Mbox_2_USB_10_3_3_Driver_79050-2**&#xD;&#xA;Its the driver for *Protools 10*.&#xD;&#xA;To get play back through the headphones go to playback engine and crank the buffer to **2048**. I tried the other buffers **-&gt;1048** is scratchy&#xD;&#xA;and anything under this there no audio whatsoever.&#xD;&#xA;&#xD;&#xA;Does anyone know how to get buffer setting under **2048** without having to revert back to the previous version of Mac OS?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45631" PostHistoryTypeId="1" PostId="25778" RevisionGUID="a4e5ca98-4cd0-44e5-ad76-e6047f33b6ce" CreationDate="2013-10-30T00:05:47.750" UserId="11152" UserDisplayName="Gerard Grundy" Text="Mbox 2 mini and mac mavericks (mac osx 10.9) not working properly" ContentLicense="CC BY-SA 3.0" />
  <row Id="45632" PostHistoryTypeId="3" PostId="25778" RevisionGUID="a4e5ca98-4cd0-44e5-ad76-e6047f33b6ce" CreationDate="2013-10-30T00:05:47.750" UserId="11152" UserDisplayName="Gerard Grundy" Text="&lt;software&gt;&lt;mac&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45633" PostHistoryTypeId="36" PostId="25780" RevisionGUID="e58da4e5-f296-428e-b0f8-53713a2772b1" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8925/how-to-best-digitize-an-audio-signal-in-a-recording-environment-relevance-of-a" />
  <row Id="45634" PostHistoryTypeId="36" PostId="25781" RevisionGUID="8a8ac7bc-fd58-4bfe-901f-eb43f0e7b239" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8925/how-to-best-digitize-an-audio-signal-in-a-recording-environment-relevance-of-a/8970#8970" />
  <row Id="45635" PostHistoryTypeId="2" PostId="25781" RevisionGUID="a15b67c6-a028-4cf1-8a4a-466187125290" CreationDate="2013-09-13T11:52:18.467" UserId="7194" Text="The leading manufacturers of ADCs are companies such as Apogee, Prism Sound, Lavry Engineering, and RME (to name just a few of the popular ones). All produce various white-papers and spec sheets showing the superiority of their designs.&#xD;&#xA;&#xD;&#xA;But there is a serious debate as to what extent people can perceive quality differences between various ADCs.&#xD;&#xA;&#xD;&#xA;Some claim to hear noticeable differences; but this can be contributed to the placebo effect, and pretty much none of these people have demonstrated this ability in a fair, blindfolded A/B test.&#xD;&#xA;&#xD;&#xA;Empirical tests (some I have conducted myself) suggest that it is mainly cheap and old ADCs that can be distinguished from modern ADCs, whether expensive, moderately priced or even cheap ones. Interestingly, in some experiments people actually preferred the old and cheap ADCs, which is explained by the sound colouring these involve.&#xD;&#xA;&#xD;&#xA;It is perhaps important to mention that even the cheapest ADCs nowadays are built with a technology (namely 1-bit delta-sigma conversion) that is far superior to the ADCs we had 20 years ago. This seems to marginalise audible differences.&#xD;&#xA;&#xD;&#xA;What is important to mention is that most consumer products are not specialised ADCs. As such, the sound quality may be affected by various factors, such as relatively high noise levels or poor input/output stages.&#xD;&#xA;&#xD;&#xA;I can say with certainty that a different room, mic choice or a mic-pre will yield far more audible sound differences than a different ADC.&#xD;&#xA;&#xD;&#xA;&gt;What is the industry best connections between an ADC and a computer?&#xD;&#xA;&#xD;&#xA;The connection itself has no effect on sound quality. Once digitised, the samples will be transferred onto the host machine perfectly, regardless the connection. From a functional perspective (not audio quality, but hardware issues), FireWire seemed to become the candidate of choice, providing higher performance than USB, but many manufacturers have experienced unreliable and inconsistent behaviour with FireWire connections (somewhat oddly, this applies to audio but not hard drive connections). So you'll find that many manufacturers now prefer USB connections over FireWire.&#xD;&#xA;&#xD;&#xA;&gt; What ADC systems do people use in studios?&#xD;&#xA;&#xD;&#xA;This is impossible to answer, but many professional studios use either Pro Tools HD interfaces or Apogee's. But many use other ADCs.&#xD;&#xA;&#xD;&#xA;&gt; Do studios normally have an ADC at the end of the stages?&#xD;&#xA;&#xD;&#xA;Normally the ADC, whether a dedicated one or part of a combo audio interface (with pre amps and monitor section), is connected directly to the DAW, allowing the connection of analogue signals to and from the DAW.&#xD;&#xA;&#xD;&#xA;&gt; What exactly is in the mixer part (with many input lines)? Does that also have an ADC?&#xD;&#xA;&#xD;&#xA;The role of the mixer is to accommodate inputs, outputs, and perform the mixing (summing), routing and processing of audio signals.&#xD;&#xA;&#xD;&#xA;Some mixers are digital, meaning that analogue input signals are converted to digital straight after the input stage, then all processing/mixing/routing is done in the digital domain. The digital signals are then converted back to analogue before the analogue output stages. But there might also be digital outputs (ADAT/SPDIF) so the audio is just sent in its digital form.&#xD;&#xA;&#xD;&#xA;Analog mixers perform all these tasks in the analog domain, so they don't involve ADCs.&#xD;&#xA;&#xD;&#xA;Since it is common to connect analog mixers into a DAW (requiring a separate ADC), manufacturers like Mackie now offer analog desks that have an ADC build-in, and that can be connected to the DAW directly via USB or FireWire. They simply consolidate the ADC into the desk.&#xD;&#xA;&#xD;&#xA;&gt; I built a preamp and I was wondering, how do I run it through the M-AUDIO without using its internal preamp&#xD;&#xA;&#xD;&#xA;If your audio interface hasn't got a line-in input, you can't.&#xD;&#xA;&#xD;&#xA;&gt;  The computers built-in &quot;line in&quot; input which is obviously poorer than a dedicated ADC.&#xD;&#xA;&#xD;&#xA;This may or may not be true. Some ADCs (like the ones on the Mac Pro) may not yield any audible difference compared to cheap dedicated ADCs or audio interfaces with ADCs. In fact, my Mac Pro line out connection has lower noise level than my Yamaha UR28M.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45636" PostHistoryTypeId="2" PostId="25780" RevisionGUID="66b27949-cbfb-4337-8a64-1cee8e615948" CreationDate="2013-09-09T19:54:53.330" UserDisplayName="user1255592" Text="I'm trying to build a decent recording environment for someone but this question is general. I am someone with more electronics knowledge than audio tech. Though by no means am I saying I am an expert in either.&#xD;&#xA;&#xD;&#xA;I'm just trying to figure this out. I'm trying to find information but I just seem to hit a void on it. So I figured I'd ask here. &#xD;&#xA;&#xD;&#xA;Say there is a case where you have a **really nice good quality, low noise analogue signal**. **How do we best digitize this?** What (tending towards best) systems are in place to turn the analogue signal to digital? **Where do the bottlenecks occur**?&#xD;&#xA;&#xD;&#xA;Is it that beyond a basic ADC quality point (such as M-AUDIO fast track MKII), there isn't much relevance as to which ADC you use as much as which mic, room condition etc you use? What ADC systems do people use in studios? What exactly is in the mixer part (with many input lines)? Does that also have an ADC? Do studios normally have an ADC at the end of the stages? I see a lotta of info on high quality preamps and mixers etc. But I don't seem to find much on the final conversion to digital. Surely if you have an awesome signal, it will be of little effect if the final ADC is not good enough. No?&#xD;&#xA;&#xD;&#xA;What am I missing? Is it that its quality of ADCs are so high that its just negligible when compared to the input mic, preamp etc? Or am I just looking at the wrong places? What is the industry best connections between an ADC and a computer? (plain old USB?) I am not asking about latency or any of the associated things, just purely about end quality. &#xD;&#xA;&#xD;&#xA;I have an Behringer C1 condenser mic fed into an M-Audio Fast Track II box with Phantom Power and was wondering what were the next steps to improve quality. I built a preamp and I was wondering, how do I run it through the M-AUDIO without using its internal preamp as the only other way to digitize it would be to use the computers built-in &quot;line in&quot; input which is obviously poorer than a dedicated ADC. To be clear, this is not a &quot;How can I make my recording environment better&quot; question. I just want to understand where the bottlenecks exactly occur and hopefully gain some insight. I just provided details incase anyone was wondering where I'm coming from." ContentLicense="CC BY-SA 3.0" />
  <row Id="45637" PostHistoryTypeId="1" PostId="25780" RevisionGUID="66b27949-cbfb-4337-8a64-1cee8e615948" CreationDate="2013-09-09T19:54:53.330" UserDisplayName="user1255592" Text="How to best digitize an audio signal in a recording environment? (relevance of ADCs)" ContentLicense="CC BY-SA 3.0" />
  <row Id="45638" PostHistoryTypeId="3" PostId="25780" RevisionGUID="66b27949-cbfb-4337-8a64-1cee8e615948" CreationDate="2013-09-09T19:54:53.330" UserDisplayName="user1255592" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45639" PostHistoryTypeId="36" PostId="25782" RevisionGUID="ad04bc5c-2d23-4be2-9aa2-6cb8d3881099" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8100/retro-reverb-sound-for-mixes" />
  <row Id="45640" PostHistoryTypeId="36" PostId="25783" RevisionGUID="707ad5a1-7348-46c4-b830-3b54fbdc7b18" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8100/retro-reverb-sound-for-mixes/8102#8102" />
  <row Id="45641" PostHistoryTypeId="2" PostId="25783" RevisionGUID="16aaa9ef-ce46-453b-9916-214402b47f98" CreationDate="2013-06-10T23:18:36.973" UserId="7188" Text="For the guitars retro reverb would be vacuum tube driven springs as found in a 1963 to 1965 Black Face amp such as the Super Reverb, Deluxe Reverb, etc,. Also Fender and others had a standalone tube driven spring reverb that was far superior than the amps mentioned.&#xD;&#xA;&#xD;&#xA;Many effect boxes emulate this sound, Zoom does it pretty well. I have a replica Uncle Spot stand alone reverb--actually an improvement over the original Fender that I use and love.&#xD;&#xA;&#xD;&#xA;Check it out here:&#xD;&#xA;&#xD;&#xA;http://www.unclespot.com/USreverbunit.html&#xD;&#xA;&#xD;&#xA;For the vocals tube driven springs may be too much like Dick Dale, perhaps a good 'Hall' reverb at about 40% to 50%." ContentLicense="CC BY-SA 3.0" />
  <row Id="45642" PostHistoryTypeId="2" PostId="25782" RevisionGUID="1b71a55a-ce7f-4592-922a-86efb2613408" CreationDate="2013-06-10T22:34:23.207" UserDisplayName="DaveO" Text="Is there a specific type of reverb that gets the retro sound found on these Best Coast and The Drums songs:&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=ZuC1bCoH2TY&#xD;&#xA;https://www.youtube.com/watch?v=Uqphb_WM1rM&#xD;&#xA;&#xD;&#xA;Just pumping up any old reverb doesn't seem to do the trick so any tips on how to get this retro sound would be great thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="45643" PostHistoryTypeId="1" PostId="25782" RevisionGUID="1b71a55a-ce7f-4592-922a-86efb2613408" CreationDate="2013-06-10T22:34:23.207" UserDisplayName="DaveO" Text="Retro reverb sound for mixes" ContentLicense="CC BY-SA 3.0" />
  <row Id="45644" PostHistoryTypeId="3" PostId="25782" RevisionGUID="1b71a55a-ce7f-4592-922a-86efb2613408" CreationDate="2013-06-10T22:34:23.207" UserDisplayName="DaveO" Text="&lt;mixing&gt;&lt;reverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45645" PostHistoryTypeId="36" PostId="25784" RevisionGUID="808e9b2a-e8e9-44ac-81e8-00b9e1636280" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1199/ableton-live-instruments-and-effects-have-disappeared-from-the-library-how-to" />
  <row Id="45646" PostHistoryTypeId="36" PostId="25785" RevisionGUID="9a9de2ca-a814-4c3f-b121-60e3b4cdd08a" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1199/ableton-live-instruments-and-effects-have-disappeared-from-the-library-how-to/1316#1316" />
  <row Id="45647" PostHistoryTypeId="36" PostId="25786" RevisionGUID="b6a37073-fe33-42c1-97f8-a93149eaeca1" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1199/ableton-live-instruments-and-effects-have-disappeared-from-the-library-how-to/5810#5810" />
  <row Id="45648" PostHistoryTypeId="2" PostId="25785" RevisionGUID="fc9dc370-ad68-41e1-8d6c-c8fffe74a55a" CreationDate="2011-04-30T12:05:53.363" UserDisplayName="Shane Kilkelly" Text="Go to Preferences, select the &quot;Library&quot; tab and click &quot;Repair Library&quot;.  &#xD;&#xA;&#xD;&#xA;This will instruct Live to look at the library and correct any known errors, replace missing files that it knows should be there, and so forth.  The library is a collection of files, so it's possible for them to be modified outside of Live.  Live is able to do basic repairs to the library based on what &quot;should&quot; be in there." ContentLicense="CC BY-SA 3.0" />
  <row Id="45649" PostHistoryTypeId="2" PostId="25786" RevisionGUID="07be7c84-22ce-4cda-b883-acec4f6f506c" CreationDate="2013-01-11T09:39:36.933" UserId="7269" UserDisplayName="Gal Margalit" Text="Had the same problem (Ableton Live 6, pc version).&lt;br/&gt;&#xD;&#xA;When re-installation was the only solution every time it happened, I chose to update to a newer version (8.34). This seemed to resolve the Library issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="45650" PostHistoryTypeId="2" PostId="25784" RevisionGUID="680b9d5c-ec0c-4092-9871-73d5f3f83717" CreationDate="2011-04-19T12:27:01.437" UserDisplayName="kevtrout" Text="I opened Ableton Live (6 LE - Mac Version) last night and none of the instruments or effect presets were in the Library pane.  The instrument and effect unit names were there, but when I click on the arrow to expand the tree view...nothing appears.  &#xD;&#xA;&#xD;&#xA;I moved the application to the trash and inserted my Live DVD to reinstall, figuring that would fix it, but had no success.  &#xD;&#xA;&#xD;&#xA;I reinstalled the impulse live pack and that fixed impulse, but I didn't find a simpler or effect preset pack to install.&#xD;&#xA;&#xD;&#xA;**Why would all the instrument and effect presets disappear?**&#xD;&#xA;&#xD;&#xA;**How do I get them back?**&#xD;&#xA;&#xD;&#xA;**How do I perform a clean reinstall of Live?**&#xD;&#xA;&#xD;&#xA;Update:&#xD;&#xA;I contacted Ableton support and they indicated that the only way to fix this is to update to a newer version. Of course, they offer free upgrades from one LE product to the next online.&#xD;&#xA;&#xD;&#xA;I found an additional preference file in user/libraries/preferences/ableton and deleted it, then reinstalled Live 6 LE from disc. It worked fine after that.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45651" PostHistoryTypeId="1" PostId="25784" RevisionGUID="680b9d5c-ec0c-4092-9871-73d5f3f83717" CreationDate="2011-04-19T12:27:01.437" UserDisplayName="kevtrout" Text="Ableton Live Instruments and Effects Have Disappeared From The Library...How to get them back?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45652" PostHistoryTypeId="3" PostId="25784" RevisionGUID="680b9d5c-ec0c-4092-9871-73d5f3f83717" CreationDate="2011-04-19T12:27:01.437" UserDisplayName="kevtrout" Text="&lt;ableton&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45653" PostHistoryTypeId="36" PostId="25787" RevisionGUID="cfba1ad6-dc60-457e-a70c-09f63dce1a6e" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3255/what-does-the-sample-rate-and-sample-size-of-audio-means" />
  <row Id="45654" PostHistoryTypeId="2" PostId="25788" RevisionGUID="44a68aad-c0aa-407e-8c56-dc2160df7997" CreationDate="2012-02-10T15:33:21.647" UserId="7294" UserDisplayName="Warrior Bob" Text="Yes, they are independent of the bitrate and they both directly affect the &quot;quality&quot; of a digital recording.&#xD;&#xA;&#xD;&#xA;## Sampling Rate&#xD;&#xA;&#xD;&#xA;At a basic level, digital audio is recorded by approximating the positions of an audio signal over time. The [Wikipedia article on sampling rate](http://en.wikipedia.org/wiki/Sampling_rate) has a pretty good picture of how this works, which I'll link here:&#xD;&#xA;&#xD;&#xA;![Sampling a waveform (from Wikipedia)][1]&#xD;&#xA;&#xD;&#xA;You can see that the audio waveform (in blue) is approximated by recording its position (the black dots) at each of several regularly-spaced positions in time. Each of those &quot;samples&quot; is stored as a number, referring to the height of the wave at that point. The sampling rate is how many of those samples are taken per second.&#xD;&#xA;&#xD;&#xA;So in the CD-standard 44.1KHz that you've probably seen, that means that 44.1 thousand samples are taken each second.&#xD;&#xA;&#xD;&#xA;## Sample size&#xD;&#xA;I'm not sure exactly what sample size means in this context, since I'm unfamiliar with the term. I think it might be referring to what I usually call [bit depth](http://en.wikipedia.org/wiki/Sample_(signal)#Bit_depth_.28quantization.29), which is the resolution of the samples described above. So if you're using 16-bit digital audio, each one of those samples has 16 bits worth of data, or 2^16 possible positions it can record, from the lowest position to the highest. Higher bit depth means higher-resolution audio and a better representation of the original wave.&#xD;&#xA;&#xD;&#xA;## So how does this tie in to bit rate?&#xD;&#xA;Keep in mind that all of this that I've described so far is fairly straightforward audio recording. This is before anything clever like MP3 compression gets applied. Lossy compression like MP3 does not store the samples themselves, but rather enough data to *approximate* the samples in a clever way upon decoding. It takes much less data (fewer bits per unit of time, hence the term bit rate) but is only ever going to be an approxmation. The higher the bit rate, the better that approxmation is, at the cost of filesize.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/m4xb7.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="45655" PostHistoryTypeId="2" PostId="25787" RevisionGUID="7be694dc-a36d-4369-b70d-9ddcdc50c1db" CreationDate="2012-02-10T14:34:46.277" UserDisplayName="Kappri" Text="In a MP3 audio file, I know theres a **bitrate** of audio which tells the number of bits in seconds are being used by the player, in other words a measure of quality of audio.&#xD;&#xA;&#xD;&#xA;But I'm confused with the terms **sample rate** and **sample size**. Are they independent of the bitrate or quality of sound? or Can it be explained in some understandable terms?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45656" PostHistoryTypeId="1" PostId="25787" RevisionGUID="7be694dc-a36d-4369-b70d-9ddcdc50c1db" CreationDate="2012-02-10T14:34:46.277" UserDisplayName="Kappri" Text="What does the sample rate and sample size of audio means?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45657" PostHistoryTypeId="3" PostId="25787" RevisionGUID="7be694dc-a36d-4369-b70d-9ddcdc50c1db" CreationDate="2012-02-10T14:34:46.277" UserDisplayName="Kappri" Text="&lt;bit-depth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45658" PostHistoryTypeId="36" PostId="25788" RevisionGUID="d99082fc-be21-4e90-9cff-72f916cd98d3" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3255/what-does-the-sample-rate-and-sample-size-of-audio-means/3256#3256" />
  <row Id="45659" PostHistoryTypeId="36" PostId="25789" RevisionGUID="afaf7be8-2118-4865-8806-c249adc0058b" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1561/how-do-i-remove-mouse-click-noise" />
  <row Id="45660" PostHistoryTypeId="36" PostId="25790" RevisionGUID="b924990f-de3b-4fcf-b9e8-56d462f77c3c" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1561/how-do-i-remove-mouse-click-noise/1565#1565" />
  <row Id="45661" PostHistoryTypeId="36" PostId="25791" RevisionGUID="8109cdc1-4405-4654-ba1f-749c535131c2" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1561/how-do-i-remove-mouse-click-noise/1568#1568" />
  <row Id="45662" PostHistoryTypeId="36" PostId="25792" RevisionGUID="31070e6d-177f-4bbb-8157-b7286373e00c" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1561/how-do-i-remove-mouse-click-noise/1594#1594" />
  <row Id="45663" PostHistoryTypeId="36" PostId="25793" RevisionGUID="83ed592a-08d0-411b-b007-74b01f2e81ae" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1561/how-do-i-remove-mouse-click-noise/1612#1612" />
  <row Id="45664" PostHistoryTypeId="36" PostId="25794" RevisionGUID="9f21026c-f768-4077-9000-3e1a34efb576" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1561/how-do-i-remove-mouse-click-noise/1690#1690" />
  <row Id="45665" PostHistoryTypeId="2" PostId="25790" RevisionGUID="4d5b6749-34e9-470f-a6d2-c1aabc1b1cba" CreationDate="2011-06-08T05:06:30.037" UserDisplayName="Davy" Text="Use an external mouse (i.e. not the trackpad on a laptop) and put it under the desk surface on a lap board or book while you're recording... that should lessen it.  Additionally, go to a PC store and sample the mice there to see which has the most quiet clicking noise.&#xD;&#xA;&#xD;&#xA;Even further, invest in a uni-directional mic so that, while aimed at your mouth, it's not picking up much of any noise around you.  Plus, it'll sound better than any built-in mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="45666" PostHistoryTypeId="2" PostId="25791" RevisionGUID="3981f2f8-ae5d-4495-8f08-9e80d456e660" CreationDate="2011-06-08T14:33:52.687" UserId="7045" Text="I would use a trackpad instead of a mouse; they're much quieter. &#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Fg0cV.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="45667" PostHistoryTypeId="2" PostId="25792" RevisionGUID="97bf1fb0-9e2b-4648-be72-b30266913554" CreationDate="2011-06-15T00:56:26.527" UserDisplayName="SeanBlake" Text="I would propose two options:&#xD;&#xA;&#xD;&#xA; - Use an expander or, better yet, a multi-band expander on your audio file. Set correctly it will turn down any sounds that occur while you are not talking. this won't help for anything that happens while you are talking, or for anything as loud/louder than your own voice.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; - Consider purchasing a good lavalier microphone that you can clip to your shirt. It will be closer to your face allowing you to turn down the gain on your mic, resulting in all noises (including mouse clicks) being far less audible. Make sure to get a cardioid mic as opposed to an omni-directional mic. This will help reduce sounds from anything the microphone isn't pointing at.&#xD;&#xA;&#xD;&#xA;Finally, consider that this clicking sound may be a very helpful auditory cue to your viewers to know when you are clicking something (especially if this is a tutorial type screencast).&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Blake" ContentLicense="CC BY-SA 3.0" />
  <row Id="45668" PostHistoryTypeId="2" PostId="25793" RevisionGUID="25aec625-1fe3-457c-94ca-45058a692f41" CreationDate="2011-06-17T11:07:27.150" UserId="7592" UserDisplayName="Pelle ten Cate" Text="I have a somewhat different solution: record your audio separately from your screencast, and use a video edit program to put them together. This approach gives you the following advantages:&#xD;&#xA;&#xD;&#xA; - More fluent speech, which you can even pre-transcribe&#xD;&#xA; - The possibility to edit the audio and video separately&#xD;&#xA; - Cleaner audio, no clicks or other background noise" ContentLicense="CC BY-SA 3.0" />
  <row Id="45669" PostHistoryTypeId="2" PostId="25794" RevisionGUID="73819e0e-1e68-48a4-b81f-9951482b1998" CreationDate="2011-07-04T17:11:19.007" UserDisplayName="user1054" Text="You won't be able to remove and sounds from your recording without affecting other sounds already in it.  While the general frequency range of a click is likely to be much higher than a human voice, there are overtones to each that will be affected when you reduce the volume of the click.  You'll have to be especially careful of trying to remove clicks that occur at the same time as any spoken consonants, especially sounds like &quot;t&quot; or &quot;k&quot;, which are essentially clicks in themselves.&#xD;&#xA;&#xD;&#xA;In the future, definitely use a unidirectional mic, and get it really close to your mouth/sound source.  The closer you are to your source, the less you have to turn up the mic, the fewer environmental noises you get.  And of course, as others have mentioned, just try to use the quietest mouse that you can." ContentLicense="CC BY-SA 3.0" />
  <row Id="45670" PostHistoryTypeId="2" PostId="25789" RevisionGUID="1783231b-d2b6-41cf-86fd-d9963cb4e63b" CreationDate="2011-06-08T01:10:32.527" UserDisplayName="Nick Vanderbilt" Text="I am using a mac and I am using screenflow software to do a screencast about how my web application works. During the demo I click on a lot of buttons and links. In my screencast I have this click noise which is very distracting.&#xD;&#xA;&#xD;&#xA;I know using screenflow I can edit the noise. But that is a very laborious process . It would require tracking each and every mouse click and deleting it.&#xD;&#xA;&#xD;&#xA;Is there a better to handle the situation.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45671" PostHistoryTypeId="1" PostId="25789" RevisionGUID="1783231b-d2b6-41cf-86fd-d9963cb4e63b" CreationDate="2011-06-08T01:10:32.527" UserDisplayName="Nick Vanderbilt" Text="How do I remove mouse click noise" ContentLicense="CC BY-SA 3.0" />
  <row Id="45672" PostHistoryTypeId="3" PostId="25789" RevisionGUID="1783231b-d2b6-41cf-86fd-d9963cb4e63b" CreationDate="2011-06-08T01:10:32.527" UserDisplayName="Nick Vanderbilt" Text="&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45673" PostHistoryTypeId="36" PostId="25795" RevisionGUID="77fd2c48-ef5d-4203-ba0e-f90185af9870" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/13/diy-digital-recording-studio" />
  <row Id="45674" PostHistoryTypeId="36" PostId="25796" RevisionGUID="9f7d592d-da31-43b0-a32a-b5d70fe2b52f" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/13/diy-digital-recording-studio/31#31" />
  <row Id="45675" PostHistoryTypeId="2" PostId="25796" RevisionGUID="944dad95-190e-4898-ab3f-9303fd7ee6a3" CreationDate="2010-12-07T20:57:52.867" UserDisplayName="Donn Felker" Text="Note: I've never used a PCI card, only external hardware.... &#xD;&#xA;&#xD;&#xA;I hate to say this, but &quot;it depends&quot;. What do you want to do? Do you need to record vocals or a full instrument band? &#xD;&#xA;&#xD;&#xA;If you're a solo vocalist/podcaster/etc, then you can roll with something like the M-Audio Mobile PRE and a condenser mic (or any other good vocal mic). As for software, you can go with Adobe Audition or Pro Tools or even Audacity. &#xD;&#xA;&#xD;&#xA;If you're looking to get into more track recording for various instruments, you'll want software and hardware which can accomodate. So to better help with that you can buy something like the FastTrack (http://www.m-audio.com/products/en_us/FastTrackUltra.html) &#xD;&#xA;&#xD;&#xA;If you're into electronic music or software composing you can get a system like Ableton live, and a MidiController such as the Axiom http://www.m-audio.com/index.php?do=products.family&amp;ID=USBkeyboardcontrollers and plug it into Ableton, Then you can record and compose. Then if you need a live instrument you can track it into the software. &#xD;&#xA;&#xD;&#xA;So over all, you'll need: &#xD;&#xA;&#xD;&#xA;- Software (a DAW)&#xD;&#xA;- Mic(s), more than one if recording multiple instruments&#xD;&#xA;- Audio Interface (MObile-Pre, or FastTrack)&#xD;&#xA;&#xD;&#xA;Maybe: &#xD;&#xA;&#xD;&#xA;- Midi Controller(s): Such as Axiom or MPD 32&#xD;&#xA;&#xD;&#xA;If you can explain what you would like to do with your home studio I think we can help identify what gear you'll need better. &#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45676" PostHistoryTypeId="2" PostId="25795" RevisionGUID="d906bcb3-6b47-4fe6-b0bc-89f8f27a0f25" CreationDate="2010-12-07T20:33:17.310" UserId="13188" UserDisplayName="Mark Henderson" Text="I want to set up a small home studio. What should I be looking for in a digital recording system?&#xD;&#xA;&#xD;&#xA;I'm most familiar with Windows on a PC, and have been eyeing off products like the [Delta 1010LT][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.m-audio.com/products/en_us/Delta1010LT.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="45677" PostHistoryTypeId="1" PostId="25795" RevisionGUID="d906bcb3-6b47-4fe6-b0bc-89f8f27a0f25" CreationDate="2010-12-07T20:33:17.310" UserId="13188" UserDisplayName="Mark Henderson" Text="DIY Digital recording studio" ContentLicense="CC BY-SA 2.5" />
  <row Id="45678" PostHistoryTypeId="3" PostId="25795" RevisionGUID="d906bcb3-6b47-4fe6-b0bc-89f8f27a0f25" CreationDate="2010-12-07T20:33:17.310" UserId="13188" UserDisplayName="Mark Henderson" Text="&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45679" PostHistoryTypeId="36" PostId="25797" RevisionGUID="e1afe48c-4ed0-45e5-ad85-bc329c55391f" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2869/hook-up-ipod-ipad-to-old-stereo-no-inputs" />
  <row Id="45680" PostHistoryTypeId="2" PostId="25798" RevisionGUID="c8490a95-7774-4b06-b543-8a12b4e69255" CreationDate="2011-12-21T21:57:42.343" UserDisplayName="Danny" Text="You've got the right idea stripping the RCA ends, but you will need to attach them to the input of the amplifier, rather than directly to the speakers. Try to trace the audio lines coming out of the record player, and attach your iPod cabling to wherever that goes.&#xD;&#xA;&#xD;&#xA;You'll probably want to test it out with something other than an iPod/iPad too - just in case you somehow hook into power or something silly.&#xD;&#xA;&#xD;&#xA;Insert standard disclaimer about working inside amplifiers here:&#xD;&#xA;There really is potentially deadly voltage in amps, even after you unplug the power cord. If you're not experienced with working inside electronics, this is a very dangerous first project." ContentLicense="CC BY-SA 3.0" />
  <row Id="45681" PostHistoryTypeId="2" PostId="25797" RevisionGUID="cd651eea-ba74-427f-ac96-76141b94d613" CreationDate="2011-12-21T21:21:36.297" UserDisplayName="wkm" Text="I have an old turntable/stereo unit. There is no radio or tape deck on this. Just the turntable and speakers.&#xD;&#xA;&#xD;&#xA;Looking for a way to hook my iPad/iPod into it so it.&#xD;&#xA;&#xD;&#xA;I do have an 1/8 inch to RCA adapter but the turntable/stereo has no inputs.&#xD;&#xA;&#xD;&#xA;I was thinking I could take the RCA ends, strip them and hook them up to the speakers inside the stereo.&#xD;&#xA;&#xD;&#xA;Any help would be much appreciated. I can take photos of the underside of the unit if that helps. All the speakers and electronics are exposed from underneath.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45682" PostHistoryTypeId="1" PostId="25797" RevisionGUID="cd651eea-ba74-427f-ac96-76141b94d613" CreationDate="2011-12-21T21:21:36.297" UserDisplayName="wkm" Text="Hook up iPod/iPad to old stereo (No inputs)" ContentLicense="CC BY-SA 3.0" />
  <row Id="45683" PostHistoryTypeId="3" PostId="25797" RevisionGUID="cd651eea-ba74-427f-ac96-76141b94d613" CreationDate="2011-12-21T21:21:36.297" UserDisplayName="wkm" Text="&lt;speakers&gt;&lt;stereo&gt;&lt;ipad&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45684" PostHistoryTypeId="36" PostId="25798" RevisionGUID="f14cb512-d758-4520-a778-7a860e720f23" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2869/hook-up-ipod-ipad-to-old-stereo-no-inputs/2870#2870" />
  <row Id="45685" PostHistoryTypeId="36" PostId="25799" RevisionGUID="3afad6a0-9c9b-48df-b6c1-5803d64e09e3" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2869/hook-up-ipod-ipad-to-old-stereo-no-inputs/2871#2871" />
  <row Id="45686" PostHistoryTypeId="2" PostId="25799" RevisionGUID="0fe22408-8783-42b5-b0d0-ef05f160070c" CreationDate="2011-12-22T01:02:49.853" UserId="7189" Text="A much better approach is to grab one of those iPod FM transmitter devices and transmit the audio into your stereo that way. It has been done with [modular synthesizers to great effect][1], it should be even easier with an iPad or iPod.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.muffwiggler.com/forum/viewtopic.php?t=47520&amp;start=all&amp;postdays=0&amp;postorder=asc" ContentLicense="CC BY-SA 3.0" />
  <row Id="45687" PostHistoryTypeId="36" PostId="25800" RevisionGUID="2c6a3aa2-6f9b-4823-a017-6554a68e2caf" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3039/is-it-normal-for-audio-recorded-in-a-particular-sampling-rate-to-have-distortion" />
  <row Id="45688" PostHistoryTypeId="36" PostId="25801" RevisionGUID="aa061179-f2a8-45ab-8f1e-d1ed6422e6c6" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3039/is-it-normal-for-audio-recorded-in-a-particular-sampling-rate-to-have-distortion/3057#3057" />
  <row Id="45689" PostHistoryTypeId="2" PostId="25801" RevisionGUID="b8c9ff02-033b-4593-a668-00f9a6f523f1" CreationDate="2012-01-17T15:36:55.373" UserId="9511" UserDisplayName="Johnny Bigoode" Text="[Check this Wikipedia article][1]&#xD;&#xA;&#xD;&#xA;The article doesn't go into full detail, but let's address yo your problem:&#xD;&#xA;&#xD;&#xA;**YES** Audio loses quality very easily specially when changing its sampling rate and in your particular case it probably has to do with aliasing, which is a consequence of re sampling audio. &#xD;&#xA;&#xD;&#xA;Basically - as people tell me at least - you should only raise the sample rate IF YOU DOUBLE IT. So, 44,1 goes to 88,2 and 48 goes to 96. I'm not exactly sure why, but that's what I've been told. You should avoid raising the sample rate since it will generate some noise - but this is necessary when re sampling when we are producing music. &#xD;&#xA;&#xD;&#xA;The same way you should only double the sample rate, you may also only half it. &#xD;&#xA;&#xD;&#xA;Anyways, avoid changing sample rate - it does cause some damage. &#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Sample_rate_conversion" ContentLicense="CC BY-SA 3.0" />
  <row Id="45690" PostHistoryTypeId="2" PostId="25802" RevisionGUID="4c1fbcc3-58a0-453f-acc0-0cc769002fac" CreationDate="2012-01-19T19:40:44.050" UserId="7200" Text="**NO**, resampling – provided it's done properly – does _not_ degrade the quality.&#xD;&#xA;&#xD;&#xA;In any sampled audio signal, the assumption is that, prior to sampling, it was ensured that the signal only contains frequencies up to the [Nyqvist frequency](http://en.wikipedia.org/wiki/Nyqvist_limit) before sampling; for this purpose AD converters contain low pass filters, which don't work perfectly but can work very good, in high-quality interfaces. Such a signal can then be _exactly_ reconstructed from the sampled signal, because all artifacts introduced in the DAC are above the Nyqvist limit and can therefore be removed with another such filter. Again, this doesn't work perfectly in practice, but that doesn't matter in your case since both ADC and DAC were working at 44.1 kHz, leaving the resampling in the purely digital domain, where we have total control.&#xD;&#xA;&#xD;&#xA;Resampling can be thought of as creating a virtual analog intermediate signal and sampling this again, with the other sample rate. Since we're in digital domain, we can implement the brickwall filter very well as a sinc FIR, so we can really have only those frequencies that can be sampled precisely. This requires an FFT with a resolution containing both sample rates and a brickwall in frequency domain at the lower one of both Nyqvist frequencies. If the sample rates don't have a nice rational relation, this can be quite expensive computionally, so it's common to apply approximations — instead of a proper sinc filter, one might also use simple cubic interpolation, this still gives really good results. In _very_ simple implementations, there may be no filtering at all, and this is what leads to the infamous aliasing artifacts (hence the filtering process is also called _antialiasing_). But any proper conversion tool can do better than that.&#xD;&#xA;&#xD;&#xA;So the only artifact of a properly done resampling is band limiting to the lowest used Nyqvist frequency in the processing chain. If all intermediate steps used a higher sampling rate than the final output, this does not matter _at all_. In your first example it means frequencies above 16 kHz are missing, which is audible but not yet really bad.&#xD;&#xA;&#xD;&#xA;What **does** degrate the quality is if you use a lossy data compression codec such as aac more than once, as you did. This is bad practise, since even uncompressed audio files aren't too big for today's standards you should always use a lossless format (e.g. .wav of .flac) for intermediate audio files.&#xD;&#xA;&#xD;&#xA;BUT Artifacts such as this nasty crackling in your files neither turn up through properly done resampling nor data compression. So something about the used audio codecs is broken, one likely reason is that it has to do with the significantly too high audio peak level. Always make sure the signal stays below 0 dB in all working steps." ContentLicense="CC BY-SA 3.0" />
  <row Id="45691" PostHistoryTypeId="2" PostId="25800" RevisionGUID="618afe31-5b98-46a5-8cf8-8043e51a3abd" CreationDate="2012-01-14T17:43:53.333" UserId="21107" UserDisplayName="GiddyUpHorsey" Text="I'm working on a small video editing project at home and am new at this. I have a multiple videos that I'm combining together into one video and am using the audio from one of these videos as the single audio track. &#xD;&#xA;&#xD;&#xA;The video that contains the audio is an MP4 with the following attributes (from **MediaInfo**):&#xD;&#xA;&#xD;&#xA;    Audio&#xD;&#xA;    ID                               : 2&#xD;&#xA;    Format                           : AAC&#xD;&#xA;    Format/Info                      : Advanced Audio Codec&#xD;&#xA;    Format profile                   : LC&#xD;&#xA;    Codec ID                         : 40&#xD;&#xA;    Duration                         : 4mn 14s&#xD;&#xA;    Bit rate mode                    : Variable&#xD;&#xA;    Bit rate                         : 152 Kbps&#xD;&#xA;    Maximum bit rate                 : 178 Kbps&#xD;&#xA;    Channel(s)                       : 2 channels&#xD;&#xA;    Channel positions                : Front: L R&#xD;&#xA;    Sampling rate                    : 44.1 KHz&#xD;&#xA;    Compression mode                 : Lossy&#xD;&#xA;    Stream size                      : 4.62 MiB (2%)&#xD;&#xA;    Title                            : IsoMedia File Produced by Google, 5-11-2011&#xD;&#xA;    Encoded date                     : UTC 2011-08-17 04:52:52&#xD;&#xA;    Tagged date                      : UTC 2011-08-17 04:52:53&#xD;&#xA;&#xD;&#xA;Using **Corel Video Studio Pro X4**, I've been rendering my video project to an MP4 file using the best standard setting (1920 x 1080, etc) . However, the new video's audio has very slight crackling and popping sounds intermittently throughout the track that did not exist in the original. At first I did not even notice it, but after watching through the generated video a few times I started to notice the degradation.&#xD;&#xA;&#xD;&#xA;When I checked the format of the generated video file I noticed that the audio attributes were different (see below), specifically, the sampling rate and bit rate.&#xD;&#xA;&#xD;&#xA;    Audio&#xD;&#xA;    ID                               : 2&#xD;&#xA;    Format                           : AAC&#xD;&#xA;    Format/Info                      : Advanced Audio Codec&#xD;&#xA;    Format profile                   : LC&#xD;&#xA;    Codec ID                         : 40&#xD;&#xA;    Duration                         : 4mn 11s&#xD;&#xA;    Bit rate mode                    : Constant&#xD;&#xA;    Bit rate                         : 128 Kbps&#xD;&#xA;    Channel(s)                       : 2 channels&#xD;&#xA;    Channel positions                : Front: L R&#xD;&#xA;    Sampling rate                    : 32.0 KHz&#xD;&#xA;    Compression mode                 : Lossy&#xD;&#xA;    Stream size                      : 3.84 MiB (1%)&#xD;&#xA;    Language                         : English&#xD;&#xA;    Encoded date                     : UTC 2012-01-14 05:21:58&#xD;&#xA;    Tagged date                      : UTC 2012-01-14 05:21:58&#xD;&#xA;&#xD;&#xA;I tried regenerating the video file using the following audio settings, still in MP4 format and still got degraded audio, though noticeably worse.&#xD;&#xA;&#xD;&#xA;    Audio&#xD;&#xA;    ID                               : 2&#xD;&#xA;    Format                           : AAC&#xD;&#xA;    Format/Info                      : Advanced Audio Codec&#xD;&#xA;    Format profile                   : LC&#xD;&#xA;    Codec ID                         : 40&#xD;&#xA;    Duration                         : 4mn 11s&#xD;&#xA;    Duration_FirstFrame              : -21ms&#xD;&#xA;    Bit rate mode                    : Constant&#xD;&#xA;    Bit rate                         : 256 Kbps&#xD;&#xA;    Channel(s)                       : 2 channels&#xD;&#xA;    Channel positions                : Front: L R&#xD;&#xA;    Sampling rate                    : 48.0 KHz&#xD;&#xA;    Compression mode                 : Lossy&#xD;&#xA;    Stream size                      : 7.68 MiB (2%)&#xD;&#xA;    Language                         : English&#xD;&#xA;    Encoded date                     : UTC 2012-01-14 16:48:04&#xD;&#xA;    Tagged date                      : UTC 2012-01-14 16:48:04&#xD;&#xA;&#xD;&#xA;Finally, I regenerated the video with these settings (same sampling rate as the original file and the closest bit rate setting available) and the audio now sounds the same quality as the original.&#xD;&#xA;&#xD;&#xA;    Audio&#xD;&#xA;    ID                               : 2&#xD;&#xA;    Format                           : AAC&#xD;&#xA;    Format/Info                      : Advanced Audio Codec&#xD;&#xA;    Format profile                   : LC&#xD;&#xA;    Codec ID                         : 40&#xD;&#xA;    Duration                         : 4mn 11s&#xD;&#xA;    Duration_FirstFrame              : -23ms&#xD;&#xA;    Bit rate mode                    : Constant&#xD;&#xA;    Bit rate                         : 160 Kbps&#xD;&#xA;    Channel(s)                       : 2 channels&#xD;&#xA;    Channel positions                : Front: L R&#xD;&#xA;    Sampling rate                    : 44.1 KHz&#xD;&#xA;    Compression mode                 : Lossy&#xD;&#xA;    Stream size                      : 4.80 MiB (1%)&#xD;&#xA;    Language                         : English&#xD;&#xA;    Encoded date                     : UTC 2012-01-14 16:51:35&#xD;&#xA;    Tagged date                      : UTC 2012-01-14 16:51:35&#xD;&#xA;&#xD;&#xA;Is it normal for audio to degrade like this when output using different settings? I would assume that it would be normal for sound to be of less quality with lower settings, but not quite like this. Thoughts?&#xD;&#xA;&#xD;&#xA;Could this be a defect in the software that I'm using, or is bit rates and sampling rates something I have to be aware of when doing video editing? I had hoped that this would be all taken care of by video editing software so that I didn't need to think too much about.&#xD;&#xA;&#xD;&#xA;I've used **mp4box** to extract the audio tracks from the video files and have uploaded them [here][1]. I've included the original 44.1 KHz audio track and the tracks from two of the rendered video files with degraded quality (32KHz &amp; 48KHz).&#xD;&#xA;&#xD;&#xA;  [1]: http://4wid.zejunga.com/5t" ContentLicense="CC BY-SA 3.0" />
  <row Id="45692" PostHistoryTypeId="1" PostId="25800" RevisionGUID="618afe31-5b98-46a5-8cf8-8043e51a3abd" CreationDate="2012-01-14T17:43:53.333" UserId="21107" UserDisplayName="GiddyUpHorsey" Text="Is it normal for audio recorded in a particular sampling rate to have distortions when transcoded into another sampling rate?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45693" PostHistoryTypeId="3" PostId="25800" RevisionGUID="618afe31-5b98-46a5-8cf8-8043e51a3abd" CreationDate="2012-01-14T17:43:53.333" UserId="21107" UserDisplayName="GiddyUpHorsey" Text="&lt;sampling&gt;&lt;distortion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45694" PostHistoryTypeId="36" PostId="25802" RevisionGUID="b8e4f3a5-a4c4-425b-86cd-ffaad164214b" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3039/is-it-normal-for-audio-recorded-in-a-particular-sampling-rate-to-have-distortion/3078#3078" />
  <row Id="45695" PostHistoryTypeId="36" PostId="25803" RevisionGUID="f883ebda-1e93-4b44-88a7-40dc4396c2dd" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4696/how-to-lower-cpu-usage-in-ableton-live-8-in-mac-osx-10-6-8" />
  <row Id="45696" PostHistoryTypeId="2" PostId="25804" RevisionGUID="2929fe0c-b0aa-4b53-9178-d8b55bc5d2e5" CreationDate="2012-09-24T16:09:22.567" UserDisplayName="Magrangs" Text="Bouncing certain tracks track to audio could be an option (those that have a heavy effect chain). What I usually do in my DAW (StudioOne) when things start to go a bit funky is bounce the whole track with effects to audio and use that. This drastically reduces CPU usage as no effects are running in realtime. A great feature in S1 is to reverse this process if you want to make any edits as it saves the configuration of the effect chain to re-apply it. Maybe check to see if Ableton can do this? I am almost certain you can bounce to audio but not sure on the reverse process." ContentLicense="CC BY-SA 3.0" />
  <row Id="45697" PostHistoryTypeId="2" PostId="25803" RevisionGUID="2dc6fcc7-e50b-4991-8a02-fcf49324c069" CreationDate="2012-09-10T15:07:39.687" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="While running Ableton Live 8 after a project gets to a certain size, the audio starts to get a bit choppy and distorted. My levels are fine and is not the cause of the lag and chop.&#xD;&#xA;&#xD;&#xA;I have samples set to 1024 and the high quality button selected which I need to hear the sound. I always lower these when I'm recording audio with my mic but I need to have these turned up to be able to mix and master songs.&#xD;&#xA;&#xD;&#xA;Anything I can do to lower the CPU usage? It sucks because I can't even use my iZotope Ozone plug-ins because of their CPU usage and they are AMAZING plug-ins that I would love to use." ContentLicense="CC BY-SA 3.0" />
  <row Id="45698" PostHistoryTypeId="1" PostId="25803" RevisionGUID="2dc6fcc7-e50b-4991-8a02-fcf49324c069" CreationDate="2012-09-10T15:07:39.687" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="how to lower CPU usage in Ableton Live 8 in Mac OSX 10.6.8" ContentLicense="CC BY-SA 3.0" />
  <row Id="45699" PostHistoryTypeId="3" PostId="25803" RevisionGUID="2dc6fcc7-e50b-4991-8a02-fcf49324c069" CreationDate="2012-09-10T15:07:39.687" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45700" PostHistoryTypeId="36" PostId="25804" RevisionGUID="f6c49c8a-a5cc-4258-b9b6-8aba5be011ba" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4696/how-to-lower-cpu-usage-in-ableton-live-8-in-mac-osx-10-6-8/4828#4828" />
  <row Id="45701" PostHistoryTypeId="36" PostId="25805" RevisionGUID="3aa58f9b-0e41-4e5c-ad9b-64b4d9fd9030" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5622/preventing-headphone-static-with-usb-to-3-5mm-adapter" />
  <row Id="45702" PostHistoryTypeId="2" PostId="25806" RevisionGUID="681d8a8d-d469-4b3f-867d-d0d20db54106" CreationDate="2012-12-20T04:34:11.430" UserId="7230" Text="The “USB to 3.5mm adapter” you link is exactly the same thing as a “USB sound card”. USB is a generic digital protocol; the only way to “adapt” it is to provide the USB-device and digital-to-analog hardware that is commonly called a “USB sound card”.&#xD;&#xA;&#xD;&#xA;The remaining question is the quality of the device. I would be wary of a device which calls itself an “adapter” and is notably cheap and small being built low-quality to the point of not being an improvement over your laptop's built-in audio hardware, but that's just speculation based on marketing, not an actual technical fact.&#xD;&#xA;&#xD;&#xA;In the end, what you need to know is that the thing you are looking to buy, under whatever name, is the electronic device primarily responsible for the accuracy of the signal going into your headphones, including the absence of the hiss you are concerned about. For this particular problem, the quality of that device is the **only** thing that matters." ContentLicense="CC BY-SA 3.0" />
  <row Id="45703" PostHistoryTypeId="2" PostId="25805" RevisionGUID="baa46c74-4f08-4063-82b3-27e17c364ac0" CreationDate="2012-12-19T23:08:54.807" UserDisplayName="Ryan Bell" Text="I recently got a new pair of IEMs (In-ear monitors), and while sound quality is really good, I am getting a constant hissing sound when I use them with my laptop. I know that the static is caused by interference with the on-board audio, but I was wondering if a simple [USB to 3.5mm adapter][1] would have any effect on it, or would I have to get a USB sound card?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Logitech-3-5mm-Jack-Audio-Adapter/dp/B0058P0I2C/ref=pd_cp_pc_1" ContentLicense="CC BY-SA 3.0" />
  <row Id="45704" PostHistoryTypeId="1" PostId="25805" RevisionGUID="baa46c74-4f08-4063-82b3-27e17c364ac0" CreationDate="2012-12-19T23:08:54.807" UserDisplayName="Ryan Bell" Text="Preventing headphone static with USB to 3.5mm adapter" ContentLicense="CC BY-SA 3.0" />
  <row Id="45705" PostHistoryTypeId="3" PostId="25805" RevisionGUID="baa46c74-4f08-4063-82b3-27e17c364ac0" CreationDate="2012-12-19T23:08:54.807" UserDisplayName="Ryan Bell" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45706" PostHistoryTypeId="36" PostId="25806" RevisionGUID="d151536d-4b87-4cf9-bd3c-51c42cb6d604" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5622/preventing-headphone-static-with-usb-to-3-5mm-adapter/5624#5624" />
  <row Id="45707" PostHistoryTypeId="36" PostId="25807" RevisionGUID="c7febcd1-2209-40d3-87d5-e400b9fefa72" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3002/do-audio-cable-splitters-reduce-signal-quality-or-add-noise" />
  <row Id="45708" PostHistoryTypeId="36" PostId="25808" RevisionGUID="fb58bdf5-8153-4296-870c-6b6c1a7a3dad" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3002/do-audio-cable-splitters-reduce-signal-quality-or-add-noise/3003#3003" />
  <row Id="45709" PostHistoryTypeId="2" PostId="25808" RevisionGUID="2187f799-3722-4294-acc9-91021b4a7910" CreationDate="2012-01-10T23:51:16.383" UserId="7200" Text="&gt; Do audio cable splitters reduce signal quality or add noise?&#xD;&#xA;&#xD;&#xA;Not in principle. Assuming the input impedance of both recipients is substantially smaller than the output impedance of the mixer (which it normally is), both do ideally recieve exactly the same signal that each of them would if connected alone.&#xD;&#xA;&#xD;&#xA;However in practise, there is one problem which turns up really often if you have audio inputs of different devices in parallel: interference introduced inductively through a ground loop. This is usually either mains hum or artifacts from a switched-mode power supply; both can be pretty nasty. Balanced connections are much less likely to suffer from this, so if the mixer's outputs and both(!) devices' inputs are balanced it should be fine; of course only if you use a fully symmetric splitter. (In the case of TRS connection this means all of the plugs on both Y-cables need to be stereo.)&#xD;&#xA;&#xD;&#xA;If any of the devices does not support balanced and you do experience an untolarable amount of static, the canonical solution is a [DI-box][1]. I'd recommend the ART DTI.&lt;br&gt;Unlike an ideal Y-connection, splitting through a DI _does_ change the signal to some degree, but in most more decent of today's models not really notably so.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/DI_unit" ContentLicense="CC BY-SA 3.0" />
  <row Id="45710" PostHistoryTypeId="2" PostId="25807" RevisionGUID="193b88b6-020b-4957-b297-c6a4d0f54f36" CreationDate="2012-01-10T23:06:40.260" UserId="20454" UserDisplayName="5arx" Text="I'd like to record audio coming out of a DJ mixer that has only one output. So I thought I'd use those 'Y' shaped cable splitter plugs which take the L and R cables as input and output to two. Assuming I use decent quality splitters and cables, will this give me broadcast-quality audio? " ContentLicense="CC BY-SA 3.0" />
  <row Id="45711" PostHistoryTypeId="1" PostId="25807" RevisionGUID="193b88b6-020b-4957-b297-c6a4d0f54f36" CreationDate="2012-01-10T23:06:40.260" UserId="20454" UserDisplayName="5arx" Text="Do audio cable splitters reduce signal quality or add noise?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45712" PostHistoryTypeId="3" PostId="25807" RevisionGUID="193b88b6-020b-4957-b297-c6a4d0f54f36" CreationDate="2012-01-10T23:06:40.260" UserId="20454" UserDisplayName="5arx" Text="&lt;noise&gt;&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45713" PostHistoryTypeId="36" PostId="25809" RevisionGUID="5fd31d1f-2e5e-4be4-bbae-a3a1823f9598" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1678/ableton-live-am-i-misunderstanding-clips-in-the-arrangement-view" />
  <row Id="45714" PostHistoryTypeId="2" PostId="25810" RevisionGUID="6c338794-284f-4fbd-bf5b-489ca820dd02" CreationDate="2011-07-03T18:53:06.883" UserId="7294" UserDisplayName="Warrior Bob" Text="You are correct: Arrangement view clips are separate from Session View clips and from each other, even if they originated with the same clip in Session View (by recording or copying). Editing one clip will not affect the others, although you can copy/paste everywhere if you need to - although I agree that this takes time.&#xD;&#xA;&#xD;&#xA;The one time where you can get a &quot;change once, see the change in many places&quot; effect is where you have a clip in Arrangement view that is looped, instead of copied multiple times. In this case, all of the loops come from the same data and you need only to change it in one place.&#xD;&#xA;&#xD;&#xA;Looping a clip in the Arrangement View is done by enabling looping for that clip in the clip editor, and then dragging the edges of the clip in the arrangement so that the clip extends past its endpoints." ContentLicense="CC BY-SA 3.0" />
  <row Id="45715" PostHistoryTypeId="2" PostId="25809" RevisionGUID="e8767cf0-b2e7-4430-947f-954682a1c3c6" CreationDate="2011-07-01T12:35:48.203" UserDisplayName="U62" Text="When I first saw a video of someone looping midi clips in Ableton Live's Session view and then placing them down into the Arrangement view, I figured that Live worked a lot like a 'tracker' (early '90s sample-based sequencer programs) in that if you change the pattern, that changes everywhere that pattern is used in the arrangement.&#xD;&#xA;&#xD;&#xA;I've been playing with the Live demo and it seems that when you record a sequence of clips from the Session view into the Arrangement view's timeline, it's actually making copies of all the midi data rather than just instancing the clip. Is that right?&#xD;&#xA;&#xD;&#xA;I wanted it to work so that if I decide to change some beats in a loop (for example), I don't have to copy/paste that loop all over the timeline again like I would in a more traditional sequencer." ContentLicense="CC BY-SA 3.0" />
  <row Id="45716" PostHistoryTypeId="1" PostId="25809" RevisionGUID="e8767cf0-b2e7-4430-947f-954682a1c3c6" CreationDate="2011-07-01T12:35:48.203" UserDisplayName="U62" Text="Ableton Live - am I misunderstanding clips in the Arrangement view?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45717" PostHistoryTypeId="3" PostId="25809" RevisionGUID="e8767cf0-b2e7-4430-947f-954682a1c3c6" CreationDate="2011-07-01T12:35:48.203" UserDisplayName="U62" Text="&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45718" PostHistoryTypeId="36" PostId="25810" RevisionGUID="24be6fa3-b33f-4160-9a39-0543953b45e8" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1678/ableton-live-am-i-misunderstanding-clips-in-the-arrangement-view/1686#1686" />
  <row Id="45719" PostHistoryTypeId="36" PostId="25811" RevisionGUID="bf0cda9e-4901-4df3-b6b2-8252bb958408" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/172/should-i-ever-use-a-bit-depth-less-than-24-bits" />
  <row Id="45720" PostHistoryTypeId="2" PostId="25812" RevisionGUID="083eb6e0-8669-4451-87db-83ea6eea5a74" CreationDate="2010-12-09T08:49:33.977" UserId="7592" UserDisplayName="Pelle ten Cate" Text="Let me generally explain the use of bit resolutions.&#xD;&#xA;&#xD;&#xA;24 bits is giving you a higher dynamic range: you can store audio information until a level of -144dB FS instead of -96dB FS in 16 bits. That is the quality improvement you get, so the precision in dynamic range improves. This is useful if your recorded material is too soft, and you want to increase the volume while keeping the information in the less significant bits (i.e. the soft passages of the music) intact.&#xD;&#xA;&#xD;&#xA;Recording in 24 bits does have two major drawbacks:&#xD;&#xA;1. The audio files consume 50% more disk space&#xD;&#xA;2. If your master needs to be 16 bits (i.e. if you are mastering to an audio CD) you need to add dithering noise to your recording in order to mask away rounding errors when truncating the least significant 8 bits.&#xD;&#xA;&#xD;&#xA;In general, if you have the disk space, it is reasonable to record in 24 bits, since the dithering options available today are very good and almost not audible to people.&#xD;&#xA;&#xD;&#xA;There is one situation I can think of where 16 bits recording would be better: if you are going to record audio and you have no planning on increasing the volume at any point, so no faders &gt; +0dB, no expanders, EQs, or anything else that can gain the signal. (Reverb is fine since it never increases the original signal strength). In this situation, using 24 bits has no additional value and you might as well save yourself the disk space and the dithering noise by recording directly on 16 bits. " ContentLicense="CC BY-SA 2.5" />
  <row Id="45721" PostHistoryTypeId="2" PostId="25811" RevisionGUID="8ec958a2-3b42-480d-8443-874db0448473" CreationDate="2010-12-09T05:43:18.447" UserId="7398" UserDisplayName="BenV" Text="Pro Tools gives me the option of 16 bit or 24 bit.  Is there a reason I shouldn't just always use 24-bit sessions to get the highest quality sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45722" PostHistoryTypeId="1" PostId="25811" RevisionGUID="8ec958a2-3b42-480d-8443-874db0448473" CreationDate="2010-12-09T05:43:18.447" UserId="7398" UserDisplayName="BenV" Text="Should I ever use a bit depth less than 24 bits?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45723" PostHistoryTypeId="3" PostId="25811" RevisionGUID="8ec958a2-3b42-480d-8443-874db0448473" CreationDate="2010-12-09T05:43:18.447" UserId="7398" UserDisplayName="BenV" Text="&lt;bit-depth&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45724" PostHistoryTypeId="36" PostId="25812" RevisionGUID="2d285b87-49f9-4d63-bcc0-52f524143864" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/172/should-i-ever-use-a-bit-depth-less-than-24-bits/177#177" />
  <row Id="45725" PostHistoryTypeId="36" PostId="25813" RevisionGUID="fc9d7027-dbba-4c67-88f5-9e085bf694af" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/172/should-i-ever-use-a-bit-depth-less-than-24-bits/207#207" />
  <row Id="45726" PostHistoryTypeId="36" PostId="25814" RevisionGUID="0c93095d-1809-488b-b9be-997ec10ca4d1" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/172/should-i-ever-use-a-bit-depth-less-than-24-bits/1456#1456" />
  <row Id="45727" PostHistoryTypeId="2" PostId="25813" RevisionGUID="dbebbc11-3a4f-4b3e-b763-c639801c594c" CreationDate="2010-12-10T05:05:32.390" UserDisplayName="harpo" Text="Check your hardware... if you're not converting at 24-bit, then there's no point to a 24-bit session.&#xD;&#xA;&#xD;&#xA;(Right?  Or would it still be worthwhile for internal processing?)" ContentLicense="CC BY-SA 2.5" />
  <row Id="45728" PostHistoryTypeId="2" PostId="25814" RevisionGUID="07f82385-fcd1-44be-87ce-07989acd1fcd" CreationDate="2011-05-23T08:15:42.993" UserId="7287" UserDisplayName="justin" Text="&gt; Pro Tools gives me the option of 16 bit or 24 bit. Is there a reason I shouldn't just always use 24-bit sessions to get the highest quality sound?&#xD;&#xA;&#xD;&#xA;the short answer:&#xD;&#xA;&#xD;&#xA;no. record and edit at 24 bit when 16 or 24 are your options.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;the longer answer:&#xD;&#xA;&#xD;&#xA;there are a few exceptional cases where it may be worth considering&#xD;&#xA;&#xD;&#xA;- disk space and/or disk speeds being the primary reasons one may prefer to record/edit 16 bit source files.&#xD;&#xA;&#xD;&#xA;- quality is not important. if you are just recording audio memos to yourself, then you probably will not be bothered by the loss.&#xD;&#xA;&#xD;&#xA;- you have no destructive editing to perform on the file, and the 16 bit is the destination format.&#xD;&#xA;&#xD;&#xA;- your converters or microphone are relatively bad, and you don't care about quality.&#xD;&#xA;&#xD;&#xA;simply put, 16 bit is a holdback from last millenium if you are working on anything serious, and today's hardware is cheap.&#xD;&#xA;&#xD;&#xA;the human ear is responsive to about 120dB of dynamic range at the right volume; that is equivalent to 20 bits.&#xD;&#xA;&#xD;&#xA;your ADC and DAC convertors are likely to have a signal to noise ratio from 90 to 120 dB.&#xD;&#xA;&#xD;&#xA;you will want to record live sources with ample headroom, to avoid clipping.&#xD;&#xA;&#xD;&#xA;you will want to perform destructive editing. destructive editing at 16 bit can quickly introduce audible artifacts.&#xD;&#xA;&#xD;&#xA;archival purposes.&#xD;&#xA;&#xD;&#xA;altogether, that means you'll want to record at 24 bit to keep errors imperceptible (for practical purposes).&#xD;&#xA;&#xD;&#xA;during mixing, playback, and processing, ProTools *increases* your audio file's samples to its native stream format (which varies by the PT software/hardware you use), this internal stream is better than 24 bits. this stream is truncated when passed to the D/A - either by PT, or by the DAC.&#xD;&#xA;&#xD;&#xA;finally: i don't agree with Pelle - do not worry about dither. dither is a very good thing when used correctly." ContentLicense="CC BY-SA 3.0" />
  <row Id="45729" PostHistoryTypeId="36" PostId="25815" RevisionGUID="515f08b2-5ab4-461f-afff-c6bb47a5e587" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3865/recording-with-autotune-with-soundcraft-si-compact-32-audio-mixer" />
  <row Id="45730" PostHistoryTypeId="2" PostId="25816" RevisionGUID="4e65b1e0-217b-449d-96f3-28f49a535caf" CreationDate="2012-04-28T23:26:20.230" UserId="7016" Text="While there are some autotune devices that will autotune live, they are much more expensive than a DAW on a computer running autotune on the recording.&#xD;&#xA;&#xD;&#xA;The mixer is pretty much irrelevant, however if you are wanting to autotune live, you will need as many autotunes as channels you wish to autotune - could be expensive. With a DAW, you can just run it for each channel asynchronously as you need.&#xD;&#xA;&#xD;&#xA;Alternatively - get them to sing in tune." ContentLicense="CC BY-SA 3.0" />
  <row Id="45731" PostHistoryTypeId="2" PostId="25815" RevisionGUID="578b991a-40c7-4074-88ac-da8989fdb22b" CreationDate="2012-04-28T12:14:18.233" UserId="7210" Text="Our local church just got a new SoundCraft Si Compact 32 mixer. We really want to record a CD, but the vocalists are demanding autotune. Is it possible to get autotune to work with this mixer, or do I have to record the vocals separately, and add autotune on a DAW on the computer? If it is possible to record all 32 channels of the mixer directly to the computer, then that would be the best." ContentLicense="CC BY-SA 3.0" />
  <row Id="45732" PostHistoryTypeId="1" PostId="25815" RevisionGUID="578b991a-40c7-4074-88ac-da8989fdb22b" CreationDate="2012-04-28T12:14:18.233" UserId="7210" Text="Recording with autotune with SoundCraft Si Compact 32 audio mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45733" PostHistoryTypeId="3" PostId="25815" RevisionGUID="578b991a-40c7-4074-88ac-da8989fdb22b" CreationDate="2012-04-28T12:14:18.233" UserId="7210" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45734" PostHistoryTypeId="36" PostId="25816" RevisionGUID="192068a1-fab8-4440-9a9b-181faf3dc57d" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3865/recording-with-autotune-with-soundcraft-si-compact-32-audio-mixer/3871#3871" />
  <row Id="45735" PostHistoryTypeId="36" PostId="25817" RevisionGUID="7cb9f85a-1e8c-4f5e-87a1-587f563d299c" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3865/recording-with-autotune-with-soundcraft-si-compact-32-audio-mixer/4282#4282" />
  <row Id="45736" PostHistoryTypeId="2" PostId="25817" RevisionGUID="d55a2e95-ff6a-40db-9449-70f5a8dde8f4" CreationDate="2012-06-26T19:42:37.440" UserDisplayName="JPollock" Text="It would be cheaper and give a better result (and take more time) if you auto tune in the computer later. Doing this would require that your mixer has direct outs on each channel and your computers interface has 32 inputs.&#xD;&#xA;&#xD;&#xA;This would require a bit of an investment in hardware, but would still be cheaper then 32 rackmount autotune devices. If you want, I'll help explain what setting that up would take." ContentLicense="CC BY-SA 3.0" />
  <row Id="45737" PostHistoryTypeId="36" PostId="25818" RevisionGUID="ec8c0c85-cd5f-4df6-acea-279c961f80df" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8109/reduce-noise-from-multiple-clips" />
  <row Id="45738" PostHistoryTypeId="2" PostId="25819" RevisionGUID="994f5773-c776-4ab0-ba2b-a966de1cf487" CreationDate="2013-06-11T11:52:58.723" UserId="7312" UserDisplayName="Eugene S" Text="Scripting in Adobe® Audition® allows you to apply effects to many files in a few easy steps. Here is a tutorial:&#xD;&#xA;&#xD;&#xA;http://www.adobe.com/designcenter-archive/audition/articles/au15sdscripts.html&#xD;&#xA;&#xD;&#xA;There are 2 parts in this process as described below. In this example, the processing consists of applying Bass Boost &amp; Dynamic Delay to all tracks.&#xD;&#xA;&#xD;&#xA;**CREATE AND RUN A SCRIPT**&#xD;&#xA;&#xD;&#xA; 1. Open a session (*.ses file) that contains several sound files.&#xD;&#xA; 2. Double-click on a sound file (*.cel) in order to open it in Edit View. Scripting can only occur in the Edit View.&#xD;&#xA; 3. Choose Options &gt; Scripts. We will be applying an effect to this window and using it as a template to apply to other sound files.&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA; 4. In the Scripts window, click the Open/New Collection button. If the Scripts folder is not displayed, navigate through your hard drive to the Scripts subfolder located within the Audition 1.5 folder.&#xD;&#xA; 5. Enter myCIBscripts.scp in the File name field and click Open. This saves your new script collection into the default Scripts folder.&#xD;&#xA; 6. In the New Script section of the Scripts window, enter the name Bass Boost &amp; Dynamic Delay in the Title field, and then press the Record button. When recording, any effects you apply to the waveform are monitored and saved, so they can be applied to other files in the future. The recording only keeps track of the options selected, not the time it takes to select the options.&#xD;&#xA; 7. Choose Effects &gt; Delay Effects &gt; Dynamic Delay. The Dynamic Delay window opens. Choose Spacey from the list of presets. Click OK when done previewing. Dynamic Delay changes the amount of delay over the length of a waveform.&#xD;&#xA; 8. Choose Effects &gt; Filters &gt; Graphic Equalizer. In the bottom left corner of the Graphic Equalizer window, choose the Simple Bass Lift preset. Click OK after previewing the edited clip.&#xD;&#xA; 9. Choose Options &gt; Scripts to reopen the Scripts window. Click the Stop Current Script button to stop recording. Keep the Scripts window open.&#xD;&#xA;*Note*: Had you applied additional effects to the waveform, the Script would have continued to record the additional effects.&#xD;&#xA; 10. In the blank text field at the bottom of the window enter Added Dynamic Delay and boosted Bass as a reminder for the next time you use this script.&#xD;&#xA; 11. Click the Add to Collection button and the Bass Boost &amp; Delay loads into the Script Collection window on the left side of the application window. Note the description field is now locked. Anyone using this script will now see this description. Additionally, this provides a helpful reminder of which effects are used and in what order they are applied.&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA; 12. Click the Close button. You will now run this script on another file.&#xD;&#xA; 13. In the Organizer window double-click another *.cel file to view its waveform. If you do not see other sound files in the Organizer window, you need to import some. Click the Import File button located in the Files tab, locate the sound files, and then shift-click several sound files to import them.&#xD;&#xA; 14. Choose Options &gt; Scripts from the menu. Click on the Bass Boost &amp; Dynamic Delay script and click the Run Script button. The two effects are applied automatically and a confirmation window appears when the script is complete. Click the OK button to close the window.&#xD;&#xA; 15. Press the spacebar on your keyboard to play the clip. The same effects added to the clip you opened in step 2 have automatically been added to this clip.&#xD;&#xA; 16. Double-click the first sound file you ran the script on. Choose File &gt; Save As, click the New Folder button, and then create a file with the name Batch_Process_Output. In the Batch_Prcoess_Output folder, click the New Folder button again to create a folder named Tutorialfiles_Space. Name the file you are saving Testfile01_Space.cel and open the Tutorialfiles_Space folder, then click the Save button. By naming the file with a unique name, the original file is retained.&#xD;&#xA; 17. Double-click the file you opened in step 13 and choose File &gt; Save As. Navigate to the Tutorialfiles_Space folder if needed. Name the file you are saving Testfile02_Space.cel and click the Save button.&#xD;&#xA;&#xD;&#xA;**USE THE BATCH PROCESSOR TO APPLY YOUR SCRIPT TO MULTIPLE FILES**&#xD;&#xA;&#xD;&#xA;Running scripts on individual files is a quick way to apply multiple effects to a single waveform. When you need to apply a script to more than two or three files at a time, it is more efficient to use Audition’s Batch Processing feature.&#xD;&#xA;&#xD;&#xA; 1. If necessary, switch to the Edit View by clicking on the Edit View tab. It is necessary to use the Edit View because Batch Processing is not available in the Multitrack View.&#xD;&#xA; 2. Choose File &gt; Batch Processing and the Batch Processing window opens. Note at the bottom of the window there are 5 tabs; Files, Run Script, Resample, New Format, and Destination. &#xD;&#xA; 3. Click the Add Files button to open the Choose Source Files window. Navigate to the folder containing the sound files you want to run the script on. Shift-click to select the files you want to load into the Batch Processing window, and then click Add. Click the Hide Path option to see the short names of the files.&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA; 4. At the bottom of the Batch Processing window, click the second tab, Run Script. If necessary, select the Run a Script option. The first field points to a Script collection file. You created a script collection file named myCIBscripts.scp earlier in this tutorial. If you do not see this script collection file click the browse button and locate the Scripts folder in your Audition 1.5 folder.&#xD;&#xA;![enter image description here][4]&#xD;&#xA;&#xD;&#xA; 5. Along the bottom of the window, click the Resample tab. In the Resample tab, confirm the Conversion Settings checkbox is not selected. The conversion settings would allow you to convert files with different sample rates, bit depth and number of channels into one consistent setting, however you will not be converting in this tutorial.&#xD;&#xA; 6. Click the New Format tab along the bottom of the window. Click on the Output Format drop-down menu to open it and choose Audition Loop (*.cel). Using this option you can convert all the files into a new format when using the Batch Processing command.&#xD;&#xA; 7. Click on the Destination tab along the bottom of the window. If necessary, select the Other Folder option and then click the Browse button. Navigate to the Batch_Process_Output folder. Click the plus sign and then click to select the TutorialFiles_Space folder. Click OK to confirm the destination.&#xD;&#xA; 8. In the Output Filename Template type *_Space.cel. When creating a template, pay attention to the placement of the asterisk, as the asterisk will append the corresponding section of the filename. For example, Filename01.cel will become Filename01_Space.cel, and Filename02.cel will become Filename02_Space.cel.&#xD;&#xA; 9. Click the Run Batch button. The Bass Boost &amp; Dynamic Delay script is run and applied to all of the selected files. The files are exported to the specified folder, in the file format you selected. Audition displays a window to confirm it is done.&#xD;&#xA; 10. To open the modified files and confirm the changes, choose File &gt; Open and select the TutorialFiles_Space folder. Shift-click to select the *.cel files in this folder, and then click Open to import the selected files into the Organizer window.&#xD;&#xA; 11. Double-click one of the sound files in the Organizer window and press the spacebar. As you listen to the file you should note the dynamic delay effect and the bass lift that was applied using the batch process.&#xD;&#xA; 12. Choose File &gt; Close All to close the session and its media.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Nkvcc.gif&#xD;&#xA;  [2]: http://i.stack.imgur.com/fbDwq.gif&#xD;&#xA;  [3]: http://i.stack.imgur.com/G6IS8.gif&#xD;&#xA;  [4]: http://i.stack.imgur.com/uVF4M.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="45739" PostHistoryTypeId="2" PostId="25818" RevisionGUID="3a239bd4-626d-4ab5-93b8-d82079897abe" CreationDate="2013-06-11T09:59:40.097" UserDisplayName="InfluenceJamie" Text="I have a whole pile of individual clips all taken from the same interview that I'm editing in premiere, unfortunately, theres some pretty solid noise on the clips. I love Audition, and it's very handy to use Premieres &quot;replace with audition clip&quot; function to remove the noise in Audition. What I'm wondering is, is there an easy way to remove noise from ALL of the clips at the same time?&#xD;&#xA;&#xD;&#xA;Thanks for any advice you can offer!" ContentLicense="CC BY-SA 3.0" />
  <row Id="45740" PostHistoryTypeId="1" PostId="25818" RevisionGUID="3a239bd4-626d-4ab5-93b8-d82079897abe" CreationDate="2013-06-11T09:59:40.097" UserDisplayName="InfluenceJamie" Text="Reduce noise from multiple clips" ContentLicense="CC BY-SA 3.0" />
  <row Id="45741" PostHistoryTypeId="3" PostId="25818" RevisionGUID="3a239bd4-626d-4ab5-93b8-d82079897abe" CreationDate="2013-06-11T09:59:40.097" UserDisplayName="InfluenceJamie" Text="&lt;noise&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45742" PostHistoryTypeId="36" PostId="25819" RevisionGUID="50873054-5e82-4b40-8fac-dfeb96df6155" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8109/reduce-noise-from-multiple-clips/8112#8112" />
  <row Id="45743" PostHistoryTypeId="36" PostId="25820" RevisionGUID="77bc0d9e-2eb7-4509-a702-dababa37b30f" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1168/making-a-multiple-speaker-system-from-stereo-headphone-socket-for-apartment" />
  <row Id="45744" PostHistoryTypeId="2" PostId="25821" RevisionGUID="6ffcbcc2-ceac-4212-90de-213b00c765b9" CreationDate="2011-04-15T19:30:47.323" UserId="7093" Text="In my experience most mp3 players have a very low output to begin with.  For the cable distances you are talking about you will definitely need some sort of preamp to drive the speakers at any reasonable volume.  &#xD;&#xA;&#xD;&#xA; 1. As for distributing the signal to the different sets of speakers, you could simply get several headphone splitters, or possibly a headphone amp with multiple outputs which might eliminate the need for the preamp.&#xD;&#xA; 2. You can get fairly long 3.5mm headphone extension cables and any adapters you may need for cheap online.  I usually buy these types of items from [MCM Electronics][1], but you can probably find other sources.&#xD;&#xA; 3. This really depends on the quality of cables you have, the strength of the preamps you are using, and the input requirements of the speakers.  I would recommend getting the cables first and experimenting around from there.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mcmelectronics.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="45745" PostHistoryTypeId="2" PostId="25820" RevisionGUID="ccb87198-5f51-47d1-8732-e59de4f48340" CreationDate="2011-04-14T14:01:12.193" UserId="10057" UserDisplayName="Vass" Text="I have an mp3 player that has a headphone/speaker output socket of 3.5mm type. I want to use it to feed into a group of 4 speakers sets for PCs. The maximum cable distance should be around 8 meters long. I would like to be able to regulate the volume going into each speaker set (which will be in a different room) from a device connected directly to the player, and this devide then feeds the speakers.&#xD;&#xA;&#xD;&#xA;So the questions are:&#xD;&#xA;&#xD;&#xA; 1. What is this device that I'm looking for called, or group of devices for this kind of use to connect into a common player? (any recommendations as well?)&#xD;&#xA; 2. What kind of cables will I use to bring the output to the speaker proximity with a female jack for the 3.5mm input?&#xD;&#xA; 3. After what length will I need to use a repeater? (does this depend on the device that feeds the signals and cables it uses, or if it feeds into 3.5mm it is a standardized power output and therefore standard length) And any recommendations if I need one?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45746" PostHistoryTypeId="1" PostId="25820" RevisionGUID="ccb87198-5f51-47d1-8732-e59de4f48340" CreationDate="2011-04-14T14:01:12.193" UserId="10057" UserDisplayName="Vass" Text="making a multiple speaker system from stereo headphone socket for apartment" ContentLicense="CC BY-SA 3.0" />
  <row Id="45747" PostHistoryTypeId="3" PostId="25820" RevisionGUID="ccb87198-5f51-47d1-8732-e59de4f48340" CreationDate="2011-04-14T14:01:12.193" UserId="10057" UserDisplayName="Vass" Text="&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45748" PostHistoryTypeId="36" PostId="25821" RevisionGUID="ccb12ff5-ad68-446e-ada1-7549c64ef6e4" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1168/making-a-multiple-speaker-system-from-stereo-headphone-socket-for-apartment/1181#1181" />
  <row Id="45749" PostHistoryTypeId="36" PostId="25822" RevisionGUID="e53af82e-5528-443d-ae91-c0ab7dc466cf" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/447/i-have-two-computers-with-audio-output-and-id-like-to-monitor-both-simultaneo" />
  <row Id="45750" PostHistoryTypeId="36" PostId="25823" RevisionGUID="d5b7eeaf-e988-4b47-9fab-e799ea172e72" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/447/i-have-two-computers-with-audio-output-and-id-like-to-monitor-both-simultaneo/448#448" />
  <row Id="45751" PostHistoryTypeId="2" PostId="25823" RevisionGUID="55f0869b-8ea2-4922-85c6-190f94b74e26" CreationDate="2010-12-25T22:01:43.347" UserId="7202" Text="You need a mixer. You need a mixer that can take two stereo channels. You could probably find something for 40 bucks or so." ContentLicense="CC BY-SA 2.5" />
  <row Id="45752" PostHistoryTypeId="2" PostId="25824" RevisionGUID="05a4f999-5f2f-4555-9ed5-56cfe7bcec8f" CreationDate="2010-12-25T22:02:49.367" UserId="7294" UserDisplayName="Warrior Bob" Text="What you need is a simple mixer.  It will function independently of your computers, and (unlike a y-cable) you'll have a master volume control.&#xD;&#xA;&#xD;&#xA;If you only have two stereo sources, something small like [this Behringer Xenyx 502][1] or a similar one from any other company will do nicely.  Pick the brand based on what's most important to you (tone, features, price, whatever) and look for companies whose reputation matches that.  For example, Behringer is known for being inexpensive, but someone like, say Mackie, will be more expensive but be more durable, perhaps have less noise, that sort of thing. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.behringer.com/EN/Products/502.aspx" ContentLicense="CC BY-SA 2.5" />
  <row Id="45753" PostHistoryTypeId="2" PostId="25822" RevisionGUID="43e113ce-773b-41e0-9595-4962776200e2" CreationDate="2010-12-25T20:10:56.330" UserId="7256" UserDisplayName="Chris W. Rea" Text="I have two computers with audio output, and I'd like to monitor both, simultaneously, with one set of speakers.  What do I need?&#xD;&#xA;&#xD;&#xA;I know I could feed the line-out of one computer into the line-in of the other, and turn on software mixing, but I want this to work regardless of whether one or the other computer is on or off.&#xD;&#xA;&#xD;&#xA;So, I'm looking for a hardware solution.  Could I use some kind of microphone Y-cable, or should I be using a mixer device &amp;ndash; and if so, why, and what is the simplest/cheapest kind of mixer I could get away with?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45754" PostHistoryTypeId="1" PostId="25822" RevisionGUID="43e113ce-773b-41e0-9595-4962776200e2" CreationDate="2010-12-25T20:10:56.330" UserId="7256" UserDisplayName="Chris W. Rea" Text="I have two computers with audio output, and I'd like to monitor both, simultaneously, with one set of speakers. What do I need?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45755" PostHistoryTypeId="3" PostId="25822" RevisionGUID="43e113ce-773b-41e0-9595-4962776200e2" CreationDate="2010-12-25T20:10:56.330" UserId="7256" UserDisplayName="Chris W. Rea" Text="&lt;mixing&gt;&lt;monitoring&gt;&lt;cable&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45756" PostHistoryTypeId="36" PostId="25824" RevisionGUID="d1b805d0-7645-4ead-bc95-658538748939" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/447/i-have-two-computers-with-audio-output-and-id-like-to-monitor-both-simultaneo/449#449" />
  <row Id="45757" PostHistoryTypeId="36" PostId="25825" RevisionGUID="95301aa7-e387-463c-a235-2dd7525ba813" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/447/i-have-two-computers-with-audio-output-and-id-like-to-monitor-both-simultaneo/472#472" />
  <row Id="45758" PostHistoryTypeId="36" PostId="25826" RevisionGUID="beb1bee0-4d11-41cb-ad26-5238002ac5b0" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/447/i-have-two-computers-with-audio-output-and-id-like-to-monitor-both-simultaneo/591#591" />
  <row Id="45759" PostHistoryTypeId="36" PostId="25827" RevisionGUID="5b034993-8220-4aff-a2c3-831f2c10daf3" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/447/i-have-two-computers-with-audio-output-and-id-like-to-monitor-both-simultaneo/2466#2466" />
  <row Id="45760" PostHistoryTypeId="36" PostId="25828" RevisionGUID="881777aa-235b-4bac-993b-82124cd3b29b" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/447/i-have-two-computers-with-audio-output-and-id-like-to-monitor-both-simultaneo/2525#2525" />
  <row Id="45761" PostHistoryTypeId="2" PostId="25825" RevisionGUID="b876e6da-5274-4465-b312-04142502cfc4" CreationDate="2010-12-29T16:29:32.770" UserId="90" Text="You *can* often make your own passive &quot;mixer&quot; similar to a Y-cable.  You just need to put isolation resistors in series with each output before tying them together, or the two outputs will see each other as short circuits and destroy each other.  The resistor method is not as good as a real mixer, but it can work in some circumstances.&#xD;&#xA;&#xD;&#xA;[Why Not Wye?][1]&#xD;&#xA;&#xD;&#xA;![Stereo mixer][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rane.com/note109.html&#xD;&#xA;  [2]: http://i.stack.imgur.com/SyYO4.gif" ContentLicense="CC BY-SA 2.5" />
  <row Id="45762" PostHistoryTypeId="2" PostId="25827" RevisionGUID="f96840c3-ad38-48c4-9c46-5f47b6e9dfdd" CreationDate="2011-10-14T21:16:03.270" UserDisplayName="Tim Terrebone" Text="There's a device that does this available at http://www.stoweblank.com/tinymix.  It's basically a simple mixer." ContentLicense="CC BY-SA 3.0" />
  <row Id="45763" PostHistoryTypeId="2" PostId="25828" RevisionGUID="6bef5d49-1422-4bb6-94a5-da3051eb4cc9" CreationDate="2011-10-21T21:46:59.473" UserDisplayName="Tim Terrebone" Text="The problem with a Y adapter is that the audio signal is fed into both devices -and- the speakers, which attenuates the signal, and could potentially cause damage -- if both sources are active, they *add together*.  &#xD;&#xA;&#xD;&#xA;To see the attenuation effect, plug in the Y cable, turn on a (quiet) source of audio, then unplug one device.  Louder, eh?  That difference is the signal being fed from one source to the other.&#xD;&#xA;&#xD;&#xA;So yes, there's a chance of harm, even though it's remote, if anything on that Y-cable is particularly expensive, I'd think twice about it.  With more than 2 devices, I wouldn't risk it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45764" PostHistoryTypeId="2" PostId="25826" RevisionGUID="fb2608fa-6bde-4d0d-b361-51d7411f56a6" CreationDate="2011-01-14T11:14:11.673" UserDisplayName="Sam" Text="You could try a Y adapter. 2 ins 1 out. Should sound acceptable if plugged in correctly. Won't be the most clean of solutions however." ContentLicense="CC BY-SA 2.5" />
  <row Id="45765" PostHistoryTypeId="36" PostId="25829" RevisionGUID="a1e78986-b57a-4a19-ac5f-206aea781ea9" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/968/reason-any-way-to-batch-convert-wav-to-rex" />
  <row Id="45766" PostHistoryTypeId="36" PostId="25830" RevisionGUID="b8831d61-6786-464c-adf9-c2c2c4e448c1" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/968/reason-any-way-to-batch-convert-wav-to-rex/969#969" />
  <row Id="45767" PostHistoryTypeId="36" PostId="25831" RevisionGUID="ef1c9a9d-cb43-43ac-8e8a-464a6f56eb1b" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/968/reason-any-way-to-batch-convert-wav-to-rex/4911#4911" />
  <row Id="45768" PostHistoryTypeId="2" PostId="25830" RevisionGUID="b610e1a6-8e57-4cd4-bfba-c8f3518c5c80" CreationDate="2011-03-07T15:49:35.657" UserDisplayName="Ian C." Text="Not really. The trouble is the hit detection for the conversion is sort of hit and miss. And most tools, to even get semi-accurate hit detection happening, require you give it the BPM (as opposed to auto-detecting the BPM) before extracting hits.&#xD;&#xA;&#xD;&#xA;There's a separate product available from Propellerhead for the creation of REX files called [ReCycle][1] that you might want to check out. I'm not sure if it has any batch processing facilities. It didn't the last time I used it, but that was many years ago.&#xD;&#xA;&#xD;&#xA;You might also want to have a look at [Translator from Chicken Systems][2]. It's a more generic sample filer converter but it does support REX output. It's batch facilities are better, but again, going from WAV -&gt; REX might not work. If you were moving from another sample format to REX it might be able to do batch conversion because the other sample format might have the hits and BPM embedded in the format as meta data already.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.propellerheads.se/products/recycle/&#xD;&#xA;  [2]: http://chickensys.com/products/sw_iteminfo.php?sw_name=Translator+Pro" ContentLicense="CC BY-SA 2.5" />
  <row Id="45769" PostHistoryTypeId="2" PostId="25831" RevisionGUID="9092c18b-8c52-4b97-83f2-0e029be6e167" CreationDate="2012-10-04T05:19:08.433" UserDisplayName="Neil Paddock" Text="I used Reaper v4.261 To successfully convert a number of .rx2 files to .wav files &#xD;&#xA;&#xD;&#xA;A trial version can be downloaded from http://www.reaper.fm/ &#xD;&#xA;&#xD;&#xA;Once installed, Go to: &#xD;&#xA;&#xD;&#xA;File&#xD;&#xA;Batch File/Item converter&#xD;&#xA;&#xD;&#xA;[Short cut: &lt;kbd&gt;Ctrl&lt;/kbd&gt;+&lt;kbd&gt;Shift&lt;/kbd&gt;+&lt;kbd&gt;F&lt;/kbd&gt;]&#xD;&#xA;&#xD;&#xA;A window will pop up - You need to add the files you want to convert into that window by clicking on the &quot;Add&quot; button and clicking &quot;Add Files&quot;. Highlight the ones you want...&#xD;&#xA;&#xD;&#xA;e.g. `C:\Cakewalk Content\Audio Library\Loops\Loopmasters\BREAKS DRUM N BASS\DANNY BYRD\REXFILE1.rx2` , `REXFILE2.rx2` etc.&#xD;&#xA;&#xD;&#xA;If you want to save the file with the same name, leave the box ticked that says &quot;Use source file directory&quot;. You can also leave the Output format as &quot;WAV&quot; and the &quot;Resample mode (if needed)&quot; as Better.&#xD;&#xA;&#xD;&#xA;Enter Filename as: &quot;`$source`&quot; (Other wildcards can be used but this is easiest).&#xD;&#xA;&#xD;&#xA;Click &quot;Convert all&quot;&#xD;&#xA;&#xD;&#xA;When done, go to your directory where the original rx2 files were kept and open it. Your new .WAV files should be in there. Go ahead and open them up in a wav editor such as Goldwave or a Digital Audio Workstation such as Reason.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/9vdQa.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="45770" PostHistoryTypeId="2" PostId="25829" RevisionGUID="9e314b3a-fed4-4b3b-b880-ac5b7a5271e8" CreationDate="2011-03-07T15:01:21.737" UserDisplayName="kivetros" Text="I've used several DAWs over the years, and my sample library has grown to a considerable size. I've been playing with Reason lately, and I rather like it, but one big turnoff is that 99% of my drumloops are WAV. Is there any way to batch-convert WAV loops to REX?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45771" PostHistoryTypeId="1" PostId="25829" RevisionGUID="9e314b3a-fed4-4b3b-b880-ac5b7a5271e8" CreationDate="2011-03-07T15:01:21.737" UserDisplayName="kivetros" Text="Reason: Any way to batch convert WAV to REX?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45772" PostHistoryTypeId="3" PostId="25829" RevisionGUID="9e314b3a-fed4-4b3b-b880-ac5b7a5271e8" CreationDate="2011-03-07T15:01:21.737" UserDisplayName="kivetros" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45773" PostHistoryTypeId="36" PostId="25832" RevisionGUID="1945cc19-7e33-4101-bc21-84a8ec8dde5f" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1076/in-protools-how-does-one-record-live-volume-changes" />
  <row Id="45774" PostHistoryTypeId="2" PostId="25833" RevisionGUID="67ae3db4-15be-42b0-956e-b312a5974adb" CreationDate="2011-03-21T23:11:44.367" UserDisplayName="Joe Mac" Text="You want to use automation.  There's a drop down menu on each of the channel strips that will usually read &quot;off&quot;.  Pick one of the automation modes, probably &quot;latch&quot; (or &quot;write&quot;).  There's an explanation of the modes [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikiaudio.org/Pro_Tools:automation_modes" ContentLicense="CC BY-SA 2.5" />
  <row Id="45775" PostHistoryTypeId="2" PostId="25832" RevisionGUID="ae71f4c3-9938-4cf9-80a6-de9d185a56d0" CreationDate="2011-03-21T22:54:37.983" UserDisplayName="Trip" Text="For instance, I am replaying a track I just recorded, but I want to mute some parts of it on the playback. &#xD;&#xA;&#xD;&#xA;What is the best way to accomplish this?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45776" PostHistoryTypeId="1" PostId="25832" RevisionGUID="ae71f4c3-9938-4cf9-80a6-de9d185a56d0" CreationDate="2011-03-21T22:54:37.983" UserDisplayName="Trip" Text="In ProTools, how does one record live volume changes?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45777" PostHistoryTypeId="3" PostId="25832" RevisionGUID="ae71f4c3-9938-4cf9-80a6-de9d185a56d0" CreationDate="2011-03-21T22:54:37.983" UserDisplayName="Trip" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45778" PostHistoryTypeId="36" PostId="25833" RevisionGUID="88c9961f-701c-43e3-875f-af92b2377764" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1076/in-protools-how-does-one-record-live-volume-changes/1077#1077" />
  <row Id="45779" PostHistoryTypeId="36" PostId="25834" RevisionGUID="7d23981a-2caf-476d-8339-9528b93e3706" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1076/in-protools-how-does-one-record-live-volume-changes/3487#3487" />
  <row Id="45780" PostHistoryTypeId="2" PostId="25834" RevisionGUID="a2499a34-8b56-45aa-b98e-bcc000f09c48" CreationDate="2012-03-07T19:32:18.753" UserDisplayName="Michael MacDonald" Text="if you don't have automated faders&#xD;&#xA;you can adjust the volume in another way.&#xD;&#xA;It depends on if we're talking about midi volume or audio,&#xD;&#xA;but the answer for both can be found in the same place.&#xD;&#xA;&#xD;&#xA;Go to the actual track.&#xD;&#xA;look to the left of where it shows your inputs and outputs&#xD;&#xA;there's a button that usually says &quot;notes&quot; (if it doesn't just look for the big button under your track name)&#xD;&#xA;just click on this,&#xD;&#xA;a menu will drop down&#xD;&#xA;midi volume and a few other ones like panning, modulation and whatever else will show up.&#xD;&#xA;Midi volume or regular volume will allow you to adjust the volume wherever you want with the pencil tool.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45781" PostHistoryTypeId="36" PostId="25835" RevisionGUID="a4ad486a-28aa-4ae3-a754-cdc187ca9525" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5809/audacity-increase-audio-volume-in-audacity-software" />
  <row Id="45782" PostHistoryTypeId="36" PostId="25836" RevisionGUID="69922aef-d358-4665-a9e4-058075879105" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5809/audacity-increase-audio-volume-in-audacity-software/5823#5823" />
  <row Id="45783" PostHistoryTypeId="2" PostId="25836" RevisionGUID="04f2b83d-d5a4-43a0-9d46-cd45522cdf41" CreationDate="2013-01-13T05:48:23.080" UserDisplayName="b2550" Text="Go to Effect&gt;Amplify and mess with it (press preview) until it sounds right. If the waveforms look too big, undo it and try again. Hope this helps :)&#xD;&#xA;&#xD;&#xA;I don't think this will add distortion but if it does, I can reach back in my head and dig out the other way of raising the volume." ContentLicense="CC BY-SA 3.0" />
  <row Id="45784" PostHistoryTypeId="2" PostId="25835" RevisionGUID="fd7612e8-bc09-4b6a-9548-4836059c35d8" CreationDate="2013-01-11T09:26:21.473" UserDisplayName="ankit" Text="How can I increase audio volume of a mp3 file in audacity?&#xD;&#xA;&#xD;&#xA;I need to cut a part of mp3 song to make a ringtone. But as I save it in by mobile, the volume is too low for this particular file. Is there a way to increase volume of mp3 file in audacity *without distorting quality*?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45785" PostHistoryTypeId="1" PostId="25835" RevisionGUID="fd7612e8-bc09-4b6a-9548-4836059c35d8" CreationDate="2013-01-11T09:26:21.473" UserDisplayName="ankit" Text="Audacity: Increase audio volume in audacity software" ContentLicense="CC BY-SA 3.0" />
  <row Id="45786" PostHistoryTypeId="3" PostId="25835" RevisionGUID="fd7612e8-bc09-4b6a-9548-4836059c35d8" CreationDate="2013-01-11T09:26:21.473" UserDisplayName="ankit" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45787" PostHistoryTypeId="36" PostId="25837" RevisionGUID="2184345f-4f40-48cf-8664-fe8b63d6f983" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7474/how-to-maximize-volume-and-sound-quality-of-a-youtube-video" />
  <row Id="45788" PostHistoryTypeId="2" PostId="25838" RevisionGUID="eeeb0d1a-5e8d-44ec-b7f7-699c0a219f72" CreationDate="2013-03-23T15:49:25.457" UserId="7312" UserDisplayName="Eugene S" Text="Industry level audio usually heavily compressed as a last step of production. I would guess this is what you are after. This is of course given your initial sound track is of decent quality already. There are plenty of software compressors available on the market and can be used with Logic. I'm not recommending or advertising but just for [example][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/reviews/685890-waves-l1-ultramaximizer.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="45789" PostHistoryTypeId="2" PostId="25837" RevisionGUID="d87641b2-ee20-43ce-a742-0f9b3bddcc94" CreationDate="2013-03-23T14:25:36.453" UserDisplayName="Yarin" Text="We're trying to produce highest-possible quality (short, promotional, sound intensive) videos for YouTube, and want to achieve fullest possible sound. &#xD;&#xA;&#xD;&#xA;There's a huge range of sound volume/quality across different videos on YouTube. &#xD;&#xA;&#xD;&#xA;Examples: &#xD;&#xA;&#xD;&#xA; - Quality sound - Vevo music videos&#xD;&#xA;   http://www.youtube.com/watch?v=ViwtNLUqkMY.   &#xD;&#xA; - Very loud:&#xD;&#xA;   http://www.youtube.com/watch?v=FG-6jNcMdfU&#xD;&#xA;&#xD;&#xA;We assemble our soundtracks in Logic Pro, our videos in After Effects / Premiere, and use Adobe Media Encoder to encode to YouTube. What are some steps we can take to get the fullest sound with this production chain?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45790" PostHistoryTypeId="1" PostId="25837" RevisionGUID="d87641b2-ee20-43ce-a742-0f9b3bddcc94" CreationDate="2013-03-23T14:25:36.453" UserDisplayName="Yarin" Text="How to maximize volume and sound quality of a YouTube video" ContentLicense="CC BY-SA 3.0" />
  <row Id="45791" PostHistoryTypeId="3" PostId="25837" RevisionGUID="d87641b2-ee20-43ce-a742-0f9b3bddcc94" CreationDate="2013-03-23T14:25:36.453" UserDisplayName="Yarin" Text="&lt;youtube&gt;&lt;encoding&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45792" PostHistoryTypeId="36" PostId="25838" RevisionGUID="b90e3862-c40f-45d5-a36a-71d1dd9d368a" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7474/how-to-maximize-volume-and-sound-quality-of-a-youtube-video/7475#7475" />
  <row Id="45793" PostHistoryTypeId="36" PostId="25839" RevisionGUID="8a10e582-c4e0-45c8-a885-e8d0a92e6976" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7877/how-to-isolate-specific-sound-from-a-sample-in-ableton" />
  <row Id="45794" PostHistoryTypeId="36" PostId="25840" RevisionGUID="8b6808c0-9354-4a7e-a379-a6623e40fff7" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7877/how-to-isolate-specific-sound-from-a-sample-in-ableton/7878#7878" />
  <row Id="45795" PostHistoryTypeId="2" PostId="25840" RevisionGUID="8e497013-ed01-4dc6-a100-20bed76d7972" CreationDate="2013-05-13T06:50:57.830" UserId="7269" UserDisplayName="Gal Margalit" Text="1. Try using &quot;Gate&quot; to eliminate unwanted frequencies &#xD;&#xA;2. Try splitting (ctrl + E) the audio sample in arrangement view, to isolate tiny bits." ContentLicense="CC BY-SA 3.0" />
  <row Id="45796" PostHistoryTypeId="2" PostId="25841" RevisionGUID="f2c47d39-28f6-4c35-984f-c9fcf9914175" CreationDate="2013-05-13T14:33:38.410" UserId="7405" UserDisplayName="Andy aka" Text="If you have *a* particular sound that is embedded into a wave file containing other sounds, the only mechanism anyone has for isolating that sound and excluding all other sounds is through filtering BUT this probably won't work in a general sense because....&#xD;&#xA;&#xD;&#xA;A particular sound may be (say) a flute and its characteristic timbre is produced by a series of harmonics related to the base pitch of the note - these harmonics will extend through the audio spectrum and overlap other instruments that are also in the wave file. Disentangling a flute harmonics from other sounds is very, very hard to do effectively.&#xD;&#xA;&#xD;&#xA;We, as humans, may recognize that a flute is being played (in the presence of other sounds) and if we can play the flute we could recreate that sound fairly well BUT it would be an interpretation of the flute part of the wave file.&#xD;&#xA;&#xD;&#xA;How do you instruct a piece of software or hardware to recognize a flute sound and extract it - I don't think it can be done by filtering because the harmonics would clash with other instruments.&#xD;&#xA;&#xD;&#xA;If the sound you wish to isolate is limited to a certain range of the spectrum and other sounds in the wave file do not encroach into that part of the spectrum then simple band-pass filtering should be successful. Anything more complex and the process is rather like trying to turn a baked-cake back into it's original constituents." ContentLicense="CC BY-SA 3.0" />
  <row Id="45797" PostHistoryTypeId="2" PostId="25839" RevisionGUID="42cc1c01-2e3b-458a-aebc-5046c60f9793" CreationDate="2013-05-13T03:36:57.573" UserDisplayName="parliament" Text="I'm relatively new to Ableton and am learning about sampling right now. What I'd like to be able to do is take an instrumental and isolate specific sounds from it.&#xD;&#xA;&#xD;&#xA;Is this possible?&#xD;&#xA;&#xD;&#xA;I imagine there's no universal way because each sound is different but are there a set of tools and methods in Ableton that are particularly useful in doing this?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45798" PostHistoryTypeId="1" PostId="25839" RevisionGUID="42cc1c01-2e3b-458a-aebc-5046c60f9793" CreationDate="2013-05-13T03:36:57.573" UserDisplayName="parliament" Text="How to isolate specific sound from a sample in Ableton" ContentLicense="CC BY-SA 3.0" />
  <row Id="45799" PostHistoryTypeId="3" PostId="25839" RevisionGUID="42cc1c01-2e3b-458a-aebc-5046c60f9793" CreationDate="2013-05-13T03:36:57.573" UserDisplayName="parliament" Text="&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45800" PostHistoryTypeId="36" PostId="25841" RevisionGUID="efe35911-d4dc-41d2-9d54-beaad1e94bff" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7877/how-to-isolate-specific-sound-from-a-sample-in-ableton/7884#7884" />
  <row Id="45801" PostHistoryTypeId="36" PostId="25842" RevisionGUID="d15959a3-d25d-4cf6-aefc-a50fc4a86875" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/763/general-rules-for-panning" />
  <row Id="45802" PostHistoryTypeId="36" PostId="25843" RevisionGUID="ffd24e7d-8878-4996-ac7f-dba11b27158e" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/763/general-rules-for-panning/764#764" />
  <row Id="45803" PostHistoryTypeId="36" PostId="25844" RevisionGUID="aaf9cf36-240f-4593-9247-c5da11695956" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/763/general-rules-for-panning/766#766" />
  <row Id="45804" PostHistoryTypeId="36" PostId="25845" RevisionGUID="99f8128c-25f4-4f4e-b188-dd1d972b064a" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/763/general-rules-for-panning/767#767" />
  <row Id="45805" PostHistoryTypeId="2" PostId="25843" RevisionGUID="01a8dd09-e88f-43fc-88e1-0457220b52e9" CreationDate="2011-02-06T15:49:39.173" UserDisplayName="Kim Burgaard" Text="Here's a few rules I usually think about with respect to planning:&#xD;&#xA;&#xD;&#xA; - We can't determine the direction of low frequencies, so the bass is often placed at the center of the mix. Panning the bass hard to either side would especially be noticeable by headphone listeners, and potentially very distracting unless that's the effect you're going for.&#xD;&#xA;&#xD;&#xA; - If you're producing for a general audience, then there will invariably be listeners who are set up with only a speaker on the left or right channel, or where the listener is much closer to one of the speakers. To produce for the broadest possible set of listeners, you should to pan all the really essential parts of the music close to the center -- lead vocals and instruments, as well as basic rhythm tracks.&#xD;&#xA;&#xD;&#xA; - Panning almost identical takes hard left and right creates a chorus like effect.&#xD;&#xA;&#xD;&#xA;Other than that, I use panning as the simplest, basic way of balancing the sound (duh :-). For example, if I have two guitars that overlap a lot, then placing each further to the left and right will help separate the guitars for listeners with a proper stereo sound, while other listeners will not loose anything essential to the music.&#xD;&#xA;&#xD;&#xA;From there on, it's usually just trial and error for me. I take each track and ask myself if it is essential and/or if it overlaps with other tracks. &lt;em&gt;Do what sounds good&lt;/em&gt;, as you say.&#xD;&#xA;&#xD;&#xA;I would probably try to center pads/strings that only play slow and discrete sweeping parts. But if they play a more active role, then they might balance the acoustic guitar so panning the strings and guitar respectively left and right might be an option. Some synth pad sounds already come with a wide stereo sound, so that will have to be factored in as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="45806" PostHistoryTypeId="2" PostId="25844" RevisionGUID="da809000-8b65-4798-a483-909d450996c1" CreationDate="2011-02-07T09:59:22.853" UserId="7202" Text="Rhythm and Bass goes center, yes. &#xD;&#xA;&#xD;&#xA;Pads/strings are often stereo, and should be panned like that, ie one channel hard left the other hard right. The same goes for strummed acoustic guitar who fills a similar job as pads. If none of these are stereo I'd recommend panning the chorus a bit off centre and the acoustic guitar a similar amount the other way. If the guitar carries more melody you may want it in the centre.&#xD;&#xA;&#xD;&#xA;Main vocals goes centre, the rest, or all of them if they are all main, place them out from about 50% left to 50% right, like they are standing besides each other. This helps create separation." ContentLicense="CC BY-SA 2.5" />
  <row Id="45807" PostHistoryTypeId="2" PostId="25845" RevisionGUID="a50e6c41-bbfe-4923-833d-6bc786ce156c" CreationDate="2011-02-07T18:28:20.463" UserDisplayName="jlebre" Text="Thought about how to answer this for quite a while. It's a bit hard to describe some of these things without sounding like David Gibson in &quot;the Art of Mixing&quot; but he has a point: maybe we can point out the first degree of panning and stereo image as a way to clear the picture. Strangely enough, the ghost images that appear on the sound field can still mask themselves quite a lot.&#xD;&#xA;&#xD;&#xA;There are some really neat graphics and maths about the shadow area around a frequency, meaning how much louder do the frequencies next to another need to be to mask the first one - a not so bad wiki article about this [here][1]. Things can be neatly arranged and rearranged to make things clearer, more spread out, more interesting.&#xD;&#xA;&#xD;&#xA;Now, some things to consider: first on a more acoustical side:&#xD;&#xA;&#xD;&#xA;- Lower frequencies take a lot more space and power in a mix. Tilting them to a side generally makes the mix seem bass heavy or just plain left/right heavy. I tend to demonstrate that to students when they submit a mix that makes you kinda feel that you have to turn and face left. Although this is more likely with lower frequencies, tilted mixed can happen with pretty much with any sources, if there a busier side of the arrangement in one side, etc.&#xD;&#xA;A subtle example of mixes being tilted by low frequency could happen when you mic up a drum kit close to a wall, or closer to a corner on one of the sides. Also, it can happen if your microphone stood at a low frequency node. Although meters would probably not reflect this your overhead drum sound will be (acoustically and psychologically) tilted.&#xD;&#xA;&#xD;&#xA;- Ghosting center: the big thing when stereo hit was the capability of producing images over a space. And better, to center a source right in the center of two speakers. This has some issues though - this image is extremely fragile and subjective to any variation between both speakers, and it can get easily masked. Some really good guys like Terry Manning have been developing a theory of cardinal points where a third speaker is added to the center and other issues related to their downmix problems, etc. But we have this in surround. Those of you that had the experience in mixing in surround definitely noticed that is far more easier to achieve clarity and positioning on the source on this field (because it's bigger) but that with the center speaker, you won't have masking problems - an example would be to do your whole mix in stereo, panning kick drums, snares etc bang on center and have the vocals on your center speaker. It will cut through far easier than it would on the stereo field.&#xD;&#xA;The fact that we pan in the center also gives a reinforcement - think about it: you have 2 speakers doing the same work for you! (yes, there is the pan law but we'll get there in a second).&#xD;&#xA;&#xD;&#xA;- When to use Center, halfway, or hard left/right? Well, that's really up to you! it's clear (even on this site) that a consensus is not really possible. But a few points can be made: we already talked about the center, hard left/right is usually something that you'll go for if you really have something important to put there. If you are now thinking of overhead microphones, other microphone stereo techniques or stereo samples, don't forget that these don't really have hard left and right material - they'll have something in between! and specially because recording angle vs. playback angle get's extremely distorted near the edges. Anything outside the recording angle will also be reflected into the stereo field but in a more &quot;reverse&quot; fashion. Examples in recent date of use of extreme left and right could be Maroon 5's &quot;wake up call&quot;'s ping pong guitar but tons of other bands use that space for random effects and &quot;ear candy&quot;.&#xD;&#xA;Many times, though, when you have really detailed guitars, a fairly wide panning is achieved. When done that there's a worry of loosing the signal completely on the other channel. Think Clubs, or huge venues without front-fills (more common than one imagine). The audience would loose your guitar solo completely, or your nice synth line. You can indeed go narrower, or starting to pan with delays (using Haas theorem). More on this next.&#xD;&#xA;&#xD;&#xA;- I seem to notice mixes that try to make seem louder, punchier, are usually mixed narrower. And mixes that try and be clearer, more detailed, are usually panned wider making use of the entire stereo image. There's also some mixes that have really mono centered drums, loud and punchier, and the huge arrangements spread out very very wide!&#xD;&#xA;&#xD;&#xA;On an electronic side, we should consider several aspects:&#xD;&#xA;- Pan Law. This is an level balance that occurs because of the design of the pan pots (level being split and divided, through a resistor series and - luckily - opamps; the signal will drop. A linear pot will drop you 10dB) but desks manufacturers and DAW's have been manufacturing how this drop will occur. This define how much the level drops when coming back into the center, to compensate for the acoustic of the room and the physical properties of the speakers. Now, most desks and DAW might default at -3dB but there are daw's that range from -2.5dB to 6.02dB (as far as I know, for some mastering gear or maybe some fancy software). -3dB (we are talking of voltage here) will not equate to the 6dB SPL variation (hence the 5.99dB pan laws and 6.02dB.&#xD;&#xA;&#xD;&#xA;- Haas theorem says that, with very short delays, a signal with the same intensity than another can be perceived as coming from one speaker as being louder. Typically 20ms are used. Have you ever been in a gig where the back towers seem to be off? well, they are not. They are just delayed by the distance between the stage and the towers, then delayed further 20ms.&#xD;&#xA;You can do the same in mixing. Add a really really short delay to the opposite side. If someone hears on one headphone, or is on the opposite side of the venue, or has one speaker broken (go figure!!) this person can still hear a hint (very good hint) of what's happening with your other guitarist (or triangle percussionist solo :P).&#xD;&#xA;This is a technique widely used in mixing for post (surround) as sometimes extreme panning isn't an option.&#xD;&#xA;This is also something I use to try and correct a balance issue, or to fatten out a sound (careful as it might generate some phasing).&#xD;&#xA;&#xD;&#xA;Having said all this, is not hard to understand why bass, kick drum, snare, vocals are usually panned dead center. Although some nice names (mixers) that I had the pleasure to talk and work to did share that they usually pan the center stuff just a tick to the sides around the kick or vocals.&#xD;&#xA;&#xD;&#xA;Me? I usually try and balance out a mix level and stereo image wise before starting getting deep in other things. I find that at the ended I might shift things ever so slightly and the clarity improves. And, although I like crazy stuff like Mars Volta, only one had to do a crazy trick with drums panned. It was a LOT of work trying to get a balanced stereo image that didn't feel tilted.&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;J&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Auditory_masking" ContentLicense="CC BY-SA 2.5" />
  <row Id="45808" PostHistoryTypeId="2" PostId="25842" RevisionGUID="acb6fc17-b2f3-48d9-b1be-3c380640893c" CreationDate="2011-02-06T15:04:57.570" UserId="7398" UserDisplayName="BenV" Text="I'm working on a family project right now.  Most of the songs have the following tracks:&#xD;&#xA;&#xD;&#xA; - 4 kids (on separate tracks of course)&#xD;&#xA; - strings/pads&#xD;&#xA; - acoustic guitar (on about half the songs)&#xD;&#xA; - electric bass (main rythm track on songs without guitar)&#xD;&#xA;&#xD;&#xA;I'm not sure where to start with panning everything.  I've tried a few different things (based on the *do what sounds good* mantra) and to be honest, everything sounds good in the studio.&#xD;&#xA;&#xD;&#xA;My specific questions are:&#xD;&#xA;&#xD;&#xA; - Should the rythm track (either the guitar or bass) be centered?&#xD;&#xA; - Are pads usually split out wide or narrowed into a more specific slot in the pan?&#xD;&#xA;&#xD;&#xA;In general though, I'd like to know if there's some rules of thumb out there for panning?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45809" PostHistoryTypeId="1" PostId="25842" RevisionGUID="acb6fc17-b2f3-48d9-b1be-3c380640893c" CreationDate="2011-02-06T15:04:57.570" UserId="7398" UserDisplayName="BenV" Text="General rules for panning?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45810" PostHistoryTypeId="3" PostId="25842" RevisionGUID="acb6fc17-b2f3-48d9-b1be-3c380640893c" CreationDate="2011-02-06T15:04:57.570" UserId="7398" UserDisplayName="BenV" Text="&lt;mixing&gt;&lt;panning&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45811" PostHistoryTypeId="36" PostId="25846" RevisionGUID="2cf50540-8eec-4a47-b277-868a5226a99a" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2808/is-it-possible-to-loop-mp3-without-gaps" />
  <row Id="45812" PostHistoryTypeId="36" PostId="25847" RevisionGUID="288bc91e-55f9-4167-81b8-016e767c521d" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2808/is-it-possible-to-loop-mp3-without-gaps/2811#2811" />
  <row Id="45813" PostHistoryTypeId="36" PostId="25848" RevisionGUID="4558d0fc-644c-48bf-bf50-0baa948f1543" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2808/is-it-possible-to-loop-mp3-without-gaps/2812#2812" />
  <row Id="45814" PostHistoryTypeId="36" PostId="25849" RevisionGUID="c05c91a1-0ba7-441b-927a-f9abeda1edd1" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2808/is-it-possible-to-loop-mp3-without-gaps/2815#2815" />
  <row Id="45815" PostHistoryTypeId="36" PostId="25850" RevisionGUID="d8976701-d7a3-42b8-8bd4-c40549490792" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2808/is-it-possible-to-loop-mp3-without-gaps/3017#3017" />
  <row Id="45816" PostHistoryTypeId="36" PostId="25851" RevisionGUID="36570e71-83db-413b-b035-2df3cedda19b" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2808/is-it-possible-to-loop-mp3-without-gaps/3069#3069" />
  <row Id="45817" PostHistoryTypeId="2" PostId="25847" RevisionGUID="b7e6b925-eb80-4a83-bc25-f52d3c2db8e5" CreationDate="2011-12-14T20:13:04.323" UserId="7016" Text="You should be able to remove all silence in the file itself with Audacity or something like GapKiller - is it perhaps your playback application that is adding the gap? I know some do." ContentLicense="CC BY-SA 3.0" />
  <row Id="45818" PostHistoryTypeId="2" PostId="25848" RevisionGUID="f08c9470-ea8e-49da-a7ee-a7f61f564898" CreationDate="2011-12-14T22:16:52.640" UserId="7294" UserDisplayName="Warrior Bob" Text="There is no way to solve that, and it's because of MP3. This actually isn't the fault of your tools or your technique; this is because [MP3 compression necessarily introduces gaps at the beginning of encoded recordings][1]. &#xD;&#xA;&#xD;&#xA;It's possible to avoid this problem with compressed audio in general, but you have to use another format:&#xD;&#xA;&#xD;&#xA;(from the linked wikipedia article)&#xD;&#xA;&gt;  More recent compressed audio formats (such as Ogg Vorbis) have been designed to address this problem, and can therefore produce gapless audio if played back correctly.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Gapless_playback#Compression_scheme_artifacts" ContentLicense="CC BY-SA 3.0" />
  <row Id="45819" PostHistoryTypeId="2" PostId="25849" RevisionGUID="f39ab085-4c4f-46fe-a04c-8d13c991e330" CreationDate="2011-12-15T16:24:47.860" UserId="7093" Text="No.  There is no way to solve this problem on all players with the MP3 format or any other format for that matter.  As @Warrior Bob has stated:&#xD;&#xA;&#xD;&#xA;&gt; MP3 compression necessarily introduces gaps at the beginning of encoded recordings. &#xD;&#xA;&#xD;&#xA;Even if you get the silence completely removed it still may have a gap between tracks depending on the player you are using.&#xD;&#xA;&#xD;&#xA;To test this, I imported 2 mp3 songs into Reaper.  On the original CD, the first song runs directly into the second.  I removed the gap at the end of the first song and made sure there was no gap at the beginning of the second.  I rendered both files to MP3 and re-imported.  The gap was still gone.  I played both files in succession using [Media Monkey][1].  There was no gap.  I put the edited MP3s on my [Sansa Fuze][2] mp3 player and played them.  There was a gap between songs of about half a second.  This is a [known issue][3] with the Fuze and probably with many other players.&#xD;&#xA;&#xD;&#xA;Even with correctly encoded MP3s, your playback is only as good as the player.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mediamonkey.com/&#xD;&#xA;  [2]: http://www.amazon.com/SanDisk-Sansa-Video-Player-Silver/dp/B0015KYV3Q/ref=sr_1_9?ie=UTF8&amp;qid=1323968960&amp;sr=8-9&#xD;&#xA;  [3]: http://forums.sandisk.com/t5/Fuze/Want-Gapless-Playback-Register-Your-Interest-Here/m-p/115494/highlight/true#M27356" ContentLicense="CC BY-SA 3.0" />
  <row Id="45820" PostHistoryTypeId="2" PostId="25850" RevisionGUID="4c2b5a00-57dc-496b-9f91-258fad69a03d" CreationDate="2012-01-12T19:54:33.153" UserId="8283" UserDisplayName="Piluso" Text="Look what I found. It seems like it is possible with a couple of steps:&#xD;&#xA;&#xD;&#xA;http://www.compuphase.com/mp3/mp3loops.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="45821" PostHistoryTypeId="2" PostId="25851" RevisionGUID="a557e8ce-3bdc-4550-9c80-7acbbb2ebd94" CreationDate="2012-01-18T07:32:32.427" UserDisplayName="Jonathan" Text="Actually, as a developer of audio playback and editing software, i can tell you that this is definitely possible. &#xD;&#xA;&#xD;&#xA;the only real limiting factor is the duration of the mp3 file you are wanting to loop.&#xD;&#xA;&#xD;&#xA;when a piece of software chooses to play audio from an mp3 file (or any other file) there are several approaches that can be taken - you either send the audio to the sound card in it's compressed state (the easiest way), or you decompress it into PCM samples in RAM, and then send those samples to the sound card.  when you send audio to a sound card in an uncompressed format, regardless of what operating system you are using, you have the option of specifying a sample to start and end a loop on. &#xD;&#xA;&#xD;&#xA;so to answer your question - no I can not tell you what off the shelf packages can do this, as i have not investigated. however i do know that adobe audition (formally cool edit pro) by default reads mp3 files into ram and decompresses them before you even get a chance to play or edit these files, and yes, it can loop.&#xD;&#xA;&#xD;&#xA;if you can be more specific about your requirements, (ie what o/s) and what exactly you want to do, i can research it more fully and let you know what software is available off the shelf to do this.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45822" PostHistoryTypeId="2" PostId="25846" RevisionGUID="a71aab20-aa94-4b47-b0f9-e3c7c7425df2" CreationDate="2011-12-14T16:06:47.540" UserId="8283" UserDisplayName="Piluso" Text="Any sound editor adds little gap on the beginning and on the end of sound loop when I convert it to mp3.&#xD;&#xA;Deleting gap is useless, after reload it’s still there…&#xD;&#xA;&#xD;&#xA;Is there any way to solve this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45823" PostHistoryTypeId="1" PostId="25846" RevisionGUID="a71aab20-aa94-4b47-b0f9-e3c7c7425df2" CreationDate="2011-12-14T16:06:47.540" UserId="8283" UserDisplayName="Piluso" Text="Is it possible to loop MP3 without gaps?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45824" PostHistoryTypeId="3" PostId="25846" RevisionGUID="a71aab20-aa94-4b47-b0f9-e3c7c7425df2" CreationDate="2011-12-14T16:06:47.540" UserId="8283" UserDisplayName="Piluso" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45825" PostHistoryTypeId="36" PostId="25852" RevisionGUID="3bf06651-7ff6-4b28-b200-fe98a76898f2" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7595/how-to-improve-the-effectiveness-of-a-camcorders-built-in-microphone" />
  <row Id="45826" PostHistoryTypeId="36" PostId="25853" RevisionGUID="e50f7f84-0ddd-4b58-9982-99b8ff74de83" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7595/how-to-improve-the-effectiveness-of-a-camcorders-built-in-microphone/7597#7597" />
  <row Id="45827" PostHistoryTypeId="2" PostId="25853" RevisionGUID="65a1108d-fcec-4ff4-baa8-5d01f56c3cc3" CreationDate="2013-04-05T20:57:14.783" UserId="7174" Text="Your best bet is going to be to mix the input from multiple microphones.  If you get a simple mixer, you can have them all combined and not have to match it up after the fact.  You would just leave all microphones turned up and which ever one has someone talking would play through.&#xD;&#xA;&#xD;&#xA;You could also potentially use a really sensitive mic with a device called a compressor.  This would prevent the louder people from being too loud while still having enough sensitivity to get the quieter people.  It will be a cheaper than a mixer and multiple mics, but it is also going to be much noisier.&#xD;&#xA;&#xD;&#xA;You really don't have any option other than to get a new camera that can support one of the two options or to try and record audio separately to something like a Zoom H4N and then combine it on a computer after the fact.  There is no magic trick that is going to allow you to use such a limited camera in the context you describe." ContentLicense="CC BY-SA 3.0" />
  <row Id="45828" PostHistoryTypeId="2" PostId="25852" RevisionGUID="152f25bf-8b71-4e60-a65a-54a0bf80a399" CreationDate="2013-04-05T17:42:37.083" UserDisplayName="Mary" Text="We video-tape work meetings  but some speakers are quiet and we cannot pick up comments from them.  &#xD;&#xA;&#xD;&#xA; - We don't have the manpower to tape from the front and back and then splice the two.  &#xD;&#xA; - Also, my camcorder does not have audio-input functionality to plug in a microphone that could be set in the middle of the room.  &#xD;&#xA;&#xD;&#xA;Any suggestions would be welcome..we are not experts here, unfortunately.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="45829" PostHistoryTypeId="1" PostId="25852" RevisionGUID="152f25bf-8b71-4e60-a65a-54a0bf80a399" CreationDate="2013-04-05T17:42:37.083" UserDisplayName="Mary" Text="How to improve the effectiveness of a camcorder's built-in microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="45830" PostHistoryTypeId="3" PostId="25852" RevisionGUID="152f25bf-8b71-4e60-a65a-54a0bf80a399" CreationDate="2013-04-05T17:42:37.083" UserDisplayName="Mary" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45831" PostHistoryTypeId="36" PostId="25854" RevisionGUID="34a9fabe-15c3-42df-9467-7ab9463c9970" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2281/is-it-safe-to-plug-in-and-send-audio-from-xlr-and-1-4th-inputs-into-powered-spe" />
  <row Id="45832" PostHistoryTypeId="36" PostId="25855" RevisionGUID="af7694d6-8182-4252-9e3c-e35e42fbfb04" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2281/is-it-safe-to-plug-in-and-send-audio-from-xlr-and-1-4th-inputs-into-powered-spe/2282#2282" />
  <row Id="45833" PostHistoryTypeId="2" PostId="25855" RevisionGUID="e085a0a2-4049-4015-b580-56be5e61c38b" CreationDate="2011-09-07T02:58:35.437" UserId="7209" Text="On most of these speakers, the XLR and the 1/4&quot; TRS are simply wired together.  Both jacks are offered for convenience.&#xD;&#xA;&#xD;&#xA;I have been surprised though.  My M-Audio BX5a speakers actually mix the two inputs together, so both can be used simultaneously.&#xD;&#xA;&#xD;&#xA;You could always try it and see if it works.  It is highly unlikely that you will hurt anything.  If it doesn't work, audio gets distorted, or sounds bad, chances are the jacks are just wired together, and you will need a small mixer." ContentLicense="CC BY-SA 3.0" />
  <row Id="45834" PostHistoryTypeId="2" PostId="25856" RevisionGUID="41e00f9a-ab53-49ff-9123-4a0ca08a135a" CreationDate="2011-09-07T12:11:09.863" UserId="7200" Text="You really can't damage active speakers that easily, so just give it a try. But it's unlikely to work well: as both inputs are balanced, they are probably indeed hard-wired together. Still, you may be able to hear both plugged-in signals, but the sources' output stages may interfere in a rather destructive manner. You may run into further problems with the extra ground-loops and shortcut balanced connections. And finally, it's just not very practical to control.&#xD;&#xA;&#xD;&#xA;I suggest you use a small line mixer like the ART Powermix III, that gives you far more flexibility." ContentLicense="CC BY-SA 3.0" />
  <row Id="45835" PostHistoryTypeId="2" PostId="25854" RevisionGUID="aa5ccff1-5525-4953-be1e-5d7c6cef1343" CreationDate="2011-09-07T02:21:53.470" UserDisplayName="VxJasonxV" Text="A friend of mine has a pair KRK 6 speakers, that have [XLR and 1/4th&quot; inputs](http://www.krksys.com/images/products/rokits/rokit-6-rear-slg.jpg). His gear sends audio out via XLR-ended cables, mine, the 1/4&quot; jacks. We want to attempt to do a &quot;gapless&quot; stream of audio output, but my audio production knowledge is failing me.&#xD;&#xA;&#xD;&#xA;Is it safe for both of us to plug in, and use, our equipment at the same time? Sending audio into the set of speakers at the same time?&#xD;&#xA;&#xD;&#xA;Or would we be required to get a mixer in order to safely do this? We both have output control on our controllers, so we can adjust independent audio levels appropriately." ContentLicense="CC BY-SA 3.0" />
  <row Id="45836" PostHistoryTypeId="1" PostId="25854" RevisionGUID="aa5ccff1-5525-4953-be1e-5d7c6cef1343" CreationDate="2011-09-07T02:21:53.470" UserDisplayName="VxJasonxV" Text="Is it safe to plug in and send audio from XLR and 1/4th&quot; inputs into powered speakers at the same time?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45837" PostHistoryTypeId="3" PostId="25854" RevisionGUID="aa5ccff1-5525-4953-be1e-5d7c6cef1343" CreationDate="2011-09-07T02:21:53.470" UserDisplayName="VxJasonxV" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45838" PostHistoryTypeId="36" PostId="25856" RevisionGUID="cfabcd5e-54ef-40a9-9a62-b326cc208d12" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2281/is-it-safe-to-plug-in-and-send-audio-from-xlr-and-1-4th-inputs-into-powered-spe/2283#2283" />
  <row Id="45839" PostHistoryTypeId="36" PostId="25857" RevisionGUID="b83245a9-5c8b-4f4a-9d94-7aa4d23f63db" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7781/what-does-panning-do-in-a-stereo-system" />
  <row Id="45840" PostHistoryTypeId="36" PostId="25858" RevisionGUID="e8da2af7-1026-4afc-bda5-7db409f1f2e8" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7781/what-does-panning-do-in-a-stereo-system/7782#7782" />
  <row Id="45841" PostHistoryTypeId="2" PostId="25858" RevisionGUID="f504bdcd-2a2c-4b49-881a-af0dd84d5614" CreationDate="2013-05-01T14:54:28.503" UserId="7174" Text="This is confusing panning with space in the &quot;wall of sound&quot;.  There are multiple dimensions to sound.  At a minimum you have placement in terms of relative &quot;volume.&quot;  You also have the dimension of frequency from low to high frequencies.  You also have left to right placement in a stereo mix and if you are doing surround, you may have additional axis that you can place it along.&#xD;&#xA;&#xD;&#xA;The wall of sound that you are referring to with &quot;everything needs to live in it's own space&quot; is about frequencies and EQ primarily.  (It also can refer in part to the way the levels are stacked as well.)  The idea is that you want the sound to be very full and rich, but also clear and detailed.  To do this, you need each instrument and vocal to fill it's own portion of the frequency spectrum.  You don't want them to run over each other and muddy the sound, so the EQ may be done differently than it would be if each instrument was playing by itself.&#xD;&#xA;&#xD;&#xA;As far as panning specifically, there are two different concepts to know about, panning and balancing.  They seem similar at first glance since each has a knob labeled Left and Right, but the difference is in how they behave with a stereo channel.  Balance will adjust the levels of the distinct channels but won't change which is left and which is right.  Pan on the other hand will determine which channel a signal goes to.  If you pan a signal to the left, more of the signal goes to the left and less goes to the right.  For a stereo channel, if it is truly a pan, it will move signal that is normally on the right channel to the left.&#xD;&#xA;&#xD;&#xA;Put another way, balance is kind of like a paddle in between two streams, you can turn it to either side slowing that stream with no impact on the other.  Pan on the other hand is like a paddle splitting one stream in to two.  It controls how much of the stream goes to each of the two outputs, but still has the same amount of total output." ContentLicense="CC BY-SA 3.0" />
  <row Id="45842" PostHistoryTypeId="2" PostId="25859" RevisionGUID="dd2710db-bdfe-4450-9a49-51942e7388f7" CreationDate="2013-05-02T03:40:31.447" UserId="7312" UserDisplayName="Eugene S" Text="I agree with @AJ Henderson explanation of &quot;Wall of Sound&quot; concept. I'd like to add one more perspective.&#xD;&#xA;Some years ago I've ran into a very interesting way to look at a mix. The concept was about thinking of your audio image as of actual 3D image. Where the space can be defined by following means:&#xD;&#xA; &#xD;&#xA; * Right\left - panning\balance&#xD;&#xA; * Up\Down - EQ&#xD;&#xA; * Far\Close - Space simulation effects like Reverberation, Delays\Echoes, etc..&#xD;&#xA; &#xD;&#xA;I found that concept pretty useful when mixing and trying to give everything its own place.&#xD;&#xA; &#xD;&#xA;Regarding the panning issue, I'd like to add that there should be noticed a difference between panning and balancing. I have found a very nice explanation [here][1], but below are the main thoughts:&#xD;&#xA;&#xD;&#xA;**Panning** - adjusts the portion of a channel's signal that is sent to each output channel. &#xD;&#xA;Panning sends some of the left recorded channel's level to the right output channel, or some of the right recorded channel's level to the left output channel. Each recorded channel has a constant total output level, which is divided between the two output channels.&#xD;&#xA;&#xD;&#xA;![Panning][2]&#xD;&#xA;&#xD;&#xA;**Balance** is sometimes confused with panning, even on commercially-available audio equipment. Adjusting the balance changes the volume level of the output channels, without redirecting the recorded signal. The default setting for balance is &quot;center,&quot; meaning 0% change to the volume level. As you adjust the dial from &quot;center&quot; toward the &quot;full left&quot; setting, the volume level of the right output channel is decreased, and the volume level of the left output channel remains constant.&#xD;&#xA;&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://docs.fedoraproject.org/en-US/Fedora/14/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Panning_and_Balance.html&#xD;&#xA;  [2]: http://i.stack.imgur.com/YxZ4A.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/Ubt5h.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="45843" PostHistoryTypeId="2" PostId="25857" RevisionGUID="803769cd-0c19-4091-8321-44f0e9651029" CreationDate="2013-05-01T14:22:10.697" UserId="7325" UserDisplayName="Dave Rook" Text="I use pan a lot, but would now like to understand what it does.&#xD;&#xA;&#xD;&#xA;My question is spurred on by being told in a mix (a rock band for example) everything needs to live in its own space. Well, surely it can't actually have it's own space since they're only 2 speakers - by this definition if you have more than 2 instruments then you can't have everything in it's own space (and this only works if the 2 instruments are hard panned to opposite speakers)&#xD;&#xA;&#xD;&#xA;I've looked into this and the information says it 'pans' to the left and right. Well, is this true or just a concept more that what it is actually doing. In other words, is a pan just a way to increase or decrease volume of a certain speaker. For example, when something is panned at 0 (i.e. centred), it plays at 100% of both L and R. When something is panned L50, it plays at L 100% but R is played at 50% (or whatever % the software / hardware chooses)? &#xD;&#xA;&#xD;&#xA;Can any one confirm if my understanding of this is correct or if I'm missing anything. I appreciate this may differ from software/hardware, but my question is general about the concept/theories. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45844" PostHistoryTypeId="1" PostId="25857" RevisionGUID="803769cd-0c19-4091-8321-44f0e9651029" CreationDate="2013-05-01T14:22:10.697" UserId="7325" UserDisplayName="Dave Rook" Text="What does panning do in a stereo system" ContentLicense="CC BY-SA 3.0" />
  <row Id="45845" PostHistoryTypeId="3" PostId="25857" RevisionGUID="803769cd-0c19-4091-8321-44f0e9651029" CreationDate="2013-05-01T14:22:10.697" UserId="7325" UserDisplayName="Dave Rook" Text="&lt;mixing&gt;&lt;panning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45846" PostHistoryTypeId="36" PostId="25859" RevisionGUID="be744e4b-77b7-439f-8845-75b05809fa94" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7781/what-does-panning-do-in-a-stereo-system/7789#7789" />
  <row Id="45847" PostHistoryTypeId="36" PostId="25860" RevisionGUID="402dbf77-b3ea-40ee-9038-4fca0bcb2cda" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7781/what-does-panning-do-in-a-stereo-system/8881#8881" />
  <row Id="45848" PostHistoryTypeId="2" PostId="25860" RevisionGUID="c83ab370-8035-4b4a-ac07-c26f05726497" CreationDate="2013-09-05T16:47:26.940" UserDisplayName="Lanre Sideeq" Text="Signals can be directed in two directions, Left and Right&#xD;&#xA;Panning helps to direct signals either left or right&#xD;&#xA;&#xD;&#xA;Thus getting more of the signal's left part or right part respectively" ContentLicense="CC BY-SA 3.0" />
  <row Id="45849" PostHistoryTypeId="36" PostId="25861" RevisionGUID="ce7dfa3a-daa8-4948-a6a7-6b1861010552" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/589/add-new-playlist-to-selected-tracks" />
  <row Id="45850" PostHistoryTypeId="36" PostId="25862" RevisionGUID="0ea2d03b-1bc1-415a-8f71-f9e08f3bf958" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/589/add-new-playlist-to-selected-tracks/590#590" />
  <row Id="45851" PostHistoryTypeId="2" PostId="25862" RevisionGUID="79c43df9-02d4-4304-ab1b-73967497f2df" CreationDate="2011-01-14T06:07:16.200" UserDisplayName="Adam" Text="If I understand you right, I think you just need to group the tracks, make sure the group is enabled, and then make a new playlist as usual." ContentLicense="CC BY-SA 2.5" />
  <row Id="45852" PostHistoryTypeId="2" PostId="25863" RevisionGUID="a08d6712-8602-4ac3-bec7-01a7d888583a" CreationDate="2011-01-19T23:40:54.613" UserDisplayName="jlebre" Text="HI BenV&#xD;&#xA;&#xD;&#xA;If you hold down Shift+Alt it serves as an &quot;apply to all selected&quot; Same for solos, comping, applying inserts, sends, etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="45853" PostHistoryTypeId="2" PostId="25861" RevisionGUID="9a928b7b-6043-4131-b9b4-f4415da9b093" CreationDate="2011-01-14T05:18:00.427" UserId="7398" UserDisplayName="BenV" Text="In Pro Tools, I can add a new playlist to a single track using the track's Playlist menu:&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;And if I hold down `option` it will create a new playlist for all tracks in the session.&#xD;&#xA;&#xD;&#xA;How do I create a new playlist just in the selected tracks?  Or, as an alternative, for all tracks in a group?&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/mXPk5.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="45854" PostHistoryTypeId="1" PostId="25861" RevisionGUID="9a928b7b-6043-4131-b9b4-f4415da9b093" CreationDate="2011-01-14T05:18:00.427" UserId="7398" UserDisplayName="BenV" Text="Add new playlist to selected tracks" ContentLicense="CC BY-SA 2.5" />
  <row Id="45855" PostHistoryTypeId="3" PostId="25861" RevisionGUID="9a928b7b-6043-4131-b9b4-f4415da9b093" CreationDate="2011-01-14T05:18:00.427" UserId="7398" UserDisplayName="BenV" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45856" PostHistoryTypeId="36" PostId="25863" RevisionGUID="5b4fc687-c760-45a3-aa5b-61d2ed7b9bd6" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/589/add-new-playlist-to-selected-tracks/643#643" />
  <row Id="45857" PostHistoryTypeId="36" PostId="25864" RevisionGUID="7b7f41d9-7ca6-42e9-82f6-e3363ed0ea1b" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8440/which-external-dac-to-use-with-igrados-headphones" />
  <row Id="45858" PostHistoryTypeId="2" PostId="25864" RevisionGUID="35ec96f5-c6c2-4b67-8a78-f1fd91f3f1f9" CreationDate="2013-07-19T10:05:06.150" UserDisplayName="Rohit" Text="I have [igrados](http://www.grado.co.uk/grado-earphones/grado-igrado-sport-headphones.htm) for listening to music from my ipod-touch/nexus 4, and I'm considering buying an external DAC to improve the sound quality if possible. &#xD;&#xA;&#xD;&#xA;Since igrados are very entry level and not very sensitive, I doubt using an external DAC will make any noticeable impact on the quality. But then I noticed that it uses the same sound drivers as [SR60s](http://www.grado.co.uk/grado-earphones/sr60i-headphones.htm) so there is a possibility of improvement. &#xD;&#xA;&#xD;&#xA;Can anybody suggest a decent portable DAC for use? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45859" PostHistoryTypeId="1" PostId="25864" RevisionGUID="35ec96f5-c6c2-4b67-8a78-f1fd91f3f1f9" CreationDate="2013-07-19T10:05:06.150" UserDisplayName="Rohit" Text="Which external DAC to use with igrados headphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45860" PostHistoryTypeId="3" PostId="25864" RevisionGUID="35ec96f5-c6c2-4b67-8a78-f1fd91f3f1f9" CreationDate="2013-07-19T10:05:06.150" UserDisplayName="Rohit" Text="&lt;hardware&gt;&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45861" PostHistoryTypeId="36" PostId="25865" RevisionGUID="71a23f9f-b626-43e1-b7a5-6295eb6c1600" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8832/converting-music-frequencies" />
  <row Id="45862" PostHistoryTypeId="2" PostId="25866" RevisionGUID="1927e74d-cf84-434d-a073-ef27409e6cd3" CreationDate="2013-08-27T18:04:32.010" UserId="7174" Text="You can pitch shift music, but it will produce unnatural artifacts in the audio will apply an equivalent shift to all frequencies within the audio.  It just takes the existing waveform and slows it down or speeds it up as necessary to alter the frequency.  There are many, many options for how to do it.  A simple search for &quot;pitch shift software&quot; and your file format and operating system should return numerous results that will allow for pitch shifting." ContentLicense="CC BY-SA 3.0" />
  <row Id="45863" PostHistoryTypeId="2" PostId="25865" RevisionGUID="a872c1b1-a4cc-4718-b65e-030da137294f" CreationDate="2013-08-27T16:54:38.827" UserDisplayName="user4610" Text="I heard about the benefits of 528Hz music, and I heard that is possible to change the music frequency.&#xD;&#xA;&#xD;&#xA;So, I'm interested in a way to change the normal frequency (A440Hz) to A444Hz (C528Hz) or A432Hz (C256Hz)." ContentLicense="CC BY-SA 3.0" />
  <row Id="45864" PostHistoryTypeId="1" PostId="25865" RevisionGUID="a872c1b1-a4cc-4718-b65e-030da137294f" CreationDate="2013-08-27T16:54:38.827" UserDisplayName="user4610" Text="Converting Music Frequencies" ContentLicense="CC BY-SA 3.0" />
  <row Id="45865" PostHistoryTypeId="3" PostId="25865" RevisionGUID="a872c1b1-a4cc-4718-b65e-030da137294f" CreationDate="2013-08-27T16:54:38.827" UserDisplayName="user4610" Text="&lt;music&gt;&lt;pitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45866" PostHistoryTypeId="36" PostId="25866" RevisionGUID="02490450-22a1-4ff3-8320-23023cafe236" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8832/converting-music-frequencies/8833#8833" />
  <row Id="45867" PostHistoryTypeId="36" PostId="25867" RevisionGUID="eb778bec-79fd-4947-aad0-018790a9e09f" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8832/converting-music-frequencies/8835#8835" />
  <row Id="45868" PostHistoryTypeId="2" PostId="25867" RevisionGUID="34a36592-d72a-472f-bce4-fc54973e6f03" CreationDate="2013-08-27T19:21:15.037" UserId="7188" Text="A number of keyboard synthesizers will allow you to shift the entire keyboard from standard concert pitch 440HZ tuning to plus and minus several steps, so that you can shift the whole system with one mighty button. You should be able to tune your synth so that c5=528 Hz. You could tune your guitar this way too, but you should use a calibrated source whether that is electronic or acoustic (tuning fork).&#xD;&#xA;&#xD;&#xA;Likewise, some synths have a feature that will allow you to do more than that including changing from a equal temperament system to other systems such as illustrated in the following chart from a Yamaha Synth owners manual:&#xD;&#xA;&#xD;&#xA;http://www.manualslib.com/manual/196958/Yamaha-S90-Es.html?page=147&#xD;&#xA;&#xD;&#xA;You might want to explore natural just intonation scales based on a C5 = 528 Hz, you will not be able to modulate as in Bach since this is no longer equal temperament but certainly mono-tonic music will be fine as long as it based on a tonic with an octive C5 that = 528 Hz.&#xD;&#xA;&#xD;&#xA;528 Music has a huge web presence linking healing, love, DNA, and many other things to pitch and non-equal temperament tuning. Here is an example:&#xD;&#xA;&#xD;&#xA;http://www.redicecreations.com/specialreports/2006/01jan/solfeggio.html&#xD;&#xA;&#xD;&#xA;If you want to play so called 528 Hz Music, I don't think a pitch shifter will help you as it will shift everything one way or another equally and since there is more here than just a C5=528 Hz, you need to change the tuning system from equal temperament to what the above article refers to as the &quot;Solfeggio Scale&quot;.&#xD;&#xA;&#xD;&#xA;UPDATE:&#xD;&#xA;An attempt to debunk or sort out health claims etc about 528 Hz music here:&#xD;&#xA;&#xD;&#xA;http://freeindependentsun.com/healing/the-solfeggio-scale-528hz-c-love-music-and-how-sound-effects-us/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45869" PostHistoryTypeId="36" PostId="25868" RevisionGUID="777ddce8-82b7-4dec-9922-a565a9571318" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/426/how-should-i-improve-my-singing" />
  <row Id="45870" PostHistoryTypeId="36" PostId="25869" RevisionGUID="37f6a74f-e262-4d0d-9ab7-c5f50ea79113" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/426/how-should-i-improve-my-singing/428#428" />
  <row Id="45871" PostHistoryTypeId="36" PostId="25870" RevisionGUID="ed03b931-0360-4baa-aba7-0c76047b4770" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/426/how-should-i-improve-my-singing/430#430" />
  <row Id="45872" PostHistoryTypeId="2" PostId="25869" RevisionGUID="e6dac8ef-3d2f-4693-9854-3670024177b2" CreationDate="2010-12-23T15:10:31.773" UserDisplayName="Ian C." Text="[Melodyne][1] is a bit of a miracle tool when it comes to fixing bad vocal tracks. The &quot;essential&quot; version is only ~$70 and can be used to stretch and smooth out warbly vocal lines in addition to the usual pitch correction stuff that auto-tuners do. The results are remarkably natural sounding even if you get a little heavy handed with it. It's only when you go to the extremes in pitch correction and stretching that you start to detect.&#xD;&#xA;&#xD;&#xA;I remember using v1.0 on a track I recorded for a friend's wedding. It was going to be the song for their first dance. Her sing was, how to put it delicately, amateur. With Melodyne I was able to make it sound *too* good. I ended up just using on long, held notes to keep them mostly straight and on pitch. It was scary how easy it was to make her sound practiced, perfect, without losing *her* voice on the track.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.celemony.com/cms/index.php?id=product_comparison&amp;L=0%25253FL%25253D0%25253FL%25253D0%25253FL%25253D0" ContentLicense="CC BY-SA 2.5" />
  <row Id="45873" PostHistoryTypeId="2" PostId="25870" RevisionGUID="c373d532-bbc0-418c-9fda-cc4b8311a153" CreationDate="2010-12-23T15:51:41.950" UserDisplayName="mitch_moop" Text="Being an amateur singer with limited range and tonal quality myself, I can recommend a few things for recording purposes:&#xD;&#xA;&#xD;&#xA; - Stand up for vocal takes.  Don't point your chin down towards the ground.  Have the mic so that your chin is straight or pointing ever so slightly upward.&#xD;&#xA;&#xD;&#xA; - Use a pop filter on the mic.&#xD;&#xA;&#xD;&#xA; - Assuming you're not trying to go for a whispered Elliott Smith style delivery, it sounds like some of your problems may be due to not pushing yourself enough.  Warbles, poor pitch, and general suckiness could be alleviated by singing with more force, to help you hit notes and hold them longer with better quality.  If I don't push it and really open up and sing, I sound like Tiny Tim when I go above Middle C, and not the one with the ukulele.  (*Note, I'm talking about really singing here, not pushing into a yelling style delivery*)&#xD;&#xA;&#xD;&#xA; - In the mix, experiment with compression to even out the vocal track, and reverb to help smooth out the bumps and help the vocal fit better in the mix." ContentLicense="CC BY-SA 2.5" />
  <row Id="45874" PostHistoryTypeId="2" PostId="25868" RevisionGUID="ff751ea8-6e27-4727-8b91-8c0c57355b27" CreationDate="2010-12-22T23:49:53.267" UserDisplayName="Nathan" Text="I've been singing and playing guitar and writing songs for years with neither fame nor many complaints, but when I started trying to record myself a couple of years ago I noticed how terrible my vocals are.  I am pretty happy with the quality of the *recording*, but my *singing* is full of warbles, cracked notes, poor pitch, bad enunciation, and general suckiness.  &#xD;&#xA;&#xD;&#xA;It's a little bit off-topic, but does anyone have any tips for improving my singing?  Should I just stick with the instrumentals or find someone else to sing?  Is there anything I can change with my setup to foster good vocal performance?  I noticed that standing while singing sometimes helps.&#xD;&#xA;&#xD;&#xA;I am not trying to be Pavarotti or anything... Bob Dylan would be fine.  I couldn't even sing &quot;Silent Night&quot; to my satisfaction ([Here's a sample; I'm the tenor](http://enteuxis.org/nathan/xmas2009/Silent%20Night.mp3)).  I would like to be as happy with the vocals as I am with the instrumental parts." ContentLicense="CC BY-SA 2.5" />
  <row Id="45875" PostHistoryTypeId="1" PostId="25868" RevisionGUID="ff751ea8-6e27-4727-8b91-8c0c57355b27" CreationDate="2010-12-22T23:49:53.267" UserDisplayName="Nathan" Text="How should I improve my singing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45876" PostHistoryTypeId="3" PostId="25868" RevisionGUID="ff751ea8-6e27-4727-8b91-8c0c57355b27" CreationDate="2010-12-22T23:49:53.267" UserDisplayName="Nathan" Text="&lt;home-studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45877" PostHistoryTypeId="36" PostId="25871" RevisionGUID="c8497271-aa88-4cb6-9304-7092f2459ac0" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7097/trs-ts-vs-rca-cable" />
  <row Id="45878" PostHistoryTypeId="2" PostId="25872" RevisionGUID="57c82148-d776-4bd6-9bf3-f6fda0d675ee" CreationDate="2013-02-10T04:09:06.223" UserId="7231" Text="1/4&quot; TS/TRS is a far superior interconnect than RCA/phono in every way, except size.&#xD;&#xA;&#xD;&#xA;If you have to choose an output for an instrument, it should be 1/4&quot; if at all possible.&#xD;&#xA;&#xD;&#xA;1/4&quot; TS cables are more robust, much more easily repairable, and are used throughout the professional audio industry.&#xD;&#xA;&#xD;&#xA;RCA cables were invented (by RCA) for use in consumer electronics, because they look less intimidating (I guess). Most mixers have a pair of in/outs to use with a tape deck for recording, but everything else is going to be 1/4&quot; (or XLR)." ContentLicense="CC BY-SA 3.0" />
  <row Id="45879" PostHistoryTypeId="2" PostId="25871" RevisionGUID="bfb8147c-bc08-43c4-a52e-e8ea125be3b4" CreationDate="2013-02-10T02:42:07.493" UserId="7286" UserDisplayName="Shimmy" Text="I have to purchase an instrument, that its output (mono) can be either 1/4 TS or RCA.  &#xD;&#xA;The device signal goes to a preamp (If I'll go for the RCA version, the cable will be RCA to TS).&#xD;&#xA;&#xD;&#xA;My question is:&#xD;&#xA;&#xD;&#xA; - Signal Quality: Are there any signal quality differences between these two types?&#xD;&#xA; - Durability and maintenance: Does any of them tend to be more durable than the other one?&#xD;&#xA;&#xD;&#xA;TS:  &#xD;&#xA;![enter image description here][1]&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;RCA:  &#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/476cA.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/N9Exf.jpg&#xD;&#xA;  [3]: http://i.stack.imgur.com/eY38C.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="45880" PostHistoryTypeId="1" PostId="25871" RevisionGUID="bfb8147c-bc08-43c4-a52e-e8ea125be3b4" CreationDate="2013-02-10T02:42:07.493" UserId="7286" UserDisplayName="Shimmy" Text="TRS/TS vs RCA cable?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45881" PostHistoryTypeId="3" PostId="25871" RevisionGUID="bfb8147c-bc08-43c4-a52e-e8ea125be3b4" CreationDate="2013-02-10T02:42:07.493" UserId="7286" UserDisplayName="Shimmy" Text="&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45882" PostHistoryTypeId="36" PostId="25872" RevisionGUID="6aa9e444-badd-4fce-a7d2-0d754bd828af" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7097/trs-ts-vs-rca-cable/7100#7100" />
  <row Id="45883" PostHistoryTypeId="36" PostId="25873" RevisionGUID="22f30f6e-62a2-44df-b08d-4b8be12ae3b3" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7097/trs-ts-vs-rca-cable/7112#7112" />
  <row Id="45884" PostHistoryTypeId="2" PostId="25873" RevisionGUID="44696967-2bc3-4a0d-9ac3-89ec97e90e0c" CreationDate="2013-02-11T18:12:36.387" UserId="7189" Text="1. Signal Quality - there shouldn't be any difference in signal quality between a good RCA cable and a good 1/4&quot; cable, as long as the connector and jack are making good electrical contact.&#xD;&#xA;&#xD;&#xA;2. The problem lies in making good electrical contact. As NReilingh states, RCA plugs were designed for consumer electronics and probably also minimal cost. Our modern 1/4&quot; cables are an evolution of the old [phone exchange patchboard plugs][1]. These plugs were designed to make good contact over many repeated plug/unplug cycles. The shield on RCA plugs tends to flare out after repeated use, eventually resulting in very poor connections.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Phone_connector_%28audio%29#Mono_and_stereo_compatibility" ContentLicense="CC BY-SA 3.0" />
  <row Id="45885" PostHistoryTypeId="36" PostId="25874" RevisionGUID="01526a3b-cd1e-44b3-a590-403cddfdb5b8" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9260/relative-compare-between-aac-and-mp3-optimal-convertion" />
  <row Id="45886" PostHistoryTypeId="2" PostId="25875" RevisionGUID="bcc13966-1ad4-42e0-8d6d-6ba3c765c971" CreationDate="2013-10-25T13:46:19.777" UserId="7174" Text="You will lose quality due to second generation loss.  Even if AAC and MP3 were identical in quality for a given bitrate, the transcode from one to the other would result in a loss because the information each discard is different.  It wouldn't surprise me if converting from a 96kbps AAC to even a 320kbps MP3 would be unsatisfactory quality due to the additional loss.&#xD;&#xA;&#xD;&#xA;It's really up to you to come up with a scheme that matches your quality and space needs.  If I had to do a conversion like that, I'd probably try using higher quality MP3s for the lower quality AACs to minimize additional loss and then have a it balance out in the middle and then use high quality for the high quality.&#xD;&#xA;&#xD;&#xA;Your best bet is really to do some trials and adjust for your personal tastes though.  Try taking a couple of files of each quality level, encode them in a few different quality levels and listen to them.  Decide what the trade off between quality and size that is ok to you is and setup your guide that way." ContentLicense="CC BY-SA 3.0" />
  <row Id="45887" PostHistoryTypeId="2" PostId="25874" RevisionGUID="5fe7866d-9c2d-4e33-8d1a-b88dfd1c5c59" CreationDate="2013-10-25T09:41:06.123" UserDisplayName="Noob Doob" Text="I want to convert a big number of AAC music files to mp3. The bitrates I will meet in AAC are in the range of 96,128,152,192 kbps. The available bitrates to mp3 from my converter are 96,128,152,192,256,320 kbps.  &#xD;&#xA;  &#xD;&#xA;&#xD;&#xA; Since I know that AAC generally provides better quality at the same bitrate when compared to mp3, I need to choose the suitable mp3 bitrate for each mp3 file I will be converting. I spontaneously decided to move the quality two &quot;steps&quot; up for each conversion, e.g. if the AAC is 96 kbps, I move to 152 kbps MP3, if its 192, I move to 320 kbps MP3.  &#xD;&#xA;  &#xD;&#xA; However I'm not sure if that's the optimal choice, since I would like to save as much space as possible by choosing the lowest mp3 bitrate necessary to avoid loss of quality.  &#xD;&#xA;  &#xD;&#xA;So, what I am asking for, is someone who has good knowledge of the relative technical aspects to recommend the best choice I should make about the bitrates while converting from AAC to MP3, ideally for each one of the choices listed above." ContentLicense="CC BY-SA 3.0" />
  <row Id="45888" PostHistoryTypeId="1" PostId="25874" RevisionGUID="5fe7866d-9c2d-4e33-8d1a-b88dfd1c5c59" CreationDate="2013-10-25T09:41:06.123" UserDisplayName="Noob Doob" Text="Relative compare between AAC and MP3 - Optimal convertion" ContentLicense="CC BY-SA 3.0" />
  <row Id="45889" PostHistoryTypeId="3" PostId="25874" RevisionGUID="5fe7866d-9c2d-4e33-8d1a-b88dfd1c5c59" CreationDate="2013-10-25T09:41:06.123" UserDisplayName="Noob Doob" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45890" PostHistoryTypeId="36" PostId="25875" RevisionGUID="9326524b-1ba6-423a-b9ef-b94e88a5df3f" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9260/relative-compare-between-aac-and-mp3-optimal-convertion/9263#9263" />
  <row Id="45891" PostHistoryTypeId="36" PostId="25876" RevisionGUID="c6aadcae-290a-4a8c-b25e-8fa74b9358a1" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/625/in-what-ways-does-mp4-improve-on-mp3" />
  <row Id="45892" PostHistoryTypeId="36" PostId="25877" RevisionGUID="1b3ef8dd-b7b2-403b-a555-1f8b43ceff65" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/625/in-what-ways-does-mp4-improve-on-mp3/626#626" />
  <row Id="45893" PostHistoryTypeId="36" PostId="25878" RevisionGUID="d46df950-124a-4e4a-82ff-46d1ea3a7740" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/625/in-what-ways-does-mp4-improve-on-mp3/647#647" />
  <row Id="45894" PostHistoryTypeId="2" PostId="25877" RevisionGUID="6764ffa0-6bdf-4691-a9ad-3ad99fbb05c8" CreationDate="2011-01-18T20:22:07.650" UserDisplayName="tobylane" Text="Mp3 is &quot;MPEG-1 or MPEG-2 Audio Layer 3 (or III)&quot; and MP4 is &quot;MPEG-4 Part 14&quot;. Mp3 is an audio compression and file type, mp4 is a file container capable of holding any video compression (e.g. h.264). So MP4 isn't an extension on MP3 like a bucket isn't an improvement on sand. Read the wikipedia articles for more information.&#xD;&#xA;&#xD;&#xA;[MP4][1]&#xD;&#xA;[MP3][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Mp4&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/MP3" ContentLicense="CC BY-SA 2.5" />
  <row Id="45895" PostHistoryTypeId="2" PostId="25878" RevisionGUID="b8829dac-5cd0-461e-9331-18ded7260e8b" CreationDate="2011-01-20T06:28:04.570" UserDisplayName="splicer" Text="What you're thinking of is [AAC][1], not MP4. MP4 is often used as the container for AAC-compressed audio.&#xD;&#xA;&#xD;&#xA;AAC uses many of the same principles as MP3, essentially throwing away frequencies that the listener probably won't miss. The main difference between the two is which frequencies each chooses to throw away. AAC was basically &quot;let's take what we learned from MP3 and design something even better&quot;.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Advanced_Audio_Coding" ContentLicense="CC BY-SA 2.5" />
  <row Id="45896" PostHistoryTypeId="2" PostId="25876" RevisionGUID="d62b82b5-2cb7-463b-9551-e05e50d5c175" CreationDate="2011-01-18T19:47:36.510" UserId="6865" Text="I know mp4 is supposed to have 'higher sound quality at a lower file size', but:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; - how does it do this? How does it compress more information into a smaller space?&#xD;&#xA; - How much of mp3 is still used? Was mp4 completely designed from the ground up, or does it improve on the mp3 format?&#xD;&#xA; - Are there any other improvements or differences over mp3?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45897" PostHistoryTypeId="1" PostId="25876" RevisionGUID="d62b82b5-2cb7-463b-9551-e05e50d5c175" CreationDate="2011-01-18T19:47:36.510" UserId="6865" Text="In what ways does mp4 improve on mp3?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45898" PostHistoryTypeId="3" PostId="25876" RevisionGUID="d62b82b5-2cb7-463b-9551-e05e50d5c175" CreationDate="2011-01-18T19:47:36.510" UserId="6865" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45899" PostHistoryTypeId="36" PostId="25879" RevisionGUID="da2faaf5-110f-4299-91bf-8cfd572238b6" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2712/minimal-real-world-computer-specs-for-reason-6-on-windows" />
  <row Id="45900" PostHistoryTypeId="2" PostId="25880" RevisionGUID="eebfdeea-b3fd-408f-b50b-89ec1879851e" CreationDate="2011-12-03T22:41:47.413" UserId="7214" Text="I don't know what your budget is, but I would recommend these specs:&#xD;&#xA;&#xD;&#xA; 1. You have a choice between the [i5 2500k][1] and the i7 2600k. The i5 is cheaper than the i7 and comes close in performance.&#xD;&#xA; 2. Between 8 and 16 GB of DDR3.&#xD;&#xA; 3. A dedicated sound card.&#xD;&#xA; 4. If you are building this computer yourself, a good motherboard is always a necessity. I would recommend checking out [this article about MOSFETS][2] and [this article][3] to make sure you have a motherboard that can handle your i5, but with a quad-core, it's not as big of deal as a 125W 6-core.&#xD;&#xA;&#xD;&#xA;Please note I have not used Logic much, but I would imagine a computer with these specs would run it fine.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.newegg.com/Product/Product.aspx?Item=N82E16819115072&#xD;&#xA;  [2]: http://www.overclock.net/t/943109/about-vrms-mosfets-motherboard-safety-with-125w-tdp-processors&#xD;&#xA;  [3]: http://www.overclock.net/t/946407/amd-motherboard-vrm-information-list" ContentLicense="CC BY-SA 3.0" />
  <row Id="45901" PostHistoryTypeId="2" PostId="25879" RevisionGUID="49ddd7da-cb74-486b-bff3-580f89414fb6" CreationDate="2011-11-28T22:31:01.867" UserId="17571" UserDisplayName="Zeronyne" Text="This is a question for PC users of Reason 6. &#xD;&#xA;&#xD;&#xA;I have a Mac-based production studio, and I run a multitude of applications on a high end Mac Pro. I've decided to create a second workstation based solely around Propellerheads Reason 6. I haven't built a Windows PC in so long that I'm having trouble discerning the real-world differences among i3, i5, and i7 processors in terms of track count and robustness. &#xD;&#xA;&#xD;&#xA;I know that this is a loaded question with only the hope of anecdotal answers, but that's exactly what I am looking for. What processor has worked for you where you feel comfortable? Let's say 32-48 tracks of audio with 40 instruments max." ContentLicense="CC BY-SA 3.0" />
  <row Id="45902" PostHistoryTypeId="1" PostId="25879" RevisionGUID="49ddd7da-cb74-486b-bff3-580f89414fb6" CreationDate="2011-11-28T22:31:01.867" UserId="17571" UserDisplayName="Zeronyne" Text="Minimal Real World Computer Specs for Reason 6 on Windows" ContentLicense="CC BY-SA 3.0" />
  <row Id="45903" PostHistoryTypeId="3" PostId="25879" RevisionGUID="49ddd7da-cb74-486b-bff3-580f89414fb6" CreationDate="2011-11-28T22:31:01.867" UserId="17571" UserDisplayName="Zeronyne" Text="&lt;hardware&gt;&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45904" PostHistoryTypeId="36" PostId="25880" RevisionGUID="0d792c62-6932-41fc-b307-a058452372f8" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2712/minimal-real-world-computer-specs-for-reason-6-on-windows/2736#2736" />
  <row Id="45905" PostHistoryTypeId="36" PostId="25881" RevisionGUID="6743446a-8998-4983-9e5b-efc09a9e7cbc" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2961/what-happens-when-you-save-a-mp3-with-a-higher-quaility" />
  <row Id="45906" PostHistoryTypeId="36" PostId="25882" RevisionGUID="f23e8611-07dc-4728-86e6-62680b8df4a6" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2961/what-happens-when-you-save-a-mp3-with-a-higher-quaility/2962#2962" />
  <row Id="45907" PostHistoryTypeId="2" PostId="25882" RevisionGUID="da525735-d122-4b22-9688-1550df949ba3" CreationDate="2012-01-04T07:18:07.650" UserDisplayName="Flimzy" Text="Practically any time you convert from one lossy format to another, you will lose quality.  How much quality, and what precise effect it will have depends on your encoder, and its algorithm.&#xD;&#xA;&#xD;&#xA;It also depends on what you mean by _quality_.  Are you referring to bitrate?  Or the encoder settings used to generate the file?&#xD;&#xA;&#xD;&#xA;It may be possible to transcode from one bitrate to another without losing any quality, but probably only if the algorithm used is specifically intended for this, and is able to notice the original compression patterns.  But even then, it's probably unlikely to have _no_ loss, and I doubt anyone has ever written an algorithm to do this--because by the time you go to that much effort, why bother transcoding at all?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45908" PostHistoryTypeId="2" PostId="25883" RevisionGUID="40c67f93-b366-45e4-b268-93279e291c1c" CreationDate="2012-01-04T18:00:14.660" UserId="7294" UserDisplayName="Warrior Bob" Text="When you import a lossy audio file into editing software, that file is decoded into an audio waveform. This is a &quot;lossless&quot; waveform in that it's not stored in a compressed format, but it's not the same as the original waveform that your lossy file was approximating. &#xD;&#xA;&#xD;&#xA;So there are already three concepts involved:&#xD;&#xA; &#xD;&#xA; 1. The **original waveform**, which is to say, the &quot;full-quality,&quot; unmodified waveform&#xD;&#xA; 2. The **lossy encoding of the original waveform** (not a waveform itself, but it decodes into one that's *almost* the same as the original)&#xD;&#xA; 3. The **waveform that gets decoded from (2)**&#xD;&#xA; &#xD;&#xA;When we talk about &quot;quality&quot; here, we mean &quot;how close we are to the original waveform.&quot; So waveform (1) is the highest-possible quality, and everything that approximates that involves some loss of quality.&#xD;&#xA;&#xD;&#xA;So.&#xD;&#xA;&#xD;&#xA;When you have your decoded waveform in your software, and you re-encode it to another lossy format, you incur a quality loss. Your new encoded file is an approximation of (3), no matter what quality you choose. But (3) was an approximation of (1). So no matter what you do, you're incurring a quality loss every time you re-encode with a lossy format, even if the amount of loss is marginally smaller (in other words, even if you choose a 'higher quality' lossy encoding than was chosen for the first encoding).&#xD;&#xA;&#xD;&#xA;You absolutely should be worried about this if you're going to be editing and re-editing your files. If you want to preserve quality between editings you should be using a lossless format like wav, aiff, or FLAC.&#xD;&#xA;&#xD;&#xA;You can test this by opening a lossy file and re-encoding it with something lossy, and then re-opening and re-encoding many times. It won't be long before the errors introduced are pretty obvious (though to be fair I've never run this test)" ContentLicense="CC BY-SA 3.0" />
  <row Id="45909" PostHistoryTypeId="2" PostId="25881" RevisionGUID="ceb3421e-9b61-4ccf-a072-d98f97ca65ba" CreationDate="2012-01-04T03:29:37.027" UserId="13024" UserDisplayName="Gabriel Fair" Text="When a lossy audio track (of unknown quality) is imported into software and and saved as a (possibly) higher quaility after editing, what happens?&#xD;&#xA;&#xD;&#xA;Obviously I know it can't have any more 'quality' than what it was imported with, but I was wondering if anything else happens to the track. For example does it cause unnecessary file blot? Or could it possibly make it lose quality? Or affect its quality if it is ever edited again?&#xD;&#xA;&#xD;&#xA;Is this anything I should worry about?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45910" PostHistoryTypeId="1" PostId="25881" RevisionGUID="ceb3421e-9b61-4ccf-a072-d98f97ca65ba" CreationDate="2012-01-04T03:29:37.027" UserId="13024" UserDisplayName="Gabriel Fair" Text="What happens when you save a MP3 with a higher quaility?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45911" PostHistoryTypeId="3" PostId="25881" RevisionGUID="ceb3421e-9b61-4ccf-a072-d98f97ca65ba" CreationDate="2012-01-04T03:29:37.027" UserId="13024" UserDisplayName="Gabriel Fair" Text="&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45912" PostHistoryTypeId="36" PostId="25883" RevisionGUID="03593c0c-0d1f-497d-b15c-61d26db8dacc" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2961/what-happens-when-you-save-a-mp3-with-a-higher-quaility/2964#2964" />
  <row Id="45913" PostHistoryTypeId="36" PostId="25884" RevisionGUID="c043048d-7869-41c7-8e18-454da892f543" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5733/finding-high-quality-samples-for-music-production" />
  <row Id="45914" PostHistoryTypeId="36" PostId="25885" RevisionGUID="4a71413e-6b19-473d-9ad5-772ff7619943" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5733/finding-high-quality-samples-for-music-production/5735#5735" />
  <row Id="45915" PostHistoryTypeId="36" PostId="25886" RevisionGUID="ac795f95-ded8-4efb-8727-4e48e83cfe87" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5733/finding-high-quality-samples-for-music-production/5738#5738" />
  <row Id="45916" PostHistoryTypeId="2" PostId="25885" RevisionGUID="2dd7401d-3977-40ff-8c76-75cbf387b9b9" CreationDate="2013-01-03T02:50:53.063" UserId="7189" Text="For electronic, hip hop and house, you should be able to get a lot done with samples of the classic drum machines. Things like the Roland [TR-808](http://www.vintagesynth.com/roland/808.php) and [TR-909](http://www.vintagesynth.com/roland/909.php), the Linn Drum, and other classics. If you google around, you can find plenty of free or donationware sets. There are also commercial sets that are very nice, though most good software samplers will come with a set of classic drum machine samples.&#xD;&#xA;&#xD;&#xA;Keep in mind that 'high quality' isn't always what you want. A lot of classic hip hop tracks were made with 12-bit samplers like the [SP-1200](http://www.vintagesynth.com/emu/sp1200.php) or the [MPC60](http://www.vintagesynth.com/akai/mpc60.php). Strategic use of bit reduction, compression, and EQ are critical to getting the right sound.&#xD;&#xA;&#xD;&#xA;As you get better at turning raw samples into great samples, try to use synths to create new sounds of your own, then process those.&#xD;&#xA;&#xD;&#xA;Donationware - be sure to kick these guys a few bucks if you use their sample sets:&#xD;&#xA;&#xD;&#xA;* [Some nice sample sets](http://www.analogindustries.com/free.php) from AnalogIndustries / [Audio Damage](http://www.audiodamage.com/).&#xD;&#xA;* Surachai has [some nice samples](http://trashaudio.com/surachai/) too (bottom of the page)." ContentLicense="CC BY-SA 3.0" />
  <row Id="45917" PostHistoryTypeId="2" PostId="25886" RevisionGUID="7fc112a1-e8bf-4c87-b570-36d5f6187a62" CreationDate="2013-01-03T10:25:50.920" UserId="7225" Text="If you want to make *modern* electronic music you will need something else that the good old TRs ;)&#xD;&#xA;&#xD;&#xA;You can try a slightly different approach than pure samples if that's an option. As a producer of European electronic music I found [ReFX's Nexus][1] helpful from time to time. This is a so-called ROMpler (software based), a mix between sampler and synth, which basically you get the best of both worlds.&#xD;&#xA;&#xD;&#xA;You will of course need a host/sequencer that support VST-plugins (ie. Cubase and many others). I would highly recommend you give it a try.&#xD;&#xA;&#xD;&#xA;Here is a preview of what it can do (dub-step/electro-house, there are other demos of other genres):&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=naRD_kjFg0g&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://refx.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="45918" PostHistoryTypeId="2" PostId="25884" RevisionGUID="16a14869-86d1-418c-8127-64e49969b147" CreationDate="2013-01-02T20:14:04.573" UserDisplayName="sytycs" Text="I'm having a hard time finding great, high-quality samples. Although I'm primarily looking for electronic, hip-hop, or house music samples your answer does not have to be genre specific.&#xD;&#xA;&#xD;&#xA;How does one go about finding useful samples?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45919" PostHistoryTypeId="1" PostId="25884" RevisionGUID="16a14869-86d1-418c-8127-64e49969b147" CreationDate="2013-01-02T20:14:04.573" UserDisplayName="sytycs" Text="Finding high quality samples for music production" ContentLicense="CC BY-SA 3.0" />
  <row Id="45920" PostHistoryTypeId="3" PostId="25884" RevisionGUID="16a14869-86d1-418c-8127-64e49969b147" CreationDate="2013-01-02T20:14:04.573" UserDisplayName="sytycs" Text="&lt;music&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45929" PostHistoryTypeId="36" PostId="25890" RevisionGUID="3f6ea919-e1f7-43fb-a9a6-13ca76c89923" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/153/how-do-i-create-rap-beats-like-the-la-beat-scene" />
  <row Id="45930" PostHistoryTypeId="36" PostId="25891" RevisionGUID="ba79f5b1-a90a-4d82-8472-1c3d3a838dbc" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/153/how-do-i-create-rap-beats-like-the-la-beat-scene/155#155" />
  <row Id="45931" PostHistoryTypeId="2" PostId="25891" RevisionGUID="4bf7e75a-4d5d-45ab-bd25-92fac74a1aff" CreationDate="2010-12-08T21:18:44.593" UserDisplayName="Donn Felker" Text="This answers if based upon my listening to &quot;Dance of the Pseudo Nymph&quot; just now. &#xD;&#xA;&#xD;&#xA;There are various instruments in the song, ranging from shakers to hi-hats to flat bass lines and much much more - even some ambient pad sounds it seems in the background. Some of the bass tones have some bit grunging happening (MPC users this term quite a bit) while some of the other sounds (hi hat,sharker) are very crisp. This seems to be &quot;their style&quot; or the new style of music that is coming from the LA Beat Scene. &#xD;&#xA;&#xD;&#xA;To best replicate it I would advise finding the BPM and laying down a simple hi-hat to match it. Then find another instrument, such as a bass line and then playing with it until you reach the desired outcome. Continue doing that, adjusting various sounds to figure out what filters/vsts/effects they use to create their sound. I know this is probably not the answer you want, but discovering what makes a musician/band sound the way they do is completely their own style. Its natural to them, which is why they're unique. &#xD;&#xA;&#xD;&#xA;A lot of people want to make beats like Dr. Dre, Just Blaze, or the Roots, but when it comes down to it, it's not that easy. You can practice to replicate it, and in during that process you'll learn what they did, and how they did it (and more). &#xD;&#xA;&#xD;&#xA;Will it take a long time? Yes. Will You learn a lot? Yes. Will it be fun? Yes. I advise you take the time on a rainy day and just have fun with it. I'm sure you'll find something close (while it may not be the same sample) and you'll learn what they did. &#xD;&#xA;&#xD;&#xA;Playing music is the best way to learn it. " ContentLicense="CC BY-SA 2.5" />
  <row Id="45932" PostHistoryTypeId="2" PostId="25890" RevisionGUID="4b67e22f-e896-4139-9313-f6cc9d24f9f2" CreationDate="2010-12-08T20:52:37.357" UserDisplayName="Nick H" Text="I have been recently following the LA Beat scene (Flying Lotus, Nosaj Thing, etc.) and am trying to figure out what methods they use to create their unique sound. What effects (reverb, sidechaining, compression, EQ settings, etc.) do you suggest I use?&#xD;&#xA;&#xD;&#xA;I'm sorry if this question is written awkwardly; I can try to clarify details if you ask them in the comments.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The two works I have in mind are:&#xD;&#xA;&#xD;&#xA;Cosmogramma - Flying Lotus&#xD;&#xA;&#xD;&#xA;Drift - Nosaj Thing" ContentLicense="CC BY-SA 2.5" />
  <row Id="45933" PostHistoryTypeId="1" PostId="25890" RevisionGUID="4b67e22f-e896-4139-9313-f6cc9d24f9f2" CreationDate="2010-12-08T20:52:37.357" UserDisplayName="Nick H" Text="How do i create rap beats like the LA Beat Scene?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45934" PostHistoryTypeId="3" PostId="25890" RevisionGUID="4b67e22f-e896-4139-9313-f6cc9d24f9f2" CreationDate="2010-12-08T20:52:37.357" UserDisplayName="Nick H" Text="&lt;ableton&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45935" PostHistoryTypeId="36" PostId="25892" RevisionGUID="d1fe4ae3-a22e-46c0-8e92-d4b07f368ef0" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5339/match-two-sounds-with-a-level-of-certainty" />
  <row Id="45936" PostHistoryTypeId="2" PostId="25893" RevisionGUID="662ca7ab-cb33-4705-af87-202cd3708cd8" CreationDate="2012-11-16T01:01:37.990" UserId="7016" Text="Shazam (and various others) do this for entire songs. [This paper][1] describes how:&#xD;&#xA;&#xD;&#xA;1. Beforehand, Shazam fingerprints a comprehensive catalog of music, and stores the fingerprints in a database.&#xD;&#xA;2. A user “tags” a song they hear, which fingerprints a 10 second sample of audio.&#xD;&#xA;3. The Shazam app uploads the fingerprint to Shazam’s service, which runs a search for a matching fingerprint in their database.&#xD;&#xA;4. If a match is found, the song info is returned to the user, otherwise an error is returned.&#xD;&#xA;&#xD;&#xA;I would imagine for short sounds you would do similar but sample much more frequently.&#xD;&#xA;&#xD;&#xA;  [1]: http://laplacian.wordpress.com/2009/01/10/how-shazam-works/" ContentLicense="CC BY-SA 3.0" />
  <row Id="45937" PostHistoryTypeId="2" PostId="25892" RevisionGUID="93877f17-bc5b-4aa5-a05d-194bb04c1e09" CreationDate="2012-11-15T18:48:34.277" UserId="7255" UserDisplayName="rraallvv" Text="For instance I would like to tell with what percentage of accuracy a recorded sound match those given by a preexistent library of sounds&#xD;&#xA;&#xD;&#xA;Plus, is there any tool or algorith that could be used?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45938" PostHistoryTypeId="1" PostId="25892" RevisionGUID="93877f17-bc5b-4aa5-a05d-194bb04c1e09" CreationDate="2012-11-15T18:48:34.277" UserId="7255" UserDisplayName="rraallvv" Text="Match two sounds with a level of certainty" ContentLicense="CC BY-SA 3.0" />
  <row Id="45939" PostHistoryTypeId="3" PostId="25892" RevisionGUID="93877f17-bc5b-4aa5-a05d-194bb04c1e09" CreationDate="2012-11-15T18:48:34.277" UserId="7255" UserDisplayName="rraallvv" Text="&lt;pro-tools&gt;&lt;sound-effects&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45940" PostHistoryTypeId="36" PostId="25893" RevisionGUID="a3caf2cf-aa7e-4b25-a564-581a1698b472" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5339/match-two-sounds-with-a-level-of-certainty/5344#5344" />
  <row Id="45941" PostHistoryTypeId="36" PostId="25894" RevisionGUID="54fc9552-de44-4ac6-85ad-4be4effcd4bc" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2457/which-reference-monitors-should-i-buy-for-my-home-studio" />
  <row Id="45942" PostHistoryTypeId="2" PostId="25894" RevisionGUID="da07b289-02c8-4e0d-89a4-358da250f5cd" CreationDate="2011-10-11T04:01:05.187" UserId="7273" UserDisplayName="smartcaveman" Text="I am in the market for reference monitors for my home studio.  I will be mixing both instrumentals and vocals.  I am not concerned about using these speakers in any live scenarios.&#xD;&#xA;&#xD;&#xA;I am primarily considering three options that were recommended to me:&#xD;&#xA;&#xD;&#xA;- [M-Audio Studiophile BX8a](http://www.amazon.com/M-Audio-Studiophile-130-watt-Bi-amplified-Reference/dp/B0014ID03Q/ref=sr_1_1?ie=UTF8&amp;qid=1318233317&amp;sr=8-1)&#xD;&#xA;&#xD;&#xA;- [Yamaha HS80M](http://www.amazon.com/Yamaha-HS80M-Studio-Reference-Monitor/dp/B000QPHCB4/ref=sr_1_1?ie=UTF8&amp;qid=1318233335&amp;sr=8-1)&#xD;&#xA;&#xD;&#xA;- [KRK RP8G2 Rokit G2](http://www.amazon.com/KRK-RP8G2-Powered-Studio-Monitor/dp/B001A6IGDG/ref=sr_1_8?ie=UTF8&amp;qid=1318233151&amp;sr=8-8)&#xD;&#xA;&#xD;&#xA;I heard the smaller KRK RP6G2 in Best Buy and I thought the quality sounded pretty good.  The other two were recommended by a musician I know who spends a lot of time designing speakers.  **I am open to other options, but I need to know the reason why these or other options are going to be the best choice.**&#xD;&#xA;&#xD;&#xA;I would like to spend under $1000, and get the best possible value for my money.  I particularly appreciate any answers that directly compare these monitors.  Also, if you recommend the more expensive option, it would be helpful to explain why it is a superior choice.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="45943" PostHistoryTypeId="1" PostId="25894" RevisionGUID="da07b289-02c8-4e0d-89a4-358da250f5cd" CreationDate="2011-10-11T04:01:05.187" UserId="7273" UserDisplayName="smartcaveman" Text="Which reference monitors should I buy for my home studio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45944" PostHistoryTypeId="3" PostId="25894" RevisionGUID="da07b289-02c8-4e0d-89a4-358da250f5cd" CreationDate="2011-10-11T04:01:05.187" UserId="7273" UserDisplayName="smartcaveman" Text="&lt;mixing&gt;&lt;home-studio&gt;&lt;speakers&gt;&lt;monitors&gt;&lt;studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45945" PostHistoryTypeId="36" PostId="25895" RevisionGUID="c6e4ce18-cfe4-4fbd-95ad-aaab7cc6e5c8" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8977/inches-vs-watts-on-speakers-what-does-it-mean-what-is-the-difference" />
  <row Id="45946" PostHistoryTypeId="36" PostId="25896" RevisionGUID="6f56b85b-3b15-47b8-8a3a-9bbc1bfb13ba" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8977/inches-vs-watts-on-speakers-what-does-it-mean-what-is-the-difference/8978#8978" />
  <row Id="45947" PostHistoryTypeId="2" PostId="25896" RevisionGUID="dd8ebd90-49fc-470f-b9c5-02b0ee9542f6" CreationDate="2013-09-15T10:27:02.880" UserId="7405" UserDisplayName="Andy aka" Text="The dimension of inches more than likely relates to the smallest dimension of the speaker enclosure and basically if you want more power, you need something that is bigger. Here is a section from a PDF document for the XSP_A series you linked to: -&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Other manufacturers may also refer to the diameter of the bass driver.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/NDdNe.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="45948" PostHistoryTypeId="2" PostId="25897" RevisionGUID="a2130d0e-9127-4e1f-b017-ff7cf0ccbeb4" CreationDate="2013-09-15T11:24:20.770" UserId="7016" Text="When you have a measurement of inches referring to a speaker it is the diameter of that speaker, so a 12&quot; 400W speaker is physically 12&quot; wide and is rated at a maximum of 400 Watts. &#xD;&#xA;&#xD;&#xA;The wattage is so you know how much power you can push through the speaker without damaging it. &#xD;&#xA;&#xD;&#xA;- More Watts = more volume&#xD;&#xA;&#xD;&#xA;The physical size is very closely related to the sound, for example to get a good bass response you need to be able to physically move a lot of air - so the only way to do this is with a large speaker. If you want a high frequency response you need a small speaker cone that can be moved very fast. These two differing requirements are the reason you have bass, midrange and treble speakers in any hifi system, and you split the frequency ranges to the appropriate speakers.&#xD;&#xA;&#xD;&#xA;- More inches = better bass response (potentially)" ContentLicense="CC BY-SA 3.0" />
  <row Id="45949" PostHistoryTypeId="2" PostId="25895" RevisionGUID="4facd46c-38eb-4afc-a267-183ac4a842e5" CreationDate="2013-09-15T09:35:12.383" UserId="7487" UserDisplayName="Stoan" Text="You find speakers that read... 8&quot; 200W , 10&quot; 200W, 12&quot; 200W. What is the difference in these speakers, same manufacturer. Or you find Subs that read, 15&quot; 500W, 18&quot; 500W,15&quot; 1400W, 18&quot; 300W,18&quot; 800W. I'm confused. I don't have much experience with sound/audio.&#xD;&#xA;&#xD;&#xA;I was looking at a powered speakers catalog here, http://www.soundz.co.za/c792-1/Powered-Speakers.aspx&#xD;&#xA;&#xD;&#xA;What do the inches mean in terms of sound? What do the watts mean in terms of sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45950" PostHistoryTypeId="1" PostId="25895" RevisionGUID="4facd46c-38eb-4afc-a267-183ac4a842e5" CreationDate="2013-09-15T09:35:12.383" UserId="7487" UserDisplayName="Stoan" Text="Inches vs Watts on speakers, what does it mean? What is the difference?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45951" PostHistoryTypeId="3" PostId="25895" RevisionGUID="4facd46c-38eb-4afc-a267-183ac4a842e5" CreationDate="2013-09-15T09:35:12.383" UserId="7487" UserDisplayName="Stoan" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45952" PostHistoryTypeId="36" PostId="25897" RevisionGUID="6905a1f4-41c8-482f-bc37-4d357828d826" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8977/inches-vs-watts-on-speakers-what-does-it-mean-what-is-the-difference/8979#8979" />
  <row Id="45953" PostHistoryTypeId="36" PostId="25898" RevisionGUID="31ccbc94-79cc-4571-a930-413007853206" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8977/inches-vs-watts-on-speakers-what-does-it-mean-what-is-the-difference/8981#8981" />
  <row Id="45954" PostHistoryTypeId="36" PostId="25899" RevisionGUID="d9308e8e-e10c-4e66-b8fd-d46d473b5d7b" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8977/inches-vs-watts-on-speakers-what-does-it-mean-what-is-the-difference/8982#8982" />
  <row Id="45955" PostHistoryTypeId="2" PostId="25898" RevisionGUID="84b920c0-dbc8-4752-8627-5e7dbed3b949" CreationDate="2013-09-16T06:15:45.630" UserId="7200" Text="As you still seem to wonder about differences in sound between different speaker sizes:&#xD;&#xA;&#xD;&#xA;The speaker diameter is _not_ directly related to how much bass you can get. Most important for that is the _cabinet_ size: without a cabinet, for any speaker most of the air will just &quot;flow around&quot; from front to back vice versa, if given enough time; so some distance away you basically get only high-frequency ripples. It's the cabinet's job to prevent this, which roughly speaking requires that any free-air path from from to back of the speaker is longer than the wavelength of the sound you'd like to hear. In principle, you can then achieve a fine bass response by mounting an 8&quot; speaker in a wardrobe-sized cabinet.&#xD;&#xA;&#xD;&#xA;The reason this isn't usually done is that it's much harder to build a small speaker with high _wattage_ than a larger one (for similar reasons to why it is easier to build a truck engine of a given power than it is to build a race car engine with the same nominal power); the numbers you've quoted reflect this. And since music has most of its energy in the bass range, you need a lot of power there, so you'd need a lot of small speakers. A large cabinet will fit a lot of small speakers, only, these together will generally be more expensive and heavier than a single large one.&#xD;&#xA;&#xD;&#xA;Still, this route is actually taken for some applications; for instance, most electric bass players prefer their [&quot;refrigerators&quot;](http://en.wikipedia.org/wiki/File:Ampeg_SVT_Classic.jpg) with eight 10&quot; speakers, rather than two 18&quot; ones of the same power. And the reason is that small speakers themselves generally have a much more precise response: a large speaker takes some time to even get moving. It's just not able to produce high-frequency vibrations, too much mass. And the larger size means the cone is more flexible to vibrate in eigenresonances (much like a drum head), which affects the overall sound.&#xD;&#xA;&#xD;&#xA;PA and HiFi systems solve this problem, as already mentioned, by splitting the signal in different frequency ranges. In the deep bass range, an 18&quot; will generally work fine and cheaply provide the large power you need down there. Above somehing like 100 Hz, you switch over to perhaps 12&quot; speakers with lower power, but more even response to get a clean mid range. And above 5 kHz again you switch to piezo drivers with comparedly tiny power, but very low mass and thus response easily reaching the audible limit.&#xD;&#xA;&#xD;&#xA;In addition, you will nowadays typically use equilisation to make up for any remaining response unevenness." ContentLicense="CC BY-SA 3.0" />
  <row Id="45956" PostHistoryTypeId="2" PostId="25899" RevisionGUID="3c213963-26a5-4043-aafe-8aed2b825793" CreationDate="2013-09-16T14:05:13.087" UserId="7194" Text="#Suggestive Specifications&#xD;&#xA;&#xD;&#xA;Both the inches and the Watts are *suggestive* specifications of the following:&#xD;&#xA;&#xD;&#xA; - **Inches** - The approximate diameter of the bass driver cone (if there is more than one driver, like in multi-way design). It is an approximation since some designs spell 8'' for what is really 7.8''. This spec vaguely correlates to the **lowest frequency** the speaker can produce.&#xD;&#xA; - **Watts** - The power rating of a speaker/amp is a measure the safety power threshold of the device. Roughly correlates to the **maximum output level** it can produce.&#xD;&#xA;&#xD;&#xA;The reason these are suggestive, is that they don't really tell us the important figures - they just suggest what these may be.&#xD;&#xA;&#xD;&#xA;#The Important Figures&#xD;&#xA;&#xD;&#xA;In the spec sheets of a speaker you may find what you are really looking for, although these specifications can be manipulated by manufacturers to their advantage. This is either by means of the system used for measurements, or by the way information is presented. The specifications are:&#xD;&#xA;&#xD;&#xA;##Frequency Response&#xD;&#xA;&#xD;&#xA;The frequency response shows the range of frequencies the speaker can produced. This figure is always a measure that involves some deviation from a mean within a particular window of error (whether the error is presented or not). Often we say that a speaker has &quot;flat&quot; frequency response within a specific range, where &quot;flat&quot; means a certain error is allowed (±3dB, for instance).&#xD;&#xA;&#xD;&#xA;For example, a speaker may show a spec like this:&#xD;&#xA;&#xD;&#xA;50Hz-24kHz, ±3dB&#xD;&#xA;&#xD;&#xA;This means that across the quoted frequency range the level of all frequencies are never 3dB more or less a chosen level (alternatively all frequencies are within a 6dB level window).&#xD;&#xA;&#xD;&#xA;The speaker will still produce frequencies below (and above) the quoted range, but these will gradually decrease in level and will be lower (very rarely higher) by 3dB from frequencies in the quoted range.&#xD;&#xA;&#xD;&#xA;The way manufacturers cheat is that a speaker with:&#xD;&#xA;&#xD;&#xA;50Hz-24kHz, ±3dB&#xD;&#xA;&#xD;&#xA;response, is given as:&#xD;&#xA;&#xD;&#xA;30Hz-25Hz, ±10dB&#xD;&#xA;&#xD;&#xA;The specification is still valid, but 30Hz may be produced at a level 10 dB below, say 80Hz.&#xD;&#xA;&#xD;&#xA;The error margin is typically:&#xD;&#xA;&#xD;&#xA; - **±3dB** - High end and respectable manufacturers. &#xD;&#xA; - **±5dB** - Acceptable error margin.&#xD;&#xA; - **±10dB** - The manufacturer is likely to be cheating. Beefing their spec with a higher error margin.&#xD;&#xA; - **No error margin** - The manufacturer is likely to be cheating.&#xD;&#xA;&#xD;&#xA;##Maximum Sound Pressure Level (Max SPL)&#xD;&#xA;&#xD;&#xA;Given in dBSPL, typically at 1 meter away from the speaker, this is an indicator of how loud the speaker can get.&#xD;&#xA;&#xD;&#xA;For studio speakers, 100-120 dBSPL is normal. PA speakers are often louder than this.&#xD;&#xA;&#xD;&#xA;Again, manufacturers can cheat here. For instance a peak measurement will be higher than an RMS one; it is common practice to show Max SPL in peak, but RMS correlates to our loudness perception more than peak. Also, manufacturers may perform tests using a half-space setup (speaker close to one wall), which will increase the figure by approximately 3dB; so unless the full test specifications are mentioned, it's hard to tell the exact performance or to compare it.&#xD;&#xA;&#xD;&#xA;#The Science&#xD;&#xA;&#xD;&#xA;What is crucial to mention is that all loudspeakers are essentially a calculated compromise between various factors like:&#xD;&#xA;&#xD;&#xA; - **Output Power**&#xD;&#xA; - **Spectral Linearity** &#xD;&#xA; - **Efficiency** (how much input power translates into output power, with the rest converted into heat - either electronically or acoustically).&#xD;&#xA; - **Accuracy** - For instance, do bass frequencies at the output linger much or little longer than the bass frequencies at the input.&#xD;&#xA;&#xD;&#xA;##Watts&#xD;&#xA;&#xD;&#xA;In simple terms, this is a measurement of how much work the speaker can perform - the more work, the more air mass it can displace and thus the louder the output will be.&#xD;&#xA;&#xD;&#xA;But there are many other factors that will affect this. The class of the amplifier design affects the efficiency of the amplifier, thus with some designs you can get higher output levels with less input power.&#xD;&#xA;&#xD;&#xA;##Cone Size (Diameter)&#xD;&#xA;&#xD;&#xA;To reproduce a particular frequency, all that a cone needs to do is oscillate at that frequency, regardless of its size.&#xD;&#xA;&#xD;&#xA;Reproducing loud low frequency sounds requires large displacements of air mass. There are two principals ways to achieve this:&#xD;&#xA;&#xD;&#xA; - **High Excursion** - high amount of cone displacement (from its resting position).&#xD;&#xA; - **Bigger Cone Size** - bigger cones will move more air.&#xD;&#xA;&#xD;&#xA;There are many tradeoffs between the two. A small cone with high excursion will require less power to move, but it will also exhibit high distortion level and low efficiency (due to reduced acoustic impedance) compared to a bigger cone with lower excursion.&#xD;&#xA;&#xD;&#xA;It is important to notice that the task is to produce &quot;Loud Low Frequencies&quot; - so the cone size also relates to output levels. That's why iMax theatres employ momentous subs, whereas the dubbing theatres in which films are mixed employ smaller subs.&#xD;&#xA;&#xD;&#xA;But this is an over-simplified explanation. Practically, each manufacturer tweaks these two variables together with many others, like magnet size, cone depth and the cabinet (enclosure) design itself. See [this link](http://barefacedbass.com/technical-information/speaker-size-frequency-response.htm) for more.&#xD;&#xA;&#xD;&#xA;But you can say that bigger cones allow a more efficient low-frequency reproduction." ContentLicense="CC BY-SA 3.0" />
  <row Id="45957" PostHistoryTypeId="36" PostId="25900" RevisionGUID="26dc1273-cf0a-44f2-92b2-a34a3f912a90" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/831/what-is-the-best-volume-to-work-with-studio-monitors" />
  <row Id="45958" PostHistoryTypeId="2" PostId="25901" RevisionGUID="2cfd5e49-296e-4335-857a-4cddf87fd409" CreationDate="2011-02-17T05:33:33.707" UserDisplayName="Kim Burgaard" Text="I am a lot more dynamic with the control room volume fader. Unless you're producing music for a very specific audience, then you need to make sure the mix is properly balanced at both high and low levels and everything in between.&#xD;&#xA;&#xD;&#xA;One of many great lessons I picked on in mixing workshops years ago, was to frequently turn down the music to the barely audible. It is sometimes much easier to pick out channels that, perhaps unintentionally, sit at a much louder level than the other channels in the mix.&#xD;&#xA;&#xD;&#xA;I also find that music tends to sound better or create a deeper emotional impact when played loud. So the mix and production I'm rocking out to while dreaming of Grammy awards at lawsuit-inducing levels might not actually sound so hot when heard at moderate levels.&#xD;&#xA;&#xD;&#xA;Finally, I develop fatigue much faster when I mix at loud levels. For people with normal hearing, the ear and brain automatically adjusts to the general sound level in the environment over an incredible audible range. So while you might be able to pick out certain details in the music initially after cranking up the volume, your ears and brain will quickly adapt and you might not notice to begin with, or even worse, you'll find that you reach for the volume knob again and again to compensate." ContentLicense="CC BY-SA 2.5" />
  <row Id="45959" PostHistoryTypeId="2" PostId="25900" RevisionGUID="395cde8a-cb1c-4fcf-aa8a-99e85a57e4e1" CreationDate="2011-02-17T04:34:13.330" UserId="9447" UserDisplayName="Fortes" Text="What is the best volume to work with studio monitors for mastering and mixing tracks?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I own a pair of M Audio Bx8 Studio monitors and I always produce with the volume knob at the middle.... so here it goes...&#xD;&#xA;&#xD;&#xA;Is it better to have a lower volume in the monitors and try to boost the volume for the track to sound at the same level than other tracks sound?  &#xD;&#xA;&#xD;&#xA; ***or*** &#xD;&#xA;&#xD;&#xA;Is it better to have a greater volume in the monitors and get more detail while producing or mastering?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What volume do you recommend I use in my studio setup?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45960" PostHistoryTypeId="1" PostId="25900" RevisionGUID="395cde8a-cb1c-4fcf-aa8a-99e85a57e4e1" CreationDate="2011-02-17T04:34:13.330" UserId="9447" UserDisplayName="Fortes" Text="What is the best volume to work with studio monitors?" ContentLicense="CC BY-SA 2.5" />
  <row Id="45961" PostHistoryTypeId="3" PostId="25900" RevisionGUID="395cde8a-cb1c-4fcf-aa8a-99e85a57e4e1" CreationDate="2011-02-17T04:34:13.330" UserId="9447" UserDisplayName="Fortes" Text="&lt;mixing&gt;&lt;home-studio&gt;&lt;mastering&gt;&lt;monitors&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="45962" PostHistoryTypeId="36" PostId="25901" RevisionGUID="0809400d-4a4e-4260-a12b-0b7b33164766" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/831/what-is-the-best-volume-to-work-with-studio-monitors/832#832" />
  <row Id="45963" PostHistoryTypeId="36" PostId="25902" RevisionGUID="be092a82-ff89-416b-a853-dd8bef0ad104" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/831/what-is-the-best-volume-to-work-with-studio-monitors/833#833" />
  <row Id="45964" PostHistoryTypeId="36" PostId="25903" RevisionGUID="a6cea1a9-8633-48c3-8bac-bc09d7a23b7f" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/831/what-is-the-best-volume-to-work-with-studio-monitors/840#840" />
  <row Id="45965" PostHistoryTypeId="36" PostId="25904" RevisionGUID="8ccb3661-486c-4455-9368-d138654c6a90" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/831/what-is-the-best-volume-to-work-with-studio-monitors/862#862" />
  <row Id="45966" PostHistoryTypeId="2" PostId="25902" RevisionGUID="17db48ea-af87-48e0-aa75-16c13813dd7b" CreationDate="2011-02-17T07:53:21.947" UserDisplayName="jlebre" Text="Whilst being true that you shouldn't limit yourself to one or another level, there is still a level you should be able to come back to. You should have a read through Equal loudness countour curves, or phons.&#xD;&#xA;&#xD;&#xA;This are some curves developed some time ago (became known as Fletcher-Munson) that shows how messed up our hearing really is. It shows that our perception of high an low drastically change depending on levels. The higher you go, the flatter this is.&#xD;&#xA;&#xD;&#xA;Now, since OSHA was so kind as to publish tables of how much we are damaging our ears and for how long we should expose them to certain levels, it's impractical to use a nice, flat curve of ie. 110dB, but I tend to go for something like 90dB.&#xD;&#xA;&#xD;&#xA;If you are lucky enough to mix with something with a nice control room section (most modern NEVEs and SSL, most euphonix, D-Control/Command etc.) they will allow, for the same reason, for you to set a calibration level. It is good to reference at higher and lower levels now and then but you should have a common point to return to that you will be familiar with and confortable with. When I'm mixing in desks without this, I often take my lovely £20 SPL meter to have as a quick reference for the same exact reasons.&#xD;&#xA;&#xD;&#xA;90dB SPL A-weighted seems to be a good point to stay at imo. " ContentLicense="CC BY-SA 2.5" />
  <row Id="45967" PostHistoryTypeId="2" PostId="25903" RevisionGUID="9c915f61-4b5f-416b-9761-82f502ec3638" CreationDate="2011-02-17T15:59:51.347" UserId="319" Text="Listening to anything above 85db for longer than a few hours will cause hearing damage.  I can discern levels better when the volume is lower - and I need all the help I can get." ContentLicense="CC BY-SA 2.5" />
  <row Id="45968" PostHistoryTypeId="2" PostId="25904" RevisionGUID="1fba9883-d774-4303-9435-239b1c4edb91" CreationDate="2011-02-20T16:11:28.727" UserDisplayName="phasetransitions" Text="Several useful answers here.&#xD;&#xA;&#xD;&#xA;For a perspective on how the broadcast world has attempted to deal with this, I suggest looking at the following PDF from the ATSC [here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.aice.org/pdf/ATSC_a_85-2009.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="45969" PostHistoryTypeId="36" PostId="25905" RevisionGUID="991b1ce1-bd4d-448f-8c3c-a425f9c1e873" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2322/simple-stereo-mixer-for-multiple-computers" />
  <row Id="45970" PostHistoryTypeId="36" PostId="25906" RevisionGUID="ecceb313-cfbd-4935-9511-96f706c9abde" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2322/simple-stereo-mixer-for-multiple-computers/2325#2325" />
  <row Id="45971" PostHistoryTypeId="2" PostId="25906" RevisionGUID="fc269c89-b436-4f46-9033-ab58a6a9152a" CreationDate="2011-09-15T16:22:03.197" UserId="7294" UserDisplayName="Warrior Bob" Text="Mixers just mix audio sources. Any mixer with enough line-level stereo channels and the proper kind of inputs (1/4&quot; or XLR or RCA or whatever - probably 1/4&quot; for computers) ought to do the trick. The one you linked should work fine.&#xD;&#xA;&#xD;&#xA;Depending on how you have your home system set up, some kind of home theater receiver may also work (maybe you already have one that sums signals?), but that's beyond both the scope of this site and my own knowledge." ContentLicense="CC BY-SA 3.0" />
  <row Id="45972" PostHistoryTypeId="2" PostId="25905" RevisionGUID="178e908b-8c8b-44b4-9531-170f95707072" CreationDate="2011-09-14T21:20:17.937" UserDisplayName="Neil Barnwell" Text="I'm not planning on doing any actual recording or anything, but I have two computers, an iPod and a DAB radio that all output stereo sound, and I'd like to pipe them all into my Creative 5.1 PC speaker system. I can make do if I only get basic stereo (i.e. front L/R).&#xD;&#xA;&#xD;&#xA;What kind of mixer do I want? Obviously I'm not looking to spend a lot. I quite think the [ART Splitmix4][1] will do what I want (variable for a few inputs mixing to two outputs - front and rear) but I'm not totally sure. Is there any specific type of mixer I should be searching for?&#xD;&#xA;&#xD;&#xA;Many thanks in advance.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.artproaudio.com/products.asp?type=90&amp;cat=13&amp;id=155" ContentLicense="CC BY-SA 3.0" />
  <row Id="45973" PostHistoryTypeId="1" PostId="25905" RevisionGUID="178e908b-8c8b-44b4-9531-170f95707072" CreationDate="2011-09-14T21:20:17.937" UserDisplayName="Neil Barnwell" Text="Simple stereo mixer for multiple computers" ContentLicense="CC BY-SA 3.0" />
  <row Id="45974" PostHistoryTypeId="3" PostId="25905" RevisionGUID="178e908b-8c8b-44b4-9531-170f95707072" CreationDate="2011-09-14T21:20:17.937" UserDisplayName="Neil Barnwell" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45975" PostHistoryTypeId="36" PostId="25907" RevisionGUID="8c3076f8-faee-41fd-b837-a0e5dc8c3a14" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9446/how-to-remove-unwanted-sounds-from-silence" />
  <row Id="45976" PostHistoryTypeId="36" PostId="25908" RevisionGUID="f6d4f840-4deb-4992-b25c-15614ef43be7" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9446/how-to-remove-unwanted-sounds-from-silence/9449#9449" />
  <row Id="45977" PostHistoryTypeId="36" PostId="25909" RevisionGUID="617eedcc-3f22-4c24-bd16-29402f81bbb1" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9446/how-to-remove-unwanted-sounds-from-silence/9469#9469" />
  <row Id="45978" PostHistoryTypeId="2" PostId="25908" RevisionGUID="88c95082-3dd8-4973-bf0c-a1ff6c32e25d" CreationDate="2013-11-19T16:32:19.927" UserId="7213" Text="Your instinct is correct - a reasonable way to deal with this using Audacity would be to copy the section to a second (stereo) track, shifted in position so that an earlier piece aligns with the giggle. &#xD;&#xA;&#xD;&#xA;Then use the 'envelope' tool to shape the volume profile of each track. Since the replacement section was earlier in time, lower its volume enough to match the track it's covering, fading the offending track down as you fade the replacement up, and vice versa." ContentLicense="CC BY-SA 3.0" />
  <row Id="45979" PostHistoryTypeId="2" PostId="25909" RevisionGUID="a2e63ef4-150a-4756-abbe-4f8245a09644" CreationDate="2013-11-22T12:28:38.780" UserId="7261" UserDisplayName="Dan Hulme" Text="The technique I used in the end is quite close to Jim's, but I thought I should make a new answer to set out the steps one-by-one. There are three important parts to the process, to avoid having to line things up by eye or ear, and to make the paste seamless. They are:&#xD;&#xA;&#xD;&#xA;* Using the **Cross Fade In/Out** effects to give a constant-loudness fade&#xD;&#xA;* Using **Region Save/Restore** to select the same time period in each track&#xD;&#xA;* Using **Move Cursor** → **to Selection Start/End** to select a period exactly adjoining the previous selection&#xD;&#xA;&#xD;&#xA;The process is as follows:&#xD;&#xA;&#xD;&#xA;1. Copy a nearby, clean 'silence'. In my case, I made sure to include the peak of the shock chord too, to make it easier to line up.&#xD;&#xA;&#xD;&#xA;1. **Tracks** → **Add New** → **Stereo track**.&#xD;&#xA;&#xD;&#xA;1. Make sure the new track has the right sample format and rate, and then paste into it, with the cursor about the right point.&#xD;&#xA;&#xD;&#xA;1. Drag the pasted track so that it's under the noisy 'silence', and line up the peaks.&#xD;&#xA;&#xD;&#xA;1. In my case, the offending sound wasn't loud enough to show up in linear view, so at this point I switched both tracks to **Waveform (dB)** (in the little menu on the left). This view makes quiet signals more visible.&#xD;&#xA;&#xD;&#xA;1. On the pasted track, select the start of the track: from the start of the pasted signal (the shock chord) *nearly* up to the offending sound, but leaving a gap in between. &lt;kbd&gt;ctrl&lt;/kbd&gt;+&lt;kbd&gt;L&lt;/kbd&gt; to silence that period.&#xD;&#xA;&#xD;&#xA;1. **Edit** → **Move cursor** → **to Selection End**. Then use &lt;kbd&gt;shift&lt;/kbd&gt; and arrows and/or &lt;kbd&gt;shift&lt;/kbd&gt;-click to select from there to the start of the offending sound.&#xD;&#xA;&#xD;&#xA;1. **Effect** → **Plugins** → **Cross Fade In**.&#xD;&#xA;&#xD;&#xA;1. Now you need to select the same region in the original track. To do this, use **Edit** → **Region Save**, then click on the original track, then **Edit** → **Region Restore**. (It's called **Selection Save/Restore** in older versions of Audacity.)&#xD;&#xA;&#xD;&#xA;1. **Effect** → **Plugins** → **Cross Fade Out**. Now your original track fades out while the new one fades in, in exactly the same region.&#xD;&#xA;&#xD;&#xA;1. Now to select the offending sound, using **Edit** → **Move cursor** → **to Selection End** followed by &lt;kbd&gt;shift&lt;/kbd&gt; and arrows or &lt;kbd&gt;shift&lt;/kbd&gt;-click. Make sure to leave another margin after the sound for the corresponding cross-fade.&#xD;&#xA;&#xD;&#xA;1. &lt;kbd&gt;ctrl&lt;/kbd&gt;+&lt;kbd&gt;L&lt;/kbd&gt; to silence that annoying giggle.&#xD;&#xA;&#xD;&#xA;1. Now repeat steps 11 to 8 to select the margin you left after the offending sound, to cross-fade the original track in, and the new track out.&#xD;&#xA;&#xD;&#xA;If you screwed up and didn't manage to entirely cut out the giggle, or you cut off the next shock chord or pasted halfway through a cough, you'll have to undo several operations and redo them by hand. When you've listened and are satisfied that you've improved the recording, **Tracks** → **Mix and Render** will get you back to one track." ContentLicense="CC BY-SA 3.0" />
  <row Id="45980" PostHistoryTypeId="2" PostId="25907" RevisionGUID="6c604f21-a0b6-4d4c-a6ed-4c5b99b5f14f" CreationDate="2013-11-19T13:43:19.600" UserId="7261" UserDisplayName="Dan Hulme" Text="I have an orchestral recording with an audience. In one part of the recording, there are *shock chords* (loud, short chords played by the whole ensemble) at 0 dB with about two seconds of 'silence' between each. Obviously the silent parts aren't actually silent: they have the usual venue and audience noise, as well as the sound of the shock chord dying away and echoing, so they don't get any quieter than -72 dB.&#xD;&#xA;&#xD;&#xA;Some child in the audience found the whole thing quite amusing, and giggles in one of the silences. It's less than -48 dB, but really damages the effect. It's during the quietest part of the silence, and well away from the following shock chord, so it should be easy to remove, but it's giving me trouble. How can I remove this unwanted sound?&#xD;&#xA;&#xD;&#xA;I've tried using frequency-based filters, but the giggle is quite broad-spectrum: it's mainly around 50 Hz, right over the background sound, so I lose too much that way.&#xD;&#xA;&#xD;&#xA;I've tried running Audacity's &quot;noise removal&quot; effect on the passage, priming it with the background from another silence, set to &quot;isolate&quot; instead of &quot;remove&quot; noise, but even at 48 dB it leaves way too much giggle.&#xD;&#xA;&#xD;&#xA;I've also tried pasting a section of one of the adjacent silences, making sure it's the same length and getting the zero-crossings right, but because the echo is slightly different for each chord, it leads to a jarring transition. Each shock chord is the same chord (though the balance between instruments is slightly different), so it seems like it should be possible to make this technique work. Maybe I just need to do something clever with cross-fading to a second track that's a copy of the adjacent silence? How do I make that work in Audacity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45981" PostHistoryTypeId="1" PostId="25907" RevisionGUID="6c604f21-a0b6-4d4c-a6ed-4c5b99b5f14f" CreationDate="2013-11-19T13:43:19.600" UserId="7261" UserDisplayName="Dan Hulme" Text="How to remove unwanted sounds from 'silence'?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45982" PostHistoryTypeId="3" PostId="25907" RevisionGUID="6c604f21-a0b6-4d4c-a6ed-4c5b99b5f14f" CreationDate="2013-11-19T13:43:19.600" UserId="7261" UserDisplayName="Dan Hulme" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45983" PostHistoryTypeId="36" PostId="25910" RevisionGUID="fd2b69d6-289f-459b-bdce-c8aaef61cc41" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9183/what-are-good-alternatives-to-studio-foam-for-a-home-studio" />
  <row Id="45984" PostHistoryTypeId="2" PostId="25911" RevisionGUID="151bd699-dffe-4b57-8cf9-44ba3e4bc86c" CreationDate="2013-10-15T19:50:06.830" UserId="7174" Text="The point of sound absorbing foams is that they a) have lots of air spaces and b) have angles that divert sound.  The second part is relatively easy, but making sure to get consistent sound absorbing characteristics of the appropriate type of foam, along with the appropriate amount and size of air spaces and an acceptable level of durability does make it relatively costly to make.&#xD;&#xA;&#xD;&#xA;Honestly, properly preparing a studio space can easily cost several grand in materials to do properly, so a couple hundred bucks is already pretty cheap.  There are budget alternatives, but they aren't generally that much cheaper and can be more difficult and time consuming to work with.&#xD;&#xA;&#xD;&#xA;Acoustic foam is a) relatively easy to work with, b) produces consistent results and c) is reasonably durable.  That makes it worth the price in my opinion.&#xD;&#xA;&#xD;&#xA;Heavy blankets and/or fiberglass can do the job too, but both have their own challenges.  (Blankets can be pricy and heavy by the time you have enough of them, fiberglass is messy and can't be as easily removed.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="45985" PostHistoryTypeId="2" PostId="25910" RevisionGUID="46c83804-ca28-4191-a51a-292d18cab621" CreationDate="2013-10-15T19:07:02.207" UserId="20465" UserDisplayName="mcranston18" Text="I have built a vocal booth for my own studio and plan to line it with acoustic studio foam (a.k.a., &quot;egg-crate foam&quot;). However, acoustic foam is very expensive (http://www.amazon.com/Acoustic-Foam-1-1-24-18/dp/B0002ZPLPC/ref=sr_1_6?ie=UTF8&amp;qid=1381863674&amp;sr=8-6&amp;keywords=studio+foam) and can cost hundreds of dollars to fill a 140 sq. ft booth.&#xD;&#xA;&#xD;&#xA;Are there appropriate and cheap alternatives to studio foam? If you think the cost of studio foam is justified, please explain why." ContentLicense="CC BY-SA 3.0" />
  <row Id="45986" PostHistoryTypeId="1" PostId="25910" RevisionGUID="46c83804-ca28-4191-a51a-292d18cab621" CreationDate="2013-10-15T19:07:02.207" UserId="20465" UserDisplayName="mcranston18" Text="What are good alternatives to studio foam for a home studio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45987" PostHistoryTypeId="3" PostId="25910" RevisionGUID="46c83804-ca28-4191-a51a-292d18cab621" CreationDate="2013-10-15T19:07:02.207" UserId="20465" UserDisplayName="mcranston18" Text="&lt;home-studio&gt;&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45988" PostHistoryTypeId="36" PostId="25911" RevisionGUID="a7a04065-af00-4dc7-939b-450c422fcc4e" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9183/what-are-good-alternatives-to-studio-foam-for-a-home-studio/9184#9184" />
  <row Id="45989" PostHistoryTypeId="36" PostId="25912" RevisionGUID="a2332817-0234-4940-bba5-75d35abf88c9" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9183/what-are-good-alternatives-to-studio-foam-for-a-home-studio/9185#9185" />
  <row Id="45990" PostHistoryTypeId="36" PostId="25913" RevisionGUID="4ff52946-58c1-4b93-9dbe-9d7b40437864" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9183/what-are-good-alternatives-to-studio-foam-for-a-home-studio/9189#9189" />
  <row Id="45991" PostHistoryTypeId="36" PostId="25914" RevisionGUID="d44e1dd5-933f-4f11-beb2-c841be1db4e4" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9183/what-are-good-alternatives-to-studio-foam-for-a-home-studio/9242#9242" />
  <row Id="45992" PostHistoryTypeId="2" PostId="25912" RevisionGUID="cd2ed122-4f3f-408c-a985-9b6e22a69c3a" CreationDate="2013-10-15T19:54:49.790" UserId="7542" UserDisplayName="Don Nickel" Text="For vocal work, they (most music stores) have a product that wraps half-way around the mic. I have used them myself, and they work very well.&#xD;&#xA;&#xD;&#xA;They cost a bit, but are substantially cheaper than treating an entire room.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="45993" PostHistoryTypeId="2" PostId="25913" RevisionGUID="eb5232c4-947b-4856-957a-0b0409d8b926" CreationDate="2013-10-16T19:26:11.297" UserDisplayName="Alex PrimeHD" Text="There are no &quot;truly cheap&quot; solutions to sound treatment, I'm afraid - unless one has access to free materials.&#xD;&#xA;&#xD;&#xA;I'm in the similar situation as you are, and what I usually do is DIY some sound absorbing panels. Size depends on your situation. If you want a universal, reusable solution, then build some 24&quot; x 48&quot; x 4&quot; panels and fill them with fiberglass or wool-based sound absorber.&#xD;&#xA;&#xD;&#xA;You can then stand or hang these panels as needed.&#xD;&#xA;&#xD;&#xA;You'll need:&#xD;&#xA;&#xD;&#xA;- some wood and L-brackets to build the panel's frame;&#xD;&#xA;- sound absorbing material ([Roxul Safe-n-Sound 23x47][1] will do just fine, get them from Home Depot/Loews) to fill it up;&#xD;&#xA;- some sound-transparent fabric to stretch and staple over the frame. Fabric serves to stop fibers from flying off to your place; and also as a decorum. In a pinch, cheap burlap works fine - just make sure the one you chose does not produce some bad smell (it happens!)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.lowes.com/pd_465053-1278-RXSS323_0__?productId=4382951&amp;cm_mmc=SCE_gps-_-gps-_-gps-_-4382951&amp;CAWELAID=1797247565" ContentLicense="CC BY-SA 3.0" />
  <row Id="45994" PostHistoryTypeId="2" PostId="25914" RevisionGUID="388f98d5-35f7-4625-bbc6-7a80526b871f" CreationDate="2013-10-23T22:35:17.570" UserDisplayName="TotalForge" Text="The expensive foam has a better fire rating and is designed for commercial facilities that need to meet fire code and insurance requirements. The house brand of foam items at www.markertek.com do not have as good a fire rating, but they are very affordable. They have sheet egg crate, blade tiles, and bass traps.  I have no affiliation other than being a satisfied customer. &#xD;&#xA;&#xD;&#xA;Don't cover the whole room. Do some googling on acoustic room treatment. I have some sheet egg crate behind my speakers to kill reflections, some blade tiles on the opposite wall to break up reflections, and bass traps in the rear corners.  There's about 85% of the original walls exposed, and I have a nice clean listening environment." ContentLicense="CC BY-SA 3.0" />
  <row Id="45995" PostHistoryTypeId="36" PostId="25915" RevisionGUID="8a0f54f7-a430-4957-a3e6-fa738c8478c3" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4981/what-exactly-does-it-mean-to-normalize-a-track-how-it-is-done" />
  <row Id="45996" PostHistoryTypeId="2" PostId="25916" RevisionGUID="afb28cf0-6111-4604-b97f-339646cb653b" CreationDate="2012-10-11T20:31:35.887" UserId="17571" UserDisplayName="Zeronyne" Text="There are a few misconceptions here. Normalization, in the most basic sense, raises the gain of the ENTIRE track to a nominal level. What you are trying to do with normalization is maximize signal. The relative dynamics of the track are not changed. There are actually two types of normalization, but the most common is peak normalization, where the loudest peaks of the signal are brought up to the highest level they can without clipping or overdriving the signal.&#xD;&#xA;&#xD;&#xA;This is very different than compression, which applies DIFFERENT amounts of gain to different parts of the track. This reduces the &quot;loudness&quot; range of the track, make it punchier but less dynamic.&#xD;&#xA;&#xD;&#xA;Limiting simply prevents the signal from going over a set limit. It's similar to compression, but it doesn't mess with overall dynamics...just peaks.&#xD;&#xA;&#xD;&#xA;And the term &quot;destructive&quot; means that you cannot undo the process, and only applies to this instance within this software. It is not a quality-value term." ContentLicense="CC BY-SA 3.0" />
  <row Id="45997" PostHistoryTypeId="2" PostId="25915" RevisionGUID="086d5502-4ffd-4299-a154-2b8555e0d917" CreationDate="2012-10-11T19:41:27.510" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="When exporting a song I was working on in Ableton I decided to export it as an .aiff file for the first time, just for kicks I guess, when I noticed some options that I had never really paid attention to. Specifically the option to Normalize the track.&#xD;&#xA;&#xD;&#xA;![haha heyeah ableton][1]&#xD;&#xA;&#xD;&#xA;After a tad bit of research I came to the conclusion that it has something to do with fixing the volume peaks of the song to make it more &quot;normal.&quot; I thought that was what a limiter or a compressor does and didn't get how it was different. &#xD;&#xA;&#xD;&#xA;Then I read that it is destructive to the sound waves or something? I don't see why someone would want to destroy their sound (unless of course your into death metal or that sort of thing **;]**).&#xD;&#xA;&#xD;&#xA;**So what exactly does it mean to normalize a song and how is this process done?**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/gnac3.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="45998" PostHistoryTypeId="1" PostId="25915" RevisionGUID="086d5502-4ffd-4299-a154-2b8555e0d917" CreationDate="2012-10-11T19:41:27.510" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="What exactly does it mean to normalize a track/how it is done?" ContentLicense="CC BY-SA 3.0" />
  <row Id="45999" PostHistoryTypeId="3" PostId="25915" RevisionGUID="086d5502-4ffd-4299-a154-2b8555e0d917" CreationDate="2012-10-11T19:41:27.510" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;mixing&gt;&lt;ableton&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46000" PostHistoryTypeId="36" PostId="25916" RevisionGUID="4cb6d599-589b-4107-893d-f2816761c33c" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4981/what-exactly-does-it-mean-to-normalize-a-track-how-it-is-done/4983#4983" />
  <row Id="46001" PostHistoryTypeId="36" PostId="25917" RevisionGUID="accca6f6-cb38-4ffa-940a-9df9e0ed5159" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4981/what-exactly-does-it-mean-to-normalize-a-track-how-it-is-done/4984#4984" />
  <row Id="46002" PostHistoryTypeId="2" PostId="25917" RevisionGUID="1b6692d4-e6eb-40a4-8878-c5b02851afa9" CreationDate="2012-10-11T20:40:15.283" UserDisplayName="BillyNair" Text="There is Peak normalization and Loudness normalization, not sure which one this is, you might want to check the manual. &#xD;&#xA;&#xD;&#xA;**Peak normalization** simply changes the volume of the entire song, this will also amplify quiet stuff too. If you do it on a classical symphony track you will hear the sniffs and AC of the concert hall louder. &#xD;&#xA;&#xD;&#xA;**Loudness normalization** will bring your song's perceived loudness up to a certain level. This will usually make all your songs in your playlist sound about the same loudness." ContentLicense="CC BY-SA 3.0" />
  <row Id="46003" PostHistoryTypeId="36" PostId="25918" RevisionGUID="c34531bc-6132-4042-88a1-1038167cbf5b" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2666/what-could-be-causing-distortion-on-my-mp3-when-imported-into-audacity" />
  <row Id="46004" PostHistoryTypeId="36" PostId="25919" RevisionGUID="ce4fc0cc-660f-422c-b0d6-3be24efa0f4e" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2666/what-could-be-causing-distortion-on-my-mp3-when-imported-into-audacity/2823#2823" />
  <row Id="46005" PostHistoryTypeId="36" PostId="25920" RevisionGUID="acba436d-8147-41d4-8050-b8fea6c7735c" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2666/what-could-be-causing-distortion-on-my-mp3-when-imported-into-audacity/3051#3051" />
  <row Id="46006" PostHistoryTypeId="2" PostId="25919" RevisionGUID="5643d001-8204-4aee-9187-89db9ad2d542" CreationDate="2011-12-16T06:29:22.733" UserDisplayName="user1736" Text="Sounds like audacity is recognising it as something else, wrong speed suggest wrong samplerate assumption, and also @cable729s suggestion of checking your lame encoder is worth checking out. Is it also possible that what you recorded it on had some sort of 'long play' function which messed around with stuff ? Not quite sure I understand your update, but if its just on playback its just some syncing situation with the soundcard or other simple thing. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46007" PostHistoryTypeId="2" PostId="25920" RevisionGUID="8bbe7e4d-b307-4e48-89c7-b951c3973d63" CreationDate="2012-01-16T17:13:44.613" UserId="6862" Text="Audacity has a playback speed control. Make sure that it is set to 1x.&#xD;&#xA;&#xD;&#xA;![Transcription Toolbar][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Transcription Toolbar][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/gS6Tk.png&#xD;&#xA;  [2]: http://manual.audacityteam.org/man/Transcription_Toolbar" ContentLicense="CC BY-SA 3.0" />
  <row Id="46008" PostHistoryTypeId="2" PostId="25918" RevisionGUID="c2073035-6695-4765-ac91-b1fb06f1364c" CreationDate="2011-11-19T01:03:47.757" UserDisplayName="Dancrumb" Text="I appreciate that this is an open ended question; I'm really looking for some pointers on what to look at next.&#xD;&#xA;&#xD;&#xA;I recorded 48 minute conversation into an MP3 at 128kbps. It's a stereo recording with my voice on one channel and the other voice on the other channel.&#xD;&#xA;&#xD;&#xA;Playing this MP3 on iTunes results in no problems.&#xD;&#xA;&#xD;&#xA;When I do a basic import into Audacity 1.3.13-beta on Windows, it get's utterly distorted. The voice (such as I can make it out) sounds slowed down, but it's completely destroyed by 'electronic vibrations' (for want of a better phrase).&#xD;&#xA;By 'slowed down', i mean the pacing of the words that I can vaguely hear seems slow. However, the timescale shows 48m, so it's not truly slowed down.&#xD;&#xA;&#xD;&#xA;I'm at something of a loss as to what could be happening here.&#xD;&#xA;&#xD;&#xA;Any pointers on what to look for would be most appreciated. Any questions, you may have, please let me know in comments.&#xD;&#xA;&#xD;&#xA;**UPDATE**&#xD;&#xA;Turns out it's not the import, it's the playback. I opened up an old project to see if that was the problem and lo and behold! it sounds wrong. &#xD;&#xA;I'll investigate further and post the solution when I find it." ContentLicense="CC BY-SA 3.0" />
  <row Id="46009" PostHistoryTypeId="1" PostId="25918" RevisionGUID="c2073035-6695-4765-ac91-b1fb06f1364c" CreationDate="2011-11-19T01:03:47.757" UserDisplayName="Dancrumb" Text="What could be causing distortion on my MP3 when imported into Audacity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46010" PostHistoryTypeId="3" PostId="25918" RevisionGUID="c2073035-6695-4765-ac91-b1fb06f1364c" CreationDate="2011-11-19T01:03:47.757" UserDisplayName="Dancrumb" Text="&lt;mp3&gt;&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46011" PostHistoryTypeId="36" PostId="25921" RevisionGUID="ecf661df-1207-4ac9-b622-ab0926af9d71" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9296/cd-digital-out-to-usb" />
  <row Id="46012" PostHistoryTypeId="36" PostId="25922" RevisionGUID="349c28d5-7832-4a1d-a024-197a0a34b049" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9296/cd-digital-out-to-usb/9297#9297" />
  <row Id="46013" PostHistoryTypeId="2" PostId="25922" RevisionGUID="2e107dc2-1f2b-42cb-bc1b-f874bedbb7d3" CreationDate="2013-10-31T21:27:01.760" UserId="7294" UserDisplayName="Warrior Bob" Text="There is! Generically this is called an [audio interface](http://avp.stackexchange.com/a/2647/95). These most commonly include ADCs/DACs and analog preamps, but an audio interface with a digital input (such as S/PDIF or optical TOSLink) will give you the &quot;digital to digital&quot; connectivity you're looking for." ContentLicense="CC BY-SA 3.0" />
  <row Id="46014" PostHistoryTypeId="2" PostId="25921" RevisionGUID="f9a45d4e-5412-429b-8043-3ace5e3d0baa" CreationDate="2013-10-31T20:46:54.940" UserDisplayName="David Nehme" Text="Is there a product that allows the &quot;coaxial&quot; digital out (or the optical toslink) from a cd player to be send to a usb or firewire port?  I'm not looking for a DAC, I'm looking for digital to digital.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46015" PostHistoryTypeId="1" PostId="25921" RevisionGUID="f9a45d4e-5412-429b-8043-3ace5e3d0baa" CreationDate="2013-10-31T20:46:54.940" UserDisplayName="David Nehme" Text="cd digital out to usb" ContentLicense="CC BY-SA 3.0" />
  <row Id="46016" PostHistoryTypeId="3" PostId="25921" RevisionGUID="f9a45d4e-5412-429b-8043-3ace5e3d0baa" CreationDate="2013-10-31T20:46:54.940" UserDisplayName="David Nehme" Text="&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46017" PostHistoryTypeId="36" PostId="25923" RevisionGUID="4d31283d-8895-4deb-8b22-f6252c65f486" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/10/what-is-the-best-way-of-dealing-with-latency-in-ableton" />
  <row Id="46018" PostHistoryTypeId="36" PostId="25924" RevisionGUID="11901d69-7d10-4d23-8055-2dc7af4c1ccf" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/10/what-is-the-best-way-of-dealing-with-latency-in-ableton/32#32" />
  <row Id="46019" PostHistoryTypeId="36" PostId="25925" RevisionGUID="a1b230bd-a43c-41d4-af03-5b04f3ea1bd6" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/10/what-is-the-best-way-of-dealing-with-latency-in-ableton/112#112" />
  <row Id="46020" PostHistoryTypeId="36" PostId="25926" RevisionGUID="f0629bf3-c692-4a58-8885-ed3da401241c" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/10/what-is-the-best-way-of-dealing-with-latency-in-ableton/144#144" />
  <row Id="46021" PostHistoryTypeId="2" PostId="25924" RevisionGUID="a0bc689e-3cff-497d-b81c-e75e68cc83e9" CreationDate="2010-12-07T20:58:30.243" UserDisplayName="Andrew Arnold" Text="Have you looked into [ASIO4All](http://www.soft82.com/download/windows/asio4all/)? It bypasses a lot of the software-side signal processing and can reduce latency a ton." ContentLicense="CC BY-SA 2.5" />
  <row Id="46022" PostHistoryTypeId="2" PostId="25925" RevisionGUID="eddf6c53-10e1-4c81-8c11-db69b46a87f5" CreationDate="2010-12-08T10:00:36.563" UserDisplayName="Ed J" Text="If you're using ASIO already you're pretty much at the limit of Ableton Live's (current) ability to handle latency.&#xD;&#xA;&#xD;&#xA;However, there are a couple of things you can try. Firstly, you could try to [lower the buffer size][1] of your card. This can help a lot, but I've never had too much success with this method, you get audible artifacts if you set it too low, and it can mess with your CPU usage.&#xD;&#xA;&#xD;&#xA;Secondly, you could just do any tracking by utilising the 'direct monitor' option of your sound card (I'm pretty sure this is possible with your lexicon). This way the signal is bussed straight from the input to the speaker outs of your card as well as going into Live. This allows zero-latency tracking and is a common option where your DAW-of-choice doesn't support it.&#xD;&#xA;&#xD;&#xA;The third option is to use Live's built-in 'delay' function. This will allow you to set a delay on a track-by-track basis, so that MIDI devices and outboard gear can be synced a little better. This is an option on the right-hand-side of the screen, below the IO button. This is useful for outboard gear (I have to use it for my ROMpler), but if you're intending to track or finely manipulate settings in real-time it's not much help for higher delays.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/jan05/articles/pcmusician.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="46023" PostHistoryTypeId="2" PostId="25926" RevisionGUID="93598105-e6f1-40da-bc22-79aa2317c83a" CreationDate="2010-12-08T18:30:01.657" UserId="710" Text="Latency is not an issue of the particular software, but of the sound card drivers. An ASIO driver means the audio goes straight to the sound card instead of going through the operating system. In windows, for example, I've managed to reduce my latency from 44ms using the normal driver, to something like 5ms. The downside is, the operating system can't do a mix of each application's sounds, so when I have some program that uses ASIO, all other sounds are muted. Also, in my case, when an ASIO application starts, it &quot;asks the operating system for permission&quot;, so if there's something else making sounds it will refuse to work (typically I have to close Windows Media Player in order to run Propellerhead's Reason. If I don't, then Reason can either choose the normal 44ms latency driver or nothing at all). ASIO4ALL, like another user suggested, is a really good choice as it seems to support many cards. Note that installing an ASIO driver for your card will not uninstall other drivers, so you can still use the OS' regular way of doing things (which is what allows WMP and say Chrome to output sound at the same time)." ContentLicense="CC BY-SA 2.5" />
  <row Id="46024" PostHistoryTypeId="2" PostId="25923" RevisionGUID="d0eea37e-a89a-4dad-b03f-81ac5ecf8036" CreationDate="2010-12-07T20:31:39.590" UserDisplayName="brian" Text="I have a Lexicon Lambda which I use in Ableton and Audacity.  Latency is hardly an issue in Audacity, but I can't seem to get it down to a manageable state in Ableton, no matter how many different setting I tweak.  I used to use a Behringer BCA2000 and had minimal latency issues in Ableton, but Behringer stopped supporting the BCA2000 and there is little in the way of Vista or Win7 drivers." ContentLicense="CC BY-SA 2.5" />
  <row Id="46025" PostHistoryTypeId="1" PostId="25923" RevisionGUID="d0eea37e-a89a-4dad-b03f-81ac5ecf8036" CreationDate="2010-12-07T20:31:39.590" UserDisplayName="brian" Text="What is the best way of dealing with latency in Ableton?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46026" PostHistoryTypeId="3" PostId="25923" RevisionGUID="d0eea37e-a89a-4dad-b03f-81ac5ecf8036" CreationDate="2010-12-07T20:31:39.590" UserDisplayName="brian" Text="&lt;ableton&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46027" PostHistoryTypeId="36" PostId="25927" RevisionGUID="6054bb77-347d-4340-acd8-cbc7effaa311" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5463/are-there-any-mixing-dac-chip-software-simulators" />
  <row Id="46028" PostHistoryTypeId="2" PostId="25928" RevisionGUID="b335bd4d-34d0-4504-852e-5ddacfe6f450" CreationDate="2012-12-01T15:19:43.570" UserId="7200" Text="&gt; and divide by the total channel count&#xD;&#xA;&#xD;&#xA;That's normally not done. You just sum the channels, and since different signals are not coherent the result has a peak level of only _√n_ times the level of each channel. In fact, it's even less in practise (assuming music) since most of the peaks are short transients and not quite simultaneous, so the peak level of the sum is still around 0 dB even if all of the individual channels are peak-normalised.&#xD;&#xA;&#xD;&#xA;But of course you can't be sure about any of this. There may be freak transients of as much as _n_ times the inputs' level. That's not immediately a problem with floating-point arithmetic, but it obviously becomes a problem when you output to analog or fixed-precision. The usual way to deal with this is to put a limiter in the output. In the easiest case that means just clipping the floating-point signal to [-1,1[ before quantising, which costs, like, no CPU but causes significant artifacts. More usually, you will basically use a general-purpose compressor with ratio 1:∞ and fast attack time. That's still not much CPU load, so you're spending most on the summing. Even a mobile CPU should manage something of 100 channels, you much earlier get into trouble with the input bandwidth, depending on what bus you use." ContentLicense="CC BY-SA 3.0" />
  <row Id="46029" PostHistoryTypeId="2" PostId="25927" RevisionGUID="ac92c53d-659a-4c35-b818-64ab1f343903" CreationDate="2012-11-30T15:17:21.257" UserId="9505" UserDisplayName="DWoldrich" Text="I would like to mix tens of arbitrary stereo audio channels together in software in realtime with a minimum of clipping, distortion, and total loss of volume.  I understand there are many special-purpose hardware parts that have been produced over the years that seem to be able to do exactly this.  One that I've been trying to learn more about is the Yamaha YAC512; it seems perfect for the task.  I have no idea what it would take to emulate such a part, especially such that it can be done in realtime with a modern commodity CPU (or better yet, even a mobile CPU), but I thought I'd ask if any work has been done in this area in various tools/plugins/projects that I could learn from.&#xD;&#xA;&#xD;&#xA;My current algorithm to mix is I sum all my channels and divide by the total channel count.  Sound quality is good, but it's way too quiet, of course!  :/&#xD;&#xA;&#xD;&#xA;So, does anyone know of hardware emulators that can mix many audio streams the way the YAC512 can that would be suitable for realtime/game processing?  My source channels' audio samples are generated and available to me as floating point values.&#xD;&#xA;&#xD;&#xA;Here's a datasheet I found for the YAC512, but it doesn't tell me much that I have the ability to work with:  http://datasheet.seekic.com/PdfFile/YAC/YAC512Mnbsp.pdf&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="46030" PostHistoryTypeId="1" PostId="25927" RevisionGUID="ac92c53d-659a-4c35-b818-64ab1f343903" CreationDate="2012-11-30T15:17:21.257" UserId="9505" UserDisplayName="DWoldrich" Text="Are there any mixing DAC chip software simulators?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46031" PostHistoryTypeId="3" PostId="25927" RevisionGUID="ac92c53d-659a-4c35-b818-64ab1f343903" CreationDate="2012-11-30T15:17:21.257" UserId="9505" UserDisplayName="DWoldrich" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46032" PostHistoryTypeId="36" PostId="25928" RevisionGUID="d945bf59-e415-4a5b-aa66-34465eaccf91" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5463/are-there-any-mixing-dac-chip-software-simulators/5474#5474" />
  <row Id="46033" PostHistoryTypeId="36" PostId="25929" RevisionGUID="353e1b18-7024-4b92-b7e2-5f48fd5fe179" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/268/how-do-i-get-a-mix-with-two-heavy-bass-elements-to-not-sound-muddy" />
  <row Id="46034" PostHistoryTypeId="2" PostId="25930" RevisionGUID="ad6a7b69-6c77-4e76-9576-451f1b144e0a" CreationDate="2010-12-14T12:18:42.240" UserDisplayName="Powertieke" Text="There are two paths you can go:&#xD;&#xA;&#xD;&#xA;- Use EQ to sculpt the two signals around each other (making room in the frequencies for each of them, so they don't 'overlap' as much).&#xD;&#xA;&#xD;&#xA;- Look into 'sidechain compression'. This means that you trigger a heavy compressor using another signal (in your case usually the kick drum), which in turn will duck (suppress the volume of) the other signal when the kick hits." ContentLicense="CC BY-SA 2.5" />
  <row Id="46035" PostHistoryTypeId="2" PostId="25929" RevisionGUID="31d619ae-da0f-4ba9-9468-4dba0f07d6eb" CreationDate="2010-12-14T11:15:25.713" UserDisplayName="Ed J" Text="I often struggle with mixes where I've got two very bassy sounds, usually a very 'big' kick sample and either a hip-hop-style sub bass or a rhythm sample involving low-pitched drums.&#xD;&#xA;&#xD;&#xA;What's the best way to remove the muddiness, and get a much cleaner sound? I rarely seem to get the sort of 'open' sound I'm after while keeping the energy of both tracks." ContentLicense="CC BY-SA 2.5" />
  <row Id="46036" PostHistoryTypeId="1" PostId="25929" RevisionGUID="31d619ae-da0f-4ba9-9468-4dba0f07d6eb" CreationDate="2010-12-14T11:15:25.713" UserDisplayName="Ed J" Text="How do I get a mix with two heavy bass elements to not sound muddy?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46037" PostHistoryTypeId="3" PostId="25929" RevisionGUID="31d619ae-da0f-4ba9-9468-4dba0f07d6eb" CreationDate="2010-12-14T11:15:25.713" UserDisplayName="Ed J" Text="&lt;mixing&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46038" PostHistoryTypeId="36" PostId="25930" RevisionGUID="3a46aa2c-c05a-4e14-8633-53f658259f03" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/268/how-do-i-get-a-mix-with-two-heavy-bass-elements-to-not-sound-muddy/269#269" />
  <row Id="46039" PostHistoryTypeId="36" PostId="25931" RevisionGUID="8a66407e-87f0-4952-acfc-2f8b1c534776" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/268/how-do-i-get-a-mix-with-two-heavy-bass-elements-to-not-sound-muddy/277#277" />
  <row Id="46040" PostHistoryTypeId="36" PostId="25932" RevisionGUID="9392c018-22e6-4e42-ad5f-86c7466278bc" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/268/how-do-i-get-a-mix-with-two-heavy-bass-elements-to-not-sound-muddy/285#285" />
  <row Id="46041" PostHistoryTypeId="2" PostId="25931" RevisionGUID="87ad6311-a04b-484a-b705-0e451a37ef35" CreationDate="2010-12-14T22:41:21.343" UserDisplayName="Kim Burgaard" Text="I find that the answer is often rather zen-like: You need to remove some of the bassy sound in order to get a more bassy sound.&#xD;&#xA;&#xD;&#xA;Phase problems are more pronounced with low frequencies so if you have e.g. a bass and a kick drum that both have low frequencies, chances are you loose a lot of oomph when you combine the two in your mix.  That's why EQ'ing or compressing one of the sources as Powertieke suggests will help. You will have to experiment to see whether emphasizing the bass or the kick, or whatever instruments you have works best.&#xD;&#xA;&#xD;&#xA;Don't forget to listen to the other instruments in your mix too.  Some of them might have a lot of low frequency energy too that you didn't anticipate or expect. If they don't play a crucial rule in the bass department, get rid of it too.  Also, if you're recording real instruments, make sure you experiment with different micing setups &lt;em&gt;before&lt;/em&gt; you reach for the compressor or EQ.&#xD;&#xA;&#xD;&#xA;Another option is to &lt;em&gt;arrange&lt;/em&gt; your instruments to accommodate each other better.  For example, if you have the kick going on one and three, and a pumping bass on all four quarter notes, maybe changing the bass to slightly emphasize 2 and 4 might work. You could argue a compressor kind of does the same, but you might get a different &quot;feeling&quot; and richer expression when you play the instrument more dynamically." ContentLicense="CC BY-SA 2.5" />
  <row Id="46042" PostHistoryTypeId="2" PostId="25932" RevisionGUID="8720d907-c339-4f2e-9460-34f1c1f07e9c" CreationDate="2010-12-15T16:23:53.770" UserDisplayName="bitbutter" Text="Be sure you're previewing the full mix, not the kicks alone. It may be that you don't need _all_ the energy.&#xD;&#xA;&#xD;&#xA;Often the easiest fix is to remove some of the lowest bass, so that on;y one of the drums 'owns' the sub frequencies. Try adding a high-pass to the kick drum that isn't the sine/sub-bassy one. See how high you can dial the cutoff without adversely affecting the whole mix (this will cut the bassiest part but keep the character of the kick).&#xD;&#xA;&#xD;&#xA;Experiment with micro-timing adjustments. Zoom right in in your DAW to get a better view while you do this. Begin by checking whether the main peaks in the waves are aligned or not. See if aligning the biggest peaks (moving one kick forwards/backwards) improves things." ContentLicense="CC BY-SA 2.5" />
  <row Id="46043" PostHistoryTypeId="36" PostId="25933" RevisionGUID="ac31d207-6d60-407c-afff-f43ee19cd776" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5585/convert-sound-inside-a-video-from-5-1-to-stereo-without-image-modification" />
  <row Id="46044" PostHistoryTypeId="2" PostId="25934" RevisionGUID="9948512a-8bce-4785-894c-4413cce6fcf4" CreationDate="2012-12-20T19:12:32.963" UserId="20346" UserDisplayName="LordNeckbeard" Text="You can use the [`amerge`][1] and [`pan`][2] filters in ffmpeg to combine two mono streams into one stereo output:&#xD;&#xA;&#xD;&#xA;    ffmpeg -i input -filter_complex &quot;[0:3] [0:4] amerge,pan=stereo:c0=c0:c1=c1&quot; -c:v copy -c:a pcm_s16le output&#xD;&#xA;&#xD;&#xA;or using `-ac` instead of `pan`:&#xD;&#xA;&#xD;&#xA;    ffmpeg -i input -filter_complex &quot;[0:3] [0:4] amerge&quot; -c:v copy -c:a pcm_s16le -ac 2 output&#xD;&#xA;&#xD;&#xA;`[0:3]` and `[0:4]` refer to your desired audio streams as shown in your ffmpeg output. I just chose these as examples. There are other audio filters and options too, so there are probably several other ways to do this.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ffmpeg.org/ffmpeg.html#amerge&#xD;&#xA;  [2]: http://ffmpeg.org/ffmpeg.html#pan" ContentLicense="CC BY-SA 3.0" />
  <row Id="46045" PostHistoryTypeId="2" PostId="25933" RevisionGUID="9c12702b-b105-44df-bc2f-9c7eee5e6ef8" CreationDate="2012-12-15T08:05:27.027" UserId="7260" UserDisplayName="Ninsuo" Text="2 days ago I had troubles with video conversion, today that's audio. Here is the problem, the converter I found ([see this question](http://avp.stackexchange.com/questions/5571/how-to-convert-large-imovie-imported-videos-preservig-aspect-ratio/5573#5573)) detects all my sources audio channels as different channels (like if they were dvd languages) :&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;The first chanenl is the left speaker, and the second one is the right speaker, all others are middle's one. When I convert my video, the output is stereo but I loose one speaker. Here is an image to understand :&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;I gave a different color to each channels of my source : as you can see, after output, only the selected input is used for both speakers.&#xD;&#xA;&#xD;&#xA;I suspect this software not to handle 5.1 channels as source. Because this is the only soft I found that supports my image resolution, I need to keep it for video conversion. But I first need to convert dolby to sereo using another software.&#xD;&#xA;&#xD;&#xA;Do you know a way to convert dolby to stereo, without altering video ?&#xD;&#xA;&#xD;&#xA;**edit**: `ffmpeg -i &lt;video&gt;` command gives [this output](http://pastebin.com/zS0shenp).&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/HcNjX.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/xeYHG.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="46046" PostHistoryTypeId="1" PostId="25933" RevisionGUID="9c12702b-b105-44df-bc2f-9c7eee5e6ef8" CreationDate="2012-12-15T08:05:27.027" UserId="7260" UserDisplayName="Ninsuo" Text="Convert sound inside a video, from 5.1 to stereo, without image modification?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46047" PostHistoryTypeId="3" PostId="25933" RevisionGUID="9c12702b-b105-44df-bc2f-9c7eee5e6ef8" CreationDate="2012-12-15T08:05:27.027" UserId="7260" UserDisplayName="Ninsuo" Text="&lt;conversion&gt;&lt;stereo&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46048" PostHistoryTypeId="36" PostId="25934" RevisionGUID="efb9959b-464b-4a74-bcf8-82c6694f1184" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5585/convert-sound-inside-a-video-from-5-1-to-stereo-without-image-modification/5632#5632" />
  <row Id="46049" PostHistoryTypeId="36" PostId="25935" RevisionGUID="71c7a746-ac75-4895-9a18-69b401235063" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7807/how-to-augment-wired-headphones-with-a-bluetooth-transmitter-receiver" />
  <row Id="46050" PostHistoryTypeId="36" PostId="25936" RevisionGUID="bd461daf-d5bf-4ff1-98ed-49f80ea86871" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7807/how-to-augment-wired-headphones-with-a-bluetooth-transmitter-receiver/7810#7810" />
  <row Id="46051" PostHistoryTypeId="36" PostId="25937" RevisionGUID="176966ed-7e48-4e93-9fae-4e8a2043c2c7" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7807/how-to-augment-wired-headphones-with-a-bluetooth-transmitter-receiver/7811#7811" />
  <row Id="46052" PostHistoryTypeId="2" PostId="25936" RevisionGUID="5edef98c-4db9-4315-8fcd-19d322e979a7" CreationDate="2013-05-05T19:12:38.763" UserDisplayName="DDiVita" Text="Through various components I have come up with a  solution. I have found a [Bluetooth transmitter][1] that I can connect to my receiver's phone jack (I will need to use a 1/8&quot; to 1/4&quot; stereo adapter) and a [Bluetooth receiver][2] to connect my headphone to. If you are familiar with the Sonly MDR-5 headphones they have a screw on 1/4&quot; adapter. So you can use a 1/4&quot; input or 1/8&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/gp/product/B008GVETNE/ref=ox_sc_act_image_2?ie=UTF8&amp;psc=1&amp;smid=A2QHBM8MEN9W65&#xD;&#xA;  [2]: http://www.amazon.com/HDE%C2%AE-Wireless-Bluetooth-Receiver-Headphones/dp/B009G48ZE4/ref=sr_sp-btf_title_2_37?s=electronics&amp;ie=UTF8&amp;qid=1367781109&amp;sr=1-37&amp;keywords=bluetooth%20audio%20receiver" ContentLicense="CC BY-SA 3.0" />
  <row Id="46053" PostHistoryTypeId="2" PostId="25937" RevisionGUID="5c922675-9bdc-48e5-8ac8-41dfda372251" CreationDate="2013-05-05T19:34:58.410" UserId="7174" Text="I have done half of this before.  The biggest trick is to make sure that there are good DAC / ADCs in the devices.  If the conversion from analog to digital or back again isn't very good, then the system isn't going to work well.&#xD;&#xA;&#xD;&#xA;I used to use a bluetooth DAC for my headphones because the DAC in my phone itself wasn't very good.  I don't remember the brand, but it worked quite well in improving the sound I got out of my Shure 535s." ContentLicense="CC BY-SA 3.0" />
  <row Id="46054" PostHistoryTypeId="2" PostId="25935" RevisionGUID="f0c10421-0a9a-4f27-8bcf-9e645cd48d4d" CreationDate="2013-05-05T12:47:23.477" UserDisplayName="DDiVita" Text="I have a set of Sony MDR-5 headphones that sound great, but I'd like to hook them up to my receiver with a wireless audio system. &#xD;&#xA;My plan is to connect a Bluetooth receiver to the headphones' jack cable and a Bluetooth transmitter to the amplifier.&#xD;&#xA;&#xD;&#xA;Has anyone done something like this before? I was researching on Amazon for a Bluetooth system, but not I'm sure what I really need." ContentLicense="CC BY-SA 3.0" />
  <row Id="46055" PostHistoryTypeId="1" PostId="25935" RevisionGUID="f0c10421-0a9a-4f27-8bcf-9e645cd48d4d" CreationDate="2013-05-05T12:47:23.477" UserDisplayName="DDiVita" Text="How to augment wired headphones with a Bluetooth transmitter / receiver?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46056" PostHistoryTypeId="3" PostId="25935" RevisionGUID="f0c10421-0a9a-4f27-8bcf-9e645cd48d4d" CreationDate="2013-05-05T12:47:23.477" UserDisplayName="DDiVita" Text="&lt;headphones&gt;&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46057" PostHistoryTypeId="36" PostId="25938" RevisionGUID="2a2c9982-9f85-4ba6-9b48-c1f990666bb2" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2280/periodic-loss-of-clock-over-s-pdif" />
  <row Id="46058" PostHistoryTypeId="36" PostId="25939" RevisionGUID="dbe5fed1-7871-412b-810e-686d7b4b0ba6" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2280/periodic-loss-of-clock-over-s-pdif/2295#2295" />
  <row Id="46059" PostHistoryTypeId="2" PostId="25939" RevisionGUID="45d0e177-153e-4275-8ce2-b03e1a33c20a" CreationDate="2011-09-09T22:53:41.267" UserId="7200" Text="This is a bit of an adventurous idea: try to set the LS9 as clock master and both computers as slave, split the S/PDIF with a well-shielded passive splitter and feed it to both computers, and just don't use the actual audio in computer 1.&lt;br&gt;S/PDIF is definitely not meant to be used this way, but it might still work." ContentLicense="CC BY-SA 3.0" />
  <row Id="46060" PostHistoryTypeId="2" PostId="25938" RevisionGUID="75979cd6-910c-4b1d-bf66-2318d7e12084" CreationDate="2011-09-07T02:06:47.770" UserId="7209" Text="I have two computers with M-Audio Audiophile 192 cards, and a Yamaha LS9-16.  One computer's S/PDIF output is connected to the LS9 S/PDIF input.  The LS9's S/PDIF output is connected to the other computer's S/PDIF input.  All three (along with some other gear) is behind a common power conditioner (and therefore on the same ground).&#xD;&#xA;&#xD;&#xA;The LS9 is configured to use the clock off of S/PDIF input.  This works great almost all of the time, but occasionally, there is a clock sync issue, causing the LS9 to drop out audio for a few seconds before regaining clock signal and moving on.&#xD;&#xA;&#xD;&#xA;I have noticed this happening when plugging other devices into an electrical outlet, closing a door, and rarely when touching the metal side of a desk.  This leads me to believe that a burst of static is just enough to throw off the clock.&#xD;&#xA;&#xD;&#xA;How can I affordably remedy the issue?  Is there some sort of isolator or something that will take care of the problem?&#xD;&#xA;&#xD;&#xA;I understand that pulling clock out of S/PDIF isn't necessarily the best to sync to in the first place, but it is generally working for us, and I'd rather try to fix the problem rather than buying new cards that support a word clock input." ContentLicense="CC BY-SA 3.0" />
  <row Id="46061" PostHistoryTypeId="1" PostId="25938" RevisionGUID="75979cd6-910c-4b1d-bf66-2318d7e12084" CreationDate="2011-09-07T02:06:47.770" UserId="7209" Text="Periodic loss of clock over S/PDIF" ContentLicense="CC BY-SA 3.0" />
  <row Id="46062" PostHistoryTypeId="3" PostId="25938" RevisionGUID="75979cd6-910c-4b1d-bf66-2318d7e12084" CreationDate="2011-09-07T02:06:47.770" UserId="7209" Text="&lt;digital&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46063" PostHistoryTypeId="36" PostId="25940" RevisionGUID="11ec47b4-13b7-4c85-a2d6-0f9be139bfda" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7035/will-ripping-my-old-90s-and-2000s-cds-yield-as-good-a-quality-as-buying-the-mp" />
  <row Id="46064" PostHistoryTypeId="36" PostId="25941" RevisionGUID="1dc2ccdc-ce5c-40b9-82aa-9f75150a2e7c" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7035/will-ripping-my-old-90s-and-2000s-cds-yield-as-good-a-quality-as-buying-the-mp/7037#7037" />
  <row Id="46065" PostHistoryTypeId="2" PostId="25941" RevisionGUID="6e59a12f-21ae-494f-8bf6-41224b4ccc4d" CreationDate="2013-02-02T19:44:25.777" UserDisplayName="evilsoup" Text="You'll actually get arguably *better* quality from your CD.&#xD;&#xA;&#xD;&#xA;At best those MP3s will be encoded from the same masters as the CDs, except lossily compressed to MP3, while your CDs are uncompressed PCM audio. Any improvements to the production process - and AFAIK there haven't been any major improvements in quality at the professional level (take that with a pinch of salt, I'm mostly a video guy) since the 1990s - will therefore not affect the quality of the music.&#xD;&#xA;&#xD;&#xA;If you rip them to FLAC (or another lossless format), or even a better-than-MP3 lossy audio codec (Ogg Vorbis, AAC/M4A, Opus), then you will get better quality-per-bitrate than the MP3.&#xD;&#xA;&#xD;&#xA;That said, the MP3s you can buy online will pretty much all be 320kb/s, which is *almost* certainly indistinguishable from your CD. But it certainly won't be any better." ContentLicense="CC BY-SA 3.0" />
  <row Id="46066" PostHistoryTypeId="2" PostId="25940" RevisionGUID="2b7bbd17-df8f-47bd-abb7-539492e5d3ce" CreationDate="2013-02-02T17:36:22.177" UserDisplayName="oscilatingcretin" Text="I have a bunch of old CDs from 1990 and 2000 that I want to rip as MP3s to my computer.  I am not an audio buff, so perhaps this question is a bit irrelevant to my personal quality preferences, but has the production quality of music vastly improved over the past few decades where CDs are concerned?  In other words, would I get the same audio quality if I ripped an CD produced in the 90's at 320 kbps as an MP3 I purchase off some online music store at the same bitrate?  Yes, I know it depends on the source medium used by the online store, so I am only assuming that they use a high-quality source.&#xD;&#xA;&#xD;&#xA;And, no, by &quot;old CD&quot;, I do not mean scratched or scuffed.  I am merely talking about whether or not standards of production quality have improved enough to warrant purchasing the same music today as opposed to ripping older CDs." ContentLicense="CC BY-SA 3.0" />
  <row Id="46067" PostHistoryTypeId="1" PostId="25940" RevisionGUID="2b7bbd17-df8f-47bd-abb7-539492e5d3ce" CreationDate="2013-02-02T17:36:22.177" UserDisplayName="oscilatingcretin" Text="Will ripping my old 90's and 2000's CDs yield as good a quality as buying the MP3s today?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46068" PostHistoryTypeId="3" PostId="25940" RevisionGUID="2b7bbd17-df8f-47bd-abb7-539492e5d3ce" CreationDate="2013-02-02T17:36:22.177" UserDisplayName="oscilatingcretin" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46069" PostHistoryTypeId="36" PostId="25942" RevisionGUID="0197d39e-2e30-4d67-ba47-a0cd7a322ba6" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2136/how-can-i-convert-cubase-projects-to-something-more-portable-without-cubase" />
  <row Id="46070" PostHistoryTypeId="2" PostId="25943" RevisionGUID="b4f244c1-7d1d-4334-b7d0-9bd7d6993be1" CreationDate="2011-08-24T12:39:38.763" UserDisplayName="Greg Hendershott" Text="Although I haven't done this with Cubase as I don't use it, what should work in general is to open with a trial version then save to some other format.&#xD;&#xA;&#xD;&#xA;You could try using the [Cubase Elements 6 trial version][1] to open your old `.cpr` files and save as Standard MIDI Files `.mid`, which virtually anything can open.&#xD;&#xA;&#xD;&#xA;P.S. The reason I say Cubase *Elements* 6 because it looks like the trial version for &quot;big&quot; Cubase 6 requires you to purchase a USB copy protection dongle:&#xD;&#xA;&#xD;&#xA;&gt; Please note that you require a USB-eLicenser to activate the license&#xD;&#xA;&gt; and start Cubase 6 Trial. You may purchase a USB-eLicenser from our&#xD;&#xA;&gt; online shop or your local dealer (in case you already own a previous&#xD;&#xA;&gt; version of Cubase or another product with a USB-eLicenser, you may use&#xD;&#xA;&gt; this one instead).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.steinberg.net/en/products/cubase/trial_version.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="46071" PostHistoryTypeId="2" PostId="25942" RevisionGUID="a17960e2-55c5-42a6-84db-6cbb830dea1f" CreationDate="2011-08-17T20:27:34.270" UserDisplayName="at8eqeq3" Text="I have some tracks made with Cubase SX 2 some years ago. Now, I want to work on them a bit, but I have no Cubase and even no ability to install it. So, I'm looking for any software that can convert these *.cpr's to some more portable format (maybe midi, or lilypond, or gtp, or at least print the score sheets). Ideally, it should work on *nix-like OS.&#xD;&#xA;&#xD;&#xA;Is there something I'm looking for?&#xD;&#xA;&#xD;&#xA;Thanks for any help." ContentLicense="CC BY-SA 3.0" />
  <row Id="46072" PostHistoryTypeId="1" PostId="25942" RevisionGUID="a17960e2-55c5-42a6-84db-6cbb830dea1f" CreationDate="2011-08-17T20:27:34.270" UserDisplayName="at8eqeq3" Text="How can I convert Cubase projects to something more portable without Cubase?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46073" PostHistoryTypeId="3" PostId="25942" RevisionGUID="a17960e2-55c5-42a6-84db-6cbb830dea1f" CreationDate="2011-08-17T20:27:34.270" UserDisplayName="at8eqeq3" Text="&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46074" PostHistoryTypeId="36" PostId="25943" RevisionGUID="a0b8167f-6f88-4787-a28e-e24be6c45da4" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2136/how-can-i-convert-cubase-projects-to-something-more-portable-without-cubase/2200#2200" />
  <row Id="46075" PostHistoryTypeId="36" PostId="25944" RevisionGUID="9a008c4c-2706-4ac3-856b-8f05ac5f4d0f" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/624/how-do-mp3-encoders-compress-audio" />
  <row Id="46076" PostHistoryTypeId="36" PostId="25945" RevisionGUID="ea2c076f-39f9-43ba-acc4-b50b49b84a3e" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/624/how-do-mp3-encoders-compress-audio/627#627" />
  <row Id="46077" PostHistoryTypeId="36" PostId="25946" RevisionGUID="1649c51b-e8e7-47be-be01-36d901651a65" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/624/how-do-mp3-encoders-compress-audio/635#635" />
  <row Id="46078" PostHistoryTypeId="2" PostId="25945" RevisionGUID="ef16a366-add2-4880-9639-ae39fd0abd7a" CreationDate="2011-01-18T20:36:16.637" UserDisplayName="tobylane" Text="It throws out what we can't hear, to put it simply. To quote the Wikipedia article on MP3 &quot;It uses psychoacoustic models to discard or reduce precision of components less audible to human hearing, and then records the remaining information in an efficient manner.&quot; http://en.wikipedia.org/wiki/Psychoacoustics" ContentLicense="CC BY-SA 2.5" />
  <row Id="46079" PostHistoryTypeId="2" PostId="25946" RevisionGUID="02c961ec-9bc3-45b1-97c2-9883cd2e9630" CreationDate="2011-01-19T04:29:29.970" UserId="7209" Text="MPEG-1 Layer 3 is complex stuff.  I recommend starting your reading here:  http://oreilly.com/catalog/mp3/chapter/ch02.html&#xD;&#xA;&#xD;&#xA;Another resource that I found helpful to get started with is at:  http://www.mp3-tech.org/&#xD;&#xA;&#xD;&#xA;In a nutshell, MP3 encoding works by taking a frame (say, 576 samples, which is the smallest frame size for standard MP3) and making a spectral model of it.  Think of a spectrum analyzer showing you the current levels at various bands, only with a lot of bands.&#xD;&#xA;&#xD;&#xA;How it does this depends on the types of sound in that frame.  There are several psychoacoustic models used.  For example, masking can occur as louder sounds end up being much more prevalent than quieter ones.  Our ears tend to do this anyway, which is why MP3 often gets away with it if you aren't carefully listening.&#xD;&#xA;&#xD;&#xA;Frames with transients are set to the lowest number (576) of samples, and frames without them can be over a thousand samples.  (Less precision where it isn't needed.)&#xD;&#xA;&#xD;&#xA;As far as which frequencies are thrown out, yes a wide bandpass filter is applied to the sound before encoding.  Beyond that, the higher the bitrate generally, the better the frequency response.  You can see some graphs here:  http://www.mp3-tech.org/tests/pm/MP3-128k.htm  Note that the author of those pages was using program material, not test samples.  That's why the bass looks so high, but you can definitely see the high-end falloff.&#xD;&#xA;&#xD;&#xA;The artifact in MP3 that bugs my ears the most is pre-echo, or transient smear.  Basically, since the sample chunk is 576 at its lowest, the sound of attacks on cymbals and such is all sorts of messed up.  Even at 320kbit, the smallest frame is 576 samples.  To me, it's what really makes the difference between the original and the encoded version.  Most of the rest of the encoding loss, I can live with, at least at the higher bit rates.&#xD;&#xA;&#xD;&#xA;Also, many MP3 files are encoded in joint stereo.  In this mode, most of the bands are in mono, and a handful are left for the left and right channels, where necessary.  There are two ways this is done... intensity stereo, and mid/side.  You can read more here:  http://en.wikipedia.org/wiki/Joint_(audio_engineering)&#xD;&#xA;&#xD;&#xA;I hope this is helpful.  Please ask more questions if anything is unclear.  Also, I am no expert on this... I've just been researching it for awhile.  Please suggest corrections if I am wrong about anything." ContentLicense="CC BY-SA 2.5" />
  <row Id="46080" PostHistoryTypeId="2" PostId="25944" RevisionGUID="ae040b5b-e29e-4fe0-a7ba-e7e2b068a415" CreationDate="2011-01-18T19:44:30.177" UserId="6865" Text="I know they remove certain sounds, like extreme highs and lows, but how does this really work?&#xD;&#xA;&#xD;&#xA; - What information is decided to be thrown out? Is it just done by frequency and typical human hearing range?&#xD;&#xA;&#xD;&#xA; - Are other types of compression used, like redundancy removal? How do they work?&#xD;&#xA;&#xD;&#xA; - When the resulted file is produced, how are the sound waves encoded digitally? Is there a constant shape of the wave that's being recorded very precisely, or some other way of representing the sound digitally?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46081" PostHistoryTypeId="1" PostId="25944" RevisionGUID="ae040b5b-e29e-4fe0-a7ba-e7e2b068a415" CreationDate="2011-01-18T19:44:30.177" UserId="6865" Text="How do mp3 encoders compress audio?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46082" PostHistoryTypeId="3" PostId="25944" RevisionGUID="ae040b5b-e29e-4fe0-a7ba-e7e2b068a415" CreationDate="2011-01-18T19:44:30.177" UserId="6865" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46083" PostHistoryTypeId="36" PostId="25947" RevisionGUID="7f0bd345-4d6a-46c5-8731-a3a183ca34e8" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/735/when-should-i-trust-my-ears-over-the-phase-vector-lissajous-scope" />
  <row Id="46084" PostHistoryTypeId="36" PostId="25948" RevisionGUID="868f6434-05b8-4782-be8d-320d0d00a00c" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/735/when-should-i-trust-my-ears-over-the-phase-vector-lissajous-scope/736#736" />
  <row Id="46085" PostHistoryTypeId="2" PostId="25948" RevisionGUID="a8a50013-710d-4e13-ad83-1d6adc662763" CreationDate="2011-02-02T17:52:14.683" UserId="7294" UserDisplayName="Warrior Bob" Text="I generally say trust your ears unless you're introducing some kind of specific technical hurdle.&#xD;&#xA;&#xD;&#xA;So unless you know that you're going to run into technical issues, say, pressing vinyl, why not allow the out-of-phase components?  Especially if you think it sounds better with them?  And even if that is the case, maybe vinyl isn't the best format for representing the sound you like." ContentLicense="CC BY-SA 2.5" />
  <row Id="46086" PostHistoryTypeId="2" PostId="25949" RevisionGUID="ad63d1bf-b239-4be9-afa6-5102f583e0ae" CreationDate="2011-02-02T19:28:16.997" UserDisplayName="jlebre" Text="Yes, trust you ears but refer to these tools as much as possible.&#xD;&#xA;If in doubt, try doing some testing yourself: take to a car, headphones, poor quality &quot;media desktop speakers&quot; mashed up in the corner of the desk and see how they translate.&#xD;&#xA;&#xD;&#xA;And more important of all: mono compatibility! BBC still won't allow stuff that is not mono compatible to be played (guess they are still afraid of those folks with a pre 1900's tv or radio set which is mono AND are paying for the TV/Radio license :P)&#xD;&#xA;&#xD;&#xA;Don't forget if your track is supposed to play in lounges, clubs, etc chances are they'll be either downmixed to mono and matrixed or just plain separated throughout the venue. You  REALLY don't want your side guitars to disappear or worse - your vocals!&#xD;&#xA;&#xD;&#xA;To be honest I don't use PAZ much I tend to use the DK audio hardware designed for G+ consoles BUT that second one of yours seems WAY to narrow and your first one tilted to the right, with a lot of -phased material. &#xD;&#xA;&#xD;&#xA;This is what I mean about &quot;don't use PAZ&quot; (as in, I'm not used to interpret the data as shown) and use your ears/do some testing: &quot;It is a bit tricky to define when a signal is shown by the Stereo Position Display or heard by the ears as “out-of-phase”. This is not simply when the left and right channels happen to have opposite polarity at any given instant. Such a situation can happen if independent instruments are panned to different stereo positions, and it just happens, statistically, that the signal of each channel has opposite polarities. The meter will show a quick spike in the antiphase area. This can also happen if a stereo delay or reverb is applied to an instrument and the delays arrive to each channel at different time&quot; (from WAVES PAZ manual) very true but such a weird language used" ContentLicense="CC BY-SA 2.5" />
  <row Id="46087" PostHistoryTypeId="2" PostId="25947" RevisionGUID="7c8a33ae-e2f1-49d5-a966-99de30eb6e7f" CreationDate="2011-02-02T17:17:31.430" UserId="17859" UserDisplayName="daniel" Text="Let's say I have a sound I like. I start mixing down, and I see that it is all over the place on the phase-scope; that is, the signal looks like it has some significant out-of-phase components. I've been told this is a Bad Thing, especially if you want to get your track pressed on vinyl. &#xD;&#xA;&#xD;&#xA;![Phase scope is all over the place, but it sounds pretty nice.][1]&#xD;&#xA;&#xD;&#xA;OK, so I squeeze the channel's stereo signal until it's all in-phase. Now it sounds flat and dead. But at least now the phase analyzer looks sane, according to what I've been taught.&#xD;&#xA;&#xD;&#xA;![There we go, all fixed, but now it sounds dead.][2]&#xD;&#xA;&#xD;&#xA;My ears prefer the rich, wide sound I get when the phase scope shows 'too much' anti-phase (maybe I need a second opinion). How much anti-phase content is really bad for a track, and how do I figure out where the threshold is, especially if the wider version sounds better to me?&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/HDYh3.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/BmFCg.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="46088" PostHistoryTypeId="1" PostId="25947" RevisionGUID="7c8a33ae-e2f1-49d5-a966-99de30eb6e7f" CreationDate="2011-02-02T17:17:31.430" UserId="17859" UserDisplayName="daniel" Text="When should I trust my ears over the phase/vector/lissajous scope?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46089" PostHistoryTypeId="3" PostId="25947" RevisionGUID="7c8a33ae-e2f1-49d5-a966-99de30eb6e7f" CreationDate="2011-02-02T17:17:31.430" UserId="17859" UserDisplayName="daniel" Text="&lt;mixing&gt;&lt;stereo&gt;&lt;engineering&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46090" PostHistoryTypeId="36" PostId="25949" RevisionGUID="68693a33-6114-49aa-b0c9-05ae6d3f24bf" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/735/when-should-i-trust-my-ears-over-the-phase-vector-lissajous-scope/738#738" />
  <row Id="46091" PostHistoryTypeId="36" PostId="25950" RevisionGUID="2b0594df-11f2-40ca-8707-eddde838d6ef" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/735/when-should-i-trust-my-ears-over-the-phase-vector-lissajous-scope/2892#2892" />
  <row Id="46092" PostHistoryTypeId="2" PostId="25950" RevisionGUID="e5d50a8e-2f7b-43a3-a1ff-b8bcb1f7e48a" CreationDate="2011-12-23T18:41:51.430" UserId="9511" UserDisplayName="Johnny Bigoode" Text="[This](http://www.soundonsound.com/sos/apr08/articles/phasedemystified.htm) is relevant. &#xD;&#xA;&#xD;&#xA;Article on phase problem when recording. I know that the situation is completely different from what you've described, but the article talks about what is phase canceling, comb filtering and etc. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46093" PostHistoryTypeId="36" PostId="25951" RevisionGUID="e5979401-9532-48a8-966c-1648d76e380b" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9599/how-can-i-test-a-speaker-circuits-impedance" />
  <row Id="46094" PostHistoryTypeId="36" PostId="25952" RevisionGUID="5c377a29-8834-4e12-a39d-5379f25096e3" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9599/how-can-i-test-a-speaker-circuits-impedance/9600#9600" />
  <row Id="46095" PostHistoryTypeId="2" PostId="25952" RevisionGUID="0201c53b-e833-4763-8e83-35e91d016ea5" CreationDate="2013-12-08T17:51:53.383" UserId="7200" Text="You can't just measure the DC resistance, that's not relevant at all.&#xD;&#xA;&#xD;&#xA;The easiest way to measure some impedance is to send a standard 50 / 60 Hz sine signal to the speaker (e.g. produced by dangling an unshielded wire from the amplifier input&lt;sup&gt;1&lt;/sup&gt; and turning up the volume), and then measure both AC voltage parallel to the speaker and AC current in series, which at mains frequency any multimeter should be able to do. The impedance (more precisely, its magnitude) at that frequency is the ratio _U_ / _I_.&#xD;&#xA;&#xD;&#xA;However, using only a single frequency isn't really reliable. You might well obtain a much higher result than you should, since the nominal impendace is basically just the _minimum_ of the frequency-dependant impedance. To do it properly, you therefore need a function generator (any PC with suitable software will do) and a multimeter that allows for AC measurements over the entire audible range. The measurement itself remains the same: supply a signal (varying frequency sine) from the amp, and measure voltage in parallel and current in series.&#xD;&#xA;&#xD;&#xA;See [the Wikipedia article](http://en.wikipedia.org/wiki/Electrical_characteristics_of_dynamic_loudspeakers) for more information.&#xD;&#xA;&#xD;&#xA;&lt;hr&gt;&#xD;&#xA;&lt;sup&gt;1&lt;/sup&gt;You might need a preamp for this. Needless to say, an improvised mains antenna offers _horrible_ signal quality, you might actually get more of some higher harmonic than the fundamental frequency." ContentLicense="CC BY-SA 3.0" />
  <row Id="46096" PostHistoryTypeId="2" PostId="25951" RevisionGUID="a947fdfe-c560-4dcf-93ee-96f5f4a57343" CreationDate="2013-12-08T16:54:35.047" UserId="7856" UserDisplayName="Corey" Text="How can I test a speaker circuit's impedance?&#xD;&#xA;&#xD;&#xA;I am working on a circuit that has 2 ceiling speakers and 1 book shelf type speaker. I only have a single pair coming back to the amplifier. I am assuming that all speakers are 8 ohm and wired in parallel. That would give me an impedance of 2.6 ohms.&#xD;&#xA;&#xD;&#xA;Can I use multimeter to verify my assumption?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46097" PostHistoryTypeId="1" PostId="25951" RevisionGUID="a947fdfe-c560-4dcf-93ee-96f5f4a57343" CreationDate="2013-12-08T16:54:35.047" UserId="7856" UserDisplayName="Corey" Text="How can I test a speaker circuit's impedance?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46098" PostHistoryTypeId="3" PostId="25951" RevisionGUID="a947fdfe-c560-4dcf-93ee-96f5f4a57343" CreationDate="2013-12-08T16:54:35.047" UserId="7856" UserDisplayName="Corey" Text="&lt;speakers&gt;&lt;impedance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46099" PostHistoryTypeId="36" PostId="25953" RevisionGUID="5f5e373e-3f9d-4490-9e0d-e0d854023740" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9124/what-are-the-differences-between-budget-and-more-expensive-hardware-compressors" />
  <row Id="46100" PostHistoryTypeId="36" PostId="25954" RevisionGUID="a97688ac-b978-4b80-ae3b-5550d152841f" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9124/what-are-the-differences-between-budget-and-more-expensive-hardware-compressors/9133#9133" />
  <row Id="46101" PostHistoryTypeId="2" PostId="25954" RevisionGUID="50e19f3b-e036-40c7-823e-53916307d9dd" CreationDate="2013-10-07T13:55:56.907" UserId="7174" Text="There are any number of possible reasons.  It could be lower noise, it could have a softer feel to activation of the compressor.  It may be able to activate the compression more quickly.  It may simply be better marketing allowing for a higher price based on brand.  You'd really have to compare the specific models to see the differences." ContentLicense="CC BY-SA 3.0" />
  <row Id="46102" PostHistoryTypeId="2" PostId="25955" RevisionGUID="bb9ab561-0801-4a68-ae8a-6e598d5ba49d" CreationDate="2013-11-07T02:52:53.633" UserId="7225" Text="The main difference lays in the DAC/ACD chips. The better resolution, dynamic range and precision, or short: quality, they have the more expensive they tend to be.&#xD;&#xA;&#xD;&#xA;Two 24-bit ADC/DACs do not necessarily produce the same results. Their dynamic range could be a mile apart.&#xD;&#xA;&#xD;&#xA;In addition (or only if the chain is 100% digital) comes how the signal is processed and at what bit precision. The higher bit-resolution (ie. 24 and 32 bits or if it uses floating points) will require a better fit processor with higher capability (or an additional floating-point math co-processor, FPU) as well as more memory.&#xD;&#xA;&#xD;&#xA;Then there is a third factor, the quality of the electronic components themselves such as tolerance values and so forth. The better quality these components has the higher the price will be.&#xD;&#xA;&#xD;&#xA;As an alternative to physical compressor you could also consider a software compressor for a DAW. There are many good ones which do the same fine job as a physical digital compressor.&#xD;&#xA;&#xD;&#xA;However, some argue that analogue compressors combined with analogue tape/over-saturation gives the best result." ContentLicense="CC BY-SA 3.0" />
  <row Id="46103" PostHistoryTypeId="2" PostId="25953" RevisionGUID="3e4a1f4b-3e78-4e0c-aa3c-0840f80b0c50" CreationDate="2013-10-05T01:17:15.753" UserId="7206" Text="I'm think about getting a compressor and I heard that Alesis makes one popular compressor for electronic music. I'm informed that the prices can differ much, so I wonder what is the difference between a 200 USD compressor and a 1500 USB compressor? If you want to hear what music I'm planning to use it with it's http://www.soundcloud.com/niklasr&#xD;&#xA;&#xD;&#xA;I firstly plan to add compression to the bass drums of my techno. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46104" PostHistoryTypeId="1" PostId="25953" RevisionGUID="3e4a1f4b-3e78-4e0c-aa3c-0840f80b0c50" CreationDate="2013-10-05T01:17:15.753" UserId="7206" Text="What are the differences between budget and more expensive hardware compressors?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46105" PostHistoryTypeId="3" PostId="25953" RevisionGUID="3e4a1f4b-3e78-4e0c-aa3c-0840f80b0c50" CreationDate="2013-10-05T01:17:15.753" UserId="7206" Text="&lt;mixing&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46106" PostHistoryTypeId="36" PostId="25955" RevisionGUID="ac5f9b41-9883-42da-ad86-07cf9b557f88" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9124/what-are-the-differences-between-budget-and-more-expensive-hardware-compressors/9333#9333" />
  <row Id="46107" PostHistoryTypeId="36" PostId="25956" RevisionGUID="a51aeded-2649-4d96-b36a-40b053f161c4" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4308/batch-processing-strip-channel" />
  <row Id="46108" PostHistoryTypeId="36" PostId="25957" RevisionGUID="64f811b9-b7e8-4fdc-ac18-29bf8debd6a6" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4308/batch-processing-strip-channel/4337#4337" />
  <row Id="46109" PostHistoryTypeId="2" PostId="25957" RevisionGUID="9ab5c8a3-e089-4fab-8146-e0e8ef86c27b" CreationDate="2012-07-02T15:14:41.170" UserId="7277" UserDisplayName="Boris Ivanov" Text="Use ffmpeg&#xD;&#xA;&#xD;&#xA;If you want to mute the first channel and keep the second:&#xD;&#xA;&#xD;&#xA;	&#xD;&#xA;ffmpeg -i INPUT -map_channel -1 -map_channel 0.0.1 OUTPUT&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46110" PostHistoryTypeId="2" PostId="25956" RevisionGUID="707fbe5b-c13c-44f0-94d5-a907824383bb" CreationDate="2012-06-28T10:49:44.957" UserDisplayName="Arkaaito" Text="I'm using Audacity to process some short audio clips - about 300 of them (!!!), so I'd really rather not repeat my steps manually for each one.&#xD;&#xA;&#xD;&#xA;However, I can't seem to find a way to create a chain which includes the &quot;split stereo track &amp; discard right channel&quot; step. I'm at my wits' end; is there any way to do this? If not, is there another program that would let me do this in an automated fashion?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46111" PostHistoryTypeId="1" PostId="25956" RevisionGUID="707fbe5b-c13c-44f0-94d5-a907824383bb" CreationDate="2012-06-28T10:49:44.957" UserDisplayName="Arkaaito" Text="Batch processing: strip channel" ContentLicense="CC BY-SA 3.0" />
  <row Id="46112" PostHistoryTypeId="3" PostId="25956" RevisionGUID="707fbe5b-c13c-44f0-94d5-a907824383bb" CreationDate="2012-06-28T10:49:44.957" UserDisplayName="Arkaaito" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46113" PostHistoryTypeId="36" PostId="25958" RevisionGUID="782644ac-489c-4812-a929-f8a043508b5e" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1495/general-idea-of-mixing-mono-mixing-and-stereo-mixing" />
  <row Id="46114" PostHistoryTypeId="36" PostId="25959" RevisionGUID="85211e0b-45c6-4f62-9a49-3c2dbfacafb7" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1495/general-idea-of-mixing-mono-mixing-and-stereo-mixing/1499#1499" />
  <row Id="46115" PostHistoryTypeId="2" PostId="25959" RevisionGUID="8ec478d8-b0f9-4e11-957c-554cef164a7d" CreationDate="2011-05-30T20:30:40.113" UserDisplayName="Kim Burgaard" Text="Mixing Basics&#xD;&#xA;-------------&#xD;&#xA;&#xD;&#xA;Mixing usually means combining multiple audio channels with a fader or potentiometer for each channel that lets you determine the channel's sound level in the overall result.&#xD;&#xA;&#xD;&#xA;In the simplest form, each input channel is a mono channel and the output is single channel too. You can think of each input as a pipe with a valve, and the output as a drain beneath the valves that collects all the water.&#xD;&#xA;&#xD;&#xA;Many sound sources are typically fed to the mixer as mono sources--vocals, guitars, bass, individually miked drums on a drum kit. Other sound sources are typically recorded in stereo, such as a pair of drum kit overhead microphones, a synthesizer that delivers stereo output, samples of existing recordings, etc. So a typical mixer will usually support both mono input channels and stereo input channels. In both cases, each channel will usually feature a pan pot (panoramic potentiometer) in addition to the fader that lets you determine how much of the input that is sent to the left or right channel. This can either be used to mimic the physical placement of the instruments and vocalists (e.g. vocal and bass center, piano slightly to the right, guitar slightly to the left), or to create sound effects (e.g. doubling a vocal take and panning each take hard left and right for a richer sound).&#xD;&#xA;&#xD;&#xA;When you mix live sound, the sound source for each channel strip will come from the stage--microphones, instruments, etc. plugged into the mixer unit, and the output will be sent to the main speakers in the venue. When you mix and produce recorded audio, the input for each channel strip will typically come from one or more multi-track recordings.&#xD;&#xA;&#xD;&#xA;Mixer Layout&#xD;&#xA;------------&#xD;&#xA;&#xD;&#xA;Physical mixers are usually organized as a series of vertical strips, where each strip represents an input channel. You will typically find the above mentioned fader and pan pot, as well as basic tone or equalizer controls. More advanced mixers will also let you either insert effect units or send input to external effect units. To come back to the water pipe analogy, the raw sound input enters the top of the channel strip, then passes through sound effect units and tone control, is split into stereo through the pan pot, and is finally blended into the overall mix through the channel fader.&#xD;&#xA;&#xD;&#xA;Advanced mixers often let you group mixes on so-called busses. There are many more variations and concepts like this, but the channel strip with the fader and the pan pot are the basic concepts you need to understand when we talk about mixing audio.&#xD;&#xA;&#xD;&#xA;Many software packages mimic the layout and terminology of physical mixer units.&#xD;&#xA;&#xD;&#xA;Advanced physical mixers and software mixers often feature automated mixer controls. If you want to gradually pan an input channel from left to right, then you can record the movement of the controller so that it is automatically played back when the final mix is made. This way, a mix can be shaped and sculpted in very great detail by adding more and more recorded mixer control changes.&#xD;&#xA;&#xD;&#xA;The Art of Mixing&#xD;&#xA;-----------------&#xD;&#xA;&#xD;&#xA;The mixing engineer and producer usually have several goals with the mixing process. For example, if producing a hard rock song, the mix will probably feature prominent electric guitars and drums with a punchy sound. At the basic level, this means the faders with the electric guitars and the drums are pushed a little higher to make them a little louder in the overall sound picture, or conversely pushing all the other faders a little lower. At a more basic level, the mixing engineer and producer will usually try to make sure the overall sound is balanced--no one instrument or vocal drowns out the other instruments and the mix feels not too deep and rumbly or too thin and scratchy. Some of this is achieved by fading input channels up and down--e.g. increasing the bass channel will make the overall mix more bass-heavy--but tone controls and effect units are also used to shape the sound.&#xD;&#xA;&#xD;&#xA;Even when limited to just faders, pan pot and tone controls, it's difficult to come up with hard and fast rules about mixing. The number of possible combinations and variations quickly skyrocket and the perception of a good or bad mix is highly subjective, and changes with trends in popular music all the time. Even the sound of classical recordings have changed dramatically over the decades as recording, mixing and playback equipment has improved, and not just because of the technological improvements. And then there are experiments where an artist or producer deliberately breaks away from the norm in order to achieve a certain artistic effect.&#xD;&#xA;&#xD;&#xA;There are a number of ways you can learn more about mixing, either through audio engineering classes, apprenticeships, or through trial and error, but common to all of them is that you need to be willing to spend the time. I've found that trying to mimic the sound to be a fairly long, but ultimately rewarding process. Identify records and songs that you like, not for the song itself, but for the way it *sounds*. Then try to second guess how the mixing engineer and producer arrived at that sound. Some things will be fairly obvious, but a lot will be very subtle and, to a large degree, subject to your material, which of course differs from the original artists material. If you had the chance later on to learn what the producer actually did, you might find it was something entirely else. But the goal isn't to produce copies of other people's work. The point is that you'll learn a lot, and possibly develop your own style along the way.&#xD;&#xA;&#xD;&#xA;Further Reading&#xD;&#xA;---------------&#xD;&#xA;&#xD;&#xA;See also http://audio.stackexchange.com/questions/763/general-rules-for-panning/764#764, http://audio.stackexchange.com/q/268/13, http://audio.stackexchange.com/q/53/13. For more questions and answers related to mixing, follow the [mixing tag][1]. Feel free to raise more specific questions if you can't find questions and answers that already cover any follow-up questions you might have.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audio.stackexchange.com/questions/tagged/mixing" ContentLicense="CC BY-SA 3.0" />
  <row Id="46116" PostHistoryTypeId="2" PostId="25958" RevisionGUID="d9e275c9-c6c8-4304-8ccc-bb1170eb1eb7" CreationDate="2011-05-30T16:13:36.227" UserId="11171" UserDisplayName="Tim" Text="I am ignorant to audio recording and production. I was wondering if someone could give some general idea about mixing, mono mixing and stereo mixing? I have little idea what they are even after googling. Links and references will be fine too.&#xD;&#xA;&#xD;&#xA;Thanks and regards!" ContentLicense="CC BY-SA 3.0" />
  <row Id="46117" PostHistoryTypeId="1" PostId="25958" RevisionGUID="d9e275c9-c6c8-4304-8ccc-bb1170eb1eb7" CreationDate="2011-05-30T16:13:36.227" UserId="11171" UserDisplayName="Tim" Text="General idea of mixing, mono mixing and stereo mixing" ContentLicense="CC BY-SA 3.0" />
  <row Id="46118" PostHistoryTypeId="3" PostId="25958" RevisionGUID="d9e275c9-c6c8-4304-8ccc-bb1170eb1eb7" CreationDate="2011-05-30T16:13:36.227" UserId="11171" UserDisplayName="Tim" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46119" PostHistoryTypeId="36" PostId="25960" RevisionGUID="60a2c376-6b37-48e6-b6fb-956119304568" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2365/whats-a-semi-objective-way-to-evaluate-a-live-audio-setup-for-a-small-medium-si" />
  <row Id="46120" PostHistoryTypeId="2" PostId="25961" RevisionGUID="b1ce11c5-f436-4480-98b2-243239c67f39" CreationDate="2011-09-26T15:00:13.623" UserId="7016" Text="The good thing is that style of music is not necessarily that important. Generally (and this is a generalisation) you want your PA to provide amplification without affecting the sound, with EQ to carry out tweaks to compensate for the frequency response of the venue. Any effects  on instruments or vocals should be carried out using processors separate to these, so you can define your sound once no matter where you play. Admittedly, for loud club beats, you need something that can cope with driving bass cabs with some power.&#xD;&#xA;&#xD;&#xA;That said, I have run rock, metal and blues bands through everything from a 300Watt PA to a 12kW system and I would say the important thing is to look at your biggest expected gig and budget for a PA that will not need to be turned up above 6 or so. &#xD;&#xA;&#xD;&#xA;For a coffee shop you could be just fine with a 100 Watt PA with &gt;6 inputs - you would want your keys and electric guitar to go through it, plus vocals, but acoustic guitars and drums will be loud enough on their own.&#xD;&#xA;&#xD;&#xA;For a bigger venue you will probably want to mic your acoustic guitars (or add piezo pickups), and maybe some of your drums/cymbals so you might more inputs, and something like a 300 watt PA should have headroom for the sizes of gigs you are talking about. &#xD;&#xA;&#xD;&#xA;Budget for a mixing desk/EQ so you can cut feedback frequencies and tweak response.&#xD;&#xA;&#xD;&#xA;For speakers, get a set with a separate bass from the mids and highs for clarity - if you don't the bass response can impact higher frequencies quite badly." ContentLicense="CC BY-SA 3.0" />
  <row Id="46121" PostHistoryTypeId="2" PostId="25960" RevisionGUID="8fe9e7d0-ef2c-4369-82b2-12d4c8c7a6c1" CreationDate="2011-09-23T01:20:41.787" UserDisplayName="Brandon Linton" Text="So I'm hoping this is &quot;answerable&quot; :)  We are a small band (two vocals, two acoustics, keys, sometimes an electric guitar, sometimes drums).  Stopping by a Guitar Center there was a lot to look at, but it was hard to get an objective measure to evaluate against cost.&#xD;&#xA;&#xD;&#xA;For example, is there a rule of thumb for speaker size for musical style?  How many watts should we be looking at (i.e., is it based on size of audience)?&#xD;&#xA;&#xD;&#xA;We are thinking:&#xD;&#xA;&#xD;&#xA; 1. Two powered mains&#xD;&#xA; 2. Two powered monitors&#xD;&#xA; 3. A mixing board with a good number of inputs (say 10)&#xD;&#xA;&#xD;&#xA;I'd love to hear recommendations of what equipment people love, but we also really just need some metrics to judge speakers against apart from just listening to them.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;EDIT:  Here's some more helpful info:&#xD;&#xA;&#xD;&#xA; - **Budget** - Roughly $2,000-$2,500 &#xD;&#xA; - **Venues** - Currently of the large&#xD;&#xA;   coffee-house variety, but would like something versatile enough to&#xD;&#xA;   take to maybe a small-medium sized concert hall or even a small&#xD;&#xA;   outdoor thing (maybe 100-150 people)&#xD;&#xA; - **Style** - somewhere in between folk, rock and blues&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46122" PostHistoryTypeId="1" PostId="25960" RevisionGUID="8fe9e7d0-ef2c-4369-82b2-12d4c8c7a6c1" CreationDate="2011-09-23T01:20:41.787" UserDisplayName="Brandon Linton" Text="What's a semi-objective way to evaluate a live audio setup for a small-medium sized acoustic band?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46123" PostHistoryTypeId="3" PostId="25960" RevisionGUID="8fe9e7d0-ef2c-4369-82b2-12d4c8c7a6c1" CreationDate="2011-09-23T01:20:41.787" UserDisplayName="Brandon Linton" Text="&lt;live&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46124" PostHistoryTypeId="36" PostId="25961" RevisionGUID="20f54cfd-c1f4-44b7-8471-6b59ffda6f9d" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2365/whats-a-semi-objective-way-to-evaluate-a-live-audio-setup-for-a-small-medium-si/2379#2379" />
  <row Id="46125" PostHistoryTypeId="36" PostId="25962" RevisionGUID="cee2498e-bff6-49eb-befa-fd099ed65927" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1174/how-can-i-change-the-master-bpm-in-my-song-without-stretching-the-recorded-wav-f" />
  <row Id="46126" PostHistoryTypeId="36" PostId="25963" RevisionGUID="eaa0c55b-8ba8-41b5-9080-719521588e36" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1174/how-can-i-change-the-master-bpm-in-my-song-without-stretching-the-recorded-wav-f/1176#1176" />
  <row Id="46127" PostHistoryTypeId="36" PostId="25964" RevisionGUID="ae996980-757e-4eb1-abef-8e26fff627de" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1174/how-can-i-change-the-master-bpm-in-my-song-without-stretching-the-recorded-wav-f/1182#1182" />
  <row Id="46128" PostHistoryTypeId="2" PostId="25963" RevisionGUID="f9a11dc5-f25a-43ab-a94d-a92d74b5dcc6" CreationDate="2011-04-14T22:33:11.997" UserId="7294" UserDisplayName="Warrior Bob" Text="Turn off warping for those clips that you recorded into, now they'll play at their original rate regardless of the project's tempo.  You can now tap the tempo in to figure out what it is, and then go into those clips and set that as their base tempo.  At this point, you can re-enable warping and the tracks should be playing at the same rate as before, since their base tempo matches the project's tempo.&#xD;&#xA;&#xD;&#xA;However, if you're using the Complex or Complex Pro warping algorithms, keep in mind that the sound will still be slightly different than the original recording, even with those tempos matched.  The other warping modes do not exhibit this behavior: if the tempos match, it's sample-accurate.&#xD;&#xA;&#xD;&#xA;This is described in an appendix in the Ableton Live manual, which I don't have in front of me at the moment." ContentLicense="CC BY-SA 3.0" />
  <row Id="46129" PostHistoryTypeId="2" PostId="25964" RevisionGUID="df2ed1cb-c960-44d3-af4e-80f9d6f293f4" CreationDate="2011-04-16T04:29:44.330" UserId="457" Text="Click on the clip in your `Arrangement View`, and at the bottom right you'll see the name of the clip in a small box.  To the left of that box is a tiny picture of the clip's waveform, in a box the same height (this is the `Clip Overview`).  Click on the clip overview, and options for the clip will be in the area just above it.  Under the `Sample` options there is a button named `Warp`.  Make sure it is not active, and you're all set.![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/x9ZSf.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="46130" PostHistoryTypeId="2" PostId="25962" RevisionGUID="a1b51dd6-5c12-4cbe-98a7-9d92843c9265" CreationDate="2011-04-14T19:34:03.347" UserDisplayName="user750" Text="I am using Ableton live 8. I just recorded three tracks of live audio (vocals and guitar) and did not pay attention to the BPM of the song. Now I would like to tap the correct BPM without stretching the wav files or modifying them in any way.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46131" PostHistoryTypeId="1" PostId="25962" RevisionGUID="a1b51dd6-5c12-4cbe-98a7-9d92843c9265" CreationDate="2011-04-14T19:34:03.347" UserDisplayName="user750" Text="How can I change the master BPM in my song without stretching the recorded wav files?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46132" PostHistoryTypeId="3" PostId="25962" RevisionGUID="a1b51dd6-5c12-4cbe-98a7-9d92843c9265" CreationDate="2011-04-14T19:34:03.347" UserDisplayName="user750" Text="&lt;ableton&gt;&lt;ableton-live&gt;&lt;timecode&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46133" PostHistoryTypeId="36" PostId="25965" RevisionGUID="392661b3-bcd9-4ec3-959b-47b6fa8f7977" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/722/is-source-bit-depth-sampling-rate-relevant-for-mp3-conversion" />
  <row Id="46134" PostHistoryTypeId="2" PostId="25966" RevisionGUID="cd617a42-3cb9-42f6-8cd5-207272d6408d" CreationDate="2011-01-31T13:36:03.740" UserId="7202" Text="It is highly unlikely there will be any audible difference. The audio quality of an mp3 file is decided by it's bit rate and how good the encoder is. &#xD;&#xA;&#xD;&#xA;In almost all cases you want to do as few re-samplings as possible, as it is a bit like making a copy in the analog world. In the case of mp3s, if you have a 96Khz source it has to be re-sampled to either 44.1 or 48Khz, as mp3 doesn't support 96kHz. A good decoder will probably not have to re-sample the bit rate before encoding, but that extra information will instead be thrown away during the encoding to make the data fit in the mp3 bit rate.&#xD;&#xA;&#xD;&#xA;If there is an audible difference it's in that case because the decoder you use are bad at changing the sampling frequency from 96kHz to 44.1. In that case you might want to change the mp3 file to use 48kHz instead. But with modern encoders I find that unlikely as well. But should this be the case, re-sampling it to 44.1 or 48kHz in a program that does such re-samplings well could be an option. Re-sampling to 16bit from 24 shouldn't make a difference assuming your sources peak volume is reasonably close to max.&#xD;&#xA;&#xD;&#xA;Should the peak level be *extremely* low, you may lose information that the mp3 encoding otherwise might have kept if you used the 24 bit source. But for that to happen I expect you would have to have a peak volume that is around 8 bits lower than max, which means that you could raise the volume 256 times (or 48db), which seems unlikely.&#xD;&#xA;&#xD;&#xA;In the end though, all you can do is test both, and have a friend make a double blind test with you. :-) But if that doesn't work, just use the original source without re-encoding it first. It's likely to give the best results.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46135" PostHistoryTypeId="2" PostId="25965" RevisionGUID="98998cfd-8057-4809-8af5-e9a42c4be575" CreationDate="2011-01-31T13:00:27.297" UserDisplayName="Tim Pietzcker" Text="Will an MP3 file, encoded from a 16-bit, 44.1 kHz source sound better or worse than an MP3 file, encoded with identical settings, but from a 24-bit, 96 kHz source? Or will there be no audible difference?&#xD;&#xA;&#xD;&#xA;I'm asking because obviously there is much more raw data to be compressed in the high-quality sample, so perhaps there's more compression artefacting to be expected than when converting from a well-downsampled source? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46136" PostHistoryTypeId="1" PostId="25965" RevisionGUID="98998cfd-8057-4809-8af5-e9a42c4be575" CreationDate="2011-01-31T13:00:27.297" UserDisplayName="Tim Pietzcker" Text="Is source bit depth/sampling rate relevant for mp3 conversion?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46137" PostHistoryTypeId="3" PostId="25965" RevisionGUID="98998cfd-8057-4809-8af5-e9a42c4be575" CreationDate="2011-01-31T13:00:27.297" UserDisplayName="Tim Pietzcker" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46138" PostHistoryTypeId="36" PostId="25966" RevisionGUID="9814382b-8943-4ada-9cbe-d84c152eda40" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/722/is-source-bit-depth-sampling-rate-relevant-for-mp3-conversion/723#723" />
  <row Id="46139" PostHistoryTypeId="36" PostId="25967" RevisionGUID="1b8dac34-61d3-42f1-a253-a029c4ed3ab3" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/722/is-source-bit-depth-sampling-rate-relevant-for-mp3-conversion/732#732" />
  <row Id="46140" PostHistoryTypeId="2" PostId="25967" RevisionGUID="e0d3fc0b-dcda-413b-88c5-120ebe368e58" CreationDate="2011-02-02T13:24:12.003" UserId="7592" UserDisplayName="Pelle ten Cate" Text="My personal experience: never let your MP3 encoder do any SRC (sample rate conversion) or truncation of bit resolution unless you are sure it is the best tool for that job. If you have better tools available for that purpose, use them. A good MPEG encoder doesn't necessarily mean a good sample rate converter.&#xD;&#xA;&#xD;&#xA;One of the most valuable web sites I came across is http://src.infinitewave.ca/, which gives a very thorough comparison of sample rate converters. You can see that many DAWs are not as good as you expect them to be, and that the quality of a sample rate conversion is not always related to the price you pay for a product. I always use [SoX](http://sox.sourceforge.net/) to do my sample rate conversions.&#xD;&#xA;&#xD;&#xA;So first dither, truncate and transcode, and then do the MPEG encoding on the result." ContentLicense="CC BY-SA 2.5" />
  <row Id="46141" PostHistoryTypeId="36" PostId="25968" RevisionGUID="a19b7170-458f-499b-b023-a88e7c1cf6ef" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1386/what-is-a-good-mastering-chain-to-use-in-a-daw" />
  <row Id="46142" PostHistoryTypeId="36" PostId="25969" RevisionGUID="97bfe12a-1069-42b2-a60b-268e08f20de7" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1386/what-is-a-good-mastering-chain-to-use-in-a-daw/1388#1388" />
  <row Id="46143" PostHistoryTypeId="36" PostId="25970" RevisionGUID="32105d7d-e396-409e-aeed-b7faec4f477c" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1386/what-is-a-good-mastering-chain-to-use-in-a-daw/1467#1467" />
  <row Id="46144" PostHistoryTypeId="36" PostId="25971" RevisionGUID="91ebab35-3307-44a6-a050-9e36ec728b0e" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1386/what-is-a-good-mastering-chain-to-use-in-a-daw/1604#1604" />
  <row Id="46145" PostHistoryTypeId="2" PostId="25969" RevisionGUID="9db262a1-7fb0-4e1d-9d43-071e5316e263" CreationDate="2011-05-09T21:28:54.050" UserId="319" Text="I'm no pro, but this is what I do:&#xD;&#xA;&#xD;&#xA;EQ&#xD;&#xA;&#xD;&#xA;Compressor&#xD;&#xA;&#xD;&#xA;Limiter&#xD;&#xA;&#xD;&#xA;No reverb, maybe some saturation, such as decapitator, but probably not.  Wish I had some better mastering plugs, but I just use the built in Logic Pro stuff.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46146" PostHistoryTypeId="2" PostId="25970" RevisionGUID="f5e123c5-cce8-4732-930f-5fdc03b9f3ae" CreationDate="2011-05-25T15:06:36.577" UserDisplayName="kristoffer" Text="ozone 4 is good and it almost free and maybe a better EQ and you have a good setup" ContentLicense="CC BY-SA 3.0" />
  <row Id="46147" PostHistoryTypeId="2" PostId="25971" RevisionGUID="c6ceb6ca-3949-4724-9ea7-e6e2a0f4dc57" CreationDate="2011-06-16T16:54:59.950" UserDisplayName="phasetransitions" Text="Mark,&#xD;&#xA;&#xD;&#xA;While &quot;sims&quot; in your comments is correct that it does depend on the source material, and I've never met two professional mastering engineers with the same signal paths, I will give a shot at trying to answer your question based on my own mastering work.&#xD;&#xA;&#xD;&#xA;Generally my chain ends up in blocks, in the following order, though *any* block may be in or out at any given time:&#xD;&#xA;&#xD;&#xA;1. Minimum Phase EQ&#xD;&#xA;2. Linear Phase dynamics Pre EQ&#xD;&#xA;3. Dynamics blocks&#xD;&#xA;4. Linear Phase EQ - post dynamics&#xD;&#xA;5. Ambience&#xD;&#xA;6. Stereo width&#xD;&#xA;8. Final eq&#xD;&#xA;9. Limiting&#xD;&#xA;&#xD;&#xA;I also tend to use a good amount of mid-side processing ([see my blog for a long primer on mid-side][1])&#xD;&#xA;&#xD;&#xA;**To answer your specific questions:**&#xD;&#xA;&#xD;&#xA;a) I'll use eq where ever I feel like it, and almost always on either side of my dynamics to pre and post shape the audio into the dynamics to get them to do what I desire.&#xD;&#xA;&#xD;&#xA;b) I tend to use multi-band compression as little as possible. Generally the better the incoming mix, the less I use. Multiband can be a useful bandaid for poor mix balance, but it's not a substitute for mixing chops.  My most common use of multiband is typically a single band to fix a specific problem. For instance, if there is a particular frequency band that needs a lot of eq to fix balance issues, sometimes a multiband before that eq will smooth the band enough to make the eq correction less apparent.&#xD;&#xA;&#xD;&#xA;c) Ambience with a reverb or delay is a rare, but sometimes used item. More common is tailored dynamics to shape the ambience in the original recording.&#xD;&#xA;&#xD;&#xA;d) When I find a tape plugin that I like, then maybe.&#xD;&#xA;&#xD;&#xA;e) I don't use a level metering plugin. First, many of the don't correctly apply a reconstruction filter, and therefore useless for detecting intersample overs. Second, because of the phase shift near nyquist in some implementations of the various lossy codecs that people use almost exclusively to listen to music, the final peak levels of the wav/aiff will not correlate to the final peak levels of the mp3/aac. Almost inevitably you have to print the lossless file a little lower in level, convert it, and then look for intersample overs in the resulting file, and adjust the print level of the final product to give as much as possible without those intersample overs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.passbandllc.com/2011/02/mid-side/" ContentLicense="CC BY-SA 3.0" />
  <row Id="46148" PostHistoryTypeId="2" PostId="25968" RevisionGUID="7d9ac07a-860c-43ce-96fa-8b3fcd683092" CreationDate="2011-05-09T16:38:00.400" UserId="7471" UserDisplayName="Mark Heath" Text="I realise that there is no one 'correct' answer to this (so maybe this can be marked community wiki), but as a hobbyist with a small home studio I would be interested to hear how others set up their mastering chains within their DAW to finish off recordings, along with the rationale behind it. Links to plugins are appreciated.&#xD;&#xA;&#xD;&#xA;My current setup tends to consist of a multiband compressor ([Sonitus multiband][1] or [ReaXComp][2]) followed by a limiter ([Kjaerhus Classic Master Limiter][3] or [Yohng W1][4]).&#xD;&#xA;&#xD;&#xA;The kind of things I am interested in:&#xD;&#xA;&#xD;&#xA; - Do you include EQ, and if so, where in the chain?&#xD;&#xA; - If you use multi-band compression, how many bands do you typically use?&#xD;&#xA; - Do you add reverb?&#xD;&#xA; - Do you use any analogue/tape saturation simulation plugins?&#xD;&#xA; - Do you use any metering plugins and if so, how do they help?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cakewalk.com/support/kb/reader.aspx/2007013063&#xD;&#xA;  [2]: http://www.reaper.fm/reaplugs/&#xD;&#xA;  [3]: http://www.kvraudio.com/db/classic_master_limiter_by_kjaerhus_audio&#xD;&#xA;  [4]: http://www.yohng.com/software/w1limit.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="46149" PostHistoryTypeId="1" PostId="25968" RevisionGUID="7d9ac07a-860c-43ce-96fa-8b3fcd683092" CreationDate="2011-05-09T16:38:00.400" UserId="7471" UserDisplayName="Mark Heath" Text="What is a good mastering chain to use in a DAW?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46150" PostHistoryTypeId="3" PostId="25968" RevisionGUID="7d9ac07a-860c-43ce-96fa-8b3fcd683092" CreationDate="2011-05-09T16:38:00.400" UserId="7471" UserDisplayName="Mark Heath" Text="&lt;daw&gt;&lt;plugins&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46151" PostHistoryTypeId="36" PostId="25972" RevisionGUID="ecd9c8b4-7493-4b69-b7b6-fcf41c6e9d04" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/150/gradual-pitch-correction" />
  <row Id="46152" PostHistoryTypeId="2" PostId="25973" RevisionGUID="39bc4b82-27ee-4a87-983f-6ed79c0a4925" CreationDate="2010-12-08T20:44:28.787" UserId="7592" UserDisplayName="Pelle ten Cate" Text="Although I highly discourage doing this - _EVER_ - in a live recording, as with most problems there is a suitable solution.&#xD;&#xA;&#xD;&#xA;The Pitch Shift plugin that comes with Pro Tools can do cent-based shifts in pitch. You can use automation to gradually increase the pitch as the choir's pitch decreases.&#xD;&#xA;&#xD;&#xA;If you are not happy with the quality the pitch shift plugin gets you, you could have a look at the Melodyne plugin by Celemony. Very good plugin, which I used multiple times in pop studio productions on instruments, but it might do fine as well on vocals." ContentLicense="CC BY-SA 2.5" />
  <row Id="46153" PostHistoryTypeId="2" PostId="25972" RevisionGUID="132dab82-a299-45b2-a8dd-5e494de8952b" CreationDate="2010-12-08T20:13:41.460" UserId="7398" UserDisplayName="BenV" Text="I'm involved with recording a lot of a capella choir performances, and it's not uncommon for the group to drop 1/2 to a full step through the course of a song.  I was hoping with Pro Tools' elastic audio feature that I could raise the ending pitch to match the beginning and have it apply the correction throughout the region, but alas, you can only alter the pitch of an entire regions by a static amount.  Does anyone know of a way to apply gradual pitch shifts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46154" PostHistoryTypeId="1" PostId="25972" RevisionGUID="132dab82-a299-45b2-a8dd-5e494de8952b" CreationDate="2010-12-08T20:13:41.460" UserId="7398" UserDisplayName="BenV" Text="Gradual pitch correction" ContentLicense="CC BY-SA 2.5" />
  <row Id="46155" PostHistoryTypeId="3" PostId="25972" RevisionGUID="132dab82-a299-45b2-a8dd-5e494de8952b" CreationDate="2010-12-08T20:13:41.460" UserId="7398" UserDisplayName="BenV" Text="&lt;pro-tools&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46156" PostHistoryTypeId="36" PostId="25973" RevisionGUID="8a7a35f8-58ec-4afc-96da-917095867b7e" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/150/gradual-pitch-correction/152#152" />
  <row Id="46157" PostHistoryTypeId="36" PostId="25974" RevisionGUID="ac254a72-d2a5-4a82-9f9b-0878d2f4bdf8" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/150/gradual-pitch-correction/160#160" />
  <row Id="46158" PostHistoryTypeId="36" PostId="25975" RevisionGUID="007d0960-aff7-43c2-bc70-dcc53847cf81" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/150/gradual-pitch-correction/431#431" />
  <row Id="46159" PostHistoryTypeId="2" PostId="25974" RevisionGUID="da4d20e6-e172-4300-b971-be6314de0fae" CreationDate="2010-12-09T01:11:38.377" UserId="9459" UserDisplayName="Matthew Read" Text="I haven't used Pro Tools, but this is easily done in Adobe Audition using Effects -&gt; Time and Pitch -&gt; Pitch Bender." ContentLicense="CC BY-SA 2.5" />
  <row Id="46160" PostHistoryTypeId="2" PostId="25975" RevisionGUID="2667828e-87c8-4b72-bf86-a40ec509fb1a" CreationDate="2010-12-23T16:00:35.803" UserDisplayName="Andrew" Text="[Sound Forge][1] has an excellent gradual pitch bend effect.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sonycreativesoftware.com/soundforgesoftware" ContentLicense="CC BY-SA 2.5" />
  <row Id="46161" PostHistoryTypeId="36" PostId="25976" RevisionGUID="0ac650ee-2719-4b85-9dca-7d0e84b1e973" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8083/free-music-for-daw-practice" />
  <row Id="46162" PostHistoryTypeId="36" PostId="25977" RevisionGUID="300fa8f9-257e-490a-b225-85b6d7b82c9c" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8083/free-music-for-daw-practice/8086#8086" />
  <row Id="46163" PostHistoryTypeId="36" PostId="25978" RevisionGUID="dac9cf07-e28e-4cd5-8ffe-ee908625fabe" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8083/free-music-for-daw-practice/8090#8090" />
  <row Id="46164" PostHistoryTypeId="36" PostId="25979" RevisionGUID="b335d30e-b211-414f-bf69-4e8fdc627699" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8083/free-music-for-daw-practice/8091#8091" />
  <row Id="46165" PostHistoryTypeId="36" PostId="25980" RevisionGUID="be1528df-daf9-4df3-87d6-cb387d747315" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8083/free-music-for-daw-practice/8117#8117" />
  <row Id="46166" PostHistoryTypeId="2" PostId="25977" RevisionGUID="b894c31c-8717-4735-be20-f80c95f7b302" CreationDate="2013-06-09T14:00:08.393" UserId="7405" UserDisplayName="Andy aka" Text="If you join mp3unsigned.com and get onto their forum, there'll be folk on there who will let you have their individual music-track files. I've been a member for ages and I know this goes on. &#xD;&#xA;&#xD;&#xA;Link to main site: - http://www.mp3unsigned.com/&#xD;&#xA;&#xD;&#xA;Link to forum: - http://forum.mp3unsigned.com/&#xD;&#xA;&#xD;&#xA;I'm not in the business of remixes but then again my stuff is mainly prog rock LOL" ContentLicense="CC BY-SA 3.0" />
  <row Id="46167" PostHistoryTypeId="2" PostId="25978" RevisionGUID="17a8736f-4db3-472b-a718-ab1f8ea7b7c2" CreationDate="2013-06-10T03:14:33.757" UserId="7312" UserDisplayName="Eugene S" Text="[Here][1] (http://www.cambridge-mt.com/ms-mtk.htm) you can find an online download library of more than 50 unprocessed multitrack projects, all of which are free to use for educational purposes. Each project is provided as a simple ZIP archive containing WAV files at 24-bit/44.1kHz resolution, which can easily be imported into practically any DAW system. In addition to the full-length versions, most of the projects are also provided in a shorter excerpted form (usually comprising just the production's final chorus), catering for those with slower internet connections, as well as providing 'bite-sized' assignments for classroom use.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cambridge-mt.com/ms-mtk.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="46168" PostHistoryTypeId="2" PostId="25979" RevisionGUID="05d23f33-26c6-4c17-bfc2-f7b9c66c1d4b" CreationDate="2013-06-10T13:45:39.057" UserDisplayName="Herbert" Text="[Shaking Through](http://www.shakingthrough.com/) let's you download unprocessed tracks and/or stems. I found it useful for getting started because the tracks are laid down by pros in a professional studio, so you don't have to worry about fixing bad tracks and can focus on mixing.&#xD;&#xA;&#xD;&#xA;http://www.cambridge-mt.com/ms-mtk.htm has a huge collection of unprocessed multitracks, but some of the tracks may be less than stellar. It's a companion site to Mike Senior's book, &quot;Mixing Secrets for the Small Studio&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="46169" PostHistoryTypeId="2" PostId="25980" RevisionGUID="87d2ea59-b07e-47aa-8a76-0f8b56f4ffa9" CreationDate="2013-06-11T20:15:03.220" UserId="21268" UserDisplayName="DAC" Text="You can find a list of musical works that have been released legally in a stem format for public use on Wikipedia: http://en.wikipedia.org/wiki/List_of_musical_works_released_in_a_stem_format" ContentLicense="CC BY-SA 3.0" />
  <row Id="46170" PostHistoryTypeId="2" PostId="25976" RevisionGUID="49a6036a-cc5d-4447-bf15-54f6edc130ce" CreationDate="2013-06-09T01:54:00.987" UserId="7343" UserDisplayName="d.free" Text="I'm wondering if there are sites there with Creative Commons (or similar) music that is not already mixed down as an MP3, but rather with all the individual files (instruments, vocals, etc.) intact to download so that I can download them and mix it myself as well as add effects and do other processing. &#xD;&#xA;&#xD;&#xA;It seems like a good way to practice editing and mixing with a DAW since I don't have the equipment needed to create high quality recording (especially vocals). Are there any sites that freely and legally supply this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46171" PostHistoryTypeId="1" PostId="25976" RevisionGUID="49a6036a-cc5d-4447-bf15-54f6edc130ce" CreationDate="2013-06-09T01:54:00.987" UserId="7343" UserDisplayName="d.free" Text="Free Music for DAW Practice" ContentLicense="CC BY-SA 3.0" />
  <row Id="46172" PostHistoryTypeId="3" PostId="25976" RevisionGUID="49a6036a-cc5d-4447-bf15-54f6edc130ce" CreationDate="2013-06-09T01:54:00.987" UserId="7343" UserDisplayName="d.free" Text="&lt;mixing&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46173" PostHistoryTypeId="36" PostId="25981" RevisionGUID="120b2fd2-daf2-4cf3-83e0-3f5f09b4483a" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3419/software-to-combine-a-mp3-and-a-cdg-file" />
  <row Id="46174" PostHistoryTypeId="36" PostId="25982" RevisionGUID="34a15d3b-7635-4f8b-8bdc-bf90d936670e" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3419/software-to-combine-a-mp3-and-a-cdg-file/3456#3456" />
  <row Id="46175" PostHistoryTypeId="2" PostId="25982" RevisionGUID="7d7fd238-c0bf-4229-a1c7-5adeeb20f4a4" CreationDate="2012-03-02T23:27:03.813" UserId="7210" Text="You could use CDG Ripper to rip your CD: http://www.tricerasoft.com/karaoke_software/CDG_Ripper_Extraction_Tool.html&#xD;&#xA;&#xD;&#xA;Then you could just use Pinnacle Studio, Vegas Pro, Premiere, (probably) Windows Movie Maker or whatever video program you like best to combine them." ContentLicense="CC BY-SA 3.0" />
  <row Id="46176" PostHistoryTypeId="2" PostId="25981" RevisionGUID="b96ffbb5-beb4-4ea7-b19c-b3a7ae85d005" CreationDate="2012-02-28T00:12:55.877" UserDisplayName="hanleyhansen" Text="I am looking for software to turn MP3 and CD+G into an MP4, MOV, AVI, or any other common video format. &#xD;&#xA;&#xD;&#xA;Any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46177" PostHistoryTypeId="1" PostId="25981" RevisionGUID="b96ffbb5-beb4-4ea7-b19c-b3a7ae85d005" CreationDate="2012-02-28T00:12:55.877" UserDisplayName="hanleyhansen" Text="Software to combine a MP3 and a CD+G file" ContentLicense="CC BY-SA 3.0" />
  <row Id="46178" PostHistoryTypeId="3" PostId="25981" RevisionGUID="b96ffbb5-beb4-4ea7-b19c-b3a7ae85d005" CreationDate="2012-02-28T00:12:55.877" UserDisplayName="hanleyhansen" Text="&lt;mp3&gt;&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46179" PostHistoryTypeId="36" PostId="25983" RevisionGUID="5a394e41-2720-4977-9fa5-0c1d3a6349b0" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1185/what-is-the-output-of-an-iphone-headphone-jack" />
  <row Id="46180" PostHistoryTypeId="36" PostId="25984" RevisionGUID="4ea2587f-0d86-4a65-a281-057033faf040" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1185/what-is-the-output-of-an-iphone-headphone-jack/1186#1186" />
  <row Id="46181" PostHistoryTypeId="2" PostId="25984" RevisionGUID="4f51a1aa-ed2e-4b95-8d90-c957c9b6f7c6" CreationDate="2011-04-17T01:48:25.117" UserId="7294" UserDisplayName="Warrior Bob" Text="The iPhone headphone jacks [are 1/8&quot; (3.5mm) stereo jacks.][1]  If you have a stereo cable plugged in, the output will be stereo.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.apple.com/iphone/specs.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="46182" PostHistoryTypeId="2" PostId="25983" RevisionGUID="90298124-f378-4b0c-b432-3be75aba59dc" CreationDate="2011-04-17T00:50:25.653" UserDisplayName="user756" Text="When I plug my speakers into a headphone jack on my iPhone, is the output stereo or mono?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46183" PostHistoryTypeId="1" PostId="25983" RevisionGUID="90298124-f378-4b0c-b432-3be75aba59dc" CreationDate="2011-04-17T00:50:25.653" UserDisplayName="user756" Text="What is the output of an iPhone headphone jack?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46184" PostHistoryTypeId="3" PostId="25983" RevisionGUID="90298124-f378-4b0c-b432-3be75aba59dc" CreationDate="2011-04-17T00:50:25.653" UserDisplayName="user756" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46185" PostHistoryTypeId="36" PostId="25985" RevisionGUID="51b1d61b-22c4-4053-b8e8-1d7d73166777" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8665/is-it-legal-to-use-a-soundfont" />
  <row Id="46186" PostHistoryTypeId="36" PostId="25986" RevisionGUID="847c27e3-677d-494d-9c29-b2027770eb16" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8665/is-it-legal-to-use-a-soundfont/8666#8666" />
  <row Id="46187" PostHistoryTypeId="36" PostId="25987" RevisionGUID="11692817-0a6a-482a-a444-4c9d63b1cbc1" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8665/is-it-legal-to-use-a-soundfont/8668#8668" />
  <row Id="46188" PostHistoryTypeId="2" PostId="25986" RevisionGUID="df91d519-db95-44e9-92b2-aff44abe08b2" CreationDate="2013-08-09T17:52:13.947" UserId="7542" UserDisplayName="Don Nickel" Text="IANAL - It depends on the license for the soundfont. If you purchased the soundfont then most likely you're ok. A soundfont licensing should be very similar to any other sound library.&#xD;&#xA;&#xD;&#xA;However, you extracted the sounds from a game - it's a little more blurry there... unless you are specifically referencing the game itself, it which case it might be considered a parody... but like I said, I'm not a lawyer." ContentLicense="CC BY-SA 3.0" />
  <row Id="46189" PostHistoryTypeId="2" PostId="25987" RevisionGUID="982cb7b5-9188-47e8-8095-311119fef46a" CreationDate="2013-08-09T18:08:23.187" UserId="7174" Text="The sounds from the game would be part of the copyright on that game.  You can't use them while the work is under copyright unless your use is covered by fair use or by a license from the company that holds the copyright.  The exception to this would be if they licensed the audio from someone else, in which case you would have to obtain the license from whoever holds copyright of those assets.&#xD;&#xA;&#xD;&#xA;Note, I am not a lawyer, so this is just explaining my basic and limited understanding." ContentLicense="CC BY-SA 3.0" />
  <row Id="46190" PostHistoryTypeId="2" PostId="25985" RevisionGUID="60343b47-f873-405f-bc77-aab7b5f830ad" CreationDate="2013-08-09T17:40:10.850" UserDisplayName="phadaphunk" Text="I'm making video game music and found out I can import the soundfont of a game that was made in the 90's and use some of the **exact same** instrument they made for the game. &#xD;&#xA;&#xD;&#xA;Is it legal to use these sounds ? Do the company that made these sounds and created the video game themes with them **own** the sounds they created ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46191" PostHistoryTypeId="1" PostId="25985" RevisionGUID="60343b47-f873-405f-bc77-aab7b5f830ad" CreationDate="2013-08-09T17:40:10.850" UserDisplayName="phadaphunk" Text="Is it legal to use a soundfont" ContentLicense="CC BY-SA 3.0" />
  <row Id="46192" PostHistoryTypeId="3" PostId="25985" RevisionGUID="60343b47-f873-405f-bc77-aab7b5f830ad" CreationDate="2013-08-09T17:40:10.850" UserDisplayName="phadaphunk" Text="&lt;sound&gt;&lt;copyright&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46193" PostHistoryTypeId="36" PostId="25988" RevisionGUID="c7f8aa36-e248-46a5-b444-521579933a0b" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7967/is-there-an-equivalent-to-audacitys-noise-reduction-effect-in-other-daw" />
  <row Id="46194" PostHistoryTypeId="36" PostId="25989" RevisionGUID="35dd0d82-c80d-4449-9f75-88c43eeee71b" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7967/is-there-an-equivalent-to-audacitys-noise-reduction-effect-in-other-daw/8521#8521" />
  <row Id="46195" PostHistoryTypeId="2" PostId="25989" RevisionGUID="85ee0974-2f33-4be3-a783-99b40d99351f" CreationDate="2013-07-27T13:10:25.180" UserDisplayName="tomh" Text="Adobe Audition has this feature:&#xD;&#xA;&#xD;&#xA;http://help.adobe.com/en_US/audition/cs/using/WS58a04a822e3e5010548241038980c2c5-7f30.html&#xD;&#xA;&#xD;&#xA;Excerpt:&#xD;&#xA;&#xD;&#xA;&gt; The Noise Reduction/Restoration &gt; Noise Reduction effect dramatically&#xD;&#xA;&gt; reduces background and broadband noise with a minimal reduction in&#xD;&#xA;&gt; signal quality. This effect can remove a combination of noise,&#xD;&#xA;&gt; including tape hiss, microphone background noise, power-line hum, or&#xD;&#xA;&gt; any noise that is constant throughout a waveform.&#xD;&#xA;&#xD;&#xA;&gt; Capture Noise Print Extracts a noise profile from a selected range,&#xD;&#xA;&gt; indicating only background noise. Adobe Audition gathers statistical&#xD;&#xA;&gt; information about the background noise so it can remove it from the&#xD;&#xA;&gt; remainder of the waveform." ContentLicense="CC BY-SA 3.0" />
  <row Id="46196" PostHistoryTypeId="2" PostId="25988" RevisionGUID="76051285-de85-4a85-a25d-c66d286eaf67" CreationDate="2013-05-25T19:46:08.327" UserId="14741" UserDisplayName="Evpok" Text="I have tried with Ardour, Rosegarden and Traverso, so far all these DAW are better than Audacity but for one thing: they lack this functionality that lets me select a piece of noise as a sample and use it to automagically filter out the noise in all the recording¹. I have to deal with somewhat sub-standard hardware (especially with unavoidable static noise) and this prevents me from switching to a more efficient software.&#xD;&#xA;&#xD;&#xA;So: is there a way (perhaps with plugins?) to have this functionality in Ardour, Rosegarden or Traverso?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;¹ Details on the process at http://wiki.audacityteam.org/wiki/How_Noise_Removal_Works" ContentLicense="CC BY-SA 3.0" />
  <row Id="46197" PostHistoryTypeId="1" PostId="25988" RevisionGUID="76051285-de85-4a85-a25d-c66d286eaf67" CreationDate="2013-05-25T19:46:08.327" UserId="14741" UserDisplayName="Evpok" Text="Is there an equivalent to Audacity's noise reduction effect in other DAW?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46198" PostHistoryTypeId="3" PostId="25988" RevisionGUID="76051285-de85-4a85-a25d-c66d286eaf67" CreationDate="2013-05-25T19:46:08.327" UserId="14741" UserDisplayName="Evpok" Text="&lt;daw&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46199" PostHistoryTypeId="36" PostId="25990" RevisionGUID="7c2b31d4-76a4-4469-9498-2a8ea193c39e" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3413/front-of-house-speakers-cut-in-and-out-for-low-volumes" />
  <row Id="46200" PostHistoryTypeId="2" PostId="25991" RevisionGUID="b96f9116-b088-40b5-93ab-0fb95e3e9494" CreationDate="2012-02-26T22:09:01.967" UserId="7231" Text="I agree with @leftaroundabout, this sounds just like a problem I saw at my old middle school many years ago. Almost certainly there is a noise gate somewhere in the signal chain that is cutting out when the input signal is too low, or not responding fast enough when the signal is present.&#xD;&#xA;&#xD;&#xA;Look for something with a &quot;threshold&quot; parameter. If the system is installed in a rack, it could even ben on the back of the mixer next to the input, and thus out of sight. Look for the word &quot;threshold&quot; on a knob, or &quot;thresh&quot; for short. If you lower the threshold to its minimum, or remove the gate from the chain entirely, you should see the problem go away." ContentLicense="CC BY-SA 3.0" />
  <row Id="46201" PostHistoryTypeId="2" PostId="25990" RevisionGUID="5df85a0c-e34e-44ca-821b-a65d53056614" CreationDate="2012-02-26T18:16:45.970" UserDisplayName="Technobabble" Text="The sound system at our church cuts in and out if there are only low volume sounds being played, such as soft pad on a keyboard or background music off a computer. &#xD;&#xA;&#xD;&#xA;I have a suspicion that this might be related to our amp settings, which are maxed out. Thoughts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46202" PostHistoryTypeId="1" PostId="25990" RevisionGUID="5df85a0c-e34e-44ca-821b-a65d53056614" CreationDate="2012-02-26T18:16:45.970" UserDisplayName="Technobabble" Text="Front of house speakers cut in and out for low volumes" ContentLicense="CC BY-SA 3.0" />
  <row Id="46203" PostHistoryTypeId="3" PostId="25990" RevisionGUID="5df85a0c-e34e-44ca-821b-a65d53056614" CreationDate="2012-02-26T18:16:45.970" UserDisplayName="Technobabble" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46204" PostHistoryTypeId="36" PostId="25991" RevisionGUID="853ba8e2-0832-4786-8922-01bd176c54d2" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3413/front-of-house-speakers-cut-in-and-out-for-low-volumes/3414#3414" />
  <row Id="46205" PostHistoryTypeId="36" PostId="25992" RevisionGUID="6c3f27c5-f7fc-44cb-b167-da0668e71592" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8839/audacity-sliding-time-scale-pitch-shift" />
  <row Id="46206" PostHistoryTypeId="36" PostId="25993" RevisionGUID="3c065fea-25b2-488d-bd9f-cd9fbc1468d5" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8839/audacity-sliding-time-scale-pitch-shift/8842#8842" />
  <row Id="46207" PostHistoryTypeId="2" PostId="25993" RevisionGUID="b668a7a8-88b0-497e-8a82-7fc9e71c7369" CreationDate="2013-08-28T20:51:57.540" UserId="7188" Text="I am not clear how you are going about this or what your goal is.&#xD;&#xA;&#xD;&#xA;Do you want to set up an instrument so it is tuned to the &quot;ancient solfege scale&quot; so that your C5 = 528 Hz?&#xD;&#xA;&#xD;&#xA;If that's the case there is more to this then just shifting your A 440, because this involves a very specific scale in a non-equal temperament tuning system.&#xD;&#xA;&#xD;&#xA;The Solfeggio frequencies include:&#xD;&#xA;&#xD;&#xA;    01 = 174 Hz&#xD;&#xA;&#xD;&#xA;    02 = 285 Hz&#xD;&#xA;&#xD;&#xA;    Ut = 396 Hz&#xD;&#xA;&#xD;&#xA;    Re = 417 Hz&#xD;&#xA;&#xD;&#xA;    Mi = 528 Hz&#xD;&#xA;&#xD;&#xA;    Fa = 639 Hz&#xD;&#xA;&#xD;&#xA;    Sol = 741 Hz&#xD;&#xA;&#xD;&#xA;    La = 852 Hz&#xD;&#xA;&#xD;&#xA;    09 = 963 Hz&#xD;&#xA;&#xD;&#xA;Source: http://myedenproject.wordpress.com/the-universe/solfeggio-scale/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46208" PostHistoryTypeId="2" PostId="25992" RevisionGUID="72591935-8eba-4f9f-955c-297817e75032" CreationDate="2013-08-28T12:45:18.713" UserDisplayName="user4610" Text="I found a way to make to change music 440hz to 432hz.  &#xD;&#xA;Now, my problem it's i dont know the specifications to change to C528hz (A444hz).&#xD;&#xA;Can anybody help me??&#xD;&#xA;&#xD;&#xA;Thank you so much!!&#xD;&#xA;&#xD;&#xA;Namaste &lt;3" ContentLicense="CC BY-SA 3.0" />
  <row Id="46209" PostHistoryTypeId="1" PostId="25992" RevisionGUID="72591935-8eba-4f9f-955c-297817e75032" CreationDate="2013-08-28T12:45:18.713" UserDisplayName="user4610" Text="Audacity: Sliding Time Scale/Pitch Shift" ContentLicense="CC BY-SA 3.0" />
  <row Id="46210" PostHistoryTypeId="3" PostId="25992" RevisionGUID="72591935-8eba-4f9f-955c-297817e75032" CreationDate="2013-08-28T12:45:18.713" UserDisplayName="user4610" Text="&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46211" PostHistoryTypeId="36" PostId="25994" RevisionGUID="1805d42a-654a-4cb0-bbf6-e5d49d5b2ac6" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/254/quick-cd-from-pro-tools-mixes" />
  <row Id="46212" PostHistoryTypeId="36" PostId="25995" RevisionGUID="8f1836d3-33d9-41ed-9d64-b1ae86a00632" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/254/quick-cd-from-pro-tools-mixes/258#258" />
  <row Id="46213" PostHistoryTypeId="2" PostId="25995" RevisionGUID="052a21a7-1abd-4291-a1da-1cfc1e707a54" CreationDate="2010-12-14T02:00:20.687" UserDisplayName="Tom Wijsman" Text="Does this help you?&#xD;&#xA;&#xD;&#xA;&gt;To create an audio CD that can be played in any standard audio CD player: &#xD;&#xA;&#xD;&#xA;&gt; 1. Export your tracks from ProTools as AIFF or WAV files (i.e. &quot;Bounce to disk&quot;). Save them to a folder in a known location, such as the Desktop. &#xD;&#xA;&#xD;&#xA;&gt; 2. Launch iTunes from the Dock (if not on the Dock, you'll find it in the Applications folder on your hard drive). &#xD;&#xA;&#xD;&#xA;&gt; 3. Click the &quot;+&quot; icon on the lower left side of iTunes to create a new playlist. Name the playlist whatever you like. &#xD;&#xA;&#xD;&#xA;&gt; 4. Drag your AIFF or WAV files into the playlist. Drag files up or down in the playlist to change their order. If necessary, adjust track volume or start and stop times by selecting a track and hitting Cmd-I (for Get Info), then selecting the Options tab. &#xD;&#xA;&#xD;&#xA;&gt; 5. Insert a blank CD &#xD;&#xA;&#xD;&#xA;&gt; 6. Make sure the playlist is selected -- not a track or tracks -- and click the Burn icon in the top right corner of iTunes. Burning will begin. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&gt;To create a data CD that can be read on either Macs or PCs: &#xD;&#xA;&#xD;&#xA;&gt; 1. Insert a blank CD. After a few moments, it will appear on the desktop. &#xD;&#xA;&#xD;&#xA;&gt; 2. If you like, rename the blank to something like &quot;Audio Backup&quot; (to rename a file or folder on the Mac, click its name and then wait a moment -- the name will become editable). When the recipient of the CD inserts it into their computer, this is the name with which the disc will appear in their Finder or Explorer. &#xD;&#xA;&#xD;&#xA;&gt; 3. Drag your files or folders onto the blank CD icon. &#xD;&#xA;&#xD;&#xA;&gt; 4. When done, drag the CD icon to the trash. The trash icon will turn into a &quot;burn&quot; icon. The Mac will ask if you actually want to burn the CD at maximum speed. Click Burn and burning will begin. &#xD;&#xA;&#xD;&#xA;&gt;Note: Test your burned CD on both a PC and a Mac before mailing to others! &#xD;&#xA;&#xD;&#xA;&gt;&amp;mdash; [Berkeley Graduate School of Journalism - Knight Digital Media Center - Audio - Pro Tools - Burning](http://multimedia.journalism.berkeley.edu/tutorials/protools/burning/)" ContentLicense="CC BY-SA 2.5" />
  <row Id="46214" PostHistoryTypeId="2" PostId="25996" RevisionGUID="ae1ae02e-3b40-4a93-8216-95a85e1539b1" CreationDate="2010-12-14T18:29:50.220" UserId="7294" UserDisplayName="Warrior Bob" Text="As with any DAW, export it to a stereo .WAV file (in Pro Tools I believe this is called &quot;bounce to disk&quot;, and then burn that file to an audio CD in your favorite CD burning program.  &#xD;&#xA;&#xD;&#xA;TomWij gave a great answer using Pro Tools and iTunes but this can be done with most any DAW and burning software." ContentLicense="CC BY-SA 2.5" />
  <row Id="46215" PostHistoryTypeId="2" PostId="25994" RevisionGUID="fed37290-8ffa-4f0c-b214-6f82638e17f6" CreationDate="2010-12-13T23:28:10.557" UserId="7398" UserDisplayName="BenV" Text="I'm looking for a quick way to get an in-process Pro Tools mix onto an audio CD.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="46216" PostHistoryTypeId="1" PostId="25994" RevisionGUID="fed37290-8ffa-4f0c-b214-6f82638e17f6" CreationDate="2010-12-13T23:28:10.557" UserId="7398" UserDisplayName="BenV" Text="Quick CD from Pro Tools mixes" ContentLicense="CC BY-SA 2.5" />
  <row Id="46217" PostHistoryTypeId="3" PostId="25994" RevisionGUID="fed37290-8ffa-4f0c-b214-6f82638e17f6" CreationDate="2010-12-13T23:28:10.557" UserId="7398" UserDisplayName="BenV" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46218" PostHistoryTypeId="36" PostId="25996" RevisionGUID="b2d7b87e-90c7-47a8-b0d9-c087678e33b9" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/254/quick-cd-from-pro-tools-mixes/275#275" />
  <row Id="46219" PostHistoryTypeId="36" PostId="25997" RevisionGUID="3ffbcf73-26c0-4991-845d-707fa2ed246e" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/254/quick-cd-from-pro-tools-mixes/290#290" />
  <row Id="46220" PostHistoryTypeId="2" PostId="25997" RevisionGUID="1fa84256-9b53-4516-96bd-5b337ea08bc9" CreationDate="2010-12-15T16:59:28.287" UserDisplayName="Christopher Harris" Text="As a little bonus you can also bring out the levels on your premix by importing the bounce back into Pro Tools and adding some compression and EQ, then again bouncing that new mix.  Just be aware that doing so can possibly skew the the original sound of the mix but it's a cheap way to boost the levels for CD output." ContentLicense="CC BY-SA 2.5" />
  <row Id="46221" PostHistoryTypeId="36" PostId="25998" RevisionGUID="470da4d2-d6a6-4f26-8be7-f98bd8f49225" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4716/is-there-a-difference-between-senheisser-hd-280-pro-and-hd-280-silver" />
  <row Id="46222" PostHistoryTypeId="2" PostId="25999" RevisionGUID="459d7599-25e7-4048-8eda-7f1085c8a98b" CreationDate="2012-09-12T13:06:12.650" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="The only difference is that the 2nd pair is silver in color. &#xD;&#xA;&#xD;&#xA;What are you going to be using them for?&#xD;&#xA;&#xD;&#xA;I have a pair of Sennheiser HD 380 Pros and they are the best headphones I have ever owned. I bought them to use for mixing and mastering my music and they are amazing. After listening to an album with them I had listened to hundreds of times, I heard sounds I had never heard before within the songs." ContentLicense="CC BY-SA 3.0" />
  <row Id="46223" PostHistoryTypeId="2" PostId="25998" RevisionGUID="7106c32e-52f6-421d-8f1b-37613b84ffb8" CreationDate="2012-09-12T12:47:25.927" UserDisplayName="Andy" Text="The Sennheiser [HD 280 Pro][1] and [HD 280 Silver][2] appear to be the same headphones from the matching spec list, however in the UK they retail for very different prices. &#xD;&#xA;&#xD;&#xA;Is there a difference between the models?&#xD;&#xA;&#xD;&#xA;280 Pro:&#xD;&#xA;![HD 280 Pro][4]&#xD;&#xA;&#xD;&#xA;280 Silver:&#xD;&#xA;![HD 280 Silver][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_headphones-headsets_headphones_004974?Open&amp;row=2&#xD;&#xA;  [2]: http://www.sennheiser.co.uk/uk/home_en.nsf/root/professional_headphones-headsets_headphones_005327?Open&amp;row=2&#xD;&#xA;  [3]: http://i.stack.imgur.com/XV9tc.png&#xD;&#xA;  [4]: http://i.stack.imgur.com/rLayN.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="46224" PostHistoryTypeId="1" PostId="25998" RevisionGUID="7106c32e-52f6-421d-8f1b-37613b84ffb8" CreationDate="2012-09-12T12:47:25.927" UserDisplayName="Andy" Text="Is there a difference between Senheisser HD 280 PRO and HD 280 Silver?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46225" PostHistoryTypeId="3" PostId="25998" RevisionGUID="7106c32e-52f6-421d-8f1b-37613b84ffb8" CreationDate="2012-09-12T12:47:25.927" UserDisplayName="Andy" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46226" PostHistoryTypeId="36" PostId="25999" RevisionGUID="28a05d0f-0eee-4527-a211-a828ba2d1b91" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4716/is-there-a-difference-between-senheisser-hd-280-pro-and-hd-280-silver/4718#4718" />
  <row Id="46227" PostHistoryTypeId="36" PostId="26000" RevisionGUID="8cd38817-78dc-4897-a454-e01a3a243e82" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5249/why-is-higher-sample-rate-changing-the-sound-for-the-worse-i-think-its-changing" />
  <row Id="46228" PostHistoryTypeId="36" PostId="26001" RevisionGUID="d88b6df2-8b44-47f3-a997-6777ac820d20" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5249/why-is-higher-sample-rate-changing-the-sound-for-the-worse-i-think-its-changing/5251#5251" />
  <row Id="46229" PostHistoryTypeId="2" PostId="26001" RevisionGUID="05aa88e7-0eb6-4fe9-8d1f-3a16102fbc70" CreationDate="2012-11-04T22:39:10.420" UserId="7016" Text="I would say your hardware or software can't keep up with that sample rate.  You really shouldn't need to go that high, but if you do then you really need a pro sound card. &#xD;&#xA;&#xD;&#xA;Double the top frequency you can hear is ample, so anything over 40k should do. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46230" PostHistoryTypeId="2" PostId="26002" RevisionGUID="6e7fc91b-1722-4f4d-a2e1-dff680a4ac52" CreationDate="2012-11-13T01:13:37.840" UserId="7189" Text="You have happened upon one of the edge cases where the sampling frequency above what humans can hear actually *does* matter. That edge case is FM synthesis.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There is plenty of anecdotal discussion on forums all over the internet that boils down to people arguing about the original Yamaha DX series of FM gear vs softsynths like FM8. These discussions typically devolve into a shouting match, but along the way a few important things emerge (and are ignored by many): sample rate matters, and bit rate matters. It is up to the individual artist to determine what combinations are better than others, but *it does matter*.&#xD;&#xA;&#xD;&#xA;The reason why this is the case is that the process of frequency modulation generates frequencies that can be well above what a human can hear. How these frequencies are handled can have a significant impact on the sound quality of an FM synth.&#xD;&#xA;&#xD;&#xA;Instead of going into the math and technical details of sidebands, interpolation, and aliasing, I'll give you an experiment you can try on your own:&#xD;&#xA;&#xD;&#xA; 1. Create a new project in live&#xD;&#xA; 1. Drop a new instance of Operator into a MIDI clip&#xD;&#xA; 1. Change the Level value for operators B, C, and D to -6 dB&#xD;&#xA; 1. Add a Redux after Operator&#xD;&#xA; 1. Create a 1-bar sequence of MIDI notes, then hit play&#xD;&#xA; 1. Mess around with the Downsample value (and bit reduction, if you want) as the MIDI clip plays. Notice that downsampling has vastly more impact on your FM patch than it does on samples or Analog patches.&#xD;&#xA;&#xD;&#xA;So, to solve your problem you just need to find a plugin that will allow you to clamp the sample rate of the audio coming out of Operator to 96KHz (or whatever you find pleasant). Redux might not be the best choice, since the Downsample control really controls decimation, which depends on the main sample rate. But it should be good enough for experimentation. You might try bouncing *just* your operator track at 96KHz and then drop that long sample back into your project and bounce the whole thing (after muting the original operator synth) at 196KHz.&#xD;&#xA;&#xD;&#xA;**TL;DR** - it *is* the sample rate (and possibly bit depth) that matters here. But these are things that you can mess with via plugins. Have fun.&#xD;&#xA;&#xD;&#xA;*Edit: my above explanation is rather hand-wavey. I'll try to update it with proper terminology and a better explanation. In the meantime, if you have a solid grasp of the issue, please feel free to edit the above for clarity and correctness.*" ContentLicense="CC BY-SA 3.0" />
  <row Id="46231" PostHistoryTypeId="2" PostId="26000" RevisionGUID="9cf7e59a-2731-4975-8721-fa04baf70f31" CreationDate="2012-11-04T19:12:04.350" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="I'm working on a current song which I posted an example of a while back when asking about why [low frequency sawtooth oscillators change the sound](http://avp.stackexchange.com/questions/4829/low-sawtooth-and-speech-type-oscillator-synth-notes-cause-sound-and-tone-change). Since then I changed the base of the synth from NI Massive to Ableton's built in Operator synth. &#xD;&#xA;&#xD;&#xA;My problem is that when I export the song, the main synth sounds totally different from the way it sounds when I'm working on it in Ableton. The highest possible sample-rate setting I can use is 96000 when in Ableton, so when I export it at that rate it sounds exactly the same. I would just keep it that way if every other synth in the song didn't sound better.&#xD;&#xA;&#xD;&#xA;Here is the way it sounds when I play it in Ableton with the main synth exactly how I like it&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/gooby-pls-1/the-game-youll-never-win-lower&#xD;&#xA;&#xD;&#xA;Here it is with the sample rate raised to maximum&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/gooby-pls-1/the-game-youll-never-win&#xD;&#xA;&#xD;&#xA;I like the way it sounds much better in the first one. To me, the higher sample rate one sounds lower quality and looses all the punch. The weird thing is that, I've never had this problem with any other song until I upgraded to the newest version of Ableton. This same thing happened to me with another song I'm working on and I just thought it was the synth acting quirky since I used a pretty odd oscillator.&#xD;&#xA;&#xD;&#xA;A little more info and things I do differently then normal on this song and the one I just mentioned: The synths are on an instrument-rack which I haven't started using until recently. My other songs with similar synths were created in an older version of Ableton but edited in the new one, but exported at the exact same settings as the 2nd higher sample rate example.&#xD;&#xA;&#xD;&#xA;What is the cause of this and can I make it sound like the first one but still have everything else be at the higher sample rate?&#xD;&#xA;&#xD;&#xA;**EDIT: So I think what it is changing is the pitch**&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/e9l5j.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/eXPUV.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="46232" PostHistoryTypeId="1" PostId="26000" RevisionGUID="9cf7e59a-2731-4975-8721-fa04baf70f31" CreationDate="2012-11-04T19:12:04.350" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="why is higher sample rate changing the sound for the worse? I think its changing the pitch" ContentLicense="CC BY-SA 3.0" />
  <row Id="46233" PostHistoryTypeId="3" PostId="26000" RevisionGUID="9cf7e59a-2731-4975-8721-fa04baf70f31" CreationDate="2012-11-04T19:12:04.350" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46234" PostHistoryTypeId="36" PostId="26002" RevisionGUID="2e22fb6b-4fc8-48b3-9d75-929984e91bd2" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5249/why-is-higher-sample-rate-changing-the-sound-for-the-worse-i-think-its-changing/5310#5310" />
  <row Id="46235" PostHistoryTypeId="36" PostId="26003" RevisionGUID="8cde80a7-b9c0-47d4-a0d9-2f9ce7630fc1" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5249/why-is-higher-sample-rate-changing-the-sound-for-the-worse-i-think-its-changing/9051#9051" />
  <row Id="46236" PostHistoryTypeId="2" PostId="26003" RevisionGUID="4d7dcbc3-b4d6-4a6c-adb2-4114a6d3f619" CreationDate="2013-09-25T05:10:28.607" UserDisplayName="Tim" Text="This information was given to me by an individual who has three gold selling credits to his name. I was skeptical, and conducted a test.... and he is correct. Here are the details of what I had explained to me. &#xD;&#xA;&#xD;&#xA;I got back into the home recording trend shortly after Y2K, and began with a small set up. I had a PC, and some software for recording multitrack. I contacted a manager friend of mine, and we had a discussion about the digital format. I was unsure as to what frequency to record with. My question centered around 16bit vs 24bit. The ignorance coming out of the mouths of music store salesmen was assnine, and they were encouraging you to record at 16bit... and I knew that wasn't correct. My manager friend suggested an individual I should contact, and so I did. The guy has many more years experience than I, and I was highly interested in his opinion. Not only did he confirm my belief (contrary to every music store salesman, and they got in arguments with me about it) 24 bit was the way to go. The other little bit of information he shared with me was to record at 88.2Khz. Now this was odd. He was adamant about that frequency, and explained that if you try and record at 96Khz, and you don't have a sophistocated dithering machine to get you back down to 44.1Khz, you are going to destroy your high frequencies. I was skeptical, and spent an entire day running test burns with square waves, guitar recordings with massive reverb, sine waves of varying frequencies. I dithered in several formats going down to 44.1, and there was triangle (as well as 6 other combinations of options). It took me a good 8 hours to complete the test. I was amazed at how much the reverb was completely granulated when going from 96Khz, and down to 44.1Khz. It made a believer out of me, and so I've always recorded at 88.2Khz, and never at any other frequency going in. Sometimes you have S/Pidif gear that only allows you to track at 44.1, but other than that, Its 88.2 for everything. &#xD;&#xA;&#xD;&#xA;If I were you, I would try tracking at 88.2Khz, and then at 96Khz... save both test recordings at 44.1Khz, burn a CD.... and go play the test CDs out in your vehicle, or little stereo blaster. You might find an amazingly not too well known, or understood truth about proper tracking frequency format... &#xD;&#xA;&#xD;&#xA;Good luck! &#xD;&#xA;Tim" ContentLicense="CC BY-SA 3.0" />
  <row Id="46237" PostHistoryTypeId="36" PostId="26004" RevisionGUID="1473c80f-33b4-4034-8701-3645517eeaa2" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8917/where-can-i-find-good-before-and-after-sound-samples-for-learning-eq-compressio" />
  <row Id="46238" PostHistoryTypeId="2" PostId="26005" RevisionGUID="7640e573-aa17-4f1d-992e-6c70aff513ab" CreationDate="2013-09-09T13:55:53.817" UserId="7174" Text="You can make your own.  Take any single professionally recorded audio source you can find and mess with the EQ at random.  This will be your &quot;bad&quot; and the actual recording will be your &quot;good&quot;.  EQing is really something you are best to learn by feel.  Get some good audio tracks that are just an instrument or just a vocal or just speaking.  If they are well done, they should sound pretty good to you.  Then start adjusting the EQ and listen to how it distorts the sound.&#xD;&#xA;&#xD;&#xA;The process for setting EQs is basically just the same thing in reverse.  We start with a sound that doesn't sound quite right and apply the same amount of adjustment, but in the opposite direction.  The exact amounts things are off are the result of the pickup pattern of the mic, the sound of the source and the environment the source is in.  Some amount of artistic correction for what sounds &quot;good&quot; may also be factored in based on the sound of the source to emphasize certain parts of the sound.&#xD;&#xA;&#xD;&#xA;If you want to be able to practice, simply export the audio after applying some alterations to the EQ, then open up a new project and try to get it back to close to the original by adjusting the EQ yourself by ear." ContentLicense="CC BY-SA 3.0" />
  <row Id="46239" PostHistoryTypeId="2" PostId="26004" RevisionGUID="bd669b74-1af3-4f29-b0f9-1f5ba898e691" CreationDate="2013-09-08T20:53:33.973" UserDisplayName="baj" Text="Where can I find good before and after sound samples for learning eqing, compression, mixing or even mastering?&#xD;&#xA;&#xD;&#xA;Would be great if there are detailed explanations to each mixing action.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46240" PostHistoryTypeId="1" PostId="26004" RevisionGUID="bd669b74-1af3-4f29-b0f9-1f5ba898e691" CreationDate="2013-09-08T20:53:33.973" UserDisplayName="baj" Text="Where can I find good before and after sound samples for learning eq, compression, mixing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46241" PostHistoryTypeId="3" PostId="26004" RevisionGUID="bd669b74-1af3-4f29-b0f9-1f5ba898e691" CreationDate="2013-09-08T20:53:33.973" UserDisplayName="baj" Text="&lt;mixing&gt;&lt;equalization&gt;&lt;mastering&gt;&lt;tutorial&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46242" PostHistoryTypeId="36" PostId="26005" RevisionGUID="70751661-a3d4-429d-88b6-1880dbf23096" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8917/where-can-i-find-good-before-and-after-sound-samples-for-learning-eq-compressio/8918#8918" />
  <row Id="46243" PostHistoryTypeId="36" PostId="26006" RevisionGUID="97631fa5-b72d-4c81-9ac2-539ec1ff894a" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8917/where-can-i-find-good-before-and-after-sound-samples-for-learning-eq-compressio/8974#8974" />
  <row Id="46244" PostHistoryTypeId="2" PostId="26006" RevisionGUID="eb46a721-e1b5-4bf2-b44c-0ab200bcf18e" CreationDate="2013-09-14T19:06:10.400" UserDisplayName="rmirabelle" Text="There are a ton of great instructional videos on YouTube! &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/results?search_query=into+the+lair&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/user/danielwaves&#xD;&#xA;&#xD;&#xA;Go forth!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46245" PostHistoryTypeId="36" PostId="26007" RevisionGUID="22c0ef07-93b4-41ea-bc89-cd711f31d118" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7265/removing-electrical-artefact-background-sounds-behind-speech" />
  <row Id="46246" PostHistoryTypeId="2" PostId="26008" RevisionGUID="9d301038-cc6d-4361-880a-3151a035686c" CreationDate="2013-03-01T02:21:36.577" UserId="7189" Text="Try a parametric EQ, or a band-reject filter (essentially the same thing).&#xD;&#xA;&#xD;&#xA;1. Setup your audio so that you can loop the section with the problem sound.&#xD;&#xA;2. In your EQ or filter, adjust the controls so that your band is narrow and deep. That is, a small range of frequency is impacted, but that band is almost entirely attenuated.&#xD;&#xA;3. slowly sweep the filter from low frequency to high (or vice-versa). Notice when the annoying sound goes away.&#xD;&#xA;4. Go back to the spots where the sound was most removed. Now play around with the band width and cut depth to find the ideal settings.&#xD;&#xA;5. If you are using a parametric EQ, then repeat the process for additional bands until you've cleaned up all of the unwanted sound. If you are using a band-reject filter, then add more instances of the filter and repeat the process until the unwanted sound is all gone.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46247" PostHistoryTypeId="2" PostId="26007" RevisionGUID="19ba289a-8234-45be-adac-c89b1c2993a4" CreationDate="2013-03-01T01:28:51.833" UserDisplayName="Cel" Text="Maybe this is an elementary type of noise, but I find a strange intermittent rattle in a video I am processing &#xD;&#xA;&#xD;&#xA;- As I don't know any good denomination for it, I would describe it as some kind of electrical resonance or vibration. &#xD;&#xA;- Furthermore, the lights in the video (wall-lamps) actually shake a bit whenever that noise is emitted.&#xD;&#xA;- that noise is already present in the source video, in fact, it is tied to the location that the video was filmed at&#xD;&#xA;&#xD;&#xA;_____________&#xD;&#xA;###Sample&#xD;&#xA;&#xD;&#xA;- I have uploaded a short clip to show you what I mean - [it's a Flash (flv) video here](https://www.dropbox.com/s/o6f5uzyye79qqtn/rattle-removal.flv)&#xD;&#xA;- i.e. the noise is present at the very start, then stops at 2 seconds, then starts again after a bit etc&#xD;&#xA;&#xD;&#xA;_____________&#xD;&#xA;&#xD;&#xA;###What is it and how can I minimize that noise?&#xD;&#xA;Preferably with Adobe Audition, but other tools are potentials as well?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46248" PostHistoryTypeId="1" PostId="26007" RevisionGUID="19ba289a-8234-45be-adac-c89b1c2993a4" CreationDate="2013-03-01T01:28:51.833" UserDisplayName="Cel" Text="removing electrical artefact background sounds behind speech" ContentLicense="CC BY-SA 3.0" />
  <row Id="46249" PostHistoryTypeId="3" PostId="26007" RevisionGUID="19ba289a-8234-45be-adac-c89b1c2993a4" CreationDate="2013-03-01T01:28:51.833" UserDisplayName="Cel" Text="&lt;noise&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46250" PostHistoryTypeId="36" PostId="26008" RevisionGUID="6394aa7f-2e83-4430-a149-4769f1b8448b" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7265/removing-electrical-artefact-background-sounds-behind-speech/7269#7269" />
  <row Id="46251" PostHistoryTypeId="36" PostId="26009" RevisionGUID="900cedec-a26c-4f7c-9a02-8c6f6f9ae2a3" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1079/porting-audio-from-web-browser-to-daw" />
  <row Id="46252" PostHistoryTypeId="36" PostId="26010" RevisionGUID="18d21a94-3f88-4266-88f4-8870317ced96" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1079/porting-audio-from-web-browser-to-daw/1080#1080" />
  <row Id="46253" PostHistoryTypeId="2" PostId="26010" RevisionGUID="dd77f8c1-9746-4746-9635-b339e0fb22ee" CreationDate="2011-03-22T09:51:46.817" UserDisplayName="Phatency" Text="There are a few ways to get audio from flash videos.&#xD;&#xA;The easiest way is to play the video in any browser while using your favorite recording software to record your sound cards output. Keep your volume levels near to the maximum (of course while not clipping). The channel you need to record will be named &quot;Stereo Mix&quot;, &quot;Wave out&quot;, &quot;Monitor mixer&quot; or something similar. Just look for changes in the recording software's peak meter while the video is playing if you can't find the right channel to record. Edit the audio, save to wav and you're done.&#xD;&#xA;&#xD;&#xA;This will result in some loss of quality, though, but it might not be an issue when we're talking about flash-videos. You can also download the video and split the video and audio track (which is likely mp3) and convert it into .wav. The quality will be somewhat better, especially when dealing with cheap integrated audio chips which add a lot of noise while recording. You might also want to try to contact the author of the video and ask if he has and could give you the uncompressed audio track." ContentLicense="CC BY-SA 2.5" />
  <row Id="46254" PostHistoryTypeId="2" PostId="26009" RevisionGUID="1b341ee9-6ba1-4e8e-aa74-affcdf0bb319" CreationDate="2011-03-22T02:24:47.160" UserDisplayName="RyanScottLewis" Text="I would like to port my audio from flash videos playing in Chrome or Firefox to FL Studio so I can use the EQ and Compressor on the audio. Is this possible?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46255" PostHistoryTypeId="1" PostId="26009" RevisionGUID="1b341ee9-6ba1-4e8e-aa74-affcdf0bb319" CreationDate="2011-03-22T02:24:47.160" UserDisplayName="RyanScottLewis" Text="Porting audio from web browser to DAW" ContentLicense="CC BY-SA 2.5" />
  <row Id="46256" PostHistoryTypeId="3" PostId="26009" RevisionGUID="1b341ee9-6ba1-4e8e-aa74-affcdf0bb319" CreationDate="2011-03-22T02:24:47.160" UserDisplayName="RyanScottLewis" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46257" PostHistoryTypeId="36" PostId="26011" RevisionGUID="30bd0794-d3c7-4ec2-8d10-127941b1766c" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1885/how-do-i-generate-a-chord-one-bit" />
  <row Id="46258" PostHistoryTypeId="36" PostId="26012" RevisionGUID="6a52c54f-244b-44a4-bf22-4f0482fa8f49" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1885/how-do-i-generate-a-chord-one-bit/1886#1886" />
  <row Id="46259" PostHistoryTypeId="2" PostId="26012" RevisionGUID="eefbd132-26c7-44bf-ab68-319bc641ee2e" CreationDate="2011-07-15T13:22:04.277" UserId="7016" Text="You might want to look at some of the theory behind additive synthesis - this [Wikipedia article][1] simplifies some of it. It is definitely do-able.&#xD;&#xA;&#xD;&#xA;Of course, using a single bit (ie speaker at position 0 or position 1) will add in some interesting harmonics which will vary depending on the maximum rate of change of your speaker cone and the maximum rate of change of your signal)&#xD;&#xA;&#xD;&#xA;As it happens I couldn't find much in the way of examples, however there is [this project][2] which may be what you are after.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Additive_synthesis&#xD;&#xA;  [2]: http://www.protonbasic.co.uk/content.php/309?s=fc95037381463d5b320957fa5950342d" ContentLicense="CC BY-SA 3.0" />
  <row Id="46260" PostHistoryTypeId="2" PostId="26013" RevisionGUID="56f0eb3c-d8f3-41ab-847f-cac545f07b93" CreationDate="2011-07-16T01:10:04.943" UserId="25230" UserDisplayName="Martin Vilcans" Text="Thanks for an interesting question! This kept me awake for a while.&#xD;&#xA;&#xD;&#xA;It is definitely possible to generate chords even if all you have is a one-bit signal to the speaker. Many games for the ZX Spectrum (3.5 MHz, 8 bit CPU, 1 bit speaker) did this in the 80's.&#xD;&#xA;&#xD;&#xA;There are a few techniques I can think of:&#xD;&#xA;&#xD;&#xA;  1. Just generate (sine, square etc.) waves of different frequencies and add their values together. After adding them, downconvert to 1 bit. It becomes distorted but not always as bad as you might think.&#xD;&#xA;&#xD;&#xA;  2. Add dither (noise) to the samples before downconverting to 1 bit. It makes the quantization noise less audible, but generates other noise. In theory, the dither noise should be more pleasing to the ears than the quantization noise, but it's a matter of taste. When you're downconverting to 1 bit, all theory goes out the window. :-)&#xD;&#xA;&#xD;&#xA;  3. Arpeggiate. That is play the notes of the chords in quick succession. 20 milliseconds per note gives the perfect 80's feel to it.&#xD;&#xA;&#xD;&#xA;I experimented with those techniques. Here's the result: http://www.librador.com/data/onebit.wav. Here I used the noise as a percussion effect.&#xD;&#xA;&#xD;&#xA;I used a sampling frequency of 22050 Hz. The higher the frequency the better you can make it sound, but it uses more CPU of course. If have a fast CPU you should be able to raise the sampling frequency so much that the dithering noise won't be audible, and then you should be able to generate what is practically 8 bit sounds or more.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46261" PostHistoryTypeId="2" PostId="26011" RevisionGUID="ea99885f-2b0f-4c99-a751-c919b110ff5d" CreationDate="2011-07-15T12:49:27.220" UserDisplayName="Franz" Text="for a project, I am trying to generate a sound by directly accessing a loudspeaker.&#xD;&#xA;I can send a one-bit signal to the speaker and I know how to generate simple sounds by controlling the frequency (due to the rectangular pattern of my curve, it sounds very artificial, but that does not matter).&#xD;&#xA;&#xD;&#xA;I would like to do chords, too, though. It must be possible to generate those. What is the general idea behind doing polyphonic sounds with a simple speaker?&#xD;&#xA;&#xD;&#xA;So how do I need to go about this if I can only control this one bit stream? Thanks in advance.&#xD;&#xA;&#xD;&#xA;**UPDATE:** I now have four signals, `freq(3)` down to `freq(0)` that all carry a frequency.&#xD;&#xA;For each of them, I have a signal `SE` (for &quot;sound enable&quot;), which tells me whether that signal is currently active. I achieve that by a simple &quot;AND&quot;, so that every signal is always zero if the corresponding `SE` signal is zero and that it mirrors the actual frequency when `SE` is set to one.&#xD;&#xA;&#xD;&#xA;So, the remaining problem: How do I connect the four signals? Connecting them with &quot;OR&quot; is probably not good, because with four signals the output will almost always be one. Any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46262" PostHistoryTypeId="1" PostId="26011" RevisionGUID="ea99885f-2b0f-4c99-a751-c919b110ff5d" CreationDate="2011-07-15T12:49:27.220" UserDisplayName="Franz" Text="How do I generate a chord (one bit)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46263" PostHistoryTypeId="3" PostId="26011" RevisionGUID="ea99885f-2b0f-4c99-a751-c919b110ff5d" CreationDate="2011-07-15T12:49:27.220" UserDisplayName="Franz" Text="&lt;hardware&gt;&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46264" PostHistoryTypeId="36" PostId="26013" RevisionGUID="b798e9d6-4032-443f-a8dc-824643f5ff1f" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1885/how-do-i-generate-a-chord-one-bit/1891#1891" />
  <row Id="46265" PostHistoryTypeId="36" PostId="26014" RevisionGUID="0c976cea-a0df-42bd-b124-ab7c409c5bdf" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5736/how-to-transfer-records-from-cassettes-to-the-computer" />
  <row Id="46266" PostHistoryTypeId="2" PostId="26015" RevisionGUID="a8a4aaea-6cf9-4f13-a3b9-3f81356a88e2" CreationDate="2013-01-03T10:12:39.140" UserId="7225" Text="An example of a specialized software to record LPs and cassettes&#xD;&#xA;&#xD;&#xA;- [LP Ripper (commercial)][1]:&#xD;&#xA;&#xD;&#xA;Optional any software that can record the line input will do, for example:&#xD;&#xA;&#xD;&#xA; - [Audacity (free)][2] (see also [this link for instructions][3] on how-to)&#xD;&#xA; - [GoldWave (shareware)][4]&#xD;&#xA;&#xD;&#xA;Record the whole side and then go in a chop up into segments, and save out.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cfbsoftware.com/lpripper/lpripper.aspx&#xD;&#xA;  [2]: http://audacity.sourceforge.net/&#xD;&#xA;  [3]: http://manual.audacityteam.org/o/man/splitting_a_recording_into_separate_tracks.html&#xD;&#xA;  [4]: http://www.goldwave.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="46267" PostHistoryTypeId="2" PostId="26014" RevisionGUID="51eb7adb-f7e0-462b-a70b-19d2ebf4d1dc" CreationDate="2013-01-03T09:04:19.793" UserDisplayName="brilliant" Text="I have a walkman with a lot of cassettes (TDK D-C60 cassette) - some of the records that I made back in 80's - can anyone, please, recommend a software for transferring all those records from cassettes to the computer. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46268" PostHistoryTypeId="1" PostId="26014" RevisionGUID="51eb7adb-f7e0-462b-a70b-19d2ebf4d1dc" CreationDate="2013-01-03T09:04:19.793" UserDisplayName="brilliant" Text="How to transfer records from cassettes to the computer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46269" PostHistoryTypeId="3" PostId="26014" RevisionGUID="51eb7adb-f7e0-462b-a70b-19d2ebf4d1dc" CreationDate="2013-01-03T09:04:19.793" UserDisplayName="brilliant" Text="&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46270" PostHistoryTypeId="36" PostId="26015" RevisionGUID="76f8e402-a927-4830-84a7-5d2faa380ccb" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5736/how-to-transfer-records-from-cassettes-to-the-computer/5737#5737" />
  <row Id="46271" PostHistoryTypeId="36" PostId="26016" RevisionGUID="0c932610-8fc6-46bc-8a4e-34ab84d7f097" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5736/how-to-transfer-records-from-cassettes-to-the-computer/5748#5748" />
  <row Id="46272" PostHistoryTypeId="2" PostId="26016" RevisionGUID="29403254-ceda-456f-9f5e-ddbd306ce9cf" CreationDate="2013-01-04T16:24:56.010" UserId="7016" Text="In addition to Ken's excellent answer, [Ion Audio][1] do a range of products for LP, tape and VHS that plug directly into a USB port on your computer and use Audacity.&#xD;&#xA;&#xD;&#xA;The advantage here is that they sort out normalisation and EQ automatically, and in the case of the VHS tapes, they cope with various versions of PAL, NTSC etc.&#xD;&#xA;&#xD;&#xA;Their LP decks are pretty awesome:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ionaudio.com/&#xD;&#xA;  [2]: http://i.stack.imgur.com/YFC4t.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="46273" PostHistoryTypeId="36" PostId="26017" RevisionGUID="34b15e1b-5c7d-4a1e-a0a7-307c94c7ace4" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4411/how-should-you-mix-master-when-producing-music-for-video-games" />
  <row Id="46274" PostHistoryTypeId="36" PostId="26018" RevisionGUID="29117819-4c42-485a-8e7b-85cf44f6aede" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4411/how-should-you-mix-master-when-producing-music-for-video-games/4418#4418" />
  <row Id="46275" PostHistoryTypeId="36" PostId="26019" RevisionGUID="753a43cf-e0da-4961-b7b2-e17961c86c1e" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4411/how-should-you-mix-master-when-producing-music-for-video-games/4421#4421" />
  <row Id="46276" PostHistoryTypeId="36" PostId="26020" RevisionGUID="8b7761b2-0f28-4d38-b583-66f335674ab9" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4411/how-should-you-mix-master-when-producing-music-for-video-games/4432#4432" />
  <row Id="46277" PostHistoryTypeId="2" PostId="26018" RevisionGUID="fd9c2956-80de-4d15-8755-9002714a38a8" CreationDate="2012-07-16T20:09:51.690" UserDisplayName="Oliver" Text="I am no expert but wouldn't it be nice to create a sound engine that could support something like side-chaining. Although hard to achieve (mostly due to performance issues) I think this would be a killer thing for the premium game industry..." ContentLicense="CC BY-SA 3.0" />
  <row Id="46278" PostHistoryTypeId="2" PostId="26019" RevisionGUID="8f3253dd-b004-4337-8311-bc9e97eb9bd9" CreationDate="2012-07-17T11:43:39.800" UserId="7016" Text="From the individuals I know in this space, I understand there is an element of side-chaining which is utilised in many high end games, but apparently an equally important aspect is in composing your score to include multiple paths:&#xD;&#xA;&#xD;&#xA;I haven't got the right terminology for this, but effectively what they do is use side-chaining to reduce the volume of the music channels when an event occurs (eg a missile explosion) and also reroute the score from a 'steady state' bed through to a more dynamic element which is already mastered to cope with that event.&#xD;&#xA;&#xD;&#xA;There is obviously a high level of complexity in this, but it does provide a more immersive audio environment, and allows you to use side-chaining a little less." ContentLicense="CC BY-SA 3.0" />
  <row Id="46279" PostHistoryTypeId="2" PostId="26020" RevisionGUID="0c973141-2eff-455f-b700-d816b30495e5" CreationDate="2012-07-19T14:44:58.713" UserDisplayName="Darthfett" Text="Interesting reading on the subject: LucasArts patented the [iMUSE](http://en.wikipedia.org/wiki/LucasArts#iMUSE) (Interactive MUsic Streaming Engine) in the early 90s, which was a (genius) musical system that transitioned between music as the player transitioned between scenes.&#xD;&#xA;&#xD;&#xA;Essentially, when the player chose to move from one scene to another, certain instruments would fade out, and new ones (with a more appropriate tone) would fade in, providing a natural transition to the tone." ContentLicense="CC BY-SA 3.0" />
  <row Id="46280" PostHistoryTypeId="2" PostId="26017" RevisionGUID="8450c514-064c-47f0-8758-28f7c833c4e9" CreationDate="2012-07-15T16:23:48.787" UserId="7459" UserDisplayName="bigp" Text="Should anything be done differently when mixing and/or mastering for Video Game music, considering it will play along with **various other game SFX**?&#xD;&#xA;&#xD;&#xA;Should a certain range of frequencies (or multiple bands) be &quot;**cut**&quot; out of the music to leave room for the SFX to come through during the game?&#xD;&#xA;&#xD;&#xA;In terms of **loudness** during *mastering*, should you leave more **headroom** compared to a track that is intended to be *played by itself*?&#xD;&#xA;&#xD;&#xA;I assume this is something that has to be communicated with the **Game Designer** / **Developer** to see how many possible SFXs can go off *simultaneously* at any given time in the game (including what types: low end rumbles, mid-rangy, high-end noises).&#xD;&#xA;&#xD;&#xA;Any suggestions / interesting reading on the subject?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="46281" PostHistoryTypeId="1" PostId="26017" RevisionGUID="8450c514-064c-47f0-8758-28f7c833c4e9" CreationDate="2012-07-15T16:23:48.787" UserId="7459" UserDisplayName="bigp" Text="How should you mix / master when producing music for Video Games?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46282" PostHistoryTypeId="3" PostId="26017" RevisionGUID="8450c514-064c-47f0-8758-28f7c833c4e9" CreationDate="2012-07-15T16:23:48.787" UserId="7459" UserDisplayName="bigp" Text="&lt;mixing&gt;&lt;mastering&gt;&lt;sound-effects&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46283" PostHistoryTypeId="36" PostId="26021" RevisionGUID="8b1f9520-a84a-4ee4-bec8-e22216c7dd05" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9706/extremely-right-and-left-panning" />
  <row Id="46284" PostHistoryTypeId="36" PostId="26022" RevisionGUID="40c58f6e-2ba6-4d07-8309-2e1eb15a2fdc" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9706/extremely-right-and-left-panning/9708#9708" />
  <row Id="46285" PostHistoryTypeId="36" PostId="26023" RevisionGUID="17065790-ec01-4b51-8aaa-9b2ba50ef35f" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9706/extremely-right-and-left-panning/9712#9712" />
  <row Id="46286" PostHistoryTypeId="2" PostId="26022" RevisionGUID="cd9b66d3-f23e-4026-a393-b00a232c1d2d" CreationDate="2013-12-20T08:23:30.893" UserId="7263" UserDisplayName="Radiodef" Text="Not practically. In stereo sound, the phantom center is the 'illusion'. Exactly center is whatever is exactly identical between the two channels. One can generalize and say that the width of the image is proportional to how 'different' the two sounds are.&#xD;&#xA;&#xD;&#xA;But it actually turns out this is a mathematical property of sound. Ignoring that there are a few other subtle queues humans pick up on that determine direction, mainly when you are talking about a stereo pan, you are talking about a phase difference.&#xD;&#xA;&#xD;&#xA;So if the center is when the left and right channels are completely in phase, then completely eliminating the center would be when the left and right are 100% out of phase.&#xD;&#xA;&#xD;&#xA;And you can try that out: take some mono signal and invert the phase of one side and it sounds basically about as &quot;wide&quot; as you'll get. But there's a problem which is that since sound sums additively, if you sum the two channels they subtract and disappear completely. There are other problems but that is the most drastic and what happens if you try to completely eliminate the center.&#xD;&#xA;&#xD;&#xA;Doing any kind of stereo pan effect is just a balance between how wide you want it to sound and how much crap it becomes when it (inevitably) becomes much narrower on everyone's laptops (or can be summed to mono completely for radio).&#xD;&#xA;&#xD;&#xA;[Ozone has M/S mode](http://www.izotope.com/support/help/ozone/pages/mid_side_processing.htm) for basically everything now. A pretty obvious choice is to raise a high shelf on the sides." ContentLicense="CC BY-SA 3.0" />
  <row Id="46287" PostHistoryTypeId="2" PostId="26023" RevisionGUID="124b50d2-511e-491e-8f06-fac36b8ab4d3" CreationDate="2013-12-20T15:25:54.177" UserId="6833" Text="One can achieve such an effect by adding a plug-in to a channel that can phase-invert either the left or right stereo channel. This is a great way to make a pad fill up an entire audio space." ContentLicense="CC BY-SA 3.0" />
  <row Id="46288" PostHistoryTypeId="2" PostId="26021" RevisionGUID="cb748830-ec3c-4e53-bee4-399b48e6e5fb" CreationDate="2013-12-19T14:57:31.807" UserId="6561" Text="Is it possible to achieve stereo sound totally without the &quot;Center&quot;. Only extremely Right and Left pan (e.g. Choirs).&#xD;&#xA;&#xD;&#xA;If yes, please tell me how? I'm using Ozone iZotope plug-in." ContentLicense="CC BY-SA 3.0" />
  <row Id="46289" PostHistoryTypeId="1" PostId="26021" RevisionGUID="cb748830-ec3c-4e53-bee4-399b48e6e5fb" CreationDate="2013-12-19T14:57:31.807" UserId="6561" Text="Extremely Right and Left panning" ContentLicense="CC BY-SA 3.0" />
  <row Id="46290" PostHistoryTypeId="3" PostId="26021" RevisionGUID="cb748830-ec3c-4e53-bee4-399b48e6e5fb" CreationDate="2013-12-19T14:57:31.807" UserId="6561" Text="&lt;mixing&gt;&lt;panning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46291" PostHistoryTypeId="36" PostId="26024" RevisionGUID="bf869efc-5996-4e95-8438-187cf060d134" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9164/need-help-with-dance-studio" />
  <row Id="46292" PostHistoryTypeId="36" PostId="26025" RevisionGUID="43f70cd0-a4d3-46a5-bc7b-a722d3ea1a7d" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9164/need-help-with-dance-studio/9170#9170" />
  <row Id="46293" PostHistoryTypeId="2" PostId="26025" RevisionGUID="35d67b5d-2ac3-49ab-8ee3-840ab56354cb" CreationDate="2013-10-14T13:44:43.277" UserDisplayName="stu.h" Text="Without seeing the space, we can only guess. &#xD;&#xA;&#xD;&#xA;my guess would be 2 pairs of 2way speakers with a 15&quot; woofer. Targeit dance floor SPL should be no more than 110dba/115dbc. You can figure this out by taking into account the speakers sensitivity and max spl. If a speaker is rated at 90 dbspl @1w/1m 110db at 5m would be about 200w. As a rule always spec amps at 2.5x the power you need to account for headroom, 450w. Remember this is for a 90dbspl speaker and everything changes with your speaker choice. +3db for every doubling of power and -3db for every doubling of distance. The reference is usually 1w/1m.&#xD;&#xA;&#xD;&#xA;This is per speaker depending on impedance of the speaker and how the amp behaves with different impedances. If you have two 8 ohm speakers linked to create 1 4ohm speaker you gain some efficiency, provided your amp can handle it.  &#xD;&#xA;&#xD;&#xA;It is also necessary to provide an interface and wasy to use volume control for the operator of the system, most likely a choreographer, so make sure you take that into account. Amps and graphic eqs and anything else in the system should be behind tamper proof plates. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46294" PostHistoryTypeId="2" PostId="26024" RevisionGUID="6ac403d8-c1b1-4970-94d7-3659904eed9d" CreationDate="2013-10-13T19:20:57.770" UserDisplayName="Aaronf8" Text=" I am doing AV for a new dance studio thats being built. They do all types of dance in there. There are three studios, two are about 1300sqft and one is 2200sqft. I believe i am going to need some form of sub so the dancers can feel the music. The ceilings are open and are about 12-13 feet high. I cant figure out how much wattage or what speakers are going to be right for the space. Any help would be more then awesome! Thanks&#xD;&#xA;Edit: needs to be in the air(other then an sub)" ContentLicense="CC BY-SA 3.0" />
  <row Id="46295" PostHistoryTypeId="1" PostId="26024" RevisionGUID="6ac403d8-c1b1-4970-94d7-3659904eed9d" CreationDate="2013-10-13T19:20:57.770" UserDisplayName="Aaronf8" Text="Need help with dance studio" ContentLicense="CC BY-SA 3.0" />
  <row Id="46296" PostHistoryTypeId="3" PostId="26024" RevisionGUID="6ac403d8-c1b1-4970-94d7-3659904eed9d" CreationDate="2013-10-13T19:20:57.770" UserDisplayName="Aaronf8" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46297" PostHistoryTypeId="36" PostId="26026" RevisionGUID="a759dd33-67da-4a30-b8bc-9ebf17587926" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3150/how-to-make-feedback-in-ableton-live" />
  <row Id="46298" PostHistoryTypeId="36" PostId="26027" RevisionGUID="f43c09dc-64be-414d-afac-54503269aa6a" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3150/how-to-make-feedback-in-ableton-live/3168#3168" />
  <row Id="46299" PostHistoryTypeId="2" PostId="26027" RevisionGUID="c5798026-4ede-4d35-8d66-4e5bce11f1af" CreationDate="2012-01-29T22:27:33.647" UserDisplayName="Kieren Johnstone" Text="You need to do it in real life otherwise it will sound awful.  The key part is you need to limit the volume.  There are a number of ways or techniques you could try:&#xD;&#xA;&#xD;&#xA;* Use a guitar amp, gain up high, but not massive volume.  It'll feed back easily and sound like typical feedback&#xD;&#xA;* Use a compressor to limit the maximum volume of the signal&#xD;&#xA;* Use something else very underpowered, like a portable CD/radio thing with attached microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="46300" PostHistoryTypeId="2" PostId="26028" RevisionGUID="3e6b97ab-5ba1-46b2-956c-144aa1f7e5c3" CreationDate="2012-01-30T15:28:40.013" UserId="7210" Text="To make feedback a good way is to use the sends. Put on your source, for example just the default Operator, on your track. Send 100 % to Send A. Right click on the Send A wheel on the Return A channel and choose &quot;Enable&quot;. If you increase the Send A now you will of course get feedback, but it will come instantaneously and will not output any sound. I don't know if it is because of my computer is working too hard with the loop or if it is a safety precaution from Ableton's side.&#xD;&#xA;&#xD;&#xA;We now have a loop. The &quot;speaker&quot; is the Send A. The &quot;microphone&quot; is the Return A. But the microphone recieves the signal instantaneously and outputs it through the speakers instantaneously, which isn't how it works in the real world. In the real world you have delay between the speaker and the microphone and in the whole PA. system. So I added a Simple Delay to the Return A. You could also try the Filter. Then I put on a limiter on all the channels. I set the Simple Delay to about 5 milliseconds. Then I added a EQ Eight before the limiter on the Return A to make the right feedback frequency.&#xD;&#xA;&#xD;&#xA;I also added an Overdrive to the master channel. Just turn up the Send A on the Return A channel and play a note. Be really careful about the Send A, don't turn it too much up at a time.&#xD;&#xA;&#xD;&#xA;This worked in my scenario, but if you need the feedback to come slowly like it does if the gain is just a little bit to high you could try adding Effects to turn down the volume a bit and maybe add a little bit of reverb and try to make it as real as possible. But in my scenario they turn the volume up with an accident which leads to an instant feedback.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="46301" PostHistoryTypeId="2" PostId="26026" RevisionGUID="43803e93-6620-4d58-a43f-3ca9490f2f65" CreationDate="2012-01-27T23:07:30.630" UserId="7210" Text="I'm making a short film where one of the actors accidentally turns the fader on the mixing board all the way up thus making an immense feedback. We don't want to do this in reality because of the damage to both our ears and the PA. system. So I've tried to make feedback in Ableton live, but I can't find any way except for going into settings and turning on the sinewave (LFO), but this is just a preview, not something you can use in your final clip..&#xD;&#xA;&#xD;&#xA;How can I achieve this effect?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46302" PostHistoryTypeId="1" PostId="26026" RevisionGUID="43803e93-6620-4d58-a43f-3ca9490f2f65" CreationDate="2012-01-27T23:07:30.630" UserId="7210" Text="How to make feedback in Ableton Live?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46303" PostHistoryTypeId="3" PostId="26026" RevisionGUID="43803e93-6620-4d58-a43f-3ca9490f2f65" CreationDate="2012-01-27T23:07:30.630" UserId="7210" Text="&lt;effects&gt;&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46304" PostHistoryTypeId="36" PostId="26028" RevisionGUID="c1ce05af-9185-4264-b9b2-544089acc7c6" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3150/how-to-make-feedback-in-ableton-live/3174#3174" />
  <row Id="46305" PostHistoryTypeId="36" PostId="26029" RevisionGUID="05946729-f7b2-4551-9783-327b97f06c38" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8932/which-functional-specifications-are-most-important-in-an-audio-interface" />
  <row Id="46306" PostHistoryTypeId="2" PostId="26029" RevisionGUID="497a379c-8884-47f0-bf9c-e6a098144a21" CreationDate="2013-09-10T11:31:45.120" UserDisplayName="Cengiz Frostclaw" Text="I want to buy an external sound card, and I have two choices (because others are crazy expensive here)&#xD;&#xA;&#xD;&#xA;- Line6 POD Studio GX&#xD;&#xA;- M-Audio M-Track&#xD;&#xA;&#xD;&#xA;I want to be able to connect my guitar and midi keyboard, record, and be able to play live, but I'm not sure what features I should compare.&#xD;&#xA;&#xD;&#xA;Should I look at latency, operating system compatibility, etc?&#xD;&#xA;&#xD;&#xA;Or which values should I look at in the specs?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46307" PostHistoryTypeId="1" PostId="26029" RevisionGUID="497a379c-8884-47f0-bf9c-e6a098144a21" CreationDate="2013-09-10T11:31:45.120" UserDisplayName="Cengiz Frostclaw" Text="Which functional specifications are most important in an audio interface?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46308" PostHistoryTypeId="3" PostId="26029" RevisionGUID="497a379c-8884-47f0-bf9c-e6a098144a21" CreationDate="2013-09-10T11:31:45.120" UserDisplayName="Cengiz Frostclaw" Text="&lt;recording&gt;&lt;sound&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46309" PostHistoryTypeId="36" PostId="26030" RevisionGUID="03e29602-ea22-4962-b28a-04b8f4958e4a" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/356/rules-of-thumb-for-eqing" />
  <row Id="46310" PostHistoryTypeId="36" PostId="26031" RevisionGUID="b9811acc-033f-4eaa-889d-071f041570ab" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/356/rules-of-thumb-for-eqing/361#361" />
  <row Id="46311" PostHistoryTypeId="36" PostId="26032" RevisionGUID="0dbbbeee-b72d-41dc-a8c5-d94df0258c2a" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/356/rules-of-thumb-for-eqing/363#363" />
  <row Id="46312" PostHistoryTypeId="36" PostId="26033" RevisionGUID="48c9c86b-1041-4088-911e-2362140acfbe" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/356/rules-of-thumb-for-eqing/923#923" />
  <row Id="46313" PostHistoryTypeId="2" PostId="26031" RevisionGUID="3d369d68-326d-4fef-bda5-03f72fb74a64" CreationDate="2010-12-17T21:22:40.440" UserId="7398" UserDisplayName="BenV" Text="EQ is one of the areas where often less is more.  A good rule of thumb is to try pulling certain frequencies back before you try boosting others." ContentLicense="CC BY-SA 2.5" />
  <row Id="46314" PostHistoryTypeId="2" PostId="26032" RevisionGUID="52986175-4cc0-486b-a700-0789f565cb5d" CreationDate="2010-12-17T22:28:01.833" UserId="7218" Text="You should start with each EQ band at zero db (neutral), and adjust volume to a comfortable level first using the mixer faders or volume control.&#xD;&#xA;&#xD;&#xA;From there, you should listen for peaks in the sound, freqencies that seem to stand out above the others.  Find a fader or EQ frequency that influences this particular peak the most, and apply a small amount of cut to deemphasize it.  Rinse and repeat.&#xD;&#xA;&#xD;&#xA;If you are using a mixer, you can apply this method to individual instruments for greater control.&#xD;&#xA;&#xD;&#xA;To train yourself how to identify peaks, play some ordinary (well-recorded) music through your EQ setup, turn up a frequency band, and hear how it affects the sound.  Repeat for other frequency bands." ContentLicense="CC BY-SA 2.5" />
  <row Id="46315" PostHistoryTypeId="2" PostId="26033" RevisionGUID="38bff3a6-94bb-4682-b651-a99979dfe413" CreationDate="2011-02-26T00:50:29.980" UserDisplayName="Pedro Sobota" Text="Without a great monitoring situation, (most aren't), where you can confidently judge your adjustments, it's actually hard to make EQ adjustments that are worth it, except for the obvious things, like cutting bass or adding a bit of 15+ kHz treble.&#xD;&#xA;&#xD;&#xA;Especially in the midrange, it's not hard to add something there and some time later, convince yourself that something is out of place, and then find out that that adjustment was exactly it.&#xD;&#xA;&#xD;&#xA;I find that concentrating on having actually the right sounds playing in the mix in the right moments/sections ends up paying off more than non-obvious, potentially damaging EQ action (in a less-than-ideal monitoring scenario as I assume yours, like mine is and many are). I.e., check for overly many things together actually clouding the mix.&#xD;&#xA;&#xD;&#xA;There are EQs that show you signal's current frequency response together with the new EQ'd curve. This is good because it takes the monitoring out of the equation, if you know how to read that properly (I don't yet)." ContentLicense="CC BY-SA 2.5" />
  <row Id="46316" PostHistoryTypeId="2" PostId="26034" RevisionGUID="6a86a311-f075-47be-9d0a-d511284bf883" CreationDate="2011-03-07T21:34:25.100" UserId="319" Text="The problem with electronic music is that you can add several drum tracks, pads, leads, arpeggios, vocal bit, aux percussion, etc.  Then you'll apply some efx and you have a huge mess.  If you are really having issues and can't make a mix work, think about composition as well.  Maybe two pads are not needed while that organ is also going on?  Or maybe you're doing minimal electronica and this is not relevant ;)&#xD;&#xA;&#xD;&#xA;I start with drums and bass and make them sound the best they can.  With contemporary music they should be pretty rocking with a good amount of impact.  Everyone talks about subtractive eqing - but don't be afraid to boost - although with electronic sound sources this is not needed as much as 'acoustic' music.&#xD;&#xA;&#xD;&#xA;Finding what frequencies to cut can be done by setting your eq to a narrow Q and boosting the gain to about +10 or +20db.  Solo the track if you'd like, then sweep through the frequencies where you suspect the problem is - the offending freq should stick out when you hit it.  Once you've found it, widen your Q a bit and take the gain into the -5 to -10 area depending on the eq model (some seem to have more effect with lower settings).  &#xD;&#xA;&#xD;&#xA;Cut the lows out of some of your pads and lead synths.  Cut some of the low out of the Bass synth until the kick is coming through nice and strong, then bring it back in a bit till you like the amount of fullness.  I've gotten some raw tracks for remixes and was surprised how much low cutting I had to do to match the original track in the bass guitar.  &#xD;&#xA;&#xD;&#xA;Compare with recordings you admire to make sure you're not ending up going too far in any one direction.  Lately it seems like alot of the electronic music I hear is waaaay compressed - especially compressing the bass using the kick as a side chain.  &#xD;&#xA;&#xD;&#xA;Mixing is a never ending learning experience for me - I've been at it for years, but still feel I could improve much.  " ContentLicense="CC BY-SA 2.5" />
  <row Id="46317" PostHistoryTypeId="2" PostId="26030" RevisionGUID="7671b591-6379-47dd-931d-177d75322966" CreationDate="2010-12-17T17:52:27.740" UserDisplayName="Adrian Grigore" Text="I often create tracks that consist of *lots* of layered (electronic) sounds. This gives me a hard time EQing the tracks so that the mix still feels right. &#xD;&#xA;&#xD;&#xA;Instead of forming a solid wall of sound, It often ends up being smudgy. Or I apply too much EQ to some instruments until those simply sound crappy. &#xD;&#xA;&#xD;&#xA;What are the most important (beginner) rules of thumb for EQing tracks? if there any any step-by-step method, that would be even better :)&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Adrian&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46318" PostHistoryTypeId="1" PostId="26030" RevisionGUID="7671b591-6379-47dd-931d-177d75322966" CreationDate="2010-12-17T17:52:27.740" UserDisplayName="Adrian Grigore" Text="Rules of thumb for EQing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46319" PostHistoryTypeId="3" PostId="26030" RevisionGUID="7671b591-6379-47dd-931d-177d75322966" CreationDate="2010-12-17T17:52:27.740" UserDisplayName="Adrian Grigore" Text="&lt;mixing&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46320" PostHistoryTypeId="36" PostId="26034" RevisionGUID="4417dae7-d413-4c1e-adaa-039b22cef244" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/356/rules-of-thumb-for-eqing/974#974" />
  <row Id="46321" PostHistoryTypeId="36" PostId="26035" RevisionGUID="6334e366-ac52-4cc3-8df0-81483233a12d" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/356/rules-of-thumb-for-eqing/1016#1016" />
  <row Id="46322" PostHistoryTypeId="2" PostId="26035" RevisionGUID="35f4e3e2-9397-4906-baa6-0c867a3e5850" CreationDate="2011-03-14T10:01:55.707" UserDisplayName="Jesus Cuenca" Text="Equalization is similar to mixing, in the sense that you have limited resources: the &quot;space&quot; for your music is scarce.&#xD;&#xA;&#xD;&#xA;Talking about EQ, you can also try to focus each section to the frequency band it suits best. Which usually means cut off the frequencies that are not characteristic of the section and will interfere with other sections / instruments. Boosting should be used carefully just to make one or two tracks shine" ContentLicense="CC BY-SA 2.5" />
  <row Id="46323" PostHistoryTypeId="36" PostId="26036" RevisionGUID="6db0a712-8faa-4132-aafc-f89fd8989467" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/25/what-is-latency-in-a-digital-recording-studio" />
  <row Id="46324" PostHistoryTypeId="36" PostId="26037" RevisionGUID="4c6ac5df-a39f-4682-92cd-feaa19bed340" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/25/what-is-latency-in-a-digital-recording-studio/26#26" />
  <row Id="46325" PostHistoryTypeId="36" PostId="26038" RevisionGUID="7ef6b8a0-b77a-4e70-8a1d-38fedfeea0cc" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/25/what-is-latency-in-a-digital-recording-studio/28#28" />
  <row Id="46326" PostHistoryTypeId="2" PostId="26037" RevisionGUID="e7f846df-f2cf-460a-a6ba-30a520f88aa3" CreationDate="2010-12-07T20:52:28.350" UserId="7856" UserDisplayName="Corey" Text="&quot;Latency&quot; is the amount of time it takes a digital sample of audio to travel from point A to point B.&#xD;&#xA;&#xD;&#xA;For example... The amount of time it takes for audio to travel from the input of a digital mixer to the output.&#xD;&#xA;&#xD;&#xA;It is important to keep the Latency as low as possible when mixing for a live concert or when monitoring for a recording." ContentLicense="CC BY-SA 2.5" />
  <row Id="46327" PostHistoryTypeId="2" PostId="26038" RevisionGUID="6c92bcc0-8690-4338-9a1e-e97b3fffb967" CreationDate="2010-12-07T20:56:19.030" UserDisplayName="Andrew Arnold" Text="Latency shouldn't be much higher than a handful of milliseconds (12–20, maybe), if possible. The lower the better, of course. You can improve your latency a number of ways—upgrading your sound card drivers, different hardware, etc. I'd recommend looking into setting up ASIO for your computer if you're having severe latency issues." ContentLicense="CC BY-SA 2.5" />
  <row Id="46328" PostHistoryTypeId="2" PostId="26039" RevisionGUID="70378f56-a8dc-4d90-afb9-9706c1205992" CreationDate="2010-12-07T21:06:54.863" UserDisplayName="Ian C." Text="Latency is the amount of time it takes sound to travel from the source to your ears. It occurs in digital *and* analog setups. For example: the further you stand from your speakers the longer the latency.&#xD;&#xA;&#xD;&#xA;In a digital studio setup your signal is traveling in to your sound card where it's converted from analog to digital, mixed with other digital signals, placed on an output buss, convereted back to analog, amplified and then transmitted to speakers or headphones for you to hear. That entire process takes some finite amount of time and that's usually what people are referring to when they talk about latency in a digital studio setup.&#xD;&#xA;&#xD;&#xA;The best way to combat latency is to use hardware that supports hardware monitoring. This is where the input signals from your live sources and your playback sources (the tracks being played back on your computer) are mixed in the hardware and not in the DAW software on your computer, before being converted back to analog and sent to your monitoring setup. Hardware monitoring provides the lowest level of latency possible -- in the &lt;20 ms range. Low enough that you can't really perceive the difference between the sound from say, your voice hitting your ears and the sound picked up by your microphone and sent through your hardware setup and back to your headphones hitting your ears. It's feels nearly instant and that's important when you're trying to perform. If latency gets to be too large you start to hear an echo of your performance in your monitors as it takes a perceptibly longer amount of time for the signal to travel through the system and reach your ears through the monitors than it does coming straight from the source (like your mouth in the case of singing).&#xD;&#xA;&#xD;&#xA;Software monitoring via the DAW can cause latency to spike as your signal will have to travel in to the DAW software running on your machine, get mixed, and then get sent back to your interface for D/A conversion. Modern computers, while fast, are still general computing devices and in a busy DAW project or with too many plugin effects on a live monitored signal, software-based monitoring can get terribly laggy. If you can't avoid software monitoring make sure you're not putting a lot effects (ideally no effects at all) on the signal you're monitoring and keep the number of effects on the playback tracks to a minimum to keep the CPU use light while monitoring.&#xD;&#xA;&#xD;&#xA;Up-to-date drivers are also a good idea. If you're on Windows ASIO drivers are a huge improvement over DirectSound drivers. On a Mac the CoreAudio library is quite awesome and supported natively by anything worth using to record." ContentLicense="CC BY-SA 2.5" />
  <row Id="46329" PostHistoryTypeId="2" PostId="26036" RevisionGUID="11e92247-919f-4971-8c3d-3aeb7ffd234e" CreationDate="2010-12-07T20:48:14.463" UserId="13188" UserDisplayName="Mark Henderson" Text="What is &quot;Latancy&quot; in a digital recording studio?&#xD;&#xA;&#xD;&#xA;Do I need to be worried about it? What is an &quot;acceptable&quot; level of latency?&#xD;&#xA;&#xD;&#xA;What's the best way of reducing latency?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46330" PostHistoryTypeId="1" PostId="26036" RevisionGUID="11e92247-919f-4971-8c3d-3aeb7ffd234e" CreationDate="2010-12-07T20:48:14.463" UserId="13188" UserDisplayName="Mark Henderson" Text="What is &quot;latency&quot; in a digital recording studio?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46331" PostHistoryTypeId="3" PostId="26036" RevisionGUID="11e92247-919f-4971-8c3d-3aeb7ffd234e" CreationDate="2010-12-07T20:48:14.463" UserId="13188" UserDisplayName="Mark Henderson" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46332" PostHistoryTypeId="36" PostId="26039" RevisionGUID="4965c1da-4bfc-4789-bd0c-3a62b1b900ca" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/25/what-is-latency-in-a-digital-recording-studio/40#40" />
  <row Id="46333" PostHistoryTypeId="36" PostId="26040" RevisionGUID="c9a9993e-1b39-4105-ba23-16949f89283a" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8942/how-to-convert-an-arbitrary-signal-into-music" />
  <row Id="46334" PostHistoryTypeId="36" PostId="26041" RevisionGUID="cab14df9-09d2-46c5-a0a2-2479db7de86a" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8942/how-to-convert-an-arbitrary-signal-into-music/8943#8943" />
  <row Id="46335" PostHistoryTypeId="36" PostId="26042" RevisionGUID="589e7654-89f7-4b89-9b7a-e782b1e38401" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8942/how-to-convert-an-arbitrary-signal-into-music/8944#8944" />
  <row Id="46336" PostHistoryTypeId="2" PostId="26041" RevisionGUID="afa26fc5-8d8c-4012-a4ac-a5ea8feed30c" CreationDate="2013-09-11T19:42:18.080" UserId="7174" Text="Light has a frequency and sound has a frequency.  While light is electromagnetic and sound is pressure waves, both have wave properties.  If you take the frequencies of light and create a mapping to frequencies in audio, you can remap changes in color to changes in pitch of audible frequencies.  It's relatively simple as it is basically just slowing down the speed of the light wave by multiple orders of magnitude and then outputting it as audible sound.&#xD;&#xA;&#xD;&#xA;As far as producing music from it however, this is a bit trickier as it is probably fairly unlikely that there is any regular beat or rhythm or even consistent timing to the sound.  At most, it could be used as samples in a typical techno/electronic music approach, but it would be difficult and require careful selection of samples to put together something resembling music.  Getting a regular beat would be the first step and then trying to produce something that is melodically interesting would be the second." ContentLicense="CC BY-SA 3.0" />
  <row Id="46337" PostHistoryTypeId="2" PostId="26042" RevisionGUID="d883b422-d3d5-4af9-813e-d1deeb295e20" CreationDate="2013-09-11T20:06:48.537" UserId="6957" Text="Interesting... As certain frequency combinations are generally pleasing to the ear (Think an octave, a 4th, a 5th, a major triad, etc.), there may also be pleasing (or interesting at least) light wave frequency combinations.  &#xD;&#xA;&lt;sub&gt;asside... I wonder, can light have a timbre?&lt;/sub&gt;&#xD;&#xA;&#xD;&#xA;That may at least be a neat place to start when trying to find something that approaches pleasing sonorities... aka music.&#xD;&#xA;&#xD;&#xA;That is, maybe work backwards.  Translate a pleasing sound into light waves with the frequency conversion.  You may start to ***see*** what makes a pleasing sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="46338" PostHistoryTypeId="2" PostId="26043" RevisionGUID="59b5eb4e-0efc-44a0-a1da-78848c0c2624" CreationDate="2013-09-12T07:41:30.973" UserId="7405" UserDisplayName="Andy aka" Text="&gt; Any ideas on how they do it?&#xD;&#xA;&#xD;&#xA;Have you ever wondered how you can tune your radio into several stations by rotating the dial? The spectrum of light is part of the electromagnetic radio spectrum. Light forms a very small part of it: -&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;In the middle of the above picture is visible light. To the left hand side there is radio and to the right hand side are gamma rays. If you just tune in to the &quot;visible&quot; part and convert the signal to an electrical waveform then you have what ostensibly is the &quot;signal from a distant star? OK you'll need a very directional antenna but that technology has been around for centuries i.e. a telescope. Then use a photo-diode and amplifier and you get star noise.&#xD;&#xA;&#xD;&#xA;I listened to the clip and apart from the very annoying advert for KFC, it sounded like pink noise at first. Then it changes as if the scientists had applied some low pass filtering. At a few intervals the sound changes again and to me it sounds like they were using filtering on the basic signal played at the beginning after the stupid advert.&#xD;&#xA;&#xD;&#xA;I'd recommend starting with a pink noise source (broadly flat sound across the spectrum) and use some filtering that repeats rhythmically. Mess around until something captures your imagination as usable as music and then also try that filtering technique on the star-sound.&#xD;&#xA;&#xD;&#xA;I'd bet there wouldn't be much difference so I'd stick with pink noise.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/2DCg1.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="46339" PostHistoryTypeId="2" PostId="26040" RevisionGUID="b17eb449-743d-4ec6-ae13-f1a9407b73bf" CreationDate="2013-09-11T19:34:46.267" UserDisplayName="Johnny" Text="There's a field apparently called &quot;stellar seismology&quot; in which the frequency of light from the stars is converted into audio. See (and hear) an example [here][1]. Any ideas on how they do it? What about if I wanted to produce something that sounds more like music? Are there any techniques that do that?&#xD;&#xA;&#xD;&#xA;**Update**: all the answers were useful. Unfortunately I can only mark one as the answer :-)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.telegraph.co.uk/science/space/8114694/Stars-song-captured-by-scientists.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="46340" PostHistoryTypeId="1" PostId="26040" RevisionGUID="b17eb449-743d-4ec6-ae13-f1a9407b73bf" CreationDate="2013-09-11T19:34:46.267" UserDisplayName="Johnny" Text="How to convert an arbitrary signal into music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46341" PostHistoryTypeId="3" PostId="26040" RevisionGUID="b17eb449-743d-4ec6-ae13-f1a9407b73bf" CreationDate="2013-09-11T19:34:46.267" UserDisplayName="Johnny" Text="&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46342" PostHistoryTypeId="36" PostId="26043" RevisionGUID="cc916147-6def-43ec-a7ae-f647d9ab8faa" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8942/how-to-convert-an-arbitrary-signal-into-music/8945#8945" />
  <row Id="46343" PostHistoryTypeId="36" PostId="26044" RevisionGUID="386a9210-cae0-4599-8267-7a2c1710aff3" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8942/how-to-convert-an-arbitrary-signal-into-music/8963#8963" />
  <row Id="46344" PostHistoryTypeId="2" PostId="26044" RevisionGUID="5b45722b-8d07-4e83-8026-bae922f7aec7" CreationDate="2013-09-13T04:50:22.650" UserId="8159" UserDisplayName="Jamil" Text="If you can record the light and determine the color, you can identify the frequency. Then, slow it down proportionally until it's at a comfortable listening frequency.&#xD;&#xA;&#xD;&#xA;If you wanted it to be more musical, you can either clean the samples and use them in music (or don't clean them and make ambient music or ambient accompaniment to something), or you can pick and chose the lights you want to play, so it would be a series of lights translated to sound.&#xD;&#xA;&#xD;&#xA;Interestingly, you can probably get a video, find the average color, then change that into frequencies. Thus, you can record the video as audio for any movie or video. If you wanted it to be stereo, you could divide the screen in two, by dimension, or by color." ContentLicense="CC BY-SA 3.0" />
  <row Id="46345" PostHistoryTypeId="36" PostId="26045" RevisionGUID="18d82e90-6260-4af6-93e6-26e9daa7a96c" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/665/what-equipment-do-i-need-to-transfer-audio-from-minidisc-to-hard-disk" />
  <row Id="46346" PostHistoryTypeId="2" PostId="26046" RevisionGUID="9127339d-6324-4a3b-bfcc-1b3e9a5d72ae" CreationDate="2011-01-22T22:20:52.823" UserDisplayName="jlebre" Text="I'm not sure which model of macbook you have, but most of them have a digital (optical) input built in on the line input. You would just have to grab a mini-toslink adaptor and change it to optical on system preferences &gt; sound.&#xD;&#xA;&#xD;&#xA;You could try it by searching apple database or trying to enable this option on your settings?&#xD;&#xA;If I remember correctly I could see the beam straight away (sold my macbook a year ago i think).&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46347" PostHistoryTypeId="2" PostId="26045" RevisionGUID="10407d12-8638-43b4-bb17-863bdc552d7e" CreationDate="2011-01-22T17:24:07.537" UserDisplayName="npad" Text="I need to transfer some recordings made on MiniDisc to my MacBook computer.&#xD;&#xA;&#xD;&#xA;My MiniDisc has an S/PDIF digital output, so I imagine I need to buy something that will connect to my computer via USB which provides an S/PDIF input?&#xD;&#xA;&#xD;&#xA;I've found plenty of USB audio interfaces, but none which seem to provide a digital optical input. I'd also rather not pay for an expensive box with fancy A/D converters, as I don't need those - I just want to transfer the digital recording on the MiniDisc directly to hard disk." ContentLicense="CC BY-SA 2.5" />
  <row Id="46348" PostHistoryTypeId="1" PostId="26045" RevisionGUID="10407d12-8638-43b4-bb17-863bdc552d7e" CreationDate="2011-01-22T17:24:07.537" UserDisplayName="npad" Text="What equipment do I need to transfer audio from MiniDisc to hard disk?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46349" PostHistoryTypeId="3" PostId="26045" RevisionGUID="10407d12-8638-43b4-bb17-863bdc552d7e" CreationDate="2011-01-22T17:24:07.537" UserDisplayName="npad" Text="&lt;home-studio&gt;&lt;digital&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46350" PostHistoryTypeId="36" PostId="26046" RevisionGUID="bf3ddeb2-e35a-43ef-91a9-2e494ae41d3f" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/665/what-equipment-do-i-need-to-transfer-audio-from-minidisc-to-hard-disk/666#666" />
  <row Id="46351" PostHistoryTypeId="36" PostId="26047" RevisionGUID="09be9ad4-da0c-40cc-8d8a-7cb03bb71636" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5518/how-to-find-royalty-free-music" />
  <row Id="46352" PostHistoryTypeId="36" PostId="26048" RevisionGUID="a0e9985d-2faf-4f4d-9322-85726ad45267" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5518/how-to-find-royalty-free-music/5523#5523" />
  <row Id="46353" PostHistoryTypeId="36" PostId="26049" RevisionGUID="30f17654-3f0f-4812-b886-ad8e1aad8bec" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5518/how-to-find-royalty-free-music/5532#5532" />
  <row Id="46354" PostHistoryTypeId="36" PostId="26050" RevisionGUID="b82357e1-53e6-4ca1-b7fd-03ec4c89141b" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5518/how-to-find-royalty-free-music/5557#5557" />
  <row Id="46355" PostHistoryTypeId="2" PostId="26048" RevisionGUID="136dcbfa-9683-450a-a741-7835c6954cf0" CreationDate="2012-12-07T21:15:35.497" UserDisplayName="burnso" Text="Simple answer? Google it. There's a ton out there, you just have to start searching.&#xD;&#xA;&#xD;&#xA;Helpful answer? Here are a few sites to get you started:&#xD;&#xA;&#xD;&#xA;http://www.seabreezecomputers.com/tips/freemusic.htm&#xD;&#xA;&#xD;&#xA;http://incompetech.com/music/royalty-free/index.html?collection=026&amp;page=1&#xD;&#xA;&#xD;&#xA;http://square-peach.com/terms.html&#xD;&#xA;&#xD;&#xA;Other than that it's just a matter of hunting the good ones down. Just be on the lookout for them and you'll find a lot of gems on your journey throughout the intertubes." ContentLicense="CC BY-SA 3.0" />
  <row Id="46356" PostHistoryTypeId="2" PostId="26050" RevisionGUID="c674d0ac-36ca-4086-8cc3-d792ffa893bc" CreationDate="2012-12-11T16:54:15.407" UserDisplayName="MikS Music" Text="Listen to this track, I hope it sounds close to what you're looking for:&#xD;&#xA;&#xD;&#xA;&lt;http://www.miksmusic.com/positive-and-upbeat-guitar-music-for-youtube-corporate-video&gt;&#xD;&#xA;&#xD;&#xA;It's royalty-free and you can license it instantly online to use in youtube videos or corporate videos or commercials.&#xD;&#xA;&#xD;&#xA;If you're looking for more royalty-free or legal free music check out this directory:&#xD;&#xA;&#xD;&#xA;http://www.safemusiclist.com&#xD;&#xA;&#xD;&#xA;Directory of safe and legal music resources for filmmakers, video producers, and game developers.&#xD;&#xA;&#xD;&#xA;Good  luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="46357" PostHistoryTypeId="2" PostId="26049" RevisionGUID="ceb489f5-404b-49ae-a06f-4ad4a9e55080" CreationDate="2012-12-08T23:38:20.817" UserId="7225" Text="For the more contemporary stuff like in this video you can find a good selection at:&#xD;&#xA;&#xD;&#xA;http://smartsound.com  &#xD;&#xA;&#xD;&#xA;iStockphoto supply more than photo: &#xD;&#xA;http://www.istockphoto.com/audio&#xD;&#xA;&#xD;&#xA;And PumpAudio is well known:  &#xD;&#xA;http://pumpaudio.com/&#xD;&#xA;&#xD;&#xA;I used to supply the two former here and know they have a broad spectrum, especially the last one, in genres and types.&#xD;&#xA;&#xD;&#xA;SmartSound has lot of good stuff too and provide free tools to change mood and length of the music with just a click of a button (I'm not usually a fan of one-click-stop-shop things, but their solution works actually pretty well IMO).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46358" PostHistoryTypeId="2" PostId="26047" RevisionGUID="daa766d6-3cf1-4e8b-9e1e-aab0d94366cf" CreationDate="2012-12-07T16:01:18.557" UserDisplayName="greener" Text="&gt; **Possible Duplicate:**  &#xA;&gt; [Where can I find free sound effects?](http://avp.stackexchange.com/questions/2091/where-can-i-find-free-sound-effects)  &#xA;&gt; [Where to find free music](http://avp.stackexchange.com/questions/5214/where-to-find-free-music)  &#xA;&#xA;&lt;!-- End of automatically inserted text --&gt;&#xA;&#xA;In looking at various royalty-free music websites, I'm realizing that describing what one is after is not easy and therefore finding it even more so. You may select a category and listen to samples but it seems like you're looking for a needle in a haystack.&#xD;&#xA;&#xD;&#xA;I'm looking for something like the one in this video: http://vimeo.com/29738192&#xD;&#xA;&#xD;&#xA;How would one approach the task of finding something this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46359" PostHistoryTypeId="1" PostId="26047" RevisionGUID="daa766d6-3cf1-4e8b-9e1e-aab0d94366cf" CreationDate="2012-12-07T16:01:18.557" UserDisplayName="greener" Text="How to find royalty-free music" ContentLicense="CC BY-SA 3.0" />
  <row Id="46360" PostHistoryTypeId="3" PostId="26047" RevisionGUID="daa766d6-3cf1-4e8b-9e1e-aab0d94366cf" CreationDate="2012-12-07T16:01:18.557" UserDisplayName="greener" Text="&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46361" PostHistoryTypeId="36" PostId="26051" RevisionGUID="43565b51-fa13-4a8d-a9e5-d9ae6f728142" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/542/how-can-i-edit-tracks-in-audacity-in-sequence-instead-of-in-parallel" />
  <row Id="46362" PostHistoryTypeId="2" PostId="26052" RevisionGUID="af7c5d66-6c6e-4faf-83c7-92782c72bc95" CreationDate="2011-01-30T04:23:33.067" UserDisplayName="d-_-b" Text="Make sure your cursor is on the track where you want to paste the waveform. If you click on the blank area beneath the tracks, a new track will be created, which sounds like what you are doing." ContentLicense="CC BY-SA 2.5" />
  <row Id="46363" PostHistoryTypeId="2" PostId="26051" RevisionGUID="49abae4a-e039-4632-aa35-98913d8aff39" CreationDate="2011-01-08T17:28:21.173" UserId="7912" UserDisplayName="hunterp" Text="I'm trying to do non-linear editing in Audacity. In other words, I have 8 minutes of audio, and my goal is to cut certain sections, and rearrange them. But, when I cut a track in audacity, and paste it, two tracks now exist, and they play in parallel.....this is obviously not what I want.  Is my question clear?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46364" PostHistoryTypeId="1" PostId="26051" RevisionGUID="49abae4a-e039-4632-aa35-98913d8aff39" CreationDate="2011-01-08T17:28:21.173" UserId="7912" UserDisplayName="hunterp" Text="How can I edit tracks in Audacity in Sequence instead of in Parallel" ContentLicense="CC BY-SA 2.5" />
  <row Id="46365" PostHistoryTypeId="3" PostId="26051" RevisionGUID="49abae4a-e039-4632-aa35-98913d8aff39" CreationDate="2011-01-08T17:28:21.173" UserId="7912" UserDisplayName="hunterp" Text="&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46366" PostHistoryTypeId="36" PostId="26052" RevisionGUID="4457e6a0-b452-404e-8478-245a843f0dc6" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/542/how-can-i-edit-tracks-in-audacity-in-sequence-instead-of-in-parallel/717#717" />
  <row Id="46367" PostHistoryTypeId="36" PostId="26053" RevisionGUID="b61dc9e9-bed6-4db3-b5de-769aad513f68" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/929/should-i-store-my-eons-outside" />
  <row Id="46368" PostHistoryTypeId="2" PostId="26054" RevisionGUID="316150ea-143f-49bd-8797-437cf70a121e" CreationDate="2011-02-26T22:27:14.220" UserDisplayName="Kim Burgaard" Text="You should worry just as much about protecting your equipment from humidity. Humidity will affect the speaker cones, the electronics inside, and everything else too in more extreme cases.&#xD;&#xA;&#xD;&#xA;Changes in temperature will cause expansion and contraction. Since different materials expand and contract at different rates, that can break down the cones and the electronics too.&#xD;&#xA;&#xD;&#xA;Dust will affect the cones, connectors, and the general finish.&#xD;&#xA;&#xD;&#xA;Finally bugs and spores may regard various parts of your speakers as sources of nutrition, a great place to put the next generation into this world, or a great place to call home.&#xD;&#xA;&#xD;&#xA;These are, of course all worst case scenarios. But electronics tends to be expensive, so why take any chances? For these reasons, I store all electronics indoor at room temperature. If you must, here's what I recommend:&#xD;&#xA;&#xD;&#xA; - get big trash bags, the kind made with thicker and tougher sheets&#xD;&#xA; - get some packets of silica gel to pack with the speakers&#xD;&#xA; - you saved the original boxes, right? otherwise wrap each speaker + silica packets in liberal amounts of bubble wrap.&#xD;&#xA; - get packing peanuts to fill around the speaker in the trash bag&#xD;&#xA; - seal the trash bag with duct tape&#xD;&#xA;&#xD;&#xA;The silica gel will absorb the humidity that's trapped in the bag when you seal it--when the temperature drops, this humidity will condensate. And vaporize when it heats up again. And condensate... The packing peanuts will protect against shocks and trap air that acts as insulation to slow down temperature changes." ContentLicense="CC BY-SA 2.5" />
  <row Id="46369" PostHistoryTypeId="2" PostId="26053" RevisionGUID="e4308286-b863-43dd-8d3f-8b42f35b769e" CreationDate="2011-02-26T20:38:22.903" UserDisplayName="Nic" Text="I live in an apartment, and my two 15&quot; EONs are taking up a bunch of room. I have some covered, semi-insulated space outside that could accomodate them, but I'm worried that changes in temperature might create problems with the electronics. I live in California, where it can get pretty hot sometimes but never too cold (it rarely drops below freezing). Am I safe in doing this?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46370" PostHistoryTypeId="1" PostId="26053" RevisionGUID="e4308286-b863-43dd-8d3f-8b42f35b769e" CreationDate="2011-02-26T20:38:22.903" UserDisplayName="Nic" Text="Should I store my EONs outside?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46371" PostHistoryTypeId="3" PostId="26053" RevisionGUID="e4308286-b863-43dd-8d3f-8b42f35b769e" CreationDate="2011-02-26T20:38:22.903" UserDisplayName="Nic" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46372" PostHistoryTypeId="36" PostId="26054" RevisionGUID="95f166ab-0e8d-4c2f-aa11-6988836ff085" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/929/should-i-store-my-eons-outside/930#930" />
  <row Id="46373" PostHistoryTypeId="36" PostId="26055" RevisionGUID="6ee49834-508e-48b3-a58c-e78ee0449b3a" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1155/kontakt-7-player-slow-bad-sound-quality" />
  <row Id="46374" PostHistoryTypeId="36" PostId="26056" RevisionGUID="e50215e7-d503-4890-9180-dac9e58a083e" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1155/kontakt-7-player-slow-bad-sound-quality/1156#1156" />
  <row Id="46375" PostHistoryTypeId="36" PostId="26057" RevisionGUID="0c9038d2-909a-4ce9-aee6-86d0a7cdc7af" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1155/kontakt-7-player-slow-bad-sound-quality/1158#1158" />
  <row Id="46376" PostHistoryTypeId="2" PostId="26056" RevisionGUID="50b470c3-1206-4d64-97ac-373484ed48d3" CreationDate="2011-04-12T08:01:28.737" UserDisplayName="James Litewski" Text="What sound plugin are you using? Also, you could try to adjust the buffer, I've heard somewhere around 480 or so is good, although I believe the higher the better; so 1024 or so.&#xD;&#xA;Edit: Also what software are you running it on?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46377" PostHistoryTypeId="2" PostId="26057" RevisionGUID="f8475465-caeb-4979-a819-39cf3242e9e6" CreationDate="2011-04-12T14:26:21.333" UserId="7294" UserDisplayName="Warrior Bob" Text="&quot;Drags&quot; and &quot;buzzes&quot; sound to me like a buffer problem.  While this isn't necessarily part of Kontakt per se, it is sensitive to your free computer resources and perhaps Kontakt (combined with whatever software you've got going in the background) has used up enough resources that it's becoming hard to keep processing the buffer.  This problem isn't uncommon in audio environments due to the desire for low latency times.&#xD;&#xA;&#xD;&#xA;Since you're on AMD, I'm presuming you're running Windows, which means you're probably using some kind of ASIO driver for low-latency audio.  Somewhere in that driver or in your recording software should be a setting called &quot;Audio Buffer&quot; or &quot;ASIO Buffer&quot; or something to that effect.  Generally this number is a power of 2, although it doesn't strictly have to be.&#xD;&#xA;&#xD;&#xA;Try raising this value.  This is the number of audio samples kept buffered before they're sent out to the hardware.  The higher this number, the higher the latency time (because of the larger buffer to fill) but the more resilient the system is to temporary losses of resources - if something else is tying up the CPU, you've got several milliseconds of buffer to burn through before you start getting audio interruptions." ContentLicense="CC BY-SA 3.0" />
  <row Id="46378" PostHistoryTypeId="2" PostId="26055" RevisionGUID="32d9d051-476d-44c6-820f-94312db6b0fa" CreationDate="2011-04-12T06:15:07.787" UserDisplayName="Fred" Text="I downloaded Native Instruments Kontakt 7 Player, and despite the fact that I'm on an AMD Athlon 65 3500+ 2.19 GHz with 2.5 GB of RAM, the sound quality is unacceptable; there are drags and buzzes and everything while playing any patch. So much for thinking of running it on my laptop with 1 GB RAM and less than 2 GHz CPU...&#xD;&#xA;&#xD;&#xA;Does anyone know how to improve the performance? Thanks in advance.&#xD;&#xA;&#xD;&#xA;(side note: Propellerhead Reason seems to have lower requirements, I'm downloading the demo of that now too..)" ContentLicense="CC BY-SA 3.0" />
  <row Id="46379" PostHistoryTypeId="1" PostId="26055" RevisionGUID="32d9d051-476d-44c6-820f-94312db6b0fa" CreationDate="2011-04-12T06:15:07.787" UserDisplayName="Fred" Text="Kontakt 7 Player slow/bad sound quality" ContentLicense="CC BY-SA 3.0" />
  <row Id="46380" PostHistoryTypeId="3" PostId="26055" RevisionGUID="32d9d051-476d-44c6-820f-94312db6b0fa" CreationDate="2011-04-12T06:15:07.787" UserDisplayName="Fred" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46381" PostHistoryTypeId="36" PostId="26058" RevisionGUID="092023fa-019d-4ec6-8f3c-c4f94ef0cb88" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7772/stereo-panning-headphones-and-speakers-difference" />
  <row Id="46382" PostHistoryTypeId="36" PostId="26059" RevisionGUID="3032981f-841b-40ae-95e7-e806614ed014" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7772/stereo-panning-headphones-and-speakers-difference/7775#7775" />
  <row Id="46383" PostHistoryTypeId="2" PostId="26059" RevisionGUID="ed19b3b0-a19e-487e-ab27-e1dca30eebbc" CreationDate="2013-04-30T04:33:58.183" UserId="7312" UserDisplayName="Eugene S" Text="Well, I don't think that there will be much difference in stereo panning when using headphones rather than speakers since in both cases you have a correct stereo image provided by 2 sources. **Of course there will be a difference in what you hear as described by @AJ Henderson but there's nothing you should do differently in sense of mix.**&#xD;&#xA;&#xD;&#xA;However another issue to take into account is the &quot;Depth perception&quot;. When you use your headphones, the sound reaches your ears directly from 2 point sources. But when you use speakers, you also hear the reverberation and echoes caused by the space you are in.&#xD;&#xA;&#xD;&#xA;But again, there should be no special issued when mixing (and specifically panning) while using headphones." ContentLicense="CC BY-SA 3.0" />
  <row Id="46384" PostHistoryTypeId="2" PostId="26060" RevisionGUID="c9252337-f5c4-4c9f-9609-449b902d3713" CreationDate="2013-04-30T13:58:27.530" UserId="7093" Text="With headphones you will get complete separation of left and right channels.  You will only hear the left channel in the left ear and the right channel in the right ear, assuming you don't listen at insane volumes or put the headphones on backwards :)&#xD;&#xA;&#xD;&#xA;With speakers, aside from the reverb and echos in the room mentioned by @Eugene, you will still hear at least some of the left channel in the right ear and some of the right channel in the left ear.  &#xD;&#xA;&#xD;&#xA;Panning an instrument hard to one side can sound very different using headphones than it will using speakers.&#xD;&#xA;&#xD;&#xA;So, to answer your question:&#xD;&#xA;&#xD;&#xA;**Yes, it should be done differently because it has the potential to sound very different.** &#xD;&#xA;&#xD;&#xA;You should also keep in mind how your audience will be listening to your music (assuming you are doing music).  There is a very good chance that your listeners will use both headphones (on an MP3 player or phone) and speakers (in the car).  This will make it necessary for you to use both to make sure that they hear your music the way you want it heard." ContentLicense="CC BY-SA 3.0" />
  <row Id="46385" PostHistoryTypeId="2" PostId="26058" RevisionGUID="8ad7ca43-5f24-4fc6-83c2-8d66a82ba442" CreationDate="2013-04-30T02:13:55.467" UserDisplayName="Sami" Text="Should stereo panning be done differently while using headphones or speakers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46386" PostHistoryTypeId="1" PostId="26058" RevisionGUID="8ad7ca43-5f24-4fc6-83c2-8d66a82ba442" CreationDate="2013-04-30T02:13:55.467" UserDisplayName="Sami" Text="Stereo panning, headphones and speakers difference" ContentLicense="CC BY-SA 3.0" />
  <row Id="46387" PostHistoryTypeId="3" PostId="26058" RevisionGUID="8ad7ca43-5f24-4fc6-83c2-8d66a82ba442" CreationDate="2013-04-30T02:13:55.467" UserDisplayName="Sami" Text="&lt;mixing&gt;&lt;stereo&gt;&lt;panning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46388" PostHistoryTypeId="36" PostId="26060" RevisionGUID="48d719c4-9072-4770-af5f-268a016d2aca" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7772/stereo-panning-headphones-and-speakers-difference/7777#7777" />
  <row Id="46389" PostHistoryTypeId="36" PostId="26061" RevisionGUID="7f76d730-5466-479e-af91-f1b34b7e7631" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7772/stereo-panning-headphones-and-speakers-difference/7778#7778" />
  <row Id="46390" PostHistoryTypeId="2" PostId="26061" RevisionGUID="2949c40d-41ac-4cb0-a51d-f388fd3e53d2" CreationDate="2013-04-30T15:04:32.613" UserId="7174" Text="For the most part, with centered mixes, there is very little difference between speakers and headphones other than the impact of the acoustics of the room versus the sterile headphone environment.  &#xD;&#xA;&#xD;&#xA;When you get in to stereo panning, however, an interesting thing happens.  In a room, both ears hear sound from both speakers, so a sound coming only from the left speaker is heard by both ears, but by different amounts and the brain figures out that it is naturally originating from the left speaker.  &#xD;&#xA;&#xD;&#xA;With headphones on the other hand, each ear only hears what is presented to it.  If it is only in the left ear, then only the left ear can hear it and the right ear can not.  This tells the brain very clearly that the sound is very close to the left ear and kills any kind of feeling of space that the mix would otherwise have when listening on headphones.&#xD;&#xA;&#xD;&#xA;So what is the conclusion of this difference?  When mixing for headphones versus speakers, there isn't a lot of difference in the panning until you get near the extremes of left or right panning.  Unless you specifically want the overly strong pan (for a special effect for example), you want to make sure that you are always leaving a healthy portion of the sound in both sides of the mix if the intended audience is headphones.  While mixing for a room however, it can be perfectly fine to separate the audio more completely in to the left and right channels." ContentLicense="CC BY-SA 3.0" />
  <row Id="46391" PostHistoryTypeId="36" PostId="26062" RevisionGUID="f576a520-b0e5-410c-b0d9-d0adc20c0c6f" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7918/manipulating-voices-to-masculine-or-feminine" />
  <row Id="46392" PostHistoryTypeId="2" PostId="26063" RevisionGUID="b5e92a33-0368-4151-baa3-d12e9caca803" CreationDate="2013-05-18T03:26:28.653" UserId="7174" Text="A voice is a very complex sound pattern.  While you can manipulate a male voice to sound feminine or vice versa, getting it to sound like a particular person is probably going to be pretty difficult since the patterns of frequencies differ in complex ways.&#xD;&#xA;&#xD;&#xA;Think about it this way, think about voice synthesis and how we can't even make a computer generate a sound that isn't recognizably computer generated.  We'd have a similar problem trying to make one voice sound like another.  If they are fairly close, it might be possible to get it a little closer, but not like they do in movies." ContentLicense="CC BY-SA 3.0" />
  <row Id="46393" PostHistoryTypeId="2" PostId="26062" RevisionGUID="ae9b123e-f8b2-4193-8af5-59ccc25a941e" CreationDate="2013-05-18T03:08:00.557" UserDisplayName="Karl" Text="Suppose I have a voice of a man and want to manipulate the sound to be woman like, I see that there are many factors involved. As simply changing the pitch will make it sound weird. &#xD;&#xA;&#xD;&#xA;What are all the factors involved if I want to be able to manipulate voices around and make a sound of one person to be like another person? What are some of the tools i should be looking for? Or is it not possible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46394" PostHistoryTypeId="1" PostId="26062" RevisionGUID="ae9b123e-f8b2-4193-8af5-59ccc25a941e" CreationDate="2013-05-18T03:08:00.557" UserDisplayName="Karl" Text="Manipulating voices to masculine or feminine" ContentLicense="CC BY-SA 3.0" />
  <row Id="46395" PostHistoryTypeId="3" PostId="26062" RevisionGUID="ae9b123e-f8b2-4193-8af5-59ccc25a941e" CreationDate="2013-05-18T03:08:00.557" UserDisplayName="Karl" Text="&lt;sound-design&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46396" PostHistoryTypeId="36" PostId="26063" RevisionGUID="18582d22-36e1-4248-aa1f-6ac204e6bf34" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7918/manipulating-voices-to-masculine-or-feminine/7920#7920" />
  <row Id="46397" PostHistoryTypeId="36" PostId="26064" RevisionGUID="5be89a39-411d-43a5-ba51-61904ad4b9cf" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7918/manipulating-voices-to-masculine-or-feminine/7923#7923" />
  <row Id="46398" PostHistoryTypeId="2" PostId="26064" RevisionGUID="b745858c-7c3c-4d6e-bffb-d8ef3e4a1e7c" CreationDate="2013-05-18T12:09:03.777" UserId="7213" Text="It isn't simply pitch from the vocal cords that determines the 'maleness' of a voice, but also how the spectral peaks and resonances are influenced by the shape of the skull, sinuses and chest cavity. http://en.wikipedia.org/wiki/Formant has a discussion of these influences and where the different peaks live. Knowing these can help you 'tune' a vocal waveform a little better." ContentLicense="CC BY-SA 3.0" />
  <row Id="46399" PostHistoryTypeId="36" PostId="26065" RevisionGUID="c53eb3b2-537a-4634-9b4b-ab3dae1589b2" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1513/sequencing-with-vsts-does-64bit-matter" />
  <row Id="46400" PostHistoryTypeId="2" PostId="26066" RevisionGUID="ef2c55e9-2190-4d14-a344-46b9c9a78f6e" CreationDate="2011-05-31T19:40:20.283" UserDisplayName="decasteljau" Text="First, let make things clear.  &#xD;&#xA;&#xD;&#xA; - 64-bit plug-in modules (DLL) only work with 64 bits applications hosts.&#xD;&#xA; - 32-bit plug-in modules (DLL) only work with 32 bits applications hosts.&#xD;&#xA;&#xD;&#xA;64-bit plug-in modules (DLL) do not sound better than 32-bit plug-in modules.  This has nothing to do with 64-bit audio processing.  &#xD;&#xA;&#xD;&#xA;The main difference between both is the amount of memory they can address.  In some scenarios (I am thinking of a sampler), a plug-in may want to reference a large amount of samples (many gigabytes), and 32-bit has it's limitations.&#xD;&#xA;&#xD;&#xA;Next, still today, many plug-ins don't exist in 64-bit flavor, but most exist in 32-bit flavor (especially old plug-ins), so in terms of compatibility, 32-bit is the winner.&#xD;&#xA;&#xD;&#xA;Lots of sequencers and sampler are streaming audio from disk, so memory may not be issue with 32-bit hosts and plug-ins at short term.  At long term, with the tendency of having very large samplers, the memory addressing issue may become a real issue. &#xD;&#xA;&#xD;&#xA;**To answer your question** about EastWest plug-ins, 64-bit is likely to get you better performances as you will avoid streaming samples from disk and be able to sample the complete kit from memory.&#xD;&#xA;&#xD;&#xA;**Bridges**: Some bridge applications exists (jBridge, and Steinbern VST bridge) and allow you to run 32 plug-ins in a separate process and bridge the audio inputs/outputs through a 64-bit host, allowing 64-bit hosts to run 32-bit plug-ins.  This method has some performance disadvantages as the bridge has to copy the memory from one process to another and that serialization/deserialization process may take precious CPU cycles.  It may also introduce compatibility issues, as a layer is added between the host and the plug-in.&#xD;&#xA;&#xD;&#xA;More information about memory addressing here (a bit technical):&#xD;&#xA;http://msdn.microsoft.com/en-us/library/aa366778(v=vs.85).aspx#physical_memory_limits_windows_vista" ContentLicense="CC BY-SA 3.0" />
  <row Id="46401" PostHistoryTypeId="2" PostId="26065" RevisionGUID="76c21939-1cf6-4299-b5e1-aff0e087dc24" CreationDate="2011-05-31T19:15:07.207" UserDisplayName="U62" Text="I'm wanting to get into digital music production and so I need to get a 'DAW' package. I don't want to get into a debate the pros and cons of different packages, but I'd narrowed down my selection to Cubase and Ableton Live and was favouring Live until I found out that it isn't 64bit. This apparently means it can't use 64bit VSTs.&#xD;&#xA;&#xD;&#xA;My question is: Is this likely to be a limitation for me? In particular I'm thinking of VST instruments that include huge sample libraries like the EastWest stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="46402" PostHistoryTypeId="1" PostId="26065" RevisionGUID="76c21939-1cf6-4299-b5e1-aff0e087dc24" CreationDate="2011-05-31T19:15:07.207" UserDisplayName="U62" Text="Sequencing with VSTs - does 64bit matter?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46403" PostHistoryTypeId="3" PostId="26065" RevisionGUID="76c21939-1cf6-4299-b5e1-aff0e087dc24" CreationDate="2011-05-31T19:15:07.207" UserDisplayName="U62" Text="&lt;vst&gt;&lt;ableton-live&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46404" PostHistoryTypeId="36" PostId="26066" RevisionGUID="448de92a-d2bf-42b3-a4dd-4baee0cce220" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1513/sequencing-with-vsts-does-64bit-matter/1514#1514" />
  <row Id="46405" PostHistoryTypeId="36" PostId="26067" RevisionGUID="f4319c1a-e427-49de-87b3-34d27a11719e" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1513/sequencing-with-vsts-does-64bit-matter/1515#1515" />
  <row Id="46406" PostHistoryTypeId="36" PostId="26068" RevisionGUID="a095a1cd-c609-472e-bc6f-5bd1363858ec" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1513/sequencing-with-vsts-does-64bit-matter/1516#1516" />
  <row Id="46407" PostHistoryTypeId="36" PostId="26069" RevisionGUID="3bbf2571-3251-455d-8e5f-b89974dd1768" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1513/sequencing-with-vsts-does-64bit-matter/9878#9878" />
  <row Id="46408" PostHistoryTypeId="2" PostId="26067" RevisionGUID="d3ccdd6b-611c-4bb4-af0e-811352df02db" CreationDate="2011-05-31T19:50:29.433" UserId="7471" UserDisplayName="Mark Heath" Text="A 64 bit process can only load 64 bit DLLs, and a 32 bit process can only load 32 bit DLLs. So if you run your DAW as a 64 bit process, it can't load 32 bit VST's without using some kind of &quot;bridge&quot; (which a lot of the 64 bit DAWs come with as standard, including Cubase).&#xD;&#xA;&#xD;&#xA;What does this mean in practice? If your DAW is 32 bit, then you are right in thinking you can't load a 64 bit VST. However, on 64 bit Windows, a 32 bit DAW can use up to 4GB of RAM, which is plenty for all but the most memory hungry of sampled instruments. Even then most really huge sampled instruments provide options for streaming from disk, or unloading samples that it detects you are not using to save on RAM.&#xD;&#xA;&#xD;&#xA;So if your machine has more than 4GB of RAM and you really want to load vast sample libraries, then a 64 bit DAW might make sense for you. But you can still get a lot done with a 32 bit DAW, especially if you have fast hard disks." ContentLicense="CC BY-SA 3.0" />
  <row Id="46409" PostHistoryTypeId="2" PostId="26068" RevisionGUID="5e68e8a7-5e5b-4090-b4f1-4d7f0f48d3a4" CreationDate="2011-05-31T20:04:12.930" UserId="7093" Text="As decasteljau and Mark Heath said, 64-bit will likely perform better with huge sampled instruments, but you also need to like the software you are using.&#xD;&#xA;&#xD;&#xA;If you only have a slight leaning toward Ableton, then it's probably better to go with the 64-bit version of Cubase.  If you strongly prefer Ableton's interface over Cubase, you might prefer to limit your capabilities a bit to get a program you enjoy using." ContentLicense="CC BY-SA 3.0" />
  <row Id="46410" PostHistoryTypeId="2" PostId="26069" RevisionGUID="9f70c25c-10ba-4665-8d80-c7f7c80a6e48" CreationDate="2014-01-10T16:54:07.307" UserId="7190" Text="I think that Ableton started supporting 64-bit in Live version 8.4. If you're concerned about audio quality differences, I can advise you there are no significant drawbacks either way. You will need to use 32-bit DLLs with a 32-bit version of Live, and the same goes for 64-bit versions as well, just to make things play nice with each other. Even on the support page for the 64-bit version of Live, Ableton states &quot;There are no differences in the CPU handling between the 32-bit and the 64-bit version&quot;. http://www.ableton.com/en/articles/64bit-myths-facts/&#xD;&#xA;&#xD;&#xA;Check that page it would answer your question for sure." ContentLicense="CC BY-SA 3.0" />
  <row Id="46411" PostHistoryTypeId="36" PostId="26070" RevisionGUID="0b2a1120-0bea-4e69-8db1-2c7f44fc4763" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3480/why-do-some-musicians-groups-create-a-last-track-with-tons-of-silence-in-the-mid" />
  <row Id="46412" PostHistoryTypeId="36" PostId="26071" RevisionGUID="8b16f706-02ec-490e-b7c2-24e191abd94a" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3480/why-do-some-musicians-groups-create-a-last-track-with-tons-of-silence-in-the-mid/3482#3482" />
  <row Id="46413" PostHistoryTypeId="2" PostId="26071" RevisionGUID="bd7b8cfe-e43f-4e6c-8da7-3f98e8b22d5c" CreationDate="2012-03-07T18:01:21.130" UserId="7093" Text="It's called a [hidden track][1].&#xD;&#xA;&#xD;&#xA;Back in the day when CDs first came out, many artists put an extra song on the CD that was not available on the cassette version.  It was probably a marketing thing to get people to buy the CDs.&#xD;&#xA;&#xD;&#xA;Later when CDs were more popular, some CDs started including a hidden track in the manner you described in your question.  Some are placed as a surprise or joke.  This could have started because a typical CD only includes about 45 minutes worth of music, but has a capacity of well over an hour and costs the same to produce no matter how full it is.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Hidden_track" ContentLicense="CC BY-SA 3.0" />
  <row Id="46414" PostHistoryTypeId="2" PostId="26070" RevisionGUID="b486dd0b-016e-4b33-b3d4-0d0312cb59b0" CreationDate="2012-03-07T15:22:02.670" UserDisplayName="Vinko Vrsalovic" Text="I've seen this at least four times. An album with the usual 4/5 minute songs has a last track of about 15 minutes, of which 10 are silence in the middle of the track.&#xD;&#xA;&#xD;&#xA;Is there a meme I'm not aware of? Is it a reference to something? " ContentLicense="CC BY-SA 3.0" />
  <row Id="46415" PostHistoryTypeId="1" PostId="26070" RevisionGUID="b486dd0b-016e-4b33-b3d4-0d0312cb59b0" CreationDate="2012-03-07T15:22:02.670" UserDisplayName="Vinko Vrsalovic" Text="Why do some musicians/groups create a last track with tons of silence in the middle?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46416" PostHistoryTypeId="3" PostId="26070" RevisionGUID="b486dd0b-016e-4b33-b3d4-0d0312cb59b0" CreationDate="2012-03-07T15:22:02.670" UserDisplayName="Vinko Vrsalovic" Text="&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46417" PostHistoryTypeId="36" PostId="26072" RevisionGUID="486da73b-c25a-4449-8636-15478a35abcd" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1571/looking-for-high-quality-small-speakers-for-my-home" />
  <row Id="46418" PostHistoryTypeId="2" PostId="26073" RevisionGUID="07d96851-9809-40bd-93c5-6e3e03a5ae9b" CreationDate="2011-06-09T18:20:30.513" UserId="7334" UserDisplayName="imsky" Text="[HP USB Mini Speakers][1] are reputed to pack a good punch for their size.&#xD;&#xA;&#xD;&#xA;[M-Audio Studiophile monitors][2] are a good fit if you're OK with the price.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/HP-NN109AA-ABA-Mini-Speakers/dp/B0027JLIVM&#xD;&#xA;  [2]: http://www.amazon.com/M-Audio-Studiophile-AV-Powered-Speakers/dp/B000MUXJCO/ref=sr_1_1?s=musical-instruments&amp;ie=UTF8&amp;qid=1307643526&amp;sr=1-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="46419" PostHistoryTypeId="2" PostId="26072" RevisionGUID="600909a2-52af-4f44-93c9-ea729cadccdc" CreationDate="2011-06-09T17:22:23.583" UserId="7258" UserDisplayName="Ory Band" Text="I spend most of my time programming in my work room, and would like to enjoy my lossless, audiophile music without having to crank up the whole neighbourhood.&#xD;&#xA;&#xD;&#xA;Something that can sound very good and high-end on very low volumes, without me having to put headphones.&#xD;&#xA;&#xD;&#xA;Doesn't anybody know of some good brands or models that I should look into?&#xD;&#xA;&#xD;&#xA;**Note**: I'm looking more into stereo speakers. Don't need all these 5/7.1 sets..." ContentLicense="CC BY-SA 3.0" />
  <row Id="46420" PostHistoryTypeId="1" PostId="26072" RevisionGUID="600909a2-52af-4f44-93c9-ea729cadccdc" CreationDate="2011-06-09T17:22:23.583" UserId="7258" UserDisplayName="Ory Band" Text="Looking for high quality small speakers for my home" ContentLicense="CC BY-SA 3.0" />
  <row Id="46421" PostHistoryTypeId="3" PostId="26072" RevisionGUID="600909a2-52af-4f44-93c9-ea729cadccdc" CreationDate="2011-06-09T17:22:23.583" UserId="7258" UserDisplayName="Ory Band" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46422" PostHistoryTypeId="36" PostId="26073" RevisionGUID="bdcf7cec-1c1c-4dff-8824-a1f0a00fffe3" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1571/looking-for-high-quality-small-speakers-for-my-home/1573#1573" />
  <row Id="46423" PostHistoryTypeId="36" PostId="26074" RevisionGUID="c85e57ae-e4df-4cc3-ae52-096d66b66001" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8302/term-for-distorted-bass" />
  <row Id="46424" PostHistoryTypeId="36" PostId="26075" RevisionGUID="5ee4958c-c071-4e9f-8123-f865c6e7f2c4" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8302/term-for-distorted-bass/8303#8303" />
  <row Id="46425" PostHistoryTypeId="2" PostId="26075" RevisionGUID="f02190d5-9aa7-4c51-8d9b-9bb34b7ddad1" CreationDate="2013-07-03T19:01:12.383" UserId="7188" Text="A number of terms can be applied:&#xD;&#xA;&#xD;&#xA;* clipping&#xD;&#xA;* electromagnetically saturated&#xD;&#xA;* warping&#xD;&#xA;&#xD;&#xA;Also seen written on a repair tag at a major recording studio in L.A. circa 1975:&#xD;&#xA;&quot;This VOT [voice of the theater] sounds like Vapid Schmooy&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&quot;The loudspeaker is by far the poorest link in the reproduction chain for all forms of distortion, and this includes nonlinear distortion, frequency response distortion, phase distortion, and time distortion. Compared to the electronics of a system, loudspeakers are horrible.&quot;&#xD;&#xA;&#xD;&#xA;source:&#xD;&#xA;http://www.enjoythemusic.com/magazine/bas/0708/&#xD;&#xA;&#xD;&#xA;Wiki on distortion:&#xD;&#xA;http://en.wikipedia.org/wiki/Distortion&#xD;&#xA;&#xD;&#xA;Also many electric guitar players will call less than desirable bass tone, &quot;mud&quot; or &quot;muddy&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="46426" PostHistoryTypeId="2" PostId="26076" RevisionGUID="da4260f5-fc9b-424a-8e2c-cf4d359f75c4" CreationDate="2013-07-03T19:56:38.197" UserId="7174" Text="What you are actually hearing is square waves.  What happens when a speaker is fed a signal that exceeds the amplitude it can produce is that the speaker coil projects the diaphram to the limit of how far it can travel.  This results in an abrupt stop to the sound pressure and it stays pegged at the extreme end until the signal amplitude falls enough for it to move away from the extreme.  &#xD;&#xA;&#xD;&#xA;The term clipping is applied because the normal waveform exceeds the maximum amplitude and is clipped off at the maximum.  It is worth noting that this occurs at any frequency of sound, but tends to be more noticeable on lower frequencies due to the power of lower frequencies and the fact that the speaker is pegged to an extreme for longer at a time.  It generally takes on a more rattly sound at higher frequencies since the speaker is more rapidly thrust between extreme limits." ContentLicense="CC BY-SA 3.0" />
  <row Id="46427" PostHistoryTypeId="2" PostId="26074" RevisionGUID="d7a65158-4863-4d35-a693-5e6505de9b38" CreationDate="2013-07-03T18:23:56.167" UserDisplayName="Myrddin Emrys" Text="What is the technical term for the distorted, rumbly, windy sound headphones or speakers make when they are unable to properly play a high amplitude bass tone? The sound when the driver is not following the audio wave, but is instead skipping (or adding) sound wave peaks not in the input signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="46428" PostHistoryTypeId="1" PostId="26074" RevisionGUID="d7a65158-4863-4d35-a693-5e6505de9b38" CreationDate="2013-07-03T18:23:56.167" UserDisplayName="Myrddin Emrys" Text="Term for Distorted Bass" ContentLicense="CC BY-SA 3.0" />
  <row Id="46429" PostHistoryTypeId="3" PostId="26074" RevisionGUID="d7a65158-4863-4d35-a693-5e6505de9b38" CreationDate="2013-07-03T18:23:56.167" UserDisplayName="Myrddin Emrys" Text="&lt;distortion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46430" PostHistoryTypeId="36" PostId="26076" RevisionGUID="426724ce-50da-44a9-9d5c-316a995e11cc" CreationDate="2014-01-27T15:05:46.147" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8302/term-for-distorted-bass/8304#8304" />
  <row Id="46431" PostHistoryTypeId="36" PostId="26077" RevisionGUID="966d7cf0-bdc3-4ec3-88cd-c54543413c58" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9187/cubase-7-i-cant-find-the-timestamp-for-each-sample" />
  <row Id="46432" PostHistoryTypeId="2" PostId="26078" RevisionGUID="153c12ee-41cf-43cb-9070-9a1df094b5e1" CreationDate="2013-10-16T12:52:13.137" UserId="7325" UserDisplayName="Dave Rook" Text="I spent ages looking for this and typically I find the answer after I post the question.&#xD;&#xA;&#xD;&#xA;It is called Info Line, screen shot to help:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Click the icon by the red arrow to bring up the dialog box. &#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/PVT3y.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="46433" PostHistoryTypeId="2" PostId="26077" RevisionGUID="ea401e4a-2dfb-407c-ac52-6b62cac6ee31" CreationDate="2013-10-16T12:34:39.573" UserId="7325" UserDisplayName="Dave Rook" Text="In Cubase 5 I used to be able to click on a sample and details would appear showing the start time of the sample, the length etc &#xD;&#xA;&#xD;&#xA;This option appears to have disappeared in Cubase 7. It used to appear in the toolbar (under the File Edit Project etc). I tried right clicking and Show All but it doesn't appear. &#xD;&#xA;&#xD;&#xA;I'm sure it is there, but my Google searches have not returned anything, possibly due to incorrect search phrases.&#xD;&#xA;&#xD;&#xA;So, I'd like to click on a sample, for example on the Chorus of my song a violin plays. I'd like to click on the sample to realise it starts at 0:3:53:686.&#xD;&#xA;&#xD;&#xA;I no longer have Cubase 5 and can't provide my own screen shot, but I did find a blurry image else where:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Does any one know what it is called and how to get it?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/WrGf9.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="46434" PostHistoryTypeId="1" PostId="26077" RevisionGUID="ea401e4a-2dfb-407c-ac52-6b62cac6ee31" CreationDate="2013-10-16T12:34:39.573" UserId="7325" UserDisplayName="Dave Rook" Text="Cubase 7 - I can't find the timestamp for each sample" ContentLicense="CC BY-SA 3.0" />
  <row Id="46435" PostHistoryTypeId="3" PostId="26077" RevisionGUID="ea401e4a-2dfb-407c-ac52-6b62cac6ee31" CreationDate="2013-10-16T12:34:39.573" UserId="7325" UserDisplayName="Dave Rook" Text="&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46436" PostHistoryTypeId="36" PostId="26078" RevisionGUID="4941e80a-7345-4436-bed0-16c17942fc10" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9187/cubase-7-i-cant-find-the-timestamp-for-each-sample/9188#9188" />
  <row Id="46437" PostHistoryTypeId="36" PostId="26079" RevisionGUID="0bc5c8f7-f14a-4bf6-a5df-520abc38b7a1" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/822/i-have-this-acoustic-guitar-pickup-what-is-a-good-software-for-it" />
  <row Id="46438" PostHistoryTypeId="36" PostId="26080" RevisionGUID="31824fd4-f95f-4229-8d62-f27991398c5e" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/822/i-have-this-acoustic-guitar-pickup-what-is-a-good-software-for-it/823#823" />
  <row Id="46439" PostHistoryTypeId="2" PostId="26080" RevisionGUID="6365cc6d-0957-4ab4-a390-f66491e45737" CreationDate="2011-02-16T15:18:05.253" UserDisplayName="jeebs" Text="As a computer programmer, one of the first rules you learn is &quot;Garbage In, Garbage Out&quot;. Once the correctness of the data - or in this case the quality of the sound - is gone, there's very little that can be done to bring it back into a usable state. Keep this in mind when deciding how best to spend your money which can easily disappear on a whole myriad of different items from instruments, mics, cables, pedals, outboards, rigs to DAW software.&#xD;&#xA;&#xD;&#xA;For the moment I would prioritise your setup like this:&#xD;&#xA;&#xD;&#xA; 1. Pickup&#xD;&#xA; 2. Soundcard&#xD;&#xA; 3. Effects (dry or wet)&#xD;&#xA; 4. Noise removal&#xD;&#xA;&#xD;&#xA;Firstly, get an acoustic pickup that has low (acceptable) noise. You can test this out by listening through a good set of headphones before putting it through a computer. If the signal you're getting at the very source isn't good enough don't try to fix it once you get it into a digital recorded state.&#xD;&#xA;&#xD;&#xA;Second, if you're going to be recording music on a PC it will be worth considering getting a soundcard for that purpose. If you're using a laptop you could get an external soundcard e.g. [DMX 6Fire][1]. There's nothing worse than not being able to get a good recording because your soundcard isn't low latency or powerful enough to keep up.&#xD;&#xA;&#xD;&#xA;The only time I ever put distortion effects on an acoustic guitar sound it didn't come out too well but in principle there shouldn't be a problem. You could either buy a purpose built guitar FX pedal e.g. [Digitech Grunge][2], [Boss Metal Zone][3] or use software on the clean acoustic signal later e.g. the [Fruity Blood Overdrive][4] plugin for FL Studio. I'd say the pedal route should be if the 14 yr-old will some day gig or otherwise want to tailor their rock distortion or whatever and let it be portable.&#xD;&#xA;&#xD;&#xA;A good [DAW][5] system will come with noise removal software but (a) you're looking at spending a lot of money for just recording an acoustic guitar and (b) it can still have unwanted side-effects compared to the original. I found when I needed to use noise reduction because of a badly recorded source signal the result had a very muddy sound. That's why I'd recommend considering the noise removal element last and instead try to get a system working that doesn't need it. Regardless though, if you choose to use software effects to change the sound away from an acoustic guitar you'll need a DAW that can handle a plugin to do so. I mentioned FL Studio but there are others (including free ones) mentioned in the wikipedia link above.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.terratec.net/en/products/DMX_6Fire_USB_2084.html&#xD;&#xA;  [2]: http://www.digitech.com/products/Pedals/Grunge.php&#xD;&#xA;  [3]: http://www.bosscorp.co.jp/products/en/MT-2/&#xD;&#xA;  [4]: http://flstudio.image-line.com/help/html/plugins/Fruity%20Blood%20Overdrive.htm&#xD;&#xA;  [5]: http://en.wikipedia.org/wiki/Digital_audio_workstation" ContentLicense="CC BY-SA 2.5" />
  <row Id="46440" PostHistoryTypeId="2" PostId="26079" RevisionGUID="5413cf7c-8290-40fe-88f5-1b80b2b7b51b" CreationDate="2011-02-16T12:34:08.357" UserDisplayName="user518" Text="I have bought this cheap (10$) guitar pickup for an acoustic guitar, which I have connected it to my laptop's 3.5mm microphone port:&#xD;&#xA;&#xD;&#xA;[Image of the pickup][1]&#xD;&#xA;&#xD;&#xA;This is for a 14 years old kid.&#xD;&#xA;&#xD;&#xA;What program can he use to remove the noise of the microphone (this microphone produces A LOT of noise) and add cool effects to the sound (like transform it in another instrument or an electric guitar - in real time). It should be easy to use, allow recording the sound and transforming it **and not too CPU-heavy**. The laptop is a Core 2 Duo 2.5 GHz, with a weak graphic card.&#xD;&#xA;&#xD;&#xA;The price of the program is not important. It can be expensive.&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/6iFrf.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="46441" PostHistoryTypeId="1" PostId="26079" RevisionGUID="5413cf7c-8290-40fe-88f5-1b80b2b7b51b" CreationDate="2011-02-16T12:34:08.357" UserDisplayName="user518" Text="I have this acoustic guitar pickup. What is a good software for it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46442" PostHistoryTypeId="3" PostId="26079" RevisionGUID="5413cf7c-8290-40fe-88f5-1b80b2b7b51b" CreationDate="2011-02-16T12:34:08.357" UserDisplayName="user518" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46443" PostHistoryTypeId="36" PostId="26081" RevisionGUID="123f3e5b-bb29-4b90-9e7a-8a3a7d9c401c" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7841/how-to-make-cool-hi-hats-sounds-in-reason" />
  <row Id="46444" PostHistoryTypeId="2" PostId="26082" RevisionGUID="ff2bb8e0-96c9-4a18-b139-f533d98f6d9f" CreationDate="2013-05-08T21:36:55.670" UserId="7405" UserDisplayName="Andy aka" Text="There is a lot of stereo panning back and forth on the hihats supplemented by the clicks left and right. There is also some tight echo on the hats - notice also how the rest of the musicical instruments (apart from the scratches) do not impose on the mid upper and upper bounds of the spectrum thus leaving the hats and clicks to stand out proud and not clashing with other stuff.&#xD;&#xA;&#xD;&#xA;I can't tell you how to recreate it in reason but if you were using cubase I'd have them perked up with some eq from about 2kHz to 10kHz (maybe 6 dB plateau), then i'd compress them with a ratio of about 5:1 so that the levels are nearly always causing compression to be instigated i.e. the threshold of compression is mainly below all the hihat sounds. Then I'd have an automation track doing the fast panning left and right. Then further down the chain I'd use some echo - not blatent - 50ms delay to 200ms should do it. Finally it sounds like they have been distorted a tad so whatever distortion fx you have might be worth a mess with." ContentLicense="CC BY-SA 3.0" />
  <row Id="46445" PostHistoryTypeId="2" PostId="26081" RevisionGUID="5528b5c2-0e99-47db-89a4-2f9e343f02d8" CreationDate="2013-05-08T19:55:45.203" UserDisplayName="Flav" Text="I listened to this very neat track from Chet Faker, and I was stunned by the hi-hats sound beginning at 0:18.&#xD;&#xA;I was wondering how to recreate it in Reason, and I figured maybe it would serve as an example to make guidelines on how to process hi-hats sounds.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=LJ1tQT4S4e4" ContentLicense="CC BY-SA 3.0" />
  <row Id="46446" PostHistoryTypeId="1" PostId="26081" RevisionGUID="5528b5c2-0e99-47db-89a4-2f9e343f02d8" CreationDate="2013-05-08T19:55:45.203" UserDisplayName="Flav" Text="How to make cool hi-hats sounds in Reason" ContentLicense="CC BY-SA 3.0" />
  <row Id="46447" PostHistoryTypeId="3" PostId="26081" RevisionGUID="5528b5c2-0e99-47db-89a4-2f9e343f02d8" CreationDate="2013-05-08T19:55:45.203" UserDisplayName="Flav" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46448" PostHistoryTypeId="36" PostId="26082" RevisionGUID="40b58123-b5a1-4f9b-b6da-4587ebf5e1c3" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7841/how-to-make-cool-hi-hats-sounds-in-reason/7842#7842" />
  <row Id="46449" PostHistoryTypeId="36" PostId="26083" RevisionGUID="564c6ac5-f4f7-4523-b785-fc01a18f2692" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7841/how-to-make-cool-hi-hats-sounds-in-reason/8858#8858" />
  <row Id="46450" PostHistoryTypeId="2" PostId="26083" RevisionGUID="1756240b-0351-479f-a606-23042e382966" CreationDate="2013-08-30T15:37:21.477" UserId="14806" UserDisplayName="herman" Text="To me it sounds like they are comb filtered.  But that could be due to tight delay/reverb.&#xD;&#xA;&#xD;&#xA;EDIT: try with a short reverb with high send level, and enable the low pass filter on the big mixer channel, set to around 5 kHz.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46451" PostHistoryTypeId="36" PostId="26084" RevisionGUID="8972a595-8fa3-4e81-863a-ed1080164919" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4082/home-studio-minimum-setting-and-cost" />
  <row Id="46452" PostHistoryTypeId="2" PostId="26085" RevisionGUID="5bf6c0d7-a82d-4473-8586-c41cca7918f0" CreationDate="2012-05-29T04:01:37.927" UserId="7189" Text="* Software: [Reaper](http://www.reaper.fm) costs $60 for personal or commercial use that grosses less than $20k annually.&#xD;&#xA;* Audio interface: used MOTU 828 mk2, easily found on eBay or Craigslist for under $300.&#xD;&#xA;* PC or mac with 4GB+ of RAM and a reasonably modern dual-core CPU. Under $1000 for a desktop, under $1500 for a laptop&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'd start with Reaper on whatever machine you have now, and upgrade as necessary. Buy as much stuff used as you can - there is a ton of awesome gear out there on eBay and craigslist." ContentLicense="CC BY-SA 3.0" />
  <row Id="46453" PostHistoryTypeId="2" PostId="26084" RevisionGUID="24438f96-af43-44a3-a219-fb3ae30e00b9" CreationDate="2012-05-29T01:27:25.193" UserDisplayName="user1894" Text="What would be the minimum requirement neccessary for audio (music) home studio?&#xD;&#xA;&#xD;&#xA;And what would be the minimum cost?&#xD;&#xA;&#xD;&#xA;what software and hardware would you recommend?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46454" PostHistoryTypeId="1" PostId="26084" RevisionGUID="24438f96-af43-44a3-a219-fb3ae30e00b9" CreationDate="2012-05-29T01:27:25.193" UserDisplayName="user1894" Text="Home studio minimum setting and cost" ContentLicense="CC BY-SA 3.0" />
  <row Id="46455" PostHistoryTypeId="3" PostId="26084" RevisionGUID="24438f96-af43-44a3-a219-fb3ae30e00b9" CreationDate="2012-05-29T01:27:25.193" UserDisplayName="user1894" Text="&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46456" PostHistoryTypeId="36" PostId="26085" RevisionGUID="79b0d7d8-6370-4b3c-838e-bae4eb48cbbf" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4082/home-studio-minimum-setting-and-cost/4083#4083" />
  <row Id="46457" PostHistoryTypeId="36" PostId="26086" RevisionGUID="6c580bc8-27ac-450e-a516-cd5978f3175b" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1539/why-does-my-variable-audio-out-not-send-a-signal-from-my-toshiba-26av500-tv" />
  <row Id="46458" PostHistoryTypeId="36" PostId="26087" RevisionGUID="6492ce5d-033a-4509-80f1-074f2455839f" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1539/why-does-my-variable-audio-out-not-send-a-signal-from-my-toshiba-26av500-tv/1547#1547" />
  <row Id="46459" PostHistoryTypeId="36" PostId="26088" RevisionGUID="492997da-8e1e-4d1e-bef3-cc1a1c72cc31" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1539/why-does-my-variable-audio-out-not-send-a-signal-from-my-toshiba-26av500-tv/1569#1569" />
  <row Id="46460" PostHistoryTypeId="2" PostId="26087" RevisionGUID="7f9e0df7-edaa-4120-9329-0b8c9f498bb4" CreationDate="2011-06-05T23:18:23.467" UserId="7251" Text="I would guess it's because the internals of the TV don't link the audio input from the HDMI lead to the RCA output.  This is because it would require another DAC which most people wouldn't use.  As an example on my Samsung the RCA out will output TV, and any audio input on the scart sockets, but it won't give me audio from the HDMI input.&#xD;&#xA;&#xD;&#xA;The easiest way to solve this would be to use a separate input on your amp for the PC, and then just switch between the inputs to have audio either from the TV or from the PC.  The other option, if you amp supports it is to link the HDMI lead through the amp." ContentLicense="CC BY-SA 3.0" />
  <row Id="46461" PostHistoryTypeId="2" PostId="26088" RevisionGUID="5627b211-bbae-4344-a63e-8e8e3f7e0ebd" CreationDate="2011-06-08T18:43:10.083" UserId="7294" UserDisplayName="Warrior Bob" Text="Either by design or configuration, the audio coming in is not being routed out. If it's design there's nothing you can really do about it, but if it's configuration then the solution is of course to configure it, but it might not be clear exactly how to do that.&#xD;&#xA;&#xD;&#xA;The first place I'd go to look would be the manual for the TV. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46462" PostHistoryTypeId="2" PostId="26086" RevisionGUID="eb48b459-d63f-488a-862f-e94580a1ed91" CreationDate="2011-06-03T14:07:14.657" UserId="7273" UserDisplayName="smartcaveman" Text="I have a computer hooked up to a Toshiba 26AV500 TV with an HDMI cable.  The TV has a Variable Audio Out with RCA cords as well as a Digital Optical Audio-Out, that is hooked up to my amp (which is then connected to my studio monitors).   Neither the Digital Optical nor the Variable RCA outputs are sending any signal. &#xD;&#xA;&#xD;&#xA;The signal is being lost between the TV and the amp.  I can plug the computer directly to the Amp, but the signal gets lost when I try to use the TV as an intermediary.  &#xD;&#xA;&#xD;&#xA;Since neither my amp, nor my computer has a remote control, I would like to be able to use the TV remote to control the volume of the studio monitors from different places in the room when I am mixing, without manually changing the volume on the amp.  &#xD;&#xA;&#xD;&#xA;What could be the cause of the problem?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46463" PostHistoryTypeId="1" PostId="26086" RevisionGUID="eb48b459-d63f-488a-862f-e94580a1ed91" CreationDate="2011-06-03T14:07:14.657" UserId="7273" UserDisplayName="smartcaveman" Text="Why does my Variable Audio Out not send a signal from my Toshiba 26AV500 TV?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46464" PostHistoryTypeId="3" PostId="26086" RevisionGUID="eb48b459-d63f-488a-862f-e94580a1ed91" CreationDate="2011-06-03T14:07:14.657" UserId="7273" UserDisplayName="smartcaveman" Text="&lt;home-studio&gt;&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46465" PostHistoryTypeId="36" PostId="26089" RevisionGUID="6660d95c-dbda-45db-b5b4-77b02ea95a11" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7068/extreme-eq-curves" />
  <row Id="46466" PostHistoryTypeId="2" PostId="26090" RevisionGUID="45b8b2e8-c907-470f-9035-c5bcdfe13f60" CreationDate="2013-02-06T17:45:28.987" UserId="7174" Text="Notch filters are perfectly valid in certain key cases to deal with a particular problem with the sound.  For example, when trying to deal with a single frequency buzz (like a 60hz line buzz) it is ideal to cut a very narrow band to deal with the problem.  In general however, this is only true when troubleshooting a problem with the recording.  For a general EQ of an ideal recording, the EQ should generally be fairly smooth to avoid distorting the sound of the recording (unless such distortion is desired for artistic reasons).&#xD;&#xA;&#xD;&#xA;The real question to consider is, is it better to make a jarring change that may make an audible gap in the sound, but minimize the impact on surrounding frequencies or will a gentle transition that makes it feel smooth better serve the purpose." ContentLicense="CC BY-SA 3.0" />
  <row Id="46467" PostHistoryTypeId="2" PostId="26089" RevisionGUID="2fa2edd7-a156-476e-9310-a95024125f7f" CreationDate="2013-02-06T17:29:53.007" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="Is it bad to use EQs to an &quot;extreme&quot; extent? I use that word because of what my friend said about the settings of an EQ on a song we were helping a mix and master. He had something like this, but more a extreme frequency cut at ~75 and ~125 hz.&#xD;&#xA;&#xD;&#xA;![extreme eq][1]&#xD;&#xA;&#xD;&#xA;I didn't think it was a big deal. I do something similar to the image above on a lot of the tracks in my songs (drop levels at ~100 and ~200 hz usually) to make room for the kick and snare. Only difference is mine aren't as intense as the image above, so medium level you could say.&#xD;&#xA;&#xD;&#xA;My friend said this was wrong and that EQ curves should be much gentler and curve smoothly instead of sharply creating steep angles like the image below.&#xD;&#xA;&#xD;&#xA;![gentle eq][2]&#xD;&#xA;&#xD;&#xA;Why does he believe that using the EQ like the first image is wrong?&#xD;&#xA;&#xD;&#xA;I hope this makes sense to everyone. Feel free to edit and reword.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/iGmSh.gif&#xD;&#xA;  [2]: http://i.stack.imgur.com/aR13E.jpg&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="46468" PostHistoryTypeId="1" PostId="26089" RevisionGUID="2fa2edd7-a156-476e-9310-a95024125f7f" CreationDate="2013-02-06T17:29:53.007" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&quot;Extreme&quot; EQ curves" ContentLicense="CC BY-SA 3.0" />
  <row Id="46469" PostHistoryTypeId="3" PostId="26089" RevisionGUID="2fa2edd7-a156-476e-9310-a95024125f7f" CreationDate="2013-02-06T17:29:53.007" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;effects&gt;&lt;equalization&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46470" PostHistoryTypeId="36" PostId="26090" RevisionGUID="db825660-d8c3-4dce-bbc7-44ad3f64586d" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7068/extreme-eq-curves/7070#7070" />
  <row Id="46471" PostHistoryTypeId="36" PostId="26091" RevisionGUID="7e0a47df-5a4d-4225-97d8-70dcc30b788e" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7068/extreme-eq-curves/7184#7184" />
  <row Id="46472" PostHistoryTypeId="36" PostId="26092" RevisionGUID="c28b9ff7-5d33-4b95-87c7-b4e654959b75" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7068/extreme-eq-curves/7189#7189" />
  <row Id="46473" PostHistoryTypeId="2" PostId="26091" RevisionGUID="ce5e2e1e-2ab4-4cd7-b21f-a9e41a259b57" CreationDate="2013-02-17T18:37:11.257" UserDisplayName="Hiren Umradia" Text="In my opinion EQ'ing is an art with no strict rules. Sometimes you are working on some strings or a voice where harsh EQ cutting would make the sound unnatural or empty. However, when working with heavy electronic music I sometimes use extreme EQ'ing to create a sound that is very unique. What i'm trying to get at is that the amount you EQ is ultimately based on what goal you want to achieve. &#xD;&#xA;&#xD;&#xA;For example:&#xD;&#xA;&#xD;&#xA;Say if I have a really mean sawbass in the high end, I might exaggerate some of the high end to get that crunch and completely squash the low end. Then I would layer the sound with something with a lot of bass and boost it to taste.&#xD;&#xA;&#xD;&#xA;There is so much you can do with EQ and I encourage you to experiment. The main thing to remember is to not overdo it. If you doing extreme boosts and cuts use them in moderation and think about the space they occupy in relation to the frequency range of the other sounds in the mix.&#xD;&#xA;&#xD;&#xA;Happy Eq'in" ContentLicense="CC BY-SA 3.0" />
  <row Id="46474" PostHistoryTypeId="2" PostId="26092" RevisionGUID="1c261678-6040-402d-990e-6774af8eacc9" CreationDate="2013-02-18T09:49:24.473" UserId="13269" UserDisplayName="Philip Graham" Text="Another point to consider is the harmonic content of the instrument that you are EQ'ing. Above (and sometimes below) the fundemental note and frequency of the instrument there will often be harmonic and distortion that make up other portions of the sound. This is the main reason that you can't just slash away everything but the fundemental. Sure you would make a lot of room for all your instruments in the mix, but they would all sound very strange. &#xD;&#xA;&#xD;&#xA;I agree that sometimes a severe notch is very useful for killing a troublesome frequency (poor mic placement, resonating room etc) but in general, if you like the sound of what you recorded and are just looking to make it fit better in the mix, gentler treatment is better. A rule that a lot of people use is to not go much further than 3 or 4 db change. This will look like a small amount on the EQ but it is a lot. For example, try turning down your entire mix by 3db on the master fader, now consider that you are doing that to only a particular frequency with similar level of change. &#xD;&#xA;&#xD;&#xA;The only other case I can think of is hi and lo pass filtering, and if the instrument genuinely has no content in those regions (cymbals up top and maybe sub bass down lo) then yeah it can be very useful to remove any lingering content that isn't really adding to the character of the sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46475" PostHistoryTypeId="36" PostId="26093" RevisionGUID="4ab15c48-f31c-4563-903a-2c88dc01cd1a" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/913/how-to-move-a-sound-back-and-forth-or-up-and-down" />
  <row Id="46476" PostHistoryTypeId="36" PostId="26094" RevisionGUID="8c2f93a9-9305-43a0-b25c-4331699dd871" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/913/how-to-move-a-sound-back-and-forth-or-up-and-down/916#916" />
  <row Id="46477" PostHistoryTypeId="36" PostId="26095" RevisionGUID="79d9d06c-80e4-406a-84e5-35210ec9da69" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/913/how-to-move-a-sound-back-and-forth-or-up-and-down/917#917" />
  <row Id="46478" PostHistoryTypeId="2" PostId="26094" RevisionGUID="7667f683-f991-4bef-b6dd-2996229d698a" CreationDate="2011-02-25T18:28:07.800" UserDisplayName="Ian C." Text="Yes! The effect is referred to as a [binaural recording][1]. The idea is to capture and playback the audio stream in a manner similar to how your ears would have heard the audio stream to begin with, were you sitting in the room when the capture was made.&#xD;&#xA;&#xD;&#xA;Take, for example, someone walking from left to right across a floor that is over your hear. If you're looking straight ahead you know right away that: the sound is above you, it starts on the left, and it moves to the right. You can figure this out because your brain takes the two sources it has (your left and right ears) and analyzes the delays between each source to produce a location for the sound in three dimensional space. It's pretty darn cool when you think about it.&#xD;&#xA;&#xD;&#xA;You can make a binaural recording by using a binaural microphone setup: it's two mics mounted on either side of a dummy human head. An object that has roughly the same size, shape and density as a typical human head. What the mics capture in this case is audio data that's encoded very much as your ears would have encoded it if they were in the room listening to the sound.&#xD;&#xA;&#xD;&#xA;Here's an image of a [Neumann KU-100 binaural microphone][2]:&#xD;&#xA;&#xD;&#xA;![A Binaural Microphone][3]&#xD;&#xA;&#xD;&#xA;I grabbed that image from [this site][4] which has some [awesome, high quality binaural recordings you can listen to][5]. For best results headphones are recommended.&#xD;&#xA;&#xD;&#xA;But, since we live in The Age of Wonder and Amazing, you can now turn any audio recording in to binaural recording through the use of plugins like [Wave Arts Panorama][6]. These handy plugins will take a source signal and let you &quot;place it&quot; in three dimensional space. They take care of all the left and right channel delays as well as any filtering and phase shifting that needs to happen to make your brain think the sound is in some particular place in space. So anyone can make a binaural recording now, even if you don't have the microphone setup.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Binaural_recording&#xD;&#xA;  [2]: http://www.neumann.com/?lang=en&amp;id=current_microphones&amp;cid=ku100_description&#xD;&#xA;  [3]: http://i.stack.imgur.com/i8HCK.jpg&#xD;&#xA;  [4]: http://www.terzoorecchio.com/&#xD;&#xA;  [5]: http://www.terzoorecchio.com/mp3.html&#xD;&#xA;  [6]: http://wavearts.com/products/plugins/panorama/" ContentLicense="CC BY-SA 2.5" />
  <row Id="46479" PostHistoryTypeId="2" PostId="26095" RevisionGUID="5fe3c1be-3339-487c-a779-e40af4a13079" CreationDate="2011-02-25T22:20:43.770" UserDisplayName="Pedro Sobota" Text="Not exactly 3D movement, but you can 'displace' sounds, or make them sound like coming from interesting places, with short delays -- I like FabFilter Timeless presets for this.&#xD;&#xA;&#xD;&#xA;For the theory behind it, [http://www.moultonlabs.com/more/principles_of_multitrack_mixing_the_phantom_image/][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.moultonlabs.com/more/principles_of_multitrack_mixing_the_phantom_image/ &quot;The Phantom Image&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46480" PostHistoryTypeId="2" PostId="26093" RevisionGUID="7c81bc2f-d1b4-4973-8364-dbaa5e62c4ff" CreationDate="2011-02-25T17:30:52.977" UserDisplayName="kookadjou" Text="It's easy to move a sound from left to right with panning. But is it possible to give the illusion the sound is moving away / toward / up / down the listener ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46481" PostHistoryTypeId="1" PostId="26093" RevisionGUID="7c81bc2f-d1b4-4973-8364-dbaa5e62c4ff" CreationDate="2011-02-25T17:30:52.977" UserDisplayName="kookadjou" Text="How to move a sound back and forth or up and down" ContentLicense="CC BY-SA 2.5" />
  <row Id="46482" PostHistoryTypeId="3" PostId="26093" RevisionGUID="7c81bc2f-d1b4-4973-8364-dbaa5e62c4ff" CreationDate="2011-02-25T17:30:52.977" UserDisplayName="kookadjou" Text="&lt;mixing&gt;&lt;panning&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46483" PostHistoryTypeId="36" PostId="26096" RevisionGUID="fa44c9d7-431a-472d-8be1-5ab455e7fbc0" CreationDate="2014-01-27T15:09:00.910" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1663/cubase-drum-mapping" />
  <row Id="46484" PostHistoryTypeId="2" PostId="26096" RevisionGUID="47097d99-c2d1-4ea5-bd7e-f7c6133415f5" CreationDate="2011-06-27T15:11:45.267" UserDisplayName="pirezas" Text="I currently have a FAMEDD-502 and I can't set the notes on the module. I want to assign the hi-hat pedal to be a second drum bass kick and I use EZDrummer connected to Cubase. Is there any way to do this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46485" PostHistoryTypeId="1" PostId="26096" RevisionGUID="47097d99-c2d1-4ea5-bd7e-f7c6133415f5" CreationDate="2011-06-27T15:11:45.267" UserDisplayName="pirezas" Text="Cubase Drum Mapping" ContentLicense="CC BY-SA 3.0" />
  <row Id="46486" PostHistoryTypeId="3" PostId="26096" RevisionGUID="47097d99-c2d1-4ea5-bd7e-f7c6133415f5" CreationDate="2011-06-27T15:11:45.267" UserDisplayName="pirezas" Text="&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46497" PostHistoryTypeId="36" PostId="26101" RevisionGUID="1e4f9c9a-a255-484d-891e-47e2f9f7ac8f" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5630/audio-editing-benchmark-software" />
  <row Id="46498" PostHistoryTypeId="36" PostId="26102" RevisionGUID="b66e9f70-476f-4497-bda0-ad083a76cec0" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5630/audio-editing-benchmark-software/5635#5635" />
  <row Id="46499" PostHistoryTypeId="2" PostId="26102" RevisionGUID="b5578c6e-3c09-4f65-a552-0b9783f7685d" CreationDate="2012-12-20T22:05:00.730" UserDisplayName="Jake Savin" Text="I don't have a specific software recommendation, but I can give some advice on things that can cause this kind of problem.&#xD;&#xA;&#xD;&#xA;Here are some things to investigate:&#xD;&#xA;&#xD;&#xA; 1. Make sure you have the right drivers for your audio I/O device&#xD;&#xA; 2. Use a fast hard drive - SSD if possible&#xD;&#xA; 3. If you're using a spinning-disk drive, defrag it periodically&#xD;&#xA; 4. A great way to get better disk performance is to split into two drives - one boot disk with your software and operating system, and a separate disk for recording&#xD;&#xA; 5. Make sure you're not running lots of other software in the background, especially anti-virus scanners, or other programs that do a lot of disk I/O. (Use Task Manager on Windows or Activity Monitor on Mac to find programs that are using a lot of RAM or CPU.)&#xD;&#xA; 6. Try recording at a lower sample rate or quality. Most people can't hear the difference between 44.1KHz and &quot;HD&quot; audio. CDs are 44.1KHz, 16-bit stereo.&#xD;&#xA; 7. Remove plug-ins from your mix.&#xD;&#xA; 8. Make sure you have enough memory - probably you want at least 4GB, but 8GB is better.&#xD;&#xA; 9. If you have a &quot;latency&quot; setting, try increasing it. This will introduce a delay on audio pass-through from an input, but will allow the software to use larger buffers to help prevent lost audio data.&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;-Jake" ContentLicense="CC BY-SA 3.0" />
  <row Id="46500" PostHistoryTypeId="2" PostId="26101" RevisionGUID="c0ff18a6-2958-4e7f-b0ae-77ce2e408f2d" CreationDate="2012-12-20T14:19:23.000" UserDisplayName="rolands" Text="A while ago I used some software on my laptop to test the hardware limitations that might create bottlenecks in audio production, I've started using my desktop machine which should have more than enough power to process complex Ableton projects etc but they lag on my machine and tend to stutter and produces glitches that my equally (if not slightly weaker) laptop reproduces in awesome quality.&#xD;&#xA;&#xD;&#xA;Looking through google and such I have not been able to find this software again anywhere and want to see if there is some driver etc that is holding my machine back, does anyone know of similar software or what I am even talking about...&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="46501" PostHistoryTypeId="1" PostId="26101" RevisionGUID="c0ff18a6-2958-4e7f-b0ae-77ce2e408f2d" CreationDate="2012-12-20T14:19:23.000" UserDisplayName="rolands" Text="Audio editing benchmark software" ContentLicense="CC BY-SA 3.0" />
  <row Id="46502" PostHistoryTypeId="3" PostId="26101" RevisionGUID="c0ff18a6-2958-4e7f-b0ae-77ce2e408f2d" CreationDate="2012-12-20T14:19:23.000" UserDisplayName="rolands" Text="&lt;ableton&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46503" PostHistoryTypeId="36" PostId="26103" RevisionGUID="f625ae9f-545c-4145-b8e8-f629046368d3" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/226/how-can-i-get-my-drum-and-bass-hihats-and-snares-to-sound-correct" />
  <row Id="46504" PostHistoryTypeId="2" PostId="26104" RevisionGUID="5cdb9e00-08e6-4800-aa58-5aebfb5be2ef" CreationDate="2010-12-13T02:14:37.497" UserDisplayName="Dewb" Text="That characteristic drum and bass sound often comes from a sampled drum break that's been sped up.  To imitate that you'll need to go beyond a 1/16th note grid.  &#xD;&#xA;&#xD;&#xA;I believe Redrum allows you increase the resolution to 64 steps per beat -- that may be enough to get you started.  Try squeezing a full-measure funk pattern just in between the 11 and the 13.&#xD;&#xA;&#xD;&#xA;But to really get the sound you're after, you might try to create a funky triplet-laden snare/cymbal/hat pattern in a separate track, then resample it and drop it into your track sped up 4x or 8x with a little filtering.&#xD;&#xA;&#xD;&#xA;Or dig crates if that's more your style (e.g., listen for interesting breaks in old records.) " ContentLicense="CC BY-SA 2.5" />
  <row Id="46505" PostHistoryTypeId="2" PostId="26103" RevisionGUID="0a3a72b3-6c75-4d86-9469-83fc2f47b424" CreationDate="2010-12-10T20:50:08.610" UserDisplayName="Ray Dey" Text="I'm interested in doing some d'n'b stuff (specifically with Reason) using the redrum module or Kong. &#xD;&#xA;&#xD;&#xA;As I understand, the basic &quot;rule&quot; of d'n'b drums are the bass drum goes on 1 and 11 and the snare goes on 5 and 13. The sound I want to achieve is that &quot;chugga-chugga&quot; hihat sound before the second snare (like in Chase n Status' &quot;Take Me Away&quot;).&#xD;&#xA;&#xD;&#xA;The numbers refer to the steps in the drum machine.&#xD;&#xA;&#xD;&#xA;No matter what I do, I can't get it to sound like that. The hihats sound very separate and don't really merge into another.&#xD;&#xA;&#xD;&#xA;How can I get this effect?&#xD;&#xA;&#xD;&#xA;(Apologies for lack of technicality, I'm only a hobbyist :))" ContentLicense="CC BY-SA 2.5" />
  <row Id="46506" PostHistoryTypeId="1" PostId="26103" RevisionGUID="0a3a72b3-6c75-4d86-9469-83fc2f47b424" CreationDate="2010-12-10T20:50:08.610" UserDisplayName="Ray Dey" Text="How can I get my drum and bass hihats and snares to sound correct?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46507" PostHistoryTypeId="3" PostId="26103" RevisionGUID="0a3a72b3-6c75-4d86-9469-83fc2f47b424" CreationDate="2010-12-10T20:50:08.610" UserDisplayName="Ray Dey" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46508" PostHistoryTypeId="36" PostId="26104" RevisionGUID="debf6d78-1e25-4519-b8a4-5110d2ceb821" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/226/how-can-i-get-my-drum-and-bass-hihats-and-snares-to-sound-correct/238#238" />
  <row Id="46509" PostHistoryTypeId="36" PostId="26105" RevisionGUID="13a16b53-1140-4175-920f-6eda53514442" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/226/how-can-i-get-my-drum-and-bass-hihats-and-snares-to-sound-correct/243#243" />
  <row Id="46510" PostHistoryTypeId="36" PostId="26106" RevisionGUID="7ef1385b-9a63-4386-bb47-31b720b3eb3e" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/226/how-can-i-get-my-drum-and-bass-hihats-and-snares-to-sound-correct/245#245" />
  <row Id="46511" PostHistoryTypeId="2" PostId="26106" RevisionGUID="c0310e18-5302-46bc-bbaf-785dc1943a83" CreationDate="2010-12-13T15:26:12.017" UserId="7209" Text="    0123 4567 89AB CDEF&#xD;&#xA;    ---- ---- ---- ----&#xD;&#xA;    B           B      &#xD;&#xA;         S         S   &#xD;&#xA;    HHHH HHHH HHHH HHHH&#xD;&#xA;&#xD;&#xA;This is the most basic DnB rhythm.&#xD;&#xA;&#xD;&#xA;Divide your measure up into 16th notes.  Each group of 4 above is one beat.&#xD;&#xA;&#xD;&#xA;Start with the kick, notated with `B`.  Make your bass on the downbeat, and the up of the 3rd beat.  Add your snare right on beats 3 and 4.  Put your closed hi-hat on every 16th note.&#xD;&#xA;&#xD;&#xA;Now, what you typically hear in DnB is the 16th notes swung a bit.  This is a function of your sequencer, and you can easily do this in Reason.  Swinging the 16ths just a bit dirties it up a bit, and makes that one tasty groove.&#xD;&#xA;&#xD;&#xA;This gets you started.  You can tweak from there, and yes, please rip some breaks and throw them in as appropriate.&#xD;&#xA;&#xD;&#xA;**Edit:** To clarify what my numbers above mean to you... 0 would be 1 on your sequencer, 8 would be 9, A is 11, and F is 16.  I just notated it in HEX for simplicity... sorry if that made it less simple." ContentLicense="CC BY-SA 2.5" />
  <row Id="46512" PostHistoryTypeId="2" PostId="26105" RevisionGUID="990689fe-f11d-4d27-855a-4e379c25fed9" CreationDate="2010-12-13T14:23:10.487" UserDisplayName="jan" Text="disclaimer: I'm not a trained musician.  &#xD;&#xA;Dewb is right I think:&#xD;&#xA;&#xD;&#xA;The HiHat I hear coming in @ 20 sec in that track seems way faster than 1/16 notes.&#xD;&#xA;&#xD;&#xA;* Enter 32 steps in Redrum.&#xD;&#xA;* Paint all 32 steps with a short HiHat sample,  &#xD;&#xA;* turn up the BMP&#xD;&#xA;* move the Kick &amp; Snare to the correct positions  &#xD;&#xA;  (you can display steps 17-32 using the flip switch)" ContentLicense="CC BY-SA 2.5" />
  <row Id="46513" PostHistoryTypeId="36" PostId="26107" RevisionGUID="696d511c-a1d5-4300-ad1e-baf642f90182" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2668/can-you-get-stereo-audio-on-a-videocamera-with-a-wireless-microphone-using-a-3" />
  <row Id="46514" PostHistoryTypeId="36" PostId="26108" RevisionGUID="76b4cab9-052e-4def-a2d8-a19c1bc59e19" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2668/can-you-get-stereo-audio-on-a-videocamera-with-a-wireless-microphone-using-a-3/2669#2669" />
  <row Id="46515" PostHistoryTypeId="36" PostId="26109" RevisionGUID="e56befdc-d43d-4409-8955-76346ee01414" CreationDate="2014-01-27T15:10:18.743" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2668/can-you-get-stereo-audio-on-a-videocamera-with-a-wireless-microphone-using-a-3/3022#3022" />
  <row Id="46516" PostHistoryTypeId="2" PostId="26108" RevisionGUID="e3959c6e-04a6-47f6-b3f3-710402881616" CreationDate="2011-11-20T12:37:01.047" UserId="7016" Text="Sounds to me like your 1/4&quot; adapter is either faulty or the wrong connectivity. You have stereo inputs, you just need to ensure they are connected correctly. &#xD;&#xA;&#xD;&#xA;Check to see whether a signal path is short circuited for one of the channels when you use the adapter, and get a different one if necessary. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46517" PostHistoryTypeId="2" PostId="26109" RevisionGUID="88b113c5-1b73-4aca-8b53-d6b4af3b5c7f" CreationDate="2012-01-13T02:43:41.620" UserDisplayName="mokhtar ziarati" Text="Almost all wireless microphones only have a single Channel.  Even you are using Stereo microphone, only one channel is transmitted to the receiver.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46518" PostHistoryTypeId="2" PostId="26107" RevisionGUID="6fdb12d1-b7d8-47f5-9fef-c55f157e461c" CreationDate="2011-11-20T04:40:25.247" UserDisplayName="hypnoted" Text="I have a Canon Vixia HD Camcorder which has a 3.5mm stereo input and yet cannot get stereo sound input from a wireless microphone system when using the 1/4&quot; outlet plug and using an adapter down to 3.5mm plug into the camcorder.&#xD;&#xA;&#xD;&#xA;I want to record in stereo,but it appears the only way to do it is with a balanced output and an adapter from a balanced 3 prong plug and then use a 3.5mm adapter plug to plug into the input on the camcorder.  Or I seem to have to run the 3 prong through a mixer and then use an output to the camcorder.  All of that sounds too complex and unnecessary to me.  I'd like to know if there's a simpler and more elegant way to accomplish it." ContentLicense="CC BY-SA 3.0" />
  <row Id="46519" PostHistoryTypeId="1" PostId="26107" RevisionGUID="6fdb12d1-b7d8-47f5-9fef-c55f157e461c" CreationDate="2011-11-20T04:40:25.247" UserDisplayName="hypnoted" Text="Can you get &quot;stereo&quot; audio on a videocamera with a wireless microphone using a 3.5mm plug?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46520" PostHistoryTypeId="3" PostId="26107" RevisionGUID="6fdb12d1-b7d8-47f5-9fef-c55f157e461c" CreationDate="2011-11-20T04:40:25.247" UserDisplayName="hypnoted" Text="&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46521" PostHistoryTypeId="36" PostId="26110" RevisionGUID="fff13f44-dcad-4bae-aec0-8855cbf59e8f" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5727/how-to-manually-change-bpm-of-part-of-clip-in-ableton" />
  <row Id="46522" PostHistoryTypeId="36" PostId="26111" RevisionGUID="dc1a0d82-f498-41d9-9082-ba8c653798df" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5727/how-to-manually-change-bpm-of-part-of-clip-in-ableton/5732#5732" />
  <row Id="46523" PostHistoryTypeId="2" PostId="26111" RevisionGUID="b0e0794b-880e-46d3-98ee-1ee1922bb084" CreationDate="2013-01-02T19:08:51.323" UserId="7294" UserDisplayName="Warrior Bob" Text="The traditional way to change the tempo (bpm) for just a part of a clip in Ableton Live is to create a warp marker at the beginning and end of the section of your clip that you want to stretch, since you know where it should begin and end. Stretch the markers out so that it takes the appropriate amount of time. This process is called &quot;warping&quot; and it's worth taking some time to get familiar with it, as it's quite powerful.&#xD;&#xA;&#xD;&#xA;The advantage to doing it this way is that you don't actually have to know the intended tempo - Live will figure it out based on your endpoints." ContentLicense="CC BY-SA 3.0" />
  <row Id="46524" PostHistoryTypeId="2" PostId="26110" RevisionGUID="bcc78d57-0a1b-4350-baf0-82f229180299" CreationDate="2013-01-02T08:03:27.210" UserDisplayName="Dave" Text="How do you take from point A to point B inside a warped clip, and change it's BPM from 120 to 140?&#xD;&#xA;&#xD;&#xA;Reason is I need to sync a video track with a audio track, video has music with not a constant BPM. I don't want to slice the track because it puts a micro second black screen between videos. &#xD;&#xA;&#xD;&#xA;I tried playing around with the warp markers and inserting markers but it only works when there is only one yellow marker at the beginning of the track and then I select it and the BPM slot becomes editable. If somehow the track has more than 1 yellow marker I can't do anything, and as to how to change the BPM between point A and B, I am clueless." ContentLicense="CC BY-SA 3.0" />
  <row Id="46525" PostHistoryTypeId="1" PostId="26110" RevisionGUID="bcc78d57-0a1b-4350-baf0-82f229180299" CreationDate="2013-01-02T08:03:27.210" UserDisplayName="Dave" Text="How to manually change BPM of part of clip in Ableton" ContentLicense="CC BY-SA 3.0" />
  <row Id="46526" PostHistoryTypeId="3" PostId="26110" RevisionGUID="bcc78d57-0a1b-4350-baf0-82f229180299" CreationDate="2013-01-02T08:03:27.210" UserDisplayName="Dave" Text="&lt;ableton&gt;&lt;ableton-live&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46527" PostHistoryTypeId="36" PostId="26112" RevisionGUID="93a44d31-e0bb-402f-ba81-9d2674ac6d1a" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3068/how-to-rewire-individual-reasons-redrum-instruments-into-cubase" />
  <row Id="46528" PostHistoryTypeId="36" PostId="26113" RevisionGUID="efc944ed-6212-44e1-9e3c-19010de6692b" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3068/how-to-rewire-individual-reasons-redrum-instruments-into-cubase/3072#3072" />
  <row Id="46529" PostHistoryTypeId="2" PostId="26113" RevisionGUID="8ab6c23b-9d43-4cc5-ad4c-ba6528c1123f" CreationDate="2012-01-18T15:35:45.157" UserDisplayName="Marcin" Text="You need to connect each instrument into next &quot;audio output&quot; rack in Reason. By default it is 1/2 occupied by main mix. I assume there should be option to choose next channels as an input in Cubase (it is the way that it works in Ableton Live)" ContentLicense="CC BY-SA 3.0" />
  <row Id="46530" PostHistoryTypeId="2" PostId="26112" RevisionGUID="6adf0966-d83d-43e8-9f1c-93ddae7e89cc" CreationDate="2012-01-17T22:44:25.280" UserId="8283" UserDisplayName="Piluso" Text="I want to send any redrum's instruments as individual channels to mix it separately in Cubase." ContentLicense="CC BY-SA 3.0" />
  <row Id="46531" PostHistoryTypeId="1" PostId="26112" RevisionGUID="6adf0966-d83d-43e8-9f1c-93ddae7e89cc" CreationDate="2012-01-17T22:44:25.280" UserId="8283" UserDisplayName="Piluso" Text="How to ReWire Individual Reason's Redrum Instruments into Cubase?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46532" PostHistoryTypeId="3" PostId="26112" RevisionGUID="6adf0966-d83d-43e8-9f1c-93ddae7e89cc" CreationDate="2012-01-17T22:44:25.280" UserId="8283" UserDisplayName="Piluso" Text="&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46533" PostHistoryTypeId="36" PostId="26114" RevisionGUID="772df2b0-4240-4e4a-926d-b73a0cc3dd42" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2087/need-help-with-creating-subliminal-audio-cds-with-max-msp" />
  <row Id="46534" PostHistoryTypeId="2" PostId="26115" RevisionGUID="5057e6bc-1795-4c0c-a9d6-f678e4ba24c3" CreationDate="2011-08-11T17:23:17.797" UserDisplayName="bobsbarricades" Text="once you get it installed, click on the Help tab up top and scroll down to &quot;Max Tutorials&quot; Read through those.  They explain a lot of stuff and can help you get on your feet quick to decide if this is the road you want to go.&#xD;&#xA;&#xD;&#xA;After reading and going all the way through to 'simple math' copy the following onto your clipboard.  Click those 'open tutorial' links at the top of the tutorials.  They are priceless.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&lt;pre&gt;&lt;code&gt;&#xD;&#xA;----------begin_max5_patcher----------&#xD;&#xA;1153.3ocyX88aaaCD9Ym+JHz1CsnNBh52ZaX.MKEnAXKnOrtWZCFnkns4BEo&#xD;&#xA;fjbbZKZ9aeGojbjSrkkaTDRP.o7oSj28ce2wS5amLwXl7VZgA5WPeBMYx2NY&#xD;&#xA;xDsHkfI0+dhQJ41XNoPqlQrLMkJJMlVcuR5skZ4+1op+d67RZNJIWlkwDKPL&#xD;&#xA;AhfLWStAIyQlD1bT4RVAZMiyQynvRQQwKowWSSLQn+dIoDUR47BPKJRN6+nw&#xD;&#xA;knUhDXEYvcjnLN4Kln+TJuFoTET58TdFZNr3oxbJrcvkojRlTff++Twb0SbG&#xD;&#xA;x9pFykyDv1tRns4fZgYjx3kf49u4vFVgEtdtlVSQ9VpQrW0jkioE5p5GRrJk&#xD;&#xA;I3zRMpfqENWJJKXekpkYCOzFckqJaTtQJKQCbfedpcfQqUPPR0qfwayYDtg5&#xD;&#xA;Fe+jSTCSehAIcL5ze2X+NNNxQ6qtdpIWrZz15Yyu8FG+dojmfRjqAZQllcPD&#xD;&#xA;InXNK9ZzqzrGR7qUTzb1hkk02PoRAkq3fe1PlQEHSSSMg6yFJxnVzpLPOIvD&#xD;&#xA;yARs.1AD8VfywDJ1+ZEgFn6KjpeIAYJNaAEoS5L2Imze+gFmPcjwInhS5qlB&#xD;&#xA;id1BMNiSn47bxhGVjXNiSQ.lRq4qcQXczIpAQZPIx9YluhGVPoTtXAm1k2En&#xD;&#xA;yC8ztm6lwt8tsciFoUhJ+RFsZoMXJF2UO1IwQ+HthftFd3GEdKQXDuQZrjKy&#xD;&#xA;q1cHD4FX4EMEtJB3z1dsuB2xE2ApX6nQEruN163LfAc6tPqoHiciXCb468fk&#xD;&#xA;u4tgFHc8pJlTUz+P.o8w.j6k1UvVH.XYm3n+vhiqfJNq1.ifIT2oSWPhmutv&#xD;&#xA;JNvsEE6HIWXSuHObXS+ErRZZ8NaLmTn4QuRHUSyHbNqnjEW7Z0OmpF9mOt4x&#xD;&#xA;yu3RXxEBjtV9pm5h28GJ4e3C+kZRipv7EWL69G+ryzprWUI2q5kx7DVbWZeu&#xD;&#xA;tu6LsYcNaAqrc3a6ntygRe1JEhSlQ45SaaCksIDCb+AozhBxB5ixrRkITzOi&#xD;&#xA;MNHsv1R2JX0gu3viJS4ArhdltryDknAtdypzYzbiCVmvNR62UsC+zxINtpty&#xD;&#xA;HhE6DHbBGVjfSugxSovKwbWOfC6pigr0MlopT7rdtrq0P12UxYcw1sBqh2US&#xD;&#xA;NCc7dGsV4hGkyPyxoPe6I5t2G91R7a0gdn2.1VxwUdXfSJneMgDeWmcoVkO3&#xD;&#xA;T0fpWyX2EGOHkHX.i6a9T.CcPutCcLt58PrGvVnbNPKTSae0dKQZ2AYn9NEj&#xD;&#xA;aZV5e5R8xVgV0mXaqpwYE4CdlU8Y3+JrU+.AG0GFR8xcc0S1LnoDZ91gmosF&#xD;&#xA;5WRX02uAaoCNJ54wTZ1dKSQIIbSH5wYf68sBZSe0JneU+G701ztfR91vVgbU&#xD;&#xA;dbyVz7NFn68hDJz0nP+otZqTzVJsjkjPEsytRYIYR3.lMf9NChGkMgOfMYOp&#xD;&#xA;lTXePofwEkh5gMMtnjcePI+Q2jv8wjviWfyuGvDzU1XBSOX61sM4DNtDbudX&#xD;&#xA;SiakonWdQNbOLovWbUABdwUDH3ITC.9w2O4+ADAKPtC&#xD;&#xA;-----------end_max5_patcher-----------&#xD;&#xA;&lt;/code&gt;&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA;That's just a really basic patch to show you how you can have basic volume metering of a track you desire.  Click File-&gt;New Patcher and then just apple+v (cntrl+v windows right?) and you will see a patch.&#xD;&#xA;&#xD;&#xA;I highly recommend their official forums as well because there are incredibly smart people over there dedicated to Max.  &#xD;&#xA;&#xD;&#xA;http://cycling74.com/forums/&#xD;&#xA;&#xD;&#xA;Get back to us =)" ContentLicense="CC BY-SA 3.0" />
  <row Id="46535" PostHistoryTypeId="2" PostId="26114" RevisionGUID="9c7bf7a5-4db4-45c9-a54a-b8fd2f74fc9d" CreationDate="2011-08-11T02:54:16.460" UserDisplayName="BobsMessage1970" Text="I have custom subliminal CD's scripts already made and masked under white noise and all I want to do is mix them together and record them realtime and maintain the right frequency level through the song for rthe subliminal to be effective. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46536" PostHistoryTypeId="1" PostId="26114" RevisionGUID="9c7bf7a5-4db4-45c9-a54a-b8fd2f74fc9d" CreationDate="2011-08-11T02:54:16.460" UserDisplayName="BobsMessage1970" Text="Need help with creating subliminal audio cd's with &quot;Max/MSP'" ContentLicense="CC BY-SA 3.0" />
  <row Id="46537" PostHistoryTypeId="3" PostId="26114" RevisionGUID="9c7bf7a5-4db4-45c9-a54a-b8fd2f74fc9d" CreationDate="2011-08-11T02:54:16.460" UserDisplayName="BobsMessage1970" Text="&lt;software&gt;&lt;mixing&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46538" PostHistoryTypeId="36" PostId="26115" RevisionGUID="27079677-f0a4-49fd-8daa-29b947ea3f90" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2087/need-help-with-creating-subliminal-audio-cds-with-max-msp/2089#2089" />
  <row Id="46539" PostHistoryTypeId="36" PostId="26116" RevisionGUID="3f60e494-5fad-40f6-82fc-7a36e15663c4" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9214/how-to-add-meta-info-to-mp3-wav-file-mac-osx" />
  <row Id="46540" PostHistoryTypeId="36" PostId="26117" RevisionGUID="8a56d6f0-c3ac-4653-a406-986c4bf4c7ea" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9214/how-to-add-meta-info-to-mp3-wav-file-mac-osx/9220#9220" />
  <row Id="46541" PostHistoryTypeId="2" PostId="26117" RevisionGUID="ea565820-0ebd-49f4-9a49-3bd6976f3db7" CreationDate="2013-10-21T21:37:48.133" UserId="7294" UserDisplayName="Warrior Bob" Text="This sort of thing changes over time, but currently the most common recommendation you'll find is to simply use iTunes due to its ubiquity - import the file, add the data, drag the updated file into a folder." ContentLicense="CC BY-SA 3.0" />
  <row Id="46542" PostHistoryTypeId="2" PostId="26118" RevisionGUID="b727596c-18b2-4f3a-8b18-ed4f80c40d3c" CreationDate="2013-10-23T18:39:28.153" UserDisplayName="Andrew" Text="A good program for adding meta info to MP3s is Tagr, you can find it at https://www.macupdate.com/app/mac/30610/tagr&#xD;&#xA;In my opinion it's one of the better ones out there for Mac OSX. I'm not sure of any that will help with WAV files though." ContentLicense="CC BY-SA 3.0" />
  <row Id="46543" PostHistoryTypeId="2" PostId="26116" RevisionGUID="64033ff5-24fb-40a6-8bc0-6404269a8f51" CreationDate="2013-10-20T17:07:25.417" UserId="6561" Text="How to add meta info to mp3/wav file MAC OSX ?&#xD;&#xA;Is there any application?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46544" PostHistoryTypeId="1" PostId="26116" RevisionGUID="64033ff5-24fb-40a6-8bc0-6404269a8f51" CreationDate="2013-10-20T17:07:25.417" UserId="6561" Text="How to add meta info to mp3/wav file MAC OSX?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46545" PostHistoryTypeId="3" PostId="26116" RevisionGUID="64033ff5-24fb-40a6-8bc0-6404269a8f51" CreationDate="2013-10-20T17:07:25.417" UserId="6561" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46546" PostHistoryTypeId="36" PostId="26118" RevisionGUID="ac436946-97e7-4010-ab58-47540d1d763e" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9214/how-to-add-meta-info-to-mp3-wav-file-mac-osx/9238#9238" />
  <row Id="46547" PostHistoryTypeId="36" PostId="26119" RevisionGUID="238fc0dc-9130-492a-ac95-dbc778fd622e" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1435/headphone-amplifiers" />
  <row Id="46548" PostHistoryTypeId="2" PostId="26120" RevisionGUID="38ea3cfa-ec58-4694-acef-9da457dd6988" CreationDate="2011-05-19T09:26:30.793" UserId="7471" UserDisplayName="Mark Heath" Text="The most common use for a headphone amp is to feed multiple sets of headphones from a single headphone socket. They can also provide some amplification if your original headphone out signal is too weak. &#xD;&#xA;&#xD;&#xA;See this [Sound on Sound article][1] from Martin Walker for a helpful explanation of when you might need a headphone amplifier. Also, check the [Wikipedia article on headphone amps][2] to understand the two different ways the term is used.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/aug07/articles/qa0807_3.htm&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Headphone_amplifier" ContentLicense="CC BY-SA 3.0" />
  <row Id="46549" PostHistoryTypeId="2" PostId="26119" RevisionGUID="a11b93ed-3a6d-40ec-8941-7cab2056edd6" CreationDate="2011-05-19T06:20:59.533" UserId="7840" UserDisplayName="themirror" Text="Can a headphone amp help the sound reproduction of even &quot;fairly cheap&quot; (~$100) headphones?  &#xD;&#xA;&#xD;&#xA;What can a headphone amp help with?  When do I need one?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46550" PostHistoryTypeId="1" PostId="26119" RevisionGUID="a11b93ed-3a6d-40ec-8941-7cab2056edd6" CreationDate="2011-05-19T06:20:59.533" UserId="7840" UserDisplayName="themirror" Text="Headphone amplifiers" ContentLicense="CC BY-SA 3.0" />
  <row Id="46551" PostHistoryTypeId="3" PostId="26119" RevisionGUID="a11b93ed-3a6d-40ec-8941-7cab2056edd6" CreationDate="2011-05-19T06:20:59.533" UserId="7840" UserDisplayName="themirror" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46552" PostHistoryTypeId="36" PostId="26120" RevisionGUID="4a617115-59a3-44be-8ef5-7c6e97aa1b00" CreationDate="2014-01-27T15:06:36.370" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1435/headphone-amplifiers/1436#1436" />
  <row Id="46553" PostHistoryTypeId="36" PostId="26121" RevisionGUID="b443035a-0a3a-4d39-9e53-0715ae60732c" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1363/do-new-speakers-require-a-break-in-period" />
  <row Id="46554" PostHistoryTypeId="36" PostId="26122" RevisionGUID="035b88db-2ff0-467d-b809-4de3bbe03141" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1363/do-new-speakers-require-a-break-in-period/1365#1365" />
  <row Id="46555" PostHistoryTypeId="2" PostId="26122" RevisionGUID="73587dc6-8b39-4e0f-bb22-784614a6b3e5" CreationDate="2011-05-06T20:13:34.447" UserId="7471" UserDisplayName="Mark Heath" Text="Sounds fishy to me too. If it's only a break-in period of a &quot;few hours&quot; it hardly matters. Your choice of speaker placement and listening position will probably make a greater difference in any case." ContentLicense="CC BY-SA 3.0" />
  <row Id="46556" PostHistoryTypeId="2" PostId="26123" RevisionGUID="dfe6ce3b-a3a4-41c9-9385-982a841369c8" CreationDate="2011-05-11T16:14:43.497" UserId="17571" UserDisplayName="Zeronyne" Text="Here is an excerpt from Acme, who make very high quality bass guitar enclosures. as you may know, bass amps put out some monstrous amounts of LF.&#xD;&#xA;&#xD;&#xA;**Q. What about breaking in my new woofers?**&#xD;&#xA;&#xD;&#xA;I played my Series I Low B2 with the new speakers I installed from you on a gig last night. Unfortunately the first thing I noticed is that is that the volume is lower and there isn't as much low end as on my Series II Low B2. I believe it could be because the Series I was tampered with by my 2 year old daugther shortly after I received the replacement 10&quot; speaker from you. Long story.&#xD;&#xA;&#xD;&#xA;Richard&#xD;&#xA;&#xD;&#xA;**A. The woofers in our Acme Low B Series II models have a break-in period.** The surrounds on these woofers have a higher stiffness new-out-of-the-box than they do after some hours of use. This has two real-world consequences.&#xD;&#xA;&#xD;&#xA;The first is that the ability of the systems to reproduce the lowest notes doesn’t reach it’s full capability until the surrounds have been loosened up by being used.&#xD;&#xA;&#xD;&#xA;The second, and perhaps more important consequence, is that when driven to their maximum excursion, the woofers are much easier to damage when they are new, than after they’ve been broken in. It is more likely that the cones will be overstressed the when the speakers are brand new, than at any time after they’ve been used.&#xD;&#xA;&#xD;&#xA;How much break-in time is necessary? I have broken them in using a sine-wave generator in less than three hours. I believe that whan playing bass, it is very difficult to predict how long it would take for a specific person to do it. It depends on your style, and how loudly you play. My best advice is to start slowly, and work you way into it. Within reason, of course, the longer, and the more gradual the better. But please do your best to loosen up the woofers before you get into any serious slammin.’&#xD;&#xA;&#xD;&#xA;The reason I have chosen to point out these concerns about breaking the speakers in, is because just lately, I have had two customers damage their woofers within the two-week trial period. This was unheard of just several years ago. The woofers are the same. But I believe that the availability of incredibly powerful amplifiers, even more than just a few years ago, has sort of changed the landscape." ContentLicense="CC BY-SA 3.0" />
  <row Id="46557" PostHistoryTypeId="2" PostId="26121" RevisionGUID="6786e2ed-875a-4930-a66c-40b5f6a284fe" CreationDate="2011-05-06T19:54:06.437" UserId="9648" UserDisplayName="JYelton" Text="Some speaker manufacturers* claim that one must &quot;break in&quot; their speakers for a given period of time before they sound optimal. This sounds fishy to me. Is there any reason speakers should need a &quot;break in&quot; period?&#xD;&#xA;&#xD;&#xA;Some resources on the web seem to argue both sides of this question convincingly:&#xD;&#xA;&#xD;&#xA;- Against: [Audioholics: Speaker Break In: Fact or Fiction?][1]&#xD;&#xA;- For: [Nuts &amp; Volts Article (2009)][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;*\* For example: [Paradigm recommends &quot;several hours&quot;][3]*&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audioholics.com/education/loudspeaker-basics/speaker-break-in-fact-or-fiction&#xD;&#xA;  [2]: http://www.nutsvolts.com/index.php?/blog/post/speaker_break_in/&#xD;&#xA;  [3]: http://www.paradigm.com/index.php?view=items&amp;cid=1:General%20FAQs&amp;id=70:is-there-a-break-in-period-for-paradigm-speakers&amp;option=com_quickfaq&amp;Itemid=48" ContentLicense="CC BY-SA 3.0" />
  <row Id="46558" PostHistoryTypeId="1" PostId="26121" RevisionGUID="6786e2ed-875a-4930-a66c-40b5f6a284fe" CreationDate="2011-05-06T19:54:06.437" UserId="9648" UserDisplayName="JYelton" Text="Do new speakers require a &quot;break-in&quot; period?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46559" PostHistoryTypeId="3" PostId="26121" RevisionGUID="6786e2ed-875a-4930-a66c-40b5f6a284fe" CreationDate="2011-05-06T19:54:06.437" UserId="9648" UserDisplayName="JYelton" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46560" PostHistoryTypeId="36" PostId="26123" RevisionGUID="289c8981-43b3-4305-abf2-a0142968ba64" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1363/do-new-speakers-require-a-break-in-period/1395#1395" />
  <row Id="46561" PostHistoryTypeId="36" PostId="26124" RevisionGUID="b70cf374-880b-4801-8eb9-6dcff385cc96" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1363/do-new-speakers-require-a-break-in-period/1405#1405" />
  <row Id="46562" PostHistoryTypeId="36" PostId="26125" RevisionGUID="2f0eb060-36fb-4b16-a93e-e1615a68f088" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1363/do-new-speakers-require-a-break-in-period/1417#1417" />
  <row Id="46563" PostHistoryTypeId="2" PostId="26124" RevisionGUID="55b63817-ee3f-4108-979d-80cf5a450420" CreationDate="2011-05-15T13:13:07.050" UserId="6430" Text="There is an audible difference between my brand-new MDR 7509HD headphones and those my friend used for a longer time. They were made with a same technology, in the same year.&#xD;&#xA;&#xD;&#xA;My friend's headphones sound warmer, their mid-frequencies are somewhat more open. &#xD;&#xA;&#xD;&#xA;He heard of a need for a &quot;break-in&quot; period, so he left them playing for a couple of days, something about 150 hours." ContentLicense="CC BY-SA 3.0" />
  <row Id="46564" PostHistoryTypeId="2" PostId="26125" RevisionGUID="d9ff1dde-bb64-4e81-b945-9e60c796b20e" CreationDate="2011-05-16T15:56:32.197" UserDisplayName="Owen Kelly" Text="There is a widely held belief that the violins from the 1600s that are still being used sound as good as they do not only because of the dense wood, but because they have been played for so long.&#xD;&#xA;&#xD;&#xA;In my personal experience with a chepa guitar that has been played everyday for nearly 4 years, it not only sounds better than when it was bought, but better than some guitars costing 10x as much.&#xD;&#xA;&#xD;&#xA;The theory goes as such. The resonances from being played (or playing as in a speakers case), will affect the physical makeup of the instrument [1] [2]. The wood will be subtly altered until is reaches its ideal makeup. I would compare it to loosely packing a car, and then waiting until the contents have shifted during transport to their ideal location.&#xD;&#xA;&#xD;&#xA;With speakers, the wood in the enclosure, the cone materiel, and glues used can all be resonated to their ideal makeup. Or so the theory goes.&#xD;&#xA;&#xD;&#xA;I would also add that the break it period is subjective, you will not know a certain time when the instrument or speaker sounds ideal, and it usually takes months in my personal experience.&#xD;&#xA;&#xD;&#xA;[http://www.guitartips.addr.com/tip127.html][1]&#xD;&#xA;[http://www.acousticguitarforum.com/forums/showthread.php?t=119960][2]&#xD;&#xA;&#xD;&#xA;  [1]: http://www.guitartips.addr.com/tip127.html&#xD;&#xA;  [2]: http://www.acousticguitarforum.com/forums/showthread.php?t=119960" ContentLicense="CC BY-SA 3.0" />
  <row Id="46565" PostHistoryTypeId="36" PostId="26126" RevisionGUID="3230bd75-eb6b-4a5f-85f1-02d410f86a47" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9515/what-is-the-effect-of-increasing-frequency-on-the-sound-wave" />
  <row Id="46566" PostHistoryTypeId="2" PostId="26127" RevisionGUID="0f52628e-d3b7-42ac-9d21-6a4a38382de3" CreationDate="2013-11-27T21:34:43.890" UserId="7294" UserDisplayName="Warrior Bob" Text="The sound becomes *higher in pitch*. Pitch is, basically, just frequency. &#xD;&#xA;&#xD;&#xA;&quot;Shriller&quot; is one way to describe this, although it carries a somewhat negative connotation." ContentLicense="CC BY-SA 3.0" />
  <row Id="46567" PostHistoryTypeId="2" PostId="26126" RevisionGUID="5de5dead-e8ba-451d-b001-90dab57f2dd9" CreationDate="2013-11-27T21:32:01.630" UserId="7696" UserDisplayName="Sathyaish" Text="If I keep the amplitude constant and up the frequency of the sound wave, what effect does just the frequency have on the quality of the sound with regard to human hearing?&#xD;&#xA;&#xD;&#xA;Does the sound become shriller in tone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46568" PostHistoryTypeId="1" PostId="26126" RevisionGUID="5de5dead-e8ba-451d-b001-90dab57f2dd9" CreationDate="2013-11-27T21:32:01.630" UserId="7696" UserDisplayName="Sathyaish" Text="What is the effect of increasing frequency on the sound wave?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46569" PostHistoryTypeId="3" PostId="26126" RevisionGUID="5de5dead-e8ba-451d-b001-90dab57f2dd9" CreationDate="2013-11-27T21:32:01.630" UserId="7696" UserDisplayName="Sathyaish" Text="&lt;sound&gt;&lt;physics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46570" PostHistoryTypeId="36" PostId="26127" RevisionGUID="e4afffcf-2576-41a8-b8f2-3dc602dd6e4e" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9515/what-is-the-effect-of-increasing-frequency-on-the-sound-wave/9516#9516" />
  <row Id="46571" PostHistoryTypeId="36" PostId="26128" RevisionGUID="01b51845-c9a1-40e1-965f-85bd4c9ba6b7" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3073/a-good-resource-for-finding-sound-effects-and-animated-clips-to-use-in-productio" />
  <row Id="46572" PostHistoryTypeId="2" PostId="26129" RevisionGUID="d65a01fd-d5c7-4554-ac2f-98c68c32cd0a" CreationDate="2012-01-21T11:49:44.227" UserId="7440" UserDisplayName="J.K." Text="For sound, check the Freesound Project. http://www.freesound.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="46573" PostHistoryTypeId="2" PostId="26128" RevisionGUID="f6f8b532-0f27-4496-9755-932d6e0f7128" CreationDate="2012-01-18T18:24:54.617" UserId="18289" UserDisplayName="Ali" Text="I am starting to do some semi-professional video production for a software project I have.  &#xD;&#xA;&#xD;&#xA;I want to know if there is any resource for high quality sound effects and background music and animated clips that you can use in production out there like there is istockphoto.com for photos?  &#xD;&#xA;&#xD;&#xA;I guess one very important feature (for me at least) is an understandable classification and preview.  &#xD;&#xA;  &#xD;&#xA;By the way I am using Final Cut Pro X if that makes any difference (I know there are lots of sound effects installed with Final Cut and Garage Band and they are great)." ContentLicense="CC BY-SA 3.0" />
  <row Id="46574" PostHistoryTypeId="1" PostId="26128" RevisionGUID="f6f8b532-0f27-4496-9755-932d6e0f7128" CreationDate="2012-01-18T18:24:54.617" UserId="18289" UserDisplayName="Ali" Text="A good resource for finding sound effects and animated clips to use in production for the non experienced" ContentLicense="CC BY-SA 3.0" />
  <row Id="46575" PostHistoryTypeId="3" PostId="26128" RevisionGUID="f6f8b532-0f27-4496-9755-932d6e0f7128" CreationDate="2012-01-18T18:24:54.617" UserId="18289" UserDisplayName="Ali" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46576" PostHistoryTypeId="36" PostId="26129" RevisionGUID="99ba1a62-2f06-443c-958e-5a7ddc92ef49" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3073/a-good-resource-for-finding-sound-effects-and-animated-clips-to-use-in-productio/3098#3098" />
  <row Id="46577" PostHistoryTypeId="36" PostId="26130" RevisionGUID="77679215-14aa-47a6-b2f6-1a0d54e0debf" CreationDate="2014-01-27T15:00:34.860" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3073/a-good-resource-for-finding-sound-effects-and-animated-clips-to-use-in-productio/3175#3175" />
  <row Id="46578" PostHistoryTypeId="2" PostId="26130" RevisionGUID="1a1f647e-66cf-4b91-8b32-9475f899a2c3" CreationDate="2012-01-31T04:35:52.100" UserDisplayName="Adam Johnson" Text="Yes, exactly what you need, previewable sound effects classified in over 645 categories can be found at [SFXsource Sound Effects Library][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sfxsource.com/sound-effects.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="46579" PostHistoryTypeId="36" PostId="26131" RevisionGUID="5b8af962-e84b-453f-9533-03631ad84ad8" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3426/firewire-on-macbook-air-help" />
  <row Id="46580" PostHistoryTypeId="36" PostId="26132" RevisionGUID="d74a1de7-afea-4b20-9239-3791bdcc3a71" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3426/firewire-on-macbook-air-help/3428#3428" />
  <row Id="46581" PostHistoryTypeId="36" PostId="26133" RevisionGUID="27c531f5-cfa9-44c0-867a-d03d79df3883" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3426/firewire-on-macbook-air-help/3483#3483" />
  <row Id="46582" PostHistoryTypeId="36" PostId="26134" RevisionGUID="5194fe31-41a7-40a9-a451-ca4aa6d0b2d0" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3426/firewire-on-macbook-air-help/3619#3619" />
  <row Id="46583" PostHistoryTypeId="2" PostId="26132" RevisionGUID="f4c4ea9b-65b9-4dd1-be02-6f2d56932e84" CreationDate="2012-02-28T22:44:50.183" UserId="7045" Text="I suggest returning the Macbook Air and getting a Macbook with Firewire. USB interfaces will give you latency when monitoring the recording signal, unless you have one that allows for hardware monitoring. (Perhaps someone else can speak about this. [My interface](http://neilfein.tumblr.com/post/16986176369/review-motu-audioexpress-firewire-audio-interface) is supposed to have this, but I've never used the feature. I also don't know what will work with Protools, I use Logic.) &#xD;&#xA;&#xD;&#xA;Getting a Firewire to USB adapter will almost certainly give you latency issues, and could also introduce compatibility issues. If you can live with a little latency and can't return the Macbook Air, I suggest a plain USB interface. It's a simpler option than using the existing one with an adapter. &#xD;&#xA;&#xD;&#xA;You also have another option, if your budget allows: Get a dual USB/Firewire interface with hardware monitoring. That'll not only let you monitor the signal being recorded in real time, it'll let you use it with pretty much any computer. (But there will still be latency when using it with USB, even USB2.) " ContentLicense="CC BY-SA 3.0" />
  <row Id="46584" PostHistoryTypeId="2" PostId="26134" RevisionGUID="6c2992b1-d7d1-4a15-b977-927a1fc2e3a4" CreationDate="2012-03-21T02:01:06.087" UserDisplayName="csr" Text="I have heard that UA was demonstrating the new Apollo interface using a Macbook Air with Thunderbolt, and an external Thunderbolt audio drive. This would be an amazing setup if it works like they say, however you'd have to wait for the Apollo to be officially released.&#xD;&#xA;&#xD;&#xA;If not that route, I'd suggest the same as the above--take the Air back and get a laptop more suited to PT and audio. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46585" PostHistoryTypeId="2" PostId="26133" RevisionGUID="a98dd93a-10be-4d63-bd26-a6d125f46ba6" CreationDate="2012-03-07T19:07:14.150" UserDisplayName="Michael MacDonald" Text="are you sure that it's not the new firewire port,&#xD;&#xA;because I thought the same thing with my mac book pro but just found out that they upgraded firewire to a new type of chord/input.&#xD;&#xA;&#xD;&#xA;I agree that macbook airs are not meant to be pro tools workstations.&#xD;&#xA;If not for any other reason,&#xD;&#xA;then because they use flash instead of an optical drive.&#xD;&#xA;I'd never trust that.&#xD;&#xA;&#xD;&#xA;You're better off trading it in either way,&#xD;&#xA;but make absolutely sure that the Mac you buy has an operating system that is compatible with your pro tools software.&#xD;&#xA;&#xD;&#xA;Too many people never mention that and it can end up costing you a fortune to upgrade your interface on top of buying a new mac.&#xD;&#xA;&#xD;&#xA;If you're going to do this,&#xD;&#xA;do it soon because I've just heard word that they are discontinuing the mac book pro all together and only selling airs from now on." ContentLicense="CC BY-SA 3.0" />
  <row Id="46586" PostHistoryTypeId="2" PostId="26131" RevisionGUID="0bc52d38-1ff3-434c-b005-7dccd84109df" CreationDate="2012-02-28T22:09:23.177" UserDisplayName="Paul Grieselhuber" Text="I've got an M-Audio FireWire Solo and just bought a new Macbook Air so I could run Pro Tools. Didn't think to notice whether the Air would have a Firewire port (it does not). So now I've got a brand new interface and a brand new computer and can't do anything....&#xD;&#xA;&#xD;&#xA;What is the best option here? Should I get a FireWire -&gt; USB hub? Or will I be overrun with latency issues? Should I simply return the FireWire Solo and get an interface with USB?&#xD;&#xA;&#xD;&#xA;Any help would be much appreciated.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Paul" ContentLicense="CC BY-SA 3.0" />
  <row Id="46587" PostHistoryTypeId="1" PostId="26131" RevisionGUID="0bc52d38-1ff3-434c-b005-7dccd84109df" CreationDate="2012-02-28T22:09:23.177" UserDisplayName="Paul Grieselhuber" Text="FireWire on MacBook Air - Help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="46588" PostHistoryTypeId="3" PostId="26131" RevisionGUID="0bc52d38-1ff3-434c-b005-7dccd84109df" CreationDate="2012-02-28T22:09:23.177" UserDisplayName="Paul Grieselhuber" Text="&lt;pro-tools&gt;&lt;mac&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46589" PostHistoryTypeId="36" PostId="26135" RevisionGUID="5025885a-2e85-44e4-a606-38b362302fc6" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1449/how-to-get-rid-of-static-background-hum" />
  <row Id="46590" PostHistoryTypeId="2" PostId="26136" RevisionGUID="deeff2ff-5f52-4378-80f3-4ed678a4c6a5" CreationDate="2011-05-22T09:33:54.977" UserId="8220" UserDisplayName="notthetup" Text="Sound like either a noisy cable or a grounding issue.. Is your interface grounded properly at the mains?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46591" PostHistoryTypeId="2" PostId="26135" RevisionGUID="1fb98f5a-326d-4922-a223-269e1b0c68c5" CreationDate="2011-05-21T13:30:04.583" UserId="17149" UserDisplayName="John Leidegren" Text="I have a very small hum, it's not that audible but it's there and if I crank up the volume it's there and very annoying. The funny part is this: if I put any flesh part of myself on the cord going from the guitar to the audio interface or touch the audio interface with my foot the hum goes away.&#xD;&#xA;&#xD;&#xA;Right now I'm playing with one foot on the metal casing of the audio interface but I'm pretty sure I don't have to do that, but I don't really understand what the hum is coming from or how to get rid of it...&#xD;&#xA;&#xD;&#xA;EDIT&#xD;&#xA;====&#xD;&#xA;&#xD;&#xA;Okay, after some digging around I figured out what it was, and it had to do with the wiring inside my acoustic guitar. As soon as I touch any of these parts inside the guitar this hum goes away but while fiddling around inside the guitar I managed to do something at least, temporarily. Because the hum went away and I played for a couple of minutes but then it came back.&#xD;&#xA;&#xD;&#xA;I've ruled out noise from other source there's definitely something going on with the pickup so If anyone with some expertise on the subject cares to weigh in, I'm all ears.&#xD;&#xA;&#xD;&#xA;It's an Guild acoustic guitar with steel strings using a Fishman acoustic guitar pickup." ContentLicense="CC BY-SA 3.0" />
  <row Id="46592" PostHistoryTypeId="1" PostId="26135" RevisionGUID="1fb98f5a-326d-4922-a223-269e1b0c68c5" CreationDate="2011-05-21T13:30:04.583" UserId="17149" UserDisplayName="John Leidegren" Text="How to get rid of static background hum" ContentLicense="CC BY-SA 3.0" />
  <row Id="46593" PostHistoryTypeId="3" PostId="26135" RevisionGUID="1fb98f5a-326d-4922-a223-269e1b0c68c5" CreationDate="2011-05-21T13:30:04.583" UserId="17149" UserDisplayName="John Leidegren" Text="&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46594" PostHistoryTypeId="36" PostId="26136" RevisionGUID="5be27387-ee46-420c-9fdf-744900b5acf8" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1449/how-to-get-rid-of-static-background-hum/1454#1454" />
  <row Id="46595" PostHistoryTypeId="36" PostId="26137" RevisionGUID="618f6065-f7b7-4956-80bd-6c5042461bdd" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2047/what-kind-of-mixer-should-i-get-for-djing" />
  <row Id="46596" PostHistoryTypeId="36" PostId="26138" RevisionGUID="93550862-f1b4-42f2-a119-2b88261d1be3" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2047/what-kind-of-mixer-should-i-get-for-djing/2080#2080" />
  <row Id="46597" PostHistoryTypeId="36" PostId="26139" RevisionGUID="6e567687-64d6-4cfa-a414-a72120cf34aa" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2047/what-kind-of-mixer-should-i-get-for-djing/2081#2081" />
  <row Id="46598" PostHistoryTypeId="36" PostId="26140" RevisionGUID="f7dbd729-99b0-441d-b5f8-2d5fa2edaae8" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2047/what-kind-of-mixer-should-i-get-for-djing/3762#3762" />
  <row Id="46599" PostHistoryTypeId="2" PostId="26138" RevisionGUID="eb66a058-126b-4eb5-9d4a-9c6700337681" CreationDate="2011-08-10T17:28:11.193" UserId="7294" UserDisplayName="Warrior Bob" Text="First off, if you're already mixing tracks in your computer and you just need to combine your computer's output with a microphone, pretty much any mixer, DJ oriented or otherwise, will do.&#xD;&#xA;&#xD;&#xA;But if you're planning to mix your tracks as well as the mic using the mixer, read on...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For less technically demanding DJing (such as at home or at a wedding) most any mixer targeted at DJs is probably fine - the most important components to look for are:&#xD;&#xA;&#xD;&#xA; - A crossfader. Usually this is a horizontal slider, and it controls the relative level of two inputs. You use this to fade in one track while the other one is playing.&#xD;&#xA; - A headphone jack. You use this to cue up other tracks, so make sure it can output a different mix than the master output. This way you can hear what you're about to mix in before the crowd does.&#xD;&#xA; - A microphone input with a volume knob.&#xD;&#xA;&#xD;&#xA;Almost every DJ mixer on the market has these features. Look for brands like Pioneer, Numark, Stanton, and Technics to start with, although I'm sure there are plenty of others. &#xD;&#xA;&#xD;&#xA;There are other features you might also want to look at, but aren't as critical:&#xD;&#xA; &#xD;&#xA;- An equalizer section on each input so you can adjust the tonal balance of a track. This is more important for club DJs but has its uses elsewhere.&#xD;&#xA;- Volume level meters.&#xD;&#xA;- Effects (either internal or external via an effects send).&#xD;&#xA;- More inputs and routing options&#xD;&#xA;&#xD;&#xA;You do get what you pay for, however - more expensive mixers will have less internal noise and more durable components, so the knobs and sliders will last longer. Wedding DJing is less demanding than, say, scratching and turntablism - and so this may be less important depending on what you're trying to do, but it's a consideration&#xD;&#xA;&#xD;&#xA;If possible, try one out that you're looking at. Listen for how much white noise it adds to the signal, and try mixing through it - see if the control layout makes sense to you." ContentLicense="CC BY-SA 3.0" />
  <row Id="46600" PostHistoryTypeId="2" PostId="26139" RevisionGUID="e35b5124-b2e0-4d70-96a6-240dc4ca7428" CreationDate="2011-08-10T17:32:14.657" UserId="7093" Text="Something that may help you with mixing in a microphone and also add some legitimacy to your setup (make it less 'hackish') would be an [audio interface][1].  Since the sound quality of most internal sound cards for computers is not very good, it will most likely cause your setup to sound better also.&#xD;&#xA;&#xD;&#xA;What you would do is plug in the microphone into the interface.  You would then run the outputs of the interface into your amplifier.  Your computer will act as the mixer.&#xD;&#xA;&#xD;&#xA;You can get a fairly high quality USB interface for less than $200, and several are less than $100.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.com/search?q=usb%20recording%20interface&amp;ie=utf-8&amp;oe=utf-8&amp;aq=t&amp;rls=org.mozilla:en-US:official&amp;client=firefox-a#q=usb%20recording%20interface&amp;hl=en&amp;safe=active&amp;client=firefox-a&amp;hs=74X&amp;rls=org.mozilla:en-US:official&amp;prmd=ivns&amp;source=univ&amp;tbm=shop&amp;tbo=u&amp;sa=X&amp;ei=1b1CTsBFg62xAsGk3LMJ&amp;ved=0CGAQrQQ&amp;bav=on.2,or.r_gc.r_pw.&amp;fp=a8a8adfcb0ffdd17&amp;biw=1280&amp;bih=913" ContentLicense="CC BY-SA 3.0" />
  <row Id="46601" PostHistoryTypeId="2" PostId="26140" RevisionGUID="17be994f-d539-4ce4-a622-da6f2081a29c" CreationDate="2012-04-16T16:17:10.357" UserDisplayName="rfboyce" Text="Instead of a mixer, it sounds like you could use a MIDI interface for your mixing software, as well as an external sound card, which is something you could easily arrange for $100-200 total.  Perhaps something like the Numark DJ2Go - inexpensive, functional, but not fully-loaded MIDI interface that will work with a variety of DJ software.  See this review for more in depth info:&#xD;&#xA;http://www.digitaldjtips.com/2011/08/review-numark-dj2go-portable-dj-controller/&#xD;&#xA;&#xD;&#xA;This is an excellent review of budget USB sound cards:&#xD;&#xA;http://www.digitaldjtips.com/2010/11/6-budget-dj-sound-cards/" ContentLicense="CC BY-SA 3.0" />
  <row Id="46602" PostHistoryTypeId="2" PostId="26137" RevisionGUID="d7818b75-f645-419b-9558-63ed6f1e3452" CreationDate="2011-08-09T20:29:52.503" UserDisplayName="Glen Solsberry" Text="I do some DJing on the side, and have been working with what I have, which is my computer with 3.5mm out to my home theater receiver via an RCA cable, etc... It's very hackish, and I've been told I need to get a mixer if I want to continue to do this and actually have any kind of usability.&#xD;&#xA;&#xD;&#xA;So, I'm looking to get a mixer. I'd like to spend less than $100 to start, and don't mind looking at used equipment. Any suggestions on things I should look for in a mixer? Any specific models I might look for?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46603" PostHistoryTypeId="1" PostId="26137" RevisionGUID="d7818b75-f645-419b-9558-63ed6f1e3452" CreationDate="2011-08-09T20:29:52.503" UserDisplayName="Glen Solsberry" Text="What kind of mixer should I get for DJing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46604" PostHistoryTypeId="3" PostId="26137" RevisionGUID="d7818b75-f645-419b-9558-63ed6f1e3452" CreationDate="2011-08-09T20:29:52.503" UserDisplayName="Glen Solsberry" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46605" PostHistoryTypeId="36" PostId="26141" RevisionGUID="3439fee1-d409-43e3-9fb0-4f8969f0a207" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9168/is-it-possible-to-create-a-soundproof-studio-in-an-apartment" />
  <row Id="46606" PostHistoryTypeId="2" PostId="26142" RevisionGUID="6949f8f6-d5b9-4d03-8260-930af509e5df" CreationDate="2013-10-14T13:25:40.550" UserDisplayName="stu.h" Text="If you're able to spend enough money, anything is possible.&#xD;&#xA;&#xD;&#xA; The ideal solution in this case would be to build an isolated room within a room. Using offset studs, so inside and outside walls hang from separate studs, double sheetrock, green glue, and heavy insulation in all walls, including floor and ceiling. This is the technique used in most production facilities to achieve high isolation between the control room and live room. &#xD;&#xA;&#xD;&#xA;Whether or not you can do this in your apartment is up to your landlord. You maybe be better off renting a dedicated rehearsal facility.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46607" PostHistoryTypeId="2" PostId="26141" RevisionGUID="c512dcfb-7f33-47e3-8b4d-0e4b088218b6" CreationDate="2013-10-14T12:50:57.850" UserId="8185" UserDisplayName="Ivan Ivković" Text="I have a 70 square meters building apartment, and two pretty decent rooms i could use as a studio. Is it possible to soundproof that good that it's possible to play drums and amplified guitars without it being noisy in other apartments?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46608" PostHistoryTypeId="1" PostId="26141" RevisionGUID="c512dcfb-7f33-47e3-8b4d-0e4b088218b6" CreationDate="2013-10-14T12:50:57.850" UserId="8185" UserDisplayName="Ivan Ivković" Text="Is it possible to create a soundproof studio in an apartment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46609" PostHistoryTypeId="3" PostId="26141" RevisionGUID="c512dcfb-7f33-47e3-8b4d-0e4b088218b6" CreationDate="2013-10-14T12:50:57.850" UserId="8185" UserDisplayName="Ivan Ivković" Text="&lt;home-studio&gt;&lt;studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46610" PostHistoryTypeId="36" PostId="26142" RevisionGUID="91496198-2025-4831-bb9d-ceae374cac90" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9168/is-it-possible-to-create-a-soundproof-studio-in-an-apartment/9169#9169" />
  <row Id="46611" PostHistoryTypeId="36" PostId="26143" RevisionGUID="2c6c4f65-b1b7-4e2d-be83-e85b901db68b" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9168/is-it-possible-to-create-a-soundproof-studio-in-an-apartment/9171#9171" />
  <row Id="46612" PostHistoryTypeId="2" PostId="26143" RevisionGUID="15b26c90-20b3-4911-bb9b-fc7963e1d64e" CreationDate="2013-10-14T14:19:13.950" UserId="7174" Text="It's not going to be possible for less than tens of thousands of dollars.  Even if you have free reign to modify the building as needed, it's still generally easily 5 to 10 grand just to soundproof a room well.  In order to do that when you can't modify the building extensively, you'd basically have to build your own isolated room and then soundproof that.  That isn't going to be cheap at all." ContentLicense="CC BY-SA 3.0" />
  <row Id="46613" PostHistoryTypeId="36" PostId="26144" RevisionGUID="5dab30fa-3b71-4bf8-b826-17d0edbc310d" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9374/battery3-is-playing-monophonic-for-unknown-reason" />
  <row Id="46614" PostHistoryTypeId="2" PostId="26144" RevisionGUID="fadebf43-e47d-481e-9d59-6ca21fe4db9f" CreationDate="2013-11-11T14:36:24.613" UserId="8159" UserDisplayName="Jamil" Text="I have a simple quarter note bass drum and a snare on the backbeat (2 and 4). For some stupid reason, Battery decided to cut out the bass drum on the snare hits. Is there any reason for this? I've used Battery for at least 4 years now and it's never done that before." ContentLicense="CC BY-SA 3.0" />
  <row Id="46615" PostHistoryTypeId="1" PostId="26144" RevisionGUID="fadebf43-e47d-481e-9d59-6ca21fe4db9f" CreationDate="2013-11-11T14:36:24.613" UserId="8159" UserDisplayName="Jamil" Text="Battery3 is playing monophonic for unknown reason" ContentLicense="CC BY-SA 3.0" />
  <row Id="46616" PostHistoryTypeId="3" PostId="26144" RevisionGUID="fadebf43-e47d-481e-9d59-6ca21fe4db9f" CreationDate="2013-11-11T14:36:24.613" UserId="8159" UserDisplayName="Jamil" Text="&lt;music&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46617" PostHistoryTypeId="36" PostId="26145" RevisionGUID="83739d34-31ff-481a-b25e-82ed4a001eeb" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1605/are-there-any-speakers-which-can-play-binaural-audio" />
  <row Id="46618" PostHistoryTypeId="2" PostId="26146" RevisionGUID="54656bc7-3c03-45c1-8f6e-9eb659c85aa1" CreationDate="2011-06-17T09:07:26.163" UserId="7592" UserDisplayName="Pelle ten Cate" Text="First off, Cross-talk cancellation is actually a dangerous term here since it doesn't imply what type of crosstalk is meant, what you most likely mean is a 100% left-right channel separation. This is theoretically impossible, and I will explain why. &#xD;&#xA;&#xD;&#xA;If what you are looking for is creating a wider impression than a stereo loudspeaker setup: The pseudo-surround (which in my opinion should never be associated with 5.1, both are surround techniques, and both are completely different) that a stereo set of loudspeakers 'implicate' is done by a technique that hasn't anything to do with HRTFs: it is done simply by doing magic tricks with the phase of the signal. If you listen to a well aligned pair of studio monitors, you can center a signal by putting it on both loudspeakers in phase. (0º). You can completely move it out of the loudspeaker base by inverting the phase of one of the speakers. (If your setup is correct, you won't be able to tell where the sound comes from.) You can move the source to the left by gradually decreasing the level of the right loudspeaker. The leftmost you can get is at the left loudspeaker, namely when you silence the right speaker. Now, if you put the same signal in counterphase (180º / inverted / ø) and gradually increase the level of the right speaker, the sound will move even further to the left. (i.e. sounds like it is further left than your left loudspeaker.) They never try to accomplish a 100% channel separation.&#xD;&#xA;&#xD;&#xA;The reason why you can't separate channels acoustically is because the air the sound travels through is shared by both ears. (When listening to headphones, it is not, each small speaker has its own &quot;environment&quot;.) You could be able to influence the sound that reaches your left and right ear with loudspeakers entirely, under two conditions:&#xD;&#xA;&#xD;&#xA; * You can never move, turn or tilt the head, not even half a centimeter&#xD;&#xA; * You must be in a room that has no reflections, since reflections reproduce the sound from an arbitrary direction.&#xD;&#xA;&#xD;&#xA;The first condition is highly unwanted, but the second is completely impossible. (Unless you are in a dead room, but that is not where I normally am when listening for my own pleasure.)&#xD;&#xA;&#xD;&#xA;Another technique that comes to mind being potentially useful for reproducing binaural stuff with loudspeakers, is [Wave field synthesis](http://en.wikipedia.org/wiki/Wave_field_synthesis). Unfortunately, getting a working WFS setup is very very very expensive.&#xD;&#xA;&#xD;&#xA;Bottom line: why don't you just listen to your HRTF sounds using earphones? That's what they are for anyway." ContentLicense="CC BY-SA 3.0" />
  <row Id="46619" PostHistoryTypeId="2" PostId="26145" RevisionGUID="bb5b33f9-a7be-4236-851d-aca077d1aaba" CreationDate="2011-06-16T17:46:10.940" UserDisplayName="Lakulish" Text="I'm trying to play binaural audio (generated by applying an HRTF based on sound source positions in a small game) over stereo speakers. Ideally, this would require cross-talk cancellation to be performed.&#xD;&#xA;&#xD;&#xA;I've seen a lot of speakers which seem to reproduce 5.1-channel surround sound using two (or fewer) speaker units, such as Yamaha SoundBar or anything with Bose AdaptIQ. I would imagine that these models use HRTFs and cross-talk cancellation to position each channel in a 5.1 (or 7.1) stream to &quot;virtual speaker&quot; locations.&#xD;&#xA;&#xD;&#xA;However, I am looking for speakers which can perform cross-talk cancellation (as part of their calibration process) and allow me to send 2 channels containing binaural audio, so I can get close to headphone-quality 3D reproduction. Are there any such speakers available today? I've tried looking at Yamaha's and Bose's websites, but there's not much information on what their technology actually does, beyond what has been filtered through their marketing departments." ContentLicense="CC BY-SA 3.0" />
  <row Id="46620" PostHistoryTypeId="1" PostId="26145" RevisionGUID="bb5b33f9-a7be-4236-851d-aca077d1aaba" CreationDate="2011-06-16T17:46:10.940" UserDisplayName="Lakulish" Text="Are there any speakers which can play binaural audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46621" PostHistoryTypeId="3" PostId="26145" RevisionGUID="bb5b33f9-a7be-4236-851d-aca077d1aaba" CreationDate="2011-06-16T17:46:10.940" UserDisplayName="Lakulish" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46622" PostHistoryTypeId="36" PostId="26146" RevisionGUID="c6e27042-6c91-408b-a999-36626c45d32b" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1605/are-there-any-speakers-which-can-play-binaural-audio/1609#1609" />
  <row Id="46623" PostHistoryTypeId="36" PostId="26147" RevisionGUID="5cee8d4c-3fdf-425c-ab48-c589f13e1be5" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1605/are-there-any-speakers-which-can-play-binaural-audio/2233#2233" />
  <row Id="46624" PostHistoryTypeId="2" PostId="26147" RevisionGUID="b4c7c47d-6fdd-4b2c-ae3a-cc3956b2c19b" CreationDate="2011-08-30T00:28:48.663" UserId="23326" UserDisplayName="witort" Text="The Jawbone JAMBOX just received a firmware update that enables binaural playback:&#xD;&#xA;&#xD;&#xA;http://jawbone.com/liveaudio&#xD;&#xA;&#xD;&#xA;Most Apple stores stock the JAMBOX, so you can demo it there if you're near to one of those. Good luck!&#xD;&#xA;&#xD;&#xA;Disclaimer: I work for Jawbone." ContentLicense="CC BY-SA 3.0" />
  <row Id="46625" PostHistoryTypeId="36" PostId="26148" RevisionGUID="e6f5c0ee-5a56-4fd4-ac7c-5d35c3013562" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/389/is-a-midi-enabled-keyboard-and-a-windows-machine-enough-by-itself-to-record-pian" />
  <row Id="46626" PostHistoryTypeId="36" PostId="26149" RevisionGUID="3d785265-7496-45b4-9bf2-3132b7ebe219" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/389/is-a-midi-enabled-keyboard-and-a-windows-machine-enough-by-itself-to-record-pian/390#390" />
  <row Id="46627" PostHistoryTypeId="2" PostId="26149" RevisionGUID="962bd320-6570-4533-86cb-60450c69d64a" CreationDate="2010-12-20T09:36:39.227" UserId="7202" Text="You do need additional software, but since you are recording only one thing it doesn't have to be particularity complicated. I would recommend [Audacity][1] as being both quite good and free. In it you can record the sound of the keyboard via the line in on your computer, cut off empty time at the start and beginning of the file, and adjust the levels. You can then finally export it to an mp3 and play it in your iTunes.&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="46628" PostHistoryTypeId="2" PostId="26150" RevisionGUID="a535cadd-7acb-47f7-94ac-c17f885182a4" CreationDate="2010-12-20T10:53:28.847" UserId="7471" UserDisplayName="Mark Heath" Text="If you like the piano sounds on your keyboard and are confident that you can play your piece without making mistakes, then you can simply use any recording program (e.g. Audacity) to record the sound using the audio inputs on your soundcard. MIDI is not required at all.&#xD;&#xA;&#xD;&#xA;If instead you want to use MIDI, that gives you the option to make subtle corrections (e.g. fixing a wrong note) before rendering to audio. For this option you will need a MIDI input. You also will need some DAW (digital audio workstation) that supports MIDI (SONAR, Cubase, Reaper etc). Your options then are to use a software virtual instrument or sampler to convert the MIDI back to piano sounds (again there are lots of choices here), or if you prefer, send the MIDI back to your keyboard and record the audio out of it (this can be a little tricky to set up for a beginner)." ContentLicense="CC BY-SA 2.5" />
  <row Id="46629" PostHistoryTypeId="2" PostId="26148" RevisionGUID="31029e7f-dbbe-40b9-981b-3f555b2b97b8" CreationDate="2010-12-20T08:42:36.617" UserDisplayName="John" Text="(Apologies in advance if this is a vague question but it's probably my lack of understanding.)&#xD;&#xA;&#xD;&#xA;One of my keyboards is a Yamaha S90 ES.  The piano voices on this KB are very nice out of the box.&#xD;&#xA;&#xD;&#xA;Ideally I'd like to capture my playing in a file that I can play in, say, Windows Media Player.  I figure if I can get that far then putting it on iTunes isn't that far off.&#xD;&#xA;&#xD;&#xA;Do I need additional software to capture the music coming out of the keyboard (with the nice Yamaha piano voicing) or can I get the music off of the keyboard to play back without additional software?&#xD;&#xA;&#xD;&#xA;I know that I can play back a MIDI file on the computer but I'd think it would play back using an internal piano voice (or some other voice).&#xD;&#xA;&#xD;&#xA;Anyway, if I didn't make my question clear enough let me know.  Thank you!" ContentLicense="CC BY-SA 2.5" />
  <row Id="46630" PostHistoryTypeId="1" PostId="26148" RevisionGUID="31029e7f-dbbe-40b9-981b-3f555b2b97b8" CreationDate="2010-12-20T08:42:36.617" UserDisplayName="John" Text="Is a MIDI-enabled keyboard and a Windows machine enough by itself to record piano music well?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46631" PostHistoryTypeId="3" PostId="26148" RevisionGUID="31029e7f-dbbe-40b9-981b-3f555b2b97b8" CreationDate="2010-12-20T08:42:36.617" UserDisplayName="John" Text="&lt;piano&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46632" PostHistoryTypeId="36" PostId="26150" RevisionGUID="214fc41b-c0f1-4ecb-a9ff-ee47bde70e08" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/389/is-a-midi-enabled-keyboard-and-a-windows-machine-enough-by-itself-to-record-pian/392#392" />
  <row Id="46633" PostHistoryTypeId="36" PostId="26151" RevisionGUID="2e3c04ea-88c9-4270-abab-95bdbf8e84a7" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/389/is-a-midi-enabled-keyboard-and-a-windows-machine-enough-by-itself-to-record-pian/394#394" />
  <row Id="46634" PostHistoryTypeId="36" PostId="26152" RevisionGUID="f3b7b37b-0e90-4795-abbe-7b1ded0dd3ff" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/389/is-a-midi-enabled-keyboard-and-a-windows-machine-enough-by-itself-to-record-pian/396#396" />
  <row Id="46635" PostHistoryTypeId="2" PostId="26151" RevisionGUID="7832d336-d7b5-45d5-ad15-6d0702532f14" CreationDate="2010-12-20T15:36:40.427" UserId="7294" UserDisplayName="Warrior Bob" Text="In short, yes, our keyboard and computer are enough, so long as you have some recording software!  More detail follows:&#xD;&#xA;&#xD;&#xA;There are two things coming out of that keyboard that you can record:&#xD;&#xA;&#xD;&#xA; 1. The audio &#xD;&#xA; 2. The MIDI data &#xD;&#xA;&#xD;&#xA;Recording the audio will preserve the audio signal from the keyboard.  Eventually, you'll need to do this if you want your recording to sound like your keyboard (as opposed to using some other sound source).  To do this you'll need recording software of some kind.  Audacity and Reaper are frequently mentioned for questions like this because they work well and don't cost anything to start out with (Reaper requires a license after 30 days).  The resulting recording can be rendered to a wave file that will play in any audio player.  You can encode it to MP3 afterwards if you like.&#xD;&#xA;&#xD;&#xA;Recording the MIDI data will store exactly that: MIDI data, no audio signal.  It's a set of instructions for telling some instrument what to play.  If you play a MIDI file on your computer, what you're doing is sending those instructions to your soundcard.  But you could also send those instructions right back to your keyboard, so the playback uses its sounds instead.  Recording MIDI is great because you can edit the instructions before sending them back to the keyboard, but if you're a pianist and want to just play a piece straight through, you can probably skip this step and just go straight to audio.  If you make a mistake performing that you want to fix in MIDI, it probably won't sound natural.  Better to just re-record so you capture the human dynamics of playing." ContentLicense="CC BY-SA 2.5" />
  <row Id="46636" PostHistoryTypeId="2" PostId="26152" RevisionGUID="53269858-f7e4-45b2-97bd-0b28d7bbe944" CreationDate="2010-12-20T16:11:47.087" UserId="7209" Text="Your keyboard has an option for an mLAN16E expansion card, which is a firewire interface that acts as an ASIO sound card for your computer.  If you have this expansion then use that.  If not, you might be able to pick one up for cheap online.  Otherwise, don't worry about it.&#xD;&#xA;&#xD;&#xA;Your keyboard also has a USB MIDI interface.  Simply plug a cable in, and your PC will see it.&#xD;&#xA;&#xD;&#xA;What I would do is record your performance using a MIDI sequencer.  Tweak as necessary.  When you're ready, play the MIDI back through your keyboard.  (If you have it hooked up to your PC, this is simple.  Just choose your keyboard as the MIDI out device.)  While playing it back through your keyboard, record the audio coming out of it using Audacity or some other audio editing software." ContentLicense="CC BY-SA 2.5" />
  <row Id="46637" PostHistoryTypeId="36" PostId="26153" RevisionGUID="ced4abb0-63f6-4628-bc86-f8d903212921" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5807/if-i-shot-a-movie-in-169-format-in-ultra-hd-will-the-movie-theatre-play-it" />
  <row Id="46638" PostHistoryTypeId="2" PostId="26154" RevisionGUID="90c1cd7b-720a-44e3-b879-0b053b47dbe9" CreationDate="2013-01-11T14:16:05.033" UserId="7225" Text="&#xD;&#xA;AS to source material:&#xD;&#xA;&#xD;&#xA;&gt; As of 2009, the most common acquisition medium for digitally projected&#xD;&#xA;&gt; features is 35 mm film scanned and processed at 2K (2048×1080) or 4K&#xD;&#xA;&gt; (4096×2160) via digital intermediate. Most digital features to date&#xD;&#xA;&gt; have been shot at 1920×1080 HD resolution using cameras such as the&#xD;&#xA;&gt; Sony CineAlta, Panavision Genesis, or Thomson Viper. Cameras such as&#xD;&#xA;&gt; the Arri Alexa can capture 2K resolution images, the Red Digital&#xD;&#xA;&gt; Cinema Camera Company's Red One and Red Scarlet can record 4K, the Red&#xD;&#xA;&gt; Epic 5K, and Sony's F65 CineAlta camera can record 4K down-sampled&#xD;&#xA;&gt; from 8K. The marketshare of 2K projection in digital cinemas is over&#xD;&#xA;&gt; 98%. Development of the 4K Dalsa Origin was terminated by Dalsa&#xD;&#xA;&gt; Corporation in 2008.&#xD;&#xA;&#xD;&#xA;So recording in 16:9 is not gonna be a problem.&#xD;&#xA;&#xD;&#xA;For playback:&#xD;&#xA;&#xD;&#xA;&gt; When all of the sound, picture, and data elements of a production have&#xD;&#xA;&gt; been completed, they may be assembled into a Digital Cinema&#xD;&#xA;&gt; Distribution Master (DCDM) which contains all of the digital material&#xD;&#xA;&gt; needed for projection. The images and sound are then compressed,&#xD;&#xA;&gt; encrypted, and packaged to form the Digital Cinema Package (DCP).&#xD;&#xA;&#xD;&#xA;Ref: https://en.wikipedia.org/wiki/Digital_cinema&#xD;&#xA;&#xD;&#xA;For technical details, see this link for an overview:  &#xD;&#xA;https://en.wikipedia.org/wiki/Digital_Cinema_Package&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46639" PostHistoryTypeId="2" PostId="26153" RevisionGUID="d6f82ea1-f9c3-407b-8b3b-770c25e74ad1" CreationDate="2013-01-11T07:40:09.617" UserDisplayName="Derfder" Text="Most films for cinema are not in 16:9 format. If I shot a movie in 16:9 format in Ultra HD, would there be any technical issue with getting it played in theatres?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46640" PostHistoryTypeId="1" PostId="26153" RevisionGUID="d6f82ea1-f9c3-407b-8b3b-770c25e74ad1" CreationDate="2013-01-11T07:40:09.617" UserDisplayName="Derfder" Text="If I shot a movie in 16:9 format in Ultra HD will the movie theatre play it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46641" PostHistoryTypeId="3" PostId="26153" RevisionGUID="d6f82ea1-f9c3-407b-8b3b-770c25e74ad1" CreationDate="2013-01-11T07:40:09.617" UserDisplayName="Derfder" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46642" PostHistoryTypeId="36" PostId="26154" RevisionGUID="97c98fda-31b8-4f29-9324-37f27757f4aa" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5807/if-i-shot-a-movie-in-169-format-in-ultra-hd-will-the-movie-theatre-play-it/5813#5813" />
  <row Id="46643" PostHistoryTypeId="36" PostId="26155" RevisionGUID="bde77cd8-5e61-4f45-91ea-182878a96303" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/568/makers-of-best-in-class-daw-plugins-for-recording-mixing" />
  <row Id="46644" PostHistoryTypeId="36" PostId="26156" RevisionGUID="c13b6c70-bc11-4adc-8fc9-a672b06eb323" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/568/makers-of-best-in-class-daw-plugins-for-recording-mixing/615#615" />
  <row Id="46645" PostHistoryTypeId="36" PostId="26157" RevisionGUID="63bb2d51-69d3-4583-bfe2-d1e013e8fc20" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/568/makers-of-best-in-class-daw-plugins-for-recording-mixing/617#617" />
  <row Id="46646" PostHistoryTypeId="36" PostId="26158" RevisionGUID="9d041d5d-78f7-496c-8934-797d599811bf" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/568/makers-of-best-in-class-daw-plugins-for-recording-mixing/622#622" />
  <row Id="46647" PostHistoryTypeId="36" PostId="26159" RevisionGUID="681a424e-82e0-4da5-86cc-1e32591e0cce" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/568/makers-of-best-in-class-daw-plugins-for-recording-mixing/646#646" />
  <row Id="46648" PostHistoryTypeId="36" PostId="26160" RevisionGUID="70c4c657-1e3b-48ad-aef3-a8819f918bff" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/568/makers-of-best-in-class-daw-plugins-for-recording-mixing/872#872" />
  <row Id="46649" PostHistoryTypeId="36" PostId="26161" RevisionGUID="ffe9e8ef-f7dd-4287-b44f-87ec9c3177fc" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/568/makers-of-best-in-class-daw-plugins-for-recording-mixing/888#888" />
  <row Id="46650" PostHistoryTypeId="2" PostId="26156" RevisionGUID="1ffe3284-89d0-46a3-b4fa-dbf136148ad3" CreationDate="2011-01-17T21:17:24.523" UserDisplayName="splicer" Text="One of the high end players I can think of is [Waves][1]. In the unique/creative category, there's [Tom Erb][2] and [Destroy FX][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waves.com/&#xD;&#xA;  [2]: http://www.soundhack.com/&#xD;&#xA;  [3]: http://destroyfx.smartelectronix.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="46651" PostHistoryTypeId="2" PostId="26157" RevisionGUID="d3667454-e399-4263-bc25-b0034c75ebac" CreationDate="2011-01-17T21:21:43.487" UserDisplayName="Ian C." Text="[Nomad Factory][1]&#xD;&#xA;&#xD;&#xA;In particular I love their [Magnetic][2] plugin. As a former Cubase 5 SX user, transplanted to Logic 8 on Mac, one of the things I missed most from Cubase was a solid, easy-to-use, tape saturation emulator. Cubase had Magneto and I abused the hell out of that thing. Nomad Factory has brought back one of my all-time favourite effects in a great sounding, easy to use interface. It goes on sale occasionally. I picked it up for $50 early last year. Try it across your master buss on mix down -- you won't go back to working without it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://nomadfactory.com/&#xD;&#xA;  [2]: http://nomadfactory.com/products/magnetic/index.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="46652" PostHistoryTypeId="2" PostId="26158" RevisionGUID="96b418d7-9d40-40e2-842f-b5d3785db728" CreationDate="2011-01-18T13:26:51.627" UserId="7592" UserDisplayName="Pelle ten Cate" Text="Another noteworthy name is [Wave Arts](http://www.wavearts.com) 5 plug-ins doesn't seem many, but the power they're packed with is just stunning. I like them for their ease of use and their quality.&#xD;&#xA;&#xD;&#xA;Trackplug is already EQ, Brickwall filter, Dynamics (gate + 2 compressors that have side-chaining and lookahead), output gain + limiter, basically all you need for a channel strip.&#xD;&#xA;&#xD;&#xA;They have a very easy master plugin that can do dithering with noise shaping, and has a limiter that I really like.&#xD;&#xA;&#xD;&#xA;There's also a very flexible reverb plugin and multiband compression plugin.&#xD;&#xA;&#xD;&#xA;And there is the &quot;spatial piece of gold&quot; called 'Panorama', which does spatial 3D-audio magic by just applying the right filter technique. (e.g. HRTFs for binaural hearing, but it also comes with stuff to make your stereo mix sound like surround.) I would never use this plugin on any classical music live-recording, but it is a great effect to have in basically every studio production." ContentLicense="CC BY-SA 2.5" />
  <row Id="46653" PostHistoryTypeId="2" PostId="26159" RevisionGUID="d0be964f-77e4-4d73-962c-d8e58d6dd0e9" CreationDate="2011-01-20T00:34:53.550" UserDisplayName="jlebre" Text="If you are looking for tools like EQ, compressors, etc. Waves, Sonnox, McDSP, are amongst some of the most popular and most used in our suites.&#xD;&#xA;As for reverbs, Altiverb, Waves Trueverb/Rverb, Sonnox reverb, are amongst some of the favorites&#xD;&#xA;&#xD;&#xA;But I usually have a lot of fun with stuff like OhmForce, and some cheap or even free pluggos! internet is full of those nowadays.&#xD;&#xA;&#xD;&#xA;Why? Well, grown used to use waves on a regular basis specially compressors. Don't seem to find much different between most EQs (there are some eq's that are completely out of main stream out there) and I'm usually not to fussed about it unless I specifically want something not usual or if I want a Lin-phase EQ. Compressors on the other hand seem to have such different behaviour between themselves that I tend to not make a decision until I went through a good amount of them. McDSP are good on this too, so are Sonnox.&#xD;&#xA;&#xD;&#xA;If you have some money to splurge, the UAD cards offer some pretty sweet stuff. Their reverb is outstanding imo! Had the chance to use a plate rev once but I don't think I would go to the trouble of carrying those tanks when I have the UAD one!&#xD;&#xA;&#xD;&#xA;Having said all this, mixed several albuns with the Digirack plugins alone (included in ProTools).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46654" PostHistoryTypeId="2" PostId="26160" RevisionGUID="aa8f6db1-b74e-4c9a-82be-23ea860675cc" CreationDate="2011-02-21T15:29:35.977" UserDisplayName="Eugene Bujak" Text="I've been using &lt;a href=&quot;http://www.voxengo.com&quot;&gt;Voxengo&lt;/a&gt; for more than five years and am very satisfied.&#xD;&#xA;&#xD;&#xA;I do mastering, and there was a really nasty composition that didn't want to play well with mono compatibility, so I was searching for something that would fix that, found PHA-979 and was really impressed. That was 5 years ago.&#xD;&#xA;&#xD;&#xA;Elephant saved my day when I wanted to dither a classical orchestral composition which had a lots of headroom and huge dynamic range, all of this down to 16 bits. Every other dither I tried made the quieter parts sound a bit metallic.&#xD;&#xA;&#xD;&#xA;Although, it's not a complete replacement for Waves, and everyone got used to the sound of Waves, so I don't use Voxengo if I master something that's gonna be widespread. But niche genres tend to like stuff gone through Voxengo more often." ContentLicense="CC BY-SA 2.5" />
  <row Id="46655" PostHistoryTypeId="2" PostId="26161" RevisionGUID="4766243b-f58a-4238-a7cc-f1d498ffddd1" CreationDate="2011-02-22T22:07:40.237" UserDisplayName="user550" Text="A big X2 on the UAD stuff! You used to have to buy a card but I believe there is a firewire interface out now. The hardware ranges from about 500-2500 depending on how many processors and the pluggins range from 150-350 so it's not the cheapest but it is the best sounding for sure! &#xD;&#xA;I use waves and have used the wave arts as well as several others. UAD make the most organic, true to hardware sounding models hands down. In the studio I work with hardware 1176's, LA2's trident A-range eq, Neve eq, ect. At home I use the UAD and they really are the next best thing. There's a lot of decent stuff out there but once I started using UAD things changed. I wasn't as afraid to boost high frequency or compress more without getting brittle or loosing punch and mixes started coming together more quickly and sounding more interesting. I'll still use the WAVES API eq's and their limiters are great as well as a few others, but almost everything else is UAD. " ContentLicense="CC BY-SA 2.5" />
  <row Id="46656" PostHistoryTypeId="2" PostId="26155" RevisionGUID="1da42061-452a-422d-ac15-272a033045f4" CreationDate="2011-01-12T06:55:07.747" UserDisplayName="Bill Gribble" Text="I'm not too concerned about a particular kind of plugin or what formats, but trying to find out who are the companies in the market that are making the good stuff.  &#xD;&#xA;&#xD;&#xA; - On the high end&#xD;&#xA; - On the cheap end&#xD;&#xA; - Unique/creative functionality &#xD;&#xA; - In each of the major categories (EQ, dynamics, reverb, NR, pitch correction, ...)&#xD;&#xA;&#xD;&#xA;And what is it about the plugins that makes them so special?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46657" PostHistoryTypeId="1" PostId="26155" RevisionGUID="1da42061-452a-422d-ac15-272a033045f4" CreationDate="2011-01-12T06:55:07.747" UserDisplayName="Bill Gribble" Text="Makers of best-in-class DAW plugins for recording/mixing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46658" PostHistoryTypeId="3" PostId="26155" RevisionGUID="1da42061-452a-422d-ac15-272a033045f4" CreationDate="2011-01-12T06:55:07.747" UserDisplayName="Bill Gribble" Text="&lt;mixing&gt;&lt;effects&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46659" PostHistoryTypeId="36" PostId="26162" RevisionGUID="439d802d-3de1-4cac-b296-a013a8456dd8" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5122/reason-why-do-my-songs-sound-dull-and-soft" />
  <row Id="46660" PostHistoryTypeId="36" PostId="26163" RevisionGUID="58af46f8-2cf0-4cd9-bce3-95c6cfdc98c4" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5122/reason-why-do-my-songs-sound-dull-and-soft/5123#5123" />
  <row Id="46661" PostHistoryTypeId="36" PostId="26164" RevisionGUID="d4d0fc4d-2ea9-4553-84ec-3e0b4d925785" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5122/reason-why-do-my-songs-sound-dull-and-soft/5125#5125" />
  <row Id="46662" PostHistoryTypeId="36" PostId="26165" RevisionGUID="2cd73d0a-17ad-407b-8876-27c1307b4024" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5122/reason-why-do-my-songs-sound-dull-and-soft/5128#5128" />
  <row Id="46663" PostHistoryTypeId="36" PostId="26166" RevisionGUID="9c4b3c49-ba53-4c42-b6a5-7b8026d23185" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5122/reason-why-do-my-songs-sound-dull-and-soft/9651#9651" />
  <row Id="46664" PostHistoryTypeId="2" PostId="26163" RevisionGUID="b19ef895-8dc4-41f5-b9aa-3da642cc1c6d" CreationDate="2012-10-19T02:25:47.413" UserId="6957" Text="Dull and muffled sounds to me like frequency space.  That is, there aren't high frequencies where you would expect them.  The low frequencies are lacking, etc...  Within Reason, that is probably an issue with EQing.&#xD;&#xA;&#xD;&#xA;The volume issue is likely related to something called gain structuring.  Imagine, instead of Reason, you actually *had* all of that outboard gear.  Each piece of gear has an output 'volume'.  &#xD;&#xA;&#xD;&#xA;When you chain a bunch of those pieces of gear together, you can see how you'd have to be both careful and deliberate as to how you set the 'gain' of each piece of gear, so that the next piece of gear in the chain would be getting the proper signal strength at its input.  There are specific numbers involved here, but to keep it simple, not too high, not too low.&#xD;&#xA;&#xD;&#xA;In your particular situation, one thing you didn't mention was _how_ you're listening to the output of Reason.  Is it leaving Reason, going to your computer's headphone out?  Digital out?, etc.  That is certainly one more piece of the gain puzzle.  You could have everything cranked in Reason, but if your headphone volume is down, well...&#xD;&#xA;&#xD;&#xA;If your master mix meter is going into the red, are you hearing a distorted output? even if quiet?  If it is not distorted, then I would guess that you've got a piece of gear (virtual or otherwise) in the chain after that main mix, which is keeping the volume low before it finally reaches your speakers.  If it _is_ distorted, your issue lies in your gain structuring.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Finally, EQ, mixing, and mastering can all improve your sound.  If you learned to do all of those things properly, you would definitely get tracks that sounded as bright, clear and loud as anything else on your iPod (and incidentally, you might also find yourself a new career!  Many people spend a lifetime learning to do it &quot;properly&quot; :) ).&#xD;&#xA;&#xD;&#xA;Lastly, yes, it is possible to create professional-sounding tracks in Reason.  [This book](http://www.bobbyowsinski.com/The_Mixing_Engineers_Handbook.html) was suggested to me years ago.  I wouldn't say I swear by it, but it is a fantastic set of guidelines for mixing.  And while googleing for it just now, I also ran across a blog page that someone wrote up... a [Top 8 Takeaways](http://entelleckt.com/mixing-engineers-handbook-lessons) from said book. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46665" PostHistoryTypeId="2" PostId="26164" RevisionGUID="875e7866-652c-47f2-9007-1a29f2e01a7a" CreationDate="2012-10-19T07:56:36.353" UserDisplayName="Magrangs" Text="A good track starts with a good mix. A good mix is needed before any mastering is done on it. The 'dull soft' sound is due to a number of factors and you have mentioned most of them (eq, compression, stereo spread, saturation and volume). As each sound in your mix is different, there are no hard rules to getting this sounding 'bigger'. Different parts of the mix require different processing. &#xD;&#xA;&#xD;&#xA;Overlapping frequencies is one cause of sounds sounding dull. As all sounds are wave forms, when two (or more) wave forms collide they can cancel each other out (known as destructive interference). The best way to avoid this is to take into account the frequencies of the sounds and the spatial position. &#xD;&#xA;&#xD;&#xA;As a programmer, I code by a rule called &quot;separation of concerns&quot; and I also apply this to music. For instance, when creating sub bass sound, the purpose of the sound is to create a low frequency, therefore it needs no higher frequencies so I eq-out all of the top end (with sub, depending on the sound anywhere above 80-120 hz). With high-hats (and other high frequencies), I eq out all the bottom and some of the low mids. To be honest, I eq-out all of my sounds below the 60-80hz mark (apart from the sub of course) as the only low end I want in the mix comes from the sub.  If you have two instruments that occupy a similar frequency range, you can change the spatial position using panning and other techniques/tools. This all helps to keep the sounds clean and out of each others way so they can sound their best. It helps them all sound and fit nicely together in the mix as you don't tend to have too many overlapping frequencies causing issues. &#xD;&#xA;&#xD;&#xA;Eq-ing sweeping to find 'sweet spots' can also bring out the character of a sound. To do this, chose a fairly narrow 'q' setting on the eq and set the gain high and sweep through the sound until you hear it sounding overly brighter/punchier etc. Keep it on that frequency 'sweet spot' and then reduce the gain to a decent level. This is also useful to do to remove and resonance in sounds that could occur when it is played at high volume (in clubs for instance), to do this, just listen for frequencies that make it sound resonant at high gains and then do an eq-cut at that frequency with a narrow 'q'.&#xD;&#xA;&#xD;&#xA;One other very important thing is that if you are using samples, the quality of the sample is very important (you can't polish a turd as they say) so eq-ing to find and boost frequencies that are not there is futile. Always pick the best sample for the job and then tweak it.&#xD;&#xA;&#xD;&#xA;The range of frequencies of your track will also have a big effect, to bring out the low end of a track, it needs to be balanced with a decent amount of high end. It is all about balance. A good way to learn is to take a track you like the sound of and put a frequency analyser on it and compare it to a another frequency analyser on your track, You can use this to see what frequencies are missing in your track.&#xD;&#xA;&#xD;&#xA;One other tip, lower frequencies (like kick drums and sub bass) tend to be in mono whilst higher frequencies have more stereo spread which helps give it a 'wider' feel (especially in dance music). Think of the sound as a funnel shape with the lower frequencies central (mono) at the bottom and the higher frequencies, spreading out, at the top. With modern music, especially dance, there are a few things that are important; width (stereo spread), height (volume/loudness), depth (reverb etc.), range of frequencies within the track and dynamics. Pendulum were very good at maxing out all of these qualities giving it a 'wall of sound' feel. Whether this is deemed 'good' or not is debatable and subjective. It takes a lot of time and patience to get it sounding the way you want. Don't be afraid to experiment and just enjoy the process.&#xD;&#xA;&#xD;&#xA;Once a good mix is in place with all the sounds fitting nicely together you can start thinking about adding things like compressors and limiters to the overall mix (note: more often than not you will have compressors on certain instruments as well). The best way to do this, I found is to just use your ears, add a compressor, tweak the settings and constantly a/b it, i.e. turn it off and on to see if sounds better. As I am not a mastering engineer however (and don't have the equipment) I tend to just send this off to a mastering engineer who knows what he's doing :-) but it is a good learning experience to experiment yourself.&#xD;&#xA;&#xD;&#xA;p.s. I am not a huge fan of reason (although it can be used to produce decent tracks). This is because I use a lot of 3rd party vst plugins and effects which is not supported in Reason and limits its usefulness to me. I was using an older version however so Rack Extensions may provide more flexibility in v6 (but I haven't read too much into it)." ContentLicense="CC BY-SA 3.0" />
  <row Id="46666" PostHistoryTypeId="2" PostId="26165" RevisionGUID="a75490e4-1e81-4d67-861f-0aeabb546bd1" CreationDate="2012-10-20T11:12:54.457" UserId="7462" UserDisplayName="byronyasgur" Text="There's possibly not really enough space in a stack exchange answer to actually get to the root of the problem ... though I see the other answers have made valiant efforts, and no doubt you should study these, and they may indeed cover the answer, but still ... &#xD;&#xA;&#xD;&#xA;The fact that you a) notice, and b) have the humility to ask shows me that you both have an ear ( which can be honed) and are serious about your tracks sounding good. To that extent I recommend that you study the recording process in as much detail as you can, that way when you as a question like the one you've asked you may be already ruling out some of the more common problems yourself and thus get higher quality answers.&#xD;&#xA;&#xD;&#xA;Recording engineering is a vast subject requiring a lifetime of study but you can get the basics without spending a huge amount of time. &#xD;&#xA;&#xD;&#xA;I would recommend one or all of the following&#xD;&#xA;&#xD;&#xA; - Get a couple of good up to date books on the subject and read them cover to cover&#xD;&#xA; - Scour google video/youtube for everything you can find on recording. I would recommend [techmuzeacademy.com][1] / [www.techmuze.tv][2] and their podcast and youtube pages too. There is also an excellent series on google video called into the lair but it's aimed more at people with a knowledge of the basic &#xD;&#xA; - Now is a great time to make sure you're using the best DAW for you. I think you can download trial versions of ones you haven't used.&#xD;&#xA; - Possibly enrol in your closest recording course ... it doesn't have to be a 4 year course or anything, the basics of mic position, signal level, routing, eq and balancing a mix can be taught quite quickly ( it's learning how to get it to sound awesome is the part that takes ages )&#xD;&#xA;&#xD;&#xA;**Volume level** you probably need to use a maximiser like waves L2 Ultramaximixer, or Ozone's Izotope has one built in. I don't know what works with reason but you could google maximizer I suppose.&#xD;&#xA;&#xD;&#xA;**Mastering**. I'm not sure that I'd be mastering in reason, but I don't know the program well so ?? I have used Wavelab with Isotope and gotten good results. I generally think in terms of getting someone else to master my mixes, and you can do that online quite cheaply if budget is a concern , and I've had good results with that myself.&#xD;&#xA;&#xD;&#xA;**Edit :** I haven't checked this out but I think it may help you. If it's not specifically for reason, and I think it's not, then you would still be able to use the same techniques and princibles as all DAWs do essentially the same thing  ( or at least I know cubase and pro tools do at any rate ) ... [http://therecordingrevolution.com/5minutes/][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.techmuzeacademy.com/music-production-courses&#xD;&#xA;  [2]: http://www.techmuze.tv&#xD;&#xA;  [3]: http://therecordingrevolution.com/5minutes/" ContentLicense="CC BY-SA 3.0" />
  <row Id="46667" PostHistoryTypeId="2" PostId="26166" RevisionGUID="ae2789f8-85ba-4a87-803a-5d74fbf15a67" CreationDate="2013-12-13T01:44:31.430" UserDisplayName="long69horns" Text="If you are making hip hop, I assume you want your drums to stand out and 'punch'. My kick/snare, and most drum sounds actually, are generally set a little higher than other sounds on the mix.  The meter for my drums gets well into the yellow while everything else stays usually right at the point between green and yellow.  &#xD;&#xA;&#xD;&#xA;Pay close attention to your levels every time you add an instrument.  Remember volume level doesnt always translate to loudness, try tweaking every knob to see what makes something sound fuller or crisper without necessarily raising the meter. &#xD;&#xA;&#xD;&#xA;I almost always slightly boost the lower frequencies on the master eq and/or add an eq to my drums to do the same.  That is a good point made above about frequencies overlapping. &#xD;&#xA;&#xD;&#xA;DONT get into the red or simply raise the track volume because remember you are just making the 'dull/muffled' mix louder. Only AT THE END after you have your mix the way you like it should you play with the master volume.&#xD;&#xA;&#xD;&#xA;I generally slightly raise the master maximizer at the end (I'm referring to the 'mastering suite' at the top of the rack above the mixer)." ContentLicense="CC BY-SA 3.0" />
  <row Id="46668" PostHistoryTypeId="2" PostId="26162" RevisionGUID="20855f4a-a07e-456f-b3b7-861757707655" CreationDate="2012-10-19T01:55:03.950" UserDisplayName="GCH" Text="Just to get it out of the way, I have no formal training in music production, let alone sound engineering.  So apologies in advance if I say anything stupid.  &#xD;&#xA;&#xD;&#xA;I have been using Reason to make hip hop beats for a little while now, and I have noticed two problems with my finished products:&#xD;&#xA;&#xD;&#xA;1) They always sound dull and muffled compared to professionally produced/recorded tracks (by that I mean any music I've bought).&#xD;&#xA;&#xD;&#xA;2) They always sound softer (as in lower volume) than professionally produced/recorded tracks. This happens even if the volume is going all the way into the &quot;red&quot; in the &quot;Mixer 14:2&quot; master volume indicator.&#xD;&#xA;&#xD;&#xA;Based on what I've read, I'm guessing this is due to a combination of a lack of compression, improper EQ within tracks, bad mixing, and a lack of mastering.  Is that correct, and can I assume that if I learned to do all of these things properly I would get tracks that sound as bright, clear, and loud as anything else playing on my iPod?  If so, can anyone point me towards learning resources for doing this in Reason?&#xD;&#xA;&#xD;&#xA;I guess I should ask, is it even possible to really mix and master professional-sounding tracks in Reason?  Or would I need a different program (or to submit my tracks to a mastering engineer)?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46669" PostHistoryTypeId="1" PostId="26162" RevisionGUID="20855f4a-a07e-456f-b3b7-861757707655" CreationDate="2012-10-19T01:55:03.950" UserDisplayName="GCH" Text="Reason: Why do my songs sound dull and soft?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46670" PostHistoryTypeId="3" PostId="26162" RevisionGUID="20855f4a-a07e-456f-b3b7-861757707655" CreationDate="2012-10-19T01:55:03.950" UserDisplayName="GCH" Text="&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46671" PostHistoryTypeId="36" PostId="26167" RevisionGUID="b5b10ac7-ad6e-4355-a9d4-72b6185c87ce" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5234/opus-vs-mp3-size-quality-comparison" />
  <row Id="46672" PostHistoryTypeId="2" PostId="26167" RevisionGUID="7b3e6be6-bef2-45d7-8afc-5f72b4da2433" CreationDate="2012-11-02T17:16:03.787" UserDisplayName="Luis Alvarado" Text="How does Opus differ from MP3 when comparing both in relation to the file size and quality. For example if I were to convert a 320kbps or 128kbps file that is 10MB or 4MB in mp3 format to opus, what will I get?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46673" PostHistoryTypeId="1" PostId="26167" RevisionGUID="7b3e6be6-bef2-45d7-8afc-5f72b4da2433" CreationDate="2012-11-02T17:16:03.787" UserDisplayName="Luis Alvarado" Text="Opus vs MP3 (Size &amp; Quality Comparison)" ContentLicense="CC BY-SA 3.0" />
  <row Id="46674" PostHistoryTypeId="3" PostId="26167" RevisionGUID="7b3e6be6-bef2-45d7-8afc-5f72b4da2433" CreationDate="2012-11-02T17:16:03.787" UserDisplayName="Luis Alvarado" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46675" PostHistoryTypeId="36" PostId="26168" RevisionGUID="04b5805d-38f5-471b-aa45-28efa81f8344" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3985/software-as-substitute-for-a-vj-auto-vj-software" />
  <row Id="46676" PostHistoryTypeId="36" PostId="26169" RevisionGUID="5bfb6a35-3a1c-478c-982e-e37cabe7310a" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3985/software-as-substitute-for-a-vj-auto-vj-software/4013#4013" />
  <row Id="46677" PostHistoryTypeId="36" PostId="26170" RevisionGUID="d35de4cc-b591-4263-8769-968720e1cd3b" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3985/software-as-substitute-for-a-vj-auto-vj-software/4744#4744" />
  <row Id="46678" PostHistoryTypeId="2" PostId="26169" RevisionGUID="dba9fe07-1e45-4baf-aeef-4435ec166704" CreationDate="2012-05-16T18:44:00.593" UserId="7294" UserDisplayName="Warrior Bob" Text="My knowledge in this arena is far from comprehensive, but if you don't mind weird generative visuals, I've heard of people putting together rather elaborate video-processing patches using  [Max/MSP and Jitter](http://cycling74.com/products/max/video-jitter/)." ContentLicense="CC BY-SA 3.0" />
  <row Id="46679" PostHistoryTypeId="2" PostId="26170" RevisionGUID="1376396a-01c4-40aa-9cc0-33d16842e236" CreationDate="2012-09-17T14:56:41.343" UserId="14713" UserDisplayName="b20000" Text="Rather than automatically generating visuals based on sound, which is difficult to do meaningfully, why not make your own music performance more visual? This way you don't need a VJ, you can create a visual show, and people will be watching YOU instead of the visuals you project? &#xD;&#xA;&#xD;&#xA;You can use input devices that are impressive to watch in a live performance setting, and hook them up to software for live performance, like Ableton Live. &#xD;&#xA;&#xD;&#xA;One example of such an input device are the audiocubes by &lt;a href=&quot;http://www.percussa.com&quot;&gt;percussa&lt;/a&gt;. The audiocubes are smart cubes that can change colours through built in lighting, and they can generate MIDI based on their position and orientation. The cubes integrate with Ableton Live through MIDIBridge, a free app for audiocubes. &#xD;&#xA; &#xD;&#xA;Alternatively you can also use grid controllers which have LED matrices, like the akai APC40. With these kind of controllers the movements you will be making will be mostly finger movements, so hard to see from a distance. With the audiocubes the movements are larger (because you move actual objects), so they are easier to see by the audience. Also check out this blog post: http://www.percussa.com/2012/09/01/how-to-engage-the-audience-when-performing-live-with-a-laptop-featured-question/&#xD;&#xA;&#xD;&#xA;Another possibility might be to use DMX lighting, and hook that up via a USB-DMX bridge to software like Max/MSP, which could analyze audio in realtime, and then map that to DMX messages for the lights. This does require quite a bit of programming though. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46680" PostHistoryTypeId="2" PostId="26168" RevisionGUID="cfcad2bb-9298-4fac-b3b3-e5ee2505e6f5" CreationDate="2012-05-14T14:01:39.970" UserDisplayName="Povylas" Text="I am looking for some software what could react to music in realtime and could create some visual effects from given presets. &lt;br/&gt;&#xD;&#xA;Simply I am looking some kind of software what could partiality replace VJ." ContentLicense="CC BY-SA 3.0" />
  <row Id="46681" PostHistoryTypeId="1" PostId="26168" RevisionGUID="cfcad2bb-9298-4fac-b3b3-e5ee2505e6f5" CreationDate="2012-05-14T14:01:39.970" UserDisplayName="Povylas" Text="Software as substitute for a VJ (auto VJ software)" ContentLicense="CC BY-SA 3.0" />
  <row Id="46682" PostHistoryTypeId="3" PostId="26168" RevisionGUID="cfcad2bb-9298-4fac-b3b3-e5ee2505e6f5" CreationDate="2012-05-14T14:01:39.970" UserDisplayName="Povylas" Text="&lt;live&gt;&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46683" PostHistoryTypeId="36" PostId="26171" RevisionGUID="e7b1a6fb-1d91-47a3-82b4-97f7d1f2b1da" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9813/how-to-cut-music-for-a-trailer" />
  <row Id="46684" PostHistoryTypeId="36" PostId="26172" RevisionGUID="4096a7dc-3097-4c1b-8f2e-ea56794750da" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9813/how-to-cut-music-for-a-trailer/9818#9818" />
  <row Id="46685" PostHistoryTypeId="2" PostId="26172" RevisionGUID="e2b7cce6-13b9-4ea8-83f3-eab28fb1164a" CreationDate="2014-01-02T18:26:53.500" UserDisplayName="Breems" Text="This can be one of the easiest or most frustrating tasks in video production. I'm not sure what software you're using or what style of song but here are some general tips:&#xD;&#xA;&#xD;&#xA;- Some songs just cut naturally. I can't think of any examples off-hand, but it doesn't sound like this is the case for you anyway.&#xD;&#xA;&#xD;&#xA;- Many trailers utilize a voiceover or complete pause of the music to make the transition more natural. This is used very frequently in trailers for action movies.&#xD;&#xA;&#xD;&#xA;- Utilize fades in the audio track, especially for slower songs since it tends to sound awkward in upbeat songs." ContentLicense="CC BY-SA 3.0" />
  <row Id="46686" PostHistoryTypeId="2" PostId="26171" RevisionGUID="523b2888-c8f7-4d2f-bff5-a104f07d6c24" CreationDate="2014-01-02T15:55:15.843" UserId="11453" UserDisplayName="starleaf1" Text="I intend to make a 30-sec trailer for my short movie and want to add a background music. The problem is, I can't seem to cut the music right. The results always sound, for the lack of a better word, butchered. I need to cut the verse out of a song, leaving only the intro and then seamlessly into the chorus, like they make on those TV-spot trailers." ContentLicense="CC BY-SA 3.0" />
  <row Id="46687" PostHistoryTypeId="1" PostId="26171" RevisionGUID="523b2888-c8f7-4d2f-bff5-a104f07d6c24" CreationDate="2014-01-02T15:55:15.843" UserId="11453" UserDisplayName="starleaf1" Text="How to cut music for a trailer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46688" PostHistoryTypeId="3" PostId="26171" RevisionGUID="523b2888-c8f7-4d2f-bff5-a104f07d6c24" CreationDate="2014-01-02T15:55:15.843" UserId="11453" UserDisplayName="starleaf1" Text="&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46689" PostHistoryTypeId="36" PostId="26173" RevisionGUID="0b1fffe3-b8d8-4f5c-a276-48a96ec881dd" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1857/mono-mixing-how-to-avoid-mono-fatigue" />
  <row Id="46690" PostHistoryTypeId="2" PostId="26174" RevisionGUID="a0e045a4-74dc-4870-9526-bc0b4c9aefd0" CreationDate="2011-07-13T12:22:14.407" UserDisplayName="SeanBlake" Text="The concern is valid, to me. First step might be to throw a stereo reverb on and at least regain a little width. Then I'd experiment with various stereo enhancer type plugins like the [Waves PS22][1], [Fruity Stereo Enhancer][2], etc. Or just plain shift the left/right channel by 20-40ms.&#xD;&#xA;&#xD;&#xA;It might help to treat your bass frequencies independently from your highs by sending the mix to two buses and using some high-pass/low-pass filters accordingly. Generally bass doesn't need to be super wide.&#xD;&#xA;&#xD;&#xA;Of course with these techniques, all instruments are in the same stereo space which can be awkward. You could try and isolate instruments by their frequency range and pan those or only effect upper frequencies with your plugin (say, above 5-10k or something along those lines).&#xD;&#xA;&#xD;&#xA;At the end of the day it will come down to what works musically and what just sounds good. A/B, listen with your ears, not your eyes and go with what feels right. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.waves.com/Content.aspx?id=231&#xD;&#xA;  [2]: http://flstudio.image-line.com/help/html/plugins/Fruity%20Stereo%20Enhancer.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="46691" PostHistoryTypeId="2" PostId="26173" RevisionGUID="7510ab01-4847-49f9-a153-9bca1a9f62d3" CreationDate="2011-07-13T01:16:21.307" UserId="7045" Text="I'm mixing down a live album from a mono source. The tracks contain guitar, mandolin, vocals, and backing vocals all on one mono track. The audio was captured straight from the tape-out of a mixing board, sent to the recorder before EQ and reverb was applied on the PA. (I made an error at the time of not sending vocals to one channel and instruments to the other.) &#xD;&#xA;&#xD;&#xA;While the various sound sources are well enough balanced that I can make the mix sound rather good with some EQ and light compression, I'm concerned that people listening on headphones will experience mono fatigue, where all the audio seems like it's coming from the middle of one's skull. &#xD;&#xA;&#xD;&#xA;Is this a valid concern? Are there strategies I can use to mitigate this? " ContentLicense="CC BY-SA 3.0" />
  <row Id="46692" PostHistoryTypeId="1" PostId="26173" RevisionGUID="7510ab01-4847-49f9-a153-9bca1a9f62d3" CreationDate="2011-07-13T01:16:21.307" UserId="7045" Text="Mono mixing - How to avoid mono &quot;fatigue&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46693" PostHistoryTypeId="3" PostId="26173" RevisionGUID="7510ab01-4847-49f9-a153-9bca1a9f62d3" CreationDate="2011-07-13T01:16:21.307" UserId="7045" Text="&lt;mixing&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46694" PostHistoryTypeId="36" PostId="26174" RevisionGUID="ccacb3ec-20e8-4c66-9db8-230fb46a1132" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1857/mono-mixing-how-to-avoid-mono-fatigue/1863#1863" />
  <row Id="46695" PostHistoryTypeId="36" PostId="26175" RevisionGUID="b0514bc5-5484-4e75-8eb1-325dbb2735be" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3210/what-is-the-purpose-of-a-aux-return" />
  <row Id="46696" PostHistoryTypeId="36" PostId="26176" RevisionGUID="5ecb0a90-09c4-4cc2-aed4-fe577d14e5f4" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3210/what-is-the-purpose-of-a-aux-return/3211#3211" />
  <row Id="46697" PostHistoryTypeId="2" PostId="26176" RevisionGUID="54393f87-110f-4ef6-b398-9e6fb06cdee8" CreationDate="2012-02-05T16:48:47.643" UserId="7016" Text="I have seen it used to provide an effects path (aux-send : effects : aux-return)&#xD;&#xA;&#xD;&#xA;From [Wikipedia's Aux-Send article][1]: The signal from the auxiliary send is often routed through outboard audio processing effects units (e.g., reverb) and then returned to the mixer using an auxiliary return input jack, thus creating an effects loop. This allows effect to be added to an audio source or channel within the mixing console.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Aux-send" ContentLicense="CC BY-SA 3.0" />
  <row Id="46698" PostHistoryTypeId="2" PostId="26177" RevisionGUID="86ef890b-68e0-4d3c-985b-949691fc52c1" CreationDate="2012-02-06T00:40:22.193" UserId="7200" Text="Suppose you want to use parallel audio effects (i.e. typically reverb, delay or sometimes chorus: effects that just add some &quot;dependent extra signal&quot; rather than &quot;destructively&quot; modifying an input signal). There are two obvious ways to do this:&#xD;&#xA;&#xD;&#xA; - use an insert loop like you would for a serial effect (compressor / eq ...), but with an FX unit that allows you to mix some of the dry signal to the processed one.&#xD;&#xA; - use an Aux send to route the signal to the FX unit, and plug that signal back into the mix through an extra audio channel.&#xD;&#xA;&#xD;&#xA;The latter apparently seems less intuitive to many people at first, but it's actually far more natural: again, we're talking about parallel effects here. And it has a number of advantages:&#xD;&#xA;&#xD;&#xA; - you can process multiple channels through a single FX unit at the same time. Apart from saving money, rack space and setup time, this also ensures automatically that all those channels will actually get the same effect with the same parameters – in particular for reverb, this tends to sound more realistic than all instruments having different-sounding reverb on them. If you specifically _want_ different effects, you can still use multiple Aux routes. &#xD;&#xA; - you can easily control the amount of effect for each instrument, which much better overview than the solution with a bunch of seperate insert effects.&#xD;&#xA; - you can handle an effect like a channel on its own: e.g. put EQ on the delay, noise gate on the reverb or whatever, without affecting the sound of the instruments you routed to these effects. You can very quickly change between a &quot;swimming&quot; mix with a lot of modulation effects to a plain and clear acoustic sound, by simply turning off the whole FX return.&#xD;&#xA;&#xD;&#xA;In principle, there's no need to actually use Aux returns for this kind of parallel processing: you can route the signal back to any normal line input, sometimes it is in fact necessary (like when you need to use the console's EQs); but more often you'd pretty much keep the controls of these channels neutral anyway: the sound modifications can often be done better in the FX processing unit, and the levels are usually controlled _pre_ FX (per channel!) rather than post FX, which has normally the same result since parallel effects are almost always linear. And often on analog consoles, you don't have such a lot of input channels that you can afford to spend any of them on FX returns. But then there's still these nice little Aux return channels, which do just what you need.&#xD;&#xA;&#xD;&#xA;Of course, you can also use Aux returns as simple little line input channels, if you've already run out of these and don't need preamp control, EQs etc. for some signals." ContentLicense="CC BY-SA 3.0" />
  <row Id="46699" PostHistoryTypeId="2" PostId="26175" RevisionGUID="b4d25143-417b-4b44-ba85-0ab8ce431e1a" CreationDate="2012-02-05T14:48:30.427" UserId="7483" UserDisplayName="mjrider" Text="I understand what Aux-sends are and are used for but I cant seam to figure out what a aux-return is and/or could be used for. I cant find anything substantial on a quick search. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46700" PostHistoryTypeId="1" PostId="26175" RevisionGUID="b4d25143-417b-4b44-ba85-0ab8ce431e1a" CreationDate="2012-02-05T14:48:30.427" UserId="7483" UserDisplayName="mjrider" Text="what is the purpose of a Aux return" ContentLicense="CC BY-SA 3.0" />
  <row Id="46701" PostHistoryTypeId="3" PostId="26175" RevisionGUID="b4d25143-417b-4b44-ba85-0ab8ce431e1a" CreationDate="2012-02-05T14:48:30.427" UserId="7483" UserDisplayName="mjrider" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46702" PostHistoryTypeId="36" PostId="26177" RevisionGUID="7bad94cf-d3f8-45fc-9bdd-8bbf51204017" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3210/what-is-the-purpose-of-a-aux-return/3215#3215" />
  <row Id="46703" PostHistoryTypeId="36" PostId="26178" RevisionGUID="c4c2729e-ce3c-4041-9696-e7a12712ba09" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1633/looking-for-a-program-for-mixing-subliminals-with-music-at-automatic-levels" />
  <row Id="46704" PostHistoryTypeId="36" PostId="26179" RevisionGUID="70c01cac-f900-4cbb-ad07-0802843a95c1" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1633/looking-for-a-program-for-mixing-subliminals-with-music-at-automatic-levels/2046#2046" />
  <row Id="46705" PostHistoryTypeId="2" PostId="26179" RevisionGUID="c790ee22-6505-4184-9bec-b80f77e54e08" CreationDate="2011-08-09T08:11:08.870" UserDisplayName="bobsbarricades" Text="Honestly?  Max/MSP is a PERFECT program for this.&#xD;&#xA;&#xD;&#xA;I don't know how you're making your subliminal messages (I assume you mean the binaural beat, brain wave trickery yes? - not saying it doesn't work, I've had bad success), but you can make your own brain wave sounds.&#xD;&#xA;&#xD;&#xA;You could even create you're own music player to select songs (yours or otherwise) and have the amplitude of those songs tracked by Max/MSP; that data would then be control data to adjust the subliminal message you want.&#xD;&#xA;&#xD;&#xA;Sound good?  I might be able to make an application for you but I think you'd get LOTS of fun out of Max/MSP." ContentLicense="CC BY-SA 3.0" />
  <row Id="46706" PostHistoryTypeId="2" PostId="26178" RevisionGUID="f71573ab-13a8-4273-9345-a0a1b7e9a860" CreationDate="2011-06-20T23:33:32.517" UserDisplayName="musicbobbee" Text="I am looking for a PC Audio mixing program that automatically mixes to sources at the same levels (floodgate). What I mean is that I want to mix subliminal messages in my music for me and I want to mix it to my favorite songs. So I need a program that no matter the levels on the songs and they go up or down it will keep the levels on the subliminal messages ate the right levels at all times. Thanks guys" ContentLicense="CC BY-SA 3.0" />
  <row Id="46707" PostHistoryTypeId="1" PostId="26178" RevisionGUID="f71573ab-13a8-4273-9345-a0a1b7e9a860" CreationDate="2011-06-20T23:33:32.517" UserDisplayName="musicbobbee" Text="looking for a program for mixing subliminals with music at automatic levels" ContentLicense="CC BY-SA 3.0" />
  <row Id="46708" PostHistoryTypeId="3" PostId="26178" RevisionGUID="f71573ab-13a8-4273-9345-a0a1b7e9a860" CreationDate="2011-06-20T23:33:32.517" UserDisplayName="musicbobbee" Text="&lt;software&gt;&lt;mixing&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46709" PostHistoryTypeId="36" PostId="26180" RevisionGUID="c4f5e779-bf5e-444c-bf70-792d5f264683" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8718/making-sound-resembling-dead-space-upgrade-sound" />
  <row Id="46710" PostHistoryTypeId="36" PostId="26181" RevisionGUID="0cfe092a-a47f-45ff-91da-68ed0ba11967" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8718/making-sound-resembling-dead-space-upgrade-sound/8719#8719" />
  <row Id="46711" PostHistoryTypeId="2" PostId="26181" RevisionGUID="ce2dacff-5e1a-48e1-959a-f61731ed1f09" CreationDate="2013-08-14T19:46:10.957" UserId="7188" Text="UPDATE:&#xD;&#xA;This part is to address the sound &quot;Peeeshuiiitt&quot; associated with the pop-up windows that appear twice in the segment at 1:11 - 1:14.&#xD;&#xA;&#xD;&#xA;This sounds like a pneumatic door opening or closing, as in a quick change of air pressure.&#xD;&#xA;If you can record such a door in the field then take it into Audacity and I think you might want to speed it up (not raise the pitch but shorten the duration), add some Hall reverb to taste you will get close.&#xD;&#xA;&#xD;&#xA;Here is a sight that will sell downloads of something close, check out the pneumatic doors...&#xD;&#xA;&#xD;&#xA;http://www.pond5.com/sound-effects/1/pneumatic.html&#xD;&#xA;&#xD;&#xA;======================== original answer but regarding background ambiance ===========&#xD;&#xA;&#xD;&#xA;I am assuming you are referring to the back ground sounds at 1:11 - 1:14 while buttons are pushed in the foreground of the soundscape. This reminds me of the sounds recorded by NASA on Voyager I &amp; II as found here:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=2cpXpgjUT2k&#xD;&#xA;&#xD;&#xA;Notably at the 1:00 to 2:00 mark.&#xD;&#xA;&#xD;&#xA;I think if you were to record a very large bell (bass pitch) being struck or a gong, then edit out the hit or attack until you just here the ringing, you might need to drop it one to 2 octaves until it sounds hollow, then add a ton of Hall reverb. You might need to loop it too.&#xD;&#xA;&#xD;&#xA;Another approach would be to go to a very large tunnel that only air is passing through, record the sound very carefully not to get wind directly on the mic. Then take this sound and use filters and reverb to boost the hollowness.&#xD;&#xA;&#xD;&#xA;Yet another approach similar to the last one is to record the end of a very large tube, perhaps even a garden hose. Stretch it out, 20 - 40 feet, be sure not to get any direct wind on the mic. First put your ear up to the hose to be sure you hearing the air pass through it.&#xD;&#xA;&#xD;&#xA;This is not far away from the old 'hear' the ocean when you put a large sea shell up to your ear. So you might even try that, record a sea shell as it passes air over its opening.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;UPDATE [append]:&#xD;&#xA;It occurred to me that yet another way to get this sound would be like rubbing your wet finger on the rim of wine glass as described here:&#xD;&#xA;&#xD;&#xA;http://recipes.howstuffworks.com/food-facts/question603.htm&#xD;&#xA;&#xD;&#xA;However, this tone is likely too high in pitch for your purposes, so taking the same idea but using perhaps a rubber mallet and rubbing the edge of huge glass bowl may get it to sing like the wine glass but much lower in pitch. Record this, then edit out the start and stop points of the rubbing so you only have the 'singing glass' part, experiment with lowering this 1 or more octaves, also add Hall reverb to taste, and possibly some filtering.&#xD;&#xA;&#xD;&#xA;Is the sound in your example something you might experience in real life? I suspect that if you can imagine any sound you can find some thing in real life that comes close. In this case the basis of the sound appears to be a breathy like white noise through a formant filter or formant filters, or air pushing through a tube not unlike listening to tunnel hum or the ambient sounds of a long tunnel sans traffic or trains, only air. The acoustics of a tunnel produce standing waves and the length and diameter determine a resonance that when air passes though it creates some kind of tone or tones not unlike what your example touches on.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46712" PostHistoryTypeId="2" PostId="26180" RevisionGUID="939e506b-9989-4e94-95b5-415a3c2d95cf" CreationDate="2013-08-14T15:27:33.477" UserDisplayName="Karl" Text="I am looking for a sound that is similar to the sound at 1:11 and 1:14 in http://www.youtube.com/watch?v=y3IbPw7pcmo&#xD;&#xA;&#xD;&#xA;I have tried playing around electricity and sci fi sounds from Freesound in Audacity, but I couldn't reproduce the sound to be similar to the sound I want. &#xD;&#xA;&#xD;&#xA;What are the bases of this sound? This sound does not exist in real life, does it? And what are the filters I need to reproduce this sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46713" PostHistoryTypeId="1" PostId="26180" RevisionGUID="939e506b-9989-4e94-95b5-415a3c2d95cf" CreationDate="2013-08-14T15:27:33.477" UserDisplayName="Karl" Text="making sound resembling Dead Space upgrade sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="46714" PostHistoryTypeId="3" PostId="26180" RevisionGUID="939e506b-9989-4e94-95b5-415a3c2d95cf" CreationDate="2013-08-14T15:27:33.477" UserDisplayName="Karl" Text="&lt;sound-effects&gt;&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46715" PostHistoryTypeId="36" PostId="26182" RevisionGUID="e8d7e2d5-1458-4b05-b180-7d45f5a17f1d" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9798/comparing-two-vocal-recordings-in-audacity" />
  <row Id="46716" PostHistoryTypeId="36" PostId="26183" RevisionGUID="909be1cf-25c9-4fd6-b06b-51a985d7444f" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9798/comparing-two-vocal-recordings-in-audacity/9799#9799" />
  <row Id="46717" PostHistoryTypeId="36" PostId="26184" RevisionGUID="ce949ff1-51bf-464c-8943-8ccf0a3d3883" CreationDate="2014-01-27T14:59:42.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9798/comparing-two-vocal-recordings-in-audacity/9800#9800" />
  <row Id="46718" PostHistoryTypeId="2" PostId="26183" RevisionGUID="bb329d3e-251a-4edd-923f-442c5f900977" CreationDate="2013-12-31T00:36:14.053" UserId="7008" Text="Im still not sure of your exact question, but I couldn't tell much from the audio recording you posted, and you only posted the waveform for 1 of the titillates. If you can post the original titillate you found online, that would be more helpful. If you're directly looking at waveforms, you're likely looking at a recording that has been processed with EQs, compressors, possibly Reverb, and maybe even more. So you will likely have to process your voice to get it looking and sounding like what you heard online. &#xD;&#xA;&#xD;&#xA;If you're worried more about your vocal performance, that's a different story, and probably more suited for Musical Practice &amp; Performance stackexchange. Vocalists, particularly opera singers, can give you pronunciation tips and tricks. &#xD;&#xA;&#xD;&#xA;If you can clarify your question even further, you'd be able to get a better answer. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46719" PostHistoryTypeId="2" PostId="26184" RevisionGUID="0326e4aa-e2c5-4b7a-887d-dfce97b32d4e" CreationDate="2013-12-31T04:34:12.643" UserId="7174" Text="You are mostly seeing the difference in quality between a professional mic and audio interface rather than a laptop mic and built in consumer sound card.  The lower frequencies are picked up well on both, but the higher frequencies are much less sensitive and much more sparse.  If you look at the actual pattern of it, the pattern is relatively simple.&#xD;&#xA;&#xD;&#xA;Clearly they lead with more force on their first word than you did and had clearer breaks between, but a lot of that may be noise interfering as well.&#xD;&#xA;&#xD;&#xA;All in all, the goal you are trying to accomplish will only give you so much in the way of meaningful information anyway.  The waveform will tell you if you are putting the emphasis on the proper syllables and if your timing of the syllables is the same.  The spectrogram will tell you if the tone (lower frequencies) and sibilance (higher frequencies that we get the actual syllables from) are generally the right frequency, but they aren't going to give you much meaningful beyond that." ContentLicense="CC BY-SA 3.0" />
  <row Id="46720" PostHistoryTypeId="2" PostId="26182" RevisionGUID="63e3e9a5-dd82-4fde-ae62-54d1004ae52c" CreationDate="2013-12-30T23:19:20.403" UserId="11171" UserDisplayName="Tim" Text="I record myself saying the word &quot;titillate&quot;, followed&#xD;&#xA;    by a very nice recording of the same word which I found from the&#xD;&#xA;    internet and which I hope my voice can be trained to be as closer to&#xD;&#xA;    as possible. The recording is [here][1]. Following is the waveform&#xD;&#xA;    (on the top) and spectrogram (on the bottom) of the recording shown&#xD;&#xA;    by Audacity (for a larger version, click [here][2]):&#xD;&#xA;    &#xD;&#xA;![enter image description here][3]&#xD;&#xA;    &#xD;&#xA;My recording is the first half, and someone else's is the second&#xD;&#xA;    half. Some impressions I have are&#xD;&#xA;    &#xD;&#xA;- In our waveforms, mine looks sparser than the other's. &#xD;&#xA;- in our spectrograms, the white areas are distributed differently.&#xD;&#xA;&#xD;&#xA;What do those indicate? What are your impressions?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://drive.google.com/file/d/0BxGBL8fR9NCNNmIyY0tnZmo2ZTQ/edit?usp=sharing&#xD;&#xA;  [2]: https://drive.google.com/file/d/0BxGBL8fR9NCNQ2p4TV9ETGpBRlU/edit?usp=sharing&#xD;&#xA;  [3]: http://i.stack.imgur.com/2owM4.png&#xD;&#xA;  [4]: https://drive.google.com/file/d/0BxGBL8fR9NCNYlFMdHk4SFZGT1E/edit?usp=sharing" ContentLicense="CC BY-SA 3.0" />
  <row Id="46721" PostHistoryTypeId="1" PostId="26182" RevisionGUID="63e3e9a5-dd82-4fde-ae62-54d1004ae52c" CreationDate="2013-12-30T23:19:20.403" UserId="11171" UserDisplayName="Tim" Text="Comparing two vocal recordings in audacity" ContentLicense="CC BY-SA 3.0" />
  <row Id="46722" PostHistoryTypeId="3" PostId="26182" RevisionGUID="63e3e9a5-dd82-4fde-ae62-54d1004ae52c" CreationDate="2013-12-30T23:19:20.403" UserId="11171" UserDisplayName="Tim" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46723" PostHistoryTypeId="36" PostId="26185" RevisionGUID="121571d5-ddc2-46ac-bc94-74332d9acd83" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4689/what-level-are-speakers-supposed-to-be-calibrated-at" />
  <row Id="46724" PostHistoryTypeId="2" PostId="26185" RevisionGUID="0735b634-64b8-48ed-9896-58457d8b3456" CreationDate="2012-09-09T05:02:05.943" UserDisplayName="Sean" Text="I thought I remembered reading somewhere that when setting up a home theater system, you were supposed to play a track at -12db and bring the volume up to about 80db. That was supposed to help with the whole &quot;movie theater experience&quot; as it would allow you to also hear the quiet stuff well and the loud stuff would sound loud. Problem is, I read this article a while ago and haven't been able to find it since and would like to know what the numbers really are. I really have no idea if it was -12 and 80, that's just what I think I remember.&#xD;&#xA;Does anyone who knows any better have some concrete numbers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46725" PostHistoryTypeId="1" PostId="26185" RevisionGUID="0735b634-64b8-48ed-9896-58457d8b3456" CreationDate="2012-09-09T05:02:05.943" UserDisplayName="Sean" Text="What level are speakers supposed to be calibrated at?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46726" PostHistoryTypeId="3" PostId="26185" RevisionGUID="0735b634-64b8-48ed-9896-58457d8b3456" CreationDate="2012-09-09T05:02:05.943" UserDisplayName="Sean" Text="&lt;home-studio&gt;&lt;theater&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46731" PostHistoryTypeId="36" PostId="26187" RevisionGUID="de6efd6c-f084-46df-baa6-3c162599be5c" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7951/what-is-the-difference-between-analog-and-digital-sound-when-trying-to-verify-th" />
  <row Id="46732" PostHistoryTypeId="36" PostId="26188" RevisionGUID="b2f2d7c9-e923-4b06-b0ce-75e8942b154c" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7951/what-is-the-difference-between-analog-and-digital-sound-when-trying-to-verify-th/7954#7954" />
  <row Id="46733" PostHistoryTypeId="36" PostId="26189" RevisionGUID="be119f73-e46a-46c1-99c9-0fb61217b4ca" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7951/what-is-the-difference-between-analog-and-digital-sound-when-trying-to-verify-th/7955#7955" />
  <row Id="46734" PostHistoryTypeId="2" PostId="26188" RevisionGUID="08262bd6-6731-4aec-9843-d31e95da431c" CreationDate="2013-05-23T23:17:13.460" UserId="7189" Text="An MP3 file is a very poor source for any kind of analysis. This is because MP3 files involve lossy compression, and the degree of compression can vary depending on how the file was encoded. The lossy compression process removes content that the human ear-brain system doesn't notice, but some of that information may be relevant for the type of forensics you are proposing.&#xD;&#xA;&#xD;&#xA;However, if you want to do digital forensic analysis on a signal, you will have to work with a digital file of some kind. Ideally, you will work with an uncompressed audio file such as a WAV or AIFF. There are a wide variety of digital signal processes and algorithms out there, so digital is probably the domain you want to work in.&#xD;&#xA;&#xD;&#xA;If you want to deal with pure analog, then you have to remain in the analog domain. That probably will require construction purpose-specific equipment.&#xD;&#xA;&#xD;&#xA;&gt; Is it possible to determine without a doubt that the voice heard there is from the original source&#xD;&#xA;&#xD;&#xA;This sounds like a legal definition or other domain-specific definition that you are describing. What does &quot;without a doubt&quot; mean? What does &quot;is from the original source&quot; mean?&#xD;&#xA;&#xD;&#xA;Some of this analysis will necessarily be out-of-band. What I mean by that is that a digital file can be duplicated and copied. Certain kinds of filtering can be applied after the fact that could be reasonably expected to have been applied at recording time - such as low-pass or high pass filtering or dynamic range compression. It may be very hard or impossible to prove when this kind of transformation was applied to a signal regardless of whether you are dealing with analog or digital material." ContentLicense="CC BY-SA 3.0" />
  <row Id="46735" PostHistoryTypeId="2" PostId="26189" RevisionGUID="20341403-f0df-44f5-a3e8-6b2c1bc1197d" CreationDate="2013-05-24T03:10:44.970" UserId="7174" Text="The main challenge with digital audio is that it is difficult to tell if it has been edited or spliced together since there are no generations of loss.  A lossy format such as MP3 would further complicate this as it would make any minor issues with cutting things together more difficult to distinguish.  It should be easy enough to identify the speaker, but ensuring that the recording is unaltered could be very difficult.&#xD;&#xA;&#xD;&#xA;As for analog vs digital, the fact that digital audio technology exists ends up being a problem for analog records as well.  Since a digital recording could be transferred to an analog tape, there is no way to verify that an analog source was not digitally altered, so really the existence of digital technology alone makes it a problem, though a lower quality digital audio file or a low quality analog file could be problematic.&#xD;&#xA;&#xD;&#xA;The ideal would be a high quality digital file that is free from distortions.  Either an analog source or a low quality digital source would both have distortions that make things more difficult." ContentLicense="CC BY-SA 3.0" />
  <row Id="46736" PostHistoryTypeId="2" PostId="26187" RevisionGUID="100ee0cb-1f21-44fa-bc5b-9cd0e66d9e1c" CreationDate="2013-05-23T20:46:43.627" UserDisplayName="Luis Alvarado" Text="I am trying to find out if it is indeed possible to do real sound analysis on a digital source sound file, to determine for example, if the voice of someone in an audio file is the real one or only fake. Let us assume the audio file is an mp3 file. Is it possible to determine without a doubt that the voice heard there is from the original source (The original person) by only checking the Digitized sound file (MP3 Format).&#xD;&#xA;&#xD;&#xA;How does doing this with an analog source and a digital source differ for the same sound analysis purpose?&#xD;&#xA;&#xD;&#xA;What are the differences between analyzing the voice over an Analog source and a Digital source and what are the disadvantages (If any) when trying to determine if the voice is real (For the case mentioned above)." ContentLicense="CC BY-SA 3.0" />
  <row Id="46737" PostHistoryTypeId="1" PostId="26187" RevisionGUID="100ee0cb-1f21-44fa-bc5b-9cd0e66d9e1c" CreationDate="2013-05-23T20:46:43.627" UserDisplayName="Luis Alvarado" Text="What is the difference between Analog and Digital sound when trying to verify the authenticity of the audio source" ContentLicense="CC BY-SA 3.0" />
  <row Id="46738" PostHistoryTypeId="3" PostId="26187" RevisionGUID="100ee0cb-1f21-44fa-bc5b-9cd0e66d9e1c" CreationDate="2013-05-23T20:46:43.627" UserDisplayName="Luis Alvarado" Text="&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46739" PostHistoryTypeId="36" PostId="26190" RevisionGUID="75f257bd-2c26-4896-a9c9-d14c5c483c73" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1972/multiple-loop-phrases-in-ableton-looper" />
  <row Id="46740" PostHistoryTypeId="36" PostId="26191" RevisionGUID="98e22bb2-e96f-419c-92de-5cad1c10814f" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1972/multiple-loop-phrases-in-ableton-looper/4751#4751" />
  <row Id="46741" PostHistoryTypeId="2" PostId="26191" RevisionGUID="3959be97-bc21-42f3-bb5f-fa8f6ea2940d" CreationDate="2012-09-17T16:16:34.000" UserId="14713" UserDisplayName="b20000" Text="It sounds like &#xD;&#xA;&#xD;&#xA;1) you want to keep track of the state of the loopers &#xD;&#xA;2) you want to trigger multiple loopers from one button on the pedal&#xD;&#xA;&#xD;&#xA;is this correct? Just want to make sure I get the question :-) &#xD;&#xA;&#xD;&#xA;I'm not sure if you are using a control surface for Ableton Live? Maybe the APC40 or other controllers have a way to control the loopers in Live and to show their state. I don't think they can start/stop several loopers from one button press though, you might need to do a max4live patch for that. &#xD;&#xA;&#xD;&#xA;You might want to check out &lt;a href=&quot;http://land.percussa.com/audiocubes-midibridge/&quot;&gt;MIDIBridge&lt;/a&gt; for AudioCube - AudioCubes are perfect for high level visual feedback of Ableton Live, since you can mix the colours of the audiocubes from within clips in Live (red/green/blue). You can also MIDI-map triggers from the cubes to multiple clips in Live, I believe. &#xD;&#xA;&#xD;&#xA;**Note: I'm a fan and user of audiocubes myself.**&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46742" PostHistoryTypeId="2" PostId="26190" RevisionGUID="c6f8e68d-79a7-4fdd-91f3-c8689cdde4cb" CreationDate="2011-07-12T08:54:32.313" UserDisplayName="ltackett" Text="Using my floorboard controller and vanilla Ableton MIDI mappings, I've managed to figure out a way to juggle two phrases with loopers. However, the MIDI assignments are a pretty clunky. The basic idea goes like:&#xD;&#xA;&#xD;&#xA;Button1: Plays phrase 1 (loopers 1 &amp; 3), stops phrase 2 (loopers 2 &amp; 4)&#xD;&#xA;&#xD;&#xA;Button2: Plays phrase 2 (loopers 2 &amp; 4), stops phrase 1 (loopers 1 &amp; 3)&#xD;&#xA;&#xD;&#xA;Button3: Looper 1 Big Button, record/play/dub -- bass&#xD;&#xA;&#xD;&#xA;Button4: Looper 2 Big Button, record/play/dub -- bass&#xD;&#xA;&#xD;&#xA;Button5: Looper 3 Big Button, record/play/dub -- chords&#xD;&#xA;&#xD;&#xA;Button6: Looper 4 Big Button, record/play/dub -- chords&#xD;&#xA;&#xD;&#xA;This works fine for simple stuff, but anything more than two loop phrases requires more button mappings by an order of magnitude, more foot dancing, and a lot more chances to gaff the loops.&#xD;&#xA;&#xD;&#xA;Here's a demo of what I've got so far with the setup above. It consists of three patches, four loopers, and two phrases, and I think it works pretty well. The top buttons are the phrase switches (Button1 and Button2), the bottom buttons are the loops, (Buttons 3 through 6)&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=4M8Fi_yKdbM&#xD;&#xA;&#xD;&#xA;Since I can't assign multiple buttons to the same control, I can't figure out how to do three or more phrases with the loopers without busting out Bome's MIDI Translator to send multiple controller events per single foot pedal event... and anyone's who's messed with Bome's MIDI Translater knows that that's just an aneurysm waiting to happen.&#xD;&#xA;&#xD;&#xA;I'm completely stumped on this one.&#xD;&#xA;&#xD;&#xA;So, the question: Is there a way, with Ableton's vanilla MIDI mapping, without using clips (since clips lack overdub), to have three or more phrases mapped to a one-button-per-phrase loop triggering?&#xD;&#xA;&#xD;&#xA;Also, if there's a good workflow for working with Bome's or a similar utility, I'm all ears." ContentLicense="CC BY-SA 3.0" />
  <row Id="46743" PostHistoryTypeId="1" PostId="26190" RevisionGUID="c6f8e68d-79a7-4fdd-91f3-c8689cdde4cb" CreationDate="2011-07-12T08:54:32.313" UserDisplayName="ltackett" Text="Multiple loop phrases in Ableton looper?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46744" PostHistoryTypeId="3" PostId="26190" RevisionGUID="c6f8e68d-79a7-4fdd-91f3-c8689cdde4cb" CreationDate="2011-07-12T08:54:32.313" UserDisplayName="ltackett" Text="&lt;software&gt;&lt;ableton&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46745" PostHistoryTypeId="36" PostId="26192" RevisionGUID="b6dc8680-6ddd-4910-85fb-34add3f3b4fe" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4908/smooth-volume-reduction-of-music-between-pieces-of-speech-with-sound-forge" />
  <row Id="46746" PostHistoryTypeId="2" PostId="26193" RevisionGUID="a98332de-7923-4d88-a859-47e48b8747fe" CreationDate="2012-10-03T20:26:24.243" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="For starters, **I don't recommend using Sound Forge to do what you are attempting.** Compared to other DAWs, it is limited.&#xD;&#xA;&#xD;&#xA;What I would do if possible is to have the volume change be gradual instead of instantaneous. **In every other DAW this is done by applying an automation or envelope to the gain/volume with either a curve or a simple straight line which represents how much it changes over the allotted time frame.** [Looks like this in Logic](http://logicblog.info/wp-content/uploads/2012/03/manual-sidechaining-1.jpg), [like this in Ableton](http://3.bp.blogspot.com/_fvSu2p8HlXI/TJ6aG-Fb2rI/AAAAAAAAAAo/vN3t1Z-KTSo/s1600/CLIP+VIEW+AUTOMATION.JPG), and [like this in FL Studio](http://thomashunter.name/wp-content/uploads/2009/11/fl101_11.png). This may require you to zoom in and make this gradual transition by hand, which would be a huge pain in the butt.&#xD;&#xA;&#xD;&#xA;The closet thing I found after a googling was **adjusting the volume envelope in Sound Forge:**&#xD;&#xA;&#xD;&#xA;![tee hee Sound Forge][1]&#xD;&#xA;&#xD;&#xA;Also take note, **having such a vast difference in volume (90% change!) is making the *smoothness* of the transition much more noticeable.**&#xD;&#xA;&#xD;&#xA;**If you want to completely separate the speech from the audio without any of the song in the background, there are a few different options as well.** The first is through a technique which requires you to have an exact copy of the song but in instrumental form. **This technique is [explained in this eHow tutorial](http://www.ehow.com/how_6812282_remove-background-music-vocals.html).** While doable in Sound Forge with this technique, I think this is easier to do in Audacity (which is free) though. The quick how to of that is to invert the wave signature of the instrumental track and overlay it onto the original making the audio signals cancel each other out leaving only the vocal elements.&#xD;&#xA;&#xD;&#xA;My favorite way of doing this is using **the amazing software known as [Melodyne](http://www.celemony.com/cms/index.php?id=melodyne) because of its ease of use that the fact that it was designed to do tasks like this.** Melodyne is freaking awesome at isolating different parts of songs and audio files.&#xD;&#xA;&#xD;&#xA;**IF I HAD TO DO IT, I WOULD DO IT WITH MELODYNE BECAUSE IT WOULD COMPLETELY REMOVE THE BACKGROUND SONG.**&#xD;&#xA;&#xD;&#xA;Lastly, if you are extremely limited in your options, you could always do it with [Audacity](http://audacity.sourceforge.net/) since its free. Here is a [video](http://audacity.wonderhowto.com/how-to/adjust-volume-track-audacity-project-243800/) explaining how to use the volume envelope.&#xD;&#xA;&#xD;&#xA;**If you are completely set on using Sound Forge here are some videos explaining how to do what you ask: [video 1](http://www.youtube.com/watch?v=cazfGUNs6UI), [video 2](http://www.youtube.com/watch?v=LEeeImkj-bI).**&#xD;&#xA;  [1]: http://i.stack.imgur.com/QIRBo.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="46747" PostHistoryTypeId="2" PostId="26192" RevisionGUID="208d5651-7011-4822-8678-f82d3be99619" CreationDate="2012-10-03T19:08:28.097" UserId="16813" UserDisplayName="drake035" Text="In some audio file containing music and speech, I need to remove music (volume reduction say 90%) between each piece of speech. But when volume is instantaneously reduced from 100% to 10% for start of music, then restored from 10% to 100% for start of speech, the transition is unpleasant because too sharp.&#xD;&#xA;&#xD;&#xA;Is there any way to smooth these transitions in Sound Forge, perhaps some plugin ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46748" PostHistoryTypeId="1" PostId="26192" RevisionGUID="208d5651-7011-4822-8678-f82d3be99619" CreationDate="2012-10-03T19:08:28.097" UserId="16813" UserDisplayName="drake035" Text="Smooth volume reduction of music between pieces of speech with Sound Forge" ContentLicense="CC BY-SA 3.0" />
  <row Id="46749" PostHistoryTypeId="3" PostId="26192" RevisionGUID="208d5651-7011-4822-8678-f82d3be99619" CreationDate="2012-10-03T19:08:28.097" UserId="16813" UserDisplayName="drake035" Text="&lt;daw&gt;&lt;automation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46750" PostHistoryTypeId="36" PostId="26193" RevisionGUID="8540dc1e-4d6c-4811-bb3c-2a05611bae5b" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4908/smooth-volume-reduction-of-music-between-pieces-of-speech-with-sound-forge/4909#4909" />
  <row Id="46751" PostHistoryTypeId="36" PostId="26194" RevisionGUID="33cd62b9-dc13-4d26-a4e5-e7f3cf5de04f" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2405/how-can-i-pop-out-a-pushed-in-woofer-dome" />
  <row Id="46752" PostHistoryTypeId="2" PostId="26195" RevisionGUID="ed3d8eca-402b-4386-8e59-3a5ee6ccfc36" CreationDate="2011-09-30T13:23:46.407" UserDisplayName="mrplough" Text="I used a piece of duct tape - stick it to the middle of the dome, then pull it out." ContentLicense="CC BY-SA 3.0" />
  <row Id="46753" PostHistoryTypeId="2" PostId="26194" RevisionGUID="085a3e53-6025-4a43-8b1f-0dab8a7cbba5" CreationDate="2011-09-30T00:38:04.757" UserDisplayName="Michael" Text="My 4 year old decided to push in the soft plastic/vinyl domes in the center of two of my M-Audio LX4 studio monitors' woofers.  &#xD;&#xA;&#xD;&#xA;Can anyone suggest a safe way to pop them back out? I have heard of using a vacuum cleaner which sounds a little extreme, and I know it's possible to use a hooked needle to extract the cloth type, but I'm not sure how to pop out the plastic type without puncturing it." ContentLicense="CC BY-SA 3.0" />
  <row Id="46754" PostHistoryTypeId="1" PostId="26194" RevisionGUID="085a3e53-6025-4a43-8b1f-0dab8a7cbba5" CreationDate="2011-09-30T00:38:04.757" UserDisplayName="Michael" Text="How can I pop out a pushed in woofer dome?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46755" PostHistoryTypeId="3" PostId="26194" RevisionGUID="085a3e53-6025-4a43-8b1f-0dab8a7cbba5" CreationDate="2011-09-30T00:38:04.757" UserDisplayName="Michael" Text="&lt;speakers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46756" PostHistoryTypeId="36" PostId="26195" RevisionGUID="75356ee7-f7cb-40c8-a6e9-ba05360781ce" CreationDate="2014-01-27T15:03:12.963" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2405/how-can-i-pop-out-a-pushed-in-woofer-dome/2411#2411" />
  <row Id="46757" PostHistoryTypeId="36" PostId="26196" RevisionGUID="31c72b07-edc4-45c2-88c7-3a6f66cb8d1d" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3403/how-do-i-mass-convert-mp3-to-an-open-format-without-losing-quality" />
  <row Id="46758" PostHistoryTypeId="2" PostId="26197" RevisionGUID="513865a8-e5b3-49a2-a144-c4ead26dd2e2" CreationDate="2012-02-25T08:48:37.617" UserId="7511" UserDisplayName="naught101" Text="Hrm. Looks like [SoundKonverter](http://kde-apps.org/content/show.php?content=29024) can handle this, I was getting an error &#xD;&#xA;&#xD;&#xA;    soundkonverter(2255): couldn't create slave: &quot;Unable to create io-slave:&#xD;&#xA;    klauncher said: Unknown protocol ''.&#xD;&#xA;    &quot;&#xD;&#xA;But that's fixed by installing `mpg321`.&#xD;&#xA;&#xD;&#xA;Interesting to note that some of these flac files are significantly smaller than the mp3s (which were stereo 320kbps), although that is probably because those files consist largely of silence :) &#xD;&#xA;&#xD;&#xA;Lesson: Use the appropriate file format to start with, children!" ContentLicense="CC BY-SA 3.0" />
  <row Id="46759" PostHistoryTypeId="2" PostId="26196" RevisionGUID="c3bda1af-0764-4e98-9285-8f451309c75f" CreationDate="2012-02-25T07:17:17.970" UserId="7511" UserDisplayName="naught101" Text="I have some mp3 files - stems from a track ready for remix. The originals in a non-lossy format are not available. I would like to open them in Ardour, on linux, but Ardour doesn't open mp3s, because of licensing problems. I would like to convert to an open format, with no data loss, and with file sizes as small as possible (I know converting from mp3 to a lossless format doesn't gain me any quality. I just don't want to lose any more quality). I was thinking that flac would be the obvious solution, but am open to other suggestions. &#xD;&#xA;&#xD;&#xA;Suggestions for other OSs are welcome too, as long as the result is an open format.&#xD;&#xA;&#xD;&#xA;Clarification: it'd be nice to be able to maintain meta-data too." ContentLicense="CC BY-SA 3.0" />
  <row Id="46760" PostHistoryTypeId="1" PostId="26196" RevisionGUID="c3bda1af-0764-4e98-9285-8f451309c75f" CreationDate="2012-02-25T07:17:17.970" UserId="7511" UserDisplayName="naught101" Text="How do I mass convert mp3 to an open format without losing quality?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46761" PostHistoryTypeId="3" PostId="26196" RevisionGUID="c3bda1af-0764-4e98-9285-8f451309c75f" CreationDate="2012-02-25T07:17:17.970" UserId="7511" UserDisplayName="naught101" Text="&lt;daw&gt;&lt;mp3&gt;&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46762" PostHistoryTypeId="36" PostId="26197" RevisionGUID="2dec2eed-c5c8-46d4-af77-461d4584eada" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3403/how-do-i-mass-convert-mp3-to-an-open-format-without-losing-quality/3404#3404" />
  <row Id="46763" PostHistoryTypeId="36" PostId="26198" RevisionGUID="44ffca6e-e542-41d9-9c92-047f5a2d8af1" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1306/ableton-live-editing-moving-multiple-envelope-points-at-the-same-time-as-you" />
  <row Id="46764" PostHistoryTypeId="36" PostId="26199" RevisionGUID="96de9872-4fd3-4cef-94c3-c27b0f02c171" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1306/ableton-live-editing-moving-multiple-envelope-points-at-the-same-time-as-you/1317#1317" />
  <row Id="46765" PostHistoryTypeId="36" PostId="26200" RevisionGUID="5f254e2d-562c-484f-801f-930108e279ae" CreationDate="2014-01-27T15:05:01.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1306/ableton-live-editing-moving-multiple-envelope-points-at-the-same-time-as-you/1321#1321" />
  <row Id="46766" PostHistoryTypeId="2" PostId="26199" RevisionGUID="b8f2e186-663c-41d8-b185-9c1391619b0c" CreationDate="2011-04-30T12:09:42.753" UserDisplayName="Shane Kilkelly" Text="You can move multiple envelope point at once by dragging a selection around all the points and then click-dragging on any one of them.&#xD;&#xA;&#xD;&#xA;The other option would be to &quot;pick up&quot; the clip by clicking and holding on it, press TAB to go to arrange then drop it back onto its track, do your edits then right click and select &quot;consolidate&quot;, this will give you a new midi clip to drag back to the session view." ContentLicense="CC BY-SA 3.0" />
  <row Id="46767" PostHistoryTypeId="2" PostId="26200" RevisionGUID="2576ed25-e56f-4d9e-abd5-6c6a5412468a" CreationDate="2011-04-30T21:35:33.053" UserId="7294" UserDisplayName="Warrior Bob" Text="I just tried this in Live 8.2.2.  I started in session view with a MIDI clip containing notes, as well as modwheel (CC 1) and stuenuto (CC 66) data in it as envelopes.  These are envelopes **in the clip itself**, not on the timeline - because we're in session view.&#xD;&#xA;&#xD;&#xA;I couldn't find any way in the clip editor to select both note and envelope data simultaneously.  However, splitting/consolidating in arrangement view worked for me - I produced a clip with the envelope and note data moved around together.  Here are the steps in detail:&#xD;&#xA;&#xD;&#xA;1. Drag the clip to an empty area of the arrange view (click and drag the clip, then press tab to switch to arrangement and drop).  I put it on the same track, but I suppose any other MIDI track would do.&#xD;&#xA;&#xD;&#xA;2. **On the arrangement editor** use the split command (cmd/ctrl+e) at the location where you want to cut the clip.  The clip will split in two.&#xD;&#xA;&#xD;&#xA;3. Drag the clips so that you have them arranged how you want.&#xD;&#xA;&#xD;&#xA;4. Consolidate the clips (cmd/ctrl+j)&#xD;&#xA;&#xD;&#xA;You'll now have one clip, with all the note data and controller data moved over.  It's still a MIDI clip that you can edit - it's not bounced to audio.  Click and drag that clip back to the session view and you should be set.&#xD;&#xA;&#xD;&#xA;The method is, of course, not perfect - if you wanted to have a note sustain past the split point, you'll of course not be able to do that because the split cuts everything off at that point.  &#xD;&#xA;&#xD;&#xA;Conceptually, I suppose you could split your clip into two clips on separate tracks, edit to taste, and then route their MIDI outputs to another track and record - effectively resampling the MIDI data - although I've never tried it and I suspect it's a bit more elaborate than what you're looking to do." ContentLicense="CC BY-SA 3.0" />
  <row Id="46768" PostHistoryTypeId="2" PostId="26198" RevisionGUID="441c8b8a-38a2-45b4-a96d-6fa886838dd4" CreationDate="2011-04-29T01:00:32.077" UserId="7281" UserDisplayName="Tom Auger" Text="When you view CC or other data (such as volume, pan etc) in the Envelope section of your clip window, you can easily select a single data point by clicking on it; you can select multiple points by shift-clicking. But is there a way to select entire bars of CC data at the same time as bars of note data so you can move them together and maintain their position relative to one another? What about multiple types of CC data?&#xD;&#xA;&#xD;&#xA;Here's a concrete example: suppose I have a synth track with note data, hold pedal CC data and mod wheel data. I want to trim out, say, part of the first bar and then move the rest of the track to the left to fill in the gap. Can I somehow select the note data, the hold pedal data and the mod wheel data simultaneously and move them to where I want them?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="46769" PostHistoryTypeId="1" PostId="26198" RevisionGUID="441c8b8a-38a2-45b4-a96d-6fa886838dd4" CreationDate="2011-04-29T01:00:32.077" UserId="7281" UserDisplayName="Tom Auger" Text="Ableton Live - Editing / Moving multiple envelope points at the same time as your note data?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46770" PostHistoryTypeId="3" PostId="26198" RevisionGUID="441c8b8a-38a2-45b4-a96d-6fa886838dd4" CreationDate="2011-04-29T01:00:32.077" UserId="7281" UserDisplayName="Tom Auger" Text="&lt;ableton&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46771" PostHistoryTypeId="36" PostId="26201" RevisionGUID="030c26bc-6060-425a-94e2-5cdcb8aab1c9" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7819/formula-for-the-sound-pressure-of-a-pure-tone" />
  <row Id="46772" PostHistoryTypeId="2" PostId="26202" RevisionGUID="0894ffb2-99ff-456c-84c7-d90570e8c7ed" CreationDate="2013-05-06T10:53:21.523" UserId="7405" UserDisplayName="Andy aka" Text="Sound pressure level is directly related to the amplitude of the waveform.&#xD;&#xA;&#xD;&#xA;A pure tone is a sine-wave and sine-waves are defined by `ω` (omega) and `t` (time)&#xD;&#xA;&#xD;&#xA;`amplitude = sin(ωt)` --- &quot;sin&quot; is the mathematical operator you did in trigonometry at school and t is time.&#xD;&#xA;&#xD;&#xA;`ω = 2 * π * f` --- π is 3.141592654 (approx) and f is 500 &#xD;&#xA;&#xD;&#xA;So for 500Hz, `ω = 3141.5927` (approx)&#xD;&#xA;&#xD;&#xA;You will find that if you recreate the 500Hz sinewave by producing samples at (say) 20kHz you will get a string of numbers (every 50 microseconds) that rise to a peak (+1) at 500µsecs then start to fall through zero at 1000µsecs and go negative to -1 at 1500µsec then fall back to 0 at 2000µsecs. The waveform repeats." ContentLicense="CC BY-SA 3.0" />
  <row Id="46773" PostHistoryTypeId="2" PostId="26201" RevisionGUID="8313f75f-e6cc-4416-a04a-f0fcfa0f8097" CreationDate="2013-05-06T03:54:24.387" UserDisplayName="Sami" Text="What is the formula for the sound pressure of a pure tone of 500Hz, ex-pressed as a function of time?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46774" PostHistoryTypeId="1" PostId="26201" RevisionGUID="8313f75f-e6cc-4416-a04a-f0fcfa0f8097" CreationDate="2013-05-06T03:54:24.387" UserDisplayName="Sami" Text="Formula for the sound pressure of a pure tone" ContentLicense="CC BY-SA 3.0" />
  <row Id="46775" PostHistoryTypeId="3" PostId="26201" RevisionGUID="8313f75f-e6cc-4416-a04a-f0fcfa0f8097" CreationDate="2013-05-06T03:54:24.387" UserDisplayName="Sami" Text="&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46776" PostHistoryTypeId="36" PostId="26202" RevisionGUID="f0e3d2fa-cc74-40de-a6c0-a245f30253a9" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7819/formula-for-the-sound-pressure-of-a-pure-tone/7823#7823" />
  <row Id="46777" PostHistoryTypeId="36" PostId="26203" RevisionGUID="d55d4d9d-120a-4901-ab8f-dd2aa4b3e862" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7819/formula-for-the-sound-pressure-of-a-pure-tone/7836#7836" />
  <row Id="46778" PostHistoryTypeId="36" PostId="26204" RevisionGUID="4bb0061b-5513-4996-bf9a-198c6e42284d" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7819/formula-for-the-sound-pressure-of-a-pure-tone/7847#7847" />
  <row Id="46779" PostHistoryTypeId="2" PostId="26203" RevisionGUID="a6ec3b8e-da32-4034-9b76-e598d187d279" CreationDate="2013-05-08T13:17:38.790" UserId="7266" UserDisplayName="Marcks Thomas" Text="The instantaneous sound pressure of a pure tone equals the ambient pressure (*p&lt;sub&gt;0&lt;/sub&gt;*) with a superimposed pressure that varies in time as a sine function, i.e.: *p(t) = p&lt;sub&gt;0&lt;/sub&gt; + A sin &amp;omega;t*, where *A* is the peak amplitude of the pressure variation and *&amp;omega;* the angular frequency ( *&amp;omega; = 2&amp;pi;f* ).&#xD;&#xA;&#xD;&#xA;The amplitude *A* is related to sound pressure level *L* in dB by the following equation:&#xD;&#xA;&#xD;&#xA;*L = 20 log&lt;sub&gt;10&lt;/sub&gt;( p&lt;sub&gt;rms&lt;/sub&gt; / p&lt;sub&gt;ref&lt;/sub&gt; )*, where, in the case of a sine wave, the following equality holds: *p&lt;sub&gt;rms&lt;/sub&gt; = A / &amp;radic;2*. The reference pressure is arbitrary, but a fairly common value is 20 µPa, which would put a SPL of 0 dB around the threshold of human hearing.&#xD;&#xA;&#xD;&#xA;Through substitution, we obtain the following for the pressure as a function of time of a pure tone with frequency *f*:&#xD;&#xA;&#xD;&#xA;*p(t) = p&lt;sub&gt;0&lt;/sub&gt; + &amp;radic;(2) 10&lt;sup&gt;L/20&lt;/sup&gt; p&lt;sub&gt;ref&lt;/sub&gt; sin 2&amp;pi;f*" ContentLicense="CC BY-SA 3.0" />
  <row Id="46780" PostHistoryTypeId="2" PostId="26204" RevisionGUID="74d74323-e618-4433-bf1e-9d96aef7ac06" CreationDate="2013-05-09T09:03:00.117" UserId="7312" UserDisplayName="Eugene S" Text="Sound Pressure Level (SPL) is a dB scale defined relative to a reference that is approximately the intensity of a 1000 Hz sinusoid that is just barely audible. &#xD;&#xA;&#xD;&#xA;    0dB SPL = 20 micro Pascal&#xD;&#xA;&#xD;&#xA;Since sound is created by a time-varying pressure, sound levels computed in dB-SPL by using the average fluctuation-intensity (averaged over at least one period of the lowest frequency contained in the sound). &#xD;&#xA;&#xD;&#xA;Generally, the intensity level of a sound wave is its dB SPL level, measuring the peak time-domain pressure-wave amplitude relative to `10^{-16}` watts per centimeter squared (i.e., *there is no consideration of the frequency domain here at all*). &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Reference and more complete explanation [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://ccrma.stanford.edu/~jos/st/DB_SPL.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="46781" PostHistoryTypeId="36" PostId="26205" RevisionGUID="23c4edda-b7ab-4cdf-837e-4043cdccf087" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7738/how-do-you-properly-place-studio-monitors-cheaply" />
  <row Id="46782" PostHistoryTypeId="36" PostId="26206" RevisionGUID="fc9828b7-d875-4bae-a315-50cb76292d03" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7738/how-do-you-properly-place-studio-monitors-cheaply/7739#7739" />
  <row Id="46783" PostHistoryTypeId="36" PostId="26207" RevisionGUID="387d866f-d003-4c1a-84a8-3411ba028b12" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7738/how-do-you-properly-place-studio-monitors-cheaply/7742#7742" />
  <row Id="46784" PostHistoryTypeId="2" PostId="26206" RevisionGUID="cbf9e464-b552-424c-bc93-c64ac5fc4a0c" CreationDate="2013-04-24T18:50:02.503" UserId="7174" Text="I'm more of a live audio guy than recording and tend to use in-ears for my monitoring, but my understanding of the idea behind isolation pads is to absorb the vibration of the speaker and/or the surface and prevent it from impacting the sound produced by the driver.  Something like a computer monitor stand is going to be more worried about providing a hard, rigid surface which isn't going to have any dampening effect and may in fact cause less dampening.&#xD;&#xA;&#xD;&#xA;As long as you have a good foam though, I'd think it should provide decent dampening.  Personally, I wouldn't be too worried about the distance from the wall since you are in a bedroom to begin with.  You're going to get reverberations off other things in the room if you don't have a room dedicated for the studio, so I don't think the reverberation off the wall is going to be huge.  I've worked in actual studios where the monitors weren't much more than a foot from the wall.  Again though, keep in mind I'm not a studio engineer, so this is somewhat theoretical guess work on my part." ContentLicense="CC BY-SA 3.0" />
  <row Id="46785" PostHistoryTypeId="2" PostId="26207" RevisionGUID="6a17a938-10a4-4163-884c-9c65ffd5c75b" CreationDate="2013-04-24T20:57:44.460" UserId="6957" Text="I would consider the most important &quot;rule&quot; of monitor placement to be the geometry.  That is...&#xD;&#xA; &#xD;&#xA;- You should have an equilateral triangle made up of the two monitors and the listening position.&#xD;&#xA;- You should consider the tweeters to be the points from which you measure, as the higher frequencies are the most directional.&#xD;&#xA;&#xD;&#xA;As an example, for my home theater, I have my Left and Rights sitting on floor stands that are a height, such that the tweeters are at ear level while I'm sitting on the couch.  &#xD;&#xA;&#xD;&#xA;At my computer (mixing) desk, the constraints of my desk (the height of the table) are such that I needed to lay the monitors sideways.  When this is the case, it is better to have the tweeters on the outside, as you will get a wider stereo field.  &#xD;&#xA;&#xD;&#xA;Again, you want to do your best to keep the listening position at one of the points of the equilateral triangle." ContentLicense="CC BY-SA 3.0" />
  <row Id="46786" PostHistoryTypeId="2" PostId="26205" RevisionGUID="1046fa06-7dd0-4da0-9691-084d45af7c20" CreationDate="2013-04-24T17:47:40.927" UserDisplayName="Olly" Text="I currently have my monitors sitting on foam but they are not at ear level.   I am looking for ways to improve their positioning without spending a fortune on something like an IsoAcoustic stand.&#xD;&#xA;&#xD;&#xA;I was wondering if using a computer monitor stand to raise them with the foam on top would work as a cheap solution?  Something like this: http://www.amazon.co.uk/Compucessory-34-100mm-Stackable-W307xD337xH100m-CCS25305/dp/B000SHQD3S/ref=sr_1_6?ie=UTF8&amp;qid=1366825301&amp;sr=8-6&amp;keywords=computer+monitor+stand  &#xD;&#xA;&#xD;&#xA;I am quite tight on space as i have my setup in a bedroom.  Unfortunately, I cant use floor based stands and my monitors are also quite close to the wall behind them (10-15cm).  Is the distance from the wall a larger problem?&#xD;&#xA;&#xD;&#xA;What are the biggest concerns to worry about with placing my studio monitors and what kinds of cheap tricks can I use to get the best quality sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46787" PostHistoryTypeId="1" PostId="26205" RevisionGUID="1046fa06-7dd0-4da0-9691-084d45af7c20" CreationDate="2013-04-24T17:47:40.927" UserDisplayName="Olly" Text="How do you properly place studio monitors cheaply?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46788" PostHistoryTypeId="3" PostId="26205" RevisionGUID="1046fa06-7dd0-4da0-9691-084d45af7c20" CreationDate="2013-04-24T17:47:40.927" UserDisplayName="Olly" Text="&lt;home-studio&gt;&lt;monitors&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46789" PostHistoryTypeId="36" PostId="26208" RevisionGUID="f3d13dd4-c0b6-4373-938b-4e8f01ce9c48" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/728/propellerhead-reason-tutorials" />
  <row Id="46790" PostHistoryTypeId="36" PostId="26209" RevisionGUID="0a2f71fc-d23b-4b7e-8ec4-8b8588a9833f" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/728/propellerhead-reason-tutorials/734#734" />
  <row Id="46791" PostHistoryTypeId="36" PostId="26210" RevisionGUID="0ef022b5-99ec-4da2-9245-c7bf20ff05e6" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/728/propellerhead-reason-tutorials/846#846" />
  <row Id="46792" PostHistoryTypeId="2" PostId="26209" RevisionGUID="c38b5a63-da2f-4fe7-8656-2694f79211a6" CreationDate="2011-02-02T16:40:46.287" UserId="7592" UserDisplayName="Pelle ten Cate" Text="I'll make this community wiki, so everybody can contribute.&#xD;&#xA;&#xD;&#xA;A good start:&#xD;&#xA;&#xD;&#xA;* [The tutorials section at reasonstation.net](http://www.reasonstation.net/tutorials/)" ContentLicense="CC BY-SA 2.5" />
  <row Id="46793" PostHistoryTypeId="2" PostId="26210" RevisionGUID="a4ecb1c4-3459-4d94-9190-955dfe26a33a" CreationDate="2011-02-18T13:02:46.477" UserDisplayName="Kyle Sevenoaks" Text="The website [boyinaband.com][1] has some very well explained tutorials to get you started :) It's funny too!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.boyinaband.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="46794" PostHistoryTypeId="2" PostId="26211" RevisionGUID="cae01481-cef2-40fc-b101-c3ac03254173" CreationDate="2011-12-22T15:43:02.323" UserId="9511" UserDisplayName="Johnny Bigoode" Text="If you want free, getting started tutorials, I believe that [boyinaband.com][1] and [reasonstation][2] are good starting options. Any youtube tutorial will also help with getting started with reason. &#xD;&#xA;&#xD;&#xA;The problem is diggin' your teeth on the software. Currently I am only aware of 2 websites that provide tutorials that take advantage of Reason's most awesome features:&#xD;&#xA;&#xD;&#xA;http://www.reason101.net/&#xD;&#xA;Free tutorials, most of them are rather good and explore things that are usually forgoten by most users - like Using Thor as a Filter. Using external audio into thor for FM synthesis. Creating a Grain Synth using NXTT. Vocoding RedRum loops and other awesome things. &#xD;&#xA;&#xD;&#xA;http://www.nucleus-soundlab.com/reason-wizardry-video-tutorials.html&#xD;&#xA;There's a free tutorial about expanding the synthesis capabilites of THOR, showing that it's possible to make a Fm Synth, a Fm Modulator Synth, AM Synth (doesn't work very well), PW Synth and basically shows a new world around it. &#xD;&#xA;&#xD;&#xA;BTW: I STRONGLY RECOMMEND watching the demo of reason wizardry, It's superb. And it's the only one that I did watch, I'm still wondering if I should pay all that money for it. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.boyinaband.com/&#xD;&#xA;  [2]: http://www.reasonstation.net/tutorials/" ContentLicense="CC BY-SA 3.0" />
  <row Id="46795" PostHistoryTypeId="2" PostId="26208" RevisionGUID="1d9bc092-ceb0-47b5-9c67-870641a7169a" CreationDate="2011-02-01T09:57:19.417" UserDisplayName="Zolomon" Text="I just love the kind of electronic music that people create with [Propellerhead's Reason](http://www.propellerheads.se/products/reason/). I just acquired the software but I find it very difficult to use (I'm not very experienced in producing music) and would love some easy step-by-step walkthroughs to ease the learning curve a bit. Anyone got fish? " ContentLicense="CC BY-SA 2.5" />
  <row Id="46796" PostHistoryTypeId="1" PostId="26208" RevisionGUID="1d9bc092-ceb0-47b5-9c67-870641a7169a" CreationDate="2011-02-01T09:57:19.417" UserDisplayName="Zolomon" Text="Propellerhead Reason: Tutorials?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46797" PostHistoryTypeId="3" PostId="26208" RevisionGUID="1d9bc092-ceb0-47b5-9c67-870641a7169a" CreationDate="2011-02-01T09:57:19.417" UserDisplayName="Zolomon" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46798" PostHistoryTypeId="36" PostId="26211" RevisionGUID="3394d799-146d-4527-b9db-6c08bb660129" CreationDate="2014-01-27T15:12:17.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/728/propellerhead-reason-tutorials/2874#2874" />
  <row Id="46799" PostHistoryTypeId="36" PostId="26212" RevisionGUID="3db3342f-95a8-41aa-ae44-37bae6dc5af6" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2009/what-are-the-challenges-in-audio-for-the-bass-line" />
  <row Id="46800" PostHistoryTypeId="2" PostId="26213" RevisionGUID="24b89792-9012-466d-88f2-41a3b57eb803" CreationDate="2011-08-04T09:43:21.147" UserId="7016" Text="A huge part of this is around the power given to each frequency range, and the compression used to make the audio fit within the headroom provided.&#xD;&#xA;&#xD;&#xA;My band had to find ways round this as we are very much classic rock, but with more modern club beats (which involve an incredible amount of bass, subsonics etc) and this still causes us problems in venues where the sound engineer doesn't understand the mix we require.&#xD;&#xA;&#xD;&#xA;In the studio what we do is run separate hardware compressors for every channel - software compressors in cubase, even on a highly spec'ed machine - just couldn't cut it.&#xD;&#xA;&#xD;&#xA;The other aspect is to clearly separate instruments - for example while I would play a standalone guitar with a lot of bass, mid and treble, once the bass guitar and drums are up loud, all my lows do is muffle the bass, so I kill all the lows from my guitar entirely. I have a feeling what a lot of bands do is cut bass rather than take away from the lead guitar." ContentLicense="CC BY-SA 3.0" />
  <row Id="46801" PostHistoryTypeId="2" PostId="26212" RevisionGUID="ad42afc3-81fe-47ae-848a-85b893456634" CreationDate="2011-08-04T02:55:25.437" UserDisplayName="wadesworld" Text="I have a question/theory I hope some audio engineers can help with.&#xD;&#xA;&#xD;&#xA;As a beginning cellist, I was discussing with someone the other day the fact that the bass line frequently seems to get the short end of the stick from engineers, whether in performance or in recording.&#xD;&#xA;&#xD;&#xA;In many classical music settings, hearing the cello and bass is difficult unless REALLY concentrating or the bass/cello are getting a solo.&#xD;&#xA;&#xD;&#xA;Even in classic rock, the bass often seems treated as an afterthought sonically.  When you think back on bands that had a great and memorable bass sound, you think of groups like Yes and Rush, but how many others?  Now, I'm sure there are other examples, but if you think about the number of bands that leave the bass in the background versus those that feature it, I personally believe it's fair to say that the former category is FAR larger than the latter.&#xD;&#xA;&#xD;&#xA;I know that higher sounds (to a point) are heard more easily by the human ear, but is there another engineering reason why bass seems often treated as an afterthought?  Is it more difficult to amplify the bass sufficiently? &#xD;&#xA;&#xD;&#xA;Is it the band/producers that are pushing their own bass into the background? Or is it simply that guitar and violin players are glory-hogs? :)&#xD;&#xA;&#xD;&#xA;Or, as the other alternative, am I completely and utterly wrong in my impressions?&#xD;&#xA;&#xD;&#xA;Any input appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="46802" PostHistoryTypeId="1" PostId="26212" RevisionGUID="ad42afc3-81fe-47ae-848a-85b893456634" CreationDate="2011-08-04T02:55:25.437" UserDisplayName="wadesworld" Text="What are the challenges in audio for the bass line?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46803" PostHistoryTypeId="3" PostId="26212" RevisionGUID="ad42afc3-81fe-47ae-848a-85b893456634" CreationDate="2011-08-04T02:55:25.437" UserDisplayName="wadesworld" Text="&lt;mixing&gt;&lt;engineering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46804" PostHistoryTypeId="36" PostId="26213" RevisionGUID="b3a05969-c1c4-4595-8561-2b09f184d983" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2009/what-are-the-challenges-in-audio-for-the-bass-line/2012#2012" />
  <row Id="46805" PostHistoryTypeId="36" PostId="26214" RevisionGUID="6ab1b4ac-de9d-49e9-967d-911704fd5a89" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2009/what-are-the-challenges-in-audio-for-the-bass-line/2018#2018" />
  <row Id="46806" PostHistoryTypeId="36" PostId="26215" RevisionGUID="0f97e9f6-6099-47e6-b966-24b959628739" CreationDate="2014-01-27T14:58:21.270" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2009/what-are-the-challenges-in-audio-for-the-bass-line/2035#2035" />
  <row Id="46807" PostHistoryTypeId="2" PostId="26214" RevisionGUID="6b323199-f14f-43c2-8fab-34dd508210b7" CreationDate="2011-08-04T17:51:34.787" UserDisplayName="bobsbarricades" Text="In my experience the bass will not seem very prominent only if the mix isn't doing it justice.  &#xD;&#xA;&#xD;&#xA;Bass can get very muddled so a lot of the time a Low-cut filter at around 40Hz can help clean out some mud.  &#xD;&#xA;&#xD;&#xA;Compression is almost always used on bass because it is one of those things that's so very omnidirectional.  Sits in the middle of the mix and does it's thing.  The way that you EQ it is INCREDIBLY important.  Bass guitar, Double Bass, Kick drum, Synth Bass - they all have special ways to treat them to achieve the desired role in a mix.&#xD;&#xA;&#xD;&#xA;Experiment with the higher harmonics of a bass track.  I would not use ANY master compression until you are done recording and moving onto the mixing/mastering stages. But compression on the bass channel itself can be very rewarding in bringing it under control.&#xD;&#xA;&#xD;&#xA;I agree with your analysis that in a lot of string/orchestra settings the bass just isn't quite recorded with the respect I think it deserves, but you can fix that!&#xD;&#xA;&#xD;&#xA;I hope some of that at least helps... I do apologize for being vague." ContentLicense="CC BY-SA 3.0" />
  <row Id="46808" PostHistoryTypeId="2" PostId="26215" RevisionGUID="0fe71210-4c25-4206-8da6-b2bd3dae15e9" CreationDate="2011-08-07T14:41:43.657" UserId="7200" Text="To address the question as to why the bass instruments tend to play a less prominent part in many styles: this has to do with the fact that bass frequencies carry far less _information_ than the higher ones. To say it very roughly, the range from 30-150 Hz (typical range of the fundamentals for the bass instruments) can carry at most 120 &quot;units of information&quot; each second, while the range from 150-750 Hz, which is exactly as wide a tonal range (on a keyboard, both intervals actually look the same width because the ratio is the same), can carry 600 such units each second. Both seems to be more then ever necessary, but of course only a fraction of this amount – let's say 1/24th – can actually be used for musical purposes. So we're left with 36 units of information/s in the melody range and just 6 such units in the bass range – which is really a bit poor. So in order to play interesting parts on the bass instruments, one needs to expand their frequency range. This can be done in many ways: all normal instruments produce not only fundamental frequencies but also harmonics, which get stronger when you play loudly or with stronger attack. A cello played fortissimo or staccato on the low strings will well cover the range from 100 to 2000 Hz and therefore be able to transmit all the information any player wants it to. Chris Squire's overdriven two-channel electric bass has a really strong midrange, and a funky slap bass even goes up to something like 10000 Hz.&lt;br&gt;This is all fine as long as the other instruments are willing to give that much space: in an orchestral cello solo, all the other instruments just step back to a mere acompainment role. Jon Anderson's voice is yet well above Squire's strong midrange, and in funk music most instruments and the vocals have a rather narrow bandwidth somewhere in the midrange, so the bass is allowed to explore the high-end.&#xD;&#xA;&#xD;&#xA;But this is not always the case. In an orchestra, you normally want a rich, full harmonic sound, so you need not only space for the bass and melody but also for the 2nd violins and violas (which, by the way, are almost always much worse-audible than the basses) and for the wind instruments, so you cannot allow the bass instruments to occupy a great deal of the midrange. In many of the louder rock bands, there are two guitars and a singer fighting over the midrange domination while the drummer fills the high-end with white noise from crash and half-open hi-hat cymbals. In more tamely played rock and pop music, you do not want the bass to sound loud and agressive or hard and slappy, but this is almost impossible to avoid when giving the bass much midrange frequencies: as I said, these are harmonic overtones. But &quot;harmonic&quot; does not mean each of these frequencies goes very well with all of the others: the 11th overtone, for instance, is a really nasty frequency just above a tritonus. And the really high frequencies only ever occur when the strings hit the fretboard, which is why these frequencies are always short and percussive.&#xD;&#xA;&lt;br&gt;So the only thing you can do in such styles is to reduce the bass to an accompainment role in the background. This need not be uninteresting (many bands have the bass in the background, but it still plays very interesting stuff – often found in jazz), it can be quite loud (I understand that hip hop &quot;music&quot; usually has very loud bass parts), and it's definitely always very important. Even if you do not actively hear the bass at all, you will _always_ hear it when it's missing.&#xD;&#xA;&#xD;&#xA;The same applies to any instrument in a proper composition: even though no one ever hears the violas, an orchestra without violas will sound strangely hollow, or... hang on, no, that's just because we're playing in a church (for the funeral of twelve of our orchestra members, who were involved in a strange accident involving a 16-ton weight falling from the ceiling on a very convenient spot)." ContentLicense="CC BY-SA 3.0" />
  <row Id="46809" PostHistoryTypeId="36" PostId="26216" RevisionGUID="f9e26fc3-2c8b-4d1c-b735-11c507c17bf1" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9526/setting-volume-level-of-mix" />
  <row Id="46810" PostHistoryTypeId="2" PostId="26217" RevisionGUID="fb97006b-e0ea-4578-a842-21950cd402b5" CreationDate="2013-11-29T19:29:02.387" UserDisplayName="cbarg" Text="Don't mix with your eyes, boss!!! If it sounds good don't touch anything else to make it 'look' good... music is not seen (literally), it's heard. So, start with the kick (or loudest thing on set), make sure it's loud enough and that it doesn't distort, and work from that point of reference on. But, please, don't change levels because it is not visually appealing- I met engineers that mix with their eyes and struggle with consoles with no meters! Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="46811" PostHistoryTypeId="2" PostId="26216" RevisionGUID="d94760b5-da9f-4257-b8fe-8b53eb89499d" CreationDate="2013-11-29T18:29:26.673" UserId="6561" Text="From what level of decibels should I start to set the volume of tracks in the mix? &#xD;&#xA;I've heard that usually it starts at **-6dB on a kick** and match the rest of track's volume to that kick ... &#xD;&#xA;&#xD;&#xA;Is it right way?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46812" PostHistoryTypeId="1" PostId="26216" RevisionGUID="d94760b5-da9f-4257-b8fe-8b53eb89499d" CreationDate="2013-11-29T18:29:26.673" UserId="6561" Text="Setting volume level of mix" ContentLicense="CC BY-SA 3.0" />
  <row Id="46813" PostHistoryTypeId="3" PostId="26216" RevisionGUID="d94760b5-da9f-4257-b8fe-8b53eb89499d" CreationDate="2013-11-29T18:29:26.673" UserId="6561" Text="&lt;mixing&gt;&lt;mastering&gt;&lt;sound-design&gt;&lt;volume&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46814" PostHistoryTypeId="36" PostId="26217" RevisionGUID="c0f83aca-a3a4-42c7-9fb6-3d450d43cd9d" CreationDate="2014-01-27T15:11:29.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9526/setting-volume-level-of-mix/9527#9527" />
  <row Id="46817" PostHistoryTypeId="36" PostId="26219" RevisionGUID="0e613b76-f2b4-49d6-804d-99a7024b1584" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5544/finding-out-the-license-of-stock-music-that-i-do-not-know-the-name-off" />
  <row Id="46818" PostHistoryTypeId="36" PostId="26220" RevisionGUID="14b2a222-8689-4058-8998-257152d45af8" CreationDate="2014-01-27T15:08:21.580" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5544/finding-out-the-license-of-stock-music-that-i-do-not-know-the-name-off/5613#5613" />
  <row Id="46819" PostHistoryTypeId="2" PostId="26220" RevisionGUID="17754752-6b21-4573-b52b-bd92959b9021" CreationDate="2012-12-19T17:29:58.830" UserId="7016" Text="You can use SoundHound or one of the similar services to see if your clips are known to their database. They look for similarities in waveforms etc. &#xD;&#xA;&#xD;&#xA;Can you ask the person who gave the clips to you? &#xD;&#xA;&#xD;&#xA;Failing that, unfortunately you run the risk of the owner asking for a share of any money earned,  and generally cases rule in favour of the owner if you haven't asked for permission. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46820" PostHistoryTypeId="2" PostId="26219" RevisionGUID="7b1aef32-79e0-474b-a0e4-fc6d03a9c02a" CreationDate="2012-12-10T16:19:03.893" UserDisplayName="burnso" Text="Some time ago, I was given a few short audio clips to work with for a personal projects.&#xD;&#xA;&#xD;&#xA;Now I found that one of those clips would work well with a commercial project I'm currently working on. The problem is I that I do not know if I am licensed to use it.&#xD;&#xA;&#xD;&#xA;So, since I have reason to believe that the file name has been changed since it was originally downloaded, does anyone know if there's any way to find out where it's from based on information such as length, quality and perhaps even waveform?&#xD;&#xA;&#xD;&#xA;Would appreciate your help greatly, thanks! " ContentLicense="CC BY-SA 3.0" />
  <row Id="46821" PostHistoryTypeId="1" PostId="26219" RevisionGUID="7b1aef32-79e0-474b-a0e4-fc6d03a9c02a" CreationDate="2012-12-10T16:19:03.893" UserDisplayName="burnso" Text="Finding out the license of stock music that I do not know the name off" ContentLicense="CC BY-SA 3.0" />
  <row Id="46822" PostHistoryTypeId="3" PostId="26219" RevisionGUID="7b1aef32-79e0-474b-a0e4-fc6d03a9c02a" CreationDate="2012-12-10T16:19:03.893" UserDisplayName="burnso" Text="&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46823" PostHistoryTypeId="36" PostId="26221" RevisionGUID="0a957609-01b7-425b-b8b6-aa3d710032f8" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7834/can-i-consolidate-one-file-into-multiple-individual-files-in-pro-tools" />
  <row Id="46824" PostHistoryTypeId="2" PostId="26221" RevisionGUID="63410f62-f623-4e8c-a7f4-e623a21074fe" CreationDate="2013-05-08T11:56:48.493" UserDisplayName="wowie" Text="Software: Pro Tools 10&#xD;&#xA;&#xD;&#xA;The problem is, &#xD;&#xA;on one track, i have a very long file which i can trim with STRIP SILENCE.&#xD;&#xA;now i have multiple regions.&#xD;&#xA;On another track, i have the same long file, which i CANT trim with STRIP SILENCE.&#xD;&#xA;&#xD;&#xA;is there a way to copy the &quot;multiple region lengths&quot; to the other track?&#xD;&#xA;So i have the &quot;same&quot; (means the same length but different audio) multiple regions like the first track?&#xD;&#xA;&#xD;&#xA;hope u know what i mean :)&#xD;&#xA;&#xD;&#xA;THANKS IN ADVANCE!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="46825" PostHistoryTypeId="1" PostId="26221" RevisionGUID="63410f62-f623-4e8c-a7f4-e623a21074fe" CreationDate="2013-05-08T11:56:48.493" UserDisplayName="wowie" Text="Can I consolidate one file into multiple individual files in pro tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46826" PostHistoryTypeId="3" PostId="26221" RevisionGUID="63410f62-f623-4e8c-a7f4-e623a21074fe" CreationDate="2013-05-08T11:56:48.493" UserDisplayName="wowie" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46827" PostHistoryTypeId="36" PostId="26222" RevisionGUID="cd4a155c-2da4-485a-a922-448d10bbd840" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1406/are-there-any-audible-differences-between-192-and-320-kbit-s-mp3-files" />
  <row Id="46828" PostHistoryTypeId="2" PostId="26223" RevisionGUID="011f6533-749b-4990-92cf-66f10775a65d" CreationDate="2011-05-15T19:34:08.183" UserDisplayName="Ian C." Text="If you're after audible differences the only test you can use is a double blind test. Empirical tests such as waveform analysis will most definitely show differences in the output, but that doesn't mean the differences are audible.&#xD;&#xA;&#xD;&#xA;In this case you could have some one listen to samples of music and have them guess the bitrate of the samples. The ABX type test seems to be popular for bitrate comparisons: you listen to sample A and then B and then X and decide which of A or B sample X is from. So A might be 192 kbps and B might be 320 kbps and the listener has to decide whether X is from the 192 or 320 kbps encoded track. This kind of test is a little better than an &quot;assign the bitrate to a sample&quot; type test because the listener can't guess their way through it with any accuracy and skew the results.&#xD;&#xA;&#xD;&#xA;There are other double blind approaches, see [this article for details][1].&#xD;&#xA;&#xD;&#xA;There's been a few magazine attempts at uncovering codec and sample rate differences. [This Maximum PC article][2] gets a lot of attention on the net, though they're doing 160 vs 192 and 320 vs uncompressed.&#xD;&#xA;&#xD;&#xA;I couldn't find any academic papers on the matter (but I didn't look *that* hard), which surprised me a bit. I would have thought there'd been a bunch of grad student research in psycho-acoustics available.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Codec_listening_test&#xD;&#xA;  [2]: http://www.maximumpc.com/article/do_higher_mp3_bit_rates_pay_off" ContentLicense="CC BY-SA 3.0" />
  <row Id="46829" PostHistoryTypeId="2" PostId="26222" RevisionGUID="705b2314-bb47-40c5-9d2b-ebec64e7cb86" CreationDate="2011-05-15T15:28:29.333" UserDisplayName="boehj" Text="This is a question that's currently being discussed on [skeptics.stackexchange](http://skeptics.stackexchange.com/questions/3219/are-there-any-perceptible-differences-between-the-sound-quality-of-192-versus-320). It was thought reasonable to get some input from the audio experts. So with the author's permission I'm posting it here.&#xD;&#xA;&#xD;&#xA;___&#xD;&#xA;&#xD;&#xA;I have friends that are very picky when it comes to mp3 bit-rate, and will always look for the 320 kbit/s version of a file. However, I have never noticed any differences, they sound the same to me. I remember reading somewhere, can't remember where, that the human ear is simply incapable of sensing the difference, even if present.&#xD;&#xA;&#xD;&#xA;___&#xD;&#xA;&#xD;&#xA;Are there any good quality tests that have been done in this area? What types of factors would need to come into play to tease out the differences (if any) in audio quality between a 192 vs 320 kbit/s .mp3?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46830" PostHistoryTypeId="1" PostId="26222" RevisionGUID="705b2314-bb47-40c5-9d2b-ebec64e7cb86" CreationDate="2011-05-15T15:28:29.333" UserDisplayName="boehj" Text="Are there any audible differences between 192 and 320 kbit/s .mp3 files?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46831" PostHistoryTypeId="3" PostId="26222" RevisionGUID="705b2314-bb47-40c5-9d2b-ebec64e7cb86" CreationDate="2011-05-15T15:28:29.333" UserDisplayName="boehj" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46832" PostHistoryTypeId="36" PostId="26223" RevisionGUID="24ac7bf5-3b43-446d-bc38-7b44aacfd2d6" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1406/are-there-any-audible-differences-between-192-and-320-kbit-s-mp3-files/1408#1408" />
  <row Id="46833" PostHistoryTypeId="36" PostId="26224" RevisionGUID="e2c78c22-8164-4ee2-8b77-0aa6e91199f8" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1406/are-there-any-audible-differences-between-192-and-320-kbit-s-mp3-files/1415#1415" />
  <row Id="46834" PostHistoryTypeId="36" PostId="26225" RevisionGUID="ec6701ad-397f-42dc-9bc4-48d2871be909" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1406/are-there-any-audible-differences-between-192-and-320-kbit-s-mp3-files/1437#1437" />
  <row Id="46835" PostHistoryTypeId="36" PostId="26226" RevisionGUID="4bcfadcb-6780-4d08-ac29-9ecccd4edd07" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1406/are-there-any-audible-differences-between-192-and-320-kbit-s-mp3-files/1446#1446" />
  <row Id="46836" PostHistoryTypeId="36" PostId="26227" RevisionGUID="6341a9d5-e214-48be-90a5-6fa243cc6663" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1406/are-there-any-audible-differences-between-192-and-320-kbit-s-mp3-files/1455#1455" />
  <row Id="46837" PostHistoryTypeId="36" PostId="26228" RevisionGUID="6bde0119-8906-4723-bc9e-bfb8deb57319" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1406/are-there-any-audible-differences-between-192-and-320-kbit-s-mp3-files/4435#4435" />
  <row Id="46838" PostHistoryTypeId="36" PostId="26229" RevisionGUID="0796e0e0-f8d9-446c-90c0-b708ce219549" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1406/are-there-any-audible-differences-between-192-and-320-kbit-s-mp3-files/5739#5739" />
  <row Id="46839" PostHistoryTypeId="36" PostId="26230" RevisionGUID="d0bdf743-0ae4-4541-9b58-f9b7b6f5be93" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1406/are-there-any-audible-differences-between-192-and-320-kbit-s-mp3-files/9216#9216" />
  <row Id="46840" PostHistoryTypeId="2" PostId="26224" RevisionGUID="a51da550-6081-4c96-8d78-3e65f8401d96" CreationDate="2011-05-16T15:32:22.647" UserDisplayName="Owen Kelly" Text="To an untrained ear it would be borderline impossible to tell, and even a trained ear needs to pay attention. As such, it is hard to quantify perceptible differences as everyone will perceive it differently, if at all.&#xD;&#xA;&#xD;&#xA;My approach to audio engineering, which I picked up from my time at SAE, is to go by feel. You can monitor everything, tweak to the nth degree, but as audio is inherently analogue, that is all you should really measure. As Ian C says, an ABX test is a great way to see for your self.&#xD;&#xA;&#xD;&#xA;To answer your question from my experience the answer would be yes absolutely.&#xD;&#xA;&#xD;&#xA;The degree to which you can perceive the differences will largely depend on the content of the song. Orchestral music is in my experience the perfect subject matter to test with. It is both incredibly complex in it's sound makeup (usually covering the entire frequency of human hearing) and has a very large dynamic range.&#xD;&#xA;&#xD;&#xA;Bit depth also has an effect, my experience is that an larger bit depth 24bit as opposed to the cd standard of 16bit, also makes a great deal of difference. The next natural step up is vinyl.&#xD;&#xA;&#xD;&#xA;As noted by some other people, the gear you use will also influence the perception. On my little white earbuds the difference is not nearly as instantly noticeable as on my large studio monitors. So if you were to test, you should use the highest quality gear possible to take harmonic distortion from the gear completely out of the equation. You could use a boom box from 1980 and not notice a difference between A or B." ContentLicense="CC BY-SA 3.0" />
  <row Id="46841" PostHistoryTypeId="2" PostId="26225" RevisionGUID="0a4abc8d-b187-4ebe-be10-bb2607cf94c0" CreationDate="2011-05-19T12:22:49.970" UserId="7016" Text="I find it comes down entirely to the type of music and the speakers you listen to it through:&#xD;&#xA;&#xD;&#xA;I can happily listen to pop music on an ipod through earphones at low bitrate (well, I say happily - not really a fan of pop music, but what I mean is it sounds as it should)&#xD;&#xA;&#xD;&#xA;If you play the same mp3 through a decent or high end audio system it will sound worse, but again, with pop music it is still acceptable.&#xD;&#xA;&#xD;&#xA;The real problem I have is in trying to listen to either heavy metal or classical music at low bitrate through a high end system. The jangles, splashes and other digital artifacting ruins the pleasure I get out of a good piece of music. This happens mostly at the top end (cymbals, distorted guitars etc) and especially when there is significant bottom end at the same time (1)&#xD;&#xA;&#xD;&#xA;That said, I never bother with 320 constant bit rate because it just leads to large files. You should be better off with variable bit rate as it does intelligently reduce the file size where it isn't needed.&#xD;&#xA;&#xD;&#xA;1- recording one of our new tracks found a major problem when generating mp3s - there are sections where not only are there a lot of high pitched distorted guitars, but some major subsonics that dive from around 80 to 15 Hz. That required top quality VBR to cope:-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="46842" PostHistoryTypeId="2" PostId="26226" RevisionGUID="e69152b0-2a8a-4d9c-9bb7-c773fe147f07" CreationDate="2011-05-21T00:28:26.057" UserDisplayName="Rohjay" Text="Another thing to consider is who/how is/are they encoding it.  I find a lot of the time that people are encoding and playing with settings they may not understand.  This question is so finite though that it almost parallels the &quot;analogue vs digital audio&quot; debate.  &#xD;&#xA;&#xD;&#xA;Can it be perceived? Yes.&#xD;&#xA;&#xD;&#xA;Will it be bothersome to listen to a properly encoded 192kb/sec mp3? Not likely...&#xD;&#xA;&#xD;&#xA;Will it be bothersome to listen to an improperly encoded 320kb/sec mp3? Yes.&#xD;&#xA;&#xD;&#xA;Is it personal preference? Mostly.&#xD;&#xA;&#xD;&#xA;I can't listen to 128kb/sec mp3's... can't do it.  Yuck! 192 is fine for me.  Saying that, are there folks out there who have stereo systems that replicate the audio well enough that developing a preference for 320 over 192 is believable?  Definitely... I don't have that stereo system though ={" ContentLicense="CC BY-SA 3.0" />
  <row Id="46843" PostHistoryTypeId="2" PostId="26227" RevisionGUID="e974caad-ca26-472d-b55a-a44fc5be9ab4" CreationDate="2011-05-22T14:26:50.887" UserId="17149" UserDisplayName="John Leidegren" Text="There are some neat studies in the field of psychoacoustics that claim that lossy audio compression tasks our brains more than less lossy formats. I cannot for the love of me remember where I got this but I believe it was from TED.com I did do some background checking on those claims after the fact and they seemed to be fairly accurate.&#xD;&#xA;&#xD;&#xA;Most of us can certainly tell the difference between 128 and 192 bit rates but the difference is less audible between 192 and 320. However, for the trained ear I purpose that there's a difference. I certainly feel that listening to some 320 bit rates compared to their 192 counter parts is less tasking. But it's really hard to apply this in the general sense. A lousy MP3 can definitely mess with my hearing even at higher bit rates but I cannot apply such a theory to the general population.&#xD;&#xA;&#xD;&#xA;Listener experience (and training) definitely factors in. Unless your are running a streaming service and need to be conservative with the bandwidth, I say go with the higher, 320 bit rates." ContentLicense="CC BY-SA 3.0" />
  <row Id="46844" PostHistoryTypeId="2" PostId="26229" RevisionGUID="e675f8cc-2fd8-49e1-89b7-14f4158fe101" CreationDate="2013-01-03T15:45:24.490" UserDisplayName="Sound Warrior" Text=" I work with sound for a living. &#xD;&#xA;&#xD;&#xA;I have placed the same cut from 128, 192, 256 and 320 into a human ear sound analysis test range with a $100,000 sound sampling oscilloscope and the full wave form across the entire spectrum of the human ear is filled. &#xD;&#xA;&#xD;&#xA;Further analysis shows that the main problem with mp3 sound samples in not in the bit but the distorted recording setting at any bit. Other words, people have a tendency to rip music at a height of input much higher then is needed causing envelop folding of all wave forms adding distortion in the applied recording. &#xD;&#xA;&#xD;&#xA;Higher then 95% input is damaging to the recording as it leaves little overhead. My rule of thumb is to not record any audio over 89.2% as this will give your recording a level for overhead. All sounds have peeks and valleys which has to be given space for or its distorted by envelop folding for highs and crashes (base muffling) for lows. &#xD;&#xA;&#xD;&#xA;To acquire a good recording you must stay within a channel of tones and then it is only replicated by the quality of the listening equipment and the receivers ear. Both of which by the way are never the same or ever perfect. &#xD;&#xA;&#xD;&#xA;What I am saying is there is a heck of a lot more to the quality of sound then just the bit it is replicated at. Everyone is tone deaf at some level. You can play one sound clip to 100 different people and everyone of them will hear the same clip differently at some point. This has been proven in sound lab testes over and over. Then you put in the factor of human acceptance (like this sound or not) the best you can come up with from any recording is 88% acceptance. &#xD;&#xA;&#xD;&#xA;So, you see, your fighting a loosing battle to try to explain the best quality. Just don't over peak your recording and let the individual receiver adjust the listening level for their own ear and equipment. Do your part by just sampling at a modest level. That's all that you or anyone else can or ever do to appease anyone. &#xD;&#xA;&#xD;&#xA;Quality of input recording is the best answer as bit replication depth has little effect as long as it is kept within acceptable reason. Just my opinion after 30+ years experience.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46845" PostHistoryTypeId="2" PostId="26228" RevisionGUID="e44fddd9-1b86-4c2e-a10b-380b27d6e2bd" CreationDate="2012-07-20T11:54:48.293" UserDisplayName="Ronald" Text="I am a very picky listener. I notice that with acoustic instruments, you will hear the difference on a good audio set compared with mp3 players that are not high end audio.&#xD;&#xA;&#xD;&#xA;I like dance organs from Decap Antwerpen (Belgium) and they are equipped with jazzflute ,vibraton, and flute.  They have 8 registers that are natural pipes and the rest is electronics.  It uses an inline synthesizer for sax, baritone, and trumpet.&#xD;&#xA;&#xD;&#xA;I have all these music cd's stored as `.wav` and that sounds perfect.  I tried `.mp3` at different bitrates and is sounds less good with less ambiance... There is something missing in the warmth of the music." ContentLicense="CC BY-SA 3.0" />
  <row Id="46846" PostHistoryTypeId="2" PostId="26230" RevisionGUID="c3b2d72b-728c-4051-b9bf-3cd770f156f1" CreationDate="2013-10-21T01:26:22.527" UserId="7194" Text="The ultimate answer for this is: It depends on what material you are encoding.&#xD;&#xA;&#xD;&#xA;And the strongest scientific evidence is in the coders themselves. When encoding an mp3 using VBR (Variable Bit Rate), some encoders show how many frames where encoded using which bit rate. Here's a screenshot from LAME:&#xD;&#xA;&#xD;&#xA;![The output of VBR mp3 encoding in LAME][1]&#xD;&#xA;&#xD;&#xA;You will notice that only 10 frames out of 10735 were encoded using 320kbps, which is the highest bitrate mp3 supports. Had the quality been set to highest (which is not in this example) this would practically mean no audible differences should be heard. Had no frames been encoded using 320kbps, no audible differences should be discernible. Sadly, the output doesn't mention whether the 320kbps encoding was sufficient, or whether a higher bit rate would be needed.&#xD;&#xA;&#xD;&#xA;In my experience, only dense and harmonically-rich masters put load on the 320kbps. Most vocal tracks, or bass recordings would rarely require more than 192kbps.&#xD;&#xA;&#xD;&#xA;From various experiments that have been conducted, including some I have been part of, you should expect to find that our hearing is not aligned with the output of these coders. In other words, with everyday type of material and environments, people cannot tell the difference between 192kbps and 256kbps, let alone 320kbps; while many experiments are not comprehensive (testing environments and statistical analysis), there is strong indication that our perception is much worst than assumed by mp3 encoders. Bear in mind that most digital radio stations use 96kbps for transmission.&#xD;&#xA;&#xD;&#xA;However, a final verdict should be made on a case-by-case basis using rigorous research, which is extremely hard to conduct. Alternatively, the process above should give you cheap and fast indication to whether it should even be possible for people to tell the difference.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/sf5To.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="46847" PostHistoryTypeId="36" PostId="26231" RevisionGUID="6304ea41-32c6-4e7f-94dc-f4aa9f473e64" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8038/digital-aes50-and-reac-cat5-connecters-normal-rj45-with-xlr-eye-candy" />
  <row Id="46848" PostHistoryTypeId="2" PostId="26232" RevisionGUID="c3dd219d-d3a2-4739-acd8-2860f63eabbd" CreationDate="2013-06-04T01:22:02.683" UserId="7174" Text="The point of the connector is to make it more secure.  The plastic clip isn't very strong on a standard network jack and that isn't good for live production environments that aren't permanent installs.  You can use a normal cable just fine as long as the plastic clip can actually latch in place.  If it doesn't actually latch in place, you can just put an end on a normal cat6 cable that you splice together yourself without issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="46849" PostHistoryTypeId="2" PostId="26231" RevisionGUID="db5e7a0e-d990-4e9f-82d5-5fae36ce7f13" CreationDate="2013-06-03T22:54:37.497" UserId="7228" Text="I want to prepare the wiring in our church to use a digital snake system. We haven't decided which brand we're going for yet, but both [M-2001][1] - [S-1608][2] (REAC) and [X32][3] - [S16][4] (AES50) combinations have these Ethernet connectors with XLR-like shield around them. Both systems claim that they work over normal CAT5 (for short distances) or CAT6 cables. The connectors as seen in the photo's however do not look like the RJ45 connectors I'm used to on my router, computer, NAS, etc. The center does look so, but it has a XLR-like shield around it.&#xD;&#xA;&#xD;&#xA;Can I use normal RJ45 cables and is the XLR stuff just eye-candy? I guess I could use more expensive f/utp cable and connect the shilding foil to an old dismantled XLR connector, but would it help anything? Wouldn't I be creating a ground-loop that can cause interference on the digital signal? (I know there is CRC correction, meaning it would be difficult to tell while the interference stays under the correction threshold).&#xD;&#xA;&#xD;&#xA;So the question boils down to:&#xD;&#xA;&#xD;&#xA; - How are these connectors called? (I've searched on RJ45 and XLR without success). &#xD;&#xA; - Can I use standard networking cable after all? &#xD;&#xA; - Could someone specify &quot;short distance&quot; a little more definite (I guess that 20 meters is &quot;short&quot;?)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.roland.com/products/en/M-200i/&#xD;&#xA;  [2]: http://www.roland.com/products/en/S-1608/&#xD;&#xA;  [3]: http://www.behringer.com/EN/Products/X32.aspx&#xD;&#xA;  [4]: http://www.behringer.com/EN/Products/S16.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="46850" PostHistoryTypeId="1" PostId="26231" RevisionGUID="db5e7a0e-d990-4e9f-82d5-5fae36ce7f13" CreationDate="2013-06-03T22:54:37.497" UserId="7228" Text="Digital AES50 and REAC (CAT5) connecters, normal RJ45 with XLR eye candy?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46851" PostHistoryTypeId="3" PostId="26231" RevisionGUID="db5e7a0e-d990-4e9f-82d5-5fae36ce7f13" CreationDate="2013-06-03T22:54:37.497" UserId="7228" Text="&lt;cable&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46852" PostHistoryTypeId="36" PostId="26232" RevisionGUID="33d1e9a9-1391-48b8-b390-188eaf4ebbc3" CreationDate="2014-01-27T15:02:26.397" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8038/digital-aes50-and-reac-cat5-connecters-normal-rj45-with-xlr-eye-candy/8041#8041" />
  <row Id="46853" PostHistoryTypeId="36" PostId="26233" RevisionGUID="2dfac6ab-8e01-4d73-b951-c2a79b32a8e5" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/261/how-can-i-clean-up-my-laptops-sound-card-input" />
  <row Id="46854" PostHistoryTypeId="36" PostId="26234" RevisionGUID="d93e18cc-bbb6-48f4-af21-f11c20ba1a30" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/261/how-can-i-clean-up-my-laptops-sound-card-input/263#263" />
  <row Id="46855" PostHistoryTypeId="36" PostId="26235" RevisionGUID="1dd3aaf1-b668-4254-976b-ddf93fd7e18a" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/261/how-can-i-clean-up-my-laptops-sound-card-input/266#266" />
  <row Id="46856" PostHistoryTypeId="2" PostId="26234" RevisionGUID="864d380d-ac72-40c3-9f0a-9abe733e21d9" CreationDate="2010-12-14T06:26:38.477" UserId="9459" UserDisplayName="Matthew Read" Text="You have largely answered the question yourself in your parenthetical.  Updating your sound card drivers if you can might help a little, but the main problem is that the sound card is not protected from the electromagnetic effects of the rest of the computer (plus it's probably not a great card, onboard ones rarely are).&#xD;&#xA; &#xD;&#xA;The new HP laptops with Beats Audio are really interesting.  The sound chips are shielded from the rest of the computer and there are separate chips for low, mid, and high frequency sounds.  The output is supposed to be amazing and I'm sure it would have similar effects on the input." ContentLicense="CC BY-SA 2.5" />
  <row Id="46857" PostHistoryTypeId="2" PostId="26235" RevisionGUID="2e24c738-c974-4073-993d-ad971f9055d9" CreationDate="2010-12-14T08:46:48.210" UserId="7592" UserDisplayName="Pelle ten Cate" Text="&gt;(I just know someone's going to say &quot;get a new laptop&quot; or &quot;replace the motherboard&quot; or something like that...)&#xD;&#xA;&#xD;&#xA;I wouldn't, because you would probably end up in the same situation after some time. Profesionally speaking, if such a component breaks down, I would say: stop working with it. Instead, get your hands on a not too expensive USB interface. Probably even less expensive than getting your motherboard replaced...&#xD;&#xA;&#xD;&#xA;//Edit: you already stated that as an option in your question. Can you elaborate why you are actually searching for an alternative way?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46858" PostHistoryTypeId="2" PostId="26236" RevisionGUID="63c8a631-c190-4428-aa87-cfab12d11054" CreationDate="2010-12-14T10:25:06.553" UserDisplayName="Kim Burgaard" Text="Anything inside a computer chassis is exposed to a nightmare of electrical interference.  The CPU, bus, hard drive and other components all emit electrical fields in the kilo, mega and gigahertz range. On top of that, most integrated and internal sound card vendors aren't that serious about efficient shielding, so you're generally much, much better off with external A/D-D/A converters with proper shielding.&#xD;&#xA;&#xD;&#xA;Also, your investment in a good external USB or firewire audio interface will last you several laptop upgrades." ContentLicense="CC BY-SA 2.5" />
  <row Id="46859" PostHistoryTypeId="2" PostId="26233" RevisionGUID="ea288d31-d970-46f1-956f-41568391a01e" CreationDate="2010-12-14T05:35:10.677" UserId="13414" UserDisplayName="dgw" Text="My Windows XP laptop has a sound card that's integrated with the motherboard.&#xD;&#xA;&#xD;&#xA;I've tried doing some recording directly into Audacity using my headset microphone, but I always get an unacceptable level of noise when I record that way. Using the Roland EDIROL R-09HR I have results in a much, **much** cleaner signal, but I lose the convenience of recording directly into the computer that way.&#xD;&#xA;&#xD;&#xA;Short of adding an external sound card, are there any ways to reduce or eliminate the noise I'm getting from my sound card?&#xD;&#xA;&#xD;&#xA;Audacity can get rid of it in post-processing, but it also warns that the Noise Removal tool can have negative effects on the audio.&#xD;&#xA;&#xD;&#xA;My primary use case is to record batches of words for a software project that I then slice up into files using the Sound Finder and Export Multiple tools.&#xD;&#xA;&#xD;&#xA;(I just *know* someone's going to say &quot;get a new laptop&quot; or &quot;replace the motherboard&quot; or something like that...)" ContentLicense="CC BY-SA 2.5" />
  <row Id="46860" PostHistoryTypeId="1" PostId="26233" RevisionGUID="ea288d31-d970-46f1-956f-41568391a01e" CreationDate="2010-12-14T05:35:10.677" UserId="13414" UserDisplayName="dgw" Text="How can I clean up my laptop's sound card input?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46861" PostHistoryTypeId="3" PostId="26233" RevisionGUID="ea288d31-d970-46f1-956f-41568391a01e" CreationDate="2010-12-14T05:35:10.677" UserId="13414" UserDisplayName="dgw" Text="&lt;noise&gt;&lt;laptop&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46862" PostHistoryTypeId="36" PostId="26236" RevisionGUID="6bf5a643-7ba7-4d28-8d7f-fb278cab76ec" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/261/how-can-i-clean-up-my-laptops-sound-card-input/267#267" />
  <row Id="46863" PostHistoryTypeId="36" PostId="26237" RevisionGUID="af6151b0-b2d5-45bf-acac-60b6a9821fb5" CreationDate="2014-01-27T15:09:41.600" UserId="-1" Comment="from http://avp.stackexchange.com/questions/261/how-can-i-clean-up-my-laptops-sound-card-input/1027#1027" />
  <row Id="46864" PostHistoryTypeId="2" PostId="26237" RevisionGUID="e1f3f8d9-a51f-4697-bf67-3e9a1db90a44" CreationDate="2011-03-15T02:02:12.730" UserId="319" Text="There is something to be said for getting a mixer which will output the proper signal level and using the proper cables.  You can get a passable signal into some on board inputs.  You can also pick up usb interfaces on the used market for under $100.  You're cheap and have other methods of recording, so you can wait for a good deal/auction ;)&#xD;&#xA;&#xD;&#xA;You can also unplug your laptop from the wall and sometimes get rid of the noise." ContentLicense="CC BY-SA 2.5" />
  <row Id="46865" PostHistoryTypeId="36" PostId="26238" RevisionGUID="b7dfed9e-13ce-4be4-86d0-e2768f33f023" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1488/how-to-evaluate-home-studio-monitors" />
  <row Id="46866" PostHistoryTypeId="36" PostId="26239" RevisionGUID="c3cb7ef6-48bb-446e-ac3e-4fb5c62c917e" CreationDate="2014-01-27T15:04:13.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1488/how-to-evaluate-home-studio-monitors/1502#1502" />
  <row Id="46867" PostHistoryTypeId="2" PostId="26239" RevisionGUID="16e21e2b-91e0-41d9-a430-0259dac0c4dd" CreationDate="2011-05-30T22:19:18.853" UserDisplayName="boehj" Text="The best advice I can give is to go and listen to the monitors at a store. It's not perfect, but it'll give you a lot more useful information than spec sheets. Take music you know well and A/B/C/etc. all the monitors on your shortlist.&#xD;&#xA;&#xD;&#xA;I've been surprised a few times when monitors that look good on paper turned out to be bested by significantly cheaper units.&#xD;&#xA;&#xD;&#xA;If you are going to do a listening check, be sure to see how they're hooked up in the store. You may get a shock if the mixer they're running through has the low frequencies boosted and when you get home you discover the sound isn't as 'powerful' as you'd first thought. Also note what inputs they have and how that will gel with your interfaces.&#xD;&#xA;&#xD;&#xA;All of this, of course, depends on where you live relative to dealerships. If you're miles away it may not be possible to get into a decent dealership. On the other hand, monitors are the sort of things that you'll have for years so perhaps it is worth going that extra mile to have a listen." ContentLicense="CC BY-SA 3.0" />
  <row Id="46868" PostHistoryTypeId="2" PostId="26238" RevisionGUID="be8a8d36-72c0-4283-95b7-61ae1c1a0924" CreationDate="2011-05-29T14:59:59.160" UserDisplayName="Mark Richman" Text="I'm looking for a good pair of studio monitors for a home project studio. The room is 12'x12'x10' and I'll be seated about 4' from the speakers. Budget is about $500-600 per pair.&#xD;&#xA;&#xD;&#xA;What features do I need to look for in monitors? What characteristics will be useful in this situation? " ContentLicense="CC BY-SA 3.0" />
  <row Id="46869" PostHistoryTypeId="1" PostId="26238" RevisionGUID="be8a8d36-72c0-4283-95b7-61ae1c1a0924" CreationDate="2011-05-29T14:59:59.160" UserDisplayName="Mark Richman" Text="How to evaluate home studio monitors? " ContentLicense="CC BY-SA 3.0" />
  <row Id="46870" PostHistoryTypeId="3" PostId="26238" RevisionGUID="be8a8d36-72c0-4283-95b7-61ae1c1a0924" CreationDate="2011-05-29T14:59:59.160" UserDisplayName="Mark Richman" Text="&lt;home-studio&gt;&lt;speakers&gt;&lt;monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46871" PostHistoryTypeId="36" PostId="26240" RevisionGUID="170b3b6b-0471-420d-8429-e65506c9cf18" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2543/enhance-badly-converted-128kbps-mp3-samples" />
  <row Id="46872" PostHistoryTypeId="36" PostId="26241" RevisionGUID="63fa3470-672e-47a9-be56-0a7549403db7" CreationDate="2014-01-27T15:07:17.090" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2543/enhance-badly-converted-128kbps-mp3-samples/2545#2545" />
  <row Id="46873" PostHistoryTypeId="2" PostId="26241" RevisionGUID="d979a74c-1f44-464b-823d-6d625522ed3c" CreationDate="2011-10-26T10:23:45.130" UserId="7016" Text="Well, you will lose quality - there is no way to gain it back from 128kbps files. A simple filter can roll off your high pitched 'jangles' but because they have elements across multiple frequencies you aren't going to get rid of them all.&#xD;&#xA;&#xD;&#xA;So give a low pass filter a try or use a treble reducer (similar effect in this type of scenario) and you might get a slight improvement." ContentLicense="CC BY-SA 3.0" />
  <row Id="46874" PostHistoryTypeId="2" PostId="26240" RevisionGUID="634f4985-a7d0-41e5-9edb-eb1d7f979196" CreationDate="2011-10-26T09:20:51.617" UserDisplayName="fredv" Text="i have very old recordings of songs (from my own bands) for which i don't have the source anymore and which have been badly converted to a bad quality mp3 (128kbps)&#xD;&#xA;&#xD;&#xA;I know that's all wrong but i was young and innocent (and the source quality was quite bad too)&#xD;&#xA;&#xD;&#xA;I would like to 'clean' them a little, especially trying to remove the very ugly small artefacts we all know coming from bad mp3 quality (you know, the little treble sound that seems turning in the background)&#xD;&#xA;&#xD;&#xA;Is there a way to try and remove such artefacts without losing too much of the sound ? EQ ways ? plugins ?&#xD;&#xA;&#xD;&#xA;I know it won't be perfect but i would prefer losing quality by removing these ugly sounds rather than keeping a quite good balance but with treble bees turning in the ears ! :)&#xD;&#xA;&#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="46875" PostHistoryTypeId="1" PostId="26240" RevisionGUID="634f4985-a7d0-41e5-9edb-eb1d7f979196" CreationDate="2011-10-26T09:20:51.617" UserDisplayName="fredv" Text="Enhance badly converted 128kbps mp3 samples" ContentLicense="CC BY-SA 3.0" />
  <row Id="46876" PostHistoryTypeId="3" PostId="26240" RevisionGUID="634f4985-a7d0-41e5-9edb-eb1d7f979196" CreationDate="2011-10-26T09:20:51.617" UserDisplayName="fredv" Text="&lt;mp3&gt;&lt;quality&gt;&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46877" PostHistoryTypeId="36" PostId="26242" RevisionGUID="992c1794-7373-4d09-90f3-fbbdae74197c" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/475/pro-tools-tutorials" />
  <row Id="46878" PostHistoryTypeId="2" PostId="26243" RevisionGUID="2c20cfcd-1ce5-4dad-831b-30fe06a387b6" CreationDate="2010-12-30T05:38:12.653" UserId="7398" UserDisplayName="BenV" Text="Here's three good free sources:&#xD;&#xA;&#xD;&#xA; - [&quot;Official&quot; Pro Tools Forums][1]&#xD;&#xA; - [Avid's Pro Tools channel on YouTube][2]&#xD;&#xA; - [www.protoolsguides.com][3]&#xD;&#xA;&#xD;&#xA;If you're willing to pay you could also check out the [groove3 videos][4].  I haven't used them myself but I've heard they're good.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://duc.avid.com/index.php&#xD;&#xA;  [2]: http://www.youtube.com/view_play_list?p=165D5E8741F7614E&#xD;&#xA;  [3]: http://www.protoolsguides.com/&#xD;&#xA;  [4]: http://www.groove3.com/str/pro-tools-training/" ContentLicense="CC BY-SA 2.5" />
  <row Id="46879" PostHistoryTypeId="2" PostId="26242" RevisionGUID="6bf5e370-34a8-4a44-947b-e854fd46b327" CreationDate="2010-12-30T04:38:40.570" UserDisplayName="nepsdotin" Text="Can somebody point me to some good pro tools tutorial from beginners to pro level.&#xD;&#xA;&#xD;&#xA;Your suggestion/feedback are welcome." ContentLicense="CC BY-SA 2.5" />
  <row Id="46880" PostHistoryTypeId="1" PostId="26242" RevisionGUID="6bf5e370-34a8-4a44-947b-e854fd46b327" CreationDate="2010-12-30T04:38:40.570" UserDisplayName="nepsdotin" Text="Pro Tools tutorials" ContentLicense="CC BY-SA 2.5" />
  <row Id="46881" PostHistoryTypeId="3" PostId="26242" RevisionGUID="6bf5e370-34a8-4a44-947b-e854fd46b327" CreationDate="2010-12-30T04:38:40.570" UserDisplayName="nepsdotin" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46882" PostHistoryTypeId="36" PostId="26243" RevisionGUID="52a3c457-0d03-4921-8ef3-13afb5d90776" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/475/pro-tools-tutorials/476#476" />
  <row Id="46883" PostHistoryTypeId="36" PostId="26244" RevisionGUID="ffdc95ea-863b-4978-804d-16a8309ffedf" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/475/pro-tools-tutorials/478#478" />
  <row Id="46884" PostHistoryTypeId="36" PostId="26245" RevisionGUID="ffeaf5a3-da51-4500-8fa0-3a063f95541b" CreationDate="2014-01-27T15:07:50.390" UserId="-1" Comment="from http://avp.stackexchange.com/questions/475/pro-tools-tutorials/8859#8859" />
  <row Id="46885" PostHistoryTypeId="2" PostId="26245" RevisionGUID="a98a78ac-24b1-4afd-afa9-ec22f99c4f6e" CreationDate="2013-08-31T03:15:36.857" UserDisplayName="entelleckt" Text="Home Studio Corner (http://homestudiocorner.com/blog)&#xD;&#xA;&#xD;&#xA;Pensado's Place (http://pensadosplace.tv)" ContentLicense="CC BY-SA 3.0" />
  <row Id="46886" PostHistoryTypeId="2" PostId="26244" RevisionGUID="4da2bc38-a34b-492a-af99-596e11883ba3" CreationDate="2010-12-30T15:13:23.533" UserDisplayName="Ali Inceoglu" Text="&#xD;&#xA;Here some usable tips for protools. Lot more on youtube though.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://homerecording.about.com&#xD;&#xA;&#xD;&#xA;http://www.lynda.com/tutorial/74534&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46887" PostHistoryTypeId="36" PostId="26246" RevisionGUID="4a7ef45c-abb6-44a1-adbc-3b3dbe977cf1" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1318/intel-core-i3-mobile-processors-for-daw-should-i-get-sandy-bridge" />
  <row Id="46888" PostHistoryTypeId="36" PostId="26247" RevisionGUID="ae5ec693-4da5-455b-8f06-661604392cc3" CreationDate="2014-01-27T15:01:35.020" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1318/intel-core-i3-mobile-processors-for-daw-should-i-get-sandy-bridge/1320#1320" />
  <row Id="46889" PostHistoryTypeId="2" PostId="26247" RevisionGUID="b2293bab-748f-425c-8ced-0775290891d7" CreationDate="2011-04-30T17:21:13.263" UserId="7093" Text="When choosing a processor there are a few things to look at:&#xD;&#xA;&#xD;&#xA; - **Processor speed**: This is very important.  The processors you are looking at are all around the same, but every little bit counts.&#xD;&#xA; - **Number of cores**: This is also important, but processor speed is still a bit more important.  At work I went from a 2.8GHz single processor to a 1.8GHz dual processor and really noticed the speed loss.  Most DAWs will use the extra cores, but you may still notice the speed decrease.&#xD;&#xA; - **Front side bus speed**: This can make a bit of a difference, but not as much as the other factors.  This determines how fast the processor can access the memory.&#xD;&#xA; - **Newer architecture**: Newer processors are usually faster than previous generations even if they have the same specs otherwise.&#xD;&#xA; - **Regarding benchmarks**:  These are very subjective as they only test certain aspects of the processor.  A processor may have the highest score on one benchmark, but a much lower score on another.  It just depends on what they are testing.  The only true benchmark is to try your DAW on each laptop and see how it performs.&#xD;&#xA;&#xD;&#xA;Reaper can be run directly from a flash drive.  You could possibly create a project in Reaper and copy the program and project to a flash drive.  Then go down to your local store and try running the project directly from the flash drive on each model to see how it will perform." ContentLicense="CC BY-SA 3.0" />
  <row Id="46890" PostHistoryTypeId="2" PostId="26246" RevisionGUID="1bd5e8e3-ba16-40a9-890a-c968689abf2d" CreationDate="2011-04-30T13:30:39.357" UserId="7471" UserDisplayName="Mark Heath" Text="I'm looking at getting a new laptop to replace a Dell with a T7500 Core 2 Duo chip (2.2GHz).&#xD;&#xA;&#xD;&#xA;According to [this benchmark site][1], the Core i3's score almost double my current processor's score in the &quot;Passmark&quot; benchmark, so I guess whatever I get will be a big improvement. I also noticed that the new i3 2310M Sandy Bridge processor scores significantly higher than the old Core i3's (and even some i5's), despite being clocked at a lower frequency.&#xD;&#xA;&#xD;&#xA; - Core 2 Duo T7500, 2.2GHz, Passmark: 1275&#xD;&#xA; - i3 370M, 2.4GHz, Passmark: 2231&#xD;&#xA; - i3 380M, 2.5GHz, Passmark: 2332&#xD;&#xA; - i5 450M, 2.4GHz, Passmark: 2477&#xD;&#xA; - i3 2310M (Sandy Bridge), 2.1GHz, Passmark: 2708&#xD;&#xA;&#xD;&#xA;However, from [another benchmarking site][2], it would appear that i3 2310M doesn't beat the older chips on different benchmarks (such as Windows Experience Index, or 3D tests).&#xD;&#xA;&#xD;&#xA;My question is, are there benefits in terms of track count in going for the Sandy Bridge over the previous generation i3s for use with my DAW (Reaper)? I use several VSTi's (e.g. Dimension Pro, EZ Drummer) and VSTs (reverbs, eqs, compressors etc) in each project so a bit more processor power would come in handy, especially towards the end of projects when I have about 15-20 tracks each with 3 or 4 effects on. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cpubenchmark.net/cpu_list.php%3Cbr%20/%3E&#xD;&#xA;  [2]: http://www.notebookcheck.net/Intel-Core-i3-2310M-Notebook-Processor.45318.0.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="46891" PostHistoryTypeId="1" PostId="26246" RevisionGUID="1bd5e8e3-ba16-40a9-890a-c968689abf2d" CreationDate="2011-04-30T13:30:39.357" UserId="7471" UserDisplayName="Mark Heath" Text="Intel Core i3 Mobile Processors for DAW - should I get Sandy Bridge?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46892" PostHistoryTypeId="3" PostId="26246" RevisionGUID="1bd5e8e3-ba16-40a9-890a-c968689abf2d" CreationDate="2011-04-30T13:30:39.357" UserId="7471" UserDisplayName="Mark Heath" Text="&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46893" PostHistoryTypeId="36" PostId="26248" RevisionGUID="dd81d3a2-6edc-4648-8f95-96ebff0754f9" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5482/program-to-generate-midi-sounds-and-sequences" />
  <row Id="46894" PostHistoryTypeId="36" PostId="26249" RevisionGUID="779bd12b-b8f5-4ced-94d5-209b64384d96" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5482/program-to-generate-midi-sounds-and-sequences/5483#5483" />
  <row Id="46895" PostHistoryTypeId="2" PostId="26249" RevisionGUID="8e1ce273-f183-4f6f-8fb0-c76ce1a335d0" CreationDate="2012-12-02T21:51:19.207" UserId="7225" Text="Here is such a synthesizer that allow you to &quot;free hand&quot; draw waves (all synthesizers allow adjusting attack, sustain, decay and so forth so for this purpose you can use about any synthesizer).&#xD;&#xA;&#xD;&#xA;Throw this onto a MIDI and VST capable sequencer/DAW such as Cubase, Protools, Reason, FL etc.:&#xD;&#xA;&#xD;&#xA;http://www.synthtopia.com/content/2010/12/18/free-wavetable-synthesizer-for-windows-freehand/  &#xD;&#xA;&#xD;&#xA;(you do have [this one for Gameboy][1] - not sure if that will help you out)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://littlesounddj.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="46896" PostHistoryTypeId="2" PostId="26250" RevisionGUID="c4c59b9f-9676-4e5d-a125-dfbd9ea03f9f" CreationDate="2012-12-02T23:19:44.627" UserId="7189" Text="Trackers are a staple of the chiptune world. You should take a look at [Renoise][1].&#xD;&#xA;&#xD;&#xA;You might be thinking of [Sunvox][2], when you remember &quot;sandbox&quot;.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.renoise.com&#xD;&#xA;  [2]: http://www.warmplace.ru/soft/sunvox/" ContentLicense="CC BY-SA 3.0" />
  <row Id="46897" PostHistoryTypeId="2" PostId="26248" RevisionGUID="72c418f5-09b1-40b4-b5b1-2401a808937a" CreationDate="2012-12-02T20:58:55.837" UserDisplayName="nicooga" Text="I have a few songs I have written for a band using TuxGuitar, with the classic set of instruments: 2 guitars, 1 bass and drums. I can export this songs to MIDI, but since a while I've been searching for a program to &quot;draw&quot; my own waves and sounds in order to make these MIDI songs a little bit more attractive, somewhat like a gameboy 8bits songs. The question is **do you know about any helpful programs to do this?**&#xD;&#xA;&#xD;&#xA;**Note:** I used once a program like this, but couldn't find it again since a friend showed it to me ages ago, it had a name like sandbox or alike. It allowed me to create custom sounds, defining the attack, sustain and other handy stuff as well as drawing the sound wave itself and sequence sounds.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46898" PostHistoryTypeId="1" PostId="26248" RevisionGUID="72c418f5-09b1-40b4-b5b1-2401a808937a" CreationDate="2012-12-02T20:58:55.837" UserDisplayName="nicooga" Text="Program to generate midi sounds and sequences" ContentLicense="CC BY-SA 3.0" />
  <row Id="46899" PostHistoryTypeId="3" PostId="26248" RevisionGUID="72c418f5-09b1-40b4-b5b1-2401a808937a" CreationDate="2012-12-02T20:58:55.837" UserDisplayName="nicooga" Text="&lt;sound&gt;&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46900" PostHistoryTypeId="36" PostId="26250" RevisionGUID="9b515167-46dc-49e4-851d-2fcf05070e89" CreationDate="2014-01-27T15:10:49.760" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5482/program-to-generate-midi-sounds-and-sequences/5484#5484" />
  <row Id="46901" PostHistoryTypeId="2" PostId="26251" RevisionGUID="03f68737-bc48-4cab-96b4-889581b47733" CreationDate="2014-01-27T15:23:01.190" UserId="7258" Text="I eventually settled for an [Audioengine A2 speakers](http://audioengineusa.com/Store/Powered-Speaker-Systems/A2-plus-W-Powered-Desktop-Speakers). Very high quality relative to its price." ContentLicense="CC BY-SA 3.0" />
  <row Id="46906" PostHistoryTypeId="2" PostId="26252" RevisionGUID="d2c260f0-667f-47dc-aec1-3f7ccc86c88d" CreationDate="2014-01-27T15:40:34.133" UserId="7202" Text="Some basic rules when recording voice:&#xD;&#xA;&#xD;&#xA;1. Don't record with the microphone touching your lips. It's too close, the voice will sound bassy when using a directional microphone, and you will get pops and sibilants from when you sing 'p', 't' and 's', etc.&#xD;&#xA;&#xD;&#xA;1. Don't record with the microphone too far away. It will pick up too much of the room sound, and it will sound boxy and roomy.&#xD;&#xA;&#xD;&#xA;1. Try different rooms, if you have more than one. Your hallway might sound better than your bedroom, etc.&#xD;&#xA;&#xD;&#xA;1. Yes, get a pop-shield and a mic stand. You can not hold the microphone while singing, the noises from the hand movements will be recorded. To get rid of that you need mics made for live use, and noise gates and things.&#xD;&#xA;&#xD;&#xA;1. Once you get as good a sound as possible directly out of the microphone, apply compression, EQ and reverb/delay to make it sound even better. Here you generally need to experiment, as what sounds good depends on both the microphone and the&#xD;&#xA;&#xD;&#xA;1. Good equipment helps, but always take the time to get the best out of the equipment you have. If you don't, getting the good equipment will not help much. You learn a lot from using cheap equipment, not least which is why expensive equipment is expensive.&#xD;&#xA;&#xD;&#xA;A final recommendation about microphones is that the next microphone to get very well may be a Shure SM57. Yes, it's also dynamic, but is a good vocal mic *and* a good guitar mic *and* fairly cheap. You might want to go to a store and try out different mics and see what you like. Not all mics suit all voices." ContentLicense="CC BY-SA 3.0" />
  <row Id="46912" PostHistoryTypeId="36" PostId="26253" RevisionGUID="00b7dead-1461-425d-9f4f-6fa42c357476" CreationDate="2014-01-27T15:26:41.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5178/what-is-the-difference-between-a-balanced-and-unbalanced-mono-jack" />
  <row Id="46913" PostHistoryTypeId="36" PostId="26254" RevisionGUID="1ccf0b83-4642-429d-ad8d-3708d16fb88b" CreationDate="2014-01-27T15:26:41.453" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5178/what-is-the-difference-between-a-balanced-and-unbalanced-mono-jack/5179#5179" />
  <row Id="46914" PostHistoryTypeId="2" PostId="26254" RevisionGUID="aed91e4e-c927-46cb-9b4c-d64076daa6b7" CreationDate="2012-10-27T20:14:34.367" UserId="7231" Text="If we're talking about 1/4&quot; 'phone jack' patch cables, you can easily tell the difference by the number of conductors on the plug.&#xD;&#xA;&#xD;&#xA;2-conductor cables are **unbalanced**, and can be identified by the &quot;tip/sleeve&quot; configuration of conductors on the plug. You can call this &quot;TS&quot; for short:&#xD;&#xA;![1/4&quot; TS connector][1]&#xD;&#xA;&#xD;&#xA;In contrast, a 3-conductor cable is **balanced**, and can be identified by the &quot;tip/ring/sleeve&quot; configuration, or &quot;TRS&quot;:&#xD;&#xA;![1/4&quot; TRS connector][2]&#xD;&#xA;&#xD;&#xA;An audio signal is a waveform provided by a change in voltage. That voltage needs to be relative to some other signal--most commonly a ground. Within a closed system you could use a single conductor to transmit this voltage relative to the the common ground of the system, but if you are connecting two different pieces of hardware, you need at minimum two conductors for a mono signal - one for ground, and one for voltage.&#xD;&#xA;&#xD;&#xA;In a stereo signal, you need at minimum three conductors: one for ground, and then one for the voltage of each channel. When we are sending a signal relative only to ground, the line is referred to as **unbalanced**. Unbalanced lines are more susceptible to picking up interference, especially over large cable runs.&#xD;&#xA;&#xD;&#xA;So, if we're talking about audio cables, the 1/4&quot; TS can ONLY carry unbalanced mono signals. The 1/4&quot; TRS is capable of carrying unbalanced stereo signals. However, the 1/4&quot; TRS can ALSO be used for _balanced_ mono signals. This requires a hot AND cold for the signal, IN ADDITION to ground.&#xD;&#xA;&#xD;&#xA;If you examine a microphone XLR cable, you will notice that it too has three conductors. Microphones should ALWAYS use balanced cables due to the nature of the long cable runs. You can easily find 1/4&quot; TRS to XLR adapters, since they are used for mono signals in the same way. Also keep in mind that if you plug a balanced cable into a jack that only accepts unbalanced connections, the signal will still work, but the entire line will be unbalanced since only two conductors are being used.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/B9pmW.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/gqFb4.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="46915" PostHistoryTypeId="2" PostId="26253" RevisionGUID="ec75bcc2-a299-4677-9df9-609e59cb9865" CreationDate="2012-10-27T19:18:36.247" UserId="7239" Text="My Behringer Xenyx 1202 FX has &quot;Balanced or Unbalanced Jacks&quot;. In addition the answer to [this previous question](http://avp.stackexchange.com/a/5159/501) reference both. What's the difference between the two types of Mono Jacks." ContentLicense="CC BY-SA 3.0" />
  <row Id="46916" PostHistoryTypeId="1" PostId="26253" RevisionGUID="ec75bcc2-a299-4677-9df9-609e59cb9865" CreationDate="2012-10-27T19:18:36.247" UserId="7239" Text="What is the difference between a balanced and unbalanced mono jack?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46917" PostHistoryTypeId="3" PostId="26253" RevisionGUID="ec75bcc2-a299-4677-9df9-609e59cb9865" CreationDate="2012-10-27T19:18:36.247" UserId="7239" Text="&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46918" PostHistoryTypeId="36" PostId="26255" RevisionGUID="c90661e9-ac28-47d6-b856-8ccaf415aa63" CreationDate="2014-01-27T15:23:37.363" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9236/problem-with-sonar-and-my-master-keyboard" />
  <row Id="46919" PostHistoryTypeId="36" PostId="26256" RevisionGUID="aca0cc8c-43b5-490a-ad00-716a9e3a7f03" CreationDate="2014-01-27T15:23:37.363" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9236/problem-with-sonar-and-my-master-keyboard/9239#9239" />
  <row Id="46920" PostHistoryTypeId="2" PostId="26256" RevisionGUID="144c990a-9ba4-487c-9366-4ea5557bcceb" CreationDate="2013-10-23T19:01:06.493" UserId="7542" UserDisplayName="Don Nickel" Text="It sounds like you have &quot;Input Quantize&quot; turned on. In the track inspector, there is a area labeled &quot;Input Quantize&quot;, with a drop-down list and an on-off button. Make sure the button is turned off.&#xD;&#xA;&#xD;&#xA;You might be able to press [Ctrl+Z] after recording and it should remove the quantization." ContentLicense="CC BY-SA 3.0" />
  <row Id="46921" PostHistoryTypeId="2" PostId="26255" RevisionGUID="4159b2fc-52b0-451e-a10d-ade12f3438af" CreationDate="2013-10-23T17:49:32.183" UserDisplayName="AdrienNK" Text="I recently bought a master midi keyboard so I could play a bit with all kind of synth on PC.&#xD;&#xA;The keyboard is working well and with the default synth it's doing its job perfectly.&#xD;&#xA;&#xD;&#xA;The problem is that when, within Sonar, I use a more complicated synth the program tries to fit what I play under a certain time signature (well that's how I feel it). I'd like to desactivate this feature and be able to hear exactly what I play and how I play it but I can't find where (I don't even know the name that would have). &#xD;&#xA;&#xD;&#xA;Sorry if this is a stupid or unrelated question, but I'm new to this. " ContentLicense="CC BY-SA 3.0" />
  <row Id="46922" PostHistoryTypeId="1" PostId="26255" RevisionGUID="4159b2fc-52b0-451e-a10d-ade12f3438af" CreationDate="2013-10-23T17:49:32.183" UserDisplayName="AdrienNK" Text="Problem with Sonar and my master keyboard" ContentLicense="CC BY-SA 3.0" />
  <row Id="46923" PostHistoryTypeId="3" PostId="26255" RevisionGUID="4159b2fc-52b0-451e-a10d-ade12f3438af" CreationDate="2013-10-23T17:49:32.183" UserDisplayName="AdrienNK" Text="&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46924" PostHistoryTypeId="36" PostId="26257" RevisionGUID="f27b0846-0519-41e8-bf0f-479a59f773f3" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8190/speed-up-a-selection-in-reaper" />
  <row Id="46925" PostHistoryTypeId="36" PostId="26258" RevisionGUID="251eae21-6159-4cfc-a70c-2eb8654d1c07" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8190/speed-up-a-selection-in-reaper/8200#8200" />
  <row Id="46926" PostHistoryTypeId="36" PostId="26259" RevisionGUID="7ccedac9-9831-40b0-ba74-b11541793126" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8190/speed-up-a-selection-in-reaper/8202#8202" />
  <row Id="46927" PostHistoryTypeId="2" PostId="26258" RevisionGUID="5ae0cfcf-5f71-41e4-9db9-b1bcaa46fd86" CreationDate="2013-06-24T18:34:54.927" UserId="7176" Text="I'm not really familiar with Reaper, but just tried it out with a short clip and it seems to work. This is not a real automatic way, and if you need to do this often this might not be suitable. Instructions are for the Mac, but PC function naming should be similar.&#xD;&#xA;&#xD;&#xA; 1. Go to the place where you want to start the tempo change (place the playhead there).&#xD;&#xA; 2. Click `Insert -&gt; Time Signature/Tempo Change Marker`&#xD;&#xA; 3. Keep values as they are, place a checkmark next to `Gradually transition tempo to next marker` and click `OK`.&#xD;&#xA; 4. Go to the place of maximum speed, repeat step 2.&#xD;&#xA; 5. Change BPM to a desired value and place a checkmark next to `Gradually transition tempo to next marker`. Hit `OK`.&#xD;&#xA; 6. Repeat step 4-5 on the place of minimum speed. You can do this at multiple points on your track, depending on your speed-up/slow-down needs.&#xD;&#xA;&#xD;&#xA;You could try using the `Time Signature/Tempo Change Marker` found in the `Insert` menu" ContentLicense="CC BY-SA 3.0" />
  <row Id="46928" PostHistoryTypeId="2" PostId="26259" RevisionGUID="7ee75211-2113-417f-b5c3-e557a5f08740" CreationDate="2013-06-24T20:01:40.673" UserId="6993" Text="Your best bet with achieving this effect solely with *Reaper* is to **use multiple (background) projects**.&#xD;&#xA;&#xD;&#xA;Move the audio track to a separate tab. Make sure that you have following options ticked:&#xD;&#xA;&#xD;&#xA; - *Run background projects*&#xD;&#xA; - *Play stopped background projects with active project*&#xD;&#xA; - *Synchronize play start times w/ play background projects**&#xD;&#xA;&#xD;&#xA;Then in the new (background) project you can **apply playrate automation**. First make sure that master track can be seen (`View &gt; Master Track`). From available envelopes select `Playrate` and draw the automation values. Something like this:&#xD;&#xA;&#xD;&#xA;![Reaper playrate automation][1]&#xD;&#xA;&#xD;&#xA;You may probably want to select &quot;*Preserve pitch in audio items when changing master playrate*&quot; by right clicking on the `Vari-Speed` knob so that you don't get the chipmunk effect.&#xD;&#xA;&#xD;&#xA;Manipulating MIDI tracks would be easier, as tempo changes should do the job, though you may still need to resort to background projects.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/IxGfi.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="46929" PostHistoryTypeId="2" PostId="26257" RevisionGUID="73d14e9c-4846-445a-aa53-0aebe0193021" CreationDate="2013-06-22T22:07:10.083" UserId="21381" UserDisplayName="Matthew James Davis" Text="I have a track recorded in reaper which I want to variably speed up and slow down as an effect behind my other tracks. Is this an option? Do I need a plugin?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46930" PostHistoryTypeId="1" PostId="26257" RevisionGUID="73d14e9c-4846-445a-aa53-0aebe0193021" CreationDate="2013-06-22T22:07:10.083" UserId="21381" UserDisplayName="Matthew James Davis" Text="Speed up a selection in reaper" ContentLicense="CC BY-SA 3.0" />
  <row Id="46931" PostHistoryTypeId="3" PostId="26257" RevisionGUID="73d14e9c-4846-445a-aa53-0aebe0193021" CreationDate="2013-06-22T22:07:10.083" UserId="21381" UserDisplayName="Matthew James Davis" Text="&lt;reaper&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46932" PostHistoryTypeId="36" PostId="26260" RevisionGUID="efed0e14-66c0-4538-bfb7-b02028fceaa1" CreationDate="2014-01-27T15:24:34.007" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5213/does-a-usb-isolator-work-any-different-than-a-powered-single-port-usb-hub" />
  <row Id="46933" PostHistoryTypeId="36" PostId="26261" RevisionGUID="eecfa9e8-2ff4-4348-a108-b30c238c2e6c" CreationDate="2014-01-27T15:24:34.007" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5213/does-a-usb-isolator-work-any-different-than-a-powered-single-port-usb-hub/5215#5215" />
  <row Id="46934" PostHistoryTypeId="2" PostId="26261" RevisionGUID="42be072b-c9f2-4ce5-81be-bb952a465518" CreationDate="2012-10-31T19:37:24.540" UserId="7189" Text="A USB hub will probably tie all the grounds together, so that won't help you break your ground loop.&#xD;&#xA;&#xD;&#xA;Update: I just checked a [Belkin F5U701 hub][1] with my multimeter (in continuity mode). The grounds of all the USB ports are tied together and tied to the ground of the power supply.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.belkin.com/us/p/P-F5U701" ContentLicense="CC BY-SA 3.0" />
  <row Id="46935" PostHistoryTypeId="2" PostId="26260" RevisionGUID="e9daeb89-35ea-41c0-9385-b0f533dadfbc" CreationDate="2012-10-31T15:40:04.003" UserId="7239" Text="I was [looking at buying a USB Isolator](http://avp.stackexchange.com/q/5201/501); however, I ended up buying [a powered four port USB 3.0 instead](http://www.amazon.com/gp/product/B005HARR2W/ref=oh_details_o00_s00_i00). It was roughly the same price, has a higher speed, and serves a useful alternative function.&#xD;&#xA;&#xD;&#xA;Do these two devices work any differently. They're both powered externally? Will both of these be equally effective at eliminating a ground loop?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46936" PostHistoryTypeId="1" PostId="26260" RevisionGUID="e9daeb89-35ea-41c0-9385-b0f533dadfbc" CreationDate="2012-10-31T15:40:04.003" UserId="7239" Text="Does a USB Isolator work any different than a powered single-port USB Hub?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46937" PostHistoryTypeId="3" PostId="26260" RevisionGUID="e9daeb89-35ea-41c0-9385-b0f533dadfbc" CreationDate="2012-10-31T15:40:04.003" UserId="7239" Text="&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46938" PostHistoryTypeId="36" PostId="26262" RevisionGUID="75532a1c-0957-4dc2-9fd7-0c6ab3d284cf" CreationDate="2014-01-27T15:21:44.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2751/how-to-setup-one-instance-of-kontakt-to-use-more-than-one-virtual-instruments-to" />
  <row Id="46939" PostHistoryTypeId="2" PostId="26263" RevisionGUID="25774e61-9a54-431e-90f2-c0cb64017797" CreationDate="2011-12-06T01:50:05.877" UserId="7459" UserDisplayName="bigp" Text="Ah! Here's a good answer from someone who had the same frustration as I experienced:&#xD;&#xA;http://www.youtube.com/watch?v=2sDfQ88hbLs" ContentLicense="CC BY-SA 3.0" />
  <row Id="46940" PostHistoryTypeId="2" PostId="26262" RevisionGUID="a237b423-1140-4e10-a90e-d285f495587a" CreationDate="2011-12-06T01:26:07.700" UserId="7459" UserDisplayName="bigp" Text="So as far as using one MIDI channel per instruments, I understand that (somewhat). But how to route their output to individual channels in Reaper is a bit beyond me.&#xD;&#xA;&#xD;&#xA;Is there any way to achieve this? Or should I be running a new instance of Kontakt for each instruments? I'm thinking that would be very inefficient.&#xD;&#xA;&#xD;&#xA;I'm using Kontakt 5, but I'm pretty sure it has similar routing capabilities as Kontakt 4.&#xD;&#xA;&#xD;&#xA;The host DAW I'm using is Reaper." ContentLicense="CC BY-SA 3.0" />
  <row Id="46941" PostHistoryTypeId="1" PostId="26262" RevisionGUID="a237b423-1140-4e10-a90e-d285f495587a" CreationDate="2011-12-06T01:26:07.700" UserId="7459" UserDisplayName="bigp" Text="How to setup one instance of Kontakt to use more than one virtual instruments to their own outputs" ContentLicense="CC BY-SA 3.0" />
  <row Id="46942" PostHistoryTypeId="3" PostId="26262" RevisionGUID="a237b423-1140-4e10-a90e-d285f495587a" CreationDate="2011-12-06T01:26:07.700" UserId="7459" UserDisplayName="bigp" Text="&lt;plugins&gt;&lt;reaper&gt;&lt;setup&gt;&lt;kontakt&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46943" PostHistoryTypeId="36" PostId="26263" RevisionGUID="f007c3ad-2f32-4936-bf97-8c368f58887c" CreationDate="2014-01-27T15:21:44.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2751/how-to-setup-one-instance-of-kontakt-to-use-more-than-one-virtual-instruments-to/2752#2752" />
  <row Id="46944" PostHistoryTypeId="36" PostId="26264" RevisionGUID="238b695a-4568-406e-bea6-3fe4eee7d931" CreationDate="2014-01-27T15:21:44.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9418/how-to-find-native-asio-drivers" />
  <row Id="46945" PostHistoryTypeId="36" PostId="26265" RevisionGUID="3bda66af-0286-4d2e-a7fe-67c21936f3d5" CreationDate="2014-01-27T15:21:44.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9418/how-to-find-native-asio-drivers/9425#9425" />
  <row Id="46946" PostHistoryTypeId="36" PostId="26266" RevisionGUID="75323f59-f934-4c9f-857b-133a10dd8741" CreationDate="2014-01-27T15:21:44.183" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9418/how-to-find-native-asio-drivers/9431#9431" />
  <row Id="46947" PostHistoryTypeId="2" PostId="26265" RevisionGUID="6bc8a824-f1d9-4df7-bac8-906081dcfe08" CreationDate="2013-11-18T08:29:55.290" UserId="6755" Text="Integrated sound cards generally do not have ASIO drivers. However, if yours does then your most likely to find it through the HP website in their drivers section. Or perhaps look at the drivers section from the sound card manufacturers website." ContentLicense="CC BY-SA 3.0" />
  <row Id="46948" PostHistoryTypeId="2" PostId="26266" RevisionGUID="d3a1bdc1-20fb-4520-8d44-95585f772311" CreationDate="2013-11-18T16:58:27.970" UserId="7294" UserDisplayName="Warrior Bob" Text="It is, from personal experience, pretty uncommon for builtin/integrated sound hardware to include drivers with ASIO support. If they do exist, you'll find them on the manufacturer's website if they aren't already included with the hardware. If they don't, you're stuck with ASIO4ALL (which itself is kind of a workaround) unless you invest in some audio interface that does include ASIO drivers." ContentLicense="CC BY-SA 3.0" />
  <row Id="46949" PostHistoryTypeId="2" PostId="26264" RevisionGUID="881af3bc-1833-4faa-b667-a3b34f85292d" CreationDate="2013-11-17T21:35:05.820" UserDisplayName="Joey Miller" Text="I have an HP Pavilion g7 laptop that comes with an AMD sound card (IDT HD Audio Codec etc.), but must use an ASIO driver with my Native Instruments Maschine. ASIO4ALL is pretty terrible, so how would I find and use the native ASIO driver that comes with my sound card (if there is one)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46950" PostHistoryTypeId="1" PostId="26264" RevisionGUID="881af3bc-1833-4faa-b667-a3b34f85292d" CreationDate="2013-11-17T21:35:05.820" UserDisplayName="Joey Miller" Text="How to find native ASIO drivers?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46951" PostHistoryTypeId="3" PostId="26264" RevisionGUID="881af3bc-1833-4faa-b667-a3b34f85292d" CreationDate="2013-11-17T21:35:05.820" UserDisplayName="Joey Miller" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46952" PostHistoryTypeId="36" PostId="26267" RevisionGUID="920971b8-b27f-4dcb-8a34-0ed42887e6d5" CreationDate="2014-01-27T15:19:49.550" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8148/what-are-the-disadvantages-of-a-powered-speakers-setup-over-passive-setup" />
  <row Id="46953" PostHistoryTypeId="2" PostId="26268" RevisionGUID="8c35374d-9009-4926-a6bf-74cd98e8f2c3" CreationDate="2013-06-18T14:21:08.803" UserId="7174" Text="The main disadvantage is generally cost and modularity, the advantage is simplicity.  With an amp and passive speaker system, you can invest separately in a good amp and good speakers.  You can upgrade one without the other and you have more flexibility in how you can upgrade.  Also, generally, higher quality combined speakers will be more expensive than similar quality from a separate amp and speaker combo.&#xD;&#xA;&#xD;&#xA;Generally, most active speakers are kind of so, so, but there are some good sets made.  The big thing is that they are jack of all trade type solutions.  They have the simplicity of combining the speaker and amp in an easy to use package, but they also don't generally have a great amp or a great cabinet.  To get one that is good, you have to pay and they are still linked so that if the amp fails you need to repair the speaker instead of simply buying a new amp.  Similarly, if the speaker breaks, you need to repair it rather than simply replacing the speaker.&#xD;&#xA;&#xD;&#xA;I generally haven't seen a set of powered speakers that I would recommend for someone who understands how to properly setup an amp and speakers.  I generally mostly see powered speakers being used for foolproof setups that need to be done by average users that don't have experience.  Ultimately though, if you need the ultra portability and quick setup, they may be worth the premium and upkeep costs for your situation." ContentLicense="CC BY-SA 3.0" />
  <row Id="46954" PostHistoryTypeId="2" PostId="26267" RevisionGUID="d8d98588-91f6-4a23-9d53-4d9d48baa869" CreationDate="2013-06-18T13:54:15.333" UserId="7487" UserDisplayName="Stoan" Text="Im looking to build a mobile DJ Sound System. I want to use powered speakers and do away with speakers and amp setup. I'm looking to accommodate at least 300 people.&#xD;&#xA;&#xD;&#xA;**This is the equipment I was thinking of getting:**&#xD;&#xA;&#xD;&#xA; - 1 X American Audio PXW18P 800W Powered Subwoofer&#xD;&#xA; - 4 X Behringer EUROLIVE B115D 15in Active Speaker&#xD;&#xA;&#xD;&#xA;I assume I will connect them in a daisy chain style?&#xD;&#xA;&#xD;&#xA;PS. This is my first ever sound setup. I currently own a Pioneer DJM Mixer.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="46955" PostHistoryTypeId="1" PostId="26267" RevisionGUID="d8d98588-91f6-4a23-9d53-4d9d48baa869" CreationDate="2013-06-18T13:54:15.333" UserId="7487" UserDisplayName="Stoan" Text="What are the disadvantages of a powered speakers setup over passive setup?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46956" PostHistoryTypeId="3" PostId="26267" RevisionGUID="d8d98588-91f6-4a23-9d53-4d9d48baa869" CreationDate="2013-06-18T13:54:15.333" UserId="7487" UserDisplayName="Stoan" Text="&lt;setup&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46957" PostHistoryTypeId="36" PostId="26268" RevisionGUID="ac3b0462-b5d4-4b43-bba7-4e58b460baaa" CreationDate="2014-01-27T15:19:49.550" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8148/what-are-the-disadvantages-of-a-powered-speakers-setup-over-passive-setup/8149#8149" />
  <row Id="46958" PostHistoryTypeId="36" PostId="26269" RevisionGUID="b6baa807-bd60-49c4-add8-8a312659ba27" CreationDate="2014-01-27T15:19:49.550" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8148/what-are-the-disadvantages-of-a-powered-speakers-setup-over-passive-setup/8151#8151" />
  <row Id="46959" PostHistoryTypeId="2" PostId="26269" RevisionGUID="546b43b2-895e-457e-8ed4-cd2e8347b31a" CreationDate="2013-06-18T14:50:42.660" UserId="21268" UserDisplayName="DAC" Text="A powered speaker will generally cost more and be heavier, since they integrate the amp.&#xD;&#xA;&#xD;&#xA;If you are going with 4 speakers, and want flexibility in adding more in the future, it may be worth it to go passive. Behringer makes some nice 4 channel amps that are lightweight, look for the iNuke series.&#xD;&#xA;&#xD;&#xA;I have 2 of the 10&quot; Behringer active speakers and they are handy for quick setups and monitors, but I would not want to deal with 4 heavy active 15&quot; sized ones.&#xD;&#xA;&#xD;&#xA;Also, not sure about your setup, but adding a crossover after your mixer and before the amps to split the lows/highs does wonders for the sound and helps protect your amps/speakers (whether active or passive) from being overdriven with too wide of a range." ContentLicense="CC BY-SA 3.0" />
  <row Id="46960" PostHistoryTypeId="36" PostId="26270" RevisionGUID="8a7d5d11-8d62-4009-b7e0-65dbdf28d259" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4041/attributes-to-look-for-in-powered-speakers" />
  <row Id="46961" PostHistoryTypeId="36" PostId="26271" RevisionGUID="78f8bcf5-16af-49fb-96ff-52a95fcc204b" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4041/attributes-to-look-for-in-powered-speakers/4042#4042" />
  <row Id="46962" PostHistoryTypeId="2" PostId="26271" RevisionGUID="61eeb567-b33e-4f38-a8bc-4f133537c873" CreationDate="2012-05-22T23:30:01.060" UserId="7188" Text="Watts per pound.&#xD;&#xA;&#xD;&#xA;That is to say you want to evaluate on the following criteria:&#xD;&#xA;&#xD;&#xA;How portable is it? (Can you fit it in your car with all the other gear? Will these be light enough for you to pick up and move?)&#xD;&#xA;&#xD;&#xA;How powerful is it? (Can you fill your average venue with enough clean as in non-clipping volume with some head room to spare?)&#xD;&#xA;&#xD;&#xA;To simplify, the more watts per pound should be an indicator at satisfying this criteria.&#xD;&#xA;&#xD;&#xA;When it comes down to it, there are usually 2 or 3 models that will fit, then you should do a live A/B comparison while taking into account the subtle differences in tone and quality.&#xD;&#xA;&#xD;&#xA;Other important considerations are how reliable are the power supplies? How clean is the power, noise issues? How forgiving are the power supplies with venues that may have brown outs or lots of noise on the utility line--will you need to buy a power conditioner too, or do the speaker power supplies keep things clean?&#xD;&#xA;&#xD;&#xA;The most important item here is how well do these power speakers perform for your music show? Do they deliver the sound as you intend?" ContentLicense="CC BY-SA 3.0" />
  <row Id="46963" PostHistoryTypeId="2" PostId="26270" RevisionGUID="d6253595-ce65-4566-907f-5f1630fbd4ec" CreationDate="2012-05-22T21:15:20.463" UserDisplayName="Raj More" Text="I am setting up a [DJ setup as outlined here][1]&#xD;&#xA;&#xD;&#xA; - Laptop with multi-output sound card&#xD;&#xA; - Possible mixer&#xD;&#xA; - Powered Speakers&#xD;&#xA;&#xD;&#xA;What are some important characteristics that I should look for in the powered speakers in such a setup&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/4040/is-a-mixer-a-necessary-part-of-this-setup" ContentLicense="CC BY-SA 3.0" />
  <row Id="46964" PostHistoryTypeId="1" PostId="26270" RevisionGUID="d6253595-ce65-4566-907f-5f1630fbd4ec" CreationDate="2012-05-22T21:15:20.463" UserDisplayName="Raj More" Text="Attributes to look for in Powered Speakers" ContentLicense="CC BY-SA 3.0" />
  <row Id="46965" PostHistoryTypeId="3" PostId="26270" RevisionGUID="d6253595-ce65-4566-907f-5f1630fbd4ec" CreationDate="2012-05-22T21:15:20.463" UserDisplayName="Raj More" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46970" PostHistoryTypeId="36" PostId="26273" RevisionGUID="8b0325ee-1208-4549-89e4-d71787cbf530" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/223/fixing-acoustics-in-a-glorified-hallway" />
  <row Id="46971" PostHistoryTypeId="2" PostId="26274" RevisionGUID="a8dd5735-254d-4803-8359-50e31bb78f02" CreationDate="2010-12-10T21:11:55.343" UserId="7592" UserDisplayName="Pelle ten Cate" Text="First of all, standing waves (i.e. flutter echoes) are your worst enemy. To figure out if you suffer from these guys: make the room silent and clap your hands. Can you hear a nasty tone, or does it just sound like regular accoustics? Try at different places. Flutter echoes normally come when two parallel stone walls are against each other. If you find a spot with flutter echoes, try covering one side of the wall with a blanket or some other damping material, and see if the flutter disappears.&#xD;&#xA;&#xD;&#xA;Generally, soft material is a good damper. If you need a really dry room, consider hanging curtains covering all the hard walls. &#xD;&#xA;&#xD;&#xA;A very difficult issue could be the floor. If you happen to have a wooden or--even worse--stone floor, this is really bad for the acoustics, since basically every sound reflects once to it. Carpets are highly recommendable in these cases.&#xD;&#xA;&#xD;&#xA;After you've done that, and the reverb / acoustics are more or less gone, check the frequency balance of your room. It might well be that you want to boost or eliminate low frequencies. Build some kind of a _Helmholtz resonator_ or _Helmholtz absorber_ for this. You can make these quite cheap from pieces of plywood and foam. Measuring is important, since it specifies the frequencies that you boost or eliminate." ContentLicense="CC BY-SA 2.5" />
  <row Id="46972" PostHistoryTypeId="2" PostId="26273" RevisionGUID="44e98453-3d18-44d3-963b-58ae7a3d18f9" CreationDate="2010-12-10T19:32:05.373" UserId="7209" Text="We have a small radio studio that is essentially in a hallway.  When on air, you can definitely hear the room coming through the mics.  It sounds like there is a lot of standing wave.&#xD;&#xA;&#xD;&#xA;Our budget is small, but we can get money to fix it if I can come up with a solid plan.&#xD;&#xA;&#xD;&#xA;Here is our studio:&#xD;&#xA;&#xD;&#xA;![Studio floor plan][1]&#xD;&#xA;&#xD;&#xA;Sorry about not having exact dimensions, but I believe these are close.  I'm open for any ideas to make this room work better for us, but am guessing if I can treat the walls up to the top edge of the closet door with some sound absorption panels, it will help somewhat.&#xD;&#xA;&#xD;&#xA;My ultimate goal would to make the room very dry, not unlike you hear when folks speak on NPR.  However, I'll take what we can get, given a small budget (likely &lt;$200).&#xD;&#xA;&#xD;&#xA;Ideas?  Thoughts?&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/N9IkY.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="46973" PostHistoryTypeId="1" PostId="26273" RevisionGUID="44e98453-3d18-44d3-963b-58ae7a3d18f9" CreationDate="2010-12-10T19:32:05.373" UserId="7209" Text="Fixing acoustics in a glorified hallway" ContentLicense="CC BY-SA 2.5" />
  <row Id="46974" PostHistoryTypeId="3" PostId="26273" RevisionGUID="44e98453-3d18-44d3-963b-58ae7a3d18f9" CreationDate="2010-12-10T19:32:05.373" UserId="7209" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46975" PostHistoryTypeId="36" PostId="26274" RevisionGUID="e9dc17ef-0da5-4bd6-80a3-c48aa289b6b9" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/223/fixing-acoustics-in-a-glorified-hallway/227#227" />
  <row Id="46976" PostHistoryTypeId="36" PostId="26275" RevisionGUID="267c0674-73cb-4f4e-a369-75dd7766a5a7" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/262/potential-problems-with-chaining-mic-cables" />
  <row Id="46977" PostHistoryTypeId="2" PostId="26276" RevisionGUID="ea8b51ec-18f4-48f9-9b7f-2d6a276b7df5" CreationDate="2010-12-14T06:46:09.093" UserId="9459" UserDisplayName="Matthew Read" Text="Every junction creates a point of high resistance, and alters the signal negatively.  I don't know to what extent this affects audio quality, but in general it's best to use a single cable (barring the need to boost the signal power if the distance is really long)." ContentLicense="CC BY-SA 2.5" />
  <row Id="46978" PostHistoryTypeId="2" PostId="26275" RevisionGUID="4cbc98c2-6c72-455c-866d-bffa358c70d5" CreationDate="2010-12-14T06:16:52.480" UserId="7398" UserDisplayName="BenV" Text="Will connecting several mic cables together impact the quality of the recording?  Obviously with every additional cable there's an added risk of a loose connection, but assuming my cables and connections are good, is there a reason to avoid this?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46979" PostHistoryTypeId="1" PostId="26275" RevisionGUID="4cbc98c2-6c72-455c-866d-bffa358c70d5" CreationDate="2010-12-14T06:16:52.480" UserId="7398" UserDisplayName="BenV" Text="Potential problems with chaining mic cables?" ContentLicense="CC BY-SA 2.5" />
  <row Id="46980" PostHistoryTypeId="3" PostId="26275" RevisionGUID="4cbc98c2-6c72-455c-866d-bffa358c70d5" CreationDate="2010-12-14T06:16:52.480" UserId="7398" UserDisplayName="BenV" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="46981" PostHistoryTypeId="36" PostId="26276" RevisionGUID="ddb8d679-0b36-4448-9365-2e5f97190222" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/262/potential-problems-with-chaining-mic-cables/264#264" />
  <row Id="46982" PostHistoryTypeId="36" PostId="26277" RevisionGUID="5db21396-b842-4829-92cb-7179a92f94da" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/262/potential-problems-with-chaining-mic-cables/265#265" />
  <row Id="46983" PostHistoryTypeId="36" PostId="26278" RevisionGUID="411121bd-6af5-42c4-8329-4700f2ca281c" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/262/potential-problems-with-chaining-mic-cables/274#274" />
  <row Id="46984" PostHistoryTypeId="2" PostId="26277" RevisionGUID="503a59b1-ac53-4048-9e4a-b2354a92b56b" CreationDate="2010-12-14T08:44:23.283" UserId="7592" UserDisplayName="Pelle ten Cate" Text="While this is basically correct, and I know a few engineers that want to keep cable length as short and clean as possible, in my opinion the quality you lose by connecting two cables together (when good quality XLR cables with balanced signal are used) is of very little significance compared to the type of pre-amplifier you use and the rest of the equipment." ContentLicense="CC BY-SA 2.5" />
  <row Id="46985" PostHistoryTypeId="2" PostId="26278" RevisionGUID="840b747e-7ef4-4c5b-8736-61574d61c96f" CreationDate="2010-12-14T18:20:03.423" UserId="7294" UserDisplayName="Warrior Bob" Text="My experience has been that chaining cables together tends to raise the noise level, thereby reducing the signal-to-noise ratio.  I try to avoid it whenever I can.  It seems to get worse if I'm using an unbalanced cable or a poorly shielded cable.  I haven't observed any difference using well-shielded balanced XLR cables.&#xD;&#xA;&#xD;&#xA;However, use your ears, and your level meters - try it with just one cable, then try it with a chain of cables.  See if you can hear a difference or see that the noise level raises.  If you can clearly discern a difference, then you should avoid using such a chain." ContentLicense="CC BY-SA 2.5" />
  <row Id="46986" PostHistoryTypeId="36" PostId="26279" RevisionGUID="628e9890-48ce-4a82-b9f4-331f90dbba56" CreationDate="2014-01-27T15:15:47.157" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5444/articulation-switches-in-ni-battery-3" />
  <row Id="46987" PostHistoryTypeId="36" PostId="26280" RevisionGUID="d196dcb2-ae86-4343-8c51-cb1810fa94c9" CreationDate="2014-01-27T15:15:47.157" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5444/articulation-switches-in-ni-battery-3/5445#5445" />
  <row Id="46988" PostHistoryTypeId="2" PostId="26280" RevisionGUID="f60c7b96-327b-4488-93a9-0ecdc2948c2d" CreationDate="2012-11-29T01:30:05.020" UserId="7189" Text="I don't know if Battery supports using MIDI notes as switches the way Kontakt does, but you can link a MIDI CC macro to most of Battery's controls. Check the manual for details on how to do it." ContentLicense="CC BY-SA 3.0" />
  <row Id="46989" PostHistoryTypeId="2" PostId="26279" RevisionGUID="d89ab013-e4fc-4f0e-8c89-1cd19ec9c2d1" CreationDate="2012-11-29T01:11:47.237" UserId="7431" UserDisplayName="Sergey Stadnik" Text="Is there any way to create articulation keyswitches in NI Battery 3 in the same way it is done in Kontakt?&#xD;&#xA;&#xD;&#xA;For example, I want to have a single snare drum cell and make it play with or without flams depending on a MIDI event, which may be a 0-octave note which serves like a switch, or an automation event." ContentLicense="CC BY-SA 3.0" />
  <row Id="46990" PostHistoryTypeId="1" PostId="26279" RevisionGUID="d89ab013-e4fc-4f0e-8c89-1cd19ec9c2d1" CreationDate="2012-11-29T01:11:47.237" UserId="7431" UserDisplayName="Sergey Stadnik" Text="Articulation switches in NI Battery 3" ContentLicense="CC BY-SA 3.0" />
  <row Id="46991" PostHistoryTypeId="3" PostId="26279" RevisionGUID="d89ab013-e4fc-4f0e-8c89-1cd19ec9c2d1" CreationDate="2012-11-29T01:11:47.237" UserId="7431" UserDisplayName="Sergey Stadnik" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="46992" PostHistoryTypeId="36" PostId="26281" RevisionGUID="b7c27dc4-cfc3-4483-b5f1-c825e3899e0e" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1227/freeware-guitar-amp-sim-vsts" />
  <row Id="46993" PostHistoryTypeId="36" PostId="26282" RevisionGUID="04d42085-d23c-444e-8679-316c8a2404ca" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1227/freeware-guitar-amp-sim-vsts/1228#1228" />
  <row Id="46994" PostHistoryTypeId="36" PostId="26283" RevisionGUID="93783456-02ad-4853-a8f2-27cd090bbc98" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1227/freeware-guitar-amp-sim-vsts/1229#1229" />
  <row Id="46995" PostHistoryTypeId="36" PostId="26284" RevisionGUID="34d621b8-22a4-4477-8c93-088887b63f8c" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1227/freeware-guitar-amp-sim-vsts/1230#1230" />
  <row Id="46996" PostHistoryTypeId="36" PostId="26285" RevisionGUID="97fe3dc5-40b2-4b4e-ad38-a6703ca71895" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1227/freeware-guitar-amp-sim-vsts/1231#1231" />
  <row Id="46997" PostHistoryTypeId="2" PostId="26282" RevisionGUID="6f7ad76e-3fb3-4a17-8508-8ffd5feb9daf" CreationDate="2011-04-21T12:34:51.870" UserId="7471" UserDisplayName="Mark Heath" Text="[*Native Instruments Guitar Rig 4 Player*][1] is a free version of their commercial Guitar Rig 4 effects package.  It contains just one amp sim &quot;Jump&quot; (looks like it is based on a Marshall) and one cabinet, plus a fairly generous selection of additional effects. You have to get an authorisation code to download and install it, and obviously they want to persuade you to upgrade to the [full version][2], but what you get for free is still very useful. The user interface is very well designed, making it easy to find patches, or to design your own. It also includes a tuner and a standalone host app for live playing or practice that includes a &quot;tape deck&quot; for you to play along with backing tracks.&#xD;&#xA;&#xD;&#xA;![Guitar Rig 4 Player][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;* True stereo effects processor powered by the supreme sound Engine of GUITAR RIG 4&#xD;&#xA;* 22 fully functional components including the Jump Amp / Cabinet and 12 electrifying effects&#xD;&#xA;* Seamlessly expandable with new Komplete Effects by NI&#xD;&#xA;* Complex multi-effects and parallel processing with unrivaled usability through the simple Rack concept&#xD;&#xA;* Easy integrated parameter automation through Modifiers as well as perfect host integration&#xD;&#xA;* Powerful preset browser with extensive search functions&#xD;&#xA;* 30 brand new, high-quality presets for all genres and source materials&#xD;&#xA;* Direct MIDI Learn for all sliders and knobs offers convenient controller integration&#xD;&#xA;* Integrated tuner, metronome and two Tapedeck modules for easy recording&#xD;&#xA;* Dedicated &quot;Live View&quot; for performing on stage&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.native-instruments.com/#/en/products/producer/guitar-rig-4-player/&#xD;&#xA;  [2]: http://www.native-instruments.com/#/en/products/guitar/guitar-rig-4-pro/&#xD;&#xA;  [3]: http://i.stack.imgur.com/nZrzA.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="46998" PostHistoryTypeId="2" PostId="26283" RevisionGUID="8ac0cd37-d80b-4f3e-9d12-bffb864e7c1f" CreationDate="2011-04-21T12:46:06.837" UserId="7471" UserDisplayName="Mark Heath" Text="[*Studio Devil British Valve Custom*][1] is an emulation of a Marshall amp with 4x12 cabinet emulation. It has a no frills user interface, with just the basic tone and gain controls making it very straightforward to use. You have to create an account on their website to download it. As with a number of other free guitar VSTs, StudioDevil also make a more fully featured non-freeware amp. Despite the limited configuration options, this guitar effect is still quite versatile and usable for a variety of styles from rock to blues &amp; jazz. It comes with a standalone host app for live playing or practice.&#xD;&#xA;&#xD;&#xA;![Studio Devil British Valve Custom GUI][2]&#xD;&#xA;&#xD;&#xA;Feature list:&#xD;&#xA;&#xD;&#xA;* British High-Gain Amp emulation based on Marshall® stack!&#xD;&#xA;* Power Amp Drive Control to adjust natural power amp compression.&#xD;&#xA;* Built In 4x12 Cabinet Emulation!&#xD;&#xA;* Realistic Tone Controls: Bass, Mids, Treble, and Presence&#xD;&#xA;* Professional Sampling Rates: 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, and 192kHz support!&#xD;&#xA;* 4X Up-Sampling Engine with 64-bit Floating-Point Internal Precision&#xD;&#xA;* Compatible with Windows and Mac VST, Audio Units and ProTools RTAS hosts!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.studiodevil.com/products/british_valve_custom/&#xD;&#xA;  [2]: http://i.stack.imgur.com/6F22w.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="46999" PostHistoryTypeId="2" PostId="26284" RevisionGUID="7cadab3e-8810-4852-9463-f12e7e38be99" CreationDate="2011-04-21T12:55:29.513" UserId="7471" UserDisplayName="Mark Heath" Text="*[Fretted Synth FreeAmp 3][1]* is the latest evolution of one what was probably the first comprehensive guitar amp and effects VST to be made available as freeware. It contains a remarkable array of features and although it has not been updated for some time, remains a useful tool. The sound is not quite as polished as some of the newer commercial products, but if you are prepared to spend a bit of time tweaking the amp and cabinet settings, you can get some great sounds out of this amp. If you don't need the effects, you can download a smaller version that just has the amp and cabinet sims.&#xD;&#xA;&#xD;&#xA;![Fretted Synth FreeAmp 3 GUI][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://rekkerd.org/fretted-synth/&#xD;&#xA;  [2]: http://i.stack.imgur.com/Sw9Er.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="47000" PostHistoryTypeId="2" PostId="26285" RevisionGUID="987465f5-4ed5-425f-8270-cca9296ab52b" CreationDate="2011-04-21T13:05:53.483" UserId="7471" UserDisplayName="Mark Heath" Text="[*Voxengo Boogex*][1] is interesting mainly because of its extreme flexibility. It consists of three parts. The first - a &quot;pre-filter&quot; allows for dramatic shaping of the EQ of the incoming signal. The next stage is the amplifier itself, which I think is the weakest part of this effect. The third stage is the cabinet emulation, which allows you to select from some supplied cabinet impulse responses, or, more interestingly, supply your own (there are lots of great free ones available on the web). If you have some patience and are willing to experiment, you can get some very nice sounds out of this effect. &#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.voxengo.com/product/boogex/&#xD;&#xA;  [2]: http://i.stack.imgur.com/COhb3.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="47001" PostHistoryTypeId="2" PostId="26281" RevisionGUID="c4703c8d-368c-4630-af43-e6a1be525c07" CreationDate="2011-04-21T12:23:28.730" UserId="7471" UserDisplayName="Mark Heath" Text="What freeware guitar amp sim VSTs can you recommend? Please link to just one effect per answer so we can vote for favourites.&#xD;&#xA;&#xD;&#xA;Useful information for each plugin includes:&#xD;&#xA;&#xD;&#xA; * link to download&#xD;&#xA; * features&#xD;&#xA; * screenshot&#xD;&#xA; * platforms supported (e.g. Windows / Mac, VST, RTAS, AudioUnit)&#xD;&#xA; * CPU usage (can you live monitor&#xD;&#xA; * any registration/authorization hoops you have to jump through to use it" ContentLicense="CC BY-SA 3.0" />
  <row Id="47002" PostHistoryTypeId="1" PostId="26281" RevisionGUID="c4703c8d-368c-4630-af43-e6a1be525c07" CreationDate="2011-04-21T12:23:28.730" UserId="7471" UserDisplayName="Mark Heath" Text="Freeware Guitar Amp Sim VSTs" ContentLicense="CC BY-SA 3.0" />
  <row Id="47003" PostHistoryTypeId="3" PostId="26281" RevisionGUID="c4703c8d-368c-4630-af43-e6a1be525c07" CreationDate="2011-04-21T12:23:28.730" UserId="7471" UserDisplayName="Mark Heath" Text="&lt;plugins&gt;&lt;vst&gt;&lt;freeware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47004" PostHistoryTypeId="36" PostId="26286" RevisionGUID="dacb2116-7bb1-4c34-b099-2e24e86285cd" CreationDate="2014-01-27T15:17:33.820" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5834/how-do-i-split-splice-and-realign-parts-of-tracks-in-garage-band" />
  <row Id="47005" PostHistoryTypeId="2" PostId="26287" RevisionGUID="3cfec670-9b3c-49b0-a8f2-578334abf565" CreationDate="2013-01-13T20:27:12.687" UserDisplayName="b2550" Text="For this situation I would recommend Audacity. This is how you can do it in Garage Band. To splice, simply double click on the track you want to splice, go to the slider that popped up and go to the bottom section of the track. Here you can select, select what you want to delete and ether 1, double click to make it into a separate clip or 2, press delete. To quantize it, go under Audio Region, click on the drop down under &quot;Quantize Note Timing&quot; and select the timing, this will quantize the whole track. If you click in the top section of a track, you can drag waveforms to the correct position. I will put pictures if you are still confused." ContentLicense="CC BY-SA 3.0" />
  <row Id="47006" PostHistoryTypeId="2" PostId="26286" RevisionGUID="a674ee00-31ff-4854-ab02-6401a0b521ff" CreationDate="2013-01-13T17:38:07.707" UserDisplayName="Jay Walker" Text="I used Garage Band 6.0.5 in conjunction with a Shure Beta87 microphone and AudioBox USB to record my son and friends singing made up lyrics to a song for a school project. I recorded 6 'takes' of them singing and would like to splice together the best portions of each take and layer that on top of an instrumental version of the song. In some cases, the timing is off. &#xD;&#xA;&#xD;&#xA; 1. How to split/splice tracks?&#xD;&#xA; 2. Is there a way to 'realign' a portion of a track to get it back in time?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47007" PostHistoryTypeId="1" PostId="26286" RevisionGUID="a674ee00-31ff-4854-ab02-6401a0b521ff" CreationDate="2013-01-13T17:38:07.707" UserDisplayName="Jay Walker" Text="How do I split/splice and realign parts of tracks in Garage Band?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47008" PostHistoryTypeId="3" PostId="26286" RevisionGUID="a674ee00-31ff-4854-ab02-6401a0b521ff" CreationDate="2013-01-13T17:38:07.707" UserDisplayName="Jay Walker" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47009" PostHistoryTypeId="36" PostId="26287" RevisionGUID="5fa048e2-8ec8-4d73-8bd7-7eef97f09362" CreationDate="2014-01-27T15:17:33.820" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5834/how-do-i-split-splice-and-realign-parts-of-tracks-in-garage-band/5835#5835" />
  <row Id="47010" PostHistoryTypeId="36" PostId="26288" RevisionGUID="621ef21a-b13a-461e-aea1-878727462d73" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1575/online-collaboration-sites" />
  <row Id="47011" PostHistoryTypeId="36" PostId="26289" RevisionGUID="89c88396-1004-4298-8bc3-e8a9353b192a" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1575/online-collaboration-sites/1576#1576" />
  <row Id="47012" PostHistoryTypeId="36" PostId="26290" RevisionGUID="93372508-dac6-4b13-82ed-9d593fd49e40" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1575/online-collaboration-sites/1577#1577" />
  <row Id="47013" PostHistoryTypeId="36" PostId="26291" RevisionGUID="f72ab1b6-4322-4503-886c-f257bf8cfd4b" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1575/online-collaboration-sites/1581#1581" />
  <row Id="47014" PostHistoryTypeId="36" PostId="26292" RevisionGUID="10edfce2-3ccf-4e73-a897-2ed9ce9145bc" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1575/online-collaboration-sites/1586#1586" />
  <row Id="47015" PostHistoryTypeId="2" PostId="26289" RevisionGUID="763f1845-f5f8-4b95-ab4c-f95d13629656" CreationDate="2011-06-10T16:21:32.923" UserDisplayName="eviltobz" Text="I don't have any experience with it, so this isn't a recommendation, but I've heard of  one that might be worth checking out: [Scratch Audio][1]&#xD;&#xA;&#xD;&#xA;Edit - I just noticed that your initial question mentioned native daw files, so this isn't going to be a great answer, but I'll leave it around as it hits the question's title at least, so might be of interest to some.&#xD;&#xA;&#xD;&#xA;  [1]: http://scratchaudio.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="47016" PostHistoryTypeId="2" PostId="26290" RevisionGUID="1fb35406-5de3-410e-b8b8-52c33482dbad" CreationDate="2011-06-10T16:24:47.890" UserDisplayName="gomad" Text="[NINJAM][1]&#xD;&#xA;------&#xD;&#xA;The only thing I know of for live collaboration in music is NINJAM.&#xD;&#xA;&#xD;&#xA;If you're talking about asynchronous collaboration (where people are working on the project at different times), you could still use Dropbox (or any similar service - [Amazon's Clouddrive][2] might be more cost effective for large media file sharing) and share the DAW project files as well as the source media (midi, WAV, etc.)&#xD;&#xA;&#xD;&#xA;There's also Sonoma Wire Works' [Riffworld][3], but as far as I know, you can only use RiffWorks there, not any DAW you choose.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cockos.com/ninjam/&#xD;&#xA;  [2]: http://amazon.com/clouddrive&#xD;&#xA;  [3]: http://www.sonomawireworks.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="47017" PostHistoryTypeId="2" PostId="26291" RevisionGUID="3770d4e7-a014-4746-8508-42ee177038cf" CreationDate="2011-06-12T06:50:44.003" UserId="17717" UserDisplayName="Christian" Text="I know 2:&#xD;&#xA;&#xD;&#xA;- Kompoz: http://www.kompoz.com&#xD;&#xA;- Digital Musician: http://www.digitalmusician.net&#xD;&#xA;&#xD;&#xA;Via Kompoz I found a vocalist. DM is a bit weird, but I had contacts here too.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47018" PostHistoryTypeId="2" PostId="26292" RevisionGUID="c578fe1a-c889-4792-9a25-64b1f9ca4a8f" CreationDate="2011-06-13T20:49:09.633" UserId="6559" Text="For completeness, I came across [VSTunnel](http://www.kvraudio.com/db/vstunnel_by_martin_miller) &#xD;&#xA;&gt; allowing VST supporting sequencers to be connected over the internet.  &#xD;&#xA;&#xD;&#xA;No longer produced since v1.5 (2006)." ContentLicense="CC BY-SA 3.0" />
  <row Id="47019" PostHistoryTypeId="2" PostId="26288" RevisionGUID="1d2ca237-29e4-42d8-814a-bac4fdd21ff8" CreationDate="2011-06-10T08:41:59.827" UserId="6559" Text="Does anyone have any recommendations for online collaboration sites, to cover both the creative and production side of songwriting, using native DAW files? &#xD;&#xA;&#xD;&#xA;I'm interested in asynchronous (rather than Live) collaboration. The process may work something like:  &#xD;&#xA;&#xD;&#xA; - In Cubase, say, I write the song structure with some Drum patterns and add a piano guide for the chord structure (both VST instruments). These are committed/saved centrally;   &#xD;&#xA; - My collaborator picks up the files, adds a twee synth line that drops in for the verses;  &#xD;&#xA; - Meanwhile, I've added a middle 8, a Compressor on the Master group. These aren't committed yet;  &#xD;&#xA; - I pick up my Collaborator's changes, change the patch on the synth.&#xD;&#xA;&#xD;&#xA;[I can see there would be all sorts of contention and merging issues to overcome, even if the DAW's file structures were open to such possibilities.]&#xD;&#xA;&#xD;&#xA;An initial web search has found some that are based on sharing WAV/MP3 files ... I'm assuming there's something that allows sharing of the underlying, say, Cubase project files, and is a bit more specialised than using simple sharing using, say, [a Dropbox solution](http://audio.stackexchange.com/questions/386/keeping-multitrack-files-online).&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="47020" PostHistoryTypeId="1" PostId="26288" RevisionGUID="1d2ca237-29e4-42d8-814a-bac4fdd21ff8" CreationDate="2011-06-10T08:41:59.827" UserId="6559" Text="Online Collaboration Sites" ContentLicense="CC BY-SA 3.0" />
  <row Id="47021" PostHistoryTypeId="3" PostId="26288" RevisionGUID="1d2ca237-29e4-42d8-814a-bac4fdd21ff8" CreationDate="2011-06-10T08:41:59.827" UserId="6559" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47022" PostHistoryTypeId="36" PostId="26293" RevisionGUID="803ecea2-6522-4d85-aa85-9d41fdc7a1b8" CreationDate="2014-01-27T15:15:47.157" UserId="-1" Comment="from http://avp.stackexchange.com/questions/847/triggers-on-drums-in-the-studio-why" />
  <row Id="47023" PostHistoryTypeId="2" PostId="26294" RevisionGUID="bdea7d49-61fb-479f-beb6-172c5fcf29cb" CreationDate="2011-02-18T15:03:21.800" UserDisplayName="Ian C." Text="Why? I can only take some guesses. The only person who can *really* answer your questions is the engineer.&#xD;&#xA;&#xD;&#xA;**Possible Reason #1**&#xD;&#xA;&#xD;&#xA;MIDI data is easier to work with that audio data. The engineer was ensuring he captured data in a format that he could easily manipulate after the fact. Far easier to fix a miss hit by moving a MIDI note around than it is to re-track an entire section or performance.&#xD;&#xA;&#xD;&#xA;**Possible Reason #2**&#xD;&#xA;&#xD;&#xA;Triggers are easier to setup than mics. For sure mic'ing a drum kit falls in to the category of &quot;it's an art and a science&quot;. It's a daunting task. It requires more than a few mics and in some cases (like mic'ing a kick) some speciality mics are really called for if you want an excellent outcome. Could be the engineer didn't have the know how to mic a kit up or the time or the studio was lacking the gear it needed to capture a full kit adequately.&#xD;&#xA;&#xD;&#xA;**Possible Reason #3**&#xD;&#xA;&#xD;&#xA;You don't have to deal with bleed. Triggers are mostly independent, and even if you do get a trigger mis-firing it's an easy thing to just delete the MIDI note.&#xD;&#xA;&#xD;&#xA;**Possible Reason #4**&#xD;&#xA;&#xD;&#xA;You don't need a lot of knowledge to mix a great sounding kit if you work with triggers. I realize this is counter to what you're getting from this studio and I'll admit this sounds like a problem with the samples they're using or perhaps the skill of the engineer with the software. I *definitely* have cut some great sounding drum tracks where the drummer was playing a V-Drum kit, run in to a Alesis Trigger|IO module, and triggering a BFD 2 for the sounds. The sounds in that VSTi are captured so well, and already EQ'ed and tweaked so nicely, even a drum-mic'ing and mixing neophyte like me can get big, beautiful drums out of a setup like that. Could be the engineer was trying to hide some lack of still here when it comes to dealing with drums during mixing.&#xD;&#xA;&#xD;&#xA;Those are just some reasons he might have insisted on triggers. I'll admit they don't make a lot of sense. You should definitely take up your issues with him. You were footing the bill and these sorts of decisions should be yours, not the engineers, to make." ContentLicense="CC BY-SA 2.5" />
  <row Id="47024" PostHistoryTypeId="2" PostId="26293" RevisionGUID="1957e0cb-ac92-46db-881d-0bdf0013f9f6" CreationDate="2011-02-18T13:10:53.473" UserDisplayName="Kyle Sevenoaks" Text="I've been in one band for about a year, and we're going into the studio to record new songs soon.&#xD;&#xA;&#xD;&#xA;Last time they went to the studio, they had an incredible drum kit there, (the drummer said so, he was ecstatic when he saw it) told me it sounded perfect and was really excited to record with this kit. &#xD;&#xA;&#xD;&#xA;The engineer then went on and triggered the kit, even though the kit sounded great! I don't understand why he did this, it sounded like a drum machine, not a real live drummer and ruined our takes.&#xD;&#xA;&#xD;&#xA;We use triggers live for monitoring only, no trigger signal goes to the front of house, but I just can't wrap my head around why when the studio engineer had an amazing kit we all said we wanted to use, he just triggered it up and used no real drum sound? &#xD;&#xA;&#xD;&#xA;Are there any advantages of using triggers over a real drum sound? As far as I can tell, it just changes a natural sounding live drummer into a drum machine :P&#xD;&#xA;&#xD;&#xA;Thanks :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="47025" PostHistoryTypeId="1" PostId="26293" RevisionGUID="1957e0cb-ac92-46db-881d-0bdf0013f9f6" CreationDate="2011-02-18T13:10:53.473" UserDisplayName="Kyle Sevenoaks" Text="Triggers on drums in the studio, why?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47026" PostHistoryTypeId="3" PostId="26293" RevisionGUID="1957e0cb-ac92-46db-881d-0bdf0013f9f6" CreationDate="2011-02-18T13:10:53.473" UserDisplayName="Kyle Sevenoaks" Text="&lt;studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47027" PostHistoryTypeId="36" PostId="26294" RevisionGUID="ae2b0832-1f7e-4380-825a-a79fc118829a" CreationDate="2014-01-27T15:15:47.157" UserId="-1" Comment="from http://avp.stackexchange.com/questions/847/triggers-on-drums-in-the-studio-why/848#848" />
  <row Id="47028" PostHistoryTypeId="36" PostId="26295" RevisionGUID="0cecb710-41d5-4a77-9c5d-d157461a7867" CreationDate="2014-01-27T15:15:47.157" UserId="-1" Comment="from http://avp.stackexchange.com/questions/847/triggers-on-drums-in-the-studio-why/849#849" />
  <row Id="47029" PostHistoryTypeId="2" PostId="26295" RevisionGUID="e868bae3-fce5-4810-9129-43e6ad86a7d3" CreationDate="2011-02-18T15:33:43.923" UserId="7294" UserDisplayName="Warrior Bob" Text="I can't speak to your specific situation, since I can't think of any reason an engineer would use them specifically against your wishes.  Mic'ing a drumset is significantly more difficult than triggering it, but isn't that part of what an engineer does?  &#xD;&#xA;&#xD;&#xA;In general, the main reason I've heard bands cite for using triggers is to keep a really even level across drum hits.  But this is only on the kick, and these are generally metal bands who are doing fast kick rolls, and DO want it to sound like that.  I don't know why anyone would want to do this in general." ContentLicense="CC BY-SA 2.5" />
  <row Id="47030" PostHistoryTypeId="36" PostId="26296" RevisionGUID="c94a2328-e6d5-4673-8794-0dfc12669c84" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/836/what-is-software-reverb" />
  <row Id="47031" PostHistoryTypeId="36" PostId="26297" RevisionGUID="7e6b3954-c129-4ab9-b1ac-bca9ab84f588" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/836/what-is-software-reverb/837#837" />
  <row Id="47032" PostHistoryTypeId="36" PostId="26298" RevisionGUID="d2f56d45-aedc-41c7-9a99-1a6ac4018fd7" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/836/what-is-software-reverb/839#839" />
  <row Id="47033" PostHistoryTypeId="2" PostId="26297" RevisionGUID="7f03b416-4708-4e12-a3d7-a0b6c7ec6ad5" CreationDate="2011-02-17T15:01:56.147" UserDisplayName="Ian C." Text="Though I've never heard anyone refer to as &quot;software reverb&quot; before, I'm fairly certain you were being told to record the dry guitar and then add in reverb and ambience using a plugin effect in your computer software you used to record the sound. Reverb plugins for software recording solutions come in all shapes and sizes and can use a few different techniques to give you reverb using an algorithm instead of doing in the old fashioned way and, you know, actually recording a space and waves bouncing off physical things.&#xD;&#xA;&#xD;&#xA;If you elaborate on what software you're recording with more specific help on how to use reverb in that piece of software can be given." ContentLicense="CC BY-SA 2.5" />
  <row Id="47034" PostHistoryTypeId="2" PostId="26298" RevisionGUID="ed26791f-ce92-43af-8ca2-ec4723974fed" CreationDate="2011-02-17T15:56:45.490" UserId="7294" UserDisplayName="Warrior Bob" Text="Put in other words, &quot;record the guitar uisng a mic, and then put a reverb effect on the recording using software.&quot;  &#xD;&#xA;&#xD;&#xA;As opposed to, say, putting a reverb effect on the recording using a hardware effect unit, or using a recording room with a reverb sound that you like.&#xD;&#xA;&#xD;&#xA;I'm assuming you're already pretty familiar with reverb.  If not, [Wikipedia's Reverb page][1] has a pretty good summary at the top.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Reverb" ContentLicense="CC BY-SA 2.5" />
  <row Id="47035" PostHistoryTypeId="2" PostId="26296" RevisionGUID="01c2f506-2264-495d-941c-4f5412544209" CreationDate="2011-02-17T14:33:28.437" UserDisplayName="user518" Text="I was told to &quot;put a microphone inside a guitar, and run it through **software reverb**&quot;.&#xD;&#xA;&#xD;&#xA;What is this?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47036" PostHistoryTypeId="1" PostId="26296" RevisionGUID="01c2f506-2264-495d-941c-4f5412544209" CreationDate="2011-02-17T14:33:28.437" UserDisplayName="user518" Text="What is software reverb?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47037" PostHistoryTypeId="3" PostId="26296" RevisionGUID="01c2f506-2264-495d-941c-4f5412544209" CreationDate="2011-02-17T14:33:28.437" UserDisplayName="user518" Text="&lt;reverb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47038" PostHistoryTypeId="36" PostId="26299" RevisionGUID="5adcfbf4-c916-462a-bcce-a8c7a3fc3882" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4038/cannot-hear-sound-through-the-vsti-in-reaper" />
  <row Id="47039" PostHistoryTypeId="36" PostId="26300" RevisionGUID="41c5b200-3653-4df5-b73b-ba3c12564a7c" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4038/cannot-hear-sound-through-the-vsti-in-reaper/5441#5441" />
  <row Id="47040" PostHistoryTypeId="2" PostId="26300" RevisionGUID="5639f777-9837-4ae7-be3f-58ac460d3b62" CreationDate="2012-11-28T14:53:25.803" UserDisplayName="esmitex" Text="I have just installed Reaper today, I loaded a vsti and selected my midi keyboard but no sound was coming out of it when I played but when I pressed record and listened to what was recorded I could hear the music. I noticed that there was a &quot;Record monitoring&quot; button (see the pictures below). I clicked it, pressed a key and I was able to hear what I was playing.&#xD;&#xA;&#xD;&#xA;**Record monitoring OFF**&#xD;&#xA;&#xD;&#xA;![**Record monitoring OFF**][1]&#xD;&#xA;&#xD;&#xA;**Record monitoring ON**&#xD;&#xA;&#xD;&#xA;![**Record monitoring ON**][2]&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/pQqyT.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/cVM9Y.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="47041" PostHistoryTypeId="2" PostId="26299" RevisionGUID="9cdbc860-8e34-4184-b97c-45e3d851dab9" CreationDate="2012-05-22T11:11:31.683" UserId="10057" UserDisplayName="Vass" Text="I am running `Reaper` through `Wine` on Ubuntu. I can import a music file and it plays normally. I then close that track.&#xD;&#xA;&#xD;&#xA;Then I do: `Insert` -&gt; `Virtual instrument on new track...` -&gt; choose `VSTi: ReaSynth (Cockos)` This opens a dialog for FX on the track which I close. I then have a track which says `ReaSynth`. I then go to `View` -&gt; `Virtual MIDI Keyboard` and a keyboard pops up. I press the keys on the keyboard and the levels on the `MASTER` track oscillate, and so does the levels on the control for the track1 (ReaSynth), but **no** sound is heard. The track is not muted. For the track I have the input on channel 1 and then i put it on all channels as well.&#xD;&#xA;&#xD;&#xA;Am I missing something that must be set up?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47042" PostHistoryTypeId="1" PostId="26299" RevisionGUID="9cdbc860-8e34-4184-b97c-45e3d851dab9" CreationDate="2012-05-22T11:11:31.683" UserId="10057" UserDisplayName="Vass" Text="Cannot hear sound through the VSTi in Reaper" ContentLicense="CC BY-SA 3.0" />
  <row Id="47043" PostHistoryTypeId="3" PostId="26299" RevisionGUID="9cdbc860-8e34-4184-b97c-45e3d851dab9" CreationDate="2012-05-22T11:11:31.683" UserId="10057" UserDisplayName="Vass" Text="&lt;reaper&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47058" PostHistoryTypeId="36" PostId="26306" RevisionGUID="25c72e7d-f67b-4522-a325-971a654261e9" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/20/better-playback-in-sibelius" />
  <row Id="47059" PostHistoryTypeId="36" PostId="26307" RevisionGUID="0bcbeb65-c3fe-4dbf-9671-04da2760d8d4" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/20/better-playback-in-sibelius/64#64" />
  <row Id="47060" PostHistoryTypeId="36" PostId="26308" RevisionGUID="dae44993-70a1-456f-b93c-117ddd7025c1" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/20/better-playback-in-sibelius/1117#1117" />
  <row Id="47061" PostHistoryTypeId="36" PostId="26309" RevisionGUID="1e162a0a-8776-4136-98e0-24f27bd11741" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/20/better-playback-in-sibelius/7244#7244" />
  <row Id="47062" PostHistoryTypeId="2" PostId="26307" RevisionGUID="5661ac7b-ea81-42e7-8d0a-7ed9a228deed" CreationDate="2010-12-07T22:02:01.027" UserDisplayName="herzmeister der welten" Text="Doesn't Sibelius support MIDI playback? Just connect a fancy synthesizer or keyboard. ;-) Possibly, it will have to be put in General MIDI mode.&#xD;&#xA;&#xD;&#xA;According to the [Sibelius 5 VST info page][1], it also supports the [VST][2] standard for playing back music with [Software Synthesizers][3] that you'd install on your OS (only Windows and Mac I'm afraid). There are surely a lot of free ones out there. You'll probably need one that is versatile and can cover all instruments, that means the General MIDI standard.&#xD;&#xA;&#xD;&#xA;The ones I am familiar with and I can surely recommend because of their versatility (covering all instruments of the General MIDI standard) are [HALion Sonic][4], the quite more complex [HALion 3][5] or the older, now kind of obsolete [Hypersonic 2][6].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sibelius.com/products/sibelius/5/vst.html&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/VST_instrument&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Software_synthesizer&#xD;&#xA;  [4]: http://www.steinberg.net/en/products/vst/halion_sonic/halion_sonic.html&#xD;&#xA;  [5]: http://www.steinberg.net/de/products/vst/halion3_product/start.html&#xD;&#xA;  [6]: http://www.steinberg.net/en/support/downloads/hypersonic_2.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="47063" PostHistoryTypeId="2" PostId="26308" RevisionGUID="b8e07759-3476-425c-9a03-c91fa892c0ec" CreationDate="2011-03-31T09:25:34.757" UserId="7290" UserDisplayName="ogerard" Text="In addition to the first answer, Sibelius supports among other things (and also sells) the Garritan line of instruments samples and there are multiple other choices. I use the Garritan Personal Orchestra package.&#xD;&#xA;&#xD;&#xA;Note that apart from &quot;realtime&quot; playback, you can produce enhanced &quot;recorded&quot; playback from Sibelius as a sound file in several formats.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47064" PostHistoryTypeId="2" PostId="26309" RevisionGUID="a9242b86-6e36-46ed-871d-b433dd29eb27" CreationDate="2013-02-25T21:44:19.657" UserDisplayName="Matt Browne" Text="I realize this question is old, but it's still relevant, so I'll add that Sibelius supports the Rewire protocol which lets you use it in conjunction with a sequencer like Logic or Digital Performer where you can run your samples in more of a user-friendly way.&#xD;&#xA;&#xD;&#xA;Also, if you have the Symphonic Orchestra samples from East West, then you can download a ready-made playback configuration for Sibelius: http://www.soundsetproject.com/soundsets/eastwest/" ContentLicense="CC BY-SA 3.0" />
  <row Id="47065" PostHistoryTypeId="2" PostId="26306" RevisionGUID="5a65053d-32c5-458a-899c-d168ae453a9e" CreationDate="2010-12-07T20:39:51.140" UserDisplayName="fluteflute" Text="How can I get 'better' sounding playback when composing in Sibelius? Poor (or clearly synthesised) playback puts many people I know off using Sibelius.&#xD;&#xA;&#xD;&#xA;Or is this something that varies depending on the operating system, and version of Sibelius?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47066" PostHistoryTypeId="1" PostId="26306" RevisionGUID="5a65053d-32c5-458a-899c-d168ae453a9e" CreationDate="2010-12-07T20:39:51.140" UserDisplayName="fluteflute" Text="Better playback in Sibelius" ContentLicense="CC BY-SA 2.5" />
  <row Id="47067" PostHistoryTypeId="3" PostId="26306" RevisionGUID="5a65053d-32c5-458a-899c-d168ae453a9e" CreationDate="2010-12-07T20:39:51.140" UserDisplayName="fluteflute" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47068" PostHistoryTypeId="36" PostId="26310" RevisionGUID="6ef68bb1-351d-411d-9b19-9c26eff1419f" CreationDate="2014-01-27T15:24:34.007" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5324/what-causes-a-buzzing-that-goes-away-when-i-touch-the-jack" />
  <row Id="47069" PostHistoryTypeId="36" PostId="26311" RevisionGUID="e49c3323-5abc-4e05-bf82-ff87087a33a6" CreationDate="2014-01-27T15:24:34.007" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5324/what-causes-a-buzzing-that-goes-away-when-i-touch-the-jack/5326#5326" />
  <row Id="47070" PostHistoryTypeId="2" PostId="26311" RevisionGUID="608c1ebc-065b-46e7-9eb0-601901a79937" CreationDate="2012-11-14T10:14:04.723" UserId="7200" Text="This is a capacitive coupling issue. It can be fixed by properly shielding all the electronic parts, i.e. surrounding them with some conductor connected to ground. Hackish though it sounds, the &quot;human ground&quot; is actually quite a common &quot;solution&quot; to this problem: on most electric instruments, the strings are connected to ground, so whenever you actually play something your body is turned into such a shield. In the case of your bass, it's probably this connection that's broken, so the easiest fix would be to search for the wire that connects the electronics to the bridge and reattach it.&#xD;&#xA;&#xD;&#xA;Of course, this whole idea of using the body as shielding is horrible engineering, it's not only ineffective but sometimes dangerous, one of the reasons why there were so many electrocution accidents in the early days of live sound technology (when somewhere a ground pin touched a live wire – which normally doesn't ever happen today, but it's still not very nice).&#xD;&#xA;&#xD;&#xA;The _proper_ solution is to internally shield the electronics, with e.g. grounded tin foil. I have done this on a couple of instruments, it's not that difficult: just cover the surface of the internal cavities with the foil and make sure it's connected to ground in some way. You need to be a bit careful that none of the signal wires or potentiometer pins connect to this ground, but it's not such a big deal." ContentLicense="CC BY-SA 3.0" />
  <row Id="47071" PostHistoryTypeId="2" PostId="26310" RevisionGUID="99cc5387-e2ff-4b78-a9fc-bebb36d89362" CreationDate="2012-11-13T23:31:09.117" UserDisplayName="harpo" Text="I'm sure this is a &quot;ground&quot; issue, but I'd really like to better understand what's going on.&#xD;&#xA;&#xD;&#xA;I have a bass guitar plugged into the &quot;instrument input&quot; on my interface (ART TubeFire 8).  When I monitor that channel, I hear a buzzing sound that goes away whenever I touch either the metal plate where it's plugged into the bass, or the little spring on the cable shielding.&#xD;&#xA;&#xD;&#xA;The thing is, it only works when my *hands* are touching these items.  Of course, I can't play whilst acting as a human ground, so I am trying to find some alternative.&#xD;&#xA;&#xD;&#xA;I've tried balanced and unbalanced cables, and also added a direct box.  The direct box helps in that it gives me more places to touch, but it doesn't affect the buzzing *per se*.&#xD;&#xA;&#xD;&#xA;I imagine that the bass itself could be the problem, as it's about 20 years old.  But it sounds perfectly fine when I &quot;manually&quot; ground it.&#xD;&#xA;&#xD;&#xA;What's going on?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47072" PostHistoryTypeId="1" PostId="26310" RevisionGUID="99cc5387-e2ff-4b78-a9fc-bebb36d89362" CreationDate="2012-11-13T23:31:09.117" UserDisplayName="harpo" Text="What causes a buzzing that goes away when I touch the jack?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47073" PostHistoryTypeId="3" PostId="26310" RevisionGUID="99cc5387-e2ff-4b78-a9fc-bebb36d89362" CreationDate="2012-11-13T23:31:09.117" UserDisplayName="harpo" Text="&lt;electronics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47074" PostHistoryTypeId="36" PostId="26312" RevisionGUID="6b9ec048-25d0-403c-8894-a0cad3878a70" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4103/reproducing-a-reverb-echo" />
  <row Id="47075" PostHistoryTypeId="2" PostId="26313" RevisionGUID="69486f99-c169-49b2-a06d-f3d012450ee9" CreationDate="2012-06-04T15:40:10.137" UserId="7016" Text="That effect is called Backwards Reverb - the simplest way to do it is to reverse the waveform, then add a normal reverb, then reverse it again.&#xD;&#xA;&#xD;&#xA;Many DAW's have a backwards reverb plugin which effectively does exactly this, but without you having to do the reversing manually, but I don't think Fruity Loops has this. &#xD;&#xA;&#xD;&#xA;I did find [this tutorial][1] specific to Fruity Loops.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://onestophiphop.forumotion.com/t8-how-to-make-reverse-reverb-in-fruity-loops" ContentLicense="CC BY-SA 3.0" />
  <row Id="47076" PostHistoryTypeId="2" PostId="26312" RevisionGUID="0b27df36-3e82-4b80-9cc5-385b65ac610e" CreationDate="2012-06-03T21:21:10.853" UserId="7835" UserDisplayName="Rohan" Text="This question is pretty specific so i'm not sure if this question will be appreciated or not, apologies if not.&#xD;&#xA;&#xD;&#xA;Let's start with a little background:&#xD;&#xA;&#xD;&#xA;I'm trying to record my voice and and using Fruity Loops 10 to achieve a certain 'sound'.&#xD;&#xA;The voice in question i'm trying to mimic is this one:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=jgizA0R6Ncs&#xD;&#xA;&#xD;&#xA;Now i have been able to mimic the overal voice using the 'Blur' function.&#xD;&#xA;&#xD;&#xA;The problem i'm facing:&#xD;&#xA;If you listen closely at the beginning of each of his sentences you will hear an echo-like sound. I've been trying to reproduce this with the convolution reverb function. but it sounds more like i'm inside a church then his voice actually echo'ing.&#xD;&#xA;&#xD;&#xA;My specifics using the reverb option in Fruity Loops 10/ Edison:&#xD;&#xA;&#xD;&#xA;Delay: -5% (From midle)  &#xD;&#xA;Dry: 100%  &#xD;&#xA;Wet: 10%&#xD;&#xA;&#xD;&#xA;Am i looking at the wrong function, perhaps this is featured in a plugin?&#xD;&#xA;&#xD;&#xA;I appreciate any and all help." ContentLicense="CC BY-SA 3.0" />
  <row Id="47077" PostHistoryTypeId="1" PostId="26312" RevisionGUID="0b27df36-3e82-4b80-9cc5-385b65ac610e" CreationDate="2012-06-03T21:21:10.853" UserId="7835" UserDisplayName="Rohan" Text="Reproducing a reverb/echo" ContentLicense="CC BY-SA 3.0" />
  <row Id="47078" PostHistoryTypeId="3" PostId="26312" RevisionGUID="0b27df36-3e82-4b80-9cc5-385b65ac610e" CreationDate="2012-06-03T21:21:10.853" UserId="7835" UserDisplayName="Rohan" Text="&lt;reverb&gt;&lt;echo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47079" PostHistoryTypeId="36" PostId="26313" RevisionGUID="8dd6173c-ce2f-4e6b-b79f-9ec03f1b554a" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4103/reproducing-a-reverb-echo/4107#4107" />
  <row Id="47080" PostHistoryTypeId="36" PostId="26314" RevisionGUID="bcc23b95-4359-4d90-9d3c-872bb25108e1" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5741/how-can-i-output-sound-for-a-video-if-im-using-traktor-pro" />
  <row Id="47081" PostHistoryTypeId="36" PostId="26315" RevisionGUID="aa455635-6f27-48de-92a9-ca7cf58c4ffb" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5741/how-can-i-output-sound-for-a-video-if-im-using-traktor-pro/5751#5751" />
  <row Id="47082" PostHistoryTypeId="2" PostId="26315" RevisionGUID="e8d15960-6a0e-4339-ab83-3771a57cf199" CreationDate="2013-01-04T23:06:01.077" UserId="14544" UserDisplayName="Warren van Rooyen" Text="Thanks for your interest. The situation was a bit urgent so I just fiddled around and figured it out. You can't run it through Traktor but you can run it by itself (open in Quicktime / VLC) and then go into your sound settings and change the sound settings to whatever external soundcard you may be using to run through your system." ContentLicense="CC BY-SA 3.0" />
  <row Id="47083" PostHistoryTypeId="2" PostId="26314" RevisionGUID="0f2a9fda-510c-437f-bf6d-602d356e3578" CreationDate="2013-01-03T19:51:29.707" UserId="14544" UserDisplayName="Warren van Rooyen" Text="I'm DJ'ing at my friend's wedding and always work within Traktor Pro to mix songs but his bride wants to sings a song with the aid of lyrics onscreen. She's given me a video that plays the song while the lyrics show onscreen.&#xD;&#xA;&#xD;&#xA;I'm on a Mac. Would appreciate your help very much; if you need me to elaborate, please ask." ContentLicense="CC BY-SA 3.0" />
  <row Id="47084" PostHistoryTypeId="1" PostId="26314" RevisionGUID="0f2a9fda-510c-437f-bf6d-602d356e3578" CreationDate="2013-01-03T19:51:29.707" UserId="14544" UserDisplayName="Warren van Rooyen" Text="How can I output sound for a video if I'm using Traktor Pro?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47085" PostHistoryTypeId="3" PostId="26314" RevisionGUID="0f2a9fda-510c-437f-bf6d-602d356e3578" CreationDate="2013-01-03T19:51:29.707" UserId="14544" UserDisplayName="Warren van Rooyen" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47086" PostHistoryTypeId="36" PostId="26316" RevisionGUID="25f17ea1-8b35-4234-b6af-05bb0f03d50f" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1272/drag-select-time-range-in-reaper-not-working" />
  <row Id="47087" PostHistoryTypeId="2" PostId="26317" RevisionGUID="4a9035c1-7fd2-4eb7-af80-f6a83a22fa00" CreationDate="2011-04-25T20:53:20.010" UserId="7093" Text="Check your Lock Settings for the project.  Press Shift+L (or right click the Locking icon in the toolbar) to open the dialog.&#xD;&#xA;&#xD;&#xA;When I selected Enable Locking and Time Selection, I was unable to make a time selection by clicking and dragging in the Timeline.&#xD;&#xA;&#xD;&#xA;Clicking the lock icon in the toolbar will toggle Locking." ContentLicense="CC BY-SA 3.0" />
  <row Id="47088" PostHistoryTypeId="2" PostId="26316" RevisionGUID="110ce4d6-95fe-472f-9ae5-2daea0be4203" CreationDate="2011-04-25T20:43:41.083" UserId="7471" UserDisplayName="Mark Heath" Text="I am using Reaper 3.75 and normally I click and drag in the time-bar at the top to select an area, but suddenly it is not working anymore. Have I activated some kind of strange mode, and how do I get out of it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47089" PostHistoryTypeId="1" PostId="26316" RevisionGUID="110ce4d6-95fe-472f-9ae5-2daea0be4203" CreationDate="2011-04-25T20:43:41.083" UserId="7471" UserDisplayName="Mark Heath" Text="Drag select time range in Reaper not working" ContentLicense="CC BY-SA 3.0" />
  <row Id="47090" PostHistoryTypeId="3" PostId="26316" RevisionGUID="110ce4d6-95fe-472f-9ae5-2daea0be4203" CreationDate="2011-04-25T20:43:41.083" UserId="7471" UserDisplayName="Mark Heath" Text="&lt;reaper&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47091" PostHistoryTypeId="36" PostId="26317" RevisionGUID="d7c0e352-183e-44dc-a282-50a272a71263" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1272/drag-select-time-range-in-reaper-not-working/1273#1273" />
  <row Id="47092" PostHistoryTypeId="36" PostId="26318" RevisionGUID="c3589b79-a699-4db0-a6c2-e7610edf3662" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1272/drag-select-time-range-in-reaper-not-working/7127#7127" />
  <row Id="47093" PostHistoryTypeId="2" PostId="26318" RevisionGUID="31e771e8-b336-4ef8-a0eb-44204d714008" CreationDate="2013-02-13T00:57:11.430" UserDisplayName="Besmirched Tea" Text="I just had a similar thing happen; When I moved the triangular things along the ruler at the top, suddenly the time selection wouldn't change (the ruler changed, but the highlighted area didn't move, nor did the selection time meter.  &#xD;&#xA;&#xD;&#xA;Solution for me was under Options, I had to check &quot;Loop points linked to time selection&quot;&#xD;&#xA;&#xD;&#xA;Not sure how it got unchecked, but it was frying my egg for a couple days until I figured it out.&#xD;&#xA;&#xD;&#xA;Just thought I'd throw it up there in case anyone else found this same page looking for solution." ContentLicense="CC BY-SA 3.0" />
  <row Id="47094" PostHistoryTypeId="36" PostId="26319" RevisionGUID="e67e9577-0cc3-458a-bc5a-ce90c14c6d74" CreationDate="2014-01-27T15:13:28.367" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8164/what-are-primary-differences-between-a-soundcard-and-a-dac" />
  <row Id="47095" PostHistoryTypeId="2" PostId="26320" RevisionGUID="3690ce29-4038-4b86-9c44-347970ab89ff" CreationDate="2013-06-20T15:01:43.120" UserId="7174" Text="A sound card includes a DAC by necessity, but is a more complex device in theory.  A sound card is able to synthesize sounds rather than simply play back samples and may have hardware that is capable of modifying samples on the fly (such as applying effects).  A DAC on the other hand serves only the purpose of taking a digital signal and converting it to an analog one.  A sound card has a DAC built in, though it is generally not as good as a stand alone DAC of similar cost." ContentLicense="CC BY-SA 3.0" />
  <row Id="47096" PostHistoryTypeId="2" PostId="26319" RevisionGUID="9120165c-45fe-4bae-b00e-2c5726602846" CreationDate="2013-06-20T14:30:45.783" UserId="7257" Text="I am interested in building a setup with KRK Rokit 8 G2, but I am not sure if I should go with an external DAC or purchase a soundcard to use. What the main differences between the two?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47097" PostHistoryTypeId="1" PostId="26319" RevisionGUID="9120165c-45fe-4bae-b00e-2c5726602846" CreationDate="2013-06-20T14:30:45.783" UserId="7257" Text="What are primary differences between a soundcard and a DAC?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47098" PostHistoryTypeId="3" PostId="26319" RevisionGUID="9120165c-45fe-4bae-b00e-2c5726602846" CreationDate="2013-06-20T14:30:45.783" UserId="7257" Text="&lt;setup&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47099" PostHistoryTypeId="36" PostId="26320" RevisionGUID="f959343b-92d8-4932-b1e9-1694f0eed267" CreationDate="2014-01-27T15:13:28.367" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8164/what-are-primary-differences-between-a-soundcard-and-a-dac/8166#8166" />
  <row Id="47100" PostHistoryTypeId="36" PostId="26321" RevisionGUID="ca62eab3-642a-4581-a536-43792286740b" CreationDate="2014-01-27T15:13:28.367" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8164/what-are-primary-differences-between-a-soundcard-and-a-dac/8176#8176" />
  <row Id="47101" PostHistoryTypeId="2" PostId="26321" RevisionGUID="dc23be81-5fab-4236-ad2d-0bf4b032d08b" CreationDate="2013-06-20T20:46:11.147" UserId="7405" UserDisplayName="Andy aka" Text="A sound card also includes Audio inputs converted to digital by ADCs. Here's a traditional block diagram of the sound card and circled in red are the DACs and the ADCs: -&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Your computer is basically the PCI bus which the sound card plugs into.&#xD;&#xA;&#xD;&#xA;There's a fair bit more in a soundcard than just the DAC part and of course the ADC allows you to record analogue inputs and ultimately make &quot;real&quot; songs or samples.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/WTx3d.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="47102" PostHistoryTypeId="36" PostId="26322" RevisionGUID="f4122373-9219-4300-9ea3-235ae8c903fc" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9661/wiring-an-120w-amp-head-to-the-box-stereo" />
  <row Id="47103" PostHistoryTypeId="36" PostId="26323" RevisionGUID="54a187ce-d0b9-412c-ab4c-081c190ad3cb" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9661/wiring-an-120w-amp-head-to-the-box-stereo/9700#9700" />
  <row Id="47104" PostHistoryTypeId="2" PostId="26323" RevisionGUID="07c5b593-c2aa-439b-8877-4efa49471572" CreationDate="2013-12-18T16:27:10.580" UserId="7212" Text="First off, notice another label on the back of the amp: &quot;Jacks paralleled&quot;. This means that both of the output jacks carry the same signal; there are two of them for the sole purpose of allowing you to plug in two cabinets without needing a splitter, or having a &quot;daisy-chain&quot; jack on the cabinets. This is a single-channel amp, as most guitar amplifiers are; you won't get a stereo sound from this rig without swapping the amp head for a stereo head, or adding a second single-channel head.&#xD;&#xA;&#xD;&#xA;That makes the decision pretty easy; set the cabinet to mono mode and set the amp impedance to 8Ω, and use one cable from either amp output to either speaker jack.&#xD;&#xA;&#xD;&#xA;To answer your question about impedance, the ratings are virtually always for the entire cabinet. In this case it's a little trickier since this one cabinet can be split in half, so to simplify things you can think of this cab as being two cabinets in one enclosure. You've got two speakers, both 16Ω, and you can either run them independently (meaning each channel of a multi-channel amp would be given the 16Ω load of one speaker), or with the switch set to &quot;mono&quot;, the terminals of the two jacks are put in parallel, meaning the speakers will be in parallel too (halving the total impedance to 8Ω).&#xD;&#xA;&#xD;&#xA;You could conceivably run the cabinet in stereo mode, feeding each side independently from the amplifier's outputs, but the amplifier would see exactly the same impedance, because you'd be running both 16Ω halves of the cabinet in parallel so the amp would still &quot;see' an 8Ω load. The &quot;fork&quot; between the two sides of the cab creating the parallel circuit would simply happen at the amp output instead of at the speaker input (meaning the only change is two speaker cables vs one).&#xD;&#xA;&#xD;&#xA;A more useful thing that shakes out of this setup is that, with one cable, you can choose to run both speakers or only one. By running through one speaker, you double the impedance, reducing the amp's maximum power, and you also halve the speaker cone area being driven. This allows you to use this one rig for smaller or larger gigs, using one speaker for smaller rooms, and both for larger.&#xD;&#xA;&#xD;&#xA;The power rating of the speakers could be problematic. I typically like to match peak amp power to speaker program rating; that way, the speaker can tolerate, at least for short periods, any amount of power the amp can produce, even a clipped waveform. The label on the back of the cabinet doesn't say whether it's a &quot;continuous&quot; rating (the most conservative; this is the maximum wattage of a waveform that will never harm the speaker even if played 24/7/365) that the  &quot;program&quot; rating (the wattage it can tolerate for short continuous periods interpersed across a longer timeframe; &quot;normal&quot; gigging use) or its &quot;peak&quot; rating (the most generous, this is the maximum wattage that the speaker will tolerate without sustaining immediate damage to the voice coil or speaker cone). Check online for more documentation about this cabinet, including the full set of power ratings; if this is a peak rating, I would be *very* careful with the master volume setting of the amp head until you can supplement this cabinet with a second one of equal rating. If you &quot;dime&quot; the amp, you could very easily warp the voice coils, or in the extreme you could rip the cones right out of the speaker.&#xD;&#xA;&#xD;&#xA;As far as reverb problems, it might help to tell us what exact model of amp head you have. You may have the delay set too low, so the reverb effect is too subtle to be distinguished from natural room reverb, or you may have its effect level set too low. The controls you have to play with will be dependent on the amp, so tell us what you have and we can tell you how to troubleshoot it." ContentLicense="CC BY-SA 3.0" />
  <row Id="47105" PostHistoryTypeId="2" PostId="26322" RevisionGUID="4878d16d-de35-44b4-8a14-3cdd72f9ee3b" CreationDate="2013-12-13T19:15:45.520" UserId="19207" UserDisplayName="71GA" Text="I have a **120W** amp head which has two outputs in the back and a switch for **16/8/4 Ω**.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;In the instructions there is a table which is not perfectly clear to me. Does &quot;**1x** 16Ω&quot; mean one speaker of 16Ω or one cabinet (possible with 2 speakers) of 16Ω? This is not clearly writen. I am guessing that **&quot;2x&quot;** means stereo...&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;I bought a cabinet with two inputs in the back. On one it says &quot;**stereo 16Ω**&quot; and on the other &quot;**mono 8Ω**&quot; while on the black plate it says &quot;**impedance 8Ω**&quot; and &quot;**RMS Power 60W**&quot; (It is less than the amp which is 120W!). &#xD;&#xA;&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;So now lets say I want to use my cabinet in stereo mode. I know that I have to connect both **class 2 cables** and choose &quot;**stereo 16Ω**&quot; in the back of a cabinet. But how do I set the impedance on the amp? In the music store a guy said: &#xD;&#xA;&#xD;&#xA;&gt; &quot;Just match the impedance on the amp with impedance on the cabinet&quot;&#xD;&#xA;&#xD;&#xA;The above is only true in case of mono mode (check the table)! Futhermore I got confused when reading markings on the back of the cabinet. I set it to &quot;**16Ω stereo**&quot; - does this mean I have to read settings for &quot;**2x8Ω**&quot; or &quot;**2x16Ω**&quot; in the table? I am guessing that it is **2x8Ω**... so according to my table I have to set my amp to **4Ω** if i want to use cabinet in stereo mode?&#xD;&#xA;&#xD;&#xA;I am allso afraid to fry my cabinet because it says **RMS power 60W** in the back while my amp is **120W**... So could anyone explain all of this a bit and save me from this confusion which is only a result of lack of instructions &amp; explanations.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/ABDMc.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/9KLFm.jpg&#xD;&#xA;  [3]: http://i.stack.imgur.com/RzELZ.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="47106" PostHistoryTypeId="1" PostId="26322" RevisionGUID="4878d16d-de35-44b4-8a14-3cdd72f9ee3b" CreationDate="2013-12-13T19:15:45.520" UserId="19207" UserDisplayName="71GA" Text="Wiring an 120W amp head to the box (stereo)" ContentLicense="CC BY-SA 3.0" />
  <row Id="47107" PostHistoryTypeId="3" PostId="26322" RevisionGUID="4878d16d-de35-44b4-8a14-3cdd72f9ee3b" CreationDate="2013-12-13T19:15:45.520" UserId="19207" UserDisplayName="71GA" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47108" PostHistoryTypeId="36" PostId="26324" RevisionGUID="18b634e3-fcea-43b7-b2c3-c5974535a4a3" CreationDate="2014-01-27T15:13:28.367" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1529/mid-range-external-sound-card-recommendations" />
  <row Id="47109" PostHistoryTypeId="2" PostId="26325" RevisionGUID="19bdd75b-e799-4c20-99c1-481ac2bb4f85" CreationDate="2011-06-02T12:50:09.043" UserId="7093" Text="I recommend the M-Audio [Fast Track Pro][1].  It has 2 inputs for microphone/instrument and ASIO drivers for low latency.  &#xD;&#xA;&#xD;&#xA;I own a M-Audio [Profire 2626][2] and have been very happy with the clean clear sound it delivers when recording my keyboard.  You should be able to get similar quality of sound from the Fast Track Pro.&#xD;&#xA;&#xD;&#xA;I record using [Reaper][3] on a PC running Windows 7.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.m-audio.com/products/en_us/FastTrackPro.html&#xD;&#xA;  [2]: http://www.m-audio.com/products/en_us/ProFire2626.html&#xD;&#xA;  [3]: http://www.reaper.fm/index.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="47110" PostHistoryTypeId="2" PostId="26324" RevisionGUID="5cc14cb6-551c-4ed3-9d17-0e2536e13bec" CreationDate="2011-06-02T09:59:54.147" UserDisplayName="jeebs" Text="I'm looking to retire my old Windows XP desktop which has been my studio for a long time now and move to a Windows 7 64-bit Ultimate laptop (i5 processor w/ 6Gb RAM). The final hurdle is replacing Terratec's DMX 6Fire PCI sound card, which has been absolutely amazing for about 8 years or so.&#xD;&#xA;&#xD;&#xA;My DAW software of choice is Fruit Loops Studio and I'm looking for a low-latency external sound card in the region of £200/$330. This would be used for recording electric guitar, keyboard/drum pads and vocals (not simultaneously) so it would need an audio jack and MIDI input. XLR input with phantom power would be nice but not essential. Firewire or USB is fine so long as the latency is low enough to do real-time recording.&#xD;&#xA;&#xD;&#xA;Does anyone have any recommendations, more specifically, of kit they've used themselves? Also, are there any issues I haven't considered in moving to a laptop / external sound card / Windows 7?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47111" PostHistoryTypeId="1" PostId="26324" RevisionGUID="5cc14cb6-551c-4ed3-9d17-0e2536e13bec" CreationDate="2011-06-02T09:59:54.147" UserDisplayName="jeebs" Text="Mid-range external sound card recommendations." ContentLicense="CC BY-SA 3.0" />
  <row Id="47112" PostHistoryTypeId="3" PostId="26324" RevisionGUID="5cc14cb6-551c-4ed3-9d17-0e2536e13bec" CreationDate="2011-06-02T09:59:54.147" UserDisplayName="jeebs" Text="&lt;laptop&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47113" PostHistoryTypeId="36" PostId="26325" RevisionGUID="70ee893b-5dcf-4718-aeae-7514797f69c0" CreationDate="2014-01-27T15:13:28.367" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1529/mid-range-external-sound-card-recommendations/1530#1530" />
  <row Id="47114" PostHistoryTypeId="36" PostId="26326" RevisionGUID="33256753-3daf-44da-b617-cbd11e22b911" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/173/delay-vs-reverb" />
  <row Id="47115" PostHistoryTypeId="2" PostId="26327" RevisionGUID="c8e395d7-8379-4161-b654-05ceca025970" CreationDate="2010-12-09T08:23:37.773" UserId="7592" UserDisplayName="Pelle ten Cate" Text="In Classical style projects, it is normal to use far more reverb than delay.&#xD;&#xA;&#xD;&#xA;The real answer is: delay IS reverb, meaning both are linear, time-invariant filters that both do echoes (i.e. reflections in reverb terms). However, the way they are implemented is completely different from each other. Delay basically is the process of repeating the original signal exactly the way it comes in, with only altering the volume and the panning, and sometimes the maximum amount of &quot;Echoes&quot;, while reverb is about choosing a pattern (often called 'plate', 'hall' or 'room') that has a big amount of complex &quot;echoes&quot; combined with frequency-related filtering. &#xD;&#xA;&#xD;&#xA;To me, delay is more like a 'special effect' (which you probably don't use very much in classical music) while reverb is just useful when the orignal accoustics suck or you recorded classical music in the studio.&#xD;&#xA;&#xD;&#xA;In my personal workflow: to add an accoustic impression to my classical recording: reverb. There is only one place where I really use delay: to delay support microphones so that their phase matches the phase of the main microphone. Say you are recording an orchestra, and you have a support microphone for the timpani to get a better sound of its attack. To actually make it work, the phase of this support microphone should be the same as the phase of the signal in the main microphones. This is not to be expected since the sound needs time to travel from the support mic to the main mic, so the support mic has to be delayed to get over this distance. (130 samples per meter when recording with 44k1 sampling rate, based on a sound travel speed of 340 m/s)&#xD;&#xA;&#xD;&#xA;It depends on the project you are doing, really. My advice: don't pull out your delay plugins if your reverb plugins are doing the job well. These two types of plugins server different goals." ContentLicense="CC BY-SA 2.5" />
  <row Id="47116" PostHistoryTypeId="2" PostId="26326" RevisionGUID="7cc5cb8f-b777-4d4c-87ef-93347af26e07" CreationDate="2010-12-09T05:52:07.173" UserId="7398" UserDisplayName="BenV" Text="I find myself using reverb fairly extensively to add space and smooth things out.  Meanwhile, my delay plugins are collecting dust sitting on their virtual shelf.  When should I be reaching for a delay instead of a reverb?&#xD;&#xA;&#xD;&#xA;If it matters, I mostly work on classical-style projects." ContentLicense="CC BY-SA 2.5" />
  <row Id="47117" PostHistoryTypeId="1" PostId="26326" RevisionGUID="7cc5cb8f-b777-4d4c-87ef-93347af26e07" CreationDate="2010-12-09T05:52:07.173" UserId="7398" UserDisplayName="BenV" Text="Delay vs reverb" ContentLicense="CC BY-SA 2.5" />
  <row Id="47118" PostHistoryTypeId="3" PostId="26326" RevisionGUID="7cc5cb8f-b777-4d4c-87ef-93347af26e07" CreationDate="2010-12-09T05:52:07.173" UserId="7398" UserDisplayName="BenV" Text="&lt;effects&gt;&lt;reverb&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47119" PostHistoryTypeId="36" PostId="26327" RevisionGUID="8cd72979-4f5a-4862-9046-410a74da97a6" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/173/delay-vs-reverb/175#175" />
  <row Id="47120" PostHistoryTypeId="36" PostId="26328" RevisionGUID="58d02861-97bc-4086-b729-431dc085e977" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/173/delay-vs-reverb/180#180" />
  <row Id="47121" PostHistoryTypeId="2" PostId="26328" RevisionGUID="c310e11c-9b9c-44d1-8aac-35bf299bf30b" CreationDate="2010-12-09T09:32:05.860" UserDisplayName="Willbill" Text="A delay, when used subtly, can give a sound/effect very much like reverb (reverbs are generally made with delays) without taking up as much space in the mix as delay effects tend to have much less reflections and not to introduce things like diffusion to the sound. This obviously depends on the specifics of the effects being used some multi-tap delay effects could be considered to be basic reverbs.&#xD;&#xA;&#xD;&#xA;As pointed by Pelle, is does sound more 'effecty' and as such isn't really suited to classical recording, where the focus tends to be on realism and high fidelity sound reproduction  " ContentLicense="CC BY-SA 2.5" />
  <row Id="47122" PostHistoryTypeId="36" PostId="26329" RevisionGUID="df931bb9-ee5e-4782-8d89-ac397d25b490" CreationDate="2014-01-27T15:22:18.763" UserId="-1" Comment="from http://avp.stackexchange.com/questions/161/how-can-i-cut-out-a-particular-instrument-in-the-same-pitch-range-as-other-instr" />
  <row Id="47123" PostHistoryTypeId="2" PostId="26330" RevisionGUID="16e8a53e-27fa-4813-a8a5-ce51ab7ec923" CreationDate="2010-12-09T09:24:56.660" UserId="7592" UserDisplayName="Pelle ten Cate" Text="In general, the short answer is simply 'no'. Cutting out an instrument entirely in the mastering stage of a recording, is completely impossible. Even if you are having balancing problems that are not due to frequency ranges in your listening equipment, it is hard to believe that the balance was good when you were actually mixing it down. &#xD;&#xA;&#xD;&#xA;This is a problem that should always be fixed while mixing the separate tracks together, you really can't properly get it done while mastering. If you can't get it done during the mixing process either, there were crosstalk problems during the recording session, that had to be fixed back then.&#xD;&#xA;&#xD;&#xA;My advice: go back to the mixing stage and make a new 2-track mixdown without the drum tracks. That should save you a lot of trouble.&#xD;&#xA;&#xD;&#xA;If it happens to be the case that you trashed all the instrument tracks, well, there is not much left to say but _&quot;make sure that will never happen again!&quot;_" ContentLicense="CC BY-SA 2.5" />
  <row Id="47124" PostHistoryTypeId="2" PostId="26329" RevisionGUID="9006d9d4-436f-43ab-8d92-52f35459914d" CreationDate="2010-12-09T01:20:00.150" UserId="9459" UserDisplayName="Matthew Read" Text="I'm remixing two songs, and their drum patterns are somewhat incompatible so I'm try to cut out the drums in one of them.  The problem is that the non-bass drums are at the same pitch as some of the vocals and piano notes, so I can't just filter out that pitch.  (Obviously I am working with the final mix and not individual instrument tracks).&#xD;&#xA; &#xD;&#xA;Is there a way to do this in Adobe Audition or Soundbooth, or in any free tools?  Or a good algorithm that I could code as a plugin?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47125" PostHistoryTypeId="1" PostId="26329" RevisionGUID="9006d9d4-436f-43ab-8d92-52f35459914d" CreationDate="2010-12-09T01:20:00.150" UserId="9459" UserDisplayName="Matthew Read" Text="How can I cut out a particular instrument in the same pitch range as other instruments I don't want to cut?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47126" PostHistoryTypeId="3" PostId="26329" RevisionGUID="9006d9d4-436f-43ab-8d92-52f35459914d" CreationDate="2010-12-09T01:20:00.150" UserId="9459" UserDisplayName="Matthew Read" Text="&lt;pitch&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47127" PostHistoryTypeId="36" PostId="26330" RevisionGUID="b55a25c3-0239-40b2-85be-968bb975fdd3" CreationDate="2014-01-27T15:22:18.763" UserId="-1" Comment="from http://avp.stackexchange.com/questions/161/how-can-i-cut-out-a-particular-instrument-in-the-same-pitch-range-as-other-instr/179#179" />
  <row Id="47128" PostHistoryTypeId="36" PostId="26331" RevisionGUID="df9bcc2c-e33c-4605-b891-2fd4cfd512f5" CreationDate="2014-01-27T15:22:18.763" UserId="-1" Comment="from http://avp.stackexchange.com/questions/161/how-can-i-cut-out-a-particular-instrument-in-the-same-pitch-range-as-other-instr/2004#2004" />
  <row Id="47129" PostHistoryTypeId="36" PostId="26332" RevisionGUID="54c7dbcb-de67-4a6f-90f8-cad9d62ad234" CreationDate="2014-01-27T15:22:18.763" UserId="-1" Comment="from http://avp.stackexchange.com/questions/161/how-can-i-cut-out-a-particular-instrument-in-the-same-pitch-range-as-other-instr/2095#2095" />
  <row Id="47130" PostHistoryTypeId="2" PostId="26332" RevisionGUID="635894f6-dffb-41a9-a785-2c9d15d182dd" CreationDate="2011-08-12T01:54:44.003" UserDisplayName="apollodude217" Text="You cannot solve for x and y in the equation:&#xD;&#xA;&#xD;&#xA;    x + y = 5&#xD;&#xA;&#xD;&#xA;because you do not have enough information.  If you knew what x was, you could find y, and you can find what x and y are _in relation to each other_ (e.g. `x=5-y`), but you cannot find both values without more info.&#xD;&#xA;&#xD;&#xA;Likewise, once two signals are mixed, you cannot find what either sounds like by itself from the mix alone because you have the _sum_ of those signals.&#xD;&#xA;&#xD;&#xA;Now... If you have the original drum signal you want to remove from the mix, you could add an inverted version of it--i.e., subtract the signal from the mix.  You will want to tweak the volume and tone to be _identical_ to what is mixed prior to inverting it.  This is a basic noise reduction technique.  I understand noise reduction works this way.  If you do not get the volume (and any other effects) pretty close and the timing perfect, it will not work.  Besides, if you have access to the original sounds, you can still edit the mix, right?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47131" PostHistoryTypeId="2" PostId="26331" RevisionGUID="c16b63b9-1ac8-497b-89ff-89edd3c2295e" CreationDate="2011-08-03T18:30:04.687" UserId="2506" Text="Mastering engineers would apply multiband compression to this kind of problem to try and 'minimise' the excessive frequencies in a certain range. You can boost then selectively control if you exceed a threshold, but only for a particular frequency range. One of the great tools in my mastering toolkit.&#xD;&#xA;&#xD;&#xA;Combined with a wide-Q EQ (&quot;broad smile&quot;) to curve across the frequency range and lessen the impact of certain ranges, this often has a very positive effect upon the resulting sound - when done judiciously! Unfortunately without high quality plugins if you try to do this you'll often get sub-optimal results (although there are some great high quality and free mastering plugins available)." ContentLicense="CC BY-SA 3.0" />
  <row Id="47132" PostHistoryTypeId="36" PostId="26333" RevisionGUID="af5d8878-b383-4abb-bff9-f18617b47b98" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1218/freeware-reverb-vsts" />
  <row Id="47133" PostHistoryTypeId="36" PostId="26334" RevisionGUID="25d3fec7-3122-4c06-8c74-be61e1e02753" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1218/freeware-reverb-vsts/1219#1219" />
  <row Id="47134" PostHistoryTypeId="36" PostId="26335" RevisionGUID="be54923e-077a-484e-8d3d-7536ed4b9695" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1218/freeware-reverb-vsts/1220#1220" />
  <row Id="47135" PostHistoryTypeId="36" PostId="26336" RevisionGUID="1f749452-6b22-405e-aead-49a548857d60" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1218/freeware-reverb-vsts/1221#1221" />
  <row Id="47136" PostHistoryTypeId="36" PostId="26337" RevisionGUID="71a1940b-c310-4e03-8b1e-58404321f796" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1218/freeware-reverb-vsts/1222#1222" />
  <row Id="47137" PostHistoryTypeId="36" PostId="26338" RevisionGUID="0e9331ac-8191-4004-8ef0-c4204a1ecf2f" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1218/freeware-reverb-vsts/1223#1223" />
  <row Id="47138" PostHistoryTypeId="2" PostId="26334" RevisionGUID="89042402-2bde-45d0-a2cd-4cc3ad229aa1" CreationDate="2011-04-21T06:41:06.387" UserId="7471" UserDisplayName="Mark Heath" Text="*Bootsy EpicVerb* made by [Variety of Sound][1], ([download][2])&#xD;&#xA;&#xD;&#xA;&gt; The “epicVerb” reverberation device aims at both: Tight small room and ambience effect simulation well suited to modern drum and vocal productions up to large “epic” halls as known from high quality outboard gear. This reverbs sound ranges from rather concrete or even edgy up to smooth, transparent and artifact free reverb tails. It is designed for maximum flexibility and usability and to take place as a true high quality stereo main reverb.&#xD;&#xA;&#xD;&#xA;![EpicVerb Gui][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://varietyofsound.wordpress.com/vst-effects/&#xD;&#xA;  [2]: http://varietyofsound.wordpress.com/downloads/&#xD;&#xA;  [3]: http://i.stack.imgur.com/dhyUI.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="47139" PostHistoryTypeId="2" PostId="26335" RevisionGUID="50ae1231-4f49-43db-bf55-02e0254d2449" CreationDate="2011-04-21T06:44:39.173" UserId="7471" UserDisplayName="Mark Heath" Text="*Ambience* from Magnus Jonsson of [Smart Electronix][1] is widely recognised as one of the best freeware reverb VSTs and is no longer donationware - the nag screen is gone. It has lots of configurable parameters and allows you to adjust CPU usage as well. Available as Windows VST and also Mac AU/VST.&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://magnus.smartelectronix.com/#Ambience&#xD;&#xA;  [2]: http://i.stack.imgur.com/on6sU.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="47140" PostHistoryTypeId="2" PostId="26336" RevisionGUID="03a65901-b3dc-4aa2-8117-5ba25bd61762" CreationDate="2011-04-21T06:51:50.973" UserId="7471" UserDisplayName="Mark Heath" Text="*SIR 1* from [knufinke.de][1] is one of the very few freeware convolution reverbs, allowing for very high quality reverb effects at the cost of fairly high CPU usage. Simply load it up with an impulse response (e.g. one from [NoiseVault][2]) and away you go.&#xD;&#xA;&#xD;&#xA;![SIR Gui][3]&#xD;&#xA;&#xD;&#xA;* freeware&#xD;&#xA;* Windows VST-Plugin&#xD;&#xA;* works with a fixed latency of 8960 samples (possibly compensated by VST-Host).&#xD;&#xA;* you can adjust predelay, attack-time, length and stereo width of the impulse response&#xD;&#xA;* Stretch (up &amp; downsampling of impulse response)&#xD;&#xA;* FFT EQ (to adjust the frequency spectrum of the impulse-response)&#xD;&#xA;* Auto Gain (automatic volume compensation)&#xD;&#xA;* Dynamic CPU Consumption (use only the CPU power that is needed to get the result)&#xD;&#xA;&#xD;&#xA;Aside from CPU usage, the other down-side is a fixed latency of 8960 samples, which should be compensated for by your host. You can buy a paid version if you want zero latency. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.knufinke.de/sir/sir1.html&#xD;&#xA;  [2]: http://noisevault.com/index.php?page=ir-library&#xD;&#xA;  [3]: http://i.stack.imgur.com/pD5wD.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="47141" PostHistoryTypeId="2" PostId="26337" RevisionGUID="1d3a23ec-411d-4b72-a361-987e4d6d3875" CreationDate="2011-04-21T07:02:30.010" UserId="7471" UserDisplayName="Mark Heath" Text="*Kjaerhus Classic Reverb* was a favourite of mine for some time, and is still available [here][1], despite the Kjaerhus website no longer being available. It's easy to configure, and the filters are useful to stop it sounding too harsh.&#xD;&#xA;&#xD;&#xA;![Kjaerhus Class][2]&#xD;&#xA;&#xD;&#xA;  [1]: http://www.vstplanet.com/Effects/Effects2.htm&#xD;&#xA;  [2]: http://i.stack.imgur.com/nSbcq.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="47142" PostHistoryTypeId="2" PostId="26338" RevisionGUID="7d5356f4-09e7-4fd2-972f-d6c99ed91795" CreationDate="2011-04-21T07:07:37.773" UserId="7471" UserDisplayName="Mark Heath" Text="*PSP PianoVerb* is a slightly quirky, but very nice sounding reverb. It is available as VST, RTAS and AudioUnit for PC and Mac. It is freeware, although it does require you to authorise it. Product page and download [here][1].&#xD;&#xA;&#xD;&#xA;![PSP PianoVerb GUI][2]&#xD;&#xA;&#xD;&#xA;&gt; PSP PianoVerb reproduces special kind of reverberation originally provided by piano strings. It generates reverberation using twelve string operators with adjustable damping and decay time. Each of them is tuned to a particular note starting from A(55Hz) to a G#(103.8Hz). The PSP PianoVerb string system can be transposed in the range of +-24 semitones, tuned within a range of +-100 cents and be detuned as well. Transposing to lower octaves produces a bigger and less resonant sound similar to traditional reverbs, while in turn transposing to higher octaves produces a very bright harp-like effect.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.pspaudioware.com/plugins/reverbs/psp_pianoverb/&#xD;&#xA;  [2]: http://i.stack.imgur.com/vGNL0.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="47143" PostHistoryTypeId="2" PostId="26333" RevisionGUID="7504a2b2-695e-48b4-a500-5af632e3e12a" CreationDate="2011-04-21T06:36:58.963" UserId="7471" UserDisplayName="Mark Heath" Text="What freeware reverb VSTs can you recommend? Please link to just one reverb per answer so we can vote for favourites. &#xD;&#xA;&#xD;&#xA;Useful information for each plugin includes:&#xD;&#xA;&#xD;&#xA;* link to download&#xD;&#xA;* features&#xD;&#xA;* screenshot&#xD;&#xA;* platforms supported (e.g. Windows / Mac, VST, RTAS, AudioUnit)&#xD;&#xA;* type of material best suited to&#xD;&#xA;* CPU usage" ContentLicense="CC BY-SA 3.0" />
  <row Id="47144" PostHistoryTypeId="1" PostId="26333" RevisionGUID="7504a2b2-695e-48b4-a500-5af632e3e12a" CreationDate="2011-04-21T06:36:58.963" UserId="7471" UserDisplayName="Mark Heath" Text="Freeware Reverb VSTs" ContentLicense="CC BY-SA 3.0" />
  <row Id="47145" PostHistoryTypeId="3" PostId="26333" RevisionGUID="7504a2b2-695e-48b4-a500-5af632e3e12a" CreationDate="2011-04-21T06:36:58.963" UserId="7471" UserDisplayName="Mark Heath" Text="&lt;plugins&gt;&lt;reverb&gt;&lt;vst&gt;&lt;freeware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47152" PostHistoryTypeId="36" PostId="26341" RevisionGUID="46caaa14-86ac-465d-8267-2430c1b332c7" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3156/how-to-treat-all-audio-as-one-shot-in-acid-pro-7-and-disable-tempo" />
  <row Id="47153" PostHistoryTypeId="36" PostId="26342" RevisionGUID="dac66163-75ec-484e-967a-e3b147f262d8" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3156/how-to-treat-all-audio-as-one-shot-in-acid-pro-7-and-disable-tempo/7069#7069" />
  <row Id="47154" PostHistoryTypeId="2" PostId="26342" RevisionGUID="146a8330-d68a-4337-9ad1-3bc4ad1bd4c8" CreationDate="2013-02-06T17:34:14.333" UserDisplayName="Dan Gabriel" Text="Options -&gt; Preferences -&gt; Audio&#xD;&#xA;&#xD;&#xA;1) *Open files as loop if*... X seconds&#xD;&#xA;&#xD;&#xA;Set it to something silly&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;2) *Acid type for recorded audio:*&#xD;&#xA;Choose One-shot instead of Beatmapped" ContentLicense="CC BY-SA 3.0" />
  <row Id="47155" PostHistoryTypeId="2" PostId="26341" RevisionGUID="58602f57-9fe0-4275-9834-b41eebcbcc83" CreationDate="2012-01-28T17:00:53.263" UserId="12947" UserDisplayName="Nicola Peluchetti" Text="I'm using Acid pro to mix down my radio show and it's driving me mad because it tends to import all samples as &quot;loop&quot; or &quot;Beatmapped&quot; and I have to change them manually. &#xD;&#xA;&#xD;&#xA;I'd also like to disable the feature that synchronizes the looped track to the tempo of the track, is this possible?  I have two tracks that I use when I'm talking and they are short loops that must mantain their original tempo." ContentLicense="CC BY-SA 3.0" />
  <row Id="47156" PostHistoryTypeId="1" PostId="26341" RevisionGUID="58602f57-9fe0-4275-9834-b41eebcbcc83" CreationDate="2012-01-28T17:00:53.263" UserId="12947" UserDisplayName="Nicola Peluchetti" Text="How to treat all audio as &quot;one shot&quot; in Acid Pro 7 and disable tempo" ContentLicense="CC BY-SA 3.0" />
  <row Id="47157" PostHistoryTypeId="3" PostId="26341" RevisionGUID="58602f57-9fe0-4275-9834-b41eebcbcc83" CreationDate="2012-01-28T17:00:53.263" UserId="12947" UserDisplayName="Nicola Peluchetti" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47158" PostHistoryTypeId="36" PostId="26343" RevisionGUID="f8b45104-0a43-459b-911a-c4e8064bee3d" CreationDate="2014-01-27T15:19:49.550" UserId="-1" Comment="from http://avp.stackexchange.com/questions/494/low-frequency-driver-replacement-for-bx5a" />
  <row Id="47159" PostHistoryTypeId="36" PostId="26344" RevisionGUID="b510b369-e8d1-4e19-b349-8efb8e7c7b16" CreationDate="2014-01-27T15:19:49.550" UserId="-1" Comment="from http://avp.stackexchange.com/questions/494/low-frequency-driver-replacement-for-bx5a/495#495" />
  <row Id="47160" PostHistoryTypeId="2" PostId="26344" RevisionGUID="4579574f-8166-4219-9b7b-25efd545d83d" CreationDate="2011-01-02T05:03:54.000" UserId="7209" Text="I may have stumbled on a better way to contact M-Audio, that I will try next week.  I can order parts from their repair department.  For anyone interested, here is their info:&#xD;&#xA;&#xD;&#xA;&gt; Call 626-633-9055, press 2 at any time to bypass the introduction message, and then press 2 for replacement parts.&#xD;&#xA;&#xD;&#xA;&gt; Mon - Fri, 9am - 5pm, Pacific Time" ContentLicense="CC BY-SA 2.5" />
  <row Id="47161" PostHistoryTypeId="2" PostId="26345" RevisionGUID="899a752b-aa5c-446f-a80f-b734070e390e" CreationDate="2011-09-23T18:54:24.630" UserDisplayName="John L" Text="I called the number above, then was told by recording I needed an AVID support code. I pressed &quot;2&quot; and actually talked with a customer support rep, and was told to email my request to &quot;repairs@m-audio.com&quot;   BTW is tried several times to get this email address from the M-audio website but was unable to find it." ContentLicense="CC BY-SA 3.0" />
  <row Id="47162" PostHistoryTypeId="2" PostId="26343" RevisionGUID="1bd3f8fd-54be-4f3c-b043-8a77984365c2" CreationDate="2011-01-02T04:57:45.583" UserId="7209" Text="Any idea where I can get a replacement low-frequency driver for my M-Audio BX5a monitor?  One of my monitors has been making a fuzz noise on a few low frequencies.&#xD;&#xA;&#xD;&#xA;M-Audio has been no help.  Full Compass carries [the high-frequency driver][1]... I've seen the woofer online be in the past, but can't find one now.&#xD;&#xA;&#xD;&#xA;Any advice would be appreciated.  Thanks!&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fullcompass.com/product/342851.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="47163" PostHistoryTypeId="1" PostId="26343" RevisionGUID="1bd3f8fd-54be-4f3c-b043-8a77984365c2" CreationDate="2011-01-02T04:57:45.583" UserId="7209" Text="Low frequency driver replacement for BX5a" ContentLicense="CC BY-SA 2.5" />
  <row Id="47164" PostHistoryTypeId="3" PostId="26343" RevisionGUID="1bd3f8fd-54be-4f3c-b043-8a77984365c2" CreationDate="2011-01-02T04:57:45.583" UserId="7209" Text="&lt;monitors&gt;&lt;replacement-parts&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47165" PostHistoryTypeId="36" PostId="26345" RevisionGUID="ec085917-1241-4779-90ab-b61e7bdf9c0f" CreationDate="2014-01-27T15:19:49.550" UserId="-1" Comment="from http://avp.stackexchange.com/questions/494/low-frequency-driver-replacement-for-bx5a/2371#2371" />
  <row Id="47166" PostHistoryTypeId="36" PostId="26346" RevisionGUID="5e6e27e2-e1f0-484c-8290-d9c23c0cd66f" CreationDate="2014-01-27T15:22:18.763" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5520/changing-the-sampling-or-playback-rate" />
  <row Id="47167" PostHistoryTypeId="2" PostId="26347" RevisionGUID="165e0ebc-dba4-48c9-a8a5-03a1d04d14d4" CreationDate="2012-12-08T01:39:51.630" UserId="7189" Text="Sample rate or playback rate is just the speed at which your software or hardware reads through the audio buffer and plays back what it finds. Just adjusting the sample rate speeds up or slows down the rate at which the waveform is read, which effectively shortens or lengthens the waveform contained within.&#xD;&#xA;&#xD;&#xA;Consider a 440 Hz Sine wave. If you play that sine wave at half speed, you are playing a 220 Hz sine wave, which results in a tone an octave lower than your original sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="47168" PostHistoryTypeId="2" PostId="26346" RevisionGUID="9ed7e55e-526a-4de2-a255-d82b61c31f7f" CreationDate="2012-12-07T20:22:37.637" UserDisplayName="Caesar" Text="Why does changing the sampling or playback rate of a sound changes its pitch?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47169" PostHistoryTypeId="1" PostId="26346" RevisionGUID="9ed7e55e-526a-4de2-a255-d82b61c31f7f" CreationDate="2012-12-07T20:22:37.637" UserDisplayName="Caesar" Text="Changing the sampling or playback rate" ContentLicense="CC BY-SA 3.0" />
  <row Id="47170" PostHistoryTypeId="3" PostId="26346" RevisionGUID="9ed7e55e-526a-4de2-a255-d82b61c31f7f" CreationDate="2012-12-07T20:22:37.637" UserDisplayName="Caesar" Text="&lt;playback&gt;&lt;sampling&gt;&lt;pitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47171" PostHistoryTypeId="36" PostId="26347" RevisionGUID="c0e56f1b-db9b-4145-9c33-37e93d179d34" CreationDate="2014-01-27T15:22:18.763" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5520/changing-the-sampling-or-playback-rate/5528#5528" />
  <row Id="47172" PostHistoryTypeId="36" PostId="26348" RevisionGUID="a76ff29e-2b15-47cf-a366-69e032637b7e" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9594/whats-the-point-of-putting-electronics-inside-a-guitar-instead-of-just-outputti" />
  <row Id="47173" PostHistoryTypeId="36" PostId="26349" RevisionGUID="aae586b2-c72a-4fe3-88c4-f99f5dffe669" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9594/whats-the-point-of-putting-electronics-inside-a-guitar-instead-of-just-outputti/9595#9595" />
  <row Id="47174" PostHistoryTypeId="36" PostId="26350" RevisionGUID="c081a302-1389-42b5-96b4-3e8d5c4d58af" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9594/whats-the-point-of-putting-electronics-inside-a-guitar-instead-of-just-outputti/9609#9609" />
  <row Id="47175" PostHistoryTypeId="36" PostId="26351" RevisionGUID="f13b3154-921d-44f5-b58c-697c29a0d5d3" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9594/whats-the-point-of-putting-electronics-inside-a-guitar-instead-of-just-outputti/9638#9638" />
  <row Id="47176" PostHistoryTypeId="2" PostId="26349" RevisionGUID="29c523a7-cd77-4c84-a4fd-cb9769dd59a9" CreationDate="2013-12-07T00:30:40.710" UserDisplayName="WeRelic" Text="Its just another point of tonal control basically. Raw signals can be very intense, and this helps to smooth the dynamics out a little bit. As well as providing a rough EQ with your tonal knobs. &#xD;&#xA;&#xD;&#xA;Generally those knobs are associated with one of your pickups, usually with one that controls the full output as well, and as such will control their output by raising or lowering the gain on that pickup, or all of them, respectively. &#xD;&#xA;&#xD;&#xA;Some knobs are balance knobs which means that turning them one way changes the bias between the two signals it handles, such that turning the knob clockwise will boost your neck pickup and turning counterclockwise will boost your bridge pickup. For the most part, these knobs have a threshold of about 10-20% minimum signal from each pickup, meaning that the most biased a signal can be is 90-80% one way or the other. This solves being too bassy or too treble. &#xD;&#xA;&#xD;&#xA;There have been several musicians in the past who have only had a volume knob or no knobs at all on their guitars. They aren't necessary, but they don't hurt either, its all in how you choose to model your sound.&#xD;&#xA;&#xD;&#xA;see http://www.diyguitarmods.com/guitar-wiring.php for more information about guitar electronics." ContentLicense="CC BY-SA 3.0" />
  <row Id="47177" PostHistoryTypeId="2" PostId="26350" RevisionGUID="830762d8-19e3-4f2d-948e-66f38c97545e" CreationDate="2013-12-09T12:52:38.000" UserId="7365" UserDisplayName="Carl Witthoft" Text="Another consideration: assuming your guitar has at least two sets of pickups, if you didn't have what's essentially a mixer on/in your axe, you'd need to pass more wires to the remote preamp.  That not only increases the complexity of the patch cord but increases the risk of crosstalk and interference pickup." ContentLicense="CC BY-SA 3.0" />
  <row Id="47178" PostHistoryTypeId="2" PostId="26351" RevisionGUID="a86330d5-7e5e-4303-a8f4-ede54e36e590" CreationDate="2013-12-11T21:27:20.683" UserId="21343" UserDisplayName="AlexanderBrevig" Text="**It's more about practicality than of necessity.**&#xD;&#xA;&#xD;&#xA;Imagine a guitar with one pickup and no volume or tone knobs.&#xD;&#xA;You're right, this would produce slightly less noise (probably less than the noise floor you'd get on any recording - but in theory any component passive component will add some noise).&#xD;&#xA;However, you would probably want control your volume/gain sooner or later - thus you would get a volume pedal. &#xD;&#xA;&#xD;&#xA;If you wanted to add a pickup (to get a more mellow, smooth sound for soloing or something like that - or maybe you want to lay some jazzy chords during a verse) you would have to add another output to your guitar.&#xD;&#xA;Then, either patch both cables to a AB-Y merger/select, then again to the volume.&#xD;&#xA;&#xD;&#xA;What I'm getting at is this:&#xD;&#xA;Because most guitarist have found that they want to control their tone/balance and their volume/gain, most guitars come with that as default. The same applies to pickups, because most guitars want to be able to get the sound from both the bridge and the neck position (and switch between them, but only connect to one out) a pickup switch is standard.&#xD;&#xA;&#xD;&#xA;There are plenty of exceptions.&#xD;&#xA;&#xD;&#xA;Have a look at Eddie Van Halen's signature (one picup, volume only):&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/98u9E.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="47179" PostHistoryTypeId="2" PostId="26348" RevisionGUID="2f731245-2f79-4f66-9e6b-bea5c8be2b01" CreationDate="2013-12-06T20:26:25.000" UserId="7840" UserDisplayName="themirror" Text="I'm new to electric guitars, but I understand that all the different models out there have various signal-modifying electronics shoved somewhere inside the body that modify the pickups' signal before getting to the output jack.&#xD;&#xA;&#xD;&#xA;Why would anyone want that? Wouldn't it be better to just output a &quot;raw&quot; signal and then have my choice of what signal modifiers I hook up AFTER it comes out of the guitar's jack?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47180" PostHistoryTypeId="1" PostId="26348" RevisionGUID="2f731245-2f79-4f66-9e6b-bea5c8be2b01" CreationDate="2013-12-06T20:26:25.000" UserId="7840" UserDisplayName="themirror" Text="What's the point of putting electronics inside a guitar instead of just outputting the raw pickup signal?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47181" PostHistoryTypeId="3" PostId="26348" RevisionGUID="2f731245-2f79-4f66-9e6b-bea5c8be2b01" CreationDate="2013-12-06T20:26:25.000" UserId="7840" UserDisplayName="themirror" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47182" PostHistoryTypeId="36" PostId="26352" RevisionGUID="2b8ee424-51eb-4e01-8e10-73dfc0dd6089" CreationDate="2014-01-27T15:19:49.550" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8976/will-this-portable-dj-setup-work" />
  <row Id="47183" PostHistoryTypeId="36" PostId="26353" RevisionGUID="bb5a81df-9e47-4b84-946e-cc0759ed7ebf" CreationDate="2014-01-27T15:19:49.550" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8976/will-this-portable-dj-setup-work/8980#8980" />
  <row Id="47184" PostHistoryTypeId="2" PostId="26353" RevisionGUID="a67c4b00-f53c-4cac-b758-726d4525fcf4" CreationDate="2013-09-15T12:36:36.230" UserId="7016" Text="From the list of speakers you have there, they could all be appropriate for the size of gigs you describe. You would be much better off with unpowered speakers though - if you use powered speakers you need to be able to plug them all in to the mains, and at many venues this can be a problem.&#xD;&#xA;&#xD;&#xA;In general, a couple of subs (bigger can be better if your music has a lot of bass), couple of mids and a couple of tweeters can work for small venues like these, so the specific selection should not matter. PA speaker cabs usually have matched sets of speakers built in to the enclosure.&#xD;&#xA;&#xD;&#xA;Of much more importance is the amp and mixer you plan to get, as you need a way to balance the signals to your speakers, as well as adjusting frequency gain.&#xD;&#xA;&#xD;&#xA;My recommendation would be at a minimum a 4 channel mixer/amp with a built in graphic equaliser. &#xD;&#xA;&#xD;&#xA;In terms of power, you should look at a couple of hundred watts. You won't need more than that unless you go to bigger venues. In terms of speakers, make sure they are rated higher than your amp - this reduces the likelihood of you blowing them up!" ContentLicense="CC BY-SA 3.0" />
  <row Id="47185" PostHistoryTypeId="2" PostId="26352" RevisionGUID="15789c35-abb6-4aea-b72c-99048af5ab00" CreationDate="2013-09-15T09:20:57.540" UserId="7487" UserDisplayName="Stoan" Text="I'm looking to purchase a portable DJ Setup for my business, I'm targeting Pubs,Weddings(Halls), outdoor parties and occasionally small conferences. My setup will be based on powered speakers. It should be able to accommodate at least 200-300 people. I'm looking for something of quality but not too expensive. Please advise on what would be best speakers, thanks.&#xD;&#xA;&#xD;&#xA;What I currently have:&#xD;&#xA;Pioneer DJM-700&#xD;&#xA;Pioneer CDJ-350s&#xD;&#xA;&#xD;&#xA;Proposed speakers(all powered):&#xD;&#xA;&#xD;&#xA; - 4 X 12&quot; 200W Tops&#xD;&#xA; - 1 X 15&quot; 500W Sub&#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA; - 4 X 15&quot; 400W Tops&#xD;&#xA;&#xD;&#xA;OR&#xD;&#xA;&#xD;&#xA; - 2 X 12&quot; 200W Tops&#xD;&#xA; - 1 X 15&quot; 500W Sub&#xD;&#xA; - 2 X 15&quot; 400W Tops&#xD;&#xA;&#xD;&#xA;These are the speaker types I'm looking to choose from:&#xD;&#xA;&#xD;&#xA; - 12in 200W Active Speaker with 2 Band EQ&#xD;&#xA; - 15in 400W Active Speaker with 2 Band EQ&#xD;&#xA; - 500W Powered Sub&#xD;&#xA; - 15in 1400W Active Sub&#xD;&#xA; - 18in Active 500W Bass Sub&#xD;&#xA; - 12in 300W Active Speaker&#xD;&#xA; - 15in 400W Active Speaker&#xD;&#xA; - 10in 2-Way Active Loudspeaker&#xD;&#xA; - 300W Active Speaker" ContentLicense="CC BY-SA 3.0" />
  <row Id="47186" PostHistoryTypeId="1" PostId="26352" RevisionGUID="15789c35-abb6-4aea-b72c-99048af5ab00" CreationDate="2013-09-15T09:20:57.540" UserId="7487" UserDisplayName="Stoan" Text="Will this portable DJ setup work?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47187" PostHistoryTypeId="3" PostId="26352" RevisionGUID="15789c35-abb6-4aea-b72c-99048af5ab00" CreationDate="2013-09-15T09:20:57.540" UserId="7487" UserDisplayName="Stoan" Text="&lt;setup&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47188" PostHistoryTypeId="36" PostId="26354" RevisionGUID="fe0d0e0a-b454-48a5-9673-1eaf7e9ef078" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/747/how-do-i-make-my-guitar-sound-as-smooth-as-possible" />
  <row Id="47189" PostHistoryTypeId="36" PostId="26355" RevisionGUID="9b108628-35f4-4e87-84d1-a9c6b61bc39f" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/747/how-do-i-make-my-guitar-sound-as-smooth-as-possible/748#748" />
  <row Id="47190" PostHistoryTypeId="36" PostId="26356" RevisionGUID="82037a37-39b5-4917-9907-ae405f2b0c80" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/747/how-do-i-make-my-guitar-sound-as-smooth-as-possible/751#751" />
  <row Id="47191" PostHistoryTypeId="36" PostId="26357" RevisionGUID="f0af50b4-f4f3-43d6-8729-5590309392aa" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/747/how-do-i-make-my-guitar-sound-as-smooth-as-possible/754#754" />
  <row Id="47192" PostHistoryTypeId="36" PostId="26358" RevisionGUID="9fb300e7-63e2-458e-b866-b7710b019d82" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/747/how-do-i-make-my-guitar-sound-as-smooth-as-possible/804#804" />
  <row Id="47193" PostHistoryTypeId="2" PostId="26355" RevisionGUID="1617f6a4-449b-487f-b374-19049523d544" CreationDate="2011-02-03T21:48:19.933" UserDisplayName="jlebre" Text="Why don't you try an [Ebow][1]? or, if you don't mind having a short silence, an ADSR shaper? (or even manually with an expression pedal for that matter).&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ebow.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="47194" PostHistoryTypeId="2" PostId="26356" RevisionGUID="d963344a-5ce9-4c6e-8757-7a4e197ed21d" CreationDate="2011-02-04T05:52:15.727" UserDisplayName="d-_-b" Text="That sounds like some strings/pads. You want to acheive that sound with a guitar?&#xD;&#xA;&#xD;&#xA;One of the easiest ways to do that is to use a reverb effect 100% wet. So no dry signal. You'll need to tweak the reverb to get the sound you like. There is sometimes an initial wall response type setting which might have some quick attack. You want a really slow attack. There will be some delay, but that is the sound you are after. If you apply the affect post recording, the delay will not mess up your playing timing." ContentLicense="CC BY-SA 2.5" />
  <row Id="47195" PostHistoryTypeId="2" PostId="26357" RevisionGUID="2354da50-0b4f-4455-9d52-c163e9facfc4" CreationDate="2011-02-04T14:43:28.613" UserDisplayName="Ian C." Text="That example was helpful.&#xD;&#xA;&#xD;&#xA;That sounds very much like the mix, less like the performance, to me. I hear an almost [crystal echoes type reverb][1] on that guitar, certainly there's a *lot* of reverb on it, and the dry signal is mixed very low in comparison to the reverb signal. It's a long reverb with a lot of high frequency content.&#xD;&#xA;&#xD;&#xA;It could also be some synth pads but if you don't want to break out the synths here's my suggestion for a homebrew crystal echoes.&#xD;&#xA;&#xD;&#xA;You're going to need two aux busses.&#xD;&#xA;&#xD;&#xA;One is going to have a pitch shifter set to +12 steps that feeds a delay on it set to a few hundred msecs. So it's *pitch shifted delay*. And the output of this aux is going to feed 100% in to the second aux buss which will have a huge reverb on it, set 100% wet of course. Try and pick a reverb for a long, narrow type room if you can. You want it long but you don't want it boomy. You don't really have to have dry pitch shifted signal in the mix.&#xD;&#xA;&#xD;&#xA;Take your original guitar channel and use a pre-fader send to send some of the signal to the aux buss with the pitch shifter on it. Use a second pre-fader send to send some of the signal to the reverb.&#xD;&#xA;&#xD;&#xA;Now comes the part where the ears take over: you want to balance the dry guitar signal (with that channel's fader), the pitch shifted signal in the reverb (which will give you some sparkly version of the original signal in the reverb signal), and the reverb signal. You can use those two new aux channels to create a washed out, but pad-like, version of your dry guitar signal that can get mixed in pretty heavy to take some of the edge of of things.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=GuUkiEoca3U" ContentLicense="CC BY-SA 2.5" />
  <row Id="47196" PostHistoryTypeId="2" PostId="26358" RevisionGUID="41df3c1a-0ba8-443b-a335-6ab2622c6648" CreationDate="2011-02-13T16:36:32.350" UserDisplayName="Andrew" Text="Reducing the dry recording in the reverb effect is a good suggestion. You could also use a metal or glass slide for more of a portamento sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="47197" PostHistoryTypeId="2" PostId="26354" RevisionGUID="a3e75d74-4fa9-4e46-9151-4d01c8c904c4" CreationDate="2011-02-03T20:16:05.723" UserId="13395" UserDisplayName="Ali Maxwell" Text="I am doing a guitar track that I want to put a reverse reverb effect on. In order to do this I record the guitar, put heavy reverb on it, bounce, reverse, put heavy reverb on that, then bounce and reverse again.&#xD;&#xA;&#xD;&#xA; The problem is that the track is a guitar sliding up and down some notes, staying on each note for a while each time. I continuously pick the strings in order to keep the sound sustained and clear, but the issue is that no matter how softly I pick I can hear the brief break in the note as I pick. &#xD;&#xA;&#xD;&#xA;So basically my question is: is there an effect or something I can do to overcome the brief break in the note so that it sounds as smooth and sustained as possible? &#xD;&#xA;&#xD;&#xA;I use Logic 9, if that is any use. &#xD;&#xA;&#xD;&#xA;Thank you for your time. " ContentLicense="CC BY-SA 2.5" />
  <row Id="47198" PostHistoryTypeId="1" PostId="26354" RevisionGUID="a3e75d74-4fa9-4e46-9151-4d01c8c904c4" CreationDate="2011-02-03T20:16:05.723" UserId="13395" UserDisplayName="Ali Maxwell" Text="How do I make my guitar sound as smooth as possible?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47199" PostHistoryTypeId="3" PostId="26354" RevisionGUID="a3e75d74-4fa9-4e46-9151-4d01c8c904c4" CreationDate="2011-02-03T20:16:05.723" UserId="13395" UserDisplayName="Ali Maxwell" Text="&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47200" PostHistoryTypeId="36" PostId="26359" RevisionGUID="22613627-ac8e-40a1-b710-b999a83aee17" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5403/free-automatic-composer-for-commercial-use" />
  <row Id="47201" PostHistoryTypeId="2" PostId="26360" RevisionGUID="0c52bc9f-6944-4357-8c5a-52ec6bc60381" CreationDate="2012-11-27T13:59:56.123" UserId="7196" Text="Couldn't Garageband's 'Magic' feature do this for you? (Assuming you have access to a Mac)&#xD;&#xA;&#xD;&#xA;There's a guide to Automatic Composition with Magic Garageband&#xD;&#xA;[ here.][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;There was also (back in the deep recesses of time) a program available for the Amiga, called `Super Jam`, which produced MIDI compositions. &#xD;&#xA;&#xD;&#xA;-EDIT-&#xD;&#xA;There appears to be a free, Windows version of Super Jam [here.][2]&#xD;&#xA;It's probably extremely dated but it used to work well enough for me.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.dummies.com/how-to/content/automatic-composition-with-magic-garageband-on-you.html&#xD;&#xA;  [2]: http://freemusicsoftware.org/619" ContentLicense="CC BY-SA 3.0" />
  <row Id="47202" PostHistoryTypeId="2" PostId="26359" RevisionGUID="b4d8ac0d-f025-420d-ae94-07a065592953" CreationDate="2012-11-24T06:24:33.350" UserId="7255" Text="Is there free software that automatically composes music and does not place restrictions on the generated output? I need to be able to use the generated music commercially.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47203" PostHistoryTypeId="1" PostId="26359" RevisionGUID="b4d8ac0d-f025-420d-ae94-07a065592953" CreationDate="2012-11-24T06:24:33.350" UserId="7255" Text="Free automatic composer, for commercial use" ContentLicense="CC BY-SA 3.0" />
  <row Id="47204" PostHistoryTypeId="3" PostId="26359" RevisionGUID="b4d8ac0d-f025-420d-ae94-07a065592953" CreationDate="2012-11-24T06:24:33.350" UserId="7255" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47205" PostHistoryTypeId="36" PostId="26360" RevisionGUID="95d53d34-8ca2-4e41-a628-f99d1df0c4ff" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5403/free-automatic-composer-for-commercial-use/5430#5430" />
  <row Id="47206" PostHistoryTypeId="36" PostId="26361" RevisionGUID="3e495201-8b13-4e3d-9578-c2016f6c4675" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/183/how-to-deal-with-the-difference-in-sound-when-the-audience-comes-in" />
  <row Id="47207" PostHistoryTypeId="36" PostId="26362" RevisionGUID="b8d9492b-6978-45b5-acdb-4a844bff9c4a" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/183/how-to-deal-with-the-difference-in-sound-when-the-audience-comes-in/185#185" />
  <row Id="47208" PostHistoryTypeId="36" PostId="26363" RevisionGUID="7a21a278-deb2-4e6f-b838-0b02be4d55e6" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/183/how-to-deal-with-the-difference-in-sound-when-the-audience-comes-in/187#187" />
  <row Id="47209" PostHistoryTypeId="36" PostId="26364" RevisionGUID="c9dd82ad-6767-4aa3-a8c1-4ec95bdd7126" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/183/how-to-deal-with-the-difference-in-sound-when-the-audience-comes-in/1874#1874" />
  <row Id="47210" PostHistoryTypeId="36" PostId="26365" RevisionGUID="c105b087-e9f7-41d1-96d7-e5c719142d8e" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/183/how-to-deal-with-the-difference-in-sound-when-the-audience-comes-in/2663#2663" />
  <row Id="47211" PostHistoryTypeId="2" PostId="26362" RevisionGUID="cd6dbca2-8273-4692-b927-8c2a1fa562e5" CreationDate="2010-12-09T11:44:57.833" UserDisplayName="Kyle Sevenoaks" Text="Unfortunately this is just part of the job (in my experience.) There's no real way I've found to compensate for a mass of bodies in an otherwise empty hall, you just have to do it &quot;on the fly.&quot; &#xD;&#xA;&#xD;&#xA;If there is feedback, check your mic positions relative to the PA, also cut out some of the higher frequencies in your rack. &#xD;&#xA;&#xD;&#xA;Unless someone else knows a way to simulate an audience in the room when you do a soundcheck, I can't really offer much other advice.&#xD;&#xA;&#xD;&#xA;Hope it helps though :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="47212" PostHistoryTypeId="2" PostId="26363" RevisionGUID="b94316ac-c75b-403d-a025-0e0fd1acf246" CreationDate="2010-12-09T12:37:41.890" UserId="7592" UserDisplayName="Pelle ten Cate" Text="&gt; How can I simulate the audience&#xD;&#xA;&gt; already being there? Is there anyway I&#xD;&#xA;&gt; can anticipate it very well?&#xD;&#xA;&#xD;&#xA;Simulate, you can't. Anticipate, you can.&#xD;&#xA;&#xD;&#xA;Rule number one: use your ears. Always. During the soundcheck as well as during the concert. This is a general rule that is not specifically related to your question, but you can't solve the problem as soon as you stop listening, so I just mention it.&#xD;&#xA;&#xD;&#xA;Two major things happen when the audience comes in:&#xD;&#xA;&#xD;&#xA;* The acoustics change. Especially when there is no carpet on the floor, the effect could be phenomenal. Expect a decrease in reverberation time, so - while soundchecking - accept a bit too much reverb, then you might get clean when the audience comes in. Especially on instruments that have a omnidirectional pattern (i.e. little directionality) such as a piano or a timapni. These instruments are more liable to change in these acoustics than for instance a trumpet, that has a very directional pattern. &#xD;&#xA;&#xD;&#xA;* The noise level increses dramatically. People breathe. People move, and people... well, are living objects with all kinds of processes that produce sounds. We are never aware of this, but especially when putting many people together, this is a major change in the situation. What happens?&#xD;&#xA; - There is much more noise, so there will be more masking. Masking kills high frequencies first, so make sure that there are lots of those present during the sound check.&#xD;&#xA; - Human ears adapt to the amount of 'activity' where they are. This might mean that you perceive the sound weaker / less loud than you do in an empty hall, and you can hear more dynamics in a silent church. Just leave some headroom so you can actually pump up the volume a bit more, and keep a compressor on standby so you can squeeze the dynamic range a bit if things are getting to loud.&#xD;&#xA;&#xD;&#xA;With these facts in mind and a bit of trial and error (it really depends on the location, every church is different), you should eventually find a good way to do this." ContentLicense="CC BY-SA 2.5" />
  <row Id="47213" PostHistoryTypeId="2" PostId="26364" RevisionGUID="6900c988-708f-4b68-90e2-77fd747ce983" CreationDate="2011-07-14T21:01:40.127" UserDisplayName="DreLambo" Text="    &#xD;&#xA;&#xD;&#xA;&gt; Also sometimes feedback occurs when the levels are put up.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;During your soundcheck you should turn your volume up to the point that you get feedback, identify what source is causing it and use a Graphic Equaliser to turn down the frequency that is feeding back. You may find that you will need a Graphic EQ on more than one channel. &#xD;&#xA;&#xD;&#xA;&gt;vocalists hear themselves way less at stage&#xD;&#xA;&#xD;&#xA;Do you use stage monitors? If so, you should be using a separate monitor mix that you could adjust accordingly. If not, maybe it's something you should consider!" ContentLicense="CC BY-SA 3.0" />
  <row Id="47214" PostHistoryTypeId="2" PostId="26365" RevisionGUID="56f04922-d4ce-4814-b7ee-0aae5a04d1df" CreationDate="2011-11-18T18:01:33.720" UserId="7856" UserDisplayName="Corey" Text="**Remember that one of the biggest variables you have, is the performers on stage.** They are not likely to sing or play at the same volume levels in practice as they are when performing.&#xD;&#xA;&#xD;&#xA;I personally don’t put much value in a sound check beyond verifying that all the equipment is working properly and the audio levels are at least somewhere in the ball park of appropriate for the particular venue.&#xD;&#xA;&#xD;&#xA;You will always have to make adjustments during the actual performance. Just make sure you are alert and ready to do so.&#xD;&#xA;&#xD;&#xA;Things to keep in mind…&#xD;&#xA;&#xD;&#xA;Make sure all your channels are labeled so that you know exactly who and what is on each.&#xD;&#xA;&#xD;&#xA;Read the Manuals!!! (all of them, at least once)" ContentLicense="CC BY-SA 3.0" />
  <row Id="47215" PostHistoryTypeId="2" PostId="26361" RevisionGUID="97d59cab-c7ab-4463-aa19-05f34b9effa3" CreationDate="2010-12-09T10:03:32.427" UserId="7538" UserDisplayName="Peter Smit" Text="For mixing in a small church, with cheap equipment, we have the following problem.&#xD;&#xA;&#xD;&#xA;When we set up all equipment and do a sound-check, all levels are good and the sound is just very good. When the concert starts, and the audience comes in, levels have to be cranked a bit to compensate and vocalists hear themselves way less at stage. Also sometimes feedback occurs when the levels are put up.&#xD;&#xA;&#xD;&#xA;How can I simulate the audience already being there? Is there anyway I can anticipate it very well?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47216" PostHistoryTypeId="1" PostId="26361" RevisionGUID="97d59cab-c7ab-4463-aa19-05f34b9effa3" CreationDate="2010-12-09T10:03:32.427" UserId="7538" UserDisplayName="Peter Smit" Text="How to deal with the difference in sound when the audience comes in" ContentLicense="CC BY-SA 2.5" />
  <row Id="47217" PostHistoryTypeId="3" PostId="26361" RevisionGUID="97d59cab-c7ab-4463-aa19-05f34b9effa3" CreationDate="2010-12-09T10:03:32.427" UserId="7538" UserDisplayName="Peter Smit" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47218" PostHistoryTypeId="36" PostId="26366" RevisionGUID="8e0c60c2-e6d5-4061-916b-48eca5318207" CreationDate="2014-01-27T15:25:49.573" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7622/how-much-does-a-reliable-db-meter-cost" />
  <row Id="47219" PostHistoryTypeId="2" PostId="26367" RevisionGUID="bc2b8a33-4dce-4dfd-8bbb-591591248939" CreationDate="2013-04-08T19:44:03.750" UserId="7174" Text="Radioshack makes a nice cheap and reliable SPL(sound pressure level) meter (the technical term for a db meter).  I've seen that particular one in many a road case and I recall it only being something like $40.  As a point of reference, I generally try to mix my church's services for between 90 and 96db during worship and that's plenty loud for our young (average age in the mid to early 30s) congregation that likes it fairly loud.  It's probably pretty unlikely you've damaged your hearing just from that one event.  It would actually have to be physically painful to cause hearing loss quickly in an average person.  General estimates say one hour at 100dB is ok and 20 minutes at 106 is ok.  Your ears would be physically uncomfortable much above that point.&#xD;&#xA;&#xD;&#xA;That said, it's not an exact science.  If you are predisposed to hearing loss, the best bet is to go to an audiologist and have them test the frequency response of your hearing.  They will be able to quantify any hearing loss that you may have experienced.  Many things can cause occasional ringing that aren't necessarily hearing loss, so really seeing a doctor about it is the only way to really know.  (You could try to do a self test as well if you have a good pair of headphones and a sound card that you know can produce well controlled SPLs.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="47220" PostHistoryTypeId="2" PostId="26366" RevisionGUID="033ed34f-ce62-4405-9e7e-4d566026452e" CreationDate="2013-04-08T18:57:28.383" UserId="7210" Text="I'm mixing the sound at our local church. I've always had a good hearing, and now recently I was told to turn up the volume by several people, and so I did. I turned it up to where I thought it was as loud as it could be without damaging the ears. Then I asked them if it was too loud. They said it was loud enough, but it could be louder.&#xD;&#xA;&#xD;&#xA;Sometimes it got very loud in some choruses, and after doing this a couple of times, I was starting to think about my hearing, and after actually listening for it, I could hear this beeping noise in my ears when I'm alone. I can hear it even though the laptop is turned on, but I can't hear it during a conversation for instance. I have heared this beeping before, but then there has been completely silence. So I don't know if I just haven't paid attention to it, or if it popped up recently...&#xD;&#xA;&#xD;&#xA;I'm 18 years old and concerned about my hearing. My dad and both my grandfathers have hearing loss, and I don't want to join them on that one... And my mom is really sensitive to loud music, and I think I am to, since the other people says it's not too loud, and they can't hear the beeping when I can. (I asked them in a quiet place if they could hear the beeping.)&#xD;&#xA;&#xD;&#xA;What do you think about my symptoms? Could I really hear everything louder than others? Can I damage my ears at lower levels than others? Do I in that case get &quot;the same ears&quot; as everyone else, or will the beeping increase and my hearing be damaged faster and faster?&#xD;&#xA;&#xD;&#xA;I've decided to buy some ear protection. A kind that you can &quot;dial in&quot; how much it should turn the volume down, and it's made to turn down all the frequencies equally so I can use them while I'm mixing. But at the same time, I don't want to blow the ears of the audience, so I'll have to get a dB-meter. How much do I have to pay for a reliable one? I don't want to spend a lot on features I don't need, but I don't want to buy something that isn't giving accurate enough results so I actually damage the ears of the audience. (Not many people will tell the audio engineer if they think it's too loud, people want to do like everyone else..)&#xD;&#xA;&#xD;&#xA;Thanks for answering these questions!" ContentLicense="CC BY-SA 3.0" />
  <row Id="47221" PostHistoryTypeId="1" PostId="26366" RevisionGUID="033ed34f-ce62-4405-9e7e-4d566026452e" CreationDate="2013-04-08T18:57:28.383" UserId="7210" Text="How much does a reliable dB-meter cost?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47222" PostHistoryTypeId="3" PostId="26366" RevisionGUID="033ed34f-ce62-4405-9e7e-4d566026452e" CreationDate="2013-04-08T18:57:28.383" UserId="7210" Text="&lt;volume&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47223" PostHistoryTypeId="36" PostId="26367" RevisionGUID="c64cd566-d836-4fc0-b23d-bf882d6c8caa" CreationDate="2014-01-27T15:25:49.573" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7622/how-much-does-a-reliable-db-meter-cost/7623#7623" />
  <row Id="47224" PostHistoryTypeId="36" PostId="26368" RevisionGUID="bc1bcb01-6117-4249-88f5-32f09de1e624" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4304/how-to-connect-tops-and-bass-bins" />
  <row Id="47225" PostHistoryTypeId="36" PostId="26369" RevisionGUID="c8e4e15a-b4d9-4e12-b7dd-3586ecf37707" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4304/how-to-connect-tops-and-bass-bins/4574#4574" />
  <row Id="47226" PostHistoryTypeId="36" PostId="26370" RevisionGUID="b0804112-d5f2-4872-8b70-f594f49a7390" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4304/how-to-connect-tops-and-bass-bins/4578#4578" />
  <row Id="47227" PostHistoryTypeId="2" PostId="26369" RevisionGUID="d0560054-6e94-4006-b595-92465261fc22" CreationDate="2012-08-15T13:05:35.353" UserDisplayName="Benji York" Text="Yes, you will need a crossover.  You would run the signal to the crossover which will send the frequencies below 200Hz to one amp and those above 200Hz to the other." ContentLicense="CC BY-SA 3.0" />
  <row Id="47228" PostHistoryTypeId="2" PostId="26370" RevisionGUID="55f1463f-2b2d-4c00-acc0-b2759b079a12" CreationDate="2012-08-15T21:24:39.730" UserId="7016" Text="As Benji says, you will need a high power crossover if you just want to use the amp you have, but be aware that the bass bins will use a lot of the available power so the tops will not have as much headroom as before, so you have the potential to lose sound quality.&#xD;&#xA;&#xD;&#xA;If you have the option, use a separate amp for bass and treble, or at least an active mixing desk which has high and low pass filters - that way you will get better clarity of both the bass and treble." ContentLicense="CC BY-SA 3.0" />
  <row Id="47229" PostHistoryTypeId="2" PostId="26368" RevisionGUID="36b23aef-0361-485d-b65c-9c61ae5a011d" CreationDate="2012-06-27T20:38:11.817" UserDisplayName="djdarren" Text="I'm DJing all kinds of partys, house parties, and events the last year or so. &#xD;&#xA;&#xD;&#xA;I have a set of `prosound 500w passive tops` and a `prosound 1600w amp.` Not great but does the trick. &#xD;&#xA;&#xD;&#xA;I'm using a `Numark cdmix 1` as my CD mixer. Using the spare channel for my laptop, cds for back up &#xD;&#xA;&#xD;&#xA;I bought a `Behringer ep2500w amp,` their recently great amp.&#xD;&#xA;&#xD;&#xA;I'm using the behringer amp with the tops for the mean time, but i want to buy subs/bass bins.&#xD;&#xA;&#xD;&#xA;I was looking at these [Behringer VP1800 S](http://www.thomann.de/ie/behringer_vp1800_s.htm) -- I want a bit more power for bigger places.&#xD;&#xA;&#xD;&#xA;My question is: &#xD;&#xA;&#xD;&#xA; I want to run the tops of the prosound amp and the two bins of the behringer amp, but how would i go about it?  Do i need a crossover?  How would I connect everything up?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47230" PostHistoryTypeId="1" PostId="26368" RevisionGUID="36b23aef-0361-485d-b65c-9c61ae5a011d" CreationDate="2012-06-27T20:38:11.817" UserDisplayName="djdarren" Text="How to connect tops and bass bins" ContentLicense="CC BY-SA 3.0" />
  <row Id="47231" PostHistoryTypeId="3" PostId="26368" RevisionGUID="36b23aef-0361-485d-b65c-9c61ae5a011d" CreationDate="2012-06-27T20:38:11.817" UserDisplayName="djdarren" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47232" PostHistoryTypeId="36" PostId="26371" RevisionGUID="06ac84ef-0f0e-46c2-98a3-3c3516bc69c1" CreationDate="2014-01-27T15:17:33.820" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3012/garageband-splice-10-second-clips" />
  <row Id="47233" PostHistoryTypeId="2" PostId="26372" RevisionGUID="ce96b729-6519-472a-b95e-4ec90c4331e0" CreationDate="2012-01-12T11:19:46.080" UserId="7539" UserDisplayName="slim" Text="There are a few ways to achieve this. I'm going to describe the way I use, and find easiest to describe.&#xD;&#xA;&#xD;&#xA;Find the tune you want in iTunes. Right click, and choose &quot;show in Finder&quot;.&#xD;&#xA;&#xD;&#xA;A Finder window will pop up, with the MP3 (etc) file for your song highlighted.&#xD;&#xA;&#xD;&#xA;Drag that file to the tracks window of Garageband.&#xD;&#xA;&#xD;&#xA;Once it's in, you can trim off the parts you don't want, by splitting the part and deleting the unwanted pieces." ContentLicense="CC BY-SA 3.0" />
  <row Id="47234" PostHistoryTypeId="2" PostId="26371" RevisionGUID="8021ac31-6978-4055-9c04-1f49f755df87" CreationDate="2012-01-12T01:48:29.030" UserDisplayName="mcgrailm" Text="I want to take 10 clips of songs from my itunes on my mac into garageband (or something) this is a just a small little thing I want to do for a party so we can play name that tune like you often hear on radio stations&#xD;&#xA;&#xD;&#xA;how ever I can't even seem to figure out how to get them into garage band&#xD;&#xA;&#xD;&#xA;any help you could give me would be appreciated.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47235" PostHistoryTypeId="1" PostId="26371" RevisionGUID="8021ac31-6978-4055-9c04-1f49f755df87" CreationDate="2012-01-12T01:48:29.030" UserDisplayName="mcgrailm" Text="garageband splice 10 second clips" ContentLicense="CC BY-SA 3.0" />
  <row Id="47236" PostHistoryTypeId="3" PostId="26371" RevisionGUID="8021ac31-6978-4055-9c04-1f49f755df87" CreationDate="2012-01-12T01:48:29.030" UserDisplayName="mcgrailm" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47237" PostHistoryTypeId="36" PostId="26372" RevisionGUID="fa82d6f1-1cdf-449a-9082-1212c3c4a111" CreationDate="2014-01-27T15:17:33.820" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3012/garageband-splice-10-second-clips/3013#3013" />
  <row Id="47238" PostHistoryTypeId="36" PostId="26373" RevisionGUID="2a49af8a-1f73-4afc-ab03-d2920f73f781" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/445/adding-a-rhythm-section-to-a-capella-tracks" />
  <row Id="47239" PostHistoryTypeId="36" PostId="26374" RevisionGUID="8208bfdf-a567-4307-80f5-4683b88bf30c" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/445/adding-a-rhythm-section-to-a-capella-tracks/452#452" />
  <row Id="47240" PostHistoryTypeId="2" PostId="26374" RevisionGUID="9491f9b2-82df-4f0f-8b8c-3b78bd69c9eb" CreationDate="2010-12-25T22:15:57.417" UserId="7294" UserDisplayName="Warrior Bob" Text="Try writing a basic beat in a sequencer, where you can control the tempo.  Play your sequenced drums up against the recording of the vocals only, and subtly vary the tempo until they line up.  &#xD;&#xA;&#xD;&#xA;The sequenced beat will be locked to a &quot;click,&quot; so if you can get it to line up with the vocals, you now know the tempo of the vocals.  You can set a metronome to this and then play to your heart's content.&#xD;&#xA;&#xD;&#xA;This will only work if your vocals are indeed at a steady tempo.&#xD;&#xA;&#xD;&#xA;I've done this using Ableton Live, not to an a capella track but rather to some recorded instrumentation, but the concept is the same." ContentLicense="CC BY-SA 2.5" />
  <row Id="47241" PostHistoryTypeId="2" PostId="26375" RevisionGUID="528dad19-ce9a-4c56-82be-d202e1a0308d" CreationDate="2010-12-25T22:33:51.107" UserDisplayName="Kim Burgaard" Text="Many Digital Audio Workstation software packages will have beat detection features which can detect and map the beats of a track to a tempo sync track. If the a capella tracks were recorded with a click track, then you should see the detected beats mapped evenly throughout the song.  Otherwise, you have the option to either adjust the tempo of the original recording, or to map the tempo of your rhythm tracks to follow the tempo variations.&#xD;&#xA;&#xD;&#xA;Side note: Have you considered recording the bass and drums using human voices? Thumping your chest while singing the bass line can be pretty effective with some compression and a dash of tube sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="47242" PostHistoryTypeId="2" PostId="26373" RevisionGUID="518aa7df-6864-44ae-9a38-0ea6904a9a15" CreationDate="2010-12-25T15:24:02.160" UserId="7045" Text="I have the task of setting up a beat (bass and drums) to already existing vocal-only tracks. (Male vocal, three-part harmony.) I've tried playing along, and while I like the feel of what I'm getting, I can't quite hit the sweet spot in terms of syncing to a rock-solid rhythm. &#xD;&#xA; &#xD;&#xA;I'm fairly certain the song was recorded to a click track, but I don't have that audio data. Has anyone done this sort of thing successfully? How did you do it? &#xD;&#xA;&#xD;&#xA;(This question straddles performance and audio, and is in part a test question. The situation is real, though.) " ContentLicense="CC BY-SA 2.5" />
  <row Id="47243" PostHistoryTypeId="1" PostId="26373" RevisionGUID="518aa7df-6864-44ae-9a38-0ea6904a9a15" CreationDate="2010-12-25T15:24:02.160" UserId="7045" Text="Adding a rhythm section to A Capella tracks" ContentLicense="CC BY-SA 2.5" />
  <row Id="47244" PostHistoryTypeId="3" PostId="26373" RevisionGUID="518aa7df-6864-44ae-9a38-0ea6904a9a15" CreationDate="2010-12-25T15:24:02.160" UserId="7045" Text="&lt;sync&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47245" PostHistoryTypeId="36" PostId="26375" RevisionGUID="dd1516a5-2a55-4be1-b0f4-4d4ae448fec7" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/445/adding-a-rhythm-section-to-a-capella-tracks/454#454" />
  <row Id="47246" PostHistoryTypeId="36" PostId="26376" RevisionGUID="50eadd72-66ff-4595-bf6b-b3e287a6f1e2" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3242/are-there-any-drawbacks-when-recording-instruments-out-of-order-according-to-the" />
  <row Id="47247" PostHistoryTypeId="36" PostId="26377" RevisionGUID="5799352e-23f0-4dcc-9378-2fd583981757" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3242/are-there-any-drawbacks-when-recording-instruments-out-of-order-according-to-the/3243#3243" />
  <row Id="47248" PostHistoryTypeId="2" PostId="26377" RevisionGUID="7519a4ac-e767-4568-8f5e-52117ed377f4" CreationDate="2012-02-08T19:43:14.277" UserId="7231" Text="It matters less if all parts are being played in tune and on time, but in multitrack recording scenarios, this is rarely the case, so the logic is thus:&#xD;&#xA;&#xD;&#xA;- Record drums first to give all other parts a temporal and metric reference.&#xD;&#xA;- Record bass next because it typically plays on strong metric pulses, and because harmony is grounded in the lowest note in the chord (it's easier to tune everyone else to the bass than it is to try to fit the bass into everyone else's out-of-tune-ness).&#xD;&#xA;- Record rhythm guitar next because they're the highest-pitched component of the rhythm section.&#xD;&#xA;- Keyboards or any other instruments could go here or after the lead guitar depending on how much rhythm playing vs. lead playing they do.&#xD;&#xA;- Record lead guitar now that you have a temporal and harmonic reference for them to play over.&#xD;&#xA;- Record vocals last because they're going to do whatever they want no matter what you tell them." ContentLicense="CC BY-SA 3.0" />
  <row Id="47249" PostHistoryTypeId="2" PostId="26376" RevisionGUID="f3594d4e-28d6-4cf5-9c20-494e9985661a" CreationDate="2012-02-08T19:25:23.247" UserId="7713" UserDisplayName="CheeseConQueso" Text="I've heard some standard approaches on the sequence of instruments to record first, but my personal preference interferes with the norm.&#xD;&#xA;&#xD;&#xA;The classical method is to record drums first, then bass, then guitar, then vocals.  In my opinion, I like to have the drums go first, then the guitar, and then I can adjust my bass tone to fit more pleasingly with the guitar.  Then the vocals go last.&#xD;&#xA;&#xD;&#xA;Is there any drawbacks to this approach?  Everything I've read says to do bass guitar after drums, but I'm not too fond of this method." ContentLicense="CC BY-SA 3.0" />
  <row Id="47250" PostHistoryTypeId="1" PostId="26376" RevisionGUID="f3594d4e-28d6-4cf5-9c20-494e9985661a" CreationDate="2012-02-08T19:25:23.247" UserId="7713" UserDisplayName="CheeseConQueso" Text="Are there any drawbacks when recording instruments out of order according to the preferred method?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47251" PostHistoryTypeId="3" PostId="26376" RevisionGUID="f3594d4e-28d6-4cf5-9c20-494e9985661a" CreationDate="2012-02-08T19:25:23.247" UserId="7713" UserDisplayName="CheeseConQueso" Text="&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47252" PostHistoryTypeId="36" PostId="26378" RevisionGUID="7d382e74-44ca-4e7c-9dee-008af5cd40b5" CreationDate="2014-01-27T15:19:49.550" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3867/can-sine-wave-break-pa-speaker" />
  <row Id="47253" PostHistoryTypeId="2" PostId="26379" RevisionGUID="7e653f42-8a52-492d-a44b-d68f0da0f4c6" CreationDate="2012-04-28T15:08:42.333" UserId="7016" Text="Whether it its a sine wave or not is almost irrelevant. I say almost, as if you do hit a resonant frequency you could destroy something else in the room - theoretically... you would need power to do this though. &#xD;&#xA;&#xD;&#xA;You did not destroy your laptop speakers because you played a sine wave. You may have destroyed them because the volume was too high or there was a fault.&#xD;&#xA;&#xD;&#xA;In reality, you are less likely to damage a speaker using a sine wave as you will have less rapid transitions than a sound of the same frequency with harmonics and other higher frequencies. A sine wave is actually the most gentle of movements for a speaker.&#xD;&#xA;&#xD;&#xA;Have a look at this image from wikipedia. For a speaker to follow a sine wave - the top waveform - it just moves in and out with the sine wave, but to try and match the square wave - the second waveform - it has to move incredibly fast at each of those vertical transitions. This requires a lot of power in high frequencies and can very easily burn out a speaker coil, or destroy the physical cone if the speaker is not rated for those frequencies.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;As for your question regarding playing in the church,  it is *all* about the volume. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/KnyuK.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="47254" PostHistoryTypeId="2" PostId="26378" RevisionGUID="6a6c971a-b8a4-49e3-a41f-798bb59523a7" CreationDate="2012-04-28T12:33:51.063" UserId="7210" Text="(I've played a sine wave on my laptop before for only 10 seconds. The internal speakers broke. I got new for free because they thought it was a guarantee case. I did it again for 5 seconds, and I noticed that it smelled bad, so I realized that my speakers didn't handle it and turned it off before it was too late.)&#xD;&#xA;&#xD;&#xA;Can I safely play a sine wave (regardless of volume) on our local church's PA system? (The volume I intend to use when playing it is NOT louder than what we play when we play music.) Will a sine wave do more damage to the ears at the same volume than music does? (Because of the resonance.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="47255" PostHistoryTypeId="1" PostId="26378" RevisionGUID="6a6c971a-b8a4-49e3-a41f-798bb59523a7" CreationDate="2012-04-28T12:33:51.063" UserId="7210" Text="Can sine wave break PA speaker?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47256" PostHistoryTypeId="3" PostId="26378" RevisionGUID="6a6c971a-b8a4-49e3-a41f-798bb59523a7" CreationDate="2012-04-28T12:33:51.063" UserId="7210" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47257" PostHistoryTypeId="36" PostId="26379" RevisionGUID="8439b59d-f3a5-4502-a011-7bfd392ad891" CreationDate="2014-01-27T15:19:49.550" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3867/can-sine-wave-break-pa-speaker/3868#3868" />
  <row Id="47258" PostHistoryTypeId="36" PostId="26380" RevisionGUID="a88a8692-7a3f-44ad-8539-9ca7274354b8" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1274/reset-position-of-clip-to-original-recording-time-in-reaper" />
  <row Id="47259" PostHistoryTypeId="36" PostId="26381" RevisionGUID="14883e40-7963-43aa-8eb9-45e1a85c2d28" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1274/reset-position-of-clip-to-original-recording-time-in-reaper/1275#1275" />
  <row Id="47260" PostHistoryTypeId="2" PostId="26381" RevisionGUID="7798b785-94cf-4e0f-a595-f19d38f51e44" CreationDate="2011-04-25T21:25:53.230" UserId="7093" Text="You can try to do a Save As on the project, then do the undo, then Save As again.  &#xD;&#xA;&#xD;&#xA;You should then have one project before the nudge to copy that section from and one project with the changes you wanted to keep to copy that from." ContentLicense="CC BY-SA 3.0" />
  <row Id="47261" PostHistoryTypeId="2" PostId="26382" RevisionGUID="991fe71d-837a-4b97-a403-4da60b13ec98" CreationDate="2011-04-25T21:31:26.030" UserId="7471" UserDisplayName="Mark Heath" Text="OK, I've managed to work this one out myself with a bit of experimenting. You right-click the item and select **Item Processing** and then **Move Items to Source Preferred Position**. This puts it back in the right place, but will leave any fade outs or fade ins that were introduced as crossfades by the original moving of the item. It looks like you have to remove them manually. Or if you re-join it to the its original neigbour by using **heal splits in items** then the extended fadeouts will disappear." ContentLicense="CC BY-SA 3.0" />
  <row Id="47262" PostHistoryTypeId="2" PostId="26380" RevisionGUID="9ee6d9f2-95ed-4caf-9350-60c6a4a4c501" CreationDate="2011-04-25T21:08:13.063" UserId="7471" UserDisplayName="Mark Heath" Text="I've been splitting audio items in Reaper 3.75 and nudging them slightly forwards and backwards to improve the timing. However, there is one section that I have made worse, and I'd like to just put it back to where it originally was. I can't use undo because I've done other stuff since. Does Reaper have the ability to un-nudge a split piece of a clip?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47263" PostHistoryTypeId="1" PostId="26380" RevisionGUID="9ee6d9f2-95ed-4caf-9350-60c6a4a4c501" CreationDate="2011-04-25T21:08:13.063" UserId="7471" UserDisplayName="Mark Heath" Text="Reset position of clip to original recording time in Reaper" ContentLicense="CC BY-SA 3.0" />
  <row Id="47264" PostHistoryTypeId="3" PostId="26380" RevisionGUID="9ee6d9f2-95ed-4caf-9350-60c6a4a4c501" CreationDate="2011-04-25T21:08:13.063" UserId="7471" UserDisplayName="Mark Heath" Text="&lt;reaper&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47265" PostHistoryTypeId="36" PostId="26382" RevisionGUID="36f3796f-1156-453b-bab2-7d66026570a8" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1274/reset-position-of-clip-to-original-recording-time-in-reaper/1276#1276" />
  <row Id="47266" PostHistoryTypeId="36" PostId="26383" RevisionGUID="0af5358a-ebfa-4b82-af9d-9da3666ce3f3" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/506/real-time-fx-in-reaper" />
  <row Id="47267" PostHistoryTypeId="36" PostId="26384" RevisionGUID="9d6f6e2f-fb5d-47c9-b8f3-5ff0bc37d069" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/506/real-time-fx-in-reaper/507#507" />
  <row Id="47268" PostHistoryTypeId="2" PostId="26384" RevisionGUID="358f4851-2787-490f-bc86-f2b64ab804a7" CreationDate="2011-01-03T18:20:48.767" UserDisplayName="Ian C." Text="When you record-enable your track you want to click on the Monitor button on the channel to enable software monitoring. Then you'll be able to hear the track, with any realtime plugins, while playing. This introduces some [latency][1] though and you may find it's unacceptably high to play well using this approach.&#xD;&#xA;&#xD;&#xA;Here's [a great YouTube video][2] that talks about how you do this for a vocal track and a reverb plugin -- same situation you're in, just substitute a guitar FX VST instead of a reverb VST. It has a nice solution for a high latency setup that's pretty reasonable for a reverb, but may not work for a guitar FX VST.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audio.stackexchange.com/questions/25/what-is-latency-in-a-digital-recording-studio/40#40&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=2moD4UZsAEM" ContentLicense="CC BY-SA 2.5" />
  <row Id="47269" PostHistoryTypeId="2" PostId="26383" RevisionGUID="901c424f-e42c-4ac7-a20d-a1724f4d1445" CreationDate="2011-01-03T18:00:57.257" UserDisplayName="ees" Text="I have a guitar fx vst that works fine in Reaper if I'm playing back the track. It adds the effects correctly and I can hear it. But how do I get it to do it in real time as I'm playing?&#xD;&#xA;&#xD;&#xA;Here is my ideal scenario: Have it record clean on one track, with fx on another, and only hear the fx version as I'm playing.&#xD;&#xA;&#xD;&#xA;I'm using Windows XP, Reaper 3.74, and asio4all.&#xD;&#xA;&#xD;&#xA;Please let me know if I should provide additional info.&#xD;&#xA;&#xD;&#xA;Thanks in advance!&#xD;&#xA;&#xD;&#xA;EES " ContentLicense="CC BY-SA 2.5" />
  <row Id="47270" PostHistoryTypeId="1" PostId="26383" RevisionGUID="901c424f-e42c-4ac7-a20d-a1724f4d1445" CreationDate="2011-01-03T18:00:57.257" UserDisplayName="ees" Text="Real time fx in Reaper" ContentLicense="CC BY-SA 2.5" />
  <row Id="47271" PostHistoryTypeId="3" PostId="26383" RevisionGUID="901c424f-e42c-4ac7-a20d-a1724f4d1445" CreationDate="2011-01-03T18:00:57.257" UserDisplayName="ees" Text="&lt;effects&gt;&lt;monitoring&gt;&lt;reaper&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47272" PostHistoryTypeId="36" PostId="26385" RevisionGUID="98f6b281-7f27-40fe-b6e1-d75b84160d12" CreationDate="2014-01-27T15:24:34.007" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5205/source-of-ground-looping-different-ground-for-usb-and-laptops-line-out" />
  <row Id="47273" PostHistoryTypeId="36" PostId="26386" RevisionGUID="c8375100-f2ad-4de7-ae42-ecc64fb46c28" CreationDate="2014-01-27T15:24:34.007" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5205/source-of-ground-looping-different-ground-for-usb-and-laptops-line-out/5206#5206" />
  <row Id="47274" PostHistoryTypeId="2" PostId="26386" RevisionGUID="839cec4a-662f-481d-80f5-4084719f5209" CreationDate="2012-10-30T08:01:22.800" UserId="7016" Text="This is nothing to do with ground issues, but more to do with the fact that your config is set up to allow output on one or both devices to be fed to an input. &#xD;&#xA;&#xD;&#xA;Check your audio properties. You should be able to assign devices to input or output, or mute when recording. " ContentLicense="CC BY-SA 3.0" />
  <row Id="47275" PostHistoryTypeId="2" PostId="26385" RevisionGUID="991f1e82-1c25-45e2-9b45-4ab1b4d6f62a" CreationDate="2012-10-30T06:51:59.573" UserId="7239" Text="I have a Behringer UCA202 (no-external power) USB Interface (DAC):&#xD;&#xA;&#xD;&#xA;&gt; Bus 006 Device 003: ID 08bb:2902 Texas Instruments Japan PCM2902 Audio Codec&#xD;&#xA;&#xD;&#xA;and an Intel audio controller which is built into the laptop.&#xD;&#xA;&#xD;&#xA;&gt; 00:1b.0 Audio device: Intel Corporation 82801I (ICH9 Family) HD Audio Controller (rev 03)&#xD;&#xA;&#xD;&#xA;When I plug the both of them into the mixer, I get loopback. It sounds like a high pitched oscillating noise. I'm wonder if anyone has any idea of what this nose could be from and how I further trouble shoot it. A simple configuration with the mixer to Behringer and audio-out on laptop to Mixer in can cause this feed back.&#xD;&#xA;&#xD;&#xA;Is this nose perhaps because the line-out on the laptop and behringer In have two different fake grounds?&#xD;&#xA;&#xD;&#xA;Any ideas are appreciated.r" ContentLicense="CC BY-SA 3.0" />
  <row Id="47276" PostHistoryTypeId="1" PostId="26385" RevisionGUID="991f1e82-1c25-45e2-9b45-4ab1b4d6f62a" CreationDate="2012-10-30T06:51:59.573" UserId="7239" Text="Source of ground looping? Different ground for USB and laptop's line out?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47277" PostHistoryTypeId="3" PostId="26385" RevisionGUID="991f1e82-1c25-45e2-9b45-4ab1b4d6f62a" CreationDate="2012-10-30T06:51:59.573" UserId="7239" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47278" PostHistoryTypeId="36" PostId="26387" RevisionGUID="2acb18f3-254e-4f2b-aece-e9be7f411020" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3756/can-i-convert-sibelius-into-musicxml-or-any-other-free-format-with-only-free-too" />
  <row Id="47279" PostHistoryTypeId="2" PostId="26387" RevisionGUID="3a07610f-b4c0-407b-95ba-833609cc2ae4" CreationDate="2012-04-16T09:14:41.753" UserId="6885" Text="Back in the old days, I used Sibelius to typeset scores. I've switched to the great open-source MuseScore now and don't miss anything from Sibelius except... my old scores.&#xD;&#xA;I know that there is a MusicXML export plugin in Sibelius, but I won't install Sibelius or any other proprietary software.&#xD;&#xA;Is there a way to convert the Sibelius scores into some free format (that is recognised by MuseScore, such as MusicXML)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47280" PostHistoryTypeId="1" PostId="26387" RevisionGUID="3a07610f-b4c0-407b-95ba-833609cc2ae4" CreationDate="2012-04-16T09:14:41.753" UserId="6885" Text="Can I convert Sibelius into MusicXML or any other free format with only free tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47281" PostHistoryTypeId="3" PostId="26387" RevisionGUID="3a07610f-b4c0-407b-95ba-833609cc2ae4" CreationDate="2012-04-16T09:14:41.753" UserId="6885" Text="&lt;software&gt;&lt;scoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47282" PostHistoryTypeId="36" PostId="26388" RevisionGUID="7abf80b7-62d6-4b4a-9e74-409945a44158" CreationDate="2014-01-27T15:15:47.157" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8411/is-it-possible-to-have-some-partial-measures-in-a-song-with-fl-studio" />
  <row Id="47283" PostHistoryTypeId="36" PostId="26389" RevisionGUID="da1c2004-f630-488c-8536-0cecf17b0991" CreationDate="2014-01-27T15:15:47.157" UserId="-1" Comment="from http://avp.stackexchange.com/questions/8411/is-it-possible-to-have-some-partial-measures-in-a-song-with-fl-studio/8423#8423" />
  <row Id="47284" PostHistoryTypeId="2" PostId="26389" RevisionGUID="81af034c-de25-4f4e-a5ba-e7aa7d2e0127" CreationDate="2013-07-17T16:43:51.400" UserId="7405" UserDisplayName="Andy aka" Text="Tempo track - in cubase (and I know it's an FL question), there is a tempo track. Not only can you alter tempo but you can make a bar with different timings and from what the OP is saying it looks like it is the same in FL. Say you are 4:4 for your song and you need a bit that is 3:4, you can paste timing events in the tempo (cubase) where you can set the tempo for the rest of the track. Say you wanted one bar of 3:4, position your scrolling cursor at the correct place then past a tempo event at the start of the bar and at the end of the bar.&#xD;&#xA;&#xD;&#xA;The tempo event at the end of the bar returns the track to 4:4 and you can set the tempo at the start of the bar to 3:4. If you want more acute fractions of a bar like 7/8 you can set just that bar to 7:8 etc. etc..&#xD;&#xA;&#xD;&#xA;I'm hoping the OP will respond with pictures showing how it's done in FL." ContentLicense="CC BY-SA 3.0" />
  <row Id="47285" PostHistoryTypeId="2" PostId="26388" RevisionGUID="e1563038-10ed-4655-8e62-4f43e39f137b" CreationDate="2013-07-15T21:58:01.463" UserId="7283" UserDisplayName="Claudiu" Text="I'd like to make a scratch drum track for one of the songs for the band I'm in. I've used FL studio for other songs and it's worked great. However, this song has some strange fills in it that are 12, 19, and 20 sixteenth notes long. The rest of the song is just regular 4/4. &#xD;&#xA;&#xD;&#xA;Is it possible in FL studio to change one of the measures such that it is a few sixteenth notes shorter/longer? &#xD;&#xA;&#xD;&#xA;If not, then is there any better way to solve this problem within FL studio short of having 3 versions of each drum pattern I'm using - one normally-aligned version, one version which is offset by 3 sixteenth notes (after the 19-note fill), another offset by 15 sixteenth notes (after the 19-note plus the 12-note fill), etc.?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47286" PostHistoryTypeId="1" PostId="26388" RevisionGUID="e1563038-10ed-4655-8e62-4f43e39f137b" CreationDate="2013-07-15T21:58:01.463" UserId="7283" UserDisplayName="Claudiu" Text="Is it possible to have some partial measures in a song with FL Studio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47287" PostHistoryTypeId="3" PostId="26388" RevisionGUID="e1563038-10ed-4655-8e62-4f43e39f137b" CreationDate="2013-07-15T21:58:01.463" UserId="7283" UserDisplayName="Claudiu" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47288" PostHistoryTypeId="36" PostId="26390" RevisionGUID="29db0230-c834-47be-801b-eafd862c5c3c" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4007/components-of-a-basic-dj-setup" />
  <row Id="47289" PostHistoryTypeId="36" PostId="26391" RevisionGUID="7bbc36d0-1021-472e-9e4a-3f4172c82bd9" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4007/components-of-a-basic-dj-setup/4011#4011" />
  <row Id="47290" PostHistoryTypeId="36" PostId="26392" RevisionGUID="06b173ea-f3a8-47cd-a872-294b9aee7cb0" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4007/components-of-a-basic-dj-setup/4012#4012" />
  <row Id="47291" PostHistoryTypeId="2" PostId="26391" RevisionGUID="d5af2e9b-2c1c-4aaf-9355-3c7eefa779f2" CreationDate="2012-05-16T18:34:13.580" UserId="7016" Text="You can make it work with that kit list if your mixer has a power amp.&#xD;&#xA;&#xD;&#xA;But realistically you should plan for the following at gigs:&#xD;&#xA;&#xD;&#xA; - MacBook **and** Thinkpad (always prepare for a computer to die - which is very embarrassing if you don't have backup)&#xD;&#xA; - Software&#xD;&#xA; - Soundcard (you can get away without it, but a soundcard gives better quality)&#xD;&#xA; - Amplifier&#xD;&#xA; - Speakers&#xD;&#xA; - Audio cables (laptop to amp)&#xD;&#xA; - Speaker cables (amp to speakers)&#xD;&#xA; - Power cables (some stages don't run power to centre stage, so bring extension cables and adapters)&#xD;&#xA;&#xD;&#xA;If you have a powered mixer, that is effectively your amplifier. For playing from a laptop you really only need two channels." ContentLicense="CC BY-SA 3.0" />
  <row Id="47292" PostHistoryTypeId="2" PostId="26392" RevisionGUID="6bb10cde-24f5-489c-ace6-a9caa59d4118" CreationDate="2012-05-16T18:40:45.963" UserId="7294" UserDisplayName="Warrior Bob" Text="First off, to be pedantic, you can &quot;DJ&quot; any way you can figure out how - even something simple like just playing track after track in iTunes. Now, most people (myself included) don't think this is nearly as interesting as cutting or blending tracks and keeping continuous music going, so I'm going to explain the common ways this is done.&#xD;&#xA;&#xD;&#xA;The basic setup is something to play the records, something to mix them together, something to  preview them yourself with (through headphones), and something to play them out for other people to listen to. In a traditional setup, these were turntables or CD players for playback, a &quot;DJ mixer&quot; with two inputs and a crossfader and usually EQs and a headphone cueing output, and then speakers. No computer necessary.&#xD;&#xA;&#xD;&#xA;In a computer based setup, it's common to have everything from playback through mixing handled in software, using a software DJ program. The big names are [Traktor](http://www.native-instruments.com/#/en/products/?category=1303) and [Serato](http://serato.com/), but there are many others such as [Virtual DJ](http://www.virtualdj.com/) and the open source [Mixxx](http://mixxx.org). It's also very common for people to control these programs using some kind of dedicated controller (usually a MIDI controller of some kind), but this is not strictly necessary - I think all of these programs will let you your mouse and keyboard.&#xD;&#xA;&#xD;&#xA;So your list is almost right - you'll definitely need DJ software and speakers, but you don't necessarily need a mixer unless you want one. You **will**, however, need some kind of sound hardware that will let you send separate signals to your speakers and headphones. In technical terms, this means you need two stereo outputs. There are several audio interfaces designed specifically for this purpose. [Here's one example](http://www.native-instruments.com/#/en/products/dj/traktor-audio-2/), although there are many.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47293" PostHistoryTypeId="2" PostId="26390" RevisionGUID="d89ef61c-b561-4ad4-a558-0dcf9cccd9ee" CreationDate="2012-05-16T13:50:49.300" UserDisplayName="Raj More" Text="I want to play music from my MacBook or Thinkpad.  I have high quality mp3s that I can play.&#xD;&#xA;&#xD;&#xA;I imagine, I need the following equipment:&#xD;&#xA;&#xD;&#xA;- DJ Software&#xD;&#xA;- Mixer&#xD;&#xA;- Speakers&#xD;&#xA;&#xD;&#xA;Can I make this work, or will I need more equipment?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47294" PostHistoryTypeId="1" PostId="26390" RevisionGUID="d89ef61c-b561-4ad4-a558-0dcf9cccd9ee" CreationDate="2012-05-16T13:50:49.300" UserDisplayName="Raj More" Text="Components of a Basic DJ Setup" ContentLicense="CC BY-SA 3.0" />
  <row Id="47295" PostHistoryTypeId="3" PostId="26390" RevisionGUID="d89ef61c-b561-4ad4-a558-0dcf9cccd9ee" CreationDate="2012-05-16T13:50:49.300" UserDisplayName="Raj More" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47296" PostHistoryTypeId="36" PostId="26393" RevisionGUID="155a2430-e2f8-40e3-b121-fb7095b79162" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/278/preventing-tangled-mic-cables" />
  <row Id="47297" PostHistoryTypeId="36" PostId="26394" RevisionGUID="2cc462f4-da92-477d-b566-04eb4c047394" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/278/preventing-tangled-mic-cables/279#279" />
  <row Id="47298" PostHistoryTypeId="2" PostId="26394" RevisionGUID="7b7d23bc-5647-4ea7-8f8a-d09e009d5644" CreationDate="2010-12-15T06:14:56.773" UserDisplayName="Kim Burgaard" Text="Here's a little trick I picked up from an experienced live venue engineer that doesn't require any physical devices: Twist the cable a little (maybe a quarter revolution?) in the same direction between each wind. The twist will add some tension in the cable that will basically lock each wind against each other and thus provide better resistance against tangling. It takes a little practice, but it works pretty well for me.&#xD;&#xA;&#xD;&#xA;Edit: Your question got me thinking this must be a universal problem to most kinds of cables, cords and even rope.  A little Google research got me this: http://www.wikihow.com/Coil-Any-Kind-of-Cord" ContentLicense="CC BY-SA 2.5" />
  <row Id="47299" PostHistoryTypeId="2" PostId="26395" RevisionGUID="b95e3b00-5cff-4d3a-be36-8e909447f268" CreationDate="2010-12-15T06:33:23.990" UserDisplayName="Dewb" Text="Are you flip-coiling your cables?  If so, you need to pull the cable out from the same end you wound it.  If, when you pick up an end, you're pulling through the center of the coil, put it back and grab the other end.&#xD;&#xA;&#xD;&#xA;If you're not flip-coiling, here's an explanation:&#xD;&#xA;http://www.techno-fandom.org/~hobbit/flipcoil/howto.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="47300" PostHistoryTypeId="2" PostId="26393" RevisionGUID="a9a949ab-2d82-4a0b-babd-b583599cdbf5" CreationDate="2010-12-15T05:53:48.080" UserId="7398" UserDisplayName="BenV" Text="It seems like no matter how carefully I wind up my mic cables, the next time I get them out I'm fighting tangles and knots.  And untangling mic cables is not one of my favorite things to do in front of a client.  &#xD;&#xA;&#xD;&#xA;How should I wind (or perhaps unwind) mic cables to prevent this?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47301" PostHistoryTypeId="1" PostId="26393" RevisionGUID="a9a949ab-2d82-4a0b-babd-b583599cdbf5" CreationDate="2010-12-15T05:53:48.080" UserId="7398" UserDisplayName="BenV" Text="Preventing tangled mic cables" ContentLicense="CC BY-SA 2.5" />
  <row Id="47302" PostHistoryTypeId="3" PostId="26393" RevisionGUID="a9a949ab-2d82-4a0b-babd-b583599cdbf5" CreationDate="2010-12-15T05:53:48.080" UserId="7398" UserDisplayName="BenV" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47303" PostHistoryTypeId="36" PostId="26395" RevisionGUID="26eef41c-119d-45b1-8f48-7105f7f79401" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/278/preventing-tangled-mic-cables/280#280" />
  <row Id="47304" PostHistoryTypeId="36" PostId="26396" RevisionGUID="57de18a8-8272-48b8-9ce7-d6bb98eb0c22" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/278/preventing-tangled-mic-cables/281#281" />
  <row Id="47305" PostHistoryTypeId="36" PostId="26397" RevisionGUID="37ed9077-e3d4-4b72-abaa-a84442b6cf8c" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/278/preventing-tangled-mic-cables/282#282" />
  <row Id="47306" PostHistoryTypeId="36" PostId="26398" RevisionGUID="f81dc80a-976c-43f8-b69b-4da3df7dd81c" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/278/preventing-tangled-mic-cables/284#284" />
  <row Id="47307" PostHistoryTypeId="36" PostId="26399" RevisionGUID="918fe6be-f02f-4803-9bcb-885e481d45a7" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/278/preventing-tangled-mic-cables/296#296" />
  <row Id="47308" PostHistoryTypeId="2" PostId="26396" RevisionGUID="76fe416d-e328-410f-b7cb-8f9e63aa8e41" CreationDate="2010-12-15T11:02:49.663" UserDisplayName="Ed J" Text="I find the best way to keep from getting all my cables tangled is to wind them like I normally would, but then stick one of those little velcro fasteners (or a cable tie) around a couple of them when I'm done.&#xD;&#xA;&#xD;&#xA;That way you keep them in little packs of 2 or 3, and it stops them from getting unwound during transit/storage/getting it out and tagling up with another cable." ContentLicense="CC BY-SA 2.5" />
  <row Id="47309" PostHistoryTypeId="2" PostId="26399" RevisionGUID="a3192edd-9a59-4397-b388-0cc8c1e6dc0b" CreationDate="2010-12-15T18:55:06.733" UserId="7045" Text="Spend some time winding your cables neatly when breaking down at the end of a gig; you'll get that time back when setting up at the next show. I use a few techniques to keep cables neat: &#xD;&#xA;&#xD;&#xA;- **Wind your cables carefully**, and use a velcro tie on each one. You can stick a velcro tie on the cable itself, even when it's unwound and in use. &#xD;&#xA;- Storing cables in a bag is going to crush them together and make it harder to pick them out later. If you can, **get a cheap plastic bin or a box** that will hold all your cables, and stack them neatly inside the box. They'll be much easier to pick out later on. (I have two such bins, one for XLR cables and one for everything else.) &#xD;&#xA;- If you can, get yourself a **snake**. This will let you cut down the number of cables you bring to a gig. (I don't have one of these... yet.) &#xD;&#xA;- XLR cables only: You can **use shorter XLR cables and chain them together** without any signal degradation (although [not everybody agrees](http://audio.stackexchange.com/q/262/167) with this, I think chaining mic cables doesn't matter in live applications); It's easier to wind up shorter cables. &#xD;&#xA;- 1/4&quot; Guitar cables and PA speaker cables are another story. You'll want to keep those as short as possible to decrease signal loss anyway, and that makes it easier to wind them up. &#xD;&#xA;- I write my name on a piece of tape and put it on each cable. When breaking down, it's much easier to pick out Sound Guy cables from Band cables. &#xD;&#xA;&#xD;&#xA;In summary, use shorter cables when you can, and invest the time to store them neatly." ContentLicense="CC BY-SA 2.5" />
  <row Id="47310" PostHistoryTypeId="2" PostId="26397" RevisionGUID="d5be0ff3-24d5-4c7d-9e62-9ad49f31298b" CreationDate="2010-12-15T14:44:08.647" UserDisplayName="divided" Text="Cable ties and/or twist ties are a good, inexpensive solution to this problem." ContentLicense="CC BY-SA 2.5" />
  <row Id="47311" PostHistoryTypeId="2" PostId="26398" RevisionGUID="caaa9ddc-fc53-4b9b-baa3-988492fed8fd" CreationDate="2010-12-15T16:10:25.877" UserId="7856" UserDisplayName="Corey" Text="Put each cable in its own plastic bag. Shopping bags work well or extra large ziplocks" ContentLicense="CC BY-SA 2.5" />
  <row Id="47312" PostHistoryTypeId="36" PostId="26400" RevisionGUID="d6e95a64-0807-4f84-94e2-ff59edbddaf8" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/789/list-of-free-notation-software" />
  <row Id="47313" PostHistoryTypeId="36" PostId="26401" RevisionGUID="8555e37e-1b34-4f8f-af6b-cb38d29318c1" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/789/list-of-free-notation-software/790#790" />
  <row Id="47314" PostHistoryTypeId="2" PostId="26401" RevisionGUID="3b215fbb-e50e-4cdd-8b0c-528c4e598e0c" CreationDate="2011-02-10T21:05:48.930" UserDisplayName="Ian C." Text="**[Noteflight][1]**&#xD;&#xA;&#xD;&#xA;Online and there's a free level that's quite good. I've been using this to swap ideas with writing partners across the continent for about a year now and it's great. The interface has undergone a few revisions now and every time come out better and better. I can move pretty quickly with it now and it's nice to be able to access and work with my lead sheets from any place I can get a browser connection.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.noteflight.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="47315" PostHistoryTypeId="2" PostId="26402" RevisionGUID="0451a6dc-2ba3-464b-9e10-0a33b72fddc1" CreationDate="2011-02-11T14:40:55.477" UserDisplayName="Ian C." Text="**[Musescore][1]**&#xD;&#xA;&#xD;&#xA;Handles big scores with a lot of instruments, has many layout options and some bugs. Much of the user interface resembles Sibelius. You can export/import in numerous formats, too (MusicXML, MIDI, ...). Runs on Linux, Windows, Mac.&#xD;&#xA;It is being updated and developed regularly.&#xD;&#xA;&#xD;&#xA;  [1]: http://musescore.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="47316" PostHistoryTypeId="2" PostId="26400" RevisionGUID="a42bf5a8-d533-482a-bc8e-2831d26597f8" CreationDate="2011-02-10T13:48:23.237" UserId="6885" Text="What are the _free_ programs available to typeset music?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47317" PostHistoryTypeId="1" PostId="26400" RevisionGUID="a42bf5a8-d533-482a-bc8e-2831d26597f8" CreationDate="2011-02-10T13:48:23.237" UserId="6885" Text="List of free notation software" ContentLicense="CC BY-SA 2.5" />
  <row Id="47318" PostHistoryTypeId="3" PostId="26400" RevisionGUID="a42bf5a8-d533-482a-bc8e-2831d26597f8" CreationDate="2011-02-10T13:48:23.237" UserId="6885" Text="&lt;software&gt;&lt;editing&gt;&lt;scoring&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47319" PostHistoryTypeId="36" PostId="26402" RevisionGUID="1583ce0c-e230-42a3-8894-28d866be47e2" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/789/list-of-free-notation-software/794#794" />
  <row Id="47320" PostHistoryTypeId="36" PostId="26403" RevisionGUID="9ab5e7f6-0171-4219-a4fd-4323e43c6377" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/789/list-of-free-notation-software/795#795" />
  <row Id="47321" PostHistoryTypeId="36" PostId="26404" RevisionGUID="cb331a4c-8bc5-4dc1-af04-bd059d28ff1a" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/789/list-of-free-notation-software/796#796" />
  <row Id="47322" PostHistoryTypeId="36" PostId="26405" RevisionGUID="a4bba82e-74ef-4e29-999b-0730a3de55da" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/789/list-of-free-notation-software/797#797" />
  <row Id="47323" PostHistoryTypeId="36" PostId="26406" RevisionGUID="e5c4ef76-998a-40ff-aec1-60d99a700a33" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/789/list-of-free-notation-software/805#805" />
  <row Id="47324" PostHistoryTypeId="36" PostId="26407" RevisionGUID="cd45c1f4-4766-481e-bab6-bfbf8a947c89" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/789/list-of-free-notation-software/1061#1061" />
  <row Id="47325" PostHistoryTypeId="36" PostId="26408" RevisionGUID="dcc64eb4-438b-4ed4-899f-6166c76139f4" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/789/list-of-free-notation-software/5147#5147" />
  <row Id="47326" PostHistoryTypeId="2" PostId="26403" RevisionGUID="96af78dd-e465-419b-9997-85829dda1323" CreationDate="2011-02-11T14:41:56.873" UserDisplayName="Ian C." Text="**[Lilypond][1]**&#xD;&#xA;&#xD;&#xA;A notation typesetting library built on top of TeX. For editors there is always [Denemo][2] which lacks a few features but gets the job done.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://lilypond.org/&#xD;&#xA;  [2]: http://www.denemo.org/index.php/Main_Page" ContentLicense="CC BY-SA 2.5" />
  <row Id="47327" PostHistoryTypeId="2" PostId="26407" RevisionGUID="7ed59ff1-b017-44d9-9c1b-8599e5f956f3" CreationDate="2011-03-19T22:58:36.667" UserId="7592" UserDisplayName="Pelle ten Cate" Text="**[Denemo][1]**&#xD;&#xA;&#xD;&#xA;GPL Notation program built on lilypond.&#xD;&#xA;&#xD;&#xA;   [1]: http://www.denemo.org/index.php/Main_Page" ContentLicense="CC BY-SA 2.5" />
  <row Id="47328" PostHistoryTypeId="2" PostId="26408" RevisionGUID="719bea03-32bf-4300-9024-78908352d091" CreationDate="2012-10-23T04:21:29.630" UserDisplayName="Joseph" Text="**[Musink][1]**&#xD;&#xA;&#xD;&#xA;Very fast to write in, and very powerful!! I use it to write piano and percussion music - it's fantastic. You can [download it for free from http://musink.net][2].&#xD;&#xA;No open-source, though, and only runs on Windows.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://musink.net &quot;Musink&quot;&#xD;&#xA;  [2]: http://musink.net" ContentLicense="CC BY-SA 3.0" />
  <row Id="47329" PostHistoryTypeId="2" PostId="26404" RevisionGUID="b848b410-1f5c-4fab-9f2b-c45d105f171a" CreationDate="2011-02-11T14:42:31.350" UserDisplayName="Ian C." Text="**[Rosegarden][1]**&#xD;&#xA;&#xD;&#xA;More like a sequencer. One shouldn't expect too fancy layout options from it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rosegardenmusic.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="47330" PostHistoryTypeId="2" PostId="26405" RevisionGUID="28607553-c115-4665-b1b7-1af299531ef2" CreationDate="2011-02-11T14:43:03.093" UserDisplayName="Ian C." Text="**[NoteEdit][1]**&#xD;&#xA;&#xD;&#xA;Seems to be rather limited in score layout as well.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://noteedit.berlios.de/" ContentLicense="CC BY-SA 2.5" />
  <row Id="47331" PostHistoryTypeId="2" PostId="26406" RevisionGUID="856a3c90-449c-4f37-9beb-d984a7a8c6b2" CreationDate="2011-02-13T23:18:02.077" UserId="7100" Text="**[ABC Notation][1]**: not really a software in itself (even if some software encode and decode ABC Notation) -- comes with a free software toolset, and can be for example exported to Latex.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Abc_notation" ContentLicense="CC BY-SA 2.5" />
  <row Id="47332" PostHistoryTypeId="36" PostId="26409" RevisionGUID="782afe16-343c-4336-959b-8888b205d8f0" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9068/how-to-get-vocals-like-that-chopped-pitched-reverb" />
  <row Id="47333" PostHistoryTypeId="36" PostId="26410" RevisionGUID="1a1f8c8e-ae57-4be9-9a64-69d6e7a62ad1" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9068/how-to-get-vocals-like-that-chopped-pitched-reverb/9070#9070" />
  <row Id="47334" PostHistoryTypeId="2" PostId="26410" RevisionGUID="e5bc1db7-7fa4-4c6a-8b45-d531ebd4b35f" CreationDate="2013-09-27T15:22:27.530" UserId="7016" Text="The various effects are quite simple:&#xD;&#xA;&#xD;&#xA;There is pitch shifting, some delay, a fair amount of reverb, and a bit of fade and panning, and the vox are cut in and out - but the most important thing is the filtering.&#xD;&#xA;&#xD;&#xA;A lot of the vocals are run through a low pass filter, chopping out a lot of the treble.&#xD;&#xA;&#xD;&#xA;As cworner commented, we'd need to hear your attempts and understand what you are trying. As it stands, there will just be a lot of trial and error.&#xD;&#xA;&#xD;&#xA;- First, you want to manage your samples so they happen at the times you need them.&#xD;&#xA;- Then sort out your panning and the cut in and out for each sample&#xD;&#xA;- Apply your low pass filters to each sample and decide on frequency and slope&#xD;&#xA;- Sort out delay and reverb&#xD;&#xA;- Iterate over and over again&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47335" PostHistoryTypeId="2" PostId="26409" RevisionGUID="919c9705-8503-4b87-9715-75a31a1a8dbe" CreationDate="2013-09-24T18:46:48.977" UserId="6561" Text="https://soundcloud.com/orlogin/dead-sea&#xD;&#xA;&#xD;&#xA;In 0:37 - u can hear vocals.&#xD;&#xA;How they were edited so that they sound so deep and excellent?&#xD;&#xA;&#xD;&#xA;They are chopped into melody, dipped in reverb effect, fades added, delays, pitched up/down and ....what else? I can't get result like this...&#xD;&#xA;&#xD;&#xA;Here is tutorial with similar effect on vocal but it's not exactly that :(&#xD;&#xA;http://www.youtube.com/watch?v=egKGT6q4TnY&#xD;&#xA;&#xD;&#xA;Anybody had experience with vocals like that?&#xD;&#xA;&#xD;&#xA;I'll be very grateful.&#xD;&#xA;Regards" ContentLicense="CC BY-SA 3.0" />
  <row Id="47336" PostHistoryTypeId="1" PostId="26409" RevisionGUID="919c9705-8503-4b87-9715-75a31a1a8dbe" CreationDate="2013-09-24T18:46:48.977" UserId="6561" Text="How to get vocals like that? [chopped/pitched/reverb]" ContentLicense="CC BY-SA 3.0" />
  <row Id="47337" PostHistoryTypeId="3" PostId="26409" RevisionGUID="919c9705-8503-4b87-9715-75a31a1a8dbe" CreationDate="2013-09-24T18:46:48.977" UserId="6561" Text="&lt;vocals&gt;&lt;reverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47338" PostHistoryTypeId="36" PostId="26411" RevisionGUID="945bf97d-4fd1-4e60-beae-e9bbe9a59718" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7423/how-to-improve-acoustics-of-a-16-meter-square-garage-on-a-budget" />
  <row Id="47339" PostHistoryTypeId="36" PostId="26412" RevisionGUID="44f97bdc-d25b-4b04-a0a1-69608aa1bde7" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7423/how-to-improve-acoustics-of-a-16-meter-square-garage-on-a-budget/7518#7518" />
  <row Id="47340" PostHistoryTypeId="2" PostId="26412" RevisionGUID="1fbfcad2-2fcc-4b8d-bff2-040723564002" CreationDate="2013-03-28T01:06:41.483" UserDisplayName="escalation746" Text="Short answer: absorption. Carpets on the floor, drapes/blankets on the wall. Then bass traps in the corner. If you are handy that might be a fun project. &#xD;&#xA;&#xD;&#xA;**Please use hearing protection!** It's going to get loud in there. " ContentLicense="CC BY-SA 3.0" />
  <row Id="47341" PostHistoryTypeId="2" PostId="26411" RevisionGUID="8c76a6d0-665f-4196-b14e-ee805a3f9e1e" CreationDate="2013-03-18T18:32:24.383" UserId="8185" UserDisplayName="Ivan Ivković" Text="I'll be renting a garage now for practice.&#xD;&#xA;It will be used for several bands.&#xD;&#xA;&#xD;&#xA;The garage size is 16 square meters and it doesn't matter if it's loud outside (these garages are pretty far from the buildings so nobody cares).&#xD;&#xA;&#xD;&#xA;I really don't know anything about handling sound in a garage for a band, and I hope you guys could give me a few tips/what to do. We just aim for the best sound we can get for as lower price possible. Like using sponges/glass wool/egg boxes, no leather and expensive materials like that. For now.&#xD;&#xA;&#xD;&#xA;The room is quite long, a bit tight. It's 5,32 m long, 2.87 m wide, and 2.19m high.&#xD;&#xA;The drums will probably be on the back of the room - opposing the door.&#xD;&#xA;I'll check the sound tommorow, and I'll update this.&#xD;&#xA;&#xD;&#xA;Thank you. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="47342" PostHistoryTypeId="1" PostId="26411" RevisionGUID="8c76a6d0-665f-4196-b14e-ee805a3f9e1e" CreationDate="2013-03-18T18:32:24.383" UserId="8185" UserDisplayName="Ivan Ivković" Text="How to improve acoustics of a 16 meter square garage on a budget?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47343" PostHistoryTypeId="3" PostId="26411" RevisionGUID="8c76a6d0-665f-4196-b14e-ee805a3f9e1e" CreationDate="2013-03-18T18:32:24.383" UserId="8185" UserDisplayName="Ivan Ivković" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47344" PostHistoryTypeId="36" PostId="26413" RevisionGUID="6fde2c19-72d0-4e14-b9f9-6807cf3a6a04" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4422/automatic-mix-software-to-replace-a-dj" />
  <row Id="47345" PostHistoryTypeId="2" PostId="26414" RevisionGUID="b23100bf-fbbc-4e5c-b192-9525dcba4017" CreationDate="2012-07-18T11:18:07.800" UserId="7016" Text="This seems a bit like a shopping question, but the only one I know that does this is [MixMeister][1].&#xD;&#xA;&#xD;&#xA;It can do all 4 of your requirements:&#xD;&#xA;&#xD;&#xA; 1. Beat matching and transition throughout&#xD;&#xA; 2. Fade out/in and use of effects&#xD;&#xA; 3. Is a standalone application&#xD;&#xA; 4. Can add to the playlist in real time, run from existing playlist, or both&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mixmeister.com/products_mmexp7.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="47346" PostHistoryTypeId="2" PostId="26413" RevisionGUID="de72dea0-c2cb-4607-a00a-b0f734a7c41d" CreationDate="2012-07-17T14:27:58.230" UserId="7942" UserDisplayName="Jean-François Côté" Text="Since there are a lot of audio fans here, do you know a good software to replace a DJ in a private office party? The direction is tired of hiring a (bad) DJ year after year when what people really want is to hear songs they like with minimal mixing between the tracks.&#xD;&#xA;&#xD;&#xA;Here is what is needed in your answer:&#xD;&#xA;&#xD;&#xA; 1. Software that take the tempo of each song into account to make the mix&#xD;&#xA; 2. Fade-out / fade-in between the track should not be the only mixing feature.&#xD;&#xA; 3. Can be a plugin or a standalone application.&#xD;&#xA; 4. Possibility to change songs order in the play list in real time (By this, it means the mix will not be &quot;pre-recorded&quot;, it will be done live by the software)&#xD;&#xA;&#xD;&#xA;EDIT: If it's free, it's even better but this is not needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="47347" PostHistoryTypeId="1" PostId="26413" RevisionGUID="de72dea0-c2cb-4607-a00a-b0f734a7c41d" CreationDate="2012-07-17T14:27:58.230" UserId="7942" UserDisplayName="Jean-François Côté" Text="Automatic Mix software to replace a DJ" ContentLicense="CC BY-SA 3.0" />
  <row Id="47348" PostHistoryTypeId="3" PostId="26413" RevisionGUID="de72dea0-c2cb-4607-a00a-b0f734a7c41d" CreationDate="2012-07-17T14:27:58.230" UserId="7942" UserDisplayName="Jean-François Côté" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47349" PostHistoryTypeId="36" PostId="26414" RevisionGUID="6c6e8ba2-37ba-4800-ab87-4c433aaf3bcb" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4422/automatic-mix-software-to-replace-a-dj/4429#4429" />
  <row Id="47350" PostHistoryTypeId="36" PostId="26415" RevisionGUID="6256454e-ec5a-44d9-b2af-1d2fa84aba7c" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4422/automatic-mix-software-to-replace-a-dj/4757#4757" />
  <row Id="47351" PostHistoryTypeId="36" PostId="26416" RevisionGUID="4b73fb81-8113-431d-b4bd-5b2008acdd04" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4422/automatic-mix-software-to-replace-a-dj/4974#4974" />
  <row Id="47352" PostHistoryTypeId="2" PostId="26416" RevisionGUID="82e886b5-8880-4272-8268-f88f2c3fcda8" CreationDate="2012-10-11T07:48:25.373" UserId="7225" Text="[VirtualDJ][1] also does all this, and comes in a free addition as well.&#xD;&#xA;&#xD;&#xA;From the website:&#xD;&#xA;&#xD;&#xA;&gt; Designed for home DJs, VirtualDJ Home includes nearly all the features&#xD;&#xA;&gt; of VirtualDJ Pro, with only a few limitations. If you don't own or&#xD;&#xA;&gt; don't plan to use any additional DJ hardware (mixer, turntable, DJ&#xD;&#xA;&gt; controller or video projector), then VirtualDJ Home will meet all your&#xD;&#xA;&gt; requirements.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.virtualdj.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="47353" PostHistoryTypeId="2" PostId="26415" RevisionGUID="e46ff716-4fea-4258-8f8a-9e71836fa5ff" CreationDate="2012-09-17T20:05:33.043" UserId="14713" UserDisplayName="b20000" Text="You might like djay, check out http://www.algoriddim.com/djay" ContentLicense="CC BY-SA 3.0" />
  <row Id="47354" PostHistoryTypeId="36" PostId="26417" RevisionGUID="a788ac4f-50af-4104-89cc-18ac6c79c5bb" CreationDate="2014-01-27T15:23:37.363" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4649/novation-launchpad-as-drum-pads" />
  <row Id="47355" PostHistoryTypeId="2" PostId="26418" RevisionGUID="51da65cd-2749-4bf0-995f-dde19960842a" CreationDate="2012-08-31T17:57:15.717" UserId="7294" UserDisplayName="Warrior Bob" Text="**Generically,** The easiest way to do this is to set the Launchpad to &quot;User 1&quot; mode, in which each square button transmits one MIDI note at a fixed velocity (100, if I remember correctly). Most any sampler can play individual drum samples in response to MIDI notes.&#xD;&#xA;&#xD;&#xA;**But if you're specifically using Ableton Live,** and I presume you are since the Launchpad is advertised as a companion for it, you can do this very cleanly using a Drum Rack device. The User 1 MIDI layout maps the lower-left side of the Launchpad to the MIDI notes used by the default view of the Drum Rack, and the notes ascend through the left half of the Launchpad, then the right. This diagram explains this using note numbers instead of note names, but should get the point across:&#xD;&#xA;&#xD;&#xA;![I think this image comes from the Launchpad MIDI spec][1]&#xD;&#xA;&#xD;&#xA;This is very convenient for Drum Racks, which group pads into four columns:&#xD;&#xA;&#xD;&#xA;![Image from WikiAudio.org][2]&#xD;&#xA;&#xD;&#xA;So, to set all of this up, make a new MIDI track, drop a Drum Rack device into it, set the MIDI input to your Launchpad, and start dragging samples into Drum Rack slots. Set the Launchpad to User 1, and start playing. You can safely switch the Launchpad over to Session or Mixer mode temporarily if you want to control Session View or Live's mixer controls; you don't have to reconfigure your Drum Rack track.&#xD;&#xA;&#xD;&#xA;**And, just for fun,** if you create *another* MIDI track, set its input to your Drum Rack track (so you're duplicating the MIDI messages that get sent to the drum rack), you can set that track's *output* to the Launchpad, which will light up the LED pads in response to your playing, or to any MIDI clip data - whatever goes into your Drum Rack. Just be sure to disable this if you switch to Mixer or Session modes, as the LED feedback doesn't make any sense in those modes!&#xD;&#xA;&#xD;&#xA;Put all of this together, and you can trigger drums and samples and clips like the guy in the promo video: &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=gMgxLPcq-3o&#xD;&#xA;&#xD;&#xA;Happy drumming.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/8a76z.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/B4Ftu.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="47356" PostHistoryTypeId="2" PostId="26417" RevisionGUID="b83c06cf-ff62-4da9-b797-a80818410f47" CreationDate="2012-08-29T23:06:11.980" UserId="7840" UserDisplayName="themirror" Text="I have a Novation Launchpad.  What's the simplest way to take a pack of drum sounds and have each drum sound triggered by one of the buttons?&#xD;&#xA;&#xD;&#xA;  I'm specifically interested in minimizing the amount of configuration I have to do and I'm happy to hear suggestions involving any combination of software on any platform." ContentLicense="CC BY-SA 3.0" />
  <row Id="47357" PostHistoryTypeId="1" PostId="26417" RevisionGUID="b83c06cf-ff62-4da9-b797-a80818410f47" CreationDate="2012-08-29T23:06:11.980" UserId="7840" UserDisplayName="themirror" Text="Novation Launchpad as drum pads?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47358" PostHistoryTypeId="3" PostId="26417" RevisionGUID="b83c06cf-ff62-4da9-b797-a80818410f47" CreationDate="2012-08-29T23:06:11.980" UserId="7840" UserDisplayName="themirror" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47359" PostHistoryTypeId="36" PostId="26418" RevisionGUID="b3092061-e6b1-4fd2-b49a-448722eb634f" CreationDate="2014-01-27T15:23:37.363" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4649/novation-launchpad-as-drum-pads/4652#4652" />
  <row Id="47360" PostHistoryTypeId="36" PostId="26419" RevisionGUID="e1de28bb-8e29-4170-b779-365754c2a033" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5689/determine-whether-resonance-standing-waves-are-from-speakers-or-room" />
  <row Id="47361" PostHistoryTypeId="36" PostId="26420" RevisionGUID="87a2e7d2-ff66-4f1b-b3c1-5c8cc7777c34" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5689/determine-whether-resonance-standing-waves-are-from-speakers-or-room/5672#5672" />
  <row Id="47362" PostHistoryTypeId="2" PostId="26420" RevisionGUID="7be881b0-606c-4fbb-a194-c1607c7652e7" CreationDate="2012-12-25T22:43:48.590" UserId="6957" Text="There is a standing wave calculator [here](http://www.sengpielaudio.com/calculator-roommodes.htm).  Not necessarily a one stop answer, but if your room's dimensions are indeed to blame, at least you can rule out the speakers :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="47363" PostHistoryTypeId="2" PostId="26421" RevisionGUID="504649df-4923-49c8-98ff-a1cf298973f1" CreationDate="2012-12-25T04:56:48.400" UserDisplayName="Johannes" Text="The 'rule of thumb' is to translate the resonance frequencies into resonance wavelengths. This is done by dividing the speed of sound by the frequency. For the 110 Hz resonance this yields a wavelength in air (speed of sound under normal circumstances close to 340 m/s) of 3.1 m, and for the 250 Hz resonance 1.4 m. &#xD;&#xA;&#xD;&#xA;I am no audio/acoustics expert, but these wavelengths seem too long to 'fit within' a speaker. If the resonance is not caused by a standing wave due to air movement, but rather say due to a standing wave in wood, these wavelengths become an order of magnitude longer (the speed of sound in wood is about 10 times faster than that in air). These certainly don't 'fit within' your speakers.&#xD;&#xA;&#xD;&#xA;This suggests that you have to seek the cause of the resonances in the environment in which the speakers are placed. " ContentLicense="CC BY-SA 3.0" />
  <row Id="47364" PostHistoryTypeId="2" PostId="26419" RevisionGUID="ee20b7f3-3e4f-49bc-bb86-2b6dd2e615fe" CreationDate="2012-12-24T22:47:28.103" UserId="16855" UserDisplayName="glenviewjeff" Text="I have two massive resonances (more than 12db above the response curve elsewhere) with my bookshelf monitors placed on a desk in a large furnished, carpeted room.  One is at about 110 Hz and another at about 250 Hz.  &#xD;&#xA;&#xD;&#xA;Are there any rules of thumb for determining whether response issues stem from the speakers themselves or from the room and/or placement besides common-sense &quot;move the speakers to another location and re-measure?&quot;  Specifically, I'm looking for reasonable numbers I can expect for typical furnished rooms/placement effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="47365" PostHistoryTypeId="1" PostId="26419" RevisionGUID="ee20b7f3-3e4f-49bc-bb86-2b6dd2e615fe" CreationDate="2012-12-24T22:47:28.103" UserId="16855" UserDisplayName="glenviewjeff" Text="Determine whether resonance/standing waves are from speakers or room?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47366" PostHistoryTypeId="3" PostId="26419" RevisionGUID="ee20b7f3-3e4f-49bc-bb86-2b6dd2e615fe" CreationDate="2012-12-24T22:47:28.103" UserId="16855" UserDisplayName="glenviewjeff" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47367" PostHistoryTypeId="36" PostId="26421" RevisionGUID="f022613a-2854-471a-a7f0-7e4d1661138d" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5689/determine-whether-resonance-standing-waves-are-from-speakers-or-room/5690#5690" />
  <row Id="47368" PostHistoryTypeId="36" PostId="26422" RevisionGUID="d3cbf7bc-d2ac-4fa4-9207-d732e399445d" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5689/determine-whether-resonance-standing-waves-are-from-speakers-or-room/5691#5691" />
  <row Id="47369" PostHistoryTypeId="36" PostId="26423" RevisionGUID="3ba8b358-15ce-4d24-b45a-931a8cd4231e" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5689/determine-whether-resonance-standing-waves-are-from-speakers-or-room/5692#5692" />
  <row Id="47370" PostHistoryTypeId="36" PostId="26424" RevisionGUID="fe3fd233-3143-4ae5-bc70-16989a721748" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5689/determine-whether-resonance-standing-waves-are-from-speakers-or-room/8289#8289" />
  <row Id="47371" PostHistoryTypeId="2" PostId="26422" RevisionGUID="93809b6d-1189-4815-b32e-3f7283bc6f95" CreationDate="2012-12-25T08:41:13.490" UserDisplayName="emarti" Text="Could you place a sound absorber, like foam, in the room? If it makes no difference, then it's the speakers, not the room." ContentLicense="CC BY-SA 3.0" />
  <row Id="47372" PostHistoryTypeId="2" PostId="26423" RevisionGUID="abeaaf1a-ae28-43f5-8ca6-0f51f53d51c3" CreationDate="2012-12-26T11:24:33.850" UserDisplayName="user12448" Text="You can check out if it is the nature/dimensions of your room that's causes the resonances.You can use this formula (f=n.343/2L) to check if you get the same frequency or not.If it is then it is the room which can be attenuated with absorbers." ContentLicense="CC BY-SA 3.0" />
  <row Id="47373" PostHistoryTypeId="2" PostId="26424" RevisionGUID="36243871-6ff8-49ab-81e3-8655c7fe6088" CreationDate="2013-07-02T16:59:12.433" UserDisplayName="TotalForge" Text="Standing waves in audio are usually an acoustic phenomenon that occurs in the room. Sound bounces off the walls, and frequencies that resonate with the room dimensions bounce more efficiently, causing the volume of that frequency to increase.&#xD;&#xA;&#xD;&#xA;If the room is in a home or commercial structure and was not built for audio work, standing waves are a common problem. Professional studios are built not perfectly square, or rectangular. The shape prevents things like standing waves. This is combined with absorbing material and sometimes diffusers to create a high quality listening environment.&#xD;&#xA;&#xD;&#xA;Some sound absorbing material behind the speakers, and a little at the opposite end of the room should remove most of the problem. Sometimes the resonance is vertical, and some absorbing material over the listening position is helpful in these cases. " ContentLicense="CC BY-SA 3.0" />
  <row Id="47374" PostHistoryTypeId="36" PostId="26425" RevisionGUID="8ee1f651-82b9-4076-a5ab-a096463c776e" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4651/playback-of-reaper-and-other-applications-simultaeously" />
  <row Id="47375" PostHistoryTypeId="36" PostId="26426" RevisionGUID="9b145d42-8576-41ac-8b04-664971a8eb9f" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4651/playback-of-reaper-and-other-applications-simultaeously/7720#7720" />
  <row Id="47376" PostHistoryTypeId="36" PostId="26427" RevisionGUID="7ff6eed4-9052-46c3-86ee-75f35133f869" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4651/playback-of-reaper-and-other-applications-simultaeously/7721#7721" />
  <row Id="47377" PostHistoryTypeId="2" PostId="26426" RevisionGUID="e769f132-3a10-4b61-9829-82a24769d612" CreationDate="2013-04-22T15:49:44.020" UserDisplayName="Chriss" Text="I have two playback devices in my notebook, one's called something like &quot;Speakers and Headphones&quot;, the other one's called &quot;Communication-Headphones&quot;. I'd try to completely disable the second one, worked nicely for me and could maybe work for you.&#xD;&#xA;Another possibility is to get a decent audio interface ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="47378" PostHistoryTypeId="2" PostId="26427" RevisionGUID="89eee2b9-8dbd-4f5c-b9ab-23a400a1d748" CreationDate="2013-04-22T19:04:15.103" UserId="7174" Text="Advanced software in Windows 7 is able to specify the playback device to use and thus will get routed based on a choice.  Any software that is not able to choose a device on it's own will automatically be routed to the default audio device according to the options under Sounds in Control Panel.&#xD;&#xA;&#xD;&#xA;If you update the default sound device to be the headphones and then restart the browser, it should play how you want." ContentLicense="CC BY-SA 3.0" />
  <row Id="47379" PostHistoryTypeId="2" PostId="26425" RevisionGUID="3e48d44f-ca8c-4259-9bd9-60be74f787b4" CreationDate="2012-08-30T14:28:13.047" UserId="17415" UserDisplayName="Boom Chakalaka" Text="I am using Reaper on an HP laptop running Windows 7.  The soundcard is integrated with the motherboard and I am using Asio4All to avoid latency issues.&#xD;&#xA;&#xD;&#xA;On my old PC running Windows XP, I would often play jam tracks from my browser (Google Chrome), while jamming to the track with my guitar using effects through Reaper, all through my headphones.&#xD;&#xA;&#xD;&#xA;On my current PC (described in first paragraph), I am experiencing an issue where if I try to do the same, audio from Reaper is played through the headphones, *but* the sound from my browser gets &quot;bumped&quot; to my laptop's speakers.&#xD;&#xA;&#xD;&#xA;Can anyone shed some light as to why this is happening and how it would be possible to rectify the situation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47380" PostHistoryTypeId="1" PostId="26425" RevisionGUID="3e48d44f-ca8c-4259-9bd9-60be74f787b4" CreationDate="2012-08-30T14:28:13.047" UserId="17415" UserDisplayName="Boom Chakalaka" Text="Playback of Reaper and other applications simultaeously" ContentLicense="CC BY-SA 3.0" />
  <row Id="47381" PostHistoryTypeId="3" PostId="26425" RevisionGUID="3e48d44f-ca8c-4259-9bd9-60be74f787b4" CreationDate="2012-08-30T14:28:13.047" UserId="17415" UserDisplayName="Boom Chakalaka" Text="&lt;reaper&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47382" PostHistoryTypeId="36" PostId="26428" RevisionGUID="3a35c9cf-9413-4a7d-972e-0c029dfe823b" CreationDate="2014-01-27T15:23:37.363" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4613/usb-midi-controller-on-ubuntu-linux" />
  <row Id="47383" PostHistoryTypeId="36" PostId="26429" RevisionGUID="70ef8154-df73-49d2-aa5d-4d071d70769c" CreationDate="2014-01-27T15:23:37.363" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4613/usb-midi-controller-on-ubuntu-linux/4617#4617" />
  <row Id="47384" PostHistoryTypeId="36" PostId="26430" RevisionGUID="a2ab238b-63c4-43d5-9de7-8af47efe2d92" CreationDate="2014-01-27T15:23:37.363" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4613/usb-midi-controller-on-ubuntu-linux/4698#4698" />
  <row Id="47385" PostHistoryTypeId="36" PostId="26431" RevisionGUID="92b3397b-e1c9-44e3-98b9-9012ba3bd0f6" CreationDate="2014-01-27T15:23:37.363" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4613/usb-midi-controller-on-ubuntu-linux/4702#4702" />
  <row Id="47386" PostHistoryTypeId="2" PostId="26429" RevisionGUID="c3726d1f-9529-46d8-862f-c9663cd50692" CreationDate="2012-08-22T13:43:26.100" UserId="7093" Text="This keyboard should work just fine.  The keyboard hooks up to the computer via USB.  The computer then needs the proper USB MIDI driver to communicate with the keyboard.&#xD;&#xA;&#xD;&#xA;A quick Google for &quot;m-audio 88es linux&quot; got me [this result][1] among others which seems to say that at least someone got it working.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://ubuntuforums.org/archive/index.php/t-1485434.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="47387" PostHistoryTypeId="2" PostId="26430" RevisionGUID="52499066-7ba0-4917-ad1d-a4e48a42defa" CreationDate="2012-09-10T19:34:20.213" UserDisplayName="steevc" Text="USB MIDI is a supported standard on Linux, so it should be plug and play. I've had success with a Korg nanoKontrol and an M-Audio UNO MIDI interface, although the latter needed me to install an extra driver. I don't know if that is required for all MIDI devices.&#xD;&#xA;&#xD;&#xA;I've not done much with MIDI, but I've had to set the MIDI Driver in JACK settings to 'seq' and then devices appear in the ALSA tab rather than under MIDI.&#xD;&#xA;&#xD;&#xA;This guide looks useful&#xD;&#xA;&#xD;&#xA;http://rafalcieslak.wordpress.com/2012/08/29/usb-midi-controllers-and-making-music-with-ubuntu/&#xD;&#xA;&#xD;&#xA;I think you have to use JACK to route the MIDI signals around. Then you need some sort of sound source, e.g. QSynth plus a sound font. Send the MIDI in to QSynth and you should get some sounds. There are various sequencing applications including Rosegarden." ContentLicense="CC BY-SA 3.0" />
  <row Id="47388" PostHistoryTypeId="2" PostId="26431" RevisionGUID="4e03ce8e-302b-44c9-86ad-0f2bf13b4ede" CreationDate="2012-09-11T03:35:36.867" UserDisplayName="ramonovski" Text="I have the M-Audio Keyrig49 and it works perfectly on Debian/Ubuntu/Mint.&#xD;&#xA;&#xD;&#xA;The setup is like:&#xD;&#xA;&#xD;&#xA;MIDI controller -&gt; JACK(Qjackctl as a frontend) -&gt; fluidsynth(Qsynth as a frontend) -&gt; Monitors/Headphones.&lt;br/&gt;&#xD;&#xA;I've used with Linux MultiMedia Studio and it works too.&#xD;&#xA;&#xD;&#xA;No external drivers needed.&#xD;&#xA;&#xD;&#xA;Just make sure to have a proper JACK configuration." ContentLicense="CC BY-SA 3.0" />
  <row Id="47389" PostHistoryTypeId="2" PostId="26428" RevisionGUID="f69d67d8-15ae-4acb-a433-86a4dfc1f765" CreationDate="2012-08-22T04:11:06.310" UserId="13369" UserDisplayName="Joshua Robison" Text="My question is directed at those having experience with both Linux and midi controllers.&#xD;&#xA;&#xD;&#xA;**DEVICE IN QUESTION**  &#xD;&#xA;&#xD;&#xA;This seems to be the cheapest midi/usb controller that has:  &#xD;&#xA;1) 88 keys  &#xD;&#xA;2) fully/semi weighted keys  &#xD;&#xA;3) midi/usb  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[M Audio Keystation USB/MIDI Controller][1]&#xD;&#xA;&#xD;&#xA;Here is an image :&#xD;&#xA;&#xD;&#xA;![M Audio Keystation USB/MIDI Controller][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**SPECS**  &#xD;&#xA;&#xD;&#xA;Here are some various specs in case the Amazon page goes down:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;88-note velocity-sensitive, semi-weighted action&#xD;&#xA;88 keys means no constant hitting of an octave switch, an annoyance with smaller controllers. The semi-weighted action gives you a piano feel, and since it's velocity sensitive, your dynamic playing is accurately sent as data.&#xD;&#xA;&#xD;&#xA;Pitch bend and modulation wheels&#xD;&#xA;These are ideal for controlling synths, samplers, etc.&#xD;&#xA;&#xD;&#xA;Volume/assignable control slider&#xD;&#xA;Easily assign the control slider to different parameters of sound modules or software, for further control over your sound.&#xD;&#xA;&#xD;&#xA;Advanced function button for programming&#xD;&#xA;When the Advanced Functions button is pressed, the keyboard goes into &quot;Edit Mode.&quot; In Edit Mode, the keys on the keyboard are used for selecting functions and entering data. Black keys are used for selecting functions, while the white keys are used for data entry and channel selection.&#xD;&#xA;&#xD;&#xA;Sustain pedal input (pedal sold separately)&#xD;&#xA;Add a sustain pedal, such as the M-Audio SP-1, for piano-like pedal control of your notes' duration.&#xD;&#xA;&#xD;&#xA;Built-in USB MIDI interface&#xD;&#xA;Easily interface with most MIDI software using the built-in USB MIDI interface. The standard MIDI &quot;out&quot; jack routes MIDI signals from the keyboard or computer to your external devices.&#xD;&#xA;&#xD;&#xA;USB Powered&#xD;&#xA;The 88es grabs power from the USB port on your computer. You can also purchase a 9VDC power adapter.&#xD;&#xA;&#xD;&#xA;Mac OS X and Windows XP class compliant&#xD;&#xA;Enjoy plug-and-play operation with both Mac OS X and Windows XP. Ableton Live Lite music production software is included, so you can make music right away on either platform.&#xD;&#xA;&#xD;&#xA;What's in the Box&#xD;&#xA;M-Audio Keystation 88es USB Keyboard, USB Cable, User's Manual&#xD;&#xA;Product Description&#xD;&#xA;If you appreciate the full range of a piano keyboard in a lightweight package, the 88-note Keystation 88es is for you. You get great-feeling, semi-weighted action that's velocity-sensitive, to convey all the nuances of your playing to your computer and most popular music education and studio software. The pitch and modulation wheels plus slider and buttons make it a great controller for playing and programming synths, samplers, drum sounds and more. At just 22 lbs., the Keystation 88es is equally at home on stage and in the studio. Class compliancy with Windows XP, Vista (32 bit), and Mac OS X ensures easy plug-and-play setup. It's even bus-powered, so one simple USB cable is the only connection you need. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**MY COMPUTER**  &#xD;&#xA;The computer I will be running this on is:&#xD;&#xA;&#xD;&#xA;Dual core 3ghz Pentium D  &#xD;&#xA;Dell Optiplex gx520  &#xD;&#xA;4gigs ram  &#xD;&#xA;Ubuntu 12.04  (linux)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**MY QUESTION**  &#xD;&#xA;The Optiplex does not seem to have any inputs for midi.  &#xD;&#xA;I have never used a midi device before.  &#xD;&#xA;In general, how can I get a usb/midi controller like this running on Ubuntu Linux or will it just work out of the box?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/M-Audio-Keystation-88ES-Midi-Controller/dp/B0006676A0&#xD;&#xA;  [2]: http://i.stack.imgur.com/QPK08.jpg&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47390" PostHistoryTypeId="1" PostId="26428" RevisionGUID="f69d67d8-15ae-4acb-a433-86a4dfc1f765" CreationDate="2012-08-22T04:11:06.310" UserId="13369" UserDisplayName="Joshua Robison" Text="USB/Midi controller on Ubuntu Linux?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47391" PostHistoryTypeId="3" PostId="26428" RevisionGUID="f69d67d8-15ae-4acb-a433-86a4dfc1f765" CreationDate="2012-08-22T04:11:06.310" UserId="13369" UserDisplayName="Joshua Robison" Text="&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47392" PostHistoryTypeId="36" PostId="26432" RevisionGUID="90fb9cfa-61ca-43a7-89bc-c84e518171a7" CreationDate="2014-01-27T15:17:00.333" UserId="-1" Comment="from http://avp.stackexchange.com/questions/581/setup-eq-changes-based-on-tuning-of-guitar" />
  <row Id="47393" PostHistoryTypeId="36" PostId="26433" RevisionGUID="277ca0ae-ba26-4479-ac45-5dae266ceb69" CreationDate="2014-01-27T15:17:00.333" UserId="-1" Comment="from http://avp.stackexchange.com/questions/581/setup-eq-changes-based-on-tuning-of-guitar/607#607" />
  <row Id="47394" PostHistoryTypeId="36" PostId="26434" RevisionGUID="4e53c6a1-5311-4abc-9c64-5cea780a8812" CreationDate="2014-01-27T15:17:00.333" UserId="-1" Comment="from http://avp.stackexchange.com/questions/581/setup-eq-changes-based-on-tuning-of-guitar/641#641" />
  <row Id="47395" PostHistoryTypeId="36" PostId="26435" RevisionGUID="93ad9fdf-1232-4615-9e16-824ccce0f914" CreationDate="2014-01-27T15:17:00.333" UserId="-1" Comment="from http://avp.stackexchange.com/questions/581/setup-eq-changes-based-on-tuning-of-guitar/672#672" />
  <row Id="47396" PostHistoryTypeId="2" PostId="26433" RevisionGUID="e9956967-c9d6-4e65-adec-6851a42ca18b" CreationDate="2011-01-16T23:25:39.430" UserId="7202" Text="In my opinion: Nothing. That's an effect of the open tuning, and you also often have longer sustains on the open strings. The chords themselves sound different, with different emphasis on different strings.&#xD;&#xA;&#xD;&#xA;It's neither better nor worse, just different.&#xD;&#xA;&#xD;&#xA;In each case the guitar, mic and amp (if any) will have a big impact as well, so the only thing you need to consider is if the end result sounds good to you or not. " ContentLicense="CC BY-SA 2.5" />
  <row Id="47397" PostHistoryTypeId="2" PostId="26434" RevisionGUID="44e74b28-b591-4073-b44c-e67d603b5923" CreationDate="2011-01-19T20:04:16.023" UserId="7294" UserDisplayName="Warrior Bob" Text="You should consider the balance with other instruments.  If your extra brightness starts to interfere with another instrument, then you'll likely want to EQ one of them down a few dB in that range to prevent muddiness.&#xD;&#xA;&#xD;&#xA;Consider using a spectrometer on two separate recordings, one of an open tuning and one with the same notes in standard tuning.  See how different they are and in what range, so that you know where to EQ if you need to.&#xD;&#xA;&#xD;&#xA;You should also consider how your recording equipment (mics, preamps, maybe guitar amps) are going to respond to the extra high frequencies.  I don't imagine it'd make too much of a difference, at least not enough to use different equipment, but there's no better way to find out than to try it and see if you like the sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="47398" PostHistoryTypeId="2" PostId="26435" RevisionGUID="a18f5a6d-01ec-4279-9df6-ba41532dcc83" CreationDate="2011-01-24T08:53:27.170" UserDisplayName="jlebre" Text="Agreed you should consider the balance of the other instruments but if you really want to go lenghts to do a exact EQ based on the note, you will have to do some maths.&#xD;&#xA;&#xD;&#xA;I do understand what you are saying. I do notice a lot of guitars reproduce some strings louder than others and the effect becomes far more noticeable with open. Fixing your amp settings or (if it's an electric guitar) maybe readjust the pickup should be your first focus. &#xD;&#xA;&#xD;&#xA;If you need to go &quot;whatever works&quot; on this, try this:&#xD;&#xA;(FH/FL) = 2^(x/12)&#xD;&#xA;&#xD;&#xA;say, you want to find out A3. Then FH will be a reference for your higher note (A4=440 ie). FL will be your result, the rest is 2^(12/12) cause x=number of semitones.&#xD;&#xA;&#xD;&#xA;Now, seriously, do you want to have to do this in the middle of a mixing session? :P&#xD;&#xA;&#xD;&#xA;Having said that, I had to use it on a project handed in to me to mix. But did it before hand, got it out of the way. That was my corrective EQ. Nowadays I've been trying to be as careful as I can to avoid EQ'ing at all. But this damn economy crunch is making the small rooms thrive and the big, nice rooms go bankrupt arghh!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47399" PostHistoryTypeId="2" PostId="26432" RevisionGUID="7fe4bb42-b013-400b-86ae-bdefeaba35cb" CreationDate="2011-01-13T18:52:07.397" UserDisplayName="brian_d" Text="What should you consider when playing an [Open-Tuning][1] where more open strings will be played and the overall sound will be brighter than the equivalent notes in standard tuning?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Guitar_tunings#Open_tunings" ContentLicense="CC BY-SA 2.5" />
  <row Id="47400" PostHistoryTypeId="1" PostId="26432" RevisionGUID="7fe4bb42-b013-400b-86ae-bdefeaba35cb" CreationDate="2011-01-13T18:52:07.397" UserDisplayName="brian_d" Text="Setup, EQ changes based on tuning of guitar" ContentLicense="CC BY-SA 2.5" />
  <row Id="47401" PostHistoryTypeId="3" PostId="26432" RevisionGUID="7fe4bb42-b013-400b-86ae-bdefeaba35cb" CreationDate="2011-01-13T18:52:07.397" UserDisplayName="brian_d" Text="&lt;equalization&gt;&lt;setup&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47402" PostHistoryTypeId="36" PostId="26436" RevisionGUID="0775516d-361e-4e8a-8eba-ef51f024ed49" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1645/real-time-audio-effects-in-windows" />
  <row Id="47403" PostHistoryTypeId="36" PostId="26437" RevisionGUID="313d426e-b1ad-480d-8d2e-d12bc36344de" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1645/real-time-audio-effects-in-windows/1648#1648" />
  <row Id="47404" PostHistoryTypeId="2" PostId="26437" RevisionGUID="97454595-0798-4741-8f73-5011c27c649c" CreationDate="2011-06-24T15:36:35.270" UserId="17571" UserDisplayName="Zeronyne" Text="There are several solutions for your problem, and they have huge price range and complexity differences. I'll cover the conceptual basics here and the issues you may come across. I am assuming that your question was literal; you are attempting to that a mic signal from a singer and send it back to her with some effects on her voice without recording her voice whatsoever. If you ARE recording the voice with the same computer, this changes the procedure.&#xD;&#xA;&#xD;&#xA;So the easiest way to do this with a PC is to use the following chain:&#xD;&#xA;&#xD;&#xA;**Mic -&gt; Preamp -&gt; A/D Convertor -&gt; Standalone Reverb Application -&gt; D/A Convertor -&gt; out**&#xD;&#xA;&#xD;&#xA;For this solution, you would need a audio interface to handle the A/D D/A task, and they often also have a preamp built in. There are many out there, ranging from $50.00 to $3500.00, so I would say that a specific model recommendation would require more detail from you.&#xD;&#xA;&#xD;&#xA;OK, &#xD;&#xA;&#xD;&#xA;As far as software goes, standalone reverbs are relatively rare, since most people use reverb software as a plug in. The best freestanding 'verbs use convolution engines. In my cursory search for this answer, I couldn't find a non-plugin app, but I know that they are out there.&#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;The second, slightly more complex but much more available solution:&#xD;&#xA;**Mic -&gt; Preamp -&gt; A/D convertor -&gt; plug in shell -&gt; reverb plug in -&gt; D/A convertor -&gt; out**&#xD;&#xA;&#xD;&#xA;Since most reverb software is designed to work within a host DAW program, you need a platform upon which you would host the reverb. On PC, I would recommend using [VST Host][1]. The world is then your oyster in terms of software choices. There are phenomenal reverbs from Native Instruments, Waves, UA, and many others. Here's a nice guide: [Ultimate Guide to Reverb][2].&#xD;&#xA;&#xD;&#xA;There are also a plethora of free plug in offerings. Here is a slightly outdated list: [15 totally Free Reverb plugins][3]&#xD;&#xA;&#xD;&#xA;There are also a few platforms that are full blown recording apps in their own right that just happen to have facilities to use their effects live. Logic on OSX and Reason/Record are two that come to mind, but there are many, many others.&#xD;&#xA;&#xD;&#xA;The biggest problem you are gong to face is latency, which, depending on how you are monitoring the audio going back to the singer, can render this entire exercise unusable (this is not hyperbole). You can reduce latency in many ways, and a combination of methods is usually best:&#xD;&#xA;&#xD;&#xA; - Use the fastest computer you can get your hands on lots of RAM.&#xD;&#xA; - Reduce the i/o buffer size in the audio interface's control panel.&#xD;&#xA; - Streamline your computer in terms of extraneous extensions, dlls.&#xD;&#xA; - Augment your processig power by using an interface with a built in DSP chip or a box dedicated to processing the plug in.&#xD;&#xA; - This goes beyond the scope of your question, but you could also just get a hardware reverb.&#xD;&#xA;__________________________________&#xD;&#xA;&#xD;&#xA;OK so for YOUR application, it's unclear what you need. You last sentence doesn't really specify whether this is for a live performance context, recording to another platform while providing effects from the PC in question, or recording onto the same pc that is providing an effected feed for the singer. If you clarify it, I can make more concrete suggestions.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hermannseib.com/english/vsthost.htm&#xD;&#xA;  [2]: http://audio.tutsplus.com/tutorials/production/the-ultimate-guide-to-hardware-and-software-reverb/&#xD;&#xA;  [3]: http://audio.tutsplus.com/articles/web-roundups/15-totally-free-reverb-plug-ins-that-rock/" ContentLicense="CC BY-SA 3.0" />
  <row Id="47405" PostHistoryTypeId="2" PostId="26436" RevisionGUID="789e7621-106e-4203-a163-5c2ab34e9a8f" CreationDate="2011-06-24T09:27:06.533" UserDisplayName="Unreason" Text="I am looking for instructions on how to setup a *real time* reverb or echo effects on a PC.&#xD;&#xA;&#xD;&#xA;Searching did not yield any obvious winners, so if someone can *recommend* a setup that is easy and works well (software, plugins, instructions, caveat) I would be grateful.&#xD;&#xA;&#xD;&#xA;This is for amateur setup, primary function is to play with vocal recordings (actually to provide feedback that includes an effect back to the singer).&#xD;&#xA;&#xD;&#xA;&lt;sub&gt;Target machine is Windows, but some linux live distribution is not out of the question completely&lt;/sub&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47406" PostHistoryTypeId="1" PostId="26436" RevisionGUID="789e7621-106e-4203-a163-5c2ab34e9a8f" CreationDate="2011-06-24T09:27:06.533" UserDisplayName="Unreason" Text="Real-time audio effects in Windows" ContentLicense="CC BY-SA 3.0" />
  <row Id="47407" PostHistoryTypeId="3" PostId="26436" RevisionGUID="789e7621-106e-4203-a163-5c2ab34e9a8f" CreationDate="2011-06-24T09:27:06.533" UserDisplayName="Unreason" Text="&lt;effects&gt;&lt;windows&gt;&lt;reverb&gt;&lt;echo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47408" PostHistoryTypeId="36" PostId="26438" RevisionGUID="3fd2a746-6171-4163-8e8f-9930eff6f8b1" CreationDate="2014-01-27T15:22:18.763" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5580/what-pitch-of-voice-is-more-versatile-for-editing-and-to-use-as-many-kinds-of-vo" />
  <row Id="47409" PostHistoryTypeId="2" PostId="26439" RevisionGUID="5cd8ef54-610b-41dc-a787-cc4bf33f437a" CreationDate="2012-12-14T20:58:52.147" UserId="7225" Text="You can use almost any voice today with re-pitching that consider formant.&#xD;&#xA;&#xD;&#xA;But a &quot;generic voice&quot; could be a low tenor or high baritone voice.&#xD;&#xA;&#xD;&#xA;More on voice types:  &#xD;&#xA;https://en.wikipedia.org/wiki/Voice_type" ContentLicense="CC BY-SA 3.0" />
  <row Id="47410" PostHistoryTypeId="2" PostId="26438" RevisionGUID="28313f4a-b2a6-46b6-be9a-86d7af175120" CreationDate="2012-12-14T20:38:49.997" UserId="7255" Text="I would like to find a pitch of voice that can be edited to sound as many different kinds of voice, a child, a men, a women, a robot, etc.&#xD;&#xA;&#xD;&#xA;For instance, if I record a child's voice and a man with a very deep voice, which is less likely to lose quality when I edit it to change its pitch, or to apply some other sound effects?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47411" PostHistoryTypeId="1" PostId="26438" RevisionGUID="28313f4a-b2a6-46b6-be9a-86d7af175120" CreationDate="2012-12-14T20:38:49.997" UserId="7255" Text="What pitch of voice is more versatile for editing and to use as many kinds of voice?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47412" PostHistoryTypeId="3" PostId="26438" RevisionGUID="28313f4a-b2a6-46b6-be9a-86d7af175120" CreationDate="2012-12-14T20:38:49.997" UserId="7255" Text="&lt;pitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47413" PostHistoryTypeId="36" PostId="26439" RevisionGUID="3dc9ab6e-f3c6-4b2e-b3d0-7b5fb4af2a0e" CreationDate="2014-01-27T15:22:18.763" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5580/what-pitch-of-voice-is-more-versatile-for-editing-and-to-use-as-many-kinds-of-vo/5581#5581" />
  <row Id="47414" PostHistoryTypeId="36" PostId="26440" RevisionGUID="f681c441-309a-4e67-bcd0-522cbe71a10c" CreationDate="2014-01-27T15:22:18.763" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1472/is-there-any-free-tool-to-generate-a-tone-with-gradually-increasing-pitch" />
  <row Id="47415" PostHistoryTypeId="2" PostId="26441" RevisionGUID="350ff9fd-284b-47a0-a619-e2bdf09d42c7" CreationDate="2011-05-26T13:52:22.793" UserId="7334" UserDisplayName="imsky" Text="This does almost everything you need (save for the length): http://heliso.tripod.com/download/generator/dsg.htm&#xD;&#xA;&#xD;&#xA;Another one, also with a length limitation: http://softsolutions.sedutec.de/multisine.php&#xD;&#xA;&#xD;&#xA;If you use a linear sweep, you can simply divide your 10 minutes into whatever is possible with the above tools and then splice the sound together in Audacity afterwards." ContentLicense="CC BY-SA 3.0" />
  <row Id="47416" PostHistoryTypeId="2" PostId="26440" RevisionGUID="49a7846d-b7b6-4aad-b0e0-170d1e70b396" CreationDate="2011-05-26T13:30:03.320" UserDisplayName="Neo" Text="I need to generate a tone with a gradually increasing pitch with a very slow ratio. That is, I need a sine/square/sawtooth tone (amplitude doesn't matter) starting from 20Hz and gradually, linearly (or exponentially) increasing to 16kHz over 10 minute period. I need it to test a very specific audio device.&#xD;&#xA;&#xD;&#xA;This seems like a simple task, yet I cannot find any free tool which would generate such a tone and save it to WAV or something like that. I tried fiddling with Audacity, but either I cannot find it or such tone not possible to achieve in it.&#xD;&#xA;&#xD;&#xA;Does anybody know any free tool which would help me in generating such tone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47417" PostHistoryTypeId="1" PostId="26440" RevisionGUID="49a7846d-b7b6-4aad-b0e0-170d1e70b396" CreationDate="2011-05-26T13:30:03.320" UserDisplayName="Neo" Text="Is there any free tool to generate a tone with gradually increasing pitch?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47418" PostHistoryTypeId="3" PostId="26440" RevisionGUID="49a7846d-b7b6-4aad-b0e0-170d1e70b396" CreationDate="2011-05-26T13:30:03.320" UserDisplayName="Neo" Text="&lt;pitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47419" PostHistoryTypeId="36" PostId="26441" RevisionGUID="4232b36d-3a70-4fb8-8026-02e4fb177357" CreationDate="2014-01-27T15:22:18.763" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1472/is-there-any-free-tool-to-generate-a-tone-with-gradually-increasing-pitch/1473#1473" />
  <row Id="47420" PostHistoryTypeId="36" PostId="26442" RevisionGUID="9968ddb0-4ec7-491e-ad41-814d118bcf3f" CreationDate="2014-01-27T15:22:18.763" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1472/is-there-any-free-tool-to-generate-a-tone-with-gradually-increasing-pitch/1475#1475" />
  <row Id="47421" PostHistoryTypeId="2" PostId="26442" RevisionGUID="8f8ae928-e033-4d07-8876-2f1746069111" CreationDate="2011-05-26T19:51:59.783" UserId="7471" UserDisplayName="Mark Heath" Text="Audacity can do this, although I've not personally made one longer than 30 seconds. Select **Generate | Chirp**:&#xD;&#xA;&#xD;&#xA;![Audacity Generate Chirp][1]&#xD;&#xA;&#xD;&#xA;(be careful not to hurt your ears when playing it back!)&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/PGv8e.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="47422" PostHistoryTypeId="36" PostId="26443" RevisionGUID="10c3c28b-e9bd-44d3-8f2b-1ac56a2725c5" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2025/why-do-i-hear-less-bass-in-the-middle-of-the-room-and-can-i-do-anything-about-i" />
  <row Id="47423" PostHistoryTypeId="2" PostId="26444" RevisionGUID="ecbbff7d-0336-487b-9575-bd8e1b2ce011" CreationDate="2011-08-06T12:41:42.563" UserDisplayName="Ben Cameron" Text="If you do a bit of reading, you'll find that the optimal position for you to be in can be calculated based on the shape of your room, and that the center of the room is a sub-optimal listening position.&#xD;&#xA;&#xD;&#xA;The reason that you hear less bass in one position than in another is because reflections from your walls and other elements in the room work together to phase cancel the direct signal that is coming to you from the speakers. If bass is your biggest problem, look into bass traps. These are treatment elements that work specifically to reduce standing bass waves.&#xD;&#xA;&#xD;&#xA;This site has very good information on the topic, and provides a free room analyzer tool to help you determine the best listening position, and help you decide what type of treatment might be necessary to improve your listening experience.&#xD;&#xA;&#xD;&#xA;http://www.realtraps.com/info.htm&#xD;&#xA;&#xD;&#xA;Also, you might want to head over to the gearslutz.com forum, where there are many articles on this topic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47424" PostHistoryTypeId="2" PostId="26443" RevisionGUID="0f33d0f4-4f4a-4397-bb8a-b274cc967997" CreationDate="2011-08-05T23:40:08.893" UserId="7294" UserDisplayName="Warrior Bob" Text="I've recently purchased a pair of monitor speakers in order to build myself a better critical listening environment.&#xD;&#xA;&#xD;&#xA;I've tried setting them up near one wall in a small room off of my living room, whose dimensions are about 8'x7', and which is about 8' high. The left-side wall is missing, as it connects to the living room. There are no acoustic treatments yet, as I want to get the basic setup right before investing in some treatment. &#xD;&#xA;&#xD;&#xA;I have found that from where I sit, which is about in the center of the room, very low frequencies (below about 130Hz) roll off very quickly. However, if I slide my chair to the back wall, I can hear the bass quite well, down to about 50Hz. &#xD;&#xA;&#xD;&#xA;What might cause bass to attenuate so sharply in the middle of a room like this, and is there anything I can do about it short of rearranging my desk to be up against the back wall? " ContentLicense="CC BY-SA 3.0" />
  <row Id="47425" PostHistoryTypeId="1" PostId="26443" RevisionGUID="0f33d0f4-4f4a-4397-bb8a-b274cc967997" CreationDate="2011-08-05T23:40:08.893" UserId="7294" UserDisplayName="Warrior Bob" Text="Why do I hear less bass in the middle of the room, and can I do anything about it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47426" PostHistoryTypeId="3" PostId="26443" RevisionGUID="0f33d0f4-4f4a-4397-bb8a-b274cc967997" CreationDate="2011-08-05T23:40:08.893" UserId="7294" UserDisplayName="Warrior Bob" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47427" PostHistoryTypeId="36" PostId="26444" RevisionGUID="9db0aba3-cc6d-47e0-8559-30ad14f8bf51" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2025/why-do-i-hear-less-bass-in-the-middle-of-the-room-and-can-i-do-anything-about-i/2027#2027" />
  <row Id="47432" PostHistoryTypeId="36" PostId="26446" RevisionGUID="f80e6420-39db-40e9-979b-ed5d043f2f12" CreationDate="2014-01-27T15:17:33.820" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3025/are-there-song-length-limitations-in-garageband-09" />
  <row Id="47433" PostHistoryTypeId="36" PostId="26447" RevisionGUID="f690bf27-e339-4513-956c-2d77a080c09b" CreationDate="2014-01-27T15:17:33.820" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3025/are-there-song-length-limitations-in-garageband-09/3031#3031" />
  <row Id="47434" PostHistoryTypeId="2" PostId="26447" RevisionGUID="c87691f8-c4e9-4779-9d99-6b72e9c109d6" CreationDate="2012-01-13T20:43:16.190" UserId="7045" Text="Garageband should be able to handle much more than this in terms of length. Multiple tracks are going to stress out your Mac far more than long songs will. However, there are some things you can do to make it easier on your Mac: &#xD;&#xA;&#xD;&#xA;###Software instruments&#xD;&#xA;&#xD;&#xA;These are tracks that show up as MIDI bar charts and not audio waveforms. Think of MIDI as analogous to source code; The Mac has to essentially compile the MIDI into audio data before playing it, and it has to do this in real time. &#xD;&#xA;&#xD;&#xA;This becomes more of a problem when you have several such tracks. &#xD;&#xA;&#xD;&#xA;*What you can do:* &#xD;&#xA;&#xD;&#xA;Click on the lock icon before playing the track, and the Mac will pre-render the audio before you play it, essentially &quot;compiling&quot; it ahead of time. You'll have to wait a minute while the Mac does this. If you want to make any changes to these tracks, just unlock them. &#xD;&#xA;&#xD;&#xA;###Effects&#xD;&#xA;&#xD;&#xA;The Mac has to render the effects in real-time when you play audio tracks. If you have a lot of tracks with multiple effects (compression, reverb, chorus, delay) then you're slowing things down quite a bit. &#xD;&#xA;&#xD;&#xA;*What you can do:*&#xD;&#xA;&#xD;&#xA;Similar to software instruments tracks, you can lock these before playing them. (Can anyone confirm if this locks in the effects as well?) But do you really need all those effects? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47435" PostHistoryTypeId="2" PostId="26446" RevisionGUID="bc2985c2-3e7b-485b-bc63-0ce8c2d4ae43" CreationDate="2012-01-13T18:17:32.653" UserDisplayName="PB in NYC" Text="I am using 2009 GB on a MacBook (not Pro), and have only recently begun to record with it. I got some nice short mixes, but when I tried to create an entire 3-minute multitrack song, it cut out on me at about 30 measures or less. I used the Apple loops it came with. It made me download a bunch of instruments and loops as an upgrade, I think it said, which took a long time, the day or two days before that. This was the first attempt I made to record tracks using the loops since the new instruments were downloaded. Is Ilife's GB 09 supposed to cut out after 27 or 29 measures?&#xD;&#xA;&#xD;&#xA;Thanks for your input!" ContentLicense="CC BY-SA 3.0" />
  <row Id="47436" PostHistoryTypeId="1" PostId="26446" RevisionGUID="bc2985c2-3e7b-485b-bc63-0ce8c2d4ae43" CreationDate="2012-01-13T18:17:32.653" UserDisplayName="PB in NYC" Text="Are There Song-Length Limitations in GarageBand 09?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47437" PostHistoryTypeId="3" PostId="26446" RevisionGUID="bc2985c2-3e7b-485b-bc63-0ce8c2d4ae43" CreationDate="2012-01-13T18:17:32.653" UserDisplayName="PB in NYC" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47438" PostHistoryTypeId="36" PostId="26448" RevisionGUID="411f69ec-a5fc-41aa-a1c9-bb64aaf83461" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1043/older-bedroom-dj-seeks-advice-amp-about-to-die-should-i-get-another-or-powere" />
  <row Id="47439" PostHistoryTypeId="36" PostId="26449" RevisionGUID="da927cff-edef-4c26-b61b-7793049ec351" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1043/older-bedroom-dj-seeks-advice-amp-about-to-die-should-i-get-another-or-powere/1046#1046" />
  <row Id="47440" PostHistoryTypeId="36" PostId="26450" RevisionGUID="55dc5b3c-382c-4ee5-b723-cad44fe4921b" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1043/older-bedroom-dj-seeks-advice-amp-about-to-die-should-i-get-another-or-powere/1116#1116" />
  <row Id="47441" PostHistoryTypeId="36" PostId="26451" RevisionGUID="9eb2913f-21e0-4a37-aca8-245489c6ede5" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1043/older-bedroom-dj-seeks-advice-amp-about-to-die-should-i-get-another-or-powere/1315#1315" />
  <row Id="47442" PostHistoryTypeId="2" PostId="26449" RevisionGUID="08e0536d-b807-433a-bd1a-344004a00181" CreationDate="2011-03-17T15:24:55.187" UserDisplayName="user645" Text="I feel like you're messing a few things up there :)&#xD;&#xA;&#xD;&#xA;So one by one:&#xD;&#xA;&#xD;&#xA;     Should I get powered active speakers and connect them directly to my mixer instead of getting a new mixer? &#xD;&#xA;&#xD;&#xA;I guess you mean getting a new amp here? Because your mixer does still work, doesn't it? As for the new amp vs new active speakers discussion: I do have a pair of actives and I love them. Maybe the only disadvantage of them is that such active speakers are usually a little bit smaller and therefore you do not have the power to use them for a &quot;real&quot; party (with dancefloor and all), but as long as you just use them at home, the will have enough power - even for a small party with your buds :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The other thing you mixed up was the &quot;digital amp&quot; thing. There is no such thing as digital amp. An amp simply amplifies (hence the name) the signal to a voltage level which is high enough for big passive speakers.&#xD;&#xA;This could actually done digitally as well as analog, but as a user you would not hear any difference (nor would you have to use a differnet kind of plugs)" ContentLicense="CC BY-SA 2.5" />
  <row Id="47443" PostHistoryTypeId="2" PostId="26450" RevisionGUID="27262d1a-8c26-4a4d-ab8d-52cad5e1f9ad" CreationDate="2011-03-31T08:19:40.063" UserDisplayName="d-_-b" Text="From an sound engineers point of view, you'd want to keep using the same speakers because you are used to their sound. So I would get a new amp(s)." ContentLicense="CC BY-SA 2.5" />
  <row Id="47444" PostHistoryTypeId="2" PostId="26451" RevisionGUID="a261cfd5-1554-4124-8011-53a8702420c5" CreationDate="2011-04-30T10:07:41.390" UserId="7471" UserDisplayName="Mark Heath" Text="If you're just working in a bedroom, then powered monitors will be more than loud enough for your needs. I've been pleased with my [Alesis M1 Active 520s][1], which are a decent choice if you are on a budget. &#xD;&#xA;&#xD;&#xA;If you need something to take to small venues, then I'd recommend checking out the [Mackie SRM450][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.alesis.com/m1active520&#xD;&#xA;  [2]: http://www.mackie.com/products/srm450/" ContentLicense="CC BY-SA 3.0" />
  <row Id="47445" PostHistoryTypeId="2" PostId="26448" RevisionGUID="f3bea090-c743-42ba-9686-ec08a676c2e8" CreationDate="2011-03-17T11:47:09.707" UserId="20454" UserDisplayName="5arx" Text="I've had all my DJ kit since about 1995:&#xD;&#xA;&#xD;&#xA; - Pair of Technics 1210s&#xD;&#xA;&#xD;&#xA; - 1 x Boss Sampler/Sequencer&#xD;&#xA;&#xD;&#xA; - 1 x Kenwood KA3020SE Amp&#xD;&#xA;&#xD;&#xA; - 1 x Kam Scratch Mixer&#xD;&#xA;&#xD;&#xA; - Pair Mission 702 speakers&#xD;&#xA;&#xD;&#xA; - Pair Eltax Monitor speakers&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The amp is probably going to die quite soon - it's leaking sound and getting crackly. I want to upgrade but not sure what I need in todays modern world. Currently the amp doubles up as our domestic amp and has a CD, tuner and twin cassette decks (I know) and a minidisc connected up to it ...&#xD;&#xA;&#xD;&#xA;###Questions&#xD;&#xA; 1. Should I get powered active speakers and connect them directly to my mixer instead of getting a new amplifier? I've heard active monitors can be as loud as a hifi amp these days. I'd then look at getting a simple amp or perhaps one of those 'girly' micro hifi systems for the domestic stuff (I also have a loud iPod dock).&#xD;&#xA;&#xD;&#xA; 2. Or should I replace with a similar amp? If so, can you recommend a suitable replacement? I've loved my '3020 for years it has loads of inputs and is neighbour-annoyingly loud ;-)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; 3. Should I get something like a keyboard amp which would also allow me to plug guitar/bass/drum machine into it. If so, can you recommend something suitable?&#xD;&#xA;&#xD;&#xA; 4. Should I look into digital kit e.g. digital amp and mixer? If digital amps exist ...? I know digital mixers do though are frighteningly expensive for the hobbyist.&#xD;&#xA;&#xD;&#xA;Thanks for looking." ContentLicense="CC BY-SA 2.5" />
  <row Id="47446" PostHistoryTypeId="1" PostId="26448" RevisionGUID="f3bea090-c743-42ba-9686-ec08a676c2e8" CreationDate="2011-03-17T11:47:09.707" UserId="20454" UserDisplayName="5arx" Text="Older Bedroom DJ Seeks Advice: Amp about to die - should I get another or powered monitor speakers...?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47447" PostHistoryTypeId="3" PostId="26448" RevisionGUID="f3bea090-c743-42ba-9686-ec08a676c2e8" CreationDate="2011-03-17T11:47:09.707" UserId="20454" UserDisplayName="5arx" Text="&lt;equalization&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47448" PostHistoryTypeId="36" PostId="26452" RevisionGUID="97c8cadf-cc99-4bd5-9235-b79fcad8e159" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2275/why-does-music-often-stutter-when-the-bpm-is-manipulated-in-itch" />
  <row Id="47449" PostHistoryTypeId="36" PostId="26453" RevisionGUID="7695122e-5695-4b3a-be5f-a839148f5bce" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2275/why-does-music-often-stutter-when-the-bpm-is-manipulated-in-itch/2324#2324" />
  <row Id="47450" PostHistoryTypeId="2" PostId="26453" RevisionGUID="77781b69-a3eb-4beb-9e13-64fe5ea5f3b6" CreationDate="2011-09-15T03:29:40.340" UserDisplayName="Andrew" Text="I think what you're experiencing is the side affects of changing the speed of a clip without changing the pitch.  Typically if you try and slow down or speed up a piece of music, it's pitch will get higher or lower respectively, like slowing down a 12&quot; vinyl record.  This happens because when you slow down a piece of audio you're reducing the frequency of vibrations.  And frequency is pitch by definition.  &#xD;&#xA;&#xD;&#xA;For the software to maintain the pitch while slowing it down, instead of stretching out the clip it breaks it into chunks. It then spreads those chunks out leaving spaces in between them.  The added space slows down the clip, but each chunk maintains it's pitch because they haven't been stretched.&#xD;&#xA;&#xD;&#xA;So I'm pretty sure the stuttering you're hearing is those little gaps in the track.  The effect will be more pronounced with long drawn out notes on an instrument or voice.  If you're just listening to percussion, you may not notice the gaps.&#xD;&#xA;&#xD;&#xA;Now I'm sure there's more sophisticated software than can then fill in those gaps by guessing what should be there.  But now we're getting into territory that is unexplored for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="47451" PostHistoryTypeId="2" PostId="26452" RevisionGUID="73211e2b-b537-422e-a3f8-13f04a3726a8" CreationDate="2011-09-06T02:59:23.037" UserDisplayName="VxJasonxV" Text="I've been using [ITCH 2.0](http://serato.com/itch) with my [Twitch](http://novationmusic.com/twitch) for a little while now, and have been running into an issue where audio playback is simply unpleasent.&#xD;&#xA;&#xD;&#xA;Every now and then I'll be playing a track, and will have to adjust the BPM of the next track in order to adequately beat match it for crossfade purposes. Occasionally doing so will cause the next track to have an obnoxious &quot;stutter&quot; effect during playback, that goes in and out in relatively steady intervals, though not directly evenly on a beat.&#xD;&#xA;&#xD;&#xA;Depending on the type of song, and the amount of BPM change, this stutter can be more or less apparent; But it's completely obvious and obnoxious to my inside my headphones.&#xD;&#xA;&#xD;&#xA;I've even run into situations where this problem doesn't occur at all, even when the song's speed is lowered/raised significantly more than usual. (&gt; 30-40 BPM difference).&#xD;&#xA;&#xD;&#xA;What could be causing this stutter, and what can I do to mitigate it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47452" PostHistoryTypeId="1" PostId="26452" RevisionGUID="73211e2b-b537-422e-a3f8-13f04a3726a8" CreationDate="2011-09-06T02:59:23.037" UserDisplayName="VxJasonxV" Text="Why does music often &quot;stutter&quot; when the BPM is manipulated in ITCH?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47453" PostHistoryTypeId="3" PostId="26452" RevisionGUID="73211e2b-b537-422e-a3f8-13f04a3726a8" CreationDate="2011-09-06T02:59:23.037" UserDisplayName="VxJasonxV" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47454" PostHistoryTypeId="36" PostId="26454" RevisionGUID="32aef9b3-b233-4c4f-8b94-aee9c36bbc4c" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1382/always-show-mute-button-on-items-in-reaper" />
  <row Id="47455" PostHistoryTypeId="2" PostId="26455" RevisionGUID="eee0fa04-1748-474b-a58a-200e5be387b7" CreationDate="2011-05-09T11:00:20.030" UserDisplayName="Shane Kilkelly" Text="-Open the preferences pane.&#xD;&#xA;-click on &quot;Media&quot; under the &quot;Appearance&quot; heading in the left hand menu.&#xD;&#xA;-check both boxes for &quot;muted&quot; and &quot;unmuted&quot; in the middle of the panel.&#xD;&#xA;-click &quot;apply&quot;.&#xD;&#xA;&#xD;&#xA;now you should see a mute button both when the item is muted and when it is unmuted.&#xD;&#xA;&#xD;&#xA;be aware, the buttons will disappear when the the view is zoomed out very far anyway, but should be visible under most circumstances." ContentLicense="CC BY-SA 3.0" />
  <row Id="47456" PostHistoryTypeId="2" PostId="26454" RevisionGUID="7472064f-4e41-4b3a-a1af-e46257c10823" CreationDate="2011-05-08T20:57:41.240" UserId="7471" UserDisplayName="Mark Heath" Text="I'm using REAPER 3.76 and am muting and unmuting various items for comping purposes. There is a convenient mute button that appears on muted items to allow you to unmute them, but I would like it to stay there so I can re-mute them with a single click. Is that option available? I'm sure I saw a screenshot of someone with the mute button (and a few more) on all their clips.&#xD;&#xA;&#xD;&#xA;![muted and unmuted clips][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/2tc0p.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="47457" PostHistoryTypeId="1" PostId="26454" RevisionGUID="7472064f-4e41-4b3a-a1af-e46257c10823" CreationDate="2011-05-08T20:57:41.240" UserId="7471" UserDisplayName="Mark Heath" Text="Always show mute button on items in REAPER" ContentLicense="CC BY-SA 3.0" />
  <row Id="47458" PostHistoryTypeId="3" PostId="26454" RevisionGUID="7472064f-4e41-4b3a-a1af-e46257c10823" CreationDate="2011-05-08T20:57:41.240" UserId="7471" UserDisplayName="Mark Heath" Text="&lt;reaper&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47459" PostHistoryTypeId="36" PostId="26455" RevisionGUID="594a7f87-7102-4a63-876c-590701a7bad6" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1382/always-show-mute-button-on-items-in-reaper/1383#1383" />
  <row Id="47460" PostHistoryTypeId="36" PostId="26456" RevisionGUID="0c25b0ef-a051-4ce6-9de4-e80212c9c0f2" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5000/acid-pro-alternatives-for-os-x" />
  <row Id="47461" PostHistoryTypeId="36" PostId="26457" RevisionGUID="3b464ef1-b697-4e46-88fe-6c770fc025db" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5000/acid-pro-alternatives-for-os-x/5013#5013" />
  <row Id="47462" PostHistoryTypeId="36" PostId="26458" RevisionGUID="da1108c5-f044-43d5-973f-fa2f2906f4f5" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5000/acid-pro-alternatives-for-os-x/5019#5019" />
  <row Id="47463" PostHistoryTypeId="2" PostId="26457" RevisionGUID="802bc962-3609-4143-88f3-2816e2b75e15" CreationDate="2012-10-14T12:47:00.880" UserId="6957" Text="Apple's Logic software can accomplish this.  From [their manual](http://documentation.apple.com/en/logicpro/usermanual/index.html#chapter=18%26section=1%26tasks=true):&#xD;&#xA;&#xD;&#xA;&gt; _**Automatic Tempo Matching**_ &#xD;&#xA;&#xD;&#xA;&gt;The following audio files automatically match&#xD;&#xA;&gt; the project tempo and will follow any tempo changes made in the global&#xD;&#xA;&gt; Tempo track.&#xD;&#xA;&gt; &#xD;&#xA;&gt; **Audio recordings made in Logic Pro** (7.0 and later)&#xD;&#xA;&gt; &#xD;&#xA;&gt; For example, if you record a bass solo at 100 bpm, you can change the&#xD;&#xA;&gt; project tempo to 120 bpm and the bass solo automatically plays back at&#xD;&#xA;&gt; the new tempo.&#xD;&#xA;&gt; &#xD;&#xA;&gt; Note: The function only works in the parent project (the project the&#xD;&#xA;&gt; audio files were created in). If you drag a file recorded in a given&#xD;&#xA;&gt; project to another project using the Finder, the file cannot follow&#xD;&#xA;&gt; the project tempo. However, files copied between two projects are able&#xD;&#xA;&gt; to follow the project tempo.&#xD;&#xA;&gt; &#xD;&#xA;&gt; **Apple Loops files**&#xD;&#xA;&gt; &#xD;&#xA;&gt; **Audio bounces made in Logic Pro** (7.0 and later)&#xD;&#xA;&gt; &#xD;&#xA;&gt; Note: Bounced files can only follow the project tempo if the “Add&#xD;&#xA;&gt; resulting files to Audio Bin” option was selected in the Bounce&#xD;&#xA;&gt; dialog, prior to the bounce or export.&#xD;&#xA;&gt; &#xD;&#xA;&gt; **Audio files exported from Logic Pro** (7.0 and later)&#xD;&#xA;&#xD;&#xA;I would guess that there are many software solutions that can accomplish this for you.  I mentioned Logic merely because it's Apple's in-house pro audio software.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="47464" PostHistoryTypeId="2" PostId="26458" RevisionGUID="a52f277e-8247-4640-beb8-e75d93c31c99" CreationDate="2012-10-15T14:11:53.553" UserDisplayName="Magrangs" Text="I would seriously recommend StudioOne by Presonus. It's really good and very intuitive. Download the trial and read more [here][1].&#xD;&#xA;&#xD;&#xA;I find the workflow incredibly fast, it's very easy to use and comes with a decent amount of plugins, effects and sounds. The pro version also comes with melodyne :-). It hasn't got any 'bloat' so it's really quick and the shortcuts and 'drag n drop' workflow just makes it a breeze. Give the demo a go, I switched from cubase a couple of years ago and haven't looked back.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://studioone.presonus.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="47465" PostHistoryTypeId="2" PostId="26459" RevisionGUID="4de85393-8556-4929-94db-5ef2fbfdb1c0" CreationDate="2012-10-15T16:34:38.267" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="Josh's recommendation about Apple's Logic is quite good since it is the only in-house pro audio software developed by Apple. Its essentially just an amped up version of GarageBand which comes with all new Macs.&#xD;&#xA;&#xD;&#xA;Since no one has listed any of the others I will list all of the notable ones by a few categories and will explain the common pros and cons associated with each (newest version is how I will name them). Only going to list the ones with the features you mentioned and ones that work on Macs:&#xD;&#xA;&#xD;&#xA;I was going to mention the free options first, but after thinking about it, none of the free software options available will come even close to what you are used to with Acid Pro.&#xD;&#xA;&#xD;&#xA;*One thing to keep in mind is that I will mention commonly stated opinions I have heard from professional artists, friends, and online forums but will save my opinion for last.* ***But to be real, any of the options I'm going to mention will help you get to where you want to go with only differing routes. It really just depends on how  much effort you are willing to put into the journey.***&#xD;&#xA;&#xD;&#xA;#The low-cost or lesser-known options:&#xD;&#xA;&#xD;&#xA;**[Reaper 4](http://www.reaper.fm/)** is a commonly recommended DAW for beginners or people looking for DAWs with low-cost. It has a great community of dedicated users and good forum with great responses but it is on the small side of DAW communities. Some people don't consider it to have the same &quot;professional sound&quot; they can achieve with other software. Some people have complained about it having a slow &quot;learning curve&quot; but I believe this is because many people that use it are new to DAWs and of course aren't going to learn things as quickly when they have no knowledge base.&#xD;&#xA;&#xD;&#xA;**GarageBand** is of course an option if you don't have any money and it comes free with every new Mac. Only downside is that is more limited than any other DAW I will oh have mentioned.&#xD;&#xA;&#xD;&#xA;**[MuTools MuLab 4](http://www.mutools.com/mulab-product.html)** is one of those very under the radar DAWs. It is cheap but there is a reason for that. It lacks many of the features that the more expensive DAWs have, but is just fine if you will only be doing the basics, editing, recording, simple effects, etc.&#xD;&#xA;&#xD;&#xA;**[Renoise](http://www.renoise.com/)** is a DAW I'm not familiar with but here is what I've gathered. It is insanely cheap for all the features it boosts. It is a very stable piece of software on any OS. Its a little backwards when it comes to normal organization (top-down instead of left to right) which makes it difficult to work with really long samples.&#xD;&#xA;&#xD;&#xA;**[MOTU Digital Preformer](http://www.motu.com/products/software/dp/)** is a lesser used DAW which was until very recently a Mac-only piece of Software. It is well liked by one of my friends. He has stuck with it for a while which could be the reason. The most common downside is that some people consider it to have a very high learning curve.&#xD;&#xA;&#xD;&#xA;#The &quot;Pro&quot; Level Options#&#xD;&#xA;&#xD;&#xA;**[Steinberg Cubase 6.5](http://www.steinberg.net/en/products/cubase/start.html)** is a very popular option. It has a large user base, great community, forum, customer service, and has a great reputation. Steinberg has been around longer than most other software companies that create music software so that is it a big plus. Cubase is just an overall great piece of software.&#xD;&#xA;&#xD;&#xA;**[Propellerhead Reason](http://www.propellerheads.se/products/reason/)** is another great piece of software. One of the pros of Reason is that you can do everything with it that any other DAW can do without needing any outside software or plugins but that's right where the con comes in. Reason doesn't work with any outside plugins (VST, AU, RTAS, etc) which people who have some favorite plugins see as a huge downside. &#xD;&#xA;&#xD;&#xA;**[Albeton Live 8](http://www.ableton.com/products)** is a great DAW. Some people get confused with it being called a DAW since it was initially a performance based audio looping software. While it still has this function (its still the default home screen), its sequencer view is where the typical DAW look comes into play. It has won Synthtopia's best DAW in the world poll a few times. Downside is how that layout confuses some people.&#xD;&#xA;&#xD;&#xA;**[Apple Logic Pro 9](http://www.apple.com/logicpro/)** is also a great piece of software (the on that Josh mentioned). The fact that it is Apples in-house software doesn't mean it is any better or worse than any other DAW (and you have to buy it separately anyways). It is still an awesome piece of software. Fairly straightforward (at least if you understand how other DAWs work) and has everything necessary built in (but all the &quot;pro&quot; level DAWs do as well).&#xD;&#xA;&#xD;&#xA;*Last but not least*, **[Avid ProTools 10](http://www.avid.com/US/products/family/Pro-Tools)** is the industry standard for recording, producing, and editing audio. Almost any song you hear played on the radio or on a commercial nowadays has been recorded and produced in Pro Tools. A surprising thing to note is that despite how ProTools is accepted industry wide as the standard, it is not as popular as you would expect within different music communities. This is most likely due to the perceived complex nature of it. I'm picking it up with with almost zero problems so I don't understand why this is.&#xD;&#xA;&#xD;&#xA;#My Opinion and Recommendation#&#xD;&#xA;&#xD;&#xA;To give a personal recommendation, **I would go with any of the &quot;pro&quot; level DAWs**. They all have their pros and cons and luckily for you **they each have a free trial available, so you can try each one out and see which you like the best.** My favorite two are Ableton, because of how long I've used it, and ProTools, simply because of the fact that its the industry standard and how I've had no problem using it so far. I used FL Studio for a long time but had to make a change once I had to pick a DAW that would work between my computers which is why I picked up Ableton originally.&#xD;&#xA;&#xD;&#xA;I've used Cubase, Reason, and Logic as well and didn't have any major problems with any of them (except with how I couldn't use my favorite plugins in Reason `&gt;:(` but thats just personal choice). Even came up with some pretty cool songs (IMO) with some friends. &#xD;&#xA;&#xD;&#xA;If I had to choose one of the low-cost DAWs I would go with Reaper just because of how popular it is, the fact I used it without any problems, and the fact of how devoted the fanbase for it is." ContentLicense="CC BY-SA 3.0" />
  <row Id="47466" PostHistoryTypeId="2" PostId="26456" RevisionGUID="d081a8ca-0de6-4efe-a7c1-7fe00553e692" CreationDate="2012-10-13T08:09:03.057" UserDisplayName="flow" Text="Ten years ago I learned how to use Sony's Acid Music in Windows XP, since it allows to compose music using samples and more important, it can automatically match tempo, pitch and lots of other useful things.&#xD;&#xA;&#xD;&#xA;Now I am using Mac OS X, I was wondering if there was some similar software (not going for a virtual machine for running windows xp applications)." ContentLicense="CC BY-SA 3.0" />
  <row Id="47467" PostHistoryTypeId="1" PostId="26456" RevisionGUID="d081a8ca-0de6-4efe-a7c1-7fe00553e692" CreationDate="2012-10-13T08:09:03.057" UserDisplayName="flow" Text="Acid Pro alternatives for OS X" ContentLicense="CC BY-SA 3.0" />
  <row Id="47468" PostHistoryTypeId="3" PostId="26456" RevisionGUID="d081a8ca-0de6-4efe-a7c1-7fe00553e692" CreationDate="2012-10-13T08:09:03.057" UserDisplayName="flow" Text="&lt;sampling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47469" PostHistoryTypeId="36" PostId="26459" RevisionGUID="781331ec-6d46-427f-a542-a02a409f3468" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5000/acid-pro-alternatives-for-os-x/5025#5025" />
  <row Id="47470" PostHistoryTypeId="36" PostId="26460" RevisionGUID="c69ee1db-6891-4ee9-a1d0-950faf593210" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5000/acid-pro-alternatives-for-os-x/5037#5037" />
  <row Id="47471" PostHistoryTypeId="2" PostId="26460" RevisionGUID="b9f781e2-4e82-47a0-9ce1-d59b6d97f3ca" CreationDate="2012-10-16T02:06:43.687" UserId="7189" Text="It has been a long time since I've used Sony's Acid. From what I recall, Acid was particularly good for loop based music.&#xD;&#xA;&#xD;&#xA;Given that, Ableton Live is probably the closest thing to Acid, though the user interface is quite different.&#xD;&#xA;&#xD;&#xA;Traditional DAWs (Logic, Reaper, Cubase, ProTools, etc.) lay out music as a series of parallel horizontal rows, with time extending off to the left. You can typically record audio and MIDI, and then slice it up and re-arrange it. You can do loop based music in a traditional DAW, but that isn't their primary goal.&#xD;&#xA;&#xD;&#xA;Ableton Live also provides this horizontal time-based interface, but its main interface is a grid of &quot;clips.&quot; Each clip is a length of music - audio, MIDI, or a virtual instrument. A clip is typically a loop, but it doesn't have to be. Ableton is good at detecting the tempo of a clip and has great tools for adjusting the tempo with or without changing the pitch. Columns of clips are mutually exclusive, so if you start a clip below one that is already playing, the playing clip will stop and the new one will start. Entire rows can be started and stopped at once as well.&#xD;&#xA;&#xD;&#xA;Additionally, Live allows you to create &quot;racks&quot; of MIDI and audio processing units that allow you to significantly alter or mangle the source material. If that isn't enough, you can add Max4Live. This ties the Max/MSP modular environment directly into Live.&#xD;&#xA;&#xD;&#xA;Note that people tend to call the product &quot;Ableton&quot; rather than &quot;Live,&quot; probably because &quot;Live&quot; is too generic." ContentLicense="CC BY-SA 3.0" />
  <row Id="47472" PostHistoryTypeId="36" PostId="26461" RevisionGUID="19e9d71f-399f-423d-903b-36c1c0f30454" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3808/what-hd-are-compatible-to-the-alesis-hd24-recorder" />
  <row Id="47473" PostHistoryTypeId="2" PostId="26462" RevisionGUID="38e49c7c-bb0b-4351-9ac2-1e7ddd3a4c5d" CreationDate="2012-04-23T17:05:14.183" UserId="7093" Text="According to the [manufacturers website][1]:&#xD;&#xA;&#xD;&#xA;&gt; Caddies can be fitted with IDE/EIDE/ATA drive at 5,400/7,200/10,000 RPM up to 2TB&#xD;&#xA;&#xD;&#xA;This means that you can get a drive from anywhere, but it only accepts the older PATA drives.  Currently [New Egg still has a few][2] at &lt; $100USD.&#xD;&#xA;&#xD;&#xA;Any brand of drive will do, but I would recommend either Seagate or Western Digital.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://alesis.com/hd24&#xD;&#xA;  [2]: http://www.newegg.com/Product/ProductList.aspx?Submit=ENE&amp;N=100007603%20600003442&amp;IsNodeId=1&amp;name=IDE%20Ultra%20ATA100%20/%20ATA-6" ContentLicense="CC BY-SA 3.0" />
  <row Id="47474" PostHistoryTypeId="2" PostId="26461" RevisionGUID="00ca5c72-f5e7-4af9-9b58-7551522e58d6" CreationDate="2012-04-23T16:06:45.657" UserId="7459" UserDisplayName="bigp" Text="Can any hard-drives be bought and configured to work in the caddies inside this unit?&#xD;&#xA;&#xD;&#xA;Or do you have to use a specific kind manufactured by Alesis?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47475" PostHistoryTypeId="1" PostId="26461" RevisionGUID="00ca5c72-f5e7-4af9-9b58-7551522e58d6" CreationDate="2012-04-23T16:06:45.657" UserId="7459" UserDisplayName="bigp" Text="What HD are compatible to the Alesis HD24 Recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47476" PostHistoryTypeId="3" PostId="26461" RevisionGUID="00ca5c72-f5e7-4af9-9b58-7551522e58d6" CreationDate="2012-04-23T16:06:45.657" UserId="7459" UserDisplayName="bigp" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47477" PostHistoryTypeId="36" PostId="26462" RevisionGUID="65e5ee89-bcd9-4196-bcfb-85bdef69176e" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3808/what-hd-are-compatible-to-the-alesis-hd24-recorder/3810#3810" />
  <row Id="47478" PostHistoryTypeId="36" PostId="26463" RevisionGUID="e3fb1dc3-a275-4ab9-b4ce-24a2af6a8d51" CreationDate="2014-01-27T15:13:28.367" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1294/line-6-ux2-terrible-noise-on-inputs" />
  <row Id="47479" PostHistoryTypeId="2" PostId="26464" RevisionGUID="b107ffae-0d50-4c03-a696-82eee5ad807e" CreationDate="2011-04-28T18:25:14.320" UserId="7471" UserDisplayName="Mark Heath" Text="OK, I have at least discovered the cause now, which is some kind of ground loop. I had ordered a replacement power supply for my Dell XPS M1530 laptop as the old one was making funny noises and the cable sheathing was torn. However, it now appears the old power supply (original Dell) earthed the laptop, while the new one doesn't (hence the hum doesn't go away whether it is plugged in or not). I suppose it serves me right for buying a cheap replacement power supply from ebay instead of paying over 5 times more for the official Dell one (£53 for a power adaptor!). &#xD;&#xA;&#xD;&#xA;As well as using the old power supply, I can also solve my noise issue by connecting my display with VGA instead of HDMI. Very frustrating, just have to decide if I want to shell out for the full price power adaptor." ContentLicense="CC BY-SA 3.0" />
  <row Id="47480" PostHistoryTypeId="2" PostId="26463" RevisionGUID="39c7800e-ee7d-4527-9053-142912647452" CreationDate="2011-04-27T20:09:19.857" UserId="7471" UserDisplayName="Mark Heath" Text="My [Line 6 TonePort UX2][1] has suddenly started malfunctioning. It is absolutely fine for playback, but on all the inputs (Mic 1 &amp; 2, + instrument) there is terrible digital white noise maxing out the input levels, even if I disconnect all input devices. If you plug in a guitar cable and touch the end of it you can hear that it is picking up something from the input, but and musical signal is completely drowned out by noise.&#xD;&#xA;&#xD;&#xA;![POD Farm input level][2]&#xD;&#xA;&#xD;&#xA;I've unplugged and replugged the device, and I've rebooted Windows (I'm using Win 7). I'm running the latest drivers and have even reinstalled them. Changing the buffer sizes in the control panel doesn't help either. Does this mean something is actually broken in the hardware? Or are there any other software troubleshooting steps I can go through? &#xD;&#xA;&#xD;&#xA;**Update** I've made another discovery. The noise on the inputs only appears when I have one or the other of my monitors ([Alesis M1 520s][3]) plugged in to the UX2's outputs. If I disconnect them and work with headphones then all is fine. The thing is, they don't even have to be powered on for the noise to appear. &#xD;&#xA;&#xD;&#xA;**Update 2** I can also fix the noise by not using the HDMI output on my laptop (which is connected to an LG monitor). I'm guessing this means I have some kind of nasty ground loop going on?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://line6.com/toneportux2/&#xD;&#xA;  [2]: http://i.stack.imgur.com/NBSD1.png&#xD;&#xA;  [3]: http://www.alesis.com/m1active520" ContentLicense="CC BY-SA 3.0" />
  <row Id="47481" PostHistoryTypeId="1" PostId="26463" RevisionGUID="39c7800e-ee7d-4527-9053-142912647452" CreationDate="2011-04-27T20:09:19.857" UserId="7471" UserDisplayName="Mark Heath" Text="Line 6 UX2 Terrible Noise on Inputs" ContentLicense="CC BY-SA 3.0" />
  <row Id="47482" PostHistoryTypeId="3" PostId="26463" RevisionGUID="39c7800e-ee7d-4527-9053-142912647452" CreationDate="2011-04-27T20:09:19.857" UserId="7471" UserDisplayName="Mark Heath" Text="&lt;troubleshooting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47483" PostHistoryTypeId="36" PostId="26464" RevisionGUID="0d2afe98-3451-43a6-af37-e2266f2dade0" CreationDate="2014-01-27T15:13:28.367" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1294/line-6-ux2-terrible-noise-on-inputs/1303#1303" />
  <row Id="47484" PostHistoryTypeId="36" PostId="26465" RevisionGUID="32c23a6b-2376-44b4-a770-1588454d4a7f" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7507/reaper-convert-split-items-to-regions" />
  <row Id="47485" PostHistoryTypeId="2" PostId="26466" RevisionGUID="ce8fac0e-1185-4055-b118-25aef3676dab" CreationDate="2013-03-27T13:49:26.160" UserId="7093" Text="I'm not sure of any way to easily do that in the program.  However, since the project files are simply text it should be easy enough to write a program to parse the file and create markers to match the items.&#xD;&#xA;&#xD;&#xA;Each item starts with the position property.&#xD;&#xA;&#xD;&#xA;    &lt;ITEM&#xD;&#xA;      POSITION 234.73069114906761&#xD;&#xA;&#xD;&#xA;When adding a marker through the UI, you would see a dialog like this:&#xD;&#xA;&#xD;&#xA;![add marker dialog][1]&#xD;&#xA;&#xD;&#xA;This will add a marker which looks like this:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;The markers are all near the beginning of the file.  In my project they are between the &lt;TEMPOENVEX...&gt; and &lt;PROJBAY...&gt; sections.&#xD;&#xA;&#xD;&#xA;    MARKER 1 38.04082125863206 &quot;marker1&quot; 0 0&#xD;&#xA;    MARKER 2 133.10227128138141 &quot;marker2&quot; 0 0&#xD;&#xA;    MARKER 3 183.21268644230756 &quot;marker3&quot; 0 0&#xD;&#xA;&#xD;&#xA;As you can see from the code each line contains the ID, Position and Name.&#xD;&#xA;&#xD;&#xA;I added marker 1 and 3 from the UI.  Marker 2 was added in code using the position of one of the items.  Marker 2 showed up just fine in the UI when the project was reloaded.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/lAI57.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/m2vyH.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="47486" PostHistoryTypeId="2" PostId="26465" RevisionGUID="14cd1574-5fd2-4260-9fc0-2c4dbef6e812" CreationDate="2013-03-27T06:11:23.040" UserId="7625" UserDisplayName="Gabriel Meono" Text="Is it possible to convert split items/sections in timeline to regions or markers so they can be rendered as marker points inside a wav file?&#xD;&#xA;&#xD;&#xA; This would be a huge time saver for me because I use Sony Vegas to add narration in videos, and being able to use the same marker cuts makes things so much easier.&#xD;&#xA;&#xD;&#xA; Thank you," ContentLicense="CC BY-SA 3.0" />
  <row Id="47487" PostHistoryTypeId="1" PostId="26465" RevisionGUID="14cd1574-5fd2-4260-9fc0-2c4dbef6e812" CreationDate="2013-03-27T06:11:23.040" UserId="7625" UserDisplayName="Gabriel Meono" Text="Reaper: Convert split items to regions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47488" PostHistoryTypeId="3" PostId="26465" RevisionGUID="14cd1574-5fd2-4260-9fc0-2c4dbef6e812" CreationDate="2013-03-27T06:11:23.040" UserId="7625" UserDisplayName="Gabriel Meono" Text="&lt;conversion&gt;&lt;reaper&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47489" PostHistoryTypeId="36" PostId="26466" RevisionGUID="74a35226-3615-4b89-ad18-0b03b14e9c1b" CreationDate="2014-01-27T15:14:05.557" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7507/reaper-convert-split-items-to-regions/7509#7509" />
  <row Id="47490" PostHistoryTypeId="36" PostId="26467" RevisionGUID="34c410ed-3981-40fc-bee5-df54daeb1d2c" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9397/what-music-genre-would-mask-background-noise-in-a-cafe" />
  <row Id="47491" PostHistoryTypeId="36" PostId="26468" RevisionGUID="4a0b5dd5-773c-46c2-9279-3f0e86dadf9c" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9397/what-music-genre-would-mask-background-noise-in-a-cafe/9399#9399" />
  <row Id="47492" PostHistoryTypeId="36" PostId="26469" RevisionGUID="79f191a2-1200-4aa3-8de9-8a9adf48bd08" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9397/what-music-genre-would-mask-background-noise-in-a-cafe/9400#9400" />
  <row Id="47493" PostHistoryTypeId="2" PostId="26468" RevisionGUID="2dd16548-4fa7-4727-935a-78161cd75e76" CreationDate="2013-11-13T02:27:52.610" UserDisplayName="Matthew Briggs" Text="Electronic Dance Music does a good job of masking because it is usually loud.  Classical music would be a bad choice because it has a wide dynamic range (and thus sections of the music will be quiet and inaudible)." ContentLicense="CC BY-SA 3.0" />
  <row Id="47494" PostHistoryTypeId="2" PostId="26469" RevisionGUID="deaf4d18-534c-441c-946b-98fcb5853118" CreationDate="2013-11-13T09:57:10.633" UserId="7262" Text="While I think that the question isn't really the exact cup of tea for this stack exchange, I will try to on the other answer.&#xD;&#xA;&#xD;&#xA;Assumption is that the noise in the cafe makes it difficult for you to work because of two factors: &#xD;&#xA;&#xD;&#xA; 1. It has human conversation &#xD;&#xA; 3. It has random but reasonably loud noises. &#xD;&#xA;&#xD;&#xA;Both these factors cause your brain to take notice of the noise rather than concentrating on your work.&#xD;&#xA;&#xD;&#xA;With that in mind, the music must not only drown out the noise, but also should not introduce its own level of distraction. This can disqualify not only the music with quiet or changing volume, but also with vocal part that &quot;makes sense&quot;.&#xD;&#xA;&#xD;&#xA;But it is difficult to suggest a genre of music without knowing your preferences. For example early punk is loud enough and vocal part is difficult to make out, but you can find this very music distracting, but tibetan monk chants can calm your mind enough for you to become sleepy.&#xD;&#xA;&#xD;&#xA;So perhaps you want to share something about your general music preferences, and then somebody can provide specific examples of what you want." ContentLicense="CC BY-SA 3.0" />
  <row Id="47495" PostHistoryTypeId="2" PostId="26470" RevisionGUID="f30b417c-85d3-47f0-8cc2-00eb617cad95" CreationDate="2013-11-13T14:49:42.107" UserId="7174" Text="If you are using decent in-ears, then the genre really shouldn't matter.  A decent set of in-ears will drop the noise level by about 20 to 30db and at that point any music played at a comfortable level should drown out the noise entirely (even if you are on a jet it should come close to drowning it out).&#xD;&#xA;&#xD;&#xA;If you are using ear-buds rather than in-ears I would suggest switching to in-ears otherwise you'll be overpowering the noise (which could potentially be bad for your hearing) rather than removing it and replacing it with something less distracting." ContentLicense="CC BY-SA 3.0" />
  <row Id="47496" PostHistoryTypeId="2" PostId="26467" RevisionGUID="06ec12a1-a1d7-4fd8-ac07-bc7f4d33a85b" CreationDate="2013-11-13T01:21:54.980" UserId="8278" UserDisplayName="Fellow Stranger" Text="I sit often in cafés trying to work. I enjoy listening to music in earplugs at the same time.&#xD;&#xA;&#xD;&#xA;What music genre has the frequencies that best would &quot;cover&quot; noise common in cafés?&#xD;&#xA;&#xD;&#xA;(If this question is more appropriate in another Stack Exchange site, please redirect me.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="47497" PostHistoryTypeId="1" PostId="26467" RevisionGUID="06ec12a1-a1d7-4fd8-ac07-bc7f4d33a85b" CreationDate="2013-11-13T01:21:54.980" UserId="8278" UserDisplayName="Fellow Stranger" Text="What music genre would mask background noise in a café?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47498" PostHistoryTypeId="3" PostId="26467" RevisionGUID="06ec12a1-a1d7-4fd8-ac07-bc7f4d33a85b" CreationDate="2013-11-13T01:21:54.980" UserId="8278" UserDisplayName="Fellow Stranger" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47499" PostHistoryTypeId="36" PostId="26470" RevisionGUID="5d38afda-60ee-4577-967f-5d05f40b0694" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9397/what-music-genre-would-mask-background-noise-in-a-cafe/9401#9401" />
  <row Id="47500" PostHistoryTypeId="36" PostId="26471" RevisionGUID="cde67743-5d7c-45f3-b459-0b095ae053e6" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4505/how-would-i-make-this-type-of-reverb-or-multi-tap-echo" />
  <row Id="47501" PostHistoryTypeId="2" PostId="26472" RevisionGUID="c8a747ef-c5c9-4188-bd07-29a7c8569f6c" CreationDate="2012-08-02T21:00:06.917" UserId="7234" Text="You could probably do something like this with something like a tape delay that allows an additional effect send on the pre-feedback delay, or which has an additional reverb on the delay." ContentLicense="CC BY-SA 3.0" />
  <row Id="47502" PostHistoryTypeId="2" PostId="26471" RevisionGUID="5abf49ca-3ed4-4ffb-a99b-37434138f392" CreationDate="2012-08-02T14:36:06.523" UserId="19230" UserDisplayName="Aasim Azam" Text="I hear this in many songs and I can't think of a better example than this &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=dJ4iN6i4Anc&amp;t=1m58s&#xD;&#xA;&#xD;&#xA;Its like a cross between a delay and reverb.&#xD;&#xA;&#xD;&#xA;What would be the best method or replicating this type of echo. I use Sound Forge so I don't know if the program will have the capability of this type of reverb, please suggest other software that I can use to achieve this effect. &#xD;&#xA;&#xD;&#xA;If find more examples I'll post them here" ContentLicense="CC BY-SA 3.0" />
  <row Id="47503" PostHistoryTypeId="1" PostId="26471" RevisionGUID="5abf49ca-3ed4-4ffb-a99b-37434138f392" CreationDate="2012-08-02T14:36:06.523" UserId="19230" UserDisplayName="Aasim Azam" Text="How would I make this type of reverb or multi tap echo?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47504" PostHistoryTypeId="3" PostId="26471" RevisionGUID="5abf49ca-3ed4-4ffb-a99b-37434138f392" CreationDate="2012-08-02T14:36:06.523" UserId="19230" UserDisplayName="Aasim Azam" Text="&lt;reverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47505" PostHistoryTypeId="36" PostId="26472" RevisionGUID="27ee9f88-a43f-439c-a817-bf3e1abd5447" CreationDate="2014-01-27T15:19:08.483" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4505/how-would-i-make-this-type-of-reverb-or-multi-tap-echo/4507#4507" />
  <row Id="47506" PostHistoryTypeId="36" PostId="26473" RevisionGUID="bdca8fa8-9ff8-4209-933f-695f350d5710" CreationDate="2014-01-27T15:22:43.623" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5155/best-noise-reduction-methods" />
  <row Id="47507" PostHistoryTypeId="36" PostId="26474" RevisionGUID="8c2f2334-e4b7-449a-8540-ba6085a63fe7" CreationDate="2014-01-27T15:22:43.623" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5155/best-noise-reduction-methods/5210#5210" />
  <row Id="47508" PostHistoryTypeId="2" PostId="26474" RevisionGUID="4532c0a3-0c70-4870-b834-587537b25b70" CreationDate="2012-10-31T02:44:32.600" UserId="6957" Text="You could use a [noise gate](http://en.wikipedia.org/wiki/Noise_gate).&#xD;&#xA;&#xD;&#xA;Basically, a noise gate sets a threshold, below which there is silence, above which, the sound can pass.  Of course there are other possible configurations involved that will allow you to keep the gate from being a harsh `on/off` etc.&#xD;&#xA;&#xD;&#xA;If the background noise you're trying to eliminate is relatively quiet, and the signal you're recording is not, it could be the ideal solution. " ContentLicense="CC BY-SA 3.0" />
  <row Id="47509" PostHistoryTypeId="2" PostId="26475" RevisionGUID="3dd3298c-3ec4-445b-bc71-85d1a9ad778c" CreationDate="2012-10-31T04:17:46.057" UserId="7225" Text="Without knowing what you are recording:&#xD;&#xA;&#xD;&#xA;If the main problem is rumble sound you could use a high-pass filter - that is if what you are recording isn't using a low frequency range. Try with values such as 60-80 Hz as a start point. In you record vocals/voice you can try starting from 100-200 Hz.&#xD;&#xA;&#xD;&#xA;Try then to apply a low-pass filter to remove noise in the upper frequency range, f.ex from 8kHz and lower - again, this depends on what you are recording so please adjust as needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="47510" PostHistoryTypeId="2" PostId="26473" RevisionGUID="606074c4-b340-47c6-aa5b-678cd37901ec" CreationDate="2012-10-25T00:59:11.017" UserId="19230" UserDisplayName="Aasim Azam" Text="When I record I always pick up background noise as I don't have a proper studio enviroment. Its usually a constant noise like the computer fan or a low rumble.&#xD;&#xA;&#xD;&#xA;I get rid of this with sound forge's noise reduction plug in and its always the first thing I do before adding any other effects or processes to the audio. Works great, but I wonder if there are any processes I could use BEFORE passing the audio through the noise reducer to make the noise reduction better?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47511" PostHistoryTypeId="1" PostId="26473" RevisionGUID="606074c4-b340-47c6-aa5b-678cd37901ec" CreationDate="2012-10-25T00:59:11.017" UserId="19230" UserDisplayName="Aasim Azam" Text="Best Noise reduction methods?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47512" PostHistoryTypeId="3" PostId="26473" RevisionGUID="606074c4-b340-47c6-aa5b-678cd37901ec" CreationDate="2012-10-25T00:59:11.017" UserId="19230" UserDisplayName="Aasim Azam" Text="&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47513" PostHistoryTypeId="36" PostId="26475" RevisionGUID="d4c4031b-3df6-4d4e-8b1d-d38b72ebac02" CreationDate="2014-01-27T15:22:43.623" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5155/best-noise-reduction-methods/5211#5211" />
  <row Id="47514" PostHistoryTypeId="36" PostId="26476" RevisionGUID="1cc08e47-e832-4f95-8c6a-9b245c47182f" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/301/how-is-automatic-double-tracking-adt-achieved-using-tape-delay" />
  <row Id="47515" PostHistoryTypeId="2" PostId="26477" RevisionGUID="2d1b1389-6c36-4c88-b2b8-33816e837c4e" CreationDate="2010-12-16T10:31:49.563" UserDisplayName="Ed J" Text="The way double tracking works is to develop width and depth in a track by introducing slight differences in the phase and amplitude of a signal. When you do this with normal double tracking (i.e. recording it twice) this happens as part of the process: you're not going to have the exact same wave from even two near-identical takes.&#xD;&#xA;&#xD;&#xA;With ADT you simply recreate this by literally varying the phase and amplitude of the wave while playing it in tandem with a non-alterwed wave.&#xD;&#xA;&#xD;&#xA;To do this using tapes you need two tape machines. You firstly record on one of them, and copy to the second. Then you play both in sync, but vary the speed of one recording using some sort of oscillator (possibly your hand). This introduces a slight delay to one of the tracks, and varies the pitch a little, meaning that when the two are combined in an external mixer you end up with an ADT effect.&#xD;&#xA;&#xD;&#xA;I would assume the machine that was used with the oscillator was custom-built for this very task (this was a common approach before the audio-digital revolution: many studios would have a team of guys available to go out and literally build an effect when requested by a producer)." ContentLicense="CC BY-SA 2.5" />
  <row Id="47516" PostHistoryTypeId="2" PostId="26476" RevisionGUID="8a99983a-0ed0-4531-bc28-aa28441de01c" CreationDate="2010-12-15T19:25:42.810" UserDisplayName="Babak" Text="Automatic double tracking imitates the effect of doubling voices or instruments using double tracking, without the need for a musician to overdub their part (they perform their part only once). I have often heard that The Beatles invented ADT using tape delay. For example, the guitar solo on &quot;Taxman&quot; and the vocals on &quot;I'm Only Sleeping&quot; are said to be double-tracked using tape delay.&#xD;&#xA;&#xD;&#xA;Can someone please explain the tape delay **setup** used to achieve automatic double tracking?&#xD;&#xA;&#xD;&#xA;[Note: It is likely that a sound engineer, working with The Beatles, invented the ADT technique -- instead of it being an invention of one of John, Paul, George or Ringo.]" ContentLicense="CC BY-SA 2.5" />
  <row Id="47517" PostHistoryTypeId="1" PostId="26476" RevisionGUID="8a99983a-0ed0-4531-bc28-aa28441de01c" CreationDate="2010-12-15T19:25:42.810" UserDisplayName="Babak" Text="How is Automatic Double Tracking (ADT) achieved using tape delay?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47518" PostHistoryTypeId="3" PostId="26476" RevisionGUID="8a99983a-0ed0-4531-bc28-aa28441de01c" CreationDate="2010-12-15T19:25:42.810" UserDisplayName="Babak" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47519" PostHistoryTypeId="36" PostId="26477" RevisionGUID="fee9a2e2-479b-42ae-bcb5-2d7955dd1c6a" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/301/how-is-automatic-double-tracking-adt-achieved-using-tape-delay/322#322" />
  <row Id="47520" PostHistoryTypeId="36" PostId="26478" RevisionGUID="eec4f7ee-3d3e-45c7-a442-ab70a68ce359" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2749/absorbing-room-materials-their-shapes-whats-the-difference" />
  <row Id="47521" PostHistoryTypeId="36" PostId="26479" RevisionGUID="737c9289-15dc-479a-97d6-4acbb18cf578" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2749/absorbing-room-materials-their-shapes-whats-the-difference/2753#2753" />
  <row Id="47522" PostHistoryTypeId="2" PostId="26479" RevisionGUID="d78fcfb0-b2ef-4aa9-9090-e6adecca7fd0" CreationDate="2011-12-06T07:53:46.613" UserId="7016" Text="There are a lot of questions in there, so you may be better off posting them as separate questions...&#xD;&#xA;&#xD;&#xA;but here goes anyway:&#xD;&#xA;&#xD;&#xA;Acoustic foam is probably the easiest thing to remove echoes from a normal room - it's also simple to remove if your needs change&#xD;&#xA;&#xD;&#xA;For cost saving purposes you may not want to cover the whole wall, so interspersing shapes will at least give you decent cancellation. Having shaped pieces in the corners to kill off resonance there can be very effective&#xD;&#xA;&#xD;&#xA;Speaker pads stop sound being transmitted from the speakers to the floor, microphones or other areas - so to ensure accurate sound, you need speaker pads&#xD;&#xA;&#xD;&#xA;An alternative to gluing is hanging from hooks - simple to remove if necessary&#xD;&#xA;&#xD;&#xA;Having foam covered walls will not dry the air - this one seems to be a myth" ContentLicense="CC BY-SA 3.0" />
  <row Id="47523" PostHistoryTypeId="2" PostId="26480" RevisionGUID="45308c8a-83f7-4943-afde-4526620ee45c" CreationDate="2011-12-06T21:15:42.303" UserDisplayName="Bryan" Text="A good reference on this subject can be found in [Master Handbook of Acoustics by F. Alton Everest](http://www.amazon.com/Master-Handbook-Acoustics-Alton-Everest/dp/0071360972).  The various shapes of acoustic foam are more for aesthetic reasons than acoustic.  The contours may have marginal benefit in diffusing the sound field by means of acoustic refraction. The more complex the sound field of your room, the more &quot;open&quot; it will sound.  Adding too much absorption will cause your room to sound small and unpleasant.  You want to maintain sufficient reverberation time (a measurement known as RT60) for your room's purpose (mixing, recording, live playing, et cetera).  The book above discusses this, but you might want to check out the room mode calculators linked below.  At least one of them will give you estimated RT60 values for your room and how much absorption you need to add (in Sabins) to reach that number.  Note that 2&quot; foam has virtually no impact on frequencies below 125Hz which is where most small rooms need treatment the most.  The calculators will help tell you where your expected problem areas will be but nothing beats in-room measurements with a Real Time Analyzer. Acoustic materials should be strategically applied to optimize the sound field at the mixing desk.  This often involves a live-end dead-end approach to the room, but there are conflicting philosophies here as well.&#xD;&#xA;&#xD;&#xA;[Bob Gold's Room Mode Calculator](http://www.bobgolds.com/Mode/RoomModes.htm), you might also try searching for &quot;Mark Wieczorek's Room Mode Standing Wave Calculator&quot;, I would provide the link but I'm limited to two as a noob.&#xD;&#xA;&#xD;&#xA;Good luck on your project.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47524" PostHistoryTypeId="2" PostId="26478" RevisionGUID="11c645c1-8a59-418e-abd2-a6c49bf4e22c" CreationDate="2011-12-05T23:16:26.700" UserDisplayName="holms" Text="Internet is really lacking information about acoustics in the room, absorbing materials, it's shapes and patterns.. how to glue them, why there are different shapes.&#xD;&#xA;&#xD;&#xA;I really would like to know how to make a simple recording room at your house. Mostly I'm planning to have a [DAW table][1]. I want to remove echo from my room. And I have woody door which is kind off.. really thick so maybe some solution to isolate them..? Because I'm not alone living in flat =) + I want to record vocal in this room, and I already ordered a filter for (around) mic &#xD;&#xA;&#xD;&#xA;So question basically is: &#xD;&#xA;&#xD;&#xA;* What kind of materials do exists out there (woody, foam), and what are they for.. &#xD;&#xA;* Why there are many shapes of foam?  for example if i have [this][2] material over whole wall, and mixed shape of [this][3] or [this][4] material covered in chess style over whole wall.. what's the difference? &#xD;&#xA;* Why does monitor speakers should be on speaker-pads.. why it's useful?&#xD;&#xA;* What's the best way to glue absorb  foam to the walls, without damaging them? everybody uses some kind of spray... and there are plenty of them on sale... what's the difference between them?&#xD;&#xA;* If all room will be covered with foam how about the air..? I heard it will be really dry, how to handle/avoid this..?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any theory/practices and links are welcome! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicstore.com/nl_NL/NLG/Pro-Audio/Racks-en-tafels/Glorious-Workbench-black-REC/DJ-Workstation/art-REC0007543-000&#xD;&#xA;  [2]: http://www.musicstore.com/nl_NL/NLG/Music-Store-Acoustic-Foam-100-x-100-cm-depth-65-mm/art-REC0004098-000?recId=c932d561-d101-4a2f-9a9a-b09a12871c63&amp;campaign=EPOQ&#xD;&#xA;  [3]: http://www.tamsta.lt/product_info.php?cPath=812_947&amp;products_id=1063&#xD;&#xA;  [4]: http://www.tamsta.lt/product_info.php?cPath=812_947&amp;products_id=1078" ContentLicense="CC BY-SA 3.0" />
  <row Id="47525" PostHistoryTypeId="1" PostId="26478" RevisionGUID="11c645c1-8a59-418e-abd2-a6c49bf4e22c" CreationDate="2011-12-05T23:16:26.700" UserDisplayName="holms" Text="Absorbing Room - materials, their shapes, what's the difference?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47526" PostHistoryTypeId="3" PostId="26478" RevisionGUID="11c645c1-8a59-418e-abd2-a6c49bf4e22c" CreationDate="2011-12-05T23:16:26.700" UserDisplayName="holms" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47527" PostHistoryTypeId="36" PostId="26480" RevisionGUID="98125b16-f186-4f06-8aa6-c7a8abad92f7" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2749/absorbing-room-materials-their-shapes-whats-the-difference/2759#2759" />
  <row Id="47528" PostHistoryTypeId="36" PostId="26481" RevisionGUID="425b6597-f965-432f-a7b2-e46b267b53ec" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2749/absorbing-room-materials-their-shapes-whats-the-difference/2763#2763" />
  <row Id="47529" PostHistoryTypeId="2" PostId="26481" RevisionGUID="f654928a-dc6a-49c1-99be-a9a3a602f25f" CreationDate="2011-12-06T23:14:41.010" UserDisplayName="Joe Stavitsky" Text="Everett's Acoustics is indeed strong; however, a few caveats&#xD;&#xA;&#xD;&#xA;First, Everett's book is unmanageable without at least a basic grasp of electronics. As a first-year electronics major, I would say I understand about 50% of it.&#xD;&#xA;&#xD;&#xA;Second, Everett's book is haphazard. One or two chapters are devoted exclusively to software simulation, which is near-useless for anybody but professional consulting firms (who incidentally have no need for his book). &#xD;&#xA;&#xD;&#xA;To solve your problem, answer some basic questions&#xD;&#xA;&#xD;&#xA;1) Do you want to record and mix in the same room? Hint: not if you can help it. Mixing booths and recording rooms have entirely different requirements. For most purposes, you want your recording space to be as dead as you can make it. By dead, I mean that the walls should reflect as little sound as possible back into the room, instead absorbing asmuch sound as possible. A mixing room should be dead in front and live in back. If you only have one room to work with, deaden the walls and mix with headphones.&#xD;&#xA;&#xD;&#xA;2) What can you afford? Really low budget will have to do with lots of rugs and curtains. IF YOU HAVE WINDOWS COVER THEM WITH HEAVY CURTAINS. &#xD;&#xA;&#xD;&#xA;3) What are your room problem modes? Yes, the calculator is good, but the only way to truly evaluate a room is via pink noise test. To do this, you need a halfway-decent speaker and a halfway-decent mic. Use the speaker to play pink noise and the mic to record it. Use the deviations from the standard mic response and the standard speaker response to identify your problems." ContentLicense="CC BY-SA 3.0" />
  <row Id="47530" PostHistoryTypeId="36" PostId="26482" RevisionGUID="fabbd356-b646-427c-9bd0-83c42e049031" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/464/what-is-the-key-parameter-for-a-sound-card-if-i-want-to-record-at-home-using-gu" />
  <row Id="47531" PostHistoryTypeId="36" PostId="26483" RevisionGUID="0f72686f-23ff-4c96-b256-e8a327db6c30" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/464/what-is-the-key-parameter-for-a-sound-card-if-i-want-to-record-at-home-using-gu/465#465" />
  <row Id="47532" PostHistoryTypeId="36" PostId="26484" RevisionGUID="41d736d8-3339-45bb-a742-37ff7e900df7" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/464/what-is-the-key-parameter-for-a-sound-card-if-i-want-to-record-at-home-using-gu/466#466" />
  <row Id="47533" PostHistoryTypeId="36" PostId="26485" RevisionGUID="2aa613fc-3558-4a93-8cf3-54feb05e8266" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/464/what-is-the-key-parameter-for-a-sound-card-if-i-want-to-record-at-home-using-gu/467#467" />
  <row Id="47534" PostHistoryTypeId="36" PostId="26486" RevisionGUID="2e2401e2-4113-491d-b175-ca1b0f8d4259" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/464/what-is-the-key-parameter-for-a-sound-card-if-i-want-to-record-at-home-using-gu/469#469" />
  <row Id="47535" PostHistoryTypeId="36" PostId="26487" RevisionGUID="50323cfb-c817-4d81-acca-91bf5a8d4123" CreationDate="2014-01-27T15:16:28.677" UserId="-1" Comment="from http://avp.stackexchange.com/questions/464/what-is-the-key-parameter-for-a-sound-card-if-i-want-to-record-at-home-using-gu/471#471" />
  <row Id="47536" PostHistoryTypeId="2" PostId="26483" RevisionGUID="cdecca79-12a1-4c65-944d-d2fefaae8482" CreationDate="2010-12-28T15:31:13.350" UserId="7294" UserDisplayName="Warrior Bob" Text="&quot;Clear sound&quot; is a property of the digital-to-audio converter (&quot;DAC&quot;) and is mostly subjective.  Brand reputation is helpful here, as are reviews.&#xD;&#xA;&#xD;&#xA;Latency is measured in milliseconds.  It is a combination of a number of factors - the sound card and drivers you're using, the hardware overhead (USB or firewire can add a couple of ms) the protocol used (ASIO, WDM, Directx, Core Audio, etc.) and the available resources your computer has, like processor and memory.  &#xD;&#xA;&#xD;&#xA;For low-latency operation you'll want to be using one of the protocols designed for this.  On Windows this is ASIO, on OSX this is Core Audio.  I don't know what the standard is for Linux.  Most hardware aimed specifically at recording music is compatible with at least one of these.&#xD;&#xA;&#xD;&#xA;Generally Firewire is slightly lower latency than USB from what I've seen, but I don't have any objective reference to back that claim.  I use a USB soundcard myself.&#xD;&#xA;&#xD;&#xA;In my experience, not all soundcards are created equal as far as latency.  I don't know why this is.  When you've picked one, see what you can learn about it before you buy it - read reviews, ask on forums, ask friends.  Make sure it fits all of your criteria.&#xD;&#xA;&#xD;&#xA;Unfortunately there doesn't seem to be any well-advertised parameter for latency." ContentLicense="CC BY-SA 2.5" />
  <row Id="47537" PostHistoryTypeId="2" PostId="26484" RevisionGUID="0ff5a533-6244-4142-9e4e-f96e502a3821" CreationDate="2010-12-28T17:27:07.617" UserDisplayName="Ali Inceoglu" Text="To make a recording without runnig in to any problems like latency and clips (unwanted sounds) your computer configration is also very important as your sound card. Real time recording needs lot of processing power. Which means you can start with core 2 duo 2.0 GHZ processor and 2 gb of ram and 7200 rpm harddisc. You can also use lower configration computers, but in my experience since 8-9 years of studio recording this configration will work well.&#xD;&#xA;&#xD;&#xA;If you can write down of your studio setup, computer configration, sound card and gears i can give you the parameters for ideal guitar, vocal and the other instrument recording.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Ali Inceoglu&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47538" PostHistoryTypeId="2" PostId="26485" RevisionGUID="ddfa18ff-f7bd-4003-98cb-389a41e054e7" CreationDate="2010-12-28T17:53:22.717" UserId="7209" Text="When you read &quot;no latency&quot; it is actually referring to a monitoring feature where the analog inputs can be mapped to the analog outputs directly without going into your computer.  If you are simply recording, this is fine.  If you are playing with amp modeling or any other effects on your PC, then this feature doesn't matter to you.&#xD;&#xA;&#xD;&#xA;All the cards built for this purpose will advertise low latency, so you can ignore this point.  What you're looking for is if it supports ASIO (Windows) or Core Audio (OSX).&#xD;&#xA;&#xD;&#xA;The reason you don't see latency specs is that it is entirely dependent on your system.  As Warrior Bob pointed out, drivers, interface, etc. have a lot to do with it.  Some folks will tell you that you have to use Firewire to achieve a low latency signal chain... this is false, and at least outdated.  Either Firewire or USB will be just fine.  I use USB, as every computer has it, and the computers with Firewire interfaces often have driver issues.  (That however is a religious war for another topic...)&#xD;&#xA;&#xD;&#xA;I'd say that since you are recording guitar, make sure it has a guitar input as well as other inputs as needed.  Even if for now you are using direct outs for recording, you might want to try amp modeling some day, and that guitar input will come in handy.&#xD;&#xA;&#xD;&#xA;That's really all there is to it, as far as specs go.  From there, read reviews online.  If a lot of people have trouble with a particular unit, stay away from it.&#xD;&#xA;&#xD;&#xA;If you are looking for amp modeling, check out some of the stuff from Line 6.  http://line6.com/toneportux8/" ContentLicense="CC BY-SA 2.5" />
  <row Id="47539" PostHistoryTypeId="2" PostId="26486" RevisionGUID="0b88d7e5-6b5a-47b9-b226-bc142893012b" CreationDate="2010-12-28T21:53:10.843" UserDisplayName="Ali Inceoglu" Text="If you don't have a budget for sound card you can use your on board sound card for recording. But the result will be very poor sound quality. All you can do is download the asio for all driver for free. This driver will fool your recording program and shows your onboard soundcard like a professionel sound card. &#xD;&#xA;&#xD;&#xA;With this dirver you can use latency down to 256 samples. If thre are any new begginers for computer recording with no budget they can tyr it out.&#xD;&#xA;&#xD;&#xA;Ali Inceoglu" ContentLicense="CC BY-SA 2.5" />
  <row Id="47540" PostHistoryTypeId="2" PostId="26487" RevisionGUID="db1383d7-0bf6-4fae-86e2-fdcb352c62d4" CreationDate="2010-12-29T11:19:28.240" UserDisplayName="Ali Inceoglu" Text="If you want to use Guitar Rig or Amplitube for recording there is couple of sound cards you can get from the market. M-Audio products like (M-Audio Fast track Pro) is a good one to start with. You can easly adjust the latency settings down to 128, and it has a direct monitoring for easy recording. It has enough inputs for guitar, mic, and for another sound source. 48V fantom power included. No need to use any electric adapter, it feeds from the usb.&#xD;&#xA;&#xD;&#xA;IK Multimedia is also a good brand. Im using Stealth Pedal for live on the stage and for recording too. It has 2 inputs for guitar, bass guitar or stereo input for keyboard, mono or stereo outputs, externel pedal conncetions for volume and switch pedals. Looks like very cool traditional wah or volume pedal. Pedal comes with couple of programs for your need. For more info check the link below.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;http://www.ikmultimedia.com/stealthpedal/features/&#xD;&#xA;&#xD;&#xA;Ali Inceoglu" ContentLicense="CC BY-SA 2.5" />
  <row Id="47541" PostHistoryTypeId="2" PostId="26482" RevisionGUID="58c3745e-30bb-44a4-a212-ec7616706f92" CreationDate="2010-12-28T14:21:04.030" UserDisplayName="Silver Light" Text="What is the key parameter for a sound card, if I want to record at home using Guitar rig? I've heard of 'low latency' and 'no latency', but I can't find this parameter in sound card descriptions. What should I look for to get clear sound with the lowest possible delay?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47542" PostHistoryTypeId="1" PostId="26482" RevisionGUID="58c3745e-30bb-44a4-a212-ec7616706f92" CreationDate="2010-12-28T14:21:04.030" UserDisplayName="Silver Light" Text="What is the key parameter for a sound card, if I want to record at home using Guitar rig?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47543" PostHistoryTypeId="3" PostId="26482" RevisionGUID="58c3745e-30bb-44a4-a212-ec7616706f92" CreationDate="2010-12-28T14:21:04.030" UserDisplayName="Silver Light" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47544" PostHistoryTypeId="36" PostId="26488" RevisionGUID="558a6724-9cba-44a8-98f4-e8a8ac4b0275" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/302/cat5-utp-for-audio" />
  <row Id="47545" PostHistoryTypeId="36" PostId="26489" RevisionGUID="9648a461-dd46-4d8c-abb0-9c92055b5ff9" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/302/cat5-utp-for-audio/350#350" />
  <row Id="47546" PostHistoryTypeId="2" PostId="26489" RevisionGUID="a1143919-ff37-4756-8259-287d49955aa1" CreationDate="2010-12-17T16:13:21.510" UserId="7856" UserDisplayName="Corey" Text="Perhaps something like this would do the trick.&#xD;&#xA;&#xD;&#xA;InstaSnake PA200 Series&#xD;&#xA;&#xD;&#xA;http://www.computercablestore.com/PDF/ETS-PA202F.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="47547" PostHistoryTypeId="2" PostId="26490" RevisionGUID="f84791e3-3ce2-4ce4-8e8a-8423e0694682" CreationDate="2010-12-17T20:40:37.793" UserId="7218" Text="To get adequate performance, you must use a [differential amplifier](http://en.wikipedia.org/wiki/Differential_amplifier) and receiver to reject the electromagnetic noise that the UTP will pick up from the surrounding environment. This is what audio mixers use to reject hum from microphone cables.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;In order for this to work, you would need a circuit at the transmitting end that transmits the audio signal on one conductor, and its inverse on the other.  On the receiving end, these two signals would then be fed into V&lt;sub&gt;1&lt;/sub&gt; and V&lt;sub&gt;2&lt;/sub&gt; of the diagram above.&#xD;&#xA;&#xD;&#xA;For actual circuits that work, look here:  http://sound.westhost.com/project87.htm&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/bGNbE.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="47548" PostHistoryTypeId="2" PostId="26488" RevisionGUID="40ef703e-fe7a-4f82-968d-361b4ebd7e9c" CreationDate="2010-12-15T19:29:12.163" UserId="7209" Text="It is possible to get good performance when sending line level or mic level balanced signals down a lengthy piece of CAT5 UTP?  I assume that 4 wires would be used... hot wrapped around ground, and cold wrapped around ground.&#xD;&#xA;&#xD;&#xA;If this would work, could the remaining four wires be used for a second channel, or would crosstalk be an issue without internal shielding?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47549" PostHistoryTypeId="1" PostId="26488" RevisionGUID="40ef703e-fe7a-4f82-968d-361b4ebd7e9c" CreationDate="2010-12-15T19:29:12.163" UserId="7209" Text="CAT5 UTP for Audio?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47550" PostHistoryTypeId="3" PostId="26488" RevisionGUID="40ef703e-fe7a-4f82-968d-361b4ebd7e9c" CreationDate="2010-12-15T19:29:12.163" UserId="7209" Text="&lt;cable&gt;&lt;diy&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47551" PostHistoryTypeId="36" PostId="26490" RevisionGUID="19b44ec5-68b8-4357-8934-a90d34109128" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/302/cat5-utp-for-audio/358#358" />
  <row Id="47552" PostHistoryTypeId="36" PostId="26491" RevisionGUID="c8d7899e-aca0-4d8a-bb55-d5c4c73c662a" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1094/redirect-audio-output-from-a-streaming-app-to-a-dj-app" />
  <row Id="47553" PostHistoryTypeId="2" PostId="26492" RevisionGUID="61460b41-c390-4e13-87f6-c491c5834a1a" CreationDate="2011-03-26T18:32:51.860" UserDisplayName="Ian C." Text="There's a free app from Cycling74 called [SoundFlower](http://cycling74.com/products/soundflower/) you can use for this. It presents itself as an audio interface but is completely virtual. You use it as the output device in one app and the input device in the other app and you're all set. Audio now passed directly from one app in to the other.&#xD;&#xA;&#xD;&#xA;Not sure how well it works with 10.6. But it worked great in 10.5." ContentLicense="CC BY-SA 2.5" />
  <row Id="47554" PostHistoryTypeId="2" PostId="26491" RevisionGUID="0dd8e95d-4594-456b-bc39-86ff26968a9c" CreationDate="2011-03-26T16:08:30.530" UserDisplayName="Solivagant" Text="IS it possible? I want to play with the output of streaming radios.&#xD;&#xA;&#xD;&#xA;Specifically i'm talking about something like Spin (streaming app) and Traktor or djay (DJ app).&#xD;&#xA;&#xD;&#xA;And yeah I'm on a Mac." ContentLicense="CC BY-SA 2.5" />
  <row Id="47555" PostHistoryTypeId="1" PostId="26491" RevisionGUID="0dd8e95d-4594-456b-bc39-86ff26968a9c" CreationDate="2011-03-26T16:08:30.530" UserDisplayName="Solivagant" Text="Redirect audio output from a streaming app to a DJ app" ContentLicense="CC BY-SA 2.5" />
  <row Id="47556" PostHistoryTypeId="3" PostId="26491" RevisionGUID="0dd8e95d-4594-456b-bc39-86ff26968a9c" CreationDate="2011-03-26T16:08:30.530" UserDisplayName="Solivagant" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47557" PostHistoryTypeId="36" PostId="26492" RevisionGUID="1dd67691-3256-4864-97e1-f487be475822" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1094/redirect-audio-output-from-a-streaming-app-to-a-dj-app/1095#1095" />
  <row Id="47558" PostHistoryTypeId="36" PostId="26493" RevisionGUID="41c50a76-0f0e-4aa4-acd5-f6d9be7ffe40" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4592/what-affordable-precautions-can-i-take-to-protect-dj-equipment-when-using-a-ge" />
  <row Id="47559" PostHistoryTypeId="36" PostId="26494" RevisionGUID="1308a840-b742-4a2b-9f5c-66d74f8d39ce" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4592/what-affordable-precautions-can-i-take-to-protect-dj-equipment-when-using-a-ge/4597#4597" />
  <row Id="47560" PostHistoryTypeId="2" PostId="26494" RevisionGUID="3568c073-5a1a-4466-bb31-a6d1fbbf6b17" CreationDate="2012-08-17T09:07:44.420" UserDisplayName="OrangeBox" Text="From my experience using a generator is no more dangerous than plugging in your equipment into mains power. Either way, **best option is to get a surge protected power board.** &#xD;&#xA;&#xD;&#xA;So you'd have `Power Generator` -&gt; `Surge Protected Board` -&gt; `Equipment`&#xD;&#xA;&#xD;&#xA;This will protect you from power surges that may occur. However - as with using mains power - it will not protect you if the power is interrupted while you are operating your gear (ie the generator gets switched off accidentally or runs out of petrol and shuts down)&#xD;&#xA;&#xD;&#xA;In most cases loosing power while in operation shouldn't be a big problem but to combat this you can use a UPS (Uninterruptable Power Supply) which has enough battery to allow you to power down your equipment in the event of a power outage." ContentLicense="CC BY-SA 3.0" />
  <row Id="47561" PostHistoryTypeId="2" PostId="26493" RevisionGUID="b463f535-e4ec-4e27-a499-87c84cb2044a" CreationDate="2012-08-17T00:04:58.063" UserDisplayName="Kestrel" Text="I'm hosting an outdoor party and want to protect our DJ's equipment.&#xD;&#xA;&#xD;&#xA;We have a 5000 watt generator that is pretty consistent and will far exceed our power needs.&#xD;&#xA;&#xD;&#xA;I can't afford the battery bank/inverter type set up, what are some other options?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47562" PostHistoryTypeId="1" PostId="26493" RevisionGUID="b463f535-e4ec-4e27-a499-87c84cb2044a" CreationDate="2012-08-17T00:04:58.063" UserDisplayName="Kestrel" Text="What (affordable) precautions can I take to protect DJ equipment when using a generator?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47563" PostHistoryTypeId="3" PostId="26493" RevisionGUID="b463f535-e4ec-4e27-a499-87c84cb2044a" CreationDate="2012-08-17T00:04:58.063" UserDisplayName="Kestrel" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47564" PostHistoryTypeId="36" PostId="26495" RevisionGUID="6c8220b9-aa7f-4477-ae35-84e7255e7daa" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4040/is-a-mixer-a-necessary-part-of-this-setup" />
  <row Id="47565" PostHistoryTypeId="36" PostId="26496" RevisionGUID="5f5aee57-0c47-44c2-ae0d-ae84cca20a83" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4040/is-a-mixer-a-necessary-part-of-this-setup/4044#4044" />
  <row Id="47566" PostHistoryTypeId="36" PostId="26497" RevisionGUID="40972787-52b8-4128-8316-de6073d19a7c" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4040/is-a-mixer-a-necessary-part-of-this-setup/4052#4052" />
  <row Id="47567" PostHistoryTypeId="2" PostId="26496" RevisionGUID="453a3ce5-f0cc-4a9d-ae20-0e1213c58e50" CreationDate="2012-05-23T03:27:19.887" UserId="7231" Text="How are you using the external sound card/audio interface with the iPad(s)? A better answer will require a more detailed explanation of our setup, including model numbers or at least what kind of connectors each component provides.&#xD;&#xA;&#xD;&#xA;The simple answer is if you can plug source A into speaker B and it works well enough for you without a mixer, then no you don't.&#xD;&#xA;&#xD;&#xA;If you only had a single laptop, I would imagine your external audio interface would have a decent volume knob and the appropriate pro-quality connectors (likely TRS 1/4&quot;) to supply your powered speakers, so you wouldn't need a mixer.&#xD;&#xA;&#xD;&#xA;You only _really_ need a mixer if you have two distinct audio sources that you need to balance. If you are using multiple laptops and iPads simultaneously and don't want to fiddle with cables when you switch between them, then yes, you will probably need a mixer with enough stereo channels to handle each of your sources." ContentLicense="CC BY-SA 3.0" />
  <row Id="47568" PostHistoryTypeId="2" PostId="26497" RevisionGUID="795e1c45-551b-46fc-b429-bf828398c192" CreationDate="2012-05-24T02:12:16.123" UserId="7294" UserDisplayName="Warrior Bob" Text="This is in a DJ context, so I'm presuming you're talking about a DJ-style mixer with a crossfader, rather than a more traditional line mixer.&#xD;&#xA;&#xD;&#xA;You've got at least two audio sources (at least one laptop, at least one iPad), so if you want to play them at the same time, you'll need some kind of mixer.&#xD;&#xA;&#xD;&#xA;However, if you plan to play only one device at a time (presumably switching the cable from one to the other) then the only reason you'd need a mixer is if you want to use some specific feature of that mixer for your performance. You could, for example, put the laptop and the iPad on either side of the mixer, and alternate playing songs on each one while using the crossfader to blend/cut between them.&#xD;&#xA;&#xD;&#xA;However, you may be using DJing software that is handling this, and if that's the case, then the mixing is already done in software and no hardware mixer is necessary.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47569" PostHistoryTypeId="2" PostId="26495" RevisionGUID="ecd3f1d1-bf31-41aa-9997-4839cc1b9343" CreationDate="2012-05-22T21:06:10.180" UserDisplayName="Raj More" Text="I am trying to set up DJ equipment for small/medium sized rooms ([See previous question for background] [1]).&#xD;&#xA;&#xD;&#xA;My equipment is going to be as follows:&#xD;&#xA;&#xD;&#xA; - Laptop(s), iPad(s) playing music (No CDs No Vinyl)&#xD;&#xA; - Powered Speakers&#xD;&#xA;&#xD;&#xA;Do I really need a Mixer if I have an external sound card?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/q/4007/674" ContentLicense="CC BY-SA 3.0" />
  <row Id="47570" PostHistoryTypeId="1" PostId="26495" RevisionGUID="ecd3f1d1-bf31-41aa-9997-4839cc1b9343" CreationDate="2012-05-22T21:06:10.180" UserDisplayName="Raj More" Text="Is a mixer a necessary part of this setup?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47571" PostHistoryTypeId="3" PostId="26495" RevisionGUID="ecd3f1d1-bf31-41aa-9997-4839cc1b9343" CreationDate="2012-05-22T21:06:10.180" UserDisplayName="Raj More" Text="&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47572" PostHistoryTypeId="36" PostId="26498" RevisionGUID="97bbcd05-f5df-4482-b14f-cfea9d22f0b3" CreationDate="2014-01-27T15:15:47.157" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5162/tips-for-making-a-more-realistic-live-drummer-sound-with-only-audio-samples" />
  <row Id="47573" PostHistoryTypeId="36" PostId="26499" RevisionGUID="74f4969d-9916-46f4-9924-2010f19ab734" CreationDate="2014-01-27T15:15:47.157" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5162/tips-for-making-a-more-realistic-live-drummer-sound-with-only-audio-samples/5163#5163" />
  <row Id="47574" PostHistoryTypeId="36" PostId="26500" RevisionGUID="219d1cd5-a4db-4429-8dcf-2993e85b0a05" CreationDate="2014-01-27T15:15:47.157" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5162/tips-for-making-a-more-realistic-live-drummer-sound-with-only-audio-samples/5164#5164" />
  <row Id="47575" PostHistoryTypeId="2" PostId="26499" RevisionGUID="d9f5469d-0a59-49fd-88d7-a6c80da5b47a" CreationDate="2012-10-25T22:57:59.107" UserId="7016" Text="You can use Cubase or Sonar (and probably other DAW's) to allow the beat to move with the groove.&#xD;&#xA;&#xD;&#xA;In Cubase, [the Quantise function][1] lets you go from being precisely on the beat to some way off :-) &#xD;&#xA;&#xD;&#xA;In Sonar it is &quot;Groove Quantise&quot;&#xD;&#xA;&#xD;&#xA;This will at least feel more realistic, but really what you want to do is try to play the beats you want to hear and feel where you have a slight delay in moving from the snare to a tom, for example, and build those delays in. Or if you don't have a drumkit, try listening to some real drum samples to get inspiration.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/mar03/articles/cubasenotes0303.asp" ContentLicense="CC BY-SA 3.0" />
  <row Id="47576" PostHistoryTypeId="2" PostId="26500" RevisionGUID="68f8888d-97ca-4680-ba9a-69471fc96a78" CreationDate="2012-10-26T00:26:33.973" UserId="7462" UserDisplayName="byronyasgur" Text="For me I found that when I started using the DFH superior sounds I felt the &quot;sound&quot; aspect had been more or less taken care of, as the sounds in that library ( which is pretty old at this stage so there may be even better ones now ) are very hard to tell from the &quot;real thing&quot; &#xD;&#xA;&#xD;&#xA;... as regards the feel, it depends on what genre you are recording and which actual drum you are recording, ie kick being typically easier than snare. &#xD;&#xA;&#xD;&#xA;With some drum/genre combinations you can replicate the feel of what a real drummer would do if you listen carefully and patiently tailor each hit wrt velocity and nudging the timing  ( and possibly using groove quantize )  .... but a good electronic pad will surely make this easier. It really does take a lot of patience and attention to detail to get it right though.&#xD;&#xA;&#xD;&#xA;In case you havent realised it already it's usually vital that you ensure that you have a max of 4 drums being hit at a time ( 2 hands and 2 feet ) as this is a dead giveaway unless you are trying to replicate drum overdubs &#xD;&#xA;&#xD;&#xA;Another obvious thing which you probably already realize is to listen carefully to some good drummers to see what they are doing and imagine what they'd do on your track." ContentLicense="CC BY-SA 3.0" />
  <row Id="47577" PostHistoryTypeId="2" PostId="26501" RevisionGUID="1105f44f-ae6d-436d-958e-c0cb46e20bb4" CreationDate="2012-10-26T07:47:49.187" UserDisplayName="Magrangs" Text="A popular technique to do this is to layer breaks into the beat. These really help fill out the frequencies and give the whole beat a 'groove' as these breaks tend to be sampled from older tracks where the drums are played live. For instance, in drum and bass, a big % of the tracks use breaks such as the Amen, The Think Break, Apache Indian, Funky Drummer etc e.g. http://www.youtube.com/watch?v=HICxFSrjzN0.&#xD;&#xA;&#xD;&#xA;A sample CD of some vintage breaks can be found here: http://www.loopmasters.com/product/details/457&#xD;&#xA;&#xD;&#xA;If these breaks don't quite fit you can always chop them up using recycle: http://www.propellerheads.se/products/recycle/ and use the .REX file in your DAW to position the hits where you want them. A lot of sample CDs these days come with REX files as well.&#xD;&#xA;&#xD;&#xA;If you are looking for a software solution you can use any of the drum romplers available such as &#xD;&#xA;&#xD;&#xA;EZ drummer: http://www.toontrack.com/products.asp?item=7&#xD;&#xA;&#xD;&#xA;Addictive drums: http://www.xlnaudio.com/productline/1&#xD;&#xA;&#xD;&#xA;Rayzoon jamstix: http://www.rayzoon.com/&#xD;&#xA;&#xD;&#xA;Jamstix also has algorithms for different 'drummers' i.e. they incorporate a human feel to the drums so they sound less static.&#xD;&#xA;&#xD;&#xA;You can then purchase MIDI loops from places such as groove monkee: http://www.groovemonkee.com/en/ and then use them in conjunction with the romplers. These are particularly good as they are not quantised so they have a 'played live' feel to them." ContentLicense="CC BY-SA 3.0" />
  <row Id="47578" PostHistoryTypeId="2" PostId="26498" RevisionGUID="a5977600-fd12-4f95-bc77-f2ab77cbe0ce" CreationDate="2012-10-25T22:26:48.287" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="I compose and produce my own electronic music and I generally only have trouble with one aspect of music: the drums. Drums are the only major instrument that I have no formal in so its definitely the toughest part for me. Even though I create all my beats and patterns using audio samples of different drum sounds, I feel like they lack that variation or that life that comes from live drummers.&#xD;&#xA;&#xD;&#xA;What are some tips to make the drums sound more like a live drummer? Or are there any ways to replicate this sound or feel?&#xD;&#xA;&#xD;&#xA;I know the feeling is personal to each person but can't think of a better word at the moment." ContentLicense="CC BY-SA 3.0" />
  <row Id="47579" PostHistoryTypeId="1" PostId="26498" RevisionGUID="a5977600-fd12-4f95-bc77-f2ab77cbe0ce" CreationDate="2012-10-25T22:26:48.287" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="tips for making a more realistic &quot;live drummer&quot; sound with only audio samples" ContentLicense="CC BY-SA 3.0" />
  <row Id="47580" PostHistoryTypeId="3" PostId="26498" RevisionGUID="a5977600-fd12-4f95-bc77-f2ab77cbe0ce" CreationDate="2012-10-25T22:26:48.287" UserId="15105" UserDisplayName="Travis Dtfsu Crum" Text="&lt;sampling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47581" PostHistoryTypeId="36" PostId="26501" RevisionGUID="51aebbad-3d54-40be-b9e8-267160c1fe0e" CreationDate="2014-01-27T15:15:47.157" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5162/tips-for-making-a-more-realistic-live-drummer-sound-with-only-audio-samples/5167#5167" />
  <row Id="47582" PostHistoryTypeId="36" PostId="26502" RevisionGUID="563860db-c7ef-477a-9716-231e911569af" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1225/audio-tracker-for-linux-with-support-for-vst-vsti" />
  <row Id="47583" PostHistoryTypeId="36" PostId="26503" RevisionGUID="f0eaab6b-2042-49e2-beec-ace5f447f341" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1225/audio-tracker-for-linux-with-support-for-vst-vsti/1233#1233" />
  <row Id="47584" PostHistoryTypeId="36" PostId="26504" RevisionGUID="6799efa1-2068-4087-9f07-cdf5a1584e19" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1225/audio-tracker-for-linux-with-support-for-vst-vsti/1238#1238" />
  <row Id="47585" PostHistoryTypeId="36" PostId="26505" RevisionGUID="c8183871-6638-470b-af37-11387471cb77" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1225/audio-tracker-for-linux-with-support-for-vst-vsti/1328#1328" />
  <row Id="47586" PostHistoryTypeId="36" PostId="26506" RevisionGUID="ca7d055e-1adf-49af-8e20-342ee4a10521" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1225/audio-tracker-for-linux-with-support-for-vst-vsti/1339#1339" />
  <row Id="47587" PostHistoryTypeId="2" PostId="26503" RevisionGUID="30c003c4-4639-4b36-88c2-63e95ecf2441" CreationDate="2011-04-21T13:37:01.803" UserId="7093" Text="The [Reaper][1] website says it will work in [WINE][2].  I have had good luck running Windows apps in WINE in the past, but I have not tried Reaper on it.  &#xD;&#xA;&#xD;&#xA;It is a great inexpensive DAW with VST support.  The demo is fully functional and they do have some [instructions in their forums][3] on how to install in WINE.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.reaper.fm/download.php&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Wine_%28software%29&#xD;&#xA;  [3]: http://forum.cockos.com/showthread.php?t=26690&amp;highlight=wine" ContentLicense="CC BY-SA 3.0" />
  <row Id="47588" PostHistoryTypeId="2" PostId="26504" RevisionGUID="a3a69e68-8ea5-4098-9d16-fb7887af5f72" CreationDate="2011-04-21T19:58:22.850" UserId="7294" UserDisplayName="Warrior Bob" Text="I think [Renoise][1] might fit the bill, which is a tracker-style sequencer that does support VST.  However, VST plugins don't run on Linux natively (they're compiled for OSX or Windows), so unless there's some kind of wrapper software, you can't use them in Linux.  However, Renoise [supports LADSPA and DSSI plugins][2] which I believe run on Linux. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.renoise.com/&#xD;&#xA;  [2]: http://www.renoise.com/features/plugin-support-vst-au-ladspa-dssi" ContentLicense="CC BY-SA 3.0" />
  <row Id="47589" PostHistoryTypeId="2" PostId="26505" RevisionGUID="ba3fd1b0-450d-444b-9585-01c888ff946b" CreationDate="2011-05-02T05:13:10.967" UserDisplayName="d-_-b" Text="From a quick search over at KVR, I could recommend the following:&#xD;&#xA;&#xD;&#xA; - Jost - http://www.anticore.org/jucetice/?page_id=4&#xD;&#xA; - Ardour - http://ardour.org/&#xD;&#xA; - MusE - http://www.muse-sequencer.org/&#xD;&#xA;&#xD;&#xA;Out of the three, I've only used Ardour and played around with Muse. Jost looks good though considering it's a JACK application." ContentLicense="CC BY-SA 3.0" />
  <row Id="47590" PostHistoryTypeId="2" PostId="26506" RevisionGUID="673639cd-c72a-4598-89d0-809108d0ba81" CreationDate="2011-05-04T12:43:26.777" UserDisplayName="bluszcz" Text="If you want to use native VSTi under Linux, you have only two options:&#xD;&#xA;&#xD;&#xA;http://renoise.com - excellent tracker, with great community, fast, stable as crazy, fully featured, rich in internal plugins.&#xD;&#xA;&#xD;&#xA;http://www.energy-xt.com/ - not tracker, but offers typical horizontal timeline. Pretty fast and stable, but without multicore support and without 64bit version. Also community is poor and author Jorgen is no so fast with updates.&#xD;&#xA;&#xD;&#xA;Both of them are not FLOSS, but price if very affordable.&#xD;&#xA;&#xD;&#xA;Yeah, there is also ardour - but do not expect too much from it since it doesnt support piano roll ;)&#xD;&#xA;&#xD;&#xA;Version 3 of ardour supports piano roll - but still is alpha, and VST is not enable by default.&#xD;&#xA;&#xD;&#xA;Both energyXT and Renoise are production ready and offers you possibility to focus on composing instead of geekness (like ardourd or others ones)..." ContentLicense="CC BY-SA 3.0" />
  <row Id="47591" PostHistoryTypeId="2" PostId="26502" RevisionGUID="a4cc9206-9687-4ead-8e01-fdce1e4064c9" CreationDate="2011-04-21T11:17:16.820" UserDisplayName="check123" Text="For the past few years I have been using Windows where I was working on quite a good piece of tracker - MadTracker (which sadly is not available for Linux). Recently I had to migrate to Linux and I have no intentions of maintaining two operating systems.&#xD;&#xA;&#xD;&#xA;I have seen this thread (wasn't much help full in my case): http://audio.stackexchange.com/questions/18/linux-digital-recording-audacity-or-ardour&#xD;&#xA;&#xD;&#xA;Also, I checked out some general lists over the Internet and could not find one with VST and VSTi support. That is important. &#xD;&#xA;&#xD;&#xA;What trackers are available as options to me? " ContentLicense="CC BY-SA 3.0" />
  <row Id="47592" PostHistoryTypeId="1" PostId="26502" RevisionGUID="a4cc9206-9687-4ead-8e01-fdce1e4064c9" CreationDate="2011-04-21T11:17:16.820" UserDisplayName="check123" Text="Audio tracker for Linux with support for VST/VSTi" ContentLicense="CC BY-SA 3.0" />
  <row Id="47593" PostHistoryTypeId="3" PostId="26502" RevisionGUID="a4cc9206-9687-4ead-8e01-fdce1e4064c9" CreationDate="2011-04-21T11:17:16.820" UserDisplayName="check123" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47594" PostHistoryTypeId="36" PostId="26507" RevisionGUID="2ccfb612-6462-49ca-9003-7b4fa0aa931b" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3508/how-do-i-sort-through-a-music-collection-and-find-and-categorise-the-best-qualit" />
  <row Id="47595" PostHistoryTypeId="36" PostId="26508" RevisionGUID="237e880d-239a-4ee7-b0f5-3a6908cd45cc" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3508/how-do-i-sort-through-a-music-collection-and-find-and-categorise-the-best-qualit/3510#3510" />
  <row Id="47596" PostHistoryTypeId="2" PostId="26508" RevisionGUID="f6335730-36bf-4fc5-b06f-c82951b90771" CreationDate="2012-03-09T18:15:48.717" UserId="7093" Text="In MediaMonkey you can browse your collection by file extension and several other criteria.&#xD;&#xA;&#xD;&#xA;**To browse by extension:**&#xD;&#xA;&#xD;&#xA;- First select the music node in the media tree at the left.  This will show all the music in your collection.  &#xD;&#xA;&#xD;&#xA;- Next right click at the top of the Genre area and add a column.  Right click at the top of the new column and select extension.  &#xD;&#xA;&#xD;&#xA;Now you should see all of the different file types you have in your music collection.&#xD;&#xA;&#xD;&#xA;**For the duplicates:** &#xD;&#xA;&#xD;&#xA;According to [this][1] and [this][2] MediaMonkey has the ability to detect duplicate files.  It also has scripting capabilities which will allow you to automate the process.  A couple of scripts to remove the duplicates are available at the above links.  You could probably modify them to simply move the files to a different location and either not include them in your library, or when you are selecting the music you want to filter by extension, artist, etc. you can select the music by location and just select &quot;all&quot; from the main folder your high quality music is in.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mediamonkey.com/support/index.php?_m=knowledgebase&amp;_a=viewarticle&amp;kbarticleid=113&#xD;&#xA;  [2]: http://www.mediamonkey.com/forum/viewtopic.php?=&amp;p=109833" ContentLicense="CC BY-SA 3.0" />
  <row Id="47597" PostHistoryTypeId="2" PostId="26507" RevisionGUID="114b7b54-8626-4e08-8ce7-c24a1b0515bd" CreationDate="2012-03-09T11:58:10.727" UserId="24111" UserDisplayName="barrymac" Text="I'm looking for some software that can scan a large collection of files which contains many duplicates of varying quality in different file formats.&#xD;&#xA;&#xD;&#xA;Ideally I would like to have a folder structure with a few levels of quality, whereby all the lossless formats like flac or ape are in one folder and the highest bitrate mp3s oggs in another. And then put all the files which are duplicates of higher quality version in a &quot;not the best available&quot; folder.&#xD;&#xA;&#xD;&#xA;So far **I can get a little bit close to this with MediaMonkey by sorting and moving files** but it's **too manual for very large collections**. " ContentLicense="CC BY-SA 3.0" />
  <row Id="47598" PostHistoryTypeId="1" PostId="26507" RevisionGUID="114b7b54-8626-4e08-8ce7-c24a1b0515bd" CreationDate="2012-03-09T11:58:10.727" UserId="24111" UserDisplayName="barrymac" Text="How do I sort through a music collection and find and categorise the best quality files?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47599" PostHistoryTypeId="3" PostId="26507" RevisionGUID="114b7b54-8626-4e08-8ce7-c24a1b0515bd" CreationDate="2012-03-09T11:58:10.727" UserId="24111" UserDisplayName="barrymac" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47600" PostHistoryTypeId="36" PostId="26509" RevisionGUID="ba00bfc6-0d67-494e-b336-f7ebef1d24bf" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3833/how-does-our-brain-detect-the-direction-of-sound" />
  <row Id="47601" PostHistoryTypeId="36" PostId="26510" RevisionGUID="42393c75-e09c-40a7-97bf-17f7db5c809d" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3833/how-does-our-brain-detect-the-direction-of-sound/3834#3834" />
  <row Id="47602" PostHistoryTypeId="36" PostId="26511" RevisionGUID="25337446-4ff3-47fa-89cc-bc5944629234" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3833/how-does-our-brain-detect-the-direction-of-sound/3848#3848" />
  <row Id="47603" PostHistoryTypeId="36" PostId="26512" RevisionGUID="5de84999-214e-4f25-9ad9-d95fe7519ab0" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3833/how-does-our-brain-detect-the-direction-of-sound/3880#3880" />
  <row Id="47604" PostHistoryTypeId="36" PostId="26513" RevisionGUID="1c3c615c-927f-47b6-94bf-b262bc6f52c4" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3833/how-does-our-brain-detect-the-direction-of-sound/3881#3881" />
  <row Id="47605" PostHistoryTypeId="2" PostId="26510" RevisionGUID="1ce2ff56-73c5-44dd-8662-5d796667c1da" CreationDate="2012-04-26T10:01:51.757" UserId="7271" UserDisplayName="Tomas" Text="*how do we distinguish the sound as coming from front and behind?*&#xD;&#xA;&#xD;&#xA;Good question. We don't. I'm often searching birds by sound in the field and I'm often confused with this. We often have quarrels with my girlfriend whether the bird was in front of us or behind :-) You have to turn your head to the side, little bit off the axis. That's also why some owls have their ears placed asymmetrically.&#xD;&#xA;&#xD;&#xA;Human brain uses the time-lag to detect the direction. I doubt it can use amplitude, as there will be almost no difference in it." ContentLicense="CC BY-SA 3.0" />
  <row Id="47606" PostHistoryTypeId="2" PostId="26511" RevisionGUID="3e6c7ec4-d963-4b03-99e6-0e4e2a12763d" CreationDate="2012-04-26T21:00:06.407" UserDisplayName="Zettt" Text="Our brain uses the delay between both ears, loudness, frequency, and what it &quot;knows&quot; about previous signals. This is called [localization](http://en.wikipedia.org/wiki/Sound_localization)." ContentLicense="CC BY-SA 3.0" />
  <row Id="47607" PostHistoryTypeId="2" PostId="26512" RevisionGUID="17781fb5-796b-4ea5-a9a1-b393a9da9e71" CreationDate="2012-04-30T10:03:56.877" UserDisplayName="JamesRyan" Text="Also people don't hold their head still, by changing orientation we can narrow down a source more precisely." ContentLicense="CC BY-SA 3.0" />
  <row Id="47608" PostHistoryTypeId="2" PostId="26513" RevisionGUID="c8dac116-013a-4d84-9e8a-e81bc761c106" CreationDate="2012-04-30T12:53:17.447" UserId="7281" UserDisplayName="Tom Auger" Text="I believe that the pinna of the ear causes a frequency filtering effect as well, when the originating sound is behind the head. See this [Wikipedia article.][1] [NCH Article][2].&#xD;&#xA;&#xD;&#xA;This fact is being used in hearing aid development and construction to improve localization results for wearers. One hearing device manufacturer that I'm aware of, Unitron, has even branded a &quot;Pinna Effect&quot; technology that, according to their website, helps recreate the natural directionality of sound.&#xD;&#xA;&#xD;&#xA;&gt; The location of hearing instrument microphones alters the natural&#xD;&#xA;&gt; sound quality enjoyed by people with normal hearing. For BTE hearing&#xD;&#xA;&gt; instruments, Pinna Effect recreates the natural acoustics of the ear’s&#xD;&#xA;&gt; pinna, providing a much more true-to-life directionality, particularly&#xD;&#xA;&gt; in the high frequencies. For ITE hearing instruments, Pinna Effect&#xD;&#xA;&gt; uses a combination of our digital shell making process and custom&#xD;&#xA;&gt; modeling of the location of the microphone in the ear relative to the&#xD;&#xA;&gt; ear drum to recreate the natural resonances of the ear.\&#xD;&#xA;&#xD;&#xA;From: http://unitron.com/unitron/global/en/professional/products/technologies.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Sound_localization#Sound_localization_in_the_median_plane_.28front.2C_above.2C_back.2C_below.29&#xD;&#xA;  [2]: http://www.nchearingloss.org/localiza.htm?fromncshhh" ContentLicense="CC BY-SA 3.0" />
  <row Id="47609" PostHistoryTypeId="2" PostId="26514" RevisionGUID="69c0b3af-5939-4d61-bcc6-9de88b9426aa" CreationDate="2012-05-02T14:04:52.683" UserDisplayName="Don" Text="A couple of the answers above have parts of the information.  The brain uses interaural, time, amplitude, frequency and phase differences to locate sounds.  In the case of the sounds coming from behind you versus those in front of you, time, phase, and amplitude will be equal at both ears for the most part.  However, there is a frequency difference due to the pinna effect.  The pinna and the concha of the outer ear have a filtering effect for high frequency sounds. The pinna effect and the concha effect combine to gradually reduce sounds from directly behind you beginning at about 1200 Hz and effectively increasing slightly with frequency up to 8000Hz - 10,000 Hz.  It is that slight differnce in high frequency amplitude that allows you to determine if the sound is from the front or back. However, it will require you to turn your head to do so.  Just facing toward or away from a high frequency signal will give you the absolute amplitude information but not the relative difference from front to back.  You need that relative difference to localize those sounds.  as someone mentioned above, you can turn your head about 30 - 45 degrees away from a sound and it will get louder.  That is the reverse of the pinna effect described here.  That is why we naturally cock our heads a bit and raise our chins when we are trying to hear a very soft sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="47610" PostHistoryTypeId="2" PostId="26509" RevisionGUID="56afe727-d099-48ab-b0ee-3515383fc24b" CreationDate="2012-04-26T09:43:28.890" UserDisplayName="CODESIGN" Text="We are able to detect the direction of sound because of our brain's capbility to measures the time lag and amplitude difference between the sound that reaches our ears. However the sound produced by a source 10 meters directly in front of us and sound produced by another source 10 meters directly  behind us would produce the same effect on both our ears, but how do we distinguish the sound as coming from front and behind? " ContentLicense="CC BY-SA 3.0" />
  <row Id="47611" PostHistoryTypeId="1" PostId="26509" RevisionGUID="56afe727-d099-48ab-b0ee-3515383fc24b" CreationDate="2012-04-26T09:43:28.890" UserDisplayName="CODESIGN" Text="How does our brain detect the direction of sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47612" PostHistoryTypeId="3" PostId="26509" RevisionGUID="56afe727-d099-48ab-b0ee-3515383fc24b" CreationDate="2012-04-26T09:43:28.890" UserDisplayName="CODESIGN" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47613" PostHistoryTypeId="36" PostId="26514" RevisionGUID="6a18a0ca-b164-46af-9edb-920d5053dd8a" CreationDate="2014-01-27T15:20:36.053" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3833/how-does-our-brain-detect-the-direction-of-sound/3901#3901" />
  <row Id="47614" PostHistoryTypeId="36" PostId="26515" RevisionGUID="e7df5357-e977-4258-b45c-064b8519c2de" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/84/whats-the-best-software-for-djing-and-mixing" />
  <row Id="47615" PostHistoryTypeId="36" PostId="26516" RevisionGUID="d3b1c3f4-397d-4845-97f3-18d53b100ae2" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/84/whats-the-best-software-for-djing-and-mixing/85#85" />
  <row Id="47616" PostHistoryTypeId="36" PostId="26517" RevisionGUID="a0bb1737-fdc3-4322-916a-11c9eaa6d2bf" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/84/whats-the-best-software-for-djing-and-mixing/89#89" />
  <row Id="47617" PostHistoryTypeId="36" PostId="26518" RevisionGUID="42ff8e1b-11fb-497f-8fdb-6ac9aedb11c2" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/84/whats-the-best-software-for-djing-and-mixing/103#103" />
  <row Id="47618" PostHistoryTypeId="2" PostId="26516" RevisionGUID="719c9d1d-9cc0-4336-b7f8-8041abc84b8b" CreationDate="2010-12-08T01:17:18.893" UserId="6865" Text="## [VirtualDJ][1] ##&#xD;&#xA;&#xD;&#xA;VDJ is mostly the industry standard and is extremely easy to use. It has almost every feature you could want, its customizable with different skins, and easy to find your way around.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.virtualdj.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="47619" PostHistoryTypeId="2" PostId="26517" RevisionGUID="8d81fd8c-a591-497c-8c33-d2a8d1b43541" CreationDate="2010-12-08T01:42:39.080" UserDisplayName="Tom Wijsman" Text="[NI DJ Traktor Pro](http://www.native-instruments.com/#/en/products/dj/traktor-pro/)&#xD;&#xA;--&#xD;&#xA;TRAKTOR PRO is the new benchmark in DJ software. Mix digital files on four decks, using the high-quality internal mixer or external hardware, and the best effects suite around. Fully primed for professional use, TRAKTOR PRO redefines the art of DJing. &#xD;&#xA;&#xD;&#xA;The downside, it costs money..." ContentLicense="CC BY-SA 2.5" />
  <row Id="47620" PostHistoryTypeId="2" PostId="26518" RevisionGUID="cc6d3aa6-47e5-4aa5-b6ac-94fcadacef6b" CreationDate="2010-12-08T05:53:50.883" UserId="7294" UserDisplayName="Warrior Bob" Text="The major players seem to be Serato, Traktor, and Virtual DJ.  I hear a lot of people like Mixxx and Deckadence, although they don't seem to have quite the user base.&#xD;&#xA;&#xD;&#xA;There's also Ableton Live if you don't necessarily want to use something that looks like turntables.  It's sort of a fundamentally different way of DJing though.  It's like having a giant looper instead of decks." ContentLicense="CC BY-SA 2.5" />
  <row Id="47621" PostHistoryTypeId="2" PostId="26515" RevisionGUID="5e947260-aafe-4cc0-a3c0-9d05d25a16bd" CreationDate="2010-12-08T01:14:36.663" UserId="6865" Text="I've seen [Mixxx][1] seems to be one of the few that's not proprietary, but I'm having a hard time choosing what to at least start out with What choice are there? What are some of their strengths and weaknesses?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mixxx.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="47622" PostHistoryTypeId="1" PostId="26515" RevisionGUID="5e947260-aafe-4cc0-a3c0-9d05d25a16bd" CreationDate="2010-12-08T01:14:36.663" UserId="6865" Text="What's the best software for DJing and mixing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47623" PostHistoryTypeId="3" PostId="26515" RevisionGUID="5e947260-aafe-4cc0-a3c0-9d05d25a16bd" CreationDate="2010-12-08T01:14:36.663" UserId="6865" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47624" PostHistoryTypeId="36" PostId="26519" RevisionGUID="e00f5941-6eaf-4bdd-b130-6627288b9d9c" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2816/recording-multiple-applications-on-different-vac-lines-to-multiple-tracks" />
  <row Id="47625" PostHistoryTypeId="36" PostId="26520" RevisionGUID="87b1474c-2047-4470-a4bd-d383066c098b" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2816/recording-multiple-applications-on-different-vac-lines-to-multiple-tracks/2817#2817" />
  <row Id="47626" PostHistoryTypeId="2" PostId="26520" RevisionGUID="b82471ff-2382-4019-a738-d7e2fa8cdf33" CreationDate="2011-12-15T17:25:24.370" UserId="7294" UserDisplayName="Warrior Bob" Text="Recording software like Reaper can generally record as many channels of audio as the device they're using supports. If the device defined in Reaper's audio preferences only has stereo inputs, then that's all you're getting. If the device has eight inputs, then Reaper can record eight channels.&#xD;&#xA;&#xD;&#xA;You need to give Reaper (for example, could be any recording program) a single device that has as many inputs as you want recorded. Since your lines are already virtual, it might be possible to make a single virtual device that exposes each of those lines as an input. Maybe Virtual Audio Cable has a feature like this? (I've never used it)." ContentLicense="CC BY-SA 3.0" />
  <row Id="47627" PostHistoryTypeId="2" PostId="26519" RevisionGUID="c58c026b-5362-40e5-908e-d4bceeef3f6c" CreationDate="2011-12-15T16:44:40.623" UserDisplayName="greensmith" Text="I have set up a PC (Windows 7x64) with 3 Lines in Virtual Audio Cable. Each line has one program using it as it's output device (total of 3 programs running) the physical device is just on-board RealTek audio.&#xD;&#xA;&#xD;&#xA;What I'm wondering is if I am able to record each line simultaneously, to different tracks in any kind of multi-track recording software? I.e. all audio from Line1 to Track1, Line2 to Track2... as I would like the ability to edit each track individually after recording or export to individual files.&#xD;&#xA;&#xD;&#xA;After downloading the trail version of Reaper, and later ASIO4ALL, to see if that could accomplish what I was looking for however I can still only record one line at a time.&#xD;&#xA;&#xD;&#xA;I am aware there are limits with WDM/KS/ASIO and using one device at a time but I can somewhat achieve my goal by running more than one recording software at the same time (Reaper recording one Line, Audacity recording another) but that seems a little unnecessary to me?&#xD;&#xA;&#xD;&#xA;Or am I going about this in completely the wrong way? Is there a better method to record different applications to different tracks? Maybe an internal sound card with this ability?&#xD;&#xA;&#xD;&#xA;Thank you in advance, Hopefully this will help me make an informed decision before I spend any money on software or (if neeeded) hardware." ContentLicense="CC BY-SA 3.0" />
  <row Id="47628" PostHistoryTypeId="1" PostId="26519" RevisionGUID="c58c026b-5362-40e5-908e-d4bceeef3f6c" CreationDate="2011-12-15T16:44:40.623" UserDisplayName="greensmith" Text="Recording multiple applications (on different VAC lines) to multiple tracks" ContentLicense="CC BY-SA 3.0" />
  <row Id="47629" PostHistoryTypeId="3" PostId="26519" RevisionGUID="c58c026b-5362-40e5-908e-d4bceeef3f6c" CreationDate="2011-12-15T16:44:40.623" UserDisplayName="greensmith" Text="&lt;software&gt;&lt;windows&gt;&lt;reaper&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47630" PostHistoryTypeId="36" PostId="26521" RevisionGUID="cb84ec82-23ba-45f3-9e36-59ebfefe743d" CreationDate="2014-01-27T15:13:28.367" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7213/are-there-professional-single-input-external-sound-cards" />
  <row Id="47631" PostHistoryTypeId="36" PostId="26522" RevisionGUID="7b8c5723-492a-4d99-b4c2-1b710310f9b8" CreationDate="2014-01-27T15:13:28.367" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7213/are-there-professional-single-input-external-sound-cards/7214#7214" />
  <row Id="47632" PostHistoryTypeId="2" PostId="26522" RevisionGUID="c6bae1ee-fc6a-4fbe-839f-502303cc0648" CreationDate="2013-02-22T00:38:31.677" UserId="7189" Text="Can you be more specific about the specific features you need?&#xD;&#xA;&#xD;&#xA;The quick answer is the [Apogee One and Duet][1]. They are more expensive than a used MOTU 828 mk2, but have a stellar reputation.&#xD;&#xA;&#xD;&#xA;There are also plenty of high quality single channel USB interfaces designed for plugging into a single microphone. The [Blue Icicle][2] comes to mind immediately, &#xD;&#xA;but you are probably better off browsing the products at a place like [B&amp;H][3].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://apogeedigital.com/products/&#xD;&#xA;  [2]: http://bluemic.com/icicle/&#xD;&#xA;  [3]: http://www.bhphotovideo.com/c/search?Ns=p_PRICE_2%7C0&amp;ci=14834&amp;N=4294550051&amp;srtclk=sort" ContentLicense="CC BY-SA 3.0" />
  <row Id="47633" PostHistoryTypeId="2" PostId="26521" RevisionGUID="86da1746-549f-43dc-b9d2-4be56f26e2bb" CreationDate="2013-02-21T22:44:29.033" UserDisplayName="EpsilonVector" Text="I do not need something as advanced as the PreSonus FireStudio 26x26, which can handle up to 26 inputs simultaneously. For me a one/two inputs sound card is enough. However, I do want the same level of quality and amount of features as I would get from a high end card like the one mentioned above. In other words, I want a very advanced low end card. Do these things exist? Or do I have to buy one of the over kill ones? What are some external sound cards that fit this description?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47634" PostHistoryTypeId="1" PostId="26521" RevisionGUID="86da1746-549f-43dc-b9d2-4be56f26e2bb" CreationDate="2013-02-21T22:44:29.033" UserDisplayName="EpsilonVector" Text="Are there &quot;professional&quot; single input external sound cards?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47635" PostHistoryTypeId="3" PostId="26521" RevisionGUID="86da1746-549f-43dc-b9d2-4be56f26e2bb" CreationDate="2013-02-21T22:44:29.033" UserDisplayName="EpsilonVector" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47636" PostHistoryTypeId="36" PostId="26523" RevisionGUID="69488a17-e960-4d13-92a1-486b220db9c5" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3809/will-a-generator-work-with-a-portable-dj-setup" />
  <row Id="47637" PostHistoryTypeId="36" PostId="26524" RevisionGUID="a76b0438-ce52-4c88-a0b2-84b8eeab6433" CreationDate="2014-01-27T15:12:58.207" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3809/will-a-generator-work-with-a-portable-dj-setup/5288#5288" />
  <row Id="47638" PostHistoryTypeId="2" PostId="26524" RevisionGUID="1b6b96db-3fe0-41ef-8ec9-0c74f281dc47" CreationDate="2012-11-08T17:44:12.327" UserDisplayName="Benji York" Text="I do not have direct knowledge of this, but my research indicates that a modern inverter-type generator should produce AC that is more than clean enough for your purposes.  Additionally, this type of generator tends to be quieter and more efficient than the alternatives." ContentLicense="CC BY-SA 3.0" />
  <row Id="47639" PostHistoryTypeId="2" PostId="26523" RevisionGUID="80b5c762-6c80-4e3f-8e8c-bba351e72195" CreationDate="2012-04-23T16:55:43.603" UserDisplayName="hydroparadise" Text="So, understanding the risks of using a 7500 watt gasoline powered electric generator ([Dirty Power][1]), I was wondering if battery backup or power &lt;del&gt;cleaner&lt;/del&gt; conditioner could mitigate the risks such that it will not destroy my equipment?  Is this feasible?&#xD;&#xA;&#xD;&#xA;**What would be a good portable source of power if I have to do a DJ gig in a barn yard in the boonies?**&#xD;&#xA;&#xD;&#xA;I am working with:&#xD;&#xA;&#xD;&#xA; - 2800 watts of speaker power (2 satellites, 1 sub)&#xD;&#xA; - Asus G74x Laptop (120 watts)&#xD;&#xA; - Traktor s4 (50 watts)&#xD;&#xA; - Kaoss Pad 3 (10 watts)&#xD;&#xA; - Korg EMX-1 (24 watts)&#xD;&#xA;&#xD;&#xA;  [1]: http://dictionary.reference.com/browse/dirty+power" ContentLicense="CC BY-SA 3.0" />
  <row Id="47640" PostHistoryTypeId="1" PostId="26523" RevisionGUID="80b5c762-6c80-4e3f-8e8c-bba351e72195" CreationDate="2012-04-23T16:55:43.603" UserDisplayName="hydroparadise" Text="Will a generator work with a portable DJ setup?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47641" PostHistoryTypeId="3" PostId="26523" RevisionGUID="80b5c762-6c80-4e3f-8e8c-bba351e72195" CreationDate="2012-04-23T16:55:43.603" UserDisplayName="hydroparadise" Text="&lt;setup&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47642" PostHistoryTypeId="36" PostId="26525" RevisionGUID="b4947835-52bd-4054-ae50-661cdedb60e5" CreationDate="2014-01-27T15:13:28.367" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7868/sound-card-vs-dac-unit" />
  <row Id="47643" PostHistoryTypeId="36" PostId="26526" RevisionGUID="b81b6642-ebe1-476d-a0c1-cfc3e2fc9c48" CreationDate="2014-01-27T15:13:28.367" UserId="-1" Comment="from http://avp.stackexchange.com/questions/7868/sound-card-vs-dac-unit/7882#7882" />
  <row Id="47644" PostHistoryTypeId="2" PostId="26526" RevisionGUID="26bc2e9e-81dd-4176-af8c-7fa7c38caec0" CreationDate="2013-05-13T14:18:03.560" UserId="7174" Text="Digital signal is digital signal.  You might not have much in the way of processing options provided by hardware on a cheap sound card, but digital output shouldn't be any different from any quality level as long as it produces the signal reliably.  That said, you may be able to get a sound card with a good DAC in it cheaper than a stand alone DAC since a sound card can leverage the hardware in the computer, but there are also other concerns like ensuring good power isolation for a sound card based DAC, so using an optical signal to an external DAC may provide better isolation.&#xD;&#xA;&#xD;&#xA;Either choice should be viable, it really just depends on what quality hardware you can find the best deal on." ContentLicense="CC BY-SA 3.0" />
  <row Id="47645" PostHistoryTypeId="2" PostId="26525" RevisionGUID="e290ebfa-5432-4784-b143-8711059db580" CreationDate="2013-05-11T15:54:49.953" UserId="7343" UserDisplayName="d.free" Text="I'm planning to upgrade the audio on my PC (my mobo currently has integrated Realtek ALC892 which doesn't sound that good) and am wondering if I would be a better idea to get a sound card (PCIE or PCIEx1, since my board doesnt support regular PCI) or a DAC unit that connects to the digital (optical or coaxial) outputs on my motherboard.&#xD;&#xA;&#xD;&#xA;My budget is around $50, and I use analog headphones. I'm also wondering if using the digital outs on the motherboard will produce bad quality even with a good DAC since my onboard audio chip is not very good quality." ContentLicense="CC BY-SA 3.0" />
  <row Id="47646" PostHistoryTypeId="1" PostId="26525" RevisionGUID="e290ebfa-5432-4784-b143-8711059db580" CreationDate="2013-05-11T15:54:49.953" UserId="7343" UserDisplayName="d.free" Text="Sound Card VS DAC Unit" ContentLicense="CC BY-SA 3.0" />
  <row Id="47647" PostHistoryTypeId="3" PostId="26525" RevisionGUID="e290ebfa-5432-4784-b143-8711059db580" CreationDate="2013-05-11T15:54:49.953" UserId="7343" UserDisplayName="d.free" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47648" PostHistoryTypeId="36" PostId="26527" RevisionGUID="918ecfbc-a353-4c9e-a914-da173d56ff48" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/308/mic-level-or-line-level-for-long-runs" />
  <row Id="47649" PostHistoryTypeId="2" PostId="26528" RevisionGUID="45665ec3-45fc-4bdc-a998-bba20da3ea72" CreationDate="2010-12-16T15:42:20.930" UserId="90" Text="Line level balanced out to a line level balanced input on a mixer is the best connection there is for long cable runs.  Line outs have small source impedances that are good at driving long cables.&#xD;&#xA;&#xD;&#xA;I'm not sure what you mean by &quot;use a DI box for everything line level&quot;.  DI boxes turn a high output impedance into a low output impedance, but line outs already have low output impedance." ContentLicense="CC BY-SA 2.5" />
  <row Id="47650" PostHistoryTypeId="2" PostId="26527" RevisionGUID="21f11e0f-2ae3-436b-b318-3a5239e47abe" CreationDate="2010-12-15T20:12:50.787" UserId="7209" Text="When running sound for a group with keyboards and other devices that have balanced outs, I will often run them through the same snake and attach them to the line level input on my mixer.  I don't generally use a DI box in cases like this, unless dealing with a DJ mixer or something that doesn't have balanced outs.&#xD;&#xA;&#xD;&#xA;I was once told that I should use a DI box for everything line level, rather than using my method, to avoid impedance issues with long cable runs.&#xD;&#xA;&#xD;&#xA;I don't really understand this reasoning.  Is it true?  And if so, can you help me understand it?&#xD;&#xA;&#xD;&#xA;If it is true, then why isn't it an issue for setups with a dedciated monitor mixer, and line-level direct outs going to FoH?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47651" PostHistoryTypeId="1" PostId="26527" RevisionGUID="21f11e0f-2ae3-436b-b318-3a5239e47abe" CreationDate="2010-12-15T20:12:50.787" UserId="7209" Text="Mic level or line level for long runs?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47652" PostHistoryTypeId="3" PostId="26527" RevisionGUID="21f11e0f-2ae3-436b-b318-3a5239e47abe" CreationDate="2010-12-15T20:12:50.787" UserId="7209" Text="&lt;cable&gt;&lt;impedance&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47653" PostHistoryTypeId="36" PostId="26528" RevisionGUID="bd83c7ce-043c-4045-8d89-567f0515227b" CreationDate="2014-01-27T15:26:15.343" UserId="-1" Comment="from http://avp.stackexchange.com/questions/308/mic-level-or-line-level-for-long-runs/325#325" />
  <row Id="47654" PostHistoryTypeId="36" PostId="26529" RevisionGUID="3f46fccd-76d8-4f80-9e72-f89a17a7485b" CreationDate="2014-01-27T15:17:33.820" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5200/is-garageband-not-part-of-osx-anymore" />
  <row Id="47655" PostHistoryTypeId="36" PostId="26530" RevisionGUID="6eb5db12-2a3f-48aa-9be0-7156fa5b16aa" CreationDate="2014-01-27T15:17:33.820" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5200/is-garageband-not-part-of-osx-anymore/5207#5207" />
  <row Id="47656" PostHistoryTypeId="2" PostId="26530" RevisionGUID="e8dd23b7-3e33-4562-bb06-4ba4d7cc0a64" CreationDate="2012-10-30T14:46:14.197" UserId="7189" Text="GarageBand has never been part of OSX, but iLife has come bundled with most mac systems. If you did a clean install of OSX, you will lose iLife. To get iLife back, look for the additional applications disc that came with your mac, and install iLife from there." ContentLicense="CC BY-SA 3.0" />
  <row Id="47657" PostHistoryTypeId="2" PostId="26529" RevisionGUID="b3a3229c-6de1-4c89-a32d-ae5fb49c9f87" CreationDate="2012-10-29T16:41:22.647" UserDisplayName="John" Text="I had OSX 10.5 and I remember GB was there though I never used it. Now I run 10.8 and it doesn't seem to be installed - I looked in the Appstore and it's listed as costing £10 (about $15).&#xD;&#xA;&#xD;&#xA;I wanted to check it's definitely not available freely for my Mac before I figure out what I should use instead for my hobbyist &quot;record playing for youtube&quot; needs." ContentLicense="CC BY-SA 3.0" />
  <row Id="47658" PostHistoryTypeId="1" PostId="26529" RevisionGUID="b3a3229c-6de1-4c89-a32d-ae5fb49c9f87" CreationDate="2012-10-29T16:41:22.647" UserDisplayName="John" Text="Is GarageBand not part of OSX anymore?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47659" PostHistoryTypeId="3" PostId="26529" RevisionGUID="b3a3229c-6de1-4c89-a32d-ae5fb49c9f87" CreationDate="2012-10-29T16:41:22.647" UserDisplayName="John" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47660" PostHistoryTypeId="36" PostId="26531" RevisionGUID="ed6aeaa9-713b-4ae7-9a91-ef428ed3babf" CreationDate="2014-01-27T15:17:00.333" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2895/fixing-low-frequency-hum-in-an-undersaddle-acoustic-guitar-pickup" />
  <row Id="47661" PostHistoryTypeId="36" PostId="26532" RevisionGUID="dff371c0-8c1b-4872-ba31-1044c563de35" CreationDate="2014-01-27T15:17:00.333" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2895/fixing-low-frequency-hum-in-an-undersaddle-acoustic-guitar-pickup/2902#2902" />
  <row Id="47662" PostHistoryTypeId="2" PostId="26532" RevisionGUID="23cce295-172a-4618-97ce-af1148b4898b" CreationDate="2011-12-27T18:44:21.010" UserId="7200" Text="Since it goes away when you touch the metal of the cable jack, it's almost certainly a shielding issue. It could be the preamp, the pickup, or – most likely – the interior cable from the pickup to the preamp: this connection is extremely susceptible to capacitive coupling because both the preamp input and the pickup (assuming a piëzo, which it likely is) in such a system have very high impedances, and capacitive coupling is exactly the kind of hum that's attenuated if you ground your body by touching the jack.&#xD;&#xA;&#xD;&#xA;So chances are the hum will disappear if you exchange that cable for a good coaxial ground shielded one, or alternatively wrap it in grounded tin foil. That kind of job is always more difficult in an acoustic guitar than it is in an electric one, but you should be able to do it." ContentLicense="CC BY-SA 3.0" />
  <row Id="47663" PostHistoryTypeId="2" PostId="26533" RevisionGUID="d5b71499-c5ff-4d7f-8750-f53f8b6d5ac2" CreationDate="2012-01-15T01:57:57.850" UserId="7045" Text="The problem turned out to be either the pickup or the wire to the preamp. I didn't have time to shield the wire - I can't get my hand all the way into the cavity of the guitar, and I don't have tools to work inside a guitar (outside of some skinny pliers and a small inspection mirror), so I elected to simply replace the pickup. It worked; the hum is gone. &#xD;&#xA;&#xD;&#xA;It's entirely possible that there was some sort of shielding problem on the previous wire, as [this answer](http://avp.stackexchange.com/a/2902/167) suggests, but I can't say for certain. In the past, I've fixed similar problems in electric guitars by shielding the inner cavity with copper tape. (There was no shielding on the endpin jack at all, something that some web sources suggest can cause hum.)&#xD;&#xA;&#xD;&#xA;*My old pickup:*&#xD;&#xA;&#xD;&#xA;&lt;a href=&quot;http://www.flickr.com/photos/neilfein/6698248989/&quot; title=&quot;Piezo by neilfein, on Flickr&quot;&gt;&lt;img src=&quot;http://farm8.staticflickr.com/7012/6698248989_d199cea611.jpg&quot; width=&quot;500&quot; height=&quot;375&quot; alt=&quot;Piezo&quot;&gt;&lt;/a&gt;&#xD;&#xA;&#xD;&#xA;According to Fishman when I emailed them about this: &#xD;&#xA;&#xD;&#xA;&gt; It sounds like the under saddle pickup element may be faulty. Usually if you touch the endpin jack and the hum goes away, it is a shielding problem within the pickup element. &#xD;&#xA;&#xD;&#xA;The email went on to suggest a seller for [the part I needed](http://elderly.com/new_instruments/items/FMPE-1/8.htm). At first, I was dubious. I couldn't see any breaks in the foil on my pickup, although a small enough tear *could* be difficult to notice. I realized that the last time I had changed strings, the bridge had popped out, and I *might* have damaged things by putting the bridge back in carelessly. &#xD;&#xA;&#xD;&#xA;So I decided to take a chance and order the pickup. All I needed was to measure the width of my pickup so the replacement would fit in my saddle slot (1/8&quot; in my case), and I was in business; I ordered this part and it arrived in a few days, despite my choosing the option for cheapskate shipping. &#xD;&#xA;&#xD;&#xA;After a few dicey moments soldering the pickup's wire onto the mini-jack that plugs into the guitar's internal preamp - you have to do this with the pickup already installed, since you can't get the jack through the pickup hole in the bridge - the installation went smoothly. (I've done this before, although not on this guitar.) The pickup gives me an even volume on all strings, despite being about 1/32&quot; shorter than my existing pickup. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47664" PostHistoryTypeId="2" PostId="26531" RevisionGUID="9e70a2a2-3cac-4232-9b22-f5a484d24de9" CreationDate="2011-12-25T06:09:32.150" UserId="7045" Text="I have an acoustic guitar - a Cort MR750 dreadnought, from about 1998 - with a Fishman pickup system that came pre-installed in the guitar. I haven't been able to identify the type of pickup or preamp, although I have emailed both Fishman and Cort in an attempt to get more information. &#xD;&#xA;&#xD;&#xA;There's a continuous hum coming from the guitar, that mostly goes away when I grab the metal end of the cable jack, making me think that this is a grounding issue. Changing cables, mixers, amps - none of this makes a difference, the hum is still present. &#xD;&#xA;&#xD;&#xA;It's also worth mentioning that the problem came upon me quite suddenly, in-between two gigs about two weeks apart. The guitar was subjected to no unusual stresses in that time, aside from being carried in the trunk of a car in the cold (but it was very well protected, in a hard case with nothing on top of the guitar). &#xD;&#xA;&#xD;&#xA;The preamp has no identifying marks, other than saying &quot;Fishman Equipped&quot;. (Or, if there were such marks, they've long since been worn off.) But here are pictures of the preamp and of the pickup: &#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;So I've narrowed the problem down to the guitar electronics. None of the wires inside are loose (I tightened up a cable that screws into the preamp, and that didn't make any difference), and all the soldered connections inside seem solid. I've swapped the battery and made certain it's connecting solidly, neither made a difference. &#xD;&#xA;&#xD;&#xA;How I can go about diagnosing the problem? I'd like to replace as little of this system as I can. (I don't want to order a pickup, only to find the problem is the preamp or the wiring.) &#xD;&#xA;&#xD;&#xA;Even better, could this simply be a shielding issue? Can the problem be corrected by shielding the electronics? How does one even do that with an acoustic guitar, by sheilding the interior cables? &#xD;&#xA;&#xD;&#xA;  [1]: http://i.imgur.com/HS1Hrl.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="47665" PostHistoryTypeId="1" PostId="26531" RevisionGUID="9e70a2a2-3cac-4232-9b22-f5a484d24de9" CreationDate="2011-12-25T06:09:32.150" UserId="7045" Text="Fixing low-frequency hum in an undersaddle acoustic guitar pickup" ContentLicense="CC BY-SA 3.0" />
  <row Id="47666" PostHistoryTypeId="3" PostId="26531" RevisionGUID="9e70a2a2-3cac-4232-9b22-f5a484d24de9" CreationDate="2011-12-25T06:09:32.150" UserId="7045" Text="&lt;electronics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47667" PostHistoryTypeId="36" PostId="26533" RevisionGUID="9def89e7-ffc2-4cf6-93ed-e58a0b35d75f" CreationDate="2014-01-27T15:17:00.333" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2895/fixing-low-frequency-hum-in-an-undersaddle-acoustic-guitar-pickup/3042#3042" />
  <row Id="47668" PostHistoryTypeId="36" PostId="26534" RevisionGUID="1348bba4-eae0-45ca-8a28-1cb1f3b069f0" CreationDate="2014-01-27T15:17:00.333" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2895/fixing-low-frequency-hum-in-an-undersaddle-acoustic-guitar-pickup/4207#4207" />
  <row Id="47669" PostHistoryTypeId="2" PostId="26534" RevisionGUID="3fe4e335-9c5d-42e0-9d9d-db13a0f0b04c" CreationDate="2012-06-19T00:20:11.410" UserDisplayName="Letshaveafondueparty" Text="I had the same problem. I found a simple and easy solution. I took out the bridge piece (which was very tight) and cleaned it, then gently rubbed the sides on some floor tiles (I had no sand paper). This was to remove any goop accumulated from playing (sweat gunk etc). I slipped it back in (a lot easier). I then tested, without strings, applying pressure to the bridge and touching saddle off and on to see what happened to the noise. There was a marked difference, but still intermittent noise. I restrung guitar and plugged in (a very nervous moment as I'd put new strings on). I did this after reading about low frequency hum in this article http://www.fishman.com/files/advanced_undersaddle_pickup_installation.pdf&#xD;&#xA;&#xD;&#xA;No noise whatsoever. In fact I thought I had unmuted the wrong channel on my desk. Yippee!!!&#xD;&#xA;&#xD;&#xA;The piezo needs to have good contact. A overly tight bridge piece may not allow the correct contact or pressure to be made.&#xD;&#xA;&#xD;&#xA;I have had this problem before with a yamaha guitar with similar pickup system. I ended up selling guitar as I could not resolve the problem even with professional help. This latest issue was a freak out. I started looking at my entire system for ground loops etc and had begun replacing leads. It can be a costly exercise. I hope this helps someone as I was very down about this problem and I understand the frustration." ContentLicense="CC BY-SA 3.0" />
  <row Id="47670" PostHistoryTypeId="36" PostId="26535" RevisionGUID="3062956d-e05f-4766-8593-ea9b78689837" CreationDate="2014-01-27T15:17:33.820" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1990/can-you-use-native-instruments-plug-ins-with-garageband" />
  <row Id="47671" PostHistoryTypeId="36" PostId="26536" RevisionGUID="ea2db4e7-9c43-4799-a1ea-e946c71ed9fd" CreationDate="2014-01-27T15:17:33.820" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1990/can-you-use-native-instruments-plug-ins-with-garageband/1992#1992" />
  <row Id="47672" PostHistoryTypeId="36" PostId="26537" RevisionGUID="40910274-4bb0-4776-984c-67a708956df3" CreationDate="2014-01-27T15:17:33.820" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1990/can-you-use-native-instruments-plug-ins-with-garageband/2828#2828" />
  <row Id="47673" PostHistoryTypeId="2" PostId="26536" RevisionGUID="2c221cac-a9e6-4ce1-86f3-60495f808a35" CreationDate="2011-08-02T16:15:25.363" UserId="7294" UserDisplayName="Warrior Bob" Text="I believe yes, with limitations. The last time I used Garageband was version 2, and at that time it could host Audio Units (but not VST) plugins. I presume it's the same now.&#xD;&#xA;&#xD;&#xA;I don't know which Native Instruments plugins you're thinking of (Native Instruments is a company, not a product) but if any of them are offered in Audio Units format, Garageband should be able to host them. " ContentLicense="CC BY-SA 3.0" />
  <row Id="47674" PostHistoryTypeId="2" PostId="26537" RevisionGUID="11a4a01f-1e8d-40f4-ae9f-61b92e96bc09" CreationDate="2011-12-16T23:34:14.383" UserDisplayName="Speldosa" Text="It can indeed be done. If you have installed the Native Instruments plug-in on your system, you can create a new software track in Garageband, click the little &quot;i&quot; icon in the bottom left corner, chose &quot;edit&quot; in the menu that pops up and then in the drop down box under &quot;Sound Generator&quot; chose you plug-in. All set!" ContentLicense="CC BY-SA 3.0" />
  <row Id="47675" PostHistoryTypeId="2" PostId="26535" RevisionGUID="2ce9b618-c4a0-4b19-a87a-3919b2c1bc65" CreationDate="2011-08-02T04:32:45.700" UserDisplayName="James Litewski" Text="I'm new to Mac and its software. But when I had my PC, I used a plug-in from Native Instruments with Fruity-Loops. So I'm wondering: Can I do the same with GarageBand?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47676" PostHistoryTypeId="1" PostId="26535" RevisionGUID="2ce9b618-c4a0-4b19-a87a-3919b2c1bc65" CreationDate="2011-08-02T04:32:45.700" UserDisplayName="James Litewski" Text="Can you use Native Instruments plug-ins with GarageBand?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47677" PostHistoryTypeId="3" PostId="26535" RevisionGUID="2ce9b618-c4a0-4b19-a87a-3919b2c1bc65" CreationDate="2011-08-02T04:32:45.700" UserDisplayName="James Litewski" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47678" PostHistoryTypeId="36" PostId="26538" RevisionGUID="80961966-84bb-4b37-ac61-0d67e374f8c8" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2912/asio-drivers-for-recording-analog-audio-balanced-trs-inputs-on-a-delta-44" />
  <row Id="47679" PostHistoryTypeId="2" PostId="26539" RevisionGUID="6f7a941f-1b44-4d70-8355-b8431cc6e7fc" CreationDate="2011-12-28T23:23:25.890" UserId="7294" UserDisplayName="Warrior Bob" Text="ASIO is a technology designed for low-latency. You shouldn't see any quality improvements (or indeed, any quality difference at all) using ASIO over, say, Directsound. It's not about quality, just about how close to the hardware the software is.&#xD;&#xA;&#xD;&#xA;Where you will see a quality difference is in using different hardware. Your Delta 44 is most likely going to have much better preamps and converters than your built-in soundcard, so you are wise to try and find a way to use it.&#xD;&#xA;&#xD;&#xA;If you can't get ASIO to use multiple devices (I've never tried it, don't know if it's possible), and you don't need the improved latency, then MME or Directsound is a great solution for your situation." ContentLicense="CC BY-SA 3.0" />
  <row Id="47680" PostHistoryTypeId="2" PostId="26538" RevisionGUID="5908a689-a315-4f05-9a55-aaf81ba07d0d" CreationDate="2011-12-28T22:01:54.447" UserDisplayName="WuckaChucka" Text="I've discovered that (I believe) there's a limitation to ASIO in that multiple sound cards/devices cannot be used together (at least as far as Adobe Audition, N-Track, and Vegas Pro goes): what I was trying to do was use ASIO drivers for my input-to-track mappings for recording, but use my Realtek built-in sound card for the &quot;master&quot; output as I do not have powered monitors and therefore can't take advantage of the Delta 44's discrete outputs.&#xD;&#xA;&#xD;&#xA;Are there any real gains for quality with ASIO for recording analog multitrack on balanced TRS inputs from an analog mixer?  I can still achieve 96KHz/24-bit sample rate without ASIO; not sure there's any benefits to using ASIO drivers (the MME or DirectSound drivers allow me to use the Delta 44's inputs as L/R pairs, and just as importantly allow me to use my built-in sound card/speakers for monitoring)." ContentLicense="CC BY-SA 3.0" />
  <row Id="47681" PostHistoryTypeId="1" PostId="26538" RevisionGUID="5908a689-a315-4f05-9a55-aaf81ba07d0d" CreationDate="2011-12-28T22:01:54.447" UserDisplayName="WuckaChucka" Text="ASIO drivers for recording analog audio (balanced TRS inputs) on a Delta 44" ContentLicense="CC BY-SA 3.0" />
  <row Id="47682" PostHistoryTypeId="3" PostId="26538" RevisionGUID="5908a689-a315-4f05-9a55-aaf81ba07d0d" CreationDate="2011-12-28T22:01:54.447" UserDisplayName="WuckaChucka" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47683" PostHistoryTypeId="36" PostId="26539" RevisionGUID="eb51ec80-5c79-4424-b173-1758f25ec153" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2912/asio-drivers-for-recording-analog-audio-balanced-trs-inputs-on-a-delta-44/2913#2913" />
  <row Id="47685" PostHistoryTypeId="36" PostId="26541" RevisionGUID="9f767956-4097-44fc-9538-64514f045d49" CreationDate="2014-01-27T15:18:19.730" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2912/asio-drivers-for-recording-analog-audio-balanced-trs-inputs-on-a-delta-44/2971#2971" />
  <row Id="47686" PostHistoryTypeId="2" PostId="26541" RevisionGUID="9e4bb7d5-a911-4d15-9347-f7e8d485ccd9" CreationDate="2012-01-05T23:55:24.893" UserId="7440" UserDisplayName="J.K." Text="Give ASIO4ALL a shot.&#xD;&#xA;&#xD;&#xA;There's a good chance you can use it to run both your interfaces with the same audio driver, to use the outs of your internal and ins of your external in any of your software.&#xD;&#xA;&#xD;&#xA;http://www.asio4all.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="47688" PostHistoryTypeId="36" PostId="26542" RevisionGUID="f593a94a-eb4d-4c67-ac74-c50a83c421e3" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2298/is-there-any-windows-mac-or-unix-software-similar-to-lsdj-for-writing-chiptun" />
  <row Id="47689" PostHistoryTypeId="2" PostId="26543" RevisionGUID="a800f6ce-02ee-445b-b76a-c4f14942a3ac" CreationDate="2011-09-11T17:52:49.330" UserId="7623" UserDisplayName="PtrFdr" Text="You should try [LMMS][1], which has a *SID* and a *FreeBoy* plugin.&#xD;&#xA;&#xD;&#xA;  [1]: http://lmms.sourceforge.net/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47690" PostHistoryTypeId="2" PostId="26542" RevisionGUID="b898a59d-de95-4fc1-9ef7-bfa11f5a825a" CreationDate="2011-09-10T09:15:30.690" UserDisplayName="TML" Text="I am aware of [LSDJ](http://www.littlesounddj.com/) and have tried to use it via various GameBoy emulators, but I find the interface to be incredibly clunky and am wondering if anyone has seen a suite of software that takes better advantage of the keyboard and/or mouse interfaces commonly available to us today, but that can generate the same sort of &quot;chiptunes&quot; sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47691" PostHistoryTypeId="1" PostId="26542" RevisionGUID="b898a59d-de95-4fc1-9ef7-bfa11f5a825a" CreationDate="2011-09-10T09:15:30.690" UserDisplayName="TML" Text="Is there any Windows, Mac, or Unix software similar to LSDJ for writing &quot;chiptunes&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47692" PostHistoryTypeId="3" PostId="26542" RevisionGUID="b898a59d-de95-4fc1-9ef7-bfa11f5a825a" CreationDate="2011-09-10T09:15:30.690" UserDisplayName="TML" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47693" PostHistoryTypeId="36" PostId="26543" RevisionGUID="c97ced1f-c8a8-4075-85ad-2e926160be6a" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2298/is-there-any-windows-mac-or-unix-software-similar-to-lsdj-for-writing-chiptun/2302#2302" />
  <row Id="47694" PostHistoryTypeId="36" PostId="26544" RevisionGUID="2f38eefb-ea3b-487f-a9e3-cbb1de6b0b81" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2298/is-there-any-windows-mac-or-unix-software-similar-to-lsdj-for-writing-chiptun/2307#2307" />
  <row Id="47695" PostHistoryTypeId="36" PostId="26545" RevisionGUID="917173f9-369a-49a1-a56c-8f65be351527" CreationDate="2014-01-27T15:15:09.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2298/is-there-any-windows-mac-or-unix-software-similar-to-lsdj-for-writing-chiptun/2311#2311" />
  <row Id="47696" PostHistoryTypeId="2" PostId="26544" RevisionGUID="5f4de3fd-ad4d-40a8-9c91-5975d59745d5" CreationDate="2011-09-12T20:35:18.063" UserId="7234" Text="Pretty much any &quot;tracker&quot; program (Impulse Tracker, CheeseTracker, etc.) can be used to make chiptunes, given fundamental waveforms as samples.  There are also a lot of chip-style softsynths available for sequencers such as Cubase, Logic, Ardour, Reaper, etc.; Logic even comes with a whole bunch of them with different wonderful bleepy-blorpy characteristics." ContentLicense="CC BY-SA 3.0" />
  <row Id="47697" PostHistoryTypeId="2" PostId="26545" RevisionGUID="d14bec87-e24c-4c42-bd05-27ef506e52c1" CreationDate="2011-09-13T16:13:36.350" UserId="7294" UserDisplayName="Warrior Bob" Text="There are a whole bunch of ways to make chiptune music in modern environments.&#xD;&#xA;&#xD;&#xA;The &quot;classic&quot; approach to this is to use [tracker][1] software to sequence chip samples. Most trackers use samples, and there's a [lot of history][2] to using chip samples in tracker music. There are a few traditional trackers available for modern OS's, such as [MilkyTracker][3] or [Modplug Tracker/OpenMPT][4]. There are also more modern trackers with newer features, such as [Renoise][5]. Trackers are neat because you work at a very low, fundamental level with your samples. It can feel like programming as much as composition.&#xD;&#xA;&#xD;&#xA;A more common approach these days, since DAWs and plugins are so common now, is to use a plugin to either emulate the sound of the old chips, or play back samples of them. If you're on Windows, try Tweakbench's free [Toad][6], [Peach][7], and [Triforce][8] plugins which make sounds based on NES waveforms, likely similar to what you were making with LSDJ. This approach is great too, because you can easily combine chipsounds with other recorded or synthesized sounds, and it's generally very easy to add effects and make broader edits. There's also a larger community of people working with this kind of software that you can rely on.&#xD;&#xA;&#xD;&#xA;Of course if you REALLY want to be authentic, it is possible to sequence notes on actual chip hardware, using a solution such as a [HardSID][9] or [MSSIAH cartridge][10]. There's no more authentic way to get these sounds, but recording them can be a hassle - a lot of those old machines were noisy, and it can be hard to get a clean signal.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Tracker_%28music_software%29&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Chiptune#Tracker_chiptunes&#xD;&#xA;  [3]: http://milkytracker.org/&#xD;&#xA;  [4]: http://openmpt.org/&#xD;&#xA;  [5]: http://www.renoise.com/&#xD;&#xA;  [6]: http://www.tweakbench.com/toad&#xD;&#xA;  [7]: http://www.tweakbench.com/peach&#xD;&#xA;  [8]: http://www.tweakbench.com/triforce&#xD;&#xA;  [9]: http://www.hardsid.com/&#xD;&#xA;  [10]: http://www.mssiah.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="47698" PostHistoryTypeId="36" PostId="26546" RevisionGUID="32ac8868-bebe-479c-a814-07f214a2a7ea" CreationDate="2014-01-27T15:24:34.007" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5201/usb-isolators-to-eliminate-ground-loop" />
  <row Id="47699" PostHistoryTypeId="2" PostId="26547" RevisionGUID="dd5f1c30-e61c-4d36-822c-4420a8622d64" CreationDate="2012-10-30T16:31:48.027" UserId="6862" Text="That device is built around the ADuM4160. I have used that device to isolate USB and it works great, however I have never used it for audio applications. It should break a ground loop, assuming that is the problem that you are hearing.&#xD;&#xA;&#xD;&#xA;Note that the ADuM4160 max speed is 12 Mbps. Some USB devices expect to be able to function at 480 MBps, but an audio interface should be fine with the slower speed." ContentLicense="CC BY-SA 3.0" />
  <row Id="47700" PostHistoryTypeId="2" PostId="26546" RevisionGUID="f4a55a50-bfb0-4f00-8153-2f31e1958dbc" CreationDate="2012-10-29T16:56:58.323" UserId="7239" Text="I believe I have an issue with a ground loop. I'm looking at some USB Isolators. I found this,&#xD;&#xA;&#xD;&#xA; * [Solarbotics model for $48](https://solarbotics.com/product/18898/)&#xD;&#xA;&#xD;&#xA;Would this eliminate ground loop? I have both my both two outputs going to my mixer from my USB DAC and also from headphone out?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47701" PostHistoryTypeId="1" PostId="26546" RevisionGUID="f4a55a50-bfb0-4f00-8153-2f31e1958dbc" CreationDate="2012-10-29T16:56:58.323" UserId="7239" Text="USB Isolators to eliminate ground loop?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47702" PostHistoryTypeId="3" PostId="26546" RevisionGUID="f4a55a50-bfb0-4f00-8153-2f31e1958dbc" CreationDate="2012-10-29T16:56:58.323" UserId="7239" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47703" PostHistoryTypeId="36" PostId="26547" RevisionGUID="cb6cc1a3-6cdb-4b1d-b735-1ca6c745c378" CreationDate="2014-01-27T15:24:34.007" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5201/usb-isolators-to-eliminate-ground-loop/5208#5208" />
  <row Id="47704" PostHistoryTypeId="6" PostId="24891" RevisionGUID="b333f2a7-37de-4829-8685-49b28a17a5ca" CreationDate="2014-01-27T16:42:58.230" UserId="7190" Comment="edited tags" Text="&lt;daw&gt;&lt;ableton-live&gt;&lt;audio-interfaces&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47708" PostHistoryTypeId="5" PostId="22215" RevisionGUID="2100e78e-b00f-423b-b8e0-59cade6ebccd" CreationDate="2014-01-27T17:19:50.727" UserId="7174" Comment="deleted 28 characters in body" Text="I am looking for inspiration from movies where the sound (voice, sound effects, music) was used in a way to create stronger/more memorable character, to shape the character, where sound creates a distinctive quality/characteristics, describes him, reveal weakness or mental state...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;A few examples I can think of:&#xD;&#xA;&#xD;&#xA;dialogue and voice:&#xD;&#xA;&#xD;&#xA; - different voice deformations for *Batman* or *Darth Vader*, or even whole new language of *R2D2*&#xD;&#xA; - characters that are present only through voice - sniper in &quot;*Phone Booth*&quot;, mother in &quot;*Psycho*&quot;, or character of *Dr Mabuse*&#xD;&#xA; - silent character - *Silent Bob*&#xD;&#xA; - speech defect in &quot;*Kings speech*&quot;&#xD;&#xA;&#xD;&#xA;sound effects:&#xD;&#xA;&#xD;&#xA; - &quot;*Black swan*&quot; with sounds of wings edited in right places&#xD;&#xA; - [footsteps][1] in &quot;*No country for old men*&quot;&#xD;&#xA;&#xD;&#xA;music:&#xD;&#xA;&#xD;&#xA; - leitmotifs in &quot;*Jaws*&quot; when the shark is coming, again very distinctive music in &quot;*Star Wars*&quot; for *Darth Wader*...&#xD;&#xA; - also found [this interesting article][2] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;hope this is not too broad&#xD;&#xA;&#xD;&#xA;  [1]: http://www.teachmix.com/litcraft/content/following-footsteps-symbolism-movie-adaptation-no-country-old-men&#xD;&#xA;  [2]: http://www.jstor.org/discover/10.1525/mp.2007.25.2.135?uid=3737856&amp;uid=2129&amp;uid=2&amp;uid=70&amp;uid=4&amp;sid=21103238604191" ContentLicense="CC BY-SA 3.0" />
  <row Id="47709" PostHistoryTypeId="4" PostId="22215" RevisionGUID="2100e78e-b00f-423b-b8e0-59cade6ebccd" CreationDate="2014-01-27T17:19:50.727" UserId="7174" Comment="deleted 28 characters in body" Text="Examples of characters defined through sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="47710" PostHistoryTypeId="2" PostId="26549" RevisionGUID="9a926ca6-e001-4037-9971-4cc97d709f8a" CreationDate="2014-01-27T17:24:19.203" UserId="432" Text="If you're on a Mac, you can use [Soundflower][1] from Cycling '74. It allows you to virtually patch between programs and devices, and it's free.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://cycling74.com/products/soundflower/" ContentLicense="CC BY-SA 3.0" />
  <row Id="47713" PostHistoryTypeId="5" PostId="22142" RevisionGUID="94b92ee8-410e-4140-b629-d9e681036e3d" CreationDate="2014-01-27T18:52:02.470" UserId="1225" Comment="added 174 characters in body" Text="**UPD**: thanks to everyone, the question is closed. The library is published on my website, you'll find the full info here: [Urban Russia sound library][1]&#xD;&#xA;&#xD;&#xA;I'm from Russia. I've been recording various ambiences and sounds of Saint-Petersburg and Moscow for 2 years. Recently I looked through my collection and decided that it has enough audio material to be shared. I'd like to sell it for a small price, but I'm not sure about it yet.&#xD;&#xA;&#xD;&#xA;May I ask you, a fellow sound editor or recordist, would you be interested in my collection? If true, what price would be reasonable for you?&#xD;&#xA;&#xD;&#xA;The collection includes recordings of:&#xD;&#xA;&#xD;&#xA; 1. elevators&#xD;&#xA; 2. hotel lobbies&#xD;&#xA; 3. international conference (crowds)&#xD;&#xA; 4. streets and parks&#xD;&#xA; 5. moscow monorail&#xD;&#xA; 6. subways&#xD;&#xA; 7. trains and train stations&#xD;&#xA; 8. shores (surf waves)&#xD;&#xA; 9. fireworks (New Year Celebration)&#xD;&#xA; 10. airport, bank office, food court, game center ambiences&#xD;&#xA; 11. museums (Hermitage, Kazan's Cathedral)&#xD;&#xA;&#xD;&#xA;Total: 4h 50m, 4401mb.&#xD;&#xA;Recorded with Zoom H4n, 44khz/32bit, stereo.&#xD;&#xA;&#xD;&#xA;The full filelist is here: [http://lesser-vibes.com/russian_ambiences_list.txt][2]&#xD;&#xA;&#xD;&#xA;The filenames and tags aren't final, I'm still working on them.&#xD;&#xA;&#xD;&#xA;I created a brief mix and uploaded it on SoundCloud for your evaluation of the sound quality. [http://soundcloud.com/vibe-crc/ambiences-and-sounds-of-russia][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://lesser-vibes.com/sound.html&#xD;&#xA;  [2]: http://lesser-vibes.com/russian_ambiences_list.txt&#xD;&#xA;  [3]: http://soundcloud.com/vibe-crc/ambiences-and-sounds-of-russia" ContentLicense="CC BY-SA 3.0" />
  <row Id="47715" PostHistoryTypeId="2" PostId="26550" RevisionGUID="6ec098e0-14a9-413c-8f4b-64e36f88f9a2" CreationDate="2014-01-27T20:07:27.167" UserId="7278" Text="Integrated circuit power amplifiers reach a point of negligible incremental return quite low on the cost curve. From a reputable source you are not going to see a measurable improvement beyond $20. It's an extremely mature technology, about the oldest and most active of any electronic technology. Correlating the quality of a headphone amp with price is simply silly.&#xD;&#xA;&#xD;&#xA;There's always an argument whether audio performance is objectively measurable and that too is simply silly." ContentLicense="CC BY-SA 3.0" />
  <row Id="47717" PostHistoryTypeId="2" PostId="26551" RevisionGUID="b466a044-a081-4499-8584-899f7b1949c8" CreationDate="2014-01-27T23:29:25.267" UserId="7283" Text="We have a situation where we recorded tracks at 48khz. However, the final mix will be printed through an analog console. Is there any benefit - and if so, how much - to printing the mix through the console in 96khz instead of 48khz?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47718" PostHistoryTypeId="1" PostId="26551" RevisionGUID="b466a044-a081-4499-8584-899f7b1949c8" CreationDate="2014-01-27T23:29:25.267" UserId="7283" Text="If we recorded tracks at 48khz, and are mixing through an analog console, is there any benefit to printing the mix in 96khz instead of 48khz?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47719" PostHistoryTypeId="3" PostId="26551" RevisionGUID="b466a044-a081-4499-8584-899f7b1949c8" CreationDate="2014-01-27T23:29:25.267" UserId="7283" Text="&lt;sound&gt;&lt;mixing&gt;&lt;quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47720" PostHistoryTypeId="2" PostId="26552" RevisionGUID="acd0cb49-50ac-4c38-b71d-f852b59623cc" CreationDate="2014-01-27T23:32:45.450" UserId="432" Text="No. It would be a different story if you were changing bit depth (16 to 24), but you won't get any benefit by increasing the sample rate in this situation." ContentLicense="CC BY-SA 3.0" />
  <row Id="47721" PostHistoryTypeId="2" PostId="26553" RevisionGUID="86415923-b688-4911-b904-b11f9e539eb9" CreationDate="2014-01-27T23:33:32.137" UserId="7284" Text="Not really, the only benefit from resampling again at 96 on the analog output is that the output of any time-based effects (delay, reverb, chorus, etc) will be sampled at the higher quality. If you're simply adjusting levels in your mix, you'll receive no benefit. You would be able to capture slightly more data resolution by increasing the bit-depth, however. then you're capturing the minute analog amplitude changes." ContentLicense="CC BY-SA 3.0" />
  <row Id="47722" PostHistoryTypeId="2" PostId="26554" RevisionGUID="d7d1b263-acc9-4182-94b9-bd3926448462" CreationDate="2014-01-28T00:18:04.587" UserId="7285" Text="I have an old car stereo radio but the car only has a mono speaker. I do not want to do any metal cutting to install new stereo speakers. Thus, is it possible to use the output signal (low impedance) to the speakers and convert it to a Bluetooth signal so I can use a portable Bluetooth speaker? " ContentLicense="CC BY-SA 3.0" />
  <row Id="47723" PostHistoryTypeId="1" PostId="26554" RevisionGUID="d7d1b263-acc9-4182-94b9-bd3926448462" CreationDate="2014-01-28T00:18:04.587" UserId="7285" Text="Is there a gadget that would convert the stereo speaker output into Bluetooth?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47724" PostHistoryTypeId="3" PostId="26554" RevisionGUID="d7d1b263-acc9-4182-94b9-bd3926448462" CreationDate="2014-01-28T00:18:04.587" UserId="7285" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47725" PostHistoryTypeId="5" PostId="26549" RevisionGUID="1b740fcf-6d96-4f40-a31f-9e593f1ac6a6" CreationDate="2014-01-28T04:05:24.343" UserId="432" Comment="added Windows option" Text="If you're on a Mac, you can use [Soundflower][1] from Cycling '74. It allows you to virtually patch between programs and devices, and it's free.&#xD;&#xA;&#xD;&#xA;I've never tried it, but [JACK][2] seems to be a similar application for Windows.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://cycling74.com/products/soundflower/&#xD;&#xA;  [2]: http://www.jackaudio.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="47726" PostHistoryTypeId="2" PostId="26555" RevisionGUID="40473fd3-1a30-4c44-b1a9-d7908dd0f41c" CreationDate="2014-01-28T05:16:25.223" UserId="7291" Text="I had this same problem using the M-Audio Driver.&#xD;&#xA;I did find a fix for this problem. This will, of course be dependent upon a couple of factors. The speed of your computer and the speed of your USB audio device (2.0, 1.0, etc.). &#xD;&#xA;&#xD;&#xA;I was able to get 64 samples with my M-Track and this should work for your Fast Track (and just about any other USB device).&#xD;&#xA;&#xD;&#xA;1. Uninstall all drivers. All of them. Yes, all of them.&#xD;&#xA;    At this point your USB device should not be recognized by windows. This is OK.&#xD;&#xA;2. Go to Start-&gt;Control Panel-&gt;Hardware and Sound-&gt;Device Manager&#xD;&#xA;3. Find your uninstalled audio device, (it should have a yellow exclamation sign on it).&#xD;&#xA;4. Right click on the device and select &quot;Update Driver Software...&quot;.&#xD;&#xA;5. Select &quot;Browse my computer for driver software&quot;&#xD;&#xA;6. Select &quot;Let me pick form a list of device drivers on my computer&quot;.&#xD;&#xA;7. Select Manufacturer-&gt;(Generic USB Audio) and Model-&gt;USB Audio Device&#xD;&#xA;8. Click Next and then Click yes on &quot;Update Driver Warning&quot;, yes its OK.&#xD;&#xA;&#xD;&#xA;Under &quot;Sound, video and game controllers&quot; your audio device should now show up as &quot;USB Audio Device&quot;.&#xD;&#xA;&#xD;&#xA;9. If you have made it this far, now install ASIO4ALL with the offline settings checked.&#xD;&#xA;10. Open your app and select ASIO driver, open the control panel for ASIO4ALL and move the slider to 64 samples. &#xD;&#xA;11. Check latency.&#xD;&#xA;&#xD;&#xA;This worked for me without any problems. The only caveat is that with the generic USB driver loaded, your device Input/Output names will also be generic in your apps. My M-Track input tracks are named &quot;Port_#0001.Hub_#0003 1/Port_#0001.Hub_#0003 2&quot;.&#xD;&#xA;&#xD;&#xA;This is because the driver input and output info is installed when using the factory drivers, but ultimately this is not a problem since the tracks are still numbered, just something I wanted everyone to be aware of.&#xD;&#xA;&#xD;&#xA;Hope this is of help out there." ContentLicense="CC BY-SA 3.0" />
  <row Id="47727" PostHistoryTypeId="2" PostId="26556" RevisionGUID="aec38905-023c-4276-bbc9-8af07f0fc7d6" CreationDate="2014-01-28T05:26:01.407" UserId="7291" Text="I had this same problem using the M-Audio Driver.&#xD;&#xA;I did find a fix for this problem. This will, of course be dependent upon a couple of factors. The speed of your computer and the speed of your USB audio device (2.0, 1.0, etc.). &#xD;&#xA;&#xD;&#xA;I was able to get 64 samples with my M-Track and this should work for yours too (and just about any other USB device).&#xD;&#xA;&#xD;&#xA;1. Uninstall all drivers. All of them. Yes, all of them.&#xD;&#xA;    At this point your USB device should not be recognized by windows. This is OK.&#xD;&#xA;2. Go to Start-&gt;Control Panel-&gt;Hardware and Sound-&gt;Device Manager&#xD;&#xA;3. Find your uninstalled audio device, (it should have a yellow exclamation sign on it).&#xD;&#xA;4. Right click on the device and select &quot;Update Driver Software...&quot;.&#xD;&#xA;5. Select &quot;Browse my computer for driver software&quot;&#xD;&#xA;6. Select &quot;Let me pick form a list of device drivers on my computer&quot;.&#xD;&#xA;7. Select Manufacturer-&gt;(Generic USB Audio) and Model-&gt;USB Audio Device&#xD;&#xA;8. Click Next and then Click yes on &quot;Update Driver Warning&quot;, yes its OK.&#xD;&#xA;&#xD;&#xA;Under &quot;Sound, video and game controllers&quot; your audio device should now show up as &quot;USB Audio Device&quot;.&#xD;&#xA;&#xD;&#xA;9. If you have made it this far, now install ASIO4ALL with the offline settings checked.&#xD;&#xA;10. Open your app and select ASIO driver, open the control panel for ASIO4ALL and move the slider to 64 samples. &#xD;&#xA;11. Check latency.&#xD;&#xA;&#xD;&#xA;This worked for me without any problems. The only caveat is that with the generic USB driver loaded, your device Input/Output names will also be generic in your apps. My M-Track input tracks are named &quot;Port_#0001.Hub_#0003 1/Port_#0001.Hub_#0003 2&quot;.&#xD;&#xA;&#xD;&#xA;This is because the driver input and output info is installed when using the factory drivers, but ultimately this is not a problem since the tracks are still numbered, just something I wanted everyone to be aware of.&#xD;&#xA;&#xD;&#xA;Hope this helps!! " ContentLicense="CC BY-SA 3.0" />
  <row Id="47728" PostHistoryTypeId="2" PostId="26557" RevisionGUID="bfcb07cb-7505-4d9c-835d-ad21e43d750c" CreationDate="2014-01-28T06:09:42.573" UserId="6718" Text="If money is no object, you'd use a full-range directional speaker such as a line array or something made by &quot;danley sound labs&quot; in both cases raised high above the audience tilted down towards them (usually hung from the ceiling).&#xD;&#xA;&#xD;&#xA;If thats not an option, you put a second pair of speakers halfway down the hall and set them up as &quot;delay speakers&quot; to do this requires the addition of a processor to delay the sound going to the &quot;delays&quot; to give the illusion the sound is coming from the stage.&#xD;&#xA;&#xD;&#xA;If you google &quot;delay speakers&quot; you'll find loads of advice and pictures" ContentLicense="CC BY-SA 3.0" />
  <row Id="47729" PostHistoryTypeId="6" PostId="20465" RevisionGUID="6c54452f-e02b-4a7a-bcbc-99b5f128a167" CreationDate="2014-01-28T07:31:49.840" UserId="6718" Comment="added a tag" Text="&lt;speakers&gt;&lt;live-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47730" PostHistoryTypeId="24" PostId="20465" RevisionGUID="6c54452f-e02b-4a7a-bcbc-99b5f128a167" CreationDate="2014-01-28T07:31:49.840" Comment="Proposed by 6718 approved by 432, 6387 edit id of 58" ContentLicense="CC BY-SA 3.0" />
  <row Id="47739" PostHistoryTypeId="6" PostId="26554" RevisionGUID="84d24ed4-d21b-4df6-ad93-ef04f14cb678" CreationDate="2014-01-28T13:27:35.220" UserId="6957" Comment="edited tags" Text="&lt;conversion&gt;&lt;signal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47740" PostHistoryTypeId="6" PostId="26182" RevisionGUID="22839edc-6370-4f97-956e-a4cea4c4d1e5" CreationDate="2014-01-28T13:30:20.283" UserId="6957" Comment="edited tags" Text="&lt;voice&gt;&lt;waves&gt;&lt;spectrum&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47741" PostHistoryTypeId="6" PostId="25580" RevisionGUID="415219eb-dcf5-43a8-b8d1-c979cbe282cc" CreationDate="2014-01-28T13:32:28.403" UserId="6957" Comment="edited tags" Text="&lt;vocals&gt;&lt;pitch&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47742" PostHistoryTypeId="6" PostId="26322" RevisionGUID="5fc54244-520c-4053-a711-5592a4e6fbc3" CreationDate="2014-01-28T13:35:12.620" UserId="6957" Comment="edited tags" Text="&lt;impedance&gt;&lt;amplifier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47743" PostHistoryTypeId="6" PostId="25189" RevisionGUID="b7012fcc-69af-412d-aee5-20b50d9803d5" CreationDate="2014-01-28T13:39:27.437" UserId="6957" Comment="edited tags" Text="&lt;noise&gt;&lt;digital&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47746" PostHistoryTypeId="6" PostId="26348" RevisionGUID="a7519515-adec-4874-9d30-8471a194c42b" CreationDate="2014-01-28T13:46:02.110" UserId="6957" Comment="edited tags" Text="&lt;signal&gt;&lt;guitar&gt;&lt;pickup&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47747" PostHistoryTypeId="2" PostId="26561" RevisionGUID="88b18e40-dc6d-4073-91ec-73f5ca5c54ed" CreationDate="2014-01-28T13:52:10.563" UserId="7200" Text="The relevant question is what you're going to do with the mix yet. [Distributing a final master at more than 48 kHz makes no sense whatsoever](http://xiph.org/~xiphmont/demo/neil-young.html). The only reason it can be useful to record at higher rates is to avoid aliasing issues in any nonlinear effects plugins.&#xD;&#xA;&#xD;&#xA;That certainly includes mastering compressors, so if your plan is to feed the digital mix to some such final stage then I would say it is indeed a good idea to sample your analogue mixer's output at 96 kHz, do the mastering on that file, and downsample to 44.1 / 48 kHz for consumer distribution. Since it's only stereo, neither hard-drive space nor CPU power should be an issue, so no matter how little aliasing if you can avoid it it's worth the effort.&#xD;&#xA;&#xD;&#xA;Realistically, there will probably be no significant difference unless the mastering includes rather excessive limiting / soft-clipping. If you don't do any digital processing of the mix at all, you might as well record straight to the final target sample rate (note that your ADC will in this case do the equivalent downsampling)." ContentLicense="CC BY-SA 3.0" />
  <row Id="47748" PostHistoryTypeId="2" PostId="26562" RevisionGUID="94ee028a-2f5d-4519-a90a-2a2b35d21260" CreationDate="2014-01-28T17:07:45.023" UserId="7300" Text="I think these guys have provided some great answers, but one answer I'm not seeing is to morph the sound. The idea being, the beeping monitor sound changes to something else over a period of time. Slowly morph the sound using filters, distortion, oscillators or other sound fx. &#xD;&#xA;&#xD;&#xA;You could also morph the sound into another sound, and since a heartbeat is rather rhythmic, blending/cross-fading it into the beat of the song, or a percussion track could go a long way. This way you can make the sound completely disappear without it being noticed as &quot;gone&quot; because something is replacing it." ContentLicense="CC BY-SA 3.0" />
  <row Id="47749" PostHistoryTypeId="2" PostId="26563" RevisionGUID="2382fced-bb38-47b1-af05-4a2773a0a2f9" CreationDate="2014-01-28T17:31:36.577" UserId="7300" Text="Much of what you hear in a low end signal is in fact mid-range frequencies. Listen to old recordings from the 50-60's. Back then, common speaker systems were fairly horrible in their bass frequency reproduction. &#xD;&#xA;&#xD;&#xA;A way to combat this is to either boost the mid-range, or reduce the sub 300 hz range. Some common bass or kick drum EQ settings are to remove 300hz with a narrow Q, but too much of this will make the bass sound very modern and it can then disappear on small speakers.&#xD;&#xA;&#xD;&#xA;Try this: use a broad Q on a parametric EQ and boost 800-2000hz by a few db, or until the bass becomes audible on small speakers. Then apply a brick wall (12db slope) high pass filter at 30-40hz to clean up the sub frequencies. Also, if you are not compressing the bass track, do so, this can also go a long way in preventing note drop outs on small speakers." ContentLicense="CC BY-SA 3.0" />
  <row Id="47750" PostHistoryTypeId="2" PostId="26564" RevisionGUID="069594a6-fe23-428f-8591-5777c562594d" CreationDate="2014-01-28T17:38:45.443" UserId="7212" Text="It's a matter of convenience, and of tradition.&#xD;&#xA;&#xD;&#xA;On the earliest amps, all the performer had for output control were volume and tone. The only difference between these controls and the ones on a Telecaster was that the amplifier had a gain stage prior to these controls to boost the signal before any cutting of volume or high end was done. It wasn't until later that the RLC band-pass circuit was discovered, as well as various techniques for employing it that economized on power (for instance, using the filters to induce phase cancellation rather than shunting signal to ground).&#xD;&#xA;&#xD;&#xA;Guitarists, who at that time were basically playing modified acoustic guitars with magnetic coil pickups placed strategically in the top (leading to what would become the semi-hollow body style such as on Gibson's iconic L and ES models), complained that this setup was inconvenient; if they needed to make a change to their tone, or simply to silence their instrument (feedback was a serious issue before the development of the solidbody guitar in the late 30s), they had to go over to their amp, kneel down, make the tweak, then play the next song, checking to see if the change was what they were after. In response, custom builders began wiring simplified versions of the exact same controls used in the amplifiers either into metal boxes that could be wired up into the instrument cable, or directly onto the tops of the guitars. &#xD;&#xA;&#xD;&#xA;The diagrams for the famous Rickenbacker &quot;frying pan&quot;, arguably the first true production electric guitar, at least took the need for volume control into account; the design submitted to the USPTO in 1934 included an inline volume control. Custom archtop acoustics with pickups mounted had master volume and tone controls mounted since the mid-30s. The iconic designs we have today, first the Gibson L-series, then the Les Paul, the ES, the Broadcaster/Telecaster, Stratocaster, SG, etc. all had these controls because they were demanded by players, having gotten used to them on their modified acoustics.&#xD;&#xA;&#xD;&#xA;Nowadays, the modern examples of these guitars have the electronics configurations that they do because the guitar simply wouldn't be a Tele, or an LP, or a Strat, without the same control configuration seen on the instruments used by the idols of the guitar world in the 50s through the 70s. The exact reason you'd want to remove them (or replace them with updated, more transparent &quot;active&quot; preamplifier controls), to get the raw sound from the pickups into the amplifier, is the exact reason they *can't* be removed; it would change the tone of the instrument, and it would no longer sound like the guitar's ancestors.&#xD;&#xA;&#xD;&#xA;That said, there are always those that bucked the trend. Nikki Sixx modified his bass to remove the electronics completely, save for a single mute switch. Eddie Van Halen built his iconic Frankenstrat from scratch, wiring it without tone controls in part due to his limited knowledge of guitar wiring. While active circuitry in guitars has seen relatively limited adoption, the same cannot be said of basses, where active preamps are common though still not ubiquitous (still plenty of demand among players for the traditional passive designs)." ContentLicense="CC BY-SA 3.0" />
  <row Id="47751" PostHistoryTypeId="2" PostId="26565" RevisionGUID="bfb21b62-3fec-4907-a681-a7520e0e0c3d" CreationDate="2014-01-28T17:51:14.207" UserId="7300" Text="Much of the problem you described usually comes from the microphone used to record the vocals. Most sub $300 mics have a pronounced peak at or around these frequencies. The reason for this is that many of those mics are using circuits from other established manufacturers (schoeps, neumann) but they leave off an important part of the circuit, the mid-high attenuator. This coupled with a knockoff capsule lends to harsh sounding recording, especially when the source (vocal) already has a lot of those frequencies.&#xD;&#xA;&#xD;&#xA;Your best recourse is to either find a mic with a flatter response, or use a EQ/De-esser to remove the offending frequencies." ContentLicense="CC BY-SA 3.0" />
  <row Id="47752" PostHistoryTypeId="2" PostId="26566" RevisionGUID="05b036ec-cfeb-4736-96eb-b502256a14d3" CreationDate="2014-01-28T17:52:29.460" UserId="7301" Text="Found this on a gearslutz forum a while back (sorry to whoever originally wrote it, credit to you!)&#xD;&#xA;&#xD;&#xA;&gt; What I used to do was: suspend automation, mess around for a bit,&#xD;&#xA;&gt; shift+cmd+c my settings, and then roll back a bit. Enable latch mode,&#xD;&#xA;&gt; hit play and then shift+cmd+v the settings. Obviously, this is kind of&#xD;&#xA;&gt; a pain and takes longer than it would w/ HD. &#xD;&#xA;&gt; &#xD;&#xA;&gt; Somebody mentioned recently that you can also go about it by going&#xD;&#xA;&gt; into WRITE mode, looping your playback, and then when you get settings&#xD;&#xA;&gt; you like, switching into touch mode. I tried it out once, and I think&#xD;&#xA;&gt; that it basically works.&#xD;&#xA;&#xD;&#xA;There's another workaround here which involves using a &quot;dummy track&quot; which I've also used: http://www.youtube.com/watch?v=Lg3-pfXttM8&amp;list=FLQlfdnQfE5v7O7gzJYW7afQ&amp;feature=share&#xD;&#xA;&#xD;&#xA;Both are a pain, but at least get the job done." ContentLicense="CC BY-SA 3.0" />
  <row Id="47753" PostHistoryTypeId="2" PostId="26567" RevisionGUID="9c2105c7-4fd6-41cd-afc1-41a516374df1" CreationDate="2014-01-28T17:54:12.287" UserId="7302" Text="For recording violin, I tend to favor a small diaphragm condenser such as the Nuemann KM-184 as my 'go-to- choice. It doesn't have to be a Nuemann though ... the truth is though that there are so many good choices in small-D mics out there that you can find a good sounding mic at almost any price point. I typically position the mic above the instrument by 12-16 inches or so, aimed at the F-Hole on the 'G-string' side of the instrument. BUT ... mic placement depends on the individual instrument and a few inches in any direction can have a big effect ... so ... experiment! &#xD;&#xA;&#xD;&#xA;For live applications, look no further than the DPA-4099V. This is a mini shotgun style condenser mic that is used by many of the top touring violinists out there. It comes with a (non-permanent) mount that is gentle to the finish of your instrument but that holds the mic securely in place. The mic itself is really, really wonderful at capturing the acoustic sound of a violin but I've seen them used on mandolins and with the proper mount (DPA offers a variety of mounts) double bass, guitar, and brass instruments as well. &#xD;&#xA;&#xD;&#xA;Because the mic is positioned so closely to the instrument and because its pickup pattern is very directional, it has excellent feedback rejection too.&#xD;&#xA;&#xD;&#xA;Check them out ... you will be *very* glad that you did!&#xD;&#xA;&#xD;&#xA;Hope this helps!   :-)&#xD;&#xA;&#xD;&#xA;Note: I have no relationship with DPA whatsoever. I am just an extremely happy customer that *loves* his 4099. " ContentLicense="CC BY-SA 3.0" />
  <row Id="47755" PostHistoryTypeId="2" PostId="26569" RevisionGUID="af6c751f-6b4a-4357-9bd9-2c67ea8b6cdd" CreationDate="2014-01-28T19:44:04.430" UserId="7306" Text="I red a question here on loading the tascam with the apple iphone device: connecting the tascam through usb to the electricity net. some things were not clear to me. &#xD;&#xA;The dr-100 says 5V. can i really just plug it by using USB into my european electricity net by plugging a usb cable into my apple loader and the laoder in the electricty net? best, soundy" ContentLicense="CC BY-SA 3.0" />
  <row Id="47756" PostHistoryTypeId="1" PostId="26569" RevisionGUID="af6c751f-6b4a-4357-9bd9-2c67ea8b6cdd" CreationDate="2014-01-28T19:44:04.430" UserId="7306" Text="TASCAM DR 100 &amp; Apple loader" ContentLicense="CC BY-SA 3.0" />
  <row Id="47757" PostHistoryTypeId="3" PostId="26569" RevisionGUID="af6c751f-6b4a-4357-9bd9-2c67ea8b6cdd" CreationDate="2014-01-28T19:44:04.430" UserId="7306" Text="&lt;battery&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47758" PostHistoryTypeId="2" PostId="26570" RevisionGUID="2787fb55-fe8d-420c-94dd-21f8dd0a0944" CreationDate="2014-01-28T19:53:54.757" UserId="7228" Text="A DI-box would do the job, for example [most of these][1] would. Look in the specs if it supports speaker output (usually the maximum wattage is specified).&#xD;&#xA;&#xD;&#xA;Note that most of them are mono, so look for a stereo version or hook up two of them parallel.&#xD;&#xA;Also look at the voltage (if it is an active one), you need 12V for most cars.&#xD;&#xA;&#xD;&#xA;Most DI-box's have balanced output, so you would either have to connect the cold tip to GND or leave it unconnected (the manual of the specific DI-box should tell which is best).&#xD;&#xA;&#xD;&#xA;  [1]: http://www.behringer.com/EN/Category/Signal-Processors.aspx?s=H900" ContentLicense="CC BY-SA 3.0" />
  <row Id="47759" PostHistoryTypeId="4" PostId="22290" RevisionGUID="52841b8f-87c9-48eb-b96b-af7605705559" CreationDate="2014-01-28T20:20:37.943" UserId="1228" Comment="Clarify" Text="How can I search online for sounds according to their wave (spectral) shape?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47763" PostHistoryTypeId="2" PostId="26572" RevisionGUID="2207ea6f-9df0-48e9-8896-7ee34928f348" CreationDate="2014-01-28T21:13:12.337" UserId="7267" Text="The standard way to go through a long list of patches during a show may be&#xD;&#xA;&#xD;&#xA;1. Having a central unit (laptop, sequencer, guy backstage) send patch change messages to all keyboards used, or&#xD;&#xA;2. Having a workstation synth or performance synth that has a Live Set feature or similar, which is a list of patches to be stepped through, or a mapping of patches to single button presses (the pads on the Roland Fantom G, or the F2-F7 buttons on my JUNO-G etc.)." ContentLicense="CC BY-SA 3.0" />
  <row Id="47764" PostHistoryTypeId="4" PostId="22290" RevisionGUID="1aa3c974-799c-42ad-baac-9ef1b2042c1a" CreationDate="2014-01-29T00:45:07.270" UserId="1228" Comment="Clarity" Text="How can I search online for sounds according to their waveform (or spectral) shape?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47765" PostHistoryTypeId="5" PostId="26567" RevisionGUID="34b2af4b-7f3f-4e7f-bdcb-14808ddf852a" CreationDate="2014-01-29T01:00:23.363" UserId="7302" Comment="deleted 9 characters in body" Text="For recording violin, I tend to favor a small diaphragm condenser such as the Nuemann KM-184 as my 'go-to' choice. It doesn't have to be a Nuemann though ... the truth is that there are so many good choices in small-D mics out there that you can find a good sounding mic at almost any price point. I typically position the mic above the instrument by 12-16 inches or so, aimed at the F-Hole on the 'G-string' side of the instrument. BUT ... mic placement depends on the individual instrument and a few inches in any direction can have a big effect ... so ... experiment! &#xD;&#xA;&#xD;&#xA;For live applications, look no further than the DPA-4099V. This is a mini shotgun style condenser mic that is used by many of the top touring violinists out there. It comes with a (non-permanent) mount that is gentle to the finish of your instrument but that holds the mic securely in place. The mic itself is really, really wonderful at capturing the acoustic sound of a violin but I've seen them used on mandolins and with the proper mount (DPA offers a variety of mounts) double bass, guitar, and brass instruments as well. &#xD;&#xA;&#xD;&#xA;Because the mic is positioned so closely to the instrument and because its pickup pattern is very directional, it has excellent feedback rejection too.&#xD;&#xA;&#xD;&#xA;Check them out ... you will be very glad that you did!&#xD;&#xA;&#xD;&#xA;Hope this helps!   :-)&#xD;&#xA;&#xD;&#xA;Note: I have no relationship with DPA whatsoever. I am just an extremely happy customer that *loves* his 4099. " ContentLicense="CC BY-SA 3.0" />
  <row Id="47766" PostHistoryTypeId="2" PostId="26573" RevisionGUID="f92ff71e-8b87-410b-9a7e-ce603995a2a3" CreationDate="2014-01-29T05:22:57.283" UserId="6686" Text="I've been wanting to travel deeper into the mountains (of Taiwan) for my field recording. I can only go so far if I plan to be out by dark. So I've been collecting gear to allow me to stay a night or two, hiking the whole way.&#xD;&#xA;&#xD;&#xA;What I'm wondering is, who has gone out to remote locations alone?  Areas far from your vehicle and no cell service. What practical concerns have you met while doing this and what advice can you offer?&#xD;&#xA;&#xD;&#xA;I don't have friends or colleagues who are interested in accompanying me. And my schedule is very erratic, so there's typically little notice before I head off. Hardly ideal for planning with a buddy. &#xD;&#xA;&#xD;&#xA;Some specifics I'm wondering...&#xD;&#xA;&#xD;&#xA;How do you manage to bring all your recording gear AND your survival gear? (I find my recording gear takes up a lot of space)&#xD;&#xA;&#xD;&#xA;Do you bring some form of personal protection? (Gun, machete, etc)&#xD;&#xA;&#xD;&#xA;How do you go about being tracked/located if you have a major problem?  &#xD;&#xA;(For example, I have a tracking app on my phone that allows my wife to know where I am, where I've been, and what routes I took and at what times.  I turn it on when I'm out recording. But it's useless in the mountains)&#xD;&#xA;&#xD;&#xA;FYI, I've read over some &quot;hiking alone&quot; guides on the Internet, but when adding the recording gear to the equation, it mucks things up a bit. &#xD;&#xA;&#xD;&#xA;Thanks for your input. " ContentLicense="CC BY-SA 3.0" />
  <row Id="47767" PostHistoryTypeId="1" PostId="26573" RevisionGUID="f92ff71e-8b87-410b-9a7e-ce603995a2a3" CreationDate="2014-01-29T05:22:57.283" UserId="6686" Text="Field Recording Alone in Remote Areas" ContentLicense="CC BY-SA 3.0" />
  <row Id="47768" PostHistoryTypeId="3" PostId="26573" RevisionGUID="f92ff71e-8b87-410b-9a7e-ce603995a2a3" CreationDate="2014-01-29T05:22:57.283" UserId="6686" Text="&lt;recording&gt;&lt;field&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47769" PostHistoryTypeId="5" PostId="26569" RevisionGUID="dff04015-74cd-40a3-af9a-20dd77f90491" CreationDate="2014-01-29T06:10:13.610" UserId="6686" Comment="Changes some words for better understanding and readability. " Text="I read a question here on powering the Tascam with the apple iphone device: connecting the Tascam through usb to an electrical outlet. Some things were not clear to me. &#xD;&#xA;The dr-100 says 5V. Can i really just plug it in by using USB into my European outlet by plugging a usb cable into my apple power adapter and the adapter into the electrical outlet? Best, soundy" ContentLicense="CC BY-SA 3.0" />
  <row Id="47770" PostHistoryTypeId="4" PostId="26569" RevisionGUID="dff04015-74cd-40a3-af9a-20dd77f90491" CreationDate="2014-01-29T06:10:13.610" UserId="6686" Comment="Changes some words for better understanding and readability. " Text="TASCAM DR 100 &amp; Apple Power Adapter" ContentLicense="CC BY-SA 3.0" />
  <row Id="47771" PostHistoryTypeId="24" PostId="26569" RevisionGUID="dff04015-74cd-40a3-af9a-20dd77f90491" CreationDate="2014-01-29T06:10:13.610" Comment="Proposed by 6686 approved by 1228, 432 edit id of 59" ContentLicense="CC BY-SA 3.0" />
  <row Id="47772" PostHistoryTypeId="2" PostId="26574" RevisionGUID="b21bad2c-2be0-4330-adf3-3641f64b5b5a" CreationDate="2014-01-29T06:14:55.543" UserId="18" Text="I do a lot of trail running alone in the mountains.  I'm usually not more than 5 miles away from my car.  Sometimes there are other people hiking/biking around, other times I find myself prety alone.  Every bit of advice I've ever seen says that hiking alone is pretty dumb, and they're pretty much all correct.  My feeling is that if you are going off somewhere that it is truly remote, like you won't see another person every 30 mins or so, then you really should bring a buddy.  If you are headed somewhere that is more traveled, then you probably don't want to record there anyway :)&#xD;&#xA;&#xD;&#xA;Here are my tips for exploring alone (I ignore most of these when I run, but I'm an idiot):&#xD;&#xA;&#xD;&#xA;Know the location you are headed to before you get there.  Know where the trails lead and bring maps.&#xD;&#xA;&#xD;&#xA;Be prepared to spend the night in the wilderness (in case something happens).  Have something to keep you warm, have a flashlight, fire started, food and water. &#xD;&#xA;&#xD;&#xA;Dress for the weather at hand, but be prepared for sudden weather changes.&#xD;&#xA;&#xD;&#xA;STAY ON ESTABLISHED TRAILS - DO NOT BE A TRAIL BLAZER OR MOUNTAIN CLIMBER&#xD;&#xA;&#xD;&#xA;Get a hiking GPS watch such as the Garmin Fenix.  They are expensive, but also serve as a compass and have the ability to track you back to your start.  I recently bought one of these for some added piece of mind.&#xD;&#xA;&#xD;&#xA;Know about the wildlife you may encounter (plants and animals), know what to do if you encounter them.  We have cougars, bobcats, bears, coyotes, rattlesnakes, and poison oak.  So far, I've only run into coyotes and poison oak, but I know all the other critters are around. " ContentLicense="CC BY-SA 3.0" />
  <row Id="47773" PostHistoryTypeId="2" PostId="26575" RevisionGUID="e1ecc224-20f3-48ae-9127-7b04c4cfe95f" CreationDate="2014-01-29T07:25:17.450" UserId="5624" Text="I don't do a lot of this myself and when I do I'm usually with others, but the number one thing I'd recommend is ALWAYS tell someone else exactly where you're going, when you're going, and how long you'll be gone for. Then of course stick to that plan!" ContentLicense="CC BY-SA 3.0" />
  <row Id="47774" PostHistoryTypeId="5" PostId="26570" RevisionGUID="4f0b221f-878a-4a87-b01e-359c5a310f67" CreationDate="2014-01-29T11:17:32.303" UserId="7228" Comment="Added the bluetooth interface" Text="A DI-box would do the job, for example [most of these][1] would. Look in the specs if it supports speaker output (usually the maximum wattage is specified).&#xD;&#xA;&#xD;&#xA;Note that most of them are mono, so look for a stereo version or hook up two of them parallel.&#xD;&#xA;Also look at the voltage (if it is an active one), you need 12V for most cars.&#xD;&#xA;&#xD;&#xA;Most DI-box's have balanced output, so you would either have to connect the cold tip to GND or leave it unconnected (the manual of the specific DI-box should tell which is best).&#xD;&#xA;&#xD;&#xA;Offcourse you would need a [bluetooth interface][2] behind it to connect to your bluetooth speakers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.behringer.com/EN/Category/Signal-Processors.aspx?s=H900&#xD;&#xA;  [2]: http://www.belkin.com/us/F8Z492-Belkin/p/P-F8Z492/" ContentLicense="CC BY-SA 3.0" />
  <row Id="47775" PostHistoryTypeId="2" PostId="26576" RevisionGUID="15b9b2fc-0dc9-4395-9896-54e08553af7e" CreationDate="2014-01-29T12:41:47.630" UserDisplayName="user6513" Text="I've done some recording on my own, but always during the day and I don't wander too far off from the main trail. That said, I did wander off the beaten track at times just to listen for new sounds. Hardly smart when I think back, and I don't think the recordings were any better had I stayed on the track. The places I've been to though are familiar ones to me. I've either trekked there or ran on the trail before.&#xD;&#xA;&#xD;&#xA;I reckon if you hike regularly, then you'll be a lot more comfortable doing recordings as well. If you are trekking in that area for the first time then perhaps it isn't a good idea. Safety is the biggest issue, and no recording is worth that much. I'm a little concerned that having asked such a question that you may not trek much yourself, and if that's so, its a definite 'no go' discouragement from me. The wilderness is highly unpredictable and I would only do the recordings if I was comfortable with my surroundings." ContentLicense="CC BY-SA 3.0" />
  <row Id="47776" PostHistoryTypeId="2" PostId="26577" RevisionGUID="6448f32d-8818-42a8-b1a6-be74bb07c91e" CreationDate="2014-01-29T13:37:45.677" UserId="6718" Text="Get the speakers high as you can and tilted down toward the audience, this is too use the audience to absorb some the sound (as a room-treatment would) rather hitting the back wall as it normally would." ContentLicense="CC BY-SA 3.0" />
  <row Id="47780" PostHistoryTypeId="2" PostId="26579" RevisionGUID="a80cc75a-5d16-41f1-9dac-f5d82fa2b0b1" CreationDate="2014-01-29T17:38:07.250" UserId="7642" Text="Suggestions on how to?&#xD;&#xA;&#xD;&#xA;Yes, I know how to think in relation to what it is that I need and want to discuss and develop during the time of the production.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm specifically thinking about tools, how to deal with a multitude of data, sorting etc, while still being able to relate to the script and the scenes.&#xD;&#xA;&#xD;&#xA;Turning it all into a database from the script itself manually is a big slow process that I wouldn't mind simplifying or following someone else's lead...&#xD;&#xA;&#xD;&#xA;Any specific suggested tools?&#xD;&#xA;&#xD;&#xA;Suggestions or comments?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47781" PostHistoryTypeId="1" PostId="26579" RevisionGUID="a80cc75a-5d16-41f1-9dac-f5d82fa2b0b1" CreationDate="2014-01-29T17:38:07.250" UserId="7642" Text="Script breakdown in a sound context" ContentLicense="CC BY-SA 3.0" />
  <row Id="47782" PostHistoryTypeId="3" PostId="26579" RevisionGUID="a80cc75a-5d16-41f1-9dac-f5d82fa2b0b1" CreationDate="2014-01-29T17:38:07.250" UserId="7642" Text="&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47784" PostHistoryTypeId="2" PostId="26581" RevisionGUID="86e32050-dd30-4912-9450-44107ace5979" CreationDate="2014-01-29T18:57:25.240" UserId="7135" Text="How can I make the bigroom drop sound (pluck) of this track in sylenth or massive?&#xD;&#xA;&#xD;&#xA;I know it has some kind of delay effects etc., but I really don't know what kind of waveforms produce this sound..&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=XA3gqIrR4g0&#xD;&#xA;&#xD;&#xA;(drops at 1:50)&#xD;&#xA;&#xD;&#xA;Please, help would be really appreciated like how to make it, which waveforms, which settings etc. I am really new to sound designing and would like to learn these kind of things.&#xD;&#xA;&#xD;&#xA;Thanks in advance!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="47785" PostHistoryTypeId="1" PostId="26581" RevisionGUID="86e32050-dd30-4912-9450-44107ace5979" CreationDate="2014-01-29T18:57:25.240" UserId="7135" Text="How can I make this sound with Sylenth1 or Massive? (FL STUDIO)" ContentLicense="CC BY-SA 3.0" />
  <row Id="47786" PostHistoryTypeId="3" PostId="26581" RevisionGUID="86e32050-dd30-4912-9450-44107ace5979" CreationDate="2014-01-29T18:57:25.240" UserId="7135" Text="&lt;sound-design&gt;&lt;sound&gt;&lt;design&gt;&lt;help&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47787" PostHistoryTypeId="2" PostId="26582" RevisionGUID="792260a7-fcf9-4b65-89e9-9ced7ecc0dc5" CreationDate="2014-01-29T20:48:49.983" UserId="7315" Text="I found this site while researching audio mixing levels. &#xD;&#xA;&#xD;&#xA;I have recently started as the full time engineer mixing advertising content for television in NZ, Australia and US. &#xD;&#xA;&#xD;&#xA;My question is related to LKFS&#xD;&#xA;&#xD;&#xA;Our guidelines state that we must mix to the -24 LKFS standard with a true peak max of no greater than -9dbfs .&#xD;&#xA;&#xD;&#xA;I was listening to some of our companies previous content and found it to be quieter than other content and wonder if there are some methods of getting the nest out of the level guidelines I have been given.&#xD;&#xA;&#xD;&#xA;My understanding of the -24LKFS standard was that I could avoid too much hard limiting and compression and aim for the best sounding mix inside the guidelines. &#xD;&#xA;&#xD;&#xA;Any tips to get the nest cut through using the new standards?&#xD;&#xA;&#xD;&#xA;Any help much appreciated&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;Dan&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47788" PostHistoryTypeId="1" PostId="26582" RevisionGUID="792260a7-fcf9-4b65-89e9-9ced7ecc0dc5" CreationDate="2014-01-29T20:48:49.983" UserId="7315" Text="Compression and limiting for new -24lkfs standard?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47789" PostHistoryTypeId="3" PostId="26582" RevisionGUID="792260a7-fcf9-4b65-89e9-9ced7ecc0dc5" CreationDate="2014-01-29T20:48:49.983" UserId="7315" Text="&lt;mixing&gt;&lt;post-production&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47790" PostHistoryTypeId="2" PostId="26583" RevisionGUID="d37e22ad-9535-496c-9db2-0ba6b22e7836" CreationDate="2014-01-29T21:43:40.143" UserId="7316" Text="I make presentation software, and we have the ability to export that presentation to a video. Lately, we're trying to add the ability to choose a soundtrack to attach to that exported video. We want the soundtrack to fade in/out.&#xD;&#xA;&#xD;&#xA;I'm pretty unfamiliar with the theory behind fade in/out and have some questions so I can understand it.&#xD;&#xA;&#xD;&#xA;- What length is optimal? (If you had to choose a single length, what would you choose so it doesn't seem like it's ending the video too early but isn't abrupt either)&#xD;&#xA;- What kind of function do you use to reduce the volume? Is there some common formula or technique to calculate the volume level at a point in the fade?&#xD;&#xA;- How do you deal with situations with really short audio files? For example, a 2 second fade-in and fade-out wouldn't work on a 3 or 4 second audio file? Is there some % we can use or do you just disable it completely?&#xD;&#xA;&#xD;&#xA;Thanks in advance for your expertise! " ContentLicense="CC BY-SA 3.0" />
  <row Id="47791" PostHistoryTypeId="1" PostId="26583" RevisionGUID="d37e22ad-9535-496c-9db2-0ba6b22e7836" CreationDate="2014-01-29T21:43:40.143" UserId="7316" Text="Fading Out Best Practices" ContentLicense="CC BY-SA 3.0" />
  <row Id="47792" PostHistoryTypeId="3" PostId="26583" RevisionGUID="d37e22ad-9535-496c-9db2-0ba6b22e7836" CreationDate="2014-01-29T21:43:40.143" UserId="7316" Text="&lt;theory&gt;&lt;fader&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47795" PostHistoryTypeId="2" PostId="26584" RevisionGUID="0bcae3a1-aa57-4052-b7b6-32b818a974af" CreationDate="2014-01-29T22:03:54.007" UserDisplayName="user49" Text="I'd imagine something like (local) Peter Skarrats FMPro Script Supervisor database templates could be used or adapated (especially if the editor &amp; script supervisor was using them too!)&#xD;&#xA;&#xD;&#xA;http://peterskarratt.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="47797" PostHistoryTypeId="2" PostId="26586" RevisionGUID="c4cb9aad-cb75-4e88-9474-53162e2ab4ba" CreationDate="2014-01-29T23:34:24.580" UserId="7176" Text="Listening to the song [That bird has a broken wing by Sun Kil Moon][1] I wondered how they achieved the sound of the voice.&#xD;&#xA;&#xD;&#xA;I would describe it as if it had a sort of high, slightly eerie, overtone like layer over the original voice. It sounds also a bit as if there are multiple singers singing the same part.&#xD;&#xA;I found a comparable voice sound in the song [Angeles by Elliot Smith][2] and (to a lesser extent) in [Carrissa's Weird by Iron and Wine][3].&#xD;&#xA;&#xD;&#xA;Is this some kind of audio effect? Or is there a special way of recording this?&#xD;&#xA;&#xD;&#xA;[1]: http://www.youtube.com/watch?v=Pg82Kjvegqk&#xD;&#xA;[2]: http://www.youtube.com/watch?v=FMSU4QDbdew&#xD;&#xA;[3]: http://www.youtube.com/watch?v=hY50sM_0Ifs" ContentLicense="CC BY-SA 3.0" />
  <row Id="47798" PostHistoryTypeId="1" PostId="26586" RevisionGUID="c4cb9aad-cb75-4e88-9474-53162e2ab4ba" CreationDate="2014-01-29T23:34:24.580" UserId="7176" Text="How is this high, overtone like voice effect done?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47799" PostHistoryTypeId="3" PostId="26586" RevisionGUID="c4cb9aad-cb75-4e88-9474-53162e2ab4ba" CreationDate="2014-01-29T23:34:24.580" UserId="7176" Text="&lt;sound-effects-recording&gt;&lt;voice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47801" PostHistoryTypeId="2" PostId="26588" RevisionGUID="dd7ddc81-d611-4bc2-b337-7f9967b4507a" CreationDate="2014-01-30T02:56:45.123" UserId="6399" Text="The -24 LKFS standard in theory lets you limit and compress less but chances are you will find yourself having to compress and limit a decent amount still if your true peak has to be at -9. That seems a little low for the peak but we are at a little bit of a strange time where the stations, distributors and other folks in the chain aren't always set up for the higher peaks that are generally allowed by the LKFS standard.&#xD;&#xA;&#xD;&#xA;The content you were listening to, was it recent? or older?&#xD;&#xA;&#xD;&#xA;The first thing you should do is measure the room and find out what the best listening level is for the room size eg: 78db, 83db etc.  If you set your rooms monitoring to the correct level and leave your volume knob there and make a good sounding mix, it should come out very close to -24." ContentLicense="CC BY-SA 3.0" />
  <row Id="47802" PostHistoryTypeId="2" PostId="26589" RevisionGUID="03d278f9-0d95-4a94-b66b-f4062ecf1122" CreationDate="2014-01-30T03:01:47.023" UserId="6399" Text="It really needs to be based on what your fading out, how loud it is at the start of the fade, if anything else visually is happening, tempo or pace of the music, instrumentation.  It's all what feels best to you.  There really is no right or wrong way.  Today alone I've mixed one spot with a 4 second music fade and another with a 5 frame fade.  Most are probably 1-2 seconds." ContentLicense="CC BY-SA 3.0" />
  <row Id="47803" PostHistoryTypeId="36" PostId="26590" RevisionGUID="d54d01fb-2cfb-4c28-8994-3bdd7ffbc799" CreationDate="2014-01-30T03:55:00.880" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9077/why-do-studio-monitors-use-analog-cables-instead-of-digital" />
  <row Id="47804" PostHistoryTypeId="2" PostId="26591" RevisionGUID="f0090060-03db-4df1-869d-3970ba67ae3e" CreationDate="2013-09-28T17:23:17.740" UserId="6957" Text="I think the answer is that they're looking to have the cleanest signal path.  &#xD;&#xA;&#xD;&#xA;The introduction of a DAC is just one more link in the chain, and when the chain is only as strong as the weakest link, the fewer links, the better.&#xD;&#xA;&#xD;&#xA;Also, high-end DACs are an industry unto themselves.  High-end monitor companies focus on the mechanical properties of the speaker, the clean signal path, etc.  To include a DAC is to relinquish part of the signal path to another company." ContentLicense="CC BY-SA 3.0" />
  <row Id="47805" PostHistoryTypeId="2" PostId="26590" RevisionGUID="c73d3e57-70d5-4005-ad68-ac04888551ad" CreationDate="2013-09-28T16:34:30.233" UserDisplayName="DominicM" Text="All studio and professional grade monitors in general have analog inputs (TRS/XLR/RCA etc...). High end monitors have the shortest internal cable run to reduce loss of quality yet this is only a tiny fraction of the total cable run from the DAC. Why don't monitors have digital input all the way up to the internal amplifier. Digital-analogue conversion could take place a few centimetres from the driver. Why couldn't Powered monitors have optical input? Optical cables are not more expensive than good quality analog cables and there is no reason DAC's couldn't output SPDIF?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47806" PostHistoryTypeId="1" PostId="26590" RevisionGUID="c73d3e57-70d5-4005-ad68-ac04888551ad" CreationDate="2013-09-28T16:34:30.233" UserDisplayName="DominicM" Text="Why do studio monitors use analog cables instead of digital?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47807" PostHistoryTypeId="3" PostId="26590" RevisionGUID="c73d3e57-70d5-4005-ad68-ac04888551ad" CreationDate="2013-09-28T16:34:30.233" UserDisplayName="DominicM" Text="&lt;digital&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47808" PostHistoryTypeId="36" PostId="26591" RevisionGUID="79a7cfca-7421-42f4-bf9e-8db926a53a9a" CreationDate="2014-01-30T03:55:00.880" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9077/why-do-studio-monitors-use-analog-cables-instead-of-digital/9078#9078" />
  <row Id="47809" PostHistoryTypeId="36" PostId="26592" RevisionGUID="a524a8e3-7582-40eb-b4a7-e44d724b8172" CreationDate="2014-01-30T03:55:00.880" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9077/why-do-studio-monitors-use-analog-cables-instead-of-digital/9084#9084" />
  <row Id="47810" PostHistoryTypeId="2" PostId="26592" RevisionGUID="2f1698c5-7ff3-4bfd-921f-f3c80a62f887" CreationDate="2013-09-28T23:43:16.753" UserId="7174" Text="Mostly because of preference.  Most people prefer to be able to choose an amp they like with monitors they like.  Keeping the parts separate also makes maintenance easier.  There may also be concerns about the power of the amp interfering with the speaker some or vice versa, though I'm not sure if this would really make a significant difference.&#xD;&#xA;&#xD;&#xA;The long and short of it though is that powered cable runs don't really matter all that much.  You can't pick up much noise after amplification because the signal floor overpowers most ambient occurrences.  The short runs of cables inside I think is more a marketing gimmick rather than something that actually matters.&#xD;&#xA;&#xD;&#xA;So simply, it doesn't matter that much if it is internal or not, as long as it is a short analog run to the amp and decent enough quality speaker wire is used.  It's more convenient and more maintainable to have the amp and speakers separate, so that's what is done." ContentLicense="CC BY-SA 3.0" />
  <row Id="47811" PostHistoryTypeId="36" PostId="26593" RevisionGUID="3464f90f-7f72-4c96-945c-c12c40a6620d" CreationDate="2014-01-30T03:56:01.727" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6970/safe-to-unpower-audio-amp" />
  <row Id="47812" PostHistoryTypeId="36" PostId="26594" RevisionGUID="84473be9-1584-48fc-88e2-5aadf1e92dac" CreationDate="2014-01-30T03:56:01.727" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6970/safe-to-unpower-audio-amp/6979#6979" />
  <row Id="47813" PostHistoryTypeId="2" PostId="26594" RevisionGUID="29cb7b2e-7b32-445d-affa-dbfac1cfd717" CreationDate="2013-01-28T14:46:32.587" UserId="7174" Text="Really depends on the amp.  If the amp is designed to cool itself after turning off, then it could be bad to simply cut the power, but if it doesn't have cooling needs, then cutting power should be fine." ContentLicense="CC BY-SA 3.0" />
  <row Id="47814" PostHistoryTypeId="2" PostId="26595" RevisionGUID="10521a04-20f2-423f-a068-4ff570f61cfb" CreationDate="2013-01-28T20:39:08.987" UserId="7016" Text="Depending on your amp, the on off switch may do many things, not just cut power. I would suggest your best course of action may be to look carefully at the circuitry- if it does just cut power at the mains side of the power supply circuitry you should be safe. &#xD;&#xA;&#xD;&#xA;If it cuts power on the amp side then you could risk large spikes sent to the speakers,  which could cause damage. &#xD;&#xA;&#xD;&#xA;If it does something more complex, like running chilling fans on a timer,  discharging or charging capacitors etc then you could destroy your amp. &#xD;&#xA;&#xD;&#xA;Be careful. &#xD;&#xA;&#xD;&#xA;**Update** - when you look at the circuitry, also check to see whether the on-off switch is just a single switch, or whether it switches multiple circuits (which is very common). If it is a single switch, you probably could replace it with a remote controlled relay, as per @FriendofGeorge's comment." ContentLicense="CC BY-SA 3.0" />
  <row Id="47815" PostHistoryTypeId="2" PostId="26593" RevisionGUID="8ec18c9a-2606-433e-bb8b-9d364ac8de3d" CreationDate="2013-01-27T17:05:00.377" UserDisplayName="cml" Text="I have an AudioSource AMP-100 audio amp, and I want to be able to turn it off and on remotely. I'm wondering how safe it is to just cut the power to the amp; it seems like this is what the power switch does already. I would use a relay or something similar to cut the power or restore it. The amp would be in standby (a state it goes into when there's no input signal) when it gets turned off." ContentLicense="CC BY-SA 3.0" />
  <row Id="47816" PostHistoryTypeId="1" PostId="26593" RevisionGUID="8ec18c9a-2606-433e-bb8b-9d364ac8de3d" CreationDate="2013-01-27T17:05:00.377" UserDisplayName="cml" Text="Safe to unpower audio amp?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47817" PostHistoryTypeId="3" PostId="26593" RevisionGUID="8ec18c9a-2606-433e-bb8b-9d364ac8de3d" CreationDate="2013-01-27T17:05:00.377" UserDisplayName="cml" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47818" PostHistoryTypeId="36" PostId="26595" RevisionGUID="99c776ba-b82f-47c6-8edf-f218c81acd54" CreationDate="2014-01-30T03:56:01.727" UserId="-1" Comment="from http://avp.stackexchange.com/questions/6970/safe-to-unpower-audio-amp/6983#6983" />
  <row Id="47819" PostHistoryTypeId="36" PostId="26596" RevisionGUID="bc1ba826-75fa-4dfe-8906-67d650df62c6" CreationDate="2014-01-30T03:56:36.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5180/what-is-a-trsf-connector" />
  <row Id="47820" PostHistoryTypeId="36" PostId="26597" RevisionGUID="bf2906fa-9612-49d5-bca9-56e9075d954b" CreationDate="2014-01-30T03:56:36.857" UserId="-1" Comment="from http://avp.stackexchange.com/questions/5180/what-is-a-trsf-connector/5181#5181" />
  <row Id="47821" PostHistoryTypeId="2" PostId="26597" RevisionGUID="5a5c0167-f617-4221-a4e9-30280e9d5f9c" CreationDate="2012-10-28T00:57:23.367" UserId="7016" Text="TRS is tip- ring-sleeve. This is a common term. &#xD;&#xA;&#xD;&#xA;As per the comments below, the F indicates the female end, or socket." ContentLicense="CC BY-SA 3.0" />
  <row Id="47822" PostHistoryTypeId="2" PostId="26596" RevisionGUID="ffa2412d-8548-405a-87cc-06eb164d85bc" CreationDate="2012-10-27T23:54:27.593" UserId="7239" Text="This [HOSA cable/adapter says it has a TRSF adapter](http://www.amazon.com/HOSA-Stereo-4-Inch-Phone-Female/dp/B000068O5D/ref=sr_1_2?ie=UTF8&amp;qid=1351381925&amp;sr=8-2&amp;keywords=Hosa+YMP-434). Is that a typo? What is TRSF?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47823" PostHistoryTypeId="1" PostId="26596" RevisionGUID="ffa2412d-8548-405a-87cc-06eb164d85bc" CreationDate="2012-10-27T23:54:27.593" UserId="7239" Text="What is a TRSF connector?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47824" PostHistoryTypeId="3" PostId="26596" RevisionGUID="ffa2412d-8548-405a-87cc-06eb164d85bc" CreationDate="2012-10-27T23:54:27.593" UserId="7239" Text="&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47825" PostHistoryTypeId="36" PostId="26598" RevisionGUID="eec173e2-50ae-4c18-ab81-c5d7a0415936" CreationDate="2014-01-30T03:57:00.170" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4814/whats-the-vocal-effect-for-the-vogons-in-the-hitchhikers-guide-to-the-galaxy-r" />
  <row Id="47826" PostHistoryTypeId="36" PostId="26599" RevisionGUID="02b97214-dfe7-4af6-9d4f-eee263fb88b6" CreationDate="2014-01-30T03:57:00.170" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4814/whats-the-vocal-effect-for-the-vogons-in-the-hitchhikers-guide-to-the-galaxy-r/4818#4818" />
  <row Id="47827" PostHistoryTypeId="36" PostId="26600" RevisionGUID="75d72570-2ef6-499e-a384-4711d11fe8b0" CreationDate="2014-01-30T03:57:00.170" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4814/whats-the-vocal-effect-for-the-vogons-in-the-hitchhikers-guide-to-the-galaxy-r/4831#4831" />
  <row Id="47828" PostHistoryTypeId="2" PostId="26599" RevisionGUID="76094faf-aba5-4fa0-a4b8-3820250f06cc" CreationDate="2012-09-24T08:32:23.050" UserId="7016" Text="I tried to find detail on how they recorded the original, but no joy.&#xD;&#xA;&#xD;&#xA;This chap has tried to emulate the sound effect as part of his University course - https://ccrma.stanford.edu/~aarun/220a/hw4.html&#xD;&#xA;&#xD;&#xA;In his words:&#xD;&#xA;&#xD;&#xA; &gt; I recorded myself speaking with a deep-throated, nasal voice, and applied echo and chorus effects in Audacity, to try to imitate the voices of the Vogons in the 2005 Hitchhiker's Guide to the Galaxy movie.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47829" PostHistoryTypeId="2" PostId="26600" RevisionGUID="693db9fb-ba71-4daa-8574-f95d6341a708" CreationDate="2012-09-24T19:22:05.313" UserDisplayName="steevc" Text="According to my book of the radio scripts the pre-Babel fish voice was done by ignoring his description of 'a combination gargling, howling, sniffing and fighting off a pack of wolves' and just revering the speech recording. I think they did a lot of stuff with just tape.&#xD;&#xA;&#xD;&#xA;It doesn't specify what was used for the translated Vogon voice, but they had access to an ARP Odyssey and an early vocoder. They had to put various actors in cupboards to separate their audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="47830" PostHistoryTypeId="2" PostId="26598" RevisionGUID="b1bba544-6e10-4d8c-84c6-9031a4265216" CreationDate="2012-09-23T22:37:59.457" UserId="17749" UserDisplayName="Colonel Panic" Text="What's the vocal effect for the Vogons in the Hitchhiker's Guide to the Galaxy radio series?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47831" PostHistoryTypeId="1" PostId="26598" RevisionGUID="b1bba544-6e10-4d8c-84c6-9031a4265216" CreationDate="2012-09-23T22:37:59.457" UserId="17749" UserDisplayName="Colonel Panic" Text="What's the vocal effect for the Vogons in the Hitchhiker's Guide to the Galaxy radio series?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47832" PostHistoryTypeId="3" PostId="26598" RevisionGUID="b1bba544-6e10-4d8c-84c6-9031a4265216" CreationDate="2012-09-23T22:37:59.457" UserId="17749" UserDisplayName="Colonel Panic" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47833" PostHistoryTypeId="36" PostId="26601" RevisionGUID="c79a39fd-cc42-427c-8933-b88b4f0f90a3" CreationDate="2014-01-30T03:57:17.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4607/remotely-controlling-a-cd-player" />
  <row Id="47834" PostHistoryTypeId="36" PostId="26602" RevisionGUID="96311263-3a51-472b-a952-e3d6ab9e9561" CreationDate="2014-01-30T03:57:17.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4607/remotely-controlling-a-cd-player/4608#4608" />
  <row Id="47835" PostHistoryTypeId="36" PostId="26603" RevisionGUID="3c8d7dd9-60ce-4c74-8194-f80e43ac01b6" CreationDate="2014-01-30T03:57:17.593" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4607/remotely-controlling-a-cd-player/9156#9156" />
  <row Id="47836" PostHistoryTypeId="2" PostId="26602" RevisionGUID="f783c0f2-a0d3-4ed3-bcae-8526dd12bccb" CreationDate="2012-08-20T11:56:42.437" UserId="7016" Text="There are actually a couple of different routes here. If your CD player absolutely must be at one location and you must be at another, you could look at squeezebox, or any of the home audio companies out there. There are many products that will do what you want - some will require some computer/IT knowledge.&#xD;&#xA;&#xD;&#xA;What might be much more suitable is to stop thinking of CD player as a fixed item. Instead, run an amplified mixing desk and speakers with inputs from a variety of locations around the hall. This is what a lot of live venues do (eg you have verious DI cables on stage for connecting microphones, guitars etc all back to a central mixing desk which then connects out to speakers) and in your case, you could have the CD player near enough to you to see the screen on it.&#xD;&#xA;&#xD;&#xA;It isn't very expensive, and actually means you can sort out the PA system to meet your hall's acoustics, no matter what audio source you want to use - a CD player one day, a live entertainer the next." ContentLicense="CC BY-SA 3.0" />
  <row Id="47837" PostHistoryTypeId="2" PostId="26603" RevisionGUID="0ebbfca8-c59d-4c3c-ac62-9ec8aab35629" CreationDate="2013-10-12T02:14:35.090" UserDisplayName="stu.h" Text="You need to find a CD player with IP or RS232 2way control... maybe even a bluray player?. This is the protocol used to transmit disk metadata(artist track maybe even artwork, etc) to a remote control unit. Bitwise might be a good way to go to use a smartphone or tablet to control the CD player and read metadata. Also look into CI and home automation hardware. Universal Remote Control, control4.  &#xD;&#xA;&#xD;&#xA;You also need to make sure to get an appropriate DI box to interface with the PA Equipment, such as Radial PROAV" ContentLicense="CC BY-SA 3.0" />
  <row Id="47838" PostHistoryTypeId="2" PostId="26601" RevisionGUID="c0f6ffd7-fe05-4898-aca4-b9aaade25b82" CreationDate="2012-08-20T11:36:10.613" UserDisplayName="ryan" Text="I need to get and install a remotely-controllable CD player to be used in a church. Part of the requirements for our setup is that we be able to view the track that is currently playing from the remote itself, at least 50 meters away - we don't want to rely on the display on the player itself. &#xD;&#xA;&#xD;&#xA;Does any equipment like this exist, and is there anything special about it that I should know when comparing them? Is there a standard &quot;go-to&quot; model that is frequently recommended?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47839" PostHistoryTypeId="1" PostId="26601" RevisionGUID="c0f6ffd7-fe05-4898-aca4-b9aaade25b82" CreationDate="2012-08-20T11:36:10.613" UserDisplayName="ryan" Text="Remotely controlling a CD player" ContentLicense="CC BY-SA 3.0" />
  <row Id="47840" PostHistoryTypeId="3" PostId="26601" RevisionGUID="c0f6ffd7-fe05-4898-aca4-b9aaade25b82" CreationDate="2012-08-20T11:36:10.613" UserDisplayName="ryan" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47841" PostHistoryTypeId="36" PostId="26604" RevisionGUID="08d8ad44-23f7-4d23-b44f-adb5bb1021f9" CreationDate="2014-01-30T03:57:33.000" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4626/is-there-a-way-to-identify-an-audio-file-that-is-converted-from-lossy-to-lossles" />
  <row Id="47842" PostHistoryTypeId="2" PostId="26605" RevisionGUID="d74d62a5-1022-4665-ad79-7a71a986f52d" CreationDate="2012-08-25T15:30:25.363" UserId="7016" Text="Flac is just flac - it will accurately encode whatever is fed into it. You are right though, that if you feed in a poor quality audio file it will remain a poor quality file.&#xD;&#xA;&#xD;&#xA;The only likely way to do this would be through spectrum analysis:&#xD;&#xA;&#xD;&#xA;Analysis of the frequencies in the file may indicate compression or sampling artifacts, but automatically scanning for this may be misleading, as some audio might deliberately have the same frequencies (there is a lot of strange music out there!)&#xD;&#xA;&#xD;&#xA;Your best bet is to listen to a fragment of each one - it will be obvious pretty rapidly, and you can get through them quite quickly that way." ContentLicense="CC BY-SA 3.0" />
  <row Id="47843" PostHistoryTypeId="2" PostId="26604" RevisionGUID="eaf2118e-926a-4963-894b-e18776b91eb0" CreationDate="2012-08-24T21:58:04.637" UserDisplayName="Ramnath" Text="I downloaded some audio files with flac extension.  I only had cheap earphones at that time and I couldn't really figure out whether it is real flac or just fake.  Later when I played it through my friend's hifi system, It was totally unbearable.  I guess, it was converted to flac from a lossy format. I don't have a clue on why someone would do this.&#xD;&#xA;&#xD;&#xA;Is there a way to identify files that are converted from lossy to lossless formats without hearing it through a hifi system?&#xD;&#xA;&#xD;&#xA;I checked the details of the file in windows explorer but no luck.  &#xD;&#xA;&#xD;&#xA;Thanks for helping." ContentLicense="CC BY-SA 3.0" />
  <row Id="47844" PostHistoryTypeId="1" PostId="26604" RevisionGUID="eaf2118e-926a-4963-894b-e18776b91eb0" CreationDate="2012-08-24T21:58:04.637" UserDisplayName="Ramnath" Text="Is there a way to identify an audio file that is converted from lossy to lossless format (without hearing)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47845" PostHistoryTypeId="3" PostId="26604" RevisionGUID="eaf2118e-926a-4963-894b-e18776b91eb0" CreationDate="2012-08-24T21:58:04.637" UserDisplayName="Ramnath" Text="&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47846" PostHistoryTypeId="36" PostId="26605" RevisionGUID="84586fae-122f-4d16-9ebf-1ce1ddbb4eb3" CreationDate="2014-01-30T03:57:33.000" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4626/is-there-a-way-to-identify-an-audio-file-that-is-converted-from-lossy-to-lossles/4627#4627" />
  <row Id="47847" PostHistoryTypeId="36" PostId="26606" RevisionGUID="3bd6ae38-d91d-44c6-976e-ee6898f2105c" CreationDate="2014-01-30T03:57:33.000" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4626/is-there-a-way-to-identify-an-audio-file-that-is-converted-from-lossy-to-lossles/4654#4654" />
  <row Id="47848" PostHistoryTypeId="2" PostId="26606" RevisionGUID="83ca01f6-9e66-4c00-bc79-3c9d919a066a" CreationDate="2012-09-01T03:00:10.537" UserId="7234" Text="Load the file into an audio editor with a spectrum view. There is also [Informer][1], a real-time spectrum analyzer intended for exactly this use case.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.neillcorlett.com/informer/" ContentLicense="CC BY-SA 3.0" />
  <row Id="47849" PostHistoryTypeId="36" PostId="26607" RevisionGUID="8852664b-d423-47e7-bbcc-732ab07903ae" CreationDate="2014-01-30T03:57:50.627" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4559/simple-recording-for-live-broadcast-crowd-mics-compression-configuration-etc" />
  <row Id="47850" PostHistoryTypeId="36" PostId="26608" RevisionGUID="a922f9df-977d-4640-8c40-9d79050e4eca" CreationDate="2014-01-30T03:57:50.627" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4559/simple-recording-for-live-broadcast-crowd-mics-compression-configuration-etc/4560#4560" />
  <row Id="47851" PostHistoryTypeId="2" PostId="26608" RevisionGUID="12c793ce-157a-4134-ab96-57b34f249854" CreationDate="2012-08-13T10:26:10.183" UserId="7016" Text="The artists are the most important, so your stereo mix from the board should be your primary source (I wouldn't use the FoH mic as a primary.) And no matter what the guitarists are doing on stage, get your board feeds in from each one mixed right at sound check, so that at worst case you can stream the artist live.&#xD;&#xA;&#xD;&#xA;For crowd mics, try and avoid getting any of the artist sound into them - directional mics pointed at the crowd are your best option here.&#xD;&#xA;&#xD;&#xA;You could use side-chaining, but as live gigs can be very unpredictable I'd be tempted to keep a hand near the crowd mix level so you can crank up the crowd volume when they are singing along to the popular numbers. " ContentLicense="CC BY-SA 3.0" />
  <row Id="47852" PostHistoryTypeId="2" PostId="26609" RevisionGUID="2810158b-4f94-44bd-9ddc-0803e3091e6b" CreationDate="2012-08-13T10:31:46.293" UserId="7200" Text="Of course, it's much better to do a separate mix rather then using the FOH's, this way you can do whatever you want with the guitars if they're too silent in the main mix. As a hybrid solution, you can take e.g. 4 instead of 2 channels out of the FOH: the main mix plus two aux sends which you can use for only the instruments featured too weakly in the mix. You're going to need at least an 8-channel audio interface anyway, so that's hardly an extra effort.&#xD;&#xA;&#xD;&#xA;It still can't hurt to have those mics at the FOH, too, but rather to pick up more of the audience and the ambience than direct sound from the stage. Carefully set up the delay compensation.&#xD;&#xA;&#xD;&#xA;Your sidechaining plan sounds reasonable enough. Be sure to make the compressors slow enough (with long RMS windows) so there won't be weird stuttering." ContentLicense="CC BY-SA 3.0" />
  <row Id="47853" PostHistoryTypeId="2" PostId="26607" RevisionGUID="8c78b982-41db-41cd-bb53-598e58c56ff9" CreationDate="2012-08-12T19:11:39.497" UserId="7209" Text="I am working on a small rig for doing live internet streaming of a variety of shows (bands of varying genres, DJs, etc.) in a variety of venues (indoor, theater, stadium, outdoor, etc.).  The streaming part isn't what I am asking about here... but I could use some pointers on the audio side.&#xD;&#xA;&#xD;&#xA;For the audio sources, I am planning on recording a stereo mix from the FoH board, a pair of mics from FoH, and possibly a pair of shotgun crowd mics from the front of the stage, pointed outward at the crowd.  Is this a wise configuration?&#xD;&#xA;&#xD;&#xA;Assuming I go with with that configuration, once the appropriate delay is dialed in, what would be a good way to manage levels?  I am thinking that at sound check time, I will pick either the FoH mics or FoH stereo mix as my &quot;primary&quot; source.  For larger shows, I am guessing that the stereo mix will be fine, but at the smaller stuff, those guitar players on stage keep stuff so loud that there wouldn't be much of it in the FoH stereo mix.&#xD;&#xA;&#xD;&#xA;I plan to then mix in the other sources, with compression using the primary source as a sidechain input.  That way, when the band is in between songs, you can hear the crowd and what not.&#xD;&#xA;&#xD;&#xA;Is this a sufficient plan for basic live recording?  Anything you would recommend doing differently?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47854" PostHistoryTypeId="1" PostId="26607" RevisionGUID="8c78b982-41db-41cd-bb53-598e58c56ff9" CreationDate="2012-08-12T19:11:39.497" UserId="7209" Text="Simple recording for live broadcast, crowd mics, compression configuration, etc" ContentLicense="CC BY-SA 3.0" />
  <row Id="47855" PostHistoryTypeId="3" PostId="26607" RevisionGUID="8c78b982-41db-41cd-bb53-598e58c56ff9" CreationDate="2012-08-12T19:11:39.497" UserId="7209" Text="&lt;live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47856" PostHistoryTypeId="36" PostId="26609" RevisionGUID="c24a065d-bf4d-42aa-93ce-fa7a7b10a5cf" CreationDate="2014-01-30T03:57:50.627" UserId="-1" Comment="from http://avp.stackexchange.com/questions/4559/simple-recording-for-live-broadcast-crowd-mics-compression-configuration-etc/4561#4561" />
  <row Id="47863" PostHistoryTypeId="36" PostId="26612" RevisionGUID="bf7d54c8-f076-4f74-b179-18aae806121b" CreationDate="2014-01-30T03:58:26.817" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3922/what-vocal-effects-do-these-heavy-metal-bands-use-for-live-shows" />
  <row Id="47864" PostHistoryTypeId="36" PostId="26613" RevisionGUID="c87f5944-1fe4-4e0c-8aa3-145d54fe9f17" CreationDate="2014-01-30T03:58:26.817" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3922/what-vocal-effects-do-these-heavy-metal-bands-use-for-live-shows/3923#3923" />
  <row Id="47865" PostHistoryTypeId="36" PostId="26614" RevisionGUID="b4602bb9-1e17-46d1-93f4-f23b3751d2e5" CreationDate="2014-01-30T03:58:26.817" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3922/what-vocal-effects-do-these-heavy-metal-bands-use-for-live-shows/3924#3924" />
  <row Id="47866" PostHistoryTypeId="36" PostId="26615" RevisionGUID="a746f643-9863-43d0-9c73-7b0b26c3c89b" CreationDate="2014-01-30T03:58:26.817" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3922/what-vocal-effects-do-these-heavy-metal-bands-use-for-live-shows/4001#4001" />
  <row Id="47867" PostHistoryTypeId="2" PostId="26613" RevisionGUID="c425238f-5bf5-4813-89da-901927bb24ff" CreationDate="2012-05-04T21:08:29.357" UserId="7016" Text="The lead singer of Lamb of God uses almost no effects live - it's a very clean amp setup. That is all done with his voice. Check out http://www.youtube.com/watch?v=kHdopiRlgyA for an example, and [this Wikipedia article][1] for an explanation.&#xD;&#xA;&#xD;&#xA;Shadows Fall use some reverb and delay on the vocals, but nothing special there as far as I can tell from the tracks I know.&#xD;&#xA;&#xD;&#xA;Do you have specific examples of tracks from each band that have a particular sound you want to emulate? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Death_growl" ContentLicense="CC BY-SA 3.0" />
  <row Id="47868" PostHistoryTypeId="2" PostId="26614" RevisionGUID="cf900da0-81ca-4aac-812f-d378eb5c1b28" CreationDate="2012-05-04T21:11:11.420" UserId="7188" Text="I reviewed 4 performance videos of the various artists you have provided including Brian Fair, Randy Blythe, and Hatebreed. I did not observe any vocal effects other than perhaps the standard overly compressed sound as is native to this genre.&#xD;&#xA;&#xD;&#xA;I think the common ground for all these vocalists is to yell without restraint into the mic and let the limiters do their business.&#xD;&#xA;&#xD;&#xA;In one video about Randy Blythe his producer asks him to run around the block twice to get winded, as per the sound the producer was after. See this video here:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=AWG4uP8SQlM&#xD;&#xA;&#xD;&#xA;Perhaps the best thing to get his sound is run your ass off.&#xD;&#xA;&#xD;&#xA;I realize this is likely seriously lacking in what you are expecting. However, if you might provide links to a specific performance I will give it another go." ContentLicense="CC BY-SA 3.0" />
  <row Id="47869" PostHistoryTypeId="2" PostId="26615" RevisionGUID="97fca672-2ad4-4a6c-98e7-ff5b01addd1a" CreationDate="2012-05-16T00:47:05.330" UserDisplayName="Rick" Text="As I have been a live vocalist in several metal bands. I'll tell you the secret.&#xD;&#xA;&#xD;&#xA;Most metal vocalists do nothing live, save for using the little reverb they provide at most venues. It's all about using your voice correctly, the microphone properly &amp; using the inherent proximity effect when the two combine.&#xD;&#xA;&#xD;&#xA;If you're pushing or it &quot;hurts&quot;. You're doing it wrong. It should never hurt or be difficult to do.&#xD;&#xA;&#xD;&#xA;Melissa Cross offers a DVD series called the &quot;zen of screaming&quot;, &amp; if you want to do it like Randy from LOG...this is the chick that taught him.&#xD;&#xA;&#xD;&#xA;~Rick --&#xD;&#xA;Lead Vocals --&#xD;&#xA;As Empires Decay" ContentLicense="CC BY-SA 3.0" />
  <row Id="47870" PostHistoryTypeId="2" PostId="26612" RevisionGUID="486d03b5-dce2-4311-b24d-b3e391c6f9cf" CreationDate="2012-05-04T20:23:38.807" UserDisplayName="Ken Irvine" Text="I have been trying to look for the vocal effects that singers like Brian Fair of Shadows Fall and Randy Blythe of Lamb of God and other heavy metal singers use, but i cant seem to get an answer to a simple question. &#xD;&#xA;&#xD;&#xA;I am looking for the names of the processors or pedals or eqipment they use on their vocals - I know its not dry. If you could help me in this matter it would be greatly appreciated. &#xD;&#xA;&#xD;&#xA;I am doing a cover band of metal music and I need to get the gear I need to make it happen. " ContentLicense="CC BY-SA 3.0" />
  <row Id="47871" PostHistoryTypeId="1" PostId="26612" RevisionGUID="486d03b5-dce2-4311-b24d-b3e391c6f9cf" CreationDate="2012-05-04T20:23:38.807" UserDisplayName="Ken Irvine" Text="What vocal effects do these heavy metal bands use for live shows" ContentLicense="CC BY-SA 3.0" />
  <row Id="47872" PostHistoryTypeId="3" PostId="26612" RevisionGUID="486d03b5-dce2-4311-b24d-b3e391c6f9cf" CreationDate="2012-05-04T20:23:38.807" UserDisplayName="Ken Irvine" Text="&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47873" PostHistoryTypeId="36" PostId="26616" RevisionGUID="aa024157-16a6-4447-bfac-ba3336b7658b" CreationDate="2014-01-30T03:58:39.317" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3692/whats-that-vocal-effect-or-it-it-natural" />
  <row Id="47874" PostHistoryTypeId="2" PostId="26617" RevisionGUID="47de3361-b808-4cb5-8276-8f34d7564533" CreationDate="2012-04-05T13:19:02.980" UserId="7016" Text="For the Gerry Rafferty one, it sounds like he might be using a mild chorus effect, but aside from that I can't hear anything else - it's just his voice.&#xD;&#xA;&#xD;&#xA;A chorus can make a vocal sound fuller, as if you had your voice multi-tracked at slightly varying pitch." ContentLicense="CC BY-SA 3.0" />
  <row Id="47875" PostHistoryTypeId="2" PostId="26616" RevisionGUID="3683f915-e640-42fc-9476-401b8550059b" CreationDate="2012-04-03T08:45:38.007" UserDisplayName="Hunkpapa" Text="I'm an AVP n00b, so bare with me.&#xD;&#xA;I've been wondering about a vocal sound that I'm very fond of. Some vocalists over the years have been using it, but it's not really that common. The sound is very soft, full-bodied and has a sort emphasis on making the consonant sounds really soft. My question is: Do they have these voices all natural, or is it some effect that they are using, that could be applied to any voice? (flang effect maybe?)&#xD;&#xA;&#xD;&#xA;Here are two examples:&#xD;&#xA;&#xD;&#xA;John Grant - Queen of Denmark&#xD;&#xA;http://open.spotify.com/track/77jhNH7WU1qR60BlDOZpGh&#xD;&#xA;&#xD;&#xA;Gerry Rafferty - Right Down The Line&#xD;&#xA;http://open.spotify.com/track/2Xb6wJYGi0QXwURw5WWvI5&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47876" PostHistoryTypeId="1" PostId="26616" RevisionGUID="3683f915-e640-42fc-9476-401b8550059b" CreationDate="2012-04-03T08:45:38.007" UserDisplayName="Hunkpapa" Text="What's that vocal effect? Or it it natural?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47877" PostHistoryTypeId="3" PostId="26616" RevisionGUID="3683f915-e640-42fc-9476-401b8550059b" CreationDate="2012-04-03T08:45:38.007" UserDisplayName="Hunkpapa" Text="&lt;effects&gt;&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47878" PostHistoryTypeId="36" PostId="26617" RevisionGUID="afec3286-800d-4817-97d8-c303497234fc" CreationDate="2014-01-30T03:58:39.317" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3692/whats-that-vocal-effect-or-it-it-natural/3704#3704" />
  <row Id="47879" PostHistoryTypeId="36" PostId="26618" RevisionGUID="efc3d961-b0ee-49f5-adce-a703e92c5ed8" CreationDate="2014-01-30T03:58:39.317" UserId="-1" Comment="from http://avp.stackexchange.com/questions/3692/whats-that-vocal-effect-or-it-it-natural/3807#3807" />
  <row Id="47880" PostHistoryTypeId="2" PostId="26618" RevisionGUID="4b08aa75-817f-4e33-9cba-366dc9ca3e76" CreationDate="2012-04-23T15:53:48.933" UserId="7605" UserDisplayName="mghicks" Text="The John Grant song samples [linked from the comment][1] are a mixture of chorus, short delays, and reverb.  I don't see the connection between the effects I mainly hear and your &quot;soft consonants&quot; observation. &#xD;&#xA;&#xD;&#xA;My best guess is you should research [compression][2] and/or [vocal doubling][3] (and [pop filters][4] if you need one) to achieve the sound you want.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Queen-Denmark-John-Grant/dp/B00383XZQC/ref=sr_1_1?s=music&amp;ie=UTF8&amp;qid=1334174349&amp;sr=1-1&#xD;&#xA;  [2]: http://avp.stackexchange.com/search?q=compression&#xD;&#xA;  [3]: https://www.google.com/search?q=vocal%20doubling&#xD;&#xA;  [4]: https://www.google.com/search?q=pop%20filter" ContentLicense="CC BY-SA 3.0" />
  <row Id="47881" PostHistoryTypeId="36" PostId="26619" RevisionGUID="18ea5084-1f23-42c0-ad5b-debdebf8936a" CreationDate="2014-01-30T03:58:57.163" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2269/how-do-i-isolate-parts-of-a-song-according-to-pan-position" />
  <row Id="47882" PostHistoryTypeId="36" PostId="26620" RevisionGUID="a454a105-1cf7-4e6c-9e29-c7d925b26aac" CreationDate="2014-01-30T03:58:57.163" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2269/how-do-i-isolate-parts-of-a-song-according-to-pan-position/2576#2576" />
  <row Id="47883" PostHistoryTypeId="36" PostId="26621" RevisionGUID="361c48a1-52e4-4266-963a-8487ce507e61" CreationDate="2014-01-30T03:58:57.163" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2269/how-do-i-isolate-parts-of-a-song-according-to-pan-position/2890#2890" />
  <row Id="47884" PostHistoryTypeId="2" PostId="26620" RevisionGUID="0fc36838-b3ec-4174-ada1-4c0137c03e56" CreationDate="2011-11-01T11:52:13.507" UserId="7016" Text="Realistically, I could see this working where your original mix **only** has instruments panned hard left or right.&#xD;&#xA;&#xD;&#xA;The problem is that any final mix will have a blend across both/all channels which not only introduces frequencies but phase/time shift - for example a vocal may be through one mic but have a small element through another mic with a delay (this happens a lot in live recordings)&#xD;&#xA;&#xD;&#xA;It's not even a case of using maths to pull the information out - with a mixdown you are permanently losing information, so although you may be able to broadly block out a frequency range (eg vocals) when you try to extract it from the original you will have other instruments in there as well.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47885" PostHistoryTypeId="2" PostId="26621" RevisionGUID="c2b34f56-55ad-4b03-87ac-468815a54ae2" CreationDate="2011-12-23T16:14:39.017" UserId="9511" UserDisplayName="Johnny Bigoode" Text="Considering your situation you have only a few options:&#xD;&#xA;&#xD;&#xA;From a stereo mix you may extract 4 audio tracks that compose the stereo mix:&#xD;&#xA;&#xD;&#xA;Left/Right/Mid/Side&#xD;&#xA;&#xD;&#xA;Left and Right can be extracted using PAN&#xD;&#xA;&#xD;&#xA;From the classic M/S Matrix:&#xD;&#xA;&#xD;&#xA;Left = Mid + Side&#xD;&#xA;Right = Mid − Side&#xD;&#xA;&#xD;&#xA;So, Left - Right = Side&#xD;&#xA;Left + Right - Side = Mid&#xD;&#xA;&#xD;&#xA;Using Ableton you can use EQ8 and set it up to M/S&#xD;&#xA;Still over at the utilies section there's a diference and invert plug in to switch the channels. &#xD;&#xA;&#xD;&#xA;In other DAWs:&#xD;&#xA;&#xD;&#xA;1.) Extract the audio into 2 Mono Channels. &#xD;&#xA;&#xD;&#xA;2.) Invert the audio from one of the channels. &#xD;&#xA;&#xD;&#xA;3.) The Result is the SIDE audio. &#xD;&#xA;&#xD;&#xA;4.) Using the SIDE audio, invert it and add it to the right + left side - or even to the single left or right. &#xD;&#xA;&#xD;&#xA;5.) The result is the MID audio. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But to be 100% accurate and honest. &#xD;&#xA;On the market, on the moment, there's only one solution that will be able to do what you want with hi quality. &#xD;&#xA;&#xD;&#xA;Melodyne. &#xD;&#xA;&#xD;&#xA;If you never heard of it you should check youtube for a melodyne dna demo or read [this][1].&#xD;&#xA;&#xD;&#xA;It's possible to extract ANY piece of audio from a Mixdown, you can even change keys completly or generate a new instrument from a sample. &#xD;&#xA;&#xD;&#xA;Check [this video][2]:&#xD;&#xA;&#xD;&#xA;It shows how you may extract some information from Lucy in the Sky with Diamonds. 	&#xD;&#xA;&#xD;&#xA;  [1]: http://www.celemony.com/cms/index.php?id=dna&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=32nkAFSKnu8" ContentLicense="CC BY-SA 3.0" />
  <row Id="47886" PostHistoryTypeId="2" PostId="26619" RevisionGUID="7ee395f2-7169-4fd1-878c-51a13f3c8ee4" CreationDate="2011-09-03T21:29:44.713" UserDisplayName="Peter Skirko" Text="Suppose I have an mp3 of a song. That is, I have a final mixdown; I don't have access to the constituent tracks.&#xD;&#xA;&#xD;&#xA;Now, suppose I want to isolate parts of this song according to pan position. For example, I want to isolate something that's mixed hard left or hard right in the pan, or really at any point in between.&#xD;&#xA;&#xD;&#xA;What are good software tools for doing this? I'm a bit out of the loop on audio software, so I'm not sure what the best tool for the job would be --- Logic, Soundtrack, Live etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="47887" PostHistoryTypeId="1" PostId="26619" RevisionGUID="7ee395f2-7169-4fd1-878c-51a13f3c8ee4" CreationDate="2011-09-03T21:29:44.713" UserDisplayName="Peter Skirko" Text="How do I isolate parts of a song according to pan position?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47888" PostHistoryTypeId="3" PostId="26619" RevisionGUID="7ee395f2-7169-4fd1-878c-51a13f3c8ee4" CreationDate="2011-09-03T21:29:44.713" UserDisplayName="Peter Skirko" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47889" PostHistoryTypeId="36" PostId="26622" RevisionGUID="824ebb05-b5a7-4927-be09-b3a8e5b542ce" CreationDate="2014-01-30T03:59:15.650" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2381/solution-for-checking-sound-levels-between-recording-sessions" />
  <row Id="47890" PostHistoryTypeId="2" PostId="26623" RevisionGUID="225a78f8-5938-4504-8587-effaa5cc9218" CreationDate="2011-09-26T21:20:45.837" UserId="7016" Text="For something like an ongoing vocal recording the assumption would be that the settings and environment would be the same each time. This isn't very technical but it would be the first thing I would ask - that they use a standard config.&#xD;&#xA;&#xD;&#xA;If you are trying to correct after the fact, a compressor can help you bring levels up to a standard.&#xD;&#xA;&#xD;&#xA;Or if you have ProTools, Cubase or decent tools, you can also bring all the levels to a consistent standard really easily.&#xD;&#xA;&#xD;&#xA;But really - get it specified with the provider, they should be able to sort it." ContentLicense="CC BY-SA 3.0" />
  <row Id="47891" PostHistoryTypeId="2" PostId="26622" RevisionGUID="af1f2f50-84c1-4f3c-a87f-d26dc38c1ac0" CreationDate="2011-09-26T20:38:40.360" UserDisplayName="Sean" Text="We have had problems with a professional recording company that records for us all year long. We piece audio bits together and sometimes the levels are off and the final product sounds off when put older and newer clips next to each other. We don't record any music, just talking. We hand them &quot;scripts&quot;, or sentences split by file, for the talent to say and they return the wav files.&#xD;&#xA;&#xD;&#xA;Is there software out there that can analyze a sound file, comparing it to an &quot;original sample&quot;, and tell if the levels are off?&#xD;&#xA;&#xD;&#xA;Is there a better way to ensure the audio levels always match from session to session?&#xD;&#xA;&#xD;&#xA;I have no experience in recording. I am a programmer so I know a lot about computers.&#xD;&#xA;&#xD;&#xA;Thank you!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="47892" PostHistoryTypeId="1" PostId="26622" RevisionGUID="af1f2f50-84c1-4f3c-a87f-d26dc38c1ac0" CreationDate="2011-09-26T20:38:40.360" UserDisplayName="Sean" Text="Solution for checking sound levels between recording sessions" ContentLicense="CC BY-SA 3.0" />
  <row Id="47893" PostHistoryTypeId="3" PostId="26622" RevisionGUID="af1f2f50-84c1-4f3c-a87f-d26dc38c1ac0" CreationDate="2011-09-26T20:38:40.360" UserDisplayName="Sean" Text="&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47894" PostHistoryTypeId="36" PostId="26623" RevisionGUID="0bc939dd-ec6d-47ee-9150-793f4ac9ccf1" CreationDate="2014-01-30T03:59:15.650" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2381/solution-for-checking-sound-levels-between-recording-sessions/2382#2382" />
  <row Id="47895" PostHistoryTypeId="36" PostId="26624" RevisionGUID="dff6a5fe-9324-4314-a61a-942f09661208" CreationDate="2014-01-30T03:59:15.650" UserId="-1" Comment="from http://avp.stackexchange.com/questions/2381/solution-for-checking-sound-levels-between-recording-sessions/2383#2383" />
  <row Id="47896" PostHistoryTypeId="2" PostId="26624" RevisionGUID="3f92a37e-4777-4ff7-ba64-b6ef96d258de" CreationDate="2011-09-26T22:44:21.517" UserDisplayName="H_7" Text="Pro Tools not only can resolve your equalize problem, but any volume problem too.&#xD;&#xA;Unfortanelly, even with preset parameters for a envelope equalizer effect for example, u have to do a little audio training to get the same sound all time by finning tuning the output. U should look waves and spectrums too. Better try to **rec always in same conditions**, to avoid this. Hope this helps a little. &#xD;&#xA;&#xD;&#xA;hmm.. probly u, with a programmer experience should create/run/find a script that will do exactly what u asked for(with Pro Tools or without it): &quot;*analyze a sound file, comparing it to an &quot;original sample&quot;, and tell if the levels are off*/ok and correct if so&quot;&#xD;&#xA;&#xD;&#xA;Editing is the art of timelines. (a word from a video-man to a program-man)" ContentLicense="CC BY-SA 3.0" />
  <row Id="47897" PostHistoryTypeId="36" PostId="26625" RevisionGUID="8f9801db-d605-4ef6-95e5-982de440f7de" CreationDate="2014-01-30T04:01:33.080" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1930/does-software-exist-to-measure-the-frequency-response-of-a-room" />
  <row Id="47898" PostHistoryTypeId="2" PostId="26626" RevisionGUID="53b160bf-ff85-4a85-8391-c24ea63007f1" CreationDate="2011-07-22T15:09:39.847" UserId="7016" Text="You'll want to try [Room EQ Wizard][1].&#xD;&#xA;&#xD;&#xA;Pretty full featured, as per the website:&#xD;&#xA;&#xD;&#xA;&gt; REW is a Java application for measuring room acoustics and analysing&#xD;&#xA;&gt; room and loudspeaker responses. It includes tools for generating test&#xD;&#xA;&gt; signals; measuring SPL and impedance; measuring frequency and impulse&#xD;&#xA;&gt; responses; generating phase, group delay and spectral decay plots,&#xD;&#xA;&gt; waterfalls, spectrograms and energy-time curves; generating real time&#xD;&#xA;&gt; analyser (RTA) plots; calculating reverberation times; calculating&#xD;&#xA;&gt; Thiele-Small parameters; determining the frequencies and decay times&#xD;&#xA;&gt; of modal resonances; displaying equaliser responses and automatically&#xD;&#xA;&gt; adjusting the settings of parametric equalisers to counter the effects&#xD;&#xA;&gt; of room modes and adjust responses to match a target curve.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hometheatershack.com/roomeq/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47899" PostHistoryTypeId="2" PostId="26625" RevisionGUID="3b1b27ce-db6a-4cb6-8145-f2974182cf5f" CreationDate="2011-07-22T05:44:00.400" UserId="7294" Text="I'm interested in finding out which frequencies are emphasized or attenuated in the room where I listen to playback and try to mix. I know there exist proprietary solutions for some monitoring systems which can do this - they do it by placing a microphone in the room and running various sounds through the speakers, and measuring the output. Based on the results, it's possible to create an EQ curve that matches your room.&#xD;&#xA;&#xD;&#xA;I don't have any such system. I have a set of generic microphones and a pair of ordinary monitor speakers.&#xD;&#xA;&#xD;&#xA;Does there exist any software packages that can perform this kind of correction on a generic system like this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47900" PostHistoryTypeId="1" PostId="26625" RevisionGUID="3b1b27ce-db6a-4cb6-8145-f2974182cf5f" CreationDate="2011-07-22T05:44:00.400" UserId="7294" Text="Does software exist to measure the frequency response of a room?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47901" PostHistoryTypeId="3" PostId="26625" RevisionGUID="3b1b27ce-db6a-4cb6-8145-f2974182cf5f" CreationDate="2011-07-22T05:44:00.400" UserId="7294" Text="&lt;equalization&gt;&lt;monitoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47902" PostHistoryTypeId="36" PostId="26626" RevisionGUID="0856f69a-3a03-4e1f-bad7-4cae0ccba489" CreationDate="2014-01-30T04:01:33.080" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1930/does-software-exist-to-measure-the-frequency-response-of-a-room/1932#1932" />
  <row Id="47903" PostHistoryTypeId="36" PostId="26627" RevisionGUID="ffd6c35b-d221-4ea7-85dd-7b687fdfce9f" CreationDate="2014-01-30T04:01:33.080" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1930/does-software-exist-to-measure-the-frequency-response-of-a-room/1941#1941" />
  <row Id="47904" PostHistoryTypeId="2" PostId="26627" RevisionGUID="35430d39-8a64-462d-8140-735a2e0451da" CreationDate="2011-07-23T02:32:17.063" UserDisplayName="Brandon Rollyson" Text="If you're going to &quot;pink&quot; your room you need more than just measurement software.  Unless one of your generic microphones is a measurement mic you are fighting an uphill battle.  All mics have different frequency responses and coincidentally a mic that has reasonably flat response (measurement mics) actually sound worse to us (for recording) than mics that don't have perfect response.  What I'm getting at is if you are using even a 58 there is a huge &quot;presence&quot; bump in the frequency response in the high mids.  This will translate in the software as being a room anomaly that will take away the high mids unnecessarily.  A decent measurement mic doesn't have to be expensive either, even a Behringer mic will do a good job (I can't believe I said that).  Also you need a good pink noise source a la [GTC NP1](http://www.mcmelectronics.com/product/DISTRIBUTED-BY-MCM-NP1-/72-6565 &quot;GTC NP1&quot;).  Lastly, when you do your measurement you will need to run the pink noise at the same level you mix at, otherwise you will end up with mixes that don't translate as well.  Depending on the size of the room different volumes will affect how the room sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="47905" PostHistoryTypeId="36" PostId="26628" RevisionGUID="ada14f81-a4a7-472f-8f94-5541a5b4ee07" CreationDate="2014-01-30T04:03:27.810" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1461/do-vinyl-records-sound-better-than-cds" />
  <row Id="47906" PostHistoryTypeId="36" PostId="26629" RevisionGUID="5e1c44c2-99b9-4ef5-90f5-d7b4db201772" CreationDate="2014-01-30T04:03:27.810" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1461/do-vinyl-records-sound-better-than-cds/1462#1462" />
  <row Id="47907" PostHistoryTypeId="2" PostId="26629" RevisionGUID="01389403-4898-49cc-856f-4a9ac87404b1" CreationDate="2011-05-24T21:30:07.857" UserId="7294" Text="You're going to want to qualify exactly what &quot;better&quot; means. The quality of sound is a **highly** subjective topic, especially where digital and analog recording media are concerned.&#xD;&#xA;&#xD;&#xA;Many people *prefer* the sound of vinyl. Lots of people prefer &quot;cleaner&quot; digital sound as well. &#xD;&#xA;&#xD;&#xA;Personally, I like the sound of recordings on vinyl. This includes the cracks and mechanical noise - to me, it's more &quot;fun&quot; and I enjoy the experience more. However, I regularly buy CDs and record digitally and tend to only want to use analog sound sources when I want the kinds of properties that it imparts to a sound. I don't always want that.&#xD;&#xA;&#xD;&#xA;The recording on a CD, being digital, isn't going to be warped by environmental factors. It's either readable or it isn't. For vinyl, there are shades of grey. The record could be warped, dirty, or scratched, and while this won't stop the recording from playing back, it will change it.                                                         " ContentLicense="CC BY-SA 3.0" />
  <row Id="47908" PostHistoryTypeId="2" PostId="26630" RevisionGUID="aa2aeeac-1149-41da-bcb4-13306112fb8c" CreationDate="2011-05-25T15:23:36.663" UserDisplayName="Ian C." Text="TL;DR: it depends on the recordings. You can't make a blanket statement about it.&#xD;&#xA;&#xD;&#xA;Vinyl has one advantage over CDs: mastered audio, pressed to vinyl, cannot be extreme in its nature. Brick wall limiting just doesn't work on vinyl because the extreme peaks and valleys it creates in the playback groove cause the needle to skip and jump out of the groove. The [RIAA curve][1] for mastering for vinyl and the physical limitations of the playback medium demand a much gentler hand in the mastering phase of audio that's destined for vinyl.&#xD;&#xA;&#xD;&#xA;There is nothing stopping a CD from having a similarly light and expressive touch applied to source material that's destined for it. Brickwall limiting, probably the scourge of the music listener's world, doesn't have to be applied when mastering for CD. You can definitely find CD source material that isn't limited to death. And those pressings sound fantastic. Example: Pearl Jam's Ten Redux re-master and pressing of their seminal, debut album or the SA-CD release of Pink Floyd's Dark Side of the Moon.&#xD;&#xA;&#xD;&#xA;Whether pressing to vinyl always results in a better product is hard to say. It certainly can't be a generic statement. There are bad sounding vinyl pressings and bad sounding CD pressings. You can only make specific comparisons: a specific pressing on vinyl versus a specific pressing on CD. And to make an accurate comparison you have to resort to double blind testing. See [my answer on the MP3 encoding question for how to do a double blind test][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/RIAA_equalization&#xD;&#xA;  [2]: http://audio.stackexchange.com/questions/1406/are-there-any-audible-differences-between-192-and-320-kbit-s-mp3-files" ContentLicense="CC BY-SA 3.0" />
  <row Id="47909" PostHistoryTypeId="2" PostId="26628" RevisionGUID="3a6809ed-b037-463b-9a45-f79c706f9dce" CreationDate="2011-05-24T20:49:31.247" UserDisplayName="Alex" Text="Is this true, or it's just a placebo effect?&#xD;&#xA;&#xD;&#xA;Personally I don't hear any differences besides the usual vinyl &quot;cracks&quot; and random noises..." ContentLicense="CC BY-SA 3.0" />
  <row Id="47910" PostHistoryTypeId="1" PostId="26628" RevisionGUID="3a6809ed-b037-463b-9a45-f79c706f9dce" CreationDate="2011-05-24T20:49:31.247" UserDisplayName="Alex" Text="Do vinyl records sound better than CDs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47911" PostHistoryTypeId="3" PostId="26628" RevisionGUID="3a6809ed-b037-463b-9a45-f79c706f9dce" CreationDate="2011-05-24T20:49:31.247" UserDisplayName="Alex" Text="&lt;digital&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47912" PostHistoryTypeId="36" PostId="26630" RevisionGUID="4e880c8c-8309-4bf3-a46d-5aac1d4e4c84" CreationDate="2014-01-30T04:03:27.810" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1461/do-vinyl-records-sound-better-than-cds/1468#1468" />
  <row Id="47913" PostHistoryTypeId="36" PostId="26631" RevisionGUID="b44be6c8-c77d-42c9-83f1-aca4ea0a2179" CreationDate="2014-01-30T04:03:27.810" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1461/do-vinyl-records-sound-better-than-cds/1471#1471" />
  <row Id="47914" PostHistoryTypeId="36" PostId="26632" RevisionGUID="7bbeff5b-af53-43e3-ae55-877faa38d99a" CreationDate="2014-01-30T04:03:27.810" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1461/do-vinyl-records-sound-better-than-cds/1480#1480" />
  <row Id="47915" PostHistoryTypeId="2" PostId="26631" RevisionGUID="b92b0857-fc29-48f0-9771-5333cd5ef4dd" CreationDate="2011-05-26T05:44:58.977" UserDisplayName="some" Text="Vinyl has the potential to sound better than CD, especially for frequencies higher than 10kHz. But to get the full potential of the vinyl, the copy of the vinyl must be one of the first from the master, not been played before, and you must have a very good record player that is correctly calibrated and have a new pickup. Every time you play the record you loose some of the higher frequencies. &#xD;&#xA;&#xD;&#xA;A CD on the other hand, can be played as many times as you like and it will sound exactly the same every time.&#xD;&#xA;&#xD;&#xA;If you have enough money you can have the equipment to get the full potential of the vinyl. You don't need that much money to get the full potential from the CD." ContentLicense="CC BY-SA 3.0" />
  <row Id="47916" PostHistoryTypeId="2" PostId="26632" RevisionGUID="da23edea-f100-42b8-9776-5c7304d25e4e" CreationDate="2011-05-27T21:10:51.677" UserId="7016" Text="I prefer the sound of well looked after vinyl through a decent record deck - and enough people feel the same that high end audio companies tend to specialise in this area.&#xD;&#xA;&#xD;&#xA;A CD will sound the same every time, but the vinyl will sound warm and lovely at first...while degrading over time.&#xD;&#xA;&#xD;&#xA;I have to admit I prefer the sound of a good tape deck to a CD so obviously I'm an old grumpy curmudgeon :-)&#xD;&#xA;&#xD;&#xA;Going to vote to close as waaay too subjective" ContentLicense="CC BY-SA 3.0" />
  <row Id="47917" PostHistoryTypeId="36" PostId="26633" RevisionGUID="9556a48b-7d27-4d56-a0df-8db28413ef38" CreationDate="2014-01-30T04:04:59.173" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1139/free-batch-conversion-from-flac-to-apple-lossless-alac" />
  <row Id="47918" PostHistoryTypeId="36" PostId="26634" RevisionGUID="b55f8825-2b8a-481d-a052-9026fb7a5289" CreationDate="2014-01-30T04:04:59.173" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1139/free-batch-conversion-from-flac-to-apple-lossless-alac/1140#1140" />
  <row Id="47919" PostHistoryTypeId="36" PostId="26635" RevisionGUID="c80442aa-06e3-43f1-ad54-c7585b947f16" CreationDate="2014-01-30T04:04:59.173" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1139/free-batch-conversion-from-flac-to-apple-lossless-alac/1141#1141" />
  <row Id="47920" PostHistoryTypeId="36" PostId="26636" RevisionGUID="9907a53e-70ac-4e64-896d-0af9b9a05ddf" CreationDate="2014-01-30T04:04:59.173" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1139/free-batch-conversion-from-flac-to-apple-lossless-alac/1142#1142" />
  <row Id="47921" PostHistoryTypeId="36" PostId="26637" RevisionGUID="64a7d44a-d5a0-450f-9a95-d17fff8dd52f" CreationDate="2014-01-30T04:04:59.173" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1139/free-batch-conversion-from-flac-to-apple-lossless-alac/1144#1144" />
  <row Id="47922" PostHistoryTypeId="36" PostId="26638" RevisionGUID="ddc3a11d-e3f7-488a-a8e0-581fa1bf3ebd" CreationDate="2014-01-30T04:04:59.173" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1139/free-batch-conversion-from-flac-to-apple-lossless-alac/5279#5279" />
  <row Id="47923" PostHistoryTypeId="36" PostId="26639" RevisionGUID="43f7cf2c-e547-4c0d-a020-9446e52721e5" CreationDate="2014-01-30T04:04:59.173" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1139/free-batch-conversion-from-flac-to-apple-lossless-alac/5402#5402" />
  <row Id="47924" PostHistoryTypeId="36" PostId="26640" RevisionGUID="5b0dd05d-90a3-4f91-b788-ad4fa39616a3" CreationDate="2014-01-30T04:04:59.173" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1139/free-batch-conversion-from-flac-to-apple-lossless-alac/5570#5570" />
  <row Id="47925" PostHistoryTypeId="2" PostId="26634" RevisionGUID="d5c85bbc-d5b2-4323-9395-9795a68998bd" CreationDate="2011-04-07T10:38:12.003" UserId="7016" Text="There are a wide range of applications for Windows and for OSX - &#xD;&#xA;&#xD;&#xA;you could try [Audio Transcoder][1] &#xD;&#xA;&#xD;&#xA;or [Max][2] &#xD;&#xA;&#xD;&#xA;or a range of others ([google][3] will find many)&#xD;&#xA;&#xD;&#xA;Or you could convert FLAC to WAV and then let iTunes do the rest&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audio-transcoder.com/how-to-convert-flac-files-to-aac&#xD;&#xA;  [2]: http://sbooth.org/Max/&#xD;&#xA;  [3]: http://www.google.co.uk/search?q=convert%20flac%20to%20aac" ContentLicense="CC BY-SA 2.5" />
  <row Id="47926" PostHistoryTypeId="2" PostId="26635" RevisionGUID="adb0b1d2-be02-4d86-8f0b-334f6afaf609" CreationDate="2011-04-07T13:02:38.057" UserId="7093" Text="XRECODE does a great job of batch conversion.  I'm pretty sure it is just a front end for ffmpeg.  It keeps your tags and embedded images (for most formats - see [this answer][1] for exceptions) during conversion.  &#xD;&#xA;&#xD;&#xA;The [current version][2] has a non-expiring fully functional trial (complete with nag screen), but you can download the [previous version][3] for free.  &#xD;&#xA;&#xD;&#xA;I have not tried the conversion to ALAC, but it does a great job at FLAC, MP3, WMA, and OGG conversion.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/a/1144/126&#xD;&#xA;  [2]: http://xrecode.com/&#xD;&#xA;  [3]: http://majorgeeks.com/XRECODE_d5957.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="47927" PostHistoryTypeId="2" PostId="26636" RevisionGUID="d81f19a2-0f00-4302-9cc6-0542a0ff1042" CreationDate="2011-04-07T14:27:35.470" UserDisplayName="David Budiac" Text="&lt;a href=&quot;http://www.macupdate.com/app/mac/23430/x-lossless-decoder&quot;&gt;X Lossless Decoder (XLD)&lt;/a&gt; is a great prefect lossless ripping and batch conversion tool for the Mac.&#xD;&#xA;&#xD;&#xA;I've heard great things about getting perfect lossless rips using &lt;a href=&quot;http://www.exactaudiocopy.de/&quot;&gt;Exact Audio Copy (EAC)&lt;/a&gt; on Windows, though I'm not sure if it supports conversion." ContentLicense="CC BY-SA 2.5" />
  <row Id="47928" PostHistoryTypeId="2" PostId="26637" RevisionGUID="00e20b54-dc7b-4769-9d01-e4b3efd57382" CreationDate="2011-04-08T02:01:24.523" UserDisplayName="boehj" Text="If you're happy using the Terminal, then you could try the following command loop:&#xD;&#xA;&#xD;&#xA;    for f in *.flac; do ffmpeg -i &quot;$f&quot;  -vf &quot;crop=((in_w/2)*2):((in_h/2)*2)&quot; -c:a alac &quot;${f%.flac}.m4a&quot;; done&#xD;&#xA;&#xD;&#xA;This will simply cycle through all the .flac files sitting in the current directory and convert them all to .alac until they're all done. I can confirm that this works in Linux where ffmpeg is freely available in the repositories. For OSX, you can install ffmpeg via [homebrew]( http://mxcl.github.com/homebrew/), and there are also static builds for Windows, OSX and Linux listed on [the ffmpeg website](https://ffmpeg.org/download.html).&#xD;&#xA;&#xD;&#xA;This will preserve the metadata, but the way that M4A stores cover images is fundamentally different from the way that FLAC (and most other audio formats) do it. Unfortunately, FFmpeg is currently unable to handle this. Fortunately, you can extract the cover as a jpeg image on the same step as transcoding the audio, and then use another command-line tool (AtomicParsley) to merge the cover into the M4A.&#xD;&#xA;&#xD;&#xA;    ffmpeg -i input.flac -vf &quot;crop=((in_w/2)*2):((in_h/2)*2)&quot; -c:a alac output.m4a cover.jpg&#xD;&#xA;    AtomicParsley output.m4a --artwork cover.jpg --overWrite&#xD;&#xA;&#xD;&#xA;This can similarly be put into a for loop; the `&amp;&amp;`s mean that the next command will only be performed if the previous command succeeds.&#xD;&#xA;&#xD;&#xA;    for f in *.flac; do ffmpeg -i &quot;$f&quot; -vf &quot;crop=((in_w/2)*2):((in_h/2)*2)&quot; -c:a alac &quot;${f/%flac/m4a}&quot; &quot;${f/%flac/jpg}&quot; &amp;&amp; \&#xD;&#xA;    AtomicParsley &quot;${f/%flac/m4a}&quot; --artwork &quot;${f/%flac/jpg}&quot; --overWrite &amp;&amp; \&#xD;&#xA;    rm &quot;${f/%flac/jpg}&quot;; done" ContentLicense="CC BY-SA 3.0" />
  <row Id="47929" PostHistoryTypeId="2" PostId="26638" RevisionGUID="4507d47f-ccdc-4608-b1ff-8b18994b61f5" CreationDate="2012-11-06T22:50:58.827" UserDisplayName="Ilya" Text="Here's the Windows variant of [boehj's answer][1]:&#xD;&#xA;&#xD;&#xA;    for %f in (*.flac) do ffmpeg.exe -i &quot;%f&quot; -acodec alac &quot;%~nf.m4a&quot;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/a/1144/3052" ContentLicense="CC BY-SA 3.0" />
  <row Id="47930" PostHistoryTypeId="2" PostId="26639" RevisionGUID="4f0f026a-4acf-40ec-a48f-ef0f0d82f6f7" CreationDate="2012-11-24T06:10:51.923" UserId="11354" UserDisplayName="Sun W Kim" Text="I went to the FFmpeg site to download the latest [ffmpeg Win32][1] from 11/20/2012. &#xD;&#xA;&#xD;&#xA;You may need 7zip to extract the EXEs and place them in a path that is recognized.&#xD;&#xA;&#xD;&#xA;Still can't figure out how to recursively run the command. I've tried using an old DOS command called `sweep` and also `forfiles -s -c` but neither work correctly.&#xD;&#xA;&#xD;&#xA;I ended up generating a list of flac files including their path using this DOS command:&#xD;&#xA;&#xD;&#xA;    m:\flac&gt; dir *.flac /b /s &gt; flac_convert.bat&#xD;&#xA;&#xD;&#xA;I used the macro feature in [NotePad++ (freeware)][2] to change the line&#xD;&#xA;&#xD;&#xA;from: &#xD;&#xA;&#xD;&#xA;    M:\flac\Art Of Noise\Moments In Love.flac&#xD;&#xA;&#xD;&#xA;to:&#xD;&#xA;&#xD;&#xA;    ffmpeg -i &quot;M:\flac\Art Of Noise\Moments In Love.flac&quot; -acodec alac &quot;M:\flac\Art Of Noise\Moments In Love.m4a&quot;&#xD;&#xA;&#xD;&#xA;Once I used the macro to change every line, I saved and ran flac_convert.bat&#xD;&#xA;&#xD;&#xA;The solution is not elegant, but it does work using only free tools.&#xD;&#xA;&#xD;&#xA;  [1]: http://ffmpeg.zeranoe.com/builds/win32/static/ffmpeg-20121120-git-8b6aeb1-win32-static.7z&#xD;&#xA;  [2]: http://notepad-plus-plus.org/features.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="47931" PostHistoryTypeId="2" PostId="26640" RevisionGUID="03658d03-74c0-486f-a04f-f18d990f4c21" CreationDate="2012-12-13T09:39:08.827" UserDisplayName="Kariem" Text="if you want convert everything flac file in folders and subfolders recursively add the /r to the for loop command like so:&#xD;&#xA;&#xD;&#xA;    for /r %%a in (&quot;.flac&quot;) do ffmpeg -i &quot;%%a&quot; -acodec alac &quot;%%a.m4a&quot; -map_metadata input.flac:output.m4a&#xD;&#xA;&#xD;&#xA;The only problem i have with this is that filenames come out like&#xD;&#xA;&#xD;&#xA;    output.flac.m4a&#xD;&#xA;&#xD;&#xA;I have no idea how to fix that at the end, but from what I've seen it doesn't HURT the file to be named this way.&#xD;&#xA;&#xD;&#xA;EDIT: Replacing the output code with&#xD;&#xA;&#xD;&#xA;    &quot;%%~na.m4a&quot;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;so that the full code looks like&#xD;&#xA;&#xD;&#xA;    for /r %%a in (&quot;.flac&quot;) do ffmpeg -i &quot;%%a&quot; -acodec alac &quot;%%~na.m4a&quot; -map_metadata input.flac:output.m4a&#xD;&#xA;&#xD;&#xA;WILL make file names look like &#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;    output.m4a&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;BUT will save the converted copies to the ROOT of the folder you have the command run. &#xD;&#xA;To clarify flac file is located in&#xD;&#xA;&#xD;&#xA;    C:\music\foo\bar.flac&#xD;&#xA;&#xD;&#xA;alac file will save to&#xD;&#xA;&#xD;&#xA;    C:\music\bar.m4a" ContentLicense="CC BY-SA 3.0" />
  <row Id="47932" PostHistoryTypeId="2" PostId="26633" RevisionGUID="f30f5ab1-6a16-4de7-9e5c-73b0b3f7d71e" CreationDate="2011-04-07T06:43:55.177" UserId="19988" UserDisplayName="sorin" Text="I am looking for a free tool that would allow me to convert large amounts of FLAC files to ALAC (Apple Lossless Audio Codec) while **preserving the meta information** and optionally adding new information from [CDDB][1] or similar sources.&#xD;&#xA;&#xD;&#xA;At this moment I'm more interested in a Windows utility but you are free to recommend OS X ones. Please use different answers for different tools.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/CDDB" ContentLicense="CC BY-SA 2.5" />
  <row Id="47933" PostHistoryTypeId="1" PostId="26633" RevisionGUID="f30f5ab1-6a16-4de7-9e5c-73b0b3f7d71e" CreationDate="2011-04-07T06:43:55.177" UserId="19988" UserDisplayName="sorin" Text="Free batch conversion from FLAC to Apple Lossless (ALAC)?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47934" PostHistoryTypeId="3" PostId="26633" RevisionGUID="f30f5ab1-6a16-4de7-9e5c-73b0b3f7d71e" CreationDate="2011-04-07T06:43:55.177" UserId="19988" UserDisplayName="sorin" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47935" PostHistoryTypeId="36" PostId="26641" RevisionGUID="46c41af0-d668-4665-ac26-6ec32209a58c" CreationDate="2014-01-30T04:06:16.603" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1120/what-do-various-sounds-look-like-on-the-wave-spectrum" />
  <row Id="47936" PostHistoryTypeId="2" PostId="26642" RevisionGUID="54fe40eb-1d42-4c70-ad46-51568c2187fc" CreationDate="2011-03-31T16:37:40.127" UserDisplayName="Alexander Questioning Bresee" Text="So, the fundamental difficulty to understand here is that each individual sound is made up of many many composite frequencies. When you play A440 on a guitar, it sounds different from A440 on a piano because the piano has vastly different upper frequency content. You said &quot;the waves&quot;, but this is a little bit misleading: The waveform you see when you record guitar or piano is actually the sum of many many frequencies. The only way they are &quot;the same&quot; is that they have the same *fundamental* frequency -- that is, the lowest audible frequency of these two notes is the same, that is, 440 Hz.&#xD;&#xA;&#xD;&#xA;As for how filtering a sound affects its content:&#xD;&#xA;&#xD;&#xA;If you put a bass-cut on a sound, you're essentially lowering the volume of the low frequencies of the sound. If you put a bass boost, you're *raising* the volume. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47937" PostHistoryTypeId="2" PostId="26641" RevisionGUID="ae3724cc-02c3-4889-a111-0ce1cc8e2489" CreationDate="2011-03-31T14:54:32.670" UserId="10057" UserDisplayName="Vass" Text="I am trying to understand some basics of the acoustic theory. &#xD;&#xA;&#xD;&#xA;Can someone in their own simple words explain what are the differences between the waves on two different instruments playing the same note? Such as how does a wave from a G on a guitar differ from a G in the same octave/frequency on a piano?&#xD;&#xA;&#xD;&#xA;Also what does the 'bass' effect increase or decrease do to any wave signal you give it?" ContentLicense="CC BY-SA 2.5" />
  <row Id="47938" PostHistoryTypeId="1" PostId="26641" RevisionGUID="ae3724cc-02c3-4889-a111-0ce1cc8e2489" CreationDate="2011-03-31T14:54:32.670" UserId="10057" UserDisplayName="Vass" Text="What do various sounds look like on the wave spectrum" ContentLicense="CC BY-SA 2.5" />
  <row Id="47939" PostHistoryTypeId="3" PostId="26641" RevisionGUID="ae3724cc-02c3-4889-a111-0ce1cc8e2489" CreationDate="2011-03-31T14:54:32.670" UserId="10057" UserDisplayName="Vass" Text="&lt;editing&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="47940" PostHistoryTypeId="36" PostId="26642" RevisionGUID="61b9b8da-f4fd-48fd-bf56-b06fea1e3338" CreationDate="2014-01-30T04:06:16.603" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1120/what-do-various-sounds-look-like-on-the-wave-spectrum/1121#1121" />
  <row Id="47941" PostHistoryTypeId="36" PostId="26643" RevisionGUID="60cb1be2-0c98-443c-8fc6-731f04bc2b12" CreationDate="2014-01-30T04:06:16.603" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1120/what-do-various-sounds-look-like-on-the-wave-spectrum/1123#1123" />
  <row Id="47942" PostHistoryTypeId="36" PostId="26644" RevisionGUID="dbf77e1d-2283-4003-a716-9880db9ca804" CreationDate="2014-01-30T04:06:16.603" UserId="-1" Comment="from http://avp.stackexchange.com/questions/1120/what-do-various-sounds-look-like-on-the-wave-spectrum/1257#1257" />
  <row Id="47943" PostHistoryTypeId="2" PostId="26643" RevisionGUID="384885d6-462e-4e1b-b7e4-7bcc6f0b2164" CreationDate="2011-04-01T11:50:09.837" UserId="7016" Text="Key to this is the harmonics of the note. If you just play a 440Hz perfect sine wave it doesn't sound very exciting at all, but add in some of the harmonics and it starts to come alive.&#xD;&#xA;&#xD;&#xA;If you add in the waveforms at 3x and 5x the fundamental, or at 2x the fundamental you will get a very different tonal effect. Varying the relative amplitude of these also alters the tone. Adding in frequencies which are not a multiple can lead to more atonality (think bells or cymbals)&#xD;&#xA;&#xD;&#xA;If you translate the waveform into the frequency domain (ie look at the output of a frequency analyser which has your sounds fed into it) you can see how much these harmonics shape the sounds we hear.&#xD;&#xA;&#xD;&#xA;Bass and Treble (or wah and other filters) just boost or cut a particular range of frequencies.&#xD;&#xA;&#xD;&#xA;have a look at [this wikipedia article][1] for a great starting point, and also search for [fourier transform][2] to understand how the time and frequency domains are equivalent.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Spectrogram&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Fourier_transform" ContentLicense="CC BY-SA 2.5" />
  <row Id="47944" PostHistoryTypeId="2" PostId="26644" RevisionGUID="8938d43c-8600-4e69-8cc5-ef0bc74a4309" CreationDate="2011-04-23T18:06:37.363" UserId="8220" UserDisplayName="notthetup" Text="If you want some quick visualizations.. I suggest you look at the [Freesound Project][1]. Especially the tag '[notes][2]'.. You can see how different notes look like and play them to see how they sound..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org/&#xD;&#xA;  [2]: http://www.freesound.org/tagsViewSingle.php?id=615" ContentLicense="CC BY-SA 3.0" />
  <row Id="47945" PostHistoryTypeId="2" PostId="26645" RevisionGUID="58583dc7-b98a-4920-9c6c-a838dd34f933" CreationDate="2014-01-30T05:01:42.957" UserId="6686" Text="Sorry, but I don't have the ability to ask clarification on your question. Do you mean you're adding the ability for the end-user to choose a soundtrack themselves or you're asking about you adding he soundtrack before exporting the video?&#xD;&#xA;&#xD;&#xA;Assuming the latter...&#xD;&#xA;&#xD;&#xA;For me I try to first see if the song's natural ending can work before trying a fade. This almost always sounds better to my ears. &#xD;&#xA;&#xD;&#xA;I hate to hear a fade out when it sounds like the music is increasing in intensity. Even though it's just a background song, I personally like a beginning, middle, and end. &#xD;&#xA;&#xD;&#xA;Most songs will have some transition points that are perfect cutting areas to piece in a later part of the song. I do this a lot with 30 sec commercials when I only have longer pieces of music. Essentially building a 30 sec cut out of a 2.5 min song.&#xD;&#xA;&#xD;&#xA;The downside though, it takes more time and experience, which you may not have. But upside, they will sound far more natural. (If done correctly). &#xD;&#xA;&#xD;&#xA;However, if you need to simply fade out, I agree with coaxmw in that you just have to feel what's right for the specific piece. Just imagine you are the end user and what his experience is at that moment. That should help you decide. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47948" PostHistoryTypeId="5" PostId="26632" RevisionGUID="7c3aaf12-5422-4ebd-97fd-52c1907c877e" CreationDate="2014-01-30T07:30:57.250" UserId="6387" Comment="deleted 50 characters in body" Text="I prefer the sound of well looked after vinyl through a decent record deck - and enough people feel the same that high end audio companies tend to specialise in this area.&#xD;&#xA;&#xD;&#xA;A CD will sound the same every time, but the vinyl will sound warm and lovely at first...while degrading over time.&#xD;&#xA;&#xD;&#xA;I have to admit I prefer the sound of a good tape deck to a CD so obviously I'm an old grumpy curmudgeon :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="47949" PostHistoryTypeId="4" PostId="26616" RevisionGUID="59313a26-a02a-4a82-b663-3f8d74e2f7e1" CreationDate="2014-01-30T08:35:16.543" UserId="6387" Comment="edited title" Text="What's that vocal effect? Or is it natural?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47952" PostHistoryTypeId="2" PostId="26646" RevisionGUID="37febbcf-ac1e-4bd2-a8f7-666abb8d8dad" CreationDate="2014-01-30T10:19:01.990" UserId="1185" Text="The basic principle is called double tracking.  You can read a good introductory article here: [http://www.soundonsound.com/sos/apr09/articles/doubletracking.htm][1]&#xD;&#xA;&#xD;&#xA;In the first example there is pitch difference and a strong spatial element being applied.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/apr09/articles/doubletracking.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="47957" PostHistoryTypeId="6" PostId="21895" RevisionGUID="6bdd1a1c-9b71-4d9b-a6f7-778ddca0b094" CreationDate="2014-01-30T13:32:15.930" UserId="6957" Comment="edited tags" Text="&lt;foley&gt;&lt;backups&gt;&lt;interviews&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47958" PostHistoryTypeId="5" PostId="20103" RevisionGUID="bd659a3b-47bc-4f10-bb8c-9688637efcac" CreationDate="2014-01-30T13:45:09.743" UserId="6957" Comment="grammar, formatting and tags" Text="I own some studio speakers (Klein and Hummel 0300, purchased in January 2012), and they have really tested my wits.  Not because I regret my purchase, but I stil have several problems with them.&#xD;&#xA;&#xD;&#xA;At the beginning, when I receive them at my house, I opened them to find a mid driver pulled down. This probably happen during transportation. I sent them back to Sennheizer for a fix. Their answer to the problem was:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;-Mid driver remplacement.&#xD;&#xA;&#xD;&#xA;After the repair, I found several other problems with the monitors.  For example, the two speakers were not matching output levels.  One was playing less loud than than another.&#xD;&#xA;&#xD;&#xA;Another question; when using Propellerhead's Reason, the kicks and bass is drowned out -  damaged or like when the audio is clipping. I can't understand if this happens becuase of the speakers, sound card or (source) Reason?&#xD;&#xA;&#xD;&#xA;Which one is faulty? The speakers are still under warranty.&#xD;&#xA;&#xD;&#xA;My Gear:&#xD;&#xA;&#xD;&#xA;    Sound Card:Motu 828 Krk&#xD;&#xA;    Computer:Mac OS Leopard&#xD;&#xA;    Software:Reason 5.0&#xD;&#xA;    Monitors:KH 030&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47959" PostHistoryTypeId="6" PostId="20103" RevisionGUID="bd659a3b-47bc-4f10-bb8c-9688637efcac" CreationDate="2014-01-30T13:45:09.743" UserId="6957" Comment="grammar, formatting and tags" Text="&lt;monitors&gt;&lt;monitor-calibration&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47960" PostHistoryTypeId="5" PostId="19180" RevisionGUID="ae086d3a-b6ba-49b0-afb1-080d3a8e01ff" CreationDate="2014-01-30T13:49:54.910" UserId="6957" Comment="formatting and tags" Text="I started with music about 4 years ago and then took it more seriously. I started to learn music theory, I play guitar and started reading some books about sound synthesis, different tutorials, etc.&#xD;&#xA;&#xD;&#xA;I would love to make my own songs but the problem is that I have no experience. I know how to use a DAW , VST, VSTi and I don't have problems with the music being disharmonic.&#xD;&#xA;&#xD;&#xA;My problem is that I don't know much about synthesis, how to design sounds that I want or recreate sounds that I know from other songs. My music is simply boring. I want to understand the theory behind music and sound design but I can't find any books that cover these things...&#xD;&#xA;&#xD;&#xA; - Where do I learn what do I need to make a good song ?&#xD;&#xA; - Where do I learn to make catchy, interesting melodies ?&#xD;&#xA; - Are there any good books, tutorials or anything to teach me how to understand music, recreate sounds, create a sound that I imagined, really understand what I'm doing.&#xD;&#xA;&#xD;&#xA;The problem with books and tutorials is that I get a book that is too complex, and I don't like tutorials because I feel that it only teaches me to do one thing and not to understand what I'm doing ( not all tutorials, some are really helpfull )&#xD;&#xA;&#xD;&#xA;Could anyone recommend me some books or websites?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47961" PostHistoryTypeId="6" PostId="19180" RevisionGUID="ae086d3a-b6ba-49b0-afb1-080d3a8e01ff" CreationDate="2014-01-30T13:49:54.910" UserId="6957" Comment="formatting and tags" Text="&lt;composition&gt;&lt;learning&gt;&lt;books&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47962" PostHistoryTypeId="5" PostId="15287" RevisionGUID="9b0f9c52-21d9-4b61-aaa1-c7c282718e77" CreationDate="2014-01-30T13:54:14.167" UserId="6957" Comment="Title, grammar, and tag" Text="I studied sound quality in mechanical engineering.  I want to create a luxurious car horn sound that can connect with emotions.&#xD;&#xA;&#xD;&#xA;Can you recommend how I might create a sound to express a soft, baritone-like pleasurable emotion?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47963" PostHistoryTypeId="4" PostId="15287" RevisionGUID="9b0f9c52-21d9-4b61-aaa1-c7c282718e77" CreationDate="2014-01-30T13:54:14.167" UserId="6957" Comment="Title, grammar, and tag" Text="How do create a sound to express a soft, baritone-like pleasurable emotion?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47964" PostHistoryTypeId="6" PostId="15287" RevisionGUID="9b0f9c52-21d9-4b61-aaa1-c7c282718e77" CreationDate="2014-01-30T13:54:14.167" UserId="6957" Comment="Title, grammar, and tag" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47965" PostHistoryTypeId="5" PostId="15177" RevisionGUID="a4cec462-e04e-401a-b248-3fe3be488257" CreationDate="2014-01-30T13:56:35.193" UserId="6957" Comment="deleted 57 characters in body; edited tags; edited title" Text="I'm running 10 on a mac quadcore spdif in/out and going into a UA 2192 ad/da. I rarely/never record more than 2 tracks at a time and figured getting rid of the 002R is just one less outdated component. I don't use the 002r for anything other than out of computer to 2192 ad/da back to 002r.&#xD;&#xA;&#xD;&#xA;I have neve, great river, ua, api, etc pres that i just patch into the 2192. One day I will get more than 2 channels of high end AD/DA but in the interim how do set this up to remove the 002r out of the path and just use the 2192 as the interface?&#xD;&#xA;&#xD;&#xA;Any help suggestions would be hugely appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="47966" PostHistoryTypeId="4" PostId="15177" RevisionGUID="a4cec462-e04e-401a-b248-3fe3be488257" CreationDate="2014-01-30T13:56:35.193" UserId="6957" Comment="deleted 57 characters in body; edited tags; edited title" Text="How do I stop using my 002R with PT10?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47967" PostHistoryTypeId="6" PostId="15177" RevisionGUID="a4cec462-e04e-401a-b248-3fe3be488257" CreationDate="2014-01-30T13:56:35.193" UserId="6957" Comment="deleted 57 characters in body; edited tags; edited title" Text="&lt;gear&gt;&lt;mac&gt;&lt;signal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47971" PostHistoryTypeId="6" PostId="20435" RevisionGUID="156a688e-b22d-4044-86f1-280022923203" CreationDate="2014-01-30T14:02:56.287" UserId="6957" Comment="edited tags" Text="&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47972" PostHistoryTypeId="2" PostId="26648" RevisionGUID="4fa89383-638a-43b8-a222-8fc6f4ade754" CreationDate="2014-01-30T15:19:42.950" UserId="7174" Text="In college I helped edit a documentary on the rash of rape/murders in Mexico.  It was composed mainly of interviews and shot in Spanish.  Of the three of us on the team, one had no Spanish experience, I had limited Spanish experience and one of us grew up speaking Spanish fluently.&#xD;&#xA;&#xD;&#xA;It was certainly a challenging environment to work in and if you plan to do it long term, I would advocate getting at least some understanding of the language.  The guy with no Spanish experience did ok, but it slowed him down quite a bit and he needed the fluent speaker to translate for him.&#xD;&#xA;&#xD;&#xA;Even though I only took a couple years of high school Spanish (6 years before), can't speak pretty much any of it anymore and have only been to Mexico a couple of times, I found that I was able to understand a sufficient amount of what they were saying to grasp the general concept.  It allowed me to move fairly quickly since I only had to ask the fluent speaker about the occasional cut where I couldn't tell exactly where a natural break in dialog was.&#xD;&#xA;&#xD;&#xA;It is certainly a challenging environment to work in, but it can be doable, particularly if you are decent at picking up languages quickly through immersion." ContentLicense="CC BY-SA 3.0" />
  <row Id="47973" PostHistoryTypeId="2" PostId="26649" RevisionGUID="883c6024-6a29-448e-9dae-b1268742a7ca" CreationDate="2014-01-30T15:56:15.400" UserId="7280" Text="The TB 303 obsentiably has a &quot;square&quot; and a &quot;saw&quot; wave, but neither one of them are particularly square or saw like--especially the square!.  Your best bet is to find a sample of an original TB 303 (or one of the true clones) with the filter fully open and no resonance.&#xD;&#xA;&#xD;&#xA;Play around with a 3 pole or 4 pole filter.  The TB-303 has a very messed up 4 pole ladder filter, so there is a lot of dispute as to whether or not its a full 24 pole filter, or an 18 pole filter.  Try both and see what you get.  If you're using Ableton and the sampler, this is where you want to add the shaper to the filter.  The range of the cutoff and resonance isn't that big.&#xD;&#xA;&#xD;&#xA;Next up is the envelope.  Luckily there doesn't seem to be any accented notes in that particular sequence, so you don't have to emulate that.  An accented note is louder, has a bit of a filter and possibly resonance boost, also the decay of the note is set to the minimum decay).  You'll need to set up a fast attack on your filter modulation, and then a decay time to taste down to zero.  Also play around with the envelope amount.&#xD;&#xA;&#xD;&#xA;FInally, you will want to add some kind of distortion in there for sure.   Play around with the saturator.  My suggestion is to listen to a clean TB 303, and get your synth sounding as close as you can, THEN add the distortion.  &#xD;&#xA;&#xD;&#xA;There is a lot to the TB-303, and the more you learn about it, the more you realize it's unique characteristics.  That said this will at least get you started." ContentLicense="CC BY-SA 3.0" />
  <row Id="47974" PostHistoryTypeId="2" PostId="26650" RevisionGUID="1aa3c800-6a7c-4b2d-852e-f7677c90afb3" CreationDate="2014-01-30T16:01:57.163" UserId="7174" Text="There isn't really a right or wrong answer here.  Fade lengths can very significantly.  Algorithms tend to either be mildly logarithmic (fade quickly at first but then slow down for the last bit) or linear.  They can also be more curved where they start exponentially with a slowly increasing rate of reduction and then half way through switch to a logarithmic approach to make it fade out smoothly.  This is perhaps the most smooth as it doesn't rapidly change the volume, but it is also harder to implement.  Linear normally is sufficient though.&#xD;&#xA;&#xD;&#xA;You will probably want to provide the user with the option to choose a length.  You probably don't want to go shorter than a second generally, but you can also make a big impact on the length it takes based on how you fade out.  You also normally don't gain a lot beyond 3 or 4 seconds since you are often fading out content at that point." ContentLicense="CC BY-SA 3.0" />
  <row Id="47975" PostHistoryTypeId="2" PostId="26651" RevisionGUID="f23ca03a-f0ea-484b-a505-6a300dcf4ca6" CreationDate="2014-01-30T16:27:12.223" UserId="7174" Text="This has been a question for both artists and journalists for ages.  On the one hand, it seems wrong to profit from the suffering of others.  On the other hand, it is life and is worth memorializing respectfully.  I think the key comes down not to what we capture, but how we use what we capture.  Context matters.&#xD;&#xA;&#xD;&#xA;If for example, you somehow caught the audio of a rape on tape, using it in a rap video about &quot;banging hoes&quot; would be ethically dubious at best.  If you instead used it carefully in a documentary on the harm done and the social problems that lead to rape occurring, I don't think many people would have a problem with it.&#xD;&#xA;&#xD;&#xA;As long as you are fulfilling your moral duty to try to provide aid if you safely can, I don't think that capturing an event and using it tactfully and respectfully is an ethical issue, it should just be approached with caution and careful consideration." ContentLicense="CC BY-SA 3.0" />
  <row Id="47976" PostHistoryTypeId="2" PostId="26652" RevisionGUID="99678b1f-85ea-4fd6-aafc-a36729a7f0da" CreationDate="2014-01-30T16:57:05.213" UserId="7174" Text="I started sound with a non-profit that did youth work.  We had a weekly event that took place in a borrowed space and we had to haul in, setup, tear down and remove all of our equipment every week.  It was old, beat-up, substandard equipment and was a royal pain to work with, but it is also a pivotal part of what has made me as good of a sound guy as I am today.&#xD;&#xA;&#xD;&#xA;Live sound and studio sound are fundamentally different.  It is a bit like producing a live TV show vs producing a movie, or photography vs videography.  In studio recording, your focus is about taking as much time as it takes to get everything perfect.  In live mixing, the focus is on keeping things as good as you can, on the fly, with whatever you have, by the seat of your pants.&#xD;&#xA;&#xD;&#xA;Doing live sound with crappy gear forced me to learn how the gear works really well, how to deal with issues on the fly and how to overcome the limitations of gear.  Later on, as I grew in experience and moved up to better gear and more permanent installations, that experience stuck with me and helped me make better use of the tools at my disposal.&#xD;&#xA;&#xD;&#xA;There is also a lot of variation within live sound.  Theater setups have pre-configured systems and mic setups that don't change significantly from one showing to the next.  You can spend more time focusing on accounting for changes in people's voices from one day to the next and less time worried about general setup and the room (though you still have to pay attention to differences based on how the room is filled).  &#xD;&#xA;&#xD;&#xA;Nightclub/Concert setups are a little bit more of a pain because the content and style can change a lot more, so you have to worry about mixing choices and figuring out how to control stage noise and developing a proper mix that fits the room and the band's style.  &#xD;&#xA;&#xD;&#xA;Music festivals and conferences are the most by the seat of your pants since they often involve designing a rig to use for the show, bringing it in, setting it up, configuring it, running it, tearing it down and moving it out, all in the course of a few short days with near constant utilization after setup is completed.&#xD;&#xA;&#xD;&#xA;Personally, I've done every one of these at one point or another.  I actually really like conference/festival work for the fast pace and high intensity, but wouldn't want to do it all the time (I work a few conferences a year.)  &#xD;&#xA;&#xD;&#xA;My most common work these days is actually sound at my church.  We are kind of a cross between theater and nightclub.  We have multiple bands, but we are able to use presets to keep track of a rough mix between weeks that they are on.  I really enjoy that since it lets me use a higher level of refinement in the sound, but it sometimes can get routine.  &#xD;&#xA;&#xD;&#xA;I also spent some time in college doing the concert scene at one place with a permanent system and one with a semi-permanent.  Both were enjoyable enough, but weren't quite as good as either extreme in my opinion, though I could stand doing that kind of work regularly if it paid the bills, where as conference/festival work would be too much to do full time I think.&#xD;&#xA;&#xD;&#xA;The piece of gear I most keep with me is my in-ears.  They can work well enough as ear-plugs and double as being able to plug in to the board for checking monitor mixes or identifying a hard to separate out channel.  I use a set of Shure SE-535s and literally carry them with me all the time, whether I'm mixing or not.  &#xD;&#xA;&#xD;&#xA;The second most valuable piece of gear, at least with digital boards, is my tablet so that I can run remote control and move around the room while working on the mix or troubleshooting a problem.&#xD;&#xA;&#xD;&#xA;For non-permanent setups where there is likely to be gear problems, my multimeter, soldering iron and tools, as well as a healthy set of adapters for troubleshooting problems is critical unless I know someone else is bringing them." ContentLicense="CC BY-SA 3.0" />
  <row Id="47977" PostHistoryTypeId="2" PostId="26653" RevisionGUID="e911866b-3355-4ec8-9c41-29afd2cb01d7" CreationDate="2014-01-30T17:03:48.557" UserId="6429" Text="I'd suggest listening to animal sounds first and then analyze those which have tone and expression similar to what you are looking for. Besides timbre (overall spectrum) there're also other important properties such as intonation (pitch changes) and articulation which define emotional response." ContentLicense="CC BY-SA 3.0" />
  <row Id="47978" PostHistoryTypeId="5" PostId="2785" RevisionGUID="9fd42add-f80d-46d3-a2ad-2da3a3846cca" CreationDate="2014-01-30T17:41:27.387" UserId="90" Comment="added 99 characters in body" Text="Always record at the highest bit depth you can, so you have the best dynamic range to work with.  After you've mixed and gotten the levels right, then you can convert to 16-bit/44.1 kHz.  Distributing at anything higher than 48 kHz decreases fidelity while doubling file size.&#xD;&#xA;&#xD;&#xA;Dithering is used when converting to a lower bit depth.  It decreases nasty things like distortion by increasing the overall noise a little bit.&#xD;&#xA;&#xD;&#xA;As for sampling frequency, I'd record at 88.2.  It's not a matter of recording what humans can hear; 44.1 is plenty for that.  Instead, it's a matter of avoiding aliasing.  All converters have some amount of aliasing.  Recording at a higher sampling rate ensures that the aliasing stays way up in the ultrasound, and then you can get rid of the ultrasound with a really good digital filter on the computer instead of the reasonably good digital filter in the oversampling ADC.&#xD;&#xA;&#xD;&#xA;And 88.2 instead of 96 because 88.2 is a perfect multiple of 44.1.  To downsample, you just [do the digital filter and then drop half the samples][1].  To convert 96 to 44.1, you need to, uh... do [more than that][2].  I'm sure they don't literally oversample by 147x and then downsample by 320x, but that's effectively what the algorithm is doing.  It's more complicated than 88.2, so the processing will take longer, even if the converter is designed well enough to get the same output quality, so I see no benefit to 96.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Downsampling#Downsampling_by_integer_factor&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Sample_rate_conversion#Technical_explanation" ContentLicense="CC BY-SA 3.0" />
  <row Id="47979" PostHistoryTypeId="2" PostId="26654" RevisionGUID="584a411e-3438-4407-ac22-200ed6db42ad" CreationDate="2014-01-30T19:44:33.350" UserId="7320" Text="That title isn’t very descriptive, but what I’m asking is kind of hard to summarize. I’ve been digging into some basic tutorials and introductions for recording, but so far I haven’t come across what I need.&#xD;&#xA;&#xD;&#xA;I’m looking to get some recordings into my DAW software.  I’m working with a simple little USB interface (M-Audio Fast Track: http://www.amazon.com/M-Audio-US44010-Interface-GT-Player-Software/dp/B00061ZM2Y)&#xD;&#xA;&#xD;&#xA;It’s a pretty humble setup, but I’d like to make the most of it.&#xD;&#xA;&#xD;&#xA;I intend to record: &#xD;&#xA;&#xD;&#xA; - An acoustic guitar with an onboard preamp (four band EQ)&#xD;&#xA; - An acoustic bass with an onboard preamp (three band EQ, with, uh, a button marked “PHASE” and a slider marked “SHAPE.”  What are those for?)&#xD;&#xA; - An electric guitar (LP style; two humbuckers each with tone and volume)&#xD;&#xA; - A basic dynamic mic for vocals&#xD;&#xA;&#xD;&#xA;I’ve done a bit of recording with all of these in the past, and every time I’ve felt like I’ve been chasing myself in circles trying to get volume and tone dialed in right.  The USB interface has an input level control, then the instruments have their own controls, then there are countless controls in the software.  Change one, then change the other, then the other, then they’re all at weird extremes and nothing sounds right.  I need to get this stuff straight.&#xD;&#xA;&#xD;&#xA;So, my questions all sort of feed down to, what are the rule-of-thumb basic settings I should be using for all of this stuff as a baseline, and then where should I be making my tweaks?  To get more specific:&#xD;&#xA;&#xD;&#xA; - How high should the level control on the USB interface be while recording?  As high as possible without clipping?  Is there something I should be watching for in the DAW’s metering?&#xD;&#xA; - What should I be doing with the onboard EQ for the acoustic instruments?  Should I worry about dialing in the tone at all there, or should I just flatten the EQ in the middle setting and worry about that in the software?  And what about the volume control?  Is there a specific spot I should be setting that?  And what the heck are those shape and phase controls on the bass, anyway? :(&#xD;&#xA; - How about the electric guitar?  Should I be thinking ahead to what I want my tone to be like and select which pickup / tone settings I want to record with based on that?  Or does it make more sense to record with both pickups selected / tone knobs in the middle / volume knobs maxed out, and then carve out the tone with equalization and amp simulation controls in the software?&#xD;&#xA; - The microphone is the most straightforward of the bunch, I suppose, but is there anything special I should be looking out for there?&#xD;&#xA;&#xD;&#xA;Maybe that’s a lot to ask in a single question.  If someone could even point me toward some “recording basics 101” type site that outlines the stuff I asked, I would be incredibly grateful!" ContentLicense="CC BY-SA 3.0" />
  <row Id="47980" PostHistoryTypeId="1" PostId="26654" RevisionGUID="584a411e-3438-4407-ac22-200ed6db42ad" CreationDate="2014-01-30T19:44:33.350" UserId="7320" Text="How should you set your instrument levels prior to recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="47981" PostHistoryTypeId="3" PostId="26654" RevisionGUID="584a411e-3438-4407-ac22-200ed6db42ad" CreationDate="2014-01-30T19:44:33.350" UserId="7320" Text="&lt;mixing&gt;&lt;recording&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47982" PostHistoryTypeId="36" PostId="26655" RevisionGUID="451cefec-6427-4705-829f-aeef0468b3ac" CreationDate="2014-01-30T20:35:49.643" UserId="-1" Comment="from http://avp.stackexchange.com/questions/10073/recording-clear-audio-from-an-ipad-in-audacity" />
  <row Id="47983" PostHistoryTypeId="36" PostId="26656" RevisionGUID="4ea65069-56bb-45fb-a9c2-f7b7b89c479e" CreationDate="2014-01-30T20:35:49.643" UserId="-1" Comment="from http://avp.stackexchange.com/questions/10073/recording-clear-audio-from-an-ipad-in-audacity/10074#10074" />
  <row Id="47984" PostHistoryTypeId="2" PostId="26656" RevisionGUID="11e4a0f3-6d84-435c-82a2-ebedf7099ce9" CreationDate="2014-01-30T17:05:05.937" UserId="7174" Text="Check if the recording and playback levels are the same on the audio device.  When listening to the input through the speakers it will use the playback level for the input.  When recording from the input, it will use the recording level.  If the recording level is applying a boost, it could push the audio out of what the sound card can handle and this would result in the signal clipping." ContentLicense="CC BY-SA 3.0" />
  <row Id="47985" PostHistoryTypeId="2" PostId="26655" RevisionGUID="33c18157-bcd5-4387-9ca9-55b768f3dd48" CreationDate="2014-01-30T15:39:36.210" UserId="6459" Text="I'm trying to record audio from my iPad running the Launchpad app. I'm using a 3.5mm Stereo Jack to 6.35mm Stereo Jack Cable lead with a 6.35mm &gt; 3.5mm socket converter.&#xD;&#xA;&#xD;&#xA;The quality is perfect when the sound is played through the iPad, to the PC and played through the speakers. The recorded audio is much louder and distorted.&#xD;&#xA;&#xD;&#xA;These are my audio/quality settings:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;I am aware the app allows in-app recording but I'd like to be able to mix the sounds using the Audacity software quickly.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/bRWsm.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/9CutA.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="47986" PostHistoryTypeId="1" PostId="26655" RevisionGUID="33c18157-bcd5-4387-9ca9-55b768f3dd48" CreationDate="2014-01-30T15:39:36.210" UserId="6459" Text="Recording clear audio from an iPad in Audacity" ContentLicense="CC BY-SA 3.0" />
  <row Id="47987" PostHistoryTypeId="3" PostId="26655" RevisionGUID="33c18157-bcd5-4387-9ca9-55b768f3dd48" CreationDate="2014-01-30T15:39:36.210" UserId="6459" Text="&lt;audio-recording&gt;&lt;ipad&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47988" PostHistoryTypeId="36" PostId="26657" RevisionGUID="7726674f-1184-4fae-bd15-89e82a80c87a" CreationDate="2014-01-30T20:36:30.973" UserId="-1" Comment="from http://avp.stackexchange.com/questions/9885/managing-comments-in-ableton-live" />
  <row Id="47989" PostHistoryTypeId="2" PostId="26657" RevisionGUID="2297b5f4-4b37-49a6-85a4-30075f057f8b" CreationDate="2014-01-11T08:19:07.877" UserId="7269" Text="Looking for a method to add and manage comments in my composition. &lt;br/&gt;&#xD;&#xA;I'm familiar with adding a marker text, edit info view text, and insert text to lesson file techniques. &lt;br/&gt;&#xD;&#xA;&#xD;&#xA;Tried quite many VST but neither works in Live 9 (both 64 and 32 with jBridge),&lt;br/&gt;&#xD;&#xA;the exception is Max For Live &quot;Notepad 1.0&quot; which does work, but has a very basic functionality:  &lt;br/&gt;&#xD;&#xA;http://www.maxforlive.com/library/device.php?id=176&#xD;&#xA;&#xD;&#xA;**Was hoping to find a VST with more advanced features**&lt;br/&gt;&#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="47990" PostHistoryTypeId="1" PostId="26657" RevisionGUID="2297b5f4-4b37-49a6-85a4-30075f057f8b" CreationDate="2014-01-11T08:19:07.877" UserId="7269" Text="Managing comments in Ableton Live" ContentLicense="CC BY-SA 3.0" />
  <row Id="47991" PostHistoryTypeId="3" PostId="26657" RevisionGUID="2297b5f4-4b37-49a6-85a4-30075f057f8b" CreationDate="2014-01-11T08:19:07.877" UserId="7269" Text="&lt;vst&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47992" PostHistoryTypeId="2" PostId="26658" RevisionGUID="d29c013f-520f-48cc-a5b5-de2eca775fe7" CreationDate="2014-01-30T21:36:39.100" UserId="7063" Text="You should set your preamp as high possible without clipping to get the best signal/noise ratio. You can than adjust the monitoring level in a comfortable way.&#xD;&#xA;About the onboard EQ, I suggest you try to get as close to the sound you want to have at the end of the mix, but some people try to have the most neutral sound during recording (but it doesnt make sense when you want a heavy distorted guitar, you do this when recording not during the mix). I think that the closer you get to the sound you want, the easier the mix will be. But you won't be able to go backwards, you must make choices. In your configuration, if you change your mind it wont be difficult to do another recording :)&#xD;&#xA;&#xD;&#xA;Good Luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="47993" PostHistoryTypeId="2" PostId="26659" RevisionGUID="38072bc5-b848-49cb-be90-365e71c834b1" CreationDate="2014-01-30T21:46:37.543" UserId="6425" Text="Whenever you have a digital device be sure that the levels won't reach 0 dBFs. On analogue devices you can go beyond 0 dB(u or v in most cases) but you will get some overdrive. This harmonic distortion can be a desired effect.&#xD;&#xA;&#xD;&#xA;So when you record something be sure that the analogue digital converter -&gt; for example your USB interface isn't reaching 0dB. But you want to set the levels as high as possible, else you get an unnecessary noise floor. A good level is, if you set the really high peaks of a signal at around -9dB (yellow area on a lot of level meters)&#xD;&#xA;&#xD;&#xA;On the Preamps -&gt; be sure to play with the eq and really go for what sounds best. Thinking on how you want to use the instrument before recording is very important.&#xD;&#xA;&#xD;&#xA;I don't know shape, but phase just inverts the waveforms polarity. So if you record a di signal and the amped bass -&gt; press it to see if the di signal is cancelling something of the amped signal.&#xD;&#xA;&#xD;&#xA;Always think ahead on how a guitar should sound. I would never record the DI of a guitar if i am not planing to use guitar rig. I feel more comfortable to commit to sounds. And so as a sound engineer i always push a band/producer to commit to the guitar sound at the recording day. This helps to get things done -&gt; else you need to decide about everything at mixdown.&#xD;&#xA;&#xD;&#xA;Good luck recording!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="47994" PostHistoryTypeId="2" PostId="26660" RevisionGUID="634031c6-2a53-4ee4-ba20-5531c5e1c439" CreationDate="2014-01-30T22:14:06.067" UserId="7174" Text="You want to avoid having anything too low.  If there is a unity mark, then as long as impedance match, you should be able to use that.  If not, adjust things so that you can have moderate settings that are not too low on anything.  The lower the volume level gets, the harder it is for the signal to be differentiated from the noise and the lower the quality gets.  Similarly, depending on the quality of the gear, if you crank something all the way up, there is a good chance that the electronics won't handle extremes as well as they would if things were a little lower.&#xD;&#xA;&#xD;&#xA;You'll need to experiment a bit to figure out where the best balancing point is to avoid extremes though." ContentLicense="CC BY-SA 3.0" />
  <row Id="48000" PostHistoryTypeId="2" PostId="26662" RevisionGUID="c40f8b47-df68-49bd-a4f0-96b704f1e631" CreationDate="2014-01-31T00:10:25.430" UserId="7200" Text="First, you should consider **forgetting about those on-board pickup/preamp systems**. Acoustic instruments sound best when recorded with an external condenser microphone, full stop. If the pickup signal is no good, there's not much you can do in mix. If the acoustic guitar has decent quality, then with a standard small-diaphragm condenser mic and no processing whatsoever you should get a nice sound, better than even the most delicately fine-tuned post-processing of a piëzo-pickup signal.&#xD;&#xA;&#xD;&#xA;While the acoustic bass is also... well, _acoustic_, that might not quite apply to it: if it's just another of those slightly-oversized western guitar things, then the body probably doesn't offer enough low-frequency resonance to give a convincing microphone sound. So you should probably use the pickup; I'd use linear EQ and level all up.&#xD;&#xA;&#xD;&#xA;But levels and EQing are less critical, because their influence is largely reversible: if you've boosted 200 Hz on the preamp and later realise it was too much, attenuating the same band in your DAW gets you more or less back to the original sound. There will remain some phase unevenness, but that's not too much of a problem. Similarly, if you've had the gain a bit too low, normalising up the recorded audio gives you a fine full-levelled result. Indeed there will be some more ADC / quantising noise, but with a modern 24-bit interface it's not really notable (your guitar's preampt has likely a much higher noise level; that and any interference from the unbalanced instrument connection has the same level no matter if you normalise the gain in hardware or software. The only thing you should assert is that there is no clipping: that would be very audible, and much more problematic to repair. So, I'd recommend setting your levels a bit lower than &quot;just not clipping&quot;, about -6 dB rather than 0 dB&lt;sup&gt;1&lt;/sup&gt;: then even an unexpectedly loud accent will still be recorded cleanly.&#xD;&#xA;&#xD;&#xA;Electric guitar is quite another issue. While a completely clean &quot;DI&quot; sound (i.e. recorded straight from the pickup into the mix with only some compressor on it) can sometimes come out pretty nice, it is by no means standard, and will rather resemble a straightly played steel guitar than what you'd think of as an &quot;electric guitar sound&quot;. You've probably experienced this yourself already: the amp makes up a really large portion of the final sound. That means amongst other things, it's hard to judge from just an unprocessed monitor sound how various pickup settings will come out through the amp. Only if you've done this a lot and know your guitar well you'll just have a reliable feeling for this.&#xD;&#xA;&#xD;&#xA;There are two possible conclusions:&#xD;&#xA;&#xD;&#xA;- Leave you guitar's controls all the way up. Works surely for volume and also tone, those can be emulated later on (though in a much less obvious way as for your acoustic preamps' graphic EQs. Basically, you need to consider the system pickup+controls+cable as a state variable filter, tone&amp;volume modify not just gain and &quot;treble content&quot; but subtly infuence the frequency an q-value of that filter), but the pickup _selector_ is more critical: pickup position acts as a _comb filter_, and for each string differently, so there's no real way to change it in post-processing.&#xD;&#xA;- Use a proper amp sound as monitor during recording, so you can set up the guitar as it's ultimately supposed to sound. The classical way is to actually have an analogue amp and cabinet, with a microphone. You can also still record the clean guitar signal, with a DI box, so the final sound can still be done more flexible with a plugin. It is also possible to use that simulation itself for monitor, but it requires your interface's drivers to be set to low latency.&#xD;&#xA;&#xD;&#xA;Finally, on the microphone: also for vocals, condenser (large-diaphragm in this case) is pretty definitely superiour to dynamic. If you can afford it, you should get one of those.&#xD;&#xA;&#xD;&#xA;&lt;hr&gt;&#xD;&#xA;&#xD;&#xA;&lt;sup&gt;1&lt;/sup&gt;Mind that is is specific to digital recording. On tape, it's perfectly reasonably to level instruments to _more_ than 0 dB to get natural saturation/compression, and indeed that effect is one you might want to put on your tracks as a digital plugin." ContentLicense="CC BY-SA 3.0" />
  <row Id="48008" PostHistoryTypeId="2" PostId="26663" RevisionGUID="2128fa05-114e-4824-b8fc-375f6a68851c" CreationDate="2014-01-31T00:23:30.133" UserId="7218" Text="I have been experimenting with a [Dell D-510](http://www.cnet.com/laptops/dell-business-latitude-d510/4505-3121_7-31355783.html) laptop computer for stage use. In my equipment arsenal, I also have:&#xD;&#xA;&#xD;&#xA; - A [Casio PX-5S](http://www.casiomusicgear.com/products/menu_privia/PX-5S) keyboard&#xD;&#xA; - A [Focusrite Scarlett 2i4](http://us.focusrite.com/usb-audio-interfaces/scarlett-2i4)  USB Audio/MIDI Interface&#xD;&#xA; - An [M-Audio Oxygen 61](http://www.m-audio.com/products/en_us/Oxygen61.html) MIDI Controller&#xD;&#xA; - A Mackie [3204-VLZ3](http://www.mackie.com/products/3204vlz3/) USB Mixer&#xD;&#xA;&#xD;&#xA;I am struggling with getting the laptop to behave in a stable manner in a live performance environment. &#xD;&#xA;&#xD;&#xA;What I have observed:&#xD;&#xA;&#xD;&#xA;1.  The Focusrite and M-Audio USB connections to the computer are rock solid stable.  The Casio and Mackie, not so much.  &#xD;&#xA;2.  The rule seems to be: ***Don't move it.*** If I never move anything, I can generally get it to work.  The laptop seems to want to uninstall drivers when something gets unplugged, and reinstall them when things are plugged back in.&#xD;&#xA;&#xD;&#xA;The laptop seems to forget the Casio keyboard when I move the equipment, which confounds my DAW software (which rightly expects the Casio driver to be where I left it last time the computer was on).  The Mackie USB connection is recognized; it will send audio to the laptop, but only accompanied by glitches, and a lot of noise.&#xD;&#xA;&#xD;&#xA;All of the drivers have been installed correctly, as far as I can tell.  But I can't escape the lingering sensation that I'm missing something.&#xD;&#xA;&#xD;&#xA;What I'd really like to have are just two things:&#xD;&#xA;&#xD;&#xA;1.  The ability to do some multitrack MIDI sound recording, and&#xD;&#xA;2.  The ability play Kontakt samples from the Casio.&#xD;&#xA;&#xD;&#xA;But I'm wondering if I'm going about this the wrong way.  Are there any tips which seasoned veterans to this could offer that would improve the stability of my rig?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48009" PostHistoryTypeId="1" PostId="26663" RevisionGUID="2128fa05-114e-4824-b8fc-375f6a68851c" CreationDate="2014-01-31T00:23:30.133" UserId="7218" Text="Assessing the reliability of using a laptop in a stage environment" ContentLicense="CC BY-SA 3.0" />
  <row Id="48010" PostHistoryTypeId="3" PostId="26663" RevisionGUID="2128fa05-114e-4824-b8fc-375f6a68851c" CreationDate="2014-01-31T00:23:30.133" UserId="7218" Text="&lt;midi&gt;&lt;daw&gt;&lt;usb&gt;&lt;laptop&gt;&lt;stage&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48013" PostHistoryTypeId="5" PostId="26663" RevisionGUID="c4d225b9-c8e8-41f8-883e-9424877eec54" CreationDate="2014-01-31T00:30:15.360" UserId="7218" Comment="added 4 characters in body" Text="I have been experimenting with a [Dell D-510](http://www.cnet.com/laptops/dell-business-latitude-d510/4505-3121_7-31355783.html) laptop computer for stage use. In my equipment arsenal, I also have:&#xD;&#xA;&#xD;&#xA; - A [Casio PX-5S](http://www.casiomusicgear.com/products/menu_privia/PX-5S) keyboard&#xD;&#xA; - A [Focusrite Scarlett 2i4](http://us.focusrite.com/usb-audio-interfaces/scarlett-2i4)  USB Audio/MIDI Interface&#xD;&#xA; - An [M-Audio Oxygen 61](http://www.m-audio.com/products/en_us/Oxygen61.html) MIDI Controller&#xD;&#xA; - A Mackie [3204-VLZ3](http://www.mackie.com/products/3204vlz3/) USB Mixer&#xD;&#xA;&#xD;&#xA;I am struggling with getting the laptop to behave in a stable manner in a live performance environment. &#xD;&#xA;&#xD;&#xA;What I have observed:&#xD;&#xA;&#xD;&#xA;1.  The Focusrite and M-Audio USB connections to the computer are rock solid stable.  The Casio and Mackie, not so much.  &#xD;&#xA;2.  The rule seems to be: ***Don't move it.*** If I never move anything, I can generally get it to work.  The laptop seems to want to uninstall drivers when something gets unplugged, and reinstall them when things are plugged back in.&#xD;&#xA;&#xD;&#xA;The laptop seems to forget the Casio keyboard when I move the equipment, which confounds my DAW software (which rightly expects the Casio driver to be where I left it last time the computer was on).  The Mackie USB connection is recognized; it will send audio to the laptop, but only accompanied by glitches, and a lot of noise.&#xD;&#xA;&#xD;&#xA;All of the drivers have been installed correctly, as far as I can tell.  But I can't escape the lingering sensation that I'm missing something.&#xD;&#xA;&#xD;&#xA;What I'd really like to have are just two things:&#xD;&#xA;&#xD;&#xA;1.  The ability to do some multitrack MIDI and audio recording, and&#xD;&#xA;2.  The ability play Kontakt samples from the Casio.&#xD;&#xA;&#xD;&#xA;But I'm wondering if I'm going about this the wrong way.  Are there any tips which seasoned veterans to this could offer that would improve the stability of my rig?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48014" PostHistoryTypeId="2" PostId="26664" RevisionGUID="824d1e57-6dbe-429c-9508-098c40eb0eb9" CreationDate="2014-01-31T00:44:25.957" UserId="7321" Text="A few quick notes&#xD;&#xA;&#xD;&#xA; - At stage volumes, you really *really* want to be using a SSD Drive. You will have issues with normal platter style HDD's at stage volumes due to vibration&#xD;&#xA; - Even with a SSD, you're going to want to sit the laptop on some vibration damping type material. Grab some mopads (designed for acoustically decoupling speakers) and sit it on that, leaving a nice gap underneath for cooling.&#xD;&#xA; - Windows machines seem to like to have the same things plugged into the same USB ports. Something about IRQ assignment. Mark which thing goes into which port. and always use the same ports. This should help a bit.&#xD;&#xA; - Get a mac? Sounds like a facetious answer, but Core Audio is far more solid than ASIO. Also less driver issues with plugging/unplugging this (see above).&#xD;&#xA; - Do you need a laptop? Can you get away with just using an Ipad and a midi controller? " ContentLicense="CC BY-SA 3.0" />
  <row Id="48015" PostHistoryTypeId="2" PostId="26665" RevisionGUID="756ab78b-5dbf-4386-a2a1-0601285ac2c0" CreationDate="2014-01-31T06:54:25.880" UserId="6686" Text="I believe this article sums it up far better than I ever could. And I like it because it doesn't seem to lean to either side of the &quot;sample rate war&quot;. I recommend everyone read it of you have the time. &#xD;&#xA;&#xD;&#xA;http://www.trustmeimascientist.com/2013/02/04/the-science-of-sample-rates-when-higher-is-better-and-when-it-isnt/&#xD;&#xA;&#xD;&#xA;From my personal experience, record at 24bit 96k for marketing reasons. Whether it not there's a true benefit means little when that's what the customer wants. And then dither down from there if needed. &#xD;&#xA;&#xD;&#xA;And one point made in the linked article I fully support is the user of higher sample rates in the case of inferior electronics in cheaper converters. (Corners have to be cut to make those boxes cheaper). The basic premise, the expensive converters can give better sound at lower sample rates. So if you have a cheaper converter, record at higher same rates to allow the frequencies we CAN hear to sound better (or more accurate).  Reasons for this explained in the article. &#xD;&#xA;&#xD;&#xA;Again, to answer your question specifically, record high and dither. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48016" PostHistoryTypeId="2" PostId="26666" RevisionGUID="85321819-69a6-4dcf-861a-b354e39435d3" CreationDate="2014-01-31T07:33:23.397" UserId="1216" Text="Perhaps the input you use is the problem, i see the microphone input as the recording device. This input has a circuit that boosts the output of microphone levels. However an iPad has line level output, so try the line level input on your soundcard and change the audacity input settings." ContentLicense="CC BY-SA 3.0" />
  <row Id="48017" PostHistoryTypeId="2" PostId="26667" RevisionGUID="84016af5-ddfc-488e-a499-79524bbfe059" CreationDate="2014-01-31T09:17:32.353" UserId="6484" Text="I am wondering about the Red Giant software Pluraleyes and its big brother Dualeyes and if anyone uses it to sync up audio from a movie or TV show and how common it is in the industry. &#xD;&#xA;&#xD;&#xA;The questions I have are that due to the fact that you need to have camera audio in order to use it how accurate are the programs in syncing up frame accurately. Also, what happens when you have a loooonnnnng shot whereby the actors are radio miced but there is no way for the camera mic to pick it up. One suggestion is for the recordist to wire up an output signal to the camera so that the camera is recording the audio as well for the purposes of post syncing. But that can be cumbersome in some situations. &#xD;&#xA;&#xD;&#xA;Just looking for advice etc from those who have experienced using this program. &#xD;&#xA;&#xD;&#xA;Thanks   " ContentLicense="CC BY-SA 3.0" />
  <row Id="48018" PostHistoryTypeId="1" PostId="26667" RevisionGUID="84016af5-ddfc-488e-a499-79524bbfe059" CreationDate="2014-01-31T09:17:32.353" UserId="6484" Text="Using Dualeyes to sync up dialogue" ContentLicense="CC BY-SA 3.0" />
  <row Id="48019" PostHistoryTypeId="3" PostId="26667" RevisionGUID="84016af5-ddfc-488e-a499-79524bbfe059" CreationDate="2014-01-31T09:17:32.353" UserId="6484" Text="&lt;sound&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48020" PostHistoryTypeId="2" PostId="26668" RevisionGUID="e6c27232-5930-4e1f-a729-d977c9bd1f39" CreationDate="2014-01-31T09:31:48.173" UserId="6432" Text="I think it may just be that your Dell is not up to the task - that's a pretty old  machine (2005!). It could be simply failing in one or multiple ways. You could format it, re-install the basics of what you need and try again, but chances are it's not up to the job. &#xD;&#xA;&#xD;&#xA;Personally, I would never trust a laptop this old in a live situation if there was anything at stake.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48021" PostHistoryTypeId="2" PostId="26669" RevisionGUID="c161d984-2a95-4807-85a4-862ea0a2a9d9" CreationDate="2014-01-31T10:25:01.903" UserId="7000" Text="i am going to generate artificial human voices like a singer&#xD;&#xA;&#xD;&#xA;**do you know a tool with such ability ?**&#xD;&#xA;&#xD;&#xA;[like this][1] &#xD;&#xA;&#xD;&#xA;  [1]: http://www.myriad-online.com/en/products/harmony.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="48022" PostHistoryTypeId="1" PostId="26669" RevisionGUID="c161d984-2a95-4807-85a4-862ea0a2a9d9" CreationDate="2014-01-31T10:25:01.903" UserId="7000" Text="i need a singer simulator or virtual singer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48023" PostHistoryTypeId="3" PostId="26669" RevisionGUID="c161d984-2a95-4807-85a4-862ea0a2a9d9" CreationDate="2014-01-31T10:25:01.903" UserId="7000" Text="&lt;sound&gt;&lt;voice&gt;&lt;signal-processing&gt;&lt;human&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48025" PostHistoryTypeId="5" PostId="11316" RevisionGUID="50a669ff-8a57-41bb-bb09-1c5ad31ac389" CreationDate="2014-01-31T13:23:23.040" UserId="6957" Comment="removed profanity" Text="Can someone tell me who is mixing the 2nd season of The Walking Dead ?&#xD;&#xA;For what is this guy paid ?&#xD;&#xA;&#xD;&#xA;Awful ambiences going down during dialogue then up again with an awful pomping effect...&#xD;&#xA;&#xD;&#xA;What do you think about this mess ?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48026" PostHistoryTypeId="4" PostId="11316" RevisionGUID="50a669ff-8a57-41bb-bb09-1c5ad31ac389" CreationDate="2014-01-31T13:23:23.040" UserId="6957" Comment="removed profanity" Text="The Walking Dead S2 mixes, what's wrong?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48027" PostHistoryTypeId="5" PostId="19851" RevisionGUID="a62bcba7-4547-4b7a-91f3-394f972cbfeb" CreationDate="2014-01-31T13:26:58.683" UserId="6957" Comment="pulled OP &quot;answer&quot; into original question" Text="I am a very enthusiastic recordist and wanting others to join, loads of people upload to freesound but the quality is often useless where as I am encouraging people to get on board and offer a small premium at first in return for becoming a very positive resource for all things sound. As you will read from my tech blog I want my site to be a hub of information. This is not just a give me your sound library and get nothing but generate and share revenue through ads etc... I will be recording and uploading sounds regardless as this isn't everyone's cup of tea and I enjoy recording and want to make this a very attractive resource that can help give back to one and other like people giving answers away on here. Education is brilliant and it's all about giving back to receive :-)&#xD;&#xA;&#xD;&#xA;I understand I'll get a lot of negative votes by I'm not sitting and waiting just taking action on a dream I have and will achieve even doing it all myself.&#xD;&#xA;&#xD;&#xA;I'm interested in more feedback to this idea and what you expect from a project like this? And if you upload sounds for free else where and why...&#xD;&#xA;&#xD;&#xA;also I can do all the admin and tagging anyway you can do as much or as little as you want. Again the work is all on my part anyway hence sharing revenue etc...&#xD;&#xA;&#xD;&#xA;And there is no me telling you to do anything so that argument is invalid, you can do what you want this is for people who want to be a part of something. Stay with Freesound if you like, check why not do both?&#xD;&#xA;&#xD;&#xA;So, here it is &#xD;&#xA;&#xD;&#xA;---------------------------&#xD;&#xA;&#xD;&#xA;The Big Sound Effects Project: http://soundcloud.com/matt-price-sound/dropbox &#xD;&#xA;&#xD;&#xA;I am looking for collaborators, Sound Designers and Sound Enthusiasts to help me build the biggest resource for Original Quality Sound Effects on the internet and want your help. &lt;br&gt;&lt;br&gt;Simply follow these steps:&#xD;&#xA;&#xD;&#xA;Step 1: Click The Link Below&lt;br&gt;&#xD;&#xA;Step 2: Upload A Sound Effect&lt;br&gt;&#xD;&#xA;Step 3: Enter A Few Tags And Rough Description&lt;br&gt;&#xD;&#xA;Step 4: Make The Licence Creative Commons&lt;br&gt;&#xD;&#xA;Step 5: Send a Personal Note With Your Name/Alias and Website So I Can Credit You&#xD;&#xA;&#xD;&#xA;Then Wal-Ah I will place it and add more tags and descriptions after verifying the quality and add it to www.soundrolling.com&#xD;&#xA;&#xD;&#xA;Large Contributors May Also Get Money Down The Line From Any Revenue the Site Generates. &#xD;&#xA;&#xD;&#xA;So Get Started Now" ContentLicense="CC BY-SA 3.0" />
  <row Id="48032" PostHistoryTypeId="19" PostId="19851" RevisionGUID="36026493-50a7-4ed2-b4d7-95c9214ecfe1" CreationDate="2014-01-31T13:28:27.050" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="48035" PostHistoryTypeId="2" PostId="26670" RevisionGUID="bb5cb3a6-4820-4ccc-b465-3ca7b1c26326" CreationDate="2014-01-31T13:29:11.227" UserDisplayName="user6513" Text="Pretty common. I haven't used the program myself, but I have worked with editors who have.&#xD;&#xA;&#xD;&#xA;As Michael has said, you can send a wireless feed to the camera as a scratch track. I'm assuming the camera in question is a DSLR since you mentioned that it may be cumbersome. If it is a regular ENG/EFP camera then the everyone involved would be used to the sound recordist/mixer connecting a cable to the camera. Just remember to check on the wireless send every now and then to make sure that sound is going into the camera. A safe option would be to use the wireless send as a director's feed as well. Meaning that the director is listening in on the same feed you are sending to the camera. That would ensure someone is at least monitoring the feed. Then you just need to worry about the wireless batteries dying.&#xD;&#xA;&#xD;&#xA;For PluralEyes to work, there must be audio recorded on camera. And it is best if it is the same as what the sound recorder is recording. I'm told that it is a 50% success rate and that is actually pretty good in terms of saving time for syncing.&#xD;&#xA;&#xD;&#xA;Don't forget to slate and if possible link TC between the camera and recorder. Every little thing you do helps post. That being said though, its imperative to have a post-production meeting before you start production and let post dictate the workflow. There are various ways to sync up dual/split system recordings these days and the workflows are quite unique. For example if you were to use the Field Recorder function in ProTools to sync audio, then data wrangling and editorial must be very careful in preserving metadata." ContentLicense="CC BY-SA 3.0" />
  <row Id="48037" PostHistoryTypeId="5" PostId="25059" RevisionGUID="2ea9f675-8cc5-4c6e-b13d-b08641aeb1ff" CreationDate="2014-01-31T13:35:24.413" UserId="6957" Comment="added comments to answer" Text="You can split a stereo Channel into two mono channels in Audacity&#xD;&#xA;&#xD;&#xA;http://manual.audacityteam.org/man/Splitting_and_Joining_Stereo_Tracks&#xD;&#xA;&#xD;&#xA;This creates two Mono Tracks, that can be exported" ContentLicense="CC BY-SA 3.0" />
  <row Id="48038" PostHistoryTypeId="5" PostId="22207" RevisionGUID="8016e56c-9ed3-48e9-bd6e-9359e21032ba" CreationDate="2014-01-31T13:39:18.307" UserId="6957" Comment="pulled in important info from a comment to an answer. reworked title to better fit SE" Text="What sounds do you think are inherently funny without context?&#xD;&#xA;&#xD;&#xA;For me - Muted trumpet, slide whistle, Dutch speech&#xD;&#xA;&#xD;&#xA;I agree my examples might seem funny to me because of what I sub-conciously associate them with, but I'm interested in how sounds can be funny on their own and what characteristics funny sounds might have. &#xD;&#xA;&#xD;&#xA;I do think its possible for a sound to be funny out of context, similarly to how different musical chords can induce emotions of happiness or sadness in people." ContentLicense="CC BY-SA 3.0" />
  <row Id="48039" PostHistoryTypeId="4" PostId="22207" RevisionGUID="8016e56c-9ed3-48e9-bd6e-9359e21032ba" CreationDate="2014-01-31T13:39:18.307" UserId="6957" Comment="pulled in important info from a comment to an answer. reworked title to better fit SE" Text="What makes Sounds Funny?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48040" PostHistoryTypeId="2" PostId="26672" RevisionGUID="a36399d4-cf31-424c-a219-112a4c2c9b13" CreationDate="2014-01-31T15:36:25.777" UserDisplayName="user7088" Text="I personally would not try to play kontakt VIs and record the performance at the same time in a live setting on the same system, at least not any live settings that mattered at all if your system crashes.  Get your performance rig locked and solid ( I too recommend a powerful mac for this) and then if you want to do multitrack recording of your performances I'd handle that separately and probably by someone other than you the performer.&#xD;&#xA;&#xD;&#xA;Computers crash, often times when you need them not to the most.  Having been performing live for years with computers, daw software, I can tell you that there is nothing more frustrating, and embarrassing for you, and annoying for an audience of any size to deal with a computer crash that stops the show.  Anything beyond the crucial computer functions needed to rock the crowd should seriously be avoided on the performance system.&#xD;&#xA;&#xD;&#xA;these opinions are based on personal experience." ContentLicense="CC BY-SA 3.0" />
  <row Id="48041" PostHistoryTypeId="2" PostId="26673" RevisionGUID="4f80f443-f29c-4f47-8964-e3c14f38b694" CreationDate="2014-01-31T15:47:32.160" UserId="7324" Text="I've just started doing live sound at my local theater company and we might get a new Mac as opposed to using our antiquated Acer notebook any more.  For the upcoming show, we need to use QLab to play the sound effects and music.  I've used it some on my own MacBook Pro which has a 2.4 GHz Intel Cor 2 Duo and QLab runs really well.  The guy in charge of the company is thinking about buying a Mac and I'm just wondering if maybe we could save some money by getting a MacBook Air instead of the Pro.  Would QLab still work well on the MacBook Air?  Any advice would be great, thanks so much." ContentLicense="CC BY-SA 3.0" />
  <row Id="48042" PostHistoryTypeId="1" PostId="26673" RevisionGUID="4f80f443-f29c-4f47-8964-e3c14f38b694" CreationDate="2014-01-31T15:47:32.160" UserId="7324" Text="What kind of Mac to buy?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48043" PostHistoryTypeId="3" PostId="26673" RevisionGUID="4f80f443-f29c-4f47-8964-e3c14f38b694" CreationDate="2014-01-31T15:47:32.160" UserId="7324" Text="&lt;mac&gt;&lt;live-sound&gt;&lt;macbook-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48044" PostHistoryTypeId="2" PostId="26674" RevisionGUID="4ac1755a-8b6e-4a02-ae0a-01e885cb2970" CreationDate="2014-01-31T15:57:03.190" UserId="4442" Text="I would personally not want a macbook air for any creative high bandwidth work. They're cool for a light thing to carry around, but they're underpowered for things like audio and video. Macbook pro would be my answer." ContentLicense="CC BY-SA 3.0" />
  <row Id="48045" PostHistoryTypeId="5" PostId="26665" RevisionGUID="6b95954d-5510-4f75-87b1-d51bd97b4419" CreationDate="2014-01-31T16:30:43.760" UserId="6686" Comment="edited body; deleted 1 characters in body" Text="I believe this article sums it up far better than I ever could. And I like it because it doesn't seem to lean to either side of the &quot;sample rate war&quot;. I recommend everyone read it of you have the time. &#xD;&#xA;&#xD;&#xA;http://www.trustmeimascientist.com/2013/02/04/the-science-of-sample-rates-when-higher-is-better-and-when-it-isnt/&#xD;&#xA;&#xD;&#xA;From my personal experience, record at 24bit 96k for marketing reasons. Whether or not there's a true benefit means little when that's what the customer wants. And then dither down from there if needed. &#xD;&#xA;&#xD;&#xA;And one point made in the linked article I fully support is the use of higher sample rates in the case of inferior electronics in cheaper converters. (Corners have to be cut to make those boxes cheaper). The basic premise, the expensive converters can give better sound at lower sample rates. So if you have a cheaper converter, record at higher same rates to allow the frequencies we CAN hear to sound better (or more accurate).  Reasons for this explained in the article. &#xD;&#xA;&#xD;&#xA;Again, to answer your question specifically, record high and dither. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48047" PostHistoryTypeId="2" PostId="26675" RevisionGUID="8fd58934-f55c-4a54-a0bb-87dc22cad24e" CreationDate="2014-01-31T17:00:24.297" UserId="6425" Text="Those Drums on Lordes Song Royals, especially the Big Verb style kick. What is it? Is it an Electronic One with reverb or accustic? Any help aprecciated!! " ContentLicense="CC BY-SA 3.0" />
  <row Id="48048" PostHistoryTypeId="1" PostId="26675" RevisionGUID="8fd58934-f55c-4a54-a0bb-87dc22cad24e" CreationDate="2014-01-31T17:00:24.297" UserId="6425" Text="How are those drums on Lorde Royals made?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48049" PostHistoryTypeId="3" PostId="26675" RevisionGUID="8fd58934-f55c-4a54-a0bb-87dc22cad24e" CreationDate="2014-01-31T17:00:24.297" UserId="6425" Text="&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48050" PostHistoryTypeId="2" PostId="26676" RevisionGUID="8a03ecc2-9351-48dc-b071-8af7102221c3" CreationDate="2014-01-31T17:03:14.170" UserId="7327" Text="Mac Minis are great for Qlab audio, and are also cheaper than a macbook pro or a macbook air.  We have several mac minis at my school theatre (Ithaca College) for just this purpose.  If you're looking to do video though, make sure you use something with a discreet graphics card (ie. NOT a macbook air or 13&quot; macbook pro)." ContentLicense="CC BY-SA 3.0" />
  <row Id="48051" PostHistoryTypeId="2" PostId="26677" RevisionGUID="65c6b05a-d1f1-4b0d-93ac-4cf71100cc71" CreationDate="2014-01-31T17:05:47.303" UserId="7328" Text="I agree with Dave, the Air would not be a good choice.&#xD;&#xA;If you want to stay inexpensive, you should consider a Mac Mini.&#xD;&#xA;Lots of theaters and major touring companies use them to run Qlab." ContentLicense="CC BY-SA 3.0" />
  <row Id="48054" PostHistoryTypeId="6" PostId="18587" RevisionGUID="4ca182e9-8d5f-466f-a01a-7f848f4be4d8" CreationDate="2014-01-31T19:12:09.040" UserId="6957" Comment="edited tags" Text="&lt;mix&gt;&lt;levels&gt;&lt;radio&gt;&lt;broadcast-standards&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48055" PostHistoryTypeId="2" PostId="26678" RevisionGUID="d4bab248-b22d-48fc-885f-c49636c77d43" CreationDate="2014-01-31T19:50:47.873" UserId="7333" Text="I realize this is an old thread, but iZotope RX3 does a great job of this if the music is in *stereo*. What you can do is use the Center Channel Extractor in RX3, and it will use phase cancellation to isolate the mono dialogue from the stereo music. I work in a trailer house where we frequently need to clean up bites from movies with bad stems.&#xD;&#xA;&#xD;&#xA;Oh, and if anyone needs this done for them, I am for hire :D&#xD;&#xA;&#xD;&#xA;-David" ContentLicense="CC BY-SA 3.0" />
  <row Id="48056" PostHistoryTypeId="6" PostId="21981" RevisionGUID="4859bd56-22b7-477e-bb12-5f847007d398" CreationDate="2014-01-31T19:53:32.670" UserId="6957" Comment="edited tags" Text="&lt;sound&gt;&lt;microphone&gt;&lt;levels&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48057" PostHistoryTypeId="6" PostId="20242" RevisionGUID="19c0cea4-0dd8-46b5-9111-cc7492fe9b07" CreationDate="2014-01-31T19:54:06.860" UserId="6957" Comment="edited tags" Text="&lt;noise&gt;&lt;recorder&gt;&lt;levels&gt;&lt;portable&gt;&lt;floor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48058" PostHistoryTypeId="6" PostId="17319" RevisionGUID="98687d06-f93c-4eaf-96dd-f0fc0af49a20" CreationDate="2014-01-31T19:54:24.613" UserId="6957" Comment="edited tags" Text="&lt;levels&gt;&lt;loudness&gt;&lt;broadcasting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48059" PostHistoryTypeId="6" PostId="17289" RevisionGUID="ff0e9be1-525a-45c9-a592-93f6b124ef79" CreationDate="2014-01-31T19:54:41.067" UserId="6957" Comment="edited tags" Text="&lt;sound-design&gt;&lt;sound&gt;&lt;mixing&gt;&lt;levels&gt;&lt;volume&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48060" PostHistoryTypeId="6" PostId="13270" RevisionGUID="6e48dba3-0f41-432f-8306-6521628823f9" CreationDate="2014-01-31T19:55:01.273" UserId="6957" Comment="edited tags" Text="&lt;levels&gt;&lt;loudness&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48061" PostHistoryTypeId="6" PostId="7550" RevisionGUID="00e9c04e-5050-48f5-8be7-093214a7d37d" CreationDate="2014-01-31T19:55:27.293" UserId="6957" Comment="edited tags" Text="&lt;mixer&gt;&lt;microphone&gt;&lt;line-level&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48062" PostHistoryTypeId="6" PostId="4538" RevisionGUID="26b201cf-1dea-4c5b-8a68-15e352b20fc2" CreationDate="2014-01-31T19:56:35.650" UserId="6957" Comment="edited tags" Text="&lt;levels&gt;&lt;gain&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48063" PostHistoryTypeId="6" PostId="4399" RevisionGUID="6597946e-93fa-46f1-834a-13663ce62997" CreationDate="2014-01-31T19:57:22.183" UserId="6957" Comment="edited tags" Text="&lt;mixing&gt;&lt;mix&gt;&lt;levels&gt;&lt;television&gt;&lt;broadcast&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48066" PostHistoryTypeId="5" PostId="6133" RevisionGUID="eaf3dbdc-2eff-42d2-8e20-fbc5bed6f298" CreationDate="2014-01-31T20:02:20.477" UserId="6957" Comment="pulled in link from comment" Text="I actually suggested this in [another thread](http://socialsounddesign.com/questions/1975/suggestions-for-a-tensioned-rope-effect), but for a tense rope sound effect.  But trying stretching leather with your hands or thumbs as a base for the sound. Then maybe add some splintering wood.  Pitch shift around until you find the right pitch, and work from there. &#xD;&#xA;&#xD;&#xA;I think somebody else in the same thread mentioned a Wicker basket (credit to that person).&#xD;&#xA;&#xD;&#xA;Hope it helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="48067" PostHistoryTypeId="6" PostId="6126" RevisionGUID="8ce4b607-7883-407c-b0f0-a34df11c6b2a" CreationDate="2014-01-31T20:03:05.290" UserId="6957" Comment="edited tags" Text="&lt;sound-effects&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48068" PostHistoryTypeId="6" PostId="5309" RevisionGUID="c3b86d76-f3f5-4f38-9f3a-eb1d24704440" CreationDate="2014-01-31T20:04:27.347" UserId="6957" Comment="edited tags" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48069" PostHistoryTypeId="6" PostId="20242" RevisionGUID="026ebfcc-6d3a-483d-b861-13445423e473" CreationDate="2014-01-31T20:05:11.443" UserId="6957" Comment="edited tags" Text="&lt;noise&gt;&lt;levels&gt;&lt;recorder&gt;&lt;portable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48070" PostHistoryTypeId="2" PostId="26679" RevisionGUID="196961ea-001c-43a1-a17e-4b1b8ce54e68" CreationDate="2014-01-31T20:21:35.923" UserDisplayName="user49" Text="Vocaloid is a Japanese vocals/singing generator&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Vocaloid&#xD;&#xA;&#xD;&#xA;http://www.vocaloid.com/en/" ContentLicense="CC BY-SA 3.0" />
  <row Id="48071" PostHistoryTypeId="2" PostId="26680" RevisionGUID="f6cc4bcf-6f9c-4de5-9803-a431e1215bf5" CreationDate="2014-01-31T22:33:51.063" UserId="7336" Text="I've been editing a six-episode, 53-minute-per episode TV series to run on the community access cable channel.&#xD;&#xA;&#xD;&#xA;Their standards given to me: -18dB average, no peaks over -15 or valleys under -25.&#xD;&#xA;&#xD;&#xA;I've done plenty of audio-only mixing over the years, and audio for video mixing for youtube and the like. It's always been 0db is the max, otherwise loudness to taste.&#xD;&#xA;&#xD;&#xA;So, I'm a little stumped as to how to get my mix into these parameters.&#xD;&#xA;&#xD;&#xA;I'm using Sony Vegas. I've been building and mixing the show with the master at 0, not aiming for anything other than &quot;sounds good&quot; and &quot;doesn't clip&quot; by just using levels and some conservative compression and plugins.&#xD;&#xA;&#xD;&#xA;What I'm wondering is ... &#xD;&#xA;- ought I re-mix the whole thing and aim for a lower peak, or just keep mixing with 0dB as my ceiling and bring it all down and into the specified window of peaks and valleys afterward before delivery?&#xD;&#xA;- if mixing normally and handling the specs after the fact is the better strategy -- where to go from there? Drop the master to -15 and compress from the bottom up? Maybe mix the whole thing down to one long audio file and take it into a DAW, put Ozone on it, as though I'm mastering it, and lay the mastered audio back in?&#xD;&#xA;&#xD;&#xA;I feel like the answer is staring me in the face and I'm just psyching myself out about this. As though it's as simple as &quot;go into Ozone, use preset x, threshold at -25, ratio at 4:1, limiter at -15, EQ to taste.&quot; Thoughts?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48072" PostHistoryTypeId="1" PostId="26680" RevisionGUID="f6cc4bcf-6f9c-4de5-9803-a431e1215bf5" CreationDate="2014-01-31T22:33:51.063" UserId="7336" Text="Doing a TV show, they have audio standards - mix strategy?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48073" PostHistoryTypeId="3" PostId="26680" RevisionGUID="f6cc4bcf-6f9c-4de5-9803-a431e1215bf5" CreationDate="2014-01-31T22:33:51.063" UserId="7336" Text="&lt;loudness&gt;&lt;broadcast&gt;&lt;vegas&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48074" PostHistoryTypeId="2" PostId="26681" RevisionGUID="53a49250-c647-49b7-86fc-d37e4d43a66c" CreationDate="2014-01-31T23:01:40.427" UserId="6399" Text="It's not standard practice to do any &quot;Mastering&quot; when mixing to picture for TV shows, commercials or film.  In most cases not mixing to the correct level will wreak havoc on your delivery specs such as if you have to provide splits or stems of the different elements.&#xD;&#xA;&#xD;&#xA;The first thing you should do is make sure your mixing to the correct level for the size of your room.  They have lots of info about it in the ATSC/85 documents.&#xD;&#xA;&#xD;&#xA;Most people mix with subgroups of their different elements so you could preferably put a limiter on each buss master with the output level a couple db lower than -15dbfs for when a couple different elements get loud at once.  &#xD;&#xA;If all you have to deliver is a stereo mix then you could probably just strap the limiter across your master with the output at -15dbfsand adjust the other settings to your ear.&#xD;&#xA;-18 average with a -15 peak seems kinda a strange requirement but you have to go with the specs they give you." ContentLicense="CC BY-SA 3.0" />
  <row Id="48075" PostHistoryTypeId="2" PostId="26682" RevisionGUID="2bf05e93-c684-484b-9dbb-3fa1e9f1c425" CreationDate="2014-01-31T23:46:22.103" UserId="7283" Text="My band is working with a somewhat pricey mastering engineer and we are wanting to keep the price down. For a price we're comfortable with, he will either provide us with hi-res masters (24bit, 48khz - the recording quality), or with CD-quality masters + DDP file (16bit-44.1khz).&#xD;&#xA;&#xD;&#xA;My gut is to get the hi-res masters, buy [Triumph](http://www.audiofile-engineering.com/triumph/) for $79, and do the conversion and create the DDP file myself. However, the engineer said he does a separate mastering pass for each quality he does. &#xD;&#xA;&#xD;&#xA;My question is: what might necessitate a different mastering pass for the CD-quality version? What benefit might there be to getting the mastering engineer to do the CD-quality version instead of just converting it myself from the hi-res version?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48076" PostHistoryTypeId="1" PostId="26682" RevisionGUID="2bf05e93-c684-484b-9dbb-3fa1e9f1c425" CreationDate="2014-01-31T23:46:22.103" UserId="7283" Text="What concerns are there when converting 24bit 48khz to 16bit-44.1khz (CD quality)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48077" PostHistoryTypeId="3" PostId="26682" RevisionGUID="2bf05e93-c684-484b-9dbb-3fa1e9f1c425" CreationDate="2014-01-31T23:46:22.103" UserId="7283" Text="&lt;sound&gt;&lt;mastering&gt;&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48082" PostHistoryTypeId="5" PostId="26681" RevisionGUID="0fd4ca92-7857-46eb-b8c3-5465cfe51ca3" CreationDate="2014-02-01T01:06:41.830" UserId="6399" Comment="added 53 characters in body" Text="It's not standard practice to do any &quot;Mastering&quot; when mixing to picture for TV shows, commercials or film.  In most cases not mixing to the correct level will wreak havoc on your delivery specs such as if you have to provide splits or stems of the different elements.&#xD;&#xA;&#xD;&#xA;The first thing you should do is make sure your mixing at the correct level for the size of your room.  They have lots of info about it in the ATSC/85 documents.&#xD;&#xA;&#xD;&#xA;Most people mix with subgroups of their different elements so you could preferably put a limiter on each buss master with the output level a couple db lower than -15dbfs for when a couple different elements get loud at once.  &#xD;&#xA;If all you have to deliver is a stereo mix then you could probably just strap the limiter across your master with the output at -15dbfs and adjust the other settings to your ear.&#xD;&#xA;-18 average with a -15 peak seems kinda a strange requirement but you have to go with the specs they give you are those measurements with the same type of meter?." ContentLicense="CC BY-SA 3.0" />
  <row Id="48083" PostHistoryTypeId="2" PostId="26683" RevisionGUID="78b82da9-c6c8-454e-98d6-2764e58f36e3" CreationDate="2014-02-01T07:37:03.173" UserId="7174" Text="Going from 24 bit to 16 doesn't really matter as it is evenly divisible. Going from 48khz to 44.1 however is a bigger problem, though likely not significantly.&#xD;&#xA;&#xD;&#xA;With 48khz sampling, you can accurately capture waveforms of up to 24khz frequency. There may be some weird harmonic issues that occur during the conversion, but they would be outside the human hearing range.&#xD;&#xA;&#xD;&#xA;It isn't truly a lossless experience since it isn't evenly divisible, but it shouldn't cause major issues either." ContentLicense="CC BY-SA 3.0" />
  <row Id="48084" PostHistoryTypeId="2" PostId="26684" RevisionGUID="47ce5a14-e39b-41ba-9630-c0e0bf94e1a9" CreationDate="2014-02-01T09:54:41.267" UserId="6686" Text="I still don't have 50 experience to comment on an above post, but I'll second the Mix-pre. I'd buy used for around $600 or so and spend the rest on whatever new recorder you find to your liking.&#xD;&#xA;&#xD;&#xA;You're going to get good, quiet preamps, and low noise phantom power, along with several other features. &#xD;&#xA;&#xD;&#xA;You're going to want low noise equipment when recording ambience, as you probably know. I'm using a busman modded dr680 and find I can't really use it for quiet ambience. The phantom power is noisy and the preamps obviously become too noisy when cranked up high. Therefore, I'm purchasing a preamp to lower my noise floor. &#xD;&#xA;&#xD;&#xA;I'm kicking myself now for not buying a good pre in the beginning (for ambient recordings). " ContentLicense="CC BY-SA 3.0" />
  <row Id="48085" PostHistoryTypeId="2" PostId="26685" RevisionGUID="1e2ce2c0-c01b-4c05-805a-00632bcb5d66" CreationDate="2014-02-01T10:20:11.830" UserId="7210" Text="I try to auto-tune a vocal track. I want it to sound as natural as possible, and only want to correct the pitch. The problem is that I get a very metallic/computer-sound. I use Antares Auto-Tune. I use the graphical mode where I first track the pitch, and then move the notes up and down to match the correct pitch. Then I change the duration of each note-block to make it sound as natural as possible.&#xD;&#xA;&#xD;&#xA;Is Antares Auto-Tune not good for natural auto-tuning, or am I doing something wrong?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48086" PostHistoryTypeId="1" PostId="26685" RevisionGUID="1e2ce2c0-c01b-4c05-805a-00632bcb5d66" CreationDate="2014-02-01T10:20:11.830" UserId="7210" Text="How to auto-tune without getting a metallic sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48087" PostHistoryTypeId="3" PostId="26685" RevisionGUID="1e2ce2c0-c01b-4c05-805a-00632bcb5d66" CreationDate="2014-02-01T10:20:11.830" UserId="7210" Text="&lt;autotune&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48088" PostHistoryTypeId="2" PostId="26686" RevisionGUID="e174b288-0831-41be-835a-e78d24884773" CreationDate="2014-02-01T12:53:27.390" UserId="37" Text="&gt; and then move the notes up and down to match the correct pitch&#xD;&#xA;&#xD;&#xA;sounds like the bulk of your problem.. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48089" PostHistoryTypeId="2" PostId="26687" RevisionGUID="f0726ee3-858b-42aa-80c3-c6d73e0c0743" CreationDate="2014-02-01T13:05:59.817" UserId="28" Text="I haven't used Antares, but it has a reputation for creating a more noticeable tuned &quot;effect&quot; sound. Celemony Melodyne has a reputation for a more transparent tuning. (I'm sure you can get transparent tuning with Autotune as well, but it's not as &quot;auto&quot; as the name implies.)&#xD;&#xA;&#xD;&#xA;I use Melodyne to tune vocals. But it is far from automatic. It took me over 20hrs working with the software before I felt like I was really enhancing the sound, and not destroying the performance entirely. It's a tool that takes practice. Less is more. And I find that tuning sustained notes closer to the intended note (but not 100%) and leaving the travelling notes before and after the sustained note can help keep the vocal sounding natural.&#xD;&#xA;&#xD;&#xA;Hope that helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48090" PostHistoryTypeId="2" PostId="26688" RevisionGUID="2da16338-8978-45dc-a71b-a900d2c6b0cd" CreationDate="2014-02-01T14:31:21.220" UserId="7341" Text="In many TV programmes, the director is speaking to the show host via an ear-piece that the host is wearing, and at many instances, what is being said through that ear-piece is more or less audible without any processing.&#xD;&#xA;&#xD;&#xA;How can I selectively amplify this voice from the background (what software/manuals should I follow)? &#xD;&#xA;&#xD;&#xA;Here's an example: http://www.youtube.com/watch?v=obpXusN-2Nw&#xD;&#xA;in this video on times: 1:06, 1:12 and 1:18. There is a clear dictation of what is said by the host. I need to know if it is possible to clear out and amplify this signal.&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48091" PostHistoryTypeId="1" PostId="26688" RevisionGUID="2da16338-8978-45dc-a71b-a900d2c6b0cd" CreationDate="2014-02-01T14:31:21.220" UserId="7341" Text="Selective amplification of a voice signal" ContentLicense="CC BY-SA 3.0" />
  <row Id="48092" PostHistoryTypeId="3" PostId="26688" RevisionGUID="2da16338-8978-45dc-a71b-a900d2c6b0cd" CreationDate="2014-02-01T14:31:21.220" UserId="7341" Text="&lt;software&gt;&lt;signal-processing&gt;&lt;background&gt;&lt;selection&gt;&lt;active-noise-control&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48093" PostHistoryTypeId="5" PostId="26683" RevisionGUID="e7708630-6730-4798-ac67-467c32df182b" CreationDate="2014-02-01T15:27:47.927" UserId="7174" Comment="added 225 characters in body; added 10 characters in body" Text="For going from 24 bit to 16 bit is relativity simple since it is evenly divisible, however you will still want to apply a dither to make up for the way the originally analog signal loses resolution.  This allows simulating a wider set of distinct values than 16 bits would normally allow in exchange for some minimal noise.  A great link about this was included by Takuya in the comments below. &#xA;&#xD;&#xA;With 48khz sampling, you can accurately capture waveforms of up to 24khz frequency. There may be some weird harmonic issues that occur during the conversion, but they would be outside the human hearing range.&#xD;&#xA;&#xD;&#xA;It isn't truly a lossless experience since it isn't evenly divisible, but it shouldn't cause major issues either." ContentLicense="CC BY-SA 3.0" />
  <row Id="48094" PostHistoryTypeId="5" PostId="26678" RevisionGUID="37415c23-5573-45cd-a3eb-8c31fc1967e4" CreationDate="2014-02-01T16:29:04.813" UserId="6957" Comment="not a job board :)" Text="I realize this is an old thread, but iZotope RX3 does a great job of this if the music is in *stereo*. What you can do is use the Center Channel Extractor in RX3, and it will use phase cancellation to isolate the mono dialogue from the stereo music. I work in a trailer house where we frequently need to clean up bites from movies with bad stems." ContentLicense="CC BY-SA 3.0" />
  <row Id="48109" PostHistoryTypeId="19" PostId="18895" RevisionGUID="4ecd9ebf-cf38-446a-a741-93b005794955" CreationDate="2014-02-01T16:34:23.190" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="48114" PostHistoryTypeId="5" PostId="19329" RevisionGUID="92035043-1f3b-4038-a0c8-1c8140414ce3" CreationDate="2014-02-01T16:36:27.420" UserId="6957" Comment="added 7 characters in body" Text="I found a clip on soundcloud.  Here it is...&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/demsoff/drone-sound-from-oblivion" ContentLicense="CC BY-SA 3.0" />
  <row Id="48120" PostHistoryTypeId="2" PostId="26691" RevisionGUID="c10dc5f1-3ff8-43f9-b615-376fa5e133eb" CreationDate="2014-02-02T00:08:42.473" UserId="7345" Text="Native Instrument's &quot;The Mouth&quot; was designed expressly for that. But you have to use the presets. There might be user presets. I forget&#xD;&#xA;&#xD;&#xA;http://www.native-instruments.com/en/products/komplete/effects/the-mouth/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48122" PostHistoryTypeId="2" PostId="26693" RevisionGUID="6e9e8123-6d35-4801-8b42-8b5260182e46" CreationDate="2014-02-02T10:58:01.117" UserId="6425" Text="Wow that is a crazy post production/forensic/restauration job. The problem is that the signal is very little. What you can do is you can use volume envelopes to increase the directors voice. So that you push the level in-between the hosts words. Then there will be an extreme amount of background noise. Sou you can use a restoration plug in like stylus rx or waves wms plugin to peace by peace filter out unnecessary background noise. Then you should also eq the sample by high passing at around 300 hz and low passing at around 7 kHz. and boosting between 2 kHz and 4 kHz. This will bring the speech a little bit forward. &#xD;&#xA;&#xD;&#xA;All in all good luck with that." ContentLicense="CC BY-SA 3.0" />
  <row Id="48123" PostHistoryTypeId="2" PostId="26694" RevisionGUID="dbba2c79-0f3b-46ca-ad88-fd1b6fdeaf74" CreationDate="2014-02-02T11:06:30.287" UserId="6425" Text="I got a tip of a tutor of mine that is really into recording pop music. He uses auto tune in real time when recording. SO he is monitoring the vocals trough the device. That way he already knows which words/syllables will work and which won't.&#xD;&#xA;&#xD;&#xA;Then another tip for all this pitch correction stuff. If you need to correct by huge amounts (= half steps or more) it is best to cut out all the noisy phonemes and place them on a separate track. Nosiy phonemes are esse for example (or use 2 channels nd use the side chain monitoring feature of a deesser to isolate the essex on one track). That is because noisy stuff tends to be treated wrong with pitch correct software. Longer tonal phoebes like vocals. Another trick is to automate the correction amount on the vocals. then you can cut the correction on noisy phonemes and increase it on only the syllables you need to correct.&#xD;&#xA;&#xD;&#xA;I know it is a lot of work what i told you, but when you just apply the auto tune you won't get commercial like results.&#xD;&#xA;&#xD;&#xA;So my workflow is-&gt; But auto tune on with very little correction -&gt; the automate the correction amount so that it cuts out on noisy stuff-&gt; increase the amount on really off tonal phonemes&#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="48124" PostHistoryTypeId="2" PostId="26695" RevisionGUID="dc3f209b-a845-418b-ad14-855dcc406bd5" CreationDate="2014-02-02T11:16:26.227" UserId="6425" Text="One way to get a similar effect is by using a &quot;handmade chorus effect&quot;.&#xD;&#xA;&#xD;&#xA;Send your vocals to 2 send channels. Delay one channel by around 10 ms, pan it to the left and pitch it up by around 8-12 cents (via pitch shifting plugin). Delay the other channel by around 20 ms, pan it to the right and pitch it down by 8-12 cents. Also increase this channels volume a little bit (1-2dB).&#xD;&#xA;&#xD;&#xA;Also by octaving such channels up or down an octave can give great texture. By using very subtle distortion on this channels you can increase the perceived &quot;bigness&quot; of the vocals.&#xD;&#xA;highpassing those channels at around 200-300 hz is a good idea to keep the fundamental frequency of the singer in the mid. Via cutting some mids 800-1000 hz and low passing or heavy deessing you can create a more subtle effect.&#xD;&#xA;&#xD;&#xA;peace and good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="48125" PostHistoryTypeId="5" PostId="26694" RevisionGUID="d5d72209-fb4e-4eac-b56d-55485ee052f6" CreationDate="2014-02-02T12:59:14.117" UserId="6425" Comment="edited body" Text="I got a tip of a tutor of mine that is really into recording pop music. He uses auto tune in real time when recording. SO he is monitoring the vocals trough the device. That way he already knows which words/syllables will work and which won't.&#xD;&#xA;&#xD;&#xA;Then another tip for all this pitch correction stuff. If you need to correct by huge amounts (= half steps or more) it is best to cut out all the noisy phonemes and place them on a separate track. Nosiy phenomes are esse for example (or use 2 channels nd use the side chain monitoring feature of a deesser to isolate the esses on one track). That is because noisy stuff tends to be treated wrong with pitch correct software. Longer tonal phoebes like vocals. Another trick is to automate the correction amount on the vocals. then you can cut the correction on noisy phonemes and increase it on only the syllables you need to correct.&#xD;&#xA;&#xD;&#xA;I know it is a lot of work what i told you, but when you just apply the auto tune you won't get commercial like results.&#xD;&#xA;&#xD;&#xA;So my workflow is-&gt; But auto tune on with very little correction -&gt; the automate the correction amount so that it cuts out on noisy stuff-&gt; increase the amount on really off tonal phonemes&#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="48126" PostHistoryTypeId="2" PostId="26696" RevisionGUID="6c1b223d-8806-4878-b8cc-555c5ebdb452" CreationDate="2014-02-02T18:41:28.237" UserId="6425" Text="Welcome to broadcasting :)&#xD;&#xA;&#xD;&#xA;In Europe we have a EBU R128 regulation, which is a loudness normalisation with ITU 1770 measurement. Our loudness is -23LUFS and our true peak -1dBFS. &#xD;&#xA;&#xD;&#xA;I am doing a lot of TV commercials so I hope i can help you with the mix idea:&#xD;&#xA;&#xD;&#xA;Normalisation of audio gave me a real headache when it was introduced, but it is quite simple. Just open up a Metering device on your mastering channel. Be sure that the metering is measuring the right parameters via the right standard(for e.g. itu1770...).&#xD;&#xA;&#xD;&#xA;Then just level your loudest elements (normally its either dialogue or music) that they nearly (roughly 1-5dB depending on how loud the episode will get (action scenes, car crash, explosions etc)) full fill your RMS or momentary loudness parameter. Its important that you do not look on your normal dBFS meters. Then mix everything as you were used to, but do not adjust your &quot;anker&quot; element. (be sure to compress, highpass and denoise the individual elements before you get into mixing so that you only need to fine-tune everything.)&#xD;&#xA;&#xD;&#xA;after that get a measure the whole episode (some devices like the Visual LM allow for offline measuring or measuring while you bounce). but the file into a new project an then adjust the average level via a gain.&#xD;&#xA;&#xD;&#xA;after that check your dynamic range. if it is to high -&gt; compress the master channel with low ratio, high release, medium attack and low threshold. look for the highest peak in the waveform to find your makeup gain&#xD;&#xA;&#xD;&#xA;after you adjust your makeup gain be sure to check your peak. normally you can calculate it or use the audio suit to render the compressor in the loudest peak to see where your new peak is. use a limiter to limit at your desired peak level. (always limit for safety issues)&#xD;&#xA;&#xD;&#xA;after that measure it once more for safety and to hear if there is any point where the compressor or limiter won't work. at these points use volume automation before the device to reduce the artefacts.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;i hope that helped peace and gl&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48127" PostHistoryTypeId="2" PostId="26697" RevisionGUID="5c425d14-f462-494f-912f-ffd958214a91" CreationDate="2014-02-02T19:20:46.057" UserId="6425" Text="Ok today i found it out when by accident. Its just a very soft acoustic kick drum that plays the underlying beat and offbeat. The Fingersnaps are heavy reverberated and compressed Fingersnaps and that Big Reverberated thing on the 1 Is just a very deep Flortom mixed with some far stereo Roommics. Great work Lorde, so simple so big!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48128" PostHistoryTypeId="2" PostId="26698" RevisionGUID="93bc5a39-f9c7-4e79-ac23-bb3c59fea077" CreationDate="2014-02-02T19:56:09.643" UserId="7353" Text="Is there any way to conect 4 microphones or more to a pc via wifi in realtime, control each one and mix all together?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48129" PostHistoryTypeId="1" PostId="26698" RevisionGUID="93bc5a39-f9c7-4e79-ac23-bb3c59fea077" CreationDate="2014-02-02T19:56:09.643" UserId="7353" Text="Conect a microphone to a pc via wifi connection" ContentLicense="CC BY-SA 3.0" />
  <row Id="48130" PostHistoryTypeId="3" PostId="26698" RevisionGUID="93bc5a39-f9c7-4e79-ac23-bb3c59fea077" CreationDate="2014-02-02T19:56:09.643" UserId="7353" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48131" PostHistoryTypeId="2" PostId="26699" RevisionGUID="0b55266d-6f6f-404a-9043-d232d22e2909" CreationDate="2014-02-02T22:54:22.747" UserId="7016" Text="Yes - it does require some hardware though:&#xD;&#xA;&#xD;&#xA;You'll need either:&#xD;&#xA;&#xD;&#xA;- a wireless receiver that can accept multiple channels - so you can pass the different sound channels to your mixer application (whether that be a DAW or dedicated mixer app)&#xD;&#xA;&#xD;&#xA;or&#xD;&#xA;&#xD;&#xA;- 4 wireless receivers that feed 4 inputs on your sound card, that you then mix as before.&#xD;&#xA;&#xD;&#xA;Cost-wise, they seem to be about the same.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48132" PostHistoryTypeId="2" PostId="26700" RevisionGUID="ef84f898-d009-4580-9cb9-b50b4c609439" CreationDate="2014-02-03T00:11:42.267" UserId="7357" Text="I have MXL 770 Cardioid Condenser Microphone connected to Focusrite Scarlett 2i2 2 In/2 Out USB Recording Audio. However when i try to record something my voice is very very low, you can barely hear it and that buzzing noise is very loud which makes all my audio sound horrible. I am working on sonar x3. Please help me out" ContentLicense="CC BY-SA 3.0" />
  <row Id="48133" PostHistoryTypeId="1" PostId="26700" RevisionGUID="ef84f898-d009-4580-9cb9-b50b4c609439" CreationDate="2014-02-03T00:11:42.267" UserId="7357" Text="how to get rid off loud buzzing noise when i try to record?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48134" PostHistoryTypeId="3" PostId="26700" RevisionGUID="ef84f898-d009-4580-9cb9-b50b4c609439" CreationDate="2014-02-03T00:11:42.267" UserId="7357" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;microphone-positioning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48135" PostHistoryTypeId="2" PostId="26701" RevisionGUID="ffe0304b-964e-484b-a888-8706d8cd447b" CreationDate="2014-02-03T01:44:49.720" UserId="7359" Text="First thing that crosses my mind - did you check if your phantom power is on? Second - did you try another cable? Third - check if input was mistakenly set to line input instead of mic " ContentLicense="CC BY-SA 3.0" />
  <row Id="48136" PostHistoryTypeId="2" PostId="26702" RevisionGUID="dca0ec77-0523-428b-b87c-dd8684d6319e" CreationDate="2014-02-03T06:20:28.390" UserDisplayName="user49" Text="Since 'the merge' SSD seems a little overloaded with (how do i put this politely) *intriguingly naive questions* so here is one that requires a little thinking, and is common to everyone who works with sound: &#xD;&#xA;&#xD;&#xA;We all have memories of our first listening experience (ie the first memorable sound we heard and rememebred) but what was the first sound you heard, captured &amp; manipulated in some way &amp; went OMFG at what the manipulation represented to your future self? What was it? Captured how? Manipulated how? (your own sound, not something you saw on YT about ben burt or drillex or what/whoever)&#xD;&#xA;&#xD;&#xA;What was it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48137" PostHistoryTypeId="1" PostId="26702" RevisionGUID="dca0ec77-0523-428b-b87c-dd8684d6319e" CreationDate="2014-02-03T06:20:28.390" UserDisplayName="user49" Text="First memory of manipulating sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48138" PostHistoryTypeId="3" PostId="26702" RevisionGUID="dca0ec77-0523-428b-b87c-dd8684d6319e" CreationDate="2014-02-03T06:20:28.390" UserDisplayName="user49" Text="&lt;sound&gt;&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48139" PostHistoryTypeId="5" PostId="26702" RevisionGUID="c9bf8e4f-f80b-40c2-9045-72e7a6e86f68" CreationDate="2014-02-03T08:06:34.723" UserDisplayName="user49" Comment="tact" Text="We all have memories of our first listening experience (ie the first memorable sound we heard and rememebred) but what was the first sound you heard, captured &amp; manipulated in some way &amp; went OMFG at what the manipulation represented to your future self? What was it? Captured how? Manipulated how?&#xD;&#xA;&#xD;&#xA;What was it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48140" PostHistoryTypeId="2" PostId="26703" RevisionGUID="e3f7d944-74b1-46bb-9367-a0579efccc26" CreationDate="2014-02-03T09:28:57.827" UserId="1185" Text="Good question.  Sadly my first OMFG moment was not something I had created, but when I discovered after watching the original Star Wars movie that the wonderful screech of the tie fighters was actually the sound of an elephant.  I suddenly realised that none of the sounds I heard in the movie were actually real, even though as a 9 year old, they all seemed so real and fitting in their context.  Kind of blew me away." ContentLicense="CC BY-SA 3.0" />
  <row Id="48141" PostHistoryTypeId="2" PostId="26704" RevisionGUID="460021fd-8c6e-44d7-93a3-fccd0cb993d5" CreationDate="2014-02-03T10:00:43.267" UserId="6425" Text="Also try to deactivating some in and Outputs of your interface. Then aktivaze One by one. For eg m box interfaces deliver extreme noise when all Outputs are on sonetimes. Also uninstull driver then Record trou its Plug and Play driver!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48142" PostHistoryTypeId="2" PostId="26705" RevisionGUID="71861556-f8c5-4c47-ab79-b37ad79d3c18" CreationDate="2014-02-03T10:12:44.037" UserId="7360" Text="My OMFG moment wasn't exactly something I had done myself. I remember being about 12 or 13, and my brother and I had managed to get a copy of Syntrillium's Cool Edit '96, which only allowed you to edit audio on a single track, so once you'd placed one clip over another there would be no way of separating or individually editing them.&#xD;&#xA;Anyway, I basically can remember us trying to figure out how to do, well anything, and we opened a song and somehow got to a point where we had inverted it, copied it, then pasted it back over the original un-inverted version. Listening back, we were just amazed that we found we had the song minus the vocals! Admittedly, not all of the instrument sounds had remained as they were in the original, but it seemed to blow our minds... which lead us to diving deeper into what could be done." ContentLicense="CC BY-SA 3.0" />
  <row Id="48143" PostHistoryTypeId="2" PostId="26706" RevisionGUID="66f65fe8-5022-4e02-9666-406e32e99c10" CreationDate="2014-02-03T10:17:29.767" UserId="6432" Text="Nice question. I can't exactly remember what the sounds were, but probably this would be getting hold of one of those mini cassette type dictaphone (I was a child of the 80's). This sort of thing:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;The first real manipulation I remember started with my second computer, an Amiga A600. I remember my parents insisting on me owning a computer instead of a games console, largely with the idea that these were more 'productive' and 'educational'. I actually think they might have been right - I possibly would not be where I am today if it wasn't for that machine. So the fist manipulation of sounds goes to my A600 and OCTAMED:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;It was incredible fun, I'd not record sounds in, but find them from other games and sequence them into awful sounding lofi nonsense...&#xD;&#xA;&#xD;&#xA;I think it set me in good stead though. I later migrated to the amazing Buzz Tracker where I really started to learn some interesting stuff:&#xD;&#xA;&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;Then I moved sideways into sound design.. ah good memories indeed.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/fniF6.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/PntAt.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/1XTlA.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="48144" PostHistoryTypeId="2" PostId="26707" RevisionGUID="ca04c3b5-c4fa-413e-b462-a6d8fdc09e60" CreationDate="2014-02-03T11:27:13.617" UserId="7361" Text="I recently discovered that I can't use just any headphones with my Mbox Mini as it seems to have a somewhat underpowered headphone amplifier. &#xD;&#xA;I did this by buying a pair AKG K240 mkII headphones (which sound very very good on everything else, even the jack on the mac book worked) and discovered I couldn't head anything due to their 50Ω Impedance (which as I understand it isn't particularly high for a pro model).&#xD;&#xA;&#xD;&#xA;So I have a dilemma where I need lower impedance headphones, but all I can find our consumer types. Can anyone recommend a pair of professional monitoring headphones that will work with my Mbox Mini.&#xD;&#xA;&#xD;&#xA;I'm not sure what version of the Mbox Mini I have (its about 3 years old), so I can't be sure of the technical specification, but the 3rd Gen model has [20 mW into 32 R][1] (so I'm not sure on the maximum impedance I can use, I assume &lt;30Ω?).&#xD;&#xA;&#xD;&#xA;Am I also correct in thinking noise-cancelling headphones have a built in headphone amp, so a pair of those may be a solution for monitoring?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/static/resources/common/documents/Products/Avid_Mbox_3rdGen-family_spec-comparison-1.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="48145" PostHistoryTypeId="1" PostId="26707" RevisionGUID="ca04c3b5-c4fa-413e-b462-a6d8fdc09e60" CreationDate="2014-02-03T11:27:13.617" UserId="7361" Text="Low impedance monitoring headphones that work with Mbox Mini" ContentLicense="CC BY-SA 3.0" />
  <row Id="48146" PostHistoryTypeId="3" PostId="26707" RevisionGUID="ca04c3b5-c4fa-413e-b462-a6d8fdc09e60" CreationDate="2014-02-03T11:27:13.617" UserId="7361" Text="&lt;headphones&gt;&lt;monitoring&gt;&lt;impedance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48147" PostHistoryTypeId="5" PostId="26707" RevisionGUID="eb663b15-548e-46d5-9fd2-e82cc2656bcf" CreationDate="2014-02-03T11:37:35.887" UserId="7361" Comment="added 22 characters in body" Text="I recently discovered that I can't use just any headphones with my Mbox Mini as it seems to have a somewhat underpowered headphone amplifier. &#xD;&#xA;I did this by buying a pair AKG K240 mkII headphones (which sound very very good on everything else, even the jack on the mac book worked) and discovered I couldn't head anything due to their 50Ω Impedance (which as I understand it isn't particularly high for a pro model).&#xD;&#xA;&#xD;&#xA;So I have a dilemma where I need lower impedance headphones, but all I can find our consumer types. Can anyone recommend a pair of professional monitoring headphones (open or closed back) that will work with my Mbox Mini.&#xD;&#xA;&#xD;&#xA;I'm not sure what version of the Mbox Mini I have (its about 3 years old), so I can't be sure of the technical specification, but the 3rd Gen model has [20 mW into 32 R][1] (so I'm not sure on the maximum impedance I can use, I assume &lt;30Ω?).&#xD;&#xA;&#xD;&#xA;Am I also correct in thinking noise-cancelling headphones have a built in headphone amp, so a pair of those may be a solution for monitoring?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/static/resources/common/documents/Products/Avid_Mbox_3rdGen-family_spec-comparison-1.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="48148" PostHistoryTypeId="5" PostId="26707" RevisionGUID="547a10d4-d3bf-4b99-b2a3-ddbfb994035a" CreationDate="2014-02-03T11:45:08.160" UserId="7361" Comment="added 22 characters in body" Text="I recently discovered that I can't use just any headphones with my Mbox Mini as it seems to have a somewhat underpowered headphone amplifier. &#xD;&#xA;I did this by buying a pair AKG K240 mkII headphones (which sound very very good on everything else, even the jack on the mac book worked) and discovered I couldn't head anything due to their 50Ω Impedance (which as I understand it isn't particularly high for a pro model).&#xD;&#xA;&#xD;&#xA;So I have a dilemma where I need lower impedance headphones, but all I can find our consumer types. Can anyone recommend a pair of professional monitoring headphones (open or closed back) that will work with my Mbox Mini.&#xD;&#xA;&#xD;&#xA;I'm not sure what version of the Mbox Mini I have (its about 3 years old), so I can't be sure of the technical specification, but the 3rd Gen model has [20 mW into 32 R][1] (so I'm not sure on the maximum impedance I can use, I assume &lt;30Ω?).&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/static/resources/common/documents/Products/Avid_Mbox_3rdGen-family_spec-comparison-1.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="48149" PostHistoryTypeId="2" PostId="26708" RevisionGUID="83b8c151-11a1-4326-b904-4cc57ec17ab4" CreationDate="2014-02-03T11:51:11.383" UserId="6432" Text="That's odd. I've got a Digi Mbox2 Mini which I use with a pair of 80Ω Beyer DT250's - it goes really loud.&#xD;&#xA;&#xD;&#xA;Check the Mix dial is round all the way clockiwise?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48150" PostHistoryTypeId="2" PostId="26709" RevisionGUID="763a5b54-5c0e-4c54-8a5d-733cdb97b9bf" CreationDate="2014-02-03T12:17:37.830" UserId="6425" Text="Two pair of Headphones that I love for monitoring are: Closed Beyer Dynamics DT770 and open Sennheiser HD 25 ii&#xD;&#xA;&#xD;&#xA;Both work even when you plug them directly into your Laptop!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48151" PostHistoryTypeId="2" PostId="26710" RevisionGUID="8ed9d8fd-73c5-4098-98ac-a5c363e41521" CreationDate="2014-02-03T13:07:54.850" UserId="182" Text="I did some reading, and I see several complaints that the headphone output on the Mbox mini is very weak. Depending on the version, 60mW or 20 mW into 32 Ohm. The Presonus Firebox, by comparison, can go ridiculously loud, and has 150 mW into 60 Ohm. An iPhone has 30 mW per channel.&#xD;&#xA;&#xD;&#xA;Getting low impedance versions of headphones is one way to get louder output, another would be to buy a separate headphone amp, which might be a bit cheaper.&#xD;&#xA;&#xD;&#xA;High impedance headphones are quite a bit higher than yours: For example, the Beyerdynamic 770 and 990 high impedance versions are 600 Ohm, the middle ones are 250 Ohm, which play at low to moderate levels on consumer devices (iPhone, Laptop outputs). The low impedance version is 32 Ohm.&#xD;&#xA;&#xD;&#xA;I find it very strange that Avid decided to make the headphone output power of some mboxes lower than that of an iPhone! But even then, you should hear something, even if it's quiet. If you really hear nothing, you might have a different problem or defect." ContentLicense="CC BY-SA 3.0" />
  <row Id="48152" PostHistoryTypeId="2" PostId="26711" RevisionGUID="0bf8791c-82fa-47a2-9fac-96f3e56e40b9" CreationDate="2014-02-03T13:56:37.783" UserId="6484" Text="My first sound manipulation moment came in my early to mid teens when I was volunteering at a campus radio station. This was the early 80's so most of the sfx were on vinyl or 1/4inch tape and the station only had a few of these on hand. We were doing a radio play and had to create a strange wind sound so we were blowing into a mic through tubes etc when a friend came through to the station dragging a boxing bag on a carpet. We went WOW listen to that!!!! So we ran a long xlr and spent an hour or so dragging the bag over the carpet at different speeds resulting in some pretty interesting sounds. Years later I watch a Ben Burt video where he had done the same thing around the same time and thought what a wonderful world. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48153" PostHistoryTypeId="2" PostId="26712" RevisionGUID="6fdbe16f-c5fa-49e2-940e-2483bf0d06a9" CreationDate="2014-02-03T14:30:34.097" UserId="194" Text="I begged my parents for a karaoke machine when I was a kid so that I could use it as a multitrack.  plus it already had a mic!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48160" PostHistoryTypeId="10" PostId="7751" RevisionGUID="a7a6e6c2-3f60-4c2d-a165-b117b5878e17" CreationDate="2014-02-03T18:34:04.903" UserId="7093" Comment="105" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7093,&quot;DisplayName&quot;:&quot;Friend Of George&quot;}]}" />
  <row Id="48161" PostHistoryTypeId="5" PostId="12387" RevisionGUID="db425696-a780-4936-add0-07031581e019" CreationDate="2014-02-03T19:12:37.360" UserId="6957" Comment="move answer to an actual answer" Text="I purchased my Lectrosonics SMV's a while back but had immense issues trying to get them to work with my Sennheiser MKE2 Microphones and the M150's that I purchased with the lectro's simply did not come close to the quality of sound that the Sennheiser's gave me.&#xD;&#xA;&#xD;&#xA;The local (I'm based in Johannesburg, South Africa) Sennheiser and Lectrosonics agents could not help me, nor give me the time of day as to how to wire the mics up correctly.&#xD;&#xA;The Sennheiser agnets couldn't even tell me that the microphone was a positive bias 2-wire electret!  When I asked them if it was, their answer was &quot;Um...I dont know&quot;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48162" PostHistoryTypeId="4" PostId="12387" RevisionGUID="db425696-a780-4936-add0-07031581e019" CreationDate="2014-02-03T19:12:37.360" UserId="6957" Comment="move answer to an actual answer" Text="How to wire up a Sennheiser MKE-2 for use with Lectrosonics SMV Transmitters" ContentLicense="CC BY-SA 3.0" />
  <row Id="48163" PostHistoryTypeId="2" PostId="26715" RevisionGUID="a2bea578-5417-404a-9662-32d0a12e4ff0" CreationDate="2014-02-03T19:15:24.047" UserId="6957" Text="**THE OP HAD ANSWERED THE QUESTION IN HIS QUESTION... JUST MOVING TO AN ANSWER.  CREDIT GOES TO @AndreFeldmann**&#xD;&#xA;&#xD;&#xA;---------------------------------------------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;To cut a long story short, I finally found an electronics engineer who specialises in Sennheiser products and he was able to give me the correct configuration!  See the diagram &#xD;&#xA;below!&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/QD5al.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="48167" PostHistoryTypeId="2" PostId="26717" RevisionGUID="db516741-fc4f-438b-bb85-6bd23e6db08c" CreationDate="2014-02-03T19:34:21.723" UserId="7367" Text="Dither, Noise Shaping, and Bit Quantization. These are the reasons for the separate mastering passes. All of which do not need to be considered when mixing/bouncing the audio in the native digital format it was converted to (24bit/48khz). &#xD;&#xA;&#xD;&#xA;Also, it sounds like he will provide you with individual &quot;HiRes&quot; native files OR Will downsample for you and create a DDP file. (Which is a FINAL Copy including play order and silence between songs that you can usually upload directly to a CD cuplication service.)&#xD;&#xA;&#xD;&#xA;If you are not making CDs or distributing digitally only (itunes?). You have no use for a ddp file. Although u may have use for the MEs tools and know how when it comes to downsampling.&#xD;&#xA;&#xD;&#xA;EDIT: I suppose it is possible for the ME to EQ specifically for the lower quality (not likely!) to produce better translation at the format? Also he may handle level peaks differently when downsampling. &#xD;&#xA;&#xD;&#xA;IF it were me, Id take the native hi res master and be about my business. Ive also been an audio engineer for years tho." ContentLicense="CC BY-SA 3.0" />
  <row Id="48172" PostHistoryTypeId="2" PostId="26720" RevisionGUID="7e0a076c-c58f-4a09-b4f7-6ca1e9210fa4" CreationDate="2014-02-04T00:31:15.727" UserId="7212" Text="This general process is called &quot;gain balancing&quot;, and it can be time-consuming to get just right, especially if you have long signal chains or you change your system's configuration often (both are often seen in home studio systems). Overall, the ideal gain structure is the one that maximizes signal-to-noise ratio without inducing distortion. &#xD;&#xA;&#xD;&#xA;If, at any time, you have an analog audio component producing a very high signal level, that you then attenuate to very low levels before reamplifying to higher levels, you will increase the presence of noise in your signal. The attenuation will reduce the level of the desired signal (and any &quot;upstream&quot; noise) being input into circuitry &quot;downstream&quot;, which will then introduce a constant amount of noise to the signal. Reamplification of this signal will increase both the desired signal and the introduced noise, reducing the signal to noise ratio and increasing the &quot;noise floor&quot;. If, instead, the input signal were not attenuated (at least not more than necessary), then the node further downstream would not have to amplify the signal as much or at all, minimizing the increase in the noise floor and maximizing SNR.&#xD;&#xA;&#xD;&#xA;So, the best gain structure is the one in which the gain at each gain stage is as high as possible without clipping the waveform, which occurs whenever a gain stage is required to produce more voltage than it is given by its power source in order to accurately reproduce the waveform. Clipping is usually bad as it distorts the waveform from the ideal, and is to be avoided, but you want the highest signal voltages you can get below that threshold, at every step along the way, in order to minimize the relative effect of any noise added to the signal.&#xD;&#xA;&#xD;&#xA;Usually, the way you accomplish this is by paying attention to signal level indicators, like clip lights. However, not all audio equipment has a clip indicator. To adjust these pieces of equipment properly, you have to use your ears; adjust all other gain stages, in order from upstream (closest to the audio source) to downstream (closest to the recorder or power amplifier), as high as possible without any clip indicators lighting, then listen to the resulting waveform; if you hear distortion, turn down the furthest upstream source that doesn't have a clip indicator until you don't hear distortion, then turn up the next source downstream from that to compensate. If you immediately hear distortion, the problem is further downstream; set the two upstream sources back to their original levels, then repeat with the next node further downstream that doesn't have a clip indicator. Obviously, the fewer gain stages in your signal chain, especially the fewer that don't have signal level indicators, the better.&#xD;&#xA;&#xD;&#xA;Once you have your gain structure balanced, the recording you produce by converting this analog signal to a series of digital samples can be further manipulated without as much fear of introducing noise. You can still clip the sample (in digital audio, clipping occurs when a sample requires a digital numerical value higher than the highest value available for that sample size), but once the signal is digital, it's a series of numbers represented as digital bits, and those bits are unaffected by any noise introduced into the electrical circuits along which they're carried, until the electrical noise becomes so present as to prevent the computer being able to distinguish between a &quot;one&quot; and a &quot;zero&quot; (by this time an analog signal carried along the same circuit would be unusable as well)." ContentLicense="CC BY-SA 3.0" />
  <row Id="48174" PostHistoryTypeId="2" PostId="26722" RevisionGUID="00482371-9539-4be8-8b0b-fb9105275eaf" CreationDate="2014-02-04T00:36:37.663" UserId="7154" Text="I am trying to remake a song, I'm just missing the female voice.&#xD;&#xA;&#xD;&#xA;Is there any site where I vn request for a female cover?&#xD;&#xA;&#xD;&#xA;[tag:remaking]" ContentLicense="CC BY-SA 3.0" />
  <row Id="48175" PostHistoryTypeId="1" PostId="26722" RevisionGUID="00482371-9539-4be8-8b0b-fb9105275eaf" CreationDate="2014-02-04T00:36:37.663" UserId="7154" Text="Where to request a female cover?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48176" PostHistoryTypeId="3" PostId="26722" RevisionGUID="00482371-9539-4be8-8b0b-fb9105275eaf" CreationDate="2014-02-04T00:36:37.663" UserId="7154" Text="&lt;sound&gt;&lt;production-mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48177" PostHistoryTypeId="2" PostId="26723" RevisionGUID="fa601713-114a-4744-8d9e-6ff9edbf9e5b" CreationDate="2014-02-04T01:19:37.453" UserId="7094" Text="I'm going to be doing sound for a couple of films soon and I'll be following both productions through from pre-production to the finished products. I want to make a good start with these, because all too often I leave everything to post-production.&#xD;&#xA;&#xD;&#xA;What do people on here find useful to do in the pre-production stage?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48178" PostHistoryTypeId="1" PostId="26723" RevisionGUID="fa601713-114a-4744-8d9e-6ff9edbf9e5b" CreationDate="2014-02-04T01:19:37.453" UserId="7094" Text="Audio pre-production" ContentLicense="CC BY-SA 3.0" />
  <row Id="48179" PostHistoryTypeId="3" PostId="26723" RevisionGUID="fa601713-114a-4744-8d9e-6ff9edbf9e5b" CreationDate="2014-02-04T01:19:37.453" UserId="7094" Text="&lt;planning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48183" PostHistoryTypeId="5" PostId="10521" RevisionGUID="82ce6def-fe36-489c-a240-e600217d304b" CreationDate="2014-02-04T05:06:16.103" UserId="61" Comment="added 1 characters in body" Text="That's ridiculous.   &#xD;&#xA;&#xD;&#xA;I don't agree with that comment at all. Just because you're using sounds that you didn't personally record doesn't mean that you're not making creative choices. Very seldom will library sounds work perfectly for the project you're working on, and it's up to you to mold and shape those sounds and make them your own.&#xD;&#xA;&#xD;&#xA;Should everyone be recording, mastering and using their own custom recorded fx? Sure, in a perfect world with generous budgets of time and money. Now, show me that perfect world ----" ContentLicense="CC BY-SA 3.0" />
  <row Id="48184" PostHistoryTypeId="2" PostId="26725" RevisionGUID="f4bf5398-5e9c-49e0-b441-ee289f268c96" CreationDate="2014-02-04T07:22:53.507" UserId="7374" Text="I have a few audio files that are being used as a part of my Android application. What I do not understand is, when I apply volume boost to an audio file, say an MP3 file through applications like Audacity, I can only boost their volume to a very bare minimum degree. Any more from that fine limit results into clipping. On the other hand, when I simply play the same MP3 file through a media player such as VLC, the audio volume can be boosted to a much greater degree without clipping or any distortion for that matter. &#xD;&#xA;&#xD;&#xA;Why does this happen? While batch editing of MP3 files, is it possible to capture and achieve the quality of audibility like that of VLC player's volume boost?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48185" PostHistoryTypeId="1" PostId="26725" RevisionGUID="f4bf5398-5e9c-49e0-b441-ee289f268c96" CreationDate="2014-02-04T07:22:53.507" UserId="7374" Text="Volume boost from apps like Audacity VS Volume boost &quot;though&quot; VLC playback" ContentLicense="CC BY-SA 3.0" />
  <row Id="48186" PostHistoryTypeId="3" PostId="26725" RevisionGUID="f4bf5398-5e9c-49e0-b441-ee289f268c96" CreationDate="2014-02-04T07:22:53.507" UserId="7374" Text="&lt;sound&gt;&lt;audio-recording&gt;&lt;volume&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48187" PostHistoryTypeId="4" PostId="26725" RevisionGUID="da868e35-9996-42b9-9fcb-fb0b5bec4396" CreationDate="2014-02-04T07:29:28.047" UserId="7374" Comment="edited title" Text="Volume boost from apps like Audacity VS Volume boost &quot;through VLC playback&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48188" PostHistoryTypeId="2" PostId="26726" RevisionGUID="f79b4872-571b-4a53-91ac-80b218b2da82" CreationDate="2014-02-04T08:44:01.137" UserId="6420" Text="Playing records backwards as a kid during the 80's trying to find out if those satanic messages were real or not! ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="48189" PostHistoryTypeId="5" PostId="26707" RevisionGUID="ede4c334-bee3-4c97-8305-36af79c52f4e" CreationDate="2014-02-04T09:30:13.833" UserId="7361" Comment="added 145 characters in body" Text="I recently discovered that I can't use just any headphones with my Mbox Mini as it seems to have a somewhat underpowered headphone amplifier. &#xD;&#xA;I did this by buying a pair AKG K240 mkII headphones (which sound very very good on everything else, even the jack on the mac book worked) and discovered I couldn't head anything due to their 50Ω Impedance (which as I understand it isn't particularly high for a pro model).&#xD;&#xA;&#xD;&#xA;So I have a dilemma where I need lower impedance headphones, but all I can find our consumer types. Can anyone recommend a pair of professional monitoring headphones (open or closed back) that will work with my Mbox Mini.&#xD;&#xA;&#xD;&#xA;I'm not sure what version of the Mbox Mini I have (its about 3 years old), so I can't be sure of the technical specification, but the 3rd Gen model has [20 mW into 32 R][1] (so I'm not sure on the maximum impedance I can use, I assume &lt;30Ω?).&#xD;&#xA;&#xD;&#xA;Note: I realise I can get a headphone amp, but is this the only option... I'd rather spend £100 on a pair of decent low impedance monitor headphones (if they exist).&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/static/resources/common/documents/Products/Avid_Mbox_3rdGen-family_spec-comparison-1.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="48190" PostHistoryTypeId="2" PostId="26727" RevisionGUID="d3d7da07-e01e-4978-8a5f-8653a820fe63" CreationDate="2014-02-04T09:30:43.860" UserId="6425" Text="Try Craiglist. There you can find vocalists or musicians around you. Also there are a lot of Facebook groups concerning musicians around your area." ContentLicense="CC BY-SA 3.0" />
  <row Id="48191" PostHistoryTypeId="2" PostId="26728" RevisionGUID="f7c6ee71-9400-481f-a941-19249ff0d600" CreationDate="2014-02-04T09:40:32.807" UserId="6636" Text="StarNow.co.uk has a lot of singers. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48192" PostHistoryTypeId="2" PostId="26729" RevisionGUID="a9d9341d-49e2-434b-bcbb-5694a890f3e9" CreationDate="2014-02-04T09:45:23.013" UserId="37" Text="Bass and treble knobs not counting, it must have been manipulating the head azimuth of the tape deck at home. More precisely the day i decided to take it to the extreme, just to see what would happen. &#xD;&#xA;&#xD;&#xA;Electronically it must have been when i blew up the amp for the first time and discovered distortion. &#xD;&#xA;&#xD;&#xA;Good times.. ;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48193" PostHistoryTypeId="36" PostId="26730" RevisionGUID="b5005218-86ee-445d-9a2a-b1fc44d5ebbb" CreationDate="2014-02-04T10:30:20.620" UserId="-1" Comment="from http://music.stackexchange.com/questions/15182/amateur-home-setup-ideas" />
  <row Id="48194" PostHistoryTypeId="36" PostId="26731" RevisionGUID="01b5b71a-e2db-4ecc-859a-70312744498b" CreationDate="2014-02-04T10:30:20.620" UserId="-1" Comment="from http://music.stackexchange.com/questions/15182/amateur-home-setup-ideas/15192#15192" />
  <row Id="48195" PostHistoryTypeId="2" PostId="26731" RevisionGUID="21acd891-21a5-4048-b7f3-48257bf127ea" CreationDate="2014-02-03T11:53:10.173" UserDisplayName="David" Text="My personal take was to go for second-hand high quality equipment: RME HDSP for digitizing (8 stereo in- and outputs, digital I/O, Midi. I use a Cardbus32 interface into my laptop) and a Mackie Onyx (which has separate symmetric recording outputs) for good preamps.  The overall solution is excellent, was comparatively affordable and works with the free Ardour Digital Audio Workstation but is rather bulky.&#xD;&#xA;&#xD;&#xA;For a pure recording solution, a combined preamp/digitizer solution is much more compact but tends to be much less affordable second-hand in a similar quality range (or at least was so few years ago).&#xD;&#xA;&#xD;&#xA;Also, having a live analog mixer/monitor could come handy with your kind of setup." ContentLicense="CC BY-SA 3.0" />
  <row Id="48196" PostHistoryTypeId="2" PostId="26730" RevisionGUID="bfdeac8f-e6e9-4add-a244-fe443b84c525" CreationDate="2014-02-02T10:09:54.823" UserId="7351" Text="I am thinking about to set upa record and live performance basement in my house to entertain just myself and my friends. One or two microphones, 2 electric guitars, 1 bass guitar,midi keyboard and electronic drum (they're working probably over midi interface). So my question is which soundcard + midi keyboard combination can take care this setup?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48197" PostHistoryTypeId="1" PostId="26730" RevisionGUID="bfdeac8f-e6e9-4add-a244-fe443b84c525" CreationDate="2014-02-02T10:09:54.823" UserId="7351" Text="Amateur home setup ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48198" PostHistoryTypeId="3" PostId="26730" RevisionGUID="bfdeac8f-e6e9-4add-a244-fe443b84c525" CreationDate="2014-02-02T10:09:54.823" UserId="7351" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48199" PostHistoryTypeId="2" PostId="26732" RevisionGUID="16a47266-08f3-45f8-9f47-fe536826252d" CreationDate="2014-02-04T12:01:51.947" UserId="37" Text="Digital was meant to work around a reference point of -20dB. Unfortunately someone in the music industry didn't get the note so we're now stuck with everything pushing the 0 as much as it can, and people listening to flat dynamics material. &#xD;&#xA;&#xD;&#xA;No you cannot amplify digital files past 0dB the same way VLC will let you. That slider is the digital equivalent of a volume knob. &#xD;&#xA;&#xD;&#xA;With nice sounds, people turn up the volume themselves. &#xD;&#xA;&#xD;&#xA;On the other hand, very dynamic sounds such as e.g. gunshots, explosions, etc, need compression prior to playback. That's a whole chapter of technicalities and aesthetics. It opens with &quot;it depends&quot;.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48200" PostHistoryTypeId="2" PostId="26733" RevisionGUID="7bcba4bb-776a-4501-8dd5-189c25c685c0" CreationDate="2014-02-04T12:15:00.920" UserId="7375" Text="just as in the title. Anyone know if there is some info on this available. I know its very relative as to how you cover your ears, but an approximate/median graph would be useful to me." ContentLicense="CC BY-SA 3.0" />
  <row Id="48201" PostHistoryTypeId="1" PostId="26733" RevisionGUID="7bcba4bb-776a-4501-8dd5-189c25c685c0" CreationDate="2014-02-04T12:15:00.920" UserId="7375" Text="Frequency response of ears when covered with hands" ContentLicense="CC BY-SA 3.0" />
  <row Id="48202" PostHistoryTypeId="3" PostId="26733" RevisionGUID="7bcba4bb-776a-4501-8dd5-189c25c685c0" CreationDate="2014-02-04T12:15:00.920" UserId="7375" Text="&lt;frequency&gt;&lt;response&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48203" PostHistoryTypeId="2" PostId="26734" RevisionGUID="6fd176ee-0d6b-4ed5-be0f-9ca9d411a277" CreationDate="2014-02-04T12:53:18.720" UserId="37" Text="![fir][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;.&#xD;&#xA;&#xD;&#xA;but that's just a guess, really.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/BVMBd.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="48204" PostHistoryTypeId="2" PostId="26735" RevisionGUID="4aeff5d0-cc97-4f95-838d-5cbd266201d6" CreationDate="2014-02-04T15:04:37.293" UserId="7174" Text="Plan, plan, plan.  Determine what your needs will be for each scene before hand and ensure you have proper equipment and personnel available for each shoot.  The only way to make sure you get good audio in production is to plan to get it.&#xD;&#xA;&#xD;&#xA;Beyond that, talk to the director to see if there is anything else he might want.  Some things can be done before shooting, such as possibly some rough work on the music.  It really depends on how the director want's things to flow in that regard (if he wants to have music to base his pacing of scenes on or if he wants to set the pace and make music to match.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="48205" PostHistoryTypeId="2" PostId="26736" RevisionGUID="4327d1b6-a8c8-4a92-80d8-63f0b778cf96" CreationDate="2014-02-04T15:33:56.953" UserId="194" Text="**read the script, and mark it up for production sound.**  &#xD;&#xA;&#xD;&#xA;Look for things like: &#xD;&#xA;&#xD;&#xA; - sonically challenging locations: water, heavy traffic, wind, etc.  These things are often written into the script.&#xD;&#xA;&#xD;&#xA; - more than two people speaking in a scene: 3 or more people requires a certain amount of extra gear and/or coverage to get all of the dialogue right.&#xD;&#xA;&#xD;&#xA; - vehicle dialogue: different miking setups in these spots&#xD;&#xA;&#xD;&#xA; - running or other heavy movement dialogue: prep for wild takes here&#xD;&#xA;&#xD;&#xA;**talk to wardrobe**&#xD;&#xA;&#xD;&#xA;are actors providing their own clothes, or are they being produced?  If there are costumes being created talk to wardrobe and try to minimize noisy clothing materials where others can be substituted.  Wardrobe can also be of great help in creating mount points for lavs.&#xD;&#xA;&#xD;&#xA;**Plan out your post workflow.**&#xD;&#xA;&#xD;&#xA;How are you handling sync?  If its timecode be sure that everyone is on the same page regarding frame rate/sample rate.  If its plural eyes or manual with slate make sure your editor knows that workflow and won't hose you by cutting the picture before syncing it with the location sound.  If you're running more than 2 channels make sure your editor handles all of the channels in post appropriately all the way through the time he hands you an AAF and a quicktime.&#xD;&#xA;&#xD;&#xA;If you have the luxury of doing camera tests before primary photography, use that as an opportunity to shoot sound and run through your post workflow with the editor.&#xD;&#xA;&#xD;&#xA;**build your gear checklist**&#xD;&#xA;&#xD;&#xA;given all of that research, build your gear checklist.  include all mics, cables, wind protection, recorders, mounts, and power.  Then include non-audio things like carpet, blankets, gaff tape, etc.  &#xD;&#xA;&#xD;&#xA;**talk to the director and AD**&#xD;&#xA;&#xD;&#xA;set up a meeting with the director and AD.  Bring your marked up script and gear checklist, but don't throw those in his or her face and say &quot;make this happen!&quot;  Instead, talk art for a while.  Discuss the tone and vision of the piece.  Talk about the general emotions the director is hoping to capture.  Speak in broad terms and listen closely.  &#xD;&#xA;&#xD;&#xA;Then open the marked up script and go over any specific thoughts and concerns you may have *given the context of the artistic conversation you just had*.  If you have a mumbly lead actor giving a dramatic performance planned in front of a waterfall or out in traffic, make the director aware of exactly how challenging that will be to catch audio for.  Then work mutually on a solution or agreement on how to approach that moment.&#xD;&#xA;&#xD;&#xA;Don't just discuss potential problems.  Get the director on your side for potential high points as well.  &quot;This is cool, now it would be *great* in post if we were able to get the sound of xxx while were are there and set up.  Can we build that into the shot sheet?&quot;&#xD;&#xA;&#xD;&#xA;**acquire your gear**&#xD;&#xA;&#xD;&#xA;own what you have.  Borrow what you can.  Rent what you can.  Build what you can.  Have no excuses and have a gear plan for every shot you see coming." ContentLicense="CC BY-SA 3.0" />
  <row Id="48206" PostHistoryTypeId="2" PostId="26737" RevisionGUID="dd660281-09bd-4f5f-abb7-e3ad70154a3d" CreationDate="2014-02-04T16:59:32.167" UserId="6738" Text="(I am aware of this thread: http://sound.stackexchange.com/questions/7993/snap-crackle-and-pop-making-glitches?rq=1 - this particular one is about hi-hats.)&#xD;&#xA;&#xD;&#xA;The goal:&#xD;&#xA;----------&#xD;&#xA;*Hi-hat output of VST drum -&gt; **/ VST FX Madness /** -&gt; glitch hi-hat*&#xD;&#xA;&#xD;&#xA;Reasons and what I have tried&#xD;&#xA;-----------------------------&#xD;&#xA;&#xD;&#xA;I really hate using only one sample for hihat. It is really-really-really dull (part of the reason I hate listening to &quot;Walk this way&quot; by Run DMC).&#xD;&#xA;&#xD;&#xA;I have tried using bit crushers, gates, lowpass, resonating filters and crazy distortions on the hihat output of vst drums (as the more sophisticated ones are alternating samples by an algorithm). I had figured out that setting the ADSR envelope of hihat is essential in taming the sound.&#xD;&#xA;&#xD;&#xA;However, I had always ended up strange, snare like sounds, which were obviously not &quot;hihatish&quot;.&#xD;&#xA;&#xD;&#xA;The goal should be something like this: http://www.youtube.com/watch?v=N3NAgrKql6c (also check out Takamasa's Silicom Two for crazier/aliener tunes).&#xD;&#xA;&#xD;&#xA;Has anyone experience with glitch hihats?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48207" PostHistoryTypeId="1" PostId="26737" RevisionGUID="dd660281-09bd-4f5f-abb7-e3ad70154a3d" CreationDate="2014-02-04T16:59:32.167" UserId="6738" Text="Glitching hihats of vst drum" ContentLicense="CC BY-SA 3.0" />
  <row Id="48208" PostHistoryTypeId="3" PostId="26737" RevisionGUID="dd660281-09bd-4f5f-abb7-e3ad70154a3d" CreationDate="2014-02-04T16:59:32.167" UserId="6738" Text="&lt;sound-design&gt;&lt;vst&gt;&lt;drum&gt;&lt;glitch&gt;&lt;electronic-music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48209" PostHistoryTypeId="2" PostId="26738" RevisionGUID="a517929f-ec5c-4c00-9d4b-7800e3cd21cd" CreationDate="2014-02-04T17:09:08.843" UserId="7378" Text="The most important things for recording are&#xD;&#xA;1. Microphone&#xD;&#xA;2. Room acoustics&#xD;&#xA;3. Monitor speakers&#xD;&#xA;4. Audio interface&#xD;&#xA;&#xD;&#xA;(and ofcourse good software and vst plugins if you want to mix it)&#xD;&#xA;&#xD;&#xA;I don't know if you want to mix it too?&#xD;&#xA;then you should buy/download some vst plugins like equalizers, compressors, and reverbs (i don't know if it's included in audacity. i think some are)&#xD;&#xA;&#xD;&#xA;There are enough mixing tutorials online, like on youtube or blogs" ContentLicense="CC BY-SA 3.0" />
  <row Id="48211" PostHistoryTypeId="2" PostId="26740" RevisionGUID="2980a08f-1022-4e44-b604-ef5171231cd4" CreationDate="2014-02-04T20:21:06.670" UserId="7381" Text="SoundToys Decapitator plug in is good for dirtying up percussive sounds. Also I like Izotope vinyl plugin. Takes away the clean sound of hi hats nicely. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48222" PostHistoryTypeId="2" PostId="26743" RevisionGUID="06ea88b5-4396-406e-b7d5-312e353f5ce4" CreationDate="2014-02-05T02:09:58.030" UserId="7383" Text="I do a lot of backpacking and want to start recording the wildlife I hear during the night. I thought a small portable sound recorder might do the job. The idea is to place the recorder a distance from my camp before I go to bed, let it run all night, and stop it when I wake up. When I get home, I can then transfer the recording to my computer, portable music device, share with friends, etc.&#xD;&#xA;&#xD;&#xA;The features I need are: &#xD;&#xA;&#xD;&#xA;- very lightweight&#xD;&#xA;- long recording time: 8 hours&#xD;&#xA;- digital file format: non-Microsoft&#xD;&#xA;- quality sound considering the device size&#xD;&#xA;- easy on the budget: ~$100&#xD;&#xA;&#xD;&#xA;Thanks a lot for any recommendations you can provide!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48223" PostHistoryTypeId="1" PostId="26743" RevisionGUID="06ea88b5-4396-406e-b7d5-312e353f5ce4" CreationDate="2014-02-05T02:09:58.030" UserId="7383" Text="Lightweight Portable Sound Recorder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48224" PostHistoryTypeId="3" PostId="26743" RevisionGUID="06ea88b5-4396-406e-b7d5-312e353f5ce4" CreationDate="2014-02-05T02:09:58.030" UserId="7383" Text="&lt;nature-recording&gt;&lt;portable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48225" PostHistoryTypeId="2" PostId="26744" RevisionGUID="a8f36036-27bc-48b1-859b-33c8bfbac7c5" CreationDate="2014-02-05T02:33:35.317" UserId="7212" Text="The absolute essentials for home studio recording are:&#xD;&#xA;&#xD;&#xA;* **A good mic.** You will never get a natural sound out of the piezo element of your guitar alone; even the best ones sound plastic-y. You don't need a Neumann, but that $15 Radio Shack desktop mic ain't gonna cut it either. I would start looking around the $100/mic range for a dynamic mic, with the SM57 being a mainstay for high-gain sources like speaker cabinets, horns and mid-pitch drums, and not bad for vocals (the SM58 is more vocals-oriented, with a &quot;mid-hump&quot; in the 2kHz-6kHz range to emphasize diction). It'll work for guitar, but I recommend a condenser especially in a studio environment.&#xD;&#xA;&#xD;&#xA; For condensers, which are best for moderate-volume instruments and high-detail studio vocals work, they run all over. My current faves for acoustic guitar on a budget are the Rode M5 matched pair of small-diaphragm condensers; they have the fast response you need to capture the fine detail of an acoustic guitar's sound, and they're half the price of Rode's flagship NT5 pair (the go-to for many, unless you have the money for a $1600 Neumann KM184 matched pair), while only being noticeably inferior at the extremes of their performance envelope (a little more self-noise, a little less sensitivity and max SPL). &#xD;&#xA;&#xD;&#xA; For a do-it-all microphone, check out the Rode NT2a; it's a multi-pattern large-diaphragm condenser, good for vocals, guitar, just about any single source you want to point it at. LDCs as a rule don't handle &quot;off-axis&quot; sources as well as SDCs do, and they don't respond as quickly to transients, so they're not as faithful on things like drums and &quot;percussive strings&quot; like guitar and piano, but they do work for these sources, and they're excellent for vocals, bowed strings, and ambient setups capturing more room tone. You can buy these in a &quot;Studio Essentials&quot; kit including shockmount and breathscreen for about $400.&#xD;&#xA;&#xD;&#xA;* **A good &quot;interface&quot; to your computer or digital recorder.** Computer sound cards, no matter how good, usually can't take an XLR input. The mic input on most is designed for a computer microphone, which has an unbalanced signal with power sent over the &quot;ring&quot; terminal of the plug to the mic's electret. You will at least need a mic preamp designed to accept an XLR input, that will boost the gain to line-in levels that the sound card can then convert to digital. Better yet, invest further in a USB, Firewire or Thunderbolt audio interface that has the ADC built in and sends the digital signal directly to the OS.&#xD;&#xA; &#xD;&#xA; On my desk at home right now is the Focusrite Scarlett 2i4, which I arrived at after much research on features and transparency versus cost. You can do much better, but you can also do much worse, and for the price it's excellent in features and sound quality; it's basically an outboard sound card, with hookups for two mics or line sources, a MIDI source like a keyboard or drumpad, and up to four output channels, two of which can be volume-controlled directly from the unit, as can a pair of headphones and the mix they receive between playback from the computer and the direct inputs.&#xD;&#xA;&#xD;&#xA; For more inputs at one time, you start getting into the range of USB-capable mixers, like the Allen &amp; Heath ZED series, which will do a mixdown of whatever you have connected, creating a stereo input to the computer. This can be good for quick recordings of groups, including live music situations, but they're expensive and not as good on the digital side as the dedicated interfaces.&#xD;&#xA;&#xD;&#xA;* **A set of studio reference monitors.** Consumer-grade headphones or speakers, even expensive brands like Beats, won't work very well; they typically have an overall &quot;colored&quot; response curve emphasizing either bass or high mids, and your cheaper ear buds and desktop speakers have reduced bass response. &quot;Studio reference&quot; means a flat response curve all the way from at least 20Hz to 20kHz, with some of your better ones able to accurately reproduce waveforms from 7Hz up to 30KHz (beyond the range of human hearing). &#xD;&#xA;&#xD;&#xA; For the absolute bare essentials while recording, a pair of monitoring headphones will work, and you can get excellent ones in the $100-$200 range, with a few diamonds in the rough down to about $50. You will want these while tracking, especially if you want a mobile rig. However, when you're back in the &quot;booth&quot; doing your mixdown and setting up a stereo image for your final track, you will want a pair of free-standing reference monitors. These aren't cheap; you can expect to spend $150 a pair at the absolute low end (M-Audio AV40s), with most of the &quot;good for the money&quot; examples like Yamaha's HS series and the Rokits going for between $200 and $400 *per speaker*.&#xD;&#xA;&#xD;&#xA;* **Software.** Most people start with a freeware DAW, and there are many, most of them being lite versions of a payware DAW (such as SONAR LE, MuLab Free, etc), though there are a few open-source/freeware DAWs like Audacity and Traverso for Windows, GarageBand for Apple, and LMMS, Ardour and Qtractor for Linux. &#xD;&#xA;&#xD;&#xA; I've used Audacity, and it's completely free and so good for a first step, but its lack of ASIO support out of the box (you have to download Visual Studio, the Audacity source code and the ASIO SDK, and build your own copy with ASIO support included; they can't distribute a compiled executable under the GPL with ASIO built-in) and near-lack of MIDI support (no MIDI recording or playback; all you can do is import and use the software synth to convert to an audio track) make it unsuitable for anything beyond the very basics of recording, editing, mixdown. If you want to add drums, or piano, or harp, or similar instruments to your recording, you have to record said drums or piano as a direct performance from whatever you're using to produce those sounds, and that makes it that much harder to edit the performance to tweak timing, edit note velocities, and other stuff you get more or less for free with a better DAW.&#xD;&#xA;&#xD;&#xA; Professional paid apps topping the popularity charts include SONAR, Pro Tools, Reaper, Logic Pro, Ableton Live and FL Studio. Reaper's the cheapest for home amateurs and weekend warriors at just $60 (that's discounted pricing applying to personal use, nonprofit companies and small businesses earning less than $20k/yr), and has a hardcore following in that demographic. Pro Tools is at the other end of the spectrum, originally aimed at high-end production companies using the software alongside Avid's hardware offerings, but they also offer the standalone software for both Mac and PC and it's probably the first one you think of when you think DAW. Ableton Live is the grown-up version of the &quot;Live Lite&quot; software bundled with many audio interfaces. SONAR is dominant among working professionals running Windows, while Pro Tools is battling it out with Apple's own Logic Pro for Mac users.&#xD;&#xA;&#xD;&#xA;* **A good setup.** You can spend thousands of dollars, even tens of thousands, on quality gear, and get crappy results because the gear isn't set up right. The biggest things to get right are:&#xD;&#xA; * **To &quot;use the symmetry of the room&quot;**. Translated - choose a wall of the room that's relatively narrow, with the adjacent walls both perpendicular to it, with as few interruptions like doors and windows as possible on the adjacent walls, and set your desk up at the exact center of that wall.&#xD;&#xA; * **To set up the speakers forming a level equilateral triangle with your head**. The speakers should be at head height, pointed directly at your head, and the distance between them should be equal to the distance you are from either one. This gives you the truest stereo image.&#xD;&#xA; * **To baffle the &quot;angle of first reflection&quot;**. To make sure you're hearing the left channel only in your left ear, and the right channel in your right ear, you have to make sure the sound waves from one speaker can't bounce off the opposite wall and hit your other ear. This is done by installing acoustical baffles at the point on the wall where those sound waves would bounce on their way to your opposite ear. The quick and dirty way to do it is to have someone hold a mirror at head height and slowly move it backward while you sit at the desk, and the point at which you first see the cone of the opposite speaker is the center of the point at which you should install baffling. &#xD;&#xA; * **To install bass traps as necessary**. A lively room can accentuate bass frequencies due to &quot;boundary coupling&quot; of the speakers to the wall behind, and in other ways. Bass traps are foam blocks that fit in the corners of a room and soak up bass frequencies, so the bass you hear is what's naturally in your track.&#xD;&#xA; * **To isolate microphones from other sources of sound as much as possible**. Replace that big, overclocked, 8-cooling-fans-droning gaming PC with a quieter desktop tower, or a laptop, to reduce computer noise. Choose a space in your home that's as removed from the rest of the house as you can get, and invest in a foam-core interior door and possibly even some weatherstripping to reduce air transmission through the door into the studio where you have live mikes. Get yourself an acoustical surround to use with individual mikes or coincident pairs, to reduce the amount of rear reflection the mic picks up." ContentLicense="CC BY-SA 3.0" />
  <row Id="48226" PostHistoryTypeId="2" PostId="26745" RevisionGUID="734cc73d-191d-47e7-9efe-1e08eb04407f" CreationDate="2014-02-05T03:39:18.607" UserId="1228" Text="Unfortunately I can't recommend anything at that price range.  Some of the cheapest for fx recording purposes are about $400 or more.  For wildlife and ambience recording of that nature, it's all about excellent preamps and a good-built, lo-noise condenser mic.  In that regard you're looking at more of the $1200+ range for a kit at the very bottom end of the spectrum ($2000 being a more average low side of the spectrum)." ContentLicense="CC BY-SA 3.0" />
  <row Id="48227" PostHistoryTypeId="2" PostId="26746" RevisionGUID="7d6ab97c-aadc-41f2-94b1-67eee437c728" CreationDate="2014-02-05T05:00:07.810" UserId="7189" Text="If your budget can stretch to a bit over $200 and are certain you don't need external mics then the Sony M10 should do the job. If you need external mics and can tolerate the high self-noise when using the built-in mics, then the Zoom H4n.&#xD;&#xA;&#xD;&#xA;There are a lot of excellent recorders in the $200 - $500 range. Which one works best for you probably depends more on which one is currently on sale more than anything else. The Sony does have excellent battery life - 12 hours of recording time (which easily fits on a 16GB card MicroSD card) on a pair of Eneloops. And it supports standard memory cards.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48231" PostHistoryTypeId="2" PostId="26748" RevisionGUID="4fdfac74-b9f0-4001-bb6d-0f0c757e7b4b" CreationDate="2014-02-05T06:25:57.470" UserId="182" Text="There is the Zoom H1, which is around $100 and ticks most of the boxes you mention. However, I'm not sure it will produce good enough recordings of the wildlife you mention. You get what you pay for, $100 is really not sufficient to get high quality components. Add to that the narrow stereo image of the H1 (because of the xy mic setup), which makes the recordings rather flat.&#xD;&#xA;&#xD;&#xA;See if you can try it out somewhere. Maybe you are happy with it." ContentLicense="CC BY-SA 3.0" />
  <row Id="48232" PostHistoryTypeId="2" PostId="26749" RevisionGUID="e3b5e93f-dae9-4d57-b7b3-47e35b4888fb" CreationDate="2014-02-05T09:22:02.593" UserId="37" Text="stretch to the cost of a Sony PCM-M10. you will never, ever, regret it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48233" PostHistoryTypeId="2" PostId="26750" RevisionGUID="19a8f576-2a0d-4751-8c7f-b30a1a688e2a" CreationDate="2014-02-05T10:39:29.733" UserId="6738" Text="I agree with the others, you are looking for the combination of a multiband compressor and filters. Fortunately both of them are free if you have **Reaper**.&#xD;&#xA;It has a multiband compressor (*ReaXComp*) and an EQ as well (*ReaEQ*). And many more useful stuff. And *Reaper* is really cheap." ContentLicense="CC BY-SA 3.0" />
  <row Id="48234" PostHistoryTypeId="2" PostId="26751" RevisionGUID="1203d4c4-809d-4179-979f-fc75a4c55adf" CreationDate="2014-02-05T12:58:44.490" UserId="6448" Text="Dynamic equalizer.&#xD;&#xA;&#xD;&#xA;E.g. [this one][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.meldaproduction.com/plugins/product.php?id=MAutoDynamicEq" ContentLicense="CC BY-SA 3.0" />
  <row Id="48236" PostHistoryTypeId="10" PostId="25846" RevisionGUID="cdd63e43-9db1-4e92-b583-c539ae011e47" CreationDate="2014-02-05T15:08:35.887" UserId="6957" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[8916],&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="48237" PostHistoryTypeId="2" PostId="26752" RevisionGUID="ffef3aa9-b869-45a5-a8bc-2a2011b92a8a" CreationDate="2014-02-05T16:42:03.493" UserId="6619" Text="So along with the m&amp;e, 5.1 stems and stereo stems, the distribution company is asking for a &quot;rendered and flattened&quot; copy of the final pro tools session....is this normal? If so, why is this necessary?&#xD;&#xA;&#xD;&#xA;Also by &quot;fully rendered and flattened&quot; does that mean all processing for track and all automation would have to be printed? In pro tools 10, and not using audiosuit due to automation, for a feature length film, this would take FOREVER no?&#xD;&#xA;&#xD;&#xA;Thanks in advance for the input! " ContentLicense="CC BY-SA 3.0" />
  <row Id="48238" PostHistoryTypeId="1" PostId="26752" RevisionGUID="ffef3aa9-b869-45a5-a8bc-2a2011b92a8a" CreationDate="2014-02-05T16:42:03.493" UserId="6619" Text="Distribution and deliverables" ContentLicense="CC BY-SA 3.0" />
  <row Id="48239" PostHistoryTypeId="3" PostId="26752" RevisionGUID="ffef3aa9-b869-45a5-a8bc-2a2011b92a8a" CreationDate="2014-02-05T16:42:03.493" UserId="6619" Text="&lt;deliverable&gt;&lt;distribution&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48240" PostHistoryTypeId="2" PostId="26753" RevisionGUID="4c85db7e-ddc4-467b-aac0-fe5781205d6a" CreationDate="2014-02-05T18:33:58.860" UserId="7387" Text="To me that just sounds like having the stems laid out in a PT session. I certainly wouldn't be giving them anything that they can alter." ContentLicense="CC BY-SA 3.0" />
  <row Id="48241" PostHistoryTypeId="2" PostId="26754" RevisionGUID="c4652a16-b4c4-48d4-a11d-340e88f24807" CreationDate="2014-02-05T19:16:32.303" UserId="7008" Text="Does seem like an odd request, but more about your work situation might play into this. If you're a piece of a really big puzzle and there's an overall musical director, then maybe that request could have merit. If you're the head hancho or sole hand involved...then they might be trying to save money on any future edits. What does your contract say in terms of deliverables, revisions, and completion? " ContentLicense="CC BY-SA 3.0" />
  <row Id="48243" PostHistoryTypeId="2" PostId="26756" RevisionGUID="50ab3679-11a6-4604-aba8-baf389403902" CreationDate="2014-02-05T22:01:45.833" UserId="7200" Text="The crucial thing about cymbals is basically that they have _no harmonics_, as such – i.e. no series of integer-related resonant frequencies. That's why resonant filters are obviously not such a great idea: they introduce precisely the kind of sonic characteristics that sound un-HiHat-ish. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48244" PostHistoryTypeId="5" PostId="26756" RevisionGUID="95272173-f7cf-46fc-b782-c185215be21d" CreationDate="2014-02-05T22:24:17.530" UserId="7200" Comment="added 1975 characters in body" Text="The crucial thing about cymbals is basically that they have _no harmonics_, as such – i.e. no series of integer-related resonant frequencies. That's why resonant filters are obviously not such a great idea: they introduce precisely the kind of sonic characteristics that sound un-HiHat-ish. In particular if combined with saturation / distortion, which turns a single peak into exactly such an overtone cascade.&#xD;&#xA;&#xD;&#xA;Also, especially HiHat is simply very &quot;thin&quot;; it's often useful to emphasise this with a **high**-pass filter, certainly if lower frequencies were introduced through earlier effects (e.g. distortion does that, via _intermodulation_, when fed non-harmonic content).&#xD;&#xA;&#xD;&#xA;That also means lowpass is a bit problematic. So while you would rightly use that as a primary control of dynamics for most other instruments, in case of Hi-Hat it's actually preferrable to simply use volume.&#xD;&#xA;&#xD;&#xA;Effects that can &quot;safely&quot; be used for more special results include:&#xD;&#xA;&#xD;&#xA;- Linears: reverb with unusual setting; any kind of delay; band _cuts_.&#xD;&#xA;- As a variation of the last, a phaser can be quite interesting on cymbals. Also other modulation effects, i.e. chorus/flanger.&#xD;&#xA;&#xD;&#xA;These are probably a bit to spacey for what you want. Less so:&#xD;&#xA;&#xD;&#xA;- Bit crushers, as you already tried. Actually just a special kind of distortion – both have this intermodulation problem, again you can fix that by adding a high-pass after it. In my experience really effective of Hi-Hat in this combination... perhaps the one you tried also had bandlimiting/aliasing? That's obviously not so clever as it deprives you of those important treble content. Incidentally, same for many distortion plugins: make sure there's not some kind of guitar-speaker simulation, which effectively acts as a lowpass.&#xD;&#xA;- Stereo effects. The treble content and short transient characteristic of HiHat makes it excellently localisable. Try modifying the stereo channels inconsistently, e.g. with envelope-dependent all-pass. It'll be very hard to tell what's going on, yet you'll have quite a bit of extra scope for subtle modulation.&#xD;&#xA;- Gating. You've also had that already. Of course, it's crucial that you properly preserve the transients, so very fast (why not zero) opening time, possibly also very fast close." ContentLicense="CC BY-SA 3.0" />
  <row Id="48245" PostHistoryTypeId="5" PostId="26756" RevisionGUID="0a7298f3-d2eb-4452-abdc-7516c27c935c" CreationDate="2014-02-05T22:30:09.903" UserId="7200" Comment="added 1975 characters in body" Text="The crucial thing about cymbals is basically that they have _no harmonics_, as such – i.e. no series of integer-related resonant frequencies. That's why resonant filters are obviously not such a great idea: they introduce precisely the kind of sonic characteristics that sound un-HiHat-ish. In particular if combined with saturation / distortion, which turns a single peak into exactly such an overtone cascade.&#xD;&#xA;&#xD;&#xA;Also, especially HiHat is simply very &quot;thin&quot;; it's often useful to emphasise this with a **high**-pass filter, certainly if lower frequencies were introduced through earlier effects (e.g. distortion does that, via _intermodulation_, when fed non-harmonic content).&#xD;&#xA;&#xD;&#xA;That also means lowpass is a bit problematic. So while you would rightly use that as a primary control of dynamics for most other instruments, in case of Hi-Hat it's actually preferrable to simply use volume.&#xD;&#xA;&#xD;&#xA;Effects that can &quot;safely&quot; be used for more special results include:&#xD;&#xA;&#xD;&#xA;- Linears: reverb with unusual setting; any kind of delay; band _cuts_.&#xD;&#xA;- As a variation of the last, a phaser can be quite interesting on cymbals. Also other modulation effects, i.e. chorus/flanger.&#xD;&#xA;&#xD;&#xA;These are probably a bit to spacey for what you want. Less so:&#xD;&#xA;&#xD;&#xA;- Bit crushers, as you already tried. Actually just a special kind of distortion – both have this intermodulation problem, again you can fix that by adding a high-pass after it. In my experience really effective of Hi-Hat in this combination... perhaps the one you tried also had bandlimiting/aliasing? That's obviously not so clever as it deprives you of those important treble content. Incidentally, same for many distortion plugins: make sure there's not some kind of guitar-speaker simulation, which effectively acts as a lowpass.&#xD;&#xA;- Stereo effects. The treble content and short transient characteristic of HiHat makes it excellently localisable. Try modifying the stereo channels inconsistently, e.g. with envelope-dependent all-pass. It'll be very hard to tell what's going on, yet you'll have quite a bit of extra scope for subtle modulation with possibly quite eerie subconcious perception.&#xD;&#xA;- Gating. You've also had that already. Of course, it's crucial that you properly preserve the transients, so very fast (why not zero) opening time, possibly also very fast close.&#xD;&#xA;&#xD;&#xA;Finally, you might also ditch those samples alltogether and build you own hi-hat sound, à la analogue drum synth. Basically, you just need short pulses of white noise for something recognisably hi-hat, but with a synth you can of course modify that in loads of subtle ways." ContentLicense="CC BY-SA 3.0" />
  <row Id="48247" PostHistoryTypeId="2" PostId="26758" RevisionGUID="4b560050-8f2f-4e4f-aad2-a65b68fa86ba" CreationDate="2014-02-06T07:39:47.050" UserId="61" Text="For that price range you may need to consider buying used. Recorders like the Zoom H2 are nearly indestructible, record in stereo (24/96) or quad (24/48) and sound remarkably good. I use mine all the time; it's been through the wringer, dropped and dinged, broken parts and corroded mic grilles, but still going strong. (Just used it last weekend to record for a huge movie coming out in May.) Now, finding someone who will part with theirs, that's another story…" ContentLicense="CC BY-SA 3.0" />
  <row Id="48248" PostHistoryTypeId="2" PostId="26759" RevisionGUID="f18f75fc-d67f-4043-87ae-082bc35b8b01" CreationDate="2014-02-06T07:41:31.103" UserId="61" Text="Try Kickstarter! Lots of talented people looking to get their films made. Get in touch with them, sell them on your skills, and get that portfolio growing." ContentLicense="CC BY-SA 3.0" />
  <row Id="48249" PostHistoryTypeId="2" PostId="26760" RevisionGUID="38cf64ce-fa25-498a-ac10-57e93fb5f61c" CreationDate="2014-02-06T07:49:26.097" UserId="61" Text="That sound has probably never been recorded before since people who are out on the open sea are usually in some sort of craft, whether it be a large liner or a small skiff or lifeboat. In either case the ocean is going to be interacting with said craft, breaking over the bow or slapping against the side. So, unless you're planning on recording from a hot air balloon, the only other way to go about this is to create it.&#xD;&#xA;&#xD;&#xA;What type of sea are you trying to create? Stormy, calm, mountainous, flat? Your answer, of course, dictates what types of sounds you can audition. You may find the sounds of wind helpful, as well as earthquakes, deep rumbles, and gentle lake laps. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48250" PostHistoryTypeId="2" PostId="26761" RevisionGUID="70af89c2-b023-44db-ab69-a9029b545710" CreationDate="2014-02-06T09:44:39.653" UserId="1185" Text="I think the best you could hope for is to use a very long boom pole to give you separation between the boat you are in and the point at which you are recording.&#xD;&#xA;&#xD;&#xA;Jay's point about working out what kind of sea you are trying to create is also very important.  The chances of you getting a perfect recording are fairly small which means you'll have to &quot;design&quot; a sound that will work in your context and will fit with the narrative.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="48251" PostHistoryTypeId="2" PostId="26762" RevisionGUID="780b202b-2fbe-4114-9aab-840005629ea5" CreationDate="2014-02-06T13:21:39.957" UserId="7395" Text="I plan on buying the Behringer MICROMIX MX 400 line mixer because it's really cheap and I don't need more than 4 input channels. The only problem is that it has a mono output. I tried searching for some sort of connector that splits the mono output into 2 1/4 jacks so I can just plug those into the left and right speaker. I can only find 1/4 to 1/8 though, no 1/4 to 1/4. And is there a way to convert the mono output to a single stereo jack to connect to my headphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48252" PostHistoryTypeId="1" PostId="26762" RevisionGUID="780b202b-2fbe-4114-9aab-840005629ea5" CreationDate="2014-02-06T13:21:39.957" UserId="7395" Text="Convert mono output to stereo?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48253" PostHistoryTypeId="3" PostId="26762" RevisionGUID="780b202b-2fbe-4114-9aab-840005629ea5" CreationDate="2014-02-06T13:21:39.957" UserId="7395" Text="&lt;stereo&gt;&lt;mixer&gt;&lt;mono&gt;&lt;converter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48255" PostHistoryTypeId="2" PostId="26764" RevisionGUID="7503fae7-df95-4453-93b2-ca37bb176ba8" CreationDate="2014-02-06T19:34:09.413" UserId="7174" Text="The Olympus LS-10 has really good built in mics (for the price anyway) and can be found refurbished for about $130.  You are going to have a really hard time finding anything particularly solid under the $100 mark though.  It's hard to get a good mic for under $100 let alone an entire recorder.&#xD;&#xA;&#xD;&#xA;The quality you get starts going up a lot very rapidly as you approach and exceed the $200 point.  The Sony M10 is a solid base unit or if you can go a little more, using the Zoom h4n with an external microphone can get good results.  &#xD;&#xA;&#xD;&#xA;Keep in mind though, these ARE the budget options.  Really top quality field recordings are going to be done with really clean recording gear which is going to rapidly rise up in to the $1000 plus range for the recorder and probably another few hundred for the mic alone." ContentLicense="CC BY-SA 3.0" />
  <row Id="48256" PostHistoryTypeId="5" PostId="26764" RevisionGUID="51ed3111-75a2-4cb3-81d2-c330a8fd1555" CreationDate="2014-02-06T19:39:52.687" UserId="7174" Comment="added 389 characters in body" Text="The Olympus LS-10 has really good built in mics (for the price anyway) and can be found refurbished for about $130.  You are going to have a really hard time finding anything particularly solid under the $100 mark though.  It's hard to get a good mic for under $100 let alone an entire recorder.&#xD;&#xA;&#xD;&#xA;The quality you get starts going up a lot very rapidly as you approach and exceed the $200 point.  The Sony M10 is a solid base unit or if you can go a little more, using the Zoom h4n with an external microphone can get good results.  &#xD;&#xA;&#xD;&#xA;Keep in mind though, these ARE the budget options.  Really top quality field recordings are going to be done with really clean recording gear which is going to rapidly rise up in to the $1000 plus range for the recorder and probably another few hundred for the mic alone.&#xD;&#xA;&#xD;&#xA;Sub-$100 recorders are like the cheap camera phones of audio field recording.  $200 to $300 devices like the M10 and h4n are like the moderate to high end point and shoots.  (With the h4n maybe making it to the level of a cheap entry level DSLR if you have a good mic on it).  You don't get in to the DSLR equivalent until you get to true professional field units and stand alone mics." ContentLicense="CC BY-SA 3.0" />
  <row Id="48257" PostHistoryTypeId="2" PostId="26765" RevisionGUID="078ab7b6-c56e-4344-ba2d-1eaa967666ca" CreationDate="2014-02-06T23:21:06.297" UserId="7189" Text="Monoprice should have everything you need:&#xD;&#xA;&#xD;&#xA;* [1/4&quot; mono to 3.5mm Stereo](http://www.monoprice.com/Product?c_id=104&amp;cp_id=10429&amp;cs_id=1042903&amp;p_id=7137&amp;seq=1&amp;format=2), ideal for headphones.&#xD;&#xA;* [1/4&quot; mono to 1/4&quot; stereo](http://www.monoprice.com/Product?c_id=104&amp;cp_id=10429&amp;cs_id=1042907&amp;p_id=7141&amp;seq=1&amp;format=2), good for headphones if your headphones only have a 1/4&quot; plug&#xD;&#xA;* [1/4&quot; mono splitter](http://www.monoprice.com/Product?c_id=104&amp;cp_id=10429&amp;cs_id=1042907&amp;p_id=7218&amp;seq=1&amp;format=2)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48258" PostHistoryTypeId="2" PostId="26766" RevisionGUID="8dcabd0a-7e46-47b0-8013-1ae5a10ebe3d" CreationDate="2014-02-06T23:54:12.100" UserId="6532" Text="In addition to the aforementioned sound of water slapping against the boat I'd also try to work in some small sounds of the vessel reacting to the waves and the movement; anything from small wood creaks in rhythm to the waves to bigger moans of the hull depending on the ship.&#xD;&#xA;&#xD;&#xA;The SoundWorks Collection video to All is Lost (which is nominated for Best Sound Editing) is also very interesting:&#xD;&#xA;&#xD;&#xA;[http://soundworkscollection.com/videos/All_is_Lost][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundworkscollection.com/videos/All_is_Lost" ContentLicense="CC BY-SA 3.0" />
  <row Id="48259" PostHistoryTypeId="2" PostId="26767" RevisionGUID="3b44ee39-a639-4ea8-9ce3-ee261856147c" CreationDate="2014-02-07T05:40:39.963" UserId="6571" Text="I guess maybe VLC's volume boost works like a compressor/maximizer, not just as simple leveling up algorithm. I'm not using VLC, but many players has such feature." ContentLicense="CC BY-SA 3.0" />
  <row Id="48260" PostHistoryTypeId="5" PostId="26737" RevisionGUID="21607446-7e5f-4bda-b60d-d545eea5356d" CreationDate="2014-02-07T12:52:19.430" UserId="6738" Comment="Added guesses." Text="(I am aware of this thread: http://sound.stackexchange.com/questions/7993/snap-crackle-and-pop-making-glitches?rq=1 - this particular one is about hi-hats.)&#xD;&#xA;&#xD;&#xA;The goal:&#xD;&#xA;----------&#xD;&#xA;*Hi-hat output of VST drum -&gt; **/ VST FX Madness /** -&gt; glitch hi-hat*&#xD;&#xA;&#xD;&#xA;Reasons and what I have tried&#xD;&#xA;-----------------------------&#xD;&#xA;&#xD;&#xA;I really hate using only one sample for hihat. It is really-really-really dull (part of the reason I hate listening to &quot;Walk this way&quot; by Run DMC).&#xD;&#xA;&#xD;&#xA;I have tried using bit crushers, gates, lowpass, resonating filters and crazy distortions on the hihat output of vst drums (as the more sophisticated ones are alternating samples by an algorithm). I had figured out that setting the ADSR envelope of hihat is essential in taming the sound.&#xD;&#xA;&#xD;&#xA;However, I had always ended up strange, snare like sounds, which were obviously not &quot;hihatish&quot;.&#xD;&#xA;&#xD;&#xA;The goal should be something like this: http://www.youtube.com/watch?v=N3NAgrKql6c (also check out Takamasa's Silicom Two for crazier/aliener tunes).&#xD;&#xA;&#xD;&#xA;Has anyone experience with glitch hihats?&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;&#xD;&#xA;Guesses I need to try out:&#xD;&#xA;&#xD;&#xA;- slice up some of the rendered hihats and slice it up, then use a sampler that can control the start of the sample by velocity (question: any nice and small sampler that is capable of that? - and also the length of the attack-release?)&#xD;&#xA;- any VST that is capable of real time random glitching of an input?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48261" PostHistoryTypeId="5" PostId="26737" RevisionGUID="db3d82d2-22ab-4a57-81bd-1e1634d57acd" CreationDate="2014-02-07T14:32:20.323" UserId="6738" Comment="added 177 characters in body" Text="(I am aware of this thread: http://sound.stackexchange.com/questions/7993/snap-crackle-and-pop-making-glitches?rq=1 - this particular one is about hi-hats.)&#xD;&#xA;&#xD;&#xA;The goal:&#xD;&#xA;----------&#xD;&#xA;*Hi-hat output of VST drum -&gt; **/ VST FX Madness /** -&gt; glitch hi-hat*&#xD;&#xA;&#xD;&#xA;Reasons and what I have tried&#xD;&#xA;-----------------------------&#xD;&#xA;&#xD;&#xA;I really hate using only one sample for hihat. It is really-really-really dull (part of the reason I hate listening to &quot;Walk this way&quot; by Run DMC).&#xD;&#xA;&#xD;&#xA;I have tried using bit crushers, gates, lowpass, resonating filters and crazy distortions on the hihat output of vst drums (as the more sophisticated ones are alternating samples by an algorithm). I had figured out that setting the ADSR envelope of hihat is essential in taming the sound.&#xD;&#xA;&#xD;&#xA;However, I had always ended up strange, snare like sounds, which were obviously not &quot;hihatish&quot;.&#xD;&#xA;&#xD;&#xA;The goal should be something like this: http://www.youtube.com/watch?v=N3NAgrKql6c (also check out Takamasa's Silicom Two for crazier/aliener tunes).&#xD;&#xA;&#xD;&#xA;Has anyone experience with glitch hihats?&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;&#xD;&#xA;Guesses I need to try out:&#xD;&#xA;&#xD;&#xA;- slice up some of the rendered hihats and slice it up, then use a sampler that can control the start of the sample by velocity (question: any nice and small sampler that is capable of that? - and also the length of the attack-release?)&#xD;&#xA;- any VST that is capable of real time random glitching of an input?&#xD;&#xA;&#xD;&#xA;Really cool link:&#xD;&#xA;&#xD;&#xA;http://music.tutsplus.com/tutorials/how-to-synthesize-a-glitch-drum-kit-with-operator--audio-10397 - The kit is sounding exactly what I want to achieve!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48269" PostHistoryTypeId="19" PostId="20" RevisionGUID="a1ec72f4-cca3-4ab0-9b0e-da16ad8439c0" CreationDate="2014-02-07T15:14:21.717" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="48286" PostHistoryTypeId="2" PostId="26768" RevisionGUID="c13732e4-d794-4e11-9bcf-bc835c4d9c59" CreationDate="2014-02-07T16:05:45.573" UserId="3994" Text="While I'm not sure if it would work, you might be able to finagle a solution using QuickKeys?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48287" PostHistoryTypeId="2" PostId="26769" RevisionGUID="6f81b014-b663-4d3e-a495-7c2755f4b188" CreationDate="2014-02-07T17:33:40.400" UserId="7405" Text="You are applying a low pass filter - this tends to remove the middle frequencies in the spectrum a bit and the upper frequencies a lot. This is how I hear it anyway - try using a simple tone control to simulate the effect - probably just a fair amount of treble cut would do the same.&#xD;&#xA;&#xD;&#xA;If you want to be really precise use a graphic equalizer that has a bypass button in it - bypass when your hands are across your ears and then remove your hands and activate the GE and adjust the individual controls to how you remember the sound - it shouldn't take more than 5 minutes to get some GE settings that are close to what your hands over your ears did.&#xD;&#xA;&#xD;&#xA;Also when you've been on the phone to someone and they have incompletely put their hand across the microphone part of their handset - you still kind-of hear stuff but it is very muffled. Same with someone in another room - you can hear the bass stuff coming thru but the treble is lost along the way." ContentLicense="CC BY-SA 3.0" />
  <row Id="48288" PostHistoryTypeId="2" PostId="26770" RevisionGUID="a9bd733f-c8ec-44c2-8dcc-7f59f3d72734" CreationDate="2014-02-07T22:04:59.593" UserDisplayName="user49" Text="The few studio films that I've done have had source ProTools sessions as part of the deliverables (for archival purposes but I would also guess incase they decide to make a sequel or something...)&#xD;&#xA;&#xD;&#xA;I tended to consolidate the FX &amp; Ambience sessions, by using the AudioSuite Duplicate plug &amp; consolidating all tracks from Pic start to tail pop of each reel, primarily so they only get what was used in the tracks of the film &amp; not the whole library.... but also so the sessions could be easily rebuilt on another system (we delivered PT sessions but would be easy to import blocks of audio into another system, sync all tracks to head of reel... the point of archiving is to make it possible to access in the future, eg after AVID have long become history etc... ;)&#xD;&#xA;&#xD;&#xA;All production audio, all recorded ADR &amp; foley sessions were archived intact... &#xD;&#xA;&#xD;&#xA;&amp; of course all predub stems, final delivery stems etc.....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Where it got very boring was when we predubbed to a different picture cut to the final mix.... Everything had to reference the final picture, so sometimes that meant conforming eg foley sessions after the final mix was finished (in cases where we had only conformed &amp; patched/updated predub stems for the final mix)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;MORAL OF THE ISSUE: I always ask for a copy of the deliverables when budgeting a project, and if they require this kind of archiving I budget to keep one of the sound editors on to deal with all this stuff, while we are final mixing &amp; print mastering... they want it, they can pay for it!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;also note: we don't carry plugins into final mix - we don't mix ITB - I always print plugins etc that I've used, for this very reason. I don't print volume automation, that is carried in the PT sessions and would otherwise require a real time play down/print pass of every session for archiving..." ContentLicense="CC BY-SA 3.0" />
  <row Id="48291" PostHistoryTypeId="5" PostId="26765" RevisionGUID="e34799c1-7800-466e-a3b8-4fb2760103da" CreationDate="2014-02-08T00:49:31.317" UserId="7189" Comment="added 122 characters in body" Text="Monoprice should have everything you need:&#xD;&#xA;&#xD;&#xA;* [1/4&quot; mono to 3.5mm Stereo](http://www.monoprice.com/Product?c_id=104&amp;cp_id=10429&amp;cs_id=1042903&amp;p_id=7137&amp;seq=1&amp;format=2), ideal for headphones.&#xD;&#xA;* [1/4&quot; mono to 1/4&quot; stereo](http://www.monoprice.com/Product?c_id=104&amp;cp_id=10429&amp;cs_id=1042907&amp;p_id=7141&amp;seq=1&amp;format=2), good for headphones if your headphones only have a 1/4&quot; plug&#xD;&#xA;* [1/4&quot; mono splitter](http://www.monoprice.com/Product?c_id=104&amp;cp_id=10429&amp;cs_id=1042907&amp;p_id=7218&amp;seq=1&amp;format=2)&#xD;&#xA;&#xD;&#xA;AJ Henderson brings up a good issue in the comments: impedance issues can't and won't be addressed by splitters alone.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48292" PostHistoryTypeId="2" PostId="26772" RevisionGUID="0469a912-5d1a-46dc-980f-9e3c10feffd4" CreationDate="2014-02-08T05:03:09.773" UserId="7409" Text="How to recreate sounds like this -&#xD;&#xA;[Rave Hardcore Stabs][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org/people/wa11one/sounds/217891/&#xD;&#xA;&#xD;&#xA;Maybe this is a unique chorus (what synth (Alpha Juno?)) or this is special chords.&#xD;&#xA;&#xD;&#xA;Need your help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48293" PostHistoryTypeId="1" PostId="26772" RevisionGUID="0469a912-5d1a-46dc-980f-9e3c10feffd4" CreationDate="2014-02-08T05:03:09.773" UserId="7409" Text="How to recreate this type of sound (Rave Stabs)" ContentLicense="CC BY-SA 3.0" />
  <row Id="48294" PostHistoryTypeId="3" PostId="26772" RevisionGUID="0469a912-5d1a-46dc-980f-9e3c10feffd4" CreationDate="2014-02-08T05:03:09.773" UserId="7409" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48295" PostHistoryTypeId="2" PostId="26773" RevisionGUID="70625ed0-8fe7-4d71-97a0-a62d589ddf3f" CreationDate="2014-02-08T05:06:36.887" UserId="6445" Text="Any tips on good Middle Eastern libraries. Specifically looking for unplaceable urban ambiances? Would settle for Brazilian shantytowns too. Ideally no identifiable languages.&#xD;&#xA;&#xD;&#xA;This is the only one I've found so far:&#xD;&#xA;http://www.tonsturm.com/Soundpacks/files/bff5b3f086d78d8ae90ac6c4899f1f7f-12.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="48296" PostHistoryTypeId="1" PostId="26773" RevisionGUID="70625ed0-8fe7-4d71-97a0-a62d589ddf3f" CreationDate="2014-02-08T05:06:36.887" UserId="6445" Text="Seeking Middle Eastern Ambiances" ContentLicense="CC BY-SA 3.0" />
  <row Id="48297" PostHistoryTypeId="3" PostId="26773" RevisionGUID="70625ed0-8fe7-4d71-97a0-a62d589ddf3f" CreationDate="2014-02-08T05:06:36.887" UserId="6445" Text="&lt;library&gt;&lt;atmosphere&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48300" PostHistoryTypeId="2" PostId="26774" RevisionGUID="ba83cd96-2052-452d-bcfd-6d295310c08a" CreationDate="2014-02-08T09:52:06.647" UserId="1228" Text="That was actually the one I was going to suggest.  You may find some luck in the DigiFX or BBC sets.  The DIGI A set has some great material for foreign, especially the traffic recordings. As for any other small botique library sets along those lines of what you want for Middle East, I'm not aware of anything else out there aside from the Tonsturm set.  I'm all ears if someone else knows though." ContentLicense="CC BY-SA 3.0" />
  <row Id="48301" PostHistoryTypeId="5" PostId="26774" RevisionGUID="c09a6f0d-85ab-4764-b975-36d1bb26584f" CreationDate="2014-02-08T10:00:21.133" UserId="1228" Comment="added 612 characters in body" Text="That was actually the one I was going to suggest.  You may find some luck in the DigiFX or BBC sets.  The DIGI A set has some great material for foreign, especially the traffic recordings. As for any other small botique library sets along those lines of what you want for Middle East, I'm not aware of anything else out there aside from the Tonsturm set.  I'm all ears if someone else knows though.&#xD;&#xA;&#xD;&#xA;A lot of it though is going to be a matter of how you carefully build the scenes, and many times we're cheating sounds to create the desired effect.  I did a show a year ago which took place  everywhere on the streets of, and city landscape in, Bucharest Romania.  No option unfortunately for field recording, and not much of anything from Romania in the libraries if at all.  The source material I used ranged from Milan, Italy to Rio de Janeiro to NYC to London to Bulgaria to Greece.  The way it came together though sounded like &quot;well, we're feeling the streets of Bucharest&quot;.  I certainly agree accurate and believable source is key and a big help.  But just a suggestion for consideration, try not to think too literal." ContentLicense="CC BY-SA 3.0" />
  <row Id="48302" PostHistoryTypeId="2" PostId="26775" RevisionGUID="cf06bb9a-43fb-4199-acbd-2a85f8265ada" CreationDate="2014-02-08T12:05:38.777" UserId="7411" Text="I am trying to sequence some exports from the Propellerheads Figure app on IOS.&#xD;&#xA;&#xD;&#xA;Unfortunately the exports all include a fade out (that is not present when using figure - it just loops perfectly).&#xD;&#xA;&#xD;&#xA;I'm struggling to find the exact spot to crop in order to make the loop.&#xD;&#xA;&#xD;&#xA;Does anyone have any suggestions?  If I could just make Figure not export with the fade out, that would be ideal." ContentLicense="CC BY-SA 3.0" />
  <row Id="48303" PostHistoryTypeId="1" PostId="26775" RevisionGUID="cf06bb9a-43fb-4199-acbd-2a85f8265ada" CreationDate="2014-02-08T12:05:38.777" UserId="7411" Text="Propellerheads Figure - Export includes fade out making it difficult to loop" ContentLicense="CC BY-SA 3.0" />
  <row Id="48304" PostHistoryTypeId="3" PostId="26775" RevisionGUID="cf06bb9a-43fb-4199-acbd-2a85f8265ada" CreationDate="2014-02-08T12:05:38.777" UserId="7411" Text="&lt;looping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48305" PostHistoryTypeId="2" PostId="26776" RevisionGUID="f9b734da-65ea-4350-a6f8-b9c20d0e6fce" CreationDate="2014-02-08T13:19:54.720" UserId="6448" Text="Extend the pattern that you're exporting so that the fade out occurs after the pattern that you're trying to crop?&#xD;&#xA;&#xD;&#xA;Or record it directly." ContentLicense="CC BY-SA 3.0" />
  <row Id="48306" PostHistoryTypeId="2" PostId="26777" RevisionGUID="48d4a2e3-3d78-4c8d-b2dd-0ad79ac9e4a7" CreationDate="2014-02-08T13:24:32.990" UserId="6636" Text="Would cutting the tail off with the fade at a point you think is appropriate then adding the tail with fade on a new track at the beginning of the loop help? Hard to know really without hearing it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48307" PostHistoryTypeId="2" PostId="26778" RevisionGUID="aafa5b37-f59b-4e8c-ab7d-630bdaff56ad" CreationDate="2014-02-08T13:36:40.497" UserId="3196" Text="i have recorded some interviews using lapel microphones and it has a lot of rustling noise because the characters have been moving. i have tried editing it out and to some extent it has worked. but there are some parts where the rustling overlaps with the dialogue. Is there any way i can remove or minimize it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48308" PostHistoryTypeId="1" PostId="26778" RevisionGUID="aafa5b37-f59b-4e8c-ab7d-630bdaff56ad" CreationDate="2014-02-08T13:36:40.497" UserId="3196" Text="how to remove Cloth Rustling?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48309" PostHistoryTypeId="3" PostId="26778" RevisionGUID="aafa5b37-f59b-4e8c-ab7d-630bdaff56ad" CreationDate="2014-02-08T13:36:40.497" UserId="3196" Text="&lt;noise&gt;&lt;microphone&gt;&lt;reduction&gt;&lt;lapel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48310" PostHistoryTypeId="2" PostId="26779" RevisionGUID="29ff537d-9e2e-4a57-9184-e618d3460a14" CreationDate="2014-02-08T14:55:26.120" UserId="6514" Text="Sounds like a job for iZotope RX.  Using denoise with an isolated cloth rustle as a noiseprint to learn you might be able to lower the cloth sounds but I doubt you would be able to remove them entirely without affecting the voice dramatically." ContentLicense="CC BY-SA 3.0" />
  <row Id="48311" PostHistoryTypeId="2" PostId="26780" RevisionGUID="d0db8285-4f51-4b86-9d8c-054cd4ec10aa" CreationDate="2014-02-08T15:12:45.033" UserId="7410" Text="I have an mp3 128 Kbps music file with particular parts where a series of single note only on a cello is played initiated with a bell click. Less than a second after a bell click and cello note playing starts a very faint Morse code like series of bursts in 2 - 5 kHz range for a couple of seconds then fades away.&#xD;&#xA;&#xD;&#xA;I was able to localize their frequency range and duration with iZotope RX on a time-frequency spectrum.&#xD;&#xA;&#xD;&#xA;They happen only in the parts of a cello note playing after a bell click in some parts even fainter than in the others.&#xD;&#xA;&#xD;&#xA;Could they be attributed to errors in mp3 compression or to other factors?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48312" PostHistoryTypeId="1" PostId="26780" RevisionGUID="d0db8285-4f51-4b86-9d8c-054cd4ec10aa" CreationDate="2014-02-08T15:12:45.033" UserId="7410" Text="What are the distorted sounds in 2 - 5 kHz range?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48313" PostHistoryTypeId="3" PostId="26780" RevisionGUID="d0db8285-4f51-4b86-9d8c-054cd4ec10aa" CreationDate="2014-02-08T15:12:45.033" UserId="7410" Text="&lt;audio&gt;&lt;music&gt;&lt;noise&gt;&lt;mp3&gt;&lt;spectrum&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48314" PostHistoryTypeId="2" PostId="26781" RevisionGUID="bb81ac30-1b63-4d41-9aea-b347d19b0fd9" CreationDate="2014-02-08T16:05:49.897" UserId="6399" Text="Izotope denoise can help but I've had better luck with the declick or decrackle modules, depending on the length, spectral repair can be even better but takes more time.  Cloth rustle can appear in many different forms and vary a lot depending on where the mic was placed and type of cloth." ContentLicense="CC BY-SA 3.0" />
  <row Id="48315" PostHistoryTypeId="2" PostId="26782" RevisionGUID="fba4be13-87b2-46b0-ac3d-6ffd4a5cdcbc" CreationDate="2014-02-08T16:29:19.813" UserId="7413" Text="We embed tempo in the iTunes exports for those DAWs that use it (Reason), otherwise if you set the tempo of your loop you shouldn't have any troubles snipping that tail in your DAW of choice. &#xD;&#xA;&#xD;&#xA;We include the tail for anyone who wants to paste it in the beginning of the loop, which would otherwise be dry.&#xD;&#xA;&#xD;&#xA;AudioCopy just renders one pass of the loop, without tail.&#xD;&#xA;&#xD;&#xA;Hope this helps! &#xD;&#xA;&#xD;&#xA;/Kalle, Product Manager Apps, Propellerhead, twitter.com/kallepa" ContentLicense="CC BY-SA 3.0" />
  <row Id="48316" PostHistoryTypeId="5" PostId="26782" RevisionGUID="4e8edfb5-efc7-48b8-9e2b-01223701140f" CreationDate="2014-02-08T21:17:24.123" UserId="7413" Comment="added 108 characters in body" Text="We embed tempo in the iTunes exports for those DAWs that use it (Reason), otherwise if you set the tempo of your loop you shouldn't have any troubles snipping that tail in your DAW of choice. &#xD;&#xA;&#xD;&#xA;We include the tail for anyone who wants to paste it in the beginning of the loop, which would otherwise be dry.&#xD;&#xA;&#xD;&#xA;AudioCopy just renders one pass of the loop, without tail. &#xD;&#xA;&#xD;&#xA;AudioShare (http://kymatica.com/Software/AudioShare) is a great app for handling audio snippets on iOS!&#xD;&#xA;&#xD;&#xA;Hope this helps! &#xD;&#xA;&#xD;&#xA;/Kalle, Product Manager Apps, Propellerhead, twitter.com/kallepa" ContentLicense="CC BY-SA 3.0" />
  <row Id="48317" PostHistoryTypeId="2" PostId="26783" RevisionGUID="4ba91731-f031-4ebb-bdb1-fb83437482d9" CreationDate="2014-02-08T22:09:10.373" UserId="7415" Text="My set up will be an asus rog phoebus soundcard (which allows for up to 250ohm) and an Eurorack UB1002 mixer, where i feed in the signals from the computer and my bass amplifier. I am then looking to buy a pair of beyerdynamic dt 770 pro. I was wondering if having a mixer would mess up my system, when using high impedance headphones. Maybe the sound will be too low, or something. &#xD;&#xA;&#xD;&#xA;I have tried looking at the spec sheet for the UB1002 which is here: http://www.behringer.com/assets/UB1002_P0181_S_EN.pdf&#xD;&#xA;But i am not totally shure what i should be looking for. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48318" PostHistoryTypeId="1" PostId="26783" RevisionGUID="4ba91731-f031-4ebb-bdb1-fb83437482d9" CreationDate="2014-02-08T22:09:10.373" UserId="7415" Text="Does the UB1002 mixer allow for headphones with an impedance of 250ohm?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48319" PostHistoryTypeId="3" PostId="26783" RevisionGUID="4ba91731-f031-4ebb-bdb1-fb83437482d9" CreationDate="2014-02-08T22:09:10.373" UserId="7415" Text="&lt;headphones&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48320" PostHistoryTypeId="5" PostId="26765" RevisionGUID="ca0cec00-fa4c-4454-8071-898f4913aab5" CreationDate="2014-02-09T01:42:49.870" UserId="7189" Comment="Adding link to SoundOnSound article about impedance" Text="Monoprice should have everything you need:&#xD;&#xA;&#xD;&#xA;* [1/4&quot; mono to 3.5mm Stereo](http://www.monoprice.com/Product?c_id=104&amp;cp_id=10429&amp;cs_id=1042903&amp;p_id=7137&amp;seq=1&amp;format=2), ideal for headphones.&#xD;&#xA;* [1/4&quot; mono to 1/4&quot; stereo](http://www.monoprice.com/Product?c_id=104&amp;cp_id=10429&amp;cs_id=1042907&amp;p_id=7141&amp;seq=1&amp;format=2), good for headphones if your headphones only have a 1/4&quot; plug&#xD;&#xA;* [1/4&quot; mono splitter](http://www.monoprice.com/Product?c_id=104&amp;cp_id=10429&amp;cs_id=1042907&amp;p_id=7218&amp;seq=1&amp;format=2)&#xD;&#xA;&#xD;&#xA;AJ Henderson brings up a good issue in the comments: [impedance issues](http://www.soundonsound.com/sos/jan03/articles/impedanceworkshop.asp) can't and won't be addressed by splitters alone.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48321" PostHistoryTypeId="2" PostId="26784" RevisionGUID="dfd59c4c-5e34-4266-b2c1-6a5fd328d012" CreationDate="2014-02-09T13:04:08.327" UserDisplayName="user6513" Text="+1 for RX and the decrackle module. Select the whole clip then go nuts and set the strength to the maximum. Check how much it can achieve before undoing and working on it in the specific parts. Work in spectral view and whatever you can't decrackle, try using spectral repair (I usually use the attenuate mode). Take a lot of trail and error all-in-all but you'll get something decent.&#xD;&#xA;&#xD;&#xA;RX combined with good editing will yield some darn good results." ContentLicense="CC BY-SA 3.0" />
  <row Id="48322" PostHistoryTypeId="5" PostId="26762" RevisionGUID="d4bfcbff-39e7-40ee-8dc0-7b1cb83c42c7" CreationDate="2014-02-09T13:50:07.527" UserId="6459" Comment="Added link to product page (for extra information) " Text="I plan on buying the [Behringer MICROMIX MX 400 line mixer][1] because it's really cheap and I don't need more than 4 input channels. The only problem is that it has a mono output. I tried searching for some sort of connector that splits the mono output into 2 1/4 jacks so I can just plug those into the left and right speaker. I can only find 1/4 to 1/8 though, no 1/4 to 1/4. And is there a way to convert the mono output to a single stereo jack to connect to my headphones?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.behringer.com/en/products/mx400.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="48323" PostHistoryTypeId="24" PostId="26762" RevisionGUID="d4bfcbff-39e7-40ee-8dc0-7b1cb83c42c7" CreationDate="2014-02-09T13:50:07.527" Comment="Proposed by 6459 approved by 37, 6957 edit id of 61" ContentLicense="CC BY-SA 3.0" />
  <row Id="48324" PostHistoryTypeId="2" PostId="26785" RevisionGUID="cabec439-8990-413b-ae3e-5feb9e0d4b24" CreationDate="2014-02-09T13:57:00.907" UserId="6462" Text="I live in Dubai and have some ambience a but if you could give me an idea of exactly what you are looking for then I might be able to help. If I don't have any in my library I could go and get you specific sounds if you want.&#xD;&#xA;&#xD;&#xA;There are modern and older areas of Dubai so lots of variety.&#xD;&#xA;&#xD;&#xA;Let me know if I can help." ContentLicense="CC BY-SA 3.0" />
  <row Id="48325" PostHistoryTypeId="2" PostId="26786" RevisionGUID="5b2c5939-6cce-49de-b717-9d02c96b0bcc" CreationDate="2014-02-09T19:13:07.583" UserId="6833" Text="Such a tool probably doesn't exist because of some insurmountable physics problems. Sounds that have perceivable pitches are almost always made up of multiple sound waves. For example, if the note you're playing is an A at 440 hz, there will also be sound waves with these frequencies playing:&#xD;&#xA;&#xD;&#xA; - 880 hz (2 * 440)&#xD;&#xA; - 1320 hz (3 * 440)&#xD;&#xA; - 1760 hz (4 * 440)&#xD;&#xA; - 2200 hz (5 * 440)&#xD;&#xA;&#xD;&#xA;... and so on, oftentimes indefinitely (although higher pitches generally get quieter, until they are impossible to hear). The pitches above 440 hz are called overtones. Different instrument sounds are created by changing how loud different overtones are and whether they're perfectly in tune. (Effects processors that don't overtly change overtones always do so as a side-effect.) http://en.m.wikipedia.org/wiki/Overtones&#xD;&#xA;&#xD;&#xA;The problem with a frequency compressor is that it would through off these proportions. As a result, the instrument world likely sound like it no longer was playing pitches! In extreme cases, it would have a sound similar to an untuned percussion instrument.&#xD;&#xA;&#xD;&#xA;For example, if you compressed a sound that started at A 440 hz and had noticeable overtones up to 2200 hz, then compress it to 1000 - 1200 hz, the overtone pattern would change to&#xD;&#xA;&#xD;&#xA; - 1000 hz&#xD;&#xA; - 1040 hz (1000 * 1.04)&#xD;&#xA; - 1080 hz (1000 * 1.08)&#xD;&#xA; - 1120 hz (1000 * 1.12)&#xD;&#xA; - 1160 hz (1000 * 1.16)&#xD;&#xA; - 1200 hz (1000 * 1.20)&#xD;&#xA;&#xD;&#xA;These pitches are too close together to create a sense of pitch." ContentLicense="CC BY-SA 3.0" />
  <row Id="48326" PostHistoryTypeId="2" PostId="26787" RevisionGUID="285d04ff-2c52-425b-9cde-e47e83b5e687" CreationDate="2014-02-09T19:13:27.410" UserId="6425" Text="Your link is &quot;page not found&quot;. But classic rave Stabs are made by layering the korg M1 housepiano preset with detuned saw waves(often called supersaw). " ContentLicense="CC BY-SA 3.0" />
  <row Id="48327" PostHistoryTypeId="2" PostId="26788" RevisionGUID="59e2d3dd-40b1-4987-99d7-79c4c50cab26" CreationDate="2014-02-09T20:21:29.897" UserId="7416" Text="I'm looking to buy the [Aputure V-Mic D1][1] which is a Shotgun mic for DSLRs, so it terminates with a 3.5 mm connector (my camera has a 3.5 mm jack). I'd like to extend this so I can mount it on a boom. I'm planning on getting a Monoprice 3.5 mm extension cable. How long can the extension run for before the quality of the sound gets audibly degraded? &#xD;&#xA;&#xD;&#xA;I was thinking I should get a 50 ft cable, but is that too long (in terms of degrading sound quality)? Would it make sense to have two 25 ft cables and plug them into each other only when I need 50 ft (and using just a single 25 ft cable when I don't need all 50 ft)? Or is plugging an extension into an extension a really bad idea?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.henrys.com/82519-APUTURE-V-MIC-D1-CONDENSER-SHOTGUN-MIC.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="48328" PostHistoryTypeId="1" PostId="26788" RevisionGUID="59e2d3dd-40b1-4987-99d7-79c4c50cab26" CreationDate="2014-02-09T20:21:29.897" UserId="7416" Text="What's the best way to extend a 3.5mm shotgun mic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48329" PostHistoryTypeId="3" PostId="26788" RevisionGUID="59e2d3dd-40b1-4987-99d7-79c4c50cab26" CreationDate="2014-02-09T20:21:29.897" UserId="7416" Text="&lt;video&gt;&lt;microphone&gt;&lt;cable+&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48330" PostHistoryTypeId="2" PostId="26789" RevisionGUID="6f2b2390-b8f1-43b3-8827-b4b1b52e3842" CreationDate="2014-02-09T20:57:22.687" UserId="7174" Text="The output from the microphone you are looking at is powered, so it should hold up relatively well over short distances, but you are still going to pick up some noise.  If you can get some shielded cable, it should probably be sufficient for your purposes.  Running a balanced cable and converting it to unbalanced closer to the camera would still be preferable, but not nearly as cheap.  &#xD;&#xA;&#xD;&#xA;As long as you have good solid connections, plugging one cable in to another isn't nearly as much problem as run length, but do also keep in mind that 3.5mm cables are non-locking and can be pulled apart easily, so you'll need to tape them together for live usage.  I would personally probably go with the shorter options.  I'd even say get a 10 ft, a 15 ft and a 25 ft, that way you can use the shortest available combination." ContentLicense="CC BY-SA 3.0" />
  <row Id="48331" PostHistoryTypeId="2" PostId="26790" RevisionGUID="9824a47b-7d09-4c9b-9783-628e28f80018" CreationDate="2014-02-10T02:19:46.207" UserId="7418" Text="Maximum power transfer occurs when the impedance of a device matches the impedance of the source...&#xD;&#xA;&#xD;&#xA;Think of it this way: if source impedance is much higher than the device then you risk damage due to overload, like a blown speaker.  If source impedance is lower than the device, it is kind of like the resistance of trying to start a 5-speed in second gear... &#xD;&#xA;&#xD;&#xA;Your mixer specs list (at the bottom) a headphone output (output source) impedance of 150R (ohms), and I would guess around 100 milliwatts. The DT770 Pro headphones (device) are rated at 250R...&#xD;&#xA;&#xD;&#xA;In this case, I think you will be fine because most people don't monitor their music at full volume; so you should have a bit of extra headroom on your headphone output to compensate for the mismatched load.  This is my best opinion.  If in the end you are unsatisfied you can always purchase an inexpensive headphone amp.  :)&#xD;&#xA;&#xD;&#xA;Please understand that this idea of mismatched loads can be completely safe because we are dealing with low power, but it can become very dangerous when larger amplifiers are supplying much higher wattage through much lower resistances in speakers.  I'm sure you are aware of this because of your bass amp, I just don't want to put the wrong idea out there.&#xD;&#xA;&#xD;&#xA;I hope this helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48332" PostHistoryTypeId="2" PostId="26791" RevisionGUID="2fa53030-6786-44a7-a2f0-bd3c284f2714" CreationDate="2014-02-10T03:58:22.783" UserId="7421" Text="This seems like such a trivial problem but there is no answer anywhere. I'm trying to convert a 16bit song to 8bit so I can play it with a microcontroller. This creates a lot of noise. Every time I filter the noise in adobe audition, audacity and goldwave, it sounds great until I try to export it. The file saves on my computer then it was as though the filter has had zero effect on it. I'm pulling my hair out trying to make it work and it just won't. Does anyone know what is going on?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48333" PostHistoryTypeId="1" PostId="26791" RevisionGUID="2fa53030-6786-44a7-a2f0-bd3c284f2714" CreationDate="2014-02-10T03:58:22.783" UserId="7421" Text="Using filters on an 8 bit song has absolutely no effect after saving" ContentLicense="CC BY-SA 3.0" />
  <row Id="48334" PostHistoryTypeId="3" PostId="26791" RevisionGUID="2fa53030-6786-44a7-a2f0-bd3c284f2714" CreationDate="2014-02-10T03:58:22.783" UserId="7421" Text="&lt;filter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48335" PostHistoryTypeId="2" PostId="26792" RevisionGUID="585d81dd-21af-4f18-970b-76d619692524" CreationDate="2014-02-10T04:47:23.317" UserId="6429" Text="This is because Audition (and others) is using temporary 32-bit float files for destructive editing. That's why you can't hear the &quot;real&quot; 8-bit sound after you process converted files further. They are just not 8-bit at this time. &#xD;&#xA;&#xD;&#xA;As for the quantization noise you are trying to remove, it's not possible. Though you can reduce its amount by enabling dithering and noise shaping. In Audition's &quot;Convert Sample Rate&quot; dialog try these settings:&#xD;&#xA;&#xD;&#xA;**Dithering**: Enabled  &#xD;&#xA;**Dither Type**: Gaussian  &#xD;&#xA;**Noise Shaping**: Weighted (Heavy)  &#xD;&#xA;**Adaptive Mode**: Dynamic (Extreme)  " ContentLicense="CC BY-SA 3.0" />
  <row Id="48336" PostHistoryTypeId="2" PostId="26793" RevisionGUID="7a9c1534-bc4c-49e4-b4c4-65b7aa360465" CreationDate="2014-02-10T06:21:45.990" UserId="7418" Text="I recall that Cubase has an option for this.  &#xD;&#xA;&#xD;&#xA;Find the 'Device Setup' window, select VST Audiobay and select ***&quot;Release ASIO Driver in Background&quot;***.  This should allow you to minimize Cubase and utilize your audio card with other software.&#xD;&#xA;&#xD;&#xA;I hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="48337" PostHistoryTypeId="2" PostId="26794" RevisionGUID="20780e8b-05a5-4d6e-b396-4c432ab52048" CreationDate="2014-02-10T06:45:11.973" UserId="7418" Text="I recommend looking into a free online course from a site like [Coursera][1] .&#xD;&#xA;&#xD;&#xA;There are also plenty of books available: **The Sound Reinforcement Handbook** *by Gary Davis* or **Modern Recording Techniques** *by Huber* could be a good resource for learning about the subjects you mentioned.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.coursera.org/courses?orderby=upcoming&amp;search=audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="48339" PostHistoryTypeId="2" PostId="26795" RevisionGUID="5d163721-89e6-4f4f-a70a-32572a51491f" CreationDate="2014-02-10T10:50:23.037" UserId="37" Text="It won't &quot;mess up&quot; your system, the 250 ohm ones take a more powerful amp t get the same loudness. The 770 pro has 80 ohm and 32 ohm versions if you're concerned about volume. That said, the 1002 is still a professional piece of kit, and I don't remember my 802 having any issues driving 64 ohm headphones quite loud a while back. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48340" PostHistoryTypeId="2" PostId="26796" RevisionGUID="5c47acc1-27ab-4f9f-90d3-c0655ae3fabe" CreationDate="2014-02-10T11:54:48.867" UserId="7206" Text="I've put together some hardware that I like and use for my productions that can resemble 80s house and techno pretty good with my setup which is a Roland TR-909, a Roland TR-808, a Roland Juno 106, a Nord Modular, a Roland SH-101, a Samson Graphite MIDI controller and a Mackie 16 channel digital mixer (Pro16Fx) that has builtin compression. I control everything from Cubase and everything is working as it should.&#xD;&#xA;&#xD;&#xA;Now as I've sort of reached my goal in being able to make the sounds of 80s and early 90s house and techno, now I want to expand my collection of gear to also get gear that can produce dark and driving atmopheric sounds like early 2000s dark progressive house (e.g. Bedrock Black) and how to make dark, driving, ambient techno like what comes from the Zoolof label (which sounds like dark progressive house used to, only now it's labelled techno).&#xD;&#xA;&#xD;&#xA;I'm thinking of perhaps getting some gear from Doepfer or Moog to get a very dark and ambient bass sound, or perhaps a Kog Mini 20 reproduced but I didn't try that yet.&#xD;&#xA;&#xD;&#xA;Could you present me with some advice of what synth / drum machine I should need to get a very dark techno sound like what has come from the labels Bedrock Black (artists Deep Amok, Jondi &amp; Spesh, Shmoo, OBA) and more recently from the Zoolof Label (Giorgio Gigli) with dark, driving, ambient and atmospheric basses, synths and drum machines? Can my oldschool gear be set up to sound like that or if I should get some new gear, what should I get?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48341" PostHistoryTypeId="1" PostId="26796" RevisionGUID="5c47acc1-27ab-4f9f-90d3-c0655ae3fabe" CreationDate="2014-02-10T11:54:48.867" UserId="7206" Text="Which gear to use to get dark and ambient techno / house sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48342" PostHistoryTypeId="3" PostId="26796" RevisionGUID="5c47acc1-27ab-4f9f-90d3-c0655ae3fabe" CreationDate="2014-02-10T11:54:48.867" UserId="7206" Text="&lt;recommendations&gt;&lt;synthesizer&gt;&lt;hardware&gt;&lt;drum&gt;&lt;dark&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48343" PostHistoryTypeId="36" PostId="26797" RevisionGUID="0b5ce3df-461d-4ae8-9520-ffa53fac0da8" CreationDate="2014-02-10T12:20:05.543" UserId="-1" Comment="from http://video.stackexchange.com/questions/1556/i-want-to-learn-how-to-make-electronic-music-where-do-i-start" />
  <row Id="48344" PostHistoryTypeId="2" PostId="26798" RevisionGUID="760f4e80-b4da-4f82-9515-a3eeb331330d" CreationDate="2011-06-09T18:42:52.443" UserDisplayName="Rein Henrichs" Text="As a amateur electronic music producer who spent eight years in a non-goal directed &quot;playground&quot; approach to music production, I can tell you that the last year of goal-directed practice has been more fruitful than the other eight put together.&#xD;&#xA;&#xD;&#xA;Let's talk about some basic principles of music creation and how they apply to electronic music in particular. Then let's talk about a path you might want follow to build the skills that will allow you to develop your own talents and creative voice.&#xD;&#xA;&#xD;&#xA;First, **do your research**. Find electronic music that inspires you and study it. In doing so, focus on the following:&#xD;&#xA;&#xD;&#xA;* **Musical form**: There is less material for this in the electronic music world as compared to rock, jazz or classical. Nevertheless, you can learn by example. Take tracks that you particularly enjoy and plot out the forms.&#xD;&#xA;&#xD;&#xA;  Most western music (and especially electronic music) subdivides into groups of (groups of) 2. Look for groups of 4, 8, 16 or 32 measures that form a section and try to label the sections appropriately. Learn the basic high-level structural patterns of the music you want to make. For instance, a common pattern might be: 16 bar intro, 32 bar first &quot;verse&quot;, 16 bar breakdown, 32 bar second &quot;verse&quot;, 16 bar outro.&#xD;&#xA;&#xD;&#xA;* **Orchestration and Composition**: Just as the major sections of an orchestra (violins, woodwinds, etc) have their idiomatic uses in classical music, the types of electronic music you want to make will have their own idiomatic elements. These may be a certain type of bass or drum sound, etc. For instance, Drum and Bass has a very strong idiomatic use of a certain kind of drum sound (sampled drum breaks).&#xD;&#xA;&#xD;&#xA;Second, **learn the concepts**:&#xD;&#xA;&#xD;&#xA;* **Sound design**: The sounds you use in electronic music will (usually) not come from traditional instruments. Creating these sounds will require skill in sound design. This means that you should practice it as a skill. Learn about synthesis techniques (subtractive, additive, FM, etc) and practice them by trying to create or recreate sounds. Learn about the sampling, recording, midi programming, and etc. Learn about the use of FX and so on. Learn your sound creation tools. There are lots of great resources on synthesis and other aspects of sound design.&#xD;&#xA;&#xD;&#xA;* **Mix**: You will need to learn how to create a good mixdown that places individual elements appropriately on the sonic stage (levels, frequency spectrum, panning, etc) to create a full, rich sound. This means understanding the basics of EQ and compression and understanding how to use them to provide separation between elements so that their frequencies don't clash, how to listen to and meter your tracks and so on.&#xD;&#xA;&#xD;&#xA;Third, **practice**:&#xD;&#xA;&#xD;&#xA;* Try to recreate sounds that you like that hear in other tracks.&#xD;&#xA;* Redo your mixdowns to improve headroom, separation, etc.&#xD;&#xA;&#xD;&#xA;  Practice will improve your ability to turn ideas into reality. If you hear the most amazing sounds in your head but you can't actually make them, it doesn't really matter.&#xD;&#xA;&#xD;&#xA;Fourth, **ship**:&#xD;&#xA;&#xD;&#xA;* Finish your tracks. Release them somewhere public ([soundcloud][1] is great). Get feedback. Use that feedback to improve.&#xD;&#xA;&#xD;&#xA;Fifth, **innovate**:&#xD;&#xA;&#xD;&#xA;* Draw on your well-developed skills and your deep immersion into the idiom of the music you love to develop your own style. Personal style does not develop in a vacuum; it develops from the synthesis of your manifold influences. It requires a level of skill sufficient to realize the possibilities and express them.&#xD;&#xA;&#xD;&#xA;  As Picasso said, great artists steal. If you want to fully realize your potential and develop your own &quot;voice&quot; or &quot;style&quot;, you will need to master the basics. No innovative musician starts out by innovating. They start out by copying. They learn the trade. Once you have mastered the skills and learned from the artists that you respect, you will be able to develop your own musical style.&#xD;&#xA;&#xD;&#xA;  In other words, if you want to break the rules you need to know them first.&#xD;&#xA;&#xD;&#xA;Penultimately: **Do all of these things together**. Do *not* spend a month learning synthesis without shipping a tune. You have to realize your investment in skill development early and often to make it stick.&#xD;&#xA;&#xD;&#xA;Finally: **Don't do them alone**. There are communities of like-minded musicians out there. Find them.&#xD;&#xA;&#xD;&#xA;Oh, and as to your software vs. hardware question: if you want to learn, go with software. Whatever benefits you get from hardware in terms of sound quality are greatly outweighed (for you, right now) by the ease of use of software.&#xD;&#xA;  [1]: http://soundcloud.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="48345" PostHistoryTypeId="2" PostId="26797" RevisionGUID="c9ad5ec0-1fdf-4b22-a63b-c4da6e2960ba" CreationDate="2011-06-07T12:52:15.187" UserDisplayName="pt2ph8" Text="First of all, I hope this is the right place to ask this question. &#xD;&#xA;&#xD;&#xA;My desire is to make electronic music; what I have in mind is something between glitch, IDM and ambient.  In the last 1-2 years I've been using a few DAWs in my spare time, namely FL Studio and Live. I've also been using a few VST instruments such as NI Massive, Battery and others. I've always &quot;learned&quot; things by playing around with stuff and I've never taken any class nor read any book so far. Again, this has always been something to do in my spare time for fun, so I didn't really care about that.&#xD;&#xA;&#xD;&#xA;Lately I've been thinking to get serious about this. The problem is that I feel that my approach won't really get me anywhere. I've always been creating my sounds by randomly twiddling knobs: sometimes I do get interesting results, sometimes not, but the thing is that I don't know how stuff really works. I know nothing about how to create sound. I can manipulate knobs in a VST until I get what I have in mind, or an approximation of it or at least something that sounds good to me, but I don't know how I've done it. I also have little idea of what it means to master a track, for example. I don't know what equipment I need to make music properly (I do have a pair of decent studio headphones, though). I feel like I don't know the basics. I don't know what a compressor is and why I should use it. I may be able to enable a reverb and manipulate knobs until I get the desired results, but I still don't know what I've done. &#xD;&#xA;&#xD;&#xA;I realized all this is going to limit my possibilities a lot. Also, I think this random approach is probably not a good learning method at least when it comes to the basics. Plus I'm the kind of guy that really wants to know how something works. &#xD;&#xA;&#xD;&#xA;The question is: where do I start? I don't even know what to search for. Do I need a sound design book? Would learning Max/MSP be a good idea? From what I know you get to create everything from &quot;scratch&quot; when working in such an environment, and I know that there's lots of Max documentation around. I don't have the time for a class but I do have time and money for reading books, buying needed equipment, learning on my own and practicing. &#xD;&#xA;&#xD;&#xA;**Edit:** Also, and I know this is an age old debate: should I switch to hardware instead? The thing with software is that there are unlimited possibilities (aside from the fact that you don't have something tangible to work with). And, I do want to learn how stuff works, but I also want to be creative, so I need to find a compromise between these two things. Hardware would also lead to another problem though: I have no idea what to buy. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48346" PostHistoryTypeId="1" PostId="26797" RevisionGUID="c9ad5ec0-1fdf-4b22-a63b-c4da6e2960ba" CreationDate="2011-06-07T12:52:15.187" UserDisplayName="pt2ph8" Text="I want to learn how to make electronic music. Where do I start?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48347" PostHistoryTypeId="3" PostId="26797" RevisionGUID="c9ad5ec0-1fdf-4b22-a63b-c4da6e2960ba" CreationDate="2011-06-07T12:52:15.187" UserDisplayName="pt2ph8" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48348" PostHistoryTypeId="36" PostId="26798" RevisionGUID="ee947512-d39a-4e41-bffd-dc7624913121" CreationDate="2014-02-10T12:20:05.543" UserId="-1" Comment="from http://video.stackexchange.com/questions/1556/i-want-to-learn-how-to-make-electronic-music-where-do-i-start/1574#1574" />
  <row Id="48349" PostHistoryTypeId="36" PostId="26799" RevisionGUID="e69b5ca2-e387-4ea8-8b25-25d26e5d946e" CreationDate="2014-02-10T12:20:05.543" UserId="-1" Comment="from http://video.stackexchange.com/questions/1556/i-want-to-learn-how-to-make-electronic-music-where-do-i-start/2385#2385" />
  <row Id="48350" PostHistoryTypeId="36" PostId="26800" RevisionGUID="a85257e8-f31a-4a00-97f8-0bbef643e903" CreationDate="2014-02-10T12:20:05.543" UserId="-1" Comment="from http://video.stackexchange.com/questions/1556/i-want-to-learn-how-to-make-electronic-music-where-do-i-start/3220#3220" />
  <row Id="48351" PostHistoryTypeId="36" PostId="26801" RevisionGUID="d4a74a59-73e5-43d5-ac59-9c1f88ac1abc" CreationDate="2014-02-10T12:20:05.543" UserId="-1" Comment="from http://video.stackexchange.com/questions/1556/i-want-to-learn-how-to-make-electronic-music-where-do-i-start/7192#7192" />
  <row Id="48352" PostHistoryTypeId="36" PostId="26802" RevisionGUID="99725f13-314d-4bfc-91f0-a6d61ccea700" CreationDate="2014-02-10T12:20:05.543" UserId="-1" Comment="from http://video.stackexchange.com/questions/1556/i-want-to-learn-how-to-make-electronic-music-where-do-i-start/9582#9582" />
  <row Id="48353" PostHistoryTypeId="2" PostId="26799" RevisionGUID="7315a07b-246f-4546-baff-bc495b47414a" CreationDate="2011-09-26T23:57:00.237" UserDisplayName="H_7" Text="I [made my first electronic music][1] using [audiotool][2].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I really dislike site politics (copyright, search box doesn't work, etc,etc), but the platform is great!&#xD;&#xA;&#xD;&#xA;It has a full flash studio with mixers, generators (many), basses, samples (MANY MANY), timelines, cables, nice design, full web application, very nice software.&#xD;&#xA;&#xD;&#xA;Make your music! Sure there are other free ways too! [DJ Traktor][3] is a good live tool, you can mix samples and other nice tricks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiotool.com/user/djhardera&#xD;&#xA;  [2]: http://www.audiotool.com&#xD;&#xA;  [3]: http://www.native-instruments.com/#/en/products/dj/traktor-pro/" ContentLicense="CC BY-SA 3.0" />
  <row Id="48354" PostHistoryTypeId="2" PostId="26800" RevisionGUID="b7c4554e-e55b-4830-bf94-ae961c1f58b1" CreationDate="2012-02-07T00:38:47.300" UserId="7188" Text="While I find the first answer very comprehensive and accurate, I would like to present a wider perspective.&#xD;&#xA;&#xD;&#xA;Electronic music is not so far removed from any other music that you should not consider the traditions of musical training.&#xD;&#xA;&#xD;&#xA;How much have you developed your musical talent?&#xD;&#xA;Consider your knowledge of music theory and history (western and other cultures), solo and ensemble performance experience (listening and playing), improvisational skills, study of acoustics, understanding of compositional forms (western and other cultures), composition.&#xD;&#xA;&#xD;&#xA;Is your goal to perform electronic music or compose electronic music or both?&#xD;&#xA;&#xD;&#xA;Either path you need to 'add' from my list above the following: software skills (varies on how far you want to hack some code or just understand an existing program), understanding basic electronics (like know the difference between an oscillator and a filter, or deeper if you want to build your own music chips), an understanding of how technology has driven the development of electronic music as well as how electronic music has driven the technology from a historical perspective.&#xD;&#xA;&#xD;&#xA;Significant pioneering efforts in electronic music:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&quot;Father of Electronic Music&quot;, Edgar Varèse, produced likely the first real electronic piece &quot;Ecuatorial&quot; for two fingerboard Theremins, bass singer, winds and percussion in the early 1930s:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=rDY7aavRdXU&#xD;&#xA;&#xD;&#xA;Musique concrète (1940s) was an early attempt that used mics and magnetic tape to record sounds and then have the composer re-cut the tape to create a different sound or play it backwards, or make loops, and on and on.&#xD;&#xA;&#xD;&#xA;&quot;Forbidden Planet&quot; (1956) was the first feature film to use an all electronic music score composed and performed by Louis and Bebe Barron.&#xD;&#xA;&#xD;&#xA;Voltage Controlled Synthesizers (1962):&#xD;&#xA;Don Buchla (1962) and Robert Moog (1964) both began the road to synthesizers where composers had analog tools to build sounds based on fundamental devices. (Voltage controlled Oscillators, Amplifiers, Filters, Noise Generators...).&#xD;&#xA;&#xD;&#xA;FM synthesis algorithm (1967):&#xD;&#xA;Standford University research Professor John M. Chowning discovers the FM synthesis algorithm in 1967.&#xD;&#xA;&#xD;&#xA;Analog Polyphonic Synthesizer (1975):&#xD;&#xA;Tom Oberheim creates a multi voice keyboard synth. A user interface for electronic music that follows the tradition of a keyboard.&#xD;&#xA;&#xD;&#xA;MIDI (Musical Instrument Digital Interface) (1982):&#xD;&#xA;First MIDI specification is released. A means of &quot;encoding, storing, synchronizing, and transmitting the musical performance and control data of electronic musical instruments&quot;.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;First commercially successful digital synthesizer (1983):&#xD;&#xA;Yamaha DX7 breaks new ground by being the first affordable digital synthesizer based on FM synthesis as developed and licensed by Standford Professor John M. Chowning.&#xD;&#xA;&#xD;&#xA;[I might add some more to this later]&#xD;&#xA;&#xD;&#xA;...now we have anything from &quot;Ringo in a box&quot; (programmable drum machines) to full blown DAWs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48355" PostHistoryTypeId="2" PostId="26801" RevisionGUID="0f339d12-55fa-44f4-b7f3-d13a95bc6b5a" CreationDate="2013-02-18T20:41:48.343" UserId="13269" UserDisplayName="Philip Graham" Text="My answer would be something along the lines of the first answer you got given but I would also like to recommend the D.Ramirez tutorials for dealing with electronic music workflow. They are freely available on youtube at&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=4ny4q2I3z44&#xD;&#xA;&#xD;&#xA;He deals with a lot of mixing issues and it might help you get some of the &quot;approach&quot; to making electronic music without telling you what style to be. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48356" PostHistoryTypeId="2" PostId="26802" RevisionGUID="038175d4-e8b2-442f-819d-1460e6bc7e8f" CreationDate="2013-12-06T19:35:26.527" UserDisplayName="user5107" Text="I think the first answer is an excellent philosophical approach to getting started. I'll try to be a bit more specific in hopes to fill in a few gaps. &#xD;&#xA;&#xD;&#xA;**Studio set up:**&#xD;&#xA;Get a great sound card. Your audio going in and audio coming out of your computer can't lie to you. If you're not hearing things correctly, you won't be producing correctly. I recommend looking into the Apogee one. Their bigger brothers are the standard for major studios and they use the same conversion technology. They even have a preamp that is pretty incredible for it's price. &#xD;&#xA;&#xD;&#xA;If you can't afford great monitors (event opals, Adam AX8 or Yamaha NS10's) or just can't bang out 4/4 beats out-loud, get a really great set of set of earphones. They're not ideal but I've heard some super talented engineers work exclusively with headphones and still sound amazing. It's all a matter of getting used to what things should sound like in them. Referencing your favorite mixes in them is a must. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Software:** &#xD;&#xA;I recommend Ableton for beginners. It's a great program and it's workflow and stock plugins are all fantastic. There are ton of easy tutorials on youtube. I recommend just starting with the basics and keep it simple. The more complicated stuff will come in time. &#xD;&#xA;&#xD;&#xA;**Music Theory and Melodies**&#xD;&#xA;This is a life long pursuit really but an easy way to start playing with chords and progressions is to use the circle of fifths. Look up &quot;Camelot Harmonic Mixing chart&quot; This is chart is a life saver in term of getting started quickly. I also recommend a fantastic little ipad app called &quot;music tool.&quot; It's a scale picker that shows you every possible note and chord in the scale. Really handy visual tool. &#xD;&#xA;&#xD;&#xA;Otherwise, Ableton has a tool called &quot;scaler&quot; that will allow you to pick a scale and keep every single note you play in key of your song. It's so easy it should almost be illegal!&#xD;&#xA;&#xD;&#xA;If you buy samples (we sell them along with Ableton and Logic templates) I recommend Mixed In Key. This software will organize all your samples by key. Have a song you're working in A minor? Just sort your samples by A minor or a complimentary key. That's one of our special little ninja secrets!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Engineering &amp; Mixing:**&#xD;&#xA;&#xD;&#xA;This subject is also a life-long pursuit so I'll keep it high level. &#xD;&#xA;&#xD;&#xA;1) Reference your mix. Pick a mix you love and keep trying to emulate it. That is the best way to learn. You'll get frustrated to a point where you'll start searching for answers. That is where the learning comes in. &#xD;&#xA;&#xD;&#xA;2) Compression is your friend. Learn the compressor. In fact, If I had only one tool to mix with, I'd pick the compressor (don't tell my mistress, distortion!) . Don't forget makeup gain. Once you compress, make the gain back up. That is where the magic is. &#xD;&#xA;&#xD;&#xA;3) Garbage in - Garbage out. This is probably the most important concept. One that just hit me after years of struggling. If it doesn't sound good when you create it, 98% of the time, you can't get it to sound good in the mix. This is the secret for most engineers and why in the analog world, they have engineers dedicated to recording AND to mixing. The recording stage must capture the best possible sound so the mix engineer doesn't have to attempt voodoo. I think the first gentleman nailed it with the sound design statement. &#xD;&#xA;&#xD;&#xA;There are a lot of great sites to learn from like: Dubspot.com or Pointblankonline&#xD;&#xA;&#xD;&#xA;We happen to sell creative tools like Logic Templates, Ableton Templates, samples, midi files and also offer tutorials to producers and engineers. Once you pick up some gear, stop by and check us out at http://beatelite.com/ &#xD;&#xA;&#xD;&#xA;God speed young Jedi! " ContentLicense="CC BY-SA 3.0" />
  <row Id="48363" PostHistoryTypeId="2" PostId="26805" RevisionGUID="420420bd-d144-4667-ab35-ce0bfe896869" CreationDate="2014-02-10T15:36:51.317" UserId="1216" Text="Warning: this is perhaps not the answer you are looking for :)&#xD;&#xA;&#xD;&#xA;You have already got enough gear. What you really need is time, patience, perseverance.&#xD;&#xA;&#xD;&#xA;Experiment with what you already have, whatever it is that you own, use your imagination and creativity. A typical style of music was not only 'invented' because of the sound or purpose of the gear; it was the user that found a new purpose for the equipment.&#xD;&#xA;&#xD;&#xA;Good luck with your quest!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48367" PostHistoryTypeId="2" PostId="26807" RevisionGUID="ea3f2794-8dd1-4480-b674-b5e2524ac7b7" CreationDate="2014-02-10T16:16:45.743" UserId="6425" Text="First of all, if you want to get into production: Buy a nice pair of near field monitor speakers. Everything you will learn, you will audition trough those speakers, so they are your portal into the whole audio production. After that you need some room treatment to get rid of unnecessary early reflection. I tell you this, because i started out in audio production without good monitors and a lot that i did was useless since i couldn't really hear whats going on. Then you need to get into the working in DAWs. Industry standards are ProTools (big studios) and logic/cubase (smaller studios). &#xD;&#xA;&#xD;&#xA;After that get a SM57 mic or something and start recording anything. Your vocals, guitar, piano, whatever just to get a feel of how to record things into your computer. (If you buy a m box interface, which you need to record, you get a small version of protools, a very good point to start out). Then i would play around with the materials, while you read your DAWs manual. It is important, that you learn the hotkeys and names of the different tools in the DAW.&#xD;&#xA;&#xD;&#xA;After you played around for a bit, I can recumbent the book: &quot;Mixing secrets for the small studio&quot;. This will give you a very i depth look into post production of music, while offering you pre recorded sessions to train with. I would really spend some time toying around with these sessions to get a hang of how recorded instruments can sound and what are your possibilities in postproduction.&#xD;&#xA;&#xD;&#xA;Next step is going int recording and this is where it get really costy. you need a very good room, very good microphones and very good mix preamps if you want to achieve a good sound. So the best thing is to scout for some recording studios and ask them for an training. Cheap and good starting mics are a SM 57, SM 58 and the studio projects B1. &#xD;&#xA;&#xD;&#xA;good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48368" PostHistoryTypeId="5" PostId="26707" RevisionGUID="2a50d82f-d77a-491b-81dd-b2d13eae3724" CreationDate="2014-02-10T16:30:17.927" UserId="7361" Comment="added 9 characters in body" Text="I recently discovered that I can't use just any headphones with my Mbox Mini as it seems to have a somewhat underpowered headphone amplifier. &#xD;&#xA;I did this by buying a pair AKG K240 mkII headphones (which sound very very good on everything else, even the jack on the mac book worked) and discovered I couldn't head anything due to their 50Ω Impedance (which as I understand it isn't particularly high for a pro model).&#xD;&#xA;&#xD;&#xA;I'm not sure what version of the Mbox Mini I have (its about 3 years old), so I can't be sure of the technical specification, but the 3rd Gen model has [20 mW into 32 R][1] (so I'm not sure on the maximum impedance I can use, I assume &lt;30Ω?, does anyone know how to work that out?).&#xD;&#xA;&#xD;&#xA;So I have a dilemma where I need lower impedance headphones, but all I can find are consumer units. **Question: Can anyone recommend some professional monitoring headphones (open or closed back) that will work with my Mbox Mini?**&#xD;&#xA;&#xD;&#xA;Note: I realise I can get a headphone amp, but is this the only option... I'd rather spend £100 on a pair of decent low impedance monitor headphones (if they exist).&#xD;&#xA;&#xD;&#xA;  [1]: http://www.avid.com/static/resources/common/documents/Products/Avid_Mbox_3rdGen-family_spec-comparison-1.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="48369" PostHistoryTypeId="33" PostId="26707" RevisionGUID="43b0615d-64f4-4e27-bb72-d4b599880fc1" CreationDate="2014-02-10T16:32:21.737" UserId="7361" Comment="3" />
  <row Id="48370" PostHistoryTypeId="2" PostId="26808" RevisionGUID="a4581456-8187-4a5a-8955-a664e6bd11c5" CreationDate="2014-02-10T18:32:58.770" UserId="6411" Text="What are you comparing this low output on the headphone amplifier to? I realize that you say these K240's work fine on your laptop, but are you monitoring the same ProTools output on your laptop that you're trying to run through the MBox Mini? Have you eliminated everything else as the issue? Do you use the 1/4&quot; monitor outputs on the back of the MBox Mini? Are they equally as quiet? Have you reinstalled the MBox drivers, opened the utility software and made sure that your software returns and L/R output are set at 0.0?&#xD;&#xA;&#xD;&#xA;Once you're comparing apples to apples, and have determined that the hardware of the MBox Mini is your issue (which you very well may have already done), I'd reconsider your options. The AKGs are decent cans, and you know they function properly through using them with other sources. So I don't know if I'd lower the quality of what I'm listening to by buying lesser headphones in order to get the inferior headphone amp to suit your needs. If you're already willing to drop £100 on new cans, I'd consider replacing the Mini instead. The Firebox as EMV already mentioned or the Scarlett 2i2 are both similar in price to the Mini and are well reviewed." ContentLicense="CC BY-SA 3.0" />
  <row Id="48371" PostHistoryTypeId="2" PostId="26809" RevisionGUID="a05dda3c-3ea1-40db-bf57-784130214729" CreationDate="2014-02-10T18:43:38.113" UserId="7428" Text="I have a good friend who is working freelance in the sound mixing industry. He records, mixes, produces and also does a little video sound now and then. I think he makes around 1k usd pr month from it on a bad month and 3k on a good month. So he works on the side.&#xD;&#xA;&#xD;&#xA;But I think it depends on how bad you want this. If you really want it you can choose a simple lifestyle, and cut down on your expenses. Check &lt;http://www.godownsize.com/small-budget-to-get-out-of-debt/&gt; to see how little you can live on when you must :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="48372" PostHistoryTypeId="2" PostId="26810" RevisionGUID="9eb7b762-b4ec-4981-984e-4b170126f2d5" CreationDate="2014-02-10T19:09:16.470" UserId="7189" Text="The only thing that really stands out to me about your setup is the lack of FX. You can safely disregard any effects built in to your mixer. There are a ton of great rack units out there from the '90s that can be found for peanuts on eBay and your local version of Craigslist.&#xD;&#xA;&#xD;&#xA;Start with Alesis - take a look at the Wedge, QuadraVerb, MidiVerb and Ineko/Akira. These are generally inexpensive and easy to work with and usually have great long and dark reverbs.&#xD;&#xA;&#xD;&#xA;Next, Lexicon. The MPX500/550 (you can upgrade a MPX500 to be a 550 with a $20 chip from Lexicon. The upgrade requires a screwdriver and about 15 minutes of your time) has a more realistic sound to my ears, a nice contrast to my more trippy 'verbs. There are plenty of other Lexicons worth exploring, but the '500 is a good starting point for your research.&#xD;&#xA;&#xD;&#xA;Roland's SRV-3030 doesn't get as much respect as the older SRV-330, but I like its large and 'impossible' spaces.&#xD;&#xA;&#xD;&#xA;Finally, Eventide. The &quot;pedal&quot; style Space is great, but if you have room in your rack look up the h3000 and later.&#xD;&#xA;&#xD;&#xA;There are some great Sony and Yamaha FX units out there too, but they are much harder to find than Alesis, Lexicon, Roland and Eventide." ContentLicense="CC BY-SA 3.0" />
  <row Id="48373" PostHistoryTypeId="2" PostId="26811" RevisionGUID="d877e62d-0fef-49a4-866b-e0e4e5f93301" CreationDate="2014-02-10T20:35:30.053" UserId="37" Text="[Beyer Dynamic DT 770 Pro 32 ohm][1] ?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://europe.beyerdynamic.com/shop/hah/headphones-and-headsets/studio-and-stage/studio-headphones/dt-770-pro-32-ohm.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="48374" PostHistoryTypeId="10" PostId="10981" RevisionGUID="3c271084-3030-4a6a-b77e-0387fa14fefd" CreationDate="2014-02-10T20:50:21.073" UserId="7016" Comment="105" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48384" PostHistoryTypeId="19" PostId="1731" RevisionGUID="6c12fa21-1791-4110-83dc-6d5c67870b16" CreationDate="2014-02-10T23:05:27.260" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="48398" PostHistoryTypeId="10" PostId="26733" RevisionGUID="e5c9ab89-7c27-4587-9b84-83dd026786d5" CreationDate="2014-02-10T23:43:22.970" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7189,&quot;DisplayName&quot;:&quot;ObscureRobot&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48399" PostHistoryTypeId="10" PostId="15999" RevisionGUID="83e17575-8797-4a05-8b1b-4522f91267c9" CreationDate="2014-02-10T23:46:49.920" UserId="7016" Comment="103" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48400" PostHistoryTypeId="10" PostId="20486" RevisionGUID="870a05ed-5daa-45cd-8c04-3ff9492fd76d" CreationDate="2014-02-10T23:47:54.487" UserId="7016" Comment="105" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48422" PostHistoryTypeId="2" PostId="26812" RevisionGUID="9103a0eb-f650-46a9-9f64-d7e3e093e3b6" CreationDate="2014-02-11T00:20:49.463" UserId="7431" Text="If the sound you're asking about is similar to [this one][1], then it is basically a distorted trance pluck. It can be recreated in any subtractive synth.&#xD;&#xA;Here's a quick a dirty guide how to make it:&#xD;&#xA;&#xD;&#xA; 1. Set waveform to Sawtooth.&#xD;&#xA; 2. Set voices to 8 or so.&#xD;&#xA; 3. Detune the voices a bit (that may be called &quot;Spread&quot; or &quot;Detune&quot; or similar).&#xD;&#xA; 4. If you have a 2nd oscillator, then repeat steps 1-3 but raise it by 19 semitones (1 octave and then 5th). If that sounds too weird, try 7 semitones (5th) or 12 (octave).&#xD;&#xA;&#xD;&#xA;That will give you a supersaw sound. There are also tons on tutorials on Youtube on how to create a supersaw sound.&#xD;&#xA;&#xD;&#xA;Now tweak the amplitude envelope. Set it to quick Attack, quick Decay, Sustain to about half of maximum amplitude, quick Release with a short tail. That will give you a pluck sound.&#xD;&#xA;&#xD;&#xA;Now add a distortion effect, something like Amp Tube is a good choice, and crank up the Drive knob until you like what you hear.&#xD;&#xA;&#xD;&#xA;Load a Sawtooth waveform into both oscillators, increase the number of voices to eight on both and raise one of the oscillators one octave.&#xD;&#xA;&#xD;&#xA;Note that in the sound I chose an example, distortion drive is automated. You can clearly hear the sound becoming more distorted with time.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.freesound.org/people/Kasatchok/sounds/165555/" ContentLicense="CC BY-SA 3.0" />
  <row Id="48423" PostHistoryTypeId="2" PostId="26813" RevisionGUID="200f1add-2ecd-40da-8583-964f5ffff135" CreationDate="2014-02-11T00:28:07.937" UserId="7431" Text="Loudon Stearns of Berkleemusic.com runs [Introduction to Music Production][1] course on Coursera. It's free.&#xD;&#xA;I can't recommend Loudon's courses high enough.&#xD;&#xA;If you hooked up, you may also choose to take his paid [Berkleemusic.com course][2]. It will blow you away. I promise.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.coursera.org/course/musicproduction&#xD;&#xA;  [2]: http://online.berklee.edu/faculty/loudon-stearns" ContentLicense="CC BY-SA 3.0" />
  <row Id="48424" PostHistoryTypeId="5" PostId="26813" RevisionGUID="3c211c7d-ea1f-4c37-88c6-fedae42efc88" CreationDate="2014-02-11T00:37:43.247" UserId="7431" Comment="added 941 characters in body" Text="Loudon Stearns of Berkleemusic.com runs [Introduction to Music Production][1] course on Coursera. It's free.&#xD;&#xA;I can't recommend Loudon's courses high enough.&#xD;&#xA;If you hooked up, you may also choose to take his paid [Berkleemusic.com course][2]. It will blow you away. I promise.&#xD;&#xA;&#xD;&#xA;As for the choice of gear and software, it strongly depends on the kind of music you want to produce. Is it going to be symphonic music, rock, pop or electronic dance music? Will you need to record vocals?&#xD;&#xA;&#xD;&#xA;And on a side note, as much as I love Ubuntu, I highly recommend to look at [Reaper][3] as you DAW choice, at least until you realise what you really need. You can even run it on Linux via WineAsio.&#xD;&#xA;&#xD;&#xA;And, oh, Ubuntu Studio may not be the best choice of distro if you decide to stick to Linux. I'd go with KXStudio if you like Ubuntu, or AVLinux if bulletproof Debian is you weapon of choice. Both of them have more stuff working out of the box, less stuff to fiddle with. [Linux Musicians forum][4] is a good place to ask questions if you're into Linux music production. Just be prepared that you'll spend more time trying to make things work than making music.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.coursera.org/course/musicproduction&#xD;&#xA;  [2]: http://online.berklee.edu/faculty/loudon-stearns&#xD;&#xA;  [3]: http://www.reaper.fm/&#xD;&#xA;  [4]: http://linuxmusicians.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="48425" PostHistoryTypeId="2" PostId="26814" RevisionGUID="3a4763c0-d458-4362-a4fd-dc1af73f73c4" CreationDate="2014-02-11T00:38:48.703" UserId="7432" Text="My Question relates to below answer by JM V almost 2 years ago... zoom h4n problem 2&#xD;&#xA;See below answer.&#xD;&#xA;I have humming noise on first recording I made today. Not an expert on Mics or recording&#xD;&#xA;so wondering how to eliminate by &quot; panning the recording&quot;&#xD;&#xA;Thanks&#xD;&#xA;S&#xD;&#xA;&#xD;&#xA;okay I tested it out and this &quot;buzz&quot; complaint is a smear campaign against this awesome little machine, the only buzz that is there is if you plug an XLR into only one input, you can eliminate it by simply panning the recording! –  JM V Apr 26 '12 at 13:35" ContentLicense="CC BY-SA 3.0" />
  <row Id="48426" PostHistoryTypeId="1" PostId="26814" RevisionGUID="3a4763c0-d458-4362-a4fd-dc1af73f73c4" CreationDate="2014-02-11T00:38:48.703" UserId="7432" Text="Prob with buzzing on zoom 4hn and ME66 powered with k6" ContentLicense="CC BY-SA 3.0" />
  <row Id="48427" PostHistoryTypeId="3" PostId="26814" RevisionGUID="3a4763c0-d458-4362-a4fd-dc1af73f73c4" CreationDate="2014-02-11T00:38:48.703" UserId="7432" Text="&lt;audio-recording&gt;&lt;zoom-h4n&gt;&lt;interference&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48428" PostHistoryTypeId="2" PostId="26815" RevisionGUID="8f3d14a7-6258-4b2b-b89d-e7a29e48e75c" CreationDate="2014-02-11T00:44:46.823" UserId="7431" Text="It's not obvious why you are recording into an external program.&#xD;&#xA;Instead of that you may just try to record into another submix track inside Cubasis." ContentLicense="CC BY-SA 3.0" />
  <row Id="48429" PostHistoryTypeId="2" PostId="26816" RevisionGUID="d3e1f2e8-4c02-4ad2-a591-024b4e51ff98" CreationDate="2014-02-11T01:03:20.073" UserId="3994" Text="Sony MDR-7506/V6's have served me, and many others, well for many years in this configuration." ContentLicense="CC BY-SA 3.0" />
  <row Id="48430" PostHistoryTypeId="2" PostId="26817" RevisionGUID="1843ce04-7590-4682-9812-a9466550e6ae" CreationDate="2014-02-11T04:45:46.993" UserId="7174" Text="Are you using it under phantom power or battery power? I would suggest trying with phantom power provided by the h4n. I believe the panning issue being referred to is that if you have one XLR plugged in, then the one with no input may be noisy. Using only the appropriate channel may be quieter." ContentLicense="CC BY-SA 3.0" />
  <row Id="48431" PostHistoryTypeId="2" PostId="26818" RevisionGUID="69ce3664-e6e0-48eb-b91d-03db8969fdfb" CreationDate="2014-02-11T06:14:22.370" UserDisplayName="user6513" Text="In terms of panning, if you're only recording to one track, then you should set it to record in mono on both tracks. I do not think the recorder actually allows you to record mono files, so basically you have a mono sound recording to 2 tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="48432" PostHistoryTypeId="10" PostId="20774" RevisionGUID="bb33597d-0027-4557-9536-46722b0dc776" CreationDate="2014-02-11T09:11:44.087" UserId="7016" Comment="105" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48433" PostHistoryTypeId="10" PostId="20549" RevisionGUID="d6116673-04a7-437d-b634-0012b3de90c4" CreationDate="2014-02-11T09:12:21.667" UserId="7016" Comment="103" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:1228,&quot;DisplayName&quot;:&quot;Stavrosound&quot;},{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48436" PostHistoryTypeId="5" PostId="18218" RevisionGUID="f355c9dc-26eb-4b8f-8e5f-8ec96c1f6b51" CreationDate="2014-02-11T09:17:06.927" UserId="7016" Comment="you don't need to include any salutation - anyone interested can find it from your profile" Text="Yes!&#xD;&#xA;&#xD;&#xA;I make a great living doing sound engineering work.&#xD;&#xA;&#xD;&#xA;Figuring out how to actively seek out clients and do the business side of things has&#xD;&#xA;helped me tremendously.&#xD;&#xA;&#xD;&#xA;The main thing I learned to make money in the sound biz is to go directly&#xD;&#xA;after your targeted profile client. Who is she? Advertising firm, mobile game, rapper in atlanta? Who would be your dream client to work with?&#xD;&#xA;&#xD;&#xA;Once you figure it out, go pitch them your service. I sent thousands of emails and met&#xD;&#xA;with hundreds of potential clients over coffee.&#xD;&#xA;&#xD;&#xA;The sound biz is great if you know how to do business. Basically you gotta learn sales and marketing.&#xD;&#xA;&#xD;&#xA;After I got a small client base and validated I can make a profit, I then created a website and did search engine marketing, and internet marketing, which is totally free. Then people started banging on my door to get my sound engineering services. &#xD;&#xA;&#xD;&#xA;It got to the point where I had to turn work down because I was booked solid! At that point you get to pick and choose your dream clients to work for and you'll be totally satisfied with your work and your financial status.&#xD;&#xA;&#xD;&#xA;So get out there and take a systematic approach to making money in the sound biz." ContentLicense="CC BY-SA 3.0" />
  <row Id="48440" PostHistoryTypeId="5" PostId="15786" RevisionGUID="2f178d11-207c-41e6-a634-280a236d2706" CreationDate="2014-02-11T09:20:04.020" UserId="7016" Comment="deleted 31 characters in body" Text="First of all, I really enjoy this site and wish everyone tons of luck in their current and future projects.  My question is one regarding the structuring of resumes or CVs for sound editors.  Is there an industry-accepted standard for sound editing or sound designing resumes?&#xD;&#xA;&#xD;&#xA;I've seen quite a number of resumes from sound editors over the years, but I have yet to find any kind of standardized throughline between any of them.  Some resumes are company/job title driven, others are project-based, and still others focus on education and skills.&#xD;&#xA;&#xD;&#xA;If there isn't an industry standard, is there a resume format that has worked well/repeatedly with you guys?&#xD;&#xA;&#xD;&#xA;OR... are resumes a thing of the past?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48441" PostHistoryTypeId="2" PostId="26819" RevisionGUID="8c4c21fc-46a5-480e-8cf8-b98e538e1b9e" CreationDate="2014-02-11T09:49:35.600" UserId="6755" Text="I'm experimenting on modifying vocals to make them sound dark and creepy.&#xD;&#xA;&#xD;&#xA;What process is used to make Christian Bale (Batman) and Heath Ledger (The Joker) voice so dark/distorted/creepy.&#xD;&#xA;&#xD;&#xA;Here's a clip of the Joker in the hostage scene. He shouts &quot;Look at me&quot; @ 1.04:&#xD;&#xA;http://www.youtube.com/watch?v=dHhZtBDtqxo&#xD;&#xA;&#xD;&#xA;Also, here's the famous &quot;Why so serious&quot; clip (@ 0.42):&lt;br&gt;&#xD;&#xA;http://www.youtube.com/watch?v=F_5dP_83O7o&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Side note: If you can name any decent VST plugins that specialise in manipulating vocals/speech, please leave references in the comment box. I would highly appreciate it." ContentLicense="CC BY-SA 3.0" />
  <row Id="48442" PostHistoryTypeId="1" PostId="26819" RevisionGUID="8c4c21fc-46a5-480e-8cf8-b98e538e1b9e" CreationDate="2014-02-11T09:49:35.600" UserId="6755" Text="How can I achieve the vocal affect found on &quot;The Jokers&quot; voice in the film &quot;The Dark Knight&quot; 2008" ContentLicense="CC BY-SA 3.0" />
  <row Id="48443" PostHistoryTypeId="3" PostId="26819" RevisionGUID="8c4c21fc-46a5-480e-8cf8-b98e538e1b9e" CreationDate="2014-02-11T09:49:35.600" UserId="6755" Text="&lt;sound-effects&gt;&lt;film-sound-design&gt;&lt;voice-manipulation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48444" PostHistoryTypeId="2" PostId="26820" RevisionGUID="d74b6a67-a40c-443f-9309-8a7cceff5413" CreationDate="2014-02-11T10:54:37.147" UserId="1185" Text="I'm not sure you'll find a magic plug-in for this.  The majority of the effect is performance from the actor and then some EQ, reverb and maybe a bit of distortion.  Remember that an FX plug-in will enhance what is already there, but if it's not there is the first place (from the actors) no amount of processing will give you the magic you desire." ContentLicense="CC BY-SA 3.0" />
  <row Id="48445" PostHistoryTypeId="2" PostId="26821" RevisionGUID="3240a1f7-2171-498c-ab86-398b909fd8db" CreationDate="2014-02-11T11:21:46.753" UserId="7381" Text="totally agree with Bit Depth. I do alot of work with actors and that kind of effect you're hearing is all in the performance. Maybe some slight distortion or harmonic enhancers to bring out the frequencies but I don't think that's a plug in effect.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="48446" PostHistoryTypeId="5" PostId="26811" RevisionGUID="e23a92db-e221-472f-840b-89808ece8695" CreationDate="2014-02-11T11:45:10.857" UserId="37" Comment="added 1851 characters in body" Text="[Beyer Dynamic DT 770 Pro 32 ohm][1] ?&#xD;&#xA;&#xD;&#xA;also worth exploring: [Sony 7510 24 ohm][2]&#xD;&#xA;&#xD;&#xA;Re &quot;working it out&quot;:&#xD;&#xA;&#xD;&#xA;Read [this][3] and [this][4].&#xD;&#xA;&#xD;&#xA;At same sensitivity (&quot;The sensitivity rating is usually for 1 milliwatt *power* input to the phones and a corresponding sound pressure level (SPL) output (*usually* 102 to 106 dB SPL output for moderate to high sensitivity rated phones).&quot; [source][5]):&#xD;&#xA;&#xD;&#xA; - Power = volts times milliamps.&#xD;&#xA; - At the same voltage (amp output stage) more ohms = fewer milliamps (Ohm's law)&#xD;&#xA; - Thus more ohms (headphone coils+amp output stage) require more volts (amp output stage) to get the same milliamps to get the same loudness (same sensitivity, higher impedance)&#xD;&#xA; - Fewer ohms = potentially more sound coloration ([source][6]). But headphones are coloured anyway&#xD;&#xA; - (Sensitivity is likely determined by the magnets and the headphone membrane materials.)&#xD;&#xA;&#xD;&#xA;Fewer ohms = higher current (same voltage), but remember the maximum current draw requirement of USB - &lt;500mA. With Mbox Mini in question too high current is probably not an issue, but the max voltage available to the headphone amp is limited and the output stage likely has relatively high impedance.  Re voltage USB offers 5V max (Firewire bus has 12+). So to up the loudness your choices are lower resistance (=higher current) or higher sensitivity.&#xD;&#xA;&#xD;&#xA;There are headphones with 24ohm (Sony above) and even 16ohm resistance. I'd stay at 32 minimum.&#xD;&#xA;&#xD;&#xA;Also it's worth exploring the idea that you may be asking for too much loudness.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://europe.beyerdynamic.com/shop/hah/headphones-and-headsets/studio-and-stage/studio-headphones/dt-770-pro-32-ohm.html&#xD;&#xA;  [2]: http://pro.sony.com/bbsc/ssr/cat-audio/cat-headphones/product-MDR7510/&#xD;&#xA;  [3]: http://nwavguy.blogspot.co.uk/2011/09/more-power.html&#xD;&#xA;  [4]: http://www.whathifi.com/forum/headphones-etc/headphone-sensitivity-and-amplification&#xD;&#xA;  [5]: http://www.head-fi.org/t/17179/please-explain-headphone-sensitivity&#xD;&#xA;  [6]: http://www.stereophile.com/reference/810" ContentLicense="CC BY-SA 3.0" />
  <row Id="48447" PostHistoryTypeId="5" PostId="26811" RevisionGUID="1505ffdb-fe7a-40ce-9fcf-709948779600" CreationDate="2014-02-11T11:50:50.137" UserId="37" Comment="working it out part" Text="[Beyer Dynamic DT 770 Pro 32 ohm][1] ?&#xD;&#xA;&#xD;&#xA;also worth exploring: [Sony 7510 24 ohm][2]&#xD;&#xA;&#xD;&#xA;Re &quot;working it out&quot;:&#xD;&#xA;&#xD;&#xA;Read [this][3] and [this][4].&#xD;&#xA;&#xD;&#xA;At same sensitivity (&quot;The sensitivity rating is usually for 1 milliwatt *power* input to the phones and a corresponding sound pressure level (SPL) output (*usually* 102 to 106 dB SPL output for moderate to high sensitivity rated phones).&quot; [source][5]):&#xD;&#xA;&#xD;&#xA; - Power = volts times milliamps.&#xD;&#xA; - At the same voltage (amp output stage) more ohms = fewer milliamps (Ohm's law)&#xD;&#xA; - Thus more ohms (headphone coils+amp output stage) require more volts (amp output stage) to get the same milliamps to get the same loudness (same sensitivity, higher impedance)&#xD;&#xA; - Fewer ohms = potentially more sound coloration ([source][6]). But headphones are coloured anyway&#xD;&#xA; - (Sensitivity is likely determined by the magnets and the headphone membrane materials.)&#xD;&#xA;&#xD;&#xA;Fewer ohms = higher current (same voltage), but remember the maximum current draw requirement of USB - &lt;500mA. With Mbox Mini in question too high current is probably not an issue, but the max voltage available to the headphone amp is limited and the output stage likely has relatively high impedance.  Re voltage USB offers 5V max (Firewire bus has 12+). &#xD;&#xA;&#xD;&#xA;So to up the loudness your choices are lower impedance (=higher current) or higher sensitivity.&#xD;&#xA;&#xD;&#xA;There are headphones with 24ohm (Sony above) and even 16ohm resistance. I'd stay at 32 minimum.&#xD;&#xA;&#xD;&#xA;Also it's worth exploring the idea that you may be asking for too much loudness.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://europe.beyerdynamic.com/shop/hah/headphones-and-headsets/studio-and-stage/studio-headphones/dt-770-pro-32-ohm.html&#xD;&#xA;  [2]: http://pro.sony.com/bbsc/ssr/cat-audio/cat-headphones/product-MDR7510/&#xD;&#xA;  [3]: http://nwavguy.blogspot.co.uk/2011/09/more-power.html&#xD;&#xA;  [4]: http://www.whathifi.com/forum/headphones-etc/headphone-sensitivity-and-amplification&#xD;&#xA;  [5]: http://www.head-fi.org/t/17179/please-explain-headphone-sensitivity&#xD;&#xA;  [6]: http://www.stereophile.com/reference/810" ContentLicense="CC BY-SA 3.0" />
  <row Id="48448" PostHistoryTypeId="2" PostId="26822" RevisionGUID="41b0ae9c-e9ee-416b-a323-4b79dec76d1e" CreationDate="2014-02-11T12:08:23.440" UserId="5880" Text="Creative work is a fickle mistress.  Sometimes it feels like you've been visited by the Muse, everything just seems to flow and all the work is almost effortless.  Other times you feel like you're just beating your head against a wall, everything sounds terrible and you just can't seem to push through it. &#xD;&#xA;&#xD;&#xA;How do you deal with creative block when it happens?  How do you pull yourself out of that stagnation and become productive again?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48449" PostHistoryTypeId="1" PostId="26822" RevisionGUID="41b0ae9c-e9ee-416b-a323-4b79dec76d1e" CreationDate="2014-02-11T12:08:23.440" UserId="5880" Text="Overcoming periods of Creative Block" ContentLicense="CC BY-SA 3.0" />
  <row Id="48450" PostHistoryTypeId="3" PostId="26822" RevisionGUID="41b0ae9c-e9ee-416b-a323-4b79dec76d1e" CreationDate="2014-02-11T12:08:23.440" UserId="5880" Text="&lt;creativity&gt;&lt;productivity&gt;&lt;block&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48451" PostHistoryTypeId="10" PostId="6959" RevisionGUID="cbdb13d0-1462-43b0-99b6-65b946cf6b60" CreationDate="2014-02-11T12:25:15.997" UserId="7016" Comment="105" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48465" PostHistoryTypeId="2" PostId="26823" RevisionGUID="b0e06bf4-35b6-43f5-a3f2-bf99a88fbf15" CreationDate="2014-02-11T12:38:59.260" UserId="7435" Text="I am working on a feature that requires the sound of some massive hulking creature ripping trees from the ground. Any ideas on how I would create this sound effect. Im thinking about layering the sounds of celery slowly being snapped. Im not sure how i would create the sound of the tree actually being pulled out from the soil. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;All the best &#xD;&#xA;&#xD;&#xA;Daniel " ContentLicense="CC BY-SA 3.0" />
  <row Id="48466" PostHistoryTypeId="1" PostId="26823" RevisionGUID="b0e06bf4-35b6-43f5-a3f2-bf99a88fbf15" CreationDate="2014-02-11T12:38:59.260" UserId="7435" Text="Trees being ripped from the ground" ContentLicense="CC BY-SA 3.0" />
  <row Id="48467" PostHistoryTypeId="3" PostId="26823" RevisionGUID="b0e06bf4-35b6-43f5-a3f2-bf99a88fbf15" CreationDate="2014-02-11T12:38:59.260" UserId="7435" Text="&lt;foley&gt;&lt;monster&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48469" PostHistoryTypeId="2" PostId="26824" RevisionGUID="d461c8de-99bd-428e-a619-0721c9074a65" CreationDate="2014-02-11T12:40:00.460" UserId="1216" Text="It's actually a lot simpler than you might think, take out your opinion for a bit.&#xD;&#xA;Just keep on trucking! :) &#xD;&#xA;&#xD;&#xA;Seriously, the best advice I've ever gotten was something like this: 'postpone your judgement'.&#xD;&#xA;&#xD;&#xA;Procrastinate for a bit, do some dishes, fold your laundry, go outside. &#xD;&#xA;Get back in the studio and work on a different part of your project, come back to the 'difficult' part a day later, you'll see it wasn't a problem after all. Most of the time.&#xD;&#xA;&#xD;&#xA;Oh and google: Oblique Strategies. Great stuff from Brian Eno an Peter Schmidt.&#xD;&#xA;&#xD;&#xA;Or read some Edward de Bono, he has some great insights into these matters.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48480" PostHistoryTypeId="2" PostId="26825" RevisionGUID="050db566-c5af-452b-ae48-d6d50529ae3a" CreationDate="2014-02-11T12:46:01.580" UserId="1216" Text="It depends...&#xD;&#xA;Is it a swift or quick action or does it allow a lot of detail?&#xD;&#xA;Is the soil dry or wet? Can you think of a character or emotion for the trees? &#xD;&#xA;&#xD;&#xA;Have you tried some dirt sounds from your library or did you record some?&#xD;&#xA;&#xD;&#xA;Divide the sound into at least 3 layers/concepts: low (wood resonances), mid (mud), high(celery) (freq) or mass, force, strain, etc.&#xD;&#xA;&#xD;&#xA;Think of other examples like this and search for sounds that link to those concepts.&#xD;&#xA;It will help you get to new sounds/places instead of revisiting old stuff.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48481" PostHistoryTypeId="10" PostId="13380" RevisionGUID="eb812c77-46c2-4e18-9dc1-7a5f049340e2" CreationDate="2014-02-11T12:46:26.817" UserId="7016" Comment="105" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48486" PostHistoryTypeId="10" PostId="22207" RevisionGUID="d9a1ed1d-4903-428e-85ff-eacbdedb69e0" CreationDate="2014-02-11T13:03:21.787" UserId="7016" Comment="105" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48487" PostHistoryTypeId="10" PostId="21865" RevisionGUID="b6bf2f17-3fa7-4221-aca6-2c3fd4ea4a61" CreationDate="2014-02-11T13:03:46.507" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:1228,&quot;DisplayName&quot;:&quot;Stavrosound&quot;},{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48488" PostHistoryTypeId="10" PostId="22122" RevisionGUID="afa16b5e-4ac0-474a-a4e8-aa7046be8449" CreationDate="2014-02-11T13:04:12.760" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:1228,&quot;DisplayName&quot;:&quot;Stavrosound&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48490" PostHistoryTypeId="10" PostId="4357" RevisionGUID="fbaab919-19be-4098-bdfc-444230e86ae8" CreationDate="2014-02-11T13:04:37.777" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48500" PostHistoryTypeId="10" PostId="20332" RevisionGUID="1a2e8e04-4cfb-45fe-b9be-eb9ff43094fa" CreationDate="2014-02-11T13:07:31.147" UserId="7016" Comment="105" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48501" PostHistoryTypeId="10" PostId="19819" RevisionGUID="9e4e945d-2468-4285-adb4-d3d1459c1d7b" CreationDate="2014-02-11T13:08:16.650" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:1228,&quot;DisplayName&quot;:&quot;Stavrosound&quot;},{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48502" PostHistoryTypeId="5" PostId="26823" RevisionGUID="413369a9-923b-4cde-813d-bff88d9c6130" CreationDate="2014-02-11T13:10:01.407" UserId="7016" Comment="deleted 25 characters in body" Text="I am working on a feature that requires the sound of some massive hulking creature ripping trees from the ground. Any ideas on how I would create this sound effect. &#xD;&#xA;&#xD;&#xA;I'm thinking about layering the sounds of celery slowly being snapped. Im not sure how I would create the sound of the tree actually being pulled out from the soil. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48519" PostHistoryTypeId="5" PostId="26824" RevisionGUID="4e19808c-2382-4695-b190-8e636c1b4818" CreationDate="2014-02-11T14:08:53.133" UserId="1216" Comment="added an anecdote" Text="It's actually a lot simpler than you might think, take out your opinion for a bit.&#xD;&#xA;Just keep on trucking! :) &#xD;&#xA;&#xD;&#xA;Seriously, the best advice I've ever gotten was something like this: 'postpone your judgement'.&#xD;&#xA;&#xD;&#xA;Procrastinate for a bit, do some dishes, fold your laundry, go outside. &#xD;&#xA;Get back in the studio and work on a different part of your project, come back to the 'difficult' part a day later, you'll see it wasn't a problem after all. Most of the time.&#xD;&#xA;&#xD;&#xA;Oh and google: Oblique Strategies. Great stuff from Brian Eno an Peter Schmidt.&#xD;&#xA;&#xD;&#xA;Or read some Edward de Bono, he has some great insights into these matters.&#xD;&#xA;&#xD;&#xA;UPDATE:&#xD;&#xA;Ok, I just experienced a very simple example of why focusing on other stuff tends to help.&#xD;&#xA;&#xD;&#xA;Yesterday I was working on an animation and I couldn't get the sound of trash can to fit the image. It was a library effect and it just didn't fit in. &#xD;&#xA;I stalled and got a bit pissed of. I considered pitching it, but then decided that would be too much of hassle. I know from experience that you can fiddle with such things for ever.... So I stopped working on it and went ahead on with other events on the timeline. &#xD;&#xA;&#xD;&#xA;Today I answered this question and when I was thinking about my answer an hour later in the bathroom (just doing the laundry ;) I noticed that I actually own a little metal trashcan. Totally forgot about that! And you know what, it has the perfect squeak and resonance! Perfect fit!&#xD;&#xA;&#xD;&#xA;Lesson learned= take a step back, focus on stuff that you can do! " ContentLicense="CC BY-SA 3.0" />
  <row Id="48520" PostHistoryTypeId="2" PostId="26826" RevisionGUID="0b089c24-186f-42cd-b846-d432d974411a" CreationDate="2014-02-11T14:51:44.127" UserId="7185" Text="That's it, really. I'm trying to set up a mix-minus for recording Skype calls with a Behringer 1202FX, using a UCA 202 to go in and out of the Skyping computer, and wondering whether the FX Send is mono or stereo.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="48521" PostHistoryTypeId="1" PostId="26826" RevisionGUID="0b089c24-186f-42cd-b846-d432d974411a" CreationDate="2014-02-11T14:51:44.127" UserId="7185" Text="Is the FX send on a Behringer 1202 mixer mono or stereo" ContentLicense="CC BY-SA 3.0" />
  <row Id="48522" PostHistoryTypeId="3" PostId="26826" RevisionGUID="0b089c24-186f-42cd-b846-d432d974411a" CreationDate="2014-02-11T14:51:44.127" UserId="7185" Text="&lt;behringer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48523" PostHistoryTypeId="2" PostId="26827" RevisionGUID="9dda0a1c-72e7-4dff-bbfb-c49f70f21f87" CreationDate="2014-02-11T15:02:22.660" UserId="7174" Text="According to the manual, it does appear to be stereo.  It isn't 100% clear, but it is a TRS connector and does not have insert functionality from the description and expects a stereo input to be used as the return." ContentLicense="CC BY-SA 3.0" />
  <row Id="48524" PostHistoryTypeId="36" PostId="26828" RevisionGUID="b3754f74-6f46-494f-ae6e-12741a5436e8" CreationDate="2014-02-11T15:11:33.977" UserId="-1" Comment="from http://music.stackexchange.com/questions/15365/audio-interface-how-many-inputs-do-i-need" />
  <row Id="48525" PostHistoryTypeId="2" PostId="26828" RevisionGUID="e160ec01-d56d-460d-96e4-2f1bda8fea10" CreationDate="2014-02-11T06:48:17.590" UserId="13162" UserDisplayName="user9445" Text="I'm new to audio interfaces and planning to buy either Focusrite 2i4 or 6i6. I have two keyboards and I want to connect those two to each other and then one to the audio  interface.And also connect one keboard through midi to audio interface.&#xD;&#xA;&#xD;&#xA;My questions are &#xD;&#xA;&#xD;&#xA;- How many audio inputs do I need on the audio interface?&#xD;&#xA;- I plan to buy &#xD;&#xA; - 2 mono to stereo line in cables to connect each keyboards' left and right channel to the stereo line in on audio interface.And &#xD;&#xA; - 1 one standard midi out cable for connecting the keyboard to the audio interface.&#xD;&#xA; - 1 usb midi cable for connecting one keyboard to the other.&#xD;&#xA;&#xD;&#xA;Does this sound right? &#xD;&#xA;&#xD;&#xA;- Also can I connect keyboard to XLR input the one that is used for mic?&#xD;&#xA;&#xD;&#xA;Thank you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48526" PostHistoryTypeId="1" PostId="26828" RevisionGUID="e160ec01-d56d-460d-96e4-2f1bda8fea10" CreationDate="2014-02-11T06:48:17.590" UserId="13162" UserDisplayName="user9445" Text="Audio Interface - How Many Inputs do I need?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48527" PostHistoryTypeId="3" PostId="26828" RevisionGUID="e160ec01-d56d-460d-96e4-2f1bda8fea10" CreationDate="2014-02-11T06:48:17.590" UserId="13162" UserDisplayName="user9445" Text="&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48537" PostHistoryTypeId="2" PostId="26829" RevisionGUID="54571b3f-75c8-4d4b-8eca-56b2e2472717" CreationDate="2014-02-11T16:28:00.990" UserId="7437" Text="hello social sound design!&#xD;&#xA;&#xD;&#xA;I'm desperately looking for room tone recordings of a large library/old building with a marble/granite staircase, can anyone point me into the direction of any sample libraries?&#xD;&#xA;&#xD;&#xA;thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48538" PostHistoryTypeId="1" PostId="26829" RevisionGUID="54571b3f-75c8-4d4b-8eca-56b2e2472717" CreationDate="2014-02-11T16:28:00.990" UserId="7437" Text="Library/Big Marble staircase Room Tone" ContentLicense="CC BY-SA 3.0" />
  <row Id="48539" PostHistoryTypeId="3" PostId="26829" RevisionGUID="54571b3f-75c8-4d4b-8eca-56b2e2472717" CreationDate="2014-02-11T16:28:00.990" UserId="7437" Text="&lt;room&gt;&lt;room-tone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48540" PostHistoryTypeId="2" PostId="26830" RevisionGUID="c99a26aa-b7c9-468b-960e-cc76b5e7ea31" CreationDate="2014-02-11T16:46:13.090" UserId="1185" Text="Clearly from what Arnoud has said, you need to meet the character defined by your visuals.  Having said that I'd be inclined to be fairly literal here and record the sound of you pulling some plants out of soil.  If you can get the microphone in nice and close you should get a nice proximity effect that when boosted up should give you the impression of bigger plants or trees being pulled up.  Also if the plants are in a peaty soil or compost you should get some nice tearing sound that will resonate through the hollow sounding soil.  You can then layer these sounds with the snaps and cracks already discussed.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="48541" PostHistoryTypeId="5" PostId="5072" RevisionGUID="cb061e3b-4fb3-4a77-9380-05475b44aac2" CreationDate="2014-02-11T16:54:12.587" UserId="7174" Comment="deleted 16 characters in body" Text="I think the safe robbery scene from Hitchcock's 'Marnie' has to be right up there, particularly when coupled with the cinematography. It instantly came to mind when I read the question." ContentLicense="CC BY-SA 3.0" />
  <row Id="48542" PostHistoryTypeId="5" PostId="26829" RevisionGUID="c63a38ea-d3e5-4df7-9434-6a8ba77e5350" CreationDate="2014-02-11T17:01:10.630" UserId="7174" Comment="deleted 53 characters in body" Text="I'm looking for room tone recordings of a large library/old building with a marble/granite staircase, can anyone point me into the direction of any sample libraries?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48543" PostHistoryTypeId="5" PostId="26817" RevisionGUID="735aca11-9763-4d2f-a422-b3bfa2722013" CreationDate="2014-02-11T17:43:42.620" UserId="7174" Comment="added 253 characters in body" Text="Are you using it under phantom power or battery power? I would suggest trying with phantom power provided by the h4n. I believe the panning issue being referred to is that if you have one XLR plugged in, then the one with no input may be noisy. Using only the appropriate channel may be quieter.&#xD;&#xA;&#xD;&#xA;As Takuya Katsu pointed out, it is also worth putting in in Mono Mix mode so that you get the left channel recorded on both the right and left tracks though it isn't strictly necessary if you are going to pull one of the channels out in post anyway." ContentLicense="CC BY-SA 3.0" />
  <row Id="48544" PostHistoryTypeId="2" PostId="26831" RevisionGUID="7da61a47-dcab-42cc-99ab-29bc826f6f1c" CreationDate="2014-02-11T17:55:41.990" UserId="4442" Text="This is definitely a situation for some iceberg lettuce to get that organic stressing and ripping sound. Arnoud and Bit Depth have some great advice as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="48545" PostHistoryTypeId="2" PostId="26832" RevisionGUID="1987789d-8107-4f93-836d-73712b1a2687" CreationDate="2014-02-11T18:23:26.427" UserId="3196" Text="Have u seen this film called 'Berberian Sound Studio'? &#xD;&#xA;[http://www.imdb.com/title/tt1833844/][1]&#xD;&#xA; there is a scene where Toby Jones(who plays a recordist in the film ) does the foley of witches pulling out hair with some vegetables&#xD;&#xA;Here is the trailer link which has a I guess 1sec of the shot&#xD;&#xA;&#xD;&#xA;[http://www.youtube.com/watch?v=2KCGS1b8jDs][2]&#xD;&#xA;&#xD;&#xA;u can try this and layer with heavy branches of trees creaking plus soil being digged out.. just try out things .. mix and match .. am sure you will get desired results. Good Luck!&#xD;&#xA;&#xD;&#xA;[P.S.] i suggest you watch the film .. might get some new ideas :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt1833844/&#xD;&#xA;  [2]: http://www.imdb.com/title/tt1833844/" ContentLicense="CC BY-SA 3.0" />
  <row Id="48546" PostHistoryTypeId="2" PostId="26833" RevisionGUID="ff013676-ebab-4542-b93b-839f06cba868" CreationDate="2014-02-11T18:28:37.460" UserId="1228" Text="You may have some luck with the Rabbit Ears Audio REA0013 set.  There's a few good ones in there which you can layer, although I feel some are riddled with preamp hiss.  I believe Soundeffects.ch has a roomtone set, although I'm not familiar with it.&#xD;&#xA;&#xD;&#xA;Likely to achieve the sound you want, it will involve layering different roomtone textures and EQing them to shape the space you seek.  Generally the space you speak of will have a wide image, a lot of lo/mid-tow air as a &quot;weight&quot;, without much of the hissy/high end at all.  Usually it's the small resi rooms which have not much mid and low end and are mistly the &quot;clean air&quot; hi/mid-high hiss/presence.&#xD;&#xA;&#xD;&#xA;So I think it's going to be a combination of checking out some sets, like those I mentioned, and creatively shaping different timbres to achieve the exact quality you seek." ContentLicense="CC BY-SA 3.0" />
  <row Id="48566" PostHistoryTypeId="2" PostId="26834" RevisionGUID="9cac16d2-d43e-47fd-ac50-797614831d38" CreationDate="2014-02-11T20:06:38.923" UserId="7438" Text="I think you need to provide more info before someone can really answer this completely. What kind of keyboards do you have, and, especially, what kind of output/inputs do they have? But I don't believe your description of what you want to do is possible on either of those interfaces. The 2i4 only has 2 mono inputs (these are *both* XLR and line-in, so you can use them for a mono 1/4-inch input, but then those inputs can't be used as XLR). So if you want both the L and R from your keyboards, you can only plug one into the 2i4 (L in one combi input, R in the other) before you've used up all the inputs. On the 6i6, you could use the 2 combi inputs for one keyboard's L and R and the rear line inputs for the other keyboard's L and R. You would still have 2 inputs left (but they're S/PDIF, which only works with some kinds of things), so technically that's more than you need.&#xD;&#xA;&#xD;&#xA;Your plan to plug one keyboard's MIDI Out into the other keyboard should work via MIDI Thru, but I can't say whether USB will work without knowing the specific keyboards you have (I still might not know, since that isn't my area). Either interface should work with standard MIDI DIN cables. It's always potentially problematic to use MIDI and audio from keyboards simultaneously, because you can end up with echo due to your local playing also being sent via MIDI and then back out to the keyboard again. This depends on what you're planning on doing with the MIDI data being sent in.&#xD;&#xA;&#xD;&#xA;So anyway, if you need stereo out of both keyboards, then you'll need at least 4 line inputs, so the 2i4 would only cover one and the 6i6 is technically more than you need. If money isn't a severe concern, then more is generally better, although I don't think there's a much use for S/PDIF inputs like the 6i6 has two of." ContentLicense="CC BY-SA 3.0" />
  <row Id="48567" PostHistoryTypeId="2" PostId="26835" RevisionGUID="f0a44d5a-eb39-43e7-9360-e2e6669637cf" CreationDate="2014-02-11T20:55:04.360" UserId="6425" Text="Rise might help with the dirt partiales that Fall down! &#xD;&#xA;&#xD;&#xA;And also try to Play around with dried leafs to get some texture to Support the pulling!&#xD;&#xA;&#xD;&#xA;Gl" ContentLicense="CC BY-SA 3.0" />
  <row Id="48568" PostHistoryTypeId="2" PostId="26836" RevisionGUID="e90b0970-6c66-406c-9a52-26768c6150eb" CreationDate="2014-02-11T21:08:53.430" UserId="6432" Text="No one sound is going to do this, to get this right your effect is going to need to be a composite of several different layers. Your celery idea might form part of one layer, but is never going to do the whole job. &#xD;&#xA;&#xD;&#xA;I'd be thinking:&#xD;&#xA;&#xD;&#xA; 1. Low ground rumble (sub) &#xD;&#xA; 2. Dirt/soil movements&#xD;&#xA; 3. Roots snapping &#xD;&#xA; 4. Wood tearing/splintering/creaking &#xD;&#xA; 5. Branches scraping&#xD;&#xA; 6. Foliage rustle&#xD;&#xA;&#xD;&#xA;Search libraries for potential layers, record what you can/have time to, put it all together, mix.&#xD;&#xA;&#xD;&#xA;  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48569" PostHistoryTypeId="2" PostId="26837" RevisionGUID="bf9090e9-bb7a-4a37-8bcf-c05c8156f516" CreationDate="2014-02-11T22:35:45.887" UserId="7442" Text="I have been dealing with this problem for a few months now without any success and I was wondering if anyone has ran into this issue. The scenario  I'm about to describe used to work flawlessly without any hitches, but for some reason a few months ago it stopped working. Also, when I open up the Amplitube standalone application, things work just fine. This problem only occurs with the VST. Other VSTs work just fine in the same fashion, just Amplitube doesn't work.&#xD;&#xA;&#xD;&#xA;Basically, I want to control Amplitube VST using Ableton Live by routing the MIDI messages from a MIDI controller to the Amplitube VST. This sounds fairly simple, but I found a few things have to be set before this will work:&#xD;&#xA;&#xD;&#xA;1. To change an Amplitube preset, a MIDI Program Change (PC) message must be sent to it. In Amplitube, if you click the little MIDI button on the bottom right and go to the Preset tab, you can change which PC message (PC 1, PC 2, and so on) the currently selected preset will be activated by. So I have set my preset called &quot;Blues Drive&quot; to be activated by PC 1. &#xD;&#xA;&#xD;&#xA;2. The global receive channel for Amplitube must be the same as the channel on which the PC messages are being sent. This is also in the MIDI settings but under the Global tab. Mine is set to channel 8.&#xD;&#xA;&#xD;&#xA;2. I have an FCB1010 controller that I have programmed to send PC 1 on channel 8 when I press a button. When I have Amplitube running as a standalone, and set the FCB1010 as my MIDI device under settings, hitting the button on the FCB1010 changes the preset to Blues Drive successfully.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;With the above scenario set up, you would think that all you could have to do to control the preset using Ableton Live is to route the MIDI messages from the FCB1010 to the Amplitube VST. So I opened up Ableton Live and then started routing the messages by doing the following:&#xD;&#xA;&#xD;&#xA;1. Add the Amplitube VST to an empty audio track - call this AudioTrack1.&#xD;&#xA;2. Create a new MIDI track that will act as the &quot;router&quot; for the message from FCB1010 to the Amplitube VST. Call this track MIDITrack1&#xD;&#xA;3. Change the &quot;MIDI To&quot; dropdown of MIDITrack1 to AudioTrack1.&#xD;&#xA;4. Set the monitor for MIDITrack1 to &quot;In&quot;&#xD;&#xA;5. Set the monitor for the AudioTrack1 to &quot;Auto&quot; (this step is technically not required).&#xD;&#xA;&#xD;&#xA;The way this works is that MIDI messages coming into MIDITrack1 will be sent to AudioTrack1 and since Amplitube is the only device loaded under AudioTrack1, it will receive the messages. When I hit the button on the FCB1010, I see that the MIDI track lights up telling me that it is receiving the message. But I don't see any change in the preset selection in Amplitube. &#xD;&#xA;&#xD;&#xA;The weird thing is that if I follow the same procedure but use Guitar Rig VST, the presets respond just fine. They change when they should and they go to the correct presets. This leads me to believe that there is something wrong with Amplitube's configuration. &#xD;&#xA;&#xD;&#xA;I've tried this scenario with many different settings and I've even completely uninstalled (including registry entries and all folders) and then reinstalled Amplitube multiple times, but this just does not work. I've tried using different MIDI controllers and different channels. The only thing I'm short of trying is to set up the entire scenario on a different computer. But before I went to that resort, I wanted to see what input this community can give me about this issue.&#xD;&#xA;&#xD;&#xA;Please let me know if I've not made something clear. Thanks to anyone who is able to help in any way.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48570" PostHistoryTypeId="1" PostId="26837" RevisionGUID="bf9090e9-bb7a-4a37-8bcf-c05c8156f516" CreationDate="2014-02-11T22:35:45.887" UserId="7442" Text="Amplitube VST won't respond to MIDI PC messages from Ableton Live" ContentLicense="CC BY-SA 3.0" />
  <row Id="48571" PostHistoryTypeId="3" PostId="26837" RevisionGUID="bf9090e9-bb7a-4a37-8bcf-c05c8156f516" CreationDate="2014-02-11T22:35:45.887" UserId="7442" Text="&lt;ableton&gt;&lt;ableton-live&gt;&lt;vst&gt;&lt;amplifier&gt;&lt;guitar&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48572" PostHistoryTypeId="2" PostId="26838" RevisionGUID="572506df-0ea1-4045-8bed-e1a70a5f0cb2" CreationDate="2014-02-11T22:37:03.290" UserId="7120" Text="**Audio**&#xD;&#xA;&#xD;&#xA;First, be aware that each input jack on the interfaces you are considering (and the vast majority of audio interfaces) is *mono*, not stereo. So you will need 4 input jacks just to plug in your two keyboards. Admittedly, it's not entirely helpful that in their marketing language companies will say &quot;stereo line input&quot; when what they really have is two mono line inputs that you can gang as a stereo pair, but that's the way it is.&#xD;&#xA;&#xD;&#xA;The good news is that you can plug your keyboards into the XLR jacks. Any time you see an XLR jack referred to as a &quot;combo&quot; jack, as it is on these interfaces, that will normally indicate that you can plug a standard 1/4&quot; jack into the center of it and use it as a line jack.&#xD;&#xA;&#xD;&#xA;So, for your audio setup, the 2i4 is not going to have enough inputs, but the 6i6 should be enough.&#xD;&#xA;&#xD;&#xA;**MIDI**&#xD;&#xA;&#xD;&#xA;Your MIDI plan sounds a bit odd. It sounds like you want to be able to daisy chain both keyboards to the MIDI ports on the audio interface. That is certainly doable, but the specifics of your plan probably won't work.&#xD;&#xA;&#xD;&#xA;In particular, I doubt you will be able to chain one keyboard to the other using USB. If your keyboards actually support this, I want to know what they are! More likely, you will need to do your MIDI setup entirely with standard MIDI cables.&#xD;&#xA;&#xD;&#xA;You will need 3 MIDI cables just to achieve a setup where one of your keyboards can both send and receive data with the computer (IN - OUT and OUT - IN between KB1 and the audio interface), and the other can receive data from the computer and/or the first keyboard (MIDI Thru on KB1 to MIDI IN on KB2). &#xD;&#xA;&#xD;&#xA;The limitation in that setup is imposed by the MIDI Thru port, which is a one-way street. It's designed to send MIDI data from a controller to a sound module, not to support full two-way duplex communication where data is both coming and going. So you can have one keyboard as a controller, but not both. &#xD;&#xA;&#xD;&#xA;To be able to use both as controllers, you will need an audio interface with 2 sets of MIDI In/Out ports, or a separate MIDI interface to support one or both of the keyboards. If you update your question with details of the keyboards you have and the objectives you want to achieve with your MIDI setup, I'll adjust my answer accordingly.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48573" PostHistoryTypeId="10" PostId="26467" RevisionGUID="e2f357cf-3854-4db3-b304-fde04d396576" CreationDate="2014-02-11T23:21:18.557" UserId="7016" Comment="105" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="48574" PostHistoryTypeId="14" PostId="26467" RevisionGUID="b7e62822-b4f3-4a6f-8e8b-a919424973bb" CreationDate="2014-02-11T23:21:18.557" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="48575" PostHistoryTypeId="14" PostId="26468" RevisionGUID="20e5d6fc-3ed5-4112-b6e6-2ddc684e9c08" CreationDate="2014-02-11T23:21:18.557" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="48576" PostHistoryTypeId="14" PostId="26469" RevisionGUID="fc54db04-583d-4d22-9662-7561a4bd01b3" CreationDate="2014-02-11T23:21:18.557" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="48577" PostHistoryTypeId="14" PostId="26470" RevisionGUID="4eb6e96a-7e60-486d-a522-ffd433befc6f" CreationDate="2014-02-11T23:21:18.557" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="48581" PostHistoryTypeId="19" PostId="4204" RevisionGUID="c9214df9-6e03-406a-9da6-e99b4adcec32" CreationDate="2014-02-11T23:40:26.787" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="48585" PostHistoryTypeId="5" PostId="8974" RevisionGUID="4a0ee81c-eeda-4538-88ef-e525722f78ff" CreationDate="2014-02-11T23:41:15.493" UserId="7016" Comment="deleted 90 characters in body" Text="After reading [this thread][1] at the DUC (and chatting with editors in this business longer than me), I'm really curious to see Avid AudioVision and how it worked.&#xD;&#xA;&#xD;&#xA;My first encounter with a Digidesign/Avid software was at a sound engineering course I took, and back then we had ProTools 5.1 (and that was the same version I used for the next 4 years, when I started working). I missed and still miss in ProTools 9, all those great feature that AudioVision seems to already have 15 years ago (Bin, clip based volume and EQ, integrated EDL autoconform, etc).&#xD;&#xA;&#xD;&#xA;Is there any video online (or other resource) that show AudioVision and its workflow (it was more like Media Composer than Protools, right?): can't find any.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://duc.avid.com/showthread.php?t=11782" ContentLicense="CC BY-SA 3.0" />
  <row Id="48589" PostHistoryTypeId="5" PostId="9027" RevisionGUID="968161c0-129a-4d6d-b5c6-2395044de387" CreationDate="2014-02-11T23:41:50.603" UserId="7016" Comment="deleted 14 characters in body" Text="I guess Davide is referring to the AVID AUDIOVISION, which was Avid's DAW before they bought Digidesign and Pro Tools ruined it.&#xD;&#xA;&#xD;&#xA;To answer your question first: I'm sorry, but I don't know any video online and just had a look and couldn't find any manual or stuff like that anymore. :-(&#xD;&#xA;But I still know one or two studios who still have a working system. (But only for backup compatibility)&#xD;&#xA;&#xD;&#xA;For me AudioVision was the first DAW I worked on. I learned everything film related on it and am happy to have done so, as I still think it was a lot more focused on EDITING sound and not just track laying and mixing.&#xD;&#xA;E.g. you could select all the scene edits of a reel and then say you want a 2 frames crossfade centered on the cut. Not speaking of bins with subsequences (great for editing changes, or pasting the basic ambiences of a scene) or the clip editor for selecting the material and channels you need prior to putting it in the time line.&#xD;&#xA;Also as you mentioned clipbased gain and a bunch of other features never made it into ProTolls though some were announced to make the transition.&#xD;&#xA;&#xD;&#xA;But I can also say that with todays mixing, multichannel and Plug-In capabilities, I would not want to trade in a recent ProTools for an Audiovision. (Though for foley editing it should still be faster to get the job done - IMHO)&#xD;&#xA;&#xD;&#xA;Let's see where the future development will lead us. As long as some people have not forgotten about the benefits of such a system the ideas are still vital. (hopefully)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48591" PostHistoryTypeId="19" PostId="15786" RevisionGUID="2eaae7c5-6a38-431a-be00-6e14313187b2" CreationDate="2014-02-11T23:42:04.403" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="48598" PostHistoryTypeId="2" PostId="26840" RevisionGUID="b6a847ef-54c2-41cb-9e2d-45d5eeb9091c" CreationDate="2014-02-12T08:11:55.010" UserId="61" Text="Anyone know of a comprehensive list of the suffixes that Pro Tools plugins tack onto the end of rendered files? For example: MH4T. What the heck plugin made that??" ContentLicense="CC BY-SA 3.0" />
  <row Id="48599" PostHistoryTypeId="1" PostId="26840" RevisionGUID="b6a847ef-54c2-41cb-9e2d-45d5eeb9091c" CreationDate="2014-02-12T08:11:55.010" UserId="61" Text="List of Pro Tools plug in suffixes" ContentLicense="CC BY-SA 3.0" />
  <row Id="48600" PostHistoryTypeId="3" PostId="26840" RevisionGUID="b6a847ef-54c2-41cb-9e2d-45d5eeb9091c" CreationDate="2014-02-12T08:11:55.010" UserId="61" Text="&lt;pro-tools&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48601" PostHistoryTypeId="2" PostId="26841" RevisionGUID="362861e5-5794-446e-a604-9f4dceb69b6e" CreationDate="2014-02-12T08:14:39.163" UserId="61" Text="Tim Prebble once undertook a massive &quot;globalsourced&quot; library dealing exclusively with room tones but don't believe it ever came to fruition. Perhaps he would be a resource?&#xD;&#xA;&#xD;&#xA;Otherwise I concur with @Stavrosound; you'll more than likely need to create your own to match what you're seeing on the screen." ContentLicense="CC BY-SA 3.0" />
  <row Id="48603" PostHistoryTypeId="10" PostId="1572" RevisionGUID="4f5df0ed-d195-4e1e-aa4b-b8e44b7475da" CreationDate="2014-02-12T08:15:51.653" UserId="61" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:61,&quot;DisplayName&quot;:&quot;Jay Jennings&quot;}]}" />
  <row Id="48604" PostHistoryTypeId="5" PostId="1107" RevisionGUID="3a5be5d3-baa9-4e46-9e8b-f8df89d1ba6e" CreationDate="2014-02-12T08:40:34.677" UserId="61" Comment="added 184 characters in body" Text="It's interesting that the idea of celery foley for bone snapping has become so ingrained in people's minds. Many films and TV shows have used this approach, but it cannot be the end-all be-all sound; *they key is layering*.&#xD;&#xA;&#xD;&#xA;How you create the sound design depends on the way the scene was shot, the amount of effort being exerted, the drama of the scene, etc. That being said, a few general comments about this type of sound:&#xD;&#xA;&#xD;&#xA; - An impact sound may be necessary to convey the idea of violence. Try a punch or body blow that precedes the snap;&#xD;&#xA; - Try other foods, like cabbage, watermelon rind or broccoli. Perhaps your should check out [Tim's library][1];&#xD;&#xA; - An effort (grunt, exhale, etc) from either person will help attach your design to the image and make it more believable. Often times these sorts of sounds feel disembodied without the proper reaction from one of the characters.&#xD;&#xA;&#xD;&#xA;**UPDATE:**&#xD;&#xA;&#xD;&#xA;While re-reading my answer from 2010 (eek, that was a long time ago), I realized that I neglected to mention the easiest solution to your dilemma: Just go out and record one. Duh!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hissandaroar.com/sd001-vegetable-violence/" ContentLicense="CC BY-SA 3.0" />
  <row Id="48605" PostHistoryTypeId="34" PostId="26707" RevisionGUID="a8fa9408-e767-482e-be18-2a6b85676b42" CreationDate="2014-02-12T12:15:51.287" UserId="7361" Comment="3" />
  <row Id="48606" PostHistoryTypeId="2" PostId="26842" RevisionGUID="8b5fa672-bd15-4519-b5ea-d3c4fa800773" CreationDate="2014-02-12T13:22:07.703" UserId="37" Text="2 x keyboards = 4 line outputs-&gt;interface inputs (assuming stereo synths). On a 4-in interface all of your inputs will be constantly used up, so ideally you need a 6 or 8+ input one.&#xD;&#xA;&#xD;&#xA;re MIDI - the synths are supposed to make sound, so they also need midi _input_, not just output. K1 I/O is 2 x MIDI cables, for K2 I/O you're either stuck with midi &quot;thru&quot; on K1 (if you have it, and then think of playing K2 sounds using K1 keys), or you can look for a 2 x MIDI i/o interface (a reason I keep my [Midisport][1] 2x2). It's worth checking if you can daisy chain your devices and avoid potentially messy MIDI data or latency.&#xD;&#xA;&#xD;&#xA;As pointed in the thread, unless it's a universal input (hole in the middle) do not connect keyboard to microphone XLR input.&#xD;&#xA;&#xD;&#xA;so:&#xD;&#xA;&#xD;&#xA; - 6+ input audio interface&#xD;&#xA; - 4 x single channel leads (TS/TRS)&#xD;&#xA; - 3 or 4 x MIDI cables&#xD;&#xA;&#xD;&#xA;The 6i6 has 4 analog inputs (2 universal instrument/mic, 2 x ¼” TRS). The rest is marketing talk - the S/PDIF requires a converter from analog but that chain is not necessarily in perfect sync with the rest, and also the converters may introduce a delay so if you're hoping to use it at full i/o, prepare to be surprised. It really is beyond me why Focusrite count a single MIDI input jack as 16 inputs. (6i6 = really 4 in 4 out 1 midi i/o 1 digital i/o).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://m-audio.com/products/en_us/MIDISPORT2x2AnniversaryEdition.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="48608" PostHistoryTypeId="2" PostId="26843" RevisionGUID="cf225622-e9e1-4e4b-acea-bd119f0552e6" CreationDate="2014-02-12T15:00:52.797" UserId="6481" Text="it might seem a bit silly but for me worked combination of layers: old chocolate! (you know, the one you used to find at your grandma's with this white-ish stuff on the top of it), tiny branches and tuned finger snapping. Unfortunately, I couldn't find the final sound, but I'll try to look again back home." ContentLicense="CC BY-SA 3.0" />
  <row Id="48609" PostHistoryTypeId="5" PostId="13876" RevisionGUID="88ac7bee-b1b1-4a09-9114-31ac60b80a75" CreationDate="2014-02-12T15:44:51.833" UserId="7174" Comment="clean up" Text="I have used a NTG3 with phantom 48v from a H4N. Works great.&#xD;&#xA;Then I used a NTG2 with battery and/or phantom 48v and found the levels very low. I had to normalize in audacity etc. Not good.&#xD;&#xA;&#xD;&#xA;Mono-Mix is used to record mono (dialogue).  It makes the Zoom record the same on both channels so when you load it up into Audacity you will see the 2 stereo channels.  But the recording is the same on both - so delete one and hey presto, your mono dialogue that your post-processing sound guru will love you dearly for.&#xD;&#xA;&#xD;&#xA;My issue still stands though - the recording is low - even with rec levels maxed out. I was very surprised at this. Therefore I am doing some research into pre-amps e.g. Sound Devices MixPre and Sound Devices MM1.  However, I am taking the whole set up to some people much more experienced than I tomorrow so maybe it might be my set up that's wrong on the Zoom. I will soon know!&#xD;&#xA;&#xD;&#xA;So far it looks like a portable pre-amp is in the cards - or a NTG3.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48610" PostHistoryTypeId="5" PostId="14799" RevisionGUID="df10f084-5c88-4de0-8d3e-e43b91d36912" CreationDate="2014-02-12T15:48:07.113" UserId="7174" Comment="less conversational" Text="I always store them with silica gel (that you will most likely find in camera shops), in addition to what previous people said. Into hermetic zip lock bags, this prevent moisture and keep them perfectly dry, which is especially important when not using them for a long time." ContentLicense="CC BY-SA 3.0" />
  <row Id="48611" PostHistoryTypeId="2" PostId="26844" RevisionGUID="dbce4e6b-baeb-4033-a0e7-60cd8dfb11b5" CreationDate="2014-02-12T16:58:08.447" UserId="194" Text="Join [thesoundcollectorsclub][1] and contribute some recordings to the [echospace theme.][2]  &#xD;&#xA;&#xD;&#xA;there are some good museum recordings in there.&#xD;&#xA;&#xD;&#xA;  [1]: http://thesoundcollectorsclub.com/&#xD;&#xA;  [2]: http://thesoundcollectorsclub.com/2011/03/31/aprils-theme/" ContentLicense="CC BY-SA 3.0" />
  <row Id="48615" PostHistoryTypeId="19" PostId="10477" RevisionGUID="8403a3fc-2d6c-475c-ac5b-0bc867d403ba" CreationDate="2014-02-12T17:26:05.620" UserId="6401" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6401,&quot;DisplayName&quot;:&quot;Robert Cartaino&quot;}]}" />
  <row Id="48620" PostHistoryTypeId="2" PostId="26846" RevisionGUID="69db2833-61e7-4f7b-914b-5c75318e0d9a" CreationDate="2014-02-12T21:09:22.080" UserId="7451" Text="&#xD;&#xA;&#xD;&#xA;Ok judging by the title I am sure you are saying...&quot;what???&quot; If so, let me ask/explain.&#xD;&#xA;I have recently been tasked to designing some audio for a visual piece that entails a corrupted video feed with dialogue. The only example I can think of right now is this:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=ciwPv5vodmM&#xD;&#xA;&#xD;&#xA;In this clip, General Zod takes over the global television feed and speaks to the world. I know that there are design elements in this (layered sound effects and what not) but My question is, how to you go about designing the dialogue to distort and degrade in time with the visuals?&#xD;&#xA;&#xD;&#xA;I have seen this done in countless other movies (all of which have slipped my mind right now) but if anyone out there knows this trick, could they please share it with me? Thank you very much!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48621" PostHistoryTypeId="1" PostId="26846" RevisionGUID="69db2833-61e7-4f7b-914b-5c75318e0d9a" CreationDate="2014-02-12T21:09:22.080" UserId="7451" Text="Distorted visual sound design" ContentLicense="CC BY-SA 3.0" />
  <row Id="48622" PostHistoryTypeId="3" PostId="26846" RevisionGUID="69db2833-61e7-4f7b-914b-5c75318e0d9a" CreationDate="2014-02-12T21:09:22.080" UserId="7451" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48623" PostHistoryTypeId="2" PostId="26847" RevisionGUID="91bb040c-3435-4b74-8708-4a64322aaeec" CreationDate="2014-02-12T21:15:21.810" UserId="6432" Text="It's all down to good editing, and a good palette of sounds. I go about this by placing markers on the timeline at key points, then edit to those. It does take a while, but the results are always very satisfying afterwards. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48624" PostHistoryTypeId="2" PostId="26848" RevisionGUID="31198767-6606-4712-9a4a-ed6539ddc204" CreationDate="2014-02-12T21:37:32.933" UserId="7452" Text="Plugins by Red Giant called Trap Code - Sound Key would accomplish this effect. check some examples.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=uaghn5h1lOU&#xD;&#xA;&#xD;&#xA;http://www.redgiant.com/products/all/trapcode-sound-keys/examples/#tabs" ContentLicense="CC BY-SA 3.0" />
  <row Id="48634" PostHistoryTypeId="2" PostId="26849" RevisionGUID="27d3afd0-6f2c-4c32-aae1-ef5f82e6e601" CreationDate="2014-02-12T23:47:10.030" UserDisplayName="user49" Text="&quot;in time with the visuals&quot; - but everything in sound post is done 'in time with the visuals'&#xD;&#xA;I'm not sure I understand your question... You have a reference QT video with burnt in timecode, in a codec suitable for sound editing (ie NOT h264) and you scrub and/or crawl through the video, frame by frame if necessary, dropping markers &amp; placing/editing sounds at the sync points... right?&#xD;&#xA;&#xD;&#xA;In terms of generating elements there are tons of FSU &amp; glitch plugins out there to generate potential material.. GRM Freeze, Effectrix, Glitch etc... I would try using GRM Freeze to grab a word just before the visual glitch point &amp; then try various buffer glitch effects &amp; print them to new audio (wild, ie not in sync to picture) Then select the printed bits you want and edit them into sync...&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48635" PostHistoryTypeId="2" PostId="26850" RevisionGUID="cd90525f-2067-4d1f-9181-f5e050cbe8db" CreationDate="2014-02-13T00:10:03.090" UserId="7453" Text="I'm currently breaking down a documentary that uses quite a bit of b-roll and mono nat sound over interviews. I am curious how folks organize this kind of audio in your session. Do you stick it under dialog? With BG tracks (that will inevitably be intermixed with sound design)? As separate nat tracks? How about when there is sync dialog or action in the nat sound , but an interview is superseding it?&#xD;&#xA;&#xD;&#xA;This particular project is in multiple languages, so I am trying to look ahead to a slew of deliverables and create a session that will be most useful for printing stems ready for dubbing, etc. Trying to figure out where this kind of stuff should land in my DME&#xD;&#xA;&#xD;&#xA;Any thoughts would be greatly appreciated.&#xD;&#xA;Cheers,&#xD;&#xA;Jesse" ContentLicense="CC BY-SA 3.0" />
  <row Id="48636" PostHistoryTypeId="1" PostId="26850" RevisionGUID="cd90525f-2067-4d1f-9181-f5e050cbe8db" CreationDate="2014-02-13T00:10:03.090" UserId="7453" Text="Organizing Nat sound in documentary film" ContentLicense="CC BY-SA 3.0" />
  <row Id="48637" PostHistoryTypeId="3" PostId="26850" RevisionGUID="cd90525f-2067-4d1f-9181-f5e050cbe8db" CreationDate="2014-02-13T00:10:03.090" UserId="7453" Text="&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48638" PostHistoryTypeId="2" PostId="26851" RevisionGUID="659af48e-0c9e-4207-be67-cd487982298e" CreationDate="2014-02-13T04:55:42.170" UserId="7434" Text="When I slow down the tempo of a song that has samples in it (samples cut from other songs not loops) the samples start to clip. Shouldn't changing the tempo of a sample just change the pitch? Is Ableton automatically preventing this, which is causing them to clip? How can I prevent this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48639" PostHistoryTypeId="1" PostId="26851" RevisionGUID="659af48e-0c9e-4207-be67-cd487982298e" CreationDate="2014-02-13T04:55:42.170" UserId="7434" Text="Samples clipping in Ableton" ContentLicense="CC BY-SA 3.0" />
  <row Id="48640" PostHistoryTypeId="3" PostId="26851" RevisionGUID="659af48e-0c9e-4207-be67-cd487982298e" CreationDate="2014-02-13T04:55:42.170" UserId="7434" Text="&lt;ableton&gt;&lt;ableton-live&gt;&lt;samples&gt;&lt;clipping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48641" PostHistoryTypeId="36" PostId="26852" RevisionGUID="2ab1119a-4f1e-4ea2-b8d3-b0ce04d4cd1c" CreationDate="2014-02-13T05:12:54.410" UserId="-1" Comment="from http://video.stackexchange.com/questions/3620/which-free-tools-exists-to-create-chiptunes-8-bit-music-on-mac-osx" />
  <row Id="48642" PostHistoryTypeId="36" PostId="26853" RevisionGUID="51cf4540-83e7-4441-9ef7-5562417201f8" CreationDate="2014-02-13T05:12:54.410" UserId="-1" Comment="from http://video.stackexchange.com/questions/3620/which-free-tools-exists-to-create-chiptunes-8-bit-music-on-mac-osx/4671#4671" />
  <row Id="48643" PostHistoryTypeId="2" PostId="26853" RevisionGUID="93efe068-7cb6-4a71-9256-25675909736c" CreationDate="2012-09-06T13:51:27.287" UserId="7211" Text="Personally I have magical 8-bit, pooBoy2, peach, rebar, toad, triforce and ymVST. All of which I got for free.&#xD;&#xA;&#xD;&#xA;However if you are serious about making chip music I wholeheartedly recommend getting yourself an old &quot;grey brick&quot; Gameboy and the Little Sound DJ (LSDJ) software. As it gives you full control over the soundchip and you can achieve some great effects which are difficult to emulate with VSTs.&#xD;&#xA;&#xD;&#xA;Hope this is helpful :D&#xD;&#xA;&#xD;&#xA;P.S - [Here is the main site of LSDJ if you are interested][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://littlesounddj.com/lsd/ &quot;LSDJ site&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48644" PostHistoryTypeId="2" PostId="26852" RevisionGUID="619e3b6b-b175-407d-a424-1909806015c6" CreationDate="2012-03-21T15:57:40.963" UserId="7459" UserDisplayName="bigp" Text="I've been looking for a sequencer / editor so that I can create Chiptunes on a Mac Pro workstation.&#xD;&#xA;&#xD;&#xA;I've found some resources on [Woolyss.com][1] which mentions MML (Music Markup Language) is used to write that kind of music.&#xD;&#xA;&#xD;&#xA;However, I find most of the installation processes for its suggested apps / plugins are too complicated.&#xD;&#xA;&#xD;&#xA;Is there any standalone software (or an app that runs in the browser even) that can easily create Chiptunes on Mac OSX?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://woolyss.com/chipmusic-mml.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="48645" PostHistoryTypeId="1" PostId="26852" RevisionGUID="619e3b6b-b175-407d-a424-1909806015c6" CreationDate="2012-03-21T15:57:40.963" UserId="7459" UserDisplayName="bigp" Text="Which free tools exists to create Chiptunes / 8-bit music on Mac OSX?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48646" PostHistoryTypeId="3" PostId="26852" RevisionGUID="619e3b6b-b175-407d-a424-1909806015c6" CreationDate="2012-03-21T15:57:40.963" UserId="7459" UserDisplayName="bigp" Text="&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48647" PostHistoryTypeId="36" PostId="26854" RevisionGUID="8d9c17f2-eb8d-489f-91d5-4946ea1e91f2" CreationDate="2014-02-13T05:13:08.270" UserId="-1" Comment="from http://video.stackexchange.com/questions/5078/how-to-improve-live-sound-within-poor-stage-layout" />
  <row Id="48648" PostHistoryTypeId="36" PostId="26855" RevisionGUID="8dee1615-5b69-4137-8849-72145b92ee91" CreationDate="2014-02-13T05:13:08.270" UserId="-1" Comment="from http://video.stackexchange.com/questions/5078/how-to-improve-live-sound-within-poor-stage-layout/5081#5081" />
  <row Id="48649" PostHistoryTypeId="2" PostId="26855" RevisionGUID="3e85a742-3b0b-4e7c-af32-920491bf81c2" CreationDate="2012-10-17T21:36:38.163" UserId="7188" Text="Refer to attached png![enter image description here][1]&#xD;&#xA;Mount PA speakers on outside of hole, on sides as per black rectangles in picture.&#xD;&#xA;Place guitar and bass amps/speakers (in red) in rear of hole, also center trap set (drum kit in blue). Do not use floor monitors, instead have every amp mic'ed including PA, and mix with output into &quot;In-Ear&quot; system. Everyone wears an ear piece.&#xD;&#xA;&#xD;&#xA;UPDATE:&#xD;&#xA;Can't afford an &quot;In-Ear&quot; system. Ok, let's explore what you can do with just the gear you normally might expect to bring to a gig. Simply a PA system for the singer(s) and amps for guitars, bass, and keys, and likely nothing for the drum kit which is usually the loudest acoustic thing you have anyways.&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;The basic idea here is to have your instrument amps in the rear as well as the drums to use the 'hole' as a band shell that acoustically acts as mixer and resonator. Mics up front will pick some of this up, but keep the PA system in front of the mics and to the side as to reduce feedback. You might experiment with skewing the PA speakers slightly toward the stage, tweak until it starts to feedback then back off. Once you think you have it, get your friend that has the best ears and knows your band's sound to step in front, and walk around the room and give you some input about adding or subtracting volume on each instrument amp etc. Bottom line you won't have much of a monitor but you have a good chance of making a good mix for the audience.&#xD;&#xA;&#xD;&#xA;If you do have some extra monitors and a spare mixer, you might put two mics on stage, one 1/3 from left side, the other 1/3 from right side. Use the extra speakers to face sideways so the 'hole' isn't reflecting it. This way you have a bit of a slice of the total sound to help you hear yourselves.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/lkaS6.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/gPXXx.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="48650" PostHistoryTypeId="2" PostId="26856" RevisionGUID="9d06cac1-3dcd-40d8-a73f-2459bf4536d2" CreationDate="2012-10-18T19:56:52.973" UserId="7462" UserDisplayName="byronyasgur" Text="You should have a good listen to the stage when it's quiet and see if there are any strange echos or booms etc &#xD;&#xA;&#xD;&#xA;I would guess that bass trapping would help fix your problem, seeing as you say the sound is muddy and unclear. From the little I know about it muddiness tends to come from excessive bass reverb in the room ( often masked by mid/top reverb ) .... the vast majority of concert halls and recording studios pay great attention to bass trapping as it's one of the single most dominant causes of bad sound. This is probably all over the larger room not just on the stage but it depends and there are others far more expert than me in this field.&#xD;&#xA;&#xD;&#xA;The good thing is that its fairly easy to diagnose, but you need some materials, which are by definition bulky. Just get lots of sound deadening material and put it in and around the stage ( corners are best ) and see if it improves things, if it does you can do the same thing except on a more permanent basis.&#xD;&#xA;I say around the stage as you probably have no option on the rest of the room but really it's probably a room problem not a stage problem though I think any dense absorption in any part of the room will absorb the bass reverb even if it's in another part ( but I could be wrong on this ) &#xD;&#xA;&#xD;&#xA;Sound deadening material ( for bass ) must me very heavy, dense and thick. A big couch for example, or a stack of mattresses or something. The more you have the better ... in fact it might take a lot more than you realise to get an effect, ( and if there are hard walls and floor you need a heap)  which is why you can get strategic with it by placing your bass traps at node points ( which I'm sorry to say I don't know how to calculate but if you google johnlslayer or ethanwiter then you will find lots more ) .... the no 1 strategy thought is to trap the corners ( remembering corners in the roof and floor lines if you can use them ) &#xD;&#xA;&#xD;&#xA;for instance a nice ad hoc bass trap would be to stack several rolls of rockwool ( which is perfect for this ) on top of one another in each corner right up to the ceiling, making them safe of course. You can drape fabic over them if you want but that's it you don't unroll them or take them out of the plastic or anything.&#xD;&#xA;&#xD;&#xA;It's a job you get done by degrees and try to spend as little as possible as much of the materials will be available from non pro sources - of course you can get professional treatment kits and ethan winner actually sells several pro bass traps too.&#xD;&#xA;&#xD;&#xA;Check also for any strange flutter reverbs or anything else that you can reduce with strategically placing sound deadening material around ( remember you need depth of material to get low frequencies which are normally the issue; and thin materials will get the top and mids which you normally want to leave present unless they're part of a flutter or something or unless you want a totally dead room, which isn't ideal. You can google RT60 time for your particular type of music to find more on that one." ContentLicense="CC BY-SA 3.0" />
  <row Id="48651" PostHistoryTypeId="2" PostId="26854" RevisionGUID="2ef771d4-f8ab-4b4a-bbba-d553214d4205" CreationDate="2012-10-17T14:18:02.233" UserDisplayName="Turgs" Text="A local venue has live music for rock bands, but the sound is very muddy and unclear.&#xD;&#xA;&#xD;&#xA;I think a lot of the sound problems are due to the position of the stage, which is push back *into* the wall, like so:&#xD;&#xA;&#xD;&#xA;![](http://i.stack.imgur.com/wHLnH.png)&#xD;&#xA;&#xD;&#xA;Obviously, the monitor speakers exacerbate the problem by directing sound directly back into the &quot;hole&quot; causing a lot of bouncing sound off a lot of walls.&#xD;&#xA;&#xD;&#xA;If the venue can't change *where* the stage is located, what could they do to improve the sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48652" PostHistoryTypeId="1" PostId="26854" RevisionGUID="2ef771d4-f8ab-4b4a-bbba-d553214d4205" CreationDate="2012-10-17T14:18:02.233" UserDisplayName="Turgs" Text="How to improve live sound within poor stage layout?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48653" PostHistoryTypeId="3" PostId="26854" RevisionGUID="2ef771d4-f8ab-4b4a-bbba-d553214d4205" CreationDate="2012-10-17T14:18:02.233" UserDisplayName="Turgs" Text="&lt;echo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48654" PostHistoryTypeId="36" PostId="26856" RevisionGUID="95c8c0d3-df2e-442a-bb6e-a6107357846e" CreationDate="2014-02-13T05:13:08.270" UserId="-1" Comment="from http://video.stackexchange.com/questions/5078/how-to-improve-live-sound-within-poor-stage-layout/5116#5116" />
  <row Id="48655" PostHistoryTypeId="36" PostId="26857" RevisionGUID="1f5b029d-f6b8-4c82-8bf1-acfb1d4998ba" CreationDate="2014-02-13T05:13:20.240" UserId="-1" Comment="from http://video.stackexchange.com/questions/9193/acapella-vocals-samples" />
  <row Id="48656" PostHistoryTypeId="36" PostId="26858" RevisionGUID="d8b2883a-24e8-46ee-8752-a7662e8d2663" CreationDate="2014-02-13T05:13:20.240" UserId="-1" Comment="from http://video.stackexchange.com/questions/9193/acapella-vocals-samples/9194#9194" />
  <row Id="48657" PostHistoryTypeId="2" PostId="26858" RevisionGUID="184afbb7-0bc7-4380-a0bc-a1d57c27bc85" CreationDate="2013-10-17T18:59:32.057" UserId="7174" Text="They purchased it from the artist, or possibly the record company.  There is no other clean or effective option.  Sound, and particularly voices are complex and once you mix sounds together, they can't be separated cleanly.  It's kind of like if you mix water from one cup with water in another cup, you can't get the water back in the cups they came from.&#xD;&#xA;&#xD;&#xA;If you had the exact copy of everything but the vocals, you could do a subtraction (invert phase and mix together), but if you don't have either the instruments or the vocal track, you can't separate them cleanly.  Also, if anything was altered with an instrumental track, it wouldn't work right either, though it might still get a passable result." ContentLicense="CC BY-SA 3.0" />
  <row Id="48658" PostHistoryTypeId="2" PostId="26859" RevisionGUID="26e06683-364b-4f8c-9bf8-2a2e582e3af1" CreationDate="2013-10-17T23:11:54.843" UserId="7213" Text="The generic term for split / separated tracks is &quot;stems&quot;. If you google &quot;vocal stems&quot; you'll find free ones for random songs, not hits but usable. Vocal stems for popular songs are usually available (at a price) from the label or artist." ContentLicense="CC BY-SA 3.0" />
  <row Id="48659" PostHistoryTypeId="2" PostId="26857" RevisionGUID="01bdb1fd-07af-4634-904c-83b5188211dc" CreationDate="2013-10-17T18:04:19.733" UserId="6561" Text="There is a lot of track remixes online.&#xD;&#xA;Most of producers use separated vocals from songs.&#xD;&#xA;It is almost impossible that they could cut only vocal out of total track in such good quality.&#xD;&#xA;What is more, anywhere in the network is not available finished dry vocal version.&#xD;&#xA;&#xD;&#xA;So how is it possible that they are in possession of such good vocal version? &#xD;&#xA;Assume also that they have not purchased it from the artist.&#xD;&#xA;&#xD;&#xA;Please tell me HOW?? O_O&#xD;&#xA;&#xD;&#xA;Thx" ContentLicense="CC BY-SA 3.0" />
  <row Id="48660" PostHistoryTypeId="1" PostId="26857" RevisionGUID="01bdb1fd-07af-4634-904c-83b5188211dc" CreationDate="2013-10-17T18:04:19.733" UserId="6561" Text="Acapella (vocals) samples" ContentLicense="CC BY-SA 3.0" />
  <row Id="48661" PostHistoryTypeId="3" PostId="26857" RevisionGUID="01bdb1fd-07af-4634-904c-83b5188211dc" CreationDate="2013-10-17T18:04:19.733" UserId="6561" Text="&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48662" PostHistoryTypeId="36" PostId="26859" RevisionGUID="6dd8d5a5-6d19-4096-b12a-efa5382478ae" CreationDate="2014-02-13T05:13:20.240" UserId="-1" Comment="from http://video.stackexchange.com/questions/9193/acapella-vocals-samples/9196#9196" />
  <row Id="48663" PostHistoryTypeId="36" PostId="26860" RevisionGUID="d32f4f1e-8407-4d67-accb-7dadfc1a4da7" CreationDate="2014-02-13T05:13:30.350" UserId="-1" Comment="from http://video.stackexchange.com/questions/2696/connect-1-4-inch-trs-to-1-8-inch-stereo-input-on-computer" />
  <row Id="48664" PostHistoryTypeId="36" PostId="26861" RevisionGUID="b3bf2040-d934-4e5a-b059-1aa45485ee06" CreationDate="2014-02-13T05:13:30.350" UserId="-1" Comment="from http://video.stackexchange.com/questions/2696/connect-1-4-inch-trs-to-1-8-inch-stereo-input-on-computer/2697#2697" />
  <row Id="48665" PostHistoryTypeId="36" PostId="26862" RevisionGUID="3216d6dd-f241-4103-9483-122dc6a59a26" CreationDate="2014-02-13T05:13:30.350" UserId="-1" Comment="from http://video.stackexchange.com/questions/2696/connect-1-4-inch-trs-to-1-8-inch-stereo-input-on-computer/2699#2699" />
  <row Id="48667" PostHistoryTypeId="2" PostId="26861" RevisionGUID="9524259e-de7f-45f7-a2ba-47a742a2c572" CreationDate="2011-11-26T05:52:44.417" UserId="7045" Text="You can get adapters for this, but the sound will be much better if you get a sound card that has the TRS outputs, or if you use an external breakout box (USB or Firewire, USB on most PCs.) " ContentLicense="CC BY-SA 3.0" />
  <row Id="48668" PostHistoryTypeId="2" PostId="26862" RevisionGUID="612d5aa9-98b1-4e31-b740-0096ea09c5da" CreationDate="2011-11-26T15:09:25.870" UserId="7016" Text="The problem with an adapter is that you lose the features balanced outputs gives you - most importantly is the low noise floor and immunity to interference balanced cables give you. &#xD;&#xA;&#xD;&#xA;As Neil says, get a decent sound card with balanced outputs." ContentLicense="CC BY-SA 3.0" />
  <row Id="48670" PostHistoryTypeId="2" PostId="26860" RevisionGUID="375e9b54-cfbf-4bb8-9f30-9706df427da1" CreationDate="2011-11-26T01:34:15.060" UserDisplayName="miahelf" Text="Can anyone tell me how to connect my studio monitor speakers with an XLR or 1/4 inch TRS input to my 1/8 inch stereo output on my computer sound card? I don't see any adapters or cords that convert TRS to regular unbalanced stereo. Is this is possible without a mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48671" PostHistoryTypeId="1" PostId="26860" RevisionGUID="375e9b54-cfbf-4bb8-9f30-9706df427da1" CreationDate="2011-11-26T01:34:15.060" UserDisplayName="miahelf" Text="Connect 1/4 inch TRS to 1/8 inch stereo input on computer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48672" PostHistoryTypeId="3" PostId="26860" RevisionGUID="375e9b54-cfbf-4bb8-9f30-9706df427da1" CreationDate="2011-11-26T01:34:15.060" UserDisplayName="miahelf" Text="&lt;cable&gt;&lt;xlr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48673" PostHistoryTypeId="36" PostId="26864" RevisionGUID="4ca18530-0f37-4ce0-adab-6f5b3048b064" CreationDate="2014-02-13T05:13:41.947" UserId="-1" Comment="from http://video.stackexchange.com/questions/270/what-is-side-chain-compression" />
  <row Id="48674" PostHistoryTypeId="36" PostId="26865" RevisionGUID="fa4a83e7-aea5-49fe-8d53-bce6f3b55c7b" CreationDate="2014-02-13T05:13:41.947" UserId="-1" Comment="from http://video.stackexchange.com/questions/270/what-is-side-chain-compression/271#271" />
  <row Id="48675" PostHistoryTypeId="36" PostId="26866" RevisionGUID="60741d36-2731-4263-9c5f-f235eede0898" CreationDate="2014-02-13T05:13:41.947" UserId="-1" Comment="from http://video.stackexchange.com/questions/270/what-is-side-chain-compression/273#273" />
  <row Id="48676" PostHistoryTypeId="2" PostId="26865" RevisionGUID="5947e385-d474-4a0a-836d-824d9e65a0be" CreationDate="2010-12-14T14:34:44.670" UserId="7209" Text="With standard compression, the level of the input is used to control the compression.  So, when you have loud levels on the input, the compressor works with the input signal and knocks them down, sending them to the output.&#xD;&#xA;&#xD;&#xA;Side chain compression has two inputs.  One is the signal to be processed, and the other to control the compression.  You hear it a lot in electronic music where the kicks come in and everything else ducks out of the way and comes right back after the kick.&#xD;&#xA;&#xD;&#xA;So with side chain compression, when there is a loud level on the side chain input, the levels of the regular input signal are reduced.&#xD;&#xA;&#xD;&#xA;![Side Chain Compression Block Diagram][1]&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Dynamic_range_compression#Side-chaining&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/UJV6g.png" ContentLicense="CC BY-SA 2.5" />
  <row Id="48677" PostHistoryTypeId="2" PostId="26866" RevisionGUID="24b3bef8-0502-4b8a-aaef-104f2123fd8d" CreationDate="2010-12-14T15:55:49.967" UserDisplayName="jan" Text="Brad's schema is correct.  &#xD;&#xA;&#xD;&#xA;Additionally, using the side-chain gives you an important feature: it allows you to filter the input signal separately, before it is fed to the compressor.   &#xD;&#xA;Using most commonly hi- &amp; low-pass filters, you can say:&#xD;&#xA;&#xD;&#xA;&gt; I want to compress the full signal, but only when the threshold is surpassed in the range 20 Hz - 200 Hz&#xD;&#xA;&#xD;&#xA;This way when the signal has transients outside this frequency range, the compressor doesn't hear these and doesn't react.&#xD;&#xA;&#xD;&#xA;It's a **side**-chain, because it's still the complete signal that gets compressed and sent out.&#xD;&#xA;&#xD;&#xA;* To check which frequencies you're using as side-chain input, some compressors have a &quot;Side-chain listen&quot; button.  If you push this, you send the side-chain signal straight to the output.&#xD;&#xA;&#xD;&#xA;* Next to compressors, most gates have this same feature:&#xD;&#xA;&#xD;&#xA;&gt; I want the gate on my Kickdrum only to open when the threshold is surpassed in the range 20 Hz - 200 Hz&#xD;&#xA;&#xD;&#xA;This way, the sound of e.g. the snare drum doesn't trigger the gate." ContentLicense="CC BY-SA 2.5" />
  <row Id="48678" PostHistoryTypeId="2" PostId="26864" RevisionGUID="114d30db-40f9-4d34-a377-7ec2e3ae08bd" CreationDate="2010-12-14T14:19:33.163" UserDisplayName="Dan McClain" Text="I've heard mention of side chaining or side chain compression in reference to electronic music (specifically Daft Punk).  What is it?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="48679" PostHistoryTypeId="1" PostId="26864" RevisionGUID="114d30db-40f9-4d34-a377-7ec2e3ae08bd" CreationDate="2010-12-14T14:19:33.163" UserDisplayName="Dan McClain" Text="What is side chain compression?" ContentLicense="CC BY-SA 2.5" />
  <row Id="48680" PostHistoryTypeId="3" PostId="26864" RevisionGUID="114d30db-40f9-4d34-a377-7ec2e3ae08bd" CreationDate="2010-12-14T14:19:33.163" UserDisplayName="Dan McClain" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="48681" PostHistoryTypeId="36" PostId="26867" RevisionGUID="2d1f853b-7e97-4920-a5f7-06a3639cc03c" CreationDate="2014-02-13T05:13:54.243" UserId="-1" Comment="from http://video.stackexchange.com/questions/7497/side-chaining-noise-gate" />
  <row Id="48682" PostHistoryTypeId="2" PostId="26868" RevisionGUID="b302ad46-f223-4ceb-af1a-c4ed5ca8e322" CreationDate="2013-03-26T10:35:04.040" UserId="7652" UserDisplayName="MikeJones" Text="Yes, your theory is correct.  If side chained the gate on Vocal2 will only be open when vocal1 is above the threshold gain.&#xD;&#xA;&#xD;&#xA;Explanation of side chaining: http://www.soundonsound.com/sos/nov06/articles/sidechain.htm&#xD;&#xA;&#xD;&#xA;Setting up a side chain: http://brianboylemusic.com/2011/05/10/side-chain-compression-explained/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48683" PostHistoryTypeId="2" PostId="26867" RevisionGUID="b983a730-23fa-4d68-9b23-54b60498d2e1" CreationDate="2013-03-26T09:01:44.590" UserId="7325" Text="I'm trying to understand side chains and I think I have figured out a useful situation where to use it, ideally I'd like some one to confirm if this an appropriate use or at least, I've understood the theory. This does mean the answer could possibly be very short!&#xD;&#xA;&#xD;&#xA;I've never found explaining something so difficult as explaining audio!&#xD;&#xA;&#xD;&#xA;When doubling tracking vocals, I often find the ends of words/phrases aren't perfect with each other (it's hard to describe), meaning there is a timing issue or an 's' sound went on longer on one take compared to the other.&#xD;&#xA;&#xD;&#xA;When I double track, I typically have 1 voice on top of the other (meaning vocal1 is 10db louder than vocal2). In this instance, the quieter voice still does it's job but sadly it's not so quiet I can't hear the fact the 2 voices are out of time.&#xD;&#xA;&#xD;&#xA;I was hoping I could use a side chain and a gate. This means that, when my vocal1 has  audio playing, the gate is totally open. When vocal1 finishes, the gate is totally closed, killing vocal2 regardless of whether there is any audio being performed at that stage on vocal2.&#xD;&#xA;&#xD;&#xA;I know this process only works for the ends of the words where vocal2 goes on longer, but that is fine.&#xD;&#xA;&#xD;&#xA;Is my theory/conception correct?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48684" PostHistoryTypeId="1" PostId="26867" RevisionGUID="b983a730-23fa-4d68-9b23-54b60498d2e1" CreationDate="2013-03-26T09:01:44.590" UserId="7325" Text="Side chaining noise gate" ContentLicense="CC BY-SA 3.0" />
  <row Id="48685" PostHistoryTypeId="3" PostId="26867" RevisionGUID="b983a730-23fa-4d68-9b23-54b60498d2e1" CreationDate="2013-03-26T09:01:44.590" UserId="7325" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48686" PostHistoryTypeId="36" PostId="26868" RevisionGUID="ba3127dc-215d-4743-b49a-eb8802e4b312" CreationDate="2014-02-13T05:13:54.243" UserId="-1" Comment="from http://video.stackexchange.com/questions/7497/side-chaining-noise-gate/7502#7502" />
  <row Id="48687" PostHistoryTypeId="36" PostId="26869" RevisionGUID="158c1a68-8ced-41d2-9b21-ecc1a8f88a13" CreationDate="2014-02-13T05:13:54.243" UserId="-1" Comment="from http://video.stackexchange.com/questions/7497/side-chaining-noise-gate/7514#7514" />
  <row Id="48688" PostHistoryTypeId="36" PostId="26870" RevisionGUID="af9f4fbe-900b-4702-8303-a9f0b1c27215" CreationDate="2014-02-13T05:13:54.243" UserId="-1" Comment="from http://video.stackexchange.com/questions/7497/side-chaining-noise-gate/7649#7649" />
  <row Id="48689" PostHistoryTypeId="2" PostId="26869" RevisionGUID="fdf46ba6-9c29-4d84-abb4-e7b681ec74b8" CreationDate="2013-03-28T00:24:37.980" UserDisplayName="escalation746" Text="I think you are on the way to your result!&#xD;&#xA;&#xD;&#xA;But you might find that this produces a rather unnatural sound, since you are truncating the natural envelope of the human voice... and that is something we are *very* sensitive to. If you can control the gate to increase the release time, this will help. If it is suitable to add a little bit of reverb dedicated to this second track, that might be good too." ContentLicense="CC BY-SA 3.0" />
  <row Id="48690" PostHistoryTypeId="2" PostId="26870" RevisionGUID="1637f0ec-7497-40b8-8f86-a695e49e1812" CreationDate="2013-04-13T04:07:37.807" UserDisplayName="user3938" Text="[VocAlign](http://www.synchroarts.com/index.php?PAGEID=products&amp;ID=vocalign) plugin does exactly what you're looking for, which is to align 2 or more vocal tracks so that they are perfectly in sync.&#xD;&#xA;&#xD;&#xA;From their website:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=r4xsFxDhDgE" ContentLicense="CC BY-SA 3.0" />
  <row Id="48691" PostHistoryTypeId="36" PostId="26871" RevisionGUID="ea4d90a3-a1e6-4e5e-a9be-07562c2e3c2b" CreationDate="2014-02-13T05:14:12.667" UserId="-1" Comment="from http://video.stackexchange.com/questions/1683/shield-my-amp-from-my-cell-phone" />
  <row Id="48692" PostHistoryTypeId="2" PostId="26872" RevisionGUID="94395954-6387-4404-adc4-11ae9fed2968" CreationDate="2011-07-06T00:21:03.780" UserDisplayName="Clint Torres" Text="It's a lot easier and cheaper to remove the problem (your cell phone) from the situation, than it is to shield all your components.&#xD;&#xA;&#xD;&#xA;Depending on how your desk, wiring, and amplifier are arranged, you may be able to get away with one of the imperfect ideas and solutions mentioned at http://blogs.middlebury.edu/petar/2011/04/08/shielding-audio-equipment-from-cell-phone-interference/&#xD;&#xA; and putting your cell phone on an anti-static bag on your desk.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48693" PostHistoryTypeId="2" PostId="26871" RevisionGUID="1700bbda-6790-4410-9685-ef6afeef68a6" CreationDate="2011-07-03T08:22:04.947" UserId="7231" Text="I have a crappy stereo system driving my monitors (it's a bit hacky I know, but I didn't have to spend money buying it). It has a nasty habit of picking up cell phone interference: that annoying sound that's cross between morse code and a dialup connection. My cell phone is on my desk, and I've situated it in a way that minimizes the amplitude of interference. (The frequency only occurs when connected to the Edge network, interestingly, 3G signal goes by unnoticed.)&#xD;&#xA;&#xD;&#xA;What's the most efficient way to shield my stereo amp from my cell phone? None of my other components pick this up--would I have to mess with electronics inside the amplifier, or is it possible to construct some sort of faraday cage, either around the amp or around the phone? Knowing that a full cage around the phone would block reception, is it possible to simply put some sort of material in the line of sight between the phone and amp to solve the problem without losing reception?&#xD;&#xA;&#xD;&#xA;**Edit:**  &#xD;&#xA;The problem component is an [RCA RS2042 Stereo](http://www.buy.com/prod/rca-rs2042-neo-5-bookshelf-system/q/loc/111/90131766.html). (Compact, consumer grade, 5-CD changer, 90 or so watts.) Its aux input is connected (with unbalanced RCA) to a Mackie 402-VLZ3. I've done enough troubleshooting so far to know that it's not even this 6-feet of unbalanced cable that's picking up the interference. It doesn't show up anywhere else in the system, and it is even picked up by the stereo when nothing else is plugged into it. The tiny gauge speaker wire isn't even the problem--there's a headphone jack on the amp/receiver. To be clear: _the amp/receiver alone with no input and no speakers picks up interference that can be heard through headphones._ These headphones pick up no interferences when being driven by the mixer." ContentLicense="CC BY-SA 3.0" />
  <row Id="48694" PostHistoryTypeId="1" PostId="26871" RevisionGUID="1700bbda-6790-4410-9685-ef6afeef68a6" CreationDate="2011-07-03T08:22:04.947" UserId="7231" Text="Shield my amp from my cell phone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48695" PostHistoryTypeId="3" PostId="26871" RevisionGUID="1700bbda-6790-4410-9685-ef6afeef68a6" CreationDate="2011-07-03T08:22:04.947" UserId="7231" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48696" PostHistoryTypeId="36" PostId="26872" RevisionGUID="c25f6fb0-5eb0-43e9-96a8-681105b9716a" CreationDate="2014-02-13T05:14:12.667" UserId="-1" Comment="from http://video.stackexchange.com/questions/1683/shield-my-amp-from-my-cell-phone/1701#1701" />
  <row Id="48697" PostHistoryTypeId="36" PostId="26873" RevisionGUID="b19e1419-4aee-4363-9f21-3c60b2d24d56" CreationDate="2014-02-13T05:14:22.043" UserId="-1" Comment="from http://video.stackexchange.com/questions/3339/are-there-different-versions-of-the-adam-sub8-subwoofer" />
  <row Id="48698" PostHistoryTypeId="2" PostId="26874" RevisionGUID="dab6cfb7-16f4-40db-a607-304d6b6e13d1" CreationDate="2012-06-06T19:52:26.827" UserId="7465" UserDisplayName="david" Text="After being in contact with the ADAM Support it turned out Adam mixed the pictures up the the panel of the Sub10.&#xD;&#xA;&#xD;&#xA;Indeed there have been some revisions of the Sub8 but the changes where small enough not to be reflected in the product description." ContentLicense="CC BY-SA 3.0" />
  <row Id="48699" PostHistoryTypeId="2" PostId="26873" RevisionGUID="efb84b1e-3fcd-4506-b415-f209f5cc0948" CreationDate="2012-02-17T15:07:54.507" UserId="7465" UserDisplayName="david" Text="I own a pair of the lovely Adam A7X. Now I'd like to extend its lower range capabilities by buying an Adam Sub8 on eBay. The seller states that it is from 2008. But now I've noticed that the back panel with the connectors is located on the bottom of the subwoofer while the current pictures on the Adam website show the panel on the top. &#xD;&#xA;&#xD;&#xA;![Sub8 from 2008 on eBay][1]&#xD;&#xA;![Current Adam Sub8 Model][2]&#xD;&#xA;&#xD;&#xA;So I asked myself if there are any other differences on those two Sub8 versions? I know there is an Adam Sub10 and Sub10 Mk II but afaik there's no newer Sub8.&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/ftRTH.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/09aNl.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="48700" PostHistoryTypeId="1" PostId="26873" RevisionGUID="efb84b1e-3fcd-4506-b415-f209f5cc0948" CreationDate="2012-02-17T15:07:54.507" UserId="7465" UserDisplayName="david" Text="Are there different versions of the Adam Sub8 Subwoofer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48701" PostHistoryTypeId="3" PostId="26873" RevisionGUID="efb84b1e-3fcd-4506-b415-f209f5cc0948" CreationDate="2012-02-17T15:07:54.507" UserId="7465" UserDisplayName="david" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48702" PostHistoryTypeId="36" PostId="26874" RevisionGUID="a234e144-2ea8-41bd-9ba0-5450826e071d" CreationDate="2014-02-13T05:14:22.043" UserId="-1" Comment="from http://video.stackexchange.com/questions/3339/are-there-different-versions-of-the-adam-sub8-subwoofer/4124#4124" />
  <row Id="48709" PostHistoryTypeId="36" PostId="26877" RevisionGUID="aa2c15e1-357e-487d-a37f-75405a8ecdd4" CreationDate="2014-02-13T05:14:45.437" UserId="-1" Comment="from http://video.stackexchange.com/questions/5221/studio-bass-traps-accoustic-panels-is-there-a-limit" />
  <row Id="48710" PostHistoryTypeId="36" PostId="26878" RevisionGUID="6f37d2ee-7e78-44c1-b1c7-59088703d646" CreationDate="2014-02-13T05:14:45.437" UserId="-1" Comment="from http://video.stackexchange.com/questions/5221/studio-bass-traps-accoustic-panels-is-there-a-limit/5223#5223" />
  <row Id="48711" PostHistoryTypeId="2" PostId="26878" RevisionGUID="389ab417-62c6-43d9-9590-09df23b82e93" CreationDate="2012-11-01T18:17:57.630" UserId="6957" Text="There is no _proper_ amount of acoustic treatment for a room.  It depends on what kind of room sound you're going for.&#xD;&#xA;&#xD;&#xA;If you're going for a dead room, then no, there is no limit.&#xD;&#xA;&#xD;&#xA;If you're going for anything else, then yes, there is a limit.&#xD;&#xA;&#xD;&#xA;If you're not sure, there are two ways to approach it:&#xD;&#xA;&#xD;&#xA; - Experiment... see what you like.  How does the room sound for performance?  How does the room sound for recording, etc...  Make changes.  You'll find something that you're satisfied with.&#xD;&#xA; - Look into a technical acoustic measurement of the room, and purchase treatments to help mitigate the specific trouble-spots present. E.g., these standing waves, these frequency spikes in this corner, etc..." ContentLicense="CC BY-SA 3.0" />
  <row Id="48712" PostHistoryTypeId="2" PostId="26877" RevisionGUID="c1807c85-576d-4f62-b14d-0f2f06971017" CreationDate="2012-11-01T15:09:01.447" UserDisplayName="Philip" Text="I wonder if there is a limit on how many basstraps and accoustic panels you should use for a room?&#xD;&#xA;&#xD;&#xA;I mean, could it be negative in having to many on your walls?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48713" PostHistoryTypeId="1" PostId="26877" RevisionGUID="c1807c85-576d-4f62-b14d-0f2f06971017" CreationDate="2012-11-01T15:09:01.447" UserDisplayName="Philip" Text="Studio - Bass traps &amp; Accoustic Panels - Is there a limit?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48714" PostHistoryTypeId="3" PostId="26877" RevisionGUID="c1807c85-576d-4f62-b14d-0f2f06971017" CreationDate="2012-11-01T15:09:01.447" UserDisplayName="Philip" Text="&lt;studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48715" PostHistoryTypeId="36" PostId="26879" RevisionGUID="305f81e3-e8ca-45b9-beaa-02307ffbe584" CreationDate="2014-02-13T05:14:59.390" UserId="-1" Comment="from http://video.stackexchange.com/questions/8186/sound-proofing-of-studio-equipment" />
  <row Id="48716" PostHistoryTypeId="2" PostId="26880" RevisionGUID="ffd66917-50fb-42eb-a3c0-420234d2b4dd" CreationDate="2013-06-22T19:16:55.273" UserId="7343" Text="If you want it to be really quiet and wont be accessing the amps after they are installed, your best bet might be to just put them in a seperate room so that it will be acoustically isolated completely. If they are in the same room, you might want a case with a door to reduce the sound the amps produce." ContentLicense="CC BY-SA 3.0" />
  <row Id="48717" PostHistoryTypeId="2" PostId="26879" RevisionGUID="ff458883-060c-4b4a-93bb-9fa18ecd26d7" CreationDate="2013-06-22T18:10:22.440" UserDisplayName="Jodes" Text="I want to build an acoustically isolated rack for some studio equipment, and would like advice on its design. I need to reduce the volume of the fans of the amplifiers. Their power dissipation are low, so I will likely just need a single quiet pc fan for cooling the rack; I have found fans that are significantly quieter than those of the amplifiers, so I could simply mount one on the rack. However I don't know:&#xD;&#xA;&#xD;&#xA;**what the rack should be constructed of for appropriate attenuation, or what linings to use, and any other measures such as mounts for the rack (which will be floor-standing on concrete), and mounting the amps to the rack. ** &#xD;&#xA;&#xD;&#xA;(The amps will not need to be accessed during normal use once installed). Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="48718" PostHistoryTypeId="1" PostId="26879" RevisionGUID="ff458883-060c-4b4a-93bb-9fa18ecd26d7" CreationDate="2013-06-22T18:10:22.440" UserDisplayName="Jodes" Text="Sound proofing of studio equipment" ContentLicense="CC BY-SA 3.0" />
  <row Id="48719" PostHistoryTypeId="3" PostId="26879" RevisionGUID="ff458883-060c-4b4a-93bb-9fa18ecd26d7" CreationDate="2013-06-22T18:10:22.440" UserDisplayName="Jodes" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48720" PostHistoryTypeId="36" PostId="26880" RevisionGUID="b63ca9ed-de24-460c-8629-5d74dd04b5fd" CreationDate="2014-02-13T05:14:59.390" UserId="-1" Comment="from http://video.stackexchange.com/questions/8186/sound-proofing-of-studio-equipment/8188#8188" />
  <row Id="48721" PostHistoryTypeId="36" PostId="26881" RevisionGUID="d71493d8-6336-4fec-ad71-720501987675" CreationDate="2014-02-13T05:14:59.390" UserId="-1" Comment="from http://video.stackexchange.com/questions/8186/sound-proofing-of-studio-equipment/8191#8191" />
  <row Id="48722" PostHistoryTypeId="2" PostId="26881" RevisionGUID="167bd008-4c42-42ba-a6fa-5a4fc3f156fb" CreationDate="2013-06-22T23:27:16.487" UserId="7174" Text="Don't put equipment that makes noise in the room that you are sampling audio from.  There shouldn't be anything at all in the room.  Preferably even the ventilation should be independent so you can shut it down during recording.  (I've often seen where they just put an A/C unit in a window and block off all the other vents.)  That's always going to get you the best sound isolation you can hope for.  Too many other problems since deadening sound also means killing airflow." ContentLicense="CC BY-SA 3.0" />
  <row Id="48723" PostHistoryTypeId="36" PostId="26882" RevisionGUID="438453c5-a4f7-41cc-91f4-44a326269d0e" CreationDate="2014-02-13T05:15:09.733" UserId="-1" Comment="from http://video.stackexchange.com/questions/286/adding-sparkle-to-an-a-cappella-choir-recording" />
  <row Id="48724" PostHistoryTypeId="2" PostId="26883" RevisionGUID="252e0cfe-97c1-45dd-bcd3-e465db42e70b" CreationDate="2010-12-15T16:37:08.370" UserId="7398" Text="As a general rule always try removing before adding.  For vocals I usually end up taking out a few db of midrange (200-300 Hz) when it's sounding too thick and muddy.&#xD;&#xA;&#xD;&#xA;I've also found that a short plate reverb can sometimes help to brighten up vocals." ContentLicense="CC BY-SA 2.5" />
  <row Id="48725" PostHistoryTypeId="2" PostId="26882" RevisionGUID="cd4af998-69db-4c86-91fc-84540f5974a3" CreationDate="2010-12-15T16:26:48.010" UserDisplayName="Mark Pim" Text="I often record small to medium size a cappella choirs (usually live, using a simple stereo-pair of condensers), and normally the sound is quite satisfactory, but when I compare my work with my reference recordings of professionally recorded choirs the sound seems to lack a certain 'sparkle' and instead sounds dull and heavy. I often end up trying to fake it by bumping up the high end EQ a bit to make it sound less dull but that often ends up making the sound too tinny and bright.&#xD;&#xA;&#xD;&#xA;Does anyone have any advice? Any good vocal exciter effects I could buy? Maybe even relatively inexpensive outboard boxes? Or is there simply an EQ or dynamics trick I'm missing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="48726" PostHistoryTypeId="1" PostId="26882" RevisionGUID="cd4af998-69db-4c86-91fc-84540f5974a3" CreationDate="2010-12-15T16:26:48.010" UserDisplayName="Mark Pim" Text="Adding 'sparkle' to an a cappella choir recording" ContentLicense="CC BY-SA 2.5" />
  <row Id="48727" PostHistoryTypeId="3" PostId="26882" RevisionGUID="cd4af998-69db-4c86-91fc-84540f5974a3" CreationDate="2010-12-15T16:26:48.010" UserDisplayName="Mark Pim" Text="&lt;live&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="48728" PostHistoryTypeId="36" PostId="26883" RevisionGUID="bd97e5d1-4181-4268-93fe-720428a51415" CreationDate="2014-02-13T05:15:09.733" UserId="-1" Comment="from http://video.stackexchange.com/questions/286/adding-sparkle-to-an-a-cappella-choir-recording/288#288" />
  <row Id="48729" PostHistoryTypeId="36" PostId="26884" RevisionGUID="7a07b7cc-3e0e-4600-b7ec-f28ee0c32a51" CreationDate="2014-02-13T05:15:09.733" UserId="-1" Comment="from http://video.stackexchange.com/questions/286/adding-sparkle-to-an-a-cappella-choir-recording/362#362" />
  <row Id="48730" PostHistoryTypeId="2" PostId="26884" RevisionGUID="0e87a139-0e4e-469f-aabf-9119b4bbbaf1" CreationDate="2010-12-17T21:22:46.943" UserDisplayName="Benji York" Text="Here's an old-school technique you can try.  It's basically using an EQ and compressor to reinforce the most essential part of the vocal: http://www.recordinginstitute.com/R2KREQ/excomp.htm." ContentLicense="CC BY-SA 2.5" />
  <row Id="48731" PostHistoryTypeId="36" PostId="26885" RevisionGUID="6cacd430-e48d-41f2-8e04-b8f7fd88d009" CreationDate="2014-02-13T05:15:18.720" UserId="-1" Comment="from http://video.stackexchange.com/questions/1344/are-there-any-free-reverse-delay-au-plugins" />
  <row Id="48732" PostHistoryTypeId="36" PostId="26886" RevisionGUID="dbd684ee-4616-4ecc-b9b3-ceab2f72276a" CreationDate="2014-02-13T05:15:18.720" UserId="-1" Comment="from http://video.stackexchange.com/questions/1344/are-there-any-free-reverse-delay-au-plugins/1348#1348" />
  <row Id="48733" PostHistoryTypeId="2" PostId="26886" RevisionGUID="ee5b1d15-5e99-4cf2-a9ab-0b559bd3d606" CreationDate="2011-05-05T09:15:30.730" UserDisplayName="mcha" Text="you might find what you are looking for in [audiomastermind][1], i think [Deloizer free VST Plugin ][2] would satisfy your needs&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiomastermind.com/browse-delay__echo-5886996-1.html&#xD;&#xA;  [2]: http://andreas.smartelectronix.com/index.php?nav=9&amp;p=2&amp;kat=0" ContentLicense="CC BY-SA 3.0" />
  <row Id="48734" PostHistoryTypeId="2" PostId="26885" RevisionGUID="e163daa9-6765-4bf9-a68c-363b782c302d" CreationDate="2011-05-04T22:17:48.387" UserDisplayName="Ryan M" Text="I'm looking for a free reverse delay AU plugin.  Specifically something that emulates the delay on the boss dd-6 delay pedal, which does a reverse delay on phrases in real time." ContentLicense="CC BY-SA 3.0" />
  <row Id="48735" PostHistoryTypeId="1" PostId="26885" RevisionGUID="e163daa9-6765-4bf9-a68c-363b782c302d" CreationDate="2011-05-04T22:17:48.387" UserDisplayName="Ryan M" Text="Are there any free reverse delay AU plugins" ContentLicense="CC BY-SA 3.0" />
  <row Id="48736" PostHistoryTypeId="3" PostId="26885" RevisionGUID="e163daa9-6765-4bf9-a68c-363b782c302d" CreationDate="2011-05-04T22:17:48.387" UserDisplayName="Ryan M" Text="&lt;plugins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48737" PostHistoryTypeId="36" PostId="26887" RevisionGUID="55af14b7-5b7a-4c21-9f0f-d3b730afef92" CreationDate="2014-02-13T05:15:30.050" UserId="-1" Comment="from http://video.stackexchange.com/questions/1207/behringer-xenix-1202fx-delay-audio-output" />
  <row Id="48738" PostHistoryTypeId="36" PostId="26888" RevisionGUID="bbc834eb-1ece-413e-8c3c-d0ea5e05f6a8" CreationDate="2014-02-13T05:15:30.050" UserId="-1" Comment="from http://video.stackexchange.com/questions/1207/behringer-xenix-1202fx-delay-audio-output/1208#1208" />
  <row Id="48739" PostHistoryTypeId="2" PostId="26888" RevisionGUID="5c7f254c-1f2c-4500-a999-ea88e7819ad0" CreationDate="2011-04-20T18:41:51.773" UserId="7294" Text="Usually a &quot;delay&quot; effect mixes the original and the delayed signal.  As an audio effect, this is often desirable.  Usually there is a control called &quot;wet/dry mix&quot; which is the level of the delayed signal relative to the original signal.  At 100% wet, only the delayed signal is heard.&#xD;&#xA;&#xD;&#xA;Delay effects sometimes have a parameter called &quot;feedback&quot; which is the amount that the delayed signal is fed back into the input of the delay, creating a repeating echo effect.&#xD;&#xA;&#xD;&#xA;If you have access to these controls on the 1202FX's effects section, set wet/dry to 100% wet, and feedback to 0.  Set the delay time to match the delay on your video.&#xD;&#xA;&#xD;&#xA;If you don't have access to any parameters, and can only use precanned presets, I'd say bypass the effects section entirely, and get a hardware delay effect of some kind that you can put after your audio signal.  You can either put it in between the audio source and the mixer, or after the mixer.  The above settings apply here as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="48740" PostHistoryTypeId="2" PostId="26887" RevisionGUID="317e231b-90da-447a-989b-f7d993860de3" CreationDate="2011-04-20T14:51:21.960" UserDisplayName="user779" Text="We have a Behringer xenix 1202FX audio mixer, and we need to delay the audio output two or three frames.  The video signal has a slight delay due to signal processing, but audio from the mixer does not, so there is no lip-synch.  &#xD;&#xA;&#xD;&#xA;With the available effects both delayed audio and original audio can be heard.  Is there a way to only output the delayed audio?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48741" PostHistoryTypeId="1" PostId="26887" RevisionGUID="317e231b-90da-447a-989b-f7d993860de3" CreationDate="2011-04-20T14:51:21.960" UserDisplayName="user779" Text="Behringer xenix 1202fx: delay audio output" ContentLicense="CC BY-SA 3.0" />
  <row Id="48742" PostHistoryTypeId="3" PostId="26887" RevisionGUID="317e231b-90da-447a-989b-f7d993860de3" CreationDate="2011-04-20T14:51:21.960" UserDisplayName="user779" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48743" PostHistoryTypeId="36" PostId="26889" RevisionGUID="60308279-2efc-4df9-a335-02b7a0f0a109" CreationDate="2014-02-13T05:15:39.957" UserId="-1" Comment="from http://video.stackexchange.com/questions/351/what-is-the-difference-between-autotune-and-a-vocoder" />
  <row Id="48744" PostHistoryTypeId="2" PostId="26890" RevisionGUID="f54a4faf-f43e-4999-b7b7-5b3140979a00" CreationDate="2010-12-17T17:29:24.167" UserDisplayName="Ian C." Text="A vocoder is a specific effect: you pass the signal through a multi-band filter, each band to an envelope follower, and then the output from the envelope follower is used to perform filter control and additional synthesis. &quot;It turns an analog audio signal in to something that can control a synthesis engine&quot; is a simplified way of saying that.&#xD;&#xA;&#xD;&#xA;Where as &quot;autotune&quot; is really more a process and it may employ a vocoder to that end. But not all autotune algorithms use vocoder-based techniques to do their thing. Example: Melodyne." ContentLicense="CC BY-SA 2.5" />
  <row Id="48745" PostHistoryTypeId="2" PostId="26889" RevisionGUID="7e97675a-d951-4de4-9a1d-829f0ff321ab" CreationDate="2010-12-17T17:23:35.820" UserDisplayName="Adrian Grigore" Text="A friend of mine mentioned that he had read somewhere that Autotune is actually not a vocoder. Is this true? If so, what is the difference? &#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Adrian" ContentLicense="CC BY-SA 2.5" />
  <row Id="48746" PostHistoryTypeId="1" PostId="26889" RevisionGUID="7e97675a-d951-4de4-9a1d-829f0ff321ab" CreationDate="2010-12-17T17:23:35.820" UserDisplayName="Adrian Grigore" Text="What is the difference between Autotune and a Vocoder?" ContentLicense="CC BY-SA 2.5" />
  <row Id="48747" PostHistoryTypeId="3" PostId="26889" RevisionGUID="7e97675a-d951-4de4-9a1d-829f0ff321ab" CreationDate="2010-12-17T17:23:35.820" UserDisplayName="Adrian Grigore" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="48748" PostHistoryTypeId="36" PostId="26890" RevisionGUID="d0519656-e915-47bf-b00e-209060c2915b" CreationDate="2014-02-13T05:15:39.957" UserId="-1" Comment="from http://video.stackexchange.com/questions/351/what-is-the-difference-between-autotune-and-a-vocoder/353#353" />
  <row Id="48749" PostHistoryTypeId="36" PostId="26891" RevisionGUID="326eb7ef-a239-48a4-adfa-5fc422c50b79" CreationDate="2014-02-13T05:15:39.957" UserId="-1" Comment="from http://video.stackexchange.com/questions/351/what-is-the-difference-between-autotune-and-a-vocoder/354#354" />
  <row Id="48750" PostHistoryTypeId="2" PostId="26891" RevisionGUID="dbbf0ce2-ca63-44d3-8595-5abc997083cd" CreationDate="2010-12-17T17:34:28.403" UserId="7218" Text="Your friend is right;  Autotune is not a vocoder.  &#xD;&#xA;&#xD;&#xA;A vocoder works by taking a musical sound input (typically a synthesizer tone with a lot of harmonics), and passing it through a multi-band dynamic EQ filter, where the setting of each EQ frequency band is based on the relative spectral volume of sonic content in your voice within each frequency band at any given moment in time.  In other words, if you say &quot;aaaah&quot;, that sound has a predominant frequency; it is that frequency that is emphasized in the synthesizer's output.  &#xD;&#xA;&#xD;&#xA;Autotune works by pitch-shifting the audio signal to tones that you specify with a musical keyboard, *while holding the **[formant][1]** information steady.*  This prevents the &quot;mickey-mouse&quot; or &quot;kidnapper&quot; effect that can occur with an ordinary pitch shifter.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Formant" ContentLicense="CC BY-SA 2.5" />
  <row Id="48751" PostHistoryTypeId="36" PostId="26892" RevisionGUID="747dc33b-1d6a-4976-8d32-3d5aae485d13" CreationDate="2014-02-13T05:15:52.567" UserId="-1" Comment="from http://video.stackexchange.com/questions/168/how-to-recognize-if-auto-tune-has-been-used-in-a-recording-is-it-needed" />
  <row Id="48752" PostHistoryTypeId="36" PostId="26893" RevisionGUID="1d26d630-1a15-4eb0-be61-bf2741fef4f0" CreationDate="2014-02-13T05:15:52.567" UserId="-1" Comment="from http://video.stackexchange.com/questions/168/how-to-recognize-if-auto-tune-has-been-used-in-a-recording-is-it-needed/170#170" />
  <row Id="48753" PostHistoryTypeId="36" PostId="26894" RevisionGUID="b0ce8c84-4077-4088-ace3-d73e5103c010" CreationDate="2014-02-13T05:15:52.567" UserId="-1" Comment="from http://video.stackexchange.com/questions/168/how-to-recognize-if-auto-tune-has-been-used-in-a-recording-is-it-needed/200#200" />
  <row Id="48754" PostHistoryTypeId="2" PostId="26893" RevisionGUID="ecdf0ed0-15a2-4fd2-b62d-3b193a56de1b" CreationDate="2010-12-09T03:27:53.223" UserId="9459" UserDisplayName="Matthew Read" Text="Personally, I think the best way would be to train your ear so you can recognize when something is offpitch.  Even the best singers cannot perfectly reproduce every note, and you'll know something's not autotuned when you hear pitch variation.  To start this, I recommend interval training.&#xD;&#xA; &#xD;&#xA;There are technical methods also.  In a frequency plot of a vocal track, you should be able to see that there is no data or little data in frequencies that aren't exact notes.  In a waveform where frequency is plotted as if it were amplitude, the track would look like a series of lines at different heights; without autotune, there should be variable curves between lines of different heights (representing the singer shifting from note to note).  With autotune, there will be straight vertical lines (no shifting, just jumping to the note) or &quot;perfect&quot; curves (deterministically-produced curves to decrease the unnaturalness of the jump, with no variability)." ContentLicense="CC BY-SA 2.5" />
  <row Id="48755" PostHistoryTypeId="2" PostId="26894" RevisionGUID="0c3dcb85-6b70-4073-9bc8-af19d6697b38" CreationDate="2010-12-09T21:14:27.920" UserId="7294" Text="Autotune (and pitch correction in general) is an effect, and like any other effect, often the best way to identify it is just to be familiar enough that you know what it sounds like!  Listen to recordings known to have it and not have it, in a variety of settings.  In short, train your ear.  Having a good sense of pitch seems to help.&#xD;&#xA;&#xD;&#xA;If possible, get your own copy and try it out on vocal or instrument tracks that may have variable pitch (beginner cellos work well for this) and experiment with the settings.  Listen for the telltale artifacts and see if you can make them more or less extreme.&#xD;&#xA;&#xD;&#xA;The effect is usually described as a warbling or a slightly electronic-sounding distortion that occurs as pitches are changing.  I would describe it as sounding kind of like an extremely high-resolution vocoder." ContentLicense="CC BY-SA 2.5" />
  <row Id="48756" PostHistoryTypeId="2" PostId="26892" RevisionGUID="59725bff-77d2-4545-9ef3-034a10a5b1a4" CreationDate="2010-12-09T03:16:38.067" UserDisplayName="Tom Wijsman" Text="Auto-Tune is getting way too popular nowadays, as can be read in this part of Wikipedia:&#xD;&#xA;&#xD;&#xA;&gt;In 2009, Time magazine quoted an unnamed Grammy-winning recording engineer as saying, &quot;Let's just say I've had Auto-Tune save vocals on everything from Britney Spears to Bollywood cast albums. And every singer now presumes that you'll just run their voice through the box.&quot;&#xD;&#xA;&#xD;&#xA;&gt;The American television series Glee has become noted for regular use of the system in its songs. E! Online's Joal Ryan criticized the show for its &quot;overproduced soundtrack&quot;, in particular, complaining that many songs rely too heavily on the software.&#xD;&#xA;&#xD;&#xA;&gt;In 2010, there was controversy when British television reality TV show, The X Factor had been accused of using Auto-Tune to improve the voices of contestants, especially Gamu Nhengu. Simon Cowell ordered a ban on Auto-Tune for future episodes.&#xD;&#xA;&#xD;&#xA;&gt; &amp;mdash; [Wikipedia - Auto-Tune - Criticism](http://en.wikipedia.org/wiki/Auto-Tune)&#xD;&#xA;&#xD;&#xA;Having grown up with Auto-Tuned pop songs it's hard for me to recognize if Auto-Tune has been used for a recording, in some of the tracks of Glee I clearly hear glitching due to overuse of the Auto-Tune effect. But when it isn't used that extensively I have no clue how to figure out if it has been used or not.&#xD;&#xA;&#xD;&#xA;From an Audio Production perspective it would be nice to know the difference between a normal recording and an carefully Auto-Tuned recording, how can I recognize this difference rather than being deceived?&#xD;&#xA;&#xD;&#xA;Is this effect needed to compete with the current top songs,  &#xD;&#xA;or are there songs that don't use Auto-Tuning in the charts?" ContentLicense="CC BY-SA 2.5" />
  <row Id="48757" PostHistoryTypeId="1" PostId="26892" RevisionGUID="59725bff-77d2-4545-9ef3-034a10a5b1a4" CreationDate="2010-12-09T03:16:38.067" UserDisplayName="Tom Wijsman" Text="How to recognize if Auto-Tune has been used in a recording? Is it needed?" ContentLicense="CC BY-SA 2.5" />
  <row Id="48758" PostHistoryTypeId="3" PostId="26892" RevisionGUID="59725bff-77d2-4545-9ef3-034a10a5b1a4" CreationDate="2010-12-09T03:16:38.067" UserDisplayName="Tom Wijsman" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="48759" PostHistoryTypeId="2" PostId="26895" RevisionGUID="6ee3c981-9997-4553-8e42-27dacb47a2a9" CreationDate="2014-02-13T05:19:33.820" UserId="6441" Text="When working on documentary's, I like all of the interview dialogue staggered across 6-10 Dialogue tracks. I'll add a few extra b-roll tracks for footage containing dialogue happening under an interview. The interview / b-roll with any dialogue is printed into my Dialogue Stem.&#xD;&#xA;&#xD;&#xA;I create a few Production FX tracks for any b-roll or nat sound without dialogue. These tracks are printed on the FX Stem. If there are a lot of ambient b-roll / nat sounds under entire scenes, I will make separate Production BG tracks which are printed to the BG stem.&#xD;&#xA;&#xD;&#xA;I pull any usable production audio from the interviews onto the production fx tracks to make it easier to create the fully filled M&amp;E.&#xD;&#xA;&#xD;&#xA;I dislike pulling b-roll or nat sounds into my dedicated FX or BG tracks. It's easier to find them later if they live on their on tracks.&#xD;&#xA;&#xD;&#xA;If the doc has narration, I create a narration track and I print it to a dedicated Narration Stem which is usually requested." ContentLicense="CC BY-SA 3.0" />
  <row Id="48760" PostHistoryTypeId="5" PostId="26885" RevisionGUID="56f9c970-5680-42b4-98b9-d64671e77f12" CreationDate="2014-02-13T05:53:45.237" UserId="7189" Comment="Adding Logic and Mac tags." Text="I'm looking for a free reverse delay AU plugin.  Specifically something that emulates the delay on the Boss DD-6 delay pedal, which does a reverse delay on phrases in real time." ContentLicense="CC BY-SA 3.0" />
  <row Id="48761" PostHistoryTypeId="6" PostId="26885" RevisionGUID="56f9c970-5680-42b4-98b9-d64671e77f12" CreationDate="2014-02-13T05:53:45.237" UserId="7189" Comment="Adding Logic and Mac tags." Text="&lt;logic-pro&gt;&lt;plugins&gt;&lt;macosx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48762" PostHistoryTypeId="2" PostId="26896" RevisionGUID="953a2174-111f-40c8-a01b-6b4a9a818fd0" CreationDate="2014-02-13T07:46:13.117" UserId="6874" Text="There's several different warp mode in Live. Have a look at the cli view panel. If the clip is unwarped, slowing down the tempo will pitch the clip down and make it longer, and vice versa, like in the analog world.&#xD;&#xA;If the clip is warped Live will stretch it but keep the original pitch. Those &quot;clipping&quot; you mention are because your clip are warped with the &quot;beat&quot; mode. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48763" PostHistoryTypeId="10" PostId="26722" RevisionGUID="b4434dcd-62ed-4fdb-829a-c68018c58479" CreationDate="2014-02-13T08:32:08.897" UserId="61" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:61,&quot;DisplayName&quot;:&quot;Jay Jennings&quot;}]}" />
  <row Id="48765" PostHistoryTypeId="2" PostId="26897" RevisionGUID="671b02a9-00c4-43b4-a037-f8d1f98715a8" CreationDate="2014-02-13T08:34:38.097" UserId="6425" Text="Its hard to recognize if used well. A Lot of professionals Automate the correction amount and Speed Based in the Source material to get a melodyne like effect. Then you can not hear the effect because its finetuned.&#xD;&#xA;&#xD;&#xA;If it is used as a Chere effect you can hear the pitch jumping in steps. Also the sustained Vocals will sound robot alike." ContentLicense="CC BY-SA 3.0" />
  <row Id="48766" PostHistoryTypeId="10" PostId="26826" RevisionGUID="71501d55-db68-4e1a-ba84-1da14869ed8a" CreationDate="2014-02-13T08:36:23.603" UserId="61" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:61,&quot;DisplayName&quot;:&quot;Jay Jennings&quot;}]}" />
  <row Id="48767" PostHistoryTypeId="2" PostId="26898" RevisionGUID="c36dc6f8-113b-4073-8edc-33cc75e509f1" CreationDate="2014-02-13T08:41:51.880" UserId="1228" Text="Yes it can be negative too have too many.  I know of Foley artists/mixers who prefer some stages over others because it's too dead of a space.  I have also been in overly dead rooms, as well as properly-treated and &quot;pleasant-sounding&quot;  (as in, the air/roomtone itself) dead, but not too dead, edit suites.&#xD;&#xA;&#xD;&#xA;You will have to experiment.  This may be a good starting point to build off of: http://www.atsacoustics.com/page--Free-Online-Room-Acoustics-Analysis--ora.html&#xD;&#xA;&#xD;&#xA;The answer I received for my space felt accurate in my mind, as to deadening/tuning the space but not killing it." ContentLicense="CC BY-SA 3.0" />
  <row Id="48768" PostHistoryTypeId="2" PostId="26899" RevisionGUID="be01d1e9-bd24-4ef2-ab02-5ea1845cd537" CreationDate="2014-02-13T11:15:16.177" UserId="6469" Text="A simple old trick I use to distort the sounds as if it was digitally interfered is to take a very very small piece of the sound and duplicate a number of time (it depends of the length of the duplicated clip), each time there is a visual interference. In Man Of steel, it's really more complex, Tim is right, many Glith edited piece of sounds. &#xD;&#xA;But If you're in a hurry, my method is very fast and efficient. You can hear a the beginning of this commercial, what it does on 9/11 reporter voices.&#xD;&#xA;&#xD;&#xA;http://www.caviarcontent.com/branded-content/65/reynald-gresset/fight&#xD;&#xA;&#xD;&#xA;I MUST say that It is the Director's Cut, the original commercial have been sound designed by someone else (sorry I don't know who, if you recognize yourself I'd be glad to know), so this version is a blend of the original SD and what I added for the Director's Cut. But For the voice treatments we're talking about, it's me.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48769" PostHistoryTypeId="2" PostId="26900" RevisionGUID="2d84b2c1-fb52-440f-b1ce-8157ff83f978" CreationDate="2014-02-13T12:33:20.243" UserId="7456" Text="I'm working on a sound design where I want to use samples from medieval instruments to make background drones that doesn't sound too synthetic and also captures the sound of the time that the installation is about (14th century).&#xD;&#xA;&#xD;&#xA;So my question: Does anybody have recordings of long tones from instruments like crumhorns or anything else medieval? Or anyone with an instrument who could record some long tones for me?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48770" PostHistoryTypeId="1" PostId="26900" RevisionGUID="2d84b2c1-fb52-440f-b1ce-8157ff83f978" CreationDate="2014-02-13T12:33:20.243" UserId="7456" Text="Medieval instruments samples" ContentLicense="CC BY-SA 3.0" />
  <row Id="48771" PostHistoryTypeId="3" PostId="26900" RevisionGUID="2d84b2c1-fb52-440f-b1ce-8157ff83f978" CreationDate="2014-02-13T12:33:20.243" UserId="7456" Text="&lt;sound-design&gt;&lt;music&gt;&lt;drone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48772" PostHistoryTypeId="36" PostId="26901" RevisionGUID="76bae079-6ccb-4e53-87ea-4667af6e8c9d" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/4303/how-to-use-cv-piano-in-fl-studio" />
  <row Id="48773" PostHistoryTypeId="2" PostId="26902" RevisionGUID="f03a02df-6a8c-4d4a-b01a-cfa89da9997d" CreationDate="2012-06-28T05:55:02.673" UserDisplayName="Darthfett" Text="If there is a DLL file in the installation folder, you could copy that into the VstPlugins folder.  I've found this works with some other VST Instruments, such as Synth1.&#xD;&#xA;&#xD;&#xA;Copying CVPiano-GVI-Modeled.dll from the installation folder to VstPlugins works in this case." ContentLicense="CC BY-SA 3.0" />
  <row Id="48774" PostHistoryTypeId="2" PostId="26901" RevisionGUID="0ddb01c9-06ab-4f71-934a-286fcffa00b7" CreationDate="2012-06-27T20:35:59.053" UserId="11237" UserDisplayName="mydoghasworms" Text="I have installed CV Piano (by TASCAM), which is in `C:\Program Files\TASCAM\Instruments\CVPiano-GVI-Modeled`, but I want to use it as a VST instrument in FL Studio.&#xD;&#xA;&#xD;&#xA;Now FL Studio can only be configured to read VST plugins from one location, which by default is `C:\Program Files\VstPlugins` (and where I have placed a number of plugins already).&#xD;&#xA;&#xD;&#xA;How can I use CV Piano in FL Studio (without having to reinstall CV Piano)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48775" PostHistoryTypeId="1" PostId="26901" RevisionGUID="0ddb01c9-06ab-4f71-934a-286fcffa00b7" CreationDate="2012-06-27T20:35:59.053" UserId="11237" UserDisplayName="mydoghasworms" Text="How to use CV Piano in FL Studio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48776" PostHistoryTypeId="3" PostId="26901" RevisionGUID="0ddb01c9-06ab-4f71-934a-286fcffa00b7" CreationDate="2012-06-27T20:35:59.053" UserId="11237" UserDisplayName="mydoghasworms" Text="&lt;plugins&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48777" PostHistoryTypeId="36" PostId="26902" RevisionGUID="d7294c1c-9fc3-4b97-b176-7e5f5e13fb7a" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/4303/how-to-use-cv-piano-in-fl-studio/4307#4307" />
  <row Id="48778" PostHistoryTypeId="36" PostId="26903" RevisionGUID="c81b711e-b912-40ff-8424-f84dda05e8d9" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/4303/how-to-use-cv-piano-in-fl-studio/8376#8376" />
  <row Id="48779" PostHistoryTypeId="2" PostId="26903" RevisionGUID="fb0fed6e-57ca-4bfc-ab0c-f429598cb8bc" CreationDate="2013-07-10T13:03:14.773" UserId="7542" UserDisplayName="Don Nickel" Text="I believe you CAN have multiple folders for plug-ins for FL... I have one for 32 bit plugs and one for 64 bit. I believe it's in the FOLDERS section of the options.&#xD;&#xA;&#xD;&#xA;Once you've moved the DLL there, you need to refresh FL's plug-in list. Click like you are going to add a VST, but choose &quot;More&quot; (I believe that's the top option). Then a dialog pops up that is a check list of the registered VSTs... you'll need to refresh the list (option on the left side), then check the new plug-in (it'll be in red).&#xD;&#xA;&#xD;&#xA;Then you can select it. You have to add an instrument channel, and it will be availible in the list of plug-ins." ContentLicense="CC BY-SA 3.0" />
  <row Id="48780" PostHistoryTypeId="36" PostId="26904" RevisionGUID="3b9c31b2-2953-4481-84ac-b2bde97e151d" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/4125/vst-plugins-similar-to-dblue-glitch" />
  <row Id="48781" PostHistoryTypeId="36" PostId="26905" RevisionGUID="d24c1110-286f-42fd-af3b-4dfa84cba218" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/4125/vst-plugins-similar-to-dblue-glitch/4133#4133" />
  <row Id="48782" PostHistoryTypeId="36" PostId="26906" RevisionGUID="918c7650-18b2-4895-b0de-9982ed02ca54" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/4125/vst-plugins-similar-to-dblue-glitch/4151#4151" />
  <row Id="48783" PostHistoryTypeId="36" PostId="26907" RevisionGUID="fcd23748-0846-4503-9e57-020e4e1571fe" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/4125/vst-plugins-similar-to-dblue-glitch/4657#4657" />
  <row Id="48784" PostHistoryTypeId="2" PostId="26905" RevisionGUID="718f9ecf-b635-45ab-8521-492beee84374" CreationDate="2012-06-07T17:50:59.410" UserId="7294" Text="[iZotope Stutter Edit](http://www.izotope.com/products/audio/stutteredit/) is a similar glitch-effect plugin. It focuses on pre-defined tempo-synced sampling and effect movements that are triggered by MIDI notes, called 'gestures.' It is somewhat more focused on live performance than studio work, although it is useful for both.&#xD;&#xA;&#xD;&#xA;Notably, gesture length is not an absolute amount of time - after triggering a gesture, the gesture goes *until the next specified time interval*. So if the &quot;length&quot; of the gesture is one bar, the gesture will go from the time it's triggered until the end of the next bar. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48785" PostHistoryTypeId="2" PostId="26907" RevisionGUID="3991893b-0ae9-471e-90ce-c8d936f7f3fa" CreationDate="2012-09-01T16:38:06.977" UserDisplayName="Adrian Lungu" Text="While I agree that iZotope Stutter Edit is a great plugin, and I haven't used Artillery from Sugar Bytes, I think the following is more similar to dBlue Glitch than the previous mentioned:&#xD;&#xA;&#xD;&#xA;[Effectrix][1] by Sugar Bytes.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sugar-bytes.com/content/products/Effectrix/index.php?lang=en" ContentLicense="CC BY-SA 3.0" />
  <row Id="48786" PostHistoryTypeId="2" PostId="26906" RevisionGUID="e9c69a52-4d6e-4bdb-a75e-e2fdd88a8c68" CreationDate="2012-06-09T16:33:14.517" UserDisplayName="az01" Text="there is [Artillery][ personal finance and money   ■ onstartups   ■ board and card games] from Sugar Bytes. The difference is that effects are triggered with MIDI notes while in Glitch they are sequenced in the Plug itself.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [ personal finance and money   ■ onstartups   ■ board and card games]: http://www.sugar-bytes.com/content/products/Artillery2/index.php?lang=en" ContentLicense="CC BY-SA 3.0" />
  <row Id="48787" PostHistoryTypeId="2" PostId="26904" RevisionGUID="35cd2d3d-e132-4a63-b4f9-d971c8b32d72" CreationDate="2012-06-06T21:21:15.043" UserId="7257" Text="I've had a lot of fun with dblue glitch vst. I was wondering if there are similar vst plugins that achieve the same clean cutting and manipulating that it does?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48788" PostHistoryTypeId="1" PostId="26904" RevisionGUID="35cd2d3d-e132-4a63-b4f9-d971c8b32d72" CreationDate="2012-06-06T21:21:15.043" UserId="7257" Text="VST Plugins similar to Dblue Glitch?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48789" PostHistoryTypeId="3" PostId="26904" RevisionGUID="35cd2d3d-e132-4a63-b4f9-d971c8b32d72" CreationDate="2012-06-06T21:21:15.043" UserId="7257" Text="&lt;effects&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48790" PostHistoryTypeId="36" PostId="26908" RevisionGUID="100afd4d-cf6b-4d5f-bc83-944528359b49" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/801/how-do-you-replace-a-broken-volume-pot" />
  <row Id="48791" PostHistoryTypeId="36" PostId="26909" RevisionGUID="aa41601c-a691-4b40-82e3-1e3b6b1882e7" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/801/how-do-you-replace-a-broken-volume-pot/808#808" />
  <row Id="48792" PostHistoryTypeId="2" PostId="26909" RevisionGUID="a5f1ae5c-416b-4cb8-9313-f8b3429f47a5" CreationDate="2011-02-14T06:25:26.533" UserDisplayName="jlebre" Text="Chances are it'll be something like A10k, or A14. That means it's a log pot, 10k resistance, or 1+4(zeros) resistance, or something similar. On older equipment, A will be linear though, and C would be log. Also some pots do say Lin or Log.&#xD;&#xA;You would be looking for a single gang, single turn rotary potentiometer.&#xD;&#xA;&#xD;&#xA;If you live in the uk, and use places like Farnell, these would help you narrow down a lot your choices on their catalog.&#xD;&#xA;&#xD;&#xA;there is still 2 more factors which I'm not really sure how to find: resistance tolerance and voltage rating. Luckily I always had spare part at hands or was send the direct replacement so didn't had to look more in depth than this. Maybe some of the EE guys in this forum could fill me in as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="48793" PostHistoryTypeId="2" PostId="26910" RevisionGUID="95267e7a-1f08-4620-942d-3904f815ed47" CreationDate="2011-03-14T12:39:04.053" UserDisplayName="Jduv" Text="If you have a multimeter finding out the resistance value of the potentiometer is trivial. Simply hook one lead to the left, or input lug, and another lead to the middle, or sweeper lug. Set your meter to ohms (resistance) and measure it out. I'm guessing it's likely a 10k like @jlebre mentions.&#xD;&#xA;&#xD;&#xA;Once you know the resistance value for the potentiometer, next you need to figure out the taper. It's probably a standard logarithmic audio taper, but I'm not going to bet the horse on that one. I am unaware of any way to find that out other than calling up Crown and asking them what kind of potentiometers they use. Since it *is* a volume potentiometer, however, I would guess logarithmic audio taper.&#xD;&#xA;&#xD;&#xA;As for the voltage rating on the pot, [here's][1] a good article on that. Most of the time the voltage rating is of no consequence on audio equipment--but I'm not sure if this is one of those cases.&#xD;&#xA;&#xD;&#xA;That's about all you need to replace it :), oh and you'll need some good soldering skills. Hope this helps!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sound.westhost.com/pots.htm#pwr_volt" ContentLicense="CC BY-SA 2.5" />
  <row Id="48794" PostHistoryTypeId="2" PostId="26908" RevisionGUID="d2800269-afe1-47e6-8044-d372383fdbab" CreationDate="2011-02-12T00:21:32.813" UserDisplayName="Evan Plaice" Text="I have an old Crown D-75 amplifier that I acquired a while back and it works like a beaut except one of the volume pots is toast.&#xD;&#xA;&#xD;&#xA;The pot has 2 different numbers stamped on it, both of which yield no results on Google.&#xD;&#xA;&#xD;&#xA;Can I find out what value of pot to get by measuring with a multimeter?&#xD;&#xA;&#xD;&#xA;Has anybody else had an experience doing a fix like this?&#xD;&#xA;&#xD;&#xA;Is there a good place to buy parts like this? The pot doesn't look like the standard Radio Shack part (the post on the pot is pretty tiny) and I'd like to match the original as closely as possible.&#xD;&#xA;&#xD;&#xA;*Note: I do have proper electronic tools (like multimeter, wire strippers, soldering iron, etc) to be able to fix this issue.*&#xD;&#xA;&#xD;&#xA;*Sidenote: This quesiton was spawned off of the question &quot;[Scratchy volume pot][1]&quot;. Apparently, it's a common practice to clean out old pots when they start to make scratchy noises. Unfortunately, one of the two pots on my amp is completely toast so I need to replace it.*&#xD;&#xA;&#xD;&#xA;**Update: Sorry about the delay. Here's the pictures as promised.*&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;And the part numbers are 1378325, and D4688-4. I'm guessing that one is a part # and the other is a serial #.&#xD;&#xA;&#xD;&#xA;**Update:**&#xD;&#xA;&#xD;&#xA;**After a close second look at the pictures provided I realized that the part number is actually D4688-4. After some googling I found out that Crown has a [section on their site][4] specifically for ordering replacement parts.**&#xD;&#xA;&#xD;&#xA;**Here's the [parts list][5]. Turns out it's a 25K pot.**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audio.stackexchange.com/questions/791/scratchy-volume-pot&#xD;&#xA;  [2]: http://i.stack.imgur.com/yCRB6.jpg&#xD;&#xA;  [3]: http://i.stack.imgur.com/0hTwk.jpg&#xD;&#xA;  [4]: http://www.crownaudio.com/support/parts.htm&#xD;&#xA;  [5]: http://www.crownaudio.com/support/FY11-retail-3-9-11.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="48795" PostHistoryTypeId="1" PostId="26908" RevisionGUID="d2800269-afe1-47e6-8044-d372383fdbab" CreationDate="2011-02-12T00:21:32.813" UserDisplayName="Evan Plaice" Text="How do you replace a broken volume pot?" ContentLicense="CC BY-SA 2.5" />
  <row Id="48796" PostHistoryTypeId="3" PostId="26908" RevisionGUID="d2800269-afe1-47e6-8044-d372383fdbab" CreationDate="2011-02-12T00:21:32.813" UserDisplayName="Evan Plaice" Text="&lt;replacement-parts&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="48797" PostHistoryTypeId="36" PostId="26910" RevisionGUID="d510128c-1433-4f7f-a730-b1505f45455b" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/801/how-do-you-replace-a-broken-volume-pot/1017#1017" />
  <row Id="48798" PostHistoryTypeId="36" PostId="26911" RevisionGUID="5ec82a19-8946-4dd6-8fc4-67f1d2f06da0" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1366/what-is-presence" />
  <row Id="48799" PostHistoryTypeId="36" PostId="26912" RevisionGUID="e005f9b8-696c-48c8-96f3-36037d6e9d05" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1366/what-is-presence/1367#1367" />
  <row Id="48800" PostHistoryTypeId="2" PostId="26912" RevisionGUID="24d96198-8fbc-496a-a4bc-293c03972a8a" CreationDate="2011-05-06T20:37:20.213" UserDisplayName="boehj" Text="Presence boosts high frequencies. I believe the idea behind it is that you will be more 'present' whilst soloing." ContentLicense="CC BY-SA 3.0" />
  <row Id="48801" PostHistoryTypeId="2" PostId="26913" RevisionGUID="2d5481ca-95f3-43bb-a44b-181425bc291a" CreationDate="2011-05-06T20:53:49.513" UserDisplayName="zeekay" Text="[A presence control boosts the upper mid-range frequencies. Thus by increasing the presence with the presence control, the sounds of voices and such instruments seem more &quot;present&quot;.][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Presence_%28amplification%29" ContentLicense="CC BY-SA 3.0" />
  <row Id="48802" PostHistoryTypeId="2" PostId="26911" RevisionGUID="0d89656b-9ba5-4e4b-b2bc-04ec1f9f38ae" CreationDate="2011-05-06T20:20:35.653" UserId="9651" UserDisplayName="Caleb" Text="I got an Ibanez amplifier for my keyboard and there is a dial called 'presence'.   What does it do?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48803" PostHistoryTypeId="1" PostId="26911" RevisionGUID="0d89656b-9ba5-4e4b-b2bc-04ec1f9f38ae" CreationDate="2011-05-06T20:20:35.653" UserId="9651" UserDisplayName="Caleb" Text="What is Presence?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48804" PostHistoryTypeId="3" PostId="26911" RevisionGUID="0d89656b-9ba5-4e4b-b2bc-04ec1f9f38ae" CreationDate="2011-05-06T20:20:35.653" UserId="9651" UserDisplayName="Caleb" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48805" PostHistoryTypeId="36" PostId="26913" RevisionGUID="77d7bb46-c4f0-4b64-82fd-c6e7f33de553" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1366/what-is-presence/1368#1368" />
  <row Id="48806" PostHistoryTypeId="36" PostId="26914" RevisionGUID="f66a3015-9ea5-4858-97b9-a7714c2b2dd5" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/3738/which-dsp-vst-au-rtas-external-units-exists-to-offload-audio-processing-fr" />
  <row Id="48807" PostHistoryTypeId="36" PostId="26915" RevisionGUID="48589a62-b18a-4740-a830-80faaad22871" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/3738/which-dsp-vst-au-rtas-external-units-exists-to-offload-audio-processing-fr/3740#3740" />
  <row Id="48808" PostHistoryTypeId="2" PostId="26915" RevisionGUID="e427c81a-97b2-41d4-b425-57d11ec880ff" CreationDate="2012-04-11T15:34:57.593" UserDisplayName="Sean Michael Dorian" Text="I did a little bit of searching and I was unable to find anything similar. That being said, if they're discontinuing a product, there's a good chance that a new version will be released. Failing that, your best bet is the RECEPTOR - I'd buy one myself if I had the money.&#xD;&#xA;&#xD;&#xA;The problem with devices like these [And my guess as to why they're rare] is the number of components that need to be configured and assembled by the manufacturer. You're basically asking for an outboard CPU and hard drive, so you're setting up another computer [Albeit one that's much less sophisticated], which doesn't sound like a cheap nor easy engineering feat [Given the finicky and resource consuming nature of DSP].&#xD;&#xA;&#xD;&#xA;However, I could be wrong - this was what I figured after some quick looking. Take this with a grain of salt.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Addendum:** &#xD;&#xA;All the external DSP devices I found only ran proprietary plug-ins.&#xD;&#xA;&#xD;&#xA;SSL Duende:&#xD;&#xA;http://www.solid-state-logic.com/music/duende%20native/&#xD;&#xA;&#xD;&#xA;TC Electronic's PowerCore Firewire:&#xD;&#xA;http://www.tcelectronic.com/powercorefirewire.asp" ContentLicense="CC BY-SA 3.0" />
  <row Id="48809" PostHistoryTypeId="2" PostId="26914" RevisionGUID="eb1282ac-e927-4e11-a3d4-0c254543d6e1" CreationDate="2012-04-11T13:18:38.370" UserId="7459" UserDisplayName="bigp" Text="I'm looking for a list of products that allows the user to install and run their own purchased VSTs, AU, RTAS or any other kind of audio plugin - on an external device dedicated for running virtual instruments / effects.&#xD;&#xA;&#xD;&#xA;[Receptor, from Muse Research][1] - looked like a prime example.&#xD;&#xA;However, recent news says they are discontinuing their Receptor 2 product. This could be a great opportunity to buy one at a discount price, but purchasing something that won't have any further / future technological advances doesn't quite convince me to get one.&#xD;&#xA;&#xD;&#xA;[The UAD Satellite, by Universal Audio][2] - is more of a DSP unit. Ideal if you haven't invested in other plugins and / or you're looking to put all your eggs in one basket. By that, I mean it runs all of it's own proprietary plugins in the external box. As far as I know, it only does Effect processing, NOT instruments / sampling / etc.&#xD;&#xA;&#xD;&#xA;What other technologies exists out there that could remedy the strain put on my host computer running the DAW - that I could put my existing plugins on?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.museresearch.com/products/receptor-features.php&#xD;&#xA;  [2]: http://www.uaudio.com/uad-plug-ins/pcie/uad-2-quad.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="48810" PostHistoryTypeId="1" PostId="26914" RevisionGUID="eb1282ac-e927-4e11-a3d4-0c254543d6e1" CreationDate="2012-04-11T13:18:38.370" UserId="7459" UserDisplayName="bigp" Text="Which DSP / VST / AU / RTAS external units exists to offload audio processing from internal CPU?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48811" PostHistoryTypeId="3" PostId="26914" RevisionGUID="eb1282ac-e927-4e11-a3d4-0c254543d6e1" CreationDate="2012-04-11T13:18:38.370" UserId="7459" UserDisplayName="bigp" Text="&lt;plugins&gt;&lt;vst&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48812" PostHistoryTypeId="36" PostId="26916" RevisionGUID="1c688ed9-b17a-42e6-bab6-91da6b36bcfd" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/7539/how-do-you-clean-rca-ports" />
  <row Id="48813" PostHistoryTypeId="36" PostId="26917" RevisionGUID="373bcb4e-bdc3-4ea2-9ab7-4f6958ab4b05" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/7539/how-do-you-clean-rca-ports/7541#7541" />
  <row Id="48814" PostHistoryTypeId="2" PostId="26917" RevisionGUID="a2161536-13d4-46ef-a6ea-045858f95221" CreationDate="2013-03-30T03:07:50.210" UserId="13001" UserDisplayName="Ragamffn" Text="I've always found a contact cleaner, such as plastic-safe [DeoxIT][1], works wonders for these types of connections. I normally spritz some on the plug itself, then work the plug in and out of the port a few times, spritz again, remove excess,  plug in and go.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.guitarcenter.com/CAIG-DeoxIT-D5S-6-Spray--Contact-Cleaner---Rejuvenator--5-oz--101175859-i1134929.gc" ContentLicense="CC BY-SA 3.0" />
  <row Id="48815" PostHistoryTypeId="2" PostId="26916" RevisionGUID="bcebc2d9-6043-432b-a3a0-6fceadec16c8" CreationDate="2013-03-29T22:23:21.390" UserId="7343" Text="I have an old amp which is beginning to show wear and scratches on its RCA ports. However, alcohol, water, and a simple cloth dont work and cannot remove the grime on the ports. What is the best substance to use to clean the ports without damaging the amp?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48816" PostHistoryTypeId="1" PostId="26916" RevisionGUID="bcebc2d9-6043-432b-a3a0-6fceadec16c8" CreationDate="2013-03-29T22:23:21.390" UserId="7343" Text="How Do You Clean RCA Ports?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48817" PostHistoryTypeId="3" PostId="26916" RevisionGUID="bcebc2d9-6043-432b-a3a0-6fceadec16c8" CreationDate="2013-03-29T22:23:21.390" UserId="7343" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48818" PostHistoryTypeId="36" PostId="26918" RevisionGUID="342a38b3-3ceb-4f37-adc8-ad6e0559268a" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/8774/if-i-want-to-use-a-microphone-with-a-portable-mini-amp-will-a-preamp-mixer-sign" />
  <row Id="48819" PostHistoryTypeId="36" PostId="26919" RevisionGUID="4175305e-bb9a-40b3-a7af-26d7b962db4a" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/8774/if-i-want-to-use-a-microphone-with-a-portable-mini-amp-will-a-preamp-mixer-sign/8775#8775" />
  <row Id="48820" PostHistoryTypeId="36" PostId="26920" RevisionGUID="7a456183-7feb-454b-8441-3fc21f0bbc00" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/8774/if-i-want-to-use-a-microphone-with-a-portable-mini-amp-will-a-preamp-mixer-sign/8776#8776" />
  <row Id="48821" PostHistoryTypeId="2" PostId="26919" RevisionGUID="43b6d4f2-ee7c-4ff6-b462-ab7630e0663d" CreationDate="2013-08-20T11:59:18.857" UserDisplayName="Tim" Text="Whilst condenser mics are great, they are not as robust as something like a Shure SM58, the industry standard for many years now.The Beta is even better.Drop one and shrug your shoulders. Drop a condenser and start to cry. A pre-amp. is a good move - you can tailor your eq. from the start.Also extra inputs for gtr., or backing tracks are useful. Behringer mixers are fine - I use 4 from time to time. This arrangement would then plug straight into the p.a. in any decent venue.&#xD;&#xA;&#xD;&#xA;Try to find an amp. with the biggest speaker you can lug around - the tone quality is likely to be better.More watts tend to produce more volume, but this isn't necessarily the case.Make sure the battery-fed amp can be easily used on mains, should it be available.&#xD;&#xA;&#xD;&#xA;$200 for the mic.,and $150 for the mixer sounds about right.If you were to plug straight into the amp., there would be a case for having a power amp. as the mixer does the job of the pre-amp.Also get decent cables - for both good sound and when they get walked on, tripped over etc.It's also worth getting a flightcase or similar to keep your gear safe in. Shopping bags don't look too professional !" ContentLicense="CC BY-SA 3.0" />
  <row Id="48822" PostHistoryTypeId="2" PostId="26920" RevisionGUID="64571657-9e86-41fd-b1df-8b6df9ceb01e" CreationDate="2013-08-20T16:00:01.787" UserId="7174" Text="Your best bet is to get an SM58 for a microphone, it's the standard workhorse vocals mic, very durable and can easily be obtained for under the $200 price point.  You're likely a bit off on the mixer and amp category though.  &#xD;&#xA;&#xD;&#xA;The little tiny toy amps you are talking about are not really designed for amplification.  If you are in a small venue, running at max power (which would likely have horrible sound quality) you won't even be louder than conversation occurring 10 meters away.  It simply isn't enough power to be practical for your purposes.&#xD;&#xA;&#xD;&#xA;Those amps are called practice amps for exactly that reason, they are basically just designed to take an electric guitar or keyboard and make it equivalent to an acoustic guitar or a quiet drum kit.  They aren't designed for performance, they are designed for practice.&#xD;&#xA;&#xD;&#xA;For a mic cable, I personally like HOSA's but I normally use whatever isn't terribly expensive and gets good reviews.  Don't spend too much on cables, particularly for balanced signals.  Buy the cheapest that have good reviews based on quality rather than just value.  Also, keep in mind that taking good care of your cables will do more for them than buying the best available.  Learn to properly reverse wrap your cables by hand rather than wrapping them around your arm and they will thank you by lasting longer, coiling nicer and lying flatter on the ground.&#xD;&#xA;&#xD;&#xA;The mixers you are looking at could do the job of EQing your voice and dealing with a balanced input, but really, your cheapest bet is probably going to be to go for a cheap hybrid system that embeds the mixer and amplifier together and then use standard speakers.  Alternately, you could use one of those mixers you listed and a powered speaker.  Either option would work, but the little battery powered amp isn't gonna do much for you." ContentLicense="CC BY-SA 3.0" />
  <row Id="48823" PostHistoryTypeId="2" PostId="26921" RevisionGUID="e85d24ad-8938-45f8-b7dd-de745148b901" CreationDate="2013-08-20T20:48:16.367" UserId="7200" Text="While your plan to spend most on the microphone may actually be a good idea (you'll be able to use that microphone also at venues with a proper PA), this is not benefitial for your portable mini-amp setup. Pretty much all professional microphones (even some models for 30$) have a reasonably linear response if compared to any speaker available for 200$, so no matter how you distribute your budget the speaker will probably have the strongest influence on the sound you get.&#xD;&#xA;&#xD;&#xA;Particularly, such guitar practise amps, like AJ Henderson says, are by no means designed for amplifying voice. They do in fact _deliberately_ alter the sound so it will be distorted even at low volumes, because that's desired for rock guitar – but almost never for vocals; certainly not for a smooth warm jazzy sound, instead you'd get something between ancient radio lo-fi sound and heavy metal growl. I don't think you want that!&#xD;&#xA;&#xD;&#xA;I therefore recommend you watch out for an affordable active PA Box first. The cheapest you can go for it to sound anything useful are models like the Behringer B208D. To get a _decent_ sound you'll probably need to spend rather more than 200$ here, for instance with the Mackie SRM350 V2. When the speaker is active, you don't need a _power amp_, so I wouldn't buy a passive box.&#xD;&#xA;&#xD;&#xA;Microphone/Preamp/Mixer, as I said, will have rather less influence on the sound.&#xD;&#xA;&#xD;&#xA;Condenser microphones are great, I quite prefer them to dynamic ones sound-wise in most applications. But again, they are much more fragile, typically more expensive, and somewhat more difficult to use correctly (what with phantom power etc.), so a dynamic mic is probably a better choice for you right now. You can't go wrong with the good old SM58, but there are now even cheaper models (mostly replicas of it) that are still usable. Not all though; at any rate you should make sure the output is properly balanced. In doubt, do get an SM58. What you definitely don't want is a studio microphone; particularly large-diaphragm condensers are _extremely_ fragile and very sensitive to all kinds of disturbances.&#xD;&#xA;&#xD;&#xA;If you only need to amplify your voice and no other instruments, you don't really need a mixer. Even then, a very minimal one might be good to have, since it also offers you a preamp (probably not good, but preamps only have a pretty subtle influence anyway) and a basic EQ, so you can at least very roughly tweak the sound towards your need. And sure, you can then plug in a guitar, too.&#xD;&#xA;Such micro-mixers are now widely available, taylored mostly at podcast applications. The Behringer Xenyx 502 you already have in mind is probably cheapest usable, and might in this case actually be completely fine; for a bit more flexibility there are models like the Samson MDR 624.&#xD;&#xA;&#xD;&#xA;Concerning microphone cables – those have [almost no influence on the sound at all](http://avp.stackexchange.com/questions/5069/what-causes-the-difference-in-cord-quality-between-brands), unless they're just faulty. Just get something long enough and reasonably durable, I've had good experience with the Cordial CCM series. You'll also need a cable from the mixer to the active speaker; a simple short guitar / patch cable should do the trick.&lt;sub&gt;(Usually, mixers have balanced outputs and active speakers a balanced input, so technically, you should use stereo cables here to surpress hum. But it shouldn't make any notable difference in your application.)&lt;/sub&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48824" PostHistoryTypeId="2" PostId="26918" RevisionGUID="ec47ec84-820e-48eb-9046-28d1eac8696a" CreationDate="2013-08-20T10:48:16.057" UserDisplayName="Feanne" Text="I'm an amateur musician who knows very little about audio equipment, but I'd like to start learning and have my own basic setup so as not to rely completely on the equipment at venues (sometimes they have terrible microphones and so on).&#xD;&#xA;&#xD;&#xA;I've been searching online for a setup that will boost my singing vocals for situations such as small gigs at small cafes, or street busking. I'd like to have a &quot;warm&quot; tone to match my jazz-influenced style and mid-to-high vocal range. I'm thinking of this setup:  &#xD;&#xA;- portable mini amp (budget: around $100)  &#xD;&#xA;- portable/compact preamp/mixer (budget: below $100)  &#xD;&#xA;- dynamic microphone or low-noise condenser microphone (budget: below $200)  &#xD;&#xA;&#xD;&#xA;The portable mini amps I'm looking at:  &#xD;&#xA;- Vox Mini 3  &#xD;&#xA;- Roland Mobile Cube  &#xD;&#xA;- Orange Amplifiers Micro Crush PiX 3 Watt 9-Volt Mini Amp  &#xD;&#xA;- Danelectro N10B Honey Tone Mini Amp  &#xD;&#xA;&#xD;&#xA;The preamps/mixers I'm looking at:  &#xD;&#xA;- Mackie 402-VLZ4 4 Channel Mixer  &#xD;&#xA;- Peavey PV6 Mixing Console  &#xD;&#xA;- Behringer 302USB Premium 5-Input Mixer with XENYX Mic Preamp and USB/Audio Interface  &#xD;&#xA;- ART Tube MP Microphone Preamp  &#xD;&#xA;&#xD;&#xA;The microphones I'm looking at:  &#xD;&#xA;- Shure 55SH Series II Iconic Unidyne Vocal Microphone  &#xD;&#xA;- Electro Voice ND767A  &#xD;&#xA;- MXL V87 or V89 Low-Noise Condenser Microphone  &#xD;&#xA;- Audio-Technica AT2035 Large Diaphragm Studio Condenser Microphone  &#xD;&#xA;- Nady PCM-200 Professional Classic Dynamic Microphone, Cardioid  &#xD;&#xA;&#xD;&#xA;Apparenty it's possible to [hook up the microphone directly to the portable amp][1], but I was wondering whether it would also be worth it to get a preamp?  &#xD;&#xA;Would it significantly improve the sound of the portable amp?  &#xD;&#xA;If I perform at a venue that has its own sound system / amps / speakers, would I have more control over my own sound by bringing my own microphone and preamp for it?  &#xD;&#xA;If I get the mixer which has 5 inputs, could I then plug both a microphone and a guitar into that, and then connect the mixer to the portable amp?  &#xD;&#xA;Did I budget correctly by allocating a higher budget to the microphone (as it is the closest to the source, my voice)? Should the preamp/mixer also have a higher budget? (Although, among the more expensive ones, there don't seem to be any compact options.)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Can-this-used-microphones-well/forum/FxNG7QQKEMUP51/TxOKEGLU3K2TWF/1/" ContentLicense="CC BY-SA 3.0" />
  <row Id="48825" PostHistoryTypeId="1" PostId="26918" RevisionGUID="ec47ec84-820e-48eb-9046-28d1eac8696a" CreationDate="2013-08-20T10:48:16.057" UserDisplayName="Feanne" Text="If I want to use a microphone with a portable mini amp, will a preamp/mixer significantly improve the sound quality? This is for small live gigs" ContentLicense="CC BY-SA 3.0" />
  <row Id="48826" PostHistoryTypeId="3" PostId="26918" RevisionGUID="ec47ec84-820e-48eb-9046-28d1eac8696a" CreationDate="2013-08-20T10:48:16.057" UserDisplayName="Feanne" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48827" PostHistoryTypeId="36" PostId="26921" RevisionGUID="d3318734-152d-41fa-92e1-27837533b47b" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/8774/if-i-want-to-use-a-microphone-with-a-portable-mini-amp-will-a-preamp-mixer-sign/8781#8781" />
  <row Id="48828" PostHistoryTypeId="36" PostId="26922" RevisionGUID="904fd9e1-eafc-4488-bee6-8df608231bde" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/7012/mixer-built-in-dsp-effects-vs-software-effects" />
  <row Id="48829" PostHistoryTypeId="36" PostId="26923" RevisionGUID="33251c22-a16b-4b78-8f37-8c4990998fb0" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/7012/mixer-built-in-dsp-effects-vs-software-effects/7013#7013" />
  <row Id="48830" PostHistoryTypeId="2" PostId="26923" RevisionGUID="8d1f16e6-66e9-4f81-8d66-1bbf4260eb6d" CreationDate="2013-01-30T23:53:16.233" UserId="7188" Text="Comparing both options on the following criteria may assist.&#xD;&#xA;&#xD;&#xA;Portability: Most dedicated DSP pedals, boxes, etc are more portable than hauling a desktop and running DSP software on it. However a laptop, tablet, or iPad, or even the possible use of a smart phone with appropriate apps may now be a serious contender in the portability arena.&#xD;&#xA;&#xD;&#xA;Latency: This is not an issue with dedicated boxes vs software. Latency is an issue with some software DSP products but not all and this largely depends on the hardware platform age and performance. Generally the better the DSP software product and the newer the platform this should not be an issue.&#xD;&#xA;&#xD;&#xA;Cost: older dedicated DSP devices will likely be cheaper than buying a laptop and pro DSP software.&#xD;&#xA;&#xD;&#xA;Maintenance: as a rule of thumb the older the technology the more costly to repair or replace. New gear will likely have at least a 90 day warranty while desktops and laptops will likely have at least a 1 year warranty with the option to extend it to 5 years.&#xD;&#xA;&#xD;&#xA;Robustness: How fragile is that foot pedal vs your laptop? not much, where laptops often break as soon as they hit the floor.&#xD;&#xA;&#xD;&#xA;Versatility: Software generally wins on this one as there is usually a ton of plug ins available with each new revision level especially with Pro versions where as dedicated boxes are at best one trick ponies.&#xD;&#xA;&#xD;&#xA;Difficulty in setting up: I don't know about you but when I jam I want to spend most of my time making music and not futzing around with my gear. Whether a dedicated DSP box vs DSP software requires more attention in configuring is going to be very specific to the gear you choose. Either one could be a nightmare or a walk in the park.&#xD;&#xA;&#xD;&#xA;**Conclusion:**&#xD;&#xA;&#xD;&#xA;If you can compare one set up vs the other than that is the best way for you to find out which one is worth the investment as you have first hand experience.&#xD;&#xA;&#xD;&#xA;**EXTRA:**&#xD;&#xA;I suggest you look at what is available here for Jamming:&#xD;&#xA;&#xD;&#xA;http://www.jamhub.com/&#xD;&#xA;&#xD;&#xA;Their solution is cost effective, portable, with zero latency, and easy to setup. Imagine, you can have 7 performers in your living room having a jam session with ear phones plugged in, no worries about neighbors calling the cops--your parents will love you.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48831" PostHistoryTypeId="2" PostId="26924" RevisionGUID="95d44061-9cfd-474b-8118-bd080a67ab79" CreationDate="2013-01-31T14:18:24.017" UserId="7174" Text="While filzilla has a great answer, one major omission is the fact that depending on the software solution you use, it may well be possible to add hardware DSP processing down the road to make it completely equivalent to a dedicated hardware solution while still maintaining the flexibility of a software based system.  There are many computer accessories that offer dedicated DSP processing chips, some for very reasonable costs." ContentLicense="CC BY-SA 3.0" />
  <row Id="48832" PostHistoryTypeId="2" PostId="26922" RevisionGUID="e64026b8-2b62-4dc3-b97e-87c894a4290f" CreationDate="2013-01-30T22:42:23.963" UserId="7840" UserDisplayName="themirror" Text="I'm trying to decide between buying an old (used) mixing board (or some other PC-less box with lots of DSP effects) versus buying a multichannel PC audio interface and doing my live effects through software (i.e. VST or AU).&#xD;&#xA;&#xD;&#xA;My main concern is latency; I want to make sure that if I chain many audio effects together, the delay will be small enough for live jamming (i.e. playing with a band where the guitars, vocals, etc, are all going through individual effects chains).&#xD;&#xA;&#xD;&#xA;Is there a big difference in latency on the software solution versus the hardware solution?  Is there anything else you can say to persuade of one solution over the other." ContentLicense="CC BY-SA 3.0" />
  <row Id="48833" PostHistoryTypeId="1" PostId="26922" RevisionGUID="e64026b8-2b62-4dc3-b97e-87c894a4290f" CreationDate="2013-01-30T22:42:23.963" UserId="7840" UserDisplayName="themirror" Text="Mixer built-in DSP effects vs software effects" ContentLicense="CC BY-SA 3.0" />
  <row Id="48834" PostHistoryTypeId="3" PostId="26922" RevisionGUID="e64026b8-2b62-4dc3-b97e-87c894a4290f" CreationDate="2013-01-30T22:42:23.963" UserId="7840" UserDisplayName="themirror" Text="&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48835" PostHistoryTypeId="36" PostId="26924" RevisionGUID="e4819cbc-e719-4fdd-8599-11d836a9d203" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/7012/mixer-built-in-dsp-effects-vs-software-effects/7025#7025" />
  <row Id="48836" PostHistoryTypeId="36" PostId="26925" RevisionGUID="9a478286-b1d2-48ad-8ec2-6cfac20f102b" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/7357/vst-plugin-that-hosts-vst-plugins" />
  <row Id="48837" PostHistoryTypeId="36" PostId="26926" RevisionGUID="46983b21-548b-4725-a3a2-450c1481c4a7" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/7357/vst-plugin-that-hosts-vst-plugins/7364#7364" />
  <row Id="48838" PostHistoryTypeId="36" PostId="26927" RevisionGUID="1b91d85d-0b2f-46c3-a1ce-0a7504273467" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/7357/vst-plugin-that-hosts-vst-plugins/7544#7544" />
  <row Id="48839" PostHistoryTypeId="36" PostId="26928" RevisionGUID="1c23c394-e801-4826-947a-fc031997ff59" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/7357/vst-plugin-that-hosts-vst-plugins/7565#7565" />
  <row Id="48840" PostHistoryTypeId="2" PostId="26926" RevisionGUID="818c87ce-8ff8-4bdf-9055-9c0f5e3ff36a" CreationDate="2013-03-10T06:01:08.897" UserDisplayName="kurzweilguy" Text="If there is another plug-in format supported, you could try a VST wrapper and see if that helps. I know FXExpansion makes one for VSTs, but again, your host would have to support something other than VSTs." ContentLicense="CC BY-SA 3.0" />
  <row Id="48841" PostHistoryTypeId="2" PostId="26927" RevisionGUID="a047b9f4-f956-4b5a-8a93-f810cf90c39c" CreationDate="2013-03-30T20:26:33.213" UserDisplayName="TGV" Text="Try [Plogue Bidule][1]. There is a trial of the standalone version which can really do amazing things, the paid plugin version can host other plugins.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.plogue.com/products/bidule/" ContentLicense="CC BY-SA 3.0" />
  <row Id="48842" PostHistoryTypeId="2" PostId="26928" RevisionGUID="efed7f2e-0c5b-45d9-8cd6-d46a47040b92" CreationDate="2013-04-02T13:22:31.450" UserDisplayName="jordinja" Text="Unfortunately not free, but the following two options have worked for me in the past:&#xD;&#xA;&#xD;&#xA;[Xlutop Chainer][1]&#xD;&#xA;&#xD;&#xA;[Energy-XT][2] which can be used as a VST plugin, or a DAW in its own right. I use it as both, as there's a Linux version, and I love it.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.xlutop.com/html/chainer.html&#xD;&#xA;  [2]: http://www.energy-xt.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="48843" PostHistoryTypeId="2" PostId="26925" RevisionGUID="47e4eb0e-2201-4a03-b90d-8a4eef5f151d" CreationDate="2013-03-08T23:08:21.737" UserDisplayName="Annie" Text="Is there any VST plugin out there that is capable of loading other VST plugins (effects) ?&#xD;&#xA;&#xD;&#xA;A free one, if possible :P" ContentLicense="CC BY-SA 3.0" />
  <row Id="48844" PostHistoryTypeId="1" PostId="26925" RevisionGUID="47e4eb0e-2201-4a03-b90d-8a4eef5f151d" CreationDate="2013-03-08T23:08:21.737" UserDisplayName="Annie" Text="VST plugin that hosts VST plugins" ContentLicense="CC BY-SA 3.0" />
  <row Id="48845" PostHistoryTypeId="3" PostId="26925" RevisionGUID="47e4eb0e-2201-4a03-b90d-8a4eef5f151d" CreationDate="2013-03-08T23:08:21.737" UserDisplayName="Annie" Text="&lt;effects&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48846" PostHistoryTypeId="36" PostId="26929" RevisionGUID="803bbe9a-b839-45d1-a72c-4a56e22ff454" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/4826/how-to-protect-an-amplifier-from-blowing-an-internal-fuse" />
  <row Id="48847" PostHistoryTypeId="36" PostId="26930" RevisionGUID="4cade233-2dbb-46e3-883d-a99b19f74c10" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/4826/how-to-protect-an-amplifier-from-blowing-an-internal-fuse/4827#4827" />
  <row Id="48848" PostHistoryTypeId="2" PostId="26930" RevisionGUID="35d359f7-551e-4b34-9a37-cbf9dea390f8" CreationDate="2012-09-23T23:33:40.900" UserDisplayName="Hilmar" Text="First things first: DO NOT TAMPER WITH ANY INTERNAL FUSES OR ANYTHING THAT CAN CARRY LINE VOLTAGE. It's dangerous, it hurts, and it will be the end of your performance at the most inopportune moment.&#xD;&#xA;&#xD;&#xA;The key is to find out why the fuse blew in the first place. A well designed amp these days does not have any internal fuses. I used to design these things for a living and I haven't designed in an internal fuse in 10+ years. Proper protection circuitry should monitor the amp and take it into a controlled shutdown when bad things happen. &#xD;&#xA;&#xD;&#xA;So assuming you have an older model, we need to find out what took out the fuse. That really depends on age, type (tube, class A, class A/B, class D) of power stage, brand and abuse scenario. If there really wasn't any abuse involved, something is wrong with the amp and you should have checked it out by a technician. It's possible that you have an intermittent short, which you really want fixed. &#xD;&#xA;&#xD;&#xA;Make sure the amp has not been &quot;modified&quot; by some amateur. I have seen an &quot;improved&quot; Fender Champ that put 120 V on the guitar strings when you plug in the AC a certain way. &#xD;&#xA;&#xD;&#xA;Adding an external fuse is generally a bad idea: Firstly you have to build a contraption that connects directly to AC which is a) dangerous, and b) illegal in most jurisdictions. Secondly, you need to size the fuse in terms of tripping point (speed, current, recovery time) so that it always kicks in before the internal fuse. That's tricky to do and will also likely trip on the in-rush current of the amp anyway.&#xD;&#xA;&#xD;&#xA;It's always a good idea to bring an outlet tester and a digital multimeter to a gig to check the AC outlets on the stage (which can be questionable). Check whether the voltage and grounding is correct. If it's not, let the venue know and refuse to play. While that's painful, it's a lot less painful than a trip to the emergency room." ContentLicense="CC BY-SA 3.0" />
  <row Id="48849" PostHistoryTypeId="2" PostId="26929" RevisionGUID="deb3d8ba-c316-4840-a789-98ddcd20a53f" CreationDate="2012-09-23T14:22:41.207" UserDisplayName="jammypeach" Text="At the last gig I played the guitarists amplifier head blew a mains fuse and we didn't have a replacement.&#xD;&#xA;&#xD;&#xA;We've learned our lesson about having spare fuses, sufficed to say.&#xD;&#xA;&#xD;&#xA;Thankfully we had a spare channel on the PA that could power the cabinet so we got through the night without too many problems, but obviously we don't want to have to be opening up amplifiers on stage to switch out fuses in future.&#xD;&#xA;&#xD;&#xA;The fuse is rated at 2 Amps (230v).&#xD;&#xA;&#xD;&#xA;One idea that we talked about was to fuse the power leads with 2amp fuses, so that if it happened again atleast only the power lead would blow first and we could switch that out or replace it much easier than switching the amplifier fuse. However ideally we'd want to avoid any fuses blowing.&#xD;&#xA;&#xD;&#xA;Is there an accepted best practice or strategy for dealing with this kind of thing?&#xD;&#xA;&#xD;&#xA;Are surge protectors any help?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48850" PostHistoryTypeId="1" PostId="26929" RevisionGUID="deb3d8ba-c316-4840-a789-98ddcd20a53f" CreationDate="2012-09-23T14:22:41.207" UserDisplayName="jammypeach" Text="How to protect an amplifier from blowing an internal fuse" ContentLicense="CC BY-SA 3.0" />
  <row Id="48851" PostHistoryTypeId="3" PostId="26929" RevisionGUID="deb3d8ba-c316-4840-a789-98ddcd20a53f" CreationDate="2012-09-23T14:22:41.207" UserDisplayName="jammypeach" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48852" PostHistoryTypeId="36" PostId="26931" RevisionGUID="ab08ce51-90ed-4628-821b-b33b5cdbb287" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/7279/vst-on-android-or-ipad" />
  <row Id="48853" PostHistoryTypeId="36" PostId="26932" RevisionGUID="83a209a4-1fcf-4afe-9392-e93746881ab4" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/7279/vst-on-android-or-ipad/7282#7282" />
  <row Id="48854" PostHistoryTypeId="2" PostId="26932" RevisionGUID="d91d19c5-3616-49d1-9bee-ff4446c8ef0c" CreationDate="2013-03-02T07:24:44.093" UserId="7189" Text="The VST SDK doesn't exist for Android or IOS, so there can't be apps with true VST support. [Chris Randall explains on his excellent blog][1] (warning, &lt;strike&gt;may&lt;/strike&gt; contains profanity!).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.analogindustries.com/blog/entry.php?blogid=1326833189677" ContentLicense="CC BY-SA 3.0" />
  <row Id="48855" PostHistoryTypeId="2" PostId="26931" RevisionGUID="3b589fce-8cfd-4531-bcaf-5e437b4177c6" CreationDate="2013-03-02T02:03:45.960" UserId="7840" UserDisplayName="themirror" Text="Are there any apps for Android or iPad that have full VST support?  From what I can tell, every VST must be specially compiled for use on these systems, so the answer would be no.  But is that correct?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48856" PostHistoryTypeId="1" PostId="26931" RevisionGUID="3b589fce-8cfd-4531-bcaf-5e437b4177c6" CreationDate="2013-03-02T02:03:45.960" UserId="7840" UserDisplayName="themirror" Text="VST on Android or iPad" ContentLicense="CC BY-SA 3.0" />
  <row Id="48857" PostHistoryTypeId="3" PostId="26931" RevisionGUID="3b589fce-8cfd-4531-bcaf-5e437b4177c6" CreationDate="2013-03-02T02:03:45.960" UserId="7840" UserDisplayName="themirror" Text="&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48858" PostHistoryTypeId="36" PostId="26933" RevisionGUID="efb48181-d66d-4dd5-b51a-40ce6e71ccc1" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/4408/simplest-vst-hosts" />
  <row Id="48859" PostHistoryTypeId="36" PostId="26934" RevisionGUID="b908705b-ab4f-479d-9d46-0d5eefb39e01" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/4408/simplest-vst-hosts/4434#4434" />
  <row Id="48860" PostHistoryTypeId="2" PostId="26934" RevisionGUID="1da70417-fd45-4e2f-989a-94078b73595d" CreationDate="2012-07-20T06:27:39.427" UserDisplayName="Jeff Daniels" Text="http://www.renoise.com/&#xD;&#xA;&#xD;&#xA;http://www.modplug.com/index.php&#xD;&#xA;&#xD;&#xA;tons more here:&#xD;&#xA;&#xD;&#xA;http://bedroomproducersblog.com/2011/05/16/bpb-freeware-studio-best-free-vst-host-applications/&#xD;&#xA;&#xD;&#xA;VSTHost freeware:&#xD;&#xA;http://www.hermannseib.com/english/vsthost.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="48861" PostHistoryTypeId="2" PostId="26933" RevisionGUID="5f2be489-2b92-4c5b-a259-71cd4f9b0c39" CreationDate="2012-07-15T05:02:32.327" UserId="7840" UserDisplayName="themirror" Text="For each platform (Windows, Mac, Linux), what are the most basic apps for simply hosting some VSTs and assigning their parameters to some attached midi control surfaces?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48862" PostHistoryTypeId="1" PostId="26933" RevisionGUID="5f2be489-2b92-4c5b-a259-71cd4f9b0c39" CreationDate="2012-07-15T05:02:32.327" UserId="7840" UserDisplayName="themirror" Text="Simplest VST hosts?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48863" PostHistoryTypeId="3" PostId="26933" RevisionGUID="5f2be489-2b92-4c5b-a259-71cd4f9b0c39" CreationDate="2012-07-15T05:02:32.327" UserId="7840" UserDisplayName="themirror" Text="&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48864" PostHistoryTypeId="36" PostId="26935" RevisionGUID="97087e70-7e85-45ca-8db8-2f5ecfbec0f3" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/1492/how-to-create-soundbanks-or-similar-type-of-resources" />
  <row Id="48865" PostHistoryTypeId="36" PostId="26936" RevisionGUID="d38b33db-9f61-4505-85f9-2fadafd3319b" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/1492/how-to-create-soundbanks-or-similar-type-of-resources/1493#1493" />
  <row Id="48866" PostHistoryTypeId="36" PostId="26937" RevisionGUID="c3b30939-432e-4e54-bedb-e09c04b47c1b" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/1492/how-to-create-soundbanks-or-similar-type-of-resources/1595#1595" />
  <row Id="48867" PostHistoryTypeId="2" PostId="26936" RevisionGUID="6d5bedc0-0c60-492e-a5b6-3c1a96dce6b8" CreationDate="2011-05-30T09:04:08.550" UserId="7471" UserDisplayName="Mark Heath" Text="Unfortunately, the answer is that there is no easy way to do this manually. You can sample your synth, which involves making a recording of it playing each note individually, and then assembling that into a sampled instrument using the [sfz format][1] (or any other sampler). &#xD;&#xA;&#xD;&#xA;However, this does not work well for all types of synth sound. In particular, if your synth supports any kind of rhythmic tempo-syncing effects, these will be lost. Also, if the timbre of the sound changes depending on the velocity of your key hits, you will need to multi-sample each note to capture this. Also, you will no longer be able to automate synth parameters in real-time. &#xD;&#xA;&#xD;&#xA;Having said all that, it is possible to capture the basic sound of a patch. You need a fair bit of time and patience, as you will need to assemble a lot of samples, and quite probably create loop points for each one.&#xD;&#xA;&#xD;&#xA;It is possible that somewhere you might find a program that will attempt to automate the task for you, by sending MIDI note on and off messages to your soft-synth one by one, recording the results and assembling them into some kind of sample file (e.g. sf2). For example I think [Extreme Sample Converter][2] has this capability, but I don't know of any free options.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.cakewalk.com/DevXchange/article.aspx?aid=108&#xD;&#xA;  [2]: http://www.extranslator.com/index.php?page=exsc" ContentLicense="CC BY-SA 3.0" />
  <row Id="48868" PostHistoryTypeId="2" PostId="26937" RevisionGUID="697c3048-f25d-4a66-ae7b-3c19e3e2ac5c" CreationDate="2011-06-15T01:14:43.837" UserDisplayName="SeanBlake" Text="Consider getting an old box with the OS it used to work on and using that box as a &quot;hardware&quot; synth. That is, run a midi channel to the old boxand run the audio from the old box back to your DAW as if it were a hardware synth. This way you retain all bends, legato and midi automation. &#xD;&#xA;&#xD;&#xA;Otherwise, Openlabs has some software called [MimiK][1] that can be used to clone hardware synths and keyboards. I'm sure it wouldn't be too difficult to rout some midi channels in your DAW and have it pull from your synth. I don't know if they sell it standalone or you have to install it on a Neko board though...&#xD;&#xA;&#xD;&#xA;I've also heard of SampleRobot and [Autosampler][2] that seem to do the same thing. &#xD;&#xA;&#xD;&#xA;You'll probably have more luck this way than sampling by hand. The software method is more precise and, most importantly, automated. &#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;&#xD;&#xA;Blake&#xD;&#xA;&#xD;&#xA;  [1]: http://www.openlabs.com/mimik.html&#xD;&#xA;  [2]: http://redmatica.com/Redmatica/AutoSampler.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="48869" PostHistoryTypeId="2" PostId="26935" RevisionGUID="1d1ea8cd-3da6-4a1e-aeca-6055ed8b3913" CreationDate="2011-05-30T03:51:24.293" UserDisplayName="Alex" Text="I have a very old VST synth that doesn't really work that good with my latest OS version. It crashes a lot. The thing is I don't really need it that much anymore, but I have a few nice patches in it that are hard to reproduce in other synths.&#xD;&#xA;&#xD;&#xA;How can I create some kind of a soundbank with the sounds I like from it, so I can use them instead of the VST?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48870" PostHistoryTypeId="1" PostId="26935" RevisionGUID="1d1ea8cd-3da6-4a1e-aeca-6055ed8b3913" CreationDate="2011-05-30T03:51:24.293" UserDisplayName="Alex" Text="How to create soundbanks or similar type of resources" ContentLicense="CC BY-SA 3.0" />
  <row Id="48871" PostHistoryTypeId="3" PostId="26935" RevisionGUID="1d1ea8cd-3da6-4a1e-aeca-6055ed8b3913" CreationDate="2011-05-30T03:51:24.293" UserDisplayName="Alex" Text="&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48872" PostHistoryTypeId="36" PostId="26938" RevisionGUID="447ee1cc-14b0-493f-95d1-5ab8fb63c7a8" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1490/setup-for-live-wedding-performance" />
  <row Id="48873" PostHistoryTypeId="36" PostId="26939" RevisionGUID="978645e6-9906-41e6-8ed0-129fa0fb669e" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1490/setup-for-live-wedding-performance/1491#1491" />
  <row Id="48874" PostHistoryTypeId="36" PostId="26940" RevisionGUID="8de69fe2-d6c0-4d49-80c4-0e6b80dbdabc" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1490/setup-for-live-wedding-performance/1498#1498" />
  <row Id="48875" PostHistoryTypeId="2" PostId="26939" RevisionGUID="d38f7415-b80b-4624-81b5-170286dcafee" CreationDate="2011-05-30T00:14:39.323" UserId="7251" Text="It very much depends on the DJ, I know of some DJs that would just about cope with this, and others that... well I'd rather not think about the results!  Also it depends on the mixer and equipment that the DJ uses, they might not have enough spare channels on the mixer to accommodate you.  It is definitely worth talking to them about it.&#xD;&#xA;&#xD;&#xA;Given your time constraints what I would probably do if possible would be to do a sound check the day before and set up your mixer with the required gains and foldback mix.  Then on the day you can get in and set up the equipment, do a basic line check on headphones whilst other stuff is happening around you and then hopefully it won't take more than a few minutes to get the mix sounding right.&#xD;&#xA;&#xD;&#xA;Regarding monitoring you might be alright without your IEM, but given the time constraints and not having a chance to try it, given the nature of the day I'd play it safe and set up the IEM.&#xD;&#xA;&#xD;&#xA;Although the mics being in front of the speaker stack is less than ideal it should be workable.  One thing you might consider is moving towards the gap in the middle of the speakers.  As if you think of the sound as a cone coming out from each speaker there will be a triangular bit of floor between them where there is a bit of a dead spot.  I've used this in the past to my advantage, although I'd also occasionally surprised by just how close you can get to a speaker 3-4' with a live mic and it won't necessarily feedback.&#xD;&#xA;&#xD;&#xA;I've been involved/at a couple of weddings like the one you describe, for one of them it was decided it was easier just to set up a 2nd set of speakers for the band as it can be done at the same time the DJ is setting up, and it means the DJ doesn't have to do anything out of the ordinary.&#xD;&#xA;&#xD;&#xA;Hope this has given you some ideas, and proves helpful.  Oh and remember to enjoy the day, I know in the past I've been so caught up in organising things I've forgotten that part." ContentLicense="CC BY-SA 3.0" />
  <row Id="48876" PostHistoryTypeId="2" PostId="26940" RevisionGUID="4a949059-3573-4bc2-a0c2-2e4e693d9cce" CreationDate="2011-05-30T18:15:05.470" UserId="7045" Text="It sounds like you're stuck with the DJ doing the mix; bringing in your friend as a sound guy only makes sense if he knows his stuff very well, better than the DJ, and you have to time to integrate him with the DJ. If the PA belongs to the DJ, he may well be able to assist you with these issues. Have you voiced your concerns with the DJ yet? If not, please do so now. &#xD;&#xA;&#xD;&#xA;While the DJ *may* be incompetent, perhaps he isn't. If the former, you'll know what you're dealing with; if the latter, you have a resource to help this go smoothly. And, out of all the people involved, who here has played weddings before and has dealt with this situation before? The DJ may not be a pro at live mixing, but at the very least will want to avoid sounding bad. &#xD;&#xA;&#xD;&#xA;If this were a concert, I'd say that you should get the DJ off that mixing board without hesitation. But that's not the case; it's a wedding, and you're in the DJ's turf. Learn to live with this constraint instead. &#xD;&#xA;&#xD;&#xA;&lt;hr&gt;&#xD;&#xA;&#xD;&#xA;##Mix: &#xD;&#xA;&#xD;&#xA;When working from headphones, the best thing you can do is to have someone in the audience to send signals to the person at the board--louder, softer (raise or lower hands), vocal too soft (pantomime singing into a mic while giving the &quot;louder&quot; signal), and so on. Your friend offering to stand by for sound might be helpful in this. &#xD;&#xA;&#xD;&#xA;I'm assuming that the piece you're doing was chosen (or written) to be appropriate to the event. In that case, the number-one priority here will be that the audience hears the words and understands them. Tell whoever's doing the mixing this priority, and stress that it's even more important than sounding *good*. A great-sounding mix where the words are a bit hard to understand won't achieve your goal. &#xD;&#xA;&#xD;&#xA;(The only exception to this is a piece where people know it so well that they'll pick up on what it's about even without understanding the words.)&#xD;&#xA;&#xD;&#xA;Over a decade ago, I was best man at my bandmate's wedding. The groom spent weeks on a song for his bride, polishing the lyrics, and coming up with a very catchy and touching melody. We got almost no response from the audience, and I assumed people don't like the song. It was only later I realized that our volume was far too low for the hall, and nobody heard or understood the song. &#xD;&#xA;&#xD;&#xA;This is a one-time event, and you won't get to repeat it. Make sure they can hear you. &#xD;&#xA;&#xD;&#xA;##Monitoring: &#xD;&#xA;&#xD;&#xA;Assume you'll not be able to hear yourselves at all. It sucks, but it happens. Learn the piece well so you can perform it without hearing each other. (If the DJ has a subwoofer, you should be able to feel the beat from that if nothing else.) The guitar player will have more leeway, able to back towards the mains to hear the backing tracks (but leave the vocal mic behind for this). &#xD;&#xA;&#xD;&#xA;If you end up being able to hear each other, well, that's a nice bonus. But keep in mind that the more you can hear yourself in the mains, the more likely that you'll have problems with feedback. &#xD;&#xA;&#xD;&#xA;(In-ear monitors are a great solution in this case, but aren't really worthwhile for one song unless the DJ has these already. Maybe he can hook you into the board? It doesn't hurt to ask.)&#xD;&#xA;&#xD;&#xA;##Feedback:&#xD;&#xA;&#xD;&#xA;From the description of the setup, it sounds like it's possible to avoid feedback, *if the person doing the mixing knows what they're doing*. In this situation, I'd spend fully half of your &quot;sound check&quot; time finding the locations where your mics will feed back, so you know to avoid standing there while rapping and playing. &#xD;&#xA;&#xD;&#xA;##Time constraints: &#xD;&#xA;&#xD;&#xA;Prioritize your needs during soundcheck. First: Get rid of feedback. Check. Second: Make sure they can hear us clearly in the back row. Check. *Everything else is expendable.*&#xD;&#xA;&#xD;&#xA;&lt;hr&gt;&#xD;&#xA;&#xD;&#xA;In summary: Prioritize your needs, and you should be okay. The absolute worst situation? If nobody can hear anything, everything is feeding back, the DJ is uncooperative, and  the audience hates you, then cut the music, and say &quot;well, that's not working out. Sorry! Here's what I really wanted to say...&quot; and tell the audience what you were trying to say in the music. It's a wedding, not a concert: If the bride and groom leave and are married, mission accomplished. &#xD;&#xA;&#xD;&#xA;However, with a little triaging and quick thinking, there's no reason this shouldn't come across well. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48877" PostHistoryTypeId="2" PostId="26938" RevisionGUID="113f1b4a-e516-4706-8418-2cce03ff75e5" CreationDate="2011-05-29T17:31:16.607" UserDisplayName="kman" Text="Okay I need some help...I'm going to be performing a song at my brothers wedding for an audience of about 400-500. Here's the deal... I produced the track which is a electronic, pop love thing. For the performance its going to be my cousin rapping, me on vocals and playing a little bit of lead electric guitar (through an eleven rack) and the backing track.&#xD;&#xA;&#xD;&#xA;Now here's where things get dicey, I'm almost 100% sure..the DJ's PA system is going to be BEHIND us during the performance. Which raises all kinds of questions...&#xD;&#xA;&#xD;&#xA;1. MIX: Assuming we don't bring our own mixer (2 mics, 1 guitar via the eleven rack and 1 backing track probably coming from an ipod), would it be crazy to rely on the DJ for the audience mix....he'll probably have to do the entire mix through headphones because of his position..which I know is not ideal. I'm contemplating bringing my own mixer and positioning closer to the audience (and have a friend standing in as a &quot;sound guy&quot;). I'd then send the DJ the master out from my mixer. It seems better but it makes the setup much more complicated (see the time constraints issue below).&#xD;&#xA;&#xD;&#xA;2. MONITORING: Will we (most importantly me because I'll be singing) be able to hear ourselves. I'm wondering if I can get by with out any monitoring other than mains behind us? Ideally I know we should have it, but I'm wondering if we can skate by because of the speaker placement. If we go the route of bringing our own mixer, than I will try and send a wired IEM to my ear from that.&#xD;&#xA;&#xD;&#xA;3. FEEDBACK: I'm assuming we'll be at a minimum of 15-20 feet in front of the mains using dynamic mics (probably sm58s). How worried should I be about this??&#xD;&#xA;&#xD;&#xA;4. TIME CONSTRAINTS: What makes this difficult is that the wedding is actually in the same hall as the reception (it's an indian wedding) and there will be only a 2 hour window that the DJ will be setting up before the reception starts. In that two hour window I'll be luckily to get 10 minutes at best to do a proper &quot;soundcheck&quot; after we setup our gear. And once we actually get to performance time..there will be a series of speeches/talks and then we're on. We'll only have a couple of minutes to get things in place and then start. Thats why I have a strong preference not to bring my own mixer, it will be much simpler easier if we go through the DJs.&#xD;&#xA;&#xD;&#xA;So what do you guys think? How would you approach this performance. Obviously the best thing to do is get into the space and test all this stuff out..but like I said i'll only have that short 10 minute window right before the performance to do that. I'm trying to be as prepared as possible before then. Advice is greatly appreciated!!!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48878" PostHistoryTypeId="1" PostId="26938" RevisionGUID="113f1b4a-e516-4706-8418-2cce03ff75e5" CreationDate="2011-05-29T17:31:16.607" UserDisplayName="kman" Text="Setup for live wedding performance" ContentLicense="CC BY-SA 3.0" />
  <row Id="48879" PostHistoryTypeId="3" PostId="26938" RevisionGUID="113f1b4a-e516-4706-8418-2cce03ff75e5" CreationDate="2011-05-29T17:31:16.607" UserDisplayName="kman" Text="&lt;live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48880" PostHistoryTypeId="36" PostId="26941" RevisionGUID="456e2e9c-2fcb-4622-b119-9a8829a93a70" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/1359/freeware-virtual-instrument-vstis" />
  <row Id="48881" PostHistoryTypeId="36" PostId="26942" RevisionGUID="18ac4b62-6552-423f-af87-3b0b7ac0dd8c" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/1359/freeware-virtual-instrument-vstis/1360#1360" />
  <row Id="48882" PostHistoryTypeId="36" PostId="26943" RevisionGUID="ec9c5a48-025a-490e-a216-787728fa58c8" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/1359/freeware-virtual-instrument-vstis/1362#1362" />
  <row Id="48883" PostHistoryTypeId="36" PostId="26944" RevisionGUID="a7570547-e745-419b-87a0-6cf022577a31" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/1359/freeware-virtual-instrument-vstis/1364#1364" />
  <row Id="48884" PostHistoryTypeId="36" PostId="26945" RevisionGUID="be35f60e-11b0-4adc-9488-5441af2a0ee9" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/1359/freeware-virtual-instrument-vstis/1372#1372" />
  <row Id="48885" PostHistoryTypeId="36" PostId="26946" RevisionGUID="c77b641e-b552-4f34-9db6-0cb7ea1931c8" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/1359/freeware-virtual-instrument-vstis/2484#2484" />
  <row Id="48886" PostHistoryTypeId="2" PostId="26942" RevisionGUID="543a68a7-12be-4c1c-9fbf-8b645b9b25a8" CreationDate="2011-05-06T19:32:14.170" UserId="7471" UserDisplayName="Mark Heath" Text="[Camel Audio Alchemy Player][1] is a free version of their more fully featured [Alchemy synth][2]. It comes with 200 patches, covering the usual synth bases of leads, pads, bases, soundscapes etc, and the presets are of a uniformly high quality. What sets it apart from the crowd is the ability to load in sfz files, making this a powerful sampler. It currently [only supports a small subset of the sfz opcodes][3], but they are enough to load the majority of sampled instruments.&#xD;&#xA;&#xD;&#xA;![Alchemy Player interface][4]&#xD;&#xA;&#xD;&#xA;You don't have access to all the editing power of the full Alchemy version, but the interface allows you to use midi continuous controllers to morph the sound in real-time in various ways, with each patch having 8 variations (often quite radically different) you can switch between.&#xD;&#xA;&#xD;&#xA;You can expand the preset library by purchasing add-on packs, as well as upgrading to the full version of the synth to unlock the ability to fully edit patches.&#xD;&#xA;&#xD;&#xA;It comes on Windows and Mac as VST/AU/RTAS for 32 or 64 bit hosts. You do have to create an account on their website to download it though.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.camelaudio.com/AlchemyPlayer.php&#xD;&#xA;  [2]: http://www.camelaudio.com/Alchemy.php&#xD;&#xA;  [3]: http://www.camelaudio.com/SFZ-Player-Editor-Definition-Samples.php&#xD;&#xA;  [4]: http://i.stack.imgur.com/w3z5N.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="48887" PostHistoryTypeId="2" PostId="26943" RevisionGUID="ebf336c3-7b71-4032-8497-e26b5ab3c7ce" CreationDate="2011-05-06T19:47:27.410" UserId="7471" UserDisplayName="Mark Heath" Text="[Synth 1][1] is a very powerful and flexible synth from Japanese developer Ichiro Toda. Don't be put off by the web pages being in Japanese and the GUI being less slick than many other synths - this is a top quality instrument. To get a feel for what it is capable of, have a listen to some of the entries in the &quot;One Synth Challenge&quot; [made entirely with Synth 1][2].&#xD;&#xA;&#xD;&#xA;![Synth 1 GUI][3]&#xD;&#xA;&#xD;&#xA;Functionally it is modelled on the Clavia Nord Lead 2 Red Synth. Its features:&#xD;&#xA;&#xD;&#xA;- 2 Oscillators, FM modulation, ring modulation, sync, modulation envelope.&#xD;&#xA;- 4 types of filters, distortion.&#xD;&#xA;- 2 LFOs (synchronized with host).&#xD;&#xA;- Arpeggiator (synchronized with host).&#xD;&#xA;- Tempo delay (synchronized with host), stereo chorus/flanger.&#xD;&#xA;- Legato mode, portamento.&#xD;&#xA;- 16 notes polyphony.&#xD;&#xA;- 128 presets.&#xD;&#xA;- Thoroughly optimized for light CPU load using SSE instructions, etc.&#xD;&#xA;- Automation.&#xD;&#xA;&#xD;&#xA;You can get loads of free additional banks for it (for example, see this [huge collection][4]).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.geocities.jp/daichi1969/softsynth/&#xD;&#xA;  [2]: http://sites.google.com/site/kvrosc/osc-13-synth1&#xD;&#xA;  [3]: http://i.stack.imgur.com/wgET9.png&#xD;&#xA;  [4]: http://www.mediafire.com/?5olf8uriplxkd90" ContentLicense="CC BY-SA 3.0" />
  <row Id="48888" PostHistoryTypeId="2" PostId="26944" RevisionGUID="6de4ecc8-73b3-41d3-95e5-c7221b55fa18" CreationDate="2011-05-06T20:03:39.373" UserId="7471" UserDisplayName="Mark Heath" Text="Native Instruments [Kore Player][1] is a free software instrument designed to tempt you to purchasing one of their paid options, but it is very useful as a starter sound-set for those short on money. It features 150 free presets which cover a wide variety of sounds, including pianos, strings and drums as well as more electronic sounds. One of Kore Player's strengths is its intuitive way of organizing patches into categories making it very easy to navigate to the type of sound you are after. You can add star ratings to your favourite sounds, which is very useful.&#xD;&#xA;&#xD;&#xA;![Kore Player GUI][2]&#xD;&#xA;&#xD;&#xA;Each patch gives you eight parameters you can modify, as well as eight different variations on those parameters you can morph between. Under the hood Kore Player is using the full power of their various software instruments (e.g. Kontakt and Massive), but in the free version, you only get to modify the parameters they make available.&#xD;&#xA;&#xD;&#xA;You can't create your own sounds, but you can purchase add-on sound packs from Native Instruments. It's available for Windows and Mac as a 32 bit VST, AU or RTAS.&#xD;&#xA;&#xD;&#xA;To install it they send you a download link and an activation code, and you use their NI Service Centre app to keep things up to date (they also have free versions of some of their other instruments you can update with this too).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.native-instruments.com/#/en/products/producer/kore-player/&#xD;&#xA;  [2]: http://i.stack.imgur.com/ng1z3.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="48889" PostHistoryTypeId="2" PostId="26945" RevisionGUID="0f5e9ad5-b52c-4742-870b-3bbe05d6fee7" CreationDate="2011-05-07T08:19:26.123" UserId="7471" UserDisplayName="Mark Heath" Text="rgc:audio/Cakewalk [sfz](http://www.cakewalk.com/Download/sfz.aspx) must rank as one of the greatest free virtual instruments of all time, despite having no included sounds. It is basically a SoundFont player that can also load sounds in an open text-based format called sfz. It is created by highly regarded softsynth developer René Ceballos, and supports a variety of modes for balancing the demands of memory/CPU usage and sound quality.&#xD;&#xA;&#xD;&#xA;![SFZ GUI][1]&#xD;&#xA;&#xD;&#xA;The [sfz file format][2] itself has grown in popularity and an increasing number of samplers now support this format (although not all fully support all its opcodes). In addition, there are literally hundreds of free soundfonts available for download on the web. To get started check out &quot;[the infinite free SoundFont list][3]&quot; thread at KVR.&#xD;&#xA;&#xD;&#xA;It is only available as a Windows VST. Unfortunately it has not been under active development for a few years now and can have problems on multi-core systems. The engine is now part of the [Cakewalk Dimension Pro][4] instrument, although you can get [Dimension LE][5] very cheaply if you just want the definitive sfz playback engine (or the free Alchemy Player if you don't mind a reduced set of opcode support - see other answer for details).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/HcXTg.png&#xD;&#xA;  [2]: http://www.cakewalk.com/DevXchange/article.aspx?aid=108&#xD;&#xA;  [3]: http://www.kvraudio.com/forum/viewtopic.php?t=28724&#xD;&#xA;  [4]: http://www.cakewalk.com/products/dimensionpro/default.aspx&#xD;&#xA;  [5]: http://www.cakewalk.com/Products/DimensionLE/default.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="48890" PostHistoryTypeId="2" PostId="26946" RevisionGUID="a8374c04-84c4-47f1-bf7e-0a763fd49ea8" CreationDate="2011-10-17T14:47:31.030" UserDisplayName="JayP" Text="If you're looking for a decent sounding vinyl effect plug-in, look no further than [Izotope Vinyl][1]&#xD;&#xA;&#xD;&#xA; - Simple.&#xD;&#xA; - Cheap (free!).&#xD;&#xA; - Sounds good.&#xD;&#xA; - Easily configurable; set your own dust level, wear level, electrical noise and more.&#xD;&#xA; - 64-bit.&#xD;&#xA; - Multiple plug-in formats (RTAS, AU, VST) so you can use your favourite DAW.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.izotope.com/products/audio/vinyl/&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48891" PostHistoryTypeId="2" PostId="26941" RevisionGUID="763f5c8a-a033-4438-b8a1-17d0a84dddf0" CreationDate="2011-05-06T19:16:15.093" UserId="7471" UserDisplayName="Mark Heath" Text="What freeware virtual instrument VSTis can you recommend? Please link to just one instrument per answer so we can vote for favourites.&#xD;&#xA;&#xD;&#xA;Useful information for each plugin includes:&#xD;&#xA;&#xD;&#xA;- link to download&#xD;&#xA;- features&#xD;&#xA;- screenshot&#xD;&#xA;- platforms supported (e.g. Windows / Mac, VST, RTAS, AudioUnit)&#xD;&#xA;- type of sounds (e.g. synthesizer, drum machine, sampler)&#xD;&#xA;- availability of additional presets / samples&#xD;&#xA;- installation requirements (register to download, run an installer etc)&#xD;&#xA;- CPU usage&#xD;&#xA;&#xD;&#xA;I'll start the ball rolling with a few of my personal favourites. Looking forward to seeing what else people come up with.&#xD;&#xA;&#xD;&#xA;*n.b. this should be made a community wiki by anyone with powers to do so*" ContentLicense="CC BY-SA 3.0" />
  <row Id="48892" PostHistoryTypeId="1" PostId="26941" RevisionGUID="763f5c8a-a033-4438-b8a1-17d0a84dddf0" CreationDate="2011-05-06T19:16:15.093" UserId="7471" UserDisplayName="Mark Heath" Text="Freeware Virtual Instrument VSTi's" ContentLicense="CC BY-SA 3.0" />
  <row Id="48893" PostHistoryTypeId="3" PostId="26941" RevisionGUID="763f5c8a-a033-4438-b8a1-17d0a84dddf0" CreationDate="2011-05-06T19:16:15.093" UserId="7471" UserDisplayName="Mark Heath" Text="&lt;plugins&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48894" PostHistoryTypeId="36" PostId="26947" RevisionGUID="1ac8da29-d99b-4789-ad90-a6c6ef5e5ef6" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/791/scratchy-volume-pot" />
  <row Id="48895" PostHistoryTypeId="36" PostId="26948" RevisionGUID="13d419c1-7277-48cf-82bc-ce9f57cd38b9" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/791/scratchy-volume-pot/792#792" />
  <row Id="48896" PostHistoryTypeId="36" PostId="26949" RevisionGUID="80180f13-1e00-41fb-a257-2755d0815d5c" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/791/scratchy-volume-pot/793#793" />
  <row Id="48897" PostHistoryTypeId="36" PostId="26950" RevisionGUID="7af3411d-68d9-449d-b916-5ed1f5c6f0dd" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/791/scratchy-volume-pot/800#800" />
  <row Id="48898" PostHistoryTypeId="2" PostId="26948" RevisionGUID="a4e98692-9dc9-498b-a486-bc42db4962df" CreationDate="2011-02-11T00:35:54.980" UserId="7398" Text="I would try cleaning it first with a non-residue, non-conductive contact cleaner.  DeOxIt is the most widely recommended spray.&#xD;&#xA;&#xD;&#xA;[Here's a good read][1] (with pics!) by someone with a similar problem.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.guitar-review.info/how-to-fix-pa-amp-scratchy-volume-pots/" ContentLicense="CC BY-SA 2.5" />
  <row Id="48899" PostHistoryTypeId="2" PostId="26950" RevisionGUID="a80597bb-2482-4796-bd7d-3f5780a2d19a" CreationDate="2011-02-11T19:26:03.087" UserDisplayName="jlebre" Text="We use EML on our SSL parts. In addition to cleaning contacts, it also lubes the whole mechanism. I use DeOxit mainly to clean faders and then apply the deoxit lube on the fader rail (for instance, your D-Command Penny-Gilles).&#xD;&#xA;&#xD;&#xA;Never tried DeOxit on knobs before maybe because of the lack of self built lube, and the fact that the spray actually helps the solution to get inside the pot. Specially for enclosed pots.&#xD;&#xA;&#xD;&#xA;I would first apply some compressed air though. Remember to keep the can right up, and exercise the pot after applying.&#xD;&#xA;&#xD;&#xA;Remember - Gravity is your friend. So if you can even have the knob in a way that allows you to squirt the DeOxit or EML or IPA from the top, the better!&#xD;&#xA;&#xD;&#xA;If the thing doesn't really do the trick (still has some residue on it) go for something a bit more abrasive like IPA (isopropanyl) but then re-apply EML for the lube factor.&#xD;&#xA;&#xD;&#xA;EDIT: decided to make an edit here after reading @BenV link - Do not use anything like WD-40. When I mean lube, it's a very thin layer that it's left there, non abrasive and non-sticky, nothing like WD40! Just making something clear before it becomes source of confusion!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="48900" PostHistoryTypeId="2" PostId="26949" RevisionGUID="86f7fd87-9654-4c0e-8a43-d7b33952599a" CreationDate="2011-02-11T07:11:24.947" UserId="7202" Text="As BenV said, clean it. Also, using it often helps. I got an old Harman Kardon many years ago with this issue. It has since gone away, most likely it was dirt/oxidation from non-use. It also had several switches that sometimes worked, sometimes not, and they also got much better with use.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="48901" PostHistoryTypeId="2" PostId="26947" RevisionGUID="e801b133-b3d5-4217-88e1-5d921a59045f" CreationDate="2011-02-10T23:35:11.427" UserDisplayName="Evan Plaice" Text="I have an old Crown D-75 amplifier that I acquired a while back and it works like a beaut except one issue.&#xD;&#xA;&#xD;&#xA;When I turn the pots on the volume control it creates a scratchy sound. Is this something that can be easily cleaned?&#xD;&#xA;&#xD;&#xA;**Edit: It looks as though one of the pots is toast and needs to be completely replaced so I moved the 'how to replace a pot' to its [own question][1]. I also removed the 'replacement-parts', since this question is more of a 'fix' than a full-out 'repair'.**&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audio.stackexchange.com/questions/801/how-do-you-replace-a-broken-volume-pot" ContentLicense="CC BY-SA 2.5" />
  <row Id="48902" PostHistoryTypeId="1" PostId="26947" RevisionGUID="e801b133-b3d5-4217-88e1-5d921a59045f" CreationDate="2011-02-10T23:35:11.427" UserDisplayName="Evan Plaice" Text="Scratchy volume pot" ContentLicense="CC BY-SA 2.5" />
  <row Id="48903" PostHistoryTypeId="3" PostId="26947" RevisionGUID="e801b133-b3d5-4217-88e1-5d921a59045f" CreationDate="2011-02-10T23:35:11.427" UserDisplayName="Evan Plaice" Text="&lt;replacement-parts&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="48904" PostHistoryTypeId="36" PostId="26951" RevisionGUID="cbcf1533-c65d-49a7-8ff5-523d1fb55e85" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/7975/how-to-describe-the-bass-tone-timbre-heard-in-the-examples" />
  <row Id="48905" PostHistoryTypeId="2" PostId="26952" RevisionGUID="9e83526f-0483-427b-83f1-3a77ee2051d7" CreationDate="2013-05-28T00:09:29.590" UserId="7174" Text="On the first one I think it is actually a combination of two sounds.  I think it may be a clean bass with the synthesized higher/mid sound being imposed over top of it.  The same electronic instrument seems to be used in higher octaves later in the first song.  There is also some volume pulsing with the beat to give it that added punch I think you are talking about.&#xD;&#xA;&#xD;&#xA;The volume pulsing is much more pronounced in the TobyMac song and was actually a technique he liked a lot in that album and has used in a few other of his albums.  In that song I'm pretty sure it is purely a synthesised sound though.  It's possible that it is fully synthesised in both songs though, Owl City and TobyMac are both very electronic in style." ContentLicense="CC BY-SA 3.0" />
  <row Id="48906" PostHistoryTypeId="2" PostId="26951" RevisionGUID="aa9acaee-de0e-4da2-8ec2-be6983400dc3" CreationDate="2013-05-27T18:42:00.330" UserId="7458" UserDisplayName="Dan the Man" Text="I've been looking around for good sounding bass tones for quite a while. The only problem is that when I do find something, I don't know how to describe it.&#xD;&#xA;&#xD;&#xA;So here's what I've found. The style could be considered electronic. I'm looking for &quot;names&quot; or descriptions of the bass tones in the following songs. And I know that most of this is probably accomplished with a keyboard and a DAW but, it would be helpful to know if there are any pedals that can do &quot;electronic&quot; bass.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=H7HmzwI67ec&#xD;&#xA;&#xD;&#xA;It starts on measure 8, beat 3&lt;sup&gt;1&lt;/sup&gt;&amp;frasl;&lt;sub&gt;2&lt;/sub&gt; (&lt;sup&gt;4&lt;/sup&gt;&amp;frasl;&lt;sub&gt;4&lt;/sub&gt; time). It sounds like a clean bass sound with an added punch and high tones.&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=8qGa5rIOB28&#xD;&#xA;&#xD;&#xA;Starts on measure 5 (&lt;sup&gt;4&lt;/sup&gt;&amp;frasl;&lt;sub&gt;4&lt;/sub&gt; also). Here it sounds similar to the last song, but with higher tones and some kind of reverb, I guess." ContentLicense="CC BY-SA 3.0" />
  <row Id="48907" PostHistoryTypeId="1" PostId="26951" RevisionGUID="aa9acaee-de0e-4da2-8ec2-be6983400dc3" CreationDate="2013-05-27T18:42:00.330" UserId="7458" UserDisplayName="Dan the Man" Text="How to describe the bass tone/timbre heard in the examples?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48908" PostHistoryTypeId="3" PostId="26951" RevisionGUID="aa9acaee-de0e-4da2-8ec2-be6983400dc3" CreationDate="2013-05-27T18:42:00.330" UserId="7458" UserDisplayName="Dan the Man" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48909" PostHistoryTypeId="36" PostId="26952" RevisionGUID="8a5862a0-34e3-41cb-8b49-114cd0b5493d" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/7975/how-to-describe-the-bass-tone-timbre-heard-in-the-examples/7976#7976" />
  <row Id="48910" PostHistoryTypeId="36" PostId="26953" RevisionGUID="d1250751-8481-4049-9f44-5aa226161f27" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/6949/typical-frequency-bands-for-mixer-low-mid-and-high-gains" />
  <row Id="48911" PostHistoryTypeId="2" PostId="26954" RevisionGUID="75d463b8-2924-494d-a20e-55490594b1ae" CreationDate="2013-01-25T14:05:44.263" UserDisplayName="Bruce Zenone" Text="The Mixer pictured above, publishes its equalizer characteristics in the manual as:&#xD;&#xA;Hi- 13KHz &#xD;&#xA;Mid-1KHz&#xD;&#xA;Low-70Hz&#xD;&#xA;&#xD;&#xA; with 6dB gain and infinite cut on all controls (infinite cut is questionable).&#xD;&#xA;&#xD;&#xA;Typical controls have symmetric boost and cut.&#xD;&#xA;&#xD;&#xA;Typically in this kind of eq system (having only 3 bands), the Hi and Low bands are implemented with shelving controls, and the mid control is a low Q bandpass filter.  The filter skirts typically overlap at the 6dB rolloff points to offer a flat response at mid settings.  To meet this goal (flat response) the frequencies listed by the manufacturer may be interpreted as corner frequencies for the Hi and Low bands and center frequency for the Mid band.&#xD;&#xA;&#xD;&#xA;You should probably contact the manufacturer if you want exact specifications for these controls, or run a plot with each knob in each of the following (min, center, and max) positions to varify the manufacturer's eq implementation.&#xD;&#xA;&#xD;&#xA;I had posted a general link to the typical three band tone control used on amps.  The link was removed as the information was a bit off topic." ContentLicense="CC BY-SA 3.0" />
  <row Id="48912" PostHistoryTypeId="2" PostId="26953" RevisionGUID="8dabe6b8-65b1-4919-b2dd-6529f646f6bc" CreationDate="2013-01-25T11:59:46.467" UserDisplayName="janesconference" Text="You've all seen the low mid and high knobs on cheap mixers (if you haven't, I provided a pic below).&#xD;&#xA;&#xD;&#xA;To my knowledge, the low one corresponds to a low shelf filter, the high one to an hi-shelf filter and the mid one to a peaking filter.&#xD;&#xA;&#xD;&#xA;What I was wondering was: what are the frequency bands these filters *tipically* affect? i.e.: if you see one of these mixers, what range of frequencies do you expect these filters to operate on?&#xD;&#xA;&#xD;&#xA;![mixer][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/w4UJf.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="48913" PostHistoryTypeId="1" PostId="26953" RevisionGUID="8dabe6b8-65b1-4919-b2dd-6529f646f6bc" CreationDate="2013-01-25T11:59:46.467" UserDisplayName="janesconference" Text="Typical frequency bands for mixer low mid and high gains" ContentLicense="CC BY-SA 3.0" />
  <row Id="48914" PostHistoryTypeId="3" PostId="26953" RevisionGUID="8dabe6b8-65b1-4919-b2dd-6529f646f6bc" CreationDate="2013-01-25T11:59:46.467" UserDisplayName="janesconference" Text="&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48915" PostHistoryTypeId="36" PostId="26954" RevisionGUID="fc64c42a-2fa8-4095-a122-30af8df66232" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/6949/typical-frequency-bands-for-mixer-low-mid-and-high-gains/6950#6950" />
  <row Id="48916" PostHistoryTypeId="36" PostId="26955" RevisionGUID="dbcbc4bd-f9b2-4611-831d-9879240e5c68" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/6949/typical-frequency-bands-for-mixer-low-mid-and-high-gains/6981#6981" />
  <row Id="48917" PostHistoryTypeId="2" PostId="26955" RevisionGUID="3d6d4324-8904-418a-9205-e63555fb6bd2" CreationDate="2013-01-28T15:02:57.227" UserId="7174" Text="The typical values are going to depend entirely on what the subject on the channel is.  It will be different based on what kind of instrument or tone of the voice being EQed.  The full answer to this is probably beyond the scope of a QA format question as it is extremely broad and there are literally books written about the topic.&#xD;&#xA;&#xD;&#xA;In general, you are trying to bring out both the tone and &quot;crispness&quot; of the input without making it sound distorted.  The best way to figure out the ideal values is really to learn by ear.  For voices, listen to what they sound like normally (without a mic) and try to get it to sound as close to that as you can through the system.  For instruments, potentially use the same approach.  Then, when listening to the mix as a whole, if a particular input sounds &quot;muddy&quot; try turning up the mid or high and if it seems to be hollow and lacking tone, try turning up the low or mid." ContentLicense="CC BY-SA 3.0" />
  <row Id="48918" PostHistoryTypeId="36" PostId="26956" RevisionGUID="c64237a6-a751-4cae-93b2-37e007594f44" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/7830/sine-wave-frequencies" />
  <row Id="48919" PostHistoryTypeId="36" PostId="26957" RevisionGUID="4f49a6cf-1bcf-4922-b4e6-5926bce6b7d5" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/7830/sine-wave-frequencies/7894#7894" />
  <row Id="48920" PostHistoryTypeId="2" PostId="26957" RevisionGUID="56d11794-6366-4fad-b43c-c08be8c015d0" CreationDate="2013-05-15T04:08:37.500" UserId="7791" UserDisplayName="mgamba" Text="Basically it will sound less like a robot and more like an actual chorus because the beating will be less apparent but the ears will still notice a disparity across the stereo field." ContentLicense="CC BY-SA 3.0" />
  <row Id="48921" PostHistoryTypeId="2" PostId="26956" RevisionGUID="a5d6fc96-389e-43e7-a306-5cdb0b400fd8" CreationDate="2013-05-07T02:40:20.263" UserDisplayName="Sami" Text="If I play two sine waves of frequencies in the same critical band in each of my ears, say 994Hz in my left ear and 1006Hz in my right hear – what will I hear?&#xD;&#xA;&#xD;&#xA;The ears should not be able to tell the frequencies apart, but will there still be a perceptiple beat phenomenon even though the sound waves aren't able to create interference before reaching the ears?&#xD;&#xA;&#xD;&#xA;What does this mean for effects such as stereo chorus with perfectly separated pitch-shifting channels, when the result is heard via headphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48922" PostHistoryTypeId="1" PostId="26956" RevisionGUID="a5d6fc96-389e-43e7-a306-5cdb0b400fd8" CreationDate="2013-05-07T02:40:20.263" UserDisplayName="Sami" Text="Sine wave frequencies" ContentLicense="CC BY-SA 3.0" />
  <row Id="48923" PostHistoryTypeId="3" PostId="26956" RevisionGUID="a5d6fc96-389e-43e7-a306-5cdb0b400fd8" CreationDate="2013-05-07T02:40:20.263" UserDisplayName="Sami" Text="&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48924" PostHistoryTypeId="36" PostId="26958" RevisionGUID="786f6596-0d91-4821-83e2-1c23943e5e25" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/5383/connecting-the-ground-of-a-turntable-to-the-amplifier" />
  <row Id="48925" PostHistoryTypeId="2" PostId="26959" RevisionGUID="56900cc3-104e-413f-acf0-8fe2a35ada7c" CreationDate="2012-11-21T14:51:02.960" UserDisplayName="Hilmar" Text="No problem at all. The amp connects ground to the RCA shell anyway, so it doesn't matter where it happens.&#xD;&#xA;&#xD;&#xA;Another good way of minimizing buzzing is to have all units that are connected on the same AC circuit, however, that may require running some extension cords. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48926" PostHistoryTypeId="2" PostId="26958" RevisionGUID="181e3000-57e3-4db7-8d36-bd9ace2eedf2" CreationDate="2012-11-21T14:46:18.630" UserId="7176" Text="I have a Technics SL-3310 turntable which I connect to the phono input of my amplifier. &#xD;&#xA;The turntable has a short RCA cable coming out of it.&#xD;&#xA;The turntable and amplifier are far apart from each other, therefore I use a female-to-female adapter to attach the turntable RCA to a longer RCA, which ends up in the amplifier.&#xD;&#xA;&#xD;&#xA;Now the turntable has a grounding wire as well that should be attached to the amplifier. That wire is also short. Without attaching it there is some buzzing.&#xD;&#xA;&#xD;&#xA;I attached it to the RCA adapter and now the buzzing has stopped, but I'm wondering if this is somehow bad for the amp or turntable." ContentLicense="CC BY-SA 3.0" />
  <row Id="48927" PostHistoryTypeId="1" PostId="26958" RevisionGUID="181e3000-57e3-4db7-8d36-bd9ace2eedf2" CreationDate="2012-11-21T14:46:18.630" UserId="7176" Text="Connecting the ground of a turntable to the amplifier" ContentLicense="CC BY-SA 3.0" />
  <row Id="48928" PostHistoryTypeId="3" PostId="26958" RevisionGUID="181e3000-57e3-4db7-8d36-bd9ace2eedf2" CreationDate="2012-11-21T14:46:18.630" UserId="7176" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48929" PostHistoryTypeId="36" PostId="26959" RevisionGUID="ac13ee9b-0806-4937-9619-c947b377396b" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/5383/connecting-the-ground-of-a-turntable-to-the-amplifier/5384#5384" />
  <row Id="48930" PostHistoryTypeId="36" PostId="26960" RevisionGUID="46f1c59a-bdab-4a68-baec-d20ddbb6db63" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/5383/connecting-the-ground-of-a-turntable-to-the-amplifier/5397#5397" />
  <row Id="48931" PostHistoryTypeId="2" PostId="26960" RevisionGUID="3ef5e731-e13f-40ae-a166-fcdf7bfb6afb" CreationDate="2012-11-23T15:26:26.500" UserDisplayName="El Mugroso" Text="Since ground loops are not predictable, some audio and related equipment, including amplifiers, can have ground bypass switches, or terminals for grounding or not grounding their internals.&#xD;&#xA;&#xD;&#xA;So whichever of ground/no-ground results in no hum, or the least hum is OK." ContentLicense="CC BY-SA 3.0" />
  <row Id="48932" PostHistoryTypeId="36" PostId="26961" RevisionGUID="94fc1390-cc5c-453f-bd00-b3c88cbd7229" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/2347/appropriate-subwoofer-coverage" />
  <row Id="48933" PostHistoryTypeId="36" PostId="26962" RevisionGUID="632a23c2-fd94-4de5-8924-016ca9d5ca43" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/2347/appropriate-subwoofer-coverage/4480#4480" />
  <row Id="48934" PostHistoryTypeId="2" PostId="26962" RevisionGUID="4e2676a9-11c8-4f5f-834f-53663ee0cde6" CreationDate="2012-07-28T14:53:43.790" UserDisplayName="Lukas Woltjer" Text="We've got a PA setup for DJing events, and we use a single Behringer B1800D-Pro alongside 2 Alto Professional 15's (800 watts each). The biggest problem we have is getting even bass throughout our venues. The Behringer pounds behind the table, and in certain areas in the venue, but sounds weak in others. Your room is much bigger than what we would do use our system in, but I suspect getting the bass to be evenly distributed is going to be a challenge for you as well.&#xD;&#xA;&#xD;&#xA;Sorry for the bad news, but acoustically, your venue is a nightmare. Square rooms create really strong resonances, and the concrete floor won't help. However, a good EQ will do a lot of good.&#xD;&#xA;&#xD;&#xA;As for the subs, I hear that folded horn subs provide great SPL and distribution. I would recommend 4 subs (18&quot;) at about 1000W each. I have not done a venue this big before, but consider it an educated guess.&#xD;&#xA;&#xD;&#xA;As for placement, consider placing them in two pairs at the back of the stage at thirds of the room dimension (33ft and 67ft) for acoustic coupling. This is constructive interference of the sound waves that happens when you place two identical subs next to each other. If that doesn't sound even in the room, break up the pairs and disperse the 4 evenly across the back of the stage.&#xD;&#xA;&#xD;&#xA;At my church they place the subs down in front of the stage on the floor, and that works out very well, but it may not work with your particular needs in terms of space. It's worth a try.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48935" PostHistoryTypeId="2" PostId="26961" RevisionGUID="51066308-8546-463c-bdb8-07ce9bb38419" CreationDate="2011-09-21T07:21:59.427" UserDisplayName="Mike Riess" Text="I'm running live sound for an event that takes place in a 100'x100' building. The walls are pretty thin, floors are concrete, ceiling is arched and probably 25-35' at highest point.&#xD;&#xA;&#xD;&#xA;I will probably be using 3-4 SRM450's for the mains setup mono. Seating for 600 people, but they're fairly spread out in the front 3/4's of the room.&#xD;&#xA;&#xD;&#xA;My question is this: What should the subs look like?&#xD;&#xA;&#xD;&#xA;Specifically:&#xD;&#xA;&#xD;&#xA; 1. How many&#xD;&#xA; 2. How big (15&quot;, 18&quot;, etc)&#xD;&#xA; 3. How much power&#xD;&#xA; 4. Where should I place them&#xD;&#xA;&#xD;&#xA;Main genre is rock. We've previously used a Mackie SWA1501 + QSC HPR151W, but it felt underpowered." ContentLicense="CC BY-SA 3.0" />
  <row Id="48936" PostHistoryTypeId="1" PostId="26961" RevisionGUID="51066308-8546-463c-bdb8-07ce9bb38419" CreationDate="2011-09-21T07:21:59.427" UserDisplayName="Mike Riess" Text="Appropriate Subwoofer Coverage" ContentLicense="CC BY-SA 3.0" />
  <row Id="48937" PostHistoryTypeId="3" PostId="26961" RevisionGUID="51066308-8546-463c-bdb8-07ce9bb38419" CreationDate="2011-09-21T07:21:59.427" UserDisplayName="Mike Riess" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48938" PostHistoryTypeId="36" PostId="26963" RevisionGUID="03c23637-c675-4b52-aa91-36a2cf501c02" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1296/audio-resources-for-an-amateur-live-sound-guy" />
  <row Id="48939" PostHistoryTypeId="36" PostId="26964" RevisionGUID="8555fd60-3047-4c84-9cf0-d641106d2d76" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1296/audio-resources-for-an-amateur-live-sound-guy/1297#1297" />
  <row Id="48940" PostHistoryTypeId="36" PostId="26965" RevisionGUID="282c47c3-55af-45ee-b7b5-feffb0d00d2d" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1296/audio-resources-for-an-amateur-live-sound-guy/1300#1300" />
  <row Id="48941" PostHistoryTypeId="36" PostId="26966" RevisionGUID="4492bad1-69b1-4429-b18c-9c7587ca7d8d" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1296/audio-resources-for-an-amateur-live-sound-guy/1302#1302" />
  <row Id="48942" PostHistoryTypeId="36" PostId="26967" RevisionGUID="eb91647f-633e-4a4d-bd19-08d02623b5f9" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1296/audio-resources-for-an-amateur-live-sound-guy/1304#1304" />
  <row Id="48943" PostHistoryTypeId="2" PostId="26964" RevisionGUID="d5758401-8ddd-4c9e-9d7d-e91cd425937b" CreationDate="2011-04-28T15:41:15.157" UserDisplayName="MikeJ-UK" Text="[Mastering Audio](http://www.amazon.co.uk/Mastering-Audio-science-Bob-Katz/dp/0240808371/ref=dp_ob_title_bk) by Bob Katz gets a lot of recommendations. I can't comment further as I haven't ordered my copy yet!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48944" PostHistoryTypeId="2" PostId="26965" RevisionGUID="7708d628-f760-4411-953a-64abc364b746" CreationDate="2011-04-28T16:53:46.980" UserId="7471" UserDisplayName="Mark Heath" Text="I highly recommend [Sound on Sound magazine][1] for learning about effects and microphones. It is more studio focused than live sound, but you'll learn a lot. You have to pay to read the latest issues, but you can read all issues in their [back catalogue][2] over 6 months old for free.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundonsound.com/&#xD;&#xA;  [2]: http://soundonsound.com/AllIssues.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="48945" PostHistoryTypeId="2" PostId="26966" RevisionGUID="7533d111-d3f1-4df7-844d-98d2d018707c" CreationDate="2011-04-28T17:03:42.550" UserId="17571" UserDisplayName="Zeronyne" Text="There's no reason not to jump in with both feet, especially if it's free. Subscribe to [TapeOP][1], which is absolutely free. It's a bit challenging to read since the layout is a bit unconventional, but you will get opinions and reviews from real engineers and producers that really work with the gear (as opposed to journalists and &quot;pro&quot; reviewers). did I mention it's [free][2]?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tapeop.com/subscriptions/&#xD;&#xA;  [2]: http://www.tapeop.com/subscriptions/" ContentLicense="CC BY-SA 3.0" />
  <row Id="48946" PostHistoryTypeId="2" PostId="26967" RevisionGUID="895da557-a420-49f5-ba38-22517ab57269" CreationDate="2011-04-28T19:58:00.283" UserId="17571" UserDisplayName="Zeronyne" Text="Of course, you may also want to get the mother of all pro sound tomes: The Yamaha Sound Reinforcement Handbook. " ContentLicense="CC BY-SA 3.0" />
  <row Id="48947" PostHistoryTypeId="2" PostId="26963" RevisionGUID="a49be78d-88a0-4cd5-8be0-aa2425c30933" CreationDate="2011-04-28T15:33:00.530" UserId="12615" UserDisplayName="TechGuyTJ" Text="I am self learned live sound guy. I know some basics but want to expand my knowledge. I don't use any compressors, or gates, and very few effects but would like to. I also would like to know some more of the basics like why and how to properly adjust EQ per channel/overall, why and what mics to use for different applications. I have not done any studio but would like to learn.&#xD;&#xA;&#xD;&#xA;What are some resources (books, online videos, classes, etc) for understanding more of the basics and advanced techniques for Live sound? Anything that translate to Studio would be helpful also." ContentLicense="CC BY-SA 3.0" />
  <row Id="48948" PostHistoryTypeId="1" PostId="26963" RevisionGUID="a49be78d-88a0-4cd5-8be0-aa2425c30933" CreationDate="2011-04-28T15:33:00.530" UserId="12615" UserDisplayName="TechGuyTJ" Text="Audio resources for an amateur live-sound guy" ContentLicense="CC BY-SA 3.0" />
  <row Id="48949" PostHistoryTypeId="3" PostId="26963" RevisionGUID="a49be78d-88a0-4cd5-8be0-aa2425c30933" CreationDate="2011-04-28T15:33:00.530" UserId="12615" UserDisplayName="TechGuyTJ" Text="&lt;live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48950" PostHistoryTypeId="36" PostId="26968" RevisionGUID="49199564-44ef-4bf2-814c-d7cc25d80261" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/3534/can-i-put-a-powered-amp-inside-a-water-air-tight-enclosure" />
  <row Id="48951" PostHistoryTypeId="36" PostId="26969" RevisionGUID="c7fdb2f8-907e-4beb-ba69-e442859672da" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/3534/can-i-put-a-powered-amp-inside-a-water-air-tight-enclosure/3536#3536" />
  <row Id="48952" PostHistoryTypeId="2" PostId="26969" RevisionGUID="5ded4d77-80dc-497f-94f4-1b6103a0a170" CreationDate="2012-03-12T18:47:11.887" UserId="7200" Text="I see no reason why it shouldn't work fine. Modern amplifiers of that power range don't produce that much heat anymore, can work at pretty high temperatures and automatically switch off when it gets too hot, so you can definitely give it a try. But the enclosing should be a good thermal conductor, aluminium is a good bet.&#xD;&#xA;&#xD;&#xA;If you'd like the encasing as small as possible, invest in a digital power amplifier: those produce significantly less heat than analog ones. The Behringer iNuke NU1000 seems to be the cheapest model available, but is of course not the best in terms of quality." ContentLicense="CC BY-SA 3.0" />
  <row Id="48953" PostHistoryTypeId="2" PostId="26968" RevisionGUID="88225149-603e-4099-b9c2-204e1153aff0" CreationDate="2012-03-12T17:23:05.227" UserId="13129" UserDisplayName="evsc" Text="For a semi-permanent outdoor installation i need to waterproof a powered amplifier. (We opted against marine amplifiers for audio-input quality, and power-supply reasons)&#xD;&#xA;&#xD;&#xA;What happens if i put a powered amplifier ([2ch, 150W RMS per channel](http://www.adjaudio.com/ProductDetails.aspx?ItemNumber=1276&amp;Category=Amps)) into a water-tight, air-tight enclosure? The enclosure would be something like these waterproof [Serpac](http://www.serpac.com) suitcases, with waterproof cabling and connectors for sound in, sound out and AC in. Will the amplifier overheat? It has a fan, so it needs to circulate air. Would it work, if the enclosure is big enough, and the fan can circulate the air within the enclosure?&#xD;&#xA;&#xD;&#xA;The enclosure will of course sit outdoors, so there is some natural passive cooling happening.&#xD;&#xA;&#xD;&#xA;Anyone every tried that? &#xD;&#xA;Would love to hear some experience reports?&#xD;&#xA;Or if i am talking complete nonsense, please tell me so!&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="48954" PostHistoryTypeId="1" PostId="26968" RevisionGUID="88225149-603e-4099-b9c2-204e1153aff0" CreationDate="2012-03-12T17:23:05.227" UserId="13129" UserDisplayName="evsc" Text="Can i put a powered amp inside a water/air-tight enclosure?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48955" PostHistoryTypeId="3" PostId="26968" RevisionGUID="88225149-603e-4099-b9c2-204e1153aff0" CreationDate="2012-03-12T17:23:05.227" UserId="13129" UserDisplayName="evsc" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48956" PostHistoryTypeId="36" PostId="26970" RevisionGUID="a5611a70-e954-47f9-98c5-73c96edad7b6" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/1905/which-choir-library-would-be-recommended-for-film-scoring-regardless-of-the-pri" />
  <row Id="48957" PostHistoryTypeId="2" PostId="26971" RevisionGUID="9d99385f-b12b-4873-bc11-fbcfa65b3a6b" CreationDate="2011-09-09T08:19:10.027" UserDisplayName="Erik" Text="**EastWest/Quantum Leap Symphonic Choirs** is an excellent solution. Mainly because of the WordBuilder it comes with, but it delivers an exceptional quality nonetheless, as EastWest/Quantum Leap products do most of the time.&#xD;&#xA;&#xD;&#xA;With older versions, **WordBuilder** is sort of an extension that lets you write lyrics for your virtual choir. In the newest version they integrated it into the main interface. It can be a lot of work fine-tuning vowels and consonants so that the result sounds natural, and it probably requires some talent with phonetics, but once you get used to the special markup language you need to input your words in, it can get pretty realistic. You might want to check out some video tutorials on how it works and see if you can get along with it. Even though WordBuilder is Symphonic Choirs' main strength, to use it is only an option, or at least in was in the older versions. I didn't use the newest interface, there might have been conceptual changes, but as far as I know, when you're not interested in lyrics, you still have full control over everything else. Older versions use the supposedly familiar Native Instruments interface, the new one uses PLAY which is quite similar.&#xD;&#xA;&#xD;&#xA;It's pretty important to note that, **as for the sound**, EastWest/Quantum Leap orchestral pruducts always seem to pursue a Hollywood approach if you know what I mean. They use miking techniques to deliver more of a fashionable, commercial sound rather than a classical naturalness. It comes out mostly when comparing EastWest Symphonic Orchestra to Garritan Personal Orchestra, with the latter sounding raw and real, while the former sounds like a movie with all the close miking, sometimes a bit too crystal clear. Unfortunately Garritan doesn't sell a standalone choir as yet, only a &quot;Full Choir Lite&quot; as part of GPO4.&#xD;&#xA;&#xD;&#xA;Having said these, as with everything, it's always best to give it a free try and listen to what it can do." ContentLicense="CC BY-SA 3.0" />
  <row Id="48958" PostHistoryTypeId="2" PostId="26970" RevisionGUID="7497c660-9718-4b62-96bf-c3a52950613f" CreationDate="2011-07-18T19:24:10.157" UserId="7459" UserDisplayName="bigp" Text="I'm looking for a good choir sound library to use in film scores.&#xD;&#xA;&#xD;&#xA;Tonehammer's Liberis and Requiem Pro choral libraries seem to deliver quite an outstanding and realistic performance (if used correctly - like any software-emulated voices...). I've heard Eastwest Quantum Leap contains some pretty good choir samples as well. I was wondering though if anyone has stumbled upon any better or comparable libraries that sound good enough to be used for film scores?&#xD;&#xA;&#xD;&#xA;Usability is important to me too. Getting the right result is of course important but I'd also like to know if any of these are easier to use than others." ContentLicense="CC BY-SA 3.0" />
  <row Id="48959" PostHistoryTypeId="1" PostId="26970" RevisionGUID="7497c660-9718-4b62-96bf-c3a52950613f" CreationDate="2011-07-18T19:24:10.157" UserId="7459" UserDisplayName="bigp" Text="Which Choir library would be recommended for film scoring, regardless of the price?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48960" PostHistoryTypeId="3" PostId="26970" RevisionGUID="7497c660-9718-4b62-96bf-c3a52950613f" CreationDate="2011-07-18T19:24:10.157" UserId="7459" UserDisplayName="bigp" Text="&lt;software&gt;&lt;plugins&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48961" PostHistoryTypeId="36" PostId="26971" RevisionGUID="38a04db0-4f77-4024-a18d-eff7c88c49e6" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/1905/which-choir-library-would-be-recommended-for-film-scoring-regardless-of-the-pri/2291#2291" />
  <row Id="48962" PostHistoryTypeId="36" PostId="26972" RevisionGUID="4326869d-645c-47f7-b089-11244f285534" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/9885/managing-comments-in-ableton-live" />
  <row Id="48963" PostHistoryTypeId="2" PostId="26972" RevisionGUID="81b16528-a13b-4876-805c-e39cfeae0ee6" CreationDate="2014-01-11T08:19:07.877" UserId="7269" Text="Looking for a method to add and manage comments in my composition. &lt;br/&gt;&#xD;&#xA;I'm familiar with adding a marker text, edit info view text, and insert text to lesson file techniques. &lt;br/&gt;&#xD;&#xA;&#xD;&#xA;Tried quite many VST but neither works in Live 9 (both 64 and 32 with jBridge),&lt;br/&gt;&#xD;&#xA;the exception is Max For Live &quot;Notepad 1.0&quot; which does work, but has a very basic functionality:  &lt;br/&gt;&#xD;&#xA;http://www.maxforlive.com/library/device.php?id=176&#xD;&#xA;&#xD;&#xA;**Was hoping to find a VST with more advanced features**&lt;br/&gt;&#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="48964" PostHistoryTypeId="1" PostId="26972" RevisionGUID="81b16528-a13b-4876-805c-e39cfeae0ee6" CreationDate="2014-01-11T08:19:07.877" UserId="7269" Text="Managing comments in Ableton Live" ContentLicense="CC BY-SA 3.0" />
  <row Id="48965" PostHistoryTypeId="3" PostId="26972" RevisionGUID="81b16528-a13b-4876-805c-e39cfeae0ee6" CreationDate="2014-01-11T08:19:07.877" UserId="7269" Text="&lt;vst&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48966" PostHistoryTypeId="36" PostId="26973" RevisionGUID="98ec6dfc-b1df-4a9c-a087-b79e0b9a2998" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/2950/vst-plug-in-bridge-for-mac-os-x" />
  <row Id="48967" PostHistoryTypeId="2" PostId="26974" RevisionGUID="86236c81-1beb-42f5-aad5-ecbd8bf1f692" CreationDate="2012-05-14T17:14:54.437" UserId="7100" Text="JBridgeM (for Mac OS X) is out...&#xD;&#xA;&#xD;&#xA;http://jstuff.wordpress.com/jbridgem/" ContentLicense="CC BY-SA 3.0" />
  <row Id="48968" PostHistoryTypeId="2" PostId="26973" RevisionGUID="15d6e358-8f13-4b88-9924-b13f882f6d02" CreationDate="2012-01-02T11:03:38.090" UserId="7100" Text="I have some issues with some VST plug-ins and hosts (32/64 bit compatibility, OpenGL compatibility) on Mac OS X, therefore I'm looking for VST bridge solutions.&#xD;&#xA;&#xD;&#xA;Are there any free or commercial VST plug-in bridges for Mac OS X, like jBridge for Windows?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48969" PostHistoryTypeId="1" PostId="26973" RevisionGUID="15d6e358-8f13-4b88-9924-b13f882f6d02" CreationDate="2012-01-02T11:03:38.090" UserId="7100" Text="VST plug-in bridge for Mac OS X" ContentLicense="CC BY-SA 3.0" />
  <row Id="48970" PostHistoryTypeId="3" PostId="26973" RevisionGUID="15d6e358-8f13-4b88-9924-b13f882f6d02" CreationDate="2012-01-02T11:03:38.090" UserId="7100" Text="&lt;plugins&gt;&lt;mac&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48971" PostHistoryTypeId="36" PostId="26974" RevisionGUID="8564ea65-3b78-470f-b52e-ea562ce3d7cc" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/2950/vst-plug-in-bridge-for-mac-os-x/3988#3988" />
  <row Id="48972" PostHistoryTypeId="36" PostId="26975" RevisionGUID="e73474e1-284c-4c16-8c1b-057c16384caa" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/332/rule-of-thumb-for-the-level-of-pre-show-music-in-a-theatre" />
  <row Id="48973" PostHistoryTypeId="2" PostId="26976" RevisionGUID="01481948-70ba-4312-a96c-e236340e76dc" CreationDate="2010-12-17T00:50:22.393" UserId="7209" Text="I usually adjust it as needed when people shuffle in, since there is such a large difference needed between 2 people and 200 people.  It also depends on the show as well.  If the music is supposed to pump up the audience, say for a comedy show, then the level should probably be a bit higher, but trust your judgement.&#xD;&#xA;&#xD;&#xA;If you need to disappear for awhile, you can always have some other house tech help you with this... as long as they don't mess with other stuff in the process.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="48974" PostHistoryTypeId="2" PostId="26975" RevisionGUID="260ad42f-0100-4a29-bfa8-917f25aab193" CreationDate="2010-12-17T00:10:31.017" UserId="13414" UserDisplayName="dgw" Text="When running theatrical shows as a technician, sometimes I am asked to play pre-show music. However, I am at a loss as to how I should determine the playback level of such music.&#xD;&#xA;&#xD;&#xA;What I've been doing is just setting the level before the house opens to a comfortable volume, but I always find that once people start being seated the music is quickly lost to crowd noise.&#xD;&#xA;&#xD;&#xA;Obviously I have to raise the volume on the music as people come in. The problem is, I often have other things to do before the show that take me away from the control booth, sometimes for most of the seating period.&#xD;&#xA;&#xD;&#xA;Is there a rule of thumb or other sort of principle that I can use to set the level once before the house is opened to a volume that is not uncomfortably loud to the first few audience members, but will still be &quot;present&quot; once the theatre is almost full of people and crowd noise?&#xD;&#xA;&#xD;&#xA;Or do I just have to find the time to go back and adjust the level every few minutes?" ContentLicense="CC BY-SA 2.5" />
  <row Id="48975" PostHistoryTypeId="1" PostId="26975" RevisionGUID="260ad42f-0100-4a29-bfa8-917f25aab193" CreationDate="2010-12-17T00:10:31.017" UserId="13414" UserDisplayName="dgw" Text="Rule of thumb for the level of pre-show music in a theatre?" ContentLicense="CC BY-SA 2.5" />
  <row Id="48976" PostHistoryTypeId="3" PostId="26975" RevisionGUID="260ad42f-0100-4a29-bfa8-917f25aab193" CreationDate="2010-12-17T00:10:31.017" UserId="13414" UserDisplayName="dgw" Text="&lt;live&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="48977" PostHistoryTypeId="36" PostId="26976" RevisionGUID="f2991f7c-0b30-40cc-bd74-2ed24ce173e7" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/332/rule-of-thumb-for-the-level-of-pre-show-music-in-a-theatre/334#334" />
  <row Id="48978" PostHistoryTypeId="36" PostId="26977" RevisionGUID="442ce4c7-0692-4f0b-9553-d68520ab57a8" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/333/setting-live-levels-without-a-proper-monitor" />
  <row Id="48979" PostHistoryTypeId="2" PostId="26978" RevisionGUID="8519f42b-f34a-4f48-ae8f-50c48e13f1ef" CreationDate="2010-12-17T01:57:50.583" UserId="8064" UserDisplayName="Rich Bruchal" Text="You say you have a pair of mics suspended over the stage for monitoring purposes - would it be possible to move them further out into the house to get a better idea of what it sounds like there? Or if not, to get a second pair of mics out in the house? That might give you a better sense of what the mix sounds like.&#xD;&#xA;&#xD;&#xA;If you have a big enough stretch between cues, would it be possible to poke your head out of the booth for a minute, or unobtrusively step out? This could give a bit of a sanity check as to how your levels really do sound.&#xD;&#xA;&#xD;&#xA;Running a mix of a live band from a booth is pretty frustrating - I'm guessing there's no way to get the board out to a better FOH position?" ContentLicense="CC BY-SA 2.5" />
  <row Id="48980" PostHistoryTypeId="2" PostId="26977" RevisionGUID="d1120ab2-f92e-44b9-b483-58f40fc19cab" CreationDate="2010-12-17T00:49:05.400" UserId="13414" UserDisplayName="dgw" Text="For a show I've been running, I have to make sure the band (keyboard, electric bass, and unamplified drum-set) is balanced in the house.&#xD;&#xA;&#xD;&#xA;Unfortunately, I'm in a control booth with the band right next to me, and the windows (which I kept open for the last show so I could hear the actors) are closed to reduce the noise level. I have a monitor that feeds me audio from two mics hanging over the stage, but no good way to hear what the mix sounds like in the house.&#xD;&#xA;&#xD;&#xA;Setting the mix has been a lengthy process of trial and error, starting during tech rehearsals three weeks ago and continuing through this week (we close on Sunday). Nearly all of the changes have come from other members of the production staff or from audience feedback. I get way more keys and bass than the audience, but I can't tell that the loud bass in my right ear is inaudible down in the seats.&#xD;&#xA;&#xD;&#xA;How does one go about setting levels in a situation like this, where one can't hear the live mix at all? It's fortunate that we have a set show, with no room for impromptu changes, so I don't have to be constantly adjusting the mix; but it would be interesting to learn techniques for that situation as well." ContentLicense="CC BY-SA 2.5" />
  <row Id="48981" PostHistoryTypeId="1" PostId="26977" RevisionGUID="d1120ab2-f92e-44b9-b483-58f40fc19cab" CreationDate="2010-12-17T00:49:05.400" UserId="13414" UserDisplayName="dgw" Text="Setting live levels without a proper monitor" ContentLicense="CC BY-SA 2.5" />
  <row Id="48982" PostHistoryTypeId="3" PostId="26977" RevisionGUID="d1120ab2-f92e-44b9-b483-58f40fc19cab" CreationDate="2010-12-17T00:49:05.400" UserId="13414" UserDisplayName="dgw" Text="&lt;live&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="48983" PostHistoryTypeId="36" PostId="26978" RevisionGUID="ec3d85a8-7367-4e92-bc9a-69b7b5d690b7" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/333/setting-live-levels-without-a-proper-monitor/335#335" />
  <row Id="48984" PostHistoryTypeId="36" PostId="26979" RevisionGUID="53bafb56-a1ae-4d30-b708-f67bdb45e6c3" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/458/software-solution-for-splicing-in-audio-in-real-time" />
  <row Id="48985" PostHistoryTypeId="36" PostId="26980" RevisionGUID="098cf1cd-00ac-4b94-b76d-d95617582475" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/458/software-solution-for-splicing-in-audio-in-real-time/459#459" />
  <row Id="48986" PostHistoryTypeId="2" PostId="26980" RevisionGUID="107e42ab-8155-4a3b-a5ac-4cc1f2a62672" CreationDate="2010-12-27T18:43:05.237" UserId="7209" Text="There are many commercial solutions available for this.  If you don't like any of those, there is a pretty simple way to do it.&#xD;&#xA;&#xD;&#xA;Pick up a compressor with a side-chain input, and some sort of two-channel mixer.  An Alesis 3630 and Nady MM-141 come to mind, but you can use other stuff if you want.&#xD;&#xA;&#xD;&#xA;Record a CD with your messages, spaced however you want them.  Find a CD player and put it on repeat.  Your CD player outputs in stereo.  Hook one channel up to the sidechain input on a compressor and the other channel to one of the inputs on the mixer.&#xD;&#xA;&#xD;&#xA;Hook your FM radio to the input of the compressor, and the output of the compressor up to another input on the mixer.&#xD;&#xA;&#xD;&#xA;Hook the output of the mixer to the phone's music-on-hold input.&#xD;&#xA;&#xD;&#xA;Now, what we are going to do is compress the music from the FM radio based on whether or not audio is coming out of your CD player.  The idea is that with some tweaking, the sound of the FM radio will duck out of the way when your announcement comes on.  The mixer mixes both sounds together, but the FM radio will have its gain reduced down a ton, so it won't be an issue.&#xD;&#xA;&#xD;&#xA;On your compressor, set your ratio to infinity:1, your threshold around as low as it will go.  Set the release to two seconds.  Give it a listen.  Experiment with the compressor settings if you'd like, particularly on attack and release.&#xD;&#xA;&#xD;&#xA;Now, you will find that the announcement bumps right up against the FM audio when it starts.  A very simple way around this... on your CD, record one channel with some sort of pilot tone.  1kHz at 0dB will do.  The other channel should be the announcement.  The tone should start a second or so before the announcement.  This essentially cues the FM radio signal to get out of the way.&#xD;&#xA;&#xD;&#xA;Let me know if this doesn't make sense, and I will try to explain it better.  Best of luck!" ContentLicense="CC BY-SA 2.5" />
  <row Id="48987" PostHistoryTypeId="2" PostId="26979" RevisionGUID="26e825fa-446a-4e32-a4b8-94fe382d4278" CreationDate="2010-12-27T17:06:03.233" UserDisplayName="profitphp" Text="I've got a phone system for the company I work at.  We have a line in for the FM radio, it plays music for when people are on hold.  What would be the easiest way for me to have the radio fade out at timed intervals (every 5 minutes say) and play from a bank of 5 or 10 short pre-recorded company related messages.  Is there a software solution out there for this, or a piece of hardware i can use?" ContentLicense="CC BY-SA 2.5" />
  <row Id="48988" PostHistoryTypeId="1" PostId="26979" RevisionGUID="26e825fa-446a-4e32-a4b8-94fe382d4278" CreationDate="2010-12-27T17:06:03.233" UserDisplayName="profitphp" Text="Software solution for splicing in audio in real time" ContentLicense="CC BY-SA 2.5" />
  <row Id="48989" PostHistoryTypeId="3" PostId="26979" RevisionGUID="26e825fa-446a-4e32-a4b8-94fe382d4278" CreationDate="2010-12-27T17:06:03.233" UserDisplayName="profitphp" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="48990" PostHistoryTypeId="36" PostId="26981" RevisionGUID="b7bbaf8f-6d58-4c22-90d4-9cc367f67a77" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/8657/how-to-produce-this-lead-electro-house-synth" />
  <row Id="48991" PostHistoryTypeId="2" PostId="26982" RevisionGUID="85ee0b6f-13c0-4e18-9b70-2b2c5a39fe82" CreationDate="2013-08-09T21:54:36.083" UserId="7188" Text="I am hearing a string like patch with a reverse envelope (slow attack, and quick release like being played backwards) through a wah wah as in a spectral glide with an arpeggiated sequence at the end of each phrase.&#xD;&#xA;&#xD;&#xA;This setup largely depends on the gear your are using as there are numerous synths that could produce this or a combination of synth and pedals (such as a Zoom G21NU)." ContentLicense="CC BY-SA 3.0" />
  <row Id="48992" PostHistoryTypeId="2" PostId="26981" RevisionGUID="51f83eff-51fb-4d2f-88bb-0afed5a6d38a" CreationDate="2013-08-08T20:25:14.073" UserId="7257" Text="[This chorus](https://soundcloud.com/housemusic/stranger-by-stoneway) blows me away (1:01). I was wondering how to produce the lead synth that solo's at about 1:06 ? &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=gMY5qPY-vZk" ContentLicense="CC BY-SA 3.0" />
  <row Id="48993" PostHistoryTypeId="1" PostId="26981" RevisionGUID="51f83eff-51fb-4d2f-88bb-0afed5a6d38a" CreationDate="2013-08-08T20:25:14.073" UserId="7257" Text="How to produce this lead electro house synth?" ContentLicense="CC BY-SA 3.0" />
  <row Id="48994" PostHistoryTypeId="3" PostId="26981" RevisionGUID="51f83eff-51fb-4d2f-88bb-0afed5a6d38a" CreationDate="2013-08-08T20:25:14.073" UserId="7257" Text="&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="48995" PostHistoryTypeId="36" PostId="26982" RevisionGUID="6f0d0935-457e-4468-8c46-665d2b5728f6" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/8657/how-to-produce-this-lead-electro-house-synth/8671#8671" />
  <row Id="48996" PostHistoryTypeId="36" PostId="26983" RevisionGUID="7fa6a4ab-1a05-470a-a333-b08e95f5615d" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/2125/whats-the-purpose-behind-the-gain-switch-on-some-amps" />
  <row Id="48997" PostHistoryTypeId="36" PostId="26984" RevisionGUID="3bdaecf5-985d-4004-9e6f-c06b6f641224" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/2125/whats-the-purpose-behind-the-gain-switch-on-some-amps/2126#2126" />
  <row Id="48998" PostHistoryTypeId="2" PostId="26984" RevisionGUID="bb885818-b295-4560-91e9-997def5223be" CreationDate="2011-08-16T10:33:38.647" UserId="7200" Text="The gain pot does itself (more or less) exactly the same thing as a volume pot, with one important difference: it's located at the very front-end of the circuitry. So it does not only control the output level, but more so the level the signal will have _in_ the circuit. This may not seem necessary as most amplifier circuits are (more or less) designed to work linearly, that is, it should not matter whether the signal is weak inside the circuit and just boosted at the end of it or strong all the way through – but that's not quite true in reality.&#xD;&#xA;&#xD;&#xA;One problem with the former: every active piece of electronics introduces some amount of noise. If we greatly boost the signal at the end of the circuit, we will also greatly boost this noise.&lt;br&gt;&#xD;&#xA;An even more drastic effect to the sound occurs when the level is _too high_ to be accurately processed by the circuitry, that is, when the signal voltage exceeds the operating voltage. In this case, various types of [clipping][1] will come up. This is in most applications generally not desired as it heavily affects the sound characteristics, but sometimes it's an integral part of the desired sound: it's what makes up a screaming distorted electric guitar as well as a warm and gentle tube-overdrive on a vocal track. To control the amount of clipping and thereby the sound, we need the gain pot.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Clipping_%28signal_processing%29" ContentLicense="CC BY-SA 3.0" />
  <row Id="48999" PostHistoryTypeId="2" PostId="26983" RevisionGUID="6a1c3618-6684-47fc-9bcf-a867ffdc984f" CreationDate="2011-08-16T09:53:35.717" UserDisplayName="grm" Text="I have been wondering why so many amps comes with a gain button/switch? &#xD;&#xA;&#xD;&#xA;It seems to boost the mids, but can someone please explain what's the purpose, reasoning and history behind the gain feature on amps? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49000" PostHistoryTypeId="1" PostId="26983" RevisionGUID="6a1c3618-6684-47fc-9bcf-a867ffdc984f" CreationDate="2011-08-16T09:53:35.717" UserDisplayName="grm" Text="Whats the purpose behind the gain switch on some amps?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49001" PostHistoryTypeId="3" PostId="26983" RevisionGUID="6a1c3618-6684-47fc-9bcf-a867ffdc984f" CreationDate="2011-08-16T09:53:35.717" UserDisplayName="grm" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49002" PostHistoryTypeId="36" PostId="26985" RevisionGUID="dac13ba4-037e-4782-a5dd-b31b55f40eb1" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1409/amp-is-receiving-radio-signal" />
  <row Id="49003" PostHistoryTypeId="2" PostId="26986" RevisionGUID="9f820b9f-5080-4ba1-8558-aa2470ca3502" CreationDate="2011-05-16T03:15:35.990" UserId="7045" Text="If the equipment is grounded, this could be a [ground loop](http://www.epanorama.net/documents/groundloop/basics.html). (If you're using AC power and three-prong plugs, the third prong is the ground.) Try plugging the amp into a different outlet, one that's on a different circuit. They make ground loop isolators, but I don't know if they work or not; it might be worth investigating.  &#xD;&#xA;&#xD;&#xA;(I've used three-to-two-prong adapters to get rid of ground loop problems in a pinch, but I don't recommend it as more than a temporary solution. As per Owen's comments, it's quite dangerous to do this.) " ContentLicense="CC BY-SA 3.0" />
  <row Id="49004" PostHistoryTypeId="2" PostId="26985" RevisionGUID="48fdf3c6-373f-4612-ad11-1af680d3f33a" CreationDate="2011-05-16T01:03:26.977" UserId="9651" UserDisplayName="Caleb" Text="My amp is playing a lot of radio stations at the same time.&#xD;&#xA;&#xD;&#xA;The amp model is an Ibanez IBZ10Z, and it's plugged into my keyboard. " ContentLicense="CC BY-SA 3.0" />
  <row Id="49005" PostHistoryTypeId="1" PostId="26985" RevisionGUID="48fdf3c6-373f-4612-ad11-1af680d3f33a" CreationDate="2011-05-16T01:03:26.977" UserId="9651" UserDisplayName="Caleb" Text="Amp is receiving radio signal?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49006" PostHistoryTypeId="3" PostId="26985" RevisionGUID="48fdf3c6-373f-4612-ad11-1af680d3f33a" CreationDate="2011-05-16T01:03:26.977" UserId="9651" UserDisplayName="Caleb" Text="&lt;keyboard&gt;&lt;radio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49007" PostHistoryTypeId="36" PostId="26986" RevisionGUID="89f5a392-89ed-4e94-a7b1-9361b2fed68f" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1409/amp-is-receiving-radio-signal/1410#1410" />
  <row Id="49008" PostHistoryTypeId="36" PostId="26987" RevisionGUID="48f2dd19-cc94-4cda-aeba-f1a3ddf5f98a" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1409/amp-is-receiving-radio-signal/1419#1419" />
  <row Id="49009" PostHistoryTypeId="36" PostId="26988" RevisionGUID="f7a0986f-0d97-4e32-ac7a-b9b92b9ebad5" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1409/amp-is-receiving-radio-signal/1424#1424" />
  <row Id="49010" PostHistoryTypeId="2" PostId="26987" RevisionGUID="d3324f49-9e29-4739-ac43-a6a79840ac01" CreationDate="2011-05-16T21:46:20.337" UserId="7093" Text="If the extra noise is happening when you are playing the keyboard, make sure the Overdrive is turned off.  Also, try plugging your guitar into the amp and see if it does the same thing.&#xD;&#xA;&#xD;&#xA;If the extra noise is happening when you are not playing the keyboard, unplug the keyboard and see if it stops.  Also, try adjusting all the knobs to see if anything changes.&#xD;&#xA;&#xD;&#xA;If the noise is more like a buzzing sound, try @Neil Fein's suggestion about ground loops." ContentLicense="CC BY-SA 3.0" />
  <row Id="49011" PostHistoryTypeId="2" PostId="26988" RevisionGUID="41721dd4-22df-4df0-ba30-8994f0b7d6e3" CreationDate="2011-05-17T14:03:45.210" UserDisplayName="Owen Kelly" Text="This could be a potential answer to you question.&#xD;&#xA;&#xD;&#xA;I was told one of the major reasons for balanced cables (note most guitar cables are unbalanced), is to prevent interference. Most notable is that of radio transmissions being picked up. The length of the cable relates to the frequency it will pickup, though your amp, or pickups could also pick up the signal. &#xD;&#xA;&#xD;&#xA;Proper shielding, and shorter cables should solve the issue.&#xD;&#xA;&#xD;&#xA;If your keyboard and amp can take a balanced cable investigate how to achieve this, as it should solve your issues.&#xD;&#xA;&#xD;&#xA;[Other examples of amps picking up radio stations][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ultimate-guitar.com/forum/showthread.php?t=664950" ContentLicense="CC BY-SA 3.0" />
  <row Id="49012" PostHistoryTypeId="36" PostId="26989" RevisionGUID="14c935dc-f617-46d1-90f3-5f7d465407df" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/7609/website-for-packaged-audio-performance-virtual-devices" />
  <row Id="49013" PostHistoryTypeId="36" PostId="26990" RevisionGUID="de491230-57f7-4117-b67b-6bdf6dba92e4" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/7609/website-for-packaged-audio-performance-virtual-devices/7613#7613" />
  <row Id="49014" PostHistoryTypeId="36" PostId="26991" RevisionGUID="ddeacbbb-38eb-4f0a-adfa-63dec934bdf4" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/7609/website-for-packaged-audio-performance-virtual-devices/8350#8350" />
  <row Id="49015" PostHistoryTypeId="2" PostId="26990" RevisionGUID="f8b0ae12-5057-4bf3-8a72-b7a29c519cfe" CreationDate="2013-04-07T22:38:37.813" UserId="6957" Text="Have you ever looked into [Reason](http://www.propellerheads.se/products/reason/)?  &#xD;&#xA;&#xD;&#xA;While there is room for much configuration and setup, the virtual rack gear has many presets to just jam with.  They've also recently opened up to 3rd party [rack extension](http://www.propellerheads.se/products/reason/index.cfm?fuseaction=get_article&amp;article=whats-new) developers.&#xD;&#xA;&#xD;&#xA;I guess the main reason I mention this option is that, unlike many other plugins, the virtual equipment actually looks and behaves like real equipment.  No menus or dropdowns and such.  Just knobs and faders.  I would guess that that makes it much easier to jam with." ContentLicense="CC BY-SA 3.0" />
  <row Id="49016" PostHistoryTypeId="2" PostId="26991" RevisionGUID="cf5f7da6-361a-4291-8c99-20e762c1db2c" CreationDate="2013-07-08T11:52:01.560" UserId="7542" UserDisplayName="Don Nickel" Text="KVRAudio lists a ton of VSTs, and are (or at least were at one time) run by the company that makes a device that runs VSTs as a stand-alone (physical) device. I believe they list if the plug-in has a stand-alone mode.&#xD;&#xA;&#xD;&#xA;If you want to run any VST as a stand-alone using a free program called SAVIhost - but that only works for instruments. They just updated the software to 32x and 64x.&#xD;&#xA;&#xD;&#xA;More and more VSTs are shipping with stand-alone versions. I often use those when I just want to play.&#xD;&#xA;&#xD;&#xA;There are a couple of software vendors that do the &quot;stomp-box&quot; metaphore, some of them are stand-alone effects. I believe Native Instruments Guitar Rig will run as a stand alone. reFX has Slayer which can be a set of effects pedals, and reValver by Peavy. Image-Line and TH2 also have a similar products." ContentLicense="CC BY-SA 3.0" />
  <row Id="49017" PostHistoryTypeId="2" PostId="26989" RevisionGUID="c24fbf51-931e-4692-b9a6-4c8a4675091c" CreationDate="2013-04-07T17:07:28.183" UserId="7840" UserDisplayName="themirror" Text="I'm fairly familiar with VSTs, Ableton, and similar stuff.  But all of those require some configuration/setup.  The flexibility allows you to build complex systems, but I'm looking for a &quot;gallery&quot; of virtual audio machines (think of guitar pedals for example) that I just download and immediately start jamming with (on a connected microphone, guitar, or MIDI controller).&#xD;&#xA;&#xD;&#xA;This doesn't require any kind of standard -- it could be implemented on a variety of platforms, for example Ableton Live.&#xD;&#xA;&#xD;&#xA;So are there any websites where I can look for &quot;ready to use&quot; tools like this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49018" PostHistoryTypeId="1" PostId="26989" RevisionGUID="c24fbf51-931e-4692-b9a6-4c8a4675091c" CreationDate="2013-04-07T17:07:28.183" UserId="7840" UserDisplayName="themirror" Text="Website for packaged audio performance virtual &quot;devices&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49019" PostHistoryTypeId="3" PostId="26989" RevisionGUID="c24fbf51-931e-4692-b9a6-4c8a4675091c" CreationDate="2013-04-07T17:07:28.183" UserId="7840" UserDisplayName="themirror" Text="&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49020" PostHistoryTypeId="36" PostId="26992" RevisionGUID="a875794c-33cf-4fc1-8058-d1e571a38635" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/1452/how-to-achieve-overcompressed-sound" />
  <row Id="49021" PostHistoryTypeId="2" PostId="26993" RevisionGUID="da626bd0-b34a-44bd-af52-00b77c8c7a74" CreationDate="2011-05-21T22:25:10.127" UserId="7471" UserDisplayName="Mark Heath" Text="Have you tried simply pulling the threshold right down on the [Ozone Loudness Maximiser][1]? See my [recent answer on loudness wars][2] though for why this might not be a good idea.&#xD;&#xA;&#xD;&#xA;![Ozone Loudness Maximiser][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.izotope.com/products/audio/ozone/__maximizer.html&#xD;&#xA;  [2]: http://audio.stackexchange.com/questions/1450/zoom-h2-recording-levels-are-too-low/1451#1451&#xD;&#xA;  [3]: http://i.stack.imgur.com/mFak8.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="49022" PostHistoryTypeId="2" PostId="26992" RevisionGUID="a64766bf-1b52-4981-a3e4-6c29b03af00e" CreationDate="2011-05-21T21:51:05.350" UserDisplayName="Alex" Text="How can I make a track sound like its over-compressed, like this one:&#xD;&#xA;&#xD;&#xA;http://mp3.juno.co.uk/MP3/SF1228842-02-01-02.mp3&#xD;&#xA;&#xD;&#xA;?&#xD;&#xA;&#xD;&#xA;(I'm using the izotope Ozone plugin inside a VST host)" ContentLicense="CC BY-SA 3.0" />
  <row Id="49023" PostHistoryTypeId="1" PostId="26992" RevisionGUID="a64766bf-1b52-4981-a3e4-6c29b03af00e" CreationDate="2011-05-21T21:51:05.350" UserDisplayName="Alex" Text="How to achieve overcompressed sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49024" PostHistoryTypeId="3" PostId="26992" RevisionGUID="a64766bf-1b52-4981-a3e4-6c29b03af00e" CreationDate="2011-05-21T21:51:05.350" UserDisplayName="Alex" Text="&lt;effects&gt;&lt;compression&gt;&lt;mastering&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49025" PostHistoryTypeId="36" PostId="26993" RevisionGUID="b395fb61-443e-459f-af9e-4a3e2767188d" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/1452/how-to-achieve-overcompressed-sound/1453#1453" />
  <row Id="49026" PostHistoryTypeId="36" PostId="26994" RevisionGUID="998c27a9-9c98-4d0b-98c9-3c73ce1b1635" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/500/does-anyone-have-any-experience-with-available-rta-software-packages-for-live-ve" />
  <row Id="49027" PostHistoryTypeId="36" PostId="26995" RevisionGUID="af83567e-d1dd-4dd3-a5ad-e2e2efd5b533" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/500/does-anyone-have-any-experience-with-available-rta-software-packages-for-live-ve/718#718" />
  <row Id="49028" PostHistoryTypeId="36" PostId="26996" RevisionGUID="e9bb621a-ebc2-4297-ad68-544dd3bd7833" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/500/does-anyone-have-any-experience-with-available-rta-software-packages-for-live-ve/1149#1149" />
  <row Id="49029" PostHistoryTypeId="36" PostId="26997" RevisionGUID="d3454918-1241-4d68-a4f1-56d04032cbca" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/500/does-anyone-have-any-experience-with-available-rta-software-packages-for-live-ve/1588#1588" />
  <row Id="49030" PostHistoryTypeId="2" PostId="26995" RevisionGUID="ac39f08c-c09b-4973-98e2-8952b41c9276" CreationDate="2011-01-31T06:41:35.440" UserDisplayName="jlebre" Text="heard good things about [TrueRTA][1] but I can't provide more info than the one available at their website. Then again, if you tried SMAART (I can tell you it's an unanimous consensus that SMAART is the best tool out there for venue tuning, both in Portugal, in UK and NZ) you know that there's more than a high resolution spectrum analizer but also frequency over time plots, average graphs, multichannel input, etc.&#xD;&#xA;&#xD;&#xA;There's also Klark Teknik DN60 (now I hear there's a really swanky 6000 version) I know it used to cost about 2000€ I think but maybe you can eBay it pretty cheap or speak with a local sound company looking to improve to smaart or the DN6000?&#xD;&#xA;&#xD;&#xA;Again, as asked above, what exactly did you like on Smaart? because if you just want to have something on the corner of your eye for reference you'll probably get away with trueRTA. Get yourself a nice 1 channel converter and a relatively nice microphone. I gather that if you said smaart was out of the budget you won't be looking for B&amp;K's mics.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.trueaudio.com/rta_abt1.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="49031" PostHistoryTypeId="2" PostId="26996" RevisionGUID="dfc3fffc-a702-4b5f-b34d-3a3174da9840" CreationDate="2011-04-10T13:47:40.310" UserId="7251" Text="Another option worth lookin at is [JDFT][1] it's very basic but it's also free.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.e.kth.se/~johk/jdft/" ContentLicense="CC BY-SA 3.0" />
  <row Id="49032" PostHistoryTypeId="2" PostId="26997" RevisionGUID="432ed92c-9a46-4b0f-8884-71e9a9d661fa" CreationDate="2011-06-14T12:37:31.003" UserDisplayName="phasetransitions" Text="Corey,&#xD;&#xA;&#xD;&#xA;First let me say that the principal of Rational Acoustics is a friend of mine, I have beta access to their product, and I think very highly of SMAART 7. It is the easiest to use of the major multi-channel FFT measurement programs (i.e. SMAART, Systune, and SIM3). I also own Systune. Now that disclosure is out of the way, answers.&#xD;&#xA;&#xD;&#xA;The best bang for the buck mult-channel fft analysis program out there is [arta][1], but arta is not for uninitiated. It is very powerful but requires a deep level of understanding.&#xD;&#xA;&#xD;&#xA;Before you read any farther in my answer, I suggest you read an article I edited for Live Sound International magazine called [The Devil with your RTA][2]. Digest that article as much as possible, and then consider what you are asking the software to do. Come back here with a followup and I'll help you think it through.&#xD;&#xA;&#xD;&#xA;The tl:dr is this: &quot;*Real Time Analyzers &quot;RTA&quot; will tell you the level for each frequency of sound that arrives, but won't tell you when each frequency arrives relative to the others. The latter is extremely important in aligning professional sound systems and extracting the most performance from loudspeakers.*&quot;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.fesb.hr/~mateljan/arta/&#xD;&#xA;  [2]: http://www.bennettprescott.com/downloads/devil_with_rta.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="49033" PostHistoryTypeId="2" PostId="26994" RevisionGUID="177ae686-499d-474d-9c6e-7f9a740795ea" CreationDate="2011-01-02T23:03:25.400" UserId="7856" UserDisplayName="Corey" Text="A few years ago I was able to use [SMAART](http://rationalacoustics.com/pages/Smaart_Landing_Page) from rationalacoustics.com and was very impressed.&#xD;&#xA;Unfortunately, it is way over my budget. I was hoping there might be some more affordable solutions." ContentLicense="CC BY-SA 2.5" />
  <row Id="49034" PostHistoryTypeId="1" PostId="26994" RevisionGUID="177ae686-499d-474d-9c6e-7f9a740795ea" CreationDate="2011-01-02T23:03:25.400" UserId="7856" UserDisplayName="Corey" Text="Does anyone have any experience with available RTA software packages for live venue application?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49035" PostHistoryTypeId="3" PostId="26994" RevisionGUID="177ae686-499d-474d-9c6e-7f9a740795ea" CreationDate="2011-01-02T23:03:25.400" UserId="7856" UserDisplayName="Corey" Text="&lt;live&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49044" PostHistoryTypeId="36" PostId="27001" RevisionGUID="e413d816-eece-4c5f-9358-130c3bc438cb" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/3895/can-the-thomann-t-amp-e400-be-bridged" />
  <row Id="49045" PostHistoryTypeId="2" PostId="27002" RevisionGUID="797b5a2d-5c6e-4bbc-bdb6-714089611a6b" CreationDate="2012-05-01T22:05:29.577" UserId="7200" Text="Yes, you can. Close-up from the 360° view:&#xD;&#xA;&#xD;&#xA;![The T-Amp E400 backside switches][1]&#xD;&#xA;&#xD;&#xA;Where you can see the switch between stereo (STE), parallel and bridged. The specifications in this mode are 380W @ 8Ω / 240W @ 16Ω. You can't operate it safely on 4Ω in that mode. (Probably, the shortcut protection would just shut it down.)&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/80H6F.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="49046" PostHistoryTypeId="2" PostId="27001" RevisionGUID="90420136-42ef-4329-b16a-c0fdce00244f" CreationDate="2012-05-01T20:01:50.700" UserDisplayName="Adam Lynch" Text="I'm selling my [T.AMP E400](http://www.thomann.de/ie/the_tamp_e400.htm) and I've been asked a question which is over my head as far as my knowledge of powered amplifiers goes. &#xD;&#xA;&#xD;&#xA;&gt;Can this amp be bridged, and if so, what is the output at 4 and 8 ohm?&#xD;&#xA;&#xD;&#xA;I wouldn't have a clue what the answer is or how to find out. (I do not want to have to buy any equipment to test)" ContentLicense="CC BY-SA 3.0" />
  <row Id="49047" PostHistoryTypeId="1" PostId="27001" RevisionGUID="90420136-42ef-4329-b16a-c0fdce00244f" CreationDate="2012-05-01T20:01:50.700" UserDisplayName="Adam Lynch" Text="Can the Thomann T.AMP E400 be bridged?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49048" PostHistoryTypeId="3" PostId="27001" RevisionGUID="90420136-42ef-4329-b16a-c0fdce00244f" CreationDate="2012-05-01T20:01:50.700" UserDisplayName="Adam Lynch" Text="&lt;engineering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49049" PostHistoryTypeId="36" PostId="27002" RevisionGUID="991f010a-f112-477b-b4fe-6f0441264c2b" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/3895/can-the-thomann-t-amp-e400-be-bridged/3898#3898" />
  <row Id="49050" PostHistoryTypeId="36" PostId="27003" RevisionGUID="940c5ae6-3e12-493f-bb22-d206bdfa18be" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1050/how-to-stream-my-band-on-ustream" />
  <row Id="49051" PostHistoryTypeId="36" PostId="27004" RevisionGUID="1a8fffcd-b686-46e2-85d4-fb5001e1cde7" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1050/how-to-stream-my-band-on-ustream/1054#1054" />
  <row Id="49052" PostHistoryTypeId="36" PostId="27005" RevisionGUID="fe52f14f-6434-4210-a7a0-e5a4180b11f8" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1050/how-to-stream-my-band-on-ustream/5082#5082" />
  <row Id="49053" PostHistoryTypeId="36" PostId="27006" RevisionGUID="c0543277-9d03-409f-85d3-4e314ca6abab" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/1050/how-to-stream-my-band-on-ustream/5141#5141" />
  <row Id="49054" PostHistoryTypeId="2" PostId="27004" RevisionGUID="581ce951-f680-4104-8d0c-8fc30e07d49d" CreationDate="2011-03-18T17:49:27.950" UserDisplayName="Ian C." Text="The next step would be mic'ing up your entire band through one mixing console, like you would for a live show, and running a stereo mix out of the console and in to your computer via a line in on a sound card and streaming that mix.&#xD;&#xA;&#xD;&#xA;You wouldn't necessarily need a full-on dedicated mixing console to achieve this. You might be able to get away with something like a [Presonus FireStudio][1] -- where you've got an audio interface without enough mic pres and inputs to handle your bands needs. If you lay out the band (instrumentation, vocals, etc.) I could give you a more detailed answer on how you'd want to mic it for mixing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.presonus.com/products/Detail.aspx?ProductId=5" ContentLicense="CC BY-SA 2.5" />
  <row Id="49055" PostHistoryTypeId="2" PostId="27005" RevisionGUID="36b2a0e5-cf81-4f6b-ba57-c24e17f176e1" CreationDate="2012-10-17T21:53:34.637" UserDisplayName="Dustin Lafferty" Text="Buy a Zoom H1 and run a line out into your laptop and then change the zoom H1 to your default mic.&#xD;&#xA;&#xD;&#xA;Presto - killer sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="49056" PostHistoryTypeId="2" PostId="27006" RevisionGUID="d033aa66-34a3-41d8-9f16-bf892918cc3f" CreationDate="2012-10-22T15:59:04.530" UserId="7093" Text="In the past I have done some recording of my band (keyboard, vocals, bass, and drums) using only 1 microphone between the drums and the bass and keyboard/vocal amp.  I was able to get a pretty good mix by moving the microphone and speakers around until the sound was fairly well balanced. &#xD;&#xA;&#xD;&#xA;You should be able to get a really nice jump in quality without too much cost by simply adding a decent USB mic to the computer.  &#xD;&#xA;&#xD;&#xA;The next step up in cost is to add a USB interface with 1 or more inputs, which would allow you to plug some of the instruments in directly.&#xD;&#xA;&#xD;&#xA;To get maximum control over the mix you will need to go with a mixer or multichannel USB or Firewire audio interface and plug in as many instruments/mics as you can in directly. Every additional microphone and direct input you add to the mix will give you more control over the sound.&#xD;&#xA;&#xD;&#xA;For more information on choosing a microphone to start with, see [this question][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/421/what-are-the-most-used-types-of-microphones-and-what-are-they-best-used-for" ContentLicense="CC BY-SA 3.0" />
  <row Id="49057" PostHistoryTypeId="2" PostId="27003" RevisionGUID="9b982e50-222e-478c-b945-1e929b32ff2f" CreationDate="2011-03-18T14:13:21.350" UserDisplayName="joe" Text="What is the best way to stream our band practices on uStream? Right now we are just using the microphone that came with our webcam. &#xD;&#xA;&#xD;&#xA;What is the next step in improving the audio quality of our stream?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49058" PostHistoryTypeId="1" PostId="27003" RevisionGUID="9b982e50-222e-478c-b945-1e929b32ff2f" CreationDate="2011-03-18T14:13:21.350" UserDisplayName="joe" Text="How to stream my band on uStream?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49059" PostHistoryTypeId="3" PostId="27003" RevisionGUID="9b982e50-222e-478c-b945-1e929b32ff2f" CreationDate="2011-03-18T14:13:21.350" UserDisplayName="joe" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49060" PostHistoryTypeId="36" PostId="27007" RevisionGUID="29c4ad27-1fcd-4fa0-a9b3-8bf0766aee15" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/21/how-is-this-technique-called-with-ethernet-cable-to-stage" />
  <row Id="49061" PostHistoryTypeId="36" PostId="27008" RevisionGUID="845c8f1d-df80-4e80-be83-30fb7699336b" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/21/how-is-this-technique-called-with-ethernet-cable-to-stage/24#24" />
  <row Id="49062" PostHistoryTypeId="36" PostId="27009" RevisionGUID="8be433d5-d0f7-45ce-b572-faf5ad7d4e35" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/21/how-is-this-technique-called-with-ethernet-cable-to-stage/237#237" />
  <row Id="49063" PostHistoryTypeId="36" PostId="27010" RevisionGUID="3d366221-6d7c-4e59-9e7c-ac57fa46740f" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/21/how-is-this-technique-called-with-ethernet-cable-to-stage/501#501" />
  <row Id="49064" PostHistoryTypeId="2" PostId="27008" RevisionGUID="c569071f-67e7-4b18-931d-62994f67bc11" CreationDate="2010-12-07T20:47:58.947" UserId="7856" UserDisplayName="Corey" Text="It's called a &quot;Digital Snake&quot;&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Audio_multicore_cable&#xD;&#xA;&#xD;&#xA;It is gaining popularity, but it can be cost prohibitive.&#xD;&#xA;&#xD;&#xA;Several manufactures offer solutions including; Mackie, Aviom &amp; Roland.&#xD;&#xA;&#xD;&#xA;Most are based on EtherSound or CobraNet, but may also be proprietary." ContentLicense="CC BY-SA 2.5" />
  <row Id="49065" PostHistoryTypeId="2" PostId="27009" RevisionGUID="b6d44f4a-1dee-435b-8b6e-11193cbd2b1b" CreationDate="2010-12-13T00:06:34.360" UserDisplayName="jan" Text="An alternative to this is [MADI][1]: it uses 2 coaxial cables to connect the AD/DA converters to the desk.  &#xD;&#xA;In my opinion: the cable itself is more rugged than an ethernet twisted pair, but the connectors are not so sturdy as the [Neutrik RJ45][2] you see with e.g. Aviom.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/MADI&#xD;&#xA;  [2]: http://www.neutrik.com/jp/en/dataconnectors/203_283121/etherCON_RJ45_Data_Connector_group.aspx" ContentLicense="CC BY-SA 2.5" />
  <row Id="49066" PostHistoryTypeId="2" PostId="27010" RevisionGUID="2de53070-5890-49a3-a65a-5bbf971410e8" CreationDate="2011-01-03T00:50:56.200" UserId="18000" UserDisplayName="rjmunro" Text="The technology is sometimes called [Audio Over EtherNet][1]. There are several incompatible proprietary protocols from several manufacturers - EtherSound, CobraNet, A-Net, DANTE [(more at wikipedia)][2], but a proper Ethernet standard is being introduced called [IEEE 802.1 AVB (Audio Video Bridging)][3].&#xD;&#xA;&#xD;&#xA;AVB is a combination of several extensions to ethernet protocols, designed to be usable for many purposes, but professional audio multicore replacement is the main driving force behind the standards at the moment. Because these standards are being designed by the same people as IEEE itself, and are designed to be usable in a range of situations, I expect that future networking gear (switches, routers etc.) will support them as standard, and the price will fall rapidly. I would not consider a non-AVB system - you'll be locked in to something that won't exist for very long.&#xD;&#xA;&#xD;&#xA;The AVB standard is being promoted by the industry group [AVnu][4].&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Audio_over_Ethernet&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Category:Audio_network_protocols&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Audio_Video_Bridging&#xD;&#xA;  [4]: http://www.avnu.org/" ContentLicense="CC BY-SA 2.5" />
  <row Id="49067" PostHistoryTypeId="2" PostId="27007" RevisionGUID="06148478-a893-440d-b49e-4793a4260465" CreationDate="2010-12-07T20:40:50.613" UserId="7538" UserDisplayName="Peter Smit" Text="In my live mixings until now I always worked with analog signals between stage and mixer. Recently I saw at a small performance a solution with a kind of ethernet cable to stage. On stage there was a device that did the AD-DA conversion.&#xD;&#xA;&#xD;&#xA;How is this solution called? Is it use much in &quot;big&quot; live mixings?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49068" PostHistoryTypeId="1" PostId="27007" RevisionGUID="06148478-a893-440d-b49e-4793a4260465" CreationDate="2010-12-07T20:40:50.613" UserId="7538" UserDisplayName="Peter Smit" Text="How is this technique called with ethernet cable to stage" ContentLicense="CC BY-SA 2.5" />
  <row Id="49069" PostHistoryTypeId="3" PostId="27007" RevisionGUID="06148478-a893-440d-b49e-4793a4260465" CreationDate="2010-12-07T20:40:50.613" UserId="7538" UserDisplayName="Peter Smit" Text="&lt;digital&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49070" PostHistoryTypeId="36" PostId="27011" RevisionGUID="8188e5c7-3baa-4802-93e4-5ae93ab27c6c" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/765/amplifier-circuitry" />
  <row Id="49071" PostHistoryTypeId="2" PostId="27012" RevisionGUID="1b2b92d5-ae69-440d-a29a-9fe68ee31724" CreationDate="2011-02-07T20:10:35.800" UserDisplayName="Ian C." Text="I'm going to suggest you take these units in to a proper electronics service center and have them checked out by someone who troubleshoots this sort of stuff on a day-to-day basis. Normally I'd be all for going it DIY but you're dealing with high powered electronics. **There is no room for error here. If you screw this up the result could very well be death.**&#xD;&#xA;&#xD;&#xA;[Blue Sky's contact page lists their global resellers][1]. If you're not in the USA you'll probably need to get in touch with the local reseller to figure out who might be authorized, near you, to service them. You could start by emailing support@abluesky.com though.&#xD;&#xA;&#xD;&#xA;If you're not concerned about warranties and such on them, just about any audio-oriented repair shop should be able to troubleshoot this kind of thing. The amplifier topology should be common enough. Anyone who deals with home theater amplifier repairs or if you've got pro-audio repairs for sound support should be able to take a look at them for you.&#xD;&#xA;&#xD;&#xA;  [1]: http://abluesky.com/contact/" ContentLicense="CC BY-SA 2.5" />
  <row Id="49072" PostHistoryTypeId="2" PostId="27011" RevisionGUID="c14d0d8c-3a31-4968-9e1f-08c29525f89a" CreationDate="2011-02-07T06:45:02.187" UserDisplayName="jlebre" Text="I have in my bench a couple of BlueSky satellites (Mk1 of their pm3 THX certified series) that constantly blow BOTH transistors :S.&#xD;&#xA;&#xD;&#xA;I'm not really sure how to even start looking for the problem elsewhere. The unit stopped working and was blowing fuse after fuse and I noticed some discolouration around the transistors. With some testing I realised both transistors were dead but replacing them didn't solve the problem.&#xD;&#xA;&#xD;&#xA;Any ideas? " ContentLicense="CC BY-SA 2.5" />
  <row Id="49073" PostHistoryTypeId="1" PostId="27011" RevisionGUID="c14d0d8c-3a31-4968-9e1f-08c29525f89a" CreationDate="2011-02-07T06:45:02.187" UserDisplayName="jlebre" Text="Amplifier Circuitry" ContentLicense="CC BY-SA 2.5" />
  <row Id="49074" PostHistoryTypeId="3" PostId="27011" RevisionGUID="c14d0d8c-3a31-4968-9e1f-08c29525f89a" CreationDate="2011-02-07T06:45:02.187" UserDisplayName="jlebre" Text="&lt;electronics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49075" PostHistoryTypeId="36" PostId="27012" RevisionGUID="31f3c6d7-7f7f-4374-a630-66e9ee1e55bb" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/765/amplifier-circuitry/769#769" />
  <row Id="49080" PostHistoryTypeId="36" PostId="27014" RevisionGUID="258af64e-9b06-44eb-bfc9-4f93f9c3cbd8" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/705/looking-for-adsr-plugin-adsr" />
  <row Id="49081" PostHistoryTypeId="36" PostId="27015" RevisionGUID="4df1b82e-9986-470c-a79b-f977ae2d66a3" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/705/looking-for-adsr-plugin-adsr/865#865" />
  <row Id="49082" PostHistoryTypeId="2" PostId="27015" RevisionGUID="2c0ba096-fa2a-4a8c-9377-c29311417f3c" CreationDate="2011-02-20T20:38:03.423" UserDisplayName="Osmosis Cones" Text="Fuxi, you can try [ndc Midi ADSR][1], found in [FreeMusicSoftware.org][2], I've just tested it with Reaper 3.74 and it seems to work fine. &#xD;&#xA;&#xD;&#xA;Unfortunately its not tempo syncable - the 'segment' value is in seconds.&#xD;&#xA;&#xD;&#xA;Check out the other VSTs on the Free Music Software site.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.niallmoody.com/ndcplugs/midiadsr.htm&#xD;&#xA;  [2]: http://freemusicsoftware.org/category/free-vst-effects-2/envelopes" ContentLicense="CC BY-SA 2.5" />
  <row Id="49083" PostHistoryTypeId="2" PostId="27014" RevisionGUID="2d807c81-b5b5-461d-8f7c-8f9ed6cb7e28" CreationDate="2011-01-28T20:11:21.180" UserDisplayName="Fuxi" Text="i'm looking for a good adsr vst-effect - it should be fast and clean and support automation.&#xD;&#xA;any ideas?&#xD;&#xA;&#xD;&#xA;thanks" ContentLicense="CC BY-SA 2.5" />
  <row Id="49084" PostHistoryTypeId="1" PostId="27014" RevisionGUID="2d807c81-b5b5-461d-8f7c-8f9ed6cb7e28" CreationDate="2011-01-28T20:11:21.180" UserDisplayName="Fuxi" Text="looking for adsr plugin (adsr)" ContentLicense="CC BY-SA 2.5" />
  <row Id="49085" PostHistoryTypeId="3" PostId="27014" RevisionGUID="2d807c81-b5b5-461d-8f7c-8f9ed6cb7e28" CreationDate="2011-01-28T20:11:21.180" UserDisplayName="Fuxi" Text="&lt;plugins&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49086" PostHistoryTypeId="36" PostId="27016" RevisionGUID="c02aa7de-92d3-4717-a444-9f483e3645e3" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/309/best-vst-for-realistic-violin-articulations-disco" />
  <row Id="49087" PostHistoryTypeId="36" PostId="27017" RevisionGUID="8076b0d2-5651-4428-9fee-f5978b840788" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/309/best-vst-for-realistic-violin-articulations-disco/347#347" />
  <row Id="49088" PostHistoryTypeId="36" PostId="27018" RevisionGUID="9974e23f-79bf-4c35-9a85-93b64ceb854b" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/309/best-vst-for-realistic-violin-articulations-disco/355#355" />
  <row Id="49089" PostHistoryTypeId="36" PostId="27019" RevisionGUID="24fa050f-9c5e-4a7e-9e88-4cc22ef0b663" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/309/best-vst-for-realistic-violin-articulations-disco/2884#2884" />
  <row Id="49090" PostHistoryTypeId="2" PostId="27017" RevisionGUID="faa7004d-93bd-40bb-be79-8b3a210bc7c6" CreationDate="2010-12-17T15:19:04.357" UserDisplayName="divided" Text="Here are some free orchestral soundfonts.  They might not be as good as VST's as far as quality goes, but they're free.&#xD;&#xA;&#xD;&#xA;[http://www.oui.com.br/n/download.php?list.2][1]&#xD;&#xA;&#xD;&#xA;[http://www.kvraudio.com/forum/printview.php?t=137348&amp;start=0][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.oui.com.br/n/download.php?list.2&#xD;&#xA;  [2]: http://www.kvraudio.com/forum/printview.php?t=137348&amp;start=0" ContentLicense="CC BY-SA 2.5" />
  <row Id="49091" PostHistoryTypeId="2" PostId="27018" RevisionGUID="83bdc2ac-00a4-41c1-a65f-4e709a91eb2e" CreationDate="2010-12-17T17:41:47.227" UserId="7218" Text="The classic &quot;70's&quot; string sound is the [Arp String Ensemble.][1]  It is featured in such songs as &quot;Babe&quot; by Styx.&#xD;&#xA;&#xD;&#xA;This plugin (stringer) might do the trick: http://freemusicsoftware.org/category/free-vst/strings.  There are also other plugins in that page you can try.&#xD;&#xA;&#xD;&#xA;If you are looking for more realistic string sounds, and don't want to purchase an enormous sample library like Vienna, [Synful Orchestra][2] has some of the best (and most natural sounding) strings I've heard.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/ARP_String_Ensemble&#xD;&#xA;  [2]: http://www.synful.com/" ContentLicense="CC BY-SA 2.5" />
  <row Id="49092" PostHistoryTypeId="2" PostId="27019" RevisionGUID="fe996ec5-f5a8-498a-ac01-279d5adddeca" CreationDate="2011-12-23T06:54:22.343" UserId="7471" UserDisplayName="Mark Heath" Text="Have a look at [Native Instruments Session Strings][1] which is a sample based VSTi of a string ensemble, which has built in &quot;articulations&quot;, including &quot;scoops/falls&quot; specifically targetted at creating 70s disco sounds. There is also [Session Strings Pro][2] which has a much larger sample library and a few extra features&#xD;&#xA;&#xD;&#xA;![NI Session Strings User Interface][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.native-instruments.com/#/en/products/producer/powered-by-kontakt/session-strings/&#xD;&#xA;  [2]: http://www.native-instruments.com/#/en/products/producer/powered-by-kontakt/session-strings-pro/&#xD;&#xA;  [3]: http://i.stack.imgur.com/trGJF.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="49093" PostHistoryTypeId="2" PostId="27016" RevisionGUID="93d68b9b-48d5-4178-b47e-51c22e8638c4" CreationDate="2010-12-15T20:53:12.547" UserDisplayName="Fuxi" Text="I'm looking for a good vst library for creating realistic 70s violin ensembles - any suggestions? the library should have some intelligent scripting which detects portamento, runs, riffs and such.&#xD;&#xA;&#xD;&#xA;Any ideas?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49094" PostHistoryTypeId="1" PostId="27016" RevisionGUID="93d68b9b-48d5-4178-b47e-51c22e8638c4" CreationDate="2010-12-15T20:53:12.547" UserDisplayName="Fuxi" Text="Best vst for realistic violin articulations (disco)" ContentLicense="CC BY-SA 2.5" />
  <row Id="49095" PostHistoryTypeId="3" PostId="27016" RevisionGUID="93d68b9b-48d5-4178-b47e-51c22e8638c4" CreationDate="2010-12-15T20:53:12.547" UserDisplayName="Fuxi" Text="&lt;vst&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49096" PostHistoryTypeId="36" PostId="27020" RevisionGUID="e7231394-2fff-43e4-aa53-5a1b14b66f44" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/383/what-simple-multi-channel-amp-rack-do-you-recommend" />
  <row Id="49097" PostHistoryTypeId="36" PostId="27021" RevisionGUID="e976c4fa-7fa5-4fee-a2db-d000b2ea4e6b" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/383/what-simple-multi-channel-amp-rack-do-you-recommend/385#385" />
  <row Id="49098" PostHistoryTypeId="36" PostId="27022" RevisionGUID="78db2582-36af-4376-ab33-b05dfc104fff" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/383/what-simple-multi-channel-amp-rack-do-you-recommend/397#397" />
  <row Id="49099" PostHistoryTypeId="2" PostId="27021" RevisionGUID="b46965d1-a5ee-4d73-8f4c-8ae8a12d4777" CreationDate="2010-12-19T23:52:22.477" UserId="8336" UserDisplayName="Sklivvz" Text="I use the Behringer Eurorack RX1602. It's simple and cheap (100£) and does the job.&#xD;&#xA;&#xD;&#xA;http://www.berhinger.com/EN/Products/RX1602.aspx&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/K0ka4.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="49100" PostHistoryTypeId="2" PostId="27022" RevisionGUID="ab44932a-4c79-4c79-ba13-3601c903a63b" CreationDate="2010-12-20T16:15:41.407" UserId="7209" Text="The [ART SLA4][1] should meet your needs.  Not the cheapest amp around, but it fits in one rack unit and is of high quality.&#xD;&#xA;&#xD;&#xA;![ART SLA4][2]&#xD;&#xA;![ART SLA4 Rear][3]&#xD;&#xA;&#xD;&#xA;If that is too expensive for you, just plug in whatever amps you like that aren't.  You don't need to run all four channels in one amp.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.artproaudio.com/products.asp?type=85&amp;cat=8&amp;id=140&#xD;&#xA;  [2]: http://i.stack.imgur.com/KH7io.jpg&#xD;&#xA;  [3]: http://i.stack.imgur.com/idPlE.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="49101" PostHistoryTypeId="2" PostId="27020" RevisionGUID="e6dc415f-79fc-420d-ab85-8b946dac2204" CreationDate="2010-12-19T23:20:40.573" UserDisplayName="Pierre 303" Text="For monitoring I need to drive sound of multiple soundcards into one and single amp with 4 inputs and 4 outputs&#xD;&#xA;&#xD;&#xA;No routing, input 1 goes to output 1, and so on.&#xD;&#xA;&#xD;&#xA;My speakers (4): 15-100w 8ohm FR 90Hz-20kHz (+-3dB) 87dB  &#xD;&#xA;&#xD;&#xA;Could you recommend me a simple solution ?&#xD;&#xA;&#xD;&#xA;Something like the unit below would be great. But it's a unit for headphones and I think it won't provide the 100w I would like to send to the speakers.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;http://www.berhinger.com/EN/Products/HA4400.aspx&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Fq39N.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="49102" PostHistoryTypeId="1" PostId="27020" RevisionGUID="e6dc415f-79fc-420d-ab85-8b946dac2204" CreationDate="2010-12-19T23:20:40.573" UserDisplayName="Pierre 303" Text="What simple multi channel amp rack do you recommend?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49103" PostHistoryTypeId="3" PostId="27020" RevisionGUID="e6dc415f-79fc-420d-ab85-8b946dac2204" CreationDate="2010-12-19T23:20:40.573" UserDisplayName="Pierre 303" Text="&lt;monitoring&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49104" PostHistoryTypeId="36" PostId="27023" RevisionGUID="f8eca908-0c72-43b0-888f-a2b39020f36b" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/7594/sound-what-are-the-options-for-vst-production" />
  <row Id="49105" PostHistoryTypeId="36" PostId="27024" RevisionGUID="6a3dbb9e-5fc7-467d-bdf6-a5125c0c16b7" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/7594/sound-what-are-the-options-for-vst-production/7600#7600" />
  <row Id="49106" PostHistoryTypeId="2" PostId="27024" RevisionGUID="1b2f1770-3281-4b90-b0ce-47cc177ac832" CreationDate="2013-04-06T01:16:02.023" UserId="7189" Text="You should start by sketching your idea out in Max/MSP, PureData, SuperCollider, Reaktor, or another environment designed to facilitate audio processing. Once you have demonstrated to yourself that your idea works as expected, then move on to building an actual VST plugin.&#xD;&#xA;&#xD;&#xA;I haven't built a VST myself, but keep in mind that the core VST SDK is a C++ library. There are various higher-level VST builders out there that may work for you, but they do abstract you away from the actual VST API itself. Depending on the needs of your plugin and your target market, this may or may not matter.&#xD;&#xA;&#xD;&#xA;Of the prototyping environments I listed above, Max/MSP and Reaktor seem best suited to creating commercial products. I'm not sure if Max/MSP can be wrapped in a VST, but Max4Live does exist. Reaktor is definitely a VST, but your customers will have to own Reaktor in order to play your ensemble. The free Reaktor Player only works with NI-tagged ensembles." ContentLicense="CC BY-SA 3.0" />
  <row Id="49107" PostHistoryTypeId="2" PostId="27023" RevisionGUID="63baf770-b78a-45fd-93cb-6d1b10b61d34" CreationDate="2013-04-05T11:28:39.743" UserDisplayName="Chris Jensen" Text="I intend to build a VST, however, I'm struggling to figure which technology stack would be best suited.&#xD;&#xA;&#xD;&#xA;I'm mostly leaning towards either building it all myself, or using Max/MSP, however, building it myself is some serious wheel reinventing, and I can't figure if Max/MSP does or doesn't support VST. It seems like it used to, but doesn't anymore.&#xD;&#xA;&#xD;&#xA;I'd prefer to be able to work with a flow like Max/MSP, though not necessarily graphical programming.&#xD;&#xA;What are some good resources or programs for VST development? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49108" PostHistoryTypeId="1" PostId="27023" RevisionGUID="63baf770-b78a-45fd-93cb-6d1b10b61d34" CreationDate="2013-04-05T11:28:39.743" UserDisplayName="Chris Jensen" Text="Sound: What are the options for VST production" ContentLicense="CC BY-SA 3.0" />
  <row Id="49109" PostHistoryTypeId="3" PostId="27023" RevisionGUID="63baf770-b78a-45fd-93cb-6d1b10b61d34" CreationDate="2013-04-05T11:28:39.743" UserDisplayName="Chris Jensen" Text="&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49110" PostHistoryTypeId="36" PostId="27025" RevisionGUID="f12c89b7-187a-4c76-8909-df880ad0f8c7" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/65/what-does-an-active-di-box-offer-that-a-passive-doesnt" />
  <row Id="49111" PostHistoryTypeId="36" PostId="27026" RevisionGUID="57e19f1f-46c5-4b3a-8d10-4e14c48fd489" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/65/what-does-an-active-di-box-offer-that-a-passive-doesnt/78#78" />
  <row Id="49112" PostHistoryTypeId="36" PostId="27027" RevisionGUID="af4829b2-ae41-4c0a-ad02-d3a758704ad3" CreationDate="2014-02-13T14:18:28.527" UserId="-1" Comment="from http://video.stackexchange.com/questions/65/what-does-an-active-di-box-offer-that-a-passive-doesnt/304#304" />
  <row Id="49113" PostHistoryTypeId="2" PostId="27026" RevisionGUID="231766a0-fbd8-42a5-9bc9-d7d88af3e81a" CreationDate="2010-12-07T23:01:52.900" UserDisplayName="chris" Text="Well, a passive DI uses a transformer, and there will be some signal loss.&#xD;&#xA;&#xD;&#xA;An active DI, which may not actually amplify the signal, shouldn't cause any signal loss, and theoretically should have better frequency response. And because you have a pre-amp, there's better isolation from the source.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49114" PostHistoryTypeId="2" PostId="27027" RevisionGUID="0e7ca02e-a703-4bdd-863c-e7a8acf7c40d" CreationDate="2010-12-15T19:44:05.490" UserId="90" Text="The DI box presents a large input impedance, so that the large output impedance of the guitar isn't loaded down, and then it sends the signal into the mixer from a small output impedance, so that it isn't loaded down by the input impedance of the mixer.  If you connected the 100 kohm output impedance of the guitar directly to the 1 kohm input impedance of the mic pre, it would act as a voltage divider and drop the signal level by 1/100.  This would also have bad effects on frequency response, interference pickup, etc.&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/DI_unit&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Buffer_amplifier#Voltage_buffer" ContentLicense="CC BY-SA 2.5" />
  <row Id="49115" PostHistoryTypeId="2" PostId="27025" RevisionGUID="a93b9a32-1f7b-48d0-9947-875aaf7731de" CreationDate="2010-12-07T22:03:38.437" UserDisplayName="Willbill" Text="I heard that an active DI box doesn't amplify the signal at all in anyway so what is the benefit over a passive unit and is it always preferable?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49116" PostHistoryTypeId="1" PostId="27025" RevisionGUID="a93b9a32-1f7b-48d0-9947-875aaf7731de" CreationDate="2010-12-07T22:03:38.437" UserDisplayName="Willbill" Text="What does an active DI box offer that a passive doesn't?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49117" PostHistoryTypeId="3" PostId="27025" RevisionGUID="a93b9a32-1f7b-48d0-9947-875aaf7731de" CreationDate="2010-12-07T22:03:38.437" UserDisplayName="Willbill" Text="&lt;impedance&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49118" PostHistoryTypeId="36" PostId="27028" RevisionGUID="eb692ff9-1c8c-457f-aeb3-08a399e4fd9b" CreationDate="2014-02-13T14:14:40.223" UserId="-1" Comment="from http://video.stackexchange.com/questions/8143/vst-wav-player" />
  <row Id="49119" PostHistoryTypeId="2" PostId="27028" RevisionGUID="a39e93e3-f5d8-427b-b50c-a991c0ac305e" CreationDate="2013-06-18T00:28:36.813" UserId="7343" Text="I'm wondering if there are any VST plugins out there that are designed to play (not sample) a .wav file exactly how it was recorded without any changes at all. I'm using a live VST host, so you can't just dump the .wav in the DAW and play it, it has to be played directly from the host using a VST plugin. There are samplers like these (http://www.madtracker.org/plugins.php?category=instrument&amp;subcategory=Sample+player) that work, but they seem really complex and are designed to distort the original sound instead of reproducing it faithfully. Also, they all require a MIDI keyboard to trigger the sound.&#xD;&#xA;&#xD;&#xA;So are there any (free) VST plugins that do this task? Preferably, they can be controlled by the mouse without an external MIDI device." ContentLicense="CC BY-SA 3.0" />
  <row Id="49120" PostHistoryTypeId="1" PostId="27028" RevisionGUID="a39e93e3-f5d8-427b-b50c-a991c0ac305e" CreationDate="2013-06-18T00:28:36.813" UserId="7343" Text="VST .wav Player" ContentLicense="CC BY-SA 3.0" />
  <row Id="49121" PostHistoryTypeId="3" PostId="27028" RevisionGUID="a39e93e3-f5d8-427b-b50c-a991c0ac305e" CreationDate="2013-06-18T00:28:36.813" UserId="7343" Text="&lt;live&gt;&lt;vst&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49122" PostHistoryTypeId="5" PostId="11189" RevisionGUID="b503b566-0c6d-4254-b79d-e7b3791aa844" CreationDate="2014-02-13T15:39:37.227" UserId="7174" Comment="cleaned up grammar and altered to a more friendly tone" Text="I run a custom built AMD Core 6 with 16gigs of ram and Pro Tools 10 runs flawless.  I went in and disabled Aero and other crap that was slowing down resources and I get perfection at it's finest.&#xD;&#xA;&#xD;&#xA;I also run Komplete 8 Ultimate with Pro tools 10 again it's perfect. AMD makes a heck of a processor for use with Pro Tools.  You can read about older processors and get a bad impression, but the new batches like the AMD multi cores are better.  Read any Pro Tools forums; AMD runs amazingly well.  &#xD;&#xA;&#xD;&#xA;Don't hook up the internet and use a virus scan program with Pro tools.  Keep your software up to date.  Thinking a PC can't handle it is just ignorant.  If you put in the effort on a PC, it will reward you.  I know an Apple looks a lot cooler to use, like wearing your sunglasses at night, but it's just Apple marketing.  Apple vs PC is just a different OS that's it.  It's the same fight about which Daw is better, it's a useless argument if you know your game. " ContentLicense="CC BY-SA 3.0" />
  <row Id="49123" PostHistoryTypeId="5" PostId="18269" RevisionGUID="847c18f9-04f6-479a-8d32-f90b28c83f35" CreationDate="2014-02-13T15:44:53.530" UserId="7174" Comment="removed conversational bit and some basic grammar stuff." Text="I was going to create a desert wind loop for a fps videogame and decided to have a look around...&#xD;&#xA;&#xD;&#xA;Thanks to the great solutions presented here I finally find the most suitable as follows:&#xD;&#xA;I have basically 2 tracks, one is a sound I recorded in my tent one very windy night on a very windy peak, I slowed it down with paulstretch (what an aweseome tool!!), eqed it enhancing around 90hz and 770hz, hicut above, the second sound is a pink noise track with a wide reverb and a narrow bandpass filter that I automated moving it very slowly and in small amounts at a time to avoid making it sound like a sci-fi laser.&#xD;&#xA;&#xD;&#xA;That's it for now, as the game design goes on I'm planning to record some recorder's whistles and squeaks to be assigned to buildings corners and I already recorded some spelt flour rolling on a sheet, to simulate sand gusts to assign to certain areas." ContentLicense="CC BY-SA 3.0" />
  <row Id="49124" PostHistoryTypeId="2" PostId="27029" RevisionGUID="3eb2e79c-ed8e-43c1-aaa6-d35ef0958cd8" CreationDate="2014-02-13T15:48:18.780" UserId="7174" Text="I studied Electronic Media, Arts and Communications as part of a dual major at Rensselaer Polytechnic Institute which included some sound components, but I did it mostly because it was a freebee to add on to my Computer Science major.&#xD;&#xA;&#xD;&#xA;I didn't learn a whole lot in the program as I had already picked up a ton doing A/V work in high school, but the requirements fit in to my humanities and social science electives so it didn't cost me anything and I figured it wouldn't hurt to have a piece of paper that spoke to my training.&#xD;&#xA;&#xD;&#xA;If I hadn't had that option available though, I wouldn't have gone to school just for A/V stuff alone." ContentLicense="CC BY-SA 3.0" />
  <row Id="49125" PostHistoryTypeId="16" PostId="27029" RevisionGUID="f311c79b-595e-4f8b-acaa-66a4b633d97c" CreationDate="2014-02-13T15:48:18.780" UserId="7174" />
  <row Id="49126" PostHistoryTypeId="2" PostId="27030" RevisionGUID="1e826c25-79b0-40f4-bfd8-5311b4a3f966" CreationDate="2014-02-13T19:13:24.160" UserId="6425" Text="I have on samples but you could try to google hurdy-gurgy And backpipes. Both especially in combination can give a great drone sound. Original backpipes are medival instruments and different from the scottish ones. Both Instruments have a drone note combined with melody notes.&#xD;&#xA;&#xD;&#xA;Hope this helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49131" PostHistoryTypeId="36" PostId="27032" RevisionGUID="d510e002-8c32-4b8c-9e01-140b30631d61" CreationDate="2014-02-13T19:57:18.213" UserId="-1" Comment="from http://video.stackexchange.com/questions/10105/balanced-unbalanced-audio-and-ts-trs-jack-issue-with-mixer" />
  <row Id="49132" PostHistoryTypeId="2" PostId="27033" RevisionGUID="945d702b-e3de-495e-ac5e-28e017b00d4e" CreationDate="2014-02-05T19:46:17.963" UserId="7174" Text="Most sound boards use mono channels.  You can't feed stereo in to a mono channel.  Since it supports TRS balanced audio, one channel is inverted and combined with the other, this results in canceling out all but whatever is different between the left and right channel.  XLR won't help because XLR is designed for mono audio and still is going in to a mono channel on the board anyway.&#xD;&#xA;&#xD;&#xA;As you mentioned, you have to use a splitter to separate the Left and Right components of the signal and put them in to separate channels on the board.  Alternately, you can combine them to a single mono channel, but at that point, you may as well only take a mono output from the keyboard.&#xD;&#xA;&#xD;&#xA;You can still use the first 4 channels with the EQs, you simply need to make sure you keep the gain and level consistent on both channels.  You will also want to adjust the pan to send the left channel to the left output and the right channel to the right output." ContentLicense="CC BY-SA 3.0" />
  <row Id="49133" PostHistoryTypeId="2" PostId="27032" RevisionGUID="401324c2-10a4-48a6-8c42-db414acb7990" CreationDate="2014-02-05T18:43:19.780" UserDisplayName="ToshNeox" Text="Following my [previous question regarding which mixer to buy][1], I have now bought [the one I was talking about][2] but I'm having some issues setting it up.&#xD;&#xA;&#xD;&#xA;My understanding of balanced/unbalanced audio is alright, but not amazing. I have my electric piano ([Yamaha DGX 640][3]) connected to a mixer via a stereo audio jack, however the audio sounds really distant and quite echoey. When I pull out the jack about halfway, so that I can feel the tip is touching the connector inside, the sound is marginally better (with no echo), and then I also have no control over the pan/balance setting.&#xD;&#xA;&#xD;&#xA;I believe this is a problem with unbalanced audio coming from my piano (from the 'phones/output' output), and then the mixer interpreting it as a balanced signal (thus destroying a good 1/3 of the signal due to the way balanced signals cancel each other out).&#xD;&#xA;&#xD;&#xA;I'm confused as to why this setup isn't working anyway (seen as though the mixer inputs have 'bal or unbal' written on each one) and how I could fix it. I've read that I might need a TRS to 2x TS (so essentially stereo to 2x mono) cables, but that then renders my first four inputs on the mixer (with equalizers) useless because they only have single inputs. Another idea was to buy either a DI box or stereo to XLR cable - would any of these work?&#xD;&#xA;&#xD;&#xA;Apologies for this being so long :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://music.stackexchange.com/questions/14524/which-outputs-to-use-on-my-mixer&#xD;&#xA;  [2]: http://images.sdj.netdna-cdn.com/D/Behringer-1202-XENYX-12-Input-2-Bus-Mixer-with-Mic-Preamps-detailed-image.png&#xD;&#xA;  [3]: http://uk.yamaha.com/en/products/musical-instruments/keyboards/digitalkeyboards/dgx-640_color_variation/?mode=model" ContentLicense="CC BY-SA 3.0" />
  <row Id="49134" PostHistoryTypeId="1" PostId="27032" RevisionGUID="401324c2-10a4-48a6-8c42-db414acb7990" CreationDate="2014-02-05T18:43:19.780" UserDisplayName="ToshNeox" Text="Balanced/unbalanced audio and TS/TRS jack issue with mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="49135" PostHistoryTypeId="3" PostId="27032" RevisionGUID="401324c2-10a4-48a6-8c42-db414acb7990" CreationDate="2014-02-05T18:43:19.780" UserDisplayName="ToshNeox" Text="&lt;cable&gt;&lt;mixer&gt;&lt;audio&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49136" PostHistoryTypeId="36" PostId="27033" RevisionGUID="82238ad8-4532-443b-8bae-903d64c7458d" CreationDate="2014-02-13T19:57:18.213" UserId="-1" Comment="from http://video.stackexchange.com/questions/10105/balanced-unbalanced-audio-and-ts-trs-jack-issue-with-mixer/10107#10107" />
  <row Id="49138" PostHistoryTypeId="36" PostId="27034" RevisionGUID="57ab289c-44d3-4c54-8ed5-c6ea7398b1ff" CreationDate="2014-02-13T21:10:37.617" UserId="-1" Comment="from http://superuser.com/questions/716586/why-are-there-headphones-with-frequencies-beyond-humans-can-hear" />
  <row Id="49139" PostHistoryTypeId="36" PostId="27035" RevisionGUID="81fe9a3d-1910-482b-ae6d-3e4668a98ae1" CreationDate="2014-02-13T21:10:37.617" UserId="-1" Comment="from http://superuser.com/questions/716586/why-are-there-headphones-with-frequencies-beyond-humans-can-hear/716589#716589" />
  <row Id="49140" PostHistoryTypeId="2" PostId="27035" RevisionGUID="cb35c963-2155-4706-8e5c-9d30a52ddeb5" CreationDate="2014-02-13T20:52:20.257" UserDisplayName="kobaltz" Text="Here is an interesting article that can give some insight on this.&#xD;&#xA;&#xD;&#xA;http://blog.lhyeung.net/lang/en-uk/2010/03/06/picking-earphones-and-speakers-a-guide-to-better-audio/&#xD;&#xA;&#xD;&#xA;Specifically to your question, here is a section that relates to this.&#xD;&#xA;&#xD;&#xA;&gt; The sounds that are “beyond” the human range of hearing and ones that&#xD;&#xA;&gt; you can only feel. They are known as “harmonic frequencies” which are&#xD;&#xA;&gt; musical notes that can reach outside the “hearing range” while the&#xD;&#xA;&gt; ones you can hear are known as “fundamental frequencies“. Instruments&#xD;&#xA;&gt; in particular have a great variation in harmonic frequencies as the&#xD;&#xA;&gt; frequency for each note is different on each instrument allowing you&#xD;&#xA;&gt; to tell they are well… Different instruments.&#xD;&#xA;&gt; &#xD;&#xA;&gt; Thus if your earphones/headphones/speakers have a wide frequency&#xD;&#xA;&gt; response and you are using lossless files, music should sound better –&#xD;&#xA;&gt; especially orchestral recordings." ContentLicense="CC BY-SA 3.0" />
  <row Id="49141" PostHistoryTypeId="2" PostId="27034" RevisionGUID="4ab8876e-ca2f-477d-a73d-ada8a80a333d" CreationDate="2014-02-13T20:45:50.210" UserId="7695" UserDisplayName="IMB" Text="For example Sennheiser HD 800 has `6 to 51,000 Hz` but humans can only hear `20 to 20,000 Hz`. Is there a benefit in terms of sound quality to humans if they listen to something they can't hear?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49142" PostHistoryTypeId="1" PostId="27034" RevisionGUID="4ab8876e-ca2f-477d-a73d-ada8a80a333d" CreationDate="2014-02-13T20:45:50.210" UserId="7695" UserDisplayName="IMB" Text="Why are there headphones with frequencies beyond humans can hear?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49143" PostHistoryTypeId="3" PostId="27034" RevisionGUID="4ab8876e-ca2f-477d-a73d-ada8a80a333d" CreationDate="2014-02-13T20:45:50.210" UserId="7695" UserDisplayName="IMB" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49144" PostHistoryTypeId="2" PostId="27036" RevisionGUID="6c2af3a9-8b30-4d56-bce3-1b75cd4099c5" CreationDate="2014-02-13T21:17:31.193" UserDisplayName="user7461" Text="The 'frequencies you can feel' argument is arguable, and probably valid to some degree.&#xD;&#xA;&#xD;&#xA;However, there's another argument, which is easier to support with physics and acoustics, to do with the ways in which the response of headphones is measured. Speakers with a 'response' from 20Hz to 20kHz cannot have a nice linear response (same output power for same input level, which is what you want for accurate reproduction of sound) across that range of frequencies, and then immediately drop to no output at all at 19Hz and 20,001Hz. The frequency characteristics of speakers are determined by the frequency characteristics of materials and electronic components, and there's no way to have a steep 'roll off' of this sort, without distorting the frequency response within the wanted range as well.&#xD;&#xA;&#xD;&#xA;Any frequency filtering (whether done electrically, digitally, mechanically, or acoustically) will affect a large range of frequencies - theoretically all frequencies (though to a very small degree, far away from the filtered frequency). Likewise, all speakers will probably produce sounds from 1Hz to 100kHz (and beyond) - just not linearly for a given input level.&#xD;&#xA;&#xD;&#xA;If a speaker is deemed to have a response from 6Hz to 51kHz, this is probably the range with a reasonably linear response - probably something like +/- 6dB. This will mean the audible range from 20Hz-20kHz can be made lovely and linear, with increasingly poor response between 6Hz-20Hz and 20kHz-51kHz, and worse response still outside that range. If the published range is 20Hz-20kHz, however, you can be pretty sure that at the 20Hz and 20kHz points, the measurement is at the limit of the +/-6dB point, meaning that there will be colouring of the sound, probably from 20Hz-100Hz, and from 15-20kHz, which would be audible to human ears!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49145" PostHistoryTypeId="36" PostId="27037" RevisionGUID="a6ab3974-3035-4d64-9a7a-9779015fab82" CreationDate="2014-02-13T21:23:49.093" UserId="-1" Comment="from http://video.stackexchange.com/questions/9811/dumping-asio-channels-to-stdio" />
  <row Id="49146" PostHistoryTypeId="2" PostId="27037" RevisionGUID="5fcc934b-f612-44ee-9d62-9de06d000094" CreationDate="2014-01-01T23:37:07.100" UserId="7209" Text="Awhile back, I found a tool for connecting to ASIO applications and dumping the raw audio data to STDIO so it could be captured or converted with a tool like FFmpeg.  However, I don't know the name of it.  Do you happen to know the name of this utility, or is there another way to export live ASIO raw samples?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49147" PostHistoryTypeId="1" PostId="27037" RevisionGUID="5fcc934b-f612-44ee-9d62-9de06d000094" CreationDate="2014-01-01T23:37:07.100" UserId="7209" Text="Dumping ASIO channels to STDIO" ContentLicense="CC BY-SA 3.0" />
  <row Id="49148" PostHistoryTypeId="3" PostId="27037" RevisionGUID="5fcc934b-f612-44ee-9d62-9de06d000094" CreationDate="2014-01-01T23:37:07.100" UserId="7209" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49149" PostHistoryTypeId="36" PostId="27038" RevisionGUID="8f45ff05-bfc9-4755-90f0-5a8341e7ff6d" CreationDate="2014-02-13T21:55:08.427" UserId="-1" Comment="from http://video.stackexchange.com/questions/10058/if-we-recorded-tracks-at-48khz-and-are-mixing-through-an-analog-console-is-the" />
  <row Id="49150" PostHistoryTypeId="2" PostId="27039" RevisionGUID="c1af6383-0e03-4047-83f2-58e648b80e1b" CreationDate="2014-01-28T16:52:12.340" UserId="7287" Text="If the mix is not the final production stage, you should favor to preserve all information available and avoid introducing artifacts. So if you will master or further process the signal, sampling at 96k could help. Keep in mind the difference will often be imperceptible in simple cases, and the error would be very small if you are using ideal hardware and software.&#xD;&#xA;&#xD;&#xA;If it is the final stage, there is not straightforward rule other than &quot;let your ears decide&quot; -or- &quot;If it would not be A Bad Thing to record the mixer's output at 16 bit, then use 48kHz&quot; because in this case wordlength is far more important.&#xD;&#xA;&#xD;&#xA;A more 'complex' mix may benefit by being captured at a higher sampling frequency. Often, you would need to know what processes are/equipment is capable of introducing (desirable) content above the nyquist frequency of the digital source (e.g. effects, not levels). The other factors would be the quality and response of your studio's equipment at varying sampling frequencies, such as the A/D convertors. Finally, you should not overlook any necessary downsampling when deciding which is better.&#xD;&#xA;&#xD;&#xA;So there are actually multiple stages which could introduce small but perceptible errors in this case, and your ears should determine which is better because there are many variables which are not consistent from studio to studio.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49151" PostHistoryTypeId="2" PostId="27038" RevisionGUID="fc3a4328-d1d8-45bb-aaf5-e1478113f0bb" CreationDate="2014-01-27T23:29:22.783" UserId="7283" Text="We have a situation where we recorded tracks at 48khz. However, the final mix will be printed through an analog console. Is there any benefit - and if so, how much - to printing the mix through the console in 96khz instead of 48khz?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49152" PostHistoryTypeId="1" PostId="27038" RevisionGUID="fc3a4328-d1d8-45bb-aaf5-e1478113f0bb" CreationDate="2014-01-27T23:29:22.783" UserId="7283" Text="If we recorded tracks at 48khz, and are mixing through an analog console, is there any benefit to printing the mix in 96khz instead of 48khz?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49153" PostHistoryTypeId="3" PostId="27038" RevisionGUID="fc3a4328-d1d8-45bb-aaf5-e1478113f0bb" CreationDate="2014-01-27T23:29:22.783" UserId="7283" Text="&lt;quality&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49154" PostHistoryTypeId="36" PostId="27039" RevisionGUID="9b0ab42c-d5e2-4c2b-806c-42b77ae36b7d" CreationDate="2014-02-13T21:55:08.427" UserId="-1" Comment="from http://video.stackexchange.com/questions/10058/if-we-recorded-tracks-at-48khz-and-are-mixing-through-an-analog-console-is-the/10064#10064" />
  <row Id="49156" PostHistoryTypeId="19" PostId="4357" RevisionGUID="bcf35329-890a-41e9-b6fb-94c4da3d797a" CreationDate="2014-02-13T22:05:10.867" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="49162" PostHistoryTypeId="6" PostId="26675" RevisionGUID="6c5f353a-46c7-49ab-b674-a80af85c4cb0" CreationDate="2014-02-13T22:07:38.563" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;production&gt;&lt;drum&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49163" PostHistoryTypeId="6" PostId="22028" RevisionGUID="4bcc6d8e-3749-48d1-833e-54c5439626e1" CreationDate="2014-02-13T22:08:56.883" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;frequency&gt;&lt;sound-art&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49164" PostHistoryTypeId="6" PostId="20650" RevisionGUID="6f713874-84ab-4696-bc8f-8135d50b1b06" CreationDate="2014-02-13T22:10:25.313" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;microphone&gt;&lt;electricity&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49165" PostHistoryTypeId="6" PostId="20322" RevisionGUID="6a23af47-2567-49db-ab22-87d31d4155c6" CreationDate="2014-02-13T22:10:46.190" UserId="6432" Comment="edited tags" Text="&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49167" PostHistoryTypeId="6" PostId="25498" RevisionGUID="1a85ddc6-424d-4c97-891f-8ef7fa9c86c2" CreationDate="2014-02-13T22:14:31.397" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;synthesis&gt;&lt;drum&gt;&lt;electronic-music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49168" PostHistoryTypeId="5" PostId="19312" RevisionGUID="0173578d-31be-4ce5-bcc1-424c52297db7" CreationDate="2014-02-13T22:15:38.277" UserId="6432" Comment="added tags" Text="i need to record all the sounds of iron man 3 trailer, its homework,, i just need some ideas of how to record the sounds or design them :D.&#xD;&#xA;&#xD;&#xA;Here is the video:&#xD;&#xA;https://www.youtube.com/watch?v=Ke1Y3P9D0Bc&#xD;&#xA;&#xD;&#xA;i would appreciate all ur anwswers.&#xD;&#xA;&#xD;&#xA;Atte:&#xD;&#xA;Luis ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="49169" PostHistoryTypeId="6" PostId="19312" RevisionGUID="0173578d-31be-4ce5-bcc1-424c52297db7" CreationDate="2014-02-13T22:15:38.277" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;inspiration&gt;&lt;trailer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49170" PostHistoryTypeId="6" PostId="26201" RevisionGUID="438691e9-bda0-4a03-ab6e-b17f1ba0c1ff" CreationDate="2014-02-13T22:16:26.530" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;frequency&gt;&lt;physics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49171" PostHistoryTypeId="6" PostId="25741" RevisionGUID="a71b6c1f-48e6-4173-adca-79dd37ebe7ad" CreationDate="2014-02-13T22:17:51.977" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;effects&gt;&lt;pitch-shifting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49172" PostHistoryTypeId="4" PostId="18274" RevisionGUID="29863298-38dc-4906-ad12-38ba34602db6" CreationDate="2014-02-13T22:18:40.980" UserId="6432" Comment="added tags" Text="colour to sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="49173" PostHistoryTypeId="6" PostId="18274" RevisionGUID="29863298-38dc-4906-ad12-38ba34602db6" CreationDate="2014-02-13T22:18:40.980" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;timbre&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49174" PostHistoryTypeId="6" PostId="17967" RevisionGUID="f5aad4b3-b6ac-46ce-96bd-3b00fa3249cb" CreationDate="2014-02-13T22:19:21.500" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;live-sound&gt;&lt;broadcast&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49175" PostHistoryTypeId="5" PostId="17058" RevisionGUID="4f1945f2-8c5c-46b1-be9a-6c5ab9930f14" CreationDate="2014-02-13T22:20:52.070" UserId="6432" Comment="added tags" Text="I thought some of you would be interested in this from the BBC,[link text][1] its a history of conflicts from more of a sonic perspective. The sounds of conflict are obviously some of the most powerful sounds that man has made and get lodged in the memory whether you are a civilian or soldier as a matter of survival. When my grandad came back from the war for many years he would dive to the ground if he heard a car backfire and I am sure many involved in today's wars are in many ways affected just as much by the sonic aspect as the visual. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bbc.co.uk/news/magazine-20400030" ContentLicense="CC BY-SA 3.0" />
  <row Id="49176" PostHistoryTypeId="4" PostId="17058" RevisionGUID="4f1945f2-8c5c-46b1-be9a-6c5ab9930f14" CreationDate="2014-02-13T22:20:52.070" UserId="6432" Comment="added tags" Text="Conflicts from a sonic perspective" ContentLicense="CC BY-SA 3.0" />
  <row Id="49177" PostHistoryTypeId="6" PostId="17058" RevisionGUID="4f1945f2-8c5c-46b1-be9a-6c5ab9930f14" CreationDate="2014-02-13T22:20:52.070" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;broadcasting&gt;&lt;war&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49178" PostHistoryTypeId="6" PostId="25248" RevisionGUID="eec1ffbd-3e9a-4a15-a3f3-c2c045e56601" CreationDate="2014-02-13T22:21:39.400" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;editing&gt;&lt;automation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49179" PostHistoryTypeId="6" PostId="25775" RevisionGUID="f9cb9f3c-726d-4947-b04a-b20305f240c1" CreationDate="2014-02-13T22:22:12.543" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;mixing&gt;&lt;audacity&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49180" PostHistoryTypeId="4" PostId="14243" RevisionGUID="ac73d6a0-1780-4f74-a4e4-2076d078de7d" CreationDate="2014-02-13T22:23:28.033" UserId="6432" Comment="added tags" Text="Sound insulation" ContentLicense="CC BY-SA 3.0" />
  <row Id="49181" PostHistoryTypeId="6" PostId="14243" RevisionGUID="ac73d6a0-1780-4f74-a4e4-2076d078de7d" CreationDate="2014-02-13T22:23:28.033" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;acoustics&gt;&lt;sound-dampening&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49182" PostHistoryTypeId="6" PostId="10603" RevisionGUID="73471d02-094e-49e5-b5cc-20f93facefe5" CreationDate="2014-02-13T22:24:33.570" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;recording&gt;&lt;sharing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49183" PostHistoryTypeId="5" PostId="7058" RevisionGUID="dda1747c-b8a4-4392-b2e2-03250b277863" CreationDate="2014-02-13T22:25:32.000" UserId="6432" Comment="added tags" Text="Would the h4n be a viable recording device for a run and gun feature doc shot on 5d and 7d cannon,  With 416/rycote/boom and radio lav for 2 channels and the stereo mic for room/street atmos track?&#xD;&#xA;Or should I get an over the shoulder fostex mixer and solid state recorder and use the H4n as backup?&#xD;&#xA;The specs of the H4n seem good but how good are the pre/amps? It would save a lot of space as the doc runs from Dubai to Palestine&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49184" PostHistoryTypeId="6" PostId="7058" RevisionGUID="dda1747c-b8a4-4392-b2e2-03250b277863" CreationDate="2014-02-13T22:25:32.000" UserId="6432" Comment="added tags" Text="&lt;sound&gt;&lt;location-recording&gt;&lt;dslr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49185" PostHistoryTypeId="6" PostId="27034" RevisionGUID="fdf7992c-900e-4607-85f0-413336fd23cf" CreationDate="2014-02-13T22:32:53.677" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;headphones&gt;&lt;frequency-response&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49186" PostHistoryTypeId="6" PostId="22828" RevisionGUID="e1b49008-d626-4559-a0bb-69dbf099ea70" CreationDate="2014-02-13T22:34:09.167" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;gear&gt;&lt;connector&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49187" PostHistoryTypeId="6" PostId="23180" RevisionGUID="7194840b-bd23-4c37-8e15-71cdd9d9a14b" CreationDate="2014-02-13T22:34:43.233" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;noise&gt;&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49188" PostHistoryTypeId="2" PostId="27040" RevisionGUID="6c3da4cc-68c3-4a26-ac2f-06c222ff9fa6" CreationDate="2014-02-13T22:35:37.923" UserId="7463" Text="this is just my opinion, and not a critique of the article which is super helpful. the band should always play under the vocals. i'm glad you pointed out using dynamics while the singer is singing or not. play loudly when there are no more vocals. So what if an instrument needs to be loud in order for the part of the song to purposely stand out during a vocal passage. then i would have to say, that early on when the band formed, they never really owned a good PA. and always assumed someone would supply something. the band has to get the necesary equipment to balance what needs to be balanced. it's real hard as a musician to run down. at low volumes, you just arent feeling the tone of the speaker, or the emotion behind drum hits.&#xD;&#xA;&#xD;&#xA;As a singer keyboard player, i've often taken my mic out of the mix and just ran it through my rig. i could control effects and volume from my keyboard area. i noticed the comment was, the singer is getting drowned out at gigs. That means the musicians really dont care. so the singer needs to learn about power punch and good gear, and come ready to do battle. If the club has a system thats nice but small but they dont have any monitors, hook em up and turn em around. makes great sidefills.&#xD;&#xA;&#xD;&#xA;i learned there is no right or wrong as long as you have options. Bring a high powerful 'powered' woofer. stick it anywhere that creates the most bass without causes lo end rumble through the mic. that alone will beef up the vocals. Bottom is where its at, because it moves air. if you just get more horns and turn em all up, it will kill everyones ears. start with the bottom. Everyone has the horns. Last note, Don't buy small 10&quot; or 12&quot; or even 15&quot; woofers in super small cabinets. if you get a box designed to accelerate the air through baffles, you will get exponentially more volume using the same amount of power. This will mean a bigger box. They usually have wheels and in my experience, are easier to manipulate to a stage because it rolls." ContentLicense="CC BY-SA 3.0" />
  <row Id="49190" PostHistoryTypeId="6" PostId="23389" RevisionGUID="7504e718-a451-4c42-a01f-02749f660731" CreationDate="2014-02-13T22:37:11.337" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;phase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49191" PostHistoryTypeId="6" PostId="23109" RevisionGUID="17a5544a-aea7-476c-a5ce-f6131627d071" CreationDate="2014-02-13T22:38:11.327" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;compression&gt;&lt;tone&gt;&lt;audacity&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49193" PostHistoryTypeId="6" PostId="22403" RevisionGUID="7ed88d12-131c-4bef-9ec7-7ee9ba74b143" CreationDate="2014-02-13T22:40:02.307" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;export&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49194" PostHistoryTypeId="6" PostId="23146" RevisionGUID="7a0026dd-2f7e-4540-bf9a-fda21d7e7ea9" CreationDate="2014-02-13T22:41:07.687" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;samples&gt;&lt;tempo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49195" PostHistoryTypeId="6" PostId="23069" RevisionGUID="b0afd622-dcb1-4427-98a5-20459163e01d" CreationDate="2014-02-13T22:41:42.750" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;tempo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49196" PostHistoryTypeId="6" PostId="25000" RevisionGUID="a145b9cd-501c-4785-ae79-06ebead77c12" CreationDate="2014-02-13T22:42:19.787" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;speakers&gt;&lt;sub-bass&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49198" PostHistoryTypeId="6" PostId="20722" RevisionGUID="950eccce-a667-465f-b114-44a0d166c463" CreationDate="2014-02-13T22:44:02.467" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49199" PostHistoryTypeId="6" PostId="23829" RevisionGUID="2a961f8a-eb28-4ae1-b2f9-4bb6de1242ac" CreationDate="2014-02-13T22:44:28.953" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;bit-depth&gt;&lt;cd&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49200" PostHistoryTypeId="2" PostId="27041" RevisionGUID="864b00db-addc-41e4-aa2d-e1ab518f55e9" CreationDate="2014-02-13T22:47:36.563" UserDisplayName="user49" Text="Presuming you are mixing/mastering 24bit (as you should be) I would create a 24bit master &amp; then create a 16bit AudioCD version, dithered down from the 24 bit" ContentLicense="CC BY-SA 3.0" />
  <row Id="49201" PostHistoryTypeId="5" PostId="27040" RevisionGUID="bb2daab6-91e9-4767-b14e-6664d7488d3e" CreationDate="2014-02-13T22:56:52.730" UserId="7463" Comment="deleted 1243 characters in body" Text="Spot on, listen to the vocalist when you play as a musician. Sometimes tho, during a vocal, there is a need for a part that stands out from an instrument. It really all depends on the decisions the band makes for every gig. Always well before a gig, get a contact person, find out what you can about the PA. If the venue is close, i highly recommend going and seeing another band play and ask questions. There really is no excuse for not hearing the vocals. Everything you worked so hard for was a wasted trip. If the singer is the main event of the show, then certainly put your ego aside. But not all vocals are the star of the show. You may use a good singer, but emphasis is on the instrumentalists. Either way, the vocals have to be outfront." ContentLicense="CC BY-SA 3.0" />
  <row Id="49202" PostHistoryTypeId="6" PostId="22327" RevisionGUID="a21523b9-d842-4bf3-87cc-a530a022987f" CreationDate="2014-02-13T22:59:57.363" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;daw&gt;&lt;waveform&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49203" PostHistoryTypeId="6" PostId="22591" RevisionGUID="600d1a8c-de2f-481c-9968-69981c9d9fb1" CreationDate="2014-02-13T23:01:00.620" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;youtube&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49204" PostHistoryTypeId="6" PostId="23088" RevisionGUID="e89faaca-7d90-455c-ad38-0388b2dd8d22" CreationDate="2014-02-13T23:01:43.043" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;tutorial&gt;&lt;engineering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49205" PostHistoryTypeId="6" PostId="23724" RevisionGUID="8d5e9cdc-55c8-42d3-b88f-8fac39a23963" CreationDate="2014-02-13T23:03:07.957" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;editing&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49206" PostHistoryTypeId="6" PostId="22617" RevisionGUID="e3eca763-f1a9-41ea-b8c5-2a04dec9a3db" CreationDate="2014-02-13T23:03:59.680" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;plug-ins&gt;&lt;autotune&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49207" PostHistoryTypeId="6" PostId="22351" RevisionGUID="d74790cb-be97-4fd6-b44a-5fa647e121b4" CreationDate="2014-02-13T23:04:55.293" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;frequency&gt;&lt;psychoacoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49208" PostHistoryTypeId="5" PostId="23158" RevisionGUID="021fa4c2-274e-43dc-a7e0-0fc8c5401965" CreationDate="2014-02-13T23:06:02.503" UserId="6432" Comment="added tags" Text="I'm editing a clip for my friend's wedding, when I try to import a .m2ts file from my Blu-Ray disk, only the video has been added. seems Vegas doesn't recognize the audio format...&#xD;&#xA;&#xD;&#xA;I'm sure the file is with Audio(using mediainfo and player to directly play that file), and I tried some other .mp4 file which works file.&#xD;&#xA;The Audio format is DTS. and I'm using Vegas Pro 12.&#xD;&#xA;&#xD;&#xA;Could any body give any suggestions, thank you in advanced." ContentLicense="CC BY-SA 3.0" />
  <row Id="49209" PostHistoryTypeId="6" PostId="23158" RevisionGUID="021fa4c2-274e-43dc-a7e0-0fc8c5401965" CreationDate="2014-02-13T23:06:02.503" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;vegas&gt;&lt;dts&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49210" PostHistoryTypeId="6" PostId="22395" RevisionGUID="5de6ea31-16ec-467c-b1ec-ab0bab9dfe28" CreationDate="2014-02-13T23:06:38.960" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;editing&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49211" PostHistoryTypeId="6" PostId="23622" RevisionGUID="3d360af4-da6e-4cfc-8647-cd5a4709f19a" CreationDate="2014-02-13T23:07:34.260" UserId="6432" Comment="added tags" Text="&lt;audio&gt;&lt;normalize&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49212" PostHistoryTypeId="5" PostId="27040" RevisionGUID="83f78085-d94c-4c57-bc12-a7e5174f822a" CreationDate="2014-02-13T23:37:55.613" UserId="7463" Comment="added 426 characters in body" Text="Spot on, listen to the vocalist when you play as a musician. Sometimes tho, during a vocal, there is a need for a part that stands out from an instrument. It really all depends on the decisions the band makes for every gig. Always well before a gig, get a contact person, find out what you can about the PA. If the venue is close, i highly recommend going and seeing another band play and ask questions. There really is no excuse for not hearing the vocals. &#xD;&#xA;&#xD;&#xA; If the singer is the main event of the show, then certainly put your ego aside. But not all vocals are the star of the show. You may use a good singer, but emphasis is on the instrumentalists. Either way, the vocals have to be out front. All members are responsible for coordinating equipment. You invested top dollar in your rig, but its each members responsibility to understand what the other player is using. Work together. i'm always on the side of a singer that lets a band walk all over the vocals. The singer then lacks experience and will take time to learn the ropes. If you share these problems collectively then you can solve the problem. If you are showing up with a 5150 stack, maybe its you lol." ContentLicense="CC BY-SA 3.0" />
  <row Id="49213" PostHistoryTypeId="5" PostId="27040" RevisionGUID="379c95db-6fa9-44fb-bc12-bd3ac2f26dd3" CreationDate="2014-02-14T00:11:16.250" UserId="7463" Comment="added 426 characters in body" Text="I met a singer that whispered. I have met backround singers that want their monitors louder than everyone elses. A good P.A. will only amplify whatever input you give it. There is also the fact that you can destroy your singers voice.&#xD;&#xA; if you dont have an understanding about what the singer is able to hear. if you give them too much monitor, they sing too soft and are scared to lay into a scream because the monitor is so freaking loud. &#xD;&#xA; So now you turn it way down so its not biting his head off. Well earlier when you told him he had to turn his amp down because it was all stage volume coming out front, turned back up, with his vocal mic right in front of it, but he can't hear his vocals monitor. So he starts pushing it, and you notice right away he's putting too much into it and his voice will fail by the end of the song. You start to increase his monitor and watch his vocal smooth out. &#xD;&#xA;   My main point being, you either surround yourself with qualified engineers, or you have to learn and convey your concerns and make sure you get an answer you understand and can use.&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="49214" PostHistoryTypeId="36" PostId="27042" RevisionGUID="d335d15f-3fce-441a-bac8-1084663f8168" CreationDate="2014-02-14T00:12:42.257" UserId="-1" Comment="from http://video.stackexchange.com/questions/9776/how-to-correct-tempo-of-a-draft-song" />
  <row Id="49215" PostHistoryTypeId="2" PostId="27043" RevisionGUID="8615a915-acf3-483a-8dcb-103978aa7337" CreationDate="2013-12-28T13:55:56.980" UserId="7213" Text="If the tempo is ragged in each track, it's a much bigger job than if the tempo is even but simply different. I'll assume the second.&#xD;&#xA;&#xD;&#xA;There may be software that can help automate this, but here's how I'd approach this using (free) Audacity. The concept is simple and would apply to any program capable of the same tricks. Load each instrument to a different track.&#xD;&#xA;&#xD;&#xA;First establish one track as a baseline. I'd pick the most sonically complex track to avoid distorting it in the process. Find a beat near the beginning and one near the end, and get the exact time difference between them, in seconds or samples, whatever.&#xD;&#xA;&#xD;&#xA;Next, for any other track find beats which should match at that same rough distance, and get the time difference for those. Compute the ratio of those two times, then select the entire track and apply the Change Tempo effect using the computed ratio. Line up the beginning beat and assure that the change was what you wanted. Do the same for each remaining track.&#xD;&#xA;&#xD;&#xA;And in the future, record against a click track! (-:" ContentLicense="CC BY-SA 3.0" />
  <row Id="49216" PostHistoryTypeId="2" PostId="27042" RevisionGUID="6f1a9e00-2488-4133-8797-b01bc2a7b5cd" CreationDate="2013-12-28T11:08:07.157" UserDisplayName="Navneil Naicker" Text="I did recording of my drums, guitar, piano. When am on the mixing process. All the instrumentals are off beat. I didn't use any tempo while recording. So thats why nothing is matching when am trying to mix it.&#xD;&#xA;&#xD;&#xA;How can I correct the tempo of each instrument without re-recording them. Is there a software that can help me out. I' am using MixCraft 6 and Fruity Loops 11 of Mixing tracks.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49217" PostHistoryTypeId="1" PostId="27042" RevisionGUID="6f1a9e00-2488-4133-8797-b01bc2a7b5cd" CreationDate="2013-12-28T11:08:07.157" UserDisplayName="Navneil Naicker" Text="How to correct tempo of a draft song?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49218" PostHistoryTypeId="3" PostId="27042" RevisionGUID="6f1a9e00-2488-4133-8797-b01bc2a7b5cd" CreationDate="2013-12-28T11:08:07.157" UserDisplayName="Navneil Naicker" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49219" PostHistoryTypeId="36" PostId="27043" RevisionGUID="ed8100cc-441e-4b45-87e8-075c91726815" CreationDate="2014-02-14T00:12:42.257" UserId="-1" Comment="from http://video.stackexchange.com/questions/9776/how-to-correct-tempo-of-a-draft-song/9777#9777" />
  <row Id="49220" PostHistoryTypeId="5" PostId="27040" RevisionGUID="6e33ee67-0ac5-456d-b29c-56bcf136d399" CreationDate="2014-02-14T00:18:27.613" UserId="7463" Comment="added 426 characters in body" Text="I met a singer that whispered. I have met backround singers that want their monitors louder than everyone elses. A good P.A. will only amplify whatever input you give it. There is also the fact that you can destroy your singers voice.&#xD;&#xA; if you dont have an understanding about what the singer is able to hear. if you give them too much monitor, they sing too soft and are scared to lay into a scream because the monitor is so freaking loud. You can tell he's singing unusally soft so you go to the stage and his monitor is way too loud.&#xD;&#xA; So now you turn it way down so its not biting his head off. Well earlier when you told him he had to turn his amp down because it was all stage volume coming out front, he has turned back up, with his vocal mic right in front of it, but he can't hear his vocals monitor. So he starts pushing it, and you notice right away he's putting too much into it and his voice will fail by the end of the song. You start to increase his monitor and watch his vocal smooth out. &#xD;&#xA; There are many things a soundman should be doing. Most venues already know optimum levels through experience. You should try and make him your friend. Then maybe he'll care to add some real mixing to your act.  &#xD;&#xA;&#xD;&#xA;My main point being, you either surround yourself with qualified engineers, or you have to learn and convey your concerns and make sure you get an answer you understand and can use.&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="49221" PostHistoryTypeId="6" PostId="27042" RevisionGUID="fea8303e-8548-42d3-b1e4-b97e157035db" CreationDate="2014-02-14T00:20:02.893" UserId="7174" Comment="edited tags" Text="&lt;tempo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49222" PostHistoryTypeId="6" PostId="27037" RevisionGUID="edb23ae3-e787-4998-ad7b-bd5a7c92ca73" CreationDate="2014-02-14T00:22:12.390" UserId="7174" Comment="edited tags" Text="&lt;asio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49223" PostHistoryTypeId="2" PostId="27044" RevisionGUID="a6f9ab62-f090-40c9-b41c-44e3fadbbf04" CreationDate="2014-02-14T00:24:27.373" UserId="7174" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="49224" PostHistoryTypeId="2" PostId="27045" RevisionGUID="d67aea5f-f68f-4f71-af52-98473c9757b3" CreationDate="2014-02-14T00:24:27.373" UserId="7174" Text="Audio Stream Input/Output or ASIO is a Microsoft Windows driver type for input and output of multiple audio streams with low latency.  It is typically used with high quality audio interfaces." ContentLicense="CC BY-SA 3.0" />
  <row Id="49225" PostHistoryTypeId="5" PostId="27040" RevisionGUID="7db670a2-9644-445c-9e20-143cefceaac2" CreationDate="2014-02-14T00:24:55.273" UserId="7463" Comment="added 426 characters in body" Text="I met a singer that whispered. I have met backround singers that want their monitors louder than everyone elses. A good P.A. will only amplify whatever input you give it. There is also the fact that you can destroy your singers voice.&#xD;&#xA; if you dont have an understanding about what the singer is able to hear. if you give them too much monitor, they sing too soft and are scared to lay into a scream because the monitor is so freaking loud. You can tell he's singing unusally soft so you go to the stage and his monitor is way too loud.&#xD;&#xA; So now you turn it way down so its not biting his head off. So he starts pushing it, and you notice right away he's putting too much into it and his voice will fail by the end of the song. You start to increase his monitor and watch his vocal smooth out. &#xD;&#xA; There are many things a soundman should be doing. Most venues already know optimum levels through experience. You should try and make him your friend. Then maybe he'll care to add some real mixing to your act.  &#xD;&#xA;&#xD;&#xA;My main point being, you either surround yourself with qualified engineers, or you have to learn and convey your concerns and make sure you get an answer you understand and can use. Telling a soundman what to do will get you the minimum. Asking him how he does it, you will learn something. &#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="49226" PostHistoryTypeId="5" PostId="26874" RevisionGUID="231c98f0-688d-4440-a314-7a5f29863a6f" CreationDate="2014-02-14T01:31:21.190" UserId="7465" Comment="added 1 characters in body" Text="After being in contact with the ADAM Support it turned out Adam mixed the pictures up with the panel of the Sub10.&#xD;&#xA;&#xD;&#xA;Indeed there have been some revisions of the Sub8 but the changes where small enough not to be reflected in the product description." ContentLicense="CC BY-SA 3.0" />
  <row Id="49227" PostHistoryTypeId="5" PostId="22352" RevisionGUID="21363f39-acf7-41d0-b2e6-90b4ff309956" CreationDate="2014-02-14T01:39:36.027" UserId="7200" Comment="Spelling, typography... tried to make some sense of this, but still don't quite understand what's being said, honestly." Text="I have been lucky enough to find a whole chapter about critical bands and masking in *An Introduction to the Psychology of Hearing* by Brian C.J. Moore in college library. The phenomenon I asked about in my question seems to be just one of the many aspects of critical bands. In fact, this is a way to experimentally find out the critical bandwith for each frequency.&#xD;&#xA;&#xD;&#xA;Given two complex periodic sounds containing 12 sinusoidal components (*partials*), which are:&#xD;&#xA;&#xD;&#xA; 1. fundamental frequency _f_&lt;sub&gt;0&lt;/sub&gt; and its harmonics: _f_&lt;sub&gt;2&lt;/sub&gt; = 2 ⋅ _f_&lt;sub&gt;0&lt;/sub&gt;, _f_&lt;sub&gt;3&lt;/sub&gt; = 3 ⋅ _f_&lt;sub&gt;0&lt;/sub&gt;, ..., _f_&lt;sub&gt;11&lt;/sub&gt; = 11 ⋅ _f_&lt;sub&gt;0&lt;/sub&gt;.&#xD;&#xA; 2. fundamental frequency _f_&lt;sub&gt;0&lt;/sub&gt; and out-of-tune harmonics (i.e. not multiples of the fundamental frequency).&#xD;&#xA;&#xD;&#xA;Subjects were requested to listen the following pure tones:&#xD;&#xA;&#xD;&#xA; - a tone whose frequency was contained in the previously heard complex sound.&#xD;&#xA; - a tone whose frequency was half-way between two of the harmonics contained in the previously heard complex sound (e.g. 3/2 ⋅ _f_&lt;sub&gt;0&lt;/sub&gt;)&#xD;&#xA;&#xD;&#xA;**Assuming that a partial is only heard when its nearest neighbour is at least a bandwidth away**, the stated results for the bandwidth were found:&#xD;&#xA;&#xD;&#xA; - 100 Hz if _f_ &lt; 500 Hz&#xD;&#xA; - 20% of the tone frequency if _f_ &gt; 500 Hz&#xD;&#xA;&#xD;&#xA;The bold sentence being the one that really answers my question." ContentLicense="CC BY-SA 3.0" />
  <row Id="49228" PostHistoryTypeId="6" PostId="26871" RevisionGUID="461b74e3-1dad-4049-8e25-34c70d27cca4" CreationDate="2014-02-14T03:39:42.383" UserId="7174" Comment="edited tags" Text="&lt;shielding&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49229" PostHistoryTypeId="2" PostId="27046" RevisionGUID="ae4cd053-2c81-4974-b31f-1f16e1726e89" CreationDate="2014-02-14T03:40:11.607" UserId="7174" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="49230" PostHistoryTypeId="2" PostId="27047" RevisionGUID="0d70d699-f985-438f-9b3f-7881f9292203" CreationDate="2014-02-14T03:40:11.607" UserId="7174" Text="Insulation used to prevent noise or interference from entering a system." ContentLicense="CC BY-SA 3.0" />
  <row Id="49231" PostHistoryTypeId="6" PostId="26867" RevisionGUID="e563ca5b-9b88-4d9a-a6e1-f878e783f2e3" CreationDate="2014-02-14T03:41:15.690" UserId="7174" Comment="edited tags" Text="&lt;side-chaining&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49234" PostHistoryTypeId="10" PostId="24661" RevisionGUID="d5305f9a-0d7e-49fb-a128-1e31fba10ea0" CreationDate="2014-02-14T05:39:29.000" UserId="61" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:61,&quot;DisplayName&quot;:&quot;Jay Jennings&quot;}]}" />
  <row Id="49235" PostHistoryTypeId="14" PostId="24661" RevisionGUID="eb62b157-76d5-4e47-bcb3-1b06ed66a7ec" CreationDate="2014-02-14T05:39:29.000" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="49236" PostHistoryTypeId="14" PostId="24662" RevisionGUID="ae23dbac-c97d-4286-a571-00ecfb367114" CreationDate="2014-02-14T05:39:29.000" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="49237" PostHistoryTypeId="14" PostId="24663" RevisionGUID="8f1a1001-2ff9-49f3-b795-2b2c84f5e178" CreationDate="2014-02-14T05:39:29.000" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="49238" PostHistoryTypeId="14" PostId="24664" RevisionGUID="cf1890d8-9993-4ab6-a357-062b2cf5b405" CreationDate="2014-02-14T05:39:29.000" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="49239" PostHistoryTypeId="2" PostId="27048" RevisionGUID="3ac8f3fe-b4a8-4525-9190-58189eadd940" CreationDate="2014-02-14T10:56:12.647" UserId="7405" Text="It's interesting to note that the Sennheiser HD 800 is specified as : -&#xD;&#xA;&#xD;&#xA;Frequency response (headphones) 14 – 44100 Hz (- 3 dB) &#xD;&#xA;&#xD;&#xA;Is it a coincidence that they specify the frequency of 44.1kHz - this is the sampling frequency of digital audio in CDs! It's also quite interesting that there appears to be no published graph of frequency response when tested in the normal way: -&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;The pictures of the testing are there to be seen but i can't find a frequency response graph that goes above 20kHz anywhere on the web. The ones that I have seen show typical mid/high range anomalies that all headphones seem to have.&#xD;&#xA;&#xD;&#xA;So, is it marketing hype? I suspect that it is. Having a frequency response exactly specified at 44.1kHz is totally bogus to me. It's trying to impart stuff to the potential buyer that is irrelevant. 44.1kHz (as a signal), sampled at 44.1kHz produces (due to something called aliasing) a frequency of exactly 0 (zero, zilch) hertz i.e. dc!!&#xD;&#xA;&#xD;&#xA;As for the mechanics, there are plenty of mechanical structures (speakers included of course) that have a decent frequency response up to a certain point then it falls away at about 20dB per octave - this is a standard 2nd order characteristic of mechanical items like speakers (techy phrase is [spring-mass-damper][2] systems).&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/UmZhp.jpg&#xD;&#xA;  [2]: http://xenia.media.mit.edu/~verp/projects/smartpen/node17.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="49240" PostHistoryTypeId="5" PostId="27048" RevisionGUID="9b5c0e39-4a45-4a15-a5aa-681037c7db6c" CreationDate="2014-02-14T11:06:41.570" UserId="7405" Comment="added 10 characters in body" Text="It's interesting to note that the Sennheiser HD 800 is specified as : -&#xD;&#xA;&#xD;&#xA;Frequency response (headphones) 14 – 44100 Hz (- 3 dB) &#xD;&#xA;&#xD;&#xA;Is it a coincidence that they specify the frequency of 44.1kHz - this is the sampling frequency of digital audio in CDs! It's also quite interesting that there appears to be no published graph of frequency response when tested in the normal way: -&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;The pictures of the testing are there to be seen but i can't find a frequency response graph that goes above 20kHz anywhere on the web. The ones that I have seen show typical mid/high range anomalies that all headphones seem to have BUT stop at 20kHz.&#xD;&#xA;&#xD;&#xA;So, is it marketing hype? I suspect that it is. Having a frequency response exactly specified at 44.1kHz is totally bogus to me. It's trying to impart &quot;stuff&quot; to the potential &quot;soft&quot; buyer that is irrelevant. 44.1kHz (as a signal), sampled at 44.1kHz produces (due to aliasing) a frequency of exactly 0 (zero, zilch) hertz i.e. dc!!&#xD;&#xA;&#xD;&#xA;As for the mechanics, there are plenty of mechanical structures (speakers included of course) that have a decent frequency response up to a certain point then it falls away at about 20dB per octave - this is a standard 2nd order characteristic of mechanical items like speakers (techy phrase is [spring-mass-damper][2] systems).&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/UmZhp.jpg&#xD;&#xA;  [2]: http://xenia.media.mit.edu/~verp/projects/smartpen/node17.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="49241" PostHistoryTypeId="2" PostId="27049" RevisionGUID="361b0f12-7202-4d3f-b663-fc3c6daf45ab" CreationDate="2014-02-14T11:24:08.510" UserId="7405" Text="&gt; When i instal addictive key it ask me for &quot;stand alone&quot; &quot;32bit&quot;&#xD;&#xA;&gt; &quot;64bit&quot; ? So i installed addictive key 64bit and stand alone&#xD;&#xA;&#xD;&#xA;Possibly, the stand-alone version is disabled from being a VST (non stand alone)? Try installing as non-stand-alone and seeing what happens. I know it's a pain to do that but at least you'll find out." ContentLicense="CC BY-SA 3.0" />
  <row Id="49242" PostHistoryTypeId="36" PostId="27050" RevisionGUID="78baf640-da65-4b1d-86f2-64659981de94" CreationDate="2014-02-14T14:31:40.500" UserId="-1" Comment="from http://video.stackexchange.com/questions/7675/what-is-the-difference-between-qx1622usb-and-qx1222usb" />
  <row Id="49243" PostHistoryTypeId="36" PostId="27051" RevisionGUID="6d45933a-c982-4466-9f52-b6834a71687a" CreationDate="2014-02-14T14:31:40.500" UserId="-1" Comment="from http://video.stackexchange.com/questions/7675/what-is-the-difference-between-qx1622usb-and-qx1222usb/7677#7677" />
  <row Id="49244" PostHistoryTypeId="2" PostId="27051" RevisionGUID="976e6097-db13-4b9a-bfad-8678d37ec454" CreationDate="2013-04-17T21:25:37.970" UserId="7016" Text="The two pages you have linked to describe the differences very well. If you read them you will see that the key differences are that the 1222 has a 7 band graphic eq, feedback detection system, surround sound effect and a voice cancellation function, that the other model does not have." ContentLicense="CC BY-SA 3.0" />
  <row Id="49245" PostHistoryTypeId="2" PostId="27052" RevisionGUID="eef34b60-4d91-4cd7-8780-3a98543274f6" CreationDate="2013-04-18T04:55:35.120" UserId="7312" Text="Dr. Mayhem was right about the straight forward differences between the 2 models. However I'd like to refer to the &quot;*Under which circumstances would you prefer the one over the other?*&quot;. So usually, you won't be using the Graphic EQ while utilizing the mixer for studio tasks. In studio you will be more interested in preamp and whole channels quality, maybe even disregarding the channel EQ while preferring more quality software ones (at least in not very expensive mixers). However graphic EQ will be more usable for &quot;field&quot; tasks (PA) where you might want to correct the overall sound to fit the acoustic properties of the location. So just to summarize, the one with graphic EQ seem to be more targeted on PA jobs and the second one on studio work.&#xD;&#xA;&#xD;&#xA;**P.S.** I'm a bit puzzled by the fact that the very standard set of solo, mute and the signal routing buttons are absent. I would expect them to present on the EQ model mixer particularly." ContentLicense="CC BY-SA 3.0" />
  <row Id="49246" PostHistoryTypeId="2" PostId="27050" RevisionGUID="636aa040-28f4-4b2b-8540-8458979699a6" CreationDate="2013-04-17T19:50:41.177" UserDisplayName="Michael Wiles" Text="I am looking to purchase a mixer and am keen to know the practical difference between these two mixers. The price is about the same.&#xD;&#xA;&#xD;&#xA;What circumstances would you prefer the one over the other?&#xD;&#xA;&#xD;&#xA;The [QX1622USB][1] or the [QX1222USB][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.behringer.com/EN/Products/QX1622USB.aspx&#xD;&#xA;  [2]: http://www.behringer.com/EN/Products/QX1222USB.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="49247" PostHistoryTypeId="1" PostId="27050" RevisionGUID="636aa040-28f4-4b2b-8540-8458979699a6" CreationDate="2013-04-17T19:50:41.177" UserDisplayName="Michael Wiles" Text="What is the difference between QX1622USB and QX1222USB" ContentLicense="CC BY-SA 3.0" />
  <row Id="49248" PostHistoryTypeId="3" PostId="27050" RevisionGUID="636aa040-28f4-4b2b-8540-8458979699a6" CreationDate="2013-04-17T19:50:41.177" UserDisplayName="Michael Wiles" Text="&lt;mixer&gt;&lt;behringer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49249" PostHistoryTypeId="36" PostId="27052" RevisionGUID="f2faf082-076b-43a8-9929-0531e2028b78" CreationDate="2014-02-14T14:31:40.500" UserId="-1" Comment="from http://video.stackexchange.com/questions/7675/what-is-the-difference-between-qx1622usb-and-qx1222usb/7680#7680" />
  <row Id="49251" PostHistoryTypeId="14" PostId="10494" RevisionGUID="fe524aed-286a-492e-a121-cbed0a26b214" CreationDate="2014-02-14T15:20:22.493" UserId="6387" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6387,&quot;DisplayName&quot;:&quot;Tim Post&quot;}]}" />
  <row Id="49252" PostHistoryTypeId="33" PostId="10494" RevisionGUID="1430a02e-6c51-4602-9fe9-9ff509fe0063" CreationDate="2014-02-14T15:20:22.493" UserId="6387" Comment="4" />
  <row Id="49253" PostHistoryTypeId="36" PostId="27053" RevisionGUID="d203bb01-bfb1-4668-a6b4-5a3ea6c4d7b5" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/5276/what-is-the-difference-between-a-4-bus-and-a-4-2-bus-mixer-what-does-the-slash" />
  <row Id="49254" PostHistoryTypeId="36" PostId="27054" RevisionGUID="f6787b76-9c74-4a2b-95b6-dd1681cc04a9" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/5276/what-is-the-difference-between-a-4-bus-and-a-4-2-bus-mixer-what-does-the-slash/5277#5277" />
  <row Id="49255" PostHistoryTypeId="2" PostId="27054" RevisionGUID="21a3c1de-1e06-4cc7-a763-1857d185fdfb" CreationDate="2012-11-06T22:01:27.153" UserId="6957" Text="In the first place, not all brands use these designations in the same way.&#xD;&#xA;&#xD;&#xA;Generally, an `x`bus mixer has `x` busses to sum signal.  The simplest is a two bus mixer.  Stereo.  A left bus and a right bus.  You determine what signal goes to which bus with a pan pot.&#xD;&#xA;&#xD;&#xA;A 4 bus mixer likely isn't counting the stereo main out, and is referring, instead, to the sub-mix busses.  In this case, there would be four separate busses/mixes each with independent gain control.  You determine what signal goes to which bus, usually with a switch on each channel, though sometimes it will be a switch and a pan pot, etc.&#xD;&#xA;&#xD;&#xA;The `x/x` slash designations are still referring to the number of discrete busses, but this time, they're making the distinction between Aux busses and Mix busses (for lack of a better term).  Essentially, the number of `send` busses that exist.  So, a 4/4 console will have 4 aux send busses and also 4 sub-mix busses.  &#xD;&#xA;&#xD;&#xA;It's an important designation because, although your mixer might have 12 or 18 etc channels, if you only have 4 aux send busses, there will be more sharing between the channels.  &#xD;&#xA;&#xD;&#xA;In short, those numbers describe the number of discrete, summing, internal pathways that lead to an output.&#xD;&#xA;&#xD;&#xA;---------------&#xD;&#xA;**EDIT**&#xD;&#xA;&#xD;&#xA;Ok, so after a bit more digging regarding the edit to the original question, I have the answer... at least as it pertains to Behringer, and this particular model (i.e. extrapolate at your own risk)&#xD;&#xA;&#xD;&#xA;I asked Behringer.  Their response was as follows:&#xD;&#xA;&#xD;&#xA;&gt; The 2/2 denotes that the mixer is full duplex.  What this translates&#xD;&#xA;&gt; to is that, via the USB  connection, the mixer can transmit and&#xD;&#xA;&gt; receive two tracks of audio simultaneously - that  would be a stereo&#xD;&#xA;&gt; mix both to and from the computer.&#xD;&#xA;&#xD;&#xA;So it would seem that throwing a USB interface in there kind of changes the rules of designation.&#xD;&#xA;&#xD;&#xA;**EDIT**&#xD;&#xA;&#xD;&#xA;And finally, one last communication from Behringer:&#xD;&#xA;&#xD;&#xA;I asked:&#xD;&#xA;&#xD;&#xA;&gt; Does the 'slash' designation always refer to the USB simultaneous I/O?&#xD;&#xA;&gt; Are your analog consoles described with a different nomenclature?&#xD;&#xA;&#xD;&#xA;They answered:&#xD;&#xA;&#xD;&#xA;&gt; The nomenclature of &quot;2/2&quot; is certainly used on Behringer USB mixers,&#xD;&#xA;&gt; though it may be different from other manufacturers.  The analog&#xD;&#xA;&gt; boards have a slightly different designation.  The 2442FX, for&#xD;&#xA;&gt; instance, is a 4/2 mixer.  This means that is has 4 subgroups and 2&#xD;&#xA;&gt; main outputs (left and right)." ContentLicense="CC BY-SA 3.0" />
  <row Id="49256" PostHistoryTypeId="2" PostId="27053" RevisionGUID="0995897f-2a84-40a3-9dd7-041f7b92a892" CreationDate="2012-11-06T20:17:21.170" UserId="7239" Text="[Perusing the Behringer website](http://www.behringer.com/EN/Category/Mixers.aspx?s=A100) they have all different notations for *Bus*. What does it mean to be a [*4-Bus mixer*](http://www.behringer.com/EN/Products/UFX1204.aspx) compaired to a [*4/2-Bus mixer*](http://www.behringer.com/EN/Products/X2442USB.aspx)? Or, even a [2/2-Bus mixer](http://www.behringer.com/EN/Products/X2222USB.aspx)?&#xD;&#xA;&#xD;&#xA;I don't believe the current answer is clear or useful. Please review the products above which have pictures of the Mixer. For instance, the 2/2 mixer bus has 3 labeled &quot;aux&quot; and one labeled &quot;FX Send&quot; how does that make 2/2 with the below answer?&#xD;&#xA;&#xD;&#xA;![Behringer X2222USB][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Mgnb8.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="49257" PostHistoryTypeId="1" PostId="27053" RevisionGUID="0995897f-2a84-40a3-9dd7-041f7b92a892" CreationDate="2012-11-06T20:17:21.170" UserId="7239" Text="What is the difference between a 4-Bus and a 4/2 Bus mixer? What does the slash mean?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49258" PostHistoryTypeId="3" PostId="27053" RevisionGUID="0995897f-2a84-40a3-9dd7-041f7b92a892" CreationDate="2012-11-06T20:17:21.170" UserId="7239" Text="&lt;mixer&gt;&lt;behringer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49259" PostHistoryTypeId="36" PostId="27055" RevisionGUID="a1a08336-ce88-485a-bd9a-52c7c1c1d57d" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/2827/do-i-need-a-di-box-when-sending-signal-from-my-sound-card-to-a-mix-console" />
  <row Id="49260" PostHistoryTypeId="36" PostId="27056" RevisionGUID="47baf374-2580-401a-b0a3-8461c340845f" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/2827/do-i-need-a-di-box-when-sending-signal-from-my-sound-card-to-a-mix-console/2829#2829" />
  <row Id="49261" PostHistoryTypeId="2" PostId="27056" RevisionGUID="09a54f4d-f8da-45f7-8112-c4256a80cc18" CreationDate="2011-12-17T00:51:17.390" UserId="7200" Text="The MobilePre's line outputs are balanced, so it should be perfectly ok to plug it straightly into a console, either with two stereo TRS cables into symmetrical line inputs or with stereoTRS-to-XLR cables into microphone inputs. It should even work with mono cables, though you then lose the symmetricity, so you might pick up noise.&#xD;&#xA;&lt;br&gt;&#xD;&#xA;If you're unlucky, you might even pick up noise with a balanced connection: PC mains adapters often introduce very nasty static at around 2 kHz; if you experience something like that a DI-box should fix it but I'd first try it without." ContentLicense="CC BY-SA 3.0" />
  <row Id="49262" PostHistoryTypeId="2" PostId="27057" RevisionGUID="12b97910-52ed-4845-981c-299504d09725" CreationDate="2011-12-22T16:18:17.380" UserDisplayName="JayP" Text="The MobilePre actually has line-level unbalanced outputs (according to their website [here](http://www.m-audio.com/products/en_us/MobilePre.html &quot;M-Audio Mobile Pre&quot;)).&#xD;&#xA;&#xD;&#xA;Many people shy away from unbalanced connections, as if they are some sort of terrible mistake that should be avoided at all costs.  In fact, they have their place, just as balanced cables do too.  In fact, in this case, over short cable runs at least, they could even be considered **desirable**!&#xD;&#xA;&#xD;&#xA;As you may know, the process of &quot;balancing&quot; involves duplicating and inverting a signal, in order to filter out noise at the receiving end.  This process in itself and actually induce some level of noise, which can be undesirable.  Bob Katz, in his book on [audio mastering](http://www.focalpress.com/books/audio/mastering_audio_2ed.aspx), mentions that many mastering engineers will actually modify their equipment to remove unnecessary amplification and balancing sections, all in the name of reducing noise.&#xD;&#xA;&#xD;&#xA;This is precisely why audio interface designers tend to provide unbalanced line level outputs.  Higher end interfaces will provide digital outputs, which don't suffer from noise in the same way as their analogue counterparts.&#xD;&#xA;&#xD;&#xA;Unless you run your speaker output cables in parallel with a mains cable (this actually induce noise **even in a balanced cable**), you will most likely not get any problems at all.&#xD;&#xA;&#xD;&#xA;Introducing a DI box into the equation will increase clutter, increase noise, increase complication, and worst of all, *probably not make any difference whatsoever*.&#xD;&#xA;&#xD;&#xA;Most mixers have dedicated line level inputs for stereo sound sources, just like your M-Audio MobilePre, so I suggest you use these.&#xD;&#xA;&#xD;&#xA;The issues of &quot;static&quot; or &quot;hum&quot; in hardware connected to computers is more likely to be caused by poor earthing.  One way to fix this is to not rely on the USB connection to provide power - plugging your MobilePre into it's own dedicated power supply can reduce this.&#xD;&#xA;&#xD;&#xA;**Edit**&#xD;&#xA;I just noticed that the MobilePre doesn't have connections for an external power supply, which is a shame!  For other interfaces that do have an external connection, this can be useful.&#xD;&#xA;**End edit**&#xD;&#xA;&#xD;&#xA;Another thing to consider is that your mixing console might actually be unnecessary here - without knowing your setup, it's hard to say, but have you considered simply connecting the outputs of your MobilePre directly to your monitors?  This has obvious benefits in terms of simplicity, but removing extraneous equipment from your signal chain can also reduce noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="49263" PostHistoryTypeId="2" PostId="27055" RevisionGUID="b69a18f9-3e57-4bb9-b02c-33b30b792698" CreationDate="2011-12-16T21:31:46.513" UserDisplayName="Richard Rodriguez" Text="I have the &lt;a href=&quot;http://www.m-audio.com/products/en_us/MobilePre.html&quot;&gt;M-Audio Mobile Pre&lt;/a&gt; soundcard which I will be using to send signal from my PC to a mix console. What I don't know, though, is whether I need to put a DI BOX in between?&#xD;&#xA;&#xD;&#xA;The sound card does not have an XLR output, it has only the 6.3 connectors, but I'm still not sure whether this automatically means that the signal needs to be processed through DI BOX first.&#xD;&#xA;&#xD;&#xA;Alternatively maybe I could use the headphones output on the soundcard, which is amplified and therefore shouldn't require DI BOX?&#xD;&#xA;&#xD;&#xA;Any ideas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49264" PostHistoryTypeId="1" PostId="27055" RevisionGUID="b69a18f9-3e57-4bb9-b02c-33b30b792698" CreationDate="2011-12-16T21:31:46.513" UserDisplayName="Richard Rodriguez" Text="Do I need a DI BOX when sending signal from my sound card to a mix console?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49265" PostHistoryTypeId="3" PostId="27055" RevisionGUID="b69a18f9-3e57-4bb9-b02c-33b30b792698" CreationDate="2011-12-16T21:31:46.513" UserDisplayName="Richard Rodriguez" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49266" PostHistoryTypeId="36" PostId="27057" RevisionGUID="bba69fed-6db8-4d6b-b701-232568530f2e" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/2827/do-i-need-a-di-box-when-sending-signal-from-my-sound-card-to-a-mix-console/2875#2875" />
  <row Id="49267" PostHistoryTypeId="36" PostId="27058" RevisionGUID="f293a373-ac2d-482d-a5e4-2e538277119c" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/1439/how-to-check-a-master-audio-cd-for-errors" />
  <row Id="49268" PostHistoryTypeId="36" PostId="27059" RevisionGUID="86921d39-4ea1-462f-9269-635009b73d03" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/1439/how-to-check-a-master-audio-cd-for-errors/1440#1440" />
  <row Id="49269" PostHistoryTypeId="2" PostId="27059" RevisionGUID="ef32119e-218e-434e-81e8-d9aebceab6b2" CreationDate="2011-05-20T00:32:46.817" UserDisplayName="Kim Burgaard" Text="I assume you mean bit-errors on the physical medium. The CD format uses a technology called [cross-interleaved Reed-Solomon code (CIRC)][1], which adds checksums and redundant data to allow detection and correction of low-level bit errors. Usually, this is handled transparently by the CD player's firmware. Upon detecting errors, the firmware will first try to correct the error using the redundant data. If there are too many errors, it will try to reread the same sector of the disk. Only in the event this fails too, will you see an actual error in the audio data.&#xD;&#xA;&#xD;&#xA;If you have wave files that were used to produce the files, then you should be able to rip the tracks from the audio CD and compare to the original files. Beware that the audio CD standard ([Red Book][2]) mandates a two second pause so you'll have to compensate for that. You can do this in an audio sample editor by making sure the original and ripped CD start and end at the exact same samples.&#xD;&#xA;&#xD;&#xA;Also, keep in mind this check depends on the CD drive used. In addition to scratches, smudges and imperfections on the CD, the CD drive too can suffer from dirt, scratches as well as mechanical problems that cause errors.&#xD;&#xA;&#xD;&#xA;Each bit on a CD is vulnerable to dust, scratches, smudges etc, whereas e.g. a USB stick is much less vulnerable to normal wear and tear. I believe your best defense against data errors of your master CD is to keep **multiple** digital copies on media such as hard disks, flash memory drives and online storage. Each of those physical media can fail, but redundancy is really key.&#xD;&#xA;&#xD;&#xA;Finally, I believe most CD pressing companies will accept master audio CDs as files transferred through other means than a physical audio CD. For example, errors in unpacking a zip file with an audio CD image from a CD-ROM is more easily detected than for a 3rd party to detect errors directly on an audio CD.&#xD;&#xA;&#xD;&#xA;TL;DR&#xD;&#xA;&#xD;&#xA;Don't store and transfer your master audio CDs (only) as physical audio CDs.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Cross-interleaved_Reed-Solomon_coding&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Red_Book_%28CD_standard%29" ContentLicense="CC BY-SA 3.0" />
  <row Id="49270" PostHistoryTypeId="2" PostId="27058" RevisionGUID="3bcdc7d2-3fab-4870-ac29-d39187e6cb92" CreationDate="2011-05-19T22:10:02.827" UserDisplayName="NR4TR" Text="Everyone who has dealt with audio production knows that quality of the whole bunch of future cds depends on quality of master cd. &#xD;&#xA;&#xD;&#xA;How can I check my master cd in order to be sure that there is no errors on it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49271" PostHistoryTypeId="1" PostId="27058" RevisionGUID="3bcdc7d2-3fab-4870-ac29-d39187e6cb92" CreationDate="2011-05-19T22:10:02.827" UserDisplayName="NR4TR" Text="How to check a Master Audio CD for Errors?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49272" PostHistoryTypeId="3" PostId="27058" RevisionGUID="3bcdc7d2-3fab-4870-ac29-d39187e6cb92" CreationDate="2011-05-19T22:10:02.827" UserDisplayName="NR4TR" Text="&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49273" PostHistoryTypeId="36" PostId="27060" RevisionGUID="075a396b-f2e1-4189-afe2-6959e7fff408" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/2836/do-i-need-a-di-box-when-sending-signal-from-a-mix-console-to-another-device" />
  <row Id="49274" PostHistoryTypeId="36" PostId="27061" RevisionGUID="38cddf2e-28ae-425f-8434-15b922b96476" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/2836/do-i-need-a-di-box-when-sending-signal-from-a-mix-console-to-another-device/2838#2838" />
  <row Id="49275" PostHistoryTypeId="2" PostId="27061" RevisionGUID="b8704202-ec17-4837-936b-c4eb8fbdf7a1" CreationDate="2011-12-19T04:32:04.673" UserDisplayName="staticsan" Text="Whether you use a DI box depends on the signal, not the purpose the signal is being sent. A DI box converts from line-level to microphone level. If the recording device accepts line-level, you do not need a DI box. You may need a cable adapter, however.&#xD;&#xA;&#xD;&#xA;Line-level is often provided unbalanced on a 6.5&quot; jack. It is usually strong enough and not travelling far enough that that is more than acceptable. Mic-level is often provided balanced on an XLR. However, in both cases, it is possible for the signal to be provided or accepted on the opposite type of socket. Line-level on an XLR is usually so it can be balanced, which is good for long runs.&#xD;&#xA;&#xD;&#xA;That said, going from unbalanced to balanced can be tricky with the possibility of ground loops. One way to solve that is to use an isolating transformer, which can look like a DI box, but technically isn't. A DI box will also pad the signal down, whilst an isolating transformer will do a 1:1 conversion.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49276" PostHistoryTypeId="2" PostId="27062" RevisionGUID="4539470e-251a-4d83-9f45-f845462f14d4" CreationDate="2011-12-19T19:00:12.853" UserDisplayName="chris" Text="A low level signal (i.e. microphone) needs to be balanced because it will pick up too much noise over long runs.&#xD;&#xA;&#xD;&#xA;A high level signal (line) is can survive a reasonable length unbalanced because the noise it picks up is generally not going to be noticeable.&#xD;&#xA;&#xD;&#xA;So if your recording device was a fair distance away, you may want to use a balanced line to avoid too much noise.  If it's fairly close, you can use an unbalanced line.&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="49277" PostHistoryTypeId="2" PostId="27060" RevisionGUID="5b3eadeb-bb20-4188-8f09-479b339f2c8b" CreationDate="2011-12-19T02:24:50.277" UserDisplayName="Richard Rodriguez" Text="I'll be sending a signal from mix console's AUX output to another device to record it. Do I need to put a DIBOX inbetween these two devices, or not?&#xD;&#xA;&#xD;&#xA;The AUX output is a standard 6.3 jack connector, NOT an XLR connector." ContentLicense="CC BY-SA 3.0" />
  <row Id="49278" PostHistoryTypeId="1" PostId="27060" RevisionGUID="5b3eadeb-bb20-4188-8f09-479b339f2c8b" CreationDate="2011-12-19T02:24:50.277" UserDisplayName="Richard Rodriguez" Text="Do I need a DI BOX when sending signal from a mix console to another device?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49279" PostHistoryTypeId="3" PostId="27060" RevisionGUID="5b3eadeb-bb20-4188-8f09-479b339f2c8b" CreationDate="2011-12-19T02:24:50.277" UserDisplayName="Richard Rodriguez" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49280" PostHistoryTypeId="36" PostId="27062" RevisionGUID="779adc95-8a2e-4f8b-b1ab-5af3cb0c7f24" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/2836/do-i-need-a-di-box-when-sending-signal-from-a-mix-console-to-another-device/2853#2853" />
  <row Id="49281" PostHistoryTypeId="36" PostId="27063" RevisionGUID="7fcd4e8d-8438-414f-a810-e7a6bfca3258" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/9080/will-live-music-damage-hifi-speakers-assuming-compression-etc-is-used" />
  <row Id="49282" PostHistoryTypeId="2" PostId="27064" RevisionGUID="645544c9-f57e-4b30-b607-2da9308df6b0" CreationDate="2013-09-28T23:11:20.800" UserId="7405" Text="A compressor will, for a regular piece of music generally &quot;inhibit&quot; the bigger peaks because it actively operates like a very quick volume control. It/they can usually start operating in a fraction of a millisecond and there are usually controls and settings that can determine how long/short the &quot;volume adjustment&quot; stays active for (100 ms + is normal).&#xD;&#xA;&#xD;&#xA;But a regular piece of music isn't what you might be getting on a live stage - it might be the bassist, between tracks thumping out something quick and loud - yes the peaks will be &quot;compressed&quot; but they are at one frequency and this could still overload (and maybe damage) your bass drivers.&#xD;&#xA;&#xD;&#xA;Maybe consider a multiband compressor so that in any particular range of frequencies the compressor will work to properly inhibit the energy into the speakers to levels that would be heard during a regular piece of music (wideband with bass under control).&#xD;&#xA;&#xD;&#xA;It could be the same with feedback if it happened - a normal compressor would let the single pitch/tone ramp up to maximum and possibly damage a mid-range unit.&#xD;&#xA;&#xD;&#xA;Same applies to limiting - you want a multiband limiter to be surer about things." ContentLicense="CC BY-SA 3.0" />
  <row Id="49283" PostHistoryTypeId="2" PostId="27063" RevisionGUID="74cb16a0-4a89-42ea-8fd8-357e93b47935" CreationDate="2013-09-28T21:17:14.713" UserId="7343" Text="Today, you can cheaply route the input from a mixer into a good soundcard and through VST effects like compression before sending them out to the speakers. I have read plenty of information online about how it's very damaging to your hifi speakers (even large ones with 10' woofers) if you use them in a live setting since the dynamic range is high, and a sudden burst of sound might break your speakers.&#xD;&#xA;&#xD;&#xA;Now, just wondering (not that I will do this) but if I run the mixer through a PC like I said earlier and give it proper compression as well as limiting (to prevent damage from sudden bursts of sound), and I have a relatively strong amp and large hifi speakers, will it be safe to play live instruments like vocals, guitar, etc from it? Basically, what I'm thinking here is that using compression and a limiter will give the live sound the more &quot;safe&quot; and controlled qualities of recorded music (which is designed for home speakers)." ContentLicense="CC BY-SA 3.0" />
  <row Id="49284" PostHistoryTypeId="1" PostId="27063" RevisionGUID="74cb16a0-4a89-42ea-8fd8-357e93b47935" CreationDate="2013-09-28T21:17:14.713" UserId="7343" Text="Will live music damage hifi speakers (assuming compression, etc is used)" ContentLicense="CC BY-SA 3.0" />
  <row Id="49285" PostHistoryTypeId="3" PostId="27063" RevisionGUID="74cb16a0-4a89-42ea-8fd8-357e93b47935" CreationDate="2013-09-28T21:17:14.713" UserId="7343" Text="&lt;live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49286" PostHistoryTypeId="36" PostId="27064" RevisionGUID="8b9ca6b9-58e9-4a48-9562-35b3f89a6998" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/9080/will-live-music-damage-hifi-speakers-assuming-compression-etc-is-used/9083#9083" />
  <row Id="49287" PostHistoryTypeId="36" PostId="27065" RevisionGUID="b3585af9-2f5d-40a9-b1a2-2432c0a64a4b" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/38/digital-effects-unit" />
  <row Id="49288" PostHistoryTypeId="36" PostId="27066" RevisionGUID="ee5019cf-fa05-4228-a7c3-e52d5f3c97f0" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/38/digital-effects-unit/47#47" />
  <row Id="49289" PostHistoryTypeId="36" PostId="27067" RevisionGUID="f32cb586-ae4b-4bfd-81c3-b34d21dd7a87" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/38/digital-effects-unit/48#48" />
  <row Id="49290" PostHistoryTypeId="2" PostId="27066" RevisionGUID="00354af9-35a5-4d9b-918c-5ed56877663b" CreationDate="2010-12-07T21:13:43.330" UserDisplayName="Ian C." Text="My biggest complaint with the MidiVerb series is they tend to be noisy. All the MidiVerbs I've used introduced a fair bit of hiss.&#xD;&#xA;&#xD;&#xA;My preference would be a Lexicon MPX110 for a budget reverb unit. I really like Lexicon's reverbs and despite the simple interface, it's actually pretty tweakable." ContentLicense="CC BY-SA 2.5" />
  <row Id="49291" PostHistoryTypeId="2" PostId="27067" RevisionGUID="1a3053aa-0bad-4ba3-9f16-810a7c21b2c5" CreationDate="2010-12-07T21:15:21.300" UserId="7856" UserDisplayName="Corey" Text="The [Alesis NanoVerb](http://alesis.com/nanoverb) is an 18-bit digital effects processor.&#xD;&#xA;&#xD;&#xA;![NanoVerb Front Panel][1]&#xD;&#xA;&#xD;&#xA;From the site:&#xD;&#xA;&#xD;&#xA;    16 programs, with 16 variations each, for a total of 256 presets&#xD;&#xA;    Analog wet/dry mix control&#xD;&#xA;    Adjustable input and output gains&#xD;&#xA;    Stereo inputs automatically switch to dual mono when signal is only present on the left jack&#xD;&#xA;    Minimized signal path for optimal sound quality&#xD;&#xA;    Signal/clip LED control for easy visual monitoring&#xD;&#xA;    Rugged, compact design for years of reliable performance&#xD;&#xA;    Bypass control with footswitch, sold separately&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/oylhg.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="49292" PostHistoryTypeId="2" PostId="27065" RevisionGUID="3b9fa685-6e01-4b26-887f-5f2e053207ec" CreationDate="2010-12-07T21:05:30.557" UserId="13188" UserDisplayName="Mark Henderson" Text="I'm after a effects unit for just some simple plate reverb and maybe some delay on two mono channels. I'm on a shoestring budget, so the cheaper the better.&#xD;&#xA;&#xD;&#xA;I've seen [Alesis MidiVerb 4][1]'s around for around $100 on the second hand market. It looks great and exactly what we need, but it's from around 1990. Is this going to be an issue? What would I be missing from a 20-year-old unit over a brand new unit (besides a big hole in my wallett).&#xD;&#xA;&#xD;&#xA;We're only after simple reverb and delay for vocals.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.alesis.com/midiverb4" ContentLicense="CC BY-SA 2.5" />
  <row Id="49293" PostHistoryTypeId="1" PostId="27065" RevisionGUID="3b9fa685-6e01-4b26-887f-5f2e053207ec" CreationDate="2010-12-07T21:05:30.557" UserId="13188" UserDisplayName="Mark Henderson" Text="Digital Effects Unit" ContentLicense="CC BY-SA 2.5" />
  <row Id="49294" PostHistoryTypeId="3" PostId="27065" RevisionGUID="3b9fa685-6e01-4b26-887f-5f2e053207ec" CreationDate="2010-12-07T21:05:30.557" UserId="13188" UserDisplayName="Mark Henderson" Text="&lt;digital&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49295" PostHistoryTypeId="36" PostId="27068" RevisionGUID="f3e3101f-5ae7-4326-85af-c2dfb28a861c" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/4171/removing-subsonic-frequencies-when-mastering" />
  <row Id="49296" PostHistoryTypeId="36" PostId="27069" RevisionGUID="ab80e59f-f0f0-4c43-88be-314b11f3789e" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/4171/removing-subsonic-frequencies-when-mastering/4173#4173" />
  <row Id="49297" PostHistoryTypeId="2" PostId="27069" RevisionGUID="336b28c2-28e3-4c77-ab80-991f120d2ebd" CreationDate="2012-06-12T18:17:15.667" UserId="7189" Text="Yes and yes! Unless you know that your music will be played on equipment that can reproduce those subsonic vibrations, you should remove them. Otherwise, they are just eating up space in your mix.&#xD;&#xA;&#xD;&#xA;It can also help to remove audible low frequencies. It seems counterintuitive, but a kick drum often sounds better if you cut out some of the lower frequencies. Try some experiments with your tracks and see how they sound to you." ContentLicense="CC BY-SA 3.0" />
  <row Id="49298" PostHistoryTypeId="2" PostId="27070" RevisionGUID="173ac141-95b7-4ecd-ab0b-d5f272e98250" CreationDate="2012-06-13T22:15:19.243" UserId="7200" Text="It's definitely bad if ultra-low frequencies take away a significant amount of the power from the rest of the mix. However, that only happens if they are in fact as loud, or louder. If these frequencies fit in principle well in your material (i.e. not just rumble, but nice rythmic sub-punch) you should not kill them completely, rather just push them well below 0dB so they won't trigger the mastering compressors too hard, then they can still give a subtle bit of extra-feel on subwoofers that handle these frequencies by way of rogue power, but your mix will also sound good on less capable speakers.&#xD;&#xA;&#xD;&#xA;There's another reason not to cut the low-end too sharply: filters with high Q-values always cause some degree of &quot;smear&quot; in time/phase space, which has stroger consequences in the bass range than in the mid/high domain." ContentLicense="CC BY-SA 3.0" />
  <row Id="49299" PostHistoryTypeId="2" PostId="27068" RevisionGUID="c9099d51-2797-45b2-94f1-a032b1a0ef00" CreationDate="2012-06-12T11:36:25.770" UserId="19913" UserDisplayName="user877329" Text="In general (for music where lf are not important):&#xD;&#xA;&#xD;&#xA;To increase space for dynamic range in audible frequencies, is it a good idea to remove low frequencies when mastering?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;More specific:&#xD;&#xA;&#xD;&#xA;I am working on a dance track so I want to save some of the lf content that contains vibrations. If the answer on the prev quest is yes, is true also in this case?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49300" PostHistoryTypeId="1" PostId="27068" RevisionGUID="c9099d51-2797-45b2-94f1-a032b1a0ef00" CreationDate="2012-06-12T11:36:25.770" UserId="19913" UserDisplayName="user877329" Text="Removing subsonic frequencies when mastering" ContentLicense="CC BY-SA 3.0" />
  <row Id="49301" PostHistoryTypeId="3" PostId="27068" RevisionGUID="c9099d51-2797-45b2-94f1-a032b1a0ef00" CreationDate="2012-06-12T11:36:25.770" UserId="19913" UserDisplayName="user877329" Text="&lt;equalization&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49302" PostHistoryTypeId="36" PostId="27070" RevisionGUID="ed10b91d-612d-41e8-882c-b5e398436b41" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/4171/removing-subsonic-frequencies-when-mastering/4179#4179" />
  <row Id="49303" PostHistoryTypeId="36" PostId="27071" RevisionGUID="0aa1677a-236d-4a88-8dc0-6e28728bfa87" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/344/what-hardware-units-should-i-have-in-my-arsenal" />
  <row Id="49304" PostHistoryTypeId="36" PostId="27072" RevisionGUID="b4480dc2-fe99-44f5-8d50-c72f2439d651" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/344/what-hardware-units-should-i-have-in-my-arsenal/345#345" />
  <row Id="49305" PostHistoryTypeId="36" PostId="27073" RevisionGUID="4868da1f-e9e3-44e7-8c57-a4f90a2f7e21" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/344/what-hardware-units-should-i-have-in-my-arsenal/368#368" />
  <row Id="49306" PostHistoryTypeId="36" PostId="27074" RevisionGUID="10b843c0-548e-432a-b527-d0366272267e" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/344/what-hardware-units-should-i-have-in-my-arsenal/2026#2026" />
  <row Id="49307" PostHistoryTypeId="2" PostId="27072" RevisionGUID="57330349-88bf-4ea4-9c59-6b2db924f82f" CreationDate="2010-12-17T12:11:14.193" UserDisplayName="Ed J" Text="You can't go wrong with a good crisp mic pre: it'll improve the sound you get out of even a bog-standard mic compared to the ones built into your mixer/audio interface without massive investment.&#xD;&#xA;&#xD;&#xA;But it really depends what you're doing: If you're recording choirs and musical theatre then a single high-quality pre isn't going to be that useful when you're using multiple mics.&#xD;&#xA;&#xD;&#xA;The fact of the matter is that plugins are swiftly approaching analogue outboard fx in terms of quality, so your main focus should be on units that are good at capturing things (in my opinion): there's no VST for preamps ;)" ContentLicense="CC BY-SA 2.5" />
  <row Id="49308" PostHistoryTypeId="2" PostId="27073" RevisionGUID="7ba40484-ae74-4cb3-bdcf-015e7c871689" CreationDate="2010-12-18T10:52:49.943" UserId="7202" Text="Yes, a good mic preamp is better than a compressor, especially for the type of recording you do. That said, the preamps in your recorder may very well be quite good. I have an old Tascam analog desk, and it has 24 great preamps! Good analog compressors are also useful, because they should happen before digitization.&#xD;&#xA;&#xD;&#xA;Also essential are good monitors, and for the live recording situation, excellent headphones. Otherwise it's like trying to paint with shades on. :)&#xD;&#xA;&#xD;&#xA;As for the rest, if you are currently using software, continue with software. It's good enough. Should you end up in a situation where you feel it isn't good enough, then buy something that is. And that sounds like a stupid non-recommendation but it's actually quite important:&#xD;&#xA;&#xD;&#xA;Learn to use what you have. When you run into it's limitations, when you can't make it sound better, then you will usually know what in your chain is stopping you. The microphones? The preamps, the headphones? The only thing thathard spot is if you have bad monitors/headphones, so get good ones there first.&#xD;&#xA;&#xD;&#xA;If you can't tell what's stopping you from better sound, then I'm guessing this may be a good place to ask. :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="49309" PostHistoryTypeId="2" PostId="27074" RevisionGUID="968c1a17-1b2d-43f9-accf-8e06dba3a26f" CreationDate="2011-08-06T01:38:11.630" UserDisplayName="apollodude217" Text="Bottom line: Get a high-quality signal into the computer, backup and organize your files, and do as much editing as possible with software.&#xD;&#xA;&#xD;&#xA;Why? &#xD;&#xA;&#xD;&#xA; 1. Digital data does not decay.  You can fiddle with the effects in&#xD;&#xA;    digital domain without losing sound quality if you are judicious in&#xD;&#xA;    how you do it (don't cut the volume before boosting it, don't clip,&#xD;&#xA;    keep the original recorded signal around so you can re-fiddle with&#xD;&#xA;    effects). &#xD;&#xA; 2. Great, free plugins for great, free programs are&#xD;&#xA;    abundantly available.&#xD;&#xA;&#xD;&#xA;I'm a hobbyist musician on a shoestring budget myself, so any effects I use outside the PC were purchased for live scenarios (PodXT Live in my case, which is also my ADC, and is itself a computer applying effects via software)." ContentLicense="CC BY-SA 3.0" />
  <row Id="49310" PostHistoryTypeId="2" PostId="27071" RevisionGUID="6d5a5e21-f298-4331-97d3-f6a3c633be13" CreationDate="2010-12-17T11:55:07.360" UserDisplayName="Mark Pim" Text="I'm an amateur audio engineer who most of the time needs to record choirs or musical theatre productions, but who occasionally does home studio recording of songs.&#xD;&#xA;&#xD;&#xA;I don't have a huge amount of money but I'd like to build a collection of 'essential' audio units to give me the most flexibility and the most professional quality sound.&#xD;&#xA;&#xD;&#xA;I have basics like a mixer / hard disk recorder (Tascam 2488), cables, mics etc. but no dedicated effects units at the moment.&#xD;&#xA;&#xD;&#xA;For example, &#xD;&#xA;&#xD;&#xA;* will I feel the benefit, the return-on-investment if you like, if I buy a dedicated hardware reverb rather than relying on software reverb?&#xD;&#xA;* is a mic-preamp more useful than a compressor?&#xD;&#xA;* what piece of hardware could you not live without?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49311" PostHistoryTypeId="1" PostId="27071" RevisionGUID="6d5a5e21-f298-4331-97d3-f6a3c633be13" CreationDate="2010-12-17T11:55:07.360" UserDisplayName="Mark Pim" Text="What hardware units should I have in my arsenal?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49312" PostHistoryTypeId="3" PostId="27071" RevisionGUID="6d5a5e21-f298-4331-97d3-f6a3c633be13" CreationDate="2010-12-17T11:55:07.360" UserDisplayName="Mark Pim" Text="&lt;live&gt;&lt;hardware&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49313" PostHistoryTypeId="36" PostId="27075" RevisionGUID="324342a1-b64f-4fb8-8a1f-16df09462b66" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/1984/pitch-chord-tracking-software-such-as-melodyne" />
  <row Id="49314" PostHistoryTypeId="36" PostId="27076" RevisionGUID="e362275d-ff61-4ea7-a3b6-9fb38e8bb334" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/1984/pitch-chord-tracking-software-such-as-melodyne/1999#1999" />
  <row Id="49315" PostHistoryTypeId="2" PostId="27076" RevisionGUID="066f8bda-b8a9-4e33-a6ec-1c8884e42652" CreationDate="2011-08-03T15:28:57.807" UserDisplayName="Speldosa" Text="If you're using MIDI, you should check out ScoreCleaner from [DoReMIR][1]. The developers are pretty enthusiastic about the possibilites of their own software (it detects key signature, time signature, tempo, voices, and rhythm &amp; note values). However, since it new, it hasn't received that much attention yet.&#xD;&#xA;&#xD;&#xA;You can check out some tutorials of it on Youtube (the first of them is posted below) or download a 14 day trial version on their homepage.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=It38_8V0ji4&amp;feature=related&#xD;&#xA;&#xD;&#xA;  [1]: http://www.doremir.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="49316" PostHistoryTypeId="2" PostId="27075" RevisionGUID="644aef1a-f7be-49eb-a094-a68c823ed156" CreationDate="2011-07-31T12:30:12.863" UserDisplayName="user488792" Text="Aside from Melodyne, do you know any other music transcription softwares Specifically those that can do, onset detection, pitch detection, possibly chord detection, and possibly tempo estimation.&#xD;&#xA;&#xD;&#xA;I need it for some benchmarking observations.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;I've done a basic Google search already, but I want to know which are the most popular and most convincing since I've heard a lot about Melodyne from here." ContentLicense="CC BY-SA 3.0" />
  <row Id="49317" PostHistoryTypeId="1" PostId="27075" RevisionGUID="644aef1a-f7be-49eb-a094-a68c823ed156" CreationDate="2011-07-31T12:30:12.863" UserDisplayName="user488792" Text="Pitch/chord tracking software (such as Melodyne)" ContentLicense="CC BY-SA 3.0" />
  <row Id="49318" PostHistoryTypeId="3" PostId="27075" RevisionGUID="644aef1a-f7be-49eb-a094-a68c823ed156" CreationDate="2011-07-31T12:30:12.863" UserDisplayName="user488792" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49319" PostHistoryTypeId="36" PostId="27077" RevisionGUID="5bb7443c-4f76-4ce8-8151-c1edf764732c" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/659/how-can-i-qualify-differences-between-compressors" />
  <row Id="49320" PostHistoryTypeId="2" PostId="27078" RevisionGUID="c73b09a4-5e1e-46ac-8016-f818b4d31b92" CreationDate="2011-01-21T22:15:49.827" UserDisplayName="jlebre" Text="As some of you know, this field can get a bit subjective. I'll try to stay as focused as possible.&#xD;&#xA;Without going into many details, you should be looking into 2 things.&#xD;&#xA;&#xD;&#xA;- the reaction of the compressor&#xD;&#xA;- the colour that that reaction might add.&#xD;&#xA;&#xD;&#xA;By this i mean (and we'll have to look at analog gear for a second here):  &#xD;&#xA;There are many types of compressors; namely, the mechanism that allows them to react to the change in level above the threshold. Let's try and make this simple:  &#xD;&#xA;&#xD;&#xA;- Opto compressors (optical compressors) use a light emitting diode (LED) and a photocell. These are, by design, slower and less &quot;abrupt&quot;.&#xD;&#xA;- FET. Using transistors, these guys can have a high impedance input design. You have your famous 1176 on this category. IMO, these guys can be extremely brutal.&#xD;&#xA;- VCA use a voltage controlled amplifier. For this reason, they are usually really clinical, precise.&#xD;&#xA;&#xD;&#xA;Ok, now.. all of these can have different behaviours. You can probably begin to see a pattern here if you happened to play with some of these before. If not, Logic has an emulation of these and other designs on their integrated compressor.&#xD;&#xA;I believe that opto compressors can be easily &quot;disguised&quot;. Maybe the &quot;creamier&quot; you used? some coloration but nothing much. They can get a bit out of sorts when pushed harder. They won't be very exact either.&#xD;&#xA;VCA are usually really clinical like i said (maybe my choice for vocals? Think SSL G series bus compressor or dynamics). When pushed hard they are... interesting (then again, I listen to a lot of heavy compressed stuff :P)&#xD;&#xA;&#xD;&#xA;FET bring, from my experience, loads of colouration to the signal. The design itself brings some limitations (the 1176 was 600ohms input - which will bring some coloration right at the input stage for impedance mis-matching) and they are a bit brutal. Strangely enough, they seem to do a really good job when pushed harder but it can vary on the models a lot.&#xD;&#xA;&#xD;&#xA;On a digital domain: Well - a lot of manufacturers are going to great lengths to emulate some of the precious compressors that became legendary (fairchilds, old neves, UREI's, old DBXs etc).&#xD;&#xA;&#xD;&#xA;Hmm i guess my answer is getting a bit convoluted better see some feedback or if other questions arise and we'll take it from there." ContentLicense="CC BY-SA 2.5" />
  <row Id="49321" PostHistoryTypeId="2" PostId="27077" RevisionGUID="a48a300a-bf07-4b45-9b7f-63821944a7f3" CreationDate="2011-01-21T19:56:48.843" UserId="7294" Text="When A/Bing different models of compressor (usually DAW plugins since that's what I generally have access to), I can tell that different compressors with similar settings have a somewhat different sound, but I have a difficult time qualifying this beyond vague terms like &quot;creamier&quot; or &quot;harsher&quot;.  &#xD;&#xA;&#xD;&#xA;Are there more precise terms than this?  What properties might I be looking for when evaluating compressors?&#xD;&#xA;&#xD;&#xA;For example, Ableton Live includes a Compressor device which models three kinds of compressors.  They have the same settings, but each of the three models clearly sounds different.  What might be changing?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49322" PostHistoryTypeId="1" PostId="27077" RevisionGUID="a48a300a-bf07-4b45-9b7f-63821944a7f3" CreationDate="2011-01-21T19:56:48.843" UserId="7294" Text="How can I qualify differences between compressors?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49323" PostHistoryTypeId="3" PostId="27077" RevisionGUID="a48a300a-bf07-4b45-9b7f-63821944a7f3" CreationDate="2011-01-21T19:56:48.843" UserId="7294" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49324" PostHistoryTypeId="36" PostId="27078" RevisionGUID="e38e02d5-0a45-4df0-b1f8-2083bec88905" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/659/how-can-i-qualify-differences-between-compressors/661#661" />
  <row Id="49325" PostHistoryTypeId="36" PostId="27079" RevisionGUID="81385fc1-8365-4508-9b83-e992bd00cd4d" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/1537/dynamic-processing-terminology" />
  <row Id="49326" PostHistoryTypeId="2" PostId="27080" RevisionGUID="43eccf10-5c69-4b0e-8688-cc8ecc628a70" CreationDate="2011-06-03T13:40:04.080" UserId="7471" UserDisplayName="Mark Heath" Text="A few quick answers:&#xD;&#xA;&#xD;&#xA;**Q1.** Probably not useful very often, since it would mean that the loud things you recorded you wanted completely removed. Might be useful perhaps if an otherwise good recording had been spoiled by occasional loud thuds or pops, but you would need a fast attack/lookahead for this to work well.&#xD;&#xA;&#xD;&#xA;**Q2 &amp; 3.** These are kind of the inverse of expansion and compression. For example, after compressing, you usually apply a gain boost (&quot;make-up gain&quot;), so the end result is similar to leaving the loud bits alone and boosting the quiet bits. &#xD;&#xA;&#xD;&#xA;**Q4.** A compressor &quot;compresses&quot; the dynamic range of your music (the loud bits are not so loud compared to the quiet bits any more). An expander &quot;expands&quot; the dynamic range of your music (the loud bits are louder compared to the quiet bits)" ContentLicense="CC BY-SA 3.0" />
  <row Id="49327" PostHistoryTypeId="2" PostId="27079" RevisionGUID="9156e354-2848-4b6a-b900-cd5f051846b7" CreationDate="2011-06-03T10:07:10.213" UserId="6559" Text="This [question](http://audio.stackexchange.com/questions/1532/in-which-situations-is-audio-expansion-applied-opposite-of-compressors) has led me to request clarification on the names (and uses) regarding dynamic processing more widely.  &#xD;&#xA;The table below shows my understanding of the names of the processes when a signal goes above or below a defined threshold, and the action (block, cut, raise) that is then applied to the signal.&#xD;&#xA;&#xD;&#xA;                ┌ Threshold ───┬────────────────┐&#xD;&#xA;                │ Below        │ Above          │&#xD;&#xA;      ┌ Action ─┼──────────────┼────────────────┤&#xD;&#xA;      │ Block   │ GATING       │ ?1             │&#xD;&#xA;      │ Cut     │ EXPANSION ?4 │ COMPRESSION ?5 │&#xD;&#xA;      │ Raise   │ ?2           │ ?3             │&#xD;&#xA;      └─────────┴──────────────┴────────────────┘&#xD;&#xA;&#xD;&#xA;So, is there a naming convention (and a practical or creative use) for  &#xD;&#xA;1. blocking a signal completely when it goes above a threshold?   &#xD;&#xA;2. raising the signal when it falls below a threshold?  &#xD;&#xA;3. raising the signal when it goes above a certain threshold? 8|  &#xD;&#xA;  and  &#xD;&#xA;4. why is attenuating a signal that falls below a threshold called &quot;expansion&quot;?  &#xD;&#xA;  finally  &#xD;&#xA;5. `COMPRESSION` would include `LIMITING` ... so is there a better way of drawing the table?&#xD;&#xA;&#xD;&#xA;tia&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49328" PostHistoryTypeId="1" PostId="27079" RevisionGUID="9156e354-2848-4b6a-b900-cd5f051846b7" CreationDate="2011-06-03T10:07:10.213" UserId="6559" Text="Dynamic Processing Terminology" ContentLicense="CC BY-SA 3.0" />
  <row Id="49329" PostHistoryTypeId="3" PostId="27079" RevisionGUID="9156e354-2848-4b6a-b900-cd5f051846b7" CreationDate="2011-06-03T10:07:10.213" UserId="6559" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49330" PostHistoryTypeId="36" PostId="27080" RevisionGUID="d8ee3000-51ee-466b-9b96-6f359d0b70d8" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/1537/dynamic-processing-terminology/1538#1538" />
  <row Id="49331" PostHistoryTypeId="36" PostId="27081" RevisionGUID="e21ce7e8-ac2e-470f-993e-ce252eb551ae" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/2820/speed-pitch-shift-calculation-for-cassette-recorded-at-9-5-cm-s" />
  <row Id="49332" PostHistoryTypeId="36" PostId="27082" RevisionGUID="d7ded27d-f3d2-405f-8bbb-8572307b8f7e" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/2820/speed-pitch-shift-calculation-for-cassette-recorded-at-9-5-cm-s/2824#2824" />
  <row Id="49333" PostHistoryTypeId="2" PostId="27082" RevisionGUID="3eb10567-8d1b-4f3a-b631-a7f8590d0111" CreationDate="2011-12-16T07:58:55.553" UserDisplayName="Dr Rob" Text="After some more research I learnt that the &quot;ubiquitous cassette&quot; speed was/is 4.75 cm/s (i.e. half the speed of my recordings). After finding this out I punched the numbers into this site http://www.thewhippinpost.co.uk/tools/tempo-pitch-calculator.htm whereby the bpm increase is doubled (bearing in mind I need to speed up my recording as my input speed was half the recorded speed) resulting in a pitch shift of + 1 octave - which I guess kind of makes sense - I just wasn't sure if there was a direct/simple correlation between speed and pitch but it turns out there is.&#xD;&#xA;&#xD;&#xA;Instead of using Cubase - I applied this using Wavelab's Pitch Correction which I didn't realise would work one out from the other - i.e. you can change the pitch and if the Length Compensation is set to 0% it will act &quot;like a tape recorder&quot; and double the playback speed at the same time." ContentLicense="CC BY-SA 3.0" />
  <row Id="49334" PostHistoryTypeId="2" PostId="27081" RevisionGUID="9dcfe213-fc4b-4a5c-a3b9-bc8d0542bf46" CreationDate="2011-12-16T04:21:44.533" UserDisplayName="Dr Rob" Text="I am extracting some of my old 4 track cassettes onto my computer using a 2 track deck (the only cassette playing I have left). It seems that at one point I had a Tascam 4 track that recorded at a speed of 9.5 cm/s (3 3/4 in/s).&#xD;&#xA;&#xD;&#xA;Can anyone help me work out what Speed and Pitch shift values I need to use (I'm using Cubase to record them onto my PC) to restore them to their original playing speed and pitch.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49335" PostHistoryTypeId="1" PostId="27081" RevisionGUID="9dcfe213-fc4b-4a5c-a3b9-bc8d0542bf46" CreationDate="2011-12-16T04:21:44.533" UserDisplayName="Dr Rob" Text="Speed &amp; Pitch Shift calculation for cassette recorded at 9.5 cm/s" ContentLicense="CC BY-SA 3.0" />
  <row Id="49336" PostHistoryTypeId="3" PostId="27081" RevisionGUID="9dcfe213-fc4b-4a5c-a3b9-bc8d0542bf46" CreationDate="2011-12-16T04:21:44.533" UserDisplayName="Dr Rob" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49337" PostHistoryTypeId="36" PostId="27083" RevisionGUID="2cee8699-3076-42db-99f9-2aba25aa0d77" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/5695/connecting-turntable-to-mic-input-to-bypass-preamp" />
  <row Id="49338" PostHistoryTypeId="2" PostId="27084" RevisionGUID="eceef768-1994-471f-9de1-be9538e925d1" CreationDate="2012-12-29T05:41:31.847" UserId="7225" Text="Won't work.&#xD;&#xA;&#xD;&#xA;The output from a turntable is about 47k ohms. You need to get it to about 600 ohms for a standard line. Your mic is about 150 ohms (well, these can vary heavily though).&#xD;&#xA;&#xD;&#xA;You need a [RIAA][1] pre-amp just to get to mic-input so might as well go for line.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://en.wikipedia.org/wiki/RIAA_equalization" ContentLicense="CC BY-SA 3.0" />
  <row Id="49339" PostHistoryTypeId="2" PostId="27083" RevisionGUID="009197d2-7993-4c11-b05d-96c233466654" CreationDate="2012-12-28T21:53:26.593" UserDisplayName="Keegan McCarthy" Text="Would it be possible to connect a turntable to a mic input to completely bypass the preamp?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49340" PostHistoryTypeId="1" PostId="27083" RevisionGUID="009197d2-7993-4c11-b05d-96c233466654" CreationDate="2012-12-28T21:53:26.593" UserDisplayName="Keegan McCarthy" Text="Connecting Turntable to Mic input to bypass preamp?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49341" PostHistoryTypeId="3" PostId="27083" RevisionGUID="009197d2-7993-4c11-b05d-96c233466654" CreationDate="2012-12-28T21:53:26.593" UserDisplayName="Keegan McCarthy" Text="&lt;preamp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49342" PostHistoryTypeId="36" PostId="27084" RevisionGUID="1d7a08b0-720e-4de1-9b9d-5c4226f92c88" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/5695/connecting-turntable-to-mic-input-to-bypass-preamp/5705#5705" />
  <row Id="49343" PostHistoryTypeId="36" PostId="27085" RevisionGUID="b1c3ed31-7fd1-465c-9d49-bb9e112b6078" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/7485/how-does-the-group-work-on-the-behringer-x2442usb" />
  <row Id="49344" PostHistoryTypeId="36" PostId="27086" RevisionGUID="271170d9-95a2-4ebe-a26b-b399790c726b" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/7485/how-does-the-group-work-on-the-behringer-x2442usb/7486#7486" />
  <row Id="49345" PostHistoryTypeId="36" PostId="27087" RevisionGUID="5217143d-4d5d-410a-88c4-28f15d18bdb5" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/7485/how-does-the-group-work-on-the-behringer-x2442usb/7516#7516" />
  <row Id="49346" PostHistoryTypeId="2" PostId="27086" RevisionGUID="30c16302-c6d7-4822-8535-9966c2aa6161" CreationDate="2013-03-25T09:01:20.133" UserId="7312" Text="Check your mixer's back panel. I bet there are 8 sub outputs and not just 4. In this case, what's probably going on is that each sub signal is routed into a couple of outputs.&#xD;&#xA;&#xD;&#xA;    sub1-&gt;sub5&#xD;&#xA;    sub2-&gt;sub6&#xD;&#xA;    sub3-&gt;sub7&#xD;&#xA;    sub4-&gt;sub8&#xD;&#xA;&#xD;&#xA;For you this is just and additional versatility. You can use outputs to plug in 2 more stage monitors, recording equipment, etc.." ContentLicense="CC BY-SA 3.0" />
  <row Id="49347" PostHistoryTypeId="2" PostId="27087" RevisionGUID="b07f4033-be6f-4593-94c0-7a30f107807f" CreationDate="2013-03-28T00:47:15.703" UserDisplayName="escalation746" Text="I think you mean that those buttons are on the *right* side of the mixer, just before the main mix output faders. The big clue is that underneath them is the word SUBGROUPS. Subgroups are a useful intermediate step between the channel faders and the main mix. &#xD;&#xA;&#xD;&#xA;The signal flow is as follows. Each channel fader can be assigned to submix 1-2, submix 3-4, or the main outputs (with the 1-2, 3-4, and MAIN buttons respectively, as you noted). These are known as busses. Each bus contains the sum of all channels assigned to it. This is useful in many cases. For instance, you might assign six channels of drums to submix 1-2, so you can control their overall volume together, with the submix fader. Then you might have four more channels, this time of guitar, assigned to submix 3-4. And so on. &#xD;&#xA;&#xD;&#xA;Normally you would have both buttons above the subgroups fader depressed, so that the sound in that sub bus is sent in stereo to the main outs. But there are other cases where you might not want this sound in the main mix, for example when setting up some complex auxiliary routing. It's nice to have the option of taking the sound of that sub out of the main mix. But in any case it is still available on the back panel; at the SUB OUTPUTS jacks.&#xD;&#xA;&#xD;&#xA;The confusing part is that each sub channel has two identical outputs on the back. The output of channel 1 can also be on channel 5. I don't see the point, myself. " ContentLicense="CC BY-SA 3.0" />
  <row Id="49348" PostHistoryTypeId="2" PostId="27085" RevisionGUID="3a38842b-1b73-4aad-99c7-51c081a52a8c" CreationDate="2013-03-25T05:43:12.707" UserId="7239" Text="My Behringer X2442USB has a little panel on the left that has the follow&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;    [Button]   [Button]   [Button]   [Button]&#xD;&#xA;      LEFT       LEFT       LEFT       LEFT&#xD;&#xA;    &#xD;&#xA;    [Button]   [Button]   [Button]   [Button]&#xD;&#xA;     RIGHT      RIGHT      RIGHT      RIGHT&#xD;&#xA;&#xD;&#xA;       1          2          3          4&#xD;&#xA;       5          6          7          8&#xD;&#xA;&#xD;&#xA;    &#xD;&#xA;    ------     ------     ------     ------&#xD;&#xA;      |          |          |          |   &#xD;&#xA;      |          |          |          |   &#xD;&#xA;    SLIDER     SLIDER     SLIDER     SLIDER&#xD;&#xA;      |          |          |          |   &#xD;&#xA;      |          |          |          |   &#xD;&#xA;    ------     ------     ------     ------&#xD;&#xA;&#xD;&#xA;I don't really understand how to use this. What is 5-6 and 7-8? My Mixer doesn't even have those. All it has is 3 buttons on each channel: `1-2`, `3-4`, `MAIN`" ContentLicense="CC BY-SA 3.0" />
  <row Id="49349" PostHistoryTypeId="1" PostId="27085" RevisionGUID="3a38842b-1b73-4aad-99c7-51c081a52a8c" CreationDate="2013-03-25T05:43:12.707" UserId="7239" Text="How does the group work on the Behringer X2442USB?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49350" PostHistoryTypeId="3" PostId="27085" RevisionGUID="3a38842b-1b73-4aad-99c7-51c081a52a8c" CreationDate="2013-03-25T05:43:12.707" UserId="7239" Text="&lt;mixer&gt;&lt;behringer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49351" PostHistoryTypeId="36" PostId="27088" RevisionGUID="baae2c18-6058-45a8-b1cc-04b3b02ac9bf" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/2443/editing-mastering-workflow-for-a-podcast" />
  <row Id="49352" PostHistoryTypeId="2" PostId="27089" RevisionGUID="8bf355ac-6556-4600-8c60-be1490db2f89" CreationDate="2011-11-18T20:04:01.780" UserDisplayName="Michael" Text="I currently do a few podcast and have some input on your workflow.&#xD;&#xA;&#xD;&#xA;1) You have your high-pass and low-pass terminology backwards.  A high-pass filter cuts low frequencies, a low-pass filter cuts high frequencies.  Not a big deal, just remember that &quot;low-pass&quot; is only letting the *lows* pass, and blocking (filtering) everything else.&#xD;&#xA;&#xD;&#xA;11 kHz is far, far too low.  Your podcast will sound like an old timey telephone conversation.  Unless there's a really good reason, you should be leaving the high end alone.  Don't cut highs for the sake of cutting them, EQ them down a bit if the track is unnecessarily harsh. &#xD;&#xA;&#xD;&#xA;I do usually cut below 60 Hz to cut out mic boom and rumble.&#xD;&#xA;&#xD;&#xA;2) I don't pan on a podcast, nor would I recommend doing so.  Work with a mono track.&#xD;&#xA;&#xD;&#xA;3) I edit out &quot;umms&quot; and pauses after the track is mixed down.  &#xD;&#xA;&#xD;&#xA;4) Don't add reverb - there's no reason to.  The reason one would add reverb to any audio signal is to simulate being in an acoustic environment, which is sometimes desirable for music.  Listen to any radio or television broadcast - no reverb.  It will make it sound artificial." ContentLicense="CC BY-SA 3.0" />
  <row Id="49353" PostHistoryTypeId="2" PostId="27088" RevisionGUID="d0715cf2-a49b-47dd-88aa-86f7523d36e0" CreationDate="2011-10-06T23:50:57.157" UserId="20859" UserDisplayName="Ian Dunn" Text="I'm creating a podcast with two voice tracks and some intro/outro music, and I'm trying to decide on a general workflow for editing and mastering. Specifically, I'm not sure if some of the effects should be done before or after combining the voices to a single track, and if the music should be combined with the vocal tracks before mastering.&#xD;&#xA;&#xD;&#xA;**Editing**&#xD;&#xA;&#xD;&#xA;1. Create a new project in Audacity&#xD;&#xA;2. Import vocal tracks from audio interface&#xD;&#xA;3. Remove any mistakes, long pauses, &quot;ums&quot;, etc from each individual track&#xD;&#xA;4. Remove background noise from individual tracks&#xD;&#xA;5. Run high pass filter effect to cut everything above 11kHz&#xD;&#xA;6. Run low pass filter to cut everything below 80Hz&#xD;&#xA;7. Add compression to each track&#xD;&#xA;8. EQ each track&#xD;&#xA;9. Manually adjust the volumes of each track so they sound similar&#xD;&#xA;9. Pan the host's voice track a little bit to the right&#xD;&#xA;10. Pan the guest's track a little bit to the left&#xD;&#xA;11. Combine tracks and export to a lossless format&#xD;&#xA;&#xD;&#xA;**Mastering**&#xD;&#xA;&#xD;&#xA;1. Start a new project in Audacity&#xD;&#xA;2. Import the combined vocal tracks &#xD;&#xA;3. Add a little bit of reverb to it&#xD;&#xA;4. Add the intro/outro music&#xD;&#xA;5. Run a normalize effect&#xD;&#xA;6. Check how it sounds on earbuds, make minor tweaks&#xD;&#xA;7. Export to MP3&#xD;&#xA;&#xD;&#xA;Is anything out of order, missing or unnecessary? Do you have any other general suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49354" PostHistoryTypeId="1" PostId="27088" RevisionGUID="d0715cf2-a49b-47dd-88aa-86f7523d36e0" CreationDate="2011-10-06T23:50:57.157" UserId="20859" UserDisplayName="Ian Dunn" Text="Editing/Mastering workflow for a podcast" ContentLicense="CC BY-SA 3.0" />
  <row Id="49355" PostHistoryTypeId="3" PostId="27088" RevisionGUID="d0715cf2-a49b-47dd-88aa-86f7523d36e0" CreationDate="2011-10-06T23:50:57.157" UserId="20859" UserDisplayName="Ian Dunn" Text="&lt;editing&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49356" PostHistoryTypeId="36" PostId="27089" RevisionGUID="b41477a3-4abc-47dd-8cee-537c2a64423b" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/2443/editing-mastering-workflow-for-a-podcast/2664#2664" />
  <row Id="49357" PostHistoryTypeId="36" PostId="27090" RevisionGUID="950444a8-4c7a-48b4-8d79-7bde870cdf91" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/2443/editing-mastering-workflow-for-a-podcast/3549#3549" />
  <row Id="49358" PostHistoryTypeId="2" PostId="27090" RevisionGUID="f6c570b6-6f00-4c4a-958e-a3f0aea715e8" CreationDate="2012-03-13T15:23:09.473" UserDisplayName="JohnnyCanuck" Text="Just one suggestion, try to get clean audio as much as possible and then Normalize/Amplify your sound before any of the hi-pass  low-pass and filtering adjustments. This will eliminate the tiny, computerised sound that over process and re-processing cause. In other words, do steps 4-8 before 9. &#xD;&#xA;&#xD;&#xA;Try using a stage mic (dynamic) over a studio mic (condenser) if your recording  room is not studio quality. &#xD;&#xA;&#xD;&#xA;Also, have a look at Levelator http://www.conversationsnetwork.org/levelator, I have found that in most cases, it eliminates steps 4-9 altogether.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="49359" PostHistoryTypeId="36" PostId="27091" RevisionGUID="6a76be3a-da0a-406d-a438-467bb9d993e1" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/2137/is-tc-helicon-voicelive-2-good-in-the-studio-for-vocals" />
  <row Id="49360" PostHistoryTypeId="36" PostId="27092" RevisionGUID="4889c4bc-15f4-4ad2-99e5-b9c629c7b502" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/2137/is-tc-helicon-voicelive-2-good-in-the-studio-for-vocals/8855#8855" />
  <row Id="49361" PostHistoryTypeId="2" PostId="27092" RevisionGUID="32a8d024-6c81-468f-8a96-d3e4e0663b71" CreationDate="2013-08-29T19:38:54.073" UserId="17571" UserDisplayName="Zeronyne" Text="It depends on how you use it and the intent.&#xD;&#xA;&#xD;&#xA;You will get the most versatility and flexibility by recording your signal with no processing and then adding processing later. If you go this path, you may find that even inexpensive plug ins may provide more of the sound you desire than than the Voicelive 2. I find the Voicelive 2's reverb to sound thin and brittle, and the chorus does not have enough depth, which surprises me because TC's choruses are amazing (I know that they are essentially two different companies).&#xD;&#xA;&#xD;&#xA;Now, if you are using it for the looping or just trying to replicate how you use it live, I say why not print with effects? You can avoid at least one D to A stage by going in and out with the SPDIF, or I guess you could use USB, but a lot of DAWs don't like more than one audio interface." ContentLicense="CC BY-SA 3.0" />
  <row Id="49362" PostHistoryTypeId="2" PostId="27091" RevisionGUID="6f8180c0-a1b8-4ef7-86f5-7c325f85a781" CreationDate="2011-08-17T22:33:17.040" UserId="7942" UserDisplayName="Jean-François Côté" Text="I want to know if anyone has tried the famous [TC Helicon VoiceLive 2][1] in the studio. This effect pedal is made for live performance but the website say that it can also be used for studio. I can't find good article on this on the internet. Did anyone try it out? If so:&#xD;&#xA;&#xD;&#xA;-What are the positive/negative things about your experience.&#xD;&#xA;-How did you plug it to your computer (USB, etc..)&#xD;&#xA;&#xD;&#xA;I want fact, I don't want to know that you have a big studio with effects better than that. I want to know things like &quot;it makes noise&quot; or &quot;the levels are very bad&quot;, etc.&#xD;&#xA;&#xD;&#xA;Thanks a lot!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tc-helicon.com/products/voicelive-2/" ContentLicense="CC BY-SA 3.0" />
  <row Id="49363" PostHistoryTypeId="1" PostId="27091" RevisionGUID="6f8180c0-a1b8-4ef7-86f5-7c325f85a781" CreationDate="2011-08-17T22:33:17.040" UserId="7942" UserDisplayName="Jean-François Côté" Text="Is TC Helicon VoiceLive 2 good in the studio for vocals?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49364" PostHistoryTypeId="3" PostId="27091" RevisionGUID="6f8180c0-a1b8-4ef7-86f5-7c325f85a781" CreationDate="2011-08-17T22:33:17.040" UserId="7942" UserDisplayName="Jean-François Côté" Text="&lt;live&gt;&lt;studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49365" PostHistoryTypeId="36" PostId="27093" RevisionGUID="b8fde5f2-c157-4fd9-bf5b-eb14227bb158" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/406/which-distortion-pedals-have-a-strong-low-and-low-mid-frequency-response" />
  <row Id="49366" PostHistoryTypeId="36" PostId="27094" RevisionGUID="184f31b3-2c3a-4f36-8b98-d86cc1a2248a" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/406/which-distortion-pedals-have-a-strong-low-and-low-mid-frequency-response/407#407" />
  <row Id="49367" PostHistoryTypeId="2" PostId="27094" RevisionGUID="2efe09cf-2e85-4957-881d-1354e1178b93" CreationDate="2010-12-21T05:01:22.463" UserId="7218" Text="What you're looking for is a bass distortion pedal, [like this one.](http://www.bestcovery.com/roger-mayer-voodoo-bass-2-dual-band-bass-pedal)  " ContentLicense="CC BY-SA 2.5" />
  <row Id="49368" PostHistoryTypeId="2" PostId="27095" RevisionGUID="43ce371f-d055-4652-a26b-0f27f7b1fb3d" CreationDate="2010-12-22T10:50:02.037" UserDisplayName="Willbill" Text="Distortion effects work by introducing high frequency harmonics into a signal. This is even the case when distorting sound sources that only contain bass frequencies.&#xD;&#xA;&#xD;&#xA;A bassy distortion sound is achieved by either filtering the high end out of the distorted output with any distortion pedals tone control turned right down. Or by blending the distortion effect with the original sound source or a low-pass filtered version of it (this is how bass distortion pedals work).&#xD;&#xA;&#xD;&#xA;There are some distortion effect for the guitar which create a lower tone so called &quot;sub-octave&quot; effects but these only really work on single note sound sources so I don't think they are what you are looking for.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49369" PostHistoryTypeId="2" PostId="27093" RevisionGUID="bd44fa2c-df61-48b7-b517-e3fd9a95c224" CreationDate="2010-12-21T04:00:11.847" UserDisplayName="noneme" Text="I'm looking for a distortion pedal to be used with various instruments that produce frequencies anywhere in the spectrum of 20 hz - 12,000+ hz. &#xD;&#xA;&#xD;&#xA;I have guitar fuzz pedals that produce strong high end and high-mid distortions, but are lacking outside of that. What are some distortion pedals that produce a very audible effect on the low and low-mid frequency ranges (e.g. below 5000 hz)? True bypass in the switch is also desirable, but not required. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49370" PostHistoryTypeId="1" PostId="27093" RevisionGUID="bd44fa2c-df61-48b7-b517-e3fd9a95c224" CreationDate="2010-12-21T04:00:11.847" UserDisplayName="noneme" Text="Which distortion pedals have a strong low and low-mid frequency response?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49371" PostHistoryTypeId="3" PostId="27093" RevisionGUID="bd44fa2c-df61-48b7-b517-e3fd9a95c224" CreationDate="2010-12-21T04:00:11.847" UserDisplayName="noneme" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49372" PostHistoryTypeId="36" PostId="27095" RevisionGUID="cf9220c7-acf6-49c3-af8e-80e59a7e4837" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/406/which-distortion-pedals-have-a-strong-low-and-low-mid-frequency-response/418#418" />
  <row Id="49373" PostHistoryTypeId="36" PostId="27096" RevisionGUID="b3152ca2-d2a4-4f00-929f-e4f81b1d6137" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/169/distortion-on-digi-pre" />
  <row Id="49374" PostHistoryTypeId="2" PostId="27097" RevisionGUID="91a5521b-e5c2-4d14-b656-363692200c18" CreationDate="2010-12-09T20:28:28.630" UserId="7592" UserDisplayName="Pelle ten Cate" Text="This sounds like a broken circuit to me. If you still have a valid warranty on the machine (I don't know how digidesign does this), I would return it immediately for a proper repair. Otherwise, either send it to Digi, or to some radioshack (do find a good one though).&#xD;&#xA;&#xD;&#xA;One advantage sending it to digidesign is that they replace the broken components with the same brand of material. This can be important because other brands of capacitors for instance could have a slight offset in real capacity resulting in a different sound or sensitivity on that particular channel, which is never good to work with.&#xD;&#xA;&#xD;&#xA;If you are into electronics yourself, there is always the option to open the device and look what could be wrong. Make sure to check if you are not voiding warranties if you do so." ContentLicense="CC BY-SA 2.5" />
  <row Id="49375" PostHistoryTypeId="2" PostId="27096" RevisionGUID="87ef674e-036d-4e57-99cb-f6c505048ed4" CreationDate="2010-12-09T03:22:54.410" UserId="7398" Text="One of the inputs on my Digidesign PRE preamp recently started producing a distorted sound with a lot of static.  Are there some basic things I can do or check for to fix it before I send it in to get repaired?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49376" PostHistoryTypeId="1" PostId="27096" RevisionGUID="87ef674e-036d-4e57-99cb-f6c505048ed4" CreationDate="2010-12-09T03:22:54.410" UserId="7398" Text="Distortion on Digi PRE" ContentLicense="CC BY-SA 2.5" />
  <row Id="49377" PostHistoryTypeId="3" PostId="27096" RevisionGUID="87ef674e-036d-4e57-99cb-f6c505048ed4" CreationDate="2010-12-09T03:22:54.410" UserId="7398" Text="&lt;preamp&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49378" PostHistoryTypeId="36" PostId="27097" RevisionGUID="a8ceab81-a410-4b57-8765-05211ea99499" CreationDate="2014-02-14T15:19:45.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/169/distortion-on-digi-pre/199#199" />
  <row Id="49381" PostHistoryTypeId="5" PostId="27073" RevisionGUID="b5aea058-0bb4-4cc8-828e-e728d303d82a" CreationDate="2014-02-14T16:05:20.287" UserId="7202" Comment="added 8 characters in body" Text="Yes, a good mic preamp is better than a compressor, especially for the type of recording you do. That said, the preamps in your recorder may very well be quite good. I have an old Tascam analog desk, and it has 24 great preamps! Good analog compressors are also useful, because they should happen before digitization.&#xD;&#xA;&#xD;&#xA;Also essential are good monitors, and for the live recording situation, excellent headphones. Otherwise it's like trying to paint with colored shades on. :)&#xD;&#xA;&#xD;&#xA;As for the rest, if you are currently using software, continue with software. It's good enough. Should you end up in a situation where you feel it isn't good enough, then buy something that is. And that sounds like a stupid non-recommendation but it's actually quite important:&#xD;&#xA;&#xD;&#xA;Learn to use what you have. When you run into it's limitations, when you can't make it sound better, then you will usually know what in your chain is stopping you. The microphones? The preamps, the headphones? The only thing thathard spot is if you have bad monitors/headphones, so get good ones there first.&#xD;&#xA;&#xD;&#xA;If you can't tell what's stopping you from better sound, then I'm guessing this may be a good place to ask. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="49382" PostHistoryTypeId="34" PostId="10494" RevisionGUID="2af512ac-3554-4478-bf61-ceabe7579466" CreationDate="2014-02-14T16:34:56.673" UserId="-1" Comment="4" />
  <row Id="49383" PostHistoryTypeId="15" PostId="10494" RevisionGUID="2fb9f107-9792-496e-aebd-4c7561568555" CreationDate="2014-02-14T16:34:56.673" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="49384" PostHistoryTypeId="2" PostId="27099" RevisionGUID="e135ee63-fc30-4d20-903c-d2391181ca5e" CreationDate="2014-02-14T17:12:29.553" UserId="6832" Text="Slush stomped&#xA;&#xA;(Amazing gore component)&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49385" PostHistoryTypeId="2" PostId="27100" RevisionGUID="7ffb27fe-700e-46c5-9b99-875a5b0624e5" CreationDate="2014-02-14T19:08:35.913" UserId="7405" Text="Studio monitors, studio monitors and studio monitors. Did I mention studio monitors? Buy the best you can (or can't) afford and if it looks too cheap it probably is. Do research on them - find out what folk recommend in the style of music you are going to be persuing.&#xD;&#xA;&#xD;&#xA;I don't use any hardware external to my PC now apart from a small yamaha mixer (that's seen better days but phantom powers my Rode microphone), guitars, small yamaha keyboard with midi and saxophone.&#xD;&#xA;&#xD;&#xA;I record everything dry (except when I'm having a beer!). " ContentLicense="CC BY-SA 3.0" />
  <row Id="49386" PostHistoryTypeId="36" PostId="27101" RevisionGUID="ba56c377-f892-4446-892b-38b45e59ef8f" CreationDate="2014-02-14T20:31:09.773" UserId="-1" Comment="from http://video.stackexchange.com/questions/10121/mixed-performance-from-monitor-headphones-plugged-into-audio-interface" />
  <row Id="49387" PostHistoryTypeId="2" PostId="27102" RevisionGUID="c4528a5f-17b8-4612-8e32-29379193944b" CreationDate="2014-02-07T12:05:14.803" UserDisplayName="shennan" Text="I can confirm that my suspicions about the TRRS (4 conductor) 3.5mm jack are correct. I went back to the Sennheiser Momentum box and found a different connecting cable within, a TRRS to TRS (without the added volume functionality). When pairing this with the 1/4&quot; adapter, everything worked as expected.&#xD;&#xA;&#xD;&#xA;For anyone stitching a cheap home studio together, make sure your cans haven't been optimised for  mp3 players. A quick/easy way to tell is to inspect the 3.5mm head. Note the difference between TRS and TRRS in this image pulled from Wikipedia:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/QeyQT.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="49388" PostHistoryTypeId="2" PostId="27101" RevisionGUID="51efe4df-6ea2-41d2-a07d-811e548173cd" CreationDate="2014-02-06T20:03:51.047" UserDisplayName="shennan" Text="Is there any reason why a perfectly good pair of headphones (Sennheiser Momentum) will be seemingly fine when plugged into a 3.5mm jack (for instance, my iPhone), but completely bomb when plugged in to a 1/4&quot; adapter for use with Hi Fi or (more importantly) my Focusrite Saffire monitor output?&#xD;&#xA;&#xD;&#xA;When I use the 1/4&quot; adapter with the Momentum headphones everything is tinny, quiet and crackles/spikes intermittently. I'm not just talking about a steady stream of poor audio quality - I mean a very unstable connection.&#xD;&#xA;&#xD;&#xA;As I said, without the 1/4&quot; adapter (into an iPhone) everything is dandy. I've tested the 1/4&quot; adapter on other headphones with no problems. For instance, I tried a pair of Sennheiser HD25's with the same 1/4&quot; adapter which sounds fine.&#xD;&#xA;&#xD;&#xA;Is it possible that the extra functionality on the Momentum (a volume control which I presume sends commands down the wire to mp3 devices) is the bad apple? For example, as per [this](http://en.wikipedia.org/wiki/Phone_connector_(audio)#Mobile_phones) article on Wikipedia, it suggests that compatibility between 3.5mm connectors is not as straight forward as I originally thought.&#xD;&#xA;&#xD;&#xA;Any insight on this would be great." ContentLicense="CC BY-SA 3.0" />
  <row Id="49389" PostHistoryTypeId="1" PostId="27101" RevisionGUID="51efe4df-6ea2-41d2-a07d-811e548173cd" CreationDate="2014-02-06T20:03:51.047" UserDisplayName="shennan" Text="Mixed performance from monitor headphones plugged into audio interface" ContentLicense="CC BY-SA 3.0" />
  <row Id="49390" PostHistoryTypeId="3" PostId="27101" RevisionGUID="51efe4df-6ea2-41d2-a07d-811e548173cd" CreationDate="2014-02-06T20:03:51.047" UserDisplayName="shennan" Text="&lt;monitoring&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49391" PostHistoryTypeId="36" PostId="27102" RevisionGUID="fab86612-3151-41e8-bf02-5bcc9f1bf606" CreationDate="2014-02-14T20:31:09.773" UserId="-1" Comment="from http://video.stackexchange.com/questions/10121/mixed-performance-from-monitor-headphones-plugged-into-audio-interface/10130#10130" />
  <row Id="49392" PostHistoryTypeId="36" PostId="27103" RevisionGUID="bc2d6670-b903-4fde-90cf-1b9e6e0d20ce" CreationDate="2014-02-14T20:31:09.773" UserId="-1" Comment="from http://video.stackexchange.com/questions/10121/mixed-performance-from-monitor-headphones-plugged-into-audio-interface/10164#10164" />
  <row Id="49393" PostHistoryTypeId="2" PostId="27103" RevisionGUID="0eb64cfc-4fb6-496f-81fc-b544af7230bf" CreationDate="2014-02-11T19:41:40.283" UserId="7600" UserDisplayName="awhitson" Text="You can also try to plug them in only up to the second/middle barrel of the ring." ContentLicense="CC BY-SA 3.0" />
  <row Id="49394" PostHistoryTypeId="36" PostId="27104" RevisionGUID="f296925e-97d3-45b5-8678-c42baf862077" CreationDate="2014-02-14T20:34:16.040" UserId="-1" Comment="from http://video.stackexchange.com/questions/10118/random-crackling-audio-when-recording-through-usb-devices-on-2013-imac-maveric" />
  <row Id="49395" PostHistoryTypeId="2" PostId="27104" RevisionGUID="cf296e15-2a8b-47a6-8098-19dcba4bb875" CreationDate="2014-02-06T12:58:19.543" UserId="7495" UserDisplayName="Dan Murfitt" Text="I've got a late 2013 27&quot; iMac running the latest OS X (Mavericks 10.9.1). When recording audio through a USB device (I've tried both a USB headset and a USB Mixer (Alesis iO2 + condenser mic) I sometimes get a very crackling recording. I've tried the same hardware on my 2011 Macbook Pro, running Snow Leopard, and it seems to work fine. A Google search is leading me to believe this is related to late 2013 Macs (specifically, those running fusion drives) and USB recording devices, but I can't quite see why this would be.&#xD;&#xA;&#xD;&#xA;Has anyone experienced this issue before? The problem also seems to be quite random - I have had clear recordings as well as crackled ones, without changing any settings or unplugging anything. The only other thing I can think of is that the length of recording might be having an impact, but so far my tests have all been well under 1 minute.&#xD;&#xA;&#xD;&#xA;Any suggestions welcome." ContentLicense="CC BY-SA 3.0" />
  <row Id="49396" PostHistoryTypeId="1" PostId="27104" RevisionGUID="cf296e15-2a8b-47a6-8098-19dcba4bb875" CreationDate="2014-02-06T12:58:19.543" UserId="7495" UserDisplayName="Dan Murfitt" Text="Random crackling audio when recording through USB devices on 2013 iMac / Mavericks" ContentLicense="CC BY-SA 3.0" />
  <row Id="49397" PostHistoryTypeId="3" PostId="27104" RevisionGUID="cf296e15-2a8b-47a6-8098-19dcba4bb875" CreationDate="2014-02-06T12:58:19.543" UserId="7495" UserDisplayName="Dan Murfitt" Text="&lt;audio-recording&gt;&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49399" PostHistoryTypeId="2" PostId="27106" RevisionGUID="759ecc20-da91-4f19-93b8-cf4feaa27173" CreationDate="2014-02-14T21:21:24.490" UserId="7008" Text="What software are you using? Have you tried increasing your overall Buffer Size and decreasing your Sample Rate? Also, are any hard drive intensive tasks running on your iMac simultaneously?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Edited to add." ContentLicense="CC BY-SA 3.0" />
  <row Id="49404" PostHistoryTypeId="5" PostId="1286" RevisionGUID="8b9060ab-efa8-49d0-a01b-1f0d0b78ecbf" CreationDate="2014-02-14T21:25:57.423" UserId="6957" Comment="Added follow up as edit" Text="I have access to a Sony DRE-S777 Convolution Reverb, and we're trying to figure out how to sample for it.  Does anyone know what format the samples need to be?&#xD;&#xA;&#xD;&#xA;Do I need to to a sweep?  How long?  Speaker / Mic setup?  File Format?&#xD;&#xA;&#xD;&#xA;These guys are pretty rare, so I'd be surprised if anyone knows, but it's worth a shot!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;P.S.  I have both the user's manual and the quick start guide.  Neither touch on the subject :-/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**EDIT:**&#xD;&#xA;&#xD;&#xA;To clarify, I know that the machine has a sampling function in it, but the unit is built in to the stage I'm working on, and I can't bring it around with me to sample environments.  I'd like to find a way to do the sample elsewhere, then bring it back to the machine later on.&#xD;&#xA;&#xD;&#xA;--------------&#xD;&#xA;**EDIT 2**&#xD;&#xA;&#xD;&#xA;Ok, so I've done a bit more research and here's what I've found out so far:&#xD;&#xA;&#xD;&#xA;In order to do the sampling internally, you have you have an option called the DASK-S704. It's basically a CD-Rom that the unit boots from. Not sure if we have one of those. I'll have to find out. If we don't, I may be SOL, as the unit is discontinued...&#xD;&#xA;&#xD;&#xA;However, I'm still wondering if there's a way to create the samples and load them in without using this software, and without taking the Sony unit on location. There may not be, but I'm going to try, try, try until I get a definitive answer!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49406" PostHistoryTypeId="19" PostId="1286" RevisionGUID="ff536dff-2507-49fc-be04-01951762a096" CreationDate="2014-02-14T21:26:03.673" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="49425" PostHistoryTypeId="19" PostId="2336" RevisionGUID="669fc35a-b0e7-4fa1-ba77-a460e6121f4c" CreationDate="2014-02-14T21:44:35.500" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="49431" PostHistoryTypeId="13" PostId="24662" RevisionGUID="54e261fc-b193-480d-b9ae-6951268e7480" CreationDate="2014-02-15T00:51:47.100" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="49432" PostHistoryTypeId="13" PostId="24663" RevisionGUID="9c475ae6-2793-489a-a946-c584bfe1561d" CreationDate="2014-02-15T00:52:41.467" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="49433" PostHistoryTypeId="13" PostId="24664" RevisionGUID="2ec2f918-ebb6-4f6b-844e-317255887a74" CreationDate="2014-02-15T00:52:52.437" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="49435" PostHistoryTypeId="2" PostId="27107" RevisionGUID="fa17633a-c694-46b8-ba71-1eb01c27f50b" CreationDate="2014-02-15T03:25:32.743" UserId="7474" Text="I would also suggest looking at Celemony's Melodyne. I haven't used Auto-Tune for a long time, but Melodyne killed it in the water for me. Notably, when Polyphonic tuning came in. They may be closer now than before. Research!&#xD;&#xA;&#xD;&#xA;If you just need a rough match, a lot of DAWs and audio-in synth (FX etc.) have pitch transpose / adjustment. However, the two aforementioned plugins will allow you to tighten the fluctuations in pitch. " ContentLicense="CC BY-SA 3.0" />
  <row Id="49436" PostHistoryTypeId="2" PostId="27108" RevisionGUID="1b7fa190-ce12-461a-a0cc-f525fdd6b4f6" CreationDate="2014-02-15T07:53:37.900" UserId="1185" Text="You do not say which DAW you are using, but as you mention VST if you are using Steinberg then for real-time operation there is a plug-in that comes with the DAW called PitchCorrect and for non-realtime you have the VeriAudio engine." ContentLicense="CC BY-SA 3.0" />
  <row Id="49437" PostHistoryTypeId="5" PostId="10685" RevisionGUID="3db15173-cafd-4385-821f-18670f78cdc3" CreationDate="2014-02-15T07:58:22.820" UserId="6432" Comment="Adjusted soundcloud embed" Text="London from inside a post box&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/mark-durham/london-from-inside-a-post-box&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[http://soundcloud.com/mark-durham/london-from-inside-a-post-box][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://soundcloud.com/mark-durham/london-from-inside-a-post-box" ContentLicense="CC BY-SA 3.0" />
  <row Id="49438" PostHistoryTypeId="5" PostId="10752" RevisionGUID="ba798e6f-5b16-4f64-9918-1adf50153ae8" CreationDate="2014-02-15T07:59:18.293" UserId="6432" Comment="Adjusted soundcloud embed" Text="Instrument Panel of a Helicopter powering down&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/auddity/helicopter-instrument-panel&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/auddity/helicopter-instrument-panel" ContentLicense="CC BY-SA 3.0" />
  <row Id="49439" PostHistoryTypeId="11" PostId="24661" RevisionGUID="8a55dc7b-9a4c-4397-a164-9f3f653ff403" CreationDate="2014-02-15T08:47:47.737" UserId="7016" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="49440" PostHistoryTypeId="5" PostId="26840" RevisionGUID="facdcace-7840-4c63-a434-21d6be0bc7d9" CreationDate="2014-02-15T09:05:57.500" UserId="61" Comment="added 207 characters in body" Text="Anyone know of a comprehensive list of the suffixes that Pro Tools plugins tack onto the end of rendered files? For example: MH4T. What the heck plugin made that??&#xD;&#xA;&#xD;&#xA;UPDATE:&#xD;&#xA;&#xD;&#xA;OK, it seems that more than a few of you are interested in this topic and getting a glossary. Can someone get us started? Let's do it in the form of an answer to the original question. Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="49442" PostHistoryTypeId="2" PostId="27109" RevisionGUID="a1ff6dba-a985-4763-b859-45a8579b9eab" CreationDate="2014-02-15T10:22:20.280" UserId="1228" Text="I'm thinking we break it by plugin bundles or something - so we don't get 10 WAVES gold submissions.  Maybe some takes, if they got it, the iZotopr stuff, someone take SoundToys, GRM, McDSP, Waves Mercury, etc?  That's the best idea I have so far on the topic." ContentLicense="CC BY-SA 3.0" />
  <row Id="49443" PostHistoryTypeId="5" PostId="27109" RevisionGUID="d4e86e9b-1d01-4c72-8216-f8ee1d9a0544" CreationDate="2014-02-15T10:28:19.477" UserId="1228" Comment="added 275 characters in body" Text="I'm thinking we break it by plugin bundles or something - so we don't get 10 WAVES gold submissions.  Maybe someone takes, if they got it, the iZotope stuff, someone take SoundToys, GRM, McDSP, Waves Mercury, etc?  That's the best idea I have so far on the topic.&#xD;&#xA;&#xD;&#xA;I'm not sure of the best way to crowdsource the data and not get overburdened.  I already started an excel noting the ones I've used while cutting along the way.  I can compile the data from everyone so long as we can devide an conquer and have an efficient means to send the data over.&#xD;&#xA;&#xD;&#xA;Maybe everyone, when they're done with their 'set', post a comment to this answer with a direct link to a TXT doc (or better yet, an excel doc).  Then I can just click-and-add to the master excel doc." ContentLicense="CC BY-SA 3.0" />
  <row Id="49444" PostHistoryTypeId="15" PostId="24661" RevisionGUID="20f8a201-9f79-47ce-9cad-92bd2ad17867" CreationDate="2014-02-15T14:34:29.887" UserId="6387" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6387,&quot;DisplayName&quot;:&quot;Tim Post&quot;}]}" />
  <row Id="49445" PostHistoryTypeId="5" PostId="27109" RevisionGUID="32356220-f54c-48c0-9f50-bad10897e64a" CreationDate="2014-02-15T17:11:31.813" UserId="1228" Comment="added 11 characters in body" Text="I'm thinking we break it by plugin bundles or something - so we don't get 10 WAVES gold submissions.  Maybe someone takes, if they got it, the iZotope stuff, someone take SoundToys, GRM, McDSP, Flux, SPL, Waves Mercury, etc?  That's the best idea I have so far on the topic.&#xD;&#xA;&#xD;&#xA;I'm not sure of the best way to crowdsource the data and not get overburdened.  I already started an excel noting the ones I've used while cutting along the way.  I can compile the data from everyone so long as we can devide an conquer and have an efficient means to send the data over.&#xD;&#xA;&#xD;&#xA;Maybe everyone, when they're done with their 'set', post a comment to this answer with a direct link to a TXT doc (or better yet, an excel doc).  Then I can just click-and-add to the master excel doc.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here's what we're up against: http://avid.force.com/pkb/articles/compatibility/en343311" ContentLicense="CC BY-SA 3.0" />
  <row Id="49446" PostHistoryTypeId="36" PostId="27110" RevisionGUID="af2edd37-d511-49ba-a078-80825f684f82" CreationDate="2014-02-15T17:12:53.530" UserId="-1" Comment="from http://video.stackexchange.com/questions/10221/2km-distance-fm-transmitter" />
  <row Id="49447" PostHistoryTypeId="2" PostId="27110" RevisionGUID="58da8927-82c9-46fa-bbe4-bbf07e05f201" CreationDate="2014-02-15T11:23:26.613" UserId="7487" UserDisplayName="Stoan" Text="I'm looking to do something like a Drive-in cinema but for music play. Is it possible? Is there a FM Transmitter device I can use that can support about 2-3KM coverage? Can it operate at least 12 hours non-stop? has Good audio quality?&#xD;&#xA;&#xD;&#xA;I wanna do a setup on an open field plug it to mixer and cars should receive audio(music) from their FM tuner?&#xD;&#xA;&#xD;&#xA;Is this possible?&#xD;&#xA;&#xD;&#xA;I have found a few long range FM transmitters via Google but I wanna know if this is possible and practical before buying the devices. Any recommendations?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="49448" PostHistoryTypeId="1" PostId="27110" RevisionGUID="58da8927-82c9-46fa-bbe4-bbf07e05f201" CreationDate="2014-02-15T11:23:26.613" UserId="7487" UserDisplayName="Stoan" Text="2KM distance FM Transmitter?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49449" PostHistoryTypeId="3" PostId="27110" RevisionGUID="58da8927-82c9-46fa-bbe4-bbf07e05f201" CreationDate="2014-02-15T11:23:26.613" UserId="7487" UserDisplayName="Stoan" Text="&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49450" PostHistoryTypeId="6" PostId="27110" RevisionGUID="9897161d-e05b-4e6a-a904-d03daaaadebd" CreationDate="2014-02-15T17:16:01.313" UserId="7174" Comment="edited tags" Text="&lt;audio&gt;&lt;radio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49451" PostHistoryTypeId="2" PostId="27111" RevisionGUID="c70bbad4-3194-4a62-b9b4-f07c770d9d3c" CreationDate="2014-02-15T17:17:51.260" UserId="7174" Text="It is certainly possible to broadcast over any distance of your choosing, it's just a matter of what equipment you need and what licenses you will require.  When conditions are right, it's even possible to bounce a signal around the world at the proper frequencies.&#xD;&#xA;&#xD;&#xA;For FM, you will need a transmitter with sufficient power, the necessary local clearances to operate it (at a 2km range, there is a good chance it will be considered a radio station) and the necessary legal permission to play the audio you want to play.&#xD;&#xA;&#xD;&#xA;Unfortunately, the majority of this (all the legal aspects) depend entirely on where you want to transmit from and we aren't likely to be able to help you much with that.  As for signal power, this also depends on the equipment being used to receive and the terrain from which you are broadcasting, so you would really need to experiment a bit in order to figure out what works for your environment." ContentLicense="CC BY-SA 3.0" />
  <row Id="49452" PostHistoryTypeId="2" PostId="27112" RevisionGUID="9e49eeb4-9cff-41e3-85ea-eb6c0b8e48da" CreationDate="2014-02-15T22:05:08.950" UserId="7477" Text="I am new to sound design and production. It may be just me and/or the fact that I'm just a beginner, but I feel very limited when using conventional synthesizers to create sounds.&#xD;&#xA;&#xD;&#xA;I am searching for a program that allows you to have complete control of creating the sound you want via drawing or graphing. I came across a pretty nice little program called &quot;Draw The Sound&quot; (http://victorx.eu/DrawTheSound.htm) which is an amazing concept, but the software itself is very clearly underdeveloped.&#xD;&#xA;&#xD;&#xA;I was wondering if there are any programs similar to Draw The Sound with more robust features. If not, what would be a good way to start looking into how to code such a program (i.e. what programming languages, etc)? I am a software developer so if there are really no decent alternatives to traditional sound synthesis than I may plan on learning how to develop one myself.&#xD;&#xA;&#xD;&#xA;Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="49453" PostHistoryTypeId="1" PostId="27112" RevisionGUID="9e49eeb4-9cff-41e3-85ea-eb6c0b8e48da" CreationDate="2014-02-15T22:05:08.950" UserId="7477" Text="Sound synthesis alternatives?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49454" PostHistoryTypeId="3" PostId="27112" RevisionGUID="9e49eeb4-9cff-41e3-85ea-eb6c0b8e48da" CreationDate="2014-02-15T22:05:08.950" UserId="7477" Text="&lt;sound-design&gt;&lt;synthesis&gt;&lt;sound-devices&gt;&lt;programming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49455" PostHistoryTypeId="2" PostId="27113" RevisionGUID="e9fe2a0c-e628-44ba-9701-7b354d0c4fc3" CreationDate="2014-02-15T22:51:30.693" UserId="6869" Text="You might be interested in Metasynth, [DIN](http://dinisnoise.org/), [Coagula](http://www.abc.se/~re/Coagula/Coagula.html) (a poor man's Metasynth, for Windows).&#xD;&#xA;&#xD;&#xA;As for programming, SuperCollider is a good choice, although not the only one." ContentLicense="CC BY-SA 3.0" />
  <row Id="49456" PostHistoryTypeId="5" PostId="27112" RevisionGUID="b3668964-f452-4fd6-8f21-6563c1744498" CreationDate="2014-02-15T22:58:58.467" UserId="7477" Comment="edited body" Text="I am new to sound design and production. It may be just me and/or the fact that I'm just a beginner, but I feel very limited when using conventional synthesizers to create sounds.&#xD;&#xA;&#xD;&#xA;I am searching for a program that allows you to have complete control of creating the sound you want via drawing or graphing. I came across a pretty nice little program called &quot;Draw The Sound&quot; (http://victorx.eu/DrawTheSound.htm) which is an amazing concept, but the software itself is very clearly underdeveloped.&#xD;&#xA;&#xD;&#xA;I was wondering if there are any programs similar to Draw The Sound with more robust features. If not, what would be a good way to start looking into how to code such a program (i.e. what programming languages, etc)? I am a software developer so if there are really no decent alternatives to traditional sound synthesis then I may plan on learning how to develop one myself.&#xD;&#xA;&#xD;&#xA;Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="49457" PostHistoryTypeId="6" PostId="22023" RevisionGUID="b73fa895-71ef-49a7-bc3c-588836e218e2" CreationDate="2014-02-16T03:37:47.860" UserId="6411" Comment="edited tags" Text="&lt;pro-tools&gt;&lt;laptop&gt;&lt;purchase-advice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49458" PostHistoryTypeId="6" PostId="20185" RevisionGUID="4116ff86-37f5-4ce1-a3e6-e3f90ed68f77" CreationDate="2014-02-16T03:38:44.973" UserId="6411" Comment="edited tags" Text="&lt;osx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49459" PostHistoryTypeId="6" PostId="19765" RevisionGUID="11cf5f09-39e8-491d-9c59-766a84b1eb38" CreationDate="2014-02-16T03:40:07.323" UserId="6411" Comment="edited tags" Text="&lt;pro-tools&gt;&lt;compatibility&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49460" PostHistoryTypeId="4" PostId="19624" RevisionGUID="8dd399a9-4447-4a54-8db9-c3238ba2f8c7" CreationDate="2014-02-16T03:41:48.940" UserId="6411" Comment="edited tags; edited title" Text="Pro Tools 11: Pros and Cons" ContentLicense="CC BY-SA 3.0" />
  <row Id="49461" PostHistoryTypeId="6" PostId="19624" RevisionGUID="8dd399a9-4447-4a54-8db9-c3238ba2f8c7" CreationDate="2014-02-16T03:41:48.940" UserId="6411" Comment="edited tags; edited title" Text="&lt;pro-tools-11&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49462" PostHistoryTypeId="6" PostId="19408" RevisionGUID="8f26aa0e-ff89-40a1-8bce-b3a8790016b5" CreationDate="2014-02-16T03:45:25.973" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;problems&gt;&lt;error&gt;&lt;unexpected-error&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49466" PostHistoryTypeId="4" PostId="19245" RevisionGUID="1689e648-3eec-4a4d-a31d-2df72b4a9f69" CreationDate="2014-02-16T03:50:24.247" UserId="6411" Comment="edited tags; edited title" Text="Importing OMFs into Pro Tools; 2 mono tracks instead of one stereo" ContentLicense="CC BY-SA 3.0" />
  <row Id="49467" PostHistoryTypeId="6" PostId="19245" RevisionGUID="1689e648-3eec-4a4d-a31d-2df72b4a9f69" CreationDate="2014-02-16T03:50:24.247" UserId="6411" Comment="edited tags; edited title" Text="&lt;pro-tools&gt;&lt;omf&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49468" PostHistoryTypeId="5" PostId="18882" RevisionGUID="8c1b7166-a675-4546-8b32-fbc4529a43c2" CreationDate="2014-02-16T03:52:47.273" UserId="6411" Comment="Grammar, Tags" Text="A show that I'll be starting on soon is cutting picture with a 48 timecode base because the action sequences were all shot at 48 or 96 FPS, with the intention of projecting the finished project at 48 FPS, like the first Hobbit film. &#xD;&#xA;&#xD;&#xA;Has anyone had to deal with a 48 FPS workflow in Pro Tools yet? I'm worried about conforms that involve odd-numbered frame changes that won't translate to a 23.98 TC environment in Pro Tools for one thing.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Paul" ContentLicense="CC BY-SA 3.0" />
  <row Id="49469" PostHistoryTypeId="6" PostId="18882" RevisionGUID="8c1b7166-a675-4546-8b32-fbc4529a43c2" CreationDate="2014-02-16T03:52:47.273" UserId="6411" Comment="Grammar, Tags" Text="&lt;pro-tools&gt;&lt;video&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49470" PostHistoryTypeId="5" PostId="18572" RevisionGUID="b049a214-3cbd-4245-98d5-93de03874227" CreationDate="2014-02-16T04:03:00.083" UserId="6411" Comment="Grammar, Tags" Text="When using OMFs and AAFs with a protools template is there any advantage in opening the OMF first and then importing the template or opening the template first and then importing the OMF?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49471" PostHistoryTypeId="6" PostId="18572" RevisionGUID="b049a214-3cbd-4245-98d5-93de03874227" CreationDate="2014-02-16T04:03:00.083" UserId="6411" Comment="Grammar, Tags" Text="&lt;pro-tools&gt;&lt;workflow&gt;&lt;omf&gt;&lt;aaf&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49472" PostHistoryTypeId="6" PostId="18101" RevisionGUID="8cd5c95f-0e7a-47b1-9a68-5a0e67a751c6" CreationDate="2014-02-16T04:04:58.687" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;learning&gt;&lt;practice&gt;&lt;skills-development&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49473" PostHistoryTypeId="5" PostId="17746" RevisionGUID="b38371f3-2975-4390-a3f3-e2d275f658c7" CreationDate="2014-02-16T04:05:46.627" UserId="6411" Comment="Tags" Text="I just finished my first 22 minute webisode the director and producer are both happy with the sound design but want to tighten up some of the video edits. I don't know what to do in this situation since any change that is made is going to set audio off sync in pro tools. Is there anything in particular that you guys do during such situations.&#xD;&#xA;&#xD;&#xA;Thanks &#xD;&#xA;~reN " ContentLicense="CC BY-SA 3.0" />
  <row Id="49474" PostHistoryTypeId="4" PostId="17746" RevisionGUID="b38371f3-2975-4390-a3f3-e2d275f658c7" CreationDate="2014-02-16T04:05:46.627" UserId="6411" Comment="Tags" Text="keeping audio in sync when they want to make more video edits" ContentLicense="CC BY-SA 3.0" />
  <row Id="49475" PostHistoryTypeId="6" PostId="17746" RevisionGUID="b38371f3-2975-4390-a3f3-e2d275f658c7" CreationDate="2014-02-16T04:05:46.627" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;sync&gt;&lt;conform&gt;&lt;re-conforming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49476" PostHistoryTypeId="4" PostId="17478" RevisionGUID="7d15d14e-2dc2-4866-ab99-19d2bce1fabe" CreationDate="2014-02-16T04:08:48.593" UserId="6411" Comment="Tags" Text="Problem with my sound devices" ContentLicense="CC BY-SA 3.0" />
  <row Id="49477" PostHistoryTypeId="6" PostId="17478" RevisionGUID="7d15d14e-2dc2-4866-ab99-19d2bce1fabe" CreationDate="2014-02-16T04:08:48.593" UserId="6411" Comment="Tags" Text="&lt;recording&gt;&lt;pro-tools&gt;&lt;audio-interfaces&gt;&lt;troubleshooting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49478" PostHistoryTypeId="5" PostId="19869" RevisionGUID="037108f1-1f4b-483a-8052-11c05374af66" CreationDate="2014-02-16T04:10:41.713" UserId="6411" Comment="Spelling and Tags" Text="I'm in the middle of redoing some of my pro tools templates and was wondering if anyone could explain the advantages of using a VCA over an aux track to route my submixes to?&#xD;&#xA;&#xD;&#xA;Many thanks&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49479" PostHistoryTypeId="6" PostId="19869" RevisionGUID="037108f1-1f4b-483a-8052-11c05374af66" CreationDate="2014-02-16T04:10:41.713" UserId="6411" Comment="Spelling and Tags" Text="&lt;mixing&gt;&lt;pro-tools&gt;&lt;workflow&gt;&lt;re-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49480" PostHistoryTypeId="2" PostId="27114" RevisionGUID="aee1a7e1-a1f5-40e4-804e-7d07edccb6a1" CreationDate="2014-02-16T04:26:07.203" UserId="7479" Text="Pinnacle College has a comprehensive game audio program http://www.pinnaclecollege.edu/video-game-sound-design-programs - A lot of schools offer just a few classes in game audio or you need to enroll in a program not totally dedicated to interactive/game audio but as an adjunct or a minor. &#xD;&#xA;&#xD;&#xA;There are also a lot of really good DIY type courses - check out https://www.macprovideo.com/tutorials/gameaudio-application - I would go through their materials first since you can buy a subscription for just $25/mo - and they have lots of other audio courses as well.&#xD;&#xA;&#xD;&#xA;I totally get the frustration you are going through in trying to find a dedicated game audio program. Pinnacle College's program is a certificate (they also have an option for an AAS degree), so it is not necessarily going to be inexpensive. However the good news is that they can accommodate international students and arrange the visa, etc.  &#xD;&#xA;&#xD;&#xA;Pinnacle College believes in you developing a demo reel or sample portfolio that demonstrates your knowledge of the main disciplines of game audio - dialogue, music composition, and field recording. Part of the program is developing a, &quot;...portfolio that showcases their ability to create polished original content targeted for the video game community.&quot; This is where Pinnacle College appears to excel since I haven't seen a lot of other schools that even talk about how important that is outside of everyone saying you need it and to do it, but you have to do it on your own. I think a lot of schools focus on learning the software because teaching innovation and creativity (essential for developing your portfolio) is so subjective and also difficult to do in a single class or course or online. You don't want to run around telling people you know FMOD and not be able to creatively demonstrate it in your portfolio. " ContentLicense="CC BY-SA 3.0" />
  <row Id="49488" PostHistoryTypeId="19" PostId="5091" RevisionGUID="1d437361-7ad8-4f41-8175-d2f0b0c76511" CreationDate="2014-02-16T05:19:58.720" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="49493" PostHistoryTypeId="5" PostId="15086" RevisionGUID="e17a3574-de27-4553-b107-6446e201327b" CreationDate="2014-02-16T05:26:59.340" UserId="6957" Comment="added 136 characters in body" Text="here is what my girlfriend build for me :)&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;You can check out the rest of the photos [here](http://flic.kr/s/aHsjBqCJuw)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/xSZQR.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="49502" PostHistoryTypeId="5" PostId="4561" RevisionGUID="2ad61605-f74a-48e5-b32b-9a4721cccf1f" CreationDate="2014-02-16T05:38:08.937" UserId="6957" Comment="Pulled the request for more input into the question" Text="One of these magical gizmos has found its way into my life and now I'm wondering what else it can do besides check email and play Angry Birds. Have found a few interesting apps out there for creating semi-random soundscapes and textures ([Curtis][1], [Thicket][2]) as well as some apps that provide a real function (Korg [iElectribe][3], [AC-7][4]). But as always, I'm curious to know what my fellow sound folks are doing with this amazing piece of tech.&#xD;&#xA;&#xD;&#xA;Tim Prebble has a [similar post][5] on his blog, which brought even more interesting ideas to light.&#xD;&#xA;&#xD;&#xA;**UPDATE**: Recently read a post about [Touchable][6], an iPad controller for Abelton Live. I've not used Live for sound design before…anyone out there endorse it?&#xD;&#xA;&#xD;&#xA;------------------&#xD;&#xA;&#xD;&#xA;**UPDATE**&#xD;&#xA;&#xD;&#xA;It's been a while since we've had an answer to this thread, and I'm sure plenty of worthy and creative apps have hit the market since. So, again I ask, who's using what? My latest favorite is Animoog.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://itunes.apple.com/us/app/curtis-lite-granular-synthesizer/id327856303?mt=8&#xD;&#xA;  [2]: http://apps.intervalstudios.com/thicket/&#xD;&#xA;  [3]: http://www.korg.com/iElectribe&#xD;&#xA;  [4]: http://www.saitarasoftware.com/Site/Home.html&#xD;&#xA;  [5]: http://www.musicofsound.co.nz/blog/apps-for-your-ipad&#xD;&#xA;  [6]: http://touch-able.com/Site/touchable.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="49504" PostHistoryTypeId="5" PostId="19308" RevisionGUID="7a867068-69b0-4fd7-bba2-25972284c791" CreationDate="2014-02-16T05:41:07.283" UserId="6957" Comment="added 28 characters in body" Text="following the advice of someone on this board I got Reaktor cranking inside ProTools.... Ended up buying it... incredibly powerful way of getting ipad control of FX inside Tools.&#xD;&#xA;&#xD;&#xA;I use Osculator to interface between TouchOSC on my iPad, and Reaktor.&#xD;&#xA;Osculator can also do all sorts of very handy things like key-combo's, triggering applescripts etc etc.. &#xD;&#xA;&#xD;&#xA;too much fun&#xD;&#xA;&#xD;&#xA;For those of you who have templates for shows and are often recalling marker selections for amb \ fx within ProTools, you can make a custom TouchOSC page to call all those selections up by way of a key combo thats triggered by a single press on your iPad..&#xD;&#xA;&#xD;&#xA;eg.&#xD;&#xA;&#xD;&#xA;&lt;kbd&gt;.&lt;/kbd&gt;&lt;kbd&gt;4&lt;/kbd&gt;&lt;kbd&gt;0&lt;/kbd&gt;&lt;kbd&gt;0&lt;/kbd&lt;kbd&gt;.&lt;/kbd&gt;&#xD;&#xA;&#xD;&#xA;calls up marker location 400.&#xD;&#xA;&#xD;&#xA;&quot;AMB Bar&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;beers.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49508" PostHistoryTypeId="5" PostId="18588" RevisionGUID="5a8966a3-1cce-434f-a8a7-23961259fa2d" CreationDate="2014-02-16T05:44:26.817" UserId="6957" Comment="added 28 characters in body" Text="i see this is from a while back but i was just trawling the net about this same idea. Had been playing around with faking stereo through m/s encoding and came to the same conclusion that it could be done with 2 cardioids.&#xD;&#xA;&#xD;&#xA;Am i not right in thinking that it will add stereo image to the 'M' signal but be canceled out when played in mono providing you treat either side signal identically. To exaggerate this you could delay and drop some lows freq on the the 'S' signal in your DAW, or place it further back during recording. Adjust the delay to find a sweet spot where the phase relationships don't hollow out the 'M', if thats a problem.&#xD;&#xA;&#xD;&#xA;The biggest down-side compared to using a 8 mic would be the minute differences that are picked up by each side (and these i assume add colour and prevent the sucking effect of closely or perfectly out of phase audio). &#xD;&#xA;&#xD;&#xA;Let me know your thoughts on my method and i'll get back and let you know how it worked out in practice. :) &#xD;&#xA;&#xD;&#xA;Oh btw.. i'm talking matched pair here." ContentLicense="CC BY-SA 3.0" />
  <row Id="49511" PostHistoryTypeId="5" PostId="17112" RevisionGUID="13588205-af36-45bb-a4b4-a9e5cb8b1c89" CreationDate="2014-02-16T09:23:07.657" UserId="6411" Comment="Tags" Text="I'm currently working on a project that has a bunch of VFX, which are coming in slowly.  In addition, it has to be shown to a few investors every few weeks to show off the progress we are making.  FOr each time, I've been importing the aaf into the same pro tools project, and just copying and pasting where I can.  This is kind of a hassle, has anyone worked like this before and have any suggestions for a better workflow for projects that have multiple delivery dates like this?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49512" PostHistoryTypeId="6" PostId="17112" RevisionGUID="13588205-af36-45bb-a4b4-a9e5cb8b1c89" CreationDate="2014-02-16T09:23:07.657" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;conform&gt;&lt;re-conforming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49513" PostHistoryTypeId="6" PostId="15509" RevisionGUID="f0ff240a-f8c9-4661-ade3-77adc8b7efda" CreationDate="2014-02-16T09:25:39.233" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;avid&gt;&lt;purchase-advice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49514" PostHistoryTypeId="5" PostId="15326" RevisionGUID="5d84666a-65d7-4d99-a042-ece93d92b4b9" CreationDate="2014-02-16T09:27:16.490" UserId="6411" Comment="Tags" Text="I can't research much on this topic as I'm in an extreme hurry to meet a deadline :&#xD;&#xA;&#xD;&#xA;How can I export an OMF in Pro Tools 10 with my Track Names? As it stands, if you import an OMF that I exported, the track names come up as : A1, A2, A3, etc.&#xD;&#xA;&#xD;&#xA;Mainly it's important that the mixer knows which tracks are my dedicated LFE, SFX, Foley, etc.&#xD;&#xA;Is this possible?&#xD;&#xA;I'm exporting from Pro Tools 10 (w/ complete production toolkit), he's importing in Nuendo.&#xD;&#xA;&#xD;&#xA;THANK YOU!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49515" PostHistoryTypeId="6" PostId="15326" RevisionGUID="5d84666a-65d7-4d99-a042-ece93d92b4b9" CreationDate="2014-02-16T09:27:16.490" UserId="6411" Comment="Tags" Text="&lt;omf&gt;&lt;export&gt;&lt;pro-tools-10&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49516" PostHistoryTypeId="5" PostId="14627" RevisionGUID="e3470a7e-dd8e-4890-929e-a48e02e65e2d" CreationDate="2014-02-16T09:30:50.757" UserId="6411" Comment="Spelling, tags" Text="I have protools 9 HD running on Snow leopard. It has worked fine for almost 8 months and within the past week I have had trouble starting it up as it freezes on the loading window then is not responding. I have repaired my disk permissions, updated my iLok drivers, updated my MBox drivers, uninstalled, reinstalled and I have the same problem. I then decided to load my Pro Tools 8 again and it refused to load that as well any suggestions? any help? " ContentLicense="CC BY-SA 3.0" />
  <row Id="49517" PostHistoryTypeId="4" PostId="14627" RevisionGUID="e3470a7e-dd8e-4890-929e-a48e02e65e2d" CreationDate="2014-02-16T09:30:50.757" UserId="6411" Comment="Spelling, tags" Text="Pro Tools 9 Crashing" ContentLicense="CC BY-SA 3.0" />
  <row Id="49518" PostHistoryTypeId="6" PostId="14627" RevisionGUID="e3470a7e-dd8e-4890-929e-a48e02e65e2d" CreationDate="2014-02-16T09:30:50.757" UserId="6411" Comment="Spelling, tags" Text="&lt;osx&gt;&lt;troubleshooting&gt;&lt;pro-tools-9&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49519" PostHistoryTypeId="5" PostId="14378" RevisionGUID="456c6177-7490-4e81-b791-7e2b543bdc57" CreationDate="2014-02-16T09:32:20.873" UserId="6411" Comment="Spelling, tags" Text="Sup peps,&#xD;&#xA;&#xD;&#xA;Just wanted to discuss the use to templates in an everyday workflow and the pros and cons of working in such a manor...&#xD;&#xA;&#xD;&#xA;I have recently discovered that its very easy (not to mention fun) building a template for say 5.1 dialogue editing/mixing.. But once I started it, I got sucked into trying to make it water tight so it could be &quot;The Last Template I Would Ever Need&quot;. Like a Swiss army template. However it struck me that of course its an unachievable task as every project will be different with different needs and specifications... so how deep do you guys make your templates before you step back and say &quot;this will do!&quot;? Does anyone feel like they have a water tight template or do you prefer to just build your sessions from the scratch? Tem" ContentLicense="CC BY-SA 3.0" />
  <row Id="49520" PostHistoryTypeId="6" PostId="14378" RevisionGUID="456c6177-7490-4e81-b791-7e2b543bdc57" CreationDate="2014-02-16T09:32:20.873" UserId="6411" Comment="Spelling, tags" Text="&lt;mixing&gt;&lt;pro-tools&gt;&lt;editing&gt;&lt;workflow&gt;&lt;templates&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49521" PostHistoryTypeId="2" PostId="27116" RevisionGUID="94268f75-46a6-44c2-a2ed-54c42baec6d3" CreationDate="2014-02-16T09:55:59.167" UserId="6411" Text="The only place that I have seen One Template to Rule Them All be even remotely feasible is at an on-lot facility where every channel has the same QC requirements. Even in that instance, the mega-template that took the most complicated mix into account was overkill for at least 60% of the daily projects and took forever to load.&#xD;&#xA;&#xD;&#xA;The beauty of templates is that you can have an array of basic templates that offer you a good starting point depending on the type of job, and then customize them for the scope, delivery requirements, etc.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49522" PostHistoryTypeId="6" PostId="13729" RevisionGUID="e6098e1b-ba34-4be9-a1e5-aa829f6d0dd2" CreationDate="2014-02-16T10:00:26.000" UserId="6411" Comment="edited tags" Text="&lt;logic&gt;&lt;pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49523" PostHistoryTypeId="2" PostId="27117" RevisionGUID="9ba1fe42-8cbe-49ae-969f-51cff6520d04" CreationDate="2014-02-16T10:03:52.430" UserId="7269" Text="Upon exporting track to a wav , it creates a very quiet file **as opposed to the volume while playing in Ableton Live .**&lt;br/&gt;&#xD;&#xA;I export my master channel of course, which db, frequencies and mastering are fine, sound wise. &lt;br/&gt;&lt;br/&gt;&#xD;&#xA;There's a limiter for 0 db on my master track; though I tried taking it off, using other limiters, normalizing upon export, changing values - and anything I could possibly think of. &lt;br/&gt;&#xD;&#xA;The wav file loses a lot of the track's volume.&#xD;&#xA;&lt;br/&gt;&lt;br/&gt;&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49524" PostHistoryTypeId="1" PostId="27117" RevisionGUID="9ba1fe42-8cbe-49ae-969f-51cff6520d04" CreationDate="2014-02-16T10:03:52.430" UserId="7269" Text="Volume loss upon exporting wav from Ableton Live" ContentLicense="CC BY-SA 3.0" />
  <row Id="49525" PostHistoryTypeId="3" PostId="27117" RevisionGUID="9ba1fe42-8cbe-49ae-969f-51cff6520d04" CreationDate="2014-02-16T10:03:52.430" UserId="7269" Text="&lt;ableton-live&gt;&lt;volume&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49528" PostHistoryTypeId="5" PostId="13729" RevisionGUID="1c0f084a-41f0-4811-924e-066e17eac11c" CreationDate="2014-02-16T10:20:58.467" UserId="6411" Comment="edited tags, rewrote for clarity hopefully without losing something in the translation" Text="**EDIT:**&#xD;&#xA;&#xD;&#xA;I have a great desire to create meditative music that use binaural beats, alpha waves, delta wave, etc. in the style of Kip Mazuy, Christopher Lloyd Clarke, and other composers known in that genre.&#xD;&#xA;&#xD;&#xA;We do have a MBP with LogicPro, but I am not certain how I can use the basic software in order to create these beats. Can you help explain how this is possible, or advise me of a resource that can help?&#xD;&#xA;&#xD;&#xA;&gt;**OP-** I have huge desire creation of mediative music as such style probably here not to pick up, but more or less the close at what I aim, this creativity of Kip Mazuy, Christopher Lloyd Clarke (that that like Brainwave, alpha wave, delta wave, binaural sounds) and many other composers known in the circles, but I couldn't find a material in this style, on a YouTube, in the main video about bouhm bouhm bouhm and other modern bit &quot;art&quot;. That do we have, we have MBP with LogicPro, which that already I know, but not how it would be desirable, can you give that to advise in this direction what to esteem or to whom to address? &#xD;&#xA;Sorry for my bad english))" ContentLicense="CC BY-SA 3.0" />
  <row Id="49529" PostHistoryTypeId="6" PostId="13729" RevisionGUID="1c0f084a-41f0-4811-924e-066e17eac11c" CreationDate="2014-02-16T10:20:58.467" UserId="6411" Comment="edited tags, rewrote for clarity hopefully without losing something in the translation" Text="&lt;logic-pro&gt;&lt;how-to&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49530" PostHistoryTypeId="6" PostId="13432" RevisionGUID="852c73a2-656e-4d10-8db8-eb081d69a486" CreationDate="2014-02-16T10:24:45.987" UserId="6411" Comment="Tags" Text="&lt;software&gt;&lt;daw&gt;&lt;purchase-advice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49531" PostHistoryTypeId="6" PostId="12504" RevisionGUID="b17f7660-0ac1-4379-a6d8-aba82c2a2e20" CreationDate="2014-02-16T10:26:43.667" UserId="6411" Comment="Tags" Text="&lt;troubleshooting&gt;&lt;pro-tools-9&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49532" PostHistoryTypeId="6" PostId="12269" RevisionGUID="2d7e4f6e-ba27-4b02-be42-1a8a4ccd4652" CreationDate="2014-02-16T10:29:11.490" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;workflow&gt;&lt;adr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49533" PostHistoryTypeId="5" PostId="11687" RevisionGUID="6618a14f-f6c5-45db-8a7b-05f541a0f8fa" CreationDate="2014-02-16T10:32:04.847" UserId="6411" Comment="Tags" Text="I'm currently working on a dialogue reel and using the Trim plugin gain automation to level out the dialogue a bit (no PT10 yet! Still on v9). I kinda like the way you can toggle from the Waveform view to the Volume automation view with a simple minus keystroke (keyboard focus on). Is there a way of quickly doing this to a desired plug in automation lane, ie the Trim gain? &#xD;&#xA;&#xD;&#xA;I know I can just open up another automation lane below and adjust it there, but that starts to get messy for me. I like to have the automation overlapped on the waveform in this case. Having to click on the Track View and go to the end of the list to switch to the Trim gain automation is becoming tedious :/ I know I can Control + Command + Left/Right arrow to scroll through the list, but I was wondering if there was a one click solution to this?&#xD;&#xA;&#xD;&#xA;Any suggestions/workflow tips appreciated!&#xD;&#xA;&#xD;&#xA;Cheers&#xD;&#xA;Andy" ContentLicense="CC BY-SA 3.0" />
  <row Id="49534" PostHistoryTypeId="4" PostId="11687" RevisionGUID="6618a14f-f6c5-45db-8a7b-05f541a0f8fa" CreationDate="2014-02-16T10:32:04.847" UserId="6411" Comment="Tags" Text="Switching plug in automation lanes shortcut in Pro Tools" ContentLicense="CC BY-SA 3.0" />
  <row Id="49535" PostHistoryTypeId="6" PostId="11687" RevisionGUID="6618a14f-f6c5-45db-8a7b-05f541a0f8fa" CreationDate="2014-02-16T10:32:04.847" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;automation&gt;&lt;pt-quick-keys&gt;&lt;shortcut&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49536" PostHistoryTypeId="5" PostId="11678" RevisionGUID="21777be3-e341-4eb3-bd68-17c5c3cc0f66" CreationDate="2014-02-16T10:36:50.650" UserId="6411" Comment="Tags" Text="I purchased PT9 about 8 months ago, but never really get started to use it... yeah, not a wise expense...  To get workflow going, I just sticked with Sonar X1 and waited for a 'downtime' that never came yet...&#xD;&#xA;&#xD;&#xA;Now, 8 months later, I look at the specs and a few points strike me. Among those: maximum 32 simultaneous tracks ??... was this the same limit with PT9 ? (Yet, I never went there, but I have projects well around or over 40 tracks with Sonar and the limit is... what your system can achieve!!...&#xD;&#xA;&#xD;&#xA;I see nothing about a real friendly integration of dual (or more) displays. Going 2-monitors with PT9 was 'kind of' feasible, not exactely friendly or value-added. Has this evolved in PT10?&#xD;&#xA;&#xD;&#xA;I now realize that some cool features I had seen in studios equipped with PTHD are working only in ... PTHD (write on stop, and some editing features...) - My decision to buy PT9 standalone was essentially... such features!!...&#xD;&#xA;&#xD;&#xA;Bottom line, ok I have not done my homeworks... But just out of curiosity: is PT10 standalone (that is, not the high-end HD systems) offering less than PT9 ?? &#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;DorbicheOne" ContentLicense="CC BY-SA 3.0" />
  <row Id="49537" PostHistoryTypeId="4" PostId="11678" RevisionGUID="21777be3-e341-4eb3-bd68-17c5c3cc0f66" CreationDate="2014-02-16T10:36:50.650" UserId="6411" Comment="Tags" Text="PT10 - less tracks ? Still single display?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49538" PostHistoryTypeId="6" PostId="11678" RevisionGUID="21777be3-e341-4eb3-bd68-17c5c3cc0f66" CreationDate="2014-02-16T10:36:50.650" UserId="6411" Comment="Tags" Text="&lt;daw&gt;&lt;pro-tools-10&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49539" PostHistoryTypeId="5" PostId="11555" RevisionGUID="8e6e1727-4596-4412-abe0-85ea27edf05b" CreationDate="2014-02-16T10:38:34.533" UserId="6411" Comment="Tags" Text="I am about to finish uni and was questioning wether I should take advantage of the student discount and buy pro tools?&#xD;&#xA;&#xD;&#xA;I have used Logic for a long time and find it excellent, but think as everyone in the real world seems to use pro tools, maybe I should invest?&#xD;&#xA;&#xD;&#xA;Any advice would be hugely appreciated.&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="49540" PostHistoryTypeId="6" PostId="11555" RevisionGUID="8e6e1727-4596-4412-abe0-85ea27edf05b" CreationDate="2014-02-16T10:38:34.533" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;daw&gt;&lt;logic-pro&gt;&lt;purchase-advice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49541" PostHistoryTypeId="2" PostId="27119" RevisionGUID="1f853fee-934e-4423-9fca-670782c385d2" CreationDate="2014-02-16T15:47:55.270" UserId="7267" Text="The Korg Wavestation synthesizer had a popular patch called Mini Lead, most notably used in the Genesis track *Fading Lights* by keyboardist Tony Banks.&#xD;&#xA;&#xD;&#xA;Here is an audio demo of the patch in itself: http://www.synthmania.com/Korg%20Wavestation%20A-D/Audio/ROM/04%20Mini%20Lead.mp3&#xD;&#xA;&#xD;&#xA;Here is an extended improvisation using it: &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Mafoqi-Xsag&#xD;&#xA;&#xD;&#xA;And here is the original synth solo (at 4:13): &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?feature=player_detailpage&amp;v=XXKLSX05jWw#t=253&#xD;&#xA;&#xD;&#xA;Now everywhere I look people say&#xD;&#xA;&#xD;&#xA;&gt; Buy the Wavestation, that's the only way to have this sound.&#xD;&#xA;&#xD;&#xA;I don't believe them :) How to recreate this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49542" PostHistoryTypeId="1" PostId="27119" RevisionGUID="1f853fee-934e-4423-9fca-670782c385d2" CreationDate="2014-02-16T15:47:55.270" UserId="7267" Text="Recreate Wavestation Mini Lead" ContentLicense="CC BY-SA 3.0" />
  <row Id="49543" PostHistoryTypeId="3" PostId="27119" RevisionGUID="1f853fee-934e-4423-9fca-670782c385d2" CreationDate="2014-02-16T15:47:55.270" UserId="7267" Text="&lt;music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49544" PostHistoryTypeId="2" PostId="27120" RevisionGUID="e63f38ed-9650-4577-9962-bd8ce91d3f63" CreationDate="2014-02-16T16:02:14.090" UserId="7317" Text="Any hints or concept suggestions or links to useful info about how to work in a complex VFX workflow.&#xD;&#xA;&#xD;&#xA;I'm just about to start preproduction for a film with a lot of VFX and that will require quite a bit of sound design throughout the process.&#xD;&#xA;&#xD;&#xA;I would like to get a grip on how it's &quot;normally&quot; done and figure out where the pitfalls are. How to get naming conventions to work to be able to reconform through the editing process. Is it normal to keep metadata and time code in video and audio files when the get sent away and subsequently returned from VFX to be able to reconform and/or trace the changes?&#xD;&#xA;Theresa. New world of information out there, I just need to know where and how to find it..." ContentLicense="CC BY-SA 3.0" />
  <row Id="49545" PostHistoryTypeId="1" PostId="27120" RevisionGUID="e63f38ed-9650-4577-9962-bd8ce91d3f63" CreationDate="2014-02-16T16:02:14.090" UserId="7317" Text="Sound design within a VFX workflow" ContentLicense="CC BY-SA 3.0" />
  <row Id="49546" PostHistoryTypeId="3" PostId="27120" RevisionGUID="e63f38ed-9650-4577-9962-bd8ce91d3f63" CreationDate="2014-02-16T16:02:14.090" UserId="7317" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49547" PostHistoryTypeId="2" PostId="27121" RevisionGUID="ca4d38aa-33e2-436a-b7d4-1ba161c8dae5" CreationDate="2014-02-16T17:24:23.473" UserId="7269" Text="My default media player is winamp, never use anything else for sound files. &lt;br/&gt;&#xD;&#xA;Was opening the track in Windows Media Player and the volume is up again, just like in Ableton. &lt;br/&gt;&#xD;&#xA;**Seems to be the way winamp handles WAV Files.**" ContentLicense="CC BY-SA 3.0" />
  <row Id="49548" PostHistoryTypeId="2" PostId="27122" RevisionGUID="32924a6d-bfc5-43f4-93ae-0bc6792330b6" CreationDate="2014-02-16T17:37:50.733" UserId="7485" Text="I have a large number of audio files and I'd like to make lists of which do and don't have vocals. There is lots of information online on how to _remove_ vocals, but I haven't been able to find anything about _detecting_ them, though I suspect the same principles apply. It's okay to have a little bit of classification error. I don't know any commercial audio manipulation programs so the lower tech the answer is the better. Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49549" PostHistoryTypeId="1" PostId="27122" RevisionGUID="32924a6d-bfc5-43f4-93ae-0bc6792330b6" CreationDate="2014-02-16T17:37:50.733" UserId="7485" Text="Detect which digital audio files have vocals" ContentLicense="CC BY-SA 3.0" />
  <row Id="49550" PostHistoryTypeId="3" PostId="27122" RevisionGUID="32924a6d-bfc5-43f4-93ae-0bc6792330b6" CreationDate="2014-02-16T17:37:50.733" UserId="7485" Text="&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49551" PostHistoryTypeId="2" PostId="27123" RevisionGUID="ab894306-07af-4333-b192-ffc76893f528" CreationDate="2014-02-16T18:33:00.900" UserId="7486" Text="Great question, I'm sure a lot of people have been here- I know I have!&#xD;&#xA;&#xD;&#xA;Just to address the first sentence; The first thing that helped me was simply to learn more about synthesis. It's like when you learn play guitar and you can knock out a few songs and play a few solos then you get bored because because you're comfortable. When this happens you don't progress because you're always playing the same comfortable notes &amp; tunes, just like reaching for the same comfortable controls on your favorite synth thus ending up with the same comfortable sounds.&#xD;&#xA;&#xD;&#xA;If this doesn't work maybe try stepping away from synthesis altogether and move into the world of samplers and FX. I find that even the simplest sampler with a chain of effects &amp; perhaps some creative midi mapping can create astonishing results and if you venture out to record you own source material (which I highly recommend!) you end up with something that is totally unique, personal &amp; it gets you out of the studio!&#xD;&#xA;&#xD;&#xA;A nice way to combine the two worlds of sampling and synthesis is Camel Audio's Alchemy- its not quite drawing wave forms but its a very inspiring tool!&#xD;&#xA;  Hope this helps, obviously this is all my own experience but it worked for me.&#xD;&#xA; &#xD;&#xA; &#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="49552" PostHistoryTypeId="5" PostId="27110" RevisionGUID="7feba66b-36eb-408e-8e6e-5fd73743cf88" CreationDate="2014-02-16T18:41:17.473" UserId="7487" Comment="added 9 characters in body" Text="I'm looking to do something like a Drive-in cinema but for music play. Is it possible? Is there a FM Transmitter device I can use that can support about 2-3KM coverage? Can it operate at least 12 hours non-stop? has Good audio quality?&#xD;&#xA;&#xD;&#xA;I wanna do a PORTABLE setup on an open field plug it to mixer and cars should receive audio(music) from their FM tuner?&#xD;&#xA;&#xD;&#xA;Is this possible?&#xD;&#xA;&#xD;&#xA;I have found a few long range FM transmitters via Google but I wanna know if this is possible and practical before buying the devices. Any recommendations?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="49554" PostHistoryTypeId="2" PostId="27125" RevisionGUID="a2fa369e-a957-4d6e-80f6-29531623a785" CreationDate="2014-02-17T00:42:29.210" UserId="6510" Text="I am was average to moderate user of the old Social Sound Design, but since it moved to stack exchange all my info seems to have been deleted. So many imaginary points, down the drain!!&#xD;&#xA;&#xD;&#xA;I read a tip (can't remember where for the life of me) that creating ambiences for the library that are PERFECTLY loop-able saves a TON of time in editing.  I completely agree that this would be pretty amazing for the sounds I find myself using a lot. &#xD;&#xA;&#xD;&#xA;So I brought a few sound into Pro Tools and cut some loops and then I used the &quot;Export Selected&quot; function to get an interleaved wav into the library.  My problem is that Pro Tools is adding roughly a quarter frame of silence to the end of my file.  Making it unusable as a loop.  &#xD;&#xA;&#xD;&#xA;Has anyone seem this before?  Or has success with the &quot;perfectly loop-able library&quot; technique?&#xD;&#xA;&#xD;&#xA;Thank you, &#xD;&#xA;&#xD;&#xA;Chris Davis&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49555" PostHistoryTypeId="1" PostId="27125" RevisionGUID="a2fa369e-a957-4d6e-80f6-29531623a785" CreationDate="2014-02-17T00:42:29.210" UserId="6510" Text="Loop-able sounds created in Pro Tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49556" PostHistoryTypeId="3" PostId="27125" RevisionGUID="a2fa369e-a957-4d6e-80f6-29531623a785" CreationDate="2014-02-17T00:42:29.210" UserId="6510" Text="&lt;sound&gt;&lt;effects&gt;&lt;library-sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49557" PostHistoryTypeId="2" PostId="27126" RevisionGUID="b9bfbf17-80f8-4fcd-ab9b-363f5bd41533" CreationDate="2014-02-17T00:43:52.233" UserDisplayName="user49" Text="I haven't had to deal with this myself, thankfully have always had a very clever assistant on the team... but I know that naming &amp; version tracking of VFX is crucial, otherwise when you get an update of a reel with new VFX, the conform will just leave a hole where the new VFX is, i.e. it thinks it is totally new shot.... &#xD;&#xA;&#xD;&#xA;We use Maggot Conformalizer &amp; as Justin has worked on so many VFX heavy films (LOTR, Tintin, Hobbit) he has designed &amp; evolved it to handle VFX tracking... Have a look at his site&#xD;&#xA;&#xD;&#xA;http://www.maggot.co.nz/software/conformalizer.shtml&#xD;&#xA;&#xD;&#xA;There is a tutorial/example video on VFX tracking with Conformalizer here:&#xD;&#xA;http://www.youtube.com/watch?v=OAVGrJyQ79k&#xD;&#xA;&#xD;&#xA;So if I handover a temp mix for a VFX shot, I name it with VFX version #, they can sync it, rework the VFX, handover a new reel with VFX updated and my source PT session will conform to the new VFX (where possible)&#xD;&#xA;&#xD;&#xA;It makes my head hurt when I think what those guys go through on such VFX heavy films, but their systems, tracking and processes are rock solid! Highly recommended..." ContentLicense="CC BY-SA 3.0" />
  <row Id="49558" PostHistoryTypeId="2" PostId="27127" RevisionGUID="94e6160a-4d17-4810-a80a-b6b876c2660e" CreationDate="2014-02-17T00:57:51.690" UserId="7489" Text="I have recently taken over as the Technical Manager for my local Talking Newspaper (local news recorded for visually impaired listeners) - my technical background is more in IT/Web Development than in Audio, so I am trying to work out our set-up and see if it can be improved upon.&#xD;&#xA;At the moment, our weekly recording is output in three formats - C90 cassette, USB (MP3) memory stick and MP3 upload to our website.  The biggest bug-bear in this is having to create audio for our cassette duplicators!&#xD;&#xA;Our set-up is five microphones, 1 CD deck, 1 Minidisc deck, 4 cassette decks and a PC.&#xD;&#xA;The mic's, CD, minidisc and one cassette are connected to separate channels on a Soundtracs Topaz 14:4 mixing desk. (CD and Minidisc are connected to the two stereo channels, rest are mono).  The master out feeds into a compressor, which in turn feeds into a distribution amp.  The outputs of the amp go to the four cassette decks and the PC.&#xD;&#xA;Our cassette recording is actually digitally mastered (we use Telex EDAT for creating the cassette copies), but we still run a set of analogue masters &quot;just in case&quot;.  That said, we have so few cassette copies being produced each week that the analogue masters are really of no benefit. Our PC based audio recording software is Adobe Audition 2 (I know it's out of date, but it does the job), and our recordings are 99% spoken word.&#xD;&#xA;The microphones we have have an ATT (I assume) switch on them, marked as 0dB, -7dB, -20dB. All the mics are set to -7dB.  The mixing desk has a phantom power switch, but there is no noticeable difference when it is switched on or off (I assume this means our mics don't require power).&#xD;&#xA;&#xD;&#xA;So, the background now set, my questions:&#xD;&#xA;1) The compressor is currently between the mixer out and the distribution amp. I have mostly seen it suggested that the compressor is put as an insert on the mixers master channel.  What difference would this make?&#xD;&#xA;&#xD;&#xA;2) if using the compressor as an insert, should I group the mic/non-mic inputs to the mixer and just run the compressor on the mic inputs?  Best I can work out, the desk supports two groups so I think this could be done.&#xD;&#xA;&#xD;&#xA;3) one of the requirements of the cassette duplication is a signal that peaks about -3dB, and pretty much hits -3dB most of the time - we seem to get poor reproduction otherwise.  We currently use the compressor to amplify the signal so we hit -3 and pull back if we go over, but I wonder if we would be better using less amplification and setting the mics to 0dB rather than -7? I'm really not sure how this setting on the mics effects the system, but feel we would get a less boxy sound if we did this.&#xD;&#xA;&#xD;&#xA;4) We seem to get a lot of hiss when no-one is speaking, we also pick up the beer pump for the cellars of our neighbouring pub (our recording studio is in a basement).  Is the EQ on our mixing desk sufficient to cut this out, or would a better EQ on an insert be sensible?  If an external EQ, as it would be for all mic channels would it be placed before or after the compressor if the compressor should be run as insert rather than between output and amp?&#xD;&#xA;&#xD;&#xA;I know this is rather a broad, and probably basic, question of setup, but any help would really be appreciated!  At the moment I feel that the tech we have is hindering rather than helping as no-one really understands what it does." ContentLicense="CC BY-SA 3.0" />
  <row Id="49559" PostHistoryTypeId="1" PostId="27127" RevisionGUID="94e6160a-4d17-4810-a80a-b6b876c2660e" CreationDate="2014-02-17T00:57:51.690" UserId="7489" Text="Undestanding a recording studio configuration" ContentLicense="CC BY-SA 3.0" />
  <row Id="49560" PostHistoryTypeId="3" PostId="27127" RevisionGUID="94e6160a-4d17-4810-a80a-b6b876c2660e" CreationDate="2014-02-17T00:57:51.690" UserId="7489" Text="&lt;sound-design&gt;&lt;setup&gt;&lt;speech&gt;&lt;console&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49561" PostHistoryTypeId="2" PostId="27128" RevisionGUID="4ea11512-df1e-438e-9f43-9d098f1a3dff" CreationDate="2014-02-17T01:27:58.260" UserId="7489" Text="I know this is very late to the original post, but I have been looking at the same problem *and* have experience of various external recorders, so thought it would be of help to anyone else with the same question!  My camera is a Canon EOS 550D, so not exactly the same, but close!&#xD;&#xA;1) the internal mic is terrible - as is the firmware.  The first thing to do if you are shooting video is to set your camera up for MagicLantern (this may not apply to the 6D, but certainly to the 550D).  This gives much more control over the audio recording, eg I can now record ext mic; left internal, right external; etc, set recording levels *turn off automatic gain control* etc etc.&#xD;&#xA;&#xD;&#xA;2) personally I like the dedicated sound recorder option - I have three available to me (I don't own any of them, but various voluntary work I do gives me access as and when needed). My options are a Zoom H2N, a Zoom H4N and a Marantz PMD661. My #1 choice is the Marantz PMD661 - it's also the most expensive! Why the marantz? It is the only one of the three that has line out. Both Zooms only have headphone out. This means a) a splitter cable if you want to monitor from the recorder, and b) adjusting the headphone volume changes the recording level for the camera! The Marantz suffers neither of these and has a really nice sound quality. &#xD;&#xA;&#xD;&#xA;The H4N and the Marantz both have 2 channel XLR inputs, so can be used with external balanced mic sources, which the H2N can't.  All of the recorders really need an ATT cable to attach them to the camera mic in, though with MagicLantern this can be avoided to some extent by reducing the mic gain from its standard -23dB to 0dB.&#xD;&#xA;&#xD;&#xA;A final point to consider - if using an external recorder, and you have at least reasonable video editing software then you can use a clapper board (or similar) to create a synch signal on your camera audio and recorded audio, then synch them in your edit, rather than feeding the output of your recorder into your camera.  More work, but almost certainly better quality audio and you can place the recorder exactly where you want it instead of being limited to your lead length.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49562" PostHistoryTypeId="2" PostId="27129" RevisionGUID="d70e0fe7-7d31-4142-9708-95aa9b8caa05" CreationDate="2014-02-17T05:04:02.267" UserId="7209" Text="This isn't really possible, at least not with any accuracy.  Think of all the cases where you have melodic sounds in similar ranges that can have similar timbre, such as synthesizer leads and even electric guitars depending on how they are used.&#xD;&#xA;&#xD;&#xA;If I had a project like this where accuracy mattered, I would use [Mechanical Turk][1].  If your material is common, you might also be able to use the song metadata to look up lyrics online.  If you find some, then you know there are vocals.  If not, further analysis may be needed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.mturk.com/mturk/welcome" ContentLicense="CC BY-SA 3.0" />
  <row Id="49563" PostHistoryTypeId="5" PostId="27120" RevisionGUID="473fb955-8185-4ca5-8dca-ea71ec771c2c" CreationDate="2014-02-17T06:08:25.810" UserId="7317" Comment="added 2 characters in body" Text="Any hints or concept suggestions or links to useful info about how to work in a complex VFX workflow.&#xD;&#xA;&#xD;&#xA;I'm just about to start preproduction for a film with a lot of VFX and that will require quite a bit of sound design throughout the process.&#xD;&#xA;&#xD;&#xA;I would like to get a grip on how it's &quot;normally&quot; done and figure out where the pitfalls are. How to get naming conventions to work to be able to reconform through the editing process. Is it normal to keep metadata and time code in video and audio files when the get sent away and subsequently returned from VFX to be able to reconform and/or trace the changes?&#xD;&#xA;There is a new world of information out there, I just need to know where and how to find it..." ContentLicense="CC BY-SA 3.0" />
  <row Id="49564" PostHistoryTypeId="2" PostId="27130" RevisionGUID="659db9db-38d3-4bcd-b057-5d1c0bd67a79" CreationDate="2014-02-17T06:53:05.977" UserId="7418" Text="1 &amp; 2) You seem to understand the reason your compressor is a part of your signal chain.  It sounds as though your compressor is set up to adjust the level it receives from your console to about -3dB.  If it is working for you then it is in a good spot IMO.  However, I don't think your Topaz console has a *master insert*.  &#xD;&#xA;An *insert* literally places your device (compressor) into the hardware signal chain and will change the actual peak information of the signal before it reaches the next stage; in your case, the compressor in *a* master insert would make that same ~-3dB adjustment **before** going to the master fader, instead of after like it is now.  This has more benefits in an environment, like *live*, or *in a studio*, where you are more likely to adjust the listening level, as opposed to your current environment where your goal is to attain a steady level for a recording medium like your cassette and CD recorders. You should basically put your compressor wherever you want to even-out the level of your audio.&#xD;&#xA;&#xD;&#xA;3) The *ATT* on your microphones stands for *attenuation*.  At -7dB it is just bringing that level down a bit before it reaches your mixer input.  It is truly up to you which setting on your microphones works best, just know that if you switch from -7dB to 0dB, it is likely you will just end up turning your GAIN/TRIM knob down approximately that much to compensate: overall, I think you will achieve a similar sound either way.&#xD;&#xA;&#xD;&#xA;4) I'm glad to see somebody asked the question of electrical or background noise.  I think if it is hiss, that the hiss will only be increased if you adjust your microphone ATT switches up to 0dB.  Your absolute best bet IMO is finding a *noise reduction* plugin in your existing software, Audition, (or download [Reaper multitrack software for free][1]).  &#xD;&#xA;&#xD;&#xA;You can probably tame the hiss a little bit from your console just by rolling back the *high* EQ on your mic channels, but do this sparingly as it will deteriorate your audio pretty quickly - so try and find a balance.  An additional hardware graphic EQ is the way to go if you are going to keep your existing setup, and it should be placed on the output channel as the last thing in the chain, or 2nd last (before your compressor) if you can get a console with master inserts.  You may have other options if you consider different sound cards and whatever but that is beside your questions.&#xD;&#xA;  &#xD;&#xA;My apologies if parts of this is vague but your question begs a lot of information!  I don't think this is *all* the answer you could receive, but please comment if you have further questions and we can try and help you further.&#xD;&#xA;&#xD;&#xA;I hope this helps!&#xD;&#xA;&#xD;&#xA;  [1]: http://reaper.fm" ContentLicense="CC BY-SA 3.0" />
  <row Id="49567" PostHistoryTypeId="2" PostId="27131" RevisionGUID="56b62203-6e4f-486f-bbe0-f9942982863e" CreationDate="2014-02-17T10:39:53.297" UserId="7491" Text="*Also you would have to purchase/install USB 3.0 ports in your desktop or purchase an 2.0 to 3.0 adapter, Which brings me to the question I came here trying to possibly learn.&#xD;&#xA;If as an example I were to purchase a USB 3.0 compatible interface like RME's MADIface XT&#xD;&#xA;or a Firewire 400/800 interface and use a converter to USB 2.0 to connect to the existing USB ports in my laptop, Would the converter automatically lower the speed and clarity rendering it pointless to pay extra for a faster interface?*" ContentLicense="CC BY-SA 3.0" />
  <row Id="49568" PostHistoryTypeId="5" PostId="27131" RevisionGUID="b7a4af24-9d7d-4dba-88ab-219f0db59944" CreationDate="2014-02-17T10:59:48.693" UserId="7491" Comment="added 423 characters in body" Text="*There are some but I believe the main reason as to why there aren't more is that:&#xD;&#xA;**-** They are more expensive.&#xD;&#xA;**-** The company's target audience design are mostly your home/bedroom studio affordable&#xD;&#xA;equipment where you wont be recording a full live orchestra and need 3.0 to send so much data&#xD;&#xA;**-** also a big reason is that most laptop and desktop aren't and wont be pre-built with USB 3.0 ports for a few years to come so you would have to purchase/install USB 3.0 ports in your desktop or purchase an 2.0 to 3.0 adapter, Which brings me to the question I came here trying to possibly learn.&#xD;&#xA;If as an example I were to purchase a USB 3.0 compatible interface like RME's MADIface XT&#xD;&#xA;or a Firewire 400/800 interface and use a converter to USB 2.0 to connect to the existing USB ports in my laptop, Would the converter automatically lower the speed and clarity rendering it pointless to pay extra for a faster interface?*" ContentLicense="CC BY-SA 3.0" />
  <row Id="49569" PostHistoryTypeId="2" PostId="27132" RevisionGUID="c8e462d5-acbd-4f87-ba66-3276594caa41" CreationDate="2014-02-17T11:58:31.303" UserId="7213" Text="I don't know of any tools to do this, but I can see a possible approach. Note that as @Brad said this is a difficult problem and not likely to be 100% susceptible of an automated solution.&#xD;&#xA;&#xD;&#xA;This approach assumes stereo tracks. What vocals often have in common is that they occupy a particular frequency range and are well correlated between the two tracks (they tend to be centered). &#xD;&#xA;&#xD;&#xA;Construct a filter environment that passes the range of (say) 800-3000 Hz. This reduces lower frequencies that may also be centered. Then test the correlation in the result. One Q &amp; D way to do this is to invert one channel and sum them. The amount of energy loss is proportional to the degree of similarity.&#xD;&#xA;&#xD;&#xA;While you may not catch all vocals, anything that shows little correlation probably doesn't have a vocal component. I'd be interested to know what results this yields. (-:" ContentLicense="CC BY-SA 3.0" />
  <row Id="49570" PostHistoryTypeId="2" PostId="27133" RevisionGUID="262b2245-804c-4df9-b413-e3c77d24345e" CreationDate="2014-02-17T13:29:11.697" UserId="7493" Text="I am looking to build a better home studio than what I currently have. At the moment I am plugging a phantom powered mixer straight into the microphone jack in my Windows PC. I then use a condenser mic to record acoustic instruments and vocals. The pc has a terrible sound card and thus I get mixed results. The latency when writing scores on Finale using a midi keyboard is atrocious!&#xD;&#xA;&#xD;&#xA;I am looking to build a quality home studio that is budget friendly. Not counting a new computer if it were required, I'd be looking to spend less than $1,000.&#xD;&#xA;&#xD;&#xA;What should I focus on to obtain professional sounding recordings? I've heard some people swear by using a DAC. I've heard some people swear by using an audio interface. Then I hear most people swear by a mac. &#xD;&#xA;&#xD;&#xA;I write and record orchestrated folk music, akin to 1960's rock. I do not have much use for recording multiple instruments at once, although it would be a good feature to have. I would love for my music to sound organic and natural, so I do believe that taking an analogue route would be best.&#xD;&#xA;&#xD;&#xA;Can anyone suggest what is the main equipment that I should focus on? What sorts of things do I need to cut down on midi latency for writing scores? Should I invest in a new sound card? Do audio interfaces essentially take the place of a sound card? Are DAC's the way to go? Is $1,000 enough for a decent home studio? Are the onboard sound cards on a mac better than their counterparts on the pc?&#xD;&#xA;&#xD;&#xA;Any and all help will be greatly appreciated!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49571" PostHistoryTypeId="1" PostId="27133" RevisionGUID="262b2245-804c-4df9-b413-e3c77d24345e" CreationDate="2014-02-17T13:29:11.697" UserId="7493" Text="Home studio set up ideas" ContentLicense="CC BY-SA 3.0" />
  <row Id="49572" PostHistoryTypeId="3" PostId="27133" RevisionGUID="262b2245-804c-4df9-b413-e3c77d24345e" CreationDate="2014-02-17T13:29:11.697" UserId="7493" Text="&lt;recording&gt;&lt;equipment&gt;&lt;studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49573" PostHistoryTypeId="2" PostId="27134" RevisionGUID="8548f570-8c5e-4f33-8fce-3b5df27718ab" CreationDate="2014-02-17T17:27:02.927" UserId="7174" Text="1) This isn't invalid, but it is a little weird.  An insert goes before the fader where as the output goes after.  Using the insert would give the master fader total control over the output level where as the positioning on the outside of the board means that a) it will protect the output gear from accidentally going too loud and b) it will make the behavior of the master fader perhaps a little less predictable as it will push more above the threshold of the compressor.&#xD;&#xA;&#xD;&#xA;2)Compression on multiple channels is generally not the best idea, but may fit particular situations.  Keep in mind that if any of the channels gets hot, it will pull everything in that group down, so if one person is talking quietly at the same time someone else is talking loudly, the threshold will be reached and the entire group will have the volume reduced.  Sometimes that may be what you want, but it is fairly rare.&#xD;&#xA;&#xD;&#xA;3) For best quality, you want to maximize signal level without additional amplification and without clipping.  You want to have the mics at unity unless they are clipping.  Pre-amps should supply good strong signal to keep noise down and then you should mix reductively wherever possible.&#xD;&#xA;&#xD;&#xA;4) It really depends, sound proofing would be your best bet, but you could also make pretty good work with a hum eliminator for the noise (or a power conditioner if you don't already have one).  You'll also want to make sure you don't have any ground differential issues from devices on multiple circuits.  For the beer pump, you may want to try a 31 band EQ for increased fine tuning if sound proofing isn't an option, but it will likely still be audible since the motor isn't a fixed frequency but rather a complex set of frequencies." ContentLicense="CC BY-SA 3.0" />
  <row Id="49574" PostHistoryTypeId="5" PostId="27121" RevisionGUID="485d9ccd-b1eb-4ea2-b1c9-257583c7cf79" CreationDate="2014-02-17T17:43:11.577" UserId="7269" Comment="added 180 characters in body" Text="&#xD;&#xA;Selected my sound card instead of &quot;Microsoft sound mapper&quot; in WaveOut settings, voulme is up again.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![winamp wav output][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/8ITab.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="49575" PostHistoryTypeId="5" PostId="27121" RevisionGUID="fc59d253-eec0-4430-88ff-7514c2a85bb3" CreationDate="2014-02-17T18:02:02.317" UserId="7269" Comment="added 130 characters in body" Text="Wav file is fine! The problem was on the other end - Winamp;&lt;br/&gt;&#xD;&#xA;For some reason &quot;Microsoft sound mapper&quot; was highlighted.&lt;br/&gt;&#xD;&#xA;Selected my sound card instead of &quot;Microsoft sound mapper&quot; in WaveOut settings - voulme is up again.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![winamp wav output][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/8ITab.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="49576" PostHistoryTypeId="5" PostId="27121" RevisionGUID="d00ddc80-a037-47cb-ba22-711f65e25150" CreationDate="2014-02-17T18:12:58.617" UserId="7269" Comment="edited body" Text="Wav file is fine! The problem was on the other end - Winamp;&lt;br/&gt;&#xD;&#xA;For some reason &quot;Microsoft sound mapper&quot; was highlighted.&lt;br/&gt;&#xD;&#xA;Selected my sound card instead of &quot;Microsoft sound mapper&quot; in WaveOut settings - volume is up again.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![winamp wav output][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/8ITab.png&#xD;&#xA;&lt;br/&gt;&#xD;&#xA;(Never had volume issues with MP3 or FLAC files though)" ContentLicense="CC BY-SA 3.0" />
  <row Id="49577" PostHistoryTypeId="6" PostId="27117" RevisionGUID="dc76c469-e76a-4491-977c-353788419b22" CreationDate="2014-02-17T18:21:18.560" UserId="7269" Comment="edited tags" Text="&lt;ableton-live&gt;&lt;volume&gt;&lt;wav&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49582" PostHistoryTypeId="2" PostId="27136" RevisionGUID="731166fb-02a7-4ea6-861b-1cdaca40732a" CreationDate="2014-02-17T20:51:03.873" UserId="6425" Text="One thing to mention are Digital Mixing consoles, like Presonus. They are a mixer + preamp + sound card. So it allows you too easily record multiple instruments right into usb. The great thing about digital mixing descs is the easy usability, inbuilt fx and more important they do not color your sound. Which is important imho because cheap analogue gear mostly colours the sound in ways i don't like. If you go digital, you can then easily include analogue preamps or eqs to give some warmth to your low mids.&#xD;&#xA;&#xD;&#xA;Also one thing that is very important, even more so then the whole setup, is a good room treatment and a decent mic. you can easily build your own acoustic treatment with rock wool (careful it is irritating for your skin and lungs, so read some tutorials before you handle it), sand and helmholtz resonators. For a mic i can recommend the studio project b1/3 and the sm 57/58. Both mics have a very good musical sound for under 100$. If you want to spend a little more, dive into the telefunken stuff. And go for a large condenser mic if you want to record acoustic stuff. &#xD;&#xA;&#xD;&#xA;Room treatment + Mics + digital &quot;neutral&quot; ADCs are the basics that you need to get some good sound. Also go to gotyes channel on youtube. He shows how how he made some of his songs. And he uses very little gear to get big recording results.&#xD;&#xA;&#xD;&#xA;Gl!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49583" PostHistoryTypeId="2" PostId="27137" RevisionGUID="49554f02-4f58-4d25-912d-299e2dba7d2b" CreationDate="2014-02-17T20:58:08.403" UserId="6425" Text="For these kind of jobs I use a Tascam Dr 100 (you should be fine using zoom) + Rode NGT2 Mics. It is a ultra cheap setup and you can record to your Tascam and your camera simultaneously.&#xD;&#xA;&#xD;&#xA;Lavaliermics like the Sennheiser Ew 100 ENG series do a very good job for little money too!&#xD;&#xA;&#xD;&#xA;But like stated above, do not buy cheap stuff head for what you plan ultimately!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49584" PostHistoryTypeId="2" PostId="27138" RevisionGUID="6c574cb9-27e9-4eec-bf9f-a697c73c3e96" CreationDate="2014-02-17T21:02:57.547" UserId="7174" Text="Certainly, the very first thing you will want to get is a decent audio interface.  Note that an audio interface includes a DAC for each output and an ADC for each input.  A DAC is used for output and wouldn't help with your capture (it goes from digital to analog, you need the other way around for capture.)&#xD;&#xA;&#xD;&#xA;A mac isn't necessary at all.  They tend to be popular with the artsy crowd because they are well built computers that don't require fiddling to get right, but if you are knowledgeable with PCs it is cheaper and arguably even more effective to build a PC based system, you just may have to work the bugs out of it yourself before it works exactly the way you want.  (I've personally always worked in the PC world for my personal stuff.  I have used Macs before when using other people's rigs or when using rigs at college and I honestly prefer my PC.)&#xD;&#xA;&#xD;&#xA;Beyond the audio interface, you may want to either look at better sound proofing or better microphones depending on what you currently have.  The amount you'll have left over after a decent audio interface will depend on how many channels you need though.  &#xD;&#xA;&#xD;&#xA;Another possible option if you plan to be working with multiple channels is a digital recording sound board.  If you only plan to capture a couple channels, I'd probably not bother, but if you are going to plan on capturing multiple channels at the same time, a sound board is helpful and a digital one can keep costs down by doubling as your interface." ContentLicense="CC BY-SA 3.0" />
  <row Id="49606" PostHistoryTypeId="2" PostId="27139" RevisionGUID="cb47ae7a-999f-4093-a17d-d15c489d6b0a" CreationDate="2014-02-18T08:28:48.170" UserId="61" Text="Here's my process for creating loopable sound files:&#xD;&#xA;&#xD;&#xA; 1. Select a reasonable amount of audio from the tail end of the file (&quot;reasonable&quot; is variable and entirely dependent on the content of what you're working with), cut it off and paste it onto the front of the file. You'll need to make a crossfade from the tail end of the region you just cut onto the head of the master clip. Depending on the content of your audio file, this may be a short, medium, or long fade. Just get it sounding natural.&#xD;&#xA; 2. Put ProTools into &quot;loop play&quot; mode, select the entire edited region and hit play. If the edited region loops fine without any snaps or unwanted editorial artifacts, simply duplicate the file and viola, you have a loopable sound file.&#xD;&#xA; 3. Lastly, export your newly created region as something that ProTools can easily recognize, ie. a .WAV file. I would stay away from other formats such as .mp3 or others that are heavily compressed. So long as you stick with .WAV I don't know why you'd be encountering mysterious insertions of silence.&#xD;&#xA;&#xD;&#xA;That's pretty much it. One great advantage to loopable files is creating background tracks. Say you have a 3 min scene. You can lay in your 45 second loopable traffic bed, switch the ProTools trimmer tool to &quot;loop mode&quot; and pull that sucker out for as long as you want; it's already looped and ready to play for the entire 3 minutes without you having to make a single edit or crossfade. Later, when you're conforming your reel to a new version of picture, you won't need to worry about retaining and fixing your old edits - simply blow away the conform damage, pull the region out again, and the file will loop itself up once again.&#xD;&#xA;&#xD;&#xA;Happy Looping! " ContentLicense="CC BY-SA 3.0" />
  <row Id="49607" PostHistoryTypeId="6" PostId="10550" RevisionGUID="7910e0b9-3367-4543-aa47-9d5e8fb350ac" CreationDate="2014-02-18T08:43:45.923" UserId="6411" Comment="Tags" Text="&lt;playback&gt;&lt;troubleshooting&gt;&lt;pro-tools-9&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49608" PostHistoryTypeId="6" PostId="10130" RevisionGUID="79c416a8-e919-441a-8598-123fe4346de8" CreationDate="2014-02-18T08:44:31.473" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;omf&gt;&lt;export&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49609" PostHistoryTypeId="5" PostId="9935" RevisionGUID="d815b22e-949e-46b6-b025-d4dc12caa468" CreationDate="2014-02-18T08:46:35.183" UserId="6411" Comment="Tags" Text="So I just got an iPad2 and was thinking of hooking up it with PT9 on my Mac Book Pro. Faders and knobs would be really useful for mixing many other wonderful things, as well as automation mode capabilities. Question is: Which app has the best support/best value for money for PT?&#xD;&#xA;&#xD;&#xA;[ProRemote][1] - Cool but real pricey &#xD;&#xA;&#xD;&#xA;[V-Control Pro][2] - Also a bit too pricey, but cheaper than ProRemote&#xD;&#xA;&#xD;&#xA;[AC-7 Core][3] - Was thinking of this one but not too sure, anyone used this? It's really a lot cheaper than the previous 2 but maybe some stuff's missing that the previous 2 have. &#xD;&#xA;&#xD;&#xA;There are also nice apps for other DAWs like [TouchOSC][4] and [Mrmr][5], but PT if I'm not wrong, doesn't support OSC &gt;:( &#xD;&#xA;&#xD;&#xA;Any others? &#xD;&#xA;&#xD;&#xA;Thanks ! &#xD;&#xA;&#xD;&#xA;  [1]: http://itunes.apple.com/ca/app/proremote/id286627793?mt=8&#xD;&#xA;  [2]: http://itunes.apple.com/ca/app/v-control-pro/id400423823?mt=8&#xD;&#xA;  [3]: http://itunes.apple.com/ca/app/ac-7-core/id403915394?mt=8&#xD;&#xA;  [4]: http://itunes.apple.com/ca/app/touchosc/id288120394?mt=8&#xD;&#xA;  [5]: http://itunes.apple.com/ca/app/mrmr-osc-controller/id294296343?mt=8" ContentLicense="CC BY-SA 3.0" />
  <row Id="49610" PostHistoryTypeId="6" PostId="9935" RevisionGUID="d815b22e-949e-46b6-b025-d4dc12caa468" CreationDate="2014-02-18T08:46:35.183" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;ipad&gt;&lt;controller&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49611" PostHistoryTypeId="6" PostId="9869" RevisionGUID="58fbb5d6-4135-49e5-bff0-5b65bcb3acae" CreationDate="2014-02-18T08:54:33.423" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49612" PostHistoryTypeId="6" PostId="9790" RevisionGUID="640f6f6e-61a6-41af-804f-24ca6d3556b6" CreationDate="2014-02-18T08:56:00.540" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;troubleshooting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49613" PostHistoryTypeId="5" PostId="7355" RevisionGUID="c99d6f8b-3ee9-48f2-9a3d-65649bee2dcd" CreationDate="2014-02-18T08:57:42.017" UserId="6411" Comment="Tags" Text="I make a post here because don't know anything about Pro Tools, I'm a Nuendo user, and want to take the next step to Pro Tools, but I don't know this is right or wrong... is Pro Tools LE 8 for post production? without the dv toolkit (it's really far from my budget) or I must stay with Nuendo...&#xD;&#xA;&#xD;&#xA;I'm a student yet... but it's the chance to, in a few months, make the post for a indi movie, and I'm very exited about that...&#xD;&#xA;&#xD;&#xA;Sorry for my english, I'm a spanish talker... &#xD;&#xA;&#xD;&#xA;Enrique" ContentLicense="CC BY-SA 3.0" />
  <row Id="49614" PostHistoryTypeId="6" PostId="7355" RevisionGUID="c99d6f8b-3ee9-48f2-9a3d-65649bee2dcd" CreationDate="2014-02-18T08:57:42.017" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;purchase-advice&gt;&lt;dvtoolkit&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49615" PostHistoryTypeId="5" PostId="6809" RevisionGUID="798c15c3-a0a5-44a9-9ef3-db8f0a3b99b3" CreationDate="2014-02-18T08:58:56.820" UserId="6411" Comment="Tags" Text="I keep having this annoying Pro Tools bug; the next start end key (&quot;) keeps swapping shortcuts with the tab key, so instead of heading to the next region when I hit it, it changes the edit mode! Driving me crackers. Could also end up being deadly if I knock into shuffle mode and accidently pull my edits out of sync. Any ideas on how to correct this? it goes on restart, but thats a pain. Pro Tools HD 8.4 on a PC if you need to know....&#xD;&#xA;&#xD;&#xA;thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49616" PostHistoryTypeId="6" PostId="6809" RevisionGUID="798c15c3-a0a5-44a9-9ef3-db8f0a3b99b3" CreationDate="2014-02-18T08:58:56.820" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;troubleshooting&gt;&lt;pt-quick-keys&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49617" PostHistoryTypeId="4" PostId="6360" RevisionGUID="439195ab-66c6-4588-b223-e30cff38c983" CreationDate="2014-02-18T09:00:00.010" UserId="6411" Comment="Tags" Text="Pro Tools M-Powered and syncing to video" ContentLicense="CC BY-SA 3.0" />
  <row Id="49618" PostHistoryTypeId="6" PostId="6360" RevisionGUID="439195ab-66c6-4588-b223-e30cff38c983" CreationDate="2014-02-18T09:00:00.010" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;workflow&gt;&lt;sync&gt;&lt;omf&gt;&lt;m-powered-8&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49619" PostHistoryTypeId="5" PostId="5437" RevisionGUID="443f9395-b793-4b34-af45-15a66c718c77" CreationDate="2014-02-18T09:00:58.267" UserId="6411" Comment="deleted 11 characters in body; edited tags" Text="Working on a project where there are quite a few off screen footsteps (2 pairs of feet) going on which I've painstakingly cut into Pro Tools. The director would now like them paced a bit slower and was wondering if there was a simple/easier way of doing this then going in and individually shifting each region a little bit at a time :/ I tried cutting them up and shifting them using Beat Detective by messing with the overall tempo but didn't get the results I was after. &#xD;&#xA;&#xD;&#xA;Basically looking for a way to highlight all the individual regions, then click the last one and drag it out whilst adding silence between each region that increases the more you drag! Not that I'm aware that's possible but would like a way of achieving the same result somehow in Pro Tools lol&#xD;&#xA;&#xD;&#xA;Cheers in advance,&#xD;&#xA;Andy " ContentLicense="CC BY-SA 3.0" />
  <row Id="49620" PostHistoryTypeId="6" PostId="5437" RevisionGUID="443f9395-b793-4b34-af45-15a66c718c77" CreationDate="2014-02-18T09:00:58.267" UserId="6411" Comment="deleted 11 characters in body; edited tags" Text="&lt;pro-tools&gt;&lt;foley&gt;&lt;re-conforming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49621" PostHistoryTypeId="4" PostId="4617" RevisionGUID="054d9847-626f-4d26-9eb9-6caacd92d890" CreationDate="2014-02-18T09:02:21.427" UserId="6411" Comment="Tags" Text="Live sound at professional hockey games" ContentLicense="CC BY-SA 3.0" />
  <row Id="49622" PostHistoryTypeId="6" PostId="4617" RevisionGUID="054d9847-626f-4d26-9eb9-6caacd92d890" CreationDate="2014-02-18T09:02:21.427" UserId="6411" Comment="Tags" Text="&lt;microphone&gt;&lt;live-sound&gt;&lt;sport&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49623" PostHistoryTypeId="6" PostId="3829" RevisionGUID="bc1d8636-9fb2-4167-9568-b147d7eba7c5" CreationDate="2014-02-18T09:03:34.513" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;troubleshooting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49624" PostHistoryTypeId="5" PostId="19443" RevisionGUID="ca2b02b9-07d6-441d-9ea4-a38a5ff3789e" CreationDate="2014-02-18T09:05:53.350" UserId="6411" Comment="Tags" Text="Any help or advice you could give me would be genuinely appreciated. I'm editing sound for a low budget feature film and I've been given a picture edit in 5 reels with AAFs. I'm in the process of syncing the location sound files to the picture but have been told that because of the way the location sound files have been labelled (exceeding 8 characters) it isn't possible for the editor to export EDLs of the audio from Avid. I don't have the budget to buy an expensive syncing plugin and I don't think it would even work without the EDLs anyway. I'm therefore having to manual sync everything by opening the AAF, identifying individual clips, importing matching polywavs and syncing them up. So far I've done 1 of 5 reels and it's taken about 7 hours. I have a deadline approaching and starting to feel like I'm going to die. Is this my only option for syncing? Knowing this would at least help me to press on through the next 28 hours of syncing with some peace of mind. Again, any help would be really really appreciated. &#xD;&#xA;&#xD;&#xA;Many thanks,&#xD;&#xA;&#xD;&#xA;Troubled Sound designer. " ContentLicense="CC BY-SA 3.0" />
  <row Id="49625" PostHistoryTypeId="6" PostId="19443" RevisionGUID="ca2b02b9-07d6-441d-9ea4-a38a5ff3789e" CreationDate="2014-02-18T09:05:53.350" UserId="6411" Comment="Tags" Text="&lt;pro-tools&gt;&lt;aaf&gt;&lt;edl&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49626" PostHistoryTypeId="2" PostId="27140" RevisionGUID="f64fda34-68cd-4d55-a775-7c579a2fc3d7" CreationDate="2014-02-18T09:21:17.300" UserId="1185" Text="Just to add to Jay's answer, an alternative method for getting the looped tail to sound right is to take your audio loop and create two copies and place one after the other.  Bounce out the two copy version and reimport.  The edit by cutting off the first version of the loop and deleting, just leaving you with the second version which will include the tail from the first.  This way you will get a natural sounding loop.&#xD;&#xA;&#xD;&#xA;Also no idea why you are getting the silence on your bounce.  I know Logic used to have an export option that allowed you preserve your FX tails on export.  This would automatically extend the export to include your reverb or delay tails, but as far as I am aware there is no such option in Pro Tools. " ContentLicense="CC BY-SA 3.0" />
  <row Id="49627" PostHistoryTypeId="2" PostId="27141" RevisionGUID="9f662141-04e4-4ddc-adcb-527cf532b4e2" CreationDate="2014-02-18T09:51:49.250" UserId="7500" Text="Well, I would like to pick up some very small sound like:&#xD;&#xA;- Pressing Keyboard&#xD;&#xA;- Using the zipper&#xD;&#xA;- Scratch yourself&#xD;&#xA;&#xD;&#xA;I don't have a lots of money to buy expensive equipment. How can I pick up these sounds with a small budget? (&lt; 100 USD) Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="49628" PostHistoryTypeId="1" PostId="27141" RevisionGUID="9f662141-04e4-4ddc-adcb-527cf532b4e2" CreationDate="2014-02-18T09:51:49.250" UserId="7500" Text="How can I pick up very small sound with small budget?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49629" PostHistoryTypeId="3" PostId="27141" RevisionGUID="9f662141-04e4-4ddc-adcb-527cf532b4e2" CreationDate="2014-02-18T09:51:49.250" UserId="7500" Text="&lt;sound&gt;&lt;sound-effects&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49630" PostHistoryTypeId="2" PostId="27142" RevisionGUID="264dea4c-894c-4d40-9da8-c3d08a8b987e" CreationDate="2014-02-18T09:56:45.280" UserId="7499" Text="I recently bought a Sony headphone which has &quot;bass boost&quot;, and I really love it. I love it so much that I increased the bass (low frequencies) on every device I use it on, with like 7db and decreased the overall gain (even on windows I use a system wide equalizer). Which means I'm not really listening to loud music, I don't hear any distortion, and the bass has this really nice humming.&#xD;&#xA;&#xD;&#xA;But I heard this is harmful, mainly for the headphone, it will break faster, and it also might damage hearing. Are these true? Should I stop, or I don't really have to worry about it as long as the overall volume is not too big?&#xD;&#xA;&#xD;&#xA;These are the settings I use on the windows eq&#xD;&#xA;&#xD;&#xA;    Preamp: -5 dB&#xD;&#xA;    Filter  1: ON  PK       Fc    20,0 Hz  Gain   7,0 dB  Q  1,00&#xD;&#xA;    Filter  2: ON  PK       Fc    45,0 Hz  Gain   5,0 dB  Q  1,00" ContentLicense="CC BY-SA 3.0" />
  <row Id="49631" PostHistoryTypeId="1" PostId="27142" RevisionGUID="264dea4c-894c-4d40-9da8-c3d08a8b987e" CreationDate="2014-02-18T09:56:45.280" UserId="7499" Text="Is bass boost harmful?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49632" PostHistoryTypeId="3" PostId="27142" RevisionGUID="264dea4c-894c-4d40-9da8-c3d08a8b987e" CreationDate="2014-02-18T09:56:45.280" UserId="7499" Text="&lt;headphones&gt;&lt;equalization&gt;&lt;frequency&gt;&lt;loudness&gt;&lt;bass&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49633" PostHistoryTypeId="2" PostId="27143" RevisionGUID="f421cf75-c58e-45e8-8121-6cbcd7ee28c8" CreationDate="2014-02-18T11:07:46.183" UserId="1216" Text="overall i don't think it is an issue.this is a good question to ask Sony support. &#xD;&#xA;they designed the headphone. &#xD;&#xA;meanwhile, read some more on speaker design, it will help you interpret the response provided by sony. &#xD;&#xA;&#xD;&#xA;start here: https://en.wikipedia.org/wiki/Headphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="49636" PostHistoryTypeId="5" PostId="4459" RevisionGUID="8c906023-5cd2-4f47-8aab-421837a76102" CreationDate="2014-02-18T11:13:57.653" UserId="7016" Comment="deleted 53 characters in body" Text="If you've got DV toolkit, either 1 or 2, you can upgrade it to CPTK2 for only US$250 rather than paying $2000. So its worth something. That gives you VCAs and all the extra HD editing and automation features that PT9 doesnt have.&#xD;&#xA;&#xD;&#xA;That's separate to your Pt9 crossgrade price." ContentLicense="CC BY-SA 3.0" />
  <row Id="49637" PostHistoryTypeId="2" PostId="27144" RevisionGUID="41768b92-96a9-44ed-9920-7bfee8b97f06" CreationDate="2014-02-18T13:08:49.317" UserId="3418" Text="For some of the sounds you've mentioned you could experiment with a contact mic, you can get a cheap one for just a few bucks. Bear in mind that the cheap ones have inherent noise but you could always treat them with noise reduction softwares as izotope or plugins from waves." ContentLicense="CC BY-SA 3.0" />
  <row Id="49638" PostHistoryTypeId="5" PostId="26467" RevisionGUID="108b5761-eef4-423a-866e-58efc5b657a1" CreationDate="2014-02-18T13:34:39.430" UserId="6957" Comment="Try to squeeze it on topic.  Interesting idea.  We'll see." Text="I would like to be able to play something in a pair of headphones that works to drown out the background chatter of, for instance, sitting in a cafe.  &#xD;&#xA;&#xD;&#xA;Is there a type of sound, or genre of music with a certain frequency space that plays to the nature of human hearing for this purpose?&#xD;&#xA;&#xD;&#xA;I'm not looking for silence, but rather using sound to affect my concentration." ContentLicense="CC BY-SA 3.0" />
  <row Id="49639" PostHistoryTypeId="4" PostId="26467" RevisionGUID="108b5761-eef4-423a-866e-58efc5b657a1" CreationDate="2014-02-18T13:34:39.430" UserId="6957" Comment="Try to squeeze it on topic.  Interesting idea.  We'll see." Text="Is there a music genre or type of sound to help drown out background noise for the purpose of concentration?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49640" PostHistoryTypeId="6" PostId="26467" RevisionGUID="108b5761-eef4-423a-866e-58efc5b657a1" CreationDate="2014-02-18T13:34:39.430" UserId="6957" Comment="Try to squeeze it on topic.  Interesting idea.  We'll see." Text="&lt;headphones&gt;&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49641" PostHistoryTypeId="11" PostId="26467" RevisionGUID="0e0bb48d-b844-4d48-bd40-a3f8f667c02e" CreationDate="2014-02-18T13:35:48.107" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="49642" PostHistoryTypeId="13" PostId="26469" RevisionGUID="d8d796b0-34a3-429e-95a7-05b8017774b0" CreationDate="2014-02-18T13:35:54.063" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="49643" PostHistoryTypeId="13" PostId="26470" RevisionGUID="9f1f47c1-49e0-4038-8ff4-5d404974c93d" CreationDate="2014-02-18T13:35:58.157" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="49644" PostHistoryTypeId="13" PostId="26468" RevisionGUID="4f8ed6b1-3f7c-44c5-bb1c-2bbb247bcefb" CreationDate="2014-02-18T13:36:03.627" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="49645" PostHistoryTypeId="15" PostId="26469" RevisionGUID="790ede2e-28d7-442a-8772-308732545451" CreationDate="2014-02-18T14:51:21.167" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="49646" PostHistoryTypeId="15" PostId="26468" RevisionGUID="c5f5006b-8c97-4bdb-b4a1-17e470145e8b" CreationDate="2014-02-18T14:51:27.447" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="49647" PostHistoryTypeId="15" PostId="26470" RevisionGUID="9eb107df-ea14-4829-9dc3-45533ecd9ed8" CreationDate="2014-02-18T14:51:33.777" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="49648" PostHistoryTypeId="15" PostId="26467" RevisionGUID="dd074b5f-ad90-46fe-8533-754447fee730" CreationDate="2014-02-18T14:51:44.027" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="49649" PostHistoryTypeId="2" PostId="27145" RevisionGUID="afe3758f-27fa-4f5f-aa59-a879f7f075db" CreationDate="2014-02-18T15:18:37.520" UserId="6432" Text="For $100 you are really very limited. You can afford a cheap handheld recorder like the zoom H1 or possibly the tascam DR-05. These will work, but you will need to get the recorder fairly close to record quiet sources like you mention. You do get what you pay for with sound equipment, so don't expect miracles - you may get something useable for your purposes (whatever they are), but it will not be the kind of quality you would find in professionally recorded sound libraries." ContentLicense="CC BY-SA 3.0" />
  <row Id="49650" PostHistoryTypeId="2" PostId="27146" RevisionGUID="27d4277c-62e9-45af-8b37-45bcae220777" CreationDate="2014-02-18T15:35:12.683" UserId="7174" Text="It is true that the sensitivity of our ears varies based on frequency and that high pressure sound can be more damaging without being noticed, but if you are not listening too loud it shouldn't be a problem.  You just need to be really careful that it isn't actually too loud.  It is possible to damage your hearing without feeling any pain when you are using selective frequencies of sound at high intensity.&#xD;&#xA;&#xD;&#xA;This would also be where the wear and tear would come from if the speakers are being driven harder as a result, but in general, low frequency sound is slower/fewer vibrations than high frequency sound, so I would expect that for a given level, playing low frequency sound is probably less wear on the speakers." ContentLicense="CC BY-SA 3.0" />
  <row Id="49651" PostHistoryTypeId="2" PostId="27147" RevisionGUID="d0f43663-f768-4403-b037-808853a3f892" CreationDate="2014-02-18T15:38:47.040" UserId="7174" Text="A decent quality standard mic for picking up speaking costs $100 or more.  You are not going to find a good microphone that has sufficiently low levels of noise to get a good recording for $100.  You will also likely have a problem finding a good, quiet environment to do the recording in unless you already have a sound proofed studio space.&#xD;&#xA;&#xD;&#xA;Recording quiet sounds requires two things, a highly sensitive mic with very low noise and a quiet space so that ambient noise doesn't overpower the sound you are trying to capture.  A highly directional mic could help offset the background noise problem some, but again, you are still talking something well out of your price range (possibly even an order of magnitude higher)." ContentLicense="CC BY-SA 3.0" />
  <row Id="49652" PostHistoryTypeId="5" PostId="27143" RevisionGUID="197bb1ec-3319-47ed-a823-ae25e2251bf5" CreationDate="2014-02-18T16:15:11.457" UserId="1216" Comment="added 88 characters in body" Text="overall i don't think it is an issue.this is a good question to ask Sony support. &#xD;&#xA;they designed the headphone. &#xD;&#xA;meanwhile, read some more on speaker design, it will help you interpret the response provided by sony. &#xD;&#xA;&#xD;&#xA;start here: https://en.wikipedia.org/wiki/Headphone&#xD;&#xA;&#xD;&#xA;edit: sorry misread about your worries about hearing loss. AJ is 100% right on that!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49656" PostHistoryTypeId="2" PostId="27149" RevisionGUID="88f00cd6-b728-436e-a334-e2e9d3aa316b" CreationDate="2014-02-18T18:05:21.127" UserId="6680" Text="http://www.freesound.org. Make sure any sounds you use are public domain though." ContentLicense="CC BY-SA 3.0" />
  <row Id="49657" PostHistoryTypeId="5" PostId="27147" RevisionGUID="3675ba8e-0043-4d5c-a516-f1d7f2da0eef" CreationDate="2014-02-18T18:40:55.107" UserId="7174" Comment="added 41 characters in body" Text="A decent quality standard mic for picking up speaking costs $100 or more.  You are not going to find a good microphone that has sufficiently low levels of noise to get a good recording for $100.  You will also likely have a problem finding a good, quiet environment to do the recording in unless you already have a sound proofed studio space.&#xD;&#xA;&#xD;&#xA;Recording quiet sounds requires three things, a highly sensitive mic with very low noise, a high quality pre-amp with low noise and a quiet space so that ambient noise doesn't overpower the sound you are trying to capture.  A highly directional mic could help offset the background noise problem some, but again, you are still talking something well out of your price range (possibly even an order of magnitude higher)." ContentLicense="CC BY-SA 3.0" />
  <row Id="49658" PostHistoryTypeId="2" PostId="27150" RevisionGUID="c0ee70b3-5ddf-4eac-ac8f-60b3763e081e" CreationDate="2014-02-18T22:24:39.867" UserId="37" Text="look into brands like microphone madness etc. sometimes they repackage quality omni capsules (e.g. sennheiser mke2) for a lot cheaper due to them being slightly mismatched, or otherwise failing QC. &#xD;&#xA;&#xD;&#xA;contact mics are another way to get some sounds - the character will be very specific and the cheaper the mics = the more EQ you'd need to apply, but the cheapest transducers are ridiculously cheap. brush up on your soldering skills.....&#xD;&#xA;&#xD;&#xA;small omnis or contacts will allow you to get close, at the cost of somewhat limiting the character of sounds (sound needs at least a bit of space to develop), but you will rerecord these same sounds later when you get another chance.&#xD;&#xA;&#xD;&#xA;stretch your budget to $150, the probability of finding a compromise goes higher. arm yourself with patience. if you're not money rich you need to be time rich for this to work. also i'm tired of plugging the $200-something pcm-m10 which has unexpectedly quiet built-in mics for the price.&#xD;&#xA;&#xD;&#xA;a really quiet mic is out of reach, i'm afraid. these and their preamps combined easily get into the 4 digits budget.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49659" PostHistoryTypeId="2" PostId="27151" RevisionGUID="94ff58e2-4bae-43ac-8f6e-24d09e6e4e3a" CreationDate="2014-02-19T04:03:18.953" UserId="7509" Text="I am going to buy an IEM system so I can hear my vocals. (I am the lead singer in a band)&#xD;&#xA;I don't really care about hearing the music, I'll be able to. If my vocals are the only thing that I can hear in the IEM, that is fine. &#xD;&#xA;&#xD;&#xA;So, I would need an mixer with an &quot;Aux Send&quot; correct?&#xD;&#xA;Also, should I go for an unpowered mixer or powered mixer?&#xD;&#xA;(I have 2 passive speakers and 1 powered speaker… It really just comes down to money I guess)&#xD;&#xA;&#xD;&#xA;Also, I do have a powered mixer but I don't believe it's able to work with IEMs (No aux sends) &#xD;&#xA;There isn't any way for my powered mixer to work as a power amp to power an unpowered mixer? haha. :P" ContentLicense="CC BY-SA 3.0" />
  <row Id="49660" PostHistoryTypeId="1" PostId="27151" RevisionGUID="94ff58e2-4bae-43ac-8f6e-24d09e6e4e3a" CreationDate="2014-02-19T04:03:18.953" UserId="7509" Text="I'm going to get an IEM system but I need a mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="49661" PostHistoryTypeId="3" PostId="27151" RevisionGUID="94ff58e2-4bae-43ac-8f6e-24d09e6e4e3a" CreationDate="2014-02-19T04:03:18.953" UserId="7509" Text="&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49662" PostHistoryTypeId="5" PostId="27151" RevisionGUID="92a49847-dd04-4a06-8b5a-47e738ed7b7c" CreationDate="2014-02-19T04:13:18.033" UserId="7509" Comment="added 195 characters in body" Text="I am going to buy an IEM system so I can hear my vocals. (I am the lead singer in a band)&#xD;&#xA;I don't really care about hearing the music, I'll be able to. If my vocals are the only thing that I can hear in the IEM, that is fine. &#xD;&#xA;&#xD;&#xA;So, I would need an mixer with an &quot;Aux Send&quot; correct?&#xD;&#xA;Also, should I go for an unpowered mixer or powered mixer?&#xD;&#xA;(I have 2 passive speakers and 1 powered speaker… It really just comes down to money I guess)&#xD;&#xA;&#xD;&#xA;Also, I do have a powered mixer but I don't believe it's able to work with IEMs (No aux sends)&#xD;&#xA;Maybe it'll work. I have no idea. Here is a pic.&#xD;&#xA;&#xD;&#xA;Here is the front - http://imageshack.com/a/img545/6244/4b21.jpg &#xD;&#xA;And here is the back - http://imageshack.com/a/img199/7927/7edk.jpg  &#xD;&#xA;&#xD;&#xA;There isn't any way for my powered mixer to work as a power amp to power an unpowered mixer? haha. :P&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49666" PostHistoryTypeId="2" PostId="27153" RevisionGUID="4249341c-8755-4101-b088-9837563bd234" CreationDate="2014-02-19T07:05:40.890" UserId="7189" Text="* Cheap, OK quality: [Samson Go Mic](http://www.amazon.com/gp/product/B001R76D42): $40.&#xD;&#xA;&#xD;&#xA;* Inexpensive, great quality: [Monoprice Large Diaphragm Condenser Microphone](http://www.monoprice.com/Product?p_id=600800) $75, occasionally on sale for as low as $60.&#xD;&#xA;&#xD;&#xA;The Samson Go Mic probably uses the same mic elements that Samson uses in their Zoom brand portable digital audio recorders. The Go Mic is a USB mic, so you don't need anything else to plug it in to a computer.&#xD;&#xA;&#xD;&#xA;The Monoprice condenser is excellent, as [Tape Op confirms](http://tapeop.com/reviews/gear/96/600800-large-diaphragm-condenser-mic/). Unless you have a mixer or audio interface with preamps, you will also need a preamp that has phantom power. I'm using the [ART Tube MP](http://www.amazon.com/ART-Tube-MP-Microphone-Preamp/dp/B0002GZZNY) with an upgraded tube. This combination is much cleaner and more sensitive than the Samson, but will push the upper limit of your budget. Don't forget that you need an XLR cable and a mic stand too.&#xD;&#xA;&#xD;&#xA;The Korg CM-100 and CM-200 contact mics are also nice to have around, I picked up several CM-100s when they were selling for about $10 each. They don't need phantom power, but definitely benefit from some preamp gain. The trim gain on my MOTU 828Mk2 is adequate, but now I find it easier to just work with the Monoprice mic.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49670" PostHistoryTypeId="5" PostId="27151" RevisionGUID="5e70573b-fc48-4e0a-b6df-5efa02121abc" CreationDate="2014-02-19T14:42:21.510" UserId="7174" Comment="Inlined images" Text="I am going to buy an IEM system so I can hear my vocals. (I am the lead singer in a band)&#xD;&#xA;I don't really care about hearing the music, I'll be able to. If my vocals are the only thing that I can hear in the IEM, that is fine. &#xD;&#xA;&#xD;&#xA;So, I would need an mixer with an &quot;Aux Send&quot; correct?&#xD;&#xA;Also, should I go for an unpowered mixer or powered mixer?&#xD;&#xA;(I have 2 passive speakers and 1 powered speaker… It really just comes down to money I guess)&#xD;&#xA;&#xD;&#xA;Also, I do have a powered mixer but I don't believe it's able to work with IEMs (No aux sends)&#xD;&#xA;Maybe it'll work. I have no idea. Here is a pic.&#xD;&#xA;&#xD;&#xA;Here is the front &#xD;&#xA;![Mixer Front][1] &#xD;&#xA;And here is the back &#xD;&#xA;![Mixer Back][2]&#xD;&#xA;&#xD;&#xA;There isn't any way for my powered mixer to work as a power amp to power an unpowered mixer?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Zhha8.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/OP7rF.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="49671" PostHistoryTypeId="6" PostId="27151" RevisionGUID="5e70573b-fc48-4e0a-b6df-5efa02121abc" CreationDate="2014-02-19T14:42:21.510" UserId="7174" Comment="Inlined images" Text="&lt;mixer&gt;&lt;monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49672" PostHistoryTypeId="2" PostId="27155" RevisionGUID="2d7d9f93-0893-468f-9cd4-a455b9023982" CreationDate="2014-02-19T14:53:46.997" UserId="7174" Text="You have two or maybe three options.  The first is to use the tape output as a feed for your IEM.  If you do this, you will get the final mix in your ear rather than just your vocal.&#xD;&#xA;&#xD;&#xA;The second option is to use the effects send.  If you use the effects, then this won't be an option, but if you aren't using the effects, you can use the effects send as a monitor mix and send just your vocal out that way.&#xD;&#xA;&#xD;&#xA;The final option is to grab your vocals before you get to the mixer in the first place.  You could use a dedicated pre-amp for the XLR from your mic.  If you get a preamp that includes more than one output, you can feed your IEM off one output while ideally providing a pass through of the signal to the sound board.  (For example, something like [this](http://www.sweetwater.com/store/detail/USBDualPrePS?device=c&amp;network=g&amp;matchtype=&amp;gclid=CPT9ldW42LwCFYRQ7AoduSgAHg) would probably get the job done, though that was just the first thing I found.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="49675" PostHistoryTypeId="2" PostId="27156" RevisionGUID="a51c878c-d100-4dd3-9d3d-718918a36352" CreationDate="2014-02-19T17:30:25.707" UserId="6680" Text="If you want noise instead of music, try this - http://www.rainymood.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="49676" PostHistoryTypeId="2" PostId="27157" RevisionGUID="9afb85ab-95fe-4a1e-ac11-c410ee182643" CreationDate="2014-02-19T18:07:02.870" UserId="7517" Text="New product for creating Swooshes...  &#xD;&#xA;&#xD;&#xA;http://meltedsounds.com/page1/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="49677" PostHistoryTypeId="36" PostId="27158" RevisionGUID="b590e532-48fa-45b3-a831-ea6cd42ced22" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/1162/using-my-cpu-efficiently-when-using-fruity-loops" />
  <row Id="49678" PostHistoryTypeId="36" PostId="27159" RevisionGUID="14c67348-4b1c-447e-9673-77e9a799d1e4" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/1162/using-my-cpu-efficiently-when-using-fruity-loops/1163#1163" />
  <row Id="49679" PostHistoryTypeId="36" PostId="27160" RevisionGUID="34a13f78-ce3d-478f-a3ae-f3d695609b80" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/1162/using-my-cpu-efficiently-when-using-fruity-loops/1169#1169" />
  <row Id="49680" PostHistoryTypeId="36" PostId="27161" RevisionGUID="d334a1e0-1ca6-46ff-b755-38316e51c31e" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/1162/using-my-cpu-efficiently-when-using-fruity-loops/7702#7702" />
  <row Id="49681" PostHistoryTypeId="2" PostId="27159" RevisionGUID="dc3c1361-546c-4313-9d29-6db75a0927eb" CreationDate="2011-04-13T13:35:53.713" UserDisplayName="Fhilip K" Text="This is more computer related than music but here's some hints and tips anyway.&#xD;&#xA;&#xD;&#xA;Right click on 'computer' and then click 'properties' (you can do this either in your 'start menu' or on the 'desktop'). Here you'll find the specs of your PC including CPU speed and amount of RAM. Perhaps post the result here and also any other details you have about the laptop like model number and age.&#xD;&#xA;&#xD;&#xA;If your computer doesn't meet the specs that FL requires:&#xD;&#xA;&#xD;&#xA;http://flstudio.image-line.com/documents/systemrequirements.html&#xD;&#xA;&#xD;&#xA;[2Ghz AMD or Intel Pentium 3 compatible CPU with full SSE1 support &amp; 1 Gb or more RAM recommended]&#xD;&#xA;&#xD;&#xA;then you're going to have problems no matter what you do. There is a page on Optimizing FL Studio performance:&#xD;&#xA;&#xD;&#xA;http://flstudio.image-line.com/help/html/app_opt.htm&#xD;&#xA;&#xD;&#xA;A cheap option is to pop an extra 1 or 2 GB RAM in there. I know you said you can't afford anything but if you've got say 512MB RAM than an upgrade to 2GB RAM (or 4GB if you can) will make a world of difference.&#xD;&#xA;&#xD;&#xA;As an example this 2 x 1GB RAM upgrade from Newegg would set you back ~$32:&#xD;&#xA;&#xD;&#xA;&lt;http://www.newegg.com/Product/Product.aspx?Item=N82E16820134554&amp;cm_re=ddr2_laptop_ram_2_x_1gb-_-20-134-554-_-Product&gt;&#xD;&#xA;&#xD;&#xA;A great investment really to get a vastly better experience form your laptop all round. Of course check exactly what RAM type you'd need before you purchase.&#xD;&#xA;&#xD;&#xA;Some other ideas are to clean up your HDD (if you can do a fresh re-install of windows).&#xD;&#xA;&#xD;&#xA;http://www.mydefrag.com/ is a great free defrager if you don't know how to do a re-install this might help a little by allowing your HDD to run smoother.&#xD;&#xA;&#xD;&#xA;You can increase the size of your virtual RAM and see if that helps at all:&#xD;&#xA;&#xD;&#xA;http://windows.microsoft.com/en-US/windows-vista/Change-the-size-of-virtual-memory&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49682" PostHistoryTypeId="2" PostId="27161" RevisionGUID="c4468898-b01e-41f6-8472-831c454b7b65" CreationDate="2013-04-20T23:09:56.407" UserDisplayName="GratuiTous" Text="Take advantage of ASIO Drivers.  They will increase performance x100 lol&#xD;&#xA;&#xD;&#xA;Also, and audio interface may help performance a bit too, but ASIO Drivers are #1, if you are using the primary at the moment!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49683" PostHistoryTypeId="2" PostId="27160" RevisionGUID="393fbd4f-bfe3-44e3-a589-9e40ea9da57e" CreationDate="2011-04-14T14:09:30.770" UserDisplayName="kivetros" Text="With a computer like that, you'd be miles better off running an older version of FL Studio. I personally recommend FL 8. I've got the installer for the demo, and I'd be glad to upload it for you here, as it's quite hard to find anymore (if that's allowed - are we okay to do that, if it's free?).&#xD;&#xA;&#xD;&#xA;Also, it would really help if you disabled some of Win7's visual effects. Press [Windows Key] + [Pause/Break] to bring up System. Click 'Advanced System Settings' (it's in the pane on the left). Under the 'Advanced' tab, click 'Settings...' under Performance. Click the radio button labeled 'Adjust for Best Performance' to disable everything, then enable what you need one-by-one. ('Smooth Edges of Screen Fonts', 'Enable Visual Styles', and 'Drop Shadows on Desktop Icons' are all you really need to have enabled, for the most part, but your mileage may vary.)&#xD;&#xA;&#xD;&#xA;Look into some freeware VSTs by indie developers. Native Instruments is a solid company, but a lot of their plugs tend to use a lot of resources. &lt;a href=&quot;http://www.dontcrack.com&quot;&gt;Don'tCrac[k]&lt;/a&gt; is an AWESOME resource for free plug-ins. My favorites are Synth1, Minimouge *(sic)*, LinPlug FreeAlpha3, and anything and everything by Xoxos. Avoid Image-Line's built-in synth Sytrus - it's a massive resource hog. :P&#xD;&#xA;&#xD;&#xA;Let us know how it works out for you, and best of luck! If you have any questions regarding FL, feel free to ask them here - I know the software pretty well, and I'll help in whatever way I can." ContentLicense="CC BY-SA 3.0" />
  <row Id="49684" PostHistoryTypeId="2" PostId="27158" RevisionGUID="a1c70aa3-fa80-4d01-8bc5-34bf99e31afd" CreationDate="2011-04-13T07:21:09.337" UserDisplayName="James Litewski" Text="I don't have a top notch computer; I only have what I've got, which is an acer laptop. With about only a 1.6ghz cpu. I don't have the money to upgrade, or to buy a desktop. I'm just wondering if there is some way I can use my cpu more efficiently when running Fl Studio, so I can reduce the lagging.&#xD;&#xA;&#xD;&#xA;I'm running Windows 7 Home Premium, and Fl Studio 10 (Demo). And I'm getting some lag when I try to run to many Native instrument products (I've only got the free ones, lol)." ContentLicense="CC BY-SA 3.0" />
  <row Id="49685" PostHistoryTypeId="1" PostId="27158" RevisionGUID="a1c70aa3-fa80-4d01-8bc5-34bf99e31afd" CreationDate="2011-04-13T07:21:09.337" UserDisplayName="James Litewski" Text="Using my Cpu efficiently when using Fruity Loops" ContentLicense="CC BY-SA 3.0" />
  <row Id="49686" PostHistoryTypeId="3" PostId="27158" RevisionGUID="a1c70aa3-fa80-4d01-8bc5-34bf99e31afd" CreationDate="2011-04-13T07:21:09.337" UserDisplayName="James Litewski" Text="&lt;laptop&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49687" PostHistoryTypeId="36" PostId="27162" RevisionGUID="09d2ec05-d7d5-45ce-829b-111fd1384156" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/2756/fruity-loops-alternate-between-the-different-layers-in-a-pattern" />
  <row Id="49688" PostHistoryTypeId="36" PostId="27163" RevisionGUID="14007cfe-fe29-4fbd-a5c1-dc7a68e08419" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/2756/fruity-loops-alternate-between-the-different-layers-in-a-pattern/2761#2761" />
  <row Id="49689" PostHistoryTypeId="2" PostId="27163" RevisionGUID="a30df9e7-55f5-46d2-acd5-813fa42a68ba" CreationDate="2011-12-06T22:40:27.400" UserId="7294" Text="You may be thinking of Live's Follow Actions, which can be leveraged using clip envelopes and Instrument Rack devices to change synth sounds like you've described.&#xD;&#xA;&#xD;&#xA;I don't think FL Studio has a feature exactly like that, but I believe you can automate the volume of an instrument by right clicking it and choosing &quot;Edit Events.&quot; Obviously this won't allow it to be random (since you have to program the automation), but it might allow you to produce similar effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="49690" PostHistoryTypeId="2" PostId="27164" RevisionGUID="0e3bed52-065c-4a61-af2c-0a173a2ce1ec" CreationDate="2012-06-15T14:45:59.813" UserId="7257" Text="You may be able to do some layer-inception, and have two different layers be children to one layer.&#xD;&#xA;&#xD;&#xA;Here is how you can set up your layers:&#xD;&#xA;&#xD;&#xA;Right click near one of your instruments and insert a new **Layer**. Click on the Layer to open up its properties. There is a button &quot;**Set Children**&quot;. In order to set your children (the instruments you want to alternate on), you must select the green sliver next to each instrument to include (see the screenshot below). Then press the &quot;Set Children&quot; button to set the layer's children to your selected instruments.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Then, you put your melody into the Layer's piano roll for that pattern. All children will play that melody together. To alternate at random, select the &quot;**Random**&quot; button.&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;Now, create a high-level layer that has the other layers as its children, and let us know if it works!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/ndhbh.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/nVRBG.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="49691" PostHistoryTypeId="2" PostId="27162" RevisionGUID="cb992784-c609-4305-8f24-8af9506973ce" CreationDate="2011-12-06T13:47:44.337" UserDisplayName="Krummelz" Text="How can I alternate between the different layers in a pattern? &#xD;&#xA;&#xD;&#xA;For example, if you create a set of notes for one instrument, and then clone the layer multiple times, and change the instrument on each layer. Is there a way to make FL alternate between these layers, at random for instance, on one pattern? I've heard that this is possible in Ableton, but I don't have Ableton.. apparently you can set how frequently it should switch layers.. like every beat, or half beat, etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="49692" PostHistoryTypeId="1" PostId="27162" RevisionGUID="cb992784-c609-4305-8f24-8af9506973ce" CreationDate="2011-12-06T13:47:44.337" UserDisplayName="Krummelz" Text="Fruity Loops: Alternate between the different layers in a pattern?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49693" PostHistoryTypeId="3" PostId="27162" RevisionGUID="cb992784-c609-4305-8f24-8af9506973ce" CreationDate="2011-12-06T13:47:44.337" UserDisplayName="Krummelz" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49694" PostHistoryTypeId="36" PostId="27164" RevisionGUID="c9f1829e-ff75-4989-a94f-d85fb52b1b56" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/2756/fruity-loops-alternate-between-the-different-layers-in-a-pattern/4186#4186" />
  <row Id="49695" PostHistoryTypeId="36" PostId="27165" RevisionGUID="5ad52c5f-f6b2-4c23-a1d8-64f19d83644f" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/3353/how-can-i-prevent-fl-from-echoing-the-notes-i-play-in-a-midi-keybord-back-to-the" />
  <row Id="49696" PostHistoryTypeId="36" PostId="27166" RevisionGUID="bdfecd6b-d497-4e71-af63-7cb4cdd15e0a" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/3353/how-can-i-prevent-fl-from-echoing-the-notes-i-play-in-a-midi-keybord-back-to-the/3356#3356" />
  <row Id="49697" PostHistoryTypeId="36" PostId="27167" RevisionGUID="04c9c022-c56c-474e-9706-10d533c77265" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/3353/how-can-i-prevent-fl-from-echoing-the-notes-i-play-in-a-midi-keybord-back-to-the/3391#3391" />
  <row Id="49698" PostHistoryTypeId="36" PostId="27168" RevisionGUID="3c646d10-abb6-4bfa-8639-6b62eb6f7c43" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/3353/how-can-i-prevent-fl-from-echoing-the-notes-i-play-in-a-midi-keybord-back-to-the/3431#3431" />
  <row Id="49699" PostHistoryTypeId="2" PostId="27166" RevisionGUID="80cab5d6-b654-4535-93c7-3c8a19c0b0fb" CreationDate="2012-02-18T23:29:13.843" UserId="7210" Text="Select the FL mixer track your recording to, turn off the send switch at the bottom of the master track." ContentLicense="CC BY-SA 3.0" />
  <row Id="49700" PostHistoryTypeId="2" PostId="27167" RevisionGUID="543976e0-db45-49b2-86bb-3f6d0f858bd0" CreationDate="2012-02-23T22:40:17.850" UserId="7294" Text="If you don't want any notes to be sent to the keyboard, make sure they're sent on a different MIDI channel than the keyboard is responding to." ContentLicense="CC BY-SA 3.0" />
  <row Id="49701" PostHistoryTypeId="2" PostId="27168" RevisionGUID="b21b1e6d-99e3-48d3-a029-b2e6c763400c" CreationDate="2012-02-29T17:43:49.253" UserId="17571" UserDisplayName="Zeronyne" Text="If you want it to play the sound on your keyboard but not double strike note, you need to turn the Local command to Off. Tell me the brand of your keyboard and I will tell you how to shut it off (if it can be done)." ContentLicense="CC BY-SA 3.0" />
  <row Id="49702" PostHistoryTypeId="2" PostId="27165" RevisionGUID="2fe132f9-9fe9-41e1-b258-8f9064453094" CreationDate="2012-02-18T21:27:18.077" UserDisplayName="Juan Luis Soldi" Text="The only way I know to do this is to turn the MIDI channel volume down, but then this makes impossible to play back to my keyboard something I recorded before while I'm recording something else with the same keyboard.&#xD;&#xA;&#xD;&#xA;Is this possible at all?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49703" PostHistoryTypeId="1" PostId="27165" RevisionGUID="2fe132f9-9fe9-41e1-b258-8f9064453094" CreationDate="2012-02-18T21:27:18.077" UserDisplayName="Juan Luis Soldi" Text="How can I prevent FL from echoing the notes I play in a MIDI keybord back to the keyboard?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49704" PostHistoryTypeId="3" PostId="27165" RevisionGUID="2fe132f9-9fe9-41e1-b258-8f9064453094" CreationDate="2012-02-18T21:27:18.077" UserDisplayName="Juan Luis Soldi" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49705" PostHistoryTypeId="36" PostId="27169" RevisionGUID="f078f24b-d352-492b-844d-f84b54206659" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/4185/reasons-to-not-use-flstudio-as-daw" />
  <row Id="49706" PostHistoryTypeId="2" PostId="27170" RevisionGUID="0be00f11-78dc-477f-9805-0872d0741671" CreationDate="2012-06-15T15:24:38.170" UserId="12830" UserDisplayName="dwwilson66" Text="[See this related question][1] - it's about the video production's vibe that Sony Vegas in &quot;unprofessional&quot; compared to Avid (who make ProTools) and Final Cut.&#xD;&#xA;&#xD;&#xA;Let's start with this: FLStudio it's a tool with which you're familiar. That's a huge plus in terms of learning curve for getting things done. &#xD;&#xA;&#xD;&#xA;With DAWs, the output is comparable. ProTools can't make better ones or zeros than any other package. There are going to be inherent differences in the audio codecs depending on which one ships with whose products. &#xD;&#xA;&#xD;&#xA;The tool, in and of itself, it not the issue. Professionalism comes from a.) the recording quality and b.) the skill of the engineer. Record with a crappy mic that's not been properly placed in a room that's not properly soundproofed, and Bob Katz himself couldn't fix it. Conversely, mic it right and choose the right place to record, and if you know your tool, you can create awesome recordings. &#xD;&#xA;&#xD;&#xA;Should you switch? That's up to you, but here are some things to consider:&#xD;&#xA;1.) Can you accomplish everything you need to record and output great audio with FLStudio?&#xD;&#xA;2.) Will you ever have a need to exchange files with someone else...e.g., will you ever need to send your stubs to a mastering studio? And is the output you send them compatible with, most likely, ProTools or Live?&#xD;&#xA;3.) How _important_ is it that it's compatible with other studios' equipment?&#xD;&#xA;4.) Can FLStudio output redbook compliant CD image files? &#xD;&#xA;5.) How important is it that you have an _image_ of professionalism? Will you lose business because of your software? or will you retain business, regardless of software because of your mad audio skillz?&#xD;&#xA;&#xD;&#xA;If you know how to make great audio, that's where the professionalism comes from. Not the software. Yes, there may be solid business reasons to invest in one package or another, mostly revolving around the extent to which you'll share files to collaborate. Secondary will be for marketing purposes...but honestly, with some great demos, you can overcome the second quite handily. &#xD;&#xA;&#xD;&#xA;Software is nothing more than a tool. If I can make true cuts in a piece of wood with a Craftsman saw, it doesn't matter that the saw _isn't_ Black and Decker. If it does what you need and you're happy with the results, phtphptpht to the naysayers. :) &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avp.stackexchange.com/questions/4105/can-sony-vegas-pro-be-used-or-compared-to-the-output-produced-by-final-cut-pro-f" ContentLicense="CC BY-SA 3.0" />
  <row Id="49707" PostHistoryTypeId="2" PostId="27169" RevisionGUID="19eda789-b67c-4029-b9b3-ce6ff57fd768" CreationDate="2012-06-15T14:37:12.523" UserId="7257" Text="I know how to use FLStudio very well. It has been my only DAW for years. I get the vibe from the music community that it is unprofessional; that professionals use Live or Pro Tools. Are there reasons to use those over FLStudio, or reasons to avoid FLStudio in the first place?&#xD;&#xA;&#xD;&#xA;Edit: It should be noted, the only recording I do is vocals. I use VSTs for instruments." ContentLicense="CC BY-SA 3.0" />
  <row Id="49708" PostHistoryTypeId="1" PostId="27169" RevisionGUID="19eda789-b67c-4029-b9b3-ce6ff57fd768" CreationDate="2012-06-15T14:37:12.523" UserId="7257" Text="Reasons to NOT use FLStudio as DAW" ContentLicense="CC BY-SA 3.0" />
  <row Id="49709" PostHistoryTypeId="3" PostId="27169" RevisionGUID="19eda789-b67c-4029-b9b3-ce6ff57fd768" CreationDate="2012-06-15T14:37:12.523" UserId="7257" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49710" PostHistoryTypeId="36" PostId="27170" RevisionGUID="161775b3-e933-48f9-83b0-bc6e87d3ab4f" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/4185/reasons-to-not-use-flstudio-as-daw/4188#4188" />
  <row Id="49711" PostHistoryTypeId="36" PostId="27171" RevisionGUID="efdbcaf8-fc1c-41ca-957a-409233407666" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/4185/reasons-to-not-use-flstudio-as-daw/4189#4189" />
  <row Id="49712" PostHistoryTypeId="36" PostId="27172" RevisionGUID="16104126-bf14-4fe0-8e45-25aa608ac717" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/4185/reasons-to-not-use-flstudio-as-daw/4281#4281" />
  <row Id="49713" PostHistoryTypeId="2" PostId="27172" RevisionGUID="5abb66ed-c8af-4267-98c5-175433619c99" CreationDate="2012-06-26T18:34:53.383" UserDisplayName="Frank" Text="There's a general thing to know: a DAW itself does not have any impact on sound exept a reasonable style of amp ratio between L and R (read something about panning law to get familiar with it). The things that do make impact are the quality of VSTs and such - there are differences indeed. Back in the days the FL ones were not state of the art (afaik without ever was working with it). But nowadays things have changed dramatically. It reveals as more of a GUI-depending decision for most people, although there are some expensive high quality plugins anyway." ContentLicense="CC BY-SA 3.0" />
  <row Id="49714" PostHistoryTypeId="2" PostId="27171" RevisionGUID="15d8f7a1-32dd-4783-9046-a1985e9a99e3" CreationDate="2012-06-15T15:51:36.503" UserDisplayName="az01" Text="FLS is not a &quot;studio software&quot; like Nuendo or PT. Actually its more a software made for people who makes music while PT and Nuendo are more some softs for people who plugs some wires etc..." ContentLicense="CC BY-SA 3.0" />
  <row Id="49715" PostHistoryTypeId="36" PostId="27173" RevisionGUID="52f7a09b-03b5-4751-a271-adf7767a36a3" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/3722/how-do-i-convert-fl-studio-time-bar-step-tick-to-real-world-durations" />
  <row Id="49716" PostHistoryTypeId="2" PostId="27174" RevisionGUID="004fcd98-f03e-4309-95ab-a39d3e5443cf" CreationDate="2012-04-11T00:14:11.943" UserId="7188" Text="I am not familiar with this software but have had sufficient experience with both sequencer and piano roll formats to understand your question. Examining the tutorials for &#xD;&#xA;&quot;FL Studio Tutorial - Pattern Window and Step Sequencer Basics&quot; I found the following:&#xD;&#xA;&#xD;&#xA;&quot;Notice all those rows of buttons for each sound? Those are each called 'step' and you looking at a sequence of them each representing 1/16 of a measure or bar of music.&quot;&#xD;&#xA;&#xD;&#xA;source = http://www.fruity-loops-tutorials.com/post/FL-Studio-Pattern-Window-and-Step-Sequencer-Basics.aspx&#xD;&#xA;&#xD;&#xA;Do you understand the concept of a &quot;bar&quot; also know as a &quot;measure&quot; in western music?&#xD;&#xA;Assuming you may not understand this I will explain it. Feel free to Google &quot;Bars in music&quot;, &quot;Measures in Music&quot;, &quot;tempo&quot; or any term I am using that you may not have heard of before.&#xD;&#xA;&#xD;&#xA;Simply put a bar is a division of time. How much time depends on the 'time signature' and the 'tempo'. Many musical works use this to keep track of what notes are played when. For example in American Blues music, the 12 bar blues is used very often. This construct is 12 measures or bars at 4 beats each. The tempo can very from slow to fast (60 beats per minute to 140 beats per minute). Typically a 12 bar blues has the following chord structure: the tonic (I) is played for the first 4 bars, (16 beats), the sub-dominant (VI) plays the next 2 bars, the tonic again for the next 2 bars, then dominant (V) one bar, then sub-dominant one bar, and tonic (I) one bar and the last bar is usually the dominant or can be a tonic. So that's 12 bars, a whole blues song using this might have 12 of these, or 144 bars.&#xD;&#xA;&#xD;&#xA;So according to the tutorial a step = 1/16 of a measure. From this one might conclude that this is the smallest amount of time the measure or bar can be broken down to. In music, this would be a 16th note, 16 x 16th notes will equal 4 quarter notes, and apparently a whole measure in this software. How long is this in real time depends on how you set the tempo.&#xD;&#xA;&#xD;&#xA;There are a couple of video tutorials about FL Studio so google away to see if these will assist too." ContentLicense="CC BY-SA 3.0" />
  <row Id="49717" PostHistoryTypeId="2" PostId="27173" RevisionGUID="19e6f300-7f26-4d6d-94c1-1b059e369edb" CreationDate="2012-04-08T02:50:10.930" UserDisplayName="Raven Dreamer" Text="I have an FL Studio song file (.flp) that I'm trying to recreate programatically. &#xD;&#xA;&#xD;&#xA;I've got my program to the point where it can play the instruments I want, *when* I want, now the only problem is that I don't know *when* I want them. &#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;I'm looking at the piano line instrument by instrument, and while it's easy to say which notes are which in FL Studio terms (Bar X, Step Y, Tick Z), I don't know the real-world duration of Bars, Steps, and Ticks (and I'd even bet that you can vary them in the first place...).&#xD;&#xA;&#xD;&#xA;How might I calculate get the absolute real time between each note?&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/wsD9v.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="49718" PostHistoryTypeId="1" PostId="27173" RevisionGUID="19e6f300-7f26-4d6d-94c1-1b059e369edb" CreationDate="2012-04-08T02:50:10.930" UserDisplayName="Raven Dreamer" Text="How do I convert FL Studio time (bar-step-tick) to real-world durations?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49719" PostHistoryTypeId="3" PostId="27173" RevisionGUID="19e6f300-7f26-4d6d-94c1-1b059e369edb" CreationDate="2012-04-08T02:50:10.930" UserDisplayName="Raven Dreamer" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49720" PostHistoryTypeId="36" PostId="27174" RevisionGUID="6fb4f04c-da4f-4b67-95d3-98335cc42be6" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/3722/how-do-i-convert-fl-studio-time-bar-step-tick-to-real-world-durations/3734#3734" />
  <row Id="49722" PostHistoryTypeId="36" PostId="27176" RevisionGUID="24d54bde-46eb-434f-a977-122b935b9578" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/3722/how-do-i-convert-fl-studio-time-bar-step-tick-to-real-world-durations/8609#8609" />
  <row Id="49724" PostHistoryTypeId="2" PostId="27176" RevisionGUID="40aaa56e-b7d7-4623-bbda-523754b3f00b" CreationDate="2013-08-03T19:18:31.857" UserDisplayName="musicdude" Text="theres a button to convert the ticks step bar display into minutes seconds its right next to the display " ContentLicense="CC BY-SA 3.0" />
  <row Id="49725" PostHistoryTypeId="36" PostId="27177" RevisionGUID="412ea1b0-29be-46e1-8c6c-557b51733061" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/8536/fl-studio-how-can-i-change-the-instruments-of-an-imported-midi-file" />
  <row Id="49726" PostHistoryTypeId="36" PostId="27178" RevisionGUID="a803a2c6-ee8d-4ead-a219-ff4b495f98bf" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/8536/fl-studio-how-can-i-change-the-instruments-of-an-imported-midi-file/8551#8551" />
  <row Id="49727" PostHistoryTypeId="36" PostId="27179" RevisionGUID="05e8604e-89ac-4e5c-849a-7162d4ce6aea" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/8536/fl-studio-how-can-i-change-the-instruments-of-an-imported-midi-file/9592#9592" />
  <row Id="49728" PostHistoryTypeId="2" PostId="27178" RevisionGUID="9402ad70-914d-4b45-9665-1386182e6fd5" CreationDate="2013-07-29T12:06:02.827" UserId="7542" UserDisplayName="Don Nickel" Text="1. You can drag another instrument from the hierarchy right on to the track&#xD;&#xA;2. You can right-click on the track eg. [Channel #1], and there is an option to replace the channel&#xD;&#xA;3. You can create a new channel with the synth you want and copy the piano-roll&#xD;&#xA;&#xD;&#xA;--- unless you are just wanting to change it to a new instrument in the midi-player... in that case, examine the piano roll to make sure you don't have a change patch command at the start of the track. If you do, you'll need to remove it." ContentLicense="CC BY-SA 3.0" />
  <row Id="49729" PostHistoryTypeId="2" PostId="27179" RevisionGUID="b9d806d4-50e6-4575-be63-cbd74e8662bc" CreationDate="2013-12-07T19:34:13.873" UserDisplayName="Simo Vihinen" Text="How to change the midi command to change patches on the fly:&#xD;&#xA;&#xD;&#xA; - Open the pattern in the piano roll.&#xD;&#xA;&#xD;&#xA; - Choose &quot;Target Control&quot; from the piano roll options menu.&#xD;&#xA;&#xD;&#xA; - Choose the one that says &quot;Instrument in question - Patch number&quot;.&#xD;&#xA;&#xD;&#xA; - Use the delete tool to select the event[s] and delete it.&#xD;&#xA;&#xD;&#xA;You can also access patch number and other controls from the drop-down menu on the top of the piano roll window. By default it will have &quot;velocity&quot; chosen." ContentLicense="CC BY-SA 3.0" />
  <row Id="49730" PostHistoryTypeId="2" PostId="27177" RevisionGUID="bde16dae-7272-49f3-b636-213b4f7575ab" CreationDate="2013-07-28T17:27:09.833" UserDisplayName="NoneOfYourBusiness" Text="![enter image description here][1]&#xD;&#xA;&#xD;&#xA;I have imported a MIDI file into Fruity Loops. It sounds fine so far, but now I want to change the instruments before I export it to ogg. &#xD;&#xA;&#xD;&#xA;But whenever I change an instrument, FL is changing it back to the default when I press the stop button when I change it during play or when I press play when I changed it while the song was stopped.&#xD;&#xA;How can I change the instrument for my recording?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/JdXwP.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="49731" PostHistoryTypeId="1" PostId="27177" RevisionGUID="bde16dae-7272-49f3-b636-213b4f7575ab" CreationDate="2013-07-28T17:27:09.833" UserDisplayName="NoneOfYourBusiness" Text="FL Studio: How can I change the instruments of an imported MIDI file?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49732" PostHistoryTypeId="3" PostId="27177" RevisionGUID="bde16dae-7272-49f3-b636-213b4f7575ab" CreationDate="2013-07-28T17:27:09.833" UserDisplayName="NoneOfYourBusiness" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49733" PostHistoryTypeId="36" PostId="27180" RevisionGUID="d2367096-6dd6-4f47-b3c8-38deb2dc29ba" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/3830/playlist-and-piano-roll-zoom-in-horizontaly-in-fl-studio" />
  <row Id="49734" PostHistoryTypeId="36" PostId="27181" RevisionGUID="5cbbba00-62df-41fe-afe6-81bbd5e416f5" CreationDate="2014-02-19T18:02:00.690" UserId="-1" Comment="from http://video.stackexchange.com/questions/3830/playlist-and-piano-roll-zoom-in-horizontaly-in-fl-studio/3951#3951" />
  <row Id="49735" PostHistoryTypeId="2" PostId="27181" RevisionGUID="0f830484-b54a-4f74-aa97-7c624615f6b7" CreationDate="2012-05-09T15:24:35.423" UserDisplayName="SativaNL" Text="In the playlist on the top right corner you have a square where you can set the zoom of the playlist.&#xD;&#xA;&#xD;&#xA;If you point your cursor on the scrollbar, and use your mousewheel you can also adjust the zoom.&#xD;&#xA;&#xD;&#xA;Pretty handy if you are used to it" ContentLicense="CC BY-SA 3.0" />
  <row Id="49736" PostHistoryTypeId="2" PostId="27180" RevisionGUID="588d1403-7d39-44a8-9bf6-02a9348bdecf" CreationDate="2012-04-26T04:15:49.610" UserId="16393" UserDisplayName="1ucid" Text="i didnt use fl studio since version 8. There are many things changed. I cannot figure out how to zoom in or zoom out horizontaly in playlist or piano roll?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49737" PostHistoryTypeId="1" PostId="27180" RevisionGUID="588d1403-7d39-44a8-9bf6-02a9348bdecf" CreationDate="2012-04-26T04:15:49.610" UserId="16393" UserDisplayName="1ucid" Text="playlist and piano roll zoom in horizontaly in FL Studio" ContentLicense="CC BY-SA 3.0" />
  <row Id="49738" PostHistoryTypeId="3" PostId="27180" RevisionGUID="588d1403-7d39-44a8-9bf6-02a9348bdecf" CreationDate="2012-04-26T04:15:49.610" UserId="16393" UserDisplayName="1ucid" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49739" PostHistoryTypeId="2" PostId="27182" RevisionGUID="718b0269-9d91-487f-9175-c4c19c8d056a" CreationDate="2014-02-19T19:39:04.647" UserId="7518" Text="I recorded an 85-minute AAC/m4a file using Notability on my iPad. This app has always worked well before but for some reason there was a problem this time. The relevant file shows up as having 21MB (about the right size) and appeared to be recording normally, but when I tried to play it (using Notability or any other player - tried Quicktime, Real Player, Audacity, VLC and WondersharePlayer) it shows up as having zero duration. I am using a Mac with Mavericks installed.&#xD;&#xA;&#xD;&#xA;In desperation I ran the file through: http://mp4repair.org/pwt6/preview.html&#xD;&#xA;It came up straight away as a 1 hour 25 minute sound file with a 95% &quot;repair score&quot;. There is also a preview that sounds right. The only problem is that they want about $90 for what looks like a pretty simple fix. Can anyone suggest a way that I might be able to get access to this file without paying lots of money? It seems like it should not be difficult but I just don't seem to be able to find the key to the puzzle.&#xD;&#xA;&#xD;&#xA;Many thanks in advance for any thoughts/suggestions you might have,&#xD;&#xA;&#xD;&#xA;James" ContentLicense="CC BY-SA 3.0" />
  <row Id="49740" PostHistoryTypeId="1" PostId="27182" RevisionGUID="718b0269-9d91-487f-9175-c4c19c8d056a" CreationDate="2014-02-19T19:39:04.647" UserId="7518" Text="How to recover audio from an incomplete or corrupted AAC/m4a file" ContentLicense="CC BY-SA 3.0" />
  <row Id="49741" PostHistoryTypeId="3" PostId="27182" RevisionGUID="718b0269-9d91-487f-9175-c4c19c8d056a" CreationDate="2014-02-19T19:39:04.647" UserId="7518" Text="&lt;audio&gt;&lt;problems&gt;&lt;file&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49749" PostHistoryTypeId="19" PostId="6208" RevisionGUID="866a5cb5-6ea5-4643-b2f0-c0af5e0e06b6" CreationDate="2014-02-19T23:35:04.070" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="49758" PostHistoryTypeId="2" PostId="27183" RevisionGUID="caecc7b4-0cd5-4e92-a25f-5d7d02f92a05" CreationDate="2014-02-20T00:01:26.797" UserId="7511" Text="See http://www.codinghorror.com/blog/2012/06/concluding-the-great-mp3-bitrate-experiment.html and http://www.maximumpc.com/article/do_higher_mp3_bit_rates_pay_off. Both are simple, but valid studies that indicate that we can't really tell any difference between files encoded above 160kbps.&#xD;&#xA;&#xD;&#xA;A couple of caveats:&#xD;&#xA;&#xD;&#xA;* The above figures are for stereo sound. For files with more channels (e.g. surround sound), you want correspondingly higher bit rates. So basically, you could hear the difference 160 and 320 kbps *if* there are more than 2 channels, as bitrate per channel will be lower.&#xD;&#xA;* Bitrate is affected by bit-depth. A 16-bit sound file will be fine for listening, but if you're going to be mixing it with other audio, you might need the extra headroom afforded by 20 or 24 bit sound, and bitrate (and file size) will be correspondingly higher. But you won't be able to hear this difference by listening to the audio file on its own.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49762" PostHistoryTypeId="6" PostId="26222" RevisionGUID="c9282a28-120f-47c6-afb8-984e8af275ec" CreationDate="2014-02-20T00:16:34.857" UserId="6957" Comment="edited tags" Text="&lt;mp3&gt;&lt;bitrate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49767" PostHistoryTypeId="2" PostId="27185" RevisionGUID="4f20c05f-f946-4676-ad1d-f01f2a7256cb" CreationDate="2014-02-20T05:10:01.347" UserId="7174" Text="If you want to do sound to accompany video, then it would be very helpful.  If you want to do sound for music, then not so much.  Video requires knowledge of sound because it always has a sound component that you need to be able to work with.  Sound doesn't always have a visual component, but when it does, the same level of coordination is needed.&#xD;&#xA;&#xD;&#xA;The technical skills of a video editor, a cinematographer and an audio technician are all very different.  The language used and even the workflows are very dissimilar.  That said, there are some aspects that are useful across disciplines, such as general understanding of signals and processing.&#xD;&#xA;&#xD;&#xA;There are also two main schools of thought, you have the Hollywood breed who specialize in their art and their art alone, depending on others to fill the other roles.  You then have the independent film makers who have to know a little bit of everything, but don't necessarily master any of it.&#xD;&#xA;&#xD;&#xA;I'm personally in the latter category and while I can do my choice of audio, video or lighting at a professional level, the amount of cross benefit is not substantial.  My advice would be that unless you have a need to work with video guys or have an interest in it for yourself, you probably don't need to bother.&#xD;&#xA;&#xD;&#xA;If you do want to learn, I recommend starting out just playing around with some basic footage and trying to tell a story with it.  Once you start getting some of the basics, hop over to Video Production and read some of the beginner questions or ask your own.  If you have any contacts with any local film makers, perhaps volunteer your audio services in exchange for them showing you some of their side of the art." ContentLicense="CC BY-SA 3.0" />
  <row Id="49768" PostHistoryTypeId="2" PostId="27186" RevisionGUID="0056e8e7-d4b4-48fb-a62b-cda85edf725a" CreationDate="2014-02-20T08:03:21.117" UserId="7522" Text="What about asio4all driver? That 'can' output to two digital sound cards simultaneously. You might have timing/latency issues but it's free and could work for you?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49769" PostHistoryTypeId="2" PostId="27187" RevisionGUID="7bc650ad-1c11-4298-88e6-d8f36369182a" CreationDate="2014-02-20T08:28:15.800" UserId="6425" Text="I am trying to get the bass sound of Gorgon City - Ready for your love.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=0hIfLFoeikY&#xD;&#xA;&#xD;&#xA;For me it sounds like a FM Bass so I tried to get it with FM8 by modulating a sine wave with a sine wave with twice the frequency. Then I used envelopes to get them plucky. But I can't get anywhere close to the tonality of gorgon cites bass.&#xD;&#xA;&#xD;&#xA;For processing I tried a combination of saturation/distortion, Multiband Compression to accentuate the midrange a bit, small reverb and chorus. But whatever I do it seems like my bass is not strong/interesting enough for a simple Drums + Bass combination&#xD;&#xA;&#xD;&#xA;Can you help me getting closer?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49770" PostHistoryTypeId="1" PostId="27187" RevisionGUID="7bc650ad-1c11-4298-88e6-d8f36369182a" CreationDate="2014-02-20T08:28:15.800" UserId="6425" Text="Gorgon City - Ready for your love - FM Bass question!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49771" PostHistoryTypeId="3" PostId="27187" RevisionGUID="7bc650ad-1c11-4298-88e6-d8f36369182a" CreationDate="2014-02-20T08:28:15.800" UserId="6425" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49782" PostHistoryTypeId="2" PostId="27188" RevisionGUID="3a843b8d-b328-4f53-9d60-3fddb62d95d3" CreationDate="2014-02-20T10:22:00.030" UserId="1185" Text="Rather than applying FX I think you need to explore the possibilities of FM synthesis to try and get the sound you are after.  This will mean moving beyond the basic two operator pair that you describe.  &#xD;&#xA;&#xD;&#xA;Listening to you sound, two aspects strike me.  First, it contains a lot of frequencies and second it has a very resonant quality.  In FM you can increase number of frequencies generated by using a Multiple Modulator arrangement where a carrier is fed by two or more modulators.  This will allow you to create a huge number of partial frequencies, dependent on your settings.&#xD;&#xA;&#xD;&#xA;To get the resonant quality you can use Multiple Carriers, where modulators are connected to multiple carriers and this will allow you combine the frequency responses of each carrier and create formant filter style responses in the frequency domain.&#xD;&#xA;&#xD;&#xA;I would also suggest seeing if you can isolate your target sound and then examining it's frequency content (and also time domain).  In this was you can then start to build a similar spectrum in FM8." ContentLicense="CC BY-SA 3.0" />
  <row Id="49783" PostHistoryTypeId="2" PostId="27189" RevisionGUID="64e993d2-b944-4853-8603-5f6c3cf63574" CreationDate="2014-02-20T10:38:12.900" UserDisplayName="user6513" Text="If I am understanding you right, you want to be able to reroute your multiple inputs into 1 DAW and then send them out into various outputs.&#xD;&#xA;&#xD;&#xA;I reckon you can but you may need more than 1 DAW open to do this.&#xD;&#xA;&#xD;&#xA;http://jackaudio.org/&#xD;&#xA;&#xD;&#xA;Jack allows you to do the virtual rerouting within your computer, but I'm not sure if it can  run the inputs of an interface dry. You can definitely take it out from a DAW or another audio player and send it into the DAW of your choice. &#xD;&#xA;&#xD;&#xA;With all that routing though, you're bound to run into many latency issues. Why not just rent or borrow a multichannel interface if you don't want to buy it." ContentLicense="CC BY-SA 3.0" />
  <row Id="49784" PostHistoryTypeId="2" PostId="27190" RevisionGUID="e8fc29d3-0658-4b33-99e9-16d56b9233bf" CreationDate="2014-02-20T10:51:52.853" UserId="7524" Text="You would normally use the Quick controls &amp; midi device manager feature to map your keyboard or use the ready made templates..&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;Quick controls is not available in the trial version of Cubase 7 Elements. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The only alternative is to use a midi plugin as a translator &amp; set it up yourself ... you would also need a copy of the midi spec of your keyboard. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;you would install the midi plugin as a insert on a track .The midi out from your keyboard is sent to the plugin &amp; transformed &amp; filtered to suit your tasks..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Cubase has its own midi transformers but they may be removed from the trial version..&#xD;&#xA;so you will need to check &amp; browse the freeware plugin sites for a alternative.." ContentLicense="CC BY-SA 3.0" />
  <row Id="49785" PostHistoryTypeId="5" PostId="27190" RevisionGUID="0250375e-e2c6-46d8-894a-2e4be518b619" CreationDate="2014-02-20T11:03:13.770" UserId="7524" Comment="incomplete" Text="You would normally use the Quick controls &amp; midi device manager feature in Cubase to map your keyboard or use the ready made templates..But Quick controls is not available in the trial version of Cubase 7 Elements. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The only alternative is to use a midi plugin as a translator calibration tool... you would also need a chart of the midi specifications of your keyboard to guide you. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;you would install the midi plugin as a insert on a track .The midi out from your keyboard is sent to the plugin &amp; transformed &amp; filtered to suit your tasks..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Cubase has its own midi transformers but they may disabled on the trial version&#xD;&#xA;You can find many midi conversion utilities &amp; managers  on the freeware VST sites." ContentLicense="CC BY-SA 3.0" />
  <row Id="49786" PostHistoryTypeId="5" PostId="27190" RevisionGUID="94e72d92-6d21-4ce1-b981-7d128f4aacb4" CreationDate="2014-02-20T11:23:07.510" UserId="7524" Comment="INCOMPLETE" Text="You would normally use the Quick controls &amp; midi device manager feature in Cubase to map your keyboard or use the ready made templates..But Quick controls is not available in the trial version of Cubase 7 Elements. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The only alternative is to use a midi plugin as a translator calibration tool... you would also need a chart of the midi specifications of your keyboard to guide you. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;You would install the midi plugin as a insert on a track .The midi out from your keyboard is sent to the input of the plugin &amp; transformed &amp; filtered to suit your tasks..&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Cubase has its own midi transformers but they may have also been disabled on the trial version.. You can find many midi conversion utilities &amp; managers on the freeware VST sites.  It's good practice to own your own midi utilities so your not confined to a software brand. Which may  paralyse your workflow." ContentLicense="CC BY-SA 3.0" />
  <row Id="49787" PostHistoryTypeId="2" PostId="27191" RevisionGUID="9aebeba0-5d3a-4324-b693-a0e437d0e949" CreationDate="2014-02-20T15:56:13.910" UserId="7526" Text="Apple's iMacs use a 4-pin TRRS headphone jack which combine analog audio output and input and need a connector like this:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;(© wikipedia, user *Imaadwhd*)&#xD;&#xA;&#xD;&#xA; Just take an adapter like [this](http://www.amazon.com/dp/B004SP0WAQ/), plug in your headphones and mic, and it should work.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/KXPHk.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="49788" PostHistoryTypeId="5" PostId="27191" RevisionGUID="877edb69-b5f8-4c15-ba8b-192a4b537bf4" CreationDate="2014-02-20T16:15:48.730" UserId="7526" Comment="edited body" Text="Apple's iMacs use a 4-pin TRRS headphone port which combine analog audio output and input and need a connector like this:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;(© wikipedia, user *Imaadwhd*)&#xD;&#xA;&#xD;&#xA; Just take an adapter like [this](http://www.amazon.com/dp/B004SP0WAQ/), plug in your headphones and mic, and it should work.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/KXPHk.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="49790" PostHistoryTypeId="36" PostId="27192" RevisionGUID="1f38a72f-8921-4de2-8c75-d23aaefa429f" CreationDate="2014-02-20T17:34:04.047" UserId="-1" Comment="from http://music.stackexchange.com/questions/15649/stereo-mixing-conventions-for-instruments-recorded-with-more-than-1-microphone" />
  <row Id="49791" PostHistoryTypeId="2" PostId="27192" RevisionGUID="c8b1c01b-da74-4e17-8926-46beb5f8f372" CreationDate="2014-02-20T13:41:20.760" UserId="7536" UserDisplayName="gurney alex" Text="I play the vibraphone. As a player, I'm used to having the low end of the instrument on my left, and the high end on my right. &#xD;&#xA;&#xD;&#xA;However, when the instrument is recorded, a setting with 2 microphones is common, one 'pointing' to the low end, and the other one to the high end, and the both microphones are mixed with others to produce a stereo recording. And then things get tricky : some recording will put most of the low range of the instrument in the left track and most of the high range in the right track (mimicking what the player hears), while others will to the reverse, assuming the listener is on the other side of the instrument, in the audience. The latter feels strange and quite wrong to me, and quite inconsistent (because the audience is usually sitting at a distance and the stereo effect of a 2m long vibraphone heard from 10m is actually quite small, compared to having the vibraphone on one end of the stage and the bass player at the other end). &#xD;&#xA;&#xD;&#xA;Is this specific to the vibraphone (which is not as usual for recording engineers as e.g. a piano) or are there different conventions in use among the sound engineers on this topic?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49792" PostHistoryTypeId="1" PostId="27192" RevisionGUID="c8b1c01b-da74-4e17-8926-46beb5f8f372" CreationDate="2014-02-20T13:41:20.760" UserId="7536" UserDisplayName="gurney alex" Text="Stereo mixing conventions for instruments recorded with more than 1 microphone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49793" PostHistoryTypeId="3" PostId="27192" RevisionGUID="c8b1c01b-da74-4e17-8926-46beb5f8f372" CreationDate="2014-02-20T13:41:20.760" UserId="7536" UserDisplayName="gurney alex" Text="&lt;recording&gt;&lt;microphone&gt;&lt;mix&gt;&lt;stereo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49795" PostHistoryTypeId="5" PostId="27157" RevisionGUID="a073b1ea-8976-4e7b-94ab-e5d5a441dbd0" CreationDate="2014-02-20T20:52:51.617" UserId="1228" Comment="Changed to more reliable, root URL" Text="New product for creating Swooshes...  &#xD;&#xA;&#xD;&#xA;http://meltedsounds.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="49796" PostHistoryTypeId="2" PostId="27194" RevisionGUID="212f20e0-9a69-4d60-a7c7-e26790e680a0" CreationDate="2014-02-20T21:14:45.157" UserId="7523" Text="For me this would be all about context. In a solo recording you may want to give some extra stereo width to this kind of instrument, although, in my humble opinion, its very easy to overdo it. For example panning the two mics hard left and hard right is going to give a wide spread but may leave you with a hollow centre. Solidity of the centre in the stereo sound image is something which is all important to a &quot;present&quot; recording.&#xD;&#xA;&#xD;&#xA;Say you now have a piano, vibes duo (ala Gary Burton and Chick Corea), from a quick listen to some of their recordings, the two instruments are panned slightly to separate them on the sound stage, but again its a case of a little can go a long way.&#xD;&#xA;&#xD;&#xA;Ultimately, its about the psycho-acoustic effect you are trying to produce. Where is your listener in the space you are creating on the recording? As you have rightly have deduced, the instrument's stereo image will be affected by distance from the source.&#xD;&#xA;&#xD;&#xA;Stereo imaging is very important in separation of instruments and giving them a place in the mix, more so than EQ or FX. Take a few minutes to imagine the experience you have in mind for the listener and let this vision guide the width you need for that experience for the listener.&#xD;&#xA;&#xD;&#xA;As an aside there are techniques (google Mid-Side as an example) for instruments like piano or groups of singers two name two examples that don't position the mics in what you imagine was the conventional approach.&#xD;&#xA;&#xD;&#xA;As for the correct way to pan them (ie left vs right), I have always imagined watching the performance while mixing and to that end will often pan instruments like drums or vibraphone based on the physical position of that range of the instrument but its by no means essential. Ultimately, trust your instincts and go for what 'feels' right for you. Like most things in mixing there is no right or wrong.&#xD;&#xA;&#xD;&#xA;Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="49797" PostHistoryTypeId="5" PostId="27194" RevisionGUID="91082d01-5c96-4cd4-9703-e8ab90129f3d" CreationDate="2014-02-20T21:37:23.350" UserId="7523" Comment="added 6 characters in body" Text="For me this would be all about context. In a solo recording you may want to give some extra stereo width to this kind of instrument, although, in my humble opinion, its very easy to overdo it. For example panning the two mics hard left and hard right is going to give a wide spread but may leave you with a hollow centre. Solidity of the centre in the stereo sound image is something which is all important to a &quot;present&quot; recording.&#xD;&#xA;&#xD;&#xA;Say you now have a piano, vibes duo (ala Gary Burton and Chick Corea), from a quick listen to some of their recordings, the two instruments are panned slightly to separate them on the sound stage, but again its a case of a little can go a long way.&#xD;&#xA;&#xD;&#xA;Ultimately, its about the psycho-acoustic effect you are trying to produce. Where is your listener in the space you are creating on the recording? As you have rightly have deduced, the instrument's stereo image will be affected by distance from the source.&#xD;&#xA;&#xD;&#xA;Stereo imaging is very important in separation of instruments and giving them a place in the mix, more so than EQ or FX. Take a few minutes to imagine the experience you have in mind for the listener and let this vision guide the width you need for that experience for the listener.&#xD;&#xA;&#xD;&#xA;As an aside there are techniques (google Mid-Side as an example) for instruments like piano or groups of singers (to name two examples) that don't position the mics in what you would imagine is the conventional approach.&#xD;&#xA;&#xD;&#xA;As for the correct way to pan them (ie left vs right), I have always imagined watching the performance while mixing and to that end will often pan instruments like drums or vibraphone based on the physical position of that range of the instrument but its by no means essential. Ultimately, trust your instincts and go for what 'feels' right for you. Like most things in mixing there is no right or wrong.&#xD;&#xA;&#xD;&#xA;Hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="49798" PostHistoryTypeId="2" PostId="27195" RevisionGUID="09623633-d4f5-4dcc-86a8-86c062e88bfa" CreationDate="2014-02-21T01:25:00.913" UserId="7489" Text="I recently asked about the general setup of our Talking Newspaper recording studio (http://sound.stackexchange.com/questions/27127/).&#xD;&#xA;&#xD;&#xA;From the answers given, it seems that without buying extra compressors, the audio chain is probably as well set up as it can be.  I spent the evening at the studio, and found the manuals for our various bits of equipment. For some reason, reading manuals always seems to leave me more confused rather than less!&#xD;&#xA;&#xD;&#xA;Our mixing desk is a Soundtracs Topaz 14-4 - the manual for this says the Master Outputs (balanced) are +27dBu&#xD;&#xA;&#xD;&#xA;The mixer feeds into our compressor, a Drawmer DL251 dual spectral compressor - this states the XLR inputs can be set as +4dBu or -10dBV, with the output being the same.&#xD;&#xA;&#xD;&#xA;The compressor output feeds into the distribution amp - a Chilton +26 (2 in/12 out in pairs) - this states max input +26dBu, preset to unity gain for +4dBu input and get the screwdriver out to change the variable resistors inside if your input isn't +4dBu  &#xD;&#xA;&#xD;&#xA;The distribution amp provides signal to (currently) 4x Tascam 130 cassette decks (input 97 mV, 50k Ohms), a monitor speaker, and computer via an M-Audio Delta 44 sound card, which again takes either +4dBu or -10dBV balanced/unbalanced inputs. &#xD;&#xA;&#xD;&#xA;If I understand correctly, the compressor takes a +4dBu signal, and outputs a +4dBu signal after doing it's magic to make the quiet bits louder and the loud bits quieter…  The distribution amp similarly takes a +4dBu signal, and makes sure it's still at +4dBu when it is split to six different devices, which all expect to receive a +4dBu signal.&#xD;&#xA;&#xD;&#xA;The bit that troubles me is that the mixer says it is outputting a +27dBu signal.  Am I fundamentally misunderstanding something in the figures? Or, is this usual?  Does the +27dBu carry through the chain, or should the compressor still only output +4dBu?&#xD;&#xA;&#xD;&#xA;As the system has been set up like this for several years, I am at least hoping that if there is something &quot;wrong&quot; with it, it is only affecting the sound quality of the final recording!  As a small charity, buying a whole load of new equipment isn't really an option, but it would be really nice to properly understand what we have, and to make sure it is working properly for us.&#xD;&#xA;&#xD;&#xA;(NB as was pointed out in an answer to my previous question, the mixing desk doesn't have master inserts, or in fact group inserts so to make real use of a compressor it has to be on the master ouput, or limit it to just working on two of the five mic channels we run.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="49799" PostHistoryTypeId="1" PostId="27195" RevisionGUID="09623633-d4f5-4dcc-86a8-86c062e88bfa" CreationDate="2014-02-21T01:25:00.913" UserId="7489" Text="Matching line in/line out levels" ContentLicense="CC BY-SA 3.0" />
  <row Id="49800" PostHistoryTypeId="3" PostId="27195" RevisionGUID="09623633-d4f5-4dcc-86a8-86c062e88bfa" CreationDate="2014-02-21T01:25:00.913" UserId="7489" Text="&lt;setup&gt;&lt;line-level&gt;&lt;matching&gt;&lt;chain&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49801" PostHistoryTypeId="2" PostId="27196" RevisionGUID="29d0a2d3-be6a-4be6-b1e0-519189752311" CreationDate="2014-02-21T02:07:20.123" UserId="7489" Text="The 2i2 has a direct monitor switch on it (http://uk.focusrite.com/usb-audio-interfaces/scarlett-2i2/key-features) which lets you monitor what you are recording without the signal passing through the computer. It would be worth trying this with a good set of headphones to see if the problem is hardware (the MXL770/2i2/cable) or software (the DAW/drivers)" ContentLicense="CC BY-SA 3.0" />
  <row Id="49802" PostHistoryTypeId="2" PostId="27197" RevisionGUID="c7313954-766d-4d45-bbc8-0f48f6cfc209" CreationDate="2014-02-21T02:25:54.483" UserId="7418" Text="I helped answer your last question as well, and nothing is wrong with your setup.&#xD;&#xA;&#xD;&#xA;I understand your confusion, but take from this that +27dBu definitely does not mean you are outputting +27dB.  The dBu numbers correspond to the *nominal* operating level of your equipment, and in the pro audio world -10dBu devices require more gain to reach the same nominal level of +4dBu devices, which in some cases results in more noise(!!) &#xD;&#xA;(because when you turn the signal up, if there is noise in the signal, you turn the noise up also).  There is a pretty straight-forward article about decibels at [Sound On Sound][1] if you like.&#xD;&#xA;&#xD;&#xA;To be honest, it is unlikely that you are driving your mixer as to clip and I assume your master fader is somewhere around 0dB... so it is safe that you are arriving somewhere close to that +4dBu that your compressor is expecting.&#xD;&#xA;&#xD;&#xA;dBu means decibels *unloaded* which is an RMS (average) Voltage measurement taken to rate pro audio equipment input and output capacity, regardless of *impedance* (which also manipulates the variable &quot;load&quot;).  RMS levels differ from **peak** levels in the sense that peaks levels are considered maximums (peak-to-peak) and RMS is a measure of the average between them.  &#xD;&#xA;&#xD;&#xA;(RMS=avg, VPK=peak, VPP=peak-to-peak)&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;I still encourage you to consider an 8I/O sound card for your setup in the future so you can run it mostly from your computer.  You would have enough inputs for your mics and enough outputs for your devices, plus you could utilize software compressors and EQ's independently on virtually as many channels as you would like.  This could replace your compressor and mixer with more viable routing options.&#xD;&#xA;&#xD;&#xA;I hope this helps with your questions :)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/1994_articles/feb94/decibels.html&#xD;&#xA;  [2]: http://i.stack.imgur.com/i5Yse.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="49806" PostHistoryTypeId="2" PostId="27198" RevisionGUID="fd65f30d-39ed-4f97-9cc0-e5b7e35ed90f" CreationDate="2014-02-21T04:38:46.357" UserId="7532" Text="Whilst the musician would hear the vibes in stereo, in a stage situation, the audience almost certainly is going to hear them in mono, as they are much further away from the vibes. I would mix a recording from the audience's point of view (or point of hearing).&#xD;&#xA;&#xD;&#xA;So - if the vibes is the only instrument, then it should be mixed in stereo (but not hard left/hard right but somewhat less). As more instruments are introduced, the stereo field of the vibes should be reduced until the the source is effectively mono. This source, though, does not have to be parked in the middle of the stereo; it could be on either side, depending on the stereo mix of the other instruments." ContentLicense="CC BY-SA 3.0" />
  <row Id="49808" PostHistoryTypeId="5" PostId="9275" RevisionGUID="698933de-29a1-4996-8ccb-0bda6c8550dc" CreationDate="2014-02-21T08:45:43.277" UserId="7534" Comment="format for better reading" Text=" 1. once upon a time in the west (first half hour is amazing!)&#xD;&#xA; 2. fargo (the cardoor beeps in the snowy landscape at the first crimescene, incredibly funny)&#xD;&#xA; 3. ofrret/sacrifice (just beautiful and appropriate sound design)&#xD;&#xA; 4. we own the night (epic carchase!)&#xD;&#xA; 5. magnolia (music and sound in perfect harmony)&#xD;&#xA; 6. solaris (both tarkovsky and soderbergh's are great, atmospheres are wonderful)&#xD;&#xA; 7. trois couleurs Rouge/Red (openingscene telephone soundscape)&#xD;&#xA;&#xD;&#xA;i'd like to go on forever, but this is enough for now&#xD;&#xA;&#xD;&#xA;(first post on SSD, by the way)" ContentLicense="CC BY-SA 3.0" />
  <row Id="49809" PostHistoryTypeId="2" PostId="27199" RevisionGUID="88f9608a-a5f8-4717-8d71-2cd95b9e610c" CreationDate="2014-02-21T09:43:57.807" UserId="7537" Text="I think that the bass here is analogue or simulated analogue. It's using a square wave oscillator type. You might have trouble trying to emulate this with an FM synth." ContentLicense="CC BY-SA 3.0" />
  <row Id="49862" PostHistoryTypeId="36" PostId="27200" RevisionGUID="09f36499-997a-4a82-96b8-c346a6a295d6" CreationDate="2014-02-21T10:24:12.927" UserId="-1" Comment="from http://video.stackexchange.com/questions/3816/where-can-i-license-sample-libraries-for-a-virtual-ios-instrument" />
  <row Id="49863" PostHistoryTypeId="36" PostId="27201" RevisionGUID="9bb23480-7fc0-4cd8-a935-3249aecf4f39" CreationDate="2014-02-21T10:24:12.927" UserId="-1" Comment="from http://video.stackexchange.com/questions/3816/where-can-i-license-sample-libraries-for-a-virtual-ios-instrument/3823#3823" />
  <row Id="49864" PostHistoryTypeId="36" PostId="27202" RevisionGUID="2ed097e4-7cf6-41d7-aad2-478838274d37" CreationDate="2014-02-21T10:24:12.927" UserId="-1" Comment="from http://video.stackexchange.com/questions/3816/where-can-i-license-sample-libraries-for-a-virtual-ios-instrument/4062#4062" />
  <row Id="49865" PostHistoryTypeId="2" PostId="27201" RevisionGUID="1ee38eec-3a58-4131-b4ef-3d767a139fb6" CreationDate="2012-04-25T13:50:45.633" UserDisplayName="Oscar" Text="Try the mildon piano &#xD;&#xA;&#xD;&#xA;http://www.mildonstudios.com/soundware_acoustic_piano_extended.html&#xD;&#xA;&#xD;&#xA;The extended license for $109 sound appropriate for your needs. " ContentLicense="CC BY-SA 3.0" />
  <row Id="49866" PostHistoryTypeId="2" PostId="27202" RevisionGUID="f6d6e335-32c5-49b4-bdcc-ccfb061d4cb5" CreationDate="2012-05-26T22:36:31.460" UserId="7189" Text="Why not use the free [Yamaha Grand Piano][1] samples? They are [CC-Atribution 3.0 licensed][2]. [More samples][3] from the [OLPC][4] project.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://zenvoid.org/audio/&#xD;&#xA;  [2]: http://creativecommons.org/licenses/by/3.0/&#xD;&#xA;  [3]: http://wiki.laptop.org/go/Sound_samples&#xD;&#xA;  [4]: http://wiki.laptop.org/go/The_OLPC_Wiki" ContentLicense="CC BY-SA 3.0" />
  <row Id="49867" PostHistoryTypeId="2" PostId="27200" RevisionGUID="9084681f-3659-4697-811f-30116086934c" CreationDate="2012-04-24T14:24:36.363" UserDisplayName="Oscar" Text="I'm making a virtual instrument for mobile devices. Where can I license a sample library from for this purpose?&#xD;&#xA;&#xD;&#xA;For example I would need individual audio files for individual piano notes. The license would would need to permit my mobile app to play these samples when my users press keys on a on-screen piano keyboard. &#xD;&#xA;&#xD;&#xA;What's the ballpark price for a simple library with only one velocity layer?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49868" PostHistoryTypeId="1" PostId="27200" RevisionGUID="9084681f-3659-4697-811f-30116086934c" CreationDate="2012-04-24T14:24:36.363" UserDisplayName="Oscar" Text="Where can I license sample libraries for a virtual iOS instrument?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49869" PostHistoryTypeId="3" PostId="27200" RevisionGUID="9084681f-3659-4697-811f-30116086934c" CreationDate="2012-04-24T14:24:36.363" UserDisplayName="Oscar" Text="&lt;sampling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49870" PostHistoryTypeId="36" PostId="27203" RevisionGUID="5e92d65f-6d24-4e0c-8a87-44d8021e94e8" CreationDate="2014-02-21T10:24:25.583" UserId="-1" Comment="from http://video.stackexchange.com/questions/4978/handle-for-tascam-dr-05-to-absorb-vibration-in-hand-held-recording-scenarios" />
  <row Id="49871" PostHistoryTypeId="2" PostId="27204" RevisionGUID="6976fdea-f7c4-41ea-acc0-6141463b3e4e" CreationDate="2012-10-11T18:17:50.837" UserId="7189" Text="The first thing to look at is an inexpensive desktop tripod, like the [Gorillapod][1] (get the small &quot;original&quot; version or maybe the one for video with the ballhead). That will take the recorder out of your hand and onto almost any surface - a table, or a rock, or tree branch. And the cost is about a tenth of the Rycote.&#xD;&#xA;&#xD;&#xA;Next, I'd grab a windshield, but get a &quot;dead cat&quot; style one, not a solid foam one, for best results.&#xD;&#xA;&#xD;&#xA;If those two steps don't work, then try the Rycote suspension kit. Rycote has a great reputation among pros. It almost certainly *will* solve your problem, but may not be the least expensive solution. It is the sort of thing you buy when you need a problem solved NOW and have an expense account.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://joby.com/gorillapod" ContentLicense="CC BY-SA 3.0" />
  <row Id="49872" PostHistoryTypeId="2" PostId="27203" RevisionGUID="350b081c-f910-4d96-94ef-f59d227f5190" CreationDate="2012-10-11T13:57:40.893" UserId="9744" UserDisplayName="therobyouknow" Text="A friend uses a Tascam DR-05 for recording radio interviews. His recordings have click, pops and rumbles.&#xD;&#xA;&#xD;&#xA;So, I've advised to get a windshield for plosives such as 'p', 't', 'k' etc. in speech and for rumbles caused by wind.&#xD;&#xA;&#xD;&#xA;However, the clicks I think are from vibrations in handling. Here, I'm not so sure what the solution is.&#xD;&#xA;&#xD;&#xA;I've seen this kit:&#xD;&#xA;http://www.juno.co.uk/products/rycote-portable-audio-recorder-kit-for-tascam-dr05-with-suspension-windshield-grip/456482-01/&#xD;&#xA;&#xD;&#xA;But not sure it is overkill, superfluous to our needs with a price that's more than what we'd like to spend: about 100 pounds / 150 dollars.&#xD;&#xA;&#xD;&#xA;What would you suggest? (I'd like to see examples of it being used, the catalogue doesn't really illustrate actual use.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="49873" PostHistoryTypeId="1" PostId="27203" RevisionGUID="350b081c-f910-4d96-94ef-f59d227f5190" CreationDate="2012-10-11T13:57:40.893" UserId="9744" UserDisplayName="therobyouknow" Text="Handle for Tascam DR-05 to absorb vibration in hand held recording scenarios" ContentLicense="CC BY-SA 3.0" />
  <row Id="49874" PostHistoryTypeId="3" PostId="27203" RevisionGUID="350b081c-f910-4d96-94ef-f59d227f5190" CreationDate="2012-10-11T13:57:40.893" UserId="9744" UserDisplayName="therobyouknow" Text="&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49875" PostHistoryTypeId="36" PostId="27204" RevisionGUID="6957114b-61eb-4fdb-8091-8d9cda9dbba2" CreationDate="2014-02-21T10:24:25.583" UserId="-1" Comment="from http://video.stackexchange.com/questions/4978/handle-for-tascam-dr-05-to-absorb-vibration-in-hand-held-recording-scenarios/4979#4979" />
  <row Id="49876" PostHistoryTypeId="36" PostId="27205" RevisionGUID="e46e6a75-1112-4dee-897a-f24fe6598af4" CreationDate="2014-02-21T10:24:25.583" UserId="-1" Comment="from http://video.stackexchange.com/questions/4978/handle-for-tascam-dr-05-to-absorb-vibration-in-hand-held-recording-scenarios/4980#4980" />
  <row Id="49877" PostHistoryTypeId="2" PostId="27205" RevisionGUID="ae3f5f7f-9f08-4a01-9cd7-25210b779072" CreationDate="2012-10-11T18:49:28.413" UserId="7188" Text="I have a Tascam DR-08 which does not have the tripod mount like the DR-05. It's also extremely microphonic, even the slightest touch like having the head phones attached while recording are an issue (if the cable moves it vibrates the chassis and is picked up). You have to think of these things as one big exposed mic element.&#xD;&#xA;&#xD;&#xA;Cheap ways of dealing with this.&#xD;&#xA;&#xD;&#xA;1) never expose it to direct wind, wrap it up in a wooly sock,&#xD;&#xA;&#xD;&#xA;2) never touch it or have your headphone plugged in while recording, set up your levels ahead of time in manual mode if possible.&#xD;&#xA;&#xD;&#xA;3) use a sock underneath it to prevent table vibrations from being picked up.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49878" PostHistoryTypeId="2" PostId="27206" RevisionGUID="1d5fca2f-dbf9-412a-96f8-b5397374c024" CreationDate="2014-02-21T10:24:57.073" UserId="7502" Text="I thought I understand damping factor, but apparently I was wrong.&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Damping_factor&#xD;&#xA;&#xD;&#xA;The article on wikipedia makes sense, but it doesn't explain why higher impedance of the speakers increases damping. It only says why low output impedance results in increased damping (less impedance - more current, that makes sense)." ContentLicense="CC BY-SA 3.0" />
  <row Id="49879" PostHistoryTypeId="1" PostId="27206" RevisionGUID="1d5fca2f-dbf9-412a-96f8-b5397374c024" CreationDate="2014-02-21T10:24:57.073" UserId="7502" Text="Damping factor formula" ContentLicense="CC BY-SA 3.0" />
  <row Id="49880" PostHistoryTypeId="3" PostId="27206" RevisionGUID="1d5fca2f-dbf9-412a-96f8-b5397374c024" CreationDate="2014-02-21T10:24:57.073" UserId="7502" Text="&lt;impedance&gt;&lt;damping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49881" PostHistoryTypeId="36" PostId="27207" RevisionGUID="234a6c6e-f1b7-4ee1-aaa6-fff2051112fa" CreationDate="2014-02-21T10:24:59.993" UserId="-1" Comment="from http://video.stackexchange.com/questions/7505/do-audio-splitters-reduce-voltage" />
  <row Id="49882" PostHistoryTypeId="36" PostId="27208" RevisionGUID="7cabfeec-1d4a-4cbb-84af-abe4a43fe0fa" CreationDate="2014-02-21T10:24:59.993" UserId="-1" Comment="from http://video.stackexchange.com/questions/7505/do-audio-splitters-reduce-voltage/7508#7508" />
  <row Id="49883" PostHistoryTypeId="36" PostId="27209" RevisionGUID="5f291f60-6f07-407a-963a-bef8037a749f" CreationDate="2014-02-21T10:24:59.993" UserId="-1" Comment="from http://video.stackexchange.com/questions/7505/do-audio-splitters-reduce-voltage/7513#7513" />
  <row Id="49884" PostHistoryTypeId="2" PostId="27208" RevisionGUID="e3a14b6e-0f41-42ad-b3b9-273c36afd7f3" CreationDate="2013-03-27T12:59:02.283" UserId="7174" Text="A passive splitter will reduce the signal strength.  You could use a Distribution Amplifier to keep the signal level consistent while going to multiple outputs.  I'm not sure if that is the source of your problem or not, but it might be worth a shot.  I would suggest trying it without the passive split first and see if that fixes the problem or not.  If so, I'd try a DA." ContentLicense="CC BY-SA 3.0" />
  <row Id="49885" PostHistoryTypeId="2" PostId="27209" RevisionGUID="a8a3a06d-8c56-433b-892b-0a79edac0776" CreationDate="2013-03-28T00:21:32.250" UserDisplayName="escalation746" Text="You can also feed the two destinations from separate outputs of your mixer, if it happens to have these. Sometimes a mixer will have AUXilliary or MONitor outputs as well as the main, and often times it is easy to feed these with the same signal as the main outs... though not always. " ContentLicense="CC BY-SA 3.0" />
  <row Id="49886" PostHistoryTypeId="2" PostId="27207" RevisionGUID="d8f7acef-a0d8-4d54-9571-319c1e7eadc1" CreationDate="2013-03-27T02:09:37.153" UserId="4308" Text="I often do live sound reinforcement for events at our church services. We have lately been using Behringer 212D speakers. During an event today I found that if I turned the main output volume down suddenly a loud hiss and hum were introduced, and if I turned it down further the speakers turned off completely!&#xD;&#xA;&#xD;&#xA;Both of these problems completely went away when I turned the volume back up over a certain threshold. &#xD;&#xA;&#xD;&#xA;Looking into this I found that the 212D speakers have an &quot;undervolt circuit protection&quot; feature that will turn off the amplifier when the input voltage is too low. This seems to be what we were running into. However, I am running a line out from an EQ (after the mixer) and it seems strange that I would run into this. I do split this line using a fully stereo (balanced) phono cable (all three connectors are balanced and all cables and all equipment are balanced). &#xD;&#xA;&#xD;&#xA;So, is it maybe that the splitter is cutting the voltage in half? Or maybe somehow the speakers being connected to the same line is confusing the circuitry? Or am I way off base here?&#xD;&#xA;&#xD;&#xA;Thank you for your help." ContentLicense="CC BY-SA 3.0" />
  <row Id="49887" PostHistoryTypeId="1" PostId="27207" RevisionGUID="d8f7acef-a0d8-4d54-9571-319c1e7eadc1" CreationDate="2013-03-27T02:09:37.153" UserId="4308" Text="Do audio splitters reduce voltage" ContentLicense="CC BY-SA 3.0" />
  <row Id="49888" PostHistoryTypeId="3" PostId="27207" RevisionGUID="d8f7acef-a0d8-4d54-9571-319c1e7eadc1" CreationDate="2013-03-27T02:09:37.153" UserId="4308" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49889" PostHistoryTypeId="36" PostId="27210" RevisionGUID="67b992ad-6cd8-48e5-80d9-fe81cae2e36d" CreationDate="2014-02-21T10:25:41.513" UserId="-1" Comment="from http://video.stackexchange.com/questions/8795/whats-the-cheapest-way-of-allowing-a-computer-to-take-1-4-or-xlr-input-without" />
  <row Id="49890" PostHistoryTypeId="2" PostId="27210" RevisionGUID="7930fa59-1924-46b3-9495-8edb8e0a852a" CreationDate="2013-08-22T20:59:55.163" UserDisplayName="TND" Text="I have relatively high quality audio using TRS 1/4&quot; or XLR (my choice) that I'd like a computer to be able to use as an input device.  I'm hoping for it to be 24-bit- is there an inexpensive sound card that can do this?  Or are there other methods, such as USB?  All of the USB solutions seem to be 16-bit.&#xD;&#xA;&#xD;&#xA;Is there a noticeable loss in quality if I simply use an adapter and take in 3.5mm on a decent sound card?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49891" PostHistoryTypeId="1" PostId="27210" RevisionGUID="7930fa59-1924-46b3-9495-8edb8e0a852a" CreationDate="2013-08-22T20:59:55.163" UserDisplayName="TND" Text="What's the cheapest way of allowing a computer to take 1/4&quot; or XLR input without it sounding like I'm using toasters as AV equipment?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49892" PostHistoryTypeId="3" PostId="27210" RevisionGUID="7930fa59-1924-46b3-9495-8edb8e0a852a" CreationDate="2013-08-22T20:59:55.163" UserDisplayName="TND" Text="&lt;xlr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49893" PostHistoryTypeId="36" PostId="27211" RevisionGUID="7acbd85a-b10a-485f-a0ca-ce012ef99c49" CreationDate="2014-02-21T10:25:55.357" UserId="-1" Comment="from http://video.stackexchange.com/questions/7215/how-do-i-fix-clipping-distortion-in-my-audio-recording" />
  <row Id="49894" PostHistoryTypeId="36" PostId="27212" RevisionGUID="17982a4a-9abe-48d7-9023-7e8403fc5700" CreationDate="2014-02-21T10:25:55.357" UserId="-1" Comment="from http://video.stackexchange.com/questions/7215/how-do-i-fix-clipping-distortion-in-my-audio-recording/7217#7217" />
  <row Id="49895" PostHistoryTypeId="2" PostId="27212" RevisionGUID="6021c67e-b213-4378-8ca3-748eb058156d" CreationDate="2013-02-22T04:40:05.387" UserId="7174" Text="Nope, the sound information is missing and there is no way to recover it.  (At least not that I'm aware of.)  Even if there was, it would have to basically be completely guessing at what should be there. (Edit: there is software that will make the guess, and that's what the answer with the waveforms is illustrating.  It is worth noting that it is a guess though and is basically just making up something to fill in the gaps.  If the clipping is severe, it likely will not be capable of producing a crisp sound, but more like the acoustic equivalent of a heavily blurred image.&#xD;&#xA;&#xD;&#xA;Basically what happens with clipping is that the waves of the signal exceed the amplitude it can record and thus the information is lost as it is physically incapable of storing the values that correspond to the signal.  If it was actually an analog clip, then it is a similar principal where the circuitry can't process or create a large enough signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="49896" PostHistoryTypeId="2" PostId="27213" RevisionGUID="4ea7289b-bc17-4fd1-a1fb-fc21b0693752" CreationDate="2013-02-22T13:20:54.027" UserDisplayName="Serge" Text="I think it is possible, but depends in how clipped the signal is. Let me explain: think about a softly clipped signal. Clipping is present only in the greatest peaks, and therefore appears for a short time lapse.&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;This kind of method could detect the clipped intervals and ''soften'' them, based in the previous behaviour of the signal. An statistical approach would probably work, but it is not a trivial task. Of course, you have a probability of guessing how the original signal actually was, so you will probably add some distortion. Hopefully, the result will be better than the clipped version.&#xD;&#xA;&#xD;&#xA;On the other hand, if the signal is heavily clipped, the chance of guessing it right is unarguably lower. The signal could be anything but a peak: it has time to do lots of things until the clipping stops. &#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;The recovered signal using the stated method would be the blue one, while in fact any signal (e.g. the green one) could have actually happened in the lapse of time we don't have info about.&#xD;&#xA;&#xD;&#xA;Just when I thought I had come across a great idea, [Wikipedia][3] told me that I'm not the first to think about this:&#xD;&#xA;&#xD;&#xA;&gt; Several software solutions of varying results and methods exist to counteract this problem: Sony Sound Forge, iZotope Rx2, Adobe Audition, Nero Wave Editor, and a plugin in the Audacity LADSPA package come with clip restoration software. There is also an Audacity plugin called Clip Fix that uses cubic splines to attempt to restore a continuously differentiable signal.&#xD;&#xA;&#xD;&#xA;Please excuse the poor quality of my hand-drawn figures ;)&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/FqdgA.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/I9Nr1.jpg&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Clipping_%28audio%29" ContentLicense="CC BY-SA 3.0" />
  <row Id="49897" PostHistoryTypeId="2" PostId="27211" RevisionGUID="b457c081-2413-4d6d-8e76-bcfcc13e3aa5" CreationDate="2013-02-22T02:18:42.480" UserId="7176" Text="I've recorded a living room concert of two singers with two guitars with a Zoom H2. The recording is fine 90% of the time, but there is some clipping distortion. I think this is caused because I had my Zoom H2 set to high gain, instead of mid-gain.&#xD;&#xA;&#xD;&#xA;But as I can not re-record the concert, is it possible to fix this (even a bit) in post production?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49898" PostHistoryTypeId="1" PostId="27211" RevisionGUID="b457c081-2413-4d6d-8e76-bcfcc13e3aa5" CreationDate="2013-02-22T02:18:42.480" UserId="7176" Text="How do I fix clipping distortion in my audio recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49899" PostHistoryTypeId="3" PostId="27211" RevisionGUID="b457c081-2413-4d6d-8e76-bcfcc13e3aa5" CreationDate="2013-02-22T02:18:42.480" UserId="7176" Text="&lt;distortion&gt;&lt;post-production&gt;&lt;clipping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49900" PostHistoryTypeId="36" PostId="27213" RevisionGUID="71519946-03d4-47bf-bf29-f6e1b971878b" CreationDate="2014-02-21T10:25:55.357" UserId="-1" Comment="from http://video.stackexchange.com/questions/7215/how-do-i-fix-clipping-distortion-in-my-audio-recording/7219#7219" />
  <row Id="49901" PostHistoryTypeId="36" PostId="27214" RevisionGUID="3f9a03c5-f484-4ecd-af1a-5155bfc63da1" CreationDate="2014-02-21T10:26:09.670" UserId="-1" Comment="from http://video.stackexchange.com/questions/2225/what-causes-the-limitation-on-excessive-analog-signals-vs-digital-signals" />
  <row Id="49902" PostHistoryTypeId="2" PostId="27215" RevisionGUID="2c07d7f5-e6a7-4d67-81e7-2d673449ea09" CreationDate="2011-08-29T20:56:00.600" UserDisplayName="Tomh" Text="You're right in that when your digital signal &quot;clips&quot; at 0dB, it's an absolute maximum limit. 16-bit audio has 2^16 possible volume levels, and once you get to 2^16, there's no higher number to express your sound, so it maxes out, or clips.&#xD;&#xA;&#xD;&#xA;With analog signals, your &quot;clipping&quot; limit is less well defined. The term distortion in an amplifier just refers to non-linear response, (and it so happens that's when you get your nasty harmonics and crackle). So distortion is harder to define when it becomes unacceptable and destroys the sound for a listener.&#xD;&#xA;&#xD;&#xA;To look at why distortion happens, let's take a look at amplifiers. A **perfect** amplifier takes in a signal, and multiplies it by a constant factor. In theory if you chain a load of perfect amplifiers together, you could get unlimited volume. However, real amplifiers need to get their power from somewhere...&#xD;&#xA;&#xD;&#xA;Your limitation is the voltage of the power supply on the amplifier - if your amplifier circuit is powered by 10V, it will amplify a 0.1V signal to a 5V signal happily, but as your signal gets near 10V, it will start to distort, up until the point where it reaches 10V and you loose all your signal's information. The graph below approximates an amplifier's response. For small voltage inputs (x near 0) you have a diagonal line, so the output (y) is linear, directly proportional to the input. As X gets big though, the graph flattens out as the amplifier reaches its supply limit, so you reach a maximum output Y, and hear distortion.&#xD;&#xA;![Amplifier response][1]&#xD;&#xA;&#xD;&#xA;Expensive amplifiers have a more linear response, and are less prone to distortion, but your &quot;ceiling&quot; is the maxiumum voltage across the amplifier, or the maximum current it can draw.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/k7yIp.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="49903" PostHistoryTypeId="2" PostId="27214" RevisionGUID="c5a3925a-1f6c-4146-9a70-23434b675b52" CreationDate="2011-08-29T18:31:08.807" UserId="7459" Text="In the digital world, &quot;clipping&quot; would occur when a signal passes above 0db.&#xD;&#xA;&#xD;&#xA;But if you are dealing with analog equipment, is there a certain &quot;ceiling&quot; that tends to &quot;brickwall&quot; the signal down as well? Does this have anything to do with Line-Level?&#xD;&#xA;&#xD;&#xA;What happens beyond that level, does distortion starts to get introduced? Could the signal, in theory, be amplified in a series of daisy-chained volume / gain devices to go way beyond the normal levels?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49904" PostHistoryTypeId="1" PostId="27214" RevisionGUID="c5a3925a-1f6c-4146-9a70-23434b675b52" CreationDate="2011-08-29T18:31:08.807" UserId="7459" Text="What causes the limitation on excessive analog signals vs. digital signals?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49905" PostHistoryTypeId="3" PostId="27214" RevisionGUID="c5a3925a-1f6c-4146-9a70-23434b675b52" CreationDate="2011-08-29T18:31:08.807" UserId="7459" Text="&lt;digital&gt;&lt;signal-processing&gt;&lt;analog&gt;&lt;distortion&gt;&lt;clipping&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49906" PostHistoryTypeId="36" PostId="27215" RevisionGUID="46a77e32-cec9-4d1d-98c7-63a55e58df46" CreationDate="2014-02-21T10:26:09.670" UserId="-1" Comment="from http://video.stackexchange.com/questions/2225/what-causes-the-limitation-on-excessive-analog-signals-vs-digital-signals/2226#2226" />
  <row Id="49907" PostHistoryTypeId="36" PostId="27216" RevisionGUID="b8d69d30-5945-4c20-995e-23ee7078ca96" CreationDate="2014-02-21T10:26:09.670" UserId="-1" Comment="from http://video.stackexchange.com/questions/2225/what-causes-the-limitation-on-excessive-analog-signals-vs-digital-signals/2227#2227" />
  <row Id="49908" PostHistoryTypeId="36" PostId="27217" RevisionGUID="3b4a0907-2a0f-4906-bebf-ca045e6c922a" CreationDate="2014-02-21T10:26:09.670" UserId="-1" Comment="from http://video.stackexchange.com/questions/2225/what-causes-the-limitation-on-excessive-analog-signals-vs-digital-signals/2241#2241" />
  <row Id="49909" PostHistoryTypeId="2" PostId="27216" RevisionGUID="70e985b7-a850-4ef0-8914-dea07adef1ce" CreationDate="2011-08-29T20:57:15.700" UserId="7093" Text="With analog equipment, if the signal level rises above the maximum input level of the equipment, it will begin to distort.  The corresponding output level may or may not continue to increase, depending on the equipment.  At some point, you will begin to damage the equipment.&#xD;&#xA;&#xD;&#xA;Equipment that has [Line-Level][1] inputs will typically not accept levels much beyond Line-Level.  Other equipment varies based on the input type and configuration.  &#xD;&#xA;&#xD;&#xA;Daisy chaining volume / gain devices would certainly increase the level of the signal.  A good example of this is connecting a microphone through a preamp and then through an amplifier.  If you increase the signal level too much, you will run into the problem explained above.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Line_level" ContentLicense="CC BY-SA 3.0" />
  <row Id="49910" PostHistoryTypeId="2" PostId="27217" RevisionGUID="91acfd36-c0c0-49bb-9754-a67c2e59415a" CreationDate="2011-08-31T08:26:29.360" UserDisplayName="jodles" Text="I can't comment yet, so I'm posting this as an answer. Regarding 0dB as highest level in the digital domain, you might be interested in reading Søren Nielsen and Thomas Lund's paper called &quot;[0dBFS+ Levels in Digital Mastering][1](PDF)&quot; (AES 109th convention). It shows a quite interesting phenomenon taking place in some equipment. Here's the abstract:&#xD;&#xA;&#xD;&#xA;&gt; A sine tone at 0dBFS is often believed to be the maximum level obtainable from a digital medium. Therefore it is typically the maximum level digital filters and analog circuitry in consumer equipment is aimed at reproducing.&#xD;&#xA;&#xD;&#xA;&gt; As we have showed in previous papers, inter-sample peaks may be considerably higher than 0dBFS.&#xD;&#xA;&#xD;&#xA;&gt; This paper examines the sonic consequences when 0dBFS+ signals are reproduced in typical consumer equipment. The performance of a variety of domestic CD players exposed to such signals are presented and evaluated.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.com/url?sa=t&amp;source=web&amp;cd=1&amp;ved=0CBgQFjAA&amp;url=http://www.tcelectronic.com/media/level_paper_aes109.pdf&amp;rct=j&amp;q=0dBFS%2b%20Levels%20in%20Digital%20Mastering&amp;ei=OVxeTrDJA4y5twfouvWlCw&amp;usg=AFQjCNEuObzXZPcvqzMBS_CBfSH5lmXXVw&amp;sig2=d1V_92AYkwKHAhPYz_-1-A&amp;cad=rja" ContentLicense="CC BY-SA 3.0" />
  <row Id="49911" PostHistoryTypeId="36" PostId="27218" RevisionGUID="65b64815-ea97-4094-9787-df391584d326" CreationDate="2014-02-21T10:26:20.547" UserId="-1" Comment="from http://video.stackexchange.com/questions/1497/can-i-import-a-loop-into-studiotrack-ipad" />
  <row Id="49912" PostHistoryTypeId="36" PostId="27219" RevisionGUID="32806ff6-e5b2-42ad-8ad7-67c1b707fbc8" CreationDate="2014-02-21T10:26:20.547" UserId="-1" Comment="from http://video.stackexchange.com/questions/1497/can-i-import-a-loop-into-studiotrack-ipad/1855#1855" />
  <row Id="49913" PostHistoryTypeId="2" PostId="27219" RevisionGUID="a0825213-69eb-4f7d-a655-133c2061f876" CreationDate="2011-07-12T18:25:47.427" UserDisplayName="Daniel" Text="Hello this is Daniel from Sonoma Wire Works. You can not add a drum beat to play as one of our metronome backbeats, but you can import a drumloop on a track and loop it as many times you would like using AudioPaste. When you copy from an AudioCopy enabled app and then paste into StudioTrack, you will be asked how many times you would like that loop to repeat. Let us know if you have any other questions! support@sonomawireworks.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="49914" PostHistoryTypeId="2" PostId="27218" RevisionGUID="f394800e-6a40-402b-98d5-a8b510c5f196" CreationDate="2011-05-30T16:53:16.910" UserDisplayName="joe" Text="The iPad App StudioTrack comes with a dozen or so options for a drum back beat (see below). Can I use AudioPaste to import a new backbeat? I have been able to import a drum loop but it only plays back once.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/s4Hed.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="49915" PostHistoryTypeId="1" PostId="27218" RevisionGUID="f394800e-6a40-402b-98d5-a8b510c5f196" CreationDate="2011-05-30T16:53:16.910" UserDisplayName="joe" Text="Can I import a loop into StudioTrack (iPad)" ContentLicense="CC BY-SA 3.0" />
  <row Id="49916" PostHistoryTypeId="3" PostId="27218" RevisionGUID="f394800e-6a40-402b-98d5-a8b510c5f196" CreationDate="2011-05-30T16:53:16.910" UserDisplayName="joe" Text="&lt;ipad&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49917" PostHistoryTypeId="36" PostId="27220" RevisionGUID="dd87ad15-b1b1-413a-887b-a090e8e4cd40" CreationDate="2014-02-21T10:26:32.190" UserId="-1" Comment="from http://video.stackexchange.com/questions/5681/digitally-remastered-vinyl-albums" />
  <row Id="49918" PostHistoryTypeId="2" PostId="27221" RevisionGUID="e29530ab-42ea-4d40-80d5-04d3888d3309" CreationDate="2012-12-27T06:30:39.640" UserId="7225" Text="Analogue medium *do* technically have a higher dynamical range than digital due to the nature of being analogue (&quot;atom&quot;-level wave description, although you have material limitations of the material vinyl itself, but still). If the human ear can hear the difference of a 24-bit digital version of it, or even a 16-bit version, is of course open for debate.&#xD;&#xA;&#xD;&#xA;If the content on the vinyl has been digitally re-mastered the dynamic range of the analogue version would naturally have been capped off. The main purpose however is to remove hiss, noise, improve spatial and EQ area and such. Putting it back on vinyl you will still not be able to avoid static electricity and other &quot;flaws&quot; of the vinyl medium so in my opinion it is not necessary better if the original recording, provided it was all analogue, sounded good as it was.&#xD;&#xA;&#xD;&#xA;If it has been digitally (re)mastered it will sound &quot;better&quot; (technically speaking as this will be a matter of opinion) on CD as the benefits of analogue (mainly dynamic range) is gone.&#xD;&#xA;&#xD;&#xA;(Also as a side-note, the best mastering engineers uses analogue processing such as tape-saturation in their chain, but you will end up digital at the end nowadays. However, the membrane of the loudspeaker will remain analogue - nothing will change that for a while)." ContentLicense="CC BY-SA 3.0" />
  <row Id="49919" PostHistoryTypeId="2" PostId="27220" RevisionGUID="cfc4dc5e-4601-4518-aff0-73835f192428" CreationDate="2012-12-27T05:07:10.790" UserDisplayName="Keegan McCarthy" Text="I have a vinyl record that says it has been digitally remastered - this would mean that there is no true analogue wave anymore.  One reason I still have and buy vinyl albums is because they are supposed to be analogue.  Is the digital wave on a remastered vinyl any better than a CD (44kHz/16bit) or would it be something closer to the studio quality digital audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49920" PostHistoryTypeId="1" PostId="27220" RevisionGUID="cfc4dc5e-4601-4518-aff0-73835f192428" CreationDate="2012-12-27T05:07:10.790" UserDisplayName="Keegan McCarthy" Text="&quot;Digitally Remastered&quot; Vinyl albums" ContentLicense="CC BY-SA 3.0" />
  <row Id="49921" PostHistoryTypeId="3" PostId="27220" RevisionGUID="cfc4dc5e-4601-4518-aff0-73835f192428" CreationDate="2012-12-27T05:07:10.790" UserDisplayName="Keegan McCarthy" Text="&lt;digital&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49922" PostHistoryTypeId="36" PostId="27221" RevisionGUID="3e4ec816-b9b7-40a6-a2a0-d5e89dfd2d41" CreationDate="2014-02-21T10:26:32.190" UserId="-1" Comment="from http://video.stackexchange.com/questions/5681/digitally-remastered-vinyl-albums/5682#5682" />
  <row Id="49923" PostHistoryTypeId="36" PostId="27222" RevisionGUID="f8fd14af-fb5c-4959-9f70-d250df0cab50" CreationDate="2014-02-21T10:26:43.330" UserId="-1" Comment="from http://video.stackexchange.com/questions/4747/digitizing-casette-4-track-tapes-via-behringer-u-control-uca-222" />
  <row Id="49924" PostHistoryTypeId="36" PostId="27223" RevisionGUID="113baeb3-1cd1-45e6-bab0-5f42fd571544" CreationDate="2014-02-21T10:26:43.330" UserId="-1" Comment="from http://video.stackexchange.com/questions/4747/digitizing-casette-4-track-tapes-via-behringer-u-control-uca-222/4760#4760" />
  <row Id="49925" PostHistoryTypeId="2" PostId="27223" RevisionGUID="98258897-866f-466d-8a4e-35f916f1bb57" CreationDate="2012-09-18T00:43:28.577" UserId="7189" Text="First, make sure the head of your &quot;new&quot; 424 is in good shape. Tape heads can go out of alignment, which will significantly reduce the quality of the signal you are able to get our of your tape.&#xD;&#xA;&#xD;&#xA;Next, even if you can get your system to recognize a pair of 2-channel recorders (easier on OS X with its Aggregate Devices than on Windows), they still won't be perfectly in sync. You will probably get sample-level jitter, possibly worse.&#xD;&#xA;&#xD;&#xA;To keep costs absolutely rock-bottom, I'd try running two channels of the 424 into the audio input on your computer. Record the first two, then record the next two. Try and line up the recordings in Ableton, though this will be much easier in Logic, SoundTrack, Audacity or other DAW with a more traditional track layout.&#xD;&#xA;&#xD;&#xA;If the results are good enough, just go with that. If it is too much work, or just impossible, look into getting a cheap four-channel interface." ContentLicense="CC BY-SA 3.0" />
  <row Id="49926" PostHistoryTypeId="2" PostId="27222" RevisionGUID="0a3b5e62-bb50-492a-ab99-423ade3c61c1" CreationDate="2012-09-17T15:16:57.153" UserId="15021" UserDisplayName="Brian Kelly" Text="I'm looking to digitize a bunch of 4-track tapes I made when I was teenager. I acquired a Tascam 424 (the same model I originally recorded on) which has the ability to route each track to a separate RCA output.&#xD;&#xA;&#xD;&#xA;I was thinking of getting two [Behringer U-Control UCA 222][1]'s and running them simultaneously with one handling tracks 1 &amp; 2 and the other handling tracks 3 &amp; 4. I'd be using Ableton Live 8 to record each input into it's own track.&#xD;&#xA;&#xD;&#xA;So can I run two UCA 222's at the same time? And can I distcintly grab each input into it's own track?&#xD;&#xA;&#xD;&#xA;Or do you have another low-cost suggestion? The 222's are about $30 a piece.&#xD;&#xA; &#xD;&#xA;  [1]: http://www.behringer.com/EN/Products/UCA222.aspx" ContentLicense="CC BY-SA 3.0" />
  <row Id="49927" PostHistoryTypeId="1" PostId="27222" RevisionGUID="0a3b5e62-bb50-492a-ab99-423ade3c61c1" CreationDate="2012-09-17T15:16:57.153" UserId="15021" UserDisplayName="Brian Kelly" Text="Digitizing Casette 4-Track Tapes via Behringer U-Control UCA 222" ContentLicense="CC BY-SA 3.0" />
  <row Id="49928" PostHistoryTypeId="3" PostId="27222" RevisionGUID="0a3b5e62-bb50-492a-ab99-423ade3c61c1" CreationDate="2012-09-17T15:16:57.153" UserId="15021" UserDisplayName="Brian Kelly" Text="&lt;digital&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49929" PostHistoryTypeId="36" PostId="27224" RevisionGUID="350191ec-9ddb-432b-8cba-83846ced93ea" CreationDate="2014-02-21T10:26:53.283" UserId="-1" Comment="from http://video.stackexchange.com/questions/402/old-portastudio-audio-can-bounced-tracks-be-separated-out" />
  <row Id="49930" PostHistoryTypeId="2" PostId="27225" RevisionGUID="37fb4267-0189-4726-9a9a-e8bb0d66e6ac" CreationDate="2010-12-20T20:31:00.847" UserDisplayName="Ian C." Text="No. Once bounced, always bounced in the analog world. The separate track information is no longer available on the cassette. Your best bet is to treat the bounced tracks more like an exercise in mastering than an exercise in mixing -- use some multi-band compression to bring up or down instruments a bit, use some judicious parametric EQ to isolate and enhance or cut frequencies specific to certain instruments.&#xD;&#xA;&#xD;&#xA;For a handy reference when EQ'ing check out [this interactive map of dominant frequency ranges for all kinds of instruments][1]. That app is open all the time when I'm mixing and mastering.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.independentrecording.net/irn/resources/freqchart/main_display.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="49931" PostHistoryTypeId="2" PostId="27224" RevisionGUID="ad0ca6a3-41bd-4821-95a5-0a1d7bfbf435" CreationDate="2010-12-20T19:35:25.060" UserId="7045" Text="I'm restoring a recording from ~1992. The original was cut to a cassette on a Tascam 424 Portastudio. There are two tracks of just vocals, and they transferred extremely well to Garageband. The other two tracks were bounced to save space: &#xD;&#xA;&#xD;&#xA;Track one is maracas and a occasional backing vocal, and I'm planning to save as much of that as possible and snip out the vocal, possibly piecing together the 12 bars from other data. (I can re-record those few if possible. I want to keep this as we all performed to this track. &#xD;&#xA;&#xD;&#xA;Track two is, more or less, the band: Acoustic guitar, electric guitar, and bass guitar, and this track is the problem. It has all the tinniness you'd expect from a bounced track on a cassette four-track recorder. &#xD;&#xA;&#xD;&#xA;Is there any way to separate these tracks out from each other enough that I can eq them separately to give some distinctiveness to the three instruments? I'd like to save the bass guitar in particular, as it's the track that'd be hardest to re-record. &#xD;&#xA;&#xD;&#xA;At the very least, I'd like to separate the guitars out enough that we can use them as reference tracks for re-recording. " ContentLicense="CC BY-SA 2.5" />
  <row Id="49932" PostHistoryTypeId="1" PostId="27224" RevisionGUID="ad0ca6a3-41bd-4821-95a5-0a1d7bfbf435" CreationDate="2010-12-20T19:35:25.060" UserId="7045" Text="Old portastudio audio -- can bounced tracks be separated out?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49933" PostHistoryTypeId="3" PostId="27224" RevisionGUID="ad0ca6a3-41bd-4821-95a5-0a1d7bfbf435" CreationDate="2010-12-20T19:35:25.060" UserId="7045" Text="&lt;analog&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49934" PostHistoryTypeId="36" PostId="27225" RevisionGUID="6599895d-33ea-4026-94d7-ffd72df5ee4b" CreationDate="2014-02-21T10:26:53.283" UserId="-1" Comment="from http://video.stackexchange.com/questions/402/old-portastudio-audio-can-bounced-tracks-be-separated-out/403#403" />
  <row Id="49935" PostHistoryTypeId="36" PostId="27226" RevisionGUID="aa473672-4d1d-44d1-a85b-65264bdfa0e3" CreationDate="2014-02-21T10:26:53.283" UserId="-1" Comment="from http://video.stackexchange.com/questions/402/old-portastudio-audio-can-bounced-tracks-be-separated-out/404#404" />
  <row Id="49936" PostHistoryTypeId="2" PostId="27226" RevisionGUID="3cdc033a-cfa4-4a08-abef-edf44706db9f" CreationDate="2010-12-20T21:15:31.243" UserId="7218" Text="In theory it's possible with a product like [Celemony Melodyne Editor](http://www.celemony.com/cms/index.php?id=products_editor), which allows access to the individual notes of a mixed-down recording.&#xD;&#xA;&#xD;&#xA;Some of its claimed capabilites:&#xD;&#xA;&#xD;&#xA; 1. move an audio note to a different&#xD;&#xA;   pitch or a different position.&#xD;&#xA; 2. Make notes longer or shorter, louder&#xD;&#xA;   or softer.&#xD;&#xA; 3. Delete notes from chords or add new&#xD;&#xA;    ones by copying.&#xD;&#xA;&#xD;&#xA;EDIT: Some clarification.  This process will only work well for polyphonic tracks *containing a single instrument.*  From the [Melodyne FAQ:][1]&#xD;&#xA;&#xD;&#xA;&gt; Direct Note Access recognizes notes in&#xD;&#xA;&gt; their harmonic and temporal contexts.&#xD;&#xA;&gt; It cannot detect which instrument has&#xD;&#xA;&gt; played which note. So if a piano and a&#xD;&#xA;&gt; guitar play the same note at the same&#xD;&#xA;&gt; time, you cannot edit the guitar&#xD;&#xA;&gt; separately...Direct Note Access is designed for the editing of individual instrument tracks in the course of a typical multi-track music production.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.celemony.com/cms/index.php?id=dna_qa" ContentLicense="CC BY-SA 2.5" />
  <row Id="49937" PostHistoryTypeId="36" PostId="27227" RevisionGUID="a3dc101a-a663-47cb-b90d-b3c2127ffe89" CreationDate="2014-02-21T10:36:37.123" UserId="-1" Comment="from http://video.stackexchange.com/questions/23/is-there-still-any-reliability-gap-between-digital-and-analog-mixers" />
  <row Id="49938" PostHistoryTypeId="36" PostId="27228" RevisionGUID="03900389-390d-4cb1-931e-fb58e0b418f7" CreationDate="2014-02-21T10:36:37.123" UserId="-1" Comment="from http://video.stackexchange.com/questions/23/is-there-still-any-reliability-gap-between-digital-and-analog-mixers/30#30" />
  <row Id="49939" PostHistoryTypeId="2" PostId="27228" RevisionGUID="5c61f943-c31d-44f1-ac9c-ab34fd38379f" CreationDate="2010-12-07T20:57:14.020" UserId="7856" UserDisplayName="Corey" Text="As always, you get what you pay for.&#xD;&#xA;&#xD;&#xA;I have been using the Yamaha 01V for years now, and have never had to restart it. Nor have I ever had any real trouble with it.&#xD;&#xA;&#xD;&#xA;As long as you stick with a major brand that has a good reputation, you should be fine.&#xD;&#xA;&#xD;&#xA;One thing to keep in mind however, a digital mixer is basically a computer. Having a solid source of clean power is absolutely critical. I recommend a power filter and a UPS in all circumstances." ContentLicense="CC BY-SA 2.5" />
  <row Id="49940" PostHistoryTypeId="2" PostId="27227" RevisionGUID="eb74c546-cbcc-48e0-90e0-500ac4e3e210" CreationDate="2010-12-07T20:44:22.687" UserId="7538" UserDisplayName="Peter Smit" Text="In the last 10 year I've seen most concerts switch from analog to digital mixers. In the early days there were wild stories about the unreliability of digital boards and the fear of needing a restart during a concert.&#xD;&#xA;&#xD;&#xA;Are these concerns still needed nowadays? Are digital mixers so mature that they could be considered as reliable as analog mixers?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49941" PostHistoryTypeId="1" PostId="27227" RevisionGUID="eb74c546-cbcc-48e0-90e0-500ac4e3e210" CreationDate="2010-12-07T20:44:22.687" UserId="7538" UserDisplayName="Peter Smit" Text="Is there still any reliability gap between digital and analog mixers" ContentLicense="CC BY-SA 2.5" />
  <row Id="49942" PostHistoryTypeId="3" PostId="27227" RevisionGUID="eb74c546-cbcc-48e0-90e0-500ac4e3e210" CreationDate="2010-12-07T20:44:22.687" UserId="7538" UserDisplayName="Peter Smit" Text="&lt;live&gt;&lt;digital&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49943" PostHistoryTypeId="36" PostId="27229" RevisionGUID="ff0a0c14-3d9b-4437-a516-7045fb2e5e81" CreationDate="2014-02-21T10:36:47.153" UserId="-1" Comment="from http://video.stackexchange.com/questions/8037/audio-source-to-amplifier-20-meters-away" />
  <row Id="49944" PostHistoryTypeId="2" PostId="27230" RevisionGUID="ef85adc8-68fe-4389-8df1-04ea13217f12" CreationDate="2013-06-04T13:06:44.697" UserId="7174" Text="Your consumer grade optical link (the mentioned TosLink is Toshiba's name for a consumer standard) has a technical limit of 10 meters.  It has been reported as being useable at up to 30 meters, but quality may suffer.  &#xD;&#xA;&#xD;&#xA;For best quality, what you probably want to do is go to a balanced format for the run.  I don't know what you have available at the amplifier, but if it has the ability to take XLR (a circle with 3 holes in it) inputs, you could use a device called a direct box to switch the unbalanced output of the computer in to a balanced XLR cable which could safely make the 20 meter run.&#xD;&#xA;&#xD;&#xA;If not, you might be able to make the run using a shielded 1/4 inch or even 1/8 inch cable since it is a somewhat powered signal, but it's going to depend a lot on the level of shielding and the amount of electrical interference in the area.  &#xD;&#xA;&#xD;&#xA;It might also be possible to use a direct box on one end and then use a balanced to unbalanced adapter on the other end, but I'm not sure what the performance implications of this would be as I've never personally tried it.  I'm not even sure it would work correctly without a powered device on one end." ContentLicense="CC BY-SA 3.0" />
  <row Id="49945" PostHistoryTypeId="2" PostId="27229" RevisionGUID="332dfa2e-9b3b-49d1-b5be-a450d52e1c77" CreationDate="2013-06-03T21:38:49.353" UserDisplayName="mark" Text="I have a mac mini with 3.5mm audio out which I want to connect to an amplifier which is in another room, 20 metres away - the speakers are cabled back into the classroom. As well as a typical 3.5mm jack, it is also optical out which supports a &quot;toslink mini-plug adapter&quot;, whatever that is.&#xD;&#xA;Given the distance, would I be better looking for a optical cable, an rca cable splitter from the classroom, 3.5mm cable which uses a splitter at the amplifier or something else?  I am playing video, so audio latency is also an issue.&#xD;&#xA;&#xD;&#xA;![Amplifier connections][1]&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/mfsp0.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="49946" PostHistoryTypeId="1" PostId="27229" RevisionGUID="332dfa2e-9b3b-49d1-b5be-a450d52e1c77" CreationDate="2013-06-03T21:38:49.353" UserDisplayName="mark" Text="Audio source to amplifier 20 meters away" ContentLicense="CC BY-SA 3.0" />
  <row Id="49947" PostHistoryTypeId="3" PostId="27229" RevisionGUID="332dfa2e-9b3b-49d1-b5be-a450d52e1c77" CreationDate="2013-06-03T21:38:49.353" UserDisplayName="mark" Text="&lt;cable&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49948" PostHistoryTypeId="36" PostId="27230" RevisionGUID="4cda124e-a7bc-491a-b78b-49921e5008ed" CreationDate="2014-02-21T10:36:47.153" UserId="-1" Comment="from http://video.stackexchange.com/questions/8037/audio-source-to-amplifier-20-meters-away/8045#8045" />
  <row Id="49949" PostHistoryTypeId="36" PostId="27231" RevisionGUID="26967531-74b1-4a85-87b3-dd7db970d62e" CreationDate="2014-02-21T10:36:58.187" UserId="-1" Comment="from http://video.stackexchange.com/questions/1469/difference-between-trs-and-xlr-connectors" />
  <row Id="49950" PostHistoryTypeId="2" PostId="27232" RevisionGUID="56ca18c2-c46b-40f0-8a64-cd50eaa7f3a3" CreationDate="2011-05-25T17:04:05.947" UserDisplayName="decasteljau" Text="XLR connectors have a lock, so they are less likely to be unplugged by accident.  Also, when connecting or disconnecting them, they are less likely to cause short circuit or produce noise because of their design (the TRS design may cause that).  In general, the connector is more robust.&#xD;&#xA;&#xD;&#xA;In your scenario, check if your monitors and interface support balanced signals, and if they support it, you can use a XLR cable that will carry the &quot;control&quot; signal on the third wire and will protect your signal from interference.  If you use a TRS connector, be sure to use a three-conductor TRS connector to carry a balanced signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="49951" PostHistoryTypeId="2" PostId="27231" RevisionGUID="bc4dcd2a-7237-432b-9ed6-83382b915f77" CreationDate="2011-05-25T16:57:10.853" UserDisplayName="Mark Richman" Text="Aside from the obvious differences in the physical connectors, is there an advantage to one over the other? Specifically, I am looking to connect powered near-field monitor speakers to my USB audio interface." ContentLicense="CC BY-SA 3.0" />
  <row Id="49952" PostHistoryTypeId="1" PostId="27231" RevisionGUID="bc4dcd2a-7237-432b-9ed6-83382b915f77" CreationDate="2011-05-25T16:57:10.853" UserDisplayName="Mark Richman" Text="Difference between TRS and XLR connectors" ContentLicense="CC BY-SA 3.0" />
  <row Id="49953" PostHistoryTypeId="3" PostId="27231" RevisionGUID="bc4dcd2a-7237-432b-9ed6-83382b915f77" CreationDate="2011-05-25T16:57:10.853" UserDisplayName="Mark Richman" Text="&lt;cable&gt;&lt;monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49954" PostHistoryTypeId="36" PostId="27232" RevisionGUID="270cef0a-7047-4dbb-bef4-b10366d21cc5" CreationDate="2014-02-21T10:36:58.187" UserId="-1" Comment="from http://video.stackexchange.com/questions/1469/difference-between-trs-and-xlr-connectors/1470#1470" />
  <row Id="49955" PostHistoryTypeId="36" PostId="27233" RevisionGUID="3be09b10-1205-41b5-aac7-bc297c221eb4" CreationDate="2014-02-21T10:37:18.360" UserId="-1" Comment="from http://video.stackexchange.com/questions/1036/difference-between-3-5mm-and-quarter-inch-plug" />
  <row Id="49956" PostHistoryTypeId="2" PostId="27234" RevisionGUID="a3d4e60f-6059-4d4d-874a-51a0849f7052" CreationDate="2011-03-16T13:41:23.450" UserId="319" Text="Different form factors allow use for different applications - I believe they are capable of carrying the same signals.  1/4&quot; cables are more durable - I've bent many mini jacks.&#xD;&#xA;&#xD;&#xA;The thing to be aware of is that there is professional line level and consumer line level, so you need to make sure your equipment is calibrated to work together.&#xD;&#xA;&#xD;&#xA;From your picture, the cable on the left is stereo (trs) and the right is mono (ts) - you can tell by the black bands on the tip.  If the 1/4&quot; had the two bands, it could be stereo or a balanced mono cable, depending on how you use it.&#xD;&#xA;&#xD;&#xA;See here for some detailed info and history:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/TRS_connector&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49957" PostHistoryTypeId="2" PostId="27233" RevisionGUID="1668d028-18bd-45ae-ae20-12ca47388c6a" CreationDate="2011-03-16T05:11:35.663" UserDisplayName="7wp" Text="What's the difference between these two types of plugs?  Why do they exist? Why can't all plugs be 3.5mm ?&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/FvEpm.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="49958" PostHistoryTypeId="1" PostId="27233" RevisionGUID="1668d028-18bd-45ae-ae20-12ca47388c6a" CreationDate="2011-03-16T05:11:35.663" UserDisplayName="7wp" Text="Difference between 3.5mm and quarter inch plug?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49959" PostHistoryTypeId="3" PostId="27233" RevisionGUID="1668d028-18bd-45ae-ae20-12ca47388c6a" CreationDate="2011-03-16T05:11:35.663" UserDisplayName="7wp" Text="&lt;cable&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49960" PostHistoryTypeId="36" PostId="27234" RevisionGUID="1d71e321-6214-4492-b563-69a15fb20a55" CreationDate="2014-02-21T10:37:18.360" UserId="-1" Comment="from http://video.stackexchange.com/questions/1036/difference-between-3-5mm-and-quarter-inch-plug/1037#1037" />
  <row Id="49961" PostHistoryTypeId="36" PostId="27235" RevisionGUID="dbf82340-9221-4c2f-bfac-45521958146a" CreationDate="2014-02-21T10:37:18.360" UserId="-1" Comment="from http://video.stackexchange.com/questions/1036/difference-between-3-5mm-and-quarter-inch-plug/1038#1038" />
  <row Id="49962" PostHistoryTypeId="2" PostId="27235" RevisionGUID="f5152670-090f-4259-86ab-f08a2fd67ca2" CreationDate="2011-03-16T16:04:23.990" UserId="7294" Text="I do not know of any meaningful electrical difference between them at the line- or instrument-level voltages that they usually carry.&#xD;&#xA;&#xD;&#xA;I believe the 3.5mm plug was created to be a &quot;miniaturized&quot; version of the 1/4&quot; plug, which was already in general use.  3.5mm is more commonly seen in consumer electronics, and it's usually a `TRS` plug (for &quot;Tip-Ring-Sleeve&quot;), which is sometimes called &quot;stereo,&quot; as opposed to `TS` (&quot;Tip-Sleeve&quot;) or &quot;mono.&quot;  &#xD;&#xA;&#xD;&#xA;I generally see 1/4&quot; plugs used more often in audio production - instrument cables, hardware inputs and outputs, and headphones.  I think this is largely due to tradition, but I must say that I generally prefer the larger plug if I'm frequently plugging and removing cables because it feels a little bit more stable to me.  3.5mm plugs require a more precise mechanism because of the smaller size, which strikes me as more delicate.  &#xD;&#xA;&#xD;&#xA;The Wikipedia link in Sam's answer is also excellent." ContentLicense="CC BY-SA 2.5" />
  <row Id="49963" PostHistoryTypeId="36" PostId="27236" RevisionGUID="52ff7f18-ba63-49c5-8c7e-654dccc1022c" CreationDate="2014-02-21T10:37:31.503" UserId="-1" Comment="from http://video.stackexchange.com/questions/307/neutrik-xlr-1-4-combo-jacks-and-phantom-power" />
  <row Id="49964" PostHistoryTypeId="2" PostId="27237" RevisionGUID="85d0d59a-1eb2-4620-8a21-a8cb0eb42fe1" CreationDate="2010-12-15T22:42:05.230" UserDisplayName="Kim Burgaard" Text="It really depends on your equipment.  The Neutrik combo connector has separate connectors for the XLR and TRS pins, so it depends on whether the digital recorder in your setup feeds phantom power to both the XLR and the TRS pins. For such instances, [this thread][1] might be of help, although I've never tried it myself and you'll have to open your device and get busy with a soldering iron (i.e. break your warranty).  I suppose you could fashion a very short cable with a male XLR or TRS and another Neutrik female if you're worried about soldering inside your equipment.&#xD;&#xA;&#xD;&#xA;My audio interface only supplies phantom power on the XLR pins.  I've accidentally left on phantom power while connecting several synthesizers using XLR cables without any apparent damage, so at least with my own equipment I've become less worried.&#xD;&#xA;&#xD;&#xA;I suspect leaving phantom power on is a common mistake, so hopefully most equipment manufacturers put in safeguards.  Of course that doesn't help you the day you connect a device that isn't protected...&#xD;&#xA;&#xD;&#xA;  [1]: http://www.gearslutz.com/board/geekslutz-forum/42633-need-assistance-neutrik-combo-connector-phantom-power.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="49965" PostHistoryTypeId="2" PostId="27236" RevisionGUID="4ec77295-9605-4918-bfcc-a3fc7fb2fdcd" CreationDate="2010-12-15T20:05:17.810" UserId="7209" Text="For devices that support mic input on the XLR and line level input on the 1/4&quot; parts of one of those Neutrik combo jacks, do I generally need to worry about phantom power being sent to my line-level device?&#xD;&#xA;&#xD;&#xA;We have an assortment of digital recorders with this style of input.  I always tell folks to turn off the phantom power when they don't need it, but I am unsure if I need to take extra precautions, in case they forget.&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/iYqXL.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="49966" PostHistoryTypeId="1" PostId="27236" RevisionGUID="4ec77295-9605-4918-bfcc-a3fc7fb2fdcd" CreationDate="2010-12-15T20:05:17.810" UserId="7209" Text="Neutrik XLR 1/4&quot; Combo Jacks and Phantom Power" ContentLicense="CC BY-SA 2.5" />
  <row Id="49967" PostHistoryTypeId="3" PostId="27236" RevisionGUID="4ec77295-9605-4918-bfcc-a3fc7fb2fdcd" CreationDate="2010-12-15T20:05:17.810" UserId="7209" Text="&lt;cable&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49968" PostHistoryTypeId="36" PostId="27237" RevisionGUID="765f5464-d7f0-4f31-a3de-74997af74e99" CreationDate="2014-02-21T10:37:31.503" UserId="-1" Comment="from http://video.stackexchange.com/questions/307/neutrik-xlr-1-4-combo-jacks-and-phantom-power/313#313" />
  <row Id="49969" PostHistoryTypeId="36" PostId="27238" RevisionGUID="8953b296-383d-499b-947b-807c64e2b12d" CreationDate="2014-02-21T10:37:31.503" UserId="-1" Comment="from http://video.stackexchange.com/questions/307/neutrik-xlr-1-4-combo-jacks-and-phantom-power/4763#4763" />
  <row Id="49970" PostHistoryTypeId="36" PostId="27239" RevisionGUID="485c9aa1-dd7e-42bf-bdba-72cd7a2c141d" CreationDate="2014-02-21T10:37:31.503" UserId="-1" Comment="from http://video.stackexchange.com/questions/307/neutrik-xlr-1-4-combo-jacks-and-phantom-power/4914#4914" />
  <row Id="49971" PostHistoryTypeId="2" PostId="27238" RevisionGUID="811f6f3c-fd15-430f-801c-59c4d1dd410b" CreationDate="2012-09-18T06:02:00.130" UserDisplayName="jesse" Text="I've fried the motherboard on my android tablet by connecting the headphone jack to a mixer with a 1\8&quot; to xlr cable by leaving phantom power on.  DO NOT DO THISWITH A PHONE TABLET OR COMPUTER u will send 48v into ur headphone jack which is cpnnected to ur logic board&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49972" PostHistoryTypeId="2" PostId="27239" RevisionGUID="b07017de-73e5-44b3-bd72-dbfb813e3dcb" CreationDate="2012-10-04T19:58:37.123" UserId="6957" Text="On an XLR cable, pins 2 and 3 carry the same voltage, just 180 out of phase, while pin 1 is the ground. &#xD;&#xA;&#xD;&#xA;Wiring this up to a TRS connector, pin 2 is tip, pin 3 is ring, and pin 1 is the sleeve.&#xD;&#xA;&#xD;&#xA;![XLR to TRS][1]&#xD;&#xA;&lt;sub&gt;image linked from [here](http://www.mediacollege.com/audio/connection/xlr-jack-stereo.html)&lt;/sub&gt;&#xD;&#xA;&#xD;&#xA;So, if you're using balanced TRS connections in your combo jack, the answer is, it should be fine.  The voltage present on the tip and ring &quot;is seen by equipment as “common mode” noise and rejected, or ignored, by the equipment.&quot; [&lt;sub&gt;source&lt;/sub&gt;](http://www.mediacollege.com/audio/phantom-power/) &#xD;&#xA;&#xD;&#xA;A caveat, however...&#xD;&#xA;&#xD;&#xA;&gt; As the jack plug is inserted into the jackfield its tip will&#xD;&#xA;&gt; momentarily connect with the ring contact in the socket, while the&#xD;&#xA;&gt; ring of the plug touches the sleeve contact. This short-circuits the&#xD;&#xA;&gt; phantom supply, bridging the +48V line straight to the earth return&#xD;&#xA;&gt; and, although the phantom supply should cope, the resulting voltage&#xD;&#xA;&gt; spike can cause irreparable damage to the input circuitry of the mixer&#xD;&#xA;&gt; channel. The mic input stage can be destroyed outright (particularly&#xD;&#xA;&gt; with older types of electronically balanced inputs) but it is more&#xD;&#xA;&gt; usual to find a gradual degradation in performance as various circuit&#xD;&#xA;&gt; components deteriorate. [&lt;sub&gt;source&lt;/sub&gt;](http://www.soundonsound.com/sos/dec99/articles/patchbay.htm)&#xD;&#xA;&#xD;&#xA;The quote above is not exactly related to your situation, but close enough to give you some useful tips to avoid damage.&#xD;&#xA;&#xD;&#xA;Having said all that, I suppose in the end, it depends on how the Neutrik connector is wired on the back side.  If there are only three leads (which are just split to connect to both the XLR and TRS contact points) There would be phantom on the TRS.  If, however there are six leads, it could go either way.  I suppose the only way to know for sure would be to test with a DMM or contact Neutrik :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/V6Cap.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="49973" PostHistoryTypeId="36" PostId="27240" RevisionGUID="cad39fc2-a4bc-4b67-80b5-9388b020ebea" CreationDate="2014-02-21T10:37:53.147" UserId="-1" Comment="from http://video.stackexchange.com/questions/141/maximum-length-for-an-unbalanced-cable" />
  <row Id="49974" PostHistoryTypeId="36" PostId="27241" RevisionGUID="1d714840-07dd-43d2-bdb3-c262cc4a5dac" CreationDate="2014-02-21T10:37:53.147" UserId="-1" Comment="from http://video.stackexchange.com/questions/141/maximum-length-for-an-unbalanced-cable/143#143" />
  <row Id="49975" PostHistoryTypeId="36" PostId="27242" RevisionGUID="ebf42222-d1f3-4e1b-a8f0-f9b509260269" CreationDate="2014-02-21T10:37:53.147" UserId="-1" Comment="from http://video.stackexchange.com/questions/141/maximum-length-for-an-unbalanced-cable/147#147" />
  <row Id="49976" PostHistoryTypeId="36" PostId="27243" RevisionGUID="57de5bdd-5875-4023-9260-2d7e08720f2b" CreationDate="2014-02-21T10:37:53.147" UserId="-1" Comment="from http://video.stackexchange.com/questions/141/maximum-length-for-an-unbalanced-cable/7186#7186" />
  <row Id="49977" PostHistoryTypeId="2" PostId="27241" RevisionGUID="f1f62cb6-7880-4a3f-b457-622f127b42e0" CreationDate="2010-12-08T17:27:53.197" UserDisplayName="Ian C." Text="The answer is: it depends. It depends on how much RF noise is in the environment you're running the cable through and it depends on how strong the signal is you're sending along that cable relative to the noise in the environment.&#xD;&#xA;&#xD;&#xA;It's not typical that you've got a choice of outputs on a device between balanced and unbalanced but, given a choice, I'll always take balanced no matter what the length of the run." ContentLicense="CC BY-SA 2.5" />
  <row Id="49978" PostHistoryTypeId="2" PostId="27242" RevisionGUID="1b9d5130-2035-4c42-9ae5-79d70caf1711" CreationDate="2010-12-08T19:26:50.537" UserId="7653" UserDisplayName="Joel Spolsky" Text="It depends on a lot of things!&#xD;&#xA;&#xD;&#xA;1) What else is going on? How many other cables are in the vicinity of your cable? The more other cables you have in the area, the more likely there is to be interference.&#xD;&#xA;&#xD;&#xA;2) How thick and well-shielded is the cable? A consumer, high-gauge, thin little bit of zip wire is much more susceptible to interference than thick, heavy, well-shielded cable.&#xD;&#xA;&#xD;&#xA;3) How much RF noise is in the environment? You probably have to test this to find out!&#xD;&#xA;&#xD;&#xA;4) What levels are you transmitting? Very low levels (Mic, Phono) are much more susceptible to interference than line levels. High levels (speaker cable) are rarely balanced.&#xD;&#xA;&#xD;&#xA;4) That said, you would be nuts to try to run unbalanced for more than 25 feet, or 50 at the most.&#xD;&#xA;&#xD;&#xA;In practice, experienced audio engineers will always use balanced cables when they have a choice, but for many situations (e.g. a simple setup for recording a podcast with one mic, a mixer, a digital recorder, 2-3 foot runs, and heavy duty cables) unbalanced cables will probably be fine." ContentLicense="CC BY-SA 2.5" />
  <row Id="49979" PostHistoryTypeId="2" PostId="27243" RevisionGUID="51957523-f441-4f62-936e-044ba656f7c2" CreationDate="2013-02-18T01:56:35.150" UserDisplayName="Logan White" Text="You can go as long as it doesn't start interfering with your sound.&#xD;&#xA;&#xD;&#xA;The truth of the matter is that guitar rigs with a lot of pedals in them will eventually end up with a lot of cable-feet.&#xD;&#xA;&#xD;&#xA;Especially if you're using a 20'+ cable in or out, unless you have your pedals arranged in series and connected with a bunch of 6&quot; patch cables, you're going to end up with easily over 40 feet of cable.&#xD;&#xA;&#xD;&#xA;I use a 20' cable going in or out, depending on the room and if I'm recording or not, and a 10' cable going out, or in.  But I don't arrange my pedals in series, I arrange them for convenience sake of playing.  I probably have about 2' in 6&quot; patch cables and at least another 4-5' in arrangement patch cables.  So on any given session I'm running my signal through a total of just under 40' of unbalanced cable.  I get no RF interference what-so-ever.  I'm also using a compressor as a clean boost, which can be notorious for amplifying RF signals, I've never heard anything where I live.&#xD;&#xA;&#xD;&#xA;However, where I used to live, with far less cable, my compressor would pick up the 105.1 radio station locally, but very faint, and it was pretty much specific to where the pedal was in the room.  It was also the pedal, as I said, there was far less cabling back then.&#xD;&#xA;&#xD;&#xA;If you're trying to run your signal over huge distances, say you have your pedals in front of you in the control or tracking room, but your amp (the studio doesn't have a wall input system in this scenario) is far away.  You'd be better off to run out of your pedals into a DI, on a balanced line, to the where the amp is.  Then take that balanced XLR signal through a reamp box, bringing back to unbalanced and an appropriate line level.&#xD;&#xA;&#xD;&#xA;In the end, the main thing you want to watch out for is having a bunch of excess cable that you find yourself coiling up next to you so it's not getting tangled everywhere.  At that point you're amplifying the cable's conductance (Guitar pickups are inductors, cables are capacitors) by coiling it. This will increase the amplification of any RF interference entering the signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="49980" PostHistoryTypeId="2" PostId="27240" RevisionGUID="75fe1ae3-154f-448c-b7c1-8e5153983a30" CreationDate="2010-12-08T17:14:16.323" UserDisplayName="Willbill" Text="Is there a maximum length for an unbalanced audio cable after which you should use balanced?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49981" PostHistoryTypeId="1" PostId="27240" RevisionGUID="75fe1ae3-154f-448c-b7c1-8e5153983a30" CreationDate="2010-12-08T17:14:16.323" UserDisplayName="Willbill" Text="Maximum length for an unbalanced cable?" ContentLicense="CC BY-SA 2.5" />
  <row Id="49982" PostHistoryTypeId="3" PostId="27240" RevisionGUID="75fe1ae3-154f-448c-b7c1-8e5153983a30" CreationDate="2010-12-08T17:14:16.323" UserDisplayName="Willbill" Text="&lt;cable&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="49983" PostHistoryTypeId="36" PostId="27244" RevisionGUID="50be1a23-212d-476e-bbb5-9e1b35cf7b59" CreationDate="2014-02-21T10:38:26.773" UserId="-1" Comment="from http://video.stackexchange.com/questions/3828/licensing-to-rebroadcast-interviews-on-internet-radio" />
  <row Id="49984" PostHistoryTypeId="36" PostId="27245" RevisionGUID="334d7540-3f5b-4358-96e0-5dcfd906852d" CreationDate="2014-02-21T10:38:26.773" UserId="-1" Comment="from http://video.stackexchange.com/questions/3828/licensing-to-rebroadcast-interviews-on-internet-radio/3839#3839" />
  <row Id="49985" PostHistoryTypeId="2" PostId="27245" RevisionGUID="d842f47c-e238-45fc-98e5-6bffeaf028d0" CreationDate="2012-04-26T13:27:51.527" UserId="12830" UserDisplayName="dwwilson66" Text="Yep, this is a great place for that question, though I did add a copyright tag...&#xD;&#xA;&#xD;&#xA;Understanding that I'm an NOT a lawyer, just someone who's dealt with a lot of lawyers and intellectual property law, the rule of thumb is that if YOU record it you own the copyright and can do whatever you want with it. There's a legal doctrine called the &quot;right of publicity&quot; which means that you can have a certain expectation of privacy...that's where release forms come in. &#xD;&#xA;&#xD;&#xA;Your MAKING something (the recording) gives you the right to use it, but it's prudent to get the participants contributing to what you're recording (interviewees, a band, etc.)to sign a release form that gives their permission for you to do with it what you will. &#xD;&#xA;&#xD;&#xA;For things that OTHER people have recorded, you need permission from them to re-broadcast it. They can let you do this free or for a fee, it's up top them as the copyright owner. Just make sure that you have a release from them that gives you permission to re-broadcast, and outlines the terms under which you can broadcast. &#xD;&#xA;&#xD;&#xA;Googling &quot;release forms&quot; and &quot;licensing agreements&quot; will give you more in-depth info as well.&#xD;&#xA;&#xD;&#xA;I'd also find and attorney friend who owes you a favor and is willing to answer questions over a beer or two...that always helps.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="49986" PostHistoryTypeId="2" PostId="27244" RevisionGUID="4f451eed-4ebd-431b-a843-0211eaeeab93" CreationDate="2012-04-26T01:47:42.713" UserDisplayName="Arkaaito" Text="[Apologies if this is the wrong StackExchange for this kind of question... please direct me to somewhere that might be more appropriate.]&#xD;&#xA;&#xD;&#xA;It seems as though there's a lot of material available on creating an internet radio station, and the royalty situation is fairly well-defined.  However, everything I've found assumes that such stations will be music-only.&#xD;&#xA;&#xD;&#xA;Are there any laws and royalty schemes around rebroadcasting artist interviews?  If not, does anyone have advice as to how I would go about incorporating such interviews in an internet radio stream, or related experiences they can share?&#xD;&#xA;&#xD;&#xA;[Is this unlikely to happen because most audio artist interviews are conducted by real radio stations?  Or is there some established system in place for getting rebroadcast rights, for the same reason?]" ContentLicense="CC BY-SA 3.0" />
  <row Id="49987" PostHistoryTypeId="1" PostId="27244" RevisionGUID="4f451eed-4ebd-431b-a843-0211eaeeab93" CreationDate="2012-04-26T01:47:42.713" UserDisplayName="Arkaaito" Text="Licensing to rebroadcast interviews on internet radio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="49988" PostHistoryTypeId="3" PostId="27244" RevisionGUID="4f451eed-4ebd-431b-a843-0211eaeeab93" CreationDate="2012-04-26T01:47:42.713" UserDisplayName="Arkaaito" Text="&lt;copyright&gt;&lt;broadcasting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="49997" PostHistoryTypeId="36" PostId="27248" RevisionGUID="85f3a034-6490-452d-8ea1-8f3904a2f436" CreationDate="2014-02-21T10:39:03.543" UserId="-1" Comment="from http://video.stackexchange.com/questions/2446/is-there-any-software-that-will-play-the-lossless-part-of-hd-aac-aka-mpeg-4-sls" />
  <row Id="49998" PostHistoryTypeId="36" PostId="27249" RevisionGUID="72d0621f-a0ff-4501-8218-026ecd602b69" CreationDate="2014-02-21T10:39:03.543" UserId="-1" Comment="from http://video.stackexchange.com/questions/2446/is-there-any-software-that-will-play-the-lossless-part-of-hd-aac-aka-mpeg-4-sls/2490#2490" />
  <row Id="49999" PostHistoryTypeId="36" PostId="27250" RevisionGUID="67167481-80c9-4d5a-96e9-02432a094471" CreationDate="2014-02-21T10:39:03.543" UserId="-1" Comment="from http://video.stackexchange.com/questions/2446/is-there-any-software-that-will-play-the-lossless-part-of-hd-aac-aka-mpeg-4-sls/9758#9758" />
  <row Id="50000" PostHistoryTypeId="2" PostId="27249" RevisionGUID="9650dac8-baf5-46cf-9b1e-0190faccb939" CreationDate="2011-10-18T11:40:39.017" UserDisplayName="JayP" Text="I would go to [VLC][1] in the first instance.  It's benefits include:&#xD;&#xA;&#xD;&#xA; - Great format support&#xD;&#xA; - Cross platform&#xD;&#xA; - Free&#xD;&#xA;&#xD;&#xA;[Here][2] is a handy list of the formats supported; it indicates that it supports &quot;AAC - MPEG-4 part3&quot;.  [This article][3] on Wikipedia also gives a good list of alternative players that support either the encoding or decoding of MPEG-4 SLS.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.videolan.org/vlc/&#xD;&#xA;  [2]: http://www.videolan.org/vlc/features.php?cat=audio&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/High-Efficiency_Advanced_Audio_Coding" ContentLicense="CC BY-SA 3.0" />
  <row Id="50001" PostHistoryTypeId="2" PostId="27250" RevisionGUID="f6586dfe-d6fb-4bd1-b6c6-847316a77bcb" CreationDate="2013-12-26T19:06:22.990" UserDisplayName="Jay" Text="This is the only one I could find, I'm interested in converting my CD collection to MPEG-4 SLS / HD-AAC and it's frustrating this $400+ software is the only product I could find.  I don't need all the other stuff this software can do, so it's costly to use this.&#xD;&#xA;http://www.sonnoxplugins.com/pub/plugins/products/pro-codec.htm&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50002" PostHistoryTypeId="2" PostId="27248" RevisionGUID="6eeb0b0e-4d5f-4904-aca3-995a30609c57" CreationDate="2011-10-07T18:46:09.803" UserDisplayName="einsteinx2" Text="People under the stairs just released a new album called Highlighting using a new codec called HD-AAC (also known as MPEG-4 SLS) that was created by Fraunhofer.&#xD;&#xA;&#xD;&#xA;Basically it's a file that contains both a lossy AAC version and a lossless &quot;HD-AAC&quot; version but in about the same file size as an all lossless ALAC file. So it can be played by any software/hardware that plays AAC, but the lossless part can only be played by an HD-AAC decoder.&#xD;&#xA;&#xD;&#xA;According to the video from Thes One and some comments by someone that worked on the production on this page: http://pl70.net/highlighter-hd-aac the files should be playable in lossless by iTunes and newer iPods/iPhones. However, I'm 99% sure they are misunderstanding the format and only the lossy version is playing. iTunes identifies the songs as 192kbps AAC files and makes no mention of HD-AAC. Also I can't find a single spec sheet or piece of information online that says that they (or any software/hardware for that matter) actually support anything more than the AAC core.&#xD;&#xA;&#xD;&#xA;Also, I found this video of a Fraunhofer representative that explicitly states that iPods don't support the lossless portion of the audio (skip to 3:57 in): http://www.youtube.com/watch?v=JESMLDu_AyM&#xD;&#xA;&#xD;&#xA;Can anyone point me to a piece of software that can be used to play or convert the lossless portion of HD-AAC audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50003" PostHistoryTypeId="1" PostId="27248" RevisionGUID="6eeb0b0e-4d5f-4904-aca3-995a30609c57" CreationDate="2011-10-07T18:46:09.803" UserDisplayName="einsteinx2" Text="Is there ANY software that will play the lossless part of HD-AAC (aka MPEG-4 SLS)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50004" PostHistoryTypeId="3" PostId="27248" RevisionGUID="6eeb0b0e-4d5f-4904-aca3-995a30609c57" CreationDate="2011-10-07T18:46:09.803" UserDisplayName="einsteinx2" Text="&lt;playback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50005" PostHistoryTypeId="36" PostId="27251" RevisionGUID="3e4bc238-b3db-46ba-8469-4957da1b0f7c" CreationDate="2014-02-21T10:39:14.310" UserId="-1" Comment="from http://video.stackexchange.com/questions/1084/program-to-decompress-wavezip-on-64-bit" />
  <row Id="50006" PostHistoryTypeId="36" PostId="27252" RevisionGUID="ab33fa0d-7ca6-4fb5-b2a6-9cbc195ca335" CreationDate="2014-02-21T10:39:14.310" UserId="-1" Comment="from http://video.stackexchange.com/questions/1084/program-to-decompress-wavezip-on-64-bit/1086#1086" />
  <row Id="50007" PostHistoryTypeId="2" PostId="27252" RevisionGUID="f4fd93dd-6d3d-4812-b075-723ae57b0e3e" CreationDate="2011-03-24T13:36:02.323" UserId="7093" Text="If you have access to a 32 bit machine where you can install WaveZip, I would recommend decompressing whatever files you have.  &#xD;&#xA;&#xD;&#xA;If you still want to store them in a compressed format, you can convert them to [flac][1] or [another lossless format][2] that supports compression.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://flac.sourceforge.net/&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/List_of_codecs#Lossless_data_compression" ContentLicense="CC BY-SA 2.5" />
  <row Id="50008" PostHistoryTypeId="2" PostId="27251" RevisionGUID="c31698e7-3e8d-4208-bbf5-73c3fea82fff" CreationDate="2011-03-24T02:44:07.880" UserDisplayName="Ted Elliott" Text="Anyone know of a 64-bit or 32-bit windows compatible program to WaveZip compressed files?  I just tried to install WaveZip on my 64-bit Windows machine and it is 16-bit and won't install." ContentLicense="CC BY-SA 2.5" />
  <row Id="50009" PostHistoryTypeId="1" PostId="27251" RevisionGUID="c31698e7-3e8d-4208-bbf5-73c3fea82fff" CreationDate="2011-03-24T02:44:07.880" UserDisplayName="Ted Elliott" Text="Program to decompress WaveZip on 64-bit" ContentLicense="CC BY-SA 2.5" />
  <row Id="50010" PostHistoryTypeId="3" PostId="27251" RevisionGUID="c31698e7-3e8d-4208-bbf5-73c3fea82fff" CreationDate="2011-03-24T02:44:07.880" UserDisplayName="Ted Elliott" Text="&lt;software&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50011" PostHistoryTypeId="36" PostId="27253" RevisionGUID="bb9e9970-937b-428e-bd8b-153bfde5e0ef" CreationDate="2014-02-21T10:39:23.060" UserId="-1" Comment="from http://video.stackexchange.com/questions/1068/what-formats-and-compression-should-i-use-for-my-audio-library" />
  <row Id="50012" PostHistoryTypeId="36" PostId="27254" RevisionGUID="8ca6d99a-c11e-4a4d-85fb-ddd3d841271f" CreationDate="2014-02-21T10:39:23.060" UserId="-1" Comment="from http://video.stackexchange.com/questions/1068/what-formats-and-compression-should-i-use-for-my-audio-library/1069#1069" />
  <row Id="50013" PostHistoryTypeId="36" PostId="27255" RevisionGUID="2660ee58-fc5a-4446-93d7-c9fd9f00ab66" CreationDate="2014-02-21T10:39:23.060" UserId="-1" Comment="from http://video.stackexchange.com/questions/1068/what-formats-and-compression-should-i-use-for-my-audio-library/1070#1070" />
  <row Id="50014" PostHistoryTypeId="2" PostId="27254" RevisionGUID="ddb4b5d9-c40c-45dd-87f4-6809713a08f5" CreationDate="2011-03-21T18:43:30.710" UserId="7592" UserDisplayName="Pelle ten Cate" Text="In my opinion, any loss in classical music is not acceptable, especially when played on professional loudspeakers. Therefore, I converted all my FLAC and APE files to Apple Lossless (in MPEG-4 containers). To do this very easily, I used a program called [Max](http://sbooth.org/Max/) which can cross-convert between almost any audio format. You can use that to play around with virtually any format you would ever dream of playing around with. :) If that is not satisfactory, please tell us why you are looking for an alternative to lossless.&#xD;&#xA;&#xD;&#xA;**Edit:** I understand that the size of the files is the main drawback you are dealing with on lossless formats. Well, you could go for MP3 320kbps, which requires a very trained ear to be distinguished from the original master, or you can play around with several other codecs like MP4 or OGG. (I had pretty good results with OGG quite a few years back, things may have changed, and I am not sure whether iTunes/iOS plays them.)&#xD;&#xA;&#xD;&#xA;To a great extent the ultimate answer is not going to be on this board, but from yourself. That is: use it if you think it sounds right. Be wary though, if you convert your entire collection into some format, you might well end up not liking what you hear after a few weeks or months. &#xD;&#xA;&#xD;&#xA;If you plan on doing 'presonal research' on audio codecs, just play around with several formats. If you want to have your entire collection converted tomorrow, I would just stick with Apple Lossless." ContentLicense="CC BY-SA 2.5" />
  <row Id="50015" PostHistoryTypeId="2" PostId="27255" RevisionGUID="9d7c6a0f-b9b7-448c-84ce-ac36b6d912b4" CreationDate="2011-03-21T19:51:14.427" UserDisplayName="Joe Mac" Text="The type of musical information that gets lost when encoding to a lossy format is actually quite dependent on the genre (or, more accurately, the type of sound being represented).  Rock music and its variants tend to give more complex waveforms, having more harmonics due to the relative dominance of distorted or percussive sounds instead of the more &quot;pure&quot; sounds of classical music.  When there aren't enough unused bits in the stream to allocate to representing this information, the encoder has to throw some of it away, and the results can sometimes sound pretty bad (Big example: cymbals).  &#xD;&#xA;&#xD;&#xA;Contrastingly, classical music tends to be much more complex dynamically; that is, on the amplitude spectrum rather than the frequency spectrum. You need a lot of bits to be able to represent the broad, expressive changes in dynamics that may be present, and sometimes this data cannot fully fit into the bitstream, and must be thrown away.&#xD;&#xA;&#xD;&#xA;Also, classical music can lose some of its &quot;crispness&quot;, because &quot;crisp&quot; sounds are harmonically rich data that sometimes gets thrown away from the lossy bitstream just like the cymbals in a rock recording, although the dynamic range loss is usually a more primary concern.&#xD;&#xA;&#xD;&#xA;With all that being said, I am a believer in lossy formats when it comes to recreational music listening, but I think it is very much up to personal preference.  I prefer to fill up media drives with five times as much musical content for the token loss in content than insist on always listening to a perfect representation.  If I strain my ears I can sometimes here a difference between high quality MP3s (like 256, 320kbps) and a lossless version, but at high bitrates, it's never been an obstacle getting in the way of my enjoyment of the music.  Think of an old, early audio recording that emotionally moves you.  Your mind's ear can hear past the poor quality and discern the musical expression even through the fuzz, and these quality losses are much more severe than those of a high-bitrate modern lossy digital format.&#xD;&#xA;&#xD;&#xA;So, I say professionally, always retain all the data you can and store your audio lossless, but when it comes to your own recreation, just go with a decent lossy format until you find that it's keeping you from enjoying the music itself.  (And keep a lossless backup if you're worried, either the original physical media or some big hard drive)." ContentLicense="CC BY-SA 2.5" />
  <row Id="50016" PostHistoryTypeId="2" PostId="27253" RevisionGUID="cf268727-2588-418e-9d60-7c3df031421f" CreationDate="2011-03-21T16:35:05.253" UserId="19988" UserDisplayName="sorin" Text="I would like to see some recommendations regarding how I should keep my classical music collection in iTunes. &#xD;&#xA;&#xD;&#xA;I cannot use `FLAC` because this will not work in iTunes or iOS. &#xD;&#xA;&#xD;&#xA;I suppose I could use Apple Lossless, but how about using something smaller but with minimal quality loss. " ContentLicense="CC BY-SA 2.5" />
  <row Id="50017" PostHistoryTypeId="1" PostId="27253" RevisionGUID="cf268727-2588-418e-9d60-7c3df031421f" CreationDate="2011-03-21T16:35:05.253" UserId="19988" UserDisplayName="sorin" Text="What formats and compression should I use for my audio library?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50018" PostHistoryTypeId="3" PostId="27253" RevisionGUID="cf268727-2588-418e-9d60-7c3df031421f" CreationDate="2011-03-21T16:35:05.253" UserId="19988" UserDisplayName="sorin" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50019" PostHistoryTypeId="36" PostId="27256" RevisionGUID="944e7cca-c58c-4162-830f-0ac21de97e17" CreationDate="2014-02-21T10:39:33.967" UserId="-1" Comment="from http://video.stackexchange.com/questions/582/help-choosing-audio-rip-format-for-longevity" />
  <row Id="50020" PostHistoryTypeId="2" PostId="27257" RevisionGUID="667953e0-9a17-45f3-9308-ee90b7563bcb" CreationDate="2011-01-13T20:48:30.090" UserDisplayName="Ian C." Text="**Audio quality/loss**&#xD;&#xA;&#xD;&#xA;FLAC is, by definition, loss-less. From a FLAC file you can recreate the original PCM stream, bit-for-bit. &#xD;&#xA;&#xD;&#xA;[Vorbis][1] (sometimes referred to as just Ogg when you know the codec is for audio-only), the scheme used in the Ogg container to do the compression, is a lossy compressor, same as MP3. From an Ogg Vorbis encoded file you cannot recover the original WAV stream, bit-for-bit, but on playback the claim is it sounds pretty much the same.&#xD;&#xA;&#xD;&#xA;My opinion: for long term storage you want lossless compression using a codec with a strong developer backing. FLAC definitely meets that standard. Using a lossless compression scheme means you save storage space, but you can [transcode][2] to any *future* format and know that you're re-encoding an exact copy of your source as it was when it was first ripped. I personally rip my CDs to FLAC and transcode to m4a for use on my iPhone.&#xD;&#xA;&#xD;&#xA;**Licensing and patent issues, if any**&#xD;&#xA;&#xD;&#xA;Both FLAC and Ogg Vorbis are patent-free. Both are in the public domain. Both are completely free to use in commercial and non-commercial products.&#xD;&#xA;&#xD;&#xA;If you use source code supplied by Vorbis or the FLAC developers it comes with a GPL license. But you can code your own implementation of the specs and not have to release your source code, the *spec itself* is public domain.&#xD;&#xA;&#xD;&#xA;My opinion: both are formats with lots of developer backing and both specs are in the public domain meaning even if all the current developers disappear, if the code gets lost, someone with enough drive can always build a codec from the raw spec at any point in the future if they need it. That's good future-proof-ness that is. There are also GPL implementations currently available so there is code that will remain in the public domain for all time to come, assuming it's never lost, you can always get the codec back.&#xD;&#xA;&#xD;&#xA;**Performance**&#xD;&#xA;&#xD;&#xA;Decoding FLAC is not very CPU intensive. Akin to uncompressing some data. Vorbis decoding is more intensive due to its lossy nature and the algorithms required to recreate the sound are more involved. But on modern hardware neither format will push the limits of your processing power.&#xD;&#xA;&#xD;&#xA;My opinion: I'd say performance is a non-issue when comparing the formats.&#xD;&#xA;&#xD;&#xA;&gt; is there any reason I should not stick to MP3?&#xD;&#xA;&#xD;&#xA;This is somewhat subjective. If your MP3s sound good and you don't mind using a format that's patented and not free to implement than no, there's no good reason to switch. But for archival of data I'm of the mind that non-proprietary compression for space saving coupled with public domain algorithms are the only way to protect yourself from the Beta Syndrome (where you end up with a bunch of stuff on media that can only be played on proprietary gear that is no longer made by the one company that made the stuff to begin with). FLAC is that codec. Ogg Vorbis is a nice alternative to MP3 but lossy codecs, IMO, have no place in long term archival. A rip to FLAC and then a transcode to the flavour-of-the-week lossy codec for use on your cellphone is the best strategy around. Go forth and FLAC my good man. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.vorbis.com/faq/#names&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Transcode" ContentLicense="CC BY-SA 2.5" />
  <row Id="50021" PostHistoryTypeId="2" PostId="27256" RevisionGUID="6ffdd512-0c7b-4a83-922b-6a6dafdee598" CreationDate="2011-01-13T19:15:20.223" UserId="9648" UserDisplayName="JYelton" Text="I've been using MP3 for a decade for my audio collection, but with the (not so) recent developments in open source vs patented codecs such as H.264 I am wondering if an alternative format is warranted.&#xD;&#xA;&#xD;&#xA;I'm slightly familiar with OGG and FLAC as other options, but am unsure if I should begin re-ripping audio CD's to one or neither.&#xD;&#xA;&#xD;&#xA;Can anyone provide a guide as to what the pros and cons of these formats are with respect to:&#xD;&#xA;&#xD;&#xA;* Audio quality/loss&#xD;&#xA;* Licensing and patent issues, if any&#xD;&#xA;* Performance&#xD;&#xA;&#xD;&#xA;I am *not* asking about support by major media vendors such as Apple and Amazon. I am only concerned with ripping my existing audio CD's without causing major headaches in the future with respect to audio quality *(&quot;Damn, I wish I'd known to disable joint stereo back then!&quot;)* and legal issues *(&quot;I can't copy these XYZ files to the new ACME Player™ because it's hindered by legal ramifications?&quot;)*.&#xD;&#xA;&#xD;&#xA;Further, while I want to re-rip some music to MP3 due to quality issues, is there any reason I should *not* stick to MP3? Perhaps jumping to a new format is not warranted." ContentLicense="CC BY-SA 2.5" />
  <row Id="50022" PostHistoryTypeId="1" PostId="27256" RevisionGUID="6ffdd512-0c7b-4a83-922b-6a6dafdee598" CreationDate="2011-01-13T19:15:20.223" UserId="9648" UserDisplayName="JYelton" Text="Help choosing audio rip format for longevity." ContentLicense="CC BY-SA 2.5" />
  <row Id="50023" PostHistoryTypeId="3" PostId="27256" RevisionGUID="6ffdd512-0c7b-4a83-922b-6a6dafdee598" CreationDate="2011-01-13T19:15:20.223" UserId="9648" UserDisplayName="JYelton" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50024" PostHistoryTypeId="36" PostId="27257" RevisionGUID="bd477486-cd99-4c43-b413-1aa45b383bc5" CreationDate="2014-02-21T10:39:33.967" UserId="-1" Comment="from http://video.stackexchange.com/questions/582/help-choosing-audio-rip-format-for-longevity/585#585" />
  <row Id="50025" PostHistoryTypeId="36" PostId="27258" RevisionGUID="fc672684-16f4-4d01-9322-c5350f86d98d" CreationDate="2014-02-21T10:39:44.827" UserId="-1" Comment="from http://video.stackexchange.com/questions/1896/what-are-the-concentric-ring-connectors-on-wireless-capsules-called" />
  <row Id="50026" PostHistoryTypeId="36" PostId="27259" RevisionGUID="8b2d5a4b-2225-4e04-b399-e85f446149de" CreationDate="2014-02-21T10:39:44.827" UserId="-1" Comment="from http://video.stackexchange.com/questions/1896/what-are-the-concentric-ring-connectors-on-wireless-capsules-called/1897#1897" />
  <row Id="50027" PostHistoryTypeId="2" PostId="27259" RevisionGUID="401df889-0ba3-4451-a040-37d6e84924cc" CreationDate="2011-07-16T23:30:18.887" UserId="7231" Text="Are you talking about a coaxial antenna interlink? This is commonly a [BNC connector][1]:&#xD;&#xA;![BNC Connector][2]&#xD;&#xA;&#xD;&#xA;It has a center pin and a sleeve contact for shield, and then a movable locking mechanism around the entire connector.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/BNC_connector&#xD;&#xA;  [2]: http://i.stack.imgur.com/27rhC.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="50028" PostHistoryTypeId="2" PostId="27258" RevisionGUID="d5f3a69f-af00-433e-adb6-b30c5a747de5" CreationDate="2011-07-16T22:40:41.773" UserDisplayName="dynamphorous" Text="Does anyone know what the connector is called which has the center dot and two concentric rings around it found on Shure, Lectrosonics etc wireless systems? I'm sure, like XLR or TRS its got some sort of simple &amp; catchy name, but nobody seems to specifically reference it in their literature!&#xD;&#xA;&#xD;&#xA;Thanks in advance to anyone who can help&#xD;&#xA;&#xD;&#xA;update:&#xD;&#xA;Here is a picture of what I'm talking about&#xD;&#xA;![https://picasaweb.google.com/105618230887896249713/7171102#5630423181002493778][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/5ZAth.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="50029" PostHistoryTypeId="1" PostId="27258" RevisionGUID="d5f3a69f-af00-433e-adb6-b30c5a747de5" CreationDate="2011-07-16T22:40:41.773" UserDisplayName="dynamphorous" Text="What are the Concentric Ring Connectors On Wireless Capsules called?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50030" PostHistoryTypeId="3" PostId="27258" RevisionGUID="d5f3a69f-af00-433e-adb6-b30c5a747de5" CreationDate="2011-07-16T22:40:41.773" UserDisplayName="dynamphorous" Text="&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50031" PostHistoryTypeId="36" PostId="27260" RevisionGUID="18169c12-5587-4312-8296-d852fd1a8869" CreationDate="2014-02-21T10:39:55.877" UserId="-1" Comment="from http://video.stackexchange.com/questions/7489/lossless-convert-wma-to-wav-on-a-mac" />
  <row Id="50032" PostHistoryTypeId="36" PostId="27261" RevisionGUID="a521261c-8933-4dd9-96df-da2915784d4e" CreationDate="2014-02-21T10:39:55.877" UserId="-1" Comment="from http://video.stackexchange.com/questions/7489/lossless-convert-wma-to-wav-on-a-mac/7491#7491" />
  <row Id="50033" PostHistoryTypeId="36" PostId="27262" RevisionGUID="4df95500-3e67-4231-a88d-ecf50c6d5938" CreationDate="2014-02-21T10:39:55.877" UserId="-1" Comment="from http://video.stackexchange.com/questions/7489/lossless-convert-wma-to-wav-on-a-mac/7492#7492" />
  <row Id="50034" PostHistoryTypeId="2" PostId="27261" RevisionGUID="babc112b-728b-4565-9fc1-8d503b940e60" CreationDate="2013-03-25T16:06:51.020" UserId="7266" Text="WAV is an uncompressed format. Unless you are merging tracks, reducing the sample rate, or lowering the bit depth (all unlikely to happen by accident), a plain conversion to WAV will always be lossless. Of course, this will not remove noise introduced by the lossy compression on the source material. Basically, any program you find will suffice." ContentLicense="CC BY-SA 3.0" />
  <row Id="50035" PostHistoryTypeId="2" PostId="27262" RevisionGUID="cb5d413a-203d-4b46-abdb-5d42fc6037bf" CreationDate="2013-03-25T16:51:16.177" UserId="7093" Text="Converting a from wma file to wav is technically un-compressing it.  You will not be able to regain the quality lost from the original compression, but you shouldn't lose any additional quality as long as the algorithm of the conversion software is decent.&#xD;&#xA;&#xD;&#xA;[ffmpeg][1] should work well for your needs.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Edit:  (Thanks to @evilsoup for the command line given in the comment below)&#xD;&#xA;&#xD;&#xA;For converting a directory recursively, you'll want to use find, either with the -exec option, or piping to ffmpeg via xargs. If you want to get fancy, you could install GNU parallel and perform multiple conversions simultaneously. A basic example would be: &#xD;&#xA;&#xD;&#xA;    find . -type f -name '*.wma' -exec bash -c 'ffmpeg -i &quot;$0&quot; &quot;${0%.wma}.wav&quot;' '{}' \;&#xD;&#xA;&#xD;&#xA;See [here][2] for some related information.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ffmpeg.org/documentation.html&#xD;&#xA;  [2]: http://superuser.com/questions/521513/why-doesnt-this-for-loop-work" ContentLicense="CC BY-SA 3.0" />
  <row Id="50036" PostHistoryTypeId="2" PostId="27260" RevisionGUID="d815444a-34a2-49e1-9a0f-6c3f33fce687" CreationDate="2013-03-25T15:26:07.377" UserId="11451" UserDisplayName="Andrew Welch" Text="Anyone know of any software that can convert wma files to wav without any loss of quality e.g. loseless conversion? " ContentLicense="CC BY-SA 3.0" />
  <row Id="50037" PostHistoryTypeId="1" PostId="27260" RevisionGUID="d815444a-34a2-49e1-9a0f-6c3f33fce687" CreationDate="2013-03-25T15:26:07.377" UserId="11451" UserDisplayName="Andrew Welch" Text="Lossless convert WMA to WAV on a mac" ContentLicense="CC BY-SA 3.0" />
  <row Id="50038" PostHistoryTypeId="3" PostId="27260" RevisionGUID="d815444a-34a2-49e1-9a0f-6c3f33fce687" CreationDate="2013-03-25T15:26:07.377" UserId="11451" UserDisplayName="Andrew Welch" Text="&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50039" PostHistoryTypeId="36" PostId="27263" RevisionGUID="4b8023ed-a55b-4b9d-9893-175f7a9b2a57" CreationDate="2014-02-21T10:40:05.597" UserId="-1" Comment="from http://video.stackexchange.com/questions/3981/batch-conversion-of-sounds-with-different-format-to-one-format-how" />
  <row Id="50040" PostHistoryTypeId="36" PostId="27264" RevisionGUID="ec79ede6-1def-432d-bf29-35e18b549f65" CreationDate="2014-02-21T10:40:05.597" UserId="-1" Comment="from http://video.stackexchange.com/questions/3981/batch-conversion-of-sounds-with-different-format-to-one-format-how/3987#3987" />
  <row Id="50041" PostHistoryTypeId="36" PostId="27265" RevisionGUID="39e8a6dc-3c53-40ab-892b-dc4cc3908e2f" CreationDate="2014-02-21T10:40:05.597" UserId="-1" Comment="from http://video.stackexchange.com/questions/3981/batch-conversion-of-sounds-with-different-format-to-one-format-how/4402#4402" />
  <row Id="50042" PostHistoryTypeId="2" PostId="27264" RevisionGUID="2e5274d4-797c-4353-bd77-449ce89814c7" CreationDate="2012-05-14T17:07:53.203" UserId="17107" UserDisplayName="Mulvya" Text="If you're on Windows, ffmpeg + [Avanti][1] will do the trick. Just perform the conversion on a single audio file, then queue all the rest in the job manager and go.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://avanti.arrozcru.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="50043" PostHistoryTypeId="2" PostId="27265" RevisionGUID="42b2f69e-5577-4c29-aa6c-3cfb3b2b9f59" CreationDate="2012-07-13T20:49:23.687" UserId="20346" UserDisplayName="LordNeckbeard" Text="The following example will make a directory called `outputdir` and then re-encode all wav inputs in the current directory to mp3:&#xD;&#xA;&#xD;&#xA;    mkdir outputdir&#xD;&#xA;    for f in *.wav; do ffmpeg -i &quot;$f&quot; -c:a libmp3lame -q:a 4 outputdir/&quot;${f%.wav}.mp3&quot;; done&#xD;&#xA;&#xD;&#xA;You can use a slightly modified command to convert multiple formats to MP3:&#xD;&#xA;&#xD;&#xA;    mkdir outputdir&#xD;&#xA;    for f in *.{wav,aiff,flac,m4a}; do ffmpeg -i &quot;$f&quot; \&#xD;&#xA;    -c:a libmp3lame -q:a 4 outputdir/&quot;${f%.*}.mp3&quot;&#xD;&#xA;&#xD;&#xA;Use whatever file extensions you want in there, but remember that converting one from one lossy codec to another is a bad idea (so converting ogg vorbis to mp3 wouldn't work well)." ContentLicense="CC BY-SA 3.0" />
  <row Id="50044" PostHistoryTypeId="2" PostId="27263" RevisionGUID="36258825-56b1-4b53-ab23-8372a8c74413" CreationDate="2012-05-14T02:15:55.033" UserId="7201" Text="Discussion in Freesound.org, [here](http://www.freesound.org/forum/freesound-project/32415/), is stagnated. You could do this with Audacity but their developer warned about that (apparently stupid idea to load the GUIs or something like that). Is there something like ImageMagick for sounds? I have a repository full of small music pieces (UX sounds etc) that I need to one consistent format, how can I do that?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50045" PostHistoryTypeId="1" PostId="27263" RevisionGUID="36258825-56b1-4b53-ab23-8372a8c74413" CreationDate="2012-05-14T02:15:55.033" UserId="7201" Text="Batch conversion of Sounds with Different Format to one Format, how?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50046" PostHistoryTypeId="3" PostId="27263" RevisionGUID="36258825-56b1-4b53-ab23-8372a8c74413" CreationDate="2012-05-14T02:15:55.033" UserId="7201" Text="&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50047" PostHistoryTypeId="36" PostId="27266" RevisionGUID="bd1d6ae9-c05e-4014-9438-4a4206d8634a" CreationDate="2014-02-21T10:40:15.020" UserId="-1" Comment="from http://video.stackexchange.com/questions/1240/whats-the-legality-of-official-musics-being-remix-by-indie-artists" />
  <row Id="50048" PostHistoryTypeId="36" PostId="27267" RevisionGUID="96bbe558-036f-4d43-bd99-6ecf6f7a9917" CreationDate="2014-02-21T10:40:15.020" UserId="-1" Comment="from http://video.stackexchange.com/questions/1240/whats-the-legality-of-official-musics-being-remix-by-indie-artists/1246#1246" />
  <row Id="50049" PostHistoryTypeId="2" PostId="27267" RevisionGUID="35882134-2739-45c3-a2ce-97d0ccd25eeb" CreationDate="2011-04-22T15:53:11.683" UserId="17571" UserDisplayName="Zeronyne" Text="Start with page 3 of this:&#xD;&#xA;&#xD;&#xA;[Mashups, Remixes, and Copyright Law][1]&#xD;&#xA;&#xD;&#xA;The short answer is that unless they obtained a license or permission of the performing artists AND they paid the Harry Fox Agency for the compositions themselves, it is technically illegal. iTunes has no responsibility to police content for copyright violations. That's what attorneys and cease and desist letters are for.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://eprints.qut.edu.au/4239/1/4239.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="50050" PostHistoryTypeId="2" PostId="27266" RevisionGUID="6bf048aa-967d-4ae9-8381-5dba9ef0733e" CreationDate="2011-04-22T06:27:02.117" UserDisplayName="Raymond Ho" Text="I want to know if it's illegal to sell remix musics based on a popular song. Because I found many independent artists remixing a popular song and selling it on iTunes. &#xD;&#xA;&#xD;&#xA;Look at these examples: &#xD;&#xA;   [Written in the stars][1]&#xD;&#xA;   [Never say never][2]&#xD;&#xA;&#xD;&#xA;These musics are written by major recordings, but why are they allowed to sell it in iTunes?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://itunes.apple.com/us/album/written-in-the-stars-feat/id432983250&#xD;&#xA;  [2]: http://itunes.apple.com/us/album/never-say-never-feat-megan/id420998559" ContentLicense="CC BY-SA 3.0" />
  <row Id="50051" PostHistoryTypeId="1" PostId="27266" RevisionGUID="6bf048aa-967d-4ae9-8381-5dba9ef0733e" CreationDate="2011-04-22T06:27:02.117" UserDisplayName="Raymond Ho" Text="What's the legality of official musics being remix by indie artists?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50052" PostHistoryTypeId="3" PostId="27266" RevisionGUID="6bf048aa-967d-4ae9-8381-5dba9ef0733e" CreationDate="2011-04-22T06:27:02.117" UserDisplayName="Raymond Ho" Text="&lt;copyright&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50053" PostHistoryTypeId="36" PostId="27268" RevisionGUID="312c8bab-f4e9-4d31-a5c1-c0c25525cf8e" CreationDate="2014-02-21T10:40:23.207" UserId="-1" Comment="from http://video.stackexchange.com/questions/3883/how-to-use-the-matrix-on-a-soundcraft-si-compact-32" />
  <row Id="50054" PostHistoryTypeId="36" PostId="27269" RevisionGUID="54acc94f-5b09-4226-bd66-b8d13dd49655" CreationDate="2014-02-21T10:40:23.207" UserId="-1" Comment="from http://video.stackexchange.com/questions/3883/how-to-use-the-matrix-on-a-soundcraft-si-compact-32/3905#3905" />
  <row Id="50055" PostHistoryTypeId="2" PostId="27269" RevisionGUID="c27c5702-76dc-4b60-a4f6-ce01d816f767" CreationDate="2012-05-02T20:02:00.520" UserId="7210" Text="I don't get any reputation for accepting my own answer, but I think that it is my responsibility to post an answer to this. Therefore, I will be more than pleased to accept your answer, if it is better!&#xD;&#xA;&#xD;&#xA;The reason why there are 14 faders to control for each matrix, is that you are mixing in the 14 different buses (or aux'es/monitor mixes if you will). So you set up your monitor mix on Bus 4, and mix in fader 4 in MTX 1, and you get that in. I can't see how we didn't see that instantly.&#xD;&#xA;&#xD;&#xA;On analog mixers, you mix the groups, not the sends. So, you have 14 buses, or monitor mixes. I just can't see why they would make a mixer with 14 buses and 4 matrices. (This is a question you can answer in the comments if you want. Because it has no fixed answer.) If you have 14 outputs where you have complete control over EVERY mic input, you can even make STEREO buses, why would you make 4 matrices instead of a subgroup or a VCA-group? (The mixer doesn't have any subgroups or VCA-groups.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="50056" PostHistoryTypeId="2" PostId="27270" RevisionGUID="ce808110-3f9f-4c44-a700-006a9ae7f944" CreationDate="2012-05-09T20:52:39.613" UserDisplayName="richard ayres" Text="Further to the thread; the 2nd press of the MTX key that lights the last 3 faders allows sending mix L, R &amp; Mono to your chosen matrix bus. This '2nd press' was required since on the smallest Si Compact control surface there are 16 faders and 17 sources (14 buses + L, R &amp; M and the Matrix bus master to manage) so another system was required and to make the user guide and learning consistent across all Si Compact models we employ the same method of operation for all consoles; details of the matrix operation are included in the Quick Start Guide, Youtube videos and User Guide.&#xD;&#xA;&#xD;&#xA;One point to make clear; Si Compact dispenses with the traditional 'group' bus as found in analogue, a group is no more than a post fade aux send with the channel send level set to unity gain so why not get rid of them and allow routing AND levels to be changed, now you can use the bus as a sub-group by routing it back to LR and MONO or as a post fade send to an external FX. &#xD;&#xA;&#xD;&#xA;If you have further questions please use the Soundcraft web site Facebook pages or contact your distributor to make  enquiries since Soundcraft do not actively participate and monitor any forums.&#xD;&#xA;&#xD;&#xA;Regards&#xD;&#xA;Soundcraft-Studer Product Management Team  &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50057" PostHistoryTypeId="2" PostId="27268" RevisionGUID="8248e0f1-e2f0-4591-baa4-6d9bd99476ed" CreationDate="2012-04-30T16:03:03.643" UserId="7210" Text="We just got a SoundCraft Si Compact 32, but we can't figure out how to use the matrix. In the world of analog mixers, it's easy. You just choose what you want to mix in, and you're good to go.&#xD;&#xA;&#xD;&#xA;Our SoundCraft mixer has a MTX button that makes the faders control the master fader of the four matrices: MTX 1, MTX 2, MTX 3 and MTX 4. If you press MTX 1, you get to change 14 of the faders. (We have 14 buses (aux outputs) too, if there is any relation there?) If you press it again, you get to change the three last faders.&#xD;&#xA;&#xD;&#xA;Does anyone know how this works?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50058" PostHistoryTypeId="1" PostId="27268" RevisionGUID="8248e0f1-e2f0-4591-baa4-6d9bd99476ed" CreationDate="2012-04-30T16:03:03.643" UserId="7210" Text="How to use the matrix on a SoundCraft Si Compact 32?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50059" PostHistoryTypeId="3" PostId="27268" RevisionGUID="8248e0f1-e2f0-4591-baa4-6d9bd99476ed" CreationDate="2012-04-30T16:03:03.643" UserId="7210" Text="&lt;digital&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50060" PostHistoryTypeId="36" PostId="27270" RevisionGUID="373af73c-99fd-4dcb-b260-bebb2ad3d432" CreationDate="2014-02-21T10:40:23.207" UserId="-1" Comment="from http://video.stackexchange.com/questions/3883/how-to-use-the-matrix-on-a-soundcraft-si-compact-32/3958#3958" />
  <row Id="50061" PostHistoryTypeId="36" PostId="27271" RevisionGUID="82b11fe0-3dc2-4988-9e78-397c982b207e" CreationDate="2014-02-21T10:40:23.207" UserId="-1" Comment="from http://video.stackexchange.com/questions/3883/how-to-use-the-matrix-on-a-soundcraft-si-compact-32/3999#3999" />
  <row Id="50062" PostHistoryTypeId="2" PostId="27271" RevisionGUID="3f3782b7-f17d-4837-8886-67ab6c9d39b5" CreationDate="2012-05-15T11:13:43.220" UserDisplayName="richard ayres" Text="If by the term 'something that works like VCA groups?' you mean an audio sub-group route the source channels to a bus that you wish to use as the audio sub group and then route that audio sub group back to the main LR bus; the bus master is now your audio sub group level. Don't forget to un-route the source channels from the main LR bus to prevent the comb filtering caused by a single source routing to a single destination via two different length signal paths! There are examples of this setup in the user guide, quick-start guide and You tube videos.&#xD;&#xA;&#xD;&#xA;For those interested... an audio sub group (or similar) is not a substitute for a VCA control group and vice-versa; an audio sub group is an audio processing path that controls the sum of the channels routed to it; in most digital consoles it is able to add processing like eq, and dynamics to the summed signal but it does not affect the levels in the source channels so turning an audio sub group ON/OFF or turning it up/down will not change the levels within the source channel. A VCA (sometimes called DCA) control group is a control/command system that ‘slaves’ source channel faders and ON/OFF functionality to the VCA masters to which it is assigned but it does not affect the processing of the audio in any other way therefore when actuating  a VCA master you are effectively turning the source channels up/down ON/OFF which in turn affects the levels sent from the source channels. A way to get ‘the best of both worlds’ if you don’t have VCAs is to have NO sends from any source channels to anywhere else but the bus you’re going to use as the audio sub group then patch that audio sub group to an un-used input and use that to send to all the buses you need, now you can control the level of everything from the on your ‘audio sub group return input’  &#xD;&#xA;&#xD;&#xA;For more detail or other questions you can contact the product manager at Soundcraft directly richard.ayres@harman.com +44 1707 668059 or +44 7766 525971.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50063" PostHistoryTypeId="36" PostId="27272" RevisionGUID="737df753-a332-43e7-ad73-ad790303f40f" CreationDate="2014-02-21T10:40:54.883" UserId="-1" Comment="from http://video.stackexchange.com/questions/1661/we-just-got-done-recording-our-vocals-could-use-some-work-suggestions" />
  <row Id="50064" PostHistoryTypeId="36" PostId="27273" RevisionGUID="437a922c-09f1-49dc-b5b0-d2514af75fe7" CreationDate="2014-02-21T10:40:54.883" UserId="-1" Comment="from http://video.stackexchange.com/questions/1661/we-just-got-done-recording-our-vocals-could-use-some-work-suggestions/1662#1662" />
  <row Id="50065" PostHistoryTypeId="36" PostId="27274" RevisionGUID="2e127c2f-0b6f-44e1-b9d2-0cda7d43649d" CreationDate="2014-02-21T10:40:54.883" UserId="-1" Comment="from http://video.stackexchange.com/questions/1661/we-just-got-done-recording-our-vocals-could-use-some-work-suggestions/1664#1664" />
  <row Id="50066" PostHistoryTypeId="36" PostId="27275" RevisionGUID="1a226874-cad5-4e86-8848-837118224673" CreationDate="2014-02-21T10:40:54.883" UserId="-1" Comment="from http://video.stackexchange.com/questions/1661/we-just-got-done-recording-our-vocals-could-use-some-work-suggestions/1665#1665" />
  <row Id="50067" PostHistoryTypeId="36" PostId="27276" RevisionGUID="cbd9aa20-810b-455c-a5b0-096ae629f071" CreationDate="2014-02-21T10:40:54.883" UserId="-1" Comment="from http://video.stackexchange.com/questions/1661/we-just-got-done-recording-our-vocals-could-use-some-work-suggestions/1680#1680" />
  <row Id="50068" PostHistoryTypeId="2" PostId="27273" RevisionGUID="502080f4-3f2d-4b6a-b6a9-37fc40582266" CreationDate="2011-06-27T12:27:27.037" UserDisplayName="Jon" Text="You can always try using auto-tune. I know it's gotten a bad reputation because of its heavy use in RnB and hip-hop, but the fact of the matter is that most producers use it when they're mixing and finalizing tracks. The key difference between let's say, T-Pain (auto-tune extraordinaire) and John Mayer (who has said he's used auto-tune on almost all of his albums) is vocal talent. John Mayer already sings well and is always relatively close to being on pitch, if not there already. T-Pain, on the other hand, likes the 'sweeping' effect of auto-tune, so he intentionally sings off-pitch. That, or he's just a really bad vocalist, which is well within the realm of possibility.&#xD;&#xA;&#xD;&#xA;There *are* applications available that allow for fine-tuning of vocals, down to the individual notes of vocals and instrumentation, but I'm guessing you're seeking a solution using the resources you currently have.&#xD;&#xA;&#xD;&#xA;If you're willing, adding filters and effects such as reverb can mask less-than-stellar vocals. You'll have to be careful though so you don't ruin the integrity of the song. Audio filters are much like filters in Photoshop. Usually when people first learn them, they overuse them to the point where something is just obnoxious to listen to. &#xD;&#xA;&#xD;&#xA;This wasn't the most helpful answer, but perhaps it will give you a few ideas. Food for thought." ContentLicense="CC BY-SA 3.0" />
  <row Id="50069" PostHistoryTypeId="2" PostId="27274" RevisionGUID="f2520e86-afeb-4559-a544-111a1126f8c4" CreationDate="2011-06-27T18:29:53.030" UserId="7294" Text="In my experience, the best way to fix a bad vocal recording is to make a good vocal recording. Good recordings start at the source.&#xD;&#xA;&#xD;&#xA;Failing that, the most important thing is that the vocals be on pitch. Again, a proper vocal performance is the best thing for this, but pitch correction tools like Antares Autotune or Gsnap can help in a pinch. The tradeoff, of course, is quality - autotune is always going to sound like it's somewhat mechanical and &quot;like an effect,&quot; because it is. Some people don't care, some people hate it, and for some it's a desirable sound.&#xD;&#xA;&#xD;&#xA;If you're on pitch but don't like the singer's done, and for whatever reason can't replace the singer or get him/her to improve (perhaps you're on a schedule?) beyond mediocre, then it's time to make it the best sounding mediocre performance you can: &#xD;&#xA;&#xD;&#xA; - Use EQ to boost the frequency range of the vocals that you like best, and cut the parts you like the least, or that interfere too much with the other instruments. You can find these by dialing in a sizeable boost with a fairly narrow Q (&quot;effective range&quot;, basically) and sweeping it up and down the spectrum on the vocal track to see what you like and don't.&#xD;&#xA; - Use a compressor to make the quietest and loudest parts of the vocal closer together. This creates a more intimate sound, and at more extreme compression levels gets into that sort of mildly distorted radio-rock vocal sound.&#xD;&#xA; - Finally, use reverb and delay to add space and echo to your vocals. Don't overdo this unless your music specifically calls for it, or it'll sound heavy-handed, as Jon mentioned in his answer. Add enough reverb so you can hear the effect, then turn it back a bit. Experiment to taste.  Add delays if you want to create a vocal echo.&#xD;&#xA;&#xD;&#xA;These are just general answers to serve as a guideline and starting point for using these effects. If you aren't already familiar with them, research the heck out of them online and find out what all the knobs do. You can't just slap one on and expect it to sound decent, you're going to want to make sure it's tailored to help your sound in context." ContentLicense="CC BY-SA 3.0" />
  <row Id="50070" PostHistoryTypeId="2" PostId="27275" RevisionGUID="503de689-e17f-4250-924d-7b322292f9cd" CreationDate="2011-06-28T11:51:44.617" UserId="7200" Text="If I understand you correctly, you have recorded the whole band in one single take on a single stereo track. While recording in one take is not a bad thing, recording everything on one track _is_, it gives you virtually no possibility of post-processing. You should record at least the vocals on a seperate track, with a multichannel audio interface and/or by first recording only the instruments and then adding the vocals later on as overdubs. I suggest the latter, as it gives the singer much more time to do his lines as good as possible. Because this is where you want to start: good post-processing can make a badly recorded track just good enough so that it's not annoying, but the result cannot be really good unless you started with an at-least decent track.&#xD;&#xA;&#xD;&#xA;Pitch correction is only good when you want exact chromatic pitches. You usually _do_ want this in pop music, but in many other styles they are not generally desirable at all, blues is the extreme case. Rock/Alternative also tends to be better when the singer has the freedom to sing whatever pitches he likes, not only those that are theoretically considered &quot;correct&quot;. Even in classical music, pitch correction is a bad thing because even though the singers painfully train to sing exactly in tune, they also train to sing wide vibrato, something a good autotune can cope with but which still gets it into trouble. (If you're not careful, an autotune can _always_ do weird things – this even happens on some professional records, listen to Red Hot Chili Peppers, By The Way, The Zephyr Song 3:00) What's more, even when there _is_ a perfect tuning it usually is not the chromatic tuning, but rather a type of microtuned diatonic scale, which is not easy to find.&#xD;&#xA;&#xD;&#xA;If there are some notes that are just plainly wrong, I suggest you use not an autotune but rather a tool like melodyne, with which you can alter the pitch of specific notes much more controlledly. If there are _lots_ of notes that are plainly wrong, I suggest you redo the vocals recording.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Once you have a track that sounds ok, you can start spicing it up. The most important tool is a compressor, this can greatly improve the presence of the singer in a recording. An equalizer also can. Both are used on virtually all professional recordings (except in classical music), but you need to be careful not to overdo it and to boost the right frequencies. Another very useful type of effect is analog-style saturation, as provided by real tube microphone preamps or digital plugins for simulating tape saturation.&#xD;&#xA;&#xD;&#xA;You should do a lot of comparison to professional records that you like while doing this, and be sure to use decent studio monitors and/or headphones." ContentLicense="CC BY-SA 3.0" />
  <row Id="50071" PostHistoryTypeId="2" PostId="27276" RevisionGUID="7be4e42e-2ccd-4552-b8e1-00255d31f07b" CreationDate="2011-07-01T14:28:57.280" UserDisplayName="eviltobz" Text="All the posts here seem to be crammed full of good advice for trying to get a decent sounding vocal track that sounds as natural as possible. If things still sound just tooooo rubbish, you might want to try getting more creative with effects. Whack on some distortion or a phaser/flanger or try an octave pitch-shifter, then experiment with the balance of wet and dry versions of the vocals in the mix. It aint gonna sound natural, but it may hide the crapness ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="50072" PostHistoryTypeId="2" PostId="27272" RevisionGUID="4dfd22d1-971d-43a4-8d37-06b97bd05f11" CreationDate="2011-06-27T09:56:52.170" UserDisplayName="Brandon" Text="We just got done recording our 'first album' - we are a garage band with professional sound tech. We mixed everything using a Behringer USB board and ran it via a USB out to Audacity. The recordings seem fine, however - our lead vocal singer's talent is to be desired. Is there any effects/EQ to make his vocals sound a bit better? We have the master recordings in .wav format, and the music we play is rock/alternative." ContentLicense="CC BY-SA 3.0" />
  <row Id="50073" PostHistoryTypeId="1" PostId="27272" RevisionGUID="4dfd22d1-971d-43a4-8d37-06b97bd05f11" CreationDate="2011-06-27T09:56:52.170" UserDisplayName="Brandon" Text="We just got done recording - our vocals could use some work - suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50074" PostHistoryTypeId="3" PostId="27272" RevisionGUID="4dfd22d1-971d-43a4-8d37-06b97bd05f11" CreationDate="2011-06-27T09:56:52.170" UserDisplayName="Brandon" Text="&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50075" PostHistoryTypeId="36" PostId="27277" RevisionGUID="92223999-9b28-4db6-909f-aef7e7c60087" CreationDate="2014-02-21T10:42:07.450" UserId="-1" Comment="from http://video.stackexchange.com/questions/700/reducing-breath-noise" />
  <row Id="50076" PostHistoryTypeId="36" PostId="27278" RevisionGUID="b4d3fee1-fb3e-4cac-b710-524186e6bb38" CreationDate="2014-02-21T10:42:07.450" UserId="-1" Comment="from http://video.stackexchange.com/questions/700/reducing-breath-noise/701#701" />
  <row Id="50077" PostHistoryTypeId="36" PostId="27279" RevisionGUID="2d1047ac-e7d7-4321-a556-3f9d44d6bd97" CreationDate="2014-02-21T10:42:07.450" UserId="-1" Comment="from http://video.stackexchange.com/questions/700/reducing-breath-noise/702#702" />
  <row Id="50078" PostHistoryTypeId="36" PostId="27280" RevisionGUID="4902e35d-b39d-470b-ac45-f1357856819e" CreationDate="2014-02-21T10:42:07.450" UserId="-1" Comment="from http://video.stackexchange.com/questions/700/reducing-breath-noise/740#740" />
  <row Id="50079" PostHistoryTypeId="36" PostId="27281" RevisionGUID="78105e66-df2e-4a91-9197-1a7d67017183" CreationDate="2014-02-21T10:42:07.450" UserId="-1" Comment="from http://video.stackexchange.com/questions/700/reducing-breath-noise/807#807" />
  <row Id="50080" PostHistoryTypeId="36" PostId="27282" RevisionGUID="de66f51e-4421-42ab-900d-11c93c8e532a" CreationDate="2014-02-21T10:42:07.450" UserId="-1" Comment="from http://video.stackexchange.com/questions/700/reducing-breath-noise/3350#3350" />
  <row Id="50081" PostHistoryTypeId="2" PostId="27278" RevisionGUID="83d8939f-dd3d-40a0-8d50-38f96da20826" CreationDate="2011-01-28T13:39:26.383" UserDisplayName="bot_bot" Text="Use a noise gate, if the breathing is too loud, and triggers the gate, then use a ducker and trigger it with synth sound through a the side-chain. &#xD;&#xA;Be careful though, you don't want to get rid of it competely, that'll probably sound just as bad. &#xD;&#xA;&#xD;&#xA;what prodcution suite are you using?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50082" PostHistoryTypeId="2" PostId="27279" RevisionGUID="e9946a8d-1dd2-4f45-9d2f-827d655de3e8" CreationDate="2011-01-28T15:25:59.717" UserId="7218" Text="If you are open to tweaking, you can use a **volume envelope** in most DAWs to automatically &quot;ride the gain&quot; control for you.&#xD;&#xA;&#xD;&#xA;In the illustration below, a volume envelope is being used to turn the volume down on steel guitar part that is too loud in a couple of places:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/fSuXB.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="50083" PostHistoryTypeId="2" PostId="27280" RevisionGUID="a88707fd-99fb-4214-8fe7-9246928c3fb1" CreationDate="2011-02-02T19:39:33.773" UserDisplayName="jlebre" Text="Other than riding a track/writing automation, can't see much there.&#xD;&#xA;If it's too loud for an expander (which you can set the range that you wish to drop the level by) it's also too loud for strip silence. And I would think you'd want to use an expander, not a gate, since you mentioned that you don't want to get rid of it completely.&#xD;&#xA;&#xD;&#xA;One thing I'd be curious to try (albeit never used it for this purpose): Waves vocal Rider?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50084" PostHistoryTypeId="2" PostId="27281" RevisionGUID="08128278-a098-402e-bf20-aa30b374aee1" CreationDate="2011-02-14T06:03:45.283" UserId="7287" Text="sometimes you've just applied too much compression to the vocal (or a similar effect -- limiting, proximity, saturation)." ContentLicense="CC BY-SA 2.5" />
  <row Id="50085" PostHistoryTypeId="2" PostId="27282" RevisionGUID="fa68fff8-7eea-4254-9655-d55740374192" CreationDate="2012-02-18T17:23:04.980" UserDisplayName="Sean Michael Dorian" Text="3 simple things to try:&#xD;&#xA;&#xD;&#xA;1) Automate the volume. This means changing the volume when the breath is too loud. You can draw it in manually or &quot;play&quot; it in by enabling &quot;Write&quot; on the automation and then dropping the volume of the track when you want it while while the file plays.&#xD;&#xA;&#xD;&#xA;2) Gate the breath. Noise gates don't have to mute the entire signal - in fact, most of the modern ones allow you to set the ratio or amount of noise reduction. This may not be practical without turning the gate on and off with automation since you don't want to gate the entire vocal track (And you shouldn't if the rest of the song doesn't need it).&#xD;&#xA;&#xD;&#xA;3) EQ the vocals. This should be a last resort as it affects the timbre of the vocals a bit, as well as how they sit in the mix. If you have to use this option, make sure you make the EQ unique for this example, and automate it on and off.&#xD;&#xA;&#xD;&#xA;As previously stated, if you have a lot of compression, or a compressor that really hits the vocals hard, this can make the breaths seem too loud. Make sure this isn't the case for you (Or if it is and you like how it sounds across the whole track, do option 1). If you have any questions about automation, gates, or any of the terms I've used, just ask!" ContentLicense="CC BY-SA 3.0" />
  <row Id="50086" PostHistoryTypeId="2" PostId="27277" RevisionGUID="01033380-0c03-4bfd-b48a-b39ab159f60c" CreationDate="2011-01-28T05:21:36.200" UserId="7398" Text="I have some vocal tracks where the vocalist's breaths between phrases are quite loud - enough to be distracting.  Is there a relatively easy way to lower the breath sound short of riding the fader between phrase?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50087" PostHistoryTypeId="1" PostId="27277" RevisionGUID="01033380-0c03-4bfd-b48a-b39ab159f60c" CreationDate="2011-01-28T05:21:36.200" UserId="7398" Text="Reducing breath noise" ContentLicense="CC BY-SA 2.5" />
  <row Id="50088" PostHistoryTypeId="3" PostId="27277" RevisionGUID="01033380-0c03-4bfd-b48a-b39ab159f60c" CreationDate="2011-01-28T05:21:36.200" UserId="7398" Text="&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50089" PostHistoryTypeId="36" PostId="27283" RevisionGUID="cb73d86c-5371-47e4-937d-0292c4992efc" CreationDate="2014-02-21T10:42:22.703" UserId="-1" Comment="from http://video.stackexchange.com/questions/497/how-are-vocals-and-other-different-tracks-separated-from-a-mix" />
  <row Id="50090" PostHistoryTypeId="2" PostId="27284" RevisionGUID="d58c1f45-b5b9-44ac-8ce8-497196bd7e38" CreationDate="2011-01-02T15:17:03.630" UserDisplayName="ldoogy" Text="Quite simply: You don't. End users generally get them by extracting them from games such as Guitar Hero and Rock Band, which have these tracks separated.  The tracks themselves are provided by the bands or record labels.&#xD;&#xA;&#xD;&#xA;The links you provided are ALL based on tracks from the original studio recordings and were NOT extracted from the final master. &#xD;&#xA;&#xD;&#xA;While various extraction techniques are being researched,  perfect extraction is mathematically impossible. That's because a significant amount of data is lost forever during mixing.&#xD;&#xA;&#xD;&#xA;The ability to detect and isolate whatever's left of the individual tracks is a hugely complex computer-science challenge that's a bit similar to computer vision. There is just no known way of doing this right now that even closely resembles the human capacity to isolate these tracks while you're listening." ContentLicense="CC BY-SA 2.5" />
  <row Id="50091" PostHistoryTypeId="2" PostId="27283" RevisionGUID="047ad2c4-c0ec-478d-8562-41d69cd63dd3" CreationDate="2011-01-02T14:04:21.823" UserId="8336" UserDisplayName="Sklivvz" Text="I am referring to extractions like these:&#xD;&#xA;&#xD;&#xA;- http://www.youtube.com/watch?v=yLKFSmI-iYM&#xD;&#xA;- http://www.youtube.com/watch?v=oyx14aFNPX0&#xD;&#xA;- http://www.youtube.com/watch?v=Xm7w5al2n7o&#xD;&#xA;- http://www.youtube.com/watch?v=rfNGRpHnbck&#xD;&#xA;&#xD;&#xA;The quality is, quite frankly, amazing. One could remix the song starting from the tracks.&#xD;&#xA;&#xD;&#xA;All of these seem to be extracted from the final mix. How is this done? Using what tool and how does that tool operate?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50092" PostHistoryTypeId="1" PostId="27283" RevisionGUID="047ad2c4-c0ec-478d-8562-41d69cd63dd3" CreationDate="2011-01-02T14:04:21.823" UserId="8336" UserDisplayName="Sklivvz" Text="How are vocals and other different tracks separated from a mix?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50093" PostHistoryTypeId="3" PostId="27283" RevisionGUID="047ad2c4-c0ec-478d-8562-41d69cd63dd3" CreationDate="2011-01-02T14:04:21.823" UserId="8336" UserDisplayName="Sklivvz" Text="&lt;editing&gt;&lt;sampling&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50094" PostHistoryTypeId="36" PostId="27284" RevisionGUID="5c9bf117-cc8f-4546-83af-8748478b1904" CreationDate="2014-02-21T10:42:22.703" UserId="-1" Comment="from http://video.stackexchange.com/questions/497/how-are-vocals-and-other-different-tracks-separated-from-a-mix/498#498" />
  <row Id="50095" PostHistoryTypeId="36" PostId="27285" RevisionGUID="fedcfcc9-3c5d-490d-9a8a-534447044e19" CreationDate="2014-02-21T10:42:22.703" UserId="-1" Comment="from http://video.stackexchange.com/questions/497/how-are-vocals-and-other-different-tracks-separated-from-a-mix/505#505" />
  <row Id="50096" PostHistoryTypeId="2" PostId="27285" RevisionGUID="497feb70-f245-4002-ab3b-1da568a190ae" CreationDate="2011-01-03T11:33:40.350" UserId="7202" Text="There is a trick with vocals though. Many singles come with instrumental versions of the tracks. These are usually done with the exact same mix as the vocal version, but with the vocal tracks muted. As a result you can subtract the instrumental version from the vocal version and get a version with vocals only. It won't be perfect, you will still have artifacts, but these are usually silent enough to be drowned out once you use the separated vocal track to other music, and you can also improve the situation with filtering.&#xD;&#xA;&#xD;&#xA;This is often how mashups like http://www.youtube.com/watch?v=j98zaF5592c is done. (Although not necessarily THAT specific mashup).&#xD;&#xA;&#xD;&#xA;But this only works if you have the song without the instrument/voice you want to separate, so this is not how it's done in your examples." ContentLicense="CC BY-SA 2.5" />
  <row Id="50097" PostHistoryTypeId="36" PostId="27286" RevisionGUID="2d076607-bae8-4ff2-b4f2-2ffc32ec61e7" CreationDate="2014-02-21T10:42:32.127" UserId="-1" Comment="from http://video.stackexchange.com/questions/365/what-is-a-ducker" />
  <row Id="50098" PostHistoryTypeId="2" PostId="27287" RevisionGUID="d5599af9-8648-4e13-bc15-a33d54f2c57e" CreationDate="2010-12-18T00:01:03.340" UserId="7218" Text="See here:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Ducking&#xD;&#xA;&#xD;&#xA;It is an effect that is created by using the sidechain input on a compressor.&#xD;&#xA;&#xD;&#xA;Normally, a compressor will &quot;turn down the volume&quot; of its output based on increased volume at its input.  But you can change that by sending a different audio signal into the sidechain input of the compressor; the compressor will then react to the sidechain signal instead, changing the volume of the input signal based on the volume of the sidechain signal.&#xD;&#xA;&#xD;&#xA;I've heard this most commonly used when the sidechain input is connected to the kick drum of a drum set, and the main audio input of the compressor is connected to the cymbals.  This causes a &quot;swooping&quot; effect on the cymbals.  Visually, you can think of the cymbals &quot;ducking&quot; under the kick drum sound.  This effect can be heard clearly on the song &quot;Come Together&quot; by the Beatles (near the end of the track), and on one of the tracks of Pink Floyd's &quot;The Wall&quot; (although I can't remember which one ATM).&#xD;&#xA;&#xD;&#xA;You can also hear this effect a lot on trance albums." ContentLicense="CC BY-SA 2.5" />
  <row Id="50099" PostHistoryTypeId="2" PostId="27286" RevisionGUID="2b4f46ce-345e-4fda-af80-eff21a8f6954" CreationDate="2010-12-17T23:28:10.460" UserId="457" Text="I saw another question on here that asked [how to set up a ducker][1].  Can someone provide a detailed explanation of what a ducker is?  I couldn't glean a specific meaning from the context of the linked-to question.  In the context of a song, would it be reducing the volume of everything else when the vocals come in, to make the vocals stand out more?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audio.stackexchange.com/questions/317/how-does-one-setup-a-simple-ducker-in-protools" ContentLicense="CC BY-SA 2.5" />
  <row Id="50100" PostHistoryTypeId="1" PostId="27286" RevisionGUID="2b4f46ce-345e-4fda-af80-eff21a8f6954" CreationDate="2010-12-17T23:28:10.460" UserId="457" Text="What is a &quot;ducker&quot;?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50101" PostHistoryTypeId="3" PostId="27286" RevisionGUID="2b4f46ce-345e-4fda-af80-eff21a8f6954" CreationDate="2010-12-17T23:28:10.460" UserId="457" Text="&lt;effects&gt;&lt;terminology&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50102" PostHistoryTypeId="36" PostId="27287" RevisionGUID="a79dfed0-c513-4832-b591-993aacfe9f70" CreationDate="2014-02-21T10:42:32.127" UserId="-1" Comment="from http://video.stackexchange.com/questions/365/what-is-a-ducker/366#366" />
  <row Id="50103" PostHistoryTypeId="36" PostId="27288" RevisionGUID="120b7a31-374f-4ad5-8a8a-b0f5b8a8d493" CreationDate="2014-02-21T10:42:32.127" UserId="-1" Comment="from http://video.stackexchange.com/questions/365/what-is-a-ducker/374#374" />
  <row Id="50104" PostHistoryTypeId="2" PostId="27288" RevisionGUID="438a608f-96d9-449b-8350-7a23666a48e5" CreationDate="2010-12-19T02:54:00.583" UserDisplayName="divided" Text="To add to Robert's answer:&#xD;&#xA;&#xD;&#xA;A dynamics processor/process that lowers (or &quot;ducks&quot;) the level of one audio signal based upon the level of a second audio signal. A typical application is paging over background music: A ducker senses the presence of audio from a paging microphone and triggers a reduction in the output level of the music signal for the duration of the page signal. It restores the original level once the page message is over. Most dynamics processors (usually compressors  are used) that give the user access to the detector circuit can be used for ducking. It is simply a matter of routing a copy/split of the second audio signal (the page in the example above) to the detector input such that it will trigger the gain cell to lower the level of the main signal (the music)." ContentLicense="CC BY-SA 2.5" />
  <row Id="50105" PostHistoryTypeId="36" PostId="27289" RevisionGUID="fa679f85-7f19-4b51-8e68-dd65f87d55df" CreationDate="2014-02-21T10:42:49.393" UserId="-1" Comment="from http://video.stackexchange.com/questions/9424/how-important-is-finding-plugins" />
  <row Id="50106" PostHistoryTypeId="2" PostId="27290" RevisionGUID="754de188-d079-4d47-ae94-6f9e9252e53e" CreationDate="2013-11-18T14:16:34.830" UserId="7542" UserDisplayName="Don Nickel" Text="It really depends on you.&#xD;&#xA;If your DAW (Ableton) does everything you want, then you're good to go.&#xD;&#xA;&#xD;&#xA;VSTs come in when you want to do more. You may decide the reverb isn't quite what you want, or you'd want a vintage synth, or orchestra, or electric piano sound, or better drums beyond what comes in the package... that's the time to look at VSTs.&#xD;&#xA;&#xD;&#xA;That's not nocking the DAW at all, those are usually packaged for general music - so the guy playing jazz is as comfortable as the guy doing dub-step. If they put everything in there, it would be massively expensive and you'd never get around to using a tenth of what you pay for." ContentLicense="CC BY-SA 3.0" />
  <row Id="50107" PostHistoryTypeId="2" PostId="27289" RevisionGUID="f3c3336e-c8c1-43a2-ac99-45d7de7b2241" CreationDate="2013-11-18T07:10:53.897" UserId="11176" UserDisplayName="Aerovistae" Text="I'm totally new to this whole audio production thing; I've just started playing with Ableton the past few weeks. But I'm wondering, for later on, because I always hear professionals talking about all these &quot;plugins&quot; and &quot;VSTs&quot; that they've downloaded, I'm wondering how important is that?&#xD;&#xA;&#xD;&#xA;I mean, Ableton comes with a bunch of built-ins....how much time do people spend finding/buying other sounds and effects as opposed to working with what they already have?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50108" PostHistoryTypeId="1" PostId="27289" RevisionGUID="f3c3336e-c8c1-43a2-ac99-45d7de7b2241" CreationDate="2013-11-18T07:10:53.897" UserId="11176" UserDisplayName="Aerovistae" Text="How important is &quot;finding plugins&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50109" PostHistoryTypeId="3" PostId="27289" RevisionGUID="f3c3336e-c8c1-43a2-ac99-45d7de7b2241" CreationDate="2013-11-18T07:10:53.897" UserId="11176" UserDisplayName="Aerovistae" Text="&lt;effects&gt;&lt;plugins&gt;&lt;production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50110" PostHistoryTypeId="36" PostId="27290" RevisionGUID="243bd4ee-c3d6-4476-9392-b0fdfbf513da" CreationDate="2014-02-21T10:42:49.393" UserId="-1" Comment="from http://video.stackexchange.com/questions/9424/how-important-is-finding-plugins/9427#9427" />
  <row Id="50111" PostHistoryTypeId="36" PostId="27291" RevisionGUID="f66a6c1c-bf72-4486-a50f-e44862c63293" CreationDate="2014-02-21T10:42:49.393" UserId="-1" Comment="from http://video.stackexchange.com/questions/9424/how-important-is-finding-plugins/9562#9562" />
  <row Id="50112" PostHistoryTypeId="36" PostId="27292" RevisionGUID="ac2d0aed-6069-463c-a8e1-32ed58a5be3a" CreationDate="2014-02-21T10:42:49.393" UserId="-1" Comment="from http://video.stackexchange.com/questions/9424/how-important-is-finding-plugins/9658#9658" />
  <row Id="50113" PostHistoryTypeId="2" PostId="27291" RevisionGUID="b9a4ee7f-fa3d-47c6-b4fe-c5cb630bed26" CreationDate="2013-12-03T23:31:02.603" UserDisplayName="TotalForge" Text="Keep in mind that if you collaborate with someone, you will both have the stock plugins for your DAW app. Use of third party plugins might require you to render the effect(s) to an audio file before sharing the project, or the other person who does not have those plugins won't hear what you hear. &#xD;&#xA;&#xD;&#xA;As to spending time looking for plugins, some people are always on a quest for a new sound, and they collect many plugins. Some people go for the proposition that more expensive plugs are going to sound better and have more utility than the included ones. And, if you need a way to avoid actually making music, playing with new plugs will certainly help with that! &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50114" PostHistoryTypeId="2" PostId="27292" RevisionGUID="cc2e6d74-5bd1-49c6-8bdb-cb4d497e26b3" CreationDate="2013-12-13T16:29:24.103" UserId="9633" UserDisplayName="user1167442" Text="This question has certainly been answered, but I want to contribute some of my own thoughts.  &#xD;&#xA;&#xD;&#xA;Ableton has some of the best instruments in any DAW.  That is to say, their built in synths and sampler are awesome.  They also provide great effects and mastering tools (I'm referring to the *Suite* version here, but the same also applies to a lesser degree with all versions).&#xD;&#xA;&#xD;&#xA;Truthfully, you would most likely never need anything you couldn't find in Ableton.  &#xD;&#xA;&#xD;&#xA;That said, plugins are awesome.  Here is my thinking on downloading and looking for external plugins.&#xD;&#xA;&#xD;&#xA;1.  There is something creatively uplifting about approaching your production with new tools.  They may not be better, but at the very least, there will be new knobs and dials to tweak, and you might come up with new sounds that never occurred to you before.&#xD;&#xA;2.  This is also great for learning.  You could learn everything you needed to know about digital audio production using just Ableton's built in plugins - however, I've found that it is often the case that I find myself understanding something that has been under my nose the whole time in a completely new way when I look at it from a different angle.  There are many different ways to present digital audio information, and there are many different audio properties that are exposed in the settings depending on which plugin you are using.  Looking at many different plugins also helps you learn for yourself to distinguish between inferior sound produced by inferior plugins, and this knowledge helps you hear your own music better and find sounds that lack quality.&#xD;&#xA;3.  I like downloading things.  It makes me happy.&#xD;&#xA;&#xD;&#xA;You can find **MANY,MANY** plugins at [KVRAudio.com][1], both free and commercial.  &#xD;&#xA;I'm going to make a general statement here, and I don't know if its true - it seems to me that in the digital audio software field there are more QUALITY programs (VST's etc) available for free than in any other industry.  &#xD;&#xA;&#xD;&#xA;It is much easier to find great free effects than it is to find great free instruments (with some notable exceptions), but you get to explore.  Also, KVR Audio has a lot of forums where people ask useful questions.  Their are more sites like it out there as well, but that is certainly the largest.&#xD;&#xA;&#xD;&#xA;There is my thinking on some of the important value of plugins for someone - particularly a beginner - who is working with a digital audio workstation. &#xD;&#xA;&#xD;&#xA;Mostly - you can just have fun with them, but I would not spend any significant amount of money until you really know what you are doing.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.kvraudio.com &quot;KVR Audio&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50115" PostHistoryTypeId="36" PostId="27293" RevisionGUID="40c0d6aa-f5de-4aeb-9364-1410f4e9a550" CreationDate="2014-02-21T10:43:06.253" UserId="-1" Comment="from http://video.stackexchange.com/questions/7302/how-do-i-produce-this-effect" />
  <row Id="50116" PostHistoryTypeId="2" PostId="27294" RevisionGUID="c19e6fa5-7821-4bcd-860c-57fca77cf7db" CreationDate="2013-03-04T20:26:46.840" UserId="7474" Text="You could either: &#xD;&#xA;&#xD;&#xA;1, manually automate the level like a square wave&#xD;&#xA;&#xD;&#xA;2, use a tremolo plugin set to square wave and automate the mix control&#xD;&#xA;&#xD;&#xA;3, insert a copy of the sample into a sampler and punch in 16/32nd notes with slight gaps (turn release down to 0)&#xD;&#xA;&#xD;&#xA;4, chop small sections out of the clip.&#xD;&#xA;&#xD;&#xA;There's a few alternatives, but they are usually plugins&#xD;&#xA;&#xD;&#xA;It sounds like there's distortion or a white noise generator mixed, so perhaps try using a separate effect track (sample copy)." ContentLicense="CC BY-SA 3.0" />
  <row Id="50117" PostHistoryTypeId="2" PostId="27293" RevisionGUID="fba3f8ec-a783-4b4f-b8aa-5b30ab3fd184" CreationDate="2013-03-04T17:48:18.283" UserId="6755" Text="Can somebody tell me what effect/processor I need to apply to make any sample &quot;stutter&quot; like this chainsaw in this trailer @ 0:58&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=75TvtJIbbNY&#xD;&#xA;&#xD;&#xA;I'm using Cubase and Sound Forge, so if your answer could be related to either. Even better! Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="50118" PostHistoryTypeId="1" PostId="27293" RevisionGUID="fba3f8ec-a783-4b4f-b8aa-5b30ab3fd184" CreationDate="2013-03-04T17:48:18.283" UserId="6755" Text="How do I produce this effect?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50119" PostHistoryTypeId="3" PostId="27293" RevisionGUID="fba3f8ec-a783-4b4f-b8aa-5b30ab3fd184" CreationDate="2013-03-04T17:48:18.283" UserId="6755" Text="&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50120" PostHistoryTypeId="36" PostId="27294" RevisionGUID="53e32ced-8af9-4c2f-82c3-14985dab7378" CreationDate="2014-02-21T10:43:06.253" UserId="-1" Comment="from http://video.stackexchange.com/questions/7302/how-do-i-produce-this-effect/7303#7303" />
  <row Id="50121" PostHistoryTypeId="36" PostId="27295" RevisionGUID="25972eda-f8a4-4636-bdfc-46ef227075ca" CreationDate="2014-02-21T10:43:06.253" UserId="-1" Comment="from http://video.stackexchange.com/questions/7302/how-do-i-produce-this-effect/7310#7310" />
  <row Id="50122" PostHistoryTypeId="36" PostId="27296" RevisionGUID="807e2f92-f163-4fe8-b055-5b5f5b5ea4e3" CreationDate="2014-02-21T10:43:06.253" UserId="-1" Comment="from http://video.stackexchange.com/questions/7302/how-do-i-produce-this-effect/7353#7353" />
  <row Id="50123" PostHistoryTypeId="2" PostId="27295" RevisionGUID="6edc6f38-57b6-4722-b94c-affac1b1ed0b" CreationDate="2013-03-04T23:19:07.190" UserId="7188" Text="Assuming you have a chain saw. Record it with a tap delay configured for short bursts." ContentLicense="CC BY-SA 3.0" />
  <row Id="50124" PostHistoryTypeId="2" PostId="27296" RevisionGUID="05fe266d-ee3c-49fd-b2d7-c7cd3b3c9eff" CreationDate="2013-03-08T16:28:01.647" UserDisplayName="Stephen" Text="Perhaps this technique will be of value to you:&#xD;&#xA; &#xD;&#xA;[Anything to get more good dubstep out there]&#xD;&#xA;&#xD;&#xA;Listen to that clip again and notice the following things:&#xD;&#xA;&#xD;&#xA; 1. The effect is created primarily by playing a continuous sound and then modifying it&#xD;&#xA; 2. The modification starts suddenly and last the duration of the original sound (presumably)&#xD;&#xA; 3. The modification to the sound, it'self changes:&#xD;&#xA; 4. It starts by rapidly breaking up the original, and on each pulse becomes less rapid.&#xD;&#xA; 5. It originally breaks up the original into brief bursts, but the burst become somewhat longer. (This is not the same as 4 - which is the space between bursts)&#xD;&#xA;&#xD;&#xA;In order to achieve this effect, you are going to need at least two Low Frequency Oscillators (Plus these are the bread and butter of any dubstep master) and some form of modifier on the original sound.&#xD;&#xA;&#xD;&#xA;It sounds to me as if the original is driven (after re-verb and probably resonance filters) through a compressor limiter. I suspect that the compressor's gate is driven by an LFO (which is itself driven by a second LFO).&#xD;&#xA;&#xD;&#xA;You could probably achieve a very similar result by sending an original sound via a Frequency-Resonance filter, and just run the LFO chains on the Frequency dial.&#xD;&#xA;&#xD;&#xA;I managed to create this effect (well similar for the most part) in Reason as in the picture below:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Except instead of routing the LFO's to the compressor (it was quicker) I just routed them to the Amplitude of the Synth it'self.&#xD;&#xA;&#xD;&#xA;[Hours of fun!]&#xD;&#xA;&#xD;&#xA;Let me know how it turned out for you.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/1Je70.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="50125" PostHistoryTypeId="36" PostId="27297" RevisionGUID="38f7051c-97a7-492c-bee3-a2bbd2b8892a" CreationDate="2014-02-21T10:43:14.910" UserId="-1" Comment="from http://video.stackexchange.com/questions/1601/how-to-bounce-with-an-external-effect-in-adobe-audition" />
  <row Id="50126" PostHistoryTypeId="36" PostId="27298" RevisionGUID="75708204-f941-4be2-baa9-966b350df528" CreationDate="2014-02-21T10:43:14.910" UserId="-1" Comment="from http://video.stackexchange.com/questions/1601/how-to-bounce-with-an-external-effect-in-adobe-audition/2888#2888" />
  <row Id="50127" PostHistoryTypeId="2" PostId="27298" RevisionGUID="a4ed0856-37e1-4709-a71e-dc2fb70f87cd" CreationDate="2011-12-23T16:05:25.147" UserId="9511" UserDisplayName="Johnny Bigoode" Text="Just create a new channel, set it up to RESAMPLE and bounce the track. &#xD;&#xA;Just don't forget to raise your master volume, since the Resample will capture the master sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50128" PostHistoryTypeId="2" PostId="27297" RevisionGUID="3f40ffe8-6054-4d2f-b8d5-705e1481833f" CreationDate="2011-06-16T13:00:27.787" UserId="7100" Text="I have **an external effect**, accessible as a VST plug-in. Everything works fine when working with my session; but **when I want to bounce my session, it's not done in realtime**, so my bounce is completely silent. And trying to route the mix to a bus with the idea of recording it, the recording button is not there!&#xD;&#xA;&#xD;&#xA;I'm stuck with using one of these solutions: a software audio loopback, a hardware audio loopback, or a VST recorder insert.&#xD;&#xA;&#xD;&#xA;Any other idea?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50129" PostHistoryTypeId="1" PostId="27297" RevisionGUID="3f40ffe8-6054-4d2f-b8d5-705e1481833f" CreationDate="2011-06-16T13:00:27.787" UserId="7100" Text="How to bounce with an external effect in Adobe Audition" ContentLicense="CC BY-SA 3.0" />
  <row Id="50130" PostHistoryTypeId="3" PostId="27297" RevisionGUID="3f40ffe8-6054-4d2f-b8d5-705e1481833f" CreationDate="2011-06-16T13:00:27.787" UserId="7100" Text="&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50131" PostHistoryTypeId="36" PostId="27299" RevisionGUID="be6d394c-9060-44c9-b466-1f4c71102bb9" CreationDate="2014-02-21T10:43:24.037" UserId="-1" Comment="from http://video.stackexchange.com/questions/756/how-can-i-improve-the-tone-quality-of-a-clarinet-track" />
  <row Id="50132" PostHistoryTypeId="2" PostId="27300" RevisionGUID="9effe64b-bc6b-4750-bfc6-de86d87d89e9" CreationDate="2011-02-05T04:44:03.673" UserDisplayName="d-_-b" Text="Without hearing the recording, I'd say EQing is your best bet. The airiness is in the high-end. You'd want to boost the mid-range as well to bring out the tone.&#xD;&#xA;&#xD;&#xA;Tip: Work with opposites...&#xD;&#xA;&#xD;&#xA;If there is a sound you want to get rid of, increase that frequency so that it annoys you. Then turn it down.&#xD;&#xA;If there is a sound you want to boost, reduce that frequency till it disappears. Then turn it up." ContentLicense="CC BY-SA 2.5" />
  <row Id="50133" PostHistoryTypeId="2" PostId="27299" RevisionGUID="b5edb4e0-8e79-4e65-ade0-9f24fa6cf5ae" CreationDate="2011-02-04T23:29:31.217" UserDisplayName="Greg" Text="I have a raw recording of a classical trio (piano, violin, and clarinet), with each instrument having its own track. The sound quality of the piano and violin are quite good even before editing, but the clarinet is very airy and the sound of e.g. tonguing comes through much more than I'd prefer.&#xD;&#xA;&#xD;&#xA;What techniques could I use on this track to bring out a strong clarinet tone and dampen the airiness?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50134" PostHistoryTypeId="1" PostId="27299" RevisionGUID="b5edb4e0-8e79-4e65-ade0-9f24fa6cf5ae" CreationDate="2011-02-04T23:29:31.217" UserDisplayName="Greg" Text="How can I improve the tone quality of a clarinet track?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50135" PostHistoryTypeId="3" PostId="27299" RevisionGUID="b5edb4e0-8e79-4e65-ade0-9f24fa6cf5ae" CreationDate="2011-02-04T23:29:31.217" UserDisplayName="Greg" Text="&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50136" PostHistoryTypeId="36" PostId="27300" RevisionGUID="0efa07ed-a9ef-4aff-813e-a42cefde84c9" CreationDate="2014-02-21T10:43:24.037" UserId="-1" Comment="from http://video.stackexchange.com/questions/756/how-can-i-improve-the-tone-quality-of-a-clarinet-track/759#759" />
  <row Id="50137" PostHistoryTypeId="36" PostId="27301" RevisionGUID="4ddf3d08-9b5f-4594-981b-173c31bdc85c" CreationDate="2014-02-21T10:43:36.430" UserId="-1" Comment="from http://video.stackexchange.com/questions/3370/max-msp-vs-cubase" />
  <row Id="50138" PostHistoryTypeId="2" PostId="27302" RevisionGUID="0515fa6f-8a42-4667-8fe7-5142c21001af" CreationDate="2012-02-20T17:04:37.883" UserId="7294" Text="The two products are pretty different. Cubase is a [DAW](http://en.wikipedia.org/wiki/Digital_audio_workstation &quot;Digital Audio Workstation&quot;) whose primary purpose is to sequence MIDI and manage digital audio. Max/MSP, meanwhile, is a modular programming environment for audio. DAWs like Cubase tend to arrange things on tracks with a timeline, and offer the ability to effect, modify, and edit those tracks. Max has everything in little modules that connect to each other to send messages back and forth. If you want &quot;tracks,&quot; you'd have to build them in the environment.&#xD;&#xA;&#xD;&#xA;It's pretty hard to say which one is &quot;better&quot; for synthesis. It will really depend on how you want to go about it. If you want to &quot;use synthesizers,&quot; then what you really need is a synthesizer. You can get them as plugins for compatible hosts (Cubase hosts VST format, for example) or you can get a hardware one, or you can assemble one using something like Max. If you want to host one and manage its use, you'll probably have better luck with a DAW like Cubase. If you're interested in cobbling together interesting audio machines from basic parts, then you might enjoy Max/MSP. Both of them will give you a great education in audio design, although if you're also interested in production, I'd suggest learning a DAW first since a lot of advice you're likely to find, especially for recording and processing, will be oriented at a tool like that.&#xD;&#xA;&#xD;&#xA;Don't limit yourself to just those two options though. The claim that they're &quot;the de-facto standards&quot; in their fields is dubious at best. There are [lots of DAWs](http://en.wikipedia.org/wiki/Digital_audio_workstation#Commercial_systems) that all have their fans, although certain circles tend to prefer different ones. Likewise, there are [lots of synthesis environments](http://en.wikipedia.org/wiki/Comparison_of_audio_synthesis_environments).&#xD;&#xA;&#xD;&#xA;If they have free trials, you might want to give them a try and see what you can see. If they don't, find similar software so you can compare the basic workflows. [REAPER][1] is a DAW with a 30-day free trial, and [Pure Data][2] is a free modular environment like Max.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.reaper.fm/&#xD;&#xA;  [2]: http://puredata.info/" ContentLicense="CC BY-SA 3.0" />
  <row Id="50139" PostHistoryTypeId="2" PostId="27301" RevisionGUID="66634262-c41c-4045-bd46-22b22c04e8a7" CreationDate="2012-02-20T10:35:48.170" UserDisplayName="Bob" Text="I am interested about sound synthesis and music production. I came across max/msp and cubase and they seem to be the de facto standards in this field. I would like to have some recommendation about the two, their pros and cons and which one is better for sound synthesis rather than sequencing. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50140" PostHistoryTypeId="1" PostId="27301" RevisionGUID="66634262-c41c-4045-bd46-22b22c04e8a7" CreationDate="2012-02-20T10:35:48.170" UserDisplayName="Bob" Text="MAX/MSP vs Cubase" ContentLicense="CC BY-SA 3.0" />
  <row Id="50141" PostHistoryTypeId="3" PostId="27301" RevisionGUID="66634262-c41c-4045-bd46-22b22c04e8a7" CreationDate="2012-02-20T10:35:48.170" UserDisplayName="Bob" Text="&lt;software&gt;&lt;electronics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50142" PostHistoryTypeId="36" PostId="27302" RevisionGUID="b67ffb13-2872-4b92-9b62-701119448a7a" CreationDate="2014-02-21T10:43:36.430" UserId="-1" Comment="from http://video.stackexchange.com/questions/3370/max-msp-vs-cubase/3371#3371" />
  <row Id="50143" PostHistoryTypeId="36" PostId="27303" RevisionGUID="ed1816fa-c1ce-467a-beb4-388ba6cb1556" CreationDate="2014-02-21T10:43:45.100" UserId="-1" Comment="from http://video.stackexchange.com/questions/1337/furman-power-conditioners-good-safe-to-use-as-a-surge-protector" />
  <row Id="50144" PostHistoryTypeId="2" PostId="27304" RevisionGUID="64ef7231-9b8d-449a-858b-b0ab63eff592" CreationDate="2011-05-04T15:35:45.697" UserId="7093" Text="The specs say that the M-8 is also a surge protector, and probably a better one than your average power strip kind.&#xD;&#xA;&#xD;&#xA;It is also important to make sure any cables such as phone, network, or coax that attach to your computer are also plugged into a surge protector.  I was at a customer site once where lighting struck somewhere near the building and ran up the phone lines.  They did not have surge protection on their computer's modem.  They lost 2 other computers and a server that were attached to the same network.  If your computer's network/internet connection is not protected, it could damage all of your other equipment also.&#xD;&#xA;&#xD;&#xA;I recommend [this UPS/surge protector][1] for what you are using it for.  It will handle the power conditioning and surge protection and keep your equipment up for a few minutes during a short power outage. It also has connectors for phone/network and has a $150,000 connected equipment guarantee.  Not bad for $170.&#xD;&#xA;&#xD;&#xA;Your new configuration would be to plug all of your studio and computer equipment into the same unit.  You can plug the M-8 into the UPS to get more outlets, or you could get [something like this][2].  Any phone or network lines need to be run through the surge protector before they get to your computer.  If you have a cable modem, make sure you are using the network connection, not the USB, and run the network connection through the surge protector.  Optionally you can hook the coax to a separate surge protector if you want to also protect the cable modem.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.apc.com/products/resource/include/techspec_index.cfm?base_sku=SC450RM1U&amp;total_watts=50&#xD;&#xA;  [2]: http://www.amazon.com/Cyberpower-CPS-1215RM-Rackmount-Power-Strip/dp/B00077IG3O/ref=sr_1_1?s=electronics&amp;ie=UTF8&amp;qid=1304523127&amp;sr=1-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="50145" PostHistoryTypeId="2" PostId="27303" RevisionGUID="d8fc3ffc-d724-4767-99a3-e582e1458203" CreationDate="2011-05-04T01:26:17.080" UserDisplayName="Naftuli Tzvi Kay" Text="I currently have a fairly simple studio setup here consisting of a Presonus Firepod, a Blue Robbie Tube-Mic Preamp, and a Furman M-8 Power Conditioner. As far as power is concerned, I essentially have the following:&#xD;&#xA;&#xD;&#xA;    POWER -&gt; SURGE-PROTECTOR -&gt; FURMAN M-8 -&gt; STUDIO EQUIPMENT&#xD;&#xA;                            |-&gt; COMPUTER EQUIPMENT&#xD;&#xA;&#xD;&#xA;Basically, my power comes from the wall, into my surge protector, then either to my monitors/computer/etc. or to the Furman M-8, then from the Furman to my audio equipment. The surge protector I have isn't exactly the best thing in the world, so I'm wondering if the Furman is better as a surge protector.&#xD;&#xA;&#xD;&#xA;I always assumed it was a power _conditioner_ and thought that it essentially flushed out any inconsistencies in the amperage/voltage before these potentially damaging inconsistencies hit sensitive electronics. I thus assumed that it would be necessary to own a _separate_ device for protecting against surges. &#xD;&#xA;&#xD;&#xA;Can I/should I use a Furman power conditioner as my main surge protector or do I need something else in addition? I'd like to switch to a rackmounted device like the Furman over the simple powerbar I have lying around near my feet. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50146" PostHistoryTypeId="1" PostId="27303" RevisionGUID="d8fc3ffc-d724-4767-99a3-e582e1458203" CreationDate="2011-05-04T01:26:17.080" UserDisplayName="Naftuli Tzvi Kay" Text="Furman Power Conditioners: Good/safe to use as a surge protector?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50147" PostHistoryTypeId="3" PostId="27303" RevisionGUID="d8fc3ffc-d724-4767-99a3-e582e1458203" CreationDate="2011-05-04T01:26:17.080" UserDisplayName="Naftuli Tzvi Kay" Text="&lt;electronics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50148" PostHistoryTypeId="36" PostId="27304" RevisionGUID="481f4d92-8ad5-40e0-b23e-3cc63a678405" CreationDate="2014-02-21T10:43:45.100" UserId="-1" Comment="from http://video.stackexchange.com/questions/1337/furman-power-conditioners-good-safe-to-use-as-a-surge-protector/1340#1340" />
  <row Id="50149" PostHistoryTypeId="36" PostId="27305" RevisionGUID="3274f061-9449-4167-95f5-49518d36bcd3" CreationDate="2014-02-21T10:43:52.947" UserId="-1" Comment="from http://video.stackexchange.com/questions/67/what-is-a-balanced-input-output" />
  <row Id="50150" PostHistoryTypeId="36" PostId="27306" RevisionGUID="fa8ecb77-b4c8-4dbc-8882-33a6e555c331" CreationDate="2014-02-21T10:43:52.947" UserId="-1" Comment="from http://video.stackexchange.com/questions/67/what-is-a-balanced-input-output/73#73" />
  <row Id="50151" PostHistoryTypeId="36" PostId="27307" RevisionGUID="26a37631-ca21-43b7-8c23-d7addc52d20a" CreationDate="2014-02-21T10:43:52.947" UserId="-1" Comment="from http://video.stackexchange.com/questions/67/what-is-a-balanced-input-output/75#75" />
  <row Id="50152" PostHistoryTypeId="2" PostId="27306" RevisionGUID="041a8aec-a142-4372-9ee4-247e80997649" CreationDate="2010-12-07T22:22:34.910" UserDisplayName="Ian C." Text="It's an interconnect method that lets you transmit signals over very long lengths of wire without having large amounts of extraneous noise injected in to the signal. The signal is duplicated on to two wires and the input impedance at the received is the carefully matched for both signals. This insures that noise injected during the journey is done so in equal amounts on both signals so it can be detected and rejected by the receiver. This is important for relatively weak signals (say from a microphone) where even minute amounts of RF noise picked up on the line are, relative to the signal level, fairly large.&#xD;&#xA;&#xD;&#xA;[This wikipedia entry][1] describes the different signaling methods in balanced transmission design, in detail.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Balanced_audio" ContentLicense="CC BY-SA 2.5" />
  <row Id="50153" PostHistoryTypeId="2" PostId="27307" RevisionGUID="a695ef1c-cd26-4a89-a864-724cf5a59569" CreationDate="2010-12-07T22:43:28.433" UserId="7653" UserDisplayName="Joel Spolsky" Text="It's really the cable that's balanced.&#xD;&#xA;&#xD;&#xA;Imagine a long cable transmitting a weak signal (for example, a very low voltage signal from a microphone). As the signal travels down the cable, ambient noise might distort the signal.&#xD;&#xA;&#xD;&#xA;In a balanced cable, instead of just transmitting the signal by itself, you transmit both the signal and its opposite along two wires, usually twisted together.&#xD;&#xA;&#xD;&#xA;If there is any interference, the interference will apply equally to both wires. &#xD;&#xA;&#xD;&#xA;That allows it to be cancelled out at the receiving end automatically.&#xD;&#xA;&#xD;&#xA;Imagine that the signal is +5 and the noise is +1. &#xD;&#xA;&#xD;&#xA;An unbalanced cable would transmit +5, but the noise would cause a +6 to arrive.&#xD;&#xA;&#xD;&#xA;A balanced cable would transmit -5 and +5; the noise would cause a -4 and +6 to arrive. Now the receiving apparatus can figure out that the original signal must have been +5.&#xD;&#xA;&#xD;&#xA;In practice, you'll recognize balanced cables because they use three conductors instead of two, for example, a TRS 1/4&quot; jack:&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;Or an XLR jack:&#xD;&#xA;&#xD;&#xA;![alt text][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/6n1iR.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/H5iRe.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="50154" PostHistoryTypeId="2" PostId="27308" RevisionGUID="93767c10-39ff-42bf-b813-b50b19d718cb" CreationDate="2010-12-15T19:51:50.400" UserId="90" Text="[This topic is commonly misunderstood][1], and Joel's answer isn't quite correct.&#xD;&#xA;&#xD;&#xA;Transmitting &quot;both the signal and its opposite along two wires&quot; is called [differential signaling][2].  This is used to minimize emissions from a cable *into* other circuitry, because the equal and opposite electric and magnetic fields cancel out at a distance from the wire.&#xD;&#xA;&#xD;&#xA;A &quot;[balanced line][3]&quot;, on the other hand, means that the sender and receiver both have the same impedances connected to each of two wires (the source impedance for both lines is the same and the load impedance for both lines is the same).  This way, any interference *into* the cable produces the same voltage on each line, and can therefore be canceled by a differential amplifier in the receiver.&#xD;&#xA;&#xD;&#xA;Usually these are both used at the same time, but they don't have to be.  The so-called &quot;[impedance balanced][4]&quot; outputs on some mixers are an example of a circuit that is balanced but not differential.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Balanced_line#Balanced_and_differential&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Differential_signaling&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Balanced_line&#xD;&#xA;  [4]: http://www.uneeda-audio.com/zbal.htm" ContentLicense="CC BY-SA 2.5" />
  <row Id="50155" PostHistoryTypeId="2" PostId="27305" RevisionGUID="31697702-05f2-40a5-b8e7-37432e311cb5" CreationDate="2010-12-07T22:09:37.353" UserDisplayName="Willbill" Text="What does it mean when an input or output is balanced?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50156" PostHistoryTypeId="1" PostId="27305" RevisionGUID="31697702-05f2-40a5-b8e7-37432e311cb5" CreationDate="2010-12-07T22:09:37.353" UserDisplayName="Willbill" Text="What is a balanced input / output?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50157" PostHistoryTypeId="3" PostId="27305" RevisionGUID="31697702-05f2-40a5-b8e7-37432e311cb5" CreationDate="2010-12-07T22:09:37.353" UserDisplayName="Willbill" Text="&lt;electronics&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50158" PostHistoryTypeId="36" PostId="27308" RevisionGUID="296ce523-efba-41fc-bc0c-912d87a7e76d" CreationDate="2014-02-21T10:43:52.947" UserId="-1" Comment="from http://video.stackexchange.com/questions/67/what-is-a-balanced-input-output/305#305" />
  <row Id="50159" PostHistoryTypeId="36" PostId="27309" RevisionGUID="cb33950a-06ae-4464-8fea-968a1d6423f8" CreationDate="2014-02-21T10:44:06.790" UserId="-1" Comment="from http://video.stackexchange.com/questions/7937/does-ableton-live-have-a-revert-to-last-saved-version-feature" />
  <row Id="50160" PostHistoryTypeId="2" PostId="27310" RevisionGUID="502c7800-0fa2-419a-acfc-fb7869506b35" CreationDate="2013-05-22T09:43:06.887" UserId="7269" Text="Well, I've found someone already asking for that feature on ableton forums:&#xD;&#xA;https://forum.ableton.com/viewtopic.php?f=3&amp;t=118351&lt;br/&gt;&#xD;&#xA;Guess the answer is no." ContentLicense="CC BY-SA 3.0" />
  <row Id="50161" PostHistoryTypeId="2" PostId="27309" RevisionGUID="2fab7156-c25a-46b8-a0ce-1d8e17f5dac3" CreationDate="2013-05-22T09:15:48.080" UserId="7269" Text="Say I didn't like the latest changes and would like to get back to the last saved version,&lt;br/&gt;&#xD;&#xA;Is there a better / faster way than reopening?&lt;br/&gt;&#xD;&#xA;(as by clicking F12 in photoshop, for instance)." ContentLicense="CC BY-SA 3.0" />
  <row Id="50162" PostHistoryTypeId="1" PostId="27309" RevisionGUID="2fab7156-c25a-46b8-a0ce-1d8e17f5dac3" CreationDate="2013-05-22T09:15:48.080" UserId="7269" Text="Does Ableton live have a revert to last saved version feature?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50163" PostHistoryTypeId="3" PostId="27309" RevisionGUID="2fab7156-c25a-46b8-a0ce-1d8e17f5dac3" CreationDate="2013-05-22T09:15:48.080" UserId="7269" Text="&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50164" PostHistoryTypeId="36" PostId="27310" RevisionGUID="22f4bc5b-bd3e-4f27-a2ca-40fecd404d70" CreationDate="2014-02-21T10:44:06.790" UserId="-1" Comment="from http://video.stackexchange.com/questions/7937/does-ableton-live-have-a-revert-to-last-saved-version-feature/7938#7938" />
  <row Id="50165" PostHistoryTypeId="36" PostId="27311" RevisionGUID="687b5191-5112-4479-b5da-1ab4d39f4f35" CreationDate="2014-02-21T10:44:27.700" UserId="-1" Comment="from http://video.stackexchange.com/questions/857/sample-accurate-aiff-to-wav-conversion-on-mac-osx" />
  <row Id="50166" PostHistoryTypeId="36" PostId="27312" RevisionGUID="ec6b7933-ac74-4e14-9826-bdc1fc325b2e" CreationDate="2014-02-21T10:44:27.700" UserId="-1" Comment="from http://video.stackexchange.com/questions/857/sample-accurate-aiff-to-wav-conversion-on-mac-osx/858#858" />
  <row Id="50167" PostHistoryTypeId="2" PostId="27312" RevisionGUID="72b697ac-069e-4b97-b221-efc1d7eaf65d" CreationDate="2011-02-20T01:31:31.693" UserDisplayName="jlebre" Text="I don't understand what you mean by &quot;changing a single sample&quot;. As you may know, samples are 16 or 24 bit long strings that describe the particular sample, but the file format won't comply to this as easy.&#xD;&#xA;&#xD;&#xA;AIFF and WAV are both lossless formats, in Pulse Code Modulation (also referred as Linear Pulse Code Modulation or LPCM due to the quantization processing involved), but one is based on Big endian (AIFF uncompressed) and WAV on little endian, changing the order of the bit stream so that it will start from the most or least significant bit, respectively.&#xD;&#xA;&#xD;&#xA;iTunes, as practical as it may seems, uses AIFF-C, a compressed version (although this one actually uses little endian). So it might be fine for your iPod but probably you don't want that.&#xD;&#xA;&#xD;&#xA;You could just simply use ProTools, Logic or Cubase to do the conversion? select region - cmd+K (or is it option? can't remember when I'm not in Tools) and select WAV 24bit, done! (I'm assuming you are giving it to your mastering engineer in 24 bit!) I would also leave embedded information out, as some readers (very frustrating example happened to me today with a Alesis HD24 where it would read embedded info as &quot;sample rate mismatch&quot;) won't like it.&#xD;&#xA;&#xD;&#xA;I'm afraid I might cross the line here by saying that I doubt you'd catch any difference between these using either of these software, although you might if you are using the mixer (pan laws, etc. Some mixers even ad processing). - hence the recommendation of &quot;region export&quot; like protools, cubase and logic offer - not bouncing the audio. Simple import, export region as.&#xD;&#xA;&#xD;&#xA;Edited to correct some mistakes and add some small data!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50168" PostHistoryTypeId="2" PostId="27313" RevisionGUID="812f57e5-d4a5-479e-89ea-62594744619f" CreationDate="2011-02-20T04:33:30.043" UserId="7202" Text="[Audacity][1] is free and can import and export to both AIFF and WAV. There are also various command line tools you can install and use, like ffmpeg, mplayer and sox. They are harder to install and use though.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 2.5" />
  <row Id="50169" PostHistoryTypeId="2" PostId="27311" RevisionGUID="c7d5a793-7e2b-4322-9bbb-703a0f7799af" CreationDate="2011-02-20T00:44:34.820" UserId="7294" Text="I've just come home from a studio with a freshly-mastered track, which I have on my computer as a stereo .AIFF file.  I would like to submit this track to a particular compilation online, and the organizer has asked me to email him a .WAV file, so I need to convert it to .WAV format.  However, I don't want to introduce any coloring or artifacts in the sound, and I'm not confident that I would be able to catch this with my ears in time, if it did happen.&#xD;&#xA;&#xD;&#xA;I'd like the conversion to be sample-accurate, if this is possible.  It seems like it should be.  I've never really run into this since I switched over to OSX from Windows so I'm not familiar with the available software yet.&#xD;&#xA;&#xD;&#xA;Is there a tool or process for OSX that is known to convert .AIFF to .WAV without changing a single sample?  Which is to say, without affecting the resulting audio waveform in any way?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50170" PostHistoryTypeId="1" PostId="27311" RevisionGUID="c7d5a793-7e2b-4322-9bbb-703a0f7799af" CreationDate="2011-02-20T00:44:34.820" UserId="7294" Text="Sample-accurate AIFF to WAV conversion on Mac OSX" ContentLicense="CC BY-SA 2.5" />
  <row Id="50171" PostHistoryTypeId="3" PostId="27311" RevisionGUID="c7d5a793-7e2b-4322-9bbb-703a0f7799af" CreationDate="2011-02-20T00:44:34.820" UserId="7294" Text="&lt;mac&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50172" PostHistoryTypeId="36" PostId="27313" RevisionGUID="8105953d-2923-4711-a47d-dd27eb1f7fdd" CreationDate="2014-02-21T10:44:27.700" UserId="-1" Comment="from http://video.stackexchange.com/questions/857/sample-accurate-aiff-to-wav-conversion-on-mac-osx/860#860" />
  <row Id="50173" PostHistoryTypeId="36" PostId="27314" RevisionGUID="ffad7f59-4d53-4e61-b213-e357da7c2e19" CreationDate="2014-02-21T10:44:27.700" UserId="-1" Comment="from http://video.stackexchange.com/questions/857/sample-accurate-aiff-to-wav-conversion-on-mac-osx/868#868" />
  <row Id="50175" PostHistoryTypeId="36" PostId="27316" RevisionGUID="2c4361eb-9335-44d3-80ce-555b85e1e098" CreationDate="2014-02-21T10:44:27.700" UserId="-1" Comment="from http://video.stackexchange.com/questions/857/sample-accurate-aiff-to-wav-conversion-on-mac-osx/8517#8517" />
  <row Id="50176" PostHistoryTypeId="2" PostId="27314" RevisionGUID="1220dd20-6572-4b78-b960-2bd23730a1a6" CreationDate="2011-02-21T04:38:39.757" UserDisplayName="phasetransitions" Text="Bob,&#xD;&#xA;&#xD;&#xA;The short answer is that both AIFF and WAV encode all of the audio information from the original file in a completely lossless format.  Both formats encode in PCM, but their &quot;containers&quot; are different. A 16bit, 48kHz stereo AIFF will be changed to a 16bit 48kHz stereo WAV with out any changes other than the &quot;container.&quot; As long as the sample rate and bit depth are the same for the final wave as the original AIFF, then the two files will be bit (i.e. sample) accurate by default.&#xD;&#xA;&#xD;&#xA;The same goes for FLAC or apple lossless, which are both smaller than Wav files, but are still bit accurate." ContentLicense="CC BY-SA 2.5" />
  <row Id="50178" PostHistoryTypeId="2" PostId="27316" RevisionGUID="0101756f-7828-48cc-af3f-d2a0ea46a34c" CreationDate="2013-07-27T12:50:15.810" UserDisplayName="tomh" Text="Answers above are correct. A 16bit 44.1kHz AIFF and WAV file should be identical lossless files once they have been opened in an editor. If you really want to confirm this (although I think the answers above are sufficient) you could open both files in an editor, and reverse the phase of the left &amp; right channels of one version. When you play both versions together, you should get silence, as they will be identical but opposite. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50179" PostHistoryTypeId="36" PostId="27317" RevisionGUID="68253399-0935-4818-8e9e-fb2986096dc2" CreationDate="2014-02-21T10:44:36.887" UserId="-1" Comment="from http://video.stackexchange.com/questions/8382/is-there-a-losslessly-compressed-audio-file" />
  <row Id="50180" PostHistoryTypeId="2" PostId="27318" RevisionGUID="c7387070-334d-4887-866e-4a62b4453d25" CreationDate="2013-07-10T22:45:06.377" UserId="7200" Text="Just four letters: [FLAC](http://xiph.org/flac/).&#xD;&#xA;&#xD;&#xA;&lt;hr&gt;&#xD;&#xA;&#xD;&#xA;Some explanation / thoughts on the subject&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;**Warning: this includes personal opinions that aren't necessarily mainstream-accepted.** See AJ Henderson's answer for a somewhat more moderate view.&#xD;&#xA;&#xD;&#xA;I'd first like to say: being pedantic, there is no such thing as a lossless audio file. Audio is an analogue phenomenon, anything digital can only ever be an approximation. So there is no quite as fundamental difference between &quot;lossless&quot; and lossy codecs as it is always said. If you compare a 11.025 kHz / 8 bit mono `.wav` file to a 110 kbit/s 48 kHz `.mp3` or `.ogg` by ear, the &quot;lossy&quot; format will clearly win quality-wise, while having almost the same size. That's because these lossy codecs omit information &quot;cleverly&quot;, i.e. in such a way as to minimize the impact on how the audio sounds, whereas `.wav` just quantises time and amplitude everywhere uniformly&lt;sup&gt;1&lt;/sup&gt;.&#xD;&#xA;&#xD;&#xA;The human ear has some rather simply specifiable, and some more complicated limits.&#xD;&#xA;&#xD;&#xA;- Any Fourier components above ca. 20 kHz in a signal are virtually inaudible. So (by the [Shannon-Nyqvist theorem](http://en.wikipedia.org/wiki/Shannon-Nyquist_sampling_theorem)), technically perfect [PAM sampling](http://en.wikipedia.org/wiki/Pulse-amplitude_modulation) with rates above 40 kHz yields a representation of the signal that our ears cannot distinguish from the original.&#xD;&#xA;&#xD;&#xA;- Since our body has a finite temperature, there is necessarily some noise floor in our ears. If any noise introduced by digital quantisation stays below this threshold, it won't be audible. Effectively, the [dynamic range](http://en.wikipedia.org/wiki/Dynamic_range) of the human ear is no more than 140 dB (oftentimes the _useful_ range is much lower); 24-bit integers cover a range of 144 dB. So a properly dithered 24-bit PCM version of a 48 kHz PAM signal will still be indistinguishable (by bare ear) from the analogue original signal.&#xD;&#xA;&#xD;&#xA;This is why we call such `.wav` files (or even CD-quality ones) lossless: the losses are inaudible, so for all relevant purposes they don't exist.&#xD;&#xA;&#xD;&#xA;Wait a moment. Is listening really the only thing you do with an audio file? Why, no, you might first pull the signal through all kinds of audio effects. Many of those (e.g. reverb or basic EQing) won't really change anything about the sampling limit and dynamic range. But of others, this can't be said. Most obviously, a compressor takes in a signal with some dynamic range and outputs a signal with lower one. If you still want the final result to have &quot;lossless&quot; quality, you need to make sure the intermediate file has a higher dynamic range than what you want on your ears. This is why professional recordings are nowadays never done on less-than-24-bit files, even if you ultimately need only 16 bit CD-quality. High bit depths pretty much solve the problem for everything ever used in 99% of all audio productions, but it's quite obvious that there are effects where it's not enough: consider simply a strong pitch-down effect. You'd expect this to make ultrasonic sounds audible, but this can't possibly work if the recorded file has only 44.1 kHz sampling rate. Fortunately, such stuff is seldom needed.&#xD;&#xA;&#xD;&#xA;Back to out ears' limits – I said there are more complicated ones. Which is why I'm not going to discuss them in detail here, but they're mostly about [masking effects](http://en.wikipedia.org/wiki/Auditory_masking): during silence, even very quiet noise is audible, but while there is loud music much higher levels of noise would go unnoticed. So at these parts, you can quantise much rougher – that's easiest done with floating-point samples. This is especially efficient when not working purely in time space but confining the artifacts to frequency ranges where there is also high amounts of signal. To this extend, most lossy algorithms (apart from mp3 I'd like to mention [Ogg Vorbis](http://www.vorbis.com/), which BTW doesn't have those patent issues) use [a type of Fourier transform](http://en.wikipedia.org/wiki/Short-time_Fourier_transform), usually [DCT](http://en.wikipedia.org/wiki/Discrete_cosine_transform), before their main quantisation step. This can work very effectively, as demonstrated by small yet well-sounding `.ogg` files. In fact, continuing the logic used above: if we manage to produce such a file that humans can in a [double-blind test](http://en.wikipedia.org/wiki/ABX_test) not distinguish from the original, why should we not call this file lossless? It has &quot;errors&quot; (artifacts), but again a `.wav` file isn't exact either.&#xD;&#xA;&#xD;&#xA;_However_, artifacts in `.mp3` are much more complicated than simple quantisation noise or high-frequency band cutoffs. Even when they're still inaudible to the ear, they may have a much more significant effect when fed into further processing, like recompression to another format or audio effects. They're just not designed for that. OTOH, bandlimiting and quantisation noise are very well understood and modelled mathematically exact; you can transform between different sample rates without generation loss, you can re-dither to other bit depths etc.. This makes it acceptable to call lossless formats thus, even though really they aren't lossless. And it's why they are the right choice during audio processing&lt;sup&gt;2&lt;/sup&gt;.&#xD;&#xA;&#xD;&#xA;&lt;sup&gt;&amp;langle;/rant&amp;rangle;&lt;/sup&gt;&#xD;&#xA;&#xD;&#xA;So how do formats like `.flac` fit into all this? Lossless means again to keep the benefits of plain PCM like `.wav`, i.e. not allowing bad-to-handle artifacts. In fact it means you are able to convert a `.flac` file back to a `.wav` that will be _identical_ to the original source `.wav`.&#xD;&#xA;&#xD;&#xA;Question is, do we have to live with he large size of PCM files?&lt;br&gt;If you think about it, there must be physical reasons why our ears are so insensitive to e.g. DCT-quantisation artifacts. From one point, it appears that they mechanically aren't able to properly follow those. From another point, you might also say that real-world sound happens to be of a kind that de-emphasises such artifacts. These arguments are in fact interchangable, as any sound transmitter is also a receiver and an instrument's body is in a way analogue to the eardrum (more literally, a microphone is equivalent to a small loudspeaker). So it should be possible to make up a compression scheme the other way around: instead of thinking &quot;how do we leave out information so the difference won't be notable?&quot; we go &quot;where do we expect to find no information in the first place?&quot; Because then we can use [entropy coding](http://en.wikipedia.org/wiki/Entropy_coding), which basically just shuffles data around in a clever way, such that information that was already expected takes up little space while only (seldom-occurring) _unexpected_ information is fully expanded. When we then feed such an algorithm with an audio file that conforms with our expectations (and thus with our ears', which has pretty good experience in those matters), the compressed version will be significantly smaller yet digitally equivalent to the `.wav` version. And this does in fact work quite well.&#xD;&#xA;&#xD;&#xA;&lt;hr&gt;&#xD;&#xA;&#xD;&#xA;&lt;sup&gt;1&lt;/sup&gt; Actually, there are [several](http://en.wikipedia.org/wiki/A-law_algorithm) [rather crude](http://en.wikipedia.org/wiki/Mu-law) &quot;better-quality&quot; compression schemes that `.wav` can use. Much more primitive than the DCT-based algorithms that mpeg or Vorbis employ.&#xD;&#xA;&#xD;&#xA;&lt;sup&gt;2&lt;/sup&gt; (**this isn't so much a footnote as a conclusion**) I should still add that there's another consideration for audio processing: unlike in a simple music player, a DAW needs to access many audio files simultaneously, very quickly, and possibly non-sequentially. This is very easy with a format like `.wav`, which is encoded completely in the time domain: want to enter at 2:35? Why, just add the offset 155*samplerate*bytespersample to the file position and start playing from there. By contrast, both lossy and lossless compressed file formats have the data somewhat disordered by the various transformations. You usually still have some kind of time-chunks that you can each access directly, but you can't quite as easily just start playing at some arbitrary point – there's always some pre-load, latency, memory&amp;processing overhead and whatnot. So even though `.flac` may seen the perfect alternative, I actually don't use it that much: disk space is cheap nowadays, so `.wav` is rather fine. If I need 20GB for a song I'm working on for 20 hours, the storage cost is pretty much neglectable: I can just get a new external HDD when I need it. So there's not much reason to switch to `.flac` and if it might cause latency issues during an important recording session, I'd have quite a problem. So that's not going to happen.&#xD;&#xA;&#xD;&#xA;With finished mastered song files it's rather different: those are just going to be fed into your ears, nothing else. So here the crucial thing is _subjectively_ lossless again: lossless to the ear. Now, I positively dislike the sound of so-called &quot;CD-quality&quot; 128 kBit/s `.mp3` files, but for &gt;200 kBit/s, done with a good encoder like [lame](http://lame.sourceforge.net/) (with the more maturely designed Vorbis or e.g. `.aac` you can go even lower) you won't be able to tell the difference. You just won't. So it \*\*\*\*\*\*\* _is_ lossless, and these files will be quite a lot smaller than the tightest that &quot;lossless codecs&quot; can do." ContentLicense="CC BY-SA 3.0" />
  <row Id="50181" PostHistoryTypeId="2" PostId="27317" RevisionGUID="5caed647-9755-46e9-ac7b-1db7c14c04dd" CreationDate="2013-07-10T22:06:05.853" UserId="7236" Text="Every audio technician knows about MP3 and WAV, and the advantages and disadvantages of each. Namely:&#xD;&#xA;&#xD;&#xA;* MP3 (most commonly MPEG III)&#xD;&#xA;* * disadvantage: lossy compression&#xD;&#xA;* * * [compression artifacts][1] manifest&#xD;&#xA;* * * subject to [generation loss][2]&#xD;&#xA;* * * [patent issues][3]&#xD;&#xA;* * advantage: relatively small file size&#xD;&#xA;* * advantage: supported virtually everywhere&#xD;&#xA;* * advantage: [ID3 metadata][4] tagging&#xD;&#xA;* WAV (Waveform Audio File Format)&#xD;&#xA;* * disadvantage: audio data not compressed&#xD;&#xA;* * * relatively large file size&#xD;&#xA;* * disadvantage: 4[GiB][5] (2&lt;sup&gt;32&lt;/sup&gt;) file size limit&#xD;&#xA;* * advantage: crystal clear&lt;sup&gt;&amp;#x2020;&lt;/sup&gt; quality&#xD;&#xA;&#xD;&#xA;Being an audio producer, I know to use WAV for everything. However, I'm in a dilemma. As stated above, WAV files are large. A 4 minute song is about 50 megabytes. All that adds up. Also stated above, WAV files don't support metadata as far as I've seen.&#xD;&#xA;&#xD;&#xA;I've can always compress the files using 7zip's &quot;ultra&quot; option, but this isn't reasonable or feasible for file I work with a lot, but not (like) every day where I can just leave it uncompressed.&#xD;&#xA;&#xD;&#xA;What I'm looking for is an audio format that is &quot;crystal clear&quot; quality that WAV has with the metadata ability and small file size like MP3. This could be implemented with lossless compression. I would prefer it to be widely supported. Maybe just an MP3 compression codec that is lossless? Does anything like this exist?&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;&lt;sup&gt;&amp;#x2020;&lt;/sup&gt; speaker quality may vary&#xD;&#xA;&#xD;&#xA; [1]: http://en.wikipedia.org/wiki/Compression_artifact&#xD;&#xA; [2]: http://en.wikipedia.org/wiki/Generation_loss&#xD;&#xA; [3]: http://en.wikipedia.org/wiki/MP3#Licensing_and_patent_issues&#xD;&#xA; [4]: http://en.wikipedia.org/wiki/ID3&#xD;&#xA; [5]: http://en.wikipedia.org/wiki/Gibibyte" ContentLicense="CC BY-SA 3.0" />
  <row Id="50182" PostHistoryTypeId="1" PostId="27317" RevisionGUID="5caed647-9755-46e9-ac7b-1db7c14c04dd" CreationDate="2013-07-10T22:06:05.853" UserId="7236" Text="Is there a losslessly compressed audio file?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50183" PostHistoryTypeId="3" PostId="27317" RevisionGUID="5caed647-9755-46e9-ac7b-1db7c14c04dd" CreationDate="2013-07-10T22:06:05.853" UserId="7236" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50184" PostHistoryTypeId="36" PostId="27318" RevisionGUID="3a8cd48d-458d-4418-a4ff-e32022a9af36" CreationDate="2014-02-21T10:44:36.887" UserId="-1" Comment="from http://video.stackexchange.com/questions/8382/is-there-a-losslessly-compressed-audio-file/8383#8383" />
  <row Id="50185" PostHistoryTypeId="36" PostId="27319" RevisionGUID="56f7063a-bdb2-422e-a9a7-9b7527d43362" CreationDate="2014-02-21T10:44:36.887" UserId="-1" Comment="from http://video.stackexchange.com/questions/8382/is-there-a-losslessly-compressed-audio-file/8384#8384" />
  <row Id="50186" PostHistoryTypeId="2" PostId="27319" RevisionGUID="81cedac2-b6e6-46ce-a8bc-24377934f34d" CreationDate="2013-07-11T00:06:31.963" UserId="7174" Text="FLAC (free, lossless audio codec) is a non-patent encumbered audio codec that utilizes lossless compression to store the audio.  There are many other lossless options that support compression, but FLAC is more or less the defacto standard.  Since it is lossless, the waveform from it will exactly match an uncompressed wav, however it looks for patterns in the audio that can be described exactly, thus finding some space savings.  This is basically how all compression works, just lossy compression doesn't mind if it can't make a perfect fit where as lossless means that only an exact match will do.&#xD;&#xA;&#xD;&#xA;It is worth noting that lossless files only mean that they store the exact sampled values.  All digital audio sampling is an approximation of the analog audio source (unless it is natively produced electronic sounds.)  Lossless files ensure you don't get any artifacts from compression though they require a lot of extra space for fairly minimal quality gain for the average listener.&#xD;&#xA;&#xD;&#xA;On average gear, the difference between sufficiently high quality lossy and lossless files is going to be almost impossible to tell even with a trained ear.  On high end audio gear, with a trained ear, it can be possible to recognize the differences mostly by picking up on artifacts in the sound that alter it subtly, but the average person won't typically notice the difference as long as it is a good quality level. (320kbps for example is more than sufficient data rate for probably 99.9% of the population to not recognize the difference between lossy and lossless.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="50187" PostHistoryTypeId="36" PostId="27320" RevisionGUID="d5baa775-2202-44a0-b1e6-945a2c1683ea" CreationDate="2014-02-21T10:44:48.997" UserId="-1" Comment="from http://video.stackexchange.com/questions/8204/samples-of-single-notes-played-on-various-instruments" />
  <row Id="50188" PostHistoryTypeId="2" PostId="27321" RevisionGUID="aef9578f-684b-4339-90b9-03a46f3a7ad9" CreationDate="2013-06-25T16:11:32.357" UserId="6993" Text="Your best bet still is to **get a decent commercial sampler** with an included sound library. Look for things like **[Kontakt][1]** or **[Mach Five][2]**. Unlocked *Kontakt* libraries (full version not *Kontakt Player*) will give you access to the original samples. This will save you a lot of trouble and the quality you get should be adequate.&#xD;&#xA;&#xD;&#xA;If for some reason (licensing is the only one I can think of ATM) you really need to go the &quot;sample yourself&quot; road, try **[The Sound Exchange by Philharmonia Orchestra][3]**. I'm not sure about the quality of the samples (not that it's bad, just didn't have the opportunity to go deep enough), but licensing terms should accommodate most needs and they've built quite a database over time.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.native-instruments.com/en/products/komplete/synths-samplers/kontakt-5-player/&#xD;&#xA;  [2]: http://www.motu.com/products/software/machfive&#xD;&#xA;  [3]: http://www.philharmonia.co.uk/thesoundexchange/make_music/samples/library/" ContentLicense="CC BY-SA 3.0" />
  <row Id="50189" PostHistoryTypeId="2" PostId="27320" RevisionGUID="f8d8259b-beff-4179-b540-d79d96eb9a15" CreationDate="2013-06-25T02:47:42.290" UserDisplayName="Tahjeet" Text="I am looking for a collection or database of samples of individual notes played on a variety of instruments, available in common audio formats (OGG, WAV, etc.).  At a bare minimum, some kind of piano playing the middle C would do fine.&#xD;&#xA;&#xD;&#xA;The only samples I currently have are the two piano samples that come packaged with LMMS, but one of them is grainy and the other is very short, which doesn't lend itself well to creating decent-sounding notes of variable length (ultimately, I want several audio samples of a given note that are of varying lengths).&#xD;&#xA;&#xD;&#xA;I've been googling for an hour or so now, apparently in vain.  Is there such a thing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50190" PostHistoryTypeId="1" PostId="27320" RevisionGUID="f8d8259b-beff-4179-b540-d79d96eb9a15" CreationDate="2013-06-25T02:47:42.290" UserDisplayName="Tahjeet" Text="Samples of single notes played on various instruments" ContentLicense="CC BY-SA 3.0" />
  <row Id="50191" PostHistoryTypeId="3" PostId="27320" RevisionGUID="f8d8259b-beff-4179-b540-d79d96eb9a15" CreationDate="2013-06-25T02:47:42.290" UserDisplayName="Tahjeet" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50192" PostHistoryTypeId="36" PostId="27321" RevisionGUID="d123fa32-ab90-493f-b56d-6b39b3ba5ad3" CreationDate="2014-02-21T10:44:48.997" UserId="-1" Comment="from http://video.stackexchange.com/questions/8204/samples-of-single-notes-played-on-various-instruments/8208#8208" />
  <row Id="50193" PostHistoryTypeId="36" PostId="27322" RevisionGUID="76d20aab-58eb-4ff7-9db5-074a7a4e1964" CreationDate="2014-02-21T10:44:57.733" UserId="-1" Comment="from http://video.stackexchange.com/questions/3188/output-ogg-flac-from-adobe-audition" />
  <row Id="50194" PostHistoryTypeId="36" PostId="27323" RevisionGUID="efc10b1f-ed52-4c35-9af4-64e552b67902" CreationDate="2014-02-21T10:44:57.733" UserId="-1" Comment="from http://video.stackexchange.com/questions/3188/output-ogg-flac-from-adobe-audition/3190#3190" />
  <row Id="50195" PostHistoryTypeId="2" PostId="27323" RevisionGUID="6ada832e-683a-4598-8af2-16d4036aa08e" CreationDate="2012-02-02T16:11:03.280" UserId="7294" Text="I haven't used Audition myself in years so I don't know if there is any plugin to do this, but even if there isn't, the classic workflow is to export to .wav or .aiff, and then use the converter of your choice to convert that to Ogg Vorbis or FLAC.&#xD;&#xA;&#xD;&#xA;This will work for any tool that records audio, not just Audition." ContentLicense="CC BY-SA 3.0" />
  <row Id="50196" PostHistoryTypeId="2" PostId="27322" RevisionGUID="132696fa-3416-4c2d-92ca-26dc1254e088" CreationDate="2012-02-02T15:19:46.690" UserId="7483" Text="How can I export an ogg or FLAC file from adobe Audition? is there a plugin? If so, how do I install it, both on Mac and Windows? preferably looking for an all in one solution for simplicity " ContentLicense="CC BY-SA 3.0" />
  <row Id="50197" PostHistoryTypeId="1" PostId="27322" RevisionGUID="132696fa-3416-4c2d-92ca-26dc1254e088" CreationDate="2012-02-02T15:19:46.690" UserId="7483" Text="Output ogg / FLAC from Adobe Audition" ContentLicense="CC BY-SA 3.0" />
  <row Id="50198" PostHistoryTypeId="3" PostId="27322" RevisionGUID="132696fa-3416-4c2d-92ca-26dc1254e088" CreationDate="2012-02-02T15:19:46.690" UserId="7483" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50199" PostHistoryTypeId="36" PostId="27324" RevisionGUID="866d8baf-b948-4b13-9d3a-128c2287b9bd" CreationDate="2014-02-21T10:45:12.157" UserId="-1" Comment="from http://video.stackexchange.com/questions/7016/thunderbolt-firewire-adapter-latency" />
  <row Id="50200" PostHistoryTypeId="36" PostId="27325" RevisionGUID="b31015de-edbc-4f01-9f0f-66c0d7d520fc" CreationDate="2014-02-21T10:45:12.157" UserId="-1" Comment="from http://video.stackexchange.com/questions/7016/thunderbolt-firewire-adapter-latency/7024#7024" />
  <row Id="50201" PostHistoryTypeId="2" PostId="27325" RevisionGUID="4d79aa43-8f34-4248-9d4d-7a3badcc4525" CreationDate="2013-01-31T14:15:20.073" UserId="7174" Text="It sounds like a crapshoot from the reviews.  Some people had major issues, particularly with firewire powered devices, others had great luck.  Sounds like the best bet may be to get the cable and try it.  If there are problems, return it." ContentLicense="CC BY-SA 3.0" />
  <row Id="50202" PostHistoryTypeId="2" PostId="27324" RevisionGUID="15dad4c0-7b5e-47d6-b18b-c46dcf7f1523" CreationDate="2013-01-31T00:09:23.597" UserId="7840" UserDisplayName="themirror" Text="I'm interested in using an old Firewire multichannel audio interface with a very recent Macbook that does not have Firewire but does have Thunderbolt.&#xD;&#xA;&#xD;&#xA;Apple sells a $30 Firewire-Thunderbolt adapter.  Will this adapter be usable in the configuration I describe, and will the adapter add latency?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50203" PostHistoryTypeId="1" PostId="27324" RevisionGUID="15dad4c0-7b5e-47d6-b18b-c46dcf7f1523" CreationDate="2013-01-31T00:09:23.597" UserId="7840" UserDisplayName="themirror" Text="Thunderbolt-Firewire adapter: latency" ContentLicense="CC BY-SA 3.0" />
  <row Id="50204" PostHistoryTypeId="3" PostId="27324" RevisionGUID="15dad4c0-7b5e-47d6-b18b-c46dcf7f1523" CreationDate="2013-01-31T00:09:23.597" UserId="7840" UserDisplayName="themirror" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50205" PostHistoryTypeId="36" PostId="27326" RevisionGUID="59f94a7a-7c23-4595-8139-96ce1d480448" CreationDate="2014-02-21T10:45:22.190" UserId="-1" Comment="from http://video.stackexchange.com/questions/1677/m-audio-ozonic-and-windows-7-laptop-64bit-firewire-woes" />
  <row Id="50206" PostHistoryTypeId="36" PostId="27327" RevisionGUID="8268bf78-3f48-44ae-8543-a88da72c33a9" CreationDate="2014-02-21T10:45:22.190" UserId="-1" Comment="from http://video.stackexchange.com/questions/1677/m-audio-ozonic-and-windows-7-laptop-64bit-firewire-woes/1679#1679" />
  <row Id="50207" PostHistoryTypeId="2" PostId="27327" RevisionGUID="65f159b7-97a5-4d0f-b5b6-9db779ff2838" CreationDate="2011-07-01T13:49:48.867" UserId="7093" Text="Since you already have quite an investment in hardware, and your laptop doesn't seem to have a PC Card slot, you might want to try researching something along the lines of an adapter to plug your Firewire device into the USB ports on your computer.&#xD;&#xA;&#xD;&#xA;A quick search on Google for a cable or simple adapter didn't turn up any promising results, as most of the cables do not convert USB to Firewire and some actually damaged the hardware when the attempt was made.  However, I did find a [USB to PC Card adapter][1], and [PC Card Firewire interfaces][2] are readily available.&#xD;&#xA;&#xD;&#xA;I have never tried this, but as long as the store you buy from has a good return policy, you should be able to at least experiment a bit.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.buy.com/prod/quatech-external-pc-card-adapter-pc-card-adapter-cardbus-type-i/q/loc/101/206215203.html&#xD;&#xA;  [2]: http://www.google.com/search?q=usb%202.0%20to%20firewire%20adapter&amp;ie=utf-8&amp;oe=utf-8&amp;aq=t&amp;rls=org.mozilla:en-US:official&amp;client=firefox-a#sclient=psy&amp;hl=en&amp;safe=active&amp;client=firefox-a&amp;rls=org.mozilla:en-US:official&amp;biw=1262&amp;bih=882&amp;tbm=shop&amp;source=hp&amp;q=PC%20Card%20firewire&amp;aq=f&amp;aqi=g1&amp;aql=&amp;oq=&amp;pbx=1&amp;bav=on.2,or.r_gc.r_pw.&amp;fp=883aebe6750809d" ContentLicense="CC BY-SA 3.0" />
  <row Id="50208" PostHistoryTypeId="2" PostId="27328" RevisionGUID="b52cb763-1a1b-4577-92c3-5da0952403c8" CreationDate="2011-12-29T10:35:54.597" UserDisplayName="JayP" Text="As far as I'm aware, there have been long standing problems with Windows 7 and FireWire devices (a quick Google search will turn up a lot).  This especially applied to external hard drives, but I suppose it could apply to all FireWire devices.&#xD;&#xA;&#xD;&#xA;Here is what I would do to give the best chance of it working:&#xD;&#xA;&#xD;&#xA;1. Get the latest drivers for the FireWire interface itself from Ricoh's website.&#xD;&#xA;1. Uninstall ASIO4ALL - only use this as a last ditch attempt when your audio interface manufacturer doesn't provide dedicated ASIO drivers (which M-Audio helpfully does).&#xD;&#xA;1. Download and install the latest driver for your Ozonic from M-Audio's [driver page](http://www.m-audio.com/index.php?do=support&amp;tab=driver).&#xD;&#xA;1. Now restart your machine and see how you get on.&#xD;&#xA;&#xD;&#xA;In essence, my advice is to trust the equipment manufacturer to &quot;know best&quot; in terms of drivers for their hardware.  ASIO4ALL can be great.  ASIO4ALL can be really bad too (I dare say a few of those Blue Screens of Death were caused by it).&#xD;&#xA;&#xD;&#xA;You can use [WhoCrashed](http://www.resplendence.com/whocrashed) to analyse and diagnose Windows kernel panics (the technical term for Blue Screen of Death).  This should give you some helpful pointers as to which device to concentrate your troubleshooting efforts on.&#xD;&#xA;&#xD;&#xA;Don't be tempted to dual boot into Windows XP x64 or Windows Vista x64.  Driver support for those operating systems is probably even more temperamental, since there was no wide spread industry adoption of them.&#xD;&#xA;&#xD;&#xA;I would also try getting in touch with M-Audio directly.  I see you've been on their forums already [here](http://forums.m-audio.com/showthread.php?29788-M-Audio-Ozonic-and-Windows-7-Laptop-(64bit)-FireWire-Woes) which is a great start." ContentLicense="CC BY-SA 3.0" />
  <row Id="50209" PostHistoryTypeId="2" PostId="27326" RevisionGUID="d60250f6-7ac4-4939-8783-27e26501a3f0" CreationDate="2011-07-01T09:24:01.350" UserDisplayName="beebul" Text="Has anyone had any luck getting the M-Audio Ozonic to work properly with Windows 7?&#xD;&#xA;&#xD;&#xA;I have a new Sony Vaio F Series : i7 Core, 6gb RAM, FireWire S400 : Ricoh Interface (using the legacy drivers)&#xD;&#xA;&#xD;&#xA;I can get it to recognise the device on boot-up, but it's so temperamental and often decides to just stop working, if I try different audio applications sometimes it just decides it doesn't want to work.&#xD;&#xA;&#xD;&#xA;Am I onto a loser with this? Didn't even consider it wouldn't work and went for this laptop BECAUSE it had FireWire but some simple searching around has thrown up some results that the Ricoh firewire interface is rubbish! So it appears all FW interfaces are not equal. Pathetic!&#xD;&#xA;&#xD;&#xA;Just to note, I've installed ASIO4ALL drivers. I've disabled all the sound on the laptop as that was causing some issues with interference. If I unplug the device and try and plug back in I get a Blue Screen of death.&#xD;&#xA;&#xD;&#xA;Is there anything I can do? I am completely loath to have to sell the Ozonic as it is a very good device... and I can't get rid of a £1000 computer :-/&#xD;&#xA;&#xD;&#xA;Would dual-booting into a 64bit Version of XP help?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50210" PostHistoryTypeId="1" PostId="27326" RevisionGUID="d60250f6-7ac4-4939-8783-27e26501a3f0" CreationDate="2011-07-01T09:24:01.350" UserDisplayName="beebul" Text="M-Audio Ozonic and Windows 7 Laptop  (64bit) FireWire Woes" ContentLicense="CC BY-SA 3.0" />
  <row Id="50211" PostHistoryTypeId="3" PostId="27326" RevisionGUID="d60250f6-7ac4-4939-8783-27e26501a3f0" CreationDate="2011-07-01T09:24:01.350" UserDisplayName="beebul" Text="&lt;keyboard&gt;&lt;windows&gt;&lt;laptop&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50212" PostHistoryTypeId="36" PostId="27328" RevisionGUID="2ab09ce2-2126-47d9-be5f-9473cefa567a" CreationDate="2014-02-21T10:45:22.190" UserId="-1" Comment="from http://video.stackexchange.com/questions/1677/m-audio-ozonic-and-windows-7-laptop-64bit-firewire-woes/2928#2928" />
  <row Id="50213" PostHistoryTypeId="36" PostId="27329" RevisionGUID="f23bb158-4e27-4395-bb58-723332f76dbc" CreationDate="2014-02-21T10:45:30.893" UserId="-1" Comment="from http://video.stackexchange.com/questions/1071/firepod-recording-on-a-laptop-that-doesnt-have-a-firewire-port" />
  <row Id="50214" PostHistoryTypeId="36" PostId="27330" RevisionGUID="951033e4-e30b-41d6-bcf2-0d6f87298e90" CreationDate="2014-02-21T10:45:30.893" UserId="-1" Comment="from http://video.stackexchange.com/questions/1071/firepod-recording-on-a-laptop-that-doesnt-have-a-firewire-port/1081#1081" />
  <row Id="50215" PostHistoryTypeId="36" PostId="27331" RevisionGUID="df9694f4-c93f-408b-8469-872cb4d5d619" CreationDate="2014-02-21T10:45:30.893" UserId="-1" Comment="from http://video.stackexchange.com/questions/1071/firepod-recording-on-a-laptop-that-doesnt-have-a-firewire-port/1124#1124" />
  <row Id="50216" PostHistoryTypeId="2" PostId="27330" RevisionGUID="2259ad05-4c17-4111-a06b-75d885ddab23" CreationDate="2011-03-22T13:33:59.077" UserId="7093" Text="Check your laptop to see if it has a [PC Card (PCMCIA) slot][1].  If so, you can get a [firewire card like this][2].  Then you will be able to use firewire directly on your laptop.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ehow.com/facts_5084216_pc-card-slot.html&#xD;&#xA;  [2]: http://www.amazon.com/Connectivity-Firewire-2-Port-PCMCIA-Cardbus/dp/B002TLT96E/ref=sr_1_4?ie=UTF8&amp;qid=1300800301&amp;sr=8-4" ContentLicense="CC BY-SA 2.5" />
  <row Id="50217" PostHistoryTypeId="2" PostId="27331" RevisionGUID="76461cfa-fc3c-4e90-a060-4fa4476a6c83" CreationDate="2011-04-01T16:23:10.587" UserDisplayName="BlackGaff" Text="You may want to check if your laptop has a MINI firewire port, which was popular in mid-high range laptops a few years back.  Else, I'm afraid you'll need to pick up a USB audio card." ContentLicense="CC BY-SA 2.5" />
  <row Id="50218" PostHistoryTypeId="2" PostId="27329" RevisionGUID="55b04ce9-0ea8-4ec6-86dd-4aaf2dd59afe" CreationDate="2011-03-21T21:23:41.163" UserDisplayName="Naftuli Tzvi Kay" Text="I bought a laptop around a year ago and unfortunately, it doesn't have a Firewire port. I'd like to use my Firepod with it, but I can't since I'm lacking the port. Is there some sort of converter I can get to make it possible for me to record?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50219" PostHistoryTypeId="1" PostId="27329" RevisionGUID="55b04ce9-0ea8-4ec6-86dd-4aaf2dd59afe" CreationDate="2011-03-21T21:23:41.163" UserDisplayName="Naftuli Tzvi Kay" Text="Firepod recording on a laptop that doesn't have a firewire port?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50220" PostHistoryTypeId="3" PostId="27329" RevisionGUID="55b04ce9-0ea8-4ec6-86dd-4aaf2dd59afe" CreationDate="2011-03-21T21:23:41.163" UserDisplayName="Naftuli Tzvi Kay" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50221" PostHistoryTypeId="36" PostId="27332" RevisionGUID="3fd7b18b-85bb-4e97-8f38-8b05725d6fc8" CreationDate="2014-02-21T10:45:39.377" UserId="-1" Comment="from http://video.stackexchange.com/questions/3246/is-it-safe-to-power-audio-devices-on-all-at-once-with-a-single-switch" />
  <row Id="50222" PostHistoryTypeId="2" PostId="27333" RevisionGUID="a5a9d659-05f9-46be-9d03-89624935c134" CreationDate="2012-02-09T20:30:04.890" UserId="7188" Text="To err on the side of caution is what comes to my mind on this one.&#xD;&#xA;&#xD;&#xA;For the most part if your 'power distribution panel' has the appropriate power surge protection and load support for all the non-computer audio gear, I don't think this will be a problem. However, Friend of George has brought attention to a very good point about computer related hardware or anything that uses a USB or Firewire interface to your computer. The order of what gets turned on and booted first may have some serious consequences if not obeyed. I had a terrible experience with a USB audio interface that caused my computer to crash if I didn't follow the power up order.&#xD;&#xA;&#xD;&#xA;Many years ago I worked in several analog electronic music studios. There was usually one master switch for all the gear back then. Today, this is different since we are now dealing with switching power supplies, digital interfaces, wireless gear, and so on as each of these has its own best practice to power up, and boot correctly.&#xD;&#xA;&#xD;&#xA;Another thing to consider.&#xD;&#xA;Does any of your gear use vacuum tubes?&#xD;&#xA;&#xD;&#xA;I have a short collection of vintage Fender tube amps from the 1960s that I have restored to original condition and these require a significant warm up time before the B+ is applied. Preserving and conserving my tubes is a small price to pay for the exceptional tone they deliver." ContentLicense="CC BY-SA 3.0" />
  <row Id="50223" PostHistoryTypeId="2" PostId="27332" RevisionGUID="a9510268-d18e-4b62-bd35-4d970a648c05" CreationDate="2012-02-09T05:44:00.710" UserId="7294" Text="I have a small collection of audio devices (preamplifier, synthesizer, effects, audio interface). Most of them are mounted in a single rack.&#xD;&#xA;&#xD;&#xA;The rack devices all plug in through a power distribution panel, which has a single switch on it. I believe this serves the same purpose as a power strip; that's effectively what I've been using it for. I've been switching it on first, then powering up the devices individually, which is kind of a pain since not all of them can be turned on from the front. &#xD;&#xA;&#xD;&#xA;I have figured that a sudden surge of power might be harmful to these devices, but am I just being superstitious? Can I leave them all in the &quot;on&quot; position and power the whole thing up from one switch or do I risk damaging my equipment? The manuals for these units don't have anything to say on the matter." ContentLicense="CC BY-SA 3.0" />
  <row Id="50224" PostHistoryTypeId="1" PostId="27332" RevisionGUID="a9510268-d18e-4b62-bd35-4d970a648c05" CreationDate="2012-02-09T05:44:00.710" UserId="7294" Text="Is it safe to power audio devices on all at once with a single switch?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50225" PostHistoryTypeId="3" PostId="27332" RevisionGUID="a9510268-d18e-4b62-bd35-4d970a648c05" CreationDate="2012-02-09T05:44:00.710" UserId="7294" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50226" PostHistoryTypeId="36" PostId="27333" RevisionGUID="19ed414d-0da1-4479-bb4a-26c41941565c" CreationDate="2014-02-21T10:45:39.377" UserId="-1" Comment="from http://video.stackexchange.com/questions/3246/is-it-safe-to-power-audio-devices-on-all-at-once-with-a-single-switch/3250#3250" />
  <row Id="50227" PostHistoryTypeId="36" PostId="27334" RevisionGUID="51500b67-7ec6-46a2-931a-9924ae931177" CreationDate="2014-02-21T10:45:49.333" UserId="-1" Comment="from http://video.stackexchange.com/questions/1352/best-hardware-performance-setup-for-softsynth-storage-and-usage" />
  <row Id="50228" PostHistoryTypeId="36" PostId="27335" RevisionGUID="96f5a23c-6531-4895-adae-1b00a50a0bdb" CreationDate="2014-02-21T10:45:49.333" UserId="-1" Comment="from http://video.stackexchange.com/questions/1352/best-hardware-performance-setup-for-softsynth-storage-and-usage/1353#1353" />
  <row Id="50229" PostHistoryTypeId="36" PostId="27336" RevisionGUID="654618d9-8295-457c-80a0-1f6739a570ce" CreationDate="2014-02-21T10:45:49.333" UserId="-1" Comment="from http://video.stackexchange.com/questions/1352/best-hardware-performance-setup-for-softsynth-storage-and-usage/1356#1356" />
  <row Id="50230" PostHistoryTypeId="2" PostId="27335" RevisionGUID="8aeda7d8-bd7d-49c3-a9d1-e027ec479624" CreationDate="2011-05-05T18:54:43.770" UserId="7471" Text="The simple answer is, the faster the better when dealing with huge sample libraries. A fast disk will load your samples much quicker. You should note that some samplers load all the data for a patch into RAM up front, meaning that it is only the patch load time that is affected by disk speed, while others can do &quot;direct from disk streaming&quot;, which saves on RAM and makes patches load quicker but means your disk needs to be very fast to avoid dropouts.&#xD;&#xA;&#xD;&#xA;Most laptops tend to come with fairly slow hard disks, spinning at 5400 rpm. If you are using a laptop, try to get at least a 7200 rpm disk. If you have lots of money, then solid state drives are the fastest way to go. For a desktop, you could look at the 10000 rpm internal drives and if you have a USB3 port on your computer, you can connect one of the newer external USB3 hard disks that run pretty fast." ContentLicense="CC BY-SA 3.0" />
  <row Id="50231" PostHistoryTypeId="2" PostId="27336" RevisionGUID="3b41227d-1ea0-4ad9-87e1-df978a630246" CreationDate="2011-05-05T22:35:58.960" UserDisplayName="zeekay" Text="If you are serious about audio production and use a ton of softsynths/vsts stay away from OSX, period. Stick with Windows 7. CoreAudio on OSX is [absolutely horrid][1]. I can easily run **twice** as many plugins at **half the latency** in Windows 7 vs. Snow Leopard. Until Apple improves CoreAudio I'd stay away from it for audio production. SSDs are great, but the only benefit you'll probably see is having your samples loaded into memory faster. Probably the best thing you could do would be to get a good interface and use a good DAW, I'd recommend [REAPER][2], it might have the best audio engine out there for multi-threaded real-time audio processing, from my experience it does an amazing job using all the resources you have.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://dawbench.com/win7-v-osx-1.htm&#xD;&#xA;  [2]: http://reaper.fm/" ContentLicense="CC BY-SA 3.0" />
  <row Id="50232" PostHistoryTypeId="2" PostId="27334" RevisionGUID="ea8fe843-de4a-4ab6-9d6b-f032a160f020" CreationDate="2011-05-05T17:25:08.587" UserId="7459" Text="I'm interested in improving my home studio setup with better production performance gear.&#xD;&#xA;&#xD;&#xA;Lately I've been looking into Native Instrument's abundant collection of plugins &amp; sound libraries. I've noticed however, that some of those individual plugins consists of several GBs (Gigabytes).&#xD;&#xA;&#xD;&#xA;How do music producers manage storage for such libraries? Do you need complex hard-drive partitions? What type of system are more fit for the job, laptop or desktop?&#xD;&#xA;&#xD;&#xA;I'm thinking, ideally - a Mac Pro with a few SSD drives in it to hold the most used applications and plugins would be the smart move (provided some spare physical Hard-Drives back them up in case of catastrophic failures). But for the time being, it's not exactly the next item on my shopping list - unless I won the lottery.&#xD;&#xA;&#xD;&#xA;Is there reliable, affordable setups for those kinds of MASSIVE (no pun intended) sound libraries?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50233" PostHistoryTypeId="1" PostId="27334" RevisionGUID="ea8fe843-de4a-4ab6-9d6b-f032a160f020" CreationDate="2011-05-05T17:25:08.587" UserId="7459" Text="Best hardware / performance setup for softsynth storage and usage." ContentLicense="CC BY-SA 3.0" />
  <row Id="50234" PostHistoryTypeId="3" PostId="27334" RevisionGUID="ea8fe843-de4a-4ab6-9d6b-f032a160f020" CreationDate="2011-05-05T17:25:08.587" UserId="7459" Text="&lt;hardware&gt;&lt;studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50235" PostHistoryTypeId="36" PostId="27337" RevisionGUID="628e92b4-1974-40c6-839b-db2d58311bdc" CreationDate="2014-02-21T10:45:57.803" UserId="-1" Comment="from http://video.stackexchange.com/questions/1189/tape-for-labeling-gear-with-a-marker" />
  <row Id="50236" PostHistoryTypeId="2" PostId="27338" RevisionGUID="cc015091-f2cd-4032-afbf-6dcfe8ec1928" CreationDate="2011-04-18T03:31:17.243" UserDisplayName="Chris Simpson" Text="You can use many different types of tape (gaffer tape, masking tape) , but mostly I've seen people use electrical tape for this purpose. Most probably because audio engineers are often electrical engineers and always have it lying around. It also comes in many colours which makes it handy for visually grouping tracks together." ContentLicense="CC BY-SA 3.0" />
  <row Id="50237" PostHistoryTypeId="2" PostId="27337" RevisionGUID="bd1d2f19-d7e2-46b6-a834-b5d2579d5a30" CreationDate="2011-04-18T00:00:29.277" UserId="7294" Text="What is that tape that I see people use on audio gear to label things (knobs, sliders, jacks and such)?  Generally they use a permanent marker on the tape itself, but not the gear.  Presumably the tape can be removed without too much trouble when the label needs to change.  It seems to be semi-permanent, but not permanent.&#xD;&#xA;&#xD;&#xA;An example of its use would be labeling the channels on a hardware mixer to indicate what the channel's source is.&#xD;&#xA;&#xD;&#xA;Is this some special kind of tape used for equipment?  If so, what makes it special?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50238" PostHistoryTypeId="1" PostId="27337" RevisionGUID="bd1d2f19-d7e2-46b6-a834-b5d2579d5a30" CreationDate="2011-04-18T00:00:29.277" UserId="7294" Text="Tape for labeling gear with a marker?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50239" PostHistoryTypeId="3" PostId="27337" RevisionGUID="bd1d2f19-d7e2-46b6-a834-b5d2579d5a30" CreationDate="2011-04-18T00:00:29.277" UserId="7294" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50240" PostHistoryTypeId="36" PostId="27338" RevisionGUID="659e44c1-f36a-4237-b2bb-e01e75371483" CreationDate="2014-02-21T10:45:57.803" UserId="-1" Comment="from http://video.stackexchange.com/questions/1189/tape-for-labeling-gear-with-a-marker/1193#1193" />
  <row Id="50241" PostHistoryTypeId="36" PostId="27339" RevisionGUID="c602bfc0-c4c9-4966-9289-2faddf31fdbf" CreationDate="2014-02-21T10:45:57.803" UserId="-1" Comment="from http://video.stackexchange.com/questions/1189/tape-for-labeling-gear-with-a-marker/1195#1195" />
  <row Id="50242" PostHistoryTypeId="36" PostId="27340" RevisionGUID="ff680fef-9b23-4b90-98db-7484e3a7337d" CreationDate="2014-02-21T10:45:57.803" UserId="-1" Comment="from http://video.stackexchange.com/questions/1189/tape-for-labeling-gear-with-a-marker/1201#1201" />
  <row Id="50243" PostHistoryTypeId="36" PostId="27341" RevisionGUID="2fc8f4d0-9f2e-438e-aff3-742854fc00f3" CreationDate="2014-02-21T10:45:57.803" UserId="-1" Comment="from http://video.stackexchange.com/questions/1189/tape-for-labeling-gear-with-a-marker/1211#1211" />
  <row Id="50244" PostHistoryTypeId="36" PostId="27342" RevisionGUID="8f21aae4-8093-463e-bd32-770f41a3fb70" CreationDate="2014-02-21T10:45:57.803" UserId="-1" Comment="from http://video.stackexchange.com/questions/1189/tape-for-labeling-gear-with-a-marker/1212#1212" />
  <row Id="50245" PostHistoryTypeId="2" PostId="27339" RevisionGUID="3594e481-7e0c-49eb-b972-759df1ada498" CreationDate="2011-04-18T11:09:47.543" UserId="7016" Text="Grey gaffer tape seems to be the most common in the venues I have played. It is handy for just about everything." ContentLicense="CC BY-SA 3.0" />
  <row Id="50246" PostHistoryTypeId="2" PostId="27340" RevisionGUID="649f8c8a-a57b-415c-916e-17501979be09" CreationDate="2011-04-19T15:27:22.887" UserId="7045" Text="Painters' tape works well; it's inexpensive and is designed to be easily removed, but I wouldn't leave it on for more than a day or so. Good for live audio where you're changing things many times in a day. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50247" PostHistoryTypeId="2" PostId="27341" RevisionGUID="461a4e8c-5a1c-4f35-bd58-e8f54a3c46f8" CreationDate="2011-04-20T18:59:15.417" UserId="17571" UserDisplayName="Zeronyne" Text="For non-road applications, I use Post-it Correction &amp; Cover-Up. It's basically strong postit material on a roll, and it comes in varying widths...perfect for mixer strips. They are easy to remove and reuse when you need to suspend one session for another. It also leaves absolutely no residue." ContentLicense="CC BY-SA 3.0" />
  <row Id="50248" PostHistoryTypeId="2" PostId="27342" RevisionGUID="5510bec3-6ad7-446f-a046-9b9cc532b23a" CreationDate="2011-04-20T20:52:26.600" UserDisplayName="Alex Miller" Text="I'm all about ShureTape's Paper Tape for marking consoles and gear.  Takes a Sharpie really well and comes off cleanly and with no problem.&#xD;&#xA;&#xD;&#xA;[You can get it here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.goodbuyguys.com/catalog/index.php/cPath/22_52_83?osCsid=e2f852206615fff2845ba08a89352ffc" ContentLicense="CC BY-SA 3.0" />
  <row Id="50249" PostHistoryTypeId="36" PostId="27343" RevisionGUID="bc695611-36b6-4472-9597-36271cf6a27b" CreationDate="2014-02-21T10:46:06.600" UserId="-1" Comment="from http://video.stackexchange.com/questions/561/what-advantages-does-an-mpc-style-device-have-that-are-not-offered-by-a-daw" />
  <row Id="50250" PostHistoryTypeId="2" PostId="27344" RevisionGUID="96484b6e-3ef2-4c52-8376-e21c81008f7e" CreationDate="2011-01-11T02:50:26.537" UserId="7218" Text="When you look at any piece of vintage gear, I think you are looking not only at a time capsule for music technology, but also at how that technology influenced the sound of music of that age.&#xD;&#xA;&#xD;&#xA;For example, the [Yamaha DX-7][1] had a profound influence on the sound of popular music in the 80's.  It was a key component in the arsenal of a huge number of bands, albums and soundtracks of the day.  I used to own a DX-7, and the sounds it makes are very distinctive; I can always recognize one when I hear it being used in a song.&#xD;&#xA;&#xD;&#xA;Or, take the [Yamaha CP-70 electric grand piano.][2]  You might well ask, what's so special about this piano?  Well, it was the piano used in [Peter Gabriel's song, &quot;In Your Eyes.&quot;][3]  The sound is unmistakable; no other piano sounds like it, and there is no piece of gear or software plugin that will *fully* substitute for that sound.&#xD;&#xA;&#xD;&#xA;So it is with the [MPC-2000][4], or any other piece of vintage gear.  There will always be those who choose that piece of gear because it has the sound they want, or the workflow that they need.  And make no mistake, the workflow of the device (how the controls are arranged, the device's features, capabilities and operations) has a profound effect on the creative process.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.vintagesynth.com/yamaha/dx7.php&#xD;&#xA;  [2]: http://www.cathedralstone.net/Pages/YamahaCP70B.htm&#xD;&#xA;  [3]: http://www.youtube.com/watch?v=B3kFPBtc9BE&#xD;&#xA;  [4]: http://www.vintagesynth.com/akai/mpc2000.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="50251" PostHistoryTypeId="2" PostId="27343" RevisionGUID="4516c143-3264-4aca-a7f4-4e8893ad26aa" CreationDate="2011-01-10T17:50:58.870" UserDisplayName="Nic" Text="It seems that the MPC-2000 had a long stranglehold on drum programmers and sample editors, but with the rise of DAWs (most notably I think was FL Studio around version 4), are they now obsolete? What advantages does one have to using an MPC versus something like Kontakt or any built-in sampling device?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50252" PostHistoryTypeId="1" PostId="27343" RevisionGUID="4516c143-3264-4aca-a7f4-4e8893ad26aa" CreationDate="2011-01-10T17:50:58.870" UserDisplayName="Nic" Text="What advantages does an MPC-style device have that are not offered by a DAW?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50253" PostHistoryTypeId="3" PostId="27343" RevisionGUID="4516c143-3264-4aca-a7f4-4e8893ad26aa" CreationDate="2011-01-10T17:50:58.870" UserDisplayName="Nic" Text="&lt;hardware&gt;&lt;sampling&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50254" PostHistoryTypeId="36" PostId="27344" RevisionGUID="f343f22f-2ce1-49d9-986b-e23f0c3812df" CreationDate="2014-02-21T10:46:06.600" UserId="-1" Comment="from http://video.stackexchange.com/questions/561/what-advantages-does-an-mpc-style-device-have-that-are-not-offered-by-a-daw/563#563" />
  <row Id="50255" PostHistoryTypeId="36" PostId="27345" RevisionGUID="0e34ee9d-9cca-45e1-ae23-74ee3ba9b209" CreationDate="2014-02-21T10:46:06.600" UserId="-1" Comment="from http://video.stackexchange.com/questions/561/what-advantages-does-an-mpc-style-device-have-that-are-not-offered-by-a-daw/629#629" />
  <row Id="50256" PostHistoryTypeId="36" PostId="27346" RevisionGUID="ec00e965-6e53-4ec7-b6bc-758a6d76866a" CreationDate="2014-02-21T10:46:06.600" UserId="-1" Comment="from http://video.stackexchange.com/questions/561/what-advantages-does-an-mpc-style-device-have-that-are-not-offered-by-a-daw/680#680" />
  <row Id="50257" PostHistoryTypeId="2" PostId="27345" RevisionGUID="0dd4fa0f-ad8d-43e2-9934-1477a3e11b7a" CreationDate="2011-01-18T21:59:58.680" UserDisplayName="bot_bot" Text="I agree with Robert, first off hardware has its own character, and the MPC is well known for it. As far as I recall the groove templates in the MPC are particularly good. &#xD;&#xA;Another advantage is the restrictions placed on you by the hardware, you're forced to learn how to operate it, unlike software, after using Logic Studio for a number of years I'm pretty sure I could open almost any DAW and get a track up and running in an hour or two, something like the MPC is a totally different story. Restrictions force you to find alternative solutions you might not normally consider, and generally makes you more creative as far as I'm concerned. It's easier to develop your own style like this. It doesn't need to be vintage gear either. I'm a fan of both hardware and software, but certain things are better done on hardware than software IMO. While I do most of my composition on software, I do as much of my sound design as possible on hardware. I've never use a MPC to compose myself, but I've used a Yamaha RM1-x and it definitely made me think differently about how I composed. " ContentLicense="CC BY-SA 2.5" />
  <row Id="50258" PostHistoryTypeId="2" PostId="27346" RevisionGUID="b57b036c-681b-422d-8bce-17dfae546e13" CreationDate="2011-01-25T11:03:43.930" UserDisplayName="bitbutter" Text="The interface is very different: for some, working with buttons, a jog wheel and an LCD is preferable to a mouse and a monitor. I think the main advantage of MPC-like devices is that having a set of physical controls, that are mapped to a limited number of functions, is conducive to building up muscle memory--something which mouse-plus-monitor interaction is very badly suited to.&#xD;&#xA;&#xD;&#xA;Speculation: So paradoxically, although some operations are more fiddly to achieve on an MPC than they might be in a DAW, it may be possible to execute them with less of a disturbance to your creative flow on an MPC. My hunch is that with MPC's, after you've used one for a while, muscle memory is doing a lot of the 'heavy lifting', while a mouse-plus-DAW combination can rely much more heavily on visual processing, which I can imagine might cost more 'brain cycles' (heavy use of keyboard shortcuts can mitigate this i expect)." ContentLicense="CC BY-SA 2.5" />
  <row Id="50259" PostHistoryTypeId="36" PostId="27347" RevisionGUID="e1b80987-a50d-4207-8051-15ce02b33a19" CreationDate="2014-02-21T10:46:17.647" UserId="-1" Comment="from http://video.stackexchange.com/questions/222/phone-coupler-with-excellent-isolation" />
  <row Id="50260" PostHistoryTypeId="2" PostId="27348" RevisionGUID="cd5a7601-fc5e-4e3a-aa4d-a1040390434d" CreationDate="2010-12-11T14:46:04.403" UserDisplayName="Sidnicious" Text="You're looking for a **telephone hybrid**. Excalibur makes one called the **HA-1**:&#xD;&#xA;&#xD;&#xA;![Excalibur HA-1 Hybrid Adapter][1]&#xD;&#xA;&#xD;&#xA;There are a number of others, like the **Broadcast Tools TT1** (still within your budget) and the **JK Audio AutoHybrid** (slightly outside your budget).&#xD;&#xA;&#xD;&#xA;Trans-hybrid loss (isolation) is measured in decibels, 20db is a fairly standard number to look for. Cost goes up for greater loss; state-of-the-art hybrids use DSPs.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/C7XW5.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="50261" PostHistoryTypeId="2" PostId="27347" RevisionGUID="e37467e3-83f6-4d3d-96be-207fc6bbee4f" CreationDate="2010-12-10T16:45:02.000" UserId="7209" Text="For recording phone interviews, we have an [Excalibur HC-1][1] phone coupler.&#xD;&#xA;![Excalibur HC-1][2]&#xD;&#xA;&#xD;&#xA;Trouble is, there isn't much isolation between send and receive.  When doing interviews, if we send it audio, it comes back on the receive all distorted and what not.&#xD;&#xA;&#xD;&#xA;Is there a way we can fix this problem with our current coupler, or is there a cheap alternative available?  $150 is our budget.  This is for an internet radio station.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bswusa.com/proditem.asp?item=HC-1&#xD;&#xA;  [2]: http://i.stack.imgur.com/RLvHn.jpg" ContentLicense="CC BY-SA 2.5" />
  <row Id="50262" PostHistoryTypeId="1" PostId="27347" RevisionGUID="e37467e3-83f6-4d3d-96be-207fc6bbee4f" CreationDate="2010-12-10T16:45:02.000" UserId="7209" Text="Phone coupler with excellent isolation" ContentLicense="CC BY-SA 2.5" />
  <row Id="50263" PostHistoryTypeId="3" PostId="27347" RevisionGUID="e37467e3-83f6-4d3d-96be-207fc6bbee4f" CreationDate="2010-12-10T16:45:02.000" UserId="7209" Text="&lt;hardware&gt;&lt;radio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50264" PostHistoryTypeId="36" PostId="27348" RevisionGUID="7a446a7c-c8c9-41ed-8e83-4766a65b85a6" CreationDate="2014-02-21T10:46:17.647" UserId="-1" Comment="from http://video.stackexchange.com/questions/222/phone-coupler-with-excellent-isolation/232#232" />
  <row Id="50265" PostHistoryTypeId="36" PostId="27349" RevisionGUID="b45c27d3-fadf-4c97-b99d-56ec064b324f" CreationDate="2014-02-21T10:46:26.773" UserId="-1" Comment="from http://video.stackexchange.com/questions/8374/is-it-safe-to-connect-2-players-to-a-single-pair-of-headphones-using-y-splitter" />
  <row Id="50266" PostHistoryTypeId="36" PostId="27350" RevisionGUID="c6de6d22-792f-43e2-96c4-4ce7e7f7be5e" CreationDate="2014-02-21T10:46:26.773" UserId="-1" Comment="from http://video.stackexchange.com/questions/8374/is-it-safe-to-connect-2-players-to-a-single-pair-of-headphones-using-y-splitter/8377#8377" />
  <row Id="50267" PostHistoryTypeId="36" PostId="27351" RevisionGUID="f3a381dd-0d0f-41fd-97a6-debd7b4197b0" CreationDate="2014-02-21T10:46:26.773" UserId="-1" Comment="from http://video.stackexchange.com/questions/8374/is-it-safe-to-connect-2-players-to-a-single-pair-of-headphones-using-y-splitter/8378#8378" />
  <row Id="50268" PostHistoryTypeId="2" PostId="27350" RevisionGUID="d7d24228-e83e-4550-aeb2-ea0703ed5933" CreationDate="2013-07-10T13:42:20.103" UserId="7093" Text="I once accidentally connected the same speaker to 2 different amps and blew out one of them from the power of the one amp flowing into the other.&#xD;&#xA;&#xD;&#xA;Headphone outputs have a much lower output level, but some devices may be more sensitive than others to signal being sent back in through the output.&#xD;&#xA;&#xD;&#xA;I would recommend playing it safe and getting a [small inexpensive mixer][1].  It will give you much better control of the mix and prevent damage to your equipment.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/s/ref=nb_sb_ss_i_0_12?url=search-alias=aps&amp;field-keywords=2%20channel%20mixer&amp;sprefix=2%20channel%20mi,aps,246&amp;rh=i:aps,k:2%20channel%20mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="50269" PostHistoryTypeId="2" PostId="27351" RevisionGUID="9c1b8848-a974-4fb2-8755-b74a86d31e8c" CreationDate="2013-07-10T13:43:17.047" UserId="7174" Text="I don't think this is going to work well.  I've never seen a passive device for blending signals together.  You might be able to get something out of it and I'd hope that the audio hardware is designed well enough to avoid serious damage since the power levels are low, but I'd expect the signal might be quite a mess when you try listening to it.&#xD;&#xA;&#xD;&#xA;To do it right, you really need something that prevents backfeed and isolates the two inputs, that requires power unfortunately, which either comes externally or from the signal itself (which would result in massive attenuation thus not suitable for powering headphones.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="50270" PostHistoryTypeId="2" PostId="27352" RevisionGUID="cd0be53d-d941-41f8-a387-16b9f905e2cb" CreationDate="2013-07-14T13:09:14.680" UserDisplayName="alex" Text="This in NOT a good idea.&#xD;&#xA;&#xD;&#xA;The general rule is that you can split signals, but you cannot merge/mix them without special circuitry.&#xD;&#xA;&#xD;&#xA;That's why you need a mixer for: to MIX signals. [Here][1]'s a small, passive mixer that could well do the job. (See also [here][2].)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.belkin.com/us/p/P-F8Z274&#xD;&#xA;  [2]: http://www.macworld.com/article/1131436/rockstar.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="50271" PostHistoryTypeId="2" PostId="27349" RevisionGUID="83611c4e-7f54-475d-b8d5-da25d2bd84ec" CreationDate="2013-07-10T10:27:52.360" UserId="9753" UserDisplayName="Steve V" Text="I would like to connect 2 devices (player and tablet) to my headphones; would it be safe to do so using a simple Y splitter? &#xD;&#xA;&#xD;&#xA;(Two male 3.5 mm connectors would to go both devices and one female 3.5 mm connector to the headphones)&#xD;&#xA;&#xD;&#xA;sorry for the lame question, I don't want to damage anything" ContentLicense="CC BY-SA 3.0" />
  <row Id="50272" PostHistoryTypeId="1" PostId="27349" RevisionGUID="83611c4e-7f54-475d-b8d5-da25d2bd84ec" CreationDate="2013-07-10T10:27:52.360" UserId="9753" UserDisplayName="Steve V" Text="Is it safe to connect 2 players to a single pair of headphones using Y splitter?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50273" PostHistoryTypeId="3" PostId="27349" RevisionGUID="83611c4e-7f54-475d-b8d5-da25d2bd84ec" CreationDate="2013-07-10T10:27:52.360" UserId="9753" UserDisplayName="Steve V" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50274" PostHistoryTypeId="36" PostId="27352" RevisionGUID="61c3dc56-e4a0-4bba-bcaa-8271e77587ae" CreationDate="2014-02-21T10:46:26.773" UserId="-1" Comment="from http://video.stackexchange.com/questions/8374/is-it-safe-to-connect-2-players-to-a-single-pair-of-headphones-using-y-splitter/8404#8404" />
  <row Id="50275" PostHistoryTypeId="36" PostId="27353" RevisionGUID="25b1d684-4bb2-4529-bf00-2bd2b68756d9" CreationDate="2014-02-21T10:46:35.117" UserId="-1" Comment="from http://video.stackexchange.com/questions/411/non-audio-applications-on-performance-osx-laptops" />
  <row Id="50276" PostHistoryTypeId="2" PostId="27354" RevisionGUID="f0e37155-7406-41cc-aae1-67b88c40e492" CreationDate="2010-12-21T20:43:50.373" UserId="7209" Text="This has little to do with the OS and more to do with the software you're installing.&#xD;&#xA;&#xD;&#xA;It is best practice to do what you are currently doing and stick to the software that you need.  However you generally won't have a problem, unless you aren't familiar with the software you're installing, and are prone to downloading anything and everything.&#xD;&#xA;&#xD;&#xA;I primarily work on two PCs, both running XP SP3.  A laptop, and a desktop.  On these machines you will find everything from audio software, tools for web and software development, and tons of other miscellaneous programs that I have picked up along the way.&#xD;&#xA;&#xD;&#xA;I do occasional DJ work with Ableton Live on the laptop, and use Ableton Live and a bunch of VSTs at home.  I haven't had any trouble, or any conflicts.&#xD;&#xA;&#xD;&#xA;Don't get me wrong, I don't recommend this practice!  I have less of an issue with it, as I am a tech guy, and know how to keep my computers running fast and clean.  I only post this to say that there is not absolute correct policy on what you can and can't do with your general-use computer while using it for audio.&#xD;&#xA;&#xD;&#xA;**Bottom line:**  If you know what you're doing, don't sweat it.  If not, proceed cautiously." ContentLicense="CC BY-SA 2.5" />
  <row Id="50277" PostHistoryTypeId="2" PostId="27353" RevisionGUID="b5584c3e-1d12-4ac1-b8ee-e56f77ba716b" CreationDate="2010-12-21T19:59:28.227" UserId="7294" Text="I have a MacBook Pro running OSX 10.6 that I use as my primary computer for audio production and performance, mostly using Ableton Live.  I've been trying to keep it free of other software to minimize the chances that a change to the system (or some other process competing for resources) will interrupt my workflow.  Obviously, when performing live, you want nothing to get in the way of having your &quot;instrument&quot; function correctly.&#xD;&#xA;&#xD;&#xA;Sometimes installing other software is unavoidable - for example, MIDI translation tools like Bome's, interface control software, or plugins, but what about non-essential but useful other software like Apple's Time Machine or even simple games?&#xD;&#xA;&#xD;&#xA;I used to use a Windows XP machine, and in general these kinds of tools seemed to always want to run in the background, or install things that run at startup, and eventually the machine would get bogged down and I'd start to need to raise the ASIO buffer to avoid pops.  I've heard that OSX is supposedly cleaner about this, and if a program isn't running actively it won't get in the way, but is this generally agreed?  Does this match your experience?&#xD;&#xA;&#xD;&#xA;Many thanks in advance." ContentLicense="CC BY-SA 2.5" />
  <row Id="50278" PostHistoryTypeId="1" PostId="27353" RevisionGUID="b5584c3e-1d12-4ac1-b8ee-e56f77ba716b" CreationDate="2010-12-21T19:59:28.227" UserId="7294" Text="Non-audio applications on performance OSX laptops" ContentLicense="CC BY-SA 2.5" />
  <row Id="50279" PostHistoryTypeId="3" PostId="27353" RevisionGUID="b5584c3e-1d12-4ac1-b8ee-e56f77ba716b" CreationDate="2010-12-21T19:59:28.227" UserId="7294" Text="&lt;laptop&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50280" PostHistoryTypeId="36" PostId="27354" RevisionGUID="1317ad03-0cea-4fc0-a476-261d59676185" CreationDate="2014-02-21T10:46:35.117" UserId="-1" Comment="from http://video.stackexchange.com/questions/411/non-audio-applications-on-performance-osx-laptops/412#412" />
  <row Id="50281" PostHistoryTypeId="36" PostId="27355" RevisionGUID="1191204b-1cc7-4c23-8fb4-c78ea71ab59e" CreationDate="2014-02-21T10:46:35.117" UserId="-1" Comment="from http://video.stackexchange.com/questions/411/non-audio-applications-on-performance-osx-laptops/413#413" />
  <row Id="50282" PostHistoryTypeId="36" PostId="27356" RevisionGUID="38800acb-905d-4e96-9d80-7787aab25cc9" CreationDate="2014-02-21T10:46:35.117" UserId="-1" Comment="from http://video.stackexchange.com/questions/411/non-audio-applications-on-performance-osx-laptops/414#414" />
  <row Id="50283" PostHistoryTypeId="2" PostId="27355" RevisionGUID="06a09083-7a22-4cbe-a82e-7d032c8b879a" CreationDate="2010-12-21T20:47:06.440" UserId="7209" Text="You might also consider using a virtual machine for general-use applications.  Assuming nothing is too resource-intensive, this is a comfortable way to not worry about trashing your primary environment.  Plus, you can roll it back at any time.&#xD;&#xA;&#xD;&#xA;There are many options.  VMWare is the industry standard, but not free:  http://www.vmware.com/products/fusion/" ContentLicense="CC BY-SA 2.5" />
  <row Id="50284" PostHistoryTypeId="2" PostId="27356" RevisionGUID="dad4f2e5-e2e8-4a5b-8267-e17a3b8d1d70" CreationDate="2010-12-21T21:32:13.997" UserDisplayName="lukecyca" Text="I create a user account called &quot;performer&quot; on my Macbook Pro.  I then use fast-user-switching to switch to it during any kind of on-stage use.  Optionally, I actually log out the other user.&#xD;&#xA;&#xD;&#xA;The performer user has:&#xD;&#xA;&#xD;&#xA;* A simple black desktop background&#xD;&#xA;* Only performance-related audio software and utilities&#xD;&#xA;* No screen saver and power saving features&#xD;&#xA;&#xD;&#xA;I find this is the best way to avoid embarrassing things like event reminder popups or email notification sounds from piercing through the front-of-house at a gig.  It isolates all of the user-based settings, but it doesn't help with driver or OS-level issues.  For that, another approach is to use a second bootable drive so that your entire OS can be optimized with only the software and configuration appropriate for performance." ContentLicense="CC BY-SA 2.5" />
  <row Id="50285" PostHistoryTypeId="36" PostId="27357" RevisionGUID="2cbde3c8-7157-448a-99fd-63fc2a99a74c" CreationDate="2014-02-21T10:46:46.353" UserId="-1" Comment="from http://video.stackexchange.com/questions/9578/using-the-korg-krome-keyboard-workstation" />
  <row Id="50286" PostHistoryTypeId="2" PostId="27358" RevisionGUID="69d4c55f-1bd3-46b4-867b-f7480e7831ea" CreationDate="2013-12-06T16:36:42.850" UserId="7294" Text="In all likelihood the best resource for getting started with it is [Korg's own Krome quickstart guide](http://www.korg.com/uploads/Support/USA_KROME_QS_E.pdf). The [Krome Workstation web page](http://www.korg.com/Krome) has, under the &quot;Support and Downloads&quot; link in the lower-left, a few more bits of documentation about how it all works.&#xD;&#xA;&#xD;&#xA;As with most manuals you'll probably have to refer back to it now and again as you become more familiar with more features, rather than trying to memorize everything in one go. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50287" PostHistoryTypeId="2" PostId="27357" RevisionGUID="d6474abd-6194-48b3-b6b7-6e35b8895ed2" CreationDate="2013-12-06T15:40:25.337" UserId="8343" UserDisplayName="MattCamp" Text="I got the Korg Krome Keyboard Workstation a while back and I am still having trouble using it. Are there any good resources that you know out there to help me learn it. Or perhaps someone could give me some insight on the different functions. Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="50288" PostHistoryTypeId="1" PostId="27357" RevisionGUID="d6474abd-6194-48b3-b6b7-6e35b8895ed2" CreationDate="2013-12-06T15:40:25.337" UserId="8343" UserDisplayName="MattCamp" Text="Using the Korg Krome Keyboard Workstation" ContentLicense="CC BY-SA 3.0" />
  <row Id="50289" PostHistoryTypeId="3" PostId="27357" RevisionGUID="d6474abd-6194-48b3-b6b7-6e35b8895ed2" CreationDate="2013-12-06T15:40:25.337" UserId="8343" UserDisplayName="MattCamp" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50290" PostHistoryTypeId="36" PostId="27358" RevisionGUID="523d40f7-1a2e-4f80-83a6-b4b8c2853527" CreationDate="2014-02-21T10:46:46.353" UserId="-1" Comment="from http://video.stackexchange.com/questions/9578/using-the-korg-krome-keyboard-workstation/9579#9579" />
  <row Id="50291" PostHistoryTypeId="36" PostId="27359" RevisionGUID="d3d74b34-6a0b-4b59-ba0f-34ab69311a2a" CreationDate="2014-02-21T10:46:54.557" UserId="-1" Comment="from http://video.stackexchange.com/questions/9029/audio-music-license-for-online-radio-station" />
  <row Id="50292" PostHistoryTypeId="2" PostId="27360" RevisionGUID="881c4bbc-a87b-4d34-8d13-6e7ea8ecbfa5" CreationDate="2013-09-22T12:49:07.127" UserId="7194" Text="The license given to a radio station (whether analogue, digital, or online) grants the station the right to play music to the public. The license is granted by the relevant collection society (eg, PRS in the UK) and the fee is proportional to the max amount of possible listeners at any given time (for big station this is often quoted as 'reach', for online stations this is determined by the connection limit of the broadcasting server).&#xD;&#xA;&#xD;&#xA;The license granted to you should be available to you for survey, so your question will be ultimately answered by looking at the license. To the best of my knowledge, nowhere in the world such license spells any restrictions on the music being played - that is to say, there is no further need for the station owners to check whether or not they are allowed to play a specific track. Such a requirement would render the day-to-day running of any radio station impractical.&#xD;&#xA;&#xD;&#xA;However, as a business, the radio station must own all the music it is playing. That is, it may be required to provide a proof of purchase for all the music being played (with the exception of free promotional copies or Creative Commons music with the appropriate license).&#xD;&#xA;&#xD;&#xA;The majority of the license fee paid by radio stations is distributed to the copyright owners of the music being played in a pro-rata fashion. Thus, a radio station is required to submit cue-sheets to the relevant collection society. Local law may spell exceptions to whether this is actually required for small radio stations/businesses." ContentLicense="CC BY-SA 3.0" />
  <row Id="50293" PostHistoryTypeId="2" PostId="27359" RevisionGUID="233722fe-64a7-4c0e-99e5-fdc246054bed" CreationDate="2013-09-22T12:24:11.103" UserDisplayName="ITChristian" Text="I have an Internet Radio Station and have licensed music playing on it.&#xD;&#xA;&#xD;&#xA;I've read on some websites that I can put only a part from a music which is not licensed for me on my radio station.&#xD;&#xA;&#xD;&#xA;Does anyone know how much (percentage) music can I put on my radio?&#xD;&#xA;&#xD;&#xA;If this question is not appropriate for asking here, please leave a comment, and I will delete it (please tell me where can I ask this question)." ContentLicense="CC BY-SA 3.0" />
  <row Id="50294" PostHistoryTypeId="1" PostId="27359" RevisionGUID="233722fe-64a7-4c0e-99e5-fdc246054bed" CreationDate="2013-09-22T12:24:11.103" UserDisplayName="ITChristian" Text="Audio Music License for Online Radio Station" ContentLicense="CC BY-SA 3.0" />
  <row Id="50295" PostHistoryTypeId="3" PostId="27359" RevisionGUID="233722fe-64a7-4c0e-99e5-fdc246054bed" CreationDate="2013-09-22T12:24:11.103" UserDisplayName="ITChristian" Text="&lt;radio&gt;&lt;legal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50296" PostHistoryTypeId="36" PostId="27360" RevisionGUID="c38cad97-3ffc-4974-a3b8-94ac3be9b2fe" CreationDate="2014-02-21T10:46:54.557" UserId="-1" Comment="from http://video.stackexchange.com/questions/9029/audio-music-license-for-online-radio-station/9030#9030" />
  <row Id="50297" PostHistoryTypeId="36" PostId="27361" RevisionGUID="f6088e6b-faaf-45c0-9a21-98aaba3d3e2d" CreationDate="2014-02-21T10:47:02.543" UserId="-1" Comment="from http://video.stackexchange.com/questions/9015/what-is-the-procedure-to-check-the-rights-over-a-song" />
  <row Id="50298" PostHistoryTypeId="2" PostId="27362" RevisionGUID="b20b0f87-3fb4-4152-b78c-234377bacecb" CreationDate="2013-09-22T13:11:54.383" UserId="7194" Text="#What is being Protected?&#xD;&#xA;&#xD;&#xA;The copyrights of published music primarily involve these two properties:&#xD;&#xA;&#xD;&#xA; - **Sound Recordings** - Any recording of any sort. Where the prime concern is for published recordings (that is the &quot;masters&quot; rather than the &quot;multitrack&quot;).&#xD;&#xA; - **Songwriting** - A general term to describe **authorship** rights (the work of the author, ie **lyrics**) and **composition** rights (the work of the composer, ie any **melody**, whether instrumental or vocal). Some countries, like the UK, also recognised **arrangement** as a right (a proportion of the song ownership may be given to the producer, beat maker, or the arranger - although none was involved in the lyrics or melodic writing).&#xD;&#xA;&#xD;&#xA;Using a song from a CD (or an MP3) requires the licensing of both the sound recordings and songwriting. An artist covering the work of another artist, without making use of the original recordings is required to license the songwriting only. In the case of sampling, if a non-melodic portion of the work is being sampled, it is possible that only a license for the sound recording is needed.&#xD;&#xA;&#xD;&#xA;#Who owns the Copyrights?&#xD;&#xA;&#xD;&#xA;Nearly without an exception:&#xD;&#xA;&#xD;&#xA; - **Sound Recordings** - are owned by the record **label**.&#xD;&#xA; - **Songwriting** - are owned by the **publishing company** representing the songwriters.&#xD;&#xA;&#xD;&#xA;#How Long the Copyrights Last for?&#xD;&#xA;&#xD;&#xA;This varies between countries. As a general guideline:&#xD;&#xA;&#xD;&#xA; - **Sound Recordings** - 70 years after the year of manufacturing or publishing.&#xD;&#xA; - **Songwriting** - 70 years after the death of the songwriter.&#xD;&#xA;&#xD;&#xA;For instance, Imagine by John Lennon was released in 1971, he was murdered in 1980. So the sound recordings will become public domain in 2041, while the songwriting will become public domain in 2050.&#xD;&#xA;&#xD;&#xA;#How can I check who owns the Copyrights, if at all?&#xD;&#xA;&#xD;&#xA;There are various ways to do this. The easiest one would be to contact the relevant collection society in your country. For instance, in the UK, PPL deals with sound recordings, while PRS with songwriters. These collection societies have a database of all releases, dates, and copyright owners.&#xD;&#xA;&#xD;&#xA;Alternatively you can contact the publisher and the label of each release separately.&#xD;&#xA;&#xD;&#xA;#How do I Obtain a License?&#xD;&#xA;&#xD;&#xA;You would need to contact and obtain a license from the copyright owners, typically a publisher (for songwriting) and the label (for sound recordings). Alternatively, you may wish to contact the artist management who will guide you further on the steps necessary." ContentLicense="CC BY-SA 3.0" />
  <row Id="50299" PostHistoryTypeId="2" PostId="27361" RevisionGUID="64b3a074-a3f8-48d0-b6ee-493468699be2" CreationDate="2013-09-21T16:52:41.203" UserDisplayName="Antoine Rodriguez" Text="Producers, Distributors, Artists. Who (and in what order) I must ask if I want to publicly reproduce a song (such as in a software, commercial, etc...)?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50300" PostHistoryTypeId="1" PostId="27361" RevisionGUID="64b3a074-a3f8-48d0-b6ee-493468699be2" CreationDate="2013-09-21T16:52:41.203" UserDisplayName="Antoine Rodriguez" Text="What is the procedure to check the rights over a song?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50301" PostHistoryTypeId="3" PostId="27361" RevisionGUID="64b3a074-a3f8-48d0-b6ee-493468699be2" CreationDate="2013-09-21T16:52:41.203" UserDisplayName="Antoine Rodriguez" Text="&lt;legal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50302" PostHistoryTypeId="36" PostId="27362" RevisionGUID="c60797fe-cba2-47c7-9d10-3e646bdf79a4" CreationDate="2014-02-21T10:47:02.543" UserId="-1" Comment="from http://video.stackexchange.com/questions/9015/what-is-the-procedure-to-check-the-rights-over-a-song/9031#9031" />
  <row Id="50303" PostHistoryTypeId="36" PostId="27363" RevisionGUID="d19e9ad4-34e2-4732-b97f-d6edb1d4b1a1" CreationDate="2014-02-21T10:47:11.183" UserId="-1" Comment="from http://video.stackexchange.com/questions/7427/are-barcodes-necessary-for-soundscan-registration" />
  <row Id="50304" PostHistoryTypeId="36" PostId="27364" RevisionGUID="74baaba7-58f3-441f-809d-3f4117be6651" CreationDate="2014-02-21T10:47:11.183" UserId="-1" Comment="from http://video.stackexchange.com/questions/7427/are-barcodes-necessary-for-soundscan-registration/7434#7434" />
  <row Id="50305" PostHistoryTypeId="2" PostId="27364" RevisionGUID="d7dc62e5-068b-4706-99c9-e857d915969e" CreationDate="2013-03-20T09:48:46.370" UserDisplayName="Michael Schneider" Text="After some googling I found this - In order to have a chance at making the Billboard music charts, your release must be registered with SoundScan using your UPC number. If you do not register then your sales figures are not counted, and you remain invisible to the system. Signing up with SoundScan requires that your release has an official UPC number. The UPC number consists of the 12 digits listed below the UPC barcode used to identify your release.&#xD;&#xA;&#xD;&#xA;Got this from this page http://simplybarcodes.net/soundscan.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="50306" PostHistoryTypeId="2" PostId="27363" RevisionGUID="0b4a53d2-3977-4e56-b439-d3c3cdcc2d04" CreationDate="2013-03-19T12:14:40.933" UserDisplayName="Elliott Maynard" Text="When I go to register my number to Soundscan, it says, Add New UPC/EAN Code. Do I need to get UPC/EAN Barcode for my song to be able to register it on Soundscan?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50307" PostHistoryTypeId="1" PostId="27363" RevisionGUID="0b4a53d2-3977-4e56-b439-d3c3cdcc2d04" CreationDate="2013-03-19T12:14:40.933" UserDisplayName="Elliott Maynard" Text="Are Barcodes Necessary for Soundscan Registration" ContentLicense="CC BY-SA 3.0" />
  <row Id="50308" PostHistoryTypeId="3" PostId="27363" RevisionGUID="0b4a53d2-3977-4e56-b439-d3c3cdcc2d04" CreationDate="2013-03-19T12:14:40.933" UserDisplayName="Elliott Maynard" Text="&lt;post-production&gt;&lt;legal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50309" PostHistoryTypeId="36" PostId="27365" RevisionGUID="82e9f96a-9bf3-4e97-ac5a-65241968b67d" CreationDate="2014-02-21T10:47:18.937" UserId="-1" Comment="from http://video.stackexchange.com/questions/1242/can-i-publish-a-dj-mix-of-current-chart-music-online" />
  <row Id="50310" PostHistoryTypeId="36" PostId="27366" RevisionGUID="796cafca-b305-466e-b982-de77fc54b3bd" CreationDate="2014-02-21T10:47:18.937" UserId="-1" Comment="from http://video.stackexchange.com/questions/1242/can-i-publish-a-dj-mix-of-current-chart-music-online/1245#1245" />
  <row Id="50311" PostHistoryTypeId="2" PostId="27366" RevisionGUID="5ded798e-9e8f-4bc7-b4dd-7cb18b7cb74e" CreationDate="2011-04-22T15:44:27.527" UserId="17571" UserDisplayName="Zeronyne" Text="Here is an incredible resource for your situation. Although it's centered on Podcasting, it really overlaps with your situation:&#xD;&#xA;&#xD;&#xA;[Podcasting Legal Guide][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here is the section on licenses you will need to be legal. This is very verbose, so I am linking instead of transferring it verbatim:&#xD;&#xA;&#xD;&#xA;[Licenses you will need.][2]&#xD;&#xA;&#xD;&#xA;And here is the section dealing with *why* you'd need each type of license.&#xD;&#xA;&#xD;&#xA;[Using Music][3]&#xD;&#xA;&#xD;&#xA;It's actually pretty straightforward, but if you haven't done it before, it would behoove you to read up on the details. Comment for clarification if you need more info.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://wiki.creativecommons.org/Podcasting_Legal_Guide&#xD;&#xA;  [2]: http://wiki.creativecommons.org/Podcasting_Legal_Guide#Licenses_You_Will_Need.&#xD;&#xA;  [3]: http://wiki.creativecommons.org/Podcasting_Legal_Guide#Using_Music" ContentLicense="CC BY-SA 3.0" />
  <row Id="50312" PostHistoryTypeId="2" PostId="27365" RevisionGUID="fdcc2ee4-e4a6-4662-b3a6-fd453e45715c" CreationDate="2011-04-22T10:11:06.877" UserDisplayName="Mister IT Guru" Text="I'm helping to plan an online blog about current music.  The idea is to have DJs create sets of the music being reviewed.&#xD;&#xA;&#xD;&#xA;I have heard that there are some avenues where the artists can get their royalties.  I've searched for such sites, but I don't seem to be able to find any.  Can anyone help, or recommend how to go about publishing DJ sets?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50313" PostHistoryTypeId="1" PostId="27365" RevisionGUID="fdcc2ee4-e4a6-4662-b3a6-fd453e45715c" CreationDate="2011-04-22T10:11:06.877" UserDisplayName="Mister IT Guru" Text="Can I publish a DJ mix of current chart music online?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50314" PostHistoryTypeId="3" PostId="27365" RevisionGUID="fdcc2ee4-e4a6-4662-b3a6-fd453e45715c" CreationDate="2011-04-22T10:11:06.877" UserDisplayName="Mister IT Guru" Text="&lt;legal&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50315" PostHistoryTypeId="36" PostId="27367" RevisionGUID="73f7839b-cf64-4fb1-b31f-4bcb9582ed06" CreationDate="2014-02-21T10:47:26.793" UserId="-1" Comment="from http://video.stackexchange.com/questions/3794/rechargeable-batteries-for-wireless-mics" />
  <row Id="50316" PostHistoryTypeId="36" PostId="27368" RevisionGUID="7f9f89a4-4f78-4d44-99c9-52c2c187d024" CreationDate="2014-02-21T10:47:26.793" UserId="-1" Comment="from http://video.stackexchange.com/questions/3794/rechargeable-batteries-for-wireless-mics/3818#3818" />
  <row Id="50317" PostHistoryTypeId="36" PostId="27369" RevisionGUID="686fcde8-6886-45d5-9c7e-cc97b4fde286" CreationDate="2014-02-21T10:47:26.793" UserId="-1" Comment="from http://video.stackexchange.com/questions/3794/rechargeable-batteries-for-wireless-mics/7654#7654" />
  <row Id="50318" PostHistoryTypeId="36" PostId="27370" RevisionGUID="d320b14a-7678-48be-94f2-944f157509bb" CreationDate="2014-02-21T10:47:26.793" UserId="-1" Comment="from http://video.stackexchange.com/questions/3794/rechargeable-batteries-for-wireless-mics/7655#7655" />
  <row Id="50319" PostHistoryTypeId="36" PostId="27371" RevisionGUID="dc26aa4a-205f-44ea-931a-31bf7cb085a9" CreationDate="2014-02-21T10:47:26.793" UserId="-1" Comment="from http://video.stackexchange.com/questions/3794/rechargeable-batteries-for-wireless-mics/7658#7658" />
  <row Id="50320" PostHistoryTypeId="2" PostId="27368" RevisionGUID="6c45e77a-e000-448e-a1ba-9b464850f177" CreationDate="2012-04-24T19:11:49.973" UserId="6862" Text="I use two rechargeable nickel metal hydride AA batteries with a wireless mic. They don't last as long as normal batteries, but I only need it run for two hours without recharging so it works well for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="50321" PostHistoryTypeId="2" PostId="27369" RevisionGUID="700ae4d4-4700-4bc1-aadc-c4602bbd4683" CreationDate="2013-04-14T15:55:34.840" UserId="7856" UserDisplayName="Corey" Text="I've been having a very good experience with Lithium-Polymer 9V rechargeable batteries in my Sennheiser wireless lapel mic. I was able to buy two batteries and a charger for $50." ContentLicense="CC BY-SA 3.0" />
  <row Id="50322" PostHistoryTypeId="2" PostId="27370" RevisionGUID="3d3d348d-67e9-491c-8da7-3943461d9c02" CreationDate="2013-04-15T00:20:53.717" UserDisplayName="David" Text="Had some bad luck with Shure mics. It may of been defective batteries, but the sound quality seemed not as boosted, and mic cut in/out ever 4-5 minutes. I talked to a more professional sound guy (who does some major setups), and he said not to do it. Just use real batteries. &#xD;&#xA;&#xD;&#xA;Hopefully this helps!" ContentLicense="CC BY-SA 3.0" />
  <row Id="50323" PostHistoryTypeId="2" PostId="27371" RevisionGUID="8d1e1924-2e55-4dbf-bdc6-fe57ee3ffaed" CreationDate="2013-04-15T13:24:53.540" UserId="7174" Text="The big trick is to find a good battery manufacturer that makes batteries that meet your needs.  If you are using them regularly, you will want the highest mAH value you can find and won't actually care about discharge issues (which mostly have to do with having batteries sit unused).  I don't have any direct experience with 9 volts unfortunately but have had very good luck with MAHA.  We use their AAs in several wireless mics at my church and I use them in all my photography gear with great success." ContentLicense="CC BY-SA 3.0" />
  <row Id="50324" PostHistoryTypeId="2" PostId="27367" RevisionGUID="cdbacc46-87d6-4c7c-a574-cc41e81b7872" CreationDate="2012-04-22T14:09:28.957" UserId="7856" UserDisplayName="Corey" Text="Has anyone had any positive experience using rechargeable batteries with wireless mics?&#xD;&#xA;&#xD;&#xA;In particular 9V as they are quite expensive.&#xD;&#xA;&#xD;&#xA;I’ve tried metal halide in the past with poor results, but I’m wondering about lithium ion." ContentLicense="CC BY-SA 3.0" />
  <row Id="50325" PostHistoryTypeId="1" PostId="27367" RevisionGUID="cdbacc46-87d6-4c7c-a574-cc41e81b7872" CreationDate="2012-04-22T14:09:28.957" UserId="7856" UserDisplayName="Corey" Text="Rechargeable batteries for wireless mics?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50326" PostHistoryTypeId="3" PostId="27367" RevisionGUID="cdbacc46-87d6-4c7c-a574-cc41e81b7872" CreationDate="2012-04-22T14:09:28.957" UserId="7856" UserDisplayName="Corey" Text="&lt;live&gt;&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50327" PostHistoryTypeId="36" PostId="27372" RevisionGUID="47ece535-05da-4518-b91d-cffe187702fd" CreationDate="2014-02-21T10:47:34.623" UserId="-1" Comment="from http://video.stackexchange.com/questions/3145/handling-m-audio-mobilepre-usb-outputs-in-apple-logic" />
  <row Id="50328" PostHistoryTypeId="2" PostId="27373" RevisionGUID="9665e773-96a6-429c-89af-6da8aafee160" CreationDate="2012-01-26T19:48:20.630" UserId="25220" UserDisplayName="Joe McMahon" Text="The best you can do with the MobilePre is to have two mono channels: click on one and tracks on the other. This is probably not what you want. &#xD;&#xA;&#xD;&#xA;I think you're going to want an interface with at least 4 independent outs: one L/R pair for the PA tracks, and one L/R pair for the drummer getting the click. Depending on how loud the PA is and how isolating the ear buds are, you may or may not need to mix a little of the tracks into the drummer's click track to help him/her keep his/her place.&#xD;&#xA;&#xD;&#xA;A Fast Track Pro should be able to give you the two independent output pairs; the Fast Track can't." ContentLicense="CC BY-SA 3.0" />
  <row Id="50329" PostHistoryTypeId="2" PostId="27372" RevisionGUID="678d5fae-ad4c-4e21-8840-2f1050302504" CreationDate="2011-11-30T00:37:02.783" UserDisplayName="Pitto" Text="how can I redirect a single instrument in Apple logic to different outputs on my mobilepre? I would like to send all my track instruments to mixer and just the track where I have prepared a click sound to my drummer who will be using ear buds." ContentLicense="CC BY-SA 3.0" />
  <row Id="50330" PostHistoryTypeId="1" PostId="27372" RevisionGUID="678d5fae-ad4c-4e21-8840-2f1050302504" CreationDate="2011-11-30T00:37:02.783" UserDisplayName="Pitto" Text="handling m-audio mobilepre USB outputs in Apple logic" ContentLicense="CC BY-SA 3.0" />
  <row Id="50331" PostHistoryTypeId="3" PostId="27372" RevisionGUID="678d5fae-ad4c-4e21-8840-2f1050302504" CreationDate="2011-11-30T00:37:02.783" UserDisplayName="Pitto" Text="&lt;live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50332" PostHistoryTypeId="36" PostId="27373" RevisionGUID="f2a585cb-1970-4b08-97af-009c002b7e07" CreationDate="2014-02-21T10:47:34.623" UserId="-1" Comment="from http://video.stackexchange.com/questions/3145/handling-m-audio-mobilepre-usb-outputs-in-apple-logic/3146#3146" />
  <row Id="50333" PostHistoryTypeId="36" PostId="27374" RevisionGUID="b3d2b332-ca51-429e-8586-3cdc7105c250" CreationDate="2014-02-21T10:47:47.503" UserId="-1" Comment="from http://video.stackexchange.com/questions/1073/placing-monitors-on-stage" />
  <row Id="50334" PostHistoryTypeId="36" PostId="27375" RevisionGUID="b810211d-a3d0-41dc-b52d-e9009a6ff08d" CreationDate="2014-02-21T10:47:47.503" UserId="-1" Comment="from http://video.stackexchange.com/questions/1073/placing-monitors-on-stage/1074#1074" />
  <row Id="50335" PostHistoryTypeId="2" PostId="27375" RevisionGUID="3fd45429-e89f-4ba9-92f6-7c962be26690" CreationDate="2011-03-21T22:40:04.280" UserDisplayName="Joe Mac" Text="Some feedback prevention approaches:&#xD;&#xA;&#xD;&#xA;Changing the aim of the monitor speakers or the microphones.  If the microphones are headsets (I assume they are for the musical), you can try to make sure the choreography doesn't take them (the singers and their microphones) too close to the near on-axis sound field of the speakers.  You should always evaluate your speaker/microphone placement first&#xD;&#xA;&#xD;&#xA;Another popular prevention approach is to adjust a parametric or graphic EQ in the signal path of the monitor speakers that cuts problem frequencies (the pitches of the feedback).  Artful EQ can go a long way.  See what you can do to make the feedback go away and still leave the sound easily discernable to the performers.  &#xD;&#xA;&#xD;&#xA;Also, if you're not already doing this, you should really be sending a different mix to the monitor speakers than goes to the house speakers.  This way you can give the performers only what they need to hear to perform and possibly cut down on feedback by sending, say, a higher ratio of background music to performers, as the backing music is probably mostly what they need to stay on pitch, and you're probably not getting the feedback from those microphones, so they are &quot;safer&quot; feedback-wise.&#xD;&#xA;&#xD;&#xA;There are some feedback-suppression devices on the market, but I don't have any personal experience with them.  The theory behind them sounds promising, but I can't really speak to the quality of the execution." ContentLicense="CC BY-SA 2.5" />
  <row Id="50336" PostHistoryTypeId="2" PostId="27374" RevisionGUID="5366e25a-ad55-47a5-94dd-1afcc99b7644" CreationDate="2011-03-21T21:57:01.753" UserDisplayName="Serplat" Text="I help with the sound at a local High School for their musicals.  The actors are having trouble hearing themselves on stage, so we're trying to place monitors on stage so that they can hear what they're singing.  However, when we do this, the sound gets fed back through their microphones, creating an annoying echo.&#xD;&#xA;&#xD;&#xA;What can I do to help cut this out?  Someone recommending using a feedback suppressor of some sort.  Would that be applicable here?  If so, what should I know when looking for one?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50337" PostHistoryTypeId="1" PostId="27374" RevisionGUID="5366e25a-ad55-47a5-94dd-1afcc99b7644" CreationDate="2011-03-21T21:57:01.753" UserDisplayName="Serplat" Text="Placing Monitors On-Stage" ContentLicense="CC BY-SA 2.5" />
  <row Id="50338" PostHistoryTypeId="3" PostId="27374" RevisionGUID="5366e25a-ad55-47a5-94dd-1afcc99b7644" CreationDate="2011-03-21T21:57:01.753" UserDisplayName="Serplat" Text="&lt;live&gt;&lt;monitors&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50339" PostHistoryTypeId="36" PostId="27376" RevisionGUID="f09ffe0e-333b-4c1f-8677-408d51916d70" CreationDate="2014-02-21T10:48:26.817" UserId="-1" Comment="from http://video.stackexchange.com/questions/2/should-i-use-compression-in-live-settings" />
  <row Id="50340" PostHistoryTypeId="2" PostId="27377" RevisionGUID="c9a5bf94-191b-4b48-83d4-9e590a846e9d" CreationDate="2010-12-07T20:26:43.047" UserDisplayName="Kim Burgaard" Text="Yes, definitely.  Especially if your vocalists are not trained in microphone technique.&#xD;&#xA;&#xD;&#xA;Dialing in some compression to take off the worst of the transients will help your live mix in exactly the same way it helps a mix of recorded music.  It can also help you control feed back, because it will reduce the loud transient sounds that can trigger a feed back signal." ContentLicense="CC BY-SA 2.5" />
  <row Id="50341" PostHistoryTypeId="2" PostId="27376" RevisionGUID="fca6a899-e7be-4270-844b-99d1f2893b3f" CreationDate="2010-12-07T20:21:53.873" UserDisplayName="lfoust" Text="I am running sound on a very limited budget and am wondering if adding some compression to our vocals and/or guitars will help our sound much. I am thinking I would only need 8 channels of compression and this might be a big improvement over our current sound." ContentLicense="CC BY-SA 2.5" />
  <row Id="50342" PostHistoryTypeId="1" PostId="27376" RevisionGUID="fca6a899-e7be-4270-844b-99d1f2893b3f" CreationDate="2010-12-07T20:21:53.873" UserDisplayName="lfoust" Text="Should I use compression in live settings?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50343" PostHistoryTypeId="3" PostId="27376" RevisionGUID="fca6a899-e7be-4270-844b-99d1f2893b3f" CreationDate="2010-12-07T20:21:53.873" UserDisplayName="lfoust" Text="&lt;live&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50344" PostHistoryTypeId="36" PostId="27377" RevisionGUID="9f2aef76-450c-45fd-8d61-d1244464dcad" CreationDate="2014-02-21T10:48:26.817" UserId="-1" Comment="from http://video.stackexchange.com/questions/2/should-i-use-compression-in-live-settings/6#6" />
  <row Id="50345" PostHistoryTypeId="36" PostId="27378" RevisionGUID="5ab413ed-4f8d-4a71-9f6f-654a70b9aed4" CreationDate="2014-02-21T10:48:26.817" UserId="-1" Comment="from http://video.stackexchange.com/questions/2/should-i-use-compression-in-live-settings/8#8" />
  <row Id="50346" PostHistoryTypeId="36" PostId="27379" RevisionGUID="8a05fa07-b9a7-4966-849b-1637859be16a" CreationDate="2014-02-21T10:48:26.817" UserId="-1" Comment="from http://video.stackexchange.com/questions/2/should-i-use-compression-in-live-settings/33#33" />
  <row Id="50347" PostHistoryTypeId="36" PostId="27380" RevisionGUID="24ab79d7-5dbd-4d49-8a8b-0a1f2963cada" CreationDate="2014-02-21T10:48:26.817" UserId="-1" Comment="from http://video.stackexchange.com/questions/2/should-i-use-compression-in-live-settings/34#34" />
  <row Id="50348" PostHistoryTypeId="36" PostId="27381" RevisionGUID="20114593-08fc-480e-b323-3117bb24e860" CreationDate="2014-02-21T10:48:26.817" UserId="-1" Comment="from http://video.stackexchange.com/questions/2/should-i-use-compression-in-live-settings/72#72" />
  <row Id="50349" PostHistoryTypeId="2" PostId="27378" RevisionGUID="462ca987-c8f5-4676-9279-235903e95bcb" CreationDate="2010-12-07T20:27:58.640" UserDisplayName="Clint Miller" Text="Compression is definitely great for live audio work. Used correctly in the mix, it can bring you lots of control for highly variable audio content." ContentLicense="CC BY-SA 2.5" />
  <row Id="50350" PostHistoryTypeId="2" PostId="27379" RevisionGUID="7c61fe31-3076-42af-9ebb-4eee5be0bcbc" CreationDate="2010-12-07T20:59:39.573" UserId="8064" UserDisplayName="Rich Bruchal" Text="Like anything else, you should use it if the situation warrants it. &#xD;&#xA;&#xD;&#xA;Do you have issues with dynamic range? I once had a gospel style vocalist with a very big voice and a lot of range - when she hit the loud parts, it pushed the levels to somewhat uncomfortable levels. A bit of compression helped to take the edge off those parts without altering the rest. But if you don't have issues like like that you may not need compression.  &#xD;&#xA;&#xD;&#xA;Are you going for a specific compressed &quot;sound&quot;? If so then of course it makes sense to use it.  Also, if you have issues keeping the vocal above everything else, compression can help keep you at the (high) levels you need without getting too loud. Although if that's the case, you might want to explore ways to get the instruments down, rather than pushing the vocal up. &#xD;&#xA;&#xD;&#xA;As for feedback, you still have to be careful. Any make-up gain you use in the compressed channel can potentially push you into feedback territory when there's no signal getting through, even though it may not be there when there's signal present and the compressor is reducing the gain.&#xD;&#xA;&#xD;&#xA;In other words, use it if there's something specific you need it to do. Simpler is better." ContentLicense="CC BY-SA 2.5" />
  <row Id="50351" PostHistoryTypeId="2" PostId="27380" RevisionGUID="e45dc743-da2c-41b1-8d14-2fae5cf77b26" CreationDate="2010-12-07T21:00:26.343" UserId="7856" UserDisplayName="Corey" Text="I love using compression for my live audio!!!&#xD;&#xA;&#xD;&#xA;I use it for individual mics and for the main &amp; monitor mixes." ContentLicense="CC BY-SA 2.5" />
  <row Id="50352" PostHistoryTypeId="2" PostId="27381" RevisionGUID="829922c7-4b7f-438b-ba35-6432755f851e" CreationDate="2010-12-07T22:20:17.850" UserDisplayName="chris" Text="For live rock show, 4-7 piece bands, I've had good success with the following guidelines.  As with anything else, remember that these are just guidelines - every room, every gig, every setup is different, and what works for one combination may not work for another.&#xD;&#xA;&#xD;&#xA; - Drums - usually, I'll compress the entire submix for the drums. Very little compression, and I rarely had a problem if it wasn't compressed.  Be careful if you're also using gates, you can trigger some strange sounding artifacts if you have the compression dialed up too high. &#xD;&#xA; - one subgroup for keyboards.  I usually run a fairly high compression on this, especially if I'd dealing with touch sensitive keys, and if you have a keyboard player that likes to mess around with settings, you may end up with some sounds much louder than others.  You can also get a lot of low energy from a keyboard, and compression can help to keep that under control.&#xD;&#xA; - rarely will I compress guitars&#xD;&#xA; - on the other hand, for live sound, I almost always compress the bass.  Depending on the playing style, you may get away with mild compression, but someone who goes from finger picking to slapping is going to need to have the compression turned way up.&#xD;&#xA; - backing vocals will usually get grouped &amp; compressed, if possible, but you can get away without it.  It's more important if the backup singers are doing a lot of harmonies it seems - keeps the levels nice &amp; consistent.&#xD;&#xA; - lead vocal(s) - there are a lot of variables that go into deciding what &amp; how much.  Some singer hate it, some don't care, but if you have a singer who isn't consistent in how close they are to the mic, it can really help.  Using a lot of compression can lead to feedback, so be careful.  Depending on whether you're doing monitors from the same board, or have a separate monitor mix, you may have to adjust to allow the monitors to punch a bit more.&#xD;&#xA; - horns are another good candidate for compressing the entire submix - a bit of compression can make the mix much more managable.  I may compress an individual horn if needed, expecially if the instrument is being mic'd from a stand, and the player likes to move around a lot.&#xD;&#xA; - effects:  You can do some interesting things by running effects into a compressed mix, but you can also destroy some subtle effects by forcing them up too much.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50353" PostHistoryTypeId="36" PostId="27382" RevisionGUID="ec94ab10-9737-4d6a-acc8-7772f65f1437" CreationDate="2014-02-21T10:48:54.087" UserId="-1" Comment="from http://video.stackexchange.com/questions/7438/software-for-organising-and-naming-an-archive-of-sounds" />
  <row Id="50354" PostHistoryTypeId="36" PostId="27383" RevisionGUID="ac705749-4d10-46cf-bfaa-3d6bca3d2492" CreationDate="2014-02-21T10:48:54.087" UserId="-1" Comment="from http://video.stackexchange.com/questions/7438/software-for-organising-and-naming-an-archive-of-sounds/7441#7441" />
  <row Id="50355" PostHistoryTypeId="36" PostId="27384" RevisionGUID="dd19eab9-6c8c-4540-84fc-c521a673ae5d" CreationDate="2014-02-21T10:48:54.087" UserId="-1" Comment="from http://video.stackexchange.com/questions/7438/software-for-organising-and-naming-an-archive-of-sounds/7442#7442" />
  <row Id="50356" PostHistoryTypeId="2" PostId="27383" RevisionGUID="75218279-7bbb-4173-bb3a-4c5f3b4807f3" CreationDate="2013-03-20T18:33:10.803" UserId="7174" Text="Honestly, using iTunes or Windows Media Player and updating ID3 tags as you go is probably the easiest (assuming you are using Mp3 as your format).  Then you can simply use one of the many tools that can separate files out based on their ID3 info." ContentLicense="CC BY-SA 3.0" />
  <row Id="50357" PostHistoryTypeId="2" PostId="27384" RevisionGUID="faa7d6d1-2bd4-4335-8251-846840200a7f" CreationDate="2013-03-20T20:54:44.760" UserId="7176" Text="You can also try out sample organisation software. Below I have listed several free sample organisers, it's directly taken from [this page](http://www.kvraudio.com/forum/viewtopic.php?p=4676394) on an audio forum.&#xD;&#xA;&#xD;&#xA;Windows:  &#xD;&#xA; - [Aural Probe](http://sourceforge.net/projects/auralprobe/)  &#xD;&#xA; - [JamSoft SampleSort](http://www.jamsoft.co.uk/)  &#xD;&#xA; - [SoundManager](http://www.drums.sk/soundman.htm) &#xD;&#xA; &#xD;&#xA;Mac:  &#xD;&#xA; - [Sonicwire Mutant](http://sonicwire.com/mutant)  &#xD;&#xA;&#xD;&#xA;You can find more similar programs in the linked forum page.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50358" PostHistoryTypeId="2" PostId="27382" RevisionGUID="ca7e8be1-e932-4c70-bd87-4daeb493412b" CreationDate="2013-03-20T17:21:31.460" UserId="11451" UserDisplayName="Andrew Welch" Text="I travelled by bike through India, and made audio recording. They range hugely in quality of content and sound. Unfortunately they were only recorded on an olympus digital voice recorder. However, many of them are only voice and the sound is fine, if a little compressed. I need to be able to listen through these tracks and edit the name, arrange into folders, and make notes on the decent ones, in order that I can create a compilation that I can release and the good stuff can be made public.&#xD;&#xA;&#xD;&#xA;I'm on a mac." ContentLicense="CC BY-SA 3.0" />
  <row Id="50359" PostHistoryTypeId="1" PostId="27382" RevisionGUID="ca7e8be1-e932-4c70-bd87-4daeb493412b" CreationDate="2013-03-20T17:21:31.460" UserId="11451" UserDisplayName="Andrew Welch" Text="Software for organising and naming an archive of sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="50360" PostHistoryTypeId="3" PostId="27382" RevisionGUID="ca7e8be1-e932-4c70-bd87-4daeb493412b" CreationDate="2013-03-20T17:21:31.460" UserId="11451" UserDisplayName="Andrew Welch" Text="&lt;software&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50361" PostHistoryTypeId="36" PostId="27385" RevisionGUID="4127b6b4-a7c1-421c-8d17-158ce656abf0" CreationDate="2014-02-21T10:49:10.243" UserId="-1" Comment="from http://video.stackexchange.com/questions/1369/looking-for-a-sound-editor-for-mac-osx" />
  <row Id="50362" PostHistoryTypeId="36" PostId="27386" RevisionGUID="d0401505-871e-4445-8c8d-75aa85dc3cf6" CreationDate="2014-02-21T10:49:10.243" UserId="-1" Comment="from http://video.stackexchange.com/questions/1369/looking-for-a-sound-editor-for-mac-osx/1370#1370" />
  <row Id="50363" PostHistoryTypeId="36" PostId="27387" RevisionGUID="2aa58707-31de-4c39-9ebf-c9bad1f6c999" CreationDate="2014-02-21T10:49:10.243" UserId="-1" Comment="from http://video.stackexchange.com/questions/1369/looking-for-a-sound-editor-for-mac-osx/1378#1378" />
  <row Id="50364" PostHistoryTypeId="36" PostId="27388" RevisionGUID="39894b08-50a4-489c-aaf3-5a04fa4e94ac" CreationDate="2014-02-21T10:49:10.243" UserId="-1" Comment="from http://video.stackexchange.com/questions/1369/looking-for-a-sound-editor-for-mac-osx/1385#1385" />
  <row Id="50365" PostHistoryTypeId="36" PostId="27389" RevisionGUID="9426cb6c-0146-4ed9-b210-0ba6d5087bcd" CreationDate="2014-02-21T10:49:10.243" UserId="-1" Comment="from http://video.stackexchange.com/questions/1369/looking-for-a-sound-editor-for-mac-osx/1390#1390" />
  <row Id="50366" PostHistoryTypeId="36" PostId="27390" RevisionGUID="886f9046-8706-4ab9-b93f-6484b55078fd" CreationDate="2014-02-21T10:49:10.243" UserId="-1" Comment="from http://video.stackexchange.com/questions/1369/looking-for-a-sound-editor-for-mac-osx/2346#2346" />
  <row Id="50367" PostHistoryTypeId="36" PostId="27391" RevisionGUID="5093415c-8a54-4d6f-9db5-04e95a9f1599" CreationDate="2014-02-21T10:49:10.243" UserId="-1" Comment="from http://video.stackexchange.com/questions/1369/looking-for-a-sound-editor-for-mac-osx/2363#2363" />
  <row Id="50368" PostHistoryTypeId="2" PostId="27386" RevisionGUID="574d0a9d-6902-40bd-974b-29ee7b52e41d" CreationDate="2011-05-07T01:49:28.493" UserDisplayName="boehj" Text="Do you have Garage Band? It's really quite a powerful *sequencer*. If you don't have it, I believe it can be purchased through the Mac App Store for not much. I'm not sure if it fits what you mean by a sound editor though. If not, then I'd suggest you use Audacity as: a) it's free, and b) you know it already, having come from Linux.&#xD;&#xA;&#xD;&#xA;[Ardour](http://ardour.org/) would be the F/OSS alternative to Garage Band.&#xD;&#xA;&#xD;&#xA;[TwistedWave](http://twistedwave.com/) is available from the Mac App Store for about $80. I don't have any experience with this program but it's a sound editor as opposed to a sequencer." ContentLicense="CC BY-SA 3.0" />
  <row Id="50369" PostHistoryTypeId="2" PostId="27387" RevisionGUID="813b0de7-36d8-47fb-876f-965753e75ac8" CreationDate="2011-05-07T19:49:31.237" UserDisplayName="Mikhalo Ivanokov" Text="I know it is expensive, but Logic Studio comes along with Soundtrack Pro. It's a great program allowing for powerful waveform editing.&#xD;&#xA;&#xD;&#xA;I jumped straight into it and bought a video training from Lynda.com. It's not really the easiest editor after all but for the Mac I guess it's by far the best one. Most other stuff I've discovered always was about Midi and making music. Sequencers, etc, but very poor or no waveform editing capabilities.&#xD;&#xA;&#xD;&#xA;Audacity is nice but I find it very hard to use.&#xD;&#xA;&#xD;&#xA;And then there's also SoundBooth from Adobe. I don't know it's price though but guess it's insanely expensive. I've got that as well inside my CS5 Production Premium package but haven't ever used it. From what I know by watching some about videos, it's comparable to Soundtrack Pro from Apple.&#xD;&#xA;&#xD;&#xA;Note that Soundtrack Pro has been developed with a strong focus on sound editing for movies, so there is a lot of &quot;interface chrome&quot; going on for this kind of stuff.&#xD;&#xA;&#xD;&#xA;I'm not sure if there's a &quot;real&quot; standalone wave editor for the Mac, besides Audacity, which does it the &quot;Apple way&quot; (easy to use, great user interface, etc.).&#xD;&#xA;&#xD;&#xA;Garage Band is comparable to Logic Pro 9 but imho not very useful for sound design, just for making music.&#xD;&#xA;&#xD;&#xA;After all I am a beginner though so you shouldn't take my advice for granted ;-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="50370" PostHistoryTypeId="2" PostId="27388" RevisionGUID="8e2c8d50-c411-41be-9ff4-e7f2f46573ab" CreationDate="2011-05-09T14:29:18.043" UserId="7093" Text="I don't know how &quot;Macish&quot; it is, but [Reaper][1] is inexpensive, easy to use, and has an [excellent guide called &quot;Up and Running&quot;][2] (PDF) that will quickly get you started using it.  It also has a free 30 day trial period so you can check it out properly.&#xD;&#xA;&#xD;&#xA;I have used Audacity for recording, and found adding effects to be tedious.  With reaper you simply add the effect to the track and adjust it in real-time.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.reaper.fm/index.php&#xD;&#xA;  [2]: http://www.reaper.fm/userguide/ReaperUserGuide375c.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="50371" PostHistoryTypeId="2" PostId="27389" RevisionGUID="e3065419-f408-44a9-ae4e-12c3a05c15db" CreationDate="2011-05-10T09:20:18.213" UserDisplayName="Dmitriy Koval" Text="[Ableton Live][1] is a recording and production program which might fit your needs. It's simple to use, and it can handle most production tasks. I've used it over 2 years and I haven't yet found a task that I cannot solve with it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ableton.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="50372" PostHistoryTypeId="2" PostId="27390" RevisionGUID="99c34086-a814-44b9-a01d-1d7875ed6fa9" CreationDate="2011-09-20T19:40:36.357" UserDisplayName="bmike" Text="[Sound Studio][1] by [Felt Tip Software][2] is also a great entry level editing package. The fidelity of the processing is top notch and the user interface is very well done.&#xD;&#xA;&#xD;&#xA;It's not a Logic Express or Logic Pro level tool, but it is more like Garage Band in price and ability to do a lot of high quality work with only a little investment in learning and cash.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://itunes.apple.com/us/app/sound-studio/id405537804?mt=12&#xD;&#xA;  [2]: http://www.felttip.com/ss/" ContentLicense="CC BY-SA 3.0" />
  <row Id="50373" PostHistoryTypeId="2" PostId="27391" RevisionGUID="de4805ed-d309-4556-b26f-ef669c183d8d" CreationDate="2011-09-22T22:23:37.593" UserDisplayName="scottc" Text="I use [Amadeus Pro][1] for quick editing.  It doesn't have as many features as Audacity but it's more responsive and definitely feels &quot;more Mac&quot;.  I'm not sure it's $60 better than Audacity - I got it cheap as part of a promotional bundle - but it's worthy of a look.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.hairersoft.com/Amadeus.html &quot;Amadeus Pro&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50374" PostHistoryTypeId="2" PostId="27385" RevisionGUID="c6aeabbc-93bb-43b5-9f3c-23b08ab7fdc6" CreationDate="2011-05-07T00:57:18.440" UserDisplayName="mfcabrera" Text="I am looking for an audio editor (it does not matter if it is free or not). I am starting to  learn music and how create and edit in Mac. I want a simple but still powerful enough application to edit audio files and apply some effects. I come from Linux, so, and the obvious choice would be Audacity. What other alternatives do I have (may be more &quot;Macish&quot;)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50375" PostHistoryTypeId="1" PostId="27385" RevisionGUID="c6aeabbc-93bb-43b5-9f3c-23b08ab7fdc6" CreationDate="2011-05-07T00:57:18.440" UserDisplayName="mfcabrera" Text="Looking for a Sound Editor for Mac OSX" ContentLicense="CC BY-SA 3.0" />
  <row Id="50376" PostHistoryTypeId="3" PostId="27385" RevisionGUID="c6aeabbc-93bb-43b5-9f3c-23b08ab7fdc6" CreationDate="2011-05-07T00:57:18.440" UserDisplayName="mfcabrera" Text="&lt;software&gt;&lt;mac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50377" PostHistoryTypeId="36" PostId="27392" RevisionGUID="db3ceeff-624c-49c0-b9a1-45c5b243e18e" CreationDate="2014-02-21T10:49:21.603" UserId="-1" Comment="from http://video.stackexchange.com/questions/1967/can-a-broken-jack-produce-out-of-phase-sound" />
  <row Id="50378" PostHistoryTypeId="2" PostId="27393" RevisionGUID="c5819e18-dfb1-49ac-a22b-d6c90f289848" CreationDate="2011-07-28T13:16:50.197" UserId="7093" Text="Pulling the connector out slightly will connect the tip of the plug to the ring of the jack on the speaker.  This will definitely give you an out of phase signal.&#xD;&#xA;&#xD;&#xA;Even if you inverted the phase of the signal to the monitor or modified your cable to compensate, I don't think you can get the same quality of sound you would have from a good connection.  Also I would imagine that there is a slight possibility of damaging the monitor because of the bad connection.&#xD;&#xA;&#xD;&#xA;Your best bet is to repair/replace the monitor." ContentLicense="CC BY-SA 3.0" />
  <row Id="50379" PostHistoryTypeId="2" PostId="27392" RevisionGUID="674bba03-3e66-4995-837c-406b22d96fed" CreationDate="2011-07-28T11:54:54.530" UserId="7460" Text="One of my Yamaha HS-50M monitors fell from the desk recently. It had a normal Tip/Sleeve connector plugged in, but upon impact the jack got a bit loose.&#xD;&#xA;&#xD;&#xA;Now in order to get a signal, I have to pull the connector a few millimeters out of the jack.&#xD;&#xA;&#xD;&#xA;When listening to music, now I get a really strange effect. It sounds like the monitors are out of phase, with the music (and especially vocals) not having a distinct stereo position.&#xD;&#xA;&#xD;&#xA;Is this something only in my imagination? Or is it technically possible that such an effect occurs because of a broken jack?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50380" PostHistoryTypeId="1" PostId="27392" RevisionGUID="674bba03-3e66-4995-837c-406b22d96fed" CreationDate="2011-07-28T11:54:54.530" UserId="7460" Text="Can a broken jack produce out-of-phase sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50381" PostHistoryTypeId="3" PostId="27392" RevisionGUID="674bba03-3e66-4995-837c-406b22d96fed" CreationDate="2011-07-28T11:54:54.530" UserId="7460" Text="&lt;monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50382" PostHistoryTypeId="36" PostId="27393" RevisionGUID="45a7873d-15be-45e7-a3fd-f06e85c50425" CreationDate="2014-02-21T10:49:21.603" UserId="-1" Comment="from http://video.stackexchange.com/questions/1967/can-a-broken-jack-produce-out-of-phase-sound/1968#1968" />
  <row Id="50383" PostHistoryTypeId="36" PostId="27394" RevisionGUID="bc1355c9-c1d6-4827-a34e-020d41cd36fd" CreationDate="2014-02-21T10:49:21.603" UserId="-1" Comment="from http://video.stackexchange.com/questions/1967/can-a-broken-jack-produce-out-of-phase-sound/2400#2400" />
  <row Id="50384" PostHistoryTypeId="2" PostId="27394" RevisionGUID="eb5e3214-3162-4d01-af87-94a3e9282444" CreationDate="2011-09-28T23:34:55.590" UserDisplayName="H_7" Text="No, sure it's not only your imagination... You described exactly what happened to me when my earphone broked, and only &quot;worked&quot; with few milimeters out of the jack and some &quot;straaannggee&quot; effects...&#xD;&#xA;&#xD;&#xA;It's just a closed circuit between the right and the left channel, happening in the connectors jack. Then, with the &quot;circuit-mix&quot; on, the first thing pops out its the &quot;karaoke&quot; effect, which occurs mainly because voices are centered-mixed, and the phases get cancelled. Anything not center-mixed, will go to the other side of the pan. Anything on the middle, it will cancel. Very funny effect.&#xD;&#xA;&#xD;&#xA;Change the jack, get all right sounds back!=)" ContentLicense="CC BY-SA 3.0" />
  <row Id="50385" PostHistoryTypeId="36" PostId="27395" RevisionGUID="49576fca-13c2-4d4d-850a-243b507881f5" CreationDate="2014-02-21T10:49:31.777" UserId="-1" Comment="from http://video.stackexchange.com/questions/1572/can-i-use-front-ported-monitors-against-a-wall-or-crowded-desk-without-problem" />
  <row Id="50386" PostHistoryTypeId="36" PostId="27396" RevisionGUID="fe346fe8-afbd-4d1a-ac64-b9cbd33e52e5" CreationDate="2014-02-21T10:49:31.777" UserId="-1" Comment="from http://video.stackexchange.com/questions/1572/can-i-use-front-ported-monitors-against-a-wall-or-crowded-desk-without-problem/1578#1578" />
  <row Id="50387" PostHistoryTypeId="2" PostId="27396" RevisionGUID="f2efc104-80c2-4b75-b6fd-22ac48f98594" CreationDate="2011-06-10T19:48:03.827" UserDisplayName="Shane Kilkelly" Text="While it's true that front-ported monitors are preferable in that situation, the fact is that being so close to a wall will never be &quot;without trouble&quot;, especially in an un-treated room.&#xD;&#xA;In other words, the front ports aren't going to magically cure all problems related to being close to a wall in an untreated room.&#xD;&#xA;  &#xD;&#xA;having said that, a set of decent front-ported monitors is still your best bet for a usable setup, and will likely be substantially more reliable than either headphones or normal &quot;desktop speakers&quot;.&#xD;&#xA;  &#xD;&#xA;I say go for it, but just be aware that the front ports are not a magic-bullet solution." ContentLicense="CC BY-SA 3.0" />
  <row Id="50388" PostHistoryTypeId="2" PostId="27397" RevisionGUID="7274f1ff-b6a8-4edc-8b5d-2f4c25e3ee51" CreationDate="2011-06-11T01:22:37.393" UserDisplayName="Kim Burgaard" Text="Close proximity to a wall, ceiling or floor will reinforce the bass due to reflecting sound waves regardless of the speaker type. The room layout, the exact speaker placement as well as the material of the wall, ceiling, floor etc. all affect and color the sound produced by the speakers.&#xD;&#xA;&#xD;&#xA;This coloration can both be a disadvantage, especially if you are not conscious about the effect, but can also sometimes be used positively to deliberately boost the low end.&#xD;&#xA;&#xD;&#xA;Very few people have completely neutral speakers set in an acoustically ideal room--this is true even for professional studios with otherwise state-of-the-art equipment. It's much more important that you know the effect the speakers and the room have on the sound. Of course you want to get rid of pronounced artifacts caused by standing waves, but beyond that you can create stellar mixes in many environments as long as you know how the speakers and the room color the sound.&#xD;&#xA;&#xD;&#xA;For example, the venerable Yamaha NS-10 has been a long-time near-field monitor favorite in many studios despite a [reputation for a sound that people either love or hate, but nobody would claim to be neutral][1].&#xD;&#xA;&#xD;&#xA;I use a set of reference CDs with a sound that I am intimately familiar with and that I trust is sonically well-balanced. I know how my reference songs sound in a wide variety of settings ranging from crappy mono transistor radios to my beloved studio monitors and I play these songs a lot on my studio monitors as a way to reset my ears.&#xD;&#xA;&#xD;&#xA;**TL;DR**&#xD;&#xA;&#xD;&#xA;As long as the placement and the room doesn't result in standing waves and other problems that completely masks other detail in the sound, then you will probably be fine as long as you know how the placement colors the sound.&#xD;&#xA;&#xD;&#xA;Buy the speakers at a place that'll let you return them if you don't like them and see if it works for you.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/sep08/articles/yamahans10.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="50389" PostHistoryTypeId="2" PostId="27395" RevisionGUID="62d95efb-dbd6-41bb-bbee-7dae22ee1b05" CreationDate="2011-06-09T18:14:01.063" UserId="7294" Text="Currently I attempt to mix my music in an untreated living room, going back and forth between a pair of headphones and a sizable desktop speaker system. I'd like to improve the situation with some basic reference monitors, but I'm tight on space so my desk is up against a wall.&#xD;&#xA;&#xD;&#xA;This immediately rules out any back-ported speakers, since the bass response will be boomy and unreliable that close to the wall. However, I have heard that front-ported speakers (such as KRK's Rokit speakers) can be placed close to a rear surface without trouble. In fact, it's written right on the Rokit 5 G2's box.&#xD;&#xA;&#xD;&#xA;Is this true, or just advertising? **For amateur mixing and reference situations, can front-ported monitor speakers be placed close to walls or other surfaces?**" ContentLicense="CC BY-SA 3.0" />
  <row Id="50390" PostHistoryTypeId="1" PostId="27395" RevisionGUID="62d95efb-dbd6-41bb-bbee-7dae22ee1b05" CreationDate="2011-06-09T18:14:01.063" UserId="7294" Text="Can I use front-ported monitors against a wall (or crowded desk) without problems?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50391" PostHistoryTypeId="3" PostId="27395" RevisionGUID="62d95efb-dbd6-41bb-bbee-7dae22ee1b05" CreationDate="2011-06-09T18:14:01.063" UserId="7294" Text="&lt;monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50392" PostHistoryTypeId="36" PostId="27397" RevisionGUID="94363daa-2e2d-4559-a2a9-235f04279c86" CreationDate="2014-02-21T10:49:31.777" UserId="-1" Comment="from http://video.stackexchange.com/questions/1572/can-i-use-front-ported-monitors-against-a-wall-or-crowded-desk-without-problem/1579#1579" />
  <row Id="50393" PostHistoryTypeId="36" PostId="27398" RevisionGUID="2082afcd-d045-43e1-857e-da73fcada357" CreationDate="2014-02-21T10:49:40.700" UserId="-1" Comment="from http://video.stackexchange.com/questions/1197/krk-vxt6-monitors-how-long-between-breaks" />
  <row Id="50394" PostHistoryTypeId="2" PostId="27399" RevisionGUID="80c64517-fb39-43f3-8cd5-8776db6bb502" CreationDate="2011-04-20T08:19:04.090" UserDisplayName="Toft" Text="Since KRK VXT6 are &quot;active&quot; speakers, ie have built-in amplifiers, I suspect it's the amps that causes the speakers becoming hot. High temperatures could, potentially, lower the quality but I wouldn't worry too much about it.&#xD;&#xA;&#xD;&#xA;The speakers are after all marketed as studio monitors and in my opinion that should qualify them for use over long periods of time - 24+ hours non-stop recording sessions are not that unusual." ContentLicense="CC BY-SA 3.0" />
  <row Id="50395" PostHistoryTypeId="2" PostId="27398" RevisionGUID="98775c00-f1e7-4b5f-a0c6-0fabe105f41f" CreationDate="2011-04-19T10:31:39.600" UserDisplayName="boehj" Text="I've owned a pair of KRK VXT6 monitors for about a year now. I'm very happy with them overall but they do seem to get rather hot after periods of extended use. Not burn your hand hot, but enough to make me wonder whether it's detrimental for the speakers.&#xD;&#xA;&#xD;&#xA;I've consulted the manual and there's nothing in there regarding overheating. I guess common sense should prevail. I live in a hot climate (Bangkok) but the room is air conditioned and if anything, it's too cold.&#xD;&#xA;&#xD;&#xA;Some days they're working, non-stop, from 7 a.m. to midnight. There are no heat sinks on the back of the cabinet.&#xD;&#xA;&#xD;&#xA;So, without wanting to be too subjective here, and there any rules of thumb regarding how long speakers may be used before they earn a rest period? For example, in a proper studio, would a pair of monitors ever see 15-18 hours use?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50396" PostHistoryTypeId="1" PostId="27398" RevisionGUID="98775c00-f1e7-4b5f-a0c6-0fabe105f41f" CreationDate="2011-04-19T10:31:39.600" UserDisplayName="boehj" Text="KRK VXT6 monitors: How long between breaks?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50397" PostHistoryTypeId="3" PostId="27398" RevisionGUID="98775c00-f1e7-4b5f-a0c6-0fabe105f41f" CreationDate="2011-04-19T10:31:39.600" UserDisplayName="boehj" Text="&lt;monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50398" PostHistoryTypeId="36" PostId="27399" RevisionGUID="a53b0a6d-50f7-42e2-9f62-6eb52c465523" CreationDate="2014-02-21T10:49:40.700" UserId="-1" Comment="from http://video.stackexchange.com/questions/1197/krk-vxt6-monitors-how-long-between-breaks/1205#1205" />
  <row Id="50399" PostHistoryTypeId="36" PostId="27400" RevisionGUID="d3f1364a-5fd8-4e14-b9a9-6fc71310c2e4" CreationDate="2014-02-21T10:49:40.700" UserId="-1" Comment="from http://video.stackexchange.com/questions/1197/krk-vxt6-monitors-how-long-between-breaks/1247#1247" />
  <row Id="50400" PostHistoryTypeId="2" PostId="27400" RevisionGUID="9726540f-93d9-4896-b031-9f52f889344d" CreationDate="2011-04-22T16:01:42.787" UserId="17571" UserDisplayName="Zeronyne" Text="In a proper studio, it is not uncommon for studio monitors to see continuous use for days on end. Power amps get hot, but they are designed with tolerances in mind, so I doubt that you'd experience any problems based on that factor alone. Still, you may want to shoot a quick email to service@krksys.com to ask them what the typical temperature should be. They are actually responsive, unlike may MI manufacturers' service departments." ContentLicense="CC BY-SA 3.0" />
  <row Id="50405" PostHistoryTypeId="36" PostId="27402" RevisionGUID="4a429911-c000-43eb-b1e1-0b58e60b9ba0" CreationDate="2014-02-21T10:51:21.410" UserId="-1" Comment="from http://video.stackexchange.com/questions/3885/is-there-a-limit-to-the-visual-editor-in-izotope-iris" />
  <row Id="50406" PostHistoryTypeId="2" PostId="27402" RevisionGUID="3eae2d1d-49a5-4d50-88e5-6f4b9f10ab0d" CreationDate="2012-04-30T18:39:23.807" UserId="7294" Text="I've recently purchased the [iZotope Iris](http://izotope.com/products/audio/iris/) sampler plugin. While experimenting with the visual spectrum editor, I find that sometimes the drawing tools appear to do nothing. It's as if I'm only alotted so many edits to the image, and I have run out. However, I cannot find any indication of what this limit is or why it happens.&#xD;&#xA;&#xD;&#xA;Is this a known limitation in Iris? Have I missed something in the interface or instructional material?&#xD;&#xA;&#xD;&#xA;Some experimenting suggests that I can draw again if I undo previous edits, or clear my edits out entirely. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50407" PostHistoryTypeId="1" PostId="27402" RevisionGUID="3eae2d1d-49a5-4d50-88e5-6f4b9f10ab0d" CreationDate="2012-04-30T18:39:23.807" UserId="7294" Text="Is there a limit to the visual editor in Izotope Iris?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50408" PostHistoryTypeId="3" PostId="27402" RevisionGUID="3eae2d1d-49a5-4d50-88e5-6f4b9f10ab0d" CreationDate="2012-04-30T18:39:23.807" UserId="7294" Text="&lt;plugins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50409" PostHistoryTypeId="36" PostId="27403" RevisionGUID="1834b3f3-abb7-410c-a8ae-df5160b00b66" CreationDate="2014-02-21T10:51:32.757" UserId="-1" Comment="from http://video.stackexchange.com/questions/1618/how-does-the-audio-production-community-view-presets" />
  <row Id="50410" PostHistoryTypeId="36" PostId="27404" RevisionGUID="00ab57b3-13e4-4222-8743-781709e74132" CreationDate="2014-02-21T10:51:32.757" UserId="-1" Comment="from http://video.stackexchange.com/questions/1618/how-does-the-audio-production-community-view-presets/1619#1619" />
  <row Id="50411" PostHistoryTypeId="36" PostId="27405" RevisionGUID="969d7803-9275-468e-897c-ba2724f68d10" CreationDate="2014-02-21T10:51:32.757" UserId="-1" Comment="from http://video.stackexchange.com/questions/1618/how-does-the-audio-production-community-view-presets/1620#1620" />
  <row Id="50412" PostHistoryTypeId="2" PostId="27404" RevisionGUID="2ce7a78e-ee0e-4080-a617-f3e1a2c1dbcc" CreationDate="2011-06-19T13:39:37.973" UserId="7471" Text="There are three main objections to presets that I have come across:&#xD;&#xA;&#xD;&#xA;1) Presets are often over-hyped in order to sound impressive in a demo context. For example the first patch on a synthesizer is usually a very lush and elaborate sound so that holding down just a single note results in a fully produced soundscape, often drowned in reverb and delay. But such sounds tend to be hard to fit into a real world mix. Exactly the same tends to be true with guitar effects - they are designed to sound good in the shop, but the presets may not work well in the context of a band.&#xD;&#xA;&#xD;&#xA;2) With some effects, presets don't always make sense because they need to be set up specifically for your source material. A classic example is the threshold control on a compressor. You can't easily make a &quot;vocals&quot; or &quot;bass guitar&quot; preset for a compressor since you don't know what level the incoming signal will be at. This means that users can naively dial in a preset whose controls are inappropriately set for the material they are working with.&#xD;&#xA;&#xD;&#xA;3) Presets are thought to encourage laziness - rather than learning to use the effect/instrument properly and exploring its sonic capabilities, you just look for the preset that gives instant gratification. In other words, the presence of presets can stifle creativity.&#xD;&#xA;&#xD;&#xA;Having said all that, I prefer my effects and instruments to come with presets. They give me sensible starting points, and show off a wide variety of possibilities that I may not have discovered manually." ContentLicense="CC BY-SA 3.0" />
  <row Id="50413" PostHistoryTypeId="2" PostId="27405" RevisionGUID="bdbf26c9-bc57-4196-8d03-c491503be137" CreationDate="2011-06-19T17:32:18.997" UserDisplayName="Kim Burgaard" Text="I think it was more of an issue in the past, where synthesizers came with much fewer sounds that, as a consequence, were easily recognized.&#xD;&#xA;&#xD;&#xA;For example, the factory preset sounds of the venerable Yamaha DX-7 synthesizer can be found in countless pop hits from the 80's and in many cases, with little or no variation from the factory preset. Once the DX-7 became popular in mainstream music, some musicians and producers wanted it exactly for the preset sounds, while others went out of their way to program sounds that didn't sound like the factory presets.&#xD;&#xA;&#xD;&#xA;I think presets are useful as starting points. If you're searching for a sound that blends in well with the rest of the music, presets will often give you a good idea where to start. Today's synthesizers and samplers often come loaded with thousands of sounds and with an incredible array of effects and parameters that can changed. As Mark Heath points out, the presets might be beefed up with excessive reverb, etc. but such effects can usually be tweaked or removed.&#xD;&#xA;&#xD;&#xA;Presets are also important for musicians in live settings, especially if you're improvising or take requests. So even though some people might disregard the presets in the studio, they still serve a vital role for the countless musicians on the stage.&#xD;&#xA;&#xD;&#xA;The way I see it, it's ultimately all about finding sounds that match the expression or effect you want to impart with the music. Whether you start from a preset or from scratch doesn't really matter as long as you reach that goal. That said, I would probably spend some extra effort to tweak a factory preset with a very recognizable sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="50414" PostHistoryTypeId="2" PostId="27403" RevisionGUID="b4161416-39f1-49ed-83e8-0378beb66183" CreationDate="2011-06-19T02:05:57.973" UserDisplayName="James Litewski" Text="A couple questions relating to Presets:  &#xD;&#xA;Are presets one of those things that most people turn their heads from? Or are they actually commonly and widely accepted for use in Audio Production?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50415" PostHistoryTypeId="1" PostId="27403" RevisionGUID="b4161416-39f1-49ed-83e8-0378beb66183" CreationDate="2011-06-19T02:05:57.973" UserDisplayName="James Litewski" Text="How does the Audio Production community view presets?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50416" PostHistoryTypeId="3" PostId="27403" RevisionGUID="b4161416-39f1-49ed-83e8-0378beb66183" CreationDate="2011-06-19T02:05:57.973" UserDisplayName="James Litewski" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50417" PostHistoryTypeId="36" PostId="27406" RevisionGUID="5eeffff5-708b-439d-af0b-bd1947d923f8" CreationDate="2014-02-21T10:51:41.180" UserId="-1" Comment="from http://video.stackexchange.com/questions/2995/creating-a-classic-ska-sound" />
  <row Id="50418" PostHistoryTypeId="36" PostId="27407" RevisionGUID="24b785b5-4027-4391-83cd-8dbea82a0e17" CreationDate="2014-02-21T10:51:41.180" UserId="-1" Comment="from http://video.stackexchange.com/questions/2995/creating-a-classic-ska-sound/3000#3000" />
  <row Id="50419" PostHistoryTypeId="36" PostId="27408" RevisionGUID="8140d683-df1a-43ed-a098-4de09469772b" CreationDate="2014-02-21T10:51:41.180" UserId="-1" Comment="from http://video.stackexchange.com/questions/2995/creating-a-classic-ska-sound/3011#3011" />
  <row Id="50420" PostHistoryTypeId="2" PostId="27407" RevisionGUID="d78929d5-cffd-4dbd-9aac-60fe8aed5aae" CreationDate="2012-01-10T20:32:32.423" UserId="7398" Text="Garage Band has a couple of Fuzz Pedals.  They're intended to be used as guitar effects, but you might be able to tweak them to get the sound you're after." ContentLicense="CC BY-SA 3.0" />
  <row Id="50421" PostHistoryTypeId="2" PostId="27408" RevisionGUID="b4bdbe85-fdee-4fd9-afea-5a774235f8c5" CreationDate="2012-01-11T21:56:33.530" UserDisplayName="Bill Gribble" Text="Part of the vintage feel of those old records is in (1) the kind of mastering that was done for cheaply produced vinyl records, and (2) the wear-and-tear that they have sustained over the years.  Even if you have only heard &quot;remastered&quot; digital versions, if the original was on a fly-by-night Caribbean indy it may have been remastered from the best available vinyl rather than the master tapes. &#xD;&#xA;&#xD;&#xA;Mastering for vinyl rolled off a lot of low frequencies and compressed/limited the dynamic range. Age and multiple plays of a record start rolling off the highs and adding noise. &#xD;&#xA;&#xD;&#xA;So a mix buss comp/limiter, roll off lows below 100 Hz (experiment), highs above 5k (experiment), and add a &quot;vinyl noise crackle&quot; plugin if you feel like it.  It ain't &quot;vibe in a bottle&quot; but it might be interesting.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="50422" PostHistoryTypeId="2" PostId="27406" RevisionGUID="3943af64-4596-4831-850c-e489923b1818" CreationDate="2012-01-10T15:20:30.023" UserId="7539" UserDisplayName="slim" Text="I've been recording reggae/ska in GarageBand, using a combination of:&#xD;&#xA;&#xD;&#xA; - Voice through a condenser mic&#xD;&#xA; - Electric guitar and bass using GarageBand's own amp simulators and effects&#xD;&#xA; - Drum patterns programmed using GarageBand's kits&#xD;&#xA; - Software organ&#xD;&#xA;&#xD;&#xA;I play all the parts live, and avoid quantising.&#xD;&#xA;&#xD;&#xA;It sounds OK, but a bit sterile. Listening to classic ska tracks that influence me (say, anything from the Trojan Ska boxed set) what seems to characterise the sound most is a benign fuzziness, presumably distortion that engineers tried and failed to avoid using what equipment a 1960s Jamaican studio could afford.&#xD;&#xA;&#xD;&#xA;Question one is: how can I replicate that sound using the equipment I have&#xD;&#xA;&#xD;&#xA;Question two is: how can I achieve that *feel* without going so extremely lo-fi. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50423" PostHistoryTypeId="1" PostId="27406" RevisionGUID="3943af64-4596-4831-850c-e489923b1818" CreationDate="2012-01-10T15:20:30.023" UserId="7539" UserDisplayName="slim" Text="Creating a classic ska sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="50424" PostHistoryTypeId="3" PostId="27406" RevisionGUID="3943af64-4596-4831-850c-e489923b1818" CreationDate="2012-01-10T15:20:30.023" UserId="7539" UserDisplayName="slim" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50425" PostHistoryTypeId="36" PostId="27409" RevisionGUID="480097b2-c1e8-496d-94da-5b6a7b20a7cf" CreationDate="2014-02-21T10:51:50.023" UserId="-1" Comment="from http://video.stackexchange.com/questions/731/meaning-of-feat-pres-vs" />
  <row Id="50426" PostHistoryTypeId="2" PostId="27410" RevisionGUID="28645e94-97c5-406b-8343-1d51a544b367" CreationDate="2011-02-02T18:59:36.813" UserId="7294" Text="As far as I know there is no formal agreement on when these may or may not be used.&#xD;&#xA;&#xD;&#xA;I tend to assume they mean the following, and would use them in these ways if I were in these situations:&#xD;&#xA;&#xD;&#xA; - `X featuring Y:` Generally Author X's work, but includes some significant contribution by Author Y.  For example, Y sings a lead melody on one of X's tracks, but isn't X's usual lead singer.  &#xD;&#xA;&#xD;&#xA; - `X presenting Y:` Same as &quot;featuring,&quot; except that Y is generally more unknown at this point and this is their first highly-visible production with X.&#xD;&#xA;&#xD;&#xA; - `X versus Y:` Either X and Y are collaborating, or this is a mashup of two songs, one by X and one by Y, generally mixed by a third party, Z.  I've also seen this used to describe competitions, such as rap battles.&#xD;&#xA;&#xD;&#xA; - `X and Y:` X and Y co-wrote or co-produced this track.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50427" PostHistoryTypeId="2" PostId="27409" RevisionGUID="76f9744a-60f5-461d-9f7a-dd01f9de9ef1" CreationDate="2011-02-02T09:54:36.000" UserDisplayName="Martin Tóth" Text="Looking at my music collection, I just wonder... what do these mean:&#xD;&#xA;&#xD;&#xA;* Author Z **feat.** Author W *(featuring)*&#xD;&#xA;* Author X **pres.** Author Y *(presents)*&#xD;&#xA;* Author Y **vs.** Author Q *(versus)*&#xD;&#xA;* Author A **&amp;** Author B *(and)*&#xD;&#xA;&#xD;&#xA;Do they mean a different type of collaboration? What &quot;types&quot; are there really? Who choses who comes first (does it even matter)? " ContentLicense="CC BY-SA 2.5" />
  <row Id="50428" PostHistoryTypeId="1" PostId="27409" RevisionGUID="76f9744a-60f5-461d-9f7a-dd01f9de9ef1" CreationDate="2011-02-02T09:54:36.000" UserDisplayName="Martin Tóth" Text="Meaning of Feat. | Pres. | Vs. | &amp;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50429" PostHistoryTypeId="3" PostId="27409" RevisionGUID="76f9744a-60f5-461d-9f7a-dd01f9de9ef1" CreationDate="2011-02-02T09:54:36.000" UserDisplayName="Martin Tóth" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50430" PostHistoryTypeId="36" PostId="27410" RevisionGUID="cf433e94-a673-4a0c-94ae-19dfc9a4fbf8" CreationDate="2014-02-21T10:51:50.023" UserId="-1" Comment="from http://video.stackexchange.com/questions/731/meaning-of-feat-pres-vs/737#737" />
  <row Id="50431" PostHistoryTypeId="36" PostId="27411" RevisionGUID="5793d9a7-62d7-475a-9bf2-c345f58b723e" CreationDate="2014-02-21T10:51:50.023" UserId="-1" Comment="from http://video.stackexchange.com/questions/731/meaning-of-feat-pres-vs/2176#2176" />
  <row Id="50432" PostHistoryTypeId="2" PostId="27411" RevisionGUID="19689a1d-50c8-4856-99be-0473ab516002" CreationDate="2011-08-20T19:29:24.563" UserDisplayName="Choriodea" Text="Pres. is also used when an artist ''A'' presents his new/other alias ''B'' (normally because another genre or style is used).  Then again ''A'' is more famous then ''B''&#xD;&#xA;Examples: &#xD;&#xA;*Daniel Kandi pres. 147 - ''track name''.&#xD;&#xA;*Armin Van Buuren pres. Gaia - ''track name''." ContentLicense="CC BY-SA 3.0" />
  <row Id="50433" PostHistoryTypeId="36" PostId="27412" RevisionGUID="2b9d966b-a426-4844-95dc-a4c3c3122a6a" CreationDate="2014-02-21T10:51:58.587" UserId="-1" Comment="from http://video.stackexchange.com/questions/774/what-production-tools-should-we-look-at-for-a-weekly-podcast" />
  <row Id="50434" PostHistoryTypeId="36" PostId="27413" RevisionGUID="77d1c45c-e795-463c-aa4d-562507c4693f" CreationDate="2014-02-21T10:51:58.587" UserId="-1" Comment="from http://video.stackexchange.com/questions/774/what-production-tools-should-we-look-at-for-a-weekly-podcast/782#782" />
  <row Id="50435" PostHistoryTypeId="36" PostId="27414" RevisionGUID="e08159f3-7d42-49cd-9aed-961e2f713247" CreationDate="2014-02-21T10:51:58.587" UserId="-1" Comment="from http://video.stackexchange.com/questions/774/what-production-tools-should-we-look-at-for-a-weekly-podcast/785#785" />
  <row Id="50436" PostHistoryTypeId="36" PostId="27415" RevisionGUID="ea61b618-6234-496d-9b46-d06cd4a8445f" CreationDate="2014-02-21T10:51:58.587" UserId="-1" Comment="from http://video.stackexchange.com/questions/774/what-production-tools-should-we-look-at-for-a-weekly-podcast/812#812" />
  <row Id="50437" PostHistoryTypeId="36" PostId="27416" RevisionGUID="51b91ac7-fcca-4b47-bc82-d8ac9300e122" CreationDate="2014-02-21T10:51:58.587" UserId="-1" Comment="from http://video.stackexchange.com/questions/774/what-production-tools-should-we-look-at-for-a-weekly-podcast/1243#1243" />
  <row Id="50438" PostHistoryTypeId="2" PostId="27413" RevisionGUID="c5893ae2-3160-4d0e-b509-026ee4133c9d" CreationDate="2011-02-09T14:50:26.353" UserDisplayName="Ian C." Text="If you're on a Mac you can use [Skype][1] + [Rogue Amoeba's Audio HiJack Pro][2] + [GarageBand][3] to pull together some great sounding podcasts without breaking the bank.&#xD;&#xA;&#xD;&#xA;You can use Audio HiJack Pro to record your Skype conversations in GarageBand. It'll let you route the Skype audio to a track in GarageBand. Once your conversation is in GarageBand you can splice it up, cut it down, and get it to exactly what you're after before you add in, on another track, your background music and what not.&#xD;&#xA;&#xD;&#xA;Skype will let you conference in other people as you chat. So you can do call-in's (if you have a Skype number people can even call in from land lines) and still capture it all live.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.skype.com/intl/en/get-skype/on-your-computer/macosx/&#xD;&#xA;  [2]: http://www.rogueamoeba.com/audiohijackpro/&#xD;&#xA;  [3]: http://www.apple.com/ilife/garageband/" ContentLicense="CC BY-SA 2.5" />
  <row Id="50439" PostHistoryTypeId="2" PostId="27414" RevisionGUID="77d0045b-fa0b-4f35-823a-3d97ec9971a7" CreationDate="2011-02-09T16:38:50.457" UserDisplayName="Tom Miller" Text="There are a few things to consider...&#xD;&#xA;&#xD;&#xA;The main question is whether or not you will be live streaming, or simply recording--the answer will determine which path you will go down.&#xD;&#xA;&#xD;&#xA;The podcast recording scenario is the simplest when considering how to capture the Skype feed. There is a Skype add-on app called Pamela Call Recorder that can capture and record your Skype call.  I am sure there are other options out there, but this is the one I have used with ease and success.&#xD;&#xA;&#xD;&#xA;Live streaming is a completely different scenario.  The objective is to capture your mic audio AND the Skype audio together, which means mixing 2 different signals together.  I have experimented with many different configurations/options and the one that seems the most straight-forward and makes the most sense to me is this:&#xD;&#xA;&#xD;&#xA;1. Use a non-usb microphone into an external audio console for your mic audio&#xD;&#xA;&#xD;&#xA;2a. Route the Skype call through the internal sound card of your PC/Mac, taking the audio out (via the headphone jack) and feed it into the audio console&#xD;&#xA;&#xD;&#xA;2b. Following the instructions in 2a, but making the Skype call using a 2nd computer, thus freeing up the internal sound card of your primary machine...&#xD;&#xA;&#xD;&#xA;3a. Using a second (external) audio interface, feed the main mix out of the audio console into that interface.  This will be your main feed for your stream.&#xD;&#xA;&#xD;&#xA;3b. If using a 2nd computer for your Skype call, you can use the internal sound card on your primary machine for the stream's main feed...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Now, to get your audio for the actual podcast feed, there are a couple of options:&#xD;&#xA;&#xD;&#xA;1. Record your feed directly from your audio console&#xD;&#xA;&#xD;&#xA;This option requires another available sound card.  From the audio console, take an auxiliary feed--either an aux send, if you have one, a 2-track/tape-out feed, or (kind of a stretch...) split the left/rights off of the main feed to the stream, and run them into the available sound card, which is then routed to your DAW/recording software (Audacity, etc...) &#xD;&#xA;&#xD;&#xA;or&#xD;&#xA;&#xD;&#xA;2. Use a recording from the live streaming service&#xD;&#xA;&#xD;&#xA;In my experience, live streaming services like Ustream or Mixlr either have an option to, or does by default, record your session.  In the case of Ustream, I have recorded sessions, and then downloaded the file (.flv format, I believe...) and run them through a utility that saves the audio from the file as an .mp3 file, which I used for the podcast.&#xD;&#xA;&#xD;&#xA;Option #2 is the least complicated and least expensive of the 2.&#xD;&#xA;&#xD;&#xA;I'm sure there are many other creative ways to accomplish this, but this is the conclusion I have reached after a lot of pain and searching for a solution to both record the podcast AND live stream the session." ContentLicense="CC BY-SA 2.5" />
  <row Id="50440" PostHistoryTypeId="2" PostId="27415" RevisionGUID="0951191e-0cb7-42ac-bf7f-a939aec5ac92" CreationDate="2011-02-14T13:50:56.573" UserId="8220" UserDisplayName="notthetup" Text="While Wordpress itself does a lot of RSS side of things. We use the [podpress plugin][1] to wordpress to make the updating of iTunes and tracking of downloads easy. It just makes management that much easier.. &#xD;&#xA;&#xD;&#xA;Also if you're on a Mac, I have a automator workflow to compress, add the tags and upload the files to the remote server. I will try to clean it up and share it with everyone.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://wordpress.org/extend/plugins/podpress/" ContentLicense="CC BY-SA 2.5" />
  <row Id="50441" PostHistoryTypeId="2" PostId="27416" RevisionGUID="d9b6782a-d140-40e3-aab9-e1d62688a981" CreationDate="2011-04-22T11:50:18.550" UserDisplayName="user809" Text="I have heard that [IMCapture for Skype][1] is a good Skype recorder too, but I haven't used it myself.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imcapture.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="50442" PostHistoryTypeId="2" PostId="27412" RevisionGUID="751402e7-afd1-49a2-bfa7-f3ff37a1207a" CreationDate="2011-02-08T02:54:06.057" UserDisplayName="user482" Text="Back in the day, right at the beginning, we had a podcast and we each recorded seperate audio through our mics and had our land-lines going as we are in different locations - then we emailed the audio files to each other and synched it together.  This was less than ideal.  Then we posted the mp3s and hand-wrote our xml/rss feed and posted it all to a phpnuke cms.  This was a pain in the rear - how is it done now?  There must be some &quot;tied-into-word-press-record-hit-save-write-blog-entry&quot; podcasting fu that people use now?&#xD;&#xA;&#xD;&#xA;We'd like to record both hosts at the same time, and do it more like a skype call that we record.  Eventually we'd love to just do it live streaming, punch in live music and so on, take a call or two and the save it to an archive/feed." ContentLicense="CC BY-SA 2.5" />
  <row Id="50443" PostHistoryTypeId="1" PostId="27412" RevisionGUID="751402e7-afd1-49a2-bfa7-f3ff37a1207a" CreationDate="2011-02-08T02:54:06.057" UserDisplayName="user482" Text="What production tools should we look at for a weekly podcast" ContentLicense="CC BY-SA 2.5" />
  <row Id="50444" PostHistoryTypeId="3" PostId="27412" RevisionGUID="751402e7-afd1-49a2-bfa7-f3ff37a1207a" CreationDate="2011-02-08T02:54:06.057" UserDisplayName="user482" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50445" PostHistoryTypeId="36" PostId="27417" RevisionGUID="81b3577b-1532-4b72-9fc3-fb8e4712d3dd" CreationDate="2014-02-21T10:52:06.790" UserId="-1" Comment="from http://video.stackexchange.com/questions/83/how-do-you-handle-performers-that-want-to-fix-it-in-the-mix" />
  <row Id="50446" PostHistoryTypeId="36" PostId="27418" RevisionGUID="3600f470-9cb0-4130-91f2-845682953589" CreationDate="2014-02-21T10:52:06.790" UserId="-1" Comment="from http://video.stackexchange.com/questions/83/how-do-you-handle-performers-that-want-to-fix-it-in-the-mix/86#86" />
  <row Id="50447" PostHistoryTypeId="36" PostId="27419" RevisionGUID="5abfc387-298b-4301-9228-690cbecc94d7" CreationDate="2014-02-21T10:52:06.790" UserId="-1" Comment="from http://video.stackexchange.com/questions/83/how-do-you-handle-performers-that-want-to-fix-it-in-the-mix/110#110" />
  <row Id="50448" PostHistoryTypeId="36" PostId="27420" RevisionGUID="34814bfe-62a7-4a1d-ac48-dc4d6d3afdf3" CreationDate="2014-02-21T10:52:06.790" UserId="-1" Comment="from http://video.stackexchange.com/questions/83/how-do-you-handle-performers-that-want-to-fix-it-in-the-mix/159#159" />
  <row Id="50449" PostHistoryTypeId="2" PostId="27418" RevisionGUID="d244e153-ef55-4ca9-9f3b-d046fb21ccd0" CreationDate="2010-12-08T01:19:29.980" UserDisplayName="Tom Wijsman" Text="The performers have their own vision on &quot;time&quot; and on &quot;getting it right&quot;.&#xD;&#xA;&#xD;&#xA;These are the two points where you have to talk about, he sure wants to &quot;get it right&quot;. So when you both have the thought that you're doing it perfect, you might not just want to record it once but record it multiple times. This allows you to easily replace the bad parts instead of trying to fix them...&#xD;&#xA;&#xD;&#xA;Your performer will have a better vision on &quot;time&quot; when you tell him that you will work with him toward &quot;getting it right&quot;, and once you are at that point you will record it multiple times. It's easy to convince him that performing it more than once will result in something that is &quot;good enough&quot; in case of mistakes, who knows you both might be lucky that one of the performances is near perfect...&#xD;&#xA;&#xD;&#xA;Bottom line of story, a single raw session will rarely result in a perfect recording." ContentLicense="CC BY-SA 2.5" />
  <row Id="50450" PostHistoryTypeId="2" PostId="27420" RevisionGUID="72134ac1-73df-43e7-b037-8d1fd5730690" CreationDate="2010-12-09T00:27:45.923" UserDisplayName="davetron5000" Text="I've encountered this a lot, and here's my advice on what to tell them&#xD;&#xA;&#xD;&#xA;* It may not be possible to fix it later&#xD;&#xA;* The &quot;fix&quot; might not sound natural, and may be noticeable to the average person&#xD;&#xA;* It may take significant time to &quot;fix&quot; later&#xD;&#xA;* Going from mixing back to tracking is time consuming&#xD;&#xA;* The more you listen to something, the more you hear things you don't like&#xD;&#xA;* Vocals tend to be what listeners connect with, so they should be at the highest standard _(this one can be tough to straight up say, but it could convince a vocalist to try it again)_&#xD;&#xA;&#xD;&#xA;Given all that, and assuming you're charging by the hour or have timeboxed your work, let them decide.   You given them the facts and they can do what they want with them.&#xD;&#xA;&#xD;&#xA;I think you can always get at least another take out of someone and explain it's &quot;for safety&quot; or &quot;just in case&quot;, especially if they are happy with their first take.  Just remind them it's all digital and nothing is ever lost (and, of course, don't lose it :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="50451" PostHistoryTypeId="2" PostId="27419" RevisionGUID="fa5dce9d-a252-4141-927a-a3799fa267e6" CreationDate="2010-12-08T09:36:46.807" UserId="7592" UserDisplayName="Pelle ten Cate" Text="The real problem here is that there is a difference in understanding between you (the producer) and the band. The real answer is: If your performers think their play is good enough, and you disagree, don't let your musicians get away with it. Now the way to do this is a bit more difficult, but for me it took quite some time to learn to tell a performer that his performance just wasn't good enough. &#xD;&#xA;&#xD;&#xA;If you agree on the fact that the recorded material doesn't sound good enough, and the musicians want to 'fix it in the mix', tell them that basically the only things you can fix in the mix are related to your job: registering their performance on disc (or tape, or whatever).  &#xD;&#xA;&#xD;&#xA;In Holland we have a saying, that literally translates to &quot;You cuold give a monkey a golden ring, it will always remain a horrible thing.&quot; I don't know an English alternative for this one, but what it means is that if you record a bad take, you can do whatever you like with it, but it will never turn into a good take." ContentLicense="CC BY-SA 2.5" />
  <row Id="50452" PostHistoryTypeId="2" PostId="27417" RevisionGUID="be93a1c1-99d3-48b3-9bd0-3feebaf6e2da" CreationDate="2010-12-08T01:03:34.400" UserId="7398" Text="I've experienced this over and over with multiple performers: experienced and novices, instrumentalists and vocalists, groups and individuals, it doesn't seem specific to any group.  They all think their performance is &quot;good enough&quot; while we're tracking, and then want to spend a lot of time in the mix trying to fix and improve things that really should have fixed in the original performance.  &#xD;&#xA;&#xD;&#xA;I have a small hobby studio and work with a lot of amateur/hobbyist performers, so often I end up fulfilling both the [producer][1] and [engineer][2] roles.  &#xD;&#xA;&#xD;&#xA;How do you as an engineer or producer convince your performers that it's better to spend the time to &quot;get it right&quot; while tracking as opposed to fixing everything in the mix?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Record_producer&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Audio_engineering" ContentLicense="CC BY-SA 2.5" />
  <row Id="50453" PostHistoryTypeId="1" PostId="27417" RevisionGUID="be93a1c1-99d3-48b3-9bd0-3feebaf6e2da" CreationDate="2010-12-08T01:03:34.400" UserId="7398" Text="How do you handle performers that want to &quot;fix it in the mix&quot;?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50454" PostHistoryTypeId="3" PostId="27417" RevisionGUID="be93a1c1-99d3-48b3-9bd0-3feebaf6e2da" CreationDate="2010-12-08T01:03:34.400" UserId="7398" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50459" PostHistoryTypeId="36" PostId="27422" RevisionGUID="57ec78b1-8bea-4825-9e23-89373433c02c" CreationDate="2014-02-21T10:52:23.823" UserId="-1" Comment="from http://video.stackexchange.com/questions/3104/equalizer-levels-for-minimal-hearing-loss" />
  <row Id="50460" PostHistoryTypeId="2" PostId="27423" RevisionGUID="7277b362-9da0-4028-b1b0-684e4337d890" CreationDate="2012-01-23T09:48:44.900" UserId="7016" Text="This may sound really obvious, but the main constraint will be how you like your music to sound. If you try to drop a particular frequency range it will change how the music sounds. For example if you roll off the high frequencies it will start to sound like you are muffling the music with cotton wool. Possibly not the effect you want, so the simplest way to protect your ears is simply to turn down the volume.&#xD;&#xA;&#xD;&#xA;Listening through headphones in a quiet room at low volume, however, the thing you will lose from rock and metal is some of the bass response, which is probably why you have your bass boosted, but taking it up too high could damage your ears.&#xD;&#xA;&#xD;&#xA;If you find your ears ringing after listening then it is much too loud, but you can cause damage well before you get to this level, so the best solution is:&#xD;&#xA;&#xD;&#xA;**Don't try to do anything clever with the EQ, just turn the volume down**&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50461" PostHistoryTypeId="2" PostId="27422" RevisionGUID="d2d63fae-ab46-45d5-9638-3b435dbffc92" CreationDate="2012-01-23T04:23:43.853" UserId="17221" UserDisplayName="muntoo" Text="So... how should I set my equalizer levels to minimize hearing loss?&#xD;&#xA;&#xD;&#xA;From [here](http://gilmore2.chem.northwestern.edu/articles/hearing_art.htm):&#xD;&#xA;&#xD;&#xA;&gt; ### SETTING SAFE HEADPHONE VOLUME LEVELS&#xD;&#xA;&gt; &#xD;&#xA;&gt; ![Fletcher-Munson Loudness Curves][1]&#xD;&#xA;&gt; &#xD;&#xA;&gt; The Fletcher-Munson loudness curves (shown above) indicate that&#xD;&#xA;&gt; low-level listening may not be as satisfying because perception of&#xD;&#xA;&gt; loudness is not linear, but is dependent on frequency and volume. The&#xD;&#xA;&gt; curves are flattest when the SPL is at the threshold of pain. Tone&#xD;&#xA;&gt; controls can rebalance sound to have the same pleasing amplitude&#xD;&#xA;&gt; spectrum at lower listening levels. The most accurate loudness&#xD;&#xA;&gt; compensation would dynamically adjust to both frequency and volume.&#xD;&#xA;&gt; Such dynamic filters are not widely available to consumers. Still, a&#xD;&#xA;&gt; small amount of equalization (treble and bass boost) can restore&#xD;&#xA;&gt; naturalness to the sound of headphones, so that listening at safe&#xD;&#xA;&gt; levels is appealing (or at least, not unappealing).&#xD;&#xA;&gt; &#xD;&#xA;&gt; The table in figure 1 lists the maximum safe exposure times at various&#xD;&#xA;&gt; noise levels, but headphones do not come with built-in SPL meters to&#xD;&#xA;&gt; help the listener determine whether the volume is too high. Also,&#xD;&#xA;&gt; audio professionals may need to set the gain of the headphone&#xD;&#xA;&gt; amplifier high to hear low-level details clearly, but then are&#xD;&#xA;&gt; overwhelmed when the music swells or explodes in crescendos.&#xD;&#xA;&gt; Therefore, methods for setting safe headphone volume levels depend on&#xD;&#xA;&gt; how the headphones are being used.&#xD;&#xA;&#xD;&#xA; - I use my headphones in my room, where the background noise isn't really that high.&#xD;&#xA; - I mostly listen to metal/rock and classical music.&#xD;&#xA; - I use Vista's built-in Loudness Equalization (default parameters).&#xD;&#xA; - I use Vista's built-in Bass Boost and Low Frequency Protection (80Hz, +6dB).&#xD;&#xA; - I am going to be using Songbird to play my music.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/bJSxf.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="50462" PostHistoryTypeId="1" PostId="27422" RevisionGUID="d2d63fae-ab46-45d5-9638-3b435dbffc92" CreationDate="2012-01-23T04:23:43.853" UserId="17221" UserDisplayName="muntoo" Text="Equalizer levels for minimal hearing loss" ContentLicense="CC BY-SA 3.0" />
  <row Id="50463" PostHistoryTypeId="3" PostId="27422" RevisionGUID="d2d63fae-ab46-45d5-9638-3b435dbffc92" CreationDate="2012-01-23T04:23:43.853" UserId="17221" UserDisplayName="muntoo" Text="&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50464" PostHistoryTypeId="36" PostId="27423" RevisionGUID="89270776-5e37-4a49-aff1-7ff30ca538d6" CreationDate="2014-02-21T10:52:23.823" UserId="-1" Comment="from http://video.stackexchange.com/questions/3104/equalizer-levels-for-minimal-hearing-loss/3105#3105" />
  <row Id="50465" PostHistoryTypeId="36" PostId="27424" RevisionGUID="3f79a4a1-6c56-4c63-b2e4-0dd57ea2201b" CreationDate="2014-02-21T10:52:36.310" UserId="-1" Comment="from http://video.stackexchange.com/questions/8891/which-service-can-i-use-to-upload-and-distribute-audio-interviews" />
  <row Id="50466" PostHistoryTypeId="36" PostId="27425" RevisionGUID="3e5c06d2-3215-4e59-9c1a-128af6111834" CreationDate="2014-02-21T10:52:36.310" UserId="-1" Comment="from http://video.stackexchange.com/questions/8891/which-service-can-i-use-to-upload-and-distribute-audio-interviews/8900#8900" />
  <row Id="50467" PostHistoryTypeId="2" PostId="27425" RevisionGUID="39bff2d4-d93f-49ab-a190-36d7aab1570f" CreationDate="2013-09-06T17:12:51.403" UserId="7405" Text="Maybe you should merge the audio into a &quot;video&quot; then put it on youtube. With youtube your audience gets the accessibility and the streaming to their pc (or android) without worries of having the correct media player installed. &#xD;&#xA;&#xD;&#xA;You don't need to actually make a video - it can be still shots or just a fixed screen describing the contents. I'm just about at this point with my music - I'm considering making my songs into videos just so they can be &quot;found&quot; on youtube.&#xD;&#xA;&#xD;&#xA;I downloaded a program called Avidemux which I hope I can use. It's fairly basic but to me basic video stuff is complex (until I learn it!!!)&#xD;&#xA;&#xD;&#xA;There is also soundcloud that several sites (including this site) will automatically stream like a youtube video but it's just for audio.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50468" PostHistoryTypeId="2" PostId="27424" RevisionGUID="29fb5e66-7be4-4be3-b9c9-730133a36fc4" CreationDate="2013-09-06T07:39:36.320" UserId="11451" UserDisplayName="Andrew Welch" Text="What service can I use to upload audio interviews I recorded whilst on a journey. They vary in length. I recorded interviews with various people from NGOs, and working in the environment area through Asia.&#xD;&#xA;&#xD;&#xA;I've fairly disparate content. Some of it is really important and interesting interview, some music snippets, some topical 'podcast'-like elements. I feel that it is important that it doesn't just sit on a disk hidden away, so I need your guy's help." ContentLicense="CC BY-SA 3.0" />
  <row Id="50469" PostHistoryTypeId="1" PostId="27424" RevisionGUID="29fb5e66-7be4-4be3-b9c9-730133a36fc4" CreationDate="2013-09-06T07:39:36.320" UserId="11451" UserDisplayName="Andrew Welch" Text="Which service can I use to upload and distribute audio interviews" ContentLicense="CC BY-SA 3.0" />
  <row Id="50470" PostHistoryTypeId="3" PostId="27424" RevisionGUID="29fb5e66-7be4-4be3-b9c9-730133a36fc4" CreationDate="2013-09-06T07:39:36.320" UserId="11451" UserDisplayName="Andrew Welch" Text="&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50471" PostHistoryTypeId="36" PostId="27426" RevisionGUID="74a51aee-7089-4463-854e-cba7a0332f61" CreationDate="2014-02-21T10:52:45.420" UserId="-1" Comment="from http://video.stackexchange.com/questions/2610/websites-to-find-stem-tracks-from-commercial-music" />
  <row Id="50472" PostHistoryTypeId="36" PostId="27427" RevisionGUID="a4314161-bada-4da6-8cfc-6a0ed86baa30" CreationDate="2014-02-21T10:52:45.420" UserId="-1" Comment="from http://video.stackexchange.com/questions/2610/websites-to-find-stem-tracks-from-commercial-music/3128#3128" />
  <row Id="50473" PostHistoryTypeId="36" PostId="27428" RevisionGUID="2a45263c-86d7-49f9-8795-35eccf20b299" CreationDate="2014-02-21T10:52:45.420" UserId="-1" Comment="from http://video.stackexchange.com/questions/2610/websites-to-find-stem-tracks-from-commercial-music/3130#3130" />
  <row Id="50474" PostHistoryTypeId="36" PostId="27429" RevisionGUID="41001631-9b4e-41f4-89fa-9a0b1c387e00" CreationDate="2014-02-21T10:52:45.420" UserId="-1" Comment="from http://video.stackexchange.com/questions/2610/websites-to-find-stem-tracks-from-commercial-music/3131#3131" />
  <row Id="50475" PostHistoryTypeId="36" PostId="27430" RevisionGUID="b8650239-65c9-4fcc-a20c-a5b277b1ae2e" CreationDate="2014-02-21T10:52:45.420" UserId="-1" Comment="from http://video.stackexchange.com/questions/2610/websites-to-find-stem-tracks-from-commercial-music/7066#7066" />
  <row Id="50476" PostHistoryTypeId="2" PostId="27427" RevisionGUID="47b5babd-5490-49f3-8cb5-56b4c2407268" CreationDate="2012-01-24T20:46:34.853" UserId="7188" Text="I don't know of any engineers, producers, or musicians that would post their unmixed solo tracks anywhere. It's kind of like asking the waiter to bring you only one of the raw ingredients instead of the main course.&#xD;&#xA;&#xD;&#xA;Perhaps, you are thinking of some software that filters songs for only certain content, like the guitar or voice?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50477" PostHistoryTypeId="2" PostId="27428" RevisionGUID="a8740509-a0fd-47b2-b40d-724ad6318f10" CreationDate="2012-01-25T09:55:14.203" UserId="7471" Text="What you are looking for are called &quot;stems&quot; or &quot;raw tracks&quot; and are generally only made available by artists who actively want to promote remixes of their works.&#xD;&#xA;&#xD;&#xA;Some good sources are:&#xD;&#xA;&#xD;&#xA; - [Weathervane Shaking Through][1]&#xD;&#xA; - [Real World Remixed][2]&#xD;&#xA; - [Nine Inch Nails Remixes][3]&#xD;&#xA; - [Mike Senior's multitrack downloads library][4]&#xD;&#xA; - [mixoff.org][5]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.shakingthrough.com/stems&#xD;&#xA;  [2]: http://realworldremixed.com/&#xD;&#xA;  [3]: http://www.ninremixes.com/multitracks.php&#xD;&#xA;  [4]: http://www.cambridge-mt.com/ms-mtk.htm&#xD;&#xA;  [5]: http://mixoff.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="50478" PostHistoryTypeId="2" PostId="27429" RevisionGUID="7800e40b-a590-4124-939d-b1b07494cf22" CreationDate="2012-01-25T12:52:16.197" UserId="7189" Text="I'm not familiar with any communities that exist specifically for trading stems (&quot;unmixed tracks&quot;), but most music production forums have a section or etiquette for collaboration. Pick a forum that caters to the kind of music you make, participate in the community, and figure out how the local etiquette works.&#xD;&#xA;&#xD;&#xA;There are often a ton of remix projects going on in SoundCloud at any given time, but you will have to do some searching through groups and blogs to find them.&#xD;&#xA;&#xD;&#xA;Finally, you should be actively networking and socializing with musicians. Talk to people whose music you like. Some will be open to sharing their music, some won't." ContentLicense="CC BY-SA 3.0" />
  <row Id="50479" PostHistoryTypeId="2" PostId="27430" RevisionGUID="45726ede-715e-4497-b960-aac0c572dd5a" CreationDate="2013-02-06T10:03:27.827" UserId="7016" Text="There are a few communities my band is a member of that trade stems with other bands - the purpose being a quid pro quo development of remixes/derived material that we then deliver back to the other bands.&#xD;&#xA;&#xD;&#xA;This gets a bit of alternative development, helps us all learn, and possibly attracts new fans.&#xD;&#xA;&#xD;&#xA;As an example local to me, the [United Noise Remix Theory][1] is a loose collection of artists who all know each other a little, and the commitment was to each remix/create a track from stems from one of the other artists - to be released as a free album.&#xD;&#xA;&#xD;&#xA;The key is the quid pro quo - between artists this is common, but an artist is unlikely to give out their work for free unless it is as a promotional item.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://unitednoiserecords.bandcamp.com/album/remix-theory" ContentLicense="CC BY-SA 3.0" />
  <row Id="50480" PostHistoryTypeId="2" PostId="27426" RevisionGUID="eae1eaa1-5087-437e-9427-5b7b56dd1eb6" CreationDate="2011-11-09T01:29:30.410" UserId="7840" UserDisplayName="themirror" Text="Are there any online communities for trading unmixed (&quot;stem&quot;) tracks from popular commercial music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50481" PostHistoryTypeId="1" PostId="27426" RevisionGUID="eae1eaa1-5087-437e-9427-5b7b56dd1eb6" CreationDate="2011-11-09T01:29:30.410" UserId="7840" UserDisplayName="themirror" Text="Websites to find &quot;stem&quot; tracks from commercial music" ContentLicense="CC BY-SA 3.0" />
  <row Id="50482" PostHistoryTypeId="3" PostId="27426" RevisionGUID="eae1eaa1-5087-437e-9427-5b7b56dd1eb6" CreationDate="2011-11-09T01:29:30.410" UserId="7840" UserDisplayName="themirror" Text="&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50483" PostHistoryTypeId="36" PostId="27431" RevisionGUID="9d8f0d95-336e-4112-98c9-60c16129f882" CreationDate="2014-02-21T10:52:53.593" UserId="-1" Comment="from http://video.stackexchange.com/questions/4264/bluetooth-or-wifi-line-in-soundcard-android-compatible" />
  <row Id="50484" PostHistoryTypeId="2" PostId="27432" RevisionGUID="8a8c5ac5-1987-4935-9dcc-14b31a6eeffb" CreationDate="2012-06-24T14:44:29.840" UserId="7209" Text="Unfortunately, no products exist as of this moment, for high-quality stereo recording on Android.  It's a real shame... I've been looking for something similar.&#xD;&#xA;&#xD;&#xA;However, there is a very good chance that your phone **does** have an audio input as a secondary microphone input within the headphone jack.  If you are just getting recordings to practice with and review, the quality is plenty good for this.  Also note that this input is **mono only**.&#xD;&#xA;&#xD;&#xA;## Step 1: The Hardware ##&#xD;&#xA;You need a 3.5mm TRRS cable.  This cable is the normal size of a small headphone plug, but has an extra conductor.  If you have a camcorder, you probably have one of these cables around.  If not, you can pick them up online for &lt;$10.  Once you have your cable, plug it into your headphone jack.  On my Android device, an icon appears as a set of headphones with a microphone, indicating that the device has a compatible jack and can use the microphone input.  Not all devices can do this, but all that I have seen can.  Also, if you use a case or cover for your device, make sure you get a cable with a low-profile plug, as the regular ones may not fit.  It may be cheaper to get a 6&quot; pigtail adapter with low profile plug, and then plug your regular cable into that.&#xD;&#xA;&#xD;&#xA;![TRRS Cable][1]&#xD;&#xA;&#xD;&#xA;Your microphone input will generally appear on the red RCA lead.  Next, you need to bring that line-level output from a mixer down to a microphone level.  The cheapest way to do this is a 40dB pad.  You can buy them online or just [build one yourself easily with two resistors][2].&#xD;&#xA;&#xD;&#xA;From there, you just need whatever plug adapters necessary to hook up your RCA cable to your pad, and then to your mixer.  (Alternatively, what I have done is cut off all the plugs, and fitted my pad resistors and wire directly inside of a plug, for a nice clean and easy cable.)&#xD;&#xA;&#xD;&#xA;## Step 2: The Software ##&#xD;&#xA;There are many applications available in the Google Play store for recording.  Not just any software will do.  You need one that supports recording from an alternative microphone.  I found [RecForge Pro][3] awhile back to be suitable.  I did not do extensive experimentation with software to see which is best.  Please shop around and find one that works for you.&#xD;&#xA;&#xD;&#xA;The feature you are looking for is something along the lines of &quot;recording from external mic&quot;, but it also might be labeled as &quot;regular mic and camcorder mic&quot;.  The reason is, the [Android SDK exposes the microphone inputs as `MIC`, `CAMCORDER`, and `DEFAULT`][4].  Which one applies to your external input is device specific, so it may take some experimentation.&#xD;&#xA;&#xD;&#xA;## Step 3: Recording ##&#xD;&#xA;That's all there is to it!  Just remember to not drive the device into clipping.  Also, not all devices have the same audio quality.  Some are *much* better than others.  If you have bad luck, try using someone else's phone.  Finally, experiment with turning off the automatic gain control.  It has a tendency to make recordings sound bad.&#xD;&#xA;&#xD;&#xA;Best of luck!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/yWcQu.jpg&#xD;&#xA;  [2]: http://www.epanorama.net/circuits/line_to_mic.html&#xD;&#xA;  [3]: https://play.google.com/store/apps/details?id=dje073.android.audiorecorder&amp;hl=en&#xD;&#xA;  [4]: http://developer.android.com/reference/android/media/MediaRecorder.AudioSource.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="50485" PostHistoryTypeId="2" PostId="27431" RevisionGUID="6d67879a-7ced-46f1-8d43-c02c2f223b46" CreationDate="2012-06-24T07:40:13.117" UserDisplayName="Jodes" Text="My phone doesn't have a line in and i want to record performances on it from the ouput of a mixer. I cant seem to find any hardware priducts that will let me connect the two. Do such things exist, the cheaper the better, preferably small as well, and obviously not needing a PC ( since i could just record with the PC instead ) &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="50486" PostHistoryTypeId="1" PostId="27431" RevisionGUID="6d67879a-7ced-46f1-8d43-c02c2f223b46" CreationDate="2012-06-24T07:40:13.117" UserDisplayName="Jodes" Text="Bluetooth or wifi line-in soundcard, android compatible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50487" PostHistoryTypeId="3" PostId="27431" RevisionGUID="6d67879a-7ced-46f1-8d43-c02c2f223b46" CreationDate="2012-06-24T07:40:13.117" UserDisplayName="Jodes" Text="&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50488" PostHistoryTypeId="36" PostId="27432" RevisionGUID="e71c78e8-3c95-4fde-ac6c-d54c4843c572" CreationDate="2014-02-21T10:52:53.593" UserId="-1" Comment="from http://video.stackexchange.com/questions/4264/bluetooth-or-wifi-line-in-soundcard-android-compatible/4270#4270" />
  <row Id="50497" PostHistoryTypeId="36" PostId="27436" RevisionGUID="735a4849-c29c-46a3-9f95-510077342839" CreationDate="2014-02-21T10:53:16.673" UserId="-1" Comment="from http://video.stackexchange.com/questions/1311/how-do-i-fix-my-keyboard-pedal" />
  <row Id="50498" PostHistoryTypeId="36" PostId="27437" RevisionGUID="b87ffdc7-90d9-4222-9f4a-dee506fd140f" CreationDate="2014-02-21T10:53:16.673" UserId="-1" Comment="from http://video.stackexchange.com/questions/1311/how-do-i-fix-my-keyboard-pedal/1312#1312" />
  <row Id="50499" PostHistoryTypeId="2" PostId="27437" RevisionGUID="444a4e61-e130-496c-bd5a-a4655c9ad149" CreationDate="2011-04-29T20:14:53.273" UserId="17571" UserDisplayName="Zeronyne" Text="You pedal is reverse polarity in relation to your keyboard. If you specify what brand of sustain pedal you have, we can tell you how to remedy it.&#xD;&#xA;&#xD;&#xA;Essentially, Roland, Korg, and Yamaha utilize pedals that are the reverse polarity of E-Mu, Ensoniq, Sequential, etc. Many, many keyboards have switchable polarity as do many sustain pedals. The D-20, if I'm not mistaken, does not have switchable polarity, so if you can tell me what make and model your pedal is, I can tell you if it is switchable. I could probably even tell you how to open it up and change the polarity, but it's usually cheaper in terms of opportunity cost to buy a different one. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50500" PostHistoryTypeId="2" PostId="27438" RevisionGUID="6e2e9933-4e15-48dd-b7c6-a797a5ed6e83" CreationDate="2011-04-29T20:35:25.387" UserId="7093" Text="There are two types of switches; normally open and normally closed.&#xD;&#xA;&#xD;&#xA;The normally open switch only makes contact between the two wires when it is pressed.  The normally closed switch makes contact with the wires until it is pressed.&#xD;&#xA;&#xD;&#xA;Likely your keyboard is expecting one type of foot switch and you are using the other.  It is also possible that your keyboard (like mine) is smart enough to recognize which type is plugged in when it is turned on.&#xD;&#xA;&#xD;&#xA;Before you do anything else, turn the keyboard off and back on making sure you are not pressing the foot switch when you turn the keyboard on.  If it still behaves the same, you will need to either get a new foot switch or re-wire the old one.&#xD;&#xA;&#xD;&#xA;As far as I can tell from a bit of research on Google, the Roland D-20 expects the normally open type.&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;I found [this one at guitarcenter.com][1] for $6.  It says it has a &quot;CK / RY polarity switch&quot; to work with &quot;virtually any keyboard&quot;, so I assume it will work with the D-20.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.guitarcenter.com/Novation-AMS-Novation-Footswitch-H68091-i1629282.gc" ContentLicense="CC BY-SA 3.0" />
  <row Id="50501" PostHistoryTypeId="2" PostId="27436" RevisionGUID="aff1206d-e4e5-40b5-974a-7f1d03faaa9a" CreationDate="2011-04-29T20:13:27.330" UserId="9651" UserDisplayName="Caleb" Text="If I plug in my pedal and I hit a key, it will hold the note without my foot on the pedal. How do I fix this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50502" PostHistoryTypeId="1" PostId="27436" RevisionGUID="aff1206d-e4e5-40b5-974a-7f1d03faaa9a" CreationDate="2011-04-29T20:13:27.330" UserId="9651" UserDisplayName="Caleb" Text="How do I fix my keyboard pedal?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50503" PostHistoryTypeId="3" PostId="27436" RevisionGUID="aff1206d-e4e5-40b5-974a-7f1d03faaa9a" CreationDate="2011-04-29T20:13:27.330" UserId="9651" UserDisplayName="Caleb" Text="&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50504" PostHistoryTypeId="36" PostId="27438" RevisionGUID="39727094-f9bd-4804-bc58-088999c0065e" CreationDate="2014-02-21T10:53:16.673" UserId="-1" Comment="from http://video.stackexchange.com/questions/1311/how-do-i-fix-my-keyboard-pedal/1313#1313" />
  <row Id="50505" PostHistoryTypeId="36" PostId="27439" RevisionGUID="5039bc5a-50e3-4a0c-99fb-b1e490fc5b1b" CreationDate="2014-02-21T10:53:25.157" UserId="-1" Comment="from http://video.stackexchange.com/questions/1277/pop-filter-repair" />
  <row Id="50506" PostHistoryTypeId="2" PostId="27440" RevisionGUID="5f000f85-5cf4-4af3-bc95-01898e2bb1ee" CreationDate="2011-04-26T08:55:01.503" UserId="8220" UserDisplayName="notthetup" Text="Yup. I have heard many people use old cloth hangers and stockings or hose to make pop filters.. It should work just fine IMO.." ContentLicense="CC BY-SA 3.0" />
  <row Id="50507" PostHistoryTypeId="2" PostId="27439" RevisionGUID="89204b10-328d-4d47-b909-06855fe8838b" CreationDate="2011-04-26T06:14:48.587" UserId="7471" Text="My children have ripped my pop filter, and I was wondering if I could repair it myself on the cheap. It looks like I would just need to stretch a new piece of material over the plastic hoop and glue it on.&#xD;&#xA;&#xD;&#xA;My questions are&#xD;&#xA;&#xD;&#xA;1. Is the material used for a pop filter a special type, and if so, what is it called?&#xD;&#xA;2. Would the material from a (new!) pair of ladies tights/stockings be as effective? &#xD;&#xA;3. What would be an appropriate type of glue to use to attach it" ContentLicense="CC BY-SA 3.0" />
  <row Id="50508" PostHistoryTypeId="1" PostId="27439" RevisionGUID="89204b10-328d-4d47-b909-06855fe8838b" CreationDate="2011-04-26T06:14:48.587" UserId="7471" Text="Pop Filter Repair" ContentLicense="CC BY-SA 3.0" />
  <row Id="50509" PostHistoryTypeId="3" PostId="27439" RevisionGUID="89204b10-328d-4d47-b909-06855fe8838b" CreationDate="2011-04-26T06:14:48.587" UserId="7471" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50510" PostHistoryTypeId="36" PostId="27440" RevisionGUID="ca02d295-46d9-4856-8b39-9df8c8c36c2b" CreationDate="2014-02-21T10:53:25.157" UserId="-1" Comment="from http://video.stackexchange.com/questions/1277/pop-filter-repair/1278#1278" />
  <row Id="50511" PostHistoryTypeId="36" PostId="27441" RevisionGUID="b896afa1-5933-4845-a192-6925ed20744b" CreationDate="2014-02-21T10:53:34.020" UserId="-1" Comment="from http://video.stackexchange.com/questions/8365/smoothing-transitions-between-sound-clips" />
  <row Id="50512" PostHistoryTypeId="36" PostId="27442" RevisionGUID="91429199-5dea-4804-843e-146acf2ce8c3" CreationDate="2014-02-21T10:53:34.020" UserId="-1" Comment="from http://video.stackexchange.com/questions/8365/smoothing-transitions-between-sound-clips/8366#8366" />
  <row Id="50513" PostHistoryTypeId="36" PostId="27443" RevisionGUID="f52ef60c-10d9-4fe8-9e2d-fd1b0b5abead" CreationDate="2014-02-21T10:53:34.020" UserId="-1" Comment="from http://video.stackexchange.com/questions/8365/smoothing-transitions-between-sound-clips/8367#8367" />
  <row Id="50514" PostHistoryTypeId="2" PostId="27442" RevisionGUID="491ff59f-9cf0-4c5b-8858-c38dfe6718cc" CreationDate="2013-07-09T15:03:35.590" UserId="7174" Text="It depends on the audio, there are tools that will do pitch and tempo correction so that you can match musical sounds together, but there are some artifacts introduced by their use. Both are actually the same thing since they are simply extending or contracting a waveform while keeping the frequencies the same.&#xD;&#xA;&#xD;&#xA;Normally, when you speed up or slow down audio, it stretches the waveform.  In the case of slowing down for example, the waveform elongates and thus the frequency is reduced.  A pitch corrector will produce a new waveform from the old that maintains the frequencies but makes the wave take longer.  Conversely, the new wave played at the original rate results in shifting the pitch up while maintaining the time.&#xD;&#xA;&#xD;&#xA;In general, you still end up cross fading as the most effective means of blending them, just making them sound closer together makes the transition less jarring." ContentLicense="CC BY-SA 3.0" />
  <row Id="50515" PostHistoryTypeId="2" PostId="27443" RevisionGUID="e6a581c7-d84a-4eda-8a52-7c7dad6acc72" CreationDate="2013-07-09T16:30:45.743" UserId="7188" Text="This is largely an arrangement question vs a composition question as you already have the material recorded. You need to put on your arranger hat. Besides the cross fade solution I suggest you 'sandbox' the following techniques and then decide which ones work best with each clip and then proceed to the mixing stage.&#xD;&#xA;&#xD;&#xA;Assuming your audio editor will allow you to stack tracks (multiple clips at once), here are some techniques to sandbox.&#xD;&#xA;&#xD;&#xA;Vertical editing, stacking clips in a musical way.&#xD;&#xA;&#xD;&#xA;For instance, choosing material that has continuous long sounds in counterpoint to clips that are highly punctuated, analogous to percussion over bowed strings.&#xD;&#xA;&#xD;&#xA;Try numerous clips on top of each other, apply various filters to each to make a compound. Such filters may include a resonant filter, high pass, or low pass, or band pass such as found in a graphic equalizer. Keep an eye on the levels as you stack so the total mix does not go into clipping. Do not be afraid to place these in different areas of the stereo field using the pan feature.&#xD;&#xA;&#xD;&#xA;Tight horizontal editing: try to make new sounds by taking several clips, cutting these at their peak amplitude and join to the next clip with its peak. You might take 10 clips and string them together to create an 'event' that lasts only 1 to 3 seconds. You might like to make several of these.&#xD;&#xA;&#xD;&#xA;Check out this example by Karlheinz Stockhausen: &quot;Telemusik&quot; (1966)&#xD;&#xA;http://www.youtube.com/watch?v=jcwLDxlNKdU\&#xD;&#xA;&#xD;&#xA;...and Stockhausen KONTAKTE, 1 of 4&#xD;&#xA;http://www.youtube.com/watch?v=4kIypWdjST4&#xD;&#xA;&#xD;&#xA;Vertical and horizontal editing can allow you to create all sorts of forms including a fugue.&#xD;&#xA;&#xD;&#xA;Consider processes such as reverb, delay, tap delays, and reverse image as well as tremolo, vibrato, chorus, phasers, wha wha effects that most editors have built in.&#xD;&#xA;&#xD;&#xA;If you only transition from one clip to another with a cross fade, you will certainly be missing out on a lot of musical potential. Consider the power of cutting at the precise moment to something else suddenly even if that does not sound smooth on paper it may offer you a new think-out-of-the-box solution.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50516" PostHistoryTypeId="2" PostId="27441" RevisionGUID="68fd1c3a-1896-401b-b7ff-d01a3882c097" CreationDate="2013-07-09T13:52:16.977" UserDisplayName="Omer Eilam" Text="Is there a tool that allows the smoothing of a digital audio signal? For example, if I have hundreds of very different short audio clips one after another and I want the transitions to be smooth so that one clip would &quot;flow&quot; into the next. I tried crossfading between them, which helps, but I thought perhaps there's a more sophisticated method in which you can manipulate the frequency spectrum instead of the amplitude in the transitions.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;omer" ContentLicense="CC BY-SA 3.0" />
  <row Id="50517" PostHistoryTypeId="1" PostId="27441" RevisionGUID="68fd1c3a-1896-401b-b7ff-d01a3882c097" CreationDate="2013-07-09T13:52:16.977" UserDisplayName="Omer Eilam" Text="Smoothing transitions between sound clips" ContentLicense="CC BY-SA 3.0" />
  <row Id="50518" PostHistoryTypeId="3" PostId="27441" RevisionGUID="68fd1c3a-1896-401b-b7ff-d01a3882c097" CreationDate="2013-07-09T13:52:16.977" UserDisplayName="Omer Eilam" Text="&lt;signal-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50519" PostHistoryTypeId="36" PostId="27444" RevisionGUID="99e301bb-8ac5-4536-957c-a26c70cc0e8d" CreationDate="2014-02-21T10:53:42.880" UserId="-1" Comment="from http://video.stackexchange.com/questions/2607/removing-tonality-antitune" />
  <row Id="50520" PostHistoryTypeId="2" PostId="27445" RevisionGUID="a7f7a9da-d544-4482-a2f8-b5b400462dea" CreationDate="2011-11-11T17:49:09.817" UserId="7178" Text="A couple possibilities:&#xD;&#xA;&#xD;&#xA;   - [Ring Modulation](http://en.wikipedia.org/wiki/Ring_modulation).  For an example, see [the sample audio for Mickey Delp's ring modular module](http://mickeydelp.com/ring-modulator.html).&#xD;&#xA;   - [Vocoding](http://en.wikipedia.org/wiki/Vocoder) — use a noise source (or some other sound source of ambiguous pitch) for the carrier.  For an example, see the track &quot;[Uranium](http://www.youtube.com/watch?v=ePW52C5YBbA)&quot; on Kraftwerk's album _Radio-Activity_." ContentLicense="CC BY-SA 3.0" />
  <row Id="50521" PostHistoryTypeId="2" PostId="27444" RevisionGUID="bfd9eaa7-ae1a-4bc7-bfe3-b4bd67703c7e" CreationDate="2011-11-08T22:27:51.200" UserId="7840" UserDisplayName="themirror" Text="What kind of processing would you apply to an audio track to remove its tonal quality (its pitch), leaving sound with the same texture as the original but ambiguous pitch?  For example, a drum sound is mostly texture without much tonality.&#xD;&#xA;&#xD;&#xA;For another analogy, think of a process similar to &quot;auto tune&quot; called &quot;anti tune&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="50522" PostHistoryTypeId="1" PostId="27444" RevisionGUID="bfd9eaa7-ae1a-4bc7-bfe3-b4bd67703c7e" CreationDate="2011-11-08T22:27:51.200" UserId="7840" UserDisplayName="themirror" Text="Removing tonality: antitune" ContentLicense="CC BY-SA 3.0" />
  <row Id="50523" PostHistoryTypeId="3" PostId="27444" RevisionGUID="bfd9eaa7-ae1a-4bc7-bfe3-b4bd67703c7e" CreationDate="2011-11-08T22:27:51.200" UserId="7840" UserDisplayName="themirror" Text="&lt;effects&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50524" PostHistoryTypeId="36" PostId="27445" RevisionGUID="7fc6a6fa-53e8-4f32-83e6-910ac285a8f0" CreationDate="2014-02-21T10:53:42.880" UserId="-1" Comment="from http://video.stackexchange.com/questions/2607/removing-tonality-antitune/2623#2623" />
  <row Id="50525" PostHistoryTypeId="36" PostId="27446" RevisionGUID="1078fb7b-4178-4d27-b8f4-666ecadb149a" CreationDate="2014-02-21T10:53:42.880" UserId="-1" Comment="from http://video.stackexchange.com/questions/2607/removing-tonality-antitune/2658#2658" />
  <row Id="50526" PostHistoryTypeId="2" PostId="27446" RevisionGUID="6bc1b4cf-1199-4b28-a701-b6466570eb77" CreationDate="2011-11-18T05:16:26.253" UserId="7189" Text="I'm not sure you will be able to keep the same texture but eliminate pitch.&#xD;&#xA;&#xD;&#xA;We recognize sounds as having a pitch when that pitch is stable enough to recognize. Taking your drum example, drum sounds often sweep down in pitch (kicks and toms) or are enveloped white noise (snares and high-hats). In either case, you don't have a constant, identifiable pitch. But if you were to keep a kick drum's pitch constant, you'd end up with a very different texture.&#xD;&#xA;&#xD;&#xA;It is pretty easy to play with these sound parameters in a modular environment like [Pure Data][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://puredata.info/" ContentLicense="CC BY-SA 3.0" />
  <row Id="50527" PostHistoryTypeId="36" PostId="27447" RevisionGUID="78b341f5-8085-41ad-b5e3-2f83a55f23cf" CreationDate="2014-02-21T10:53:51.617" UserId="-1" Comment="from http://video.stackexchange.com/questions/1623/low-pass-filter" />
  <row Id="50528" PostHistoryTypeId="36" PostId="27448" RevisionGUID="3054ba07-7f45-4683-bb81-c42e4b779558" CreationDate="2014-02-21T10:53:51.617" UserId="-1" Comment="from http://video.stackexchange.com/questions/1623/low-pass-filter/1636#1636" />
  <row Id="50529" PostHistoryTypeId="36" PostId="27449" RevisionGUID="9bb1ab81-8b95-4151-b944-0c6805ae0af6" CreationDate="2014-02-21T10:53:51.617" UserId="-1" Comment="from http://video.stackexchange.com/questions/1623/low-pass-filter/1637#1637" />
  <row Id="50530" PostHistoryTypeId="36" PostId="27450" RevisionGUID="5c743afe-c0c0-48ec-b5c5-9092e4a6f269" CreationDate="2014-02-21T10:53:51.617" UserId="-1" Comment="from http://video.stackexchange.com/questions/1623/low-pass-filter/1650#1650" />
  <row Id="50531" PostHistoryTypeId="2" PostId="27448" RevisionGUID="732afb55-62e7-461c-893b-28f20e5c6db5" CreationDate="2011-06-20T02:07:50.173" UserDisplayName="Juancho" Text="Filters do work in the time domain, in the form of an algorithm (or an analog circuit).&#xD;&#xA;&#xD;&#xA;Linear, time-invariant filters (such as high/low-pass filters) have a frequency response which is a function of the frequency. An ideal low-pass filter with cutoff frequency 1000Hz will have a frequency response that is 1 below 1000Hz and 0 above 1000Hz.&#xD;&#xA;&#xD;&#xA;For detecting changes in amplitude, one technique is to first use an optional high-pass filter with very low cutoff frequency in order to eliminate DC components. Then get the absolute value of the resulting signal. The resulting positive signal then goes through a low-pass filter in order to smooth out individual cycles and remove unwanted noise, and that then goes through a deriver (which is a special type of high-pass filter), in order to detect changes in amplitude. The result is compared to some threshold in order to get the significant changes in amplitude.&#xD;&#xA;&#xD;&#xA;As you may guess, all of the above needs a complete course in signal processing for clarification. Happy googling!" ContentLicense="CC BY-SA 3.0" />
  <row Id="50532" PostHistoryTypeId="2" PostId="27450" RevisionGUID="f878d602-8900-42c2-a989-1b41bcd38f9b" CreationDate="2011-06-25T04:03:48.987" UserDisplayName="John" Text="(If this is too elementary please forgive me.  Not meaning at all to talk down to you!)&#xD;&#xA;&#xD;&#xA;Say you have a &quot;noisy sine wave&quot; on your oscilloscope.  The main part of the sine wave is the low-frequency part, and the noise (the &quot;fuzziness&quot;) on the sine wave is the high-frequency part.&#xD;&#xA;&#xD;&#xA;The oscilloscope sweep would be your time domain.&#xD;&#xA;&#xD;&#xA;Low-pass filters let the low frequencies pass through.  So this would get rid of the fuzz.&#xD;&#xA;&#xD;&#xA;High-pass filters let the high frequencies pass through.  This would get rid of the sine wave and leave the noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="50533" PostHistoryTypeId="2" PostId="27449" RevisionGUID="045c5ca0-dc5d-40e2-bfab-f3dcba88a6fe" CreationDate="2011-06-20T16:08:38.867" UserId="7224" Text="Filters can operate in either the time domain or (by various granular or overlap techniques) in the frequency domain.  Filters produce changes in both the time domain and the frequency domain.  However the changes in both domains are usually easier to describe in the frequency domain, even though they effect the time domain signal as well.&#xD;&#xA;&#xD;&#xA;Examples of time domain filters include IIR and FIR filters.  FIR filters do a form of weighted averaging of nearby samples, and, depending on the weightings, this averaging can reduce fast variations from the average (thus reducing high frequencies).  Or the opposite by essentially subtracting the average.  Etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="50534" PostHistoryTypeId="2" PostId="27447" RevisionGUID="add7da46-6dec-45d6-9bcc-557a9ce10b52" CreationDate="2011-06-20T03:46:22.343" UserDisplayName="user488792" Text="I've constantly heard about the Low-Pass (or High-Pass) filter, but I am confused. I read that it works on cancelling out certain frequencies that are below (or above) a certain threshold.&#xD;&#xA;&#xD;&#xA;However, I am using the Time-Domain for calculating Note Onsets (that is, using the change in signal amplitude/energy). So I am not sure on how I can apply low-pass filtering to the time-domain. Any other good filters for note-onset detection?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50535" PostHistoryTypeId="1" PostId="27447" RevisionGUID="add7da46-6dec-45d6-9bcc-557a9ce10b52" CreationDate="2011-06-20T03:46:22.343" UserDisplayName="user488792" Text="Low Pass Filter?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50536" PostHistoryTypeId="3" PostId="27447" RevisionGUID="add7da46-6dec-45d6-9bcc-557a9ce10b52" CreationDate="2011-06-20T03:46:22.343" UserDisplayName="user488792" Text="&lt;filter&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50537" PostHistoryTypeId="36" PostId="27451" RevisionGUID="d846eb48-5493-497a-b5e4-5defb7696de4" CreationDate="2014-02-21T10:53:59.503" UserId="-1" Comment="from http://video.stackexchange.com/questions/9459/how-do-self-proclaimed-githubs-of-music-splice-and-blend-compare" />
  <row Id="50538" PostHistoryTypeId="2" PostId="27451" RevisionGUID="dbbef09c-3cfe-4194-91b7-0578fd5348cc" CreationDate="2013-11-21T05:54:56.500" UserDisplayName="user9650" Text="[Splice][1] and [Blend][2]. Each company describes itself as the &quot;Github of music.&quot; One is a USV company and the other is Betaworks. I'm sure they're both rapidly improving their feature sets, and by the time you read this, the answers below will probably be obsolete.&#xD;&#xA;&#xD;&#xA;But which service provides the best sound quality? Which, do you think, I can rely on professionally?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://splice.com/&#xD;&#xA;  [2]: http://blend.io/" ContentLicense="CC BY-SA 3.0" />
  <row Id="50539" PostHistoryTypeId="1" PostId="27451" RevisionGUID="dbbef09c-3cfe-4194-91b7-0578fd5348cc" CreationDate="2013-11-21T05:54:56.500" UserDisplayName="user9650" Text="How do self-proclaimed &quot;Githubs of music&quot; Splice and Blend compare?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50540" PostHistoryTypeId="3" PostId="27451" RevisionGUID="dbbef09c-3cfe-4194-91b7-0578fd5348cc" CreationDate="2013-11-21T05:54:56.500" UserDisplayName="user9650" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50541" PostHistoryTypeId="36" PostId="27452" RevisionGUID="30f5b3a2-c3a2-45aa-91ff-992d0913ccdc" CreationDate="2014-02-21T10:54:08.050" UserId="-1" Comment="from http://video.stackexchange.com/questions/8343/transcribing-songs-using-just-iphone" />
  <row Id="50542" PostHistoryTypeId="2" PostId="27453" RevisionGUID="4eb1a2dd-8502-49cc-b437-a95c926a5557" CreationDate="2013-07-06T08:50:50.243" UserDisplayName="Nate Kimball" Text="At the moment, the options are a bit limited. However, there is an app that will soon be available from Think Music Technology that looks pretty incredible. You can look at those details [here][1]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.thinkmusictechnology.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="50543" PostHistoryTypeId="2" PostId="27452" RevisionGUID="27436984-7b41-4bad-b2fd-25d6cdcb3137" CreationDate="2013-07-04T03:49:11.087" UserDisplayName="nano.galvao" Text="I want to transcribe songs by ear using just an iPhone (without any musical instrument). Somebody knows one app that could help me? The app must be able to play music from my song library and let me write something (chords, sheet music or tabs). &#xD;&#xA;&#xD;&#xA;I wish something like [capo][1] with [guitar pro][2] capabilities on the same app. Do you know an app with these features?&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;  [1]: https://itunes.apple.com/us/app/capo/id386963803?mt=8&#xD;&#xA;  [2]: https://itunes.apple.com/br/app/guitar-pro/id400666114?mt=8" ContentLicense="CC BY-SA 3.0" />
  <row Id="50544" PostHistoryTypeId="1" PostId="27452" RevisionGUID="27436984-7b41-4bad-b2fd-25d6cdcb3137" CreationDate="2013-07-04T03:49:11.087" UserDisplayName="nano.galvao" Text="Transcribing songs using just iPhone" ContentLicense="CC BY-SA 3.0" />
  <row Id="50545" PostHistoryTypeId="3" PostId="27452" RevisionGUID="27436984-7b41-4bad-b2fd-25d6cdcb3137" CreationDate="2013-07-04T03:49:11.087" UserDisplayName="nano.galvao" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50546" PostHistoryTypeId="36" PostId="27453" RevisionGUID="960fb679-f9f5-4d08-8477-d7d579d647d1" CreationDate="2014-02-21T10:54:08.050" UserId="-1" Comment="from http://video.stackexchange.com/questions/8343/transcribing-songs-using-just-iphone/8344#8344" />
  <row Id="50547" PostHistoryTypeId="36" PostId="27454" RevisionGUID="56359148-f730-40df-b0ea-d5703bec8c29" CreationDate="2014-02-21T10:54:20.027" UserId="-1" Comment="from http://video.stackexchange.com/questions/8300/real-time-low-cut-and-noise-reduction-software" />
  <row Id="50548" PostHistoryTypeId="2" PostId="27455" RevisionGUID="87462a8c-f0e2-4f6a-8360-17a4365209a4" CreationDate="2013-07-02T23:26:52.787" UserId="7200" Text="Not quite in what you may mean by &quot;real time&quot;: such processing requires conversion from analogue to digital and back, which necessarily introduces some _latency_: you need to read data into some buffer, then it can be processed, and then sent to the output. The buffer needs to be at least one sample.&#xD;&#xA;&lt;br&gt;It's still called real time, because you can have just this constant delay, but continuously following signal without interruptions.&#xD;&#xA;&#xD;&#xA;Obviously, this is just what digital mixing consoles do. These nowadays have similarly versatile EQs, dynamics etc. as those built into all DAWs, but they use dedicated DSP chips rather than the CPU where also the complete operating system has to run on, so they can achieve lower latency at the same processing power. CPU-based processing needs quite big buffers to run stable, when you try getting the latency below something like 5 ms you may get drop-outs. But if you're ok with that, what you need is&#xD;&#xA;&#xD;&#xA;- A good audio interface, with decent drivers for your platform of choice. Few devices have well-working ALSA drivers, so with Linux it's always a bit difficult; on Windows, the professional standard is ASIO, on Mac it's Core audio – almost any interface supports those.&#xD;&#xA;&#xD;&#xA;- A clean OS, that won't start expensive background operations when you need the power to maintain the low-latency audio connection. Here, GNU/Linux with lightwight window managers clearly wins, Windows XP is also quite stable, but provided you don't have too much junk installed (popping up messenger services etc.), newer Windowses and OSX will also do the job, given a sufficiently fast machine.&#xD;&#xA;&#xD;&#xA;- A live-suited DAW. There are plenty. I like [Reaper](http://www.reaper.fm/), which is easy to route for such stuff, lightweight, has powerful plugins capabilities, and isn't [free](http://www.gnu.org/philosophy/free-sw.html) but quite close to.&#xD;&#xA;&#xD;&#xA;Make sure you actually use the right drivers; for instance with Windows sound system drivers you'll never get anything you could call low-latency.&#xD;&#xA;&#xD;&#xA;Once you have it all running, your opportunities are quite unlimited. Arm some tracks in you DAW, switch on their monitoring, and put in whatever plugins you want." ContentLicense="CC BY-SA 3.0" />
  <row Id="50549" PostHistoryTypeId="2" PostId="27454" RevisionGUID="8cc625c5-c932-43f8-bc6c-23354cd22fff" CreationDate="2013-07-02T17:58:30.660" UserDisplayName="Machinegon" Text="Is there anyone that's aware of a software that acts a bit like an audio console? I would like to adjust the frequencies of my microphone for ambient noise reduction etc in real time.&#xD;&#xA;&#xD;&#xA;Thanks," ContentLicense="CC BY-SA 3.0" />
  <row Id="50550" PostHistoryTypeId="1" PostId="27454" RevisionGUID="8cc625c5-c932-43f8-bc6c-23354cd22fff" CreationDate="2013-07-02T17:58:30.660" UserDisplayName="Machinegon" Text="Real time low-cut and noise reduction software" ContentLicense="CC BY-SA 3.0" />
  <row Id="50551" PostHistoryTypeId="3" PostId="27454" RevisionGUID="8cc625c5-c932-43f8-bc6c-23354cd22fff" CreationDate="2013-07-02T17:58:30.660" UserDisplayName="Machinegon" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50552" PostHistoryTypeId="36" PostId="27455" RevisionGUID="d7f7d6f8-2f8d-48d4-9480-28d1f9c804e7" CreationDate="2014-02-21T10:54:20.027" UserId="-1" Comment="from http://video.stackexchange.com/questions/8300/real-time-low-cut-and-noise-reduction-software/8301#8301" />
  <row Id="50553" PostHistoryTypeId="36" PostId="27456" RevisionGUID="4820753a-c682-42c1-b474-7841e4a1af0b" CreationDate="2014-02-21T10:54:28.227" UserId="-1" Comment="from http://video.stackexchange.com/questions/4298/how-do-i-drag-waves-in-sound-forge" />
  <row Id="50554" PostHistoryTypeId="36" PostId="27457" RevisionGUID="8266202e-5fa2-4707-b8b6-67d945069044" CreationDate="2014-02-21T10:54:28.227" UserId="-1" Comment="from http://video.stackexchange.com/questions/4298/how-do-i-drag-waves-in-sound-forge/4299#4299" />
  <row Id="50555" PostHistoryTypeId="36" PostId="27458" RevisionGUID="05170ac5-053f-4879-a69b-09cf2b321192" CreationDate="2014-02-21T10:54:28.227" UserId="-1" Comment="from http://video.stackexchange.com/questions/4298/how-do-i-drag-waves-in-sound-forge/4301#4301" />
  <row Id="50556" PostHistoryTypeId="2" PostId="27457" RevisionGUID="6d82c378-371e-4f06-b7e7-b0cc17783c67" CreationDate="2012-06-26T20:37:38.030" UserId="7188" Text="UPDATE: This answer is based on the assumption that the version of Sound Forge you are using has the facility to create more than one pair of stereo tracks as seen in the following link:&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=i3xmHEUD4YQ&#xD;&#xA;&#xD;&#xA;at 2:26 on the video above you will see how he engages multiple tracks.&#xD;&#xA;(note he is using a Pro 10 version, while mine is a Studio (home version) 9.&#xD;&#xA;&#xD;&#xA;My version as I have learned only supports the use of one pair of tracks so I would consider my answer misleading and awkward. I think you will be better off with dwwilson66 advice on this one. I would delete my answer, but it may have some value later.&#xD;&#xA;&#xD;&#xA;&quot;Is there a key I can hold so that my entire selection (or the entire channel) will move from left to right so that I can get them lined up?&quot;&#xD;&#xA;&#xD;&#xA;Yes, first make sure you have opened your audio into the timeline, then just normal click the track and move your mouse left or right to move the entire track. You can also change the order of tracks, say you want the bass track on top, simply go to the right margin of the track click and hold and move.&#xD;&#xA;&#xD;&#xA;There are a ton of tutorials on Sony Sound Forge on YouTube so I would recommend searching with the key words of the issue you are trying to solve." ContentLicense="CC BY-SA 3.0" />
  <row Id="50557" PostHistoryTypeId="2" PostId="27458" RevisionGUID="5ecc0f59-6d84-4e58-a8af-f299c00d9c5c" CreationDate="2012-06-27T18:28:10.617" UserId="12830" UserDisplayName="dwwilson66" Text="There are two &quot;modes&quot; you can use to interact with a track. You can click and drag to highlight a section of the track, or you can double-click and select the entire track. What I often have trouble with is that there's a sweet spot right around the line that separates the two tracks. If you double click in that sweet spot, BOTH tracks highlight. If you miss, only one track highlights. It seems to respond better when I click fast. It's almost as if the delay where SF determines if you're clicking or double-clicking is so miniscule that humans can't do it. There may be a way to adjust the delay, and SF is the only problem with which I experience double-click vs. click issues, so...just call it a headscratcher and be done with it. &#xD;&#xA;&#xD;&#xA;When you select the whole track, the entire thing highlights in blue, not just the selection across which you dragged. If you click a single track, shift-double-click will allow you to add other tracks to that selection. As an old standby, I usually just click anywhere and ctrl-A.&#xD;&#xA;&#xD;&#xA;When you've got your track(s) selected, click, hold and move back and forth. You'll notice the cursor turning into a box with an arrow sticking out of it. This is the indicator that you're in the tool that slides audio back and forth. But...one caveat with that. Let's say you have a 5:00 track with 5:00 of sound in it. Where will you move it ~TO~? This is one of the limitations of SF ~prior~ to V9 or V10---I forget which one allows for multitrack recording---and it makes sense. In that version, the length of your &quot;workspace&quot; is defined by the longest stereo track, and you're able to take shorter bits and manipulate them along the timeline. In that regard, the workspace is getting closer to VEGAS functionality, and honestly, I do a lot of my sound mixing in Vegas, exporting a WAV to SF for mastering. But then, I have a video editing background and find Vegas a little more intuitive to use for editing. YMMV.  &#xD;&#xA;&#xD;&#xA;@filzilla had some excellent ideas about changing to multiple tracks if your version allows for it. That may be the ticket. &#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50558" PostHistoryTypeId="2" PostId="27459" RevisionGUID="1f47b56a-f6ca-4902-b7cb-7c15be3c1969" CreationDate="2012-07-01T08:20:51.590" UserDisplayName="ThePower" Text="I've figured out how to do this now.&#xD;&#xA;&#xD;&#xA;On the screen shot I have highlighted the button that must be activated to allow dragging rather than selecting. If you click this button till the icon in the example appears you can then draw the channels from side to side.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/BPiNQ.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="50559" PostHistoryTypeId="2" PostId="27456" RevisionGUID="baebe658-22a9-448c-baae-85f6faeba781" CreationDate="2012-06-26T19:57:19.463" UserDisplayName="ThePower" Text="I've been playing around with Sound Forge Pro 10 for a few days. Basically, I've recorded my girlfriend's vocals (she was listening to the music via headphones from a laptop), and I'm trying to line up the backing music to her vocals. Is there any way that I can simple drag the wave along (instead of highlighting sections of it)? Is there a key I can hold so that my entire selection (or the entire channel) will move from left to right so that I can get them lined up?&#xD;&#xA;&#xD;&#xA;At the moment I'm just adding silence to the start but it's so tedious and time consuming that it's driving me mad.&#xD;&#xA;&#xD;&#xA;If not, is this achievable in Audacity? Would my life be made easier going down that route?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50560" PostHistoryTypeId="1" PostId="27456" RevisionGUID="baebe658-22a9-448c-baae-85f6faeba781" CreationDate="2012-06-26T19:57:19.463" UserDisplayName="ThePower" Text="How do I 'drag' waves in Sound Forge?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50561" PostHistoryTypeId="3" PostId="27456" RevisionGUID="baebe658-22a9-448c-baae-85f6faeba781" CreationDate="2012-06-26T19:57:19.463" UserDisplayName="ThePower" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50562" PostHistoryTypeId="36" PostId="27459" RevisionGUID="4a7ced86-6b77-4145-bdb3-055552fe9f07" CreationDate="2014-02-21T10:54:28.227" UserId="-1" Comment="from http://video.stackexchange.com/questions/4298/how-do-i-drag-waves-in-sound-forge/4326#4326" />
  <row Id="50563" PostHistoryTypeId="36" PostId="27460" RevisionGUID="fb61f023-c362-4621-a219-85f7f225bb8d" CreationDate="2014-02-21T10:54:36.227" UserId="-1" Comment="from http://video.stackexchange.com/questions/439/how-do-software-algorithms-to-calculate-bpm-usually-work" />
  <row Id="50564" PostHistoryTypeId="2" PostId="27461" RevisionGUID="082737f9-97f8-48d5-b866-8608840bdbef" CreationDate="2010-12-24T21:07:32.037" UserDisplayName="Tom Wijsman" Text="**How are they separate from other sounds? How is a 'beat' found in the audio?**&#xD;&#xA;&#xD;&#xA;&gt; It basically amounts to emphasizing the sudden impulses of sound in the song and then finding the fundamental period at which these impulses appear. This is done by breaking the signal into frequency bands, extracting the envelope of these frequency-banded signals, differentiating them to emphasize sudden changes in sound, and running the signals through a comb-filterbank and choosing the highest energy result as our tempo.&#xD;&#xA;&#xD;&#xA;&gt; &amp;mdash; [Beat This - Beat Detection Algorithm](http://www.clear.rice.edu/elec301/Projects01/beat_sync/beatalgo.html)&#xD;&#xA;&#xD;&#xA;The first three steps should be easy to understand, let's look at the last step:&#xD;&#xA;&#xD;&#xA;&gt; A comb filter adds a delayed version of a signal to itself, causing constructive and destructive interference. The frequency response of a comb filter consists of a series of regularly-spaced spikes, giving the appearance of a comb.&#xD;&#xA;&#xD;&#xA;&gt; &amp;mdash; [Wikipedia - Comb filter](http://en.wikipedia.org/wiki/Comb_filter)&#xD;&#xA;&#xD;&#xA;The last step uses such a  comb filter to figure out the BPM, as you can see on this graph (145 BPM spike):&#xD;&#xA;&#xD;&#xA;![alt text][1]&#xD;&#xA;&#xD;&#xA;You also see a spike at 72,5 BPM, the inference pattern also creates spikes at the half and double frequencies. This is the reason that software sometimes picks the half or double BPM instead of the real BPM.&#xD;&#xA;&#xD;&#xA;[GameDev.net - Beat Detection Algorithms][2] explains the whole thing in more depth.&#xD;&#xA;&#xD;&#xA;**How are tempo changes handled?**&#xD;&#xA;&#xD;&#xA;Most algorithms don't support tempo changes, they will either pick a part in the middle to determine the BPM or decide to calculate an average BPM as you suggested. From a DJ perspective I haven't seen an algorithm yet that supports mixing two songs with a dynamic BPM...&#xD;&#xA;&#xD;&#xA;**How would BPM calculation be different?**&#xD;&#xA;&#xD;&#xA;This doesn't depend on instrument or genre, but rather how it is played. For example, in an electro pop song the algorithm can easily be confused in a bridge part of the song or due to some kind of due to those overused digital effects. For the guitar, if you play a classic part with accurately timed notes it would be easy for the algorithm do determine the BPM you are playing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/6bKxQ.gif&#xD;&#xA;  [2]: http://archive.gamedev.net/reference/programming/features/beatdetection/&#xD;&#xA;  [junk]: http://Oops!/Your/edit/couldn't/be/submitted/because:/Edits/must/be/at/least/6/characters;/is/there/something/else/to/improve/in/this/post?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50565" PostHistoryTypeId="2" PostId="27460" RevisionGUID="fcc10df8-1707-4b18-b007-0169a31c4ea6" CreationDate="2010-12-24T00:48:22.293" UserId="6865" Text="Most music editing programs will tell you the BPM of a song, but how do they calculate it? Obviously they try to find some sort of constant pulse throughout the song, but:&#xD;&#xA;&#xD;&#xA; - how are they separate from other sounds? How is a 'beat' found in the audio?&#xD;&#xA; -  How are tempo changes handled, are they averaged together or is it based on longer duration of a specific tempo? &#xD;&#xA; - How would BPM calculation be different for say, an acoustic guitar solo (harder) than from a pop song (easier)? &#xD;&#xA;&#xD;&#xA;(if we had the community wiki for questions back I'd invite people to edit in their own questions so this can serve for a more complete reference)" ContentLicense="CC BY-SA 2.5" />
  <row Id="50566" PostHistoryTypeId="1" PostId="27460" RevisionGUID="fcc10df8-1707-4b18-b007-0169a31c4ea6" CreationDate="2010-12-24T00:48:22.293" UserId="6865" Text="How do software algorithms to calculate BPM usually work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50567" PostHistoryTypeId="3" PostId="27460" RevisionGUID="fcc10df8-1707-4b18-b007-0169a31c4ea6" CreationDate="2010-12-24T00:48:22.293" UserId="6865" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50568" PostHistoryTypeId="36" PostId="27461" RevisionGUID="aec4dc15-7181-459c-b805-610a91cc4657" CreationDate="2014-02-21T10:54:36.227" UserId="-1" Comment="from http://video.stackexchange.com/questions/439/how-do-software-algorithms-to-calculate-bpm-usually-work/443#443" />
  <row Id="50569" PostHistoryTypeId="36" PostId="27462" RevisionGUID="17e12e89-62d2-473c-a29e-eafb448044e2" CreationDate="2014-02-21T10:54:43.903" UserId="-1" Comment="from http://video.stackexchange.com/questions/690/how-do-song-recognition-services-like-shazam-work" />
  <row Id="50570" PostHistoryTypeId="36" PostId="27463" RevisionGUID="c31638a8-b42b-4480-a272-2bfe41743798" CreationDate="2014-02-21T10:54:43.903" UserId="-1" Comment="from http://video.stackexchange.com/questions/690/how-do-song-recognition-services-like-shazam-work/692#692" />
  <row Id="50571" PostHistoryTypeId="36" PostId="27464" RevisionGUID="2bc19023-bfb2-4ea9-aa65-28d0403f1037" CreationDate="2014-02-21T10:54:43.903" UserId="-1" Comment="from http://video.stackexchange.com/questions/690/how-do-song-recognition-services-like-shazam-work/2131#2131" />
  <row Id="50572" PostHistoryTypeId="2" PostId="27463" RevisionGUID="4ddd737b-42a0-47f6-84fe-d4664f137ba6" CreationDate="2011-01-27T15:09:14.423" UserDisplayName="Ian C." Text="[Here is a PDF on a research paper][1], published by Shazam founder Avery Wang, on how he solved the problem of creating hash keys for songs without making the key space enormous and impossible to search. That is an ultra-detailed account of how Shazam works. Focusing on the &quot;intense moments&quot; in songs was a rather brilliant bit of data reduction on his part.&#xD;&#xA;&#xD;&#xA;[This Slate article][2] gives a good run down of the technique they use without having to read academic-ese.&#xD;&#xA;&#xD;&#xA;&gt; Seems kinda difficult to do that, especially when I am recording songs off the radio, using different hardware for both playing and recording (for example playing from a radio in the car and recording to a phone, or playing from phone and recording to the internal mic in a laptop)&#xD;&#xA;&#xD;&#xA;The source and the recorder don't have to be consistent because there's a large amount of filtering that goes on before the signal is fingerprinted. There's some background noise filtering done to cut down on ambient noise and that's reasonably well developed science. And the fingerprinting process uses some extreme filters to narrow what it's listening to so the fidelity of the source signal doesn't have to be that high.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ee.columbia.edu/~dpwe/papers/Wang03-shazam.pdf&#xD;&#xA;  [2]: http://www.slate.com/id/2232914/" ContentLicense="CC BY-SA 2.5" />
  <row Id="50573" PostHistoryTypeId="2" PostId="27464" RevisionGUID="39d6aaf2-afc5-46a2-ad19-bad2c88d7dd6" CreationDate="2011-08-16T17:50:40.697" UserId="2506" Text="I answered this exact question a while ago when content identification on SoundCloud was being discussed. Companies like Audible Magic have been working with labels for a long time, building substantial databases of audio tracks. Software scans files, produces fingerprints which are... Well, I'm not privy to the exact spec, however logically it's a combination of duration, detected pitch, harmonic and spectral content, patterns within the spectral content (drums and basslines are very characteristic, and when you use samples those patterns will be identical for every repeat) plus other various factors of the waveform. The way the fingerprint is generated makes the detection process resilient; a guy [did some unscientific testing a while ago][1] when YouTube introduced their Content ID system (utilising Audible Magic's backend systems) where he manipulated, reversed, pitched up/down and sped up/down a known file and then noted down how extremely the waveform had to be manipulated in order for it to be unrecognisable. (in short: a LOT).&#xD;&#xA;&#xD;&#xA;This is also how Apple's iTunes Match service will be identifying catalogue; the fingerprint detection software is integrated into the forthcoming version of iTunes (so it will scan your files locally then just upload the resulting fingerprints for comparison on the server).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.csh.rit.edu/~parallax/" ContentLicense="CC BY-SA 3.0" />
  <row Id="50574" PostHistoryTypeId="2" PostId="27462" RevisionGUID="1f357479-9cb8-4f48-adc4-59ef10320ac1" CreationDate="2011-01-27T14:06:38.060" UserDisplayName="user434" Text="Seems kinda difficult to do that, especially when I am recording songs off the radio, using different hardware for both playing and recording (for example playing from a radio in the car and recording to a phone, or playing from phone and recording to the internal mic in a laptop), but those services still seem to identify the song in most cases!&#xD;&#xA;&#xD;&#xA;How?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50575" PostHistoryTypeId="1" PostId="27462" RevisionGUID="1f357479-9cb8-4f48-adc4-59ef10320ac1" CreationDate="2011-01-27T14:06:38.060" UserDisplayName="user434" Text="How do song recognition services (like Shazam) work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50576" PostHistoryTypeId="3" PostId="27462" RevisionGUID="1f357479-9cb8-4f48-adc4-59ef10320ac1" CreationDate="2011-01-27T14:06:38.060" UserDisplayName="user434" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50577" PostHistoryTypeId="36" PostId="27465" RevisionGUID="cb9270db-2017-4afc-aa35-fe803ffd8702" CreationDate="2014-02-21T10:54:52.563" UserId="-1" Comment="from http://video.stackexchange.com/questions/520/free-newbie-friendly-tracker-software" />
  <row Id="50578" PostHistoryTypeId="36" PostId="27466" RevisionGUID="0d1547b0-f078-4219-aade-6e657e861208" CreationDate="2014-02-21T10:54:52.563" UserId="-1" Comment="from http://video.stackexchange.com/questions/520/free-newbie-friendly-tracker-software/521#521" />
  <row Id="50579" PostHistoryTypeId="36" PostId="27467" RevisionGUID="e2a2bcfd-74e2-450b-a241-d03b0cfbb695" CreationDate="2014-02-21T10:54:52.563" UserId="-1" Comment="from http://video.stackexchange.com/questions/520/free-newbie-friendly-tracker-software/523#523" />
  <row Id="50580" PostHistoryTypeId="36" PostId="27468" RevisionGUID="070e784a-c8e6-4a15-a179-1282b0325cb4" CreationDate="2014-02-21T10:54:52.563" UserId="-1" Comment="from http://video.stackexchange.com/questions/520/free-newbie-friendly-tracker-software/560#560" />
  <row Id="50581" PostHistoryTypeId="2" PostId="27466" RevisionGUID="b5a935d6-09e5-4b72-bfb5-e2c0ea70afda" CreationDate="2011-01-05T16:42:40.897" UserDisplayName="Ian C." Text="You should look in to [Audacity][1]. Free, open source, very capable multi-track software for audio production. It is a much better platform for producing any kind of audio than something like SoundTracker. You'll want to pair Audacity with some software synthesizers and score MIDI in Audacity that plays the software synthesizers. You can write your score in Audacity this way and then bounce the final score to a stereo MP3 file, all from within the software.&#xD;&#xA;&#xD;&#xA;There are a literal ton of free virtual instrument synths to choose from. The best place to find them is via [KVR Audio's VSTi search engine][2]. Just filter your search so it only shows free plugins that support the platform you're running Audacity on.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/&#xD;&#xA;  [2]: http://www.kvraudio.com/get.php" ContentLicense="CC BY-SA 2.5" />
  <row Id="50582" PostHistoryTypeId="2" PostId="27467" RevisionGUID="380a8a9d-07a7-41a5-a000-6fbb9d45e5e1" CreationDate="2011-01-05T17:19:10.857" UserId="7294" Text="You've found all the big modern trackers.  There isn't nearly as much development as there used to be, mostly because it's now almost trivial to compress and distribute a traditional waveform recording using lossy codecs like MP3 or AAC.  Tracker music in wavetable modules like the ones libmodplug can read are mostly just for enthusiasts now.&#xD;&#xA;&#xD;&#xA;If you don't mind having to export to audio, but still want to use a tracker to compose, [Renoise][1] is quite popular, since it can act as a host for plugins like a DAW but still uses tracker notation to control them.  It's presently within your price range and does work on Linux.&#xD;&#xA;&#xD;&#xA;You're definitely going to have to learn a few buttons and somewhat obscure commands if you want to use a tracker.  Fortunately, the concept isn't that hard, so long as you have a good grasp of music.  If you can write a tune on a piano, you can certainly transcribe that into a tracker without too much trouble.  But if you're new to composing music at all, you might find trackers to be a bit much at first since it takes longer to experiment.  &#xD;&#xA;&#xD;&#xA;Does your game *have* to use libmodplug?  If you have the resources to use recordings, you might find that a lot easier.  And there's a lot more modern software that you can use to compose and record.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.renoise.com" ContentLicense="CC BY-SA 2.5" />
  <row Id="50583" PostHistoryTypeId="2" PostId="27468" RevisionGUID="5baf1aa9-940e-4960-8fd2-d603aa9f3d5c" CreationDate="2011-01-10T17:41:43.087" UserDisplayName="George Edison" Text="I don't know if [Anvil Studio](http://www.anvilstudio.com/) would be what you're looking for:&#xD;&#xA;&#xD;&#xA;&lt;img src=&quot;http://www.anvilstudio.com/compose.jpg&quot;&gt;&#xD;&#xA;&#xD;&#xA;It's not free, but there is a demo:&#xD;&#xA;&#xD;&#xA;&gt; &quot;The standard, free version, of Anvil Studio only records one audio track for one minute, but you can use it to see how it works with your setup.&quot;&#xD;&#xA;&#xD;&#xA;It seems to support exporting/importing of MIDI files." ContentLicense="CC BY-SA 2.5" />
  <row Id="50584" PostHistoryTypeId="2" PostId="27465" RevisionGUID="1980eb2d-1d5e-4a44-9bd3-61913ed839cb" CreationDate="2011-01-05T15:30:03.170" UserId="7846" UserDisplayName="egarcia" Text="I'm a complete music newbie.&#xD;&#xA;&#xD;&#xA;I'd like to create some music for small, totally aficionado videogames.&#xD;&#xA;&#xD;&#xA;My sound requirements are:&#xD;&#xA;&#xD;&#xA; - Small file size (less than an mp3 or ogg)&#xD;&#xA; - Playable via [libmodplug][1] (list of supported file formats on that link)&#xD;&#xA; - I don't mind &quot;chiptuneish&quot; sound, but I need something with better quality than midi. At least something that sounds the same from computer to computer.&#xD;&#xA;&#xD;&#xA;So I've concluded that I need a tracker program. With that in mind, I can center my search a bit more:&#xD;&#xA;&#xD;&#xA; - I'm looking for free or very cheap alternatives. Definitively not going to buy anything with a pricetag of more than two figures.&#xD;&#xA; - I'd be great if it worked on Linux, but that isn't a requirement.&#xD;&#xA; - I'd like something whose sourcecode has been touched at least once in the last 2 years.&#xD;&#xA; - I need something that a music-newbie can use!&#xD;&#xA;&#xD;&#xA;So far I've found [SoundTracker][3], [ChibiTracker][4] &amp; [MilkyTracker][2] (from this [wikipedia list][6]. Sunvox also appeared on that list, but it only exports to midi and wav). The only one that doesn't look abandoned is MilkyTracker. I've tried it, but it's interface is non-understandable to me. So many buttons!&#xD;&#xA;&#xD;&#xA;Is there any other software there that I should know about?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sourceforge.net/projects/libmodplug/&#xD;&#xA;  [2]: http://www.milkytracker.org/&#xD;&#xA;  [3]: http://www.soundtracker.org/&#xD;&#xA;  [4]: http://chibitracker.berlios.de&#xD;&#xA;  [5]: http://www.warmplace.ru/soft/sunvox/&#xD;&#xA;  [6]: http://en.wikipedia.org/wiki/List_of_audio_trackers" ContentLicense="CC BY-SA 2.5" />
  <row Id="50585" PostHistoryTypeId="1" PostId="27465" RevisionGUID="1980eb2d-1d5e-4a44-9bd3-61913ed839cb" CreationDate="2011-01-05T15:30:03.170" UserId="7846" UserDisplayName="egarcia" Text="Free, newbie-friendly tracker software?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50586" PostHistoryTypeId="3" PostId="27465" RevisionGUID="1980eb2d-1d5e-4a44-9bd3-61913ed839cb" CreationDate="2011-01-05T15:30:03.170" UserId="7846" UserDisplayName="egarcia" Text="&lt;software&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50587" PostHistoryTypeId="36" PostId="27469" RevisionGUID="49e034a7-84be-461e-9cfa-e0ece9c278f2" CreationDate="2014-02-21T10:55:01.127" UserId="-1" Comment="from http://video.stackexchange.com/questions/1629/how-do-you-get-a-job-in-a-recording-studio" />
  <row Id="50588" PostHistoryTypeId="36" PostId="27470" RevisionGUID="1c7811ae-2e09-4c07-a4ff-e20c17e62dfe" CreationDate="2014-02-21T10:55:01.127" UserId="-1" Comment="from http://video.stackexchange.com/questions/1629/how-do-you-get-a-job-in-a-recording-studio/1630#1630" />
  <row Id="50589" PostHistoryTypeId="2" PostId="27470" RevisionGUID="848213bd-29d7-4bc4-9d95-bfa56c9d80a0" CreationDate="2011-06-20T20:09:52.527" UserDisplayName="Eduard Wirch" Text="Give really good answers to questions in audio.stackexchange.com and apply with your stackexchange account as a reference. ;)&#xD;&#xA;Seriously. This is a really good way to show them what you know.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50590" PostHistoryTypeId="2" PostId="27471" RevisionGUID="9e14040d-21d5-4fc5-b401-d53f0963173e" CreationDate="2011-06-20T21:46:23.643" UserDisplayName="Shane Kilkelly" Text="The thing to do is research what studios are in your area, what their client base is like, what kind of music they specialise in and then contact them to propose an internship.  &#xD;&#xA;&#xD;&#xA;The thing to realise is that an intern is usually more of a burden than a boon for a studio owner, as early on they can't trust the intern to do anything significantly helpful, but they also can't just have them sit around staring at the wall. You need to be a good value proposition for the studio, and not necessarily in a production role, as the owner isn't going to be handing you production duties anyway.  &#xD;&#xA;&#xD;&#xA;Offer to do repairs, paint the walls, spruce up the studio website, setup and maintain a facebook profile for the studio and so forth. Identify something the studio business needs and offer to do it.  &#xD;&#xA;&#xD;&#xA;Offer to do the things the owner has no time to do himself, so that he can spend more time producing. Don't come at it from the angle of wanting to muscle-in on the production side of it as soon as you get in the door.  &#xD;&#xA;&#xD;&#xA;Having said that, a good portfolio of previous production work and a solid working knowledge of audio engineering will be essential. you need to be able to show that you know what you're doing.  &#xD;&#xA;&#xD;&#xA;best of luck in your search!" ContentLicense="CC BY-SA 3.0" />
  <row Id="50591" PostHistoryTypeId="2" PostId="27469" RevisionGUID="870a8844-3b3c-4d8a-8198-e2e97828dd20" CreationDate="2011-06-20T15:13:42.177" UserDisplayName="Spütnik" Text="I have no idea, so any advice would be helpful. The research I've done shows that opinion is divided.&#xD;&#xA;&#xD;&#xA;As an idea of my current situation, I have just graduated with an MMath from Oxford, and I'm likely to spend the next couple of years pursuing a part-time PhD in number theory, or tutoring in mathematics. This will be somewhere in between Oxford and London, or possibly in Canada.&#xD;&#xA;&#xD;&#xA;As for how the music part fits in: I played in several bands during my undergraduate years (at one point, three at the same time) and been involved in producing demos for projects that I've done vocals for. For the past couple of years I've been very interested in the production side and concentrated on producing electro in FL Studio (and a little bit in Logic). I even took a term off my studies to go to Brighton to pursue a music course, but it was heavily performance- and theory-based. The lack of production was unsatisfying, and I left after about 8 weeks.&#xD;&#xA;&#xD;&#xA;**Question:** I would really like to get part-time work in a studio, paid or unpaid. I don't mind doing oddjobs and drudgery so long as there is the chance of watching a producer at work and learning something along the way, and perhaps even the chance of a promotion at some point. Can anyone advise on this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50592" PostHistoryTypeId="1" PostId="27469" RevisionGUID="870a8844-3b3c-4d8a-8198-e2e97828dd20" CreationDate="2011-06-20T15:13:42.177" UserDisplayName="Spütnik" Text="How do you get a job in a recording studio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50593" PostHistoryTypeId="3" PostId="27469" RevisionGUID="870a8844-3b3c-4d8a-8198-e2e97828dd20" CreationDate="2011-06-20T15:13:42.177" UserDisplayName="Spütnik" Text="&lt;studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50594" PostHistoryTypeId="36" PostId="27471" RevisionGUID="f896e5ae-4650-48bf-af12-4525b7e89bf3" CreationDate="2014-02-21T10:55:01.127" UserId="-1" Comment="from http://video.stackexchange.com/questions/1629/how-do-you-get-a-job-in-a-recording-studio/1632#1632" />
  <row Id="50595" PostHistoryTypeId="36" PostId="27472" RevisionGUID="842abf15-7a64-435c-8cc0-736160b9b3e0" CreationDate="2014-02-21T10:55:01.127" UserId="-1" Comment="from http://video.stackexchange.com/questions/1629/how-do-you-get-a-job-in-a-recording-studio/1634#1634" />
  <row Id="50596" PostHistoryTypeId="2" PostId="27472" RevisionGUID="64efd311-52a8-49a7-80a9-9aed20a4bcb9" CreationDate="2011-06-21T02:23:31.230" UserDisplayName="user1022" Text="Unfortunately its all about connections and experience. My best advice would to try and score an unpaid internship at any local studio and learn as much as you can. Every studio does things differently so its important to understand how a studio that you are interested in does things. A CD of your work is good to have but I dont expect everyone to have access to the resources of a professional studio for their own personal portfolio. Hang around long enough and prove your worth and understanding of the concepts of audio engineering and you might make some progress. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50597" PostHistoryTypeId="36" PostId="27473" RevisionGUID="d4c7aaa4-0dea-4fa6-8194-5e94f181ccba" CreationDate="2014-02-21T10:55:14.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/203/computer-keyboard-mouse-location" />
  <row Id="50598" PostHistoryTypeId="36" PostId="27474" RevisionGUID="754702a1-88d4-4beb-818c-a42acee9ae7e" CreationDate="2014-02-21T10:55:14.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/203/computer-keyboard-mouse-location/211#211" />
  <row Id="50599" PostHistoryTypeId="36" PostId="27475" RevisionGUID="459d5adc-bb5a-409d-94a8-5fc6ab864fd0" CreationDate="2014-02-21T10:55:14.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/203/computer-keyboard-mouse-location/213#213" />
  <row Id="50600" PostHistoryTypeId="36" PostId="27476" RevisionGUID="58b126bb-e41c-4583-b098-98abb76d242c" CreationDate="2014-02-21T10:55:14.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/203/computer-keyboard-mouse-location/228#228" />
  <row Id="50601" PostHistoryTypeId="36" PostId="27477" RevisionGUID="eb660a1b-d53c-476c-9e04-d613e07c0639" CreationDate="2014-02-21T10:55:14.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/203/computer-keyboard-mouse-location/771#771" />
  <row Id="50602" PostHistoryTypeId="36" PostId="27478" RevisionGUID="b1784186-b8cc-4025-b313-f044f146bb7f" CreationDate="2014-02-21T10:55:14.053" UserId="-1" Comment="from http://video.stackexchange.com/questions/203/computer-keyboard-mouse-location/775#775" />
  <row Id="50603" PostHistoryTypeId="2" PostId="27474" RevisionGUID="3433f824-f49b-4a5e-9375-2e5caa1a093a" CreationDate="2010-12-10T11:32:06.457" UserId="7592" UserDisplayName="Pelle ten Cate" Text="I guess you are using a D-Control that doesn't have the keyboard built in. :)&#xD;&#xA;&#xD;&#xA;Normally, you don't specifically have your head in the sweet spot when you need your keyboard actively, e.g. when entering track names. I find it pretty to have it slightly next to my control surface, but I normally don't work with a console a s big as the D-Control.&#xD;&#xA;&#xD;&#xA;A solution that is often seen with these controllers, is that people get some kind of a drawer below the control surface. It's not that far below the surface, and as long as there is no additional tension in your wrists while using it due to the angle of your arms, and you don't plan on writing a novel behind your mixing desk, you should be OK in terms of ergonomics." ContentLicense="CC BY-SA 2.5" />
  <row Id="50604" PostHistoryTypeId="2" PostId="27477" RevisionGUID="568e82ac-d8f8-40d9-b06b-ff08ea650611" CreationDate="2011-02-07T23:47:46.337" UserDisplayName="Kim Burgaard" Text="Since you're a Mac user, I would go for Apple's [wireless keyboard][1]. It's small and very portable, so it's easy to grab when you need it and easy to put away when you're done. It's light enough to rest comfortably on top of other devices, such as a MIDI keyboard or a control surface. And IMO it's great to type on too. Incidentally, I just saw this [blog post][2] on Boing Boing praising the keyboard today.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://store.apple.com/us/product/MC184LL/A&#xD;&#xA;  [2]: http://www.boingboing.net/2011/02/07/apple-wireless-keybo.html?utm_source=feedburner&amp;utm_medium=feed&amp;utm_campaign=Feed%3A+boingboing%2FiBag+%28Boing+Boing%29" ContentLicense="CC BY-SA 2.5" />
  <row Id="50605" PostHistoryTypeId="2" PostId="27475" RevisionGUID="d0a53deb-9275-4ffe-a4ed-712a62ba60bd" CreationDate="2010-12-10T12:44:35.723" UserDisplayName="Kyle Sevenoaks" Text="The best location for keyboards and mice is right in front of the monitors you'll be using, in any situation, be it graphics design, programming or audio editing. &#xD;&#xA;&#xD;&#xA;This placing gives you the best place to see what you're doing without moving your head, straining your neck looking left or right as well as up and down.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50606" PostHistoryTypeId="2" PostId="27476" RevisionGUID="db2b29e5-9904-4c4f-9e28-f3c52736720d" CreationDate="2010-12-10T22:43:43.487" UserId="7294" Text="You can only have one large thing at ideal hand hight in front of you at once.  I presume you'd rather have the faders than the keyboard in this position, which is what I would want as well.  &#xD;&#xA;&#xD;&#xA;If this is the case, then your best bet is to pick a second-best position for it.  For convenience and ergonomics, my pick for this would be on a drawer under the console, since it's still in front of you and you can reach it from the chair without strain.&#xD;&#xA;&#xD;&#xA;I've only sat down at a D-command desk a couple of times, but if you have one of those D-command desks with the pads in front of the faders, perhaps you could get a really thin keyboard to put there that wouldn't interfere with your wrists when playing with faders?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50607" PostHistoryTypeId="2" PostId="27478" RevisionGUID="ba704ffc-20d9-47c6-8b95-973028fb60fb" CreationDate="2011-02-08T10:18:57.433" UserDisplayName="jlebre" Text="I would line them up the same way we did to our film consoles. Both screens to the side, keyboard and mouse right in front of them. I would do it on the right hand side of the console as you can still access the cool softkey features with a slight move of the arm.&#xD;&#xA;&#xD;&#xA;That way you can keep your &quot;edit&quot; area clear of the desk, and still be able to do use of it.&#xD;&#xA;If you have something of the sort of an L shaped desk with your D-Command, the angle of the desk will allow you to be in front of the D-Command mixing and being able to peak on the EDL as an overview or some automation playlists that you might have.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50608" PostHistoryTypeId="2" PostId="27473" RevisionGUID="430cb41c-7f6a-4872-8a84-9dc5fe2083c1" CreationDate="2010-12-09T23:10:47.733" UserId="7398" Text="I have a new control room currently under construction, and I'm trying to decide where to put the keyboard and mouse for the Mac (running Pro Tools).  I'll have a D-Command control surface and dual monitors off to the side.  Putting the keyboard on a tray below the control surface seems too low, and putting it on the countertop where the monitors are seems a little too high and inconvenient.  &#xD;&#xA;&#xD;&#xA;Keeping ergonomics and ease of access in mind, where's the best location for my keyboard?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50609" PostHistoryTypeId="1" PostId="27473" RevisionGUID="430cb41c-7f6a-4872-8a84-9dc5fe2083c1" CreationDate="2010-12-09T23:10:47.733" UserId="7398" Text="Computer keyboard/mouse location" ContentLicense="CC BY-SA 2.5" />
  <row Id="50610" PostHistoryTypeId="3" PostId="27473" RevisionGUID="430cb41c-7f6a-4872-8a84-9dc5fe2083c1" CreationDate="2010-12-09T23:10:47.733" UserId="7398" Text="&lt;studio&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50611" PostHistoryTypeId="36" PostId="27479" RevisionGUID="1ab4aa39-bda8-499d-b6f2-6a08cc595b1d" CreationDate="2014-02-21T10:55:24.080" UserId="-1" Comment="from http://video.stackexchange.com/questions/2214/how-do-i-line-up-multiple-tracks-to-a-master-track-in-audition" />
  <row Id="50612" PostHistoryTypeId="36" PostId="27480" RevisionGUID="4f9f887b-5d0b-4bb8-aac9-b6c92738c86e" CreationDate="2014-02-21T10:55:24.080" UserId="-1" Comment="from http://video.stackexchange.com/questions/2214/how-do-i-line-up-multiple-tracks-to-a-master-track-in-audition/2217#2217" />
  <row Id="50613" PostHistoryTypeId="36" PostId="27481" RevisionGUID="b29782aa-2e39-48b0-aa7e-662de17a4899" CreationDate="2014-02-21T10:55:24.080" UserId="-1" Comment="from http://video.stackexchange.com/questions/2214/how-do-i-line-up-multiple-tracks-to-a-master-track-in-audition/2218#2218" />
  <row Id="50614" PostHistoryTypeId="36" PostId="27482" RevisionGUID="3bc2b556-0cdb-4242-a70c-f6dcd7192305" CreationDate="2014-02-21T10:55:24.080" UserId="-1" Comment="from http://video.stackexchange.com/questions/2214/how-do-i-line-up-multiple-tracks-to-a-master-track-in-audition/2220#2220" />
  <row Id="50615" PostHistoryTypeId="2" PostId="27480" RevisionGUID="c92dfa46-51dd-420b-ab0b-46f591882141" CreationDate="2011-08-28T06:40:31.050" UserId="7532" Text="Maybe do like in films, use the audio equivalent of a clapper board. In other words, have a noise (preferably very short and sharp) recorded on both recordings; then you can align according to this noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="50616" PostHistoryTypeId="2" PostId="27482" RevisionGUID="b214a0fc-84aa-4bfb-a34b-317b4e8053ce" CreationDate="2011-08-28T20:02:51.493" UserId="7093" Text="You have both ends of the call in a single file and each end separate in it's own file.  You could put each audio file on a track and [find the beats][1] in each.  Then just align the tracks on the beats.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://help.adobe.com/en_US/Audition/3.0/help.html?content=WS58a04a822e3e5010548241038980c2c5-7f7b.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="50617" PostHistoryTypeId="2" PostId="27481" RevisionGUID="7fc5a7fe-b834-4306-b497-16f5a9497dd4" CreationDate="2011-08-28T06:46:21.340" UserDisplayName="daviesgeek" Text="I would recommend either (like No'am said) a clap, or a recording of some noise, maybe an OS X system noise. Then in your editor, line up the claps/noises/sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="50618" PostHistoryTypeId="2" PostId="27479" RevisionGUID="aa0365fc-6e7a-484f-a730-e050fde86614" CreationDate="2011-08-27T18:58:54.713" UserDisplayName="Kyle Cronin" Text="In order to keep our costs down and the quality high, we record the [Ask Different Podcast](http://podcast.askdifferent.net) as a [double ender](http://en.wikipedia.org/wiki/Phone-sync) where each party does a local recording and they're sent to me after the show to edit. I also use [ECAMM Call Recorder](http://www.ecamm.com/mac/callrecorder/) to record the entire call, and I sync the separate audio tracks by hand to that recording.&#xD;&#xA;&#xD;&#xA;Because the process of lining up the clips is tedious and error-prone, I'm wondering if there's a more automated solution. Since the recordings aren't exactly the same in terms of quality, whatever process that performs the action would have to make a 'best guess' as to the alignment of the tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="50619" PostHistoryTypeId="1" PostId="27479" RevisionGUID="aa0365fc-6e7a-484f-a730-e050fde86614" CreationDate="2011-08-27T18:58:54.713" UserDisplayName="Kyle Cronin" Text="How do I line up multiple tracks to a 'master track' in Audition?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50620" PostHistoryTypeId="3" PostId="27479" RevisionGUID="aa0365fc-6e7a-484f-a730-e050fde86614" CreationDate="2011-08-27T18:58:54.713" UserDisplayName="Kyle Cronin" Text="&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50621" PostHistoryTypeId="36" PostId="27483" RevisionGUID="32fb093f-bed5-4a7a-bfa7-7b700c975852" CreationDate="2014-02-21T10:55:33.623" UserId="-1" Comment="from http://video.stackexchange.com/questions/1039/what-constitutes-a-musical-eq" />
  <row Id="50622" PostHistoryTypeId="2" PostId="27484" RevisionGUID="75433111-f38f-4039-939f-66c6f9b0bb7a" CreationDate="2011-03-16T21:16:28.293" UserDisplayName="Ian C." Text="I think this is largely marketingspeak. And they stole it from engineers who were trying to convey that some EQ voicings are just more right than others when you're working with EQs that have limited controls.&#xD;&#xA;&#xD;&#xA;In particular, when you've got an EQ that's not fully parametric, or configured with enough bands to cover the entire audible frequency spectrum, you're at the mercy of what some electrical engineer thought was the best parameters for Q and taper and whatnot on the EQ.&#xD;&#xA;&#xD;&#xA;This is usually the case when you're working with channel strips on analog mixing consoles: each strip has an EQ section, but it's simple in what you can do because there's limited room on the physical strip for potentiometers to play with. As such, the channel strip designer has to make some tough decisions about how that EQ can be controlled and how each dial changes the EQ voicing. A &quot;musical&quot; EQ in this context would be one where, when you move a dial on the EQ, gives you pleasant results -- the Q and taper and center frequencies of the bands in the EQ all change in a way that makes working with the EQ easy." ContentLicense="CC BY-SA 2.5" />
  <row Id="50623" PostHistoryTypeId="2" PostId="27483" RevisionGUID="c8d3b3c9-cf92-4c95-8178-4100d0856559" CreationDate="2011-03-16T17:02:31.033" UserId="7294" Text="In reading product advertisements and gear reviews in magazines like Sound on Sound, I've come across the term &quot;musical&quot; a few times referring to an apparently positive quality of an equalizer device or plugin.&#xD;&#xA;&#xD;&#xA;What does it mean for an EQ to be musical?  Is there a generally-agreed-upon definition for this term, in this context?  Is there such a thing as a deliberately &quot;un-musical&quot; EQ?  " ContentLicense="CC BY-SA 2.5" />
  <row Id="50624" PostHistoryTypeId="1" PostId="27483" RevisionGUID="c8d3b3c9-cf92-4c95-8178-4100d0856559" CreationDate="2011-03-16T17:02:31.033" UserId="7294" Text="What constitutes a &quot;musical&quot; EQ?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50625" PostHistoryTypeId="3" PostId="27483" RevisionGUID="c8d3b3c9-cf92-4c95-8178-4100d0856559" CreationDate="2011-03-16T17:02:31.033" UserId="7294" Text="&lt;equalization&gt;&lt;terminology&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50626" PostHistoryTypeId="36" PostId="27484" RevisionGUID="41e3e1c0-220b-402f-b5a2-cfd4f802c37f" CreationDate="2014-02-21T10:55:33.623" UserId="-1" Comment="from http://video.stackexchange.com/questions/1039/what-constitutes-a-musical-eq/1040#1040" />
  <row Id="50627" PostHistoryTypeId="36" PostId="27485" RevisionGUID="6c685b53-2948-4590-b2c2-ff1ab0681e20" CreationDate="2014-02-21T10:55:33.623" UserId="-1" Comment="from http://video.stackexchange.com/questions/1039/what-constitutes-a-musical-eq/1053#1053" />
  <row Id="50628" PostHistoryTypeId="36" PostId="27486" RevisionGUID="d69b4c9f-c97b-4203-9f6f-04f6a684d6fa" CreationDate="2014-02-21T10:55:33.623" UserId="-1" Comment="from http://video.stackexchange.com/questions/1039/what-constitutes-a-musical-eq/1063#1063" />
  <row Id="50629" PostHistoryTypeId="2" PostId="27485" RevisionGUID="de034b29-fb9e-4e8c-8475-7ce5f7841d82" CreationDate="2011-03-18T16:03:35.310" UserDisplayName="Joe Mac" Text="Keep in mind that even EQs with fully customizable band parameters will not all sound the same when set to identical settings.  The type of electrical circuit and quality of components (or the type of digital algorithm) used to achieve the equalization will be different for each EQ model, and these differences have very real effects on how the signal is processed.  A lot of these show up as phase shifts or effects on harmonically-related frequencies that aren't actually in the intended band.&#xD;&#xA;&#xD;&#xA;These differences are what make some EQs better than others for certain applications, and could be part of what the &quot;musical EQ&quot; is referring to.&#xD;&#xA;&#xD;&#xA;Though the point Ian C. made is probably what is most often meant.&#xD;&#xA;I just posted this addition as something to keep in mind." ContentLicense="CC BY-SA 2.5" />
  <row Id="50630" PostHistoryTypeId="2" PostId="27486" RevisionGUID="652f76da-845a-46de-bdc8-1b501af23fe2" CreationDate="2011-03-20T08:38:13.787" UserDisplayName="InternalConspiracy" Text="I hear that term &quot;musical&quot; a lot when it comes to effects.  It's more of a &quot;wow this makes me sound good and I'll be inspired by it&quot; quality.  I've used the term to describe effects as well.  It's a feeling that you can really use the effect to a &quot;musical&quot; potential where it really adds something special to what you're trying to accomplish." ContentLicense="CC BY-SA 2.5" />
  <row Id="50631" PostHistoryTypeId="36" PostId="27487" RevisionGUID="14fe724b-40f5-4441-b3bc-62e3225fcb60" CreationDate="2014-02-21T10:55:43.437" UserId="-1" Comment="from http://video.stackexchange.com/questions/8829/how-can-i-obtain-isrc-codes-in-us" />
  <row Id="50632" PostHistoryTypeId="36" PostId="27488" RevisionGUID="5e6b430a-a278-4b8b-acc5-ebdb4f7aeb6f" CreationDate="2014-02-21T10:55:43.437" UserId="-1" Comment="from http://video.stackexchange.com/questions/8829/how-can-i-obtain-isrc-codes-in-us/8830#8830" />
  <row Id="50633" PostHistoryTypeId="36" PostId="27489" RevisionGUID="c4644d1b-26a5-42b5-8812-c25021960c35" CreationDate="2014-02-21T10:55:43.437" UserId="-1" Comment="from http://video.stackexchange.com/questions/8829/how-can-i-obtain-isrc-codes-in-us/8848#8848" />
  <row Id="50634" PostHistoryTypeId="2" PostId="27488" RevisionGUID="c908ea97-e67e-4ab7-9018-0a887138f157" CreationDate="2013-08-27T12:10:04.880" UserDisplayName="chirlu" Text="An International Standard Recording Number consists of three parts:&#xD;&#xA;&#xD;&#xA;- The _registrant code_ (five places), indicating the entity such as a label that assigned the code. Originally, this was divided into two places for the country code and three places for the entity; however, at least one country (the U. S.) has run out of label codes and been forced to use a second pseudo-country code.&#xD;&#xA;- The year when the code was assigned (two places).&#xD;&#xA;- A number (five places) to distinguish several recordings of the same entity in the same year.&#xD;&#xA;&#xD;&#xA;This means that you only need a _registrant code_. From it, you can derive 100000 ISRCs per year, for one hundred years.&#xD;&#xA;&#xD;&#xA;Registrant codes are issued in each country by an agency appointed by [IFPI](http://ifpi.org/), the International Federation of the Phonographic Industry. Conditions vary.&#xD;&#xA;&#xD;&#xA;For the U. S., the local agency is the [RIAA](http://www.riaa.com/), and it takes a fee of $ 80 for issuing a registrant code. See http://www.usisrc.org/ for more information and the registration form.&#xD;&#xA;&#xD;&#xA;There are some services as well that offer single ISRCs, i.e. they act as a label and assign a few ISRCs under their own registrant code to you. If you only need a handful of ISRCs, this may be slightly cheaper.&#xD;&#xA;&#xD;&#xA;(Note that ISRCs are not obligatory. If you really publish your audio files “without any middlemen”, on your own website, you don’t actually need ISRCs.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="50635" PostHistoryTypeId="2" PostId="27489" RevisionGUID="764153fe-3063-450a-9977-d54beefffa60" CreationDate="2013-08-29T11:39:34.677" UserDisplayName="Michael Schneider" Text="&lt;p&gt;ISRC codes are necessary to sell your individual tracks via iTunes and other online music distributors. Also In order to have a chance at making the Billboard music charts, your release must be registered with SoundScan using your ISRC codes for the individual tracks. &#xD;&#xA;You can register your ISRC code even before your tracks are composed. You just need to provide your Song's Title and Artist's name. &#xD;&#xA;There are 3 ways to obtain ISRC Codes &#xD;&#xA;&lt;p&gt;1) You could get them directly from the &lt;a href=&quot;http://www.usisrc.org/&quot;&gt;ISRC authority&lt;/a&gt;. But, they charge $80 and you will have to handle the assignment and registration on your own.&lt;/p&gt;&#xD;&#xA;&lt;p&gt;2) Some agents, labels, and other third parties offer ISCR services as part of a bundle of services that you hire them for. Sometimes they advertise this as &lt;a href=&quot;http://www.isrcmusiccodes.com/free_ISRC_codes.php&quot;&gt;free ISRC codes&lt;/a&gt;.&lt;/p&gt;&#xD;&#xA;3) From a Government Authorized ISRC code vendor such as http://www.isrcmusiccodes.com&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="50636" PostHistoryTypeId="2" PostId="27487" RevisionGUID="dac9989b-7df2-422a-9e3d-60bb587279ae" CreationDate="2013-08-27T11:01:34.280" UserDisplayName="phillip" Text="I am going to self-publish my own songs online without any middlemen. What is the procedure for the same and what is the total cost?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50637" PostHistoryTypeId="1" PostId="27487" RevisionGUID="dac9989b-7df2-422a-9e3d-60bb587279ae" CreationDate="2013-08-27T11:01:34.280" UserDisplayName="phillip" Text="How can I obtain ISRC Codes in US?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50638" PostHistoryTypeId="3" PostId="27487" RevisionGUID="dac9989b-7df2-422a-9e3d-60bb587279ae" CreationDate="2013-08-27T11:01:34.280" UserDisplayName="phillip" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50639" PostHistoryTypeId="36" PostId="27490" RevisionGUID="36dcde16-2864-47bb-ad79-a50e5350ed8f" CreationDate="2014-02-21T10:55:57.297" UserId="-1" Comment="from http://video.stackexchange.com/questions/3912/which-output-level-is-11-on-zoom-h4n" />
  <row Id="50640" PostHistoryTypeId="2" PostId="27491" RevisionGUID="8f93da93-1ba4-4617-9871-7713076c9073" CreationDate="2012-05-03T21:41:46.503" UserId="7093" Text="The level you need to set on the H4n would depend greatly on the signal level coming in from the computer and may even be affected by the type/length of cables in between.  As with any other recording device you will need to experiment a bit to get the levels right.&#xD;&#xA;&#xD;&#xA;First turn the levels down to a point where they are not clipping.  Record the loudest thing you will be working with and find the loudest part of the recording.  Turn up the levels a bit and record just the loudest section again.  Repeat until it clips and then turn it down just a bit.  This will get you a safe recording level for the loud stuff.&#xD;&#xA;&#xD;&#xA;If you are also recording quiet stuff you can either adjust the levels accordingly or add a compressor to regulate the levels a bit automatically.&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;You will run into a similar problem on the output from the H4n to any other device.  Some devices will accept higher levels than others without clipping, and the type/length of the cables used will still have an effect.  &#xD;&#xA;&#xD;&#xA;Unfortunately, there is no way to find the level you seek without experimenting." ContentLicense="CC BY-SA 3.0" />
  <row Id="50641" PostHistoryTypeId="2" PostId="27490" RevisionGUID="ab395c5e-ba03-4de0-a4a4-5c297472a4b9" CreationDate="2012-05-03T17:06:18.503" UserId="7210" Text="I use the Zoom H4n when I want really good sound quality compared to the awful laptop built-in sound card. It seems like the audio clips if I turn it to 100 on the H4n. What is really the 1:1 ratio, so that maximum output from the computer will give maximum output on the Zoom H4n? (So it doesn't clip, and doesn't stay way below.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="50642" PostHistoryTypeId="1" PostId="27490" RevisionGUID="ab395c5e-ba03-4de0-a4a4-5c297472a4b9" CreationDate="2012-05-03T17:06:18.503" UserId="7210" Text="Which output level is 1:1 on Zoom H4n?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50643" PostHistoryTypeId="3" PostId="27490" RevisionGUID="ab395c5e-ba03-4de0-a4a4-5c297472a4b9" CreationDate="2012-05-03T17:06:18.503" UserId="7210" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50644" PostHistoryTypeId="36" PostId="27491" RevisionGUID="56cf8082-3ee6-4026-bfc3-2c8af7e9df0e" CreationDate="2014-02-21T10:55:57.297" UserId="-1" Comment="from http://video.stackexchange.com/questions/3912/which-output-level-is-11-on-zoom-h4n/3913#3913" />
  <row Id="50645" PostHistoryTypeId="36" PostId="27492" RevisionGUID="bbca1626-468e-4ce5-962b-08d89434457d" CreationDate="2014-02-21T10:56:51.027" UserId="-1" Comment="from http://video.stackexchange.com/questions/9099/any-small-bus-powered-usb-mixers-on-the-market" />
  <row Id="50646" PostHistoryTypeId="2" PostId="27493" RevisionGUID="a24f50b7-ebbf-40fc-b56b-ad1fe8cbf2a4" CreationDate="2013-10-01T18:51:10.867" UserId="7405" Text="It was bound to happen before long: -&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Not easy to achieve technically and I can't vouch for its quality but I know two guys who have facebook &quot;liked&quot; this product and one of them does live gigs.&#xD;&#xA;&#xD;&#xA;The trick is to efficiently take a slice of the 5V offered from the USB and efficiently convert it to a higher voltage that is more practical for audio mixing such as 12V or 15V. There have been really cool advances in this technology from companies such as Linear Technology, Analog Devices and Texas Instruments.&#xD;&#xA;&#xD;&#xA;The next trick is finding the silicon (op-amps) that work close to the power rails without distorting or introducing much noise. Again there is a recent plethora of op-amps that fit the bill and 5 years ago they probably wouldn't have been avaialble. And like the power chip inverters the same companies are involved.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/IgWKn.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="50647" PostHistoryTypeId="2" PostId="27492" RevisionGUID="73ecd976-be17-4ad4-98b2-57d81d98c150" CreationDate="2013-10-01T16:36:58.597" UserDisplayName="shennan" Text="I've been trying to find a USB-powered mixer. Something with 2 or 3 microphone inputs. I've seen the Mackie VLZ's and the Alesis MultiMix, but all of them require bulky power supplies.&#xD;&#xA;&#xD;&#xA;Is there anything on the market like these but with the added functionality of being bus-powered?&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="50648" PostHistoryTypeId="1" PostId="27492" RevisionGUID="73ecd976-be17-4ad4-98b2-57d81d98c150" CreationDate="2013-10-01T16:36:58.597" UserDisplayName="shennan" Text="Any small bus-powered USB mixers on the market?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50649" PostHistoryTypeId="3" PostId="27492" RevisionGUID="73ecd976-be17-4ad4-98b2-57d81d98c150" CreationDate="2013-10-01T16:36:58.597" UserDisplayName="shennan" Text="&lt;usb&gt;&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50650" PostHistoryTypeId="36" PostId="27493" RevisionGUID="cacc04d6-4018-46d5-aead-f0a3c0086818" CreationDate="2014-02-21T10:56:51.027" UserId="-1" Comment="from http://video.stackexchange.com/questions/9099/any-small-bus-powered-usb-mixers-on-the-market/9101#9101" />
  <row Id="50651" PostHistoryTypeId="36" PostId="27494" RevisionGUID="4398c681-b2e6-4962-bdee-95a57df839b0" CreationDate="2014-02-21T10:57:00.557" UserId="-1" Comment="from http://video.stackexchange.com/questions/6992/adat-to-usb-interface" />
  <row Id="50652" PostHistoryTypeId="36" PostId="27495" RevisionGUID="8ad213f3-c858-4001-95e6-227cec5f6e67" CreationDate="2014-02-21T10:57:00.557" UserId="-1" Comment="from http://video.stackexchange.com/questions/6992/adat-to-usb-interface/7003#7003" />
  <row Id="50653" PostHistoryTypeId="2" PostId="27495" RevisionGUID="33bc5127-6d1e-4cdb-b5be-1cdbe4ff2b63" CreationDate="2013-01-30T15:08:19.843" UserId="7093" Text="I couldn't find anything for USB, but there seem to be several Firewire audio interfaces that also have ADAT optical inputs.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;I own a [M-Audio Profire 2626][2] which can do 16 ADAT in/out.  Focusrite has at least [one model][3] similar to the Profire with 8 ADAT in/out.&#xD;&#xA;&#xD;&#xA;[This thread][4] on gearslutz seems to suggest a couple different Firewire interfaces.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If you have a Mac or MacBook you probably already have a Firewire interface.  If you have a PC you can [get one cheap][5].  If you have a PC laptop, you may be out of luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/W0Wuq.jpg&#xD;&#xA;  [2]: http://www.m-audio.com/products/en_us/ProFire2626.html&#xD;&#xA;  [3]: http://www.sweetwater.com/store/detail/SaffPro40&#xD;&#xA;  [4]: http://www.gearslutz.com/board/so-much-gear-so-little-time/38459-audio-interface-just-adat.html&#xD;&#xA;  [5]: http://www.amazon.com/s/ref=nb_sb_ss_c_0_8?url=search-alias=computers&amp;field-keywords=pci%20firewire%20card&amp;sprefix=pci%20fire,aps,274" ContentLicense="CC BY-SA 3.0" />
  <row Id="50654" PostHistoryTypeId="2" PostId="27494" RevisionGUID="f2102136-de70-4727-bb76-818e4732c22c" CreationDate="2013-01-30T02:02:27.183" UserId="7840" UserDisplayName="themirror" Text="Is there such a thing as a bridge between ADAT and USB?  It seems simple enough, and seems like it should be a very cheap device -- just do some translation from the ADAT digital stream into USB.  But google is failing me." ContentLicense="CC BY-SA 3.0" />
  <row Id="50655" PostHistoryTypeId="1" PostId="27494" RevisionGUID="f2102136-de70-4727-bb76-818e4732c22c" CreationDate="2013-01-30T02:02:27.183" UserId="7840" UserDisplayName="themirror" Text="ADAT to USB interface" ContentLicense="CC BY-SA 3.0" />
  <row Id="50656" PostHistoryTypeId="3" PostId="27494" RevisionGUID="f2102136-de70-4727-bb76-818e4732c22c" CreationDate="2013-01-30T02:02:27.183" UserId="7840" UserDisplayName="themirror" Text="&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50657" PostHistoryTypeId="36" PostId="27496" RevisionGUID="8363f492-6760-4100-a1e0-624812ca1e6a" CreationDate="2014-02-21T10:57:08.910" UserId="-1" Comment="from http://video.stackexchange.com/questions/1338/a-usb-device-with-5-microphone-inputs-is-that-possible" />
  <row Id="50658" PostHistoryTypeId="2" PostId="27497" RevisionGUID="b06d99e4-6808-45aa-866c-333022d634ed" CreationDate="2011-05-04T15:57:10.563" UserId="17571" UserDisplayName="Zeronyne" Text="If you are trying to get 5 discrete mic signals into a computer onto 5 discrete tracks for under $50.00, I think you are out of luck.&#xD;&#xA;&#xD;&#xA;There are a few USB products that can bring in audio for under fifty bucks, and there are many products that can record 5+ channels of audio to discrete tracks, but I think your guess is correct that you are not going to find something that meets both criteria.&#xD;&#xA;&#xD;&#xA;If you don't need them on separate tracks, there are many cheap solutions." ContentLicense="CC BY-SA 3.0" />
  <row Id="50659" PostHistoryTypeId="2" PostId="27496" RevisionGUID="0cd2a905-f690-48f9-b608-4b32cd29dd51" CreationDate="2011-05-04T10:05:55.493" UserDisplayName="BenB" Text="I am currently looking into a project but there's one limitation that I don't know whether it's theoretically possible.&#xD;&#xA;&#xD;&#xA;What I'm asking is - would it be possible, in theory, to create a cheap (say, &lt; 50$) USB product that accepts about 4-5 microphone inputs. I'm talking about a slight delay and quality is not too much of an issue.&#xD;&#xA;&#xD;&#xA;I know there are professional USB interfaces available, but those are rather expensive (200$+) and probably have more options / quality then what I'm talking about. I don't even need windows to recognize it as 5 different drivers, or even at all, I just want my own program to be able to get 5 different channels out of the connected device.&#xD;&#xA;&#xD;&#xA;I haven't seen any such product, even remotely similar, so I'd be happy for your opinion if such a program is possible ot if there's any limitation that would make such a thing impossible / not-cheap.&#xD;&#xA;&#xD;&#xA;Thanks." ContentLicense="CC BY-SA 3.0" />
  <row Id="50660" PostHistoryTypeId="1" PostId="27496" RevisionGUID="0cd2a905-f690-48f9-b608-4b32cd29dd51" CreationDate="2011-05-04T10:05:55.493" UserDisplayName="BenB" Text="A USB device with 5 microphone inputs: Is that possible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50661" PostHistoryTypeId="3" PostId="27496" RevisionGUID="0cd2a905-f690-48f9-b608-4b32cd29dd51" CreationDate="2011-05-04T10:05:55.493" UserDisplayName="BenB" Text="&lt;usb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50662" PostHistoryTypeId="36" PostId="27497" RevisionGUID="b0860914-3b12-4a8f-adf3-d8b3f676fa85" CreationDate="2014-02-21T10:57:08.910" UserId="-1" Comment="from http://video.stackexchange.com/questions/1338/a-usb-device-with-5-microphone-inputs-is-that-possible/1341#1341" />
  <row Id="50663" PostHistoryTypeId="36" PostId="27498" RevisionGUID="161db695-17b3-4097-a62f-36354c752351" CreationDate="2014-02-21T10:57:08.910" UserId="-1" Comment="from http://video.stackexchange.com/questions/1338/a-usb-device-with-5-microphone-inputs-is-that-possible/1350#1350" />
  <row Id="50664" PostHistoryTypeId="2" PostId="27498" RevisionGUID="ef66da60-6cb2-4436-9018-bd358f5f147c" CreationDate="2011-05-05T13:35:25.153" UserId="8220" UserDisplayName="notthetup" Text="How about using 5 individual cheap USB Audio I/O devices and then combining them in software? You will need a USB Hub which allows you to attach these all these USB devices." ContentLicense="CC BY-SA 3.0" />
  <row Id="50665" PostHistoryTypeId="36" PostId="27499" RevisionGUID="c521df10-6d91-49da-bb61-d54dc3aebf82" CreationDate="2014-02-21T10:57:17.200" UserId="-1" Comment="from http://video.stackexchange.com/questions/166/what-is-compression-and-why-is-it-used" />
  <row Id="50666" PostHistoryTypeId="36" PostId="27500" RevisionGUID="15bfbfd4-5436-4e8a-86ee-282dd4283373" CreationDate="2014-02-21T10:57:17.200" UserId="-1" Comment="from http://video.stackexchange.com/questions/166/what-is-compression-and-why-is-it-used/167#167" />
  <row Id="50667" PostHistoryTypeId="2" PostId="27500" RevisionGUID="80b26b21-a6ff-44ba-b549-d3cc46292d10" CreationDate="2010-12-09T03:15:38.800" UserId="9459" UserDisplayName="Matthew Read" Text="Edit: Looks like compression may have another meaning I'm not aware of, and may be more of what you're getting at.  [This question][1] may provide answers.&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;The why: To save space.  To store a perfect replica of analog information like sound waves digitally would theoretically require infinite space, so there's **always** some sort of compression going on.&#xD;&#xA; &#xD;&#xA;The how: Lots of ways.  One simple method is by decreasing the resolution, or step size.  A curving analog wave becomes a jagged series of straight lines when represented digitally (think of a staircase).  By increasing the size of the steps, you decrease the number of steps and thus the amount of information stored, at the cost of audio quality.&#xD;&#xA;&#xD;&#xA;  [1]: http://audio.stackexchange.com/questions/2/should-i-use-compression-in-live-settings &quot;This question&quot;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50668" PostHistoryTypeId="2" PostId="27501" RevisionGUID="e7d8b52b-3dce-42a0-914b-a5bf6db01010" CreationDate="2010-12-09T03:33:20.200" UserId="7398" Text="Compression in this context means compressing the dynamic range of an audio track.  In a nutshell, it's making the loudest parts of the track softer.&#xD;&#xA;&#xD;&#xA;Of course it's more complicated once you get into it.  You can find all the details in this [Wikipedia article][1] on the subject.&#xD;&#xA;&#xD;&#xA;There are many different reasons to use compression:&#xD;&#xA;&#xD;&#xA; - Reduce the attack of each note, especially on percussion instruments&#xD;&#xA; - Make a part with lots of louds and softs more even so that it blends into the background better&#xD;&#xA; - Heavy compression is often used as an effect&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Dynamic_range_compression" ContentLicense="CC BY-SA 2.5" />
  <row Id="50669" PostHistoryTypeId="2" PostId="27499" RevisionGUID="49ccd727-4c67-47b4-bc8f-636e190f5fc1" CreationDate="2010-12-09T03:00:02.363" UserDisplayName="Tom Wijsman" Text="Related to vocal recording, I see some answers that talk about compression.&#xD;&#xA;&#xD;&#xA;What exactly does compression do, and why and how is it used?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50670" PostHistoryTypeId="1" PostId="27499" RevisionGUID="49ccd727-4c67-47b4-bc8f-636e190f5fc1" CreationDate="2010-12-09T03:00:02.363" UserDisplayName="Tom Wijsman" Text="What is compression and why is it used?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50671" PostHistoryTypeId="3" PostId="27499" RevisionGUID="49ccd727-4c67-47b4-bc8f-636e190f5fc1" CreationDate="2010-12-09T03:00:02.363" UserDisplayName="Tom Wijsman" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50672" PostHistoryTypeId="36" PostId="27501" RevisionGUID="5aa5531e-863e-46ab-8799-c5e6667ad409" CreationDate="2014-02-21T10:57:17.200" UserId="-1" Comment="from http://video.stackexchange.com/questions/166/what-is-compression-and-why-is-it-used/171#171" />
  <row Id="50673" PostHistoryTypeId="36" PostId="27502" RevisionGUID="dc88a1b9-b0c2-4112-81ed-3ede2eeb111d" CreationDate="2014-02-21T10:57:17.200" UserId="-1" Comment="from http://video.stackexchange.com/questions/166/what-is-compression-and-why-is-it-used/191#191" />
  <row Id="50674" PostHistoryTypeId="36" PostId="27503" RevisionGUID="bcdead05-5940-49d5-8061-ac15abaca3f5" CreationDate="2014-02-21T10:57:17.200" UserId="-1" Comment="from http://video.stackexchange.com/questions/166/what-is-compression-and-why-is-it-used/315#315" />
  <row Id="50675" PostHistoryTypeId="2" PostId="27502" RevisionGUID="82727e94-1558-4706-a789-5e9be1cb22bd" CreationDate="2010-12-09T13:43:21.340" UserDisplayName="Willbill" Text="A compression effect **compresses the dynamic range** of a track or in other words it makes the volume of an track more even &#xD;&#xA;&#xD;&#xA;It can have many uses but the most common is to iron out inconsistencies in an audio tracks volume. This can giving a impossibly consistent sound to a performance which is often   desirable when processing things like vocals.&#xD;&#xA;&#xD;&#xA;It can also be used for creative effect or in sound design as depending on the source and the settings used the effect can be quite pronounced. A snare drum for example which has a large transients and a huge dynamic range can sound very different when compressed." ContentLicense="CC BY-SA 2.5" />
  <row Id="50676" PostHistoryTypeId="2" PostId="27503" RevisionGUID="c0a41964-f870-4900-8029-ccd03460becf" CreationDate="2010-12-15T23:40:51.140" UserDisplayName="Daniel Earwicker" Text="Analogue equipment used in the past had compression built into it, as a natural artefact of how it had to be used. When mastering a recording to vinyl, it was essential to limit the dynamic range to stop the needle from jumping as the record was played. Also analogue tape technology never quite manages a perfect reproduction of the original sound and performs a kind of natural compression of its own. I used to love the sound of my first 4-track machine (despite the hiss), and I now know that what I loved was the way it naturally compressed the signal.&#xD;&#xA;&#xD;&#xA;These factors mean that classic recordings always have some compression to them. This is part of the reason why people are often disappointed by the sound of digital recordings. They describe them as &quot;cold&quot; or &quot;empty&quot; or &quot;lifeless&quot;. But add some compression and suddenly it seems more warm, alive and familiar. Really it just sounds a little more like an analogue recording would have sounded.&#xD;&#xA;&#xD;&#xA;A simple way to make a track sound more &quot;old fashioned&quot; is to put a little reverb and then compression on the whole mix. It makes it sound like it was recorded live in a single room on analogue equipment. The early Beatles albums were recorded on two tracks. The band would play a backing track, and then the singers would do the vocals on a second track while listening to their backing track on a speaker (headphones had not yet become commonplace). This means that the vocal track picks up the playback reverberating in the room, and is then compressed. It may have been a crude, accidental technique, but it adds a lot of atmosphere to the final mix.&#xD;&#xA;&#xD;&#xA;So my answer to the question &quot;why use compression&quot; is: to make digital recordings sound more like analogue recordings." ContentLicense="CC BY-SA 2.5" />
  <row Id="50677" PostHistoryTypeId="36" PostId="27504" RevisionGUID="3aa32c81-cbed-496a-a033-3a6560d43718" CreationDate="2014-02-21T10:57:28.687" UserId="-1" Comment="from http://video.stackexchange.com/questions/850/can-i-use-a-shure-ut2-tc-transmitter-with-a-ulxp4-receiver" />
  <row Id="50678" PostHistoryTypeId="2" PostId="27505" RevisionGUID="6854281d-715b-49ec-84cd-43a466ba9e39" CreationDate="2011-02-18T21:54:06.033" UserDisplayName="phasetransitions" Text="If you are in the US, the Shure documentation on frequency bands may be found at this [link][1]. Your ULX receiver is in frequency band J1. This [document][2] gives the details of the frequency groups Shure has chosen within the band. The group frequencies are chosen to minimize the amount of intermodulation distortion (IMD) between the 20 frequencies in the group. The J1 band does not cover your UT2 transmitter.&#xD;&#xA;&#xD;&#xA;Even if your UT transmitter was in the J1 band, on a channel in one of the ULX groups, the audio quality would likely be very poor. These wireless microphones (like most) utilize companding to reduce the dynamic range of the signal returned to the receiver. The chances that the compression circuit in the UT2 transmitter has the correct attack and release time constants, as well as the correct compression curve, to be compatible with the expander in the ULXP4 is small.&#xD;&#xA;&#xD;&#xA;So, in summary, you are not going to be able to use the UT2 with the ULXP4 receiver(s).&#xD;&#xA;&#xD;&#xA;-p&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.shure.com/idc/groups/public/documents/webcontent/pdf_dl_frequency_bands_tr.pdf&#xD;&#xA;  [2]: http://www.shure.com/idc/groups/public/documents/webcontent/wireless_compatchart_ulx_tp.pdf" ContentLicense="CC BY-SA 2.5" />
  <row Id="50679" PostHistoryTypeId="2" PostId="27504" RevisionGUID="17ea6e5b-68e4-49d1-b4c1-c6df9aadc681" CreationDate="2011-02-18T15:43:18.190" UserId="13414" UserDisplayName="dgw" Text="I have a Shure UT2-TC handheld microphone transmitter with an SM58 on it. I also have a rack of eight ULXP4 receivers, with two spares.&#xD;&#xA;&#xD;&#xA;The UT2-TC I have says on its internal label (in the battery compartment) that it's tuned to 603.900 MHz, which is well within the frequency range of the ULX system. However, I have been unable to find a channel on the ULXP4 above 589 MHz.&#xD;&#xA;&#xD;&#xA;This is a U.S. system, so the available frequency range may be limited. I will check with the sound engineer to see if we have a receiver for the UT2, but meanwhile I tried and failed to find any info on Shure's website. It would appear that they have discontinued the product. (?)&#xD;&#xA;&#xD;&#xA;Does anyone with more wireless microphone experience than I have know of a way to make this work?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50680" PostHistoryTypeId="1" PostId="27504" RevisionGUID="17ea6e5b-68e4-49d1-b4c1-c6df9aadc681" CreationDate="2011-02-18T15:43:18.190" UserId="13414" UserDisplayName="dgw" Text="Can I use a Shure UT2-TC transmitter with a ULXP4 receiver?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50681" PostHistoryTypeId="3" PostId="27504" RevisionGUID="17ea6e5b-68e4-49d1-b4c1-c6df9aadc681" CreationDate="2011-02-18T15:43:18.190" UserId="13414" UserDisplayName="dgw" Text="&lt;wireless&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50682" PostHistoryTypeId="36" PostId="27505" RevisionGUID="3df0a815-0236-43c1-9b9b-aa95435e7fa4" CreationDate="2014-02-21T10:57:28.687" UserId="-1" Comment="from http://video.stackexchange.com/questions/850/can-i-use-a-shure-ut2-tc-transmitter-with-a-ulxp4-receiver/852#852" />
  <row Id="50683" PostHistoryTypeId="36" PostId="27506" RevisionGUID="e8998fa0-3da1-4a56-9dc6-fcfb0eef0c96" CreationDate="2014-02-21T10:57:38.393" UserId="-1" Comment="from http://video.stackexchange.com/questions/2641/are-wireless-speakers-reliable" />
  <row Id="50684" PostHistoryTypeId="2" PostId="27507" RevisionGUID="c4c5c784-1f81-4d95-90e1-364f070702f7" CreationDate="2011-11-18T05:03:44.473" UserId="7189" Text="I don't have direct experience with wireless speakers, but I can offer the following reasoning on why you should prefer wired speakers:&#xD;&#xA;&#xD;&#xA;Most of the frequency spectrum is allocated to licensed users. Products like wireless speakers, bluetooth headsets and WiFi run in the unlicensed ISM bands of 900 MHz, 2.4 GHz and 5.7 GHz. There isn't a lot of bandwidth to begin with. The situation is made worse with lots of WiFi networks, bluetooth mice and various other gadgets. In a meeting room situation, all these devices are likely to be present and competing for limited bandwidth.&#xD;&#xA;&#xD;&#xA;Wiring up your speakers will cost more, possibly a lot more, but it is an expense that you can amortize over the entire lifetime of the conference room. Wireless may be cheap, but the frustration of having the speakers go out during a critical presentation might overrule the initial cost savings." ContentLicense="CC BY-SA 3.0" />
  <row Id="50685" PostHistoryTypeId="2" PostId="27506" RevisionGUID="c91238e2-4d5c-4160-b400-0471f4b5927a" CreationDate="2011-11-15T15:55:50.777" UserDisplayName="qroberts" Text="I need to come up with an audio solution for our new meeting room and I thought of the idea that we can put 4 speakers up in each corner of the ceiling for sound. I have been trying to find speakers on ncix.com or at Bestbuy, Futureshop, The Source, and I cannot find what I am looking for. These 4 speakers will communicate with a dedicated PC in the room. Am I better off going with a wired solution?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50686" PostHistoryTypeId="1" PostId="27506" RevisionGUID="c91238e2-4d5c-4160-b400-0471f4b5927a" CreationDate="2011-11-15T15:55:50.777" UserDisplayName="qroberts" Text="Are wireless speakers reliable?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50687" PostHistoryTypeId="3" PostId="27506" RevisionGUID="c91238e2-4d5c-4160-b400-0471f4b5927a" CreationDate="2011-11-15T15:55:50.777" UserDisplayName="qroberts" Text="&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50688" PostHistoryTypeId="36" PostId="27507" RevisionGUID="94a42d87-e19f-4f82-8f73-4d9ad8d7efe6" CreationDate="2014-02-21T10:57:38.393" UserId="-1" Comment="from http://video.stackexchange.com/questions/2641/are-wireless-speakers-reliable/2656#2656" />
  <row Id="50689" PostHistoryTypeId="36" PostId="27508" RevisionGUID="e8f29548-eff2-4b20-bcd6-87db4f00725f" CreationDate="2014-02-21T10:57:38.393" UserId="-1" Comment="from http://video.stackexchange.com/questions/2641/are-wireless-speakers-reliable/2659#2659" />
  <row Id="50690" PostHistoryTypeId="2" PostId="27508" RevisionGUID="796e0b95-5e5a-4303-939f-a393b7bdb6c8" CreationDate="2011-11-18T10:23:35.073" UserId="7016" Text="Wiring speakers around a room is very cheap and simple to do, and will help prevent EM interference issues, which could easily happen with wireless speakers, as the frequency ranges typically used are filled with comms from all manner of personal electronic devices.&#xD;&#xA;&#xD;&#xA;I would suggest running speaker cable to those corners - if you have a floating ceiling it will be very easy, but even running cable along the skirting then up each corner can be inconspicuous." ContentLicense="CC BY-SA 3.0" />
  <row Id="50691" PostHistoryTypeId="36" PostId="27509" RevisionGUID="db56f337-9642-4055-9d1c-38cc65a81f97" CreationDate="2014-02-21T10:57:46.937" UserId="-1" Comment="from http://video.stackexchange.com/questions/6926/wireless-midi-piano-keyboards" />
  <row Id="50692" PostHistoryTypeId="36" PostId="27510" RevisionGUID="1bf162dc-eb86-4a36-8cf3-8e0c33cd8b87" CreationDate="2014-02-21T10:57:46.937" UserId="-1" Comment="from http://video.stackexchange.com/questions/6926/wireless-midi-piano-keyboards/6927#6927" />
  <row Id="50693" PostHistoryTypeId="36" PostId="27511" RevisionGUID="97ea5122-856a-45eb-ad4a-3e040508206e" CreationDate="2014-02-21T10:57:46.937" UserId="-1" Comment="from http://video.stackexchange.com/questions/6926/wireless-midi-piano-keyboards/6935#6935" />
  <row Id="50694" PostHistoryTypeId="2" PostId="27510" RevisionGUID="100a231d-b9a0-4eb8-b738-6efb1c4f9a3f" CreationDate="2013-01-24T01:16:11.560" UserDisplayName="Chris James Champeau" Text="Just did a google search and found several&#xD;&#xA;&#xD;&#xA;http://www.dolphinmusic.co.uk/product/33587-cme-uf50-includes-free-usb-wireless-midi-adaptor.html&#xD;&#xA;&#xD;&#xA;http://www.guitarcenter.com/CME-UF-50-49-Key-Master-Keyboard-MIDI-Controller-702722-i1323976.gc?source=4WWRWXGP&amp;kpid=702722&amp;cagpspn=pla&#xD;&#xA;&#xD;&#xA;http://www.musiciansfriend.com/keyboards-midi/cme-uf-50-classic-midi-controller?src=3WWRWXGP&#xD;&#xA;&#xD;&#xA;http://www.musiciansfriend.com/keyboards-midi/cme-uf-70-classic-midi-controller/h67906007000004?src=3WWRWXGP&amp;kpid=mfH67906P.004&amp;gclid=CKfcyuDo_7QCFUdxQgod7GMAEQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="50695" PostHistoryTypeId="2" PostId="27511" RevisionGUID="eb4a4a42-9e4f-48a3-a436-193bedcd932e" CreationDate="2013-01-24T14:51:10.807" UserId="7174" Text="While I don't know of any particular devices with wireless midi built in, there are many many devices that could be plugged in to a midi keyboard and relay the midi signal wirelessly.  This is really the equivalent of a guitarist having a wireless belt (or strap) pack." ContentLicense="CC BY-SA 3.0" />
  <row Id="50696" PostHistoryTypeId="2" PostId="27509" RevisionGUID="931daf66-2116-49fc-99ee-3087dc72db25" CreationDate="2013-01-24T00:12:56.107" UserId="7840" UserDisplayName="themirror" Text="Are there any wireless MIDI keyboard controllers still being made?&#xD;&#xA;&#xD;&#xA;Surprisingly from my googling it appears that there is only the the M-Audio MidAir 25 and MidAir 37, both of which are no longer being sold anywhere, not even ebay!" ContentLicense="CC BY-SA 3.0" />
  <row Id="50697" PostHistoryTypeId="1" PostId="27509" RevisionGUID="931daf66-2116-49fc-99ee-3087dc72db25" CreationDate="2013-01-24T00:12:56.107" UserId="7840" UserDisplayName="themirror" Text="Wireless MIDI piano keyboards" ContentLicense="CC BY-SA 3.0" />
  <row Id="50698" PostHistoryTypeId="3" PostId="27509" RevisionGUID="931daf66-2116-49fc-99ee-3087dc72db25" CreationDate="2013-01-24T00:12:56.107" UserId="7840" UserDisplayName="themirror" Text="&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50699" PostHistoryTypeId="36" PostId="27512" RevisionGUID="c0584714-6549-4ec0-8f72-4bda21641ad9" CreationDate="2014-02-21T10:57:57.953" UserId="-1" Comment="from http://video.stackexchange.com/questions/7251/vst-effects-in-windows" />
  <row Id="50700" PostHistoryTypeId="2" PostId="27513" RevisionGUID="8c75ffe3-ba8d-443d-b58b-2179723e22eb" CreationDate="2013-02-26T12:19:57.660" UserId="13269" UserDisplayName="Philip Graham" Text="Generally VST plugins are only used inside another program such as a sequencer (cubase for instance). As for applying them to the whole output of your pc, this isn't really something i've come across. On mac I have come across apps that would you let you add effects to your main output such as reverb and equalization but these are stand-alone apps and not VST plugins. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50701" PostHistoryTypeId="2" PostId="27512" RevisionGUID="0d274c77-fff3-4dae-8708-a6d974a8eb8e" CreationDate="2013-02-26T12:06:26.610" UserDisplayName="Annie" Text="How can I apply VST effects to all audio output from my PC?&#xD;&#xA;&#xD;&#xA;I'm using the 32 bit version of Windows 7. I've checked all the sound-related options but there's nothing there that let's me load a VST...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50702" PostHistoryTypeId="1" PostId="27512" RevisionGUID="0d274c77-fff3-4dae-8708-a6d974a8eb8e" CreationDate="2013-02-26T12:06:26.610" UserDisplayName="Annie" Text="VST effects in Windows" ContentLicense="CC BY-SA 3.0" />
  <row Id="50703" PostHistoryTypeId="3" PostId="27512" RevisionGUID="0d274c77-fff3-4dae-8708-a6d974a8eb8e" CreationDate="2013-02-26T12:06:26.610" UserDisplayName="Annie" Text="&lt;windows&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50704" PostHistoryTypeId="36" PostId="27513" RevisionGUID="8f64b004-16e2-43ef-92e6-b11f0ca87072" CreationDate="2014-02-21T10:57:57.953" UserId="-1" Comment="from http://video.stackexchange.com/questions/7251/vst-effects-in-windows/7252#7252" />
  <row Id="50705" PostHistoryTypeId="36" PostId="27514" RevisionGUID="f6d661ff-405c-43c3-aeac-3b69816ef620" CreationDate="2014-02-21T10:59:05.440" UserId="-1" Comment="from http://video.stackexchange.com/questions/7305/making-retro-game-music-creepy" />
  <row Id="50706" PostHistoryTypeId="2" PostId="27515" RevisionGUID="89a64f77-134e-4bee-9e1c-e23341d15974" CreationDate="2013-03-04T22:45:43.493" UserId="7188" Text="Creepy is my middle name.&#xD;&#xA;&#xD;&#xA;Here are some suggestions:&#xD;&#xA;&#xD;&#xA;Regarding noise, if you have any noise on the original tracks, it will be difficult to remove it and this gets worse if you add multiple tracks with noise.&#xD;&#xA;&#xD;&#xA;Best to have the best recordings you can get your hands on before processing.&#xD;&#xA;&#xD;&#xA;Also learn to adjust and mix multiple tracks before doing this so you get an idea of how important it is to drop gain on each track as you add another track. Also, include some ability to analyze and apply EQ will help in your mixing.&#xD;&#xA;&#xD;&#xA;Processes I recommend for creepy.&#xD;&#xA;&#xD;&#xA;You already mentioned detuning one track with 2 semi tones, try 1/2 a semitone or micro tone or at least one semi tone off as the closer these are the more dissonant they will be.&#xD;&#xA;&#xD;&#xA;Other processes:&#xD;&#xA;Are you familiar with a ring modulator? Read up on it, and see if you have a friend with one built into his/hers guitar pedal. This is like the detuning thing but more intense as you add upper and lower sidebands based on the addition and subtraction of a carrier wave. Most ring modulators now a days will supply a tunable carrier.&#xD;&#xA;&#xD;&#xA;Backwards, record your sounds in backwards mode. You can use Audacity to do this.&#xD;&#xA;&#xD;&#xA;Reverb before sound. This works well with voice. Record your voice or sounds, then take this copy and play it backwards into a reverb process. Then take the last version and reverse it once more. The effect is to hear your voice forward but you hear the reverb part of your voice before you hear your voice.&#xD;&#xA;&#xD;&#xA;Extreme drop in pitch. If you wanted your voice to sound like you are a death metal voice drop it 1 to 2 octaves. Many guitar pedals have this feature, otherwise Audacity might be the answer, after all it's a free download.&#xD;&#xA;&#xD;&#xA;Vocoder: You may not have access to one of these but if you do it can be very creepy, especially with voice. This allows you to take a carrier signal and filter with your own vocal formants. See article:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Vocoder&#xD;&#xA;&#xD;&#xA;A more practical and cheaper way to do this:&#xD;&#xA;http://www.sweetwater.com/store/detail/Vocoder" ContentLicense="CC BY-SA 3.0" />
  <row Id="50707" PostHistoryTypeId="2" PostId="27514" RevisionGUID="956968b6-793e-4d1e-b4d2-7013c417e389" CreationDate="2013-03-04T21:30:29.623" UserDisplayName="Chris Okyen" Text="I want to take some early  90s video game music and make it creepy and scary to play for haloween. I have done stuff with  sonic fames on the genesis like slowing down the carnival level and mixing three copies of the channel where one tracks pitch os raised 2 semitone one -2 and another -4. I haved used thos three track pitch alyer method woth echo amd reverb algorithms. It seems they get a semi creepy aound but they often sound noisey especially when mixing multiple tracks. My question is how can i make level and sfx of video games creepy?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50708" PostHistoryTypeId="1" PostId="27514" RevisionGUID="956968b6-793e-4d1e-b4d2-7013c417e389" CreationDate="2013-03-04T21:30:29.623" UserDisplayName="Chris Okyen" Text="Making retro game music creepy" ContentLicense="CC BY-SA 3.0" />
  <row Id="50709" PostHistoryTypeId="3" PostId="27514" RevisionGUID="956968b6-793e-4d1e-b4d2-7013c417e389" CreationDate="2013-03-04T21:30:29.623" UserDisplayName="Chris Okyen" Text="&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50710" PostHistoryTypeId="36" PostId="27515" RevisionGUID="19d5698f-10d9-41b4-8d7d-425fabb6a097" CreationDate="2014-02-21T10:59:05.440" UserId="-1" Comment="from http://video.stackexchange.com/questions/7305/making-retro-game-music-creepy/7309#7309" />
  <row Id="50711" PostHistoryTypeId="36" PostId="27516" RevisionGUID="7175f667-8f45-4fec-9d8c-387dd738a991" CreationDate="2014-02-21T10:59:27.890" UserId="-1" Comment="from http://video.stackexchange.com/questions/341/uses-for-ring-mod" />
  <row Id="50712" PostHistoryTypeId="36" PostId="27517" RevisionGUID="c0508907-9d51-4679-aad4-94735de1c335" CreationDate="2014-02-21T10:59:27.890" UserId="-1" Comment="from http://video.stackexchange.com/questions/341/uses-for-ring-mod/342#342" />
  <row Id="50713" PostHistoryTypeId="36" PostId="27518" RevisionGUID="c13797dc-e89e-4eef-a8a4-7e8dcdfc0d8d" CreationDate="2014-02-21T10:59:27.890" UserId="-1" Comment="from http://video.stackexchange.com/questions/341/uses-for-ring-mod/343#343" />
  <row Id="50714" PostHistoryTypeId="36" PostId="27519" RevisionGUID="b5a90ac6-902c-481a-a99f-d5af8990f602" CreationDate="2014-02-21T10:59:27.890" UserId="-1" Comment="from http://video.stackexchange.com/questions/341/uses-for-ring-mod/346#346" />
  <row Id="50715" PostHistoryTypeId="36" PostId="27520" RevisionGUID="42831dd7-535c-4475-ae76-817bc2ac6614" CreationDate="2014-02-21T10:59:27.890" UserId="-1" Comment="from http://video.stackexchange.com/questions/341/uses-for-ring-mod/4153#4153" />
  <row Id="50716" PostHistoryTypeId="2" PostId="27517" RevisionGUID="3eb97890-d0e2-47d9-a734-a426ad307a57" CreationDate="2010-12-17T11:25:09.110" UserDisplayName="Willbill" Text="Ring modulation when applied to speech is good for making robotic/metallic voices" ContentLicense="CC BY-SA 2.5" />
  <row Id="50717" PostHistoryTypeId="2" PostId="27518" RevisionGUID="5105a4d5-a089-4f9b-9a4b-26c6d6e3910c" CreationDate="2010-12-17T11:43:39.353" UserDisplayName="Kyle Sevenoaks" Text="If you watch Dr. Who, I believe the voices of the Daleks was created with a Ring Mod. It's great for crazy robotic/computerised effects on voices like that.  :)" ContentLicense="CC BY-SA 2.5" />
  <row Id="50718" PostHistoryTypeId="2" PostId="27519" RevisionGUID="0f06996c-3ffa-4dc3-8abb-cb41ad46a14c" CreationDate="2010-12-17T15:14:49.913" UserDisplayName="Ian C." Text="Jeff Beck uses a ring mod to good effect as a subtle, almost-distortion-but-not-quite-distortion, effect for the lead parts on the track *[Two Rivers][1]* off the *Guitar Shop* album. That's always been my benchmark for using a ring mod in a non-over-the-top way. Just tastefully different.&#xD;&#xA;&#xD;&#xA;Set to extremes, some ring mods produce some interesting, bell-like sounds when fed single notes. [This video from Fairfield Circuitry][2] is a good example of bell tones, you hear them right at the beginning of the video. It also runs through some pretty interesting examples of ring modulation on guitar.&#xD;&#xA;&#xD;&#xA;Ring mods have also gone hand in hand with synthesizers over the years. The ARP Odyssey comes to mind as a good example where it was meant to work as an almost frequency-controlled distortion on the sound. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=gw9g7hlPytQ&#xD;&#xA;  [2]: http://vimeo.com/5301073" ContentLicense="CC BY-SA 2.5" />
  <row Id="50719" PostHistoryTypeId="2" PostId="27520" RevisionGUID="10bdcd98-fbf3-4368-8b05-555d5501dacc" CreationDate="2012-06-09T16:52:03.320" UserDisplayName="az01" Text="In synthesis, when you cross two oscillators (RM/AM) this creates a rich spectrum, sometimes disharmonic, which can be a great source for creating some percussion/bells sounds (if finally the source is crossed a third time with a simple AD/ADR envelope)." ContentLicense="CC BY-SA 3.0" />
  <row Id="50720" PostHistoryTypeId="2" PostId="27516" RevisionGUID="8977a4a3-78ec-4d79-960c-f835ddc8395d" CreationDate="2010-12-17T11:21:42.740" UserDisplayName="Ed J" Text="I'm very much into processing of my sound sources (synths, vocals, samples, etc.) to add interest to tracks with uncommon sounds, and like to use effects in ways they weren't really designed for.&#xD;&#xA;&#xD;&#xA;However, this means I'm often at a loss for an actual use for something, and the one that has always got me is Ring Modulation.&#xD;&#xA;&#xD;&#xA;What are the common uses for Ring Mod?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50721" PostHistoryTypeId="1" PostId="27516" RevisionGUID="8977a4a3-78ec-4d79-960c-f835ddc8395d" CreationDate="2010-12-17T11:21:42.740" UserDisplayName="Ed J" Text="Uses for Ring Mod" ContentLicense="CC BY-SA 2.5" />
  <row Id="50722" PostHistoryTypeId="3" PostId="27516" RevisionGUID="8977a4a3-78ec-4d79-960c-f835ddc8395d" CreationDate="2010-12-17T11:21:42.740" UserDisplayName="Ed J" Text="&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50723" PostHistoryTypeId="36" PostId="27521" RevisionGUID="bd83a00e-d4be-479c-a567-d3bcc71a3843" CreationDate="2014-02-21T10:59:48.133" UserId="-1" Comment="from http://video.stackexchange.com/questions/214/which-effects-should-i-place-on-return-tracks" />
  <row Id="50724" PostHistoryTypeId="2" PostId="27522" RevisionGUID="ab36c6db-9335-41f1-84db-9e9412988373" CreationDate="2010-12-10T14:21:19.087" UserDisplayName="Kim Burgaard" Text="Insert effects are isolated to the channel where the effect is inserted, while return effects can receive signal from multiple sources.  So I tend to use return effects for groups of channels where I want the same effect to be applied with the exact same parameters.&#xD;&#xA;&#xD;&#xA;If you're working with a physical mixer, the difference is very tangible -- insert effects are inserted at some point between a channel's pre-amplifier and fader.  Multiple insert effects are daisy-chained, so the order matters too.  If you have a compressor daisy chained with a chorus effect, then the compressed sound will be fed to the chorus effect. The combined result is then be fed the fader to be placed in the overall mix.&#xD;&#xA;&#xD;&#xA;At some stage through the channel's pre-amp, EQ and insert point, a physical mixer will typically have a potentiometer that allows an amount of the channel's sound to be sent to a send &amp; return effect.  But the send is available to all the channels on the mixer, so you will essentially be mixing the channels not only on the faders but also on the sends.  The return is then mixed mixed back just as if it was a regular channel. Bigger mixers might have multiple send &amp; returns.&#xD;&#xA;&#xD;&#xA;Most Digital Audio Workstation software (ProTools, Cubase, Logic etc.) basically mimic physical mixers in this regard, as does digital mixers.  Typically, software mixers will allow many more send &amp; return channels than you can find on a physical mixer.&#xD;&#xA;&#xD;&#xA;So I would say there's no &quot;wrong&quot; way to go about this.  It all depends on the effect you want on the final mix.&#xD;&#xA;&#xD;&#xA;Using reverb on a send &amp; return is a commonly used technique to achieve a &quot;realistic&quot; application of reverb.  Our brain is finely tuned to detect differences in reverbs, so if each of your tracks had different reverb settings, it might sound too confusing or distracting to the user.  But maybe that's exactly the effect you want in other cases.&#xD;&#xA;&#xD;&#xA;I will argue it matters less on a software mixer.  There are other constraints to consider though; with a hardware mixer, you might only have one reverb processor unit.  Then you will obviously need to use a send &amp; return if you wish to have (the same) reverb effect applied to multiple channels.  With a software mixer, you might be limited by processor power.  So if you find you've used up all CPU cycles, moving individual insert effects to shared send &amp; return effects might be an option." ContentLicense="CC BY-SA 2.5" />
  <row Id="50725" PostHistoryTypeId="2" PostId="27521" RevisionGUID="a8754aeb-c93d-4d3c-9b1a-56ef70ccba1e" CreationDate="2010-12-10T13:51:20.217" UserDisplayName="Ed J" Text="What are the accepted practices/rules about putting effects on return tracks?&#xD;&#xA;&#xD;&#xA;I tend to stick time-based effects (reverb, delay) on a return, and keep other effects (chorus, phaser, waveshaper etc.) as an insert.&#xD;&#xA;&#xD;&#xA;Am I going about this the wrong way?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50726" PostHistoryTypeId="1" PostId="27521" RevisionGUID="a8754aeb-c93d-4d3c-9b1a-56ef70ccba1e" CreationDate="2010-12-10T13:51:20.217" UserDisplayName="Ed J" Text="Which effects should I place on return tracks?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50727" PostHistoryTypeId="3" PostId="27521" RevisionGUID="a8754aeb-c93d-4d3c-9b1a-56ef70ccba1e" CreationDate="2010-12-10T13:51:20.217" UserDisplayName="Ed J" Text="&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50728" PostHistoryTypeId="36" PostId="27522" RevisionGUID="83554819-e4ba-48aa-9cd5-b14d75c0fcef" CreationDate="2014-02-21T10:59:48.133" UserId="-1" Comment="from http://video.stackexchange.com/questions/214/which-effects-should-i-place-on-return-tracks/215#215" />
  <row Id="50729" PostHistoryTypeId="36" PostId="27523" RevisionGUID="9c7cdc88-30cb-441d-ac5b-d2fcb8775d7c" CreationDate="2014-02-21T10:59:48.133" UserId="-1" Comment="from http://video.stackexchange.com/questions/214/which-effects-should-i-place-on-return-tracks/1955#1955" />
  <row Id="50730" PostHistoryTypeId="2" PostId="27523" RevisionGUID="bf218cc1-00b8-4a50-9783-cccd9e0e5fd2" CreationDate="2011-07-25T19:10:15.327" UserDisplayName="bot_bot" Text="Typically, or should that be traditionally, the insert effects are used for compressors, noise gates, specialist EQ  and other processors (as opposed to FX). Aux sends and returns are used for reverbs, phasers, flangers, distortions etc. &#xD;&#xA;&#xD;&#xA;I tend to stick to this format, especially with modern DAW's that can handle no end of Aux sends/returns and sub mixes. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50731" PostHistoryTypeId="10" PostId="20650" RevisionGUID="4b200378-8478-497d-b527-15c9d1bba56e" CreationDate="2014-02-21T10:59:51.100" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="50732" PostHistoryTypeId="36" PostId="27524" RevisionGUID="b09d5c9d-3dec-43cc-862c-3de3faf70484" CreationDate="2014-02-21T11:00:09.390" UserId="-1" Comment="from http://video.stackexchange.com/questions/193/demo-samples-of-common-effect-presets" />
  <row Id="50733" PostHistoryTypeId="36" PostId="27525" RevisionGUID="e7eb3019-7b69-4257-91b6-96a083e9c1c9" CreationDate="2014-02-21T11:00:09.390" UserId="-1" Comment="from http://video.stackexchange.com/questions/193/demo-samples-of-common-effect-presets/194#194" />
  <row Id="50734" PostHistoryTypeId="36" PostId="27526" RevisionGUID="88063624-b82f-47d9-a2ea-34cff4dd5d94" CreationDate="2014-02-21T11:00:09.390" UserId="-1" Comment="from http://video.stackexchange.com/questions/193/demo-samples-of-common-effect-presets/198#198" />
  <row Id="50735" PostHistoryTypeId="36" PostId="27527" RevisionGUID="11f537f7-4e30-4fee-8ad3-a8e615bbd726" CreationDate="2014-02-21T11:00:09.390" UserId="-1" Comment="from http://video.stackexchange.com/questions/193/demo-samples-of-common-effect-presets/545#545" />
  <row Id="50736" PostHistoryTypeId="36" PostId="27528" RevisionGUID="cb1441c6-9cee-453e-acbc-54621ee7ff07" CreationDate="2014-02-21T11:00:09.390" UserId="-1" Comment="from http://video.stackexchange.com/questions/193/demo-samples-of-common-effect-presets/557#557" />
  <row Id="50737" PostHistoryTypeId="36" PostId="27529" RevisionGUID="e31430f9-32cb-40be-8778-0c9b1ec1d307" CreationDate="2014-02-21T11:00:09.390" UserId="-1" Comment="from http://video.stackexchange.com/questions/193/demo-samples-of-common-effect-presets/559#559" />
  <row Id="50738" PostHistoryTypeId="36" PostId="27530" RevisionGUID="3345a9dc-65a4-450a-b5bd-b2820c4da0d2" CreationDate="2014-02-21T11:00:09.390" UserId="-1" Comment="from http://video.stackexchange.com/questions/193/demo-samples-of-common-effect-presets/2523#2523" />
  <row Id="50739" PostHistoryTypeId="2" PostId="27525" RevisionGUID="ce4a811e-25fe-42a7-b317-a21c1cd733ce" CreationDate="2010-12-09T16:20:45.987" UserDisplayName="Tom Wijsman" Text="My best guess would be to create some examples with your software and to host these somewhere, if you can bring a laptop you could use software and be able to show more than an online emulator.&#xD;&#xA;&#xD;&#xA;I don't think that there would be a site that would have specific examples of the effects you mentioned, and an online emulator (which would probably be too simple) would be very hard to find...&#xD;&#xA;&#xD;&#xA;The sites that come close and might have examples are [FreeSound Project](http://www.freesound.org/) and [ccMixter](http://www.ccmixter.org/)." ContentLicense="CC BY-SA 2.5" />
  <row Id="50740" PostHistoryTypeId="2" PostId="27527" RevisionGUID="12e1cfbf-d141-4d88-adcf-a3770788533c" CreationDate="2011-01-09T01:58:51.263" UserDisplayName="Kim Burgaard" Text="I guess you're looking for a sound effect equivalent to a herbarium or a wine aroma dictionary.&#xD;&#xA;&#xD;&#xA;However, the result of an effect only means something when applied to a sound source. So whereas everybody can see what a dandelion looks like or what elder flowers smell like, the ability to understand and separate the original sound from the sound with a particular effect applied might require training and experience with sound production.&#xD;&#xA;&#xD;&#xA;I think hands-on demonstration on something the client already knows, i.e. the actual material  you are working on together works much better. They might not be able to tell what the effect does, but they can pitch in with whether they like the result or not. I've worked on projects in the past where I would make several alternative mixes to gauge reactions and gather hints for further directions to go down.&#xD;&#xA;&#xD;&#xA;I'm wondering why you would be discussing effects with a client up front. Maybe you have good reasons for doing so, but I'm thinking that referencing well-known songs as you mention yourself works pretty well. Again, without knowing your specific context, I would think discussing *styles* and artistic directions rather than particular effects would be a much better goal and mind set for both of you when laying out a potential project with a client." ContentLicense="CC BY-SA 2.5" />
  <row Id="50741" PostHistoryTypeId="2" PostId="27528" RevisionGUID="71ddbfd0-ba9d-4740-986c-566bc1bc342d" CreationDate="2011-01-10T13:00:08.790" UserId="7205" Text="I own a POD from Line 6 with which I got the [POD Farm plugin][1] offered (but I think you can buy it as &quot;standalone&quot; plugin).  &#xD;&#xA;It's a [VST plugin][2] that you could plug to an audio editor that support it (even the last version of [Audacity][3] supports it).  &#xD;&#xA;&#xD;&#xA;Then you just record a riff with any instrument (but it's more guitar-oriented) in your [DAW][4] and voilà ! With your editor you can apply a whole range of effects, with a lot of tweaks available, on your riff.  &#xD;&#xA;Maybe it's too much just for effect demoing (as it includes amps, etc.) but something similar must exist.&#xD;&#xA;&#xD;&#xA;--------&#xD;&#xA;**Update:**&#xD;&#xA;&#xD;&#xA;Another good tool could be [this one][5]. This is the BOSS website that allows you to test some BOSS pedals on a predefined riff (rhythm &amp; lead).&#xD;&#xA;The options are quite limited but there is a quite good set of pedals (once again, this is mostly targeted to guitars).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://fr.line6.com/podfarm/&#xD;&#xA;  [2]: https://secure.wikimedia.org/wikipedia/fr/wiki/Virtual_Studio_Technology&#xD;&#xA;  [3]: http://audacity.sourceforge.net/download/beta_windows&#xD;&#xA;  [4]: https://secure.wikimedia.org/wikipedia/en/wiki/Digital_audio_workstation&#xD;&#xA;  [5]: http://www.bossus.com/go/vpb-2/" ContentLicense="CC BY-SA 2.5" />
  <row Id="50742" PostHistoryTypeId="2" PostId="27526" RevisionGUID="ecba0461-7b2f-42b8-9d25-17ef18b1c3ca" CreationDate="2010-12-09T20:04:47.573" UserId="7398" Text="I did a little searching and was surprised that I couldn't find a good collection of samples out there.  I did come across a few reverb samples:&#xD;&#xA;&#xD;&#xA; - http://www.prorec.com/index.php/articles/mixing/item/74-reverb-types-explained.html&#xD;&#xA; - http://www.mediacollege.com/audio/reverb/examples.html" ContentLicense="CC BY-SA 2.5" />
  <row Id="50743" PostHistoryTypeId="2" PostId="27529" RevisionGUID="7f22442e-80b8-4572-9f77-0be0180eb4fc" CreationDate="2011-01-10T16:48:54.173" UserId="7294" Text="If an &quot;online emulator&quot; would suffice, why not use a collection of plugins?  You could take a single sound (like the hand clap you mentioned) and put it through several different effects for your client.  You wouldn't get the sound of a real wood room, for example, but you could use an impulse from a wood room in a convolution reverb plugin and give your client the basic idea.&#xD;&#xA;&#xD;&#xA;If you don't have your gear, you could always make yourself some preview recordings, especially if the client has already told you what sounds they're working with." ContentLicense="CC BY-SA 2.5" />
  <row Id="50744" PostHistoryTypeId="2" PostId="27530" RevisionGUID="0d04f898-be24-461e-83ab-2fdbd6613000" CreationDate="2011-10-21T14:35:33.917" UserDisplayName="Desmond" Text="Easy one ;)&#xD;&#xA;&#xD;&#xA;http://www.audiotool.com/&#xD;&#xA;&#xD;&#xA;create whatever you want ;)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50745" PostHistoryTypeId="2" PostId="27524" RevisionGUID="1a878550-f5fb-49c5-bc71-123742d7ae55" CreationDate="2010-12-09T14:45:38.580" UserDisplayName="jan" Text="Imagine I'm in a situation I don't have any gear with me (a meeting with a client).  &#xD;&#xA;When I want to explain what a 'slap-back delay' sounds like, I could put on a typical Elvis song, but 'wood room' is trickier.  &#xD;&#xA;And how to show what the difference would be between a short and an long pre-delay?&#xD;&#xA;&#xD;&#xA;Does anyone know of some sort of list with *previews*, short mp3s maybe, of what these things actually sound like on something neutral like a hand clap?&#xD;&#xA;&#xD;&#xA;Or even better: some kind of online emulator, you can send a track to &amp; that lets you tweak the most common controls.&#xD;&#xA;&#xD;&#xA;Any other ideas?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50746" PostHistoryTypeId="1" PostId="27524" RevisionGUID="1a878550-f5fb-49c5-bc71-123742d7ae55" CreationDate="2010-12-09T14:45:38.580" UserDisplayName="jan" Text="Demo samples of common effect presets" ContentLicense="CC BY-SA 2.5" />
  <row Id="50747" PostHistoryTypeId="3" PostId="27524" RevisionGUID="1a878550-f5fb-49c5-bc71-123742d7ae55" CreationDate="2010-12-09T14:45:38.580" UserDisplayName="jan" Text="&lt;effects&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50748" PostHistoryTypeId="36" PostId="27531" RevisionGUID="ec32a166-ce16-44f1-a652-6f549673c408" CreationDate="2014-02-21T11:00:30.517" UserId="-1" Comment="from http://video.stackexchange.com/questions/436/any-reason-not-to-convert-wav-to-flac-and-save-some-disk-space" />
  <row Id="50749" PostHistoryTypeId="36" PostId="27532" RevisionGUID="be1f37b1-feaa-4935-aaa9-46c7a5739e2b" CreationDate="2014-02-21T11:00:30.517" UserId="-1" Comment="from http://video.stackexchange.com/questions/436/any-reason-not-to-convert-wav-to-flac-and-save-some-disk-space/437#437" />
  <row Id="50750" PostHistoryTypeId="2" PostId="27532" RevisionGUID="19422e61-ea71-4472-98c4-dbf3400602d8" CreationDate="2010-12-23T22:34:19.947" UserDisplayName="Ian C." Text="You won't lose any data. In fact, FLAC has much better meta-data support so you actually *gain* data if, after converting, you tag the FLAC files with meta-data like author, BPM, song title, etc.&#xD;&#xA;&#xD;&#xA;The only reason I can think of ***not*** to save things as FLAC is compatibility. Not all software will understand a FLAC file (example: iTunes, Logic) but I've never met software that couldn't handle WAV files. You'll definitely save on space at no cost to quality but you may find yourself converting from FLAC back to WAV to work with the files. If that takes time, the question becomes what's worth more? Your time or your disk space?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50751" PostHistoryTypeId="2" PostId="27533" RevisionGUID="0c536477-7bc1-4c03-ab45-7b94f0e77068" CreationDate="2010-12-24T04:21:07.823" UserId="7294" Text="FLAC is fully lossless and can reproduce a sample-accurate waveform.  It's awesome.&#xD;&#xA;&#xD;&#xA;The main reason not to encode everything as FLAC is simple convenience.  For many applications (using them in most DAWs, for example) you'll have to transcode them back to .WAV which takes some time.  Not much, but some.  Whether this matters or not is entirely up to your workflow.  &#xD;&#xA;&#xD;&#xA;Save for bugs in your encoder software (if there are any), you will not lose any audio data going back and forth between FLAC compression and raw WAV." ContentLicense="CC BY-SA 2.5" />
  <row Id="50752" PostHistoryTypeId="2" PostId="27531" RevisionGUID="5965d9fb-90bb-4b1e-a0ef-a81386347ce5" CreationDate="2010-12-23T22:25:39.173" UserId="13414" UserDisplayName="dgw" Text="As I understand the technologies, WAV is a raw, uncompressed format and FLAC is a compressed but lossless format.&#xD;&#xA;&#xD;&#xA;My research has shown that FLAC files &quot;still maintain all the audio fidelity&quot;&lt;sup&gt;[src][1]&lt;/sup&gt; of WAV.&#xD;&#xA;&#xD;&#xA;I'm just wondering: Could I be saving a significant amount of disk space by converting all of my WAV originals to FLAC? Or would I lose audio data that might be important in the future if I want to (re)process my recordings?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.obsessable.com/feature/mp3-vs-flac-vs-wav-audio-formats-primer/" ContentLicense="CC BY-SA 2.5" />
  <row Id="50753" PostHistoryTypeId="1" PostId="27531" RevisionGUID="5965d9fb-90bb-4b1e-a0ef-a81386347ce5" CreationDate="2010-12-23T22:25:39.173" UserId="13414" UserDisplayName="dgw" Text="Any reason not to convert WAV to FLAC and save some disk space?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50754" PostHistoryTypeId="3" PostId="27531" RevisionGUID="5965d9fb-90bb-4b1e-a0ef-a81386347ce5" CreationDate="2010-12-23T22:25:39.173" UserId="13414" UserDisplayName="dgw" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50755" PostHistoryTypeId="36" PostId="27533" RevisionGUID="8169e1f7-4af8-4830-b5b8-5720f9780856" CreationDate="2014-02-21T11:00:30.517" UserId="-1" Comment="from http://video.stackexchange.com/questions/436/any-reason-not-to-convert-wav-to-flac-and-save-some-disk-space/440#440" />
  <row Id="50756" PostHistoryTypeId="36" PostId="27534" RevisionGUID="bdac595b-9e06-4ee0-b5c6-ce1e89b2d3eb" CreationDate="2014-02-21T11:00:30.517" UserId="-1" Comment="from http://video.stackexchange.com/questions/436/any-reason-not-to-convert-wav-to-flac-and-save-some-disk-space/562#562" />
  <row Id="50757" PostHistoryTypeId="36" PostId="27535" RevisionGUID="3fcd3ef7-a1a8-498d-9aa4-a08e41e3a85b" CreationDate="2014-02-21T11:00:30.517" UserId="-1" Comment="from http://video.stackexchange.com/questions/436/any-reason-not-to-convert-wav-to-flac-and-save-some-disk-space/1869#1869" />
  <row Id="50758" PostHistoryTypeId="2" PostId="27534" RevisionGUID="c878c18e-7195-426c-a92b-ac37b70e74f4" CreationDate="2011-01-10T18:43:11.800" UserId="7592" UserDisplayName="Pelle ten Cate" Text="I don't understand why ths wasn't mentioned earlier, but even without looking whether or not software supports the FLAC format, there is a general reason why you don't want to use it.&#xD;&#xA;&#xD;&#xA;Flac saves you about 60% of the space and gives you spiffing tag info, but at a price I am not going to pay at any moment in my recording-workflow: it costs CPU power to decode them. This is highly inconvenient when you are working on a project, especially when you need your CPU to do DSP-related things. If you would convert a FLAC file back to WAV (disk access time not counting) you get a general idea of CPU time this process takes during the playback of the entire track. &#xD;&#xA;&#xD;&#xA;It is a very beautiful format to keep your personal music in, but in the recording/production scene, I will gladly donate my plenty disk space in exchange for my invaluable CPU time." ContentLicense="CC BY-SA 2.5" />
  <row Id="50759" PostHistoryTypeId="2" PostId="27535" RevisionGUID="0a7e9a8f-4889-46eb-a3c3-21443ae6705c" CreationDate="2011-07-13T23:13:21.663" UserDisplayName="Mechanical snail" Text="One (specialized) reason: FLAC doesn't support 32-bit floating point audio. To losslessly compress that, you have to use a less-widely-supported format such as `wavpack`." ContentLicense="CC BY-SA 3.0" />
  <row Id="50760" PostHistoryTypeId="36" PostId="27536" RevisionGUID="d90f957c-0025-4e4b-991c-32898aa18ced" CreationDate="2014-02-21T11:00:58.253" UserId="-1" Comment="from http://video.stackexchange.com/questions/2635/audio-switch-with-multiple-3-5mm-input-outputs" />
  <row Id="50761" PostHistoryTypeId="2" PostId="27537" RevisionGUID="0ee77181-cee2-4da7-85f9-24eea01873bf" CreationDate="2011-11-14T19:32:35.847" UserId="7093" Text="If you can get your hands on some [3.5mm male to 2 RCA male cables][1], you could get a stereo source selector like [this one][2].&#xD;&#xA;&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;I have a similar source selector meant for attaching 4 tape decks to a single receiver.  I still use it on occasion to avoid rewiring when switching between many devices in my system.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mcmelectronics.com/product/24-6270&#xD;&#xA;  [2]: http://www.amazon.com/TC-716-Stereo-Selector-SILVER-VERSION/dp/B004RVOEFK&#xD;&#xA;  [3]: http://i.stack.imgur.com/ZCdrk.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="50762" PostHistoryTypeId="2" PostId="27536" RevisionGUID="43125645-74b5-4955-8bfc-15a0669466ad" CreationDate="2011-11-14T18:43:32.670" UserDisplayName="David Nguyen" Text="I've been searching for a device that simple allows me to pick one input and one output from multiple input/outputs. I thought this would be a called a switch but I can only find ones with one input. Is there such a device that can do this?&#xD;&#xA;&#xD;&#xA;I will be attaching various devices, i.e. multiple console sound, PC &amp; Laptop inputs and outputting to my speakers or headphones. I'm looking for something small and simple.&#xD;&#xA;&#xD;&#xA;All inputs and outputs are 3.5mm.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50763" PostHistoryTypeId="1" PostId="27536" RevisionGUID="43125645-74b5-4955-8bfc-15a0669466ad" CreationDate="2011-11-14T18:43:32.670" UserDisplayName="David Nguyen" Text="Audio switch with multiple 3.5mm input &amp; outputs" ContentLicense="CC BY-SA 3.0" />
  <row Id="50764" PostHistoryTypeId="3" PostId="27536" RevisionGUID="43125645-74b5-4955-8bfc-15a0669466ad" CreationDate="2011-11-14T18:43:32.670" UserDisplayName="David Nguyen" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50765" PostHistoryTypeId="36" PostId="27537" RevisionGUID="2c4fb81a-e222-4ca6-bb7e-353cf3864125" CreationDate="2014-02-21T11:00:58.253" UserId="-1" Comment="from http://video.stackexchange.com/questions/2635/audio-switch-with-multiple-3-5mm-input-outputs/2637#2637" />
  <row Id="50766" PostHistoryTypeId="36" PostId="27538" RevisionGUID="baf5a052-ec8f-445b-8484-391350841122" CreationDate="2014-02-21T11:00:58.253" UserId="-1" Comment="from http://video.stackexchange.com/questions/2635/audio-switch-with-multiple-3-5mm-input-outputs/2665#2665" />
  <row Id="50767" PostHistoryTypeId="2" PostId="27538" RevisionGUID="cbcc708a-7bf4-4911-8e90-7fe77b837a94" CreationDate="2011-11-18T20:15:53.987" UserId="7178" Text="Mackie's [HMX-56 headphone matrix mixer](http://www.mackie.com/products/hmx56/) could do the job — it takes 4 inputs and provides 6 individually-mixed outputs." ContentLicense="CC BY-SA 3.0" />
  <row Id="50768" PostHistoryTypeId="36" PostId="27539" RevisionGUID="6ae6f172-9045-42e6-a5ca-6a7f17dbf312" CreationDate="2014-02-21T11:01:17.137" UserId="-1" Comment="from http://video.stackexchange.com/questions/370/difference-between-microphone-and-line-in-inputs" />
  <row Id="50769" PostHistoryTypeId="36" PostId="27540" RevisionGUID="62c7109a-0e41-4f58-affe-69dc6d43e49a" CreationDate="2014-02-21T11:01:17.137" UserId="-1" Comment="from http://video.stackexchange.com/questions/370/difference-between-microphone-and-line-in-inputs/372#372" />
  <row Id="50770" PostHistoryTypeId="36" PostId="27541" RevisionGUID="5aff4693-1b22-4fe1-b419-99babb14538d" CreationDate="2014-02-21T11:01:17.137" UserId="-1" Comment="from http://video.stackexchange.com/questions/370/difference-between-microphone-and-line-in-inputs/373#373" />
  <row Id="50771" PostHistoryTypeId="2" PostId="27540" RevisionGUID="3803189e-9036-41ae-98d3-8da55437931d" CreationDate="2010-12-19T00:10:57.027" UserId="9459" UserDisplayName="Matthew Read" Text="If you have a mic plugged in, and some other input in Line In, your computer's operating system will (or should) use the mic when you're using Skype or something.  That way you don't have to do any configuration to have the mic work properly.&#xD;&#xA;&#xD;&#xA;On good cards, the mic line will have lower impedance and should be mono.  If you try to use it for something else the sound will be distorted." ContentLicense="CC BY-SA 2.5" />
  <row Id="50772" PostHistoryTypeId="2" PostId="27541" RevisionGUID="64a5bbd9-42e1-40f4-bac2-979c03ad56d5" CreationDate="2010-12-19T02:15:51.300" UserDisplayName="chris" Text="A microphone input is typically a very low level signal, and is mono.  A line in will be expecting a much higher input level, and will usually be stereo.&#xD;&#xA;&#xD;&#xA;The sound card should have an additional pre-amp stage for the mic to bring it up to line levels.&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50773" PostHistoryTypeId="2" PostId="27542" RevisionGUID="5de79a3c-c5d2-44ec-b35f-df075911b890" CreationDate="2010-12-19T02:56:39.283" UserDisplayName="divided" Text="Line in will usually be stereo and about 10Kohm impedance.&#xD;&#xA;&#xD;&#xA;Mic in is mono and about 600-1Kohm impedance and expecting SIGNIFICANTLY&#xD;&#xA;lower levels than the line, as it has a preamp to pick up the very low&#xD;&#xA;levels present in a microphone.&#xD;&#xA;&#xD;&#xA;Sometimes microphone in have [XLR connector][1] to allow [Phantom Power][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/XLR_connector&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Phantom_power" ContentLicense="CC BY-SA 2.5" />
  <row Id="50774" PostHistoryTypeId="2" PostId="27539" RevisionGUID="6bf8cb24-fa79-4e19-bb08-1ee4d7d549e9" CreationDate="2010-12-18T23:23:25.210" UserDisplayName="Andrew Arnold" Text="Just something I've always wondered—most sound cards have both a line in and a microphone, and I've never been able to tell the difference between anything recorded with them. Lately I've seen cards without the line in, so is there actually a difference? If so, specifically what should they be used for?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50775" PostHistoryTypeId="1" PostId="27539" RevisionGUID="6bf8cb24-fa79-4e19-bb08-1ee4d7d549e9" CreationDate="2010-12-18T23:23:25.210" UserDisplayName="Andrew Arnold" Text="Difference between microphone and line in inputs?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50776" PostHistoryTypeId="3" PostId="27539" RevisionGUID="6bf8cb24-fa79-4e19-bb08-1ee4d7d549e9" CreationDate="2010-12-18T23:23:25.210" UserDisplayName="Andrew Arnold" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50777" PostHistoryTypeId="36" PostId="27542" RevisionGUID="fc275732-7324-4fe0-af48-cc089a723bf1" CreationDate="2014-02-21T11:01:17.137" UserId="-1" Comment="from http://video.stackexchange.com/questions/370/difference-between-microphone-and-line-in-inputs/375#375" />
  <row Id="50778" PostHistoryTypeId="36" PostId="27543" RevisionGUID="dc8a7505-ae37-463a-9b00-f728a680561b" CreationDate="2014-02-21T11:01:45.183" UserId="-1" Comment="from http://video.stackexchange.com/questions/380/replacement-body-pack-transmitter-for-shure-ut1-ut4a" />
  <row Id="50779" PostHistoryTypeId="2" PostId="27544" RevisionGUID="bbb07bcc-b97a-431b-bef8-8b7e28493073" CreationDate="2011-03-10T20:44:00.170" UserDisplayName="Opie" Text="The only bodypack transmitter that worked with the UT4 receiver is the UT1. So, you would need to find a used UT1 on the exact frequency as your receiver.&#xD;&#xA;&#xD;&#xA;Also, there is a place in Chicago that repairs older Shure wireless systems. Contact Delta Audio ([www.deltaaudio.biz][1])&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.deltaaudio.biz" ContentLicense="CC BY-SA 2.5" />
  <row Id="50780" PostHistoryTypeId="2" PostId="27543" RevisionGUID="1b30900f-c85e-4cd8-b9fb-64f833033d0d" CreationDate="2010-12-19T18:53:35.073" UserDisplayName="RBarryYoung" Text="We have a very nice Shure UT4A wireless diversity receiver (UHF, 615.9 Mhz) that we use with a UT1 body-pack transmitter.  Unfortunately, the transmitter seems to be failing as it has been increasingly losing connection to the receiver (both sides!) during live use, causing very bad &quot;pops&quot; as it loses, then regains connection.&#xD;&#xA;&#xD;&#xA;Now obviously, I am hoping that the problem is the UT1 transmitter ($200) rather than the UT4A receiver ($400), but I am not sure how to check.&#xD;&#xA;&#xD;&#xA;Worse, the UT1 appears to be obsolete, but I do not know what replacements for it I could buy that will work with the UT4A diversity receiver.&#xD;&#xA;&#xD;&#xA;Any help would be *much* appreciated!" ContentLicense="CC BY-SA 2.5" />
  <row Id="50781" PostHistoryTypeId="1" PostId="27543" RevisionGUID="1b30900f-c85e-4cd8-b9fb-64f833033d0d" CreationDate="2010-12-19T18:53:35.073" UserDisplayName="RBarryYoung" Text="Replacement body-pack transmitter for Shure UT1 / UT4A" ContentLicense="CC BY-SA 2.5" />
  <row Id="50782" PostHistoryTypeId="3" PostId="27543" RevisionGUID="1b30900f-c85e-4cd8-b9fb-64f833033d0d" CreationDate="2010-12-19T18:53:35.073" UserDisplayName="RBarryYoung" Text="&lt;live&gt;&lt;hardware&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50783" PostHistoryTypeId="36" PostId="27544" RevisionGUID="08ef1054-483f-4f8a-8159-5523928ad012" CreationDate="2014-02-21T11:01:45.183" UserId="-1" Comment="from http://video.stackexchange.com/questions/380/replacement-body-pack-transmitter-for-shure-ut1-ut4a/993#993" />
  <row Id="50784" PostHistoryTypeId="36" PostId="27545" RevisionGUID="965800a1-7643-4b3b-bebd-a4853b865649" CreationDate="2014-02-21T11:02:05.430" UserId="-1" Comment="from http://video.stackexchange.com/questions/60/acceptable-hardware-delay" />
  <row Id="50785" PostHistoryTypeId="2" PostId="27546" RevisionGUID="957ebc5f-a174-476b-a380-524bfd47fb27" CreationDate="2010-12-07T22:48:02.183" UserDisplayName="mr.b" Text="[As pointed out in another question][1]:&#xD;&#xA;&#xD;&#xA;&gt; Latency shouldn't be much higher than&#xD;&#xA;&gt; a handful of milliseconds **(12–20,&#xD;&#xA;&gt; maybe)**, if possible. The lower the&#xD;&#xA;&gt; better, of course.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audio.stackexchange.com/questions/25/what-is-latency-in-a-digital-recording-studio/28#28" ContentLicense="CC BY-SA 2.5" />
  <row Id="50786" PostHistoryTypeId="2" PostId="27545" RevisionGUID="fb65d848-bf73-4598-902b-58ea28ade6ad" CreationDate="2010-12-07T21:35:07.280" UserDisplayName="mr.b" Text="I'm looking into purchasing some audio interface hardware. Gear that goes via firewire is my primary option, but I have a question about acceptable delay lengths.&#xD;&#xA;&#xD;&#xA;What is the acceptable delay in live or studio setups? I know it's always *lower = better*, but where it gets troublesome? Over 20ms? Over 50ms?&#xD;&#xA;&#xD;&#xA;Anyone has anything else to add regarding delays?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50787" PostHistoryTypeId="1" PostId="27545" RevisionGUID="fb65d848-bf73-4598-902b-58ea28ade6ad" CreationDate="2010-12-07T21:35:07.280" UserDisplayName="mr.b" Text="Acceptable hardware delay" ContentLicense="CC BY-SA 2.5" />
  <row Id="50788" PostHistoryTypeId="3" PostId="27545" RevisionGUID="fb65d848-bf73-4598-902b-58ea28ade6ad" CreationDate="2010-12-07T21:35:07.280" UserDisplayName="mr.b" Text="&lt;hardware&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50789" PostHistoryTypeId="36" PostId="27546" RevisionGUID="be1bae3b-47ab-48df-ba9f-132499fce1a8" CreationDate="2014-02-21T11:02:05.430" UserId="-1" Comment="from http://video.stackexchange.com/questions/60/acceptable-hardware-delay/77#77" />
  <row Id="50790" PostHistoryTypeId="36" PostId="27547" RevisionGUID="6b584764-03e1-497c-acb2-aed7b0dc70fe" CreationDate="2014-02-21T11:02:05.430" UserId="-1" Comment="from http://video.stackexchange.com/questions/60/acceptable-hardware-delay/94#94" />
  <row Id="50791" PostHistoryTypeId="2" PostId="27547" RevisionGUID="e9c7d593-bd8a-40a1-a447-32eb4ebb3b5d" CreationDate="2010-12-08T02:17:02.587" UserId="7294" Text="It depends entirely on what you're doing.  If you need it to respond very quickly (for example, if you are a musician and you want to monitor what you are playing in realtime!) then low latency is extremely important.  I find that my classically-trained pianist friend starts to have a lot of trouble at around 10 to 16 ms, whereas I am more of a beginner on my instruments and generally have no problem below 16 ms.  &#xD;&#xA;&#xD;&#xA;But if you're just mixing or tweaking effects or something where you can handle a bit of a delay, much higher latencies are sometimes desirable because there's less likelihood that you'll run out of buffer - you can start loading up some more CPU and memory intensive effects without worrying about hearing pops and skips.&#xD;&#xA;&#xD;&#xA;From my experience, more than 20 ms is generally not considered acceptable by anybody." ContentLicense="CC BY-SA 2.5" />
  <row Id="50792" PostHistoryTypeId="36" PostId="27548" RevisionGUID="ab26e44b-156d-4bbb-8b40-357e270a998f" CreationDate="2014-02-21T11:03:22.487" UserId="-1" Comment="from http://video.stackexchange.com/questions/1611/is-there-a-sample-player-vst-plugin-which-is-able-to-adjust-the-sample-playbac" />
  <row Id="50793" PostHistoryTypeId="36" PostId="27549" RevisionGUID="7a81dcd7-6a26-40cc-a9b7-d1faa0a64db1" CreationDate="2014-02-21T11:03:22.487" UserId="-1" Comment="from http://video.stackexchange.com/questions/1611/is-there-a-sample-player-vst-plugin-which-is-able-to-adjust-the-sample-playbac/1614#1614" />
  <row Id="50794" PostHistoryTypeId="36" PostId="27550" RevisionGUID="76b7d826-0bf1-4a36-8eb0-0a3a32d7d788" CreationDate="2014-02-21T11:03:22.487" UserId="-1" Comment="from http://video.stackexchange.com/questions/1611/is-there-a-sample-player-vst-plugin-which-is-able-to-adjust-the-sample-playbac/1903#1903" />
  <row Id="50795" PostHistoryTypeId="36" PostId="27551" RevisionGUID="d04a2f35-3ce0-4411-88ea-301d0c9e742c" CreationDate="2014-02-21T11:03:22.487" UserId="-1" Comment="from http://video.stackexchange.com/questions/1611/is-there-a-sample-player-vst-plugin-which-is-able-to-adjust-the-sample-playbac/2657#2657" />
  <row Id="50796" PostHistoryTypeId="36" PostId="27552" RevisionGUID="bbeb9715-f6cc-4325-83fe-3fbcdadeef18" CreationDate="2014-02-21T11:03:22.487" UserId="-1" Comment="from http://video.stackexchange.com/questions/1611/is-there-a-sample-player-vst-plugin-which-is-able-to-adjust-the-sample-playbac/3153#3153" />
  <row Id="50797" PostHistoryTypeId="36" PostId="27553" RevisionGUID="da91c052-8075-4610-97a2-8730e8e55168" CreationDate="2014-02-21T11:03:22.487" UserId="-1" Comment="from http://video.stackexchange.com/questions/1611/is-there-a-sample-player-vst-plugin-which-is-able-to-adjust-the-sample-playbac/3351#3351" />
  <row Id="50798" PostHistoryTypeId="2" PostId="27549" RevisionGUID="9549f06a-377b-4eb6-960a-ddefb896010c" CreationDate="2011-06-17T15:17:50.370" UserId="7294" Text="While this doesn't directly answer your question because it doesn't involve a VST, you might be able to solve your problem by putting a metronome click in a set of in-ear monitors.  This way, you will be playing at the correct tempo when it comes time to trigger the sample. A local band I'm fond of uses this technique in their live shows; however this solution can be inconvenient doesn't generalize to all situations, such as improvisations where you might want to vary the tempo on the fly.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50799" PostHistoryTypeId="2" PostId="27550" RevisionGUID="2c7b5159-4fa1-4e99-87d2-89cd2a54cbc9" CreationDate="2011-07-18T00:50:56.407" UserDisplayName="AlexW" Text="You could try triggering a sample stretch slider to the velocity of a midi in (your drum pad). You can hook up a given midi channel (assuming you have midi in, on a sound card), and connect a given drum pad to the control of a slider that changes the stretch amount (pitch) of the sample. An ideal candidate for that could be NI's Absynth VSTi (can download demo).&#xD;&#xA;&#xD;&#xA;You can actually have it so the pitch is also adjusted so only the speed of the sample is affected. Absynth has delays and other effects built in that are a little tricky to start with  but can get good results. Also LFOs and a whole load of envelopes. It's quite fun if you get into it." ContentLicense="CC BY-SA 3.0" />
  <row Id="50800" PostHistoryTypeId="2" PostId="27551" RevisionGUID="f059a3e7-0ced-4d79-8272-9a093c9f8db3" CreationDate="2011-11-18T05:10:35.923" UserId="7189" Text="This seems like the sort of thing that you should be able to do very easily in Ableton Live. Rather than using a sampler, you just put your long samples in clip slots. Then trigger them with something like a [Novation Launchpad](http://www.novationmusic.com/products/midi_controllers/launchpad). You should be able to map global tempo to whatever controller you want, or slave Live to the clock from your drum computer.&#xD;&#xA;&#xD;&#xA;You should be able to do all this from the bundled copy of Live that comes with the Launchpad controller." ContentLicense="CC BY-SA 3.0" />
  <row Id="50801" PostHistoryTypeId="2" PostId="27552" RevisionGUID="83ba311a-f7eb-4f61-b7c9-0f0b60473757" CreationDate="2012-01-28T11:12:21.280" UserDisplayName="Uiy" Text="If you are playing with a click track out can you get out of time? With a click track you don't even have to trigger the samples manually. Just have your DAW play the samples. This is the most technical and advanced way to go about it but all it takes is to play with a click track. Once you do that you can have the DAW be part of the band and do all kinds of cool stuff(lights, samples, effects, etc...).&#xD;&#xA;&#xD;&#xA;In a sense your trying to solve the inverse problem which, while not difficult(if you have the software), is very limited and has it's own set of problems.&#xD;&#xA;&#xD;&#xA;For example, if you trigger your 1m sample in time but you get out of time then it will be out of time. &#xD;&#xA;&#xD;&#xA;All these problems are eliminated if you can play in time with a click track. It's really not hard to do and it offers the most benefit in the long run." ContentLicense="CC BY-SA 3.0" />
  <row Id="50802" PostHistoryTypeId="2" PostId="27553" RevisionGUID="8294aa0c-3f7f-4dac-a318-fd14505089e9" CreationDate="2012-02-18T17:27:27.360" UserDisplayName="Sean Michael Dorian" Text="It sounds like you just need to quantize the MIDI data since E-Drums work with MIDI. The sample is played using the MIDI data, and thankfully we can change anything about MIDI data. Just drag it where you want it to sound and you're done.&#xD;&#xA;&#xD;&#xA;If that's the case, the way you'd do that depends on your program." ContentLicense="CC BY-SA 3.0" />
  <row Id="50803" PostHistoryTypeId="2" PostId="27548" RevisionGUID="69cb8885-1cc6-4db9-8118-0a3f5a16b841" CreationDate="2011-06-17T10:42:51.423" UserDisplayName="Eduard Wirch" Text="I'm playing a e-drum set. I want to trigger samples which are quite long (1min) during playing. Since I'm not a perfect drum player my playing tempo may have changed when I arrive at the point where I want the sample to play. So I need a plugin (Cubase) which will modify the tempo of the sample.&#xD;&#xA;&#xD;&#xA;I can tap the tempo on my drum computer during playing. The drum computer does send a midi clock over midi out. Is there a plugin which is able to pickup the midi clock singnal and modify the sample tempo?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50804" PostHistoryTypeId="1" PostId="27548" RevisionGUID="69cb8885-1cc6-4db9-8118-0a3f5a16b841" CreationDate="2011-06-17T10:42:51.423" UserDisplayName="Eduard Wirch" Text="Is there a sample player (vst) plugin which is able to adjust the sample playback tempo using MIDI time code?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50805" PostHistoryTypeId="3" PostId="27548" RevisionGUID="69cb8885-1cc6-4db9-8118-0a3f5a16b841" CreationDate="2011-06-17T10:42:51.423" UserDisplayName="Eduard Wirch" Text="&lt;live&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50806" PostHistoryTypeId="36" PostId="27554" RevisionGUID="0ff7274b-377f-48f3-a9ee-719f691d39f7" CreationDate="2014-02-21T11:03:51.193" UserId="-1" Comment="from http://video.stackexchange.com/questions/3380/assessing-volume-and-loudness-for-the-sake-of-normalization-without-actually-hea" />
  <row Id="50807" PostHistoryTypeId="2" PostId="27555" RevisionGUID="4f7f5394-ec3c-40f6-bebb-ce3163305a4f" CreationDate="2012-02-22T11:58:43.207" UserId="7200" Text="I wouldn't rely on _any_ kind of metering if I were you. Different sounds need different levels to properly fit in the mix, and the only reliable way to tell is to actually hear the sound together with all other instruments. So the &quot;old-fashioned way&quot; is just the right one: set up the levels on rehearsals with the whole band. It can't be that time-consuming to modify and save the master level of a patch! At least, if it _is_ too time-consuming then there is something wrong with your setup.&#xD;&#xA;&#xD;&#xA;If, for whatever reason, this isn't an option for you (as seems to be the case), then I'd at least try to simulate the actual live situation, by making a dry record of some representative songs with the band without your guitar, with a simple room microphone of a mobile recorder located roughly where you stand when playing the guitar. Then, at home, play your parts on top of this and fit the sounds as if you were preparing the stuff as a studio record&lt;sup&gt;*&lt;/sup&gt;. You can do this at (reasonably) low levels: it _will_ sound different from the proper levels, but that doesn't matter because the &quot;right&quot; sound is **never** defined by how the guitar sounds on its own (except in e.g. some FX-laden guitar-only intro) but only by how well the sound fits in the mix, and for that the Fletcher-Munson effect isn't all that critical because it will affect all instruments, which your ears will to some degree adapt to. Of course, you should use monitors that properly cover the whole frequency spectrum.&lt;br&gt;&#xD;&#xA;There is one problem with this solution: the global frequency response for the band backing track won't really match the live situation. So if you then compare it to your directly monitored guitar sounds, the frequency responses won't match properly. The way to solve this is somewhat hackish: also record some simple guitar part with the mobile recorder, played through your live monitor. Then, before starting to set the levels, record the same part through your direct digital setup. Put an EQ plugin on the mobile recorder track and set it up in such a way that the frequency respone is roughly the same (control with an analyser plugin). _OR_, if you actually use a clean guitar amp as your live monitor (in which case it isn't an all-digital setup!), do it the other way around (EQ on the direct guitar track to match the recorded sound); or EQs on both tracks.&#xD;&#xA;&#xD;&#xA;When you've gone through this process and modified your patches so they fit in the mix you may notice that some of them will sound rather worse on their own than they did before. That's not a bad sign: sounds that fit well in a mix often don't sound particularly interesting on their own. Vice versa: I hate digital effects which produce one hell of a sound on their own, but float away like thin mud as soon as you're playing with a drummer.&#xD;&#xA;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&#xD;&#xA;&lt;sup&gt;*&lt;/sup&gt;But of course without extra studio effects!" ContentLicense="CC BY-SA 3.0" />
  <row Id="50808" PostHistoryTypeId="2" PostId="27554" RevisionGUID="8257b482-8726-4ff9-a111-9f750e646c77" CreationDate="2012-02-21T21:19:23.627" UserDisplayName="Ian C." Text="I'm primarily a guitar player and play through some fancy digital equipment to make me sound less awful. One of the nice things about this kind of gear is you can have many different patches, each one a wonderful different sound. The down side to this approach to making music is you have to spend time normalizing the levels of the patches. So switching between patches doesn't result in any giant jumps up or down in volume.&#xD;&#xA;&#xD;&#xA;In the past I'd do patch normalization the old fashioned way: I'd set up my rig, turn it up to near-gig level, fire up my SPL meter, throw in my ear plugs, and play through my patches. Trying to match SPL levels from patch to patch and using my ears to fine tune the levels.&#xD;&#xA;&#xD;&#xA;Those days are over for me. I rarely have an occasion to turn my rig up to gig volume if I'm not at a gig or a rehearsal. So I'm trying to come up with a workflow for normalizing my patch volumes that doesn't require me running my rig amplified at gig volumes. It's an all-digital rig, so I can run it silent and straight in to my Mac.&#xD;&#xA;&#xD;&#xA;My question is: can I properly assess the amplified volume of my patches without actually amplifying them? Is there a metering or visualization solution that can help me figure out the right volume levels for each patch?&#xD;&#xA;&#xD;&#xA;Standard peak meters or VU metering seems overly simplistic here. Peak power and perceived volume don't always correlate which is why I've always done level setting the way I have. Low-volume monitoring for level setting doesn't work well because of Fletcher-Munson effects -- I'll be compensating for the low-end frequency loss.&#xD;&#xA;&#xD;&#xA;Some restrictions:&#xD;&#xA;&#xD;&#xA; - I can use headphones for monitoring but I'm pretty careful about my hearing so my headphone use is generally low-volume use.&#xD;&#xA; - I can use near field monitors but same deal: low volume monitoring only. Low enough that talking over the monitor level can be done quite easily.&#xD;&#xA; - Any metering or visualization solution has to run on an Intel Mac running Lion.&#xD;&#xA; - I have Logic 9 at my disposal if that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="50809" PostHistoryTypeId="1" PostId="27554" RevisionGUID="8257b482-8726-4ff9-a111-9f750e646c77" CreationDate="2012-02-21T21:19:23.627" UserDisplayName="Ian C." Text="Assessing volume and loudness for the sake of normalization without actually hearing the signal?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50810" PostHistoryTypeId="3" PostId="27554" RevisionGUID="8257b482-8726-4ff9-a111-9f750e646c77" CreationDate="2012-02-21T21:19:23.627" UserDisplayName="Ian C." Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50811" PostHistoryTypeId="36" PostId="27555" RevisionGUID="674623c7-54a8-4ab8-acec-cbfa79d4c179" CreationDate="2014-02-21T11:03:51.193" UserId="-1" Comment="from http://video.stackexchange.com/questions/3380/assessing-volume-and-loudness-for-the-sake-of-normalization-without-actually-hea/3382#3382" />
  <row Id="50812" PostHistoryTypeId="36" PostId="27556" RevisionGUID="51f23f1e-d616-4ff2-96c6-69b4bfac6cbf" CreationDate="2014-02-21T11:04:11.303" UserId="-1" Comment="from http://video.stackexchange.com/questions/2604/amplify-a-persons-voice-in-a-phone-record" />
  <row Id="50813" PostHistoryTypeId="36" PostId="27557" RevisionGUID="6a690cf7-f352-4d22-9cfa-84b600e14d84" CreationDate="2014-02-21T11:04:11.303" UserId="-1" Comment="from http://video.stackexchange.com/questions/2604/amplify-a-persons-voice-in-a-phone-record/2606#2606" />
  <row Id="50814" PostHistoryTypeId="36" PostId="27558" RevisionGUID="87f09f10-9d30-478f-8d12-7062102bfc21" CreationDate="2014-02-21T11:04:11.303" UserId="-1" Comment="from http://video.stackexchange.com/questions/2604/amplify-a-persons-voice-in-a-phone-record/2622#2622" />
  <row Id="50815" PostHistoryTypeId="36" PostId="27559" RevisionGUID="1448194d-42ce-4ff8-b051-4987a2c75dab" CreationDate="2014-02-21T11:04:11.303" UserId="-1" Comment="from http://video.stackexchange.com/questions/2604/amplify-a-persons-voice-in-a-phone-record/2898#2898" />
  <row Id="50816" PostHistoryTypeId="2" PostId="27557" RevisionGUID="47804428-5190-45a5-aa29-222783ef6de4" CreationDate="2011-11-08T20:57:10.230" UserId="17571" UserDisplayName="Zeronyne" Text="You need to normalize the audio. There will be nothing you can do about the points in time when A and B are speaking simultaneously, but if there is that much difference between the two  people, then normalization will do the trick. There are numerous commercial, shareware, and possibly free applications that can normalize an audio file.&#xD;&#xA;&#xD;&#xA;One bit of advice. If there is a lot of noise in the audio file, you may want to damp it down a bit with a little EQ before normalizing so the process doesn't see the noise as the &quot;high volume ceiling&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="50817" PostHistoryTypeId="2" PostId="27558" RevisionGUID="4e9e4529-a2f9-4f10-834b-2034a35bfaba" CreationDate="2011-11-11T17:40:32.230" UserId="7178" Text="**Use [dynamic range compression](http://en.wikipedia.org/wiki/Dynamic_range_compression)**.&#xD;&#xA;&#xD;&#xA;Set the threshold to kick in only on the louder voice, and adjust the ratio until the levels between the two voices match.  Attack and release times of about 100ms should work." ContentLicense="CC BY-SA 3.0" />
  <row Id="50818" PostHistoryTypeId="2" PostId="27559" RevisionGUID="cd7efedd-5bf2-458d-becb-7b7731eb720f" CreationDate="2011-12-27T06:27:11.843" UserId="7178" Text="As another option, consider using [The Levelator](http://www.conversationsnetwork.org/levelator) — a free application for Windows, Mac OS X, and Linux, intended to adjust audio levels within a recording, using a combination of compression and normalization." ContentLicense="CC BY-SA 3.0" />
  <row Id="50819" PostHistoryTypeId="2" PostId="27556" RevisionGUID="209fbb77-fbf4-4316-8437-6aea60e2f7f7" CreationDate="2011-11-08T10:12:22.360" UserDisplayName="stefan.at.wpf" Text="I have a phone record with two persons speaking, let's call them A and B. A is very quiet on the record, B is &quot;normal&quot;. Now I want to amplify the voice of person A so that it matches the loudness of person B. How can that be done? Note that I don't care about noise or whatever, I need no filtering, I just need to amplify the voice of person A. Please note that it is a longer record, so I need an automatic solution, amplifying person A manually would take hours. &#xD;&#xA;Thank you very much!" ContentLicense="CC BY-SA 3.0" />
  <row Id="50820" PostHistoryTypeId="1" PostId="27556" RevisionGUID="209fbb77-fbf4-4316-8437-6aea60e2f7f7" CreationDate="2011-11-08T10:12:22.360" UserDisplayName="stefan.at.wpf" Text="Amplify a person's voice in a phone record" ContentLicense="CC BY-SA 3.0" />
  <row Id="50821" PostHistoryTypeId="3" PostId="27556" RevisionGUID="209fbb77-fbf4-4316-8437-6aea60e2f7f7" CreationDate="2011-11-08T10:12:22.360" UserDisplayName="stefan.at.wpf" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50822" PostHistoryTypeId="36" PostId="27560" RevisionGUID="cfbeee4b-cbb5-454f-85f2-f9d83cc82e08" CreationDate="2014-02-21T11:04:46.207" UserId="-1" Comment="from http://video.stackexchange.com/questions/511/recognizing-notes-within-sound" />
  <row Id="50823" PostHistoryTypeId="36" PostId="27561" RevisionGUID="748a8904-8b01-451b-bb99-843f496f0780" CreationDate="2014-02-21T11:04:46.207" UserId="-1" Comment="from http://video.stackexchange.com/questions/511/recognizing-notes-within-sound/512#512" />
  <row Id="50824" PostHistoryTypeId="2" PostId="27561" RevisionGUID="3cc05718-d9d4-4eb7-aca1-e668b1b05bee" CreationDate="2011-01-04T14:08:07.983" UserId="7202" Text="Digitized sound is just a sequence of numbers recording the amplitude of the soundwave at equal intervals (most often 44100 times per second).&#xD;&#xA;&#xD;&#xA;Applying FFT and finding the strongest frequency, or all frequencies above a treshold sounds like a reasonable way of finding the note. Converting the frequency into a note is easy, once you know that middle A is 440Hz, and that notes are &quot;logarithmic&quot;, ie the next higher A is 880Hz and the next 1760Hz, etc." ContentLicense="CC BY-SA 2.5" />
  <row Id="50825" PostHistoryTypeId="2" PostId="27562" RevisionGUID="bbe38d49-3ea2-467a-8d1c-c160cf7e27ca" CreationDate="2011-01-04T15:32:49.817" UserId="7294" Text="This kind of broad question doesn't really imply a specific answer, so I'm going to go with an equally broad answer that, while not precise, might still be helpful.&#xD;&#xA;&#xD;&#xA;You'll want to know the basic idea behind **Fourier's Theorem** which is that all waveforms can be expressed as a sum, possibly infinite, of sine/cosine waves.  [Wikipedia's page on Fourier series][1] strikes me as good, although it's more technical than you might need, what with all the math.  This is the idea on which Fast Fourier Transforms work - take a sample of your signal in, get a mostly-correct list of the component sine waves (which is to say, frequencies) which sum together to make that sample.&#xD;&#xA;&#xD;&#xA;From those you can decide which one is your fundamental frequency, and convert it to a note based on what its pitch is.&#xD;&#xA;&#xD;&#xA;Digitized sound works, like Lennart Regebro said, by simply writing down the amplitude of your soundwave on a regular interval as a number.  There are two factors you'll immediately be concerned with: **Sampling Rate**, which is how many such notations are made per second, and **Bit Depth**, which is the amount of data and therefore the resolution of those notations.  You might've seen 44.1KHz/16bit in reference to CDs.  That's what these are: 44.1 thousand samplings per second, and each one of them is 16 bits, so possible numbers are 0 to 65535.&#xD;&#xA;&#xD;&#xA;Do keep in mind that I've never written such an application, but this is what I've picked up about how such software works.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Fourier%27s_theorem" ContentLicense="CC BY-SA 2.5" />
  <row Id="50826" PostHistoryTypeId="2" PostId="27560" RevisionGUID="0766a56a-8bf5-46f1-a2ca-67db00a35f42" CreationDate="2011-01-04T13:53:26.877" UserDisplayName="RadiantHex" Text="I am trying to write a small application which would try and recognize notes within a recorded sound.&#xD;&#xA;&#xD;&#xA;I don't know much about sound theory, and I am having a hard time figuring out how digitalized sound actually works.&#xD;&#xA;&#xD;&#xA;____&#xD;&#xA;&#xD;&#xA;All I've been told is to calculate a Fast Fourier Transform to get a list of frequencies and then try and convert the strongest frequency into a note.&#xD;&#xA;&#xD;&#xA;____&#xD;&#xA;&#xD;&#xA;Any ideas?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50827" PostHistoryTypeId="1" PostId="27560" RevisionGUID="0766a56a-8bf5-46f1-a2ca-67db00a35f42" CreationDate="2011-01-04T13:53:26.877" UserDisplayName="RadiantHex" Text="Recognizing notes within sound?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50828" PostHistoryTypeId="3" PostId="27560" RevisionGUID="0766a56a-8bf5-46f1-a2ca-67db00a35f42" CreationDate="2011-01-04T13:53:26.877" UserDisplayName="RadiantHex" Text="&lt;terminology&gt;&lt;programming&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50829" PostHistoryTypeId="36" PostId="27562" RevisionGUID="396ae9c6-9916-4350-9bff-dc9830ae32ab" CreationDate="2014-02-21T11:04:46.207" UserId="-1" Comment="from http://video.stackexchange.com/questions/511/recognizing-notes-within-sound/514#514" />
  <row Id="50830" PostHistoryTypeId="36" PostId="27563" RevisionGUID="f99a6d0b-acdd-4e42-a94f-fa3b1a69b414" CreationDate="2014-02-21T11:04:46.207" UserId="-1" Comment="from http://video.stackexchange.com/questions/511/recognizing-notes-within-sound/578#578" />
  <row Id="50831" PostHistoryTypeId="2" PostId="27563" RevisionGUID="0c974fd6-4f76-43ec-b36a-9ab542a5ce09" CreationDate="2011-01-13T01:41:54.980" UserId="800" Text="If you are looking for specific tones, or a small number of tones, you can also use Goertzel's Algorithm:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Goertzel_algorithm&#xD;&#xA;&#xD;&#xA;Useful for things like DTMF." ContentLicense="CC BY-SA 2.5" />
  <row Id="50832" PostHistoryTypeId="36" PostId="27564" RevisionGUID="4b192640-e2bf-4a03-a4d5-57c7db1b08fc" CreationDate="2014-02-21T11:05:12.177" UserId="-1" Comment="from http://video.stackexchange.com/questions/1615/whats-the-difference-between-a-compressor-and-a-maximizer" />
  <row Id="50833" PostHistoryTypeId="36" PostId="27565" RevisionGUID="22a0e1fa-f836-4a2d-8d55-5195927db923" CreationDate="2014-02-21T11:05:12.177" UserId="-1" Comment="from http://video.stackexchange.com/questions/1615/whats-the-difference-between-a-compressor-and-a-maximizer/1621#1621" />
  <row Id="50834" PostHistoryTypeId="2" PostId="27565" RevisionGUID="7318cc89-c1c6-40d2-88d2-e1350284ca73" CreationDate="2011-06-20T02:34:42.617" UserDisplayName="SeanBlake" Text="Actually, a compressor's main purpose is not always to increase loudness. It can be used in many other functions such as shaping transients, controlling variable peaks and just generally modifying the dynamics of it's input.&#xD;&#xA;&#xD;&#xA;The maximizer's purpose is to increase loudness. They have various methods for accomplishing this and some even claim not to effect dynamics at all (such as the UA Precision Maximizer). Some maximizers may introduce a little &quot;sizzle&quot; to your sound or warmth etc. (as will some compressors) to achieve their goal.&#xD;&#xA;&#xD;&#xA;At the end of the day it's going to come down to the track. If you are mixing some hard hitting house music for the club, a maximizer might give your track exactly what it needs to bang. On a softer track, a maximizer might just be too much for the texture you are going for. &#xD;&#xA;&#xD;&#xA;Your best bet is to mix with your ears. Try both in various contexts and see how they sound. Over time you will come to know what to put where." ContentLicense="CC BY-SA 3.0" />
  <row Id="50835" PostHistoryTypeId="2" PostId="27564" RevisionGUID="b7b8a2c4-2659-48ec-b1f3-9485e9e4c40b" CreationDate="2011-06-17T21:26:19.597" UserDisplayName="Eduard Wirch" Text="Both plugin types increase the loudness. But what's the technical difference and in which case do you use which plugin type?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50836" PostHistoryTypeId="1" PostId="27564" RevisionGUID="b7b8a2c4-2659-48ec-b1f3-9485e9e4c40b" CreationDate="2011-06-17T21:26:19.597" UserDisplayName="Eduard Wirch" Text="What's the difference between a compressor and a maximizer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50837" PostHistoryTypeId="3" PostId="27564" RevisionGUID="b7b8a2c4-2659-48ec-b1f3-9485e9e4c40b" CreationDate="2011-06-17T21:26:19.597" UserDisplayName="Eduard Wirch" Text="&lt;plugins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50838" PostHistoryTypeId="36" PostId="27566" RevisionGUID="0b2df145-3159-463f-ab16-011dfe4d56e4" CreationDate="2014-02-21T11:05:30.647" UserId="-1" Comment="from http://video.stackexchange.com/questions/499/open-source-alternatives-for-plug-ins" />
  <row Id="50839" PostHistoryTypeId="2" PostId="27567" RevisionGUID="e538792b-2025-480a-b5ff-36c0032dc97e" CreationDate="2011-01-03T06:43:24.770" UserId="7294" Text="Unfortunately, no.  Programs like Ableton Live only host certain kinds of plugins.  In the case of Live, these are VST and AU.  So even if someone had come up with another format for plugins, your host program wouldn't be able to load them.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50840" PostHistoryTypeId="2" PostId="27566" RevisionGUID="9a69c77d-615a-48e2-85fa-ed98a0a2a52a" CreationDate="2011-01-02T19:31:21.850" UserDisplayName="aejs" Text="Are there any open-source alternatives to VST/AU/RTAS that work across multiple OSs and can be used in host-programs such as Ableton's Live that are either in development or fully functional?" ContentLicense="CC BY-SA 2.5" />
  <row Id="50841" PostHistoryTypeId="1" PostId="27566" RevisionGUID="9a69c77d-615a-48e2-85fa-ed98a0a2a52a" CreationDate="2011-01-02T19:31:21.850" UserDisplayName="aejs" Text="Open-source alternatives for plug-ins." ContentLicense="CC BY-SA 2.5" />
  <row Id="50842" PostHistoryTypeId="3" PostId="27566" RevisionGUID="9a69c77d-615a-48e2-85fa-ed98a0a2a52a" CreationDate="2011-01-02T19:31:21.850" UserDisplayName="aejs" Text="&lt;software&gt;&lt;plugins&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50843" PostHistoryTypeId="36" PostId="27567" RevisionGUID="1d88caf6-dbb6-4ede-b3ca-332a1383086d" CreationDate="2014-02-21T11:05:30.647" UserId="-1" Comment="from http://video.stackexchange.com/questions/499/open-source-alternatives-for-plug-ins/504#504" />
  <row Id="50844" PostHistoryTypeId="36" PostId="27568" RevisionGUID="04e2194b-18ed-42da-8ed3-95c6ad3d7dde" CreationDate="2014-02-21T11:05:30.647" UserId="-1" Comment="from http://video.stackexchange.com/questions/499/open-source-alternatives-for-plug-ins/518#518" />
  <row Id="50845" PostHistoryTypeId="36" PostId="27569" RevisionGUID="249ce619-1206-48f0-b338-3a2240cb5e76" CreationDate="2014-02-21T11:05:30.647" UserId="-1" Comment="from http://video.stackexchange.com/questions/499/open-source-alternatives-for-plug-ins/527#527" />
  <row Id="50846" PostHistoryTypeId="36" PostId="27570" RevisionGUID="1d595dc6-277e-43bb-b135-c0350047efc7" CreationDate="2014-02-21T11:05:30.647" UserId="-1" Comment="from http://video.stackexchange.com/questions/499/open-source-alternatives-for-plug-ins/565#565" />
  <row Id="50847" PostHistoryTypeId="36" PostId="27571" RevisionGUID="5d4b9a6e-595a-4c23-ba58-8a3d8dbb47d1" CreationDate="2014-02-21T11:05:30.647" UserId="-1" Comment="from http://video.stackexchange.com/questions/499/open-source-alternatives-for-plug-ins/1389#1389" />
  <row Id="50848" PostHistoryTypeId="2" PostId="27568" RevisionGUID="4822276f-aafc-4781-9cc2-9cd9c1de1134" CreationDate="2011-01-05T05:13:16.430" UserDisplayName="lukecyca" Text="[Audio Units][1] is an API which is compatible with Open Source Software licenses.  There can, in theory, be open source plugins released in AU format.  In practice, there are not a lot of high quality ones available (that I know of), but here are some that I found:&#xD;&#xA;&#xD;&#xA;* http://destroyfx.smartelectronix.com/source.php&#xD;&#xA;* http://sourceforge.net/projects/rhamsynth/&#xD;&#xA;* http://sonicbirth.sourceforge.net/&#xD;&#xA;* http://sourceforge.net/projects/ampathy/&#xD;&#xA;* http://sourceforge.net/projects/scratchau/&#xD;&#xA;* *[more][2]...*&#xD;&#xA;&#xD;&#xA;Of course, AU is not cross platform, so maybe those won't work for you.  VST and RTAS, on the other hand, seem to be incompatible with OSS licenses. :(&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Audio_Units&#xD;&#xA;  [2]: http://sourceforge.net/search/?q=Audio+Units" ContentLicense="CC BY-SA 2.5" />
  <row Id="50849" PostHistoryTypeId="2" PostId="27570" RevisionGUID="a39151fa-22ec-4eaa-8ff3-e8ebd676b839" CreationDate="2011-01-11T21:08:39.267" UserDisplayName="Bill Gribble" Text="There are at least 2 open-source standards for audio plugins in the Linux world, [LADSPA][1] and its erstwhile successor [LV2][2].  They were designed for Linux, but at least LADSPA has been ported to Windows and Mac OS, and there are cross-platform hosts such as [Audacity][3] that support LADSPA plugins on all 3 platforms. &#xD;&#xA;&#xD;&#xA;If you aren't stuck on a particular DAW platform (I don't think any of the commercial ones support LADSPA plugins), you might look into it.  There are a lot of good free plugins for dynamics and EQ; the reverb options are limited but there are several good ones; and if you prefer &quot;bang&quot; over &quot;bling&quot; in your plugins you will find a very high bang/bling ratio in the open source world. &#xD;&#xA;&#xD;&#xA;  [1]: http://www.ladspa.org &quot;LADSPA&quot;&#xD;&#xA;  [2]: http://lv2plug.in &quot;LV2&quot;&#xD;&#xA;  [3]: http://wiki.audacityteam.org/index.php?title=Ladspa_Plug-ins" ContentLicense="CC BY-SA 2.5" />
  <row Id="50850" PostHistoryTypeId="2" PostId="27571" RevisionGUID="ce2c0a8a-7e07-41da-8aed-1c7313a17816" CreationDate="2011-05-10T06:41:28.540" UserId="7471" Text="There are a many open source VST plugins. Many of these can be compiled cross-platform. Here's a few of them:&#xD;&#xA;&#xD;&#xA;* [zynaddsubfx](http://zynaddsubfx.sourceforge.net/) - a powerful open source synth&#xD;&#xA;* [Linux Sampler](http://www.linuxsampler.org/) - a sampler&#xD;&#xA;* [discoDSP Highlife Sampler](http://www.discodsp.com/highlife/) - a sampler [source code here](http://sourceforge.net/projects/highlife/)&#xD;&#xA;* [Freeverb3](http://sourceforge.net/projects/freeverb3/) - a reverb&#xD;&#xA;* [mda plugins](http://sourceforge.net/projects/mda-vst/) - a collection of effects&#xD;&#xA;* [Juno 6](http://juno6.gruftie.com/index2.html) - a software instrument&#xD;&#xA;* [ndc plugins](http://www.niallmoody.com/ndcplugs/plugins.htm) - a collection of effects&#xD;&#xA;* [Martin Eastwood MVerb](http://martineastwood.com/wordpress/?page_id=153) - a reverb&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50851" PostHistoryTypeId="2" PostId="27569" RevisionGUID="6a4a8553-3526-47e6-aa38-3615bfe20d28" CreationDate="2011-01-06T11:31:44.297" UserId="7100" Text="Don't know if that is what you want, but it may be pertinent: Juce http://www.rawmaterialsoftware.com/juce.php which allows parallel development of plugins for AU, VST, RTAS... (if you already have VST, RTAS [...] SDKs)." ContentLicense="CC BY-SA 2.5" />
  <row Id="50852" PostHistoryTypeId="36" PostId="27572" RevisionGUID="ad849a8d-f98c-4ad0-8649-2939a6ebb105" CreationDate="2014-02-21T11:05:51.650" UserId="-1" Comment="from http://video.stackexchange.com/questions/8922/advice-on-how-to-structure-audio-recorded-from-travel-for-products-free-podcas" />
  <row Id="50853" PostHistoryTypeId="2" PostId="27573" RevisionGUID="fc196efd-e691-4d51-a2eb-889b8e29726c" CreationDate="2013-09-09T17:26:46.670" UserId="7405" Text="Merge the pictures (or any apt images) with the audio and make a small representative video of the whole (or sections of the) trip - put it on youtube to advertise there are more detailed videos that are for sale and, most importantly have patience waiting for the dollars to come in. &#xD;&#xA;&#xD;&#xA;If you really have some stuff that is marketable then you've got to find a way of protecting your product from being copied and distributed." ContentLicense="CC BY-SA 3.0" />
  <row Id="50854" PostHistoryTypeId="2" PostId="27572" RevisionGUID="252f9330-a998-4ea0-8a9c-38de085ec2e3" CreationDate="2013-09-09T16:52:14.640" UserId="11451" UserDisplayName="Andrew Welch" Text="Whilst cycling from the UK to India, around Nepal, and Mongolia &amp; living in the Republic of Georgia I recorded sound: some music, narrative, interviews, background noise etc. &#xD;&#xA;I am in the process of working through the audio and compiling it into consumable products / podcasts for the public. This is happening post-humously as unfortunately I didn't have a great plan for the audio before the trip. My question is what kind of products can I create from what I have recorded? I am planning to break them down into stories, interviews, and narrative, and the end products will likely be some photos slideshows with narrative background sounds, a compilation of Georgian singing, a series of interviews about climate change and a series of interviews about other social organisations where I conducted interviews. I know this isn't a specific question, but any advice would be appreciated. If anyone is interested in giving advice then it would be great to have a conversation via Skype or email." ContentLicense="CC BY-SA 3.0" />
  <row Id="50855" PostHistoryTypeId="1" PostId="27572" RevisionGUID="252f9330-a998-4ea0-8a9c-38de085ec2e3" CreationDate="2013-09-09T16:52:14.640" UserId="11451" UserDisplayName="Andrew Welch" Text="Advice on how to structure audio recorded from travel for products / free podcasts" ContentLicense="CC BY-SA 3.0" />
  <row Id="50856" PostHistoryTypeId="3" PostId="27572" RevisionGUID="252f9330-a998-4ea0-8a9c-38de085ec2e3" CreationDate="2013-09-09T16:52:14.640" UserId="11451" UserDisplayName="Andrew Welch" Text="&lt;post-production&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50857" PostHistoryTypeId="36" PostId="27573" RevisionGUID="3793f2d7-7e70-4ca5-9187-a174bc176038" CreationDate="2014-02-21T11:05:51.650" UserId="-1" Comment="from http://video.stackexchange.com/questions/8922/advice-on-how-to-structure-audio-recorded-from-travel-for-products-free-podcas/8923#8923" />
  <row Id="50858" PostHistoryTypeId="36" PostId="27574" RevisionGUID="45c099a0-9912-497d-b377-4a8f32972965" CreationDate="2014-02-21T11:06:13.933" UserId="-1" Comment="from http://video.stackexchange.com/questions/1798/cd-ripping-metadata-software-for-sfx-database" />
  <row Id="50859" PostHistoryTypeId="2" PostId="27574" RevisionGUID="3da428c4-f1fc-4560-ba70-1a20784bc8b8" CreationDate="2011-07-07T16:12:27.670" UserId="7668" UserDisplayName="needsurf" Text="We are redoing our SFX server.  We use netmix pro along with netmix server on mac leopard and snow leopard.&#xD;&#xA;&#xD;&#xA;I was wondering if there was a good CD ripping software that can tag the regions with its metadata. &#xD;&#xA;&#xD;&#xA;I know soundminer has a ripper, however it is around $300 and we are trying to avoid an expense that high for the moment. The manuals for netmix (by creative network solutions) mentions a software called 'ripit' however they are referring to version 4 and they are on version 9 now, focusing on DVD ripping and not CD with metadata." ContentLicense="CC BY-SA 3.0" />
  <row Id="50860" PostHistoryTypeId="1" PostId="27574" RevisionGUID="3da428c4-f1fc-4560-ba70-1a20784bc8b8" CreationDate="2011-07-07T16:12:27.670" UserId="7668" UserDisplayName="needsurf" Text="CD Ripping Metadata Software for SFX database" ContentLicense="CC BY-SA 3.0" />
  <row Id="50861" PostHistoryTypeId="3" PostId="27574" RevisionGUID="3da428c4-f1fc-4560-ba70-1a20784bc8b8" CreationDate="2011-07-07T16:12:27.670" UserId="7668" UserDisplayName="needsurf" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50862" PostHistoryTypeId="36" PostId="27575" RevisionGUID="98af8ff4-82e2-4cd3-a59b-1b987eea9f8c" CreationDate="2014-02-21T11:06:33.043" UserId="-1" Comment="from http://video.stackexchange.com/questions/8561/can-phasing-occur-with-2-seperate-unique-instruments" />
  <row Id="50863" PostHistoryTypeId="36" PostId="27576" RevisionGUID="5edaf1b3-652f-481d-90f8-d8104b1c7c7f" CreationDate="2014-02-21T11:06:33.043" UserId="-1" Comment="from http://video.stackexchange.com/questions/8561/can-phasing-occur-with-2-seperate-unique-instruments/8569#8569" />
  <row Id="50864" PostHistoryTypeId="2" PostId="27576" RevisionGUID="13a84c0a-824f-4068-be6a-5d1aa1a2e6f9" CreationDate="2013-07-29T19:57:40.587" UserId="7542" UserDisplayName="Don Nickel" Text="Actually, this is when you want to apply side-chain compression. You want to compress the tracks you don't want to be the most present using the output from the channel(s) you want to preserve." ContentLicense="CC BY-SA 3.0" />
  <row Id="50865" PostHistoryTypeId="2" PostId="27577" RevisionGUID="8dcf672c-6165-4a57-b58f-8e20fc454074" CreationDate="2013-07-29T20:29:10.720" UserId="7405" Text="Take a look at this (I made a quick snapshot of it as the fist kick came in. To the left is guitar and bass unadulterated, in the middle is the kick and to the right is no kick but reduced guitar and bass until the next kick comes along: -&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;I don't think it's side-chaining, I think it's regular compression with a long sustain i.e. the kick comes in and gets compressed (because it's loud!) and the compression remains for a considerable period afterwards keeping the guitar and bass at a lower level probably about 6dB lower.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/fryqv.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="50866" PostHistoryTypeId="2" PostId="27575" RevisionGUID="94b07da3-a74c-43b8-841a-e434d81a0c53" CreationDate="2013-07-29T18:55:43.557" UserId="7325" Text="I'm struggling with a piece of audio. Answers here on this site and my own searching suggests it is phasing, but I am very hopeful if some can clarify.&#xD;&#xA;&#xD;&#xA;Here is a link ([download MP3][1]), although I will also try to explain the issue in case the link every becomes dead.&#xD;&#xA;&#xD;&#xA;The audio includes 3 instruments; bass guitar, electric guitar and a kick drum (with some bleed of the rest of the kit on the kick drum, but I don't think this matters). The first half of the track displays a lot of low end frequencies (bass) when only the 2 guitars are playing, but, as soon as the kick drum starts (about half way through), it kills almost all the bottom end from the 2 guitars.&#xD;&#xA;&#xD;&#xA;I think this is phasing; I am using Cubase and inverting the phase does nothing to help.&#xD;&#xA;&#xD;&#xA;Further investigation shows the fault is only with the bass guitar and kick.&#xD;&#xA;&#xD;&#xA;I have checked to ensure there is no side chain / compression going on so it's not that!&#xD;&#xA;&#xD;&#xA;What options do I have to solve this? Killing off the frequencies in either the bass guitar or the kick drum resolves the issue but is such an extreme frequency cut that it ends up with an instrument sound I'm not happy with. Changing the volume does help but only to a small degree.. Do I have any other options?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.lifecry.co.uk/sounds/demophasing.mp3" ContentLicense="CC BY-SA 3.0" />
  <row Id="50867" PostHistoryTypeId="1" PostId="27575" RevisionGUID="94b07da3-a74c-43b8-841a-e434d81a0c53" CreationDate="2013-07-29T18:55:43.557" UserId="7325" Text="Can phasing occur with 2 seperate/unique instruments" ContentLicense="CC BY-SA 3.0" />
  <row Id="50868" PostHistoryTypeId="3" PostId="27575" RevisionGUID="94b07da3-a74c-43b8-841a-e434d81a0c53" CreationDate="2013-07-29T18:55:43.557" UserId="7325" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50869" PostHistoryTypeId="36" PostId="27577" RevisionGUID="64d4b89b-5b74-43f7-ab59-2c73d04ce170" CreationDate="2014-02-21T11:06:33.043" UserId="-1" Comment="from http://video.stackexchange.com/questions/8561/can-phasing-occur-with-2-seperate-unique-instruments/8570#8570" />
  <row Id="50870" PostHistoryTypeId="36" PostId="27578" RevisionGUID="4ba5e2ec-861d-48ae-bc20-08904ee9efc5" CreationDate="2014-02-21T11:07:04.577" UserId="-1" Comment="from http://video.stackexchange.com/questions/693/quantizing-audio" />
  <row Id="50871" PostHistoryTypeId="2" PostId="27579" RevisionGUID="baf63606-9f97-4901-82e8-3f78f9b745c9" CreationDate="2011-01-27T17:42:55.500" UserId="7294" Text="I use Ableton Live's warping feature for this.  Instead of cutting or copying parts parts of the audio waveform (like you're describing in Audacity) it attempts to stretch the recordings to the locations you specify.&#xD;&#xA;&#xD;&#xA;I've never seen a timestretching algorithm that didn't color the sound at least a little bit (which makes sense, really) but I've had pretty good luck with it for small, quantization-level modifications.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50872" PostHistoryTypeId="2" PostId="27578" RevisionGUID="c3d01193-8096-4c6b-93bd-047d93be47cd" CreationDate="2011-01-27T15:42:42.797" UserDisplayName="Andrew Arnold" Text="Quantizing MIDI is a piece of cake and every program/DAW that supports MIDI does it. But say I'm working with *raw audio* instead, say maybe a guitar line I just recorded, and the performer's timing is a bit off and doesn't match the click as well as it should. If I want to line it up with the tools I have now, I open up the guitar audio and click track in Audacity and manually delete or copy the waveform so it lines up. There *has* to be a better way.&#xD;&#xA;&#xD;&#xA;So what tools could I use to &quot;quantize&quot; recorded audio? (I use Cubase SX 5, but I'm open to trying other tools if needed.)&#xD;&#xA;&#xD;&#xA;(Note that I'm not asking whether or not I *should* do this instead of re-recording or anything else; I just want to know *if* it is possible and *how* I could do it.)" ContentLicense="CC BY-SA 2.5" />
  <row Id="50873" PostHistoryTypeId="1" PostId="27578" RevisionGUID="c3d01193-8096-4c6b-93bd-047d93be47cd" CreationDate="2011-01-27T15:42:42.797" UserDisplayName="Andrew Arnold" Text="Quantizing audio" ContentLicense="CC BY-SA 2.5" />
  <row Id="50874" PostHistoryTypeId="3" PostId="27578" RevisionGUID="c3d01193-8096-4c6b-93bd-047d93be47cd" CreationDate="2011-01-27T15:42:42.797" UserDisplayName="Andrew Arnold" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 2.5" />
  <row Id="50875" PostHistoryTypeId="36" PostId="27579" RevisionGUID="8ebc8521-f814-40a1-b3dc-397623e8fd2d" CreationDate="2014-02-21T11:07:04.577" UserId="-1" Comment="from http://video.stackexchange.com/questions/693/quantizing-audio/694#694" />
  <row Id="50876" PostHistoryTypeId="36" PostId="27580" RevisionGUID="98fa34eb-8962-4c41-aea8-f0b269bc5231" CreationDate="2014-02-21T11:07:04.577" UserId="-1" Comment="from http://video.stackexchange.com/questions/693/quantizing-audio/695#695" />
  <row Id="50877" PostHistoryTypeId="36" PostId="27581" RevisionGUID="0eebb435-2287-4f80-ba90-fdf85a26b644" CreationDate="2014-02-21T11:07:04.577" UserId="-1" Comment="from http://video.stackexchange.com/questions/693/quantizing-audio/714#714" />
  <row Id="50878" PostHistoryTypeId="36" PostId="27582" RevisionGUID="9d753e9e-5805-4b3c-8124-c3cd66b9f708" CreationDate="2014-02-21T11:07:04.577" UserId="-1" Comment="from http://video.stackexchange.com/questions/693/quantizing-audio/926#926" />
  <row Id="50879" PostHistoryTypeId="2" PostId="27580" RevisionGUID="529a950a-c31d-4e31-8f65-621e92af8a43" CreationDate="2011-01-27T19:10:59.830" UserDisplayName="jlebre" Text="I've been pretty successful by doing hard core edits. Using power based instead of gain based crossfades help masking out phase/colouring issues.&#xD;&#xA;&#xD;&#xA;I could probably get away with some bass notes, or even guitar. Staccato, or heavy legato notes are usually easier. Protools make this a breeze with dual timeline feature (transport, edit timeline) and the ability to snap anything, at any point to your cursor.&#xD;&#xA;&#xD;&#xA;Elastic audio has @BenV suggested is a pretty good thing to look at.&#xD;&#xA;&#xD;&#xA;Any kind of warping will depend on the algorithm you are using though. If you do go for something like that try them out. Won't say one is better than the other but may be more suitable than the previous one. For instance, try editing guitars with Polyphonic but then try other presets or even offline processing (xform). Protools will also allow you to use other codecs (with special conditions)." ContentLicense="CC BY-SA 2.5" />
  <row Id="50880" PostHistoryTypeId="2" PostId="27581" RevisionGUID="ef22352e-d98a-425a-a396-6353774db468" CreationDate="2011-01-29T23:59:08.140" UserId="7202" Text="If it's staccato enough to be automatically split, then Propellerhead ReCycle might help. It splits samples into parts, and let you rearrange them and indeed play them from a sequencer, so that you can quantize them like that. Could be worth a try." ContentLicense="CC BY-SA 2.5" />
  <row Id="50881" PostHistoryTypeId="2" PostId="27582" RevisionGUID="2ddc51f1-45aa-41ec-b74f-23809ce72f13" CreationDate="2011-02-26T06:07:45.140" UserDisplayName="Pedro Sobota" Text="In Reaper, you first tell it to split a clip in each transient; then you can move the splits to their right places, or change the fades between them, in group or individually; or you issue a second command to have the DAW align the splits to the project grid, still retaining individual control. Not a tool -- it's done directly in the arrangement." ContentLicense="CC BY-SA 2.5" />
  <row Id="50882" PostHistoryTypeId="36" PostId="27583" RevisionGUID="5b7f6dfd-f579-43fb-af8e-158cd91ba042" CreationDate="2014-02-21T11:07:25.253" UserId="-1" Comment="from http://video.stackexchange.com/questions/5720/reducing-latency-on-midi-over-usb-keyboard" />
  <row Id="50883" PostHistoryTypeId="36" PostId="27584" RevisionGUID="abf577c9-eae6-4eef-b11d-ae6b3e5e790f" CreationDate="2014-02-21T11:07:25.253" UserId="-1" Comment="from http://video.stackexchange.com/questions/5720/reducing-latency-on-midi-over-usb-keyboard/5722#5722" />
  <row Id="50884" PostHistoryTypeId="2" PostId="27584" RevisionGUID="ec4c9578-c571-47f6-b90a-bf233cb05657" CreationDate="2013-01-01T17:26:56.910" UserId="6933" Text="See if Sibelius supports ASIO drivers (look for Asio4All for an implementation that should work without a dedicated soundcard). If your keyboard also has MIDI Out, maybe a MIDI-to-USB converter cord will be better for latency - the Roland UM-ONE, which I use and works great for Ableton, is 35-50AUD on Ebay." ContentLicense="CC BY-SA 3.0" />
  <row Id="50885" PostHistoryTypeId="2" PostId="27585" RevisionGUID="e843f954-4a6c-4c91-9538-40d6bccdb201" CreationDate="2013-01-06T01:39:04.973" UserId="7225" Text="I'm afraid you are stuck as the Realtek chipset doesn't have a dedicated ASIO driver.&#xD;&#xA;&#xD;&#xA;As tomeoftom's mention in his answer, you can use the [Asio4All][1].&#xD;&#xA;&#xD;&#xA;This will give you the ASIO interface but not necessarily the low latency that comes from using a dedicated ASIO driver. This is because Asio4all is more a interface &quot;wrapper&quot; than an optimized driver - it fools the system into thinking there is an actual asio driver for your card there (but it works).&#xD;&#xA;&#xD;&#xA;However, minor tweaking is possible with it such as buffer sizes and adjustment of internal latency to get most out of your ordinary drivers which is use in the end. I recommend to test different settings here, playback and adjust again to find the optimal settings for your setup.&#xD;&#xA;&#xD;&#xA;What this means is that it (Asio4All) can help with the problem, a little, hopefully enough to make playing the keyboard less annoying.&#xD;&#xA;&#xD;&#xA;The greyed-out box just indicate that Sibelius is looking for an ASIO option but doesn't find it. This will change with Asio4all installed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.asio4all.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="50886" PostHistoryTypeId="2" PostId="27583" RevisionGUID="e4e4e644-260c-42e2-af3e-8550a79d5008" CreationDate="2013-01-01T16:19:30.477" UserDisplayName="Giannis" Text="I have recently bought a low-end usb keyboard(Acorn Instruments Masterkey 49). I am trying to use it with Sibelius 6. After spending a lot of time in the settings of Sibelius, I have managed to get latency down to 10ms, although I am not happy with that. &#xD;&#xA;I am using a laptop so I'm thinking this must be the limit for my current hardware.(CPU/GPU are good but I'm guessing sound is rather basic)&#xD;&#xA;I was told that this latency is probably due to my sound card.&#xD;&#xA;&#xD;&#xA;&gt; After a lot of googling I couldnt find any external soundcards that&#xD;&#xA;&gt; seem to work for me. Can anyone suggest some that I should look at?&#xD;&#xA;&gt; Keep in mind the keyboard I am using only has USB connection. Thanks !&#xD;&#xA;&#xD;&#xA;p.s I am a uni student, and using the above equipment for my studies, so professional equipment is out of budget.&#xD;&#xA;&#xD;&#xA;**System Info**&#xD;&#xA;&#xD;&#xA;Win 7 64bit&#xD;&#xA;i7 3610QM 2.3Ghz&#xD;&#xA;6GB RAM&#xD;&#xA;Realtek High Definition Audio(WASAPI)&#xD;&#xA;&#xD;&#xA;Sibelius supports ASIO drivers although the system doesn't(option is visible in settings, but greyed-out).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50887" PostHistoryTypeId="1" PostId="27583" RevisionGUID="e4e4e644-260c-42e2-af3e-8550a79d5008" CreationDate="2013-01-01T16:19:30.477" UserDisplayName="Giannis" Text="Reducing latency on MIDI-over-USB Keyboard" ContentLicense="CC BY-SA 3.0" />
  <row Id="50888" PostHistoryTypeId="3" PostId="27583" RevisionGUID="e4e4e644-260c-42e2-af3e-8550a79d5008" CreationDate="2013-01-01T16:19:30.477" UserDisplayName="Giannis" Text="&lt;windows&gt;&lt;keyboard&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50889" PostHistoryTypeId="36" PostId="27585" RevisionGUID="bf7b4285-2317-4fc1-8777-421e17a5a63c" CreationDate="2014-02-21T11:07:25.253" UserId="-1" Comment="from http://video.stackexchange.com/questions/5720/reducing-latency-on-midi-over-usb-keyboard/5759#5759" />
  <row Id="50897" PostHistoryTypeId="2" PostId="27586" RevisionGUID="c8ba3a12-7bea-4917-92ea-8d1c69921f03" CreationDate="2014-02-21T17:22:47.247" UserId="6753" Text="I have 1,000 mp3. Some of them went through e-mail, FTP, USB key, etc., which means they might be corrupt or incomplete. How can I check them (without having to test them one by one manually)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50898" PostHistoryTypeId="1" PostId="27586" RevisionGUID="c8ba3a12-7bea-4917-92ea-8d1c69921f03" CreationDate="2014-02-21T17:22:47.247" UserId="6753" Text="How can I detect corrupt/incomplete mp3 files?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50899" PostHistoryTypeId="3" PostId="27586" RevisionGUID="c8ba3a12-7bea-4917-92ea-8d1c69921f03" CreationDate="2014-02-21T17:22:47.247" UserId="6753" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50900" PostHistoryTypeId="2" PostId="27587" RevisionGUID="de3d757d-8634-4ddb-9e1b-4bbf77a0f355" CreationDate="2014-02-21T18:50:14.827" UserId="7543" Text="I think the title says it all. I've tried recording some bass guitar but it didn't come out great, and a friend recommended that I get a DI unit. Thanks for your help." ContentLicense="CC BY-SA 3.0" />
  <row Id="50901" PostHistoryTypeId="1" PostId="27587" RevisionGUID="de3d757d-8634-4ddb-9e1b-4bbf77a0f355" CreationDate="2014-02-21T18:50:14.827" UserId="7543" Text="I have a M-Audio MobilePre. Do I need an additional DI unit to record bass guitar?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50902" PostHistoryTypeId="3" PostId="27587" RevisionGUID="de3d757d-8634-4ddb-9e1b-4bbf77a0f355" CreationDate="2014-02-21T18:50:14.827" UserId="7543" Text="&lt;audio&gt;&lt;audio-recording&gt;&lt;recording&gt;&lt;bass&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50903" PostHistoryTypeId="2" PostId="27588" RevisionGUID="b84423d7-a039-4198-beed-0055fb5bf4e0" CreationDate="2014-02-21T19:34:18.683" UserId="7367" Text="No. You do not require a separate DI to record bass with the mobilepre. &#xD;&#xA;&#xD;&#xA;Aslong as you are connected directly OUT from your bass to the instrument IN, you should be able to record the linelevel bass. &#xD;&#xA;&#xD;&#xA;Im assuming you are just unsatisfied with the sound of the recorded bass? In this case, you can process ITB (in the box) to achieve desired sound. (i.e. run through amp simulation software in a DAW, etc...) If available - IMO, you will get most pleasing results by micing an amp speaker.&#xD;&#xA;&#xD;&#xA;Also, you need to make sure you are gain staging properly. Basically, turn your bass gain knob up to the optimum level then the gain knob on your mobile pre up until you are hitting -12 on the mobpre meters.&#xD;&#xA;&#xD;&#xA;[Quick Gain Staging READ][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mixcoach.com/levels-demystified-gain-staging-part-2/" ContentLicense="CC BY-SA 3.0" />
  <row Id="50904" PostHistoryTypeId="6" PostId="22511" RevisionGUID="52b54f71-72f3-42a1-8460-c942e9ccf647" CreationDate="2014-02-21T20:30:00.857" UserId="7294" Comment="edited tags" Text="&lt;audio&gt;&lt;sample-rate&gt;&lt;bit-depth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50905" PostHistoryTypeId="6" PostId="23315" RevisionGUID="ff818014-a549-4e59-8ce1-d96ca3a39c05" CreationDate="2014-02-21T20:30:37.140" UserId="7294" Comment="edited tags" Text="&lt;audio&gt;&lt;wav&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50906" PostHistoryTypeId="6" PostId="23686" RevisionGUID="478001ef-51e2-4893-8e6f-8cca41caeeda" CreationDate="2014-02-21T20:32:06.630" UserId="7294" Comment="edited tags" Text="&lt;audio&gt;&lt;speakers&gt;&lt;live-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50907" PostHistoryTypeId="6" PostId="23744" RevisionGUID="c7071203-c8f7-4d15-97b6-c888794078fd" CreationDate="2014-02-21T20:33:40.993" UserId="7294" Comment="edited tags" Text="&lt;audio&gt;&lt;voice-manipulation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50908" PostHistoryTypeId="6" PostId="22536" RevisionGUID="65e323d9-9aad-4c8b-befa-2d8fd29f498c" CreationDate="2014-02-21T20:35:12.657" UserId="7294" Comment="edited tags" Text="&lt;audio&gt;&lt;waveform&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50909" PostHistoryTypeId="6" PostId="23103" RevisionGUID="5ea2e4e6-52de-47f8-a5d7-c349a83189dd" CreationDate="2014-02-21T20:38:12.120" UserId="7294" Comment="edited tags" Text="&lt;audio&gt;&lt;file-conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50910" PostHistoryTypeId="6" PostId="23841" RevisionGUID="cb73c3be-e125-4b75-875e-23a7785027cf" CreationDate="2014-02-21T22:11:37.123" UserId="7294" Comment="edited tags" Text="&lt;audio&gt;&lt;equipment&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50911" PostHistoryTypeId="6" PostId="23244" RevisionGUID="14ca87ef-2a19-45e8-9b20-e4fc298ad013" CreationDate="2014-02-21T22:12:32.640" UserId="7294" Comment="edited tags" Text="&lt;audio&gt;&lt;encoding&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50912" PostHistoryTypeId="6" PostId="23173" RevisionGUID="dc17e134-f560-484c-a31b-d6a7fb77cce5" CreationDate="2014-02-21T22:34:38.203" UserId="7294" Comment="edited tags; edited tags" Text="&lt;audio&gt;&lt;frequency&gt;&lt;loudness&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50913" PostHistoryTypeId="6" PostId="15221" RevisionGUID="31f0653b-9eb3-433d-9330-c1883697a841" CreationDate="2014-02-21T22:35:17.393" UserId="7294" Comment="edited tags" Text="&lt;audio&gt;&lt;cable+&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50914" PostHistoryTypeId="6" PostId="23175" RevisionGUID="e871ac89-a97c-453f-8e0a-0eb68b4365f0" CreationDate="2014-02-21T22:36:10.643" UserId="7294" Comment="edited tags" Text="&lt;audio&gt;&lt;gameaudio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50915" PostHistoryTypeId="6" PostId="22639" RevisionGUID="27d64ab4-1c6f-45ec-8338-589e64794663" CreationDate="2014-02-21T22:36:28.317" UserId="7294" Comment="edited tags" Text="&lt;audio&gt;&lt;format&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50928" PostHistoryTypeId="2" PostId="27589" RevisionGUID="adb55810-5f31-4d1a-84ec-afa2eaa419af" CreationDate="2014-02-22T00:22:28.523" UserId="6510" Text="I am working in the world of low budget features and documentary and I am in search of ways to alleviate some work flow problems.  At the risk of sounding bitchy and ungrateful, I having some serious grievances with how my studio does business (**dont fire me!, I swear that I am coming from a good place!**).  I am trying to approach this in a way that, above all, sends clients away happy and wanting to continue doing business with us. &#xD;&#xA;&#xD;&#xA;The first problem is that the most senior person is kept SO busy mixing that he does not have the time to properly supervise his jobs.  This leaves me, the sound effects editor (and designer, but I am not getting credit for that) cutting/designing FURIOUSLY on things that the director did not want in the first place. I have very little creative direction or supervision at all.  It is VERY gratifying when I pull off something that no one expected, but for the most part, it is a HUGE waste of energy. &#xD;&#xA;&#xD;&#xA;So the question is, how can I get the client (or ANYONE) to actually tell me what they want, creatively, BEFORE I spend a week cutting? Because most of the stuff they REALLY wanted was never talked about. All the pre-production talk was about money and nothing else. &#xD;&#xA;&#xD;&#xA;Am I crazy? or do I just expecting too much from this stratosphere of the film world?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50929" PostHistoryTypeId="1" PostId="27589" RevisionGUID="adb55810-5f31-4d1a-84ec-afa2eaa419af" CreationDate="2014-02-22T00:22:28.523" UserId="6510" Text="There is no Supervising Sound Editor?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50930" PostHistoryTypeId="3" PostId="27589" RevisionGUID="adb55810-5f31-4d1a-84ec-afa2eaa419af" CreationDate="2014-02-22T00:22:28.523" UserId="6510" Text="&lt;help&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50931" PostHistoryTypeId="2" PostId="27590" RevisionGUID="fe871ef1-28cb-45e0-845b-bde79943a02f" CreationDate="2014-02-22T01:06:07.440" UserId="7545" Text="I suggest a spotting session with the client before you cut anything. Sit down and go through the material with pen and paper in hand. Other than that, clients really do change their mind a lot.&#xD;&#xA;&#xD;&#xA;Having no supervising sound editor is not unusual in low budget features. But in your case if the bureaucracy is keeping you from getting in touch directly with the client in the absence (or lack of presence thereof) of the supervisor, then there may be some structural problems in the way your studio does business. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50932" PostHistoryTypeId="2" PostId="27591" RevisionGUID="e0bfa87a-488d-486d-8d4e-ca9c42eaa9c1" CreationDate="2014-02-22T01:17:40.623" UserId="7545" Text="The ship and battle scenes from Master &amp; Commander are good references for dynamic range. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50933" PostHistoryTypeId="2" PostId="27592" RevisionGUID="ee7dab77-d6e9-46da-9992-23d6b74ed079" CreationDate="2014-02-22T02:24:47.163" UserId="6399" Text="I've used the Soundminer ripper and it works very well.  Depending on your libraries and which column you need the metadata embedded, have you tried Itunes?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50934" PostHistoryTypeId="2" PostId="27593" RevisionGUID="32e2d5d0-7693-4eb9-aa67-28d255e8a95b" CreationDate="2014-02-22T02:55:55.790" UserDisplayName="user49" Text="Its a little hard to say without knowing how experienced you are: &quot;cutting/designing FURIOUSLY on things that the director did not want in the first place&quot; - are you sure it isn't your priorities that are wasting time? I only ask as I have met people who talk about all the abstract design they love &amp; want to do, but when I ask them about cutting basic stuff (eg ambiences with  correct perspective cutting, cutting basic FX for M&amp;E coverage, cutting vehicle effects etc) they aren't very interested.&#xD;&#xA;&#xD;&#xA;You can effectively divide the required material for a film soundtrack into either real or subjective. Real sounds are the essential 'real' coverage - every scene needs ambiences, real sound effects, doors, vehicles etc... The only ways to go wrong with them is due to taste, lack of experience, limited resources etc. Does the door sound effect you just cut seem real &amp; normal? Fine, move on...&#xD;&#xA;&#xD;&#xA;Subjective is more interpretive, and if you do not have any clear direction (from the director) whatsoever then unless your taste &amp; the directors intentions are magically the same, then it is likely you will waste your time. When time &amp; budget are scarce this is not the best way to work, and you need to have direction ie be briefed, even if its only a ten minute phone conversation or an email of timecoded questions.&#xD;&#xA;&#xD;&#xA;One aspect to consider, and I have struck this before, the senior person at the company may be the one who wants to retain the primary relationship with the director. They may not want you contacting the director discussing things without them in the loop. If they dont have time to sit in on a spotting session, or to be contacting the director, then make a short list of what you NEED to know, with timecode &amp; scene #s, and send it to your supervisor. Ask them if either you can send it to the director or can they send it. If they want to retain control they will send it, if not &amp; you can send it directly (&amp; cc them) then you have a direct line of communication. &#xD;&#xA;&#xD;&#xA;Randy Thom said it once &amp; it is incredibly good advice: (i'm not quoting verbatim) it is cheap to experiment at the start of a project, and it gets more expensive as deadlines approach. So if you are going to go down blind alleys etc, better to do it at the start, &amp; show a rough mix (even just for a scene or moment) to the director &amp; get their feedback, than to do what you describe of putting lots of work into something they don't want. &#xD;&#xA;&#xD;&#xA;Also remember: low budget films are often made by first timer directors. They may not know what they want until they hear it. They may not have the language or experience to describe it. But they will know it when they hear it - even hearing the wrong thing can make them clarify what they think the right thing is. Directors like to direct. Give them something to direct! &amp; early!" ContentLicense="CC BY-SA 3.0" />
  <row Id="50936" PostHistoryTypeId="2" PostId="27594" RevisionGUID="8f7ad2c2-b942-4632-a9d6-f115db1c0519" CreationDate="2014-02-22T06:27:56.557" UserId="7509" Text="I just started looking into performing live.&#xD;&#xA;&#xD;&#xA;When I purchase a mixer, I'll have the guitar, bass, vocals, maybe even piano, pass through the mixer correct? Different channels. But do mixers only have one output? Would I have everything go to one speaker? So guitar,bass and vocals come out of one speaker? &#xD;&#xA;&#xD;&#xA;That can't be true. " ContentLicense="CC BY-SA 3.0" />
  <row Id="50937" PostHistoryTypeId="1" PostId="27594" RevisionGUID="8f7ad2c2-b942-4632-a9d6-f115db1c0519" CreationDate="2014-02-22T06:27:56.557" UserId="7509" Text="New to mixing. Does everything go into one speaker?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50938" PostHistoryTypeId="3" PostId="27594" RevisionGUID="8f7ad2c2-b942-4632-a9d6-f115db1c0519" CreationDate="2014-02-22T06:27:56.557" UserId="7509" Text="&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50939" PostHistoryTypeId="2" PostId="27595" RevisionGUID="48c58d4b-5db2-4e23-9286-9b5b4f91508c" CreationDate="2014-02-22T07:02:07.747" UserDisplayName="user49" Text="Do you only have one ear? Does your stereo only have one speaker? Does ever concert you have ever been to only have one speaker? really?&#xD;&#xA;&#xD;&#xA;maybe google the term 'stereo'" ContentLicense="CC BY-SA 3.0" />
  <row Id="50940" PostHistoryTypeId="2" PostId="27596" RevisionGUID="5d808422-214e-47dd-9284-d244ddea7fca" CreationDate="2014-02-22T07:21:01.920" UserId="7547" Text="I am working on a personal music album in Ableton Live. All my tracks (9) have been recorded and mixed inside one Ableton live file and 30 channels (audio and midi). In some tracks, e.g. guitar leads for Verse or backup vocals, the levels of recording among songs differentiate: I have been recording them for months so their volume might have differences from track to track.&#xD;&#xA;&#xD;&#xA;How can I set them all at the same level? Ableton live does not have a normalizer effect and I am working from a MAC computer. Also, I hate normalization because I believe it kills dynamics. What choices do I have? I tried to alter their level one by one but it appears that their level varies again. Somewhere I read I could use a hard limiter for that job. &#xD;&#xA;&#xD;&#xA;What choices or alternatives do I have ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50941" PostHistoryTypeId="1" PostId="27596" RevisionGUID="5d808422-214e-47dd-9284-d244ddea7fca" CreationDate="2014-02-22T07:21:01.920" UserId="7547" Text="Bring all recordings to the same level" ContentLicense="CC BY-SA 3.0" />
  <row Id="50942" PostHistoryTypeId="3" PostId="27596" RevisionGUID="5d808422-214e-47dd-9284-d244ddea7fca" CreationDate="2014-02-22T07:21:01.920" UserId="7547" Text="&lt;ableton-live&gt;&lt;normalize&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50943" PostHistoryTypeId="2" PostId="27597" RevisionGUID="9c9cb4e2-d49e-49fa-83bf-495b3106acd7" CreationDate="2014-02-22T07:53:39.120" UserId="6425" Text="Normalisation does not reduce dynamics. It makes the file as loud as possible -&gt; Peak at 0dBFS. So is you have one little Click in your recording it might not get louder with normalisation.&#xD;&#xA;&#xD;&#xA;The solution might be the clip volume. Just doubleclick a clip to open the clip Editor, then use the volume slider to adjust the waveform by eye. This Way you can bring the Clips to the rougly same rms level (average volume not peak).&#xD;&#xA;&#xD;&#xA;The to make the volume more consistent -&gt; use compression. A slight very subtle compressor (soft knee. 1.5 ratio) with high attack (50ms) and short release (30ms) will smoothen the volume. Adjust the treshhold so that you get a gainreduction of -3 up to -6 dB. After that you will have a smoother Overall Level. &#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="50944" PostHistoryTypeId="2" PostId="27598" RevisionGUID="9903f02f-5144-4dca-a919-b97630c824a4" CreationDate="2014-02-22T08:52:20.007" UserId="7548" Text="Sure it can!  When you listen to the Beatles in mono, is your mind blown by hearing the *whole band* come out of one box?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50945" PostHistoryTypeId="2" PostId="27599" RevisionGUID="2f7148da-474f-47ae-8e00-1f62833ed920" CreationDate="2014-02-22T11:50:02.080" UserId="6425" Text="While mixing you combine multiple sound entities into one sound entity.&#xD;&#xA;&#xD;&#xA;For music that means that you create one stereo track (=song) by adjusting the volume, dynamics, frequency spectrum, room, panorama, etc. of multiple mono or stereo tracks ( single instruments, vocals, percussions and sounds). Those tracks are typically your mixer channels on your mixing desc or in your DAW (digital audio workstation). &#xD;&#xA;&#xD;&#xA;So basically mixing is like cooking -&gt; the right amount of all ingredients will make the soup taste good. Right amount of every instrument will make the song, that is coming out of 1 (mono), 2 (stereo) or multiple (surround) loudspeakers, sound good.&#xD;&#xA;&#xD;&#xA;The biggest problem with mixing is, that you need to fit everything into those loudspeakers. Now imagine, you need to put a whole band into those 2 stereo speakers. Thats crazy, but with the right balance of your &quot;ingredients&quot;, possible. So at the end, when you close your eyes, it should feel somewhat close to listening to the band, when you listen to your speakers. Its the same with the soup. You can't put a whole lot of ingredients into the pot. So you can't take a whole chicken and put it in with 5 litters of water. You need to decide how much and which part of your ingredients you want to put in. For example you just want 200g meat of the chicken. And 1 litter of water.&#xD;&#xA;&#xD;&#xA;To translate this into music -&gt; You for example want the drums and vocals with the volume faders quite high. And the guitar you want more in the background and you don't want the bass frequencies of the guitar. So you need to remove the with an eq.....&#xD;&#xA;&#xD;&#xA;.....and here your story of mixing begins....." ContentLicense="CC BY-SA 3.0" />
  <row Id="50946" PostHistoryTypeId="5" PostId="27599" RevisionGUID="1ac92a33-965e-404c-9938-dc2cbb3b62b4" CreationDate="2014-02-22T11:59:16.160" UserId="6425" Comment="added 2 characters in body" Text="While mixing you combine multiple sound entities into one sound entity.&#xD;&#xA;&#xD;&#xA;For music that means that you create one stereo track (=song) by adjusting the volume, dynamics, frequency spectrum, room, panorama, etc. of multiple mono or stereo tracks ( single instruments, vocals, percussions and sounds). Those tracks are typically your mixer channels on your mixing desc or in your DAW (digital audio workstation). &#xD;&#xA;&#xD;&#xA;So basically mixing is like cooking -&gt; the right amount of all ingredients will make the soup taste good. Right amount of every instrument will make the song, that is coming out of 1 (mono), 2 (stereo) or multiple (surround) loudspeakers, sound good.&#xD;&#xA;&#xD;&#xA;The biggest problem with mixing is, that you need to fit everything into those loudspeakers. Now imagine, you need to put a whole band into those 2 stereo speakers. Thats crazy, but with the right balance of your &quot;ingredients&quot;, possible. So at the end, when you close your eyes, it should feel somewhat close to listening to the band, when you listen to your speakers. Its the same with the soup. You can't put a whole lot of ingredients into the pot. So you can't take a whole chicken and put it in with 5 litters of water. You need to decide how much and which part of your ingredients you want to put in. For example you just want 200g meat of the chicken. And 1 litter of water.&#xD;&#xA;&#xD;&#xA;To translate this into music -&gt; You for example want the drums and vocals with the volume faders quite high. And the guitar you want more in the background and you don't want the bass frequencies of the guitar. So you need to remove the with an eq.....&#xD;&#xA;&#xD;&#xA;.....and here your journey of mixing begins....." ContentLicense="CC BY-SA 3.0" />
  <row Id="50947" PostHistoryTypeId="2" PostId="27600" RevisionGUID="a25e47e9-8f6c-4f38-a08a-5b4810010cf6" CreationDate="2014-02-22T14:00:52.367" UserId="6665" Text="I am currently conducting my dissertation which involves development of a realistic surround sound mixing technique over conventional surround sound techniques. However my key research question is &quot;Would realistic surround sound with real life surround elements break suspension of disbelief?&quot;.&#xD;&#xA;&#xD;&#xA;This require me into research into conventional Surround sound mixing techniques for films. however I am finding it difficult to source the right resources on current and conventional spatial mixing techniques. Would anyone have an idea as to which books I should refer to?&#xD;&#xA;&#xD;&#xA;This research is focussing on the creative aspect of surround sound rather than the technical aspect of it. Taking into consideration the suspension of disbelief is a primary factor in creating spatial soundscapes. I am trying to develop a technique which includes the placement of foleys, incidentals and more organic elements of a sound design in surround array of speakers.&#xD;&#xA;&#xD;&#xA;Any help would be much appreciated.&#xD;&#xA;&#xD;&#xA;Regards,&#xD;&#xA;Abhishek J. Pant" ContentLicense="CC BY-SA 3.0" />
  <row Id="50948" PostHistoryTypeId="1" PostId="27600" RevisionGUID="a25e47e9-8f6c-4f38-a08a-5b4810010cf6" CreationDate="2014-02-22T14:00:52.367" UserId="6665" Text="A Study Into The Differences of Real-Time Surround Recording And Post-Production Mixing Process In Surround Sound Formats" ContentLicense="CC BY-SA 3.0" />
  <row Id="50949" PostHistoryTypeId="3" PostId="27600" RevisionGUID="a25e47e9-8f6c-4f38-a08a-5b4810010cf6" CreationDate="2014-02-22T14:00:52.367" UserId="6665" Text="&lt;research&gt;&lt;surround-sound&gt;&lt;film-mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50950" PostHistoryTypeId="2" PostId="27601" RevisionGUID="9978d58c-05cc-4ada-9112-a4101ee44a20" CreationDate="2014-02-22T14:46:55.723" UserId="7549" Text="**Goal:** Record high-quality audio, without distortions and clippings, from digital piano to PC, mix recorded audio, make amateur compositions.&#xD;&#xA;&#xD;&#xA;**Details:**&#xD;&#xA;&#xD;&#xA; - This is just an amateur thing in a casual home setting&#xD;&#xA; - My [Yamaha YDP-S30 digital piano][1] has two 1/4&quot; stereo outs&#xD;&#xA;    - The brochure and owner's manual says nothing about Line Out or Aux Out&#xD;&#xA; - I am running a powerful Windows 7 PC without a sound card running Cubase 5&#xD;&#xA; - I plan to purchase [an audio interface][2]&#xD;&#xA; - I am a complete beginner to the basics of digital recording, but I already understand:&#xD;&#xA;     - the distinction between MIDI and recorded audio&#xD;&#xA;     - the difference in method and output quality between:&#xD;&#xA;         - recording using an external device:&#xD;&#xA;             - recording using a condenser microphone (highest studio-like quality)&#xD;&#xA;             - recording using a crappy laptop mic or cellular phone mic&#xD;&#xA;         - recording directly from the output jacks&#xD;&#xA;&#xD;&#xA;**Main Questions:**&#xD;&#xA;&#xD;&#xA;1. What process would you recommend for recording the highest-quality recorded audio? What should I know about this process (e.g. turn the PC volume all the way up for line-in recording)?&#xD;&#xA;&#xD;&#xA;   Without using an external microphone, and only using the *headphone jack out* on the digital piano, is connecting that to an audio interface, and connecting the audio interface to my PC going to give me excellent sound quality (defined as no distortions and clippings)?&#xD;&#xA;&#xD;&#xA;2. Is an audio interface a necessary purchase for high-quality *headphone jack out* recording? Which audio interface should I purchase? Is [this audio interface][2] a good purchase?&#xD;&#xA;&#xD;&#xA;**Trivia Questions:**&#xD;&#xA;&#xD;&#xA; 1. What, if any, are the differences between *aux out*, *line out*, and *headphone jack out* in the context of digital piano recording? Is *headphone jack out* just *line out*?&#xD;&#xA;&#xD;&#xA; 2. What is the difference in recording quality among audio recorded from *aux out*, *line out*, and *headphone jack out*, assuming they are paired with the best possible corresponding *X in*?&#xD;&#xA;&#xD;&#xA; 3. Which *X in* should each corresponding *X out* be connected to? Does this have to do with impedance levels? What is impedance as explained to a 5-year old and why is it important?&#xD;&#xA;&#xD;&#xA;  [1]: http://download.yamaha.com/api/asset/file/?language=en&amp;site=usa.yamaha.com&amp;asset_id=35944&#xD;&#xA;  [2]: http://www.amazon.com/Behringer-Latency-U-Control-UCA202-Interface/dp/B000J0IIEQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="50951" PostHistoryTypeId="1" PostId="27601" RevisionGUID="9978d58c-05cc-4ada-9112-a4101ee44a20" CreationDate="2014-02-22T14:46:55.723" UserId="7549" Text="Digital piano recording basics" ContentLicense="CC BY-SA 3.0" />
  <row Id="50952" PostHistoryTypeId="3" PostId="27601" RevisionGUID="9978d58c-05cc-4ada-9112-a4101ee44a20" CreationDate="2014-02-22T14:46:55.723" UserId="7549" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50953" PostHistoryTypeId="2" PostId="27602" RevisionGUID="e2c91c2b-11e0-46a3-8d1c-9f3e1d58ac68" CreationDate="2014-02-22T19:35:51.483" UserId="6487" Text="I am starting a new position as an editor for an industry publication (CAS Quarterly) that focuses on sound for picture. I am starving for suggestions on what aspects of audio post or audio production people would like to see investigated and discussed.  Our readership includes, foley, ADR, re-recording, and production mixers. Any ideas on subjects we should explore?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50954" PostHistoryTypeId="1" PostId="27602" RevisionGUID="e2c91c2b-11e0-46a3-8d1c-9f3e1d58ac68" CreationDate="2014-02-22T19:35:51.483" UserId="6487" Text="What subjects would you like to see investigated and reported on in the world of sound for picture?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50955" PostHistoryTypeId="3" PostId="27602" RevisionGUID="e2c91c2b-11e0-46a3-8d1c-9f3e1d58ac68" CreationDate="2014-02-22T19:35:51.483" UserId="6487" Text="&lt;production-mixing&gt;&lt;re-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50959" PostHistoryTypeId="2" PostId="27604" RevisionGUID="cc6c3ef7-5d74-4930-bb1a-f0ae465c43fe" CreationDate="2014-02-22T21:53:41.490" UserId="194" Text="collaboration always makes for better stories than technique IMO.  &#xD;&#xA;&#xD;&#xA;So stories about working with directors, stories about working with actors, stories about working with the final mix team, etc.&#xD;&#xA;&#xD;&#xA;I also like case studies and how *not* to do it stories.  :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="50961" PostHistoryTypeId="5" PostId="27191" RevisionGUID="32679fde-14c7-4488-8d31-8eef124536b7" CreationDate="2014-02-22T23:22:11.630" UserId="7526" Comment="deleted 8 characters in body" Text="Apple's iMacs use a 4-pin TRRS headphone port which combine analog audio output and input and need a connector like this:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;(© wikipedia, user *Imaadwhd*)&#xD;&#xA;&#xD;&#xA; Just take an adapter like [this](http://www.amazon.com/dp/B004SP0WAQ/) and plug in your standard headphones and mic.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/KXPHk.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="50966" PostHistoryTypeId="10" PostId="17703" RevisionGUID="37f7f58c-f3cd-4143-aaf1-7abd937b238d" CreationDate="2014-02-23T00:40:20.317" UserId="6957" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:1228,&quot;DisplayName&quot;:&quot;Stavrosound&quot;},{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="50972" PostHistoryTypeId="10" PostId="207" RevisionGUID="6c023be5-936c-4374-8017-5a7c26a98c6a" CreationDate="2014-02-23T00:42:09.857" UserId="6957" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:1228,&quot;DisplayName&quot;:&quot;Stavrosound&quot;},{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="50973" PostHistoryTypeId="33" PostId="27591" RevisionGUID="2682ded6-ad83-4e25-a279-57a56431efe7" CreationDate="2014-02-23T00:43:30.160" UserId="6957" Comment="5" />
  <row Id="50980" PostHistoryTypeId="2" PostId="27608" RevisionGUID="dfe52b1f-6a30-4446-b996-86bf0af6185d" CreationDate="2014-02-23T02:55:29.707" UserId="432" Text="Rock on, Karol!&#xD;&#xA;&#xD;&#xA;I'm always interested in the aesthetic side; the decision making process as it relates to the story. Why folks make the choices they do, how they perceive the implications of those choices in relation to the overall narrative, and whether or not it had the intended effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="50982" PostHistoryTypeId="2" PostId="27609" RevisionGUID="c10a2d66-30dc-4d2a-ac74-d791067ed5d5" CreationDate="2014-02-23T04:23:28.503" UserId="7554" Text="MP3 Diags is a comprehensive application that can identify up to 50 types of issues with MP3 files and also has tools to fix most of those issues." ContentLicense="CC BY-SA 3.0" />
  <row Id="50983" PostHistoryTypeId="2" PostId="27610" RevisionGUID="2f6f38df-7eb4-4cd2-af54-14e1a5257a13" CreationDate="2014-02-23T14:40:46.893" UserId="37" Text="The fundamentals have been covered. How about, every now and again, a deep technical dissection of a single sound effect would be nice. Also some of the finer storytelling aspects wouldn't go wrong at all (Ondaatje's &quot;The Conversations&quot; did this very well). Maybe an occasional horror story from the dub stage, if anyone dares? Fewer stories about how director X works with sound, those seem to be left right and centre.." ContentLicense="CC BY-SA 3.0" />
  <row Id="50984" PostHistoryTypeId="2" PostId="27611" RevisionGUID="2d8cf87f-ec01-44c4-9838-007269f45bd3" CreationDate="2014-02-23T14:55:40.543" UserId="7557" Text="As for reverse-engineering synth sounds, check out [Welsh's Synthesizer Cookbook](http://synthesizer-cookbook.com/index.html). The [sample PDF](http://synthesizer-cookbook.com/SynCookbook.pdf) (pages 12-15) contains some very useful information in this regard." ContentLicense="CC BY-SA 3.0" />
  <row Id="50985" PostHistoryTypeId="5" PostId="27610" RevisionGUID="66f39aad-6d6b-415a-bad8-0e120c1b842d" CreationDate="2014-02-23T20:45:54.337" UserId="37" Comment="deleted 14 characters in body" Text="The fundamentals have been covered. How about, every now and again, a deep technical dissection of a single sound effect? Also some of the finer storytelling aspects wouldn't go wrong at all (Ondaatje's &quot;The Conversations&quot; did this very well). Maybe an occasional horror story from the dub stage, if anyone dares? Fewer stories about how director X works with sound, those seem to be left right and centre.." ContentLicense="CC BY-SA 3.0" />
  <row Id="50986" PostHistoryTypeId="2" PostId="27612" RevisionGUID="2892d24e-3281-4ba4-b244-a61a49fc42b7" CreationDate="2014-02-23T21:07:58.070" UserId="6432" Text="Good suggestions already. I'd also love to read some articles or comparisons of technique and workflow in emerging or less documented industries - China, Japan, Middle East etc.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="50987" PostHistoryTypeId="5" PostId="27612" RevisionGUID="6bac088b-4c35-48c2-9699-e295e7e679ce" CreationDate="2014-02-23T21:34:48.940" UserId="6432" Comment="deleted 12 characters in body" Text="Good suggestions already. I'd also love to read some articles or comparisons of technique and workflow in less documented industries - China, Japan, Middle East etc.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="50988" PostHistoryTypeId="2" PostId="27613" RevisionGUID="87471bb2-48e0-4227-8e03-d7891ac111c5" CreationDate="2014-02-23T21:46:59.050" UserId="3522" Text="I'm currently looking for a short film that I could use for a university project that requires me to create the sound design for a film of 3 - 8 minutes in length. &#xD;&#xA;&#xD;&#xA;If anyone is willing to supply me with a film that I could use that would be fantastic or perhaps even point me in the direction of someone that you know or forums where I could maybe find one? &#xD;&#xA;&#xD;&#xA;Regards, &#xD;&#xA;&#xD;&#xA;Richard" ContentLicense="CC BY-SA 3.0" />
  <row Id="50989" PostHistoryTypeId="1" PostId="27613" RevisionGUID="87471bb2-48e0-4227-8e03-d7891ac111c5" CreationDate="2014-02-23T21:46:59.050" UserId="3522" Text="looking for a short film for a university project on sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="50990" PostHistoryTypeId="3" PostId="27613" RevisionGUID="87471bb2-48e0-4227-8e03-d7891ac111c5" CreationDate="2014-02-23T21:46:59.050" UserId="3522" Text="&lt;sound&gt;&lt;design&gt;&lt;foley&gt;&lt;effects&gt;&lt;film&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50991" PostHistoryTypeId="2" PostId="27614" RevisionGUID="763943ea-798e-45b3-a767-b058af9e08e6" CreationDate="2014-02-23T22:08:52.190" UserId="7556" Text="The different waveforms that are sequenced with crossfading (without power law, so there's a slight tremolo effect) seem to be made with hard synced pulse wave, and some of them are an octave above the others." ContentLicense="CC BY-SA 3.0" />
  <row Id="50992" PostHistoryTypeId="2" PostId="27615" RevisionGUID="14abe5f9-24bc-44f9-adce-4b4c9fb5584b" CreationDate="2014-02-23T22:57:46.830" UserId="7556" Text="Can anyone hear what synth was used for the lead starting at 1.17 in this video? Is it a preset? https://www.youtube.com/watch?v=18Yl6fMMQjY" ContentLicense="CC BY-SA 3.0" />
  <row Id="50993" PostHistoryTypeId="1" PostId="27615" RevisionGUID="14abe5f9-24bc-44f9-adce-4b4c9fb5584b" CreationDate="2014-02-23T22:57:46.830" UserId="7556" Text="What is the lead synth in Lizardking's remake of Claustrophobia?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50994" PostHistoryTypeId="3" PostId="27615" RevisionGUID="14abe5f9-24bc-44f9-adce-4b4c9fb5584b" CreationDate="2014-02-23T22:57:46.830" UserId="7556" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="50996" PostHistoryTypeId="2" PostId="27616" RevisionGUID="f04503fa-57b8-4086-b21f-6626c851a49e" CreationDate="2014-02-24T02:19:06.033" UserId="7559" Text="I am very new to sound design, and I'm wanting to make background ambient sounds for a dark-feeling game. How would I go about doing this? Would I use music creation software like FL Studio, or would I record things and slow them down? What tips and tricks should I use for this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50997" PostHistoryTypeId="1" PostId="27616" RevisionGUID="f04503fa-57b8-4086-b21f-6626c851a49e" CreationDate="2014-02-24T02:19:06.033" UserId="7559" Text="How to create ambient sound effects for video games?" ContentLicense="CC BY-SA 3.0" />
  <row Id="50998" PostHistoryTypeId="3" PostId="27616" RevisionGUID="f04503fa-57b8-4086-b21f-6626c851a49e" CreationDate="2014-02-24T02:19:06.033" UserId="7559" Text="&lt;video-games&gt;&lt;ambience&gt;&lt;backgroundambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51000" PostHistoryTypeId="2" PostId="27617" RevisionGUID="28a33069-b484-4f15-950a-121742168845" CreationDate="2014-02-24T03:07:51.397" UserId="7418" Text="Line &amp; auxiliary outputs are typically mono.  *Line level* is a rating of typical operating level (usually +4dBu on pro equipment, and -10dBu on consumer goods), and *headphone out* specifications can change by manufacturer, and a lot of the time by the device itself.  *Auxiliary* outputs are mostly the same as a line output but commonly used as an additional, or alternate route to send the audio.  I am going to say that experience will be your best teacher for a lot of things, so for consistency and likelihood of real-world application, I will make some recommendations for you.&#xD;&#xA;&#xD;&#xA;First, you should try and use your 1/4&quot; outputs.  You mentioned quality a few times, and a headphone output and that Behringer card, for me, would be a last resort.  You should look to spend $100-150 on a more reputable USB interface from a manufacturer like **Focusrite, Tascam**, or even **Presonus**.  Look for something with *two 1/4&quot; inputs* and adjustable level controls (particularly gain and volume).  Because recording quality is partly dependent upon the equipment, the skill of the person using it, and of course the talent of the [musician], by your definition of *no distortions or clippings*, this should set you up on the right path.&#xD;&#xA;&#xD;&#xA;In Cubase you will probably need to use *Stereo Audio Tracks* to record, and you will want to adjust your keyboard output, and interface input so that Cubase registers an input level above -10dB, and below 0dB (0dB is clipping), get it to sound good somewhere between -6dB and -3dB and you are doing pretty good. &#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;Xout goes into Xin.  Left out-left in, right out-right in.  Nothing to do with impedance.  Impedance to a 5year old is that even though the triangle fits in the square slot, the square matches the square slot better." ContentLicense="CC BY-SA 3.0" />
  <row Id="51001" PostHistoryTypeId="2" PostId="27618" RevisionGUID="9c8e88dc-bb6b-4e38-806f-37e7b3754839" CreationDate="2014-02-24T03:13:18.313" UserId="7418" Text="Just FIND sounds.  They come from EVERYWHERE.  Some are recorded outside, some in staircases, some are found in patches on synthesizers or even generated in FL Studio-like programs.  &#xD;&#xA;&#xD;&#xA;You should get intimate with time-based FX like reverb and flange, competent with EQ, and experiment with things like pitch-shift, reverse, and time stretch.&#xD;&#xA;&#xD;&#xA;Be creative and enthusiastic about it because everything around you can make a sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="51002" PostHistoryTypeId="2" PostId="27619" RevisionGUID="f8e6bd10-962d-4fcd-ae27-36e4f2b877fc" CreationDate="2014-02-24T04:42:11.267" UserId="7509" Text="I'm looking to get this mixer - [this one](http://www.amazon.com/Yamaha-MG82CX-Stereo-Digital-Effects/dp/B000Z7567A/ref=sr_1_1?s=musical-instruments&amp;ie=UTF8&amp;qid=1392796746&amp;sr=1-1&amp;keywords=mixer+with+effects)&#xD;&#xA;&#xD;&#xA;And I'll have the whole band hooked up to in ear monitors so we can hear all of the instruments/vocals and metronome. But is it possible to have the metronome not come out of the speakers? Only go into our headsets?&#xD;&#xA;&#xD;&#xA;I know bands do this. Is this mixer cable of this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51003" PostHistoryTypeId="1" PostId="27619" RevisionGUID="f8e6bd10-962d-4fcd-ae27-36e4f2b877fc" CreationDate="2014-02-24T04:42:11.267" UserId="7509" Text="How do I hear the metronome in my ears without the audience hearing it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51004" PostHistoryTypeId="3" PostId="27619" RevisionGUID="f8e6bd10-962d-4fcd-ae27-36e4f2b877fc" CreationDate="2014-02-24T04:42:11.267" UserId="7509" Text="&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51005" PostHistoryTypeId="2" PostId="27620" RevisionGUID="678b9aa7-7200-4382-be1e-943d3abd15f3" CreationDate="2014-02-24T07:57:16.417" UserId="1159" Text="There's two large parts to this. Creating the actual sounds and implementing them in game. How you do each will effect the other.&#xD;&#xA;&#xD;&#xA;On the very high level, you can use what ever DAW you're comfortable with to create sounds. The setting of the game will drive what sort of sounds you'll want to be creating.&#xD;&#xA;&#xD;&#xA;On the implementing side, are you using middleware? What engine is the game using?&#xD;&#xA;&#xD;&#xA;Remember the goal is to create something interactive and not static. You'll need to build up different layers and not just one giant loop. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51006" PostHistoryTypeId="36" PostId="27621" RevisionGUID="f61e6482-273c-4f6f-85a3-fa12b9a15a16" CreationDate="2014-02-24T08:25:43.283" UserId="-1" Comment="from http://music.stackexchange.com/questions/15725/when-does-playing-320-kbps-mp3-instead-of-flac-matter" />
  <row Id="51007" PostHistoryTypeId="36" PostId="27622" RevisionGUID="8ff7b996-3c55-45b5-af66-b50c604dae26" CreationDate="2014-02-24T08:25:43.283" UserId="-1" Comment="from http://music.stackexchange.com/questions/15725/when-does-playing-320-kbps-mp3-instead-of-flac-matter/15728#15728" />
  <row Id="51008" PostHistoryTypeId="2" PostId="27622" RevisionGUID="2a3ebd23-7148-453f-8d36-867175b3a537" CreationDate="2014-02-23T23:08:22.583" UserId="7560" UserDisplayName="Mohammad Rafigh" Text="FLAC as its clear is : Free Lossless Audio Codec , that means no compression applied on sound file... but we have compressions in 320 Kbps and that means we will lose some frequencies over 16 KHz to have a lower file size , but is that make a real huge difference? as a music producer and a sound engineer I can say yes! it will make a real difference for me and its because I'm very accurate on sounds because of my work , experience and also my equipments (I mean accurate monitoring speakers and more...) , but for peoples there is no difference even on a high-end hifi system they can't sense it, I also asked this time over time to my listeners and costumers but all of them say no! there is no difference! but I also know some frequencies are lost , but if they can't recognize that, so its ok , you have less size files on your disk.&#xD;&#xA;but in professional music production ,all DAWs are using lossless audio to make a good output quality and when you are going to export as mp3 you need to apply a dithering on it if you don't want to have mp3 compression artifacts (sometimes dithering applies automatically embedded in DAWs)." ContentLicense="CC BY-SA 3.0" />
  <row Id="51009" PostHistoryTypeId="2" PostId="27621" RevisionGUID="fd47c9b2-1a0b-4a4b-ad38-1a58e64869a6" CreationDate="2014-02-23T22:00:31.220" UserId="6753" Text="I wonder when I should play FLAC instead of 320 Kbps: size of room, type of music, etc. I saw plenty of discussions about 320 Kbps MP3 vs. FLAC on Internet but none with reliable source.  Are there any scientific studies (e.g. blind experiments) or at least expert opinions (e.g. by some famous DJ) on that matter?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51010" PostHistoryTypeId="1" PostId="27621" RevisionGUID="fd47c9b2-1a0b-4a4b-ad38-1a58e64869a6" CreationDate="2014-02-23T22:00:31.220" UserId="6753" Text="When does playing 320 Kbps MP3 instead of FLAC matter?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51011" PostHistoryTypeId="3" PostId="27621" RevisionGUID="fd47c9b2-1a0b-4a4b-ad38-1a58e64869a6" CreationDate="2014-02-23T22:00:31.220" UserId="6753" Text="&lt;software&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51012" PostHistoryTypeId="5" PostId="27622" RevisionGUID="6af01b82-2cd2-486f-a4c0-0a5a9cca37a7" CreationDate="2014-02-24T09:15:22.237" UserId="7560" Comment="added 59 characters in body" Text="FLAC as its clear is : Free Lossless Audio Codec , that means the compression applied on the sound file does not affect on the sound quality... but we have compressions in 320 Kbps that we will lose some frequencies over 16 KHz to have a lower file size , but is that make a real huge difference? as a music producer and a sound engineer I can say yes! it will make a real difference for me and its because I'm very accurate on sounds because of my work , experience and also my equipments (I mean accurate monitoring speakers and more...) , but for peoples there is no difference even on a high-end hifi system they can't sense it, I also asked this time over time to my listeners and costumers but all of them say no! there is no difference! but I also know some frequencies are lost , but if they can't recognize that, so its ok , you have less size files on your disk.&#xD;&#xA;but in professional music production ,all DAWs are using lossless audio to make a good output quality and when you are going to export as mp3 you need to apply a dithering on it if you don't want to have mp3 compression artifacts (sometimes dithering applies automatically embedded in DAWs).&#xD;&#xA;&#xD;&#xA;(thanks to Alex Basson)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51013" PostHistoryTypeId="2" PostId="27623" RevisionGUID="abf71147-9b7e-4571-86aa-10e2b1be7f7a" CreationDate="2014-02-24T10:20:09.157" UserId="6425" Text="You should, beside recording and finding atmospheres, learn to use synthesisers. Espacially randomised noise filter and pitch stuff, combined with reverb delay and others, will create really futuristic soundscapes." ContentLicense="CC BY-SA 3.0" />
  <row Id="51016" PostHistoryTypeId="2" PostId="27625" RevisionGUID="c4de75b8-963c-466d-8caa-97b49d10ce5c" CreationDate="2014-02-24T12:11:39.727" UserId="6940" Text="There are probably as many approaches to this as there are people doing sound design, there's no hard and fast rules, and finding your way is part of the 'art' of it, the thing that makes it yours rather than someone else's recipe, or worse, a cliche.&#xD;&#xA;&#xD;&#xA;First thing to do is get comfortable in some audio editing or sequencing software package. It doesnt which one it is as long as you're comfortable working with it, and it does the kind of things you want.&#xD;&#xA;&#xD;&#xA;How do you know what things you might want to do with it?  Well, up-front, you *wont*.   It takes time and experience to find 'your' way of doing things, so just experiment until you start to get a feel for it.  That might, along the way, entail changing the tools you use, but that's fine. &#xD;&#xA;&#xD;&#xA;Dont worry too much about going *straight* for the specific sounds in your question.  Get used to what the software can do; how you can chop sounds up, layer them, alter how they sound, how they play back, and the character that individual kinds of effects processors have when they alter sounds.  As you do so, hopefully some of these processes will resonate with you in producing the kinds of sounds you're talking about, your way. &#xD;&#xA;&#xD;&#xA; At the same time, think about the sources of your sounds; original real-world sound recordings often have sets of qualities that  are hard to replicate in synthesisers, and vice versa.  Sometimes you might want something more artificial, sometimes you might want something more organic, sometimes you want realism, sometimes you want the abstract, the alien; sometimes the transformation of something familiar is more unsettling than something comletely abstract.&#xD;&#xA;&#xD;&#xA;You'll get further if you focus on the specifics of what you want to achieve, and why, than the mechanism for getting there.  Almost any set of audio processing tricks 'can' get you some sort of passable sounds (high pass it, drop it two octaves, drench it in a long 100% wet reverb **tada**)  but once you've built a framework in your head for how these processes fit together, and what to expect of sounds when you transform them in particular ways, you'll be much better off.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51017" PostHistoryTypeId="2" PostId="27626" RevisionGUID="465c623d-de9f-4f8d-a9d9-487a9a1e730f" CreationDate="2014-02-24T13:28:09.250" UserId="7562" Text="Well, the thing I found requiring surprisingly large MP3 bit rates was encoding my accordion's tremolo registers.  Imagine three reeds sounding with lots of harmonics, almost equal volume, and slightly different pitches, hand-tuned so that all of the respective slow beatings combine into a pleasant sound.  That's actually a somewhat unusual combination since high-quality accordions tend to have one reed in a tone chamber, giving it a different volume and/or using only two beating reeds, while folksier accordions use rather heavy beatings in order to get a piercing rather than pleasant sound.&#xD;&#xA;&#xD;&#xA;At any rate, a high quality recording of something played slowly with that sound reencoded at 128kbs does not sound &quot;slightly lower quality, discernible by experts&quot; but totally awfully crappy.  Like coal grain microphone crappy.  With 192kbs, you start getting tolerable.  Tolerable!&#xD;&#xA;&#xD;&#xA;Ogg/Vorbis faired decidedly better regarding the quality/bitrate ratio.  So this kind of thing caught me on the wrong foot.&#xD;&#xA;&#xD;&#xA;As a rule, I'd stay away from any lossy encoding until you are finished mastering *and* listening.  You never really know what kind of actually-not-all-that-relevant audio component will end up hogging the bitrate.&#xD;&#xA;&#xD;&#xA;Some music styles might be less touchy here.  I think it is mostly the high frequency content: in my case it was getting too unmusical, but it is similarly distracting when fine-grained noise (like a hihat) is getting too musical, having discernible and wobbling tones in the noise (actually, &quot;musical noise&quot; is a well-known compression artifact)." ContentLicense="CC BY-SA 3.0" />
  <row Id="51018" PostHistoryTypeId="2" PostId="27627" RevisionGUID="19dfb02e-cc02-4dea-ae53-8c53cedbcd33" CreationDate="2014-02-24T13:57:17.707" UserDisplayName="user6513" Text="go to the video part of stack exchange. Or try the Vimeo job/help wanted page. There's also mandy.com and craigslist (if you're in the states). You're looking for filmmakers, not fellow sound designers so its the wrong place to post your question." ContentLicense="CC BY-SA 3.0" />
  <row Id="51019" PostHistoryTypeId="5" PostId="27627" RevisionGUID="33bcb1cb-ea8c-4eb2-8a4f-a8a945f94c11" CreationDate="2014-02-24T13:59:41.627" UserId="6957" Comment="Added link to V.SE" Text="Go to the video part of stack exchange [video.stackexchange.com](http://video.stackexchange.com). Or try the Vimeo job/help wanted page. There's also mandy.com and craigslist (if you're in the states). You're looking for filmmakers, not fellow sound designers so its the wrong place to post your question." ContentLicense="CC BY-SA 3.0" />
  <row Id="51020" PostHistoryTypeId="5" PostId="20750" RevisionGUID="d39009e8-f781-4777-a171-944aca66fbf4" CreationDate="2014-02-24T14:31:32.540" UserId="194" Comment="added 242 characters in body" Text="&#xD;&#xA;-- edit --&#xD;&#xA;&#xD;&#xA;this question piqued my curiousity enough that I ran a test for the tonebenders podcast.  Check out the results here:&#xD;&#xA;http://www.tonebenders.net/tonebenders-episode-seventeen-questions-ozone-and-plural-eyes/&#xD;&#xA;&#xD;&#xA;-- edi t--&#xD;&#xA;&#xD;&#xA;I honestly think this is a good question that's worthy of a little thoughtfulness.  &#xD;&#xA;&#xD;&#xA;IMO it *is* possible to eq one mic's frequency response to closely resemble another's.  As an example, I can (and have) take a simultaneous recording made with an NT5 and a Schoeps CMC6.Mk4 and use EQ (mellowing of the high end on the NT5) to make the two mics play well together and even feel very simlar frequency-response wise.&#xD;&#xA;&#xD;&#xA;Every capsule size has inherent resonant frequencies that interact with the overall recording in complex terms though - so simple slopes and rises won't compensate for that part of a mic's character effectively.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;With that said, I actually believe you can go quite a long way with EQ - especially in the upper mids and high end.&#xD;&#xA;&#xD;&#xA;The bigger differences are in low end extension (you can't add what isn't there) and in transient response.  &#xD;&#xA;&#xD;&#xA;I think transient response specifically, is what many people refer to as &quot;detail&quot; and is what can truly separate the sound of one mic from another.  As an example, my Line Audio CM3s have a *very* similar tonal characteristic to the Schoeps CMC6.Mk4 mic, but they track transients much more slowly.  This means that they yield similar recordings on things like traffic ambiance, but very different sounding recordings on applause - with the Schoeps yeilding much more detail in the individual claps and the CM3 sounding very different with regads to dynamics.&#xD;&#xA;&#xD;&#xA;The other thing about transient response is that it isn't uniform across the frequency spectrum.  Its entirely possible for mic A to track transients faster at 10k than mic B (again possibly due to capsule-based resonances), but slower at 2k.&#xD;&#xA;&#xD;&#xA;Another factor is electrical components.  Mic circuit boards are filled with components that further tune the frequency output, adjust impedance, create pads and filters, and change polar patterns.&#xD;&#xA;&#xD;&#xA;The quality of these components can do things like add **harmonic distortion**, boost or cut frequencies artificially, and further shape transient response at different frequencies.  We recently did a shootout with a U87 versus an AT4050 on VO, and the 4050 sounded much *cleaner* than the U87 (though it lacked that U87 &quot;character&quot;, probably mostly due to the differences in the level of harmonic distortion due to the different designs of the internal electronics. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51021" PostHistoryTypeId="2" PostId="27628" RevisionGUID="35ca5ab0-1387-4135-81f7-08d1c9545236" CreationDate="2014-02-24T14:58:16.257" UserId="37" Text="&quot;lossless&quot; means you get your waveforms reconstructed exactly, bit for bit, identical to the original.&#xD;&#xA;&#xD;&#xA;The biggest problem of MP3, and people keep ignoring this as if it really doesn't matter, is that it smears transients. internally, MP3 is split into frames of fixed size. The same math is used to reconstruct the entire frame. Even though the frames are small (1152 samples = 1/40th of a second), the duration of one frame is sufficient for the ear to detect that some sounds have been &quot;altered&quot;.&#xD;&#xA;&#xD;&#xA;320kbit still means you keep 1/4th of data only. Come transient time (snares, percussion, hihats, etc) that loss of data shows and what may be a beautifully crunchy attack is sacrificed because the encoder math optimised the data to cover the entire frame's needs, not necessarily those few important milliseconds. &#xD;&#xA;&#xD;&#xA;I've never found audible difference between 320kbit and 256kbit mp3. As long as mpeg audio is a bunch of matrices through which data is passed back and forth, adjusting the bitrate primarily affects how much data you're going to discard at the entry point. &#xD;&#xA;&#xD;&#xA;If your ears can't detect this, stick with MP3. If they can, go for FLAC. My favourite is ALAC - less open, but more supported on devices I actually use.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51022" PostHistoryTypeId="2" PostId="27629" RevisionGUID="f660ef5d-731a-4657-ab26-085403a5c7a5" CreationDate="2014-02-24T15:36:25.060" UserId="6940" Text="According to the manual, page 12, you have a separate Monitor mix and Stereo Mix.  Via the 2TR IN switch, you can have a Monitor Mix containing the main Stereo Mix *plus* the 2TR IN input, while the Stereo Out only contains the Stereo Mix. (see the diagram under section 12 on page 12)&#xD;&#xA;&#xD;&#xA;So yes, to me it sounds like you can, assuming you have your metronome on the 2TR IN input, you feed your headphone distribution from the Monitor pair, and you feed the PA from your Stereo Out pair." ContentLicense="CC BY-SA 3.0" />
  <row Id="51023" PostHistoryTypeId="2" PostId="27630" RevisionGUID="564f3d39-87f1-4144-adc5-11e3dc5560e1" CreationDate="2014-02-24T16:50:10.743" UserId="1393" Text="Steven Slate seems to have figured out a way to do this with his Virtual Mic System. http://www.slatedigital.com/vmspreview/ it's worth a look." ContentLicense="CC BY-SA 3.0" />
  <row Id="51034" PostHistoryTypeId="2" PostId="27632" RevisionGUID="2fa47316-c731-4ddf-bbca-f34a14bcb346" CreationDate="2014-02-24T21:05:26.757" UserId="6425" Text="If the mixer does not support multiple mixes -&gt; you can use another cheap 4 track mixer where you feed in a copy or bus of your mixer and mix it with the metronome.&#xD;&#xA;&#xD;&#xA;Good Day" ContentLicense="CC BY-SA 3.0" />
  <row Id="51035" PostHistoryTypeId="2" PostId="27633" RevisionGUID="a59bc554-14d6-4aee-b208-62cea7d7963d" CreationDate="2014-02-24T21:09:16.767" UserId="61" Text="Every film I have ever been a part of has one shared element: WORKFLOW. Each sound crew approaches it differently, and does each picture department and each mixing stage. How they work together is critical and affects the entire process, from the first day of turnover to the final day of M&amp;E.&#xD;&#xA;&#xD;&#xA;There have been published discussions on this topic but I don't think you can ever have enough documented examples of which methods have proved successful (or unsuccessful), why, how they could have been improved, etc. Given the many ways of working together as a group, from shared office space to satellite studios (local or global), having a well thought-out workflow in place from day 1 will have a major impact on how each member of the group spends his/her time, how much productivity is wasted doing repetitive tasks, and so on. And how will the various groups communicate and collaborate with each other? Via a cloud-based setting like Dropbox or Box.net? Does Google enter the picture? What about shared Soundminer databases? How is the picture department turning over dailies, AAFs and picture files? Is it as efficient as possible, without hours of wasted time making different versions and file types for different departments?&#xD;&#xA;&#xD;&#xA;So, I'd like to see more of that! " ContentLicense="CC BY-SA 3.0" />
  <row Id="51036" PostHistoryTypeId="36" PostId="27634" RevisionGUID="f1019d46-5da7-4116-b258-678bf28bf1d5" CreationDate="2014-02-24T21:52:19.773" UserId="-1" Comment="from http://music.stackexchange.com/questions/15737/understanding-how-to-mix-digital-audio-signals-by-multiplying-with-cosines-and-a" />
  <row Id="51037" PostHistoryTypeId="2" PostId="27635" RevisionGUID="9cf5fc99-1d25-42d7-97b8-28b061c1087a" CreationDate="2014-02-24T18:42:36.430" UserId="7344" Text="The underlying math is &#xD;&#xA; &#xD;&#xA;    out=cos(phi)*signal_1 + sin(phi)*signal_2&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;The reason why this is used is due to the fact that, although we deal with the amplitudes of signals, volume is related to the (mean) power, i.e. magnitude squared, of the signal.  Trigonometric functions are used here since `sin^2 phi + cos^2 phi =1` -- i.e. the sum of the *squares* of the factors remain constant,&#xD;&#xA;I also suspect that using trig functions here helps the &quot;intuitive&quot; feel of the control parameter.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;the resulting power is&#xD;&#xA;&#xD;&#xA;    &lt;out^2&gt; = (cos^2 phi) &lt; signal_1^2 &gt; + (sin^2 phi)*&lt;signal_2^2 &gt;+ cos(phi)*sin(phi)* &lt; signal_1 * signal_2 &gt;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If we have two independent signals of the same net power, then the output power will be the same as the input power.&#xD;&#xA;&#xD;&#xA;Notes:&#xD;&#xA;&#xD;&#xA;1. Angles are represented as &quot;fractions of a whole rotation&quot;&#xD;&#xA;&#xD;&#xA;2. I'm pretty sure that the `cycle`'s are not &quot;running&quot; -- they are just a way to compute `cos(phi)` and `sin( phi)=cos( phi+0.75)` in a manner that produces a signal (as opposed to a control), they have not had a frequency input into their first port.&#xD;&#xA;&#xD;&#xA;3. As the first &quot;angle&quot; varies from 0 to 0.25, the `cos` factor varies from 0 to 1.&#xD;&#xA;&#xD;&#xA;4. Setting the second angle to be the first angle +3/4 shifts the factor from cos to sin, and has it vary in the opposite sense.&#xD;&#xA;&#xD;&#xA;5. Your proposed factors `a,(1-a)` will yield overall volume changes since &#xD;&#xA;&#xD;&#xA;`a^2+(1-a)^2 = 1 -2a+2a^2` which is not constant." ContentLicense="CC BY-SA 3.0" />
  <row Id="51038" PostHistoryTypeId="2" PostId="27634" RevisionGUID="2ace27ce-e438-4d39-87ba-f55e01c0aceb" CreationDate="2014-02-24T17:20:56.577" UserDisplayName="jorgen" Text="I'm trying to understand a patch/abstraction in Max for Live called M4L.bal1, but I think the question is a pretty general one about digital audio processing.&#xD;&#xA;&#xD;&#xA;The patch mixes two audio signals according to an adjustable parameter P ranging from 0 to 1; so that P=0 corresponds to 100% signal 1 and P=1 to 100% signal 2.&#xD;&#xA;&#xD;&#xA;Naively I would expect you can multiply signal 1 with 1-P and signal 2 with P and then add them together. But the patch does something quite different:&#xD;&#xA;&#xD;&#xA;The patch multiplies both signals with cosine waves (the frequency of which are not specified, I assume it's a default value) and then added together. The cosines have the same frequencies but different phases; the actual phases depend on P and range from 0 to 0.25 while the difference between the cosine phases is equal to 0.75 independent of P. I assume the phases are given in units of pi radians.&#xD;&#xA;&#xD;&#xA;I'd be grateful if anyone could explain how this accomplishes mixing the signals!&#xD;&#xA;&#xD;&#xA;Here's a picture of the patch:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/pVTZV.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="51039" PostHistoryTypeId="1" PostId="27634" RevisionGUID="2ace27ce-e438-4d39-87ba-f55e01c0aceb" CreationDate="2014-02-24T17:20:56.577" UserDisplayName="jorgen" Text="Understanding how to mix digital audio signals by multiplying with cosines and adding" ContentLicense="CC BY-SA 3.0" />
  <row Id="51040" PostHistoryTypeId="3" PostId="27634" RevisionGUID="2ace27ce-e438-4d39-87ba-f55e01c0aceb" CreationDate="2014-02-24T17:20:56.577" UserDisplayName="jorgen" Text="&lt;mix&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51041" PostHistoryTypeId="36" PostId="27635" RevisionGUID="2fc25504-08cf-4729-8e1d-c83b346a7152" CreationDate="2014-02-24T21:52:19.773" UserId="-1" Comment="from http://music.stackexchange.com/questions/15737/understanding-how-to-mix-digital-audio-signals-by-multiplying-with-cosines-and-a/15739#15739" />
  <row Id="51045" PostHistoryTypeId="5" PostId="27131" RevisionGUID="a6dd83a0-f406-4779-9af3-edc26c35402b" CreationDate="2014-02-24T21:58:17.193" UserId="6957" Comment="formatting" Text="There are some but I believe the main reason as to why there aren't more is that:&#xD;&#xA;&#xD;&#xA; - They are more expensive.&#xD;&#xA; - The company's target audience design are mostly your home/bedroom studio affordable.&#xD;&#xA;equipment where you wont be recording a full live orchestra and need 3.0 to send so much data.&#xD;&#xA; - Also, a big reason is that most laptop and desktop aren't and wont be pre-built with USB 3.0 ports for a few years to come so you would have to purchase/install USB 3.0 ports in your desktop or purchase an 2.0 to 3.0 adapter... which brings me to the question I came here trying to possibly learn.&#xD;&#xA;&#xD;&#xA;If as an example I were to purchase a USB 3.0 compatible interface like RME's MADIface XT&#xD;&#xA;or a Firewire 400/800 interface and use a converter to USB 2.0 to connect to the existing USB ports in my laptop, Would the converter automatically lower the speed and clarity rendering it pointless to pay extra for a faster interface?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51046" PostHistoryTypeId="2" PostId="27636" RevisionGUID="04c56b8a-d684-4560-aabe-aab1c78c701b" CreationDate="2014-02-24T22:30:03.543" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="51047" PostHistoryTypeId="2" PostId="27637" RevisionGUID="0407f447-6c2f-4585-b80b-ccc967d2ff04" CreationDate="2014-02-24T22:30:03.543" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="51048" PostHistoryTypeId="2" PostId="27638" RevisionGUID="128fe514-0eda-4924-af84-54c74250b9fd" CreationDate="2014-02-24T22:36:12.940" UserId="2690" Text="I would like to learn if there are any reliable methods to find out if some human voice recording is real or computer generated. &#xD;&#xA;&#xD;&#xA;The voice recording under suspect is [here][1]. The voice recording contains evidence for some corruption charges. The recording is probably obtained by unauthorized wiretapping. The accused people deny the authenticity of the voice recording.&#xD;&#xA;&#xD;&#xA;Is there any reliable methods to find out if this voice recording is computer generated or assembled sound or not?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.youtube.com/watch?v=Cvf4aeRLu0E" ContentLicense="CC BY-SA 3.0" />
  <row Id="51049" PostHistoryTypeId="1" PostId="27638" RevisionGUID="128fe514-0eda-4924-af84-54c74250b9fd" CreationDate="2014-02-24T22:36:12.940" UserId="2690" Text="How to find out if some sound recording is real or computer generated?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51050" PostHistoryTypeId="3" PostId="27638" RevisionGUID="128fe514-0eda-4924-af84-54c74250b9fd" CreationDate="2014-02-24T22:36:12.940" UserId="2690" Text="&lt;voice&gt;&lt;voice-manipulation&gt;&lt;authentic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51051" PostHistoryTypeId="5" PostId="27637" RevisionGUID="c2c91411-18d3-4eb5-8473-bfae43ee6889" CreationDate="2014-02-24T22:45:31.107" UserId="7344" Comment="added 89 characters in body" Text="Max/MSP visual programming language for designing sound (an other) effects and processes." ContentLicense="CC BY-SA 3.0" />
  <row Id="51052" PostHistoryTypeId="24" PostId="27637" RevisionGUID="c2c91411-18d3-4eb5-8473-bfae43ee6889" CreationDate="2014-02-24T22:45:31.107" Comment="Proposed by 7344 approved by -1 edit id of 67" ContentLicense="CC BY-SA 3.0" />
  <row Id="51053" PostHistoryTypeId="5" PostId="27637" RevisionGUID="8f2f41a6-a35a-4ddc-9724-9b220ba2415f" CreationDate="2014-02-24T22:45:31.107" UserId="432" Comment="added 1 characters in body" Text="Max/MSP visual programming language for designing sound (and other) effects and processes." ContentLicense="CC BY-SA 3.0" />
  <row Id="51054" PostHistoryTypeId="2" PostId="27639" RevisionGUID="3dec4632-d9c9-487c-9c55-091a035137ed" CreationDate="2014-02-24T22:46:10.447" UserId="6882" Text="I'm currently finishing mixing a feature which has been cut in reels so I've mixed it as such. However as it's for DCP and not a film print I'm wondering if there's as much of a need to still work in reels? &#xD;&#xA;&#xD;&#xA;I'm about to start another project for DCP next week and am considering making my session continuous (ie the entire film in one session) to make the final screening easier and save on session organisation, mixing down and exporting/importing time.&#xD;&#xA;&#xD;&#xA;Anyone else out there mixing features in continuous sessions or are you sticking with reels?&#xD;&#xA;&#xD;&#xA;The DCP is definitely being made as one continuous file for both projects by the way.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51055" PostHistoryTypeId="1" PostId="27639" RevisionGUID="3dec4632-d9c9-487c-9c55-091a035137ed" CreationDate="2014-02-24T22:46:10.447" UserId="6882" Text="Mixing For DCP - Reels or Continuous?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51056" PostHistoryTypeId="3" PostId="27639" RevisionGUID="3dec4632-d9c9-487c-9c55-091a035137ed" CreationDate="2014-02-24T22:46:10.447" UserId="6882" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51057" PostHistoryTypeId="2" PostId="27640" RevisionGUID="1653731c-975a-4621-a1e5-4e5c162b36c3" CreationDate="2014-02-24T22:58:24.877" UserId="6882" Text="I've done a few A-B tests between WAV and 320kbps mp3 and have yet to notice an audible difference. &#xD;&#xA;I've only tested rock and electronic music and not classical or jazz but for what it's worth my ears couldn't hear any discernible loss in quality.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51058" PostHistoryTypeId="6" PostId="27634" RevisionGUID="e371369f-41e9-4ea2-897e-b7179edd79a4" CreationDate="2014-02-25T00:45:19.800" UserId="7344" Comment="added max-msp tag" Text="&lt;mix&gt;&lt;max-msp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51059" PostHistoryTypeId="24" PostId="27634" RevisionGUID="e371369f-41e9-4ea2-897e-b7179edd79a4" CreationDate="2014-02-25T00:45:19.800" Comment="Proposed by 7344 approved by 432, 1228 edit id of 66" ContentLicense="CC BY-SA 3.0" />
  <row Id="51060" PostHistoryTypeId="2" PostId="27641" RevisionGUID="b9c945f8-7fea-42a0-a82b-3979f87ab543" CreationDate="2014-02-25T01:34:35.687" UserId="7565" Text="I'm having trouble choosing a multichannel wireless mic system.  It will be for a live variety show done for a private audience, just something to help the older folks hear a little better and maybe to pipe into a consumer quality digital video camera.  It'd need to have six to eight channels and lapel or lavalier mic's.&#xD;&#xA;&#xD;&#xA;The thing is, we don't have a lot of money to invest and a lot of the more affordable sets I'm finding are getting pretty bad reviews.  For instance, I found a Pyle Pro PDWM8900 for $240, but the reviews were pretty brutal.&#xD;&#xA;&#xD;&#xA;Is there anything under $400 worth having?  We don't need awesome sound quality, since it will be mainly for speaking only.  It also doesn't have to be able to withstand daily use - a few times a year is all we're looking for.&#xD;&#xA;&#xD;&#xA;Is there any hope for me?  Any recommendations?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51061" PostHistoryTypeId="1" PostId="27641" RevisionGUID="b9c945f8-7fea-42a0-a82b-3979f87ab543" CreationDate="2014-02-25T01:34:35.687" UserId="7565" Text="Recommendation for a multichannel wireless mic system" ContentLicense="CC BY-SA 3.0" />
  <row Id="51062" PostHistoryTypeId="3" PostId="27641" RevisionGUID="b9c945f8-7fea-42a0-a82b-3979f87ab543" CreationDate="2014-02-25T01:34:35.687" UserId="7565" Text="&lt;recommendations&gt;&lt;microphone&gt;&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51063" PostHistoryTypeId="2" PostId="27642" RevisionGUID="1e0f0714-c79e-41a0-b96a-22d611d40331" CreationDate="2014-02-25T02:15:56.260" UserId="6510" Text="I am cutting a nature doc about deforestation and I have hit a brick wall on a certain scene. &#xD;&#xA;&#xD;&#xA;In this scene, we are in an elephant habitat and there are about 6 adult elephants that are bathing in the river and wrestling on the shore and in the jungle foliage (all CU or MCU). I have cut all of the specific actions, but I am wanting to convey some joy in these elephants. Everything for elephant vocals that I have is either vintage or a huge distressed bellow/scream. &#xD;&#xA;&#xD;&#xA;Can anyone recommend a library or a private sale?&#xD;&#xA;&#xD;&#xA;did I mention that I am on a super-tight deadline?&#xD;&#xA;&#xD;&#xA;Much Love,&#xD;&#xA;&#xD;&#xA;Chris Davis" ContentLicense="CC BY-SA 3.0" />
  <row Id="51064" PostHistoryTypeId="1" PostId="27642" RevisionGUID="1e0f0714-c79e-41a0-b96a-22d611d40331" CreationDate="2014-02-25T02:15:56.260" UserId="6510" Text="Playful elephants? Semi-urgent" ContentLicense="CC BY-SA 3.0" />
  <row Id="51065" PostHistoryTypeId="3" PostId="27642" RevisionGUID="1e0f0714-c79e-41a0-b96a-22d611d40331" CreationDate="2014-02-25T02:15:56.260" UserId="6510" Text="&lt;sound&gt;&lt;recommendations&gt;&lt;request&gt;&lt;effect&gt;&lt;animals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51066" PostHistoryTypeId="2" PostId="27643" RevisionGUID="e6fe6a50-eed1-48ba-ab3b-57e96c83ce97" CreationDate="2014-02-25T05:01:51.850" UserId="6441" Text="I keep the film the way it's delivered to me. If I get the film in reels, I import all the reels into one session. I then spot the reels to the correct timecode and import the OMF's. If you cut the reels together and make a continuous session, the timecode in pro tools would not match the burned in timecode on the video.... also if the client re-deliver's missing assets, music, ADR, etc. in an omf to you, it will end up in the wrong place in your session causing a lot of extra work and wasted time.&#xD;&#xA;&#xD;&#xA;I usually get a continuous cut of the film for creating the final DCP deliverables. At that point I am just consolidating my stems and printmasters. And if not the editor handles it on their end. &#xD;&#xA;&#xD;&#xA;I also think working in reels is easier on a team. Dividing tasks and setting goals for everyone to work towards, helps the project stay on track." ContentLicense="CC BY-SA 3.0" />
  <row Id="51067" PostHistoryTypeId="2" PostId="27644" RevisionGUID="bcbee371-5623-4071-87ef-2efff0ee5348" CreationDate="2014-02-25T08:13:44.137" UserId="7549" Text="It seems the major downside of recording actual audio is the limited moddability in making a flawed human recording sound more perfect, while the major downside of MIDI recording is  the time and effort necessary to make perfect flat synthesized sounds, sound more human. Both are cons; each are from one extreme.&#xD;&#xA;&#xD;&#xA;Are MIDIs/VSTs less appropriate for more subtle / nuanced/ classical compositions? For example, even with Vienna Symphonic Library's VST (one of the better libraries?), it seems it would take an inordinate amount of time and effort to reproduce the tone color and rubato of human playing (see link below). But this (skilled) musician can do it in minutes.&#xD;&#xA;&#xD;&#xA;How difficult is it to mimic [the first 60 seconds of this video][1] using VSTs and all the mixing effects at your disposal? The cello play sounds pretty detailed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?src_vid=FGyIBnzJiyU&amp;v=lUjWJSnGVB0" ContentLicense="CC BY-SA 3.0" />
  <row Id="51068" PostHistoryTypeId="1" PostId="27644" RevisionGUID="bcbee371-5623-4071-87ef-2efff0ee5348" CreationDate="2014-02-25T08:13:44.137" UserId="7549" Text="How effective are VSTs for nuanced classical compositions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51069" PostHistoryTypeId="3" PostId="27644" RevisionGUID="bcbee371-5623-4071-87ef-2efff0ee5348" CreationDate="2014-02-25T08:13:44.137" UserId="7549" Text="&lt;sound-design&gt;&lt;audio-recording&gt;&lt;mixing&gt;&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51070" PostHistoryTypeId="5" PostId="27644" RevisionGUID="129517df-3da0-4564-8132-46bcac82a005" CreationDate="2014-02-25T08:21:02.537" UserId="7549" Comment="added 13 characters in body; edited title" Text="It seems the major downside of recording actual audio is the limited moddability in making a flawed human recording sound more perfect, while the major downside of MIDI recording is  the time and effort necessary to make perfect flat synthesized sounds, sound more human. Both are cons; each are from one extreme.&#xD;&#xA;&#xD;&#xA;Are MIDIs/VSTs less appropriate for more expressive / subtle / nuanced/ classical compositions? For example, even with Vienna Symphonic Library's VST (one of the better libraries?), it seems it would take an inordinate amount of time and effort to reproduce the tone color and rubato of human playing (see link below). But this (skilled) musician can do it in minutes.&#xD;&#xA;&#xD;&#xA;How difficult is it to mimic [the first 60 seconds of this video][1] using VSTs and all the mixing effects at your disposal? The cello play sounds pretty detailed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?src_vid=FGyIBnzJiyU&amp;v=lUjWJSnGVB0" ContentLicense="CC BY-SA 3.0" />
  <row Id="51071" PostHistoryTypeId="4" PostId="27644" RevisionGUID="129517df-3da0-4564-8132-46bcac82a005" CreationDate="2014-02-25T08:21:02.537" UserId="7549" Comment="added 13 characters in body; edited title" Text="How effective are VSTs for expressive classical compositions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51072" PostHistoryTypeId="2" PostId="27645" RevisionGUID="7ae32314-c87c-482f-9591-f8ef1a827ba9" CreationDate="2014-02-25T08:25:44.120" UserId="6425" Text="Imho a days work, if you got the right impulse responses. The thing that is the hardest to mimic is the &quot;life&quot;, which comes from the room and the human musician. &#xD;&#xA;&#xD;&#xA;An expert (not me ;)) will always know that it is Midi or real. But a normal listener can be tricked with Midi. (Look at all those &quot;epic movie&quot; trailers right now.) They are most of the time basic synthesisers + Midi Orchestras. The regular cinemaist would not hear the difference imho.&#xD;&#xA;&#xD;&#xA;If you are going to re-midi this (solos), the most important thing is the intonation and right amount of instrument &quot;noise&quot;. So be very, very careful with your vst choice regarding the human factor and intonation. You will need to pitch automate like every note if the vst has no inbuilt intonation tool. after that you can use melodyne to finetune pitch shiftings if needed. Also getting the right amount (often very subtle) of vibrato and tremolo is important for strings. Be sure to vary the vibrato tempo for each note played. Often the vibrato and tremolo does not kick in right away. You first have a small glissando to &quot;find&quot; the pitch of the note, then the vibrato kicks in and swells a little bit. Then to the end of the note the player often reduces the vibrato amount. Things like this can make or brake a solo. (If you think of it as a synthesiser solo, you would use a lot of pitch and modweel to if you'd play a solo).&#xD;&#xA;&#xD;&#xA;Good day" ContentLicense="CC BY-SA 3.0" />
  <row Id="51073" PostHistoryTypeId="2" PostId="27646" RevisionGUID="11f2b58c-b7b4-48a0-ac0b-9d1f933590a1" CreationDate="2014-02-25T09:03:54.430" UserId="6411" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="51074" PostHistoryTypeId="2" PostId="27647" RevisionGUID="cb7b1a34-249b-4e13-8abd-5f780755004e" CreationDate="2014-02-25T09:03:54.430" UserId="6411" Text="AVID produced DAW. Use this tag for general questions regarding Pro Tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="51075" PostHistoryTypeId="2" PostId="27648" RevisionGUID="1ce00eec-3d4d-4a3e-b965-35f7a37e9585" CreationDate="2014-02-25T09:05:28.657" UserId="6411" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="51076" PostHistoryTypeId="2" PostId="27649" RevisionGUID="7ede9934-5394-4b4c-8bde-088f446a7576" CreationDate="2014-02-25T09:05:28.657" UserId="6411" Text="For questions specific to PT10, PT10 HD, PT10 HDX" ContentLicense="CC BY-SA 3.0" />
  <row Id="51077" PostHistoryTypeId="2" PostId="27650" RevisionGUID="2878b56b-52e5-471b-a325-1298eee8f5bf" CreationDate="2014-02-25T09:06:29.990" UserId="6411" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="51078" PostHistoryTypeId="2" PostId="27651" RevisionGUID="41bac60b-e6ee-47d7-8ea1-ea2214117f09" CreationDate="2014-02-25T09:06:29.990" UserId="6411" Text="For questions specific to PT 9, PT 9 HD, PT 9 HDX" ContentLicense="CC BY-SA 3.0" />
  <row Id="51079" PostHistoryTypeId="6" PostId="19797" RevisionGUID="3444dc00-f7ef-454a-87ac-9e0edc624931" CreationDate="2014-02-25T09:07:04.070" UserId="6411" Comment="edited tags" Text="&lt;sound-design&gt;&lt;design&gt;&lt;vocoder&gt;&lt;technology&gt;&lt;pro-tools-9&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51080" PostHistoryTypeId="6" PostId="17855" RevisionGUID="d5bfe2ec-ab9d-4f1e-9623-6203f46ac326" CreationDate="2014-02-25T09:08:12.950" UserId="6411" Comment="Tags" Text="&lt;recommendations&gt;&lt;computer&gt;&lt;pro-tools-9&gt;&lt;operation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51081" PostHistoryTypeId="6" PostId="17543" RevisionGUID="4176a62c-a5a1-4cfc-b113-aa564f2c78f5" CreationDate="2014-02-25T09:08:53.593" UserId="6411" Comment="Tags" Text="&lt;software&gt;&lt;troubleshooting&gt;&lt;computer&gt;&lt;pro-tools-9&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51082" PostHistoryTypeId="6" PostId="13943" RevisionGUID="6098b960-4141-456c-b186-089cfd538b06" CreationDate="2014-02-25T09:09:43.380" UserId="6411" Comment="Tags" Text="&lt;troubleshooting&gt;&lt;dialogue-recording&gt;&lt;dubbing-stage&gt;&lt;pro-tools-9&gt;&lt;dubbing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51083" PostHistoryTypeId="4" PostId="13009" RevisionGUID="02b36bc9-5f6f-4215-8255-9560b83c0e31" CreationDate="2014-02-25T09:10:21.193" UserId="6411" Comment="Tags" Text="Protools 101 avid assessment" ContentLicense="CC BY-SA 3.0" />
  <row Id="51084" PostHistoryTypeId="6" PostId="13009" RevisionGUID="02b36bc9-5f6f-4215-8255-9560b83c0e31" CreationDate="2014-02-25T09:10:21.193" UserId="6411" Comment="Tags" Text="&lt;avid&gt;&lt;pro-tools-9&gt;&lt;test&gt;&lt;best-practice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51085" PostHistoryTypeId="5" PostId="11585" RevisionGUID="41958a19-ad7c-48fb-9da6-e66c50a52207" CreationDate="2014-02-25T09:10:48.527" UserId="6411" Comment="deleted 12 characters in body; edited tags" Text="Anyone have an issue in Pro Tools 9, running on Snow Leopard, where the DAW consistently puts out a a problem detected report every 5-10 minutes and the temporary fix is to increase or decrease the buffer size?&#xD;&#xA;&#xD;&#xA;&quot;Problem detected with audio clock. Check that your clock source and sample rate are correct.&quot;&#xD;&#xA;&#xD;&#xA;Under clock Source it says &quot;See Control Panel&quot; - is that Audio Midi Setup or Sound Options under the OSX preferences? Or something different?&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;C3" ContentLicense="CC BY-SA 3.0" />
  <row Id="51086" PostHistoryTypeId="6" PostId="11585" RevisionGUID="41958a19-ad7c-48fb-9da6-e66c50a52207" CreationDate="2014-02-25T09:10:48.527" UserId="6411" Comment="deleted 12 characters in body; edited tags" Text="&lt;pro-tools-9&gt;&lt;bugs&gt;&lt;clock&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51087" PostHistoryTypeId="2" PostId="27652" RevisionGUID="cd206c6b-1e58-4c67-8bb3-4554520b8a10" CreationDate="2014-02-25T09:11:42.747" UserId="6411" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="51088" PostHistoryTypeId="2" PostId="27653" RevisionGUID="bc6e3829-3202-44af-a318-b427df181a08" CreationDate="2014-02-25T09:11:42.747" UserId="6411" Text="For questions specific to PT 9, PT 9 HD, PT 9 HDX " ContentLicense="CC BY-SA 3.0" />
  <row Id="51089" PostHistoryTypeId="2" PostId="27654" RevisionGUID="6db98a7a-050a-42e9-bcab-83eca317061a" CreationDate="2014-02-25T09:12:47.863" UserId="6411" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="51090" PostHistoryTypeId="2" PostId="27655" RevisionGUID="81841a43-612f-4cbd-b9de-b73849bf614e" CreationDate="2014-02-25T09:12:47.863" UserId="6411" Text="For questions specific to PT 11, PT 11 HD, PT 11 HDX " ContentLicense="CC BY-SA 3.0" />
  <row Id="51091" PostHistoryTypeId="2" PostId="27656" RevisionGUID="e7b5c58f-a4e2-4614-af35-d6514e714c79" CreationDate="2014-02-25T12:01:16.060" UserId="6665" Text="It does not matter what your time code is because ultimately your synchronisation points would be the blips at the beginning and end of the video files. This is more important than the timecode of the video file. however timecode is not completely irrelevant. Given that its a DCP you can work on either a reel format or a continuous file and it should not be a problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="51093" PostHistoryTypeId="5" PostId="27642" RevisionGUID="51ed65a5-3766-40d3-a4ae-10b506f668f3" CreationDate="2014-02-25T14:24:28.043" UserId="6401" Comment="deleted 27 characters in body; edited tags; edited title" Text="I am cutting a nature doc about deforestation and I have hit a brick wall on a certain scene. &#xD;&#xA;&#xD;&#xA;In this scene, we are in an elephant habitat and there are about 6 adult elephants that are bathing in the river and wrestling on the shore and in the jungle foliage (all CU or MCU). I have cut all of the specific actions, but I am wanting to convey some joy in these elephants. Everything for elephant vocals that I have is either vintage or a huge distressed bellow/scream. &#xD;&#xA;&#xD;&#xA;Did I mention that I am on a super-tight deadline?&#xD;&#xA;&#xD;&#xA;Can anyone recommend a library or a private sale?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51094" PostHistoryTypeId="4" PostId="27642" RevisionGUID="51ed65a5-3766-40d3-a4ae-10b506f668f3" CreationDate="2014-02-25T14:24:28.043" UserId="6401" Comment="deleted 27 characters in body; edited tags; edited title" Text="Need vocals for playful elephants" ContentLicense="CC BY-SA 3.0" />
  <row Id="51095" PostHistoryTypeId="6" PostId="27642" RevisionGUID="51ed65a5-3766-40d3-a4ae-10b506f668f3" CreationDate="2014-02-25T14:24:28.043" UserId="6401" Comment="deleted 27 characters in body; edited tags; edited title" Text="&lt;recommendations&gt;&lt;animals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51097" PostHistoryTypeId="2" PostId="27658" RevisionGUID="78df6690-cb7b-4d36-85eb-902b52f5761f" CreationDate="2014-02-25T16:08:25.440" UserId="7572" Text="Hello fellow sound designers, &#xD;&#xA;&#xD;&#xA;I would like to propose these questions to you all. The reason why I ask these questions are, I am writing a report on the sound designers in the industry. What is the difference between what we expect and the reality of the job market at the moment? I will really appreciate any form of response.&#xD;&#xA;&#xD;&#xA;•	Do you find sound related jobs in the industry difficult to gained?&#xD;&#xA;&#xD;&#xA;•	How much experience is required before realistically going to be a freelance sound designer?&#xD;&#xA;&#xD;&#xA;•	Does the industry seem to be on the decline, are there jobs available? &#xD;&#xA;&#xD;&#xA;Thank you very much.&#xD;&#xA;&#xD;&#xA;Josh &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51098" PostHistoryTypeId="1" PostId="27658" RevisionGUID="78df6690-cb7b-4d36-85eb-902b52f5761f" CreationDate="2014-02-25T16:08:25.440" UserId="7572" Text="sound designers: Expectation vs reality?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51099" PostHistoryTypeId="3" PostId="27658" RevisionGUID="78df6690-cb7b-4d36-85eb-902b52f5761f" CreationDate="2014-02-25T16:08:25.440" UserId="7572" Text="&lt;sound&gt;&lt;experiences&gt;&lt;sound-designer&gt;&lt;question&gt;&lt;questionnaire&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51104" PostHistoryTypeId="2" PostId="27660" RevisionGUID="3f4d43b9-2574-4fa0-9a8c-00f1a0f3ef18" CreationDate="2014-02-25T20:18:58.303" UserId="7575" Text="So I fumbled my favorite vinyl the other day. It hit the side of my cabinet which transferred some white paint scuffs that I can't get off. I don't think there are any scratches, just surface-level paint marks. You can hear the needle hitting the scuffs when I play the record. What's a safe way to remove the scuffs so that the vinyl plays normally again? " ContentLicense="CC BY-SA 3.0" />
  <row Id="51105" PostHistoryTypeId="1" PostId="27660" RevisionGUID="3f4d43b9-2574-4fa0-9a8c-00f1a0f3ef18" CreationDate="2014-02-25T20:18:58.303" UserId="7575" Text="How can I remove scuffs from a vinyl record?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51106" PostHistoryTypeId="3" PostId="27660" RevisionGUID="3f4d43b9-2574-4fa0-9a8c-00f1a0f3ef18" CreationDate="2014-02-25T20:18:58.303" UserId="7575" Text="&lt;sound&gt;&lt;audio&gt;&lt;audio-restoration&gt;&lt;record&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51107" PostHistoryTypeId="2" PostId="27661" RevisionGUID="4c44b178-3ed7-4b57-b2ef-5b674fd185f2" CreationDate="2014-02-25T20:48:45.033" UserId="1228" Text="Pressed records, although stronger than a cut lacquer, are still susceptible to damage, especially the grooves.  So you're very well likely out of luck.  If you can hear the damage, then you do have surface the damage, because you will hear whatever the needle is tracking, both good and bad.&#xD;&#xA;&#xD;&#xA;I believe there are cleaning solutions which can be used with microfiber cloth.  However, if you try any of those cleaning solutions and there is in fact damage underneath the paint transfer, you're only real option is to buy a replacement." ContentLicense="CC BY-SA 3.0" />
  <row Id="51108" PostHistoryTypeId="8" PostId="27642" RevisionGUID="f16c9d49-e1a9-4e32-8e74-4f16399bd5b2" CreationDate="2014-02-25T20:53:44.040" UserId="1228" Comment="Rollback to [1e0f0714-c79e-41a0-b96a-22d611d40331]" Text="I am cutting a nature doc about deforestation and I have hit a brick wall on a certain scene. &#xD;&#xA;&#xD;&#xA;In this scene, we are in an elephant habitat and there are about 6 adult elephants that are bathing in the river and wrestling on the shore and in the jungle foliage (all CU or MCU). I have cut all of the specific actions, but I am wanting to convey some joy in these elephants. Everything for elephant vocals that I have is either vintage or a huge distressed bellow/scream. &#xD;&#xA;&#xD;&#xA;Can anyone recommend a library or a private sale?&#xD;&#xA;&#xD;&#xA;did I mention that I am on a super-tight deadline?&#xD;&#xA;&#xD;&#xA;Much Love,&#xD;&#xA;&#xD;&#xA;Chris Davis" ContentLicense="CC BY-SA 3.0" />
  <row Id="51109" PostHistoryTypeId="7" PostId="27642" RevisionGUID="f16c9d49-e1a9-4e32-8e74-4f16399bd5b2" CreationDate="2014-02-25T20:53:44.040" UserId="1228" Comment="Rollback to [1e0f0714-c79e-41a0-b96a-22d611d40331]" Text="Playful elephants? Semi-urgent" ContentLicense="CC BY-SA 3.0" />
  <row Id="51110" PostHistoryTypeId="9" PostId="27642" RevisionGUID="f16c9d49-e1a9-4e32-8e74-4f16399bd5b2" CreationDate="2014-02-25T20:53:44.040" UserId="1228" Comment="Rollback to [1e0f0714-c79e-41a0-b96a-22d611d40331]" Text="&lt;sound&gt;&lt;recommendations&gt;&lt;request&gt;&lt;effect&gt;&lt;animals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51111" PostHistoryTypeId="6" PostId="27642" RevisionGUID="a89b0799-f33b-410f-9306-e77e857a3fd1" CreationDate="2014-02-25T20:56:42.720" UserId="1228" Comment="edited tags" Text="&lt;sound-effects&gt;&lt;recommendations&gt;&lt;sound-libraries&gt;&lt;request&gt;&lt;animals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51112" PostHistoryTypeId="4" PostId="27642" RevisionGUID="a89b0799-f33b-410f-9306-e77e857a3fd1" CreationDate="2014-02-25T20:56:42.720" UserId="1228" Comment="edited tags" Text="REQUEST: Playful elephants" ContentLicense="CC BY-SA 3.0" />
  <row Id="51113" PostHistoryTypeId="6" PostId="27658" RevisionGUID="7a6a89df-bc4d-44d7-b123-108a9b3419e0" CreationDate="2014-02-25T21:54:28.043" UserId="6957" Comment="Some Grammar" Text="&lt;experiences&gt;&lt;sound-designer&gt;&lt;questionnaire&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51114" PostHistoryTypeId="5" PostId="27658" RevisionGUID="7a6a89df-bc4d-44d7-b123-108a9b3419e0" CreationDate="2014-02-25T21:54:28.043" UserId="6957" Comment="Some Grammar" Text="Hello fellow sound designers, &#xD;&#xA;&#xD;&#xA;I would like to propose these questions to you all. I'm asking these questions because I am writing a report on sound designers in the industry. I'm hoping to find out what the difference is between what we expect and the reality of the job market at the moment? I really appreciate any form of response.&#xD;&#xA;&#xD;&#xA;•	Do you find that sound related jobs in the industry are difficult to obtain?&#xD;&#xA;&#xD;&#xA;•	How much experience is required before realistically becoming a freelance sound designer?&#xD;&#xA;&#xD;&#xA;•	Does the industry seem to be on the decline, are there jobs available? &#xD;&#xA;&#xD;&#xA;Thank you very much.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51115" PostHistoryTypeId="2" PostId="27662" RevisionGUID="e69b33dd-b057-42c7-b33b-c6d04701ee1e" CreationDate="2014-02-25T22:00:46.340" UserId="37" Text="have it professionally cleaned. alternatively search on youtube, there's crazy people pulling crazy stunts cleaning vinyl.. microscopes, powerful washing, you name it. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51116" PostHistoryTypeId="2" PostId="27663" RevisionGUID="18377022-0c6a-464f-9292-79a458607bb1" CreationDate="2014-02-25T23:52:05.803" UserId="6448" Text="• Do you find that sound related jobs in the industry are difficult to obtain?&#xD;&#xA;&#xD;&#xA;Yes, because everyone wants a media/entertainment job. And sound generally is the smallest group in any production team.&#xD;&#xA;&#xD;&#xA;• How much experience is required before realistically becoming a freelance sound designer?&#xD;&#xA;&#xD;&#xA;As much as is needed to make someone interested about your sound.&#xD;&#xA;&#xD;&#xA;• Does the industry seem to be on the decline, are there jobs available?&#xD;&#xA;&#xD;&#xA;It's a very volatile industry, because it's dependent on the consumption of media. The better (in terms of products and consumer base) company or group you work with, the more stable it'll be. But this (stability) is obviously also the biggest source of competition. Because everyone would like stability.&#xD;&#xA;&#xD;&#xA;Consider freelancing, if you enjoy your work and want to control your work, but don't want to delve into the (extreme) competitiveness about the very limited positions and bad job security of media work." ContentLicense="CC BY-SA 3.0" />
  <row Id="51117" PostHistoryTypeId="2" PostId="27664" RevisionGUID="8a18a780-ee8d-4706-b213-4ba535173fe0" CreationDate="2014-02-26T02:58:11.567" UserId="7449" Text="Watch Asian horror films. They are well-practiced at generating suspense with music and sound effects. Mostly it's minor key and discordant stuff." ContentLicense="CC BY-SA 3.0" />
  <row Id="51118" PostHistoryTypeId="5" PostId="27664" RevisionGUID="38566ffe-ea2c-4f93-959d-6b43384b5b13" CreationDate="2014-02-26T03:22:43.883" UserId="7449" Comment="Expanded on original suggestion" Text="Watch Asian horror films. They are well-practiced at generating suspense with music and sound effects. Mostly it's minor key and discordant stuff. The sound designers who work on thrillers/suspense films use the same techniques such as filters, reverb, and pitch/time shifting that mentioned above to achieve a certain atmosphere. The kinds of sounds people find unsettling are pretty consistent, in my experience. One example is this: if in the game the player turns a corner and sees something creepy run past up ahead, a quick little discordant piano riff would unnerve the player. Add a little compression and EQ and the piano riff will go right up the person's spine." ContentLicense="CC BY-SA 3.0" />
  <row Id="51119" PostHistoryTypeId="2" PostId="27665" RevisionGUID="7bb98715-beea-40b3-bcfb-72af59375f11" CreationDate="2014-02-26T03:47:22.870" UserId="7578" Text="I'm warming up to Ableton Live by attempting to manipulate songs into how various animals would hear them.&#xD;&#xA;&#xD;&#xA;For example, idealized bats hear roughly between octave 7, starting at 1.28kHz, to octave 13, ending at about 164kHz. Just like us, their sensitivity to sounds in their hearing range drops off toward the edges (they hear 20kHz really well, but 2kHz &amp; 150kHz would be really quiet).&#xD;&#xA;&#xD;&#xA;Ok, so, I load a song into a Live clip, and I add an EQ device, and I cut off low frequencies below about 1.28kHz. However, this is what the frequency visualization shows me:&#xD;&#xA;&#xD;&#xA;![the red line of the filter completely drops off at 1.28kHz, but the frequency of the song is still very high below that point][1]&#xD;&#xA;&#xD;&#xA;Far from ending the frequencies at 1.28 and rounding them in above that, it seems that many frequencies, the whole way down to 50Hz, are still in this audio. And indeed, the human vocal range ends at about 1100Hz (though Jeff Mangum's seems to be centered around 610 in this song), but the singing can still be heard very clearly with this EQ in effect (&amp; it doesn't just sound like overtones).&#xD;&#xA;&#xD;&#xA;So I could &quot;eye it up&quot; to ensure that I don't, in this particular song, **see** any frequencies leaking in below my cutoff. But that feels incredibly unscientific. Is there a better way to EQ or limit my audio to get the (admittedly strange) effect I want?&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;&#xD;&#xA;Related: Why's the EQ visual end at just above 11k? That leaves more than half an octave of human hearing out! (I know, I know, it's all just air, but still.) It **would** actually be kinda nice to be able to see some higher pitches in my visual, just to have some sense of what my bat might hear. Bonus points if you know a way to do this! (Above 44kHz would all just be digital noise, I realize, since that's the sampling rate of this track, but that could still be interesting, since I think a bat would indeed hear that digital mess.)&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/9mrCX.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="51120" PostHistoryTypeId="1" PostId="27665" RevisionGUID="7bb98715-beea-40b3-bcfb-72af59375f11" CreationDate="2014-02-26T03:47:22.870" UserId="7578" Text="Completely cut frequencies below a certain threshold" ContentLicense="CC BY-SA 3.0" />
  <row Id="51121" PostHistoryTypeId="3" PostId="27665" RevisionGUID="7bb98715-beea-40b3-bcfb-72af59375f11" CreationDate="2014-02-26T03:47:22.870" UserId="7578" Text="&lt;mixing&gt;&lt;equalization&gt;&lt;frequency&gt;&lt;eq&gt;&lt;limiting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51122" PostHistoryTypeId="2" PostId="27666" RevisionGUID="d7c9ff51-ae9c-40c6-9ebf-bc7c21c34972" CreationDate="2014-02-26T04:13:25.840" UserId="7579" Text="Nothing definite since I can't play around with it first hand, but what might have happened here is that you put the EQ as an effect on top of the audio file, but didn't render it to permanently change the audio file itself. So, when you go to view the waveform, it's still showing you the original, un-eq'd waveform.&#xD;&#xA;&#xD;&#xA;I'm not that familiar with ableton, but I know with pro tools you have the option of either putting an EQ in the plug in chain (which doesn't actually change the source sound, just the output of the chain), or setting one and then applying it and having it rerender your file (which does change the file).&#xD;&#xA;&#xD;&#xA;Additionally, EQ's can vary on what they're actually cutting off. Some will completely cut off the sound below the bottom point, while others only attenuate what's there.&#xD;&#xA;&#xD;&#xA;For your related section, I'm on the fence on whether it's actually getting cut off here. In pro tools that one bar from 11k to the next actually covers the range up to 20k. &#xD;&#xA;&#xD;&#xA;![What this looks like in pro tools](http://i.imgur.com/DFfZ2Od.png)&#xD;&#xA;&#xD;&#xA;Hope this helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="51130" PostHistoryTypeId="2" PostId="27667" RevisionGUID="55cfbf0f-8305-418a-a544-2c745e32b62f" CreationDate="2014-02-26T05:24:01.040" UserId="61" Text="Two resources to try:&#xD;&#xA;&#xD;&#xA; 1. Ann Krober at [Sound Mountain][1]. She oversees a vast library of sounds that may or may not include playful elephants.&#xD;&#xA; 2. The [Macaulay Library][2]. From their site: &#xD;&#xA;&#xD;&#xA;&gt; The Macaulay Library is the world's largest and oldest scientific&#xD;&#xA;&gt; archive of biodiversity audio and video recordings. Our mission is to&#xD;&#xA;&gt; collect and preserve recordings of each species' behavior and natural&#xD;&#xA;&gt; history, to facilitate the ability of others to collect and preserve&#xD;&#xA;&gt; such recordings, and to actively promote the use of these recordings&#xD;&#xA;&gt; for diverse purposes spanning scientific research, education,&#xD;&#xA;&gt; conservation, and the arts.&#xD;&#xA;&#xD;&#xA;Best of luck to ya -&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundmountain.com/&#xD;&#xA;  [2]: http://macaulaylibrary.org/" ContentLicense="CC BY-SA 3.0" />
  <row Id="51131" PostHistoryTypeId="5" PostId="12331" RevisionGUID="5bc009f9-7aec-49a9-8851-f76cd599ad80" CreationDate="2014-02-26T05:32:14.497" UserId="61" Comment="added 792 characters in body" Text="Great strides have been made in the field of sound recording over the last couple of decades. We've seen (in no particular order):&#xD;&#xA;&#xD;&#xA; - Digital recording (both tape and disk&#xD;&#xA;   based)&#xD;&#xA; - Multichannel recording&#xD;&#xA; - Multichannel mics (think Holophone or&#xD;&#xA;   any other mic that captures more than&#xD;&#xA;   a stereo image)&#xD;&#xA; - improved contact mics&#xD;&#xA; - improved hydrophones&#xD;&#xA; - sub- and super-sonic mics (think miss&#xD;&#xA;   that can capture below 20Hz or above&#xD;&#xA;   50kHz)&#xD;&#xA;&#xD;&#xA;…and many more.&#xD;&#xA;&#xD;&#xA;But, **what's next**? What's that next big tech that will be a true innovation? I'm thinking something akin to what 3-D capture has done for the visual medium (think Avatar).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And let's keep this thread clear of any reproduction systems, ie. 5.1, 7.1, etc. I'm interested in the future of HOW we capture sound, not how it is played back. &#xD;&#xA;&#xD;&#xA;**UPDATE:**&#xD;&#xA;&#xD;&#xA;I've had the joy of using the [Sanken CO-100k][1] on my latest project and I have to admit, it's kind of a game changer for recordings that ultimately will be sped way down to fractions of their original speed. The specs show it can capture frequencies up to (and beyond?) 100kHz so, once you've slowed it down to half-speed, you're still working with a sound with 50kHz resolution. (This assuming you have clean preamps and a pro recorder like a Sound Devices or similar.) We were able to do amazing things with the tiniest of sounds, things that would have been possible with other professional mics like a Neumann 191 but would have required major rebuilding or augmenting of high frequency content.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sanken-mic.com/en/product/product.cfm/3.1000400" ContentLicense="CC BY-SA 3.0" />
  <row Id="51132" PostHistoryTypeId="2" PostId="27668" RevisionGUID="871d932f-662f-4fe5-8d5d-775910f22d27" CreationDate="2014-02-26T07:44:31.553" UserId="1185" Text="Using a higher order filter will give you a greater roll-off slope in the filters stop-band. So a 1st order filter has a roll-off slope of -6db/octave, 2nd order filter has a roll-off slope of -12db/octave, 3rd order filter has a roll-off slope of -18db/octave, 4th order filter has a roll-off slope of -24db/octave, etc.  This means the filter does not act like a brick wall and some frequency content beyond the cut-off will be present, but at a corresponding reduced level.  Also remember that the cut-off frequency is the point the filter has reduced the level by -3dB (also know as the half-power point or the signal level has been reduced by 0.707).  &#xD;&#xA;&#xD;&#xA;Most audio filters have a fairly low order as we normal want to hear frequencies being reduced in a fairly slow way.  Most common are 2nd order, -12db/octave or 4th order, -24db/octave, but sometimes 3rd order also pops up.  Typically, it is rare to see much higher order filters implemented.  However, you can achieve an accumulative result by using filters is series, that is feeding your audio into one filter and then the resulting audio into a second filter.  So if you used 2nd order filters the accumulative result would be -48db/octave reduction. &#xD;&#xA;&#xD;&#xA;With this knowledge you should be able to choose appropriate settings to get the result that you are after.  Again though you might want to look at the actual frequency response of these animals as it would seem unlikely that their hearing is not linear. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51133" PostHistoryTypeId="2" PostId="27669" RevisionGUID="2f2dcf59-66c6-4df7-a68c-a83b8a4eaed8" CreationDate="2014-02-26T07:56:47.523" UserId="6432" Text="Those combined EQ + spectroscopes can seem a bit misleading. The curve on your EQ isn't always what's actually happening, and similarly metering is only an averaging of the signal because audio is a much faster rate than your monitor. With a regular eq it's really more about using your ears to find something that works. You might be better off using an FFT filter for this, you will have more accurate control of individual frequencies which may be better for you.&#xD;&#xA;&#xD;&#xA;This is the one in Audition, you can draw any shape you like here:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/gB86D.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="51134" PostHistoryTypeId="5" PostId="27669" RevisionGUID="4a66aa74-8474-4880-8e11-5da642815f0f" CreationDate="2014-02-26T09:03:41.570" UserId="6432" Comment="Added a point" Text="Those combined EQ + spectroscopes can seem a bit misleading. The curve on your EQ isn't always what's actually happening, and similarly metering is only an averaging of the signal because audio is a much faster rate than your monitor. With a regular eq it's really more about using your ears to find something that works. You might be better off using an FFT filter for this, you will have more accurate control of individual frequencies which may be better for you.&#xD;&#xA;&#xD;&#xA;This is the one in Audition, you can draw any shape you like here and the result is surgically accurate:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/gB86D.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="51135" PostHistoryTypeId="5" PostId="27668" RevisionGUID="747f4320-a35e-45a8-999a-483fbc9ab024" CreationDate="2014-02-26T09:27:54.993" UserId="1185" Comment="corrected spelling" Text="Using a higher order filter will give you a greater roll-off slope in the filters stop-band. So a 1st order filter has a roll-off slope of -6db/octave, 2nd order filter has a roll-off slope of -12db/octave, 3rd order filter has a roll-off slope of -18db/octave, 4th order filter has a roll-off slope of -24db/octave, etc.  This means the filter does not act like a brick wall and some frequency content beyond the cut-off will be present, but at a corresponding reduced level.  Also remember that the cut-off frequency is the point the filter has reduced the level by -3dB (also know as the half-power point or the signal level has been reduced by 0.707).  &#xD;&#xA;&#xD;&#xA;Most audio filters have a fairly low order as we normal want to hear frequencies being reduced in a fairly slow way.  Most common are 2nd order, -12db/octave or 4th order, -24db/octave, but sometimes 3rd order also pops up.  Typically, it is rare to see much higher order filters implemented.  However, you can achieve an accumulative result by using filters is series, that is feeding your audio into one filter and then the resulting audio into a second filter.  So if you used 2nd order filters the accumulative result would be -48db/octave reduction. &#xD;&#xA;&#xD;&#xA;With this knowledge you should be able to choose appropriate settings to get the result that you are after.  Again though you might want to look at the actual frequency response of these animals as it would seem unlikely that their hearing is linear. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51136" PostHistoryTypeId="2" PostId="27670" RevisionGUID="16a6b850-1791-4d92-8260-dd503d5079f5" CreationDate="2014-02-26T09:44:32.383" UserDisplayName="user7581" Text="I'm looking for a portable recorder which my ElectroVoice RE50N/D-B will plug into for 'man-on-the-street' type interviews; but, I recently read this:&#xD;&#xA;&#xD;&#xA;&gt; note: we cannot recommend dynamic microphones such as the Electrovoice RE-50 or Beyer M-58 for use with most of these flash recorders. The Sony PCM-D50, Marantz PMD 661, Tascam DR-100mkII, Tascam HD-P2 and Sound Devices recorders may provide adequate clean gain with dynamic mics, but the rest of these models require higher-output microphones in order to make clean recordings when using the external mic inputs. Using dynamic mics with these recorders with quiet sources, such as the spoken voice, will, in most cases, result in hissy, low-level recordings.&#xD;&#xA;&#xD;&#xA;**(From [this Transom.org article][1])**&#xD;&#xA;&#xD;&#xA;That makes me a little nervous. Are they saying that there's no portable recorder which will give me good, clean audio with my dynamic mic? Maybe the Neodymium tech in the RE50N/D-B makes a difference?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://transom.org/toolbox/portable-digital-recorder-comparison/" ContentLicense="CC BY-SA 3.0" />
  <row Id="51137" PostHistoryTypeId="1" PostId="27670" RevisionGUID="16a6b850-1791-4d92-8260-dd503d5079f5" CreationDate="2014-02-26T09:44:32.383" UserDisplayName="user7581" Text="Can I use a portable recorder with a dynamic mic? (Specifically, a ElectroVoice RE50N/D-B)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51138" PostHistoryTypeId="3" PostId="27670" RevisionGUID="16a6b850-1791-4d92-8260-dd503d5079f5" CreationDate="2014-02-26T09:44:32.383" UserDisplayName="user7581" Text="&lt;audio-recording&gt;&lt;field-recording&gt;&lt;microphone&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51139" PostHistoryTypeId="2" PostId="27671" RevisionGUID="c68d59aa-31f7-4848-b746-936fede11b08" CreationDate="2014-02-26T10:25:55.023" UserId="6425" Text="With the Tascam DR 100mk2 I got some good &quot;interview&quot; recordings with an SM 58. But I was really close to the source. If you are booming, you definately want a shotgun. &#xD;&#xA;&#xD;&#xA;If I were you, I would try to use my Phone as a recorder for you interviews. I think I used a NTG2 Rode Mic (&quot;Battery powered shotgun&quot;) with my Iphone for good results there is a cheap adapter that lets you plug in mice into the phone and which costs 1/4 of the burrowing costs for a tascam or sound device. -&gt; http://www.kvconnection.com/product-p/km-iphone-mic.htm (something like this)&#xD;&#xA;&#xD;&#xA;That way you got a very flexible easy to use equipment. (Mind the battery life of your phone and have some extended battery clip for the iphone for example) But for 20-30 minutes of interview its enough." ContentLicense="CC BY-SA 3.0" />
  <row Id="51140" PostHistoryTypeId="2" PostId="27672" RevisionGUID="d45b6f5f-2d12-4401-8ff2-ef6433664948" CreationDate="2014-02-26T10:38:45.077" UserId="1228" Text="For what it's worth I've used an RE20 on an H4n and it sounded just fine.  The fact that the website claims the H4n has great quality mics, and seems to make some other questionable claims on other recorders, I'm not entirely sure the information on that site is worth putting a whole lot of trust in.  You run into potential output level issues with condensers too.&#xD;&#xA;&#xD;&#xA;The big rule with dynamics is you need to &quot;kiss the mic&quot; to get a robust signal.  They are not as sensitive as condensers as far as their &quot;throw&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51141" PostHistoryTypeId="2" PostId="27673" RevisionGUID="64ca5ca8-8956-4888-a8de-0737531016c2" CreationDate="2014-02-26T11:11:53.193" UserDisplayName="user7581" Text="**Info:** I have an ElectroVoice RE50N/D-B microphone (handheld, dynamic, omnidirectional) that I want to use for man-on-the-street type interviews. I will be holding the mic in my hand just as you would see a reporter do.&#xD;&#xA;&#xD;&#xA;**Problem:** I need to make it portable (connected to some sort of recorder in my pocket) and I don't want to have to put the microphone too close to the face of the interviewee.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Possible Solutions:**&#xD;&#xA;&#xD;&#xA; - Plug it into my android phone (not enough gain? too much noise?).&#xD;&#xA; - Buy a portable recorder (not enough gain?)&#xD;&#xA; - ???&#xD;&#xA;&#xD;&#xA;I am really new to this, so please excuse (and/or correct) any mistakes in my understanding. Thanks!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51142" PostHistoryTypeId="1" PostId="27673" RevisionGUID="64ca5ca8-8956-4888-a8de-0737531016c2" CreationDate="2014-02-26T11:11:53.193" UserDisplayName="user7581" Text="Feasible way to make an omnidirectional dynamic microphone portable?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51143" PostHistoryTypeId="3" PostId="27673" RevisionGUID="64ca5ca8-8956-4888-a8de-0737531016c2" CreationDate="2014-02-26T11:11:53.193" UserDisplayName="user7581" Text="&lt;audio&gt;&lt;audio-recording&gt;&lt;microphone&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51144" PostHistoryTypeId="2" PostId="27674" RevisionGUID="69c40b91-81d8-43df-ad6e-f2d039e301e1" CreationDate="2014-02-26T12:51:26.330" UserId="993" Text="A small portable recorder like the Zoom H4n or any other the similar devices will do the trick. Getting enough level won't be an issue - it's what recorders (and the preamps) are designed to do.&#xD;&#xA;&#xD;&#xA;Sound like you're doing more a radiojournalism style thing. This NPR page might be a good resource for you. It's a bit dated since it talks about DAT recorders - so just mentally replace DAT tapes with SD cards.&#xD;&#xA;&#xD;&#xA;http://www.npr.org/about/nextgen/howto/flawn_equipment.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="51146" PostHistoryTypeId="2" PostId="27676" RevisionGUID="b828b021-5db5-44ca-bced-a8ee32fb6ba7" CreationDate="2014-02-26T17:47:41.973" UserId="7586" Text="ecently I have bought a zoom h4n with a Canon EOS 6D. Together with the zoom h4n I have bought the [zoom dslr pack][1] too. I connected the zoom's line out to the 6D's mic in and set the manual audio configuration on the 6d. Then I ajusted the gain of the zoom at around -12dB and the gain on the 6d to one step up from the minimum left. The issue is that the audio recorded on the video file of the camera is REALLY low ( cannot hear anything ). Maybe that cable in the zoom's dslr pack is not right for this task? Any suggestions?    &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Zoom-H4n-Accessory-Pack-DSLR/dp/B009GZMFQW" ContentLicense="CC BY-SA 3.0" />
  <row Id="51147" PostHistoryTypeId="1" PostId="27676" RevisionGUID="b828b021-5db5-44ca-bced-a8ee32fb6ba7" CreationDate="2014-02-26T17:47:41.973" UserId="7586" Text="Zoom H4N audio recorded on canon eos 6D directly" ContentLicense="CC BY-SA 3.0" />
  <row Id="51148" PostHistoryTypeId="3" PostId="27676" RevisionGUID="b828b021-5db5-44ca-bced-a8ee32fb6ba7" CreationDate="2014-02-26T17:47:41.973" UserId="7586" Text="&lt;audio&gt;&lt;audio-recording&gt;&lt;zoom-h4n&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51151" PostHistoryTypeId="5" PostId="12333" RevisionGUID="61719964-6baa-427c-9bc5-5a3822dd6479" CreationDate="2014-02-26T18:59:48.143" UserId="7587" Comment="direct linked first image didn't wanna display for some reason, so I uploaded it to imgur ;)" Text="**Miniaturization**.&#xD;&#xA;&#xD;&#xA;Like this: [Scientists create the world's tiniest 'ear'][1].&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;Pick up sound from stuff that we can't even hear with our own ears.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Or (self-powered, wireless) mics that are so small that you can put them literally everywhere.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**2D Microphone arrays**&#xD;&#xA;&#xD;&#xA;Like this: [New super microphone can hear you in a crowded stadium][3]&#xD;&#xA;&#xD;&#xA;![alt text][4]&#xD;&#xA;&#xD;&#xA;So you can focus on sound, even after recording it.&#xD;&#xA;&#xD;&#xA;If you can somehow make this with depth as well (several layers of microphones), you can even decide how deep you want to focus, which makes it sort of similar to the possibilities that the [lytro light field camera][5] offers.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I can't wait for this stuff to turn into commercial products!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://news.sciencemag.org/sciencenow/2012/01/scientists-create-worlds-tiniest.html?ref=hp&#xD;&#xA;  [2]: http://i.stack.imgur.com/sUweW.jpg&#xD;&#xA;  [3]: http://singularityhub.com/2010/10/13/new-super-microphone-can-hear-you-in-a-crowded-stadium-video/&#xD;&#xA;  [4]: http://singularityhub.com/wp-content/uploads/2010/10/super-microsphone-audioscope.jpg&#xD;&#xA;  [5]: https://www.lytro.com/camera" ContentLicense="CC BY-SA 3.0" />
  <row Id="51152" PostHistoryTypeId="24" PostId="12333" RevisionGUID="61719964-6baa-427c-9bc5-5a3822dd6479" CreationDate="2014-02-26T18:59:48.143" Comment="Proposed by 7587 approved by 1228, 194 edit id of 68" ContentLicense="CC BY-SA 3.0" />
  <row Id="51153" PostHistoryTypeId="5" PostId="15208" RevisionGUID="1d5ceebf-ec07-4fbf-a60b-a19a393546d8" CreationDate="2014-02-26T20:36:57.297" UserId="7588" Comment="Removed self deprecatory remark, added a high-light, and reformatted for readability" Text="Other than frequency response, what makes a mic sound **good**? Say there is a cheap microphone, and an expensive microphone with same frequency response/selfnoise/sensitivity/polar pattern. &#xD;&#xA;&#xD;&#xA;Now we compare the recordings, they probably will sound different..and the winner will probably be expensive one." ContentLicense="CC BY-SA 3.0" />
  <row Id="51154" PostHistoryTypeId="4" PostId="15208" RevisionGUID="1d5ceebf-ec07-4fbf-a60b-a19a393546d8" CreationDate="2014-02-26T20:36:57.297" UserId="7588" Comment="Removed self deprecatory remark, added a high-light, and reformatted for readability" Text="Why can cheap mics be eq to sound like expensive ones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51155" PostHistoryTypeId="24" PostId="15208" RevisionGUID="1d5ceebf-ec07-4fbf-a60b-a19a393546d8" CreationDate="2014-02-26T20:36:57.297" Comment="Proposed by 7588 approved by 194, 61 edit id of 69" ContentLicense="CC BY-SA 3.0" />
  <row Id="51156" PostHistoryTypeId="2" PostId="27677" RevisionGUID="d1c4ced7-a309-4f85-b45d-e841c01c0bd1" CreationDate="2014-02-27T02:20:37.517" UserId="7591" Text="the &quot;digital remastering&quot; itself is not a problem. the year it was done and by who will affect whether it became a problem in a specific instance. &#xD;&#xA;&#xD;&#xA;if you can get a mint copy of an original issue vinyl album, it's often nicer sounding, but it depends on your taste of course and your reference points.  the digital vs analog aspect of remastering especially these days is of immeasurable consequence to the quality of the master or any copies of any music. &#xD;&#xA;&#xD;&#xA;if you can't just listen to a copy and judge if you like it or that it's made well, but you want to avoid later realising you bought a dud copy of something when your perception improves or you hear a better copy, then all you have to go by is what you know or what your experience has been with the label, studio, era and engineers involved.  for example, an album remastered by universal in the past 10 years is probably terrible, unless it's from universal france in which case it might be great depending on who worked on it, have a listen. stuff form japan is probably incredible from any issuer any year, etc.&#xD;&#xA;&#xD;&#xA;to elaborate on why.. good engineers will have made high definition masters 96kHz * 24bit and not made the audio to fit the digital format constraints, but instead processed the signal for the constraints of the vinyl disc cutting and playback, and done that with analogue processes (a whole other big q and a), and the guy cutting the disc will have a good lathe, head, tip and a lot of experience.&#xD;&#xA;&#xD;&#xA;re the technicalities if it puts your mind at ease --tho it probably won't-- ...&#xD;&#xA;&#xD;&#xA;in digital audio you have a sudden absolute limit to bandwidth occurring just before half of the sample / clock rate for playback. this is done using a sync filter combined with some other filtering. there is a small amount of intermodulation with that clock rate as a result of the impossibility of making ideal filters and other imperfections.  also if you have very high frequency information and digital masters are not made very well --and most are not-- you will get overshooting and distortion in playback and other nasty sounds. some like the nastiness, some don't. there are always varying amounts of alias frequencies due to all this, scattered thru your final digital audio, making it a touch cloudy and digital sounding. these things are the trade offs of digital.  in the end tho, typical dynamic range and bandwidth for consumer grade digital is around 93dB +/-3dB from 0Hz to 19kHz, roughly, or way more than double that for higher resolutions like 96kHz 24bit or other resolutions used professionally.  unfortunately to cover all bases in this explanation would require writing a book and if you really care to understand it, you will need devote a few years of your life to studying and working with it.&#xD;&#xA;&#xD;&#xA;in contrast to the constraints of the digital system, stereo vinyl has a dynamic range which is extremely complicated to explain and define, and varies by sooo many factors but typically it falls off in the center of the stereo image by 6dB from around 2kHz heading up and down the spectrum, tapering off further at 500Hz and around 13kHz around the outer perimeter of the disc at 33rpm when the disc is virgin, also taper off even further at 50Hz and don't think about having anything around that frequency in the stereo field, the range is also limited further in all dimensions depending on stereo content and how much energy at what frequencies is in the left or right channel.  and now consider at best you have around 80dB of range at that ideal point in the mids in the center of the stereo image, due to surface noise and other systemic noise. tho this varies hugely depending on cutting and playback systems and actual content of the signal cut to disc, the system is highly non linear in every respect but the distortions and noise do help to disguise other nasties that are otherwise revealed in the audio, like tape hiss or digital distortions, what have you, and all this ends up sounding nice to people who listen to and like the sound of vinyl.&#xD;&#xA;&#xD;&#xA;so yeah, whatever really. the music and the particular product are what count. not whether something was / is digital or analog.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51157" PostHistoryTypeId="2" PostId="27678" RevisionGUID="26a7b1bc-5ac5-4e08-8915-97dbfdc1be44" CreationDate="2014-02-27T07:48:10.113" UserId="6425" Text="1. Try the audio routing in Ableton and your system preferences. Sometimes channels are deactivated.&#xD;&#xA;&#xD;&#xA;2. If nothing else helps, try the program Pure Data. Its a freeware version of MAX and it allows you to freely route audio and midi in your computer/mac/unix. You will need to watch some tutorials so." ContentLicense="CC BY-SA 3.0" />
  <row Id="51158" PostHistoryTypeId="2" PostId="27679" RevisionGUID="225cbaab-f1b0-44c0-a539-906744c053ff" CreationDate="2014-02-27T08:56:16.977" UserId="1228" Text="I'd like to take an Occam's Razor approach to this question:&#xD;&#xA;&#xD;&#xA;Maybe the mastering engineer on the original didn't do such a great job or it could simply mean the press wasn't that great (each stamper is only good per 1000 presses, and degrades with each successive stamp).  If it was recycled vinyl versus virgin vinyl, well, the press is pretty much screwed before it's finished.  As such, the final vinyl output maybe wasn't all that great.&#xD;&#xA;&#xD;&#xA;So, the best copy they find might have been carefully digitized, re-mastered within the digital/DAW domain (re-EQed, dynamics correction, stereo imaging/phasing correction, etc), and then carefully taken through a new vinyl pressing process again with great precision for a better, more definitive product, &quot;digitally remastered&quot;.&#xD;&#xA;&#xD;&#xA;**Source:** As a former House DJ and still House enthusiast, I do this all the time with all vinyl I buy (well, except the re-pressing).  White labels are notorious for being not that great of presses, and usually need to be digitized at a high sample rate into the digital domain, and re-mastered for optimal fidelity.  In this case, the resulting digitally-stored file (after digitally-remastering) will sound miles better than the original vinyl." ContentLicense="CC BY-SA 3.0" />
  <row Id="51163" PostHistoryTypeId="2" PostId="27682" RevisionGUID="0c16ee3d-df4d-4e05-b494-1b5231120dde" CreationDate="2014-02-27T10:21:51.570" UserId="4390" Text="I guess you would need to find a Turkish forensic audio expert (but maybe you are that expert?). Someone who knows the equipment supposedly used to make this recording and whether those digital artifacts we are hearing are caused by the equipment or the result of faking the voices. &#xD;&#xA;&#xD;&#xA;Even with the noise and the artifacts, it sounds random enough to me in terms of dynamics and such, that I would guess it was real. But then I am no expert and don't understand the language at all...&#xD;&#xA;&#xD;&#xA;It's a pretty interesting question!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51171" PostHistoryTypeId="33" PostId="20058" RevisionGUID="f3e0a142-f529-4838-9fec-bf9557bbdbbe" CreationDate="2014-02-27T13:04:04.687" UserId="6957" Comment="6" />
  <row Id="51174" PostHistoryTypeId="2" PostId="27686" RevisionGUID="c8a9f394-edfa-4aa9-becd-241bbe6ca327" CreationDate="2014-02-27T15:21:17.300" UserId="7200" Text="This is not possible by traditional, analogue means. As said by Bit Depth, such filters have a property called the _order_. What that means: the response of a filter of order _n_ can be written as&#xD;&#xA;&#xD;&#xA;              ( _a_&lt;sub&gt;_n_&lt;/sub&gt; ⋅ ω&lt;sup&gt;_n_&lt;/sup&gt; + _a_&lt;sub&gt;_n_-1&lt;/sub&gt; ⋅ ω&lt;sup&gt;_n_-1&lt;/sup&gt; + ... + _a_&lt;sub&gt;2&lt;/sub&gt; ⋅ ω&lt;sup&gt;2&lt;/sup&gt; + _a_&lt;sub&gt;1&lt;/sub&gt; ⋅ ω + _a_&lt;sub&gt;0&lt;/sub&gt; )&#xD;&#xA;&lt;br&gt;_A_(ω) =  ———————————————————————&#xD;&#xA;&lt;br&gt;               ( _b_&lt;sub&gt;_n_&lt;/sub&gt; ⋅ ω&lt;sup&gt;_n_&lt;/sup&gt; + _b_&lt;sub&gt;_n_-1&lt;/sub&gt; ⋅ ω&lt;sup&gt;_n_-1&lt;/sup&gt; + ... + _b_&lt;sub&gt;2&lt;/sub&gt; ⋅ ω&lt;sup&gt;2&lt;/sup&gt; + _b_&lt;sub&gt;1&lt;/sub&gt; ⋅ ω + _b_&lt;sub&gt;0&lt;/sub&gt; )&#xD;&#xA;&#xD;&#xA;For this to be exactly zero, the numerator must be zero. That's a polynomial. As we know, a polynomial can only be zero at single, discrete points&lt;sup&gt;1&lt;/sup&gt;: so you can perfectly filter away _a single frequency_ with a notch filter, but you can't completely &quot;kill&quot; an entire band, only attenuate it. In particular, to get a roll-off, the best you can do is use the _denominator_. If that grows towards infinity, then the response goes to zero; but it can't grow faster than ω&lt;sup&gt;_n_&lt;/sup&gt;, so even at high frequencies there's always some signal left.&#xD;&#xA;&#xD;&#xA;Well, except of course, if you use an _infinite order filter_! This doesn't exists in the analogue realm, and since most EQs are at least modelled after analogue circuits you usually won't find it there either; but it can actually be approximated pretty well by digital means: by [convolution](http://en.wikipedia.org/wiki/Convolution). Because the convolution kernel is a [sinus cardinalis function](http://en.wikipedia.org/wiki/Sinc_function), such a filter is called [sinc filter](http://en.wikipedia.org/wiki/Sinc_filter).&#xD;&#xA;&#xD;&#xA;Convolution is mathematically infeasible if you do it directly, so these filters are usually implemented with some fourier-transform trick. Hence, the plugins are often called something like &quot;FFT EQ&quot;, but strictly speaking the correct name is _FIR filter_. That's indeed the name of that plugin in Reaper, you can [try it out: ReaFIR](http://www.reaper.fm/reaplugs/).&#xD;&#xA;&#xD;&#xA;&lt;hr&gt;&#xD;&#xA;&#xD;&#xA;&lt;sup&gt;1&lt;/sup&gt;Unless you simply make _all_ coefficients zero... but then you've simply switched the entire signal off." ContentLicense="CC BY-SA 3.0" />
  <row Id="51175" PostHistoryTypeId="2" PostId="27687" RevisionGUID="51f8c03e-59cf-4d1a-b9e7-d6d92a43930b" CreationDate="2014-02-27T16:14:05.520" UserId="6425" Text="Compare similar phenoms like eh uh pt zk you know. If a lot of them are identical it might be Computer generated!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51176" PostHistoryTypeId="2" PostId="27688" RevisionGUID="8d788518-ab60-4a38-801f-dba32566242d" CreationDate="2014-02-27T16:34:02.537" UserId="7596" Text="I put this video together to help demonstrate my problem:&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=4uyu92G93gc&#xD;&#xA;&#xD;&#xA;I forgot to mention in the video, but my entire rig runs through a Monster Pro Power 2500." ContentLicense="CC BY-SA 3.0" />
  <row Id="51177" PostHistoryTypeId="1" PostId="27688" RevisionGUID="8d788518-ab60-4a38-801f-dba32566242d" CreationDate="2014-02-27T16:34:02.537" UserId="7596" Text="Having issues with a Pop and a Hiss" ContentLicense="CC BY-SA 3.0" />
  <row Id="51178" PostHistoryTypeId="3" PostId="27688" RevisionGUID="8d788518-ab60-4a38-801f-dba32566242d" CreationDate="2014-02-27T16:34:02.537" UserId="7596" Text="&lt;mixer&gt;&lt;lavalier&gt;&lt;snap-crackle-pop&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51179" PostHistoryTypeId="2" PostId="27689" RevisionGUID="4bb380ff-81f5-4445-b87c-677bcd2a206f" CreationDate="2014-02-27T17:40:16.733" UserId="7597" Text="I have a home office in the corner of my unfinished basement. About 20 feet away is my furnace that has a fan on 24/7. I would to like reduce the sound of from air movement and the blower with some wedged acoustic foam. From my office chair, I can only see the back side of the furnace. All of the items that shouldn't be covered up (i.e access panels, vents, etc) are on the other side. &#xD;&#xA;&#xD;&#xA;I thinking of mounting the foam directly on the outside of the furnace with the wedges facing out. Will this orientation of the foam significantly reduce its effectiveness?  &#xD;&#xA;&#xD;&#xA;Also, walling off the furnace is not an option I can take. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51180" PostHistoryTypeId="1" PostId="27689" RevisionGUID="4bb380ff-81f5-4445-b87c-677bcd2a206f" CreationDate="2014-02-27T17:40:16.733" UserId="7597" Text="Acoustic foam orientation effectiveness when mounting directly to a furnace" ContentLicense="CC BY-SA 3.0" />
  <row Id="51181" PostHistoryTypeId="3" PostId="27689" RevisionGUID="4bb380ff-81f5-4445-b87c-677bcd2a206f" CreationDate="2014-02-27T17:40:16.733" UserId="7597" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51184" PostHistoryTypeId="10" PostId="27594" RevisionGUID="69e62b40-c9a0-4936-a65d-d2544c9b70fc" CreationDate="2014-02-27T20:22:32.980" UserId="61" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:61,&quot;DisplayName&quot;:&quot;Jay Jennings&quot;}]}" />
  <row Id="51185" PostHistoryTypeId="14" PostId="27688" RevisionGUID="383cb904-fbcc-48bc-a43f-4539b3cbe9dd" CreationDate="2014-02-27T20:24:20.887" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="51186" PostHistoryTypeId="35" PostId="27688" RevisionGUID="8feaa252-5e1c-4265-9831-d6857942a5d9" CreationDate="2014-02-27T20:24:20.887" UserId="61" Comment="to http://video.stackexchange.com/questions/10311/having-issues-with-a-pop-and-a-hiss" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:61,&quot;DisplayName&quot;:&quot;Jay Jennings&quot;}]}" />
  <row Id="51187" PostHistoryTypeId="10" PostId="27688" RevisionGUID="7a2360b4-e263-4007-bc4f-1adf685050f5" CreationDate="2014-02-27T20:24:20.887" UserId="61" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:61,&quot;DisplayName&quot;:&quot;Jay Jennings&quot;}]}" />
  <row Id="51189" PostHistoryTypeId="15" PostId="27688" RevisionGUID="7ec78431-37b8-4868-adb8-635edba8780c" CreationDate="2014-02-27T20:40:50.537" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="51190" PostHistoryTypeId="2" PostId="27690" RevisionGUID="ce5af331-1057-445d-81ae-65443911bea2" CreationDate="2014-02-27T20:57:02.753" UserId="7294" Text="If you have a sample loaded in Live, it generally is **warped** meaning that Live will generally attempt to preserve the pitch of it no matter how you stretch it in time. This is of course impossible to do perfectly, but it uses some very clever algorithms to attempt it by making educated guesses about the data. The different algorithms are referred to internally as &quot;warp modes.&quot; &#xD;&#xA;&#xD;&#xA;However, these guesses are an attempt to recreate data that isn't there - and one possible outcome is that it guesses that the waveform may be higher in parts than in your original sample! So a &quot;warped&quot; sample can peak slightly higher than the original sample would. &#xD;&#xA;&#xD;&#xA;This is true for most warp modes with the notable exception of &quot;re-pitch&quot; which does not attempt to guess anything - it simply moves through the original sample at different speeds.&#xD;&#xA;&#xD;&#xA;In general it's a good idea to leave yourself some headroom when working with any recording - you can always turn up your speakers if it's too quiet." ContentLicense="CC BY-SA 3.0" />
  <row Id="51191" PostHistoryTypeId="2" PostId="27691" RevisionGUID="a9cef75c-baea-45d6-8f24-ab7bbde78378" CreationDate="2014-02-27T21:37:19.437" UserId="7601" Text="Have a look here:&#xD;&#xA;http://www.cubasetutorial.net/2013/02/07/bounce-in-place-in-cubase-by-using-this-macro/&#xD;&#xA;&#xD;&#xA;Maybe it helps...still." ContentLicense="CC BY-SA 3.0" />
  <row Id="51192" PostHistoryTypeId="5" PostId="27688" RevisionGUID="6a9636d7-4d3f-484d-abb1-24329d7d96d7" CreationDate="2014-02-27T21:39:48.013" UserId="61" Comment="added 1 characters in body" Text="I put this video together to help demonstrate my problem:&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=4uyu92G93gc&#xD;&#xA;&#xD;&#xA;I forgot to mention in the video, but my entire rig runs through a Monster Pro Power 2500. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51193" PostHistoryTypeId="11" PostId="27688" RevisionGUID="496e6bd0-f78e-4187-b4e0-bcb53dd39642" CreationDate="2014-02-27T21:40:48.253" UserId="61" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:61,&quot;DisplayName&quot;:&quot;Jay Jennings&quot;}]}" />
  <row Id="51194" PostHistoryTypeId="2" PostId="27692" RevisionGUID="b288bd6b-f24c-4eab-9785-cd42c6fbeec5" CreationDate="2014-02-27T23:05:13.463" UserId="7489" Text="The cable included in the pack you link to is an attenuated cable - that means it is designed to reduce the Zoom's output from headphone/line level to the mic level input that your camera is expecting.&#xD;&#xA;Because the cable is doing the reduction, you will probably need to leave the gain on the camera at it's normal setting for a directly plugged in microphone and/or adjust the gain on the Zoom so it is peaking higher than -12dB.  One good thing to try is setting your camera up with Magic Lantern (http://www.magiclantern.fm/). You already have adjustable gain on the camera, but ML will add amongst many other things on camera audio meters so you can see the levels that your camera is recording, not just the levels the Zoom is picking up.&#xD;&#xA;I assume you have seen advice on the likes of YouTube to set the H4Ns gain for about -12dB, and reduce the camera to virtually no gain.  Good advice, but for people who haven't paid for a specific ATT cable.  The ATT cable *should* give better results than trying to fudge the same effect by adjusting gains everywhere." ContentLicense="CC BY-SA 3.0" />
  <row Id="51195" PostHistoryTypeId="2" PostId="27693" RevisionGUID="3492d371-2caf-4f2f-b806-1f2c670481c1" CreationDate="2014-02-27T23:57:33.797" UserId="7489" Text="Not been the best of nights at our Talking Newspaper studio tonight - one of our five AKG D202E1 mics has died! (the metal barrel part of the barrel was a bit loose, and it seems to have been twisted one time too many - the five wires inside have pulled apart!)&#xD;&#xA;This leaves me with a conundrum - from what I have read this evening, the D202 is a bit &quot;special&quot; in it's set up and sound. Our recordings are entirely spoken word, with opening/closing music from CD/MP3/Minidisk.&#xD;&#xA;&#xD;&#xA;Is there a mic I could buy that would fit with the sound of the other four mics?&#xD;&#xA;&#xD;&#xA;Working D202's seem to be going for £120+ on ebay, and even the broken one would fetch a bit - would it be better to get a new set of mics, and sell the D202s to cover some of the costs?  As a rule, what sort of mic is best suited to recording spoken word in a studio setting?&#xD;&#xA;&#xD;&#xA;(A final option would be repair - is there somewhere in the UK that could repair one of these mics, and not cost more than replacement?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51196" PostHistoryTypeId="1" PostId="27693" RevisionGUID="3492d371-2caf-4f2f-b806-1f2c670481c1" CreationDate="2014-02-27T23:57:33.797" UserId="7489" Text="Replacement mic for an AKG D202E1 for studio spoken word recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="51197" PostHistoryTypeId="3" PostId="27693" RevisionGUID="3492d371-2caf-4f2f-b806-1f2c670481c1" CreationDate="2014-02-27T23:57:33.797" UserId="7489" Text="&lt;microphone&gt;&lt;studio&gt;&lt;selection&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51198" PostHistoryTypeId="2" PostId="27694" RevisionGUID="4e63e5c9-5c6b-49c7-8d8f-0ba31b005fe9" CreationDate="2014-02-28T01:11:11.257" UserId="6425" Text="I can recommend the Studio Project B1 as a low Budget solution and the Neumann TLM 103 (= U87 with only cardoid pattern) as a high cost alternative. &#xD;&#xA;&#xD;&#xA;Both Mics do have a nice Volume in the lower frequencies and a boost at around 2000-3000 Hz which automatically leads to a &quot;easy to understand recording&quot;. Also both Mics have a very natural frequency response in the highs. A slight EQ boost at 8000-12000 Hz and a Deesser will result in a very nice and &quot;warm&quot; top-end.&#xD;&#xA;&#xD;&#xA;Of course the TLM 103 has an overall better sound than the B1 but it is around 6-10 times as expensive. &#xD;&#xA;&#xD;&#xA;If you do only spoken word, also test the Shure SM 58. It has not that strong bass frequencies, but it delivers ready to use recordings, that are not phat but very very easy to understand.&#xD;&#xA;&#xD;&#xA;So if you want a phat narrator/tv-ad like sound -&gt; B1 and TLM 103&#xD;&#xA;If you just want a voice over for a tutorial or to give some information -&gt; Shure SM58 " ContentLicense="CC BY-SA 3.0" />
  <row Id="51199" PostHistoryTypeId="2" PostId="27695" RevisionGUID="bb77c788-ccbd-49d7-8b84-0b11174ba59a" CreationDate="2014-02-28T04:12:15.473" UserId="7418" Text="Does the sound go away when you mute your problem mic?&#xD;&#xA;&#xD;&#xA;Here are some things I would try:&#xD;&#xA;&#xD;&#xA;If it goes away when muted, it is likely RF interference so please move your receiver away from speakers and radios.  You can also adjust the squelch level on your microphone to reduce RF levels when not in use.  &#xD;&#xA;&#xD;&#xA;If it doesn't go away when muted, please try another frequency on your microphone; if you are around the 800MHz range, try to go near the 550MHz range.  HDTV and other sources can interfere with wireless microphone signals.  &#xD;&#xA;&#xD;&#xA;It sounds digital to me but it could be from your mics being too close or different sources accidentally sharing the same channel frequency.  If all else fails try a different wireless mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="51200" PostHistoryTypeId="2" PostId="27696" RevisionGUID="14728d25-8c3d-4e59-8407-43e1be15eddf" CreationDate="2014-02-28T08:15:31.770" UserId="6425" Text="Acoustic foam is not very heat resistant. In most cases there are inflammable goods. So do not mount the against the furnace. One thing that you could do is using whit board like panels to mount the acoustic foam. (Be sure to use thick heavy foam, as normal foam just reduces very high frequencies) Then you have free standing panels that yo ucan place everywhere and with enough distance to the furnace." ContentLicense="CC BY-SA 3.0" />
  <row Id="51201" PostHistoryTypeId="2" PostId="27697" RevisionGUID="2fc5c376-2479-4ffe-aab2-5d92dc7b7e0b" CreationDate="2014-02-28T09:06:25.763" UserId="182" Text="Look for acoustic insulation materials for boats or vehicles. They are usually heat resistant.&#xD;&#xA;Regular wedge foam on the furnace won't help much. However, what you could do is cover the wall opposite the access panels and vents with a dampening material, because that is where the sound coming out of the furnace reflects towards you." ContentLicense="CC BY-SA 3.0" />
  <row Id="51203" PostHistoryTypeId="2" PostId="27699" RevisionGUID="0a74ba72-8932-4f33-a4bf-99406991453b" CreationDate="2014-02-28T09:46:36.403" UserId="37" Text="OSX? &#xD;&#xA;&#xD;&#xA;    AFCONVERT(1)              BSD General Commands Manual&#xD;&#xA;    &#xD;&#xA;    NAME&#xD;&#xA;         afconvert -- Audio File Convert&#xD;&#xA;    &#xD;&#xA;    SYNOPSIS&#xD;&#xA;         afconvert [-h] src_audiofile dest_audiofile&#xD;&#xA;    &#xD;&#xA;    DESCRIPTION&#xD;&#xA;         Audio File Convert will convert a source audio file to a new audio file &#xD;&#xA;         with the specified file and data types&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51208" PostHistoryTypeId="6" PostId="12331" RevisionGUID="2d15cf14-4d43-44fc-9abd-6d51948442db" CreationDate="2014-02-28T10:33:35.930" UserId="182" Comment="edited tags" Text="&lt;field-recording&gt;&lt;microphone&gt;&lt;future&gt;&lt;technology&gt;&lt;innovation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51213" PostHistoryTypeId="2" PostId="27702" RevisionGUID="b92f564a-8b73-4bde-9f06-afafa3f1147f" CreationDate="2014-02-28T16:22:50.670" UserId="4442" Text="Sox is great as some above mentioned, I'd check out Sample Manager by audiofile engineering though. It's cheap and awesome. I use it nearly every day." ContentLicense="CC BY-SA 3.0" />
  <row Id="51219" PostHistoryTypeId="2" PostId="27703" RevisionGUID="aacbb8dc-5485-4357-a715-a155f8cb57f8" CreationDate="2014-02-28T17:57:26.203" UserId="7174" Text="You are using an attenuating cable to make it so that the headphone signal output of the H4n will drop to the line input level your DSLR expects, however you are confusing gain and sensitivity.  Gain is an analog means of boosting a signal.  It is increasing a signal beyond 0dB signal and uses something called a pre-amp to increase the signal strength.&#xD;&#xA;&#xD;&#xA;Instead, you have turned down the sensitivity of the 6D thinking you were telling it not to apply gain to the signal, but instead you are cutting all the signal strength.  Another possibility is that you may have read feedback from people who were trying to use a non-attenuating cable to insert a line level signal direct in to a mic level jack.  This produces low quality and would require a very minimal sensitivity to try to salvage the signal.&#xD;&#xA;&#xD;&#xA;The attenuation cable you are using is the much better quality way to deal with the impedance mismatch and you should simply turn up the sensitivity on the 6d to a normal level, which should give you a good signal level on the 6D.&#xD;&#xA;&#xD;&#xA;The main things you want to avoid to maintain signal quality is ensure you have a strong signal at every part of the audio chain, but you don't want to ever clip and you don't want impedance mismatches and you don't want to artificially gain if you can avoid it.  The attenuation cable counteracts the impedance mismatch, you should send out of the H4n no higher than 0db, but you should only reduce the level if it is resulting in clipping or having to turn down the sensitivity on the 6D too much.  Then you should set the sensitivity on the 6D to avoid having clipping issues and ensure strong signal strength." ContentLicense="CC BY-SA 3.0" />
  <row Id="51220" PostHistoryTypeId="5" PostId="11120" RevisionGUID="9a52be4e-a0f6-4d73-bb55-dd7356e4db7b" CreationDate="2014-02-28T17:57:36.553" UserId="7016" Comment="deleted 153 characters in body" Text="Leonard Paul and Gordon Durity, 2 of the bigger names in game audio (as I understand it anyway), have this online course: http://school.videogameaudio.com/apply&#xD;&#xA;&#xD;&#xA;That aside, I'd say keep practicing your sound design skills on trailers etc (plenty to download at www.gametrailers.com), and start looking at the tools used by games developers. Wwise and FMOD are two to get you started, and both can be downloaded for free. There are also a bunch of tutorials on YouTube about the different things you can do with them.&#xD;&#xA;&#xD;&#xA;And if you're on Twitter, follow @lostlab The guy is a seemingly endless fountain of game audio knowledge.&#xD;&#xA;&#xD;&#xA;Links: www.audiokinetic.com for Wwise and www.fmod.org for FMOD.&#xD;&#xA;&#xD;&#xA;EDIT: This one is good too, how Joshua Davidson at Gearbox got into games. Well worth a read: http://joshuadav.tumblr.com/post/8072664655/how-i-made-it-into-games-plus-a-few-things" ContentLicense="CC BY-SA 3.0" />
  <row Id="51223" PostHistoryTypeId="2" PostId="27704" RevisionGUID="2bd77734-5dbc-4b91-b66f-1b9143515ad9" CreationDate="2014-02-28T21:09:59.067" UserId="7607" Text="I have developed a small card game. It is about geometrical shapes for educational purposes. &#xD;&#xA;&#xD;&#xA;I have managed to create some amateur sounds which are not so good, using embeded laptop mic/headphones mic and Audacity. The result is kind of ok but it is mumbling i.e bad quality.&#xD;&#xA;&#xD;&#xA;I don't have proper cache to pay somebody to record proper sound effects so this means I have to record something by myself.&#xD;&#xA;&#xD;&#xA;What is the best way or which tools should I use to record amateur sound effects with the best quality possible?&#xD;&#xA;&#xD;&#xA;I would like to hear your experiences?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51224" PostHistoryTypeId="1" PostId="27704" RevisionGUID="2bd77734-5dbc-4b91-b66f-1b9143515ad9" CreationDate="2014-02-28T21:09:59.067" UserId="7607" Text="Amateur voice recording for a game" ContentLicense="CC BY-SA 3.0" />
  <row Id="51225" PostHistoryTypeId="3" PostId="27704" RevisionGUID="2bd77734-5dbc-4b91-b66f-1b9143515ad9" CreationDate="2014-02-28T21:09:59.067" UserId="7607" Text="&lt;audio-recording&gt;&lt;sound-effects&gt;&lt;sound-effects-recording&gt;&lt;audacity&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51226" PostHistoryTypeId="5" PostId="27704" RevisionGUID="dcaab209-7e7c-44f0-aa29-5e547b32d5c4" CreationDate="2014-02-28T21:15:13.810" UserId="7607" Comment="added 77 characters in body" Text="I have developed a small card game. It is about geometrical shapes for educational purposes. &#xD;&#xA;&#xD;&#xA;I have managed to create some amateur sounds which are not so good, using embeded laptop mic/headphones mic and Audacity. The result is kind of ok but it is mumbling i.e bad quality.&#xD;&#xA;&#xD;&#xA;I don't have proper cache to pay somebody to record proper sound effects so this means I have to record something by myself.&#xD;&#xA;&#xD;&#xA;What is the best way or which tools should I use to record amateur sound effects with the best quality possible?&#xD;&#xA;&#xD;&#xA;I would like to hear your experiences?&#xD;&#xA;&#xD;&#xA;Bassically I have words like: Triangle, Square, Rhombus, Trapezium etc..." ContentLicense="CC BY-SA 3.0" />
  <row Id="51227" PostHistoryTypeId="2" PostId="27705" RevisionGUID="2f6ee1ed-327c-4641-aa83-b4c44e16af99" CreationDate="2014-02-28T22:27:17.440" UserId="6425" Text="Recording good sounding voice overs (Voices from people you do not see) is a very costly thing.&#xD;&#xA;&#xD;&#xA;A very basic setup for great results is the microphone Studio Projects B1, combined with a cheap Presonus or M-Audio mic preamp. Then you only need a mobile vocal booth and thats it. Around 250-500 bucks total. And for indi games, its more than enough.&#xD;&#xA;&#xD;&#xA;If that is too much then I would use a Retina Macbook Pro to record the voice over. Or lend one of your friends. I would try to place it in front of my open wardrobe then test different distances to the microphone. The retina macbook mics are really well designed and even Lady Gaga recorded some vocals on them :)&#xD;&#xA;&#xD;&#xA;If you only have some 10 words, and don't mind a german accent I can record em next week in my Studio.&#xD;&#xA;&#xD;&#xA;I hope i can help.&#xD;&#xA;&#xD;&#xA;GL" ContentLicense="CC BY-SA 3.0" />
  <row Id="51228" PostHistoryTypeId="2" PostId="27706" RevisionGUID="f56a9f42-4ea6-4b29-8006-9277180c0da9" CreationDate="2014-02-28T23:18:11.567" UserId="7608" Text="I'm working on a short film features a scene where lead character's making a press conference.  Been trying to find ambient sound of conference room and quiet crowd but had no luck. Crowd sound often feature conversations but that seems inappropriate while someone is addressing an important issue. Any suggestion?   &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51229" PostHistoryTypeId="1" PostId="27706" RevisionGUID="f56a9f42-4ea6-4b29-8006-9277180c0da9" CreationDate="2014-02-28T23:18:11.567" UserId="7608" Text="Any tips at constructing a &quot;Press Conference&quot; ambient track?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51230" PostHistoryTypeId="3" PostId="27706" RevisionGUID="f56a9f42-4ea6-4b29-8006-9277180c0da9" CreationDate="2014-02-28T23:18:11.567" UserId="7608" Text="&lt;backgroundambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51234" PostHistoryTypeId="11" PostId="27594" RevisionGUID="2b5f3082-c9d7-43fb-9fb2-11c956a8c20c" CreationDate="2014-03-01T00:19:01.490" UserId="61" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:61,&quot;DisplayName&quot;:&quot;Jay Jennings&quot;}]}" />
  <row Id="51235" PostHistoryTypeId="2" PostId="27707" RevisionGUID="d92d3bf9-9385-49f2-a70d-2815cd212a55" CreationDate="2014-03-01T01:05:52.797" UserId="7610" Text="It's a known problem to loop mp3's because of the gap they have in the beginning. But since Flash has programatic control, I tried to use the offset to play it. Still, so far, I couldn't get it to loop nicely this way.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;    Sound.play(23, 9999);&#xD;&#xA;&#xD;&#xA;I set start time to 23ms, which according to documentation should loop this sound from 50ms till the end, end then again. No matter what value I tried, I couldn't get it to work correctly. I observed the wave form in audio editing software and the sound starts exactly at ***23ms***, I tried setting this as start and many other values and couldn't stick it together.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51236" PostHistoryTypeId="1" PostId="27707" RevisionGUID="d92d3bf9-9385-49f2-a70d-2815cd212a55" CreationDate="2014-03-01T01:05:52.797" UserId="7610" Text="Looping mp3 in Flash / Actionscript" ContentLicense="CC BY-SA 3.0" />
  <row Id="51237" PostHistoryTypeId="3" PostId="27707" RevisionGUID="d92d3bf9-9385-49f2-a70d-2815cd212a55" CreationDate="2014-03-01T01:05:52.797" UserId="7610" Text="&lt;sound&gt;&lt;mp3&gt;&lt;looping&gt;&lt;flash&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51238" PostHistoryTypeId="2" PostId="27708" RevisionGUID="e30e2495-df18-4dad-8d26-51996d829260" CreationDate="2014-03-01T01:10:11.657" UserId="7174" Text="Sound is additive.  It is a combination of a large number of different frequencies of sound that all blend together into a complex waveform.  A soundboard blends together a bunch of different inputs to a final output, each input is mono and the output is normally either mono or a stereo set with each channel spaced a little bit in each of the channels.&#xD;&#xA;&#xD;&#xA;If properly mixed, the tone and sibilance of each sound should come through clearly when played through the speaker.  It's entirely possible to do it with just a mono mix, though stereo does offer a few more options to you.&#xD;&#xA;&#xD;&#xA;It isn't exactly simple to make it all sound good when it comes out and that's why there is an entire field around mixing audio, but every CD you've ever heard is making use of just a right and left channel to work from and you could make it come out of just one speaker without any significant loss in quality." ContentLicense="CC BY-SA 3.0" />
  <row Id="51239" PostHistoryTypeId="10" PostId="27658" RevisionGUID="00226eae-bf56-4ac8-9214-e450892ba150" CreationDate="2014-03-01T01:46:33.947" UserId="7016" Comment="104" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="51240" PostHistoryTypeId="10" PostId="27660" RevisionGUID="bfc95ebe-a9f7-4eb0-bdfc-ed72f4be3942" CreationDate="2014-03-01T01:48:19.830" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:1228,&quot;DisplayName&quot;:&quot;Stavrosound&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="51241" PostHistoryTypeId="10" PostId="12331" RevisionGUID="5c53fd96-54d5-4392-a9e9-b7dc3f731a63" CreationDate="2014-03-01T01:49:17.647" UserId="7016" Comment="105" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7189,&quot;DisplayName&quot;:&quot;ObscureRobot&quot;},{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="51242" PostHistoryTypeId="10" PostId="27601" RevisionGUID="7f737690-1e22-415c-941a-adb3d76735fa" CreationDate="2014-03-01T01:49:50.273" UserId="7016" Comment="104" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:1228,&quot;DisplayName&quot;:&quot;Stavrosound&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="51245" PostHistoryTypeId="14" PostId="1176" RevisionGUID="b33c0718-dcac-431a-8abc-ec3e1dc43897" CreationDate="2014-03-01T01:54:19.400" UserId="7016" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="51246" PostHistoryTypeId="33" PostId="1176" RevisionGUID="8f112d9d-b625-4fc1-b5ea-eb9766bd31a2" CreationDate="2014-03-01T01:54:19.400" UserId="7016" Comment="7" />
  <row Id="51247" PostHistoryTypeId="10" PostId="19615" RevisionGUID="d6286ab4-1450-4ea5-b379-85577c5eac76" CreationDate="2014-03-01T01:56:33.080" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="51248" PostHistoryTypeId="2" PostId="27709" RevisionGUID="c8532b8b-4c50-46eb-978a-b24b1479b493" CreationDate="2014-03-01T03:10:59.023" UserId="1228" Text="I've personally cut quite a few of these.  They cropped up on Nikita often as well.  My opinion is to break it down into it's main food groups:&#xD;&#xA;&#xD;&#xA;- normal BG (the BG without the press conference - the roomtones or airs, birds traffic if outside, etc)&#xD;&#xA;- walla bed&#xD;&#xA;- walla callouts&#xD;&#xA;- camz bed&#xD;&#xA;- camz onscreen&#xD;&#xA;- movement/knockabout&#xD;&#xA;&#xD;&#xA;The walla will have to be shaped for the scene.  Usually you have a busy/active crowd (bordering on yelling, but not riot - depends on the visual energy of the scene - run and gun vs an organized press conference).  You want to get out of the active walla when the subject enters frame and is ready to speak, usually waiting for the crowd to die down - this is your cue.  As the crowd is settling, cross into murmur/whisper type tracks - not a lot but enough to keep the crowd &quot;present&quot;.  As the crowd is dying down, an occasional cough or throat clear and be a nice added touch (walla callouts).  As the subject is finishing speaking, I like to rise the energy back in quickly to get that aggressive type feel that the subject is being drowned out and pounced upon.  Finding the right crowd source material is key though, and blending is key.&#xD;&#xA;&#xD;&#xA;With cameras, I like to do a spotted mono track as filler to play throughout (but gettng sparse during the &quot;press moment&quot;.  Then the onscreen cam flashes will be cut for nice interplay and overall fill.&#xD;&#xA;&#xD;&#xA;Under that, knockabout movement helps especially for the murmur section.  Again dpends upon where it's happening.  If a white house type room, some nice chair movement tracks are useful.  if it's an ENG press conference, having some light FS shuffles and camera gear movement works.  Again, like the murmurs, something to keep the press alive.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Rinse and repeat the above if you're doing a press conference futz POV - just mono prints (versus stereo) that get grouped together for the mixer to know they should all get futzed.&#xD;&#xA;&#xD;&#xA;Hope that helps!&#xD;&#xA;&#xD;&#xA;Also, the White House press conference in Apollo 13 (where they have the small rocket models on the table) is a VERY FANTASTIC example of a well-done press conference workup, as is the one in Contact - the one in Contact is a great example of what do with those quiet moments and how you keep it alive.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51249" PostHistoryTypeId="6" PostId="27706" RevisionGUID="da5f0a23-1c0d-4341-aeb2-3955e7d594bb" CreationDate="2014-03-01T03:39:26.033" UserId="1228" Comment="edited tags" Text="&lt;ambience&gt;&lt;background&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51250" PostHistoryTypeId="2" PostId="27710" RevisionGUID="0e128e0c-c5c1-430b-85c1-a2318a668bfa" CreationDate="2014-03-01T07:58:20.860" UserId="6425" Text="One of the most important thing with all the new loudness recommendations is fader/volume automation. Also while mixing, have a very light Master Buss Compressor on right from the Start! &#xD;&#xA;&#xD;&#xA;Then I go like this:&#xD;&#xA;&#xD;&#xA;1. Compress your dialogue if needed. If the dialogue is too Dynamic, its hard to Level anything correctly. I would use 3-9 dB on normal dialogue and 6-12 dB on voiceovers.&#xD;&#xA;&#xD;&#xA;2. Remove all the mud you dont Need with highpassing and de noiser (waves wns etc). Remove streaming guitar sounds etc with notches at 2-4 kHz. That Way You understand the dialogue better and you can have a higher music Level.&#xD;&#xA;&#xD;&#xA;3. Set the Level of the Key Elements speech, important Music and important fx via the loudness Meter!! That Way You are in the right direction right from the start! Then Set the Master bis Compressor to Ride the peaks ( max 1 dB )&#xD;&#xA;&#xD;&#xA;4. Set the Level of the other Elements like background Music, fx and room tone. Set the Levels while Lokping at the loudness Meter and make sure they have only Minor impact on the loudness (momentary).&#xD;&#xA;&#xD;&#xA;5. use fader automation to ride the dialogue and Automate the volume of everything so that the Key Elements ist right. Its better to reduce the volume of backround Stuff rather than increasing the volume of Key Elements! I use waves vocal Rider to automatically Ride dialogue, sidechained to all backround elements with 1-2 dB max gain. &#xD;&#xA;&#xD;&#xA;6. meassure your project, correct loudness via a gain on the Master. If you have too much Dynamic range -&gt; use a Second Master Compressor with 1.2 - 1.5 threshhold soft attack and release and a very steep threshhold. Then correct your loudness via the Make-up gain. After that meassure the TP and use Bruckwall limiting to ensure -9dBTP.&#xD;&#xA;&#xD;&#xA;I use a master buss compression because i always needed a compressor to reduce the Dynamics a bit for German loudness value. And applying the compression at the end sometimes. Screwed my balance.&#xD;&#xA;&#xD;&#xA;I hope this helped.&#xD;&#xA;&#xD;&#xA;Gl&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51251" PostHistoryTypeId="5" PostId="27709" RevisionGUID="7332c903-6d9d-4284-af4a-96faa958ed01" CreationDate="2014-03-01T10:19:41.693" UserId="1228" Comment="added 104 characters in body" Text="I've personally cut quite a few of these.  They cropped up on Nikita often as well.  My opinion is to break it down into it's main food groups:&#xD;&#xA;&#xD;&#xA;- normal BG (the BG without the press conference - the roomtones or airs, birds traffic if outside, etc)&#xD;&#xA;- walla bed&#xD;&#xA;- walla callouts&#xD;&#xA;- camz bed&#xD;&#xA;- camz onscreen&#xD;&#xA;- movement/knockabout&#xD;&#xA;&#xD;&#xA;The walla will have to be shaped for the scene.  Usually you have a busy/active crowd (bordering on yelling, but not riot - depends on the visual energy of the scene - run and gun vs an organized press conference).  You want to get out of the active walla when the subject enters frame and is ready to speak, usually waiting for the crowd to die down - this is your cue.  As the crowd is settling, cross into murmur/whisper type tracks - not a lot but enough to keep the crowd &quot;present&quot;.  As the crowd is dying down, an occasional cough or throat clear and be a nice added touch (walla callouts).  As the subject is finishing speaking, I like to rise the energy back in quickly to get that aggressive type feel that the subject is being drowned out and pounced upon.  Finding the right crowd source material is key though, and blending is key.&#xD;&#xA;&#xD;&#xA;With cameras, I like to do a spotted mono track as filler to play throughout (but gettng sparse during the &quot;press moment&quot;.  Then the onscreen cam flashes will be cut for nice interplay and overall fill.&#xD;&#xA;&#xD;&#xA;Under that, knockabout movement helps especially for the murmur section.  Again dpends upon where it's happening.  If a white house type room, some nice chair movement tracks are useful.  if it's an ENG press conference, having some light FS shuffles and camera gear movement works.  Again, like the murmurs, something to keep the press alive.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Rinse and repeat the above if you're doing a press conference futz POV - just mono prints (versus stereo) that get grouped together for the mixer to know they should all get futzed.&#xD;&#xA;&#xD;&#xA;Hope that helps!&#xD;&#xA;&#xD;&#xA;Also, the White House press conference in Apollo 13 (where they have the small rocket models on the table) is a VERY FANTASTIC example of a well-done press conference workup, as is the one in Contact - the one in Contact is a great example of what do with those quiet moments and how you keep it alive.  The inquiry debrief near the end is also a great example of these quiet moments in a press conference.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51256" PostHistoryTypeId="2" PostId="27713" RevisionGUID="330d975a-6840-426b-ba5a-34166c659ef8" CreationDate="2014-03-01T17:38:14.270" UserId="6425" Text="&#xD;&#xA;Cant you recompress the audio with another Codec? That might help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51260" PostHistoryTypeId="36" PostId="27715" RevisionGUID="97f683e0-56ab-4aff-948d-e0c52a48ae4e" CreationDate="2014-03-01T18:36:04.213" UserId="-1" Comment="from http://music.stackexchange.com/questions/15841/what-is-the-best-way-to-record-acoustic-piano-and-vocals-from-home" />
  <row Id="51261" PostHistoryTypeId="2" PostId="27715" RevisionGUID="fc9f180a-5dc1-4d6e-9490-8c54afc6b060" CreationDate="2014-03-01T15:23:02.227" UserId="7618" UserDisplayName="gigahari" Text="I am staying in a rented house which I cannot sound-proof. I have an acoustic piano which I cannot carry to a studio. The noise levels around are average, no heavy traffic, but passing car horns, animals, children playing etc get heard at times. &#xD;&#xA;I would like to know, what is the best way to record piano with vocals in this scenario? If I have to choose between a high end dynamic mic and a not-so-high-end condenser mic, what would be better?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51262" PostHistoryTypeId="1" PostId="27715" RevisionGUID="fc9f180a-5dc1-4d6e-9490-8c54afc6b060" CreationDate="2014-03-01T15:23:02.227" UserId="7618" UserDisplayName="gigahari" Text="What is the best way to record acoustic piano and vocals from home?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51263" PostHistoryTypeId="3" PostId="27715" RevisionGUID="fc9f180a-5dc1-4d6e-9490-8c54afc6b060" CreationDate="2014-03-01T15:23:02.227" UserId="7618" UserDisplayName="gigahari" Text="&lt;piano&gt;&lt;recording&gt;&lt;sound&gt;&lt;mix&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51269" PostHistoryTypeId="2" PostId="27718" RevisionGUID="0757af5e-0b66-49ec-8f51-d016c0b1696f" CreationDate="2014-03-01T22:01:18.363" UserId="7578" Text="The &quot;transpose&quot; knob in Ableton Live 9 only allows transposing down 48 semitones, which is 4 octaves.&#xD;&#xA;&#xD;&#xA;In order to best approximate what a bat hears, I'd like to transpose down 6 octaves, which is 72 semitones. I _could_ record one track into another, and then transpose that one down again. But I'd prefer to find a way to do it, you know, _live_. That way I can see how different songs sound with it." ContentLicense="CC BY-SA 3.0" />
  <row Id="51270" PostHistoryTypeId="1" PostId="27718" RevisionGUID="0757af5e-0b66-49ec-8f51-d016c0b1696f" CreationDate="2014-03-01T22:01:18.363" UserId="7578" Text="Transpose a track 6 octaves in Ableton Live" ContentLicense="CC BY-SA 3.0" />
  <row Id="51271" PostHistoryTypeId="3" PostId="27718" RevisionGUID="0757af5e-0b66-49ec-8f51-d016c0b1696f" CreationDate="2014-03-01T22:01:18.363" UserId="7578" Text="&lt;mixing&gt;&lt;effects&gt;&lt;ableton-live&gt;&lt;ableton&gt;&lt;pitch-shifting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51275" PostHistoryTypeId="2" PostId="27721" RevisionGUID="274a005f-4237-4f85-ada2-8c6149b65091" CreationDate="2014-03-02T01:42:24.280" UserId="7017" Text=" 1. Your best bet is to find movies on DVD that match the soundscape you&#xD;&#xA;    are trying to create. Listen to them carefully to determine what it&#xD;&#xA;    is that creates the acoustic atmosphere you like. Listen for the&#xD;&#xA;    pauses, general pitch, presence or lack of foley etc. &#xD;&#xA;    &#xD;&#xA;    Proper mixing of all of these elements is the MOST vital part of&#xD;&#xA;    your audio process. It simply will not matter how loud or quiet your&#xD;&#xA;    overall signal is if your foley or soundtrack levels are not&#xD;&#xA;    properly adjusted to allow dialogue to be heard. Televisions come&#xD;&#xA;    with volume buttons for a reason. One of the most notable mistakes I&#xD;&#xA;    see in low budget film is poor use of audio. Essentially you are&#xD;&#xA;    looking for the audio to be invisible unless you look for it. You&#xD;&#xA;    want every element to have atmospheric purpose.&#xD;&#xA; 2. Secondly watch your meters. If your meters are clipping (hitting the&#xD;&#xA;    red) you are distorting (damaging) the audio and reducing quality.&#xD;&#xA;    Your best bet is going to be setting the gain for the individual&#xD;&#xA;    channels so that the meters NEVER go above -6, and with the&#xD;&#xA;    exception of loud quick sounds like gunshots/explosions average&#xD;&#xA;    right around -10. Then use the fader and ducking controls to mix.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;       &#xD;&#xA;&#xD;&#xA; *I think another important issue is determining what type of&#xD;&#xA;   compression you are   referring to. Limiting type audio compression&#xD;&#xA;   (squishing the loudest parts of the   signal to even out overall&#xD;&#xA;   output) or file compression (using math to remove/shrink file size&#xD;&#xA;   and then re expand/add the missing information at playback or file&#xD;&#xA;   recovery)&#xD;&#xA;   &#xD;&#xA;   The first if used properly can increase overall perceived volume. The&#xD;&#xA;   second will remove some information from the file reducing overall&#xD;&#xA;   audio quality.*" ContentLicense="CC BY-SA 3.0" />
  <row Id="51276" PostHistoryTypeId="2" PostId="27722" RevisionGUID="3638ce91-11b9-43c3-b9a5-d2b920432008" CreationDate="2014-03-02T01:57:55.283" UserId="7600" Text="To answer your first question there needs to be more detail. Is the piano an upright piano or grand? Do you plan to record only live takes or will you be overdubbing?  In answer to your second question, generally condenser mics are a better choice on piano, but again this could use more clarification in regards to specific mics that you're trying to decide between." ContentLicense="CC BY-SA 3.0" />
  <row Id="51277" PostHistoryTypeId="2" PostId="27723" RevisionGUID="ec713b9c-b62d-4688-bbe3-1ddd6ad759b0" CreationDate="2014-03-02T02:07:38.860" UserId="7017" Text="Actually you can do soundproofing without damaging the house. Using acoustic panels (expensive but provides the best result) works, however some well placed blankets using string and 3M adhesive hooks in a carpeted room can vastly change the sound of the recording because of reduced reverberation. &#xD;&#xA;&#xD;&#xA;Picking a recording time that has the least amount of noise pollution (midnight?) may also help with the external audio source problem.&#xD;&#xA;&#xD;&#xA;I would recommend recording vocals and piano separately to achieve the best results. It is difficult if nigh on impossible to properly mic a piano with one mic; let alone a piano and vocalist. &#xD;&#xA;&#xD;&#xA; - A condenser mic will meet your needs best because even good dynamic mic's can struggle to capture the higher frequencies produced by a piano. Even mid level mics can produce great results if used properly.&#xD;&#xA;&#xD;&#xA; - The caveat though is placement. You will have to experiment with   &#xD;&#xA;   placement to find what sounds best. Every audio pro will tell you   &#xD;&#xA;   that if you have a lousy sound being recorded, fixing it will be&#xD;&#xA;   difficult    at best later.&#xD;&#xA;&#xD;&#xA; - A condenser can also be used for vocals. Most studio mic's are condensers. It is possible, though unlikely, that the condenser you have in mind is inadequate for recording both audio sources well (provided both are recorded separately, and proper mic placement is used.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[This is a great (fairly technical) piece on how to mic a piano.][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/may99/articles/recpiano.htm&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51278" PostHistoryTypeId="5" PostId="27723" RevisionGUID="edb229e6-dc85-4bd7-9ce4-e9f2b76c0fd1" CreationDate="2014-03-02T02:15:08.420" UserId="7017" Comment="added 161 characters in body" Text="Actually you can do soundproofing without damaging the house. Using acoustic panels (expensive but provides the best result) works, however some well placed blankets using string and 3M adhesive hooks in a carpeted room can vastly change the sound of the recording because of reduced reverberation. &#xD;&#xA;&#xD;&#xA;Picking a recording time that has the least amount of noise pollution (midnight?) may also help with the external audio source problem.&#xD;&#xA;&#xD;&#xA;I would recommend recording vocals and piano separately to achieve the best results. It is difficult if nigh on impossible to properly mic a piano with one mic; let alone a piano and vocalist. &#xD;&#xA;&#xD;&#xA; - A condenser mic will meet your needs best because even good dynamic mic's can struggle to capture the higher frequencies produced by a piano. Even mid level mics can produce great results if used properly.&#xD;&#xA;&#xD;&#xA; - The caveat though is placement. You will have to experiment with   &#xD;&#xA;   placement to find what sounds best. Every audio pro will tell you   &#xD;&#xA;   that if you have a lousy sound being recorded, fixing it will be&#xD;&#xA;   difficult    at best later.&#xD;&#xA;&#xD;&#xA; - A condenser can also be used for vocals. Most studio mic's are condensers. It is possible, though unlikely, that the condenser you have in mind is inadequate for recording both audio sources well (provided both are recorded separately, and proper mic placement is used.&#xD;&#xA;&#xD;&#xA; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[This is a great (fairly technical) piece on how to mic a piano.][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[A less technical piece on finding the best mic position for an instrument.][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/may99/articles/recpiano.htm&#xD;&#xA;  [2]: http://www.prosoundweb.com/article//mic_with_your_ears_not_your_eyes/" ContentLicense="CC BY-SA 3.0" />
  <row Id="51279" PostHistoryTypeId="4" PostId="27718" RevisionGUID="a1490048-af12-45c1-a968-82d89ad492d4" CreationDate="2014-03-02T02:17:58.587" UserId="7294" Comment="Clarified title - this is something that needs to be done live - resampling and shifting again is specifically outside the scope." Text="Transpose a track 6 octaves in Ableton Live in realtime" ContentLicense="CC BY-SA 3.0" />
  <row Id="51280" PostHistoryTypeId="2" PostId="27724" RevisionGUID="0dd3b636-b2cc-4117-96e5-39f9d7cca692" CreationDate="2014-03-02T02:29:45.223" UserId="7017" Text="For the most basic sound system think of a set of headphones. All of the sounds come out of the 2 headphones. Try it with just one headphone in you can still hear all of the instruments.&#xD;&#xA;&#xD;&#xA;Some speakers might produce different sounds but not in the way you might think. Some speakers are designed to produce different pitches of sound Bass or Treble. A crossover (piece of equipment) basically sends bass to the subs and everything else to speakers designed to work with higher pitches.&#xD;&#xA;&#xD;&#xA;If there are two sets of speakers (left and right) it works like the headphones. This lets a sound guy &quot;pan&quot; sound to make it louder or quieter from side to side so one side may have a particular instrument or vocal part at a louder volume.&#xD;&#xA;&#xD;&#xA;If there are speakers way out in the crowd (outdoor concerts) these are used to help the sound reach farther (distance &quot;eats&quot; sound). These speakers will play the same sounds as the ones at the stage but delayed so that the sound comes out of them at the same time as the sound leaving the stage.&#xD;&#xA;&#xD;&#xA;Hope this helps.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51281" PostHistoryTypeId="2" PostId="27725" RevisionGUID="fac56492-da81-402f-a6a7-a33ee2a03c69" CreationDate="2014-03-02T02:35:14.347" UserId="7522" Text="Do you have M4L? If you do maybe try this patch:- http://www.maxforlive.com/library/device/347/pitch" ContentLicense="CC BY-SA 3.0" />
  <row Id="51282" PostHistoryTypeId="5" PostId="27725" RevisionGUID="19d63c9a-1079-4dc1-a4aa-80d3d7113ebe" CreationDate="2014-03-02T02:46:25.460" UserId="7522" Comment="added 71 characters in body" Text="Do you have M4L? If you do maybe try this patch:- http://www.maxforlive.com/library/device/347/pitch&#xD;&#xA;&#xD;&#xA;You could also try doing this with grain delay plugins, but YMMV..." ContentLicense="CC BY-SA 3.0" />
  <row Id="51283" PostHistoryTypeId="10" PostId="27594" RevisionGUID="f66f0158-9779-44f7-ba97-fca4c940d0ef" CreationDate="2014-03-02T03:42:59.850" UserId="6387" Comment="104" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6387,&quot;DisplayName&quot;:&quot;Tim Post&quot;}]}" />
  <row Id="51285" PostHistoryTypeId="2" PostId="27726" RevisionGUID="8f9e38a3-8cb0-4020-b5bb-99d3d5261ac6" CreationDate="2014-03-02T05:29:12.070" UserId="6445" Text="Is there a trick in logic to get regions to distribute on the grid every X seconds. So if I have 40 sound effects and I want to line them up so they each start on multiples of 10 seconds... ?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51286" PostHistoryTypeId="1" PostId="27726" RevisionGUID="8f9e38a3-8cb0-4020-b5bb-99d3d5261ac6" CreationDate="2014-03-02T05:29:12.070" UserId="6445" Text="Sound Effects Editing Workflow in Logic" ContentLicense="CC BY-SA 3.0" />
  <row Id="51287" PostHistoryTypeId="3" PostId="27726" RevisionGUID="8f9e38a3-8cb0-4020-b5bb-99d3d5261ac6" CreationDate="2014-03-02T05:29:12.070" UserId="6445" Text="&lt;editing&gt;&lt;sfx&gt;&lt;workflow&gt;&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51288" PostHistoryTypeId="2" PostId="27727" RevisionGUID="309fdd49-5d65-4991-8bdc-fdc8c6fdd3d3" CreationDate="2014-03-02T06:59:40.433" UserId="7617" Text="What is the best, inexpensive way to protect my Behringer ECM 8000 microphone from rain while attempting to record frog calls outdoors? I am a graduate student with no funding, so inexpensive is important, but current attempts at cover result in just loud pelting noise from the rain itself. Advice appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="51289" PostHistoryTypeId="1" PostId="27727" RevisionGUID="309fdd49-5d65-4991-8bdc-fdc8c6fdd3d3" CreationDate="2014-03-02T06:59:40.433" UserId="7617" Text="How to protect microphone in rain while recording frog calls?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51290" PostHistoryTypeId="3" PostId="27727" RevisionGUID="309fdd49-5d65-4991-8bdc-fdc8c6fdd3d3" CreationDate="2014-03-02T06:59:40.433" UserId="7617" Text="&lt;audio-recording&gt;&lt;equipment&gt;&lt;animals&gt;&lt;outdoor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51291" PostHistoryTypeId="5" PostId="27715" RevisionGUID="a2af7957-3675-4633-9c68-d8a71c6f42bc" CreationDate="2014-03-02T07:12:05.883" UserId="7618" Comment="added 74 characters in body" Text="I am staying in a rented house which I cannot sound-proof. I have an acoustic upright piano which I cannot carry to a studio. The noise levels around are average, no heavy traffic, but passing car horns, animals, children playing etc get heard at times. &#xD;&#xA;I would like to know, what is the best way to record piano with vocals in this scenario? I am happy with doing live takes with no overdubbing for a start. If I have to choose between a high end dynamic mic and a not-so-high-end condenser mic, what would be better?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51293" PostHistoryTypeId="2" PostId="27729" RevisionGUID="643406cc-8be8-4b17-9e23-de190ef5dce4" CreationDate="2014-03-02T09:36:46.963" UserId="7619" Text="This (from Twitter)&#xD;&#xA;&#xD;&#xA;Hi! A simpler (works also with sampler) in combination with a Pitch midi effect will do the job. Good luck.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Screenshot here:&#xD;&#xA;https://mobile.twitter.com/PJGriscelli/status/439900681105719296" ContentLicense="CC BY-SA 3.0" />
  <row Id="51294" PostHistoryTypeId="2" PostId="27730" RevisionGUID="f948bccc-1f3e-40d1-a99c-42fde5be947c" CreationDate="2014-03-02T10:41:13.620" UserId="7556" Text="Apparently it's a Korg Wavestation lead with flanger, I'm guessing Spank-a-lead from ROM 5." ContentLicense="CC BY-SA 3.0" />
  <row Id="51295" PostHistoryTypeId="2" PostId="27731" RevisionGUID="dbe8e004-7e7b-4a5e-9e81-3d4293943db9" CreationDate="2014-03-02T11:26:45.153" UserId="6582" Text="Protecting microphones from rain is quite a challenge, and I haven't found the perfect solution either yet: it is not only about protecting the microphone itself from damage, but also getting rid of the sound of the rain drop impacts straight on the mic and its windshield/foam. The best results I have achieved so far when recording rain was by putting the mic on a small stand (like for micing a kick drum) and then placing myself over it holding a thick blanket with my arms stretched out. Looks quite awkward, lasts only for a few minutes in strong rain and may cause some back pain after a while :-).&#xD;&#xA;If your focus is on recording the frogs though anyway, I would rather wait for better weather instead. Even if you manage to isolate your mic from the rain drop impacts, you will get a lot of rain sounds and other ambiance on top with an omni like the ECM8000; maybe you can rent a more directional microphone like a shotgun or at least a hypercardoid?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51300" PostHistoryTypeId="5" PostId="27707" RevisionGUID="81897dc1-7a45-4c24-bedb-cf6ddefea5e5" CreationDate="2014-03-02T16:18:16.477" UserId="7610" Comment="added 743 characters in body" Text="It's a known problem to loop mp3's because of the gap they have in the beginning. But since Flash has programatic control, I tried to use the offset to play it. Still, so far, I couldn't get it to loop nicely this way.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;    Sound.play(23, 9999);&#xD;&#xA;&#xD;&#xA;I set start time to 23ms, which according to documentation should loop this sound from 50ms till the end, end then again. No matter what value I tried, I couldn't get it to work correctly. I observed the wave form in audio editing software and the sound starts exactly at ***23ms***, I tried setting this as start and many other values and couldn't stick it together.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**UPDATE** &lt;- let's hope this works&#xD;&#xA;&#xD;&#xA;From Starling forum: http://forum.starling-framework.org/topic/how-to-use-sounds&#xD;&#xA;&#xD;&#xA;I'm assuming that you're not starting from the beginning because the MP3 format often adds a little bit of silence at the beginning of the file. I was able to work around this by making the file a WAV instead. Then, I added the WAV to the library of a Flash Pro document and exported it as a class for ActionScript. I believe Flash Pro ultimately makes an MP3 from it, but it adds some magic sauce to make the MP3 work without extra silence at the beginning. Then, if you're using Flash Builder, you can embed the symbol from the SWF with [Embed] metadata. It's kind of complicated, but it's been working great for me." ContentLicense="CC BY-SA 3.0" />
  <row Id="51303" PostHistoryTypeId="2" PostId="27735" RevisionGUID="218eb2ed-5495-4e4b-ace8-6e58ada315c8" CreationDate="2014-03-02T18:49:24.627" UserId="7433" Text="The title says it all&#xD;&#xA;&#xD;&#xA;Does Cubase always assume music is tuned in 440 for VariAudio (or other stuff)?&#xD;&#xA;Can that be changed? &#xD;&#xA;&#xD;&#xA;Is there any tool (free or built-in) to analyse the tuning frequency of an audio file?&#xD;&#xA;&#xD;&#xA;&quot;How&quot; standard is it? Alternatively, to what extent I assume that all pouplar, western, not-a-century-old, audio tracks are tuned in 440Hz?&#xD;&#xA;&#xD;&#xA;Thanks for you help" ContentLicense="CC BY-SA 3.0" />
  <row Id="51304" PostHistoryTypeId="1" PostId="27735" RevisionGUID="218eb2ed-5495-4e4b-ace8-6e58ada315c8" CreationDate="2014-03-02T18:49:24.627" UserId="7433" Text="Does Cubase always assume music is tuned in 440 for VariAudio (or other stuff)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51305" PostHistoryTypeId="3" PostId="27735" RevisionGUID="218eb2ed-5495-4e4b-ace8-6e58ada315c8" CreationDate="2014-03-02T18:49:24.627" UserId="7433" Text="&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51306" PostHistoryTypeId="2" PostId="27736" RevisionGUID="be330699-862f-4f04-b0af-49f16b2e4aaa" CreationDate="2014-03-02T19:48:43.987" UserId="7625" Text="I recently ordered an open-box SM7B (perfect condition), so far so good, except there's some crackling noise coming out of the audio signal. &#xD;&#xA;&#xD;&#xA;[You can hear a sample of the crackling noise here][1], it's normalized so you can hear it clearly.&#xD;&#xA;&#xD;&#xA;There's only a XLR male to female cable between the microphone and my X2U adapter. My previous microphone AT2035 didn't have this issue and was also connected to the X2U. The suspects here are the XLR cable or the SM7B itself.&#xD;&#xA;&#xD;&#xA;RX Denoiser doesn't seem to recognize the crackling as noise so I'm unable to clean the audio like I did with AT2035.&#xD;&#xA;&#xD;&#xA;Your thoughts?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://dl-web.dropbox.com/get/Public/audio/crackling.mp3?_subject_uid=62131673&amp;w=AAAps2tFMklLBMFg4yRHDjXYYRqW_R_0krDfcyMEprqr_g" ContentLicense="CC BY-SA 3.0" />
  <row Id="51307" PostHistoryTypeId="1" PostId="27736" RevisionGUID="be330699-862f-4f04-b0af-49f16b2e4aaa" CreationDate="2014-03-02T19:48:43.987" UserId="7625" Text="Crackling noise coming out the SM7B microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="51308" PostHistoryTypeId="3" PostId="27736" RevisionGUID="be330699-862f-4f04-b0af-49f16b2e4aaa" CreationDate="2014-03-02T19:48:43.987" UserId="7625" Text="&lt;microphone&gt;&lt;noise&gt;&lt;xlr&gt;&lt;cracking&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51309" PostHistoryTypeId="5" PostId="27736" RevisionGUID="bc67a4b3-adb0-4c1b-a4c1-562e7b005c9a" CreationDate="2014-03-02T20:37:33.480" UserId="7625" Comment="deleted 64 characters in body" Text="I recently ordered an open-box SM7B (perfect condition), so far so good, except there's some crackling noise coming out of the audio signal. &#xD;&#xA;&#xD;&#xA;[You can hear a sample of the crackling noise here][1], it's normalized so you can hear it clearly.&#xD;&#xA;&#xD;&#xA;There's only a XLR male to female cable between the microphone and my X2U adapter. My previous microphone AT2035 didn't have this issue and was also connected to the X2U. The suspects here are the XLR cable or the SM7B itself.&#xD;&#xA;&#xD;&#xA;RX Denoiser doesn't seem to recognize the crackling as noise so I'm unable to clean the audio like I did with AT2035.&#xD;&#xA;&#xD;&#xA;Your thoughts?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://dl.dropboxusercontent.com/u/62131673/audio/crackling.mp3" ContentLicense="CC BY-SA 3.0" />
  <row Id="51312" PostHistoryTypeId="2" PostId="27737" RevisionGUID="c76008cb-1797-48e2-918e-b22046bfe937" CreationDate="2014-03-02T22:12:00.113" UserId="6399" Text="Most radio spots are done at 48K sampling rate, audio post in general really.  Here in the US there aren't any broadcast level specs, most people just set their output limiters at -1 or 2.  From there you just mix with your monitors at the correct level and make a nice sounding mix.  The stations themselves handle the final compression before the signal is broadcast." ContentLicense="CC BY-SA 3.0" />
  <row Id="51315" PostHistoryTypeId="2" PostId="27739" RevisionGUID="d66420f3-eda2-494e-b400-2098b1b06a57" CreationDate="2014-03-03T12:01:23.287" UserId="6481" Text="From my point of view, there are often very good results when you use the best of the both worlds = simple audio manipulation + synthesis. In your case (&quot;dark-feeling game&quot; as you mentioned), it might be fun to work with a sound that is usually considered to be very close to actual ambient music. A combination of some dark electronic soundscapes and layered short - almost percussive - sounds with a reverb that can be even exaggerated. This is just one of many possible approaches, of course.&#xD;&#xA;First of all, I would recommend to learn how to manipulate, edit and process simple audio recordings. I'm not very familiar with FL Studio (I remember Fruity Loops), but the freeware solution for learning how to work with samples can be simple as Audacity. If you use FL Studio, I'm sure, you can import edited samples later. At some point, it may be necessary to have a real DAW (you can try Cockos Reaper or MuLab which are cheap when you decide to buy them later, also Logic is very powerful and not so expensive, or you can consider Cubase, Pro Tools etc.). A hand-recorder is always, well, handy when it comes to get original sounding audio samples that can be used later on. Some sort of (software) synth is the another step. My favorite for such purpose is Alchemy from Camel Audio. You can load your sounds into it, apply - for example - some granular synthesis etc and blend it with another one. As you mentioned, tuning sounds can be useful and sometime you can get unexpected scary sounding results, of course. (Find some old guitar, experiment with tunings, record a single chord, slow it down and be creative later during editing/processing!) It's up to you and your fantasy. And don't forget that less can be sometimes more scary...(Limbo!)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51316" PostHistoryTypeId="2" PostId="27740" RevisionGUID="d12f09bd-be8a-4b8b-8bf9-77727645ec09" CreationDate="2014-03-03T17:17:54.077" UserId="7064" Text="I would suggest setting the grid to show time instead of measures. You can also set the tempo to 60 bpm so that it aligns with seconds, and maybe change the time signature to 10/4, or whatever amount of seconds you may want in another circumstance.  By changing the time signature you can customize the grid so that it will fit the regularity of your samples, allowing the snap to grid feature to be useful as well as giving you a visual.&#xD;&#xA;&#xD;&#xA;From there I would set each region to the desired length (10 seconds) and either use the loop feature or copy/paste the regions as needed.&#xD;&#xA;&#xD;&#xA;This approach could be problematic if you have a specific tempo or time signature that the rest of the project relies on.  In such a scenario you could set up these sound effects in a separate project, convert to new audio files and import them to the other project.  This would set the samples at the specific length and the loop or copy/paste approach would also work in this setting." ContentLicense="CC BY-SA 3.0" />
  <row Id="51318" PostHistoryTypeId="2" PostId="27741" RevisionGUID="4f6f9d95-11a4-4a50-987e-b29a6df2c596" CreationDate="2014-03-03T22:08:41.310" UserId="7634" Text="I'm trying to recreate the bass synth Deadmau5 uses in his song, &quot;Hey Baby&quot;, which can be heard from the start of the song.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=00sncDavtOQ&#xD;&#xA;&#xD;&#xA;I have the VST's Massive, FM8 at my disposal.&#xD;&#xA;(I have tried several times within those programs to achieve this but can never get it right.)&#xD;&#xA;&#xD;&#xA;Any help in the right direction is appreciated.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;PD" ContentLicense="CC BY-SA 3.0" />
  <row Id="51319" PostHistoryTypeId="1" PostId="27741" RevisionGUID="4f6f9d95-11a4-4a50-987e-b29a6df2c596" CreationDate="2014-03-03T22:08:41.310" UserId="7634" Text="Recreating Deadmau5 Bass SYnth" ContentLicense="CC BY-SA 3.0" />
  <row Id="51320" PostHistoryTypeId="3" PostId="27741" RevisionGUID="4f6f9d95-11a4-4a50-987e-b29a6df2c596" CreationDate="2014-03-03T22:08:41.310" UserId="7634" Text="&lt;sound-design&gt;&lt;bass&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51321" PostHistoryTypeId="2" PostId="27742" RevisionGUID="4c30be02-850e-4660-80e6-650256cd4147" CreationDate="2014-03-04T01:51:14.670" UserId="6481" Text="Funny thing: I've just finished watching it for the second time! And...hell yes! Unfortunately, I didn't have the chance to see it in a cinema here in Prague, and I have to admit that I didn't want to wait for BluRay so I downloaded it (nasty!). This morning, I found it in a store between discounted DVDs. I enjoyed 5.1 at home and got even more sad that I didn't see it in the cinema. &#xD;&#xA;I agree with Tom. The woodpecker/birds scene was very well done and the overall final mix was something special. It sure would be exciting to work with ambiences/background sounds like that! Thank you for mentioning it, Tom!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51322" PostHistoryTypeId="2" PostId="27743" RevisionGUID="09bcac4f-87fe-4eff-b356-52cc6ff36079" CreationDate="2014-03-04T07:28:06.547" UserId="7549" Text="I luckily found the answer to this problem, so I'm going to self-answer this.&#xD;&#xA;&#xD;&#xA;**Problem:** MIDI input lags by 3 - 5 **seconds** (not a buffer size issue).&#xD;&#xA;&#xD;&#xA;**Setup:** &#xD;&#xA;&#xD;&#xA;For me:&#xD;&#xA;&#xD;&#xA; - Yamaha YDP-S30 digital piano&#xD;&#xA; - E-MU Xmidi 1x1 Tab&#xD;&#xA; - Some software capable of receiving MIDI (e.g. any DAW; Cubase for me)&#xD;&#xA;&#xD;&#xA;**Remarks:**&#xD;&#xA;&#xD;&#xA; - This setup had previously worked with no issues (3 - 4 days for me) until it suddenly failed&#xD;&#xA;  - Which means none of the following were relevant (I had these settings for days): &#xD;&#xA;     - Using ASIO drivers to decrease latency&#xD;&#xA;     - Changing the ASIO configuration (specifically the buffer size)&#xD;&#xA;     - Unplugging devices from USB ports to decrease latency&#xD;&#xA;     - Reinstalling drivers, configuring the software, restarting the computer" ContentLicense="CC BY-SA 3.0" />
  <row Id="51323" PostHistoryTypeId="1" PostId="27743" RevisionGUID="09bcac4f-87fe-4eff-b356-52cc6ff36079" CreationDate="2014-03-04T07:28:06.547" UserId="7549" Text="MIDI input 3 second delay lag" ContentLicense="CC BY-SA 3.0" />
  <row Id="51324" PostHistoryTypeId="3" PostId="27743" RevisionGUID="09bcac4f-87fe-4eff-b356-52cc6ff36079" CreationDate="2014-03-04T07:28:06.547" UserId="7549" Text="&lt;midi&gt;&lt;troubleshooting&gt;&lt;input&gt;&lt;delay&gt;&lt;sync&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51325" PostHistoryTypeId="2" PostId="27744" RevisionGUID="9806efbf-6634-40ee-bc60-be15d58503b8" CreationDate="2014-03-04T07:28:06.547" UserId="7549" Text="**Solution:** Send a MIDI SysEx &quot;reset all&quot; message.&#xD;&#xA;&#xD;&#xA;What worked for me:&#xD;&#xA;&#xD;&#xA; 1. Download [MIDI-OX][1] for Windows or [KMidimon][2] for Linux. I use Windows so these steps will continue with MIDI-OX.&#xD;&#xA; 2. Start MIDI-OX. Go to `Options`-&gt;`MIDI Devices`. Select your MIDI input (&quot;E-MU Xmidi1X1 Tab&quot; for me). I actually selected Microsoft GS Wavetable Synth for my MIDI output, but I don't think it matters what you select. The input is what we're interested in.&#xD;&#xA; 3. Go to `View`-&gt;`SysEx...` to bring up the `SysEx View and Scratchpad` window. We will be sending a MIDI reset command through this window.&#xD;&#xA; 4. Somehow find a table describing the MIDI commands you can send. For me, I found this table in the YDP-S30 manual, which I quickly found on Google. The MIDI commands we are sending are device-specific (the manufacturer chooses which code means what), so you probably can't get past this step without the proper MIDI code table. [Here is an image example][3] of the relevant portion of the MIDI table I used. &#xD;&#xA; 5. Play with the codes to send the appropriate message. [Here is an image example of MIDI-OX sending the code][4]. I think that reset my MIDI device, because everything is working now with no input lag. Use `Command Window`-&gt;`Send/Receive SysEx` or just `Send SysEx` (I spammed both to make sure).&#xD;&#xA;&#xD;&#xA;I still have no idea what caused the problem. My guess is some software sent a particular MIDI message which caused all messages to arrive late?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.midiox.com/&#xD;&#xA;  [2]: http://kmidimon.sourceforge.net/index.shtml&#xD;&#xA;  [3]: http://i.stack.imgur.com/Aflca.png&#xD;&#xA;  [4]: http://i.stack.imgur.com/KytRk.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="51326" PostHistoryTypeId="2" PostId="27745" RevisionGUID="625a84a7-1b8e-40ab-863c-62065f6dd9e4" CreationDate="2014-03-04T09:20:43.640" UserId="7636" Text="I am in a need of a microphone for a specific setup and with some requirements, but I don't seem to have much luck in finding the best option. There is a possibility I am looking at this all wrong, so I am asking for advice here.&#xD;&#xA;&#xD;&#xA;### My setup is as follows:&#xD;&#xA;&#xD;&#xA;* The recording device is an [Delock USB audio sound card](http://www.delock.com/produkte/G_61645/merkmale.html?setLanguage=en)&#xD;&#xA;&#xD;&#xA;* The USB sound card is connected to an Raspberry PI electronic board&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### My requirements are:&#xD;&#xA;&#xD;&#xA;* It does not have to be professional quality, I am hoping for something in the price range of 20€.&#xD;&#xA;&#xD;&#xA;* Small microphone (i think the terms my be: *bug*, *lavalier*, *lapel*, although I am not certain about the differences, but you get the idea).&#xD;&#xA;&#xD;&#xA;* Optimal sensitivity (I have used Genius [MIC-01C](http://www.geniusnet.com/wSite/ct?xItem=16665&amp;ctNode=145) with the sensitivity of -58dB at 1KHz and it was ok, but I think I would rather go above -45dB).&#xD;&#xA;&#xD;&#xA;* The **most important** thing is the noise requirement. I have had bad experiences with the Genius microphone, because its cable would collect too much 50Hz noise from the environment. If it was near the fluorescent lamp or a power source of any kind, the noise it collected was too high for any usage. Even when it is not near the EM source, it still gets much 50Hz noise from the environment. This is the main reason I am looking for an alternative microphone. I guess this requirement could be summed up as a need for a shielded cable?&#xD;&#xA;&#xD;&#xA;* The directionality should be unidirectional the narrower the better, because it is used to listen to one person only and try to eliminate anything else whenever possible.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### What i have found in my search so far:&#xD;&#xA;(I can't post more than two links yet, so here are only names)&#xD;&#xA;&#xD;&#xA;* Sony ECM-CS3&#xD;&#xA;* Bronstein LM15&#xD;&#xA;* Olympus ME52W&#xD;&#xA;&#xD;&#xA;### My questions are:&#xD;&#xA;1. Is there a microphone you know that would suit me these requirements?&#xD;&#xA;1. The Olympus ME-52W is the best I have found, it has high sensitivity, noise reduction and it has direct 3.5mm connector so I can replace its cable with a shielded one very easily. But the question here is: can i use this microphone with my setup, since it is ment to be used with the voice recorder? Seems that it needs *phantom power* to work? How do I know if i can supply this?&#xD;&#xA;1. How do i protect the microphone from collecting 50Hz noise from the surroundings with its cable? Should i use a shielded cable? Most mics come with their own unshielded cable, and replacing should not be an option for me..&#xD;&#xA;1. Do XLR cables help with this? Can i use a 3.5mm to XLR cable and get an XLR microphone that is small in size?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### Finally:&#xD;&#xA;Thank you for your patience and I am sorry if my questions are wrongly directed or nonsensical. I am grateful for any help or hints as to how to direct my search.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51327" PostHistoryTypeId="1" PostId="27745" RevisionGUID="625a84a7-1b8e-40ab-863c-62065f6dd9e4" CreationDate="2014-03-04T09:20:43.640" UserId="7636" Text="How to choose a microphone for my requirements?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51328" PostHistoryTypeId="3" PostId="27745" RevisionGUID="625a84a7-1b8e-40ab-863c-62065f6dd9e4" CreationDate="2014-03-04T09:20:43.640" UserId="7636" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51329" PostHistoryTypeId="2" PostId="27746" RevisionGUID="a13b3be6-ead1-4d70-9199-1906e86ad8c8" CreationDate="2014-03-04T09:35:53.503" UserId="7637" Text="This is exactly why MP3 is never used in this way.  MP3 really is a very bad choice of format for what you are trying to do.&#xD;&#xA;&#xD;&#xA;When I have produced audio for use in projects like this (I have provided audio for video and computer games in the past) the codec of choice has always been OGG format files.&#xD;&#xA;&#xD;&#xA;I would basically discourage you from using MP3." ContentLicense="CC BY-SA 3.0" />
  <row Id="51331" PostHistoryTypeId="2" PostId="27748" RevisionGUID="74b982e9-463b-4898-a7b1-48f34ea6e25f" CreationDate="2014-03-04T10:46:51.433" UserId="6410" Text="Its just a heavily compressed/distorted Saw Wave. If my ears serve me well its a D# in octave one or two.&#xD;&#xA;&#xD;&#xA;What you want to do is either use some distortion plugins you have or go grab the Dada Life Sausage Fattener (£18?)&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=jHFzfZl6NQQ&#xD;&#xA;&#xD;&#xA;Then whack it on full on the bass bus then sidechain the amplitude after that to the kickdrum then whack it on again after that for some proper 'sausage'.&#xD;&#xA;&#xD;&#xA;I mean you don't have to use the sausage thing. Any form of overdrive going straight into a brickwall limiter will give you that full sound. Just be sure to modulate the amplitude or filter it after to give it some life.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51332" PostHistoryTypeId="2" PostId="27749" RevisionGUID="ddd89cac-b480-4db1-bca6-9e8e7063a641" CreationDate="2014-03-04T11:24:14.163" UserId="6832" Text="http://www.compuphase.com/mp3/mp3loops.htm&#xD;&#xA;&#xD;&#xA;I've used this method with some success. Not sure if it works with Flash. Works well with Quicktime based playback and causes very weird looping glitches with iOS builtin mp3 player.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51333" PostHistoryTypeId="5" PostId="23264" RevisionGUID="d8c8271f-6417-4e60-b9ef-16cda77b487d" CreationDate="2014-03-04T13:31:16.777" UserId="6797" Comment="Fixed list-styling." Text="I have no idea how do you actually execute this if you're NOT using Windows:&#xD;&#xA;&#xD;&#xA;Steps:&#xD;&#xA;&#xD;&#xA;1. Enable Stereo Mix. [Use this guide][1] &#xD;&#xA;2. Get Audacity&#xD;&#xA;3. You're gonna have to [setup up stereo mix.][2] &#xD;&#xA;4. Don't forget to arm the track by clicking on the record button on the specific track. &#xD;&#xA;5. Hit the big record button on the top to record the sound. &#xD;&#xA;&#xD;&#xA;That's the cheapest solution for windows. &#xD;&#xA;The setup up stereo mix link has a few other instructions for Mac and Linux users. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.howtogeek.com/howto/39532/how-to-enable-stereo-mix-in-windows-7-to-record-audio/&#xD;&#xA;  [2]: http://wiki.audacityteam.org/wiki/Recording_audio_playing_on_the_computer#Windows" ContentLicense="CC BY-SA 3.0" />
  <row Id="51334" PostHistoryTypeId="24" PostId="23264" RevisionGUID="d8c8271f-6417-4e60-b9ef-16cda77b487d" CreationDate="2014-03-04T13:31:16.777" Comment="Proposed by 6797 approved by 253, 6957 edit id of 71" ContentLicense="CC BY-SA 3.0" />
  <row Id="51335" PostHistoryTypeId="2" PostId="27750" RevisionGUID="93e7db17-ea94-4fe3-bdf5-16f727abcc5c" CreationDate="2014-03-04T14:07:04.817" UserId="6425" Text="Deadmau5 is one of the biggest names in Electro and Progressive House. What makes those genres is the idea of making Bass audible compared to earlier House genres. In Electro House this was achieved by layering higher Synths, mostly an interval of 3,4,5,7,or 9 Semitones with Sqare or Saw Waves. In Progressive house this was achieved by using Plucks that play Chords + Bassline + Leadline. Those plucks were made by Sawaves with a LP Filter Envelope.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In Hey Baby it sounds like a typical Electro Saw Bass. It is achieved by playing Saw waves in a low register. Over the time producer used several techniques to get a bigger clearer and fatter Saw bass.&#xD;&#xA;&#xD;&#xA;Usually the sound is bade by 2 Sounds. One Sub bass synth (Deadmaus likes to use a minimoog here) that simply plays a Saw bass in a low octave. Sometimes it makes sense to filter this layer with a lowpass, depending on the layer you put above.&#xD;&#xA;&#xD;&#xA;Ontop of this you want to layer the dirty,fat, distorted layer. To get this you can try the following things saw waves + a bit of noise slightly low passed. Then eq out the bottom end and boost by huge amounts at around 200-400 hz and a huge amount between 1000-3000hz then use distortion. Then add some modulation fx like chorus phase flanger and some reverb. Finish off with limiting the sound.&#xD;&#xA;&#xD;&#xA;Deadmau5 uses a lot of analogue stuff like moog and virus. So he has a very warm sound to start up." ContentLicense="CC BY-SA 3.0" />
  <row Id="51336" PostHistoryTypeId="2" PostId="27751" RevisionGUID="4f654d6f-f26c-4c4a-9798-1613de2bd0cf" CreationDate="2014-03-04T17:43:57.380" UserId="7641" Text="On Mac you can use an audio routing application like Soundflower with Garageband.&#xD;&#xA;&#xD;&#xA; 1. Install Soundflower: http://cycling74.com/products/soundflower&#xD;&#xA; 2. System preferences -&gt; Sound, then set Output to Soundflower (2ch)&#xD;&#xA; 3. Open Garageband, create a new &quot;Real instrument&quot; track. (⌘ + ⌥ + n)&#xD;&#xA; 4. Garageband -&gt; Preferences -&gt; Audio/Midi, then set Audio Input to Soundflower (2ch) and Audio Output to Built-in Output&#xD;&#xA; 5. Record! Just press the R key.&#xD;&#xA;&#xD;&#xA;If you want to listen to what you are recording:&#xD;&#xA;&#xD;&#xA; 1. Track -&gt; Show monitoring for Real Instrument Tracks&#xD;&#xA; 2. Click the monitor icon on your track&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51337" PostHistoryTypeId="2" PostId="27752" RevisionGUID="46cab8c5-b73a-4c35-b86f-d8176db75833" CreationDate="2014-03-04T22:29:47.980" UserId="7016" Text="That is an exceedingly low budget. Forget professional, I think the cheapest mic I ever bought was about sixty quid, and it is just about okay.&#xD;&#xA;&#xD;&#xA;Balanced cables will certainly help reduce mains him and other interference so yes, balanced XLR is essential.&#xD;&#xA;&#xD;&#xA;If you have a mic that requires phantom power you need to have a way to provide it, whether that is a DI box with phantom, or a desk which can provide it.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51338" PostHistoryTypeId="2" PostId="27753" RevisionGUID="e78872c9-ba5e-41df-9a6e-2200e4e5d738" CreationDate="2014-03-04T22:58:10.663" UserId="7643" Text="I'm starting to sketch out some ideas for my dissertation and as the title suggests I want to focus on the use of layers of diagetic sound to show temporal ambiguity I'm film. I will be using films as a case study on this, at the moment I'm looking at Martha Marcy May Marlene, upstream colour, blue jasmine and eternal sunshine of the spotless mind. I was wondering if anyone has any other suggestions that I've overlooked? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Many thanks, you lot on social sound design are all awesome for providing such an incredible wealth of knowledge for us up and coming you guns! &#xD;&#xA;Tom" ContentLicense="CC BY-SA 3.0" />
  <row Id="51339" PostHistoryTypeId="1" PostId="27753" RevisionGUID="e78872c9-ba5e-41df-9a6e-2200e4e5d738" CreationDate="2014-03-04T22:58:10.663" UserId="7643" Text="Layers of diagetic sound showing Temporal ambiguity in film" ContentLicense="CC BY-SA 3.0" />
  <row Id="51340" PostHistoryTypeId="3" PostId="27753" RevisionGUID="e78872c9-ba5e-41df-9a6e-2200e4e5d738" CreationDate="2014-03-04T22:58:10.663" UserId="7643" Text="&lt;sound&gt;&lt;film&gt;&lt;dissertation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51341" PostHistoryTypeId="2" PostId="27754" RevisionGUID="3bf9698f-a3ab-4cc2-af54-03d761262fb8" CreationDate="2014-03-05T02:51:08.960" UserId="7644" Text="I just picked up a TASCAM DR-100 MKII the other day and I'm learning how to use it.  Full disclosure, all this sound engineering is brand new to me.  I bought it because I'm going to start doing podcasts and some video review work and I wanted to get a good recording.&#xD;&#xA;&#xD;&#xA;Here are my current settings:&#xD;&#xA;&#xD;&#xA; - Mode: HS&#xD;&#xA; - Format: WAV 24bit&#xD;&#xA; - Sample: 96K&#xD;&#xA; - Input: Uni/Omni (issue is same on both)&#xD;&#xA; - Mic Gain: H&#xD;&#xA; - Speaker: Off&#xD;&#xA; - Monitor: Off&#xD;&#xA; - Auto/Limiter: Off&#xD;&#xA;&#xD;&#xA;I'll set it to record and I can see the levels bouncing.  I'll hit record and on play back, I can hear a buzzing / static sound the whole time.  I can often times adjust it out with the gain control however, sometimes I'll record and hear it then the ***very next recording with ZERO setting changes***, it won't be there.&#xD;&#xA;&#xD;&#xA;I'm trying to determine if I got a lemon or if I just don't know how to use it.  I haven't experienced the noise in the recording when using the XLR inputs.&#xD;&#xA;&#xD;&#xA;I've provided a [sample recording][1] so you can hear what I'm talking about.&#xD;&#xA;&#xD;&#xA;Any advice is appreciated.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://dl.dropboxusercontent.com/u/116330/DR-100_0056.wav" ContentLicense="CC BY-SA 3.0" />
  <row Id="51342" PostHistoryTypeId="1" PostId="27754" RevisionGUID="3bf9698f-a3ab-4cc2-af54-03d761262fb8" CreationDate="2014-03-05T02:51:08.960" UserId="7644" Text="Tascam DR-100 MKII: Getting Noise on Some Recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="51343" PostHistoryTypeId="3" PostId="27754" RevisionGUID="3bf9698f-a3ab-4cc2-af54-03d761262fb8" CreationDate="2014-03-05T02:51:08.960" UserId="7644" Text="&lt;audio-recording&gt;&lt;noise&gt;&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51345" PostHistoryTypeId="11" PostId="10981" RevisionGUID="a39b5419-60fe-45c8-ba55-8f4c2b92330b" CreationDate="2014-03-05T06:43:24.517" UserId="6387" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6387,&quot;DisplayName&quot;:&quot;Tim Post&quot;}]}" />
  <row Id="51346" PostHistoryTypeId="11" PostId="12331" RevisionGUID="b716eb3f-0cbe-4888-96ae-6d6483a34742" CreationDate="2014-03-05T06:44:13.470" UserId="6387" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6387,&quot;DisplayName&quot;:&quot;Tim Post&quot;}]}" />
  <row Id="51348" PostHistoryTypeId="2" PostId="27756" RevisionGUID="8307eeea-5ae0-4c77-b2e3-9b204b5badd5" CreationDate="2014-03-05T07:14:45.650" UserId="6425" Text="If you go 50-100 bucks you would be able to get a good (seconhand) mic with a good Signal to Noise ratio. &#xD;&#xA;&#xD;&#xA;The best low budget lavalier mics i came across where the sennheiser lavalier mics of the ew100 eng series. &#xD;&#xA;&#xD;&#xA;If you can handle a normal size mic, go for the Shure SM 58. it is so versatile and a good 1st mic Option!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51349" PostHistoryTypeId="2" PostId="27757" RevisionGUID="5ae82f8a-ea04-4c98-9d9e-9525ba6fc4e5" CreationDate="2014-03-05T07:40:43.243" UserId="6387" Text="It's a bit out of your budget, but I'd consider a USB powered cardiod mic like the Audio Technica AT2020. It runs about $100 (though, you can find it cheaper) if you intend to use it with a Pi.&#xD;&#xA;&#xD;&#xA;Going this route, you end up with (1) a better quality audio device (built into the mic) and (2) no need to worry about how you're going to power the mic, go from XLR to 3.5mm (all sorts of potential for noise there) (3) you've got all you need to get up and going (no need to get a mount, unless your application needs a shock mount). &#xD;&#xA;&#xD;&#xA;There's a pretty good review of it here:&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=mZRTUZwDBKY&#xD;&#xA;&#xD;&#xA;It does a fairly good job of cutting noise, and has the direction that you want.&#xD;&#xA;&#xD;&#xA;Now, this is by no means a professional mic - but it _is_ pretty good for one-off applications like the one you describe. Additionally, you'll find use for it beyond just this case, it's a really nice mic if you're ever doing a podcast, interview, Skype / Hangout / etc.&#xD;&#xA;&#xD;&#xA;The down side is the same as the up side - it's USB, so you're pretty much restricted to using it with a computer - but that doesn't exactly describe a limited number of applications.&#xD;&#xA;&#xD;&#xA;You _could_ get something going within your budget, but it's not going to be very optimal. As you could use this for other things, it may be worth considering upping the cap a wee bit." ContentLicense="CC BY-SA 3.0" />
  <row Id="51350" PostHistoryTypeId="2" PostId="27758" RevisionGUID="f4e2f994-7c65-400a-a56f-8a91763ae90b" CreationDate="2014-03-05T07:45:02.150" UserId="1185" Text="Sounds like a great idea. Is this work undergrad or postgrad?  Sadly I've not seen any of the films you are suggesting (I really need to catch up on viewing).  However, one thing that jumps out at me is these films are all dramas.  Is this what you are going for i.e. is the title of you dissertation going to be &quot;Layers of diagetic sound showing Temporal ambiguity in film dramas&quot; or do you think that you may need to consider other genres? Say action, chillers, rom com, horror, etc?&#xD;&#xA;&#xD;&#xA;Some other films to look at in this wider context, that maybe more literal, but nonetheless do contain temporal ambiguity: Premonition, Source Code, Deja Vu, Looper, etc.  &#xD;&#xA;&#xD;&#xA;If nothing else these would give you some good comparisons, which would be good to see in a dissertation." ContentLicense="CC BY-SA 3.0" />
  <row Id="51351" PostHistoryTypeId="5" PostId="27758" RevisionGUID="c21372cf-dfe4-44c9-928c-5f7b6b47ac54" CreationDate="2014-03-05T08:04:33.810" UserId="1185" Comment="added to original answer" Text="Sounds like a great idea. Is this work undergrad or postgrad?  Sadly I've not seen any of the films you are suggesting (I really need to catch up on viewing).  However, one thing that jumps out at me is these films are all dramas.  Is this what you are going for i.e. is the title of you dissertation going to be &quot;Layers of diagetic sound showing Temporal ambiguity in film dramas&quot; or do you think that you may need to consider other genres? Say action, chillers, rom com, horror, etc?&#xD;&#xA;&#xD;&#xA;Some other films to look at in this wider context, that maybe more literal, but nonetheless do contain temporal ambiguity: Premonition, Source Code, Deja Vu, Looper, Inception, etc.  &#xD;&#xA;&#xD;&#xA;If nothing else these would give you some good comparisons, which would be good to see in a dissertation." ContentLicense="CC BY-SA 3.0" />
  <row Id="51352" PostHistoryTypeId="2" PostId="27759" RevisionGUID="955f1ff3-ec7a-4fe7-aa41-e0c6740bd452" CreationDate="2014-03-05T08:16:45.780" UserId="7639" Text="all you need is for the VFX house(s) to use a standardised and sensible clip naming convention and for the EDLs to contain clip names in the comments field. &#xD;&#xA;&#xD;&#xA;conformalizer has some tricks for identifying the VFX shots based on the rules you give it and it'll match any updated VFX as if nothing had changed, but then warn you by changing the event to a red colour.&#xD;&#xA;&#xD;&#xA;our assistant makes the cut change comparison, then goes thru and checks all these red events to eyeball the VFX changes. &#xD;&#xA;You can even pop up a &quot;difference view&quot; which subtracts the old version from the new so you can see exactly what has changed.&#xD;&#xA;&#xD;&#xA;justin" ContentLicense="CC BY-SA 3.0" />
  <row Id="51358" PostHistoryTypeId="5" PostId="27731" RevisionGUID="53c249a3-0078-4474-8c67-a29a530e7962" CreationDate="2014-03-05T14:00:03.107" UserId="7016" Comment="added 7 characters in body" Text="Protecting microphones from rain is quite a challenge, and I haven't found the perfect solution either yet: it is not only about protecting the microphone itself from damage, but also getting rid of the sound of the rain drop impacts straight on the mic and its windshield/foam. &#xD;&#xA;&#xD;&#xA;The best results I have achieved so far when recording rain was by putting the mic on a small stand (like for micing a kick drum) and then placing myself over it holding a thick blanket with my arms stretched out. Looks quite awkward, lasts only for a few minutes in strong rain and may cause some back pain after a while :-).&#xD;&#xA;&#xD;&#xA;If your focus is on recording the frogs though anyway, I would rather wait for better weather instead. Even if you manage to isolate your mic from the rain drop impacts, you will get a lot of rain sounds and other ambience on top with an omni like the ECM8000; maybe you can rent a more directional microphone like a shotgun or at least a hypercardioid?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51360" PostHistoryTypeId="5" PostId="10991" RevisionGUID="1ecdea5d-3791-4dc5-bcc7-c4b40868fe09" CreationDate="2014-03-05T14:25:15.053" UserId="7016" Comment="deleted 120 characters in body" Text="I have a Zoom H4N &amp; i recently bought a Rode NTG-2 with the Rode Blimp but the levels are really low when i record even @ REC Level 100%. So im thinking of buying a Preamp for my setup - Sound Devices &amp; other high level mic pres are too expensive for me right now, So i thought of buying a &#xD;&#xA;&quot;FEL Mini MicBooster Extended XLR&quot; - here is the link - http://www.felmicamps.co.uk/products/felminimicbooste.html.&#xD;&#xA;&#xD;&#xA;I've seen a little good reviews about this mic pre &amp; its handy for field recording + cheap as well.&#xD;&#xA;&#xD;&#xA;I would like to get some professional opinion before I buy this stuff.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51365" PostHistoryTypeId="5" PostId="14595" RevisionGUID="5eb559d9-1cf0-424e-9a74-c0a33eda475d" CreationDate="2014-03-05T14:29:40.857" UserId="7016" Comment="deleted 73 characters in body" Text="Last night I recorded an impulse response of my building's parking garage with fairly decent results. After importing into Altiverb 7, I couldn't figure out how to add photos or other metadata to the user created IR. Also, I recorded the sine sweep at a couple of different distances from the speaker, so I'd like to combine the two impulse responses into a single user entry, similar to the pre-loaded Altiverb responses that have different mic options." ContentLicense="CC BY-SA 3.0" />
  <row Id="51368" PostHistoryTypeId="2" PostId="27761" RevisionGUID="ee0db21c-fb4c-4fd5-b70a-05592a38b18f" CreationDate="2014-03-05T19:08:17.507" UserId="7336" Text="A follow-up...&#xD;&#xA;&#xD;&#xA;... I pressed further with the broadcaster, and they indicated that the -18 average was not RMS or loudness after all. They just want no peaks beyond -15, with most of the program around -18. It looks like a mix of me overthinking things and the broadcaster being kind of vague with their technical standards.&#xD;&#xA;&#xD;&#xA;My final plug-in chain on the master: Ozone dynamics to glue things together a bit, Ozone maximizer to bring up the loudness, Waves L2 as a final limiter." ContentLicense="CC BY-SA 3.0" />
  <row Id="51372" PostHistoryTypeId="5" PostId="27759" RevisionGUID="f6601101-93cc-4767-947e-547063b97845" CreationDate="2014-03-05T20:48:34.577" UserId="7016" Comment="deleted 5 characters in body" Text="All you need is for the VFX house(s) to use a standardised and sensible clip naming convention and for the EDLs to contain clip names in the comments field. &#xD;&#xA;&#xD;&#xA;Conformalizer has some tricks for identifying the VFX shots based on the rules you give it and it'll match any updated VFX as if nothing had changed, but then warn you by changing the event to a red colour.&#xD;&#xA;&#xD;&#xA;Our assistant makes the cut change comparison, then goes through and checks all these red events to eyeball the VFX changes. &#xD;&#xA;You can even pop up a &quot;difference view&quot; which subtracts the old version from the new so you can see exactly what has changed.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51373" PostHistoryTypeId="6" PostId="23005" RevisionGUID="96422717-850e-488d-997c-454c925d3e0f" CreationDate="2014-03-05T21:10:14.780" UserId="7016" Comment="edited tags" Text="&lt;editing&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51376" PostHistoryTypeId="6" PostId="23565" RevisionGUID="eaf0019c-1015-4f29-b297-556fc43e7bc3" CreationDate="2014-03-05T21:12:38.977" UserId="7016" Comment="edited tags" Text="&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51377" PostHistoryTypeId="6" PostId="23533" RevisionGUID="95104f95-a568-4a32-8591-c549b004a788" CreationDate="2014-03-05T21:12:58.337" UserId="7016" Comment="edited tags" Text="&lt;mixer&gt;&lt;monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51378" PostHistoryTypeId="6" PostId="22890" RevisionGUID="84fe0072-d816-43c7-adfc-4b485b91d980" CreationDate="2014-03-05T21:14:51.237" UserId="7016" Comment="edited tags" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51379" PostHistoryTypeId="5" PostId="24953" RevisionGUID="ef0ee3cb-036b-4483-a240-a321f84f9a82" CreationDate="2014-03-05T21:15:56.270" UserId="7016" Comment="deleted 40 characters in body; edited tags" Text="In Mac OS ...&#xD;&#xA;Can I create 2 mono audio streams (is buses the right word?) from a live stereo signal input?&#xD;&#xA;&#xD;&#xA;I do not need to record these streams. I just want to convert 1 stereo input into 2 mono inputs, that will then be broadcast separately.&#xD;&#xA;&#xD;&#xA;In essence, I am receiving a 2 channel signal that I would like to split, live, and reuse.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51380" PostHistoryTypeId="6" PostId="24953" RevisionGUID="ef0ee3cb-036b-4483-a240-a321f84f9a82" CreationDate="2014-03-05T21:15:56.270" UserId="7016" Comment="deleted 40 characters in body; edited tags" Text="&lt;stereo&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51381" PostHistoryTypeId="6" PostId="22522" RevisionGUID="490baea3-4a9b-49d3-a1f0-ebb02cb8e342" CreationDate="2014-03-05T21:16:57.917" UserId="7016" Comment="edited tags" Text="&lt;electronics&gt;&lt;amplifier&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51382" PostHistoryTypeId="5" PostId="23562" RevisionGUID="7c24dcb8-c9c7-446e-b108-5e37cfdf31a7" CreationDate="2014-03-05T21:17:46.840" UserId="7016" Comment="deleted 23 characters in body; edited tags" Text="I have up to 200 audio files which are really short (2,3 seconds maximum) but they need to be amplified.&#xD;&#xA;&#xD;&#xA;1) Is there a fast way of amplification for a playlist of sounds?&#xD;&#xA;&#xD;&#xA;also...&#xD;&#xA;&#xD;&#xA;2)Is there a best/automatic way for amplification of sounds at maximum possible?&#xD;&#xA;&#xD;&#xA;3) I've tried with audacity, but I don't know how to set the amplification factor in order to obtain a maximum amplification and no bad effects.&#xD;&#xA;&#xD;&#xA;If no automatic playlist amplify way is possible I’ll do it manually, but I don’t know how the handle problem 3.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51383" PostHistoryTypeId="6" PostId="23562" RevisionGUID="7c24dcb8-c9c7-446e-b108-5e37cfdf31a7" CreationDate="2014-03-05T21:17:46.840" UserId="7016" Comment="deleted 23 characters in body; edited tags" Text="&lt;editing&gt;&lt;batch-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51385" PostHistoryTypeId="6" PostId="25053" RevisionGUID="17534c9f-7107-4442-8774-3de158fa9485" CreationDate="2014-03-05T21:20:34.510" UserId="7016" Comment="edited tags" Text="&lt;sample-rate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51386" PostHistoryTypeId="6" PostId="23537" RevisionGUID="bb45db5e-50ca-4005-94d4-ad19186df044" CreationDate="2014-03-05T21:20:52.027" UserId="7016" Comment="edited tags" Text="&lt;sample-rate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51387" PostHistoryTypeId="6" PostId="24946" RevisionGUID="460b011c-9602-48f7-a035-a49b79d4b2c2" CreationDate="2014-03-05T21:21:31.797" UserId="7016" Comment="edited tags" Text="&lt;broadcast&gt;&lt;streaming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51388" PostHistoryTypeId="6" PostId="23071" RevisionGUID="4cf7854c-6e00-40aa-8da5-2811464205fe" CreationDate="2014-03-05T21:22:20.673" UserId="7016" Comment="edited tags" Text="&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51389" PostHistoryTypeId="6" PostId="23603" RevisionGUID="e1a0e8e1-5f8c-4977-a129-b93a63ce7a0d" CreationDate="2014-03-05T21:22:48.533" UserId="7016" Comment="edited tags" Text="&lt;volume&gt;&lt;sound-quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51390" PostHistoryTypeId="6" PostId="22777" RevisionGUID="08a7e28a-145c-426d-b0ce-05fe94d60945" CreationDate="2014-03-05T21:23:18.617" UserId="7016" Comment="edited tags" Text="&lt;delay&gt;&lt;phase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51391" PostHistoryTypeId="6" PostId="24951" RevisionGUID="063d4f8e-846c-49c7-8eb7-266de8959523" CreationDate="2014-03-05T21:24:10.540" UserId="7016" Comment="edited tags" Text="&lt;mixer&gt;&lt;surround-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51392" PostHistoryTypeId="6" PostId="23220" RevisionGUID="da2937e3-11c5-475f-896f-1766c50a88ab" CreationDate="2014-03-05T21:25:02.997" UserId="7016" Comment="edited tags" Text="&lt;editing&gt;&lt;filter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51393" PostHistoryTypeId="6" PostId="23498" RevisionGUID="f4972a5c-afa2-44ad-aa4f-03b03edaca26" CreationDate="2014-03-05T21:25:51.640" UserId="7016" Comment="edited tags" Text="&lt;spectrum&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51394" PostHistoryTypeId="4" PostId="22788" RevisionGUID="940f5ead-910e-4954-a6de-2ec7a4e1edc4" CreationDate="2014-03-05T21:26:15.767" UserId="7016" Comment="edited tags; edited title" Text="Garageband export volume issue" ContentLicense="CC BY-SA 3.0" />
  <row Id="51395" PostHistoryTypeId="6" PostId="22788" RevisionGUID="940f5ead-910e-4954-a6de-2ec7a4e1edc4" CreationDate="2014-03-05T21:26:15.767" UserId="7016" Comment="edited tags; edited title" Text="&lt;clipping&gt;&lt;garageband&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51396" PostHistoryTypeId="6" PostId="22313" RevisionGUID="0a973482-9ccf-440e-8ea5-83cb58c15163" CreationDate="2014-03-05T21:26:50.490" UserId="7016" Comment="edited tags" Text="&lt;background&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51397" PostHistoryTypeId="6" PostId="6835" RevisionGUID="7d56ec18-11a0-4251-b1b6-12ce3daad067" CreationDate="2014-03-05T21:27:14.693" UserId="7016" Comment="edited tags" Text="&lt;copyright&gt;&lt;archive&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51399" PostHistoryTypeId="5" PostId="22204" RevisionGUID="1d886a7b-d014-421b-bbe0-d93967f06c1c" CreationDate="2014-03-05T22:36:22.680" UserId="1185" Comment="corrected spelling" Text="Another good beginners resource is:&#xD;&#xA;&#xD;&#xA;[http://www.nilsliberg.se/ksp/scripts/tutorial/][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Or from NI themselves:&#xD;&#xA;&#xD;&#xA;[http://www.audiotek.cz/produktyATK/ni/kontakt3_p2.pdf][2]&#xD;&#xA;&#xD;&#xA;Or&#xD;&#xA;&#xD;&#xA;[http://www.soundonsound.com/sos/jul10/articles/kontakt1.htm][3]&#xD;&#xA;&#xD;&#xA;Or&#xD;&#xA;&#xD;&#xA;[http://www.askaudiomag.com/articles/introduction-to-scripting-in-kontakt-part-1][4]&#xD;&#xA;&#xD;&#xA;I'll stop at this point, but a bit of a basic research would have uncovered these!!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.nilsliberg.se/ksp/scripts/tutorial/&#xD;&#xA;  [2]: http://www.audiotek.cz/produktyATK/ni/kontakt3_p2.pdf&#xD;&#xA;  [3]: http://www.soundonsound.com/sos/jul10/articles/kontakt1.htm&#xD;&#xA;  [4]: http://www.askaudiomag.com/articles/introduction-to-scripting-in-kontakt-part-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="51400" PostHistoryTypeId="2" PostId="27763" RevisionGUID="753b1ddf-0e88-46fe-9ea3-02c19f221768" CreationDate="2014-03-05T22:37:42.623" UserId="7654" Text="I want to be able to know what volume I'm playing my music in decibels when I'm using my macbook air. Is there any plug-ins or methods to show this information?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="51401" PostHistoryTypeId="1" PostId="27763" RevisionGUID="753b1ddf-0e88-46fe-9ea3-02c19f221768" CreationDate="2014-03-05T22:37:42.623" UserId="7654" Text="How to find out the exact volume in decibels when playing music on a mac?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51402" PostHistoryTypeId="3" PostId="27763" RevisionGUID="753b1ddf-0e88-46fe-9ea3-02c19f221768" CreationDate="2014-03-05T22:37:42.623" UserId="7654" Text="&lt;music&gt;&lt;headphones&gt;&lt;mac&gt;&lt;volume&gt;&lt;help&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51403" PostHistoryTypeId="2" PostId="27764" RevisionGUID="ff0f947c-5a9b-4874-8738-eb841a6a7e86" CreationDate="2014-03-05T23:28:13.620" UserId="7174" Text="The dB level depends on what you are playing and how far away you are from the speakers.  The only way to get an accurate estimate of the SPL is to use a SPL meter." ContentLicense="CC BY-SA 3.0" />
  <row Id="51404" PostHistoryTypeId="2" PostId="27765" RevisionGUID="51f343c1-768c-439f-8f54-6f200b7b364e" CreationDate="2014-03-06T00:01:58.457" UserId="7655" Text="I just recognized that the &quot;Rode Stereo Videomic Pouch/Bag&quot; fits almost perfectly (though a little loose) around the H6. The pouch costs about 20 bucs and is made from neoprene.&#xD;&#xA;I just took a box cutter to cut away everything that would have to be accessible, glued a plastic foil under the front and closed it up with velcro...&#xD;&#xA;It takes some time and interest in handcrafting ;) but it works perfectly and appears to be a much better fit than the Portabrace thing that retails for almost a 100 bucs.&#xD;&#xA;And you hang that around your shoulder, waist or neck. (Which of course you could also do without the  case as the H6 has two strap slots at the bottom). Any way you want it…&#xD;&#xA;Just a thought for you, if you don't find anything.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51405" PostHistoryTypeId="5" PostId="27765" RevisionGUID="e3161c8e-5438-4cb8-8590-57d46abce744" CreationDate="2014-03-06T00:35:47.197" UserId="7655" Comment="added 273 characters in body" Text="I recognized that the &quot;Rode Stereo Videomic Pouch/Bag&quot; fits almost perfectly (though a little loose) around the H6. So I use it as a compact stowing solution. The pouch cost me 16 bucs and is made from neoprene.&#xD;&#xA;Because I needed a compact carry pouch for the H6 I just took one of those neoprene pouches along with a box cutter and cut away everything that would have to be accessible, superglued a plastic foil under the front and closed it up with velcro...&#xD;&#xA;It takes some time and interest in handcrafting ;) but it works perfectly and appears to be a much better fit than the Portabrace thing that retails for almost a 100 bucs (but will be sturdier).&#xD;&#xA;I hang that thing around my shoulder, waist or neck with the lanyard. (Which of course you could also do without the  case as the H6 has two lanyard slots at the bottom). &#xD;&#xA;Just a thought for you, if you don't find the right thing for you. I find that sometimes it is quicker to DIY though it may sound a little whacky. Any way you want or need it…" ContentLicense="CC BY-SA 3.0" />
  <row Id="51406" PostHistoryTypeId="5" PostId="27765" RevisionGUID="3a4e70e1-5b19-4eba-b4ed-012ac9e770bc" CreationDate="2014-03-06T00:45:31.623" UserId="7655" Comment="added 122 characters in body" Text="I recognized that the &quot;Rode Stereo Videomic Pouch/Bag&quot; fits almost perfectly (though a little loose) around the H6. So I use it as a compact stowing solution. The pouch cost me 16 bucs and is made from neoprene.&#xD;&#xA;Because I needed a compact carry pouch for the H6 I just took one of those neoprene pouches along with a box cutter and cut away everything that would have to be accessible, superglued a plastic foil under the front and closed it up with velcro...&#xD;&#xA;It takes some time and interest in handcrafting ;) but it works perfectly and appears to be a much better fit than the Portabrace thing that retails for almost a 100 bucs (but will be sturdier).&#xD;&#xA;I hang that thing around my shoulder, waist or neck with the lanyard. (Which of course you could also do without the pouch as the H6 has two lanyard slots at the bottom). &#xD;&#xA;With the pouch, if you strap it sideways you'll be able to see the display hands-free which is what it may be all about.&#xD;&#xA;Just a thought for you, if you don't find the right thing for you. I find that sometimes it is quicker to DIY though it may sound a little whacky. Any way you want or need it…" ContentLicense="CC BY-SA 3.0" />
  <row Id="51407" PostHistoryTypeId="5" PostId="27765" RevisionGUID="7e3eda34-00a3-4a58-9c65-033aac8b805b" CreationDate="2014-03-06T00:54:37.330" UserId="7655" Comment="added 122 characters in body" Text="I recognized that the &quot;Rode Stereo Videomic Pouch/Bag&quot; fits almost perfectly (though a little loose) around the H6. So I use it as a compact stowing solution. The pouch cost me 16 bucs and is made from neoprene.&#xD;&#xA;Because I needed a compact carry pouch for the H6 I just took one of those neoprene pouches along with a box cutter and cut away everything that would have to be accessible, superglued a plastic foil under the front and closed it up with velcro...&#xD;&#xA;It takes some time and interest in handcrafting ;) but it works perfectly and appears to be a much better fit than the Portabrace thing that retails for almost a 100 bucs (but will be sturdier).&#xD;&#xA;I hang that thing around my shoulder, waist or neck with the lanyard. (Which of course you could also do without the pouch as the H6 has two lanyard slots at the bottom). Keeping it on a belt may not be satisfying as you won't be able to see the display while recording.&#xD;&#xA;With the pouch, if you strap it well, you'll be able to see the display while recording hands-free.&#xD;&#xA;All that may sound a little whacky at first, but I find that sometimes it is quicker to DIY. Any way you want or need it…" ContentLicense="CC BY-SA 3.0" />
  <row Id="51408" PostHistoryTypeId="2" PostId="27766" RevisionGUID="51a88643-8677-474c-8153-7fb1aa37985e" CreationDate="2014-03-06T00:58:48.347" UserId="7656" Text="does anyone know if the filter in NI Massive can reach self-oscillation? I'm thinking about purchasing it but would just like to find this out beforehand. I can't really find any info on this elsewhere.&#xA;Cheers, Oli." ContentLicense="CC BY-SA 3.0" />
  <row Id="51409" PostHistoryTypeId="1" PostId="27766" RevisionGUID="51a88643-8677-474c-8153-7fb1aa37985e" CreationDate="2014-03-06T00:58:48.347" UserId="7656" Text="Self-oscillating filter in NI Massive?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51410" PostHistoryTypeId="3" PostId="27766" RevisionGUID="51a88643-8677-474c-8153-7fb1aa37985e" CreationDate="2014-03-06T00:58:48.347" UserId="7656" Text="&lt;sound-design&gt;&lt;synthesizer&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51411" PostHistoryTypeId="2" PostId="27767" RevisionGUID="5ff12876-4e4f-439b-a19f-e5316e1146bc" CreationDate="2014-03-06T02:26:19.410" UserId="6425" Text="Self-oscilation only works for analogue gear (because of the noise flow and constant active OSCs). Digital plug-ins can't self oscillate. But some programmers made algorithms that &quot;imitate&quot; self-oscillation to a certain degree. In NI Massive you can &quot;imitate&quot; self-osculation if you feed a bit to noise from the noise generator into the filter with a cranked resonance. Then after the self-osculation like sound starts you can remove the noise and the self-oscillation will feed itself.&#xD;&#xA;&#xD;&#xA;Massive has a feedback function so you can feed back the output of the filter into the input and thus you can generate another self-osicillation like sound.&#xD;&#xA;&#xD;&#xA;But if you want a real self-oscillating filter, you need to go analogue.&#xD;&#xA;&#xD;&#xA;I hope I could answer you question." ContentLicense="CC BY-SA 3.0" />
  <row Id="51413" PostHistoryTypeId="2" PostId="27768" RevisionGUID="c1b42992-d929-416e-a9f8-1eb769836a35" CreationDate="2014-03-06T08:48:21.350" UserId="37" Text="how far away? is your macbook air connected to speakers?&#xD;&#xA;&#xD;&#xA;Your file has a &quot;loudness&quot; (RMS level) -&gt; player volume (gain) -&gt; system volume (gain) -&gt; audio interface voltage specs (gain/level) -&gt; amp (gain) -&gt; speakers (sensitivity). So it's impractical to try and &quot;compute&quot; it with that many variables. Grab an SPL meter. &#xD;&#xA;&#xD;&#xA;There are SPL meter smartphone apps that would allow you approximate measurements, but nothing too accurate.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If you're only looking to figure out the attenuation when you press the volume up and down keys, I couldn't find anything with a quick search. Play some pink noise and you can measure by how many dB each &quot;square&quot; of the indicator affects the output level. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51417" PostHistoryTypeId="2" PostId="27770" RevisionGUID="c0f09f65-cc0c-4cb4-a1fa-3debb1cdf1ac" CreationDate="2014-03-06T11:41:47.207" UserId="7660" Text="Make friends with your picture dept!!! On the last VFX film I did we negotiated with the picture assist to run dummy pic clips in avid locked to VFX shots. So as the shot was updated and had its named changed from different vendors we would still get a consistent picture EDL and our reconform would not leave large gaps. If the shot was extended he would insert a new dummy clip to match and lock it to the extension. Hope that makes sense." ContentLicense="CC BY-SA 3.0" />
  <row Id="51418" PostHistoryTypeId="2" PostId="27771" RevisionGUID="e9829ca2-c511-4745-97fa-832ae4309516" CreationDate="2014-03-06T12:32:28.233" UserId="7513" Text="Isn't the famous long telephone ring in &quot;Once Upon A Time In America&quot; a temporal ambiguity while being a diagetic layered sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51419" PostHistoryTypeId="2" PostId="27772" RevisionGUID="bdd0470b-d59d-4c37-b711-46f2ac456004" CreationDate="2014-03-06T12:37:14.950" UserId="7661" Text="We had an MP3 created for a message greeting on our phone system. It is stereo MP3, not sure what the bit rate is, but is sampled at 44.1k.&#xD;&#xA;&#xD;&#xA;Our sound system requires it to be in this format:&#xD;&#xA;&#xD;&#xA;- 16 bit &#xD;&#xA;- Mono&#xD;&#xA;- 44.100 kHz&#xD;&#xA;&#xD;&#xA;I have Garageband and went out to find Peak but they are out of business. Any ideas on how I might be able to convert my file?&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51420" PostHistoryTypeId="1" PostId="27772" RevisionGUID="bdd0470b-d59d-4c37-b711-46f2ac456004" CreationDate="2014-03-06T12:37:14.950" UserId="7661" Text="How to convert a high quality MP3 to a lower quality MP3" ContentLicense="CC BY-SA 3.0" />
  <row Id="51421" PostHistoryTypeId="3" PostId="27772" RevisionGUID="bdd0470b-d59d-4c37-b711-46f2ac456004" CreationDate="2014-03-06T12:37:14.950" UserId="7661" Text="&lt;mp3&gt;&lt;mono&gt;&lt;sample-rate&gt;&lt;bitrate&gt;&lt;garageband&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51422" PostHistoryTypeId="2" PostId="27773" RevisionGUID="06094a10-119f-4163-886c-1d11afa4155d" CreationDate="2014-03-06T13:14:59.970" UserId="7662" Text="Thanks for your answers guys - I've decided after the last job that it would definitely benefit me to work continuous for the upcoming gig. &#xD;&#xA;As I'm more accustomed to mixing one hour dramas I don't have any pre-disposition to working in reels and I like having all my fx, eq presets etc easily recallable (and changeable) so I think it's one master sequence for me from now on.&#xD;&#xA;As long as my system can handle it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51423" PostHistoryTypeId="2" PostId="27774" RevisionGUID="25d05194-fcd1-40d3-9b1c-b02b3f5bd754" CreationDate="2014-03-06T13:29:02.490" UserDisplayName="user7663" Text="There are lots of tools. You can try Foobar2000 (which is a music player but can convert sounds too)." ContentLicense="CC BY-SA 3.0" />
  <row Id="51424" PostHistoryTypeId="4" PostId="27772" RevisionGUID="ffb6274e-0da4-4ab0-bfda-f037f1c63e9e" CreationDate="2014-03-06T14:22:53.953" UserId="7174" Comment="looking to convert stereo to mono, sampling rate is remaining constant and no mention is made of needed bit rate." Text="How to convert a stereo MP3 to mono MP3" ContentLicense="CC BY-SA 3.0" />
  <row Id="51425" PostHistoryTypeId="2" PostId="27775" RevisionGUID="c56b8483-7d5c-4687-b4e8-7b13299f5788" CreationDate="2014-03-06T14:54:20.260" UserId="7664" Text=" 1. Download Audacity [here](http://audacity.sourceforge.net/download/ &quot;Audacity download page&quot;). Also download the LAME MP3 library [here](http://lame1.buanzo.com.ar/ &quot;lame mp3 library&quot;)&#xD;&#xA; 2. Install Audacity on your system. Install the LAME MP3 library.&#xD;&#xA; 3. Open Audacity&#xD;&#xA; 4. Click on File &gt; Open... and select the mp3 file in question&#xD;&#xA; 5. Click on Track &gt; Stereo track to Mono&#xD;&#xA; 6. Click on File &gt; Export. Choose &quot;MP3 Files&quot; as Format on the dropdown menu and click save. &#xD;&#xA;&#xD;&#xA;* Note 1: If you want to save in higher quality bitrate click on options and select the desired bitrate.&#xD;&#xA;* Note 2: As you click &quot;Save&quot; on the export menu it might ask you to locate the LAME MP3 Library. Just point it to wherever you have exported the file.&#xD;&#xA;&#xD;&#xA;Peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="51426" PostHistoryTypeId="2" PostId="27776" RevisionGUID="2ed8fc0b-617b-4d61-b1ba-57e63eb7906c" CreationDate="2014-03-06T15:16:09.683" UserId="7665" Text="I'd like to synthesize a classical string quartet using my midi keyboard (I'm a pianist). I'd like the sound to be as close to the original as possible, but basically I'd like to play the quartet voice by voice with my keyboard, and then mix the voices together, with the minimum amount of technical overlay possible.&#xD;&#xA;&#xD;&#xA;Sorry for the vague question, but this is a new world to me, so I'm accepting advices. Could you point me towards a tool or a setup, and/or some tutorial on how to do this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51427" PostHistoryTypeId="1" PostId="27776" RevisionGUID="2ed8fc0b-617b-4d61-b1ba-57e63eb7906c" CreationDate="2014-03-06T15:16:09.683" UserId="7665" Text="String Quartet Synthesis: please point me towards a tool or tutorial" ContentLicense="CC BY-SA 3.0" />
  <row Id="51428" PostHistoryTypeId="3" PostId="27776" RevisionGUID="2ed8fc0b-617b-4d61-b1ba-57e63eb7906c" CreationDate="2014-03-06T15:16:09.683" UserId="7665" Text="&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51429" PostHistoryTypeId="5" PostId="27703" RevisionGUID="de44783b-c7fe-46bb-9885-358d871e1ee5" CreationDate="2014-03-06T15:55:52.160" UserId="7174" Comment="added 436 characters in body" Text="You are using an attenuating cable to make it so that the headphone signal output of the H4n will drop to the line input level your DSLR expects, however you are confusing gain and sensitivity.  Gain is an analog means of boosting a signal.  It is increasing a signal beyond 0dB signal and uses something called a pre-amp to increase the signal strength.&#xD;&#xA;&#xD;&#xA;Instead, you have turned down the sensitivity of the 6D thinking you were telling it not to apply gain to the signal, but instead you are cutting all the signal strength.  Another possibility is that you may have read feedback from people who were trying to use a non-attenuating cable to insert a line level signal direct in to a mic level jack.  This produces low quality and would require a very minimal sensitivity to try to salvage the signal.&#xD;&#xA;&#xD;&#xA;The attenuation cable you are using is the much better quality way to deal with the impedance mismatch and you should simply turn up the sensitivity on the 6d to a normal level, which should give you a good signal level on the 6D.&#xD;&#xA;&#xD;&#xA;The main things you want to avoid to maintain signal quality is ensure you have a strong signal at every part of the audio chain, but you don't want to ever clip and you don't want impedance mismatches and you don't want to artificially gain if you can avoid it.  The attenuation cable counteracts the impedance mismatch, you should send out of the H4n no higher than 0db, but you should only reduce the level if it is resulting in clipping or having to turn down the sensitivity on the 6D too much.  Then you should set the sensitivity on the 6D to avoid having clipping issues and ensure strong signal strength.&#xD;&#xA;&#xD;&#xA;Update: I may be partially incorrect on how the camera actually processes things as OwenM pointed out that ML reveals that it appears there is a pre-amp in the camera.  That said, Having the level all the way down is still applying a reduction in signal strength or sensitivity that you don't want.  You just don't want to be applying unnecessary gain to the signal (which would also amplify any noise and introduce some new noise.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51431" PostHistoryTypeId="2" PostId="27778" RevisionGUID="9ce3645e-bb8f-49bb-ac11-d1015788f088" CreationDate="2014-03-06T19:50:50.897" UserId="7449" Text="The standard MIDI soundsets (GM &amp; XG) should have violin, viola, and cello sounds built in. With clever use of portamento and vibrato, some chamber reverb, even different articulation using ADSR envelopes can add some authenticity to the synth sounds.&#xD;&#xA;&#xD;&#xA;There are free cross-platform apps like Lilypond that turn MIDI data into sheet music. Using these tools, you could track each instrument separately and listen to the whole result all at once." ContentLicense="CC BY-SA 3.0" />
  <row Id="51432" PostHistoryTypeId="2" PostId="27779" RevisionGUID="7aa892d2-2d25-4d93-9139-750242ba7691" CreationDate="2014-03-07T00:32:30.243" UserId="6432" Text="Why synthesise? Sampler type libraries like East-West Hollywood strings are definitely an easier and more realistic sounding option at the moment. There is AAS String Studio if you must synthesise, but it's going to take more work and knowledge than the sample based route." ContentLicense="CC BY-SA 3.0" />
  <row Id="51433" PostHistoryTypeId="2" PostId="27780" RevisionGUID="b225b8df-b74d-489c-8e1a-bd87eaa91801" CreationDate="2014-03-07T00:42:33.387" UserId="7280" Text="I had a few problems with this, but it all comes down to how you use MixControl.  Basically MixControl is like an intermediate patchbay between Ableton and your interface.  Look under the loopback source, and see where that is being routed.  My guess is that it is set to DAW (or input?) 3/4.  Change that to an unused one, and use that is your input channel for Ableton.&#xD;&#xA;&#xD;&#xA;Let me know is that works!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51434" PostHistoryTypeId="2" PostId="27781" RevisionGUID="fd9da595-912a-4666-a24c-71c2f136a171" CreationDate="2014-03-07T01:24:24.767" UserId="6425" Text="In the box you can use Audio Hijack pro to Monitor your Level in dBFS. As it leaves your speakers you need a SPL Meter. There are some very Rough iphone apps that meassure the spl. And they are a good guideline!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51435" PostHistoryTypeId="2" PostId="27782" RevisionGUID="77a82df7-b178-4b06-bc20-5f8c1daf75d1" CreationDate="2014-03-07T04:41:49.293" UserId="7670" Text="I've been playing around with running vocals from our 1073 pre-amp into an Avalon compressor and EQ before hitting our Pro Tools rig. I'm loving the sound I'm getting, but am not sure if this is giving me the same flexibility have an un-compressed, flat vocal afford. &#xD;&#xA;&#xD;&#xA;Which method is more commonly used?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51436" PostHistoryTypeId="1" PostId="27782" RevisionGUID="77a82df7-b178-4b06-bc20-5f8c1daf75d1" CreationDate="2014-03-07T04:41:49.293" UserId="7670" Text="Is it better to record a vocal as close to raw as possible, or to compress, eq etc along the way into Pro Tools?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51437" PostHistoryTypeId="3" PostId="27782" RevisionGUID="77a82df7-b178-4b06-bc20-5f8c1daf75d1" CreationDate="2014-03-07T04:41:49.293" UserId="7670" Text="&lt;recording&gt;&lt;compression&gt;&lt;vocals&gt;&lt;pre-amp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51438" PostHistoryTypeId="2" PostId="27783" RevisionGUID="bb8f0a42-3e53-453e-a215-5bfe403988f0" CreationDate="2014-03-07T07:22:42.180" UserId="61" Text="First of all, there are no absolutes. Recording is an art form (albeit one with technical considerations), and there are no rules with art. Your only guidelines are &quot;does this sound good&quot; and &quot;do I like it?&quot;. Aside from that, you're free to experiment.&#xD;&#xA;&#xD;&#xA;Experimenting, however, does have its pitfalls. By placing anything in the signal chain which will alter or color the sound (ie. compressor, EQ) you are committing to that resulting sound and choosing to live with it. There will be no &quot;unwinding&quot; the processing later.&#xD;&#xA;&#xD;&#xA;When recording anything live you do want to afford yourself some room for the unexpected, such as sudden peaks that might distort, in which case having a limiter in line is a smart move. Or, if you know that there is low end present that you definitely won't want later, a gentle high pass filter would probably be a good thing. But those are examples of corrective processing, rather than what I would call &quot;artistic&quot; processing, or using gear destructively during the recording phase of a project.&#xD;&#xA;&#xD;&#xA;So, in conclusion, I believe you'll find as many approaches to recording as you will recording engineers. It all boils down to knowing what you're looking for in a sound and feeling confident about your choice to commit to it early." ContentLicense="CC BY-SA 3.0" />
  <row Id="51439" PostHistoryTypeId="2" PostId="27784" RevisionGUID="5c1ed37d-3dfe-44af-8c35-b647507f539a" CreationDate="2014-03-07T08:19:57.053" UserId="7671" Text="Is it possible to play a sound so briefly, during such a short period of time, that it isn't noticed by humans?&#xD;&#xA;&#xD;&#xA;I have the idea to use sound for distance measurements. This is common with ultrasound, but I want to do it with common smartphones and thus in the ordinary audible frequences they are capable of generating and detecting. Ultrasound is prefered because it doesn't disturb people, so I wonder if audible frequences could be made inaudible by being brief.&#xD;&#xA;&#xD;&#xA;If I make a phone generate a tone during only a millisecond once every five seconds, would it be perceived?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51440" PostHistoryTypeId="1" PostId="27784" RevisionGUID="5c1ed37d-3dfe-44af-8c35-b647507f539a" CreationDate="2014-03-07T08:19:57.053" UserId="7671" Text="How short duration sound can a human hear?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51441" PostHistoryTypeId="3" PostId="27784" RevisionGUID="5c1ed37d-3dfe-44af-8c35-b647507f539a" CreationDate="2014-03-07T08:19:57.053" UserId="7671" Text="&lt;time&gt;&lt;hearing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51444" PostHistoryTypeId="2" PostId="27785" RevisionGUID="e99fa477-5e54-455d-8ced-f746239707e4" CreationDate="2014-03-07T10:21:46.530" UserId="1216" Text="Jay is right. Furthermore I'd think it should be possible to have to Avalon in a re-recording chain. This would allow you to add the 'colour' of the Avalon and the EQ to the recorded signal. There's a great post on how to do this on ProtoolsExpert, however this is a members only video:&#xD;&#xA;http://www.pro-tools-expert.com/home-page/2014/3/2/how-to-record-virtual-instruments-via-hardware-effects.html&#xD;&#xA;But you should be able to figure this out with some researching on the net.." ContentLicense="CC BY-SA 3.0" />
  <row Id="51445" PostHistoryTypeId="2" PostId="27786" RevisionGUID="8c25df43-daad-4310-90be-6fcee53c9f02" CreationDate="2014-03-07T10:22:33.113" UserId="7016" Text="The simple answer is no.&#xD;&#xA;&#xD;&#xA;If you make air move, in the audio range of humans, and not too quiet, then there is no duration short enough that it can't be heard.&#xD;&#xA;&#xD;&#xA;And a millisecond is a very long period of time for the human ear to react to a sound.&#xD;&#xA;&#xD;&#xA;Your options are:&#xD;&#xA;&#xD;&#xA;- use ultrasound, as you mentioned&#xD;&#xA;- use very low volume (may or may not work for you)&#xD;&#xA;- accept that you may just have to disturb people" ContentLicense="CC BY-SA 3.0" />
  <row Id="51446" PostHistoryTypeId="5" PostId="27763" RevisionGUID="06295bd8-f0fa-4a2f-8da7-44895c61dc8d" CreationDate="2014-03-07T10:22:58.290" UserId="7016" Comment="deleted 8 characters in body; edited title" Text="I want to be able to know what volume I'm playing my music in decibels when I'm using my Macbook Air. Is there any plug-ins or methods to show this information?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51447" PostHistoryTypeId="4" PostId="27763" RevisionGUID="06295bd8-f0fa-4a2f-8da7-44895c61dc8d" CreationDate="2014-03-07T10:22:58.290" UserId="7016" Comment="deleted 8 characters in body; edited title" Text="How to find out the exact volume in decibels when playing music on a Mac?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51478" PostHistoryTypeId="6" PostId="25416" RevisionGUID="d8d8fd3d-19d0-4148-a26e-6b39b4968cb6" CreationDate="2014-03-07T10:39:06.617" UserId="7016" Comment="edited tags" Text="&lt;surround-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51479" PostHistoryTypeId="5" PostId="6406" RevisionGUID="64149d2d-598c-4a1d-8aa4-9a78012ec66f" CreationDate="2014-03-07T10:41:54.317" UserId="7016" Comment="deleted 1 characters in body; edited tags" Text="What sounds could represent bright, happy, joyful, youthful, naturalness?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51480" PostHistoryTypeId="6" PostId="6406" RevisionGUID="64149d2d-598c-4a1d-8aa4-9a78012ec66f" CreationDate="2014-03-07T10:41:54.317" UserId="7016" Comment="deleted 1 characters in body; edited tags" Text="&lt;ambience&gt;&lt;mood&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51481" PostHistoryTypeId="5" PostId="6984" RevisionGUID="b550885f-a07d-463e-a8a2-7b5465bb88b1" CreationDate="2014-03-07T10:45:47.063" UserId="7016" Comment="deleted 17 characters in body; edited tags; edited title" Text="Just wanted some clarification on a definition that I read in one of my students papers but I cannot seem to find it on the net. Can someone offer mean the definition of &quot;Lacing a sound effect&quot;. ? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51482" PostHistoryTypeId="4" PostId="6984" RevisionGUID="b550885f-a07d-463e-a8a2-7b5465bb88b1" CreationDate="2014-03-07T10:45:47.063" UserId="7016" Comment="deleted 17 characters in body; edited tags; edited title" Text="Lacing a sound effect??" ContentLicense="CC BY-SA 3.0" />
  <row Id="51483" PostHistoryTypeId="6" PostId="6984" RevisionGUID="b550885f-a07d-463e-a8a2-7b5465bb88b1" CreationDate="2014-03-07T10:45:47.063" UserId="7016" Comment="deleted 17 characters in body; edited tags; edited title" Text="&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51484" PostHistoryTypeId="5" PostId="7280" RevisionGUID="a4ed3861-f499-497a-9fd0-9e1d8ab6fbd6" CreationDate="2014-03-07T10:47:02.163" UserId="7016" Comment="deleted 68 characters in body; edited tags" Text="I am in the process of putting together a proposal for the institute where I work to build and redesign sound editing suites. We want to build 6 rooms to accommodate the computer, speakers and enough room to have the producer/director come in and view with the editor. We don't have a huge amount of space but we have an area whereby we can build 6 small isolate cubicles. &#xD;&#xA;&#xD;&#xA;What I want to know is the best materials to use to sound proof the rooms and also create an adequate sweet spot for the editor. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51485" PostHistoryTypeId="6" PostId="7280" RevisionGUID="a4ed3861-f499-497a-9fd0-9e1d8ab6fbd6" CreationDate="2014-03-07T10:47:02.163" UserId="7016" Comment="deleted 68 characters in body; edited tags" Text="&lt;room&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51486" PostHistoryTypeId="2" PostId="27787" RevisionGUID="f6f3b146-0dfd-46fe-8f78-12d3c4368f08" CreationDate="2014-03-07T11:10:21.940" UserId="6665" Text="You cannot run SPDIF cables on an iMac , simply because SPDIF use RCA connectors .. Your data will get scrambled if you use an adapter on it. If you want to use 7.1 your iMac. The only way you can do it is with a significant quality AD/DA Convertor (Sound Card), which works a primary sound card for your iMac.&#xD;&#xA;&#xD;&#xA;Your iMac will generate outputs only based on what hardware its connected to or what drivers are installed on your system.![enter image description here] You can preview your devices in the AuDIO MIDI SETUP shown in the images below.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Secondy you can add devices and change speaker configuration accordingly.&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/ye9Tf.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/otOuf.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="51487" PostHistoryTypeId="2" PostId="27788" RevisionGUID="88c576fe-2ec0-41fe-b3fe-2b6175fbe47c" CreationDate="2014-03-07T11:13:20.707" UserId="6665" Text="There is no Definition of &quot;Lacing a Sound Effect&quot; in the digital formats. However even in the analogue era, there was no &quot;Lacing a sound effect&quot;, It was referred to as &quot;lacing a tape&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="51488" PostHistoryTypeId="2" PostId="27789" RevisionGUID="d67328f3-3fac-491b-88e3-529eb5995a11" CreationDate="2014-03-07T11:18:44.440" UserId="6665" Text="It all depends on the quality of sound you're trying to achieve. I would not recommend using compressor while recording unless you're confident that you would not want to change eventually." ContentLicense="CC BY-SA 3.0" />
  <row Id="51489" PostHistoryTypeId="2" PostId="27790" RevisionGUID="c4408487-8d2b-461c-833e-eef4d384a614" CreationDate="2014-03-07T12:53:15.183" UserId="7200" Text="One thing you should be aware of, which is really quite difficult playing-wise: the string quartet is, of all western ensembles, perhaps the one where there's most non-trivial work done in _intonation_. There is no way you can achieve a good, &quot;proper quartet&quot; result when just playing all the notes in equal temperament as you would on piano (and might get away with for larger orchestral sounds), rather you need to tune every single note to either some just interval so it matches up with the other instruments, or some melodically expressive scale akin to a Pythagorean one.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=iP8OJPn-YL0&#xD;&#xA;&#xD;&#xA;There is no fixed reference to tell you which fine-tuning to apply to each note a priori – actual quartets establish this during years of practise together. I suppose if you've never done this before the best you can do is first record everything in MIDI and then add pitch-bend information to it later. It's going to be a heck lot of trial-and-error work, though.&#xD;&#xA;&#xD;&#xA;Also, string instrument players add of course all kinds of other expressive playing details. Vibrato may be the most obvious; that's in principle easily introduced with something LFO-like, but especially for string quartet this is problematic because real quartets again sync their vibrato in most non-obvious ways. Similar applies to dynamics. Articulation like spiccato is also pretty hard to replicate on a keyboard instrument.&#xD;&#xA;&#xD;&#xA;Finally there's sound details that aren't necessarily done on purpose, but aren't generally surpressed either by strin players, and may be considered necessary for a real authentic replication of quartet sound. For instance, cello position shifts retain always a very slight slur quality to them.&#xD;&#xA;&#xD;&#xA;In summary: if you want it to sound like a real string quartet, _employ a real string quartet_! It may nowadays be possible to replicate the results perfectly with digital means, but in particular for a small setting like quartet it's not likely to be worth the effort, because effectively you're going to replicate much of the work that each string player has already gone through.&#xD;&#xA;&#xD;&#xA;If you're nevertheless determined to give it a try, I'd recommend starting with a good expressive first violin, [8dio solo studio violin](http://8dio.com/instruments/#instrument/studiosoloviolin/) is the best I've heard so far (but I haven't tried it myself). Take your time to learn the expressive features, then record the 1stVln track (perhaps over a piano rendition of the full quartet). After that, add the other instruments." ContentLicense="CC BY-SA 3.0" />
  <row Id="51490" PostHistoryTypeId="2" PostId="27791" RevisionGUID="9bb2502d-e032-47c0-97fc-db4aad9af7b9" CreationDate="2014-03-07T13:01:55.220" UserId="37" Text="you want to synthesise _strings_ which vibrate above wooden _resonator_ bodies of different sizes, producing _complex harmonics_, sometimes without being played, only due to _sympathetic resonance_. you'd also want to model the high _dynamic range_ of those instruments, and quite likely their different articulations (of which you'd need at least pizzicato, staccato, and legato) which produce completely different _envelopes_ and _microtonal sounds_. the lack of frets means every little imperfection in the _performance_ of the players is intrinsic to the sound produced. &#xD;&#xA;&#xD;&#xA;hmm.. &#xD;&#xA;&#xD;&#xA;reach for a sample library. even the cheap ones are decent these days.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51491" PostHistoryTypeId="5" PostId="27791" RevisionGUID="aebd2ac9-ab36-43f9-868f-b78af0c0d049" CreationDate="2014-03-07T13:15:33.090" UserId="37" Comment="added 9 characters in body" Text="you want to synthesise _strings_ which vibrate above wooden _resonator_ bodies of different sizes, producing _complex harmonics_, sometimes without being played, only due to _sympathetic resonance_. you'd also want to model the high _dynamic range_ of those instruments, and quite likely their different articulations (of which you'd need at least pizzicato, staccato, and legato) which produce completely different _envelopes_ and _microtonal sounds_. the lack of frets means every little imperfection in the _performance_ of the players is intrinsic to the sound produced. &#xD;&#xA;&#xD;&#xA;hmm.. &#xD;&#xA;&#xD;&#xA;reach for a sample library. even the cheap&lt;i&gt;er&lt;/i&gt; ones are decent these days.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51492" PostHistoryTypeId="2" PostId="27792" RevisionGUID="ae976bf5-deca-415b-9027-75854467e9f8" CreationDate="2014-03-07T13:34:39.173" UserId="7656" Text="Generally, compression is used in the recording chain to avoid unwanted peaks. I always run vocals through a compressor as the human voice has an incredibly wide range of dynamics and is very susceptible to sudden peaks. It is generally not used in the same way as it is in the editing stage e.g. to level out the dynamics.&#xA;As for EQ, usually this should be left to the editing stage although, depending on the vocalist, I sometimes run the signal through an EQ for the foldback mix. I always leave the recorded signal dry though.&#xA;For maximum flexibility, any effects that can be applied at a later stage, should really be applied at a later stage. This way, you can always go back to a dry copy. If you really have to use effects in the recording chain, keep them to a minimum." ContentLicense="CC BY-SA 3.0" />
  <row Id="51493" PostHistoryTypeId="2" PostId="27793" RevisionGUID="8f304637-8550-4862-8415-04689cbb1b4e" CreationDate="2014-03-07T15:20:30.317" UserId="7673" Text="For example in 'Irreversible', the first 30 minutes there is a underlying sound frequency of 27hz - this makes you feel physically sick and disorientates you. Do you guys know of any films that use similar effects? Or something which aids the sound scape to engage further?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51494" PostHistoryTypeId="1" PostId="27793" RevisionGUID="8f304637-8550-4862-8415-04689cbb1b4e" CreationDate="2014-03-07T15:20:30.317" UserId="7673" Text="Films that push the boundaries Sound Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51495" PostHistoryTypeId="3" PostId="27793" RevisionGUID="8f304637-8550-4862-8415-04689cbb1b4e" CreationDate="2014-03-07T15:20:30.317" UserId="7673" Text="&lt;sound-effects&gt;&lt;film-sound-design&gt;&lt;frequency&gt;&lt;future&gt;&lt;soundscapes&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51496" PostHistoryTypeId="2" PostId="27794" RevisionGUID="e711a316-b0f8-42eb-9589-1412aca186b9" CreationDate="2014-03-07T15:46:06.213" UserId="3520" Text="If you  love the sound that you're getting, you're doing it right.  What matters, is that you know your intended purpose for that vocal.  Will you need the flexibility on the back end or do you already know the sound you're looking for?  Compression and EQ before Tape was, and still is, a common signal chain in certain musical situations when you already know the sound you're trying to achieve.  Do you know the secret to mixing good drums?  You record good drums.  If you can start with a sound that's closer to your endgame, that's less processing down the line.  Back before DAW's, you'd have to make destructive commitments all of the time.  Now, because of the flexibility afforded to us, we're often more hesitant to commit to a decision and live with it.  Because hey, what if I want to change it later?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51498" PostHistoryTypeId="2" PostId="27795" RevisionGUID="492a2bef-9afc-46f3-822a-6b6c40f75ba8" CreationDate="2014-03-07T16:41:18.020" UserId="7677" Text="Wow, &quot;Irreversible&quot; I'm curious and want to go back and pay attention to the sound that you are talking about but I really don't want to see that movie again.&#xD;&#xA;&#xD;&#xA;-----&#xD;&#xA;&#xD;&#xA;I was really surprised with the sound design of the show HANNIBAL, specially that first episode on the first season. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51499" PostHistoryTypeId="4" PostId="27793" RevisionGUID="39625687-408f-44c8-9e6e-903e6092427a" CreationDate="2014-03-07T17:26:24.597" UserId="7673" Comment="edited title" Text="Films that push the boundaries of Sound Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51503" PostHistoryTypeId="2" PostId="27797" RevisionGUID="1f0325a3-855f-4181-a5de-0b338358aa4f" CreationDate="2014-03-07T20:59:02.967" UserId="7679" Text="just out of my head ,I think its a square kind of pluck with distortion.&#xD;&#xA;If i were u i would do the next thing:make a filtered pluck sound with sylenth use what distortion and layer it with a sample plugin like alchemy or just fl's sampler put a percussie sample that almost the same like in elysium and be CREATIVE use a eq,distortion,delays,reverb.download some weird plugins(Fracture,Effectrix,Omicide Meloman).&#xD;&#xA;&#xD;&#xA;Sorry if my english is bad im dutch.&#xD;&#xA;&#xD;&#xA;Denlee from Amsterdam&#xD;&#xA;    " ContentLicense="CC BY-SA 3.0" />
  <row Id="51504" PostHistoryTypeId="2" PostId="27798" RevisionGUID="22ae7ba8-bb89-459b-a39e-431ce9fb8825" CreationDate="2014-03-07T21:24:23.340" UserId="7680" Text="I'm developing a software synthesizer, and, while I do understand how ADSR envelopes work, I'm having a hard time figuring out what the x-Axis of Envelope diagrams means and what I'm controlling for example when I'm turning an ATTACK knob on a synth. Does turning the knob control the duration of the attack period in ms, is it a percentage of a pre-fixed length of a sound and if so, what lengths are used?&#xD;&#xA;&#xD;&#xA;To illustrate what I'm saying, here the envelope settings part of NI Massive:&#xD;&#xA;&#xD;&#xA;![http://www.aphotoofhongkongaday.com/massive_synth/wp-content/uploads/2010/09/4envelope.png][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So, what I don't get is, in what are ADSR segments measured. When I turn the attack knob to the right, the attack line/curve gets longer towards the right of the visualization and of course the tone takes longer to reach the maximum amplitude. But what did I change? Is the attack knob controlling the attack period in a range of, say, 100 - 1000 milliseconds? Or does this visualization represent e.g. a 10 second tone and the knob controls the attack percentage of the sound from e.g. 5% - 50%? I did some timing and found that when the attack knob is to the very right, the tone takes exactly 4 seconds to reach the maximum amplitude and it is at about 50% of the envelope shown, so I thought the envelope was showing a range of 0 - 8 seconds since it took 4 seconds to get to the half point. This hypothesis was nullified pretty quickly though, as controlling the &quot;Delay&quot; knob, which shifts the starting point of the envelope to the right, in a way that the envelope looks like it starts at 50% again, ended in the tone starting after only 2.5 seconds. So this visualisation is not a certain time I concluded.&#xD;&#xA;&#xD;&#xA;I found a few sentences on this [here][2], where I read something about constant time or constant rate, although that is not really enough. &#xD;&#xA;&#xD;&#xA;So, can I just randomly choose a duration for the ADSR on my synth and make my knobs control a percentage of the duration? &#xD;&#xA;&#xD;&#xA;Would really like some clarification here, sorry if this is noob-ish. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/PX7pG.png&#xD;&#xA;  [2]: http://www.earlevel.com/main/2013/06/02/envelope-generators-adsr-part-2/" ContentLicense="CC BY-SA 3.0" />
  <row Id="51505" PostHistoryTypeId="1" PostId="27798" RevisionGUID="22ae7ba8-bb89-459b-a39e-431ce9fb8825" CreationDate="2014-03-07T21:24:23.340" UserId="7680" Text="What time range is used for ADSR envelopes" ContentLicense="CC BY-SA 3.0" />
  <row Id="51506" PostHistoryTypeId="3" PostId="27798" RevisionGUID="22ae7ba8-bb89-459b-a39e-431ce9fb8825" CreationDate="2014-03-07T21:24:23.340" UserId="7680" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51507" PostHistoryTypeId="2" PostId="27799" RevisionGUID="e59650c8-ffb4-4f30-9157-c6388f041ca0" CreationDate="2014-03-07T21:31:05.600" UserId="7681" Text="I have been doing some text to speech recently and I tried finding a natural sounding one. All I have found was AT&amp;T natural voice, which did not sound natural at all. Google's text to speech on Google translate sounds not so bad. Is there a way I can make a robot voice sound more natural? I was thinking maybe autotune but I really do not know, I am a newbie. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51508" PostHistoryTypeId="1" PostId="27799" RevisionGUID="e59650c8-ffb4-4f30-9157-c6388f041ca0" CreationDate="2014-03-07T21:31:05.600" UserId="7681" Text="text to speech natural voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="51509" PostHistoryTypeId="3" PostId="27799" RevisionGUID="e59650c8-ffb4-4f30-9157-c6388f041ca0" CreationDate="2014-03-07T21:31:05.600" UserId="7681" Text="&lt;sound-design&gt;&lt;voice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51510" PostHistoryTypeId="5" PostId="27642" RevisionGUID="cb0056ec-ebbe-406f-891a-1e5dbe41e489" CreationDate="2014-03-07T22:26:21.033" UserId="7016" Comment="deleted 83 characters in body" Text="I am cutting a nature doc about deforestation and I have hit a brick wall on a certain scene. &#xD;&#xA;&#xD;&#xA;In this scene, we are in an elephant habitat and there are about 6 adult elephants that are bathing in the river and wrestling on the shore and in the jungle foliage (all CU or MCU). I have cut all of the specific actions, but I am wanting to convey some joy in these elephants. Everything for elephant vocals that I have is either vintage or a huge distressed bellow/scream. &#xD;&#xA;&#xD;&#xA;Can anyone recommend a library or a private sale?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51512" PostHistoryTypeId="2" PostId="27800" RevisionGUID="4376023d-5062-40a0-9ba4-0658d5ad8ead" CreationDate="2014-03-07T22:39:09.157" UserId="1185" Text="Attack (A): the time it will take to reach its maximum level after note is triggered&#xD;&#xA;&#xD;&#xA;Decay (D): the time it will take to drop to the sustain level after the initial rise&#xD;&#xA;&#xD;&#xA;Sustain (S): the level that the envelope will remain at until the key is released&#xD;&#xA;&#xD;&#xA;Release (R): the time it will take to reach zero after the key is released&#xD;&#xA;&#xD;&#xA;The time ranges is dependent on the instrument and how it is implemented.  If you are programming your own synth you can implement the times as you see fit.  The level is usually defined as % or value 0.0 - 1.0.  This is relative to the level set for the parameter that the envelop is controlling.&#xD;&#xA;&#xD;&#xA;I've always found it an annoyance that Massive does not give a numerical display for the values set.&#xD;&#xA;&#xD;&#xA;Hope this clarifies. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51516" PostHistoryTypeId="2" PostId="27801" RevisionGUID="b3ec57a6-f58d-4b38-9d14-2b4e5cd6e1db" CreationDate="2014-03-08T08:29:27.060" UserId="6425" Text="I hope this question is allowed here!&#xD;&#xA;&#xD;&#xA;I need to deliver a DVD Video! The Videos I compressed with H2.64 into a mp4 with 720p. That should work!&#xD;&#xA;&#xD;&#xA;But what audio codecs are allowed on a DVD. Now i compressed them with AAC. But would an Aif or Wav be possible? I have only one 5 min clip where I would need the better quality!&#xD;&#xA;&#xD;&#xA;Good Day!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51517" PostHistoryTypeId="1" PostId="27801" RevisionGUID="b3ec57a6-f58d-4b38-9d14-2b4e5cd6e1db" CreationDate="2014-03-08T08:29:27.060" UserId="6425" Text="DVD-Video - what Codecs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51518" PostHistoryTypeId="3" PostId="27801" RevisionGUID="b3ec57a6-f58d-4b38-9d14-2b4e5cd6e1db" CreationDate="2014-03-08T08:29:27.060" UserId="6425" Text="&lt;dvd&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51519" PostHistoryTypeId="2" PostId="27802" RevisionGUID="60832dc7-d6d7-462d-af4e-d389859f1a4c" CreationDate="2014-03-08T09:39:38.910" UserId="4057" Text="DVD is MPEG2-PS (Programme Stream) codec with MP2 or AC3 audio in a VOB container. DVD is Standard Definition - so 25FPS at 720x576 for PAL countries. &#xD;&#xA;&#xD;&#xA;H264/720p is NOT the DVD standard. If you want to send the customer a DVD-Data disc with an mp4 file on it, then that is fine, but you're simply using the DVD as a data storage mechanism. You can't stick this in a DVD player and hope it will play. It won't.&#xD;&#xA;&#xD;&#xA;If you want to make it play in a DVD player, you need to master it using a DVD authoring package and create SD video with MPEG2-PS/MP2/AC3 data in a VOB container.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51520" PostHistoryTypeId="2" PostId="27803" RevisionGUID="e69a5fc2-4eec-4e1f-add5-1d6f6036022f" CreationDate="2014-03-08T09:50:00.227" UserId="6432" Text="Don't be afraid of just using a number box which users type into, then you're not forced to set a maximum. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51521" PostHistoryTypeId="2" PostId="27804" RevisionGUID="6586cf24-b4c6-4284-9f0d-578e12067a29" CreationDate="2014-03-08T10:56:19.483" UserId="4057" Text="The only way that you can sensibly do this is to sample a natural voice and then work out useful edit-points between the phonemes. You cannot - in the vernacular - polish a turd. If it sounds like a robot, then its going to sound like a robot pretty much whatever you do to it.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="51522" PostHistoryTypeId="2" PostId="27805" RevisionGUID="fc713ed9-2741-4fc2-b9d7-011f46ca410a" CreationDate="2014-03-08T11:05:21.977" UserId="4057" Text="OK just listening to that it sounds like the microphone is stuffed. That sound you are hearing is RF induction into the preamp. Send it back for a replacement. To be 100% sure - check the mic with a different cable first. But, I'm pretty sure that mic is toast." ContentLicense="CC BY-SA 3.0" />
  <row Id="51523" PostHistoryTypeId="2" PostId="27806" RevisionGUID="efd4bff2-fd5b-4f6c-8cd8-c5c840f27abc" CreationDate="2014-03-08T11:09:01.427" UserId="4057" Text="You need to use a fabric which is known as Hogs Hair. This material will absorb the droplets of water as they hit and will disperse them, protecting them mic from both the liquid and also the sound of the liquid. Assuming you are using a Rycote or Rode blimp, you can cover the top of the blip with hogs hair to protect the microphone and blimp. This is a common solution used in film-making when filming outdoors in the rain." ContentLicense="CC BY-SA 3.0" />
  <row Id="51524" PostHistoryTypeId="2" PostId="27807" RevisionGUID="1a3e8679-e10d-4e77-914d-485979b5e61e" CreationDate="2014-03-08T11:11:34.877" UserId="4057" Text="Nope. Not at this budget. Your best bet is to look at some Sennheiser g3 gear but this will be difficult on your budget. Sorry." ContentLicense="CC BY-SA 3.0" />
  <row Id="51525" PostHistoryTypeId="2" PostId="27808" RevisionGUID="be2f058e-bf29-4f8c-aedb-4618b6a2bab5" CreationDate="2014-03-08T11:18:20.420" UserId="4057" Text="Yes - most definitely this is to do with mp3 compression. Strings in particular require a much higher bitrate to be reproduced through mp3 without artifacts. You're not going to get much mileage out of a strings recording under 192kb/s. Adding a bell is just asking for trouble. The way that the mp3 encoding works will mean that the available bit rate is taken up encoding the bell sounds which are of a particular set of harmonics while the remaining bits in the stream probably aren't enough to handle the cello - which has an immensely complex harmonic structure. This sounds very much like a test case recording. Is there a copy of the recording available?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51526" PostHistoryTypeId="2" PostId="27809" RevisionGUID="43ed5b6d-3b18-4fd6-bacf-f3b7cd51a1eb" CreationDate="2014-03-08T11:23:06.473" UserId="4057" Text="Yes. You can. this is how I charge mine." ContentLicense="CC BY-SA 3.0" />
  <row Id="51527" PostHistoryTypeId="2" PostId="27810" RevisionGUID="b21f1f45-0df7-4cac-8bdd-30aeb637de05" CreationDate="2014-03-08T11:28:52.777" UserId="4057" Text="This is explained in the equation DF=Zload/Zsource. With a constant Zsource, an increased Zload results in an increased DF. &#xD;&#xA;&#xD;&#xA;If you read the article carefully, the low output impedance referred to is actually the output impedance of the amplifier, which in this equation is Zsource. So, if you have a low Zsource, this would lead to a higher DF value." ContentLicense="CC BY-SA 3.0" />
  <row Id="51528" PostHistoryTypeId="2" PostId="27811" RevisionGUID="4d871351-0f03-4ae7-a7bf-cbadbd9429e4" CreationDate="2014-03-08T16:49:25.750" UserId="7684" Text="I have a computer mic I want to use with a PA amplifier.  The mic has a 1/8 stereo plug and the amp has a 1/4&quot; stereo jack.  I tried it out using a 1/8&quot; stereo jack to 1/4&quot; stereo plug but there was no sound output from the speakers, probably because there is no DC supply for the mic from the amp.  If I use an adapter and provide  say, 12v to the mic, will it work?  If so, what are the pinouts (shield, sleeve and front pin)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51529" PostHistoryTypeId="1" PostId="27811" RevisionGUID="4d871351-0f03-4ae7-a7bf-cbadbd9429e4" CreationDate="2014-03-08T16:49:25.750" UserId="7684" Text="How can I use a computer mic with my PA amplifier?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51530" PostHistoryTypeId="3" PostId="27811" RevisionGUID="4d871351-0f03-4ae7-a7bf-cbadbd9429e4" CreationDate="2014-03-08T16:49:25.750" UserId="7684" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51531" PostHistoryTypeId="2" PostId="27812" RevisionGUID="f597c828-5e42-4218-bbf8-f9c4158eba85" CreationDate="2014-03-08T17:43:35.550" UserId="3841" Text="I actually spent some time recording the ADS+R envelopes in Massive to figure out what the x axis would be.  Anyone who spends time messing around with Massive would soon figure out that the graph is not to scale which can definitely be a bit confusing if you're new to envelopes.  But i was interested in the possible values so i timed the knobs out in Ableton.&#xD;&#xA;&#xD;&#xA;In Massive the Attack knob allows you to switch between (approximately) 0 to 9 seconds.&#xD;&#xA;&#xD;&#xA;The Decay knob goes between 0 and 86 seconds. Altho because the graph is logarithmic about halfway through the volume change becomes too subtle to notice (it changed only 2 db in the last 44 seconds).&#xD;&#xA;&#xD;&#xA;And finally the Release knob seems to have a value range of 0 to 46 seconds or at least after 46 seconds it went to -infinity db on Insight (this is also a logarithmic curve so it had long since stopped being audible).&#xD;&#xA;&#xD;&#xA;Now all this doesn't really do you a lot of good in creating your own synthesizer except for perhaps saying that decay and release are generally expected to be able to be longer than the attack.  And as far as i know there is no real standard for setting potential ADSR values.  But its useful to know for synthesis inside of massive anyways, as it always bugged me that i didn't have exact values.  &#xD;&#xA;&#xD;&#xA;If you were looking for a synthesizer with good ADSR envelopes to take inspiration from I would suggest looking into Absynth as those are pretty detailed and easy to use.  Ableton Lives Operator also has pretty detailed envelopes allowing for an attack between 0ms to 20s and Decay and Release times between 1ms and 60s.&#xD;&#xA;&#xD;&#xA;[PS the delay knob seems to give you a range of 0 - 2.3 seconds or so]" ContentLicense="CC BY-SA 3.0" />
  <row Id="51532" PostHistoryTypeId="2" PostId="27813" RevisionGUID="3a60c9d6-87f0-408e-bf12-e1d80505ef3d" CreationDate="2014-03-08T18:28:37.947" UserId="7685" Text="Listen to music with good bass speakers (sub-woofer)...MP3 totally cuts the lower frequencies. It's true that we can't hear those, but we can FEEL the boom vibration. Good -professional or really hifi- sub-woofers (e.g. Bose 320) make rooms tremble from a CD or FLAC (or live music), but input MP3 and that vibration is gone.&#xD;&#xA;&#xD;&#xA;I'm a volunteer sound technician at a 300 member church, with Bose 820 and 320, like 3000W sound total, with good mixing tables and professional amplifiers (Bose too) and crossovers cutting the high frequencies for the 320s, and cutting the low frequencies for the 820s. Every time somebody brings MP3s or we play Spotify, the booming is gone." ContentLicense="CC BY-SA 3.0" />
  <row Id="51533" PostHistoryTypeId="2" PostId="27814" RevisionGUID="35308c51-bbbb-43be-b9a7-65070e6489a3" CreationDate="2014-03-08T23:28:47.813" UserId="7687" Text="I have several thousand wave files which I'd like to split into tracks. I plan to add markers with Audition CC, then split them into individual wave files and convert to FLAC, but Audition won't split files as a batch.&#xD;&#xA;&#xD;&#xA;Windows solutions would be preferable to Mac/Unix, and I'm willing to purchase software if necessary. I've considered rolling my own with Python but I'd prefer a GUI and I'd rather not reinvent the wheel if this problem has been elegantly solved in the past.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51534" PostHistoryTypeId="1" PostId="27814" RevisionGUID="35308c51-bbbb-43be-b9a7-65070e6489a3" CreationDate="2014-03-08T23:28:47.813" UserId="7687" Text="Batch split wave files from markers" ContentLicense="CC BY-SA 3.0" />
  <row Id="51535" PostHistoryTypeId="3" PostId="27814" RevisionGUID="35308c51-bbbb-43be-b9a7-65070e6489a3" CreationDate="2014-03-08T23:28:47.813" UserId="7687" Text="&lt;audio&gt;&lt;batch&gt;&lt;adobe&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51536" PostHistoryTypeId="2" PostId="27815" RevisionGUID="e646f16e-e559-4b9a-9ee1-66f4e72b4000" CreationDate="2014-03-08T23:49:25.470" UserId="6425" Text="You could use ProTools software. Just use the strip silence tool to remove the silence between the sounds. Then ProTools will put all your snipers into your Region list. Then you simply need to collect all audio files in the Region list and press Export Regions as Files. Then you can decide in which Format and at wich Location to bounce.&#xD;&#xA;&#xD;&#xA;Hope this helps!&#xD;&#xA;Good Day" ContentLicense="CC BY-SA 3.0" />
  <row Id="51537" PostHistoryTypeId="2" PostId="27816" RevisionGUID="3d3a7efc-d523-4eff-8187-c98b19942077" CreationDate="2014-03-09T01:16:25.233" UserDisplayName="user49" Text="The film Altered States has some very interesting sounds from perceptual tests and research done atnStandord... the basic synopsis, a guy starts taking hallucinogens while in a sensory deprivation tank...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;from the book Sound on Film:&#xD;&#xA;&#xD;&#xA;&quot;the effects came from Stanford University, where they did all kinds of sound experiments and we got the benefit of it. The director, Ken Russell, got the tracks from stanford, John Cornigliano had written the score, and we got to weave them in and out of each other - they were one..&quot; &#xD;&#xA;&#xD;&#xA;Were the Stanford sounds used for the low rumbles and the tank-room sounds? &#xD;&#xA;&#xD;&#xA;&quot;yes, a lot of them were&quot; &#xD;&#xA;&#xD;&#xA;Were those sounds cut by the sound effects editors? &#xD;&#xA;&#xD;&#xA;&quot;They weren't edited, they were just laid in en masse by the effects editors. You just got four hundred feet of material&quot; &#xD;&#xA;&#xD;&#xA;So the positioning and editing were done during the mix on the dubbing stage? &#xD;&#xA;&#xD;&#xA;&quot;Yes&quot; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51538" PostHistoryTypeId="2" PostId="27817" RevisionGUID="adec4b7d-cfcd-4e13-876e-4b2231c4d5e3" CreationDate="2014-03-09T02:25:53.107" UserId="7688" Text="Dave here, logic 9 and ten on intel mac.  My headache is,15 min+ session with various in-tempo music elements that need to lie on bar/beat grid, and interstitial dialog which needs tweaking, re-performing, and subtle timing changes. (demo for theatre work).  the only way I know to preserve timing in Logic is to draw tempo changes to bring (e.g.) two dialog phrases closer together.  This is cumbersome.  Pretty sure Protools will not help, as the bar/beat (looping, midi-addition, quantized) aspect is still necessary.  Any ideas welcome! - Dave " ContentLicense="CC BY-SA 3.0" />
  <row Id="51539" PostHistoryTypeId="1" PostId="27817" RevisionGUID="adec4b7d-cfcd-4e13-876e-4b2231c4d5e3" CreationDate="2014-03-09T02:25:53.107" UserId="7688" Text="Combining music prod, dialog editing, sfx and foley: what's everyone doing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51540" PostHistoryTypeId="3" PostId="27817" RevisionGUID="adec4b7d-cfcd-4e13-876e-4b2231c4d5e3" CreationDate="2014-03-09T02:25:53.107" UserId="7688" Text="&lt;sound-design&gt;&lt;pro-tools&gt;&lt;midi&gt;&lt;music&gt;&lt;logic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51541" PostHistoryTypeId="2" PostId="27818" RevisionGUID="0d7d817e-5064-4c69-aabb-8dbc7a856a40" CreationDate="2014-03-09T05:31:44.970" UserId="4057" Text="Firstly, the original dialogue edit should be done with the musical timing in mind. Mostly, this is done using temp tracks that have equivalent tempo/timing. Dialogue will need to maintain lip-sync but music can be tweaked from a timing perspective. &#xD;&#xA;&#xD;&#xA;My recommendation is to ensure that the dialogue edit fits with the timing first, then apply the music once the dialogue edit is correct." ContentLicense="CC BY-SA 3.0" />
  <row Id="51543" PostHistoryTypeId="2" PostId="27819" RevisionGUID="2c89c115-0e00-4e92-9883-3c350810ef2f" CreationDate="2014-03-09T14:06:49.360" UserId="7693" Text="I hope you are well.I use cubase 5 and some vst's like nexus.silenth1.battery,etc.&#xD;&#xA;I have hs50m yamaha montitor speaker and 2 beyerdynamic monitor headphone and a motu track 16 as my sound card.&#xD;&#xA;my problem is when I finish mixing and mastering everything is good on my monitors on high or low volume.it is good on low volume on my car stereo but on maximum volume it gets so bad and disturded.my car stereo has 50 volume and when I play other song I can raise the volume at max without any distording but my songs,I can raise the volume to 45,after that I feel like my speakers gonna explod. I cut the freq like you said on the another post I saw in this website.my songs audio statictis (volume average) is -8,-9 ,Idont know why it gets so loud and bad on high volumes.I dont know what am I missing.can you help me pls??&#xD;&#xA;&#xD;&#xA;Thanks " ContentLicense="CC BY-SA 3.0" />
  <row Id="51544" PostHistoryTypeId="1" PostId="27819" RevisionGUID="2c89c115-0e00-4e92-9883-3c350810ef2f" CreationDate="2014-03-09T14:06:49.360" UserId="7693" Text="my songs quality on high volume" ContentLicense="CC BY-SA 3.0" />
  <row Id="51545" PostHistoryTypeId="3" PostId="27819" RevisionGUID="2c89c115-0e00-4e92-9883-3c350810ef2f" CreationDate="2014-03-09T14:06:49.360" UserId="7693" Text="&lt;quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51546" PostHistoryTypeId="2" PostId="27820" RevisionGUID="d4b3073e-11bf-4097-9ed2-9da4ebbcb990" CreationDate="2014-03-09T15:23:06.237" UserId="6425" Text="That means you are on the right track. On high volumes our ears have a flatter response. That means that on higher volumes, we start to hear more bass and more highs.&#xD;&#xA;&#xD;&#xA;So a very simple solution to your problem might be a wrong gain/frequency structure in the bass and highs which can lead to extreme imbalances on higher volumes. Since your song sounds good on lower volumes you are on the right track, and the imbalances might be very small.&#xD;&#xA;&#xD;&#xA;One of the most important things that leads to mixes that transition to loud volumes is:&#xD;&#xA;&#xD;&#xA;1. Check that you do not have too much aggressiveness in the 4 kHz area and be very cautious with the elements that dominate this are. Usually lead sounds and vocals.&#xD;&#xA;&#xD;&#xA;2. Be sure to highpass everything, so that the bottom end (roughly 120 Hz downward) is only occupied by kick and bass. And be sure to really make them work. A beginner mistake is, that they have a bass and then make the kick unnaturally loud to cut trough the mix instead of finding a kick/processing a kick to make it work with the baseline -&gt; On louder volumes your kick seams to really jump out and destroy the mix. &#xD;&#xA;&#xD;&#xA;3. Be sure to lowpass everything at around 12-18 kHz but the most important high elements. This is very important since if you have a lot of toped, then you mix your cymbals and stuff a lot louder than the mix needs. Then on higher volumes the cymbals jump out and become dangerously loud. &#xD;&#xA;&#xD;&#xA;4. Wrong utilisation of Dynamics. Think of it like that. If on very little volumes you hear a good bass and then you make it louder -&gt; bass will become louder than the rest of the track -&gt; If your balance works at low volumes the balance becomes unnatural at higher volumes. So be sure, that you have a great compressed bass signal that does not jump in volume then mix the bass as low in gain as possible. usually it is a very good idea to mix the bass at a volume that is a bit louder than you normally mix, then reduce the volume of your monitors again, to se if the baseline looses to much energy... A good mix level for bass is around 80-85 dB SPL (careful these is the range where the pressure starts to hurt and destroys your ears if you listen for some time). The ngo back to a volume that represents a normal conversation around 60-70 dB SPL. This tactic works for me. If one or two notes jump out then use compression or eq, but be careful that those notes are no room resonances of your room!!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I Hope this helps a bit.&#xD;&#xA;&#xD;&#xA;Good Day" ContentLicense="CC BY-SA 3.0" />
  <row Id="51547" PostHistoryTypeId="5" PostId="27819" RevisionGUID="6d8d7aeb-4bc5-4fcc-ae11-53e4017823e9" CreationDate="2014-03-09T15:49:56.460" UserId="7016" Comment="added 1 characters in body; deleted 11 characters in body; edited title" Text="I use cubase 5 and some vst's like nexus, silenth1, battery, etc.&#xD;&#xA;&#xD;&#xA;I have an HS50M yamaha monitor speaker and 2 Beyerdynamic monitor headphones and a Motu track 16 as my sound card.&#xD;&#xA;&#xD;&#xA;My problem is when I finish mixing and mastering everything sounds good on my monitors on high or low volume. It is good on low volume on my car stereo but on maximum volume it gets so bad and distorted. My car stereo volume goes to 50 and when I play other songs I can raise the volume to max without any distorting but with my songs, I can only raise the volume to 45, after that I feel like my speakers might explode.&#xD;&#xA;&#xD;&#xA;As suggested on another post on this site I cut the frequencies. My songs audio statistics (volume average) is -8,-9 , so I dont know why it gets so loud and bad on high volumes. &#xD;&#xA;&#xD;&#xA;I dont know what am I missing." ContentLicense="CC BY-SA 3.0" />
  <row Id="51548" PostHistoryTypeId="4" PostId="27819" RevisionGUID="6d8d7aeb-4bc5-4fcc-ae11-53e4017823e9" CreationDate="2014-03-09T15:49:56.460" UserId="7016" Comment="added 1 characters in body; deleted 11 characters in body; edited title" Text="My songs lose quality on high volume" ContentLicense="CC BY-SA 3.0" />
  <row Id="51549" PostHistoryTypeId="2" PostId="27821" RevisionGUID="0b18da3f-15f8-4a70-83bf-7b86a02acdc8" CreationDate="2014-03-09T18:08:28.297" UserId="7695" Text="Does banana plugs such as this:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;will fit just fine with this ports:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;If they don't fit, is there an adapter of some sort that will make them fit?&#xD;&#xA;&#xD;&#xA;Additional question: What do you call this classic speaker ports anyway?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/5UECo.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/OkE2g.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="51550" PostHistoryTypeId="1" PostId="27821" RevisionGUID="0b18da3f-15f8-4a70-83bf-7b86a02acdc8" CreationDate="2014-03-09T18:08:28.297" UserId="7695" Text="Does banana plug fit in &quot;classic&quot; speaker ports?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51551" PostHistoryTypeId="3" PostId="27821" RevisionGUID="0b18da3f-15f8-4a70-83bf-7b86a02acdc8" CreationDate="2014-03-09T18:08:28.297" UserId="7695" Text="&lt;speakers&gt;&lt;cable&gt;&lt;connector&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51552" PostHistoryTypeId="2" PostId="27822" RevisionGUID="414521e0-932d-41cd-bcd2-e7f449449ead" CreationDate="2014-03-09T22:56:22.090" UserId="6445" Text="Nope - no adapter. You have to cut off the connectors and stick in the bare conductors" ContentLicense="CC BY-SA 3.0" />
  <row Id="51553" PostHistoryTypeId="2" PostId="27823" RevisionGUID="5018a100-01fa-4dc7-b285-cb8bc4c2a4f1" CreationDate="2014-03-09T23:49:28.737" UserId="37" Text="-8 average volume sounds like you're waging the loudness war. Try -12 : you will lose some loudness but you will gain dynamics, better bass response and a better overall feel. Do not compete with high grade commercial tracks on loudness, those are sound-designed for loudness from the start, and mauled in mastering for that extra &quot;radio-ready&quot; dB. You'll recognise them by the frequency content - more mids, aggressive highs, compressed bass, and likely a very controlled 200-250Hz area.&#xD;&#xA;&#xD;&#xA;Meters being pretty one-dimensional, it could be that you're feeding yours with different frequencies than those of the other tracks you're trying against. Hook up a spectrum analyser, that should help.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51558" PostHistoryTypeId="2" PostId="27825" RevisionGUID="9a97d4d0-bf8f-4528-b6a8-a9e9944a58fe" CreationDate="2014-03-10T10:05:56.587" UserId="7698" Text="You should use the Limiter and also try lowering the db in the master vol this should fix the problem. For clicks and pops you can try useing the eq lower down the high frequency a bit. If there is still problem with the sound there are free software to do noise isolation. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51560" PostHistoryTypeId="10" PostId="20406" RevisionGUID="0c593668-4db5-49ad-a2ca-740a10203ebf" CreationDate="2014-03-10T12:08:32.033" UserId="7016" Comment="105" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="51561" PostHistoryTypeId="2" PostId="27826" RevisionGUID="d9bdc799-7649-4ce3-8a35-7632c890e3ea" CreationDate="2014-03-10T13:30:26.083" UserId="7174" Text="They won't fit by themselves, but you can make your own with a short cable that has a female banana plug jack.  Just cut that cable and stick the wires in to the slots and then you have an adapter.  Alternately, you could cut off the banana plugs on the original cable, but if you don't want to damage it, then my adapter suggestion will work." ContentLicense="CC BY-SA 3.0" />
  <row Id="51562" PostHistoryTypeId="2" PostId="27827" RevisionGUID="066774df-566c-4d10-8749-88c722a0943c" CreationDate="2014-03-10T15:26:15.413" UserId="7672" Text="I am involved in a project related to speech analysis. I really need to record high quality speech sounds. I quickly realised computer sound card is not exactly what I need to use.&#xD;&#xA;&#xD;&#xA;I do some research and realised that I'd just need some small but professional Audio Interface - I need one that works with MacBookPro Intel 64bit (iOS 10.6.x) - and Pro Condenser Mic. One of the requirements is fairly high sampling frequency, let's say 96+ kHz is ideal. From what I've seen there are couple of options:&#xD;&#xA;- Focusrite Scarlett,  2i2, No MIDI,     96kHz / 24bit, £119.99&#xD;&#xA;- Lexicon Alpha,       2x2, No MIDI,     48kHz / 24bit,  £48.50&#xD;&#xA;- Alesis iO2 Express,  2x2, No MIDI,     48kHz / 24bit,  £79.00&#xD;&#xA;- M-Audio MTrack Plus, 2x2, MIDI In/Out, 48kHz / 24bit, £129.00&#xD;&#xA;- Tascam iU2,          3x2, MIDI In/Out, 48kHz / 16bit,  £84.99&#xD;&#xA;&#xD;&#xA;Looking at numbers and smapling freq, I think Focuserite Scarlett 2i2 would be the best option. Would you recommend this Audio Interface.&#xD;&#xA;&#xD;&#xA;Also, which mic would you suggest for high quality speech recording?&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT: If you have any suggestion on different audio interfaces please feel free to prvide info :) " ContentLicense="CC BY-SA 3.0" />
  <row Id="51563" PostHistoryTypeId="1" PostId="27827" RevisionGUID="066774df-566c-4d10-8749-88c722a0943c" CreationDate="2014-03-10T15:26:15.413" UserId="7672" Text="Equipment for speech recording with fairly high quality" ContentLicense="CC BY-SA 3.0" />
  <row Id="51564" PostHistoryTypeId="3" PostId="27827" RevisionGUID="066774df-566c-4d10-8749-88c722a0943c" CreationDate="2014-03-10T15:26:15.413" UserId="7672" Text="&lt;audio-recording&gt;&lt;microphone&gt;&lt;audio-interfaces&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51565" PostHistoryTypeId="2" PostId="27828" RevisionGUID="7662fa0d-7654-48dd-9c15-2cdc114d58c4" CreationDate="2014-03-10T15:39:31.107" UserId="7672" Text="I hope it is not too general question.&#xD;&#xA;&#xD;&#xA;I am planning to have very minimal home studio with good quality sound recording into MacBookpro iOS 10.6.x. With friends we just need to connect a stage piano, 1 or 2 guitars and a phantom powered Mic. I would not need a MIDI atm but I feel like it is just a matter of time I will be using MIDI, either.&#xD;&#xA;&#xD;&#xA;My favourite options is **Focuserite Scarlett 6i6** for £199.99. It seems to have what I'd need. It has 6 inputs, 2 phantom powered XLR mic inputs, 4 Line Inputs, MIDI In/Out, work with Apple comps, good sampling freq 96kHz and 24 bit audio resolution. It also has 2 monitor outputs, two headphone outputs but it needs external power. The latter would not be really an issue for me.&#xD;&#xA;&#xD;&#xA;The only problem is that a guitar or two guitars and a mic would be a problem when there's only 2 mic inputs. What do you think? Can I plug an electric / acoustic guitar to line-in?&#xD;&#xA;&#xD;&#xA;I am open to any suggestions :)&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51566" PostHistoryTypeId="1" PostId="27828" RevisionGUID="7662fa0d-7654-48dd-9c15-2cdc114d58c4" CreationDate="2014-03-10T15:39:31.107" UserId="7672" Text="Minimal home studio based on Focuserite Scarlett 6i6" ContentLicense="CC BY-SA 3.0" />
  <row Id="51567" PostHistoryTypeId="3" PostId="27828" RevisionGUID="7662fa0d-7654-48dd-9c15-2cdc114d58c4" CreationDate="2014-03-10T15:39:31.107" UserId="7672" Text="&lt;audio-recording&gt;&lt;audio-interfaces&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51568" PostHistoryTypeId="2" PostId="27829" RevisionGUID="07e5aa1a-9455-4807-b341-c6a47013f040" CreationDate="2014-03-10T16:09:17.820" UserId="7699" Text="Are you sure your amp has a mic-input?&#xD;&#xA;Sounds like your amp has the usual line input. If so, by a mic preamp or a small mixer with a mic preamp and connect this to your amp. Your mic is probably dynamic and needs no phantom power." ContentLicense="CC BY-SA 3.0" />
  <row Id="51569" PostHistoryTypeId="2" PostId="27830" RevisionGUID="b4f65313-adaa-4623-876d-ee0754a25be7" CreationDate="2014-03-10T17:26:43.177" UserId="6663" Text="I'm finally approaching doing my first 5.1 mix. I'm doing this in pro tools 10 HD. My only other experience of 5.1 has been in Logic and Nuendo.&#xD;&#xA;&#xD;&#xA;Does pro tools have a built in surround panner? At present all I have is a small box with a green dot in the mix lane. This does the trick but in other programs there is a lot more available, perhaps even a separate pop up window? I just can't seem to find it or have it on this system. &#xD;&#xA;&#xD;&#xA;1) Is there something I've missed and hasn't been installed?&#xD;&#xA;&#xD;&#xA;2) Have they removed this in typical AVID fashion and do I need to purchase a 3rd party plugin such as maggot's Spanner or Iosono Anymix?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="51570" PostHistoryTypeId="1" PostId="27830" RevisionGUID="b4f65313-adaa-4623-876d-ee0754a25be7" CreationDate="2014-03-10T17:26:43.177" UserId="6663" Text="pro tools surround panner" ContentLicense="CC BY-SA 3.0" />
  <row Id="51571" PostHistoryTypeId="3" PostId="27830" RevisionGUID="b4f65313-adaa-4623-876d-ee0754a25be7" CreationDate="2014-03-10T17:26:43.177" UserId="6663" Text="&lt;pro-tools&gt;&lt;5.1&gt;&lt;surround-sound&gt;&lt;panning&gt;&lt;avid&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51572" PostHistoryTypeId="5" PostId="27801" RevisionGUID="f3fedc92-4530-4d5c-96cf-eecd2af615e0" CreationDate="2014-03-10T17:41:49.613" UserId="7174" Comment="cleaned up to focus on the audio bits and removed conversational bits." Text="I am producing a video DVD and need to know what audio codecs are allowed on a DVD. Currently I am compressing them with AAC, but I would like to maximize quality.  Would an Aif or Wav be possible? I have only one 5 min clip where I would need the better quality!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51573" PostHistoryTypeId="4" PostId="27801" RevisionGUID="f3fedc92-4530-4d5c-96cf-eecd2af615e0" CreationDate="2014-03-10T17:41:49.613" UserId="7174" Comment="cleaned up to focus on the audio bits and removed conversational bits." Text="What audio codecs can I use when outputing to a DVD-Video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51574" PostHistoryTypeId="2" PostId="27831" RevisionGUID="86717f71-2ca3-4384-94e6-97a6d5469344" CreationDate="2014-03-10T17:47:46.940" UserId="7174" Text="If you want maximum quality, you could use linear PCM audio with the DVD.  It is technically part of the specification, but it may not work in every player as support is somewhat spotty.  The next best is DTS and after that MP2 in terms of data rates that are supported.  &#xD;&#xA;&#xD;&#xA;Your best bet is probably to include a PCM audio track as well as a DTS or MP2 stream.  DVD's support multiple audio tracks for the same timeline and the track to use can be selected from the DVD menu.  This way players that support linear PCM can make use of it while those that only support DTS or MP2 can make use of that.  Wikipedia has details on the specification [here](http://en.wikipedia.org/wiki/DVD-Video#Audio_data)." ContentLicense="CC BY-SA 3.0" />
  <row Id="51575" PostHistoryTypeId="2" PostId="27832" RevisionGUID="0c1d8056-fd73-44d7-ab3a-2149b366aee4" CreationDate="2014-03-10T18:28:26.340" UserId="6399" Text="ProTools does have a built in surround panner, it has for a long time.  &#xD;&#xA;Have you read the manual at all?  It sounds like you already have a bias against ProTools without having actually used it all based on your 2nd question.&#xD;&#xA;You just have to have the 5.1 mixer installed and surround panning will work.&#xD;&#xA;Did you click on the small fader next to the volume number?&#xD;&#xA;Is your track routed to the correct type of output buss?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51576" PostHistoryTypeId="2" PostId="27833" RevisionGUID="bfe88060-37f4-4fd1-9dda-f2ddc9fd1c73" CreationDate="2014-03-10T18:50:55.363" UserId="7700" Text="Simple double tracking is something that I've been doing this for years - playing two identical  tracks of the same take doesn't just make it louder -it seems to make it thicker- I know that double tracking is supposed to use twin takes or delays but I keep it simple and it works for me-I then seperate the pan positions slightly to increase the thickening effect-  as always use your ears - it's easy with digital recording :give it a go yourself!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51577" PostHistoryTypeId="2" PostId="27834" RevisionGUID="4c9895f7-9b99-44b1-a459-ce636f9e8d71" CreationDate="2014-03-10T20:23:26.913" UserId="7155" Text="Corrective is fine (as mentioned limiter, high pass ...), destructive only if your sure and even at that i would think twice. What is popular in a lot of modern studios is to record the signal twice, one processed and one not (though mainly done with instruments). This way if you are loving that compressor sound but the artist gets loud the gain reduction might kick in too much, you have to have a fall back. You should never have to ask the artist to do their perfect take again (only doubling ).&#xD;&#xA;&#xD;&#xA;Note: careful if you are thinking about using both sounds as they will not be phased aligned as everything you put audio through (digital or analogue) introduces latency, which might sound great but may not." ContentLicense="CC BY-SA 3.0" />
  <row Id="51578" PostHistoryTypeId="5" PostId="27827" RevisionGUID="0f0324b4-5b9b-4665-b4ca-12307c68578a" CreationDate="2014-03-10T21:40:07.120" UserId="7672" Comment="added 391 characters in body" Text="I am involved in a project related to speech analysis. I really need to record high quality speech sounds. I quickly realised computer sound card is not exactly what I need to use.&#xD;&#xA;&#xD;&#xA;I do some research and realised that I'd just need some small but professional Audio Interface - I need one that works with MacBookPro Intel 64bit (iOS 10.6.x) - and Pro Condenser Mic. One of the requirements is fairly high sampling frequency, let's say 96+ kHz is ideal. From what I've seen there are couple of options:&#xD;&#xA;- Focusrite Scarlett,  2i2, No MIDI,     96kHz / 24bit, £119.99&#xD;&#xA;- Lexicon Alpha,       2x2, No MIDI,     48kHz / 24bit,  £48.50&#xD;&#xA;- Alesis iO2 Express,  2x2, No MIDI,     48kHz / 24bit,  £79.00&#xD;&#xA;- M-Audio MTrack Plus, 2x2, MIDI In/Out, 48kHz / 24bit, £129.00&#xD;&#xA;- Tascam iU2,          3x2, MIDI In/Out, 48kHz / 16bit,  £84.99&#xD;&#xA;&#xD;&#xA;Looking at numbers and smapling freq, I think Focuserite Scarlett 2i2 would be the best option. Would you recommend this Audio Interface.&#xD;&#xA;&#xD;&#xA;Also, which mic would you suggest for high quality speech recording?&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;EDIT: If you have any suggestion on different audio interfaces please feel free to prvide info :) &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51579" PostHistoryTypeId="6" PostId="22760" RevisionGUID="7c74cdec-962d-457f-9bc5-1d5b20c2cbc7" CreationDate="2014-03-10T22:35:36.857" UserId="61" Comment="edited tags" Text="&lt;audio-recording&gt;&lt;techniques&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51580" PostHistoryTypeId="2" PostId="27835" RevisionGUID="42df9757-e89e-4cd9-8f10-fbabffc1026b" CreationDate="2014-03-10T23:15:10.267" UserId="7228" Text="Adobe Audition can do exactly what you want!&#xD;&#xA;&#xD;&#xA;In the Edit view, go to `Window` -&gt; `Marker list` (Alt-8)&#xD;&#xA;Select the marker regions you want.&#xD;&#xA;At the bottom there's an icon that looks like a save button (I added a red circle around it):&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;As you can see from the screen-shot, you can save them as individual FLAC files.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/SRILQ.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="51582" PostHistoryTypeId="2" PostId="27836" RevisionGUID="802b2dd5-8e91-4a70-9e91-032086c56d64" CreationDate="2014-03-11T10:19:03.700" UserId="7672" Text="Is it possible with a proper audio interface to record audio samples and simultaneously save multiple files with different sampling rate on live when the source is the same, such as from a mic?&#xD;&#xA;&#xD;&#xA;I have the same question regarding 16 and 24 bit audio.&#xD;&#xA;&#xD;&#xA;If this is not possible, do you think I can safely re-sample a file from let's say 96kHz down to 48kHz, 16kHz, 12kHz and 8kHz.&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51583" PostHistoryTypeId="1" PostId="27836" RevisionGUID="802b2dd5-8e91-4a70-9e91-032086c56d64" CreationDate="2014-03-11T10:19:03.700" UserId="7672" Text="Recording with different sampling rate and audio (16/24 bit)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51584" PostHistoryTypeId="3" PostId="27836" RevisionGUID="802b2dd5-8e91-4a70-9e91-032086c56d64" CreationDate="2014-03-11T10:19:03.700" UserId="7672" Text="&lt;audio-recording&gt;&lt;sampling&gt;&lt;downsampling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51585" PostHistoryTypeId="2" PostId="27837" RevisionGUID="9ba91257-32c3-4574-9e7b-326a48343ae0" CreationDate="2014-03-11T10:29:28.847" UserId="6425" Text="If you go for analysis you want to go as much steril and neutral as possible. So you need &#xD;&#xA;&#xD;&#xA; 1. Very flat Microphone, Pre-Amp and A/D-Converter&#xD;&#xA; 2. A very good treated room&#xD;&#xA; 3. Very good isolated cables&#xD;&#xA;&#xD;&#xA;To 1. I know that car companies use binaural recordings via DIN-Normed Microphones and Artificial heads. Look into something like &quot;Harry&quot; from Sennheiser. Moreover room measurement mics are said to have a very flat response. Also keep in mind that small condensers are better for measurement than large condenser, since they do have the typical &quot;flappy&quot; lowed of large condensers. Dynamic Mics are no option for analysis, since they have no good high frequency-respond. Then use the Mics with a carded pattern for mono or go for binaural recording or OSS or ORTF for stere, since those three stereo micing systems have a very natural, human alike sound. I would go for a A/D-Converter (Interface) with an inbuilt mic-preamp. The preamp should be transistor based and it should not color the sound. So channels from Presoues could be a great alternative.&#xD;&#xA;&#xD;&#xA;To 2. You need either a completely flat room (you will need to hire an akustik pearson to build a very flat room) or a room that represents the typical situation of your experiment. If it is for example a test for a navigate system you want to use a car testing room where you can measure right in the car. The room is in most cases even more important as the mic and the other stuff, since it will colour your sound heavily by room resonances, took tone, reverb and early reflections.&#xD;&#xA;&#xD;&#xA;To 3. Be sure to use good isolated cables and keep them away from any electromagnetic field (power adapters ect.)&#xD;&#xA;&#xD;&#xA;I hope this goes yo a good starting point. Feel free to ask for more detailed infos." ContentLicense="CC BY-SA 3.0" />
  <row Id="51590" PostHistoryTypeId="2" PostId="27840" RevisionGUID="9e501cd4-7c5f-4ee4-b3c6-33190030255d" CreationDate="2014-03-11T14:49:57.103" UserId="182" Text="You can safely downsample and reduce the bitrate from a high quality recording, provided you use quality software to do it. &#xD;&#xA;    &#xD;&#xA;Of course, the lower sample rates and bit depth will impose limitations on the sound quality, and you will either get aliasing artifacts or anti-aliasing noise, depending on the settings you choose. Below 44.1kHz and 16 bit these become progressively audible as you lower the bit depth and sample rate." ContentLicense="CC BY-SA 3.0" />
  <row Id="51594" PostHistoryTypeId="2" PostId="27842" RevisionGUID="b2658cb7-1afd-43c5-bc56-0ef09831a0d3" CreationDate="2014-03-11T17:43:26.760" UserId="7704" Text="equalisation works a lot better than amp, however even it cannot inc the sound of all mp3 perfectly, sometimes distortion does creep in![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/0s8EQ.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="51595" PostHistoryTypeId="5" PostId="27814" RevisionGUID="d84a09aa-8fa0-4ae9-93cd-a1a07f362635" CreationDate="2014-03-11T18:46:41.380" UserId="7687" Comment="added 124 characters in body" Text="I have several thousand wave files which I'd like to split into tracks. I plan to add markers with Audition CC, then split them into individual wave files and convert to FLAC, but Audition won't split files as a batch (running this operation on multiple *files* at a time, not simply splitting one file into its constituent regions.)&#xD;&#xA;&#xD;&#xA;Windows solutions would be preferable to Mac/Unix, and I'm willing to purchase software if necessary. I've considered rolling my own with Python but I'd prefer a GUI and I'd rather not reinvent the wheel if this problem has been elegantly solved in the past.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51596" PostHistoryTypeId="5" PostId="27814" RevisionGUID="25491f73-12a9-40ca-b555-bed492125564" CreationDate="2014-03-11T18:57:10.693" UserId="7687" Comment="added 185 characters in body" Text="I have several thousand wave files which I'd like to split into tracks. I plan to add markers with Audition CC, then split them into individual wave files and convert to FLAC, but Audition won't split files as a batch (running this operation on multiple *files* at a time, not simply splitting one file into its constituent regions.)&#xD;&#xA;&#xD;&#xA;Windows solutions would be preferable to Mac/Unix, and I'm willing to purchase software if necessary. I've considered rolling my own with Python but I'd prefer a GUI and I'd rather not reinvent the wheel if this problem has been elegantly solved in the past.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;Edit: Might go with [TwistedWave][1], a $79 Mac app, though I'd have to run it through GigE on my MacBook Air, rather than directly on my i5 PC.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://twistedwave.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="51600" PostHistoryTypeId="2" PostId="27844" RevisionGUID="67160470-36aa-4d76-9cc5-cd5cbb090c9f" CreationDate="2014-03-11T22:01:48.603" UserId="7642" Text="If you aren't afraid of some DIY...&#xD;&#xA;http://www.frogloggers.com/BT%20EM172.htm&#xD;&#xA;These primo electrets are as far as I know the same capsules used in the sony M10 handheld recorder.&#xD;&#xA;They are pretty quiet, way lower noise floor than the DPAs, but they don't have the same pleasing sound. The M10 has generally been considered the lowest noise floor recorder using built in mics there is.&#xD;&#xA;And for 10USD a piece, you really can't go wrong.&#xD;&#xA;I made several stealth rigs and a few other stereo recording setups with these mics. Works fine as long as you know how to solder and work within their limits.&#xD;&#xA;To work with louder spl they need a higher voltage than regular pip power though.&#xD;&#xA;Not hard to build, but as I said a little bit of DIY." ContentLicense="CC BY-SA 3.0" />
  <row Id="51601" PostHistoryTypeId="5" PostId="27840" RevisionGUID="a0ded61b-f09c-4299-bd59-dbda933110bd" CreationDate="2014-03-11T22:03:33.130" UserId="182" Comment="added 11 characters in body" Text="You can safely downsample and reduce the bitrate from a high quality recording, provided you use quality software to do it. &#xD;&#xA;    &#xD;&#xA;Of course, the lower sample rates and bit depth will impose limitations on the sound quality, and you will either get aliasing artifacts or anti-aliasing noise, depending on the settings you choose. Below 44.1kHz and 16 bit the degradation becomes progressively audible as you lower the bit depth and sample rate." ContentLicense="CC BY-SA 3.0" />
  <row Id="51608" PostHistoryTypeId="2" PostId="27847" RevisionGUID="41543cd8-4f05-48d7-8a8e-f07a69ca01b2" CreationDate="2014-03-11T22:21:52.587" UserId="7642" Text="Some 10 years ago we threw away a few shelf meters of sound effects on vinyl.&#xD;&#xA;No one wanted them, no one had time or interest to transfer them, and space was at a premium, so it all went into a big container..." ContentLicense="CC BY-SA 3.0" />
  <row Id="51623" PostHistoryTypeId="2" PostId="27855" RevisionGUID="c204c4d2-e1de-43c3-b939-75d2e25e77b2" CreationDate="2014-03-12T08:16:27.923" UserId="6827" Text="I'm just starting to get in to the magical world of recording my own impulse responses to create my own Convolution reverbs.&#xD;&#xA;I'm currently using Waves IR-1 and i have a few questions regarding recording impulses.&#xD;&#xA;The setup i have been using is a pair of Röde NT-1s, in a sort of faking binaural setup, and one Genelec 8040. I'm recording and playbacking straight in/out of Pro Tools.&#xD;&#xA;&#xD;&#xA;First of IR-1 wants 4 channels, four files of audio, LL LR RL RR. I imagine LL and RR is stereo, hard left and hard right, but what positions are the LR and RL?&#xD;&#xA;&#xD;&#xA;Also, when the sweep i recorded is processed it doesn't really sound like the room i recorded it sound sort of tinny and too big. Could this have to do with the playback level of the sweep?&#xD;&#xA;&#xD;&#xA;Any general tips/tricks and pitfalls of recording reverbs would be great :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="51624" PostHistoryTypeId="1" PostId="27855" RevisionGUID="c204c4d2-e1de-43c3-b939-75d2e25e77b2" CreationDate="2014-03-12T08:16:27.923" UserId="6827" Text="Convolution Reverbs" ContentLicense="CC BY-SA 3.0" />
  <row Id="51625" PostHistoryTypeId="3" PostId="27855" RevisionGUID="c204c4d2-e1de-43c3-b939-75d2e25e77b2" CreationDate="2014-03-12T08:16:27.923" UserId="6827" Text="&lt;convolution&gt;&lt;impulse-response&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51628" PostHistoryTypeId="4" PostId="11977" RevisionGUID="a56ae718-4f05-4269-8053-7fae12442911" CreationDate="2014-03-12T14:20:23.823" UserId="7714" Comment="Typo in title" Text="How can I achieve this sound? (Wolfgang Gartner - Fire Power)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51629" PostHistoryTypeId="24" PostId="11977" RevisionGUID="a56ae718-4f05-4269-8053-7fae12442911" CreationDate="2014-03-12T14:20:23.823" Comment="Proposed by 7714 approved by 194, 7294 edit id of 74" ContentLicense="CC BY-SA 3.0" />
  <row Id="51649" PostHistoryTypeId="5" PostId="27797" RevisionGUID="584d7a81-3bc5-40c0-858c-013014d41f56" CreationDate="2014-03-12T17:50:20.527" UserId="7174" Comment="cleaned up grammer, removed conversational bits" Text="I think its a square kind of pluck with distortion. I would make a filtered pluck sound with Sylenth, use distortion and layer it with a sample plugin like alchemy or just FL's sampler. Put a percussive sample that is almost the same, like in Elysium, and be CREATIVE. Use an eq, distortion, delays, reverb or even download some weird plugins(Fracture, Effectrix, Omicide Meloman)." ContentLicense="CC BY-SA 3.0" />
  <row Id="51650" PostHistoryTypeId="5" PostId="27829" RevisionGUID="9303cae8-96fd-4a0f-801c-e015c78d5ba8" CreationDate="2014-03-12T17:51:30.820" UserId="7174" Comment="added 1 characters in body" Text="Are you sure your amp has a mic-input?&#xD;&#xA;Sounds like your amp has the usual line input. If so, buy a mic preamp or a small mixer with a mic preamp and connect this to your amp. Your mic is probably dynamic and needs no phantom power." ContentLicense="CC BY-SA 3.0" />
  <row Id="51651" PostHistoryTypeId="2" PostId="27861" RevisionGUID="d0d971aa-afd6-4fad-bdfc-0cc78f013a72" CreationDate="2014-03-12T18:49:18.857" UserId="7189" Text="If the microphone has a 1/8&quot; / 3.5mm TRS plug, then it most likely expects +5V plug-in power via the [CreativeLabs-style SoundBlaster](http://www.srgclub.org/Mic.html#soundcard) system.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51652" PostHistoryTypeId="2" PostId="27862" RevisionGUID="e03a5e86-0018-46ff-bec0-d557a4fd3a05" CreationDate="2014-03-12T18:57:14.233" UserId="6425" Text="Its made of at least 2 obvious layers. &#xD;&#xA;&#xD;&#xA; 1. First layer is a FM Pluck with a lot of Reverb to give it space. You will find tutorials on FM Plucks on youtube (search Martin Garrix - Animals tutorials since his Drop sound is a FM Pluck ...)&#xD;&#xA; 2. Second Layer some kind of the typical Filtered Supersaw/Square Pluck that every Big Room House uses. The idea is to layer different detuned synths to create a Big Unison sounds over the stereo field. By using the cutoff filters with a typical AD-Envelope to get the Pluck sound. Also vibrate helps to make it more fat. After the filter try different type of Distortion sounds and boost the high end to the point the sound is extremely aggressive. You will find tutorials on this on youtube If you search Big Room House drop&#xD;&#xA;&#xD;&#xA;For 2 I would use A layer of Sylenth with a layer of Massive. For 1 I would use Abletons Operator or FM8.&#xD;&#xA;&#xD;&#xA;Good Day&#xD;&#xA;&#xD;&#xA;PS: And you need to sample Sander van Doorns - Joyenergizer Kick if you want the Drop to sound the same." ContentLicense="CC BY-SA 3.0" />
  <row Id="51653" PostHistoryTypeId="2" PostId="27863" RevisionGUID="23f956a5-ddcd-4ef0-b091-96a6c341c1f1" CreationDate="2014-03-12T19:58:42.157" UserId="7719" Text="Probably the contacts aren't lining up right because its expecting a mono plug not a TRS. You could try holding the plug half way in to line up different contacts to confirm this. I would splice a 1\4 plug onto the mic, finding the right wires to cross. That should work assuming the mic isn't already blown out having been connected to something it was never intended to. I've blown out my share of sound cards and cheap mics that way. If you do go about splicing be aware that those tiny wires from the mic are insulated with plastic AND varnish underneath that. Strip the plastic and burn the varnish with a lighter.&#xD;&#xA;&#xD;&#xA;If it does need +5v power according to Obscure, you could use your computer as a mic pre amp and get a '1\8 to RCA cord' plugged into the line out on your sound card and a 'RCA to 1\4 adapter' going to the Amp (finding which of the L\R wires to use). I'd be careful though when adding a computer to an audio chain. &#xD;&#xA;&#xD;&#xA;If it doesn't need +5v: 'Mic' to '1\8 female\female adapter' to '1\8 to RCA' to 'RCA to 1\4 adapter'. Again, you just have to find which works; left or right.&#xD;&#xA;&#xD;&#xA;Don't be surprised when it sounds like crap\doesn't work\breaks. Get a $20 mic with XLR to 1\4 or your just messing around. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51654" PostHistoryTypeId="2" PostId="27864" RevisionGUID="7b817c19-7dd9-45b0-8e21-9a015bad3161" CreationDate="2014-03-12T20:42:39.260" UserId="7719" Text="Just use an Iphone. Clean up the white noise later." ContentLicense="CC BY-SA 3.0" />
  <row Id="51655" PostHistoryTypeId="2" PostId="27865" RevisionGUID="91e05294-562d-4f23-b0ec-1e187ed0a467" CreationDate="2014-03-13T02:21:21.757" UserId="7230" Text="I'm not familiar with reverb specifically, but from my general knowledge of signal processing, since you haven't gotten an answer already:&#xD;&#xA;&#xD;&#xA;I expect that “LR” and “RL” are “the sound of an impulse emitted at the left position and heard at the right position” and “the sound of an impulse emitted at the right position and heard at the left position” — which is which, I can't say since it depends on how the notation was chosen.&#xD;&#xA;&#xD;&#xA;That is, you need to make four recordings using each of the four possible combinations of the two speaker positions and two microphone positions.&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;&#xD;&#xA;Actually, I just tried searching with “convolution lr rl” using Google and turned up what looks like [the manual for the program you're using](http://www.waves.com/1lib/pdf/plugins/ir-convolution-reverb.pdf), and it has this to say, which agrees with my speculation and explains the labels:&#xD;&#xA;&#xD;&#xA;&gt; FULL STEREO SESSION:  &#xD;&#xA;&gt; To create a 4 convolution IR, Record your Left speaker with the Left mic (LL) and Right mic (LR). Then record the Right speaker with the Left mic (RL) and the Right mic (RR).&#xD;&#xA;&#xD;&#xA;I also note that the next section of the manual describes several different modes including an “Efficient Stereo” mode which requires only LL and RR recordings. You might as well record and use the full set and see whether it makes a difference." ContentLicense="CC BY-SA 3.0" />
  <row Id="51656" PostHistoryTypeId="2" PostId="27866" RevisionGUID="af8cf733-72bc-486e-b088-188d573b6f84" CreationDate="2014-03-13T02:38:24.730" UserId="7230" Text="As the other answers have said, banana plugs will not fit. However, so-called “pin” plugs are designed to fit speaker jacks, and a little searching suggests there also exist adapters from banana plugs to pins, though as a much more obscure item; here's an unfortunately unavailable [example which nicely shows the difference in size between banana plugs and pins](http://www.amazon.com/dp/B001JT1258/):&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;The groove in the pin allows it to be held firmly by the jack.&#xD;&#xA;&#xD;&#xA;**Caution:** Many pin plugs have uninsulated metal bodies. They may short to each other when placed in the closely-spaced jacks shown in your pictures. Make sure to use insulated plugs or wrap them in insulation such as heat-shrink tubing.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/3sgZP.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="51657" PostHistoryTypeId="5" PostId="27745" RevisionGUID="9315b98f-fb2b-47fd-b27f-9cdcbee35e83" CreationDate="2014-03-13T09:27:01.780" UserId="7636" Comment="Updated the price requirement info." Text="I am in a need of a microphone for a specific setup and with some requirements, but I don't seem to have much luck in finding the best option. There is a possibility I am looking at this all wrong, so I am asking for advice here.&#xD;&#xA;&#xD;&#xA;### My setup is as follows:&#xD;&#xA;&#xD;&#xA;* The recording device is an [Delock USB audio sound card](http://www.delock.com/produkte/G_61645/merkmale.html?setLanguage=en)&#xD;&#xA;&#xD;&#xA;* The USB sound card is connected to an Raspberry PI electronic board&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### My requirements are:&#xD;&#xA;&#xD;&#xA;* It does not have to be professional quality, I am hoping for something in the price range of 20€. **Update**: I understand that this budget is quite low, so it can go up reasonably if other requirements are met.&#xD;&#xA;&#xD;&#xA;* Small microphone (i think the terms my be: *bug*, *lavalier*, *lapel*, although I am not certain about the differences, but you get the idea).&#xD;&#xA;&#xD;&#xA;* Optimal sensitivity (I have used Genius [MIC-01C](http://www.geniusnet.com/wSite/ct?xItem=16665&amp;ctNode=145) with the sensitivity of -58dB at 1KHz and it was ok, but I think I would rather go above -45dB).&#xD;&#xA;&#xD;&#xA;* The **most important** thing is the noise requirement. I have had bad experiences with the Genius microphone, because its cable would collect too much 50Hz noise from the environment. If it was near the fluorescent lamp or a power source of any kind, the noise it collected was too high for any usage. Even when it is not near the EM source, it still gets much 50Hz noise from the environment. This is the main reason I am looking for an alternative microphone. I guess this requirement could be summed up as a need for a shielded cable?&#xD;&#xA;&#xD;&#xA;* The directionality should be unidirectional the narrower the better, because it is used to listen to one person only and try to eliminate anything else whenever possible.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### What i have found in my search so far:&#xD;&#xA;(I can't post more than two links yet, so here are only names)&#xD;&#xA;&#xD;&#xA;* Sony ECM-CS3&#xD;&#xA;* Bronstein LM15&#xD;&#xA;* Olympus ME52W&#xD;&#xA;&#xD;&#xA;### My questions are:&#xD;&#xA;1. Is there a microphone you know that would suit me these requirements?&#xD;&#xA;1. The Olympus ME-52W is the best I have found, it has high sensitivity, noise reduction and it has direct 3.5mm connector so I can replace its cable with a shielded one very easily. But the question here is: can i use this microphone with my setup, since it is ment to be used with the voice recorder? Seems that it needs *phantom power* to work? How do I know if i can supply this?&#xD;&#xA;1. How do i protect the microphone from collecting 50Hz noise from the surroundings with its cable? Should i use a shielded cable? Most mics come with their own unshielded cable, and replacing should not be an option for me..&#xD;&#xA;1. Do XLR cables help with this? Can i use a 3.5mm to XLR cable and get an XLR microphone that is small in size?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### Finally:&#xD;&#xA;Thank you for your patience and I am sorry if my questions are wrongly directed or nonsensical. I am grateful for any help or hints as to how to direct my search.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51658" PostHistoryTypeId="2" PostId="27867" RevisionGUID="8805da2b-3ba8-4e2d-9d47-9880bf6cdb67" CreationDate="2014-03-13T10:04:54.520" UserId="6748" Text="Recording 4 impulse responses for 2 playback channels is confusing. You could easy use a 2 channel impulse response to create a 2 channel playback signal. If you get a more detailed look, you will realize that you have with a 2 channel IR 'only' signal from hard left and hard right. But in a mix, you have signal from right which goes to the left channel an conversely. So you get a more realistic and more detailed reverb signal if the IR-processor takes 4 IR Samples to create a reverb. Have a look in here: [Recording Impulse Responses for mono and stereo playback][1]&#xD;&#xA;&#xD;&#xA;Creating your own impulse responses is a very creative thing and can make a lot of fun - if the things work correct. I got a lot of troubles and frustrations when I record my own [IR's for my Impulse Response Collection][2].&#xD;&#xA;&#xD;&#xA;The idea about my Impulse Response collection was to create new 5.1 spaces. I thought it's an easy thing, but in the end, it tooks about 4 month to complete it! And the multichannel IR's for Altiverb I have completed some weeks ago because Altiverb does not support multichannel deconvolving yet. I realized soon that creating IR's for more than 2 channel playback is not an easy thing, there are no tools for that and I had to find an own way. Apple's Impulse Response Utility which actually is designed for that has completely failed, it could not deconvolve it's own material!&#xD;&#xA;&#xD;&#xA;For recording IR's I can give you this tips:&#xD;&#xA;-Play sweeps as loud as you feel it is right for the room. If you play a sweep too loud in a small room, you get too much rumbles you don't want. If you play back a sweep too quiet in a large room, for example a church, you get not enough room response/reverb.&#xD;&#xA;&#xD;&#xA;-Avoid distortions under any circumstances! Distortions can happen to single frequencies! Have a look in here in [the spectrum of impulse response sweep][3]. If single frequencies clips, it get's some weird an uncontrolled behaviors like negative phases and unstable signal phase in general.&#xD;&#xA;&#xD;&#xA;-To find a good spot in a room: listen. Or think about: If there would be musicians in the room, where would you place them to get a nice sound and where would you place the microfones for that. &#xD;&#xA;&#xD;&#xA;To mix and adjust levels for IR's I have used TL Space. TL Space is not that smart than other Convolution Reverb Plugins, so you can add an remove IR's whenever you want and TL Space will playback it. But be careful: TL Space has a bug and mixes up channels! Another disaster which costs me a lot of time to find that out.&#xD;&#xA;&#xD;&#xA;More infos about recording your own IR's you can find [at my tutorial][4]. It's only part 1, if I find time, I'll complete it once. But I don't know when.&#xD;&#xA; &#xD;&#xA;Good Luck&#xD;&#xA;&#xD;&#xA;Guido&#xD;&#xA;&#xD;&#xA;www.soundeffects.ch&#xD;&#xA;&#xD;&#xA;  [1]: https://www.soundeffects.ch/en/tutorials/create-impulse-responses/convolution-reverb-for-mono-and-stereo.php&#xD;&#xA;  [2]: https://www.soundeffects.ch/en/sound-libraries/soundeffects.ch-products/ir1-impulse-response-set.php&#xD;&#xA;  [3]: https://www.soundeffects.ch/en/tutorials/create-impulse-responses/acoustic-problems-with-impulse-responses.php&#xD;&#xA;  [4]: https://www.soundeffects.ch/en/tutorials/tutorials.php" ContentLicense="CC BY-SA 3.0" />
  <row Id="51659" PostHistoryTypeId="2" PostId="27868" RevisionGUID="65d721f3-4309-45ea-9807-ede5ac967420" CreationDate="2014-03-13T12:27:21.070" UserId="7723" Text="Oh dear...I advised some equipment for a friend for his podcasting:&#xD;&#xA;&#xD;&#xA;   - Behringer SX3040 Stereo Sound Enhancement Processor&#xD;&#xA;   - Behringer MIC2200 Component Rack&#xD;&#xA;   - Behringer MDX4600 4-Channel Expander/Gate/Compressor/ Peak Limiter&#xD;&#xA;   - Behringer QX1204USB 12-Channel Mixer&#xD;&#xA;&#xD;&#xA;He purchased the items...Problem I now have is the mixer has no insert's !&#xD;&#xA;&#xD;&#xA;The above is the same equipment list as I have accept the mixer, mine has inserts.&#xD;&#xA;I run a mic to the 2200 pre amp, pre amp to 4600, 4600 to mixer channel input then run my y cable from that channel insert to sx3040&#xD;&#xA;&#xD;&#xA;How can I help this guy get his sx3040 into the chain properly without an insert on his mixer channel??? &#xD;&#xA;&#xD;&#xA;I have only ever used mixers with an insert so don't know how to get over the problem other than suggest he sells it and buys another mixer with inserts (Feeling bad) :- ( " ContentLicense="CC BY-SA 3.0" />
  <row Id="51660" PostHistoryTypeId="1" PostId="27868" RevisionGUID="65d721f3-4309-45ea-9807-ede5ac967420" CreationDate="2014-03-13T12:27:21.070" UserId="7723" Text="No inserts on mixer but need to use sonic exciter in the chain. How do I do it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51661" PostHistoryTypeId="3" PostId="27868" RevisionGUID="65d721f3-4309-45ea-9807-ede5ac967420" CreationDate="2014-03-13T12:27:21.070" UserId="7723" Text="&lt;behringer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51662" PostHistoryTypeId="2" PostId="27869" RevisionGUID="441e3425-a70c-4927-b6d7-e4fdebe8f212" CreationDate="2014-03-13T13:55:43.340" UserId="7174" Text="You only have two other options if you don't have inserts.  You can send out on an aux channel and feed it back as another input.  This may work in this case if you don't need stereo, but it will be a bit ugly.  You would need to left and right pan each channel set and then use the 4 channels of AUX (1L, 1R, 2L, 2R) and returns to handle it.  You'll need to double check the manual to see if it supports the needed routing to make it happen though.&#xD;&#xA;&#xD;&#xA;The other option is to do your signal processing before getting to the board.  This will require external pre-amps though because you will need to get the signal up to line level before you can start it down the processing chain.  Then the line level input would go in to the board.  &#xD;&#xA;&#xD;&#xA;If you didn't need to work per channel, then you could feed out through the tape out or do the processing after the final output from the board.&#xD;&#xA;&#xD;&#xA;Really, the proper way is a board with inserts though if you want to do per channel effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="51663" PostHistoryTypeId="2" PostId="27870" RevisionGUID="4538a802-0cf1-4e90-bba2-1f299b739f8e" CreationDate="2014-03-13T15:01:01.643" UserId="6425" Text="I really love my Voice-over/ADR sound now. I use a TLM 103 amped by a SPL Channel One mk2 Premium (which I use for some 3-6 dB compression, gentle DeEssing, Highcut (50Hz) and Air-band boosting by 2-3 dB (14kHz) ). Usually I use a plug-in chain of Vocal Rider (2dB slow mode), CLA-2A (Opto-Compressor), SSL Channel (to compress the transients the Opto couldn't catch and removing some ugly mids around 800 Hz), Fabfilter-DS (DeEsser) and a very short convolution reverb if the mix needs a wet Dialogue.&#xD;&#xA;&#xD;&#xA;I am extremely happy with this chain, but I have one big problem. Breathes. I read the other Q&amp;A regarding the same question but it could not answer my problem since they told to use a noise gate, which does not work for my setup. Thats why I use manual volume envelopes (6-9dB before compression seems to work best) to reduce the breathes, but it is to time consuming for a lot of low budget productions.&#xD;&#xA;&#xD;&#xA;I tried the Waves DeBreath at a friend of mine which just did not work as I wanted it too. Also I tried different kind of expanders and Noise gates, but they just don't seem to work for me, or I am to unskilled to program them. At the end I need to automate the parameters of the Gate/Expander which takes even longer than automating the Volume. &#xD;&#xA;&#xD;&#xA;Do you have any recommendations? Or is there only the manual way?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51664" PostHistoryTypeId="1" PostId="27870" RevisionGUID="4538a802-0cf1-4e90-bba2-1f299b739f8e" CreationDate="2014-03-13T15:01:01.643" UserId="6425" Text="Effective way to reduce breathing in ADRs and Voiceovers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51665" PostHistoryTypeId="3" PostId="27870" RevisionGUID="4538a802-0cf1-4e90-bba2-1f299b739f8e" CreationDate="2014-03-13T15:01:01.643" UserId="6425" Text="&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51666" PostHistoryTypeId="2" PostId="27871" RevisionGUID="08354e10-8107-4bdb-aeb0-03aa9956e713" CreationDate="2014-03-13T15:14:18.557" UserId="194" Text="I tend to go manual.  When I'm editing VO, its just a matter of a fast breath cutting pass and then a separate pass of other editorial and mixing.&#xD;&#xA;&#xD;&#xA;For breath cutting, I'll make the waveform and the track very big so that I'm just looking at the softer stuff in the track (not worried about seeing peaks when breath editing) then i'll place my left hand on the left side of the keyboard with my middle finger on the delete key and my thumb on the left arrow key.  I'll place my right hand on the mouse.&#xD;&#xA;&#xD;&#xA;the workflow is then:&#xD;&#xA;&#xD;&#xA; - highlight breath with right hand&#xD;&#xA; - delete with left middle finger&#xD;&#xA; - center cursor with left thumb&#xD;&#xA; - repeat&#xD;&#xA;&#xD;&#xA;by centering the cursor with your thumb after a cut you have the effect of advancing the timeline.  If you need to advance further you can just click the mouse with your right hand and advance again with your left without any movement on either one.&#xD;&#xA;&#xD;&#xA;I find this to be the most efficient way to cut breaths for me.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="51667" PostHistoryTypeId="2" PostId="27872" RevisionGUID="b57f7a1b-c9db-4c97-9ba7-25112d27e215" CreationDate="2014-03-13T17:45:45.073" UserId="6399" Text="How long of content are you working on?  I usually just cut most breaths out during rough playback and fine tune any edits while clients are discussing other stuff.  I would personally rather spend my time cleaning up the read at its source rather than tweaking gates/ expanders etc to guess whats happening.  Every talent is different also, some have huge breaths, others very slight.  If it sounds strange to cut them I might just copy some volume dips and paste them over the other breaths and fine tune during the next playback.  It all goes pretty quickly." ContentLicense="CC BY-SA 3.0" />
  <row Id="51668" PostHistoryTypeId="6" PostId="27870" RevisionGUID="ab5053cf-dc75-4f23-9809-5d4b85598475" CreationDate="2014-03-13T21:15:00.450" UserId="37" Comment="tags" Text="&lt;mixing&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51669" PostHistoryTypeId="2" PostId="27873" RevisionGUID="f367223e-0c19-456b-a330-12753147289c" CreationDate="2014-03-13T21:19:35.483" UserId="37" Text="so you have the SPL compressing, then the CLA-2A compressing, and the SSL channel compressing..&#xD;&#xA;hmmm.. why not disable the SPL compressor, then gate gently (-6 to -10dB) with lookahead in your DAW, and only then have your compression take place. of course, volume automation is the best, but when pressed for time, a cleaner workflow might get a few of these problems out of your way." ContentLicense="CC BY-SA 3.0" />
  <row Id="51670" PostHistoryTypeId="2" PostId="27874" RevisionGUID="85b7962f-d988-4889-9515-d0c78c7e3077" CreationDate="2014-03-13T21:31:15.703" UserId="37" Text="1. i don't think you can find a quiet, sensitive, shielded-from-interference, directional, small,  microphone for €20. but i could be wrong. &#xD;&#xA;2. the ME52W will need a battery box to operate (plug-in power)&#xD;&#xA;3. it needs to be shielded, with the shield connected to ground, that may or may not work, since the hum may be for another reason.&#xD;&#xA;4. [read this][1]. also, likely, no.&#xD;&#xA;&#xD;&#xA;If you're up for some soldering, and can grab out 3V from the raspi rails, I'm told the mythical BT-EM172 capsule from Sony's ass-kicking portable M10 can be found online on the cheap. it's -28dB re 1V/Pa :] It's not directional, and isn't shielded but you can address these.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Balanced_audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="51671" PostHistoryTypeId="2" PostId="27875" RevisionGUID="27e33136-3ddf-4067-aa59-09e2e4d847c3" CreationDate="2014-03-13T23:25:59.753" UserId="7725" Text="I need to erase (silence) about 2 seconds of just one channel of a 2-channel stereo recording. I can use Audacity (or Ardour). I'm running Ubuntu 12.04. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51672" PostHistoryTypeId="1" PostId="27875" RevisionGUID="27e33136-3ddf-4067-aa59-09e2e4d847c3" CreationDate="2014-03-13T23:25:59.753" UserId="7725" Text="Silence a small section of just one channel in a stereo recording (Audacity)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51673" PostHistoryTypeId="3" PostId="27875" RevisionGUID="27e33136-3ddf-4067-aa59-09e2e4d847c3" CreationDate="2014-03-13T23:25:59.753" UserId="7725" Text="&lt;editing&gt;&lt;audacity&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51676" PostHistoryTypeId="5" PostId="27745" RevisionGUID="6bf159e7-dc78-4b1c-9e98-0e1523b917be" CreationDate="2014-03-14T07:11:22.853" UserId="7636" Comment="edited body" Text="I am in a need of a microphone for a specific setup and with some requirements, but I don't seem to have much luck in finding the best option. There is a possibility I am looking at this all wrong, so I am asking for advice here.&#xD;&#xA;&#xD;&#xA;### My setup is as follows:&#xD;&#xA;&#xD;&#xA;* The recording device is an [Delock USB audio sound card](http://www.delock.com/produkte/G_61645/merkmale.html?setLanguage=en)&#xD;&#xA;&#xD;&#xA;* The USB sound card is connected to an Raspberry PI electronic board&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### My requirements are:&#xD;&#xA;&#xD;&#xA;* It does not have to be professional quality, I am hoping for something in the price range of 30€. **Update**: I understand that this budget is quite low, so it can go up reasonably if other requirements are met.&#xD;&#xA;&#xD;&#xA;* Small microphone (i think the terms my be: *bug*, *lavalier*, *lapel*, although I am not certain about the differences, but you get the idea).&#xD;&#xA;&#xD;&#xA;* Optimal sensitivity (I have used Genius [MIC-01C](http://www.geniusnet.com/wSite/ct?xItem=16665&amp;ctNode=145) with the sensitivity of -58dB at 1KHz and it was ok, but I think I would rather go above -45dB).&#xD;&#xA;&#xD;&#xA;* The **most important** thing is the noise requirement. I have had bad experiences with the Genius microphone, because its cable would collect too much 50Hz noise from the environment. If it was near the fluorescent lamp or a power source of any kind, the noise it collected was too high for any usage. Even when it is not near the EM source, it still gets much 50Hz noise from the environment. This is the main reason I am looking for an alternative microphone. I guess this requirement could be summed up as a need for a shielded cable?&#xD;&#xA;&#xD;&#xA;* The directionality should be unidirectional the narrower the better, because it is used to listen to one person only and try to eliminate anything else whenever possible.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### What i have found in my search so far:&#xD;&#xA;(I can't post more than two links yet, so here are only names)&#xD;&#xA;&#xD;&#xA;* Sony ECM-CS3&#xD;&#xA;* Bronstein LM15&#xD;&#xA;* Olympus ME52W&#xD;&#xA;&#xD;&#xA;### My questions are:&#xD;&#xA;1. Is there a microphone you know that would suit me these requirements?&#xD;&#xA;1. The Olympus ME-52W is the best I have found, it has high sensitivity, noise reduction and it has direct 3.5mm connector so I can replace its cable with a shielded one very easily. But the question here is: can i use this microphone with my setup, since it is ment to be used with the voice recorder? Seems that it needs *phantom power* to work? How do I know if i can supply this?&#xD;&#xA;1. How do i protect the microphone from collecting 50Hz noise from the surroundings with its cable? Should i use a shielded cable? Most mics come with their own unshielded cable, and replacing should not be an option for me..&#xD;&#xA;1. Do XLR cables help with this? Can i use a 3.5mm to XLR cable and get an XLR microphone that is small in size?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### Finally:&#xD;&#xA;Thank you for your patience and I am sorry if my questions are wrongly directed or nonsensical. I am grateful for any help or hints as to how to direct my search.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51677" PostHistoryTypeId="2" PostId="27877" RevisionGUID="3e3dbc10-771e-4e1b-aa2e-53f4de609bb3" CreationDate="2014-03-14T07:35:45.190" UserId="6832" Text="I'm going to need some lightning hit sounds in the next project and I guess I'm going to settle with library samples, but out of curiosity would like to know some tips for making at least &quot;cartooon believable&quot; lightning hit sound effects with everyday items.&#xD;&#xA;&#xD;&#xA;I'm aware of general thunder trick with huge metal sheets, but that's more like thunder ambience, than single lightning hit. I'm going to record some small tesla coils in next weeks and probably could use sounds from those, though I wouldn't call tesla coil an everyday item :) I've also considered making some plasma balls in microwave oven, which I think could be useful as a very short attack part or as an electric layer in the tail. Hard to tell since all the videos of such plasma balls I've seen have been recorded with very low sound quality.&#xD;&#xA;&#xD;&#xA;Any ideas of what else could work?&#xD;&#xA;&#xD;&#xA;If someone has done lighting hit sound without using any lightning recordings I'd be interested to hear what you've used and how it sounds like." ContentLicense="CC BY-SA 3.0" />
  <row Id="51678" PostHistoryTypeId="1" PostId="27877" RevisionGUID="3e3dbc10-771e-4e1b-aa2e-53f4de609bb3" CreationDate="2014-03-14T07:35:45.190" UserId="6832" Text="Lightning hit sounds with everyday objects?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51679" PostHistoryTypeId="3" PostId="27877" RevisionGUID="3e3dbc10-771e-4e1b-aa2e-53f4de609bb3" CreationDate="2014-03-14T07:35:45.190" UserId="6832" Text="&lt;sound-design&gt;&lt;electricity&gt;&lt;thunder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51680" PostHistoryTypeId="2" PostId="27878" RevisionGUID="e8e435a5-caac-470e-a458-3e043b675b4b" CreationDate="2014-03-14T07:56:41.287" UserId="6832" Text="I'm assuming you have zero equipment already, so my suggestion would be some cheap shotgun which can be battery powered, so you could plug it directly to whatever you are using to record like computer or cell phone with some adapter.&#xD;&#xA;&#xD;&#xA;Rode NTG-2 would be ok, but it's above your budget and even it won't do miracles without good preamp.&#xD;&#xA;&#xD;&#xA;At least Thomann sells t.bone EM 9600, which is very cheap battery powered shotgun and would fit into your budget. I wouldn't expect miracles though, but you could probably get something useful out of it.&#xD;&#xA;&#xD;&#xA;And the thing with very low volume recordings is as much about space as it's about equipment. You will need a very very quiet place to record the sounds and even after that there could be need for noise reduction. ReaFIR from Reaplugs suite and Audacitys noise reduction are some free options for that.&#xD;&#xA;&#xD;&#xA;http://www.thomann.de/gb/the_tbone_em_9600.htm&#xD;&#xA;http://www.reaper.fm/reaplugs/&#xD;&#xA;http://audacity.sourceforge.net/&#xD;&#xA;&#xD;&#xA;Anyway, if you plan to continue your sound design adventures I'd recommend skipping the t.bone and just getting NTG-2. It's great entry level shotgun and could serve you for years to come." ContentLicense="CC BY-SA 3.0" />
  <row Id="51681" PostHistoryTypeId="2" PostId="27879" RevisionGUID="a7cb90f1-ded8-451f-b907-76e2cbb85e28" CreationDate="2014-03-14T08:56:38.030" UserId="5624" Text="Only thing I can think of that might come close is hitting a large metal garage door with a heavy metal object like a hammer.&#xD;&#xA;That'll give you the sharp attack of a lightning strike and the reverb from the garage should give you an interesting decay.&#xD;&#xA;Careful you don't break the door though!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51682" PostHistoryTypeId="2" PostId="27880" RevisionGUID="4abd8e00-58e3-4005-af4f-f9606fd7e1aa" CreationDate="2014-03-14T09:39:41.263" UserId="37" Text="an instant electrical discharge, transferring a huge amount of energy through a &quot;tunnel&quot; created by the electrical breakdown of air as insulator. more details at http://en.wikipedia.org/wiki/Electrical_breakdown&#xD;&#xA;&#xD;&#xA;interesting little project ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51683" PostHistoryTypeId="10" PostId="27821" RevisionGUID="3f0ccda1-649d-408e-a73c-2b1d490ccc7a" CreationDate="2014-03-14T10:01:44.733" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="51684" PostHistoryTypeId="5" PostId="27871" RevisionGUID="ea1abafc-b973-42e8-a60a-90f754bb1325" CreationDate="2014-03-14T10:02:16.250" UserId="1216" Comment="it said 'left side of the keyboard' which doesn't make sense since the delete knob is on the right." Text="I tend to go manual.  When I'm editing VO, its just a matter of a fast breath cutting pass and then a separate pass of other editorial and mixing.&#xD;&#xA;&#xD;&#xA;For breath cutting, I'll make the waveform and the track very big so that I'm just looking at the softer stuff in the track (not worried about seeing peaks when breath editing) then i'll place my left hand on the right side of the keyboard with my middle finger on the delete key and my thumb on the left arrow key.  I'll place my right hand on the mouse.&#xD;&#xA;&#xD;&#xA;the workflow is then:&#xD;&#xA;&#xD;&#xA; - highlight breath with right hand&#xD;&#xA; - delete with left middle finger&#xD;&#xA; - center cursor with left thumb&#xD;&#xA; - repeat&#xD;&#xA;&#xD;&#xA;by centering the cursor with your thumb after a cut you have the effect of advancing the timeline.  If you need to advance further you can just click the mouse with your right hand and advance again with your left without any movement on either one.&#xD;&#xA;&#xD;&#xA;I find this to be the most efficient way to cut breaths for me.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="51685" PostHistoryTypeId="24" PostId="27871" RevisionGUID="ea1abafc-b973-42e8-a60a-90f754bb1325" CreationDate="2014-03-14T10:02:16.250" Comment="Proposed by 1216 approved by 7016 edit id of 75" ContentLicense="CC BY-SA 3.0" />
  <row Id="51686" PostHistoryTypeId="2" PostId="27881" RevisionGUID="3871bdd9-657e-400e-83bf-cd661a8f4816" CreationDate="2014-03-14T10:12:45.850" UserId="6425" Text="You could also take a Look in digital mixing consoles ( behringer presonus). They combine mixing desks with interfaces so you can usb/firewire your mixing desc directly into your Mac! That would allow for multiple line/mics!&#xD;&#xA;&#xD;&#xA;Good Day" ContentLicense="CC BY-SA 3.0" />
  <row Id="51687" PostHistoryTypeId="2" PostId="27882" RevisionGUID="f2d90f61-7d37-4b82-b1a7-519dbed2c00d" CreationDate="2014-03-14T10:34:12.773" UserId="6432" Text="As some of the recordings of thunder and lightning out there are so incredible I don't think I would ever try to re-create this from scratch for practical purposes, but I guess it makes for a good theoretical challenge. In terms of taste, I would only use a bit of the electrical buzz type sound you will get from your teslas. Essentially you are looking for a large cracking sound with some distortion, but I think the thing that's really going to make it work is working on the decay/reverb, as this is what makes the recordings so intense - just the amount of energy and complexity of the space. Maybe multiple reverb layers and subtle delays could help create this." ContentLicense="CC BY-SA 3.0" />
  <row Id="51688" PostHistoryTypeId="2" PostId="27883" RevisionGUID="b5675293-ae4f-4790-8ba1-cad0ba404414" CreationDate="2014-03-14T12:35:39.113" UserId="7213" Text="In Audacity, you can approach this in at least two ways, depending on the nature of the bit you want to silence and the surrounding material.&#xD;&#xA;&#xD;&#xA;The simple way is to highlight the section of the track / channel and select &quot;Generate... Silence&quot; from the menu. The suggested duration will be the length of your selection. This is a harsh edit, and very likely objectionable. You can ease that by insuring that your selection begins and ends at a zero crossing in the waveform. If you make the silence somewhat shorter and centered, you can fade out/fade in to soften the transition.&#xD;&#xA;&#xD;&#xA;Another way would be to use 'envelope' mode, ramping down and up to cover the area. This is more or less the same thing as fade out/in above.&#xD;&#xA;&#xD;&#xA;Again, depending on the nature of the sound, it might be possible to duplicate the channel you don't want to remove, into the silence you created. I'd do that by creating another track and copying the duplicate material, say from channel &quot;A&quot;, into channel &quot;B&quot; and  crossfading in and out of it. &#xD;&#xA;&#xD;&#xA;Good luck." ContentLicense="CC BY-SA 3.0" />
  <row Id="51689" PostHistoryTypeId="2" PostId="27884" RevisionGUID="a81f4757-0e32-479a-b890-fc0206fc4b68" CreationDate="2014-03-14T13:35:30.660" UserId="7730" Text="I have two instrument tracks, both assigned to MIDI 1. However, I have a Key limit on one from D-2 to F4 and on the other from F4 to G8. I then have two separate instruments assigned to each track. If I select track 1 as seen in the diagram, only instrument 1 will play, and it will only play its notes within the range specified. When I select track 2 and play on my keyboard, only instrument 2 will sound. How do I fix this?&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;When I hit play, the two tracks will play as expected, with each instrument playing its respective parts.&#xD;&#xA;&#xD;&#xA;I'm using Logic Express 7.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/h4NmA.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="51690" PostHistoryTypeId="1" PostId="27884" RevisionGUID="a81f4757-0e32-479a-b890-fc0206fc4b68" CreationDate="2014-03-14T13:35:30.660" UserId="7730" Text="Keyboard only routes to selected track in Logic" ContentLicense="CC BY-SA 3.0" />
  <row Id="51691" PostHistoryTypeId="3" PostId="27884" RevisionGUID="a81f4757-0e32-479a-b890-fc0206fc4b68" CreationDate="2014-03-14T13:35:30.660" UserId="7730" Text="&lt;midi&gt;&lt;logic-pro&gt;&lt;logic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51692" PostHistoryTypeId="5" PostId="27882" RevisionGUID="188159f7-28cd-4dd7-9209-8d6602dd6cf5" CreationDate="2014-03-14T15:43:54.763" UserId="6432" Comment="edited body" Text="As some of the recordings of thunder and lightning out there are so incredible I don't think I would ever try to re-create this from scratch for practical purposes, but I guess it makes for a good theoretical challenge. In terms of taste, I would only use a bit of the electrical buzz type sound you will get from your teslas. Essentially you are looking for a large cracking sound with some distortion, but I think the thing that's really going to make it convincing is working on the decay/reverb as this is what makes the recordings so intense - the amount of energy and complexity of the space. Maybe multiple reverb layers and subtle delays could help create this." ContentLicense="CC BY-SA 3.0" />
  <row Id="51693" PostHistoryTypeId="2" PostId="27885" RevisionGUID="f07bd5d7-8f56-479f-8434-de5758bcda35" CreationDate="2014-03-14T17:27:04.277" UserDisplayName="user7731" Text="I either manually edit them out using a method very similar to Rene's or if breathes are desired in the edit I will use clip gain to pull them down to taste.  IMO there is no good substitute for taking the short amount of time build your dialog edit.  On a 3min corporate video with VO, this should be doable in the time you mentioned to get the whole mix done.  You will get faster the more dialog editing you do.  There are tricks we use with region groups too when recording the dialog that makes the whole process quicker. Basically, in a few quick passes you should be able to get it locked. In short time you will know well what a breath waveform looks like and you can clean a voice track faster than you can play it." ContentLicense="CC BY-SA 3.0" />
  <row Id="51694" PostHistoryTypeId="2" PostId="27886" RevisionGUID="3c7a4993-fff0-4535-878a-02002ff9180b" CreationDate="2014-03-14T17:42:48.697" UserId="7732" Text="Anyone know a good, inexpensive way to record the sounds off of a stethoscope? I'd like to get some recordings of the inside of the body." ContentLicense="CC BY-SA 3.0" />
  <row Id="51695" PostHistoryTypeId="1" PostId="27886" RevisionGUID="3c7a4993-fff0-4535-878a-02002ff9180b" CreationDate="2014-03-14T17:42:48.697" UserId="7732" Text="Recording a stethoscope" ContentLicense="CC BY-SA 3.0" />
  <row Id="51696" PostHistoryTypeId="3" PostId="27886" RevisionGUID="3c7a4993-fff0-4535-878a-02002ff9180b" CreationDate="2014-03-14T17:42:48.697" UserId="7732" Text="&lt;sound-design&gt;&lt;field-recording&gt;&lt;sound-effects-recording&gt;&lt;experimental&gt;&lt;human&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51697" PostHistoryTypeId="2" PostId="27887" RevisionGUID="1ae47441-0adf-4da8-a716-793839f91828" CreationDate="2014-03-14T17:54:23.410" UserId="1216" Text="It's not clear what type of gear you already have.&#xD;&#xA;But check out [this][1] video with Diego Stocco.&#xD;&#xA;He uses a stethoscope and I think he inserted a lavalier microphone in the tube.&#xD;&#xA;Not sure, but worth a try.&#xD;&#xA;&#xD;&#xA;  [1]: http://boingboing.net/2011/03/15/diego-stocco-plays-a.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="51698" PostHistoryTypeId="2" PostId="27888" RevisionGUID="fe61b675-02b3-4121-b7f1-f74da262eba8" CreationDate="2014-03-14T17:56:07.697" UserDisplayName="user7731" Text="This is a question and personal observation of designer aesthetics and taste.&#xD;&#xA;&#xD;&#xA;As someone who is hired to design sounds for all types of moving pictures, animations, graphics and scenes, I find myself very often being honest with myself and asking &quot;does this thing I'm looking at need a sound at all?&quot;&#xD;&#xA;&#xD;&#xA;As sound designers, we inherently love to throw down complex stylized cool sounds, future glitchy sound effects, detailed micro timed edits and automation matching perfectly to a visual occurrence and often times bringing it to life in a way impossible without the detailed sound work. But, as I grow in my profession, more frequently I will make the call to not put some sound effect on something, or not sound design a piece and just let the music and voice tell the story.&#xD;&#xA;&#xD;&#xA;So, my question in the broadest since is:&#xD;&#xA;&#xD;&#xA;Do you ever find yourself in this position?&#xD;&#xA;&#xD;&#xA;Have you ever told a client &quot;I don't think it needs sound design&quot; even though you've been offered the job to design it?&#xD;&#xA;&#xD;&#xA;Have you ever spent time on a complex design piece only to step back, be objective and realize the piece is better without much of the sonic design?&#xD;&#xA;&#xD;&#xA;Stack Exchange is telling me this question is subjective and is likely to be closed. Well, it certainly is subjective and that's why I'm asking others opinions on the topic.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="51699" PostHistoryTypeId="1" PostId="27888" RevisionGUID="fe61b675-02b3-4121-b7f1-f74da262eba8" CreationDate="2014-03-14T17:56:07.697" UserDisplayName="user7731" Text="As a sound designer, how often and when do you decide &quot;that doesn't need a sound&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51700" PostHistoryTypeId="3" PostId="27888" RevisionGUID="fe61b675-02b3-4121-b7f1-f74da262eba8" CreationDate="2014-03-14T17:56:07.697" UserDisplayName="user7731" Text="&lt;sound-design&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51701" PostHistoryTypeId="2" PostId="27889" RevisionGUID="c636f02f-70f9-4c12-80d8-e157d254bc76" CreationDate="2014-03-14T20:07:06.073" UserId="253" Text="I've held this view many times in the past. I think that the contrarian in me wants to go against the tendency to design sound for every little thing. Sometimes, when i argue this point, directors/clients will push for me to add something anyway. Whether i ditch it in the mix, or play it very subtly, i think it's usually a good thing to add more. What matters is how you mix it. I say &quot;*usually* a good thing&quot; because time constraints can restrict the freedom to do  this.&#xD;&#xA;&#xD;&#xA;Sometimes there will be projects where the style seems to go against the use of sound design. In these cases, it's a matter of a conversation with the director as to their intentions. I'd rather pass up a job than ruin something that works better without FX, but the director has a vision and it's my job to latch onto that vision and help it materialise. &#xD;&#xA;&#xD;&#xA;And it hurts to drop something in the mix if you've spent a lot of time building it. I don't think it gets easier, but it's definitely an exercise in letting go of our ego. I've fought directors over many things and lost, yet they often turn out very well. This is why i never refuse to try something if it's asked for.&#xD;&#xA;&#xD;&#xA;(Btw, i'd hate to see this forum without subjective questions!)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51702" PostHistoryTypeId="2" PostId="27890" RevisionGUID="0db3291f-5c65-4898-9199-133ec6fa8dc9" CreationDate="2014-03-14T20:57:34.327" UserDisplayName="user49" Text="Great question. Sound design IS inherently subjective, to deny such questions is to misunderstand the role sound design plays.&#xD;&#xA;&#xD;&#xA;With regards to sound design, what you describe **occurs in every film mix** and I personally consider it my greatest work when either I, or we (director, re-recording mixers) can find a clear motive and purpose to have no sound at all. If I had to make a list of the best work and/or moments in films that I have ever contributed to, more than a few of them would be where there is no sound. What is interesting is the fact that it requires more justification and/or motivation than if there was sound.&#xD;&#xA;&#xD;&#xA;I wonder if the reason it is so powerful &amp; rare is due to both investing ego in your work as Roger mentioned, or losing objectivity about the overall effect of the soundtrack? But also possibly through not having an appreciation or experience with such things conceptually. Seeing the power of less in film sound design is certainly what set me off into researching minimalism in all of its forms a very long time ago... Clever use of minimalism impresses me far, far more than 'complex stylized cool sounds, future glitchy sound effects' ever will.&#xD;&#xA;&#xD;&#xA;As an example: In House of Cards there was a beautiful moment, mute of sound, when the journo discovers his girlfriend is dead. Its a wideshot INT office, he walks into his office, shuts the door, violently throws down a folder &amp; slumps into his chair. So emotionally powerful not because of the music cue, but because of the metaphorical use of no sound. It isn't that the scene didn't 'need' sound - its that it is more emotionally powerful without it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51703" PostHistoryTypeId="2" PostId="27891" RevisionGUID="e82e717d-b1ff-4bcc-9236-498628331b6d" CreationDate="2014-03-14T21:00:20.700" UserId="194" Text="my .02&#xD;&#xA;&#xD;&#xA;Adding sync sounds gives a sense a reality and often a sense of weight and grit to any given scene.  If reality, weight, and grit are what's required artistically then the tendancy would be to make a sound for the object on screen.  The vast majority of the time, this is probably the case.&#xD;&#xA;&#xD;&#xA;Abstaining from placing sync sounds creates a sense of detachement and surrealism, and can leave open a lot of space for audience interpretation if the visuals are still gritty and dramatic. Abstaining from placing sync sound usually requires there to be a score there to help out.  It also requires a ballsy mixer and director.&#xD;&#xA;&#xD;&#xA;What this means is that super big emotional events are often better handled with score than with sfx.  &#xD;&#xA;&#xD;&#xA;We did an episode of [tonebenders with Coll Anderson][1] (about 30 mnutes in) where he talked about the film Martha Marcy May Marlene - in the conversation we discussed the rape scene there where you both see and hear her screaming while its happening.  The interesting thing is that Coll had initially not included the sound of her voice in the scene, but when audiences screened it they became far too disturbed by the combination of the dramatic visuals with the lack of sound coming from her mouth.  So much so that they were still distracted by the image in the following scenes and got lost.  In the end, they added the sound of her screaming back in to help ground the audience back down into reality somewhat.  The addition of sound in that spot actually *reduced* the emotional content (by design).&#xD;&#xA;&#xD;&#xA;I see moving pictures without sound similarly to how I see photography: still vivid and real, but at the same time one step detached from reality and more open to interpretation.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tonebenders.net/tonebenders-episode-twelve-coll-anderson/" ContentLicense="CC BY-SA 3.0" />
  <row Id="51704" PostHistoryTypeId="2" PostId="27892" RevisionGUID="2ac32f1a-a277-4d12-8c5d-238523a2723b" CreationDate="2014-03-14T21:09:16.283" UserId="7734" Text="Check out the TASCAM US-1200, just released. Should meet your needs.&#xD;&#xA;&#xD;&#xA;6 inputs, made up of 4 mic pres (with phantom) and 2 line inputs.&#xD;&#xA;The line inputs can both be switched to Guitar Hi-Z.&#xD;&#xA;&#xD;&#xA;No MIDI, but the price is great.&#xD;&#xA;Does 96kHz.&#xD;&#xA;Build in monitor mixer.&#xD;&#xA;1 stereo output - line out + headphones, individual levels.&#xD;&#xA;&#xD;&#xA;(I worked on the control panel software for this product)." ContentLicense="CC BY-SA 3.0" />
  <row Id="51705" PostHistoryTypeId="2" PostId="27893" RevisionGUID="b3846319-6112-4c37-b57c-f556b2f0b8fc" CreationDate="2014-03-14T21:32:07.577" UserId="1159" Text="Coming from the game audio side of things I've done this all the time. You'll often get approached with an asset list of what the designer thinks needs sounds in the game. Lots of times they have asked for every possible thing to make a sound. Even on &quot;paid by the sound&quot; contracts I've done lots of editing of those lists down to what's actual needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="51706" PostHistoryTypeId="2" PostId="27894" RevisionGUID="957ac35c-024c-4960-a97e-625cf3a4f05b" CreationDate="2014-03-14T22:40:07.120" UserId="5624" Text="A fantastic question and very though provoking discussion happening here!&#xD;&#xA;&#xD;&#xA;Personally, I'm a huge believer in less is more. Whether it be through only adding limited sfx when editing or subtly controlling what is and isn't heard during the mix, I find that the less the audience has to focus on the more controlled their focus is and more immersed in the production they become.&#xD;&#xA;&#xD;&#xA;Of course, as with everything we do, there are always exceptions!&#xD;&#xA;&#xD;&#xA;It really is a huge temptation to always create complex multi-layered soundscapes, and sometimes that is exactly what a scene needs, but the art is in knowing exactly when this should be employed and when a minimalist approach will be serve the project best.&#xD;&#xA;&#xD;&#xA;And one should never be afraid to let the music do the work!&#xD;&#xA;&#xD;&#xA;A short opinion from a developing sound professional :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51707" PostHistoryTypeId="2" PostId="27895" RevisionGUID="a8b974eb-1403-47f3-aca0-2c12f7049039" CreationDate="2014-03-14T23:09:05.683" UserId="542" Text="Some weeks ago I put an inexpensive electret capsule inside the tube of a stethoscope and recorded my stomach and my heartbeat. I paid about 2euros for the capsule and the recordings turned out to be pretty usuable. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51709" PostHistoryTypeId="2" PostId="27896" RevisionGUID="58f5010f-c4fd-466e-aecc-ef2393566d65" CreationDate="2014-03-15T01:03:01.127" UserId="37" Text="go to environment, create yourself a midi object - a transformer or anything else, that you can then connect to both channel strips in question. tick the box next to the icon for that object which would allow you to create an arrangement track for it. see the manual for more details.&#xD;&#xA;&#xD;&#xA;indeed this is not a sound design question.." ContentLicense="CC BY-SA 3.0" />
  <row Id="51711" PostHistoryTypeId="2" PostId="27897" RevisionGUID="148a7cb1-1a89-4167-941a-00e1fcc6a109" CreationDate="2014-03-15T07:27:20.987" UserId="7319" Text="I thought mp3 encoding doesn't have a uniform sampling rate, how then `sox --i` shows sampling rate field for mp3s? I see 44100 sampling rate for an mp3 file." ContentLicense="CC BY-SA 3.0" />
  <row Id="51712" PostHistoryTypeId="1" PostId="27897" RevisionGUID="148a7cb1-1a89-4167-941a-00e1fcc6a109" CreationDate="2014-03-15T07:27:20.987" UserId="7319" Text="Interpreting sampling rate of mp3 files" ContentLicense="CC BY-SA 3.0" />
  <row Id="51713" PostHistoryTypeId="3" PostId="27897" RevisionGUID="148a7cb1-1a89-4167-941a-00e1fcc6a109" CreationDate="2014-03-15T07:27:20.987" UserId="7319" Text="&lt;mp3&gt;&lt;sampling&gt;&lt;sample-rate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51716" PostHistoryTypeId="2" PostId="27898" RevisionGUID="0f8a1608-3b2c-4082-b75a-c8f9b6577b95" CreationDate="2014-03-15T11:22:07.930" UserId="6832" Text="In game audio editing a scene can be as much about removing sounds as it's adding them. Imaginary example - in an earlier scene there was huge torch that was central part of the positioned ambience and it's existence was emphasized with a strong sound. Later you run into a scene with 20 similar torches and there is a huge doomsday machine on the background. It's all just noise and you have to make a decision between &quot;realism&quot;, consistency, delivering information to player and what sounds artistically good. Sometimes in smaller game companies there isn't anyone making this decision. There are just sounds sound designer has done based on limited information (image of torch) and programmer who has added sounds and result is noise...&#xD;&#xA;&#xD;&#xA;Similar situations happen almost daily and often overdoing things feels good, but could lead to worse results. Especially hard in game audio since you can't often be sure of anything and you are lucky if you know the potential worst case scenarios of how sounds could interact.&#xD;&#xA;&#xD;&#xA;I haven't really had client related experiences since I work as inhouse audio guy at game company and have pretty free hands." ContentLicense="CC BY-SA 3.0" />
  <row Id="51717" PostHistoryTypeId="2" PostId="27899" RevisionGUID="af1af274-916b-405c-b832-c7121e795b75" CreationDate="2014-03-15T18:33:26.123" UserId="7228" Text="What i need is pure recording software, so it does not need to have an UI like a DAW, none of the editing, moving tracks or effects features are needed.&#xD;&#xA;&#xD;&#xA;I want it to have the following features:&#xD;&#xA;&#xD;&#xA; - Ability to record a single track to multiple destinies at once.&#xD;&#xA; - Destinies should encode to their formats LIVE! (so no waiting after the recording to export to a format, but instant access to the finished file).&#xD;&#xA; - Start and stop a subset of the tracks during the live session, e.g. record all tracks during a song and stop them during speech while selective tracks (speakers and translators) continue to be recorded non-stop during the whole session.&#xD;&#xA; - Required destination output file formats are:&#xD;&#xA;   - Flac&#xD;&#xA;   - Mp3 (preferably Fraunhofer rather than Lame)&#xD;&#xA;   - AAC&#xD;&#xA;&#xD;&#xA;So far I have not found anything except [Reaper][1] which qualifies for almost everything except the AAC encoding (and the Lame mp3 encoder). Actually I think of Reaper as quite an overkill, since I don't need a DAW. There are some other DAWs that can record to Flac (like [Traction][2]) but most do not support using one input on multiple channels or streaming to lossy formats.&#xD;&#xA;&#xD;&#xA;There is a [VST plugin][3] available that can be plugged into a channel and will stream to multiple lossy outputs, but it costs almost $500,- which is rediculous!&#xD;&#xA;&#xD;&#xA;Searching for a standalone solution brings many products up, like [Steinberg Neudo Live][4] (looks like a real overkill, and has quite a steep learning curve so I'm not sure if it can do what I want), and [PreSonus Capture][5] which requires special hardware...All not very helpful, so I'm reverting to asking instead of searching since this looks like a never ending search story!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.reaper.fm/&#xD;&#xA;  [2]: http://www.tracktion.com/&#xD;&#xA;  [3]: http://www.sonnox.com/pub/plugins/products/pro-codec.htm&#xD;&#xA;  [4]: http://www.steinberg.net/en/products/nuendo/nuendo_live.html#c166166&#xD;&#xA;  [5]: http://www.presonus.com/products/Capture/features" ContentLicense="CC BY-SA 3.0" />
  <row Id="51718" PostHistoryTypeId="1" PostId="27899" RevisionGUID="af1af274-916b-405c-b832-c7121e795b75" CreationDate="2014-03-15T18:33:26.123" UserId="7228" Text="Recording software that will record multitrack streams to different formats (live)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51719" PostHistoryTypeId="3" PostId="27899" RevisionGUID="af1af274-916b-405c-b832-c7121e795b75" CreationDate="2014-03-15T18:33:26.123" UserId="7228" Text="&lt;recording&gt;&lt;live&gt;&lt;input&gt;&lt;format&gt;&lt;streaming&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51720" PostHistoryTypeId="2" PostId="27900" RevisionGUID="8d59dfb1-e61c-460f-8f04-bb2dac93735b" CreationDate="2014-03-15T19:30:58.183" UserId="3299" Text="I recently bought a pair of the Naiant X-X which came recommended by Jez Riley French as a budget option to the 4060s (he did also recommend the Rode Lavs) and they're performing incredibly well for a $100 for a pair. &#xD;&#xA;&#xD;&#xA;I've used them as ambient mics while recording Kodo Drummers and they delivered beautifully smooth low end, and as a stereo pair for nature recording where self-noise wise they are good also. I'll post some samples next week when I'm back in the studio. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51721" PostHistoryTypeId="5" PostId="27894" RevisionGUID="a8b03e04-c991-412f-ad3c-dd08cb3c7d64" CreationDate="2014-03-15T21:16:10.573" UserId="5624" Comment="added 1 characters in body" Text="A fantastic question and very thought provoking discussion happening here!&#xD;&#xA;&#xD;&#xA;Personally, I'm a huge believer in less is more. Whether it be through only adding limited sfx when editing or subtly controlling what is and isn't heard during the mix, I find that the less the audience has to focus on the more controlled their focus is and more immersed in the production they become.&#xD;&#xA;&#xD;&#xA;Of course, as with everything we do, there are always exceptions!&#xD;&#xA;&#xD;&#xA;It really is a huge temptation to always create complex multi-layered soundscapes, and sometimes that is exactly what a scene needs, but the art is in knowing exactly when this should be employed and when a minimalist approach will be serve the project best.&#xD;&#xA;&#xD;&#xA;And one should never be afraid to let the music do the work!&#xD;&#xA;&#xD;&#xA;A short opinion from a developing sound professional :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51722" PostHistoryTypeId="2" PostId="27901" RevisionGUID="c4de15eb-df21-4abb-8791-ad15e980b83a" CreationDate="2014-03-15T23:14:34.037" UserId="7742" Text="The SM58 is a dynamic mic and does not require phantom power.  Condenser mics are the only mics that require phantom power.  It can damage dynamic or ribbon mics." ContentLicense="CC BY-SA 3.0" />
  <row Id="51724" PostHistoryTypeId="2" PostId="27903" RevisionGUID="4359b2b2-4f8c-460c-9a67-5523c00ddb07" CreationDate="2014-03-16T01:19:59.353" UserId="7745" Text="Looking to create these types of bass in these tracks. &#xD;&#xA;http://www.youtube.com/watch?v=28C-6R3leuE&#xD;&#xA;http://www.youtube.com/watch?v=CELth-b7Jzs&#xD;&#xA;https://soundcloud.com/rebuild_music/kevin-energy-the-evil-of-the&#xD;&#xA;&#xD;&#xA;It can be in any VST really. But at the moment i'm using, massive, sylenth 1, albino, alchemy, vstation and zebra.&#xD;&#xA;&#xD;&#xA;I always end up giving up and i've been trying to produce for years..&#xD;&#xA;I've tried with squares, sines, saws. Tried using an envelope on the cuttoff and bringing the cuttoff down but I'm rubbish at this... I dont know how to use distortion proper or compression either..&#xD;&#xA;Need some advice on how to create these sounds... That would be amazing...&#xD;&#xA;I could even pay if someone could recreate it for me..&#xD;&#xA;&#xD;&#xA;Thanks in advance !" ContentLicense="CC BY-SA 3.0" />
  <row Id="51725" PostHistoryTypeId="1" PostId="27903" RevisionGUID="4359b2b2-4f8c-460c-9a67-5523c00ddb07" CreationDate="2014-03-16T01:19:59.353" UserId="7745" Text="Can you great people help me create a certain bassline please ! Thanks in advance :" ContentLicense="CC BY-SA 3.0" />
  <row Id="51726" PostHistoryTypeId="3" PostId="27903" RevisionGUID="4359b2b2-4f8c-460c-9a67-5523c00ddb07" CreationDate="2014-03-16T01:19:59.353" UserId="7745" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51730" PostHistoryTypeId="2" PostId="27905" RevisionGUID="705e9625-9ce9-49c6-80b1-18f9916e82ac" CreationDate="2014-03-16T06:02:53.950" UserId="61" Text="(As an aside, this topic has been addressed very thoughtfully [here][1].)&#xD;&#xA;&#xD;&#xA;An excellent question, and one that is not asked enough by the inexperienced or newly inaugurated craftspeople in our community. The old adage of &quot;less is more&quot; has never been more true in this case. What's wrong with most of the Hollywood blockbusters these days? NOT ENOUGH SPACE. And not only in sound, but also (and perhaps more importantly) in picture. There is so much information bombarding the audience, from frenetic film editing to bombastic sound editing and non-stop musical score, that they eventually concede victory to the film and just give up, losing interest in the story and tuning out entirely. I've seen it a million times.&#xD;&#xA;&#xD;&#xA;So, in the pursuit of excellence in storytelling, the sound designer should always be on the lookout for opportunities to NOT fill the track with hits, stingers and whooshes. Try silence for a change! You'll be amazed at how effective it can be.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sound.stackexchange.com/questions/79/best-use-of-silence-in-a-film" ContentLicense="CC BY-SA 3.0" />
  <row Id="51731" PostHistoryTypeId="2" PostId="27906" RevisionGUID="cb4d1765-32e7-4cd4-89f1-1743574467fb" CreationDate="2014-03-16T06:27:40.850" UserId="7747" Text="I need to apply a preset from Nectar on a vocal track, but only to the bridge.  I have tried to use automation, but I am presented with a huge list of parameters when trying to select  the nectar preset.&#xD;&#xA;&#xD;&#xA;Do I have to slice and move the bridge section to it's own track in order to apply the pluggin preset to just the bridge?&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51732" PostHistoryTypeId="1" PostId="27906" RevisionGUID="cb4d1765-32e7-4cd4-89f1-1743574467fb" CreationDate="2014-03-16T06:27:40.850" UserId="7747" Text="Applying a third party plugin preset to just the bridge section" ContentLicense="CC BY-SA 3.0" />
  <row Id="51733" PostHistoryTypeId="3" PostId="27906" RevisionGUID="cb4d1765-32e7-4cd4-89f1-1743574467fb" CreationDate="2014-03-16T06:27:40.850" UserId="7747" Text="&lt;logic-pro&gt;&lt;plugin&gt;&lt;automation&gt;&lt;effect&gt;&lt;track&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51734" PostHistoryTypeId="2" PostId="27907" RevisionGUID="fcccb2a3-d078-4fd9-b2ca-e7ae61a53679" CreationDate="2014-03-16T06:57:55.533" UserId="6425" Text="Tracking is the easiest and normal Way if you have different FX for one Instrument. Another way is to add both fx settings after each other and then Automate wet/dry.&#xD;&#xA;&#xD;&#xA;Good Day" ContentLicense="CC BY-SA 3.0" />
  <row Id="51735" PostHistoryTypeId="2" PostId="27908" RevisionGUID="96a95b02-3591-41b3-b95b-b828e4585756" CreationDate="2014-03-16T07:06:10.270" UserId="6425" Text="Hey one thing that I use for such tasks are automator patches! In apples Automator you can Programm (dont worry its simple) simple movements and tasks like pick a file and move it to this place ... Then you can use the compressor (software You find in the Apple store, best Software to encode) to create a droplett (Icon on the desktop, when you put a file on it it gets automatically encoded to the given formats). So you can Programm a loop -&gt; if file pops up in recording bin, take it and drop it on the droplet.&#xD;&#xA;&#xD;&#xA;Good Day!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51736" PostHistoryTypeId="2" PostId="27909" RevisionGUID="e9b14dca-7f67-439f-8049-6a918f99ddcb" CreationDate="2014-03-16T07:17:14.953" UserId="6425" Text="In professional music production there is a rule: Never more than 3 sounds at a time, more a human cant process properly! And I apply it to sound design for movie as well! I always try to have something happening -&gt; atmo, roomtone or music which is like the beat that holds a song together. Then I pick one &quot;hook&quot; guideline which is the &quot;melody/vocals&quot; of a song. At a movie this is Dialogue, Fx and music that teils the Story. The third Element is sweetening stuff like additional fx. For those I take a pen and paper when I watch the movie for the first time with Muted audio. Then i concentrate and write down everything that feels like it needs some sound. Like a Car passing by etc.&#xD;&#xA;&#xD;&#xA;Everything Else needs on sound! :D&#xD;&#xA;&#xD;&#xA;Good Day!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51737" PostHistoryTypeId="2" PostId="27910" RevisionGUID="7c698699-67ca-4a94-a341-25369375252e" CreationDate="2014-03-16T07:19:42.283" UserId="7234" Text="If you're on a Mac or UNIX box, you might be able to do something useful with a UNIX-domain socket and [dtach](http://dtach.sourceforge.net/) - basically you'd have your recording &quot;server&quot; save to the socket in .wav format, and then have dtach connect to the socket and multiplex the output into multiple encoders (`cat`, `lame`, `flac`, etc.).&#xD;&#xA;&#xD;&#xA;It would look something like this:&#xD;&#xA;&#xD;&#xA;    dtach -A fifo-socket cat &gt; output.wav &amp;&#xD;&#xA;    dtach -A fifo-socket cat | lame - output.mp3 &amp;&#xD;&#xA;    dtach -A fifo-socket cat | flac &gt; output.flac &amp;&#xD;&#xA;    sndrecord | dtach -A fifo-socket cat&#xD;&#xA;&#xD;&#xA;(replace `sndrecord` with some tool that records to .wav and outputs on stdout. There are many choices out there.)&#xD;&#xA;&#xD;&#xA;What this would (hopefully) do is start streaming the output to the destination files in a blocking state, and then start streaming the .wav data from sndrecord to all of the processes.&#xD;&#xA;&#xD;&#xA;You might also be able to set up a simple multiplexer in perl or the like." ContentLicense="CC BY-SA 3.0" />
  <row Id="51738" PostHistoryTypeId="2" PostId="27911" RevisionGUID="bdf65c58-68ee-4ddf-ae52-05fa0ef0e70a" CreationDate="2014-03-16T07:50:01.857" UserId="6425" Text="It is a paytrance/trance bassline. Simple ad envelope on lowpass filter and amp. 90% that makes this sound is the bassline is the combination of bass + kickdrum. Either have a Short kick with a bassheavy bass or have a long bass kick with a lighter bass.&#xD;&#xA;&#xD;&#xA;For further questions concerning this theme you better go to a edm oriented forum and not to a sound design based forum. Most users of SSD work with game and movie sound design rather than musik.&#xD;&#xA;&#xD;&#xA;Good Day &#xD;&#xA;&#xD;&#xA;PS it's saw waves, so sylenth1 should work. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51739" PostHistoryTypeId="5" PostId="27911" RevisionGUID="f9806da2-6be4-43a0-9948-48de429b3aba" CreationDate="2014-03-16T10:24:09.413" UserId="6425" Comment="edited body" Text="It is a psytrance/trance bassline. Simple ad envelope on lowpass filter and amp. 90% that makes this sound is the bassline is the combination of bass + kickdrum. Either have a Short kick with a bassheavy bass or have a long bass kick with a lighter bass.&#xD;&#xA;&#xD;&#xA;For further questions concerning this theme you better go to a edm oriented forum and not to a sound design based forum. Most users of SSD work with game and movie sound design rather than musik.&#xD;&#xA;&#xD;&#xA;Good Day &#xD;&#xA;&#xD;&#xA;PS it's saw waves, so sylenth1 should work. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51743" PostHistoryTypeId="10" PostId="27906" RevisionGUID="52e42700-f8ba-4c6b-86b4-5cecddad27d5" CreationDate="2014-03-16T14:15:56.633" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="51744" PostHistoryTypeId="5" PostId="27899" RevisionGUID="6ee90af1-3089-4ee7-bae2-e22f82b725bb" CreationDate="2014-03-16T21:09:41.407" UserId="7228" Comment="Added some farther insights, and an additional requirement (Windows)" Text="What i need is pure recording software, so it does not need to have an UI like a DAW, none of the editing, moving tracks or effects features are needed.&#xD;&#xA;&#xD;&#xA;I want it to have the following features:&#xD;&#xA;&#xD;&#xA; - Ability to record a single track to multiple destinies at once.&#xD;&#xA; - Destinies should encode to their formats LIVE! (so no waiting after the recording to export to a format, but instant access to the finished file).&#xD;&#xA; - Start and stop a subset of the tracks during the live session, e.g. record all tracks during a song and stop them during speech while selective tracks (speakers and translators) continue to be recorded non-stop during the whole session.&#xD;&#xA; - Required destination output file formats are:&#xD;&#xA;   - Flac&#xD;&#xA;   - Mp3 (preferably Fraunhofer rather than Lame)&#xD;&#xA;   - AAC&#xD;&#xA; - Must run in MS Windows&#xD;&#xA;&#xD;&#xA;So far I have not found anything except [Reaper][1] which qualifies for almost everything except the AAC encoding (and the Lame mp3 encoder). Actually I think of Reaper as quite an overkill, since I don't need a DAW. There are some other DAWs that can record to Flac (like [Traction][2]) but most do not support using one input on multiple channels or streaming to lossy formats.&#xD;&#xA;&#xD;&#xA;There is a [VST plugin][3] available that can be plugged into a channel and will stream to multiple lossy outputs, but it costs almost $500,- which is rediculous!&#xD;&#xA;&#xD;&#xA;Searching for a standalone solution brings many products up, like [Steinberg Neudo Live][4] (looks like a real overkill, and has quite a steep learning curve so I'm not sure if it can do what I want), and [PreSonus Capture][5] which requires special hardware...All not very helpful, so I'm reverting to asking instead of searching since this looks like a never ending search story!&#xD;&#xA;&#xD;&#xA;--------&#xD;&#xA;**Edit**&#xD;&#xA;&#xD;&#xA;After getting up to date about [ReWire][6], and the posibility to wire up different DAW's sequentially, I guess the question boils down to something simpler. The only missing link is now a DAW or ReWire/VST compatible tool that can stream to an AAC file.&#xD;&#xA;&#xD;&#xA;The rest of the question has been established, there are several DAW's that can punch recording of several individual tracks in and out, so that's not an issue. Many can stream to FLAC, at least one can stream to mp3. So only AAC is missing (except for Presonus Capture which is ridiculously priced). Probably I'll have to do with post-conversion using a cheaper tool like [QuickTime Pro][7] or so, preferably a script-able one. I've seen QuickTime OCX controls before, so maybe that's a short term way to go untill a reasonably priced AAC streaming writer pops it's head up. I'm almost tempted to write one myself, but just don't have the time to get into all of that.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.reaper.fm/&#xD;&#xA;  [2]: http://www.tracktion.com/&#xD;&#xA;  [3]: http://www.sonnox.com/pub/plugins/products/pro-codec.htm&#xD;&#xA;  [4]: http://www.steinberg.net/en/products/nuendo/nuendo_live.html#c166166&#xD;&#xA;  [5]: http://www.presonus.com/products/Capture/features&#xD;&#xA;  [6]: http://www.propellerheads.se/products/reason/index.cfm?fuseaction=get_article&amp;article=rewire&#xD;&#xA;  [7]: http://www.apple.com/nl/quicktime/extending/index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="51747" PostHistoryTypeId="5" PostId="15305" RevisionGUID="67f12799-01da-4e23-85ea-4687d1fd4e87" CreationDate="2014-03-17T12:08:04.867" UserId="7751" Comment="Just to allow others to understand this design" Text="Very interesting project. I have seen these plans posted in other places. The weakness of this design is that you will actually need a separate microphone at the end of each tube, instead of a single mic at the end of the funnel. The tubes may resonate and amplify, but whatever gain they have is lost in the &quot;collector&quot;--i.e. the area inside the funnel where the tubes join.&#xD;&#xA;&#xD;&#xA;The length of the tubes are set this way to allow each microphone to pickup a different frequency. So let's say you had this attached to a graphics equalizer. You can then separate frequencies.&#xD;&#xA;&#xD;&#xA;This design can also be used if you use a funnel at the end. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51748" PostHistoryTypeId="24" PostId="15305" RevisionGUID="67f12799-01da-4e23-85ea-4687d1fd4e87" CreationDate="2014-03-17T12:08:04.867" Comment="Proposed by 7751 approved by 182, 6957 edit id of 78" ContentLicense="CC BY-SA 3.0" />
  <row Id="51749" PostHistoryTypeId="2" PostId="27913" RevisionGUID="586948f1-48f9-482d-b2f3-49f47c23d904" CreationDate="2014-03-17T14:00:36.403" UserId="7174" Text="Simply, your understanding is incorrect.  MP3 does use a uniform sampling rate, it reduces resolution of the sound in areas where the resolution is unneeded so that it fits a simpler pattern that can be more efficiently compressed, but it decodes to a fixed sample rate.  &#xD;&#xA;&#xD;&#xA;I suggest the Wikipedia page on [MP3][1] for further reading.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/MP3" ContentLicense="CC BY-SA 3.0" />
  <row Id="51750" PostHistoryTypeId="5" PostId="27913" RevisionGUID="1b4dfa2e-e6cf-4cd7-be59-9b0a4540eadb" CreationDate="2014-03-17T14:26:25.880" UserId="7174" Comment="added 347 characters in body" Text="Simply, your understanding is incorrect.  MP3 does use a uniform sampling rate, it reduces resolution of the sound in areas where the resolution is unneeded so that it fits a simpler pattern that can be more efficiently compressed, but it decodes to a fixed sample rate.  &#xD;&#xA;&#xD;&#xA;As EMV was kind enough to point out, you may be thinking of the bitrate.  The bit rate is the amount of data that it takes to encode those samples.  Since resolution is selectively dropped, the amount of data required to store each sample is variable and thus the actual data rate will vary, even though the sampling frequency itself does not.&#xD;&#xA;&#xD;&#xA;I suggest the Wikipedia page on [MP3][1] for further reading.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/MP3" ContentLicense="CC BY-SA 3.0" />
  <row Id="51754" PostHistoryTypeId="2" PostId="27915" RevisionGUID="371d30f0-6f43-48a5-940c-59546a75fd3f" CreationDate="2014-03-17T17:42:32.453" UserId="7754" Text="Try twisting the grill one way or the other. I had a LOUD buzzing, and I randomly found a thread where someone say they twisted the grid to the right a little bit and it fixed it...&#xD;&#xA;&#xD;&#xA;Twist it a TINY bit to the right. Not much at all...and it should fix it...worked for me!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51755" PostHistoryTypeId="36" PostId="27916" RevisionGUID="b63ac491-4f44-44dc-b030-43ad0a79dc20" CreationDate="2014-03-17T18:40:54.900" UserId="-1" Comment="from http://music.stackexchange.com/questions/16086/how-can-configure-rekorbox-so-that-it-records-the-computed-bpm-in-the-mp3-id3s" />
  <row Id="51756" PostHistoryTypeId="2" PostId="27916" RevisionGUID="2ed53538-c20d-436d-8f42-c8847b4e14e2" CreationDate="2014-03-12T23:04:19.840" UserId="6753" Text="Rekorbox computes the BPM of an MP3 while analyzing it. How can I configure Rekorbox so that it records the computed BPM in the MP3 ID3's BPM field?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51757" PostHistoryTypeId="1" PostId="27916" RevisionGUID="2ed53538-c20d-436d-8f42-c8847b4e14e2" CreationDate="2014-03-12T23:04:19.840" UserId="6753" Text="How can configure Rekorbox so that it records the computed BPM in the MP3 ID3's BPM field?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51758" PostHistoryTypeId="3" PostId="27916" RevisionGUID="2ed53538-c20d-436d-8f42-c8847b4e14e2" CreationDate="2014-03-12T23:04:19.840" UserId="6753" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51759" PostHistoryTypeId="5" PostId="27586" RevisionGUID="7487707a-dc28-444c-a95a-4835cd1b27a1" CreationDate="2014-03-17T19:20:55.753" UserId="6753" Comment="edited body; edited title" Text="I have 1,000 MP3. Some of them went through e-mail, FTP, USB key, etc., which means they might be corrupt or incomplete. How can I check them (without having to test them one by one manually)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51760" PostHistoryTypeId="4" PostId="27586" RevisionGUID="7487707a-dc28-444c-a95a-4835cd1b27a1" CreationDate="2014-03-17T19:20:55.753" UserId="6753" Comment="edited body; edited title" Text="How can I detect corrupt/incomplete MP3 files?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51761" PostHistoryTypeId="5" PostId="26700" RevisionGUID="37948960-4dcc-45c2-a830-72fd07302945" CreationDate="2014-03-17T19:50:27.180" UserId="7045" Comment="Phrasing, grammar, added links to equipment info" Text="I have an [MXL 770](http://www.mxlmics.com/microphones/studio/770/) Cardioid Condenser Microphone connected to a [Focusrite Scarlett 2i2](http://us.focusrite.com/usb-audio-interfaces/scarlett-2i2) 2 In/2 Out USB recording audio into Sonar x3. &#xD;&#xA;&#xD;&#xA;When I try to record, my voice is very very low. You can barely hear the voice over the buzzing noise. &#xD;&#xA;&#xD;&#xA;All my audio sounds horrible. What can I do to remove the buzzing noise and raise the level of the signal I'm recording? " ContentLicense="CC BY-SA 3.0" />
  <row Id="51762" PostHistoryTypeId="4" PostId="26700" RevisionGUID="37948960-4dcc-45c2-a830-72fd07302945" CreationDate="2014-03-17T19:50:27.180" UserId="7045" Comment="Phrasing, grammar, added links to equipment info" Text="how to get rid of a loud buzzing noise when I try to record?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51763" PostHistoryTypeId="24" PostId="26700" RevisionGUID="37948960-4dcc-45c2-a830-72fd07302945" CreationDate="2014-03-17T19:50:27.180" Comment="Proposed by 7045 approved by 61 edit id of 79" ContentLicense="CC BY-SA 3.0" />
  <row Id="51764" PostHistoryTypeId="5" PostId="27609" RevisionGUID="a84b53d1-a6ba-4e45-9d15-d07f47662d20" CreationDate="2014-03-17T19:50:42.290" UserId="6753" Comment="add link to http://mp3diags.sourceforge.net/" Text="[MP3 Diags][1] is a comprehensive application that can identify up to 50 types of issues with MP3 files and also has tools to fix most of those issues.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mp3diags.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="51765" PostHistoryTypeId="24" PostId="27609" RevisionGUID="a84b53d1-a6ba-4e45-9d15-d07f47662d20" CreationDate="2014-03-17T19:50:42.290" Comment="Proposed by 6753 approved by 61 edit id of 80" ContentLicense="CC BY-SA 3.0" />
  <row Id="51766" PostHistoryTypeId="5" PostId="20546" RevisionGUID="639d125f-6d89-4a56-b455-70490bd8308b" CreationDate="2014-03-17T20:37:20.197" UserId="6957" Comment="removed thanks and personal link" Text="You can do this with AviSynth I believe, although the most mainstream multimedia players won't make the cut" ContentLicense="CC BY-SA 3.0" />
  <row Id="51767" PostHistoryTypeId="10" PostId="20540" RevisionGUID="0973d670-932c-4d2a-8194-4a9fc6767818" CreationDate="2014-03-17T20:37:47.383" UserId="6957" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="51771" PostHistoryTypeId="2" PostId="27917" RevisionGUID="a7086a2e-b755-4b60-a43c-8291785fce0c" CreationDate="2014-03-18T02:04:58.493" UserId="7755" Text="so I'm a recording newb looking for some advice. I have an M-Audio Fast Track Pro that I'm using for guitar recording, and I'm not sure how I should be hooking it up to speakers or monitors for monitoring or if there's a right way to do it with what I currently have or not.&#xD;&#xA;&#xD;&#xA;I currently do not have studio monitors, just these Bose Companion 3 speakers/sub plugged into the back of my motherboard:&#xD;&#xA;&#xD;&#xA;![Bose Companion 3][1]&#xD;&#xA;&#xD;&#xA;There is a control pod that comes with these speakers that has a secondary 3.5mm input jack. I figured I could use this for the output on the audio interface for monitoring, through either the audio interface's headphone monitoring output or one of the TRS outputs on the back. Both of these outputs take a 1/4&quot; TRS plug though. But I have a 3.5mm audio cable and a 3.5mm to 1/4&quot; TRS adapter. So I can connect the audio interface to the computer speakers like this, with the adapter on the audio interface end:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;Is there anything wrong with doing it like that? Or any possibility of damaging something? It seems like it &quot;works&quot;, but it does seem like I have to crank the volume up on the control pod pretty high to be able to hear myself playing guitar, and at that point I'm hearing some kind of high pitched humming / squeaking sound. Should I get some studio monitors to plug into the TRS outputs with actual TRS cables? Would that eliminate the humming and allow me to hear myself without cranking the volume? Does anyone use studio monitors and computer speakers at the same time while they're recording? Or would I completely replace my computer speakers with studio monitors and use the studio monitors for regular listening as well?&#xD;&#xA;&#xD;&#xA;Any advice here would be really appreciated!&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/okpPM.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/pSNBN.jpg&#xD;&#xA;  [3]: http://i.stack.imgur.com/m1OAm.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="51772" PostHistoryTypeId="1" PostId="27917" RevisionGUID="a7086a2e-b755-4b60-a43c-8291785fce0c" CreationDate="2014-03-18T02:04:58.493" UserId="7755" Text="Audio interface monitoring with 3.5mm cable and computer speakers" ContentLicense="CC BY-SA 3.0" />
  <row Id="51773" PostHistoryTypeId="3" PostId="27917" RevisionGUID="a7086a2e-b755-4b60-a43c-8291785fce0c" CreationDate="2014-03-18T02:04:58.493" UserId="7755" Text="&lt;speakers&gt;&lt;monitoring&gt;&lt;interface&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51774" PostHistoryTypeId="2" PostId="27918" RevisionGUID="25eb5c7b-54a6-40e6-a3b5-9095170f0bb0" CreationDate="2014-03-18T03:48:02.473" UserId="3994" Text="&quot;Should I get some studio monitors to plug into the TRS outputs with actual TRS cables?&quot;&#xD;&#xA;&#xD;&#xA;Yes." ContentLicense="CC BY-SA 3.0" />
  <row Id="51775" PostHistoryTypeId="2" PostId="27919" RevisionGUID="d4854ad9-0ee8-43e2-8863-4f484dc4ef6a" CreationDate="2014-03-18T04:09:25.903" UserId="7757" Text="I think decreasing sound frequency will spread the sound over longer duration and vice-versa. &#xD;&#xA;So if you increase the frequency, on time axis, the sound wave should compress and you can hear the sound at faster speed or at rate of more than 1 (it’s just like what we often do in diff media players... we increase the speed at 1.2 / 1.5 etc. and conversation becomes faster. This is actually done by increasing sound frequency). " ContentLicense="CC BY-SA 3.0" />
  <row Id="51776" PostHistoryTypeId="2" PostId="27920" RevisionGUID="ff942699-d660-4b18-9726-faaa66432095" CreationDate="2014-03-18T07:21:50.570" UserId="182" Text="Though I agree that this is not a sound design question, here's the answer anyway.&#xD;&#xA;&#xD;&#xA;Until you have studio monitors, get one of these cables:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/PAVK4.jpg&#xD;&#xA;&#xD;&#xA;The TRS outputs on the back say left and right. So plugging a cable in one of them is not going to get you a stereo signal. &#xD;&#xA;The one on the front says headphones, which works in the way you tried, but is not ideal. From your picture I can see that you haven't turned up the volume controls on the M-Audio to their maximum. If you have a low output level, there's no harm in turning up the M-Audio and leaving it there. That said, just get the above cable." ContentLicense="CC BY-SA 3.0" />
  <row Id="51777" PostHistoryTypeId="5" PostId="27745" RevisionGUID="05205aec-feed-42f3-95d3-77eff08a86ff" CreationDate="2014-03-18T08:10:50.047" UserId="7636" Comment="added 131 characters in body" Text="I am in a need of a microphone for a specific setup and with some requirements, but I don't seem to have much luck in finding the best option. There is a possibility I am looking at this all wrong, so I am asking for advice here.&#xD;&#xA;&#xD;&#xA;### My setup is as follows:&#xD;&#xA;&#xD;&#xA;* The recording device is an [Delock USB audio sound card](http://www.delock.com/produkte/G_61645/merkmale.html?setLanguage=en)&#xD;&#xA;&#xD;&#xA;* The USB sound card is connected to an Raspberry PI electronic board&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### My requirements are:&#xD;&#xA;&#xD;&#xA;* It does not have to be professional quality, I am hoping for something in the price range of 30€. **Update**: I understand that this budget is quite low, so it can go up reasonably if other requirements are met.&#xD;&#xA;&#xD;&#xA;* Small microphone (i think the terms my be: *bug*, *lavalier*, *lapel*, although I am not certain about the differences, but you get the idea).&#xD;&#xA;&#xD;&#xA;* Optimal sensitivity (I have used Genius [MIC-01C](http://www.geniusnet.com/wSite/ct?xItem=16665&amp;ctNode=145) with the sensitivity of -58dB at 1KHz and it was ok, but I think I would rather go above -45dB).&#xD;&#xA;&#xD;&#xA;* The **most important** thing is the noise requirement. I have had bad experiences with the Genius microphone, because its cable would collect too much 50Hz noise from the environment. If it was near the fluorescent lamp or a power source of any kind, the noise it collected was too high for any usage. Even when it is not near the EM source, it still gets much 50Hz noise from the environment. This is the main reason I am looking for an alternative microphone. I guess this requirement could be summed up as a need for a shielded cable?&#xD;&#xA;&#xD;&#xA;* The directionality should be unidirectional the narrower the better, because it is used to listen to one person only and try to eliminate anything else whenever possible.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### What i have found in my search so far:&#xD;&#xA;(I can't post more than two links yet, so here are only names)&#xD;&#xA;&#xD;&#xA;* Sony ECM-CS3&#xD;&#xA;* Bronstein LM15&#xD;&#xA;* Olympus ME52W&#xD;&#xA;&#xD;&#xA;### My questions are:&#xD;&#xA;1. Is there a microphone you know that would suit me these requirements?&#xD;&#xA;1. The Olympus ME-52W is the best I have found, it has high sensitivity, noise reduction and it has direct 3.5mm connector so I can replace its cable with a shielded one very easily. But the question here is: can i use this microphone with my setup, since it is ment to be used with the voice recorder? Seems that it needs *phantom power* to work? How do I know if i can supply this?&#xD;&#xA;**EDIT**: Seems that without phantom power this microphone is useless. Thus, i need an option that doesn't require phantom power.&#xD;&#xA;1. How do i protect the microphone from collecting 50Hz noise from the surroundings with its cable? Should i use a shielded cable? Most mics come with their own unshielded cable, and replacing should not be an option for me..&#xD;&#xA;1. Do XLR cables help with this? Can i use a 3.5mm to XLR cable and get an XLR microphone that is small in size?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### Finally:&#xD;&#xA;Thank you for your patience and I am sorry if my questions are wrongly directed or nonsensical. I am grateful for any help or hints as to how to direct my search.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51778" PostHistoryTypeId="5" PostId="27745" RevisionGUID="5baeae92-af55-4834-8c21-993106454131" CreationDate="2014-03-18T08:17:31.510" UserId="7636" Comment="added 101 characters in body" Text="I am in a need of a microphone for a specific setup and with some requirements, but I don't seem to have much luck in finding the best option. There is a possibility I am looking at this all wrong, so I am asking for advice here.&#xD;&#xA;&#xD;&#xA;### My setup is as follows:&#xD;&#xA;&#xD;&#xA;* The recording device is an [Delock USB audio sound card](http://www.delock.com/produkte/G_61645/merkmale.html?setLanguage=en)&#xD;&#xA;&#xD;&#xA;* The USB sound card is connected to an Raspberry PI electronic board&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### My requirements are:&#xD;&#xA;&#xD;&#xA;* It does not have to be professional quality, I am hoping for something in the price range of 30€. **Update**: I understand that this budget is quite low, so it can go up reasonably if other requirements are met.&#xD;&#xA;&#xD;&#xA;* Small microphone (i think the terms my be: *bug*, *lavalier*, *lapel*, although I am not certain about the differences, but you get the idea).&#xD;&#xA;&#xD;&#xA;* Optimal sensitivity (I have used Genius [MIC-01C](http://www.geniusnet.com/wSite/ct?xItem=16665&amp;ctNode=145) with the sensitivity of -58dB at 1KHz and it was ok, but I think I would rather go above -45dB).&#xD;&#xA;&#xD;&#xA;* The **most important** thing is the noise requirement. I have had bad experiences with the Genius microphone, because its cable would collect too much 50Hz noise from the environment. If it was near the fluorescent lamp or a power source of any kind, the noise it collected was too high for any usage. Even when it is not near the EM source, it still gets much 50Hz noise from the environment. This is the main reason I am looking for an alternative microphone. I guess this requirement could be summed up as a need for a shielded cable?&#xD;&#xA;&#xD;&#xA;* The directionality should be unidirectional the narrower the better, because it is used to listen to one person only and try to eliminate anything else whenever possible.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### What i have found in my search so far:&#xD;&#xA;(I can't post more than two links yet, so here are only names)&#xD;&#xA;&#xD;&#xA;* Sony ECM-CS3&#xD;&#xA;* Bronstein LM15&#xD;&#xA;* Olympus ME52W&#xD;&#xA;&#xD;&#xA;**UPDATE**: The ME52W has proven to be a bad choice due to phantom power, which i can't supply.&#xD;&#xA;&#xD;&#xA;### My questions are:&#xD;&#xA;1. Is there a microphone you know that would suit me these requirements?&#xD;&#xA;1. The Olympus ME-52W is the best I have found, it has high sensitivity, noise reduction and it has direct 3.5mm connector so I can replace its cable with a shielded one very easily. But the question here is: can i use this microphone with my setup, since it is ment to be used with the voice recorder? Seems that it needs *phantom power* to work? How do I know if i can supply this?&#xD;&#xA;**UPDATE**: Seems that without phantom power this microphone is useless. Thus, i need an option that doesn't require phantom power.&#xD;&#xA;1. How do i protect the microphone from collecting 50Hz noise from the surroundings with its cable? Should i use a shielded cable? Most mics come with their own unshielded cable, and replacing should not be an option for me..&#xD;&#xA;1. Do XLR cables help with this? Can i use a 3.5mm to XLR cable and get an XLR microphone that is small in size?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### Finally:&#xD;&#xA;Thank you for your patience and I am sorry if my questions are wrongly directed or nonsensical. I am grateful for any help or hints as to how to direct my search.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51779" PostHistoryTypeId="5" PostId="27745" RevisionGUID="388cbf1c-5be8-40c1-bd7f-e56ac166bf2e" CreationDate="2014-03-18T08:48:24.480" UserId="7636" Comment="added 68 characters in body" Text="I am in a need of a microphone for a specific setup and with some requirements, but I don't seem to have much luck in finding the best option. There is a possibility I am looking at this all wrong, so I am asking for advice here.&#xD;&#xA;&#xD;&#xA;### My setup is as follows:&#xD;&#xA;&#xD;&#xA;* The recording device is an [Delock USB audio sound card](http://www.delock.com/produkte/G_61645/merkmale.html?setLanguage=en)&#xD;&#xA;&#xD;&#xA;* The USB sound card is connected to an Raspberry PI electronic board&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### My requirements are:&#xD;&#xA;&#xD;&#xA;* It does not have to be professional quality, I am hoping for something in the price range of 30€. **Update**: I understand that this budget is quite low, so it can go up reasonably if other requirements are met.&#xD;&#xA;&#xD;&#xA;* Small microphone (i think the terms my be: *bug*, *lavalier*, *lapel*, although I am not certain about the differences, but you get the idea).&#xD;&#xA;&#xD;&#xA;* Optimal sensitivity (I have used Genius [MIC-01C](http://www.geniusnet.com/wSite/ct?xItem=16665&amp;ctNode=145) with the sensitivity of -58dB at 1KHz and it was ok, but I think I would rather go above -45dB).&#xD;&#xA;&#xD;&#xA;* The **most important** thing is the noise requirement. I have had bad experiences with the Genius microphone, because its cable would collect too much 50Hz noise from the environment. If it was near the fluorescent lamp or a power source of any kind, the noise it collected was too high for any usage. Even when it is not near the EM source, it still gets much 50Hz noise from the environment. This is the main reason I am looking for an alternative microphone. I guess this requirement could be summed up as a need for a shielded cable?&#xD;&#xA;&#xD;&#xA;* The directionality should be unidirectional the narrower the better, because it is used to listen to one person only and try to eliminate anything else whenever possible.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### What i have found in my search so far:&#xD;&#xA;(I can't post more than two links yet, so here are only names)&#xD;&#xA;&#xD;&#xA;* Sony ECM-CS3&#xD;&#xA;* Bronstein LM15&#xD;&#xA;* Olympus ME52W&#xD;&#xA;* **UPDATE**: Olympus ME-12 - how can i know if it requires phantom power?&#xD;&#xA;&#xD;&#xA;**UPDATE**: The ME52W has proven to be a bad choice due to phantom power, which i can't supply.&#xD;&#xA;&#xD;&#xA;### My questions are:&#xD;&#xA;1. Is there a microphone you know that would suit me these requirements?&#xD;&#xA;1. The Olympus ME-52W is the best I have found, it has high sensitivity, noise reduction and it has direct 3.5mm connector so I can replace its cable with a shielded one very easily. But the question here is: can i use this microphone with my setup, since it is ment to be used with the voice recorder? Seems that it needs *phantom power* to work? How do I know if i can supply this?&#xD;&#xA;**UPDATE**: Seems that without phantom power this microphone is useless. Thus, i need an option that doesn't require phantom power.&#xD;&#xA;1. How do i protect the microphone from collecting 50Hz noise from the surroundings with its cable? Should i use a shielded cable? Most mics come with their own unshielded cable, and replacing should not be an option for me..&#xD;&#xA;1. Do XLR cables help with this? Can i use a 3.5mm to XLR cable and get an XLR microphone that is small in size?&#xD;&#xA;1. **UPDATE**: After reading [this discussion](http://sound.stackexchange.com/questions/24977/phantom-power-and-audio-recorders-and-microphones), I am wondering if my understanding about phantom power is correct for the Olympus ME-52W and ME-12 microphones? Do they indeed need the phantom power, or if this is something else. As quoted on that link:&#xD;&#xA;&gt; &quot;Just plug the TP-8 jack into the &quot;MIC&quot; jack of your recorder&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;### Finally:&#xD;&#xA;Thank you for your patience and I am sorry if my questions are wrongly directed or nonsensical. I am grateful for any help or hints as to how to direct my search." ContentLicense="CC BY-SA 3.0" />
  <row Id="51786" PostHistoryTypeId="6" PostId="27916" RevisionGUID="1ca19fe1-cd41-486e-8605-b21431b7c10b" CreationDate="2014-03-18T12:15:31.110" UserId="6957" Comment="edited tags" Text="&lt;mp3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51787" PostHistoryTypeId="2" PostId="27923" RevisionGUID="7ec551eb-fcbb-46fd-9cc0-74dd8a4e4cae" CreationDate="2014-03-18T12:23:28.693" UserId="7762" Text="I 'm working on an anticipation movie taking place In Paris, maybe around 2030. Visually, it will be a blend of real shootings of Paris Like it is now, Haussmanian architecture, old balconys and futuristic giant screens, maybe some hi-tech zeppelins (via CGI éléments).&#xD;&#xA;So i ´m wondering how to slightly make everyday city sounds (cars, sirens, trains...) sounding à bit futuristic, without being too SCI-fi ! &#xD;&#xA;It´s not Batman or Oblvion, it´s Paris In 20-30 years, so î´m not shure that stutter effects on vehicules will fit. In some shots We see cars (from now) and i Would like to tweak them à bit, but In a realistic way.&#xD;&#xA;Any ideas ?&#xD;&#xA;&#xD;&#xA;(I just dream that In 30 years, it will be more quiet than now)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51788" PostHistoryTypeId="1" PostId="27923" RevisionGUID="7ec551eb-fcbb-46fd-9cc0-74dd8a4e4cae" CreationDate="2014-03-18T12:23:28.693" UserId="7762" Text="Futuristic cars" ContentLicense="CC BY-SA 3.0" />
  <row Id="51789" PostHistoryTypeId="3" PostId="27923" RevisionGUID="7ec551eb-fcbb-46fd-9cc0-74dd8a4e4cae" CreationDate="2014-03-18T12:23:28.693" UserId="7762" Text="&lt;scifi&gt;&lt;vehicles&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51794" PostHistoryTypeId="2" PostId="27924" RevisionGUID="2da8edb2-95bc-47a8-b82b-ea380ad3ca29" CreationDate="2014-03-18T13:35:40.403" UserId="182" Text="You provide an interesting direction, that you could explore further:&#xD;&#xA;&#xD;&#xA;Why not make all cars quiet? What's left is just the tire noise of the cars, which you could color a bit to make the cars a bit more diverse.&#xD;&#xA;As a result, background sounds and atmos is more apparent, sirens stand out more but don't have to be as loud, the streets are more peaceful and less chaotic sounding.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51798" PostHistoryTypeId="2" PostId="27926" RevisionGUID="ef341f37-e0a6-45ff-9c5e-4bf9651a2ece" CreationDate="2014-03-18T13:50:45.673" UserDisplayName="user7731" Text="this is a simplistic tip, but if you start with sounds of very modern cars, high performance cars without loud engines, and use varispeed and pitch them up a bit, you may find results you like.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51799" PostHistoryTypeId="2" PostId="27927" RevisionGUID="c5715461-d708-410c-84c8-c0a0313f96d5" CreationDate="2014-03-18T13:52:13.757" UserId="194" Text="You'll probably still want to ground the sounds in real modern day engines, and then do a couple of things to make them futuristic:&#xD;&#xA;&#xD;&#xA;1 - process the modern engines:&#xD;&#xA;&#xD;&#xA;probably the simplest thing is eq - often doing a big midrange scoop makes things sound cleaner and more hifi, so that's an option.  &#xD;&#xA;&#xD;&#xA;You could also add some phase or delay to what's left (in moderation) to start warping the sound into something a little less familiar&#xD;&#xA;&#xD;&#xA;2 - layer other elements:&#xD;&#xA;&#xD;&#xA;samplers and synths are great tools here because you have direct control over the pitch, which will be important as you mimic the revs of the engines.  If you use samplers, you can go gritty (like distorted guitar stuff) or you can go with cleaner rolling and fluttering tones.  With synths you can probably stick to the cleaner stuff that has some nice movement built in.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;In the end though, the process is really one of telling yourself the *story* of the physics and mechanics of the future cars and then designing sounds around that story.  &#xD;&#xA;&#xD;&#xA;If the cars are electric and don't use combustion engines that would drive your sound one way.  If they're combustion, but use magnetic propulsion, that would drive it another.  &#xD;&#xA;&#xD;&#xA;Find the story behind the physics.  That's the important thing." ContentLicense="CC BY-SA 3.0" />
  <row Id="51800" PostHistoryTypeId="5" PostId="27909" RevisionGUID="2fdcbfc8-c589-4872-a1c4-86d5f82614cc" CreationDate="2014-03-18T14:01:29.303" UserId="6425" Comment="Corrected Iphone autocorrection stuff" Text="In professional music production there is a rule: Never more than 3 sounds at a time, more a human cant process properly! And I apply it to sound design for movie as well! I always try to have something happening -&gt; atmo, room tone, foley or music which is like the beat that holds a song together (but in avery unconscious way). Then I pick one &quot;hook&quot; guideline which is the &quot;melody/vocals&quot; of a song. At a movie this is Dialogue, Fx and music that tells the story. The third element is sweetening stuff like additional fx or foley. For those I take a pen and paper when I watch the movie or advertisement for the first time with muted audio. Then I concentrate and write down everything that feels like it needs some sound. Like a car passing by etc. Its important to try to not concentrate on the mouth of the people that talk. I try to concentrate on stuff that really have a big movement or that catch my eyes. Because the problem with having no sound on something is, when someone is moving their eyes on that element and they do not hear a sound. This is why it is very useful to have a good atom to give them some type of audible feedback. For special stuff like a car moving or water splashing etc it is good to have an additional sound. &#xD;&#xA;&#xD;&#xA;Everything else needs no specific sound! :D&#xD;&#xA;&#xD;&#xA;Good Day!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51801" PostHistoryTypeId="2" PostId="27928" RevisionGUID="b353a79e-4809-4813-abb1-1a89e7822137" CreationDate="2014-03-18T14:08:55.403" UserId="6425" Text="In 30 years it is highly possible, that most cars are electronic cars. So I would go for muted motor sounds for a sound that everybody knows, combined with some kind of electro motor. Maybe record car sounds from a distance (Best would be in a very dry environment with some distance to get a more clean appeal) or rerecord stuff trough different materials to get a muted effect. Then apply this effect to all other car sounds you recorded. Also one thing that always, always, always sounds great for electronic machines is to record everyday electronic devices like the motor of a printer, the dynamo of a bike or even better care related motors like the one opening and closing the windwos and then pitch it down to give it some &quot;bigness&quot;.&#xD;&#xA;&#xD;&#xA;For example, play around with those samples&#xD;&#xA;&#xD;&#xA;http://www.tonescape.de/?page_id=272&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Good Day" ContentLicense="CC BY-SA 3.0" />
  <row Id="51802" PostHistoryTypeId="5" PostId="27928" RevisionGUID="d0fa6d70-f874-4040-b3e9-2c923ef6c164" CreationDate="2014-03-18T14:20:21.573" UserId="6425" Comment="deleted 1 characters in body" Text="In 30 years it is highly possible, that most cars are electronic cars. So I would go for muted motor sounds for a sound that everybody knows, combined with some kind of electro motor. Maybe record car sounds from a distance (Best would be in a very dry environment with some distance to get a more clean appeal) or rerecord stuff trough different materials to get a muted effect. Then apply this effect to all other car sounds you recorded. Also one thing that always, always, always sounds great for electronic machines is to record everyday electronic devices like the motor of a printer, the dynamo of a bike or even better car related motors like the one opening and closing the windwos and then pitch it down to give it some &quot;bigness&quot;.&#xD;&#xA;&#xD;&#xA;For example, play around with those samples&#xD;&#xA;&#xD;&#xA;http://www.tonescape.de/?page_id=272&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Good Day" ContentLicense="CC BY-SA 3.0" />
  <row Id="51803" PostHistoryTypeId="2" PostId="27929" RevisionGUID="80ff15b7-3596-4033-95ee-a9a49603b261" CreationDate="2014-03-18T14:24:20.803" UserId="7174" Text="I would recommend sticking with the headphone out as that is most likely to match the impedance of your speaker's input, but you would be better served quality wise to switch to studio monitors which are designed to work with professional audio signal levels (which differ significantly from consumer ones and will cause issues (though minor if you are starting out) when mismatched." ContentLicense="CC BY-SA 3.0" />
  <row Id="51804" PostHistoryTypeId="2" PostId="27930" RevisionGUID="cd74b95c-851f-4248-a599-678381f51e4d" CreationDate="2014-03-18T14:25:25.080" UserId="6663" Text="I like the idea that cars are quieter in the future. They are becoming more fuel efficient after all.&#xD;&#xA;&#xD;&#xA;This was posted up on reddit today, it's interesting the difference just 2 years make in engine sounds! &#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=jS4Dh_EAfJI" ContentLicense="CC BY-SA 3.0" />
  <row Id="51808" PostHistoryTypeId="2" PostId="27932" RevisionGUID="0201f5d7-993f-4794-8d5f-d1fff86c7825" CreationDate="2014-03-18T17:03:27.407" UserId="7766" Text="As a novice audio enthusiast, I'd like to know what role digital volume control has on logical and perceived quality. I do have knowledge about how audio is stored digitally but do not know how volume works beyond the fact that it relates to the magnitude or amplitude of the digital signal.&#xD;&#xA;&#xD;&#xA;Players like VLC unlike Media Center have the ability to increase volume levels up to 200%. Assuming a lossless digital source and reasonable analogue amplifier levels, does artificially increasing digital volume beyond 100% have any effect on quality whatsoever? This is assuming of course that 100% requires no signal manipulation at all (I may be wrong here).&#xD;&#xA;&#xD;&#xA;Please note that the question is only about digital volume and not analogue." ContentLicense="CC BY-SA 3.0" />
  <row Id="51809" PostHistoryTypeId="1" PostId="27932" RevisionGUID="0201f5d7-993f-4794-8d5f-d1fff86c7825" CreationDate="2014-03-18T17:03:27.407" UserId="7766" Text="Does digital volume control have any effect on quality during playback?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51810" PostHistoryTypeId="3" PostId="27932" RevisionGUID="0201f5d7-993f-4794-8d5f-d1fff86c7825" CreationDate="2014-03-18T17:03:27.407" UserId="7766" Text="&lt;audio&gt;&lt;digital&gt;&lt;quality&gt;&lt;volume&gt;&lt;sound-quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51811" PostHistoryTypeId="2" PostId="27933" RevisionGUID="df90f40e-113c-4b85-ad75-46d9d7551986" CreationDate="2014-03-18T17:17:43.050" UserId="7767" Text="I've been looking for this since first using my Zoom in 2010!&#xD;&#xA;Most important thing is as above - **you need the new software**. It's here http://www.zoom.co.jp/downloads/h4n/software/?lang=en and it's as easy to install as they say.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="51812" PostHistoryTypeId="5" PostId="27932" RevisionGUID="27574251-0fdf-433c-a201-66df4f04fdf0" CreationDate="2014-03-18T18:26:08.737" UserId="7174" Comment="Tried to make it more generic and professional side friendly" Text="I'd like to know what role digital gain (volume) control has on logical and perceived quality. I do have knowledge about how audio is stored digitally but do not know how volume works beyond the fact that it relates to the magnitude or amplitude of the digital signal.&#xD;&#xA;&#xD;&#xA;Some editing systems and players can apply a gain that boosts the signal level beyond 100%, assuming a lossless digital source and reasonable analogue amplifier levels, does artificially increasing digital signals beyond 100% have any effect on quality whatsoever? This is assuming of course that 100% requires no signal manipulation at all (I may be wrong here).&#xD;&#xA;&#xD;&#xA;Please note that the question is only about digital volume and not analogue." ContentLicense="CC BY-SA 3.0" />
  <row Id="51813" PostHistoryTypeId="4" PostId="27932" RevisionGUID="27574251-0fdf-433c-a201-66df4f04fdf0" CreationDate="2014-03-18T18:26:08.737" UserId="7174" Comment="Tried to make it more generic and professional side friendly" Text="What impact does applying gain to a digital audio signal have on playback?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51814" PostHistoryTypeId="2" PostId="27934" RevisionGUID="1160671a-cda1-4726-99b6-a47e31f78871" CreationDate="2014-03-18T18:46:32.840" UserId="7174" Text="First, lets start by clarifying that &quot;volume&quot; isn't a particularly technical concept.  Most generally &quot;volume&quot; refers to SPL or sound pressure level which is the amount of pressure being exerted by sound waves and depends on the distance from a sound source.&#xD;&#xA;&#xD;&#xA;Rather what we are talking about here is the impact of signal level.  Within an analog system, the signal level is determined by the amplitude of the voltage.  If the signal gets too strong, the analog circuitry can't handle it and distortion occurs.  &#xD;&#xA;&#xD;&#xA;For digital signals on the other hand, we aren't dealing with voltages, (well not directly) but rather 1s and 0s that describe samples of audio.  Simplified a bit, each sample describes the voltage of the analog signal at the time the sample was taken.  The maximum amplitude the system can support is assigned the maximum number and the minimum amplitude is assigned the minimum number.&#xD;&#xA;&#xD;&#xA;This range is what is known as the dynamic range of the digital signal.  Values directly in the middle are 0, values that approach 0 are as far negative as the range can cover and values near the maximum are as far positive as the digital file can describe.&#xD;&#xA;&#xD;&#xA;So what is &quot;increasing the volume&quot;?  Well, really this is increasing the gain.  Gain is the amount of amplification done to the signal.  With an analog signal, it involves increasing the amplitude of the signal and in digital it means moving the values further out away from the mid point.&#xD;&#xA;&#xD;&#xA;If, for example, I had an audio file that could use values from -10 to 10, 0 would be the midpoint.  If I doubled the signal level, values of 0 would stay the same, values of 3 would become 6, -3 would become -6, etc.  But what happens when we hit a number like 7?  Well, 7 doubled would be 14, but we only have the ability to represent up to 10.&#xD;&#xA;&#xD;&#xA;Unless we also increased the bit depth of the audio file, we have no way to expand the preserve the signal and can only store a value of 10.  This is what is known as clipping (because the value got to high and we had to clip the value to the maximum (or minimum) we could represent.&#xD;&#xA;&#xD;&#xA;Clipping results in the production of square waves that don't sound natural and have lost information.  It generally makes crackling and popping sounds because a speaker can't actually produce a square wave effectively.&#xD;&#xA;&#xD;&#xA;It is worth noting however that this only occurs if you actually go beyond what the file can support.  If, for example, the original file only ever went to -5 and 5, there would be no clipping and no loss of data from that.&#xD;&#xA;&#xD;&#xA;That said, there is another issue we haven't talked about yet.  Noise floor.  In any system, there is a certain amount of noise.  Noise is junk data that gets picked up and doesn't have any meaning.  It is just random and not part of the signal.  For good audio, you want a high signal to noise ratio (signal is loud, noise is quiet).  &#xD;&#xA;&#xD;&#xA;However, most system's have a noise floor below which signal can't be distinguished from noise.  So let's say that the system that recorded our file in our previous example had a noise floor of 1.  This means any signal quieter than -1 to 1 would not be distinguishable from background noise.  When we apply our gain, we also increase the signal level of this noise, so now anything quieter than -2 to 2 is noise and the noise will be just as amplified as the sound we want is.&#xD;&#xA;&#xD;&#xA;It does also offer some benefits down stream though.  Say, for example, that are DAC (digital to analog converter) has a noise floor of 3.  If we didn't apply any gain, we'd lose a lot of signal quality at the DAC because we'd only have the difference between 3 and 5 for meaningful signal since our signal was only going up to 5 at the loudest.  If we applied a gain before hand however, our noise floor in the DAC would still be 3, but our maximum signal would be 10, giving us a much cleaner analog signal in the end.&#xD;&#xA;&#xD;&#xA;So the short answer to your question is, *digitally increasing signal level will result in clipping and square wave production if it causes the dynamic range of the file to be exceeded and will also result in a boosting of the noise floor of the signal*.  That said, *it also helps avoid the noise floor of any devices down stream from the gain*.  In general, ***the rule is that you want the strongest digital signal you can have without clipping at any point, thus giving you the most space between the noise floor and the signal***." ContentLicense="CC BY-SA 3.0" />
  <row Id="51815" PostHistoryTypeId="2" PostId="27935" RevisionGUID="7710b709-7bb2-4d05-af17-29a47854fd99" CreationDate="2014-03-18T20:25:39.973" UserId="7769" Text="I want to understand what Abstract Sound Design means. I looked at other questions here but couldn't find an answer I fully understood.&#xD;&#xA;&#xD;&#xA;What it means in terms of - How do you create it? What is it for? What is it exactly?&#xD;&#xA;Anything you can tell me about it would be great.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="51816" PostHistoryTypeId="1" PostId="27935" RevisionGUID="7710b709-7bb2-4d05-af17-29a47854fd99" CreationDate="2014-03-18T20:25:39.973" UserId="7769" Text="What is Abstract Sound Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51817" PostHistoryTypeId="3" PostId="27935" RevisionGUID="7710b709-7bb2-4d05-af17-29a47854fd99" CreationDate="2014-03-18T20:25:39.973" UserId="7769" Text="&lt;sound-design&gt;&lt;abstract&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51818" PostHistoryTypeId="2" PostId="27936" RevisionGUID="b4e320a6-8525-4c4d-a6f4-b5d607a63643" CreationDate="2014-03-18T20:56:59.057" UserId="29" Text="*[Boo. Hi, folks. :-)]*&#xD;&#xA;&#xD;&#xA;***Is*** there a standard definition of &quot;abstract sound design?&quot; Smarter minds than mine can probably answer that. Personally and subjectively, I think it can refer to a few things. We talk about this a lot with our clients and sound design folks at work, since we primarily do SFX for interfaces.&#xD;&#xA;&#xD;&#xA;Just like visual art, sound design can be *representative* or *abstract*, two ends of a spectrum. It can represent something that is meant to see real (a sound we recognize, the sound of a real object or instrument, or real sound(s) recontextualized to represent something new, like a spaceship or creature), in which case I'd call that representative sound design.&#xD;&#xA;&#xD;&#xA;Abstract sound design could be construed as a sound that represents something that doesn't usually have a sound (mental flashbacks or character epiphanies, for example), or a sound that itself doesn't have a real world equivalent (many button sounds found in fantasy user interfaces in films). Abstract sounds can be used to represent abstract ideas or concepts, representing both aspects of abstraction at the same time.&#xD;&#xA;&#xD;&#xA;As to how they're created, I think this is where sound designers get to flex their creative muscles the most. I'd argue that there are no rules. Resynthesis, waveshaping, synthesis from scratch, huge plug-in or effects chains, even something as simple as playing something in a reverse boomerang loop...it all depends on how the sound matches the visuals for which they're intended, abstract or not, and how much (well, since it's abstract, more like how *little*) the end listener can identify the sound. &#xD;&#xA;&#xD;&#xA;Just my take, of course, and intensely curious to hear what others think." ContentLicense="CC BY-SA 3.0" />
  <row Id="51819" PostHistoryTypeId="2" PostId="27937" RevisionGUID="5e7e9bbd-2d88-4bd2-8d83-317381c88dff" CreationDate="2014-03-18T21:25:28.380" UserId="37" Text="As far as digits are concerned, you can multiply by any &quot;gain&quot; you wish, as long as you do not overflow (-127 to 128 for 8 bit; -32676 to +32678 for 16bit audio; ±8.3x10&lt;sup&gt;6&lt;/sup&gt; for 24bit audio, and up to ±1.7×10&lt;sup&gt;38&lt;/sup&gt; for 32bit floating point). However, there will be some rounding involved, and the fewer the bits the more the rounding error.&#xD;&#xA;&#xD;&#xA;Note that whatever the format, a peak at -6dB will still take half the maximum value in terms of numbers.&#xD;&#xA;&#xD;&#xA;However, for (typically 16 bit) systems that utilise dithering to increase dynamic range and lower distortion, applying gain after dithering has taken place increases the deliberate noise injected at the floor to offset the quantisation errors. &#xD;&#xA;&#xD;&#xA;Once the noise floor is more audible, also with more quantisation errors (gain staging without sufficient resolution, leading to too much rounding errors) the clarity of the signal starts going down. This is, of course, assuming no clipping or other distortion has taken place yet. Hence DAWs and plugins internally working at 32, 40, 48, or 64bit PCM.&#xD;&#xA;&#xD;&#xA;So far this is purely digital stuff. When the signal goes through the convertors you get into all sorts of non-linearity - from the DACs (none are perfect and the generally accepted wisdom is that hot is better as long as you don't clip), through the signal chain (some units are deliberately non-linear), to the amps and speakers (amp classes, but also speaker cone stiffness), and finally your ears (fletcher munson).&#xD;&#xA;&#xD;&#xA;On the whole, if a system has sufficient resolution, from 24 bit and up, i wouldn't worry about gain, and only worry about headroom (digital won't go past 0dB), or source signal noise (it gets amplified as much as the signal). Sometimes your brain does the noise reduction work for you, but every person's threshold is different.. Makes the subject really exciting for me.&#xD;&#xA;&#xD;&#xA;Theoretically, for best results, play at 0 gain everywhere. Source software -&gt; system volume -&gt; audio interface mixer. In practice, in a 24 bit pipeline, you can look after your needs and pay no attention the digits." ContentLicense="CC BY-SA 3.0" />
  <row Id="51820" PostHistoryTypeId="5" PostId="27937" RevisionGUID="85c4d2ac-1ea6-43b2-aca1-9439a2aa3b83" CreationDate="2014-03-18T21:31:01.873" UserId="37" Comment="added 1 characters in body" Text="As far as digits are concerned, you can multiply by any &quot;gain&quot; you wish, as long as you do not overflow (-127 to 128 for 8 bit; -32676 to +32678 for 16bit audio; ±8.3x10&lt;sup&gt;6&lt;/sup&gt; for 24bit audio, and up to ±1.7×10&lt;sup&gt;38&lt;/sup&gt; for 32bit floating point). However, there will be some rounding involved, and the fewer the bits the more the rounding error.&#xD;&#xA;&#xD;&#xA;Note that whatever the format, a peak at -6dB will still take half the maximum value in terms of numbers.&#xD;&#xA;&#xD;&#xA;However, for (typically 16 bit) systems that utilise dithering to increase dynamic range and lower distortion, applying gain after dithering has taken place increases the deliberate noise injected at the floor to offset the quantisation errors. &#xD;&#xA;&#xD;&#xA;Once the noise floor is more audible, also with more quantisation errors (gain staging without sufficient resolution, leading to too much rounding errors) the clarity of the signal starts going down. This is, of course, assuming no clipping or other distortion has taken place yet. Hence DAWs and plugins internally working at 32, 40, 48, or 64bit PCM.&#xD;&#xA;&#xD;&#xA;So far this is purely digital stuff. When the signal goes through the convertors you get into all sorts of non-linearity - from the DACs (none are perfect and the generally accepted wisdom is that hot is better as long as you don't clip), through the signal chain (some units are deliberately non-linear), to the amps and speakers (amp classes, but also speaker cone stiffness), and finally your ears (fletcher munson).&#xD;&#xA;&#xD;&#xA;On the whole, if a system has sufficient resolution, from 24 bit and up, i wouldn't worry about gain, and only worry about headroom (digital won't go past 0dB), or source signal noise (it gets amplified as much as the signal). Sometimes your brain does the noise reduction work for you, but every person's threshold is different.. Makes the subject really exciting for me.&#xD;&#xA;&#xD;&#xA;Theoretically, for best results, play at 0 gain everywhere. Source software -&gt; system volume -&gt; audio interface mixer. In practice, in a 24+ bit pipeline, you can look after your needs and pay no attention the digits." ContentLicense="CC BY-SA 3.0" />
  <row Id="51821" PostHistoryTypeId="2" PostId="27938" RevisionGUID="096101a9-1553-4785-9dc7-550ae94b2bb6" CreationDate="2014-03-18T21:38:25.433" UserId="7771" Text="As the title suggests, I need help creating a particular sound effect for a film I am working on.  An example of the effect I am looking for is at 1:40 in the link below;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=21RHG4hr25g&#xD;&#xA;&#xD;&#xA;Around 1:40 the patient (I forget the actors name) goes into a trance like state and you hear a ringing sound effect coupled with the doctors voice becoming echo-like.&#xD;&#xA;&#xD;&#xA;I know the echo effect can be created by putting reverb on the dialogue track and slowly automating the dry/wet channel upwards, but I have no clue how to get a good 'ringing' sound to go along with it. &#xD;&#xA;&#xD;&#xA;Does anyone have any experience on creating an effect like this?  Please share!&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Scott" ContentLicense="CC BY-SA 3.0" />
  <row Id="51822" PostHistoryTypeId="1" PostId="27938" RevisionGUID="096101a9-1553-4785-9dc7-550ae94b2bb6" CreationDate="2014-03-18T21:38:25.433" UserId="7771" Text="I need help creating a ringing sound, as heard in this link" ContentLicense="CC BY-SA 3.0" />
  <row Id="51823" PostHistoryTypeId="3" PostId="27938" RevisionGUID="096101a9-1553-4785-9dc7-550ae94b2bb6" CreationDate="2014-03-18T21:38:25.433" UserId="7771" Text="&lt;film&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51824" PostHistoryTypeId="2" PostId="27939" RevisionGUID="74071a1e-8a04-4900-af8f-f69df73dbb7e" CreationDate="2014-03-18T22:01:02.017" UserDisplayName="user7731" Text="I think Noise Jockey is giving you a great head start on the topic.  I'd like to add to his subjective definition. To me abstract sound design can *also* be unrepresentative sound design or purposefully misrepresentative sound design. Like placing a dog bark on a car horn, or using the sounds of paper crumpling against the visuals of a building collapsing. Obvious or even not so obvious superimposition of sounds against visual objects. An observer might recognize it as &quot;wrong&quot; or misplaced but purposely so.&#xD;&#xA;&#xD;&#xA;Also abstract sound design could be simply sounds and textures made of recognizable or non recognizable sounds but designed to create an asthetic or mood. Abstract in the since that they don't represent or misrepresent anything but just exist in a weird way and leave the listener with wide room for interpretation and observation. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51825" PostHistoryTypeId="2" PostId="27940" RevisionGUID="f3ac47c1-0595-482b-b8fb-962007a29bd3" CreationDate="2014-03-18T23:02:42.623" UserId="618" Text="You can use scraped metal sounds, with a lot of eq, pitch and maybe some ring modulation." ContentLicense="CC BY-SA 3.0" />
  <row Id="51826" PostHistoryTypeId="2" PostId="27941" RevisionGUID="9f779d23-8216-42c2-b03e-ead84192a5c8" CreationDate="2014-03-18T23:36:58.033" UserId="7228" Text="It's a pure sinus of about 1400 Hz (1.4 Khz), most DAW's will have a function to generate a few seconds of that. In Adobe Audition you would go to the menu `Generate` -&gt; `Tones`.&#xD;&#xA;&#xD;&#xA;![Generate a 1400Hz tone][1]&#xD;&#xA;&#xD;&#xA;Then add some &quot;dirt&quot; to it using something like [Izotope Vinyl][2] (it's a free plugin).&#xD;&#xA;&#xD;&#xA;![Add some record player dust][3]&#xD;&#xA;&#xD;&#xA;I guess that would be the basics of what you want. Maybe instead of adding dirt, subtracting some &quot;holes&quot; is more like it, but the 1400Hz sine is surely the basis.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/pfU1U.png&#xD;&#xA;  [2]: http://www.izotope.com/products/audio/vinyl/&#xD;&#xA;  [3]: http://i.stack.imgur.com/cHXol.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="51827" PostHistoryTypeId="2" PostId="27942" RevisionGUID="e71930c5-6b12-4cd1-954b-169439edb12c" CreationDate="2014-03-19T00:14:20.030" UserId="61" Text="Scan through [this search query][1] for some possible answers. This question has been discussed in the old SSD forum many times over.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sound.stackexchange.com/search?q=ear%20ring" ContentLicense="CC BY-SA 3.0" />
  <row Id="51828" PostHistoryTypeId="5" PostId="27936" RevisionGUID="1ab535f1-d762-401c-a479-61fef836e30e" CreationDate="2014-03-19T03:34:30.033" UserId="61" Comment="spelling, grammar" Text="*[Boo. Hi, folks. :-)]*&#xD;&#xA;&#xD;&#xA;***Is*** there a standard definition of &quot;abstract sound design?&quot; Smarter minds than mine can probably answer that. Personally and subjectively, I think it can refer to a few things. We talk about this a lot with our clients and sound design folks at work, since we primarily do SFX for interfaces.&#xD;&#xA;&#xD;&#xA;Just like visual art, sound design can be *representative* or *abstract*, two ends of a spectrum. It can represent something that is meant to seem real (a sound we recognize, the sound of a real object or instrument, or real sound(s) recontextualized to represent something new, like a spaceship or creature), in which case I'd call that representative sound design.&#xD;&#xA;&#xD;&#xA;Abstract sound design could be construed as a sound that represents something that doesn't usually have a sound (mental flashbacks or character epiphanies, for example), or a sound that itself doesn't have a real world equivalent (many button sounds found in fantasy user interfaces in films). Abstract sounds can be used to represent abstract ideas or concepts, representing both aspects of abstraction at the same time.&#xD;&#xA;&#xD;&#xA;As to how they're created, I think this is where sound designers get to flex their creative muscles the most. I'd argue that there are no rules. Resynthesis, waveshaping, synthesis from scratch, huge plug-in or effects chains, even something as simple as playing something in a reverse boomerang loop...it all depends on how the sound matches the visuals for which they're intended, abstract or not, and how much (well, since it's abstract, more like how *little*) the end listener can identify the sound. &#xD;&#xA;&#xD;&#xA;Just my take, of course, and intensely curious to hear what others think." ContentLicense="CC BY-SA 3.0" />
  <row Id="51829" PostHistoryTypeId="2" PostId="27943" RevisionGUID="98f02e4b-2971-42a9-91e4-3ee8727eec5a" CreationDate="2014-03-19T05:43:14.187" UserId="6832" Text="Like others have said find the story behind the car sound. &#xD;&#xA;&#xD;&#xA;If they are electric cars they don't have to be silent. There are actually laws concerning the sound (or lack of it) in Europe. http://en.wikipedia.org/wiki/Electric_vehicle_warning_sounds&#xD;&#xA;&#xD;&#xA;Based on this you could play with the idea of cars just playing sounds of older combustion engine cars. Doing it in overly unrealistic way could work - engine sounds could be intentionally too short loops looped and overly pitched or crossfaded from engine sample to another when car speed changes. Or maybe people can download whatever sounds they want to their cars and you see some small hatchback sports car sounding like a truck and big monster car sounding like a F1 car. Eq'ing or using convolution to make it sound like coming from a speaker could be used to exaggerate the effect.&#xD;&#xA;&#xD;&#xA;If they are still combustion engines they are probably very small super super super turbocharged 0.5 litre engines or maybe multiple turbocharged 0.1l engines (like that would make any sense). If they are running on hydrogen maybe it alters the sound somehow?&#xD;&#xA;&#xD;&#xA;Good luck with the project :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51830" PostHistoryTypeId="2" PostId="27944" RevisionGUID="c7ee4026-71cf-4649-ba43-259acdd4462f" CreationDate="2014-03-19T07:00:35.887" UserId="61" Text="Looking at some vehicles with similar engine configs (6.0L 325 hp [242 kW] V8 (2003–07)&#xD;&#xA;6.2L 393 hp [293 kW] V8 (2008–09)), you may want to investigate the following:&#xD;&#xA;&#xD;&#xA; - Ford F350&#xD;&#xA; - Ford Excursion&#xD;&#xA; - GMC Sierra&#xD;&#xA;&#xD;&#xA;That's if you're looking to closely approximate the actual sound. If your needs aren't as rigid and you just need it to sound &quot;beefy&quot; and cool, then start experimenting with all kinds of different diesels, from big rigs to actual Humvees to armored cars. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51831" PostHistoryTypeId="5" PostId="23391" RevisionGUID="30d0caac-5218-4189-b8bc-a0e76cb1de7e" CreationDate="2014-03-19T08:32:26.040" UserId="7776" Comment="Added very useful reference." Text="I am wanting to know what the typical frequency cut-offs are for the bass/mid/treble controls on a pre-1990s guitar amp.  I want to simulate them in Java.  So basically I have &#xD;&#xA;&#xD;&#xA;    bass = 20 - 250 Hz&#xD;&#xA;    mid = 250 - 650 Hz&#xD;&#xA;    treble = 650 - 4000 Hz &#xD;&#xA;&#xD;&#xA;But I have no confidence in these figures.  References would be great!&#xD;&#xA;&#xD;&#xA;EDIT:  Got a great algorithm from [David Yeh's paper][1]  .... once you work out that the H(Z) transform is not really an algebraic expression, and how to turn it into code.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.google.com.au/url?sa=t&amp;rct=j&amp;q=&amp;esrc=s&amp;source=web&amp;cd=1&amp;cad=rja&amp;uact=8&amp;ved=0CCsQFjAA&amp;url=http://www.dafx.ca/proceedings/papers/p_001.pdf&amp;ei=blQpU43xAoT5kAW1qoHICw&amp;usg=AFQjCNGTl3oK5DE6Qs9dG64Febqvsjpw3w&amp;sig2=BfxcGldqHd_OFGmteghN2A&amp;bvm=bv.62922401,d.dGI" ContentLicense="CC BY-SA 3.0" />
  <row Id="51834" PostHistoryTypeId="5" PostId="12803" RevisionGUID="5e5c3bed-c475-407a-b2e7-46799d2d9731" CreationDate="2014-03-19T08:58:45.663" UserId="7016" Comment="deleted 187 characters in body" Text="I need to record a bunch of footsteps in a dilapidated building.  Ideally with both tile and unfinished hardwood surfaces, and also with a layer of dust and dirt (but not overly dirty or crunchy).  &#xD;&#xA;&#xD;&#xA;the scene is too long and too exposed to get away with it being done in a foley studio.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51835" PostHistoryTypeId="5" PostId="27923" RevisionGUID="38de3280-ced7-4547-bb2f-49bed44a95f5" CreationDate="2014-03-19T12:23:09.587" UserId="7043" Comment="Tidied grammar and spelling." Text="I’m working on an anticipation movie set in Paris, maybe around 2030. Visually, it will be a blend of real shots of Paris as it is now (Haussmanian architecture, old balconies) and futuristic giant screens, with maybe some hi-tech zeppelins (via CGI elements).&#xD;&#xA;&#xD;&#xA;So I’m wondering how to slightly make everyday city sounds (cars, sirens, trains, etc.) sound a bit futuristic, without being too sci-fi! It’s not *Batman* or *Oblivion*, it’s Paris in 20-30 years, so I’m not sure that stutter effects on vehicles would fit. In some shots we see cars (from now) and I would like to tweak them a bit, but in a realistic way. Any ideas?&#xD;&#xA;&#xD;&#xA;(I dream that in 30 years, it will be quieter than now.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51836" PostHistoryTypeId="24" PostId="27923" RevisionGUID="38de3280-ced7-4547-bb2f-49bed44a95f5" CreationDate="2014-03-19T12:23:09.587" Comment="Proposed by 7043 approved by 6957 edit id of 81" ContentLicense="CC BY-SA 3.0" />
  <row Id="51837" PostHistoryTypeId="5" PostId="27928" RevisionGUID="c024693e-7802-4a05-8b0c-d7e8f259e6fa" CreationDate="2014-03-19T13:11:03.640" UserId="7779" Comment="Electric, not electronic" Text="In 30 years it is highly possible that most cars are electric cars. So I would go for muted motor sounds for a sound that everybody knows, combined with some kind of electric motor. Maybe record car sounds from a distance (Best would be in a very dry environment with some distance to get a more clean appeal) or rerecord stuff trough different materials to get a muted effect. Then apply this effect to all other car sounds you recorded. Also one thing that always, always, always sounds great for electric machines is to record everyday electronic devices like the motor of a printer, the dynamo of a bike or even better car related motors like the one opening and closing the windows and then pitch it down to give it some &quot;bigness&quot;.&#xD;&#xA;&#xD;&#xA;For example, play around with those samples&#xD;&#xA;&#xD;&#xA;http://www.tonescape.de/?page_id=272" ContentLicense="CC BY-SA 3.0" />
  <row Id="51838" PostHistoryTypeId="24" PostId="27928" RevisionGUID="c024693e-7802-4a05-8b0c-d7e8f259e6fa" CreationDate="2014-03-19T13:11:03.640" Comment="Proposed by 7779 approved by 6425 edit id of 82" ContentLicense="CC BY-SA 3.0" />
  <row Id="51842" PostHistoryTypeId="2" PostId="27946" RevisionGUID="9238d732-6bdd-4fa4-af2a-bef059e6f1bd" CreationDate="2014-03-19T15:20:27.297" UserId="7782" Text="For about a year now I've been curious to have a different way of looking at the internet. having a way to see or hear data sets in a way that would give a &quot;zoomed-out&quot; look at the set, rather than at the individual points of data.&#xD;&#xA;&#xD;&#xA;I've been dreaming up a project that involves using MAX/MSP to develop an audio engine or instrument that will ultimately be played by data sets pulled from the web, preferably in real-time. The end goal is a representation of those data sets through sound. Imagine hearing a ping or a note every time a certain hashtag is used on twitter, a certain mood is used on facebook, or a plane lands at a certain airport. &#xD;&#xA;&#xD;&#xA;I've used Max for a number of years now, and am pretty familiar with a lot of basic objects and functions, but I have no background in programming and coding.&#xD;&#xA;&#xD;&#xA;**My main question is this**: I am looking for either a place to learn what kinds of code I need to know in order to interface with Max, or potentially a collaborator who is familiar with both Max and the languages needed. I suspect JavaScript will be used, as well as &quot;web API&quot; codes from the individual websites. &#xD;&#xA;&#xD;&#xA;I've looked through the Max manual and tutorials, but I don't know enough programming to make any sense of it.&#xD;&#xA;&#xD;&#xA;If someone could possibly point me in the right direction, that'd be great!!&#xD;&#xA;&#xD;&#xA;Thanks! Robert&#xD;&#xA;&#xD;&#xA;PS - I've found this post, and was wondering if it would be beneficial to go through these, or if this is the other way round from what I'm trying to do: &#xD;&#xA;http://sound.stackexchange.com/questions/17435/interactive-audio-learn-how-to-build-web-mobile-audio-applications-using-java" ContentLicense="CC BY-SA 3.0" />
  <row Id="51843" PostHistoryTypeId="1" PostId="27946" RevisionGUID="9238d732-6bdd-4fa4-af2a-bef059e6f1bd" CreationDate="2014-03-19T15:20:27.297" UserId="7782" Text="Using Max/MSP to interpret real-time data sets from the web" ContentLicense="CC BY-SA 3.0" />
  <row Id="51844" PostHistoryTypeId="3" PostId="27946" RevisionGUID="9238d732-6bdd-4fa4-af2a-bef059e6f1bd" CreationDate="2014-03-19T15:20:27.297" UserId="7782" Text="&lt;programming&gt;&lt;max-msp&gt;&lt;data&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51845" PostHistoryTypeId="5" PostId="27937" RevisionGUID="7551fb47-e04e-4f6d-a5a5-1ce9849c082b" CreationDate="2014-03-19T16:07:08.353" UserId="37" Comment="added 15 characters in body" Text="As far as digits are concerned, you can multiply by any &quot;gain&quot; you wish, as long as you do not overflow (-127 to 128 for 8 bit; -32676 to +32678 for 16bit audio; ±8.3x10&lt;sup&gt;6&lt;/sup&gt; for 24bit audio, and up to ±1.7×10&lt;sup&gt;38&lt;/sup&gt; for 32bit floating point). However, there will be some rounding involved, and the fewer the bits the more the rounding error.&#xD;&#xA;&#xD;&#xA;Note that whatever the format, in linear PCM, a peak at -6dB will still take half the maximum value in terms of numbers.&#xD;&#xA;&#xD;&#xA;However, for (typically 16 bit) systems that utilise dithering to increase dynamic range and lower distortion, applying gain after dithering has taken place increases the deliberate noise injected at the floor to offset the quantisation errors, and may introduce new quantisation errors. &#xD;&#xA;&#xD;&#xA;Once the noise floor is more audible, also with more quantisation errors (gain staging without sufficient resolution, leading to too much rounding errors) the clarity of the signal starts going down. This is, of course, assuming no clipping or other distortion has taken place yet. Hence DAWs and plugins internally working at 32, 40, 48, or 64bit PCM.&#xD;&#xA;&#xD;&#xA;So far this is purely digital stuff. When the signal goes through the convertors you get into all sorts of non-linearity - from the DACs (none are perfect and the generally accepted wisdom is that hot is better as long as you don't clip), through the signal chain (some units are deliberately non-linear), to the amps and speakers (amp classes, but also speaker cone stiffness), and finally your ears (fletcher munson).&#xD;&#xA;&#xD;&#xA;On the whole, if a system has sufficient resolution, from 24 bit and up, i wouldn't worry about gain, and only worry about headroom (digital won't go past 0dB), or source signal noise (it gets amplified as much as the signal). Sometimes your brain does the noise reduction work for you, but every person's threshold is different.. Makes the subject really exciting for me.&#xD;&#xA;&#xD;&#xA;Theoretically, for best results, play at 0 gain everywhere. Source software -&gt; system volume -&gt; audio interface mixer. In practice, in a 24+ bit pipeline, you can look after your needs and pay no attention to the digits." ContentLicense="CC BY-SA 3.0" />
  <row Id="51846" PostHistoryTypeId="2" PostId="27947" RevisionGUID="0c33d928-a5e3-402f-9bec-bc72d9f15311" CreationDate="2014-03-19T21:29:58.897" UserId="6625" Text="I would write my thesis about Audio Post in Film, compare the industries between my country, other European country and America.&#xD;&#xA;&#xD;&#xA;So from the very specialised industry till when 1 or 2 person make the whole sound for a feature film. If the suggestions (books, websites, etc..) containing some financial concerns, it would be more than perfect!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51847" PostHistoryTypeId="1" PostId="27947" RevisionGUID="0c33d928-a5e3-402f-9bec-bc72d9f15311" CreationDate="2014-03-19T21:29:58.897" UserId="6625" Text="Books aboute the Sound Industry" ContentLicense="CC BY-SA 3.0" />
  <row Id="51848" PostHistoryTypeId="3" PostId="27947" RevisionGUID="0c33d928-a5e3-402f-9bec-bc72d9f15311" CreationDate="2014-03-19T21:29:58.897" UserId="6625" Text="&lt;post-production&gt;&lt;books&gt;&lt;film-industry&gt;&lt;job-description&gt;&lt;thesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51849" PostHistoryTypeId="4" PostId="27947" RevisionGUID="ee673062-cebf-4656-a53e-5af66f5eaf8a" CreationDate="2014-03-19T21:42:27.697" UserId="6625" Comment="edited title" Text="Books about the Sound Industry_ how it works" ContentLicense="CC BY-SA 3.0" />
  <row Id="51850" PostHistoryTypeId="5" PostId="27947" RevisionGUID="5a83ba42-7a98-4183-b63e-b57fd45e232b" CreationDate="2014-03-19T22:09:58.110" UserId="6625" Comment="added 113 characters in body" Text="I'll finish my university in this year and i would write my thesis about Audio Post in Film, compare the industries between my country, other European country and America.&#xD;&#xA;&#xD;&#xA;So from the very specialised industry till when 1 or 2 person make the whole sound for a feature film. &#xD;&#xA;I'm looking for some books for this topic like&#xD;&#xA;![book](http://tinyurl.com/qd5vwkt)&#xD;&#xA;&#xD;&#xA;If the suggestions containing some financial concerns, it would be more than perfect!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51857" PostHistoryTypeId="2" PostId="27950" RevisionGUID="a5b60b71-9347-4407-9081-04693c3263ed" CreationDate="2014-03-20T06:42:27.673" UserId="7642" Text="The question is a bit vague. There are lots of books about film, and quite a few books about film sound. But most won't mention any differences between Europe/US other than in anecdotal form.&#xD;&#xA;&#xD;&#xA;There really is no &quot;magic&quot; difference. The main differences between big &quot;Hollywood blockbuster type&quot; films and typical European films is budget, number of folks working on the film and the scale of things. The scale and size is mainly what drives the other differences such as:&#xD;&#xA;workflow, stricter role divisions, higher specialization in most areas of expertise and of course the possible return of investment that actually drive the main difference ie the budget from the start. &#xD;&#xA;&#xD;&#xA;As for books:&#xD;&#xA;Dialog for motion pictures by Purcell.&#xD;&#xA;Anything with or by Walter Murch,&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51858" PostHistoryTypeId="5" PostId="27950" RevisionGUID="b728d00e-b2a0-4dc3-b350-46936462ecca" CreationDate="2014-03-20T06:48:08.057" UserId="7642" Comment="added 114 characters in body" Text="The question is a bit vague. There are lots of books about film, and quite a few books about film sound. But most won't mention any differences between Europe/US other than in anecdotal form.&#xD;&#xA;&#xD;&#xA;There really is no &quot;magic&quot; difference. The main differences between big &quot;Hollywood blockbuster type&quot; films and typical European films is budget, number of folks working on the film and the scale of things. The scale and size is mainly what drives the other differences such as:&#xD;&#xA;workflow, stricter role divisions, higher specialization in most areas of expertise and of course the possible return of investment that actually drive the main difference ie the budget from the start. &#xD;&#xA;&#xD;&#xA;As for books:&#xD;&#xA;Dialog for motion pictures by Purcell.&#xD;&#xA;Anything with or by Walter Murch.&#xD;&#xA;Just search on amazon.&#xD;&#xA;But do read enough different books so that you won't base your paper on just one or two.&#xD;&#xA;Try to avoid technical books from early 90s and earlier. They will give a lot of cool knowledge but they won't explain how we work today technically. Conceptually it's still all the same really :)&#xD;&#xA;The more things change the more they stay the same. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51859" PostHistoryTypeId="2" PostId="27951" RevisionGUID="6104de53-e5b0-47a3-b1ae-04a3a5ad1878" CreationDate="2014-03-20T09:29:03.230" UserId="1185" Text="A couple of years ago, one of my students created a Max/MSP patch that would read a Twitter feed and would give a live sonification, via an additive/granular synthesis engine.  This is along similar lines to what you are talking about.  You can find further details on his blog at:  [http://samharman.com/2011/03/twinthesis-twitter-powered-synthesis/][1]&#xD;&#xA;&#xD;&#xA;I think you should be able to do the whole thing in Max, as was done in this case, but you will need to decide how to pick your data feed from the internet and which feed(s) you will use.&#xD;&#xA;&#xD;&#xA;  [1]: http://samharman.com/2011/03/twinthesis-twitter-powered-synthesis/" ContentLicense="CC BY-SA 3.0" />
  <row Id="51860" PostHistoryTypeId="2" PostId="27952" RevisionGUID="8690a752-409c-4728-94e4-5f078a880cb2" CreationDate="2014-03-20T12:06:36.443" UserId="7788" Text="The Jedi lightsabres are tuned in A and the Sith ones are tuned in G. The 2 semitone pitch difference is present to make the duels seem more sinister and tense. It works too, if you pitched them both the same there would be a noticable difference in dramatic effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="51861" PostHistoryTypeId="5" PostId="18415" RevisionGUID="96fc6782-e4a8-4289-9648-edbbe330c96c" CreationDate="2014-03-20T12:13:05.963" UserId="6957" Comment="add quote block" Text="I've always been fascinated with 7.83Hz, or the Schumann Resonance.&#xD;&#xA;&#xD;&#xA;&gt; &quot;Since life began, the Earth has been surrounding all living things&#xD;&#xA;&gt; with this natural vibration. These naturally occurring Schumann Waves&#xD;&#xA;&gt; are an essential ingredient of all biological life on Earth. Research&#xD;&#xA;&gt; seems to suggest that our biological system is &quot;tuned&quot; into the&#xD;&#xA;&gt; Schumann Frequency of our planet.&#xD;&#xA;&gt; &#xD;&#xA;&gt; Scientists have also confirmed that these Vibrations are not only an&#xD;&#xA;&gt; essential ingredient of life, they in fact have shaped our life, and&#xD;&#xA;&gt; thru the eons of time have determined the frequency spectrum of the&#xD;&#xA;&gt; human brain. The Schumann Resonance was first used for healing by Dr.&#xD;&#xA;&gt; Ludwig in Germany , who is known as the Father of Magnetic Therapy.&#xD;&#xA;&gt; Dr. Ludwig convinced NASA to install Schumann Resonance devices on&#xD;&#xA;&gt; spacecraft to have a stabilizing effect on the astronaut's health in&#xD;&#xA;&gt; space.&quot;&#xD;&#xA;&#xD;&#xA;Excerpt from:&#xD;&#xA;http://www.helptostop.co.uk/frequency.html&#xD;&#xA;&#xD;&#xA;There's also a wiki page:&#xD;&#xA;http://en.wikipedia.org/wiki/Schumann_resonances" ContentLicense="CC BY-SA 3.0" />
  <row Id="51862" PostHistoryTypeId="2" PostId="27953" RevisionGUID="9c73d60b-8a0d-42a8-951c-5344e4403df2" CreationDate="2014-03-20T12:27:06.943" UserId="7607" Text="I have several sound effects in ogg format. I have to export them in mp3. I oppened each of them in Audacity and used export functionality to achieve my goal. But when I played the sounds in mp3 format, they had poor quality, like they have some hidden buzzing.&#xD;&#xA;&#xD;&#xA;How can I improve, or should I use other tools to export?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51863" PostHistoryTypeId="1" PostId="27953" RevisionGUID="9c73d60b-8a0d-42a8-951c-5344e4403df2" CreationDate="2014-03-20T12:27:06.943" UserId="7607" Text="Exporting from ogg to mp3 has poor quality" ContentLicense="CC BY-SA 3.0" />
  <row Id="51864" PostHistoryTypeId="3" PostId="27953" RevisionGUID="9c73d60b-8a0d-42a8-951c-5344e4403df2" CreationDate="2014-03-20T12:27:06.943" UserId="7607" Text="&lt;sound-effects-recording&gt;&lt;mp3&gt;&lt;audacity&gt;&lt;exporting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51865" PostHistoryTypeId="6" PostId="27575" RevisionGUID="8d8f28a2-6df2-49c2-82a1-5baa9bf45c77" CreationDate="2014-03-20T16:58:57.020" UserId="1216" Comment="added tags" Text="&lt;compression&gt;&lt;routing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51866" PostHistoryTypeId="24" PostId="27575" RevisionGUID="8d8f28a2-6df2-49c2-82a1-5baa9bf45c77" CreationDate="2014-03-20T16:58:57.020" Comment="Proposed by 1216 approved by -1 edit id of 93" ContentLicense="CC BY-SA 3.0" />
  <row Id="51867" PostHistoryTypeId="6" PostId="27575" RevisionGUID="808ef6c8-2d6e-4dab-bf6e-f752427db841" CreationDate="2014-03-20T16:58:57.020" UserId="7016" Comment="added tags" Text="&lt;compression&gt;&lt;interference&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51868" PostHistoryTypeId="6" PostId="26918" RevisionGUID="02aad9a9-a74b-48f5-8c53-cbf11ea569f8" CreationDate="2014-03-20T16:59:14.387" UserId="1216" Comment="added tags" Text="&lt;amplifier&gt;&lt;buying-stuff&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51869" PostHistoryTypeId="24" PostId="26918" RevisionGUID="02aad9a9-a74b-48f5-8c53-cbf11ea569f8" CreationDate="2014-03-20T16:59:14.387" Comment="Proposed by 1216 approved by 7016 edit id of 90" ContentLicense="CC BY-SA 3.0" />
  <row Id="51872" PostHistoryTypeId="6" PostId="26264" RevisionGUID="0530ff4b-8267-47ca-9786-de2a09788a14" CreationDate="2014-03-20T16:59:42.803" UserId="1216" Comment="added tags" Text="&lt;audio-interfaces&gt;&lt;asio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51873" PostHistoryTypeId="24" PostId="26264" RevisionGUID="0530ff4b-8267-47ca-9786-de2a09788a14" CreationDate="2014-03-20T16:59:42.803" Comment="Proposed by 1216 approved by 7016 edit id of 85" ContentLicense="CC BY-SA 3.0" />
  <row Id="51874" PostHistoryTypeId="6" PostId="27487" RevisionGUID="0c44c97b-abc3-4ffa-832e-dd03dc8171ae" CreationDate="2014-03-20T16:59:59.967" UserId="1216" Comment="added tags" Text="&lt;publishing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51875" PostHistoryTypeId="24" PostId="27487" RevisionGUID="0c44c97b-abc3-4ffa-832e-dd03dc8171ae" CreationDate="2014-03-20T16:59:59.967" Comment="Proposed by 1216 approved by 7016 edit id of 87" ContentLicense="CC BY-SA 3.0" />
  <row Id="51876" PostHistoryTypeId="6" PostId="20064" RevisionGUID="036835df-0f6e-4ce0-a905-79a58e5810b3" CreationDate="2014-03-20T17:00:11.113" UserId="1216" Comment="added tags" Text="&lt;professional-practice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51877" PostHistoryTypeId="24" PostId="20064" RevisionGUID="036835df-0f6e-4ce0-a905-79a58e5810b3" CreationDate="2014-03-20T17:00:11.113" Comment="Proposed by 1216 approved by 7016 edit id of 91" ContentLicense="CC BY-SA 3.0" />
  <row Id="51878" PostHistoryTypeId="6" PostId="25070" RevisionGUID="53a3646d-07bd-49e6-8d1c-e86956fb17ef" CreationDate="2014-03-20T17:00:13.420" UserId="1216" Comment="added tags" Text="&lt;hearing&gt;&lt;frequency-response&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51879" PostHistoryTypeId="24" PostId="25070" RevisionGUID="53a3646d-07bd-49e6-8d1c-e86956fb17ef" CreationDate="2014-03-20T17:00:13.420" Comment="Proposed by 1216 approved by 7016 edit id of 86" ContentLicense="CC BY-SA 3.0" />
  <row Id="51880" PostHistoryTypeId="6" PostId="19924" RevisionGUID="986eecab-5960-43cc-8d6e-b1ad9de5df2e" CreationDate="2014-03-20T17:00:34.853" UserId="1216" Comment="added tags" Text="&lt;dynamics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51881" PostHistoryTypeId="24" PostId="19924" RevisionGUID="986eecab-5960-43cc-8d6e-b1ad9de5df2e" CreationDate="2014-03-20T17:00:34.853" Comment="Proposed by 1216 approved by 7016 edit id of 92" ContentLicense="CC BY-SA 3.0" />
  <row Id="51882" PostHistoryTypeId="5" PostId="19924" RevisionGUID="cf37a901-3266-44af-aad0-d6baabcee577" CreationDate="2014-03-20T17:01:17.780" UserId="7016" Comment="deleted 64 characters in body" Text="I could REALLY use some help with this one. I've just started working on my first real feature film, and unfortunately the sound in the OMF given to me is a wreck. &#xD;&#xA;&#xD;&#xA;My biggest issue is some audio files are EXTREMELY quiet and when I try to gain stage them (Pro Tools 10 using the clip gain feature) the audio wave only expands downward, the top seems to 'flat line' (like clipping) right at the zero crossing line and in some cases I can clearly see the zero crossing line above the wave form.&#xD;&#xA;&#xD;&#xA;Is this DC offset? I've NEVER had to deal with DC offset before....&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51883" PostHistoryTypeId="6" PostId="25193" RevisionGUID="d53521e3-d430-449f-859a-2fd030b97c68" CreationDate="2014-03-20T17:03:44.147" UserId="7016" Comment="edited tags" Text="&lt;sync&gt;&lt;reason&gt;&lt;premiere&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51884" PostHistoryTypeId="6" PostId="26797" RevisionGUID="a8b97b00-96f7-48be-8635-fdfcf946f195" CreationDate="2014-03-20T17:09:24.177" UserId="7016" Comment="edited tags" Text="&lt;learning&gt;&lt;electronic-music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51885" PostHistoryTypeId="6" PostId="27531" RevisionGUID="c284766b-a503-4b9f-ba9a-4622f3928c3a" CreationDate="2014-03-20T17:09:51.473" UserId="7016" Comment="edited tags" Text="&lt;conversion&gt;&lt;wav&gt;&lt;sound-quality&gt;&lt;flac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51886" PostHistoryTypeId="6" PostId="26864" RevisionGUID="8e66b33b-10f7-4f0e-ad83-639f7f40a7fc" CreationDate="2014-03-20T17:10:13.837" UserId="7016" Comment="edited tags" Text="&lt;compression&gt;&lt;side-chaining&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51887" PostHistoryTypeId="2" PostId="27954" RevisionGUID="8a57168a-da97-4dbc-8dee-bfe8f3da1eac" CreationDate="2014-03-20T17:10:29.930" UserId="1216" Text="This question is a bit out of context on a sound design q&amp;a site, but easy to answer.&#xD;&#xA;Whenever you re-encode an already encoded soundfile (mp3&gt;export to mp3) you lose more 'sound' information. Look up 'lossy' and 'lossless encoding' on wikipedia and you'll understand it better. &#xD;&#xA;&#xD;&#xA;Oh and in general it's easier for us to answer if you include more details. In this case: &#xD;&#xA;what bitrate did the original ogg file have? And what bitrate did you choose for the mp3 file?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51888" PostHistoryTypeId="6" PostId="27499" RevisionGUID="fadc1bb0-1d2c-48a1-9d42-36d0bfee5b9d" CreationDate="2014-03-20T17:14:33.453" UserId="7016" Comment="edited tags" Text="&lt;compression&gt;&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51889" PostHistoryTypeId="6" PostId="19917" RevisionGUID="01ec0f40-b30e-4125-a2ea-3938bd288f12" CreationDate="2014-03-20T17:23:00.527" UserId="1216" Comment="added tags" Text="&lt;plug-ins&gt;&lt;spectral&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51890" PostHistoryTypeId="24" PostId="19917" RevisionGUID="01ec0f40-b30e-4125-a2ea-3938bd288f12" CreationDate="2014-03-20T17:23:00.527" Comment="Proposed by 1216 approved by 6387 edit id of 88" ContentLicense="CC BY-SA 3.0" />
  <row Id="51893" PostHistoryTypeId="5" PostId="27947" RevisionGUID="fb0f06d4-a23e-4983-bfee-96acd1f0517d" CreationDate="2014-03-20T17:23:32.267" UserId="1216" Comment="rewritten some sentences to clear things up a bit" Text="I'll finish my university in this year and i would write my thesis about Audio Post in Film, compare the industries between my country, other European country and America.&#xD;&#xA;&#xD;&#xA;So the very specialised industry compared to a 1 or 2 person team that make the whole soundtrack for a feature film. &#xD;&#xA;I'm looking for some books for this topic like&#xD;&#xA;![book](http://tinyurl.com/qd5vwkt)&#xD;&#xA;&#xD;&#xA;If the suggestions also contain financial concerns, it would be more than perfect!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51894" PostHistoryTypeId="24" PostId="27947" RevisionGUID="fb0f06d4-a23e-4983-bfee-96acd1f0517d" CreationDate="2014-03-20T17:23:32.267" Comment="Proposed by 1216 approved by 6387 edit id of 94" ContentLicense="CC BY-SA 3.0" />
  <row Id="51895" PostHistoryTypeId="5" PostId="26889" RevisionGUID="b0e10c4f-79e3-4262-be73-061ba4420323" CreationDate="2014-03-20T17:33:32.000" UserId="7016" Comment="deleted 19 characters in body; edited tags" Text="A friend of mine mentioned that he had read somewhere that Autotune is actually not a vocoder. Is this true? If so, what is the difference? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51896" PostHistoryTypeId="6" PostId="26889" RevisionGUID="b0e10c4f-79e3-4262-be73-061ba4420323" CreationDate="2014-03-20T17:33:32.000" UserId="7016" Comment="deleted 19 characters in body; edited tags" Text="&lt;vocoder&gt;&lt;autotune&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51897" PostHistoryTypeId="5" PostId="26036" RevisionGUID="bc3f7e8e-b379-4478-bc38-61204addbc40" CreationDate="2014-03-20T17:34:03.977" UserId="7016" Comment="edited body; edited tags" Text="What is &quot;Latency&quot; in a digital recording studio?&#xD;&#xA;&#xD;&#xA;Do I need to be worried about it? What is an &quot;acceptable&quot; level of latency?&#xD;&#xA;&#xD;&#xA;What's the best way of reducing latency?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51898" PostHistoryTypeId="6" PostId="26036" RevisionGUID="bc3f7e8e-b379-4478-bc38-61204addbc40" CreationDate="2014-03-20T17:34:03.977" UserId="7016" Comment="edited body; edited tags" Text="&lt;studio&gt;&lt;latency&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51899" PostHistoryTypeId="2" PostId="27955" RevisionGUID="3025397e-ccd3-4d16-b0b7-ab0e177c6e16" CreationDate="2014-03-20T17:44:35.570" UserId="37" Text="GRM Tools' price is based on provided value more than anything. It's not you, they are expensive.&#xD;&#xA;Much like Waves, they are standard in the industry's toolset. Unlike Waves they don't do promotions every other week. I find GRM crashtastic.. for that alone they should cost less. Very difficult to find equivalents." ContentLicense="CC BY-SA 3.0" />
  <row Id="51900" PostHistoryTypeId="6" PostId="26482" RevisionGUID="eb6f294d-8ce8-4d05-8837-dad645c663da" CreationDate="2014-03-20T17:46:04.267" UserId="7016" Comment="edited tags" Text="&lt;latency&gt;&lt;guitar-rig&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51901" PostHistoryTypeId="6" PostId="27077" RevisionGUID="9b5901f1-f476-4dcf-b96b-d254f2b9a07a" CreationDate="2014-03-20T18:08:04.977" UserId="7016" Comment="edited tags" Text="&lt;ableton-live&gt;&lt;compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51902" PostHistoryTypeId="6" PostId="8538" RevisionGUID="4610de11-fcd3-4705-8cbc-c30a4fb27de9" CreationDate="2014-03-20T18:12:11.400" UserId="7016" Comment="edited tags" Text="&lt;gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51905" PostHistoryTypeId="2" PostId="27957" RevisionGUID="323ffb48-82ba-4677-9459-86b5481052f5" CreationDate="2014-03-20T21:02:43.813" UserId="7793" Text="I was walking on a back country dirt road near Algonquin Park about 5 in the morning, very quiet. Suddenly lightning hit a tree about 75 feet away and a large branch was split partly off the trunk.&#xD;&#xA;To re-create the sound I heard, you could try the following. For best results you will need access to a Cooper Time Cube device. For secondary results you could use a vacuum cleaner hose.&#xD;&#xA;You will be making a large &quot;pop&quot; sound, such as you might by using a finger in your mouth like kids do, but producing a much bigger sound. The Time Cube type of reverberation will lengthen the sound and give it the multi-hollow reverberation similar to what you hear by listening to things through a vacuum cleaner hose.&#xD;&#xA;Obtain a large rubber stopper for laboratory apparatus and a 2 foot (or so) length of straight stiff ABS pipe. The stopper has to tightly fit inside the pipe. Drill a hole through the stopper, fit a bolt through it and attach some light cable to the bolt.&#xD;&#xA;Clamp the pipe vertically, spray WD40 into the pipe, covering every bit of interior surface. Feed the cable down through the pipe and insert the stopper into the top of the pipe. Close the top of the pipe with an abs cap and cover the seam with duct tape. Attach a cement block to the cable at the bottom of the pipe.&#xD;&#xA;Start recording.&#xD;&#xA;Drop the block onto a pillow.&#xD;&#xA;If the stopper won't travel, shorten the pipe.&#xD;&#xA;If the sound is too deep, shorten the pipe.&#xD;&#xA;Repeat procedure with shorter lengths of pipe for experiment.&#xD;&#xA;Play the sound through the Cube or through a vacuum cleaner hose. Multi-hollow reverberation should extend for about 2 seconds.&#xD;&#xA;That should take care of the &quot;CRACK&quot; sound.&#xD;&#xA;There was no sound of the lightning striking the tree, only the CRACK of the air column and the Splitting sound of the large branch as it peeled partly off the trunk.&#xD;&#xA;In place of the tree branch, you might use the sound of objects being knocked flying. A pile of tin cans being knocked down a cement incline might demonstrate this effect.&#xD;&#xA;This is a bit of work. If successful, you will achieve some originality.&#xD;&#xA;tsanderson mar20-14&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51906" PostHistoryTypeId="2" PostId="27958" RevisionGUID="4f208275-92c1-41b3-b792-cfe254e96a45" CreationDate="2014-03-20T21:32:50.793" UserDisplayName="user7731" Text="What are some tips and techniques on recording paper, pencil, chalkboard and other often harsh sounding foley?&#xD;&#xA;&#xD;&#xA;Many times I'm designing an animated piece that requires organic foley elements like pencil drawings, chalkboard writing, paper moves, shuffles and such that need to have solid presence in a mix but often times record very harsh.&#xD;&#xA;&#xD;&#xA;Aside from applying EQ to work out harsh frequencies, what other techniques are folks using when recording, designing, and mixing (like mic choices, distance etc) to capture and design these elements that can often sound harsh when recorded? " ContentLicense="CC BY-SA 3.0" />
  <row Id="51907" PostHistoryTypeId="1" PostId="27958" RevisionGUID="4f208275-92c1-41b3-b792-cfe254e96a45" CreationDate="2014-03-20T21:32:50.793" UserDisplayName="user7731" Text="What are some tips and techniques on recording paper, pencil, chalkboard and other often harsh sounding foley?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51908" PostHistoryTypeId="3" PostId="27958" RevisionGUID="4f208275-92c1-41b3-b792-cfe254e96a45" CreationDate="2014-03-20T21:32:50.793" UserDisplayName="user7731" Text="&lt;foley&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51909" PostHistoryTypeId="2" PostId="27959" RevisionGUID="ed280f13-eff0-4b26-aa3c-654856882620" CreationDate="2014-03-20T22:44:23.210" UserId="7787" Text="One approach would be to use a general purpose programming language (like Python) to access the internet data, and then send the data to Max using OSC.&#xD;&#xA;&#xD;&#xA;There are some good Python libraries, such as [BeatifulSoup](http://www.crummy.com/software/BeautifulSoup/), that make gathering data from web pages fairly easy.&#xD;&#xA;&#xD;&#xA;The [PyOSC library](https://trac.v2.nl/wiki/pyOSC) will allow you to send data to Max, which can be received using the [udpreceive object](http://cycling74.com/docs/max5/refpages/max-ref/udpreceive.html)." ContentLicense="CC BY-SA 3.0" />
  <row Id="51910" PostHistoryTypeId="5" PostId="25070" RevisionGUID="c8848dea-ca1a-4143-a4e7-2c746b4a61b2" CreationDate="2014-03-21T00:42:08.953" UserId="7511" Comment="added 11 characters in body" Text="The [frequency range of human hearing](http://avp.stackexchange.com/questions/3312/how-is-it-possible-to-hear-something-at-44-1khz) is fairly common knowledge, at around 20Hz-20kHz. The [range of volumes we can hear](http://hyperphysics.phy-astr.gsu.edu/hbase/Sound/earsens.html) is between about 0 and 130 decibels.&#xD;&#xA;&#xD;&#xA;What is the resolution of human hearing between those limits, both in the frequency and amplitude domain? That is, what is the minimal change in frequency and amplitude that we can distinguish? Also, does this resolution change much along the range? For instance, do we have more difficulty determining the difference between a quarter tone at high frequencies than we do at low frequencies?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51912" PostHistoryTypeId="2" PostId="27960" RevisionGUID="1ff24d06-974a-4983-9bdf-050b634a6d97" CreationDate="2014-03-21T01:24:47.930" UserDisplayName="user6513" Text="Having the same problem as you, I've had varying success with using different microphones and varying the distance between the microphone and object. More often than not, I think I've always had issues with proximity effect because my microphones just aren't sensitive enough.&#xD;&#xA;&#xD;&#xA;I'm usually my own band so I can't work out how to use a 2 mic setup. If you do have an extra pair of hands though, it helps to use a second mic further away from source and closer to a wall. I've seen Foley mixers use this setup so that they can mix the 2 mics (on the fly) to achieve a more realistic recording.&#xD;&#xA;&#xD;&#xA;Hopefully someone else will chime in with a better answer. I'm hoping to stay in denial so I don't have to buy a better microphone!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51913" PostHistoryTypeId="2" PostId="27961" RevisionGUID="cd188c07-11c9-4501-96c8-a2e38a0a3f2c" CreationDate="2014-03-21T03:57:29.203" UserId="7794" Text="I wouldn't do it. I run a PT9 HD3 rig and it made my system freak out. My D-Command Faders (Digidesign pre-avid version) wouldn't even connect anymore. Also lost a large portion of files and backups form my 3rd inboard hard drive thanks to faulty permissions in the time machine backups afterwards. I went back to SL and have basically been running a 2009 system with no problems from updated plugs or anything. It isn't worth upgrading if you are using it solely for recording or mastering. It seems to me that it is only a cosmetic fix and the app problems are taken care of by the Digi core so no worries with latency issues. The cpu leak is probably from the new codes that are designed to shut down background processes that have to run while PT is running. Thus causing an open close error sapping your available memory. Just run ML if it worked for you. I find SL to be the best platform for my PT9 system though.&#xD;&#xA;&#xD;&#xA;Concerned mac user and PT freak.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51914" PostHistoryTypeId="5" PostId="27888" RevisionGUID="4be93ed1-0c70-4e5a-a8ed-489357b8f11a" CreationDate="2014-03-21T04:06:02.997" UserId="7174" Comment="removed the part unrelated to the question and cleaned up a typo.  Like the question though." Text="This is a question about personal observation of designer aesthetics and taste.&#xD;&#xA;&#xD;&#xA;As someone who is hired to design sounds for all types of moving pictures, animations, graphics and scenes, I find myself very often being honest with myself and asking &quot;does this thing I'm looking at need a sound at all?&quot;&#xD;&#xA;&#xD;&#xA;As sound designers, we inherently love to throw down complex stylized cool sounds, future glitchy sound effects, detailed micro timed edits and automation matching perfectly to a visual occurrence and often times bringing it to life in a way impossible without the detailed sound work. But, as I grow in my profession, more frequently I will make the call to not put some sound effect on something, or not sound design a piece and just let the music and voice tell the story.&#xD;&#xA;&#xD;&#xA;So, my question in the broadest since is:&#xD;&#xA;&#xD;&#xA;Do you ever find yourself in this position?&#xD;&#xA;&#xD;&#xA;Have you ever told a client &quot;I don't think it needs sound design&quot; even though you've been offered the job to design it?&#xD;&#xA;&#xD;&#xA;Have you ever spent time on a complex design piece only to step back, be objective and realize the piece is better without much of the sonic design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51915" PostHistoryTypeId="14" PostId="8538" RevisionGUID="a49f4531-ce06-43ca-a222-fd1f4266739d" CreationDate="2014-03-21T06:20:40.783" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="51916" PostHistoryTypeId="35" PostId="8538" RevisionGUID="0b74f09a-d507-47ec-a2ab-ba19d9c392da" CreationDate="2014-03-21T06:20:40.783" UserId="6387" Comment="to https://sound.meta.stackexchange.com/questions/154/some-gear-prawn" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6387,&quot;DisplayName&quot;:&quot;Tim Post&quot;}]}" />
  <row Id="51917" PostHistoryTypeId="35" PostId="8634" RevisionGUID="5f6d30b0-0e74-4064-bf5f-bb033e5f9468" CreationDate="2014-03-21T06:20:40.783" UserId="-1" Comment="to https://sound.meta.stackexchange.com/questions/154/some-gear-prawn" />
  <row Id="51918" PostHistoryTypeId="10" PostId="8538" RevisionGUID="87fef571-357c-41a9-a6d7-63e379286ff5" CreationDate="2014-03-21T06:20:40.783" UserId="6387" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6387,&quot;DisplayName&quot;:&quot;Tim Post&quot;}]}" />
  <row Id="51928" PostHistoryTypeId="2" PostId="27962" RevisionGUID="67b15522-fb5c-4045-a78b-317b6e4270d1" CreationDate="2014-03-21T07:07:36.597" UserId="7642" Text="Well they are harsh sounds... &#xD;&#xA;&#xD;&#xA;First make sure that what you do as step number one is to control the source, change material (paper/board type, different pen or chalk etc) until you get a sound you really like. &#xD;&#xA;Authenticity is rarely important, fake it!&#xD;&#xA;&#xD;&#xA;Second, mic choice can go a long way, try a dynamic mic. Stay away from regular dialog/boom mics, use softer sounding mics. But if they get to soft you will loose the harsh qualities that are really needed to carry the sound.&#xD;&#xA;&#xD;&#xA;If none of the above works you can always try plain old processing, notch eq, frequency dependent compression etc. back to square one..." ContentLicense="CC BY-SA 3.0" />
  <row Id="51929" PostHistoryTypeId="2" PostId="27963" RevisionGUID="04d2e800-3994-4dd8-8ea6-99b26ee4e8c1" CreationDate="2014-03-21T07:49:46.100" UserId="6425" Text="To get rid of harshness at recording try the following:&#xD;&#xA;&#xD;&#xA; 1. Record with a distance. Rarely to we hear a paper get torn fro ma distance of 20-30 cm. More so 50cm+++&#xD;&#xA; 2. Go off axis. This will get rid of directional and thus high frequency material a bit.&#xD;&#xA; 3. Try DeEssers or Multiband compressors to get rid of peaks in the 4000 and 8000 Hz region&#xD;&#xA; 4. Use dynamic mics instead of condenser mics.&#xD;&#xA;&#xD;&#xA;Moreover, sometimes you think a sound is very harsh if you hear it on your own, when you have some ambience and other sounds, you can change the relative volume and so the harshness might be less of a problem.&#xD;&#xA;&#xD;&#xA;Good Day" ContentLicense="CC BY-SA 3.0" />
  <row Id="51930" PostHistoryTypeId="2" PostId="27964" RevisionGUID="7492882f-368e-400d-b96a-fed58a5d9957" CreationDate="2014-03-21T13:43:47.767" UserId="7796" Text="I am planning on testing out my new audio interface by recording a guitar/bass piece. I have always liked the music from rockschool and the backing tracks are great so I will use them. My question is, is there any way to extract just the drums from the two backing tracks I have. &#xD;&#xA;&#xD;&#xA;I've seen many posts about splitting an audio track into its instruments with no prevail so I'm hoping that with the slight difference in my plan, there may be a solution.&#xD;&#xA;&#xD;&#xA;I have the guitar backing track (contains drums and bass) and the bass backing track (contains drums and guitar) and so I was wondering if there was any software that could analyse these audio files and output just the drums.&#xD;&#xA;&#xD;&#xA;I have Audacity and Logic Pro X in my arsenal but that is it.&#xD;&#xA;&#xD;&#xA;Any help would be greatly appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="51931" PostHistoryTypeId="1" PostId="27964" RevisionGUID="7492882f-368e-400d-b96a-fed58a5d9957" CreationDate="2014-03-21T13:43:47.767" UserId="7796" Text="Finding what's common between two tracks" ContentLicense="CC BY-SA 3.0" />
  <row Id="51932" PostHistoryTypeId="3" PostId="27964" RevisionGUID="7492882f-368e-400d-b96a-fed58a5d9957" CreationDate="2014-03-21T13:43:47.767" UserId="7796" Text="&lt;editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51933" PostHistoryTypeId="2" PostId="27965" RevisionGUID="05ccb270-a81d-41b4-b033-d01f5670ac57" CreationDate="2014-03-21T14:11:35.737" UserDisplayName="user6513" Text="Coming from a film sound perspective, here's my 2 cents. I would reckon abstract sound design to be a piece of work that fulfills some of the following criteria:&#xD;&#xA;&#xD;&#xA;- not made to a visual cue&#xD;&#xA;- an unrecognizable sound&#xD;&#xA;- an irregular series of sounds that form no linear coherence (did I just make up a word?)&#xD;&#xA;- produced in an unconventional method&#xD;&#xA;- a formless or shapeless transmission (i.e. beyond the ability to project from a speaker, using the environment to form an intended soundscape)&#xD;&#xA;- a sound for a hypothetical&#xD;&#xA;- a sound that intrigues but is not understood (if it doesn't intrigue, then it's just noise and can't be considered as an intended attempt at designing abstraction.&#xD;&#xA;&#xD;&#xA;That last line does it in a little for me. Reminds me of being back in art school but to if we did get into semantics though, we would have to deconstruct and define the words 'abstract' and 'design'. Sound in this case, is just the medium.&#xD;&#xA;&#xD;&#xA;Pardon me if it makes no sense but it's a pretty interesting question and I thought I just had to try. :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="51934" PostHistoryTypeId="2" PostId="27966" RevisionGUID="a17c5ca6-d413-4c6f-bfb5-5726055c98ec" CreationDate="2014-03-21T14:25:29.787" UserId="7798" Text="&#xD;&#xA;Having found myself standing next to a lightning strike in far-too-close proximity, I think I can help characterize the sound of it.&#xD;&#xA;&#xD;&#xA;There are about three distinct characters to the sound.  First, there's a sound like the uncomfortable squeak of two glass objects being rubbed together with grit between them...similar to fingernails on a blackboard...&#xD;&#xA;&#xD;&#xA;Next, (simultaneously) there's a sound like a baseball being thrown very hard and fast into the center of a large sheet of suspended flat tin roofing, but only the &quot;attack&quot; portion of that sound.&#xD;&#xA;&#xD;&#xA;Finally, just following, there's the thunder report, which has a very fast attack and rise, and sounds like a cannon going off, but with lots of high end &quot;crack&quot; instead of low end &quot;boom&quot; though it does have huge power bands in the low end." ContentLicense="CC BY-SA 3.0" />
  <row Id="51935" PostHistoryTypeId="2" PostId="27967" RevisionGUID="1fc9ca1e-ed83-4ca4-b4f6-3cb0f9f8b4f9" CreationDate="2014-03-21T14:28:52.283" UserDisplayName="user7731" Text="Unless the drums and instruments are panned separately hard right and hard left on your rockschool track my short answer to you is NO, there is no magic trick to do that.  You could use something like melodyne and remove all harmonic content and end up with something you probably wouldn't be happy with after a long time working at it but if you're simply wanting to track some guitar and bass to check out your interface then I'd suggest just grabbing a stock drum loop from Logic and add your rock and roll.&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="51936" PostHistoryTypeId="5" PostId="27965" RevisionGUID="cf827fde-3438-4db4-9767-4bba5abc5794" CreationDate="2014-03-21T15:06:26.970" UserDisplayName="user6513" Comment="deleted 3 characters in body" Text="Coming from a film sound perspective, here's my 2 cents. I would reckon abstract sound design to be a piece of work that fulfills some of the following criteria:&#xD;&#xA;&#xD;&#xA;- not made to a visual cue&#xD;&#xA;- an unrecognizable sound&#xD;&#xA;- an irregular series of sounds that form no linear coherence (did I just make up a word?)&#xD;&#xA;- produced in an unconventional method&#xD;&#xA;- a formless or shapeless transmission (i.e. beyond the ability to project from a speaker, using the environment to form an intended soundscape)&#xD;&#xA;- a sound for a hypothetical&#xD;&#xA;- a sound that intrigues but is not understood (if it doesn't intrigue, then it's just noise and can't be considered as an intended attempt at designing abstraction.&#xD;&#xA;&#xD;&#xA;That last line does it in a little for me. Reminds me of being back in art school but if we did get into semantics though, we would have to deconstruct and define the words 'abstract' and 'design'. Sound in this case, is just the medium.&#xD;&#xA;&#xD;&#xA;Pardon me if it makes no sense but it's a pretty interesting question and I thought I just had to try. :D" ContentLicense="CC BY-SA 3.0" />
  <row Id="51938" PostHistoryTypeId="15" PostId="8538" RevisionGUID="15df4024-ab1b-4626-b2ea-6fb3c44bf445" CreationDate="2014-03-21T16:26:42.143" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="51939" PostHistoryTypeId="2" PostId="27968" RevisionGUID="29c54cf2-fc28-4ade-8fe5-dc6239c72fcc" CreationDate="2014-03-21T16:43:04.787" UserId="7799" Text="I'm backing up my dvd's and I can decide what Bitrate the output file (*.avi) will have. I can choose between AC3 (384 kbps, 48000 hz) and MP3 (64 - 384 kbps, 24000 - 48000 hz). &#xD;&#xA;&#xD;&#xA;In that program it is easier for me to click AC3 (I cannot change anything there) than clicking in the MP3 options since most of my dvd's have multiple languages and I have to choose for each language again and again what bitrate / quality they will have.&#xD;&#xA;&#xD;&#xA;However, I just checked that the files on my dvd have only 192 kbps so 384 would be much more. Is that bad or won't I even notice the difference when using 384 kbps?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51940" PostHistoryTypeId="1" PostId="27968" RevisionGUID="29c54cf2-fc28-4ade-8fe5-dc6239c72fcc" CreationDate="2014-03-21T16:43:04.787" UserId="7799" Text="Backing up DVDs on computer and change the audio tracks from 192 to 384 kbps" ContentLicense="CC BY-SA 3.0" />
  <row Id="51941" PostHistoryTypeId="3" PostId="27968" RevisionGUID="29c54cf2-fc28-4ade-8fe5-dc6239c72fcc" CreationDate="2014-03-21T16:43:04.787" UserId="7799" Text="&lt;conversion&gt;&lt;bitrate&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51942" PostHistoryTypeId="5" PostId="20404" RevisionGUID="01d61f29-a712-4daf-808d-c7f061cf8269" CreationDate="2014-03-21T16:44:33.920" UserId="1216" Comment="Typo" Text="Maybe add some high end shimmering, like glass snippets/impulses through a reverb?&#xD;&#xA;Or some high pitched synth tones?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51943" PostHistoryTypeId="2" PostId="27969" RevisionGUID="872c2208-280c-4f34-a9ac-860dcad46224" CreationDate="2014-03-21T17:59:34.437" UserId="7017" Text="It is impossible to upsample the bitrate. Your files have already lost the info from being compressed to 192. It looks to me as if the AC3 is going to give you a similar if not slightly more consistant result to the MP3. Seeing as this option is also easier to do using the program you mentioned... **Go with the AC3**" ContentLicense="CC BY-SA 3.0" />
  <row Id="51944" PostHistoryTypeId="5" PostId="27963" RevisionGUID="6a5e44b6-091b-4611-b31a-d4573f945572" CreationDate="2014-03-21T19:12:25.207" UserId="6425" Comment="edited body" Text="To get rid of harshness at recording try the following:&#xD;&#xA;&#xD;&#xA; 1. Record with a distance. Rarely do we hear a paper get torn from a distance of 20-30 cm. More so 50cm+++&#xD;&#xA; 2. Go off axis. This will get rid of directional and thus high frequency material a bit.&#xD;&#xA; 3. Try DeEssers or Multiband Compressors to get rid of peaks in the 4000 and 8000 Hz region&#xD;&#xA; 4. Use dynamic mics instead of condenser mics.&#xD;&#xA;&#xD;&#xA;Moreover, sometimes you think a sound is very harsh if you hear it on your own, when you have some ambience and other sounds, you can change the relative volume and so the harshness might be less of a problem.&#xD;&#xA;&#xD;&#xA;Good Day" ContentLicense="CC BY-SA 3.0" />
  <row Id="51947" PostHistoryTypeId="5" PostId="27957" RevisionGUID="7d893e76-2850-4028-ad5b-674a83f6623a" CreationDate="2014-03-21T20:13:27.903" UserId="6957" Comment="break up wall of text" Text="I was walking on a back country dirt road near Algonquin Park about 5 in the morning, very quiet. Suddenly lightning hit a tree about 75 feet away and a large branch was split partly off the trunk.&#xD;&#xA;&#xD;&#xA;To re-create the sound I heard, you could try the following. For best results you will need access to a Cooper Time Cube device. For secondary results you could use a vacuum cleaner hose.&#xD;&#xA;&#xD;&#xA;You will be making a large &quot;pop&quot; sound, such as you might by using a finger in your mouth like kids do, but producing a much bigger sound. The Time Cube type of reverberation will lengthen the sound and give it the multi-hollow reverberation similar to what you hear by listening to things through a vacuum cleaner hose.&#xD;&#xA;&#xD;&#xA;Obtain a large rubber stopper for laboratory apparatus and a 2 foot (or so) length of straight stiff ABS pipe. The stopper has to tightly fit inside the pipe. Drill a hole through the stopper, fit a bolt through it and attach some light cable to the bolt.&#xD;&#xA;Clamp the pipe vertically, spray WD40 into the pipe, covering every bit of interior surface. Feed the cable down through the pipe and insert the stopper into the top of the pipe. Close the top of the pipe with an abs cap and cover the seam with duct tape. Attach a cement block to the cable at the bottom of the pipe.&#xD;&#xA;&#xD;&#xA; - Start recording.&#xD;&#xA; - Drop the block onto a pillow.&#xD;&#xA; - If the stopper won't travel, shorten the pipe.&#xD;&#xA; - If the sound is too deep, shorten the pipe.&#xD;&#xA; - Repeat procedure with shorter lengths of pipe for experiment.&#xD;&#xA;&#xD;&#xA;Play the sound through the Cube or through a vacuum cleaner hose. Multi-hollow reverberation should extend for about 2 seconds.&#xD;&#xA;&#xD;&#xA;That should take care of the &quot;CRACK&quot; sound.&#xD;&#xA;&#xD;&#xA;There was no sound of the lightning striking the tree, only the CRACK of the air column and the Splitting sound of the large branch as it peeled partly off the trunk.&#xD;&#xA;&#xD;&#xA;In place of the tree branch, you might use the sound of objects being knocked flying. A pile of tin cans being knocked down a cement incline might demonstrate this effect.&#xD;&#xA;This is a bit of work. If successful, you will achieve some originality.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51948" PostHistoryTypeId="2" PostId="27971" RevisionGUID="cc37363a-fda9-4a09-92d7-c71acb786879" CreationDate="2014-03-21T21:18:34.443" UserId="4390" Text="In addition to the already great advice given:&#xD;&#xA;When going distant, try setting up an absorbent baffle of some kind.&#xD;&#xA;&#xD;&#xA;1. To kill reflections/reverb, if your room is prone to those, thereby also...&#xD;&#xA;2. ... absorb some of the harshness normally reflected and exaggerated&#xD;&#xA;&#xD;&#xA;I had to record a whiteboard pen once - couldn't get close enough with a Rode NT2 to really nail the sound. Sometimes not harsh enough, I guess..." ContentLicense="CC BY-SA 3.0" />
  <row Id="51954" PostHistoryTypeId="2" PostId="27975" RevisionGUID="87f6d552-eb58-406b-9f23-ae44727fe274" CreationDate="2014-03-21T23:14:56.083" UserId="5624" Text="A guy used to show up on the REAPER forum talking about this sort of thing. I don't think he's still around but you may be able to find the old threads with a bit of searching." ContentLicense="CC BY-SA 3.0" />
  <row Id="51961" PostHistoryTypeId="10" PostId="27968" RevisionGUID="89028266-3e9c-47d2-a027-a1af9f7e1105" CreationDate="2014-03-22T13:33:20.637" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="51963" PostHistoryTypeId="2" PostId="27977" RevisionGUID="bd478c87-0229-4fbb-b0e8-0a028a2f47e2" CreationDate="2014-03-22T17:47:29.017" UserId="7189" Text="Regardless of whether audio &quot;brain healing&quot; is an actual thing, you can use steady and modulated frequencies to induce mildly altered states of consciousness. Some people experience these states as pleasant, others as unpleasant. Either way, the effect is subtle enough that you probably won't be able to consciously detect it unless you are an experienced meditator or have otherwise made an effort to develop an awareness of subtle mind states.&#xD;&#xA;&#xD;&#xA;FM synths are a great way to play with these frequency effects. You can start out with sine waves and easily dial up and down the harmonic content. Ableton's Operator is perfectly adequate for the task, as is NI's FM8. The classic Yamaha DX series are also good choices, but you will want to look for a six operator synth like the TX802 rather than the four operator synths like the TX81z. The thing to look for is fine grained control over frequencies and envelopes - this is present in the six op synths but tends to be dumbed down in the four op synths. Also, the button pushing interface gives you very precise control compared to on-screen faders.&#xD;&#xA;&#xD;&#xA;&gt; There is not much on this except for a few esoteric sites which I am skeptical of.&#xD;&#xA;&#xD;&#xA;In my experience, this is a *very* subjective area. Run some experiments on yourself to see if you notice anything. If you don't, then work closely with the installation artist to get it right. I wouldn't bank on any medically-verifiable healing going on, but mild and pleasant trippiness is very possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="51964" PostHistoryTypeId="2" PostId="27978" RevisionGUID="dec10b5c-240b-48e9-ae37-fd5b4d6ad110" CreationDate="2014-03-22T19:08:19.917" UserId="7808" Text="I can't seem to find a recording of a bird (crow in particular) flapping its wings as it flies away in to the distance.  I imagine it would be a hard sound to capture.  How can I make this sound?  Is there a way to make it using a synth?  I heard thats how you can make large 'dragon-like' wing sounds.&#xD;&#xA;&#xD;&#xA;**OR** &#xD;&#xA;&#xD;&#xA;is there a material I can use and perform the wing flaps as foley?  Such as paper?...&#xD;&#xA;&#xD;&#xA;I may have just answered my own question.  Ha!" ContentLicense="CC BY-SA 3.0" />
  <row Id="51965" PostHistoryTypeId="1" PostId="27978" RevisionGUID="dec10b5c-240b-48e9-ae37-fd5b4d6ad110" CreationDate="2014-03-22T19:08:19.917" UserId="7808" Text="Bird flapping/flying away sound effect?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51966" PostHistoryTypeId="3" PostId="27978" RevisionGUID="dec10b5c-240b-48e9-ae37-fd5b4d6ad110" CreationDate="2014-03-22T19:08:19.917" UserId="7808" Text="&lt;birds&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51967" PostHistoryTypeId="5" PostId="3025" RevisionGUID="3d6b82f6-7f77-40ae-b72b-4f11580bb7d4" CreationDate="2014-03-22T19:28:51.837" UserId="61" Comment="spelling, grammar" Text="I posed similar questions in [this thread.][1]&#xD;&#xA;&#xD;&#xA;Afterward I did several tests (which are noted in my response later on in the same thread)&#xD;&#xA;&#xD;&#xA;what I found was that even mics that aren't rated above 20k are perfectly capable of capturing great audio far above the audible range - and are capable of it using a pretty wide array of A/D converters and preamps.&#xD;&#xA;&#xD;&#xA;everything test here is confirmed capable of recording good stuff well above 20k in my own tests:&#xD;&#xA;&#xD;&#xA; - Sony PCM D50&#xD;&#xA; - Schoeps CMC6&#xD;&#xA; - Earthworks DK50&#xD;&#xA; - AT 4050&#xD;&#xA; - Shure VP-88&#xD;&#xA; - Sound Devices 744t&#xD;&#xA; - John Hardy M1&#xD;&#xA; - Digi 192 interface&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'll also reaffirm that higher sample rates really add to the flexibility of sounds.  The doors that I recorded at 96k for Tim Prebble's doors project have already been pitched down and employed in all kinds of heavy impact situations, and because they retain high freq content they don't sound &quot;pitched&quot; at all - they just sound much bigger.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://socialsounddesign.com/questions/2359/re-recording-ultrasonic-frequencies" ContentLicense="CC BY-SA 3.0" />
  <row Id="51968" PostHistoryTypeId="2" PostId="27979" RevisionGUID="12bee8ca-5274-4bec-9500-55b6f2eb440d" CreationDate="2014-03-22T19:47:48.240" UserId="6561" Text="[Clean Bandit song - YouTube][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=fIvWDUtM1pw&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;What kind of instrument resounds from the beginning of the song and it sounds like some oriental harmonica from Hawaii ?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51969" PostHistoryTypeId="1" PostId="27979" RevisionGUID="12bee8ca-5274-4bec-9500-55b6f2eb440d" CreationDate="2014-03-22T19:47:48.240" UserId="6561" Text="What is this instrument?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51970" PostHistoryTypeId="3" PostId="27979" RevisionGUID="12bee8ca-5274-4bec-9500-55b6f2eb440d" CreationDate="2014-03-22T19:47:48.240" UserId="6561" Text="&lt;sound-libraries&gt;&lt;instruments&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51971" PostHistoryTypeId="2" PostId="27980" RevisionGUID="de31ad4c-60a2-408c-910c-707c6eb5a502" CreationDate="2014-03-22T20:04:35.437" UserId="6411" Text="Foley, is the way to go here. I've caught wing flaps (of crows actually), but the ambient sound was too great for them to be a focal point of the mix.&#xD;&#xA;&#xD;&#xA;Try flapping a pair of gloves (leather, fleece, whatever best matches mood/picture). I've also heard of successes performing wing flaps with a feather duster. I'd think paper is too crinkly, although a pillow case might be effective and easy to manipulate. I've even used a loosely-held tissue in front of a large diaphragm mic and pulled it tight to get a flappy, low-end thwump for a sweetener." ContentLicense="CC BY-SA 3.0" />
  <row Id="51972" PostHistoryTypeId="2" PostId="27981" RevisionGUID="d1dc567c-0825-4790-aca8-844197dab838" CreationDate="2014-03-22T20:09:02.903" UserId="6411" Text="While everyone has provided some great answers so far regarding the recording of these harsh sounds, no one has mentioned another critical answer: ***Performance***.&#xD;&#xA;&#xD;&#xA;If you're scribbling with the fury of a 5 year-old with a new set of crayons you're going to get some harshness, regardless of how you mic it." ContentLicense="CC BY-SA 3.0" />
  <row Id="51973" PostHistoryTypeId="2" PostId="27982" RevisionGUID="443d7a26-c48c-4935-b18f-8b6ef2f29fc7" CreationDate="2014-03-22T20:51:14.217" UserId="7026" Text="Foley indeed, but adding a few real pigeon/crow wings flapping away in there works quite well too, it adds that quick whooshy air sound between the flaps.&#xD;&#xA;The thing to do would be quite obvious : If you're in a city, find a not too exposed park on a sunday morning (quiet background), bring some bread, feed the birds. And then run in the middle with your microphone in hand. It's stupidly fun. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51974" PostHistoryTypeId="2" PostId="27983" RevisionGUID="290e102a-3744-4e8a-9759-6ba8199eaf47" CreationDate="2014-03-22T21:13:30.403" UserId="6425" Text="Kalimba (I referenced the Korg M1 Kalimba)&#xD;&#xA;&#xD;&#xA;All those new Bass/Deep/Garage/UK House artist feature a lot of FM synthesis sounds. So it might be a FM recreation of the Kalimba or other Woodblock Instrument.&#xD;&#xA;&#xD;&#xA;On the other hand, since Clean Bandit consist of a DJ/Producer + 4 String Players it might just be a real Kalimba.&#xD;&#xA;&#xD;&#xA;Who knows how exactly they made it, but if you go for some Mallet/Woodblock Intruments like Kalimba or Marimba you will find something you like. (Btw layering Those things with a E Piano sounds amazing!)&#xD;&#xA;&#xD;&#xA;Good Day" ContentLicense="CC BY-SA 3.0" />
  <row Id="51975" PostHistoryTypeId="5" PostId="27978" RevisionGUID="a5cd41f8-bda0-4191-9c30-03a8efa5f4d3" CreationDate="2014-03-22T21:23:45.353" UserId="7045" Comment="formatting, tags" Text="I can't seem to find a recording of a bird (a crow in particular) flapping its wings as it flies away in to the distance.  I imagine it would be a hard sound to capture.  How can I make this sound?  Is there a way to make it using a synth?  I heard that's how you can make large 'dragon-like' wing sounds.&#xD;&#xA;&#xD;&#xA;**OR** &#xD;&#xA;&#xD;&#xA;Is there a material I can use and perform the wing flaps as foley?  Such as paper? &#xD;&#xA;&#xD;&#xA;(I may have just answered my own question.  Ha!)" ContentLicense="CC BY-SA 3.0" />
  <row Id="51976" PostHistoryTypeId="6" PostId="27978" RevisionGUID="a5cd41f8-bda0-4191-9c30-03a8efa5f4d3" CreationDate="2014-03-22T21:23:45.353" UserId="7045" Comment="formatting, tags" Text="&lt;foley&gt;&lt;birds&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51977" PostHistoryTypeId="24" PostId="27978" RevisionGUID="a5cd41f8-bda0-4191-9c30-03a8efa5f4d3" CreationDate="2014-03-22T21:23:45.353" Comment="Proposed by 7045 approved by 61 edit id of 97" ContentLicense="CC BY-SA 3.0" />
  <row Id="51978" PostHistoryTypeId="5" PostId="3181" RevisionGUID="f40264db-61b7-4c1b-bf22-4646943703e6" CreationDate="2014-03-23T02:55:59.257" UserId="6411" Comment="added 221 characters in body" Text="&#xD;&#xA;&gt; ***Honestly, I just edited my answer with this blurb because it's a fantastic question that has been inactive for far too long. More new answers please!***&#xD;&#xA;&#xD;&#xA;This was a great question, Jay. I had to take my time to really think about this one.  Mulling over all the movies that I had seen before I knew I wanted into the biz. Trying to figure out which ones stood out and why. I kept coming back to these two:&#xD;&#xA;&#xD;&#xA;**THE SOUND:** The score of Fantasia&#xD;&#xA;&#xD;&#xA;**THE EFFECT:** Sound really *can* influence picture. This one is a bit of a cheat because, obviously, we're not talking about sound design here, we're talking score. But if anyone ever asks me of an example of sound influencing the direction of picture, this is mine. Sadly, this has yet to find it's way into my work specifically, it's more of an inspiration of what has yet to be. But I haven't given up hope.&#xD;&#xA;&#xD;&#xA;**THE SOUND:** The Train from the Restaurant Scene in The Godfather &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;***Spoiler Alert***&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**THE EFFECT:** This one has gotten a lot of write ups over the years (which may be why it keeps coming to mind), but I think for good reason. It's set up fantastically.  I'd seen The Godfather many times before I'd really realized the effectiveness of the choices that were made in the scene. I still can't say that I'd be as daring as to play back the train that loud, but it does work so well. As the train had already been established in the scene a couple times I remember watching it with the thought of, &quot;oh this is the opportune moment. With the train passing right overhead, less people would be prone to hear the gunshot. His getaway will be clean...&quot; I was caught in the moment of the story, never fully realizing that *the sound of the train ends with the first shot.* What in fact I was always feeling, was this inner motivation of the character. The rush and frenzy of emotion and realization of persona. What I eventually realized was that even though on the surface it may appear straightforward, the sound of a train isn't always a train.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51987" PostHistoryTypeId="2" PostId="27984" RevisionGUID="3379bccc-0110-42b2-a7ef-94b5817c7357" CreationDate="2014-03-23T07:44:51.500" UserId="6832" Text="Gloves, soft cover books (not pocket size) and umbrella work pretty well.&#xA;&#xA;Umbrella is good for bigger single flaps and if you edit umbrella recording a bit you can create wingflap loops of bigger birds like eagle and such. Also a classic approach for bats and dragons.&#xA;&#xA;Books work pretty well if you have a bigger soft cover book. For example the sound design book of Ric Viers works pretty well :) These are imo good for a sound of swarm of birds. Somewhat harsher tone than gloves." ContentLicense="CC BY-SA 3.0" />
  <row Id="51988" PostHistoryTypeId="5" PostId="27984" RevisionGUID="90beae5b-cebb-4e5a-bfa4-6337e096bdfa" CreationDate="2014-03-23T09:55:22.860" UserId="6832" Comment="Better flow in last paragraph" Text="Gloves, soft cover books (not pocket size) and umbrella work pretty well.&#xD;&#xA;&#xD;&#xA;Umbrella is good for bigger single flaps and if you edit umbrella recording a bit you can create wingflap loops of bigger birds like eagle and such. Also a classic approach for bats and dragons.&#xD;&#xA;&#xD;&#xA;Try some bigger soft cover books. For example the sound design book of Ric Viers works pretty well :) These are imo good for a sound of swarm of birds. Somewhat harsher tone than gloves." ContentLicense="CC BY-SA 3.0" />
  <row Id="51989" PostHistoryTypeId="2" PostId="27985" RevisionGUID="cebb168d-f489-427f-b949-239aa0858dce" CreationDate="2014-03-23T13:12:09.740" UserId="7549" Text="What I'm essentially asking is to what extent can a digital piano, given reasonably affordable and excellent equipment, replace an acoustic piano. But that's a bit open-ended, and I'm really interested in knowing if there are any inherent limitations in sample-based VSTs in recreating the phenomenon of tone color.&#xD;&#xA;&#xD;&#xA;My dream of a piano, as I'm sure many others share, would be to have a Steinway Model B grand piano. This is one step down from a Model D (which would never fit in my living room). But a Model B can cost upwards of $30,000 dollars used, so I'll have to save nearly a decade for that.&#xD;&#xA;&#xD;&#xA;In the meantime, I'm looking for an excellent digital replacement for less than $5,000.&#xD;&#xA;&#xD;&#xA;What I've looked into:&#xD;&#xA;&#xD;&#xA;* Faithful piano action  (e.g. see [Roland's Ivory Feel-G keyboard with escapement][1])&#xD;&#xA;  * Ability to quickly repeat the same notes without fully releasing the key (as is possible in a grand piano)&#xD;&#xA;* Supports a continuous sustain pedal, allowing full pedaling as done in acoustic pianos (e.g. see [Yamaha's FC3 pedal][2])&#xD;&#xA;* Fully weighted keys&#xD;&#xA;* An amazing sample-based VST to go with this&#xD;&#xA;  * Imperfect Sample's Fabiozi samples 127 velocity layers&#xD;&#xA;  * Vienna Imperial samples 100 velocity layers (from multiple microphone perspectives)&#xD;&#xA;&#xD;&#xA;I don't care for the built-in samples included in the piano, as I would connect this piano via MIDI to a VST that offers higher-quality samples (e.g. Ivory II Steinway D VST).&#xD;&#xA;&#xD;&#xA;So **with no equipment limitations** (the continuous sustain allows realistic pedaling; fully weighted keys and faithful piano action allow realistic playing; assume an awesome VST), why wouldn't sample-based VSTs be able to produce lifelike intimate colorful playing? &#xD;&#xA;&#xD;&#xA;In other words, am I overstepping the bounds of what digital pianos can offer me, if what I want is exactly the kind of playing you get from acoustic pianos?&#xD;&#xA;&#xD;&#xA;A final way to put it, to be blunt, could Horowitz achieve his same magic using this setup?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.roland.com/products/en/exp/PH_Action_Keyboard.html&#xD;&#xA;  [2]: http://www.amazon.com/Yamaha-FC3-Piano-Style-Sustain/dp/B000RW0QFU/ref=pd_ybh_1" ContentLicense="CC BY-SA 3.0" />
  <row Id="51990" PostHistoryTypeId="1" PostId="27985" RevisionGUID="cebb168d-f489-427f-b949-239aa0858dce" CreationDate="2014-03-23T13:12:09.740" UserId="7549" Text="Can sample-based virtual instruments and an excellent digital piano recreate tone color?" ContentLicense="CC BY-SA 3.0" />
  <row Id="51991" PostHistoryTypeId="3" PostId="27985" RevisionGUID="cebb168d-f489-427f-b949-239aa0858dce" CreationDate="2014-03-23T13:12:09.740" UserId="7549" Text="&lt;sound-design&gt;&lt;vst&gt;&lt;acoustics&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="51992" PostHistoryTypeId="2" PostId="27986" RevisionGUID="ab9bf502-bc06-4df7-8586-be58c289809f" CreationDate="2014-03-23T13:14:26.243" UserId="6896" Text="Headphones with high impedance often have a flatter signal. They often times have different types of drivers powering the speakers that are higher quality but need to receive more power." ContentLicense="CC BY-SA 3.0" />
  <row Id="51995" PostHistoryTypeId="2" PostId="27987" RevisionGUID="856f5f03-35a7-46aa-81c2-9efe2a625431" CreationDate="2014-03-23T13:22:04.160" UserId="6896" Text="It sounds like your unit needs to be repaired. If you still have the warranty, I would send it back to the manufacturer." ContentLicense="CC BY-SA 3.0" />
  <row Id="51996" PostHistoryTypeId="5" PostId="24785" RevisionGUID="9d3554ee-5d3b-486d-aa8c-c263804eb634" CreationDate="2014-03-23T18:34:08.263" UserId="7189" Comment="edited body" Text="I love FM synthesis, but it is generally a bit on the esoteric side. FM8 is probably one of the easier FM synths to learn. But even after mastering it, you will still have a hard time achieving a particular sound that you want. FM8 *is* great for making weird bloopy, bleepy, buzzy, metallic sounds. And basses.&#xD;&#xA;&#xD;&#xA;If you don't have it already, I'd recommend upgrading to Live Suite, and working with the synths you get there. Downtempo / chillout is more about great sample manipulation than crazy synthesis, so you probably don't need much more than that.&#xD;&#xA;&#xD;&#xA;Although I have FM8 and am comfortable working with it, I tend to gravitate towards Ableton's Operator or one of my hardware FM boxes. There is something about a pushbutton interface that works really well for FM, so I've managed to get a lot of use out of my TG77.&#xD;&#xA;&#xD;&#xA;If you were to go the Native Instruments route, buying one of the Komplete packages is usually a much better deal than individual synths. So if you only want FM8, I would wait until you have an interest in Reaktor or Massive as well. Then just get Komplete.&#xD;&#xA;&#xD;&#xA;If you want to work though the Synth Secrets (which is an *excellent* resource, by the way), then a modular environment like [Reaktor](http://www.native-instruments.com/en/products/producer/reaktor-5/), [Pure Data](http://puredata.info) (which is free), [Max/MSP](http://cycling74.com/products/max/) or an actual modular synth is the best way to go. You can get a lot out of a fixed-function softsynth or hardware synth, but modular will give you the greatest flexibility.&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;For others wondering if they should start with FM8 or another FM synth: If you are just curious about synthesis and want to mess around and see quick results then start with an (possibly virtual) analog style subtractive synth instead. You can make a lot of cool sounds that way, and the results are easy and intuitive. If you are really dedicated to learning about synthesis, and have the motivation to see things through, then there is no reason *not* to start with FM. Particularly if you find a DX7 at a garage sale for $50 (or any of Yamaha's other synths, from the 4-op TX81z, through the SY99 and on to the FS1r). It won't be as easy to learn FM, but it also won't be any easier later. FM is just obtuse and the only way to learn it is to get your hands dirty. So, if circumstances present themselves, feel free to start with FM. Be prepared to dedicate yourself, and don't go out of your way unless you are ready." ContentLicense="CC BY-SA 3.0" />
  <row Id="51997" PostHistoryTypeId="2" PostId="27988" RevisionGUID="55c32198-cf91-4ab7-b1c2-8a151549e82b" CreationDate="2014-03-23T21:45:34.950" UserId="7815" Text="My favorite is from Batman (1989) while the Joker is killing his boss, there is a kind of circus vibe to the music. While fitting to the scene from the Joker's point of view, it is not what the audience would expect. " ContentLicense="CC BY-SA 3.0" />
  <row Id="51998" PostHistoryTypeId="2" PostId="27989" RevisionGUID="8836a116-2aed-4d02-ac42-9a2923b30602" CreationDate="2014-03-24T10:37:21.260" UserId="6663" Text="I know it as Anemphatic sound too. I've tried to do this once in a film but the director didn't go along with it. It's their shout at the end of the day.&#xD;&#xA;&#xD;&#xA;Layer Cake Ordinary world.&#xD;&#xA;https://www.youtube.com/watch?v=_VHyFuZgd4E" ContentLicense="CC BY-SA 3.0" />
  <row Id="51999" PostHistoryTypeId="10" PostId="20425" RevisionGUID="3a8ab391-8599-419b-9cf7-a14251df0a25" CreationDate="2014-03-24T10:40:24.370" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52005" PostHistoryTypeId="2" PostId="27992" RevisionGUID="cb60a28d-68b4-4363-ab0f-9c801e370513" CreationDate="2014-03-24T18:08:49.240" UserId="7818" Text="**Summary:** I'm looking for recommendations for editing applications (or Services, or scripts) that can perform (or automate) multiple AudioSuite-like operations sequentially. (This functionality would be similar to the way Apple Compressor handles multiple video processing jobs.)&#xD;&#xA;&#xD;&#xA;**Background:** As a media producer at a small graduate school, I work with voice recordings of classroom lectures recorded by Marantz PMD-580s using Sennheiser G3 (and similar) wireless lapel microphones. Often the recordings remain in storage for a while, and then I begin editing them all at once. I'm using Pro Tools 8.0.5, which is ancient so I am _not_ expecting an answer for how to do this in my current software. I'm running Mac OS X 10.9.2 (Mavericks). &#xD;&#xA;&#xD;&#xA;**Workflow:** Here's my current workflow, which will give you an idea of how I use AudioSuite, which may not be how those of you who primarily produce music use it. (I think this is more similar to a podcasting workflow.)&#xD;&#xA;&#xD;&#xA;1. Import recorded audio to Pro Tools.&#xD;&#xA;2. Trim beginning and end of file.&#xD;&#xA;3. Add fade in and fade out.&#xD;&#xA;3. Insert EQ, Compressor, and Deesser &#xD;&#xA;5. Make edits.&#xD;&#xA;6. Select track.&#xD;&#xA;7. Select track's first insert and copy its settings.&#xD;&#xA;8. Select effect from AudioSuite menu (the same effect as the one just copied).&#xD;&#xA;9. Paste settings copied from insert.&#xD;&#xA;10. Run AudioSuite.&#xD;&#xA;11. Repeat 7-10 for each insert.&#xD;&#xA;12. Repeat 6-11 for each track.&#xD;&#xA;13. Append &quot; - FINAL&quot; to the final AudioSuite product of each track.&#xD;&#xA;14. Import the &quot; - FINAL&quot; .WAV files into iTunes. &#xD;&#xA;15. Create MP3 version.&#xD;&#xA;16. Add ID3 metadata.&#xD;&#xA;17. Distribute.&#xD;&#xA;&#xD;&#xA;There are usually 26 tracks per course. It feels like I'm wasting time waiting for AudioSuite to finish each individual operation before I can start a new one. I've tried selecting and AudioSuite-ing multiple tracks at once, and two negative effects occur, which together are unacceptable:&#xD;&#xA;&#xD;&#xA;- The lengths of the tracks extend, becoming equal to the length of the longest track. This is a problem because it creates dead air at the end of 25 out of 26 tracks&#xD;&#xA;- The same effect gets applied to each track, removing my ability to customize my edits. This is a problem because as users of this forum will know, the amplitude and tone of someone's voice sounds varies from session to session (class to class) depending on a swath of factors like health, mood, and distance from the microphone.&#xD;&#xA;&#xD;&#xA;**Goal:** I would love to find an application (or Service, or script) that will automate steps 6-12 for me. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52006" PostHistoryTypeId="1" PostId="27992" RevisionGUID="cb60a28d-68b4-4363-ab0f-9c801e370513" CreationDate="2014-03-24T18:08:49.240" UserId="7818" Text="Performing multiple AudioSuite operations sequentially in OS X" ContentLicense="CC BY-SA 3.0" />
  <row Id="52007" PostHistoryTypeId="3" PostId="27992" RevisionGUID="cb60a28d-68b4-4363-ab0f-9c801e370513" CreationDate="2014-03-24T18:08:49.240" UserId="7818" Text="&lt;software&gt;&lt;automation&gt;&lt;osx&gt;&lt;script&gt;&lt;audiosuite&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52008" PostHistoryTypeId="5" PostId="27992" RevisionGUID="05d816bc-6aed-4a29-8ab8-b63964d3ea6c" CreationDate="2014-03-24T18:16:37.543" UserId="7818" Comment="added a &quot;pitch&quot; to the beginning ;-)" Text="There's got to be a smarter way to master 26 individual recordings at once. My workflow is wasting my time, but it shouldn't be.&#xD;&#xA;&#xD;&#xA;**Summary:** I'm looking for recommendations for editing applications (or Services, or scripts) that can perform (or automate) multiple AudioSuite-like operations sequentially. (This functionality would be similar to the way Apple Compressor handles multiple video processing jobs.)&#xD;&#xA;&#xD;&#xA;**Background:** As a media producer at a small graduate school, I work with voice recordings of classroom lectures recorded by Marantz PMD-580s using Sennheiser G3 (and similar) wireless lapel microphones. Often the recordings remain in storage for a while, and then I begin editing them all at once. I'm using Pro Tools 8.0.5, which is ancient so I am _not_ expecting an answer for how to do this in my current software. I'm running Mac OS X 10.9.2 (Mavericks). &#xD;&#xA;&#xD;&#xA;**Workflow:** Here's my current workflow, which will give you an idea of how I use AudioSuite, which may not be how those of you who primarily produce music use it. (I think this is more similar to a podcasting workflow.)&#xD;&#xA;&#xD;&#xA;1. Import recorded audio to Pro Tools.&#xD;&#xA;2. Trim beginning and end of file.&#xD;&#xA;3. Add fade in and fade out.&#xD;&#xA;3. Insert EQ, Compressor, and Deesser &#xD;&#xA;5. Make edits.&#xD;&#xA;6. Select track.&#xD;&#xA;7. Select track's first insert and copy its settings.&#xD;&#xA;8. Select effect from AudioSuite menu (the same effect as the one just copied).&#xD;&#xA;9. Paste settings copied from insert.&#xD;&#xA;10. Run AudioSuite.&#xD;&#xA;11. Repeat 7-10 for each insert.&#xD;&#xA;12. Repeat 6-11 for each track.&#xD;&#xA;13. Append &quot; - FINAL&quot; to the final AudioSuite product of each track.&#xD;&#xA;14. Import the &quot; - FINAL&quot; .WAV files into iTunes. &#xD;&#xA;15. Create MP3 version.&#xD;&#xA;16. Add ID3 metadata.&#xD;&#xA;17. Distribute.&#xD;&#xA;&#xD;&#xA;There are usually 26 tracks per course. It feels like I'm wasting time waiting for AudioSuite to finish each individual operation before I can start a new one. I've tried selecting and AudioSuite-ing multiple tracks at once, and two negative effects occur, which together are unacceptable:&#xD;&#xA;&#xD;&#xA;- The lengths of the tracks extend, becoming equal to the length of the longest track. This is a problem because it creates dead air at the end of 25 out of 26 tracks&#xD;&#xA;- The same effect gets applied to each track, removing my ability to customize my edits. This is a problem because as users of this forum will know, the amplitude and tone of someone's voice sounds varies from session to session (class to class) depending on a swath of factors like health, mood, and distance from the microphone.&#xD;&#xA;&#xD;&#xA;**Goal:** I would love to find an application (or Service, or script) that will automate steps 6-12 for me. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52009" PostHistoryTypeId="2" PostId="27993" RevisionGUID="07fda1fd-5f68-4ff8-b144-9d03aec41f61" CreationDate="2014-03-24T18:51:32.150" UserId="6896" Text="If I'm understanding this question correctly:&#xD;&#xA;&#xD;&#xA;In the top of every ![audiosuite][1] plugin there's a section that says &quot;entire selection&quot; Change this to &quot;Clip by clip&quot; Then change the box next to that that says &quot;Create continuous files&quot; to &quot;create individual files&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/V1sot.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="52010" PostHistoryTypeId="12" PostId="27993" RevisionGUID="9ebe08b5-f612-43e6-873d-1053d1a63076" CreationDate="2014-03-24T18:56:40.077" UserId="6896" Comment="via Vote" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6896,&quot;DisplayName&quot;:&quot;Kai&quot;}]}" />
  <row Id="52011" PostHistoryTypeId="13" PostId="27993" RevisionGUID="4c574cc1-dab4-4ce2-a5a8-a719fdd6fd8b" CreationDate="2014-03-24T18:57:30.567" UserId="6896" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6896,&quot;DisplayName&quot;:&quot;Kai&quot;}]}" />
  <row Id="52012" PostHistoryTypeId="5" PostId="27993" RevisionGUID="5ae76566-28cd-4dae-917e-b6c999605a1d" CreationDate="2014-03-24T18:58:26.413" UserId="6896" Comment="added 128 characters in body" Text="If I'm understanding this correctly:&#xD;&#xA;&#xD;&#xA;You need to apply the same plugin settings to 26 different clips.&#xD;&#xA;&#xD;&#xA;I'm not sure if this feature is implemented in protools 8, but...&#xD;&#xA;&#xD;&#xA;In the top of every plugin there's a section that says &quot;entire selection&quot; Change this to &quot;Clip by clip&quot; Then change the box next to that that says &quot;Create continuous files&quot; to &quot;create individual files&quot;&#xD;&#xA;&#xD;&#xA;![audiosuite][1]&#xD;&#xA;  [1]: http://i.stack.imgur.com/V1sot.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="52017" PostHistoryTypeId="2" PostId="27994" RevisionGUID="7054e89e-1be6-4386-b481-4a89a6edee61" CreationDate="2014-03-25T00:01:02.093" UserId="6411" Text="How long are your 26 lectures? Would it be unreasonable to simply re-record your mixes to a new file and create your mp3 from that? Don't know how much time you're wasting while waiting for each audiosuite to render, but by re-recording after editing/mixing you'd:&#xD;&#xA;&#xD;&#xA; 1. Sit through it all once, listening to and proofing the resulting file as it goes down. Use destructive record, this affords you the chance to stop and start recording if you hear a problem and keep creating a continuous file.&#xD;&#xA; 2. select the new recordings, export regions as new files (cmd + shift + k)&#xD;&#xA; 3. Export from PT as .wav &amp; convert in iTunes, or directly from PT as .mp3 (can't remember if you need MP3 option with 8.0.5)&#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="52018" PostHistoryTypeId="2" PostId="27995" RevisionGUID="579895b8-98c7-4419-85af-7ef58ecc28ec" CreationDate="2014-03-25T03:54:01.733" UserId="7821" Text="Could you tell me what is the correct standard rms or lufs level and peak level for ringtones? I've searched the internet but I didn't find a clear answer. Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52019" PostHistoryTypeId="1" PostId="27995" RevisionGUID="579895b8-98c7-4419-85af-7ef58ecc28ec" CreationDate="2014-03-25T03:54:01.733" UserId="7821" Text="What's the standart RMS and peak level for ringtones" ContentLicense="CC BY-SA 3.0" />
  <row Id="52020" PostHistoryTypeId="3" PostId="27995" RevisionGUID="579895b8-98c7-4419-85af-7ef58ecc28ec" CreationDate="2014-03-25T03:54:01.733" UserId="7821" Text="&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52022" PostHistoryTypeId="4" PostId="27995" RevisionGUID="9c702e8b-4368-4eab-ae07-8ca0d965dbca" CreationDate="2014-03-25T04:56:50.093" UserId="7821" Comment="edited title" Text="What's the standart RMS and peak level for ringtones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52023" PostHistoryTypeId="5" PostId="27995" RevisionGUID="9c702e8b-4368-4eab-ae07-8ca0d965dbca" CreationDate="2014-03-25T04:56:50.093" UserId="7821" Comment="edited title" Text="Could you tell me what is the correct standard rms or lufs level and peak level for ringtones? I've searched the internet but I didn't find a clear answer. Is there anything else relative with the making of a ringtone as a product? Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52024" PostHistoryTypeId="5" PostId="27995" RevisionGUID="95200784-c4f8-4f01-b96f-7562f64982c6" CreationDate="2014-03-25T05:03:49.957" UserId="7821" Comment="edited title" Text="Could you tell me what is the correct standard rms or lufs level and peak level for ringtones? I've searched the internet but I didn't find a clear answer. Is there anything else relative with the making of a ringtone as a product that I should keep into account? Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52025" PostHistoryTypeId="2" PostId="27997" RevisionGUID="1566f414-967f-4eb4-9c92-b325f543d0e4" CreationDate="2014-03-25T06:21:48.907" UserId="1393" Text="Ninja Assassin had a lot of dynamic range, probably a little too much. The gun battles were incredibly loud in comparison to the dialog. I might have made the movie a little more exciting, but I bet a lot of people were riding levels at home with that movie. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52029" PostHistoryTypeId="2" PostId="27999" RevisionGUID="fd892f39-9254-473b-a68d-c668f4202627" CreationDate="2014-03-25T08:25:52.623" UserId="6370" Text="Pan effect is deprecated in SOX, actually we have to use the remix effect.&#xD;&#xA;&#xD;&#xA;As i know, pan is not just an attenuation of one channel but follow the [Pan Law][1],&#xD;&#xA;how can i use sox to implement pan correctly?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Pan_law" ContentLicense="CC BY-SA 3.0" />
  <row Id="52030" PostHistoryTypeId="1" PostId="27999" RevisionGUID="fd892f39-9254-473b-a68d-c668f4202627" CreationDate="2014-03-25T08:25:52.623" UserId="6370" Text="How to emulate Pan using SOX" ContentLicense="CC BY-SA 3.0" />
  <row Id="52031" PostHistoryTypeId="3" PostId="27999" RevisionGUID="fd892f39-9254-473b-a68d-c668f4202627" CreationDate="2014-03-25T08:25:52.623" UserId="6370" Text="&lt;audio&gt;&lt;panning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52032" PostHistoryTypeId="2" PostId="28000" RevisionGUID="b4856fd2-e471-4776-8087-4b5b70ee8981" CreationDate="2014-03-25T10:08:34.053" UserId="1216" Text="I don't think there are any real standards. You could however compare the rms or lufs of several ringtones from current phones (samsung,apple,etc.). Have you tried that?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52033" PostHistoryTypeId="2" PostId="28001" RevisionGUID="046fd371-0ea6-4d1e-8f62-b5459b502c9d" CreationDate="2014-03-25T10:33:34.667" UserId="1216" Text="have you tried searching with google?&#xD;&#xA;my 2nd hit on &quot;sox audio panning&quot;&#xD;&#xA;&#xD;&#xA;http://forum.videohelp.com/threads/348768-sox-audio-mixing-4-channels-down-to-2&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52038" PostHistoryTypeId="5" PostId="27995" RevisionGUID="adfe552c-edbc-4813-9090-ee4cb1d33537" CreationDate="2014-03-25T13:45:48.160" UserId="7174" Comment="Clean up and spelling" Text="Could you tell me what is the correct standard rms or lufs level and peak level for ringtones? Is there anything else relative with the making of a ringtone as a product that I should take into account?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52039" PostHistoryTypeId="4" PostId="27995" RevisionGUID="adfe552c-edbc-4813-9090-ee4cb1d33537" CreationDate="2014-03-25T13:45:48.160" UserId="7174" Comment="Clean up and spelling" Text="What's the standard RMS and peak level for ringtones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52042" PostHistoryTypeId="5" PostId="25779" RevisionGUID="3ded8ba5-73ff-4a89-b971-7fba044d919f" CreationDate="2014-03-25T13:47:14.177" UserId="6957" Comment="removed chaff" Text="I think the only way to get good buffer and full functionality of protools is to revert to Mountian Lion for now till Avid comes up with an update.  I have gone back to Mountain lion and I'm using protools 8.05.  It works great without any problems.  I also discovered that for Windows 7 64-bit Protools 8.0 works and my friend uses 8.01 and says it works well too ( I have not tested 8.01 yet but will when I have more data." ContentLicense="CC BY-SA 3.0" />
  <row Id="52045" PostHistoryTypeId="6" PostId="27177" RevisionGUID="770ab922-bf07-4911-b4e7-d6516036c2bb" CreationDate="2014-03-25T14:49:52.150" UserId="6957" Comment="edited tags" Text="&lt;midi&gt;&lt;fl-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52047" PostHistoryTypeId="6" PostId="19846" RevisionGUID="ae988181-2c74-48e2-9953-601854d52a0c" CreationDate="2014-03-25T14:53:24.303" UserId="6957" Comment="edited tags" Text="&lt;noise&gt;&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52049" PostHistoryTypeId="6" PostId="26388" RevisionGUID="8af38fb0-a6da-4821-9c25-97e65299bba7" CreationDate="2014-03-25T14:55:48.127" UserId="6957" Comment="edited tags" Text="&lt;fl-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52050" PostHistoryTypeId="6" PostId="27317" RevisionGUID="fcf17a3a-da2a-4f0d-a92e-f1d471483c19" CreationDate="2014-03-25T14:58:12.677" UserId="6957" Comment="edited tags" Text="&lt;mp3&gt;&lt;wav&gt;&lt;flac&gt;&lt;data-compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52051" PostHistoryTypeId="6" PostId="27320" RevisionGUID="ccb42681-7250-4587-9e5f-71420bf04974" CreationDate="2014-03-25T15:01:49.990" UserId="6957" Comment="edited tags" Text="&lt;library&gt;&lt;samples&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52056" PostHistoryTypeId="2" PostId="28005" RevisionGUID="6ceb3e22-be41-4bfc-abc8-9fd4b5a6efa0" CreationDate="2014-03-25T17:16:13.050" UserDisplayName="user7731" Text="sounds like a PT upgrade to 9 and doing an offline bounce would sum up those extra steps." ContentLicense="CC BY-SA 3.0" />
  <row Id="52058" PostHistoryTypeId="6" PostId="26081" RevisionGUID="c2418c64-7dba-46cc-a48b-62ae03bf53bb" CreationDate="2014-03-25T17:26:36.147" UserId="1216" Comment="added tags" Text="&lt;reason&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52059" PostHistoryTypeId="24" PostId="26081" RevisionGUID="c2418c64-7dba-46cc-a48b-62ae03bf53bb" CreationDate="2014-03-25T17:26:36.147" Comment="Proposed by 1216 approved by 194, 6957 edit id of 101" ContentLicense="CC BY-SA 3.0" />
  <row Id="52062" PostHistoryTypeId="6" PostId="26916" RevisionGUID="c90f8150-1c9b-4429-80f7-04f90b27eb16" CreationDate="2014-03-25T17:27:12.827" UserId="1216" Comment="added tags" Text="&lt;amplifier&gt;&lt;cleaning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52063" PostHistoryTypeId="24" PostId="26916" RevisionGUID="c90f8150-1c9b-4429-80f7-04f90b27eb16" CreationDate="2014-03-25T17:27:12.827" Comment="Proposed by 1216 approved by 194, 6957 edit id of 102" ContentLicense="CC BY-SA 3.0" />
  <row Id="52064" PostHistoryTypeId="6" PostId="26879" RevisionGUID="e09f28c5-78f8-45fb-a784-17f3e6a6c596" CreationDate="2014-03-25T17:28:34.793" UserId="1216" Comment="added tags" Text="&lt;amplifier&gt;&lt;isolation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52065" PostHistoryTypeId="24" PostId="26879" RevisionGUID="e09f28c5-78f8-45fb-a784-17f3e6a6c596" CreationDate="2014-03-25T17:28:34.793" Comment="Proposed by 1216 approved by 194, -1 edit id of 98" ContentLicense="CC BY-SA 3.0" />
  <row Id="52066" PostHistoryTypeId="6" PostId="26879" RevisionGUID="0b852ed6-4ccc-4dff-b206-96bdc305d8c7" CreationDate="2014-03-25T17:28:34.793" UserId="6957" Comment="added tags" Text="&lt;isolation&gt;&lt;studio-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52067" PostHistoryTypeId="6" PostId="26951" RevisionGUID="10efb4e2-2b1c-4508-98d1-160b69a77cc5" CreationDate="2014-03-25T17:28:45.947" UserId="1216" Comment="added tags" Text="&lt;bass&gt;&lt;timbre&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52068" PostHistoryTypeId="24" PostId="26951" RevisionGUID="10efb4e2-2b1c-4508-98d1-160b69a77cc5" CreationDate="2014-03-25T17:28:45.947" Comment="Proposed by 1216 approved by 194, 6957 edit id of 99" ContentLicense="CC BY-SA 3.0" />
  <row Id="52069" PostHistoryTypeId="6" PostId="26525" RevisionGUID="96fed400-5fba-4a44-a263-914aae7f6de5" CreationDate="2014-03-25T17:28:58.823" UserId="1216" Comment="added tags" Text="&lt;purchase-advice&gt;&lt;dac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52070" PostHistoryTypeId="24" PostId="26525" RevisionGUID="96fed400-5fba-4a44-a263-914aae7f6de5" CreationDate="2014-03-25T17:28:58.823" Comment="Proposed by 1216 approved by 194, 6957 edit id of 100" ContentLicense="CC BY-SA 3.0" />
  <row Id="52071" PostHistoryTypeId="2" PostId="28006" RevisionGUID="1d100993-9f8e-4c23-b181-ec8c9d7d97ed" CreationDate="2014-03-25T17:48:54.220" UserId="6432" Text="I'd keep it simple and just get a basic USB audio interface. There are a few out there for $50 which I'm sure would be an improvement. Maybe look at the Alesis Core 1 which is about to be released for that exact price." ContentLicense="CC BY-SA 3.0" />
  <row Id="52075" PostHistoryTypeId="2" PostId="28008" RevisionGUID="3bcd27e3-8869-4ada-9fc4-9a1b6cda6cc8" CreationDate="2014-03-25T22:27:54.143" UserId="7832" Text="Is there a way to throw out anything which is not speech?&#xD;&#xA;The track has only background noise, silence and speech.&#xD;&#xA;&#xD;&#xA;We need to isolate parts of an audio track that have speech. Speech is clearly visible on the spectrogram, but not on the Decibel scale. That's why &quot;Truncate Silence&quot; fails every time with filtering spoken parts that aren't all that loud.&#xD;&#xA;&#xD;&#xA;The problem is clearly defined in this sonogram:&#xD;&#xA;![yes no spectrogram filter](http://i.imgur.com/ZIbEDud.jpg)&#xD;&#xA;Kill the left hand box! Remove that which has no spikes! Keep the right one.&#xD;&#xA;&#xD;&#xA;I'd cut it out with scissors but the tape is just too long to do it manually.&#xD;&#xA;&#xD;&#xA;We need to send hours of audio to a transcriptionist but it has long silences inbetween. We don't want to pay for those.&#xD;&#xA;&#xD;&#xA;I have access to a DAW with &quot;Audition&quot;, &quot;Sox&quot; and other weird alien software installed. I know basic multimedia editing but Audio is not my field. Been fiddling around with this for over an hour but can't do it." ContentLicense="CC BY-SA 3.0" />
  <row Id="52076" PostHistoryTypeId="1" PostId="28008" RevisionGUID="3bcd27e3-8869-4ada-9fc4-9a1b6cda6cc8" CreationDate="2014-03-25T22:27:54.143" UserId="7832" Text="truncating silent parts of dialogue" ContentLicense="CC BY-SA 3.0" />
  <row Id="52077" PostHistoryTypeId="3" PostId="28008" RevisionGUID="3bcd27e3-8869-4ada-9fc4-9a1b6cda6cc8" CreationDate="2014-03-25T22:27:54.143" UserId="7832" Text="&lt;voice&gt;&lt;isolation&gt;&lt;strip-silence&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52078" PostHistoryTypeId="2" PostId="28009" RevisionGUID="7c141afc-8102-4652-b888-d9feb1550608" CreationDate="2014-03-25T22:39:35.677" UserId="6425" Text="If you have ProTools you can use the strip silence function to remove everything below a certain dB threshold.&#xD;&#xA;&#xD;&#xA;If your you can use noise gate plug-ins and render them into your sample. A noise gate reduces the volume (to silence) whenever the sound goes below a certain threshold.&#xD;&#xA;&#xD;&#xA;Good Day" ContentLicense="CC BY-SA 3.0" />
  <row Id="52079" PostHistoryTypeId="5" PostId="27992" RevisionGUID="2cc0959c-1c51-4785-ae8d-01a0ec6014b6" CreationDate="2014-03-25T23:01:27.367" UserId="7818" Comment="Clarified step #5 in my workflow. Stated the average length of each lecture." Text="There's got to be a smarter way to master 26 individual recordings at once. My workflow is wasting my time, but it shouldn't be.&#xD;&#xA;&#xD;&#xA;**Summary:** I'm looking for recommendations for editing applications (or Services, or scripts) that can perform (or automate) multiple AudioSuite-like operations sequentially. (This functionality would be similar to the way Apple Compressor handles multiple video processing jobs.)&#xD;&#xA;&#xD;&#xA;**Background:** As a media producer at a small graduate school, I work with voice recordings of classroom lectures recorded by Marantz PMD-580s using Sennheiser G3 (and similar) wireless lapel microphones. **One course usually yields 26 one-hour recordings.** Often the recordings remain in storage for a while, and then I begin editing them all at once. I'm using Pro Tools 8.0.5, which is ancient so I am _not_ expecting an answer for how to do this in my current software. I'm running Mac OS X 10.9.2 (Mavericks). &#xD;&#xA;&#xD;&#xA;**Workflow:** Here's my current workflow, which will give you an idea of how I use AudioSuite, which may not be how those of you who primarily produce music use it. (I think this is more similar to a podcasting workflow.)&#xD;&#xA;&#xD;&#xA;1. Import recorded audio to Pro Tools.&#xD;&#xA;2. Trim beginning and end of file.&#xD;&#xA;3. Add fade in and fade out.&#xD;&#xA;3. Insert EQ, Compressor, and Deesser &#xD;&#xA;5. Make edits. (I need to listen to all the audio of some lectures but not others, depending on the professor, the content, the class format, etc.)&#xD;&#xA;6. Select track.&#xD;&#xA;7. Select track's first insert and copy its settings.&#xD;&#xA;8. Select effect from AudioSuite menu (the same effect as the one just copied).&#xD;&#xA;9. Paste settings copied from insert.&#xD;&#xA;10. Run AudioSuite.&#xD;&#xA;11. Repeat 7-10 for each insert.&#xD;&#xA;12. Repeat 6-11 for each track.&#xD;&#xA;13. Append &quot; - FINAL&quot; to the final AudioSuite product of each track.&#xD;&#xA;14. Import the &quot; - FINAL&quot; .WAV files into iTunes. &#xD;&#xA;15. Create MP3 version.&#xD;&#xA;16. Add ID3 metadata.&#xD;&#xA;17. Distribute.&#xD;&#xA;&#xD;&#xA;There are usually 26 tracks per course. It feels like I'm wasting time waiting for AudioSuite to finish each individual operation before I can start a new one. I've tried selecting and AudioSuite-ing multiple tracks at once, and two negative effects occur, which together are unacceptable:&#xD;&#xA;&#xD;&#xA;- The lengths of the tracks extend, becoming equal to the length of the longest track. This is a problem because it creates dead air at the end of 25 out of 26 tracks&#xD;&#xA;- The same effect gets applied to each track, removing my ability to customize my edits. This is a problem because as users of this forum will know, the amplitude and tone of someone's voice sounds varies from session to session (class to class) depending on a swath of factors like health, mood, and distance from the microphone.&#xD;&#xA;&#xD;&#xA;**Goal:** I would love to find an application (or Service, or script) that will automate steps 6-12 for me. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52080" PostHistoryTypeId="2" PostId="28010" RevisionGUID="95bbc7a6-5dfd-4043-8cef-ee590cf36698" CreationDate="2014-03-26T00:01:07.443" UserId="7834" Text="Use a noise gate with a fast attack and medium release. So long as the threshhold is above the floor noise/background noise, it will cut off any sound during the silent parts of the track. There are other ways such as noted below, in Cubase its called a &quot;DeNoiser&quot;. However, it comes at a slight sacrifice of certain frequencies within the audio, so I would recommend you go with a Noise Gate or possibly re-record the audio being close to the mic. Watch for 'plosives if its vocals.&#xD;&#xA;&#xD;&#xA;There of course is also the long winded way. Chop out all the audio where you aren't talking.&#xD;&#xA;&#xD;&#xA;[@DireDFlows][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://twitter.com/DireDFlows" ContentLicense="CC BY-SA 3.0" />
  <row Id="52081" PostHistoryTypeId="2" PostId="28011" RevisionGUID="f5866871-28ba-43e4-83fd-7aabd0c4d08d" CreationDate="2014-03-26T02:19:23.580" UserId="6510" Text="Everyone, &#xD;&#xA;&#xD;&#xA;I have been attempting do more game sound to add to my film/tv sound design experience.  I have done a few games now, most of which are mobile/social games. I am having a TON of difficulty in both communicating with clients and budgeting my time (drawing from my film experiences). &#xD;&#xA;&#xD;&#xA;I am often working with nothing but a few word description of a sound.  This is leading to MANY revisions of effects, destroying my time budget.  I am also not very well-versed in cartoon type sounds. &#xD;&#xA;&#xD;&#xA;Is there anyone in NYC that does this kind of work and that can offer some mentorship on the subject?&#xD;&#xA;&#xD;&#xA;Thank you, &#xD;&#xA;Chris Davis&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52082" PostHistoryTypeId="1" PostId="28011" RevisionGUID="f5866871-28ba-43e4-83fd-7aabd0c4d08d" CreationDate="2014-03-26T02:19:23.580" UserId="6510" Text="Social/Mobil Game Sound Design mentorship in NYC?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52083" PostHistoryTypeId="3" PostId="28011" RevisionGUID="f5866871-28ba-43e4-83fd-7aabd0c4d08d" CreationDate="2014-03-26T02:19:23.580" UserId="6510" Text="&lt;sound&gt;&lt;game&gt;&lt;budget&gt;&lt;time&gt;&lt;cartoon&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52084" PostHistoryTypeId="2" PostId="28012" RevisionGUID="9498dfe3-9c01-47e4-87ac-ad187eba3197" CreationDate="2014-03-26T05:09:04.113" UserId="6481" Text="Good morning from Prague,&#xD;&#xA;&#xD;&#xA;today, I'm recording some stereo ambiences for a short film.&#xD;&#xA;Shame on me, but I used M-S mic just once so far for a school exercise. (We had to create some layered ambiences and in the end, it went the lo-fi way because I used even my poor pal H4N when M-S mic wasn't available...)&#xD;&#xA;&#xD;&#xA;Our humble sound department is kind of limited so I'm forced to chose between these M-S mics:&#xD;&#xA;MKH418S or Sony ECM MS-5 or X/Y Rode NT4&#xD;&#xA;&#xD;&#xA;I would chose MKH but: is it really a good choice recording ambiences with M-S?&#xD;&#xA;Also: would 2 MS mics set in opposite directions help me in later 5.1 mix? What is your regular approach? And what would it be in this situation?&#xD;&#xA;There's a possibility to get a pair of Beyerdynamic MC 930. Should I try it if available or is it just a silly idea?&#xD;&#xA;&#xD;&#xA;Thanks and have a nice day,&#xD;&#xA;Martin" ContentLicense="CC BY-SA 3.0" />
  <row Id="52085" PostHistoryTypeId="1" PostId="28012" RevisionGUID="9498dfe3-9c01-47e4-87ac-ad187eba3197" CreationDate="2014-03-26T05:09:04.113" UserId="6481" Text="Ambiences - MKH418S / Sony ECM MS5 / Rode NT4 (x/y)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52086" PostHistoryTypeId="3" PostId="28012" RevisionGUID="9498dfe3-9c01-47e4-87ac-ad187eba3197" CreationDate="2014-03-26T05:09:04.113" UserId="6481" Text="&lt;ms&gt;&lt;ambience&gt;&lt;mkh&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52087" PostHistoryTypeId="2" PostId="28013" RevisionGUID="e9664e4c-1646-4bad-b2a5-ad4c90c7b213" CreationDate="2014-03-26T05:24:55.150" UserId="61" Text="I recommend you read these two articles for more insight on M/S recording, which, by the way, I absolutely recommend you do:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2013/10/charles-maynes-on-mid-side-recording/&#xD;&#xA;http://designingsound.org/2014/02/la-underground-an-interview-with-charles-maynes/" ContentLicense="CC BY-SA 3.0" />
  <row Id="52088" PostHistoryTypeId="4" PostId="28011" RevisionGUID="2d17c87f-c1e1-4a0d-a25e-63592ca2e3d8" CreationDate="2014-03-26T05:25:20.997" UserId="61" Comment="spelling" Text="Social/Mobile Game Sound Design mentorship in NYC?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52089" PostHistoryTypeId="5" PostId="28013" RevisionGUID="db27fe5d-5a08-404c-aff7-c84478d30274" CreationDate="2014-03-26T06:35:11.697" UserId="61" Comment="added 549 characters in body" Text="I recommend you read these two articles for more insight on M/S recording, which, by the way, I absolutely recommend you do:&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2013/10/charles-maynes-on-mid-side-recording/&#xD;&#xA;http://designingsound.org/2014/02/la-underground-an-interview-with-charles-maynes/&#xD;&#xA;&#xD;&#xA;And as as addendum, I would say that, so long as you have extra channels or recorders, you should record with as many different mics and/or handheld recorders as you can get your hands on. Sure, recording with a Neumann 191 to a Sound Devices 744 may be the bee's knees, but you may get *a more suitable* recording from that cheapo Zoom H2 you've got in your backpack, based on the footage that was shot or the story you're trying to convey with sound. If you've got a 6-channel recorder, then shoot with 3 different mics and make choices later." ContentLicense="CC BY-SA 3.0" />
  <row Id="52090" PostHistoryTypeId="5" PostId="8350" RevisionGUID="2dd6a6f8-cc14-478b-91a4-e967a8c02c43" CreationDate="2014-03-26T06:36:25.590" UserId="61" Comment="deleted 10 characters in body; edited title" Text="A friend of mine just had a situation whereby she saved her Protools project last night and when she came to opening the project this morning she was unable to due to a Protools DAE9126 error. Can anyone explain this and maybe offer some advice as to how we can solve it. pt 8.04 LE with the snow leopard 10.3. &#xD;&#xA;&#xD;&#xA;Thanks. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52091" PostHistoryTypeId="4" PostId="8350" RevisionGUID="2dd6a6f8-cc14-478b-91a4-e967a8c02c43" CreationDate="2014-03-26T06:36:25.590" UserId="61" Comment="deleted 10 characters in body; edited title" Text="Protools DAE 9126 error." ContentLicense="CC BY-SA 3.0" />
  <row Id="52094" PostHistoryTypeId="6" PostId="28012" RevisionGUID="9b619022-e0c2-4ee8-b710-0a588355dc25" CreationDate="2014-03-26T12:30:38.657" UserId="6957" Comment="edited tags" Text="&lt;microphone&gt;&lt;microphone-technique&gt;&lt;ms&gt;&lt;ambience&gt;&lt;mkh&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52095" PostHistoryTypeId="2" PostId="28015" RevisionGUID="33363d93-54df-44a4-bb5d-189db0bcb402" CreationDate="2014-03-26T13:01:25.397" UserId="7836" Text="Sunvox is actually really good and is under active development (latest release as of the time of this writing was 4 Feb 2014). It is also supported across all desktop platforms and mobile devices. So you can compose *anywhere*, when the mood strikes.&#xD;&#xA;&#xD;&#xA;As for the formats it exports, it's pretty darned trivial to convert a .wav file to an .mp3! So really not sure what the issue is there :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52096" PostHistoryTypeId="5" PostId="28015" RevisionGUID="7e940d37-d304-4195-80ff-7eb0c189cbeb" CreationDate="2014-03-26T13:14:49.963" UserId="7836" Comment="added 204 characters in body" Text="SunVox is actually really good and is under active development (latest release as of the time of this writing was 4 Feb 2014). It is also supported across all desktop platforms and mobile devices. So you can compose *anywhere*, when the mood strikes.&#xD;&#xA;&#xD;&#xA;As for the formats it exports, it's pretty darned trivial to convert a .wav file to an .mp3! So really not sure what the issue is there :)&#xD;&#xA;&#xD;&#xA;I do have to say that although SunVox is pretty cool anbd very powerful for its simplistic interface, it's probably not got as much learning material as a product like Renoise, which actually has its own youtube channel for learning the application." ContentLicense="CC BY-SA 3.0" />
  <row Id="52097" PostHistoryTypeId="2" PostId="28016" RevisionGUID="3352a117-da48-42a7-8acf-d192aaf8a6f2" CreationDate="2014-03-26T15:03:49.120" UserDisplayName="user7731" Text="Often to avoid &quot;many revisions&quot; with these types of projects you should try offering options. Like version A, B and C of a particular sound you only have a word describing.  If a client has options to pick from, they will less likely push back for a revision of the effect but will rather pick their favorite.&#xD;&#xA;&#xD;&#xA;Although asking for a mentorship specifically may be off-topic, asking for advice on the subject here seems rather appropriate.  Hopefully more will chime in with some good advice on estimating time and budgets. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52102" PostHistoryTypeId="2" PostId="28018" RevisionGUID="647145fe-0f13-495c-bb00-2a570631a75d" CreationDate="2014-03-26T16:45:02.227" UserId="7838" Text="I would like to perform some measurements of the microphones (i.e. frequency response, SNR, etc.). First and best option would be to use the Anechoic Chamber- obviously this is not an option because of access and price. &#xD;&#xA;Another way would be to perform measurements in quiet room and then window the Impulse Response. Unfortunately this will limit lower frequency of my measurement - I do not want that.&#xD;&#xA;I believe that the best way to do that is by using small Anechoic Box and putting speaker and microphones in it. Prices of such are very high, therefore I am interested, is there any good way of creating one? Maybe someone already did it. Mostly I am curious with:&#xD;&#xA;&#xD;&#xA; - what kind of absorbent to use inside&#xD;&#xA; - what to use as the skeleton&#xD;&#xA; - how to insulate it in a best way from outside noise&#xD;&#xA;&#xD;&#xA;I would be thankful for any help. Regards." ContentLicense="CC BY-SA 3.0" />
  <row Id="52103" PostHistoryTypeId="1" PostId="28018" RevisionGUID="647145fe-0f13-495c-bb00-2a570631a75d" CreationDate="2014-03-26T16:45:02.227" UserId="7838" Text="DIY Portable Anechoic Chamber" ContentLicense="CC BY-SA 3.0" />
  <row Id="52104" PostHistoryTypeId="3" PostId="28018" RevisionGUID="647145fe-0f13-495c-bb00-2a570631a75d" CreationDate="2014-03-26T16:45:02.227" UserId="7838" Text="&lt;microphone&gt;&lt;diy&gt;&lt;measurements&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52105" PostHistoryTypeId="2" PostId="28019" RevisionGUID="1d7d6ce2-3aaa-40b6-84d8-265f7d29e52f" CreationDate="2014-03-26T16:47:21.163" UserId="7837" Text="I work for a church as a system admin.  Considering the size of the organization, my tasks also involving being the go-to guy for research and making any decisions involving any form of technical needs, including audio and video setup.&#xD;&#xA;&#xD;&#xA;Within the next year we are planning on breaking ground on a new facility.  Since this is a 100% new construction, and we are still working with the architect on the design, I have full say on how to layout the sound area, conduits and flooring.  I have an entry-level hobbiest understanding of this stuff but I'm nothing close to being an expert.&#xD;&#xA;&#xD;&#xA;**My question is, specifically, in laying out a sound booth for an auditorium, where should the booth be located?**  Bonus points, what else should I be sure to consider when designing a sound system for an auditorium.&#xD;&#xA;&#xD;&#xA;I've seen many auditoriums in my life and, regarding sound booths, I've seen it all-- the best and the worst.  I have a good hunch about what is less than optimal, but I have no clue what would be considered the &quot;absolute best&quot; setup for the audio and video techs and the acoustics of the facility.&#xD;&#xA;&#xD;&#xA;My inclination, from observation, is to have a raised platform, dead center of the auditorium   I think this is what I'm going to push for in future meetings.  However, if I'm going to get behind such a request, I'd like to be sure that this is the best for our needs.&#xD;&#xA;&#xD;&#xA;I'd appreciate any input." ContentLicense="CC BY-SA 3.0" />
  <row Id="52106" PostHistoryTypeId="1" PostId="28019" RevisionGUID="1d7d6ce2-3aaa-40b6-84d8-265f7d29e52f" CreationDate="2014-03-26T16:47:21.163" UserId="7837" Text="New auditorium construction-- where is the 100% perfect place for sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52107" PostHistoryTypeId="3" PostId="28019" RevisionGUID="1d7d6ce2-3aaa-40b6-84d8-265f7d29e52f" CreationDate="2014-03-26T16:47:21.163" UserId="7837" Text="&lt;sound-design&gt;&lt;audio-recording&gt;&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52108" PostHistoryTypeId="2" PostId="28020" RevisionGUID="f9346858-385b-4637-988b-f68f23b20641" CreationDate="2014-03-26T18:40:29.393" UserId="7840" Text="Background: I have some SM58's (a dynamic mic) that I use for my vocals while I'm putting together songs on my iPad. I've recently tried some cheap $40-50-ish lavalier condensers because my dream is to have a a song sketchpad system that weighs &lt;1kg! I already pretty much have that except for a few extra awkward pounds of SM58+preamp to carry around. These cheap ones sound pretty good but I'm wondering if I spend more I could get a recording-quality vocal mic that fits in my jeans pocket.&#xD;&#xA;&#xD;&#xA;Questions:&#xD;&#xA;&#xD;&#xA;1. In general can lavalier/headset (in other words, small) mics capture the &quot;naturalness&quot; and fidelity of a (larger) handheld mics? Or does size really limit the sound quality?&#xD;&#xA;2. Is there any opinion on whether particular models of $$$ small mics (such as Countryman) sound as crisp and rich as an SM58 or other industry standard mics? If so, which ones?&#xD;&#xA;&#xD;&#xA;Note: I realize there's a lot of opinion that singers who are used to using a handheld mic will hate lavalier/headset mics because you can't adjust the distance from your mouth. But I've tried both and it doesn't really bother me, so need to bomb this thread with that." ContentLicense="CC BY-SA 3.0" />
  <row Id="52109" PostHistoryTypeId="1" PostId="28020" RevisionGUID="f9346858-385b-4637-988b-f68f23b20641" CreationDate="2014-03-26T18:40:29.393" UserId="7840" Text="High-end small mics (lavalier/headset) vocal capture quality" ContentLicense="CC BY-SA 3.0" />
  <row Id="52110" PostHistoryTypeId="3" PostId="28020" RevisionGUID="f9346858-385b-4637-988b-f68f23b20641" CreationDate="2014-03-26T18:40:29.393" UserId="7840" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52111" PostHistoryTypeId="5" PostId="28011" RevisionGUID="734b2184-3977-4709-87aa-4c6dc4de1c6d" CreationDate="2014-03-26T19:18:01.543" UserId="7174" Comment="cleaned up to make it not a request for a job." Text="I have been attempting do more game sound to add to my film/tv sound design experience.  I have done a few games now, most of which are mobile/social games. I am having a TON of difficulty in both communicating with clients and budgeting my time (drawing from my film experiences). &#xD;&#xA;&#xD;&#xA;I am often working with nothing more than a few word description of a sound.  This is leading to MANY revisions of effects and destroying my time budget.  I am also not very well-versed in cartoon type sounds.&#xD;&#xA;&#xD;&#xA;How can I improve my communication and time management?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52112" PostHistoryTypeId="4" PostId="28011" RevisionGUID="734b2184-3977-4709-87aa-4c6dc4de1c6d" CreationDate="2014-03-26T19:18:01.543" UserId="7174" Comment="cleaned up to make it not a request for a job." Text="How can I manage communication and time for Social/Mobile Game Sound Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52113" PostHistoryTypeId="5" PostId="28016" RevisionGUID="22530928-90fe-4ab9-93a6-82ad25757dee" CreationDate="2014-03-26T19:26:20.097" UserDisplayName="user7731" Comment="deleted 129 characters in body" Text="Often to avoid &quot;many revisions&quot; with these types of projects you should try offering options. Like version A, B and C of a particular sound you only have a word describing.  If a client has options to pick from, they will less likely push back for a revision of the effect but will rather pick their favorite.&#xD;&#xA;&#xD;&#xA;Hopefully more will chime in with some good advice on estimating time and budgets. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52114" PostHistoryTypeId="2" PostId="28021" RevisionGUID="ab5671ab-aed9-4972-9c64-772567f5a373" CreationDate="2014-03-26T19:31:52.933" UserId="7174" Text="The best advice I can give is to ask questions.  As a sound designer, you are the subject matter expert when it comes to designing a sound, not the client.  The client may very well not know what they want.  Ask about what the purpose of the sound is. Provide feedback and ideas on how that need can be met.  Listen to their responses and flush out what it is they actually want and will be happy with.&#xD;&#xA;&#xD;&#xA;It's a collaborative process and communicating early to set expectations and determine goals is critical to success and being able to manage your time well.  (Note that this doesn't only apply to sound design either, it really applies to any type of specialist consulting.)&#xD;&#xA;&#xD;&#xA;This will also help with time management and budgeting as it helps you get a better idea of what work is needed and lets you give the client a better understanding of the work involved and why it takes the amount of time that it does." ContentLicense="CC BY-SA 3.0" />
  <row Id="52115" PostHistoryTypeId="2" PostId="28022" RevisionGUID="96f37d48-e640-4607-a475-1d2af9102eac" CreationDate="2014-03-26T20:42:06.600" UserDisplayName="user7731" Text="my guess is a soft mallet marimba patch on a keyboard or VI, but not a Kalimba (although Kalimbas are awesome this doesn't sound like one)&#xD;&#xA;&#xD;&#xA;to go more ethnic but stay with wood you might try a balafon tuned chromatic.&#xD;&#xA;&#xD;&#xA;Kalimbas are metal on wood and have a different attack and tone than what is in this song.  With that said, if you listen, the producer filters or adjusts the attack of the instrument patch right before the vocals drop.&#xD;&#xA;&#xD;&#xA;it's also clear by the way and notes that he plays off the top that it is played on a keyboard, not the real thing." ContentLicense="CC BY-SA 3.0" />
  <row Id="52116" PostHistoryTypeId="2" PostId="28023" RevisionGUID="09cbde56-66aa-4d47-8f10-2fe4c574e8b5" CreationDate="2014-03-26T22:17:28.140" UserId="1189" Text="I use the TouchOSC Bridge app on my Macbook to convert OSC signals (sent from a Nexus 7 running TouchOSC for Android) to MIDI so that I can send note on messages and CC values to software (Predominantly PureData and Reaktor).&#xD;&#xA;&#xD;&#xA;What I'm curious about is why you would use OSC when MIDI can convey most information you would require anyway. I'm yet to find a situation where MIDI hasn't been able to control a variable I need to edit, both from the controller to the host and vice-versa.&#xD;&#xA;&#xD;&#xA;I might be missing something here so I'd like to throw it out there to the larger community!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52117" PostHistoryTypeId="1" PostId="28023" RevisionGUID="09cbde56-66aa-4d47-8f10-2fe4c574e8b5" CreationDate="2014-03-26T22:17:28.140" UserId="1189" Text="In what scenarios would you use OSC over MIDI?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52118" PostHistoryTypeId="3" PostId="28023" RevisionGUID="09cbde56-66aa-4d47-8f10-2fe4c574e8b5" CreationDate="2014-03-26T22:17:28.140" UserId="1189" Text="&lt;midi&gt;&lt;reaktor&gt;&lt;puredata&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52119" PostHistoryTypeId="10" PostId="19592" RevisionGUID="e129528e-88f7-4a56-8f16-3fcb98a9975f" CreationDate="2014-03-26T22:35:16.083" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52120" PostHistoryTypeId="2" PostId="28024" RevisionGUID="fd90ce62-c29b-4e52-904a-5b74bafb0c33" CreationDate="2014-03-27T00:01:31.587" UserId="7787" Text="In many cases OSC is used to encapsulate MIDI messages into [UDP](http://en.wikipedia.org/wiki/User_Datagram_Protocol) packets so they can be sent over a network (sometimes to multiple destinations).&#xD;&#xA;&#xD;&#xA;However, the [OSC](http://en.wikipedia.org/wiki/Open_Sound_Control) protocol allows many more types of data to be transmitted.  For example, you can send 32 bit numbers (float or integer) compared to 8 bit integers in MIDI, and symbolic messages, too." ContentLicense="CC BY-SA 3.0" />
  <row Id="52121" PostHistoryTypeId="5" PostId="19468" RevisionGUID="15b35416-11f5-4f86-85d6-dbd51fb9b14e" CreationDate="2014-03-27T03:05:23.463" UserId="61" Comment="added 1 characters in body" Text="I've got some stuff I recorded during batting practice at the ballpark at arlington.  pint me rcoronado1 at gmail" ContentLicense="CC BY-SA 3.0" />
  <row Id="52122" PostHistoryTypeId="2" PostId="28025" RevisionGUID="1c55966f-8fa6-41e5-9a9c-44b0f05e9d8a" CreationDate="2014-03-27T03:19:53.187" UserId="7841" Text="I'm trying to figure out Pure Data's Abstractions. &#xD;&#xA;&#xD;&#xA;I have a simple synth program and I try to pull two copies of it into a second pd program. &#xD;&#xA;&#xD;&#xA;However it seems like although I have twice as much sound, I can't tweak the controls of the Abstractions independently. The volume controls seems to work separately, but when it comes to filter cutoff and resonance controls etc. both synths seem to be using the same values. And only one of the UIs (put onto the main screen with graph-on-parent) seems to affect this.&#xD;&#xA;&#xD;&#xA;As a programmer, I understand variables and scope, but I'm really not making much sense of documentation like http://en.flossmanuals.net/pure-data/dataflow-tutorials/dollar-signs/ which seem to be written for people who don't understand such things. &#xD;&#xA;&#xD;&#xA;I assume that Abstractions are not completely separate namespaces but that namespace-like behaviour is faked somehow with these random numbers in $0. &#xD;&#xA;&#xD;&#xA;I'm currently not using any $0s in this Abstraction and I suppose that is why I'm getting the interference between the two instances of it. But I really can't see how I'm meant to.&#xD;&#xA;&#xD;&#xA;So can anyone recommend a good tutorial that explains how the scoping rules of Abstractions work in PD? Or that just gives a clear tutorial in how you can use multiple copies of the same Abstraction in the same program.&#xD;&#xA;&#xD;&#xA;If it's at all useful, here's the synth I'm trying to use two copies of :&#xD;&#xA;&#xD;&#xA;    #N canvas 100 100 500 500 10;&#xD;&#xA;    #X obj 150 30 hsl 120 20 0 127 0 0 empty empty pitch1 -2 -8 0 10 -262144 -1 -1 0 1;&#xD;&#xA;    #X obj 300 30 hsl 120 20 0 20 0 0 empty empty twin_pitch_diff_1 -2 -8 0 10 -262144 -1 -1 0 1;&#xD;&#xA;    #X obj 20 40 +~;&#xD;&#xA;    #X obj 20 80 phasor~ 0;&#xD;&#xA;    #X obj 20 120 +~ -0.5;&#xD;&#xA;    #X obj 20 160 phasor~ 0;&#xD;&#xA;    #X obj 20 200 +~ -0.5;&#xD;&#xA;    #X obj 20 240 +~;&#xD;&#xA;    #X obj 450 30 hsl 120 20 -10 10 0 0 empty empty filt_freq_phasor_speed_1 -2 -8 0 10 -262144 -1 -1 0 1;&#xD;&#xA;    #X obj 20 280 phasor~ 0;&#xD;&#xA;    #X obj 20 320 *~ 1000;&#xD;&#xA;    #X obj 90 70 hsl 120 20 0 10 0 0 empty empty filter_res_1 -2 -8 0 10 -262144 -1 -1 0 1;&#xD;&#xA;    #X floatatom 20 360 5 0 0 0 - - -;&#xD;&#xA;    #X obj 20 400 vcf~ 440 1;&#xD;&#xA;    #X obj 240 70 hsl 120 20 -15 15 0 0 empty empty lfo_1 -2 -8 0 10 -262144 -1 -1 0 1;&#xD;&#xA;    #X obj 20 440 loadbang;&#xD;&#xA;    #X msg 320 70 0.0001;&#xD;&#xA;    #X obj 20 480 phasor~ 0;&#xD;&#xA;    #X obj 20 520 *~;&#xD;&#xA;    #X obj 20 560 delwrite~ echo_1 1001;&#xD;&#xA;    #X obj 470 70 hsl 120 20 0 1000 0 0 empty empty echo_1_feedback_time -2 -8 0 10 -262144 -1 -1 0 1;&#xD;&#xA;    #X obj 20 600 vd~ echo_1;&#xD;&#xA;    #X obj 90 110 hsl 120 20 0 0.9 0 0 empty empty echo_1_feedback_gain -2 -8 0 10 -262144 -1 -1 0 1;&#xD;&#xA;    #X obj 20 640 *~;&#xD;&#xA;    #X obj 240 110 hsl 120 20 0 1 0 0 empty empty vol_1 -2 -8 0 10 -262144 -1 -1 0 1;&#xD;&#xA;    #X floatatom 20 680 5 0 0 0 - - -;&#xD;&#xA;    #X obj 20 720 *~;&#xD;&#xA;    #X obj 20 760 outlet~ ;&#xD;&#xA;    #X connect 0 0 2 0;&#xD;&#xA;    #X connect 1 0 2 1;&#xD;&#xA;    #X connect 0 0 3 0;&#xD;&#xA;    #X connect 3 0 4 0;&#xD;&#xA;    #X connect 2 0 5 0;&#xD;&#xA;    #X connect 5 0 6 0;&#xD;&#xA;    #X connect 4 0 7 0;&#xD;&#xA;    #X connect 6 0 7 1;&#xD;&#xA;    #X connect 8 0 9 0;&#xD;&#xA;    #X connect 9 0 10 0;&#xD;&#xA;    #X connect 11 0 12 0;&#xD;&#xA;    #X connect 7 0 13 0;&#xD;&#xA;    #X connect 10 0 13 1;&#xD;&#xA;    #X connect 12 0 13 2;&#xD;&#xA;    #X connect 15 0 16 0;&#xD;&#xA;    #X connect 16 0 14 0;&#xD;&#xA;    #X connect 14 0 17 0;&#xD;&#xA;    #X connect 13 0 18 0;&#xD;&#xA;    #X connect 17 0 18 1;&#xD;&#xA;    #X connect 18 0 19 0;&#xD;&#xA;    #X connect 20 0 21 0;&#xD;&#xA;    #X connect 21 0 23 0;&#xD;&#xA;    #X connect 22 0 23 1;&#xD;&#xA;    #X connect 23 0 19 0;&#xD;&#xA;    #X connect 24 0 25 0;&#xD;&#xA;    #X connect 21 0 26 0;&#xD;&#xA;    #X connect 25 0 26 1;&#xD;&#xA;    #X connect 26 0 27 0;&#xD;&#xA;    #X coords 0 -1 1 1 540 140 1 70 10;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52123" PostHistoryTypeId="1" PostId="28025" RevisionGUID="1c55966f-8fa6-41e5-9a9c-44b0f05e9d8a" CreationDate="2014-03-27T03:19:53.187" UserId="7841" Text="Pure Data Abstractions seem to be interfering with each other" ContentLicense="CC BY-SA 3.0" />
  <row Id="52124" PostHistoryTypeId="3" PostId="28025" RevisionGUID="1c55966f-8fa6-41e5-9a9c-44b0f05e9d8a" CreationDate="2014-03-27T03:19:53.187" UserId="7841" Text="&lt;puredata&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52125" PostHistoryTypeId="2" PostId="28026" RevisionGUID="e7050139-de7c-4402-ac6b-c22f02dc537a" CreationDate="2014-03-27T03:40:56.110" UserId="7843" Text="You can use &#xD;&#xA;&#xD;&#xA;MIDI CC 5 - Controls portamento rate to slide between 2 notes played subsequently.&#xD;&#xA;&#xD;&#xA;MIDI CC 65 - Portamento On/Off switch | 0 to 63 = Off, 64 to 127 = On&#xD;&#xA;&#xD;&#xA;MIDI CC 84 - Controls the amount of Portamento." ContentLicense="CC BY-SA 3.0" />
  <row Id="52126" PostHistoryTypeId="2" PostId="28027" RevisionGUID="bfd8d5f8-e16a-4f0d-b4b0-f0acd1613561" CreationDate="2014-03-27T09:28:39.163" UserId="6832" Text="Ask for a gameplay video showing different scenarios in game and start working on sounds on top of that video. I've found it's much easier in most cases than trying to describe things just with words. Later you can use this video to show the client how you would have implemented the sounds in game.&#xD;&#xA;&#xD;&#xA;If possible getting an unfinished version of the game could be even better and you could then record your own videos. Bandicam is excellent software for this.&#xD;&#xA;&#xD;&#xA;Besides artistic side the written description of the sound should include how important the sound is, is it heard often, does it play often same time as other sounds etc. I've sat on both sides of this table and this is something people often miss. Sound designer might create a perfect alien death sound, but nobody told him game consist of killing 500 aliens in 60 seconds, so game developer doesn't need a perfect alien sound, but 15 sounds that are not irritating when heard all the time etc.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52127" PostHistoryTypeId="2" PostId="28028" RevisionGUID="5d18ee9c-1a1f-4124-9731-b4c8f8890196" CreationDate="2014-03-27T13:33:06.893" UserId="7848" Text="I don't have time to look at your patch now, but would strongly think your cross-talk problem is related to the lack of $0s in the abstraction.&#xD;&#xA;&#xD;&#xA;$0s aren't really variables in the same way as $1, $2, etc. which can be assigned numbers by the user. Instead, they represent unique ID numbers that are automatically assigned to an abstraction - and are unique to each abstraction! Therefore, if you use two instances of the same abstraction in a patch, each instance of the abstraction will be assigned a different number. &#xD;&#xA;&#xD;&#xA;This is useful if you're using wireless connections, like 'send', 'receive', 'throw~', 'catch~', or any delay effects, each of which you assign an address name to (eg. [send output] and [receive output] ). If you have multiple abstractions running at the same time, and each has a wireless connection, PD won't know which address name to send the signal to, as there will effectively be multiple instances of the receiving connection. &#xD;&#xA;&#xD;&#xA;So, for multiple instances of the same abstraction, instead of [send output] being received by [receive output], you need [send $0-output] being received by [receive $0-output]. By doing this you're in effect assigning the objects in each instance of an abstraction a different name. &#xD;&#xA;&#xD;&#xA;Get it? Not sure about tutorials, but some of the PD forums are very good.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="52128" PostHistoryTypeId="5" PostId="28028" RevisionGUID="ad641a08-fb36-47cb-8b28-ea88f3cd94ce" CreationDate="2014-03-27T13:38:33.273" UserId="7848" Comment="added 13 characters in body" Text="I don't have time to look at your patch now, but would strongly think your cross-talk problem is related to the lack of $0s in the abstraction.&#xD;&#xA;&#xD;&#xA;$0s aren't really variables in the same way as $1, $2, etc. which can be assigned numbers by the user. Instead, they represent unique ID numbers that are automatically assigned to an abstraction - and, critically, are unique to each abstraction! Therefore, if you use two instances of the same abstraction in a patch, each instance of the abstraction will be assigned a different number. &#xD;&#xA;&#xD;&#xA;This is useful if you're using wireless connections, like 'send', 'receive', 'throw~', 'catch~', or any delay effects, each of which you assign an address name to (eg. [send output] and [receive output] ). If you have multiple abstractions running at the same time, and each has a wireless connection, PD won't know which address name to send the signal to, as there will effectively be multiple instances of the receiving connection. &#xD;&#xA;&#xD;&#xA;So, for multiple instances of the same abstraction, instead of [send output] being received by [receive output], you need [send $0-output] being received by [receive $0-output]. By doing this you're in effect assigning the objects in each instance of an abstraction a different name. &#xD;&#xA;&#xD;&#xA;Get it? Not sure about tutorials, but some of the PD forums are very good.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="52129" PostHistoryTypeId="2" PostId="28029" RevisionGUID="081e1993-8928-4e44-811b-c8af1a839015" CreationDate="2014-03-27T13:41:43.117" UserId="7174" Text="This depends entirely on the layout of the room and the architect's design for it.  More often than not, sound booths are placed in the open in the middle and near the back so that they don't block people's view and can hear an average experience.  It can also help to elevate them so they are less impacted by people absorbing sound.  (People absorb a LOT of sound.)&#xD;&#xA;&#xD;&#xA;Honestly, the best thing you can do is make sure you have a dedicated wifi network in the auditorium and get a digital mixer that can be controlled from a tablet.  Then your audio techs will be free to move around the room and check how things sound from different parts of the room rather than being confined to a particular booth.  We do this at my church and it works fantastically.  I only go in the sound booth when I need to move a wire or adjust the recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="52130" PostHistoryTypeId="2" PostId="28030" RevisionGUID="2f96574d-f627-4680-8e8d-4e1d7f972776" CreationDate="2014-03-27T19:53:04.247" UserId="7850" Text="The answer to your question is a complex one. There are as many options as there are locations in the room. As mentioned a raised platform in the middle is generally the best place to put it. This will change depended on the room but if their are levels in the back I like to keep the board in front of any overhang. What you are really asking is, what is the best location to listen to your PA system. This may change based on your system but in general, center of the house from a left right perspective and a bit behind center from a front back perspective is where I like to post up if the console is not permanently mounted.&#xD;&#xA;&#xD;&#xA;To answer your other question. There is lots to consider when designing a system. &#xD;&#xA;1. What size room is it in &#xD;&#xA;2. how much power do you need to fill that room &#xD;&#xA;3. how many channels are you going to need to mix all the signals you may have (16,32,64)&#xD;&#xA;4. are you going to go digital, or analog &#xD;&#xA;5. are you making your own cables or buying stock length stuff &#xD;&#xA;6. do you need wireless mics, how many&#xD;&#xA;7. where are you going to mount allyour console inputs, snakes? Wall pannels? a mix rack (for new digital style consoles? &#xD;&#xA;&#xD;&#xA;And most importantly, &#xD;&#xA;**What Is Your Budget?**&#xD;&#xA;&#xD;&#xA;More than any other factor the money you have to spend will define what you can do more than any other factor.    " ContentLicense="CC BY-SA 3.0" />
  <row Id="52131" PostHistoryTypeId="2" PostId="28031" RevisionGUID="e830c106-4733-4996-a496-2004665ca9bd" CreationDate="2014-03-27T20:11:10.150" UserId="7850" Text="It sounds like the question you are asking is, &quot;what is a good small mic&quot; and &quot;can I get the sound I get from a 58 and external pre, from a small mic&quot; &#xD;&#xA;&#xD;&#xA;The short answer is, yes you can...&#xD;&#xA;&#xD;&#xA;The long answer is, no...&#xD;&#xA;&#xD;&#xA;When recording voice, there are a few things you can control (I will speak in general here)&#xD;&#xA;&#xD;&#xA;1. Your source, voice recording starts with a human voice. All of which are different and what works for some may not work for others when it comes to mics. Lets not forget that all the vocals on Thriller were done with a SM58 and they sound great so price and quality are not always a direct relationship. Michael Jackson was a great singer and sounded great though a relatively average mic. &#xD;&#xA;&#xD;&#xA;2. Your mic, you can in the end chose what ever mic you want (can afford) to record. If you go to any studio they will have a cabinet full of mics and a good engineer may have some go to's but will be able to pair people with a mic that suits them well. &#xD;&#xA;&#xD;&#xA;3. A pre-amp. Do not overlook this. A $3000 mic is not even worth the box it comes in if you run it though a cheap preamp. The preamp is a large part of the sound you are getting and has a great deal of effect on it. &#xD;&#xA;&#xD;&#xA;4. The ADC. There are only so many options out there in this realm but since you are using your ipad it sounds like it does not matter as I assume you are using the line in. In that case you may want to check out something like this &#xD;&#xA;&#xD;&#xA;http://www.apogeedigital.com/products/duet.php&#xD;&#xA; &#xD;&#xA;It will drastically improve your audio quality. &#xD;&#xA;&#xD;&#xA;5. Your consumption source. Dont forget that you can spend all kinds of fancy money on mics, pre amps and ADC/DACs but if you have bad speakers, well then your music will always sounds like its coming out of bad speakers. Since it sounds like you are on the go, get a nice set of headphones to monitor what you are doing. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;On to the small mic question. I have spent a lot of time with countrymen over the years. They are my go to lav for live theater as they are skin colored, hide well, are easy to put on and sound good in a live setting. When you record them they will sound very thin, this is mainly a result of the fact that they sound that way all the time but it is less present in a large auditorium. And you can in fact adjust the distance from your mouth as they bend very easily for that reason. The countryman is not really a recording mic. And although it may be small you will need to run a pre amp that has the correct jack for it. It does not have an XLR jack as its intended to be connected to a wireless pack it has a mini jack (I cant remember the type off hand). Shure also makes some small options that I have used as over the head mics in a theater setting all sound good live but are a bit thin when recorded. I think much of this thinness has to do with the size of the element and the materials they use. Keeping all this in mind there are small mics out there, there are lots of pencil condensers that sound great and are half the size of a SM58. You may want to take a look at some of those. I have a pair of KSM127's that I use for drum overheads and other similar stuff (horns, groups of singers) and have liked their sound. You will never get Neumann U87/Neve Pre sound from a lav mic/on the go pre, its simple physics.       " ContentLicense="CC BY-SA 3.0" />
  <row Id="52132" PostHistoryTypeId="2" PostId="28032" RevisionGUID="c11d6eb8-1ac5-49b3-924c-032b3868f508" CreationDate="2014-03-27T20:24:02.223" UserId="7850" Text="Yes, The affect on volume is often the most apparent but there will be an affect on the sound its self. Think of it like this, your amplifier does not knot that &quot;headphones&quot; are connected, it does however know that a load is connected. The behavior of your amp will change based on the load, this is often reflected by a drop or rise in volume but varying loads can affect, the frequency range a bit, response times, and the over sound characteristics that you end up hearing.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="52133" PostHistoryTypeId="6" PostId="28019" RevisionGUID="0d30942f-b863-4e95-86c7-1c57ce4e00ca" CreationDate="2014-03-27T20:36:30.263" UserId="6957" Comment="edited tags" Text="&lt;audio-recording&gt;&lt;acoustics&gt;&lt;live-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52134" PostHistoryTypeId="10" PostId="25205" RevisionGUID="77cc4700-ecc7-41ee-afee-6558edaf50fe" CreationDate="2014-03-27T20:42:06.717" UserId="6957" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[25678],&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="52135" PostHistoryTypeId="2" PostId="28033" RevisionGUID="2cd18a82-5b89-4d06-814b-4c7f4d4adc27" CreationDate="2014-03-27T22:35:48.613" UserId="6411" Text="You may well get some good advice here or on other forums, but you need someone who can look at your budget, examine the building plans, and provide you with a detailed analysis of your best course of action. So, if you really want to know the perfect place to put the booth, hire a professional.&#xD;&#xA;&#xD;&#xA;Not all architects are versed in sound, sound-control, and acoustics. Find yourself an acoustical architect/studio designer/acoustician to come on as a consultant and spend the money wisely on the front end, rather than trying to fix a costly (albeit well-intentioned) mistake on the back end. They very well may tell you that the location of the sound booth is completely irrelevant if you have enormous acoustic problems with the plan of the actual auditorium itself." ContentLicense="CC BY-SA 3.0" />
  <row Id="52136" PostHistoryTypeId="2" PostId="28034" RevisionGUID="b9a4dcde-322e-41b1-9c6d-94b54a76537f" CreationDate="2014-03-28T02:45:19.793" UserId="429" Text="Ask them for a few (like 3) references for games they are playing that are roughly similar to the game they are making. Go play those games and make video captures. Copy some of the key sounds you think would work from the reference games. Use these copies as a starting point for your new original work.&#xD;&#xA;&#xD;&#xA;Keep in mind that everyone needs to hear the sounds in context so if you're able to get video captures of the games you're working on then mock-up gameplay with your sounds. You'll find that in isolation sounds might be good but in gameplay it doesn't work.&#xD;&#xA;&#xD;&#xA;Learning what style of sounds appeals to casual / mobile game devs is a learning curve for sure, I worked in post for years and wrapping my head around what game devs like took a long time. I used to make sounds that were too simple, literal, and realistic. Once I got a hang of more tonal cartoony gestural expressions then things got a lot easier.&#xD;&#xA;&#xD;&#xA;Check this game out, it's free and you can hear what I'm talking about IE : the client loved this stuff &gt;&gt; https://itunes.apple.com/ca/app/super-snack-time/id496869790?mt=8&#xD;&#xA;&#xD;&#xA;ping me if you have more question&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="52139" PostHistoryTypeId="2" PostId="28036" RevisionGUID="38e96306-8de3-45cc-ab65-f003af383ccd" CreationDate="2014-03-28T06:44:26.750" UserId="7854" Text="I found boosting the basslines in the 800hz area helps on laptops and only gives a little more clarity on other systems without making it overpowering. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52140" PostHistoryTypeId="2" PostId="28037" RevisionGUID="1f8bd78b-b394-411f-979c-bd67cbf34a24" CreationDate="2014-03-28T11:26:31.870" UserId="6484" Text="Great ideas so far. Have a pair of real wings but also a real feather duster is great as well as leather or suede gloves (soft leather) I also use these for dog ears flapping. If the wings are really big, I take a thin shirt, put it on and pull it out with the mic underneath it and with the feather duster beat it against the shirt. works well. &#xD;&#xA;&#xD;&#xA;Good luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="52147" PostHistoryTypeId="2" PostId="28040" RevisionGUID="317c2752-533a-4093-8677-6117ebc4eea6" CreationDate="2014-03-28T14:21:24.750" UserId="7274" Text="Depending on the client and nature of the project, I sometimes will have a section of the contract limit the number of free revisions I'll do. After a set number, the client pays a fee. This way they're less apt to bounce back and forth on ideas, and you can get more solid feedback from them the first time around. &#xD;&#xA;&#xD;&#xA;Also as mentioned above, I always like to have more than one example in the early stages, usually three options is my go-to. Having context and options to compare can make the process a lot smoother. Even if you really have one idea you're going with, make two quick ones for the sake of comparison." ContentLicense="CC BY-SA 3.0" />
  <row Id="52152" PostHistoryTypeId="5" PostId="22222" RevisionGUID="beb75ad8-a5ed-41d5-87d9-57dba4f96298" CreationDate="2014-03-28T16:21:47.283" UserId="6425" Comment="added 5 characters in body" Text="To get the Kickdrum out of Laptopspeakers -&gt; Layer a small click sound, rimshot, hi hat, etc.&#xD;&#xA;&#xD;&#xA;To get the Bass out -&gt; layer it with saws or use parallel distortion or fm to get some higher harmonics out&#xD;&#xA;&#xD;&#xA;edit: also the right amount of white and pink noise can give the impression of a burst -&gt; helps with those edm genres to give a big bass drop on small speakers. just trigger filtered and reverberated white/pink noise on the sub bass notes or kick." ContentLicense="CC BY-SA 3.0" />
  <row Id="52156" PostHistoryTypeId="6" PostId="22219" RevisionGUID="4f165c73-5d26-41cd-b003-f7ff54fa7ffb" CreationDate="2014-03-29T00:47:55.553" UserId="6411" Comment="edited tags" Text="&lt;mixing&gt;&lt;mastering&gt;&lt;eq&gt;&lt;sub-bass&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52170" PostHistoryTypeId="2" PostId="28043" RevisionGUID="a5860fcf-ff86-4a06-b4f7-1c80add1d893" CreationDate="2014-03-29T08:13:51.867" UserId="7860" Text="Like CarbonSystem said, limit the amount of free revisions that the client can ask for the audio content. If they go past that amount then you can set a separate fee for the following revisions.&#xD;&#xA;&#xD;&#xA;&lt;b&gt;Communication with the developer:&lt;/b&gt;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;First, always try to get as much material as you can from the developer team and go through it thoroughly. Game design documents, early concept art, rough animations and even playable builds really help you to get inside a project and start the audio design process. Ask a lot of questions!&#xD;&#xA;&#xD;&#xA;Always try to be part of a project from day one. Opening the communication channel between you and the developer as early as possible is really important. When you are there from day one you can really influence the audio design of the project and get a lot of precious info that will help you to create high quality assets.&#xD;&#xA;&#xD;&#xA;&lt;b&gt;Time Management tips:&lt;/b&gt;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;Plan and schedule your time. When you know what you are going to do each day and you stick to it then you won't run into any problems with the deadlines. I have had multiple projects at the same time and I could not have completed all of those without scheduling my time for each project. It takes some time from the start but it's totally worth it in the end.&#xD;&#xA;&#xD;&#xA;You could utilize a simple version of an online Kanban board. Kanban board consists of three columns: &quot;to-do&quot;, &quot;in progress&quot; and &quot;done&quot;. You create your tasks and add them to the &quot;to-do&quot; column on the board. When you start working on a task you move it to the &quot;in progress&quot; column and when you have completed the task you move it to the &quot;done&quot; column. It is a really useful tool to keep yourself up-to-date what has been done and what needs to be done on a project.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;&lt;br&gt;&#xD;&#xA;Pasi" ContentLicense="CC BY-SA 3.0" />
  <row Id="52171" PostHistoryTypeId="33" PostId="28018" RevisionGUID="5aa9a494-0278-4351-8ab7-c41c61c45abd" CreationDate="2014-03-29T09:53:57.857" UserId="7838" Comment="8" />
  <row Id="52176" PostHistoryTypeId="2" PostId="28045" RevisionGUID="82b387f5-7f37-4e15-b74d-0e404ecc0499" CreationDate="2014-03-30T12:35:38.903" UserId="7862" Text="at the moment I'm running into strange issues with a mix I did for a non-budget project: I did the audio post (mixing, foley, finish) and everything worked as fine as possible (they had some issues with the sound, boom was sometime off-axis...) and the result is ok. When listening to it through speakers or my headphones in the studio everything is fine, but the crew told me when listening to it on several cellphones the dialog was muted, they were unable to hear it. &#xD;&#xA;&#xD;&#xA;At first I didn't believe so I opened the file on my iPhone and had no problem with it, so I tried several other cellphones and still no issues. When I finally found an old Nokia and when playing the file the dialog is really, really hard to understand. &#xD;&#xA;&#xD;&#xA;My first idea: phasing issue. I double checked the whole mix, listened to it mono but everything is fine. Next idea: maybe a strange filter effect of the cellphones speaker but this doesn't make sense, because it's just the voice that's muted. &#xD;&#xA;&#xD;&#xA;As I already said: most of the cellphones I tested work fine, but the crew told me the ones tested by them very often failed and to be honest I have no idea why this happens - never had an issue like that before. &#xD;&#xA;&#xD;&#xA;Ideas anyone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52177" PostHistoryTypeId="1" PostId="28045" RevisionGUID="82b387f5-7f37-4e15-b74d-0e404ecc0499" CreationDate="2014-03-30T12:35:38.903" UserId="7862" Text="Dialog muted on several Cellphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="52178" PostHistoryTypeId="3" PostId="28045" RevisionGUID="82b387f5-7f37-4e15-b74d-0e404ecc0499" CreationDate="2014-03-30T12:35:38.903" UserId="7862" Text="&lt;mixing&gt;&lt;dialog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52179" PostHistoryTypeId="2" PostId="28046" RevisionGUID="1a4bdb9f-ca3a-4cee-b871-a4b9fcd40c27" CreationDate="2014-03-30T19:16:58.377" UserId="6827" Text="Currently using an old russian gas mask bag:&#xD;&#xA;http://oi59.tinypic.com/sy1ifb.jpg&#xD;&#xA;&#xD;&#xA;It works for now, as my field recording rig only consists of an H4n and a Röde NTG-2.&#xD;&#xA;That wonderful day i can afford a Sound Device i'll have to upgrade :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52181" PostHistoryTypeId="2" PostId="28047" RevisionGUID="763446e4-1900-45df-8b04-5020484174e7" CreationDate="2014-03-30T19:49:34.853" UserId="7864" Text="I am interested in getting into sound design for games and I'm hearing from most sources that FMod is the way to go. I'm just wondering if you need to have a game designed to use it. I.e. Can I just use it without any game to (currently) apply it to.?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52182" PostHistoryTypeId="1" PostId="28047" RevisionGUID="763446e4-1900-45df-8b04-5020484174e7" CreationDate="2014-03-30T19:49:34.853" UserId="7864" Text="Fmod sound design" ContentLicense="CC BY-SA 3.0" />
  <row Id="52183" PostHistoryTypeId="3" PostId="28047" RevisionGUID="763446e4-1900-45df-8b04-5020484174e7" CreationDate="2014-03-30T19:49:34.853" UserId="7864" Text="&lt;sound&gt;&lt;game&gt;&lt;fmod&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52186" PostHistoryTypeId="2" PostId="28050" RevisionGUID="05dde012-9dd4-4976-ab63-8296d2ac7a10" CreationDate="2014-03-30T21:54:07.707" UserId="7867" Text="hope you;re all doing well out there. For a very long time I've wanted to be an electronic musician. You know, making my own music, posting them, touring, helping people etc. I list to a lot of different kinds of music, from smooth jazz to death core. To indie and trance, the list goes on. But the genres that really hit me and stick with me the most are:&#xD;&#xA;&#xD;&#xA;J-Pop ( Japanese Pop ) and Electro. Musicians like: Livetunes, Owl City, Supercar ( Band ), Perfume ( Band ), Dixie Flatline, Meishi Smile, and many others.&#xD;&#xA;&#xD;&#xA;I grew up watching a lot of anime and cartoons, playing video games and reading japanese novels. So my most of the people I give my respects to are Japanese. I have others from varies of countries. But Mostly from Japan. When I hit around 13-16 I would play around with Ableton live and music in general, not really being serious but when I hit 18 I became more serious because I realized I was able to do things more on my own, wel not that I had a choice because neither side of both my families really support me. So I got a job to help me music wise if I ever needed something. I put a lot of time into trying to get things down. Like copying the sounds the musicians I like, and seeing if I can make a smiliar sound if its not the exact sound he/she is making. Sounds similar to this:&#xD;&#xA;&#xD;&#xA;Arpeggios in Livetunes song here. That start in the beginning. I'm not the best at piano but I managed to make a similar arpeggio sound with a C chord I did. However, its not quite right and its certainly not the one in this song.&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=4UUGhJdfSuQ&#xD;&#xA;&#xD;&#xA;And the Bass and maybe distorted synth from the song below like sound that start in his song at ( Bass: 00:15 and unnameable sound at 00:18 and again at 00:21 and 00:25 )&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=q0JM7NuT-WE&#xD;&#xA;&#xD;&#xA;I've asked around for some help on these things because I do not know how to go about making sounds like these to try and copy and then once I Get the sounds down, grow my understanding and then hopefully come to develope my own sound, is what I want. But everywhere I go its always either Hip-hop or Dubstep or House music. There isnt anywhere that helps me get sounds like this similar to J-pop sounds and its frustrating. Like I sit here for hours messing around with VST's and browsing around with sounds and sometimes I'll get something out of it but I&quot;ve been deticating myself to this one song I&quot;m working on so that I can get feed back from people and hopefully fourm a community for J-pop inspired musicians. It feels like I work so hard yet I&quot;m not getting anywhere, I mean I get really happy when I&quot;ve come so far and get something down but its just those sounds that I want and cant get the hang of that really bother me and sucks up my motivation to the point I start falling back into playing video games and watching anime a lot again. And I don't want that at all. I know it will take time and I will become a electronic musician no matter what, I'll make it happen but, its so tough. Please does anyone know where I can find these sounds or how to make these sounds. Any advice on making electronic music, that you think is helpful in anyway, no matter how small or big it is please do tell I really would appreciate it from anyone on any level. Thanks os much for reading and take care." ContentLicense="CC BY-SA 3.0" />
  <row Id="52187" PostHistoryTypeId="1" PostId="28050" RevisionGUID="05dde012-9dd4-4976-ab63-8296d2ac7a10" CreationDate="2014-03-30T21:54:07.707" UserId="7867" Text="Electronic Music Production Help" ContentLicense="CC BY-SA 3.0" />
  <row Id="52188" PostHistoryTypeId="3" PostId="28050" RevisionGUID="05dde012-9dd4-4976-ab63-8296d2ac7a10" CreationDate="2014-03-30T21:54:07.707" UserId="7867" Text="&lt;sound-design&gt;&lt;music&gt;&lt;production&gt;&lt;electronic-music&gt;&lt;electronic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52189" PostHistoryTypeId="5" PostId="28050" RevisionGUID="b34c04d8-1b8b-45a1-a921-af760579bc69" CreationDate="2014-03-30T22:03:05.843" UserId="7867" Comment="added 186 characters in body" Text="hope you;re all doing well out there. For a very long time I've wanted to be an electronic musician. You know, making my own music, posting them, touring, helping people etc. I list to a lot of different kinds of music, from smooth jazz to death core. To indie and trance, the list goes on. But the genres that really hit me and stick with me the most are:&#xD;&#xA;&#xD;&#xA;J-Pop ( Japanese Pop ) and Electro. Musicians like: Livetunes, Owl City, Supercar ( Band ), Perfume ( Band ), Dixie Flatline, Meishi Smile, and many others.&#xD;&#xA;&#xD;&#xA;I grew up watching a lot of anime and cartoons, playing video games and reading japanese novels. So my most of the people I give my respects to are Japanese. I have others from varies of countries. But Mostly from Japan. When I hit around 13-16 I would play around with Ableton live and music in general, not really being serious but when I hit 18 I became more serious because I realized I was able to do things more on my own, wel not that I had a choice because neither side of both my families really support me. So I got a job to help me music wise if I ever needed something. I put a lot of time into trying to get things down. Like copying the sounds the musicians I like, and seeing if I can make a smiliar sound if its not the exact sound he/she is making. Sounds similar to this:&#xD;&#xA;&#xD;&#xA;Arpeggios in Livetunes song here. That start in the beginning. I'm not the best at piano but I managed to make a similar arpeggio sound with a C chord I did. However, its not quite right and its certainly not the one in this song.&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=4UUGhJdfSuQ&#xD;&#xA;&#xD;&#xA;And the Bass and maybe distorted synth from the song below like sound that start in his song at ( Bass: 00:15 and unnameable sound at 00:18 and again at 00:21 and 00:25 )&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=q0JM7NuT-WE&#xD;&#xA;&#xD;&#xA;I've asked around for some help on these things because I do not know how to go about making sounds like these to try and copy and then once I Get the sounds down, grow my understanding and then hopefully come to develope my own sound, is what I want. But everywhere I go its always either Hip-hop or Dubstep or House music. There isnt anywhere that helps me get sounds like this similar to J-pop sounds and its frustrating. Like I sit here for hours messing around with VST's and browsing around with sounds and sometimes I'll get something out of it but I&quot;ve been deticating myself to this one song I&quot;m working on so that I can get feed back from people and hopefully fourm a community for J-pop inspired musicians. It feels like I work so hard yet I&quot;m not getting anywhere, I mean I get really happy when I&quot;ve come so far and get something down but its just those sounds that I want and cant get the hang of that really bother me and sucks up my motivation to the point I start falling back into playing video games and watching anime a lot again. And I don't want that at all. I know it will take time and I will become a electronic musician no matter what, I'll make it happen but, its so tough. Please does anyone know where I can find these sounds or how to make these sounds. Any advice on making electronic music, that you think is helpful in anyway, no matter how small or big it is please do tell I really would appreciate it from anyone on any level. Thanks os much for reading and take care.&#xD;&#xA;&#xD;&#xA;My email is: ofalvea@gmail.com    my skype is : alveaaa   pelase contact by any means if you have anything to give a help on or have any ideas to share. I appreciate it very much. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52190" PostHistoryTypeId="2" PostId="28051" RevisionGUID="920c61d4-d441-448e-8e0b-3180963b121c" CreationDate="2014-03-31T04:14:56.617" UserId="7509" Text="I'm wondering how to have multiple IEM mixes. So the drummer hears a  mix different than the lead vocals mix.&#xD;&#xA;I know one way to do this is, pan some instruments left and right and send mono signals to the transmitters...&#xD;&#xA;&#xD;&#xA;But what about multiple transmitters? Each member of the band has their own transmitter and receiver. Mixers don't have 4 aux sends do they? (I haven't bought a mixer yet. I don't know) &#xD;&#xA;What is the usual way to hook up 4 transmitters? You need to make sure you have enough Aux Sends?&#xD;&#xA;&#xD;&#xA;And I don't get how I could cancel out/change the volumes of different instruments and send them to their specific transmitter... I'm new to all this so I definitely need some help haha. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52191" PostHistoryTypeId="1" PostId="28051" RevisionGUID="920c61d4-d441-448e-8e0b-3180963b121c" CreationDate="2014-03-31T04:14:56.617" UserId="7509" Text="Multiple IEM mixes / multiple transmitters?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52192" PostHistoryTypeId="3" PostId="28051" RevisionGUID="920c61d4-d441-448e-8e0b-3180963b121c" CreationDate="2014-03-31T04:14:56.617" UserId="7509" Text="&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52193" PostHistoryTypeId="2" PostId="28052" RevisionGUID="809b1336-70c0-446f-98a5-d1077ed1e4a2" CreationDate="2014-03-31T06:52:07.257" UserId="1241" Text="It depends on what you want to do.&#xD;&#xA;&#xD;&#xA;With just FMOD Studio, you can build complex events with parameter-driven effects, detailed internal signal routing, randomised elements, and internal trigger logic of a variety of different flavours. You can also mix your project, devise snapshots and sidechains to alter how it behaves under particular circumstances, and audition how things sound together. To put it another way, you can author a game's worth of content without having a game. (Full disclosure: I work for Firelight Technologies, and one of our design goals for Studio was making it possible to design, audition and tweak complex content without needing to dip into game code.)&#xD;&#xA;&#xD;&#xA;That said, there are certain things you probably want a game for. For one thing, it's hard to adjust and fit your overall mix to fit the &quot;look and feel&quot; of your game without having said game handy. For another, while Studio lets you control the parameters that drive events as you audition them, it's unlikely you'll be able to exactly mimic the timing and precision found in your game, which is a disadvantage when fine-tuning and tweaking what you've made.&#xD;&#xA;&#xD;&#xA;For just learning how the tool works, though, you can get by without a game. That said, FMOD has integrations with a number of well-known and easily obtainable game engines that might be of interest if you ever want to put your sounds into a game." ContentLicense="CC BY-SA 3.0" />
  <row Id="52198" PostHistoryTypeId="2" PostId="28053" RevisionGUID="1ee30d60-8f9a-4a5a-8baa-5f815bfd1cc8" CreationDate="2014-03-31T11:09:50.367" UserDisplayName="user6513" Text="I know you said you checked the phase but it really sounds like a phase issue. Have you tried inverting just the dialogue track and exporting that to check? Or just exporting the dialogue on its own and playing that out on the phones.&#xD;&#xA;&#xD;&#xA;How are you bouncing the final mix?&#xD;&#xA;&#xD;&#xA;If software doesn't seem to be the problem than perhaps work backwards from the physical end. Your hardware may possibly be the source of your phase issues? Have you checked your cables and connections? I had a out of phase return cable to my mixer once and I never realised it until playing back in mono after many days of recording... &#xD;&#xA;&#xD;&#xA;More details about your hardware and session setup would be needed to help thinker any bells I reckon." ContentLicense="CC BY-SA 3.0" />
  <row Id="52199" PostHistoryTypeId="2" PostId="28054" RevisionGUID="343534ae-2e2a-4266-997a-3e0d8506a03f" CreationDate="2014-03-31T13:50:32.443" UserId="7174" Text="You answered your own question.  You need to have enough Aux Sends.  If you are using a decent front of house mixer or any monitor mixer, then there will be numerous Aux outputs. (Anything other than the absolute cheapest sound boards should have at least four.) The Presonus StudioLive 24.4.2 that I use most frequently has 10 Aux outputs and it's relatively cheap at $2500 for a 24 channel digital board.&#xD;&#xA;&#xD;&#xA;Each Aux send gets it's own mix.  You don't have to &quot;cancel out&quot; anything, you simply don't mix it in to that particular aux send.  Each transmitter is wired up to a particular aux or set of auxes.  (You can normally do left/right pairs of auxes on decent sound boards so that you can send stereo information to the in-ears if you'd like to maintain the vocals/instrument break down, but a little more tuned for each person.)&#xD;&#xA;&#xD;&#xA;Another side bonus of some digital boards is that some of them can actually allow the performers themselves to adjust their mix with an iPhone or iPad." ContentLicense="CC BY-SA 3.0" />
  <row Id="52203" PostHistoryTypeId="2" PostId="28056" RevisionGUID="9f7a0fe5-a8c8-498e-802e-4ccadf5cf659" CreationDate="2014-04-01T14:40:03.343" UserId="7656" Text="I hope this is relevant for the sound design forum, and apologize if not. I have to make a found sound remix for a university assignment and am struggling to find good samples for certain elements.&#xA;I have all the percussive elements I need except for a hi-hat sound and also, I cannot find anything that transposes well enough to make into a melody.&#xA;Does anyone have any ideas of things I could record to achieve these? I cannot use any vocals or instruments.&#xA;Thanks, Oli" ContentLicense="CC BY-SA 3.0" />
  <row Id="52204" PostHistoryTypeId="1" PostId="28056" RevisionGUID="9f7a0fe5-a8c8-498e-802e-4ccadf5cf659" CreationDate="2014-04-01T14:40:03.343" UserId="7656" Text="Found sound sampling" ContentLicense="CC BY-SA 3.0" />
  <row Id="52205" PostHistoryTypeId="3" PostId="28056" RevisionGUID="9f7a0fe5-a8c8-498e-802e-4ccadf5cf659" CreationDate="2014-04-01T14:40:03.343" UserId="7656" Text="&lt;field-recording&gt;&lt;recording&gt;&lt;sampling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52206" PostHistoryTypeId="2" PostId="28057" RevisionGUID="b57265bc-a4ad-4630-b210-4e398ed89b50" CreationDate="2014-04-01T15:47:09.397" UserId="6432" Text="I think it's ok for your question to be here. Not sure which examples you have looked at in-class, but here is some potential inspiration:&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=0VGEwhBDOVU&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=85zfnRpBA8k&amp;list=UUa-kfxzUHPDLOwM-oVodF4A&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=fY-ZoVMwGKM&#xD;&#xA;&#xD;&#xA;Having said that, perhaps it's just a question of stretching your idea of what melody actually is... &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52207" PostHistoryTypeId="2" PostId="28058" RevisionGUID="cca13178-3218-4d5c-b173-887f283ccd3f" CreationDate="2014-04-01T18:03:33.470" UserId="7875" Text="I have a guitar with an active pickup built-in. It works fine in normal playing, but when playing percussive fingerstyle ([concrete example][1]), there are two big issues:&#xD;&#xA;&#xD;&#xA;1. The percussive parts on the guitar body are amplified very poorly, if at all.&#xD;&#xA;2. When performing a hammer-on in the middle of the neck, both sides of the string vibrate. The amplification should only pick up the right side, but unfortunately it also picks up the left, creating undesirable dissonance.&#xD;&#xA;&#xD;&#xA;I realise that in the example video Mr. Hall is using a microphone, but I would prefer a system that is built into the guitar. I also imagine that would be cheaper (though I know very little about amplification, so please correct me if I'm wrong).&#xD;&#xA;&#xD;&#xA;Thank you!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.youtube.com/watch?v=gGGvH3WK-5c&amp;feature=youtu.be&amp;t=2m46s" ContentLicense="CC BY-SA 3.0" />
  <row Id="52208" PostHistoryTypeId="1" PostId="28058" RevisionGUID="cca13178-3218-4d5c-b173-887f283ccd3f" CreationDate="2014-04-01T18:03:33.470" UserId="7875" Text="What are good amplification methods for percussive fingerstyle (on an acoustic guitar)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52209" PostHistoryTypeId="3" PostId="28058" RevisionGUID="cca13178-3218-4d5c-b173-887f283ccd3f" CreationDate="2014-04-01T18:03:33.470" UserId="7875" Text="&lt;amplifier&gt;&lt;guitar&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52210" PostHistoryTypeId="5" PostId="28058" RevisionGUID="d6f77b0e-b810-42ad-bda9-480f7c0848d6" CreationDate="2014-04-01T18:16:28.937" UserId="6957" Comment="inline youtube" Text="I have a guitar with an active pickup built-in. It works fine in normal playing, but when playing percussive fingerstyle (example below), there are two big issues:&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=gGGvH3WK-5c&amp;t=2m46s&#xD;&#xA;&#xD;&#xA;1. The percussive parts on the guitar body are amplified very poorly, if at all.&#xD;&#xA;2. When performing a hammer-on in the middle of the neck, both sides of the string vibrate. The amplification should only pick up the right side, but unfortunately it also picks up the left, creating undesirable dissonance.&#xD;&#xA;&#xD;&#xA;I realise that in the example video Mr. Hall is using a microphone, but I would prefer a system that is built into the guitar. I also imagine that would be cheaper (though I know very little about amplification, so please correct me if I'm wrong).&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52211" PostHistoryTypeId="6" PostId="24637" RevisionGUID="8a77bc8e-4974-4050-8d4b-4a0b28acac32" CreationDate="2014-04-01T18:17:40.683" UserId="6862" Comment="added two tags." Text="&lt;equalization&gt;&lt;filter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52212" PostHistoryTypeId="24" PostId="24637" RevisionGUID="8a77bc8e-4974-4050-8d4b-4a0b28acac32" CreationDate="2014-04-01T18:17:40.683" Comment="Proposed by 6862 approved by 6957 edit id of 104" ContentLicense="CC BY-SA 3.0" />
  <row Id="52214" PostHistoryTypeId="2" PostId="28059" RevisionGUID="250402dc-966b-4e3b-8592-5796c89f6be7" CreationDate="2014-04-01T18:52:45.560" UserId="6481" Text="sorry if this question is too off-topic and far from sound design.&#xD;&#xA;I'm wondering whether there's any way how to easily show all automation lanes that have any data written inside. I hope you know what I mean. I sometimes find myself struggling with English.&#xD;&#xA;I did, of course, some research first before asking this question but no luck so far.&#xD;&#xA;It seems that I have to open lanes one by one like I'm used to do but maybe I'm missing something.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52215" PostHistoryTypeId="1" PostId="28059" RevisionGUID="250402dc-966b-4e3b-8592-5796c89f6be7" CreationDate="2014-04-01T18:52:45.560" UserId="6481" Text="Pro Tools / show all written automation" ContentLicense="CC BY-SA 3.0" />
  <row Id="52216" PostHistoryTypeId="3" PostId="28059" RevisionGUID="250402dc-966b-4e3b-8592-5796c89f6be7" CreationDate="2014-04-01T18:52:45.560" UserId="6481" Text="&lt;pro-tools&gt;&lt;automation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52217" PostHistoryTypeId="2" PostId="28060" RevisionGUID="1ed04da3-3ed9-4024-92b2-9711f45a0b24" CreationDate="2014-04-01T20:06:06.717" UserId="6445" Text="I'm looking to upgrade some of my equipment in anticipation of doing some serious recording during an upcoming trip of mine. &#xD;&#xA;&#xD;&#xA;When I work in the theater, I use my zoom, which is great for that purpose. The preamp quality, however, isn't great. Does anyone have any suggestions for the following equipment keeping BOTH quality and size\weight in mind since I plan to use it in some quite remote places. &#xD;&#xA;&#xD;&#xA;- Field recorder&#xD;&#xA;- lightweight collapsable Mic stand&#xD;&#xA;- a mic or mic rig to capture ambiances. Binaural ear rig? MS? XY? Stereo mic? &#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52218" PostHistoryTypeId="1" PostId="28060" RevisionGUID="1ed04da3-3ed9-4024-92b2-9711f45a0b24" CreationDate="2014-04-01T20:06:06.717" UserId="6445" Text="Lightweight Quality Field recording package?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52219" PostHistoryTypeId="3" PostId="28060" RevisionGUID="1ed04da3-3ed9-4024-92b2-9711f45a0b24" CreationDate="2014-04-01T20:06:06.717" UserId="6445" Text="&lt;recording&gt;&lt;gear&gt;&lt;field&gt;&lt;field-recording&gt;&lt;travel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52220" PostHistoryTypeId="2" PostId="28061" RevisionGUID="d5437922-35dd-486d-a45a-4d24a5ca2e0e" CreationDate="2014-04-01T20:49:41.353" UserId="7200" Text="A microphone is definitely the best solution, sound-wise. And indeed almost certainly _cheaper_ than anything built-in, if it is supposed to sound anywhere as decent. You don't necessarily need a large-diaphragm mic, though it should be a condenser. Small-diaphragm ones are available for as little as 50$ these days; you may want to spend _a little_ more (e.g AKG perception 170), but even with a Behringer C2 you can achieve a pretty good sound (provided you guitar offers it acoustically; room acoustics are also very important). This being already true for simple strummed rythm guitar, and for percussive styles the advantages of a mic become more pronounced: all those body components will come out just as you want them predictable and all. Really, the only good reasons _not_ to use an external microphone is mobility on stage, as well as feedback issues.&#xD;&#xA;&#xD;&#xA;Now, as for the alternatives – obviously there are gooseneck or similar microphones to be attached to / built into the guitar, which offer basically the same advantages but with less optimal placement in exchange for better convenience. These can sound almost as good as external mics; the main problem here is feedback. So if you don't need to play very loud live, this might be the ideal thing for you. But you'll probably need to spend a lot more money, and also have to try for yourself which models fit your guitar well. Especially with unusual and &quot;acrobatic&quot; playing styles, you must still be sure not to hit and/or move the mic somehow, which is perhaps not so easy to ensure. So again point for preferring an external mic for the percussive stuff.&#xD;&#xA;&#xD;&#xA;Then there are various types of _contact microphones/transducers_. These can sound very different: some will lack tone definition, amplify all touches to the instrument over the top, and have even stronger feedback tendencies than microphones. It requires a good parametric EQ ready to fight such issues. But some such systems give a really good compromise between direct-string pickups and microphones. In particular with regard to percussive playing, you'll have plenty of attack, though it may sound uneven and way too loud when tapping close to the transducer. But this can be integrated in your playing style, for instance you can get certain very deep, throbbing &quot;bass drum&quot; sounds that are basically impossible to achieve with any other amplification system. A model I've made good experience with is the B-Band BB1470.&#xD;&#xA;&#xD;&#xA;Next, there are magnetic pickups. Obviously they only work for steel strings, which you seem to use. These pickups work in principle the same as electric guitar PUs, but sound quite different because they have a way lower inductance (the high inductance is what smoothens out the treble range in electric guitars, removing the &quot;acoustic edge&quot;). They can get quite a nice, very direct and bright yet &quot;warm&quot; string sound, but are pretty much useless for amplifying anything percussive. Yet, it might be useful to _combine_ a magnetic PU with some microphone system, so you have loud, clearly defined tones in addition to percussion &amp; ambience. In particular, magnetic pickups are very selective to the &quot;body-side&quot; vibrations of the strings, which eliminates your mid-neck hammer-on problem (though I daresay that's something you should try to tackle with playing technique: don't hit right between the frets, rather aim right _on_ the fret you want and only then slip you finger behind it).&#xD;&#xA;&#xD;&#xA;Finally, there's piëzo bridge pickups. The most widespread type nowdays, the simplest and in many ways most straightforward way to amplify an acoustic guitar. That's most likely what you have in your guitar already, so you know the character – very &quot;crisp&quot;, but often unpleasant, lacking depth, &quot;resoncance&quot;, as well as percussive components anywhere but right at the bridge. Such piëzos can quite well be combined with contact transducers, because of the contrasting sonic properties (rather dull but very body-oriented, resonant). Since you already have a piëzo, this is therefore a combination worth consideration." ContentLicense="CC BY-SA 3.0" />
  <row Id="52221" PostHistoryTypeId="2" PostId="28062" RevisionGUID="8e834ed0-2c1b-4b49-aedc-ec56338a6fee" CreationDate="2014-04-02T00:18:43.577" UserId="7878" Text="I'm not sure what your budget it, but assuming its limited, I can definitely recommend the Fostex FR2-le. The preamps are actually great for the cost of the unit and it is certainly a lightweight piece of kit.&#xD;&#xA;&#xD;&#xA;Pros:&#xD;&#xA;&#xD;&#xA; - Very light. I think it comes in at under 1kg.&#xD;&#xA; - Decent preamps (we're obviously not talking SD quality, but they are far better than the price suggests).&#xD;&#xA; - 96/24.&#xD;&#xA;&#xD;&#xA;Cons:&#xD;&#xA;&#xD;&#xA; - Its light because its plastic. You don't want to throw this thing down the stairs, or get it wet.&#xD;&#xA; - Mic trim knobs are tiny, and a pain in the backside if you're in the dark/cold etc.&#xD;&#xA; - If you want to change the recording to a different samplerate, or switch to stereo/mono, you have to reformat the CF card in the unit.&#xD;&#xA; - No timecode, but that hardly renders the unit useless.&#xD;&#xA; - You might never use it, but the limiter is garbage.&#xD;&#xA;&#xD;&#xA;Overall, the unit should meet all your requirements, and the cons are really only minor gripes. I'm moving on to Sound Devices in the near future, but I've certainly never had any problems with my Fostex (although you'll definitely want to pickup a proper battery pack for it. Standard AA's will only give you a couple of hours recording 96/24 in stereo)." ContentLicense="CC BY-SA 3.0" />
  <row Id="52222" PostHistoryTypeId="2" PostId="28063" RevisionGUID="a0e85083-9ab7-484d-b1b7-bbef5bf6545e" CreationDate="2014-04-02T05:33:46.600" UserId="7821" Text="I got the answer from Noikia Design Team:&#xD;&#xA;We usually master for &quot;cd&quot;, around -10 RMS (or -14 RMS for softer songs) and peak at -0.2. We leave full bandwidth sound as it is, but apparently some manufacturers cut everything below 200 Hz.&#xD;&#xA;&#xD;&#xA;Phone speakers typically can't reproduce much frequencies below 500 Hz. Also, 1 kHz can be a problematic frequency. If it's crowded there, the small speaker membrane may start 'rattling' in higher modes and that's not pretty :-) Always test in a phone or a couple of phones." ContentLicense="CC BY-SA 3.0" />
  <row Id="52223" PostHistoryTypeId="2" PostId="28064" RevisionGUID="a9372593-5820-49c9-8977-38e938adcee9" CreationDate="2014-04-02T05:58:26.467" UserId="432" Text="I know of no way to do what you're asking. I'm fairly confident that opening individual automation lanes one by one is the only way." ContentLicense="CC BY-SA 3.0" />
  <row Id="52224" PostHistoryTypeId="2" PostId="28065" RevisionGUID="0b5763e7-1524-49d1-a35d-3d2c270cfe07" CreationDate="2014-04-02T08:29:16.407" UserId="7880" Text="For setting your reference monitors certan major factors come to play.&#xD;&#xA;The size and shape of your studio, re recording engineers distance from the reference monitors.&#xD;&#xA;In a proper post sound mix stage, reference is: 85 db L,C,R&#xD;&#xA;82 db Ls,Rs and 89 or 90db (depending on tv or film show) for Lfe.(aka Sub)&#xD;&#xA;If you are mixing in a substantially smaller than the theater size room, you have to reduce your reference level accordingly.&#xD;&#xA;Otherwise, you would go deaf, or tend to mix much lower than you should have, because you would think that it is just so loud. Theater is a much larger space in volume.&#xD;&#xA;&#xD;&#xA;To calibrate yor ref. monitors, use pink noise on each main out channel set solo at minus 20db (digital equivalent of Unity) and get a db meter and  point at the cone of the speaker from the mixing position at the head level. Calculate the size of your room h.w.d. in correlation to sound pressure. Example, I mix at 79db LCR based on a much smaller room size. 76db LsRs and 83 Lfe. &#xD;&#xA;Once you get your reference levels nice and proper, dialogue should have rms around minus 24 to 26 db, this way you have 4 to 8 db head room, if there is shouting involved.&#xD;&#xA;Everything else gets wrapped around the dialogue. Get that egg yolke shaped and mix the white around it. Use your critical listening at this point.&#xD;&#xA;&#xD;&#xA;I hope this makes sense to people in need of an advice.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52225" PostHistoryTypeId="2" PostId="28066" RevisionGUID="9829a75c-d3df-486a-b949-7b48df17a02a" CreationDate="2014-04-02T12:13:01.157" UserId="1189" Text="I'm putting together a talk on the basics of sound design for theatre and I wanted to grab a short clip demonstrating sound design transitioning from the non-diegetic realm into the conscious of the setting and characters on-screen. I'm showing a film example for the purposes of demonstration but want the participants to consider how they could achieve this in the live realm.&#xD;&#xA;&#xD;&#xA;The only example I can think of currently is the familiar trope of a character daydreaming / sleeping and hearing voices in an ethereal, reverberant manner. The voices quickly &quot;dry out&quot; when the character snaps back into reality / wakes up.&#xD;&#xA;&#xD;&#xA;I'd love to hear others examples of where they've seen this work the best as I'm at a bit of a loss." ContentLicense="CC BY-SA 3.0" />
  <row Id="52226" PostHistoryTypeId="1" PostId="28066" RevisionGUID="9829a75c-d3df-486a-b949-7b48df17a02a" CreationDate="2014-04-02T12:13:01.157" UserId="1189" Text="Best examples of transitioning between non-diegetic to diegetic" ContentLicense="CC BY-SA 3.0" />
  <row Id="52227" PostHistoryTypeId="3" PostId="28066" RevisionGUID="9829a75c-d3df-486a-b949-7b48df17a02a" CreationDate="2014-04-02T12:13:01.157" UserId="1189" Text="&lt;examples&gt;&lt;theatre-sound-design&gt;&lt;film-mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52228" PostHistoryTypeId="2" PostId="28067" RevisionGUID="abdaa486-4ece-4848-8ad1-513c2705da54" CreationDate="2014-04-02T13:06:29.840" UserId="6536" Text="Alt+click on the little arrow in any track. Alt-clicking will show/hide all automation lanes." ContentLicense="CC BY-SA 3.0" />
  <row Id="52229" PostHistoryTypeId="2" PostId="28068" RevisionGUID="debdba70-cd9e-4c04-8005-2e5a66c7657c" CreationDate="2014-04-02T14:21:11.960" UserId="3346" Text="I use a a mkh8040 ortf setup into a mixpre into a pcm m10 with a smal &quot;slik&quot; mic stand. Very small, lightweigt and stunning quality. Shure.... Expensive! " ContentLicense="CC BY-SA 3.0" />
  <row Id="52230" PostHistoryTypeId="2" PostId="28069" RevisionGUID="e3169243-372c-4f09-844f-c092dc357d59" CreationDate="2014-04-02T15:10:58.093" UserId="7229" Text="If you want to do more percussive in your acoustic guitar, I remember that Fishman has developed their onboard-preamp, which I use. It's a preamp that combine undersaddle piezo with built-in mic beneath the preamp. Named &quot;Classica Blend&quot; or &quot;Presys Blend&quot;.&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Or if you prefer microphone, you can use Eric Clapton style. While playing acoustic guitar with both mic and jack output from guitar.&#xD;&#xA;&#xD;&#xA;Or if you prefer my way, which it's the craziest one. Using magnet coil pickup in guitar's soundhole, plug to the amp, and using onboard-preamp, plug to the amp, and use microphone too.&#xD;&#xA;&#xD;&#xA;But, if you're playing in a big stage, with a microphone, the feedback chance is higher than just with an onboard-preamp.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/rjQBP.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="52231" PostHistoryTypeId="2" PostId="28070" RevisionGUID="9824805d-37f4-42f7-8354-f0e6850f77d8" CreationDate="2014-04-02T17:15:21.567" UserId="1216" Text="After your response it's way easier to answer your question. Yes you can.&#xD;&#xA;In Protools plugins just hold the ctrl-option-command keys together and click on the plugin button you want to automate (whatever it is from which you want to see the automation lane).&#xD;&#xA;It works in eq plugins and also on channelstrips. Don't know about surround, just try it out.&#xD;&#xA;Then you can ctrl-command and click on the same button. Easy does it.&#xD;&#xA;&#xD;&#xA;[SOS link][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/sep05/articles/keypoints.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="52232" PostHistoryTypeId="2" PostId="28071" RevisionGUID="c003943a-5ebe-412e-8b9e-dce1d07f70b9" CreationDate="2014-04-02T17:44:53.767" UserId="7509" Text="I'm totally new to mixing and live environments, but my main concern is having In Ear Monitors for my band so we can hear a metronome. But I don't want the audience to hear it.&#xD;&#xA;&#xD;&#xA;This is the mixer I'm looking at (It has 2 Aux Sends and I like that) http://www.amazon.com/Yamaha-MG166CX-Mountable-Digital-Effects/dp/B001IYYZO4/ref=pd_sim_sbs_MI_2?ie=UTF8&amp;refRID=1MTXZWH9MWNTNJXVZR54&#xD;&#xA;&#xD;&#xA;How would I create different mixes for the IEMs and what the audience hears? How would I mute the metronome from the audience? I'm totally new so I have no idea. Would I have the volume knobs turned down on the metronome mix but the Aux 1 and Aux 2's turned up so the IEMs can hear it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52233" PostHistoryTypeId="1" PostId="28071" RevisionGUID="c003943a-5ebe-412e-8b9e-dce1d07f70b9" CreationDate="2014-04-02T17:44:53.767" UserId="7509" Text="Separate monitor mix from audience mix?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52234" PostHistoryTypeId="3" PostId="28071" RevisionGUID="c003943a-5ebe-412e-8b9e-dce1d07f70b9" CreationDate="2014-04-02T17:44:53.767" UserId="7509" Text="&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52235" PostHistoryTypeId="2" PostId="28072" RevisionGUID="3c1fa54e-3fa4-4fbd-b2a6-ab7ab275efbc" CreationDate="2014-04-02T18:38:32.547" UserId="7883" Text="What are you generating your metronome with? You can feed the metronome generator into an empty channel on the mixer. Turn the fader all the way down to -infinity for that channel and use the aux send (pre fader) to send the metronome signal to the Q that you are using to amplify the headphone signal. That way the signal is sent to the aux before it reaches the fader, and the fader is turned down so the signal is not sent to the main bus (audience). You will need your sound engineer to set the tempo for you for each track or you can have whatever you are generating the metronome with on stage so that you can set it yourself between each song. Let me know if this is easy to comprehend as I can draw you a schematic that may easier to understand. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52236" PostHistoryTypeId="2" PostId="28073" RevisionGUID="68e98c7c-6eeb-4a0b-b278-33c85e19c5b3" CreationDate="2014-04-02T19:25:46.483" UserId="7884" Text="Just rejoined as couldn't figure out how to get my old account back, hope your all doing well!&#xD;&#xA;&#xD;&#xA;So on to the question, I've been trying to get metal surface footsteps to sound right for years but still not happy.... so am looking for suggestions!&#xD;&#xA;&#xD;&#xA;I've tried a huge piece of metal (kind they put over holes in the road) - sounds to hollow.&#xD;&#xA;I've tried adding a ring with a metal megaphone. Worked to an extent but the megaphone lost its mojo, and would sound like someone banging a metal bin!&#xD;&#xA;I've tried adding a ring with a water cooler bottle. It's good, but it's not right....&#xD;&#xA;I've tried lots of different things!! But still not how I want them to sound....&#xD;&#xA;&#xD;&#xA;What I want them to sound like, is how they sound on the spaceship in Prometheus.... So.... any ideas guys?&#xD;&#xA;&#xD;&#xA;Thanks in advance!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52237" PostHistoryTypeId="1" PostId="28073" RevisionGUID="68e98c7c-6eeb-4a0b-b278-33c85e19c5b3" CreationDate="2014-04-02T19:25:46.483" UserId="7884" Text="Foley Metal Footsteps" ContentLicense="CC BY-SA 3.0" />
  <row Id="52238" PostHistoryTypeId="3" PostId="28073" RevisionGUID="68e98c7c-6eeb-4a0b-b278-33c85e19c5b3" CreationDate="2014-04-02T19:25:46.483" UserId="7884" Text="&lt;foley&gt;&lt;footsteps&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52239" PostHistoryTypeId="2" PostId="28074" RevisionGUID="551fb4b5-be25-4c2d-bfbb-d157ffdffdf9" CreationDate="2014-04-02T19:39:12.543" UserId="7883" Text="Okay theres no quick key or something that does this but theres a hack (Given the tracks are of the same type: ie Audio).&#xD;&#xA;&lt;ul&gt;&#xD;&#xA;&lt;li&gt;1) Duplicate the track you plan on strip silencing to a new track&lt;/li&gt;&#xD;&#xA;&lt;li&gt;2) Strip silence the original&lt;/li&gt;&#xD;&#xA;&lt;li&gt;3) With the OBJECT GRABBER tool click and drag to select all the non-contiguous regions that where just created on the original file from strip silence&lt;/li&gt;&#xD;&#xA;&lt;li&gt;  4) With the regions selected click and drag them to the duplicated track you created and press the 'delete' button to get rid of the regions and leave you with the inverse of the regions  &lt;/li&gt;&#xD;&#xA;&lt;li&gt;5) With the OBJECT GRABBER tool click and drag to select all the bog-contiguous regions that where just created &lt;/li&gt;&#xD;&#xA;&lt;li&gt;Drag them to the track that you CANNOT strip silence and press delete&lt;/li&gt;&#xD;&#xA;&lt;/ul&gt;&#xD;&#xA;This will leave you with the same breaks in regions as the track you strip silenced on the track that cannot be strip silenced" ContentLicense="CC BY-SA 3.0" />
  <row Id="52253" PostHistoryTypeId="2" PostId="28081" RevisionGUID="d9bb7b57-774d-4755-a26f-0b00aa8cd607" CreationDate="2014-04-03T09:49:02.203" UserId="7026" Text="Well, as Andreas pointed out, the SD Mixpre &gt; Pcm-M10 is a lightweight classic. As for mics, usual convenient recommendations could be DPA4060, or a pair of Lineaudio cm3s; or why not a single m/s mic or a stereo mic ? &#xD;&#xA;&#xD;&#xA;A very very lightweight and high quality preamp would be an EAA psp2 IF you can find one. A friend of mine carries this into a tiny pocket with a pcm-m10, it's the smallest stuff I've ever seen and it sounds just beautiful." ContentLicense="CC BY-SA 3.0" />
  <row Id="52254" PostHistoryTypeId="2" PostId="28082" RevisionGUID="cf65fac2-486d-40c3-8d00-1ade55296c2d" CreationDate="2014-04-03T12:22:11.550" UserId="7892" Text="I like to use the opening sequence of Atonement: a character typing on a typewriter becomes the rhythm for the titles. So the switch is sound design to music, as well as diegetic to non-diegetic.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52262" PostHistoryTypeId="2" PostId="28083" RevisionGUID="f980660d-ce73-4e3b-a8cc-dd7464d6ad03" CreationDate="2014-04-03T13:28:52.503" UserId="4442" Text="Remember, a thin piece of metal will make more resonant sound than a dense large piece. You might want to try some solid metal against solid metal. Thin sheets will resonate a bit too much. Not sure where you'd get them, just throwing it out there.&#xD;&#xA;&#xD;&#xA;The other thing to consider, if you're talking about a mech or something that is &quot;well made&quot;, you're not going to want a lot of resonant clanking. Things that are well made and futuristic (in my opinion) would usually be made of fairly dense, solid material.&#xD;&#xA;&#xD;&#xA;I don't think it's the answer, but i hope it at least helps you think about it." ContentLicense="CC BY-SA 3.0" />
  <row Id="52266" PostHistoryTypeId="2" PostId="28084" RevisionGUID="0bc5d05f-0fbe-40a4-9bc2-46d60a89a2b6" CreationDate="2014-04-03T14:15:43.170" UserId="7174" Text="You need to use the Aux sends in a pre-fader configuration.  As you inferred, with pre-fader levels being used for Aux sends, you can leave the volume of a channel turned down in the mains, but still can route it to the two aux sends.  If you don't use the pre-button on Aux 2 on that board however, it will operate as post-fader which would mean no signal would go to that aux if the fader level is down.&#xD;&#xA;&#xD;&#xA;As the names imply, this is because of where the aux pulls the signal.  Pre-fader means that the signal is sent to the aux output after the pre-amp gain is applied, but prior to going to the fader (it may or may not happen prior to EQ depending on the board).  Post-fader on the other hand is routed to the aux after the fader and almost always includes the EQ adjustments and any other adjustments on the channel (such as inserts).&#xD;&#xA;&#xD;&#xA;Generally for monitors you want to use pre-fader because the monitor mix shouldn't be impacted by the level going to the room.  As an example, a common use of post-fader sends is for recording or effects (because the levels being worked on should correspond to the levels in the mix for those.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52267" PostHistoryTypeId="2" PostId="28085" RevisionGUID="14bef044-25df-4b73-9069-70a9835d192e" CreationDate="2014-04-03T15:23:44.693" UserId="7894" Text="I have quite a lot of experience with 'found' sounds, and as far as melodic sounds go: try a metal kettle or some saucepans (you might want to hit them with something soft, like a mallet, to avoid the loud 'clang') – a lot of them can produce a melodic note which you can then pitch-shift.&#xD;&#xA;I don't know if a glass/plastic bottle filled with water counts, but you can use that as a melodic instruments (or a wineglass filled with water which your rub on the rim with a wet finger)." ContentLicense="CC BY-SA 3.0" />
  <row Id="52268" PostHistoryTypeId="2" PostId="28086" RevisionGUID="35eb5700-17ca-4782-b103-ed7e09a01e97" CreationDate="2014-04-03T15:50:10.490" UserId="7895" Text="I picked up a Smartphone Headset To PC Adapter and it works with an iRig.  Here's one on amazon:&#xD;&#xA;&#xD;&#xA;http://www.amazon.com/Smartphone-Headset-PC-Adapter-01-PH35-PC35/dp/B008OB2NHA" ContentLicense="CC BY-SA 3.0" />
  <row Id="52270" PostHistoryTypeId="6" PostId="10929" RevisionGUID="fab90aeb-9a97-48ac-b599-c4157b433061" CreationDate="2014-04-03T19:48:47.983" UserId="7016" Comment="edited tags" Text="&lt;building-a-soundtrack&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52271" PostHistoryTypeId="5" PostId="7806" RevisionGUID="f6a7d2cc-3cfa-4f8f-b2a1-bd2b4d052666" CreationDate="2014-04-03T19:49:17.900" UserId="7016" Comment="deleted 11 characters in body; edited tags; edited title" Text="Went to see Insidious over the weekend. A bit of a scary one I thought! Usual shock tactics where sound was concerned but it did the job of making me crap my pants a few times pretty well!&#xD;&#xA;&#xD;&#xA;There was a scene in the film where a house intruder alarm went off. Boy was it loud! Never really experienced such a continued ear piercing assault like that before. It did the job of making me feel uncomfortable and placing myself a bit more sympathetically with the characters, and it got me wondering if there wear any other films where sound has deliberately been used to make the viewer feel physically uncomfortable? I literally had to put my fingers in my ears at one point! Not that I'm complaining though, it was a fun film to sit through :)&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Andy&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52272" PostHistoryTypeId="4" PostId="7806" RevisionGUID="f6a7d2cc-3cfa-4f8f-b2a1-bd2b4d052666" CreationDate="2014-04-03T19:49:17.900" UserId="7016" Comment="deleted 11 characters in body; edited tags; edited title" Text="Movies made to make you feel uncomfortable" ContentLicense="CC BY-SA 3.0" />
  <row Id="52273" PostHistoryTypeId="6" PostId="7806" RevisionGUID="f6a7d2cc-3cfa-4f8f-b2a1-bd2b4d052666" CreationDate="2014-04-03T19:49:17.900" UserId="7016" Comment="deleted 11 characters in body; edited tags; edited title" Text="&lt;building-a-soundtrack&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52274" PostHistoryTypeId="6" PostId="27417" RevisionGUID="ec870105-4d21-42c6-b048-daec033e3f97" CreationDate="2014-04-03T19:50:19.217" UserId="7016" Comment="edited tags" Text="&lt;recording&gt;&lt;sound-editing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52275" PostHistoryTypeId="2" PostId="28087" RevisionGUID="54d616b0-70c7-41b6-b3fb-70e83d882c90" CreationDate="2014-04-03T23:01:12.180" UserId="5624" Text="I'll have to go back and watch Prometheus again to hear exactly what sound you mean but a lot of the time when characters are walking on a metal surface in films it's a grate or really hard mesh style sheeting. ie. It's not flexible, and it's made up in a grid formation, full of holes you could say. This gives a unique sound rather than a solid sheet of metal which is very resonant.&#xD;&#xA;&#xD;&#xA;Short of getting some of this material and suspending it like a walkway to do your foley on, you could try using a metal ladder, laying it down and walking up and down it. With the right pitching effects on the right ladder this could work pretty well.&#xD;&#xA;&#xD;&#xA;Another thought is to try mixing in the sound of two metal tools banging together, two wrenches for example,  with the sound of footsteps on a hard surface." ContentLicense="CC BY-SA 3.0" />
  <row Id="52276" PostHistoryTypeId="2" PostId="28088" RevisionGUID="473a9851-1dba-449d-88b9-f281e8755d54" CreationDate="2014-04-04T02:18:22.230" UserId="6625" Text="Book like this article?:&#xD;&#xA;&#xD;&#xA;http://entertainment.howstuffworks.com/audio-post-production1.htm&#xD;&#xA;&#xD;&#xA;any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52277" PostHistoryTypeId="2" PostId="28089" RevisionGUID="132e73a6-b125-4a9d-b14c-e223ff1fe4db" CreationDate="2014-04-04T05:10:38.043" UserId="3994" Text="http://www.amazon.ca/Practical-Art-Motion-Picture-Sound/dp/0240812409&#xD;&#xA;&#xD;&#xA;This one covers the whole process, and as mentioned Dialogue Editing for Motion Pictures is very practical." ContentLicense="CC BY-SA 3.0" />
  <row Id="52278" PostHistoryTypeId="2" PostId="28090" RevisionGUID="ffbb4d5d-36c5-4f04-8ba5-b450e08179b9" CreationDate="2014-04-04T05:15:27.610" UserId="7899" Text="From time to time I have some files which I need to transcode for my personal mp3 player to play it.&#xD;&#xA;&#xD;&#xA;They may be recordings in other formats or even videos.&#xD;&#xA;&#xD;&#xA;I like to use VBR, as it gets the best quality/size ratio, but much of the times I really don't really know the input audio quality, so I don't know what quality to use - I don't want to use VBR0 for a poor quality input (and waste space) nor do I want to use a low output quality for good recordings.&#xD;&#xA;&#xD;&#xA;So, the question is: **how can I know what VBR quality would best fit the source file's quality?**&#xD;&#xA;&#xD;&#xA;**Is there a way to know what is the _highest_ MP3 bitrate that a file would need to [almost] not loose quality?**&#xD;&#xA;&#xD;&#xA;I've heard about things like frequencies analysing, but really don't know what they are nor how to do them, so if that's the way, I appreciate any further info." ContentLicense="CC BY-SA 3.0" />
  <row Id="52279" PostHistoryTypeId="1" PostId="28090" RevisionGUID="ffbb4d5d-36c5-4f04-8ba5-b450e08179b9" CreationDate="2014-04-04T05:15:27.610" UserId="7899" Text="How to know best fit output quality for transcoding?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52280" PostHistoryTypeId="3" PostId="28090" RevisionGUID="ffbb4d5d-36c5-4f04-8ba5-b450e08179b9" CreationDate="2014-04-04T05:15:27.610" UserId="7899" Text="&lt;mp3&gt;&lt;encoding&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52281" PostHistoryTypeId="2" PostId="28091" RevisionGUID="e6c83643-0336-42ea-8488-e8fe29e7e3a4" CreationDate="2014-04-04T05:48:47.927" UserDisplayName="user7461" Text="A transcode will always lose quality. If your source files are already compressed with a lossy codec, then that process will have added a load of noise to the audio - the genius in good codecs is that they can make the noise un-noticeable by carefully selecting where (in the spectrum) and when to insert the noise.&#xD;&#xA;&#xD;&#xA;Re-transcoding this compressed file, the new codec now has to try and encode all the additional noise - it doesn't know which bits of the signal are the wanted sound, and which bits are compression artefacts. Noise is much harder to compress than correlated sound, so most of the output bitrate will be trying to accurately reproduce the noise, and only a small proportion will be used for the wanted signal.&#xD;&#xA;&#xD;&#xA;So, regardless of your input bitrate: the higher the output bitrate, the better the output quality will be.&#xD;&#xA;&#xD;&#xA;If you want to use the input bitrate as a guide for your output bitrate (which would probably be appropriate - you don't want to waste disk space on files which are already very low quality), you could use a tool like MediaInfo to check the source bitrate (could be done programmatically if required), and then use an output bitrate proportional to that." ContentLicense="CC BY-SA 3.0" />
  <row Id="52282" PostHistoryTypeId="5" PostId="28057" RevisionGUID="084c21a9-9efb-4df6-8f6d-494ffefc01c4" CreationDate="2014-04-04T07:20:35.963" UserId="6432" Comment="added 94 characters in body" Text="I think it's ok for your question to be here. Not sure which examples you have looked at in-class, but here is some potential inspiration:&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=0VGEwhBDOVU&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=85zfnRpBA8k&amp;list=UUa-kfxzUHPDLOwM-oVodF4A&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=fY-ZoVMwGKM&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=VFWgJjKQ2Jo&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=3I1Ob4wLPLg&#xD;&#xA;&#xD;&#xA;Having said that, perhaps it's just a question of stretching your idea of what melody actually is... &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52283" PostHistoryTypeId="2" PostId="28092" RevisionGUID="c3715ca4-2d66-4266-b2ad-8137cde42904" CreationDate="2014-04-04T09:55:43.310" UserId="6484" Text="I have quite a large collection of different metal sheets of different thickness and size. I found that a lot of the time it is also what footwear is being worn will determine texture. Maybe experiment with hard soled shoes verses soft soled. Also, I sometimes place another piece of metal against the surface I am walking on to get an interesting resonance that increases the size and texture of the surface. &#xD;&#xA;&#xD;&#xA;Surfaces that you may wish to consider are a metal scaffold surface (quite long but narrow with a hollow area underneath), a stripped car door- only the shell is left nothing inside; a large piece of heavy metal about a centimeter thick, grates, girders etc. I always follow the rule that get whatever you can, you never know and then PLAY!!!!!!!&#xD;&#xA;&#xD;&#xA;Good luck   " ContentLicense="CC BY-SA 3.0" />
  <row Id="52284" PostHistoryTypeId="2" PostId="28093" RevisionGUID="af609852-8e38-4a3a-a0d8-60e7252b2fee" CreationDate="2014-04-04T13:56:44.010" UserId="7904" Text="http://youtu.be/zDgdO_Smm2c I did a tutorial video on this a while back hope it helps. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52285" PostHistoryTypeId="2" PostId="28094" RevisionGUID="a81bdc7f-b524-4a02-8151-472ad6cf627e" CreationDate="2014-04-04T14:32:53.133" UserId="7905" Text="8 is way too hot for the m10 and high sensitivity should never be used.&#xD;&#xA;No xlr inputs on the mixpre-d, tape out is fine and yeah it's a little lower when toggling the mixpre-d return but it's not a bad combo, use the mixpre preamps as much as you. An rather rehab the m10 although it's the quietest recorder on the planet it sounds better on around 4-5 rec level max. All that said too not have a recorder built into a mixer in 2014 is a pain in the butt.&#xD;&#xA;Bypass these options and start with a 702 it's just as much a mixer as this is and it records" ContentLicense="CC BY-SA 3.0" />
  <row Id="52287" PostHistoryTypeId="2" PostId="28095" RevisionGUID="b35cbf32-a8e1-481f-bcbe-cccd2d305409" CreationDate="2014-04-04T14:41:08.307" UserId="6636" Text="FMod runs in Unity with a simple to implement Bridge. Then there are basic C# Scripts that you can use to replace the audio in any of the free to download Unity Tutorials. Good luck. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52288" PostHistoryTypeId="2" PostId="28096" RevisionGUID="2d757128-5200-44eb-8146-a5d4755bf963" CreationDate="2014-04-04T14:52:10.947" UserDisplayName="user6513" Text="I use the mixpre-d and m-10 combo and haven't had a problem with low levels. What you may not have done is to calibrate your levels. Engage the 1kHz tone on the Mixpre-D and aline that to your fancy on the M-10. As a force of habit as a location sound recordist, I usually have the meter hit -12dB on the M-10. That way I try to have most of my sounds on the Mixpre-D hit 0 on the meter, and I know I'll be hot enough  and still have a -12dB buffer till distortion. I've used my combo on broadcast work and haven't had a problem with low levels so like all those who have mentioned before, you may have engaged a pad unwittingly." ContentLicense="CC BY-SA 3.0" />
  <row Id="52289" PostHistoryTypeId="5" PostId="28096" RevisionGUID="bb77492c-1938-4c81-9f8c-bb6b27b71dcb" CreationDate="2014-04-04T14:57:12.923" UserDisplayName="user6513" Comment="more information" Text="I use the mixpre-d and m-10 combo and haven't had a problem with low levels. What you may not have done is to calibrate your levels. Engage the 1kHz tone on the Mixpre-D and aline that to your fancy on the M-10. As a force of habit as a location sound recordist, I usually have the meter hit -12dB on the M-10. That way I try to have most of my sounds on the Mixpre-D hit 0 on the meter, and I know I'll be hot enough  and still have a -12dB buffer till distortion. I've used my combo on broadcast work and haven't had a problem with low levels so like all those who have mentioned before, you may have engaged a pad unwittingly.&#xD;&#xA;&#xD;&#xA;Also if you're used to using Sound Devices, the Tape Out on the Mixpre-D is different from the rest. It's a mini-jack aka 1/8th TRS as opposed to the mini-TA3 on the 302, 442, etc... The mini-TA3 in the Mixpre-D is an unbalanced mic out for DSLRs. So it soft, -36dBu soft!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52290" PostHistoryTypeId="2" PostId="28097" RevisionGUID="090d4486-90a4-462f-a12f-a75981eeb543" CreationDate="2014-04-04T17:30:44.780" UserId="7808" Text="Alright, I'll admit - I have no idea what I'm doing here.  I could really use some tips.&#xD;&#xA;&#xD;&#xA;I'm having trouble matching some ADR recordings with the original dialogue recordings.  The scene takes place on a beach which means there is no need for reverb (as far as I know).  &#xD;&#xA;&#xD;&#xA;Follow the link below for a snippet of the audio.  The first line of dialogue you hear is the original, and the second line is the ADR.  You can tell there is an unwanted reverb on the ADR track which would be nice to get rid of.  I also find the ADR recording doesn't sound as 'big' as the original.  &#xD;&#xA;&#xD;&#xA;https://soundcloud.com/beatbell/beach-adr/s-7IBW4&#xD;&#xA;&#xD;&#xA;All I am using right now to process the ADR is: &#xD;&#xA;&#xD;&#xA;- WNS (Waves Noise Suppressor)&#xD;&#xA;   - to remove as much reverb that came with the room during ADR recording&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;- EQ&#xD;&#xA;   - To try and 'thin out' the ADR to match original&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/beatbell/beach-adr/s-7IBW4&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/0mRVB.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="52291" PostHistoryTypeId="1" PostId="28097" RevisionGUID="090d4486-90a4-462f-a12f-a75981eeb543" CreationDate="2014-04-04T17:30:44.780" UserId="7808" Text="Matching ADR with original Dialogue" ContentLicense="CC BY-SA 3.0" />
  <row Id="52292" PostHistoryTypeId="3" PostId="28097" RevisionGUID="090d4486-90a4-462f-a12f-a75981eeb543" CreationDate="2014-04-04T17:30:44.780" UserId="7808" Text="&lt;noise-reduction&gt;&lt;adr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52293" PostHistoryTypeId="5" PostId="28097" RevisionGUID="f1c72fac-ad2b-445f-9839-debe5100cc3f" CreationDate="2014-04-04T17:51:26.417" UserId="7808" Comment="added 84 characters in body" Text="Alright, I'll admit - I have no idea what I'm doing here.  I could really use some tips.&#xD;&#xA;&#xD;&#xA;I'm having trouble matching some ADR recordings with the original dialogue recordings.  The scene takes place on a beach which means there is no need for reverb (as far as I know).  &#xD;&#xA;&#xD;&#xA;Follow the link below for a snippet of the audio.  The first line of dialogue you hear is the original, and the second line is the ADR.  You can tell there is an unwanted reverb on the ADR track which would be nice to get rid of.  I also find the ADR recording doesn't sound as 'big' as the original.  &#xD;&#xA;&#xD;&#xA;https://soundcloud.com/beatbell/beach-adr/s-7IBW4&#xD;&#xA;&#xD;&#xA;All I am using right now to process the ADR is: &#xD;&#xA;&#xD;&#xA;- WNS (Waves Noise Suppressor)&#xD;&#xA;   - to remove as much reverb that came with the room during ADR recording&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;- EQ&#xD;&#xA;   - To try and 'thin out' the ADR to match original&#xD;&#xA;&#xD;&#xA;**Any tips or tricks to be shared with matching ADR recordings to the originals?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/beatbell/beach-adr/s-7IBW4&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/0mRVB.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="52294" PostHistoryTypeId="2" PostId="28098" RevisionGUID="7188046a-bbe2-4400-b645-d2859536040e" CreationDate="2014-04-04T17:53:24.177" UserId="7908" Text="I am doing a project on gunshot acoustics and I need to simulate a realistic microphone response of a supersonic bullet for the same. I have to include the shockwave, the muzzle blast and their reflections. I want to know how I can simulate the latter given that I know the location and orientation of the obstruction. I'd also appreciate even if you could direct me to existing literature on the topic. &#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;PS - This is my first ever question on stackexchange sites and this seemed like the right forum to ask. Please let me know if it is not." ContentLicense="CC BY-SA 3.0" />
  <row Id="52295" PostHistoryTypeId="1" PostId="28098" RevisionGUID="7188046a-bbe2-4400-b645-d2859536040e" CreationDate="2014-04-04T17:53:24.177" UserId="7908" Text="How can I simulate the microphone response of a bullet's reflected shockwave?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52296" PostHistoryTypeId="3" PostId="28098" RevisionGUID="7188046a-bbe2-4400-b645-d2859536040e" CreationDate="2014-04-04T17:53:24.177" UserId="7908" Text="&lt;acoustics&gt;&lt;guns&gt;&lt;gunshot&gt;&lt;reflection&gt;&lt;gun&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52298" PostHistoryTypeId="2" PostId="28100" RevisionGUID="f096c3b6-18f5-4131-8358-a79aed1a404b" CreationDate="2014-04-04T19:14:16.230" UserId="7910" Text="&quot;Option -&quot; (minus sign) Shows all volume automation. Cntrl+Command Left and Right Arrow keys goes through all the automation paramters on a selected track. And Cntrl Option Cmnd left and right on arrow keys goes through all the automation paramters on ALL tracks." ContentLicense="CC BY-SA 3.0" />
  <row Id="52313" PostHistoryTypeId="2" PostId="28104" RevisionGUID="56a76f2a-653e-41ad-8e0e-90202e737cb7" CreationDate="2014-04-05T09:28:54.570" UserId="1216" Text="as far as i understand you want to get rid of reverb (reflections?) on the ADR track. but in the current snippet i don't hear any reverb and if there is any it's masked by the waves and crackling of the fire. do you hear reverb on the ADR source material? perhaps post that?&#xD;&#xA;what i don't understand is this: &#xD;&#xA;&quot;I also find the ADR recording doesn't sound as 'big' as the original.&quot; &#xD;&#xA;But say that you use EQ to 'thin out' the ADR, this is counterproductive, the set recording sounds really nice and full (albeit soft). &#xD;&#xA;maybe you're overprocessing or to focussed on the sound, if it works, don't touch it.. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52314" PostHistoryTypeId="2" PostId="28105" RevisionGUID="d60f284e-48bf-40e1-8b2c-447d558431a2" CreationDate="2014-04-05T14:51:51.403" UserId="7008" Text="You can find second hand MOTU 828's or MOTU Ultralite soundcards for pretty cheap. Easiest is to get one that has USB. Some models come with Firewire, so make sure you get the one that comes with USB as well. They're nice because MOTU has great driver support on Windows and Mac and they work on Linux as well.&#xD;&#xA;&#xD;&#xA;Did you need a keyboard as well or just the midi inputs? If you need a keyboard the M-Audio Keystations are great bang for buck, and can also be found used for a great price. The Keystation 61 is a nice compromise between quality and price. The 49 has very plastic feeling keys, but its also priced cheaper. &#xD;&#xA;&#xD;&#xA;SM57s and SM58s are great all arounders. There is also an Apex tube mic that is very cheap, but people get the tube changed out and apparently it sounds incredible afterwords. So if your budget is tight and you dont mind the little bit of work, that might be a good mice choice to go with the 57s and 58s." ContentLicense="CC BY-SA 3.0" />
  <row Id="52315" PostHistoryTypeId="2" PostId="28106" RevisionGUID="14bbbbda-2480-42cb-b4d3-34fab3cfaf86" CreationDate="2014-04-05T15:14:47.947" UserId="6481" Text="it's always a very tricky situation when you have to work with unwanted reverb. I would say it's almost impossible to get rid of a serious reverb but to some extent it can be done using SPL De-Verb.&#xD;&#xA;You can download a demo here:&#xD;&#xA;https://www.plugin-alliance.com/en/downloads.html#spl_de-verb&#xD;&#xA;I think it costs 60USD or something like that and it can be very useful.&#xD;&#xA;&#xD;&#xA;There's of course Izotope RX3 Advanced with Dereverb. &#xD;&#xA;https://www.izotope.com/en/products/audio-repair/rx/features/&#xD;&#xA;I think you can get 10-days fully working trial. It's pricey though.&#xD;&#xA;&#xD;&#xA;I've heard that Unveil is a good one but I haven't tried it yet.&#xD;&#xA;http://www.zynaptiq.com/unveil/" ContentLicense="CC BY-SA 3.0" />
  <row Id="52317" PostHistoryTypeId="2" PostId="28107" RevisionGUID="cc6b7b83-2151-4e6f-9b12-dd4f0629aabe" CreationDate="2014-04-06T07:42:54.450" UserId="7921" Text="I believe it is worth mentioning [Qtractor][1], an Audio/MIDI multi-track sequencer.&#xD;&#xA;&#xD;&#xA;I have only played with it for a few hours, but I find it very powerful, lightweight and smooth, and it is very frequently updated and augmented.&#xD;&#xA;&#xD;&#xA;Automation, plugins, Jack, very intuitive controls and shortcuts make it a very useful piece of software.&#xD;&#xA;&#xD;&#xA;I really recommend it!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://qtractor.sourceforge.net/qtractor-index.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="52318" PostHistoryTypeId="5" PostId="28107" RevisionGUID="7c0a59a0-c183-4bb3-872f-b763ca01942d" CreationDate="2014-04-06T08:15:48.233" UserId="7921" Comment="repetition" Text="I thought I would answer too. Even though there are quite a few tips here already, some other things need to be listed to actually answer the question, from my personal experience of course. Here are the things I would most likely use to achieve what you are trying to do:&#xD;&#xA;&#xD;&#xA; - [ZynAddSubFX][1] is a good synth that you can control with your midi keyboard.&#xD;&#xA; - [Audacity][2] is great to record and edit samples, extract bits and pieces from bigger recordings and apply a myriad of effects to them.&#xD;&#xA; - [FreeSound][3] is a good website to find open-license samples and recordings. [The Internet Archive][4] can also provide sounds, if you are looking for more obscure materials - same, open licenses are the norm there.&#xD;&#xA; - [Hydrogen][5] is a good advanced drum-machine that will let you create nice drum loops.&#xD;&#xA; - [LMMS][6] is a digital audio workstation that will let you use plugins to produce sounds (including Hydrogen and ZynAddSubFX amongst others), and use your existing samples at the same time, to put them all together into a song. Version 1.0.0, which is a huge improvement in usability and capabilities (and probably stability as tons of bugs have apparently been fixed) has been released at the end of March 2014. &#xD;&#xA; - I believe it is worth mentioning [Qtractor][7], an Audio/MIDI multi-track sequencer. I have only played with it for a few hours, but I find it very powerful, lightweight and smooth, and it is very frequently updated and augmented. Automation, plugins, Jack, very intuitive controls and shortcuts make it a very useful piece of software. I really recommend it!&#xD;&#xA; - [SooperLooper][8] is a live looping sampler that would be great for live performances but also to record a track on the go.&#xD;&#xA; - [Pure Data][9] is a visual programming language to process and generate sound and more - more for an experimental project; software &quot;written&quot; with it can be used for live performance too.&#xD;&#xA; - And [Jack][10] + [QJackCtl][11] if you want to link all of those pieces of software and experiment with connections and parameters, as well as making sure you have control over your sound server!&#xD;&#xA;&#xD;&#xA;All the software mentioned is open source, which is even better than just free :)&#xD;&#xA;&#xD;&#xA;If you want to start with just one element, I recommend you try LMMS or Qtractor. They are the two pieces of software in the list that include the most functionalities with what you want to do. So if they suit you and see where you need to extend afterwards, or if you need to replace them with single separate elements instead.&#xD;&#xA;&#xD;&#xA;Interestingly, while answering this question, I realised that many of the projects I thought had been abandoned for years have seen new versions released recently. Open source sound production on Linux is alive and well! :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://zynaddsubfx.sourceforge.net/&#xD;&#xA;  [2]: http://audacity.sourceforge.net/&#xD;&#xA;  [3]: http://www.freesound.org/&#xD;&#xA;  [4]: https://archive.org/index.php&#xD;&#xA;  [5]: http://www.hydrogen-music.org/hcms/&#xD;&#xA;  [6]: http://lmms.sourceforge.net/&#xD;&#xA;  [7]: http://qtractor.sourceforge.net/qtractor-index.html&#xD;&#xA;  [8]: http://essej.net/sooperlooper/&#xD;&#xA;  [9]: http://puredata.info/&#xD;&#xA;  [10]: http://jackaudio.org/&#xD;&#xA;  [11]: http://qjackctl.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="52319" PostHistoryTypeId="34" PostId="28018" RevisionGUID="733f2287-0c71-40f1-9b2e-984534d0e026" CreationDate="2014-04-06T11:07:15.693" UserId="-1" Comment="8" />
  <row Id="52320" PostHistoryTypeId="2" PostId="28108" RevisionGUID="0a5ea823-e6f7-488f-9e54-a77fb2b6814b" CreationDate="2014-04-06T12:44:08.977" UserId="7923" Text="I used to own the NT5. Way too bright, harsh and hard sounding. Not liquid, not smooth. The CM3 is quite neutral, more natural and liquid sounding. It's not even close. I returned the Nt5 for a full refund and ended up buying a pair of CM3s. The Little Blondie mics I had, same story. The LB has a thinner, brighter, razor-like sound that didn't seem natural to me. So I sold them at a loss. The Rode NT1A was extremely bright and rough sounding on axis, so I sold those ata  loss too. So right now, for cardioids, I only have CM3s." ContentLicense="CC BY-SA 3.0" />
  <row Id="52321" PostHistoryTypeId="2" PostId="28109" RevisionGUID="927537bd-e1b2-49fd-b4e0-10b721880440" CreationDate="2014-04-06T14:21:08.963" UserId="7924" Text="if one were to calculate the speed of incoming sound as one travels closer to the speed of sound what is the speed of the incoming sound for the observer? " ContentLicense="CC BY-SA 3.0" />
  <row Id="52322" PostHistoryTypeId="1" PostId="28109" RevisionGUID="927537bd-e1b2-49fd-b4e0-10b721880440" CreationDate="2014-04-06T14:21:08.963" UserId="7924" Text="when going nearly the speed of sound how fast does sound seem to go?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52323" PostHistoryTypeId="3" PostId="28109" RevisionGUID="927537bd-e1b2-49fd-b4e0-10b721880440" CreationDate="2014-04-06T14:21:08.963" UserId="7924" Text="&lt;doppler&gt;&lt;speed-of-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52327" PostHistoryTypeId="2" PostId="28111" RevisionGUID="bdcf7d5c-6657-4226-b394-e400a903297f" CreationDate="2014-04-06T23:41:05.557" UserId="7930" Text="I have been recording keypress from laptops using my phone and it seems that I get better results when both the laptop and the phone are placed on a hard surface like a wooden table than when they are on separate surfaces like different tables or when the phone is handheld. Does the echo of the sound through the surface play a role in recording the audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52328" PostHistoryTypeId="1" PostId="28111" RevisionGUID="bdcf7d5c-6657-4226-b394-e400a903297f" CreationDate="2014-04-06T23:41:05.557" UserId="7930" Text="Role of surface in sound recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="52329" PostHistoryTypeId="3" PostId="28111" RevisionGUID="bdcf7d5c-6657-4226-b394-e400a903297f" CreationDate="2014-04-06T23:41:05.557" UserId="7930" Text="&lt;audio-recording&gt;&lt;surfaces&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52330" PostHistoryTypeId="2" PostId="28112" RevisionGUID="4bb1c10b-9c42-4ac6-951b-22125a209c38" CreationDate="2014-04-07T00:11:30.870" UserId="7931" Text="Tryingo start a podcast and I want to record it using two different USB microphones. I can only get Windows to recognize one mic at a time. What program can I use to make this work? " ContentLicense="CC BY-SA 3.0" />
  <row Id="52331" PostHistoryTypeId="1" PostId="28112" RevisionGUID="4bb1c10b-9c42-4ac6-951b-22125a209c38" CreationDate="2014-04-07T00:11:30.870" UserId="7931" Text="How can I record using two USB microphones at same time?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52332" PostHistoryTypeId="3" PostId="28112" RevisionGUID="4bb1c10b-9c42-4ac6-951b-22125a209c38" CreationDate="2014-04-07T00:11:30.870" UserId="7931" Text="&lt;microphone&gt;&lt;audio-recording&gt;&lt;usb&gt;&lt;podcasts&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52335" PostHistoryTypeId="5" PostId="28112" RevisionGUID="e9cd07a0-b1d3-440c-99f2-858821c67e1c" CreationDate="2014-04-07T04:01:31.287" UserId="7931" Comment="added 2 characters in body" Text="Trying to start a podcast and I want to record it using two different USB microphones. I can only get Windows to recognize one mic at a time. What program can I use to make this work? " ContentLicense="CC BY-SA 3.0" />
  <row Id="52340" PostHistoryTypeId="5" PostId="26699" RevisionGUID="9f587ae9-6c41-4cc5-b534-c8c97cbb9342" CreationDate="2014-04-07T08:52:52.470" UserId="6718" Comment="An explanation of why wifi cannot be used was needed in the answer" Text="Yes - you can transport multiple four microphone signals wirelessly, but not via wifi:&#xD;&#xA;&#xD;&#xA;You'll need either:&#xD;&#xA;&#xD;&#xA;- a wireless receiver that can accept multiple channels - so you can pass the different sound channels to your mixer application (whether that be a DAW or dedicated mixer app)&#xD;&#xA;&#xD;&#xA;or&#xD;&#xA;&#xD;&#xA;- 4 wireless receivers that feed 4 inputs on your sound card, that you then mix as before.&#xD;&#xA;&#xD;&#xA;Cost-wise, they seem to be about the same.&#xD;&#xA;&#xD;&#xA;The reasons you cannot use wifi are many but one simple one is that to move those little packets of sound across a network requires a very predictable delivery times, as a (highly) shared medium, wifi cannot deliver that.&#xD;&#xA;&#xD;&#xA;Its a pity as it'd be great to load an app on a phone, plug in a mic and be live on a mixing board&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52341" PostHistoryTypeId="24" PostId="26699" RevisionGUID="9f587ae9-6c41-4cc5-b534-c8c97cbb9342" CreationDate="2014-04-07T08:52:52.470" Comment="Proposed by 6718 approved by 7016 edit id of 105" ContentLicense="CC BY-SA 3.0" />
  <row Id="52342" PostHistoryTypeId="2" PostId="28115" RevisionGUID="fb96f0e1-93d0-439c-8ae9-ccbd98fe8f9f" CreationDate="2014-04-07T09:41:39.157" UserDisplayName="user6513" Text="Are you using your mobile phone to record the keypress? If so, then yes. The microphone in your mobile isn't the best for SFX recording, especially small sounds like keypress. Having your phone on the table with your keyboard will allow the propagation of sound to reach your microphone in a more direct fashion.&#xD;&#xA;&#xD;&#xA;When recording with your phone from above, the sound of the keypress travels through the air into the microphone of your phone. When recording with your phone on the table, the vibrations travel a lot quicker and more direct into your phone because its a mainly solid transmission.&#xD;&#xA;&#xD;&#xA;There's a wiki article here all about sound http://en.wikipedia.org/wiki/Sound&#xD;&#xA;&#xD;&#xA;I wonder why I answered this... It's probably something we shouldn't be getting here." ContentLicense="CC BY-SA 3.0" />
  <row Id="52343" PostHistoryTypeId="2" PostId="28116" RevisionGUID="009b3b3d-e7c8-46b4-af33-3ab73a9a0140" CreationDate="2014-04-07T10:00:33.593" UserId="7935" Text="Will it damage the speakers or amp if I connect non-matching speakers to it?&#xD;&#xA;&#xD;&#xA; - a Paradigm speaker ([7seMk3][1]) to the left channel (it's tweeter&#xD;&#xA;   doesn't work, but the 2 woofers are nice and bassy),&#xD;&#xA; - and a smaller Akai 40W speaker to the right channel (with a working tweeter and woofer, but they do not give a good amount of bass).&#xD;&#xA;&#xD;&#xA;Aside from giving unbalanced sound, can this cause any other issues?&#xD;&#xA;&#xD;&#xA;(At this point, I have a low-end Fisher amp from the 1980s, or a even lower-end consumer JVC sound-system that I can connect them to.)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.angscastle.com/manuals/mk3_5_7_9_11.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="52344" PostHistoryTypeId="1" PostId="28116" RevisionGUID="009b3b3d-e7c8-46b4-af33-3ab73a9a0140" CreationDate="2014-04-07T10:00:33.593" UserId="7935" Text="Bad to connect a different speaker in each channel of a stereo amp?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52345" PostHistoryTypeId="3" PostId="28116" RevisionGUID="009b3b3d-e7c8-46b4-af33-3ab73a9a0140" CreationDate="2014-04-07T10:00:33.593" UserId="7935" Text="&lt;stereo&gt;&lt;speakers&gt;&lt;sound&gt;&lt;amplifier&gt;&lt;home&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52346" PostHistoryTypeId="2" PostId="28117" RevisionGUID="55229951-0b40-405c-9144-9e5c80f5349d" CreationDate="2014-04-07T11:34:02.880" UserId="4390" Text="What André said.&#xD;&#xA;Then try describing what you HEAR. Buzz, hiss, whirr, growl, whine. You're basically putting keywords into the filename - good practice in my opinion.&#xD;&#xA;&#xD;&#xA;If I was a sound editor/designer looking for buzzy, whiny electronic sounds, I would search my database for some of those adjectives first, unless i knew I had just the right recording of a harddrive going off the rails." ContentLicense="CC BY-SA 3.0" />
  <row Id="52348" PostHistoryTypeId="2" PostId="28118" RevisionGUID="c3dc9d6c-0d66-4175-96a3-82a4652fcd82" CreationDate="2014-04-07T13:59:02.817" UserId="7175" Text="I got an `Ibanez AEG8E` acoustic guitar and a `Focusrite Scarlett 2i4` interface. The guitar has two outputs, a XLR output and a 1/4 inch (6.3 mm) output for instrument cable. The interface provides both inputs. &#xD;&#xA;&#xD;&#xA;My question is, which one is better for recording with my interface? Are there any differences in quality or are they interchangeable?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52349" PostHistoryTypeId="1" PostId="28118" RevisionGUID="c3dc9d6c-0d66-4175-96a3-82a4652fcd82" CreationDate="2014-04-07T13:59:02.817" UserId="7175" Text="XLR output vs. 1/4 inch (6.3 mm) output - Which one is better for recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52350" PostHistoryTypeId="3" PostId="28118" RevisionGUID="c3dc9d6c-0d66-4175-96a3-82a4652fcd82" CreationDate="2014-04-07T13:59:02.817" UserId="7175" Text="&lt;audio-recording&gt;&lt;xlr&gt;&lt;guitar&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52351" PostHistoryTypeId="2" PostId="28119" RevisionGUID="0990da86-9337-45cd-9a7b-8106f9cd54f9" CreationDate="2014-04-07T14:25:44.627" UserId="6866" Text="I am looking for a tool/technique which would enable me spatialise diffenent sine waves across a (circular) 24-channel system in various speeds. This is not to be done live, but using playback of pre-recorded samples. Unfortunately I have no access to the system and have to prepare the materials using a minimal stereo setup. Is there a plugin or workflow which I could use for this? Any recommendations?&#xD;&#xA;&#xD;&#xA;Ideally I would want something that would show me graphical representation of the different channels and allow me to design what will be heard on each channel and for how long, etc. I would then need to export each channel as a separate track.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52352" PostHistoryTypeId="1" PostId="28119" RevisionGUID="0990da86-9337-45cd-9a7b-8106f9cd54f9" CreationDate="2014-04-07T14:25:44.627" UserId="6866" Text="Spatialisation/diffusion of sound across 24 channels" ContentLicense="CC BY-SA 3.0" />
  <row Id="52353" PostHistoryTypeId="3" PostId="28119" RevisionGUID="0990da86-9337-45cd-9a7b-8106f9cd54f9" CreationDate="2014-04-07T14:25:44.627" UserId="6866" Text="&lt;techniques&gt;&lt;tools&gt;&lt;multichannel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52354" PostHistoryTypeId="5" PostId="28111" RevisionGUID="3b889737-5a12-48f3-9673-6d73e8caecab" CreationDate="2014-04-07T20:41:35.553" UserDisplayName="user6513" Comment="corrected terminology and fixed grammar" Text="I have been recording keypress from laptops using my phone and it seems that I get better results when both the laptop and the phone are placed on a hard surface like a wooden table than when they are on separate surfaces like different tables or when the phone is handheld. Is the transmission of sound affected by the surface, and how does it alter the recording of the sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52355" PostHistoryTypeId="24" PostId="28111" RevisionGUID="3b889737-5a12-48f3-9673-6d73e8caecab" CreationDate="2014-04-07T20:41:35.553" Comment="Proposed by 6513 approved by 6411, 182 edit id of 106" ContentLicense="CC BY-SA 3.0" />
  <row Id="52357" PostHistoryTypeId="2" PostId="28120" RevisionGUID="7e7a8ab1-fbdc-4de9-81d2-0f83578ea6cf" CreationDate="2014-04-07T23:33:26.063" UserId="5624" Text="Check out REAPER. Its surround tool should be able to do exactly what you're after.&#xD;&#xA;&#xD;&#xA;Fully functioning demo free from their site and if you like it, it's only $60 to buy!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52358" PostHistoryTypeId="5" PostId="1223" RevisionGUID="d5388bcb-5cae-4c59-acba-3c8a887dcd63" CreationDate="2014-04-08T03:27:32.620" UserId="7176" Comment="Replaced dead links" Text="First off, if you don't know what contrapuntal music in film is (correct me if I'm not explaining correctly): *Music opposite to the emotion expected from the narrative. So for example, to put it plainly, fun music over a sad scene.*  &#xD;&#xA;&#xD;&#xA;I just watched [&quot;9&quot;][1] and I loved the sound. Specifically, I loved one scene where they used contrapuntal music. The song was [(somewhere) Over The Rainbow][2], which was *[stop reading here if you haven't watched it]* used [diagetically][3] when they where celebrating their victory and everything is hunky-dory but then they get attacked again but the beautiful music keeps playing over part of the attack. I thought it was a very well crafted scene.   &#xD;&#xA;&#xD;&#xA;The song &quot;Over The Rainbow&quot; performed in the movie the Wizard of Oz:   &#xD;&#xA;http://www.youtube.com/watch?v=PSZxmZmBfnU&#xD;&#xA;&#xD;&#xA;Trailer for the movie &quot;9&quot;:&#xD;&#xA;https://www.youtube.com/watch?v=_qApXdc1WPY&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;At film school, I went through a contrapuntal phase, but I haven't had the opportunity to use it since. So my question is: &#xD;&#xA;&#xD;&#xA;**Have you used this technique for your films (any thoughts on it)? And what are your favorite films that use it?** &#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0472033/&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Over_the_Rainbow&#xD;&#xA;  [3]: http://filmsound.org/terminology/diegetic.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="52359" PostHistoryTypeId="4" PostId="1223" RevisionGUID="d5388bcb-5cae-4c59-acba-3c8a887dcd63" CreationDate="2014-04-08T03:27:32.620" UserId="7176" Comment="Replaced dead links" Text="Best uses of contrapuntal music in film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52360" PostHistoryTypeId="24" PostId="1223" RevisionGUID="d5388bcb-5cae-4c59-acba-3c8a887dcd63" CreationDate="2014-04-08T03:27:32.620" Comment="Proposed by 7176 approved by -1 edit id of 107" ContentLicense="CC BY-SA 3.0" />
  <row Id="52361" PostHistoryTypeId="5" PostId="1223" RevisionGUID="56183532-6579-4733-a892-306c56879af3" CreationDate="2014-04-08T03:27:32.620" UserId="432" Comment="Replaced dead links" Text="First off, if you don't know what contrapuntal music in film is (correct me if I'm not explaining correctly): *Music opposite to the emotion expected from the narrative. So for example, to put it plainly, fun music over a sad scene.*  &#xD;&#xA;&#xD;&#xA;I just watched [&quot;9&quot;][1] and I loved the sound. Specifically, I loved one scene where they used contrapuntal music. The song was [(somewhere) Over The Rainbow][2], which was *[stop reading here if you haven't watched it]* used [diagetically][3] when they where celebrating their victory and everything is hunky-dory but then they get attacked again but the beautiful music keeps playing over part of the attack. I thought it was a very well crafted scene.   &#xD;&#xA;&#xD;&#xA;&quot;Over The Rainbow&quot;: &#xD;&#xA;http://www.youtube.com/watch?v=PSZxmZmBfnU&#xD;&#xA;&#xD;&#xA;Trailer for &quot;9&quot;:&#xD;&#xA;https://www.youtube.com/watch?v=_qApXdc1WPY&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;At film school, I went through a contrapuntal phase, but I haven't had the opportunity to use it since. So my question is: &#xD;&#xA;&#xD;&#xA;**Have you used this technique for your films (any thoughts on it)? And what are your favorite films that use it?** &#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0472033/&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Over_the_Rainbow&#xD;&#xA;  [3]: http://filmsound.org/terminology/diegetic.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="52365" PostHistoryTypeId="5" PostId="28107" RevisionGUID="c9b89b5c-4eea-4e41-8b60-cb406702b924" CreationDate="2014-04-08T05:58:03.927" UserId="7921" Comment="little addition" Text="I thought I would answer too. Even though there are quite a few tips here already, some other things need to be listed to actually answer the question, from my personal experience of course. Here are the things I would most likely use to achieve what you are trying to do:&#xD;&#xA;&#xD;&#xA; - [ZynAddSubFX][1] is a good synth that you can control with your midi keyboard.&#xD;&#xA; - [Audacity][2] is great to record and edit samples, extract bits and pieces from bigger recordings and apply a myriad of effects to them.&#xD;&#xA; - [FreeSound][3] is a good website to find open-license samples and recordings. [The Internet Archive][4] can also provide sounds, if you are looking for more obscure materials - same, open licenses are the norm there.&#xD;&#xA; - [Hydrogen][5] is a good advanced drum-machine that will let you create nice drum loops.&#xD;&#xA; - [LMMS][6] is a digital audio workstation that will let you use plugins to produce sounds (including Hydrogen and ZynAddSubFX amongst others), and use your existing samples at the same time, to put them all together into a song. Version 1.0.0, which is a huge improvement in usability and capabilities (and probably stability as tons of bugs have apparently been fixed) has been released at the end of March 2014. &#xD;&#xA; - I believe it is worth mentioning [Qtractor][7], an Audio/MIDI multi-track sequencer. I have only played with it for a few hours, but I find it very powerful, lightweight and smooth, and it is very frequently updated and augmented. Automation, plugins, Jack, very intuitive controls and shortcuts make it a very useful piece of software. I really recommend it!&#xD;&#xA; - [SooperLooper][8] and [Freewheeling][9] are live looping samplers that would be great for live performances but also to record a track on the go.&#xD;&#xA; - [Pure Data][10] is a visual programming language to process and generate sound and more - more for an experimental project; software &quot;written&quot; with it can be used for live performance too.&#xD;&#xA; - And [Jack][11] + [QJackCtl][12] if you want to link all of those pieces of software and experiment with connections and parameters, as well as making sure you have control over your sound server!&#xD;&#xA;&#xD;&#xA;All the software mentioned is open source, which is even better than just free :)&#xD;&#xA;&#xD;&#xA;If you want to start with just one element, I recommend you try LMMS or Qtractor. They are the two pieces of software in the list that include the most functionalities with what you want to do. So if they suit you and see where you need to extend afterwards, or if you need to replace them with single separate elements instead.&#xD;&#xA;&#xD;&#xA;Interestingly, while answering this question, I realised that many of the projects I thought had been abandoned for years have seen new versions released recently. Open source sound production on Linux is alive and well! :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://zynaddsubfx.sourceforge.net/&#xD;&#xA;  [2]: http://audacity.sourceforge.net/&#xD;&#xA;  [3]: http://www.freesound.org/&#xD;&#xA;  [4]: https://archive.org/index.php&#xD;&#xA;  [5]: http://www.hydrogen-music.org/hcms/&#xD;&#xA;  [6]: http://lmms.sourceforge.net/&#xD;&#xA;  [7]: http://qtractor.sourceforge.net/qtractor-index.html&#xD;&#xA;  [8]: http://essej.net/sooperlooper/&#xD;&#xA;  [9]: http://freewheeling.sourceforge.net/&#xD;&#xA;  [10]: http://puredata.info/&#xD;&#xA;  [11]: http://jackaudio.org/&#xD;&#xA;  [12]: http://qjackctl.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="52366" PostHistoryTypeId="14" PostId="82" RevisionGUID="4c964b40-5f25-4873-ac68-98bf8428919c" CreationDate="2014-04-08T09:21:57.277" UserId="7016" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52367" PostHistoryTypeId="33" PostId="82" RevisionGUID="7a7d9f5b-ec62-4c15-a5cc-e50aca67fe83" CreationDate="2014-04-08T09:21:57.277" UserId="7016" Comment="9" />
  <row Id="52375" PostHistoryTypeId="5" PostId="1226" RevisionGUID="6e83ee4e-3526-4119-b2bd-12308cdaa45e" CreationDate="2014-04-08T12:08:25.803" UserId="7176" Comment="Embedded youtube video" Text="Great topic :)&#xD;&#xA;&#xD;&#xA;My favourite film music is from Alfred Hitchcock's 'The Birds', when the school children are singing and you see crows slowly gathering on a climbing frame in the background.&#xD;&#xA;&#xD;&#xA;The images you see make you feel pretty tense but the music is completely childlike &amp; carefree.  The children's voices are source music (i.e. within the diegesis) which I think increases the tension because they are unaware of the danger.&#xD;&#xA;&#xD;&#xA;Its a children's roundelay song, and every time they reach the end of a verse and start the next one it sends shivers down my spine!&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=ydLJtKlVVZw" ContentLicense="CC BY-SA 3.0" />
  <row Id="52376" PostHistoryTypeId="24" PostId="1226" RevisionGUID="6e83ee4e-3526-4119-b2bd-12308cdaa45e" CreationDate="2014-04-08T12:08:25.803" Comment="Proposed by 7176 approved by 6957 edit id of 111" ContentLicense="CC BY-SA 3.0" />
  <row Id="52377" PostHistoryTypeId="5" PostId="14310" RevisionGUID="9a729b14-9c9d-4af5-8eed-2028e643953d" CreationDate="2014-04-08T12:08:31.090" UserId="7176" Comment="Embedded youtube video" Text="I really like this bit in Road To Perdition, the music is contrapuntal I guess but builds tension and at the end of shootout makes it kind of comical.&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=nPWRoCkmaQU" ContentLicense="CC BY-SA 3.0" />
  <row Id="52378" PostHistoryTypeId="24" PostId="14310" RevisionGUID="9a729b14-9c9d-4af5-8eed-2028e643953d" CreationDate="2014-04-08T12:08:31.090" Comment="Proposed by 7176 approved by 6957 edit id of 114" ContentLicense="CC BY-SA 3.0" />
  <row Id="52379" PostHistoryTypeId="5" PostId="1227" RevisionGUID="2eefdff3-6add-4b6b-a8ff-d7ae77201a14" CreationDate="2014-04-08T12:08:51.497" UserId="7176" Comment="Embedded youtube video" Text="Can't say I've ever used contrapuntal music myself, but I think the Ear scene from Reservoir Dogs is my all time favourite instance:&#xD;&#xA;&#xD;&#xA;It just makes this scene so much more brutal.&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=LLTqecGbdCc" ContentLicense="CC BY-SA 3.0" />
  <row Id="52380" PostHistoryTypeId="24" PostId="1227" RevisionGUID="2eefdff3-6add-4b6b-a8ff-d7ae77201a14" CreationDate="2014-04-08T12:08:51.497" Comment="Proposed by 7176 approved by 6957 edit id of 108" ContentLicense="CC BY-SA 3.0" />
  <row Id="52381" PostHistoryTypeId="5" PostId="1996" RevisionGUID="45520971-4bf4-4e8c-9746-a270eecf3004" CreationDate="2014-04-08T12:08:54.800" UserId="7176" Comment="Embedded youtube video" Text="I can't say it's my best loved examples but at least the ones that come to mind.&#xD;&#xA;&#xD;&#xA;The first one is the opening fight scene in Watchmen with Bob Dylan's song playing. Great scene I find :)&#xD;&#xA;&#xD;&#xA;The second one may be slightly less impressive, probably because the video is made with a video game engine. I am thinking about the Gears of War trailer, made by Digital Domain, using the song Mad World.&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=ccWrbGEFgI8&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52382" PostHistoryTypeId="24" PostId="1996" RevisionGUID="45520971-4bf4-4e8c-9746-a270eecf3004" CreationDate="2014-04-08T12:08:54.800" Comment="Proposed by 7176 approved by 6957 edit id of 110" ContentLicense="CC BY-SA 3.0" />
  <row Id="52383" PostHistoryTypeId="5" PostId="11600" RevisionGUID="108e0c60-074e-46a8-b201-d2389718e329" CreationDate="2014-04-08T12:09:00.650" UserId="7176" Comment="Embedded youtube video" Text="I love this scene from American Psycho. Oh and I agree, great topic… &#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=vzN3qO-qc8U" ContentLicense="CC BY-SA 3.0" />
  <row Id="52384" PostHistoryTypeId="24" PostId="11600" RevisionGUID="108e0c60-074e-46a8-b201-d2389718e329" CreationDate="2014-04-08T12:09:00.650" Comment="Proposed by 7176 approved by 6957 edit id of 112" ContentLicense="CC BY-SA 3.0" />
  <row Id="52385" PostHistoryTypeId="5" PostId="14303" RevisionGUID="33a47479-0b0e-4b33-ad1a-ce6d55b13f88" CreationDate="2014-04-08T12:09:08.677" UserId="7176" Comment="Embedded youtube video" Text="In Full Metal Jacket .. the Surfin' Bird Song&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=WehoPJtnH30&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52386" PostHistoryTypeId="24" PostId="14303" RevisionGUID="33a47479-0b0e-4b33-ad1a-ce6d55b13f88" CreationDate="2014-04-08T12:09:08.677" Comment="Proposed by 7176 approved by 6957 edit id of 113" ContentLicense="CC BY-SA 3.0" />
  <row Id="52387" PostHistoryTypeId="5" PostId="11603" RevisionGUID="3b8d37f4-5d32-4d84-aa9d-bfbf7dca1e2e" CreationDate="2014-04-08T12:09:13.943" UserId="7176" Comment="Embedded youtube video" Text="The ear-scene in Reservoir Dogs was the first thing that came to my mind too. &#xD;&#xA;&#xD;&#xA;The second ting that came to my mind was a movie (and a book) that's full of music that (kind of) juxtaposes the scene (at least if we're not to look at the scene from Alex' psychopathic view)...&#xD;&#xA;&#xD;&#xA;...A Clockwork Orange, a movie full of contrapuntal/anempathic/juxtapositional/contrasting/what-ever-you-want-to-call-it music -- and here's just one selected scene:&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=2kFBRX9kRIk#t=0m17s&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52388" PostHistoryTypeId="24" PostId="11603" RevisionGUID="3b8d37f4-5d32-4d84-aa9d-bfbf7dca1e2e" CreationDate="2014-04-08T12:09:13.943" Comment="Proposed by 7176 approved by 6957 edit id of 109" ContentLicense="CC BY-SA 3.0" />
  <row Id="52390" PostHistoryTypeId="2" PostId="28124" RevisionGUID="05f8c3b3-8475-427b-a203-488b5c6ba4ce" CreationDate="2014-04-08T14:11:37.737" UserId="7942" Text="In the last 3 years, I have created what we call &quot;samples&quot; for a metal album for a band here in Montreal. The samples are distorted, loud and dark sounds of around 1 minute to fill the silence between the songs and sometimes added over track to create a very disturbing ambiance. Some of these samples are loopable. When they do shows, they put these samples on a foot pedal sampler and they can start/stop them whenever they want.&#xD;&#xA;&#xD;&#xA;I have created these sound with Cubase 6, FL Studio, lots of plugins and the most important, recordings of real sound to which I add distortion, slow motion, reverb, layers, etc.. until it reach a good level of madness :)&#xD;&#xA;&#xD;&#xA;My friend in that band asked me if I could join them live and create most of the sounds live. I know it's possible but I have no idea what kind of gear I would need to do this. As an example, you can check the band &quot;Neurosis&quot;. There is a man using keyboard and lots of other gear to produce dark and disturbing sound live...&#xD;&#xA;&#xD;&#xA;Any help pointing me out what kind of gear/software I would need to create live sound like that will help me a lot.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52391" PostHistoryTypeId="1" PostId="28124" RevisionGUID="05f8c3b3-8475-427b-a203-488b5c6ba4ce" CreationDate="2014-04-08T14:11:37.737" UserId="7942" Text="Creating distorted/dark/disturbing samples on stage" ContentLicense="CC BY-SA 3.0" />
  <row Id="52392" PostHistoryTypeId="3" PostId="28124" RevisionGUID="05f8c3b3-8475-427b-a203-488b5c6ba4ce" CreationDate="2014-04-08T14:11:37.737" UserId="7942" Text="&lt;gear&gt;&lt;live&gt;&lt;sampling&gt;&lt;samples&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52393" PostHistoryTypeId="2" PostId="28125" RevisionGUID="d8ce081f-b8a3-4035-bc31-bae389b39717" CreationDate="2014-04-08T14:17:53.790" UserId="7174" Text="It depends on what features the 1/4 inch supports, but at best it would tie the XLR.  Most likely, the XLR is the better option.  XLR cables are balanced, which greatly reduces the amount of noise they pick up.  1/4 inch cables can support a TRS mode that uses a balanced signal, but often (most of the time) for guitar cables, they do not.&#xD;&#xA;&#xD;&#xA;It is possible in some cases that one type of input on the interface may be particularly better than the other, but most probably XLR is the better option." ContentLicense="CC BY-SA 3.0" />
  <row Id="52396" PostHistoryTypeId="2" PostId="28126" RevisionGUID="5fa220d0-c9f5-4887-8980-1e2c74f1caa3" CreationDate="2014-04-08T15:13:07.590" UserId="6663" Text="I think there's other issues before you tackle reverb. Mainly the volume and EQ. The original sounds much bigger. I think the reverb will get masked by the ambience. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52397" PostHistoryTypeId="5" PostId="1897" RevisionGUID="ed4ebccf-fa09-4b70-82f0-2d323cd5f346" CreationDate="2014-04-08T15:57:03.380" UserId="7176" Comment="Embedded youtube video" Text="Amon Tobin uses Earthworks mics in Foley Room. &#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=VFWgJjKQ2Jo&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52398" PostHistoryTypeId="24" PostId="1897" RevisionGUID="ed4ebccf-fa09-4b70-82f0-2d323cd5f346" CreationDate="2014-04-08T15:57:03.380" Comment="Proposed by 7176 approved by 7174, 6957 edit id of 115" ContentLicense="CC BY-SA 3.0" />
  <row Id="52399" PostHistoryTypeId="5" PostId="5005" RevisionGUID="18d4bdc8-ea06-4f64-bf43-f37ad5461cf1" CreationDate="2014-04-08T16:16:36.430" UserId="6432" Comment="corrected spelling" Text="Neumann TLM 103. The most quiet microphone I know. &#xD;&#xA;&#xD;&#xA;But I think the preamps are more important here. The Preamps from RME Fireface 400 are absolute quiet." ContentLicense="CC BY-SA 3.0" />
  <row Id="52401" PostHistoryTypeId="2" PostId="28128" RevisionGUID="b3984ee2-c0c3-48f6-8dba-71b17718f2f4" CreationDate="2014-04-08T19:20:20.417" UserId="3520" Text="I'm not sure I follow your question 100%.  Is this to picture?  If so, and maybe even if not, I would bounce down my music to individual stems.  That way, the music's tempo changes, quantization, reverbs, eq's, and whatever else is already taken care of.  Then you can pull those stems into a session that has a constant &quot;tempo&quot; (framerate, if to picture).  As long as you place your stems to *start* at the correct spot, they will playback as you intended, with proper timing and changes.  You'll essentially only need to automate the volume at this point.  Then you can edit your DX, FX, and Foley around your cues as needed and mix.&#xD;&#xA;&#xD;&#xA;My point being that it's not a typical workflow for a re-recording mixer to work out of a session that has tempo maps and timing changes, like one might use when editing music.  The session should be at a locked and constant framerate that's consistent with the video." ContentLicense="CC BY-SA 3.0" />
  <row Id="52402" PostHistoryTypeId="2" PostId="28129" RevisionGUID="9f75d403-0246-49e1-83a6-ad9fc06b5c13" CreationDate="2014-04-09T03:25:11.703" UserDisplayName="user6513" Text="With software, you're probably looking at Ableton Live, specifically the 'Max for Live' portion of the program. &#xD;&#xA;https://www.ableton.com/en/live/max-for-live/&#xD;&#xA;&#xD;&#xA;With hardware, you'll need a more portable audio interface, a controller to perform with (i.e. Akai APC40, Novation Launchpad, etc), and a small mixer if it isn't part of your audio interface or controller." ContentLicense="CC BY-SA 3.0" />
  <row Id="52403" PostHistoryTypeId="2" PostId="28130" RevisionGUID="9a40f461-dfab-4b2c-9266-efad89c2ca92" CreationDate="2014-04-09T05:39:18.800" UserId="7189" Text="It looks like your Focusrite audio interface only has a single, global +48V phantom power switch. I *assume* that when this switch is flipped on, the Focusrite will provide +48V to both of the XLR inputs. I don't know if the TRS jacks are wired to provide phantom power, but my guess is that they are due to the combined XLR+1/4&quot; jacks. If they are, and you use a cable with TRS 1/4&quot; jacks at each end, you could easily nuke your guitar if you plug in a 1/4&quot; TRS cable while phantom power is turned on. Even if you don't, you may one day find yourself with a cable that has XLR on one end, and TRS on the other. If you plug the XLR into the Focusrite and the 1/4&quot; into your guitar, then BAM!, dead guitar.&#xD;&#xA;&#xD;&#xA;Assuming that your guitar is wired to safely ignore phantom power if received on its XLR jack, then the safest way is to *always* use a cable with XLR on both ends.&#xD;&#xA;&#xD;&#xA;The reason why phantom power is so dangerous on a 1/4&quot; jack is that the &quot;hot&quot; wire (+48V!) goes to the tip of your 1/4&quot; plug. So when you plug your 1/4&quot; cable in, that hot tip touches the shield contact and then the ring contact before finally resting on the tip contact. If phantom power was turned on when you plugged the cable in, then you probably just fried your guitar's amp.&#xD;&#xA;&#xD;&#xA;If you go with 1/4&quot;, then just be ABSOLUTELY SURE that the phantom power is OFF when you plug or unplug your guitar!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52408" PostHistoryTypeId="5" PostId="28125" RevisionGUID="ca58e069-fed9-468c-93bd-a3ffd1a24bd9" CreationDate="2014-04-09T13:15:07.890" UserId="7174" Comment="added 416 characters in body" Text="It depends on what features the 1/4 inch supports, but at best it would tie the XLR.  Most likely, the XLR is the better option.  XLR cables are balanced, which greatly reduces the amount of noise they pick up.  1/4 inch cables can support a TRS mode that uses a balanced signal, but often (most of the time) for guitar cables, they do not.&#xD;&#xA;&#xD;&#xA;It is possible in some cases that one type of input on the interface may be particularly better than the other, but most probably XLR is the better option.  Another relatively minor side concern, as pointed out by ObscureRobot, is that if phantom power is applied to a 1/4 inch TRS cable, it could result in sending power to the wrong pins.  You want to make sure that you turn off phantom power, but as a good precaution, plugging in to the source (your guitar) first before plugging in to the board/interface should prevent a problem even if phantom power was still on." ContentLicense="CC BY-SA 3.0" />
  <row Id="52409" PostHistoryTypeId="5" PostId="28116" RevisionGUID="da45ddec-0555-4ab2-8a0e-ef747c46b82f" CreationDate="2014-04-09T16:06:31.593" UserId="7935" Comment="added 16 characters in body" Text="Will it damage the speakers or amp if I connect non-matching speakers to it?&#xD;&#xA;&#xD;&#xA;For example:&#xD;&#xA;&#xD;&#xA; - a Paradigm speaker ([7seMk3][1]) to the left channel (it's tweeter&#xD;&#xA;   doesn't work, but the 2 woofers are nice and bassy),&#xD;&#xA; - and a smaller Akai 40W speaker to the right channel (with a working tweeter and woofer, but they do not give a good amount of bass).&#xD;&#xA;&#xD;&#xA;Aside from giving unbalanced sound, can this cause any other issues?&#xD;&#xA;&#xD;&#xA;(At this point, I have a low-end Fisher amp from the 1980s, or a even lower-end consumer JVC sound-system that I can connect them to.)&#xD;&#xA;&#xD;&#xA;  [1]: http://www.angscastle.com/manuals/mk3_5_7_9_11.pdf" ContentLicense="CC BY-SA 3.0" />
  <row Id="52414" PostHistoryTypeId="2" PostId="28136" RevisionGUID="8b057058-2c2f-4599-b072-dd2603f220c1" CreationDate="2014-04-10T07:38:24.977" UserDisplayName="user7461" Text="From the point of view of the amplifier, all it cares about are the relative impedances (electrical resistance) of the two speakers.&#xD;&#xA;&#xD;&#xA;If they have very different impedances the amplifier could potentially end up driving more power down the lower impedance channel than the higher impedance channel - This may mean a 100W amp (for example) would be driving one speaker with 55W and the other with 45W (though it's unlikely to be that unbalanced).&#xD;&#xA;&#xD;&#xA;As the amp is relatively old, there's probably two completely separate signal paths through the amp, with separate electrical (rather than electronic) amplification on each channel - the left channel will act exactly as if you had a matched pair of 7seMk3's, and the right channel will act exactly as if you had a matched pair of Akai 40W's. The two channels are sharing a common power source, so this is where the uneven power distribution, as above, would come in.&#xD;&#xA;&#xD;&#xA;From the point of view of the speakers, they may get a little more or less than half the amplifier's power, but provided the amount of power if within their input tolerance, they would not suffer.&#xD;&#xA;&#xD;&#xA;As for actually listening to anything on your system, I hope your amp has a 'balance' control. For line-up, ignore the bass - that's not used heavily for localisation of sound - aim for a centred human voice to sound centred, and you'll probably be fine. Having a tweeter on only one side might be a bit weird, but I'm sure you'll get used to it!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52415" PostHistoryTypeId="2" PostId="28137" RevisionGUID="bd7dea40-268b-43d0-b95a-4d4f8f1a9596" CreationDate="2014-04-10T09:38:01.453" UserId="37" Text="Surface as amp is an often mentioned technique in texts on recording foley. &#xD;&#xA;I myself don't like the sound of a keyboard on a hard surface, usually the surface resonates too much, but on the other hand, on anything soft a keyboard can sound really thin. That said, the project dictates the sound you're after..&#xD;&#xA;&#xD;&#xA;Also, &lt;del&gt;don't record&lt;/del&gt; avoid recording with a phone, smart or not. The engineering tradeoffs inside it destroy the sound. The graph below is only part of the story.&#xD;&#xA;&#xD;&#xA;![iphone mic frequency response graph][1]&#xD;&#xA;&#xD;&#xA;graph [from here][2]. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Oww16.png&#xD;&#xA;  [2]: http://blog.faberacoustical.com/2010/ios/iphone/iphone-4-audio-and-frequency-response-limitations/" ContentLicense="CC BY-SA 3.0" />
  <row Id="52416" PostHistoryTypeId="2" PostId="28138" RevisionGUID="fd340361-996d-4ab8-9ce2-ba0188ce964b" CreationDate="2014-04-10T09:53:52.363" UserId="7954" Text="I have a bizarre sound synchronization problem which I am really puzzled with.&#xD;&#xA;&#xD;&#xA;I recently recorded an interview with the video camera capturing the sound of the interviewed and an external sound sound capture for the interviewer.&#xD;&#xA;&#xD;&#xA;When editing it with `Adobe Premiere CS6` I started by synchronizing the start of the interview since both recordings started a few seconds apart. So far so good.&#xD;&#xA;&#xD;&#xA;Then, one of the recordings was lagging and at the end of the recording (lasting around 25 minutes) where I found a delay of more than one second on one of the sound tracks. So I found a sync point and used the `rate stretch tool` to adjust one of the tracks to match the other and since beginning and ending were synchronized (I checked) all was fine... Or at least so I thought.&#xD;&#xA;&#xD;&#xA;When I started editing further I realised that towards the middle of the recordings there was further de-synchronization. It is like the lagging and speed-up of sound is non linear; like an accordion...&#xD;&#xA;&#xD;&#xA;Has anyone experienced this before? What causes it? How can it be corrected other than cutting everything in smaller chunks and adjusting them one by one?&#xD;&#xA;&#xD;&#xA;Thanks in advance for any help.&#xD;&#xA;&#xD;&#xA;PS: I had posted this same [question on Video Production beta][1] but decided to repost it here since it relates more to sound than to video.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://video.stackexchange.com/questions/10560/sound-sync-problem" ContentLicense="CC BY-SA 3.0" />
  <row Id="52417" PostHistoryTypeId="1" PostId="28138" RevisionGUID="fd340361-996d-4ab8-9ce2-ba0188ce964b" CreationDate="2014-04-10T09:53:52.363" UserId="7954" Text="Sound sync problem" ContentLicense="CC BY-SA 3.0" />
  <row Id="52418" PostHistoryTypeId="3" PostId="28138" RevisionGUID="fd340361-996d-4ab8-9ce2-ba0188ce964b" CreationDate="2014-04-10T09:53:52.363" UserId="7954" Text="&lt;audio-recording&gt;&lt;sync&gt;&lt;premiere&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52420" PostHistoryTypeId="2" PostId="28140" RevisionGUID="b7ab5a50-7ace-4cb7-afaa-017f18445b16" CreationDate="2014-04-10T11:36:26.180" UserId="7955" Text="I am Sid and I hail from India. I've been working in the bollywood film industry for a while now and want to now move out. I have about 12-15 major motion pictures under my belt for which I served as the sound editor. &#xD;&#xA;I was previously all throughout high school and college involved in composing electronic music and was also the boom man for a few short films.&#xD;&#xA;I have a bachelors in computer application and all that I've learned about sound until now has been self learning and observation.&#xD;&#xA;I have been working professionally for quite some time and want to learn some more advanced techniques and have a formal education in my discipline. The industry here in India is'nt so challenging that I might get to hone my skills to a great extent. I want a more global understand of how film sound editors deal with sound.&#xD;&#xA;&#xD;&#xA;I was considering to undertake an MA in sound design. From all the research I've done, most courses seem to be in UK. I do not want an MSc as I want to explore the storytelling and emotional side of sound and not the technical aspects as much. Also I've seen Sound Arts or sonic arts courses but they are also more focussed on synthesis of sound on its own rather than its relationship with film so thats also something I'm not considering.&#xD;&#xA;&#xD;&#xA;Are there any credible MA programs that you people can help me with?&#xD;&#xA;&#xD;&#xA;I have right now applied for the Uni of Westminster, Uni Bournemouth and NFTS in the UK. I dont know about VFS and how beneficial it'll be in teaching me things to further my skillset. What other options do I have??&#xD;&#xA;&#xD;&#xA;Please help." ContentLicense="CC BY-SA 3.0" />
  <row Id="52421" PostHistoryTypeId="1" PostId="28140" RevisionGUID="b7ab5a50-7ace-4cb7-afaa-017f18445b16" CreationDate="2014-04-10T11:36:26.180" UserId="7955" Text="Professional looking for a post graduate course in sound design for fim" ContentLicense="CC BY-SA 3.0" />
  <row Id="52422" PostHistoryTypeId="3" PostId="28140" RevisionGUID="b7ab5a50-7ace-4cb7-afaa-017f18445b16" CreationDate="2014-04-10T11:36:26.180" UserId="7955" Text="&lt;pro-tools&gt;&lt;design&gt;&lt;sound&gt;&lt;education&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52423" PostHistoryTypeId="2" PostId="28141" RevisionGUID="5bf54541-b931-45bd-a87a-287e62c072b3" CreationDate="2014-04-10T11:38:20.170" UserId="37" Text="Do expect drift between non-timecode-locked equipment. This is common. One way to get around it is to feed the sound from your recorder back into the camera, monitor via the camera's audio/headphones out, then use the sound from camera in your edit. Lots of cables, but fewer posts on forums later if you don't run across other complications.&#xD;&#xA;&#xD;&#xA;Sync drift can also happen e.g. on guerrilla shoots where camera only shoots at 24p but the picture editor then reinterprets the footage as 25p, so the sound is off by 1 frame every 1 second (expect this with kit imported across US/EU borders). &#xD;&#xA;&#xD;&#xA;Modern stretch tools (for both audio and video) can do a good job, but I wouldn't trust a computer with footage that long. I find an edit pass gives me some fatigue but overall fewer headaches.&#xD;&#xA;&#xD;&#xA;You can also directly hack a different sample rate into a WAV file's header and then resample on import (much like pitch-shift, only we're talking fractions of a percent). I've done this with a line-in recording through audio interface vs file from recorder, which needed sample rates of 48000 and 48003 to sync perfectly (and some math to determine the drift). [Soundhack][1] does this on OSX.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.macupdate.com/app/mac/5891/soundhack/" ContentLicense="CC BY-SA 3.0" />
  <row Id="52424" PostHistoryTypeId="2" PostId="28142" RevisionGUID="905cfb2c-52fa-4b97-a813-6b5532a2cda8" CreationDate="2014-04-10T11:50:10.817" UserId="6663" Text="NFTS is the best option in greater london. Avoid sound art courses." ContentLicense="CC BY-SA 3.0" />
  <row Id="52425" PostHistoryTypeId="5" PostId="28140" RevisionGUID="360301a9-1f5d-4a25-8f93-eb83ac81a1ff" CreationDate="2014-04-10T12:33:53.637" UserId="7955" Comment="added 3 characters in body" Text="I am Sid and I hail from India. I've been working in the bollywood film industry for a while now and want to now move out. I have about 12-15 major motion pictures under my belt for which I served as the sound editor. &#xD;&#xA;I was previously all throughout high school and college involved in composing electronic music and was also the boom man for a few short films.&#xD;&#xA;I have a bachelors in computer application and all that I've learned about sound until now has been self learning and observation.&#xD;&#xA;I have been working professionally for quite some time and want to learn some more advanced techniques and have a formal education in my discipline. The industry here in India is'nt so challenging that I might get to hone my skills to a great extent. I want a more global understanding of how film sound editors deal with sound.&#xD;&#xA;&#xD;&#xA;I was considering to undertake an MA in sound design. From all the research I've done, most courses seem to be in UK. I do not want an MSc as I want to explore the storytelling and emotional side of sound and not the technical aspects as much. Also I've seen Sound Arts or sonic arts courses but they are also more focussed on synthesis of sound on its own rather than its relationship with film so thats also something I'm not considering.&#xD;&#xA;&#xD;&#xA;Are there any credible MA programs that you people can help me with?&#xD;&#xA;&#xD;&#xA;I have right now applied for the Uni of Westminster, Uni Bournemouth and NFTS in the UK. I dont know about VFS and how beneficial it'll be in teaching me things to further my skillset. What other options do I have??&#xD;&#xA;&#xD;&#xA;Please help." ContentLicense="CC BY-SA 3.0" />
  <row Id="52426" PostHistoryTypeId="4" PostId="28140" RevisionGUID="360301a9-1f5d-4a25-8f93-eb83ac81a1ff" CreationDate="2014-04-10T12:33:53.637" UserId="7955" Comment="added 3 characters in body" Text="Professional looking for a post graduate course in sound design for film" ContentLicense="CC BY-SA 3.0" />
  <row Id="52427" PostHistoryTypeId="5" PostId="28138" RevisionGUID="8bc038dd-7485-45a8-9aa4-99e961417602" CreationDate="2014-04-10T14:14:07.737" UserId="1216" Comment="deleted a duplicate word" Text="I have a bizarre sound synchronization problem which I am really puzzled with.&#xD;&#xA;&#xD;&#xA;I recently recorded an interview with the video camera capturing the sound of the interviewed and an external sound capture for the interviewer.&#xD;&#xA;&#xD;&#xA;When editing it with `Adobe Premiere CS6` I started by synchronizing the start of the interview since both recordings started a few seconds apart. So far so good.&#xD;&#xA;&#xD;&#xA;Then, one of the recordings was lagging and at the end of the recording (lasting around 25 minutes) where I found a delay of more than one second on one of the sound tracks. So I found a sync point and used the `rate stretch tool` to adjust one of the tracks to match the other and since beginning and ending were synchronized (I checked) all was fine... Or at least so I thought.&#xD;&#xA;&#xD;&#xA;When I started editing further I realised that towards the middle of the recordings there was further de-synchronization. It is like the lagging and speed-up of sound is non linear; like an accordion...&#xD;&#xA;&#xD;&#xA;Has anyone experienced this before? What causes it? How can it be corrected other than cutting everything in smaller chunks and adjusting them one by one?&#xD;&#xA;&#xD;&#xA;Thanks in advance for any help.&#xD;&#xA;&#xD;&#xA;PS: I had posted this same [question on Video Production beta][1] but decided to repost it here since it relates more to sound than to video.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://video.stackexchange.com/questions/10560/sound-sync-problem" ContentLicense="CC BY-SA 3.0" />
  <row Id="52428" PostHistoryTypeId="24" PostId="28138" RevisionGUID="8bc038dd-7485-45a8-9aa4-99e961417602" CreationDate="2014-04-10T14:14:07.737" Comment="Proposed by 1216 approved by 37, 7174 edit id of 116" ContentLicense="CC BY-SA 3.0" />
  <row Id="52429" PostHistoryTypeId="2" PostId="28143" RevisionGUID="8d71486f-e9e0-46c2-be8b-15e60d334794" CreationDate="2014-04-10T14:19:13.967" UserId="7174" Text="Personally, my experience is that formal courses are a poor substitute for real world experience.  The best way to improve is to work with those that understand more than you and learn from them.  Formal studies can discuss some interesting theory, but for anyone sufficiently technically competent, you can get the same thing out of books.&#xD;&#xA;&#xD;&#xA;While I didn't do a masters, I have a Bachelors degree in Electronic Media, Arts and Communications, and while it was more survey than targeted, it did involve a variety of similar kinds of courses and honestly, I didn't learn much from the program that I hadn't learned for myself actually practicing my crafts." ContentLicense="CC BY-SA 3.0" />
  <row Id="52431" PostHistoryTypeId="5" PostId="22196" RevisionGUID="39607343-c235-4f1d-9bdc-2ea3864304aa" CreationDate="2014-04-10T19:29:29.843" UserId="6432" Comment="Typo" Text="I think it is a saxophone to be honest. Maybe it is re-pitched a bit in Melodyne or it is sampled and played. or just a very sloppy player :)&#xD;&#xA;&#xD;&#xA;Peace" ContentLicense="CC BY-SA 3.0" />
  <row Id="52432" PostHistoryTypeId="2" PostId="28144" RevisionGUID="b06f477d-c2df-4595-8521-5a755cb88162" CreationDate="2014-04-10T20:38:10.623" UserId="7957" Text="I don't understand exactly what you're looking after, but you can route each sample/vst/live instrument on different channels in any standard DAW mixer. &#xD;&#xA;&#xD;&#xA;For example, you have 24 different sine waves samples: &#xD;&#xA; &#xD;&#xA; 1. Assign each one of the 24 sines on 24 different channels&#xD;&#xA; 2. Manualy pan each channel as you wish , until the resulting stereo sound fits your expectations&#xD;&#xA;&#xD;&#xA;And additionally, &#xD;&#xA;&#xD;&#xA;Insert on the Master Channel, a Sound Imager Plug-in (Ex:Izotope 5 Sound Imager) , wich gives you the ability to stereoize and give more space for the master output. &#xD;&#xA;(Optionally, you can insert this kind of plug-in on each individual channel, depending on your preferences).&#xD;&#xA;&#xD;&#xA;But as I said, not knowing exactly what you're aiming for, this is all i can think of.&#xD;&#xA;&#xD;&#xA;I hope it helps you somehow,&#xD;&#xA;Alex  &#xD;&#xA;&#xD;&#xA;Note: For the Stereo Imager plug-in to work, the Sample(s) must be Stereo tracks.&#xD;&#xA;[Check this out][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.youtube.com/watch?v=c4Aq0K05DPc" ContentLicense="CC BY-SA 3.0" />
  <row Id="52434" PostHistoryTypeId="2" PostId="28146" RevisionGUID="fc4db5a3-e588-416e-b055-06519428cb63" CreationDate="2014-04-10T21:36:47.773" UserId="7959" Text="See this in Mutools Mulab. It's an amazing portamento than I can make with the properties of any note:&#xD;&#xA;&#xD;&#xA;http://www.kvraudio.com/forum/viewtopic.php?p=5674848#p5674848&#xD;&#xA;&#xD;&#xA;(in abscisse the time, in ordinates the frequency)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52436" PostHistoryTypeId="2" PostId="28148" RevisionGUID="0b568086-9857-4d6a-a218-59bf0b0f774d" CreationDate="2014-04-10T22:28:54.603" UserId="7878" Text="Some bat species can hear all the way up to 200kHz, but at the expense of frequencies under 10kHz.&#xD;&#xA;&#xD;&#xA;Thats a hell of a lot higher than I thought!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52439" PostHistoryTypeId="10" PostId="28112" RevisionGUID="e3a3df51-4f9a-408b-87cc-ac05d0866230" CreationDate="2014-04-10T23:08:25.213" UserId="7016" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[23849],&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52445" PostHistoryTypeId="2" PostId="28149" RevisionGUID="84cfec80-3184-46e8-8708-27eb95a82641" CreationDate="2014-04-11T01:05:10.333" UserId="7962" Text="I've been using an Alesis MultiMix 16 USB 2.0 since 2008 with good success. It allows all 16 channels to be recorded into separate tracks at 24–bit/44.1–96kHz quality. I've used it for recording live shows of my band using Apple's Garage Band and Logic software.&#xD;&#xA;&#xD;&#xA;http://www.alesis.com/multimix16usb20&#xD;&#xA;&#xD;&#xA;Unfortunately, this model has been replaced with the MultiMix 16 USB FX which contains some nice new features like inserts on the channels but it only allows stereo recording through the USB audio interface instead of all 16 tracks.&#xD;&#xA;&#xD;&#xA;I don't recall exactly how much my MultiMix 16 USB 2.0 cost, but if I recall it was under $500. It's one of those purchases that I feared might be too good to be true, but after 4 years, I'd say this board gets my stamp of approval!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52446" PostHistoryTypeId="2" PostId="28150" RevisionGUID="ae7a199e-6d54-4e30-afc7-244ba96a02b7" CreationDate="2014-04-11T03:39:56.053" UserId="6896" Text="I currently go to the undergrad program at SCAD.&#xD;&#xA;&#xD;&#xA;Besides the faculty and classes, it's a great place to network with other art majors. Because we're in high demand, you often times get the pick of the litter working on animations, films, motion media, ect. &#xD;&#xA;&#xD;&#xA;For a number of alumni, they've gotten a lot of jobs from their SCAD connections&#xD;&#xA;&#xD;&#xA;The Master's program seems pretty cool. I think the undergrads get a more rounded understanding of sound design because they have 4 years, but the grad program is 2 years with basically similar content and a couple extra classes they don't teach to undergrad." ContentLicense="CC BY-SA 3.0" />
  <row Id="52448" PostHistoryTypeId="2" PostId="28152" RevisionGUID="250a2a86-4104-45fa-880f-daf83329dbc7" CreationDate="2014-04-11T09:02:21.597" UserId="4390" Text="Well, if you're applying for a non-audio job, then don't waffle about audio too much in your application. But do make sure to talk about how your previous line of work (sound design, audio?) equipped you with considerable creative- as well as technical skills. Talk about how you learn new equipment and software quickly, your ability to navigate in complex creative processes, your coffee making skills - or whatever else you have learned while being a sound designer (except for sound design).&#xD;&#xA;&#xD;&#xA;Very few outside pro sound can appreciate your audio skills.&#xD;&#xA;Almost everyone can appreciate a professional, technically adept person." ContentLicense="CC BY-SA 3.0" />
  <row Id="52470" PostHistoryTypeId="2" PostId="28163" RevisionGUID="6d73b375-da58-4c24-9ddd-9c05c896f5df" CreationDate="2014-04-12T15:20:49.860" UserId="7981" Text="How long would the shortest perceptible sound last? &#xD;&#xA;&#xD;&#xA;I'm guessing there'll be a frequency at which we can hear short sounds best but I don't need to find that. Admittedly this is also completely dependent on the hifi too.&#xD;&#xA;&#xD;&#xA;(I'm working on an audio processing algorithm and would like to know)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52471" PostHistoryTypeId="1" PostId="28163" RevisionGUID="6d73b375-da58-4c24-9ddd-9c05c896f5df" CreationDate="2014-04-12T15:20:49.860" UserId="7981" Text="What's the shortest sound perceptible to the human ear?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52472" PostHistoryTypeId="3" PostId="28163" RevisionGUID="6d73b375-da58-4c24-9ddd-9c05c896f5df" CreationDate="2014-04-12T15:20:49.860" UserId="7981" Text="&lt;sound-design&gt;&lt;software&gt;&lt;signal-processing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52473" PostHistoryTypeId="2" PostId="28164" RevisionGUID="50df1a5c-4e02-4126-8aa8-129951ad0aec" CreationDate="2014-04-12T18:06:30.553" UserId="6619" Text="I've had my eye on this one for some time now:&#xD;&#xA;http://www.tonsturm.com/Soundpacks/files/d954f4e449850afd3e294da133cb3b41-14.html&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52474" PostHistoryTypeId="2" PostId="28165" RevisionGUID="dd605f9d-260c-46b1-8d5e-f1775bc0f408" CreationDate="2014-04-12T18:20:00.300" UserId="7820" Text="There is no shortest sound detectable by the human ear. Any impulse with enough energy is audible.&#xD;&#xA;&#xD;&#xA;The shortest detectable tone, identifiable *as* a tone, would be on the order of 100 ms. It might be shorter for tones of high pitch." ContentLicense="CC BY-SA 3.0" />
  <row Id="52476" PostHistoryTypeId="2" PostId="28167" RevisionGUID="291c05e0-fe80-4354-824f-df1b1e101e7b" CreationDate="2014-04-12T20:36:33.910" UserId="7821" Text="Supposing that you have to enhance and clean up an mp3 file. After the clean up you export the file in wav format and you import the file to a DAW to make a final mastering.&#xD;&#xA;Then you export the mastered file in wav format.&#xD;&#xA;Client wants the file to be delivered in mp3 so you must reconvert the wav file to mp3.&#xD;&#xA;&#xD;&#xA;Supposing that we use a sr of 44.1KHZ for the wav file, what's the best bit rate that you must export the wav file in order to have the less loss in sound quality when the delivered file will be converted to mp3? And do we should applied any dithering considering the final mp3 conversion?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52477" PostHistoryTypeId="1" PostId="28167" RevisionGUID="291c05e0-fe80-4354-824f-df1b1e101e7b" CreationDate="2014-04-12T20:36:33.910" UserId="7821" Text="From mp3 to wav and back to mp3. What's the best method for loosing the less quality possible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52478" PostHistoryTypeId="3" PostId="28167" RevisionGUID="291c05e0-fe80-4354-824f-df1b1e101e7b" CreationDate="2014-04-12T20:36:33.910" UserId="7821" Text="&lt;audio&gt;&lt;file-conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52479" PostHistoryTypeId="2" PostId="28168" RevisionGUID="b510799a-daf8-4f59-86de-81b62b79f569" CreationDate="2014-04-12T20:52:24.103" UserId="7982" Text="Never break the silence unless you can improve upon it.&#xD;&#xA;&#xD;&#xA;I use this as a tenet of design as well as general conversation." ContentLicense="CC BY-SA 3.0" />
  <row Id="52480" PostHistoryTypeId="2" PostId="28169" RevisionGUID="e354f26c-c995-4a96-8d1a-2b31a9d99b23" CreationDate="2014-04-12T21:39:20.127" UserId="37" Text="a] ask the client for wav original&#xD;&#xA;&#xD;&#xA;b] compress output to higher bitrate mp3 than the original, though that doesn't guarantee anything. also if you work in 24bit, you can save as mp3 without dithering, it doesn't need it.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52481" PostHistoryTypeId="2" PostId="28170" RevisionGUID="7c975135-705d-4956-9861-a2e1b1da85ff" CreationDate="2014-04-12T23:11:02.473" UserId="7983" Text="I think Paul Thomas Anderson uses sound very well in all of his movies. Especially Punch Drunk Love, Magnolia, and There will be Blood. In punch drunk love, watch and listen to the Grocery Store scenes. In Magnolia, watch/listen when John C. Riley is going to the house that's playing music too loud. If u listen closely there are actually 3 different scores playing and overlapped, very interesting. And my fav example is from There Will be Blood. When Daniel Plainview is buying all the land the music perfectly emulates someone who is on a mission, like he can't be stopped. Then the music just stops, and you think &quot;Okay he's done doing whatever he's doing&quot; until the music kicks back in and you realize that the Character is no where near being finished. Hard to explain on here but PTA sound design is important to his films. Also I saw Under The skin last night, with Scarlett Johansen. That movie used sound very well, especially during all of the sex scenes. Also Black Swan uses sound very well." ContentLicense="CC BY-SA 3.0" />
  <row Id="52482" PostHistoryTypeId="16" PostId="28170" RevisionGUID="11be354f-07ce-42bd-a7dc-e453c393c6b1" CreationDate="2014-04-12T23:11:02.473" UserId="7983" />
  <row Id="52487" PostHistoryTypeId="2" PostId="28172" RevisionGUID="63347724-1b6e-4cca-b209-22152536cc14" CreationDate="2014-04-13T11:42:20.250" UserId="7796" Text="I've lately been trying to record my guitar/bass using logic pro X as a bit of a hobby but unfortunately I get ridiculous amounts of noise when I try to record. I am not sure where this noise is coming from and so it would be pretty helpful if anyone new of a way(s) to test for it's origin.&#xD;&#xA;&#xD;&#xA;I record using a Nio 2|4 USB interface (My budget is not very big) using my guitar/bass with a fairly standard 3m cable into logic pro X's amp modelling kit.&#xD;&#xA;&#xD;&#xA;Is it more likely to be one of these or is it a combination of them all?&#xD;&#xA;&#xD;&#xA;I am willing to buy a new interface, install noiseless pickups, buy a new lead or mess with logic pro but I don't have the money to do all of them so some guidance would be great.&#xD;&#xA;&#xD;&#xA;Thanks for your time." ContentLicense="CC BY-SA 3.0" />
  <row Id="52488" PostHistoryTypeId="1" PostId="28172" RevisionGUID="63347724-1b6e-4cca-b209-22152536cc14" CreationDate="2014-04-13T11:42:20.250" UserId="7796" Text="Testing for where noise is produced" ContentLicense="CC BY-SA 3.0" />
  <row Id="52489" PostHistoryTypeId="3" PostId="28172" RevisionGUID="63347724-1b6e-4cca-b209-22152536cc14" CreationDate="2014-04-13T11:42:20.250" UserId="7796" Text="&lt;recording&gt;&lt;noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52490" PostHistoryTypeId="2" PostId="28173" RevisionGUID="c7618c26-3bf4-435c-bccd-96fb4be3b6b1" CreationDate="2014-04-13T15:32:31.837" UserId="7984" Text="I understand that compression works by exploiting certain psycho-acoustical characteristics of our auditory perception, but I'm still confused. I mean ultimately, the waveform must be recorded regardless of what has been done to do it, and I was under the impression that all waveforms were born equal? Does removing a band of bits needed to store that information?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm confused?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52491" PostHistoryTypeId="1" PostId="28173" RevisionGUID="c7618c26-3bf4-435c-bccd-96fb4be3b6b1" CreationDate="2014-04-13T15:32:31.837" UserId="7984" Text="How is Audio Compression possible (file size)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52492" PostHistoryTypeId="3" PostId="28173" RevisionGUID="c7618c26-3bf4-435c-bccd-96fb4be3b6b1" CreationDate="2014-04-13T15:32:31.837" UserId="7984" Text="&lt;audio&gt;&lt;psychoacoustics&gt;&lt;data-compression&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52494" PostHistoryTypeId="2" PostId="28175" RevisionGUID="6733a105-47fb-44f1-8393-2f74558e07a7" CreationDate="2014-04-13T16:04:10.177" UserId="6425" Text="Psychoacoustic compression (pm3 for example) works by removing the parts that you don't hear. That means if there is a loud signal you won't hear a quiet signal that is shortly after. For that time you do not need to save information.&#xD;&#xA;&#xD;&#xA;Same thing frequency based. If you have a very loud frequency, then you won't hear a quiet frequency nearby. So you have fewer frequency to save...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;This is a very rough explanation. I hope it helps you." ContentLicense="CC BY-SA 3.0" />
  <row Id="52511" PostHistoryTypeId="2" PostId="28182" RevisionGUID="dd1813b2-f951-44a6-b4e0-eba1254717ca" CreationDate="2014-04-14T08:07:06.470" UserId="7521" Text="I'd like to use a recorded sample as a virtual instrument.&#xD;&#xA;Mostly I'm using FL Studio, but maybe there is a way which is DAW independent (maybe a VST plugin or something).&#xD;&#xA;&#xD;&#xA;For FL Studio specific: If you create a sample channel you can just use it within the piano roll, but the problem is that the time changes with the pitch and so it's not really appropriate to use it as a instrument, or at least not appropriate for my purpose." ContentLicense="CC BY-SA 3.0" />
  <row Id="52512" PostHistoryTypeId="1" PostId="28182" RevisionGUID="dd1813b2-f951-44a6-b4e0-eba1254717ca" CreationDate="2014-04-14T08:07:06.470" UserId="7521" Text="How to use sample as an instrument?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52513" PostHistoryTypeId="3" PostId="28182" RevisionGUID="dd1813b2-f951-44a6-b4e0-eba1254717ca" CreationDate="2014-04-14T08:07:06.470" UserId="7521" Text="&lt;vst&gt;&lt;sample&gt;&lt;fl-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52514" PostHistoryTypeId="2" PostId="28183" RevisionGUID="3c44ed73-2a78-4d57-8c6c-04992551e8da" CreationDate="2014-04-14T13:05:29.567" UserId="182" Text="Suppose you want to save the following sequence of numbers:&#xD;&#xA;0123456789 0123456789&#xD;&#xA;&#xD;&#xA;You can store those numbers individually, which would be equivalent to how uncompressed .wav or .bmp works. &#xD;&#xA;But, if you agree on certain rules and define those in a certain format (like mp3), you can also save these numbers without explicitly writing down the value of each number:&#xD;&#xA;Say we agree that r(0,9,1) means a linear ramp from 0 to 9 in steps of one. suddenly I only need to save 4 values to represent 10: r091 now gets me exactly the ramp. r091 r091 gets me the sequence I had before, using 8 instead of 20 characters. &#xD;&#xA;&#xD;&#xA;So far, that's lossless encoding: the exact same data can be retrieved after decoding.&#xD;&#xA;&#xD;&#xA;Now, suppose we know it's sufficient to build a ramp up to 7, because the values 8 and 9 hardly have any influence on the way the ramp works. Now we can save the values of the ramp as 3 bit values (2^3=8 spaces, just enough to save the number range from 0 to 7), where we needed 4 bit slots with 16 possible values before, because we had to save the number range 0 to 9. We just saved one bit for each value that is stored. &#xD;&#xA;While this might be OK because the values 8 and 9 are not that important in this case, the original sequence can never be reconstructed again as soon as this information is deleted: lossy encoding." ContentLicense="CC BY-SA 3.0" />
  <row Id="52515" PostHistoryTypeId="2" PostId="28184" RevisionGUID="8b8daeb8-3636-4edc-af56-ccf7cbcd6a46" CreationDate="2014-04-14T14:04:18.540" UserId="7174" Text="Random data is hard to compress because it is random, data with a pattern is easy to store.  Audio data itself appears fairly random at first, but in actuality there is a pattern to it.  Additionally, when you allow certain details to be altered a little bit, you can make it fit a pattern more easily.&#xD;&#xA;&#xD;&#xA;Audio compression works by making alterations where the loss of detail won't be noticed in order to conform the waveform to a pattern that can be more easily compressed." ContentLicense="CC BY-SA 3.0" />
  <row Id="52516" PostHistoryTypeId="19" PostId="2032" RevisionGUID="5f64c4d6-03c2-4f30-b7b5-51b6bfd2b3a6" CreationDate="2014-04-14T16:01:00.233" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="52519" PostHistoryTypeId="2" PostId="28185" RevisionGUID="bbc80c9b-2e75-4859-815f-bbe01d3ea290" CreationDate="2014-04-14T19:15:32.650" UserId="7994" Text="I bought a [Sony ECMCS3](http://www.amazon.com/Sony-ECMCS3-Omnidirectional-Stereo-Microphone/dp/B0058MJX4O/ref=sr_1_2?ie=UTF8&amp;qid=1397502705&amp;sr=8-2&amp;keywords=lavalier+microphone) lavalier mic, but I can't use it with my Mac because it's not powered. What do I need to buy to make it work? Ideally it should be portable, and cost less than $30. &#xD;&#xA;&#xD;&#xA;If this is not possible, what are some good options for amateur-quality mics for video recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52520" PostHistoryTypeId="1" PostId="28185" RevisionGUID="bbc80c9b-2e75-4859-815f-bbe01d3ea290" CreationDate="2014-04-14T19:15:32.650" UserId="7994" Text="How to provide power to a lavalier microphone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52521" PostHistoryTypeId="3" PostId="28185" RevisionGUID="bbc80c9b-2e75-4859-815f-bbe01d3ea290" CreationDate="2014-04-14T19:15:32.650" UserId="7994" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52522" PostHistoryTypeId="2" PostId="28186" RevisionGUID="f65f07b0-85ae-44a4-9ad5-603cf22584cb" CreationDate="2014-04-14T21:44:46.817" UserId="37" Text="this is quite informative: http://www.soundonsound.com/sos/may00/articles/mp3.htm&#xD;&#xA;&#xD;&#xA;The gist is: as long as any signal can be represented as the sum of sine waves ([Fourier's work)][1], and as long as you can deconstruct any signal back to sine waves ([FFT][2], [DCT][3] math), then you can use a different way of encoding just the data that's required to reconstruct an approximation the signal, rather than linearly store every single sample of it. In the process, you can throw away a significant portion of it the data and trust the brain to reconstruct the reality. The signal is split in temporal frames over which the math happens so it's not the same math all the time. Depending on the compression method, the frames can vary in duration. (1152 samples for mp3 otherwise)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For a halfway between no-compression and psychoacoustics, check out ADPCM, which only samples the difference between consecutive samples with much smaller bit resolution. 4-bit IMA ADPCM has beautiful noise artefacts.. almost vinyl-like.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Fourier_transform&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/FFT&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Discrete_cosine_transform" ContentLicense="CC BY-SA 3.0" />
  <row Id="52523" PostHistoryTypeId="5" PostId="28184" RevisionGUID="bf25a474-c688-4473-b731-60cc54ef790e" CreationDate="2014-04-14T22:50:37.090" UserId="7174" Comment="added 61 characters in body" Text="Random data is hard to compress because it is random, data with a pattern is easy to store.  Audio data itself appears fairly random at first, but in actuality there is a pattern to it.  Additionally, when you allow certain details to be altered in ways that are not that noticeable to listeners, you can make it fit a pattern that is far easier/smaller to store.&#xD;&#xA;&#xD;&#xA;Audio compression works by making alterations where the loss of detail won't be noticed in order to conform the waveform to a pattern that can be more easily compressed." ContentLicense="CC BY-SA 3.0" />
  <row Id="52528" PostHistoryTypeId="5" PostId="27030" RevisionGUID="86c1eb31-19ba-4f35-a7f0-2e24204f13b2" CreationDate="2014-04-15T00:17:39.547" UserId="7016" Comment="deleted 9 characters in body" Text="I have no samples but you could try to google hurdy-gurgy and bagpipes. Both, especially in combination, can give a great drone sound. &#xD;&#xA;&#xD;&#xA;Original bagpipes are medieval instruments and are different from the Scottish ones. Both instruments have a drone note combined with melody notes.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52529" PostHistoryTypeId="2" PostId="28188" RevisionGUID="3eb11e50-cf72-4b66-960f-4032a3c64ee6" CreationDate="2014-04-15T01:44:57.253" UserId="7878" Text="If you only have a single sample, you're only going to see the same problem with the time change repeated in other samplers. Even with some clever warping in PT or Ableton Live, there is still only so far you can stretch the sample before it becomes unusable (especially when you're pitching it up, but retaining the speed).&#xD;&#xA;&#xD;&#xA;The ideal solution is to get more samples recorded of every note and map them to your sampler, but I appreciate this might not be possible.&#xD;&#xA;&#xD;&#xA;Have you considered looking for a commercial VST sample library of this particular instrument? &#xD;&#xA;&#xD;&#xA;What is the instrument in question? Myself or the guys on here may well know of one, or even have a larger collection of samples available." ContentLicense="CC BY-SA 3.0" />
  <row Id="52530" PostHistoryTypeId="2" PostId="28189" RevisionGUID="9dd7871c-beff-41d8-ac09-6a831179c798" CreationDate="2014-04-15T02:58:11.197" UserId="7996" Text="I am converting files from one format to another using **afconvert** in OS X. &#xD;&#xA;The files are stereo and now I am trying to have them come out as mono by mixing the two channels into one. There seems to be an option to downmix channels using the option **--mix**, but I am not sure how it works. Whatever I try, I only get stereo output. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52531" PostHistoryTypeId="1" PostId="28189" RevisionGUID="9dd7871c-beff-41d8-ac09-6a831179c798" CreationDate="2014-04-15T02:58:11.197" UserId="7996" Text="Downmixing audio on command line" ContentLicense="CC BY-SA 3.0" />
  <row Id="52532" PostHistoryTypeId="3" PostId="28189" RevisionGUID="9dd7871c-beff-41d8-ac09-6a831179c798" CreationDate="2014-04-15T02:58:11.197" UserId="7996" Text="&lt;mixing&gt;&lt;osx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52533" PostHistoryTypeId="5" PostId="28189" RevisionGUID="cd1b4088-c42a-42d0-bbb7-c339f0801e33" CreationDate="2014-04-15T04:00:04.070" UserId="7996" Comment="added 225 characters in body" Text="I am converting files from one format to another using **afconvert** in OS X. &#xD;&#xA;The files are stereo and now I am trying to have them come out as mono by mixing the two channels into one. There seems to be an option to downmix channels using the option **--mix**, but I am not sure how it works. Whatever I try, I only get stereo output. &#xD;&#xA;&#xD;&#xA;**Update:** I installed ffmpeg using homebrew, and added this step to my script:&#xD;&#xA;ffmpeg -i file.wav -ac 1 file_mono.wav&#xD;&#xA;&#xD;&#xA;It seems ok, but I haven't confirmed yet that this is really mixing, and not just dropping of channels." ContentLicense="CC BY-SA 3.0" />
  <row Id="52535" PostHistoryTypeId="2" PostId="28191" RevisionGUID="90ce4f8b-8389-425b-b942-3cbb5f4d0757" CreationDate="2014-04-15T06:45:19.677" UserId="7998" Text="I was going to suggest ffmpeg. `ffmpeg -i file.wav -ac 1 output.wav` should definitely work.&#xD;&#xA;&#xD;&#xA;If you want to check the number of channels that the audio output file, you can drop it into audacity, which by default creates one track per channel.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52536" PostHistoryTypeId="2" PostId="28192" RevisionGUID="9d5184f3-5ae7-478e-8d49-eaba60fa47c9" CreationDate="2014-04-15T06:48:59.413" UserId="7998" Text="This might not get you the results you're looking for, but if you find a good loop point in the source sample, i.e. one that produces as little audible modulation as possible, you can get the tone to at least play for as long as you want.&#xD;&#xA;&#xD;&#xA;Put a nice ASDR envelope over it and you might have something beautiful, if not interesting." ContentLicense="CC BY-SA 3.0" />
  <row Id="52537" PostHistoryTypeId="2" PostId="28193" RevisionGUID="ec0ee8b5-5187-43b5-bacc-6bde00b99c5b" CreationDate="2014-04-15T08:25:33.303" UserId="7999" Text="They have a crumhorn as kontakt instrument on the spitfire audio website. it´s in the &quot;spitfire labs&quot; section, where you have to donate something like 2 pounds to unicef to get an instrument from a variety of &quot;leftover&quot; samples.&#xD;&#xA;https://www.spitfireaudio.com/spitfire-labs-intro" ContentLicense="CC BY-SA 3.0" />
  <row Id="52538" PostHistoryTypeId="2" PostId="28194" RevisionGUID="ba6602cf-9efd-4054-b1d4-d8d253d99178" CreationDate="2014-04-15T09:00:10.740" UserId="6718" Text="If you are happy with basic soldering they are straight-forward to make cheaply as are no more than a battery to supply DC power and a capacitor to block the power getting to your PC&#xD;&#xA;&#xD;&#xA;One typically circuit can be found in the following topic&#xD;&#xA;&#xD;&#xA;http://electronics.stackexchange.com/questions/25229/do-electret-condenser-microphones-require-phantom-power  " ContentLicense="CC BY-SA 3.0" />
  <row Id="52543" PostHistoryTypeId="5" PostId="28194" RevisionGUID="d7dcfe52-65b3-458f-917a-7e8e66ae5c1d" CreationDate="2014-04-15T11:24:00.290" UserId="6718" Comment="deleted 2 characters in body" Text="If you are happy with basic soldering they are straight-forward to make cheaply as are no more than a battery to supply DC power and a capacitor to block the power getting to your PC&#xD;&#xA;&#xD;&#xA;One typical circuit can be found in the following topic&#xD;&#xA;&#xD;&#xA;http://electronics.stackexchange.com/questions/25229/do-electret-condenser-microphones-require-phantom-power  " ContentLicense="CC BY-SA 3.0" />
  <row Id="52544" PostHistoryTypeId="2" PostId="28196" RevisionGUID="28df46e3-4207-4dc6-b0c3-c4946269c765" CreationDate="2014-04-15T11:42:03.870" UserId="37" Text="to specify little-endian (intel) integer 16 or 24 bit wav file:&#xD;&#xA;&#xD;&#xA;    afconvert -d LEI16 -c 1 --mix input_file.wav output_file.wav&#xD;&#xA;&#xD;&#xA;or&#xD;&#xA;&#xD;&#xA;    afconvert -d LEI24 -c 1 --mix input_file.wav output_file.wav" ContentLicense="CC BY-SA 3.0" />
  <row Id="52545" PostHistoryTypeId="5" PostId="28175" RevisionGUID="795dbf56-8900-4452-890e-ffc988a7669d" CreationDate="2014-04-15T12:49:16.010" UserId="6425" Comment="edited body" Text="Psychoacoustic compression (mp3 for example) works by removing the parts that you don't hear. That means if there is a loud signal you won't hear a quiet signal that is shortly after. For that time you do not need to save information.&#xD;&#xA;&#xD;&#xA;Same thing frequency based. If you have a very loud frequency, then you won't hear a quiet frequency nearby. So you have fewer frequency to save...&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;This is a very rough explanation. I hope it helps you." ContentLicense="CC BY-SA 3.0" />
  <row Id="52549" PostHistoryTypeId="5" PostId="28186" RevisionGUID="41f00039-2cb7-4582-8e61-f952281144e5" CreationDate="2014-04-15T14:15:48.110" UserId="37" Comment="added 2 characters in body" Text="this is quite informative: http://www.soundonsound.com/sos/may00/articles/mp3.htm&#xD;&#xA;&#xD;&#xA;The gist is: as long as any signal can be represented as the sum of sine waves ([Fourier's work)][1], and as long as you can deconstruct any signal back to sine waves ([FFT][2], [DCT][3] math), then you can use a different way of encoding just the data that's required to reconstruct an approximation the signal, rather than linearly store every single sample of it. In the process, you can throw away a significant portion of it the data and trust the brain to reconstruct the reality. The signal is split in temporal frames over which the math happens so it's not the same math all the time. Depending on the compression method, the frames can vary in duration. (1152 samples for mp3 otherwise)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;For a halfway between no-compression and perceptual coding, check out ADPCM, which only samples the difference between consecutive samples with much smaller bit resolution. 4-bit IMA ADPCM has beautiful noise artefacts.. almost vinyl-like.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Fourier_transform&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/FFT&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Discrete_cosine_transform" ContentLicense="CC BY-SA 3.0" />
  <row Id="52550" PostHistoryTypeId="2" PostId="28198" RevisionGUID="998243d9-df1d-4a8d-bcf8-2f9071587d25" CreationDate="2014-04-15T20:50:31.087" UserId="8005" Text="I'm just wondering if anyone has any recommendations for a high quality, cheap microphone for recording speech. I want to record the reading of books, not singing/similar.&#xD;&#xA;&#xD;&#xA;I'm not looking for something fancy at all, just something that will be better than a standard headset or a cheapo on-the-desk microphones.&#xD;&#xA;&#xD;&#xA;Also, what is the cheapest that I can reasonably get one for?&#xD;&#xA;&#xD;&#xA;It's for my mum to record books for my grandma (who is no longer in a position to be able to read for herself), so it doesn't need to be really high quality. Basically, just needs to not sound bad, as opposed to sounding good.&#xD;&#xA;&#xD;&#xA;Thanks! =D&#xD;&#xA;&#xD;&#xA;These were a couple that I was looking at. Neither are branded, but do you think that they'll still be ok&#xD;&#xA;&#xD;&#xA;&gt;[Camcorder Microphone (&quot;Professional&quot;)][1]&#xD;&#xA;&#xD;&#xA;&gt;[Headset (&quot;High Quality&quot;)][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ebay.co.uk/itm/Black-DC1-5V-14-37-inch-Professional-Shotgun-Microphone-MIC-F-Sony-Camcorder-UK-/231159277122?pt=UK_Photography_Microphones&amp;hash=item35d22aa642&#xD;&#xA;&#xD;&#xA;  [2]: http://www.ebay.co.uk/itm/New-High-Quality-Laptop-Headphone-Headset-Microphone-Mic-For-Computer-PC-UK-/261426677097?pt=UK_Headsets&amp;hash=item3cde3e8569" ContentLicense="CC BY-SA 3.0" />
  <row Id="52551" PostHistoryTypeId="1" PostId="28198" RevisionGUID="998243d9-df1d-4a8d-bcf8-2f9071587d25" CreationDate="2014-04-15T20:50:31.087" UserId="8005" Text="Good, Cheap (!), Microphone for Recording Speech" ContentLicense="CC BY-SA 3.0" />
  <row Id="52552" PostHistoryTypeId="3" PostId="28198" RevisionGUID="998243d9-df1d-4a8d-bcf8-2f9071587d25" CreationDate="2014-04-15T20:50:31.087" UserId="8005" Text="&lt;audio-recording&gt;&lt;recording&gt;&lt;speech&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52553" PostHistoryTypeId="2" PostId="28199" RevisionGUID="c6963e10-ca7c-47bb-b9e3-db110f62e3d6" CreationDate="2014-04-15T20:56:21.443" UserId="7448" Text="My boss doesn't really want my, or any coworkers, voice on our videos. Instead of waiting to have his wife record the audio I'm looking for more practical solutions.&#xD;&#xA;&#xD;&#xA;Is there any free software out there that I could use to achieve a decent altered voice? Basically I'll record myself reading the script then run it through this program for use as voice over --- if this program exists.&#xD;&#xA;&#xD;&#xA;Any other ideas are welcomed too. The last time I did anything with voice was back in Elementary School playing around with Lucent's Text to Speech thing... no clue what exists that doesn't sound like a robot." ContentLicense="CC BY-SA 3.0" />
  <row Id="52554" PostHistoryTypeId="1" PostId="28199" RevisionGUID="c6963e10-ca7c-47bb-b9e3-db110f62e3d6" CreationDate="2014-04-15T20:56:21.443" UserId="7448" Text="Any free software to make speech sound different without making it &quot;robotic&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52555" PostHistoryTypeId="3" PostId="28199" RevisionGUID="c6963e10-ca7c-47bb-b9e3-db110f62e3d6" CreationDate="2014-04-15T20:56:21.443" UserId="7448" Text="&lt;software&gt;&lt;voice-manipulation&gt;&lt;speech&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52556" PostHistoryTypeId="2" PostId="28200" RevisionGUID="e4dd585a-1ec1-462b-98aa-51a59c5a7323" CreationDate="2014-04-15T23:00:01.077" UserId="8006" Text="There's a sample library called &quot;Early Patches&quot;, distributed by Best Service:&#xD;&#xA;&#xD;&#xA;http://soundbytes.de/EarlyPatches/de/reviews.htm&#xD;&#xA;(English reviews at the bottom)&#xD;&#xA;&#xD;&#xA;You should also try &quot;Historical Instruments&quot; by USB:&#xD;&#xA;http://www.soundstosample.com/info/Soundscan/Historical_Instruments/960" ContentLicense="CC BY-SA 3.0" />
  <row Id="52557" PostHistoryTypeId="2" PostId="28201" RevisionGUID="0f0094c7-5bb3-4cd3-8dbe-f5c8c623a6da" CreationDate="2014-04-16T02:29:55.890" UserId="8007" Text="I'm trying to save DSP on my computer and my current mix session has alot of tracks with automation... Is there any way to set the plugins through automation to suspend during playback on and off ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52558" PostHistoryTypeId="1" PostId="28201" RevisionGUID="0f0094c7-5bb3-4cd3-8dbe-f5c8c623a6da" CreationDate="2014-04-16T02:29:55.890" UserId="8007" Text="mixing a project in ProTools with automation is it possible to suspend the automation during playback as if it was automated turned on/off" ContentLicense="CC BY-SA 3.0" />
  <row Id="52559" PostHistoryTypeId="3" PostId="28201" RevisionGUID="0f0094c7-5bb3-4cd3-8dbe-f5c8c623a6da" CreationDate="2014-04-16T02:29:55.890" UserId="8007" Text="&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52563" PostHistoryTypeId="2" PostId="28203" RevisionGUID="6668bb6a-d51d-421e-97ed-77d006eabf42" CreationDate="2014-04-16T03:33:26.267" UserId="6399" Text="I think all ProTools plugins have a master bypass that you can automate to bypass the plugin.  I don't know that it really saves power though.&#xD;&#xA;ProTools 11 has dynamic plugin allocation so the plugs that aren't processing aren't taking up power.&#xD;&#xA;Other options might be thinning the automation more or increasing your playback buffer size." ContentLicense="CC BY-SA 3.0" />
  <row Id="52564" PostHistoryTypeId="2" PostId="28204" RevisionGUID="5802b557-cb2a-4e0d-b7dd-3f49c5ada08c" CreationDate="2014-04-16T08:21:07.103" UserId="1216" Text="unless they are very talented, i think it's a very good idea to not use employees on videos.&#xD;&#xA;so your boss is right, but he should also bare the consequence of it and  hire an (amateur) actor. &#xD;&#xA;you'll get a professional sounding result unlike with any of the options you've already mentioned. just make sure it's recorded and 'directed' properly.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52565" PostHistoryTypeId="5" PostId="28172" RevisionGUID="81a973c5-5b0c-4df9-9360-bc34a065bf64" CreationDate="2014-04-16T09:57:14.870" UserId="7796" Comment="Added audio sample" Text="I've lately been trying to record my guitar/bass using logic pro X as a bit of a hobby but unfortunately I get ridiculous amounts of noise when I try to record. I am not sure where this noise is coming from and so it would be pretty helpful if anyone new of a way(s) to test for it's origin.&#xD;&#xA;&#xD;&#xA;I record using a Nio 2|4 USB interface (My budget is not very big) using my guitar/bass with a fairly standard 3m cable into logic pro X's amp modelling kit.&#xD;&#xA;&#xD;&#xA;Is it more likely to be one of these or is it a combination of them all?&#xD;&#xA;&#xD;&#xA;I am willing to buy a new interface, install noiseless pickups, buy a new lead or mess with logic pro but I don't have the money to do all of them so some guidance would be great.&#xD;&#xA;&#xD;&#xA;Thanks for your time.&#xD;&#xA;&#xD;&#xA;**UPDATE**&#xD;&#xA;&#xD;&#xA;Here is a link to a 7 various recordings:&#xD;&#xA;&#xD;&#xA;https://www.dropbox.com/s/d4iwvg9w585hdsc/Noise%20Test.m4a&#xD;&#xA;&#xD;&#xA;1) Guitar input on 0, Audio Interface Volume on 0&#xD;&#xA;2) Guitar input on 10, Audio Interface Volume on 0&#xD;&#xA;3) Guitar input on 0, Audio Interface Volume on 10&#xD;&#xA;4) Guitar input on 10, Audio Interface Volume on 10&#xD;&#xA;5) Blank mp3 through logic amp (Metronome added)&#xD;&#xA;6) Control measure - SFX: dog barking without amp&#xD;&#xA;7) Control measure - SFX: dog barking with amp" ContentLicense="CC BY-SA 3.0" />
  <row Id="52566" PostHistoryTypeId="2" PostId="28205" RevisionGUID="29c354db-5793-4d9d-bd30-14cd0f59e214" CreationDate="2014-04-16T10:23:09.793" UserId="6432" Text="Not exactly sure what you're asking for. There are text-voice synthesisers out there, but all of them are recognisable for what they are. You also pay for the better of them. There is no effect which will make you sound like a different person in a good way...&#xD;&#xA;&#xD;&#xA;I think your boss needs to appreciate the talent behind good VO work and realise the value of it on your product (whatever it is). " ContentLicense="CC BY-SA 3.0" />
  <row Id="52567" PostHistoryTypeId="5" PostId="28205" RevisionGUID="35dc8982-6aa8-4b82-abf8-38bcad4d045a" CreationDate="2014-04-16T10:33:57.737" UserId="6432" Comment="more" Text="Not exactly sure what you're asking for. You don't really explain what the videos are - tutorials, adverts?? The intended audience and expected quality are obviously key factors here. &#xD;&#xA;&#xD;&#xA;There are text-voice synthesisers out there, but all of them are recognisable for what they are. You also pay for the better of them. There is no effect which will make you sound like a different person in a good way...&#xD;&#xA;&#xD;&#xA;If it is promotional material I think your boss needs to appreciate the talent behind good VO work and realise the value of it on your product (whatever it is). " ContentLicense="CC BY-SA 3.0" />
  <row Id="52568" PostHistoryTypeId="2" PostId="28206" RevisionGUID="a4b95f1e-eff0-4a34-845c-3e30e745714b" CreationDate="2014-04-16T12:53:51.757" UserId="8012" Text="I am a Indian classical violinist. I want to record my violin along with a software instrument from the iPod at home. So I need a 2x2 usb audio interface. I will be recording the violin by a Cherub WCP-60V pick up. I am confused between the two I mentioned in the question. From the reviews I read, the preamp of m-track is not so good, while that of the scarlett 2i2 is very good. But the m-track has an option for switching the monitor output between mono and stereo, which is of a particular use for me, as I only need the software instrument (Tanpura and tabla) sound from the monitor and not the violin itself (I will be recording in my room, and the monitor is essentially a Sony 2.1 speaker). This option is not provided in the scarlett 2i2. (It is provided in the 2i4, but it is too costly for me)&#xD;&#xA;How significant is the difference between the pre-amp quality of the two? If not much, I will go with m-track, else scarlett.&#xD;&#xA;Thank you in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52569" PostHistoryTypeId="1" PostId="28206" RevisionGUID="a4b95f1e-eff0-4a34-845c-3e30e745714b" CreationDate="2014-04-16T12:53:51.757" UserId="8012" Text="Which of the two audio interfaces (M-Audio M-Track plus and Focusrite Scarlett 2i2) should I go for to record violin?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52570" PostHistoryTypeId="3" PostId="28206" RevisionGUID="a4b95f1e-eff0-4a34-845c-3e30e745714b" CreationDate="2014-04-16T12:53:51.757" UserId="8012" Text="&lt;recording&gt;&lt;audio-interfaces&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52571" PostHistoryTypeId="2" PostId="28207" RevisionGUID="d8cade24-c2c9-44f0-b8d5-0152c61628ef" CreationDate="2014-04-16T13:19:39.263" UserId="7200" Text="Sounds like fairly standard white noise, amplified a lot through high-gain amp simulator setting (which BTW you might consider simply lowering, many digital simulation presets have the gain just absurdly high with little sound benefit). This has definitely nothing to do with your guitar (except that it's output level may be not exceptionally high), it's mainly a factor of the interface's guitar-in preamp (and possibly later circuit, i.e. AD-converter). Apparently, the input just isn't much good.&#xD;&#xA;&#xD;&#xA;You're quite sure you use the right input (guitar impedance, not line) and don't have any other input mixed in, right?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52572" PostHistoryTypeId="2" PostId="28208" RevisionGUID="d48e74de-26ac-437c-b662-5733b99b8025" CreationDate="2014-04-16T13:30:20.083" UserId="7094" Text="What software are you planning to record into? You should be able to monitor through the software and disable record-monitoring on the violin track.&#xD;&#xA;&#xD;&#xA;I can't speak for the quality of the M-Track's preamps, but you can get the functionality you've described through your computer, so you should go for whichever you think sounds best." ContentLicense="CC BY-SA 3.0" />
  <row Id="52573" PostHistoryTypeId="5" PostId="28198" RevisionGUID="959f353d-4678-4363-a85c-5a0f37d75d1f" CreationDate="2014-04-16T13:37:54.750" UserId="7174" Comment="added 9 characters in body" Text="I'm just wondering if anyone has any recommendations for a high quality, cheap computer microphone for recording speech. I want to record the reading of books, not singing/similar.&#xD;&#xA;&#xD;&#xA;I'm not looking for something fancy at all, just something that will be better than a standard headset or a cheapo on-the-desk microphones.&#xD;&#xA;&#xD;&#xA;Also, what is the cheapest that I can reasonably get one for?&#xD;&#xA;&#xD;&#xA;It's for my mum to record books for my grandma (who is no longer in a position to be able to read for herself), so it doesn't need to be really high quality. Basically, just needs to not sound bad, as opposed to sounding good.&#xD;&#xA;&#xD;&#xA;Thanks! =D&#xD;&#xA;&#xD;&#xA;These were a couple that I was looking at. Neither are branded, but do you think that they'll still be ok&#xD;&#xA;&#xD;&#xA;&gt;[Camcorder Microphone (&quot;Professional&quot;)][1]&#xD;&#xA;&#xD;&#xA;&gt;[Headset (&quot;High Quality&quot;)][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ebay.co.uk/itm/Black-DC1-5V-14-37-inch-Professional-Shotgun-Microphone-MIC-F-Sony-Camcorder-UK-/231159277122?pt=UK_Photography_Microphones&amp;hash=item35d22aa642&#xD;&#xA;&#xD;&#xA;  [2]: http://www.ebay.co.uk/itm/New-High-Quality-Laptop-Headphone-Headset-Microphone-Mic-For-Computer-PC-UK-/261426677097?pt=UK_Headsets&amp;hash=item3cde3e8569" ContentLicense="CC BY-SA 3.0" />
  <row Id="52574" PostHistoryTypeId="2" PostId="28209" RevisionGUID="9a4d8f08-8520-4d03-ae30-dff525e7ad8a" CreationDate="2014-04-16T13:41:25.327" UserId="7174" Text="Computer microphones are going to be primarily limited by the low quality components generally involved in consumer pc mic input jacks, so just about any microphone you get will be sufficient.  &#xD;&#xA;&#xD;&#xA;If you want better quality than that, you really need to get an audio interface that has a decent analog to digital converter and pre-amp and plug a decent, cheap microphone in to it.  Thing is, cheap is relative.  I'd consider an SM-58 or similar to be &quot;cheap&quot; at $90 to $100 with a basic USB interface running another $100 or so.&#xD;&#xA;&#xD;&#xA;For that $200 you'll get much better audio quality, but my guess is that it probably isn't what you meant when you refer to cheap." ContentLicense="CC BY-SA 3.0" />
  <row Id="52575" PostHistoryTypeId="5" PostId="28189" RevisionGUID="61aabf6f-8f73-4b45-bbe5-c336d263d0db" CreationDate="2014-04-16T14:48:56.933" UserId="7996" Comment="added 17 characters in body" Text="I am converting files from one format to another using **afconvert** in OS X. &#xD;&#xA;The files are stereo and now I am trying to have them come out as mono by mixing the two channels into one. There seems to be an option to downmix channels using the option **--mix**, but I am not sure how it works. Whatever I try, I only get stereo output. &#xD;&#xA;&#xD;&#xA;**Update:** I installed ffmpeg using homebrew, and added this step to my script:&#xD;&#xA;ffmpeg -i file.wav -ac 1 file_mono.wav&#xD;&#xA;&#xD;&#xA;It &lt;s&gt;seems is ok, but I haven't confirmed yet that this is really mixing, and not just dropping of channels.&lt;/s&gt; works." ContentLicense="CC BY-SA 3.0" />
  <row Id="52576" PostHistoryTypeId="2" PostId="28210" RevisionGUID="48277401-a4ba-46cd-9bbf-bf2193ab0e91" CreationDate="2014-04-16T16:16:38.433" UserId="6396" Text="I'm in a bind and I'm looking for some wind with a lot of whipping and dynamics.  The project I'm designing is very ethereal in nature so I will probably be doing a lot of panning/modulation work but most of the wind libraries I've looked at are a bit flat for what I need.  Are there any techniques to produce this dynamic kind of wind?  Any libraries that might do the trick or get me started?  Thanks!&#xD;&#xA;&#xD;&#xA;- Andrew" ContentLicense="CC BY-SA 3.0" />
  <row Id="52577" PostHistoryTypeId="1" PostId="28210" RevisionGUID="48277401-a4ba-46cd-9bbf-bf2193ab0e91" CreationDate="2014-04-16T16:16:38.433" UserId="6396" Text="Where to find gusty wind recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="52578" PostHistoryTypeId="3" PostId="28210" RevisionGUID="48277401-a4ba-46cd-9bbf-bf2193ab0e91" CreationDate="2014-04-16T16:16:38.433" UserId="6396" Text="&lt;wind&gt;&lt;dynamic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52579" PostHistoryTypeId="2" PostId="28211" RevisionGUID="071ed354-ac33-4449-8ec1-ae53ceb4cff5" CreationDate="2014-04-16T16:31:56.650" UserId="8013" Text="I'm trying to have a &quot;safe list&quot; of virtual instruments, synths, samplers and anything in between, that can be used for sfx production (mainly for videogame production) but it's often hard to understand what the license permits and what not. I also tried to contact some companies, but they didn't answer (so far) or sounded a bit elusive. Do you know of virtual instruments &quot;safe&quot; for that use? Is an absence of specific indication on the EULA to be assumed as an allowance or not?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52580" PostHistoryTypeId="1" PostId="28211" RevisionGUID="071ed354-ac33-4449-8ec1-ae53ceb4cff5" CreationDate="2014-04-16T16:31:56.650" UserId="8013" Text="Which virtual instruments can be used for sfx?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52581" PostHistoryTypeId="3" PostId="28211" RevisionGUID="071ed354-ac33-4449-8ec1-ae53ceb4cff5" CreationDate="2014-04-16T16:31:56.650" UserId="8013" Text="&lt;sound&gt;&lt;sound-libraries&gt;&lt;licensing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52582" PostHistoryTypeId="2" PostId="28212" RevisionGUID="34991bd4-6126-43b6-99b9-b0ed0af6f29b" CreationDate="2014-04-16T18:51:33.803" UserId="61" Text="There are (at least) two ways to approach this:&#xD;&#xA;&#xD;&#xA; - Find an appropriate recording to use as a starting point&#xD;&#xA; - Record your own wind and use that as a starting point&#xD;&#xA;&#xD;&#xA;Either way, you're going to need to do some experimenting to get the sound you're after.&#xD;&#xA;&#xD;&#xA;The first tool I'd reach for to create a &quot;whipping&quot; sensation would be either an amplitude modulator (think MondoMod) or a chain of dopplers (GRM or Waves), or the two of those working together. The key is create the feeling of motion through level variations, panning and pitch. Those two techniques will take you part of the way. Start with extreme settings and dial down from there.&#xD;&#xA;&#xD;&#xA;Layering would be next for me. Either laying something unique on top or varispeeding what you've already chosen, this will bring broader frequency range to your sound.&#xD;&#xA;&#xD;&#xA;Another thing to try would be choosing an unrelated sound that has modulation you like and using that as a side-chain key to trigger your source wind. Example: You have a wind sound with good character but no dynamics. You also have a fantasy vortex sound with tons of movement but is too sci-fi. Simply insert a gate on your wind track, set the side-chain key as the vortex track, and let the vortex modulate your wind. (You could also do this with a convolution reverb, using the vortex as an IR and running the wind through it at various levels of wet/dry. You will also reap pitch variations using this technique.)&#xD;&#xA;&#xD;&#xA;Anyhow, a few suggestions!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52583" PostHistoryTypeId="2" PostId="28213" RevisionGUID="9c8d2081-1fb6-4efa-af7f-7b4c0513aae8" CreationDate="2014-04-16T20:55:21.303" UserId="1216" Text="I think Jay already provided you with some excellent advice. I can only add that I liked working with the ['Blow Tools' library from Sound Ideas][1], they have very distinct sounding winds. Some sound outdated but I like some of the short duration stuff, you could use that as a layer or as a sidechain/modulator.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sound-ideas.com/sound-effects/blow-tools-sound-effects-library.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="52587" PostHistoryTypeId="2" PostId="28215" RevisionGUID="eb1a4fc2-46ef-40cc-bc18-8927305e8231" CreationDate="2014-04-16T22:17:56.907" UserId="8017" Text="Smiley Sam, I'm a &quot;&quot;professional&quot;&quot; (note the quadruple air quotes) sound designer/composer/musical type who is particularly finicky about &quot;bang for buck&quot;... and While getting specific details from you is helpful, I have a simple answer that's worked for me and many others:&#xD;&#xA;&#xD;&#xA;**Get an Audio-Technica ATR2100-USB.** The price has risen a bit since I got mine, but you can typically find them for USD$60-75 (it seems like you are in the UK), or even less on eBay. That is an incredible bargain for what you're getting — it has replaced my Rode Procaster (check the price on that) for recording my voice, AND it has both XLR and USB outputs so you can easily plug it into a computer.&#xD;&#xA;&#xD;&#xA;Long story short, it's like this generation's SM-57/58 for reputation of being a &quot;great easy choice&quot; versatile mic that you can grow with. Many podcasters like it for capturing their voice to read books.&#xD;&#xA;&#xD;&#xA;This is an otherwise good review roundup where it's strangely not featured, but mentioned in the comments: http://thewirecutter.com/reviews/the-best-usb-microphone/&#xD;&#xA;&#xD;&#xA;Even better, get it on Amazon and see if it's right for you firsthand. If not, they have a great return policy.&#xD;&#xA;&#xD;&#xA;Best of hope." ContentLicense="CC BY-SA 3.0" />
  <row Id="52588" PostHistoryTypeId="2" PostId="28216" RevisionGUID="4ecb769e-672a-4f2d-b5b7-d2291a2a74b1" CreationDate="2014-04-17T09:31:26.113" UserId="6940" Text="Rule of thumb : if its sample-based(*), no, unless you load your own samples.   &#xD;&#xA;&#xD;&#xA;(*)That's any sampler, rompler, drum machine etc&#xD;&#xA;&#xD;&#xA;If its purely synthesis (normally anything with a 'simple' fixed waveform selector, or a draw/generate-your own waveform tool) then youn should be okay.&#xD;&#xA;&#xD;&#xA;If its not obvious, consult the EULA, and if thats not enough, contact the developer.&#xD;&#xA;&#xD;&#xA;If its really really really not obvious, use analog hardware; that's guaranteed. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52589" PostHistoryTypeId="2" PostId="28217" RevisionGUID="2ec4fd91-1d6f-4e5a-8af5-bc15f6ec85c4" CreationDate="2014-04-17T10:34:31.037" UserId="8009" Text="I have a restriction for this: the time duration of the sample cannot be changed, because I need to use input from the microphone and play it back asap. This means pitch shifting via playing it back at a different sample rate is not permitted." ContentLicense="CC BY-SA 3.0" />
  <row Id="52590" PostHistoryTypeId="1" PostId="28217" RevisionGUID="2ec4fd91-1d6f-4e5a-8af5-bc15f6ec85c4" CreationDate="2014-04-17T10:34:31.037" UserId="8009" Text="How would you modify a voice such that it sounds like a parrot?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52591" PostHistoryTypeId="3" PostId="28217" RevisionGUID="2ec4fd91-1d6f-4e5a-8af5-bc15f6ec85c4" CreationDate="2014-04-17T10:34:31.037" UserId="8009" Text="&lt;voice-over&gt;&lt;voice-manipulation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52595" PostHistoryTypeId="2" PostId="28219" RevisionGUID="2a6a55f4-f2c2-4042-a7a9-f354a8e754fa" CreationDate="2014-04-17T11:56:25.597" UserId="8021" Text="My name is Riccardo i'm 23yo from Italy.&#xD;&#xA;I'm trying to abandon my work as sound engineer and jump in the world of Sound Design.&#xD;&#xA;Until now i've always passed lot of time working with Ableton Live on synthesis and Audio Recording/Editing, the point is that i think (maybe i'm wrong) i don't have enough experience to start to work in sound design industry, so i'm looking for a good place where to train myself and improve my skills.&#xD;&#xA;I've found few options: Vancouver Film School, Berklee, SAE, and also online courses like Berklee online and Liveshool(Ableton Live).&#xD;&#xA;What should i do in your opinion?&#xD;&#xA;Which school is the best choice? &#xD;&#xA;Do you think online courses are useful?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52596" PostHistoryTypeId="1" PostId="28219" RevisionGUID="2a6a55f4-f2c2-4042-a7a9-f354a8e754fa" CreationDate="2014-04-17T11:56:25.597" UserId="8021" Text="Jump in Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="52597" PostHistoryTypeId="3" PostId="28219" RevisionGUID="2a6a55f4-f2c2-4042-a7a9-f354a8e754fa" CreationDate="2014-04-17T11:56:25.597" UserId="8021" Text="&lt;sound-design&gt;&lt;school&gt;&lt;film-school&gt;&lt;degree&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52605" PostHistoryTypeId="33" PostId="28185" RevisionGUID="b3958a36-f323-40b6-b8ff-8d0d4b2e96d5" CreationDate="2014-04-17T15:49:45.803" UserId="7994" Comment="10" />
  <row Id="52606" PostHistoryTypeId="2" PostId="28221" RevisionGUID="b90cef08-3729-48eb-ac30-e271fcf01a5e" CreationDate="2014-04-17T16:15:57.383" UserId="6636" Text="Could you not use a small portable recorder such as the Zoom H1, then transfer the recordings to the mac via USB? [Zoom H1][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.amazon.com/Zoom-Handy-Portable-Digital-Recorder/dp/B003QKBVYK/ref=sr_1_1?s=musical-instruments&amp;ie=UTF8&amp;qid=1397751264&amp;sr=1-1&amp;keywords=Zoom%20H1" ContentLicense="CC BY-SA 3.0" />
  <row Id="52607" PostHistoryTypeId="5" PostId="28211" RevisionGUID="8ace945d-67d8-4d2b-8d03-e95ab02a4570" CreationDate="2014-04-17T16:42:51.810" UserId="8013" Comment="added 147 characters in body" Text="I'm trying to have a &quot;safe list&quot; of virtual instruments, synths, samplers and anything in between, that can be used for sfx production (mainly for videogame production) but it's often hard to understand what the license permits and what not. I also tried to contact some companies, but they didn't answer (so far) or sounded a bit elusive. Do you know of virtual instruments &quot;safe&quot; for that use? Is an absence of specific indication on the EULA to be assumed as an allowance or not?&#xD;&#xA;&#xD;&#xA;EDIT Maybe I can clarify better: I'm talking of the so-called &quot;synchronized use&quot; - so NOT sfx creation for re-sale or re-licensing as a product" ContentLicense="CC BY-SA 3.0" />
  <row Id="52610" PostHistoryTypeId="5" PostId="28217" RevisionGUID="113ec190-5638-4fd9-b83b-81570160b503" CreationDate="2014-04-17T18:04:31.420" UserId="8009" Comment="added 325 characters in body" Text="I have a restriction for this: the time duration of the sample cannot be changed, because I need to use input from the microphone and play it back asap. This means pitch shifting via playing it back at a different sample rate is not permitted.&#xD;&#xA;&#xD;&#xA;[edit] More info: I'm looking for various kinds of filters to apply to voice input from the microphone. I've tried some amount of pitch shifting, however, I'm not sure of the direction that I should move from. Also, I can't control the setup; this conversion has to work out of the box through a program and a microphone." ContentLicense="CC BY-SA 3.0" />
  <row Id="52611" PostHistoryTypeId="2" PostId="28223" RevisionGUID="eb23ba42-596c-4e2f-ab82-6a019f633c01" CreationDate="2014-04-17T18:22:55.167" UserId="61" Text="Enrolling at a college and getting a degree can be very expensive and won't necessarily guarantee you a job. Securing a position as an intern and learning from others may be a better route - on the job training and trial by fire is good for you career and your character." ContentLicense="CC BY-SA 3.0" />
  <row Id="52612" PostHistoryTypeId="2" PostId="28224" RevisionGUID="75094c48-a7fd-4832-9431-7f3770dc7d76" CreationDate="2014-04-17T18:40:00.617" UserId="6432" Text="You need something that can supply 'plug in power'. Most recorders can do this so there are not many devices around. Often people make their own.&#xD;&#xA;&#xD;&#xA;There are some on ebay for £15ish. I think your mic is stereo, so make sure you get one capable of that." ContentLicense="CC BY-SA 3.0" />
  <row Id="52613" PostHistoryTypeId="2" PostId="28225" RevisionGUID="828f9cce-5403-47e7-8a7e-69e700beba65" CreationDate="2014-04-17T20:55:47.537" UserId="182" Text="![enter image description here][1]&#xD;&#xA;&#xD;&#xA;You could get something like this for your existing mic:&#xD;&#xA;http://www.ebay.com/itm/MONO-TO-STEREO-MICROPHONE-PLUG-IN-POWER-BATTERY-MODULE-/280567421956?pt=UK_MusicalInstruments_Other_Pro_Audio_Equipment&amp;hash=item41531f1c04&#xD;&#xA;&#xD;&#xA;or the mono variant:&#xD;&#xA;http://www.ebay.com/itm/3-5mm-MONO-JACK-MICROPHONE-PLUG-IN-POWER-BATTERY-MODULE-/270787690564?pt=UK_MusicalInstruments_Other_Pro_Audio_Equipment&amp;hash=item3f0c344044&#xD;&#xA;&#xD;&#xA;or in a more kludgy box:&#xD;&#xA;http://www.ebay.com/itm/STEREO-MICROPHONE-BATTERY-PHANTOM-POWER-PREAMP-MODULE-/270620193225?pt=UK_MusicalInstruments_Other_Pro_Audio_Equipment&amp;hash=item3f023871c9&#xD;&#xA;&#xD;&#xA;or, not directly what you're asking, but nevertheless a solution to your problem and within budget:&#xD;&#xA;http://www.amazon.com/Audio-Technica-ATR-3350-Omnidirectional-Condenser-Microphone/dp/B002HJ9PTO&#xD;&#xA;This simple lav has a power supply, meaning it doesn't need plug-in power.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/cg44E.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="52614" PostHistoryTypeId="2" PostId="28226" RevisionGUID="99c74324-8666-4263-adb9-3d0e18e5793a" CreationDate="2014-04-17T21:00:27.260" UserId="8024" Text="as you work as sound engineer, why do you really want to go to a school for sound design? You already know many things about sound, so you better seek for an experience in a real company as internship or work in a real project, also for the first time" ContentLicense="CC BY-SA 3.0" />
  <row Id="52617" PostHistoryTypeId="2" PostId="28227" RevisionGUID="3db4af2c-b1ea-4a90-8959-7f3bb44ac2c3" CreationDate="2014-04-17T23:13:30.713" UserId="8026" Text="A musician friend, who is producing his own album, asked for advice about how best to master the FLAC edition of the album. It will be distributed as a physical CD, as MP3 files, and as FLAC files. Customers will choose whichever format they prefer. The FLAC format edition can be tweaked to do something better than the other formats.&#xD;&#xA;&#xD;&#xA;My friend is not a FLAC format expert. He starts from the studio masters, which were professionally done. What instructions should he give the software producing the FLAC files? Should the audio in the FLAC be 24 bit/96kHz, or 16 bit/44.1 kHz? What metadata should he include? What does FLAC do better than CD or MP3 formats? Any other best practices he should follow? " ContentLicense="CC BY-SA 3.0" />
  <row Id="52618" PostHistoryTypeId="1" PostId="28227" RevisionGUID="3db4af2c-b1ea-4a90-8959-7f3bb44ac2c3" CreationDate="2014-04-17T23:13:30.713" UserId="8026" Text="FLAC mastering best practices" ContentLicense="CC BY-SA 3.0" />
  <row Id="52619" PostHistoryTypeId="3" PostId="28227" RevisionGUID="3db4af2c-b1ea-4a90-8959-7f3bb44ac2c3" CreationDate="2014-04-17T23:13:30.713" UserId="8026" Text="&lt;mastering&gt;&lt;metadata&gt;&lt;cd&gt;&lt;flac&gt;&lt;publishing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52621" PostHistoryTypeId="2" PostId="28229" RevisionGUID="d1d513ba-be6b-4f08-898e-2f1892890e37" CreationDate="2014-04-18T04:42:04.963" UserId="8028" Text="I've been working on a MIDI piece, and I've been using the Violin instrument. It seems to me that string instruments seem to lack variation or expression. What are some techniques to make them sound realistic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52622" PostHistoryTypeId="1" PostId="28229" RevisionGUID="d1d513ba-be6b-4f08-898e-2f1892890e37" CreationDate="2014-04-18T04:42:04.963" UserId="8028" Text="What are some techniques to make MIDI sounds sound more realistic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52623" PostHistoryTypeId="3" PostId="28229" RevisionGUID="d1d513ba-be6b-4f08-898e-2f1892890e37" CreationDate="2014-04-18T04:42:04.963" UserId="8028" Text="&lt;midi&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52624" PostHistoryTypeId="5" PostId="28212" RevisionGUID="ccff7205-d85d-4009-a872-38144501131f" CreationDate="2014-04-18T04:54:47.767" UserId="61" Comment="add'l info" Text="There are (at least) two ways to approach this:&#xD;&#xA;&#xD;&#xA; - Find an appropriate recording to use as a starting point&#xD;&#xA; - Record your own wind and use that as a starting point&#xD;&#xA;&#xD;&#xA;Either way, you're going to need to do some experimenting to get the sound you're after.&#xD;&#xA;&#xD;&#xA;The first tool I'd reach for to create a &quot;whipping&quot; sensation would be either an amplitude modulator (think MondoMod) or a chain of dopplers (GRM or Waves), or the two of those working together. The key is create the feeling of motion through level variations, panning and pitch. Those two techniques will take you part of the way. Start with extreme settings and dial down from there.&#xD;&#xA;&#xD;&#xA;Layering would be next for me. Either laying something unique on top or varispeeding what you've already chosen, this will bring broader frequency range to your sound. Whatever you choose, be sure to run this new layer through the same plugin chain so your modulations match (unless that's not what you're going for; maybe the low bluster has a slower modulation than the high whistle).&#xD;&#xA;&#xD;&#xA;Another thing to try would be choosing an unrelated sound that has modulation you like and using that as a side-chain key to trigger your source wind. Example: You have a wind sound with good character but no dynamics. You also have a fantasy vortex sound with tons of movement but is too sci-fi. Simply insert a gate on your wind track, set the side-chain key as the vortex track, and let the vortex modulate your wind. (You could also do this with a convolution reverb, using the vortex as an IR and running the wind through it at various levels of wet/dry. You will also reap pitch variations using this technique.)&#xD;&#xA;&#xD;&#xA;Anyhow, a few suggestions!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52628" PostHistoryTypeId="2" PostId="28231" RevisionGUID="e4883242-67f2-4bc1-89c6-d530baf6aa21" CreationDate="2014-04-18T12:21:17.500" UserId="8032" Text="I'm looking for a nice microphone to record sound of cars and motorcycles on track (from outside).&#xD;&#xA;&#xD;&#xA; - I'm going to put it on this camera:&#xD;&#xA;   http://shop.panasonic.com/shop/model/HC-V750K &#xD;&#xA; - I'm going to shoot    video like this one:&#xD;&#xA;   https://www.youtube.com/watch?v=PasO8H3pmWw&#xD;&#xA;&#xD;&#xA;Budget: 500$.&#xD;&#xA;&#xD;&#xA; 1. Any suggestion about a model? &#xD;&#xA; 2. Besides the model, Which kind of specs should i look for (directional, condenser, etc...)?&#xD;&#xA;&#xD;&#xA;Note: i've got a quite good knowledge about video, but i'm a total beginner about audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="52629" PostHistoryTypeId="1" PostId="28231" RevisionGUID="e4883242-67f2-4bc1-89c6-d530baf6aa21" CreationDate="2014-04-18T12:21:17.500" UserId="8032" Text="Good Microphone to record engine sound (cars and bikes) on track" ContentLicense="CC BY-SA 3.0" />
  <row Id="52630" PostHistoryTypeId="3" PostId="28231" RevisionGUID="e4883242-67f2-4bc1-89c6-d530baf6aa21" CreationDate="2014-04-18T12:21:17.500" UserId="8032" Text="&lt;microphone&gt;&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52631" PostHistoryTypeId="2" PostId="28232" RevisionGUID="d88f42d4-5082-490d-a8ce-f2b520768e77" CreationDate="2014-04-18T13:07:08.353" UserId="7200" Text="First some nomenclature pendantery: there is no such thing as a &quot;MIDI sound&quot;. That's only a _controller_ format. So really, you should always refer to some particular _virtual instrument_ sound. Obviously, the standard General-MIDI (GM) engines only use a very simple &quot;one sample per keyboard note&quot; approach; you can't expect to get good quality here. But there are of course dedicated sample libraries for almost all kinds of instruments, and a well-done violin one will already sound better when you're only playing as if it were organ.&#xD;&#xA;&#xD;&#xA;Yet, as you say, the main problem is that string instruments have plenty of expression possibilities that you simply _can't_ control with an ordinary keyboard.&#xD;&#xA;&#xD;&#xA;- Foremostly though much-neglected, string instruments being fretless means you can fine-control intonation. A good performance will _not_ use the pitch classes you find on a piano (12-edo tuning); that's originally just an approximation to [5-limit just intonation](http://en.wikipedia.org/wiki/5-limit_tuning). And because sustained string notes are rather more dissonance-sensitive than piano or organ sounds, it will IMO always sound out of tune if you use 12-edo. (Which can actually be quite a nice effect sometimes, like the Mellotron sounds found if early 70's progressive rock; but that should really be seen as an instrument on its own right rather than strings.)&lt;br&gt;&#xD;&#xA;Intonation can in principle be controlled quite well by adding pitch-shift information to the MIDI track, though it's a heck lot of work to get that right.&#xD;&#xA;- A bow gives you much more different possibilities to _articulate_ a note than just initial dynamic velocity. Spiccato, legato, accents, détaché etc. all make up a multi-dimensional field; a single velocity number is way to little information to classify them. If you could control just _pressure_ and _bow_ speed, over time, you'd be fine. Better string sample libraries actually have those as independent parameters; in more simplistic implementation you should at least be able to control the _attack_ (~ short for fast staccato, long for slow legato).&#xD;&#xA;- Again aided by the absence of frets, you can extensively use vibrato on string instruments. That's the parameter you'd usually control with a keyboard's &quot;mod wheel&quot;. The problem is that vibrato also has more than one parameter: of course speed and width, but it also plays heavily into intonation. The only way to _properly_ take care of this is to completely make the pitch-shifting intonation control time-dependent. This can't really be done practically as post-production in the MIDI tracks anymore, you need a proper continuous control for it.&#xD;&#xA;&#xD;&#xA;Summing up, you need a controller with multiple continuous parameters to properly play strings via MIDI. One reasonable idea nowadays is to use tablet computers' touchsceens. That's supported by plugins [like those from Embertone](http://www.youtube.com/watch?v=inkcek1bFJw), and seems to work quite nicely indeed (though they fail to properly take care for intonation). The most natural thing is of course to control pitch right where you define it in the first place: by position on the keyboard! A couple of controllers allow this, to note the [Haken Continuum](http://www.youtube.com/watch?v=lSQa6l6klRk), the Seaboard, and [TouchKeys](http://www.youtube.com/watch?v=InNZkNz4NMc). Of course, all these are in some sense more difficult to play than an ordinary keyboard, but there's no free lunch. The _ideal_ controller for string sounds remains, well, string instruments, where you have _all_ parameters!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52633" PostHistoryTypeId="2" PostId="28233" RevisionGUID="7e64b54d-5d9b-489d-bd3d-11cc33f077ec" CreationDate="2014-04-18T14:27:37.013" UserId="7850" Text="Recording car audio can be very tough. You have a few factors to think about. For one when it comes to race cars and performance bikes you are talking about high SPLs. Road spec (at least in the US) is somewhere around 108 Db I think. Although some race classes have adopted sound regulations many have not so you could be looking at levels well above that. Secondly you will have to contend with the wind generated at whatever speed you may be going at. Thus a good wind screen is key. I generally use a shotgun mic for all video stuff I do and have had great success with it paired with a nice windscreen it can work wonders. Personally I use an Audio Technica (dont remember the exact model) but its a pretty standard shotgun mic. &#xD;&#xA;&#xD;&#xA;Your second overall option is to just put the audio in post production. You may find that the optimal place to mount a mic for this will interfere with you shot. Keeping this in mind you can always go out later that day, drive the same course or road and use that audio track. &#xD;&#xA;&#xD;&#xA;If you want some good car audio reference footage watch the 1971 release of Le Mans, or Magnus Walkers new documentary Urban Outlaw both have GREAT car audio that is much more true to what an engine sounds like than the audio tacks in the fast and the furious and movies like that. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52634" PostHistoryTypeId="2" PostId="28234" RevisionGUID="d99bea9d-0c60-4ec8-b42b-83e5e7cdb81d" CreationDate="2014-04-18T14:35:37.917" UserId="8033" Text="If you have to make do with a 'standard' synthesizer, you can try the following:&#xD;&#xA;&#xD;&#xA;- Use the expression controller. This is typically implemented as affecting only the volume, but real string notes *do* vary their volume over time, even if no (de)crescendo is explicitly called for.&#xD;&#xA;&#xD;&#xA;  Your sequencer might allow you to 'draw' curves to change controller values. Real volume changes are not perfectly linear.&#xD;&#xA;- Use the vibrato controllers. Like expression, this must vary over time.&#xD;&#xA;- If you want to emulate an orchestra, you can use a 'string section' patch, or use multiple instruments in parallel, or combine both.&#xD;&#xA;  When combining multiple sounds, don't simply use the same note, but transpose some one octave up or down.&#xD;&#xA;&#xD;&#xA;  In a real orchestra, strings are never completely synchronized, so the notes of a chord should be staggered slightly, and legato notes should overlap a little bit." ContentLicense="CC BY-SA 3.0" />
  <row Id="52635" PostHistoryTypeId="34" PostId="28185" RevisionGUID="e516b894-c1ad-4c08-b598-6da7c6a76141" CreationDate="2014-04-18T16:00:21.863" UserId="7994" Comment="10" />
  <row Id="52636" PostHistoryTypeId="2" PostId="28235" RevisionGUID="55c11f39-de98-4792-9e4f-8514f5767f9f" CreationDate="2014-04-18T16:19:16.440" UserId="7008" Text="The better question is what does a parrot sound like to you? To me the most telling qualities of a parrot voice is the heavy inflections that might scale an octave (in my imagination at least, I dont own a parrot). Also maybe something to distort the sound a little, like a light distortion or ring mod. Maybe some EQ-ing to get rid of the bass in a humans voice, and maybe boost some nasal sounding mids.&#xD;&#xA;&#xD;&#xA;As @Arnoud Traa said, what system and computer are you using? For real-time audio, Max/MSP is a good choice. Might take you a few hours of googling to put a patch together to filter the voice.&#xD;&#xA;&#xD;&#xA;http://cycling74.com/products/max/" ContentLicense="CC BY-SA 3.0" />
  <row Id="52643" PostHistoryTypeId="10" PostId="15339" RevisionGUID="c84346e0-8c8d-4e5c-8e84-b9f7257e350e" CreationDate="2014-04-18T19:56:32.223" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52644" PostHistoryTypeId="2" PostId="28237" RevisionGUID="858dc1ee-9add-43c8-872d-70320fd9587f" CreationDate="2014-04-18T21:09:26.867" UserId="8006" Text="I can recommend &quot;Winds of Nature&quot;:&#xD;&#xA;http://www.boomlibrary.com/boomlibrary/products/winds-of-nature" ContentLicense="CC BY-SA 3.0" />
  <row Id="52645" PostHistoryTypeId="2" PostId="28238" RevisionGUID="4a083d0e-348d-4c04-9415-6c04316d15bb" CreationDate="2014-04-18T21:20:33.180" UserId="6583" Text="I will add AudioWind from the AudioGaming company, at www.audiogaming.net&#xD;&#xA;&#xD;&#xA;I have bought and used both their AudioWind and AudioRain products.  Unfortunately it's an expensive option, but what you get is a lot of control over modulations, and speed; surround support, which is super cool, and for the most part the sound, though generated by algorithm rather than naturally recorded, doesn't get &quot;sci-fi-y&quot; at all, in other words you can have wind whipping and shifting at unnatural paces, but it sounds like real wind all the way through. &#xD;&#xA;&#xD;&#xA;I think there are other ways to get what you are looking for on this project, but this is a tool worth looking into!  There are demos on Youtube so one can get a more detailed look at how it works; I just wanted to share because I had no idea something like this existed for situations like this, until I read about it on a blog a while back! &#xD;&#xA;&#xD;&#xA;Another idea is to start from white noise, rather than from a wind recording, when building a chain of your own effects - then you have total control over the filters and modulations, for better or for worse!.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="52650" PostHistoryTypeId="2" PostId="28239" RevisionGUID="33c2e2b2-91b5-4c3a-a4a8-6bf7dca6b4e1" CreationDate="2014-04-19T01:12:28.417" UserId="7878" Text="Tim has a great gusty wind library over at hissandaroar: &#xD;&#xA;&#xD;&#xA;http://hissandaroar.com/amb004-gale-force-wind/&#xD;&#xA;&#xD;&#xA;That might be a good place to start. You should also take a look at &quot;Whoosh&quot; by Melted Sound:&#xD;&#xA;&#xD;&#xA;http://www.meltedsounds.com/Products/index.html&#xD;&#xA;&#xD;&#xA;Its a vst whoosh generator, and a lot of the layers are wind based. I'm not sure how appropriate it would be, but it might be worth a look. It's a decent plugin either way!&#xD;&#xA;&#xD;&#xA;-Dan-&#xD;&#xA;&#xD;&#xA;EDIT: Ooops, I forgot to mention: Whoosh requires a full version of Reaktor." ContentLicense="CC BY-SA 3.0" />
  <row Id="52651" PostHistoryTypeId="4" PostId="28229" RevisionGUID="e1a9e238-c152-4fb6-8f10-0c0c341f7200" CreationDate="2014-04-19T05:41:14.080" UserId="8028" Comment="edited title" Text="What are some techniques to make MIDI string instruments sound more realistic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52652" PostHistoryTypeId="2" PostId="28240" RevisionGUID="f8de225b-52b9-45ad-af93-542a434aeb63" CreationDate="2014-04-19T06:34:00.473" UserId="6583" Text="One option is live pitch-shifting plugin, for example Waves Ultrapitch - it can pitch up and down in realtime as well as shifting along the &quot;formant&quot; axis which can make the voice sound more nasally or more throaty.  To set it up, you would just have to have your microphone feed routed through a DAW running the plugin; the delay that it induces is really really slight.  In combination with some EQ and perhaps other modulations, you can make any voice sound like a goofy animal...&#xD;&#xA;&#xD;&#xA;I will say though, as brilliant as audio processing tools are, the way a parrot squawks and talks is pretty unique, better suited to a human impersonator or a parrot than a sound designer to create such a voice if the goal is precision and fidelity.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="52653" PostHistoryTypeId="2" PostId="28241" RevisionGUID="3709d303-b045-44bf-ab96-f587bc86400f" CreationDate="2014-04-19T06:58:30.967" UserId="8036" Text="I got myself this Tasscam US-122 MKII audio interface and Cubase LE5 bundled. As I was testing it I was able to record both audio &amp; VST, but can't hear no sound, just the click. There's no sound when recording, no sound in playback. I can just see what I recorded.&#xD;&#xA;&#xD;&#xA;In VST connections, Tascam is selected as Audio Device (both IN &amp; OUT). OS is Windows 7 if that matters.&#xD;&#xA;&#xD;&#xA;What could possibly be the cause? Nothing's muted. ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52654" PostHistoryTypeId="1" PostId="28241" RevisionGUID="3709d303-b045-44bf-ab96-f587bc86400f" CreationDate="2014-04-19T06:58:30.967" UserId="8036" Text="No sound in VST &amp; Audio (Cubase LE 5)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52655" PostHistoryTypeId="3" PostId="28241" RevisionGUID="3709d303-b045-44bf-ab96-f587bc86400f" CreationDate="2014-04-19T06:58:30.967" UserId="8036" Text="&lt;audio&gt;&lt;sound&gt;&lt;vst&gt;&lt;cubase&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52661" PostHistoryTypeId="2" PostId="28244" RevisionGUID="f8a6f1c4-f6fb-4c52-90f2-f192960ded1e" CreationDate="2014-04-19T19:53:09.963" UserId="8038" Text="Find some short animated videos/or university film student projects to practice sound design techniques on your own. Then simultaneously work really really hard to find someone who has credible skills and some sort of paying work coming in with films so that you can maybe go work for them for free or whatever small scraps they'll pay you to bust your butt and make their job easier. Hopefully you can sort of learn the ropes, impress some people and keep getting asked to come back to work on the next project. Do that until you've &quot;made it&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52662" PostHistoryTypeId="2" PostId="28245" RevisionGUID="efe6dfc7-5c3d-47f3-aae5-a4b629d13743" CreationDate="2014-04-19T20:22:33.873" UserId="90" Text="When I hear white/pink noise looped I can tell that it's being looped, and pick out parts of it even if it's repeating every few seconds.  I was wondering if there's a length of noise that we won't notice is being looped.&#xD;&#xA;&#xD;&#xA;Technically any periodic/repetitive signal is actually made up of tones, and very short loops of noise are far more tone-like than noise-like.  The longer the repetitive loop, the closer together the tones become, and if they are all so close together they are within the critical bands of our hearing then we can't perceive them anymore?  But I think I could still hear the random variations in frequency content and notice when it repeats?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52663" PostHistoryTypeId="1" PostId="28245" RevisionGUID="efe6dfc7-5c3d-47f3-aae5-a4b629d13743" CreationDate="2014-04-19T20:22:33.873" UserId="90" Text="Is there a minimum repeating length of noise that we stop perceiving as repetitive?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52664" PostHistoryTypeId="3" PostId="28245" RevisionGUID="efe6dfc7-5c3d-47f3-aae5-a4b629d13743" CreationDate="2014-04-19T20:22:33.873" UserId="90" Text="&lt;noise&gt;&lt;psychoacoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52666" PostHistoryTypeId="2" PostId="28246" RevisionGUID="e0dc16d1-dd01-447a-a594-db2841a0555c" CreationDate="2014-04-20T04:00:23.523" UserId="7844" Text="I'm assuming this is a solved question (please cite sources). &#xD;&#xA;&#xD;&#xA;It seems like a 96kHz sampling rate with 24-bit samples is standard for high-resolution audio, but is this considered to be indistinguishable from natural audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52667" PostHistoryTypeId="1" PostId="28246" RevisionGUID="e0dc16d1-dd01-447a-a594-db2841a0555c" CreationDate="2014-04-20T04:00:23.523" UserId="7844" Text="What sampling rate and bit depth would be necessary to make a digital recording indistinguishable from the original?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52668" PostHistoryTypeId="3" PostId="28246" RevisionGUID="e0dc16d1-dd01-447a-a594-db2841a0555c" CreationDate="2014-04-20T04:00:23.523" UserId="7844" Text="&lt;sample-rate&gt;&lt;bit-depth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52669" PostHistoryTypeId="2" PostId="28247" RevisionGUID="f08810ba-eab1-4017-88bd-fea5aef14f11" CreationDate="2014-04-20T05:07:36.073" UserId="8039" Text="Sound recording with the Roland mics: https://www.youtube.com/watch?v=aMi7WjiQvtk" ContentLicense="CC BY-SA 3.0" />
  <row Id="52670" PostHistoryTypeId="2" PostId="28248" RevisionGUID="1eb186a0-9fab-4fc0-a546-326d3ed763a6" CreationDate="2014-04-20T06:14:45.067" UserId="8040" Text="16bit 44,1KHz is alaready supposed to be like natural audio.&#xD;&#xA;&#xD;&#xA;My thought are that the resolution isn't so important compared to the choice of microphone, microphone placement, preamplifier, way of working and mixing your record and speakers in which you are listening.&#xD;&#xA;&#xD;&#xA;Working in 96kHz 24 bits surely allows to have more headroom and to process sound easily but it doesn't garrantee to have à record which sound natural.&#xD;&#xA;&#xD;&#xA;Have a nice day :)&#xD;&#xA;&#xD;&#xA;Clem" ContentLicense="CC BY-SA 3.0" />
  <row Id="52671" PostHistoryTypeId="2" PostId="28249" RevisionGUID="344fee0a-f143-45ff-b4c8-63e5d4eef22c" CreationDate="2014-04-20T07:05:54.407" UserId="8041" Text="Good question, Zach. &#xD;&#xA;No sampling rate nor any bit rate can make any recording indistinguishable from natural sound. This is due to both the simple fact that you will loose some vital information in any recording, and also due to imperfections in any replay system. Did you ever do a stereo mic recording in a room where you where present yourself, and after you wondered why the recording has a lot more acoustics/reverb on it than you can remember? When we are present in a room our selective hearing is working and we &quot;select&quot; what to focus our hearing on. Hence we &quot;deselect&quot; unwanted sounds, like room acoustics. As soon as we do a recording to two tracks this selectivity disappears. This has to do with a number of parameters, and many attempts have been made to recreate the exact impressions from the live situation. The closest to date may be the binaural recording technique -  https://en.wikipedia.org/wiki/Binaural_recording - But the best listening experience for these recordings imply that you use headphones(!) So, what I'm trying to say is that one should do recordings as good as one can, and with a quality that is reasonable for the purpose of the recording. Maybe someone else can give you an answer as to what sample rate or bit depth that will recreate sound waves so that our ears *theoretically* can not distinguish them from natural sound, but your recordings will never be fully natural." ContentLicense="CC BY-SA 3.0" />
  <row Id="52672" PostHistoryTypeId="5" PostId="28249" RevisionGUID="b0710084-e127-48b2-a35f-ced9ca884c39" CreationDate="2014-04-20T07:15:38.767" UserId="8041" Comment="deleted 1 character in body" Text="Good question, Zach. &#xD;&#xA;No sample rate nor any bit depth can make any recording indistinguishable from natural sound. This is due to both the simple fact that you will loose some vital information in any recording, and also due to imperfections in any replay system. Did you ever do a stereo mic recording in a room where you where present yourself, and after you wondered why the recording has a lot more acoustics/reverb on it than you can remember? When we are present in a room our selective hearing is working and we &quot;select&quot; what to focus our hearing on. Hence we &quot;deselect&quot; unwanted sounds, like room acoustics. As soon as we do a recording to two tracks this selectivity disappears. This has to do with a number of parameters, and many attempts have been made to recreate the exact impressions from the live situation. The closest to date may be the binaural recording technique -  https://en.wikipedia.org/wiki/Binaural_recording - But the best listening experience for these recordings imply that you use headphones(!) So, what I'm trying to say is that one should do recordings as good as one can, and with a quality that is reasonable for the purpose of the recording. Maybe someone else can give you an answer as to what sample rate or bit depth that will recreate sound waves so that our ears *theoretically* can not distinguish them from natural sound, but your recordings will never be fully natural." ContentLicense="CC BY-SA 3.0" />
  <row Id="52673" PostHistoryTypeId="2" PostId="28250" RevisionGUID="0e333ae6-f76c-4b66-8a7b-2b8c87655d71" CreationDate="2014-04-20T07:18:55.590" UserId="3346" Text="Its all about editing and crossfading. If you donit well, you won't hear it. If you edit uncorrect you hear even a loop point every hour ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52674" PostHistoryTypeId="2" PostId="28251" RevisionGUID="6c9a8630-42a0-4c59-8207-788744856a31" CreationDate="2014-04-20T07:55:18.483" UserId="244" Text="Was looking for any good recommendations on reliable power/battery solutions.&#xD;&#xA;&#xD;&#xA;Working on set, Location Sound and other equipment can soup up the power as many of you may know.&#xD;&#xA;&#xD;&#xA;I've tried the 15min Vatrta AA/AAA quick charger. Works quite well for emergency recharging. But was also looking for 9v reliable recharger (lectrosonic Radio Mics especially)&#xD;&#xA;&#xD;&#xA;There are many on the market, but was wondering if anyone has any reliable products. I don't mind to pay for decent reliable ones, because I know there are lots of cheap alternatives to steer away from..&#xD;&#xA;&#xD;&#xA;Any recommendations would be gratefully received.&#xD;&#xA;&#xD;&#xA;Thanks!!! " ContentLicense="CC BY-SA 3.0" />
  <row Id="52675" PostHistoryTypeId="1" PostId="28251" RevisionGUID="6c9a8630-42a0-4c59-8207-788744856a31" CreationDate="2014-04-20T07:55:18.483" UserId="244" Text="Rechargeable Batteries" ContentLicense="CC BY-SA 3.0" />
  <row Id="52676" PostHistoryTypeId="3" PostId="28251" RevisionGUID="6c9a8630-42a0-4c59-8207-788744856a31" CreationDate="2014-04-20T07:55:18.483" UserId="244" Text="&lt;sound&gt;&lt;equipment&gt;&lt;location&gt;&lt;power&gt;&lt;battery&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52677" PostHistoryTypeId="5" PostId="3216" RevisionGUID="c53f943f-e64d-43e5-acf8-20f1cefb9c6a" CreationDate="2014-04-20T09:18:23.563" UserId="6411" Comment="Updated link" Text="So I have this [recorder][1] that likes to eat AA batteries for breakfast. I need to buy something way more efficient, but it *may* come at a cost. But must it?&#xD;&#xA;&#xD;&#xA;The setup I'm looking at right now is a [IDX][2] Lithium-ion battery coupled to the recorder via a cap that leads to the DC power in. Pretty standard setup; these batteries are used to power all sorts of pro gear, such as video cameras and audio mixers. Cost is an issue, though, as these batteries can cost up to $200 each, and the chargers are nearly $400.&#xD;&#xA;&#xD;&#xA;So who's figured out a cheaper way of doing this? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tascam.com/products/dr-680.html&#xD;&#xA;  [2]: http://idxtek.com/product-category/np-style/" ContentLicense="CC BY-SA 3.0" />
  <row Id="52683" PostHistoryTypeId="2" PostId="28255" RevisionGUID="5e754044-137c-40e3-82af-10c0b191554b" CreationDate="2014-04-20T15:59:27.427" UserId="8041" Text="You could probably use Melodyne to alter the pitch slightly, and preferably the formants the most. This could make your voice so different that your boss won't recognize it for beeing you, and still don't make your voice into an artificial sounding one....&#xD;&#xA;There's a free 30 day trial version at their website.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52690" PostHistoryTypeId="2" PostId="28257" RevisionGUID="a87ac054-8b2d-42ca-a7ba-e043b42d5415" CreationDate="2014-04-20T23:44:46.620" UserId="7405" Text="With 96kHz sampling, the acoustic spectrum that can be &quot;recorded&quot; without error (nyquist criteria etc..) is from 0Hz to about 44kHz. The spectral range that a human can hear is the text-book &quot;20Hz to 20kHz&quot;  so, one should be able to say that scientifically 96kHz is pretty good. In fact 44kHz (CDs etc.) should be able to cope with 20kHz as well so no problem there on the face of it....&#xD;&#xA;&#xD;&#xA;24bits means the signal is quantized to &quot;2 raised to the power of 24&quot; different numerical digital values. I'll do the math - If full scale were 2 volts peak to peak then a digital resolution of 0.12 micro volts results - that's a lot less than a good signal received on an FM antenna from your local radio station 10 miles away. 24 bits is a really good resolution and the electronic guys have worked out that the slight &quot;error&quot; you might get gives you a signal to noise ratio of 144 dB. The error I refer to is the &quot;approximation&quot; (or quantization) error when digitizing an analogue signal into a digital number. 144 dB signal to noise is pretty much like hearing an ant walk across a piece of paper while watching the TV. OK I'm using potentially provocative metaphors here but look at the range of hearing a human can hear...&#xD;&#xA;&#xD;&#xA;0dB SPL is the threshold of hearing and 144dB SPL is beyond pain.&#xD;&#xA;&#xD;&#xA;So, 96kHz sampling and 24 dB sample resolution should be OK. Is it OK? It's fine for me but I still read articles that: -&#xD;&#xA;&#xD;&#xA; - Talk about the ultrasonic artefacts getting lost when sampling at too low a frequency i.e. 44kHz&#xD;&#xA; - Say aliasing of ultrasonic artefacts cause problems at mid range audio&#xD;&#xA; - Tell of people using really, really expensive speaker cables (to ostensibly counter skin effect) so that they can &quot;appreciate&quot; the spectrum way above the recognized audio limits of humans.&#xD;&#xA; - There appear to be audiophiles who compare pretty decent op-amps from the usual vendors and summising all sorts of nonsense between supplier A and supplier B - ya know, stuff that if you read the data sheet would/should not affect things one little bit.&#xD;&#xA; - People want amplifiers with remarkably low distortions like 0.0001% (about 74 dB Sig/Noise) when they don't seem to bother much about the doppler shift of frequencies in their speakers giving about 1% aural distortion.&#xD;&#xA; - The list goes on so to prevent this being a tirade against the audiophile population I'll shut up.&#xD;&#xA;&#xD;&#xA;You decide." ContentLicense="CC BY-SA 3.0" />
  <row Id="52693" PostHistoryTypeId="2" PostId="28258" RevisionGUID="fc2b689e-9260-427e-8224-0e9adc58349b" CreationDate="2014-04-21T04:11:16.267" UserDisplayName="user6513" Text="With AAs and AAAs, go with the MAHA Powerex chargers. They give you a lot more control that'll give you a better lifespan from your batteries. Avoid quick charging as much as possible. Instead of quick charging, buy more batteries for standby.&#xD;&#xA;http://www.mahaenergy.com/chargers/&#xD;&#xA;&#xD;&#xA;The iPower 9Vs are the standard for location sound guys. They come with their own charger but you can get other online. Just be careful and read the specs of what you are buying. It's pretty easy to bloat or kill a 9v. I use the Soshine 9vs as well. Great lifespan but there's a QC problem where not all of them that you order will be good. But even with the duds, they have still been a cheaper option to the iPowers.&#xD;&#xA;&#xD;&#xA;http://jwsoundgroup.net/index.php?/topic/8218-600-mah-rechargable-9v-batteries-anyone-tried-them-yet/page-2&#xD;&#xA;&#xD;&#xA;Google the jwsound forums. They are a much better source of information on location sound matters.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52694" PostHistoryTypeId="2" PostId="28259" RevisionGUID="70743ff3-633a-4456-bb1e-7927440eabd4" CreationDate="2014-04-21T10:42:52.077" UserId="37" Text="for AA go with Eneloop (originally Sanyo now Panasonic) and slow charging of 4+ hours. If you'd like to research other low-self-discharge NiMH models, please share your findings.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52695" PostHistoryTypeId="5" PostId="28199" RevisionGUID="25dba9e7-fc41-446f-8ffa-6531f653584c" CreationDate="2014-04-21T12:36:11.920" UserId="7448" Comment="added 199 characters in body" Text="My boss doesn't really want my, or any coworkers, voice on our videos. Instead of waiting to have his wife record the audio I'm looking for more practical solutions.&#xD;&#xA;&#xD;&#xA;Is there any free software out there that I could use to achieve a decent altered voice? Basically I'll record myself reading the script then run it through this program for use as voice over --- if this program exists.&#xD;&#xA;&#xD;&#xA;Any other ideas are welcomed too. The last time I did anything with voice was back in Elementary School playing around with Lucent's Text to Speech thing... no clue what exists that doesn't sound like a robot.&#xD;&#xA;&#xD;&#xA;**Edit**&#xD;&#xA;&#xD;&#xA;I should mention I have the entire Adobe Creative Cloud so I've got Audition. Will this work? I barely know how to use it yet (I spend most of my time in Photoshop, Edge and InDesign)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52699" PostHistoryTypeId="5" PostId="28233" RevisionGUID="f65fcc31-d0ac-4ad4-bf8d-59364bb4c9bc" CreationDate="2014-04-21T15:09:04.403" UserId="7850" Comment="added 2320 characters in body" Text="Recording car audio can be very tough. You have a few factors to think about. For one when it comes to race cars and performance bikes you are talking about high SPLs. Road spec (at least in the US) is somewhere around 108 Db I think. Although some race classes have adopted sound regulations many have not so you could be looking at levels well above that. Secondly you will have to contend with the wind generated at whatever speed you may be going at. Thus a good wind screen is key. I generally use a shotgun mic for all video stuff I do and have had great success with it paired with a nice windscreen it can work wonders. Personally I use an Audio Technica (dont remember the exact model) but its a pretty standard shotgun mic. &#xD;&#xA;&#xD;&#xA;Your second overall option is to just put the audio in post production. You may find that the optimal place to mount a mic for this will interfere with you shot. Keeping this in mind you can always go out later that day, drive the same course or road and use that audio track. &#xD;&#xA;&#xD;&#xA;If you want some good car audio reference footage watch the 1971 release of Le Mans, or Magnus Walkers new documentary Urban Outlaw both have GREAT car audio that is much more true to what an engine sounds like than the audio tacks in the fast and the furious and movies like that. &#xD;&#xA;&#xD;&#xA;EDIT------------------------------------------------------------------------&#xD;&#xA;&#xD;&#xA;My Apologies the video was not loading but I see what you are trying to do now. If you are stationary on the side of the track you have 2 options.&#xD;&#xA;&#xD;&#xA;One (as described above) mount a decent shotgun mic on top of the camera with nice wind screen. If you are shooting F1 cars really dial back on the gain as those cars are LOUD. If you are shooting regular road cars keep the gain low but you will not need it that low. Keep in mind the car will be significantly louder when it is moving away from you (tail pipe towards you) then when it is coming at you (tail pipe away from you). &#xD;&#xA;&#xD;&#xA;I think this is the one I have, does a good job,&#xD;&#xA;http://www.sweetwater.com/store/detail/AT835b?utm_source=Google&amp;utm_medium=PPC&amp;utm_campaign=recording&amp;device=c&amp;network=g&amp;matchtype=&amp;gclid=CJ3_xMHt8b0CFSdn7Aod0mkAHA&#xD;&#xA;&#xD;&#xA;Second is to get a nice pair of stereo mics and mount them over the camera. It will avoid the mics moving which can be nice if you have a rough tripod or your isolation mounts on the camera are not so good. Then in post production the stereo track will give you a nice pan effect so that as the car moves across the screen it will appear to move from the left to right or right to left speaker. A nice matched pair of condensers may work well here but a set of shotgun mics will do the trick as well. &#xD;&#xA;&#xD;&#xA;You can go for something like this (I have never used this one but I trust AT to make a good mic)&#xD;&#xA;http://www.sweetwater.com/store/detail/AT2022?utm_source=Google&amp;utm_medium=PPC&amp;utm_campaign=recording&amp;device=c&amp;network=g&amp;matchtype=&amp;gclid=CK6L1c_t8b0CFUYV7AodAGwAnA &#xD;&#xA;&#xD;&#xA;Or 2 small pencil condensers &#xD;&#xA;http://www.sweetwater.com/store/detail/M5MP?utm_source=Google&amp;utm_medium=PPC&amp;utm_campaign=recording&amp;device=c&amp;network=g&amp;matchtype=&amp;gclid=CPKjmuft8b0CFZJj7Aod8HYA0A&#xD;&#xA;&#xD;&#xA;I really like these in the studio but Im not sure how they would work out in the field.  &#xD;&#xA;http://www.samash.com/rode-nt1a-1-studio-condenser-microphones-rnt1ampxx?cm_mmc=GoogleShopping-_-Microphones%20/%20Wireless-_-Channeladvisor-_-RODE+NT1A+1%22+Studio+Condenser+Microphones&amp;utm_source=GSH&amp;utm_medium=CSE&amp;utm_campaign=Channeladvisor&amp;CAWELAID=1594734138&amp;CAGPSPN=pla&amp;catargetid=500002510000006355&amp;cadevice=c&amp;gclid=CO7v0fXt8b0CFa_m7AodqnYALQ&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;----------&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;    " ContentLicense="CC BY-SA 3.0" />
  <row Id="52700" PostHistoryTypeId="2" PostId="28261" RevisionGUID="ed7b4ed9-2173-4a28-a3f2-95d2d3778bab" CreationDate="2014-04-21T17:12:38.960" UserId="7448" Text="What steps should I be taking to clean up a very basic voice audio track (mono) in Adobe Audition?&#xD;&#xA;&#xD;&#xA;Right now this is what I did:&#xD;&#xA;&#xD;&#xA; 1. Deleted dead space around clip&#xD;&#xA; 2. Automatic Click Remover&#xD;&#xA; 3. Vocal Enhancer (Male)&#xD;&#xA;&#xD;&#xA;Are there any other things I should be doing to pretty much any small vocal track?&#xD;&#xA;&#xD;&#xA;(I don't have enough rep to make tags and not seeing one for Adobe Audition)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52701" PostHistoryTypeId="1" PostId="28261" RevisionGUID="ed7b4ed9-2173-4a28-a3f2-95d2d3778bab" CreationDate="2014-04-21T17:12:38.960" UserId="7448" Text="What are the steps for basic cleanup on a simple mono voice track?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52702" PostHistoryTypeId="3" PostId="28261" RevisionGUID="ed7b4ed9-2173-4a28-a3f2-95d2d3778bab" CreationDate="2014-04-21T17:12:38.960" UserId="7448" Text="&lt;voice&gt;&lt;cleaning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52703" PostHistoryTypeId="6" PostId="28261" RevisionGUID="fc321bb4-81a9-405a-80e9-2bab000ca32d" CreationDate="2014-04-21T18:35:06.130" UserDisplayName="user6513" Comment="added tag to post." Text="&lt;voice&gt;&lt;cleaning&gt;&lt;adobe&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52704" PostHistoryTypeId="24" PostId="28261" RevisionGUID="fc321bb4-81a9-405a-80e9-2bab000ca32d" CreationDate="2014-04-21T18:35:06.130" Comment="Proposed by 6513 approved by 6957 edit id of 118" ContentLicense="CC BY-SA 3.0" />
  <row Id="52706" PostHistoryTypeId="2" PostId="28263" RevisionGUID="b348a4ee-9659-41bb-b9a7-e7f90b8cac13" CreationDate="2014-04-21T18:40:42.063" UserId="8038" Text="I always say, when in doubt supply options. I'm not sure if that will completely help your problem. But just offer lots of options when it comes to sound design elements." ContentLicense="CC BY-SA 3.0" />
  <row Id="52712" PostHistoryTypeId="2" PostId="28266" RevisionGUID="4ea6fc0a-7dcd-483e-b867-27821dcf5a3d" CreationDate="2014-04-22T02:22:28.000" UserDisplayName="user6513" Text="You're pretty much on the right track, save for using a compressor. I don't use Audition so someone else will have to chime in. It sounds to me that this is some kind of promo or in-house instructional kind of video, in that case, I would favour speed and clarity over the timbre of the voice. So:&#xD;&#xA;&#xD;&#xA;1. Adding a compressor to the track/bus to attain more consistent levels. You probably could be more aggressive with it.&#xD;&#xA;2. Cut up dialogue and add fades and crossfades where necessary. If the voiceover was recorded in an adequately quiet room and had a good s/n ratio, I probably wouldn't even bother with the fades unless I heard a pop.&#xD;&#xA;3. Using clip gain and volume automation to fine tune any bits the compressor isn't processing well enough.&#xD;&#xA;4. Doing some noise reduction (Declick, Declip, Denoise) where necessary.&#xD;&#xA;5. Using a DeEsser to soften sibilance.&#xD;&#xA;6. Using an EQ to attain more clarity with the voiceover.&#xD;&#xA;7. Add a limiter to the track/bus to stop any peaks from sliding through. If it  still does, go back to 3.&#xD;&#xA;&#xD;&#xA;This would be the sequence in which I usually work with voiceover for non-so-consequential material. It's kinda a quick and dirty way of doing things fast. Definitely not how you want to go about treating dialogue for film and tv." ContentLicense="CC BY-SA 3.0" />
  <row Id="52719" PostHistoryTypeId="6" PostId="28231" RevisionGUID="f30c47d0-171e-4a01-82c6-024b1e9768a0" CreationDate="2014-04-22T07:26:33.183" UserId="182" Comment="edited tags" Text="&lt;microphone&gt;&lt;audio-recording&gt;&lt;cars&gt;&lt;vehicles&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52720" PostHistoryTypeId="2" PostId="28269" RevisionGUID="fd9ece7a-b849-465d-9222-d79d7b830f9b" CreationDate="2014-04-22T07:59:59.193" UserId="6425" Text="Id go for a typical boom mic. Sennheiser MK 416, Rode NTG2 etc. What you could do is go for a Recorder wit ha XY inbuilt mic (e.g. tascam dr100) to additionally get a stereo atmosphere. Then if you layer them, you get a sense of the car moving from left to right etc. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52723" PostHistoryTypeId="2" PostId="28270" RevisionGUID="a4bc2465-085c-4a34-8989-332c90eec403" CreationDate="2014-04-22T14:00:19.507" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="52724" PostHistoryTypeId="2" PostId="28271" RevisionGUID="4b933a81-5034-4fe5-8cc6-e6ed500f3d5a" CreationDate="2014-04-22T14:00:19.507" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="52725" PostHistoryTypeId="5" PostId="28270" RevisionGUID="5adb0855-6017-4da0-9e45-32bc1bbc3b1e" CreationDate="2014-04-22T14:02:20.973" UserId="8059" Comment="added 138 characters in body" Text="FL Studio, formerly known as Fruity Loops, is a digital audio workstation software release by Image Line for the Windows operating system." ContentLicense="CC BY-SA 3.0" />
  <row Id="52726" PostHistoryTypeId="24" PostId="28270" RevisionGUID="5adb0855-6017-4da0-9e45-32bc1bbc3b1e" CreationDate="2014-04-22T14:02:20.973" Comment="Proposed by 8059 approved by 6957 edit id of 119" ContentLicense="CC BY-SA 3.0" />
  <row Id="52727" PostHistoryTypeId="5" PostId="28271" RevisionGUID="47a55268-9a51-4737-9ab5-09934a296f3a" CreationDate="2014-04-22T14:02:31.517" UserId="8059" Comment="added 33 characters in body" Text="FL Studio, DAW system for Windows" ContentLicense="CC BY-SA 3.0" />
  <row Id="52728" PostHistoryTypeId="24" PostId="28271" RevisionGUID="47a55268-9a51-4737-9ab5-09934a296f3a" CreationDate="2014-04-22T14:02:31.517" Comment="Proposed by 8059 approved by 6957 edit id of 120" ContentLicense="CC BY-SA 3.0" />
  <row Id="52729" PostHistoryTypeId="5" PostId="28270" RevisionGUID="4f24d71b-0755-471f-9af4-fc68b5b83c79" CreationDate="2014-04-22T15:24:20.317" UserId="8059" Comment="added 1 character in body" Text="FL Studio, formerly known as Fruity Loops, is a digital audio workstation software released by Image Line for the Windows operating system." ContentLicense="CC BY-SA 3.0" />
  <row Id="52730" PostHistoryTypeId="24" PostId="28270" RevisionGUID="4f24d71b-0755-471f-9af4-fc68b5b83c79" CreationDate="2014-04-22T15:24:20.317" Comment="Proposed by 8059 approved by 6432, 182 edit id of 121" ContentLicense="CC BY-SA 3.0" />
  <row Id="52735" PostHistoryTypeId="2" PostId="28274" RevisionGUID="52093a99-459e-413c-a180-825696ce9e72" CreationDate="2014-04-23T01:16:49.343" UserId="8066" Text="Sounds Art project in the Parks.&#xD;&#xA;&#xD;&#xA;We are putting speakers in the trees in parks and need some design suggestions for systems.&#xD;&#xA;&#xD;&#xA;We are putting 3 x out door speakers in seprate trees in the park and we are wondering what equipment we need in order to control the 3 x speakers wirelessly, have them on seprate channels/ playlists. &#xD;&#xA;&#xD;&#xA;We want a user friendly interface to update and change songs, announsments...&#xD;&#xA;&#xD;&#xA;The speakers and the control system would be a few 100 yards away from each other. Also no power in the trees.&#xD;&#xA;&#xD;&#xA;Any design help, ideas or suggestions would be a great help.&#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52736" PostHistoryTypeId="1" PostId="28274" RevisionGUID="52093a99-459e-413c-a180-825696ce9e72" CreationDate="2014-04-23T01:16:49.343" UserId="8066" Text="We are putting speakers in the trees in parks and need some design suggestions for systems" ContentLicense="CC BY-SA 3.0" />
  <row Id="52737" PostHistoryTypeId="3" PostId="28274" RevisionGUID="52093a99-459e-413c-a180-825696ce9e72" CreationDate="2014-04-23T01:16:49.343" UserId="8066" Text="&lt;audio&gt;&lt;design&gt;&lt;system&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52741" PostHistoryTypeId="19" PostId="3928" RevisionGUID="9677c3f0-c76e-411e-9617-924e1c4767af" CreationDate="2014-04-23T12:12:25.847" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="52742" PostHistoryTypeId="2" PostId="28275" RevisionGUID="7485dae8-717b-4cd3-9ee4-58065426a8b0" CreationDate="2014-04-23T13:41:11.917" UserId="7935" Text="Can it damage a stereo amplifier to connect multiple speakers into a single channel?&#xD;&#xA;&#xD;&#xA;As an example, consider the [Cambridge A1][1]:&#xD;&#xA;&#xD;&#xA;    Input Impedance: 47k ohms&#xD;&#xA;    Loudspeaker Impedance: 4 to 8 ohms&#xD;&#xA;    Power Output: 25 watts into 8 ohms &#xD;&#xA;  &#xD;&#xA;And the following speakers are at my disposal:&#xD;&#xA;&#xD;&#xA; - 2× Akai 40-watt speakers with tweeter and woofer (but weak bass)&#xD;&#xA; - 2× rear satellites, 1× center, and 1× subwoofer from a Panasonic surround set&#xD;&#xA;&#xD;&#xA;With the above, one could split them roughly in the middle:&#xD;&#xA;&#xD;&#xA; - **Left channel:** 1× Akai, 1× satellite, 1× center&#xD;&#xA; - **Right channel:** 1× Akai, 1× satellite, 1× subwoofer&#xD;&#xA;&#xD;&#xA;The goal is **not** to achieve surround sound (would need to buy an AV amplifier for that), but to compliment the Akai speakers with the rich bass and low-range of the Panasonic 3.1 set.&#xD;&#xA;&#xD;&#xA;Is this possible? If not, how can it be achieved on a limited budget? Good speaker management systems seem expensive even when second-hand.&#xD;&#xA;&#xD;&#xA;  [1]: http://archive.cambridgeaudio.com/specifications.php?PID=31" ContentLicense="CC BY-SA 3.0" />
  <row Id="52743" PostHistoryTypeId="1" PostId="28275" RevisionGUID="7485dae8-717b-4cd3-9ee4-58065426a8b0" CreationDate="2014-04-23T13:41:11.917" UserId="7935" Text="Connecting multiple speakers to a stereo amplifier?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52744" PostHistoryTypeId="3" PostId="28275" RevisionGUID="7485dae8-717b-4cd3-9ee4-58065426a8b0" CreationDate="2014-04-23T13:41:11.917" UserId="7935" Text="&lt;speakers&gt;&lt;budget&gt;&lt;amplifier&gt;&lt;low-budget&gt;&lt;multichannel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52745" PostHistoryTypeId="5" PostId="28275" RevisionGUID="5687b734-a133-47df-87cc-a4607d010c29" CreationDate="2014-04-23T13:51:18.030" UserId="7935" Comment="added 32 characters in body" Text="Can it damage a stereo amplifier to connect multiple speakers into a single channel, playing at full or high volume?&#xD;&#xA;&#xD;&#xA;As an example, consider the [Cambridge A1][1]:&#xD;&#xA;&#xD;&#xA;    Input Impedance: 47k ohms&#xD;&#xA;    Loudspeaker Impedance: 4 to 8 ohms&#xD;&#xA;    Power Output: 25 watts into 8 ohms &#xD;&#xA;  &#xD;&#xA;And the following speakers are at my disposal:&#xD;&#xA;&#xD;&#xA; - 2× Akai 40-watt speakers with tweeter and woofer (but weak bass)&#xD;&#xA; - 2× rear satellites, 1× center, and 1× subwoofer from a Panasonic surround set&#xD;&#xA;&#xD;&#xA;With the above, one could split them roughly in the middle:&#xD;&#xA;&#xD;&#xA; - **Left channel:** 1× Akai, 1× satellite, 1× center&#xD;&#xA; - **Right channel:** 1× Akai, 1× satellite, 1× subwoofer&#xD;&#xA;&#xD;&#xA;The goal is **not** to achieve surround sound (would need to buy an AV amplifier for that), but to compliment the Akai speakers with the rich bass and low-range of the Panasonic 3.1 set.&#xD;&#xA;&#xD;&#xA;Is this possible? If not, how can it be achieved on a limited budget? Good speaker management systems seem expensive even when second-hand.&#xD;&#xA;&#xD;&#xA;As you can probably tell, I'm very new to this, but I assume that there's a simple mathematical relationship. What specifications of each speaker do I need to take into account? Voltage, power, resistance/impedance, etc.?&#xD;&#xA;&#xD;&#xA;  [1]: http://archive.cambridgeaudio.com/specifications.php?PID=31" ContentLicense="CC BY-SA 3.0" />
  <row Id="52746" PostHistoryTypeId="5" PostId="2899" RevisionGUID="07f174e0-4703-4a13-a18a-834111d0746a" CreationDate="2014-04-23T14:00:12.623" UserId="-1" Comment="Migration of MSO links to MSE links" Text="The whole point of Stack Exchange is to *prevent* chatty discussions.  It exists because &quot;just talking&quot; has a terrible signal-to-noise ratio and is a waste of time for anyone who's just trying to find an answer to something.  &#xD;&#xA;&#xD;&#xA;There are already tons of websites for socializing, called forums.  If you end up on one from a Google search, you have to wade through dozens of pages of people arguing, stating erroneous things as truth, stupid signatures, etc. in order to find a tiny partial nugget of information which may or may not be outdated or wrong.&#xD;&#xA;&#xD;&#xA;http://stackoverflow.com/about&#xD;&#xA;&#xD;&#xA;http://meta.stackexchange.com/questions/38315/partner-with-traditional-forums-to-support-open-ended-discussions#answer-38323&#xD;&#xA;&#xD;&#xA;http://meta.stackexchange.com/questions/8658/do-you-feel-stackoverflow-needs-a-general-discussion-forum&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52747" PostHistoryTypeId="5" PostId="6854" RevisionGUID="99335811-098e-4149-addc-3cd7d78a1292" CreationDate="2014-04-23T14:00:12.623" UserId="-1" Comment="Migration of MSO links to MSE links" Text="I like the idea, but wouldn't it be much easier and quicker to have the website detect the type of browser (via User Agent) and display a compact version optimized for mobile browsers?&#xD;&#xA;This is how loads of websites work, and it is sort of supported by Stack Exchange, the platform that SSD runs on (see stackmobile.com).&#xD;&#xA;&#xD;&#xA;Plus, the Stack Exchange API is read only at the moment, so that means that a real app would not be able to add answers or comments, only read them ([source][1]).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://meta.stackexchange.com/questions/74366/stack-overflow-mobile-site" ContentLicense="CC BY-SA 3.0" />
  <row Id="52748" PostHistoryTypeId="5" PostId="10248" RevisionGUID="da46fad6-b354-46d9-8443-a6e7c7b3ec7a" CreationDate="2014-04-23T14:00:12.623" UserId="-1" Comment="Migration of MSO links to MSE links" Text="a site like this allows anyone to edit anything (including other people's posts), whilst keeping versions of the content, so a rollback is just that - rolling back to a previous edit.&#xD;&#xA;&#xD;&#xA;p.s.: http://meta.stackexchange.com/questions/56287/how-can-i-get-the-cleanup-badge" ContentLicense="CC BY-SA 3.0" />
  <row Id="52754" PostHistoryTypeId="2" PostId="28276" RevisionGUID="e14ef675-bf6d-40c0-954e-ae22a220695a" CreationDate="2014-04-23T15:12:22.047" UserId="8072" Text="I'm thinking you may have to use XBee wireless modules hooked up to Sparkfun MP3 Triggers.  This will only deal with pre-recorded audio.  &#xD;&#xA;&#xD;&#xA;Here are some links:&#xD;&#xA;MP3 TRigger: https://www.sparkfun.com/products/11029&#xD;&#xA;&#xD;&#xA;Xbee: https://www.sparkfun.com/pages/xbee_guide&#xD;&#xA;&#xD;&#xA;If you're unfamiliar with these there may be a bit of a learning curve but I once looked into wireless audio and this ended up being the best way as far as I found.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52756" PostHistoryTypeId="2" PostId="28277" RevisionGUID="51e874d9-06f2-4a94-b264-34d8993f6942" CreationDate="2014-04-23T15:41:29.713" UserId="7493" Text="I'm currently recording music using a focusrite 18i8 on logic pro x. I have Pro Tools 11, but have not yet learned how to use it. I am pretty unhappy with the results of my bass guitar recordings. Everything else that I record sounds awesome, but my bass just seems kind of uneven.&#xD;&#xA;&#xD;&#xA;I imagine that some of this is due to how I'm playing the bass guitar. I play bass proficiently, but it's not my main instrument so as I said I'm sure that some of the volume inconsistencies are coming from my end.&#xD;&#xA;&#xD;&#xA;I'm playing a hofner bass hooked up to a 25w fender bass amp, the tone that I can get is pretty decent, but when I record it using the line out from the bass amp into the focusrite, I feel like there is way too much volume variance and not enough punch. Some parts sound beautiful, and then other parts sound weak and muddled. Is there any sort of plug-in, preamp, or mixing technique that can help this? Perhaps some sort of plugin that makes an audio track have equal volume throughout. Does anyone have any insight for this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52757" PostHistoryTypeId="1" PostId="28277" RevisionGUID="51e874d9-06f2-4a94-b264-34d8993f6942" CreationDate="2014-04-23T15:41:29.713" UserId="7493" Text="How to record an 'even' bass" ContentLicense="CC BY-SA 3.0" />
  <row Id="52758" PostHistoryTypeId="3" PostId="28277" RevisionGUID="51e874d9-06f2-4a94-b264-34d8993f6942" CreationDate="2014-04-23T15:41:29.713" UserId="7493" Text="&lt;mixing&gt;&lt;recording&gt;&lt;plug-ins&gt;&lt;bass&gt;&lt;interface&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52759" PostHistoryTypeId="2" PostId="28278" RevisionGUID="d568e5e6-24ac-4c8a-a607-27bb0c4ae2cd" CreationDate="2014-04-23T18:06:10.913" UserId="8073" Text="hopefully this is the right place to ask.&#xD;&#xA;&#xD;&#xA;I'm working on a project, and I filmed myself playing the piano with my webcam. Now I don't need any grade A sound here, it's ok that's it's kinda grainy and low quality. But the problem is I accidentally set the computer's microphone sensitivity too high, and the sound is just *terrible*, there's a lot of noise even before I start playing, and the piano itself sounds extremely enhanced to the point that it doesn't sound like anything&#xD;&#xA;&#xD;&#xA;Another problem is - I have a deadline. I don't know If I'll get to record another session before I have to finish the project. I have to know - is there's a way to improve the sound quality (I already extracted the sound), or would trying to do that be a waste of time?&#xD;&#xA;&#xD;&#xA;Thanks in advance &#xD;&#xA;&#xD;&#xA;p.s.&#xD;&#xA;&#xD;&#xA;I'm running Ubuntu, so free software is better. But I have Windows on a VM as well, if I ever need it." ContentLicense="CC BY-SA 3.0" />
  <row Id="52760" PostHistoryTypeId="1" PostId="28278" RevisionGUID="d568e5e6-24ac-4c8a-a607-27bb0c4ae2cd" CreationDate="2014-04-23T18:06:10.913" UserId="8073" Text="Bettering the sound of a webcam recording - is it possible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52761" PostHistoryTypeId="3" PostId="28278" RevisionGUID="d568e5e6-24ac-4c8a-a607-27bb0c4ae2cd" CreationDate="2014-04-23T18:06:10.913" UserId="8073" Text="&lt;sound-effects-recording&gt;&lt;fixes&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52762" PostHistoryTypeId="2" PostId="28279" RevisionGUID="8e088893-f4c9-4922-b987-96ddfc6a9ff9" CreationDate="2014-04-23T18:39:06.410" UserId="4442" Text="I think it is important to mention, although you probably already know, is that the quality of the instrument and the performance are hugely important factors. Something you can consider though, or maybe purchasing an inexpensive preamp like those by ART, and some other companies like the presonus blue tube. As far as the volume discrepancies, that is certainly an issue with bass that an experienced player knows how to approach. You might want to consider getting a stomp box or rackmount compressor to track through.&#xD;&#xA;&#xD;&#xA;Depending on how low you can get the latency in your system, you can even track through some plug-ins in logic.&#xD;&#xA;&#xD;&#xA;Not sure if this answered or help, but I hope it does." ContentLicense="CC BY-SA 3.0" />
  <row Id="52763" PostHistoryTypeId="2" PostId="28280" RevisionGUID="17cf4c18-8ca6-42a7-996f-ab0c99a6be01" CreationDate="2014-04-23T18:44:23.410" UserId="7174" Text="Sound is crap in/crap out.  If it sounds bad to start, there is only so much you can do to improve it.  Most likely, if the gain was too high, then you have major clipping on your audio and there will be nothing you can do to make it usable without having software completely make up whatever might have been there which isn't going to sound realistic at all.  Your only real option is to re-shoot." ContentLicense="CC BY-SA 3.0" />
  <row Id="52764" PostHistoryTypeId="2" PostId="28281" RevisionGUID="aebe0f00-f7e7-44f0-80eb-e96c980e8f56" CreationDate="2014-04-23T23:15:55.043" UserId="37" Text="low-sensitivity DPAs? especially if you're recording proper loud engines, not nerfed F1s " ContentLicense="CC BY-SA 3.0" />
  <row Id="52770" PostHistoryTypeId="2" PostId="28284" RevisionGUID="886c1cae-3f07-49f3-8858-17354bcecc41" CreationDate="2014-04-24T14:01:25.747" UserId="8077" Text="I'm having a 'problem' with wireless sets we use. (Sennheiser EW100 G3)&#xD;&#xA;&#xD;&#xA;Whenever it's directly connected to one of our ENG broadcast camera's they work just fine.&#xD;&#xA;However, when the wireless receiver is connected to my SQN mixer wich connects to the same camera they seem to be a lot more sensetive to interference.&#xD;&#xA;&#xD;&#xA;It always starts promising, once turned on; no interference,... yet. But always when we start filming the interference kicks in. It starts with some minimal distortion not even noticable. But it gets louder and more severe after the first prominent interference. Bursts of noise, short gaps with no signal, distortion, etc.&#xD;&#xA;Often the interference is loud enough to work the mixers' limiter! Even changing frequencies doesn't help anymore? It's like the wireless set has gone crazy.&#xD;&#xA;&#xD;&#xA;I know it sounds weird that the SQN could be the problem, but it happened a couple times before with different EW100 G3 sets, I couldn't solve the interference and switched to the camera's internal wireless Sennheiser EK3041 thinking the problem was with the wireless EW100 G3, or just some RF in the air. But now I'm totally clueless. &#xD;&#xA;&#xD;&#xA;Same location, same wireless, same frequency (which should be free according to Sennheiser Frequency app), same input settings (mic, no phantom) the person with the wireless mic is only 5 meters away, the only difference is the mixer!?&#xD;&#xA;Because when the problem occured, we directly plugged in the receiver in the camera and the problem was solved. Or is it not a mixer thing but a camera thing?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any ideas / solutions / workflows or anybody who experienced this before?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52771" PostHistoryTypeId="1" PostId="28284" RevisionGUID="886c1cae-3f07-49f3-8858-17354bcecc41" CreationDate="2014-04-24T14:01:25.747" UserId="8077" Text="Interference caused by a mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52772" PostHistoryTypeId="3" PostId="28284" RevisionGUID="886c1cae-3f07-49f3-8858-17354bcecc41" CreationDate="2014-04-24T14:01:25.747" UserId="8077" Text="&lt;field-recording&gt;&lt;mixer&gt;&lt;wireless&gt;&lt;lavalier&gt;&lt;interference&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52773" PostHistoryTypeId="2" PostId="28285" RevisionGUID="b1e9fce7-7a0c-4aeb-8204-274b85b87be5" CreationDate="2014-04-24T14:29:19.020" UserId="29" Text="Seems like you should start looking at other variables, namely trying another frequency, trying different transmitters (not receivers), changing batteries in one unit at a time, changing locations (I trust that you've checked for presence of microwave towers and other environmental concerns), etc. The variables are many and this will take a good while to sort out.&#xD;&#xA;&#xD;&#xA;Look also at your bag or cart where the SQN is. Check for metal objects around the receivers, magnets, crossing audio and power cables, and be sure to check the power situation on your SQN. Are the angles/orientations of your antennae the same between your bag/cart and the wireless transmitters?&#xD;&#xA;&#xD;&#xA;Finally, see if you can borrow the same wireless units (same model) from someone else to just check the hardware itself, or rent a duplicate set someday to run the same tests you have on the gear you own." ContentLicense="CC BY-SA 3.0" />
  <row Id="52774" PostHistoryTypeId="2" PostId="28286" RevisionGUID="92b7f46f-a066-4be3-b5c2-64c04f9b762f" CreationDate="2014-04-24T14:39:25.950" UserId="7174" Text="I would first start by isolating devices to the minimum subset where you can reproduce the problem.  For example, if the mixer isn't plugged in to the camera, is it still a problem?  If levels are peaking, is gain set properly, does adjusting gain impact the problem more or less than expected?  Does XLR vs 1/4&quot; make a difference on the noise.  Are the cameras, wireless receivers and mixer all using a common power supply?  Does changing the power source or moving one or more devices off the same power supply make a difference?&#xD;&#xA;&#xD;&#xA;There are simply too many variable for what you have currently stated and a lot of troubleshooting steps yet to be done.  If you can post a sample of the audio, that might help in being able to provide further feedback as well, but right now, there isn't much to go on other than suggesting additional diagnostic steps you can try." ContentLicense="CC BY-SA 3.0" />
  <row Id="52776" PostHistoryTypeId="2" PostId="28288" RevisionGUID="673aab8c-11de-4db3-a491-208e5216edec" CreationDate="2014-04-24T22:32:49.717" UserId="8078" Text="I would check out the glitchmachines and inear display plugins.  They are amazing for being both weird and wonderful!  &#xD;&#xA;&#xD;&#xA;Filtering is also a good way.  For example the chaos created by Trent Reznor on the end section of his song &quot;The Great Destroyer&quot; was created largely in part with Metasonix gear. I won't get into this crazy gear...you have to check it out for yourself.  Weird, unique and expensive...but right up your alley.&#xD;&#xA;&#xD;&#xA;Remember you can use ableton's vocoder as a filter also.  You can get some crazy results with this method.  Glitch, Turnado and Effectrix are also pretty cool.&#xD;&#xA;&#xD;&#xA;Also don't forget about Reaktor.  And finally...if you feel brave, try your hand at circuit bending!&#xD;&#xA;&#xD;&#xA;More important that the gear is your mindset using it.  If you approach gear in unconventional ways you will get unconventional results.  Remember there are no rules!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52777" PostHistoryTypeId="2" PostId="28289" RevisionGUID="3f402d62-d29d-46ce-82f2-a883c6c807da" CreationDate="2014-04-24T22:39:25.650" UserId="8078" Text="The easiest way is obviously adding &quot;swing&quot; through the DAW or plugin.  I find 1/16 helps my stuff &quot;come to life&quot;.&#xD;&#xA;&#xD;&#xA;Also layering drum parts, shifting some slightly, can have a huge effect.  Even a drum part doubled, with one slightly shifted, can make a huge difference.&#xD;&#xA;&#xD;&#xA;Remember to not be super rigid on your beats.  Add closed or open high hats  on off beats or using some type of poly rhythm can also be helpful.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="52778" PostHistoryTypeId="2" PostId="28290" RevisionGUID="61980dec-b6ad-473a-9897-2dd6ab9e7eee" CreationDate="2014-04-24T22:56:18.327" UserId="8078" Text="Okay...I'm not sure if I grasp the full scope of your question, but I've got some tips that any electronic musician would probably agree with:&#xD;&#xA;&#xD;&#xA;1)  Be prepared to commit yourself, like 3-4 hrs PER DAY minimum, to your DAW.  For 3-5 years.  It takes a LONG time to get good at this game.  I was a professional guitar player before switching to production and let me tell you nothing has challenged me musically like this endeavor.  There is SO MUCH TO KNOW.  It takes a well rounded musician to excel: performance, theory, talent, songwriting, natural ear, computer skills, math, knowledge of gear, sound design and more are all crucial to becoming a top level producer.  It truly has to be your addiction; I literally can't get Ableton out of my head most days.  And ask anyone who's been around.  Advancements in technology have made it SO MUCH EASIER today then it was in the past.  I started in the early 90's with huge midi chains and a room full of blinking red lights.  Today is nothing compared to making electronic music in the past.  20mb hard drives...lol.&#xD;&#xA;&#xD;&#xA;2) Be realistic about your goals.  Forget about touring etc for now.  The only place you should be worried about touring is whatever room you keep your computer in.  Seriously.&#xD;&#xA;&#xD;&#xA;3) Learn from the one's who know.  There are many people here, and other places, who are a WEALTH of knowledge and you can learn SO much from them!  Listen, learn, be humble and pay it forward.&#xD;&#xA;&#xD;&#xA;4) Listen to music.  Lots.   Even more than lots.  And objectivly listen.  &quot;What's this guy doing?&quot;.  &quot;How is this song structured?&quot;.  Etc.  Most underrated aspect of music production in my opinion.  &#xD;&#xA;&#xD;&#xA;That's lots for now.  Remember to have fun.  And there are no rules.  Don't worry about sounding like someone else; be the guy that everyone wants to sound like." ContentLicense="CC BY-SA 3.0" />
  <row Id="52786" PostHistoryTypeId="2" PostId="28293" RevisionGUID="bad30f59-8efa-45f5-b6ce-383f25c533ea" CreationDate="2014-04-26T02:49:42.270" UserId="7257" Text="I'm having an issue where I am trying to use two different instruments in FLStudio 11 that are from the same vst - Massive 1.3. When I click on one, Massive pops up with its details. When I click on the second one, the first one's window for Massive disappears and the second pops up. How can I get both to stay on screen? I know there is a setting somewhere for this, but I can't figure out which it is!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52787" PostHistoryTypeId="1" PostId="28293" RevisionGUID="bad30f59-8efa-45f5-b6ce-383f25c533ea" CreationDate="2014-04-26T02:49:42.270" UserId="7257" Text="FLStudio closes VST when you open another instrument of the same VST" ContentLicense="CC BY-SA 3.0" />
  <row Id="52788" PostHistoryTypeId="3" PostId="28293" RevisionGUID="bad30f59-8efa-45f5-b6ce-383f25c533ea" CreationDate="2014-04-26T02:49:42.270" UserId="7257" Text="&lt;vst&gt;&lt;fl-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52789" PostHistoryTypeId="5" PostId="15499" RevisionGUID="c6cdb69a-3037-43a0-b875-a01e4b9b771c" CreationDate="2014-04-26T04:48:23.463" UserId="61" Comment="spelling" Text="You need to experiment with Altiverb (from Audio Ease). The exterior IRs were created for this very purpose and often you will get stellar results just from the presets. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52793" PostHistoryTypeId="2" PostId="28294" RevisionGUID="e3488b26-0252-4284-b121-6582a7472f22" CreationDate="2014-04-26T12:05:25.067" UserId="8083" Text="**What is the best practice for connecting a balanced, line level signal to a balanced, microphone input?**&#xD;&#xA;&#xD;&#xA;I have a source with balanced, line level, +4dBu outputs (XLR) which I want to connect to the balanced microphone inputs (XLR) on a mixer.&#xD;&#xA;&#xD;&#xA;My concern is that the line level would be too high for the microphone input and could lead to distortion/clipping. If I was using a source with an **unbalanced** line level output, I'd use a DI to convert the signal to a balanaced, mic level signal - dropping the level and matching the impedance - no problems with this.&#xD;&#xA;&#xD;&#xA;My initial thought was to use a DI or a pad - both of these should reduce the level to something more appropriate for the microphone input? Would there be any issues with impedance?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52794" PostHistoryTypeId="1" PostId="28294" RevisionGUID="e3488b26-0252-4284-b121-6582a7472f22" CreationDate="2014-04-26T12:05:25.067" UserId="8083" Text="Balanced line level to balanced mic level" ContentLicense="CC BY-SA 3.0" />
  <row Id="52795" PostHistoryTypeId="3" PostId="28294" RevisionGUID="e3488b26-0252-4284-b121-6582a7472f22" CreationDate="2014-04-26T12:05:25.067" UserId="8083" Text="&lt;audio-recording&gt;&lt;input&gt;&lt;line-level&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52799" PostHistoryTypeId="10" PostId="22506" RevisionGUID="bc0fbf12-b530-4634-a139-02e8ecff1343" CreationDate="2014-04-26T15:32:36.787" UserId="6957" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[28246],&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="52800" PostHistoryTypeId="37" PostId="22506" RevisionGUID="d3e54ad0-fb0a-45d7-9646-9f01a5da7537" CreationDate="2014-04-26T15:32:46.220" UserId="6957" Comment="to http://sound.stackexchange.com/questions/28246/what-sampling-rate-and-bit-depth-would-be-necessary-to-make-a-digital-recording" />
  <row Id="52801" PostHistoryTypeId="38" PostId="22507" RevisionGUID="d3e54ad0-fb0a-45d7-9646-9f01a5da7537" CreationDate="2014-04-26T15:32:46.220" UserId="6957" Comment="from http://sound.stackexchange.com/questions/22506/max-audio-sample-rates" />
  <row Id="52802" PostHistoryTypeId="38" PostId="22508" RevisionGUID="d3e54ad0-fb0a-45d7-9646-9f01a5da7537" CreationDate="2014-04-26T15:32:46.220" UserId="6957" Comment="from http://sound.stackexchange.com/questions/22506/max-audio-sample-rates" />
  <row Id="52803" PostHistoryTypeId="38" PostId="28246" RevisionGUID="d3e54ad0-fb0a-45d7-9646-9f01a5da7537" CreationDate="2014-04-26T15:32:46.220" UserId="6957" Comment="from http://sound.stackexchange.com/questions/22506/max-audio-sample-rates" />
  <row Id="52804" PostHistoryTypeId="14" PostId="22506" RevisionGUID="34cd2c6a-17d3-4eb3-814a-6d1c49914a5c" CreationDate="2014-04-26T15:32:46.220" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="52805" PostHistoryTypeId="2" PostId="28296" RevisionGUID="1dcdcbe1-826a-49c1-bdc4-75d538e0c573" CreationDate="2014-04-26T22:21:24.410" UserId="8087" Text="I use the dishwasher.  Take out the foam insert and replace it when done.  Put the grill into the dishwasher with the dishes, don't tell your wife or GF. Don't leave it wet, I wrap in paper towels and shake well to get it really dry, re-insert the new foam inner piece and it is good to go!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52811" PostHistoryTypeId="2" PostId="28299" RevisionGUID="d0c150d3-aa22-42ef-960a-6dccb7679f6a" CreationDate="2014-04-27T09:05:41.267" UserId="7185" Text="You may be surprised to hear this, but I have had very good results using the audio record function of an iPhone and the microphone built in to the earbuds. Admittedly this was a one-person interview, but this works really well for me. I can point you to Youtube videos that show the results." ContentLicense="CC BY-SA 3.0" />
  <row Id="52812" PostHistoryTypeId="2" PostId="28300" RevisionGUID="482c6ae5-5fa0-4dc7-8548-568262f79a5c" CreationDate="2014-04-27T09:08:30.850" UserId="8091" Text="My friend already recorded an hour speech a few weeks ago using his smartphone. But unfortunately, he put his smartphone was too far from the speaker, so the speaker voices in the recorded audio was too small if compared to noise. Now I am trying to increase the quality of recorded audio using audacity. I already tried to amplify, but it seems not giving expected quality. I found various features in audacity but don't know exactly how to use it in my case. Anyone can give me some idea how to fix the quality using audacity would be appreciated. Or maybe using aonther recommended tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="52813" PostHistoryTypeId="1" PostId="28300" RevisionGUID="482c6ae5-5fa0-4dc7-8548-568262f79a5c" CreationDate="2014-04-27T09:08:30.850" UserId="8091" Text="How to increase recorded audio quality using audacity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52814" PostHistoryTypeId="3" PostId="28300" RevisionGUID="482c6ae5-5fa0-4dc7-8548-568262f79a5c" CreationDate="2014-04-27T09:08:30.850" UserId="8091" Text="&lt;audio-recording&gt;&lt;software&gt;&lt;recommendations&gt;&lt;audacity&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52816" PostHistoryTypeId="2" PostId="28301" RevisionGUID="0dd2597d-619d-4414-acbf-e6662848888d" CreationDate="2014-04-27T13:45:23.703" UserId="7312" Text="The most obvious option will be to use compression. The Compressor effect reduces the dynamic range of audio which permits the audio to be amplified further than would be otherwise possible. You can find some more information about compression itself and audacity usage [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://manual.audacityteam.org/o/man/compressor.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="52817" PostHistoryTypeId="5" PostId="28301" RevisionGUID="2901b8b7-8655-4ca9-971d-b34f68f67beb" CreationDate="2014-04-27T13:54:01.230" UserId="7312" Comment="added 411 characters in body" Text="The most obvious option will be to use compression. The Compressor effect reduces the dynamic range of audio which permits the audio to be amplified further than would be otherwise possible. You can find some more information about compression itself and audacity usage [here][1].&#xD;&#xA;The other option, that's if the speaker voice is still a bit louder than the &quot;noise&quot;, is to use gate (more info [here][2]). This will allow you to set a threshold which will separate &quot;noise&quot; and speech. Once it's done, everything below this threshold can be silenced. Then you can just amplify the result and get a decent audio level.&#xD;&#xA;&#xD;&#xA;  [1]: http://manual.audacityteam.org/o/man/compressor.html&#xD;&#xA;  [2]: http://wiki.audacityteam.org/wiki/Nyquist_Effect_Plug-ins#Noise_Gate" ContentLicense="CC BY-SA 3.0" />
  <row Id="52821" PostHistoryTypeId="2" PostId="28303" RevisionGUID="990d69d1-88c2-4bb6-a414-7f143856ac59" CreationDate="2014-04-27T15:13:27.937" UserId="1216" Text="I know, it's a regularly discussed topic: removing mouth noises. Anything from clicks, incontinuities mid word, saliva etc. &#xD;&#xA;I've recorded about 15 minutes of voice over audio for a theatrical soundwalk. I've always been very keen on recording these voices very close mic, because of the intimacy that it brings to the soundtrack. It keeps the listener focussed and helps steering their view.&#xD;&#xA;Now the point is that I've always been doing it by hand (scrub+pencil in PT9). This has tought me a lot about recording and the human voice with all it's strange mechanics. &#xD;&#xA;But after recently purchasing Izotope 3 Advanced (love it!) I tried using the Declicker module in PT. It works very well, but sometimes a bit too well.. &#xD;&#xA;&#xD;&#xA;For example: in the current project the voice over starts very as 'general'  and clean sounding guide, without any real character. This slowly evolves into a more 'human' voice, performance wise. So I also leave clicks in the recordings as well (near the end at least) a the sighing etc. &#xD;&#xA;Now I could just process every region with 1 preset or do a two-pass. And I could switch between processed and unprocessed via duplicate tracks, but still that doesn't feel very flexible or in control.  &#xD;&#xA;&#xD;&#xA;So, I made up and tried the following routine (in PT9 with cptk):&#xD;&#xA;&#xD;&#xA;1. Duplicate track (with everything)&#xD;&#xA;2. Select all regions on duplicate track&#xD;&#xA;3. Insert Hipass filter @400Hz on track (although tiresome, it helps find noises)&#xD;&#xA;4. Load Audiosuite version of Declicker with standard preset&#xD;&#xA;5. Select 'Output clicks only' and process 'create individual files'&#xD;&#xA;6. Now select 'Tab to transients' and use tab to navigate to all 'clicks'&#xD;&#xA;7. I then scrub+pencil through everything in a rough first pass (deciding what needs to be kept in).&#xD;&#xA;8. Afterwards I do another pass (with headphones on) to get the softest ticks out.&#xD;&#xA;&#xD;&#xA;It is a lot of work, but so far it works out pretty well! Although looking at all those remaining mouth clicks is a bit discouraging :( hahaha&#xD;&#xA;&#xD;&#xA;Besides getting a talent that is less noisy, i really tried a lot of things, but the actor just kept clicking away..&#xD;&#xA;&#xD;&#xA;Is there anyone here who has more tips? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;BTW: I've also tested the realtime version of Declicker on the dialogue track, but the 'Delay Compensation Engine' cannot compensate the plug in.. which messes up timing, and devours resources.." ContentLicense="CC BY-SA 3.0" />
  <row Id="52822" PostHistoryTypeId="1" PostId="28303" RevisionGUID="990d69d1-88c2-4bb6-a414-7f143856ac59" CreationDate="2014-04-27T15:13:27.937" UserId="1216" Text="Mouth noises: removal by hand or izotope 3 declicker?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52823" PostHistoryTypeId="3" PostId="28303" RevisionGUID="990d69d1-88c2-4bb6-a414-7f143856ac59" CreationDate="2014-04-27T15:13:27.937" UserId="1216" Text="&lt;noise&gt;&lt;voice-over&gt;&lt;clicks&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52824" PostHistoryTypeId="2" PostId="28304" RevisionGUID="b0b0870c-1024-44fb-aa01-aa5429cfe7ab" CreationDate="2014-04-27T15:35:05.133" UserId="8093" Text="Is there any option for a high quality dual channel wireless microphone system for under $1000?  I would like to have one receiver box that is capable of receiving feed from both a lavalier and a handheld (or second lavaleir) that I could mix independently. &#xD;&#xA;&#xD;&#xA;I am partial to Shure and Sennheiser but if another brand is recommended I will give it consideration. Just need realiability in the realm of no drop out/weak signal. Also not a big fan of AudioTechnica. &#xD;&#xA;&#xD;&#xA;Any suggestions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52825" PostHistoryTypeId="1" PostId="28304" RevisionGUID="b0b0870c-1024-44fb-aa01-aa5429cfe7ab" CreationDate="2014-04-27T15:35:05.133" UserId="8093" Text="Dual channel wireless microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="52826" PostHistoryTypeId="3" PostId="28304" RevisionGUID="b0b0870c-1024-44fb-aa01-aa5429cfe7ab" CreationDate="2014-04-27T15:35:05.133" UserId="8093" Text="&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52827" PostHistoryTypeId="5" PostId="28303" RevisionGUID="5d9f79c6-e3a5-4cf7-be1a-4aabd9521b9e" CreationDate="2014-04-27T15:41:24.890" UserId="1216" Comment="added some info" Text="I know, it's a regularly discussed topic: removing mouth noises. Anything from clicks, incontinuities mid word, saliva etc. &#xD;&#xA;I've recorded about 15 minutes of voice over audio for a theatrical soundwalk. I've always been very keen on recording these voices very close mic, because of the intimacy that it brings to the soundtrack. It keeps the listener focussed and helps steering their view.&#xD;&#xA;Now the point is that I've always been doing it by hand (scrub+pencil in PT9). This has tought me a lot about recording and the human voice with all it's strange mechanics. &#xD;&#xA;But after recently purchasing Izotope 3 Advanced (love it!) I tried using the Declicker module in PT. It works very well, but sometimes a bit too well.. &#xD;&#xA;&#xD;&#xA;For example: in the current project the voice over starts very as 'general'  and clean sounding guide, without any real character. This slowly evolves into a more 'human' voice, performance wise. So I also leave clicks in the recordings as well (near the end at least) a the sighing etc. &#xD;&#xA;Now I could just process every region with 1 preset or do a two-pass. And I could switch between processed and unprocessed via duplicate tracks, but still that doesn't feel very flexible or in control.  &#xD;&#xA;&#xD;&#xA;So, I made up and tried the following routine (in PT9 with cptk):&#xD;&#xA;&#xD;&#xA;1. Duplicate track (with everything)&#xD;&#xA;2. Select all regions on duplicate track&#xD;&#xA;3. Insert Hipass filter @400Hz on track (although tiresome, it helps find noises)&#xD;&#xA;4. Load Audiosuite version of Declicker with standard preset&#xD;&#xA;5. Select 'Output clicks only' and process 'create individual files'. This creates a sort of 'visual guide' to noises..&#xD;&#xA;6. Now select 'Tab to transients' and use tab to navigate to all 'clicks' (optionally I use 'strip silence' on long regions)&#xD;&#xA;7. I then scrub+pencil through everything in a rough first pass (deciding what needs to be kept in).&#xD;&#xA;8. Afterwards I do another pass (with headphones on) to get the softest ticks out.&#xD;&#xA;&#xD;&#xA;It is a lot of work, but so far it works out pretty well! Although looking at all those remaining mouth clicks is a bit discouraging :( hahaha&#xD;&#xA;&#xD;&#xA;Besides getting a talent that is less noisy, i really tried a lot of things, but the actor just kept clicking away..&#xD;&#xA;&#xD;&#xA;Is there anyone here who has more tips? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;BTW: I've also tested the realtime version of Declicker on the dialogue track, but the 'Delay Compensation Engine' cannot compensate the plug in.. which messes up timing, and devours resources.." ContentLicense="CC BY-SA 3.0" />
  <row Id="52828" PostHistoryTypeId="2" PostId="28305" RevisionGUID="8f28afef-af33-4732-b5eb-071c91bac03d" CreationDate="2014-04-27T16:59:38.027" UserId="6399" Text="I don't really like the sound of VO talent recorded super close to the mic in general.  For most uses I feel it sounds unnatural and also is harder to EQ and fit into the mix,mouth noises can also be exaggerated.  That said I'm glad it works well for you.&#xD;&#xA;After getting a good edit and pulling out any mouth noises that are between words or phrases  just make a pass through for any P-pops or mouth noise that I didn't get before.  I usually just process with declicker on the part of the word that has the click, usually you don't even need to crossfade it.  I do the same thing with any pops or movement.  It goes pretty quick and in PT10 you can have multiple audiosuite plugs open so it makes it even quicker. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52833" PostHistoryTypeId="2" PostId="28306" RevisionGUID="75e7a95d-e0ea-47dc-91f6-3e1ebd699cd9" CreationDate="2014-04-27T19:43:59.220" UserId="8094" Text="Quality of recorded audio (in the digital realm) is measured by captured frequencies (sample rate) and dynamic accuracy (Bit Depth). Once recorded, changing those wont improve the signal, only increase the file size. If your noise floor is too loud when compared to your voice then you need to reduce the noise. There are expensive programs that do this quite well (Like like RX3 mentioned above). Otherwise, you can increase the gain of the signal and use selective EQ to notch out a thin band of frequencies where the noise floor is dominant. It wont sound as good as intelligent noise reduction or spectral repair, but it can make the voice more audible. You can also boost the dominant EQ area of the voice to help with focus. Remember to experiment and keep an unprocessed version of the original recording. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52834" PostHistoryTypeId="5" PostId="28306" RevisionGUID="6ab38f21-840d-47e0-af9a-807d4dafee28" CreationDate="2014-04-27T19:50:38.403" UserId="8094" Comment="added 463 characters in body" Text="Quality of recorded audio (in the digital realm) is measured by captured frequencies (sample rate) and dynamic accuracy (Bit Depth). Once recorded, changing those wont improve the signal, only increase the file size. If your noise floor is too loud when compared to your voice then you need to reduce the noise. There are expensive programs that do this quite well (Like like RX3 mentioned above). Otherwise, you can increase the gain of the signal and use selective EQ to notch out a thin band of frequencies where the noise floor is dominant. It wont sound as good as intelligent noise reduction or spectral repair, but it can make the voice more audible. You can also boost the dominant EQ area of the voice to help with focus. Remember to experiment and keep an unprocessed version of the original recording. &#xD;&#xA;&#xD;&#xA;Eugene S, I hate to disagree with you here but Compression is definitely NOT the answer to his issue. In fact, compression will do the exact opposite. The Lack of Dynamic range between the voice and the noise floor is a big part of the problem. Compression will bring the noise level closer to the voice. You could use a multiband compressor to reduce a selectable area where the noise is dominant, but other than that I cant imagine it would be a good idea. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52835" PostHistoryTypeId="5" PostId="28301" RevisionGUID="e2665317-18cc-4a0a-a836-7a1d02797900" CreationDate="2014-04-28T02:10:25.377" UserId="7312" Comment="deleted 475 characters in body" Text="I reckon that the standard approach to such issue will generally have 2 steps:&#xD;&#xA;&#xD;&#xA; 1. Maximize the dynamic range and thus create a substantial difference between the speaker volume and the noise. I'm not an Audacity guru and I'm not aware what tool exactly can do such job. From a quick Google search I found [this][1].&#xD;&#xA; 2. Apply a threshold under which the volume will be dramatically reduced (or even muted). This called gating. I found [this][2] link related to Audacity usage.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://forum.audacityteam.org/viewtopic.php?f=39&amp;t=52520&#xD;&#xA;  [2]: http://wiki.audacityteam.org/wiki/Noise_Removal#Noise_Gate" ContentLicense="CC BY-SA 3.0" />
  <row Id="52836" PostHistoryTypeId="5" PostId="28301" RevisionGUID="deb7fd15-ba4a-4286-a159-58b657004781" CreationDate="2014-04-28T02:18:09.290" UserId="7312" Comment="deleted 475 characters in body" Text="I reckon that the standard approach to such issue will generally have 2 steps:&#xD;&#xA;&#xD;&#xA; 1. Maximize the dynamic range and thus create a substantial difference between the speaker volume and the noise. I'm not an Audacity guru and I'm not aware what tool exactly can do such job. From a quick Google search I found [this][1].&#xD;&#xA; 2. Apply a threshold under which the volume will be dramatically reduced (or even muted). This called gating. I found [this][2] link related to Audacity usage.&#xD;&#xA;&#xD;&#xA;Assuming that done correctly, you will get a speaker voice without noise during the silent parts of his speech (between the words). Now you can try to play with things like EQ or multiband compressor (which is effectively the same thing) and try to reduce the background noise a bit more during his speech. &#xD;&#xA;&#xD;&#xA;  [1]: http://forum.audacityteam.org/viewtopic.php?f=39&amp;t=52520&#xD;&#xA;  [2]: http://wiki.audacityteam.org/wiki/Noise_Removal#Noise_Gate" ContentLicense="CC BY-SA 3.0" />
  <row Id="52838" PostHistoryTypeId="2" PostId="28308" RevisionGUID="5f06dc2c-d792-452e-9b28-ca3c8efc4bd1" CreationDate="2014-04-28T12:23:00.510" UserId="8100" Text="Try the RX Decrackler as an alternative to the Declicker. I've found it works pretty well much of the time." ContentLicense="CC BY-SA 3.0" />
  <row Id="52842" PostHistoryTypeId="2" PostId="28310" RevisionGUID="f9f385d0-ecf1-47d5-9e97-50d66de8a452" CreationDate="2014-04-28T14:14:40.820" UserId="7174" Text="http://www.bhphotovideo.com/c/search?atclk=Stock_In+stock&amp;ci=15708&amp;N=3992462050+4293345056+4291628428+4291606550+4291226455+4291223026&#xD;&#xA;&#xD;&#xA;I don't know why you are ruling out AudioTechnica though.  I'm not a huge fan of their mics, but if you get lav packs and use different mics, they can get pretty good quality for the transmitter itself.&#xD;&#xA;&#xD;&#xA;Really your best bet though is just looking through highly reviewed gear on B&amp;H and similar that is in your price range and pick accordingly.  Lots of gear should be able to handle what you are working with and nobody is going to have worked with all of it to give you a definitive best option in your price range for your environment." ContentLicense="CC BY-SA 3.0" />
  <row Id="52843" PostHistoryTypeId="2" PostId="28311" RevisionGUID="8c57fb6e-bf67-4788-91e3-731d3549cbd0" CreationDate="2014-04-28T21:38:42.230" UserId="6425" Text="I have the following problem.&#xD;&#xA;I recorded a dialogue trough my SPL de-esser in a unknown non treated room. On some sibilances the de-esser did too much. The problem is -&gt; I have no budget for another recording. Do you have any advice on how to get rid of that &quot;teeth less&quot; sound on the destroid words? &#xD;&#xA;&#xD;&#xA;I used automating the level of the essex but it did not work.&#xD;&#xA;&#xD;&#xA;Good Day" ContentLicense="CC BY-SA 3.0" />
  <row Id="52844" PostHistoryTypeId="1" PostId="28311" RevisionGUID="8c57fb6e-bf67-4788-91e3-731d3549cbd0" CreationDate="2014-04-28T21:38:42.230" UserId="6425" Text="How to repair over de-eased dialogue?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52845" PostHistoryTypeId="3" PostId="28311" RevisionGUID="8c57fb6e-bf67-4788-91e3-731d3549cbd0" CreationDate="2014-04-28T21:38:42.230" UserId="6425" Text="&lt;dialogue&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52846" PostHistoryTypeId="2" PostId="28312" RevisionGUID="0cd189f2-7fda-48fa-8041-020cb3c74f47" CreationDate="2014-04-28T22:40:01.460" UserId="7194" Text="If you want to keep things technically 'correct' you'd need a dedicated DI box for exactly this, such as the [Art's Dual RDB](http://artproaudio.com/artcessories/di_boxes/product/dual_rdb/) or the [Avedis line PAD-Z](http://vintageking.com/avedis-line-pad-z).&#xD;&#xA;&#xD;&#xA;A pad will work (although you will be looking at a healthy attention - possibly more than what some pad switches offer). But the impedance matching won't be technically ideal. However, this may actually colour the sound in a pleasing way - so it really depends on the equipment and whether you're after purity or experimenting with sound.&#xD;&#xA;&#xD;&#xA;I have in the past connected a line output (from API pres) straight into mic input (of an SSL desk). Although nearly all gain stages were nearly as low as possible (which is generally not a good practice), the sound was much more exciting than a technically correct signal chain (we were recording drum overhead)." ContentLicense="CC BY-SA 3.0" />
  <row Id="52847" PostHistoryTypeId="2" PostId="28313" RevisionGUID="7c5c3957-0456-44ed-8f9d-83ac3ac63400" CreationDate="2014-04-28T22:52:29.273" UserId="7194" Text="It is impossible to tell without the input impedance of the speakers, but generally speaking the answer to your question is **yes** - you can damage either the speakers or the amp.&#xD;&#xA;&#xD;&#xA;Say your speakers are each 8 ohms. If you connect 3 in series, you'll be presenting 24 ohms to the amp (8 + 8 + 8). This means the speakers will easily 'suck' the power off the amp, causing it to heat and possibly blow.&#xD;&#xA;&#xD;&#xA;If you connect the 3 speakers in parallel, you'll be presenting around 2.6 ohms to the amp (see resistors in parallel for the calculation). This means that a lot of power will not be delivered and seeking high output level the amp can again to heat up and blow.&#xD;&#xA;&#xD;&#xA;In both cases the speakers may blow as well.&#xD;&#xA;&#xD;&#xA;So I wouldn't recommend this, especially with a weak amp like the one you share." ContentLicense="CC BY-SA 3.0" />
  <row Id="52851" PostHistoryTypeId="2" PostId="28315" RevisionGUID="add17175-f1f4-487c-b529-f876bff3917b" CreationDate="2014-04-28T23:47:47.337" UserId="1393" Text="I would try doing some upward expansion with a multiband compressor or active eq (Waves c4 or McDsp AE400). You could also duplicate your dialog track booth the hell out of the sibilant frequency and side chain a compressor that can do upward expansion (Waves Renaissance Compressor) on the original track. Every time your sibilance gets low that frequency should get expanded or boosted. " ContentLicense="CC BY-SA 3.0" />
  <row Id="52855" PostHistoryTypeId="2" PostId="28317" RevisionGUID="37507acd-8436-4350-9394-d3d50330ebef" CreationDate="2014-04-29T03:14:37.303" UserId="8106" Text="I don't think you can substitute a piano with our current technology. The main problem I see is that even with a fully weighted electronic keyboard the player would not have the same physical feedback, only part of it, and that would influence his playing to a great extent. For instance, the thump of the key reaching the keybed is not only sound but a very physical experience. I think Horowitz would have lots of problems adapting to a keyboard like this.&#xD;&#xA;&#xD;&#xA;Also, there are subtle harmonic differences because of the ways strings resonate, and other interplays between sounds and mechanics that single note sampling, even made with 127 velocity layers, will not reproduce. Just think the sustain and the soft pedals are analog, not on/off switches, and you get the picture.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52857" PostHistoryTypeId="5" PostId="28311" RevisionGUID="ed7effd2-8f2d-4bf7-a125-f7db246e24b5" CreationDate="2014-04-29T09:21:53.653" UserId="7312" Comment="spelling, formatting" Text="I have the following problem. I recorded a dialogue trough my SPL de-esser in a unknown non treated room. On some sibilants the de-esser did too much. The problem is -&gt; I have no budget for another recording. Do you have any advice on how to get rid of that &quot;teethless&quot; sound on the destroyed words? &#xD;&#xA;&#xD;&#xA;I used automating the level of the essex but it did not work." ContentLicense="CC BY-SA 3.0" />
  <row Id="52858" PostHistoryTypeId="24" PostId="28311" RevisionGUID="ed7effd2-8f2d-4bf7-a125-f7db246e24b5" CreationDate="2014-04-29T09:21:53.653" Comment="Proposed by 7312 approved by 182, 37 edit id of 124" ContentLicense="CC BY-SA 3.0" />
  <row Id="52859" PostHistoryTypeId="2" PostId="28319" RevisionGUID="7d06465e-2878-443d-b13b-a13a6750074e" CreationDate="2014-04-29T09:25:05.897" UserId="37" Text=" - find a decent S and paste it in anywhere you're in dire need of one. &#xD;&#xA; - highpass a copy of the track (with a linear phase EQ if you have to) and automate its volume&#xD;&#xA; - upwards expansion on the high band using a multiband compressor.&#xD;&#xA;&#xD;&#xA;make yourself some coffee ;)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52861" PostHistoryTypeId="36" PostId="28321" RevisionGUID="d15c3069-f927-42ad-9379-8d090d33c186" CreationDate="2014-04-29T13:43:30.850" UserId="-1" Comment="from http://video.stackexchange.com/questions/1644/maschine-automatically-tag-all-samples-in-folder" />
  <row Id="52862" PostHistoryTypeId="36" PostId="28322" RevisionGUID="794263f7-54b6-4aa4-9d29-71637e98af26" CreationDate="2014-04-29T13:43:30.850" UserId="-1" Comment="from http://video.stackexchange.com/questions/1644/maschine-automatically-tag-all-samples-in-folder/10482#10482" />
  <row Id="52863" PostHistoryTypeId="2" PostId="28322" RevisionGUID="d26ba47f-b482-49fc-b684-e023e332e1f1" CreationDate="2014-03-28T20:06:12.830" UserDisplayName="ZeroFlux" Text="Do you know if Maschine keeps its own database of tags which then relate to the files? Or does it store tags in the file metadata? I did a quick search without coming up with an answer. &#xD;&#xA;&#xD;&#xA;If it's the former (separate tag database), you may be able to edit the database file directly. If it's the latter (tags stored as metadata), then you should be able to use something like Adobe Bridge (or another metadata editor) to batch tag the files.&#xD;&#xA;&#xD;&#xA;P.S. I realize that this is an old question, but I saw it in the unanswered queue and couldn't resist!" ContentLicense="CC BY-SA 3.0" />
  <row Id="52864" PostHistoryTypeId="2" PostId="28321" RevisionGUID="d5c9cf7f-af68-4b62-af1b-8d4e31eeac3f" CreationDate="2011-06-24T02:28:46.110" UserDisplayName="Sean Edwards" Text="Is there a way to automatically tag all samples in a particular folder? For example, I have a folder in my samples directory full of vocals, and I want to tag them all with type &quot;Vocal&quot; and subtype &quot;Male&quot;. Is there any way to do this without locating each sample individually? (I did that for one folder. It took almost an hour...)" ContentLicense="CC BY-SA 3.0" />
  <row Id="52865" PostHistoryTypeId="1" PostId="28321" RevisionGUID="d5c9cf7f-af68-4b62-af1b-8d4e31eeac3f" CreationDate="2011-06-24T02:28:46.110" UserDisplayName="Sean Edwards" Text="Maschine: Automatically tag all samples in folder" ContentLicense="CC BY-SA 3.0" />
  <row Id="52866" PostHistoryTypeId="3" PostId="28321" RevisionGUID="d5c9cf7f-af68-4b62-af1b-8d4e31eeac3f" CreationDate="2011-06-24T02:28:46.110" UserDisplayName="Sean Edwards" Text="&lt;untagged&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52867" PostHistoryTypeId="36" PostId="28323" RevisionGUID="25ecfdf1-b805-469c-a80d-9048eb7f0947" CreationDate="2014-04-29T13:44:10.600" UserId="-1" Comment="from http://video.stackexchange.com/questions/8676/an-effective-technique-for-ducking-in-sony-vegas" />
  <row Id="52868" PostHistoryTypeId="36" PostId="28324" RevisionGUID="efa297ac-cc04-42f4-8154-22af486f6441" CreationDate="2014-04-29T13:44:10.600" UserId="-1" Comment="from http://video.stackexchange.com/questions/8676/an-effective-technique-for-ducking-in-sony-vegas/8679#8679" />
  <row Id="52869" PostHistoryTypeId="36" PostId="28325" RevisionGUID="8746eac7-5b50-4137-911c-f067207bfbde" CreationDate="2014-04-29T13:44:10.600" UserId="-1" Comment="from http://video.stackexchange.com/questions/8676/an-effective-technique-for-ducking-in-sony-vegas/9817#9817" />
  <row Id="52870" PostHistoryTypeId="36" PostId="28326" RevisionGUID="c6845d53-b872-4d32-bd1e-db0a52cc9486" CreationDate="2014-04-29T13:44:10.600" UserId="-1" Comment="from http://video.stackexchange.com/questions/8676/an-effective-technique-for-ducking-in-sony-vegas/10000#10000" />
  <row Id="52871" PostHistoryTypeId="2" PostId="28324" RevisionGUID="412d51d3-61e6-40d9-8539-2671fdf09d3c" CreationDate="2013-08-11T07:07:23.163" UserId="17107" UserDisplayName="Mulvya" Text="AFAIK, there's no facility for true side-chain compression in Vegas, but there is a workaround of sorts. It basically involves creating additional buses, and routing the source and target tracks to that bus, then using a compressor with the ability to pick one of the channels off the bus as a source, and another channel as the target. Then panning the bus output so you only hear the target channel and routing that to the master bus.&#xD;&#xA;&#xD;&#xA;A schematic description can be found in the second to last post in the thread [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sonycreativesoftware.com/forums/ShowMessage.asp?ForumID=19&amp;MessageID=755694" ContentLicense="CC BY-SA 3.0" />
  <row Id="52872" PostHistoryTypeId="2" PostId="28325" RevisionGUID="261c1490-531d-42ef-9a41-39472012843c" CreationDate="2014-01-02T18:23:59.117" UserDisplayName="user8937" Text="Honestly this is one of the only things that I don't like about Vegas and can't believe they still haven't added. There is no ducking for Vegas. The workaround method just isn't good and is too touchy.&#xD;&#xA;&#xD;&#xA;Honestly the best method I found was to use Audacity which is free. Pull in your 2 tracks and use their ducking plugin which works perfectly." ContentLicense="CC BY-SA 3.0" />
  <row Id="52873" PostHistoryTypeId="2" PostId="28326" RevisionGUID="d8272e5d-9cea-486b-b2a2-b1b08d9ebdba" CreationDate="2014-01-22T00:52:48.063" UserId="7188" Text="If you don't like using the volume envelope, well there is another way to do this.&#xD;&#xA;&#xD;&#xA;OK this is not pretty. Cut the audio track at the beginning and ending portion of each section you want to duck. Then lower the overall amplitude of each duck protion. Now you have your ducking." ContentLicense="CC BY-SA 3.0" />
  <row Id="52874" PostHistoryTypeId="2" PostId="28323" RevisionGUID="c3c2b20f-21fa-40e4-a446-de8faa6d339f" CreationDate="2013-08-10T20:38:18.260" UserId="8095" Text="I'm trying to wrap my head around ducking effect. Say, I have two tracks:&#xD;&#xA;&#xD;&#xA;* A music with pretty harsh peaks and drops (it's a dubstep)&#xD;&#xA;* A vocal voiceover&#xD;&#xA;&#xD;&#xA;I also have two *Track Compressors* applied to *Master Bus*: one is quite soft (-16x at -5dB), and the next one is hard limiter (-24x at -2dB).&#xD;&#xA;&#xD;&#xA;I want the vocal track to act as a trigger for one of the *Compressors*.  &#xD;&#xA;I have attempted to work around this by manually setting *Volume Envelope* over my vocal track, like this:&#xD;&#xA;&#xD;&#xA;![manual ducking applied][1]&#xD;&#xA;&#xD;&#xA;But I find it too difficult to manage, plus it invalidates itself whenever I modify anything (e.g. apply some dynamic changes to *Track Equalizer*).&#xD;&#xA;&#xD;&#xA;**I'm looking for a more straightforward way to apply ducking effect to *Master Bus*'es *Track Compressor* based on an arbitrary track's input.** E.g., those harsh peaks on the vocal tracks should trigger *Compressor* to act.&#xD;&#xA;&#xD;&#xA;There are several related questions here [(1)](http://avp.stackexchange.com/questions/270/what-is-side-chain-compression) [(2)](http://avp.stackexchange.com/questions/365/what-is-a-ducker) [(3)](http://avp.stackexchange.com/questions/678/voiceover-workflow-tips-specifcally-workflow-and-processing) [(4)](http://avp.stackexchange.com/questions/3288/voiceover-drowns-in-music-how-do-i-make-it-more-dominant), but I was unable to find any details there.&#xD;&#xA;&#xD;&#xA;I'm using Sony Vegas 12 x64 for Windows, but feel free to also suggest VST plugins if any, since Vegas/x64 seems to support VST/x86 pretty nicely.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/O1BfH.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="52875" PostHistoryTypeId="1" PostId="28323" RevisionGUID="c3c2b20f-21fa-40e4-a446-de8faa6d339f" CreationDate="2013-08-10T20:38:18.260" UserId="8095" Text="An effective technique for ducking in Sony Vegas?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52876" PostHistoryTypeId="3" PostId="28323" RevisionGUID="c3c2b20f-21fa-40e4-a446-de8faa6d339f" CreationDate="2013-08-10T20:38:18.260" UserId="8095" Text="&lt;software&gt;&lt;effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52877" PostHistoryTypeId="2" PostId="28327" RevisionGUID="0071f1ea-3e10-4399-a843-dc6198992162" CreationDate="2014-04-29T14:47:08.073" UserId="7486" Text="If you hit cmd and 4 on the neumeric keypad (ctrl 4 on PC) or go to Window&gt;Automation the automation window will pop up. From there just hit the 'Suspend' button at the top and all automation in the session will be suspended." ContentLicense="CC BY-SA 3.0" />
  <row Id="52882" PostHistoryTypeId="2" PostId="28329" RevisionGUID="c4cf231a-aee6-43e1-9f5e-3b0c47dca0ed" CreationDate="2014-04-29T20:12:29.403" UserId="8111" Text="I'm from Portugal, so sorry if my english is bad... &#xD;&#xA;&#xD;&#xA;Well, i'm planning a theatre show in a cave and i need to know if it's possible to use wireless earphones (the show is for 30 people). And i need to know how to make the connections because i don't know if there's any equipments like wireless earphones and i don't even know how to work with them either.&#xD;&#xA;&#xD;&#xA;Another question. Do you have any information where can i get sounds, musics or one OST that seem like Cosmos (the new tv show inspired in &quot;Cosmos&quot; by Carl Sagan)?&#xD;&#xA;&#xD;&#xA;Thanks a lot" ContentLicense="CC BY-SA 3.0" />
  <row Id="52883" PostHistoryTypeId="1" PostId="28329" RevisionGUID="c4cf231a-aee6-43e1-9f5e-3b0c47dca0ed" CreationDate="2014-04-29T20:12:29.403" UserId="8111" Text="Is there any wireless earphones? And sounds like tv shows, where do i get?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52884" PostHistoryTypeId="3" PostId="28329" RevisionGUID="c4cf231a-aee6-43e1-9f5e-3b0c47dca0ed" CreationDate="2014-04-29T20:12:29.403" UserId="8111" Text="&lt;sound-design&gt;&lt;audio&gt;&lt;equipment&gt;&lt;wireless&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52886" PostHistoryTypeId="2" PostId="28331" RevisionGUID="99cb0a0a-42d5-4fdc-a000-9728cf4bc648" CreationDate="2014-04-30T00:31:19.313" UserId="8114" Text="*Pre-Question-Introduction: I am a noob, but I really want to understand what exactly is going on behind every single dial and button I press.*&#xD;&#xA;&#xD;&#xA;The &quot;Uni&quot; button on the Analog module of Ableton live, which stands for &quot;Unison,&quot; creates a second voice.  The pitch of that additional voice depends on the value of &quot;detune.&quot;&#xD;&#xA;&#xD;&#xA;I'm trying to understand what exactly this means.  To do so I am starting with the most simple inputs as possible.  These questions assume one sine wave oscillator, and an amp at a constant 100%&#xD;&#xA;&#xD;&#xA;**My questions:**&#xD;&#xA;&#xD;&#xA; 1. The value of Detune ranges from 0 to 100; what are the units here?  What is 0 and what is 100?&#xD;&#xA; 2. Using a sine wave and 2 voices creates a rhythmic silence and pause which is more noticeable for smaller values of detune.  Am I correct that this is a manifestation of [beat frequency][1]?  Can I control this effect or is that pulse just a fact of life?&#xD;&#xA; 3. I am able to increase the number of voices from 2 to 4.  What is actually happening here, what determines the pitch of those four voices?&#xD;&#xA; 4. I noticed that the effect of Uni changes depending on when I enable it (try spamming a note and rapidly turning uni on and off).  It seems the phase of the second voice can shift around resulting in different types of interference.  What determines the phase of the second voice in relation to the first?  Is there a way to predictively enable it?&#xD;&#xA;&#xD;&#xA;Thanks for helping a control freak understand the tool.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Beat_%28acoustics%29" ContentLicense="CC BY-SA 3.0" />
  <row Id="52887" PostHistoryTypeId="1" PostId="28331" RevisionGUID="99cb0a0a-42d5-4fdc-a000-9728cf4bc648" CreationDate="2014-04-30T00:31:19.313" UserId="8114" Text="Ableton: Understanding Analog's &quot;Uni&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52888" PostHistoryTypeId="3" PostId="28331" RevisionGUID="99cb0a0a-42d5-4fdc-a000-9728cf4bc648" CreationDate="2014-04-30T00:31:19.313" UserId="8114" Text="&lt;ableton-live&gt;&lt;analog&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52889" PostHistoryTypeId="2" PostId="28332" RevisionGUID="b4f218e0-371c-4012-a34b-c9e9932f4e33" CreationDate="2014-04-30T00:50:07.020" UserId="8006" Text="For the sounds/music you should try out Spectrasonic's [Atmosphere][1] or [Omnisphere][2].&#xD;&#xA;Or you can use pre-made production music. [Sonofind][3] is a good site to start and browse through.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.spectrasonics.net/products/legacy/atmosphere.php&#xD;&#xA;  [2]: http://www.spectrasonics.net/products/omnisphere.php&#xD;&#xA;  [3]: http://www.sonofind.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="52897" PostHistoryTypeId="2" PostId="28335" RevisionGUID="c636a034-0a4e-426a-a806-bab802f6c5d5" CreationDate="2014-04-30T09:53:02.373" UserId="8116" Text="Has anyone an idea about how to create &quot;silent gun type&quot; sound?&#xD;&#xA;The type of sound you can hear in movies.&#xD;&#xA;I heard that's it's not how this type of gun sound in reality so i'm wondering how they create that feeling of silent gun.&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52898" PostHistoryTypeId="1" PostId="28335" RevisionGUID="c636a034-0a4e-426a-a806-bab802f6c5d5" CreationDate="2014-04-30T09:53:02.373" UserId="8116" Text="Silent gun sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="52899" PostHistoryTypeId="3" PostId="28335" RevisionGUID="c636a034-0a4e-426a-a806-bab802f6c5d5" CreationDate="2014-04-30T09:53:02.373" UserId="8116" Text="&lt;sound-design&gt;&lt;sound&gt;&lt;gun&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52900" PostHistoryTypeId="5" PostId="28284" RevisionGUID="eae248a4-a24d-47f8-be78-dd79d3beeab4" CreationDate="2014-04-30T12:14:30.670" UserId="6957" Comment="Pull answer below into an edit of the question" Text="I'm having a 'problem' with wireless sets we use. (Sennheiser EW100 G3)&#xD;&#xA;&#xD;&#xA;Whenever it's directly connected to one of our ENG broadcast camera's they work just fine.&#xD;&#xA;However, when the wireless receiver is connected to my SQN mixer wich connects to the same camera they seem to be a lot more sensetive to interference.&#xD;&#xA;&#xD;&#xA;It always starts promising, once turned on; no interference,... yet. But always when we start filming the interference kicks in. It starts with some minimal distortion not even noticable. But it gets louder and more severe after the first prominent interference. Bursts of noise, short gaps with no signal, distortion, etc.&#xD;&#xA;Often the interference is loud enough to work the mixers' limiter! Even changing frequencies doesn't help anymore? It's like the wireless set has gone crazy.&#xD;&#xA;&#xD;&#xA;I know it sounds weird that the SQN could be the problem, but it happened a couple times before with different EW100 G3 sets, I couldn't solve the interference and switched to the camera's internal wireless Sennheiser EK3041 thinking the problem was with the wireless EW100 G3, or just some RF in the air. But now I'm totally clueless. &#xD;&#xA;&#xD;&#xA;Same location, same wireless, same frequency (which should be free according to Sennheiser Frequency app), same input settings (mic, no phantom) the person with the wireless mic is only 5 meters away, the only difference is the mixer!?&#xD;&#xA;Because when the problem occured, we directly plugged in the receiver in the camera and the problem was solved. Or is it not a mixer thing but a camera thing?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any ideas / solutions / workflows or anybody who experienced this before?&#xD;&#xA;&#xD;&#xA;--------------&#xD;&#xA;*EDIT*&#xD;&#xA;--------------&#xD;&#xA;This is C02sounds, posting via new account. Thanks for the replies NoiseJockey &amp; AJ Henderson&#xD;&#xA;&#xD;&#xA; - Well switching frequencies doesn't help. Like I said, the frequency I'm using should be free according to Sennheiser Freq App. And the same frequency used when directly hooked up into the camera works just perfect.&#xD;&#xA;&#xD;&#xA; - Changing batteries on the wireless set didn't help either.&#xD;&#xA;&#xD;&#xA; - Metal objects around the mixer; RE50 (not plugged-in) in front compartment of a porta-brace, XLR cable for Sennheiser 416 (plugged-in 48v) in CH1, Sennheiser EW100 G3 receiver CH2, there's a small monitor for playback/live view mounted on the bag.&#xD;&#xA;&#xD;&#xA;The problem is somewhere in the mixing bag, AJ Henderson you're correct that there are too many variable. I was just wondering if someone ever had experienced this before and could be 'easily' explained. I'll try to recreate the situation again and try to remove/check parts in the chain.&#xD;&#xA;&#xD;&#xA;Thanks all for your replies&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52902" PostHistoryTypeId="2" PostId="28336" RevisionGUID="b47e01c2-f3ee-4384-93bc-0283abbdec1c" CreationDate="2014-04-30T12:18:39.693" UserId="7493" Text="I'm moving my studio from a room that has carpet to a larger room with tiles. I've researched online and there does not seem to be any flooring that is favored, so I wanted to get some opinions for my particular case.&#xD;&#xA;&#xD;&#xA;I predominantly record acoustic instruments, such as acoustic guitar, cello, and voice. I utilize a focusrite audio interface and record vocals and some instruments with a condenser mic, and typically record instruments with 2 cardoid shotgun mics. &#xD;&#xA;&#xD;&#xA;Am I going to have a loss in quality or change of sound by going from a carpet floor to a tile floor? Would adding a large rug near where I place the mics help in any way? Is there a time when tile floor may be favorable for a recording studio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52903" PostHistoryTypeId="1" PostId="28336" RevisionGUID="b47e01c2-f3ee-4384-93bc-0283abbdec1c" CreationDate="2014-04-30T12:18:39.693" UserId="7493" Text="Studio Flooring - The Great Debate" ContentLicense="CC BY-SA 3.0" />
  <row Id="52904" PostHistoryTypeId="3" PostId="28336" RevisionGUID="b47e01c2-f3ee-4384-93bc-0283abbdec1c" CreationDate="2014-04-30T12:18:39.693" UserId="7493" Text="&lt;recording&gt;&lt;studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52910" PostHistoryTypeId="2" PostId="28337" RevisionGUID="08fa319c-69df-4357-b15c-a41ad640fe75" CreationDate="2014-04-30T12:32:39.387" UserId="7493" Text="I used to record music utilizing Adobe Audition. Although the program was rather limited in its earlier versions, it had one knockout feature that I absolutely loved! I had the ability to edit my sound file manually. If I played too loudly in one part, I could manually adjust the volume, or lower it if required, I could select places to silence the audio file, such as while taking a breath etc.&#xD;&#xA;&#xD;&#xA;I'm currently using Logic Pro X and I have not found a way to be able to do this yet. I also have Pro Tools 11, but have not yet learned how to use it. &#xD;&#xA;&#xD;&#xA;Does anyone know if there is a way to alter the volume levels of particular parts of a sound file within either Logic Pro X or Pro Tools 11? Is there a plug in that I can purchase that does this?&#xD;&#xA;&#xD;&#xA;I have a bass track that I recorded, that was a very good performance, but I was playing a bit too dynamically, and my bass amp is not very good, so I don't foresee myself producing a bass track with much better quality. If I could go in and manually edit the volume on certain parts, I think it would sound phenomenal. &#xD;&#xA;&#xD;&#xA;Let me know if there are any plug-ins or built in features in Logic Pro X or Pro Tools 11 where I can do this. My other option is to export the bass file and import it into my Windows pc and mix it down in Adobe Audition, but I would like to avoid that if possible." ContentLicense="CC BY-SA 3.0" />
  <row Id="52911" PostHistoryTypeId="1" PostId="28337" RevisionGUID="08fa319c-69df-4357-b15c-a41ad640fe75" CreationDate="2014-04-30T12:32:39.387" UserId="7493" Text="Directly altering/editing a sound file" ContentLicense="CC BY-SA 3.0" />
  <row Id="52912" PostHistoryTypeId="3" PostId="28337" RevisionGUID="08fa319c-69df-4357-b15c-a41ad640fe75" CreationDate="2014-04-30T12:32:39.387" UserId="7493" Text="&lt;recording&gt;&lt;pro-tools&gt;&lt;logic&gt;&lt;bass&gt;&lt;adobe&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52921" PostHistoryTypeId="5" PostId="28335" RevisionGUID="c102b272-3f8c-4aa8-95b8-6bc58a567697" CreationDate="2014-04-30T12:40:26.820" UserId="7016" Comment="added 6 characters in body; edited title" Text="Has anyone an idea about how to create the sound of a gun with a silencer fitted?&#xD;&#xA;The type of sound you can hear in movies.&#xD;&#xA;&#xD;&#xA;I heard that's it's not how this type of gun sound in reality so I'm wondering how they create that feeling of silent gun.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52922" PostHistoryTypeId="4" PostId="28335" RevisionGUID="c102b272-3f8c-4aa8-95b8-6bc58a567697" CreationDate="2014-04-30T12:40:26.820" UserId="7016" Comment="added 6 characters in body; edited title" Text="Silenced gun sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="52925" PostHistoryTypeId="10" PostId="28219" RevisionGUID="202c578b-ffec-4d65-a05c-06ea429b042b" CreationDate="2014-04-30T12:41:50.277" UserId="7016" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[28140],&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52926" PostHistoryTypeId="5" PostId="28329" RevisionGUID="9091b81a-f71e-4750-b1ad-76ab3f4816a4" CreationDate="2014-04-30T12:43:03.853" UserId="7016" Comment="deleted 424 characters in body; edited title" Text="Where can i get sounds, musics or one OST that seem like Cosmos (the new tv show inspired in &quot;Cosmos&quot; by Carl Sagan)?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52927" PostHistoryTypeId="4" PostId="28329" RevisionGUID="9091b81a-f71e-4750-b1ad-76ab3f4816a4" CreationDate="2014-04-30T12:43:03.853" UserId="7016" Comment="deleted 424 characters in body; edited title" Text="Where can I find sounds like tv shows?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52931" PostHistoryTypeId="10" PostId="28185" RevisionGUID="1f2d28be-615b-49d2-adb8-5d304bc580e2" CreationDate="2014-04-30T12:48:57.033" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52935" PostHistoryTypeId="10" PostId="27979" RevisionGUID="463e20e3-1bc5-4606-93f5-e4f88b05698a" CreationDate="2014-04-30T12:59:51.680" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52937" PostHistoryTypeId="10" PostId="18199" RevisionGUID="07e35373-196e-44c4-b70c-f527b5e09d67" CreationDate="2014-04-30T13:07:41.837" UserId="7016" Comment="104" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52939" PostHistoryTypeId="2" PostId="28338" RevisionGUID="526d3037-b4ee-4532-8e8b-285331a97fae" CreationDate="2014-04-30T13:15:36.010" UserId="6636" Text="Native Instruments Absynth and Reaktor are good for this sort of Cosmic sound with some routing in your DAW and experimentation you can make one generate the other for some very interesting sounds. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52942" PostHistoryTypeId="10" PostId="28109" RevisionGUID="20de3354-ceff-4681-8705-9a66019c83f1" CreationDate="2014-04-30T13:24:55.910" UserId="7016" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[1319],&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52947" PostHistoryTypeId="2" PostId="28340" RevisionGUID="e407a07c-3e98-4c1e-8e11-c9dd027d65e4" CreationDate="2014-04-30T13:58:02.807" UserDisplayName="user7731" Text="Tile floors were popular in the early days of studio recordings in America. The tile will obviously make the room more live and reverberant than carpet. Having a rug to utilize to deaden up the space as you desire is a great idea.&#xD;&#xA;&#xD;&#xA;The basic concept is to listen to the room and the instrument in the room and adjust as you desire.  Starting with a live space (tile) and deadening the room from there is a great practice.  Killing reflections is much easier than creating reflections most of the time." ContentLicense="CC BY-SA 3.0" />
  <row Id="52948" PostHistoryTypeId="6" PostId="28337" RevisionGUID="7d20e1f6-b17f-48eb-b580-e9fb82dea20f" CreationDate="2014-04-30T14:09:28.520" UserId="7174" Comment="retag" Text="&lt;pro-tools&gt;&lt;logic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52953" PostHistoryTypeId="10" PostId="28189" RevisionGUID="4f0adabb-4fbb-4556-b4da-f499bb63a184" CreationDate="2014-04-30T14:39:16.360" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:37,&quot;DisplayName&quot;:&quot;georgi&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52961" PostHistoryTypeId="10" PostId="28251" RevisionGUID="fdf2cfd3-12e4-4c04-8be4-7b28be1e5172" CreationDate="2014-04-30T14:49:20.747" UserId="7016" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[3216],&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52962" PostHistoryTypeId="10" PostId="28116" RevisionGUID="d986bda2-4739-41cf-9961-cf579459206b" CreationDate="2014-04-30T14:50:00.687" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:37,&quot;DisplayName&quot;:&quot;georgi&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52965" PostHistoryTypeId="10" PostId="28199" RevisionGUID="e43501f7-51c3-4148-86cd-539b855d5547" CreationDate="2014-04-30T14:53:52.887" UserId="7016" Comment="103" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52970" PostHistoryTypeId="10" PostId="28275" RevisionGUID="9498e4a2-1125-41d0-b565-647a4324d9dd" CreationDate="2014-04-30T14:57:38.583" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52971" PostHistoryTypeId="10" PostId="28050" RevisionGUID="5a6a589f-41cb-45d7-be12-f06477aabd85" CreationDate="2014-04-30T14:58:16.020" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="52977" PostHistoryTypeId="2" PostId="28342" RevisionGUID="d4da686d-44f9-49c2-86ff-9dcd6fbb66f9" CreationDate="2014-04-30T16:45:35.567" UserId="8120" Text="Yes, you will certainly have a change of sound in the new room and this may or may not be a bad thing.&#xD;&#xA;&#xD;&#xA;Whether or not adding a carpet/rug is a good idea will depend on several factors, the most prominent being the acoustic properties of the ceiling. If you have a flat and particularly reflective ceiling, some form of carpet/rug would almost definitely be a good idea. If however the ceiling allows more diffuse reflections, the tiles will help retain a longer (but well balanced) reverberation characteristic.&#xD;&#xA;&#xD;&#xA;In your case, I would recommend listening to the room without treatment and then experimenting with placing a rug in various locations." ContentLicense="CC BY-SA 3.0" />
  <row Id="52987" PostHistoryTypeId="2" PostId="28345" RevisionGUID="95059750-c17c-4ffe-84c9-15d19a2e78da" CreationDate="2014-05-01T13:41:44.890" UserId="8126" Text="I've been an Acid Pro user for over 10 years.  &#xD;&#xA;I've tried Ableton, Cubase, Logic Pro, and Reaper.&#xD;&#xA;Each have their pros and cons but all of them lack the easy learning curve and integrated features that would allow me to churn out a quality edit or remix in less than 5 minutes.&#xD;&#xA;&#xD;&#xA;Since it doesn't look like Acid Pro is still being developed and many windows users have switched to Ableton or Reaper, I would suggest considering learning something new and going with Ableton. Since the Warp feature (even though more time consuming) works a lot better that the quantization tools in Acid Pro. &#xD;&#xA;&#xD;&#xA;However, if you don't have that much time, or had a bunch of VSTs that were not ported to osx, go with a virtual windows machine in fusion or parallels and continue to use acid pro" ContentLicense="CC BY-SA 3.0" />
  <row Id="52988" PostHistoryTypeId="5" PostId="20247" RevisionGUID="8adf7d18-33c5-4e8f-b3a0-bfb1b4eb2e3f" CreationDate="2014-05-01T13:42:09.070" UserId="8125" Comment="Just added a bit more detailing to 31 character length." Text="Hey James,&#xD;&#xA;&#xD;&#xA;What version of PT are you using?  When you save copy, are you saving it as 5.1 - 6.9 or earlier?  That will shorten character names exceeding 31 characters. &#xD;&#xA;&#xD;&#xA;And the letters that get dropped aren't random, they are vowels only, so no worries. &#xD;&#xA;&#xD;&#xA;James  " ContentLicense="CC BY-SA 3.0" />
  <row Id="52989" PostHistoryTypeId="24" PostId="20247" RevisionGUID="8adf7d18-33c5-4e8f-b3a0-bfb1b4eb2e3f" CreationDate="2014-05-01T13:42:09.070" Comment="Proposed by 8125 approved by 182, 7174 edit id of 125" ContentLicense="CC BY-SA 3.0" />
  <row Id="52993" PostHistoryTypeId="5" PostId="28331" RevisionGUID="3b00b91e-55c0-466a-92b3-ec2bea7381d9" CreationDate="2014-05-01T15:38:54.053" UserId="8114" Comment="added 23 characters in body" Text="*Pre-Question-Introduction: I am a noob, but I really want to understand what exactly is going on behind every single dial and button I press.*&#xD;&#xA;&#xD;&#xA;The &quot;Uni&quot; button on the Analog module of Ableton live, which stands for &quot;Unison,&quot; creates a second voice.  The pitch of that additional voice depends on the value of &quot;detune.&quot;&#xD;&#xA;&#xD;&#xA;I'm trying to understand what exactly this means.  To do so I am starting with the most simple inputs as possible.  These questions assume one sine wave oscillator, and an amp at a constant 100%&#xD;&#xA;&#xD;&#xA;**My questions:**&#xD;&#xA;&#xD;&#xA; 1. The value of Detune ranges from 0 to 100; what are the units here?  What is 0 and what is 100?&#xD;&#xA; 2. Using a sine wave and 2 voices creates a rhythmic silence and pause which is more noticeable for smaller values of detune.  Am I correct that this is a manifestation of [beat frequency][1]?  Can I control this effect or is that pulse just a fact of life?&#xD;&#xA; 3. I am able to increase the number of voices from 2 to 4.  What is actually happening here, what determines the pitch of those four voices?&#xD;&#xA; 4. I noticed that the effect of Uni changes depending on when I enable it (try spamming a note and rapidly turning uni, with detune set to 0, on and off).  It seems the phase of the second voice can shift around resulting in different types of interference.  What determines the phase of the second voice in relation to the first?  Is there a way to predictively enable it?&#xD;&#xA;&#xD;&#xA;Thanks for helping a control freak understand the tool.&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Beat_%28acoustics%29" ContentLicense="CC BY-SA 3.0" />
  <row Id="52997" PostHistoryTypeId="2" PostId="28348" RevisionGUID="9859e3ac-b69f-4527-b309-85dcd7a126dc" CreationDate="2014-05-01T18:22:35.377" UserId="8110" Text="&#xD;&#xA;I am concerned about the losses when converting flac files from 24bit to 16bit.&#xD;&#xA;Does it reduce quality or add noise or what?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="52998" PostHistoryTypeId="1" PostId="28348" RevisionGUID="9859e3ac-b69f-4527-b309-85dcd7a126dc" CreationDate="2014-05-01T18:22:35.377" UserId="8110" Text="What do I lose when reducing bit depth?" ContentLicense="CC BY-SA 3.0" />
  <row Id="52999" PostHistoryTypeId="3" PostId="28348" RevisionGUID="9859e3ac-b69f-4527-b309-85dcd7a126dc" CreationDate="2014-05-01T18:22:35.377" UserId="8110" Text="&lt;bit-depth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53000" PostHistoryTypeId="19" PostId="13866" RevisionGUID="f7b72ea3-a24b-41e4-a5ff-a0db5627992f" CreationDate="2014-05-01T18:24:36.507" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="53003" PostHistoryTypeId="2" PostId="28349" RevisionGUID="7e715d62-ee86-4e48-a98a-2f5f5b789661" CreationDate="2014-05-01T19:54:59.537" UserId="6432" Text="Technically it does reduce the quality, yes. It does not add noise. Will you notice the difference? Try it and see. I don't expect you will. 16bit is CD quality, ie pretty good considering how most people listen to music these days.&#xD;&#xA;&#xD;&#xA;Some reading if you want to understand more:&#xD;&#xA;&#xD;&#xA;[http://www.presonus.com/news/articles/sample-rate-and-bit-depth][1]&#xD;&#xA;&#xD;&#xA;A nice image from that page describing it:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.presonus.com/news/articles/sample-rate-and-bit-depth&#xD;&#xA;  [2]: http://i.stack.imgur.com/AGrlw.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="53006" PostHistoryTypeId="2" PostId="28352" RevisionGUID="9a981470-7f36-48aa-b331-301ac957a5bb" CreationDate="2014-05-01T22:03:10.603" UserId="7378" Text="It depends on multiple things.&#xD;&#xA;What genre do you mix? will you need a lot of bass?&#xD;&#xA;&#xD;&#xA;I have a pair of HS80M's and i love them. i like the bass, it goes very low. 32hz is still nice and smooth. (not that loud though. but in general they are loud enough.)&#xD;&#xA;&#xD;&#xA;I heard that the KRK's have a bass boost and that's not what you're looking for in reference monitors. they need to be flat but that depends on your acoustics too.&#xD;&#xA;&#xD;&#xA;If i were you, i would go to music store to have a listen to all of them, that's what i did.&#xD;&#xA;&#xD;&#xA;I also think the Adam A7X could be very good but it's slightly over your budget. maybe it's worth it, just go have a listen and decide for yourself.&#xD;&#xA;&#xD;&#xA;i also bought a pair of these 'mopads' http://www.amazon.com/Auralex-Monitor-Isolation-Speakers-Charcoal/dp/B0002D0B4K/ref=pd_rhf_se_s_sp_2_1_8W0B?ie=UTF8&amp;refRID=0GJA9XYSY1BJ4PVW8W0B so my desk doesn't resonate." ContentLicense="CC BY-SA 3.0" />
  <row Id="53007" PostHistoryTypeId="2" PostId="28353" RevisionGUID="f5a9f452-07cb-45f6-b694-fe8c6b7e0988" CreationDate="2014-05-01T22:11:29.740" UserId="8142" Text="I think the bass boost on the KRKs is optional but I could be wrong? I've used KRKs Rokit 6s before, still do at home sometimes and they've always been good to me but haven't tried out the rest of the series. If theres one thing thats worth investing in at this stage its a good set of monitors, that doesn't necessarily mean the most expensive although you do get what you pay for. Like the previous poster (sorry don't know the name) said, try them out, see how they feel to you before you buy&#xD;&#xA;Neil" ContentLicense="CC BY-SA 3.0" />
  <row Id="53008" PostHistoryTypeId="2" PostId="28354" RevisionGUID="922f2ab7-1f9e-4b8d-b4c2-7577f8e9106c" CreationDate="2014-05-01T22:23:27.953" UserId="7405" Text="I think I was reasonably lucky when I bought my Mackie HR624 speakers - I just trawled the net and these seemed to be recommended the most (for my budget back in 2009 of about £500 a pair).&#xD;&#xA;&#xD;&#xA;Now I know what to look for because what follows was the first (and most important) lesson I learnt when I plugged them in: -&#xD;&#xA;&#xD;&#xA;So, I plugged them in and went straight away to the music I had created - I didn't know what to expect but what I heard was a pathetic, weak and badly eq'd pile of sh*t. First thought &quot;I've just spent £500 on something that sounds crap&quot;.&#xD;&#xA;&#xD;&#xA;After about ten minutes it dawned on me what was happening - the Mackie's were actually telling me the truth. My hi-fi lied to me, my previous speakers lied to me, my friends hi-fi lied to me and my car stereo lied to me.&#xD;&#xA;&#xD;&#xA;Why did they lie? This was the 2nd realization - of course they'll lie - they'll take in whatever music source they have and do their very best to represent it full-bodied to the listener - they don't want crap sounds coming outta their speakers - if that happened then nobody on earth is going to buy them - they are in the market to sell sound and they rise and fall on that listener experience to make new sales.&#xD;&#xA;&#xD;&#xA;The Mackies just told me the truth and the truth was - fix up your music to get a thicker sound and re eq stuff here and there.&#xD;&#xA;&#xD;&#xA;$1000 should get you something reasonably decent and I would always buy mackies but my advice would be, save for another year and buy something for $2000 (or get a bank loan).&#xD;&#xA;&#xD;&#xA;Hope this has been helpful - my experience was a total eye opener for me!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="53011" PostHistoryTypeId="2" PostId="28357" RevisionGUID="5e795a8a-70a1-45c1-92e3-7d908fc809d4" CreationDate="2014-05-01T23:20:11.200" UserId="7405" Text="It's a mix of your input sine wave and a delayed version of the s wave. Eventually the two s waves add negatively and there is a brief cancellation of each other resulting in the short silent period. The smaller the detune value is means that they tend to remain antiphase (and cancelling) for a longer period of time BUT it happens less frequently.&#xD;&#xA;&#xD;&#xA;The 100% detune value might be one semitone but I'm not sure.&#xD;&#xA;&#xD;&#xA;Keep testing with s waves because that's the only way you'll get to the bottom of this." ContentLicense="CC BY-SA 3.0" />
  <row Id="53012" PostHistoryTypeId="2" PostId="28358" RevisionGUID="3ea2b7fd-6d8f-49d7-8e12-001f9e715f38" CreationDate="2014-05-01T23:38:31.587" UserId="7405" Text="You might find that the natural resonant frequency of the new room is more pronounced and this could be annoying. It will tend to occur below about 200 Hz and can give a booming effect. Resonance and reverberation go hand in hand but to get bad effects you need reflections off all sides of the room. This causes a sustained resonance that can be a real pain. Sound doesn't differentiate between walls, floors and ceilings so if the walls are fairly neutral on reflections you may be ok.&#xD;&#xA;&#xD;&#xA;You've got to try it and see." ContentLicense="CC BY-SA 3.0" />
  <row Id="53017" PostHistoryTypeId="2" PostId="28360" RevisionGUID="8b1c98ac-a3f9-4a53-9898-e0b3ac117da7" CreationDate="2014-05-02T03:42:36.090" UserId="8114" Text="I have done some digging and experimenting, and will hopefully even hear back from members of the Ableton community soon, here are the answers I've found so far:&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**1: What is the scale of &quot;Detune&quot;?**&#xD;&#xA;&#xD;&#xA;This value is some type of percentage, where 0 is the tone being played, and 100 is one octave above that tone.  But it doesn't seem to be linear.  75 is a whole tone, 65 seems to be a semitone, and less than 65 is in between the original tone and the semitone.  I'm still curious what the exact formula is here.&#xD;&#xA;&#xD;&#xA;**2: Is the &quot;pulse&quot; an example of beat frequency?**&#xD;&#xA;&#xD;&#xA;This is, indeed, a manifestation of beat frequency.  From what I understand this is a fact of life (and one that affects more than the Uni button)&#xD;&#xA;&#xD;&#xA;**3: What determines the tone of the four voices?**&#xD;&#xA;&#xD;&#xA;To figure this one out I used the &quot;delay&quot; setting.  By setting the delay to the maximum value (100ms) I delay the entry each voice by 100ms, in sequence.  this means the first voice comes instantly, the second after 100ms, the third after 200ms, the fourth after 300ms.  With this setting, if you play a note for less than 100ms you can hear the notes independently.&#xD;&#xA;&#xD;&#xA; - Voice 1 is the original tone&#xD;&#xA; - Voice 2 is voice 1, shifted up by one &quot;detune&quot; unit (i.e. if detune is 100, 1 octive)&#xD;&#xA; - Voice 3 is voice 1, shifted down by one &quot;detune&quot; unit&#xD;&#xA; - Voice 4 is voice 2, shifted up by one &quot;detune&quot; unit&#xD;&#xA;&#xD;&#xA;This means if detune is set to 75 (which is a whole tone) and you play a &quot;G&quot; the four voices, in order would be: G, A, F, B&#xD;&#xA;&#xD;&#xA;**4: Why does rapidly clicking a note + &quot;Uni&quot; with a detune of 0 result in unpredictable sounds?**&#xD;&#xA;&#xD;&#xA;I'm starting to think this is just a bug.  I will report back if I learn otherwise from the Ableton community." ContentLicense="CC BY-SA 3.0" />
  <row Id="53036" PostHistoryTypeId="5" PostId="28337" RevisionGUID="c8b74014-7366-49c6-b6d2-161c2448469e" CreationDate="2014-05-02T11:45:12.697" UserId="7493" Comment="Answer to comment" Text="I used to record music utilizing Adobe Audition. Although the program was rather limited in its earlier versions, it had one knockout feature that I absolutely loved! I had the ability to edit my sound file manually. If I played too loudly in one part, I could manually adjust the volume, or lower it if required, I could select places to silence the audio file, such as while taking a breath etc.&#xD;&#xA;&#xD;&#xA;I'm currently using Logic Pro X and I have not found a way to be able to do this yet. I also have Pro Tools 11, but have not yet learned how to use it. &#xD;&#xA;&#xD;&#xA;Does anyone know if there is a way to alter the volume levels of particular parts of a sound file within either Logic Pro X or Pro Tools 11? Is there a plug in that I can purchase that does this?&#xD;&#xA;&#xD;&#xA;I have a bass track that I recorded, that was a very good performance, but I was playing a bit too dynamically, and my bass amp is not very good, so I don't foresee myself producing a bass track with much better quality. If I could go in and manually edit the volume on certain parts, I think it would sound phenomenal. &#xD;&#xA;&#xD;&#xA;Let me know if there are any plug-ins or built in features in Logic Pro X or Pro Tools 11 where I can do this. My other option is to export the bass file and import it into my Windows pc and mix it down in Adobe Audition, but I would like to avoid that if possible.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;In Adobe Audition, I was able to double click on a soundfile and highlight sections of the soundwave and manually increase or decrease virtually any section of the file. It was very easy to identify the peaks and shrink them by a few db by simply highlighting the peak right clicking, and selection volume cut, and manually inputting the amount to cut by. Is there any similar plug in or feature in another program?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53042" PostHistoryTypeId="2" PostId="28366" RevisionGUID="67594bd3-a352-4338-bcc1-dfbb2a3e146a" CreationDate="2014-05-02T17:26:18.407" UserId="7460" Text="In Cubase 7.5 there is a preset from *MIDI » Logical Presets » standard set 1* called *fixed velocity 100*.&#xD;&#xA;&#xD;&#xA;![][1]&#xD;&#xA;&#xD;&#xA;Select your notes and then apply this.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/vQpet.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="53043" PostHistoryTypeId="2" PostId="28367" RevisionGUID="e8233afd-c792-4f35-b4ff-693aa35f4a33" CreationDate="2014-05-02T19:43:16.140" UserId="8137" Text="Back to 24 track tape&#xD;&#xA;Unplug the limiters and compressors&#xD;&#xA;&#xD;&#xA;Pono....may be the future&#xD;&#xA;&#xD;&#xA;I am sure I may stir it up now so before it all starts this is my opinion and it is shared by many recording artists both old and new" ContentLicense="CC BY-SA 3.0" />
  <row Id="53051" PostHistoryTypeId="5" PostId="28349" RevisionGUID="1ac3f1b2-d447-4e43-b3c7-9794ee478e27" CreationDate="2014-05-03T09:51:34.470" UserId="6432" Comment="improved" Text="Technically it does reduce the quality, yes. It should not add any perceivable noise. Will you notice the difference? Try it and see. I don't expect you will. 16bit is CD quality, ie pretty good considering how most people listen to music these days.&#xD;&#xA;&#xD;&#xA;Some reading if you want to understand more:&#xD;&#xA;&#xD;&#xA;[http://www.presonus.com/news/articles/sample-rate-and-bit-depth][1]&#xD;&#xA;&#xD;&#xA;A nice image from that page describing it:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.presonus.com/news/articles/sample-rate-and-bit-depth&#xD;&#xA;  [2]: http://i.stack.imgur.com/AGrlw.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="53052" PostHistoryTypeId="2" PostId="28369" RevisionGUID="4f6a81e9-32ad-40c2-b83c-47d9295c7349" CreationDate="2014-05-03T10:45:17.373" UserId="8142" Text="On Pro Tools you can use the Trim plug in to alter the gain throughout the duration of the track. You can automate it so it rises and falls where you want it to. It is adviseable to record it right in the first place but if you need to there is this as an option on pro tools. I'm not sure if there is something similar on Logic, I'm sure there is, any plug in where you can automate the gain of the track should surfice&#xD;&#xA;&#xD;&#xA;Neil&#xD;&#xA;www.aaasounddesign.com" ContentLicense="CC BY-SA 3.0" />
  <row Id="53054" PostHistoryTypeId="2" PostId="28371" RevisionGUID="932485dc-d8f5-4488-990b-b7e8add5b9c6" CreationDate="2014-05-03T15:07:45.540" UserId="6520" Text="As long as you dither, you'll be fine; it can overcome the dynamic range limitations of if you had recorded 16-bit.&#xD;&#xA;&#xD;&#xA;Scroll down this page for more info on bit depth/dithering (I suggest reading the whole page):&#xD;&#xA;&#xD;&#xA;http://people.xiph.org/~xiphmont/demo/neil-young.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="53055" PostHistoryTypeId="2" PostId="28372" RevisionGUID="653ea037-fe94-47cd-9197-b28791cbaef7" CreationDate="2014-05-03T15:19:18.880" UserId="6520" Text="Try experimenting with very short impacts, such as actual gunfire samples, drum hits, or other interesting impact sfx, then sweep a low pass or band pass filter down (again, very quickly) over it.  Play with the Q, start and end points, and the rate of acceleration that the filter sweeps (linear, logarithmic, exponential, etc).&#xD;&#xA;&#xD;&#xA;Maybe try rapidly sweeping down the frequency of a sine wave oscillator to create the &quot;chirpy&quot; sound you want. Again, short duration and a quick attack is key here to keeping it from sounding too tonal.&#xD;&#xA;&#xD;&#xA;The two above methods together is where I would start." ContentLicense="CC BY-SA 3.0" />
  <row Id="53056" PostHistoryTypeId="2" PostId="28373" RevisionGUID="713b44e5-93c6-43a4-a13e-3e4bd72e59d7" CreationDate="2014-05-03T15:28:07.470" UserId="6399" Text="I think your looking for &quot;Clip Gain&quot; in ProTools.  Any clip can have the volume raised or lowered without using automation.  I like it because it's be insert so you can level your audio out before it  hits compressors or fx." ContentLicense="CC BY-SA 3.0" />
  <row Id="53057" PostHistoryTypeId="2" PostId="28374" RevisionGUID="084d1c41-33c2-4271-b2df-7649afc11402" CreationDate="2014-05-03T17:19:51.530" UserId="8006" Text="It's actually a General Midi Gunshot (#128) played in a high octave.&#xD;&#xA;Especially from Roland banks.&#xD;&#xA;&#xD;&#xA;Here's a real silencer:&#xD;&#xA;http://www.youtube.com/watch?v=Z3VITZ6-CcY" ContentLicense="CC BY-SA 3.0" />
  <row Id="53082" PostHistoryTypeId="2" PostId="28386" RevisionGUID="e4d4e377-0f7c-4567-93da-2a838c4d3a62" CreationDate="2014-05-05T07:54:07.050" UserId="8152" Text=" &#xD;&#xA;I could really use some help, I have a Behringer MINIMIX MIX800, Behringer MINIAMP AMP800, Audio-Technica BPHS1 Headphone Mic, running Windows 8.1. with a Sound Blaster X-Fi Xtreme Audio, a Curtis Mathis 5.1 Surround System.and using Vituraldub to record, how would you set these up, cause right now my set up is not working right, the music sucks, my voice on the mic is like coming from a tin can or tunnel, or outer space.﻿I even turn off the sound system to only get sound through my phones, makes no difference, its bot the same." ContentLicense="CC BY-SA 3.0" />
  <row Id="53083" PostHistoryTypeId="1" PostId="28386" RevisionGUID="e4d4e377-0f7c-4567-93da-2a838c4d3a62" CreationDate="2014-05-05T07:54:07.050" UserId="8152" Text="hellp setting up mixer and headphone amp" ContentLicense="CC BY-SA 3.0" />
  <row Id="53084" PostHistoryTypeId="3" PostId="28386" RevisionGUID="e4d4e377-0f7c-4567-93da-2a838c4d3a62" CreationDate="2014-05-05T07:54:07.050" UserId="8152" Text="&lt;home-studio&gt;&lt;home&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53098" PostHistoryTypeId="5" PostId="28386" RevisionGUID="fa8726af-858a-4312-b67f-2674329c17ab" CreationDate="2014-05-05T12:21:02.170" UserId="6957" Comment="formatting" Text=" &#xD;&#xA;I could really use some help, I have a &#xD;&#xA;&#xD;&#xA; - Behringer MINIMIX MIX800, &#xD;&#xA; - Behringer MINIAMP AMP800, &#xD;&#xA; - Audio-Technica BPHS1 Headphone Mic, running &#xD;&#xA; - Windows 8.1. with a &#xD;&#xA; - Sound Blaster X-Fi Xtreme Audio, a &#xD;&#xA; - Curtis Mathis 5.1 Surround System.and using &#xD;&#xA; - Vituraldub to record&#xD;&#xA;&#xD;&#xA;How would you set these up, cause right now my set up is not working right, the music sucks, my voice on the mic is like coming from a tin can or tunnel, or outer space.I even turn off the sound system to only get sound through my phones, makes no difference, its bot the same." ContentLicense="CC BY-SA 3.0" />
  <row Id="53099" PostHistoryTypeId="2" PostId="28388" RevisionGUID="350b7598-9264-485a-998c-0cf8116e4eea" CreationDate="2014-05-05T13:26:52.073" UserId="7174" Text="There is more to mixing than gear.  Out of the box, even good sound is going to sound funny and off, even if you have everything setup correctly.  At a minimum you need to equalize a microphone to have it sound decent and you really probably want to be applying some dynamics to it as well.&#xD;&#xA;&#xD;&#xA;The problem you are experiencing may be related to your setup or gear, particularly since some headset mics are notorious for sounding like you are in a paper bag (I am not familiar with your particular mic), but it is also highly likely to simply be an EQ problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="53109" PostHistoryTypeId="2" PostId="28392" RevisionGUID="47bfd26f-72d7-4f80-8cdd-1adf78520523" CreationDate="2014-05-05T19:54:38.183" UserId="7200" Text="If it sounds like from a tin can, tunnel, or outer space (whatever you mean by that) then there's something really wrong. It could be a lot of causes; one plausible is that you have an almost-feedback. Monitoring the mic through your surround system while recording is _of course_ problematic because sound from the speakers keeps getting back in the mic. In the extreme case, that results in the well-known uncontrolled howl, but if it's just below the threshold it'll already give unpleasant resonances. If you have only the headphones on, it should be fine however.&#xD;&#xA;&#xD;&#xA;Except of course if your recording environment sounds like a tunnel itself; often such room-acoustics problems become obvious only when using a microphone, but they're really problems of the room alone. Test the response with some clapping; if there's a &quot;rattlesnake tail&quot; echo then you should place some absorbers / diffusors or move to another room.&#xD;&#xA;&#xD;&#xA;Then there's the microphone. The BPHS1 should definitely be capable of giving decent results, though like any microphone it needs a decent preamp to do so. Now, apparently you're using the AMP800 for this? Not an ideal choice I daresay, this isn't really aimed at recording. A professional preamp will have balanced XLR mic ins, for a start. **On the off-chance:** you haven't plugged the headset's 1/4&quot; plug into the AMP800's mic input, have you? The 1/4&quot; plug is of course for the headphones. If you're not aware of it: headphone speakers actually function as microphones, though very badly. Perhaps that's what's going on? Be sure to use the actual microphone plug. I recommend using a USB audio interface with a decent mic input (e.g. Tascam US-122), that also saves you worries about the sound card.&#xD;&#xA;&#xD;&#xA;Finally, It's possible that you inadvertently have some weird reverb effect in your signal path. The AMP800 has an FX processor built-in – you surely have put that down – but any of the software you run might also do such stuff. A proper DAW used with ASIO drivers will give you better control than generic Windows drivers; I recommend [Reaper](http://www.reaper.fm/)." ContentLicense="CC BY-SA 3.0" />
  <row Id="53123" PostHistoryTypeId="5" PostId="28386" RevisionGUID="2002702a-7616-4148-9f53-a0648ed85093" CreationDate="2014-05-06T12:06:48.890" UserId="6957" Comment="Adding comments to OP" Text=" &#xD;&#xA;I could really use some help, I have a &#xD;&#xA;&#xD;&#xA; - Behringer MINIMIX MIX800, &#xD;&#xA; - Behringer MINIAMP AMP800, &#xD;&#xA; - Audio-Technica BPHS1 Headphone Mic, running &#xD;&#xA; - Windows 8.1. with a &#xD;&#xA; - Sound Blaster X-Fi Xtreme Audio, a &#xD;&#xA; - Curtis Mathis 5.1 Surround System.and using &#xD;&#xA; - Vituraldub to record&#xD;&#xA;&#xD;&#xA;How would you set these up, cause right now my set up is not working right, the music sucks, my voice on the mic is like coming from a tin can or tunnel, or outer space.I even turn off the sound system to only get sound through my phones, makes no difference, its bot the same.&#xD;&#xA;&#xD;&#xA;--**EDIT**--&#xD;&#xA;&#xD;&#xA;Thank you Josh, and everyone else. first as to what I want it for. I have a You Tube channel basically for Christian music and Bible topics.    &#xD;&#xA; 		&#xD;&#xA;My goal is to reach out. As to my set up now. The Mix800 is wired from the out to the input on the Amp800. the input from the mixer goes to the link out on the Amp800. The link out from the Amp800 goes to the blue port on the soundcard, that is the headphone, the input from the mixer goes to line out 1 split with the front and mixer of the sound system green port.&#xD;&#xA; 		&#xD;&#xA;The five ports go as to the current wiring is blue port headphones, green port front and mixer with using a split connection, nothing is in the gray port, the orange port is the center and subwoofer, the black port is the rear left and right of the sound system.&#xD;&#xA; 		&#xD;&#xA;As to the mic I am using, not a cheap one, high quality, Audio- Technica BPSHS1, which is plugged into a patch cord in the mixer split to both channels to achieve left and right channel. First I am a newbe as to if Behringer is good or not, I have no idea, I was suggested to this setup, I have seen it on you tube with great sound and capabilities. I just would like to be able to do my music which is going through the mixer using music files and my voice. &#xD;&#xA; 		&#xD;&#xA;So being new, I am just learning. I know the equipment I have should do what I want it to do. The Sound BlasterX-Fi Xtreme Audio is putting out great sound to the 5.1, it rocks. I just know it should be going through the mixer the same way, Yes its cheap as to my budget, however cheap don't mean junk, and before ordering the Behringer equipment I read many reviews, those were very reliable. I hope this is explains my full setup at the present, and not being real technical I do learn fast.&#xD;&#xA;&#xD;&#xA;Again thanks to everyone." ContentLicense="CC BY-SA 3.0" />
  <row Id="53125" PostHistoryTypeId="2" PostId="28394" RevisionGUID="00bf0998-6e2c-4c3d-b1eb-e086cbd05b1f" CreationDate="2014-05-06T21:45:59.303" UserId="8165" Text="I want to use the microkorg sounds but use an oxygen midi controller because I need bigger keys/more octaves. Is this possible? (I don't have the microkorg yet, otherwise I'd just figure it out) thanks&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53126" PostHistoryTypeId="1" PostId="28394" RevisionGUID="00bf0998-6e2c-4c3d-b1eb-e086cbd05b1f" CreationDate="2014-05-06T21:45:59.303" UserId="8165" Text="Can I daisy chain a microkorg with a midi controller keyboard?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53127" PostHistoryTypeId="3" PostId="28394" RevisionGUID="00bf0998-6e2c-4c3d-b1eb-e086cbd05b1f" CreationDate="2014-05-06T21:45:59.303" UserId="8165" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53128" PostHistoryTypeId="2" PostId="28395" RevisionGUID="e59068b5-45ec-4cc2-b2cf-e7d93d5661b9" CreationDate="2014-05-06T22:09:16.657" UserId="8166" Text="So normally when working with a mix, I generally (or at least I was taught to) mix with the rhythm section first and work my way up. In recency however, I've been hearing that it's more advantageous to work the other way saving the low end for last aka starting with mid-high responsive tracks, and working towards the low later. &#xD;&#xA;&#xD;&#xA;The advantages these people claim:&#xD;&#xA;Saves your listening accuracy for a lot longer&#xD;&#xA;Slows down listening fatigue&#xD;&#xA;Allows you to concentrate on the bulk of what makes the mix &quot;good&quot; while giving you freedom to tighten up the troublesome 200Hz - 1k areas.&#xD;&#xA;&#xD;&#xA;In rooms that seem less than adequate for bass heavy mixes (most home studios), it seems that this direction would be better too...at least initially.&#xD;&#xA;&#xD;&#xA;Naturally with everything creative of course &quot;There are no rules&quot; so working either way is a matter of preference, but I do believe in some forms of best practices in specifics situations, and if this could aid me in strengthening my stereo separation, then I would like to at least try it. &#xD;&#xA;&#xD;&#xA;That said, can anyone vouch for this approach? What are the disadvantages of starting the mix with elements that aren't necessarily the focus point of the song? Does it &quot;tend&quot; to change the mix's focus over a prolonged period, or...well...does it just work? Lastly, would/does this approach work for bass heavy mixes and what other new problems may arise if any?&#xD;&#xA;&#xD;&#xA;Thoughts please as I would like to try this on my next mix." ContentLicense="CC BY-SA 3.0" />
  <row Id="53129" PostHistoryTypeId="1" PostId="28395" RevisionGUID="e59068b5-45ec-4cc2-b2cf-e7d93d5661b9" CreationDate="2014-05-06T22:09:16.657" UserId="8166" Text="Mix Up or Mix Down?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53130" PostHistoryTypeId="3" PostId="28395" RevisionGUID="e59068b5-45ec-4cc2-b2cf-e7d93d5661b9" CreationDate="2014-05-06T22:09:16.657" UserId="8166" Text="&lt;mixing&gt;&lt;listening&gt;&lt;high-frequency&gt;&lt;ear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53131" PostHistoryTypeId="2" PostId="28396" RevisionGUID="2e4cba8c-16ac-4dca-8b50-ec4a499f490d" CreationDate="2014-05-07T02:38:24.753" UserId="7189" Text="According to [this SoS Review](http://www.soundonsound.com/sos/jan03/articles/microkorg.asp), the MicroKorg has MIDI in/out/thru, which makes it very likely that it will work as a sound module just like the MS2000 series did.&#xD;&#xA;&#xD;&#xA;If you don't yet have a MicroKorg, you might consider getting a MS2000r instead - it has a much better control panel and essentially the same sound engine. Prices may be lower since it lacks the tiny keyboard. I can confirm from personal experience that the MS2000r works great with a separate controller keyboard." ContentLicense="CC BY-SA 3.0" />
  <row Id="53133" PostHistoryTypeId="2" PostId="28397" RevisionGUID="691f10aa-9d77-4fd3-a6f5-31afe1a8c6f9" CreationDate="2014-05-07T11:38:39.173" UserId="8169" Text="I'm constructing a karaoke-type application that eliminates the sound of one voice, based on it's position in the stereo space. I calculate the left and right FFT's, and find the frequencies that are almost equal in volume (normalized for the angle in the stereo spectrum). &#xD;&#xA;This is my code (Vb.Net). IMx and REx are the Imaginary and Real part of the FFT output. l or r stand for Left and Right channel:&#xD;&#xA;&#xD;&#xA;                    For k = 1 To nSamples / 2&#xD;&#xA;                        Dim cV As Double = VolumL(k) / VolumR(k)&#xD;&#xA;                        If cV &gt;= LowMargin AndAlso cV &lt;= HighMargin Then&#xD;&#xA;                            IMXl(k) = 0&#xD;&#xA;                            REXl(k) = 0&#xD;&#xA;                            IMXr(k) = 0&#xD;&#xA;                            REXr(k) = 0&#xD;&#xA;                        End If&#xD;&#xA;                    Next&#xD;&#xA;Testing with a 2 sec 400Hz sample (left: volume from 0 to 1, right: from 1 to 0) I hear the IFFT about halves the volume in the part where I expect to have silence. It must be because I have to adjust the data in the other half of the FFT-output, but I have no idea which index in the second half corresponds with that in the first.&#xD;&#xA;&#xD;&#xA;Adding (assuming the frequencies in the second half range from 1 to 22050)&#xD;&#xA;   &#xD;&#xA;&#xD;&#xA;     each array(k + nSamples/2) = 0&#xD;&#xA;&#xD;&#xA;adds only distortion&#xD;&#xA;&#xD;&#xA;Adding (assuming the frequencies in the second half are inverse)&#xD;&#xA;   &#xD;&#xA;&#xD;&#xA;     each array(nSamples + 1 - k) = 0&#xD;&#xA;&#xD;&#xA;gives much much better results, but there remains a low volume sound. &#xD;&#xA;&#xD;&#xA;What is the way to get silence? Or which article explains me what I do when changing volume of certain frequencies (like you do in an equalizer)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53134" PostHistoryTypeId="1" PostId="28397" RevisionGUID="691f10aa-9d77-4fd3-a6f5-31afe1a8c6f9" CreationDate="2014-05-07T11:38:39.173" UserId="8169" Text="what part of the FFT array must be zeroed to create a piece of silence" ContentLicense="CC BY-SA 3.0" />
  <row Id="53135" PostHistoryTypeId="3" PostId="28397" RevisionGUID="691f10aa-9d77-4fd3-a6f5-31afe1a8c6f9" CreationDate="2014-05-07T11:38:39.173" UserId="8169" Text="&lt;sound-effects&gt;&lt;wave-editor&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53137" PostHistoryTypeId="2" PostId="28399" RevisionGUID="dbdc722f-7609-43b1-bc23-f5bc15bc298b" CreationDate="2014-05-07T14:03:06.080" UserId="7174" Text="Thinking about my personal process, I normally alter my process based around what I'm mixing.  For your typical rock mix, the drums form the foundation around which everything else is built, so I generally at least get them close, but then vocals and guitar are what people focus a lot of listening on, so I normally move to them pretty quickly once I have a general idea of the drums.  I get them where I want and then go back to fine tune the drums.&#xD;&#xA;&#xD;&#xA;I guess you could say I mix down, then up then down again.  It works as a hybrid approach that maximizes the space I can give to the mid range, but also keeps a solid foundation built around the drums and bass.&#xD;&#xA;&#xD;&#xA;That all said, if it is something other than a rock mix, that all goes out the window and I build from whatever the foundation of that musical style is.  It really depends on what I'm mixing and the way the group sounds.&#xD;&#xA;&#xD;&#xA;It is far more important to capture the sound and feel of the group well than it is to follow some particular pattern or process of mixing.  Figure out what is important about the sound, figure out what needs to sound the best, what you need to focus on when and work from there based on your knowledge of your own abilities and limitations.  As you alluded to, there is no right or wrong answer.  It is a creative process and you need to figure out what works for you and the music you are mixing." ContentLicense="CC BY-SA 3.0" />
  <row Id="53138" PostHistoryTypeId="2" PostId="28400" RevisionGUID="6cc4f242-e7cc-488e-88a5-feafaa08afb8" CreationDate="2014-05-07T19:35:19.480" UserId="6432" Text="Just try/find/borrow another cable and eliminate that as a possibility. Try another mic with your interface and eliminate that as the potential problem. It's a pretty simple process to work out the offending item and will be far more conclusive than any speculation from people here." ContentLicense="CC BY-SA 3.0" />
  <row Id="53142" PostHistoryTypeId="2" PostId="28402" RevisionGUID="6138540c-75f1-4daa-929e-ad2a70b83d8e" CreationDate="2014-05-08T13:01:19.680" UserId="7955" Text="I am Sid and I am a Sound Editor/Designer/Recordist from India. I have been working on movies in India for about 3 years and have recently completed some major mainstream cinema films.&#xD;&#xA;&#xD;&#xA;I do tracklaying/editing/mixing and have experience in location sound as well. In addition to doing mainstream movies, I keep doing student films/shorts as a way to work on some fresh cinema once in a while. &#xD;&#xA;&#xD;&#xA;I have carried out stereo/surround mixes for television and documentaries and have extensively worked in the film pre dubbing stage creating 5.1/7.1/Dolby Atmos dialogue, foley and sound fx pre dubs.&#xD;&#xA;&#xD;&#xA;I had applied to 4 places for an MA in sound design for films and television.&#xD;&#xA;&#xD;&#xA;This is a permanent link to my current showreel:&#xD;&#xA;&#xD;&#xA;[Click here for showreel][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://drive.google.com/file/d/0B1w5rv36t531SHJGcEV1VEVTamM/edit?usp=sharing&#xD;&#xA;&#xD;&#xA;Now I have an offer from the following places:&#xD;&#xA;&#xD;&#xA;1. Bournemouth University - MA in sound production for Film and Television&#xD;&#xA;2. University of Westminster - MA in Audio Production&#xD;&#xA;3. University of York - MA in post-production with sound design&#xD;&#xA;&#xD;&#xA;I am from India and dont have much idea about the local standing for these universities. Is anyone familiar with these universities? Has anyone studied any art or design course here? Any information would be helpful.&#xD;&#xA;&#xD;&#xA;I have a month from now to make up my mind as to where I want to study.&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Sid" ContentLicense="CC BY-SA 3.0" />
  <row Id="53143" PostHistoryTypeId="1" PostId="28402" RevisionGUID="6138540c-75f1-4daa-929e-ad2a70b83d8e" CreationDate="2014-05-08T13:01:19.680" UserId="7955" Text="Where to study advanced sound design? More inside" ContentLicense="CC BY-SA 3.0" />
  <row Id="53144" PostHistoryTypeId="3" PostId="28402" RevisionGUID="6138540c-75f1-4daa-929e-ad2a70b83d8e" CreationDate="2014-05-08T13:01:19.680" UserId="7955" Text="&lt;design&gt;&lt;sound&gt;&lt;showreel&gt;&lt;uk&gt;&lt;studies&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53151" PostHistoryTypeId="5" PostId="22013" RevisionGUID="c3a7eb42-b2d9-4aae-a95d-e23d8ae1348d" CreationDate="2014-05-08T17:41:16.600" UserId="6925" Comment="added 1 character in body" Text="You heard some sound (sound effect from the cinema, some interesting tone from the recording, whatever).  &#xD;&#xA;&#xD;&#xA;What steps do you take to reproduce the sound you liked?  " ContentLicense="CC BY-SA 3.0" />
  <row Id="53152" PostHistoryTypeId="2" PostId="28405" RevisionGUID="3822359d-c43e-4b6e-ad32-5fe0742490e9" CreationDate="2014-05-08T17:51:16.007" UserId="1216" Text="Interesting question. I can understand your difficulty in making a decision.&#xD;&#xA;However I feel that you are overlooking the fact that you probably won't learn a whole lot, simply because you already have learned in practice.&#xD;&#xA;Most University courses I know focus a lot on technical aspects, that's not exactly what you need. (That is an impressive list of skills, btw.)&#xD;&#xA;&#xD;&#xA;Let me ask you a question: what do you expect from a university course? Whether it's design or art, is not a very big distinction to me. Is it to you?&#xD;&#xA;But most importantly:&#xD;&#xA;Where do you want to be? (not literally) In which aspects do you need to develop yourself, to get there?&#xD;&#xA;&#xD;&#xA;Cheers!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53154" PostHistoryTypeId="2" PostId="28406" RevisionGUID="8bcff91c-9df5-4aba-9828-52b1d7767d0d" CreationDate="2014-05-08T18:29:26.733" UserId="8178" Text="After having created a project with Pro Tools which includes a movie that I have added audio tracks to, after I bounce the project to a Quicktime movie via this option in the file drop-down menu, I try playing the project in Pro Tools again but the audio from all tracks is completely silenced although the movie will run as normal in its separate window. Does anyone know why the tracks aren't playing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53155" PostHistoryTypeId="1" PostId="28406" RevisionGUID="8bcff91c-9df5-4aba-9828-52b1d7767d0d" CreationDate="2014-05-08T18:29:26.733" UserId="8178" Text="Pro Tools Removing Sound After Bouncing To Quicktime Movie" ContentLicense="CC BY-SA 3.0" />
  <row Id="53156" PostHistoryTypeId="3" PostId="28406" RevisionGUID="8bcff91c-9df5-4aba-9828-52b1d7767d0d" CreationDate="2014-05-08T18:29:26.733" UserId="8178" Text="&lt;pro-tools&gt;&lt;track&gt;&lt;building-a-soundtrack&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53157" PostHistoryTypeId="2" PostId="28407" RevisionGUID="72edd9c5-e690-4d68-a08b-b6a344c3daeb" CreationDate="2014-05-08T19:23:40.840" UserId="8174" Text="For doing a tutorial video cast, is there any reason to use 44.1 vs 48 kHz sampling rate?&#xD;&#xA;&#xD;&#xA;I'm exporting out of Screenflow and these are the two options for sample rate.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="53158" PostHistoryTypeId="1" PostId="28407" RevisionGUID="72edd9c5-e690-4d68-a08b-b6a344c3daeb" CreationDate="2014-05-08T19:23:40.840" UserId="8174" Text="44.1 vs 48 kHz for talk?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53159" PostHistoryTypeId="3" PostId="28407" RevisionGUID="72edd9c5-e690-4d68-a08b-b6a344c3daeb" CreationDate="2014-05-08T19:23:40.840" UserId="8174" Text="&lt;sample-rate&gt;&lt;sound-quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53160" PostHistoryTypeId="2" PostId="28408" RevisionGUID="9c101083-ea79-4e0a-bb9d-b965fb026c21" CreationDate="2014-05-08T19:33:27.933" UserId="7094" Text="The standard for sound-to-picture tends to be 48kHz." ContentLicense="CC BY-SA 3.0" />
  <row Id="53161" PostHistoryTypeId="2" PostId="28409" RevisionGUID="0d158791-9f6b-4524-9cb0-25bd43ab6daf" CreationDate="2014-05-09T00:06:53.050" UserId="7797" Text="I'm trying to recreate a synthesizer sound in Ableton. I have access to VSTs like Sylenth and Massive, but I'd prefer to do it with only Ableton's Operator synthesizer.&#xD;&#xA;&#xD;&#xA;But for starters, it'd be great if some of you pros could tell me, how the sound was assembled.&#xD;&#xA;&#xD;&#xA;[Here is a sound sample.][1] The melody is D2, D3, D#2, D#3, F#3. D#3.&#xD;&#xA;&#xD;&#xA;The waveform looks like this for a D2. Second one is enlarged, so the individual sample points are visible.&#xD;&#xA;&#xD;&#xA;![Waveform for D2][2]&#xD;&#xA;![Waveform for D2][3]&#xD;&#xA;&#xD;&#xA;The spectrum for a D2.&#xD;&#xA;&#xD;&#xA;![Spectrum for D2][4]&#xD;&#xA;&#xD;&#xA;So, what do I have so far? In the beginning I thougt this is a saw wave, because using a saw wave, I was able to get a similiar spectrum. But something was off. The even spikes were always too high.&#xD;&#xA;&#xD;&#xA;As you can see here, every second spike is significantly smaller, than the other spikes. They also line up very well.&#xD;&#xA;&#xD;&#xA;![Spectrum for D2][5]&#xD;&#xA;&#xD;&#xA;This led me two using a combination of a square wave and a saw wave, with the saw wave piched up one octave and a bit quieter. I think it sounds more &quot;squarey&quot; than &quot;sawy&quot; anyways.&#xD;&#xA;&#xD;&#xA;What we have now looks like this. As you can see, the spikes somewhat line up.&#xD;&#xA;&#xD;&#xA;![enter image description here][6]&#xD;&#xA;&#xD;&#xA;But that doesn't quite make the cut. As [you can hear][7] the two synths still sound very different.&#xD;&#xA;&#xD;&#xA;First off, the original is distorted in some way. The high end basically sounds like white noise. Then there's a cut off filter, reverb and something that brings in some stereo, as well as some bass wibble wobble.&#xD;&#xA;&#xD;&#xA;Can you share some tips or do you have any ideas how to proceed? Am I on the right track or should I take a completely different approach.&#xD;&#xA;&#xD;&#xA;  [1]: https://soundcloud.com/silvinci/synth&#xD;&#xA;  [2]: http://i.stack.imgur.com/wM93R.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/fVPYs.png&#xD;&#xA;  [4]: http://i.stack.imgur.com/TztBr.png&#xD;&#xA;  [5]: http://i.stack.imgur.com/e3BfT.png&#xD;&#xA;  [6]: http://i.stack.imgur.com/ISfho.png&#xD;&#xA;  [7]: https://soundcloud.com/silvinci/synth-1" ContentLicense="CC BY-SA 3.0" />
  <row Id="53162" PostHistoryTypeId="1" PostId="28409" RevisionGUID="0d158791-9f6b-4524-9cb0-25bd43ab6daf" CreationDate="2014-05-09T00:06:53.050" UserId="7797" Text="Recreating a synthesizer" ContentLicense="CC BY-SA 3.0" />
  <row Id="53163" PostHistoryTypeId="3" PostId="28409" RevisionGUID="0d158791-9f6b-4524-9cb0-25bd43ab6daf" CreationDate="2014-05-09T00:06:53.050" UserId="7797" Text="&lt;synthesizer&gt;&lt;ableton-live&gt;&lt;ableton&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53164" PostHistoryTypeId="5" PostId="28409" RevisionGUID="5ccf0ca6-7e30-4401-8899-9f4f8a370ba3" CreationDate="2014-05-09T00:22:38.120" UserId="7797" Comment="added 311 characters in body" Text="I'm trying to recreate a synthesizer sound in Ableton. I have access to VSTs like Sylenth and Massive, but I'd prefer to do it with only Ableton's Operator synthesizer.&#xD;&#xA;&#xD;&#xA;But for starters, it'd be great if some of you pros could tell me, how the sound was assembled.&#xD;&#xA;&#xD;&#xA;[Here is a sound sample.][1] The melody is D2, D3, D#2, D#3, F#3. D#3.&#xD;&#xA;&#xD;&#xA;The waveform looks like this for a D2. Second one is enlarged, so the individual sample points are visible.&#xD;&#xA;&#xD;&#xA;![Waveform for D2][2]&#xD;&#xA;![Waveform for D2][3]&#xD;&#xA;&#xD;&#xA;The spectrum for a D2.&#xD;&#xA;&#xD;&#xA;![Spectrum for D2][4]&#xD;&#xA;&#xD;&#xA;So, what do I have so far? In the beginning I thougt this is a saw wave, because using a saw wave, I was able to get a similiar spectrum. But something was off. The even spikes were always too high.&#xD;&#xA;&#xD;&#xA;As you can see here, every second spike is significantly smaller, than the other spikes. They also line up very well.&#xD;&#xA;&#xD;&#xA;![Spectrum for D2][5]&#xD;&#xA;&#xD;&#xA;This led me two using a combination of a square wave and a saw wave, with the saw wave piched up one octave and a bit quieter. I think it sounds more &quot;squarey&quot; than &quot;sawy&quot; anyways.&#xD;&#xA;&#xD;&#xA;What we have now looks like this. As you can see, the spikes somewhat line up.&#xD;&#xA;&#xD;&#xA;![enter image description here][6]&#xD;&#xA;&#xD;&#xA;But that doesn't quite make the cut. As [you can hear][7] the two synths still sound very different. They also look different. (Original vs clone)&#xD;&#xA;&#xD;&#xA;![enter image description here][8]&#xD;&#xA;![enter image description here][9]&#xD;&#xA;&#xD;&#xA;It looks like my version needs some kind of &quot;smoothing&quot;. But I have know idea, how to achieve that.&#xD;&#xA;&#xD;&#xA;First off, the original is distorted in some way. The high end basically sounds like white noise. Then there's a cut off filter, reverb and something that brings in some stereo, as well as some bass wibble wobble.&#xD;&#xA;&#xD;&#xA;Can you share some tips or do you have any ideas how to proceed? Am I on the right track or should I take a completely different approach.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://soundcloud.com/silvinci/synth&#xD;&#xA;  [2]: http://i.stack.imgur.com/wM93R.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/fVPYs.png&#xD;&#xA;  [4]: http://i.stack.imgur.com/TztBr.png&#xD;&#xA;  [5]: http://i.stack.imgur.com/e3BfT.png&#xD;&#xA;  [6]: http://i.stack.imgur.com/ISfho.png&#xD;&#xA;  [7]: https://soundcloud.com/silvinci/synth-1&#xD;&#xA;  [8]: http://i.stack.imgur.com/LIMk0.png&#xD;&#xA;  [9]: http://i.stack.imgur.com/6aEWG.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="53165" PostHistoryTypeId="5" PostId="28409" RevisionGUID="b15a80b0-8a7c-4389-99e3-f49cffd35290" CreationDate="2014-05-09T00:27:49.180" UserId="7797" Comment="added 311 characters in body" Text="I'm trying to recreate a synthesizer sound in Ableton. I have access to VSTs like Sylenth and Massive, but I'd prefer to do it with only Ableton's Operator synthesizer.&#xD;&#xA;&#xD;&#xA;But for starters, it'd be great if some of you pros could tell me, how the sound was assembled.&#xD;&#xA;&#xD;&#xA;[Here is a sound sample.][1] The melody is D2, D3, D#2, D#3, F#3. D#3.&#xD;&#xA;&#xD;&#xA;The waveform looks like this for a D2. Second one is enlarged, so the individual sample points are visible.&#xD;&#xA;&#xD;&#xA;![Waveform for D2][2]&#xD;&#xA;![Waveform for D2][3]&#xD;&#xA;&#xD;&#xA;The spectrum for a D2.&#xD;&#xA;&#xD;&#xA;![Spectrum for D2][4]&#xD;&#xA;&#xD;&#xA;So, what do I have so far? In the beginning I thougt this is a saw wave, because using a saw wave, I was able to get a similiar spectrum. But something was off. The even spikes were always too high.&#xD;&#xA;&#xD;&#xA;As you can see here, every second spike is significantly smaller, than the other spikes. They also line up very well.&#xD;&#xA;&#xD;&#xA;![Spectrum for D2][5]&#xD;&#xA;&#xD;&#xA;This led me two using a combination of a square wave and a saw wave, with the saw wave piched up one octave and a bit quieter. I think it sounds more &quot;squarey&quot; than &quot;sawy&quot; anyways.&#xD;&#xA;&#xD;&#xA;What we have now looks like this. As you can see, the spikes somewhat line up.&#xD;&#xA;&#xD;&#xA;![enter image description here][6]&#xD;&#xA;&#xD;&#xA;But that doesn't quite make the cut. As [you can hear][7] the two synths still sound very different. They also look different. (Original vs clone)&#xD;&#xA;&#xD;&#xA;![enter image description here][8]&#xD;&#xA;![enter image description here][9]&#xD;&#xA;&#xD;&#xA;It looks like my version needs some kind of &quot;smoothing&quot;. But I have know idea, how to achieve that.&#xD;&#xA;&#xD;&#xA;First off, the original is distorted in some way. The high end basically sounds like white noise. Then there's a cut off filter, reverb and something that brings in some stereo, as well as some bass wibble wobble.&#xD;&#xA;&#xD;&#xA;Can you share some tips or do you have any ideas how to proceed? Am I on the right track or should I take a completely different approach.&#xD;&#xA;&#xD;&#xA;A different way of copying the sound be to use Simpler, but I don't want to sample the original synthesizer.&#xD;&#xA;&#xD;&#xA;  [1]: https://soundcloud.com/silvinci/synth&#xD;&#xA;  [2]: http://i.stack.imgur.com/wM93R.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/fVPYs.png&#xD;&#xA;  [4]: http://i.stack.imgur.com/TztBr.png&#xD;&#xA;  [5]: http://i.stack.imgur.com/e3BfT.png&#xD;&#xA;  [6]: http://i.stack.imgur.com/ISfho.png&#xD;&#xA;  [7]: https://soundcloud.com/silvinci/synth-1&#xD;&#xA;  [8]: http://i.stack.imgur.com/LIMk0.png&#xD;&#xA;  [9]: http://i.stack.imgur.com/6aEWG.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="53170" PostHistoryTypeId="2" PostId="28412" RevisionGUID="3c7b05ed-51f8-48c1-bb1d-4fd5866054a3" CreationDate="2014-05-09T08:45:42.263" UserId="8170" Text="I just started music production one year ago in FL Studio and I am not that great. I know how to make a song but I want to make it sound a bit majestic (tsunami-like). For that I want to add a kind of build like the wind. It is called a wind white noise but i dont know how to make it. I know how to do a normal white noise but I don't like it.&#xD;&#xA;&#xD;&#xA;How can I make white noise more like the wind?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53171" PostHistoryTypeId="1" PostId="28412" RevisionGUID="3c7b05ed-51f8-48c1-bb1d-4fd5866054a3" CreationDate="2014-05-09T08:45:42.263" UserId="8170" Text="Wind noise in Fl Studio" ContentLicense="CC BY-SA 3.0" />
  <row Id="53172" PostHistoryTypeId="3" PostId="28412" RevisionGUID="3c7b05ed-51f8-48c1-bb1d-4fd5866054a3" CreationDate="2014-05-09T08:45:42.263" UserId="8170" Text="&lt;wind&gt;&lt;fl-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53174" PostHistoryTypeId="2" PostId="28413" RevisionGUID="0fa94392-039b-4693-96a4-74ec19a741c6" CreationDate="2014-05-09T10:41:03.263" UserId="6940" Text="In the UK, Masters level courses in arts subjects -tend- to focus more on theory/concept than the technical aspects; its generally expected that you know those already, and that what you're doing is of a personal research nature.  I know that Edinburgh's course is fairly 'conceptually' focussed, for example.&#xD;&#xA;&#xD;&#xA;The balance of that may vary among these courses, though, and it usually leans more heavily towards the technical side on those courses aimed at people who have a background in something else.&#xD;&#xA;&#xD;&#xA;I'd suggest you have a look at the showreel work for each course, that's often useful.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53177" PostHistoryTypeId="5" PostId="28409" RevisionGUID="fc16cc82-2631-45ff-a79c-5cb8ccc30a69" CreationDate="2014-05-09T12:30:34.667" UserId="7797" Comment="fix links" Text="I'm trying to recreate a synthesizer sound in Ableton. I have access to VSTs like Sylenth and Massive, but I'd prefer to do it with only Ableton's Operator synthesizer.&#xD;&#xA;&#xD;&#xA;But for starters, it'd be great if some of you pros could tell me, how the sound was assembled.&#xD;&#xA;&#xD;&#xA;[Here is a sound sample.][1] The melody is D2, D3, D#2, D#3, F#3. D#3.&#xD;&#xA;&#xD;&#xA;The waveform looks like this for a D2. Second one is enlarged, so the individual sample points are visible.&#xD;&#xA;&#xD;&#xA;![Waveform for D2][2]&#xD;&#xA;![Waveform for D2][3]&#xD;&#xA;&#xD;&#xA;The spectrum for a D2.&#xD;&#xA;&#xD;&#xA;![Spectrum for D2][4]&#xD;&#xA;&#xD;&#xA;So, what do I have so far? In the beginning I thougt this is a saw wave, because using a saw wave, I was able to get a similiar spectrum. But something was off. The even spikes were always too high.&#xD;&#xA;&#xD;&#xA;As you can see here, every second spike is significantly smaller, than the other spikes. They also line up very well.&#xD;&#xA;&#xD;&#xA;![Spectrum for D2][5]&#xD;&#xA;&#xD;&#xA;This led me two using a combination of a square wave and a saw wave, with the saw wave piched up one octave and a bit quieter. I think it sounds more &quot;squarey&quot; than &quot;sawy&quot; anyways.&#xD;&#xA;&#xD;&#xA;What we have now looks like this. As you can see, the spikes somewhat line up.&#xD;&#xA;&#xD;&#xA;![enter image description here][6]&#xD;&#xA;&#xD;&#xA;But that doesn't quite make the cut. As [you can hear][7] the two synths still sound very different. They also look different. (Original vs clone)&#xD;&#xA;&#xD;&#xA;![enter image description here][8]&#xD;&#xA;![enter image description here][9]&#xD;&#xA;&#xD;&#xA;It looks like my version needs some kind of &quot;smoothing&quot;. But I have know idea, how to achieve that.&#xD;&#xA;&#xD;&#xA;First off, the original is distorted in some way. The high end basically sounds like white noise. Then there's a cut off filter, reverb and something that brings in some stereo, as well as some bass wibble wobble.&#xD;&#xA;&#xD;&#xA;Can you share some tips or do you have any ideas how to proceed? Am I on the right track or should I take a completely different approach.&#xD;&#xA;&#xD;&#xA;A different way of copying the sound be to use Simpler, but I don't want to sample the original synthesizer.&#xD;&#xA;&#xD;&#xA;  [1]: https://soundcloud.com/silvinci/synth/s-w6Hvj&#xD;&#xA;  [2]: http://i.stack.imgur.com/wM93R.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/fVPYs.png&#xD;&#xA;  [4]: http://i.stack.imgur.com/TztBr.png&#xD;&#xA;  [5]: http://i.stack.imgur.com/e3BfT.png&#xD;&#xA;  [6]: http://i.stack.imgur.com/ISfho.png&#xD;&#xA;  [7]: https://soundcloud.com/silvinci/synth-1/s-qQ0Iv&#xD;&#xA;  [8]: http://i.stack.imgur.com/LIMk0.png&#xD;&#xA;  [9]: http://i.stack.imgur.com/6aEWG.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="53178" PostHistoryTypeId="2" PostId="28414" RevisionGUID="42c8ad5b-0045-4ee7-9cfe-a7cfa6a619a1" CreationDate="2014-05-09T15:38:10.573" UserId="3520" Text="You need to think about your end goal and what platform your project is to be viewed/heard.&#xD;&#xA;&#xD;&#xA;44.1 kHz is the exact sampling rate of a CD.  Therefore, it's the go-to sampling rate when recording/editing/mixing music or anything else that is being created with the intent of being played back on a CD.  &#xD;&#xA;&#xD;&#xA;48 kHz was chosen as the standard digital audio sample rate for tv/film back in the late 70's/early 80's for two main reasons.  It was chosen because of the way it behaves with the different standard frame rates, 23.98, 24 ,25, 29.97, and 30 fps.  The amount of samples per frame was an important factor, as it could cause leap frames and sync drift.  It was was also agreed that 48 kHz would produce the appropriate file size, as 50 and 60 kHz were also considered as options but they decided the storage required would be wasteful.  We started using 98 and 192 kHz recordings when we wanted higher fidelity and the ability to do extreme processing and mangling of sounds because they are multiples of 48 and divide cleanly, without dropping samples, when down-converted (same reason for 88.2 kHz)." ContentLicense="CC BY-SA 3.0" />
  <row Id="53186" PostHistoryTypeId="2" PostId="28417" RevisionGUID="0a57333c-5195-4b79-bb24-8fd63989becd" CreationDate="2014-05-09T17:57:36.213" UserId="8186" Text="people speaking English several centuries ago" ContentLicense="CC BY-SA 3.0" />
  <row Id="53218" PostHistoryTypeId="2" PostId="28423" RevisionGUID="a62c6c7e-6ff9-451e-89ec-40d3d4d09856" CreationDate="2014-05-10T22:39:20.983" UserId="8190" Text="Well, nice question. It is all about personal taste, but did you think about this approach?&#xD;&#xA;1,Make the static mix (just volume,panning)&#xD;&#xA;2, Make a group channels for drums, guitars,vocals,and other instruments&#xD;&#xA;3, Start with basic EQ and slight compressor changes on master fader to give mix quick &quot;look&quot; and global review (for you) in few minutes&#xD;&#xA;4, Then go level down to all let's say Drum channel and again ...&#xD;&#xA;5, End with the single tracks like kick,snare,dist.guitar and so&#xD;&#xA;Maybe you will be surprised how it could change the way of seeing mix and how it can save your time and give more complex review of the song. &#xD;&#xA;What do you think guys?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53220" PostHistoryTypeId="2" PostId="28424" RevisionGUID="d71dff71-cedd-4354-a658-3dd645022aa5" CreationDate="2014-05-11T10:29:18.883" UserId="6939" Text="Saw this promo and I liked some of the stuff I heard.  (link under)&#xD;&#xA;Any ideas on what techniques are being used here? I think especially of the stretched/broken sounds while changing key:) &#xD;&#xA;&#xD;&#xA;I hear this stuff all the time, from commercials to transformers movies, and Im sure there are many approaches from tremolo to mondomod or even granulating processing, but I havent tried myself. Would be great to hear your opinion or suggestions.&#xD;&#xA;&#xD;&#xA;http://vimeo.com/94395183" ContentLicense="CC BY-SA 3.0" />
  <row Id="53221" PostHistoryTypeId="1" PostId="28424" RevisionGUID="d71dff71-cedd-4354-a658-3dd645022aa5" CreationDate="2014-05-11T10:29:18.883" UserId="6939" Text="What techniques are being used here?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53222" PostHistoryTypeId="3" PostId="28424" RevisionGUID="d71dff71-cedd-4354-a658-3dd645022aa5" CreationDate="2014-05-11T10:29:18.883" UserId="6939" Text="&lt;sfx&gt;&lt;sound&gt;&lt;transformers&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53223" PostHistoryTypeId="4" PostId="28424" RevisionGUID="f30d81ee-af72-4072-8c65-807f40528500" CreationDate="2014-05-11T10:35:06.890" UserId="6939" Comment="edited title" Text="What techniques are being used here? // Commercial Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="53224" PostHistoryTypeId="5" PostId="28408" RevisionGUID="e53a5f28-cd5c-4064-a0b6-f88d81fcbe13" CreationDate="2014-05-11T15:49:38.897" UserId="769" Comment="love life lol" Text="The standard for sound-to-picture tends to be 48kHz.  &#xD;&#xA;&#xD;&#xA;The only real advantage I know of 44.1kHz over 48kHz is that it produces a smaller file size. However, when sound is put to picture, the file size is far more influenced by the video than the audio. I'm not much of an expert on exactly why 48kHz is favoured over 44.1 for video (it could be because 48kHz compliments 24 or 25fps mathematically, minimising sync issues), and I don't think there's any real audible difference, it's just common practise to sample at 48kHz when dealing with picture." ContentLicense="CC BY-SA 3.0" />
  <row Id="53225" PostHistoryTypeId="24" PostId="28408" RevisionGUID="e53a5f28-cd5c-4064-a0b6-f88d81fcbe13" CreationDate="2014-05-11T15:49:38.897" Comment="Proposed by 769 approved by 7094 edit id of 130" ContentLicense="CC BY-SA 3.0" />
  <row Id="53229" PostHistoryTypeId="10" PostId="19116" RevisionGUID="127e087f-962d-47b5-8ac1-b7b4e8f81dcf" CreationDate="2014-05-11T22:35:09.327" UserId="7016" Comment="105" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="53234" PostHistoryTypeId="5" PostId="20738" RevisionGUID="420829e4-7abc-4243-9540-1863531bcd11" CreationDate="2014-05-12T04:21:01.343" UserId="6571" Comment="additional link added" Text="I had the same problem a few years ago, so I made Excel table for it manually from Juicer searcher, you can download it here - hope it'll help:&#xD;&#xA;&#xD;&#xA;http://liquidblasted.net/other/juicy_sound_tracklist_4.zip&#xD;&#xA;&#xD;&#xA;UPD: Here is a link to all tracklists for Digital Juice I, II, III and IV volumes:&#xD;&#xA;&#xD;&#xA;http://liquidblasted.net/other/digital_juice_tracklists.zip" ContentLicense="CC BY-SA 3.0" />
  <row Id="53259" PostHistoryTypeId="2" PostId="28429" RevisionGUID="6bc2df2d-a040-49bc-8ba6-39310fb5f399" CreationDate="2014-05-12T19:12:26.207" UserId="8203" Text="How to make a lead like in [Notre-Dame de Paris - La monture](https://www.youtube.com/watch?v=-Qe9SwIOmv0) at the first 4 seconds? This sound is similar to a circular saw. It is often used to represent aridity. It's also featured in [The Future Sound Of London - Papua New Guinea](https://www.youtube.com/watch?v=wfWMv8Y1V5E#t=0m27) at 0:27 and in Dj Promo - Beat Ya Brain Again at 0:40. It can be very useful for a big beat track.&#xD;&#xA;&#xD;&#xA;Tutorials of any DAW can be useful but the target DAW is Audiotool.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53260" PostHistoryTypeId="1" PostId="28429" RevisionGUID="6bc2df2d-a040-49bc-8ba6-39310fb5f399" CreationDate="2014-05-12T19:12:26.207" UserId="8203" Text="How to make a lead similar to a circular saw" ContentLicense="CC BY-SA 3.0" />
  <row Id="53261" PostHistoryTypeId="3" PostId="28429" RevisionGUID="6bc2df2d-a040-49bc-8ba6-39310fb5f399" CreationDate="2014-05-12T19:12:26.207" UserId="8203" Text="&lt;effects&gt;&lt;noise&gt;&lt;daw&gt;&lt;synthesizer&gt;&lt;ambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53269" PostHistoryTypeId="2" PostId="28430" RevisionGUID="4137325b-8b9d-4ce7-8621-96610bdefa6c" CreationDate="2014-05-13T07:27:03.557" UserId="8205" Text="I Have some troubles to design some sound effect, i'm working on a movie where the Magic has a big place. In this movie there is a character who uses his magic wand in order to protect himself against creatures just like Harry potter did with the patronus against dementors. &#xD;&#xA;&#xD;&#xA;My Goal is to create a sound effect quite similar to the patronus sound effect in the Harry Potter movie : https://www.youtube.com/watch?v=RezjC4jdbTU&#xD;&#xA;,because the image is quite the same, a white light which is growing and then starts to be a protective shield against those creatures.&#xD;&#xA;&#xD;&#xA;Waiting for your answers, Thank you all&#xD;&#xA;Have a nice day !&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53270" PostHistoryTypeId="1" PostId="28430" RevisionGUID="4137325b-8b9d-4ce7-8621-96610bdefa6c" CreationDate="2014-05-13T07:27:03.557" UserId="8205" Text="Harry Potter Patronus Sound Effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="53271" PostHistoryTypeId="3" PostId="28430" RevisionGUID="4137325b-8b9d-4ce7-8621-96610bdefa6c" CreationDate="2014-05-13T07:27:03.557" UserId="8205" Text="&lt;magical&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53272" PostHistoryTypeId="2" PostId="28431" RevisionGUID="14cce216-96a0-4de5-bad0-c4a0a7e49176" CreationDate="2014-05-13T18:32:20.370" UserId="6445" Text="To me, if I understand your question correctly it sounds like a combo of:&#xD;&#xA;&#xD;&#xA; - Choir Sounds&#xD;&#xA; - The sound of crows with some pitch processing fed through a doppler plugin (like wave's Doppler)&#xD;&#xA; - A third sound that sound not unlike kitchen knife honing iron with a bit of processing" ContentLicense="CC BY-SA 3.0" />
  <row Id="53273" PostHistoryTypeId="2" PostId="28432" RevisionGUID="b088b81f-b7a0-4560-b321-97da1290acd6" CreationDate="2014-05-13T19:04:38.763" UserId="8006" Text="Angelic choir (try Spectrasonic's Symphony of Voices) + ripping a piece of paper with a flanger/phaser effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="53274" PostHistoryTypeId="5" PostId="28432" RevisionGUID="6e6031f5-8413-4f19-8e8e-bc1d6cfe3633" CreationDate="2014-05-13T19:14:47.207" UserId="8006" Comment="added 26 characters in body" Text="Angelic choir (try Spectrasonic's Symphony of Voices) + ripping a piece of paper + blade sharpener effects with a flanger/phaser effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="53282" PostHistoryTypeId="6" PostId="28329" RevisionGUID="f3d781ce-44c8-4944-8384-9e974995ebbe" CreationDate="2014-05-14T03:17:57.817" UserId="6957" Comment="edited tags" Text="&lt;sound-design&gt;&lt;audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53283" PostHistoryTypeId="4" PostId="28329" RevisionGUID="f3d781ce-44c8-4944-8384-9e974995ebbe" CreationDate="2014-05-14T03:17:57.817" UserId="6957" Comment="edited tags" Text="Where can I find &quot;cosmic&quot; sounds like on the show Cosmos?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53284" PostHistoryTypeId="6" PostId="25894" RevisionGUID="01176309-0baf-4c81-8103-80d43b49917c" CreationDate="2014-05-14T03:24:25.707" UserId="6957" Comment="edited tags" Text="&lt;recommendations&gt;&lt;home-studio&gt;&lt;monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53288" PostHistoryTypeId="2" PostId="28436" RevisionGUID="11053117-8342-45a3-965c-5d72b3ae3bd0" CreationDate="2014-05-14T08:05:59.260" UserId="8213" Text="Generating a realistic wind noise is a tad hard, but this might work:&#xD;&#xA;&#xD;&#xA; - Don't use a generator, use a recording of white noise (or pink noise, if available)&#xD;&#xA; - Apply Fruity Fast LP (around %30 Cutoff and some resonance) then some EQ gain to qqmid-lows&#xD;&#xA; - Adding some reverb with big room size will sweeten it&#xD;&#xA; - Add pitch, cutoff and volume automation to make it sound more chaotic and natural&#xD;&#xA;&#xD;&#xA;Voila.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53289" PostHistoryTypeId="2" PostId="28437" RevisionGUID="fe545076-be27-4550-9353-ae187ff374bf" CreationDate="2014-05-14T10:08:02.763" UserId="8201" Text="When I hear a sound, I have three ways to describe it:&#xA;&#xA;1. If it has a real source I just call it. (e.g. Piano sound)&#xA;&#xA;2. If I know the method to produce it(sawtooth osc to lp filter with cutoff linked to a LFO)&#xA;&#xA;3. If I could mimic it (like wahwah)&#xA;&#xA;However these methods are usually not convertible. Say if I have a sound that I can mimic, then usually I don't know how to create this sound.&#xA;&#xA;This brings difficulties and confusions when I want to create an index for all the sounds I know (and to make/discover new sounds).&#xA;&#xA;So is there a better way to do this?&#xA;&#xA;Also, it would be wonderful if there is already such an index. :) Can someone give me some hints?&#xA;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="53290" PostHistoryTypeId="1" PostId="28437" RevisionGUID="fe545076-be27-4550-9353-ae187ff374bf" CreationDate="2014-05-14T10:08:02.763" UserId="8201" Text="How do you describe a sound, and is there a systematical categorized index of sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53291" PostHistoryTypeId="3" PostId="28437" RevisionGUID="fe545076-be27-4550-9353-ae187ff374bf" CreationDate="2014-05-14T10:08:02.763" UserId="8201" Text="&lt;sounds&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53292" PostHistoryTypeId="2" PostId="28438" RevisionGUID="c50966da-e9ce-4fc2-9e49-f9a20a51da1f" CreationDate="2014-05-14T11:38:47.580" UserId="8214" Text="You could try using something like Sonic Visualizer / Annotator to see and extract features of the sound http://isophonics.net/SonicVisualiser" ContentLicense="CC BY-SA 3.0" />
  <row Id="53293" PostHistoryTypeId="2" PostId="28439" RevisionGUID="2dac6751-ceaa-41b6-81cb-7f4bff725838" CreationDate="2014-05-14T12:56:02.313" UserId="1216" Text="interesting question!&#xD;&#xA;Yes, there are systemized/categorized indexes of sounds, these are called a &quot;thesaurus&quot; in libraries and archival practice. It's described as &quot;a book that lists words in groups of synonyms and related concepts.&quot; Of course you don't have just 1 book, and many have different rules.&#xD;&#xA;&#xD;&#xA;What I think is your issue is not a lack of words/ways of describing sounds, but the very nature of sound. Sound is a very subjective phenomenon. With that I mean that a lot of people hear different things, when presented with 1 sound. This is a good thing btw, because it allows people to have similar experiences instead of identical ones.&#xD;&#xA; &#xD;&#xA;What you could do is think about what emotion a sound tries to evoke and perhaps add that to your index. Or what use you think the sound will have. &#xD;&#xA;&#xD;&#xA;However I strongly believe that there will never be 1 or 2 fixed indexes. Culture changes and hence so does the 'meaning' of a sound.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53294" PostHistoryTypeId="2" PostId="28440" RevisionGUID="8c181116-d86b-421c-9b3d-835e132603ad" CreationDate="2014-05-14T13:00:10.793" UserId="1216" Text="I don't think this is a electronically generated/synthesised sound. &#xD;&#xA;You should look into sampling a metal sheet that is bowed by a violin player.&#xD;&#xA;[This][1] is a very musical example with a saw, but if you take a metal sheet and a bow you'll get a more disharmonic result.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=4nu6ZuJBU7Y" ContentLicense="CC BY-SA 3.0" />
  <row Id="53298" PostHistoryTypeId="2" PostId="28442" RevisionGUID="0d7bab0a-d52e-4082-a7c0-c0f992d5ba32" CreationDate="2014-05-14T15:34:45.683" UserId="8201" Text="This might be useful:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Waterphone&#xD;&#xA;&#xD;&#xA;It sounds like this:&#xD;&#xA;https://www.youtube.com/watch?v=hFyv6t3OS3c&#xD;&#xA;&#xD;&#xA;The resonate frequencies are similar to the sample you provided (from what I hear and think :-)&#xD;&#xA;&#xD;&#xA;If you do want to synthesise this, I guess you should go for physical models rather than OSCs." ContentLicense="CC BY-SA 3.0" />
  <row Id="53299" PostHistoryTypeId="5" PostId="28429" RevisionGUID="6743a99a-c27f-44e6-b808-309b1be31ce7" CreationDate="2014-05-14T15:42:07.533" UserId="6957" Comment="inline youtube" Text="How to make a lead like in [Notre-Dame de Paris - La monture](https://www.youtube.com/watch?v=-Qe9SwIOmv0) at the first 4 seconds? &#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=-Qe9SwIOmv0&#xD;&#xA;&#xD;&#xA;This sound is similar to a circular saw. It is often used to represent aridity. It's also featured in [The Future Sound Of London - Papua New Guinea](https://www.youtube.com/watch?v=wfWMv8Y1V5E#t=0m27) at 0:27 &#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=wfWMv8Y1V5E#t=0m27&#xD;&#xA;&#xD;&#xA;and in Dj Promo - Beat Ya Brain Again at 0:40. It can be very useful for a big beat track.&#xD;&#xA;&#xD;&#xA;Tutorials of any DAW can be useful but the target DAW is Audiotool.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53301" PostHistoryTypeId="5" PostId="28442" RevisionGUID="2cf0388f-1c1e-4472-86fe-39a9b99a7682" CreationDate="2014-05-14T15:45:34.853" UserId="8201" Comment="added 215 characters in body" Text="This might be useful:&#xD;&#xA;&#xD;&#xA;http://en.wikipedia.org/wiki/Waterphone&#xD;&#xA;&#xD;&#xA;It sounds like this:&#xD;&#xA;https://www.youtube.com/watch?v=hFyv6t3OS3c&#xD;&#xA;&#xD;&#xA;The resonate frequencies are similar to the sample you provided (from what I hear and think :-)&#xD;&#xA;&#xD;&#xA;If you do want to synthesise this, I guess you should go for physical models rather than OSCs.&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;Perhaps putting a crash/hit hat through a granulizer (or many, say 1000 granulizers) will also work?&#xD;&#xA;I got this idea from your second sample. It sounds like a lot of sharp stuff with a repeating pattern." ContentLicense="CC BY-SA 3.0" />
  <row Id="53302" PostHistoryTypeId="2" PostId="28443" RevisionGUID="f0530b21-a319-42e3-9677-bb959027e7d3" CreationDate="2014-05-14T16:09:47.660" UserId="8201" Text="I'm not familiar with Live, but here is my guess:&#xD;&#xA;&#xD;&#xA;1. It's square because it sounds 'empty' to me. Saw OSC has much more details.&#xD;&#xA;2. It's distorted. This contributes a lot to the sound and of course will add more details to a 'stock square wave'&#xD;&#xA;3. The distortion is dynamic. It's not just clipping the signal. It's more like a stomp box.&#xD;&#xA;4. Your clone doesn't have a filter envelop. The original one has. This is important. A LP filter will shape a square to a sine in the extreme case! That's why the waveform looks so different!&#xD;&#xA;5. Check the duty cycle. It might not be 50%-50%. Sounds like 60%-40% to me.&#xD;&#xA;6. The original one has legato.&#xD;&#xA;&#xD;&#xA;This reminds me of a demo song in FL Studio 4.1... TS404+Overdrive will create this sound.&#xD;&#xA;Also with Sytrus you can 'pinch' a sine wave into this directly. :-D" ContentLicense="CC BY-SA 3.0" />
  <row Id="53305" PostHistoryTypeId="2" PostId="28445" RevisionGUID="addb1193-4913-481c-b8a0-fa0a98bf5f6e" CreationDate="2014-05-14T18:51:05.260" UserId="8218" Text="DTS MDA and Dolby Atmos, are they targeted for Home Theaters?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53306" PostHistoryTypeId="1" PostId="28445" RevisionGUID="addb1193-4913-481c-b8a0-fa0a98bf5f6e" CreationDate="2014-05-14T18:51:05.260" UserId="8218" Text="What is difference between DTS MDA and Dolby Atmos?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53307" PostHistoryTypeId="3" PostId="28445" RevisionGUID="addb1193-4913-481c-b8a0-fa0a98bf5f6e" CreationDate="2014-05-14T18:51:05.260" UserId="8218" Text="&lt;dolby&gt;&lt;dts&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53308" PostHistoryTypeId="2" PostId="28446" RevisionGUID="8a2dd9c8-a359-48b3-b4c3-64d10f408d38" CreationDate="2014-05-14T18:55:31.043" UserId="1216" Text="Atmos is not targeted at home theaters, have you googled on atmos setups? &#xD;&#xA;it has a tremendous amount of 'horsepower' with lot's of speakers.. &#xD;&#xA;try fitting that into your livingroom :)&#xD;&#xA;&#xD;&#xA;MDA is a whole different animal. It is supposedly downward compatible, 'just' a PCM with extra metadata explaining where sounds should go. &#xD;&#xA;Atmos, works totally differently, at least from what i've heard/read.&#xD;&#xA;&#xD;&#xA;MDA: explanation&#xD;&#xA;https://www.youtube.com/watch?v=6eq76pCirqw&#xD;&#xA;&#xD;&#xA;Atmos explained by Coll Anderson and Craig Henighan :&#xD;&#xA;http://youtu.be/hv37oyOLC8c&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53316" PostHistoryTypeId="2" PostId="28452" RevisionGUID="c0fb521d-ec6d-40af-bef9-e6766a5e0e81" CreationDate="2014-05-14T21:29:19.643" UserId="8217" Text="Just start the engine of a car. At first you hear every cylinder exploding. Now - put the pedal to the metal! (Keep the clutch down) as the revving starts the song from the v8. Now when does the drums start to become a song?.. As guru Madashavi once said. &quot; Ask a physics teacher in the uni&quot; And the he smoked a pipe. Legs in lotus position." ContentLicense="CC BY-SA 3.0" />
  <row Id="53317" PostHistoryTypeId="2" PostId="28453" RevisionGUID="dc1bb28f-a612-46a9-8b4e-bad23312f24d" CreationDate="2014-05-14T21:39:03.070" UserId="8217" Text="The external soundcard may not be chosen before the realtek crap inside the computer. The volume of your earphones is 0? You plugged the earphones in the mic - entrance? You have the wrong kbps per second and your computer is to slow? As guru Madashavi once said: &quot;Even the smallest flower falls into the shadow - and gets crushed by the lawnmower&quot; " ContentLicense="CC BY-SA 3.0" />
  <row Id="53318" PostHistoryTypeId="2" PostId="28454" RevisionGUID="9746b804-14e9-4004-b4be-80cbc7a9269d" CreationDate="2014-05-14T21:43:56.517" UserId="8217" Text="Never mind the Flac. Guru Madashavi says:&quot; what is flac? Dont use that- there are no Flac players out there. Get a grip!&quot; &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53319" PostHistoryTypeId="2" PostId="28455" RevisionGUID="ff1f0d04-d20c-4ae7-b028-ea7c5b4df684" CreationDate="2014-05-14T21:59:14.943" UserId="8217" Text="Well. Static electricity can also make shit happen. Might be that you must keep the mic absolutely steady. I bought röde m3 - whichis crap if u move it around. They know that and send a rubber ring so the connection wont start causing noises. I just keep the mic fixed and the cable as well. I dont do on stage performances. Guru Madashavi says:&quot;That's because you're such a little geek an no material for a rockstar&quot; For further information on the Guru; See &quot;Music and Lyrics&quot; featuring Drew Barrymoore (alcoholic at 13) and Hugh Grant. The movie also contemplates various studio tasks and environments which can serve as inspiration. &quot;O shut up already!&quot; Says The Guru.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53321" PostHistoryTypeId="2" PostId="28457" RevisionGUID="d17e655a-0edc-41ca-8d89-33b05e99ac98" CreationDate="2014-05-14T22:31:40.620" UserId="8218" Text="It will be good if your friend launches album in MP3 or CD format. There are not many FLAC players out in market but may come in future.&#xD;&#xA;&#xD;&#xA;I recommend 24bit/96kHz will be better for FLAC encoding. btw, FLAC is lossless audio encoder." ContentLicense="CC BY-SA 3.0" />
  <row Id="53333" PostHistoryTypeId="2" PostId="28460" RevisionGUID="3c689b36-7c2a-4a38-a113-28ff9b64223b" CreationDate="2014-05-15T03:21:34.413" UserId="8201" Text="That is because what you are doing is called DFT rather than FFT. All stuff in computers are discrete. Sounds become aliased when they are sampled into 'grids' while the analog counterparts don't. Thus analog signals have true FFTs while the digital ones will always have some errors.&#xD;&#xA;&#xD;&#xA;If you try doing DFT on a pure sine wave, what you will get will not be a single line of the particular frequency. Instead, it will look like a distribution around the desired frequency. Eliminating that frequency will leave the other bars in the distribution unchanged. So you will still hear something.&#xD;&#xA;&#xD;&#xA;It's not the problem of your program. It's the nature of digital sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="53334" PostHistoryTypeId="5" PostId="28455" RevisionGUID="15109250-e90b-4538-9ba6-1b115531bb6a" CreationDate="2014-05-15T12:14:17.540" UserId="6957" Comment="removed chaff" Text="Well. Static electricity can also affect sound. Might be that you must keep the mic absolutely steady. I bought röde m3 - which crackles if you move it around. They know that and send a rubber ring so the connection wont start causing noises. I just keep the mic fixed and the cable as well. I don't, however, do on-stage performances." ContentLicense="CC BY-SA 3.0" />
  <row Id="53335" PostHistoryTypeId="5" PostId="28452" RevisionGUID="f6f8b2b4-0832-49fd-9298-32b81a406c39" CreationDate="2014-05-15T12:14:43.607" UserId="6957" Comment="deleted 117 characters in body" Text="Just start the engine of a car. At first you hear every cylinder exploding. Now - put the pedal to the metal! (Keep the clutch down) as the revving starts the song from the v8. Now when does the drums start to become a song?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53336" PostHistoryTypeId="5" PostId="28460" RevisionGUID="fb5a6f1e-68e6-4c42-b6b9-a77b63ba7f4a" CreationDate="2014-05-15T13:56:23.673" UserId="8201" Comment="added 317 characters in body" Text="That is because what you are doing is called DFT rather than FFT. All stuff in computers are discrete. Sounds become aliased when they are sampled into 'grids' while the analog counterparts don't. Thus analog signals have true FFTs while the digital ones will always have some errors.&#xD;&#xA;&#xD;&#xA;If you try doing DFT on a pure sine wave, what you will get will not be a single line of the particular frequency. Instead, it will look like a distribution around the desired frequency. Eliminating that frequency will leave the other bars in the distribution unchanged. So you will still hear something.&#xD;&#xA;&#xD;&#xA;It's not the problem of your program. It's the nature of digital sound.&#xA;&#xA;EDIT:&#xA;However its not impossible to overcome this problem. Though erroneous, the error has a limit, a range around the true frequency. You could decay this range(maybe with an envelop like a bowl?). But other stuff will also be decayed.&#xA;&#xA;So if you want to decay vocal only, you need to decay only vocal frequencies." ContentLicense="CC BY-SA 3.0" />
  <row Id="53337" PostHistoryTypeId="2" PostId="28461" RevisionGUID="b0ae2893-5685-4f8a-a5b3-19d1003698b6" CreationDate="2014-05-15T18:17:04.040" UserId="6425" Text="this is a very technical question about workflow optimisation for sound design. I am planing to have a collaboration with a sound designer. We want to be able to work together over a long distance. For the sound design/ foley etc, we used web cams to share our content and connect our sessions. But now we want to mess around with the stuff in our DAWs to see where we can go. We fought about screen sharing with the device team viewer. My companion has a PC running cubase, I have a mac using ableton live and protools. Now I can see his DAW, but i can hear his audio via the program. He is using a tascam Audio interface, and it seems, that he is bypassing the team viewer software. &#xD;&#xA;&#xD;&#xA;Is the a tool where I can just send the computer audio from a pc to a mac? Optimal would be a quality of 256k mp3 and higher. &#xD;&#xA;&#xD;&#xA;SO the goal would be to work in the same DAW, or at least to be able to see and hear what the other one is doing.&#xD;&#xA;&#xD;&#xA;Thanks for your help" ContentLicense="CC BY-SA 3.0" />
  <row Id="53338" PostHistoryTypeId="1" PostId="28461" RevisionGUID="b0ae2893-5685-4f8a-a5b3-19d1003698b6" CreationDate="2014-05-15T18:17:04.040" UserId="6425" Text="Colaborative Sound design via Screen sharing! Which tools do I need?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53339" PostHistoryTypeId="3" PostId="28461" RevisionGUID="b0ae2893-5685-4f8a-a5b3-19d1003698b6" CreationDate="2014-05-15T18:17:04.040" UserId="6425" Text="&lt;workflow&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53340" PostHistoryTypeId="5" PostId="28461" RevisionGUID="d380d02b-7bc0-4f70-ac4e-295da71f47d6" CreationDate="2014-05-15T18:37:35.483" UserId="1216" Comment="some typo's" Text="this is a very technical question about workflow optimisation for sound design. I am planing to have a collaboration with a sound designer. We want to be able to work together over a long distance. For the sound design/ foley etc, we used web cams to share our content and connect our sessions. But now we want to mess around with the stuff in our DAWs to see where we can go. We thought about screen sharing with the application Team Viewer. My companion has a PC running cubase, I have a mac using ableton live and protools. Now I can see his DAW, but i can't hear his audio via the program. He is using a tascam Audio interface, and it seems, that he is bypassing the team viewer software. &#xD;&#xA;&#xD;&#xA;Is there a tool where I can just send the computer audio from a pc to a mac? Optimal would be a quality of 256k mp3 and higher. &#xD;&#xA;&#xD;&#xA;SO the goal would be to work in the same DAW, or at least to be able to see and hear what the other one is doing.&#xD;&#xA;&#xD;&#xA;Thanks for your help" ContentLicense="CC BY-SA 3.0" />
  <row Id="53341" PostHistoryTypeId="4" PostId="28461" RevisionGUID="dd74c14c-faab-45a8-b7c2-83f797d38b33" CreationDate="2014-05-15T18:56:36.210" UserId="1216" Comment="title typo" Text="Collaborative Sound design via Screen sharing! Which tools do I need?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53342" PostHistoryTypeId="2" PostId="28462" RevisionGUID="bb165f58-3072-4da5-bb16-dcae910116f8" CreationDate="2014-05-15T19:23:48.943" UserId="8215" Text="I'm getting a no source input command on my logic 9… Apple support has no answer… Its something simple. also my Saffire pro 24 seems to be on correct settings&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53343" PostHistoryTypeId="1" PostId="28462" RevisionGUID="bb165f58-3072-4da5-bb16-dcae910116f8" CreationDate="2014-05-15T19:23:48.943" UserId="8215" Text="I'm getting a no source input command on my logic 9" ContentLicense="CC BY-SA 3.0" />
  <row Id="53344" PostHistoryTypeId="3" PostId="28462" RevisionGUID="bb165f58-3072-4da5-bb16-dcae910116f8" CreationDate="2014-05-15T19:23:48.943" UserId="8215" Text="&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53345" PostHistoryTypeId="2" PostId="28463" RevisionGUID="8f4bd3b2-18b6-4edc-bb2e-106753dec7a3" CreationDate="2014-05-15T21:22:15.913" UserId="6432" Text="I've never used it, but LOLA is supposed to be really amazing:&#xD;&#xA;&#xD;&#xA;[http://www.conservatorio.trieste.it/artistica/lola-project/lola-low-latency-audio-visual-streaming-system][1]&#xD;&#xA;&#xD;&#xA;https://community.ja.net/groups/arts-and-humanities/article/lola-low-latency-audio-visual-streaming-system&#xD;&#xA;&#xD;&#xA;I honestly don't know if it does what you need, but interesting none the less.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.conservatorio.trieste.it/artistica/lola-project/lola-low-latency-audio-visual-streaming-system" ContentLicense="CC BY-SA 3.0" />
  <row Id="53346" PostHistoryTypeId="2" PostId="28464" RevisionGUID="de95aedc-63ae-436d-a2d5-579fca9d0888" CreationDate="2014-05-16T01:14:55.153" UserId="7625" Text="Thanks for your support guys. The noise actually comes from the X2U adapter, at merely 50dB it couldn't handle the low signal of the SM7B. Now with Cloudlifter the signal is very clean. Naturally after equalizing and compressing some noise might come out but it can be easily fixed with a Izotope Denoiser." ContentLicense="CC BY-SA 3.0" />
  <row Id="53349" PostHistoryTypeId="2" PostId="28466" RevisionGUID="d0a89448-03b7-46a6-bb2b-757f1aec7d6d" CreationDate="2014-05-16T15:19:54.193" UserId="8225" Text="If the FLAC files are not meant to be used for further sound design, and are recorded at reasonable levels, you don't lose anything important.  The dynamic range of 16-bit sound is very high - roughly 100 dB (how dither affects this makes the answer not quite as straightforward as you'd thing it is).&#xD;&#xA;&#xD;&#xA;If you are truly concerned about the audiblity of bit depth on files like that, the best way to reasuure yourself is to test for yourself.  Get a free ABX comparator like FooBar, put in a file at 16 bit versus one at 24 bit, and listen for a difference.  Here's another blind test already set up that you could try:&#xD;&#xA;http://ethanwiner.com/BitsTest.html&#xD;&#xA;&#xD;&#xA;I have pretty good hearing, checked with blind tests here: http://www.audiocheck.net/blindtests_index.php&#xD;&#xA;&#xD;&#xA;I can assure you that unless you're planning to further process the sound or the sound in the file is very very quiet, you won't lose anything important.  If the sound is very quiet, normalize it first and then you can reduce the bot depth without losing anything important." ContentLicense="CC BY-SA 3.0" />
  <row Id="53350" PostHistoryTypeId="2" PostId="28467" RevisionGUID="d31522c0-5376-4916-92c3-1f82742dfb03" CreationDate="2014-05-16T15:31:57.940" UserId="8225" Text="This is kind of a broad question.  Sounds like this in commercials and movie trailers came from the mainstream success of EDM like Skrillex etc.  I hear a lot of the bread and butter tools of aggressive synthsizers - modulating the cutoff of resonant filters, etc.  I hear some &quot;lo-fi&quot; stuff, most obvious in the beginning, that sounds like it had a reduced sample rate and bit depth.&#xD;&#xA;&#xD;&#xA;If you want to do modern sound design techniques like this, you generally work with powerful synthesizers - I, for example, own and use a lot of the ones from Native Instruments Komplete.  Absynth and FM8 are both great.  Synths like this are meant to have the power and flexibility, working with envelops and modulators, to create the complex sounds like this, and you use multiple patches to assembe the soundscape you want.  I highly recommmend getting Absynth and going through the groove3 tutorials on it: http://www.groove3.com/str/Absynth-5-Explained.html&#xD;&#xA;&#xD;&#xA;I also highly recommend doing the same with FM8.  It's not some simple answers, it's a whole workflow, set of tools, and way of thinking.  Generally the FX are all intergrated into the synth itself, allowing them to be modulated with the envelopes to keep each effect nestled nicely into the patch to form cohesive sound.  &#xD;&#xA;&#xD;&#xA;It techs a lot of patence and technical ability as well as musical taste and viewing things from a high-level, producer's standpoint.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="53354" PostHistoryTypeId="5" PostId="28172" RevisionGUID="6f93d409-2d6f-4f69-b7bf-52fac3101e98" CreationDate="2014-05-17T00:23:05.967" UserId="6957" Comment="markdown for ordered list" Text="I've lately been trying to record my guitar/bass using logic pro X as a bit of a hobby but unfortunately I get ridiculous amounts of noise when I try to record. I am not sure where this noise is coming from and so it would be pretty helpful if anyone new of a way(s) to test for it's origin.&#xD;&#xA;&#xD;&#xA;I record using a Nio 2|4 USB interface (My budget is not very big) using my guitar/bass with a fairly standard 3m cable into logic pro X's amp modelling kit.&#xD;&#xA;&#xD;&#xA;Is it more likely to be one of these or is it a combination of them all?&#xD;&#xA;&#xD;&#xA;I am willing to buy a new interface, install noiseless pickups, buy a new lead or mess with logic pro but I don't have the money to do all of them so some guidance would be great.&#xD;&#xA;&#xD;&#xA;Thanks for your time.&#xD;&#xA;&#xD;&#xA;**UPDATE**&#xD;&#xA;&#xD;&#xA;Here is a link to a 7 various recordings:&#xD;&#xA;&#xD;&#xA;https://www.dropbox.com/s/d4iwvg9w585hdsc/Noise%20Test.m4a&#xD;&#xA;&#xD;&#xA;  1.  Guitar input on 0, Audio Interface Volume on 0&#xD;&#xA;  2.  Guitar input on 10, Audio Interface Volume on 0&#xD;&#xA;  3.  Guitar input on 0, Audio Interface Volume on 10&#xD;&#xA;  4.  Guitar input on 10, Audio Interface Volume on 10&#xD;&#xA;  5.  Blank mp3 through logic amp (Metronome added)&#xD;&#xA;  6.  Control measure - SFX: dog barking without amp&#xD;&#xA;  7.  Control measure - SFX: dog barking with amp" ContentLicense="CC BY-SA 3.0" />
  <row Id="53355" PostHistoryTypeId="2" PostId="28468" RevisionGUID="a6a2f8fd-e412-41b9-9b60-4667c0a30dbc" CreationDate="2014-05-17T11:57:24.013" UserId="6425" Text="A combination of heavily modulated synthesisers. Just sample them and play with the values while you record stuff. Then cut out the coolest parts and use them in a sampler. automate the pitch to get crazy change of modulation speeds and tonal changes and use external fx like chorus reverb and distortion and automate their values so they fit the rhythm of the modulated stuff. Then sample them again and start to build rhythms by fitting the samples together like a puzzle. Stuttering edits come in handy too also revers the samples and stretch them really hard.&#xD;&#xA;&#xD;&#xA;Granulated foley on top can give some nice organic sounds.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;It is a lot of experimentation to get such sounds... Just record stuff and play around with the knobs than trying to get one sound right. By experimenting you will record 100 cool sounds in the time you get one sound that you were after...&#xD;&#xA;&#xD;&#xA;Good Luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="53358" PostHistoryTypeId="2" PostId="28470" RevisionGUID="15e1ac57-3961-4049-9d64-632dd39ad086" CreationDate="2014-05-17T18:27:25.607" UserId="8205" Text="I'm here because I've met some troubles in the project wich i'm working in.&#xD;&#xA;One of the most important character in the movie is : a cicada.&#xD;&#xA;&#xD;&#xA;The problem is, i have to make the cicada lives with the sound, and I've tried everything : Find Cicada sound in Librarys do not work because there are too much cicadas and I just need ONE cicada ! I've searched on youtube, soundcloud but I really can't find a good sample of ONE cicada singing. I've tried to buy a cicada on the internet : Impossible. I've contacted Insects sellers : No answer.&#xD;&#xA;&#xD;&#xA;So the best way ... In fact the only way is to reproduce MY own cicada sound, here is the real problem, it's pretty hard. at the moment I've found some good results with old toy wich has mechanism with springs. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;But if someone has ever done this before, I'd really appreciate some help.&#xD;&#xA;&#xD;&#xA;Thank you all, Have a nice day.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53359" PostHistoryTypeId="1" PostId="28470" RevisionGUID="15e1ac57-3961-4049-9d64-632dd39ad086" CreationDate="2014-05-17T18:27:25.607" UserId="8205" Text="How To Make Cicada Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="53360" PostHistoryTypeId="3" PostId="28470" RevisionGUID="15e1ac57-3961-4049-9d64-632dd39ad086" CreationDate="2014-05-17T18:27:25.607" UserId="8205" Text="&lt;insects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53361" PostHistoryTypeId="2" PostId="28471" RevisionGUID="3681641d-228e-4f2f-b386-45f90ef3a322" CreationDate="2014-05-17T22:03:46.607" UserId="8006" Text="Try searching &quot;cicada&quot; on YouTube in foreign languages.&#xD;&#xA;Like Zikade, Cvrčci, セミ, Cicale, Цикадовые, Τζιτζίκι, böceği, 蝉&#xD;&#xA;&#xD;&#xA;Maybe you'll get better sources like this one:&#xD;&#xA;http://www.youtube.com/watch?v=sMI5YLOnsvc&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;This recording on Wikipedia is also useful:&#xD;&#xA;http://upload.wikimedia.org/wikipedia/commons/b/b0/New_Zealand_cicada_song.ogg" ContentLicense="CC BY-SA 3.0" />
  <row Id="53362" PostHistoryTypeId="2" PostId="28472" RevisionGUID="1ffef964-5328-40d6-af19-15ebf0cbda51" CreationDate="2014-05-17T23:36:02.417" UserId="6432" Text="Recordings do exist. I remember Tim Prebble posting a good one:&#xD;&#xA;&#xD;&#xA;http://www.musicofsound.co.nz/blog/cicadas-meet-pitch-shift&#xD;&#xA;&#xD;&#xA;Maybe try to get in touch with him?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53365" PostHistoryTypeId="2" PostId="28474" RevisionGUID="7d45c95f-515a-4941-bd8a-feb79a80bb1d" CreationDate="2014-05-18T12:43:31.023" UserId="8230" Text="Here are some solutions:&#xD;&#xA;&#xD;&#xA;**Virtual Audio Interface**&#xD;&#xA;&#xD;&#xA;This would be your best option. &#xD;&#xA;&#xD;&#xA;For OSX you have soundflower* for Windows you have Jack Audio* both are free :)&#xD;&#xA;&#xD;&#xA;You route the audio from your DAW into the virtual audio interface and than choose the virtual audio interface as an audio input in Team Wiever or Skype.&#xD;&#xA;&#xD;&#xA;![Soundflower in Ableton Live][3]&#xD;&#xA;&#xD;&#xA;![Soundflower in Team Wiever][4]&#xD;&#xA;&#xD;&#xA;**Online DAW:**&#xD;&#xA;&#xD;&#xA;If you don't have to use the DAWs you are currently using, you might check out Ohm Studio*&#xD;&#xA;&#xD;&#xA;**Project Sync:**&#xD;&#xA;&#xD;&#xA;If you have a good internet connection, all of the same plugins and both of you have the same version of both Ableton and Cubase you could sync your project files over for example dropbox.&#xD;&#xA;&#xD;&#xA;***Links:**&#xD;&#xA;&#xD;&#xA;I was not allowed to post more than two links.&#xD;&#xA;&#xD;&#xA;*Soundflower: google &quot;soundflower google code&quot;.&#xD;&#xA;&#xD;&#xA;*Jack Audio: jackaudio(dot)org/download&#xD;&#xA;&#xD;&#xA;*Ohm Studio: ohmstudio(dot)com&#xD;&#xA;&#xD;&#xA;  [3]: http://i.stack.imgur.com/fP4H9.png&#xD;&#xA;  [4]: http://i.stack.imgur.com/3bk9S.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="53366" PostHistoryTypeId="2" PostId="28475" RevisionGUID="11613030-52de-41e9-86e3-7cf520aac65f" CreationDate="2014-05-18T17:54:17.777" UserId="8231" Text="I have a few questions regarding the usage of radio mics and their input level into an SQN mixer;&#xD;&#xA;&#xD;&#xA;Does the radio transmitter/receiver for the mic transmit/receive &quot;mic level&quot; or &quot;line level&quot; audio, and what setting should the input selection be on the SQN channel? (i.e. 48v, 12v, line, dynamic, 12vt etc)&#xD;&#xA;&#xD;&#xA;Does selecting one input over the other reduce the pre amp noise floor? &#xD;&#xA;&#xD;&#xA;Many thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="53367" PostHistoryTypeId="1" PostId="28475" RevisionGUID="11613030-52de-41e9-86e3-7cf520aac65f" CreationDate="2014-05-18T17:54:17.777" UserId="8231" Text="Using radio mics with SQN mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="53368" PostHistoryTypeId="3" PostId="28475" RevisionGUID="11613030-52de-41e9-86e3-7cf520aac65f" CreationDate="2014-05-18T17:54:17.777" UserId="8231" Text="&lt;mixer&gt;&lt;radiomics&gt;&lt;xlr-input&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53371" PostHistoryTypeId="2" PostId="28478" RevisionGUID="9ef078fc-f2df-46bf-8b58-f779f1cc9a60" CreationDate="2014-05-18T18:12:23.470" UserId="8233" Text="Depends on the radio RX.&#xD;&#xA;&#xD;&#xA;Lectrosonics, Micron and Zaxcom can output at mic or line level,&#xD;&#xA;&#xD;&#xA;Audio 2040s and the G2 range are mic level. The mixer doesn't make a difference long as it can take line or mic in.&#xD;&#xA;&#xD;&#xA;Dynamic is mic level without power, so depending on your RX it would be line or dynamic (mic) level&#xD;&#xA;&#xD;&#xA;The inputs make no odds. SQN are noisy preamps, but that is a good reason to use line level radio mics to reduce the gain structure :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="53374" PostHistoryTypeId="2" PostId="28479" RevisionGUID="f4f8c4f5-3bc0-45c8-9405-71a9ba9d45f9" CreationDate="2014-05-18T20:12:30.627" UserId="8231" Text="I can vouch for using the Sony ECM 77 lav mics. Very small capsules (although not quite as small as DPA) and give very true and sensitive pickup of surrounding sounds. :)&#xD;&#xA;http://www.sony.co.uk/pro/product/broad-pro-audio-wired-lapel/ecm-77bc/overview/&#xD;&#xA;What is also good about these mics are the simple mounting clips and pop shields" ContentLicense="CC BY-SA 3.0" />
  <row Id="53380" PostHistoryTypeId="2" PostId="28481" RevisionGUID="166c1897-f407-4eda-8206-64e99cb0146d" CreationDate="2014-05-19T03:01:23.293" UserId="8234" Text="Since your situation is guitar/MIDI keyboard and with a smaller budget, you can either:&#xD;&#xA;&#xD;&#xA; 1. Go with the Line6 because it comes with guitar amp software and is very simple to use. Amp simulators and very basic input/controls. That's pretty much the only benefit I see. But if you have an amp for your guitar and pretty much want to stick with it (would invest in a mic at this point or use the amp's line-out to record the amp sound), then disregard this and,&#xD;&#xA; 2. Buy the M-Track because it comes with *two* microphone *and* guitar/instrument inputs, MIDI In/Out, *and* has hardware inserts(so you can insert a hardware EQ, gate, or compressor if you happen to have/get one. &#xD;&#xA;&#xD;&#xA;The M-Track also has a lot more control, like a separate headphone volume control, mono/stereo switch, input monitor control (for latency-free input monitoring), and another separate knob for the main output volume.&#xD;&#xA;&#xD;&#xA;Simply put, you can record your guitar direct into the interface at the same time you record your amp output for 2 different sources, have a MIDI keyboard hooked up &amp; ready, and be able to lower the speaker volume so that you can record quietly using headphones!&#xD;&#xA;&#xD;&#xA;**To answer your original question**, make sure your interface at least has:&#xD;&#xA;&#xD;&#xA; - 24-bit recording for more headroom/volume resolution, and 44.1kHz sample rate for CD-quality clarity (higher for DVD, etc.)&#xD;&#xA; - Preferably a way for zero-latency monitoring so you don't record off-beat &amp; distract yourself.&#xD;&#xA; - Combo XLR/TRS jacks preferably like these: [http://www.neutrik.com/en/xlr/combo-i-series/]Neutrik Combo Jack[1] but if not, then balanced XLR &amp; 1/4&quot; input jacks and use balanced cables to reduce noise.&#xD;&#xA; - MIDI In/Out.&#xD;&#xA; - Headphone jack w/separate control&#xD;&#xA; - BALANCED outputs so that you don't get anymore hum going to your speakers.&#xD;&#xA;&#xD;&#xA;Another good thing to do is look at reviews to see how long the interface usually lasts, what problems you might come across, and how tough the build of it is (if you do recording on-the-go so it doesn't break easily).&#xD;&#xA;&#xD;&#xA;In fact, I use the Presonus AudioBox and it's great. No issues on my end.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.neutrik.com/en/xlr/combo-i-series/" ContentLicense="CC BY-SA 3.0" />
  <row Id="53381" PostHistoryTypeId="10" PostId="26029" RevisionGUID="9973b2e6-f409-41dd-8002-d49cffd58cc3" CreationDate="2014-05-19T12:08:53.330" UserId="6957" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[25012],&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="53382" PostHistoryTypeId="37" PostId="26029" RevisionGUID="e70c2558-d67c-4643-add8-e32004f431ae" CreationDate="2014-05-19T12:09:02.117" UserId="6957" Comment="to http://sound.stackexchange.com/questions/25012/which-functional-specifications-are-most-important-in-an-audio-interface" />
  <row Id="53383" PostHistoryTypeId="38" PostId="28481" RevisionGUID="e70c2558-d67c-4643-add8-e32004f431ae" CreationDate="2014-05-19T12:09:02.117" UserId="6957" Comment="from http://sound.stackexchange.com/questions/26029/which-functional-specifications-are-most-important-in-an-audio-interface" />
  <row Id="53384" PostHistoryTypeId="38" PostId="25012" RevisionGUID="e70c2558-d67c-4643-add8-e32004f431ae" CreationDate="2014-05-19T12:09:02.117" UserId="6957" Comment="from http://sound.stackexchange.com/questions/26029/which-functional-specifications-are-most-important-in-an-audio-interface" />
  <row Id="53385" PostHistoryTypeId="14" PostId="26029" RevisionGUID="ecbd5f30-e482-4b06-82f3-7ac95787c282" CreationDate="2014-05-19T12:09:02.117" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="53390" PostHistoryTypeId="2" PostId="28482" RevisionGUID="42b63940-2221-4852-b73f-d7417668949c" CreationDate="2014-05-19T13:54:56.557" UserId="7174" Text="With a wireless mic, the microphone takes in a signal on the transmitter.  Depending on the transmitter, it may accept line level, mic level or both.  &#xD;&#xA;&#xD;&#xA;The transmitter then either translates that in to radio waves or digitizes it and transmits the digital audio.  The exact means is defined by the particular microphone system and is basically irrelevant to your purposes.  The important part is that the receiver knows how to read that signal and translate it back in to an analog audio signal that is produced by the receiver.&#xD;&#xA;&#xD;&#xA;Similar to the transmitter, the level of signal that the receiver produces is dependent on the receiver and doesn't necessarily match with what went in to the transmitter.  You should not need to (nor should you) send any phantom power (+##V) to the receiver as the receiver uses its own power.  It is most likely giving a line level output, but that isn't a guarantee.&#xD;&#xA;&#xD;&#xA;If your transmitter supports both line and mic level, you should choose whatever level your input actually produces to ensure the least noise.  This selection determines how the signal is translated to radio waves and generally, this processing and transmission is the easiest time for it to pick up noise.  Using incorrect settings will result in a too loud signal that clips or a too soft signal that gets excess noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="53394" PostHistoryTypeId="2" PostId="28484" RevisionGUID="70adf227-0b0a-4525-8820-faf069731d21" CreationDate="2014-05-19T22:45:41.343" UserId="8241" Text="How to put effect on both subgroup 1-2 and 3-4 on Behringer x2442usb mixer? Subgroup 1-2 for left channel only while subgroup 3-4 for both channel. Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="53395" PostHistoryTypeId="1" PostId="28484" RevisionGUID="70adf227-0b0a-4525-8820-faf069731d21" CreationDate="2014-05-19T22:45:41.343" UserId="8241" Text="Behringer x2442usb mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53396" PostHistoryTypeId="3" PostId="28484" RevisionGUID="70adf227-0b0a-4525-8820-faf069731d21" CreationDate="2014-05-19T22:45:41.343" UserId="8241" Text="&lt;electronics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53398" PostHistoryTypeId="2" PostId="28485" RevisionGUID="775b1924-b1b2-4ac1-9484-91c1a5d81a94" CreationDate="2014-05-20T04:41:26.040" UserId="8244" Text="Command + Option + Up or Down Arrows will scroll through available mics / channels here. &#xD;&#xA;&#xD;&#xA;I'm on PT 10.3.5 (OSX)" ContentLicense="CC BY-SA 3.0" />
  <row Id="53401" PostHistoryTypeId="2" PostId="28487" RevisionGUID="6a4c8e85-99a7-470b-8ed0-cfa5aa219529" CreationDate="2014-05-20T09:01:42.743" UserId="7401" Text="There is a similar question here http://sound.stackexchange.com/questions/6726/how-do-you-create-single-sideband-modulation-ssb but it does not solve how to recreate the effect with an FM or subtractive synth or a vocoder( if it is possible ). The task is to reproduce the effect of an untuned SSB receiver ( [here][1] an example stolen from the question above ). In the reality such a trasmission is done by removing from an AM modulation the carrier frquency and one of the side band, then in the receiver the carrier is &quot;beated&quot; with the signal to reproduce the original audio.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wired.com/dangerroom/2011/03/secret-libya-psyops/" ContentLicense="CC BY-SA 3.0" />
  <row Id="53402" PostHistoryTypeId="1" PostId="28487" RevisionGUID="6a4c8e85-99a7-470b-8ed0-cfa5aa219529" CreationDate="2014-05-20T09:01:42.743" UserId="7401" Text="Creating the SSB untuned radio effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="53403" PostHistoryTypeId="3" PostId="28487" RevisionGUID="6a4c8e85-99a7-470b-8ed0-cfa5aa219529" CreationDate="2014-05-20T09:01:42.743" UserId="7401" Text="&lt;daw&gt;&lt;synthesizer&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53406" PostHistoryTypeId="2" PostId="28489" RevisionGUID="ed449327-e65f-4159-bca8-846908176e6d" CreationDate="2014-05-20T14:09:25.077" UserId="7174" Text="You don't.  Sub-groups are mono, not stereo, you can only choose to assign sub-groups to left, right, both or neither, but the same thing goes to anything you assign them to.  Second, effect routing can either be to the mains or one set of sub-groups.  Either 1-2 or 3-4.  This should really be done as a stereo pair (one assigned left, one assigned right) since effects sometimes make use of stereo space.  If you are outputting to mono then it doesn't matter so much though." ContentLicense="CC BY-SA 3.0" />
  <row Id="53407" PostHistoryTypeId="5" PostId="28484" RevisionGUID="f1ad9362-ac2a-4924-bad8-6d158e7aab6f" CreationDate="2014-05-20T14:35:04.993" UserId="7174" Comment="tried to generalize the question to make it something that is more universally usable.; edited tags; edited tags" Text="I have a Behringer x2442usb mixer which has a stereo effects unit.  I would like to be able to assign the effect to both sub-groups 1-2 and 3-4, with subgroup 1-2 for left channel only while subgroup 3-4 would be a stereo pair. Is there a way that I can do this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53408" PostHistoryTypeId="4" PostId="28484" RevisionGUID="f1ad9362-ac2a-4924-bad8-6d158e7aab6f" CreationDate="2014-05-20T14:35:04.993" UserId="7174" Comment="tried to generalize the question to make it something that is more universally usable.; edited tags; edited tags" Text="Can I assign the left side of a stereo channel to both subgroups in a stereo set and assign it stereo in a different set?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53409" PostHistoryTypeId="5" PostId="28489" RevisionGUID="d5eedce5-f157-4b56-9951-2291a3aade41" CreationDate="2014-05-20T14:38:27.157" UserId="7174" Comment="added 573 characters in body" Text="Unfortunately you can't do this with most sound boards and your mixer is no exception (and is actually even more limited).&#xD;&#xA;&#xD;&#xA;Individual sub-group channels are mono, not stereo, you can only choose to assign sub-groups to left, right, both or neither, but the same thing goes to anything you assign them to.  When working as a stereo pair, you make odd number sub-groups left channel and even numbers right.  You can use the pan of a channel to decide how much of the signal goes to each of the two subgroups, but the same balance goes to every pair of sub-groups that you assign the channel to.  There is generally no option for separate balancing per sub-group.&#xD;&#xA;&#xD;&#xA;Even further for your board, effect routing can either be to the mains or one set of sub-groups.  Either 1-2 or 3-4.  There does not appear to be an option to send it to both.  This should really be done as a stereo pair (one assigned left, one assigned right) since effects sometimes make use of stereo space.  If you are outputting to mono then it doesn't matter so much though." ContentLicense="CC BY-SA 3.0" />
  <row Id="53410" PostHistoryTypeId="6" PostId="28484" RevisionGUID="f1ad9362-ac2a-4924-bad8-6d158e7aab6f" CreationDate="2014-05-20T14:35:04.993" UserId="7174" Comment="tried to generalize the question to make it something that is more universally usable.; edited tags; edited tags" Text="&lt;mixer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53411" PostHistoryTypeId="2" PostId="28490" RevisionGUID="e7e1cf66-2b8a-4f15-830d-d5a3f81decc7" CreationDate="2014-05-20T15:26:31.647" UserId="8225" Text="I always try searching for creative commons stuff first.  This is the best I could find after a short search of CC0 licensed material.  https://www.freesound.org/people/urupin/sounds/122614/" ContentLicense="CC BY-SA 3.0" />
  <row Id="53414" PostHistoryTypeId="2" PostId="28491" RevisionGUID="e9a12984-b2d0-412b-92ea-da07fcca4698" CreationDate="2014-05-20T15:58:33.207" UserId="8252" Text="I have a 24 channel mackie mixing board, and I am trying to run two shure super 55s through the board and into two EV 1 inch monitors. I am getting a large amount of feedback whenever I try to get any volume out of my mice, is there any special way to set the channels to get more volume with less feedback? Or is there any tips for getting more volume without having a large amount of feedback? " ContentLicense="CC BY-SA 3.0" />
  <row Id="53415" PostHistoryTypeId="1" PostId="28491" RevisionGUID="e9a12984-b2d0-412b-92ea-da07fcca4698" CreationDate="2014-05-20T15:58:33.207" UserId="8252" Text="Feedback problems" ContentLicense="CC BY-SA 3.0" />
  <row Id="53416" PostHistoryTypeId="3" PostId="28491" RevisionGUID="e9a12984-b2d0-412b-92ea-da07fcca4698" CreationDate="2014-05-20T15:58:33.207" UserId="8252" Text="&lt;mixer&gt;&lt;feedback&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53417" PostHistoryTypeId="2" PostId="28492" RevisionGUID="054da7ed-2ad1-4773-965e-a866d5e0004c" CreationDate="2014-05-20T16:11:24.120" UserId="7850" Text="The key here is to hunt down the source of the feedback and try to minimize it. There are a few things that need some clearing up. &#xD;&#xA;&#xD;&#xA;When you say 1 inch monitors, are these local monitors at your board or the house PA system you are mixing into?&#xD;&#xA;&#xD;&#xA;What output of the console are you using? &#xD;&#xA;&#xD;&#xA;What kind of setting are you in? &#xD;&#xA;&#xD;&#xA;What is the room like? &#xD;&#xA;&#xD;&#xA;One thing you can do is try to take a bit off the preamp and push the fader a bit more. If you have a low pass filter on your EQ section use it to roll of some of the top end which may help a bit as well. You may also be pushing the whole system to much in which case you may need to change your configuration for the room you are in. More details on the situation will help us answer this question. " ContentLicense="CC BY-SA 3.0" />
  <row Id="53418" PostHistoryTypeId="5" PostId="28491" RevisionGUID="274cdf59-fba5-4754-9a26-5fdc18e0ace2" CreationDate="2014-05-20T19:35:54.250" UserId="6432" Comment="added 1 character in body" Text="I have a 24 channel mackie mixing board, and I am trying to run two shure super 55s through the board and into two EV 1 inch monitors. I am getting a large amount of feedback whenever I try to get any volume out of my mics. Is there any special way to set the channels to get more volume with less feedback? Or are there any tips for getting more volume without having a large amount of feedback? " ContentLicense="CC BY-SA 3.0" />
  <row Id="53420" PostHistoryTypeId="2" PostId="28494" RevisionGUID="c53610e5-4356-4351-a2a6-b6e7564143b9" CreationDate="2014-05-21T02:45:23.620" UserId="8021" Text="Probably is a problem between Ram and Sound Card...&#xD;&#xA;probably is about DMA (Direct Memory Access)&#xD;&#xA;I'm really not an expert about linux but maybe you can find this links useful.&#xD;&#xA;&#xD;&#xA;I'm new and my &quot;reputation&quot; is not enough to insert more than 2 links in one comment so i had to cut the last 2 links with some space...&#xD;&#xA;Just copy-paste and delete ALL the UNUSEFUL space.&#xD;&#xA;&#xD;&#xA;Anyway...&#xD;&#xA;&#xD;&#xA;This is a link to roland official site and i think they explain clearly where is the problem and how to solve it...but not how to do it with linux&#xD;&#xA;http://www.rolandus.com/support/knowledge_base/view/23226173&#xD;&#xA;&#xD;&#xA;I found also this link about DMA and buffer setup, that for me is a little bit complicate but i'm pretty sure that you can finally find the solution inside there.&#xD;&#xA;http://www.makelinux.net/ldd3/chp-15-sect-4&#xD;&#xA;&#xD;&#xA;I found also a topic full of people that maybe can help you more than me to do the setup of your DMA.&#xD;&#xA;http:// stack over flow .com/questions/6345020/linux-memory-buffer-vs-cache&#xD;&#xA;&#xD;&#xA;The very last thing that you could check is this:&#xD;&#xA;http:// www. unixmen .com/how-to-clear-memory-cache-on-linux-servers/" ContentLicense="CC BY-SA 3.0" />
  <row Id="53425" PostHistoryTypeId="5" PostId="28494" RevisionGUID="9c5cb9d4-a519-45dd-bc40-510cf2e253e5" CreationDate="2014-05-21T08:20:38.850" UserId="1216" Comment="removed spaces in links" Text="Probably is a problem between Ram and Sound Card...&#xD;&#xA;probably is about DMA (Direct Memory Access)&#xD;&#xA;I'm really not an expert about linux but maybe you can find this links useful.&#xD;&#xA;&#xD;&#xA;I'm new and my &quot;reputation&quot; is not enough to insert more than 2 links in one comment so i had to cut the last 2 links with some space...&#xD;&#xA;Just copy-paste and delete ALL the UNUSEFUL space.&#xD;&#xA;&#xD;&#xA;Anyway...&#xD;&#xA;&#xD;&#xA;This is a link to roland official site and i think they explain clearly where is the problem and how to solve it...but not how to do it with linux&#xD;&#xA;http://www.rolandus.com/support/knowledge_base/view/23226173&#xD;&#xA;&#xD;&#xA;I found also this link about DMA and buffer setup, that for me is a little bit complicate but i'm pretty sure that you can finally find the solution inside there.&#xD;&#xA;http://www.makelinux.net/ldd3/chp-15-sect-4&#xD;&#xA;&#xD;&#xA;I found also a topic full of people that maybe can help you more than me to do the setup of your DMA.&#xD;&#xA;http://stackoverflow.com/questions/6345020/linux-memory-buffer-vs-cache&#xD;&#xA;&#xD;&#xA;The very last thing that you could check is this:&#xD;&#xA;http://www.unixmen.com/how-to-clear-memory-cache-on-linux-servers/" ContentLicense="CC BY-SA 3.0" />
  <row Id="53429" PostHistoryTypeId="4" PostId="28491" RevisionGUID="470fee74-7499-4b48-9418-e3841a3079df" CreationDate="2014-05-21T15:18:28.853" UserId="7174" Comment="edited title" Text="How do you eliminate or lessen feedback?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53430" PostHistoryTypeId="2" PostId="28498" RevisionGUID="d64db757-576a-4aa7-805e-604ae7bdd706" CreationDate="2014-05-21T15:23:58.750" UserId="7174" Text="The number one name of the game is EQs.  Feedback occurs when a portion of the sound you are amplifying makes its way back in to a microphone and is amplified again.  It takes on the sound of whatever frequency was picked up louder than it initially went in.&#xD;&#xA;&#xD;&#xA;In order to eliminate feedback, you need to break the feedback loop by either altering the position or orientation of the microphones so that they do not pick up the sound from the speakers (point it away from the speakers, preferably behind them), by altering the orientation or position of the speakers so that they don't pick up the mic (point them away from the microphone), and if those don't work, by EQing the sound of the microphone (through channel EQs) or the PA (through 31 band EQs) in order to reduce the sensitivity of the system to whatever sound is feeding back.&#xD;&#xA;&#xD;&#xA;If you don't know what frequency it is, you can either sweep for it (if you have a parametric EQ) by turning down the gain on the parametric channel and altering the frequency until the feedback goes away.  You can then turn it back up until just before you start noticing a ringing sound, which is what you hear before feedback.  Alternately, you can use a tone generator or a frequency analyzer application on your phone to get a rough idea of the tone that is causing problems and turn down that frequency until the problem stops." ContentLicense="CC BY-SA 3.0" />
  <row Id="53431" PostHistoryTypeId="2" PostId="28499" RevisionGUID="1f248c11-6257-44d9-ac0e-5805876fbf37" CreationDate="2014-05-21T16:04:49.943" UserId="8021" Text="I like to do experiments.&#xD;&#xA;I'm trying to find a way to control multiples parameters like the frequency of an LFO or cut of a filter in real time.&#xD;&#xA;Of course i can do it in an easy way if i create a macro and assign it to a Midi Controller.&#xD;&#xA;The point is that, i would like to control these things while i'm using my theremin.&#xD;&#xA;For example as i move my hands near the antennas to modulate the volume or pitch of the sound i would to variate also the bandwith of a BPfilter with the same envelope that i'm creating with the movement of my hand.&#xD;&#xA;I know that probably this could sound weird...but i'm grateful to anyone that can help me with my weird ideas.&#xD;&#xA;Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="53432" PostHistoryTypeId="1" PostId="28499" RevisionGUID="1f248c11-6257-44d9-ac0e-5805876fbf37" CreationDate="2014-05-21T16:04:49.943" UserId="8021" Text="Real Time Control with Envelope" ContentLicense="CC BY-SA 3.0" />
  <row Id="53433" PostHistoryTypeId="3" PostId="28499" RevisionGUID="1f248c11-6257-44d9-ac0e-5805876fbf37" CreationDate="2014-05-21T16:04:49.943" UserId="8021" Text="&lt;software&gt;&lt;effects&gt;&lt;synthesizer&gt;&lt;control&gt;&lt;realtime&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53434" PostHistoryTypeId="2" PostId="28500" RevisionGUID="03071b29-c52c-404e-9b1d-684e476434d8" CreationDate="2014-05-21T18:58:07.343" UserId="7600" Text="If you're looking to edit specific sections of volume manually, Pro Tools has a relatively simple way to do this. All versions of Pro Tools have a dropdown on each audio track in the editing window that allows you to view waveforms, volume, and pan. The dropdown defaults to waveforms. You'll need to create a new session and import the audio file that you'd like to edit. Create a track to pull that file onto. Once you've created the track you'll see the dropdown labeled waveforms. Clicking that will display the other available view options. Choose Volume which will display the waveforms with an opaque overlay and line covering them.  In this view you can now edit your volume by selecting sections and click/dragging that line up or down or creating your own markers individually to drag the volume line up or down. No plugin needed. This is basically writing the track volume automation manually. When you play back the file it will follow the edits you've made." ContentLicense="CC BY-SA 3.0" />
  <row Id="53435" PostHistoryTypeId="5" PostId="28487" RevisionGUID="86f4854b-facd-4054-a309-5a6e9afb77f4" CreationDate="2014-05-21T19:05:38.027" UserId="7401" Comment="added 18 characters in body" Text="There is a similar question here http://sound.stackexchange.com/questions/6726/how-do-you-create-single-sideband-modulation-ssb but it does not solve how to recreate the effect with an FM or subtractive synth or a vocoder( if it is possible ). The task is to reproduce the effect of an untuned SSB receiver ( [here][1] an example stolen from the question above ). In the reality such a trasmission is done by removing from an AM modulation the carrier frquency and one of the side band, then in the receiver a new carrier is &quot;beated&quot; (ie multiplied) with the signal to reproduce the original audio.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wired.com/dangerroom/2011/03/secret-libya-psyops/" ContentLicense="CC BY-SA 3.0" />
  <row Id="53436" PostHistoryTypeId="2" PostId="28501" RevisionGUID="ccdb4794-7988-4fd2-9c17-99c80dba39ec" CreationDate="2014-05-21T19:16:28.273" UserId="8265" Text="I use instrumental jazz from pandora, for my office headphones.  It is not repetitive and has pretty consistent dynamic range.  I can seem to work fine with this to mask the top 40 music or conversations that others play around me.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="53439" PostHistoryTypeId="2" PostId="28502" RevisionGUID="ba82c674-2bb9-487b-845b-345a548f86e4" CreationDate="2014-05-21T21:41:10.873" UserId="8267" Text="&#xD;&#xA;There's a database of elephant sounds at http://www.elephantvoices.org/  and you could try The Elephant Listening Project: http://www.birds.cornell.edu/BRP/elephant/" ContentLicense="CC BY-SA 3.0" />
  <row Id="53443" PostHistoryTypeId="2" PostId="28504" RevisionGUID="b6f777c8-8a48-4c72-9562-fe9f34d5ee2e" CreationDate="2014-05-22T00:16:47.787" UserId="8201" Text="Perhaps you should try the noise cancelling headphones. Acoustic NC works better for removing chatters than active NC models." ContentLicense="CC BY-SA 3.0" />
  <row Id="53444" PostHistoryTypeId="2" PostId="28505" RevisionGUID="541f14aa-23e4-4480-ad36-42b0780e297b" CreationDate="2014-05-22T02:59:40.030" UserId="8269" Text="My situation is as follows: i am trying to generate a waveform the hard way, by constructing the samples one by one and then saving the result to a .wav file using Python.&#xD;&#xA;&#xD;&#xA;When the frequency is constant, everything is fine: i use y(t) = sin(2*π*t*f).&#xD;&#xA;However, if i change the frequency to be a function of time, things go wrong. If the function is a linear one of the form f(t) = a + bt, it still works. But if i choose, for exemple, f(t) = 40 + 10*sin(t), the max frequency increases over time, reaching a maximum higher then the expect 50Hz.&#xD;&#xA;&#xD;&#xA;I have read something about instantaneous frequency, namely, this: [Why does a wave continuously decreasing in frequency start increasing its frequency past the half of its length?][1]. But doing the integral evaluation makes the sound even weirder. And the method i currently have works for linear function of time, so i figured there must be something else wrong.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I also tried to generate chunks of sound in the frequency i need, at each time, and then glue them together. I calculated the period of the oscillation, so that a chunk has as many samples as necessary to make a whole period on that frequency, so that there are no &quot;jumps&quot; between different frequencies. But generates a cracking sound in the sample. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Here is an example of the kind of a JavaScript implementation of the kind of sound i need: [http://jsfiddle.net/m7US6/4/][2].&#xD;&#xA;&#xD;&#xA;Any help would be appreciated. Thanks.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://dsp.stackexchange.com/questions/2051/why-does-a-wave-continuously-decreasing-in-frequency-start-increasing-its-freque&#xD;&#xA;  [2]: http://jsfiddle.net/m7US6/4/" ContentLicense="CC BY-SA 3.0" />
  <row Id="53445" PostHistoryTypeId="1" PostId="28505" RevisionGUID="541f14aa-23e4-4480-ad36-42b0780e297b" CreationDate="2014-05-22T02:59:40.030" UserId="8269" Text="Frequency-varying waveform" ContentLicense="CC BY-SA 3.0" />
  <row Id="53446" PostHistoryTypeId="3" PostId="28505" RevisionGUID="541f14aa-23e4-4480-ad36-42b0780e297b" CreationDate="2014-05-22T02:59:40.030" UserId="8269" Text="&lt;sound-design&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53450" PostHistoryTypeId="2" PostId="28506" RevisionGUID="1a145e49-f5b3-47db-b5b7-4d4b7793d798" CreationDate="2014-05-22T04:07:43.567" UserId="8270" Text="You're in luck then as the CV (Control Voltage) outputs for pitch and volume on your Etherwave will allow you to do exactly that with the addition of some other gear.&#xD;&#xA;&#xD;&#xA;You'll need to get some other CV capable equipment such as moogerfooger pedals or a modular synthesizer. Doing this will open a wonderful world of weird sounds and possibilities.&#xD;&#xA;&#xD;&#xA;There is a whole universe of techniques and equipment available. More than could be answered here and much of it is a personal journey of what you decided you want to explore.&#xD;&#xA;&#xD;&#xA;I strongly recommend you spend some time on the muffwiggler forum and watching the I Dream of Wires Documentary would also be a good starting point as it chronicles the recent resurgence of interest in modular synthesizers." ContentLicense="CC BY-SA 3.0" />
  <row Id="53451" PostHistoryTypeId="14" PostId="28505" RevisionGUID="326da02c-392d-47c0-8dd4-616c51f6ad3e" CreationDate="2014-05-22T09:47:34.917" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="53452" PostHistoryTypeId="35" PostId="28505" RevisionGUID="9ffbd560-74ca-4fef-95c8-098614869245" CreationDate="2014-05-22T09:47:34.917" UserId="7016" Comment="to http://dsp.stackexchange.com/questions/16429/frequency-varying-waveform" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="53453" PostHistoryTypeId="10" PostId="28505" RevisionGUID="3b38307b-be01-4273-b8ab-ec45e5c638b7" CreationDate="2014-05-22T09:47:34.917" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="53455" PostHistoryTypeId="10" PostId="28484" RevisionGUID="e2863815-fd50-4dd8-8b27-4985742147d7" CreationDate="2014-05-22T09:51:59.077" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:182,&quot;DisplayName&quot;:&quot;EMV&quot;},{&quot;Id&quot;:1216,&quot;DisplayName&quot;:&quot;Arnoud Traa&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="53456" PostHistoryTypeId="2" PostId="28507" RevisionGUID="16d4caa8-3ea7-4a29-af92-0cc01760743d" CreationDate="2014-05-22T09:52:51.307" UserId="8271" Text="I have a chart that shows values of the sound amplitude (in Db and SPL) measured in one point of the space as a function of the time. Could be possible to generate an audio file using these values? If so, how could I do it? Would be better to calculate the FFT?&#xD;&#xA;&#xD;&#xA;Thank you very much!&#xD;&#xA;&#xD;&#xA;Regards" ContentLicense="CC BY-SA 3.0" />
  <row Id="53457" PostHistoryTypeId="1" PostId="28507" RevisionGUID="16d4caa8-3ea7-4a29-af92-0cc01760743d" CreationDate="2014-05-22T09:52:51.307" UserId="8271" Text="Generate sound file from Db or SPL graph" ContentLicense="CC BY-SA 3.0" />
  <row Id="53458" PostHistoryTypeId="3" PostId="28507" RevisionGUID="16d4caa8-3ea7-4a29-af92-0cc01760743d" CreationDate="2014-05-22T09:52:51.307" UserId="8271" Text="&lt;mp3&gt;&lt;wav&gt;&lt;spl&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53460" PostHistoryTypeId="15" PostId="28505" RevisionGUID="267da0dd-e569-4859-92aa-ca49d140e63f" CreationDate="2014-05-22T10:18:13.383" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="53469" PostHistoryTypeId="2" PostId="28510" RevisionGUID="a1d551f5-af34-4a64-897c-62c99a5a2360" CreationDate="2014-05-22T15:28:16.407" UserId="182" Text="If you can create points representing instantaneous amplitude (or pressure, doesn't really matter as long as you save it as a linear number rather than logarithmically) centered around a 0-line where the system is in its static state, rather than SPL, and make 44100 points per second, you have audio. The frequencies arise from the varying amplitude over time. &#xD;&#xA;&#xD;&#xA;Basically you're storing the position of a loudspeaker membrane (or ear drum) over time.&#xD;&#xA;&#xD;&#xA;With matlab or any programming language, you can write this array of values as a WAV-file and listen to it." ContentLicense="CC BY-SA 3.0" />
  <row Id="53470" PostHistoryTypeId="5" PostId="28510" RevisionGUID="b0ed07ff-10c6-4eb5-8448-1ea364cd846c" CreationDate="2014-05-22T15:33:40.667" UserId="182" Comment="added graphic" Text="If you can create points representing instantaneous amplitude (or pressure, doesn't really matter as long as you save it as a linear number rather than logarithmically) centered around a 0-line where the system is in its static state, rather than SPL, and make 44100 points per second, you have audio. The frequencies arise from the varying amplitude over time. &#xD;&#xA;&#xD;&#xA;![Digital audio. Source: wikipedia][1]&#xD;&#xA;&#xD;&#xA;Basically you're storing the position of a loudspeaker membrane (or ear drum) over time.&#xD;&#xA;&#xD;&#xA;With matlab or any programming language, you can write this array of values as a WAV-file and listen to it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Z7wbA.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="53475" PostHistoryTypeId="2" PostId="28511" RevisionGUID="84b3d4e8-3d62-4a27-b986-d0671522cba3" CreationDate="2014-05-22T18:27:44.850" UserId="6631" Text="I'm currently studying [Sound on Sound's Synth Secrets series][1]. Specifically: [Part 25 Synthesizing Brass Instruments.][2]&#xD;&#xA;&#xD;&#xA;The amplitude response seems simple: Faster attack with higher amplitudes. Attack stage gets shorter as the velocity increases.&#xD;&#xA;&#xD;&#xA;I'm implementing this in SuperCollider as `attack  = (1 / velocity) - 0.99`. (This implementation gives very long attack times at low velocity, but I need to know the attack ranges before scaling it -unless someone can suggest a better implementation, which I'm sure there is-)&#xD;&#xA;&#xD;&#xA;The problem is that I don't know the attack time ranges of a typical brass instrument. What's a common/typical fast attack time in brass instruments? What's a common/typical slow attack time in brass instruments?&#xD;&#xA;&#xD;&#xA;All these assuming no crescendo, or other modulations, are being applied. Just the amplitude envelope trying to emulate a note being played on a brass instrument without crescendo.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundonsound.com/sos/allsynthsecrets.htm&#xD;&#xA;  [2]: http://www.soundonsound.com/sos/may01/articles/synthsecrets.asp" ContentLicense="CC BY-SA 3.0" />
  <row Id="53476" PostHistoryTypeId="1" PostId="28511" RevisionGUID="84b3d4e8-3d62-4a27-b986-d0671522cba3" CreationDate="2014-05-22T18:27:44.850" UserId="6631" Text="What is the attack time range of wind brass instruments?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53477" PostHistoryTypeId="3" PostId="28511" RevisionGUID="84b3d4e8-3d62-4a27-b986-d0671522cba3" CreationDate="2014-05-22T18:27:44.850" UserId="6631" Text="&lt;sound-design&gt;&lt;synthesis&gt;&lt;wind&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53478" PostHistoryTypeId="4" PostId="28511" RevisionGUID="b8d9634e-ba60-4a83-9ae4-d182fd9bc263" CreationDate="2014-05-22T18:39:04.743" UserId="6631" Comment="Improved title" Text="What is the typical attack time range of wind brass instruments?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53479" PostHistoryTypeId="2" PostId="28512" RevisionGUID="5fdec6b1-8df8-4b28-a2c0-804ee6aa740e" CreationDate="2014-05-23T08:33:07.887" UserId="6665" Text="Typically, Attack ranges on instrument are subjective as to the stylisation of how they are played. My recommendation for you would be to record the brass sounds in 192 KHz in 32 or 64 bit. High Sampling frequency would give you accurate time representation and high bit depth would give you accurate amplitude representation from which you can derive ADSR structure.&#xD;&#xA;&#xD;&#xA;however to achieve effective attack times , you would have to record the middle C in the octave ranges of all the selected instruments.and then a quick analysis would give the attack times." ContentLicense="CC BY-SA 3.0" />
  <row Id="53480" PostHistoryTypeId="2" PostId="28513" RevisionGUID="b6a447e6-031b-45b8-a662-f5a49c971d13" CreationDate="2014-05-23T09:08:26.900" UserId="8274" Text="I'm looking for a bit of feedback on this work I'm doing for my portfolio. https://vimeo.com/96135692" ContentLicense="CC BY-SA 3.0" />
  <row Id="53481" PostHistoryTypeId="1" PostId="28513" RevisionGUID="b6a447e6-031b-45b8-a662-f5a49c971d13" CreationDate="2014-05-23T09:08:26.900" UserId="8274" Text="Feedback on my Music Video Without Music" ContentLicense="CC BY-SA 3.0" />
  <row Id="53482" PostHistoryTypeId="3" PostId="28513" RevisionGUID="b6a447e6-031b-45b8-a662-f5a49c971d13" CreationDate="2014-05-23T09:08:26.900" UserId="8274" Text="&lt;pro-tools&gt;&lt;design&gt;&lt;music&gt;&lt;sound&gt;&lt;video&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53483" PostHistoryTypeId="2" PostId="28514" RevisionGUID="0c23373a-3930-473b-886c-14d06a7adf1a" CreationDate="2014-05-23T12:55:44.330" UserId="7448" Text="I recorded a short testimonial. The person asking needs a little bit of pitch adjustment and to be made louder. The person replying needs to be a little louder.&#xD;&#xA;&#xD;&#xA;In Adobe Audition as best I can tell I have a few choices:&#xD;&#xA;&#xD;&#xA;1. Do it all in the full recording using markers&#xD;&#xA;2. Create smaller new audio parts of the different segments to combine in Premier&#xD;&#xA;3. Create smaller new audio parts of the different segments to combine in Multitrack&#xD;&#xA;&#xD;&#xA;What's the most efficient way to do it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53484" PostHistoryTypeId="1" PostId="28514" RevisionGUID="0c23373a-3930-473b-886c-14d06a7adf1a" CreationDate="2014-05-23T12:55:44.330" UserId="7448" Text="What is the most efficient method to fix different parts of a sound file (speaking)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53485" PostHistoryTypeId="3" PostId="28514" RevisionGUID="0c23373a-3930-473b-886c-14d06a7adf1a" CreationDate="2014-05-23T12:55:44.330" UserId="7448" Text="&lt;voice&gt;&lt;file-organization&gt;&lt;speech&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53486" PostHistoryTypeId="2" PostId="28515" RevisionGUID="e3a4ae90-a1c6-4c16-95f1-7206430f255d" CreationDate="2014-05-23T13:55:17.667" UserId="8251" Text="Hello to this amazing stack.&#xD;&#xA;&#xD;&#xA;I'v looked and couldn't find this question anywhere here, so here goes.&#xD;&#xA;&#xD;&#xA;We'v just had a heap (200gb+) of unlogged wildtracks come in for a film&#xD;&#xA;and I am writing bwav metadata/description for them using soundminer 3.2&#xD;&#xA;&#xD;&#xA;My colleague has a copy of the same recordings, but he works from home.&#xD;&#xA;&#xD;&#xA;**Does anyone know if it's possible to just send the metadata and not the files?&#xD;&#xA;so it can then somehow be written onto the same files his end?**&#xD;&#xA;(apologies if this is really obvious and i'm missing it)&#xD;&#xA;&#xD;&#xA;The bloke here who knows soundminer inside out is on his holidays and im just a wee intern trying to learn it.&#xD;&#xA;&#xD;&#xA;also, incase anyone missed it. aporee.org/maps/ !!!!!&#xD;&#xA;&#xD;&#xA;cheers all. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53487" PostHistoryTypeId="1" PostId="28515" RevisionGUID="e3a4ae90-a1c6-4c16-95f1-7206430f255d" CreationDate="2014-05-23T13:55:17.667" UserId="8251" Text="Sending soundminer metadata/description to an external college with duplicate files. --" ContentLicense="CC BY-SA 3.0" />
  <row Id="53488" PostHistoryTypeId="3" PostId="28515" RevisionGUID="e3a4ae90-a1c6-4c16-95f1-7206430f255d" CreationDate="2014-05-23T13:55:17.667" UserId="8251" Text="&lt;field-recording&gt;&lt;metadata&gt;&lt;soundminer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53489" PostHistoryTypeId="12" PostId="28515" RevisionGUID="884749d7-efc7-4ce0-9739-4e4c8907def9" CreationDate="2014-05-23T14:02:40.600" UserId="8251" Comment="via Vote" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:8251,&quot;DisplayName&quot;:&quot;Laurie Owens&quot;}]}" />
  <row Id="53490" PostHistoryTypeId="2" PostId="28516" RevisionGUID="863a8e19-4912-4d1b-94c3-bd3b8bed708b" CreationDate="2014-05-23T14:54:55.357" UserId="7174" Text="Use automation and make the adjustments on the main track.  Manually syncing audio is a pain and error-prone.  If both are speaking on the same track, you may want to make two copies of the one track changes for one person to each and then cross-fade between them to make your output." ContentLicense="CC BY-SA 3.0" />
  <row Id="53491" PostHistoryTypeId="2" PostId="28517" RevisionGUID="cb8a598d-47bd-436a-82af-1c61786676f1" CreationDate="2014-05-23T15:10:45.873" UserId="993" Text="Hmm, tricky. I have several close up recordings of a single cricket and a few wind up toy sounds that might serve as a base for designing your own. If you like me to email to you just contact me on kyle[at]squeakyfish.com.au&#xD;&#xA;&#xD;&#xA;Or if you've got some artistic liberty, there's some very expressive beetle noises in this library: http://www.therecordist.com/flying-insects-hd-pro" ContentLicense="CC BY-SA 3.0" />
  <row Id="53492" PostHistoryTypeId="13" PostId="28515" RevisionGUID="8cc9d97d-0256-44e5-983d-767acd0a1617" CreationDate="2014-05-23T15:15:28.883" UserId="8251" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:8251,&quot;DisplayName&quot;:&quot;Laurie Owens&quot;}]}" />
  <row Id="53493" PostHistoryTypeId="12" PostId="28515" RevisionGUID="f595e692-80e0-4325-945b-02805c6935d1" CreationDate="2014-05-23T15:15:50.867" UserId="8251" Comment="via Vote" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:8251,&quot;DisplayName&quot;:&quot;Laurie Owens&quot;}]}" />
  <row Id="53494" PostHistoryTypeId="2" PostId="28518" RevisionGUID="2c26b23c-3637-43da-b177-ac4ca32d2797" CreationDate="2014-05-23T16:31:19.353" UserId="6631" Text="Using the samples available [here][1], I found the following attack time ranges (all times in seconds):&#xD;&#xA;&#xD;&#xA;    Trombone pianissimo: [0.070, 0.234]&#xD;&#xA;    Trombone fortissimo: [0.041, 0.050]&#xD;&#xA;&#xD;&#xA;    Tuba pianissimo: [0.033, 0.072]&#xD;&#xA;    Tuba fortissimo: [0.012, 0.025]&#xD;&#xA;&#xD;&#xA;    Trumpet pianissimo: [0.040, 0.060]&#xD;&#xA;    Trumpet fortissimo: [0.025, 0.031]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.philharmonia.co.uk/explore/make_music" ContentLicense="CC BY-SA 3.0" />
  <row Id="53495" PostHistoryTypeId="5" PostId="28518" RevisionGUID="fccd70a3-f5a2-4918-bbbb-e647cdea81c8" CreationDate="2014-05-23T16:36:37.043" UserId="6631" Comment="added 234 characters in body" Text="As there was no answer and I couldn't find information about this elsewhere, I performed a small analysis.&#xD;&#xA;&#xD;&#xA;Using the samples available [here][1], I found the following attack time ranges (all times in seconds):&#xD;&#xA;&#xD;&#xA;    Trombone pianissimo: [0.070, 0.234]&#xD;&#xA;    Trombone fortissimo: [0.041, 0.050]&#xD;&#xA;&#xD;&#xA;    Tuba pianissimo: [0.033, 0.072]&#xD;&#xA;    Tuba fortissimo: [0.012, 0.025]&#xD;&#xA;&#xD;&#xA;    Trumpet pianissimo: [0.040, 0.060]&#xD;&#xA;    Trumpet fortissimo: [0.025, 0.031]&#xD;&#xA;&#xD;&#xA;This was not an extensive research by any means, with only 5 samples for each instrument and intensity being analyzed. As an approximation, an attack time range of [0.010, 0.240] might work when synthesizing a general brass sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.philharmonia.co.uk/explore/make_music" ContentLicense="CC BY-SA 3.0" />
  <row Id="53503" PostHistoryTypeId="2" PostId="28520" RevisionGUID="813d0753-fa3b-41f4-8240-8a8beb8d01b5" CreationDate="2014-05-24T07:00:05.897" UserId="8277" Text="When doing online instructional videos with screenflow using a loud 'clicky' mouse, I found that clicking 'remove background noise' in the audio menu &amp; changing that to the 5% minimum helped remove the click noises. &#xD;&#xA;To combat the general reduction in volume levels I turned the audio up to 150%. &#xD;&#xA;The audio sounds fine to me!&#xD;&#xA;&#xD;&#xA;I've tried to split the audio and video recordings in the past and I find it impossible to sync them together in screenflow -which doesn't allow you to 'zoom in' enough to sync perfectly.  Of course you could 'detach' the audio and edit it all out, but why bother!&#xD;&#xA;Cheers, " ContentLicense="CC BY-SA 3.0" />
  <row Id="53504" PostHistoryTypeId="2" PostId="28521" RevisionGUID="9769340d-6185-48d6-bf5b-941db559fb6e" CreationDate="2014-05-24T19:57:43.797" UserId="8279" Text="I have an old record, recorded on a tape recorder. At a certain point, the batteries begun to die, so the record begins to have a higher and higher pitch.&#xD;&#xA;I tried fixing it with some some software a few years a go, but the problem is that the pitch changes, so i could not properly fix it for the whole bad area, and i put the project on hold at the time. However, the developer in me tells me that the pitch changes linearly so i should be able to fix the record if i had so programming language to work with.&#xD;&#xA;Do you know any software that would allow me to do this?&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="53505" PostHistoryTypeId="1" PostId="28521" RevisionGUID="9769340d-6185-48d6-bf5b-941db559fb6e" CreationDate="2014-05-24T19:57:43.797" UserId="8279" Text="restoring old record tape record with dying batteries" ContentLicense="CC BY-SA 3.0" />
  <row Id="53506" PostHistoryTypeId="3" PostId="28521" RevisionGUID="9769340d-6185-48d6-bf5b-941db559fb6e" CreationDate="2014-05-24T19:57:43.797" UserId="8279" Text="&lt;battery&gt;&lt;record&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53507" PostHistoryTypeId="6" PostId="28513" RevisionGUID="8b44adc1-c394-41af-811c-e9dd075a444f" CreationDate="2014-05-25T07:20:27.260" UserId="7231" Comment="tags" Text="&lt;design&gt;&lt;music&gt;&lt;sound&gt;&lt;video&gt;&lt;critique&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53515" PostHistoryTypeId="2" PostId="28524" RevisionGUID="9abade40-2414-4eff-8ccc-edc3cbb341e5" CreationDate="2014-05-25T12:26:07.897" UserId="8145" Text="Fantastic answers and great discussion! I suppose I have a slightly different view - I design for live theatre rather than film or games, so there's a certain extent to which I can get away with more abstract design decisions - I'm often working outside of a 'realistic' mode. But to explain my thinking:&#xD;&#xA;&#xD;&#xA;Silence is broadly interesting from a philosophical perspective because if we are open to it, turned towards it as listeners, we are actually open to an absence rather than a presence - in listening to silence we are actually straining not to hear and proceeding with our judgements in that capacity. (yeah, I'm also doing a PhD in sound!)&#xD;&#xA;&#xD;&#xA;From a design perspective, though, silence is precisely *not* silence - it is not an absence of sound or an absence of meaning: silence is part of the sonic palette, a mechanism by which a meaning is given to the audience. Silence on stage or in film is rich with meaning precisely because silence in the world is not (this is *despite* the causal significance of a silent situation, such as an absence of birdcalls because of a hunter's gunshot, and so forth), therefore a decision can be made to use silence because of its potential to *mean* something." ContentLicense="CC BY-SA 3.0" />
  <row Id="53516" PostHistoryTypeId="2" PostId="28525" RevisionGUID="803f19b5-1cdf-43db-b7cc-8c644328eedc" CreationDate="2014-05-25T13:48:11.003" UserId="8145" Text="According to my copy of the **absolutely essential** (!) *Master Handbook of Acoustics*, to hear shorter tones, that is sounds with a short impulse, they need to be louder:&#xD;&#xA;&#xD;&#xA;&gt; A 1,000-Hz tone sounds like 1,000 Hz in a 1-second tone burst, but an extremely short burst &gt; sounds like a click. The duration of such a burst also influences the perceived loudness. &#xD;&#xA;&gt; Short bursts do not sound as loud as longer ones... A pulse 3 milliseconds long must have a &gt; level about 15dB higher to sound as loud as a 0.5-second (500 millisecond) pulse. Tones and &gt; random noise follow roughly the same relationship in loudness vs. pulse length. &#xD;&#xA;&gt; &#xD;&#xA;&gt; The 100-msec region is significant... Only when the tones or noise bursts are shorter than &#xD;&#xA;&gt; this amount must the sound-pressure level be increased to produce a loudness equal to that &#xD;&#xA;&gt; of long pulses or steady tones or noise. This 100 msec appears to be the integrating time or &#xD;&#xA;&gt; the time constant of the human ear. (Everest 2001, 60-61)&#xD;&#xA;&#xD;&#xA;Apologies for the poor phonecam image - my scanner is out of commission!&#xD;&#xA;&#xD;&#xA;![(Everest 2001, 61)][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/T57ye.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="53517" PostHistoryTypeId="2" PostId="28526" RevisionGUID="b6eec48a-ed44-46e9-b679-c04508a7354d" CreationDate="2014-05-25T15:25:50.250" UserId="8284" Text="Everybody knows those goofy special graphical effects generated by media player when you listen to a song. I never really liked them because they seem random and don't seem to synchronize with the music track tempo at all.&#xD;&#xA;&#xD;&#xA;In a concert, sometimes you see light effects switching on and off, synchronized with some instrument tempo, it seems they're either wired to the instruments or controlled by some guy.&#xD;&#xA;&#xD;&#xA;I wonder if a software could do the same if you &quot;circle&quot; a certain part of the song which has a single musical note which is repeated in the song, so that the software can scan through the entire song to find similar notes to generate a tempo file, so that I can then wire this to some light effects or some 3D thing.&#xD;&#xA;&#xD;&#xA;I know how to make C++ application, I was taught the physics of signals and how electronic filters work (I also remember a little about fourier series), but I've no ideas what sort of libraries exists and if there are algorithms dedicated to this kind of thing.&#xD;&#xA;&#xD;&#xA;So the goal of that application would be to identify more or less similar parts of a given part of a song. In a sense it works a little like voice recognition software.&#xD;&#xA;&#xD;&#xA;Are there (open source) C++ signal processing libraries doing this type of stuff, am I the first guy to think about this, and how hard is it to do ? " ContentLicense="CC BY-SA 3.0" />
  <row Id="53518" PostHistoryTypeId="1" PostId="28526" RevisionGUID="b6eec48a-ed44-46e9-b679-c04508a7354d" CreationDate="2014-05-25T15:25:50.250" UserId="8284" Text="Can a software generate a &quot;midi&quot; track from a song of musical notes of different instruments thanks to some filters?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53519" PostHistoryTypeId="3" PostId="28526" RevisionGUID="b6eec48a-ed44-46e9-b679-c04508a7354d" CreationDate="2014-05-25T15:25:50.250" UserId="8284" Text="&lt;voice&gt;&lt;signal-processing&gt;&lt;filter&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53520" PostHistoryTypeId="2" PostId="28527" RevisionGUID="e4bbcd7c-b979-4f26-a491-63f191db927d" CreationDate="2014-05-25T17:11:11.160" UserId="8285" Text="I'm using Izotope RX3 Advanced.&#xD;&#xA;&#xD;&#xA;I have an audio file that was recorded using a cheap wireless mic and the sound of this file reminds me of listening to it though a telephone.&#xD;&#xA;&#xD;&#xA;I also have spend many hours looking on a detailed tutorial or workflow that other people have done to get the audio quality to a decent level. All I found was &quot;you can this&quot; or &quot;I can do that&quot; etc. and they even have before and after sound clips that proov it can be done. They don't let out the secret. It's so frustrating. All I want is to know &quot;how&quot; they did it.&#xD;&#xA;&#xD;&#xA;All help will be appreciated.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53521" PostHistoryTypeId="1" PostId="28527" RevisionGUID="e4bbcd7c-b979-4f26-a491-63f191db927d" CreationDate="2014-05-25T17:11:11.160" UserId="8285" Text="Izotope RX3 Workflow to improve audio quality" ContentLicense="CC BY-SA 3.0" />
  <row Id="53522" PostHistoryTypeId="3" PostId="28527" RevisionGUID="e4bbcd7c-b979-4f26-a491-63f191db927d" CreationDate="2014-05-25T17:11:11.160" UserId="8285" Text="&lt;izotope&gt;&lt;production-audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53523" PostHistoryTypeId="2" PostId="28528" RevisionGUID="6c9b1d5a-fa1a-4cb9-9800-82b912c06755" CreationDate="2014-05-25T17:44:31.467" UserId="6399" Text="Every audio file is different so what works on 1 might not work on the other.  What about it reminds you of a telephone? frequency spectrum, EQ, distortion?&#xD;&#xA;Depending on the issue you might need RX but other tools might help you out more.  Its a very deep set of tools.  How much have you tried?  Have you read through the Izotope Noise reduction guide, some very good tips in there." ContentLicense="CC BY-SA 3.0" />
  <row Id="53524" PostHistoryTypeId="2" PostId="28529" RevisionGUID="0befd96d-e8fb-4634-bf03-64a1a10211c6" CreationDate="2014-05-25T18:10:18.683" UserId="6432" Text="I don't know if you necessarily need RX - sounds like EQ is going to be a more effective tool. RX is used to remove noise and fix specific issues:&#xD;&#xA;&#xD;&#xA;[https://www.youtube.com/playlist?list=PL4dISychPQEt04pe2EFaPRHe_477PZWdW][1]&#xD;&#xA;&#xD;&#xA;Mike Thornton's vids give you a good overview. They actually show you it step by step too.&#xD;&#xA;&#xD;&#xA;If your sound is all midrange then EQ to add highs and lows. To do this effectively you need trained ears more than anything. If it's distorted Izotope may help, but not in every case. Difficult to gauge without actually hearing it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.youtube.com/playlist?list=PL4dISychPQEt04pe2EFaPRHe_477PZWdW" ContentLicense="CC BY-SA 3.0" />
  <row Id="53525" PostHistoryTypeId="5" PostId="28527" RevisionGUID="c252a23a-ddec-4204-a577-1351211349e0" CreationDate="2014-05-25T18:14:19.130" UserId="8285" Comment="added 93 characters in body" Text="I'm using Izotope RX3 Advanced.&#xD;&#xA;&#xD;&#xA;I have an audio file that was recorded using a cheap wireless mic and the sound of this file reminds me of listening to it though a telephone or something on an AM radio station.&#xD;&#xA;&#xD;&#xA;I also have spend many hours looking on a detailed tutorial or workflow that other people have done to get the audio quality to a decent level kink of like what you would hear on an FM radio station. All I found was &quot;you can this&quot; or &quot;I can do that&quot; etc. and they even have before and after sound clips that proove it can be done. They don't let out the secret. It's so frustrating. All I want is to know &quot;how&quot; they did it.&#xD;&#xA;&#xD;&#xA;All help will be appreciated.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53526" PostHistoryTypeId="2" PostId="28530" RevisionGUID="993d7e72-b533-4787-aad6-ae18838ced3c" CreationDate="2014-05-25T19:06:40.970" UserId="182" Text="If you create a soundfile at 44100 Hz with only silence in it, and set exactly one sample to a non-zero value, you will hear the non-zero sample as a click. This is essentially a sound of 0,0227 ms (the duration of one sample). You can do this with Audacity, or any wave editor that lets you zoom in onto a WAV-file and move the individual sample points around.&#xD;&#xA;&#xD;&#xA;With higher sample rates, I expect this to work too.&#xD;&#xA;&#xD;&#xA;![one sample click][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/zs4Qd.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="53527" PostHistoryTypeId="2" PostId="28531" RevisionGUID="1cb826cd-7904-41f0-b339-7560a0e3935b" CreationDate="2014-05-25T19:16:06.500" UserId="182" Text="DJ software like Native Instruments Traktor is pretty good at guessing the tempo by analysing a music track. It can also send out a MIDI clock signal that can be used to sync lights or something to.&#xD;&#xA;&#xD;&#xA;Ableton Live and some other programs can do Audio-To-Midi, with varying success: it works better on simple soundfiles and much worse on full musical songs with lots of instruments.&#xD;&#xA;&#xD;&#xA;These solutions are all proprietary unfortunately, but creating pattern recognition for audio is very much possible, just be prepared to really dive into the world of signal processing and audio analysis. Complicated stuff (any pattern recognition on complex signals is)." ContentLicense="CC BY-SA 3.0" />
  <row Id="53528" PostHistoryTypeId="10" PostId="28513" RevisionGUID="ca3964eb-da6e-42f1-8f5f-9c3092160572" CreationDate="2014-05-25T20:18:48.770" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:1216,&quot;DisplayName&quot;:&quot;Arnoud Traa&quot;},{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7189,&quot;DisplayName&quot;:&quot;ObscureRobot&quot;},{&quot;Id&quot;:6432,&quot;DisplayName&quot;:&quot;Mark Durham&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="53529" PostHistoryTypeId="10" PostId="28521" RevisionGUID="8bc41749-0fd3-4ddf-bd8d-9bd93ed7e0a0" CreationDate="2014-05-25T20:20:17.563" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="53531" PostHistoryTypeId="2" PostId="28532" RevisionGUID="0883c339-116b-4410-81ba-6dbb7697d308" CreationDate="2014-05-26T14:37:02.523" UserId="8289" Text="I know i'm a year late, but hopefull this will still help someone. I found a little VST today called Son of a Pitch. It's free and pretty darn good even if it is kind of hard to catch on as to how to work it at first, but it has 3 octaves up or down that you can adjust to your liking and it's automatable. After installing it though, don't look for son of a pitch in your VST list, you'll find it under Container - Synthedit.&#xD;&#xA;&#xD;&#xA;http://www.vst4free.com/free_vst.php?id=871&#xD;&#xA;&#xD;&#xA;Hope this helps someone out, cause VSTs like this seem hard to find :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="53532" PostHistoryTypeId="13" PostId="28515" RevisionGUID="5b62c68d-6cc2-4269-9dfa-e243c7be9b34" CreationDate="2014-05-26T15:26:25.027" UserId="8251" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:8251,&quot;DisplayName&quot;:&quot;Laurie Owens&quot;}]}" />
  <row Id="53533" PostHistoryTypeId="12" PostId="28515" RevisionGUID="9cdedce4-a13f-4a59-b481-a984fb94f3a0" CreationDate="2014-05-26T15:27:19.340" UserId="8251" Comment="via Vote" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:8251,&quot;DisplayName&quot;:&quot;Laurie Owens&quot;}]}" />
  <row Id="53534" PostHistoryTypeId="13" PostId="28515" RevisionGUID="7e93ab98-913c-4386-b084-711defc9823a" CreationDate="2014-05-26T15:45:32.690" UserId="8251" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:8251,&quot;DisplayName&quot;:&quot;Laurie Owens&quot;}]}" />
  <row Id="53535" PostHistoryTypeId="12" PostId="28515" RevisionGUID="3c9f5dd1-5370-4245-97ed-88cb611d8d8e" CreationDate="2014-05-26T15:45:57.577" UserId="8251" Comment="via Vote" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:8251,&quot;DisplayName&quot;:&quot;Laurie Owens&quot;}]}" />
  <row Id="53536" PostHistoryTypeId="13" PostId="28515" RevisionGUID="19690e75-de7e-4e8b-8185-d1ac6a12ca6b" CreationDate="2014-05-26T19:38:54.640" UserId="8251" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:8251,&quot;DisplayName&quot;:&quot;Laurie Owens&quot;}]}" />
  <row Id="53537" PostHistoryTypeId="5" PostId="28515" RevisionGUID="21619e77-db25-40a1-b3e8-a66176a17712" CreationDate="2014-05-26T19:48:05.513" UserId="8251" Comment="deleted 83 characters in body; edited title" Text="Hello to this amazing stack.&#xD;&#xA;&#xD;&#xA;This is potentially quite a simple question but&#xD;&#xA;my friend who knows soundminer inside-out is on holiday.&#xD;&#xA;&#xD;&#xA;We'v just had a heap (200gb+) of wildtracks come in for a film&#xD;&#xA;and I am writing descriptions for them using soundminer 3.2&#xD;&#xA;&#xD;&#xA;My colleague has a copy of the same files, but works from home.&#xD;&#xA;&#xD;&#xA;To save posting him a drive, **Does anyone know if it's possible to just send the metadata (description field) and not the files?**&#xD;&#xA;&#xD;&#xA;Or perhaps someone has found a better solution for this issue.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;also, incase anyone missed it check out Udo Noll's - www.aporee.org/maps/&#xD;&#xA;&#xD;&#xA;cheers all. &#xD;&#xA;&#xD;&#xA;LoL&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53538" PostHistoryTypeId="4" PostId="28515" RevisionGUID="21619e77-db25-40a1-b3e8-a66176a17712" CreationDate="2014-05-26T19:48:05.513" UserId="8251" Comment="deleted 83 characters in body; edited title" Text="Sending bwav metadata/description to an external college" ContentLicense="CC BY-SA 3.0" />
  <row Id="53539" PostHistoryTypeId="6" PostId="28515" RevisionGUID="21619e77-db25-40a1-b3e8-a66176a17712" CreationDate="2014-05-26T19:48:05.513" UserId="8251" Comment="deleted 83 characters in body; edited title" Text="&lt;metadata&gt;&lt;soundminer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53540" PostHistoryTypeId="2" PostId="28533" RevisionGUID="906796ae-1f99-43c3-aec1-1c52b2fe5dc4" CreationDate="2014-05-27T00:15:01.790" UserId="8282" Text="I believe it can be very clear in the programing language Mathematica, because you can graph and listen to a function with very similar commands. You can graph a function with this command: &#xD;&#xA;Plot[Sin[2*Pi*440*t],{t,0,0.003}]&#xD;&#xA;On the other hand, you can listen to the function if you replace Plot with Play, and replace the 0.003 (which means 3 milliseconds in this context) with, for example, a 2 (so you listen the sound for two seconds):&#xD;&#xA;Play[Sin[2*Pi*440*t],{t,0,2}]&#xD;&#xA;When you &quot;Play&quot; a function in Mathematica, the values of the function are sampled and transformed to voltages, and those voltages are transformed into movement of the loudspeaker membrane, as EMV pointed out. I am doing some material (most of the site is under construction) to teach exactly these concepts, you can read the PDF version in this link http://matecmaticaacustica.weebly.com/graph-and-sound-of-sine-waves.html and if you have either Mathematica or the free CDFPlayer, you can see the CDF version and interact with it, listening to functions and I have there a small app that might be useful. regards" ContentLicense="CC BY-SA 3.0" />
  <row Id="53541" PostHistoryTypeId="5" PostId="28533" RevisionGUID="2b3f14ce-19fe-4bab-8a7f-de3ab44a6634" CreationDate="2014-05-27T00:34:50.857" UserId="8282" Comment="added 154 characters in body" Text="I believe it can be very clear in the programing language Mathematica, because you can graph and listen to a function with very similar commands. You can graph a function with this command: &#xD;&#xA;Plot[Sin[2*Pi*440*t],{t,0,0.003}]&#xD;&#xA;On the other hand, you can listen to the function if you replace Plot with Play, and replace the 0.003 (which means 3 milliseconds in this context) with, for example, a 2 (so you listen the sound for two seconds):&#xD;&#xA;Play[Sin[2*Pi*440*t],{t,0,2}]&#xD;&#xA;When you &quot;Play&quot; a function in Mathematica, the values of the function are sampled and transformed to voltages, and those voltages are transformed into movement of the loudspeaker membrane, as EMV pointed out. &#xD;&#xA;For your question, you would use ListPlot and ListPlay, which let you graph and listen data http://reference.wolfram.com/mathematica/ref/ListPlay.html&#xD;&#xA;I am doing some material (most of the site is under construction) to teach exactly these concepts, you can read the PDF version in this link http://matecmaticaacustica.weebly.com/graph-and-sound-of-sine-waves.html and if you have either Mathematica or the free CDFPlayer, you can see the CDF version and interact with it, listening to functions and I have there a small app that might be useful. regards" ContentLicense="CC BY-SA 3.0" />
  <row Id="53543" PostHistoryTypeId="2" PostId="28534" RevisionGUID="ee145097-f9ac-4757-9972-ab9f27f12a2b" CreationDate="2014-05-27T03:17:57.683" UserId="6896" Text="Export .txt&#xD;&#xA;&#xD;&#xA;On his/her side, s/he can import text" ContentLicense="CC BY-SA 3.0" />
  <row Id="53544" PostHistoryTypeId="4" PostId="28515" RevisionGUID="dc82a618-2cf6-46e1-abe0-f5fc9f1e4785" CreationDate="2014-05-27T09:04:11.427" UserId="8251" Comment="edited title" Text="Sending bwav metadata/description to an external colleague" ContentLicense="CC BY-SA 3.0" />
  <row Id="53560" PostHistoryTypeId="6" PostId="28323" RevisionGUID="12be8f48-ce68-48e8-ab3d-efe56a8bd56b" CreationDate="2014-05-28T02:26:16.660" UserId="8095" Comment="tagged vegas" Text="&lt;software&gt;&lt;effects&gt;&lt;vegas&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53561" PostHistoryTypeId="2" PostId="28538" RevisionGUID="7ec83019-76f8-439c-903d-5e3e520022e1" CreationDate="2014-05-28T03:16:09.533" UserId="8297" Text="I'm editing a promo video that will appear on the web (specifically, [PledgeMusic](http://www.pledgemusic.com/)) and I'm curious what is the current best practice for the correct audio levels (base -dB) for:&#xD;&#xA;&#xD;&#xA;* Music (when no other sound is present)&#xD;&#xA;* Music (when a voice is also speaking)&#xD;&#xA;* Voice (when music is played at the same time)" ContentLicense="CC BY-SA 3.0" />
  <row Id="53562" PostHistoryTypeId="1" PostId="28538" RevisionGUID="7ec83019-76f8-439c-903d-5e3e520022e1" CreationDate="2014-05-28T03:16:09.533" UserId="8297" Text="What are the correct audio levels for Voice and Music in a web promo video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53563" PostHistoryTypeId="3" PostId="28538" RevisionGUID="7ec83019-76f8-439c-903d-5e3e520022e1" CreationDate="2014-05-28T03:16:09.533" UserId="8297" Text="&lt;mixing&gt;&lt;audio&gt;&lt;video&gt;&lt;mastering&gt;&lt;engineering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53564" PostHistoryTypeId="2" PostId="28539" RevisionGUID="3819f9d0-5c8f-4e46-834c-525cccaf5bb6" CreationDate="2014-05-28T04:16:07.327" UserId="6399" Text="There aren't really an &quot;correct&quot; levels for the web.  I will usually make the web version of commercial hit around -16 to -18 lufs throughout the spot with peaks around -2dbfs.  It seems like most other ad mixers are in that area as well  That is just ballpark though, it really depends on your program material.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="53565" PostHistoryTypeId="2" PostId="28540" RevisionGUID="00cd3508-5301-42b6-90d6-a79025562ef1" CreationDate="2014-05-28T07:33:00.767" UserId="1216" Text="I find what coaxmw says to be true when I don't have a lot of music, so with primarily voice over.&#xD;&#xA;Regardless of Lufs and other standards for loudness, you should be mixing/leveling with your ears not meters. Have you calibrated your speakers and tuned your room acoustics?&#xD;&#xA;If have a monitor setting for commercials and another one for 'softer' material.&#xD;&#xA;&#xD;&#xA;Do a little search on the site on monitor calibration. Or google. " ContentLicense="CC BY-SA 3.0" />
  <row Id="53568" PostHistoryTypeId="2" PostId="28543" RevisionGUID="609c4f86-25f8-4099-8ee6-501b684ff084" CreationDate="2014-05-29T04:44:14.963" UserId="8145" Text="To reiterate what other posters have said already, there aren't 'correct' levels. There are various [loudness standards][1] which will help you in terms of mastering and so forth, but your major reference point should be your own listening comfort. As a sound engineer or designer your most important tool is your hearing - if it sounds wrong to you, then it probably *is* wrong. There are plenty of great plugins and hardware and software tools to help you do what you do, but only your own personal sound equipment on the sides of your head can actually do the job!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tcelectronic.com/loudness/broadcast-standards/" ContentLicense="CC BY-SA 3.0" />
  <row Id="53569" PostHistoryTypeId="36" PostId="28544" RevisionGUID="1c13f3e6-99cb-4aa2-88cf-b2b6d7617f04" CreationDate="2014-05-29T10:34:52.343" UserId="-1" Comment="from http://video.stackexchange.com/questions/10824/what-are-the-correct-audio-levels-for-voice-and-music-in-a-web-promo-video" />
  <row Id="53570" PostHistoryTypeId="36" PostId="28545" RevisionGUID="c82d07c3-ff2f-4e07-8ddc-019baf7022ed" CreationDate="2014-05-29T10:34:52.343" UserId="-1" Comment="from http://video.stackexchange.com/questions/10824/what-are-the-correct-audio-levels-for-voice-and-music-in-a-web-promo-video/10826#10826" />
  <row Id="53571" PostHistoryTypeId="36" PostId="28546" RevisionGUID="0417e382-60d7-4497-82e3-7d490108c8ed" CreationDate="2014-05-29T10:34:52.343" UserId="-1" Comment="from http://video.stackexchange.com/questions/10824/what-are-the-correct-audio-levels-for-voice-and-music-in-a-web-promo-video/10829#10829" />
  <row Id="53572" PostHistoryTypeId="2" PostId="28545" RevisionGUID="00475e48-d1fa-4380-bd7b-9f56239c87f6" CreationDate="2014-05-28T11:33:05.170" UserId="7016" Text="Take a look at a selection of promo videos - there are as many approaches as videos, some trying to have the vocals punch through a mix, some that want to make music the forefront at all times etc.&#xD;&#xA;&#xD;&#xA;If Pledge have specific levels, you should use theirs, but you will find that there is no standard in this area so go with what feels good to you." ContentLicense="CC BY-SA 3.0" />
  <row Id="53573" PostHistoryTypeId="2" PostId="28546" RevisionGUID="b95fa767-ead6-4764-a9a0-969c26c73977" CreationDate="2014-05-28T14:21:04.783" UserDisplayName="Justin Brunson" Text="First, make sure that nothing is clipping-- i.e. no red light at the top of the audio meter. &lt;br&gt;&#xD;&#xA;I would mix the loudest parts of your video to roughly -1.5 dB. Others will tell you 0, or -3. You have some flexibility. &lt;br&gt;&#xD;&#xA;More important than specific levels is making sure that your script can be clearly understood. When you've got a rough mix, listen to it with your eyes closed. Bring someone in that hasn't heard it before and have them do the same. If you can't understand the speaker, or if you can feel yourself straining to listen, drop the music another 2dB and listen again. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53574" PostHistoryTypeId="2" PostId="28544" RevisionGUID="0da6968e-05b7-4c16-a9c4-72364c545658" CreationDate="2014-05-28T03:12:07.313" UserId="8297" Text="I'm editing a promo video that will appear on the web (specifically, [PledgeMusic](http://www.pledgemusic.com/)) and I'm curious what is the current best practice for the correct audio levels (base -dB) for:&#xD;&#xA;&#xD;&#xA;* Music (when no other sound is present)&#xD;&#xA;* Music (when a voice is also speaking)&#xD;&#xA;* Voice (when music is played at the same time)" ContentLicense="CC BY-SA 3.0" />
  <row Id="53575" PostHistoryTypeId="1" PostId="28544" RevisionGUID="0da6968e-05b7-4c16-a9c4-72364c545658" CreationDate="2014-05-28T03:12:07.313" UserId="8297" Text="What are the correct audio levels for Voice and Music in a web promo video?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53576" PostHistoryTypeId="3" PostId="28544" RevisionGUID="0da6968e-05b7-4c16-a9c4-72364c545658" CreationDate="2014-05-28T03:12:07.313" UserId="8297" Text="&lt;video&gt;&lt;audio&gt;&lt;mixing&gt;&lt;engineering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53577" PostHistoryTypeId="10" PostId="28544" RevisionGUID="61f6497d-a66f-4934-ab07-f461ae012a19" CreationDate="2014-05-29T10:35:23.707" UserId="7016" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[28538],&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="53578" PostHistoryTypeId="37" PostId="28544" RevisionGUID="44971595-ad12-4912-af9c-2891900c3107" CreationDate="2014-05-29T10:35:37.590" UserId="7016" Comment="to http://sound.stackexchange.com/questions/28538/what-are-the-correct-audio-levels-for-voice-and-music-in-a-web-promo-video" />
  <row Id="53579" PostHistoryTypeId="38" PostId="28545" RevisionGUID="44971595-ad12-4912-af9c-2891900c3107" CreationDate="2014-05-29T10:35:37.590" UserId="7016" Comment="from http://sound.stackexchange.com/questions/28544/what-are-the-correct-audio-levels-for-voice-and-music-in-a-web-promo-video" />
  <row Id="53580" PostHistoryTypeId="38" PostId="28546" RevisionGUID="44971595-ad12-4912-af9c-2891900c3107" CreationDate="2014-05-29T10:35:37.590" UserId="7016" Comment="from http://sound.stackexchange.com/questions/28544/what-are-the-correct-audio-levels-for-voice-and-music-in-a-web-promo-video" />
  <row Id="53581" PostHistoryTypeId="38" PostId="28538" RevisionGUID="44971595-ad12-4912-af9c-2891900c3107" CreationDate="2014-05-29T10:35:37.590" UserId="7016" Comment="from http://sound.stackexchange.com/questions/28544/what-are-the-correct-audio-levels-for-voice-and-music-in-a-web-promo-video" />
  <row Id="53582" PostHistoryTypeId="14" PostId="28544" RevisionGUID="36d568b0-775f-4a9a-8886-284ae5ef293a" CreationDate="2014-05-29T10:35:37.590" UserId="7016" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="53590" PostHistoryTypeId="2" PostId="28549" RevisionGUID="31fff834-e91e-45ea-9178-678e3325ebc6" CreationDate="2014-05-29T13:33:56.357" UserId="8306" Text="I am working with *large amount of short wav-files* (over 900 of them). The upper track is used as a reference (low quality) under which I arrange complementary smaller wav files (highest quality).&#xD;&#xA;&#xD;&#xA;**It will be great if I could write some notes to identify individual tracks. Is there any way how to do this?** At least the ID of segments.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/37BEC.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="53591" PostHistoryTypeId="1" PostId="28549" RevisionGUID="31fff834-e91e-45ea-9178-678e3325ebc6" CreationDate="2014-05-29T13:33:56.357" UserId="8306" Text="How to tag the sound seqments in Audacity" ContentLicense="CC BY-SA 3.0" />
  <row Id="53592" PostHistoryTypeId="3" PostId="28549" RevisionGUID="31fff834-e91e-45ea-9178-678e3325ebc6" CreationDate="2014-05-29T13:33:56.357" UserId="8306" Text="&lt;wav&gt;&lt;audacity&gt;&lt;tagging&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53595" PostHistoryTypeId="4" PostId="28549" RevisionGUID="2290ba15-751d-4b66-b832-89127f877baa" CreationDate="2014-05-29T16:29:31.257" UserId="8306" Comment="edited title" Text="How to tag the sound segments in Audacity" ContentLicense="CC BY-SA 3.0" />
  <row Id="53596" PostHistoryTypeId="2" PostId="28550" RevisionGUID="18913503-7958-415a-aabd-ba1173dd863b" CreationDate="2014-05-29T19:56:59.807" UserId="7838" Text="Why not to use `Label Track`? Simply click on a given point in time and press `Ctrl+B` or choose: **Tracks** **-&gt;** **Add Label At Selection**. Afterwards you can export your label file, which can be easily parsed." ContentLicense="CC BY-SA 3.0" />
  <row Id="53597" PostHistoryTypeId="5" PostId="28018" RevisionGUID="72417b63-3e5b-45c3-851e-a5852311fd08" CreationDate="2014-05-29T21:33:55.773" UserId="7838" Comment="added 31 characters in body" Text="I would like to perform some measurements of the microphones (i.e. frequency response, SNR, etc.). First and best option would be to use the Anechoic Chamber- obviously this is not an option because of access and price. &#xD;&#xA;Another way would be to perform measurements in quiet room and then window the Impulse Response. Unfortunately this will limit lower frequency of my measurement - obviously I do not want that.&#xD;&#xA;I believe that the best way to do that is by using small Anechoic Box and putting speaker and microphones in it. Prices of such are very high, therefore  is there any good way of creating one? Maybe someone already did it. Mostly I am curious with:&#xD;&#xA;&#xD;&#xA; - what kind of absorbent to use inside&#xD;&#xA; - what to use as the skeleton (maybe some kind of server cabinet?)&#xD;&#xA; - how to insulate it in a best way from outside noise&#xD;&#xA;&#xD;&#xA;I would be thankful for any help. Regards." ContentLicense="CC BY-SA 3.0" />
  <row Id="53598" PostHistoryTypeId="2" PostId="28551" RevisionGUID="b5cd01f0-624a-45d4-8998-a483a2d8698c" CreationDate="2014-05-30T15:25:57.230" UserId="7401" Text="I'm totally new in sound generation. I fdeel that when programming a patch to look for something 'magic' the sounds just became boring to ourself and we possibly miss the real point not just because we can't find the right sound, but just for we get the ear 'abused' with certain notes and unable to feel the right things. Does some technique to improve exist?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53599" PostHistoryTypeId="1" PostId="28551" RevisionGUID="b5cd01f0-624a-45d4-8998-a483a2d8698c" CreationDate="2014-05-30T15:25:57.230" UserId="7401" Text="How to avoid self boring when programming patches" ContentLicense="CC BY-SA 3.0" />
  <row Id="53600" PostHistoryTypeId="3" PostId="28551" RevisionGUID="b5cd01f0-624a-45d4-8998-a483a2d8698c" CreationDate="2014-05-30T15:25:57.230" UserId="7401" Text="&lt;synthesis&gt;&lt;psychoacoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53601" PostHistoryTypeId="2" PostId="28552" RevisionGUID="4e041b3b-89ca-4a25-9e14-9f4a6d866192" CreationDate="2014-05-30T16:55:23.137" UserId="5989" Text="Do you let it play note on repeat when designing sound? I push the keyboard myself and I found that much better that let it loop the note and sculpting your sound.&#xD;&#xA;&#xD;&#xA;I often can't resist to go wild with the keyboard too, which is fun and often rewards me with desirable sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="53602" PostHistoryTypeId="2" PostId="28553" RevisionGUID="accb1cb3-ea68-48e7-ac74-bc13843b9e39" CreationDate="2014-05-30T16:59:11.320" UserId="8315" Text="This is a question from a novice sound designer, but one that I don't see discussed much, for obvious reasons.&#xD;&#xA;&#xD;&#xA;When approaching professional sound design projects such as movies, game cinematics, sound demos/reels etc, and when you are simply unable to create a certain sound yourself, is it ever customary to just scour through sound libraries online, either free or paid? I'm talking about if you need something specific like an animal sound, or a car tyre screech, or real gunfire (assuming you don't have the funds, time or resources to record these sounds for real)." ContentLicense="CC BY-SA 3.0" />
  <row Id="53603" PostHistoryTypeId="1" PostId="28553" RevisionGUID="accb1cb3-ea68-48e7-ac74-bc13843b9e39" CreationDate="2014-05-30T16:59:11.320" UserId="8315" Text="Sound Design Etiquette?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53604" PostHistoryTypeId="3" PostId="28553" RevisionGUID="accb1cb3-ea68-48e7-ac74-bc13843b9e39" CreationDate="2014-05-30T16:59:11.320" UserId="8315" Text="&lt;design&gt;&lt;sound&gt;&lt;video-games&gt;&lt;demo-reel&gt;&lt;movies&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53605" PostHistoryTypeId="2" PostId="28554" RevisionGUID="9de7d847-1401-4818-be47-d5f8acde3a9d" CreationDate="2014-05-30T17:34:26.547" UserId="432" Text="It happens all the time. We also contact friends and peers who might have the sounds we need, and trade effects back and forth (which is a great way to expand your library). Everything in audio post is predicated on budget, time and need. We'd all love to record or synthesize brand new sounds for every element needed in a film, but that's just not a realistic goal for most projects." ContentLicense="CC BY-SA 3.0" />
  <row Id="53606" PostHistoryTypeId="2" PostId="28555" RevisionGUID="cc37583f-525e-47c0-acbb-4a77822be7a6" CreationDate="2014-05-30T18:59:57.727" UserId="8316" Text="Will the Tascam DR-40 add any self noise or hiss to higher quality external mics? Also is it okay to use two different external mics into the Tascam DR-40 at once?&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="53607" PostHistoryTypeId="1" PostId="28555" RevisionGUID="cc37583f-525e-47c0-acbb-4a77822be7a6" CreationDate="2014-05-30T18:59:57.727" UserId="8316" Text="Using External Mics with the Tascam DR-40" ContentLicense="CC BY-SA 3.0" />
  <row Id="53608" PostHistoryTypeId="3" PostId="28555" RevisionGUID="cc37583f-525e-47c0-acbb-4a77822be7a6" CreationDate="2014-05-30T18:59:57.727" UserId="8316" Text="&lt;field-recording&gt;&lt;audio&gt;&lt;recording&gt;&lt;gear&gt;&lt;portable-recorder&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53623" PostHistoryTypeId="2" PostId="28557" RevisionGUID="1f022483-f307-414c-8b53-7675221298a1" CreationDate="2014-05-31T09:34:00.307" UserId="5624" Text="Every piece of gear will add its own self noise to a system. Whether that noise is perceptible is another question which depends a lot on the gear, what you're recording, and the settings you're using.&#xD;&#xA;&#xD;&#xA;For example, if you're recording a very loud source (eg. A rock concert) you won't need to set your gain very high and so less self noise will be added. If you're recording quiet sources then you generally want to set your gain higher which will amplify the recorders self noise along with the self noise of anything in the recording chain before it.&#xD;&#xA;&#xD;&#xA;I've never used this particular recorder but as a prosumer device I can't imagine it to have the most high quality preamps and so will introduce a high level of self noise compared with other professional recorders.&#xD;&#xA;&#xD;&#xA;As for using different microphones at once, I don't see why not! Unless of course you're trying to make stereo recordings, in which case you should be using the same model of microphone at the least (unless it's an MS recording), but that's a whole new topic of conversation!" ContentLicense="CC BY-SA 3.0" />
  <row Id="53628" PostHistoryTypeId="2" PostId="28560" RevisionGUID="1c26fc16-cfe1-4f7c-bb96-f97a2091e27d" CreationDate="2014-06-01T10:23:35.643" UserId="8320" Text="I have a Shure SV100 mic, plugged into a behringer 1002USB mixing board, and I am having trouble getting my levels normal. In general I find that the mic audio is very low, often showing up at -18 or so even with the mic level way up on the board, also I find that the level tends to vary a lot. I generally find that it works best when I have my mouth right up to the mic.&#xD;&#xA;&#xD;&#xA;I am recording podcasts and screencasts mostly. &#xD;&#xA;&#xD;&#xA;Am I doing something wrong?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53629" PostHistoryTypeId="1" PostId="28560" RevisionGUID="1c26fc16-cfe1-4f7c-bb96-f97a2091e27d" CreationDate="2014-06-01T10:23:35.643" UserId="8320" Text="Trouble with Microphone levels" ContentLicense="CC BY-SA 3.0" />
  <row Id="53630" PostHistoryTypeId="3" PostId="28560" RevisionGUID="1c26fc16-cfe1-4f7c-bb96-f97a2091e27d" CreationDate="2014-06-01T10:23:35.643" UserId="8320" Text="&lt;microphone&gt;&lt;mixing&gt;&lt;microphone-positioning&gt;&lt;podcasts&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53631" PostHistoryTypeId="14" PostId="28526" RevisionGUID="01fbdbb5-0073-4733-b2c3-47abb225e735" CreationDate="2014-06-01T14:53:09.770" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="53632" PostHistoryTypeId="35" PostId="28526" RevisionGUID="223c345e-ef2a-4d3b-8dca-17e73b4b9220" CreationDate="2014-06-01T14:53:09.770" UserId="7016" Comment="to http://meta.stackoverflow.com/questions/257924/can-a-software-generate-a-midi-track-from-a-song-of-musical-notes-of-different" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:1216,&quot;DisplayName&quot;:&quot;Arnoud Traa&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="53633" PostHistoryTypeId="35" PostId="28531" RevisionGUID="af8a1520-49ba-4489-81d4-76a98b4fc022" CreationDate="2014-06-01T14:53:09.770" UserId="-1" Comment="to http://meta.stackoverflow.com/questions/257924/can-a-software-generate-a-midi-track-from-a-song-of-musical-notes-of-different" />
  <row Id="53634" PostHistoryTypeId="10" PostId="28526" RevisionGUID="301128cf-71b0-4c0c-92c3-d7b19b0b579e" CreationDate="2014-06-01T14:53:09.770" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:1216,&quot;DisplayName&quot;:&quot;Arnoud Traa&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="53636" PostHistoryTypeId="10" PostId="14795" RevisionGUID="6d44e1af-4ede-4b02-83e3-2c3fabbf8e96" CreationDate="2014-06-01T14:55:42.140" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="53637" PostHistoryTypeId="11" PostId="28526" RevisionGUID="89cab187-6aff-4ed9-8f53-61225e38b442" CreationDate="2014-06-01T14:56:13.033" UserId="7016" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="53639" PostHistoryTypeId="15" PostId="28526" RevisionGUID="d009e346-69ee-40d7-9ded-f6d473ef9652" CreationDate="2014-06-01T14:56:26.073" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="53640" PostHistoryTypeId="10" PostId="28526" RevisionGUID="cbe14ad3-fb00-46eb-8760-ad2ae81e1a50" CreationDate="2014-06-01T14:56:27.463" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="53641" PostHistoryTypeId="2" PostId="28561" RevisionGUID="5f44c832-cc04-4ac5-bded-49107e23a314" CreationDate="2014-06-01T17:37:09.500" UserId="7174" Text="This is normal behavior and to be expected.  The ideal placement of an SV100 is about half an inch from your mouth.  They are designed to be right on top of.  When working with SM58s (basically the professional big brother of the SV100), my recommendation to people who are unfamiliar with the mic is to hold it with their fingers wrapped just below the grill, stick out their thumb and touch their chin with their thumb.  That's about the ideal placement.&#xD;&#xA;&#xD;&#xA;Additionally, uncompressed, the human voice can be pretty dynamic depending on how you talk.  If you move around at all, you will also change where you are in the pickup pattern of the mic, which will result in further level changes.  -18 isn't a horrible level, it could be better by getting closer or turning up the gain, but it's more important to make sure you don't clip (have parts of your recording that exceed the maximum signal dB that the gear can handle)." ContentLicense="CC BY-SA 3.0" />
  <row Id="53642" PostHistoryTypeId="5" PostId="28552" RevisionGUID="3b6c1717-52cc-49b6-acb5-f6c5c0317783" CreationDate="2014-06-01T18:47:44.183" UserId="5989" Comment="edited body" Text="Do you let it play note on repeat when designing sound? I push the keyboard myself and I found that much better than let it loop the note and sculpting your sound.&#xD;&#xA;&#xD;&#xA;I often can't resist to go wild with the keyboard too, which is fun and often rewards me with desirable sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="53643" PostHistoryTypeId="2" PostId="28562" RevisionGUID="d77a99bc-5f3e-4ee3-8908-dc3141f7ce82" CreationDate="2014-06-01T19:25:52.663" UserId="8324" Text="I am going to be recording a group of six people, who will be in two rows (three people in front, three behind them), facing a camera. This is for a marathon livestream in which the people will swapping out consistently, and the mics will be in use for in excess of five days. We are looking for the best option to get good audio from these people while keeping the following in mind:&#xD;&#xA;&#xD;&#xA; - We cannot use lavaliers, as the group of people will be switching out throughout the event.&#xD;&#xA; - Microphones should have an option for phantom power, as switching batteries during the event would not be ideal.&#xD;&#xA; - We will be indoors, the room will not have much echo due to padded walls and carpeted floors.&#xD;&#xA; - We are on a budget, but not strict. We can likely spend around $1000 safely, but would prefer less.&#xD;&#xA;&#xD;&#xA;Our current plans involve buying two Rode NTG2s, and mounting them high, pointed down at the two rows." ContentLicense="CC BY-SA 3.0" />
  <row Id="53644" PostHistoryTypeId="1" PostId="28562" RevisionGUID="d77a99bc-5f3e-4ee3-8908-dc3141f7ce82" CreationDate="2014-06-01T19:25:52.663" UserId="8324" Text="Recording a group of people" ContentLicense="CC BY-SA 3.0" />
  <row Id="53645" PostHistoryTypeId="3" PostId="28562" RevisionGUID="d77a99bc-5f3e-4ee3-8908-dc3141f7ce82" CreationDate="2014-06-01T19:25:52.663" UserId="8324" Text="&lt;microphone&gt;&lt;recording&gt;&lt;studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53647" PostHistoryTypeId="2" PostId="28564" RevisionGUID="b125cafd-c9ba-45ee-8d3f-8c725a6a561a" CreationDate="2014-06-01T20:08:49.897" UserId="8325" Text="I'm new to audio and was looking for tips for field mixing.&#xD;&#xA;&#xD;&#xA;Our crew was shooting interviews in a high traffic public area. I had the boom on one channel and a lav on the subject on another channel. I had the Lavaliere hitting around -12 to - 6 db and it sounded find - good separation between subject dialogue and background noise. With the shotgun mic, even though it was close to subject as possible without entering frame, it was picking up too much of the background noise if I adjusted gain so it was hitting at -12 and - 6 db. So, unless I brought down the shotgun levels, when I listened to it stereo mixed, the background noise was too overpowering.&#xD;&#xA;&#xD;&#xA;Since, these tracks are separate, would I still want the shotgun mic hitting about the same levels as the lavaliere mic and let the editor choose which track they want in post or should I try to bring down the levels of the shotgun mic so that the background noise is minimized. I don't want the producer to look at the footage and think that sound is bad, but at the same time I don't want to leave the editor without an option. What's the general rule of thumb to do in this situation? &#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="53648" PostHistoryTypeId="1" PostId="28564" RevisionGUID="b125cafd-c9ba-45ee-8d3f-8c725a6a561a" CreationDate="2014-06-01T20:08:49.897" UserId="8325" Text="Field mixing Boom and Lav mic" ContentLicense="CC BY-SA 3.0" />
  <row Id="53649" PostHistoryTypeId="3" PostId="28564" RevisionGUID="b125cafd-c9ba-45ee-8d3f-8c725a6a561a" CreationDate="2014-06-01T20:08:49.897" UserId="8325" Text="&lt;production-mixing&gt;&lt;interviews&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53650" PostHistoryTypeId="2" PostId="28565" RevisionGUID="7abf91f3-46b5-4bd8-896d-236f7bf70b68" CreationDate="2014-06-02T00:12:36.613" UserId="8326" Text="It is always good for both the camera and sound departments to be aware of who is equipping what. Rule of thumb - preplanned is prepared, with that being said camera departments are usually the ones bringing the slate - EVEN IN NORTH AMERICA! There are many situations/productions that only use a boom operator (with newer camera's mostly accepting XLR's @ 48Khz) and don't have sound recordists on-hand. Would anyone require a Boom-op to be your slate handler at the same time? &#xD;&#xA;&#xD;&#xA;Now if sound is completely separate as in 35mm film and external sound with TC generation - well, special equipment is required due to the nature of that beast - which could fall under either department but most often would be under the sound dept." ContentLicense="CC BY-SA 3.0" />
  <row Id="53651" PostHistoryTypeId="2" PostId="28566" RevisionGUID="79667d80-411d-4711-b3e1-14e752d34cd3" CreationDate="2014-06-02T00:44:38.800" UserId="8327" Text="dBlue glitch is probably one of the best free plugins out there." ContentLicense="CC BY-SA 3.0" />
  <row Id="53658" PostHistoryTypeId="2" PostId="28569" RevisionGUID="c56b7be5-a6fb-4a55-b14b-db2012875245" CreationDate="2014-06-02T10:49:28.590" UserId="8331" Text="When I am listening to music using head-phones, I find listening to stereo recordings rather tiring, so I am using a cross-feed-plugin which to my perception improves the spatial perception of the recording a lot (feels to me like having a panoramic perception instead of one that feels like having a pool cue stuck through both of my ears).&#xD;&#xA;&#xD;&#xA;Obviously, I don't want to smash binaural recordings by applying cross-feed on top of them. So, this question came to my mind:&#xD;&#xA;&#xD;&#xA;Is there any algorithmic way to guess whether a specific recording is binaural or not? Criteria that come to my mind:&#xD;&#xA;&#xD;&#xA;- rather easy: lack of cross-correlation -&gt; stereo&#xD;&#xA;- difficult: consistent cross-correlation for certain &quot;components&quot; of the sound (wavelets?)&#xD;&#xA;  -&gt; binaural&#xD;&#xA;- vague: frequency envelope that is typical for head-transfer-functions -&gt; binaural&#xD;&#xA;&#xD;&#xA;Obviously, any such algorithm will have flaws because in fact any binaural recording can be interpreted as a strange stereo signal. And any stereo signal can be interpreted as a binaural recording in a very strange room, where the head is in the middle of a wall and each ear only hears part of the room.&#xD;&#xA;&#xD;&#xA;Anyway, is there anything established in that direction?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53659" PostHistoryTypeId="1" PostId="28569" RevisionGUID="c56b7be5-a6fb-4a55-b14b-db2012875245" CreationDate="2014-06-02T10:49:28.590" UserId="8331" Text="Is there a way to distinguish stereo from binaural signals (algorithmically)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53660" PostHistoryTypeId="3" PostId="28569" RevisionGUID="c56b7be5-a6fb-4a55-b14b-db2012875245" CreationDate="2014-06-02T10:49:28.590" UserId="8331" Text="&lt;stereo&gt;&lt;binaural&gt;&lt;algorithmic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53662" PostHistoryTypeId="5" PostId="28566" RevisionGUID="0621481c-18c8-43f7-a1fc-b1ee362ed523" CreationDate="2014-06-02T15:10:24.713" UserId="7294" Comment="Added some basic detail" Text="dBlue glitch is a useful free multi-effect plugin. Among its more prominent effects is the ability to cut up and rearrange incoming audio, making &quot;glitchy&quot; effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="53663" PostHistoryTypeId="2" PostId="28570" RevisionGUID="7e9c02d7-15f3-4a01-b7a0-fccd63285aef" CreationDate="2014-06-02T15:14:15.773" UserId="7174" Text="It sounds like your shotgun mic might is either not particularly focused or was not aimed correctly.  It is important to make sure to use shotgun mics that focus on there you point them and then make sure they are pointed carefully.&#xD;&#xA;&#xD;&#xA;As for your levels, capture good signal on both.  Turning down the level doesn't mean you don't capture background noise, it means everything is closer to the noise floor.  The microphone picks up what it picks up.  Just because you can't hear it doesn't mean it isn't there and you gain nothing over adjusting it back down later.  You lose a lot though since if you have to raise up a low signal later, you get far more noise and less detail in the audio." ContentLicense="CC BY-SA 3.0" />
  <row Id="53664" PostHistoryTypeId="2" PostId="28571" RevisionGUID="1202eee6-f8b9-41cb-9208-52c76eb15c4d" CreationDate="2014-06-02T15:23:25.927" UserId="8332" Text="its Elaborinth8993. &#xD;&#xA;&#xD;&#xA;What I am suggesting might not be what you are looking for, but it would produce the best sound quality for what you need.&#xD;&#xA;&#xD;&#xA;I may be going over the top with what I think you need, but it can be easily scaled back to fit what you actually need.&#xD;&#xA;&#xD;&#xA;First thing you would need that I do not know you own is a mixing board. something like this http://www.fullcompass.com/product/382185.html&#xD;&#xA;&#xD;&#xA;If you already have one, Awesome! that saves you a bunch of money. but if you don't I would suggest you get one because it gives you more control over sound then just &quot;set it and forget it&quot;&#xD;&#xA;&#xD;&#xA;Now on to the actual response of &quot;What do i do for audio?&quot;&#xD;&#xA;&#xD;&#xA;I have done research, and this group of stuff i am suggesting can be bought for a total of around $800 but can be easily brought down to around $600.&#xD;&#xA;&#xD;&#xA;Here is the $800 equipment list. &#xD;&#xA;&#xD;&#xA;2 of these:&#xD;&#xA;&#xD;&#xA;Sennheiser THREEPACK &#xD;&#xA;3 E835 Microphones w/3 Carrying Pouches and clips&#xD;&#xA;$249.95 on FullCompass&#xD;&#xA;&#xD;&#xA;6 of these:&#xD;&#xA;&#xD;&#xA;On-Stage Stands DS7200B&#xD;&#xA;9&quot;-13&quot; H Desktop Microphone Stand&#xD;&#xA;$12.95 on FullCompass&#xD;&#xA;&#xD;&#xA;And 6 of these if you want pop filters:&#xD;&#xA;&#xD;&#xA;Audix PD-133&#xD;&#xA;Pop Diffuser&#xD;&#xA;$28.95 on Full Compass&#xD;&#xA;&#xD;&#xA;Now I do not know if Microphones on a table is the look you are going for. because that can get distracting to look at, but it will look like any PAX or ComiCon panel you have seen, and it will sound the best. no echo because everyone has their own mic and not a group of people talking into 1 mic. and no background stuff picked up by the 2 overhead mics&#xD;&#xA;&#xD;&#xA;This group of stuff can be scaled back to $600.&#xD;&#xA;&#xD;&#xA;Buy 1 of these:&#xD;&#xA;&#xD;&#xA;Sennheiser THREEPACK &#xD;&#xA;3 E835 Microphones w/3 Carrying Pouches and clips&#xD;&#xA;$249.95 on FullCompass&#xD;&#xA;&#xD;&#xA;1 of these:&#xD;&#xA;&#xD;&#xA;Sennheiser e835&#xD;&#xA;Evolution Series Cardioid Vocal Microphone&#xD;&#xA;$99.99 on Full Compass&#xD;&#xA;&#xD;&#xA;4 of these:&#xD;&#xA;&#xD;&#xA;On-Stage Stands DS7200B&#xD;&#xA;9&quot;-13&quot; H Desktop Microphone Stand&#xD;&#xA;$12.95 on FullCompass&#xD;&#xA;&#xD;&#xA;and 4 of these if you want pop filters:&#xD;&#xA;&#xD;&#xA;Audix PD-133&#xD;&#xA;Pop Diffuser&#xD;&#xA;$28.95 on Full Compass&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;This would be 2 mics on each table. 1 person with their own mic, and 2 people sharing a mic. which could work (First table is the person playing the game and his co-runner, 2nd table is 3 people commentating)&#xD;&#xA;&#xD;&#xA;I hope this helps you MC, if you still want the hidden Microphone set-up, than the plan you have now, would probably be the best. the Rode NTG's are good mics and getting them above people would not be too hard. &#xD;&#xA;&#xD;&#xA;What I am suggesting would just be a better audio set-up. because I would be worried about those Rode's picking up a conversation across the room. &#xD;&#xA;&#xD;&#xA;Have a good day,&#xD;&#xA; &#xD;&#xA;Elaborinth8993&#xD;&#xA;&#xD;&#xA; and sorry for the formatting. I am only allowed 2 links, so I had to reformat this whole thing.&#xD;&#xA;&#xD;&#xA;Also, what ever plan you go with, you will need audio cable. 30ft is $13 a piece which should be long enough&#xD;&#xA;&#xD;&#xA;(WARNING: I am in no way an audio expert, I am a lighting guy for theatre, I only set-up and plug in mics on occasion, I do not operate or know the difference between mic brands. But that being said, I work with a professional sound guy and this is the set-up he would use in a situation like this.)  &#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="53668" PostHistoryTypeId="10" PostId="28562" RevisionGUID="10461428-b95c-4879-bdd0-aee2a3c587cf" CreationDate="2014-06-02T21:17:28.097" UserId="7016" Comment="103" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:1216,&quot;DisplayName&quot;:&quot;Arnoud Traa&quot;},{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="53671" PostHistoryTypeId="2" PostId="28573" RevisionGUID="d1cb27cf-3f0e-4ca2-9fd3-b8adacc7dde9" CreationDate="2014-06-02T21:55:26.877" UserId="8337" Text="I have a electronic piano/keboard ( Yamaha PSR E323 ) and I am planning to record myself playing a piece. My laptop, to which I will be recording to is a Lenevo Z570 .&#xD;&#xA;&#xD;&#xA;I am a newbie in in this area and I do not have any knowledge of the technical aspects nor do I have any MIDI cables/soundcard etc.&#xD;&#xA;&#xD;&#xA;I understand that I have to buy some cables, and some other stuff .. so I would like your help very much on what to do. I have quite a low budget .. less than $20.Also, I use Ubuntu and I wouldn't like to use any paid software.  &#xD;&#xA;&#xD;&#xA;It would be very much help if you could suggest me the cables to buy, how to use them and what softwares to use. ( I already googled for these things but couldn't find anything useful )" ContentLicense="CC BY-SA 3.0" />
  <row Id="53672" PostHistoryTypeId="1" PostId="28573" RevisionGUID="d1cb27cf-3f0e-4ca2-9fd3-b8adacc7dde9" CreationDate="2014-06-02T21:55:26.877" UserId="8337" Text="How to record from keyboard to laptop?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53673" PostHistoryTypeId="3" PostId="28573" RevisionGUID="d1cb27cf-3f0e-4ca2-9fd3-b8adacc7dde9" CreationDate="2014-06-02T21:55:26.877" UserId="8337" Text="&lt;audio-recording&gt;&lt;software&gt;&lt;techniques&gt;&lt;cable&gt;&lt;piano&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53674" PostHistoryTypeId="2" PostId="28574" RevisionGUID="dd116750-6ae9-4e58-9c69-31715262bc9d" CreationDate="2014-06-02T22:42:33.083" UserDisplayName="user8338" Text="You need an USB MIDI Interface. Cheap ones are available at $15. It is used to send the data which keys are played to the computer, then the computer can store these data and also send it back to the keyboard to replay it. You also need a software to record, process and replay the MIDI data. That software is called a MIDI sequencer but today its common to say DAW (Digital Audio Workstation) or Host. There are several free DAW available for Linux, f.e. Rosegarden. To find out more about hosts you should check out kvraudio.com - they have also a forum where people will friendly help you with music related questions. Btw. be aware that getting everything to work on Linux can sometimes be difficult, especially with not so common hardware." ContentLicense="CC BY-SA 3.0" />
  <row Id="53675" PostHistoryTypeId="2" PostId="28575" RevisionGUID="f6f89a49-fb7e-40bf-858e-88c80c6ebd87" CreationDate="2014-06-02T22:48:17.417" UserId="6469" Text="I'm trying to morph a voice into a second one, for an anticipation movie (there's a brief resume of the movie in the beginning of a previous question I answered about how to make futuristic cars here : http://sound.stackexchange.com/questions/27923/futuristic-cars )&#xD;&#xA;&#xD;&#xA;The protagonist can change his appearance, and choose his voice. So, he's in front of a mirror, speak and by changing parameters he change his voice to another : his alter ego in virtual reality.&#xD;&#xA;&#xD;&#xA;In the movie, there's 2 actors, the real and the virtual. The first one's got medium voice, the second got very low-deep voice. &#xD;&#xA;During the shooting they just say &quot;Test...Test...Test.... Test&quot; (4 times), and the idea is to morph from one to another, &#xD;&#xA;&#xD;&#xA;This is what I (unsuccessfully) tried :&#xD;&#xA;&#xD;&#xA;1. Perfect alignement of source material&#xD;&#xA;2. Of course crossfade doesn't work : we hear 2 voices&#xD;&#xA;3. Using Melodyne, I tried to progressively pitch down the first and pitch up the second using the formant tool to make them natural, and tuning them to be in unison.&#xD;&#xA;&#xD;&#xA;No, Voices are too sensitive, we perceive that it's not natural... &#xD;&#xA;&#xD;&#xA;Any Ideas ? I don't own Kyma and don't have time to learn it, but If a Kyma user want to try it, I can send the 2 files ;-)&#xD;&#xA;&#xD;&#xA;If I can't find solutions then I will do the opposite : making them artificial but I thought it was a good (not so obvious) question.&#xD;&#xA;&#xD;&#xA;Yohann&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53676" PostHistoryTypeId="1" PostId="28575" RevisionGUID="f6f89a49-fb7e-40bf-858e-88c80c6ebd87" CreationDate="2014-06-02T22:48:17.417" UserId="6469" Text="Natural morph between 2 voices" ContentLicense="CC BY-SA 3.0" />
  <row Id="53677" PostHistoryTypeId="3" PostId="28575" RevisionGUID="f6f89a49-fb7e-40bf-858e-88c80c6ebd87" CreationDate="2014-06-02T22:48:17.417" UserId="6469" Text="&lt;sound&gt;&lt;voice-manipulation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53678" PostHistoryTypeId="2" PostId="28576" RevisionGUID="c32e2d79-60b8-4090-90bd-d8d8e0f28e6b" CreationDate="2014-06-02T23:15:46.097" UserDisplayName="user8338" Text="I would recommend to use an effect setup using vocoders. There was also a special plugin once available called Morph from Prosoniq that was designed especially for morphing. Unfortunately its no longer available. On KVR is a thread about similar products and solutions. http://www.kvraudio.com/forum/viewtopic.php?t=305298&#xD;&#xA;I think another solution would be to abandon the idea and use one speaker who changes his voices, that will be more natural." ContentLicense="CC BY-SA 3.0" />
  <row Id="53679" PostHistoryTypeId="2" PostId="28577" RevisionGUID="64e78656-386d-45c8-a988-e81f8931a7b8" CreationDate="2014-06-03T07:48:52.690" UserId="61" Text="Not sure if this will yield good results or not but you could try using the word &quot;test&quot; from each voice as an impulse response in Altiverb (or similar). Example: Use the low voice &quot;test&quot; as an IR, then process the normal voice &quot;test&quot; through that at varying degrees of wet/dry mix. Through some experimentation you may find that you can achieve your morph over the course of two or three words." ContentLicense="CC BY-SA 3.0" />
  <row Id="53680" PostHistoryTypeId="10" PostId="28573" RevisionGUID="aca60137-8ffe-433d-88b4-8b0162773fac" CreationDate="2014-06-03T12:08:35.417" UserId="6957" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;},{&quot;Id&quot;:1216,&quot;DisplayName&quot;:&quot;Arnoud Traa&quot;},{&quot;Id&quot;:182,&quot;DisplayName&quot;:&quot;EMV&quot;},{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="53691" PostHistoryTypeId="2" PostId="28582" RevisionGUID="0af3ef13-cf7d-477f-8891-64183099cac9" CreationDate="2014-06-03T21:38:09.827" UserId="8345" Text="I cant seem to find a soccer only SFX library anywhere. They are always sports themed with maybe 10 soccer SFX total. while the other 200 are everything from billiards to ping pong. World cup advertising is coming up and im hoping to find a soccer sfx library. Kicks, nets, dribbles, passes, traps, slides, throw-ins, fouls, whistles, crowds. &#xD;&#xA;&#xD;&#xA;Help?&#xD;&#xA;&#xD;&#xA;Noah" ContentLicense="CC BY-SA 3.0" />
  <row Id="53692" PostHistoryTypeId="1" PostId="28582" RevisionGUID="0af3ef13-cf7d-477f-8891-64183099cac9" CreationDate="2014-06-03T21:38:09.827" UserId="8345" Text="Where to find a soccer only SFX library" ContentLicense="CC BY-SA 3.0" />
  <row Id="53693" PostHistoryTypeId="3" PostId="28582" RevisionGUID="0af3ef13-cf7d-477f-8891-64183099cac9" CreationDate="2014-06-03T21:38:09.827" UserId="8345" Text="&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53697" PostHistoryTypeId="2" PostId="28584" RevisionGUID="c3700b81-1904-41eb-b83e-7371482f5162" CreationDate="2014-06-03T22:51:28.743" UserId="7818" Text="I'm editing some spoken word audio (lectures recorded on a wireless lapel mic). I am using the following effects in Pro Tools 8. I am proficient with using these effects individually. But does it matter what order I put them in? I suspect so. What order should I put them in, and why? Is there a &quot;best practice&quot; among professionals?&#xD;&#xA;&#xD;&#xA;* De-Esser Dyn 3&#xD;&#xA;* EQ 7-band&#xD;&#xA;* Compressor/Limiter" ContentLicense="CC BY-SA 3.0" />
  <row Id="53698" PostHistoryTypeId="1" PostId="28584" RevisionGUID="c3700b81-1904-41eb-b83e-7371482f5162" CreationDate="2014-06-03T22:51:28.743" UserId="7818" Text="Sequence inserts/plugins for voice" ContentLicense="CC BY-SA 3.0" />
  <row Id="53699" PostHistoryTypeId="3" PostId="28584" RevisionGUID="c3700b81-1904-41eb-b83e-7371482f5162" CreationDate="2014-06-03T22:51:28.743" UserId="7818" Text="&lt;pro-tools&gt;&lt;editing&gt;&lt;compression&gt;&lt;equalization&gt;&lt;de-esser&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53700" PostHistoryTypeId="2" PostId="28585" RevisionGUID="c301222d-51ac-411b-a30f-6ed33d97f045" CreationDate="2014-06-04T00:53:57.557" UserId="6399" Text="It kinda matters what order you put them in but everyone has a different order that they like and then sometimes you adjust for issues. Most Channel strips let you change the order of at least some of the modules.  I tend to default to EQ/DYN/De-es/multiband but everyone is different.  Sometimes you might need 2 of certain processes, 1 to fix an issue, another to improve the sound.  The best thing to do is use your ears.  What are the issues?  What sounds good?  what sounds bad?  What is it being used for? and go from there." ContentLicense="CC BY-SA 3.0" />
  <row Id="53704" PostHistoryTypeId="2" PostId="28587" RevisionGUID="cc1feafd-2498-4bf3-aef9-d319725a91b7" CreationDate="2014-06-04T09:37:30.037" UserId="6636" Text="&#xD;&#xA;I would suggest, if you have the means, approaching your local football club to ask permission to record during their training or at a match.&#xD;&#xA;&#xD;&#xA;Especially if your not finding what you want in a sports library this way you will get exactly what your after. &#xD;&#xA;&#xD;&#xA;All the Best" ContentLicense="CC BY-SA 3.0" />
  <row Id="53705" PostHistoryTypeId="2" PostId="28588" RevisionGUID="8a5bfadc-9738-4055-8b21-7dd5f462f4c8" CreationDate="2014-06-04T11:28:53.640" UserId="8349" Text="I need to batch convert a large set of videos with audio into audio only streams, and I need the speech on the audio be loud enough on all tracks and parts of tracks that the user can listen to them without having to use their volume controls all the time.&#xD;&#xA;&#xD;&#xA;Here is how I use `ffmpeg` to get the audio only:&#xD;&#xA;&#xD;&#xA;    ffmpeg -i $1 -q:a 0 -map a $2.mp3&#xD;&#xA;&#xD;&#xA;This results in audio tracks with a large variation in loudness.&#xD;&#xA;Some of the tracks become so quiet that you cannot raise the volume on the end device enough to hear it in a noisy environment.&#xD;&#xA;So I would like the resulting audio to use the full amplitude, or perhaps even more. A little distortion or clipping is preferable to not being able to hear the audio.&#xD;&#xA;Also some filtering emphasizing the frequencies of normal speech perhaps around 1kHz would be useful.&#xD;&#xA;&#xD;&#xA;How can I do this from a batch script/command line?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53706" PostHistoryTypeId="1" PostId="28588" RevisionGUID="8a5bfadc-9738-4055-8b21-7dd5f462f4c8" CreationDate="2014-06-04T11:28:53.640" UserId="8349" Text="Make speech appear equally loud on different tracks and parts of tracks" ContentLicense="CC BY-SA 3.0" />
  <row Id="53707" PostHistoryTypeId="3" PostId="28588" RevisionGUID="8a5bfadc-9738-4055-8b21-7dd5f462f4c8" CreationDate="2014-06-04T11:28:53.640" UserId="8349" Text="&lt;equalization&gt;&lt;batch-processing&gt;&lt;speech&gt;&lt;normalize&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53708" PostHistoryTypeId="2" PostId="28589" RevisionGUID="f31b3c75-50b4-425a-936c-92bce030dc97" CreationDate="2014-06-04T14:00:47.867" UserId="6600" Text="You may like to try out 'Fracture' by Glitchmachines:&#xD;&#xA;&#xD;&#xA;http://www.glitchmachines.com/downloads/fracture/&#xD;&#xA;&#xD;&#xA;It's a buffer effect, a multimode filter, three LFOs and a delay - basically it'll mess your sound up beyond all recognition and it's quite fun just hitting randomize to see what happens.&#xD;&#xA;&#xD;&#xA;A bit of a work around for the doppler effect is 'Proximity' by Tokyo Dawn:&#xD;&#xA;&#xD;&#xA;http://www.tokyodawn.net/proximity/&#xD;&#xA;&#xD;&#xA;This is primarily an all in one distance fader, taking into account stereo width, air absorption, delay etc. (brilliant for taking the edge of foley). I found if you automate sharp 'distance gain' spikes with the true delay option enabled you get quite a good doppler effect - although you will need to pan left/right if required.&#xD;&#xA;&#xD;&#xA;The above approach is a great way of creating your own selection of whooshes - just lay down a fairly dense and consistent audio layer; city noise, air con, whatever and draw in a load of random but abrupt distance gain spikes all over it to see what you pick up. &#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="53709" PostHistoryTypeId="2" PostId="28590" RevisionGUID="00f6da04-0d2e-4a48-99d1-f6a9e352e4cd" CreationDate="2014-06-04T15:12:21.437" UserId="7174" Text="I would apply them in order of de-esser, EQ and compressor.  The first two could be done in either order, but the compressor should generally be last.&#xD;&#xA;&#xD;&#xA;You could EQ with or without the De-esser applied, but the De-esser will offer you less control over the sound than a good EQ (though I would use fully parametric EQs rather than a 7 band, which is far less powerful).&#xD;&#xA;&#xD;&#xA;The compression should be last because it deals with overall signal power, which will be impacted by the rest of your manipulation of the frequency response of the tracks, thus you might not get consistent levels of compression if you EQ'd after compression was already applied." ContentLicense="CC BY-SA 3.0" />
  <row Id="53715" PostHistoryTypeId="5" PostId="20271" RevisionGUID="7544552d-d53c-4ed5-8412-5e29b3e6fb17" CreationDate="2014-06-05T08:22:01.650" UserId="993" Comment="added 2313 characters in body" Text="In the near future I'll be renting out a Sound Devices 702 in order to experiment with recording various sounds at 192kHz - and I'd like some suggestions on what will yield the most interesting and useful additions to my sound library.&#xD;&#xA;&#xD;&#xA;Already on my list are:&#xD;&#xA;&#xD;&#xA;- Human screeches, grunts and monster-like vocals&#xD;&#xA;- Metal groans and scrapes&#xD;&#xA;- Rice sprinkled into liquid&#xD;&#xA;- Water splashes and sloshes&#xD;&#xA;&#xD;&#xA;I'm just renting it for an evening, so I'm trying to plan ahead and make the best use of my time/money.&#xD;&#xA;&#xD;&#xA;UPDATE: I ended up renting a Sound Devices 702T for a week and really enjoyed what I got out of it. So I'm sharing my experiences in case this is useful to anyone.&#xD;&#xA;&#xD;&#xA;Slowing down audio recorded at 192kHz was a lot of fun and produced some incredible results and I started to get a feel for what sounds yield the richest results when slowed down. Metal and the human voice produce splendid results, since those sources have a nice spread of frequencies, while breaking wood is more mid heavy and it just sounded low fi and dull when slowed down. I did find that at 1/10th speed there was some narrow band noise at around 10kHz, but it was easy to notch out without impacting on the desired sound.&#xD;&#xA;&#xD;&#xA;Here's some of the most useful and successful things I recorded:&#xD;&#xA;- Human voice: Even coughs or sneezes become these huge alien roars when slowed down and pitch shifted. Can't have enough of this stuff.&#xD;&#xA;- Metal: Pretty obvious, but really happy with how big and dangerous you can make metal sound when stretched out&#xD;&#xA;- Water: Did a big session of jumping into pools and holding these large, punctured tubs upside down underwater to create big frothing bubbling sounds. These pitch really nice and add well to underwater scenes.&#xD;&#xA;- Water balloons: Super refreshing and they sound like a distant explosion when you stretch out the burst. Plus the jiggly water sounds that follow are very nice.&#xD;&#xA;- Quiet atmos: The 702T was amazing for this. The noise floor is super low and I was able to record the best bird, wind and insect tracks I've ever been able to.&#xD;&#xA;&#xD;&#xA;Some other items had unexpected or average results. I collected metal pins and badges, which slowed down just sounded like clanging bells. I was hoping for a more ringing, delicate metallic sound. Maybe needed to use higher quality metal. Stretching out glass sounds tended to make them almost like metal. Again not as delicate as I imagined.&#xD;&#xA;&#xD;&#xA;It was a really successful series of sessions and I ended up getting 8GB of good, finished material which I've already started using in projects. As much as I love the design of the 702T (aside from the tiny notches on the levels knob that are hard to make out) it's not like I need to record bird calls at 192kHz every day, but it's a definitely a great rental piece of gear for my current needs though." ContentLicense="CC BY-SA 3.0" />
  <row Id="53717" PostHistoryTypeId="34" PostId="27591" RevisionGUID="97247b29-eca8-468a-aed1-c86fd2c18509" CreationDate="2014-06-05T15:28:58.513" UserId="7174" Comment="5" />
  <row Id="53721" PostHistoryTypeId="2" PostId="28591" RevisionGUID="f5b62f70-9d78-42e8-bb17-1ed1d535914b" CreationDate="2014-06-05T16:09:02.243" UserId="7174" Text="&lt;b&gt;Sound Design Stack Exchange&lt;/b&gt; is a question and answer site for sound designers, engineers, producers, editors, and audio production enthusiasts. It's built and run &lt;i&gt;by you&lt;/i&gt; as part of the &lt;a href=&quot;http://stackexchange.com&quot;&gt;Stack Exchange&lt;/a&gt; network of Q&amp;amp;A sites. With your help, we're working together to build a library of detailed answers to every question about sound design." ContentLicense="CC BY-SA 3.0" />
  <row Id="53725" PostHistoryTypeId="2" PostId="28593" RevisionGUID="e7d608cb-53ce-4961-a757-4743bffbe27b" CreationDate="2014-06-05T21:26:47.270" UserId="3520" Text="I've recently stumbled across this software from the guys at SoundMorph called TimeFlux.  Looks like an awesome and intuitive little tool that allows you to morph up to 4 different sound files in interesting ways.  I've had no chance to use it myself, yet, as I just came across it this week but it looks like it could give you some very unique results and might be just the thing you're looking for.  Not to mention, a very reasonable price range.&#xD;&#xA;&#xD;&#xA;http://soundmorph.com/index.php?page=soundpacks&amp;spack=timeflux" ContentLicense="CC BY-SA 3.0" />
  <row Id="53730" PostHistoryTypeId="2" PostId="28594" RevisionGUID="fa1cfe1f-ac1d-476d-9d9c-ef8f0b5369eb" CreationDate="2014-06-06T06:47:38.623" UserId="8353" Text="I've been using the abbreviations for quite some time now but I don't know why they are called DX, FX, and MX. (Well, FX I can understand.) &#xD;&#xA;&#xD;&#xA;For me, it's practical because it shortens the track name on my DAW and helps with my organization. Just curious how this came about. :) Anyone willing to share some history on it?&#xD;&#xA;&#xD;&#xA;I've tried googling it, but nothing really explains it. Thanks guys!" ContentLicense="CC BY-SA 3.0" />
  <row Id="53731" PostHistoryTypeId="1" PostId="28594" RevisionGUID="fa1cfe1f-ac1d-476d-9d9c-ef8f0b5369eb" CreationDate="2014-06-06T06:47:38.623" UserId="8353" Text="Why are they called DX, FX, MX?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53732" PostHistoryTypeId="3" PostId="28594" RevisionGUID="fa1cfe1f-ac1d-476d-9d9c-ef8f0b5369eb" CreationDate="2014-06-06T06:47:38.623" UserId="8353" Text="&lt;post-production&gt;&lt;organization&gt;&lt;fx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53733" PostHistoryTypeId="2" PostId="28595" RevisionGUID="1a71cd90-b795-4f91-b2ea-8e979cc05e9e" CreationDate="2014-06-06T07:07:08.430" UserId="8353" Text="Not a DVD, but they say the Bluray version of Master and Commander is pretty close to the theatrical mix. &#xD;&#xA;&#xD;&#xA;You can patch your player through your PT and monitor the inputs. You can at least have some idea on mixing levels if you can watch the meters during playback. Dorroughs are your best friends. :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="53743" PostHistoryTypeId="14" PostId="18060" RevisionGUID="e749cf8d-229b-4f40-a75f-58c1fcfd2e2a" CreationDate="2014-06-06T15:27:05.333" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="53744" PostHistoryTypeId="33" PostId="18060" RevisionGUID="001df0e6-c704-4672-89a7-7db767e32def" CreationDate="2014-06-06T15:27:05.333" UserId="7174" Comment="11" />
  <row Id="53745" PostHistoryTypeId="14" PostId="5331" RevisionGUID="e622590b-d405-4212-a699-3bf72b775ae6" CreationDate="2014-06-06T15:29:12.957" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="53746" PostHistoryTypeId="33" PostId="5331" RevisionGUID="e25dc612-8745-4453-a149-38d35255d525" CreationDate="2014-06-06T15:29:12.957" UserId="7174" Comment="12" />
  <row Id="53747" PostHistoryTypeId="15" PostId="5331" RevisionGUID="31b2c5d9-b2b7-455f-897c-51a24fefd341" CreationDate="2014-06-06T15:37:29.170" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="53748" PostHistoryTypeId="34" PostId="5331" RevisionGUID="b50a134f-3796-40ca-9bf8-c909e869bf17" CreationDate="2014-06-06T15:37:29.170" UserId="7174" Comment="12" />
  <row Id="53753" PostHistoryTypeId="10" PostId="26569" RevisionGUID="30725ec1-4cb4-4f33-acaa-9a594e3c76f4" CreationDate="2014-06-06T18:35:45.087" UserId="7174" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[14527],&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="53754" PostHistoryTypeId="5" PostId="28584" RevisionGUID="afb86898-0bb3-4a98-9813-9062e35ee470" CreationDate="2014-06-06T18:46:53.607" UserId="7818" Comment="Added images of the plugins I'm using" Text="I'm editing some spoken word audio (lectures recorded on a wireless lapel mic). I am using the following effects in Pro Tools 8. I am proficient with using these effects individually. But does it matter what order I put them in? I suspect so. What order should I put them in, and why? Is there a &quot;best practice&quot; among professionals?&#xD;&#xA;&#xD;&#xA;* De-Esser Dyn 3 ![][2]&#xD;&#xA;* EQ 7-band ![It's actually parametric][1]&#xD;&#xA;* Compressor/Limiter ![][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/ogLg2.jpg&#xD;&#xA;  [2]: http://i.vimeocdn.com/video/453070044_295x166.jpg&#xD;&#xA;[3]: http://www6.pcmag.com/media/images/292080-avid-protools-10-compressor-limiter.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="53755" PostHistoryTypeId="5" PostId="28590" RevisionGUID="d5ad6db3-75e2-468c-9bd0-277ac0fab040" CreationDate="2014-06-06T18:48:04.767" UserId="7174" Comment="deleted 91 characters in body" Text="I would apply them in order of de-esser, EQ and compressor.  The first two could be done in either order, but the compressor should generally be last.&#xD;&#xA;&#xD;&#xA;You could EQ with or without the De-esser applied, but the De-esser will offer you less control over the sound than a good EQ.&#xD;&#xA;&#xD;&#xA;The compression should be last because it deals with overall signal power, which will be impacted by the rest of your manipulation of the frequency response of the tracks, thus you might not get consistent levels of compression if you EQ'd after compression was already applied." ContentLicense="CC BY-SA 3.0" />
  <row Id="53756" PostHistoryTypeId="10" PostId="20765" RevisionGUID="4c3038ee-6dcf-44a5-905f-e180160e93eb" CreationDate="2014-06-06T18:58:11.627" UserId="7174" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="53757" PostHistoryTypeId="2" PostId="28598" RevisionGUID="1bbe89ac-aeb7-4b76-b734-53d9cbb4c3a5" CreationDate="2014-06-06T21:51:45.843" UserId="7434" Text="I'm a college student at my local community college where I am currently enrolled as a music major. I just finished my first semester and I am still trying to figure out what degree I want or exactly what field I would like to get into. My plan, until yesterday, was to get an associates in Audio Recording and an Associates in Computer Programming. My goal with that would be to get into designing software such as DAW's, VST's, etc. Until yesterday, when I was watching a video demonstration from Musikmesse 2014 and I realized that what I really want to do is work for a company like Akai, DjTechTools, Native Instruments, or similar companies designing electronic instruments. So my question is, what degree(s) would be best to help me to get into this field? And how do people typically get into this field?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53758" PostHistoryTypeId="1" PostId="28598" RevisionGUID="1bbe89ac-aeb7-4b76-b734-53d9cbb4c3a5" CreationDate="2014-06-06T21:51:45.843" UserId="7434" Text="What degree should I go for?" ContentLicense="CC BY-SA 3.0" />
  <row Id="53759" PostHistoryTypeId="3" PostId="28598" RevisionGUID="1bbe89ac-aeb7-4b76-b734-53d9cbb4c3a5" CreationDate="2014-06-06T21:51:45.843" UserId="7434" Text="&lt;midi&gt;&lt;gear&gt;&lt;electronic-music&gt;&lt;degree&gt;&lt;college&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="53760" PostHistoryTypeId="2" PostId="28599" RevisionGUID="88eea070-547e-40f9-a28e-e01451c4e962" CreationDate="2014-06-06T23:12:15.583" UserId="7174" Text="I hope you like math a lot, because to do any of those jobs, you will need to do a lot of it.  A dual major in acoustical engineering and computer science would probably be ideal, but it involves lots and lots and lots of math because you have to deal with acoustic modeling, which is all math.&#xD;&#xA;&#xD;&#xA;If you were considering just getting associates degrees and making things that sound cool from musical skill, you may want to reconsider the path of designing the tools used by musicians, because it is extremely technical.  If the idea of a bunch of math and fairly challenging 4 year programs doesn't scare you off though, it could be a lot of fun, just be aware of what you are getting yourself into if you go down that path." ContentLicense="CC BY-SA 3.0" />
  <row Id="54769" PostHistoryTypeId="2" PostId="29601" RevisionGUID="3bdb8ce1-2890-446d-9f2a-34bb1688122e" CreationDate="2014-06-08T19:18:14.213" UserId="9371" Text="I have a song, recorded in 77bpm. I listened to it now, and I think it may be to slow.&#xD;&#xA;I want to speed up the entire thing to 83bpm so I can listen how it will sound.&#xD;&#xA;The only solution I have found so far is to change the tempo of the song, then manually change the tempo of all the audio, using the &quot;Time stretch region length to locators&quot; thing, but it's a pain.&#xD;&#xA;Is there a way I can do this." ContentLicense="CC BY-SA 3.0" />
  <row Id="54770" PostHistoryTypeId="1" PostId="29601" RevisionGUID="3bdb8ce1-2890-446d-9f2a-34bb1688122e" CreationDate="2014-06-08T19:18:14.213" UserId="9371" Text="Change tempo of entire project in logic, and stretch audio to fit the new tempo" ContentLicense="CC BY-SA 3.0" />
  <row Id="54771" PostHistoryTypeId="3" PostId="29601" RevisionGUID="3bdb8ce1-2890-446d-9f2a-34bb1688122e" CreationDate="2014-06-08T19:18:14.213" UserId="9371" Text="&lt;logic-pro&gt;&lt;logic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54775" PostHistoryTypeId="2" PostId="29602" RevisionGUID="0ed31aa6-51e0-4d2e-ac03-89b5f9efd49a" CreationDate="2014-06-08T20:32:18.077" UserDisplayName="user8338" Text="The abbreviations become quite logic when you see the full meaning&#xD;&#xA;&#xD;&#xA;- DX: Dialogues&#xD;&#xA;- FX: Effects&#xD;&#xA;- MX: Musics&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54776" PostHistoryTypeId="5" PostId="29602" RevisionGUID="a66a77f1-6115-4ada-bc1c-57ec2ea31aad" CreationDate="2014-06-08T20:39:03.277" UserDisplayName="user8338" Comment="deleted 20 characters in body" Text="They are abbreviations for the following words&#xD;&#xA;&#xD;&#xA;- DX: Dialogues&#xD;&#xA;- FX: Effects&#xD;&#xA;- MX: Musics&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54777" PostHistoryTypeId="2" PostId="29603" RevisionGUID="20370b97-6e3c-4572-bf37-1f2dd5041c71" CreationDate="2014-06-08T21:32:01.197" UserDisplayName="user8338" Text="This is possible with [MashTactic](http://www.quikquak.com/Prod_MashTactic.html), a special filter plugin for isolating areas in the frequency and stereo spectrum.&#xD;&#xA;Here is a video that demonstrates it: https://www.youtube.com/watch?v=NUlLK3cWTa0" ContentLicense="CC BY-SA 3.0" />
  <row Id="54778" PostHistoryTypeId="5" PostId="29602" RevisionGUID="ce74a1b8-2235-4224-b582-83acec640b4b" CreationDate="2014-06-08T22:12:46.730" UserDisplayName="user8338" Comment="added 13 characters in body" Text="They are abbreviations that deduce from the following words&#xD;&#xA;&#xD;&#xA;- DX: Dialogues&#xD;&#xA;- FX: Effects&#xD;&#xA;- MX: Musics&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54779" PostHistoryTypeId="5" PostId="29602" RevisionGUID="afcb5f6b-b4d9-42a3-8f9c-a2bc6901fd6a" CreationDate="2014-06-08T23:29:46.697" UserDisplayName="user8338" Comment="added 6 characters in body" Text="They are abbreviations that deduce from the pronunciation of the words&#xD;&#xA;&#xD;&#xA;- DX: Dialogues&#xD;&#xA;- FX: Effects&#xD;&#xA;- MX: Musics&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54783" PostHistoryTypeId="5" PostId="29602" RevisionGUID="20bf59d7-333f-447c-b381-f1bfc7056007" CreationDate="2014-06-09T00:15:41.033" UserDisplayName="user8338" Comment="added 17 characters in body" Text="They are abbreviations that deduce from the pronunciation of the words&#xD;&#xA;&#xD;&#xA;- FX: Effects&#xD;&#xA;- MX: Musics (Musix, MSX)&#xD;&#xA;- DX: Dialogues (Dialox)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54784" PostHistoryTypeId="2" PostId="29605" RevisionGUID="2c0d4215-167a-4dd4-99fe-d08baf8924bf" CreationDate="2014-06-09T05:22:58.507" UserId="9371" Text="Best way I could find.&#xD;&#xA;Make all your audio &quot;follow tempo&quot;&#xD;&#xA;The way to do this is to mark the region,&#xD;&#xA;![Mark the region][1]&#xD;&#xA;and check the &quot;follow tempo&quot; checkbox in the inspector.&#xD;&#xA;![Check the &quot;follow tempo&quot; checkbox.][2]&#xD;&#xA;&#xD;&#xA;After you have done that you can just change the BPM to the desired speed.&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;Now, sometimes the &quot;follow tempo&quot; checkbox does not show up. I read somewhere that this is because the follow tempo feature is only available for regions recorded in the current session/project(unsure). And not available for bounced stuff.(say you bounced some MIDI or something)&#xD;&#xA;&#xD;&#xA;For me though, the regions that did not have this checkbox in the inspector followed the tempo when it was changed anyway, damned if I know why.&#xD;&#xA;&#xD;&#xA;If it doesn't, you could just change the tempo of these regions manually by using the &quot;Time stretch region length to locators&quot; feature.(google it, you'll find it)&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;It seems that &quot;follow tempo&quot; is not available for regions in tracks that have &quot;flex&quot; enabled. I at least had a region where this was most definitely the case.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/QalEp.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/iPhKB.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/XBEeA.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="54785" PostHistoryTypeId="2" PostId="29606" RevisionGUID="63d6bb35-a151-4183-aee9-725b1979149f" CreationDate="2014-06-09T11:54:44.870" UserId="9373" Text="i used no compression. just a slow attack on the ADSR :-) " ContentLicense="CC BY-SA 3.0" />
  <row Id="54788" PostHistoryTypeId="2" PostId="29607" RevisionGUID="2d09eebb-f998-41da-8a75-ebfd7f5bdf91" CreationDate="2014-06-09T12:36:18.737" UserId="7064" Text="I am not really familiar with Logic10 so I couldn't give a step by step for this (I use Logic 9) but I can offer a thought that should translate to 10.&#xD;&#xA;&#xD;&#xA;If you just want &quot;listen to how it will sound&quot;, as you mention in the question, you could bounce the whole track down and adjust its tempo.  This will allow you to only have to adjust the tempo of one track/region, which will be relatively quick, and you can hear a preview before you adjust all of the tracks/regions.  This will also allow you to try a few different tempos relatively quickly and be able to experiment with the tempo if the change wasn't satisfactory.&#xD;&#xA;&#xD;&#xA;Once you have a tempo defined, you can likely change a handful of tracks at once.  Bounce everything down to new tracks, all with the same starting point.  Then adjust the tempo.  Now try selecting all of the tracks at once and drag the length to fit.  I'm not familiar Logic 10 , like I mentioned, so I'm not sure how the time stretch function is controlled there but in 9 you can click and drag.&#xD;&#xA;&#xD;&#xA;Hopefully this does translate to 10 for you.  You can also experiment with bouncing the tracks without any effects, so you can change the tempo of the raw audio, then move the newly bounced regions back to the tracks with effects.  This should give you a cleaner time shift and allow everything to be edited after the change, especially effects that are tempo sensitive.  I would want to get rid of the empty space on the tracks when they are silent, which I would do by selecting all of the tracks that are silent at once, then either using the split region function, or by using the marquee tool." ContentLicense="CC BY-SA 3.0" />
  <row Id="54789" PostHistoryTypeId="10" PostId="29601" RevisionGUID="0bc14b7b-6954-42b2-a2eb-448cfb206054" CreationDate="2014-06-09T13:47:15.820" UserId="7174" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54790" PostHistoryTypeId="11" PostId="29601" RevisionGUID="bde41aeb-8880-4fb0-af5d-691047998804" CreationDate="2014-06-09T13:50:56.377" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54796" PostHistoryTypeId="2" PostId="29609" RevisionGUID="90ecac31-ce3f-4658-8bf7-0a561e8f733c" CreationDate="2014-06-10T07:49:14.097" UserId="6619" Text="I have an entire scene that takes place at base of a small / medium waterfall. I'm trying to create the ambience for the scene, but everything I try comes out sounding like white noise, and therefore a little 'phasey'. To make matters worse, I'm working in 5.1.&#xD;&#xA;&#xD;&#xA;I've tried, slowing water recordings down and layering them under normal waterfall recordings, I've tried taking two mono recordings and panning them left/right with a heavy mid range recording in the center, mid / side recordings, etc, etc.&#xD;&#xA;&#xD;&#xA;Any words of wisdom would be greatly appreciated. I feel like this question might be a little vague, but I guess I'm just wondering if anyone has a good technique or idea for generally anchoring these kind of sounds.&#xD;&#xA;&#xD;&#xA;Thanks!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="54797" PostHistoryTypeId="1" PostId="29609" RevisionGUID="90ecac31-ce3f-4658-8bf7-0a561e8f733c" CreationDate="2014-06-10T07:49:14.097" UserId="6619" Text="Mixing Water / Water Fall BG's" ContentLicense="CC BY-SA 3.0" />
  <row Id="54798" PostHistoryTypeId="3" PostId="29609" RevisionGUID="90ecac31-ce3f-4658-8bf7-0a561e8f733c" CreationDate="2014-06-10T07:49:14.097" UserId="6619" Text="&lt;mixing&gt;&lt;backgroundambience&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54799" PostHistoryTypeId="2" PostId="29610" RevisionGUID="716b82ae-57d1-4c3c-9340-795c5e877910" CreationDate="2014-06-10T10:13:34.427" UserId="1216" Text="Nice, a sound design question :) It's difficult to create a clear and not phasey ambience with water sounds, but in most cases it's a matter of less is more. &#xD;&#xA;&#xD;&#xA;How many different layers are you using and have you divided them up in 'tones' or 'colours'? A simple LF/MF/HF division can do a lot to keep things tidy.. and don't be afraid to use detailed trickles of water to highten the sense of closeness to the water in the mix.&#xD;&#xA;(I don't have a lot of experience in 5.1 so I can't be sure that it will work.)&#xD;&#xA;&#xD;&#xA;Furthermore, can you add some details about the presence of dialogue in the scene and let us know what the character is doing or feeling? Where do you want the audience to be (point of hearing). Close to the other characters or detached from a group? That makes a lot of difference with regards to presence of the waterfall sound and mix of the soundtrack.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54800" PostHistoryTypeId="2" PostId="29611" RevisionGUID="ab66b8d6-de2b-4fe8-b8a4-692cb0bfbfc6" CreationDate="2014-06-10T11:14:27.730" UserId="9378" Text="I need to make an m&amp;e mix for a previous feature film I've mixed 2 years ago without a full foley track.&#xD;&#xA;&#xD;&#xA;since now i must have a full foley recordings, i'm looking for a good studio/artist that you maybe have worked with and was happy with the results.&#xD;&#xA;&#xD;&#xA;its basically an indie movie, micro budget drama, 90 min, with no special demands just the regular steps, cloths and so on.&#xD;&#xA;&#xD;&#xA;thanks !&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54801" PostHistoryTypeId="1" PostId="29611" RevisionGUID="ab66b8d6-de2b-4fe8-b8a4-692cb0bfbfc6" CreationDate="2014-06-10T11:14:27.730" UserId="9378" Text="recommended Foley artist/studios?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54802" PostHistoryTypeId="3" PostId="29611" RevisionGUID="ab66b8d6-de2b-4fe8-b8a4-692cb0bfbfc6" CreationDate="2014-06-10T11:14:27.730" UserId="9378" Text="&lt;sound-design&gt;&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54803" PostHistoryTypeId="5" PostId="29611" RevisionGUID="337613b4-07bc-42e7-b122-ab37b7fdd7bf" CreationDate="2014-06-10T13:40:39.580" UserId="7174" Comment="added 8 characters in body; edited title" Text="I need to make an m&amp;e mix for a previous feature film I've mixed 2 years ago without a full foley track.&#xD;&#xA;&#xD;&#xA;Since now I must have a full foley recording, I'm looking for recommendations of a good studio/artist that you maybe have worked with and were happy with the results.&#xD;&#xA;&#xD;&#xA;It's basically an indie movie, micro budget drama, 90 min, with no special demands just the regular steps, cloths and so on.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54804" PostHistoryTypeId="4" PostId="29611" RevisionGUID="337613b4-07bc-42e7-b122-ab37b7fdd7bf" CreationDate="2014-06-10T13:40:39.580" UserId="7174" Comment="added 8 characters in body; edited title" Text="recommended Foley artist/studios for basic micro budget full length film?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54805" PostHistoryTypeId="2" PostId="29612" RevisionGUID="cca936ed-7816-41ad-939b-4abe275027c8" CreationDate="2014-06-10T15:24:56.550" UserId="6399" Text="I think it helps to play with the mix of water layers subtly so that the sound is always evolving.  Lighter sounds on top of the the more body or base sounds and changing the mix up a little bit.  Adding some higher frequency and unique content like some splashes or drops will also help it.  Since your working in surround you should have a little more room to do that without losing the focus of the dialog.  Using part of a light stream recording could help also, getting the trickles and movement off of rocks without the rush of water." ContentLicense="CC BY-SA 3.0" />
  <row Id="54806" PostHistoryTypeId="5" PostId="28584" RevisionGUID="76b2350b-2553-42d6-8d4b-460b343be246" CreationDate="2014-06-10T15:42:45.907" UserId="7818" Comment="Higher resolution version of de-esser image" Text="I'm editing some spoken word audio (lectures recorded on a wireless lapel mic). I am using the following effects in Pro Tools 8. I am proficient with using these effects individually. But does it matter what order I put them in? I suspect so. What order should I put them in, and why? Is there a &quot;best practice&quot; among professionals?&#xD;&#xA;&#xD;&#xA;* De-Esser Dyn 3 ![][2]&#xD;&#xA;* EQ 7-band ![It's actually parametric][1]&#xD;&#xA;* Compressor/Limiter ![][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/ogLg2.jpg&#xD;&#xA;  [2]: http://www.protoolerblog.com/wp-content/uploads/2010/09/de-ess_dyn3.jpg&#xD;&#xA;[3]: http://www6.pcmag.com/media/images/292080-avid-protools-10-compressor-limiter.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="54807" PostHistoryTypeId="2" PostId="29613" RevisionGUID="a7d74200-e915-41d3-8d11-249ac0a399f0" CreationDate="2014-06-10T16:15:56.807" UserId="9380" Text="Funny that you ask this, I was just watching a recorded webinar with Randy Thom where he speaks about designing the waves in Castaway and specifically how he kept them from sounding too noisy. He said that not only did they do what Arnoud said with layering by frequency content, but also frequently used sounds produced by waves much smaller than the waves on-screen, because the smaller waves had a much more watery quality. &#xD;&#xA;&#xD;&#xA;[Here's a link to the webinar][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.anymeeting.com/WebConference-beta/RecordingDefault.aspx?c_psrid=E958D888894C" ContentLicense="CC BY-SA 3.0" />
  <row Id="54808" PostHistoryTypeId="2" PostId="29614" RevisionGUID="431291a8-288e-4e2c-b919-c4b57beb57ba" CreationDate="2014-06-10T16:23:55.197" UserId="9380" Text="I posted this same question on gearslutz, but I'm sure I'll find plenty of useful insights here too.&#xD;&#xA;&#xD;&#xA;So in a few months, I'm going to be traveling by motorcycle from New York to Ushaia, Argentina (southernmost city in the world). I'm then going to journey by ship to Antarctica. The trip will take me roughly a year give or take a few months (I won't be able to go to Antarctica during their winter months, so I need to time it accordingly).&#xD;&#xA;&#xD;&#xA;This is first and foremost a cultural adventure. My main focus is on interacting with people and exploring parts of the world I've never been to. That being said, I would never forgive myself if I did a trip like this and didn't bring at least some recording gear. Thing is, I'm going to be severely limited in terms of space. I'm mostly interested in recording ambiences, so stereo is a must. My question for you all is, if you had the equivalent of, let's say, half of a small backpack, what would you bring (minus tripod, that can be strapped down on the bike)? Keep in mind I'll be recording in literally every climate and terrain there is, so durability is a must as far as humidity and temperatures go. &#xD;&#xA;&#xD;&#xA;I have an SD 702 which could work as a recorder, though it's a bit bigger than I'd like. I also have a pair of CM3s set up semi-permanently in a Rode blimp in an ORTF setup, though I think that may be too big. Perhaps switch out the blimp for two baby ball gags? &#xD;&#xA;&#xD;&#xA;One thing I'm thinking is, regardless of what light duty recording rig I use for the bulk of the trip, I can have my parents ship the rest of my gear to Ushaia so that at least for the time that I'm in Antarctica, I'll have a full rig (cause let's be honest, how often do you get to record in Antarctica?) &#xD;&#xA;&#xD;&#xA;Look forward to the responses, thanks :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="54809" PostHistoryTypeId="1" PostId="29614" RevisionGUID="431291a8-288e-4e2c-b919-c4b57beb57ba" CreationDate="2014-06-10T16:23:55.197" UserId="9380" Text="Recordings the Americas by motorcycle" ContentLicense="CC BY-SA 3.0" />
  <row Id="54810" PostHistoryTypeId="3" PostId="29614" RevisionGUID="431291a8-288e-4e2c-b919-c4b57beb57ba" CreationDate="2014-06-10T16:23:55.197" UserId="9380" Text="&lt;recording&gt;&lt;design&gt;&lt;sound&gt;&lt;location&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54811" PostHistoryTypeId="2" PostId="29615" RevisionGUID="7ed5967b-bb0e-46b0-b80b-e9487e4a7961" CreationDate="2014-06-10T22:16:27.337" UserId="6432" Text="This is not exactly an answer to your question, but for a while now I've been trying to think of what could be a useful lightweight rig for recording ambiances. I thought I might of found it a while ago in the Telinga SSM partnered with a small recorder providing plug-in power. I saw this shot of one mounted on a gorillapod: &#xD;&#xA;![Telinga SSM][1]&#xD;&#xA;&#xD;&#xA;It would probably all package into a pretty small case, yet provide good stereo, low noise recordings.  I've tried to get in touch with Telinga about buying one, but sadly they don't reply. If anyone knows anything about the SSM availability please comment. Of course it may be a good option for you too.. if they still exist.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/t82oH.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="54812" PostHistoryTypeId="2" PostId="29616" RevisionGUID="3260d6dc-a488-447d-a196-e874150d4401" CreationDate="2014-06-10T23:23:07.180" UserId="9371" Text="I have been looking at the Symphony I/O lately, and seeing that most configurations of it has the same number of inputs and ouputs. Persionally, I can't see a situation where I would need 32 outputs.&#xD;&#xA;My question is, is there a reason why it generally has the same number of inputs and outputs, are there benefits of this that I'm not seeing?." ContentLicense="CC BY-SA 3.0" />
  <row Id="54813" PostHistoryTypeId="1" PostId="29616" RevisionGUID="3260d6dc-a488-447d-a196-e874150d4401" CreationDate="2014-06-10T23:23:07.180" UserId="9371" Text="Why do DAC/ADC and sound interfaces so often have the same number of Inputs and Outputs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54814" PostHistoryTypeId="3" PostId="29616" RevisionGUID="3260d6dc-a488-447d-a196-e874150d4401" CreationDate="2014-06-10T23:23:07.180" UserId="9371" Text="&lt;audio-interfaces&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54815" PostHistoryTypeId="2" PostId="29617" RevisionGUID="3e989a76-93f3-4fc2-a328-482826e87988" CreationDate="2014-06-11T00:17:57.800" UserId="432" Text="The primary reason is for people working in music production who prefer to mix on consoles instead of &quot;in the box.&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54816" PostHistoryTypeId="2" PostId="29618" RevisionGUID="25971407-eb00-4b91-abf5-6bb505b5549b" CreationDate="2014-06-11T03:01:21.393" UserId="9385" Text="What an exciting journey! My two cents worth: Regarding the safety of your data, be sure to upload to the cloud (Dropbox or the like) whenever you have internet. Bring WAY more memory cards than you think you will need, then double that. As long as you can get it to the cloud and know someone back home has copied it locally AND backed it up preferably offsite, then you could re-use cards. Also backup your files locally on extra memory cards, keep them hidden and waterproof, because you never know when and for what odd reason you could lose your gear. Not trying to be debbie downer, but it happens, fire, theft, water, etc. You might also want to do a lot of review and deleting of bad takes, keeping only the best ones.  &#xD;&#xA;&#xD;&#xA;I would love to track your journey and post updates, photos, and sound samples on my audio engineering blog. It's about &quot;all things audio engineering&quot; and I will be profiling studios and recording engineers as part of it. You can get in touch with me there through the contact form. It's http://www.AudioEngineering.co. I am must launching it now. Check it out and let me know if you like the idea, OK?&#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;&#xD;&#xA;Eric Bryant&#xD;&#xA;&#xD;&#xA;- Audio Engineering Co&#xD;&#xA;- Full Sail Class of 1986" ContentLicense="CC BY-SA 3.0" />
  <row Id="54817" PostHistoryTypeId="5" PostId="29618" RevisionGUID="17f0ebe8-ba1f-4cc5-8e80-8b0303a94483" CreationDate="2014-06-11T03:06:25.643" UserId="9385" Comment="added 26 characters in body" Text="What an exciting journey! My two cents worth: Regarding the safety of your data, be sure to upload to the cloud (Dropbox or the like) whenever you have internet. Bring WAY more memory cards than you think you will need, then double that. As long as you can get it to the cloud and know someone back home has copied it locally AND backed it up preferably offsite, then you could re-use cards. Also backup your files locally on extra memory cards, keep them hidden and waterproof, because you never know when and for what odd reason you could lose your gear. Not trying to be debbie downer, but it happens, fire, theft, water, etc. You might also want to do a lot of review and deleting of bad takes, keeping only the best ones.  &#xD;&#xA;&#xD;&#xA;I would love to track your journey and post updates, photos, and sound samples on my audio engineering blog. It's about &quot;all things audio engineering&quot; and I will be profiling studios and recording engineers as part of it. You can get in touch with me there through the contact form. It's http://www.AudioEngineering.co. I am just launching it now. Check it out and let me know if you like the idea, OK? PS: I'm located in Maine.&#xD;&#xA;&#xD;&#xA;Best,&#xD;&#xA;&#xD;&#xA;Eric Bryant&#xD;&#xA;&#xD;&#xA;- Audio Engineering Co&#xD;&#xA;- Full Sail Class of 1986" ContentLicense="CC BY-SA 3.0" />
  <row Id="54818" PostHistoryTypeId="2" PostId="29619" RevisionGUID="7d2fa550-525f-4db1-8c90-7023e9f584ab" CreationDate="2014-06-11T04:30:12.050" UserId="9386" Text="Fellow sound lovers,&#xD;&#xA;&#xD;&#xA;I try to create a kind of &quot;swarming&quot; sound. It is a multimedia installation that shows an animated flock of &quot;birds&quot;, not real birds but abstract forms that look and behave like birds. I try to create a sound that is a mix between real wing flapping sounds and a more synthetic sound. &#xD;&#xA;&#xD;&#xA;Does anybody have any suggestions? Or maybe knows film scenes with a similar sound? Any inspirational creative ideas highly appreciated. Thanks!&#xD;&#xA;&#xD;&#xA;Ben" ContentLicense="CC BY-SA 3.0" />
  <row Id="54819" PostHistoryTypeId="1" PostId="29619" RevisionGUID="7d2fa550-525f-4db1-8c90-7023e9f584ab" CreationDate="2014-06-11T04:30:12.050" UserId="9386" Text="Looking for inspiration to create a &quot;swarm sound&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54820" PostHistoryTypeId="3" PostId="29619" RevisionGUID="7d2fa550-525f-4db1-8c90-7023e9f584ab" CreationDate="2014-06-11T04:30:12.050" UserId="9386" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54821" PostHistoryTypeId="2" PostId="29620" RevisionGUID="be285663-1df8-4247-ad34-f0e6f3079166" CreationDate="2014-06-11T13:13:12.780" UserId="5624" Text="If you're looking for something extremely compact, the new Sony PCM-D100 is fantastic. It's the best you'll find in such a small package.&#xD;&#xA;Other than that you'd be looking at a 702 and small blimp setup as you've mentioned. I've travelled through Nepal, India, Australia, and Cambodia with my 702 and an MS pair of Schoeps CCM mics in a rycote blimp and absolutely love the recordings I've captured. I couldn't recommend it enough if you can spare the room! I manage to pack it all into the bottom half of a kata 3n1 bag." ContentLicense="CC BY-SA 3.0" />
  <row Id="54822" PostHistoryTypeId="2" PostId="29621" RevisionGUID="e124d539-f835-49be-bf03-0759412fb2f9" CreationDate="2014-06-11T13:43:34.363" UserId="6680" Text="I had a similar problem very recently. I'm currently working on an exploration video game with many waterfalls, rivers &amp; streams. The platforms for the game include iPad and other tablets, so I wanted to avoid blasting out white noise, as this would not sound good on tablet speakers. I ended up recording waterfalls and fountains much smaller than the ones depicted in the game, to achieve more definition (as described in the other comments) instead of a wall of sound. I don't really have experience in 5.1 though, so I can't comment on that." ContentLicense="CC BY-SA 3.0" />
  <row Id="54823" PostHistoryTypeId="2" PostId="29622" RevisionGUID="bee0c77c-905e-4d9e-8bfe-737dbe49fcaa" CreationDate="2014-06-11T14:10:22.163" UserDisplayName="user7731" Text="i recommend Rene from this community at Dallas Audio Post.&#xD;&#xA;&#xD;&#xA;b" ContentLicense="CC BY-SA 3.0" />
  <row Id="54824" PostHistoryTypeId="5" PostId="29618" RevisionGUID="f716737a-85ad-46d6-91c1-f63503ee642c" CreationDate="2014-06-11T14:21:04.930" UserId="7174" Comment="removed salutation" Text="What an exciting journey! My two cents worth: Regarding the safety of your data, be sure to upload to the cloud (Dropbox or the like) whenever you have internet. Bring WAY more memory cards than you think you will need, then double that. As long as you can get it to the cloud and know someone back home has copied it locally AND backed it up preferably offsite, then you could re-use cards. Also backup your files locally on extra memory cards, keep them hidden and waterproof, because you never know when and for what odd reason you could lose your gear. Not trying to be debbie downer, but it happens, fire, theft, water, etc. You might also want to do a lot of review and deleting of bad takes, keeping only the best ones." ContentLicense="CC BY-SA 3.0" />
  <row Id="54826" PostHistoryTypeId="12" PostId="29618" RevisionGUID="07dc99e9-25b3-4757-b5ad-4d5d64882a66" CreationDate="2014-06-11T14:21:20.560" UserId="7174" Comment="Converted to Comment" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54827" PostHistoryTypeId="13" PostId="29618" RevisionGUID="d34fb8ce-6c28-4465-afd7-0df6261ebab7" CreationDate="2014-06-11T14:21:29.673" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54828" PostHistoryTypeId="2" PostId="29623" RevisionGUID="19fb202a-c320-4abf-8f28-1b61952dd666" CreationDate="2014-06-11T15:02:56.157" UserId="194" Text="I haven't worked with the PCM 100 yet so it may outperform my recommendation, but I would go with the PCM M10 as your bit bucket.&#xD;&#xA;&#xD;&#xA;Instant on, battery life for days, memory rolls over from internal to the SD card seamlessly, and its the size of a cell phone.  &#xD;&#xA;&#xD;&#xA;You'd need a small 2 channel preamp to go with - I use the SD mixpre with mine.  Sounds great, super stable, super solid.&#xD;&#xA;&#xD;&#xA;For a mic I'd run an MS setup (for space and ease of setup) and maybe just bring a fuzzie instead of a blimp that wraps around both mics.  This would rule out your ability to record in situations where the wind is up over 10-15mph, but that may not be worth the packing space it would take to transport it.  &#xD;&#xA;&#xD;&#xA;If you go with the CM3s instead of the MS rig, Rycote has a [super softie][1] that just came out that may be right up your alley for this trip.  &#xD;&#xA;&#xD;&#xA;I'd also go ahead and build a 5 pin XLR cable with two little breakouts at each end.  It will be way easier to store and to coil than two separate cables.  They're simple to make and super worth it.  Pinouts go like this&#xD;&#xA;&#xD;&#xA; - pin1 - ground&#xD;&#xA; - pin2 - mic1 hi&#xD;&#xA; - pin3 - mic1 low&#xD;&#xA; - pin4 - mic2 hi&#xD;&#xA; - pin5 - mic2 low&#xD;&#xA;&#xD;&#xA;I have a couple of them and I use them all the time. &#xD;&#xA;&#xD;&#xA;alternatively you can zip-tie or rubber band your two cables together to keep them acting as a single unit.&#xD;&#xA;&#xD;&#xA;last thing - check out nathan moody's excellent article on ultralight portage.  Lots of killer tips in there.&#xD;&#xA;&#xD;&#xA;http://sonic-terrain.com/2010/10/portage-ii-the-ultralight-way/&#xD;&#xA;&#xD;&#xA;have fun, post to soundcloud!&#xD;&#xA;  [1]: http://www.rycote.com/products/windshield-solutions/super-softie-windshield/" ContentLicense="CC BY-SA 3.0" />
  <row Id="54829" PostHistoryTypeId="2" PostId="29624" RevisionGUID="201dc545-93e5-4647-b34e-d8d0e0807735" CreationDate="2014-06-11T15:04:49.840" UserId="9389" Text="I consider using granular synthesis for this purpose as it's ideal here. Create one wing flap (use scheme as making synthetic kick drum in synthesizer - firstly, HF-component and then it gradually decreases to LF, but the range is more to HF part and envelopes are not so punchy).  &#xD;&#xA;Then, put this to granular synth, try different grain time and amount of grains to complement amount of birds. Add reverb to taste to make scene closer/farther." ContentLicense="CC BY-SA 3.0" />
  <row Id="54830" PostHistoryTypeId="2" PostId="29625" RevisionGUID="38a9e232-b7cf-498a-8e49-7d0fecd67611" CreationDate="2014-06-11T15:06:58.947" UserId="9389" Text="Try to use one mono or stereo source, panned there, where you want water source to be. Then, use surround reverb to add space. This how you can avoid phase cancellation, but its a trade-off: scene will not be so &quot;large&quot; and &quot;wide&quot;.    To compensate this you can use &quot;wide&quot; reverbs." ContentLicense="CC BY-SA 3.0" />
  <row Id="54838" PostHistoryTypeId="2" PostId="29627" RevisionGUID="1b5a8829-d610-4986-a7b7-8aeba8e9aba0" CreationDate="2014-06-12T18:42:56.310" UserId="6832" Text="Record continuous wingflaps using pair of gloves, big softcover books and whatever you like for wingflap sounds. Layer them to multiple channels and stretch and pitch shift the layers with different settings. Try using low quality algorithms or plugins to archieve more fake sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="54839" PostHistoryTypeId="2" PostId="29628" RevisionGUID="7a01d024-f4d5-4aa3-a5f5-8a4194fd96a6" CreationDate="2014-06-12T18:57:13.410" UserId="5989" Text="If it's me I will setup a microphone with windshield, in the DAW place an Auto Pan &gt; Delay effect with long delay time and high feedback.&#xD;&#xA;&#xD;&#xA;After that I would find some clothes or books and flap into the mic. When the delayed sound became interesting/more dense, press record to capture the mess." ContentLicense="CC BY-SA 3.0" />
  <row Id="54840" PostHistoryTypeId="2" PostId="29629" RevisionGUID="b8aa68a6-a046-41de-87bc-aa2ea0d6b214" CreationDate="2014-06-12T19:06:59.540" UserId="9392" Text="apart from the whole sync aspect of foley editing i am just curious about:&#xD;&#xA;how to treat individual foley clips in terms of distance and perspective (for the mixing) over time.&#xD;&#xA;is it a good method to place the clips on tracks called FOL_foot1_dist, FOL_foot1_semidist and FOL_foot1_close according to their dist/perspective? &#xD;&#xA; &#xD;&#xA;how did you take care of it when editing foleys?&#xD;&#xA;&#xD;&#xA;thanks, &#xD;&#xA;pop&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54841" PostHistoryTypeId="1" PostId="29629" RevisionGUID="b8aa68a6-a046-41de-87bc-aa2ea0d6b214" CreationDate="2014-06-12T19:06:59.540" UserId="9392" Text="editing foleys - taking care of perspective and distance" ContentLicense="CC BY-SA 3.0" />
  <row Id="54842" PostHistoryTypeId="3" PostId="29629" RevisionGUID="b8aa68a6-a046-41de-87bc-aa2ea0d6b214" CreationDate="2014-06-12T19:06:59.540" UserId="9392" Text="&lt;foley-editing&gt;&lt;perspective&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54843" PostHistoryTypeId="2" PostId="29630" RevisionGUID="b6479b80-5a9b-433f-859c-f566765a3978" CreationDate="2014-06-12T19:20:04.213" UserId="7094" Text="What I find more flexible, especially with footsteps, is to have them on one track (if there's more than one person on-screen and they're at different distances or whatever, on separate tracks) and process things like volume and reverb (as a send effect) in time with the picture so that they sound like they're progressively getting closer or further away. This ultimately gives you more control over how things sound compared with using different clips depending on how close someone's feet are to camera.&#xD;&#xA;&#xD;&#xA;Things like clothes tracks that don't typically produce loud reflections I'd just automate the volume.&#xD;&#xA;&#xD;&#xA;I hope that helps." ContentLicense="CC BY-SA 3.0" />
  <row Id="54844" PostHistoryTypeId="33" PostId="29622" RevisionGUID="7ffb5745-b269-457b-b89a-6fdeb2b4995a" CreationDate="2014-06-13T01:27:25.477" UserId="6957" Comment="13" />
  <row Id="54850" PostHistoryTypeId="2" PostId="29633" RevisionGUID="0f5b7bee-108b-4ba4-b57e-e3d269caab66" CreationDate="2014-06-13T10:00:21.937" UserId="9399" Text="I am trying to record a MIDI track using my electronic drums D-Tronic Q2 Plus.&#xD;&#xA;The only output the drum model has is USB output. So I tried to connect my drums with my PC via USB-USB cable. I also installed LoopBe1 Virtual MIDI device (http://www.nerds.de/en/loopbe1.html) and connect an instrument track in Cubase with this virtual port. But nothing is recording.&#xD;&#xA;&#xD;&#xA;The question is - can I read MIDI data from my drums via USB-USB cable? And if so, how?&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="54851" PostHistoryTypeId="1" PostId="29633" RevisionGUID="0f5b7bee-108b-4ba4-b57e-e3d269caab66" CreationDate="2014-06-13T10:00:21.937" UserId="9399" Text="Recording MIDI from electronic drums" ContentLicense="CC BY-SA 3.0" />
  <row Id="54852" PostHistoryTypeId="3" PostId="29633" RevisionGUID="0f5b7bee-108b-4ba4-b57e-e3d269caab66" CreationDate="2014-06-13T10:00:21.937" UserId="9399" Text="&lt;recording&gt;&lt;midi&gt;&lt;electronic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54853" PostHistoryTypeId="2" PostId="29634" RevisionGUID="972fae16-b544-41a3-9389-537edbbe6a25" CreationDate="2014-06-13T11:42:41.023" UserId="7560" Text="as CL said you don't need virtual Midi port.&#xD;&#xA;all you need is going to midi devices settings in cubase and check if your drum has been recognized there or not. if not maybe you need to install a usb midi driver for your instrument if any available or create a midi instrument manually in cubase midi devices settings which is suitable for your needs. but usually your OS should recognize your instrument az well.&#xD;&#xA;sorry its about 2 years I'm not using cubase any more so I'm not sure about the name if &quot;midi devices settings&quot;." ContentLicense="CC BY-SA 3.0" />
  <row Id="54854" PostHistoryTypeId="2" PostId="29635" RevisionGUID="d9c68010-0b1d-4e06-a76c-3d7e25f413aa" CreationDate="2014-06-13T11:51:54.847" UserId="9401" Text="I'm looking for either some information (books, articles, web sites, etc.) or films that just use sound design to alter our perception of characters in films. &#xD;&#xA;My plan is to take a scene from a film and re-do the sound design so that the sound design would give a different impression of a character from the original sound design.&#xD;&#xA;&#xD;&#xA;I've been having a look around and haven't managed to find anything, whether I'm looking in the wrong areas or that, I don't know.&#xD;&#xA;&#xD;&#xA;I hope this isn't to broad or easy/difficult to answer.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="54855" PostHistoryTypeId="1" PostId="29635" RevisionGUID="d9c68010-0b1d-4e06-a76c-3d7e25f413aa" CreationDate="2014-06-13T11:51:54.847" UserId="9401" Text="Altering perception of a character with sound deisgn" ContentLicense="CC BY-SA 3.0" />
  <row Id="54856" PostHistoryTypeId="3" PostId="29635" RevisionGUID="d9c68010-0b1d-4e06-a76c-3d7e25f413aa" CreationDate="2014-06-13T11:51:54.847" UserId="9401" Text="&lt;sound-design&gt;&lt;film&gt;&lt;movies&gt;&lt;perception&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54857" PostHistoryTypeId="2" PostId="29636" RevisionGUID="3c67e612-24cc-4ae6-b27f-8f861e2a9e40" CreationDate="2014-06-13T12:08:55.343" UserId="9401" Text="Probably a bit late adding an answer but in star wars Darth Vader’s lightsaber is pitched to a minor key, while Obiwan Kenobi’s is pitched to a C major key. &#xD;&#xA;This is in 'Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema' by Sonnenschein." ContentLicense="CC BY-SA 3.0" />
  <row Id="54858" PostHistoryTypeId="6" PostId="29635" RevisionGUID="9ee54297-8012-4bfa-b5ef-fa9be275baf6" CreationDate="2014-06-13T12:20:00.620" UserId="9401" Comment="edited tags" Text="&lt;sound-design&gt;&lt;film&gt;&lt;film-sound-design&gt;&lt;movies&gt;&lt;perception&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54859" PostHistoryTypeId="5" PostId="29636" RevisionGUID="a4d9e15a-bbb6-4b54-b564-ec80c5333ec3" CreationDate="2014-06-13T13:32:25.150" UserId="7174" Comment="it is never too late for an answer." Text="In star wars Darth Vader’s lightsaber is pitched to a minor key, while Obiwan Kenobi’s is pitched to a C major key. &#xD;&#xA;This is in 'Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema' by Sonnenschein." ContentLicense="CC BY-SA 3.0" />
  <row Id="54863" PostHistoryTypeId="2" PostId="29638" RevisionGUID="8b132f35-976d-4352-93af-8a9996cc771b" CreationDate="2014-06-13T15:44:24.320" UserId="8316" Text="While trying to decide between the Sterling ST55 and the ST59 I have a few specific questions. The ST55 has a 32mV/Pa sensitivity rating, while the ST59 has a 16mV/Pa sensitivity rating. However, the ST55 has slightly more self noise (22dB SPL — A Weighted) while the ST59 has a self noise rating of (14dB A weighted). In order to record quite sound sources with minimal self noise, which mic would be more useful (higher sensitivity but more self noise or lower sensitivity with less self noise)? In other words does the fact that the ST55 has greater sensitivity compensate for the slightly higher self noise, or would it be better to use the ST59 and turn up the gain a little bit to get softer sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54864" PostHistoryTypeId="1" PostId="29638" RevisionGUID="8b132f35-976d-4352-93af-8a9996cc771b" CreationDate="2014-06-13T15:44:24.320" UserId="8316" Text="Sterling ST55 vs. Sterling ST59" ContentLicense="CC BY-SA 3.0" />
  <row Id="54865" PostHistoryTypeId="3" PostId="29638" RevisionGUID="8b132f35-976d-4352-93af-8a9996cc771b" CreationDate="2014-06-13T15:44:24.320" UserId="8316" Text="&lt;microphone&gt;&lt;noise&gt;&lt;gear&gt;&lt;self-noise&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54867" PostHistoryTypeId="5" PostId="29638" RevisionGUID="feeca8a5-53a8-4b40-937f-f079f4dd7cb8" CreationDate="2014-06-13T17:06:15.643" UserId="7174" Comment="added 4 characters in body" Text="While trying to decide between the Sterling ST55 and the ST59 I have a few specific questions. The ST55 has a 32mV/Pa sensitivity rating, while the ST59 has a 16mV/Pa sensitivity rating. However, the ST55 has slightly more self noise (22dB SPL — A Weighted) while the ST59 has a self noise rating of (14dB A weighted). &#xD;&#xA;&#xD;&#xA;In order to record quiet sound sources with minimal self noise, which mic would be more useful (higher sensitivity but more self noise or lower sensitivity with less self noise)? In other words does the fact that the ST55 has greater sensitivity compensate for the slightly higher self noise, or would it be better to use the ST59 and turn up the gain a little bit to get softer sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54868" PostHistoryTypeId="2" PostId="29640" RevisionGUID="06a878f7-2177-47a5-8b89-e317a2e794d0" CreationDate="2014-06-13T17:12:02.067" UserId="7174" Text="I can't be certain from the product pages, but it appears that it may be the same diaphragm with different mounting and processing to allow for different pickup patterns.  If that is the case, then you are not going to get a significant difference in the gained up sound, it would come down to the quality of your gain vs the quality of the mic circuitry as to which would give you a cleaner sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="54870" PostHistoryTypeId="2" PostId="29641" RevisionGUID="2bb0339d-25a3-455a-8078-7d8321f2dd96" CreationDate="2014-06-13T21:44:15.710" UserDisplayName="user7731" Text="even in a post environment, mixing in the box,  you may find yourself needing more outputs than you might think at first.&#xD;&#xA;&#xD;&#xA;are you patching in any phone patches for clients? - outputs&#xD;&#xA;&#xD;&#xA;are you dealing with ISDN? - outputs&#xD;&#xA;&#xD;&#xA;do you have any outboard gear you would like setting as inserts? - outputs&#xD;&#xA;&#xD;&#xA;mixing beyond stereo (5.1 etc)? - outputs&#xD;&#xA;&#xD;&#xA;headphones mixes? - outputs&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54872" PostHistoryTypeId="2" PostId="29643" RevisionGUID="8466509e-5a37-421c-b660-17612ae98b40" CreationDate="2014-06-14T09:22:04.930" UserId="7547" Text="I have been using Ableton Live for a long time now and already produced two albums. In order to have the same settings on all songs, I have created one file and recorded/mixed/mastered all songs in this file. I am ok with this approach, but what about other sequencers ? &#xD;&#xA;&#xD;&#xA;I recently started working on Logic. Do I have to follow the same direction (one file for all the album tracks) ?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54873" PostHistoryTypeId="1" PostId="29643" RevisionGUID="8466509e-5a37-421c-b660-17612ae98b40" CreationDate="2014-06-14T09:22:04.930" UserId="7547" Text="What is the professional approach to recording a full album in Logic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54874" PostHistoryTypeId="3" PostId="29643" RevisionGUID="8466509e-5a37-421c-b660-17612ae98b40" CreationDate="2014-06-14T09:22:04.930" UserId="7547" Text="&lt;logic-pro&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54878" PostHistoryTypeId="2" PostId="29645" RevisionGUID="11d0bc57-6a45-42d6-bd1c-da7f88e21798" CreationDate="2014-06-14T22:51:16.723" UserId="9407" Text="I haven't got around to creating IRs with 7 yet, but the IRs I created with 6 (with pictures) transferred just fine. Essentially, you just put pictures in a folder with the IRs:&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&quot;---|&quot; = Folder&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;---| My IR&#xD;&#xA;&lt;br&gt;&#xD;&#xA;------ My IR.jpg&#xD;&#xA;&lt;br&gt;&#xD;&#xA;------| My IR Audio&#xD;&#xA;&lt;br&gt;&#xD;&#xA;--------- My IR Stereo.sd2&#xD;&#xA;&lt;br&gt;&#xD;&#xA;--------- My IR Mono.sd2&#xD;&#xA;&lt;p&gt;&#xD;&#xA;Structuring your IRs/images in folders like this should work. I'm not sure about adding any other kind of data. Are you talking about text information for Altiverb to display? Or embedding data into the audio files?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54879" PostHistoryTypeId="2" PostId="29646" RevisionGUID="b59e5993-bb1d-4cf1-b017-234caa19a145" CreationDate="2014-06-15T04:10:19.967" UserDisplayName="user9408" Text="When I record two separate tracks, they have a little weird anchor looking symbol that I cannot remove no matter what point in the audio I delete it. It &quot;pops&quot; at that point. When I pan the tracks in opposite directions (i.e., 50% left and 50% right) I get the following image in audacity:&#xD;&#xA;&#xD;&#xA;![audacity][1]&#xD;&#xA;&#xD;&#xA;This creates weird static noise if the gain is too high. Does anybody know why this happens?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/t4MD5.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="54880" PostHistoryTypeId="1" PostId="29646" RevisionGUID="b59e5993-bb1d-4cf1-b017-234caa19a145" CreationDate="2014-06-15T04:10:19.967" UserDisplayName="user9408" Text="Weird popping artifacts in audacity" ContentLicense="CC BY-SA 3.0" />
  <row Id="54881" PostHistoryTypeId="3" PostId="29646" RevisionGUID="b59e5993-bb1d-4cf1-b017-234caa19a145" CreationDate="2014-06-15T04:10:19.967" UserDisplayName="user9408" Text="&lt;mixing&gt;&lt;audacity&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54886" PostHistoryTypeId="4" PostId="29643" RevisionGUID="11e18351-1e60-47fe-a036-667b0bc97203" CreationDate="2014-06-15T18:19:59.793" UserId="7174" Comment="edited title" Text="What is the professional approach to organizing the recording of a full album in Logic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54887" PostHistoryTypeId="2" PostId="29648" RevisionGUID="feb6bdb9-a585-4066-9af6-a4946f91ba27" CreationDate="2014-06-15T18:22:03.363" UserId="7174" Text="There isn't a right or wrong way to do it.  Do it however works well for you.  You could do a different timeline per track or do them all in the same for the album.  It really doesn't matter as long as the workflow works for you.  If you are going to be sharing it with others, I'd probably suggest putting each song in a different asset within the project, just for organization, but it isn't going to be a show stopper to find stuff either way." ContentLicense="CC BY-SA 3.0" />
  <row Id="54889" PostHistoryTypeId="12" PostId="29645" RevisionGUID="dcaaad6e-c026-4d81-bdf9-98d27b1f36af" CreationDate="2014-06-15T18:25:51.467" UserId="7174" Comment="Converted to Comment" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54890" PostHistoryTypeId="13" PostId="29645" RevisionGUID="6537412e-52f4-4b29-bdc9-5488f2b44139" CreationDate="2014-06-15T18:25:56.900" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54891" PostHistoryTypeId="5" PostId="29645" RevisionGUID="8dab33bc-155a-452d-9a05-96946144db56" CreationDate="2014-06-15T18:26:22.073" UserId="7174" Comment="moved additional questions to comments" Text="I haven't got around to creating IRs with 7 yet, but the IRs I created with 6 (with pictures) transferred just fine. Essentially, you just put pictures in a folder with the IRs:&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&quot;---|&quot; = Folder&#xD;&#xA;&lt;br&gt;&#xD;&#xA;&lt;br&gt;&#xD;&#xA;---| My IR&#xD;&#xA;&lt;br&gt;&#xD;&#xA;------ My IR.jpg&#xD;&#xA;&lt;br&gt;&#xD;&#xA;------| My IR Audio&#xD;&#xA;&lt;br&gt;&#xD;&#xA;--------- My IR Stereo.sd2&#xD;&#xA;&lt;br&gt;&#xD;&#xA;--------- My IR Mono.sd2&#xD;&#xA;&lt;p&gt;&#xD;&#xA;Structuring your IRs/images in folders like this should work. I'm not sure about adding any other kind of data." ContentLicense="CC BY-SA 3.0" />
  <row Id="54896" PostHistoryTypeId="2" PostId="29650" RevisionGUID="62eece8e-c5da-4c2d-b243-ee4f2e6225df" CreationDate="2014-06-16T10:28:13.363" UserId="6469" Text="Hi everyone and thank you very much for all these good advices.&#xD;&#xA;This is how I finally made the sounds of futuristic cars i was looking for.&#xD;&#xA;&#xD;&#xA;First I applied the technique of Rene, equalising sounds of real cars pass from the Sound Collector's club, except the synthesizer layer (not so trained manipulating it). I then applied a LoAir to generate subharmonics. This first layer was very interesting but with the music, it wasn't enough. &#xD;&#xA;Then i layered electric motors sounds as Tobias suggested. The problem was that these electric sounds are full of hi frequencies, so it's difficult to blend with the real engine sound : when it appears and disappears, your hear notice it.&#xD;&#xA;&#xD;&#xA;In parallel, i created strange roomtones using a convolution reverb and soundclips as Impulse responses : trains, electrics motors (Frank Bry), waterphones (Andreas Usenbenz), metal resonances (Tim Prebble),and sci-fi stuff from Jedsound's Transform library . The technique is described by Douglas Murray here :&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2013/07/unlimited-dialog-airfill-to-fill-your-every-need/&#xD;&#xA;&#xD;&#xA;Then I loaded snippets of these custom made roomtones into the Reaktor instrument created by Melted sounds &quot;WHoosh&quot;, and played with it creating slow motion whooshes from this material.&#xD;&#xA;&#xD;&#xA;At the end, I layered the bests with the real car passes and that's it !!!&#xD;&#xA;&#xD;&#xA;And as EMV said &quot;As a result, background sounds and atmos is more apparent, sirens stand out more but don't have to be as loud&quot;&#xD;&#xA;&#xD;&#xA;I have put some exemples on souncloud here :&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/yohannbernard/how-to-turn-any-clip-into&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/yohannbernard/futuristic-whooshes-using&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/yohannbernard/futuristic-cars-pass-street&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/yohannbernard/futuristic-cars-heard-from&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;     " ContentLicense="CC BY-SA 3.0" />
  <row Id="54897" PostHistoryTypeId="5" PostId="29650" RevisionGUID="94ed1e41-f48c-4e6d-a7f3-ac84a15f241a" CreationDate="2014-06-16T10:41:17.217" UserId="6469" Comment="added 94 characters in body" Text="Hi everyone and thank you very much for all these good advices.&#xD;&#xA;This is how I finally made the sounds of futuristic cars i was looking for.&#xD;&#xA;&#xD;&#xA;First I applied the technique of Rene, equalising sounds of real cars pass from the Sound Collector's club, except the synthesizer layer (not so trained manipulating it). I then applied a LoAir to generate subharmonics. This first layer was very interesting but with the music, it wasn't enough. &#xD;&#xA;Then i layered electric motors sounds as Tobias suggested. The problem was that these electric sounds are full of hi frequencies, so it's difficult to blend with the real engine sound : when it appears and disappears, your hear notice it.&#xD;&#xA;&#xD;&#xA;In parallel, i created strange roomtones using a convolution reverb and soundclips as Impulse responses : trains, electrics motors (Frank Bry), waterphones (Andreas Usenbenz), metal resonances (Tim Prebble),and sci-fi stuff from Jedsound's Transform library . The technique is described by Douglas Murray here :&#xD;&#xA;&#xD;&#xA;http://designingsound.org/2013/07/unlimited-dialog-airfill-to-fill-your-every-need/&#xD;&#xA;&#xD;&#xA;Then I loaded snippets of these custom made roomtones into the Reaktor instrument created by Melted sounds &quot;WHoosh&quot;, and played with it creating slow motion whooshes from this material.&#xD;&#xA;&#xD;&#xA;At the end, I layered the bests with the real car passes and that's it !!!&#xD;&#xA;&#xD;&#xA;And as EMV said &quot;As a result, background sounds and atmos is more apparent, sirens stand out more but don't have to be as loud&quot;&#xD;&#xA;&#xD;&#xA;I have put some exemples on souncloud here :&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/yohannbernard/how-to-turn-any-clip-into&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/yohannbernard/futuristic-whooshes-using&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/yohannbernard/futuristic-cars-pass-street&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/yohannbernard/futuristic-cars-heard-from&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;More info about &quot;Whoosh&quot; from Melted sounds here :&#xD;&#xA;&#xD;&#xA;http://meltedsounds.com/index.html&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;     " ContentLicense="CC BY-SA 3.0" />
  <row Id="54898" PostHistoryTypeId="2" PostId="29651" RevisionGUID="95792d3d-6ac8-4f04-b435-84874022c997" CreationDate="2014-06-16T16:50:06.983" UserDisplayName="user7731" Text="You might consider a final &quot;stems mix&quot; of all your tracks in a single session. Dealing with all of the production of all of your songs in one session seems obtuse, but once you are done with production and have working mixes for each song in their own session you can print out stems and pull them all into one stem mixing session where you can more easily make the types of consistent mix decisions you mention (moving vocals .5db) across all album tracks.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54903" PostHistoryTypeId="2" PostId="29653" RevisionGUID="c70fe2cd-d3f2-45dc-b002-fee296e887ec" CreationDate="2014-06-17T14:20:02.967" UserId="6600" Text="one character that sprang to mind is Arby from the Channel Four series 'Utopia'. If you haven't watched it, it's definitely worth checking out and the theme music is awesome too. Anyway, this character Arby has been given a continuous, out of breath foley aspect, almost as if he's really unfit. I'm pretty sure the majority of this has been added in post. The breathing becomes a bit of a signifier for him and, as a bad guy, adds a sinister, menacing element to his character. Not sure what you would change that to give a different impression but I guess that's your challenge!&#xD;&#xA;&#xD;&#xA;Also it might be worth watching Soundworks' &quot;The Sound of Tron&quot; - there's a fair bit in there but a couple of relevant points might be the sound and character of Flynn's safe house. It was given a calm and secure ambience, with an undercurrent of uncertainty. This could easily be adapted to reflect a different mood. Also what I found quite interesting was that they processed each characters voice dependent on a hierachy of computer to human - maybe you could come up with a different hierachy?&#xD;&#xA;&#xD;&#xA;http://soundworkscollection.com/videos/tronlegacy&#xD;&#xA;&#xD;&#xA;Also! This popped up as a related post which has some other examples of similar stuff:&#xD;&#xA;&#xD;&#xA;http://sound.stackexchange.com/questions/22215/examples-of-characters-defined-through-sound?rq=1&#xD;&#xA;&#xD;&#xA;Hope that helps :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="54904" PostHistoryTypeId="5" PostId="28569" RevisionGUID="c1eab29c-1126-46ef-8b38-f11a1185a5f6" CreationDate="2014-06-17T15:38:31.743" UserId="8331" Comment="added link to specific plugin" Text="When I am listening to music using head-phones, I find listening to stereo recordings rather tiring, so I am using a cross-feed-plugin (http://bs2b.sourceforge.net) which to my perception improves the spatial perception of the recording a lot (feels to me like having a panoramic perception instead of one that feels like having a pool cue stuck through both of my ears).&#xD;&#xA;&#xD;&#xA;Obviously, I don't want to smash binaural recordings by applying cross-feed on top of them. So, this question came to my mind:&#xD;&#xA;&#xD;&#xA;Is there any algorithmic way to guess whether a specific recording is binaural or not? Criteria that come to my mind:&#xD;&#xA;&#xD;&#xA;- rather easy: lack of cross-correlation -&gt; stereo&#xD;&#xA;- difficult: consistent cross-correlation for certain &quot;components&quot; of the sound (wavelets?)&#xD;&#xA;  -&gt; binaural&#xD;&#xA;- vague: frequency envelope that is typical for head-transfer-functions -&gt; binaural&#xD;&#xA;&#xD;&#xA;Obviously, any such algorithm will have flaws because in fact any binaural recording can be interpreted as a strange stereo signal. And any stereo signal can be interpreted as a binaural recording in a very strange room, where the head is in the middle of a wall and each ear only hears part of the room.&#xD;&#xA;&#xD;&#xA;Anyway, is there anything established in that direction?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54905" PostHistoryTypeId="2" PostId="29654" RevisionGUID="5903123c-3bea-4d8e-b76d-9e8aef926af0" CreationDate="2014-06-17T18:17:09.887" UserId="9418" Text="I have very little knowledge of audio equipment and cabling. &#xD;&#xA;&#xD;&#xA;In my house I have to run stereo, unbalanced line-level audio about 120 ft, passed a lot of heavy noise sources. I will grab some DI boxes and run balanced audio instead.&#xD;&#xA;&#xD;&#xA;My question is: I have a ton of 24 AWG shielded CAT6 (not CAT6a though) wiring available, and the components to wire it up to DI boxes. Can I use this instead of purchasing 240ft of XLR? From what I can tell XLR is also 24 AWG so change in voltage drop characteristics won't be an issue.&#xD;&#xA;&#xD;&#xA;If I can, how should I wire it? +/- for each channel on a twisted pair, and tie grounds together and to shield?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54906" PostHistoryTypeId="1" PostId="29654" RevisionGUID="5903123c-3bea-4d8e-b76d-9e8aef926af0" CreationDate="2014-06-17T18:17:09.887" UserId="9418" Text="Running balanced audio over CAT6?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54907" PostHistoryTypeId="3" PostId="29654" RevisionGUID="5903123c-3bea-4d8e-b76d-9e8aef926af0" CreationDate="2014-06-17T18:17:09.887" UserId="9418" Text="&lt;cable&gt;&lt;xlr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54908" PostHistoryTypeId="5" PostId="29654" RevisionGUID="76a99af4-d95a-4ce8-86c6-c60e76d5bb6d" CreationDate="2014-06-17T19:23:25.047" UserId="9418" Comment="deleted 2 characters in body" Text="I have very little knowledge of audio equipment and cabling. &#xD;&#xA;&#xD;&#xA;In my house I have to run stereo, unbalanced line-level audio about 120 ft, past a lot of heavy noise sources. I will grab some DI boxes and run balanced audio instead.&#xD;&#xA;&#xD;&#xA;My question is: I have a ton of 24 AWG shielded CAT6 (not CAT6a though) wiring available, and the components to wire it up to DI boxes. Can I use this instead of purchasing 240ft of XLR? From what I can tell XLR is also 24 AWG so change in voltage drop characteristics won't be an issue.&#xD;&#xA;&#xD;&#xA;If I can, how should I wire it? +/- for each channel on a twisted pair, and tie grounds together and to shield?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54909" PostHistoryTypeId="5" PostId="29654" RevisionGUID="6619ac20-b6b4-46e1-b4b0-3ee6e839cbe4" CreationDate="2014-06-17T19:36:37.290" UserId="9418" Comment="Tada; magically on topic." Text="I have to run stereo, unbalanced line-level audio about 120 ft, past a lot of heavy noise sources. I will grab some DI boxes and run balanced audio instead.&#xD;&#xA;&#xD;&#xA;My question is: I have a ton of 24 AWG shielded CAT6 (not CAT6a though) wiring available, and the components to wire it up to DI boxes. Can I use this instead of XLR? From what I can tell XLR is also 24 AWG so change in voltage drop characteristics won't be an issue.&#xD;&#xA;&#xD;&#xA;If I can, how should I wire it? +/- for each channel on a twisted pair, and tie grounds together and to shield?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54910" PostHistoryTypeId="10" PostId="29654" RevisionGUID="5a2ba72b-7fb9-4c76-bf42-c893779ee575" CreationDate="2014-06-17T19:43:45.043" UserId="7174" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:182,&quot;DisplayName&quot;:&quot;EMV&quot;},{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54911" PostHistoryTypeId="11" PostId="29654" RevisionGUID="87ce7c81-09d6-4bd7-8638-1dff14beeb44" CreationDate="2014-06-17T19:56:34.543" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54912" PostHistoryTypeId="10" PostId="29654" RevisionGUID="b5c14780-2da5-40ed-8a82-8dbc0f6bbcd9" CreationDate="2014-06-17T19:56:39.950" UserId="7174" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[26488],&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54913" PostHistoryTypeId="2" PostId="29655" RevisionGUID="2820586e-4d9b-4a02-bf4b-a90ae393c8c3" CreationDate="2014-06-17T21:16:41.463" UserId="7209" Text="FLAC is lossless compression.  FLAC itself is compatible with the bit depth and sample rates of your studio masters.  However, those listening won't always have sound hardware that are compatible with that bit depth and sample rate.  (This problem has nothing to do with FLAC itself.)&#xD;&#xA;&#xD;&#xA;If you want guaranteed compatibility, distribute FLAC at 44.1kHz 16-bit, and have it be identical as your CD." ContentLicense="CC BY-SA 3.0" />
  <row Id="54917" PostHistoryTypeId="2" PostId="29657" RevisionGUID="ff82ec84-69e8-4659-b3e8-7f6201aa26ca" CreationDate="2014-06-18T01:15:35.783" UserId="9421" Text="I've always listened to trance music whenever I need to concentrate. I've run sound before and have always just kind of assessed my sound setup based on the acoustics in the hall we were playing in, with a primary goal of just avoiding feedback.&#xD;&#xA;&#xD;&#xA;Today I was playing around with my EQ on my winamp and it occurs to me that some of these might get me in a groove more than others. Now, I could always track metrics with various EQ settings to see which of them I tend to be more productive in over others, but there's a whole host of other facts (repeatable music, workloads, time to invest in the project, etc). But it also occurs to me that there are more research studies out there than you can shake a stick at.&#xD;&#xA;&#xD;&#xA;So, are there studies or other research that has been done in this area, or that might apply to this area, that would indicate that certain EQ settings are more prone to enhance productivity than others? Specifically in a headphones environment, but more general studies are welcome." ContentLicense="CC BY-SA 3.0" />
  <row Id="54918" PostHistoryTypeId="1" PostId="29657" RevisionGUID="ff82ec84-69e8-4659-b3e8-7f6201aa26ca" CreationDate="2014-06-18T01:15:35.783" UserId="9421" Text="Are there established EQ settings to increase concentration?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54919" PostHistoryTypeId="3" PostId="29657" RevisionGUID="ff82ec84-69e8-4659-b3e8-7f6201aa26ca" CreationDate="2014-06-18T01:15:35.783" UserId="9421" Text="&lt;music&gt;&lt;headphones&gt;&lt;equalization&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54935" PostHistoryTypeId="2" PostId="29658" RevisionGUID="526d70b0-81fb-40c0-9ace-ba97660c0839" CreationDate="2014-06-18T09:22:40.803" UserId="6940" Text="I dont think this is particularly a Sound Design question in the first place, but I would point out that there can be considerable differences between any two different equalisers (hardware or software) in the first place, so the notion that *settings for 'an' EQ* might be studied, rather than the more consistently measureable *frequency content of music* seems pretty unlikely." ContentLicense="CC BY-SA 3.0" />
  <row Id="54936" PostHistoryTypeId="2" PostId="29659" RevisionGUID="cece2a39-7ecb-43a8-87bc-002178ae2b69" CreationDate="2014-06-18T10:43:45.190" UserId="9427" Text="I have a maybe broad question, about certain techniques in creating drones. Drones of specific quality, the likes you can hear in Joe Colley's work, for example.&#xD;&#xA;&#xD;&#xA;I'm not sure if I'm allowed to post some short clips from the tracks here, so here are some titles (with links):&#xD;&#xA;&#xD;&#xA;[Joe Colley &amp; Jason Lescalleet - Prayer][1]*&#xD;&#xA;&#xD;&#xA;[Joe Colley - Headache (Diagnostic Testpulse For Blown PA)][2]* - at ~8 mins&#xD;&#xA;&#xD;&#xA;Crawl Unit - Untitled (Drone 2)*&#xD;&#xA;&#xD;&#xA;(`http://sonmarchive.es/index.php?option=com_muscol&amp;view=album&amp;id=1006&amp;lang=en`)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So, in a lot of Colley's tracks...&#xD;&#xA;&#xD;&#xA;David Wells - 2.1*&#xD;&#xA;&#xD;&#xA;(`http://sonmarchive.es/index.php?option=com_muscol&amp;view=album&amp;id=500&amp;lang=en`)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Tatar - 072304&#xD;&#xA;&#xD;&#xA;(`http://kosmoplovci.net/music/tatar/frames/ogg/tatar_072304.ogg`)&#xD;&#xA;&#xD;&#xA;etc...&#xD;&#xA;&#xD;&#xA;*Sorry I couldn't find the tracks anywhere else except on this site. You have to register in order to listen to them.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Anyway, quite a few people have this sound in their music...&#xD;&#xA;&#xD;&#xA;It's that dense textured drone, but also very clean sounding (as opposed to the noisy ones I usually get from using delay or reverb) and seamless (you can barely hear any sort of repetitions from the delay, and even when you do it's very 'soft').&#xD;&#xA;&#xD;&#xA;You can hear in the examples, some have more dynamic sound while some are more static. I think I can notice the characteristics of feedback at work in the dynamic sounding ones, and the typical delay (set at short time) in the static sounding ones.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;OK, so I'm guessing it's all at least 80% based on effects. Delay, reverb, feedback... but how?&#xD;&#xA;&#xD;&#xA;I've been making drone for about two years, and I've taken several approaches, trying to figure out logically what's happening there, but also going at it completely experimentally and I can't seem to quite get there.&#xD;&#xA;&#xD;&#xA;I know some people that have achieved this sound by using pure data, working on sample-based loops or instruments, but I haven't managed to do it.&#xD;&#xA;&#xD;&#xA;I know it's not a very specific question, but if you can shed any light on this it would be awesome.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sonmarchive.es/index.php?option=com_muscol&amp;view=album&amp;id=2644&amp;lang=en&#xD;&#xA;  [2]: http://sonmarchive.es/index.php?option=com_muscol&amp;view=album&amp;id=1012&amp;lang=en&#xD;&#xA;  [3]: http://sonmarchive.es/index.php?option=com_muscol&amp;view=album&amp;id=1006&amp;lang=en&#xD;&#xA;  [4]: http://sonmarchive.es/index.php?option=com_muscol&amp;view=album&amp;id=500&amp;lang=en&#xD;&#xA;  [5]: http://kosmoplovci.net/music/tatar/frames/ogg/tatar_072304.ogg" ContentLicense="CC BY-SA 3.0" />
  <row Id="54937" PostHistoryTypeId="1" PostId="29659" RevisionGUID="cece2a39-7ecb-43a8-87bc-002178ae2b69" CreationDate="2014-06-18T10:43:45.190" UserId="9427" Text="Drone technique" ContentLicense="CC BY-SA 3.0" />
  <row Id="54938" PostHistoryTypeId="3" PostId="29659" RevisionGUID="cece2a39-7ecb-43a8-87bc-002178ae2b69" CreationDate="2014-06-18T10:43:45.190" UserId="9427" Text="&lt;experimental&gt;&lt;drone&gt;&lt;puredata&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54939" PostHistoryTypeId="5" PostId="29658" RevisionGUID="6e47f924-b655-4b3d-a986-9ea2a2ce1d12" CreationDate="2014-06-18T11:25:09.917" UserId="6940" Comment="added 1 character in body" Text="I dont think this is particularly a Sound Design question in the first place, but I would point out that there can be considerable differences between any two different equalisers (hardware or software) in the first place, so the notion that *settings for 'an' EQ* might be studied, rather than the more consistently measureable *frequency content of music,* seems pretty unlikely." ContentLicense="CC BY-SA 3.0" />
  <row Id="54940" PostHistoryTypeId="5" PostId="29659" RevisionGUID="41e09828-4223-41f5-b5a5-2ed93f8fa902" CreationDate="2014-06-18T12:55:40.283" UserId="9427" Comment="deleted 222 characters in body" Text="I have a maybe broad question, about certain techniques in creating drones. Drones of specific quality, the kind you can hear in Joe Colley's work, for example.&#xD;&#xA;&#xD;&#xA;I'm not sure if I'm allowed to post some short clips from the tracks here, so here are some titles (with links):&#xD;&#xA;&#xD;&#xA;[Joe Colley &amp; Jason Lescalleet - Prayer][1]*&#xD;&#xA;&#xD;&#xA;[Joe Colley - Headache (Diagnostic Testpulse For Blown PA)][2]* - at ~8 mins&#xD;&#xA;&#xD;&#xA;Crawl Unit - Untitled (Drone 2)*&#xD;&#xA;&#xD;&#xA;(`http://sonmarchive.es/index.php?option=com_muscol&amp;view=album&amp;id=1006&amp;lang=en`)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;So, in a lot of Colley's tracks...&#xD;&#xA;&#xD;&#xA;David Wells - 2.1*&#xD;&#xA;&#xD;&#xA;(`http://sonmarchive.es/index.php?option=com_muscol&amp;view=album&amp;id=500&amp;lang=en`)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Tatar - 072304&#xD;&#xA;&#xD;&#xA;(`http://kosmoplovci.net/music/tatar/frames/ogg/tatar_072304.ogg`)&#xD;&#xA;&#xD;&#xA;etc...&#xD;&#xA;&#xD;&#xA;*Sorry I couldn't find the tracks anywhere else except on this site. You have to register in order to listen to them.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Anyway, quite a few people have this sound in their music...&#xD;&#xA;&#xD;&#xA;It's that dense textured drone, but also very clean sounding (as opposed to the noisy ones I usually get from using delay or reverb) and seamless (you can barely hear any sort of repetitions from the delay, and even when you do it's very 'soft').&#xD;&#xA;&#xD;&#xA;You can hear in the examples, some have more dynamic sound while some are more static. I think I can notice the characteristics of feedback at work in the dynamic sounding ones, and the typical delay (set at short time) in the static sounding ones.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;OK, so I'm guessing it's all at least 80% based on effects. Delay, reverb, feedback... but how?&#xD;&#xA;&#xD;&#xA;I know that some people have achieved this sound by using pure data, working on sample-based loops or instruments, but I haven't managed to do it.&#xD;&#xA;&#xD;&#xA;I know it's not a very specific question, but if you can shed any light on this it would be awesome.&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sonmarchive.es/index.php?option=com_muscol&amp;view=album&amp;id=2644&amp;lang=en&#xD;&#xA;  [2]: http://sonmarchive.es/index.php?option=com_muscol&amp;view=album&amp;id=1012&amp;lang=en&#xD;&#xA;  [3]: http://sonmarchive.es/index.php?option=com_muscol&amp;view=album&amp;id=1006&amp;lang=en&#xD;&#xA;  [4]: http://sonmarchive.es/index.php?option=com_muscol&amp;view=album&amp;id=500&amp;lang=en&#xD;&#xA;  [5]: http://kosmoplovci.net/music/tatar/frames/ogg/tatar_072304.ogg" ContentLicense="CC BY-SA 3.0" />
  <row Id="54941" PostHistoryTypeId="2" PostId="29660" RevisionGUID="6522a8aa-7ec6-4634-b5c2-8872a411a643" CreationDate="2014-06-18T13:13:27.937" UserId="7174" Text="I don't think you will find any research in to what EQ settings will make a difference.  There may be certain frequency groups that help, but EQs just apply adjustments to what is already there though and countless other things have more of an impact.  Pacing of the music, how busy the music is, how complete the &quot;wall of sound is&quot;, tempo, style, volume, etc all have a substantial impact on how &quot;energizing&quot; the music is.&#xD;&#xA;&#xD;&#xA;To really have a solid study, you would need to try a variety of different EQ settings applied to a variety of different songs and examine the results from so many different tests that it is unlikely to be worth the effort to attempt a rigorous test due to the extreme complexity of performing such a test with the low expectation of meaningful results." ContentLicense="CC BY-SA 3.0" />
  <row Id="54942" PostHistoryTypeId="2" PostId="29661" RevisionGUID="c398cafa-27d7-45bc-8fb5-a9d3b0ae9a2a" CreationDate="2014-06-18T16:22:51.947" UserId="6432" Text="I created a Max/msp patch and app that uses convolution reverb to generate drones of this sort:  &#xD;&#xA;&#xD;&#xA;https://soundcloud.com/mark-durham/resonate-drone-selection&#xD;&#xA;&#xD;&#xA;Some seem quite similar to the sound you're aiming for perhaps? You can read more and download it here:&#xD;&#xA;&#xD;&#xA;[http://sounddesignwithmax.blogspot.co.uk/2014/01/creative-convolution-part-1-resonate.html][1]&#xD;&#xA;&#xD;&#xA;Some of the those examples are probably too harmonic for what you're after, but it's easy to get much noisier drones out of the technique - you just use less pitched material as IR's. You can also stack up convolution reverbs in a DAW to get the same result.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sounddesignwithmax.blogspot.co.uk/2014/01/creative-convolution-part-1-resonate.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="54943" PostHistoryTypeId="2" PostId="29662" RevisionGUID="80bd94ac-901d-4f12-a760-831716b9b04a" CreationDate="2014-06-18T17:53:51.740" UserId="6619" Text="So Im designing a monster vocal at the moment, and I'm curious about how you guys retain &quot;high end&quot; during the process of pitching and manipulating the sounds?&#xD;&#xA;&#xD;&#xA;I myself am finding that saturating just the high frequencies helps, and I also find that reverb, especially a bright one, really contributes to making the monsters vocals sound natural again, but is there anything you guys would add?&#xD;&#xA;&#xD;&#xA;Also, I lOVE Iris &amp; Absynth, but what do you guys use for pitching WITHOUT time stretching? I know Iris can do that, but I've never had good results. Do any of you use the U-he &quot;Uhbik&quot; bundle? Any good?&#xD;&#xA;&#xD;&#xA;Thanks!!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54944" PostHistoryTypeId="1" PostId="29662" RevisionGUID="80bd94ac-901d-4f12-a760-831716b9b04a" CreationDate="2014-06-18T17:53:51.740" UserId="6619" Text="Monster Vox. Retaining High End" ContentLicense="CC BY-SA 3.0" />
  <row Id="54945" PostHistoryTypeId="3" PostId="29662" RevisionGUID="80bd94ac-901d-4f12-a760-831716b9b04a" CreationDate="2014-06-18T17:53:51.740" UserId="6619" Text="&lt;sound-design&gt;&lt;mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54946" PostHistoryTypeId="2" PostId="29663" RevisionGUID="6ecb4844-6c3d-4cc0-9300-f1e5747226a0" CreationDate="2014-06-18T18:16:54.243" UserId="1014" Text="is there a way to limit the bandwidth of the noise profile? I mean, let's say I only want to denoise the highs from a recording and keep the rest. By now I can't find a way, since the noise profile is full range.&#xD;&#xA;&#xD;&#xA;Thank you in advance.&#xD;&#xA;&#xD;&#xA;Cheers,&#xD;&#xA;Luca" ContentLicense="CC BY-SA 3.0" />
  <row Id="54947" PostHistoryTypeId="1" PostId="29663" RevisionGUID="6ecb4844-6c3d-4cc0-9300-f1e5747226a0" CreationDate="2014-06-18T18:16:54.243" UserId="1014" Text="iZotope RX2: limiting the noise profile bandwidth" ContentLicense="CC BY-SA 3.0" />
  <row Id="54948" PostHistoryTypeId="3" PostId="29663" RevisionGUID="6ecb4844-6c3d-4cc0-9300-f1e5747226a0" CreationDate="2014-06-18T18:16:54.243" UserId="1014" Text="&lt;noise-reduction&gt;&lt;izotope&gt;&lt;denoiser&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54950" PostHistoryTypeId="5" PostId="29653" RevisionGUID="4026ab1e-19d3-40d4-9cf8-2712e8760c47" CreationDate="2014-06-18T21:23:05.823" UserId="6600" Comment="grammar" Text="one character that sprang to mind is Arby from the Channel Four series 'Utopia'. If you haven't watched it, it's definitely worth checking out and the theme music is awesome too. Anyway, this character Arby has been given a continuous, out of breath foley aspect, almost as if he's really unfit. I'm pretty sure the majority of this has been added in post. The breathing becomes a bit of a signifier for him and, as a bad guy, adds a sinister, menacing element to his character. Not sure what you would change to give a different impression but I guess that's your challenge!&#xD;&#xA;&#xD;&#xA;Also it might be worth watching Soundworks' &quot;The Sound of Tron&quot; - there's a fair bit in there but a couple of relevant points might be the sound and character of Flynn's safe house. It was given a calm and secure ambience, with an undercurrent of uncertainty. This could easily be adapted to reflect a different mood. Also what I found quite interesting was that they processed each characters voice dependent on a hierachy of computer to human - maybe you could come up with a different hierachy?&#xD;&#xA;&#xD;&#xA;http://soundworkscollection.com/videos/tronlegacy&#xD;&#xA;&#xD;&#xA;Also! This popped up as a related post which has some other examples of similar stuff:&#xD;&#xA;&#xD;&#xA;http://sound.stackexchange.com/questions/22215/examples-of-characters-defined-through-sound?rq=1&#xD;&#xA;&#xD;&#xA;Hope that helps :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="54951" PostHistoryTypeId="2" PostId="29664" RevisionGUID="d6c4b3b7-71ab-4f1a-849c-6714171f2ce9" CreationDate="2014-06-18T21:32:03.080" UserId="6425" Text="Hey RobDel now I understood your answer!&#xD;&#xA;&#xD;&#xA;So here is it how my Sound engineer teacher told it to me:&#xD;&#xA;&#xD;&#xA;The most important thing when creating a full album with a cohesive sound is to record the songs in the same room with the same instruments played by the same players trough the same microphones into the same mixing desc into the same converters...&#xD;&#xA;&#xD;&#xA;The mix has only very, very little part on how everything sounds. So if you want a coherent sound -&gt; Make sure it sounds coherent at recoding/sound design stage.&#xD;&#xA;&#xD;&#xA;Then you have a lot more options at the mix. For example you can pump harder songs by compressing the hell out of the room mics and you can have softer songs more intimate by making very dry and near drums.&#xD;&#xA;&#xD;&#xA;My teacher told me, that he starts with &quot;weak&quot; &quot;filler tracks&quot; of the album to get a basic understanding of the recording and instruments used in the arrangement. For each track he will start with the settings of the last one and then adjusts them to the theme of the individual track. Then after 3-4 tracks he will have great settings on his mixing gear for most instruments so he then mixes the 1-2 feature tracks of the album to make them stand out. After that he uses the build settings of the mixing gear to very fast mix the lower priority tracks (at that point you typically get bored of the sound/album so its good to have finished the important ones). If the first 1-2 tracks then sound totally different he might go back to those to adjust them to the overall sound. So to say he refines the eq and compressor setting of each instrument as he progresses with the tracks, but he also does always adjust those to the theme of the individual song if he needs the effect -&gt; e.g. rock vs ballad. &#xD;&#xA;Send FX can be a good way of giving more of a coherent sound, but it is better to choose send FX that fit the tempo and overall feel of the individual track to create diversity. On rock songs you want dry guitars in your face, on a ballad you want reverb drowned guitar arpeggios maybe. Or on a ballad you want a huge reverb on the singer to fill out the space vs some delays in crowded rock songs that leave no place for reverb tails.&#xD;&#xA;&#xD;&#xA;I would always mix the stuff in 1-2 great master chain fx like a pull tech eq or ssl compressor. This will glue the whole album together. But always adjust the time parameters and gain-reduction on your master compressor -&gt; pumping rock vs transparent ballad. And add slight boost on 3kHz for e.g. on your master eq can make a hard song jump out and be a little bit more in your face compered to the &quot;softer&quot; songs.&#xD;&#xA;&#xD;&#xA;Then send that stuff to a mastering guy and let him do his magic to give a final cohesive touch.&#xD;&#xA;&#xD;&#xA;-&gt; So in a daw environment try to save the channels trips of every track and instrument and test if they work for the other tracks.&#xD;&#xA;&#xD;&#xA;Good Day!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54952" PostHistoryTypeId="2" PostId="29665" RevisionGUID="db4ee40b-1bd4-4246-a333-b0c62e7996bb" CreationDate="2014-06-18T21:36:35.340" UserId="6425" Text="I use Ableton for the pitch shift with static tempo. Ableton has great inbuilt algorithms for this and some options to make them sound very strange!&#xD;&#xA;&#xD;&#xA;One thing that I do like to add new toped is to create a copy of the sound and filter the bass and very high frequencies. Then I will distort that heavily and mix it slightly with the original sound.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54953" PostHistoryTypeId="2" PostId="29666" RevisionGUID="d62fa928-32a6-4fce-8d87-3b5662e9d659" CreationDate="2014-06-18T21:38:57.600" UserId="6425" Text="The scariest monster I ever created was by granulising baby loughs/crys with ableton inbuilt granulizer/pitch shifting algorithm. Just pitch it down and make the grains short and audible. BrRRIIiiahhhhhriiiaraawwr :)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="54954" PostHistoryTypeId="2" PostId="29667" RevisionGUID="ede6e3b6-8b4b-4e1a-aaf2-feac4f1d92a1" CreationDate="2014-06-18T22:09:03.773" UserId="6432" Text="Starting with good recordings over 48khz helps a lot, especially if the microphone used picks up over 20khz. The Ozone excitor is good for adding sparkle. Mixing in some unshifted sound with the lower version, like harmonising. Finding another layer of sound to go with the bass layer, matching the amplitude changes of the first, then fusing them together with light convolution reverb. Depends a lot on the creature though." ContentLicense="CC BY-SA 3.0" />
  <row Id="54955" PostHistoryTypeId="2" PostId="29668" RevisionGUID="406a32dc-5246-4565-b132-b1b72a8b02a3" CreationDate="2014-06-19T04:38:16.867" UserId="6399" Text="I'm not sure about RX2 but you can in RX3.  It's possible in the standalone module to select your frequencies as well as drag points around on the noise print." ContentLicense="CC BY-SA 3.0" />
  <row Id="54956" PostHistoryTypeId="2" PostId="29669" RevisionGUID="74fd1ac7-fd25-4889-bbf9-72115bc040fa" CreationDate="2014-06-19T06:47:12.257" UserDisplayName="user80" Text="If you cut and paste into a new clip the sound you want RX2 to learn, then use a standard EQ to bandpass it down to only the frequencies you want affected, you can then use the band passed version for RX2 to &quot;learn&quot; and therefore only affect the specified frequencies in the main recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="54957" PostHistoryTypeId="5" PostId="19577" RevisionGUID="57b231ce-61e2-4c36-96dc-03a6907fd35c" CreationDate="2014-06-19T06:52:25.187" UserDisplayName="user80" Comment="Clarified that the author is recommending their own software." Text="You can try [Dehumaniser][1], a prototype application that I created in order to transform your voice into monster sounds in real time with many presets and parameters. It has already been used by acknowledged sound professionals in feature films and video games. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://orfeasboteas.com/dehumaniser" ContentLicense="CC BY-SA 3.0" />
  <row Id="54958" PostHistoryTypeId="2" PostId="29670" RevisionGUID="16f89879-dea6-40b8-8319-3dcd209347e5" CreationDate="2014-06-19T06:58:49.353" UserDisplayName="user80" Text="I am a huge fan of pitch shifting Komodo Dragons, I also use a lot of my own voice and reversed animal recordings.  The reversed sounds obviously need the attack and decay corrected, but it is always fun, especially when you start layering with breaths.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="54959" PostHistoryTypeId="2" PostId="29671" RevisionGUID="35ba452b-bfed-4818-a7b6-8ff67b2d4acd" CreationDate="2014-06-19T07:06:57.730" UserDisplayName="user80" Text="We use the M-Audio Oxygen 25, and have at least a dozen of them, they are very reliable and easy to set up.  The newest version has pads on it as well as the usual rotary knobs, fader, keys, wheels etc.  Our keyboards have been used (abused) to prop open windows, angle laptops and goodness knows what else but they just keep working.&#xD;&#xA;&#xD;&#xA;http://maudio.com/products/en_us/Oxygen25New.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="54960" PostHistoryTypeId="2" PostId="29672" RevisionGUID="e11df7f0-9f55-4327-bdff-ded923947a9a" CreationDate="2014-06-19T07:18:00.950" UserDisplayName="user80" Text="Recording everything at 96 kHz or above really helps.  I usually high-pass a duplicate clip that has not been pitch shifted down and then layer it quietly with the pitch shifted version.  The cutoff frequency will vary according to the pitch shift, the bigger the pitch shift the lower the cut off frequency for the high-pass.  If you can afford it then the Eventide H3000 Factory is excellent at generating harmonics to fill in the missing high frequencies.&#xD;&#xA;&#xD;&#xA;http://www.eventidestore.com/h3faop.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="54964" PostHistoryTypeId="5" PostId="25678" RevisionGUID="98afd813-d12e-439c-a258-bc719724482c" CreationDate="2014-06-19T13:19:04.493" UserId="9435" Comment="Just adding a few factual changes and to help focus the differences in headphone impedance" Text="Most headphones used with portable electronics are low-impedance, around 8 or 16, more rare, 32 ohms.  This is because the power supplied by the device is limited due to it being battery powered, and the low impedance in the headphones can allow higher volume levels (sensitivity being equal).&#xD;&#xA;&#xD;&#xA;From my basic electrical engineering courses, my instinct is that higher impedance headphones would also create a more level frequency response, thus being more true to the original signal.  Is this true?&#xD;&#xA;&#xD;&#xA;In relation to achieving optimal sound quality, is there any advantage to pairing high-impedance headphones with an amplifier for listening on an MP3 player or laptop, as opposed to just using low-impedance headphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54965" PostHistoryTypeId="24" PostId="25678" RevisionGUID="98afd813-d12e-439c-a258-bc719724482c" CreationDate="2014-06-19T13:19:04.493" Comment="Proposed by 9435 approved by 1216 edit id of 140" ContentLicense="CC BY-SA 3.0" />
  <row Id="54966" PostHistoryTypeId="10" PostId="25678" RevisionGUID="9d60e73b-00f4-4942-a2bf-a307c3a87f33" CreationDate="2014-06-19T14:40:34.393" UserId="7174" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54967" PostHistoryTypeId="14" PostId="25678" RevisionGUID="0657f512-337a-496e-8a1e-c913ae63f354" CreationDate="2014-06-19T14:40:34.393" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="54968" PostHistoryTypeId="14" PostId="25679" RevisionGUID="d8ed24ab-1ff9-42a0-85f6-512473be8e24" CreationDate="2014-06-19T14:40:34.393" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="54969" PostHistoryTypeId="14" PostId="25680" RevisionGUID="6ae3525b-6dbb-4694-9265-1629e80dd07c" CreationDate="2014-06-19T14:40:34.393" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="54970" PostHistoryTypeId="14" PostId="25681" RevisionGUID="8332a02c-8963-4897-b12e-7bb02460fab4" CreationDate="2014-06-19T14:40:34.393" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="54971" PostHistoryTypeId="14" PostId="25682" RevisionGUID="515df5da-2359-445c-ab08-bef35372b77d" CreationDate="2014-06-19T14:40:34.393" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="54972" PostHistoryTypeId="14" PostId="25683" RevisionGUID="0a673587-12fc-414b-b63b-dca866a3977d" CreationDate="2014-06-19T14:40:34.393" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="54973" PostHistoryTypeId="13" PostId="25681" RevisionGUID="2646329f-c6c1-4f10-953d-4f8f0348e7b1" CreationDate="2014-06-19T14:42:05.213" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54974" PostHistoryTypeId="13" PostId="25679" RevisionGUID="2bc7f564-97f7-4bcc-8fee-a6b04c22c1f9" CreationDate="2014-06-19T14:42:11.140" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54975" PostHistoryTypeId="13" PostId="25683" RevisionGUID="87363a7b-8034-43f7-9ced-a5f01c94e9e7" CreationDate="2014-06-19T14:42:18.253" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54976" PostHistoryTypeId="13" PostId="25682" RevisionGUID="adebc5bb-f462-4252-ae01-25994c3dff31" CreationDate="2014-06-19T14:42:26.270" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54977" PostHistoryTypeId="13" PostId="25680" RevisionGUID="142c10ea-96bc-4f21-be9f-1b8b3ca78e43" CreationDate="2014-06-19T14:42:33.343" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54981" PostHistoryTypeId="5" PostId="25678" RevisionGUID="3e9d33f8-484f-43ec-83a8-47da9bf9015f" CreationDate="2014-06-19T15:18:10.320" UserId="7174" Comment="added 52 characters in body" Text="Headphones come in various different imdepence levels, such as 8, 16 and 32 ohms.  The power supplied by the audio source can be at different levels due to a variety of factors such as being limited due to being battery powered. At lower power levels, lower impedance in the headphones can allow higher volume levels (sensitivity being equal).&#xD;&#xA;&#xD;&#xA;From my basic electrical engineering courses, my instinct is that higher impedance headphones would also create a more level frequency response, thus being more true to the original signal.  Is this true?&#xD;&#xA;&#xD;&#xA;In relation to achieving optimal sound quality, is there any advantage to pairing high-impedance headphones with an amplifier if the audio source has a lower power level rather than simply using low-impedance headphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="54982" PostHistoryTypeId="11" PostId="25678" RevisionGUID="5be8d227-9d27-46c2-8253-80674ce63759" CreationDate="2014-06-19T15:19:07.500" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54983" PostHistoryTypeId="15" PostId="25678" RevisionGUID="977c9fbf-d7d2-425f-be71-a6a466403ce9" CreationDate="2014-06-19T15:19:19.857" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54984" PostHistoryTypeId="2" PostId="29674" RevisionGUID="fc8bbff1-7109-446b-a532-fa3909630414" CreationDate="2014-06-19T19:05:05.370" UserId="1216" Text="What is your use case scenario? Field recordings or vocals? &#xD;&#xA;You can if you have the advanced version of 2 or 3. You could also use the 'envelope' function to create a frequency curve that allows you to attenuate noise in a specific frequency range. Highly usefull function especially with complex material (with loud low or midrange sounds), because it makes 'filtering' easier for RX somehow. (Less pumping artifacts)." ContentLicense="CC BY-SA 3.0" />
  <row Id="54988" PostHistoryTypeId="14" PostId="24736" RevisionGUID="d5ba395f-1fe0-4538-b097-e4f7b750e122" CreationDate="2014-06-20T04:30:45.513" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54989" PostHistoryTypeId="33" PostId="24736" RevisionGUID="755fcf88-1006-4234-a23d-4aef66b9de7a" CreationDate="2014-06-20T04:30:45.513" UserId="7174" Comment="14" />
  <row Id="54992" PostHistoryTypeId="34" PostId="24736" RevisionGUID="fcc86138-9829-43ca-a8c3-51694d8c6c64" CreationDate="2014-06-20T06:01:36.950" UserId="-1" Comment="14" />
  <row Id="54993" PostHistoryTypeId="15" PostId="24736" RevisionGUID="1822c9a0-7d27-4c12-82da-bc9e435b1227" CreationDate="2014-06-20T06:01:36.950" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="54994" PostHistoryTypeId="5" PostId="29674" RevisionGUID="c7c61f1e-36e6-4b5b-840b-b1f708db442e" CreationDate="2014-06-20T08:03:34.423" UserId="1216" Comment="grammar" Text="What is your use case scenario? Field recordings or vocals? &#xD;&#xA;You can if you have the advanced version of 2 or 3. You could also use the 'envelope' function to create a frequency curve that allows you to attenuate noise in a specific frequency range. Highly useful function especially with complex material (with loud low or midrange sounds), because it makes 'filtering' easier for RX somehow. (Less pumping artifacts)." ContentLicense="CC BY-SA 3.0" />
  <row Id="54995" PostHistoryTypeId="2" PostId="29676" RevisionGUID="28ffcd9b-5b38-4419-86f0-4edc92868322" CreationDate="2014-06-20T10:13:25.907" UserId="6940" Text="Distortion/waveshaper effects based around Chebyshev Polynomials allow the generation of specific harmonics for the input signal, which mean you could use one to add specific higher frequency content thats actually properly harmonic to your source. material&#xD;&#xA;&#xD;&#xA;Soundhack have the +chebyshev plugin but it only covers up to the 7th harmonic (and misses the 6th).&#xD;&#xA;http://www.soundhack.com/freeware/&#xD;&#xA;&#xD;&#xA;The chebby shaper ensemble for Reaktor covers the first 12 harmonics.&#xD;&#xA;http://www.native-instruments.com/en/community/reaktor-user-library/entry/show/7733/" ContentLicense="CC BY-SA 3.0" />
  <row Id="54996" PostHistoryTypeId="2" PostId="29677" RevisionGUID="9a7a18f3-a1c2-447d-855e-f3b8e7d7e272" CreationDate="2014-06-20T11:31:59.200" UserId="6680" Text="It's easy to end up with a 'muddy' low-end monster sound when pitching down. A technique I've used a few times is to make a duplicate of the sound, and then play it through a vocoder with white noise (or anything similar) as the carrier. Then the 'white noise' version can be treated with EQ and mixed with the original sound to add a high-end, although it would normally be lower in the mix. Also, using a high sample rate recording when pitching down is a must." ContentLicense="CC BY-SA 3.0" />
  <row Id="54997" PostHistoryTypeId="14" PostId="24736" RevisionGUID="3deda0f1-be9d-44e1-bdf3-49135137f7f8" CreationDate="2014-06-20T13:33:22.270" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="54998" PostHistoryTypeId="33" PostId="24736" RevisionGUID="81ff4e55-4051-4d80-b1c6-d642fad12137" CreationDate="2014-06-20T13:33:22.270" UserId="7174" Comment="15" />
  <row Id="54999" PostHistoryTypeId="15" PostId="25681" RevisionGUID="92dac8dc-89d9-43b5-8933-c67d4fc04037" CreationDate="2014-06-20T13:35:21.973" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="55000" PostHistoryTypeId="15" PostId="25679" RevisionGUID="b3f42b24-ce12-4797-b926-c5fa385d5bc9" CreationDate="2014-06-20T13:35:27.633" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="55001" PostHistoryTypeId="15" PostId="25683" RevisionGUID="f442774f-a3ad-4946-9bef-14f631ce219c" CreationDate="2014-06-20T13:35:33.327" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="55002" PostHistoryTypeId="15" PostId="25682" RevisionGUID="70487009-e24f-4c49-87ba-c13a20872f3e" CreationDate="2014-06-20T13:35:37.347" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="55003" PostHistoryTypeId="15" PostId="25680" RevisionGUID="91ff537c-3181-4582-aad9-2f08b3ae62ef" CreationDate="2014-06-20T13:35:41.863" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="55004" PostHistoryTypeId="15" PostId="24736" RevisionGUID="9f46baf8-6b3c-4cf2-b252-87ccc03adbaf" CreationDate="2014-06-20T13:37:49.920" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="55005" PostHistoryTypeId="34" PostId="24736" RevisionGUID="9ca5db48-dfce-4cb8-a483-d002257b0032" CreationDate="2014-06-20T13:37:49.920" UserId="7174" Comment="15" />
  <row Id="55006" PostHistoryTypeId="14" PostId="24736" RevisionGUID="611ed626-54c6-44cb-8320-b9f281fabbdd" CreationDate="2014-06-20T13:37:59.643" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="55007" PostHistoryTypeId="33" PostId="24736" RevisionGUID="feb2d40a-ee79-4d29-988f-4654eccc8a03" CreationDate="2014-06-20T13:37:59.643" UserId="7174" Comment="16" />
  <row Id="55017" PostHistoryTypeId="2" PostId="29680" RevisionGUID="dc30769a-2939-4fd7-8b3d-c5e306c09769" CreationDate="2014-06-20T22:55:36.530" UserId="3199" Text="Some other additions for the pile, for those of you stumbling across this answer years later:&#xD;&#xA;&#xD;&#xA;Tsugi's Audio Bot&#xD;&#xA;http://www.tsugi-studio.com/?page_id=632&#xD;&#xA;*Internal functions to crop, pad, normalize, fade in and out, remove quietest parts etc…&#xD;&#xA;*VST plug-ins host, so you can use your favourite effects.&#xD;&#xA;*Creation of plug-in / processing chains.&#xD;&#xA;*Command line version available for easy integration in your audio pipeline.&#xD;&#xA;*case-by-case pricing&#xD;&#xA;&#xD;&#xA;Audio Ease's Barbara Batch&#xD;&#xA;http://www.audioease.com/Pages/BarbaBatch/&#xD;&#xA;*Fades&#xD;&#xA;*dynamics / gain&#xD;&#xA;*extracts regions&#xD;&#xA;*tons of formats&#xD;&#xA;&#xD;&#xA;Nugen LMB dialog Normalizer&#xD;&#xA;http://www.nugenaudio.com/lmb-loudness-management-automatic-batch-processing-file-application_21" ContentLicense="CC BY-SA 3.0" />
  <row Id="55018" PostHistoryTypeId="2" PostId="29681" RevisionGUID="1657e9c7-c344-40a6-86a3-13d33f285e50" CreationDate="2014-06-21T01:37:26.290" UserId="9446" Text="It is possible, however you would need to have the original signal.  I use octave/matlab to create and test vocal signals.  You need to do this for both signals separately  &#xD;&#xA;1) fft (Fast Fourier transform) on the signal&#xD;&#xA;&#xD;&#xA;2) get all the frequencies, amplitudes and phases and place them into arrays&#xD;&#xA;&#xD;&#xA;3) compare the data stored into said arrays to each other.&#xD;&#xA;&#xD;&#xA;Note: the signal should be the same time duration and sample rate.  This can be worked around but would require more programming.  Also these files can be very large so a 64bit along with a 64bit system would help I use Linux" ContentLicense="CC BY-SA 3.0" />
  <row Id="55019" PostHistoryTypeId="5" PostId="27317" RevisionGUID="4ba6c553-1fa5-486a-9db7-8f06a092ac66" CreationDate="2014-06-21T18:06:34.607" UserId="7236" Comment="deleted 24 characters in body" Text="Anyone who works with audio either as a hobby or as a professional knows about MP3 and WAV, and the advantages and disadvantages of each. Namely:&#xD;&#xA;&#xD;&#xA;* MP3 (most commonly MPEG III)&#xD;&#xA; * disadvantage: lossy compression&#xD;&#xA; * * [compression artifacts][1] manifest&#xD;&#xA; * * subject to [generation loss][2]&#xD;&#xA; * disadvantage: [patent issues][3]&#xD;&#xA; * advantage: relatively small file size&#xD;&#xA; * advantage: [ID3 metadata][4] tagging&#xD;&#xA;* WAV (Waveform Audio File Format)&#xD;&#xA; * disadvantage: audio data not compressed&#xD;&#xA; * * relatively large file size&#xD;&#xA; * disadvantage: 4 GiB (2&lt;sup&gt;32&lt;/sup&gt; - 1) file size limit&#xD;&#xA; * advantage: crystal clear&lt;sup&gt;&amp;#x2020;&lt;/sup&gt; quality&#xD;&#xA;&#xD;&#xA;Being an audio &quot;producer&quot;, I know to use WAV for everything. However, I'm in a dilemma. As stated above, WAV files are _large_. A 4 minute stereo song is about 50 megabytes. All those songs add up. In addition, WAV files don't support metadata like MP3 does as far as I've seen.&#xD;&#xA;&#xD;&#xA;I can always compress the files with 7-zip's &quot;ultra&quot; option, but this isn't reasonable (or feasible) for files I'm currently working with.&#xD;&#xA;&#xD;&#xA;What I'm looking for is an audio format that has the &quot;crystal clear&quot; quality that WAV has with the metadata ability and small file sizes of MP3. Essentially, an audio format that has losslessly compression and metadata. I would prefer it to be widely supported. Maybe just an MP3 codec that is _lossless_? Does anything like this _exist_?&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;&lt;sup&gt;&amp;#x2020;&lt;/sup&gt; audio quality depends on export or rip quality and speakers&#xD;&#xA;&#xD;&#xA; [1]: http://en.wikipedia.org/wiki/Compression_artifact&#xD;&#xA; [2]: http://en.wikipedia.org/wiki/Generation_loss&#xD;&#xA; [3]: http://en.wikipedia.org/wiki/MP3#Licensing_and_patent_issues&#xD;&#xA; [4]: http://en.wikipedia.org/wiki/ID3" ContentLicense="CC BY-SA 3.0" />
  <row Id="55023" PostHistoryTypeId="2" PostId="29683" RevisionGUID="37aff26c-a9bd-4ef2-97ed-0a2fc691f84e" CreationDate="2014-06-22T06:44:09.097" UserId="61" Text="Just heard about this 80 year old technology making a comeback on NPR this evening. A 27' horn loudspeaker? Yes, I think it would make a great IR:&#xD;&#xA;&#xD;&#xA;http://www.stuff.tv/history-s-greatest-loudspeaker-back-business/feature" ContentLicense="CC BY-SA 3.0" />
  <row Id="55024" PostHistoryTypeId="1" PostId="29683" RevisionGUID="37aff26c-a9bd-4ef2-97ed-0a2fc691f84e" CreationDate="2014-06-22T06:44:09.097" UserId="61" Text="Why hasn't AudioEase made an IR from the Tenman Horn yet?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55025" PostHistoryTypeId="3" PostId="29683" RevisionGUID="37aff26c-a9bd-4ef2-97ed-0a2fc691f84e" CreationDate="2014-06-22T06:44:09.097" UserId="61" Text="&lt;convolution-reverb&gt;&lt;ir&gt;&lt;altiverb&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55027" PostHistoryTypeId="10" PostId="29683" RevisionGUID="76cc166c-aa9b-413a-ae6b-79bd69f4a45f" CreationDate="2014-06-22T15:29:34.827" UserId="7174" Comment="105" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="55028" PostHistoryTypeId="11" PostId="29683" RevisionGUID="e382753f-3970-477c-b26e-cb4a51925429" CreationDate="2014-06-22T15:34:04.960" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="55029" PostHistoryTypeId="4" PostId="29683" RevisionGUID="14890adb-834e-4fc7-bc5f-7e7fa2801dd9" CreationDate="2014-06-22T15:35:04.963" UserId="7174" Comment="less opinion based" Text="Is there any reason that AudioEase couldn't make an IR from the Tenman Horn?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55033" PostHistoryTypeId="5" PostId="29683" RevisionGUID="14890adb-834e-4fc7-bc5f-7e7fa2801dd9" CreationDate="2014-06-22T15:35:04.963" UserId="7174" Comment="less opinion based" Text="Just heard about this 80 year old technology making a comeback on NPR this evening. A 27' horn loudspeaker? Yes, I think it would make a great IR:&#xD;&#xA;&#xD;&#xA;http://www.stuff.tv/history-s-greatest-loudspeaker-back-business/feature&#xD;&#xA;&#xD;&#xA;Is there any reason why it couldn't be made in to one? " ContentLicense="CC BY-SA 3.0" />
  <row Id="55036" PostHistoryTypeId="2" PostId="29686" RevisionGUID="598001d6-a986-4d6e-9117-7f00684b1a45" CreationDate="2014-06-22T15:58:11.577" UserId="9452" Text="I could be totally wrong about what it is called.  Good examples are in Skrillex &quot;Fire Away&quot;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Starts at 1:10 barely, full and clear at 1:20&#xD;&#xA;Comes in with main drums at around 2:07&#xD;&#xA;Morphed somewhat at 3:50 hear it (low passed) clearly without most everything else dropped out&#xD;&#xA;&#xD;&#xA;It evolves and changes somewhat throughout the track.&#xD;&#xA;&#xD;&#xA;It's just odd percussion blips and cracks (I dunno), industrial maybe? &#xD;&#xA;&#xD;&#xA;I just want to know how you go about making those types of sounds. &#xD;&#xA;&#xD;&#xA;We're oscillators used or just noise?&#xD;&#xA;Any tutorials? &#xD;&#xA;&#xD;&#xA;Please don't say, &quot;sounds like FM use that...&quot; If a phrase like that would solve my problem I would be smart enough to not need to be told it, lol.&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55037" PostHistoryTypeId="1" PostId="29686" RevisionGUID="598001d6-a986-4d6e-9117-7f00684b1a45" CreationDate="2014-06-22T15:58:11.577" UserId="9452" Text="Industrial or Odd Percussion Creation" ContentLicense="CC BY-SA 3.0" />
  <row Id="55038" PostHistoryTypeId="3" PostId="29686" RevisionGUID="598001d6-a986-4d6e-9117-7f00684b1a45" CreationDate="2014-06-22T15:58:11.577" UserId="9452" Text="&lt;sound-design&gt;&lt;drum&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55040" PostHistoryTypeId="5" PostId="29669" RevisionGUID="5a6e9f86-4a80-4bda-86a3-6b44214c3a0f" CreationDate="2014-06-23T05:32:58.927" UserDisplayName="user80" Comment="added 1 character in body" Text="If you copy and paste into a new clip the sound you want RX2 to learn, then use a standard EQ to bandpass it down to only the frequencies you want affected, you can then use the band passed version for RX2 to &quot;learn&quot; and therefore only affect the specified frequencies in the main recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="55041" PostHistoryTypeId="2" PostId="29687" RevisionGUID="b85cc3f1-db98-45fb-8cc3-a6f951e28044" CreationDate="2014-06-23T05:52:34.967" UserDisplayName="user80" Text="As a general rule, if you add even harmonics to a sound then you can make it more pleasing, and if you use odd order harmonics you can make a sound more displeasing.  So it might be worth using different types of subtle distortion to either add even or odd order harmonics to a voice depending on which direction you want the character to go in.  &#xD;&#xA;&#xD;&#xA;If you prefer not to use distortion to create harmonics then a much more subtle effect is to make a voice more nasal or sibilant, it is amazing how quickly annoying it becomes, then add some deliberate but discrete, plosive popping, and then for the positive character make the EQ rich and full, with a slight proximity effect and presence boost (2-4 kHz).  Then compress slightly the positive character, and expand slightly the negative character.  Strong, confident individuals usually have slightly more constant levels in their speech, irrational speakers vary their levels much more as they are often more dramatic.  &#xD;&#xA;&#xD;&#xA;Lastly if you want to push it further add some artificial lip smacks, they really do not sound nice, and again will push a character towards the negative end of spectrum, and by contrast the positive character will be perceived as even more positive.&#xD;&#xA;&#xD;&#xA;All these effects can be overused, but if you keep them so that they are only just audible, they can create a voice you feel more comfortable listening to, and one that jars slightly. " ContentLicense="CC BY-SA 3.0" />
  <row Id="55044" PostHistoryTypeId="2" PostId="29689" RevisionGUID="1537fdc0-01e4-4dec-82ac-01cd70fcf667" CreationDate="2014-06-23T09:40:06.080" UserId="9455" Text="I was on live show yesterday, hear this what i will try to explain. When singer talks to crowd or just sing quiet her voice, effect can be just barely heard. But when she raise voice volume effect what i'm talking about just start to fill in.&#xD;&#xA;&#xD;&#xA;How to achieve this? I know that maybe to buy some &quot;rack vocal processor&quot; but i'm interest to recreate that with basic using: gate, delay, reverb..&#xD;&#xA;&#xD;&#xA;When singer sings quite i want that my effect send channel is like turned 15%. When she raise volume i want to my send to be turned on 35%, something like that.. Is there some tool to do this.&#xD;&#xA;&#xD;&#xA;        " ContentLicense="CC BY-SA 3.0" />
  <row Id="55045" PostHistoryTypeId="1" PostId="29689" RevisionGUID="1537fdc0-01e4-4dec-82ac-01cd70fcf667" CreationDate="2014-06-23T09:40:06.080" UserId="9455" Text="Live vocal effect, dynamic dependant. delay &amp; reverb" ContentLicense="CC BY-SA 3.0" />
  <row Id="55046" PostHistoryTypeId="3" PostId="29689" RevisionGUID="1537fdc0-01e4-4dec-82ac-01cd70fcf667" CreationDate="2014-06-23T09:40:06.080" UserId="9455" Text="&lt;effects&gt;&lt;reverb&gt;&lt;vocals&gt;&lt;live-sound&gt;&lt;delay&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55047" PostHistoryTypeId="2" PostId="29690" RevisionGUID="879a2089-2a18-4cfd-99d3-543aececc7b9" CreationDate="2014-06-23T14:36:56.537" UserDisplayName="user7731" Text="that track kind of has a chillstep vibe.  the drums at first sound like a bit of sampled percussion that may not be drums but rather found sound stuff like cameras and things.  It's more glitch or idm style than industrial. look at using sounds for percussion that do not come from music but make interesting percussive sounds. when the track gets going the drums sound like pitched up breaks, traditional drums that are pitched up, filtered and saturated to taste and doing that double time 140 chillstep thing.&#xD;&#xA;&#xD;&#xA;hope that helps.&#xD;&#xA;b&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55048" PostHistoryTypeId="2" PostId="29691" RevisionGUID="738cfeba-f5db-40d2-a030-b3242a4eb496" CreationDate="2014-06-23T14:37:40.300" UserId="7174" Text="I generally call the tool I use for this &quot;a sound guy&quot;.  You can automate it though by doing some dynamics processing on the input to the effects unit.  You need to use a device called an expander on the feed going to the effects unit (or have an effects unit that provides it's own expander).&#xD;&#xA;&#xD;&#xA;An expander is a lot like a compressor, but the ratio goes in the other direction.  Up until a certain threshold, the audio is normal, but then after the threshold is reached it goes up more quickly.  Thus, the input level to effects would be low until the threshold is reached and then would rapidly increase after the threshold is reached. &#xD;&#xA;&#xD;&#xA;You could do the same thing with a gate if you simply wanted it on and off, though that might result in some odd effects unless the gate can fade on and off.  If you do go the gate route, you probably want a slow release time.&#xD;&#xA;&#xD;&#xA;The end result is that the signal level in to the processor is low or off when there isn't much input but elevated/on when the threshold is exceeded.  This can then be mixed back in at a static wet/dry level and you get a changing overall wetness since the input to the effects processing is increasing more than the dry level." ContentLicense="CC BY-SA 3.0" />
  <row Id="55058" PostHistoryTypeId="2" PostId="29693" RevisionGUID="f46ea1a3-fd5e-49ad-9bee-58b89e47b921" CreationDate="2014-06-23T19:45:37.453" UserId="4390" Text="Snagged from Beyer-Dynamics website:&#xD;&#xA;&#xD;&#xA;&gt; The impedance is determined by the voice coil (dynamic headphones),&#xD;&#xA;&gt; which is a winded copper wire (coated to avoid a short-circuit). This&#xD;&#xA;&gt; copper wire is available in nearly every length, but not in every&#xD;&#xA;&gt; gauge (thickness) and a thicker wire has less resistance than a thin&#xD;&#xA;&gt; wire (&quot;less fits through&quot;). The magnetic field of the voice coil&#xD;&#xA;&gt; depends on the number of windings of the coil, causing a low impedance&#xD;&#xA;&gt; system to use a thicker (also heavier) wire and since the membrane&#xD;&#xA;&gt; foil can't be infinitely light-weight, the moving mass (voice coil and&#xD;&#xA;&gt; diaphragm) is relatively high. It's pretty clear that a higher mass&#xD;&#xA;&gt; can't move as easily (following an audio signal) as a lower mass. This&#xD;&#xA;&gt; low mass can easily be accomplished with thinner (lower weight) wire,&#xD;&#xA;&gt; but the thinner wire has a higher impedance. This means that the DT&#xD;&#xA;&gt; 770 PRO with 250 ohms sound more natural, but plays (depending on the&#xD;&#xA;&gt; used headphone amplifier) not as loud as the 80 ohms version.&#xD;&#xA;&gt; &#xD;&#xA;&gt; The transducers of the 80 ohms versions are stronger and more&#xD;&#xA;&gt; powerful, a bit more low-mid accentuated and therefore this version is&#xD;&#xA;&gt; ideal for powerful reproducing of low-frequency material f.e. coming&#xD;&#xA;&gt; from a bass guitar. The 250 ohms version sounds more smooth and&#xD;&#xA;&gt; voluminous and can be used for mixing situations within the studio to&#xD;&#xA;&gt; analyse the whole mix.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55064" PostHistoryTypeId="5" PostId="8986" RevisionGUID="2d9e5584-e951-4933-a47b-ff92d58dd25c" CreationDate="2014-06-24T08:29:17.880" UserId="9459" Comment="grammar, removed greeting" Text="If your client insists on using MP3s and the game engine can handle it, you can always do a hack with two mp3s (with fade-ins and -outs) and switch them back and forth so no gap is heard in the game." ContentLicense="CC BY-SA 3.0" />
  <row Id="55065" PostHistoryTypeId="24" PostId="8986" RevisionGUID="2d9e5584-e951-4933-a47b-ff92d58dd25c" CreationDate="2014-06-24T08:29:17.880" Comment="Proposed by 9459 approved by 7016 edit id of 142" ContentLicense="CC BY-SA 3.0" />
  <row Id="55068" PostHistoryTypeId="2" PostId="29694" RevisionGUID="64f4c517-25fa-4679-9426-5c080ff8d2fa" CreationDate="2014-06-24T16:27:12.933" UserId="9464" Text="Well, it certainly appears that Atmos is being targeted at the Home Theatre.&#xD;&#xA;&#xD;&#xA;http://www.avsforum.com/forum/286-latest-industry-news/1577121-pioneer-s-dolby-atmos-compatible-avrs-speakers.html&#xD;&#xA;&#xD;&#xA;http://www.avsforum.com/forum/90-receivers-amps-processors/1576489-dolby-atmos-comes-home-new-onkyo-avrs-pre-pro.html&#xD;&#xA;&#xD;&#xA;So where is DTS now? What alternative will they offer the Home Theatre market, because it also appears to me that DTS Neo:X is dead in the water. I own a Marantz processor that is Neo:X capable, and it is on the edge of this new technology emerging (That is reality, proeccors outdate quickly.) But my next move would seem to be best suited towards a processor that is capable of playing back whatever is the main choice of studios, be it Atmos or DTS MDA." ContentLicense="CC BY-SA 3.0" />
  <row Id="55075" PostHistoryTypeId="6" PostId="149" RevisionGUID="72560939-e886-46b9-ab20-7071d89b8a9a" CreationDate="2014-06-24T16:52:43.833" UserId="7174" Comment="edited tags" Text="&lt;movies&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55077" PostHistoryTypeId="12" PostId="29694" RevisionGUID="c486a94c-7da7-4dde-b312-097a485c053e" CreationDate="2014-06-24T16:59:29.523" UserId="7174" Comment="Converted to Comment" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="55078" PostHistoryTypeId="13" PostId="29694" RevisionGUID="97a33c9f-7016-4397-b3a4-ee4b8f8e9b70" CreationDate="2014-06-24T17:00:18.970" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="55079" PostHistoryTypeId="6" PostId="17588" RevisionGUID="33c00306-3ad5-44d9-846f-56c3c506b1b9" CreationDate="2014-06-24T17:43:05.770" UserId="7174" Comment="edited tags" Text="&lt;sound-effects&gt;&lt;gameaudio&gt;&lt;animals&gt;&lt;insects&gt;&lt;creature&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55080" PostHistoryTypeId="2" PostId="29696" RevisionGUID="96ed1283-8d1b-4724-ab3e-88569e32abef" CreationDate="2014-06-24T17:45:56.170" UserId="7174" Comment="added 66 characters in body" Text="Bugs are errors or glitches in computer programs or electronic devices.  For questions dealing with the animals, see [Insects][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://sound.stackexchange.com/tags/insects/info" ContentLicense="CC BY-SA 3.0" />
  <row Id="55081" PostHistoryTypeId="2" PostId="29697" RevisionGUID="dd540988-fd54-42e4-a600-7f86fb5c686f" CreationDate="2014-06-24T17:45:56.170" UserId="7174" Text="Bugs are errors in computer programs or electronic devices." ContentLicense="CC BY-SA 3.0" />
  <row Id="55082" PostHistoryTypeId="6" PostId="10766" RevisionGUID="cbc1bfc8-891c-456a-90db-b56133f470e6" CreationDate="2014-06-24T17:57:31.837" UserId="7174" Comment="edited tags" Text="&lt;design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55083" PostHistoryTypeId="6" PostId="5667" RevisionGUID="6f8d3bf7-8755-47c2-a56c-1f88f5e1893c" CreationDate="2014-06-24T17:57:39.667" UserId="7174" Comment="edited tags" Text="&lt;noise&gt;&lt;dialogue&gt;&lt;reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55084" PostHistoryTypeId="6" PostId="11337" RevisionGUID="389f1d97-e9a1-4983-bc33-709df6292024" CreationDate="2014-06-24T18:13:46.063" UserId="7174" Comment="edited tags" Text="&lt;creature-vocalizations&gt;&lt;iconic-sounds&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55085" PostHistoryTypeId="5" PostId="3979" RevisionGUID="48c57546-1e8a-480f-81c8-8ddb15ec92a9" CreationDate="2014-06-24T18:15:10.663" UserId="7174" Comment="remove tag cleanup grammar" Text="Does anyone know how the translations of the different characters in animations like Starwars Clonewars are handled?&#xD;&#xA;&#xD;&#xA;When the sound designers are using software like Kyma to process voices, are the different dubstages from around the world forced to have the same software or are the files sent away for processing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55086" PostHistoryTypeId="4" PostId="3979" RevisionGUID="48c57546-1e8a-480f-81c8-8ddb15ec92a9" CreationDate="2014-06-24T18:15:10.663" UserId="7174" Comment="remove tag cleanup grammar" Text="Translation of weird character voices" ContentLicense="CC BY-SA 3.0" />
  <row Id="55087" PostHistoryTypeId="6" PostId="3979" RevisionGUID="48c57546-1e8a-480f-81c8-8ddb15ec92a9" CreationDate="2014-06-24T18:15:10.663" UserId="7174" Comment="remove tag cleanup grammar" Text="&lt;dubbing&gt;&lt;kyma&gt;&lt;m-and-e&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55090" PostHistoryTypeId="2" PostId="29698" RevisionGUID="baa3283d-3158-4799-8692-4adddab938d7" CreationDate="2014-06-24T18:25:46.633" UserId="9453" Text="I am shooting a short series this summer and I have got a good camera, a good lighting set-up but I still am a bit unsure about audio. How are people supposed to get started in film-making when it comes to audio? I need this to be portable as I will be shooting in the local forest.&#xD;&#xA;&#xD;&#xA;I currently use a Rode VideoMic directly plugged into my DSLR on a boom pole. This is the extent of my audio collection. For £100 - £130, could you please recommend the audio gear that is important when you are starting out. Also, how many lapel microphones would I need for film dialogue for two actors as wireless lapels cost quite a bit. Thanks for helping!&#xD;&#xA;&#xD;&#xA;Nick&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55091" PostHistoryTypeId="1" PostId="29698" RevisionGUID="baa3283d-3158-4799-8692-4adddab938d7" CreationDate="2014-06-24T18:25:46.633" UserId="9453" Text="Basic audio equipment" ContentLicense="CC BY-SA 3.0" />
  <row Id="55092" PostHistoryTypeId="3" PostId="29698" RevisionGUID="baa3283d-3158-4799-8692-4adddab938d7" CreationDate="2014-06-24T18:25:46.633" UserId="9453" Text="&lt;microphone&gt;&lt;film&gt;&lt;recommendations&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55093" PostHistoryTypeId="5" PostId="29698" RevisionGUID="762e6d0b-8625-4962-ba57-edd3d7f88544" CreationDate="2014-06-24T18:39:35.137" UserId="9453" Comment="Added an extra section" Text="I am shooting a short series this summer and I have got a good camera, a good lighting set-up but I still am a bit unsure about audio. How are people supposed to get started in film-making when it comes to audio? I need this to be portable as I will be shooting in the local forest.&#xD;&#xA;&#xD;&#xA;I currently use a Rode VideoMic directly plugged into my DSLR on a boom pole. This is the extent of my audio collection. For £100 - £130, could you please recommend the audio gear that is important when you are starting out. Also, how many lapel microphones would I need for film dialogue for two actors as wireless lapels cost quite a bit. Thanks for helping!&#xD;&#xA;&#xD;&#xA;Nick&#xD;&#xA;&#xD;&#xA;P.S I don't just mean microphones, I mean the stuff to setup (field recorders etc). But microphones as well&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55094" PostHistoryTypeId="5" PostId="29698" RevisionGUID="1419429d-cc69-4b97-bdf7-39c3483f68a5" CreationDate="2014-06-24T19:28:07.683" UserId="7174" Comment="deleted 40 characters in body" Text="I am shooting a short series this summer and I have got a good camera, a good lighting set-up but I still am a bit unsure about audio. How are people supposed to get started in film-making when it comes to audio? I need this to be portable as I will be shooting in the local forest.&#xD;&#xA;&#xD;&#xA;I currently use a Rode VideoMic directly plugged into my DSLR on a boom pole. This is the extent of my audio collection. For £100 - £130, could you please recommend the audio gear that is important when you are starting out. Also, how many lapel microphones would I need for film dialogue for two actors as wireless lapels cost quite a bit.&#xD;&#xA;&#xD;&#xA;I don't just mean microphones, I mean the stuff to setup (field recorders etc) and the microphones." ContentLicense="CC BY-SA 3.0" />
  <row Id="55095" PostHistoryTypeId="4" PostId="29698" RevisionGUID="1419429d-cc69-4b97-bdf7-39c3483f68a5" CreationDate="2014-06-24T19:28:07.683" UserId="7174" Comment="deleted 40 characters in body" Text="Basic Ultra Low Budget Audio Equipment for Video" ContentLicense="CC BY-SA 3.0" />
  <row Id="55096" PostHistoryTypeId="2" PostId="29699" RevisionGUID="b520ab35-c4f3-4267-a2b5-9d484d11e69b" CreationDate="2014-06-24T20:43:23.990" UserDisplayName="user7731" Text="a popular low budget audio setup for DSLR shoots would be 2 Sennhiser G3 wireless systems (lav mics) and a zoom H4 recorder.&#xD;&#xA;&#xD;&#xA;that's about as bare bones as it gets.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55097" PostHistoryTypeId="2" PostId="29700" RevisionGUID="305695e2-11f6-4f08-b65f-8c876c2a59aa" CreationDate="2014-06-24T21:00:36.667" UserDisplayName="user80" Text="If you only have $130 you will find it really tough.  The website below explains really well the options when working with DSLR.  I completely agree with its suggestion about getting the mic off camera first and foremost.&#xD;&#xA;&#xD;&#xA;http://www.filmbrute.com/audio/&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55103" PostHistoryTypeId="2" PostId="29702" RevisionGUID="c30a38c3-23ef-423f-a640-42e7da10a6be" CreationDate="2014-06-25T16:55:42.300" UserId="9385" Text="I learned a term ages ago in school called &quot;the willingful suspension of disbelief&quot; which is a prerequisite in a way for enjoying many fictional works. Besides employing that technique, I do see the goofy stupid stuff but typically chuckle then let it blow by for the greater good of being entertained by the movie! Sometimes I dig in. In the Netflix series XIII they have this world-altering more-dangerous-than-nukes computer program. Turns out the code they display on screen is HTML/CSS code from the engadget.com website.That was a good laugh. So dangerous! But also an amateurish oversight." ContentLicense="CC BY-SA 3.0" />
  <row Id="55104" PostHistoryTypeId="5" PostId="157" RevisionGUID="d207ec7c-f8e3-4fbb-9335-84e929a3c929" CreationDate="2014-06-25T16:59:24.297" UserId="6957" Comment="combined the two answers" Text="If I'm watching a movie or tv show or playing a game, if it is good and sucks me in with the story, I find it hard to pay attention to the sound.  I'll notice little bits here and there, but I am more interested in enjoying good media then being a sound geek.  I'll tell people about a game or movie that I really enjoyed, people ask me how the sound was, I usually say I don't know, I was too busy enjoying the movie.&#xD;&#xA;&#xD;&#xA;If there is something bad about the sound/music/dialog, usually I'll pick up on it and it will end up distracting me and hindering my enjoyment of the movie/tv/game.&#xD;&#xA;&#xD;&#xA;If the sound is really good something will catch my ear.  Then I'll need to revisit the movie/tv/game a least a second or third time to focus on the sound.&#xD;&#xA;&#xD;&#xA;If someone was to ask me what the best sounding movie I've seen in the last year, my answer would have to be something that I've watched more then once.  I actually can't think of anything I've seen in the last year that I remember the sound in, except maybe Star Trek, because I've watched it a few times :)  Take Avatar for example.  I really enjoyed the movie (saw it in 3D) I don't remember the sound, was it good?  &#xD;&#xA;&#xD;&#xA;Remember, if we do our jobs well, no one should ever know we were there....&#xD;&#xA;&#xD;&#xA;**EDIT**&#xD;&#xA;&#xD;&#xA;Actually, I did think of a couple of movies where I really focused on the sound the first time I watched them.&#xD;&#xA;&#xD;&#xA;Wall-E. Sound is such a key storytelling element in that film. Impossible to ignore. Amazing work by one of the true greats in our field.&#xD;&#xA;&#xD;&#xA;Saving Private Ryan. That movie changed my life. I remember flipping through the cable channels, SPR was on, maybe half-way through the movie. I had a sound request on game I was working at the time for some darts that should sound like the bullets in SPR. So I started watching it to check out the sound. I was so floored by what I heard (and the film in general), that I watched it to the end and then watched it again right after (it was on HBO and repeated for west coast time). I then went out a few days later, bought the DVD and watched it again." ContentLicense="CC BY-SA 3.0" />
  <row Id="55106" PostHistoryTypeId="2" PostId="29703" RevisionGUID="56c163dd-b9d4-4ec7-a99c-269c7e554436" CreationDate="2014-06-25T20:26:21.357" UserId="7174" Text="A critical ear (and eyes) is not something I have found particularly easy to turn off.  I give a warning to people starting out in the A/V field that while it is a lot of fun, it will forever impact the way they see and hear media productions.  It is a double edged sword though, while I find any issues in a work to be incredibly distracting, when a work really shines, I find all the more enjoyment in seeing such a well done work.&#xD;&#xA;&#xD;&#xA;I rarely go to concerts any more due to these kinds of issues and I prefer to watch movies at home on my setup that I have calibrated and configured the way I like to minimize distractions that might be introduced by the location as well.&#xD;&#xA;&#xD;&#xA;For the most part I prefer to work at live events rather than attend them, but when I do decide to attend something, it has to be pulled off in a really top notch way or I'll be super distracted." ContentLicense="CC BY-SA 3.0" />
  <row Id="55107" PostHistoryTypeId="2" PostId="29704" RevisionGUID="63bd4701-bfd4-423f-ada7-877895c6f662" CreationDate="2014-06-26T02:57:08.640" UserId="6435" Text="I do tend to get sucked in if the film is good. But that's not to say that I won't notice some bad sound moments or obvious ADR. Or on the other hand, that I won't notice a particularly nice bit of design. But to really listen to the sound of a film I generally have to go through it a second and third time.&#xD;&#xA;&#xD;&#xA;One very interesting experiment in this was when I flew back from England and the only in-flight movie I was at all interested in watching was SWAT -- I wound up watching it three or four times in a row, specifically to listen for sound and music things." ContentLicense="CC BY-SA 3.0" />
  <row Id="55108" PostHistoryTypeId="2" PostId="29705" RevisionGUID="807aec87-4780-4d09-91a8-8d40b417bc26" CreationDate="2014-06-26T07:15:44.743" UserDisplayName="user80" Text="It is really down to the quality of the film.  Every time I watch Star Wars I think this time I am going to concentrate on the sound, but it never works I am always sucked in.  But there are plenty of other films where it is easy to listen to the sound, it is usually down to the approach that has been taken, the budget has either been very tight, or someone is trying to prove a point and draw attention to the sound.  &#xD;&#xA;&#xD;&#xA;It is important to be able to switch off your critical listening skills so that you can understand the audience perspective." ContentLicense="CC BY-SA 3.0" />
  <row Id="55115" PostHistoryTypeId="2" PostId="29708" RevisionGUID="9f47bd6f-9a21-4f30-acb7-b2a333945c24" CreationDate="2014-06-26T20:31:26.097" UserId="6738" Text="I'd like to make some percussive sounds with FM8, which I really love.&#xD;&#xA;I couldn't find where can I &quot;fix&quot; the pitch to a given value - in other synths I can switch off the &quot;key follow&quot; and set it to a pitch, say, C-1.&#xD;&#xA;&#xD;&#xA;To reason behind that is I'd like to beef up the kick drum of drum VSTs with synth kick, so I route the drum MIDI to the FM8 track (no, I don't want to write and maintain a separate track for that!).&#xD;&#xA;&#xD;&#xA;So...&#xD;&#xA;&#xD;&#xA; 1. Is it possible to fix the pitch of FM8, so any MIDI note would produce the same sound? ***OR***&#xD;&#xA; 2. Can I filter the MIDI values of the kick of the rum VST track and transpose it to a certain note? (E.g. My kick is on C-5, so I filter out everything that is not C-5 and then automatically transpose it to my kick)&#xD;&#xA;&#xD;&#xA;Therefore, I could totally control the root note of my kick, which would be really nice and handy." ContentLicense="CC BY-SA 3.0" />
  <row Id="55116" PostHistoryTypeId="1" PostId="29708" RevisionGUID="9f47bd6f-9a21-4f30-acb7-b2a333945c24" CreationDate="2014-06-26T20:31:26.097" UserId="6738" Text="Fixing FM8 to a given pitch OR filter MIDI notes and transpose to a given value" ContentLicense="CC BY-SA 3.0" />
  <row Id="55117" PostHistoryTypeId="3" PostId="29708" RevisionGUID="9f47bd6f-9a21-4f30-acb7-b2a333945c24" CreationDate="2014-06-26T20:31:26.097" UserId="6738" Text="&lt;synthesizer&gt;&lt;reaper&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55118" PostHistoryTypeId="5" PostId="29708" RevisionGUID="c734a913-efc7-4ffb-bff6-65aafa4b4bcb" CreationDate="2014-06-26T20:48:00.457" UserId="6738" Comment="added 20 characters in body" Text="I'd like to make some percussive sounds with FM8, which I really love.&#xD;&#xA;I couldn't find where can I &quot;fix&quot; the pitch to a given value - in other synths I can switch off the &quot;key follow&quot; and set it to a pitch, say, C-1.&#xD;&#xA;&#xD;&#xA;To reason behind that is I'd like to beef up the kick drum of drum VSTs with synth kick, so I route the drum MIDI to the FM8 track (no, I don't want to write and maintain a separate track for that!).&#xD;&#xA;&#xD;&#xA;So...&#xD;&#xA;&#xD;&#xA; 1. Is it possible to fix the pitch of **FM8**, so any MIDI note would produce the same sound? ***OR***&#xD;&#xA; 2. Can I filter the MIDI values (in **REAPER**) of the kick of the rum VST track and transpose it to a certain note? (E.g. My kick is on C-5, so I filter out everything that is not C-5 and then automatically transpose it to my kick)&#xD;&#xA;&#xD;&#xA;Therefore, I could totally control the root note of my kick, which would be really nice and handy." ContentLicense="CC BY-SA 3.0" />
  <row Id="55121" PostHistoryTypeId="5" PostId="29681" RevisionGUID="c253fe65-8155-4cc6-b41b-81081e3a3b9d" CreationDate="2014-06-27T02:26:58.837" UserId="9446" Comment="deleted 18 characters in body" Text="It is possible, however you would need to have the original signal.  I use octave/matlab to create and test vocal signals.  You need to do this for both signals separately  &#xD;&#xA;1) fft (Fast Fourier transform) on the signal&#xD;&#xA;&#xD;&#xA;2) get all the frequencies, amplitudes and phases and place them into arrays&#xD;&#xA;&#xD;&#xA;3) compare the data stored into said arrays to each other.&#xD;&#xA;&#xD;&#xA;Note: the signal should be the same time duration and sample rate.  This can be worked around but would require more programming.  Also these files can be very large so a 64bit system would help, I use Linux" ContentLicense="CC BY-SA 3.0" />
  <row Id="55122" PostHistoryTypeId="2" PostId="29709" RevisionGUID="74a054c1-c34e-4552-b2d1-fb1cd18cac24" CreationDate="2014-06-27T02:40:09.463" UserId="9474" Text="I have an Audio-Technica AT2035 Cardioid Capacitor Microphone with an ART Tube amp. The mic has a Low Cut switch and an -10db to 0dB switch. The preamp has 2 dials: Input and Output, along with 4 buttons: +20dB Gain, P-Pwr +48V, Phase Reverse, and OPL. The input dial ranges from +26/+6 to +60/+40. The output dial ranges from an infinity symbol to +10. There is also a red speedometer looking thing that has VU under it.&#xD;&#xA;&#xD;&#xA;I've tried winging it with this setup, but I've still gotten complaints from listeners that the sound was mono and of low quality.&#xD;&#xA;&#xD;&#xA;I want to use this equipment to make Podcasts and Youtube videos.&#xD;&#xA;&#xD;&#xA;Please help." ContentLicense="CC BY-SA 3.0" />
  <row Id="55123" PostHistoryTypeId="1" PostId="29709" RevisionGUID="74a054c1-c34e-4552-b2d1-fb1cd18cac24" CreationDate="2014-06-27T02:40:09.463" UserId="9474" Text="How do I run this setup?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55124" PostHistoryTypeId="3" PostId="29709" RevisionGUID="74a054c1-c34e-4552-b2d1-fb1cd18cac24" CreationDate="2014-06-27T02:40:09.463" UserId="9474" Text="&lt;microphone&gt;&lt;setup&gt;&lt;preamp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55125" PostHistoryTypeId="2" PostId="29710" RevisionGUID="ce91ca89-f4c4-475f-8005-6850d0eaa417" CreationDate="2014-06-27T03:38:59.260" UserId="432" Text="You're not going to find anything worth using that you can buy for that budget. My suggestion would be to find a local shop that rents gear out and talk to them about what you'll be shooting and how. They'll be able to give you advice on what to use and how, and you'll likely get better equipment for the money you'll be spending. Granted, you won't own the equipment, but you'll be happier with the results you can get from some decent rental gear vs. cheap crap that you own." ContentLicense="CC BY-SA 3.0" />
  <row Id="55126" PostHistoryTypeId="2" PostId="29711" RevisionGUID="48bdf8d7-eee0-423c-8e23-97efb0bd561d" CreationDate="2014-06-27T03:45:56.887" UserId="7174" Text="First, it is a Cardioid condenser mic, not a capacitor mic.  That's a type of mic that uses changes in an electrical field between two wires to detect sound and it is more sensitive in general than a dynamic mic which is basically a speaker in reverse.  &#xD;&#xA;&#xD;&#xA;Low cut is used to roll off the lower frequencies when you are micing something that doesn't have lower frequencies, but you do, so you want the lo cut set to 0dB.&#xD;&#xA;&#xD;&#xA;+20dB Gain is a boost from a pre-amp.  You shouldn't use this unless you have to because it is otherwise likely to make your signal too loud.&#xD;&#xA;&#xD;&#xA;P-Pwr +48v is phantom power.  It is a way of providing power to a microphone over the XLR cable if it is needed.  In the case of a condenser mic, power is required, so this should be on.  If you microphone had a battery built in, it should be able to be removed.&#xD;&#xA;&#xD;&#xA;Phase Reverse flips the waveform.  It is only useful for mixing different signals and you are not doing that, so leave it off, though the setting really doesn't matter.&#xD;&#xA;&#xD;&#xA;I'm not sure on the OPL, but I'd leave it off.&#xD;&#xA;&#xD;&#xA;The input dial will adjust how much amplification is applied.  You want to apply enough amplification to get good signal level, but not so much that it clips (exceeds the max volume of the pre-amp).&#xD;&#xA;&#xD;&#xA;The VU meter is a measure of how much signal power you are getting.  Watch it to see if you are clipping.  The needle should never go all the way to the right.  If it does, turn down the input gain.&#xD;&#xA;&#xD;&#xA;Note that you can only get mono audio with this setup as you only have one pre-amp and thus only one channel recording at a time, but that shouldn't really matter as long as you get decent quality audio recorded and then assign it to both the left and right speaker." ContentLicense="CC BY-SA 3.0" />
  <row Id="55131" PostHistoryTypeId="2" PostId="29713" RevisionGUID="ebc746cd-2c59-4eb9-8c50-8717bf39ef9b" CreationDate="2014-06-27T09:34:59.557" UserId="9477" Text="I have read a few posts with people adamantly suggesting a mixer before the 744t/702 etc. I am wondering what the advantages are. &#xD;&#xA;&#xD;&#xA;My application and work is mainly nature recording. I might set up two omnis and an M/S simultaneously. But need I mix on the spot? What are the advantages? Usually I can take it back to the studio for post mixing." ContentLicense="CC BY-SA 3.0" />
  <row Id="55132" PostHistoryTypeId="1" PostId="29713" RevisionGUID="ebc746cd-2c59-4eb9-8c50-8717bf39ef9b" CreationDate="2014-06-27T09:34:59.557" UserId="9477" Text="Field Recording with SD-744t - Do I need a mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55133" PostHistoryTypeId="3" PostId="29713" RevisionGUID="ebc746cd-2c59-4eb9-8c50-8717bf39ef9b" CreationDate="2014-06-27T09:34:59.557" UserId="9477" Text="&lt;mixing&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55134" PostHistoryTypeId="5" PostId="29711" RevisionGUID="8213a623-7487-4272-8cf0-ac36608c3807" CreationDate="2014-06-27T13:52:13.277" UserId="7174" Comment="added 162 characters in body" Text="For reference, such a mic is typically called a condenser mic rather than a capacitor mic.  Condensor is a former term for capacitors, but condenser continues to be used to describe microphones that work on the principal.  That's a type of mic that uses changes in an electrical field between two wires to detect sound and it is more sensitive in general than a dynamic mic which is basically a speaker in reverse.  &#xD;&#xA;&#xD;&#xA;Low cut is used to roll off the lower frequencies when you are micing something that doesn't have lower frequencies, but you do, so you want the lo cut set to 0dB.&#xD;&#xA;&#xD;&#xA;+20dB Gain is a boost from a pre-amp.  You shouldn't use this unless you have to because it is otherwise likely to make your signal too loud.&#xD;&#xA;&#xD;&#xA;P-Pwr +48v is phantom power.  It is a way of providing power to a microphone over the XLR cable if it is needed.  In the case of a condenser mic, power is required, so this should be on.  If you microphone had a battery built in, it should be able to be removed.&#xD;&#xA;&#xD;&#xA;Phase Reverse flips the waveform.  It is only useful for mixing different signals and you are not doing that, so leave it off, though the setting really doesn't matter.&#xD;&#xA;&#xD;&#xA;I'm not sure on the OPL, but I'd leave it off.&#xD;&#xA;&#xD;&#xA;The input dial will adjust how much amplification is applied.  You want to apply enough amplification to get good signal level, but not so much that it clips (exceeds the max volume of the pre-amp).&#xD;&#xA;&#xD;&#xA;The VU meter is a measure of how much signal power you are getting.  Watch it to see if you are clipping.  The needle should never go all the way to the right.  If it does, turn down the input gain.&#xD;&#xA;&#xD;&#xA;Note that you can only get mono audio with this setup as you only have one pre-amp and thus only one channel recording at a time, but that shouldn't really matter as long as you get decent quality audio recorded and then assign it to both the left and right speaker." ContentLicense="CC BY-SA 3.0" />
  <row Id="55135" PostHistoryTypeId="2" PostId="29714" RevisionGUID="d243b353-cb82-4b81-be26-ddfd8b6dab5e" CreationDate="2014-06-27T14:08:08.287" UserId="7174" Text="I'd argue that &quot;need&quot; is a slightly strong term, but it is worth noting that there are only two volume knobs on the SD-744t which could potentially be limiting.  While you don't need to mix between the tracks on the fly, it may be necessary to make adjustments on the recording levels themselves to ensure consistent recording level and quality.&#xD;&#xA;&#xD;&#xA;You can always adjust balance later, but what you can't do later is move the noise floor or the max signal level if the audio gets either too quiet or too loud.  Inserting a field mixer before the recorder allows for adjustment of recording levels on the fly to ensure that you get maximum quality.  That said, it also adds complexity that may not fit your shoot well unless you have a dedicated audio recording engineer.&#xD;&#xA;&#xD;&#xA;If you are just going to configure it before the shot and let it run, a mixer should likely be unnecessary as you won't be making any adjustments during shooting anyway, but it can be valuable to have if you either want to be able to monitor and adjust recording levels live during production or want to be able use more than one audio source per recording channel." ContentLicense="CC BY-SA 3.0" />
  <row Id="55136" PostHistoryTypeId="2" PostId="29715" RevisionGUID="20f2029d-21b4-4cd0-81f9-5df652b12624" CreationDate="2014-06-27T14:35:07.723" UserId="194" Text="The 744 only has 2 preamps, so if you want to record 4 channels you'll need at least a mixpre on the front end for channels 3 and 4." ContentLicense="CC BY-SA 3.0" />
  <row Id="55144" PostHistoryTypeId="5" PostId="29714" RevisionGUID="c8342c31-8a45-48d2-a24f-8d5b03945a46" CreationDate="2014-06-27T18:06:41.993" UserId="7174" Comment="deleted 144 characters in body" Text="I'd argue that &quot;need&quot; is a slightly strong term, but it is worth noting that there are only two volume knobs on the SD-744t which could potentially be limiting.  While you don't need to mix between the tracks on the fly, it may be necessary to make adjustments on the recording levels themselves to ensure consistent recording level and quality.&#xD;&#xA;&#xD;&#xA;You can always adjust balance later, but what you can't do later is move the noise floor or the max signal level if the audio gets either too quiet or too loud.  Inserting a field mixer before the recorder allows for adjustment of recording levels on the fly to ensure that you get maximum quality.&#xD;&#xA;&#xD;&#xA;If you are just going to configure it before hand and let it run, a mixer should likely be unnecessary as you won't be making any adjustments anyway, but it can be valuable to have if you either want to be able to monitor and adjust recording levels live during recording or want to be able use more than one audio source per recording channel." ContentLicense="CC BY-SA 3.0" />
  <row Id="55145" PostHistoryTypeId="2" PostId="29719" RevisionGUID="be904531-ede7-4571-99a5-731d5a1a3d73" CreationDate="2014-06-27T18:31:29.423" UserId="9480" Text="Is it possible with the Tascam DR-40 or DR-100MKII, to record into multiple tracks from different inputs? So, if I connect 2 mics, the other sending the sound into different file." ContentLicense="CC BY-SA 3.0" />
  <row Id="55146" PostHistoryTypeId="1" PostId="29719" RevisionGUID="be904531-ede7-4571-99a5-731d5a1a3d73" CreationDate="2014-06-27T18:31:29.423" UserId="9480" Text="Tascam DR-40 and DR-100MKII - Record into multiple files" ContentLicense="CC BY-SA 3.0" />
  <row Id="55147" PostHistoryTypeId="3" PostId="29719" RevisionGUID="be904531-ede7-4571-99a5-731d5a1a3d73" CreationDate="2014-06-27T18:31:29.423" UserId="9480" Text="&lt;tascam&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55149" PostHistoryTypeId="2" PostId="29720" RevisionGUID="5ea2239d-bab9-46fa-ab9c-bd1a66e80dfb" CreationDate="2014-06-27T18:56:03.763" UserId="9479" Text="https://www.youtube.com/watch?v=8R2edW-oc6o&#xD;&#xA;1:25&#xD;&#xA;How can I get that amazing sound?&#xD;&#xA;Please I need help!&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="55150" PostHistoryTypeId="1" PostId="29720" RevisionGUID="5ea2239d-bab9-46fa-ab9c-bd1a66e80dfb" CreationDate="2014-06-27T18:56:03.763" UserId="9479" Text="Violin melody (Vicetone-Tremble)" ContentLicense="CC BY-SA 3.0" />
  <row Id="55151" PostHistoryTypeId="3" PostId="29720" RevisionGUID="5ea2239d-bab9-46fa-ab9c-bd1a66e80dfb" CreationDate="2014-06-27T18:56:03.763" UserId="9479" Text="&lt;design&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55152" PostHistoryTypeId="2" PostId="29721" RevisionGUID="1e431c73-2a40-4a16-ac32-006849478ca1" CreationDate="2014-06-27T19:37:16.483" UserId="1185" Text="In FM8 set your operator ratio to zero and then specify a fixed offset frequency of the required frequency.  If in doubt look in the manual how to do this.&#xD;&#xA;&#xD;&#xA;You can probably do your MIDI filter in Reaper, but it is not software I use so I can't be sure." ContentLicense="CC BY-SA 3.0" />
  <row Id="55154" PostHistoryTypeId="2" PostId="29723" RevisionGUID="2f2f9cf6-047f-42b7-be44-205d0bbbf020" CreationDate="2014-06-27T21:21:21.807" UserId="6425" Text="Buy some orchestral sound sampler and learn some basic music theory ....." ContentLicense="CC BY-SA 3.0" />
  <row Id="55156" PostHistoryTypeId="10" PostId="29720" RevisionGUID="43beb146-41b6-45e9-bf5f-05cc999a9b04" CreationDate="2014-06-27T23:03:24.080" UserId="7174" Comment="103" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="55157" PostHistoryTypeId="2" PostId="29724" RevisionGUID="41c168a0-4085-4758-95f1-f34acb44d05e" CreationDate="2014-06-27T23:24:35.020" UserId="6432" Text="A bit of a late addition here, but the new Max URL object is designed to do exactly this.&#xD;&#xA;&#xD;&#xA;An example:&#xD;&#xA;&#xD;&#xA;[http://cycling74.com/wiki/index.php?title=MaxURL_Weather_Report][1]&#xD;&#xA;&#xD;&#xA;If you're still on your quest this should make your job a lot easier! Depending on what data you want to use you may not even need to learn another language.&#xD;&#xA;&#xD;&#xA;  [1]: http://cycling74.com/wiki/index.php?title=MaxURL_Weather_Report" ContentLicense="CC BY-SA 3.0" />
  <row Id="55158" PostHistoryTypeId="2" PostId="29725" RevisionGUID="d6ea98f7-0d5a-4195-bef7-dc8f2095788b" CreationDate="2014-06-28T02:01:29.127" UserId="9483" Text="Has anyone found a work around  for using Pro-tools-9 with Maverick? If not what is the best way to go back to Mountain Lion?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55159" PostHistoryTypeId="1" PostId="29725" RevisionGUID="d6ea98f7-0d5a-4195-bef7-dc8f2095788b" CreationDate="2014-06-28T02:01:29.127" UserId="9483" Text="Mavericks and pro tools 9" ContentLicense="CC BY-SA 3.0" />
  <row Id="55160" PostHistoryTypeId="3" PostId="29725" RevisionGUID="d6ea98f7-0d5a-4195-bef7-dc8f2095788b" CreationDate="2014-06-28T02:01:29.127" UserId="9483" Text="&lt;pro-tools-9&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55161" PostHistoryTypeId="2" PostId="29726" RevisionGUID="0ac5a951-12a1-4a24-8fe7-e0b85ce30565" CreationDate="2014-06-28T03:44:31.660" UserId="6445" Text="If you  can get access to mac just use Qlab! It works great and for stereo playback, which I'm guessing is what you're looking for, it's totally free..." ContentLicense="CC BY-SA 3.0" />
  <row Id="55162" PostHistoryTypeId="5" PostId="29720" RevisionGUID="c5d3b85e-4de7-49b0-8e96-e3e22bb4ca15" CreationDate="2014-06-28T09:25:25.617" UserId="9479" Comment="added 52 characters in body" Text="https://www.youtube.com/watch?v=8R2edW-oc6o&#xD;&#xA;1:25&#xD;&#xA;How can I get that amazing sound?&#xD;&#xA;I mean, what software do I need? Nexus, Sylenth..?&#xD;&#xA;Please I need help!&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="55166" PostHistoryTypeId="2" PostId="29728" RevisionGUID="5cf536cd-5355-4616-9148-396a84784fc0" CreationDate="2014-06-28T12:11:52.107" UserDisplayName="user80" Text="Macworld wrote an excellent article about how to revert to an older OS.&#xD;&#xA;&#xD;&#xA;http://www.macworld.co.uk/how-to/mac-software/downgrade-mavericks-mountain-lion-3494785/&#xD;&#xA;&#xD;&#xA;For as long as you stick with PT 9.05 try and keep the same OS, which in this case should ideally be 10.7.x (Lion)&#xD;&#xA;&#xD;&#xA;http://avid.force.com/pkb/articles/en_US/compatibility/en352429?popup=true&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55167" PostHistoryTypeId="2" PostId="29729" RevisionGUID="d602f498-80a1-4e03-b206-ca7486736386" CreationDate="2014-06-28T12:16:06.457" UserDisplayName="user80" Text="There is no need for a mixer if you are only recording two channels, you will only be adding a small amount of noise.  If you want to use all of the tracks concurrently, then you really will need a mixer." ContentLicense="CC BY-SA 3.0" />
  <row Id="55174" PostHistoryTypeId="2" PostId="29731" RevisionGUID="1bd56828-904e-4c12-9a28-740a373e4337" CreationDate="2014-06-28T20:48:29.360" UserId="1216" Text="Mavericks and 9 run fine. Just be sure to back  up and update your audio drivers if they're from avid." ContentLicense="CC BY-SA 3.0" />
  <row Id="55178" PostHistoryTypeId="2" PostId="29732" RevisionGUID="5c03ee1b-9839-4e94-b114-b3a2ee718199" CreationDate="2014-06-29T07:02:24.817" UserId="6625" Text="Im looking for a software, which could make a professional sound script, or i could make notes just for myself with short cuts&#xD;&#xA;for example: false take, airplane, noise take etc... i don't want to type in excel all the time. &#xD;&#xA;Is this software exist?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55179" PostHistoryTypeId="1" PostId="29732" RevisionGUID="5c03ee1b-9839-4e94-b114-b3a2ee718199" CreationDate="2014-06-29T07:02:24.817" UserId="6625" Text="make sound script with iPhone on the location" ContentLicense="CC BY-SA 3.0" />
  <row Id="55180" PostHistoryTypeId="3" PostId="29732" RevisionGUID="5c03ee1b-9839-4e94-b114-b3a2ee718199" CreationDate="2014-06-29T07:02:24.817" UserId="6625" Text="&lt;workflow&gt;&lt;location-recording&gt;&lt;location-audio&gt;&lt;location-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55183" PostHistoryTypeId="5" PostId="29732" RevisionGUID="22b18fb1-79df-4a16-8a12-0205ecb118ac" CreationDate="2014-06-29T14:30:07.563" UserId="7174" Comment="clean up question" Text="I'm looking for software that can make a professional sound script  and/or could be used to take notes just for myself with short cuts.  &#xD;&#xA;&#xD;&#xA;For example: false take, airplane, noise take etc... &#xD;&#xA;&#xD;&#xA;I don't want to type in excel all the time. Does software like this exist?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55184" PostHistoryTypeId="4" PostId="29732" RevisionGUID="22b18fb1-79df-4a16-8a12-0205ecb118ac" CreationDate="2014-06-29T14:30:07.563" UserId="7174" Comment="clean up question" Text="iPhone application for making notes about sound script when on location" ContentLicense="CC BY-SA 3.0" />
  <row Id="55185" PostHistoryTypeId="6" PostId="29732" RevisionGUID="22b18fb1-79df-4a16-8a12-0205ecb118ac" CreationDate="2014-06-29T14:30:07.563" UserId="7174" Comment="clean up question" Text="&lt;workflow&gt;&lt;recommendations&gt;&lt;location-recording&gt;&lt;location-audio&gt;&lt;location-sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55187" PostHistoryTypeId="2" PostId="29734" RevisionGUID="ac24f3dc-391a-4ee8-96c1-f770f67c6c7c" CreationDate="2014-06-29T21:00:56.393" UserId="9453" Text="I currently have a Rode VideoMic and am looking to upgrade. I am currently looking at the Rode NTG-2 as I can plug it directly into my DSLR as it can power itself. However, after seeing reviews it seems that it is not much different audio quality wise from my VideoMic. I have around £250 to spend on audio so any recommendations would be good (looking specifically for a shotgun but lapel would do). Is the NTG-2 a good step up as nearly all people start off with VideoMic when starting audio but where do you go from there?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55188" PostHistoryTypeId="1" PostId="29734" RevisionGUID="ac24f3dc-391a-4ee8-96c1-f770f67c6c7c" CreationDate="2014-06-29T21:00:56.393" UserId="9453" Text="Rode VideoMic upgrade" ContentLicense="CC BY-SA 3.0" />
  <row Id="55189" PostHistoryTypeId="3" PostId="29734" RevisionGUID="ac24f3dc-391a-4ee8-96c1-f770f67c6c7c" CreationDate="2014-06-29T21:00:56.393" UserId="9453" Text="&lt;microphone&gt;&lt;upgrade&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55194" PostHistoryTypeId="2" PostId="29736" RevisionGUID="607d37be-e492-4fa6-b2a8-68b99c26b02d" CreationDate="2014-06-30T02:11:36.980" UserId="9468" Text="Is there a reasonable way to batch convert the bit depth of several audio files from 32 to 16?&#xD;&#xA;&#xD;&#xA;With Adobe Audition, I can open a file, then &quot;Save As...&quot; and change it to 16 bit. But I have hundreds of files now." ContentLicense="CC BY-SA 3.0" />
  <row Id="55195" PostHistoryTypeId="1" PostId="29736" RevisionGUID="607d37be-e492-4fa6-b2a8-68b99c26b02d" CreationDate="2014-06-30T02:11:36.980" UserId="9468" Text="Batch convert the bit depth of several audio files from 32 to 16" ContentLicense="CC BY-SA 3.0" />
  <row Id="55196" PostHistoryTypeId="3" PostId="29736" RevisionGUID="607d37be-e492-4fa6-b2a8-68b99c26b02d" CreationDate="2014-06-30T02:11:36.980" UserId="9468" Text="&lt;bit-depth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55197" PostHistoryTypeId="2" PostId="29737" RevisionGUID="aa29e713-9f59-4378-b172-badb5d42cc04" CreationDate="2014-06-30T08:24:59.557" UserId="6429" Text="In Adobe Audition there's a built-in batch processor: Edit &gt; Batch Process" ContentLicense="CC BY-SA 3.0" />
  <row Id="55199" PostHistoryTypeId="2" PostId="29739" RevisionGUID="fbb1bbf4-71b8-4f86-82bf-9b589a8fed0c" CreationDate="2014-06-30T08:30:37.007" UserId="3346" Text="I find my video mic more suitable as the ntg 2. the ntg 2 has less output and is more noisy. Uf you want to upgrade buy the ntg3 and a seperate mixer/recorder an sync afterwards with plural eyes. " ContentLicense="CC BY-SA 3.0" />
  <row Id="55203" PostHistoryTypeId="2" PostId="29741" RevisionGUID="7a8f0589-c74a-478b-8cdb-68198a1adcdf" CreationDate="2014-06-30T14:02:22.750" UserId="8205" Text="It's been a while that I have this question : Is there anybody who knows how the sound of the Sonic Gun in MINORITY REPORT has been done ? &#xD;&#xA;&#xD;&#xA;I can't find how it's been done, and I've always wondered how to create a sonic gun so if someone has an idea don't hesitate ! &#xD;&#xA;&#xD;&#xA;Here the clip of what the sound's like &#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=2VpLRpcL9CAMi" ContentLicense="CC BY-SA 3.0" />
  <row Id="55204" PostHistoryTypeId="1" PostId="29741" RevisionGUID="7a8f0589-c74a-478b-8cdb-68198a1adcdf" CreationDate="2014-06-30T14:02:22.750" UserId="8205" Text="Minority Report Sonic Gun" ContentLicense="CC BY-SA 3.0" />
  <row Id="55205" PostHistoryTypeId="3" PostId="29741" RevisionGUID="7a8f0589-c74a-478b-8cdb-68198a1adcdf" CreationDate="2014-06-30T14:02:22.750" UserId="8205" Text="&lt;shotgun&gt;&lt;sonic&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55206" PostHistoryTypeId="5" PostId="29741" RevisionGUID="2fd0884b-0f89-41c7-9f79-a8656ffd319a" CreationDate="2014-06-30T14:57:58.537" UserId="6387" Comment="deleted 1 character in body" Text="It's been a while that I have this question : Is there anybody who knows how the sound of the Sonic Gun in MINORITY REPORT has been done ? &#xD;&#xA;&#xD;&#xA;I can't find how it's been done, and I've always wondered how to create a sonic gun so if someone has an idea don't hesitate ! &#xD;&#xA;&#xD;&#xA;Here the clip of what the sound's like &#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=2VpLRpcL9CAMi" ContentLicense="CC BY-SA 3.0" />
  <row Id="55211" PostHistoryTypeId="2" PostId="29742" RevisionGUID="7555b37d-78c1-4b61-acf9-4952d54e9a88" CreationDate="2014-06-30T15:27:21.640" UserId="8205" Text="I don't know if this is what you really looking for, but Sound Devices made app for I-phone &#xD;&#xA; &quot;CL WIFI&quot; in witch you can make sound report, and manage your metadata. But like I said it's for Sound Devices" ContentLicense="CC BY-SA 3.0" />
  <row Id="55212" PostHistoryTypeId="2" PostId="29743" RevisionGUID="0b3c2f36-c8fc-4bf4-bb16-bcee63147ad9" CreationDate="2014-06-30T15:36:13.367" UserId="7174" Text="If you really want to up your game audio quality wise, you need to move in to dedicated recorders, or at least a pre-amp or mixer that you feed in to the camera.  This will allow you to use real, good quality professional microphones and greatly improve your sound quality over having to work around the constraints of the mic jack on your DSLR.&#xD;&#xA;&#xD;&#xA;Personally, I use a Zoom H4n and record directly to that, but there are also people who take the line output from there and feed it in to the camera's input after going through the necessary pads." ContentLicense="CC BY-SA 3.0" />
  <row Id="55217" PostHistoryTypeId="2" PostId="29746" RevisionGUID="25e8ac5a-eb39-49b0-9d5d-411ad22886fe" CreationDate="2014-06-30T16:44:07.337" UserId="6625" Text="heres is the solution! thats what i wanted.&#xD;&#xA;https://itunes.apple.com/us/app/sound-report-writer/id492004803?mt=8" ContentLicense="CC BY-SA 3.0" />
  <row Id="55219" PostHistoryTypeId="2" PostId="29747" RevisionGUID="8dd344d9-f989-4cdc-baf6-5cf5ec617bb7" CreationDate="2014-06-30T19:55:53.720" UserId="9496" Text="I have a stereo track of someone alternating between screaming and whispering. When he whispers, the left channel sounds great. When he screams, it peaks, but then the right channel sounds great.&#xD;&#xA;&#xD;&#xA;Is there any way of turning it into a mono track, automatically using the correct channel at all times? So whenever he screams, Audition will use the left channel. Whenever he whispers, it will use the right channel.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55220" PostHistoryTypeId="1" PostId="29747" RevisionGUID="8dd344d9-f989-4cdc-baf6-5cf5ec617bb7" CreationDate="2014-06-30T19:55:53.720" UserId="9496" Text="Turning a stereo track that peaks in one channel, into a mono track that doesn't (Adobe Audition)" ContentLicense="CC BY-SA 3.0" />
  <row Id="55221" PostHistoryTypeId="3" PostId="29747" RevisionGUID="8dd344d9-f989-4cdc-baf6-5cf5ec617bb7" CreationDate="2014-06-30T19:55:53.720" UserId="9496" Text="&lt;stereo&gt;&lt;adobe&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55222" PostHistoryTypeId="2" PostId="29748" RevisionGUID="a211c7e8-c460-44f6-ab13-8ad62cca01c1" CreationDate="2014-06-30T22:06:28.947" UserId="6432" Text="You can use the channel mixer (in effects &gt; amplitude and compression) to get two mono files, one left and one right. Then you can do a mix in the multitrack view using volume automation to level each out. Pan if you like or mix down to mono." ContentLicense="CC BY-SA 3.0" />
  <row Id="55225" PostHistoryTypeId="5" PostId="29748" RevisionGUID="c5d14dfe-eb2e-42de-a004-8199f2d36ded" CreationDate="2014-06-30T23:45:12.100" UserId="6432" Comment="more specific to question" Text="Nothing which is going to do it for you, but it's not complicated to mix it up yourself. You can use the channel mixer (in effects &gt; amplitude and compression) to get two mono files, one left and one right. Then you can do a mix in the multi-track view using volume automation to level each out. Pan if you like or mix down to mono." ContentLicense="CC BY-SA 3.0" />
  <row Id="55226" PostHistoryTypeId="2" PostId="29749" RevisionGUID="ee81f154-914f-4cd4-a377-d53567734197" CreationDate="2014-07-01T02:01:47.987" UserId="9499" Text="![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/JFYxF.jpg&#xD;&#xA;Hey guys, i am missing the part where the gain and all those other 8 parameters are. Do you know why and how i can open it? &#xD;&#xA;See screen shot for explanation. Greatly appreciated. " ContentLicense="CC BY-SA 3.0" />
  <row Id="55227" PostHistoryTypeId="1" PostId="29749" RevisionGUID="ee81f154-914f-4cd4-a377-d53567734197" CreationDate="2014-07-01T02:01:47.987" UserId="9499" Text="Missing parameters in my rack Ableton Live" ContentLicense="CC BY-SA 3.0" />
  <row Id="55228" PostHistoryTypeId="3" PostId="29749" RevisionGUID="ee81f154-914f-4cd4-a377-d53567734197" CreationDate="2014-07-01T02:01:47.987" UserId="9499" Text="&lt;sound-effects&gt;&lt;ableton-live&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55229" PostHistoryTypeId="2" PostId="29750" RevisionGUID="ed84f6ff-7874-477c-8b4e-8c7bdbdf5845" CreationDate="2014-07-01T05:17:50.453" UserId="9497" Text="Does anyone have information on the origin of the traditional Hollywood suppressed gunshot sound that sounds roughly like a punchy whistle, or &quot;pteew!&quot;?&#xD;&#xA;&#xD;&#xA;Nobody who shoots modern suppressors has ever heard anything like it, with one notable and inexplicable exception that was caught by luck during a long amateur recording of silencer shots at a distance, and which sparked [this thread on a silencer industry forum](http://www.silencertalk.com/forum/viewtopic.php?f=2&amp;t=95844).&#xD;&#xA;&#xD;&#xA;I have theorized that the traditional sound may have originated with older-style wipe-and-grease suppressors, but those aren't readily available for testing in the U.S." ContentLicense="CC BY-SA 3.0" />
  <row Id="55230" PostHistoryTypeId="1" PostId="29750" RevisionGUID="ed84f6ff-7874-477c-8b4e-8c7bdbdf5845" CreationDate="2014-07-01T05:17:50.453" UserId="9497" Text="Origin of the traditional Hollywood silencer sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55231" PostHistoryTypeId="3" PostId="29750" RevisionGUID="ed84f6ff-7874-477c-8b4e-8c7bdbdf5845" CreationDate="2014-07-01T05:17:50.453" UserId="9497" Text="&lt;gunshot&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55232" PostHistoryTypeId="2" PostId="29751" RevisionGUID="7f497ce7-c2ae-45cc-b39c-197ab69715c3" CreationDate="2014-07-01T05:24:17.677" UserId="8201" Text="Just link the pan of the stereo channel to the level of left channel before mixing down to a mono one. Try turning it a bit so that when left level is not to high, the pan stays at left, and when it gets peaked/clipped, the pan drives to the right.&#xD;&#xA;&#xD;&#xA;That would sound more natural and smooth than suddenly switching channels at times.&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;An example.&#xD;&#xA;&#xD;&#xA;FL studio: create a LFO controller (I don't quite remember the name) in the mixer, turn off mute, turn off LFO. Then link peak to the pan knob." ContentLicense="CC BY-SA 3.0" />
  <row Id="55235" PostHistoryTypeId="2" PostId="29752" RevisionGUID="c6b06f10-3512-4a87-886b-e82dded324d3" CreationDate="2014-07-01T09:20:57.317" UserId="7401" Text="I think the closest effect to use is the so called &quot;Frequency Shift&quot;, that mean moving each armonic of the input signal of a certain amount. Different from the Pitch shift that per contrary mantains the armonic relationship. Adding some noise and distorsion can better simulate the radio effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="55236" PostHistoryTypeId="2" PostId="29753" RevisionGUID="b3387559-c995-462f-a16e-9b72f9ca2398" CreationDate="2014-07-01T10:51:08.297" UserId="6874" Text="In the top picture, you have a simpler &gt; inside an instrument rack &gt; inside a drum rack.&#xD;&#xA;In the bottom picture you have a simpler &gt; inside a drum rack...  If you select this simpler and hit cmd-g you'll group it into an instrument rack and you'll be able to access this layer of macros.&#xD;&#xA;J." ContentLicense="CC BY-SA 3.0" />
  <row Id="55238" PostHistoryTypeId="2" PostId="29754" RevisionGUID="ca5918ca-6c04-407d-880e-e2f1089ed3fb" CreationDate="2014-07-01T18:00:20.377" UserId="9502" Text="so I imported some old Midi files into Logic and the volume/panning automation was still intact, however I couldn't override or disable it. &#xD;&#xA;&#xD;&#xA;I hit the 'show automation' button and select 'write' on each track. Then I set the levels to 0 and hit play and the old panning/automation is still occurring in the background completely ignoring the new settings. &#xD;&#xA;&#xD;&#xA;Is this an issue with the midi file? Or am I missing something?&#xD;&#xA;&#xD;&#xA;If this is still unclear, I could make a quick screen cast showing the exact steps i'm taking." ContentLicense="CC BY-SA 3.0" />
  <row Id="55239" PostHistoryTypeId="1" PostId="29754" RevisionGUID="ca5918ca-6c04-407d-880e-e2f1089ed3fb" CreationDate="2014-07-01T18:00:20.377" UserId="9502" Text="Logic Pro X Automation from Midi file cannot be undone" ContentLicense="CC BY-SA 3.0" />
  <row Id="55240" PostHistoryTypeId="3" PostId="29754" RevisionGUID="ca5918ca-6c04-407d-880e-e2f1089ed3fb" CreationDate="2014-07-01T18:00:20.377" UserId="9502" Text="&lt;logic-pro&gt;&lt;automation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55241" PostHistoryTypeId="5" PostId="29750" RevisionGUID="1983ac23-80d0-4f20-bbdb-fde16b706ea2" CreationDate="2014-07-02T00:00:00.047" UserId="9497" Comment="deleted 6 characters in body" Text="Does anyone have information on the origin of the traditional Hollywood suppressed gunshot that sounds roughly like a punchy whistle, or &quot;pteew!&quot;?&#xD;&#xA;&#xD;&#xA;Nobody who shoots modern suppressors has ever heard anything like it, with one notable and inexplicable exception that was caught by luck during a long amateur recording of silencer shots at a distance, and which sparked [this thread on a silencer industry forum](http://www.silencertalk.com/forum/viewtopic.php?f=2&amp;t=95844).&#xD;&#xA;&#xD;&#xA;I have theorized that the traditional sound may have originated with older-style wipe-and-grease suppressors, but those aren't readily available for testing in the U.S." ContentLicense="CC BY-SA 3.0" />
  <row Id="55245" PostHistoryTypeId="2" PostId="29757" RevisionGUID="6ee471f7-b7dd-44b5-8a3c-6dcb40f1f0b6" CreationDate="2014-07-02T10:09:56.280" UserId="6663" Text="I've finished a mix for a feature film and now they want an M+E and a Dialogue stem, i guess for dubbing? It wasn't in the original deal for me to supply them with this but what I've supplied they have failed.&#xD;&#xA;&#xD;&#xA;I've left any production/sync sound effects caught on takes on my sync/dialogue tracks, it seems they want me to cut these up and move them to the M+E... is this a usual procedure? &#xD;&#xA;&#xD;&#xA;It's little things such as light footsteps, rustle a door opening etc. I haven't layered anything beneath on everything effect as it wasn't needed everywhere.&#xD;&#xA;&#xD;&#xA;Can I argue this or do I need to painstakingly go through the whole film and do this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55246" PostHistoryTypeId="1" PostId="29757" RevisionGUID="6ee471f7-b7dd-44b5-8a3c-6dcb40f1f0b6" CreationDate="2014-07-02T10:09:56.280" UserId="6663" Text="International mixes" ContentLicense="CC BY-SA 3.0" />
  <row Id="55247" PostHistoryTypeId="3" PostId="29757" RevisionGUID="6ee471f7-b7dd-44b5-8a3c-6dcb40f1f0b6" CreationDate="2014-07-02T10:09:56.280" UserId="6663" Text="&lt;stems&gt;&lt;feature&gt;&lt;international&gt;&lt;me&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55251" PostHistoryTypeId="5" PostId="29750" RevisionGUID="b25e087f-8571-44a5-937c-1e7e4d2f3fa1" CreationDate="2014-07-02T15:46:13.627" UserId="9497" Comment="Background info added" Text="Does anyone have information on the origin of the traditional Hollywood suppressed gunshot that sounds roughly like a punchy whistle, or &quot;pteew!&quot;?&#xD;&#xA;&#xD;&#xA;Nobody who shoots modern suppressors has ever heard anything like it, with one notable and inexplicable exception that was caught by luck during a long amateur recording of silencer shots at a distance, and which sparked [this thread on a silencer industry forum](http://www.silencertalk.com/forum/viewtopic.php?f=2&amp;t=95844).&#xD;&#xA;&#xD;&#xA;I have theorized that the traditional sound may have originated with older-style wipe-and-grease suppressors, but those aren't readily available for testing in the U.S.&#xD;&#xA;&#xD;&#xA;(I have also theorized that some guns modified to shoot blanks may produce a sound like the classic whistle.  I'm checking with some armorers on this conjecture to see if any have heard of that.)&#xD;&#xA;&#xD;&#xA;**Core question**: Was the sound just made up out of thin air, or did it have a basis in something that would have been heard on set or with old-style suppressors?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Updated background**: Modern suppressors are durable and employ metal baffles that can be run &quot;dry.&quot;  Earlier designs required &quot;ablative media&quot; like lithium grease to effectively absorb sound pressure.  (A suppressor using a liquid medium is termed &quot;wet.&quot;)  A few generations ago the NFA tax made suppressors prohibitively expensive for civilians, and so they were only used by government agencies and outlaws.  Durability was not a concern to entities who didn't have to pay $200 to make or transfer each silencer, and so instead of metal baffles formal suppressors used a generally more compact design consisting of a series of &quot;wipes,&quot; which are elastomeric curtains through which the bullet passes, along with substantial amounts of grease.  A wipe suppressor may only last for as few as a dozen shots before the wipes are too shreaded to effectively contain the grease and sound pressure, but they are very effective for those few shots.  Because of the way the ATF regulates suppressors these days only a licensed manufacturer could afford to even toy with such designs, and because baffle technology has come so far I don't know of any that do.&#xD;&#xA;&#xD;&#xA;My theory being: when Hollywood first featured suppressors they were almost certainly wipe-based.  Few people today know what those sound like, but they do know that modern suppressors don't sound like the traditional Hollywood sound.  But maybe somebody knows whether recordings of old suppressors were the source of that sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55252" PostHistoryTypeId="2" PostId="29758" RevisionGUID="e409edc6-a6da-457e-9951-42b0d46a20d7" CreationDate="2014-07-02T16:07:06.700" UserId="6425" Text="Deliver the best sound you can get!! &#xD;&#xA;&#xD;&#xA;But also informe that there is different audio material. I would prepare the Lav for the Editor and bounce out the shotgun parts in stems that start at the begin of the timecode of the project. So then he can use them if he needs more armo.&#xD;&#xA;&#xD;&#xA;Also something that makes me happy if i get a ful prepaired atmo track for the duration of the Video.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55253" PostHistoryTypeId="2" PostId="29759" RevisionGUID="72a8da63-f938-4770-84a5-90e32ae34e66" CreationDate="2014-07-02T16:38:09.523" UserId="6600" Text="I was reading a similar topic on a silencer forum and apparently listening downrange from a silenced weapon can sometimes produce a very similar sound as is demonstrated in this video http://youtu.be/cnU8o53z-WE?t=12m56s&#xD;&#xA;&#xD;&#xA;Whether this is the original inspiration for the Hollywood silencer I don't know, but might make sense if they placed mics at a downrange position.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55254" PostHistoryTypeId="2" PostId="29760" RevisionGUID="adec6e70-5584-45e8-9fb6-cc056f2ac2cb" CreationDate="2014-07-02T17:10:09.757" UserId="6399" Text="Thats a pretty common delivery for any film short or feature length that is being distributed.  Hopefully you agreed upon some sort of delivery requirement in your contract with your client.  Completely doing an M &amp; E after the fact can be a lot of work.  Was it expressed beforehand that they need this as a delivery requirement?  If they do need an M&amp;E and you agree to do it you will need to move those sounds off of the dialog track and probably add foley and library fx as well." ContentLicense="CC BY-SA 3.0" />
  <row Id="55255" PostHistoryTypeId="5" PostId="29758" RevisionGUID="9b5a816c-8d68-40c4-8af3-c24ec8ca80c2" CreationDate="2014-07-02T21:11:40.677" UserId="6425" Comment="added 10 characters in body" Text="Deliver the best sound you can get!! &#xD;&#xA;&#xD;&#xA;But also inform that there is different audio material. I would prepare the Lav for the Editor and bounce out the shotgun parts in stems that start at the begin of the timecode of the project. So then he can use them if he needs more atmo.&#xD;&#xA;&#xD;&#xA;Also something that makes me happy is when i get a full prepaired atmo track for the full duration of the Video.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55256" PostHistoryTypeId="2" PostId="29761" RevisionGUID="af0430a0-5401-4b0e-aa1e-2deb89824fed" CreationDate="2014-07-02T22:00:35.717" UserDisplayName="user7731" Text="Yea I'm not privy to what your arrangement was at the start of the project but what they are needing now is standard for film deliveries with distribution.  The PFX (production sounds from dialog track) need to be pulled down out of the dialog so that the M&amp;E is complete. When they dub it in another language and drop the dialog track, the mix would otherwise be missing all that nat sound.  If there are overlaps with dialog, you need to foley cover it so again, the M&amp;E stands complete except for dialog.  &#xD;&#xA;&#xD;&#xA;If it wasn't considered in the original estimate, you should probably be seeking more money to complete the additional tasks but more importantly you should use it as a learning experience to better your process in mixing feature films that seek distribution. Your client needs this done in order to meet spec, so they have little choice but to work it out with you to get it done, or hire someone else to do it (happens all the time)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="55257" PostHistoryTypeId="2" PostId="29762" RevisionGUID="44d1c0a7-971c-418a-a086-806a1c0c5f98" CreationDate="2014-07-02T23:56:28.623" UserId="7856" Text="The batch processing feature of GoldWave will do the trick.&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/AOWzP.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="55258" PostHistoryTypeId="5" PostId="29751" RevisionGUID="7929f0e7-ddda-406f-b07f-3f2036d7c730" CreationDate="2014-07-03T03:04:02.660" UserId="8201" Comment="added 559 characters in body" Text="Just link the pan of the stereo channel to the level of left channel before mixing down to a mono one. Try turning it a bit so that when left level is not to high, the pan stays at left, and when it gets peaked/clipped, the pan drives to the right.&#xD;&#xA;&#xD;&#xA;That would sound more natural and smooth than suddenly switching channels at times.&#xD;&#xA;&#xD;&#xA;EDIT:&#xD;&#xA;An example.&#xD;&#xA;&#xD;&#xA;FL studio: create a LFO controller (I don't quite remember the name) in the mixer, turn off mute, turn off LFO. Then link peak to the pan knob.&#xD;&#xA;&#xD;&#xA;EDIT2:&#xD;&#xA;@Paolo, if it doesn't work in Adobe Audition (yeah I know that CoolEdit doesn't do that much :-D), please try this:&#xD;&#xA;&#xD;&#xA;1. Split the stereo channel into two mono channels, say left.wav and right.wav&#xD;&#xA;2. Remove the stereo track from your project, add the two mono tracks&#xD;&#xA;3. Add a compressor for each of them&#xD;&#xA;4. Set 'Attack' to a high level, so that when the volume suddenly raises, the compressor 'punishes' it, hard. :-DDD&#xD;&#xA;5. You can also tweak the type (soft or hard) and the threshold for each of them to discover the ideal sound you want.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55259" PostHistoryTypeId="2" PostId="29763" RevisionGUID="3194155a-6d7f-4d2a-95f5-1f1e7bdbd135" CreationDate="2014-07-03T06:42:37.077" UserId="9508" Text="investigating for a pair of miniature omnis I came across the Naiant X-X.&#xD;&#xA;Did somebody ever had a chance to test or even compare them against the much more expensive Rode Lavalier or DPA 4060?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55260" PostHistoryTypeId="1" PostId="29763" RevisionGUID="3194155a-6d7f-4d2a-95f5-1f1e7bdbd135" CreationDate="2014-07-03T06:42:37.077" UserId="9508" Text="Naiant X-X omni miniature mics" ContentLicense="CC BY-SA 3.0" />
  <row Id="55261" PostHistoryTypeId="3" PostId="29763" RevisionGUID="3194155a-6d7f-4d2a-95f5-1f1e7bdbd135" CreationDate="2014-07-03T06:42:37.077" UserId="9508" Text="&lt;rode&gt;&lt;omni&gt;&lt;dpa&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55262" PostHistoryTypeId="2" PostId="29764" RevisionGUID="68a6dbfb-fc17-442c-ae1e-089ec43b3f48" CreationDate="2014-07-03T06:55:48.000" UserId="9508" Text="..&quot; I didn't get the gain, attack etc parameters to come up&quot;&#xD;&#xA;&#xD;&#xA;The parameters you are looking for must be assigned manually. I guess the nested Drum/Instrument/Simpler rack in the upper part of your picture is a factory preset." ContentLicense="CC BY-SA 3.0" />
  <row Id="55263" PostHistoryTypeId="2" PostId="29765" RevisionGUID="551f4a1c-353b-4e96-b8a3-1fc7a3e39ef1" CreationDate="2014-07-03T14:23:08.577" UserId="9497" Text="Are there sound archivists who would be interested in setting up field recordings of unique gunshots?  If so how might I go about finding them in my vicinity?&#xD;&#xA;&#xD;&#xA;I don't have serious recording equipment, but I do have access to an outdoor shooting venue and a wide array of guns, loads, and suppressors.  So, for example, I could stage subsonic and supersonic shots, suppressed and unsuppressed, going out as far as 500 yards, in a range of calibers; as well as impacts into different media and even some reliable ricochets.&#xD;&#xA;&#xD;&#xA;(This question inspired by an answer to http://sound.stackexchange.com/questions/29750/origin-of-the-traditional-hollywood-silencer-sound, where an amateur caught an interesting but low-fidelity sound.  There seems to be a lot of curiosity in doing a more controlled series with professional sound gear.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="55264" PostHistoryTypeId="1" PostId="29765" RevisionGUID="551f4a1c-353b-4e96-b8a3-1fc7a3e39ef1" CreationDate="2014-07-03T14:23:08.577" UserId="9497" Text="Finding Sound Archivists interested in collecting unique gunshots" ContentLicense="CC BY-SA 3.0" />
  <row Id="55265" PostHistoryTypeId="3" PostId="29765" RevisionGUID="551f4a1c-353b-4e96-b8a3-1fc7a3e39ef1" CreationDate="2014-07-03T14:23:08.577" UserId="9497" Text="&lt;field-recording&gt;&lt;sound-libraries&gt;&lt;gunshot&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55266" PostHistoryTypeId="2" PostId="29766" RevisionGUID="e9a7afa8-6531-47b8-a88b-a5c1be83f940" CreationDate="2014-07-03T15:37:18.470" UserId="6432" Text="This may be of more interest to sound recordists/designers than archivists. One consideration is the location you have available - most serious gunshot libraries are recorded in quiet open locations, especially to get nice distant recordings that are very useful. If you've got the guns though I' sure someone here is interested, and you would be sure to get some good stuff. Where are you based?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55267" PostHistoryTypeId="5" PostId="29765" RevisionGUID="3815eb00-9830-42b7-a287-04e9269788eb" CreationDate="2014-07-03T16:19:30.420" UserId="9497" Comment="Fixed title, noted location." Text="Are there sound archivists who would be interested in setting up field recordings of unique gunshots?  If so how might I go about finding them in my vicinity?&#xD;&#xA;&#xD;&#xA;I don't have serious recording equipment, but I do have access to an outdoor shooting venue in Lancaster, PA, and a wide array of guns, loads, and suppressors.  So, for example, I could stage subsonic and supersonic shots, suppressed and unsuppressed, going out as far as 500 yards, in a range of calibers; as well as impacts into different media and even some reliable ricochets.&#xD;&#xA;&#xD;&#xA;(This question inspired by an answer to http://sound.stackexchange.com/questions/29750/origin-of-the-traditional-hollywood-silencer-sound, where an amateur caught an interesting but low-fidelity sound.  There seems to be a lot of curiosity in doing a more controlled series with professional sound gear.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="55268" PostHistoryTypeId="4" PostId="29765" RevisionGUID="3815eb00-9830-42b7-a287-04e9269788eb" CreationDate="2014-07-03T16:19:30.420" UserId="9497" Comment="Fixed title, noted location." Text="Finding Sound Recordists interested in collecting unique gunshots" ContentLicense="CC BY-SA 3.0" />
  <row Id="55269" PostHistoryTypeId="2" PostId="29767" RevisionGUID="df4b94ee-06fd-4eb0-9190-540e5540628a" CreationDate="2014-07-03T16:48:28.593" UserId="6663" Text="I was silly enough not to throughly discuss it in the contract and renegotiating it. I'm currently upmixing it to 5.1, do you usually deliver an M&amp;E for 5.1? Also does the M&amp;E have to match the final original language mix? Because it's never going to match or sound too heavy in foley parts." ContentLicense="CC BY-SA 3.0" />
  <row Id="55275" PostHistoryTypeId="2" PostId="29769" RevisionGUID="6ffbfc6d-e32f-4034-b633-d6c7c4d0bab7" CreationDate="2014-07-05T19:07:30.337" UserId="9517" Text="Im a long time reader of pre Stack Exchange SSD and have to thank everyone for all the incredible knowledge they have shared on this forum, it truly enriches the community. I'm currently working on a film about a woman suffering from schizophrenia and was wondering if anyone had any more left field suggestions for films with interesting sound design depicting mental illness. So far I'm referencing: through a glass darkly, persona, revolution no 9 and any number of Aranofsky films, any other more stylised suggestions would be greatly appreciated! &#xD;&#xA;&#xD;&#xA;Many thanks in advanced &#xD;&#xA;&#xD;&#xA;Tom" ContentLicense="CC BY-SA 3.0" />
  <row Id="55276" PostHistoryTypeId="1" PostId="29769" RevisionGUID="6ffbfc6d-e32f-4034-b633-d6c7c4d0bab7" CreationDate="2014-07-05T19:07:30.337" UserId="9517" Text="Sound Design depicting mental illness in film" ContentLicense="CC BY-SA 3.0" />
  <row Id="55277" PostHistoryTypeId="3" PostId="29769" RevisionGUID="6ffbfc6d-e32f-4034-b633-d6c7c4d0bab7" CreationDate="2014-07-05T19:07:30.337" UserId="9517" Text="&lt;film&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55278" PostHistoryTypeId="2" PostId="29770" RevisionGUID="c28bf0fe-3c5f-44c1-893f-1971553fc8f5" CreationDate="2014-07-05T19:52:19.727" UserId="6432" Text="You should definitely check out Clean, Shaven and also possibly Keane by the same director." ContentLicense="CC BY-SA 3.0" />
  <row Id="55279" PostHistoryTypeId="2" PostId="29771" RevisionGUID="b61345ee-abee-45a4-8e0b-bc8cfcdff4f1" CreationDate="2014-07-05T20:00:45.680" UserId="9518" Text="You should watch Eraser Head, by David Lynch. It may not be specifically depicting his mental illness but it certainly sets a mood of mental weirdness between the characters and that strange baby creature. Most of it, comes from the eerie sound design in the ambience." ContentLicense="CC BY-SA 3.0" />
  <row Id="55280" PostHistoryTypeId="5" PostId="29770" RevisionGUID="3be03d0b-31a4-4642-b5c5-6a11f2986636" CreationDate="2014-07-05T22:01:05.627" UserId="6432" Comment="added 51 characters in body" Text="You should definitely check out Clean, Shaven and also possibly Keane by the same director.&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=6aInRjIwjpU&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55283" PostHistoryTypeId="2" PostId="29772" RevisionGUID="6b6bcd9c-0ace-436e-8167-b7978eaee4ea" CreationDate="2014-07-06T03:05:38.250" UserId="6445" Text="Does anyone know of sources for wallah\crowd librarys focused on African American \ AAVE (preferably southern) voices ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="55284" PostHistoryTypeId="1" PostId="29772" RevisionGUID="6b6bcd9c-0ace-436e-8167-b7978eaee4ea" CreationDate="2014-07-06T03:05:38.250" UserId="6445" Text="African American Walla" ContentLicense="CC BY-SA 3.0" />
  <row Id="55285" PostHistoryTypeId="3" PostId="29772" RevisionGUID="6b6bcd9c-0ace-436e-8167-b7978eaee4ea" CreationDate="2014-07-06T03:05:38.250" UserId="6445" Text="&lt;library&gt;&lt;sound-libraries&gt;&lt;crowd&gt;&lt;walla&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55286" PostHistoryTypeId="2" PostId="29773" RevisionGUID="0081b045-cb86-4458-b627-6143a7a17e72" CreationDate="2014-07-06T03:28:49.460" UserId="9519" Text="This might seem fuddy duddy, but you might also want to ask musical people who also have schizophrenia what kinds of sounds they think convey it accurately. Be careful with horror noises, it has a tendency to increase the implicit stigma of mental illness or otherwise continue to teach people that it's like panic or a drug trip. It's not." ContentLicense="CC BY-SA 3.0" />
  <row Id="55288" PostHistoryTypeId="2" PostId="29775" RevisionGUID="2eaf76ad-e748-4239-bb71-b6d9293e2085" CreationDate="2014-07-06T14:09:49.230" UserId="6940" Text="Since this is a MIDI file, any pan/voleme information in it would be in the forum of MIDI Control Change messages.  In many hosts that's a different thing from the kind of host-side track automation curves/channels that it sounds like you're looking at.&#xD;&#xA;Check the Event List  in Logic. (or whatever equivalent it has now)&#xD;&#xA;http://www.logic-users-group.com/forums/showthread.php?t=5815" ContentLicense="CC BY-SA 3.0" />
  <row Id="55293" PostHistoryTypeId="2" PostId="29776" RevisionGUID="27ed8ee6-907e-40f5-b468-0598bd011ef1" CreationDate="2014-07-06T17:25:23.087" UserId="9521" Text="Not much help, but I can confirm the problem. I set Live's track routing as described (correctly), but no dice. I can see the MIDI track meter light up showing that a signal is being received, yet Amplitube does not respond to the program change message.&#xD;&#xA;&#xD;&#xA;I've learned that Live throws out all MIDI channel information when it passes the MIDI on from the MIDI input track to the Audio track (or other MIDI track) containing the VST you want to control. So, keeping Amplitube set to listen/receive MIDI channel 1 is the way to go. You can still use the MIDI track input to filter out messages on a specific channel, but it will all look like channel 1 at the final destination. This seems like pretty stupid handling of the MIDI data.&#xD;&#xA;&#xD;&#xA;I'm working on setting up Live and Amplitube for live guitar playing with a SoftStep and BCR-2000. Basically want to use the SoftStep to switch presets and trigger Live's Looper and the BCR-2000 for tweaking the sounds on individual presets. It's been a huge pain so far - a great argument for dedicated hardware." ContentLicense="CC BY-SA 3.0" />
  <row Id="55294" PostHistoryTypeId="2" PostId="29777" RevisionGUID="b68190e4-26ed-4eb9-86da-56aad73622f7" CreationDate="2014-07-06T23:20:10.107" UserId="9521" Text="I might have an actual answer this time. Be sure you are doing a &quot;Save As&quot; a preset (not a patch) after assigning the program change number to your preset. This seems to have been the last piece I was missing in my setup for changing Amplitube presets within Ableton by sending MIDI program changes from the SoftStep pedal.&#xD;&#xA;&#xD;&#xA;As I mentioned before, you will also need to have Amplitube set to MIDI channel 1 in its global MIDI options because Live passes everything along on channel 1 regardless of which channel it came in on. For example, my MIDI track is set to listen on Channel 11 for the SoftStep and sends MIDI to Amplitube. It's all on channel 1 by the time Amplitube sees the MIDI." ContentLicense="CC BY-SA 3.0" />
  <row Id="55295" PostHistoryTypeId="2" PostId="29778" RevisionGUID="ea686d5e-458f-45be-bf0f-81da71faa46c" CreationDate="2014-07-06T23:43:23.857" UserId="8288" Text="Using [SoX](http://sox.sourceforge.net/) (Windows, Linux, Mac):&#xD;&#xA;&#xD;&#xA;    cd /where/your/wav/files/are/&#xD;&#xA;    for i in *.wav; do sox -S &quot;$i&quot; -b 32 converted/&quot;$i&quot;.wav; done" ContentLicense="CC BY-SA 3.0" />
  <row Id="55298" PostHistoryTypeId="2" PostId="29779" RevisionGUID="8151746a-4f05-4406-9475-761feb93bf5d" CreationDate="2014-07-07T07:21:57.333" UserId="6425" Text="I love compressor for this! You can even create Drag and drop areas to Speed up the process of file conversion!" ContentLicense="CC BY-SA 3.0" />
  <row Id="55299" PostHistoryTypeId="2" PostId="29780" RevisionGUID="db750cdd-eb5f-46d3-a8e7-46d22683e8e6" CreationDate="2014-07-07T07:28:11.643" UserId="6425" Text="Tunnels should have easy to calculate resonant frequencys so you could try helmholtz absobers." ContentLicense="CC BY-SA 3.0" />
  <row Id="55300" PostHistoryTypeId="2" PostId="29781" RevisionGUID="7e6696a5-78b4-4d5b-87cd-6a2ef9660564" CreationDate="2014-07-07T08:23:25.177" UserId="6874" Text="You should definitely watch Martha Marcy May Marlene, by Sean Durkin&#xD;&#xA;http://www.imdb.com/title/tt1441326/&#xD;&#xA;&#xD;&#xA;And, of course, Lars von Trier's movies." ContentLicense="CC BY-SA 3.0" />
  <row Id="55302" PostHistoryTypeId="2" PostId="29783" RevisionGUID="825042b0-08f6-48fa-b478-3d58acb299c1" CreationDate="2014-07-07T10:55:51.483" UserId="9526" Text="I've installed Pro Tools 9 to 2009 imac, 2010 MacBook Pro, 2008 MacPro and latest iMac. All running with Mavericks. Running nicely with no problems." ContentLicense="CC BY-SA 3.0" />
  <row Id="55303" PostHistoryTypeId="6" PostId="2626" RevisionGUID="47332d77-0f53-43b2-b048-710accec362f" CreationDate="2014-07-07T12:25:29.357" UserId="6957" Comment="edited tags" Text="&lt;files&gt;&lt;windows-7&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55306" PostHistoryTypeId="2" PostId="29784" RevisionGUID="bac936fc-068e-449e-8966-ac36db18f977" CreationDate="2014-07-08T00:30:16.737" UserId="9529" Text="Just wanted to pick some brains here regarding the best way to approach looping gun sounds.  It will be my first time working with loops for game audio as opposed to either granular or polyphonic systems and am trying to find the best way forwards in regards to taking source field recordings + additional design of bursts or mag-dumps and converting those into rounds-per-minute/ms per round accurate loops for weapons in-game. &#xD;&#xA;&#xD;&#xA;Pitching the entire loop obviously destroys the sound, although corrects the timing and cutting each segment of the burst or mag-dump then stitching back together quantized to, for example 100ms (for a 600rpm weapon) corrects the timing but loses the character and micro miss-timings of the original burst/dump recording and naturally only works going from lower rate of fire sources to higher rate of fire end product.  &#xD;&#xA;&#xD;&#xA;Does anybody have any good suggestions on how to conform my source recordings to the fire-rates required while still maintaining the original quality of the sound recorded and its inherent miss-timings during full-auto. &#xD;&#xA;&#xD;&#xA;Anyway many thanks for any tips or pointers on this topic. " ContentLicense="CC BY-SA 3.0" />
  <row Id="55307" PostHistoryTypeId="1" PostId="29784" RevisionGUID="bac936fc-068e-449e-8966-ac36db18f977" CreationDate="2014-07-08T00:30:16.737" UserId="9529" Text="Looping Gun Sounds Quantization" ContentLicense="CC BY-SA 3.0" />
  <row Id="55308" PostHistoryTypeId="3" PostId="29784" RevisionGUID="bac936fc-068e-449e-8966-ac36db18f977" CreationDate="2014-07-08T00:30:16.737" UserId="9529" Text="&lt;sound-design&gt;&lt;video-games&gt;&lt;game-audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="55312" PostHistoryTypeId="2" PostId="29786" RevisionGUID="25c3db2c-633b-4b1f-af50-1bfbc0a885e1" CreationDate="2014-07-08T06:39:17.533" UserId="6425" Text="Use Ableton! Then go to its inbuild granular synthesis of audio files and warp it with rythmical/transient algorithm. Check the transient marker and move them if needed. Then set the mode to --&gt;|. (Looks like two arrows in default). So every gunshot is now played once. Then you can pitch it without quanticing or loosing pitch.&#xD;&#xA;&#xD;&#xA;Other way is slice to Sampler and extract the groove template. Then you have Midi to work with.&#xD;&#xA;&#xD;&#xA;Hope this helps as a starter!&#xD;&#xA;Best,&#xD;&#xA;Tobi" ContentLicense="CC BY-SA 3.0" />
  <row Id="56329" PostHistoryTypeId="2" PostId="29793" RevisionGUID="1747b85a-b72f-49a4-9413-8706e8b41376" CreationDate="2014-07-10T10:13:36.013" UserId="9544" Text="I am new to field recording (being a musician and sound designer)and am looking to create a portable stereo recording rig to record sound effects and ambiences. So far i only recorded indoors. (except for some bad h4n experiments).&#xD;&#xA;&#xD;&#xA;I basically need to invest in a full rig and want it to be of very good quality from the get go to avoid having to upgrade soon. low noise and light weight.&#xD;&#xA;&#xD;&#xA;1.Low noise mics able to fit in a compact Rycote rig&#xD;&#xA;Question:Any suggestions for a compact and future-proof set of mics? Maybe go modular with the Schoeps system? I think i want to do mono and M/S recordings mostly.&#xD;&#xA;&#xD;&#xA;2.Recorder (either SD Mix-Pre + D50, or a 702)&#xD;&#xA;Question: Which option of the two above would you recommend? Or are there any alternatives in that price range that offer the same quality / durability but are more compact or lighter? I tend towards the 702 without the HDD to save weight, or maybe that is a bad idea?&#xD;&#xA;&#xD;&#xA;3.Rycote modular kit.&#xD;&#xA;I suppose thats the best way to go for pistol grip and wind protection, thinking that i may change to a different mic combination at some point?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Any suggestions would be very helpful.&#xD;&#xA;&#xD;&#xA;Thanks a lot!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56330" PostHistoryTypeId="1" PostId="29793" RevisionGUID="1747b85a-b72f-49a4-9413-8706e8b41376" CreationDate="2014-07-10T10:13:36.013" UserId="9544" Text="Compact high quality sound effects / ambience recording rig" ContentLicense="CC BY-SA 3.0" />
  <row Id="56331" PostHistoryTypeId="3" PostId="29793" RevisionGUID="1747b85a-b72f-49a4-9413-8706e8b41376" CreationDate="2014-07-10T10:13:36.013" UserId="9544" Text="&lt;recording&gt;&lt;gear&gt;&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56336" PostHistoryTypeId="19" PostId="28047" RevisionGUID="d4554bf5-bc14-4d90-a547-adb7930fa9c2" CreationDate="2014-07-10T13:33:01.330" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="56339" PostHistoryTypeId="2" PostId="29795" RevisionGUID="72b903a1-6a14-4a69-87fa-5b7fec4c66df" CreationDate="2014-07-10T14:28:53.247" UserId="9547" Text="Is this usb waterproof microphone could meet your needs? http://orelia.fr/en/security/mico-the-usb-waterproof-microphone-from-orelia.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="56340" PostHistoryTypeId="2" PostId="29796" RevisionGUID="442f14a1-715c-4a42-bf8f-7d9d3728c3b7" CreationDate="2014-07-10T17:22:26.560" UserId="194" Text="Ok, so for backpacking and biking, here are the component parts:&#xD;&#xA;&#xD;&#xA;recorder:&#xD;&#xA;SD 702 - quality sound, durable build, simple operation.  Its the heavier and bulkier of the viable options, but it won't ever fail you.&#xD;&#xA;&#xD;&#xA;SD mixpre + Sony PCM M10 - still quality sound, lighter and more compact, but also a little fiddlier since you're dealing with two devices that are tied together with a 3.5mm plug on either end.  Metering on the mixpre is good, but not as good as the 702.  You can get excellent results with this rig, but its more of a hassle to set up.&#xD;&#xA;&#xD;&#xA;mics:&#xD;&#xA;line audio CM3s wide cardioids - inexpensive, super tiny, sound great, low self noise but also require more preamp gain than other mics.  Not the most appropriate mics for quiet ambiences, but very good for everything else.&#xD;&#xA;&#xD;&#xA;DPA 2006c omnis - medium expensive great quality, perfect for ambient sounds, super tiny.  Omnis have thier own unique charachteristics and challenges, but properly applied they do what others cant.&#xD;&#xA;&#xD;&#xA;Schoeps MS rig (CMC6 x 2 with mk8 and mk4 capsules)- expensive, excellent sound, industry standard.  This rig has character and gets the midrange just right.  handles transients very well.  sensitive to humidity.&#xD;&#xA;&#xD;&#xA;Sennheiser MS rig -(MKH30 and MKH50) more linear than the schoeps rig, quieter than all other mics listed here.  very robust in adverse conditions.  MKH 50 is my favorite mic in the world at the moment.  &#xD;&#xA;&#xD;&#xA;wind protection:&#xD;&#xA;Rode Blimp - biggest blimp, slightly heavier, better suited for internal ORTF mounts than the Rycote blimps&#xD;&#xA;&#xD;&#xA;Rycote blimp - most expensive blimp, too small to mount even the tiny mics ORTF inside.  &#xD;&#xA;&#xD;&#xA;Rycote MS blimp - fattest blimp, also expensive, does its job perfectly.&#xD;&#xA;&#xD;&#xA;DPA foam windscreens - super light and portable, will protect in winds up to about 10mph, after that it starts breaking down.  very transparent sound.&#xD;&#xA;&#xD;&#xA;mic stand - use a superlight camera tripod with a thread adapter.  sturdy and light.&#xD;&#xA;&#xD;&#xA;------&#xD;&#xA;&#xD;&#xA;Also consider making a custom 5 pin xlr cable with breakouts.  It will be eaiser to wrangle when out in the world.  I love mine.&#xD;&#xA;&#xD;&#xA;my personal superlight go rig is the Line Audio CM3s, mixpre plus PCM M10, and the DPA windscreens.  all fits in a messenger bag.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="56341" PostHistoryTypeId="2" PostId="29797" RevisionGUID="3f1d505f-bf46-4533-a777-e72412d68ada" CreationDate="2014-07-11T01:07:05.327" UserId="9550" Text="this answer is for some of the people who have answered the question above, im sure it may confuse some of you, but its a point of language regarding use of dynamic range&#xD;&#xA;&#xD;&#xA;im a computer programmer, and a musician..i also rent out high end movie cameras..&#xD;&#xA;&#xD;&#xA;i have two high end movie cameras.. one has 12bit per colour channel output, the other has 16bits per colour channel (ie, 36bit, and 48bit rgb).. both sensors are identical, as is their dynamic range .. &#xD;&#xA;&#xD;&#xA;but it seems there is a misunderstanding of what is meant by dynamic range by some people who post about it, whether it be sound or photography&#xD;&#xA;&#xD;&#xA;bit depth DOES NOT AFFECT THE DYNAMIC RANGE that can be stored in a given file, only the device that created the file can do that.. this is a little deep/non-obvious btw and may confuse some people, but it is none the less true&#xD;&#xA;&#xD;&#xA;bit depth only affects the files ability to store small changes. any amount of dynamic range can be stored in just a couple of bits.. if you like .. but don't like ;)&#xD;&#xA;&#xD;&#xA; its not dynamic range you're losing, its post production flexibility.. which is a more complex subject to discuss .. but the short answer is&#xD;&#xA;&#xD;&#xA;work on files using 32bit float if possible, but when you mix a master.. if you export to a 16bit file..then a 32bit..and both are normalized identically.. both will hold &quot;identical&quot; dynamic ranges at this point .. unless you change one of them.. even though they are not identical in terms of bits&#xD;&#xA;&#xD;&#xA; its also possible to extend the dynamic range of a given bit depth by using non-linear/Log sample values .. codecs such a alaw and ulaw etc do this i believe&#xD;&#xA;&#xD;&#xA;  many digital movie cameras also do,  as there is generally very little information in bright highlights, and just noise in the low bits.. so a curve is applied to better store useful parts of a signal with more of the available bits .. but as long as your brightest pixel doesn't clip, and you can see the darkest pixel.. captured dynamic range has not changed&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56342" PostHistoryTypeId="5" PostId="29797" RevisionGUID="fd17c3a1-217a-4cfe-a0be-567945ccffd2" CreationDate="2014-07-11T01:15:02.733" UserId="9550" Comment="grammar, and clarity" Text="this answer is for some of the people who have answered the question above, im sure it may confuse some of you, but its a point of language regarding use of dynamic range&#xD;&#xA;&#xD;&#xA;im a computer programmer, and a musician..i also rent out high end movie cameras..&#xD;&#xA;&#xD;&#xA;i have two high end movie cameras.. one has 12bit per colour channel output, the other has 16bits per colour channel (ie, 36bit, and 48bit rgb).. both sensors are identical, as is their dynamic range .. &#xD;&#xA;&#xD;&#xA;but it seems there is a misunderstanding of what is meant by dynamic range by some people who post about it, whether it be sound or photography&#xD;&#xA;&#xD;&#xA;bit depth DOES NOT AFFECT THE DYNAMIC RANGE that can be stored in a given file, only the device that created the file/data affect that.. this is a little deep/non-obvious btw and may confuse some people, but it is none the less true&#xD;&#xA;&#xD;&#xA;bit depth only affects the files ability to store small changes. any amount of dynamic range can be stored in just a couple of bits.. if you like .. but don't like ;)&#xD;&#xA;&#xD;&#xA; its not dynamic range you're losing, its post production flexibility.. which is a more complex subject to discuss .. but the short answer is&#xD;&#xA;&#xD;&#xA;work on files using 32bit float if possible, but when you mix a master.. if you export to a 16bit file..then a 32bit..and both are normalized identically.. both will hold &quot;identical&quot; dynamic ranges at this point .. unless you change one of them.. even though they are not identical in terms of bits&#xD;&#xA;&#xD;&#xA; .. codecs such a alaw and ulaw use non-linear sampling, so less bits have to be used. again..dynamic range is not reduced!!&#xD;&#xA;&#xD;&#xA;  many digital movie cameras also do,  as there is generally very little information in bright highlights, and just noise in the low bits.. so a log curve is applied to better store what is deemed useful parts of a signal with more of the available bits allocated to specific ranges .. but as long as your brightest pixel doesn't clip, and you can see the darkest pixel.. captured dynamic range has not changed&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56344" PostHistoryTypeId="5" PostId="19012" RevisionGUID="651cff04-8a18-4b70-90d3-0d8b5c7c95ca" CreationDate="2014-07-11T12:11:18.140" UserId="6957" Comment="paragraphized" Text="With Floating point all recordings are saved usually using fractional values only between  -1 and +1 so like when you say -10 DB that will be related to 1.00 as zero Db. &#xD;&#xA;&#xD;&#xA;If you want to know the numerical value of -10 DB, it is like Log-1(-10 / 20), or by a calculator the answer is + or - 0.31622776. &#xD;&#xA;&#xD;&#xA;NOW, since there are no A/D converters with greater than 24 bit precision the normal form would be like 24 bits per channel, BUT since we now have 64 bit data in our CPUs it now makes best sense to represent a single stereo channel as two 32 bit numbers in a single register. &#xD;&#xA;&#xD;&#xA;BUT, that 32 bits will only have the resolution of the original 24 bit sample taken by the sound device. &#xD;&#xA;&#xD;&#xA;In the old 16 bit DWORD format, the numbers were like +/- 2^(16 - 1) which was like +/-32768 or +/-32767. Floating point makes much better sense since mathematics within computers are generally carried out with floating point numbers and already the data is in the correct form... in most instances that is." ContentLicense="CC BY-SA 3.0" />
  <row Id="56345" PostHistoryTypeId="5" PostId="29797" RevisionGUID="c3ca3a14-3282-46f4-9218-f514d40c8d1a" CreationDate="2014-07-11T12:23:09.350" UserId="6957" Comment="Incorporate both answers, and please use capital letters and proper punctuation" Text="Even floating point numbers can clip and degrade.&#xD;&#xA;&#xD;&#xA;If I'm mixing, I prefer 64bit floats if available, but I use mostly analogue gear now .. so the mixing happens outside of the digital domain.&#xD;&#xA;&#xD;&#xA;I do have some software I wrote to automagically remix music.. the jazz-o-tron 1000. Internally it uses 80bit IEEE samples (YES, 80.. its not a typo).. but I only use 80bit samples when creating experimental sounds usually ie, loading a sound file, applying reverb, saving, and then reloading the outputfile and repeating the process recursively..perhaps as many as 60000 times overnight .. in these circumstances, 32bit float does not cut it.. but usually it does ;)&#xD;&#xA;&#xD;&#xA;Btw, 32bit floats are not very accurate, nor as standardized in terms of hardware as you may think. We'll laugh at that post production gold standard in 50years... well I won't, I'll be dead.&#xD;&#xA;&#xD;&#xA;Interestingly (to me) 64bit operating systems have dropped support for 80bit floating point in hardware, so we're losing 16bits of precision when creating 64bit apps (I'm keeping mine 32bit for sound)&#xD;&#xA;&#xD;&#xA;As stated above, if you're going to clip, or squash your signal.. using floating point will not help you..as its better to get levels correct to start with..&#xD;&#xA;&#xD;&#xA;------------------------------&#xD;&#xA;&#xD;&#xA;The following is for some of the people who have answered the question above, I'm sure it may confuse some of you, but its a point of language regarding use of dynamic range&#xD;&#xA;&#xD;&#xA;I'm a computer programmer, and a musician. I also rent out high end movie cameras.&#xD;&#xA;&#xD;&#xA;I have two high end movie cameras. One has 12bit per colour channel output, the other has 16bits per colour channel (ie, 36bit, and 48bit rgb). Both sensors are identical, as is their dynamic range.&#xD;&#xA;&#xD;&#xA;But it seems there is a misunderstanding of what is meant by dynamic range by some people who post about it, whether it be sound or photography.&#xD;&#xA;&#xD;&#xA;Bit depth DOES NOT AFFECT THE DYNAMIC RANGE that can be stored in a given file, only the device that created the file/data affect that. This is a little deep/non-obvious, btw, and may confuse some people, but it is none the less true.&#xD;&#xA;&#xD;&#xA;Bit depth only affects the file's ability to store small changes. Any amount of dynamic range can be stored in just a couple of bits... if you like... but don't like ;)&#xD;&#xA;&#xD;&#xA;It's not dynamic range you're losing, it's post production flexibility, which is a more complex subject to discuss, but the short answer is...&#xD;&#xA;&#xD;&#xA;  - Work on files using 32bit float if possible, but when you mix a master, if you export to a 16bit file, then a 32bit, and both are normalized identically, both will hold &quot;identical&quot; dynamic ranges at this point... unless you change one of them, even though they are not identical in terms of bits.&#xD;&#xA;&#xD;&#xA;  - codecs such a `alaw` and `ulaw` use non-linear sampling, so less bits have to be used. Again, dynamic range is not reduced!!&#xD;&#xA;&#xD;&#xA;Many digital movie cameras also do,  as there is generally very little information in bright highlights, and just noise in the low bits, so a log curve is applied to better store what is deemed useful parts of a signal with more of the available bits allocated to specific ranges. But as long as your brightest pixel doesn't clip, and you can see the darkest pixel.. captured dynamic range has not changed.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56347" PostHistoryTypeId="10" PostId="29611" RevisionGUID="adb2f8fc-9395-4d80-9831-fe956ee5fee9" CreationDate="2014-07-11T15:52:59.267" UserId="7174" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="56348" PostHistoryTypeId="2" PostId="29799" RevisionGUID="34b5ed86-df01-4be5-80db-10b243b5b58d" CreationDate="2014-07-11T17:49:50.270" UserId="1216" Text="Another tip if your packing for ultra light situations:&#xD;&#xA;buy a nagra sd and a pair of dpa 4060's or 4063's. And get wired coathanger as a stereo bar. &#xD;&#xA;You can look at a binaural setup here (not my site BTW).&#xD;&#xA;http://www.manvanhetgeluid.nl/en/binaural-sound/&#xD;&#xA;&#xD;&#xA;But I agree with Rene that the 702 is perhaps a better allrounder that lasts a long time. You can pick them up second hand for a good price nowadays.&#xD;&#xA;Do prepare to invest in good batteries (spent money on good ones, not knock off's or fake ones).&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56349" PostHistoryTypeId="2" PostId="29800" RevisionGUID="1629808b-d64d-422b-9963-e287f493f01d" CreationDate="2014-07-11T19:27:35.797" UserId="6832" Text="If you already have h4n plug it into SD mixpre. If you need a budget stereo pair Rode nt5 pair is ok imo." ContentLicense="CC BY-SA 3.0" />
  <row Id="56350" PostHistoryTypeId="2" PostId="29801" RevisionGUID="71ed170c-019e-494c-90a0-2b5f1b5e7a41" CreationDate="2014-07-12T03:34:29.627" UserId="9554" Text="ill try and write a clearer answer than my other one above:&#xD;&#xA;&#xD;&#xA;floating point numbers can represent a dynamic range of numbers, and can scale to be very large, or very small. this is why they are used&#xD;&#xA;&#xD;&#xA;with integer samples (ie, not floating point values), the smallest value increment is 1. if we try and cut an amplitude of &quot;1&quot; down to a 1/3 of its original size (0.3333333) ..we would have to store the result as 0, or 1.. both of which are not accurate..but 0 would be less inaccurate&#xD;&#xA;&#xD;&#xA;the problem with 0 is, it cannot be normalized to anything other than 0..once a sample becomes 0 information is effectively lost&#xD;&#xA;&#xD;&#xA;digital manipulation of digitized discrete signals (samples) is generally a destructive process because of this, because numbers become too small to be stored (and so get rounded down to 0) during math manipulation by dsp algorithms..floating point numbers help to limit this destruction by scaling their range to suit the output of the process dynamically, and can store fractional values ..as stated above&#xD;&#xA;&#xD;&#xA;however, it should be noted that the loudest noise in the world could be represented by a value of 1 (the choice of scale is arbitrary), and the quietest (silence) as 0.. which would only requires 1bit of sample accuracy..&#xD;&#xA;&#xD;&#xA; ..so it would be fair to say we do not use 32bits, or floating point numbers to increase dynamic &quot;r a n g e&quot;, merely to preserve changes to that dynamic range later on in digital processing" ContentLicense="CC BY-SA 3.0" />
  <row Id="56351" PostHistoryTypeId="5" PostId="29801" RevisionGUID="25463ae2-4116-48b0-ae71-4bc3726da0f4" CreationDate="2014-07-12T03:42:57.973" UserId="9554" Comment="clarity" Text="ill try and write a clearer answer than my other one above:&#xD;&#xA;&#xD;&#xA;floating point numbers can represent a dynamic range of numbers, and can scale to be very large, or very small. this is why they are used&#xD;&#xA;&#xD;&#xA;with integer samples (ie, not floating point values), the smallest value increment is 1. if we try and cut an amplitude of &quot;1&quot; down to a 1/3 of its original size (0.3333333) ..we would have to store the result as 0, or 1.. both of which are not accurate..but 0 would be less inaccurate&#xD;&#xA;&#xD;&#xA;the problem with 0 is, it cannot be normalized to anything other than 0..once a sample becomes 0 information is effectively lost&#xD;&#xA;&#xD;&#xA;digital manipulation of digitized discrete signals (samples) is generally a destructive process because of this, because numbers become too small to be stored (and so get rounded down to 0) during math manipulation by dsp algorithms..floating point numbers help to limit this destruction by scaling their range to suit the output of the process dynamically, and can store fractional values ..as stated above&#xD;&#xA;&#xD;&#xA;however, it should be noted that the loudest noise in the world could be represented by a value of 1 (the choice of scale is arbitrary), and the quietest (silence) as 0.. which would only requires 1bit of sample accuracy..&#xD;&#xA;&#xD;&#xA;if we started with an extreme 1bit sample example ;).. protools could convert it into a 32bit floating point value, and back again to a 1bit sample without any loss of accuracy. however if the signal was changed in any way before hand, it is likely we could not&#xD;&#xA;&#xD;&#xA; ..so it would be fair to say we do not use 32bits, or floating point numbers to increase dynamic &quot;r a n g e&quot;, merely to preserve the original dynamic range as much as is possible later on during digital signal processing (ie, when you are messing around in protools making changes)" ContentLicense="CC BY-SA 3.0" />
  <row Id="56355" PostHistoryTypeId="5" PostId="29797" RevisionGUID="91b62d03-c354-4dcc-9e7f-37a342580af9" CreationDate="2014-07-12T10:17:05.603" UserId="-1" Comment="adding information" Text="Even floating point numbers can clip and degrade.&#xD;&#xA;&#xD;&#xA;If I'm mixing, I prefer 64bit floats if available, but I use mostly analogue gear now .. so the mixing happens outside of the digital domain.&#xD;&#xA;&#xD;&#xA;I do have some software I wrote to automagically remix music.. the jazz-o-tron 1000. Internally it uses 80bit IEEE samples (YES, 80.. its not a typo).. but I only use 80bit samples when creating experimental sounds usually ie, loading a sound file, applying reverb, saving, and then reloading the outputfile and repeating the process recursively..perhaps as many as 60000 times overnight .. in these circumstances, 32bit float does not cut it.. but usually it does ;)&#xD;&#xA;&#xD;&#xA;Btw, 32bit floats are not very accurate, nor as standardized in terms of hardware as you may think. We'll laugh at that post production gold standard in 50years... well I won't, I'll be dead.&#xD;&#xA;&#xD;&#xA;Interestingly (to me) 64bit operating systems have dropped support for 80bit floating point in hardware, so we're losing 16bits of precision when creating 64bit apps (I'm keeping mine 32bit for sound)&#xD;&#xA;&#xD;&#xA;As stated above, if you're going to clip, or squash your signal.. using floating point will not help you..as its better to get levels correct to start with..&#xD;&#xA;&#xD;&#xA;------------------------------&#xD;&#xA;&#xD;&#xA;The following is for some of the people who have answered the question above, I'm sure it may confuse some of you, but its a point of language regarding use of dynamic range&#xD;&#xA;&#xD;&#xA;I'm a computer programmer, and a musician. I also rent out high end movie cameras.&#xD;&#xA;&#xD;&#xA;I have two high end movie cameras. One has 12bit per colour channel output, the other has 16bits per colour channel (ie, 36bit, and 48bit rgb). Both sensors are identical, as is their dynamic range.&#xD;&#xA;&#xD;&#xA;But it seems there is a misunderstanding of what is meant by dynamic range by some people who post about it, whether it be sound or photography.&#xD;&#xA;&#xD;&#xA;Bit depth DOES NOT AFFECT THE DYNAMIC RANGE that can be stored in a given file, only the device that created the file/data affect that. This is a little deep/non-obvious, btw, and may confuse some people, but it is none the less true.&#xD;&#xA;&#xD;&#xA;Bit depth only affects the file's ability to store small changes. Any amount of dynamic range can be stored in just a couple of bits... if you like... but don't like ;)&#xD;&#xA;&#xD;&#xA;It's not dynamic range you're losing, it's post production flexibility, which is a more complex subject to discuss, but the short answer is...&#xD;&#xA;&#xD;&#xA;  - Work on files using 32bit float if possible, but when you mix a master, if you export to a 16bit file, then a 32bit, and both are normalized identically, both will hold &quot;identical&quot; dynamic ranges at this point... unless you change one of them, even though they are not identical in terms of bits.&#xD;&#xA;&#xD;&#xA;  - codecs such a `alaw` and `ulaw` use non-linear sampling, so less bits have to be used. Again, dynamic range is not reduced!!&#xD;&#xA;&#xD;&#xA;Many digital movie cameras also do,  as there is generally very little information in bright highlights, and just noise in the low bits, so a log curve is applied to better store what is deemed useful parts of a signal with more of the available bits allocated to specific ranges. But as long as your brightest pixel doesn't clip, and you can see the darkest pixel.. captured dynamic range has not changed.&#xD;&#xA;&#xD;&#xA;@comment below: .. 1 bit can store the same dynamic range as 16bits ..FACT. &#xD;&#xA;it may not be practical.. but my comment was trying to curb the notion that you need a separate bit for each db .. or that if there is not &quot;bit space&quot; between stops of light in a camera, or audio signals..dynamic range is lost..it isn't!!! quantization has nothing to do with dynamic &quot;range&quot; .. the phrase just gets misused..&#xD;&#xA;&#xD;&#xA; dynamic range is a measure of the top and bottom.. not necessarily the middle..&#xD;&#xA;trying to teach, not troll btw ;)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56356" PostHistoryTypeId="24" PostId="29797" RevisionGUID="91b62d03-c354-4dcc-9e7f-37a342580af9" CreationDate="2014-07-12T10:17:05.603" Comment="Proposed by 176.24.118.220|af0affa3-6bd1-4787-a63d-0a7d5fef71ba approved by 1185, 6425 edit id of 148" ContentLicense="CC BY-SA 3.0" />
  <row Id="56357" PostHistoryTypeId="2" PostId="29803" RevisionGUID="1d352351-5128-4e78-b3af-789d01431525" CreationDate="2014-07-12T16:36:22.657" UserId="9544" Text="I am in the process of getting a proper rig for sound effects recording and have been looking into buying sound devices gear, either mixpre-d or 722 used.&#xD;&#xA;&#xD;&#xA;I know they have a reputation of being very robust, but some of the stuff on offer is 10 years old and i am worrying if that would be worth it? I mean even their stuff has to have a limited lifetime...especially units with HD (moving parts).&#xD;&#xA;&#xD;&#xA;Is it worth the risk to buy something that old? Actually most of the SD gear that has been on offer around here has been so old...usually priced at 50% of what it would cost to buy new.&#xD;&#xA;&#xD;&#xA;And another thought: Since sound devices just released a new multitrack recorder, are there any rumours (or official anoucements?) of an upcoming update to their stereo line that might be worth waiting for?  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;D." ContentLicense="CC BY-SA 3.0" />
  <row Id="56358" PostHistoryTypeId="1" PostId="29803" RevisionGUID="1d352351-5128-4e78-b3af-789d01431525" CreationDate="2014-07-12T16:36:22.657" UserId="9544" Text="Used Gear / recorders - When is &quot;too old&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56359" PostHistoryTypeId="3" PostId="29803" RevisionGUID="1d352351-5128-4e78-b3af-789d01431525" CreationDate="2014-07-12T16:36:22.657" UserId="9544" Text="&lt;sound&gt;&lt;sound-devices&gt;&lt;used-gear&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56387" PostHistoryTypeId="2" PostId="29810" RevisionGUID="8a55e1ea-48d3-4c6e-a986-52f45c2f053c" CreationDate="2014-07-14T06:44:45.810" UserId="9557" Text="I'm currently running a SMSL sAPII (which was mentioned in the comments) on my music/general purpose rig  and this supposedly should drive anything up to 600 ohms, based on the chip it runs. 2 inputs (RCA and 3.5mm and switchable) one big knob, and least to me, sounds great.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Mine feels surprisingly solid, and sounds great, even when my source is something less than stellar.  &#xD;&#xA;&#xD;&#xA;Its 50-60 dollars at various places (I got mine at DX at the lower end of that but they're out of stock), and I wouldn't be surprised if there weren't similar low cost units made by other similar, less known companies.&#xD;&#xA;&#xD;&#xA;Cost I suspect is heavily a matter of what people are willing to pay, design (the designs these amps use are *dead* simple) and what parts are used. " ContentLicense="CC BY-SA 3.0" />
  <row Id="56388" PostHistoryTypeId="5" PostId="29810" RevisionGUID="9549fa6e-c199-4cfa-acaf-46b0e962f808" CreationDate="2014-07-14T07:01:17.843" UserId="9557" Comment="added 553 characters in body" Text="I'm currently running a SMSL sAPII (which was mentioned in the comments) on my music/general purpose rig  and this supposedly should drive anything up to 600 ohms, based on the chip it runs. 2 inputs (RCA and 3.5mm and switchable) one big knob, and least to me, sounds great.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Mine feels surprisingly solid, and sounds great, even when my source is something less than stellar.  &#xD;&#xA;&#xD;&#xA;Its 50-60 dollars at various places (I got mine at DX at the lower end of that but they're out of stock), and I wouldn't be surprised if there weren't similar low cost units made by other similar, less known companies.&#xD;&#xA;&#xD;&#xA;Cost I suspect is heavily a matter of what people are willing to pay, design (the designs these amps use are *dead* simple) and what parts are used.&#xD;&#xA;&#xD;&#xA;*However* in your case, what you probably need is an inline volume control system - it goes into your source, and your headphones plug into it. Google is likely to give [a few decent suggestions][1], and they should let your users finetune volumes to their need. Considering you don't actually need powered amplification, this is a much more sensible option&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.google.com.sg/search?q=inline%20volume%20control&amp;ie=utf-8&amp;oe=utf-8&amp;aq=t&amp;rls=org.mozilla:en-US:official&amp;client=firefox-a&amp;channel=fflb&amp;gfe_rd=cr&amp;ei=nn_DU4TQLcqFuATk84HwAg" ContentLicense="CC BY-SA 3.0" />
  <row Id="56395" PostHistoryTypeId="2" PostId="29811" RevisionGUID="4b7034bb-94fd-491d-a6e0-cf3535ef588d" CreationDate="2014-07-14T08:47:33.563" UserId="1216" Text="I'm not sure if there is a sounddevices forum where you could ask these kinds of questions, since they're rather brand related. You could check on: &#xD;&#xA;jwsoundgroup.net/index.php?/forum/16-equipment/&#xD;&#xA;&#xD;&#xA;with regards to other brands, i've been very lucky to buy a 2nd hand sonosax recorder for a good price, simply by keeping an eye out for about 1 year. it's a now discontinued model, but it performance is good (sometimes better than new products in the same price range).&#xD;&#xA;it has an outdated but well working SD card-drive for mirroring recordings with the SSD and has usb2 only. warranty is the only thing missing, but with this type of recorder you won't need that anytime soon, they're rock solid (as with SD i think). &#xD;&#xA;however, with any investment of any kind above $1000,- do consider when you think you'll need more input channels or other features. my guess is that you might want to start multitracking with 2 mic setups (ortf and ms  in my case) and in that case a 744T is a better investment than a 702 or any other 2track recorder.&#xD;&#xA;&#xD;&#xA;have you considered renting a 702 or something else? just to see if you find any limitations that will pop up within a year (before you make enough money to put on a shelve as a backup and buy a new recorder).&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56399" PostHistoryTypeId="2" PostId="29813" RevisionGUID="9b2e3cfd-80b1-4117-9bef-63fec7852b8b" CreationDate="2014-07-14T14:30:37.763" UserId="9567" Text="There are quite a lot of old Feynman lecture recordings on YouTube, that unfortunately suffer from very noisy audio. I'm not a sound-design professional, hobbyist; in fact I'm quite possibly tone deaf. I am however an engineer, so I had to give it a whack.&#xD;&#xA;&#xD;&#xA;I tried applying a couple of filters in Audacity on a sample lecture &#xD;&#xA;&#xD;&#xA;* Automatic noise reduction filter, &#xD;&#xA;* Low-pass filter for frequencies above 2 kHZ.&#xD;&#xA;* High-pass filter for frequencies below 300 Hz&#xD;&#xA;&#xD;&#xA;I was actually quite pleased with the results. Compare the two samples - [original YouTube video][1] and [the filtered result][2]. I would say that the voices in the original somehow sound more *real*, so there's room for improvement. &#xD;&#xA;&#xD;&#xA;I'm looking for input and suggestions (filters, settings) on how to improve this further.&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/j3mhkYbznBk&#xD;&#xA;  [2]: http://youtu.be/jaSRcuyzQ8o" ContentLicense="CC BY-SA 3.0" />
  <row Id="56400" PostHistoryTypeId="1" PostId="29813" RevisionGUID="9b2e3cfd-80b1-4117-9bef-63fec7852b8b" CreationDate="2014-07-14T14:30:37.763" UserId="9567" Text="Reducing Noise in Feynman Lectures" ContentLicense="CC BY-SA 3.0" />
  <row Id="56401" PostHistoryTypeId="3" PostId="29813" RevisionGUID="9b2e3cfd-80b1-4117-9bef-63fec7852b8b" CreationDate="2014-07-14T14:30:37.763" UserId="9567" Text="&lt;noise-reduction&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56402" PostHistoryTypeId="2" PostId="29814" RevisionGUID="a3b098ab-cda6-4bc6-a216-e9d9bb32b24e" CreationDate="2014-07-14T15:07:34.150" UserId="9568" Text="Guyz have been pulling my hairs for quiet a while, just cant figure out what this effect is called or what term should I use to Google, for any plugins for flstudio or similar to get this effect. I have exhausted all my imaginations by searching &quot;revervbation&quot;,&quot;reverbating echo&quot;, &quot;continious echo loop&quot;...&#xD;&#xA;&#xD;&#xA;**Effect:** The continuous echo this guy is creating.&#xD;&#xA;&#xD;&#xA;PS: I know that he is using a dedicated hardware for it, but I am quiet sure there exists a software for the similar effect. &#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=O6D2g_txXZ4" ContentLicense="CC BY-SA 3.0" />
  <row Id="56403" PostHistoryTypeId="1" PostId="29814" RevisionGUID="a3b098ab-cda6-4bc6-a216-e9d9bb32b24e" CreationDate="2014-07-14T15:07:34.150" UserId="9568" Text="Name this sound effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="56404" PostHistoryTypeId="3" PostId="29814" RevisionGUID="a3b098ab-cda6-4bc6-a216-e9d9bb32b24e" CreationDate="2014-07-14T15:07:34.150" UserId="9568" Text="&lt;sound-effects&gt;&lt;sound-effects-recording&gt;&lt;effect&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56405" PostHistoryTypeId="2" PostId="29815" RevisionGUID="a2c6c83a-20d1-4258-b259-211b8093ee82" CreationDate="2014-07-14T15:54:11.453" UserDisplayName="user7731" Text="he's using a loop pedal.  if you're looking for a plugin for that try googling &quot;live looping plugin&quot;  or similar.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56406" PostHistoryTypeId="2" PostId="29816" RevisionGUID="ac1d86c5-2f1d-446d-b249-8f1b5712ffc4" CreationDate="2014-07-14T15:58:55.030" UserId="7493" Text="As mentioned above, Pro Tools is definitely not required. If you're going to be using a Mac PC, then Logic Pro X is cheaper than Pro Tools, does not require a DRM dongle and is quite welcoming.&#xD;&#xA;&#xD;&#xA;Regardless of what and how you're going to record, some essential equipment is going to be an audio interface. If you're planning on recording live instruments or vocals, you will be able to utilize an audio interface to connect microphones or instrument cables to your pc. If you're planning on utilizing midi keyboards or controllers, there are several great audio interfaces that also have midi capabilities.&#xD;&#xA;&#xD;&#xA;If you're on a budget, I would recommend a Focusrite Scarlett or Saffire audio interface. Depending on the number of inputs that you need, you can obtain a new Focusrite Scarlett interface for $150. If you need more inputs that price will go up. The Scarlett and Saffire are by no means pro-grade, but the preamps are functional and the quality that you can get out of one is actually pretty good, if you know how to mix well and have a good microphone/source material. The Scarlett and Saffire also have midi capabilities, so you can record microphones, instruments through quarter inch cables, and midi. They're pretty sweet devices.&#xD;&#xA;&#xD;&#xA;If you're going to need a microphone, I suggest investing a decent amount in a microphone. In other words, do not buy a $100-$300 microphone. With microphones there is a noticeable increase in quality and clarity as you go up in price. The MikTek C1 is a great microphone for $600.00. If that is too much, then the Rode NT-1A can be had for less than half the price of the Miktek, but again there will be a noticeable dip in mic quality.&#xD;&#xA;&#xD;&#xA;Again, there is no need for Pro Tools, other programs such as Logic Pro X are just as good and I feel are more worthy of my monies because of not having Draconian DRM policies! As Johnny mentioned above, there are countless other programs available, so do not think that Pro Tools is a must, because it is not. Also, do not think that Mac PC's are required to make music, because again they're not. Mac PC's are required for Logic Pro X though, and Logic Pro X is a wonderful and relatively simple program." ContentLicense="CC BY-SA 3.0" />
  <row Id="56407" PostHistoryTypeId="2" PostId="29817" RevisionGUID="4ec42d92-42ec-4f3e-ab66-7be76d243ff6" CreationDate="2014-07-14T16:40:37.830" UserId="7174" Text="Unless there is a pattern to the audio, the rule is generally crap in, crap out with audio.  You can remove the parts of the spectrum that the noise is primarily on or try to do pattern matching to identify what is the noise and what is signal, but separating audio streams exactly is impossible once things are mixed together.&#xD;&#xA;&#xD;&#xA;This is why you end up with problems with the sound of the voice becoming unnatural with you low and high pass filters.  At those levels, they are significantly cutting off the frequencies of the voice itself, most likely both the tone of the voice and the part that we hear syllables from.&#xD;&#xA;&#xD;&#xA;If there is any hope of improving it, you would want to try using a gate to remove noise when someone isn't talking and possibly try a pattern matching filter, but it still likely isn't going to sound like a clean recording, it will just be a slightly easier to understand noisy recording most likely." ContentLicense="CC BY-SA 3.0" />
  <row Id="56409" PostHistoryTypeId="2" PostId="29818" RevisionGUID="2aeb1c62-07fd-4c58-aa0a-205504e3fb4f" CreationDate="2014-07-14T19:53:30.973" UserId="7213" Text="I'm writing code to create BWF files from scratch, and it would help me to have a couple of working files to use as reference. I have the WAV part down, been doing that for years. But adding the &lt;bext&gt; header is proving troublesome. I've read all the specs I can find, including EBU Tech 3285 and ancillary docs, but I must be missing a clue.&#xD;&#xA;&#xD;&#xA;The content is unimportant, but the payload should be WAV and not MP3. All I really care about is the &lt;bext&gt; header, so the first 1K from any working files would do. I only need to be compliant with version 0 (1997) of the BWF spec.&#xD;&#xA;&#xD;&#xA;Any help / links appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="56410" PostHistoryTypeId="1" PostId="29818" RevisionGUID="2aeb1c62-07fd-4c58-aa0a-205504e3fb4f" CreationDate="2014-07-14T19:53:30.973" UserId="7213" Text="Can anyone offer examples of valid BWF files for study?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56411" PostHistoryTypeId="3" PostId="29818" RevisionGUID="2aeb1c62-07fd-4c58-aa0a-205504e3fb4f" CreationDate="2014-07-14T19:53:30.973" UserId="7213" Text="&lt;wav&gt;&lt;bwf&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56413" PostHistoryTypeId="2" PostId="29819" RevisionGUID="fe62121b-1dd4-4d0e-ae3f-46c35a20af24" CreationDate="2014-07-14T21:16:10.730" UserId="6532" Text="Don't think of it as the &quot;header,&quot; since the bext chunk, like any other chunk, can be located at any point in the file. I've seen plenty of .wav files that have the bext chunk after the data chunk.&#xD;&#xA;&#xD;&#xA;Getting to the bext chunk simply requires parsing the file chunk after chunk (like you're probably already doing for the fmt and data chunks) until you get to the bext id." ContentLicense="CC BY-SA 3.0" />
  <row Id="56414" PostHistoryTypeId="2" PostId="29820" RevisionGUID="89b282bb-e653-4de2-a98f-e1fc24b2513c" CreationDate="2014-07-14T22:31:42.350" UserId="7213" Text="I'll answer this myself. The problem was a structure alignment issue that threw off the positions of some internal fields. Once that was resolved, the files work correctly. &#xD;&#xA;&#xD;&#xA;I never needed metadata on WAV files before, but I can see how useful it'll be." ContentLicense="CC BY-SA 3.0" />
  <row Id="56419" PostHistoryTypeId="2" PostId="29822" RevisionGUID="79d70c7d-7126-4b4e-9790-5883bf80d1cb" CreationDate="2014-07-15T10:35:58.310" UserId="9576" Text="1. Set the tempo of your project to 83 bpm.&#xD;&#xA;2. Right click in and empty space in your arrange window and click on select all.&#xD;&#xA;3. Expand your areangent window to a large size.&#xD;&#xA;4. While holding down Option, drag the corner of one of the audio regions to the nearest bar (it should be just a short distance).&#xD;&#xA;5. This will timestretch all of your regions to the new tempo.  This can take a long time for your Mac to process all at once, so you may just want to execute the procedure on each track individually.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="56420" PostHistoryTypeId="2" PostId="29823" RevisionGUID="661b6547-4d79-4108-8232-59bacbc7ec33" CreationDate="2014-07-15T11:09:00.973" UserId="9577" Text="I've found that DJ software works. Just load up both tracks, make sure that the output is set to the higher of the tracks, and you can use the fader to switch between the tracks. I've had some success using the free app Mixxx." ContentLicense="CC BY-SA 3.0" />
  <row Id="56421" PostHistoryTypeId="2" PostId="29824" RevisionGUID="37ebcd42-7dd9-4b93-9da2-7a3f78fe4438" CreationDate="2014-07-15T12:54:18.967" UserId="9399" Text="I use Cubase 5, add MIDI track and on this track applied a plugin. I record MIDI from my electronic drums. When the track is recorder and I play it, it is played back OK with no latency at all. But when I want to hear instanly what I am playing on the drums it has latency. Do you have any ideas how to fix this latency?&#xD;&#xA;&#xD;&#xA;thank you very much for any ideas, this problem is quite bothering me. " ContentLicense="CC BY-SA 3.0" />
  <row Id="56422" PostHistoryTypeId="1" PostId="29824" RevisionGUID="37ebcd42-7dd9-4b93-9da2-7a3f78fe4438" CreationDate="2014-07-15T12:54:18.967" UserId="9399" Text="Latency in plugin while recording MIDI" ContentLicense="CC BY-SA 3.0" />
  <row Id="56423" PostHistoryTypeId="3" PostId="29824" RevisionGUID="37ebcd42-7dd9-4b93-9da2-7a3f78fe4438" CreationDate="2014-07-15T12:54:18.967" UserId="9399" Text="&lt;midi&gt;&lt;cubase&gt;&lt;plugin&gt;&lt;latency&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56424" PostHistoryTypeId="2" PostId="29825" RevisionGUID="171b1843-6cd3-4d76-94fb-22cf20f5a1f3" CreationDate="2014-07-15T15:45:39.383" UserId="432" Text="It's also possible he's using something like Ableton Live to record the samples as he performs and play them back as he continues to perform." ContentLicense="CC BY-SA 3.0" />
  <row Id="56426" PostHistoryTypeId="2" PostId="29826" RevisionGUID="36614d93-85fd-43ba-8492-581878f3c2ed" CreationDate="2014-07-15T17:29:01.963" UserId="9579" Text="I've yet to find a definitive answer to this, but Google shows hundreds of people asking questions.&#xD;&#xA;&#xD;&#xA;I have an M-Audio M-Track, a $100 USB-based audio interface.&#xD;&#xA;&#xD;&#xA;Across all 3 computers I have tried it on, there is a high-pitched whine around 1kHz, similar to the one here: https://dl.dropboxusercontent.com/u/7345145/noise_2.wav&#xD;&#xA;&#xD;&#xA;That high-pitched noise is in common between many brands of audio interfaces, as you can hear recordings on Google.&#xD;&#xA;&#xD;&#xA;This happens when recording with things plugged in and with nothing plugged in with all possible configurations of the box (phantom power, monitoring, gain, line level, etc.)&#xD;&#xA;&#xD;&#xA;It's not a ground loop. It happens on my mac pro when it is running from battery or when plugged in, on a 2006 original Mac Pro, and on my AMD-based desktop, always exactly the same noise, same pitch. I've tried putting a powered USB hub between it and the computer and that didn't help.&#xD;&#xA;&#xD;&#xA;High-pitched whining is a common problem across many USB devices but there don't seem to be any answers other than &quot;ground loop.&quot; It isn't a ground loop.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="56427" PostHistoryTypeId="1" PostId="29826" RevisionGUID="36614d93-85fd-43ba-8492-581878f3c2ed" CreationDate="2014-07-15T17:29:01.963" UserId="9579" Text="USB input high-pitched whine" ContentLicense="CC BY-SA 3.0" />
  <row Id="56428" PostHistoryTypeId="3" PostId="29826" RevisionGUID="36614d93-85fd-43ba-8492-581878f3c2ed" CreationDate="2014-07-15T17:29:01.963" UserId="9579" Text="&lt;noise&gt;&lt;usb&gt;&lt;high-frequency&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56433" PostHistoryTypeId="5" PostId="29814" RevisionGUID="d6af8928-353c-4ef2-8810-7493da83c4fb" CreationDate="2014-07-16T09:33:34.110" UserId="9568" Comment="added 62 characters in body" Text="**TLDR:** Its loop pedal effect that we are talking about.&#xD;&#xA;&#xD;&#xA;Guyz have been pulling my hairs for quiet a while, just cant figure out what this effect is called or what term should I use to Google, for any plugins for flstudio or similar to get this effect. I have exhausted all my imaginations by searching &quot;revervbation&quot;,&quot;reverbating echo&quot;, &quot;continious echo loop&quot;...&#xD;&#xA;&#xD;&#xA;**Effect:** The continuous echo this guy is creating.&#xD;&#xA;&#xD;&#xA;PS: I know that he is using a dedicated hardware for it, but I am quiet sure there exists a software for the similar effect. &#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=O6D2g_txXZ4" ContentLicense="CC BY-SA 3.0" />
  <row Id="56434" PostHistoryTypeId="2" PostId="29827" RevisionGUID="15db1223-8680-4a23-815f-4870716936a3" CreationDate="2014-07-16T13:50:44.353" UserId="9587" Text="This is probably a silly question, but I've always been wondering how to make one of the most typical acid/rave synth sounds.&#xD;&#xA;You can hear it, for example, starting at 2:37 in [Unix - Overdrive Your Speakers].[1]&#xD;&#xA;Thanks so much in advance!&#xD;&#xA;++A&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/UZmZW_voGMo?t=2m36s" ContentLicense="CC BY-SA 3.0" />
  <row Id="56435" PostHistoryTypeId="1" PostId="29827" RevisionGUID="15db1223-8680-4a23-815f-4870716936a3" CreationDate="2014-07-16T13:50:44.353" UserId="9587" Text="How do you make this synth?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56436" PostHistoryTypeId="3" PostId="29827" RevisionGUID="15db1223-8680-4a23-815f-4870716936a3" CreationDate="2014-07-16T13:50:44.353" UserId="9587" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56437" PostHistoryTypeId="2" PostId="29828" RevisionGUID="122fce62-f9e6-44e4-92fa-0919eb3cb679" CreationDate="2014-07-16T15:29:47.513" UserId="7174" Text="That is the result of bad isolation of either the DAC or the ADC.  If the internal circuitry of the interface and the actual capture or playback circuitry share a common power supply, the operation of the electronics itself cause a distortion to the power being supplied to the capture or playback circuits.&#xD;&#xA;&#xD;&#xA;Capture and output both rely on a fixed reference level and if this level is not constant, it introduces variations in the actual signal produced.  These variations are what you are hearing with that noise.  You get the same thing on a lot of computer sound cards and you can notice that it changes frequency when things take power in the computer such as intense processing or hard drive operation.&#xD;&#xA;&#xD;&#xA;The best way to avoid this is to use interfaces that have isolated DACs and ADCs (should be listed as a feature) that are given a solid, constant reference level to work from independent of the power variations occurring within the rest of the hardware." ContentLicense="CC BY-SA 3.0" />
  <row Id="56438" PostHistoryTypeId="2" PostId="29829" RevisionGUID="9796f126-df36-4b75-a6a2-34ecd300252b" CreationDate="2014-07-16T16:28:06.053" UserId="9588" Text="I recently bought a second hand Korg NS5R, and was interested to find that it could originally be dealer-upgraded using a Yamaha DB51XG card (making it equivalent to an NX5R). Coincidentally, I have an old DB50XG card, which I believe is almost identical to the DB51XG.&#xD;&#xA;&#xD;&#xA;Does anyone know whether the DB50XG would work in the NS5R?&#xD;&#xA;&#xD;&#xA;I've been unable to find any documentation on fitting option boards (presumably because it was a dealer-fitted option). Before I remove the rather large number of screws in the case, any guidance would be appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="56439" PostHistoryTypeId="1" PostId="29829" RevisionGUID="9796f126-df36-4b75-a6a2-34ecd300252b" CreationDate="2014-07-16T16:28:06.053" UserId="9588" Text="Fitting a Yamaha DB50XG to a Korg NS5R?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56440" PostHistoryTypeId="3" PostId="29829" RevisionGUID="9796f126-df36-4b75-a6a2-34ecd300252b" CreationDate="2014-07-16T16:28:06.053" UserId="9588" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56441" PostHistoryTypeId="2" PostId="29830" RevisionGUID="2ab2e620-4a5e-4b23-807d-1c9e1a559a57" CreationDate="2014-07-16T16:45:31.717" UserId="9589" Text="I'm a voice actor and I'm trying to record a few tidbits. Now I'm just doing this in my apartment, but it's pretty quiet in here and all of my fans and such are off. When I plug up headphones directly into my mixer (a xenyx 802)it sounds clear and fine. How ever when ever I record something (connecting my sound board through my Desktop pc) it comes out sounding like there's air rushing past the microphone. I'm not sure if that describes it right. does this sound like a common thing? the only sound in the room (as far as I can tell) is my desktop but it isn't THAT loud." ContentLicense="CC BY-SA 3.0" />
  <row Id="56442" PostHistoryTypeId="1" PostId="29830" RevisionGUID="2ab2e620-4a5e-4b23-807d-1c9e1a559a57" CreationDate="2014-07-16T16:45:31.717" UserId="9589" Text="Prolems with mxl 770" ContentLicense="CC BY-SA 3.0" />
  <row Id="56443" PostHistoryTypeId="3" PostId="29830" RevisionGUID="2ab2e620-4a5e-4b23-807d-1c9e1a559a57" CreationDate="2014-07-16T16:45:31.717" UserId="9589" Text="&lt;microphone&gt;&lt;audio-recording&gt;&lt;recording&gt;&lt;daw&gt;&lt;home-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56444" PostHistoryTypeId="5" PostId="29827" RevisionGUID="15415bff-e8a4-4bf8-af6e-64e70042083b" CreationDate="2014-07-16T19:48:47.190" UserId="7294" Comment="Fixed link" Text="This is probably a silly question, but I've always been wondering how to make one of the most typical acid/rave synth sounds.&#xD;&#xA;You can hear it, for example, starting at 2:37 in [Unix - Overdrive Your Speakers][1]&#xD;&#xA;Thanks so much in advance!&#xD;&#xA;++A&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://youtu.be/UZmZW_voGMo?t=2m36s" ContentLicense="CC BY-SA 3.0" />
  <row Id="56445" PostHistoryTypeId="2" PostId="29831" RevisionGUID="db47cb49-7be4-40b4-ac0c-196d2b188d1c" CreationDate="2014-07-16T19:50:48.703" UserId="7294" Text="If I'm not mistaken that is the sound of a [Roland TB-303 bassline synthesizer](https://en.wikipedia.org/wiki/Roland_TB-303) run through a distortion effect.&#xD;&#xA;&#xD;&#xA;It's a quite famous sound and is one of the major elements (some would say *the* major element) of acid music." ContentLicense="CC BY-SA 3.0" />
  <row Id="56446" PostHistoryTypeId="10" PostId="29829" RevisionGUID="644a7821-dd29-4fd8-aa59-e300bcfe28a8" CreationDate="2014-07-16T20:57:37.460" UserId="7174" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="56447" PostHistoryTypeId="2" PostId="29832" RevisionGUID="dde1fe1f-2dda-4be2-8bc7-cf8d5eccbd4f" CreationDate="2014-07-16T21:02:56.257" UserId="7174" Text="Most likely it is just your audio output device that is inducing lag.  On playback, you wouldn't notice the lag as everything would have the same lag.  People are far more sensitive to latency when they are expecting something in reaction to their action than when they are simply hearing something." ContentLicense="CC BY-SA 3.0" />
  <row Id="56448" PostHistoryTypeId="5" PostId="29830" RevisionGUID="fbc669cf-8472-431b-996c-47af21820a12" CreationDate="2014-07-16T21:18:48.093" UserId="9589" Comment="added 313 characters in body" Text="I'm a voice actor and I'm trying to record a few tidbits. Now I'm just doing this in my apartment, but it's pretty quiet in here and all of my fans and such are off. When I plug up headphones directly into my mixer (a xenyx 802)it sounds clear and fine. How ever when ever I record something (connecting my sound board through my Desktop pc) it comes out sounding like there's air rushing past the microphone. I'm not sure if that describes it right. does this sound like a common thing? the only sound in the room (as far as I can tell) is my desktop but it isn't THAT loud.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;[Test file for mxl 770][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.filedropper.com/mxl770test" ContentLicense="CC BY-SA 3.0" />
  <row Id="56452" PostHistoryTypeId="2" PostId="29834" RevisionGUID="7b4e4963-b0c5-47cb-b74d-2ab8a5fc31fc" CreationDate="2014-07-17T01:26:11.700" UserId="9595" Text="I'm a musician/programmer and I'm looking to begin creating video games. In terms of sound production I'm lost. I want to make sounds reminiscent of SNES mario games/zelda Closer to the super meat boy sound track than a true 8 or 16 bit sound feed.&#xD;&#xA;&#xD;&#xA;My question is would a DAW like FL studio be the right tool for someone like me to start using to create both sound effects and music. Also I'm proficient at reading and writing music notation, are there tools like Sibelius that would let me write out music and then give me fine grain control over a digital sound?&#xD;&#xA;&#xD;&#xA;My background in actual sound production is very minimal and I would appreciate any experience the community can offer." ContentLicense="CC BY-SA 3.0" />
  <row Id="56453" PostHistoryTypeId="1" PostId="29834" RevisionGUID="7b4e4963-b0c5-47cb-b74d-2ab8a5fc31fc" CreationDate="2014-07-17T01:26:11.700" UserId="9595" Text="Video game music setup" ContentLicense="CC BY-SA 3.0" />
  <row Id="56454" PostHistoryTypeId="3" PostId="29834" RevisionGUID="7b4e4963-b0c5-47cb-b74d-2ab8a5fc31fc" CreationDate="2014-07-17T01:26:11.700" UserId="9595" Text="&lt;sound-effects&gt;&lt;video-games&gt;&lt;digital&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56455" PostHistoryTypeId="4" PostId="29827" RevisionGUID="8e0b9980-c3fd-44ac-9a81-fb734dad6538" CreationDate="2014-07-17T05:51:49.033" UserId="9422" Comment="added better question title" Text="How do you make this synth sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56456" PostHistoryTypeId="24" PostId="29827" RevisionGUID="8e0b9980-c3fd-44ac-9a81-fb734dad6538" CreationDate="2014-07-17T05:51:49.033" Comment="Proposed by 9422 approved by 6435, 6425 edit id of 150" ContentLicense="CC BY-SA 3.0" />
  <row Id="56457" PostHistoryTypeId="2" PostId="29835" RevisionGUID="95d16596-d257-4fb3-a7e7-eb51ec7c5d4f" CreationDate="2014-07-17T06:30:29.913" UserId="9597" Text="Ya.....I think FL studio would be the right tool for you to start." ContentLicense="CC BY-SA 3.0" />
  <row Id="56459" PostHistoryTypeId="10" PostId="29824" RevisionGUID="03f99d32-4408-4dff-b6bf-f118306cf24b" CreationDate="2014-07-17T10:17:33.453" UserId="1216" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:1216,&quot;DisplayName&quot;:&quot;Arnoud Traa&quot;}]}" />
  <row Id="56461" PostHistoryTypeId="2" PostId="29837" RevisionGUID="ce7e461a-1439-4fe2-9362-926a0012683d" CreationDate="2014-07-17T11:48:06.823" UserId="6425" Text="This is pretty much all you can do in audiacity. For such jobs you need a audio restauration software. There you can differentiate noise from Tones in the frequency Spektrum. Then by modulating those you can get good Results." ContentLicense="CC BY-SA 3.0" />
  <row Id="56465" PostHistoryTypeId="2" PostId="29839" RevisionGUID="f9dadb38-cd6a-4a22-a140-440dd6f55713" CreationDate="2014-07-17T15:24:36.107" UserId="253" Text="What's happening to the signal between the output of the Xenyx 802 and your recording software? Sometimes cheap soundcards do a bad job at converting analog to digital, so you end up with a lot of noise, like what i heard in your recording.&#xD;&#xA;&#xD;&#xA;If you can, try recording through the Xenyx into a different analog to digital system. Maybe you or a friend have an MBox or Zoom/Tascam/etc. recorder? Those systems are pretty solid in terms of AD (Analogue to Digital) conversion, so that will tell you whether the problem is your soundcard or not. If it is your soundcard, look into some better quality options. &#xD;&#xA;&#xD;&#xA;It's a chain: Voice &gt; Room+Mic Positioning &gt; Mic &gt; Preamp &gt; AD Conversion. So you need to be able to isolate and test each stage (although in your case you can skip the first 2) in order to find the weak link.&#xD;&#xA;&#xD;&#xA;Good luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="56470" PostHistoryTypeId="2" PostId="29841" RevisionGUID="21bba55f-2978-4716-b7a0-60d583a3b516" CreationDate="2014-07-17T21:28:57.827" UserId="9604" Text="I was wondering if I could sew a dead cat from normal fake fur I could get at a fabric store or is the fabric used for a dead cat significantly different from fake fur?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56471" PostHistoryTypeId="1" PostId="29841" RevisionGUID="21bba55f-2978-4716-b7a0-60d583a3b516" CreationDate="2014-07-17T21:28:57.827" UserId="9604" Text="Sew a dead cat from fake fur" ContentLicense="CC BY-SA 3.0" />
  <row Id="56472" PostHistoryTypeId="3" PostId="29841" RevisionGUID="21bba55f-2978-4716-b7a0-60d583a3b516" CreationDate="2014-07-17T21:28:57.827" UserId="9604" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56473" PostHistoryTypeId="2" PostId="29842" RevisionGUID="ef0b0ae5-fa46-4ef1-94da-28ae7fe714ce" CreationDate="2014-07-18T02:35:26.637" UserId="9607" Text="The DAW is not *that* important (FL is ok to start). Since you are getting started and you will find difficult to design the sounds, you need a good set of VSTi plugins that emulate the video game consoles' soundchips. The good news is that there are loads of these plugins to make *chiptunes* (most of them free)... just take a look...&#xD;&#xA;&#xD;&#xA;[Chipmusic Plugins][1]&lt;br&gt;&#xD;&#xA;[9 of the best chiptune VST plug-ins][2]&#xD;&#xA;&#xD;&#xA;Google for &quot;chiptune vst&quot; and you'll get more. Installing them in your DAW is easy peasy.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://woolyss.com/chipmusic-plugins.php&#xD;&#xA;  [2]: http://www.musicradar.com/news/tech/9-of-the-best-chiptune-vst-plug-ins-554428/1" ContentLicense="CC BY-SA 3.0" />
  <row Id="56474" PostHistoryTypeId="2" PostId="29843" RevisionGUID="b0cc0978-ec02-4940-bc97-9f76c13fbc5c" CreationDate="2014-07-18T02:51:23.800" UserId="9607" Text="I've got an app in the iPad for that: **[Loopy][1]**&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=r4z40-LtjdA&#xD;&#xA;&#xD;&#xA;Much modern and convenient... The pedal is optional you just need your fingers =)&#xD;&#xA;&#xD;&#xA;  [1]: http://loopyapp.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="56475" PostHistoryTypeId="5" PostId="29843" RevisionGUID="053ba39b-3e70-488b-b408-fecfb702a5bd" CreationDate="2014-07-18T02:57:36.767" UserId="9607" Comment="added 5 characters in body" Text="I've got an app in the iPad for that: **[Loopy][1]**&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=r4z40-LtjdA&#xD;&#xA;&#xD;&#xA;Much more modern and convenient... The pedal is optional you just need your fingers =)&#xD;&#xA;&#xD;&#xA;  [1]: http://loopyapp.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="56480" PostHistoryTypeId="2" PostId="29846" RevisionGUID="a42e5340-25fa-4775-84b4-c9d4ce59e01f" CreationDate="2014-07-18T07:10:50.063" UserId="5989" Text="To make chip music sounding 'nostalgic' you will also need to recreate the techniques used in the old days where sound channel is limited. Like you can have only 2 square waves channel. (that was NES's limitation, 2 Squares , 1 Triangle , 1 Noise and (delta modulation) sample channel)&#xD;&#xA;&#xD;&#xA;So, in order to form a chord you would use a very fast arpeggio to create an impression of 3 notes chord. Other techniques including changing duty cycle of pulse wave back and forth to create 'swelling strings' sounds often heard in games like Zelda, or &quot;how to produce kick drum sound?&quot; one way of doing it is using pulse wave with pitch going down quickly." ContentLicense="CC BY-SA 3.0" />
  <row Id="56484" PostHistoryTypeId="2" PostId="29847" RevisionGUID="1d252c4d-6889-4df3-ad8a-a06213d824d7" CreationDate="2014-07-18T09:40:13.420" UserId="7016" Text="The main reason why dead cats are used is that the hairs deaden the noise caused by the shock of wind hitting the blimp - they absorb energy at a wide range of frequencies before the mic can pick it up.&#xD;&#xA;&#xD;&#xA;So realistically, any long haired fake fur will work. Whether or not the type you can get at a local fabric store will be as good, I don't know. Sound companies will, I assume, have sourced the type that works best in their tests, but I can't imagine that this will be measurable by amateur/semi-pro kit.&#xD;&#xA;&#xD;&#xA;Many individuals make their own - just google for fur mic cover or fur windscreens for many examples." ContentLicense="CC BY-SA 3.0" />
  <row Id="56485" PostHistoryTypeId="5" PostId="29841" RevisionGUID="7f180e69-a993-4ee3-8e30-4b0208ac730a" CreationDate="2014-07-18T09:42:26.500" UserId="7016" Comment="added 131 characters in body" Text="I was wondering if I could sew a dead cat (furry microphone cover) from normal fake fur I could get at a fabric store or is the fabric used for a dead cat significantly different from fake fur?&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;pic from http://www.auphotographer.com.au/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/e4kpy.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="56486" PostHistoryTypeId="2" PostId="29848" RevisionGUID="55231645-d431-4c39-8fc7-d0fa075f6505" CreationDate="2014-07-18T11:51:34.537" UserId="9607" Text="That is the classic Roland TB-303, which recently has been re-imagined by Roland with a modern and improved version named AIRA TB3.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=vOa9VTAc73Q&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;If you don’t want to buy the synth (classic or new) you can always pick a good soft-synth emulator with pre-programmed patches. Just google for “tb-303 vst”.&#xD;&#xA;&#xD;&#xA;You’ll also find interesting [**this video documentary**][1] about where it comes from and its history. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=omHUR3R0Qqw" ContentLicense="CC BY-SA 3.0" />
  <row Id="56487" PostHistoryTypeId="2" PostId="29849" RevisionGUID="9a99f41d-ff88-421e-87c2-39b0f942ce5c" CreationDate="2014-07-18T12:20:08.953" UserId="9607" Text="All these films have similar FX patterns: echo voices, [**reverse reverb vocals**][1], and a selected set of strings: Symphopia 2 could help you a lot with this...&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=sr9aitV3l6I&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.youtube.com/watch?v=v69rMhp8gZY" ContentLicense="CC BY-SA 3.0" />
  <row Id="56488" PostHistoryTypeId="2" PostId="29850" RevisionGUID="cecb4019-fcc5-42cf-b074-5d0e826047da" CreationDate="2014-07-18T13:27:52.883" UserId="8353" Text="Just curious how you guys decide when to use stereo or mono SFX when cutting for a 5.1 feature. By SFX, I mean diegetic sounds. &#xD;&#xA;&#xD;&#xA;I mean this as a question about channels, when do you put these sounds on LR, and when on C only?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56489" PostHistoryTypeId="1" PostId="29850" RevisionGUID="cecb4019-fcc5-42cf-b074-5d0e826047da" CreationDate="2014-07-18T13:27:52.883" UserId="8353" Text="Cutting diegetic SFX for 5.1 -- C or LR? (mono / stereo)" ContentLicense="CC BY-SA 3.0" />
  <row Id="56490" PostHistoryTypeId="3" PostId="29850" RevisionGUID="cecb4019-fcc5-42cf-b074-5d0e826047da" CreationDate="2014-07-18T13:27:52.883" UserId="8353" Text="&lt;sfx&gt;&lt;stereo&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56496" PostHistoryTypeId="2" PostId="29853" RevisionGUID="918e52c1-b3e1-4781-8dbf-80e0dbf6e9db" CreationDate="2014-07-18T21:17:03.640" UserId="8017" Text="I'd try several DAWs before settling down, most have free trials. Once you've committed to a platform and started investing in specific resources for it, inertia makes it difficult for you to switch, so take your time. I'm an Ableton fan, in part because creating your own macro/automated setups for effects chains is incredibly addictive and easy... and also because the freeze/resampling workflow suits me very nicely when I have to iterate and push audio clips around.&#xD;&#xA;&#xD;&#xA;Plogue Chipsounds makes it very, VERY easy: http://www.plogue.com/products/chipsounds/ and also check out their Chipcrusher plugin for authentic old speaker sounds.&#xD;&#xA;&#xD;&#xA;Chipsounds is a crafted-with-love encyclopedia of a lot of, well, chipsounds. Versatile, easy to use, and many of the presets will make you smile because they're based on/inspired by iconic chip sounds. I should add it has myriad controls for that &quot;fine grain control&quot; you seek. It has a trial too." ContentLicense="CC BY-SA 3.0" />
  <row Id="56497" PostHistoryTypeId="2" PostId="29854" RevisionGUID="db6953e9-f13e-4404-a3dc-5a84666dfb59" CreationDate="2014-07-18T21:22:09.973" UserId="8017" Text="Alifer, if &quot;experiment&quot; is too vague from the onset, as a starting point, try changing BOTH cutoff and resonance in realtime. Twist those knobs as the sound (even one repeated note) plays. That frequency modulation (i.e., &quot;sound gets blurrier and sharper&quot;) is responsible for the &quot;squelchy&quot;-ness which is integral to acid. Then process the sound through different types of distortion.&#xD;&#xA;&#xD;&#xA;There are MANY TB-303 clones out there worth googling, one of my faves is D16's Phoscyon http://www.d16.pl/index.php?menu=10 because it has precise presets with the sound you're looking for, which you can reverse-engineer to your liking." ContentLicense="CC BY-SA 3.0" />
  <row Id="56498" PostHistoryTypeId="2" PostId="29855" RevisionGUID="276add6a-7ae2-4997-ba93-cc640710a159" CreationDate="2014-07-18T21:24:23.063" UserId="8017" Text="Sheez, I had a similar problem on an M-Audio Audiophile USB AGES ago. I'd recommend trying other models and isolating the cause of the problem — RME's price will probably make you cry now but smile years later (TotalMix is still a nightmare UI to use but if you mainly handle routings in your DAW and focus on the awesome sound quality, you're essentially set)." ContentLicense="CC BY-SA 3.0" />
  <row Id="56500" PostHistoryTypeId="2" PostId="29857" RevisionGUID="9d14ebce-c0c2-4bf1-8fff-88f81e062085" CreationDate="2014-07-18T21:35:14.803" UserId="8017" Text="Easy answer: get SonicCouture's Konkrete 3 and Heavyocity's Damage. Both chock-full of very unusual kits with those types of sounds that aren't just raw samples, but have a lot of thoughtful programming behind them (such as velocity-switching for nuances when you play softer). Actually, Native Instruments Battery 4 has a &quot;Berlin Office&quot; kit with many of those found sounds as well... and others that may be suitable.&#xD;&#xA;&#xD;&#xA;The reality of the beast is that you can hit random things in your house and end up with related vibes.&#xD;&#xA;&#xD;&#xA;Here, it's not just about the samples but effects treatments — play drum loops through Diego Stocco's Rhythmic Convolutions http://www.diegostocco.com/ffs-rhythmic-convolutions/ and can end up sounding very warbly/crunchy and crackly.&#xD;&#xA;&#xD;&#xA;For even more extreme percussion of the sort, listen to Amon Tobin's ISAM (all of it: it's mandatory fun, and I don't just mean that in a Weird Al way) and some of Eskmo's stuff. We may make a crumbly snare/clap addict outta you yet...&#xD;&#xA;&#xD;&#xA;The usual &quot;experiment and use your ears&quot; applies but this should give you a clear direction to head in. :3" ContentLicense="CC BY-SA 3.0" />
  <row Id="56502" PostHistoryTypeId="2" PostId="29859" RevisionGUID="da0e0fff-a652-4839-8348-15420962f0b4" CreationDate="2014-07-18T21:48:34.530" UserId="8017" Text="Not mental illness of a conventional kind, but I highly recommend watching Triangle (2009) WITHOUT watching the trailer or any spoilers... intense, gripping, unique sound design used for moments of severe psychological disturbance. It portrays confusion and self-violation without pulling any punches.&#xD;&#xA;&#xD;&#xA;The music's great too, composed by Christian Henson of Spitfire Audio. :)&#xD;&#xA;&#xD;&#xA;If you aren't already, explore morphing in convolution between impulse responses... that seems to be a very plausible audio equivalent for the confusion inherent to schizophrenia, where the real is offset by the unreal..." ContentLicense="CC BY-SA 3.0" />
  <row Id="56505" PostHistoryTypeId="5" PostId="29769" RevisionGUID="77eaabbb-ff1d-48ee-b893-6fc0c65b2be7" CreationDate="2014-07-18T23:39:02.997" UserId="7016" Comment="quick clean up - you don't need to use salutations, or sign the post, as your profile block is used for that." Text="I'm currently working on a film about a woman suffering from schizophrenia and was wondering if anyone had any more left field suggestions for films with interesting sound design depicting mental illness. &#xD;&#xA;&#xD;&#xA;So far I'm referencing: through a glass darkly, persona, revolution no 9 and any number of Aranofsky films, any other more stylised suggestions would be greatly appreciated! " ContentLicense="CC BY-SA 3.0" />
  <row Id="56506" PostHistoryTypeId="2" PostId="29860" RevisionGUID="ab8f93ce-9b9e-486b-ae7a-6862a6e22662" CreationDate="2014-07-19T00:55:36.953" UserId="9614" Text="I'm wondering how this sample was made? Is it just a snare with A LOT of reverb on it? I've tried doing it but i just can't get it right! http://www.mediafire.com/listen/4gzuhv9m4hrnbbq/DROP_SNARE_128_BPM_F.wav&#xD;&#xA;Similar sample used here http://www.youtube.com/watch?v=gCYcHz2k5x0&amp;t=1m36s&#xD;&#xA;I know i can just use a sample if i want to use it but i really want to know how it was made!" ContentLicense="CC BY-SA 3.0" />
  <row Id="56507" PostHistoryTypeId="1" PostId="29860" RevisionGUID="ab8f93ce-9b9e-486b-ae7a-6862a6e22662" CreationDate="2014-07-19T00:55:36.953" UserId="9614" Text="How was this snare made?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56508" PostHistoryTypeId="3" PostId="29860" RevisionGUID="ab8f93ce-9b9e-486b-ae7a-6862a6e22662" CreationDate="2014-07-19T00:55:36.953" UserId="9614" Text="&lt;sound&gt;&lt;sample&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56509" PostHistoryTypeId="2" PostId="29861" RevisionGUID="9d9da61e-6edb-47fb-b814-c8cbd2fbc934" CreationDate="2014-07-19T07:13:53.433" UserId="8017" Text="Yes, that's essentially correct. The recipe for effecting is simple: add a lot of reverb and compression to even out the overall volume — and at times, a reversed copy to make it suck/whoosh backwards.&#xD;&#xA;&#xD;&#xA;This is known as a variation of the &quot;Pryda Snare&quot;. YouTube presents possible paths to achieve such a result: https://www.youtube.com/results?search_query=pryda+snare&amp;search=Search&#xD;&#xA;&#xD;&#xA;Broader then this, there is tremendous power in being able to control reverb tails after drum hits. Part of this harkens back to gated reverbs as famously used in the 80s by Phil Collins and others. I encourage you to read more on the history to understand it evolved into the sound we have today." ContentLicense="CC BY-SA 3.0" />
  <row Id="56510" PostHistoryTypeId="5" PostId="29861" RevisionGUID="6297b16b-d037-400f-a903-22a26eceb9aa" CreationDate="2014-07-19T07:22:25.477" UserId="8017" Comment="added 54 characters in body" Text="Yes, that's essentially correct. The recipe for effecting is simple: add a lot of reverb and compression to even out the overall volume — and at times, a reversed copy to make it suck/whoosh backwards.&#xD;&#xA;&#xD;&#xA;This is known as a variation of the &quot;Pryda Snare&quot;, as famously used by Eric Prydz in &quot;Miami To Atlanta&quot;. YouTube presents possible paths to achieve such a result: https://www.youtube.com/results?search_query=pryda+snare&amp;search=Search&#xD;&#xA;&#xD;&#xA;Broader then this, there is tremendous power in being able to control reverb tails after drum hits. Part of this harkens back to gated reverbs as famously used in the 80s by Phil Collins and others. I encourage you to read more on the history to understand it evolved into the sound we have today." ContentLicense="CC BY-SA 3.0" />
  <row Id="56515" PostHistoryTypeId="2" PostId="29863" RevisionGUID="a0729599-31bf-4f91-919a-85cbb8fc4b4e" CreationDate="2014-07-19T12:35:01.483" UserId="9617" Text="Does converting an mp3 format audio file to m4a format makes audio quality better ?&#xA;I was just wondering if mp3 is lossy. How it can generate lossless m4a file after conversion.&#xA;I know mp3 can be converted to m4a but will this m4a file will give the same audio quality as compared to an originally created m4a file." ContentLicense="CC BY-SA 3.0" />
  <row Id="56516" PostHistoryTypeId="1" PostId="29863" RevisionGUID="a0729599-31bf-4f91-919a-85cbb8fc4b4e" CreationDate="2014-07-19T12:35:01.483" UserId="9617" Text="Does converting an mp3 format audio file to m4a format makes audio quality better ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56517" PostHistoryTypeId="3" PostId="29863" RevisionGUID="a0729599-31bf-4f91-919a-85cbb8fc4b4e" CreationDate="2014-07-19T12:35:01.483" UserId="9617" Text="&lt;mp3&gt;&lt;compression&gt;&lt;sound-quality&gt;&lt;compatibility&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56518" PostHistoryTypeId="2" PostId="29864" RevisionGUID="7850be93-3670-4df7-9532-4d696ee1cb8e" CreationDate="2014-07-19T12:47:31.797" UserId="7094" Text="No. Once lossy formats are encoded, any data not saved within the file is lost. You could convert a lossy MP3 to a WAV or an M4A file but the quality of the WAV or M4A would be exactly the same as the original MP3." ContentLicense="CC BY-SA 3.0" />
  <row Id="56519" PostHistoryTypeId="2" PostId="29865" RevisionGUID="d6aa6e2d-f282-4939-aec4-a7a10a3f5a69" CreationDate="2014-07-19T13:08:56.687" UserId="6425" Text="It might be that you loose even more quality due to another file compression algorithm." ContentLicense="CC BY-SA 3.0" />
  <row Id="56520" PostHistoryTypeId="5" PostId="29861" RevisionGUID="bd6d08e0-6415-4668-8060-bc9ab0471b6a" CreationDate="2014-07-19T17:48:49.230" UserId="8017" Comment="added 144 characters in body" Text="Yes, that's essentially correct. The recipe for effecting is simple: add a lot of reverb and compression to even out the overall volume — and at times, a reversed copy to make it suck/whoosh backwards.&#xD;&#xA;&#xD;&#xA;This is known as a variation of the &quot;Pryda Snare&quot;, as famously used by Eric Prydz in &quot;Miami To Atlanta&quot;. YouTube presents possible paths to achieve such a result: https://www.youtube.com/results?search_query=pryda+snare&amp;search=Search&#xD;&#xA;&#xD;&#xA;Broader then this, there is tremendous power in being able to control reverb tails after drum hits. Part of this harkens back to gated reverbs as famously used in the 80s by Phil Collins and others. I encourage you to read more on the history to understand it evolved into the sound we have today.&#xD;&#xA;&#xD;&#xA;EDIT: To whoever downvoted the original post, I am curious as to why. Is it because you don't like the sound, since it's an integral part of popular EDM?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56521" PostHistoryTypeId="2" PostId="29866" RevisionGUID="b100eb0b-b3da-4438-b7de-dabbbdf17f00" CreationDate="2014-07-19T17:51:38.517" UserId="8017" Text="I think it's important to understand: Rakesh, what is your motivation for converting? Also, within M4A, are you specifically referring to http://en.wikipedia.org/wiki/Apple_Lossless ?&#xD;&#xA;&#xD;&#xA;Clarifying this will help with useful answers." ContentLicense="CC BY-SA 3.0" />
  <row Id="56526" PostHistoryTypeId="2" PostId="29868" RevisionGUID="1a49b617-9535-41e1-9075-e161a28450bb" CreationDate="2014-07-19T20:53:26.030" UserId="842" Text="As such, I would never mix effects on the sides but nothing in center, and I normally place most effects, and here I'm talking about straight in-frame effects, pretty much centered, with only reverbations in the sides and rear. Unless it's panned. Then it's still mono plus acoustics, but panned. On certain rather big things though, like close ups to trains, big machines, and even gargantuan animals, I use the full front. But never just the sides.&#xD;&#xA;That is not strictly true though. The center needs something for the entire soundscape to sound right, not counting ambiances (opinion differs there), but it doesn't necessarily have to be equal loudness or higher. By experimenting here you can get a clearer and more prominent dialogue for example. Like everything in sound design, and virtually anything creative, period, this is something that has to be used with good judgement and carefulness." ContentLicense="CC BY-SA 3.0" />
  <row Id="56536" PostHistoryTypeId="2" PostId="29871" RevisionGUID="44c38b4c-1df0-4c6e-a507-b8de09541101" CreationDate="2014-07-20T02:40:36.203" UserId="8201" Text="http://stackoverflow.com/questions/24712254/how-to-mix-down-2-audio-file-into-one-programmatically-on-mac&#xD;&#xA;&#xD;&#xA;First install Homebrew, then you can install ffmpeg or sox.&#xD;&#xA;After that, a little shell script or automator script will help you to do the batch job.&#xD;&#xA;&#xD;&#xA;To control the repeat interval and volume, simply add some silence to your watermark and adjust the volume." ContentLicense="CC BY-SA 3.0" />
  <row Id="56538" PostHistoryTypeId="2" PostId="29872" RevisionGUID="4b40b328-3a71-4690-af2c-95002aa126f4" CreationDate="2014-07-20T10:42:10.637" UserId="842" Text="Talking to schizophrenics for advice how it sounds won't necessarily do you much good as we're not talking something like an LSD-trip or such here, we're talking a state that appears totally natural to the senses of the one suffering it, and this differs from person to person, as well as there are rarely dronings or similar sounds present. With rarely I mean that it does happen in severe cases, but they will be too personal to generalize.&#xD;&#xA;I've known several people with schizophrenia through the years, and they all had different things to describe about their state, but I did also once in my early twenties accidentally put myself in a similar state by staying awake from somewhere between 8 and 9 days straight.&#xD;&#xA;Though extreme sleep deprivation causes something more related to psychosis, movies often mix up psychosis with schizophrenia to the point that most people can't really tell the difference, and how extreme mental illness is depicted in film often crossover the two states. &#xD;&#xA;&#xD;&#xA;There are two aspects of tackling this problem: Psychotic sensory - Which often seems to appear less natural to the one suffering from it, more dream-like, and narratively - An interpretive way of depicting what's on-screen but doesn't originate from reality, but being an un-diegetic invented narrative to the scene. Like woosches, music and such.&#xD;&#xA;&#xD;&#xA;The dreamy part is easy - when you think about it, how did you feel and experience the last dream you had? How did you experience the sounds and colours? I'm working on a project right now that is supposed to feel like a 2h long dream, and there are much for anyone to learn by just analyzing their own dreams, but in addition to that, after nearly a week and a half of being awake I began to hear someone insulting me. Severely. The words was something I'd get banned permanently for from the entire interwebz and all he moderators collectively burning my computer to ashes....still, there was never any words. I understood them completely, but they wasn't there. They had no direction, but I followed them successfully to my coffee-cup in the kitchen. I was wide awake, but I was dreaming. And like in dreams, there was only the flat here and now, no details, no dimension, no background, only the apartment that existed but never was. The best way to depict something like this is to off everything in moderation, like slowing down things, replacing them with other components that doesn't quite jive, and, most prominently, use a heavy unhealthy dose of EQ. A dreamy sound have substance but have no core. The gut-ripping scene in The Cell is a marvelous example, but regretfully this is also really really hard to get right. Removing these frequencies from the human voice for example might very well make it disappear completely from the mix on no-so-great sound-systems, killing the effect completely.&#xD;&#xA;&#xD;&#xA;Those were a lot of words, I know, but I'm afraid there is only so much you can do by using these techniques, using it correctly might very well turn the scene into something more than what it should be and must therefore be used in moderation. Narrative sound design though is not used to recreate reality, but the feeling. It's not used to tell WHAT the character fells, but HOW it feels. Here - used in the same way as music - heavy dissonance, dronings, unreal effects, the works, can be used to depict the feeling of inner chaos, maybe insecurity, and a warped mind. The lead word here is &quot;Inharmonic&quot;. Also &quot;Don't drown everything else (unless you have a reason to) and don't over-do it, this isn't diegetic mind you...&quot;. Forget the usual cliche about low bass-tones - bass can be used for calming as well as distress, what makes it threatening is mimicking snarls and growls, which isn't based in low bass but in the lower mid, and also rich in sometimes slightly dissonant overtones. Another good component is rhythmic sounds without rhythm, played in the sweet-spot pace were they're not too slow to keep consistency, and not so fast that they make a random rain-pattern and becomes more of a carpet of sound. Yet another extremely useful component is human voices, mainly whispers, and animal sounds, all heavily processed to remove them from diegesis and not attracting too much attention to themselves.&#xD;&#xA;&#xD;&#xA;One thing is perhaps the most important of all though - never forget that a personal state of mental distress and disarray is a heavily personal state - make the character live &gt;IN&lt; the world. There is no front or back from this, there is only here and in the middle of it all, and there is no order, only chaos. Have something everywhere over the entire soundfield, have extreme pannings, have interaction and indifference at the same time...but do not have substance nor presence - this isn't real nor even what the sufferer actually experiences, only feels." ContentLicense="CC BY-SA 3.0" />
  <row Id="56548" PostHistoryTypeId="2" PostId="29875" RevisionGUID="3556c077-a64a-460b-8cbc-06d7ee1dd357" CreationDate="2014-07-21T11:54:36.040" UserId="6432" Text="I've got a stereo pair of JrF hydrophones which I've not used very much, other than just testing them out around the house. I'm planning a trip to the coast in a week or so and want to give them a further test by recording some sounds of the sea. The geography of the area is quite rocky, so there are lots of interesting rock pools etc which I anticipate may be good to record in. Pembrokeshire, to be precise. &#xD;&#xA;&#xD;&#xA;Now the thing I'm trying to suss out is how best to do this. The water is of course tidal, and although I'm obviously not going to go near any spots with very powerful movements, there will still be some movement of the hydrophones in the water. To record in tight areas (where they may collide with the bank or bottom) and to get the most water movement over the hydrophones, should I anchor them in some way? I'm imagining something like a pole with two clamps on, holding them in a spaced omni type configuration. Does anybody do this? If it's a good idea, can I do it safely without damaging the JrF phones? I'm conscious of not wanting to damage the rubber sealant. &#xD;&#xA;&#xD;&#xA;I understand that this will create a different type of recording to if they are free floating and that there is potential in that technique too. I've just not found much info on stereo techniques, but watching the video about the amazing [ambient surround rig][1] got me thinking about this.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ambient.de/en/products/ambient-recording/underwater/uw-surround.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="56549" PostHistoryTypeId="1" PostId="29875" RevisionGUID="3556c077-a64a-460b-8cbc-06d7ee1dd357" CreationDate="2014-07-21T11:54:36.040" UserId="6432" Text="Stereo Hydrophone Technique" ContentLicense="CC BY-SA 3.0" />
  <row Id="56550" PostHistoryTypeId="3" PostId="29875" RevisionGUID="3556c077-a64a-460b-8cbc-06d7ee1dd357" CreationDate="2014-07-21T11:54:36.040" UserId="6432" Text="&lt;recording&gt;&lt;underwater&gt;&lt;hydrophone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56551" PostHistoryTypeId="5" PostId="29875" RevisionGUID="24230930-fb66-42e1-959c-5301edae7ff2" CreationDate="2014-07-21T12:28:55.523" UserId="6432" Comment="added 93 characters in body" Text="I've got a stereo pair of JrF hydrophones which I've not used very much, other than just testing them out around the house. I'm planning a trip to the coast in a week or so and want to give them a further test by recording some sounds of the sea. The geography of the area is quite rocky, so there are lots of interesting rock pools etc which I anticipate may be good to record in. Pembrokeshire, to be precise. &#xD;&#xA;&#xD;&#xA;Now the thing I'm trying to suss out is how best to do this. The water is of course tidal, and although I'm obviously not going to go near any spots with very powerful movements, there will still be some movement of the hydrophones in the water. To record in tight areas (where they may collide with the bank or bottom) and to get the most water movement over the hydrophones, should I anchor them in some way? I'm imagining something like a pole with two clamps on, holding them in a spaced omni type configuration. Does anybody do this? If it's a good idea, can I do it safely without damaging the JrF phones? I'm conscious of not wanting to damage the rubber sealant. &#xD;&#xA;&#xD;&#xA;I understand that this will create a different type of recording to if they are free floating and that there is potential in that technique too. I've just not found much info on stereo techniques, but watching the video about the amazing [ambient surround rig][1] got me thinking about this.&#xD;&#xA;&#xD;&#xA;Terrain:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.ambient.de/en/products/ambient-recording/underwater/uw-surround.html&#xD;&#xA;  [2]: http://i.stack.imgur.com/FwrGO.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="56552" PostHistoryTypeId="2" PostId="29876" RevisionGUID="f9d6cb8d-7b78-4cef-9249-e47211afc58c" CreationDate="2014-07-21T14:49:01.500" UserDisplayName="user7731" Text="I've done limited stereo recordings with the same hydrophones. I wish I had more of a solution for you but in short it sounds like you are on the right track for a successful operation. &#xD;&#xA;&#xD;&#xA;I had trouble with the mics bumping into each other and into the bottom because I was recording in the surf.  I ended up having to keep the two mics spread far enough apart so that they did not bump each other and in the middle of the water column so they were off the bottom. As you know they are very sensitive.  The rubber casing seems very durable however.&#xD;&#xA;&#xD;&#xA;Next time I do something like that again I'm thinking of constructing something similar to what you are describing and using beach fishing weights &quot;spider weights&quot; and attaching the mics to crabbing line. I haven't completed my method on this but basically looking to build a rig that can be dropped into water in the surf or off the side of a boat.  Some sort of stereo bar may be needed to keep the separate and consistently spaced.  Come to think of it a basic crab trap or basket may work for my uses as the bottom is typically pure sand where Im recording. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56554" PostHistoryTypeId="6" PostId="29875" RevisionGUID="b2b2d899-09aa-4744-87fe-d07e7cc6fe5e" CreationDate="2014-07-21T17:53:01.283" UserId="6432" Comment="edited tags" Text="&lt;recording&gt;&lt;microphone-technique&gt;&lt;underwater&gt;&lt;hydrophone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56555" PostHistoryTypeId="2" PostId="29877" RevisionGUID="d877004f-026d-4a75-8d3d-d36549a847e4" CreationDate="2014-07-22T07:58:40.647" UserId="9526" Text="My friend made fur covers for his drums and I had some leftovers to make windshield for my DR-100. It works nice with a light breeze but I think the material is too light for heavier wind. Making one of these won't cost much so it's definitely worth trying :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="56557" PostHistoryTypeId="2" PostId="29879" RevisionGUID="9d3609f6-4df2-492b-a9c0-ccd771b0c8c1" CreationDate="2014-07-22T14:28:43.730" UserId="6499" Text="Just as the title says.  I am trying to find out some additional information about the Sound Collectors Club, but on the website there is not a single point of contact listed that I could find.&#xD;&#xA;&#xD;&#xA;The main thing I want to know is if I join and contribute to the current theme, I know I then get access to that theme.  Am I able to get access to previous/older themes by contributing to those after the fact?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56558" PostHistoryTypeId="1" PostId="29879" RevisionGUID="9d3609f6-4df2-492b-a9c0-ccd771b0c8c1" CreationDate="2014-07-22T14:28:43.730" UserId="6499" Text="Looking for an email or contact for the Sound Collectors Club" ContentLicense="CC BY-SA 3.0" />
  <row Id="56559" PostHistoryTypeId="3" PostId="29879" RevisionGUID="9d3609f6-4df2-492b-a9c0-ccd771b0c8c1" CreationDate="2014-07-22T14:28:43.730" UserId="6499" Text="&lt;sfx&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56561" PostHistoryTypeId="2" PostId="29880" RevisionGUID="dfc1ea29-d108-46bc-8023-194ab39eba11" CreationDate="2014-07-22T14:46:54.207" UserId="7174" Text="Based on their [About page][1]:&#xD;&#xA;&#xD;&#xA;&gt; Just copy the file(s) into that folder then I’ll check your recording&#xD;&#xA;&gt; and move it to the appropriate theme folder (e.g. ‘Dog Barks’) then&#xD;&#xA;&gt; I’ll invite you to join that folder.  When you accept, the entire ‘Dog&#xD;&#xA;&gt; Barks’ folder will sync to your Google Drive – the more themes you&#xD;&#xA;&gt; contribute to, the bigger collection of folders you get on your&#xD;&#xA;&gt; desktop.&#xD;&#xA;&#xD;&#xA;It appears that you can contribute to any category you want and then get access to that category.&#xD;&#xA;&#xD;&#xA;He also points out his contact information there:&#xD;&#xA;&#xD;&#xA;&gt; I’m pretty sure that this is a watertight description of what to do&#xD;&#xA;&gt; but if you’re having any issues please feel free to contact me at&#xD;&#xA;&gt; michael@thesoundcollectorsclub.com and I’ll guide you through it.&#xD;&#xA;&#xD;&#xA;  [1]: http://thesoundcollectorsclub.com/about/how-to-upload-your-sounds-to-the-club/" ContentLicense="CC BY-SA 3.0" />
  <row Id="56565" PostHistoryTypeId="2" PostId="29882" RevisionGUID="6774a2ad-4643-4e24-a1f0-b22b07d27ad5" CreationDate="2014-07-22T15:46:23.140" UserId="7850" Text="It is mathematically impossible to improve any digital audio stream to a &quot;Better Quality&quot; by a simple conversion to said file type. A poor quality mp3 can be &quot;converted&quot; to any format you like but the poor quality will remain and, as mentioned, you may even lose a bit in the conversion. &#xD;&#xA;&#xD;&#xA;There seems to be some misconceptions floating around out there about stepping up quality as many programs allow you to import lossy or low quality audio into a workspace that may be set at a high quality/resolution. That being said the lossy or low quality audio does not get any &quot;better&quot; in doing so. The fundamental problem is that you cant insert samples into a track. you can estimate them (although aliasing can be an issue) but you can't fundamentally insert them. " ContentLicense="CC BY-SA 3.0" />
  <row Id="56566" PostHistoryTypeId="2" PostId="29883" RevisionGUID="955ff05b-bc96-4fa7-915e-bb62580a3d6e" CreationDate="2014-07-22T16:12:05.583" UserId="7850" Text="The more important question here is why are you not doing this is what ever software you are using? &#xD;&#xA;&#xD;&#xA;But in response to the question at hand... &#xD;&#xA;&#xD;&#xA;As for tape decks the older Tascam 8 track and 2 track machines (at least the ones I have) do have a speed control but it is in the form of a pitch + or - selector with no units. There is no direct indication of how much it speeds the deck up on playback. In terms of slower speed you can always put your finger on the reel to create drag and slow the deck down as much as you like. As for speeding it up that would be tough if you want to go higher than the speed the pitch knob offers. Off the top of my head I cant think of how to do this with out hacking into the electronics. You could try to hit the fast forward button and apply some drag to the reel to get the speed you want but be warned, I have no idea what this will do to the deck. The motors in these decks are fragile and may not stand up to this kind of playing around. For what its worth tape deck companies spent a lot of time, effort, and money making sure that the deck always spun at the same speed (to ensure repeatable playback).&#xD;&#xA;&#xD;&#xA;On a side note, tape for these decks is getting super expensive as companies are stoping production of it. You can find a used 2 track or 8 track reel to reel easily for a few hundred bucks on ebay but they are VERY heavy and I imagine difficult to ship. You may be able to get old tapes for them cheap as well but the tape wears out over time and has a very real very present recording lifetime. The old tapes also have a nasty habit of disintegrating onto the record/playback heads and gumming them up. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Another option is early tape based digital delay units. Before digital delay was invented delay units used a small loop of tape that would have a record head separated from a playback head by a small distance. A loop of tape was then placed over them and the signal put on the tape and then played back a bit further down the line. I dont remember if you moved the head or changed the speed of the tape to change the delay time. You maybe able to modify one of these units to play back a sample at higher or lower speeds if you hack into the circuitry a bit. Keep in mind these units are sought after an may show a premium in their price. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56573" PostHistoryTypeId="2" PostId="29886" RevisionGUID="dd3777de-4ad8-42bf-b6fc-c42ca2fd6d0f" CreationDate="2014-07-23T03:12:28.197" UserId="9637" Text="I've currently found a nice set of Guitar impulses that I'd like to starting getting in to, unfortunately they all require the [TSE x30][1] on default settings. As I'm on a Mac, I can't get this specific VST loaded. &#xD;&#xA;&#xD;&#xA;Would anyone have an alternative for that sound but on a Mac? Podfarm, Guitar Rig, Amplitube, or even something else, I'm willing to work with anything if it means matching the sound, Thanks in advance. :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tseaudio.com/software/tseX30" ContentLicense="CC BY-SA 3.0" />
  <row Id="56574" PostHistoryTypeId="1" PostId="29886" RevisionGUID="dd3777de-4ad8-42bf-b6fc-c42ca2fd6d0f" CreationDate="2014-07-23T03:12:28.197" UserId="9637" Text="VST alternative for TSE x30 Default Settings" ContentLicense="CC BY-SA 3.0" />
  <row Id="56575" PostHistoryTypeId="3" PostId="29886" RevisionGUID="dd3777de-4ad8-42bf-b6fc-c42ca2fd6d0f" CreationDate="2014-07-23T03:12:28.197" UserId="9637" Text="&lt;audio-recording&gt;&lt;vst&gt;&lt;distortion&gt;&lt;guitar&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56576" PostHistoryTypeId="2" PostId="29887" RevisionGUID="1de071ac-c620-40ca-9da7-d3b6d17d51fd" CreationDate="2014-07-23T04:09:15.957" UserId="8353" Text="I've read in forums that people have reverb busses (around 3-5) to send dx-fx-mx to. Is this per food group (3 for DX, 3 for FX, etc..) or for everything since you want the DX and FX to be in the same room?&#xD;&#xA;&#xD;&#xA;I ask this because I've had problems before because I needed to bounce elements of a whole film -- DX, FX, MX. I wanted to be able to bounce them all at once via routing but since my reverbs are shared by DX and FX, my M&amp;E is all messed up. I resorted to bouncing them one by one, (making all other food groups inactive) instead of being able to bounce all elements at the same time. But this took a lot of time." ContentLicense="CC BY-SA 3.0" />
  <row Id="56577" PostHistoryTypeId="1" PostId="29887" RevisionGUID="1de071ac-c620-40ca-9da7-d3b6d17d51fd" CreationDate="2014-07-23T04:09:15.957" UserId="8353" Text="Reverb bus workflow for features (and bouncing DX+M&amp;E)" ContentLicense="CC BY-SA 3.0" />
  <row Id="56578" PostHistoryTypeId="3" PostId="29887" RevisionGUID="1de071ac-c620-40ca-9da7-d3b6d17d51fd" CreationDate="2014-07-23T04:09:15.957" UserId="8353" Text="&lt;reverb&gt;&lt;me&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56579" PostHistoryTypeId="2" PostId="29888" RevisionGUID="9d2270a2-5ab4-4d41-86b2-8df00f7dbbdc" CreationDate="2014-07-23T04:31:39.913" UserId="6399" Text="I will have multiple reverbs with the same setting routed accordingly if I need a room for more than 1 group.  Otherwise it stops you from printing  your mix and all the associated splits and deliverables in one pass." ContentLicense="CC BY-SA 3.0" />
  <row Id="56580" PostHistoryTypeId="2" PostId="29889" RevisionGUID="5f6da4f8-14ed-4f8d-8951-b669b1867698" CreationDate="2014-07-23T05:43:09.273" UserId="9639" Text="I'm a producer at a sound recording studio called We Love Jam in Sydney, Australia and we do this type of work all the time. I have to agree, hourly rate is the way to go and work back from there. Plus include the incidentals like WAV Masters, Archives, Stationery, Catering, etc. Whatever is potential expenditure. Hope this helps. Feel free to email me if you need to know more (bek@welovejam.com.au). &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56584" PostHistoryTypeId="5" PostId="29886" RevisionGUID="248cb0e0-7089-4e36-b8c9-f806d6f34c6d" CreationDate="2014-07-23T15:35:05.287" UserId="7174" Comment="added 45 characters in body" Text="I've currently found a nice set of Guitar impulses that I'd like to starting getting in to, unfortunately they all require the [TSE x30][1] on default settings. As I'm on a Mac, I can't get this specific VST loaded. &#xD;&#xA;&#xD;&#xA;How can I replicate this sound on my setup?  Would anyone have an alternative for that sound but on a Mac? Podfarm, Guitar Rig, Amplitube, or even something else, I'm willing to work with anything if it means matching the sound.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.tseaudio.com/software/tseX30" ContentLicense="CC BY-SA 3.0" />
  <row Id="56585" PostHistoryTypeId="5" PostId="29889" RevisionGUID="641120e8-1abc-475b-abdc-82969938a7c8" CreationDate="2014-07-23T15:40:10.133" UserId="7174" Comment="commenting on the answer will generate an e-mail and leave the details here so that others can also benefit." Text="I'm a producer at a sound recording studio called We Love Jam in Sydney, Australia and we do this type of work all the time. I have to agree, hourly rate is the way to go and work back from there. Plus include the incidentals like WAV Masters, Archives, Stationery, Catering, etc. Whatever is potential expenditure. Feel free to comment if you need further clarification.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56586" PostHistoryTypeId="2" PostId="29890" RevisionGUID="6c8fb3bc-2268-48fd-879e-2550231e4906" CreationDate="2014-07-23T16:02:27.360" UserId="9641" Text="I would like to slowly and smoothly pitch down or up a sound in the most easiest way." ContentLicense="CC BY-SA 3.0" />
  <row Id="56587" PostHistoryTypeId="1" PostId="29890" RevisionGUID="6c8fb3bc-2268-48fd-879e-2550231e4906" CreationDate="2014-07-23T16:02:27.360" UserId="9641" Text="Slowly pitch down/up a sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="56588" PostHistoryTypeId="3" PostId="29890" RevisionGUID="6c8fb3bc-2268-48fd-879e-2550231e4906" CreationDate="2014-07-23T16:02:27.360" UserId="9641" Text="&lt;pitch&gt;&lt;pitch-shifting&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56589" PostHistoryTypeId="2" PostId="29891" RevisionGUID="ba808d7d-eeb3-4c09-b9ee-ea7c98581aa9" CreationDate="2014-07-23T16:16:54.587" UserId="6680" Text="The easiest tool would be probably be [Audacity][1]. It's free, and has a sliding time/pitch effect.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://audacity.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="56590" PostHistoryTypeId="2" PostId="29892" RevisionGUID="f094b274-3047-49a9-92af-50c9e9807759" CreationDate="2014-07-23T17:37:57.700" UserDisplayName="user7731" Text="serato pitch n time would do it.  you can draw the pitch curve" ContentLicense="CC BY-SA 3.0" />
  <row Id="56591" PostHistoryTypeId="10" PostId="29890" RevisionGUID="e32309ad-fbeb-4e43-8869-024f8200f01a" CreationDate="2014-07-23T18:17:13.183" UserId="7174" Comment="103" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="56593" PostHistoryTypeId="2" PostId="29894" RevisionGUID="5dc4c981-464f-456d-945e-b274989313fb" CreationDate="2014-07-24T00:40:20.443" UserId="9643" Text="I referred to this Q&amp;A, but I'm still confused:&#xD;&#xA;http://sound.stackexchange.com/questions/25577/stereo-and-mono-cables-and-jacks-what-happens-when-you-cross-them&#xD;&#xA;&#xD;&#xA;I have this wireless lav set:&#xD;&#xA;http://www.amazon.com/Sennheiser-EW-112P-G3-A-omni-directional/dp/B002CWQTXG/ref=pd_sxp_grid_pt_0_2&#xD;&#xA;&#xD;&#xA;I'm wanting to use the transmitter to transmit an aux from a mixing console and use the receiver to plug my headphones into. I want the mono signal to go to both sides of my headphones (plugging stereo plug into mono jack).&#xD;&#xA;&#xD;&#xA;How do I achieve this?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56594" PostHistoryTypeId="1" PostId="29894" RevisionGUID="5dc4c981-464f-456d-945e-b274989313fb" CreationDate="2014-07-24T00:40:20.443" UserId="9643" Text="Headphones plugged into mono jack -- need audio in both sides" ContentLicense="CC BY-SA 3.0" />
  <row Id="56595" PostHistoryTypeId="3" PostId="29894" RevisionGUID="5dc4c981-464f-456d-945e-b274989313fb" CreationDate="2014-07-24T00:40:20.443" UserId="9643" Text="&lt;stereo&gt;&lt;headphones&gt;&lt;live&gt;&lt;monitoring&gt;&lt;mono&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56596" PostHistoryTypeId="2" PostId="29895" RevisionGUID="c1971f4a-2715-469f-9be6-8dfc70077f30" CreationDate="2014-07-24T01:18:24.023" UserId="9642" Text="http://www.soundonsound.com/ has an archive of before and after files for a wide range of instruments and voices in their mix rescue section&#xD;&#xA;&#xD;&#xA;There are also forums where persons give stems foe a mix and others uopload their mixes . You can learn a lot from that experience " ContentLicense="CC BY-SA 3.0" />
  <row Id="56599" PostHistoryTypeId="2" PostId="29898" RevisionGUID="7158d674-dedb-4496-8195-201ec9ccb075" CreationDate="2014-07-24T03:02:20.083" UserId="7850" Text="You have a few options, &#xD;&#xA;&#xD;&#xA;1) you can buy a 1/8 or 1/4 inch headphone jack and short the L R connections together since (in an unbalanced situation (most regular headphones)) they share a common ground. Keep in mind you will be driving twice the load from the same source which will effect the output.    &#xD;&#xA;&#xD;&#xA;2) You can buy a headphone amplifier that has a mono input function. Just look around they are out there. If you are talking about the signal from line out of the receiver you will need a headphone amp anyway. &#xD;&#xA;&#xD;&#xA;3) You can try and sell/trade the system for a wireless monitoring system designed for this task. &#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="56602" PostHistoryTypeId="19" PostId="22714" RevisionGUID="bf8728fe-bf93-4016-a58b-da57a4cf2e56" CreationDate="2014-07-24T12:23:54.753" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="56603" PostHistoryTypeId="2" PostId="29899" RevisionGUID="28bad901-e901-4d32-b0e8-e604758e81e1" CreationDate="2014-07-24T14:09:52.660" UserDisplayName="user6513" Text="Sennheiser actually has a G3 receiver with a monitor output. That model is generally what we would use if we wanted to do a wireless monitoring feed. Barr that model, you will have to use a 1/8 mono male to 1/8 stereo female adaptor to listen on both sides of your earphones.&#xD;&#xA;&#xD;&#xA;It will sound ugly and pretty crap for the reason explained above by user16230." ContentLicense="CC BY-SA 3.0" />
  <row Id="56615" PostHistoryTypeId="2" PostId="29901" RevisionGUID="2b97f038-48b3-466f-aa97-85b9512a42a6" CreationDate="2014-07-24T15:13:25.750" UserId="7174" Text="As other's have said, what you are trying to do is a bad idea.  You are using a mobile, battery powered transmitter at a fixed location and a line level receiver that is designed to be used at a fixed location for the part of the system that should really be the mobile part.&#xD;&#xA;&#xD;&#xA;The system is only designed to send a mono feed and since the receiver most likely outputs line level signal, it isn't going to match up well with the impedance of your headphones without going through a headphone amplifier first.&#xD;&#xA;&#xD;&#xA;A cheap wireless monitoring systems doesn't cost that much and they are specifically designed for your use case.  Don't try and hack around it.  Even a cheap wireless monitor set is going to sound way better and be far easier to use than the setup you are attempting to hack together." ContentLicense="CC BY-SA 3.0" />
  <row Id="56616" PostHistoryTypeId="4" PostId="29894" RevisionGUID="b5ce3a42-8231-423c-80a8-52aff982719f" CreationDate="2014-07-24T15:15:21.033" UserId="7174" Comment="edited title" Text="How can I use the output of a wireless mic reciever as a wireless monitor and get audio on both sides of my headphones?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56619" PostHistoryTypeId="2" PostId="29902" RevisionGUID="891e0d9d-b762-4cb0-995b-afcef80e6881" CreationDate="2014-07-24T18:45:55.840" UserId="9648" Text="I am looking into replacing some consumer stereo speakers with proper studio monitors for my home studio. I understand that studio monitors have a neutral, flat response whereas consumer speakers introduce variations in frequency response designed to be more *acoustically appealing,* for lack of a better term.&#xD;&#xA;&#xD;&#xA;I understand that studio monitors are available in various sizes for different volume levels, placements and budgets. But within a similar range by different manufacturers, how do you judge the quality of manufacturer A vs manufacturer B? If they sound flat, shouldn't they sound the same? Are you evaluating which is the *most* flat?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56620" PostHistoryTypeId="1" PostId="29902" RevisionGUID="891e0d9d-b762-4cb0-995b-afcef80e6881" CreationDate="2014-07-24T18:45:55.840" UserId="9648" Text="If studio monitors have flat response, what makes some better than others?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56621" PostHistoryTypeId="3" PostId="29902" RevisionGUID="891e0d9d-b762-4cb0-995b-afcef80e6881" CreationDate="2014-07-24T18:45:55.840" UserId="9648" Text="&lt;studio-monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56622" PostHistoryTypeId="2" PostId="29903" RevisionGUID="4f789322-a738-4bc8-948e-66def2a56cc6" CreationDate="2014-07-24T19:00:48.120" UserId="9648" Text="I have always used MIDI-based controllers (Roland A-37) and synthesizers (Korg Triton Rack, etc.). I am thinking about adding a new controller, but I'm not sure if I should pursue or avoid a USB-only controller. Other than controlling other MIDI-only gear, which I probably won't do, is there any reason to require MIDI capability on a new controller? It will only be used in the home studio and be connected to the computer for DAW use." ContentLicense="CC BY-SA 3.0" />
  <row Id="56623" PostHistoryTypeId="1" PostId="29903" RevisionGUID="4f789322-a738-4bc8-948e-66def2a56cc6" CreationDate="2014-07-24T19:00:48.120" UserId="9648" Text="MIDI vs USB keyboard controllers" ContentLicense="CC BY-SA 3.0" />
  <row Id="56624" PostHistoryTypeId="3" PostId="29903" RevisionGUID="4f789322-a738-4bc8-948e-66def2a56cc6" CreationDate="2014-07-24T19:00:48.120" UserId="9648" Text="&lt;midi&gt;&lt;usb&gt;&lt;controller&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56625" PostHistoryTypeId="2" PostId="29904" RevisionGUID="9d9cf4d4-a72f-4f8c-a386-795a07d11405" CreationDate="2014-07-24T19:02:02.693" UserId="6399" Text="I don't think you'll find many monitors that are truly flat.  Each brand and each set of monitors seems to have its own way it colors the sound.  Choosing a set of monitors is one of the more personal choices you can make for your studio.  Other things to take into account are the slew rate or how fast it reacts to frequency changes, transients etc.  Bass response can be very different depending on if it's a 2 way or 3 way design, if it's ported, if it's meant to be used with a sub.&#xD;&#xA;If at all possible I would recommend going to a store where you can listen to a range of different monitors with program material you are very familiar with.  You'll find a set of monitors that make you happy mixing on them and give you what you want as far as accuracy, being able to listen to them all day, imaging, frequency and transient response and that are made to work well in your room hopefully." ContentLicense="CC BY-SA 3.0" />
  <row Id="56626" PostHistoryTypeId="2" PostId="29905" RevisionGUID="c7d72a27-4acc-439a-b1eb-dedaee03bec7" CreationDate="2014-07-24T19:21:21.863" UserId="8353" Text="I have a scene where we had to ADR the actors for their dialogue in a car. What was crucial was that the scene involved the car going faster and faster and the passenger talking louder and louder. Wish there was a way I could keep the car sounds (at least the engine or progression of the speed of the car) intact without the dialogue. So when we do ADR, I would also have a clean &quot;car track&quot;. &#xD;&#xA;&#xD;&#xA;If I would sit in a pre-production meeting with a similar scene in the future, what would be good advice to tell them on where to rig extra mics? (that won't capture dialogue). I'm assuming this would be taped on the exterior or something?&#xD;&#xA;&#xD;&#xA;I'm not saying I wouldn't layer the tracks with sound fx, but it still a good track to build on even if we were to ADR.&#xD;&#xA;&#xD;&#xA;(I am a post engineer and have basic knowledge of production audio.)&#xD;&#xA;&#xD;&#xA;Thanks a bunch." ContentLicense="CC BY-SA 3.0" />
  <row Id="56627" PostHistoryTypeId="1" PostId="29905" RevisionGUID="c7d72a27-4acc-439a-b1eb-dedaee03bec7" CreationDate="2014-07-24T19:21:21.863" UserId="8353" Text="Mic-ing cars without capturing Dia" ContentLicense="CC BY-SA 3.0" />
  <row Id="56628" PostHistoryTypeId="3" PostId="29905" RevisionGUID="c7d72a27-4acc-439a-b1eb-dedaee03bec7" CreationDate="2014-07-24T19:21:21.863" UserId="8353" Text="&lt;cars&gt;&lt;engine&gt;&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56629" PostHistoryTypeId="2" PostId="29906" RevisionGUID="d933c58e-9219-40e6-b4c6-9bbfe786fadb" CreationDate="2014-07-24T20:11:01.257" UserId="7174" Text="Just because a monitor is flat at one particular target listening volume does not mean that it is either a) flat at all volumes or b) able to reproduce the same range of frequencies with the same dynamic range.&#xD;&#xA;&#xD;&#xA;One set of speakers may be able to keep a flat response across a range of volumes and simultaneously produce both clear, quite sounds while still producing rich loud sounds as well, where as another speaker may become a total mess at low volumes and completely lose quieter parts of the sound.&#xD;&#xA;&#xD;&#xA;In real world terms, imagine you are listening to a piano solo.  One set of speakers may be flat both when the playing is loud and when it gets quiet and you may still be able to hear the sound of the hammers hitting the strings if you listen closely where as another set of speakers may only be flat when the piano is playing full volume and lose the ability to make flat sound at low volume.  It may also not have the ability to render the subtle hammer strikes as it lacks the ability to move precisely enough while making the large movements associated with the larger sounds.&#xD;&#xA;&#xD;&#xA;Additionally, you have to consider the spread of the sound from the speaker, is it focused in one direction or sent out evenly across the speaker's cone.  Also, what is the actual build quality in how the speakers are made and how durable they are.  &#xD;&#xA;&#xD;&#xA;Basically, response curve is just one relatively minor and even correctable feature of a speaker.  You could take a consumer speaker and EQ it to a more or less flat response with a decent 31 band EQ.  There is far more factors to a good speaker design than that." ContentLicense="CC BY-SA 3.0" />
  <row Id="56630" PostHistoryTypeId="2" PostId="29907" RevisionGUID="062076bf-ceb4-4809-80b0-87fc6fdbaf97" CreationDate="2014-07-24T21:41:04.953" UserId="9650" Text="I have a Nikon D7000 and RØDE VideoMic Pro.&#xD;&#xA;&#xD;&#xA;The DSLR has only a jack for the microphone, but no second jack for the headphones, unlike Nikon D4. RØDE microphone has no jacks for a headphone either.&#xD;&#xA;&#xD;&#xA;Is there a device which will make it possible for me to hear the sound I'm recording while I record it, similarly to &quot;Monitor input during recording&quot; option in Adobe Soundbooth?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56631" PostHistoryTypeId="1" PostId="29907" RevisionGUID="062076bf-ceb4-4809-80b0-87fc6fdbaf97" CreationDate="2014-07-24T21:41:04.953" UserId="9650" Text="How can I hear the sound during recording with a simple DSLR?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56632" PostHistoryTypeId="3" PostId="29907" RevisionGUID="062076bf-ceb4-4809-80b0-87fc6fdbaf97" CreationDate="2014-07-24T21:41:04.953" UserId="9650" Text="&lt;audio-recording&gt;&lt;monitoring&gt;&lt;dslr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56633" PostHistoryTypeId="5" PostId="29904" RevisionGUID="63acbc54-4152-4c60-a424-5a9747b1dc36" CreationDate="2014-07-24T23:23:01.227" UserId="6399" Comment="added 187 characters in body" Text="I don't think you'll find many monitors that are truly flat.  Each brand and each set of monitors seems to have its own way it colors the sound.  Choosing a set of monitors is one of the more personal choices you can make for your studio.  Other things to take into account are the slew rate or how fast it reacts to frequency changes, transients etc.  Bass response can be very different depending on if it's a 2 way or 3 way design, if it's ported, if it's meant to be used with a sub.&#xD;&#xA;If at all possible I would recommend going to a store where you can listen to a range of different monitors with program material you are very familiar with.  You'll find a set of monitors that make you happy mixing on them and give you what you want as far as accuracy, being able to listen to them all day, imaging, frequency and transient response and that are made to work well in your room hopefully.&#xD;&#xA;edit: Another thing to think about is - How flat/ tuned is your room.  some people will obsess over +-2.5db in speaker response and put them in a room with +-16db of frequency response so even the flattest monitors aren't going to live up to their full potential in a situation like that." ContentLicense="CC BY-SA 3.0" />
  <row Id="56635" PostHistoryTypeId="2" PostId="29908" RevisionGUID="96e80592-0dbf-4425-a608-6239633b6130" CreationDate="2014-07-25T00:49:12.333" UserId="7194" Text="#No such thing as flat response&#xD;&#xA;&#xD;&#xA;There is no such thing as a speaker with a flat response - neither in theory nor in practice such speaker can be built.&#xD;&#xA;&#xD;&#xA;The term is often used like so:&#xD;&#xA;&#xD;&#xA;&gt;  Flat response, 60Hz - 20kHz, ± 5dB @ 100 dBSPL.&#xD;&#xA;&#xD;&#xA;Which means that within the frequency range given (60Hz - 20kHz), when test signal was played at the given level (100 dBSPL), no frequency was 5dB louder or softer from the given level.&#xD;&#xA;&#xD;&#xA;So 5dB is your 'error margin' and normally the lower the better (a figure of ±3dB is generally excellent, ±5dB considered good, ±10dB is little professional.&#xD;&#xA;&#xD;&#xA;#Consumer vs pro speakers&#xD;&#xA;&#xD;&#xA;What is 'correct' is that consumer speakers are built to please listeners, while pro speakers are (more often than not) built to be 'true'. In other words, consumer speakers are 'coloured', while pro speaker strive not to be such.&#xD;&#xA;&#xD;&#xA;A better 'flat' response is one criteria that pro manufactures try to improve. But there are many others - distortion levels, bass response, bass 'tightness' (for how long bass appears at the output, once no such exist in the input), efficiency, etc.&#xD;&#xA;&#xD;&#xA;Pro manufacturer typically invest a lot of research to improve the various criteria and often use original component, designs and materials. Consumer manufacturers often assemble ready-made components.&#xD;&#xA;&#xD;&#xA;#No way to compare&#xD;&#xA;&#xD;&#xA;The spec sheets provided by manufacturers are hardly a thing to consult - not only these are lacking accurate specifications, but much depends on the test conditions and measurements chosen - manufacturers can easily 'cheat' by presenting the best tests and it is impractical to give specs that cover all frequencies at all levels with a large variety of test signals.&#xD;&#xA;&#xD;&#xA;Anyhow, most people compare by ear. What is important to consider is that not all people work on the same type of music and thus there isn't 'one-speaker-fits-all'.&#xD;&#xA;&#xD;&#xA;My experience shows that people just get used to their speakers and you have to remember that enormous amount of songs where mixed on the Yamaha NS10s, which were never intended for professional use and by all means have rubbish specs and a non-impressive sound.&#xD;&#xA;&#xD;&#xA;#What to look for&#xD;&#xA;&#xD;&#xA;Although a matter of opinion, there are a few thing you may wish to look into:&#xD;&#xA;&#xD;&#xA; - **Are the speakers ported or sealed-enclosure** - sadly due to cost tradeoffs, there aren't as many sealed-enclosure monitors as there are ported ones. Sealed enclosure monitors generally produce a more accurate and tight bass response, but the price you pay is often less bass.&#xD;&#xA; - **Frequency range / 'flatness'** - the very measure shown above - how low the bass goes and what's the error margin (a higher error margin will also mean a lower frequency range; a 70Hz - 20kHz ± 5dB could be presented as 50Hz - 20kHz ± 10dB.&#xD;&#xA;&#xD;&#xA;#At the end of the day&#xD;&#xA;&#xD;&#xA; - The more speakers cost the better their quality should be.&#xD;&#xA; - You should make your decision based on listening to various monitors.&#xD;&#xA; - It doesn't matter much - people just get used to their pair." ContentLicense="CC BY-SA 3.0" />
  <row Id="56636" PostHistoryTypeId="5" PostId="29908" RevisionGUID="9bdbce4d-b7c4-4057-ac10-cf65661f41ac" CreationDate="2014-07-25T01:04:20.773" UserId="7194" Comment="added 36 characters in body" Text="#No such thing as flat response&#xD;&#xA;&#xD;&#xA;There is no such thing as a speaker with a flat response - neither in theory (maths) nor in practice (electronics + mechanics) such a speaker can be built.&#xD;&#xA;&#xD;&#xA;The term is often used like so:&#xD;&#xA;&#xD;&#xA;&gt;  Flat response, 60Hz - 20kHz, ± 5dB @ 100 dBSPL.&#xD;&#xA;&#xD;&#xA;Which means that within the frequency range given (60Hz - 20kHz), when test signal was played at the given level (100 dBSPL), no frequency was 5dB louder or softer from the given level.&#xD;&#xA;&#xD;&#xA;So 5dB is your 'error margin' and normally the lower the better (a figure of ±3dB is generally excellent, ±5dB considered good, ±10dB is little professional.&#xD;&#xA;&#xD;&#xA;#Consumer vs pro speakers&#xD;&#xA;&#xD;&#xA;What is 'correct' is that consumer speakers are built to please listeners, while pro speakers are (more often than not) built to be 'true'. In other words, consumer speakers are 'coloured', while pro speaker strive not to be such.&#xD;&#xA;&#xD;&#xA;A better 'flat' response is one criteria that pro manufactures try to improve. But there are many others - distortion levels, bass response, bass 'tightness' (for how long bass appears at the output, once no such exist in the input), efficiency, etc.&#xD;&#xA;&#xD;&#xA;Pro manufacturers typically invest a lot of research to improve the various criteria and often use original component, designs and materials. Consumer speakers are often an assembly of ready-made components highly tweaked for cost-impression.&#xD;&#xA;&#xD;&#xA;#No way to compare&#xD;&#xA;&#xD;&#xA;The spec sheets provided by manufacturers are hardly a thing to consult - not only these are lacking accurate specifications, but much depends on the test conditions and measurements chosen - manufacturers can easily 'cheat' by presenting the best tests and it is impractical to give specs that cover all frequencies at all levels with a large variety of test signals.&#xD;&#xA;&#xD;&#xA;Anyhow, most people compare by ear. What is important to consider is that not all people work on the same type of music and thus there isn't 'one-speaker-fits-all'.&#xD;&#xA;&#xD;&#xA;My experience shows that people just get used to their speakers and you have to remember that enormous amount of songs where mixed on the Yamaha NS10s, which were never intended for professional use and by all means have rubbish specs and a non-impressive sound.&#xD;&#xA;&#xD;&#xA;#What to look for&#xD;&#xA;&#xD;&#xA;Although a matter of opinion, there are a few thing you may wish to look into:&#xD;&#xA;&#xD;&#xA; - **Are the speakers ported or sealed-enclosure** - sadly due to cost tradeoffs, there aren't as many sealed-enclosure monitors as there are ported ones. Sealed enclosure monitors generally produce a more accurate and tight bass response, but the price you pay is often less bass.&#xD;&#xA; - **Frequency range / 'flatness'** - the very measure shown above - how low the bass goes and what's the error margin (a higher error margin will also mean a lower frequency range; a 70Hz - 20kHz ± 5dB could be presented as 50Hz - 20kHz ± 10dB.&#xD;&#xA;&#xD;&#xA;#At the end of the day&#xD;&#xA;&#xD;&#xA; - The more speakers cost the better their quality should be.&#xD;&#xA; - You should make your decision based on listening to various monitors.&#xD;&#xA; - It doesn't matter much - people just get used to their pair." ContentLicense="CC BY-SA 3.0" />
  <row Id="56639" PostHistoryTypeId="2" PostId="29910" RevisionGUID="0997bb2f-d1a8-41b8-b1dd-f5d59cb18c55" CreationDate="2014-07-25T06:22:35.650" UserId="9653" Text="Guys I have just connected a studio microphone to the phantom power which inturn is connected to the sound card (m audio) which is also in turn connected to my PC using a usb port. The problem am having is that when I record audio, I hear a hum noise. I don't want to fix the problem during mixing. I want my vocals to be recorded without any noise. Please someone help n guide me. Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="56640" PostHistoryTypeId="1" PostId="29910" RevisionGUID="0997bb2f-d1a8-41b8-b1dd-f5d59cb18c55" CreationDate="2014-07-25T06:22:35.650" UserId="9653" Text="hum noise when recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="56641" PostHistoryTypeId="3" PostId="29910" RevisionGUID="0997bb2f-d1a8-41b8-b1dd-f5d59cb18c55" CreationDate="2014-07-25T06:22:35.650" UserId="9653" Text="&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56643" PostHistoryTypeId="2" PostId="29912" RevisionGUID="72ca4308-2888-457b-bf5c-f3d7533adeba" CreationDate="2014-07-25T11:22:04.653" UserDisplayName="user80" Text="A mic in the engine bay and one on the exhaust would allow you to capture two of the main elements.  If you take an impulse response in side the car while it is stationary you will be able to worldise the dialogue and the dry engine and exhaust tracks to make them more believable." ContentLicense="CC BY-SA 3.0" />
  <row Id="56644" PostHistoryTypeId="2" PostId="29913" RevisionGUID="fa8120ba-942b-4631-ae0a-b032ce3c9c2b" CreationDate="2014-07-25T11:28:52.787" UserId="182" Text="If you add a couple of microphones under the hood and in the trunk as well as have a microphone near the interior camera position as a reference for the sound, you can filter and mix the engine channels and trunk channels until it sounds similar to the near-camera mic.&#xD;&#xA;If needed, put a mic in the wheel well or under the car for tire noise (put it in foam and tape off the foam completely to block dirt and direct wind. How the tape incluences the sound is not relevant in this case, as you'll be filtering the highs anyway) or behind the side mirrors (tricky) for wind and mix that in at higher speeds as well.&#xD;&#xA;&#xD;&#xA;To figure out the dampening of the sounds in the cabin, start with a gentle low pass filter.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56645" PostHistoryTypeId="5" PostId="29904" RevisionGUID="c33931a7-1626-45fa-a526-5a076e8c62a9" CreationDate="2014-07-25T12:58:12.783" UserId="7721" Comment="Fix paragraph breaks, and change many to any." Text="I don't think you'll find any monitors that are truly flat.  Each brand and each set of monitors seems to have its own way it colors the sound.  Choosing a set of monitors is one of the more personal choices you can make for your studio.  Other things to take into account are the slew rate or how fast it reacts to frequency changes, transients etc.  Bass response can be very different depending on if it's a 2 way or 3 way design, if it's ported, if it's meant to be used with a sub.&#xD;&#xA;&#xD;&#xA;If at all possible I would recommend going to a store where you can listen to a range of different monitors with program material you are very familiar with.  You'll find a set of monitors that make you happy mixing on them and give you what you want as far as accuracy, being able to listen to them all day, imaging, frequency and transient response and that are made to work well in your room hopefully.&#xD;&#xA;&#xD;&#xA;Another thing to think about is - How flat/ tuned is your room.  some people will obsess over +-2.5db in speaker response and put them in a room with +-16db of frequency response so even the flattest monitors aren't going to live up to their full potential in a situation like that." ContentLicense="CC BY-SA 3.0" />
  <row Id="56646" PostHistoryTypeId="24" PostId="29904" RevisionGUID="c33931a7-1626-45fa-a526-5a076e8c62a9" CreationDate="2014-07-25T12:58:12.783" Comment="Proposed by 7721 approved by 80, 842 edit id of 154" ContentLicense="CC BY-SA 3.0" />
  <row Id="56650" PostHistoryTypeId="2" PostId="29914" RevisionGUID="b9a125b1-a469-4f0e-bd6d-ef9873add884" CreationDate="2014-07-25T14:43:04.710" UserId="9655" Text="sounds like it might be that your input source is not set to your focusrite interface. double check your daw/system settings to make sure the correct input source is selected." ContentLicense="CC BY-SA 3.0" />
  <row Id="56651" PostHistoryTypeId="2" PostId="29915" RevisionGUID="54fae730-2dc5-4d48-9e68-fadcd8a5a4c5" CreationDate="2014-07-25T14:51:00.550" UserId="9655" Text="hum can come from a number of things. could be the mic cable, so try another one if you have one. Not sure what you mean by &quot;phantom power&quot;?!? Is that a stand-alone unit for the mic or a mixing desk or some other device or ??? How is it connected to the sound card? Try other cables there as well. Also, computers &amp; monitors can introduce hum, make sure everything is as far away as possible.&#xD;&#xA;&#xD;&#xA;Also, you should try and track down which piece is generating it by hooking up just the sound card and monitoring the input in your DAW. Then add the phantom power source, then the mic cable, then the mic. See what piece introduces the hum.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56653" PostHistoryTypeId="19" PostId="23252" RevisionGUID="a7005dae-2fec-4e1f-b9ca-35e0fef06d65" CreationDate="2014-07-25T15:03:13.633" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="56654" PostHistoryTypeId="2" PostId="29916" RevisionGUID="5d1be9c8-ec1e-4506-9a20-b3224442218d" CreationDate="2014-07-25T15:03:38.367" UserId="9655" Text="I've run into similar issues with laptops. Try running without the power supply plugged in." ContentLicense="CC BY-SA 3.0" />
  <row Id="56655" PostHistoryTypeId="5" PostId="29914" RevisionGUID="c3189419-ef1a-403d-86b7-d7686749b579" CreationDate="2014-07-25T15:22:45.237" UserId="1216" Comment="added extra explanation" Text="It sounds like your input source is not set to your focusrite interface. &#xD;&#xA;Perhaps you have selected your onboard microphone, that would explain the buzzing noise? &#xD;&#xA;Fan-noise can sound like that. &#xD;&#xA;Double check your daw/system settings to make sure the correct input source is selected." ContentLicense="CC BY-SA 3.0" />
  <row Id="56656" PostHistoryTypeId="4" PostId="29905" RevisionGUID="0d3c8820-6f77-41c0-bb07-b384d8778909" CreationDate="2014-07-25T15:24:38.230" UserId="1216" Comment="grammar" Text="Mic-ing cars without capturing Dialogue" ContentLicense="CC BY-SA 3.0" />
  <row Id="56657" PostHistoryTypeId="2" PostId="29917" RevisionGUID="56c7f0e9-657f-4ec8-a5b5-6ec89b9d5a8d" CreationDate="2014-07-25T15:39:09.113" UserId="7174" Text="From cheapest (really poor quality) to best.  The main options I can think of is a) hacking headphones in to the RCA connector from the video out port.  The signal type on the white and red RCA jacks for the A/V cable can be fed in to headphones, but there will not be a volume adjustment, the impedance will mismatch and the quality will be pretty bad as it is not designed to run headphones.&#xD;&#xA;&#xD;&#xA;The next best option is to use a battery powered headphone amplifier or preamp.  This will be within your budget, but is not the most effective use of your funds.  The headphone amp could accept the same A/V cable hookup and produce a proper signal designed for headphones, this is a lot of cost for what you are getting though, so it isn't all that great of an option.  The preamp option is kind of similar, but it would go between the microphone itself and the camera.  It would allow you to monitor the audio if you got a nice enough one, but is again overly expensive for what it offers you for your needs.&#xD;&#xA;&#xD;&#xA;The most expensive option, and also the best option if you are concerned about quality, is to use an external audio recorder, such as a Zoom h4n.  While an external audio recorder costs the most, it also offers far more advantages.  You get a wider range of input capabilities allowing for use of higher quality microphones.  You get better quality audio recording if you use the file directly off the audio recorder.  The down side is that you have to sync your audio in post production, but this is really not that hard to do and the quality and monitoring advantages are well worth it." ContentLicense="CC BY-SA 3.0" />
  <row Id="56658" PostHistoryTypeId="2" PostId="29918" RevisionGUID="a5419453-1ce7-4baf-a8b1-133fad78d5b9" CreationDate="2014-07-25T20:16:28.453" UserId="9642" Text="'Phantom power' is voltage provided along the microphone cable for microphones who need it. It is phanom because it does not affect regular[dynamic] microphones in any way.&#xD;&#xA;&#xD;&#xA;As above the cord is the first suspect.&#xD;&#xA;an ungrounded powwer supply can cause a ground loop so check the power supplies and better still keep all the connections  tied to one ground spot.&#xD;&#xA;&#xD;&#xA;Multiple grounding routes lead to voltage differences and current flow hence 'hum'" ContentLicense="CC BY-SA 3.0" />
  <row Id="56663" PostHistoryTypeId="2" PostId="29919" RevisionGUID="d76eee35-40a9-4b92-9920-21670a10c99e" CreationDate="2014-07-25T21:50:15.810" UserId="9613" Text="If you won't be using it on stage or with other MIDI gear apart from a computer, a USB only on your keyboard controller should be okay. (Personally I find the connection more stable)&#xA;&#xA;Modern PC's should allow you to route the MIDI signals to other USB-MIDI devices plugged into the PC within the OS or software. In my experience with Macs, you can do the routing with the Audio MIDI Setup utility to even route MIDI signals over IP. &#xA;&#xA;That being said, if you have any inkling that you'd want to use your controller in a setup without a PC, get one with regular MIDI ports (or one with both). " ContentLicense="CC BY-SA 3.0" />
  <row Id="56664" PostHistoryTypeId="2" PostId="29920" RevisionGUID="ca487528-ab0a-48f3-931c-58f443e75378" CreationDate="2014-07-26T00:01:38.640" UserId="9656" Text="These are very different devices that ultimately do the same thing. &#xD;&#xA;I am a documentary photographer/film maker and I also have a hobby of making field recordings. &#xD;&#xA;&#xD;&#xA;I currently have a Roland R-26 previously a PCM-D50. The R26 offers me 6 channels and two XLR's. &#xD;&#xA;&#xD;&#xA;My current line of thinking is that the D100 is insanely high quality for inbuilt mics, and I could also use my Lav with it. And the 633 is almost everything that the D100 is but requires external mics and a larger bag. &#xD;&#xA;being a photographer means having a bag with cameras and lenses batteries etc, adding a D100 to that is nothing, but adding a 633 to that is additional batteries, mics, cables etc.. &#xD;&#xA;&#xD;&#xA;Im just not entirely sure which direction to go. &#xD;&#xA;&#xD;&#xA;Lets not talk about the cost factor because we all know how much these things cost and the difference between the two items. " ContentLicense="CC BY-SA 3.0" />
  <row Id="56665" PostHistoryTypeId="1" PostId="29920" RevisionGUID="ca487528-ab0a-48f3-931c-58f443e75378" CreationDate="2014-07-26T00:01:38.640" UserId="9656" Text="Sound Devices 633 or Sony PCM-D100" ContentLicense="CC BY-SA 3.0" />
  <row Id="56666" PostHistoryTypeId="3" PostId="29920" RevisionGUID="ca487528-ab0a-48f3-931c-58f443e75378" CreationDate="2014-07-26T00:01:38.640" UserId="9656" Text="&lt;sound-devices&gt;&lt;sony&gt;&lt;devices&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56667" PostHistoryTypeId="2" PostId="29921" RevisionGUID="5b11984c-b722-4c26-9f3c-0c38f128391d" CreationDate="2014-07-26T00:10:51.493" UserId="9656" Text="Yes indeed, my same question. A bit of research led me to this wonderful invention... One end into your mic port one end into your recorder and theres a feed line off out to your headphones. Its also an attenuator which drops the high signal output from your camera to the recorder. For $36 is really worth the investigation.&#xD;&#xA;go to b and h camera and type in the search box KOACH425MONR and you should have it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="56668" PostHistoryTypeId="2" PostId="29922" RevisionGUID="61575e4a-342e-4e45-8690-b910f03f9660" CreationDate="2014-07-26T00:13:04.977" UserId="9656" Text="Id look at contact mic's placed under the hood, otherwise the car's own internal will muffle the sound. " ContentLicense="CC BY-SA 3.0" />
  <row Id="56669" PostHistoryTypeId="2" PostId="29923" RevisionGUID="2fd2e7ee-d8c7-4042-a051-57672873250c" CreationDate="2014-07-26T00:16:33.133" UserId="9656" Text="My understanding is that if you set both ends to mono then it should come through your headphones in both ears. If you set one end to stereo then you will get only one side. &#xD;&#xA;My experience has been with a D50, Roland R26, SD MM-1 and a shotgun mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="56670" PostHistoryTypeId="2" PostId="29924" RevisionGUID="ccdac625-3fd6-4ccd-89e0-2eafa52d9df5" CreationDate="2014-07-26T06:03:50.083" UserId="9657" Text="I would like to know if it isn't dangerous to connect a pair of speakers (Edifier r1000tc power supplied) to Beringher PMP980 (power mixer)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56671" PostHistoryTypeId="1" PostId="29924" RevisionGUID="ccdac625-3fd6-4ccd-89e0-2eafa52d9df5" CreationDate="2014-07-26T06:03:50.083" UserId="9657" Text="Connect powered speakers to powered mixer?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56672" PostHistoryTypeId="3" PostId="29924" RevisionGUID="ccdac625-3fd6-4ccd-89e0-2eafa52d9df5" CreationDate="2014-07-26T06:03:50.083" UserId="9657" Text="&lt;mixer&gt;&lt;power&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56673" PostHistoryTypeId="2" PostId="29925" RevisionGUID="06958c93-e1d1-4cad-b642-782cca7487ba" CreationDate="2014-07-26T13:06:27.160" UserId="7200" Text="It's perfectly safe, you just need to use the mixer as if it weren't powered at all, i.e. not use the Speakon ports but the unpowered 1/4&quot; line-outs." ContentLicense="CC BY-SA 3.0" />
  <row Id="56674" PostHistoryTypeId="2" PostId="29926" RevisionGUID="7c338e5d-f4ec-494c-822e-0eae3e02e141" CreationDate="2014-07-26T16:53:46.920" UserId="6425" Text="it seams like there is one magical word in post production, sound design and music production that describes everything from compressing and distorting signals to expanding and filtering signals:&#xD;&#xA;&#xD;&#xA;&gt; warm&#xD;&#xA;&#xD;&#xA;There are so many conflicting descriptions and it seems like warmth is used as a stable to advertise Soft- and Hardware&#xD;&#xA;What is warmth, what is warm audio, what does warming up audio mean?&#xD;&#xA;&#xD;&#xA;Thanks&#xD;&#xA;Tobi" ContentLicense="CC BY-SA 3.0" />
  <row Id="56675" PostHistoryTypeId="1" PostId="29926" RevisionGUID="7c338e5d-f4ec-494c-822e-0eae3e02e141" CreationDate="2014-07-26T16:53:46.920" UserId="6425" Text="What does warm mean?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56676" PostHistoryTypeId="3" PostId="29926" RevisionGUID="7c338e5d-f4ec-494c-822e-0eae3e02e141" CreationDate="2014-07-26T16:53:46.920" UserId="6425" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56677" PostHistoryTypeId="2" PostId="29927" RevisionGUID="68937e9c-0af9-4ac1-8974-228d39d916f9" CreationDate="2014-07-26T17:49:19.583" UserId="6399" Text="For me warm is not many hard transients, a lot of energy somewhere in the 100-500hz range or maybe a lack of energy in the 2-8k range.&#xD;&#xA;&quot;Warm&quot; can go really easily to &quot;muddy&quot; or &quot;dull&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56678" PostHistoryTypeId="2" PostId="29928" RevisionGUID="47c1ab85-9852-41a9-8c89-b60c55fa4b72" CreationDate="2014-07-26T17:51:00.797" UserId="7174" Text="In general, it is marketing gibberish, but the most common definition I can think of is that it has kind of an analog sound.  Digital processing, especially early digital processing, was extremely precise and sounded &quot;cold&quot; as in &quot;cold and calculated&quot;.  Earlier tube processing was less precise and the bleed caused a warmer, softer feel.&#xD;&#xA;&#xD;&#xA;Later digital processing has incorporated modeling of the bleed that occurred in analog circuits to allow for them to have a softer, less precise and more blended sound than the cold, harsh, calculated and exact form of a pure mathematical transformation." ContentLicense="CC BY-SA 3.0" />
  <row Id="56679" PostHistoryTypeId="2" PostId="29929" RevisionGUID="7036028d-8af3-44c2-ae6f-f316dafcc023" CreationDate="2014-07-26T18:05:34.213" UserId="7850" Text="For me &quot;warm&quot; has always described that all analog sound, that sound that when you spin up a record you almost feel it as much as you hear it. You could even compare it to &quot;smooth&quot; in some senses.  &#xD;&#xA;&#xD;&#xA;As for where it came from my guess (and long time assumption) is that it stems from the tube days when you had to wait for things to physically warm up. There was once a time when warm equipment sounded different than cold equipment. &#xD;&#xA;&#xD;&#xA;I have always felt that it is really hard to get a true &quot;warm&quot; sound out of digital equipment for a few reasons, &#xD;&#xA;&#xD;&#xA;1) distortion vs clipping: If a an input to an A/D is to much to handle it will simply clip in a generally unpleasant way. Where as if you over load an analog preamp or tape deck you will get some nice distortion before you clip it out. This distortion is often sought after acoustically speaking. &#xD;&#xA;&#xD;&#xA;2) Pure analog vs sampled: I hate to open up this can of worms but I just cant buy into the plugin world many mix in today. I am not saying they are not more convenient or cost effective but I have some great analog gear that no matter how hard they try the plugins just are not the same. &#xD;&#xA;&#xD;&#xA;      " ContentLicense="CC BY-SA 3.0" />
  <row Id="56680" PostHistoryTypeId="2" PostId="29930" RevisionGUID="bed08733-c41e-49bc-90ff-1634a2bbc5fa" CreationDate="2014-07-26T18:11:26.420" UserId="7850" Text="From what I have seen MIDI is a struggling technology but has a very practical and fundamental use hence why it has stuck around so long despite it being technologically old. If I were you I would not mind getting the USB only device if you are not intending on controlling a MIDI only device anytime soon. And even if you are you can get a USB to MIDI interface (like the ones MOTU makes) and route your USB keys out through one of the interfaces ports to what ever device you may need. MIDI its self provides no fundamental advantages (IMO) over a USB device if you are strictly talking about the medium by which the keyed input gets transmitted to the DAW (assuming the DAW has input for both devices) " ContentLicense="CC BY-SA 3.0" />
  <row Id="56681" PostHistoryTypeId="2" PostId="29931" RevisionGUID="1dbbf0c0-8602-41f5-96e5-43c39b81ca6c" CreationDate="2014-07-26T18:21:52.087" UserId="7850" Text="Hum can really only come from one of 2 places. Either the microphone element is picking it up or it is being induced in the signal path. Here are some things to try for each scenario&#xD;&#xA;&#xD;&#xA;1) &#xD;&#xA;&#xD;&#xA;Lights, some kinds of light fixtures especially florescent can induce quite a bit of hum into a microphone. Try turning off the lights and see if you hear a difference. &#xD;&#xA;&#xD;&#xA;Go to another room, some times if there are enough electrical cables running the walls in the room you are in you can end up with some nasty induced hum&#xD;&#xA;&#xD;&#xA;2) &#xD;&#xA;&#xD;&#xA;Make sure all of your devices are plugged into either the same outlet or a pair of balanced outlets. Since wall power is AC and most if not all audio circuitry needs DC your devices all have their own transformers and rectifiers in them. Most house outlets are slightly out of phase of each other due to the way they are wired. The older the house the more apparent this may be. Some of the AC wave form will always slip through your converters and can cause some nasty hum by making your devices slightly out of phase of each other (speakers, interface etc.)  &#xD;&#xA;&#xD;&#xA;External phantom power units (I assume thats what you are using here) can cause a bit of hum as they are not really intended for recording use. Most of the interfaces worth using with mic pre amps in them also have phantom power. If they dont get your self one that does or get a decent mic pre with a phantom power driver &#xD;&#xA;&#xD;&#xA;Does your mic need phantom power? For that matter what mic are you using? Phantom power Driver? Interface? &#xD;&#xA;&#xD;&#xA;Get your self some shielded cables they make quite a big difference &#xD;&#xA;&#xD;&#xA;Make sure every thing is grounded properly. i.e. if your device has a 3 prong wall plug make sure it is plugged into a properly grounded socket. &#xD;&#xA;&#xD;&#xA;There are lots of potential issues here. If you post the equipment you are using we can better help find the possible issue. " ContentLicense="CC BY-SA 3.0" />
  <row Id="56682" PostHistoryTypeId="5" PostId="29930" RevisionGUID="8004f6e2-77f7-4f20-9374-3f82db4f80f3" CreationDate="2014-07-26T18:24:50.320" UserId="7850" Comment="added 485 characters in body" Text="From what I have seen MIDI is a struggling technology but has a very practical and fundamental use hence why it has stuck around so long despite it being technologically old. If I were you I would not mind getting the USB only device if you are not intending on controlling a MIDI only device anytime soon. And even if you are you can get a USB to MIDI interface (like the ones MOTU makes) and route your USB keys out through one of the interfaces ports to what ever device you may need. MIDI its self provides no fundamental advantages (IMO) over a USB device if you are strictly talking about the medium by which the keyed input gets transmitted to the DAW (assuming the DAW has input for both devices) &#xD;&#xA;&#xD;&#xA;Latency Issues. &#xD;&#xA;&#xD;&#xA;For what its worth USB allows much faster data transfer than midi. In most cases the USB only devices really just have a small MIDI interface inside the box so when you plug it in it just shows up as a MIDI interface although there are no MIDI jacks. Remember no computer has MIDI inputs anyway, you will always need some kind of a USB/Firewire/thunderbolt etc. to MIDI converter anyway so you are just eliminating the middle man here by buying a USB keyboard. " ContentLicense="CC BY-SA 3.0" />
  <row Id="56686" PostHistoryTypeId="5" PostId="29924" RevisionGUID="ad72c458-847a-441b-a9ab-8f95c6c40164" CreationDate="2014-07-27T00:34:00.750" UserId="9657" Comment="added 1 character in body" Text="I would like to know if it isn't dangerous to connect a pair of speakers (Edifier r1000tc power supplied) to Beringher PMH2000 (power mixer)." ContentLicense="CC BY-SA 3.0" />
  <row Id="56687" PostHistoryTypeId="2" PostId="29932" RevisionGUID="7198bd4c-48ba-45a5-b774-b96c184c394e" CreationDate="2014-07-27T04:37:13.333" UserId="9660" Text="Also, should i go to school to learn audio production or should I just try to learn on my own through internet tutorials and stuff? If I go to an audio production school it seems that they teach you how to use consoles and how to work in studios, will they also teach me how to make beats on a computer (digital audio workstation), or could I take what they have taught me in school and learn the d.a.w. on my own time?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56688" PostHistoryTypeId="1" PostId="29932" RevisionGUID="7198bd4c-48ba-45a5-b774-b96c184c394e" CreationDate="2014-07-27T04:37:13.333" UserId="9660" Text="is knowledge in computer science beneficial to audio production?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56689" PostHistoryTypeId="3" PostId="29932" RevisionGUID="7198bd4c-48ba-45a5-b774-b96c184c394e" CreationDate="2014-07-27T04:37:13.333" UserId="9660" Text="&lt;newbie&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56690" PostHistoryTypeId="5" PostId="29932" RevisionGUID="ba13e576-243a-49bf-a787-674cb4946a42" CreationDate="2014-07-27T04:53:06.790" UserId="9660" Comment="improved format" Text="Also, should i go to school to learn audio production or should I just try to learn on my own through internet tutorials and stuff? If I go to an audio production school it seems that they teach you how to use consoles and how to work in studios, will they also teach me how to make beats on a computer (digital audio workstation), or could I take what they have taught me in school and learn the d.a.w. on my own time? I was thinking instead of majoring in audio production I could major in computer science or electrical engineering and minor in audio production. Would I get enough knowledge in audio production with a minor? Any feedback would be greatly appreciated? Thank you." ContentLicense="CC BY-SA 3.0" />
  <row Id="56691" PostHistoryTypeId="4" PostId="29932" RevisionGUID="ba13e576-243a-49bf-a787-674cb4946a42" CreationDate="2014-07-27T04:53:06.790" UserId="9660" Comment="improved format" Text="is knowledge in computer science and/or electrical engineering beneficial to audio production?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56692" PostHistoryTypeId="2" PostId="29933" RevisionGUID="b7c5e157-d53a-4d9c-b3e0-a039597afe3a" CreationDate="2014-07-27T06:52:17.777" UserId="9661" Text="--Asymmetrical--&#xD;&#xA;&#xD;&#xA;a more of a smooth polished &quot;curve&quot; that allowed &quot;buzzing&quot;, &quot;overtone&quot;......&#xD;&#xA;overdrive, if you will.&#xD;&#xA;a Distortion that does not kill the &quot;Fundamental's&quot; pure band frequency's, yet allows the &quot;other Orders&quot; to peak out and say hello to you.&#xD;&#xA;&#xD;&#xA;in digital you can play with it at &quot;Pre Fader&quot; (safe place) with a gain stage.&#xD;&#xA;at &quot;post fader&quot; you have to tame it stronger so that you don't kill your overall headroom.&#xD;&#xA;Resonant Filter before Distortion is the easiest trick.&#xD;&#xA;on a Buss or in Parallel is your safest route." ContentLicense="CC BY-SA 3.0" />
  <row Id="56693" PostHistoryTypeId="2" PostId="29934" RevisionGUID="18881bf9-a18e-4b6e-85be-862abadff59b" CreationDate="2014-07-27T16:48:05.040" UserId="7008" Text="What's your goal? Where do you want to eventually be working? &#xD;&#xA;&#xD;&#xA;Computer science and engineering are very different than audio production, even if there are similar concepts shared between them. &#xD;&#xA;&#xD;&#xA;To most people, I recommend internships over going to school. If you spend your time trying to learn as much as you can through audio engineering books and production books/tutorials, you can apply at a proper studio to be an intern, even if unpaid. You'll learn a ton and you'll meet real working people that might hire you when your internship is finished. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56694" PostHistoryTypeId="2" PostId="29935" RevisionGUID="216c38e9-2386-4fe2-a95a-14cdc5f8d346" CreationDate="2014-07-27T18:24:59.850" UserId="9664" Text="Well, if you don't feel the need to use your condenser mics, purchase the PCM-D100.&#xD;&#xA;As a PCM-D100 owner I can tell you that its internal mics are head and shoulders above those of the D50 and its preamps are fantastic for use with even low-output dynamic microphones. Simply put, it has the quietest preamps you can get along with a -$1000 recorder on the market. However, it's impossible to use it with condenser microphones as the PCM-D100 doesn't provide phantom power.&#xD;&#xA;IMO, the SD633 is a little overkill for what you're goind to achieve -- especially considering the fact that you already have a 6-channel recorder which can provide phantom power for condenser mics if needed. So my vote would be the PCM-D100.&#xD;&#xA;HTH." ContentLicense="CC BY-SA 3.0" />
  <row Id="56695" PostHistoryTypeId="5" PostId="29926" RevisionGUID="b3ee6ac1-3ab4-45f4-9d2d-b2ea73c09836" CreationDate="2014-07-27T21:59:45.067" UserId="6425" Comment="added 6 characters in body" Text="It seams like there is one magical word in post production, sound design and music production that describes everything from compressing and distorting signals to expanding and filtering signals:&#xD;&#xA;&#xD;&#xA;&gt; warm&#xD;&#xA;&#xD;&#xA;There are so many conflicting descriptions and it seems like warmth is used as a stable to advertise Soft- and Hardware.&#xD;&#xA;What is warmth, what is warm audio, what does warming up audio mean?&#xD;&#xA;&#xD;&#xA;Thanks &lt;br&gt;&#xD;&#xA;Tobi" ContentLicense="CC BY-SA 3.0" />
  <row Id="56696" PostHistoryTypeId="2" PostId="29936" RevisionGUID="93fd16f5-61df-4086-b476-75ac658d1043" CreationDate="2014-07-28T00:41:04.933" UserId="8017" Text="I'm fond of how these conflicting yet overlapping answers point to literal language's flaws as abstractions — like a map, they point to the destination that is sound. They try to describe that sensory experience, yet utterly fail over and over... but we persist with using terms like &quot;warm&quot;, for they are the &quot;best&quot; we have.&#xD;&#xA;&#xD;&#xA;Not to dodge the question, but we are to talk about specific frequency ranges that one could alter to be &quot;warmer&quot;, then mmm... a gentle slope @ 300 Hz would often be considered warm. Too much, then it becomes &quot;muddy&quot; or &quot;cardboardy&quot;.&#xD;&#xA;&#xD;&#xA;Or, simply using a low-pass filter to roll off the high-end makes it sound warmer. For when people equate digital to &quot;cold&quot; and &quot;sterile&quot;, it is often pointed at piercing frequencies that didn't exist in prehistoric/earlier human eras.&#xD;&#xA;&#xD;&#xA;And there is much to be said about the subtle nuances of warmth once attains by injecting your music with actual air and electricity, those chaotic forces all around us that do not live &quot;in the box&quot;, no, they are beasts that can be bottled, if only as an echo, if only for a little while.&#xD;&#xA;&#xD;&#xA;Further still...&#xD;&#xA;&#xD;&#xA;One of the most effective tools for experimenting with various &quot;warmth&quot; processes would have to be Audio Ease Speakerphone. It can do the crackle defects (but an asset if warmth if the answer) and pitch instability of vinyl. It can make any sound seem like it came from an old answering machine (a curious warmth in its own right) or a vintage microphone by way of teleportation, um, impulse responses. There are at least 500 flavors of warm in that plugin, all waiting to be tasted like flavors of ice cream, and I wax not poetic, for ultimately...&#xD;&#xA;&#xD;&#xA;perhaps warm is like [Eskimo words for snow][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Eskimo_words_for_snow" ContentLicense="CC BY-SA 3.0" />
  <row Id="56698" PostHistoryTypeId="2" PostId="29937" RevisionGUID="4224bd89-764b-4e4a-8c40-4cd2d0b5cdc0" CreationDate="2014-07-28T02:29:29.960" UserId="7174" Text="No, unless you plan on programming DAW software, Computer Science is of almost no benefit at all.  They are not even remotely similar fields.  I say this as someone who studied Computer Science and Electronic Media, Arts and Communications as a dual major in college.  One major was all my math and science courses, the other was all my humanities and social science courses.  They had no overlap at all.  I know both fields and have been doing professional level work in both fields for over a decade.&#xD;&#xA;&#xD;&#xA;As for self study, you can learn a lot of technical information online through self study, but there is ***ABSOLUTELY NO SUBSTITUTE*** for hands on, and more importantly, ears on learning.  To really develop, you need to learn the music and artistry of sound which you learn from doing it, hands on, and getting critiques to help figure out what works and what does not.&#xD;&#xA;&#xD;&#xA;A minor is more than enough to get you a solid start in the field if you intend to do it on the side and not as your main career.  Alternately, you could find local organizations that have people that could take you under their wing.  Getting involved with local community theater for example will generally put you in touch with relatively experienced sound engineers who can help you learn the ropes.&#xD;&#xA;&#xD;&#xA;I personally started working as a volunteer with community organizations, then moved up to conference, concert and music festival work and then finally studied as part of my college major (entirely for fun since the money is twice as good for half the time in software development and I like both equally.)  While I was in college, I also got involved with the campus audio production group and the distance education program, both of which gave me further opportunities to learn and hone my skills in addition to my coursework (which was already largely unnecessary by the time I actually did it.)&#xD;&#xA;&#xD;&#xA;Overall, if you are willing to put in the time and volunteer with knowledgeable professionals in your area, you can learn everything you need to know without spending a dime, other than gas money and maybe hotel to go to and stay at shows and conferences.  Start out small with people who know a little bit more than you and work your way up if you don't want to spend the money on the degree.&#xD;&#xA;&#xD;&#xA;The most important thing is to never forget ***art first, then technique***.  So many people that come from technical backgrounds want to focus on the technique and refine that, but they don't know how to properly use any of it, so their work always sounds cold and unfeeling.  Learn the art of it, learn what it *should* sound like, then learn how to make it sound that way." ContentLicense="CC BY-SA 3.0" />
  <row Id="56703" PostHistoryTypeId="2" PostId="29939" RevisionGUID="73fd8224-a600-426a-b767-f2facebfe4c8" CreationDate="2014-07-28T16:21:40.353" UserId="9592" Text="i am working on the post production for a film.&#xD;&#xA;It's the first time, and i am a little bit confused about the channel order and the various standars.&#xD;&#xA;&#xD;&#xA;The SMPTE standard (L R C Lfe Ls Rs) is for home theaters, computer? &#xD;&#xA;The FILM is for the final export for Cinema?&#xD;&#xA;&#xD;&#xA;There is a place where i can read about the standars?&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="56704" PostHistoryTypeId="1" PostId="29939" RevisionGUID="73fd8224-a600-426a-b767-f2facebfe4c8" CreationDate="2014-07-28T16:21:40.353" UserId="9592" Text="5.1 channel order for home theaters, computer, and cinema" ContentLicense="CC BY-SA 3.0" />
  <row Id="56705" PostHistoryTypeId="3" PostId="29939" RevisionGUID="73fd8224-a600-426a-b767-f2facebfe4c8" CreationDate="2014-07-28T16:21:40.353" UserId="9592" Text="&lt;pro-tools&gt;&lt;post-production&gt;&lt;5.1&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56706" PostHistoryTypeId="2" PostId="29940" RevisionGUID="e7f096d4-df63-4a7e-83d5-f0d6e4660de5" CreationDate="2014-07-28T16:44:09.687" UserId="6399" Text="the sticky threads here: http://www.gearslutz.com/board/post-production-forum/&#xD;&#xA;have a lot of real life info from professionals.  &#xD;&#xA;&#xD;&#xA;No matter what format you mix in you can always just export each channel as a mono file and change the configuration when doing the final layback." ContentLicense="CC BY-SA 3.0" />
  <row Id="56707" PostHistoryTypeId="33" PostId="29940" RevisionGUID="12a2ab3e-0379-467c-811a-320e0884ba57" CreationDate="2014-07-28T17:16:44.773" UserId="7174" Comment="17" />
  <row Id="56713" PostHistoryTypeId="5" PostId="29940" RevisionGUID="4d5b6c08-d4df-4716-8e28-f30bdea0c8f8" CreationDate="2014-07-28T21:14:06.640" UserId="6399" Comment="added 604 characters in body" Text="the sticky threads here: http://www.gearslutz.com/board/post-production-forum/&#xD;&#xA;have a lot of real life info from professionals.  &#xD;&#xA;&#xD;&#xA;No matter what format you mix in you can always just export each channel as a mono file and change the configuration when doing the final layback.&#xD;&#xA;&#xD;&#xA;Edit to comply with Site:  When I mix, I always go to the highest playback standard, in this case it would be cinema.  When you output your deliverables, most encoders have you drag your individual mono files to the correct channel/speaker and then do the proper encoding.  That is how the minnetonka and Apple encoders work and even hardware encoders you can crosspatch to get the channel alighnment correct.&#xD;&#xA;&#xD;&#xA;The most important thing you can do is to mix in a calibrated room of the correct size at the correct level.  Doing that will help ensure your mix translates to a variety of environments." ContentLicense="CC BY-SA 3.0" />
  <row Id="56714" PostHistoryTypeId="2" PostId="29941" RevisionGUID="192b38c5-64f2-45e3-8dfd-d5817b7607fb" CreationDate="2014-07-28T22:27:55.733" UserId="9668" Text="I have recently learned that all(at least the ones I use) DAWs and VSTs essentially convert audio to 32-bit float in realtime. The problem with this is that going from a fixed point to a floating point causes quantization error and thus noise in the same way as going from 24 bit to 16 bit does. This means that ideally I'd want to dither but I imagine that doesn't happen along with the conversion.&#xD;&#xA;&#xD;&#xA;So is there any reason (besides hard drive space) to not offline convert my files to 32bit floating point with dither using RX3?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56715" PostHistoryTypeId="1" PostId="29941" RevisionGUID="192b38c5-64f2-45e3-8dfd-d5817b7607fb" CreationDate="2014-07-28T22:27:55.733" UserId="9668" Text="Should I offline convert my samples to 32-bit floating point?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56716" PostHistoryTypeId="3" PostId="29941" RevisionGUID="192b38c5-64f2-45e3-8dfd-d5817b7607fb" CreationDate="2014-07-28T22:27:55.733" UserId="9668" Text="&lt;depth&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56717" PostHistoryTypeId="5" PostId="29941" RevisionGUID="8c281820-dc05-4a22-aaa0-79752bb53b2a" CreationDate="2014-07-28T22:36:02.227" UserId="9668" Comment="added 8 characters in body" Text="I have recently learned that all(at least the ones I use) DAWs and VSTs essentially convert audio to 32-bit float in realtime. The problem with this is that going from a fixed point to a floating point causes quantization error and thus noise in the same way as going from 24 bit to 16 bit does. This means that ideally I'd want to dither but I imagine that doesn't happen along with the conversion.&#xD;&#xA;&#xD;&#xA;So is there any reason (besides hard drive space) to not offline convert my files to 32bit floating point with dither using a converter?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56718" PostHistoryTypeId="2" PostId="29942" RevisionGUID="6cb4f9c7-6047-45ad-81d1-baee6e49ae57" CreationDate="2014-07-28T23:01:22.727" UserId="7200" Text="There's two cases to be considered:&#xD;&#xA;&#xD;&#xA;- You use ordinary 24-bit, or even 16-bit (integer) source files. Never mind quantisation here, _it doesn't happen_ because 32-bit floats use a 24-bit significand, i.e. this is lossless without dither.&#xD;&#xA;- You use 32-bit or 48-bit integer, 64-bit float, or DSD source files. In this case there will indeed be quantisation when going to 32-bit. But unlike with 24-to-16 integer conversion, the quantisation-noise has no absolute level, but scales with the signal. Now, even for the pretty lousy 16 bits without dithering, the quantisation noise is pretty hard to discern for a full-scale signal and only becomes obvious in quieter passages. With 32-bit float, the situation is basically that you always have a perfectly gain-normalised 24-bit signal, even in passages of silence. Perhaps you could come up with contrived signals that would expose audible quantisation in 32-bit float, but it would probably in volve generous amount of infrasound / DC bias. I suspect nobody is actually able to hear the quantisation artifact from converting a real-world audio file, say, 48-bit integer, to 32-bit float.&#xD;&#xA;&#xD;&#xA;That said, even the remaining doubt gets less relevant as DAWs proceed to switch to all-64-bit float. That uses a 53-bit significand, so quantisation noise is always 318 dB below the signal level. Nobody can seriously claim to be able to hear _that_!&#xD;&#xA;&#xD;&#xA;To answer the question: no, you shouldn't offline convert to 32-bit float, it just wastes hard drive space and -performance. (It saves a little bit in conversion, but without dither that's a single-cycle CPU instruction and even with simple dither (no noise-shaping) it's not really an issue.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="56719" PostHistoryTypeId="34" PostId="29940" RevisionGUID="33e0544e-79f4-4d19-87dd-a7eed07ac931" CreationDate="2014-07-29T02:06:32.540" UserId="7174" Comment="17" />
  <row Id="56720" PostHistoryTypeId="5" PostId="29940" RevisionGUID="54ce0ee1-33b2-4330-b1b2-5f50698e371c" CreationDate="2014-07-29T02:07:00.837" UserId="7174" Comment="deleted 28 characters in body" Text="the sticky threads here: http://www.gearslutz.com/board/post-production-forum/&#xD;&#xA;have a lot of real life info from professionals.  &#xD;&#xA;&#xD;&#xA;No matter what format you mix in you can always just export each channel as a mono file and change the configuration when doing the final layback.&#xD;&#xA;&#xD;&#xA;When I mix, I always go to the highest playback standard, in this case it would be cinema.  When you output your deliverables, most encoders have you drag your individual mono files to the correct channel/speaker and then do the proper encoding.  That is how the minnetonka and Apple encoders work and even hardware encoders you can crosspatch to get the channel alignment correct.&#xD;&#xA;&#xD;&#xA;The most important thing you can do is to mix in a calibrated room of the correct size at the correct level.  Doing that will help ensure your mix translates to a variety of environments." ContentLicense="CC BY-SA 3.0" />
  <row Id="56721" PostHistoryTypeId="2" PostId="29943" RevisionGUID="13b6e0ad-fe7a-4d13-94f5-c555837e9e96" CreationDate="2014-07-29T02:39:06.567" UserId="9669" Text="So a little introduction to a part of what I'm working on.  I'm working on creating SFX for a real-time-strategy game with a medieval setting.&#xD;&#xA;&#xD;&#xA;Okay, one of the main needs of SFX for the game is a combat loop or skirmish.  Like a group of knights/warriors/whatever battling amongst themselves with clashing swords and the such.&#xD;&#xA;&#xD;&#xA;So, since I haven't played too many games like this I'm a little unfamiliar with how these games deal with these scenarios or how they should sound.  I'm thinking of getting some people together (with or without metal objects, have to consider safety), setting up a pair of overhead omnis and getting them to yell like warriors in Lord of the Rings or something of the sort and getting a few takes of this.  Then I would layer the recordings, the ones sitting in the back would have reduced higher frequencies with some reverb and the layers in front would feature the opposite.  I was also thinking of getting some isolated yells to add some distinction and interest to the loop as well as sword clangs I have already created.&#xD;&#xA;&#xD;&#xA;So my question is, would this be a good approach which would yield usable results?  Any pointers or things I should consider would be very helpful.  Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="56722" PostHistoryTypeId="1" PostId="29943" RevisionGUID="13b6e0ad-fe7a-4d13-94f5-c555837e9e96" CreationDate="2014-07-29T02:39:06.567" UserId="9669" Text="Medieval skirmish loops" ContentLicense="CC BY-SA 3.0" />
  <row Id="56723" PostHistoryTypeId="3" PostId="29943" RevisionGUID="13b6e0ad-fe7a-4d13-94f5-c555837e9e96" CreationDate="2014-07-29T02:39:06.567" UserId="9669" Text="&lt;sound-design&gt;&lt;sfx&gt;&lt;game-audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56724" PostHistoryTypeId="2" PostId="29944" RevisionGUID="314a03cf-6f7e-4df4-9ca5-f057ce8c6ba4" CreationDate="2014-07-29T07:22:56.107" UserId="9670" Text="I'm experimenting with generating sound programmatically. As I understand the math, I think I'm creating a 5-second long mono-channel sine wave at the frequency of &quot;middle C,&quot; but when I play back the audio data, I cannot hear anything.&#xD;&#xA;&#xD;&#xA;Let me explain how I'm creating the data, and maybe you can tell what I'm doing wrong.&#xD;&#xA;&#xD;&#xA;1. I start with a sine wave; I am dividing the time parameter by `2 * pi` so that the function repeats for every one unit; this is to hopefully simplify the math:&#xD;&#xA;2. To set the pitch of this wave, I multiply the time parameter by `261.63`, so that it will oscillate at the frequency for middle C.&#xD;&#xA;3. I sample the function 44100 times per second, for 5 seconds.&#xD;&#xA;4. For each sample value, I add 1, so that values range from 0 to 2.&#xD;&#xA;5. Each sample value is multiplied by 2&lt;sup&gt;15&lt;/sup&gt;, giving me a range from 0 to 65536 (16 bits).&#xD;&#xA;6. I output, in little-endian format, each 2-byte value in sequence.&#xD;&#xA;&#xD;&#xA;When inspecting the raw audio data in a hex editor, it looks correct to me; values start mid-range at `0x8000`, go up to `0xffff`, go back down to `0x0000`, go back up to `0xffff`, etc. It resembles what I'd expect a sine wave to look like, taking up the full dynamic range of 16 bit values.&#xD;&#xA;&#xD;&#xA;So given this raw data, I convert it through sox to a WAV file (line breaks added for clarity):&#xD;&#xA;&#xD;&#xA;    sox&#xD;&#xA;      -t raw&#xD;&#xA;      -b 16&#xD;&#xA;      -r 44100&#xD;&#xA;      -e unsigned-integer&#xD;&#xA;      --endian little&#xD;&#xA;      input.raw&#xD;&#xA;      output.wav&#xD;&#xA;&#xD;&#xA;The wave file is successfully created and looks valid from what I can tell. Playback works for the file, and visualization during playback shows there's *something* being output, but I can't hear a thing. I tried playing with the amplitude of the wave to reduce the dynamic range, but that didn't help.&#xD;&#xA;&#xD;&#xA;I am extremely new to sound, and am just now learning all the theory behind it. Is the mathematical approach correct for producing a tone? Am I doing something wrong with my data formatting? Am I using sox incorrectly? What could be the problem here?&#xD;&#xA;&#xD;&#xA;(I decided to not include all my Haskell code, but if it would help, I can post it here. However, as I stated, the data resembles a sine wave, so I have no idea why there's no sound.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="56725" PostHistoryTypeId="1" PostId="29944" RevisionGUID="314a03cf-6f7e-4df4-9ca5-f057ce8c6ba4" CreationDate="2014-07-29T07:22:56.107" UserId="9670" Text="Sine wave making no sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="56726" PostHistoryTypeId="3" PostId="29944" RevisionGUID="314a03cf-6f7e-4df4-9ca5-f057ce8c6ba4" CreationDate="2014-07-29T07:22:56.107" UserId="9670" Text="&lt;synthesis&gt;&lt;wav&gt;&lt;pcm&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56727" PostHistoryTypeId="5" PostId="29942" RevisionGUID="a1aea9cd-a544-4b04-80fe-a6140d877538" CreationDate="2014-07-29T09:23:18.673" UserId="7200" Comment="added 26 characters in body" Text="There's two cases to be considered:&#xD;&#xA;&#xD;&#xA;- You use ordinary 24-bit, or even 16-bit (integer) source files. Never mind quantisation here, _it doesn't happen_ because 32-bit floats use a 24-bit significand, i.e. this is lossless without dither.&#xD;&#xA;- You use 32-bit or 48-bit integer, 64-bit float, or DSD source files. In this case there will indeed be quantisation when going to 32-bit. But unlike with 24-to-16 integer conversion, the quantisation-noise has no absolute level, but scales with the signal. Now, even for the pretty lousy 16 bits without dithering, the quantisation noise is pretty hard to discern for a full-scale signal and only becomes obvious in quieter passages. With 32-bit float, the situation is basically that you always have a perfectly gain-normalised 24-bit signal, even in passages of silence. Perhaps you could come up with contrived signals that would expose audible quantisation in 32-bit float, but it would probably need generous amounts of infrasound / DC bias. I suspect nobody is actually able to hear the quantisation artifacts from converting a real-world audio file, say, 48-bit integer, to 32-bit float.&#xD;&#xA;&#xD;&#xA;That said, even if you remain doubtful it gets less relevant as DAWs proceed to switch to all-64-bit float. That uses a 53-bit significand, so quantisation noise is always 318 dB below the signal level. Nobody can seriously claim to be able to hear _that_!&#xD;&#xA;&#xD;&#xA;&lt;hr&gt;&#xD;&#xA;&#xD;&#xA;To answer the question: no, you shouldn't offline convert to 32-bit float, it just wastes hard drive space and -performance. (It saves a little bit in conversion, but without dither that's a single-cycle CPU instruction and even with simple dither &amp;ndash; no noise-shaping &amp;ndash; it's not really an issue.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="56751" PostHistoryTypeId="5" PostId="29944" RevisionGUID="27336814-e46b-4c4c-bed6-4c21ae0cca86" CreationDate="2014-07-30T02:21:11.050" UserId="9670" Comment="added 116 characters in body" Text="I'm experimenting with generating sound programmatically. As I understand the math, I think I'm creating a 5-second long mono-channel sine wave at the frequency of &quot;middle C,&quot; but when I play back the audio data, I cannot hear anything.&#xD;&#xA;&#xD;&#xA;Let me explain how I'm creating the data, and maybe you can tell what I'm doing wrong.&#xD;&#xA;&#xD;&#xA;1. I start with a sine wave; I am dividing the time parameter by `2 * pi` so that the function repeats for every one unit; this is to hopefully simplify the math:&#xD;&#xA;2. To set the pitch of this wave, I multiply the time parameter by `261.63`, so that it will oscillate at the frequency for middle C.&#xD;&#xA;3. I sample the function 44100 times per second, for 5 seconds.&#xD;&#xA;4. For each sample value, I add 1, so that values range from 0 to 2.&#xD;&#xA;5. Each sample value is multiplied by 2&lt;sup&gt;15&lt;/sup&gt;, giving me a range from 0 to 65536 (16 bits).&#xD;&#xA;6. I output, in little-endian format, each 2-byte value in sequence.&#xD;&#xA;&#xD;&#xA;When inspecting the raw audio data in a hex editor, it looks correct to me; values start mid-range at `0x8000`, go up to `0xffff`, go back down to `0x0000`, go back up to `0xffff`, etc. It resembles what I'd expect a sine wave to look like, taking up the full dynamic range of 16 bit values.&#xD;&#xA;&#xD;&#xA;So given this raw data, I convert it through sox to a WAV file (line breaks added for clarity):&#xD;&#xA;&#xD;&#xA;    sox&#xD;&#xA;      -t raw&#xD;&#xA;      -b 16&#xD;&#xA;      -r 44100&#xD;&#xA;      -e unsigned-integer&#xD;&#xA;      --endian little&#xD;&#xA;      input.raw&#xD;&#xA;      output.wav&#xD;&#xA;&#xD;&#xA;The wave file is successfully created and looks valid from what I can tell. Playback works for the file, and visualization during playback shows there's *something* being output, but I can't hear a thing. I tried playing with the amplitude of the wave to reduce the dynamic range, but that didn't help.&#xD;&#xA;&#xD;&#xA;I am extremely new to sound, and am just now learning all the theory behind it. Is the mathematical approach correct for producing a tone? Am I doing something wrong with my data formatting? Am I using sox incorrectly? What could be the problem here?&#xD;&#xA;&#xD;&#xA;(I decided to not include all my Haskell code, but if it would help, I can post it here. However, as I stated, the data resembles a sine wave, so I have no idea why there's no sound.)&#xD;&#xA;&#xD;&#xA;**Edit**:&#xD;&#xA;&#xD;&#xA;Here's a link to [the file][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://dl.dropboxusercontent.com/u/7708909/output.wav." ContentLicense="CC BY-SA 3.0" />
  <row Id="56755" PostHistoryTypeId="5" PostId="29944" RevisionGUID="b51db862-9a1b-4e64-89ae-22621737cc28" CreationDate="2014-07-30T05:34:31.377" UserId="9670" Comment="added 385 characters in body" Text="I'm experimenting with generating sound programmatically. As I understand the math, I think I'm creating a 5-second long mono-channel sine wave at the frequency of &quot;middle C,&quot; but when I play back the audio data, I cannot hear anything.&#xD;&#xA;&#xD;&#xA;Let me explain how I'm creating the data, and maybe you can tell what I'm doing wrong.&#xD;&#xA;&#xD;&#xA;1. I start with a sine wave; I am dividing the time parameter by `2 * pi` so that the function repeats for every one unit; this is to hopefully simplify the math:&#xD;&#xA;2. To set the pitch of this wave, I multiply the time parameter by `261.63`, so that it will oscillate at the frequency for middle C.&#xD;&#xA;3. I sample the function 44100 times per second, for 5 seconds.&#xD;&#xA;4. For each sample value, I add 1, so that values range from 0 to 2.&#xD;&#xA;5. Each sample value is multiplied by 2&lt;sup&gt;15&lt;/sup&gt;, giving me a range from 0 to 65536 (16 bits).&#xD;&#xA;6. I output, in little-endian format, each 2-byte value in sequence.&#xD;&#xA;&#xD;&#xA;When inspecting the raw audio data in a hex editor, it looks correct to me; values start mid-range at `0x8000`, go up to `0xffff`, go back down to `0x0000`, go back up to `0xffff`, etc. It resembles what I'd expect a sine wave to look like, taking up the full dynamic range of 16 bit values.&#xD;&#xA;&#xD;&#xA;So given this raw data, I convert it through sox to a WAV file (line breaks added for clarity):&#xD;&#xA;&#xD;&#xA;    sox&#xD;&#xA;      -t raw&#xD;&#xA;      -b 16&#xD;&#xA;      -r 44100&#xD;&#xA;      -e unsigned-integer&#xD;&#xA;      --endian little&#xD;&#xA;      input.raw&#xD;&#xA;      output.wav&#xD;&#xA;&#xD;&#xA;The wave file is successfully created and looks valid from what I can tell. Playback works for the file, and visualization during playback shows there's *something* being output, but I can't hear a thing. I tried playing with the amplitude of the wave to reduce the dynamic range, but that didn't help.&#xD;&#xA;&#xD;&#xA;I am extremely new to sound, and am just now learning all the theory behind it. Is the mathematical approach correct for producing a tone? Am I doing something wrong with my data formatting? Am I using sox incorrectly? What could be the problem here?&#xD;&#xA;&#xD;&#xA;(I decided to not include all my Haskell code, but if it would help, I can post it here. However, as I stated, the data resembles a sine wave, so I have no idea why there's no sound.)&#xD;&#xA;&#xD;&#xA;**Edit**:&#xD;&#xA;&#xD;&#xA;Here's a link to [the file][1].&#xD;&#xA;&#xD;&#xA;**Edit 2**:&#xD;&#xA;&#xD;&#xA;I created new samples that are signed 16-bit values, then converted to a WAV with this:&#xD;&#xA;&#xD;&#xA;    sox&#xD;&#xA;      -t raw&#xD;&#xA;      -b 16&#xD;&#xA;      -r 44100&#xD;&#xA;      -e signed-integer&#xD;&#xA;      --endian little&#xD;&#xA;      input.raw&#xD;&#xA;      output.wav&#xD;&#xA;&#xD;&#xA;The output from that [is this][2]. Unfortunately, it still is inaudible.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://dl.dropboxusercontent.com/u/7708909/output.wav.&#xD;&#xA;  [2]: https://dl.dropboxusercontent.com/u/7708909/signed-16.wav" ContentLicense="CC BY-SA 3.0" />
  <row Id="56756" PostHistoryTypeId="2" PostId="29949" RevisionGUID="ec63a7b6-2e06-479d-bcc8-7d64eba1d2bf" CreationDate="2014-07-30T08:08:22.470" UserId="6484" Text="You can also look at the David Sonnenschein book Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. The first 25 pages gives you a really good idea of what to look for and how to listen to your script and make notes. &#xD;&#xA;&#xD;&#xA;Good Luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="56757" PostHistoryTypeId="2" PostId="29950" RevisionGUID="55fa00c5-4e08-4498-b146-f3b84fb3a636" CreationDate="2014-07-30T08:25:44.013" UserId="6425" Text="Also you can use Wireless repraters to increases quality over such distances." ContentLicense="CC BY-SA 3.0" />
  <row Id="56758" PostHistoryTypeId="5" PostId="29950" RevisionGUID="c0712de9-9ed5-4ae8-9711-34d96f95cd77" CreationDate="2014-07-30T09:53:39.817" UserId="1216" Comment="grammar" Text="Also you can use Wireless repeaters to increases quality over such distances." ContentLicense="CC BY-SA 3.0" />
  <row Id="56759" PostHistoryTypeId="5" PostId="29944" RevisionGUID="31141b57-f696-4cfa-9b26-0ddf57cee1b1" CreationDate="2014-07-30T11:00:41.683" UserId="7200" Comment="deleted 1 character in body" Text="I'm experimenting with generating sound programmatically. As I understand the math, I think I'm creating a 5-second long mono-channel sine wave at the frequency of &quot;middle C,&quot; but when I play back the audio data, I cannot hear anything.&#xD;&#xA;&#xD;&#xA;Let me explain how I'm creating the data, and maybe you can tell what I'm doing wrong.&#xD;&#xA;&#xD;&#xA;1. I start with a sine wave; I am dividing the time parameter by `2 * pi` so that the function repeats for every one unit; this is to hopefully simplify the math:&#xD;&#xA;2. To set the pitch of this wave, I multiply the time parameter by `261.63`, so that it will oscillate at the frequency for middle C.&#xD;&#xA;3. I sample the function 44100 times per second, for 5 seconds.&#xD;&#xA;4. For each sample value, I add 1, so that values range from 0 to 2.&#xD;&#xA;5. Each sample value is multiplied by 2&lt;sup&gt;15&lt;/sup&gt;, giving me a range from 0 to 65536 (16 bits).&#xD;&#xA;6. I output, in little-endian format, each 2-byte value in sequence.&#xD;&#xA;&#xD;&#xA;When inspecting the raw audio data in a hex editor, it looks correct to me; values start mid-range at `0x8000`, go up to `0xffff`, go back down to `0x0000`, go back up to `0xffff`, etc. It resembles what I'd expect a sine wave to look like, taking up the full dynamic range of 16 bit values.&#xD;&#xA;&#xD;&#xA;So given this raw data, I convert it through sox to a WAV file (line breaks added for clarity):&#xD;&#xA;&#xD;&#xA;    sox&#xD;&#xA;      -t raw&#xD;&#xA;      -b 16&#xD;&#xA;      -r 44100&#xD;&#xA;      -e unsigned-integer&#xD;&#xA;      --endian little&#xD;&#xA;      input.raw&#xD;&#xA;      output.wav&#xD;&#xA;&#xD;&#xA;The wave file is successfully created and looks valid from what I can tell. Playback works for the file, and visualization during playback shows there's *something* being output, but I can't hear a thing. I tried playing with the amplitude of the wave to reduce the dynamic range, but that didn't help.&#xD;&#xA;&#xD;&#xA;I am extremely new to sound, and am just now learning all the theory behind it. Is the mathematical approach correct for producing a tone? Am I doing something wrong with my data formatting? Am I using sox incorrectly? What could be the problem here?&#xD;&#xA;&#xD;&#xA;(I decided to not include all my Haskell code, but if it would help, I can post it here. However, as I stated, the data resembles a sine wave, so I have no idea why there's no sound.)&#xD;&#xA;&#xD;&#xA;**Edit**:&#xD;&#xA;&#xD;&#xA;Here's a link to [the file][1].&#xD;&#xA;&#xD;&#xA;**Edit 2**:&#xD;&#xA;&#xD;&#xA;I created new samples that are signed 16-bit values, then converted to a WAV with this:&#xD;&#xA;&#xD;&#xA;    sox&#xD;&#xA;      -t raw&#xD;&#xA;      -b 16&#xD;&#xA;      -r 44100&#xD;&#xA;      -e signed-integer&#xD;&#xA;      --endian little&#xD;&#xA;      input.raw&#xD;&#xA;      output.wav&#xD;&#xA;&#xD;&#xA;The output from that [is this][2]. Unfortunately, it still is inaudible.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://dl.dropboxusercontent.com/u/7708909/output.wav&#xD;&#xA;  [2]: https://dl.dropboxusercontent.com/u/7708909/signed-16.wav" ContentLicense="CC BY-SA 3.0" />
  <row Id="56760" PostHistoryTypeId="2" PostId="29951" RevisionGUID="5601e11a-c32f-493b-b987-ac4332c0c9df" CreationDate="2014-07-30T11:57:40.847" UserId="7200" Text="Your sine has come out a couple of octaves too low, for some reason. Indeed it's infrasound, 6.6 Hz to be precise, which rather explains why you don't hear anything.&#xD;&#xA;&#xD;&#xA;A couple of ways you could have found this out:&#xD;&#xA;&#xD;&#xA;- Actually the sound is still &quot;audible&quot;: over a decent subwoofer, you'll hear (or rather feel) a throbbing similar to a ship engine, and things in your room might start to clatter in an audible way.&#xD;&#xA;- Pretty much any audio player nowadays has some kind of primitive spectrum view. With your file, it'll show quite some signal in the low-frequency end, but nothing elsewhere: ![Audacious spectrum view][1]&#xD;&#xA;- Any _audio editor_ / DAW shows the waveform. Audacity will do: ![Waveform in audacity][2]&#xD;&#xA; Here you can immediately see that there's a perfectly correctly scaled signal, amplitude-wise, but with just a few cycles per second: certainly not 261. In fact you can easily count them by hand, though there's also tools to do this for you.&#xD;&#xA;- If I was you, I had just toyed around with the program's parameter's a bit: asking it for a frequency of 5 kHz would have given a well-audible 127 Hz, roughly B1. That would have pointed to the problem a bit more clearly.&#xD;&#xA;&#xD;&#xA;So what is the problem, now? Well, we can reverse-engineer those 6.6 Hz. You've used the numbers 261.63, 2&amp;pi;, 5 and 44100. The last one is so big it's unlikely to play a role, but guess-combining the other ones reveals what's going on:&#xD;&#xA;&#xD;&#xA;&gt;GHCi, version 7.8.2: http://www.haskell.org/ghc/  :? for help&lt;br&gt;&#xD;&#xA;Loading package ghc-prim ... linking ... done.&lt;br&gt;&#xD;&#xA;Loading package integer-gmp ... linking ... done.&lt;br&gt;&#xD;&#xA;Loading package base ... linking ... done.&lt;br&gt;&#xD;&#xA;Prelude&gt; 2 * pi&lt;br&gt;&#xD;&#xA;6.283185307179586&lt;br&gt;&#xD;&#xA;Prelude&gt; 261.63 / 5&lt;br&gt;&#xD;&#xA;52.326&lt;br&gt;&#xD;&#xA;Prelude&gt; 261.63 / (5 * 2 * pi)&lt;br&gt;&#xD;&#xA;8.327941552226516&lt;br&gt;&#xD;&#xA;Prelude&gt; 261.63 / (2 * pi)&lt;br&gt;&#xD;&#xA;41.63970776113258&lt;br&gt;&#xD;&#xA;Prelude&gt; 261.63 / (2 * pi * 6.6)&lt;br&gt;&#xD;&#xA;6.309046630474633&lt;br&gt;&#xD;&#xA;Prelude&gt; 261.63 / (2 * pi)^2&lt;br&gt;&#xD;&#xA;**6.627165319086208&lt;br&gt;**&#xD;&#xA;&#xD;&#xA;Bingo. So you need to multiply the frequency twice by 2&amp;pi;. Why is this? Well actually it would have been clear even from properly reading the question:&#xD;&#xA;&#xD;&#xA;&gt; I am dividing the time parameter by `2 * pi`&#xD;&#xA;&#xD;&#xA;This is of course wrong. The 2&amp;pi; are the _period length_ of a RAD sine, so you need to _multiply_ the time by it, not divide. Dividing instead of multiplying leaves you with a factor of (2&amp;pi;)&lt;sup&gt;2&lt;/sup&gt; short, which is the reason for your wrong frequency.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/xbaKt.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/t1IYx.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="56764" PostHistoryTypeId="5" PostId="29950" RevisionGUID="4f5e4dee-fcb3-4afd-bdff-09b39c1dbf7d" CreationDate="2014-07-30T14:56:21.283" UserId="7174" Comment="add content from comment to make this an actual answer" Text="You can use wireless repeaters to increase quality over such distances.  You need to have 2 pairs of Receiver and transmitter. Connect the Output of one Receiver with the Input of the Second transmitter. Also gain the Signal a bit on the second transmitter. Use different frequencies for each pair." ContentLicense="CC BY-SA 3.0" />
  <row Id="56765" PostHistoryTypeId="33" PostId="29949" RevisionGUID="f5551e36-89d0-49b3-aab9-42e715536d95" CreationDate="2014-07-30T14:59:00.670" UserId="7174" Comment="19" />
  <row Id="56766" PostHistoryTypeId="5" PostId="12527" RevisionGUID="ccc2b2ae-572e-4d09-8fac-94a33bcd425f" CreationDate="2014-07-30T15:05:47.467" UserId="6957" Comment="Pulled two of Benji's 'answers' in as edits, and moved comments on one to comment on OP" Text="Thought I would share this info on Tribes: Ascend. We just released our largest beta patch. Many new changes, 16 weapons/ devices, new maps, character class customization, and more. The full list of patch notes can be found here. &#xD;&#xA;http://hi-rez.custhelp.com/app/answers/detail/a_id/297&#xD;&#xA;&#xD;&#xA;I would love to get some feedback from the community on my sound design. &#xD;&#xA;&#xD;&#xA;To get a beta key all you have to do is go to the Tribes: Ascend facebook page and 'LIKE' it. &#xD;&#xA;&#xD;&#xA;-Benjie&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;Thanks for the feedback!&#xD;&#xA;&#xD;&#xA;The hit sound only plays when you impact on pawn.  Otherwise it will just play the terrain impact sound depending on what you hit.&#xD;&#xA;&#xD;&#xA;All sounds in maps are attenuated and if you spin your character then yes the sound will pan around you like it would i real life.&#xD;&#xA;&#xD;&#xA;There is a setting to turn team announcer VO off if it gets annoying for you.  Chris Rickwood handles all the VO so I have no control over that.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;Ah, I see.  The minimum attenuation of ambient sounds can vary obviously.  Some sounds use a natural fade curve, rather then a logarithmic curve.  The natural curve gives a smoother fade out when moving away from objects, but can be a bit more harsh of a fade out as well. &#xD;&#xA;&#xD;&#xA;Also, the base with running water, the attenuation is a bit smaller on those because I wanted to have the water sound faint if you were near the generator, I tried a larger attenuation on 1 map and it was way to noisy and you could not hear anything else but water. &#xD;&#xA;&#xD;&#xA;This is just one of those situations where you have to favor game play more then anything.  Being that Tribes is a shooter, sound notifies of people shooting. walking or capping objectives take priority.  &#xD;&#xA;&#xD;&#xA;Dont get me wrong though I love making soundscapes, I had an older version of audio for the raindance map where I had 3k+ sound nodes on the map.  Yes it killed performance and I had to remove about 2800 of them lol.  But it sounded so cool.  Every drop of water had a sound for all the terrain types.  Water dripping off buildings, etc.  It was pretty wicked.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks for the feedback though guys, and I am glad your enjoying Tribes!  Look out for a new patch soon." ContentLicense="CC BY-SA 3.0" />
  <row Id="56773" PostHistoryTypeId="2" PostId="29952" RevisionGUID="178882a3-49d3-4d66-bf51-a0b7fed4b2ed" CreationDate="2014-07-30T15:40:30.493" UserId="8006" Text="You should record a local martial arts/sword group or a medieval fight show for authentic and realistic sounds.&#xD;&#xA;They're especially popular in Denmark, Germany and Poland:&#xD;&#xA;https://www.youtube.com/watch?v=mCL8ONmOKBw&#xD;&#xA;&#xD;&#xA;Or you can recreate such scenes with sound libraries.&#xD;&#xA;&#xD;&#xA;Good choices would be the &quot;Group Vocals&quot; section from ILIO's Origins:&#xD;&#xA;http://www.ilio.com/products/ilio-samplelibrary/origins&#xD;&#xA;and &quot;Medieval Weapons&quot; by Boom Library:&#xD;&#xA;http://www.boomlibrary.com/boomlibrary/products/medieval-weapons&#xD;&#xA;&#xD;&#xA;And of course the &quot;usual suspects&quot; like Sound Ideas and Hollywood Edge. &#xD;&#xA;&#xD;&#xA;EDIT: And play (or watch some Let's Plays) games like &quot;Stronghold&quot; and &quot;Age of Empires 2&quot; to get inspired. (I think those games used samples from Sound Ideas and Hollywood Edge)" ContentLicense="CC BY-SA 3.0" />
  <row Id="56779" PostHistoryTypeId="2" PostId="29954" RevisionGUID="7178d95b-9c0e-4527-8530-515159388064" CreationDate="2014-07-31T03:57:24.883" UserId="9668" Text="I've been trying to create a multiband fx splitter for awhile now since I know of no plugins that do this. Basically I want a multiband compressor but instead of a built in compressor, have each band have its own chain that allows me to process them all differently. The catch is I'm trying to figure out a way to do this transparently. FabFilter Pro-MB does the job but is far from transparent.&#xD;&#xA;&#xD;&#xA;I use Bitwig Studio and used the FX Layer in it (similar to Ableton Live racks) to phase invert an eq and thus made a completely transparent two band splitter, but to get any more than that I need to nest continously and that just isn't condusive to workflow and is way too messy.&#xD;&#xA;&#xD;&#xA;Do any of you guys know a way to do this using racks/a combination of plugins, a plugin that already does this, or a way to do it in something like max/reaktor/etc?&#xD;&#xA;&#xD;&#xA;Thank you for your time." ContentLicense="CC BY-SA 3.0" />
  <row Id="56780" PostHistoryTypeId="1" PostId="29954" RevisionGUID="7178d95b-9c0e-4527-8530-515159388064" CreationDate="2014-07-31T03:57:24.883" UserId="9668" Text="How to create a transparent multiband splitter?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56781" PostHistoryTypeId="3" PostId="29954" RevisionGUID="7178d95b-9c0e-4527-8530-515159388064" CreationDate="2014-07-31T03:57:24.883" UserId="9668" Text="&lt;multiband&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56784" PostHistoryTypeId="2" PostId="29955" RevisionGUID="8c8fb33c-ccd9-427a-ac78-6ba8daf67ef9" CreationDate="2014-07-31T20:21:38.143" UserId="9677" Text="Check out the Waves C6 plug-in. It's very transparent and based on your description it sounds like what you're looking for. There's also the DDFM Metaplugin, but I've never used it so I'm not sure how transparent that is." ContentLicense="CC BY-SA 3.0" />
  <row Id="56786" PostHistoryTypeId="2" PostId="29956" RevisionGUID="1c304017-7c96-4309-a1bd-d008b82f0d5a" CreationDate="2014-08-01T03:51:57.897" UserId="8353" Text="I'm exchanging email about specs with a video editor who was going to send me materials. He asked me if I needed a &quot;violator&quot; in the video to do my audio work? &#xD;&#xA;&#xD;&#xA;What is a violator? Is it a video term for pop syncs?&#xD;&#xA;&#xD;&#xA;PS&gt; Tried to Google but different unrelated things come up." ContentLicense="CC BY-SA 3.0" />
  <row Id="56787" PostHistoryTypeId="1" PostId="29956" RevisionGUID="1c304017-7c96-4309-a1bd-d008b82f0d5a" CreationDate="2014-08-01T03:51:57.897" UserId="8353" Text="What is a &quot;violator&quot;?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56788" PostHistoryTypeId="3" PostId="29956" RevisionGUID="1c304017-7c96-4309-a1bd-d008b82f0d5a" CreationDate="2014-08-01T03:51:57.897" UserId="8353" Text="&lt;audio&gt;&lt;video&gt;&lt;terminology&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56790" PostHistoryTypeId="5" PostId="29949" RevisionGUID="db1e47a9-6de1-4112-9300-4a289abb41f5" CreationDate="2014-08-01T07:14:02.910" UserId="6484" Comment="added 1361 characters in body" Text="You can also look at the David Sonnenschein book Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. The first 25 pages gives you a really good idea of what to look for and how to listen to your script and make notes. &#xD;&#xA;&#xD;&#xA;Definitely. Within the first 25 pages, Sonnenschien recommends that you take the script, whatever the version and read through it, mentally jotting down the sounds that you start to hear in your head. Then, he recommends for a second read through that you start to pencil in ideas for ambience, environmental transitions, sounds for different objects, poeple and actions, identifying key words that will assist in clues for emotions and moments of physical and/or dramatic transitions. He also recommends sighting explicit sounds writing into the script such as a car horn, a school bell ringing etc. He also highlights the importance of noting phrases within the script that can generate potential sounds for dramatic effect and how to identify phrased clues for emotions. After you have identified these sections, he recommends grouping all these &quot;voices together&quot; and to find the polar opposite of these words or phrases within these voices. After that is done, he suggests drawing visual maps based upon these thematic polarities and where they spike and dip within the narrative from the beginning to the end. I really do recommend reading the entire book because within each chapter, he highlights the different elements that make up the sonic landscape and how you can put together a map for the on set and post production journey. I hope this helps.&#xD;&#xA;&#xD;&#xA;Good Luck" ContentLicense="CC BY-SA 3.0" />
  <row Id="56797" PostHistoryTypeId="34" PostId="29949" RevisionGUID="8bf0027a-6cfe-4e43-a1e4-485bb107f362" CreationDate="2014-08-01T16:36:25.257" UserId="7174" Comment="19" />
  <row Id="56798" PostHistoryTypeId="5" PostId="29949" RevisionGUID="016f685c-04fc-42f3-a173-8903767c0459" CreationDate="2014-08-01T16:37:48.177" UserId="7174" Comment="deleted 32 characters in body" Text="You can also look at the David Sonnenschein book Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. The first 25 pages gives you a really good idea of what to look for and how to listen to your script and make notes. &#xD;&#xA;&#xD;&#xA;Within the first 25 pages, Sonnenschien recommends that you take the script, whatever the version and read through it, mentally jotting down the sounds that you start to hear in your head. &#xD;&#xA;&#xD;&#xA;Then, he recommends for a second read through that you start to pencil in ideas for ambience, environmental transitions, sounds for different objects, people and actions, identifying key words that will assist in clues for emotions and moments of physical and/or dramatic transitions. He also recommends sighting explicit sounds writing into the script such as a car horn, a school bell ringing etc. He also highlights the importance of noting phrases within the script that can generate potential sounds for dramatic effect and how to identify phrased clues for emotions. &#xD;&#xA;&#xD;&#xA;After you have identified these sections, he recommends grouping all these &quot;voices together&quot; and to find the polar opposite of these words or phrases within these voices. After that is done, he suggests drawing visual maps based upon these thematic polarities and where they spike and dip within the narrative from the beginning to the end. &#xD;&#xA;&#xD;&#xA;I really do recommend reading the entire book because within each chapter, he highlights the different elements that make up the sonic landscape and how you can put together a map for the on set and post production journey." ContentLicense="CC BY-SA 3.0" />
  <row Id="56799" PostHistoryTypeId="2" PostId="29959" RevisionGUID="103562bd-e13e-45c0-b1ce-1a33ce8bf317" CreationDate="2014-08-02T04:45:53.113" UserId="8353" Text="Asked an editor friend of mine and said it's probably sync tones (not just pops) which some production outfits use instead of a pop when a video fades from black (aka first frame is a black frame). The end of a tone is the first frame. &#xD;&#xA;&#xD;&#xA;They do this because some amateur audio guys still don't know how 2 pops work and end up starting the audio immediately after the pop. (Because they were instructed that video starts from black.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="56800" PostHistoryTypeId="2" PostId="29960" RevisionGUID="68b84012-5b91-430c-b3b9-676d122d9e41" CreationDate="2014-08-02T07:50:27.467" UserId="9501" Text="I would say that warm generally describes a sound with a lot of low mid(but not too much that it becomes muddy) This is a sound that a lot of analogue gear has naturally hence the analogue warmth. For example if you record a VO with an LDC mic like U87 it will sound warm due to the mic's ability to pic up a lot of low mid. &#xD;&#xA;&#xD;&#xA;http://www.amazon.com/The-Art-Mixing-Engineering-Production/dp/1931140456 &#xD;&#xA;&#xD;&#xA;This book has a great list of words to describe the attributes of sound, well worth a look! &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56818" PostHistoryTypeId="2" PostId="29965" RevisionGUID="84571e54-6ade-4627-a54d-1c3664bae61f" CreationDate="2014-08-02T22:34:49.107" UserId="6425" Text="If used a lot of different models for mixing tv ads because I thought its would be great to mix on the go or under the sun. The problems I had with headphones are:&#xD;&#xA;&#xD;&#xA; - The perception of midrange sounds is totally of. I find that i end up wit mixes that have no midrange at all when I use headphones.&#xD;&#xA; - I find that bass frequencies are very hard to level right. On headphones I end up totally overpowering sub bass areas and I do mix not enough upper base/lower mids because they sound extremely muddy in headphones.&#xD;&#xA; - Transients are very harsh on a lot of headphones. When I mix with headphones I keep bothering about transient a lot and I start to smoothen them out.&#xD;&#xA; - Hearing every detail makes me crazy. I end up removing every breath of a dialogue in headphones.&#xD;&#xA; - Dynamics are very hard to adjust in headphones. it feels like very sound is present anyway so you do not apply the right amount of compression. So when I compress on monitors then go back to my headphones everything sounds clear, punchy and smooth where need to be. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56820" PostHistoryTypeId="2" PostId="29967" RevisionGUID="6880ed35-29f0-4827-b5d4-97c7f51c8948" CreationDate="2014-08-02T22:54:08.457" UserId="6432" Text="You can use some FFT eq's on send tracks, isolating different bands. This will split your bands very accurately. It's is the most accurate (transparent, if you like), as if you mix them back together it will sound exactly the same. That's not to say it will be the nicest sounding option. Imperfections are interesting in themselves sometimes. " ContentLicense="CC BY-SA 3.0" />
  <row Id="56821" PostHistoryTypeId="2" PostId="29968" RevisionGUID="61c16efa-6c3b-4c7c-b2a1-837e4432fe6f" CreationDate="2014-08-03T18:58:18.623" UserId="7175" Text="I was wondering if there's kind of a &quot;rule&quot; to filter guitar sound from a track. My idea is to create my own backing tracks, e.g. I did not find any backing track of &quot;Roxette - Listen To Your Heart&quot;, so I would love to create one. Therefore the song should still contain the voice and drums and other instruments, but the guitar sound should be removed/reduced to a minimum. I know, it might really depend on the song, e.g. if I like to filter acoustic guitar sound or metal guitar sound. Anyway, any idea what kind of effects/filters can do this?&#xD;&#xA;&#xD;&#xA;Here is my current setup:&#xD;&#xA;I usually use WaveLab6 for audio editing. I also have a license of Ableton Live 9 Lite, AmpliTube3 and some plugins provided by the Scarlett Focusrite 2i4. I guess that might not be the best setup to do the job. However, if you have any recommendations which software might do the job, I would love to try and buy this software." ContentLicense="CC BY-SA 3.0" />
  <row Id="56822" PostHistoryTypeId="1" PostId="29968" RevisionGUID="61c16efa-6c3b-4c7c-b2a1-837e4432fe6f" CreationDate="2014-08-03T18:58:18.623" UserId="7175" Text="How to filter guitar sound to create a backing track" ContentLicense="CC BY-SA 3.0" />
  <row Id="56823" PostHistoryTypeId="3" PostId="29968" RevisionGUID="61c16efa-6c3b-4c7c-b2a1-837e4432fe6f" CreationDate="2014-08-03T18:58:18.623" UserId="7175" Text="&lt;sound-effects&gt;&lt;filter&gt;&lt;guitar&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56824" PostHistoryTypeId="5" PostId="29968" RevisionGUID="6a113a74-2953-4408-8cc3-df23b69aa826" CreationDate="2014-08-03T19:15:30.743" UserId="7175" Comment="added 135 characters in body" Text="I was wondering if there's kind of a &quot;rule&quot; to filter guitar sound from a track. My idea is to create my own backing tracks, e.g. I did not find any backing track of &quot;Roxette - Listen To Your Heart&quot;, so I would love to create one. Therefore the song should still contain the voice and drums and other instruments, but the guitar sound should be removed/reduced to a minimum. I know, it might really depend on the song, e.g. if I like to filter acoustic guitar sound or metal guitar sound. Anyway, any idea what kind of effects/filters can do this?&#xD;&#xA;&#xD;&#xA;Here is my current setup:&#xD;&#xA;I usually use WaveLab6 for audio editing. I also have a license of Ableton Live 9 Lite, AmpliTube3 and some plugins provided by the Scarlett Focusrite 2i4. I guess that might not be the best setup to do the job. However, if you have any recommendations which software might do the job, I would love to try and buy this software.&#xD;&#xA;&#xD;&#xA;These are the effects provided within WaveLab:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/L8Wid.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="56826" PostHistoryTypeId="2" PostId="29970" RevisionGUID="4357d226-712f-423f-a7ff-900317b7bb5b" CreationDate="2014-08-03T21:42:01.833" UserId="7234" Text="The problem with headphone mastering isn't frequency response so much as phase issues; when you're listening on monitor speakers you have some signal coming from both speakers into both ears, and you can more directly hear the issues of phase cancellation and so on. When mastering on headphones, phase cancellation issues do not become apparent until you listen on speakers, and you wonder why certain things sound *totally* different than on headphones.&#xD;&#xA;&#xD;&#xA;Things that sound good on speakers will sound good on headphones, but the opposite is not true.&#xD;&#xA;&#xD;&#xA;Actual frequency response isn't quite so important as people tend to make it out to be; the human brain already does a really good job of compensating for equalization as it listens, so as long as your EQ isn't too out-of-whack and remains consistent throughout a track/album/etc. it'll sound fine.  You can spot-check it on a spectrum analyzer to make sure that the power curve doesn't have anything weird in it." ContentLicense="CC BY-SA 3.0" />
  <row Id="56827" PostHistoryTypeId="2" PostId="29971" RevisionGUID="282a5dcc-7fa0-434d-a445-3924fea5c872" CreationDate="2014-08-03T21:50:15.463" UserId="7234" Text="Vocal isolation/eliminations plugins generally work on the principle that lead vocals are centered and are going to have a particular EQ range. Guitars don't really have any such standards.&#xD;&#xA;&#xD;&#xA;Your best bet is to just run it through a parametric EQ and fiddle with it until you find the frequency bands that only have the guitar sounds in it.  However, a guitar has a pretty wide frequency range, especially when solos are involved, so you might have to use effect automation to change this on the fly and so on, and it'll probably never sound quite right.&#xD;&#xA;&#xD;&#xA;There are also programs like Melodyne that seek to extract out the notes on a frequency-range basis and allow you to adjust or remove the individual notes from a recording." ContentLicense="CC BY-SA 3.0" />
  <row Id="56828" PostHistoryTypeId="5" PostId="28201" RevisionGUID="d3334df9-d317-4208-81c0-5a67f3ac7188" CreationDate="2014-08-04T17:32:39.010" UserId="7398" Comment="added tag" Text="I'm trying to save DSP on my computer and my current mix session has alot of tracks with automation. Is there any way to set the plugins through automation to suspend during playback on and off?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56829" PostHistoryTypeId="6" PostId="28201" RevisionGUID="d3334df9-d317-4208-81c0-5a67f3ac7188" CreationDate="2014-08-04T17:32:39.010" UserId="7398" Comment="added tag" Text="&lt;mixing&gt;&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56834" PostHistoryTypeId="2" PostId="29973" RevisionGUID="a21f5ae2-6676-4729-9e86-c4798943d984" CreationDate="2014-08-05T14:24:15.263" UserId="9703" Text="I got a new HyperX Cloud headphone and I cant find a solution for a problem what I have when I mute the microphone using the switch (which disconnect the microphone completely), it makes a very annoying, high pitched noise until I unmute it, I recorded it but it sounds not so annoying in the recording https://dl.dropboxusercontent.com/u/33926727/Untitled.wma . Any idea what causes this ? I tried it on a different pc and it works perfectly there, could it be a bad ground (but there is almost no static when using the microphone) or it is something else wrong with my audio card ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56835" PostHistoryTypeId="1" PostId="29973" RevisionGUID="a21f5ae2-6676-4729-9e86-c4798943d984" CreationDate="2014-08-05T14:24:15.263" UserId="9703" Text="Annoying problem with the microphone when muted" ContentLicense="CC BY-SA 3.0" />
  <row Id="56836" PostHistoryTypeId="3" PostId="29973" RevisionGUID="a21f5ae2-6676-4729-9e86-c4798943d984" CreationDate="2014-08-05T14:24:15.263" UserId="9703" Text="&lt;microphone&gt;&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56837" PostHistoryTypeId="2" PostId="29974" RevisionGUID="360886fc-f161-4ad3-a7ff-c6434533eda0" CreationDate="2014-08-05T15:01:09.230" UserId="9704" Text="Can some one Please advise on which microphone to use to record sound for live video streaming from a tennis court, both indoor courts and outdoor courts.&#xD;&#xA;&#xD;&#xA;And I will also appreciate any advise on where to locate the mic.&#xD;&#xA;&#xD;&#xA;Thank you " ContentLicense="CC BY-SA 3.0" />
  <row Id="56838" PostHistoryTypeId="1" PostId="29974" RevisionGUID="360886fc-f161-4ad3-a7ff-c6434533eda0" CreationDate="2014-08-05T15:01:09.230" UserId="9704" Text="A microphone for video streaming from a tennis court" ContentLicense="CC BY-SA 3.0" />
  <row Id="56839" PostHistoryTypeId="3" PostId="29974" RevisionGUID="360886fc-f161-4ad3-a7ff-c6434533eda0" CreationDate="2014-08-05T15:01:09.230" UserId="9704" Text="&lt;microphone&gt;&lt;sport&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56844" PostHistoryTypeId="2" PostId="29976" RevisionGUID="36960bbb-96a0-4f2f-9f47-91b5ba8230a3" CreationDate="2014-08-06T16:38:41.290" UserId="9709" Text="What is the equivalent of a pixel in the realm of audio? I know that pixels are the basic components which are used to form a picture so what basic component is used to form a sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56845" PostHistoryTypeId="1" PostId="29976" RevisionGUID="36960bbb-96a0-4f2f-9f47-91b5ba8230a3" CreationDate="2014-08-06T16:38:41.290" UserId="9709" Text="What is the audio equivalent of a pixel?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56846" PostHistoryTypeId="3" PostId="29976" RevisionGUID="36960bbb-96a0-4f2f-9f47-91b5ba8230a3" CreationDate="2014-08-06T16:38:41.290" UserId="9709" Text="&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56847" PostHistoryTypeId="2" PostId="29977" RevisionGUID="59e36352-07ff-4cb6-8a20-bf3bf5dc5733" CreationDate="2014-08-06T16:41:01.087" UserId="769" Text="If we're talking about digital audio, which would make sense given the pixel analogy, then the equivalent is a **sample**. More at this [excellent website][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.google.com.au/webhp?ion=1&amp;espv=2&amp;ie=UTF-8#q=digital%20audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="56849" PostHistoryTypeId="2" PostId="29978" RevisionGUID="f30c50bf-97f0-46b5-bebe-ee2a6af97c1c" CreationDate="2014-08-06T20:19:37.657" UserId="7174" Text="It is effectively a sample, but the comparison isn't quite exact.  Photos have measurements of intensity on two axis with each pixel having an intensity measurement for red, green and blue.  A sound sample is the measure of the intensity of an audio signal at a moment in time, so it is kind of like a cross between a pixel and a frame.  There are generally tens of thousands of samples taken per second and from them we can determine what the actual analog wave looked like if the frequencies of the wave are below the [Nyquist rate][1] for the given sampling rate.&#xD;&#xA;&#xD;&#xA;Bit depth is even more synonymous across the two.  In a pixel, the bit depth determines the number of colors that can be represented by the pixel, and thus how close it can get to the original color.  Similarly, the bit depth of a sample determines how many possible recorded values can be used to describe the intensity of the sound wave for that sample and produces a sample closer to the exact shape of the original signal or allows for a greater range of intensities of signals to be described.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Nyquist_rate" ContentLicense="CC BY-SA 3.0" />
  <row Id="56850" PostHistoryTypeId="5" PostId="29977" RevisionGUID="89895efc-fa2e-4b05-bd1c-f9e7aa1e0ddf" CreationDate="2014-08-06T20:20:33.860" UserId="7174" Comment="removed snark" Text="If we're talking about digital audio, which would make sense given the pixel analogy, then the equivalent is a **sample**." ContentLicense="CC BY-SA 3.0" />
  <row Id="56851" PostHistoryTypeId="2" PostId="29979" RevisionGUID="97265290-d61f-4788-b6e7-349043c0676a" CreationDate="2014-08-06T20:23:12.393" UserId="6619" Text="FYI in case its applicable : I work in a 5.1 environment (Using pro tools 11 HD) that's acoustically treated (by professionals of course) and my system is calibrated. My room is smaller so I find I have to calibrate to 78 in order for my mixes to come out with a dial norm of -27.&#xD;&#xA;&#xD;&#xA;THE QUESTION:&#xD;&#xA;&#xD;&#xA;When I'm mixing, and I know the print master is going to be used to make an AC3. Do I need to mix the 5.1 at a level that ensures when the stereo fold down takes place, it doesn't clip the stereo bus? I find that I have to put a limiter at -4.5 on my 5.1 mixes to ensure this. Does this sound right?&#xD;&#xA;&#xD;&#xA;If &quot;yes&quot;, is a part of putting together deliverables, making an &quot;AC3&quot; version that's slightly quieter, or has less dynamic range?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="56852" PostHistoryTypeId="1" PostId="29979" RevisionGUID="97265290-d61f-4788-b6e7-349043c0676a" CreationDate="2014-08-06T20:23:12.393" UserId="6619" Text="5.1 to Stereo, Making an AC3" ContentLicense="CC BY-SA 3.0" />
  <row Id="56853" PostHistoryTypeId="3" PostId="29979" RevisionGUID="97265290-d61f-4788-b6e7-349043c0676a" CreationDate="2014-08-06T20:23:12.393" UserId="6619" Text="&lt;mixing&gt;&lt;film-mixing&gt;&lt;ac3&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56854" PostHistoryTypeId="2" PostId="29980" RevisionGUID="ae828417-bfe8-46ef-b429-b6423366c2a6" CreationDate="2014-08-06T20:30:06.947" UserId="6619" Text="Making DVDs : When a dvd is made. Is it true that they usually put it in this order : 1.L - 2.R - 3.C - 4.LFE - 5.Ls - 6.Rs - 7.Lt - 8.Rt - and when the dvd is read and a 5.1 audio system is detected it will play channels 1-6, and if a 5.1 audio system isn't detected it plays 7-8? (with dialnorm ensuring the volume is the same).&#xD;&#xA;&#xD;&#xA;If the answer is &quot;yes&quot;, then where exactly do AC3's fit in, and when are they most often used? Digital distribution like itunes and netflix? I like the idea that you can tailor the stereo mix, to make the film sound optimal in stereo, but you can't do that with an AC3 (since it folds down itself, according to how you encode it).&#xD;&#xA;&#xD;&#xA;Thanks!!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="56855" PostHistoryTypeId="1" PostId="29980" RevisionGUID="ae828417-bfe8-46ef-b429-b6423366c2a6" CreationDate="2014-08-06T20:30:06.947" UserId="6619" Text="5.1 DVD Audio Formats" ContentLicense="CC BY-SA 3.0" />
  <row Id="56856" PostHistoryTypeId="3" PostId="29980" RevisionGUID="ae828417-bfe8-46ef-b429-b6423366c2a6" CreationDate="2014-08-06T20:30:06.947" UserId="6619" Text="&lt;dvd&gt;&lt;ac3&gt;&lt;format&gt;&lt;dvd-release&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56857" PostHistoryTypeId="2" PostId="29981" RevisionGUID="bc549c19-61de-4caf-a47c-a75fec394316" CreationDate="2014-08-06T20:58:34.933" UserId="6619" Text="I'm VERY curious. How to DCPs work? Do they hold several versions of a mix (ie, atmos, 7.1, 5.1, stereo) and play according to what type of system is detected? Or does it simply carry the mix with the highest channel count (ie, atmos) and apply some kind of foldown algorithm?&#xD;&#xA;&#xD;&#xA;Thanks!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="56858" PostHistoryTypeId="1" PostId="29981" RevisionGUID="bc549c19-61de-4caf-a47c-a75fec394316" CreationDate="2014-08-06T20:58:34.933" UserId="6619" Text="How does a DCP work?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56859" PostHistoryTypeId="3" PostId="29981" RevisionGUID="bc549c19-61de-4caf-a47c-a75fec394316" CreationDate="2014-08-06T20:58:34.933" UserId="6619" Text="&lt;dcp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56860" PostHistoryTypeId="5" PostId="29981" RevisionGUID="80d5bb31-9f69-4e11-8d1f-91bd4eeb0fee" CreationDate="2014-08-06T21:00:44.590" UserId="7174" Comment="deleted 30 characters in body" Text="How to DCPs work? Do they hold several versions of a mix (ie, atmos, 7.1, 5.1, stereo) and play according to what type of system is detected? Or does it simply carry the mix with the highest channel count (ie, atmos) and apply some kind of foldown algorithm?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56861" PostHistoryTypeId="2" PostId="29982" RevisionGUID="43d06b8d-82e9-4055-a1c9-443df9c5ff7d" CreationDate="2014-08-06T21:13:47.920" UserId="6619" Text="Make sure your 5.1 system is calibrated first of course, then here's some information :&#xD;&#xA;&#xD;&#xA;+1 for &quot;Master and Commander&quot; BLURAY. Be careful though, that sucker is LOUD, but a real treat to hear and compare!&#xD;&#xA;&#xD;&#xA;- &quot;Megamind&quot; BLURAY (http://www.imdb.com/title/tt1001526/) is also the theatrical mix. If you have a 7.1 system is practically identical according to Eric Adhaul. (he didn't mix it, but he was present during the process.) &#xD;&#xA;&#xD;&#xA;- Anything that Michael Semanick has mixed for Disney (blurays are closest). NOTE, these are not the exact theatrical mixes, HOWEVER it's interesting to know that Michael follows these mixes through all the way to the consumer stage, where he does his best to maintain the theatrical mix as much as possible for consumer release. He states that Disney is very thorough with the follow through of their films to DVD/Bluray. Though, I'm not sure if he's involved in this process on non Disney films.&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="56862" PostHistoryTypeId="2" PostId="29983" RevisionGUID="916c9a19-9c4e-48cc-b6b4-76d6d32f77e2" CreationDate="2014-08-06T21:54:57.613" UserId="6432" Text="I spent a bit of time working as a projectionist about five years ago, playing standard DCPs from a Doremi server. All the prints came with a single audio format sent specifically from the distributor for the particular screen. The server outputs discreet channels and these are routed to the speakers. At the cinema I worked at we had a custom switch to do this (though the screen was multi-purpose, not like your local multiplex).&#xD;&#xA; &#xD;&#xA;&#xD;&#xA; " ContentLicense="CC BY-SA 3.0" />
  <row Id="56863" PostHistoryTypeId="2" PostId="29984" RevisionGUID="a7ed2750-f4e0-46c3-bc5e-3ecf7fe70d9f" CreationDate="2014-08-07T02:09:06.377" UserId="7970" Text="I'm looking for a way to create sounds in a serial manner, so that Sound1 feeds into Sound2 which then feeds into Sound3 etc. I noticed when using Operator (in Ableton) today that 4 simple sound waves played in parallel, just sound like 4 simple sound waves, but if sounds are played in a serial manner the sound it creates is completely different. So I'm looking for a way to do this but with audio files and other sounds, I feel that layering sounds doesn't 'infuse' the different sounds enough and they can still end up sounding like different sounds that are just sitting on top of each other.&#xD;&#xA;&#xD;&#xA;I hope this makes sense :)&#xD;&#xA;&#xD;&#xA;Cheers!" ContentLicense="CC BY-SA 3.0" />
  <row Id="56864" PostHistoryTypeId="1" PostId="29984" RevisionGUID="a7ed2750-f4e0-46c3-bc5e-3ecf7fe70d9f" CreationDate="2014-08-07T02:09:06.377" UserId="7970" Text="Serial Sound Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56865" PostHistoryTypeId="3" PostId="29984" RevisionGUID="a7ed2750-f4e0-46c3-bc5e-3ecf7fe70d9f" CreationDate="2014-08-07T02:09:06.377" UserId="7970" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;sound&gt;&lt;ableton-live&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56866" PostHistoryTypeId="2" PostId="29985" RevisionGUID="21b04fbe-f275-46cc-bde2-06c7ae10ba12" CreationDate="2014-08-07T08:11:52.190" UserId="6432" Text="Not sure what you mean here by 'feeds into'? Beyond summing audio together there's convolution, or using one source to modulate another like FM or AM. You could check out Soundhack for convolution which can work with any sounds. " ContentLicense="CC BY-SA 3.0" />
  <row Id="56873" PostHistoryTypeId="2" PostId="29987" RevisionGUID="14da54c1-68a4-45e3-9cd4-759e469fc95f" CreationDate="2014-08-07T19:35:08.410" UserId="9713" Text="Let's say I have two audio files, both at 60 seconds length, .m4a or equivalent. When I overlap these two files, I get one audio file at 60 seconds. What is the technical necessary process to minimize quality loss?&#xD;&#xA;&#xD;&#xA;Let's say I get another audio file, and I'd like to merge this file with the one I mentioned, now making one single audio file at 60 seconds, with 'three' original separate files.&#xD;&#xA;With my current method (simply adding), results in decreased quality after 3-4 overlappings/merges. What needs to be done? I found one example somewhere that simply changed the volume to 80% before merging, is there not more to it? If the files are 44.1, should I not increase the result by 44.1 for each overlapping (88.2, or 96), or would this not do anything?&#xD;&#xA;&#xD;&#xA;As you now understand, I know little of this. Where can I learn about how this works?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56874" PostHistoryTypeId="1" PostId="29987" RevisionGUID="14da54c1-68a4-45e3-9cd4-759e469fc95f" CreationDate="2014-08-07T19:35:08.410" UserId="9713" Text="What is the science behind overlapping two audio files into one?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56875" PostHistoryTypeId="3" PostId="29987" RevisionGUID="14da54c1-68a4-45e3-9cd4-759e469fc95f" CreationDate="2014-08-07T19:35:08.410" UserId="9713" Text="&lt;audio&gt;&lt;conversion&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56876" PostHistoryTypeId="2" PostId="29988" RevisionGUID="7f3ac7ec-884c-4236-9220-e0fa34945ee2" CreationDate="2014-08-08T00:58:27.340" UserId="6619" Text="@ Mark Durham - Thanks so much for your replies Mark!!! Very great and useful stuff!!&#xD;&#xA;&#xD;&#xA;I also posted this question on another forum, and got some great insight into the Atmos end of things. I thought I'd share for anyone who might be interested :&#xD;&#xA;&#xD;&#xA;The DCP spec and Dolby Atmos are two different things so the Atmos mix has to be replayed through its proprietary Dolby software and hardware, the RMU. The DCP spec allows for 7.1 and 5.1, but no internal downmixing so a separate DCP would be used for those two mixes. Two Channel L R Stereo is not a commercial cinema format and never has been, as far as I know. You need a centre speaker in a cinema to stop the dialogue sounding like its coming from one side of the room.&#xD;&#xA;&#xD;&#xA;Auro 3D sneaks itself into the DCP container with some trickery, but there are people on here better qualified to explain that to you.&#xD;&#xA;&#xD;&#xA;Hope this helps,&#xD;&#xA;&#xD;&#xA;Rob Walker&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56877" PostHistoryTypeId="10" PostId="29987" RevisionGUID="42fa78a9-2dca-462b-bcb3-0563f2b0c194" CreationDate="2014-08-08T07:15:36.137" UserId="1216" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:1216,&quot;DisplayName&quot;:&quot;Arnoud Traa&quot;}]}" />
  <row Id="56878" PostHistoryTypeId="11" PostId="29987" RevisionGUID="542df7dc-9681-439e-ac70-9551df9c4d15" CreationDate="2014-08-08T14:08:21.790" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="56879" PostHistoryTypeId="4" PostId="29987" RevisionGUID="845075b4-32d0-451d-9e7a-704ff89468a5" CreationDate="2014-08-08T14:09:15.047" UserId="7174" Comment="edited title" Text="Are any special steps needed to combine two or more audio files without quality loss?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56880" PostHistoryTypeId="2" PostId="29989" RevisionGUID="6ce4a710-2b4d-40fa-9421-f2cdd80a4a06" CreationDate="2014-08-08T14:19:15.593" UserId="7174" Text="Mixing audio in a computer is very analogous to how sound mixes in the real world.  In the real world, sound is simply pressure waves that cause vibrations in our eardrum that get converted to what we hear by our brain.  In the computer, that level of pressure of the wave is represented as a series of samples that describe how strong the pressure wave was.&#xD;&#xA;&#xD;&#xA;When two sounds mix in the real world, they both cause overlapping changes in pressure.  This works in an additive manner.  Similarly, all we need to do with an audio file is additively combine it with another audio file with the same sample rate (assuming samples are measured as positive and negative values around neutral pressure, if it is not, then we have to adjust for the difference from the midpoint.)&#xD;&#xA;&#xD;&#xA;The only real special concern is that adding two audio files together may result in the signal clipping as it does add additional signal strength.  In that case, it may be necessary to scale back the intensity of each clip so that the new combined waveform does not exceed the range supported by the audio format.&#xD;&#xA;&#xD;&#xA;You don't have to add more samples because sounds blend additively, they are not maintained separately and actually, if you were to offset them as every other sample, the result wouldn't at all represent blending of audio and would result in an extremely noisy and impossible to play audio file that doesn't represent a waveform." ContentLicense="CC BY-SA 3.0" />
  <row Id="56881" PostHistoryTypeId="2" PostId="29990" RevisionGUID="43cfcc21-f49f-4574-be39-5e9cb440b703" CreationDate="2014-08-08T15:24:44.967" UserId="9717" Text="You are talking about a fundamental concept in audio synthesis: control versus audio signals. &#xD;&#xA;&#xD;&#xA;Control signals are not meant to be heard. Audio signals are. When you are using simple waveforms such as sine, square, triangle waves, you can use them as either control or audio signals with predictable results. &#xD;&#xA;&#xD;&#xA;In **Operator** you have 4 oscillators, and those oscillators can be connected in different ways. If you connect the 4 oscillators in parallel, then you hear a mixture of simple waveforms; all four are acting as audio signals. If you start connecting oscillators in series, you are able to hear the result of, say, a sine wave controlling the frequency of the next oscillator. Things start to sound interesting when you connect oscillators in series, as some of the oscillators are now control signals.&#xD;&#xA;&#xD;&#xA;From the Live PDF manual, page 408: &quot;[Operator] utilizes four multi-waveform oscillators that can modulate each other’s frequencies, creating very complex timbres from a limited number of objects.&quot; &#xD;&#xA;&#xD;&#xA;The final thing to be aware of is the frequency rates: suppose that you connect 2 oscillators in series and listen to the output of the last one. As you control the frequency of first (control) oscillator, you will notice that low Hertz values correspond to gradual changes in the resulting sound's frequency. This is also known as *vibrato*. As you speed up the vibrato, there is a point at which the control oscillator is going fast enough that it ceases to be perceived as rhythm, and is rather perceived as altering the frequencies within the resulting sound. These sounds are called *sidebands*.&#xD;&#xA;&#xD;&#xA;All this is covered in a basic synthesis course, so I suggest you do some reading." ContentLicense="CC BY-SA 3.0" />
  <row Id="56883" PostHistoryTypeId="2" PostId="29991" RevisionGUID="3be727ab-ce75-47ce-8c39-6121e6d5f526" CreationDate="2014-08-08T15:43:56.800" UserId="9593" Text="An important thing to consider here is that a significant component of these platforms is that they're &quot;object based&quot; mixing tools and reproduction systems. &#xD;&#xA;&#xD;&#xA;They are *usually* implemented across large/r surround arrays, but the concept is intended to translate to bigger or smaller arrays as well.&#xD;&#xA;&#xD;&#xA;This object-based concept is about identifying a point source versus an audio stream or bed. With a point source being told to emanate from a location in 3D space. If there's a specific loudspeaker in that location, it'll emit energy from only that speaker. Otherwise, it would produce something akin to a phantom image across two or more speakers to attempt to produce the effect of the sound emanating from the specific position in space.&#xD;&#xA;&#xD;&#xA;In an ideal scenario - each reproduction environment would have the (same) larger array, but that isn't necessarily an explicit criteria for the system to function.  &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56892" PostHistoryTypeId="2" PostId="29992" RevisionGUID="08030ca3-4996-422c-9a82-9ec257fc3a9f" CreationDate="2014-08-09T12:02:15.117" UserId="7753" Text="When I have my laptop at my desk, I plug in my computer speakers to it. When I move it to my bed, I have another headphone cord that runs there, which is also plugged into the speakers. The problem is that when that first cord is sitting unplugged, but with the other end plugged into the speakers, it of course generates a considerable hum. &#xD;&#xA;&#xD;&#xA;I notice the hum goes away when you plug it into any jack, which makes me wonder: is there some kind of jack-shaped &quot;cover&quot; one can put on it to stop the hum when you're not using it?&#xD;&#xA;&#xD;&#xA;The alternative would be to unplug that wire from the speakers each time, which is inconvenient." ContentLicense="CC BY-SA 3.0" />
  <row Id="56893" PostHistoryTypeId="1" PostId="29992" RevisionGUID="08030ca3-4996-422c-9a82-9ec257fc3a9f" CreationDate="2014-08-09T12:02:15.117" UserId="7753" Text="Cover an unplugged audio cord so it doesn't create a hum" ContentLicense="CC BY-SA 3.0" />
  <row Id="56894" PostHistoryTypeId="3" PostId="29992" RevisionGUID="08030ca3-4996-422c-9a82-9ec257fc3a9f" CreationDate="2014-08-09T12:02:15.117" UserId="7753" Text="&lt;speakers&gt;&lt;setup&gt;&lt;computer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56895" PostHistoryTypeId="10" PostId="29992" RevisionGUID="654fba79-be26-40de-980d-f6a49c2e8865" CreationDate="2014-08-09T16:05:36.350" UserId="7174" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="56896" PostHistoryTypeId="5" PostId="29992" RevisionGUID="e263c0a3-48f4-475e-99df-b873269f237e" CreationDate="2014-08-10T11:22:02.990" UserId="9601" Comment="answered without sufficient rep to comment [which perhaps ought to be fixed, to prevent trolls/griefers]" Text="When I have my laptop at my desk, I plug in my computer speakers to it. When I move it to my bed, I have another headphone cord that runs there, which is also plugged into the speakers. The problem is that when that first cord is sitting unplugged, but with the other end plugged into the speakers, it of course generates a considerable hum. &#xD;&#xA;&#xD;&#xA;I notice the hum goes away when you plug it into any jack, which makes me wonder: is there some kind of jack-shaped &quot;cover&quot; one can put on it to stop the hum when you're not using it?&#xD;&#xA;&#xD;&#xA;The alternative would be to unplug that wire from the speakers each time, which is inconvenient.&#xD;&#xA;&#xD;&#xA;[My apologies, I don't have the rep to comment, but it seems I have sufficient to edit... whilst off-topic, it appears you've just discovered the age-old adage... &quot;always unplug the other end first&quot; which guitarists etc have known since the first amp was invented.]" ContentLicense="CC BY-SA 3.0" />
  <row Id="56897" PostHistoryTypeId="24" PostId="29992" RevisionGUID="e263c0a3-48f4-475e-99df-b873269f237e" CreationDate="2014-08-10T11:22:02.990" Comment="Proposed by 9601 approved by 6425, 1185 edit id of 155" ContentLicense="CC BY-SA 3.0" />
  <row Id="56906" PostHistoryTypeId="2" PostId="29996" RevisionGUID="51bd2c68-28c0-472e-825c-31d05ed3a30c" CreationDate="2014-08-11T05:41:33.030" UserId="9501" Text="Beyerdynamic 990'swould do the trick and should be in budget, they're open back so they sound pretty natural (the 770's are closed back and 880's are a semi open) and they're insanely comfortable to wear(feels like you're getting a head massage!) Although as a couple of people have said, its not really recommended to master on headphones, but if you are going to, then these puppies will do a good job! " ContentLicense="CC BY-SA 3.0" />
  <row Id="56911" PostHistoryTypeId="19" PostId="19275" RevisionGUID="e15a2ba8-c5a6-47d9-b3bf-193c8e6201d3" CreationDate="2014-08-11T14:39:33.347" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="56917" PostHistoryTypeId="2" PostId="29999" RevisionGUID="4073f992-889f-494e-8f65-f4361b07cc27" CreationDate="2014-08-11T22:20:50.363" UserId="9731" Text="With all honesty, the Call Of Duty Zombie mode had really great affects in it. By far there moans and screams are very scary, and the zombies have different environmental themes to them.&#xD;&#xA;slow pitch echoes in space, screechers, napalms and gas zombies alike are great. Not my favorite game, BUT… they had great zombies. Classic feel to them besides their glowing eyes and super man jumping and teleporting. And also Resident Evil Movies, Alice's flash back when the apocalypse was one of my favorite parts, and also watching zombies riding jeeps and motorcycles shooting guns and mounted machine-guns. Dawn of the Dead was a VERY great classic zombie movie. Dead Space has the most Horror feel into it, very incredible graphics, not to mention that they had a mix of aliens WITH zombies. Who doesn't like aliens and zombies?…&#xD;&#xA; &#xD;&#xA;But of all of the more I could think of ( which is VERY VERY much I would be talking about.)&#xD;&#xA;Dawn of the dead, flat out… Is theeeee- best classic zombie movie (fallow up of Night of the Living Dead) of all time. Can't get anymore of a classic zombie-movie then that film." ContentLicense="CC BY-SA 3.0" />
  <row Id="56918" PostHistoryTypeId="2" PostId="30000" RevisionGUID="c00db005-302f-49b0-9ac8-e4ffffb87250" CreationDate="2014-08-11T23:07:52.777" UserId="7344" Text="What are the typical tremelo and vibrato characteristics for electric organs, like the Vox Continetial and Farfisa organs?&#xD;&#xA;&#xD;&#xA;I'd like some ball park parameter values, i.e. modulation frequencies around `x` Hz, and vibrato widths around `y` Hz to start off my pure-data model with." ContentLicense="CC BY-SA 3.0" />
  <row Id="56919" PostHistoryTypeId="1" PostId="30000" RevisionGUID="c00db005-302f-49b0-9ac8-e4ffffb87250" CreationDate="2014-08-11T23:07:52.777" UserId="7344" Text="Design parameters for combo organs" ContentLicense="CC BY-SA 3.0" />
  <row Id="56920" PostHistoryTypeId="3" PostId="30000" RevisionGUID="c00db005-302f-49b0-9ac8-e4ffffb87250" CreationDate="2014-08-11T23:07:52.777" UserId="7344" Text="&lt;instruments&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56925" PostHistoryTypeId="2" PostId="30002" RevisionGUID="97447e41-c1f0-4d6c-a4fe-cd44c4bb85d5" CreationDate="2014-08-12T06:19:36.727" UserId="9733" Text="I hope this is the correct forum. I started to do some programming involving sound recently and have encountered a lot of technical terms that are all foreign to me. I am slowly learning  about them but there is a couple of them that I find it hard to grasp. I am trying to change the sample rate with one of my codes but I am not sure how to verify that it really got resampled and am unsure if I have understood the whole logic behind it. &#xD;&#xA;&#xD;&#xA;Say that my laptop's default sample rate is 48000 Hz. I record something in 48000 Hz and want to change the sample rate to 96000 Hz. When I've done it, according to this pdf (http://dsp-book.narod.ru/Pitch_shifting.pdf) the pitch will get higher and the sound shorter. My code does indeed do that. But when I compare the audio file with default sample rate with the one with modified sample rate, they are in the same size. Shouldn't the upsampled version be larger since it contains more samples? And the quality of the file should be better, right? Should the pitch and speed of the upsampled file sound &quot;normal&quot; when played in a 96000 Hz-machine?&#xD;&#xA;&#xD;&#xA;Yeah, as you can see I am a bit confused. I think that I may have implemented the upsampling incorrectly, but what conditions should it fulfill when it is upsampled correctly? How can I verify? &#xD;&#xA;&#xD;&#xA;Thanks in advance!" ContentLicense="CC BY-SA 3.0" />
  <row Id="56926" PostHistoryTypeId="1" PostId="30002" RevisionGUID="97447e41-c1f0-4d6c-a4fe-cd44c4bb85d5" CreationDate="2014-08-12T06:19:36.727" UserId="9733" Text="Verification of upsampled audio file" ContentLicense="CC BY-SA 3.0" />
  <row Id="56927" PostHistoryTypeId="3" PostId="30002" RevisionGUID="97447e41-c1f0-4d6c-a4fe-cd44c4bb85d5" CreationDate="2014-08-12T06:19:36.727" UserId="9733" Text="&lt;sample-rate&gt;&lt;downsampling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56928" PostHistoryTypeId="2" PostId="30003" RevisionGUID="e437e431-f79c-4624-8b7c-de2961938c09" CreationDate="2014-08-12T07:20:16.413" UserId="9734" Text="It seem to me that your code does not any interpolation with further addition of samples between each pair of existing ones (in that case the size of the file would double, *but pitch and speed should remain the same*). More likely it &quot;reinterprets&quot; the original file, changing its header and telling the player to read the existing samples 96000 times per second instead of 48000. The effect is exactly the same as tape played on double speed: the pitch and speed of sound varies, *but the length of the tape does not*." ContentLicense="CC BY-SA 3.0" />
  <row Id="56929" PostHistoryTypeId="2" PostId="30004" RevisionGUID="9d10156d-d3a2-41f5-a920-657cf4bcdcd8" CreationDate="2014-08-12T08:55:16.570" UserId="6425" Text="how where those sounds made? Some sound like hefty reverbed claps some sound like foley some like white noise or extremely distorted foley.&#xD;&#xA;&#xD;&#xA;Do you have some information on those?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;Tobi" ContentLicense="CC BY-SA 3.0" />
  <row Id="56930" PostHistoryTypeId="1" PostId="30004" RevisionGUID="9d10156d-d3a2-41f5-a920-657cf4bcdcd8" CreationDate="2014-08-12T08:55:16.570" UserId="6425" Text="Bud Spencer Terrence Hill - Hits Sound Design" ContentLicense="CC BY-SA 3.0" />
  <row Id="56931" PostHistoryTypeId="3" PostId="30004" RevisionGUID="9d10156d-d3a2-41f5-a920-657cf4bcdcd8" CreationDate="2014-08-12T08:55:16.570" UserId="6425" Text="&lt;sound-design&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56933" PostHistoryTypeId="2" PostId="30005" RevisionGUID="d315b057-3a28-4143-9ee0-49b12ec8e907" CreationDate="2014-08-12T11:43:43.920" UserId="243" Text="Hello fellow samurais of sound, is there a downloadable patch that allows pro tools 9 to be compatible with Mac OS 10.9.4 (maverick). You guys would be really helping me out here? I promise to repay with tips and tricks!!!" ContentLicense="CC BY-SA 3.0" />
  <row Id="56934" PostHistoryTypeId="1" PostId="30005" RevisionGUID="d315b057-3a28-4143-9ee0-49b12ec8e907" CreationDate="2014-08-12T11:43:43.920" UserId="243" Text="GUILY OF BEING LAZY ;(" ContentLicense="CC BY-SA 3.0" />
  <row Id="56935" PostHistoryTypeId="3" PostId="30005" RevisionGUID="d315b057-3a28-4143-9ee0-49b12ec8e907" CreationDate="2014-08-12T11:43:43.920" UserId="243" Text="&lt;pro-tools-9&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56936" PostHistoryTypeId="5" PostId="30005" RevisionGUID="c38aa507-d95b-4f93-9e90-b47cbfbfae4b" CreationDate="2014-08-12T12:25:17.777" UserId="9737" Comment="removed fluff, killed useless title" Text="Is there a downloadable patch that allows Pro Tools 9 to be compatible with Mac OS X 10.9.4 (Mavericks)?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56937" PostHistoryTypeId="4" PostId="30005" RevisionGUID="c38aa507-d95b-4f93-9e90-b47cbfbfae4b" CreationDate="2014-08-12T12:25:17.777" UserId="9737" Comment="removed fluff, killed useless title" Text="Pro Tools 9 on Mac OS X 10.9.4 (Mavericks)" ContentLicense="CC BY-SA 3.0" />
  <row Id="56938" PostHistoryTypeId="24" PostId="30005" RevisionGUID="c38aa507-d95b-4f93-9e90-b47cbfbfae4b" CreationDate="2014-08-12T12:25:17.777" Comment="Proposed by 9737 approved by 6432, 6957 edit id of 156" ContentLicense="CC BY-SA 3.0" />
  <row Id="56939" PostHistoryTypeId="6" PostId="30005" RevisionGUID="905af8d1-adc3-4744-945d-aa873c73cac6" CreationDate="2014-08-12T12:25:42.020" UserId="6957" Comment="edited tags" Text="&lt;osx&gt;&lt;pro-tools-9&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56940" PostHistoryTypeId="2" PostId="30006" RevisionGUID="7d2b8adb-8c77-4ea2-828a-c0ab9fde9ddb" CreationDate="2014-08-12T18:34:15.367" UserId="8006" Text="They hit meat (side of pork/beef) with belts - as far as I remember correctly :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="56941" PostHistoryTypeId="5" PostId="30006" RevisionGUID="bbd9722c-9dbc-436c-ab7b-385540b99713" CreationDate="2014-08-12T18:54:23.503" UserId="8006" Comment="added 6 characters in body" Text="They hit meat (side of pork/beef, hams) with belts - as far as I remember correctly :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="56945" PostHistoryTypeId="5" PostId="25292" RevisionGUID="c95da46f-dc03-4a80-ad01-bca9b7ac9c99" CreationDate="2014-08-13T16:47:44.473" UserId="7045" Comment="Text added to clarify that compression is by far the better option here. " Text="You can add a little bit of compression, boosting the gain that way. This is probably the best way to handle this, and the one that can potentially get you the best audio quality. &#xD;&#xA;&#xD;&#xA;Another option is to open the audio file in a waveform editor like Peak and normalize the audio or increase the gain that way. (Right-click on the Garageband file in the Finder and navigate to the audio file.) This is an operation you won't be able to undo, so I'd back up that file first. Keep in mind that this will raise the noise level of the tracks across the board, and you have less control than you would by using the compressor. &#xD;&#xA;&#xD;&#xA;If nothing else is working: Not exactly optimal, but if the track would sound good with a little distortion, you can run it through a guitar amp plug-in. (I wouldn't do this with, say vocals or a flute, but it might be good with bass or a hi-hat, depending on context.) " ContentLicense="CC BY-SA 3.0" />
  <row Id="56947" PostHistoryTypeId="2" PostId="30008" RevisionGUID="8fd7e348-8801-4dc8-a8a9-ee90b06b7809" CreationDate="2014-08-13T18:21:48.790" UserId="9729" Text="I don't know of any VST/Softsynth platforms for doing what you are after but I can recommend a different approach.&#xD;&#xA;&#xD;&#xA;The Composer's Desktop Project (CDP) is a (free) collection of commandline tools for processing audio files.  I won't go into detail on the tools themselves as there are hundreds of them.  A good number of the tools allow you to use an infile as a control source for the output, in addition to your starting signal.  Since the operations are performed in commandline serial manipulation is very easy.  You perform an operation on your starting file, then use the outfile as an infile on your next operation.&#xD;&#xA;&#xD;&#xA;You could take this a step further by creating batch files that perform a series of operations in one go." ContentLicense="CC BY-SA 3.0" />
  <row Id="56948" PostHistoryTypeId="2" PostId="30009" RevisionGUID="81261e41-3052-4eb1-a075-6e4cfac3d932" CreationDate="2014-08-14T03:34:35.583" UserId="6532" Text="The project I'm currently working on has a lot of scenes in an abandoned research facility with flickering and broken fluorescent lights. Instead of relying on library sounds for that I'd like to record the broken fluorescents. Does anybody have experience with that? Just want to make sure I don't go over budget by breaking a bunch of them all the way without getting any usable sound..." ContentLicense="CC BY-SA 3.0" />
  <row Id="56949" PostHistoryTypeId="1" PostId="30009" RevisionGUID="81261e41-3052-4eb1-a075-6e4cfac3d932" CreationDate="2014-08-14T03:34:35.583" UserId="6532" Text="Fun with broken fluorescent lights" ContentLicense="CC BY-SA 3.0" />
  <row Id="56950" PostHistoryTypeId="3" PostId="30009" RevisionGUID="81261e41-3052-4eb1-a075-6e4cfac3d932" CreationDate="2014-08-14T03:34:35.583" UserId="6532" Text="&lt;recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56951" PostHistoryTypeId="2" PostId="30010" RevisionGUID="5a8bc587-1a62-43ba-b234-2decde8e88bf" CreationDate="2014-08-14T08:39:38.177" UserId="6432" Text="Have done a few scenes like this before. Not sure what you mean by broken though, is that a state other than flickering? Most scenes like this seem to be variations of flickering. &#xD;&#xA;&#xD;&#xA;It's definitely worth recording some as the 'plink' sound you get from them all is different, as is the buzz and and hum. For the long tubes you can use some worn out starters to get different states from them. For spot effects, close miking different areas of the light is the way to go. I also remember getting some interesting contact mic sounds from the tubes. It would be useful if you can get access to some areas with lots of lights hanging, as the cumulative effect is different and useful for background atmos. Old offices are good for this. Getting your recordings to sync with what's in your film is all going to be done in the editing though, so leave plenty of time for cutting these together. You can make loops with nice hum sections to make this a bit easier. &#xD;&#xA;&#xD;&#xA;It's worth also noting that quite a lot of sounds for this sort of thing are designed from other elements, so you don't necessarily need to just use the actual sounds. You can get away with all sorts of electrical buzz and crackle, so record anything in that category.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="56956" PostHistoryTypeId="2" PostId="30012" RevisionGUID="1a7b60ab-582e-48d8-b884-5245a1e327d7" CreationDate="2014-08-14T17:50:18.460" UserId="9745" Text="I'm really new to working with electrical components, so please bare with me here...&#xD;&#xA;&#xD;&#xA;I'd like to make a sound distributor with 3.5mm audio jacks, so for example the pc outputs an audio signal and the distributor has say 5 jacks where headphones/speakers/second speakers etc. are connected. Every jack should have a switch to manually cut the connection of each of those 5 signals.&#xD;&#xA;Does it sound the same (or at all) if I just split the output cable to 5 and if not, how should I go about mastering this task?&#xD;&#xA;&#xD;&#xA;I don't want to buy anything to experiment with to then find out half of it isn't necessary.&#xD;&#xA;&#xD;&#xA;thanks a lot!" ContentLicense="CC BY-SA 3.0" />
  <row Id="56957" PostHistoryTypeId="1" PostId="30012" RevisionGUID="1a7b60ab-582e-48d8-b884-5245a1e327d7" CreationDate="2014-08-14T17:50:18.460" UserId="9745" Text="How to build a 3.5mm jack distributor" ContentLicense="CC BY-SA 3.0" />
  <row Id="56958" PostHistoryTypeId="3" PostId="30012" RevisionGUID="1a7b60ab-582e-48d8-b884-5245a1e327d7" CreationDate="2014-08-14T17:50:18.460" UserId="9745" Text="&lt;distribution&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56959" PostHistoryTypeId="2" PostId="30013" RevisionGUID="3b209244-bf5c-4ffa-a582-1d8faf5298c3" CreationDate="2014-08-14T18:52:55.813" UserId="9729" Text="Splitter cables for 3.5mm are pretty common.  If you have ever used one with two pairs of headphones you know that there is a drop in the signal level because the headphones are splitting the available power to drive them.&#xD;&#xA;&#xD;&#xA;I'm not sure what kind of audible changes would occur with passive connections (i.e. things that don't draw power).  My assumption is that their would be some drop in signal level from impedance. " ContentLicense="CC BY-SA 3.0" />
  <row Id="56960" PostHistoryTypeId="5" PostId="23251" RevisionGUID="8ce47dc6-be1e-4165-8073-ffe9f1fb3336" CreationDate="2014-08-14T20:42:19.177" UserId="6797" Comment="Fixed formatting of quoted text." Text="This is not the most suited answer but it's what I got from [Reddit][1].&#xD;&#xA;&#xD;&#xA;From Reddit user valiantism:&#xD;&#xA;&#xD;&#xA;&gt; Ok I think I got fairly close. I made a thor with 3 wavetable oscs.  &#xD;&#xA;&#xD;&#xA;&gt; - OSC1: PPG 8 HP VCF @ position 44. Turn the octave down to 3.  &#xD;&#xA;- OSC2: PPG 8 HP VCF @ position 34. Turn the semi up to 7.  &#xD;&#xA;- OSC3: PPG 27 Formant @ position 2.  &#xD;&#xA;- Route all 3 oscs to a Lowpass filter (filter1) with the freq set to ~400 hz. &#xD;&#xA;- Set filter2 to a State-Variable, and set it to High-Pass. Set the freq to ~100hz.  &#xD;&#xA;- Set the mixer balance between OSC1 and OSC2 to 50. &#xD;&#xA;- Turn 1+2 down to -4,9db and turn down OSC3 level down to -11 db.    &#xD;&#xA;- Turn on the delay in Thor, turn on temposync. Set Time=3/8T and F.Back=16&#xD;&#xA;Add a Phaser device to your Thor. Turn down the freq quite a lot.&#xD;&#xA;- Finally set up a send effect in the Thor's mixer channel to a &quot;The Echo&quot;, the initialized setting will do find. Play around with the channel send, until you're happy.  &#xD;&#xA;&#xD;&#xA;&gt; Most of these settings can probably be tweaked alot more to get closer to the original sound, but this should get you pretty close.&#xD;&#xA;&#xD;&#xA;It's not the exate sound and it's pretty close, but I'm not satisfied. &#xD;&#xA;  [1]: http://www.reddit.com/r/reasoners/comments/v41ns/how_can_i_get_that_kraftwerks_tour_de_france/" ContentLicense="CC BY-SA 3.0" />
  <row Id="56961" PostHistoryTypeId="24" PostId="23251" RevisionGUID="8ce47dc6-be1e-4165-8073-ffe9f1fb3336" CreationDate="2014-08-14T20:42:19.177" Comment="Proposed by 6797 approved by 1185, 6425 edit id of 157" ContentLicense="CC BY-SA 3.0" />
  <row Id="56962" PostHistoryTypeId="2" PostId="30014" RevisionGUID="14bff489-f117-4d15-9665-4c5fb5ffadb1" CreationDate="2014-08-14T22:09:42.087" UserId="9674" Text="Sample is an obvious answer, but it lacks in many aspects. &#xD;&#xA;&#xD;&#xA;Before the following analysis, we must bear in mind that sound can be put along with moving image (a.k.a. video) and not photographs. The latter are still in time, something that sound can not have. &#xD;&#xA;&#xD;&#xA;First of all, the pixel is an attribute of the reproducing device. By this I mean that the pixel can be found on the screen or, more precise, in the projection mechanism of the transducer used to convert digital signals to light. There are samples of moving image. Whatever is originally in analogue domain and has to be converted in the digital one, it must undergo a sampling procedure. Thus, the sample is not analogous to pixel because there are samples also in the video (termed differently but still are samples). In addition, the sample refers to the signal it self and not to the reproducing device, something that the pixel does (especially for vector graphics). &#xD;&#xA;&#xD;&#xA;Also, you can not hear a sample. You cannot even hear the actual samples because the movement of diaphragm in your electroacoustic transducers (a.k.a. loudspeakers) adds a lot of elements that are not apparent in the actual samples that are in your digital form of sound. &#xD;&#xA;&#xD;&#xA;Thus, there is not such a thing as the audio equivalent of a pixel. &#xD;&#xA;&#xD;&#xA;Finally, a sample is a fixed point in space with different values for its light. If you could have a 800x600 loudspeakers arranged in a speaker wall, then each loudspeaker could be a pixel. " ContentLicense="CC BY-SA 3.0" />
  <row Id="56963" PostHistoryTypeId="2" PostId="30015" RevisionGUID="9dec7e22-9a09-4775-84e0-6f249b583360" CreationDate="2014-08-15T16:21:43.657" UserId="7174" Text="If you are simply looking to meet your need and didn't realize that there are commercially available and affordable products to handle it already, what you are describing is called a headphone amp.  They are used all the time in studios and sometimes stage performances in order to allow distribution and independent control of different headphone volumes listening to the same monitor feed.  &#xD;&#xA;&#xD;&#xA;They are pretty cheap devices, so you are unlikely to be able to make one significantly cheaper (if at all) than simply buying a decent quality one off the shelf.  They also overcome the volume and quality loss from impedance mismatching issues that Bill described as a side effect of a passive splitter.  Passive splitters work ok for two, maybe three pairs of headphones, but beyond that, they become very near unusable." ContentLicense="CC BY-SA 3.0" />
  <row Id="56964" PostHistoryTypeId="2" PostId="30016" RevisionGUID="2a95e00e-956a-40ff-8c73-2c58b30a73b0" CreationDate="2014-08-15T19:22:20.193" UserId="9746" Text="Which sample rate should be used when exporting mastered audio?&#xD;&#xA;&#xD;&#xA;Example : I want to export my mastered electro track." ContentLicense="CC BY-SA 3.0" />
  <row Id="56965" PostHistoryTypeId="1" PostId="30016" RevisionGUID="2a95e00e-956a-40ff-8c73-2c58b30a73b0" CreationDate="2014-08-15T19:22:20.193" UserId="9746" Text="Mastering : 41000Hz or 96000Hz?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56966" PostHistoryTypeId="3" PostId="30016" RevisionGUID="2a95e00e-956a-40ff-8c73-2c58b30a73b0" CreationDate="2014-08-15T19:22:20.193" UserId="9746" Text="&lt;sound-design&gt;&lt;mastering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56967" PostHistoryTypeId="2" PostId="30017" RevisionGUID="0ab8af4c-8bad-4966-8ca3-f393bbf564e5" CreationDate="2014-08-15T20:16:21.590" UserId="9729" Text="Assuming the end purpose is a CD or MP3/FLAC deliverable, 44100hz - not 41000.  Nothing wrong with keeping a 96k master copy around if you feel its needed.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="56974" PostHistoryTypeId="33" PostId="29980" RevisionGUID="4c30d372-e93b-4034-9b55-8e1278f23f13" CreationDate="2014-08-16T02:02:45.290" UserDisplayName="user7128" Comment="20" />
  <row Id="56975" PostHistoryTypeId="2" PostId="30019" RevisionGUID="2d1c118b-036a-4e1b-9821-c9238d817afe" CreationDate="2014-08-16T02:39:15.077" UserId="6399" Text="DVD's don't have a track order in the way your thinking about it.  The common workflow would be to have the exported multiple mono files and you tell the encoding software which file is for which channel.  These are then encoded into an AC3.  AC3 has it's own built in fold down or you can put an LT/RT or a stereo mix, PL2 encoded file etc. as long as it's an audio format supported by the DVD spec - on a secondary track on the DVD.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56976" PostHistoryTypeId="2" PostId="30020" RevisionGUID="d7d10a2f-fc9a-4b02-bc9b-9df37a861e17" CreationDate="2014-08-16T07:06:57.740" UserId="244" Text="I am currently recording some extra scenes for a post production project.&#xD;&#xA;&#xD;&#xA;I was wondering if anyone has any tips or experience on recreating the sound with Foley techniques for a person riding a bicycle?&#xD;&#xA;&#xD;&#xA;It is in the 3rd person perspective, the SSE was adamant about the pedal movement to be absolutely correct.&#xD;&#xA;&#xD;&#xA;I am currently setting my bicycle up in the studio with its rear wheel raised off the floor so I can ride and imitate the movements. &#xD;&#xA;&#xD;&#xA;I will also wild track some riding outside on the different types of surfaces to mix together later (tyre/surface samples etc..)&#xD;&#xA;&#xD;&#xA;I'll be using an NTG-3 for the main mic, and i have also an sm58 to hand and the stereo pair on the zoom h4.&#xD;&#xA;&#xD;&#xA;If anybody has more ideas to contribute, please free and thank heaps in advance!&#xD;&#xA;&#xD;&#xA;Kind Regards;&#xD;&#xA;&#xD;&#xA;Chris" ContentLicense="CC BY-SA 3.0" />
  <row Id="56977" PostHistoryTypeId="1" PostId="30020" RevisionGUID="d7d10a2f-fc9a-4b02-bc9b-9df37a861e17" CreationDate="2014-08-16T07:06:57.740" UserId="244" Text="How to Foley bicycle?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56978" PostHistoryTypeId="3" PostId="30020" RevisionGUID="d7d10a2f-fc9a-4b02-bc9b-9df37a861e17" CreationDate="2014-08-16T07:06:57.740" UserId="244" Text="&lt;foley&gt;&lt;sound-effects-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56982" PostHistoryTypeId="2" PostId="30022" RevisionGUID="b59ae67a-8d6f-4c21-b027-3d82de873b34" CreationDate="2014-08-16T15:11:51.243" UserId="7637" Text="I work to two golden rules in this regard:&#xD;&#xA;&#xD;&#xA; 1. Always keep the &quot;native&quot; format the same &#xD;&#xA; 2. Always avoid interpolation&#xD;&#xA;&#xD;&#xA;Native format in this sense means that if your project from your sequencer settings is 44.1Khz then the &quot;native&quot; rate for your project is also 44.1Khz, if it's for video this should be 48Khz.&#xD;&#xA;&#xD;&#xA;What do I mean by avoiding interpolation?&#xD;&#xA;&#xD;&#xA;Performing non equal calculations introduces interpolation meaning that the numbers are not equally devised.  If I'm working on audio for a CD I'll often work at 88.2Khz so when the final master is made for 44.1Khz there is no interpolation going on since 88.2Khz is exactly twice 44.1Khz.&#xD;&#xA;&#xD;&#xA;Poeple often ramp it right up to 96Khz for a CD job which is madness since you are going to have to interpolate at some point.&#xD;&#xA;&#xD;&#xA;Pow-r is useful here but why introduce the problem in the first place?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56988" PostHistoryTypeId="2" PostId="30025" RevisionGUID="946ce960-5526-4435-95a2-0728678ce33f" CreationDate="2014-08-17T23:33:17.540" UserId="9713" Text="In video games there are audio and sounds playing when e.g a gun is fired, or when a sword is smashing something. Sometimes, when two identical sounds, (e.g the same sword-sound) are played at the same time, we can hear some sort of 'artifact', like a *swooshing* sound. What is this called, and why does it occur?&#xD;&#xA;&#xD;&#xA;Edit: This might be a question for a science forum, but I figured some sound designers/enthusiast would have been taught/come over something about this." ContentLicense="CC BY-SA 3.0" />
  <row Id="56989" PostHistoryTypeId="1" PostId="30025" RevisionGUID="946ce960-5526-4435-95a2-0728678ce33f" CreationDate="2014-08-17T23:33:17.540" UserId="9713" Text="What is the 'phenomenon' happening when two identical digital sounds are played nearly at the same time?" ContentLicense="CC BY-SA 3.0" />
  <row Id="56990" PostHistoryTypeId="3" PostId="30025" RevisionGUID="946ce960-5526-4435-95a2-0728678ce33f" CreationDate="2014-08-17T23:33:17.540" UserId="9713" Text="&lt;digital&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="56991" PostHistoryTypeId="2" PostId="30026" RevisionGUID="f2f790ab-1baf-4507-827d-d49eb8380462" CreationDate="2014-08-17T23:51:12.397" UserId="7200" Text="It's [comb filtering](http://en.wikipedia.org/wiki/Comb_filter). This happens because the two sounds are played not _exactly_ at the same time, but with a tiny delay between, yet unlike in the real world the sound events are exact copies, not just very similar. As a result, significant portions of the sound spectrum will cancel in both copies, while other frequencies always add up; this uneven (but static) frequency response makes this weird sound sensation.&#xD;&#xA;&#xD;&#xA;The artifact can be avoided by using not always the exact same sample but some random choice of basically the same sound, perhaps recorded with slightly different microphone position. This &quot;shuffles&quot; the phase relations, so frequency cancelling doesn't happen at consistent points but only randomly for a short time, like in the real world." ContentLicense="CC BY-SA 3.0" />
  <row Id="57003" PostHistoryTypeId="2" PostId="30031" RevisionGUID="e731d33b-7d3e-439c-9f16-39de695bfd11" CreationDate="2014-08-18T12:39:36.623" UserId="9766" Text="I wanted to experiment with M/S as I had not tried it before so set up a cheap rig using a couple of Oktavas with the figure of 8 adapter. &#xD;&#xA;&#xD;&#xA;I've done a few recordings outside my window and mastered them to LCR as per the Tim Neilson M/S article on Designing Sound. &#xD;&#xA;&#xD;&#xA;I wondered if I could get some feedback on the recording as to my ears the stereo does not sound wide at all and I wondered if this is what M/S recordings usually sound like. Obviously I've tried balancing the Mid to the side increase the width but I'm just not sure if I have the mics set up properly.&#xD;&#xA;&#xD;&#xA;I wondered whether I had not achieved a proper stereo image due to the placement of the mid mic in relation to the side. Any advice and feedback appreciated. &#xD;&#xA;&#xD;&#xA;https://dl.dropboxusercontent.com/u/686976/AMB%20Hackney%20Skyline%2C%20Morning%2C%20Gulls%2C%20Construction%20LCR.wav&#xD;&#xA;&#xD;&#xA;Cheers" ContentLicense="CC BY-SA 3.0" />
  <row Id="57004" PostHistoryTypeId="1" PostId="30031" RevisionGUID="e731d33b-7d3e-439c-9f16-39de695bfd11" CreationDate="2014-08-18T12:39:36.623" UserId="9766" Text="Oktava M/S recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="57005" PostHistoryTypeId="3" PostId="30031" RevisionGUID="e731d33b-7d3e-439c-9f16-39de695bfd11" CreationDate="2014-08-18T12:39:36.623" UserId="9766" Text="&lt;field-recording&gt;&lt;ambience&gt;&lt;mid-side&gt;&lt;ms&gt;&lt;oktava&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57006" PostHistoryTypeId="5" PostId="27169" RevisionGUID="75a5ad0a-3a5e-4184-9546-97c2e2347ec6" CreationDate="2014-08-18T13:27:32.460" UserId="7257" Comment="added 36 characters in body" Text="I know how to use FLStudio very well. It has been my only DAW for years and I've never had problems with it. I get the vibe from the music community that it is unprofessional; that professionals use Live or Pro Tools. Are there reasons to use those over FLStudio, or reasons to avoid FLStudio in the first place?&#xD;&#xA;&#xD;&#xA;Edit: It should be noted, the only recording I do is vocals. I use VSTs for instruments." ContentLicense="CC BY-SA 3.0" />
  <row Id="57007" PostHistoryTypeId="6" PostId="27169" RevisionGUID="75a5ad0a-3a5e-4184-9546-97c2e2347ec6" CreationDate="2014-08-18T13:27:32.460" UserId="7257" Comment="added 36 characters in body" Text="&lt;daw&gt;&lt;fl-studio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57008" PostHistoryTypeId="6" PostId="26981" RevisionGUID="fb7e1858-cec4-4573-9f01-69a345b2d2ab" CreationDate="2014-08-18T13:28:33.903" UserId="7257" Comment="edited tags" Text="&lt;synthesizer&gt;&lt;vst&gt;&lt;electronic-music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57009" PostHistoryTypeId="5" PostId="25292" RevisionGUID="c47d3f2b-929c-440a-9ab1-bab9202e66f6" CreationDate="2014-08-18T13:44:46.730" UserId="7045" Comment="edited body" Text="You can add a little bit of compression, boosting the gain that way. This is probably the best way to handle this, and the one that can potentially get you the best audio quality. &#xD;&#xA;&#xD;&#xA;Another option is to open the audio file in a waveform editor like Peak and normalize the audio or increase the gain that way. (Right-click on the Garageband file in the Finder and navigate to the audio file.) This is an operation you won't be able to undo, so I'd back up that file first. Keep in mind that this will raise the noise level of this track across the board, and you have less control than you would by using the compressor. &#xD;&#xA;&#xD;&#xA;If nothing else is working: Not exactly optimal, but if the track would sound good with a little distortion, you can run it through a guitar amp plug-in. (I wouldn't do this with, say vocals or a flute, but it might be good with bass or a hi-hat, depending on context.) " ContentLicense="CC BY-SA 3.0" />
  <row Id="57010" PostHistoryTypeId="2" PostId="30032" RevisionGUID="e437e4c7-079e-4d5a-b37e-d370e9534e6d" CreationDate="2014-08-18T13:45:42.040" UserId="1216" Text="I've never used this setup before, am only experienced with the sennheiser mkh30. But it seems like the side mic has   very widely spaced capsules. That could explain some issues, but i'm not sure to be honest. What type of mid mic is that?&#xD;&#xA;&#xD;&#xA;Regardless of the microphone, why did want/need to create an LCR file? It sounds stereophonic, but M/S is theoretically just 2 signals that make a stereo image.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57011" PostHistoryTypeId="5" PostId="30032" RevisionGUID="94ef82d5-19e4-4a44-b36b-09a4564be3ad" CreationDate="2014-08-18T13:55:02.660" UserId="1216" Comment="added 132 characters in body" Text="I've never used this setup before, am only experienced with the sennheiser mkh30. But it seems like the side mic has   very widely spaced capsules. That could explain some issues, but i'm not sure to be honest. What type of mid mic is that?&#xD;&#xA;&#xD;&#xA;Regardless of the microphone, why did want/need to create an LCR file? It sounds stereophonic, but M/S is theoretically just 2 signals that make a stereo image.&#xD;&#xA;&#xD;&#xA;Did you read the comments below the article? There's a good explanation why it won't work as a real LCR recording (3 vs 2 capsules)." ContentLicense="CC BY-SA 3.0" />
  <row Id="57014" PostHistoryTypeId="2" PostId="30034" RevisionGUID="1ba312af-5078-4872-9189-625aebfc1c60" CreationDate="2014-08-18T13:59:47.997" UserId="3346" Text="I listen to it via a measured stereo Setup in the studio, but there´s a lot going on in the right speaker. nearly nothing in the left. Is this wanted ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57019" PostHistoryTypeId="4" PostId="30031" RevisionGUID="ea2ddea3-f942-4d21-b55e-e9cd6e6e7cb3" CreationDate="2014-08-18T15:05:40.460" UserId="7174" Comment="edited title" Text="Stereo Width in Oktava M/S recordings" ContentLicense="CC BY-SA 3.0" />
  <row Id="57020" PostHistoryTypeId="5" PostId="14601" RevisionGUID="5f6a51fd-9cf4-4135-b5b5-f2ae60fe8507" CreationDate="2014-08-18T16:01:06.970" UserId="90" Comment="added 161 characters in body" Text="If the artist has a Bandcamp page then that is the best way.&#xD;&#xA;&#xD;&#xA;https://bandcamp.com/pricing&#xD;&#xA;&#xD;&#xA;Bandcamp takes 15% of the cost of digital albums, and 10% of the cost of merch.  They allow fans to pay more if they want to." ContentLicense="CC BY-SA 3.0" />
  <row Id="57021" PostHistoryTypeId="5" PostId="735" RevisionGUID="319caa33-0fbf-4c43-8f94-c12c48bf3684" CreationDate="2014-08-18T16:05:53.243" UserId="90" Comment="added 12 characters in body" Text="Here's an infographic on the proportion of money that goes to the artist and label for different types of music sales, as of 2010:&#xD;&#xA;&#xD;&#xA;[![alt text][1]][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mashable.com/wp-content/uploads/2010/04/selling_out_small.png&#xD;&#xA;  [2]: http://mashable.com/2010/04/15/music-artists-earn-online-infographic/" ContentLicense="CC BY-SA 3.0" />
  <row Id="57022" PostHistoryTypeId="2" PostId="30035" RevisionGUID="22a89ed7-cbfd-4ae7-b485-9d1dea289c49" CreationDate="2014-08-18T18:11:02.933" UserId="3841" Text="While working on my first small budget feature I encountered a problem with the rain that I was unsure how to handle as the Audio Mixer.  We were shooting inside of a warehouse and one morning there was a heavy rainstorm that could not be muffled or worked around.  &#xD;&#xA;&#xD;&#xA;Because we had a very tight production schedule we could not wait for the rainstorm to pass and I feel like the lack of usable audio affected the performance of the actors detracting from the film (even after ADR will be done in post).  I was wondering what would be the best way to handle a situation where you know the audio is not going to be usable, and if you guys had any tips on micing actors when that much white noise is present.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57023" PostHistoryTypeId="1" PostId="30035" RevisionGUID="22a89ed7-cbfd-4ae7-b485-9d1dea289c49" CreationDate="2014-08-18T18:11:02.933" UserId="3841" Text="Doing the best possible Job in a situation the demands ADR" ContentLicense="CC BY-SA 3.0" />
  <row Id="57024" PostHistoryTypeId="3" PostId="30035" RevisionGUID="22a89ed7-cbfd-4ae7-b485-9d1dea289c49" CreationDate="2014-08-18T18:11:02.933" UserId="3841" Text="&lt;film&gt;&lt;location-recording&gt;&lt;adr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57025" PostHistoryTypeId="5" PostId="30035" RevisionGUID="6b0584a8-aa02-4e01-bb79-7b28d3c36bb8" CreationDate="2014-08-19T01:38:22.407" UserId="3841" Comment="added 191 characters in body; edited title" Text="While working on my first small budget feature I encountered a problem I was unsure how to handle as the Audio Mixer.  We were shooting inside a warehouse and one morning there was a heavy rainstorm that could not be muffled or worked around.  &#xD;&#xA;&#xD;&#xA;Because we had a very tight production schedule we couldn't wait for the rainstorm to pass and had to shoot through it.  I still miced the actors as usual but I feel the lack of usable audio affected the performance of the actors detracting from the film (beyond just the audio which will be covered in ADR).  I am not sure if i could have handled the situation from an audio perspective in a way that would have encouraged a better performance.  I was curious as to what would be the best way to handle a situation where you know the audio is not going to be usable and if you guys had any tips on micing actors when that much white noise is present.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57026" PostHistoryTypeId="4" PostId="30035" RevisionGUID="6b0584a8-aa02-4e01-bb79-7b28d3c36bb8" CreationDate="2014-08-19T01:38:22.407" UserId="3841" Comment="added 191 characters in body; edited title" Text="Doing the best possible Job in a situation that demands ADR" ContentLicense="CC BY-SA 3.0" />
  <row Id="57027" PostHistoryTypeId="2" PostId="30036" RevisionGUID="0f62ab3f-7c25-4c6e-abcf-1cbbdf511f03" CreationDate="2014-08-19T09:25:08.380" UserId="9764" Text="I've just stumbled upon this so take it with a grain of salt but there's a piece of software called Revoice Pro which would allow you to overdub and sync perfectly with the source. Maybe you could try this out?&#xA;&#xA;http://www.synchroarts.com/products2/RevoicePro" ContentLicense="CC BY-SA 3.0" />
  <row Id="57028" PostHistoryTypeId="2" PostId="30037" RevisionGUID="17bdbeb4-8374-498a-8fd9-f1949923f69f" CreationDate="2014-08-19T15:17:53.793" UserId="6399" Text="Did you or the director tell the actors that the audio wouldn't be usable?  If so, I wouldn't do that.  Actors generally have enough to worry about and telling them things that don't really concern them will just pull them out of the experience.  I'm not a production mixer, I only do post production but I do have lots of experience directing actors of all levels and abilities for all types of projects.  I'm not sure where you could have better mounted the mics but for actors in general psychology plays a huge roll in getting the best performances.  They need to know that your on their side and that they can trust you (and the rest of the cast and crew).  Part of that is knowing when you need to dive into details with them and part is knowing when it's best to just quickly move on to the next thing on the agenda and grab another take.&#xD;&#xA;&#xD;&#xA;Sorry if my answer is a little rambling, I'm not sure if I exactly answered your question......" ContentLicense="CC BY-SA 3.0" />
  <row Id="57029" PostHistoryTypeId="5" PostId="24420" RevisionGUID="5d7a5b11-e83d-4422-968f-85f30bd0ac95" CreationDate="2014-08-19T15:29:07.177" UserId="-1" Comment="spelling, grammer" Text="A microphone that works well for vocals and is in a good price-range yet is good quality is the Shure SM-57. It also has the benefit of being an excellent mic to record electric guitars. As such it is pretty much the first microphone to buy of any kind.&#xD;&#xA;&#xD;&#xA;If you want something that has a more transparent top, you probably want a large-diaphragm condensor. There are an almost infinite number of those around, and I haven't used more than a couple, so I can't really recommend anything, and I bought my vocal mix ten years ago (Oktava MK-319) and the market has changed with well known budget brands like Audio-Technica introducing the AT2020 for $99!&#xD;&#xA;&#xD;&#xA;But I'd recommend you to get an SM57 first, and build from there." ContentLicense="CC BY-SA 3.0" />
  <row Id="57030" PostHistoryTypeId="24" PostId="24420" RevisionGUID="5d7a5b11-e83d-4422-968f-85f30bd0ac95" CreationDate="2014-08-19T15:29:07.177" Comment="Proposed by 195.212.29.65|9720da67-4dac-4d27-94aa-365cb950674b approved by 7174 edit id of 158" ContentLicense="CC BY-SA 3.0" />
  <row Id="57031" PostHistoryTypeId="2" PostId="30038" RevisionGUID="0f007b83-0fb5-488c-9430-f8fc72d83a86" CreationDate="2014-08-19T16:11:47.477" UserId="9746" Text="What do you guys think how long does it take to be able to produce decent electronic music? (including everything: arrangement,mixdown,mastering, etc.)&#xD;&#xA;&#xD;&#xA;Is there a need to be talented? &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57032" PostHistoryTypeId="1" PostId="30038" RevisionGUID="0f007b83-0fb5-488c-9430-f8fc72d83a86" CreationDate="2014-08-19T16:11:47.477" UserId="9746" Text="Home recording / talent?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57033" PostHistoryTypeId="3" PostId="30038" RevisionGUID="0f007b83-0fb5-488c-9430-f8fc72d83a86" CreationDate="2014-08-19T16:11:47.477" UserId="9746" Text="&lt;sound-design&gt;&lt;audio-recording&gt;&lt;music&gt;&lt;electronic-music&gt;&lt;home&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57034" PostHistoryTypeId="2" PostId="30039" RevisionGUID="cdc275d4-d616-4b2b-b1b4-529ac4a097ff" CreationDate="2014-08-19T20:55:20.527" UserId="6425" Text="10000h in front of a mixer &gt; talent.&#xD;&#xA;10 years, 3h every day or&#xD;&#xA;3 years, 10h a day :)&#xD;&#xA;&#xD;&#xA;00. Get a day job because the chances to earn a living with music are very very little.&#xD;&#xA;0. Move to a location where the scene of your genre is very active. Go to partys and try to get to know the people of the scene.&#xD;&#xA;1. Buy a DAW like ableton, cubase, logic&#xD;&#xA;2. Buy good studio monitors and a pair of studio headphones (Spend cash here and inform yourself about speakers in high quality magazines. Be careful there is a lot of wrong knowledge out in the web),&#xD;&#xA;3. Treat your rooms acoustics by dampening early reflections and room resonances (you want to spend at least the same amour you spend for your studio monitors, otherwise they won't help you)&#xD;&#xA;&#xD;&#xA;4. Learn your instruments (mostly samplers, drum machines, synthesisers and collect all the drum samples you can find),&#xD;&#xA;4. Learn basic music theory (rhythm, intervals, harmony, etc.)&#xD;&#xA;4. Learn to DJ, this will help you with the next step and this will help you to earn some cash with music&#xD;&#xA;5. Learn basic electronic music arrangements&#xD;&#xA;6. Learn to build up a good gain structure, balance&#xD;&#xA;7. Learn EQ, saturation and compression,&#xD;&#xA;8. Learn reverb, delay and modulation fx&#xD;&#xA;9. Learn to automate all the above.&#xD;&#xA;9. Learn to use sound effects and other transition noises&#xD;&#xA;9. Learn to use group and parallel processing&#xD;&#xA;9. Learn to use a master compressor while production&#xD;&#xA;&#xD;&#xA;These should be some good milestones for learning the whole process. Be sure to take your time on each step.&#xD;&#xA;&#xD;&#xA;It is a lot of work to become a electronic musician. There are some shortcuts by getting to know people of the scene. But on the long run you want to become a good engineer and musician to deliver quality electronic music, because this is what counts the most.&#xD;&#xA;&#xD;&#xA;Good Luck!" ContentLicense="CC BY-SA 3.0" />
  <row Id="57035" PostHistoryTypeId="2" PostId="30040" RevisionGUID="86f13ee4-53c1-4074-8cf5-4990b1e963c6" CreationDate="2014-08-20T00:19:54.740" UserId="9772" Text="I will be shooting (producing) a super low budget short for 4 days out in the country. There is no dialogue. One scene features a struggle that ends in someone getting stabbed.&#xD;&#xA;&#xD;&#xA;My former colleagues in Production tell me to save money by doing the sound in post, using Foley. I was thinking of hiring a sound person for one day - the day the struggle is filmed - during which he or she could also get natural sound for us.&#xD;&#xA;&#xD;&#xA;Every penny counts on this, most people are working for free, myself included, and I would have to put the sound mixer up and feed them, hence my worry about blowing the money.&#xD;&#xA;&#xD;&#xA;Honest opinions wanted." ContentLicense="CC BY-SA 3.0" />
  <row Id="57036" PostHistoryTypeId="1" PostId="30040" RevisionGUID="86f13ee4-53c1-4074-8cf5-4990b1e963c6" CreationDate="2014-08-20T00:19:54.740" UserId="9772" Text="Don't get mad, but do I NEED a sound mixer on my film shoot?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57037" PostHistoryTypeId="3" PostId="30040" RevisionGUID="86f13ee4-53c1-4074-8cf5-4990b1e963c6" CreationDate="2014-08-20T00:19:54.740" UserId="9772" Text="&lt;foley&gt;&lt;film-sound-design&gt;&lt;adr&gt;&lt;low-budget&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57040" PostHistoryTypeId="2" PostId="30042" RevisionGUID="52dde751-8e46-4823-bfbd-fbecf597009d" CreationDate="2014-08-20T01:22:32.637" UserId="9774" Text="I'm not sure if you're intending to produce music for a living or because you'd enjoy the creative aspects of it, but speaking as someone who's done both it sounds to me like either you have little regard for the genre or are assuming that everyone else does.&#xD;&#xA;&#xD;&#xA;In short: Yes, there is a need to be talented. Why would there not be?&#xD;&#xA;Any sucessful career requires a certain degree of aptitude or skill to set yourself aside from others who'd outdo you. The idiom goes: If it's worth doing, it's worth doing right. If it's not worth doing right, it's not worth doing at all.&#xD;&#xA;&#xD;&#xA;Don't know what 'decent' music is. I know what I like, and I know what sells. I don't know what you like, or what you'd buy. I could expand more on this but I reckon I've already put too much thought into this." ContentLicense="CC BY-SA 3.0" />
  <row Id="57041" PostHistoryTypeId="2" PostId="30043" RevisionGUID="fd5c4d60-6b71-48e4-bdaf-7f3e250412d7" CreationDate="2014-08-20T02:58:34.937" UserId="9776" Text="I do sound design and post and the truth is that, in this case, everything can be done afterwards.&#xD;&#xA;Still, during the struggle I imagine there will be gasps, grunts, or other human noises.&#xD;&#xA;If you want to capture those for sake of performance, you can focus on that.&#xD;&#xA;If you don't care about those, I believe you can save the money from location recording and use that for post, getting good results. My 2 cents." ContentLicense="CC BY-SA 3.0" />
  <row Id="57042" PostHistoryTypeId="2" PostId="30044" RevisionGUID="a6f77c71-213d-468e-9b6a-2facdf840f01" CreationDate="2014-08-20T03:15:04.830" UserId="6399" Text="Anything like what your planning to shoot is going to require foley or sound design but I can't think of anything that is ever cheaper in post. The cost to put someone up for a couple days is about a half day of work in the cheapest post houses, factor in the additional foley and sound design needed plus ADR, thats way more than a half day." ContentLicense="CC BY-SA 3.0" />
  <row Id="57043" PostHistoryTypeId="10" PostId="30038" RevisionGUID="6bc66916-42f6-43b8-8c3b-8f06de909352" CreationDate="2014-08-20T04:55:50.607" UserId="7174" Comment="104" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="57044" PostHistoryTypeId="2" PostId="30045" RevisionGUID="cb4cc9e8-5e82-4cca-a2a5-3d4515845afe" CreationDate="2014-08-20T06:59:14.080" UserDisplayName="user6513" Text="Everything can be done in post provided you have the budget. Nothing can be fixed and recreated with an incredible amount of time that usually works out to be more than the time spent on filming the scene. So without a budget, nothing can and should be done by a professional. So in essence, hire that sound recordist. What he gets may not be all usable for post, but what he gets would be a good starting point and a great reference for post. If you have your sound designer onboard already, he/she should be able to give you an idea of what sounds you should be capturing on location. Recording wild sounds is a good alternative to Foley.&#xD;&#xA;&#xD;&#xA;Please be aware that you will never be blowing any money hiring a good sound recordist and a good sound designer. Your film is like any other business. If it does well, you reap all the rewards from it as producer/director. If it doesn't, that its a risk that you have decided to undertaken and you would have gained some valuable experience regardless." ContentLicense="CC BY-SA 3.0" />
  <row Id="57045" PostHistoryTypeId="2" PostId="30046" RevisionGUID="72593fa2-e5e7-49d9-89ae-4d92c4c932cd" CreationDate="2014-08-20T12:40:30.777" UserId="9778" Text="I'm looking to buy a mic for recording various things indoors, then time stretch the recordings to get hopefully wierd, srange and wonderful sounds! Could anyone tell me what would their mic preference be? &#xD;&#xA;Many thanks for any advice. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57046" PostHistoryTypeId="1" PostId="30046" RevisionGUID="72593fa2-e5e7-49d9-89ae-4d92c4c932cd" CreationDate="2014-08-20T12:40:30.777" UserId="9778" Text="mic advice needed" ContentLicense="CC BY-SA 3.0" />
  <row Id="57047" PostHistoryTypeId="3" PostId="30046" RevisionGUID="72593fa2-e5e7-49d9-89ae-4d92c4c932cd" CreationDate="2014-08-20T12:40:30.777" UserId="9778" Text="&lt;sound-design&gt;&lt;microphone&gt;&lt;dynamics&gt;&lt;high-frequency&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57048" PostHistoryTypeId="5" PostId="30046" RevisionGUID="0957f3c1-e1d3-4bfa-b9da-b57aaac919eb" CreationDate="2014-08-20T13:20:22.357" UserId="6957" Comment="Pulled clarification from comment into OP" Text="I'm looking to buy a mic for recording various things indoors, then time stretch the recordings to get hopefully weird, strange and wonderful sounds! Could anyone tell me what would their mic preference be? &#xD;&#xA;&#xD;&#xA;I want to record directly into my mac, using probably an rme babyface audio interface. Will record at 192 / 24bit, guess it's really the top end frequencys I'm after! A friend told me about a Senheiser mic that's around 1200 euros. So that's my budget, but obviously would be very happy if I can save a few euros!&#xD;&#xA;&#xD;&#xA;Many thanks for any advice. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57049" PostHistoryTypeId="5" PostId="30046" RevisionGUID="a69aa1e4-39c4-4799-8f6a-4c9d428167e8" CreationDate="2014-08-20T13:48:22.930" UserId="7174" Comment="deleted 31 characters in body; edited tags; edited title" Text="I'm looking to buy a mic for recording various things indoors, then time stretch the recordings to get hopefully weird, strange and wonderful sounds! Could anyone tell me what would their mic preference be? &#xD;&#xA;&#xD;&#xA;I want to record directly into my mac, using probably an rme babyface audio interface. Will record at 192 / 24bit, guess it's really the top end frequencies I'm after! A friend told me about a Senheiser mic that's around 1200 euros. So that's my budget, but obviously would be very happy if I can save a few euros!" ContentLicense="CC BY-SA 3.0" />
  <row Id="57050" PostHistoryTypeId="4" PostId="30046" RevisionGUID="a69aa1e4-39c4-4799-8f6a-4c9d428167e8" CreationDate="2014-08-20T13:48:22.930" UserId="7174" Comment="deleted 31 characters in body; edited tags; edited title" Text="Mic recommendations for high frequency capture that will be slowed" ContentLicense="CC BY-SA 3.0" />
  <row Id="57051" PostHistoryTypeId="6" PostId="30046" RevisionGUID="a69aa1e4-39c4-4799-8f6a-4c9d428167e8" CreationDate="2014-08-20T13:48:22.930" UserId="7174" Comment="deleted 31 characters in body; edited tags; edited title" Text="&lt;sound-design&gt;&lt;microphone&gt;&lt;high-frequency&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57054" PostHistoryTypeId="2" PostId="30047" RevisionGUID="c4c9c8f2-9822-4385-b3c4-0fcc077fb42e" CreationDate="2014-08-20T17:55:05.133" UserId="9601" Text="Purely a personal opinion, but you'd have to go a very long way to beat a DPA 4006 [used to be called Brüel &amp; Kjær, or B&amp;K] http://www.dpamicrophones.com/en/products.aspx?c=item&amp;category=191&amp;item=24010  about £1200 or so for a new one, not cheap, but truly transparent sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="57055" PostHistoryTypeId="5" PostId="29907" RevisionGUID="cf57b370-deb6-491f-b08b-15cbbad37088" CreationDate="2014-08-20T21:03:56.227" UserId="9650" Comment="added 2551 characters in body" Text="I have a Nikon D7000 and RØDE VideoMic Pro.&#xD;&#xA;&#xD;&#xA;The DSLR has only a jack for the microphone, but no second jack for the headphones, unlike Nikon D4. RØDE microphone has no jacks for a headphone either.&#xD;&#xA;&#xD;&#xA;Is there a device which will make it possible for me to hear the sound I'm recording while I record it, similarly to &quot;Monitor input during recording&quot; option in Adobe Soundbooth?&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;After some research, I found three solutions:&#xD;&#xA;&#xD;&#xA; 1. Play with 3.5mm splitters such as:&#xD;&#xA;&#xD;&#xA;    &lt;img src=&quot;http://i.stack.imgur.com/p9FEZ.jpg&quot; width=&quot;150&quot;/&gt;&#xD;&#xA;&#xD;&#xA;    **This is not a solution**: not only I will hear only the sound from the microphone, and not the one actually recorded by the DSLR, but it will also alter the sound which is actually sent to the DSLR. It also requires an additional amplifier, which makes things only worse.&#xD;&#xA;&#xD;&#xA;    This was recommended on several websites, but for the reasons mentioned above, it should be avoided.&#xD;&#xA;&#xD;&#xA; 1. Use an audio adapter similar to [Beachtek DXA-SLR MINI PRO HDSLR Audio Adapter][1].&#xD;&#xA;&#xD;&#xA;    &lt;img src=&quot;http://i.stack.imgur.com/2eyuS.jpg&quot; width=&quot;150&quot; /&gt;&#xD;&#xA;&#xD;&#xA;    This does exactly what I need, but given its cost ($300), it's much more interesting to follow the third solution suggested in the accepted answer.&#xD;&#xA;&#xD;&#xA; 1. Use an external recorder, [like suggested below][2] by AJ Henderson. This offers several benefits not mentioned by AJ Henderson:&#xD;&#xA;&#xD;&#xA;    - The extreme flexibility of the setup. If I want, I can record the sound to both the recorder and, through the recorded, to the DSLR. I can plug up to two microphones while using the recorders' one as well.&#xD;&#xA;&#xD;&#xA;    - The ability to visualize the audio input level. This is particularly useful when I haven't my headphones with me. With headphones, having this sort of visualization is helpful too when hearing the sound through the headphones is hard (for example when recording a rock concert).&#xD;&#xA;&#xD;&#xA;    - The ability to record both the audio from the RØDE microphone and the ambient sounds from the microphone integrated to the recorder.&#xD;&#xA;&#xD;&#xA;    - The ability to adjust the input volume of different channels.&#xD;&#xA;&#xD;&#xA;  So yes, the solution suggested by AJ Henderson is a winner for me. It costs approx. $290 at the moment of writing (price includes additional cables), which is not really expensive for someone who needs good quality audio.&#xD;&#xA;&#xD;&#xA;  &lt;img src=&quot;http://i.stack.imgur.com/EGi3b.jpg&quot; width=&quot;150&quot; /&gt;&#xD;&#xA;&#xD;&#xA;  The only difference is that AJ Henderson suggested to buy Zoom H4n, while I bought the newer Zoom H5 (for only $20 more in my country). One of Zoom H5 additional features I will actually use a lot is the ability to connect the DSLR (for backup recording) at the same time as the headphones.&#xD;&#xA;&#xD;&#xA;  Thanks a lot to AJ Henderson for his valuable suggestion.&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/product/883926-REG/Beachtek_dxa_slr_mini_Dxa_Slr_Active_DSLR_Adapter.html/prm/alsVwDtl&#xD;&#xA;  [2]: http://sound.stackexchange.com/a/29917/9650" ContentLicense="CC BY-SA 3.0" />
  <row Id="57062" PostHistoryTypeId="5" PostId="6732" RevisionGUID="b72fc704-da16-48ea-b315-79277c26e188" CreationDate="2014-08-21T08:05:32.593" UserId="7016" Comment="deleted 8 characters in body; edited tags; edited title" Text="I just got finished doing live sound for an awards show and dinner and music show.&#xD;&#xA;&#xD;&#xA;I must say, I personally like studio work much better. You only need to move and set up your equipment once and it stays like that.&#xD;&#xA;&#xD;&#xA;It seemed like 80% of the job was moving equipment and setting up/coiling cables.&#xD;&#xA;&#xD;&#xA;When carrying out live sound work, what tasks do you find you need to do, and what items do you feel are absolutely necessary to bring with you for the job and why?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57063" PostHistoryTypeId="4" PostId="6732" RevisionGUID="b72fc704-da16-48ea-b315-79277c26e188" CreationDate="2014-08-21T08:05:32.593" UserId="7016" Comment="deleted 8 characters in body; edited tags; edited title" Text="What do you do, and what tools do you need for live sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57064" PostHistoryTypeId="6" PostId="6732" RevisionGUID="b72fc704-da16-48ea-b315-79277c26e188" CreationDate="2014-08-21T08:05:32.593" UserId="7016" Comment="deleted 8 characters in body; edited tags; edited title" Text="&lt;live&gt;&lt;tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57069" PostHistoryTypeId="2" PostId="30051" RevisionGUID="83983e32-f5cb-42a3-a3b8-23f29e8aee93" CreationDate="2014-08-21T08:21:01.217" UserId="6432" Text="Your friend is probably talking about one of the Sennheiser MKH mics. Possibly the 416 or the MKH40. These are great mics, but are perhaps overkill for what you are proposing to use them for. Often people use these because they are recording at extremes and need the low noise (such as recording quiet atmos at night) or the resilience these mics have. For sure, they're a mic for life, but I think you really don't need to spend that much to get good results given the application you state.&#xD;&#xA;&#xD;&#xA;First off, I think you should be looking for a stereo pair instead of one mic. Stereo recording is just more exciting and interesting, and throws up more options. We've got two ears afterall, and we're used to hearing slightly different sounds in both of them. For experimentation you can either embrace or throw out conventional stereo mic technique, depending on your style. For example you could record the sound of striking a pan in your kitchen, with one mic above the pan and one below. Stretch that out 500x with [Paul Stretch][1] and you'll probably get interesting phase fluctuations between left and right.&#xD;&#xA;&#xD;&#xA;Probably the most flexible and low cost solution is to get a pair of pencil condenser mics, which cost about £240:&#xD;&#xA;&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;They're good for recording most things, fairly small and dependable. Pencil condensers like this also have the capsule close to the end of the mic, so you can get them very close to sources, which can be useful for this sort of thing. Even if you upgrade later I think you will still have use for these. there should be plenty on the secondhand market too.&#xD;&#xA;&#xD;&#xA;Another mic I've used quite a bit is the DPA 4060 (high sensitivity). I bought a stereo pair of these after going to a sound recording workshop with Chris Watson, where he was raving about the sound quality and the flexibility of using miniature mics like these:&#xD;&#xA;&#xD;&#xA;![enter image description here][3]&#xD;&#xA;&#xD;&#xA;Don't be fooled by the size, they can record sound  as full and rich as larger mics. The advantage of these is that they can go where other mics cannot, you can attach them to surfaces and get them extremely close. You can hold them one in each hand and move them around sound sources at will, no need for tripods. I've never heard of anyone regretting buying these. They're around £600 a pair. In my experience they do pick up something above 20khz too.&#xD;&#xA;&#xD;&#xA;Another option, though I've not used them - Earthworks do a range of mics they label [QTC][4] which are designed to go over 20khz. I've heard good things about themfrom other sound designers.&#xD;&#xA;&#xD;&#xA;Another quick tip - you might have fun recording with an inexpensive pair of contact mics. Lots of fun to be had there recording unusual sounds around the house.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hypermammut.sourceforge.net/paulstretch/&#xD;&#xA;  [2]: http://i.stack.imgur.com/ofXB6.jpg&#xD;&#xA;  [3]: http://i.stack.imgur.com/HZ0Gv.jpg&#xD;&#xA;  [4]: http://www.earthworksaudio.com/microphones/qtc-series-2/qtc50/" ContentLicense="CC BY-SA 3.0" />
  <row Id="57075" PostHistoryTypeId="2" PostId="30053" RevisionGUID="eb41520c-aa9b-4901-b221-19c4fbf1cead" CreationDate="2014-08-21T10:45:07.980" UserId="4390" Text="If you want cheap and you can solder, it seems that cheap electret capsules could also be used - at least according to this article: http://www.wildlife-sound.org/equipment/technote/micdesigns/ultrasonic.html&#xD;&#xA;This is contrary to what is stated in the WM 61 datasheet, but hey...if it works.&#xD;&#xA;&#xD;&#xA;Earthworks and DPA also uses electret capsules in many of their products (like the 4060 and other tiny mics). Of course their QC is probably pretty strict and who knows what brands of electrets they use (or of they make their own) but it at least shows the potential of the technology." ContentLicense="CC BY-SA 3.0" />
  <row Id="57076" PostHistoryTypeId="2" PostId="30054" RevisionGUID="0b13319d-adde-4924-a2ac-4292aafbfda3" CreationDate="2014-08-21T12:56:58.050" UserId="7417" Text="I have actually two (closely related) question, please tell me if it were better to split the question into two.&#xD;&#xA;&#xD;&#xA;0. I plan to give life performances some time in the future, not really professional level, but I want it to sound good. The problem is that I play the (electronic) piano and sing. I obviously can't hold a microphone, and I tried to do it with a microphone on a stand, and it quite doesn't work (I do move my head a lot while playing). So it seems that I'll need a headset microphone. How do I know if a certain device is suitable for my needs?&#xD;&#xA;&#xD;&#xA;0. Closely related, most headset microphones I saw are intended as wireless microphones. Can I use them as a wired microphone? Will I need some pre-amp before I plug them into the mixer? Could I eventually use TASCAM DR-05 as a pre-amp? My idea is that I don't mind the wire (I'll be seat on a spot the whole time) and I can get cheaper without the transmitter and receiver set." ContentLicense="CC BY-SA 3.0" />
  <row Id="57077" PostHistoryTypeId="1" PostId="30054" RevisionGUID="0b13319d-adde-4924-a2ac-4292aafbfda3" CreationDate="2014-08-21T12:56:58.050" UserId="7417" Text="Qualities of headset microphone for singing" ContentLicense="CC BY-SA 3.0" />
  <row Id="57078" PostHistoryTypeId="3" PostId="30054" RevisionGUID="0b13319d-adde-4924-a2ac-4292aafbfda3" CreationDate="2014-08-21T12:56:58.050" UserId="7417" Text="&lt;microphone&gt;&lt;music&gt;&lt;voice&gt;&lt;song&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57079" PostHistoryTypeId="2" PostId="30055" RevisionGUID="57601c82-2ffb-465e-b545-429f03e35022" CreationDate="2014-08-21T13:17:58.910" UserDisplayName="user6513" Text="Its always a hard situation and while I do agree with coaxmw that though the actors do not need to know that sound is going to be looped, when I am the recordist, I do make it a point to cover my ass and let the director and producer understand that they are the ones making the call to continue shooting in the circumstances against my advise. Its not uncommon for them to turn against the recordist when they go to post and realise how bad the recordings are and how much ADR will cost them.&#xD;&#xA;&#xD;&#xA;When you are going for a loop session though, I would for a change be more focused on their delivery on screen, so I would watch the monitors a lot more closely. I would watch out for fumbles and weird mouth movements. These things would be hard for the actors to replicate and match during ADR.&#xD;&#xA;&#xD;&#xA;Mic'ing wise I would move the lavs close to their mouths and aim for acquiring the dialogue as coherent as possible. The hypercardiods would be pretty useless at this time, picking up way too much ambient noise. Depending on the space, you could possibly try a Sanken CS3e or even a Sennheiser MKH70 for a possibly cleaner sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="57080" PostHistoryTypeId="2" PostId="30056" RevisionGUID="189b7177-dc9d-4f63-84c1-5a228ddd837f" CreationDate="2014-08-21T13:35:53.443" UserId="1216" Text="I just like to add that it seems a bit overdone to buy a specific mic for +20Khz recordings, if you do not have a very good reason (besides a little experimentation). You could also invest in a very good portable recorder (perhaps the new sony pcm-d100 or a nagra). This will give you the best of both worlds (high freq, and great converters).&#xD;&#xA;I've recorded at 192 khz with my rme fireface 400 and it works OK, but I don't know how good the babyface preamps are in comparison. Do realize that the RME circuitry have a very high noise level up at 40-50 khz to lower noise floors in the audible range.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57081" PostHistoryTypeId="10" PostId="30054" RevisionGUID="1a3294e9-4ae6-476c-9c24-3c453fdf94ab" CreationDate="2014-08-21T13:37:30.837" UserId="1216" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:1216,&quot;DisplayName&quot;:&quot;Arnoud Traa&quot;}]}" />
  <row Id="57082" PostHistoryTypeId="2" PostId="30057" RevisionGUID="68c00df4-69cc-4dfc-b089-45ddf9ef3242" CreationDate="2014-08-21T14:12:47.850" UserId="9792" Text="I read an anandtech review of AMD's 8 core Vishera CPUs (sorry could not find the exact review) a little while ago which benchmarked them against intel's CPUs of similar power\cost. According to Anandtech Intel beat the pants off AMD in just about everything accept HEAVILY multi-threaded applications. The one they tested in the review was a video editing program (handbrake maybe?).&#xD;&#xA;&#xD;&#xA;My question is this, if I'm building a CPU for a home studio and plan to use a program like pro tools or cubase would AMD's 8 core CPUs have an advantage over intel? Do these programs also benefit more from multiple cores more than just raw speed? To give you a specific CPU model: AMD FX-8350 Black Edition, but really any one of there 8 core CPUs that aren't 220W (cause a 220W desktop CPU is... stupid)." ContentLicense="CC BY-SA 3.0" />
  <row Id="57083" PostHistoryTypeId="1" PostId="30057" RevisionGUID="68c00df4-69cc-4dfc-b089-45ddf9ef3242" CreationDate="2014-08-21T14:12:47.850" UserId="9792" Text="AMD's eight core CPUs vs Intel for audio recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="57084" PostHistoryTypeId="3" PostId="30057" RevisionGUID="68c00df4-69cc-4dfc-b089-45ddf9ef3242" CreationDate="2014-08-21T14:12:47.850" UserId="9792" Text="&lt;pro-tools&gt;&lt;hardware&gt;&lt;cubase&gt;&lt;computer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57090" PostHistoryTypeId="4" PostId="30057" RevisionGUID="ecc2f078-b7dd-42b5-9db8-5c5678631f95" CreationDate="2014-08-21T14:44:38.843" UserId="7174" Comment="edited title" Text="Is multi-threading important for DAWs?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57091" PostHistoryTypeId="2" PostId="30059" RevisionGUID="b92c9277-29f2-49d5-8caa-a1e359bb96fb" CreationDate="2014-08-21T15:23:55.117" UserId="9794" Text="if you're recording it at a lower volume and bringing the volume up later&#xD;&#xA;than you're also bringing up the volume of the white noise.&#xD;&#xA;&#xD;&#xA;Best off recording at the volume you want it to be relative to how much you're going to increase it in the loudness part of the master..&#xD;&#xA;&#xD;&#xA;i mean if your master is going to be 10 db higher than your mixdown&#xD;&#xA;then you still want the single audio track to be 10 db lower than that but you don't want to have to increase it by any db in the mixdown before the master because then you're increasing the white noise even more than you have to&#xD;&#xA;&#xD;&#xA;I'm having trouble with the xpand plugin in pro tools.&#xD;&#xA;seems like no matter what I do.. anything from that plugin at a lower volume is going to sound staticy&#xD;&#xA;but If I'm using east west... no problems at all&#xD;&#xA;damnit" ContentLicense="CC BY-SA 3.0" />
  <row Id="57092" PostHistoryTypeId="2" PostId="30060" RevisionGUID="ecf8aa7e-d907-414c-9990-e9b0b300415c" CreationDate="2014-08-21T15:24:37.560" UserId="9729" Text="Each channel in your DAW is limited to a single thread for all signal processing that occurs on that channel.  This is because splitting the channels threads would introduce latency in playback.  More than one channel can share a thread.  So multi-threading is a bit of a lark.  If your running a lot of channels, threads can be beneficial because your pool of available space is greater.  The caveat here though is that if your CPU processing ability can't keep up with a channels needs it can't shift those needs to two threads.&#xD;&#xA;&#xD;&#xA;So while a particular CPU may have better multi-threading capabilities, from a practical stand  point it doesn't expand your capabilities unless the CPU is able to keep up with the demands of each channel.  Having 8 threads isn't beneficial if your maxing out its capabilities with one or two plugins.  &#xD;&#xA;&#xD;&#xA;If you run a lot of VST, DSP, etc on a channel more CPU power is essential.&#xD;&#xA;&#xD;&#xA;If you run a lot of channels with audio playback but not a lot of processing more threads might be beneficial.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57100" PostHistoryTypeId="2" PostId="30063" RevisionGUID="b2917a34-0825-40b7-b731-d0b62a7e8492" CreationDate="2014-08-22T05:18:44.460" UserId="9422" Text="I would like to create some sample libraries for personal use. For source material I have a modular synth, other synth hardware, a field recorder etc. I'd be creating samples for synth sounds (used in Alchemy), drum sounds, fx and general raw sounds for further manipulation.&#xD;&#xA;&#xD;&#xA;My initial experiments have been frustrating. I tried recording audio in Cubase then manually chopping out samples, normalising, trimming etc. But the process is really slow and tedious. It's discouraging, I can't imagine doing a large project like this. There must be tools out there that make this a bit quicker. I'm happy to spend cash on good tools.&#xD;&#xA;&#xD;&#xA;How do you create sample libraries? What tools do you use? What's your workflow like?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57101" PostHistoryTypeId="1" PostId="30063" RevisionGUID="b2917a34-0825-40b7-b731-d0b62a7e8492" CreationDate="2014-08-22T05:18:44.460" UserId="9422" Text="Making Sample Libraries (Tools / Workflow)" ContentLicense="CC BY-SA 3.0" />
  <row Id="57102" PostHistoryTypeId="3" PostId="30063" RevisionGUID="b2917a34-0825-40b7-b731-d0b62a7e8492" CreationDate="2014-08-22T05:18:44.460" UserId="9422" Text="&lt;sampling&gt;&lt;samples&gt;&lt;sampler&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57104" PostHistoryTypeId="2" PostId="30064" RevisionGUID="3b3edca4-8650-453b-9309-d0b00f55dfa8" CreationDate="2014-08-22T13:04:02.233" UserId="1216" Text="Like AJHenderson says, it's a bit unclear as to what exact advice you need. However I can give some general advice.&#xD;&#xA;1. It is tedious and a lot of work, especially with your first try.&#xD;&#xA;2. Things will get better after you've created a library (so start small and expand later).&#xD;&#xA;3. Think about what you really need (not what you want), this helps keeping things in a manageable scale.&#xD;&#xA;4. Use a batch process/converter whenever you can (wether it's audio or metadata).&#xD;&#xA;&#xD;&#xA;If you could add some more information of where you feel you're losing time on tasks, we can get you better answers. Also, check out Paul Virostek: http://www.creativefieldrecording.com/books/field-recording-from-research-to-wrap/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57106" PostHistoryTypeId="5" PostId="30063" RevisionGUID="9efece7c-e2b6-4226-be70-f9dabc9d30e0" CreationDate="2014-08-22T14:48:35.910" UserId="9422" Comment="clarify question" Text="I would like to create some sample libraries for music production. The samples will be used in samplers (Kontakt), drum samplers (Battery) and synths (Alchemy). The samples will also be used as source material and further manipulated in other programs. &#xD;&#xA;&#xD;&#xA;My sample sources will be a mixture of hardware synthesisers, field recordings, acoustic instruments and whatever I can get my hands on.&#xD;&#xA;&#xD;&#xA;I've quickly discovered the process is very repetitive and tedious. For example all samples need:&#xD;&#xA;&#xD;&#xA;* silence trimmed from beginning and end.&#xD;&#xA;* normalised to x-db. &#xD;&#xA;* renamed to something appropriate. (&quot;Bass Synth C4.wav&quot; instead of &quot;Region 014.wav&quot;)&#xD;&#xA;* sampling a hardware synthesiser requires recording of X number of notes. The recordings then need to be cut into individual files.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**What tools exist to minimise the repetitive aspects of making sample libraries?**" ContentLicense="CC BY-SA 3.0" />
  <row Id="57107" PostHistoryTypeId="4" PostId="30063" RevisionGUID="9efece7c-e2b6-4226-be70-f9dabc9d30e0" CreationDate="2014-08-22T14:48:35.910" UserId="9422" Comment="clarify question" Text="Tools For Making Sample Libraries?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57108" PostHistoryTypeId="11" PostId="30054" RevisionGUID="a98d7485-b0b4-442c-bfc3-9150e862b992" CreationDate="2014-08-22T14:54:46.407" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="57109" PostHistoryTypeId="2" PostId="30065" RevisionGUID="dc74fd7d-a0e1-411e-b608-c25b1c3bf697" CreationDate="2014-08-22T15:02:08.687" UserId="7174" Text="The biggest thing with a headset mic is going to be looking at the pick up pattern (you want it to be cardioid facing you to avoid feedback), size (large mics can look funny) and sound quality/response (small mics tend to either have limited response (countryman) or limited quality.  You want a mic that gives good frequency response along your vocal range and also maintains good high quality without breathing noise (which also will depend on properly positioning the mic.)  Often you will be looking at a trade off between quality and size when dealing with a headset mic and depending on how far out it sticks, it will also likely still need a windscreen to prevent popping.  &#xD;&#xA;&#xD;&#xA;Most of the time, the best balance is going to be a condenser mic, which leads in to the second part of your question, yes, it is entirely possible to use a headset mic wired, but condenser mics require power and processing circuitry.  Normally for small condensers, such as LAVs and headsets, this circuitry is placed in a belt pack for both the wired and wireless variety.  If you use a wired pack, there will normally be an XLR jack that you can plug in and either run it off of a battery or phantom power to provide the electricity needed to operate the condenser mic and it's processing circuitry.  As long as you have the belt pack, the output will be a standard mic signal and won't need anything special between it and the mixer." ContentLicense="CC BY-SA 3.0" />
  <row Id="57110" PostHistoryTypeId="2" PostId="30066" RevisionGUID="607e2a84-8243-4ab2-9975-de626f27d43d" CreationDate="2014-08-22T18:25:56.780" UserId="9729" Text="I use Sox and CDP (Composers Desktop Project) for sound design work building my own libraries.  These are command line tools that can be run from the windows shell or with another environment.  I use Cygwin in conjunction with these tools and create scripts for different tasks that involve multiple repetitive steps.  I then use exif tool for writing metadata to the samples and VBA scripts for renaming and importing relevant details into a database.&#xD;&#xA;&#xD;&#xA;Sox in particular is a powerful tool.  The learning curve can be a challenge if using command line tools is new to you but the advantages are, in my opinion, worth it." ContentLicense="CC BY-SA 3.0" />
  <row Id="57123" PostHistoryTypeId="5" PostId="29619" RevisionGUID="2e98b358-43c2-45fd-9f15-63ed9bb1b76d" CreationDate="2014-08-23T14:31:33.293" UserId="9803" Comment="remove boilerplate, signing etc." Text="I'm trying to create a kind of &quot;swarming&quot; sound. It is a multimedia installation that shows an animated flock of &quot;birds&quot;, not real birds but abstract forms that look and behave like birds. I'm trying to create a sound that is a mix between real wing flapping sounds and a more synthetic sound. &#xD;&#xA;&#xD;&#xA;Does anybody have any suggestions? Or maybe knows film scenes with a similar sound? Any inspirational creative ideas highly appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="57124" PostHistoryTypeId="24" PostId="29619" RevisionGUID="2e98b358-43c2-45fd-9f15-63ed9bb1b76d" CreationDate="2014-08-23T14:31:33.293" Comment="Proposed by 9803 approved by 1216 edit id of 159" ContentLicense="CC BY-SA 3.0" />
  <row Id="57128" PostHistoryTypeId="34" PostId="29980" RevisionGUID="95962ddb-b595-47cf-bdb8-e852766c814f" CreationDate="2014-08-24T03:32:34.450" UserId="-1" Comment="20" />
  <row Id="57134" PostHistoryTypeId="2" PostId="30071" RevisionGUID="857098b2-d156-4266-8034-bcb9c0f80ce5" CreationDate="2014-08-24T21:05:49.037" UserId="9805" Text="Use the Replace button next to cycle record.![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/YdSF4.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="57139" PostHistoryTypeId="2" PostId="30073" RevisionGUID="1c42c020-19d6-4bcc-9559-e46cee5970f6" CreationDate="2014-08-25T11:59:21.367" UserId="9807" Text="I would like to know if there is a difference in the quality of audio when choosing between 8-bit WAV formats in Audacity Export?&#xD;&#xA;&#xD;&#xA;My Current method:&#xD;&#xA;&#xD;&#xA; 1. Change &quot;Project Rate (Hz)&quot; in the bottom left corner to &quot;8000&quot;&#xD;&#xA; 2. Select &quot;Tracks --&gt; Stereo Track to Mono&quot;&#xD;&#xA; 3. Select &quot;File --&gt; Export...&quot;&#xD;&#xA; 4. Select &quot;Other uncompressed files&quot; then click &quot;Options...&quot;&#xD;&#xA; 5. Select Header as &quot;WAV (Microsoft)&quot;&#xD;&#xA;&#xD;&#xA;Now I have the choice of various different &quot;Encoding&quot; schemes.&#xD;&#xA;&#xD;&#xA;Since it's uncompressed audio I'm assuming there won't be a difference in quality between the different options.&#xD;&#xA;&#xD;&#xA;Just to be sure, since my target device for my client accepts all types (apparently), is there one I should choose in particular for the best quality?&#xD;&#xA;&#xD;&#xA;So far I tried A-Law and U-Law and they said that's fine but audio might suffer from compression. I'm not sure if that's correct as it's uncompressed, and A-Law and U-Law are encoding schemes as far as I'm aware. &#xD;&#xA;&#xD;&#xA;Possibly &quot;Unsigned 8 bit PCM&quot; is what I should select?&#xD;&#xA;&#xD;&#xA;Any thoughts would be most welcome!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57140" PostHistoryTypeId="1" PostId="30073" RevisionGUID="1c42c020-19d6-4bcc-9559-e46cee5970f6" CreationDate="2014-08-25T11:59:21.367" UserId="9807" Text="Best quality encoding when exporting &quot;8-bit 8kHz Mono WAV&quot; sample in Audacity?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57141" PostHistoryTypeId="3" PostId="30073" RevisionGUID="1c42c020-19d6-4bcc-9559-e46cee5970f6" CreationDate="2014-08-25T11:59:21.367" UserId="9807" Text="&lt;mono&gt;&lt;wav&gt;&lt;audacity&gt;&lt;export&gt;&lt;encoding&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57142" PostHistoryTypeId="2" PostId="30074" RevisionGUID="6a4f6916-1d65-4f55-886b-02961dfa6566" CreationDate="2014-08-25T12:36:36.527" UserId="9807" Text="I would like to create some system sound effects for a sporting device. The device needs sound effects for actions such as play, stop, pause, error, clicking a slider etc.&#xD;&#xA;&#xD;&#xA;Is there a free sound library that I could use for this?&#xD;&#xA;&#xD;&#xA;Is there useful literature useful for designing my own sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57143" PostHistoryTypeId="1" PostId="30074" RevisionGUID="6a4f6916-1d65-4f55-886b-02961dfa6566" CreationDate="2014-08-25T12:36:36.527" UserId="9807" Text="Recommended sound effects library for designing system sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57144" PostHistoryTypeId="3" PostId="30074" RevisionGUID="6a4f6916-1d65-4f55-886b-02961dfa6566" CreationDate="2014-08-25T12:36:36.527" UserId="9807" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;sound-libraries&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57145" PostHistoryTypeId="2" PostId="30075" RevisionGUID="0d110681-5181-49b2-bd2e-abf5e306a19f" CreationDate="2014-08-25T13:09:01.293" UserId="8006" Text="http://www.affordableaudio4everyone.com/Affordable%20SFX%204%20Everyone/HudMenuInterfaceToolbox.html&#xD;&#xA;&#xD;&#xA;or&#xD;&#xA;&#xD;&#xA;http://www.ueberschall.com/de/product/162/Future-FX;jsessionid=z2l2yv6mqafztz7eqm8jo2gd&#xD;&#xA;&#xD;&#xA;or&#xD;&#xA;&#xD;&#xA;http://library.empty-sea.com/product/ui-one&#xD;&#xA;&#xD;&#xA;The iFX series by Zero-G is also very useful" ContentLicense="CC BY-SA 3.0" />
  <row Id="57146" PostHistoryTypeId="2" PostId="30076" RevisionGUID="568e3d7b-841e-497e-a9a8-2153e9068121" CreationDate="2014-08-25T13:18:53.017" UserId="7417" Text="&#xD;&#xA;I would like to know what are exact characteristics of the mixer's 3-zone EQs, namely of the one of Behringer Xenyx802. My problem is the following: I plan to get a microphone (Shure SM35), but its frequency response is not quite flat (see the dashed line below):&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;The EQ offers -15dB on LOW (80Hz), which would nicely cancel out the mic's increased response on basses. However, it's not clear what happnes with a frequency at 1kHz (since the MID knob is at 2.5kHz). Therefore, I would like to know which frequencies are altered to what extent by the mixer.&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/kP5Ep.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57147" PostHistoryTypeId="1" PostId="30076" RevisionGUID="568e3d7b-841e-497e-a9a8-2153e9068121" CreationDate="2014-08-25T13:18:53.017" UserId="7417" Text="Mixer EQ curves specification sheets" ContentLicense="CC BY-SA 3.0" />
  <row Id="57148" PostHistoryTypeId="3" PostId="30076" RevisionGUID="568e3d7b-841e-497e-a9a8-2153e9068121" CreationDate="2014-08-25T13:18:53.017" UserId="7417" Text="&lt;microphone&gt;&lt;equalization&gt;&lt;tech-specs&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57149" PostHistoryTypeId="10" PostId="13943" RevisionGUID="b343adf0-8a9e-4379-a538-f23f83918ce0" CreationDate="2014-08-25T13:38:19.620" UserId="7174" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="57150" PostHistoryTypeId="11" PostId="13943" RevisionGUID="fd3c5589-7da4-4040-b1ff-e145d319a39f" CreationDate="2014-08-25T13:38:47.510" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="57153" PostHistoryTypeId="5" PostId="30076" RevisionGUID="1bf67196-ef26-40a4-bca7-a58f9fe7345d" CreationDate="2014-08-25T14:23:19.967" UserId="7174" Comment="added 53 characters in body" Text="I would like to know what are exact characteristics of the mixer's 3-zone EQs, namely of the one of Behringer Xenyx802. My problem is the following: I plan to get a microphone (Shure SM35), but its frequency response is not quite flat (see the dashed line below):&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;The EQ offers -15dB on LOW (80Hz), which would nicely cancel out the mic's increased response on basses. However, it's not clear what happnes with a frequency at 1kHz (since the MID knob is at 2.5kHz). Therefore, I would like to know what is the best way to handle this with my mixer's limited capabilities?  Is it even possible to do effectively?&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/kP5Ep.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57154" PostHistoryTypeId="4" PostId="30076" RevisionGUID="1bf67196-ef26-40a4-bca7-a58f9fe7345d" CreationDate="2014-08-25T14:23:19.967" UserId="7174" Comment="added 53 characters in body" Text="Using basic EQs to correct for uneven mike response" ContentLicense="CC BY-SA 3.0" />
  <row Id="57155" PostHistoryTypeId="2" PostId="30077" RevisionGUID="80204104-562b-43c0-8527-1f290403d2ef" CreationDate="2014-08-25T15:01:29.330" UserId="7174" Text="For a board with fixed EQs, it is going to be difficult to account for this much of an unlevel response curve.  It varies based on board, but the fixed EQs tend to be very &quot;wide&quot;, impacting a large number of related frequencies.  Some boards use shelving filters on the top and bottom EQ while others use non-shelving.&#xD;&#xA;&#xD;&#xA;This response curve would certainly need shelving to adjust for the dotted line, but it starts at around 1 or 2khz and would have to roll off from there ending in a shelf at around 200hz.  You aren't going to get this flat with pretty much anything short of a fully parametric EQ.  The curve is just too wide and too long from too high of a frequency to be covered by a typical fixed or semi-parametric (frequency sweeping, fixed width) EQ.&#xD;&#xA;&#xD;&#xA;That said, you might not need a flat EQ depending on what you are using the mic for, so you might be able to get around it by boosting the right parts of the higher frequencies (though this goes against subtractive mixing which is generally preferable), but it would depend entirely on the context of what you are miking." ContentLicense="CC BY-SA 3.0" />
  <row Id="57156" PostHistoryTypeId="2" PostId="30078" RevisionGUID="193a2c32-2c39-4753-8787-1189903481ef" CreationDate="2014-08-25T16:01:52.513" UserId="9809" Text="I put together a diagram to see how close I am to getting my gear connected. I would like to know if what I have done so far is correct. I also need help with the midi wiring. I get confused with the whole OUT-THRU-IN thing. Am I missing anything?&#xD;&#xA;&#xD;&#xA;http://www.pbase.com/gpaai/image/157124050.jpg&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;Gary" ContentLicense="CC BY-SA 3.0" />
  <row Id="57157" PostHistoryTypeId="1" PostId="30078" RevisionGUID="193a2c32-2c39-4753-8787-1189903481ef" CreationDate="2014-08-25T16:01:52.513" UserId="9809" Text="Help with connecting my gear" ContentLicense="CC BY-SA 3.0" />
  <row Id="57158" PostHistoryTypeId="3" PostId="30078" RevisionGUID="193a2c32-2c39-4753-8787-1189903481ef" CreationDate="2014-08-25T16:01:52.513" UserId="9809" Text="&lt;midi&gt;&lt;daw&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57159" PostHistoryTypeId="2" PostId="30079" RevisionGUID="ab1da34b-7a31-40d3-9b8c-2a7ec38599c7" CreationDate="2014-08-25T16:17:21.873" UserId="9807" Text="You need to connect the MIDI OUT of your audio interface to the MIDI IN of one of the sound modules, then connect the MIDI THROUGH of that sound module to the MIDI IN of the other. You'll need to put each sound module on a separate MIDI channel.&#xD;&#xA;&#xD;&#xA;The MIDI output from your track in the DAW software will need to output on the MIDI channel assigned to the appropriate sound module it's sending MIDI to.&#xD;&#xA;&#xD;&#xA;That should work assuming your audio interface has MIDI, though the more sound modules you add the more latency you'll get with this style of &quot;daisy chaining&quot; equipment. &#xD;&#xA;&#xD;&#xA;If you don't have MIDI on your audio interface and your controller keyboard shows up as a MIDI interface in your DAW (via USB connection), then you should be able to connect the MIDI OUT from the keyboard to the sound module and use that instead.&#xD;&#xA;&#xD;&#xA;If you add more MIDI sound modules you may wish to use a MIDI hub." ContentLicense="CC BY-SA 3.0" />
  <row Id="57160" PostHistoryTypeId="5" PostId="30079" RevisionGUID="dca0066d-21b9-4417-8dbd-77e4698b7be0" CreationDate="2014-08-25T16:24:53.993" UserId="9807" Comment="deleted 94 characters in body" Text="You need to connect the MIDI OUT of your MIDI controller keyboard to the MIDI IN of one of the sound modules, then connect the MIDI THROUGH of that sound module to the MIDI IN of the other. You'll need to put each sound module on a separate MIDI channel.&#xD;&#xA;&#xD;&#xA;The MIDI output from your track in the DAW software will need to output on the MIDI channel assigned to the appropriate sound module it's sending MIDI to.&#xD;&#xA;&#xD;&#xA;The more sound modules you add the more latency you'll get with this style of &quot;daisy chaining&quot; equipment. If so you may wish to use a MIDI hub.&#xD;&#xA;&#xD;&#xA;Sound connections look fine, assuming you have a mixture of line level and mic pre inputs on your audio interface. Which audio interface is it?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57161" PostHistoryTypeId="2" PostId="30080" RevisionGUID="ad56d255-c0a6-470c-8343-68c2b2cd6496" CreationDate="2014-08-25T16:35:27.330" UserId="8205" Text="I need some help folks, I have to create the sound of the net launcher, in fact near from the one in the &quot;Fitfh Element&quot; of Luc Besson.&#xD;&#xA;&#xD;&#xA;It's a big powerful gun who fires a net over the oppents, So It has to be aggressive. &#xD;&#xA;&#xD;&#xA;I've tried some stuff, with big wind gust, whooshes, fire arrows, but I can't manage to create a powerful net launcher sound.&#xD;&#xA;&#xD;&#xA;So if there is anybody around who has some tips or ideas, I'll appreciate.&#xD;&#xA;&#xD;&#xA;Here the link of the scene from the &quot;The Fitfh Element&quot; in order to give you something to compare : The net launcher is at 1:19&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=0T6ANbL3SMw&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Thanks.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57162" PostHistoryTypeId="1" PostId="30080" RevisionGUID="ad56d255-c0a6-470c-8343-68c2b2cd6496" CreationDate="2014-08-25T16:35:27.330" UserId="8205" Text="How To Create a Net Launcher Sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="57163" PostHistoryTypeId="3" PostId="30080" RevisionGUID="ad56d255-c0a6-470c-8343-68c2b2cd6496" CreationDate="2014-08-25T16:35:27.330" UserId="8205" Text="&lt;shotgun&gt;&lt;scifi&gt;&lt;weapon&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57164" PostHistoryTypeId="5" PostId="30078" RevisionGUID="16641c53-8977-4299-b406-419bc45fcd9a" CreationDate="2014-08-25T17:08:28.107" UserId="6957" Comment="inlined the image" Text="I put together a diagram to see how close I am to getting my gear connected. I would like to know if what I have done so far is correct. I also need help with the midi wiring. I get confused with the whole OUT-THRU-IN thing. Am I missing anything?&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;Thanks!&#xD;&#xA;Gary&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/uiimI.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="57165" PostHistoryTypeId="2" PostId="30081" RevisionGUID="e534b8a2-cbaf-48bb-b088-f59b4775bd39" CreationDate="2014-08-26T00:37:44.137" UserId="9813" Text="I am new in dealing with sounds. I am not very sure if I am asking the right question, but I will try to explain what I am looking for.&#xD;&#xA;&#xD;&#xA;I want to be able to distinguish and visualize a specific alarm sound (Fire alarm for example) from the environment. I want to be able to just visualize the sound coming from the alarm device in a room where some other sounds are part of the environment (People speaking or birds chirping).&#xD;&#xA;&#xD;&#xA;Is it possible to do that, and if so, how to do it?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57166" PostHistoryTypeId="1" PostId="30081" RevisionGUID="e534b8a2-cbaf-48bb-b088-f59b4775bd39" CreationDate="2014-08-26T00:37:44.137" UserId="9813" Text="How to visualize alarm sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="57167" PostHistoryTypeId="3" PostId="30081" RevisionGUID="e534b8a2-cbaf-48bb-b088-f59b4775bd39" CreationDate="2014-08-26T00:37:44.137" UserId="9813" Text="&lt;microphone&gt;&lt;synthesizer&gt;&lt;visuals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57168" PostHistoryTypeId="2" PostId="30082" RevisionGUID="081126eb-7f88-46df-84fa-a61046df2f49" CreationDate="2014-08-26T08:01:16.937" UserId="6432" Text="If I'm understanding you correctly the best way is to view the sound as a spectrogram:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;I just found that image online, but shows a series of tones descending in pitch. Looking at the left axis, you can see the frequency range. &#xD;&#xA;&#xD;&#xA;Depending on how noisy your background sound is you should be able to easily identify a sound with such a specific signature as an alarm. One of the best tools for this is also free - [sonic visualiser][2]([http://www.sonicvisualiser.org/][3]) which allows a range of different overlays for analysis, is very accurate and allows simple image export. &#xD;&#xA;&#xD;&#xA;I don't know the reasons for your interest in this, but if it's a research topic you may be interested to know that there is a field of study focusing the relationship we have with our sonic environment called [acoustic ecology][4], where you could find a useful framework for analysing sound recordings. I can provide further links if that's of interest.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/7VUUj.png&#xD;&#xA;  [2]: http://www.sonicvisualiser.org/&#xD;&#xA;  [3]: http://www.sonicvisualiser.org/&#xD;&#xA;  [4]: http://en.wikipedia.org/wiki/Acoustic_ecology" ContentLicense="CC BY-SA 3.0" />
  <row Id="57169" PostHistoryTypeId="2" PostId="30083" RevisionGUID="32121021-5fdc-4415-8759-93accd988191" CreationDate="2014-08-26T09:24:32.370" UserId="6432" Text="Sometimes you just need to out a bang on it! It may feel like it's not a weapon because we're so used to threatening weapons having a sharp initial sound. I'd add something like that, doesn't even need to be as distinct as a gunshot. Then back it up straight away (literally from when the trigger is pulled) with a *friction* type sound such as the one which makes up the bulk of the example you give - it sounds a lot like a piece of rough material being pulled out from underneath something, maybe with a large zip also being pulled very fast. You could also add in something mechanical like a fast ratchet turn or similar. Then add whoosh elements as a sweetener.&#xD;&#xA;&#xD;&#xA;Hope that helps! " ContentLicense="CC BY-SA 3.0" />
  <row Id="57170" PostHistoryTypeId="2" PostId="30084" RevisionGUID="86d1cab3-55ee-4c96-bdea-5790ba401392" CreationDate="2014-08-26T13:53:11.930" UserId="7174" Text="Mortars tubes firing can work well as it is something big and heavy moving down a barrel at relatively high speed, very similar to what a net launcher would have to do.  You probably then want to add a sound of the net flying through the air, but I'm not sure how I'd go about trying to get that component of the sound.  You'd finally want it hitting the target which would probably be easiest just to drop a thing of rope and some tent pegs on the floor." ContentLicense="CC BY-SA 3.0" />
  <row Id="57171" PostHistoryTypeId="5" PostId="30083" RevisionGUID="ca8fc532-bd48-4125-b3e5-9becc128449e" CreationDate="2014-08-26T15:32:24.787" UserId="1216" Comment="typo" Text="Sometimes you just need to put a bang on it! It may feel like it's not a weapon because we're so used to threatening weapons having a sharp initial sound. I'd add something like that, doesn't even need to be as distinct as a gunshot. Then back it up straight away (literally from when the trigger is pulled) with a *friction* type sound such as the one which makes up the bulk of the example you give - it sounds a lot like a piece of rough material being pulled out from underneath something, maybe with a large zip also being pulled very fast. You could also add in something mechanical like a fast ratchet turn or similar. Then add whoosh elements as a sweetener.&#xD;&#xA;&#xD;&#xA;Hope that helps! " ContentLicense="CC BY-SA 3.0" />
  <row Id="57172" PostHistoryTypeId="2" PostId="30085" RevisionGUID="2bc15c46-fe38-4320-950e-91dd14ee7113" CreationDate="2014-08-26T15:54:34.087" UserId="6399" Text="With complex sounds like that I think the best thing to do is break it into its component parts.  What is the sound when it's still (if any).  Trigger sound, firing preload, firing impact, texture or unique sound of firing, net leaving the gun, net through air, net landing.&#xD;&#xA;&#xD;&#xA;For me if I breaking it down into smaller sounds is what can it a uniqueness that you cant get with 1 or 2 stock sounds." ContentLicense="CC BY-SA 3.0" />
  <row Id="57173" PostHistoryTypeId="2" PostId="30086" RevisionGUID="e2aee931-385d-4e08-b2c7-76448cd952b4" CreationDate="2014-08-26T15:59:32.203" UserId="8353" Text="Doing sound design for materials that need to hit an 82 leq(m) spec which is the TASA standard for cinema ads. But all I have is an LUFS meter. Any ballpark range I can mix it to, at least to pass the QC? Never mind being a tad soft, we just need to hit the spec. &#xD;&#xA;&#xD;&#xA;I understand that there are complications because these are different metering standards. If there was any way to get my hands on a dolby unit or derivative plugins, or rent a dub stage, I would. I have exhausted other options, but there are limitations and considerations with this specific project.&#xD;&#xA;&#xD;&#xA;Thanks in advance." ContentLicense="CC BY-SA 3.0" />
  <row Id="57174" PostHistoryTypeId="1" PostId="30086" RevisionGUID="e2aee931-385d-4e08-b2c7-76448cd952b4" CreationDate="2014-08-26T15:59:32.203" UserId="8353" Text="Hitting a leq(m) spec" ContentLicense="CC BY-SA 3.0" />
  <row Id="57175" PostHistoryTypeId="3" PostId="30086" RevisionGUID="e2aee931-385d-4e08-b2c7-76448cd952b4" CreationDate="2014-08-26T15:59:32.203" UserId="8353" Text="&lt;cinema&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57176" PostHistoryTypeId="2" PostId="30087" RevisionGUID="1adea290-130e-4525-a25e-2d560acb153c" CreationDate="2014-08-26T16:06:11.713" UserId="6399" Text="All of the cinema spot mixes I've done over the last couple years require the mix to be at broadcast levels.  It used be that we delivered leg(m) mixes but at least for NCM they now ask for a broadcast -24 lufs mix.&#xD;&#xA;&#xD;&#xA;Who are you delivering the mix to?  Are you actually doing the mix or just sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57177" PostHistoryTypeId="2" PostId="30088" RevisionGUID="aefdfe12-3d52-4f75-a7af-b47461e2f798" CreationDate="2014-08-26T16:12:34.173" UserId="7213" Text="8-bit 8K isn't going to be great quality in any case, but WAV is as good as you can do. Straight uncompressed MS-format (RIFF) WAV is the most compatible format for interchange.&#xD;&#xA;&#xD;&#xA;There are two senses of 'compressed' at work here. U [(mu)-law][1] and A-law refer to schemes for compressing dynamic range, not for reducing file size. Typically they would be 'expanded' when played or received, to restore dynamic range. They're not much used except in telephony.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/%CE%9C-law_algorithm" ContentLicense="CC BY-SA 3.0" />
  <row Id="57178" PostHistoryTypeId="2" PostId="30089" RevisionGUID="f58fa3f4-1155-421b-b845-8516c009ae19" CreationDate="2014-08-26T17:34:23.917" UserId="8205" Text="The Boom library &quot;Sci-fi&quot; and &quot;interface&quot; could help you. As always their sounds are really great, well classified, good metadata for Soundminer, they always give a bunch of sounds which is good to avoid to have the same repeteting sound. You should take a look at." ContentLicense="CC BY-SA 3.0" />
  <row Id="57179" PostHistoryTypeId="2" PostId="30090" RevisionGUID="9818d0f8-2251-480c-9307-c121c8ca8cd5" CreationDate="2014-08-26T19:25:54.970" UserId="9807" Text="I've been using Apple Logic EXS24 sampler since I predominantly use Logic Pro X as my current DAW of choice. I've only ever used the built-in sounds that it comes with.&#xD;&#xA;&#xD;&#xA;Recently I did some work supplying UI Sound Effects for a sporting device, I would've saved a lot of time if I had bought a UI SFX library.&#xD;&#xA;&#xD;&#xA;In the past I've used the classic AKAI S950 hardware sampler, great unique sound but very time consuming. I remember the times I had to get out the calculator to time stretch by &quot;percentage&quot;. Also very little storage space, I remember it being really frustrating, but there was a certain satisfaction to working with such tight constraints.&#xD;&#xA;&#xD;&#xA;I guess I could probably do more &quot;musically&quot; with the ESX24 if I bought some kind of intuitive drum pad controller, at the moment I use an AXIOM-49 controller keyboard which fine for general purpose things." ContentLicense="CC BY-SA 3.0" />
  <row Id="57180" PostHistoryTypeId="2" PostId="30091" RevisionGUID="a3670418-3180-4ad7-ad8a-a3c7189cff5f" CreationDate="2014-08-26T19:49:14.673" UserId="9807" Text="Thanks for the answers, I found some free effects by googling for UI Sound Effects and making some of my own in Logic Pro X. I mainly used ones I found on here:&#xD;&#xA;&#xD;&#xA;http://opengameart.org/&#xD;&#xA;&#xD;&#xA;In future I may purchase one of the sample libraries you've suggested as it would save a lot of time and be much more professional, however I was essentially looking for free samples." ContentLicense="CC BY-SA 3.0" />
  <row Id="57181" PostHistoryTypeId="2" PostId="30092" RevisionGUID="d3841193-2020-452b-91a5-4849878ae6ea" CreationDate="2014-08-26T20:20:39.317" UserId="9817" Text="I can do recording by multi channel / tracks in SoundCraft Si Compact 24 by the USB port using the software of console? &#xD;&#xA;&#xD;&#xA;Would have to purchase the Si Multi Digital Card for this? &#xD;&#xA;&#xD;&#xA;Wanted to record for multi channel and use SoundForge or Cubase or other type. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Many thanks for the help! &#xD;&#xA;Hugs!" ContentLicense="CC BY-SA 3.0" />
  <row Id="57182" PostHistoryTypeId="1" PostId="30092" RevisionGUID="d3841193-2020-452b-91a5-4849878ae6ea" CreationDate="2014-08-26T20:20:39.317" UserId="9817" Text="Recording multi channel / track - SoundCraft Si Compact 24" ContentLicense="CC BY-SA 3.0" />
  <row Id="57183" PostHistoryTypeId="3" PostId="30092" RevisionGUID="d3841193-2020-452b-91a5-4849878ae6ea" CreationDate="2014-08-26T20:20:39.317" UserId="9817" Text="&lt;recording&gt;&lt;multichannel&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57184" PostHistoryTypeId="2" PostId="30093" RevisionGUID="87f238ad-d8c2-4421-a970-cba1909bbe39" CreationDate="2014-08-26T21:54:31.697" UserId="9807" Text="Here's a link to the Si Multi Digital User Guide which should be useful for you:&#xD;&#xA;&#xD;&#xA;[Si Multi Digital User Guide Download][1]&#xD;&#xA;&#xD;&#xA;&gt; The Soundcraft® Multi Digital card offers digital audio connection&#xD;&#xA;&gt; between an Si Series  console* and Apple® Mac® enabled with Firewire&#xD;&#xA;&gt; (1394), or PC enabled with a USB or  Firewire port. Audio capability&#xD;&#xA;&gt; across the Firewire or USB link is 32 channels in and 32  channels out&#xD;&#xA;&gt; at 48KHz. In addition to the Firewire/USB ports, the Multi Digital&#xD;&#xA;&gt; card provides  8 further channels of ADAT in and out at 48KHz. &#xD;&#xA;&gt; Connection and setup of the card to a PC is made simple with the use&#xD;&#xA;&gt; of the Soundcraft  digital audio driver and associated control panel.&#xD;&#xA;&gt; Firewire connection to a Mac requires  no software or drivers.&#xD;&#xA;&#xD;&#xA;This seems to be the cheapest option for connecting to your computer.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.soundcraft.com/downloads/fetchfile.aspx?cat_id=user_guides&amp;id=4585" ContentLicense="CC BY-SA 3.0" />
  <row Id="57185" PostHistoryTypeId="2" PostId="30094" RevisionGUID="52a5b3db-d042-4608-aaa3-c33168886131" CreationDate="2014-08-26T22:36:39.970" UserId="8017" Text="Friendly greetings Simon!&#xD;&#xA;&#xD;&#xA;Beyond a sample library, what about a dedicated tool to create UI samples? It's not free but I encourage you to consider the productivity and/or fun you might experience with Soundmorph's Galactic Assistant, it's an app designed to make UI sounds (marketed as being futuristic, but not limited to that): http://soundmorph.com/index.php?page=soundpacks&amp;spack=ga&#xD;&#xA;&#xD;&#xA;I don't have it but trust them by way of friends vouching for their stuff and reputation.&#xD;&#xA;&#xD;&#xA;Would ♥ to hear what you ended up creating." ContentLicense="CC BY-SA 3.0" />
  <row Id="57186" PostHistoryTypeId="5" PostId="30092" RevisionGUID="17a4c76e-0c3c-48f4-8fc6-3ccf58c0445a" CreationDate="2014-08-26T23:39:14.373" UserId="6957" Comment="Grammar and link" Text="Can I do multi-channel/track recording on a [SoundCraft Si Compact 24](http://www.soundcraft.com/products/product.aspx?pid=181) with the USB port using the software console? &#xD;&#xA;&#xD;&#xA;Would I have to purchase the Si Multi Digital Card for this? &#xD;&#xA;&#xD;&#xA;I wanted to record multi-channel and use SoundForge or Cubase or other such software. &#xD;&#xA;&#xD;&#xA;Many thanks for the help!" ContentLicense="CC BY-SA 3.0" />
  <row Id="57187" PostHistoryTypeId="2" PostId="30095" RevisionGUID="095d1534-ba42-4fad-9c6a-62df262dc3ac" CreationDate="2014-08-27T03:58:46.717" UserId="9818" Text="Re-creating old radio episode of Fibber McGee and Molly- need to manually **create the** **SOUND of** (for live audience to see) 7 mirrors breaking in succession - safely.&#xD;&#xA;Thanks for your suggestions." ContentLicense="CC BY-SA 3.0" />
  <row Id="57188" PostHistoryTypeId="1" PostId="30095" RevisionGUID="095d1534-ba42-4fad-9c6a-62df262dc3ac" CreationDate="2014-08-27T03:58:46.717" UserId="9818" Text="how to manually make sound of 7 mirrors breaking" ContentLicense="CC BY-SA 3.0" />
  <row Id="57189" PostHistoryTypeId="3" PostId="30095" RevisionGUID="095d1534-ba42-4fad-9c6a-62df262dc3ac" CreationDate="2014-08-27T03:58:46.717" UserId="9818" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57190" PostHistoryTypeId="2" PostId="30096" RevisionGUID="00d747b7-13e6-4b34-ba84-2c587a5de6be" CreationDate="2014-08-27T10:40:26.813" UserId="7016" Text="I really think your best plan here is to break seven panes of glass (or in reality break quite a few, so you can get various recordings)&#xD;&#xA;&#xD;&#xA;Depending on what acoustics you need, the best breaking glass sounds I have come across were in an old concrete-floored warehouse, and the breaking action was a drop from waist height. The glass we tried varied from 1ft x 1ft up to about 3ft x 1ft, but the best ones were the smaller ones.&#xD;&#xA;&#xD;&#xA;Try to set up at least two mics, one directional mic pointed at the point of impact, and one omni (or directional pointed at a nearby wall or corner) as the echoes can be an essential part of the mix.&#xD;&#xA;&#xD;&#xA;You'll want to try different angles - you get very different noises depending on how they land.&#xD;&#xA;&#xD;&#xA;Steel-toecap work boots, goggles and work overalls are essential." ContentLicense="CC BY-SA 3.0" />
  <row Id="57191" PostHistoryTypeId="2" PostId="30097" RevisionGUID="155741c1-dc11-4e4d-85ed-1d2a65a70f12" CreationDate="2014-08-27T12:18:32.670" UserId="6957" Text="What I learned at an audio production school was a lot of very useful theory.  &#xD;&#xA;&#xD;&#xA;We weren't taught *how* to use a console, we were taught how to *learn* how to use a console.  For example, we learned how to read the console's schematic block diagram, so that no matter where we ended up, we could, in a matter of minutes (or hours) understand what all the buttons, switches, etc on this particular console did.  Very useful!&#xD;&#xA;&#xD;&#xA;We learned about *how* to listen critically, how to identify different frequencies.  Of course, we also put this theory into practice as well with pink noise and EQing exercises, but to be sure, the foundations of the theories were paramount.&#xD;&#xA;&#xD;&#xA;Audio production school would definitely be a useful foundation for diving into sound design, as long as the school focuses on the theory and mechanics of sound and the tools we use to record and mix it." ContentLicense="CC BY-SA 3.0" />
  <row Id="57192" PostHistoryTypeId="6" PostId="29932" RevisionGUID="f7c1162e-0856-4deb-976a-4cf7b7cebb5a" CreationDate="2014-08-27T14:09:30.463" UserId="6957" Comment="edited tags" Text="&lt;education&gt;&lt;newbie&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57193" PostHistoryTypeId="2" PostId="30098" RevisionGUID="eafed3e0-c51f-418d-b184-3464479e79bb" CreationDate="2014-08-27T23:55:48.917" UserId="9823" Text="record some beat with real samples (like hat sample, accoustic kick and snare) of your licking at a lower tempo (usually 120 or 140 sounds good tome) then bounce it to audio and speed up the sample to your song's tempo. You'll have you're naturral feel. Also you can chop up the audio to create awsome breaks. finally try shuffling more than one hat on your original sample it will give some alive feel to it (like a closed half open and open hat)" ContentLicense="CC BY-SA 3.0" />
  <row Id="57197" PostHistoryTypeId="2" PostId="30099" RevisionGUID="f721c142-611d-4fbe-9fba-e9c97c7bbaf4" CreationDate="2014-08-28T03:04:36.763" UserId="9824" Text="I have a Blue Snowball USB microphone plugged into an HP PC running Windows 7. Whenever I record, the mic pics up what sounds like an electrical noise. The pattern sounds almost like morse code. Here's a link to a sample:&#xD;&#xA;&#xD;&#xA;https://www.dropbox.com/s/ug4bv76ylmho29n/noise.wma?dl=0&#xD;&#xA;&#xD;&#xA;I have tried turning off every piece of equipment except the PC and monitor and still get the noise. Moving the microphone away from the PC helps only slightly. This leads me to believe the sound is coming from the PC itself, but where? Hard drives? Power supply fan? I'm hoping someone can identify the source based on the sound. The PC is plugged into a surge protector which is plugged into a grounded outlet.&#xD;&#xA;&#xD;&#xA;Also, I have seen some people say that using a USB hub will eliminate noise coming from the PC. Is this true?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57198" PostHistoryTypeId="1" PostId="30099" RevisionGUID="f721c142-611d-4fbe-9fba-e9c97c7bbaf4" CreationDate="2014-08-28T03:04:36.763" UserId="9824" Text="Help identifying source of unwanted noise" ContentLicense="CC BY-SA 3.0" />
  <row Id="57199" PostHistoryTypeId="3" PostId="30099" RevisionGUID="f721c142-611d-4fbe-9fba-e9c97c7bbaf4" CreationDate="2014-08-28T03:04:36.763" UserId="9824" Text="&lt;audio-recording&gt;&lt;noise-reduction&gt;&lt;interference&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57200" PostHistoryTypeId="5" PostId="30098" RevisionGUID="c0c8baaf-0966-40ef-9b50-66e334324985" CreationDate="2014-08-28T08:24:54.960" UserId="1216" Comment="spelling" Text="record some beat with real samples (like hat sample, acoustic kick and snare) of your liking at a lower tempo (usually 120 or 140 sounds good tome) then bounce it to audio and speed up the sample to your song's tempo. You'll have you're natural feel. Also you can chop up the audio to create awsome breaks. finally try shuffling more than one hat on your original sample it will give some alive feel to it (like a closed half open and open hat)" ContentLicense="CC BY-SA 3.0" />
  <row Id="57201" PostHistoryTypeId="10" PostId="30099" RevisionGUID="12b0c517-c606-4846-8803-b630e3de4fb5" CreationDate="2014-08-28T08:28:42.897" UserId="1216" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:1216,&quot;DisplayName&quot;:&quot;Arnoud Traa&quot;}]}" />
  <row Id="57202" PostHistoryTypeId="2" PostId="30100" RevisionGUID="5fc9fe89-874f-4382-92fa-4f261bd39989" CreationDate="2014-08-28T11:22:34.477" UserId="9827" Text="Keymap pro. Discontinued but very valuable. Apple bought Redmatica and buried its products (for now). We hope for a resurrection or integration into Logic X ... who knows. See some [Kontakt patches][1] made with it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.signo-sfx-instruments.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="57205" PostHistoryTypeId="6" PostId="26103" RevisionGUID="8e8234af-02e5-4d02-8335-5fe8043a88a9" CreationDate="2014-08-28T12:15:34.213" UserId="6957" Comment="edited tags" Text="&lt;drum&gt;&lt;reason&gt;&lt;rhythm&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57208" PostHistoryTypeId="5" PostId="30036" RevisionGUID="b6b5dda8-26b3-4f1e-b0be-9256e5dc4d84" CreationDate="2014-08-28T14:18:18.600" UserId="9764" Comment="added 244 characters in body" Text="I've just stumbled upon this so take it with a grain of salt but there's a piece of software called Revoice Pro which would allow you to overdub and sync perfectly with the source. Maybe you could try this out?&#xD;&#xA;&#xD;&#xA;http://www.synchroarts.com/products2/RevoicePro&#xD;&#xA;&#xD;&#xA;Sorry for not going more in depth but I'm &quot;new&quot; to the scene. I'm coming from an almost exclusively musical background with very little sound design. I'll definintely update if I find anything else that might be practically more relevant." ContentLicense="CC BY-SA 3.0" />
  <row Id="57209" PostHistoryTypeId="11" PostId="30099" RevisionGUID="6b17ed16-4945-4250-82ab-a2095e20e606" CreationDate="2014-08-28T14:20:13.300" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="57210" PostHistoryTypeId="10" PostId="30099" RevisionGUID="4b0c7018-9f24-4f66-8293-ab0265825612" CreationDate="2014-08-28T14:20:20.943" UserId="7174" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[23541],&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="57211" PostHistoryTypeId="2" PostId="30101" RevisionGUID="b18dbb26-027c-4d95-ac15-0c0f0783d6da" CreationDate="2014-08-28T14:21:14.360" UserId="999" Text="You were hired as a sound recordist- not a miracle worker. This is a location problem and the scene shouldn't have been shot there unless they were willing to do ADR. The best you can do in these situations is radio mic everyone, cover up offending noises as best as possible (carpets and sound blankets) and get the best guide track possible.&#xD;&#xA;&#xD;&#xA;Unfortunately the actors on this job suffer as much as you-and it's productions fault they are back in for ADR for shooting at a bad location! Sorry if this sounds like a rant but all too often sound is not thought about at location-only with experience do good crews work together to find a location that works for everyone-even if that means a compromise for the camera dept.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57212" PostHistoryTypeId="2" PostId="30102" RevisionGUID="d329b63c-76e9-4b91-a225-b38e5c836505" CreationDate="2014-08-28T15:12:17.117" UserId="9830" Text="Having studied music tech for over 8 years, i now write software, i would say that it is incredibly useful to know about computer science and electrical engineering. Not only will it give you more context as to what all those little electrons are doing. It will also give you some key skills.&#xD;&#xA;&#xD;&#xA;For example knowing how to use a console is one thing. Knowing how to pop it open and fix it is another. This would most likely get you many Hit Points when trying to get a job.&#xD;&#xA;&#xD;&#xA;In regards to your question of when will they teach you to make beats. They probably wont, Making beats is easy enough. But understanding said beats and EQ's is also really important and learning the basics will make using DAW's a lot easier. Open the mixer in logic and bam you get a console. Open it on Pro tools and bam the same console with the same In/Outs's.&#xD;&#xA;&#xD;&#xA;In regards to your decision to major or minor in audio production thinking about what you want to do as a career is the next step.&#xD;&#xA;&#xD;&#xA;Do you want to sit in a studio bouncing down tracks for bands, making beats for hiphop artists.&#xD;&#xA;&#xD;&#xA;Or would you prefer to build and design hardware and software plugins." ContentLicense="CC BY-SA 3.0" />
  <row Id="57219" PostHistoryTypeId="2" PostId="30105" RevisionGUID="9c84598f-9a89-400f-9fd1-5f391cbce2fc" CreationDate="2014-08-28T16:07:14.813" UserId="6647" Text="Hey guys I a sound device case like this one&#xD;&#xA;&#xD;&#xA;http://www.sounddevices.com/products/cs3/&#xD;&#xA;&#xD;&#xA;I was wondering if I could get some advice, I added a strap to go around my waist so I do not get back issues by hanging it over my shoulders. It is just that I am now getting back issues because of the strap. So I was wondering if anyone could give me some pointers to make it more effective. &#xD;&#xA;&#xD;&#xA;Thank you so much.&#xD;&#xA;Kind Regards&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57220" PostHistoryTypeId="1" PostId="30105" RevisionGUID="9c84598f-9a89-400f-9fd1-5f391cbce2fc" CreationDate="2014-08-28T16:07:14.813" UserId="6647" Text="sound device bag back support" ContentLicense="CC BY-SA 3.0" />
  <row Id="57221" PostHistoryTypeId="3" PostId="30105" RevisionGUID="9c84598f-9a89-400f-9fd1-5f391cbce2fc" CreationDate="2014-08-28T16:07:14.813" UserId="6647" Text="&lt;sound&gt;&lt;device&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57222" PostHistoryTypeId="5" PostId="30105" RevisionGUID="78c23be2-3331-4cac-8878-846abb382f0d" CreationDate="2014-08-28T17:00:41.423" UserId="6957" Comment="added 81 characters in body; edited tags" Text="Hey guys I a sound device case like this one&#xD;&#xA;&#xD;&#xA;http://www.sounddevices.com/products/cs3/&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;I was wondering if I could get some advice, I added a strap to go around my waist so I do not get back issues by hanging it over my shoulders. It is just that I am now getting back issues because of the strap. So I was wondering if anyone could give me some pointers to make it more effective. &#xD;&#xA;&#xD;&#xA;Thank you so much.&#xD;&#xA;Kind Regards&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/GTt0l.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="57223" PostHistoryTypeId="6" PostId="30105" RevisionGUID="78c23be2-3331-4cac-8878-846abb382f0d" CreationDate="2014-08-28T17:00:41.423" UserId="6957" Comment="added 81 characters in body; edited tags" Text="&lt;cases&gt;&lt;device&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57224" PostHistoryTypeId="2" PostId="30106" RevisionGUID="a4097d52-63b9-45b8-bccd-0707eee8e863" CreationDate="2014-08-28T17:10:50.800" UserId="432" Text="Petrol makes an awesome bag system, and they have an optional harness that you can purchase to use with it. Highly recommended." ContentLicense="CC BY-SA 3.0" />
  <row Id="57231" PostHistoryTypeId="5" PostId="30105" RevisionGUID="961c56c0-7bda-4318-8c2c-879d5d6d2f06" CreationDate="2014-08-28T18:23:03.740" UserId="1216" Comment="grammar" Text="Hey guys I have a sound device case like this one&#xD;&#xA;&#xD;&#xA;http://www.sounddevices.com/products/cs3/&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;I was wondering if I could get some advice, I added a strap to go around my waist so I do not get back issues by hanging it over my shoulders. It is just that I am now getting back issues because of the strap. So I was wondering if anyone could give me some pointers to make it more effective. &#xD;&#xA;&#xD;&#xA;Thank you so much.&#xD;&#xA;Kind Regards&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/GTt0l.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="57232" PostHistoryTypeId="2" PostId="30108" RevisionGUID="abff9710-3c9a-4a22-b641-72781c81713b" CreationDate="2014-08-28T18:26:16.807" UserId="1216" Text="Besides having a proper setup (the right gear and the right usage), you should also look into getting exercises for your shoulders and back. I've been having serious issues for years after occasionally booming but mainly by having 'weak' shoulders and neglecting to do something about that. I can also totally recommend going to a physician/doctor specialized in the shoulder/back, explain your goals and issues clearly.&#xD;&#xA;&#xD;&#xA;Good luck!&#xD;&#xA;Arnoud" ContentLicense="CC BY-SA 3.0" />
  <row Id="57233" PostHistoryTypeId="2" PostId="30109" RevisionGUID="02056afc-8a16-4c45-a119-17ed76e10ca9" CreationDate="2014-08-28T19:39:43.533" UserId="7213" Text="I watched the past two seasons of NBC (US)'s show &quot;The Sing-Off&quot; which pits acapella groups against each other. The groups range in size from five to fifteen or so members each. &#xD;&#xA;&#xD;&#xA;For opening numbers there may be sixty or more singers on stage, each individually miked, and it doesn't appear to be lip-synced or post-scored. &#xD;&#xA;&#xD;&#xA;What equipment (radios etc) and techniques make this feasible? It seems like an impossible task. War stories appreciated too, if you were there." ContentLicense="CC BY-SA 3.0" />
  <row Id="57234" PostHistoryTypeId="1" PostId="30109" RevisionGUID="02056afc-8a16-4c45-a119-17ed76e10ca9" CreationDate="2014-08-28T19:39:43.533" UserId="7213" Text="Managing dozens of wireless stage mics" ContentLicense="CC BY-SA 3.0" />
  <row Id="57235" PostHistoryTypeId="3" PostId="30109" RevisionGUID="02056afc-8a16-4c45-a119-17ed76e10ca9" CreationDate="2014-08-28T19:39:43.533" UserId="7213" Text="&lt;microphone&gt;&lt;wireless&gt;&lt;live-performance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57236" PostHistoryTypeId="2" PostId="30110" RevisionGUID="0093b9d5-3fb7-4469-a16d-e3b079dbff8a" CreationDate="2014-08-28T20:05:48.717" UserId="7218" Text="I am involved in a band with six members, one of which plays several instruments.  In an effort to improve our chances of getting a good sound check by relieving the [FOH](http://en.wikipedia.org/wiki/Front_of_House) sound engineer of the monitor mix burden, we have decided to move the monitor mix (and in some cases, the main mix) to the stage.&#xD;&#xA;&#xD;&#xA;After giving Mr. Several Instruments his own portable mixer, we are now down to eight signals.  We intend to provide the FOH engineer with either our eight signals, or a two-channel main mix out.  The mixer we have chosen for this purpose is a [Mackie 1642VLZ4](http://www.mackie.com/downloads/VLZ4/manuals/1642VLZ4_OM.pdf), which will provide four *monitor mix* sends, eight balanced line-level *direct outs*, and two *main outs*.  [This Hosa snake](http://www.sweetwater.com/store/detail/STX807M) will convert the eight direct outs into the usual male XLR connectors that the FOH engineer expects.&#xD;&#xA;&#xD;&#xA;My concerns are:&#xD;&#xA;&#xD;&#xA;1.  Mixing engineers usually expect mic level inputs.  Are the line-level direct outs generally compatible with the FOH mixer's mic inputs?  Yes, I know about DI boxes and the like, but can I expect everyone to have the usual 20db pads and gain controls in their desk, and know how to use them?&#xD;&#xA;&#xD;&#xA;2.  How well will the typical FOH sound engineer adapt to this arrangement?  Are they likely to be receptive to this arrangement, or will they balk? &#xD;&#xA;&#xD;&#xA;3.  Have I overlooked anything?&#xD;&#xA;&#xD;&#xA;Note that this is a small (by economic standards) band; we won't have Tom Lord Alge mixing for us (quite the contrary, if you get my meaning)." ContentLicense="CC BY-SA 3.0" />
  <row Id="57237" PostHistoryTypeId="1" PostId="30110" RevisionGUID="0093b9d5-3fb7-4469-a16d-e3b079dbff8a" CreationDate="2014-08-28T20:05:48.717" UserId="7218" Text="Considerations for moving monitor mixes to the stage" ContentLicense="CC BY-SA 3.0" />
  <row Id="57238" PostHistoryTypeId="3" PostId="30110" RevisionGUID="0093b9d5-3fb7-4469-a16d-e3b079dbff8a" CreationDate="2014-08-28T20:05:48.717" UserId="7218" Text="&lt;mixing&gt;&lt;monitoring&gt;&lt;live-performance&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57239" PostHistoryTypeId="5" PostId="30110" RevisionGUID="21cb859e-2cba-4a38-ae46-97eef3cfa2f5" CreationDate="2014-08-28T20:12:45.380" UserId="7218" Comment="added 65 characters in body" Text="I am involved in a band with six members, one of which plays several instruments.  In an effort to improve our chances of getting a good sound check by relieving the [FOH](http://en.wikipedia.org/wiki/Front_of_House) sound engineer of the monitor mix burden, we have decided to move the monitor mix (and in some cases, the main mix) to the stage.&#xD;&#xA;&#xD;&#xA;After giving Mr. Several Instruments [his own portable mixer](http://www.sweetwater.com/store/detail/1402VLZ4), we are now down to eight signals.  We intend to provide the FOH engineer with either our eight signals, or a two-channel main mix out.  The mixer we have chosen for this purpose is a [Mackie 1642VLZ4](http://www.sweetwater.com/store/detail/1642VLZ4/) [(user guide)](http://www.mackie.com/downloads/VLZ4/manuals/1642VLZ4_OM.pdf), which will provide four *monitor mix* sends, eight balanced line-level *direct outs*, and two *main outs*.  [This Hosa snake](http://www.sweetwater.com/store/detail/STX807M) will convert the eight direct outs into the usual male XLR connectors that the FOH engineer expects.&#xD;&#xA;&#xD;&#xA;My concerns are:&#xD;&#xA;&#xD;&#xA;1.  Mixing engineers usually expect mic level inputs.  Are the line-level direct outs generally compatible with the FOH mixer's mic inputs?  Yes, I know about DI boxes and the like, but can I expect everyone to have the usual 20db pads and gain controls in their desk, and know how to use them?&#xD;&#xA;&#xD;&#xA;2.  How well will the typical FOH sound engineer adapt to this arrangement?  Are they likely to be receptive to this arrangement, or will they balk? &#xD;&#xA;&#xD;&#xA;3.  Have I overlooked anything?&#xD;&#xA;&#xD;&#xA;Note that this is a small (by economic standards) band; we won't have Tom Lord Alge mixing for us (quite the contrary, if you get my meaning)." ContentLicense="CC BY-SA 3.0" />
  <row Id="57240" PostHistoryTypeId="5" PostId="29937" RevisionGUID="0783d3bf-b567-492a-bd2e-1e2586a542c0" CreationDate="2014-08-28T21:15:25.593" UserId="7174" Comment="added 689 characters in body" Text="No, unless you plan on programming DAW software, Computer Science is of almost no benefit at all.  They are not even remotely similar fields.  I say this as someone who studied Computer Science and Electronic Media, Arts and Communications as a dual major in college.  One major was all my math and science courses, the other was all my humanities and social science courses.  They had no overlap at all.  I know both fields and have been doing professional level work in both fields for over a decade.&#xD;&#xA;&#xD;&#xA;As for self study, you can learn a lot of technical information online through self study, but there is ***ABSOLUTELY NO SUBSTITUTE*** for hands on, and more importantly, ears on learning.  To really develop, you need to learn the music and artistry of sound which you learn from doing it, hands on, and getting critiques to help figure out what works and what does not.&#xD;&#xA;&#xD;&#xA;A minor is more than enough to get you a solid start in the field if you intend to do it on the side and not as your main career.  Alternately, you could find local organizations that have people that could take you under their wing.  Getting involved with local community theater for example will generally put you in touch with relatively experienced sound engineers who can help you learn the ropes.&#xD;&#xA;&#xD;&#xA;I personally started working as a volunteer with community organizations, then moved up to conference, concert and music festival work and then finally studied as part of my college major (entirely for fun since the money is twice as good for half the time in software development and I like both equally.)  While I was in college, I also got involved with the campus audio production group and the distance education program, both of which gave me further opportunities to learn and hone my skills in addition to my coursework (which was already largely unnecessary by the time I actually did it.)&#xD;&#xA;&#xD;&#xA;Overall, if you are willing to put in the time and volunteer with knowledgeable professionals in your area, you can learn everything you need to know without spending a dime, other than gas money and maybe hotel to go to and stay at shows and conferences.  Start out small with people who know a little bit more than you and work your way up if you don't want to spend the money on the degree.&#xD;&#xA;&#xD;&#xA;The most important thing is to never forget ***art first, then technique***.  So many people that come from technical backgrounds want to focus on the technique and refine that, but they don't know how to properly use any of it, so their work always sounds cold and unfeeling.  Learn the art of it, learn what it *should* sound like, then learn how to make it sound that way.&#xD;&#xA;&#xD;&#xA;Now that you've mentioned electrical engineering as well, THAT would be useful.  Art is still the most important part, but electrical engineering is super helpful for diagnostics work, particularly for live systems that need to travel and have a tendency to run in to unique problems with setup and configuration at each location.  Having a knowledge of how the systems actually work is helpful for being able to get problems resolved quickly and efficiently.  It lets you understand how the signals and systems work and keep them running smoothly, but it is still highly secondary to knowing what &quot;good&quot; sounds like and being able to tell what you need to adjust to get to that sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="57241" PostHistoryTypeId="2" PostId="30111" RevisionGUID="ae7fdf2c-8437-4746-9a8d-8d5160833240" CreationDate="2014-08-28T21:51:08.567" UserId="7174" Text="It depends on how decent the gear is where you are playing.  If they have cheap stuff, it might be a problem, but from the medium end on up, they should either be able to use channel line inputs that go after the pre-amp on their board or they should be able to bring it back in along an insert signal path with the output from the insert discarded.&#xD;&#xA;&#xD;&#xA;That said, if you want to maximize quality and compatibility, what you should really get is a microphone splitter.  [Example][1].  This allows you to get isolated feeds from each mic to both boards and prevents phantom power and other impedance issues.  This is the standard way that most FoH and Monitor board setups are done.  Both boards get the full set of inputs and each makes whatever adjustments they need to.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.sweetwater.com/store/detail/Split8" ContentLicense="CC BY-SA 3.0" />
  <row Id="57242" PostHistoryTypeId="2" PostId="30112" RevisionGUID="8f4361d9-d5a7-4b27-b3eb-c1e22b345b2d" CreationDate="2014-08-28T21:59:25.177" UserId="7174" Text="This just requires using advanced enough wireless systems.  Shure ULX-P for example can support 1440 different frequencies.  They most likely mix in to subgroups and then mix subgroups together.  Large concert tours will use upwards of 160+ channels so dealing with 60 vocal channels really isn't that big of a deal, especially for a recorded environment rather than going to speakers." ContentLicense="CC BY-SA 3.0" />
  <row Id="57243" PostHistoryTypeId="5" PostId="30099" RevisionGUID="00d6077d-dbf5-4d9c-a85b-862af76670c5" CreationDate="2014-08-29T04:07:36.917" UserId="9824" Comment="added 45 characters in body" Text="I have a Blue Snowball USB microphone plugged into an HP PC running Windows 7. Whenever I record, the mic pics up what sounds like an electrical noise. The pattern sounds almost like morse code. Here's a link to a sample:&#xD;&#xA;&#xD;&#xA;https://www.dropbox.com/s/ug4bv76ylmho29n/noise.wma?dl=0&#xD;&#xA;&#xD;&#xA;After some research I found some other examples of the same noise and it seems to be emanating from the PC's power supply.&#xD;&#xA;&#xD;&#xA;Here's what I've tried so far to eliminate the noise:&#xD;&#xA;-turning off every piece of equipment except the PC and monitor&#xD;&#xA;-Moving the microphone away from the PC&#xD;&#xA;-Removing ground on everything plugged into the PC and leaving the PC grounded&#xD;&#xA;-Removing ground on everything including the PC&#xD;&#xA;-Using a powered USB hub between the PC and the mic&#xD;&#xA;&#xD;&#xA;What other steps can I try, short of using a different PC or power supply, to get rid of the whine?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57244" PostHistoryTypeId="5" PostId="30099" RevisionGUID="86268b88-6d4b-4cce-83b3-fc0a6018176c" CreationDate="2014-08-29T04:14:34.227" UserId="9824" Comment="added 45 characters in body" Text="*Edit: Clarified this question to point out the differences between this and the one marked as a duplicate* &#xD;&#xA;&#xD;&#xA;I have a Blue Snowball USB microphone plugged into an HP PC running Windows 7. Whenever I record, the mic pics up what sounds like an electrical noise. The pattern sounds almost like morse code. As I lower the recording levels, the noise goes down as well. Here's a link to a sample:&#xD;&#xA;&#xD;&#xA;https://www.dropbox.com/s/ug4bv76ylmho29n/noise.wma?dl=0&#xD;&#xA;&#xD;&#xA;After some research I found some other examples of the same noise and it seems to be emanating from the PC's power supply.&#xD;&#xA;&#xD;&#xA;Here's what I've tried so far to eliminate the noise:&#xD;&#xA;&#xD;&#xA;-Turning off every piece of equipment (including battery-operated devices) except the PC and monitor&#xD;&#xA;&#xD;&#xA;-Moving the microphone away from the PC&#xD;&#xA;&#xD;&#xA;-Removing ground on everything plugged into the PC and leaving the PC grounded&#xD;&#xA;&#xD;&#xA;-Removing ground on everything including the PC&#xD;&#xA;&#xD;&#xA;-Using a powered USB hub between the PC and the mic&#xD;&#xA;&#xD;&#xA;One of the answers to this [question][1] suggests using a professional sound card. In my case, I'm using a USB mic, not a mixing board, but the answer got me thinking about installing a USB card with some sort of isolation from the interference. But I don't even know if these exist.&#xD;&#xA;&#xD;&#xA;What other steps can I try, short of using a different PC or power supply, to get rid of the whine?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://sound.stackexchange.com/questions/23541/noise-connecting-mixer-to-pc" ContentLicense="CC BY-SA 3.0" />
  <row Id="57245" PostHistoryTypeId="10" PostId="6208" RevisionGUID="aa01b76a-9c41-415d-9b07-a1c2e84be236" CreationDate="2014-08-29T10:02:16.137" UserId="1216" Comment="103" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:1216,&quot;DisplayName&quot;:&quot;Arnoud Traa&quot;}]}" />
  <row Id="57252" PostHistoryTypeId="5" PostId="30064" RevisionGUID="be185176-d723-462c-bff6-09d5a8c492f7" CreationDate="2014-08-29T15:54:54.763" UserId="1216" Comment="make up" Text="Like AJHenderson says, it's a bit unclear as to what exact advice you need. However I can give some general advice.&#xD;&#xA;&#xD;&#xA;1. It is tedious and a lot of work, especially with your first try.&#xD;&#xA;&#xD;&#xA;2. Things will get better after you've created a library (so start small and expand later).&#xD;&#xA;&#xD;&#xA;3. Think about what you really need (not what you want), this helps keeping things in a manageable scale.&#xD;&#xA;&#xD;&#xA;4. Use a batch process/converter whenever you can (wether it's audio or metadata).&#xD;&#xA;&#xD;&#xA;If you could add some more information of where you feel you're losing time on tasks, we can get you better answers. Also, check out Paul Virostek: http://www.creativefieldrecording.com/books/field-recording-from-research-to-wrap/&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57253" PostHistoryTypeId="2" PostId="30114" RevisionGUID="b77db472-adef-423f-aadd-ce32c1383caa" CreationDate="2014-08-29T16:33:27.453" UserId="7850" Text="With todays modern tech its not that tough. The biggest issue is making sure every thing is on its own frequency and the frequencies are properly spaced. Shure makes a software tool for their mic units that will tell you what channels to use based on how many units you plan to run to make sure they are properly spaced. You can find it here &#xD;&#xA;&#xD;&#xA;http://www.shure.com/americas/products/software/wireless-workbench/wireless-workbench-6&#xD;&#xA;&#xD;&#xA; One you have chosen your channels its more about setting up your mixer as you best see fit. With the digital stuff thats out there now assigning mix groups to manage everyone is not that hard. &#xD;&#xA;&#xD;&#xA;Another approach I used to use to avoid overlap (when budget was tight) was to use mic units that were in different spectrums. This usually involved using some of the older stuff which was susceptible to outside interference although I never had any serious issues with it. By doing so you avoid any possible frequency overlap.  &#xD;&#xA;&#xD;&#xA;The traditional approach to wireless has always been one channel one mic but as it gets better and faster and most importantly cheaper, I would not be surprised if they start to phase in the technology they use in todays cell networks (TDMA, CDMA, FDMA) allowing multiple units per channel, frequency or time spectrum. This would allow more mics than people you can fit on the stage. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57254" PostHistoryTypeId="2" PostId="30115" RevisionGUID="b4790606-2e8d-4f9f-bb17-45c2df1dfb87" CreationDate="2014-08-29T16:41:36.373" UserId="7850" Text="Ill answer your concerns in order &#xD;&#xA;&#xD;&#xA;1) This depends on what you have but most if not all the mixers I have ever encountered have both line an mic level inputs. Some of the new digital stuff has a single socket can be set to what you need (usually XLR style). You should not have an issue here unless they have some very strange console. Chances are if they have such a console they will have a DI box lying around. &#xD;&#xA;&#xD;&#xA;2) This will change with every person. Some engineers (like my self) like a feed from each instrument. The fact is the musician can not hear the house mix from the stage. What they hear is the stage mix, if they drive their gain up so they sound better in their own monitor they may not know what that is doing to the house mix. That being said some engineers may be receptive since its less that they have to deal with. What I will say is be prepared for them to balk at you and take anything better as a gift. &#xD;&#xA;&#xD;&#xA;3) Bring lots of adapters. I have found over the years that there are quirky consoles/snakes installed in some venues. If you plan to send a feed some times you need to do it over channels that you may not have expected and its always best to be prepared to plug into everything.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="57255" PostHistoryTypeId="2" PostId="30116" RevisionGUID="a9550386-98a3-4f36-ab33-3154edb9797c" CreationDate="2014-08-29T16:49:53.850" UserId="7850" Text="As for suggestions, I am a big fan of what countryman offers. They have a few models out there that I have worked with all of which I have really liked. They are durable and can take quite a beating. They will fit your standard shure wireless pack nicely for live use. &#xD;&#xA;&#xD;&#xA;As for connecting them I assume you intend to use this to record (in a studio setting), I will offer the following. It is possible, you simply need a box to deliver phantom power to the mic and convert the mini socket to a standard XLR cable but the truth is most Lav mics are not very good for recording. I find that they sound very &quot;metallic&quot; or &quot;Tin like&quot; when recorded and played back. For recording get your self a proper vocal mic and you will be much happier. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57258" PostHistoryTypeId="19" PostId="5869" RevisionGUID="20192bec-fe6a-49df-8a9c-033bde5b70f4" CreationDate="2014-08-29T18:24:20.903" UserId="6957" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="57262" PostHistoryTypeId="2" PostId="30119" RevisionGUID="8f5dbd07-1cbe-47a2-b3d7-0f46203ba63d" CreationDate="2014-08-29T22:24:45.400" UserId="1393" Text="I really like ChannelStrip 3 by Metric Halo. Having the ability to make the GUI larger is really nice and the RRTA in the EQ section is very helpful. I've also been digging the Eventide Ultra Channel. They made it available for free a couple months back and I just started getting into it. The Omnipressor sections is sweet and the EQ curves sound amazing." ContentLicense="CC BY-SA 3.0" />
  <row Id="57263" PostHistoryTypeId="2" PostId="30120" RevisionGUID="b425b74f-ed41-458f-8912-4b38977a5f84" CreationDate="2014-08-30T01:01:33.697" UserId="9837" Text="As an engineer you come equipped with two dangly bits called ears - I find they work tremendously when engineering ADR performances &amp; matching source - think it's a technique that's been tested before - no plugs needed - comes free with the listening pack of mixing, can't be taught by SAE etc. generally follows making tea for a year and not going home for days and being mad enough to want to get into post. &#xD;&#xA;Piss take aside - EQ - and capture it properly in the first place - use location notes for mics used and look at pics for where the boom op will have snuck in under the flag , have a big enough room and don't record &quot;ADR&quot; with a U87 in a vocal booth. Unless it's an American film straight to DVD and ignore all the above lol &#xD;&#xA;&#xD;&#xA;edit: DSM is amazing - but just fooken do it right no need to roll the turd in glitter" ContentLicense="CC BY-SA 3.0" />
  <row Id="57273" PostHistoryTypeId="2" PostId="30124" RevisionGUID="61ca32ca-0f87-45ed-87b1-d74956b6b6d3" CreationDate="2014-08-30T15:29:50.997" UserId="6425" Text="If you have a iPhone 4 or 5 use the inbuild mic. Seriously this is auch a great Mic for basslight sounds. &#xD;&#xA;&#xD;&#xA;Try to find/build a very silent room and go very close to the soundsource. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57276" PostHistoryTypeId="2" PostId="30125" RevisionGUID="a1799b71-c663-4739-9226-d8c161e1829f" CreationDate="2014-08-31T22:05:26.227" UserId="6432" Text="A bit of feedback for those interested - I didn't actually get as much time to put into this as I'd of liked, but did get a couple of interesting recordings:&#xD;&#xA;&#xD;&#xA;&lt;iframe width=&quot;100%&quot; height=&quot;450&quot; scrolling=&quot;no&quot; frameborder=&quot;no&quot; src=&quot;https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/161398193&amp;amp;auto_play=false&amp;amp;hide_related=false&amp;amp;show_comments=true&amp;amp;show_user=true&amp;amp;show_reposts=false&amp;amp;visual=true&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;&#xD;&#xA;&lt;iframe width=&quot;100%&quot; height=&quot;166&quot; scrolling=&quot;no&quot; frameborder=&quot;no&quot; src=&quot;https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/161397728&amp;amp;color=ff5500&amp;amp;auto_play=false&amp;amp;hide_related=false&amp;amp;show_comments=true&amp;amp;show_user=true&amp;amp;show_reposts=false&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;&#xD;&#xA;[https://soundcloud.com/mark-durham/hydrophone-recording-small-tributary-reaching-the-sea][1]&#xD;&#xA;&#xD;&#xA;Both of these were recorded in areas of quite powerful water movement, my idea of recording ambient sound from more tranquil pools didn't seem to work. I'm presuming this was because the hydrophones were not sensitive enough to pick these sounds up. I ended up attaching the hydrophones to an old stereo bar which worked quite well, better than using weights, though I understand this does work well for some. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://soundcloud.com/mark-durham/hydrophone-recording-small-tributary-reaching-the-sea" ContentLicense="CC BY-SA 3.0" />
  <row Id="57277" PostHistoryTypeId="5" PostId="30125" RevisionGUID="9b9d82a8-0d32-4204-88a3-b9751212d7e8" CreationDate="2014-08-31T22:12:06.370" UserId="6432" Comment="added 93 characters in body" Text="A bit of feedback for those interested - I didn't actually get as much time to put into this as I'd of liked, but did get a couple of interesting recordings:&#xD;&#xA;&#xD;&#xA;&lt;iframe width=&quot;100%&quot; height=&quot;450&quot; scrolling=&quot;no&quot; frameborder=&quot;no&quot; src=&quot;https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/161398193&amp;amp;auto_play=false&amp;amp;hide_related=false&amp;amp;show_comments=true&amp;amp;show_user=true&amp;amp;show_reposts=false&amp;amp;visual=true&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;&#xD;&#xA;&lt;iframe width=&quot;100%&quot; height=&quot;166&quot; scrolling=&quot;no&quot; frameborder=&quot;no&quot; src=&quot;https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/161397728&amp;amp;color=ff5500&amp;amp;auto_play=false&amp;amp;hide_related=false&amp;amp;show_comments=true&amp;amp;show_user=true&amp;amp;show_reposts=false&quot;&gt;&lt;/iframe&gt;&#xD;&#xA;&#xD;&#xA;[https://soundcloud.com/mark-durham/hydrophone-recording-small-tributary-reaching-the-sea][1]&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/mark-durham/recording-of-waterfall-microphonehydrophone-comparison&#xD;&#xA;&#xD;&#xA;Both of these were recorded in areas of quite powerful water movement, my idea of recording ambient sound from more tranquil pools didn't seem to work. I'm presuming this was because the hydrophones were not sensitive enough to pick these sounds up. I ended up attaching the hydrophones to an old stereo bar which worked quite well, better than using weights, though I understand this does work well for some. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://soundcloud.com/mark-durham/hydrophone-recording-small-tributary-reaching-the-sea" ContentLicense="CC BY-SA 3.0" />
  <row Id="57279" PostHistoryTypeId="2" PostId="30127" RevisionGUID="fe4b52ba-235a-44f6-b501-a88f9c52708a" CreationDate="2014-09-01T08:06:46.263" UserId="9843" Text="I've been working on converting the soundtrack from a video game from its original format to something that you can easily play back on regular consumer devices. The system is Nintendo 3DS, utilizing 24ch 32728 Hz sampling rate.&#xD;&#xA;&#xD;&#xA;I've made two versions: flac, and mp3. flac seems to be fine, but some software (notably iTunes) chokes on the mp3 because it was downscaled to 32000 Hz during conversion. It plays back the song, but there's significant distortions and cracks in the output. The mp3 files play back fine on other software such as Winamp, though. I'm using the lame encoder (`lame.exe -S --noreplaygain -V 0 - %d` at ~245 kbps VBR via foobar2000).&#xD;&#xA;&#xD;&#xA;Sample files:&#xD;&#xA;&#xD;&#xA;* [MP3 file at 32000 Hz](https://mega.co.nz/#!GgE1HKqa!JeJLKrBp3ce1d5jWSOKp-7M8N0wUOkW_wyR4U8YnK2U)&#xD;&#xA;&#xD;&#xA;* [FLAC file at 32728 Hz](https://mega.co.nz/#!HxcjjYbL!vS5xJmTPnmGeMVEatf_8WBoaHHGScwSg2kzjm0rjxVk)&#xD;&#xA;&#xD;&#xA;What's the recommended method for dealing with this? How do I get the mp3 files to play back properly?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57280" PostHistoryTypeId="1" PostId="30127" RevisionGUID="fe4b52ba-235a-44f6-b501-a88f9c52708a" CreationDate="2014-09-01T08:06:46.263" UserId="9843" Text="How to handle 32728 Hz for playback on common software/devices?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57281" PostHistoryTypeId="3" PostId="30127" RevisionGUID="fe4b52ba-235a-44f6-b501-a88f9c52708a" CreationDate="2014-09-01T08:06:46.263" UserId="9843" Text="&lt;mp3&gt;&lt;sample-rate&gt;&lt;compatibility&gt;&lt;encoding&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57282" PostHistoryTypeId="2" PostId="30128" RevisionGUID="d189f592-a94a-4da5-b082-23d744a4e467" CreationDate="2014-09-01T09:34:49.967" UserId="182" Text="You can just upsample them to a common sample rate, like 44100 Hz. Of course, you won't gain any audio quality, but a good upsampler won't reduce it either, even if it's not a round conversion." ContentLicense="CC BY-SA 3.0" />
  <row Id="57283" PostHistoryTypeId="4" PostId="30127" RevisionGUID="c42cb7a9-db82-4b71-a4ee-7872db9d6e4e" CreationDate="2014-09-01T15:43:16.623" UserId="7174" Comment="edited title" Text="How to handle conversion of 32728 Hz for playback on common software/devices?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57291" PostHistoryTypeId="5" PostId="30120" RevisionGUID="09e615b3-54d8-4f67-bd3d-27a5ec6553da" CreationDate="2014-09-01T16:10:24.643" UserId="7174" Comment="cleaned up and removed the unhelpfully sarcastic bits since I think there is good stuff in here" Text="The best thing you can do when engineering ADR performances &amp; matching source is to use your ears, but it takes the time and effort of experience to develop them in to a tool.&#xD;&#xA;&#xD;&#xA;As far as how to use them, EQ - and capture it properly in the first place - use location notes for mics used and look at pics for where the boom op will have snuck in under the flag , have a big enough room and don't record &quot;ADR&quot; with a U87 in a vocal booth.&#xD;&#xA;&#xD;&#xA;If all else fails or you inherit the mess DSM is amazing - but just do it right to start, then there is no need to roll the turd in glitter." ContentLicense="CC BY-SA 3.0" />
  <row Id="57292" PostHistoryTypeId="10" PostId="30127" RevisionGUID="8b046d68-ccba-4790-807c-fe210f5d9195" CreationDate="2014-09-01T16:17:51.300" UserId="1216" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:1216,&quot;DisplayName&quot;:&quot;Arnoud Traa&quot;}]}" />
  <row Id="57293" PostHistoryTypeId="5" PostId="30125" RevisionGUID="80f6ffb1-2339-43b1-b329-0be357efd611" CreationDate="2014-09-01T16:22:54.563" UserId="7174" Comment="supposedly this is supposed to work" Text="A bit of feedback for those interested - I didn't actually get as much time to put into this as I'd of liked, but did get a couple of interesting recordings:&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/mark-durham/hydrophone-recording-small-tributary-reaching-the-sea&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/mark-durham/recording-of-waterfall-microphonehydrophone-comparison&#xD;&#xA;&#xD;&#xA;Both of these were recorded in areas of quite powerful water movement, my idea of recording ambient sound from more tranquil pools didn't seem to work. I'm presuming this was because the hydrophones were not sensitive enough to pick these sounds up. I ended up attaching the hydrophones to an old stereo bar which worked quite well, better than using weights, though I understand this does work well for some. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57294" PostHistoryTypeId="2" PostId="30129" RevisionGUID="9a65eaed-afbe-49c8-bcd3-7f93bd39adf4" CreationDate="2014-09-01T20:35:38.950" UserId="9840" Text="I'm a new musician trying to become comfortable with FL Studio 11. Most of my difficulties lie in creating the sounds that I hear in my head. With that in mind, how should I go about making or finding a guitar sound similar to the one at 1:05 in this song without a live recording?&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=Vois0RMtPHE" ContentLicense="CC BY-SA 3.0" />
  <row Id="57295" PostHistoryTypeId="1" PostId="30129" RevisionGUID="9a65eaed-afbe-49c8-bcd3-7f93bd39adf4" CreationDate="2014-09-01T20:35:38.950" UserId="9840" Text="How do I make this guitar sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57296" PostHistoryTypeId="3" PostId="30129" RevisionGUID="9a65eaed-afbe-49c8-bcd3-7f93bd39adf4" CreationDate="2014-09-01T20:35:38.950" UserId="9840" Text="&lt;studio&gt;&lt;guitar&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57298" PostHistoryTypeId="2" PostId="30130" RevisionGUID="dc190799-e042-4f4a-984a-9b8140c447c9" CreationDate="2014-09-02T05:58:59.710" UserId="9422" Text="Buy a guitar or find yourself a guitar player to team up with. A sampler might get you into similar territory if you have the right samples but it will still just be an approximation and might not sound convincing as a guitar. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57300" PostHistoryTypeId="2" PostId="30131" RevisionGUID="79f8bbc2-75a6-4f17-8463-99dbc03f2041" CreationDate="2014-09-02T13:01:50.393" UserId="9847" Text="![Sample Off Beat][1] [1]: http://i.stack.imgur.com/HNvB7.png&#xD;&#xA;&#xD;&#xA;Hi. I'm using Ableton Live 8.2.2 to record basic band stuff: guitar/drums/vocals etc and keep running across the same problem. In the image it's the guitar (gtr 60) I'm dropping in and out for a portion of the song. You can see I've set the sample to drop in at the beginning of a bar, but when it's actually recorded the sample is off the beat. This is especially a problem when trying to record and quantize midi drums.&#xD;&#xA;Frustratingly I can record exactly the same thing a second time without changing or moving anything and it'll come in perfectly on a beat. I'm sure this is due to my occasional sloppy timing, but how do I set Ableton so that the sample starts recording on a beat, regardless of whether I've played it absolutely perfectly or not?&#xD;&#xA;Any suggestions would be hugely appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="57301" PostHistoryTypeId="1" PostId="30131" RevisionGUID="79f8bbc2-75a6-4f17-8463-99dbc03f2041" CreationDate="2014-09-02T13:01:50.393" UserId="9847" Text="Ableton Live 8 Sample Timing" ContentLicense="CC BY-SA 3.0" />
  <row Id="57302" PostHistoryTypeId="3" PostId="30131" RevisionGUID="79f8bbc2-75a6-4f17-8463-99dbc03f2041" CreationDate="2014-09-02T13:01:50.393" UserId="9847" Text="&lt;audio-recording&gt;&lt;ableton&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57303" PostHistoryTypeId="5" PostId="30115" RevisionGUID="5fd922e3-4dc1-4dbb-8b6f-eb86ae9a9625" CreationDate="2014-09-02T15:25:20.163" UserId="7850" Comment="added some content " Text="Ill answer your concerns in order &#xD;&#xA;&#xD;&#xA;1) This depends on what you have but most if not all the mixers I have ever encountered have both line an mic level inputs. Some of the new digital stuff has a single socket can be set to what you need (usually XLR style). You should not have an issue here unless they have some very strange console. Chances are if they have such a console they will have a DI box lying around. &#xD;&#xA;&#xD;&#xA;2) This will change with every person. Some engineers (like my self) like a feed from each instrument. The fact is the musician can not hear the house mix from the stage. What they hear is the stage mix, if they drive their gain up so they sound better in their own monitor they may not know what that is doing to the house mix. That being said some engineers may be receptive since its less that they have to deal with. What I will say is be prepared for them to balk at you and take anything better as a gift. &#xD;&#xA;&#xD;&#xA;3) Bring lots of adapters. I have found over the years that there are quirky consoles/snakes installed in some venues. If you plan to send a feed some times you need to do it over channels that you may not have expected and its always best to be prepared to plug into everything.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;---- Quirky Snakes Elaboration ----- &#xD;&#xA;&#xD;&#xA;Although these are far and few between I have seen some crazy stuff out there. &#xD;&#xA;&#xD;&#xA;One of the most common issues is people who have, say 6 in 6 out snake (6 male, 6 female) on either end and they need 10 in and 2 out thus you need barrels to flip the outputs to an input XLR (female) jack. &#xD;&#xA;&#xD;&#xA;I have seen snakes that have BNC channels, for what I don't know (video maybe) but people had XLR to BNC adapters hanging off them.&#xD;&#xA;&#xD;&#xA;I have seen lots of 1/4 inch to XLR conversions, especially when people use powered speaker channels to send other signals &#xD;&#xA;&#xD;&#xA;If you are working with some really old stuff you may even encounter RCA jacks out there. Some of the cheaper stuff in the 80's had it. I have even seen really old equipment (keyboards etc) that has RCA out but most people that have this stuff are smart enough to have a DI box with them. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57304" PostHistoryTypeId="2" PostId="30132" RevisionGUID="c56273ae-6249-459e-8af9-850f13f4245a" CreationDate="2014-09-02T15:29:09.370" UserId="7850" Text="Fender Stratocaster (or other twangy sounding guitar, anything with a single coil pick up should do), through a compressor, DI into your DAW, then apply light digital delay in post production. You will need to find some one to play the part though. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57305" PostHistoryTypeId="5" PostId="30131" RevisionGUID="bb7ddc88-e142-431c-ab22-c45dc5c0c729" CreationDate="2014-09-02T15:34:17.507" UserId="6957" Comment="fixed inline image" Text="![Sample Off Beat][1]&#xD;&#xA;&#xD;&#xA;Hi. I'm using Ableton Live 8.2.2 to record basic band stuff: guitar/drums/vocals etc and keep running across the same problem. &#xD;&#xA;&#xD;&#xA;In the image it's the guitar (gtr 60) I'm dropping in and out for a portion of the song. You can see I've set the sample to drop in at the beginning of a bar, but when it's actually recorded the sample is off the beat. This is especially a problem when trying to record and quantize midi drums.&#xD;&#xA;&#xD;&#xA;Frustratingly I can record exactly the same thing a second time without changing or moving anything and it'll come in perfectly on a beat. I'm sure this is due to my occasional sloppy timing, but how do I set Ableton so that the sample starts recording on a beat, regardless of whether I've played it absolutely perfectly or not?&#xD;&#xA;Any suggestions would be hugely appreciated.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/HNvB7.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57306" PostHistoryTypeId="2" PostId="30133" RevisionGUID="46e3ba23-8999-4917-96f4-128ea7e2f68a" CreationDate="2014-09-02T19:12:05.510" UserId="7850" Text="You can make copies of the track in question and filter each track as you need then apply what ever chains of effects you want to the individual tracks. I don't know of any EQ units that allow you to send the outputs of various parts of the spectrum to different places. Any EQ unit should have the ability to set how hard the EQ hits at the edges of the spectrum. There is a very real limit to this as a result of various sampling theorems etc. that are not worth describing in depth here but could have an effect on the overall output. This is something to keep in mind and you should play with settings before abandoning any EQ unit.  &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;    " ContentLicense="CC BY-SA 3.0" />
  <row Id="57307" PostHistoryTypeId="2" PostId="30134" RevisionGUID="24c49e35-56aa-40b8-a1e0-819454c852ef" CreationDate="2014-09-02T19:40:58.487" UserId="9848" Text="Live menu - Edit - Record Quantization - Sixteenth note quantization&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57313" PostHistoryTypeId="2" PostId="30136" RevisionGUID="c9c9dc50-ac68-4fb0-b6cf-3a7f836e73b0" CreationDate="2014-09-03T19:58:08.663" UserDisplayName="user7731" Text="This track sounds like he was playing an Omnisphere guitar patch and bending the pitch wheel.  It doesn't really sound like a real guitar performance to me.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;b&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57314" PostHistoryTypeId="2" PostId="30137" RevisionGUID="f5f790b3-4255-44f8-9ffa-c8034e0f0a82" CreationDate="2014-09-04T03:35:31.837" UserId="9853" Text="I just found a labyrinth of generative material that may lead to some new discoveries for you. And btw I am interested in this subject too, which is how I found this post and this link you might enjoy...&#xD;&#xA;[http://www.essl.at/works.html#web][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;ps.. i found it through this page which has some interesting interview questions and answers to help guide you as well&#xD;&#xA;[http://www.essl.at/bibliogr/generative-music.html][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.essl.at/works.html#web&#xD;&#xA;  [2]: http://www.essl.at/bibliogr/generative-music.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="57315" PostHistoryTypeId="5" PostId="30137" RevisionGUID="1c74342e-b24c-4cc4-8882-76d06bf93f50" CreationDate="2014-09-04T03:59:04.803" UserId="9853" Comment="added 68 characters in body" Text="I just found a labyrinth of generative material that may lead to some new discoveries for you. And btw I am interested in this subject too, which is how I found this post and this link you might enjoy...&#xD;&#xA;[http://www.essl.at/works.html#web][1] &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;And THIS is REALLY Cool!! This is what I am aiming to achieve through my studies&#xD;&#xA;[http://gizmodo.com/5919520/listen-to-music-that-evolved-from-random-noise][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.essl.at/works.html#web&#xD;&#xA;  [2]: http://www.essl.at/bibliogr/generative-music.html&#xD;&#xA;  [3]: http://gizmodo.com/5919520/listen-to-music-that-evolved-from-random-noise" ContentLicense="CC BY-SA 3.0" />
  <row Id="57316" PostHistoryTypeId="5" PostId="17185" RevisionGUID="df412460-e157-41b2-8470-47bafe3fc6b3" CreationDate="2014-09-04T08:33:31.377" UserId="182" Comment="added 222 characters in body" Text="Who's making generative Music/Art with Pure Data or Max/MSP?&#xD;&#xA;I'm looking for examples of music that has been made this way, as inspiration for my own activities as I'm new to this unfamiliar dark pit of mathematic random glitch-noise-sound-music madness. Should I take the dive?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57317" PostHistoryTypeId="2" PostId="30138" RevisionGUID="43a82924-3f88-4b6b-9ace-d736c24314e6" CreationDate="2014-09-04T09:30:29.843" UserId="6484" Text="I am a lecturer at a University and there are some consideration for buying the latest MAC Pro (The Trash can) to run our Protools 10. There has been serious apprehension regarding this from the money people as they feel it is too early to buy such a new design- especially when it is very difficult to upgrade. We work on a 5 year plan whereby after 5 years, the old stuff get replaced. &#xD;&#xA;&#xD;&#xA;Has anyone had any experiences with the new MAC Pro and if so, were they negative/positive. What are your feelings regarding the new model and the difficulty in getting it upgraded. I know it is incredibly powerful but I am also looking at the fact that the model is in its early stages. &#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="57318" PostHistoryTypeId="1" PostId="30138" RevisionGUID="43a82924-3f88-4b6b-9ace-d736c24314e6" CreationDate="2014-09-04T09:30:29.843" UserId="6484" Text="The New MAC Pro and Protools" ContentLicense="CC BY-SA 3.0" />
  <row Id="57319" PostHistoryTypeId="3" PostId="30138" RevisionGUID="43a82924-3f88-4b6b-9ace-d736c24314e6" CreationDate="2014-09-04T09:30:29.843" UserId="6484" Text="&lt;pro-tools&gt;&lt;mac&gt;&lt;new&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57325" PostHistoryTypeId="10" PostId="30138" RevisionGUID="9535d0b5-2de0-48bb-a0ca-6af636547239" CreationDate="2014-09-04T13:31:46.090" UserId="7174" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="57326" PostHistoryTypeId="2" PostId="30141" RevisionGUID="8510914c-1e30-4944-9fe9-89ab472c9eb5" CreationDate="2014-09-04T18:53:05.600" UserId="9857" Text="I have been trying to generate a basic sine wave synth in PureData using a &quot;osc&quot; object, but my lower pitches are so low in volume and higher pitches are high in volume. &#xD;&#xA;&#xD;&#xA;My understanding of adjusting volume in PD is so limited that I usually end up distorting the pitch before I can even hear the correct pitch.&#xD;&#xA;&#xD;&#xA;How do you generate a sine wave synth that creates audible pitches from the range C0 - G10?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57327" PostHistoryTypeId="1" PostId="30141" RevisionGUID="8510914c-1e30-4944-9fe9-89ab472c9eb5" CreationDate="2014-09-04T18:53:05.600" UserId="9857" Text="Make a PureData Sine Wave Synth that is audible from C0 - G10" ContentLicense="CC BY-SA 3.0" />
  <row Id="57328" PostHistoryTypeId="3" PostId="30141" RevisionGUID="8510914c-1e30-4944-9fe9-89ab472c9eb5" CreationDate="2014-09-04T18:53:05.600" UserId="9857" Text="&lt;sound-design&gt;&lt;synthesizer&gt;&lt;synthesis&gt;&lt;electronic-music&gt;&lt;puredata&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57329" PostHistoryTypeId="2" PostId="30142" RevisionGUID="df003d37-ff2f-4ddb-bc24-354fc04c05a9" CreationDate="2014-09-04T19:10:24.600" UserId="9601" Text="The human ear isn't 'flat' - it struggles at low frequencies, peaks around 4 - 6kHz &amp; fades away somewhere above that, depending on age or prior exposure to loud noise...  &#xD;&#xA;That's before you take into account your amp, speakers &amp; room resonances.&#xD;&#xA;&#xD;&#xA;There are several methods of compensating, all of which are far beyond my mathematical skills, but google for 'white noise' &amp; 'pink noise' for examples of shaping. A side-step into 'RIAA curves' [more suited to vinyl record players] might give some clues too.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57330" PostHistoryTypeId="2" PostId="30143" RevisionGUID="fe51646f-a950-4637-bf82-499876feded5" CreationDate="2014-09-04T19:52:13.293" UserId="6432" Text="Yes, as Tetsujin states - our perception is different at different frequencies and different volumes. The [Fletcher Munson][1] curve is one equal loudness contour. Implementing a crudely drawn version of the curve should help, and as you have a single frequency you can easily scan over the curve using a lookup table or similar to adjust volume (not sure what the exact PD object is for that, I'm more a Max user). If you want to implement it exactly, there is a discussion on the Max forums [here][2] which is probably a good start - some forum members adapt some Matlab code to Max, but I'm sure it wouldn't take too much to convert it to PD&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Fletcher%E2%80%93Munson_curves&#xD;&#xA;  [2]: http://cycling74.com/forums/topic/equal-loudness-curves-implementation/" ContentLicense="CC BY-SA 3.0" />
  <row Id="57331" PostHistoryTypeId="2" PostId="30144" RevisionGUID="e9d42cbc-32db-40d8-9f14-cb676912d808" CreationDate="2014-09-05T07:29:07.623" UserId="9852" Text="I don't know specifically how the sound was made, but you can get something very similar using just software. When trying to recreate a sound, it helps to break it down in to layers. This sound for example has an initial transient, a quick sub-drop and an oscillating trill. &#xD;&#xA;&#xD;&#xA;Start with the trill, for this you can use a sampler that has LFO's and a LP filter. Import a pink noise type sound (i used the sound of footsteps in snow because i find real sounds less sterile) and a low sine tone. Set up an envelope so the length of the sound decays at the same rate as the one in the film. You can also use this envelope to very lightly modulate the pitch to make it more interesting. Next use a LFO to modulate the volume level and the frequency/cutoff of the LP filter. The LFO rate should be set around 30Hz and will give you that 'trill' effect.&#xD;&#xA;&#xD;&#xA;Next layer is the sub-drop, this can be made with any softsynth that has a sine tone. In this case it is a low frequency transient that decays in around 500ms with a pitch envelope roughly the same. It helps to A-B this with the original minority report sound to get it right.&#xD;&#xA;&#xD;&#xA;Lastly is the transient, it may seem odd adding something bass heavy since you already have a lot of sub bass, but find a bunch of punchy and dirty kick samples and put them along with the sub drop, try lowering their pitch, scooping out the mids etc until you get what you want. Your sound will no doubt clip by this stage, but dont worry, this sound requires unconventional use of compression. Put a soft limit compressor followed by a brickwall compressor on the whole sound. By pushing these harder than you normally would, and setting an appropriate release, you can get the sound to break and mask in a way that is akin to our own auditory response to loud transient sounds. Keep in mind that some of the impact of this sound is also related to its effect on other sounds around it.&#xD;&#xA;&#xD;&#xA;I used the above process in Ableton to get this result:&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/lukofinc/sonic-gun-minority-report/s-xba5u&#xD;&#xA;&#xD;&#xA;Obviously its not exactly the same but I hope this helps in some way!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57332" PostHistoryTypeId="5" PostId="29967" RevisionGUID="886922dd-9e7d-41d0-8ec8-c76de2c9b35a" CreationDate="2014-09-05T09:00:36.647" UserId="6432" Comment="added 85 characters in body" Text="You can use some FFT eq's on send tracks, isolating different bands. This will split your bands very accurately. It's is the most accurate (transparent, if you like), as if you mix them back together it will sound exactly the same. That's not to say it will be the nicest sounding option. Imperfections are interesting in themselves sometimes. &#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/lWNQM.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57333" PostHistoryTypeId="2" PostId="30145" RevisionGUID="b5cc6f46-686b-46ae-9b65-ec9249638be6" CreationDate="2014-09-05T11:35:06.853" UserId="9863" Text="I edit samples in the NN-XT sampler of Reason like mod envelopes, pitch etc. After that I would like to export or save the playback of one key/note as Wave file. For example I have a monkey scream on C1, D1 and E1. Now I want a wave file for every note. How can I do that?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57334" PostHistoryTypeId="1" PostId="30145" RevisionGUID="b5cc6f46-686b-46ae-9b65-ec9249638be6" CreationDate="2014-09-05T11:35:06.853" UserId="9863" Text="How to export/save edited samples from Reason's NN-XT?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57335" PostHistoryTypeId="3" PostId="30145" RevisionGUID="b5cc6f46-686b-46ae-9b65-ec9249638be6" CreationDate="2014-09-05T11:35:06.853" UserId="9863" Text="&lt;sample&gt;&lt;sampler&gt;&lt;export&gt;&lt;reason&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57336" PostHistoryTypeId="2" PostId="30146" RevisionGUID="becea321-b2f0-4ee1-a240-fa8f4fecf537" CreationDate="2014-09-05T18:50:29.110" UserId="6631" Text="I'm trying to implement amount control to amplitude modulation similar to the amount control of frequency modulation. The more amount, the more amplitude variation. The problem is that I can't figure out how to implement it correctly.&#xD;&#xA;&#xD;&#xA;Here is a simple amplitude modulation patch in pure data: &#xD;&#xA;&#xD;&#xA;![PD AM][1]&#xD;&#xA;&#xD;&#xA;The idea is that when no amount is applied, no modulation can be heard, and as the amount is raised the modulation becomes more prominent, and when the amount is at the max the carrier's amplitude is being modulated all the way to zero amp.&#xD;&#xA;&#xD;&#xA;But how do I do that? Here is a patch where there is a control for the amplitude of the modulator: &#xD;&#xA;&#xD;&#xA;![PD AM][2]&#xD;&#xA;&#xD;&#xA;The problem here is that, as we are multiplying both signals, the control also lowers and raises the amplitude of the carrier. So when the &quot;amount&quot; is zero, there is no signal. That &quot;amount&quot; control ends up modifying the amplitude of the carrier too. It's not so much of an amount control, and ends up being a volume control for the carrier too.&#xD;&#xA;&#xD;&#xA;How can an amount control for amplitude modulation be implemented? At the lowest amount there is no modulation, and as the amount rises the modulation becomes more intense. Is there a way to do this?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/Q0ckC.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/9vVER.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57337" PostHistoryTypeId="1" PostId="30146" RevisionGUID="becea321-b2f0-4ee1-a240-fa8f4fecf537" CreationDate="2014-09-05T18:50:29.110" UserId="6631" Text="How to add amount control to amplitude modulation?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57338" PostHistoryTypeId="3" PostId="30146" RevisionGUID="becea321-b2f0-4ee1-a240-fa8f4fecf537" CreationDate="2014-09-05T18:50:29.110" UserId="6631" Text="&lt;modulation&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57339" PostHistoryTypeId="2" PostId="30147" RevisionGUID="69f48f88-9b21-4de2-8898-2443bedd7ca3" CreationDate="2014-09-05T19:09:44.680" UserId="6432" Text="You basically need to build a cross fader. On one side you have your AM signal, on the other you have a steady signal of 1. You then cross fade over to the AM signal and voila!&#xD;&#xA;&#xD;&#xA;I've not got time right now, but will knock one together tomorrow if you're still stuck. If you do solve, it why not post back with the solution as an answer." ContentLicense="CC BY-SA 3.0" />
  <row Id="57340" PostHistoryTypeId="2" PostId="30148" RevisionGUID="b93528c2-0f63-4f65-bc0f-da4f1db41e47" CreationDate="2014-09-05T21:53:13.793" UserId="6631" Text="I got this solution from the PD mailing list. &#xD;&#xA;&#xD;&#xA;&gt; You can place the signal addition of the modulator ([+~ 1]) after the multiplication with the slider, right before you multiply that signal with the carrier. But instead of 1, multiply with 0.5. So the modulator could look like this:&#xD;&#xA;&#xD;&#xA;&lt;pre&gt;&#xD;&#xA;[osc~]&#xD;&#xA;|&#xD;&#xA;[*~ 0.5]&#xD;&#xA;|&#xD;&#xA;[*~ modulation_amount] (0 to 1)&#xD;&#xA;|&#xD;&#xA;[+~ 0.5]&#xD;&#xA;&lt;/pre&gt;&#xD;&#xA;&#xD;&#xA;&gt;  With no modulation, the carrier's signal will be at 0.5, and with full modulation it will modulate between 0 and 1.&#xD;&#xA;&#xD;&#xA;I really liked this approach, and works really well. &#xD;&#xA;&#xD;&#xA;This is an example of the implementation:&#xD;&#xA;&#xD;&#xA;![PD][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/I3R37.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57341" PostHistoryTypeId="2" PostId="30149" RevisionGUID="43b3ea81-301d-4d5f-a018-912dbc89d1cf" CreationDate="2014-09-05T23:03:26.653" UserId="9865" Text="I scraped a couple of webpages, then in java converted every letter into a number zero to nine dependent on how far along the alphabet it is. I then turned these into pairs of digits.&#xD;&#xA;&#xD;&#xA;I imported this raw into audacity, as unsigned eight bit stereo signal at a 4410 sample rate. I repeated this as I didn't have time to go through and scrape more sites right now.&#xD;&#xA;&#xD;&#xA;[The result][1] sounds like a sine wave, with some noise.&#xD;&#xA;&#xD;&#xA;Why?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://soundcloud.com/timestretched_noise/the-internet" ContentLicense="CC BY-SA 3.0" />
  <row Id="57342" PostHistoryTypeId="1" PostId="30149" RevisionGUID="43b3ea81-301d-4d5f-a018-912dbc89d1cf" CreationDate="2014-09-05T23:03:26.653" UserId="9865" Text="Why does the internet sound like a sine wave" ContentLicense="CC BY-SA 3.0" />
  <row Id="57343" PostHistoryTypeId="3" PostId="30149" RevisionGUID="43b3ea81-301d-4d5f-a018-912dbc89d1cf" CreationDate="2014-09-05T23:03:26.653" UserId="9865" Text="&lt;acoustics&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57350" PostHistoryTypeId="2" PostId="30151" RevisionGUID="6e0195f9-7d08-433d-966c-9b106e74dc7d" CreationDate="2014-09-06T10:17:18.740" UserId="6874" Text="Maybe that is because linguistics and/or semantics are cleverly designed. At least that is an interesting way to look at those. I'd be curious to see what the results are with different language (I guess you analyzed english, no?)" ContentLicense="CC BY-SA 3.0" />
  <row Id="57351" PostHistoryTypeId="2" PostId="30152" RevisionGUID="5ef8a776-b806-4716-a83a-605e150c2f68" CreationDate="2014-09-06T10:41:06.533" UserId="9422" Text="I've used:&#xD;&#xA;&#xD;&#xA;`(1 - Modulator * Amount) * (Input)`&#xD;&#xA;&#xD;&#xA;- Modulator is a 0-1 ranged modulation signal.&#xD;&#xA;- Amount range is 0-1. 1 = Full effect. 0 = No effect.&#xD;&#xA;- Input is your audio signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="57352" PostHistoryTypeId="5" PostId="30152" RevisionGUID="22f18872-0d74-4615-9c76-138c044d2700" CreationDate="2014-09-06T11:40:00.297" UserId="9422" Comment="changed grammer" Text="I've used:&#xD;&#xA;&#xD;&#xA;`(1 - Modulator * Amount) * (Input)`&#xD;&#xA;&#xD;&#xA;- Modulator is a 0 to 1 ranged modulation signal.&#xD;&#xA;- Amount range is 0 to 1. 1 = Full effect. 0 = No effect.&#xD;&#xA;- Input is your audio signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="57353" PostHistoryTypeId="2" PostId="30153" RevisionGUID="0d3d042d-7f48-46b4-aefb-938ce021d633" CreationDate="2014-09-06T12:16:44.760" UserId="6631" Text="When splitting signals into bands most of the coloring comes from the phase changes that filters induce. If you want to be 100% transparent, you need 0% change in the phase, for starters. &#xD;&#xA;&#xD;&#xA;To achieve this you can use linear phase EQs/Filters to split the signal in bands, as they can filter without affecting the phase (and as far as I know, those are the only devices capable of zero phase change). So you want to either use a multiband splitter that uses linear phase filters, or implement your splitter with linear phase filters/EQs.&#xD;&#xA;&#xD;&#xA;The issue with linear phase filters/EQs is that they can potentially induce *a lot* of latency. From the FabFilter Pro-Q 2 linear phase resolution options, we see that:&#xD;&#xA;&#xD;&#xA;&gt;Low provides linear-phase processing with a minimal latency. Use only with low Q settings, or when only changing the mid-high part of the spectrum. With a sample rate of 44.1 kHz, it results in a total latency of 3072 samples (about 70 ms).&#xD;&#xA;&#xD;&#xA;&gt;Medium is a good compromise between low-frequency resolution and latency and we recommend to use this in general for linear-phase processing. The total latency is 5120 samples at a sample rate of 44.1 kHz (about 116 ms).&#xD;&#xA;&#xD;&#xA;&gt;High gives great low-frequency resolution. If you need to use high Q settings when changing the low end of the spectrum, use this mode. The total latency is 9216 samples at a sample rate of 44.1 kHz (about 209 ms).&#xD;&#xA;&#xD;&#xA;&gt;Very High gives even better low-frequency resolution. The total latency is 17408 samples at a sample rate of 44.1 kHz (about 395 ms).&#xD;&#xA;&#xD;&#xA;&gt;Maximum results in very high low-frequency resolution at the expense of a very large latency and possible pre-echo problems. The total latency here is 66560 samples at a sample rate of 44.1 kHz (about 1509 ms).&#xD;&#xA;&#xD;&#xA;If the latency becomes so large that your DAW can't compensate for it, you will need to record the filtered bands (bounce, export, freeze track, whatever) and work with the pre-filtered audio (which should be pretty simple to do).&#xD;&#xA;&#xD;&#xA;I personally prefer to build my own splitters (a little more complexity for a lot more flexibility) and I use either Logic's linear phase EQ or FabFilter Pro-Q 2.&#xD;&#xA;&#xD;&#xA;Another important factor in transparency is how you do the cuts. Make sure you have the same cutoff frequency between adjacent bands, and that they all have the same steepness.&#xD;&#xA;&#xD;&#xA;Using linear phase filters/EQs while making accurate and coincident cuts should achieve, in theory, a 100% transparent split." ContentLicense="CC BY-SA 3.0" />
  <row Id="57361" PostHistoryTypeId="2" PostId="30155" RevisionGUID="905de570-fef5-4414-b766-24c90a37bd90" CreationDate="2014-09-07T07:37:53.767" UserId="9871" Text="My mixer has paired aux send and return jacks. For example aux 1/2 send and return are SPDIF, and the 3/4, 5/6 aux send and return jacks are paired. There are not separate aux send and return jacks. How do I use these to connect effects units. What type of cable would I use? Is a y cable the same as an insert cable? Can someone explain how to use these paired aux send and return jacks, and the proper cables needed to hook a a mono loop and a stereo loop. Can someone explain it as if I was a beginner and knew nothing about mixers.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="57362" PostHistoryTypeId="1" PostId="30155" RevisionGUID="905de570-fef5-4414-b766-24c90a37bd90" CreationDate="2014-09-07T07:37:53.767" UserId="9871" Text="Paired Aux sends and return jacks on mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="57363" PostHistoryTypeId="3" PostId="30155" RevisionGUID="905de570-fef5-4414-b766-24c90a37bd90" CreationDate="2014-09-07T07:37:53.767" UserId="9871" Text="&lt;mixer&gt;&lt;digital&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57364" PostHistoryTypeId="2" PostId="30156" RevisionGUID="b910b342-ec97-4188-b2ed-62625f323fb7" CreationDate="2014-09-07T08:20:11.170" UserId="7588" Text="This question may need some editing ... potentially off-topic, yet IMHO, this is probably the best stack on the network to ask the question&#xD;&#xA;&#xD;&#xA;**Background:** &lt;br/&gt;&#xD;&#xA;I'm trying to get a toe in the door through to the arena of voice-acting. The equipment at home (at present, are strictly entry-level). &#xD;&#xA;&#xD;&#xA; - Yeti Microphone&#xD;&#xA; - Waveshop&#xD;&#xA; - ffmpeg&#xD;&#xA; - Audacity&#xD;&#xA;&#xD;&#xA;The process I follow to narrate any sample script is as follows&#xD;&#xA; &#xD;&#xA; - Record as WAV&#xD;&#xA; - Strip noise using Audacity&#xD;&#xA; - Convert to mp3@320k&#xD;&#xA;&#xD;&#xA;The mp3 is then sent to the client who has asked for a high-quality recording&#xD;&#xA;&#xD;&#xA;**Question** &lt;br/&gt;&#xD;&#xA;What constitutes 'high-quality' audio? Codec? Bit-rate? Noise-floor? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57365" PostHistoryTypeId="1" PostId="30156" RevisionGUID="b910b342-ec97-4188-b2ed-62625f323fb7" CreationDate="2014-09-07T08:20:11.170" UserId="7588" Text="What constitutes 'high-quality' audio?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57366" PostHistoryTypeId="3" PostId="30156" RevisionGUID="b910b342-ec97-4188-b2ed-62625f323fb7" CreationDate="2014-09-07T08:20:11.170" UserId="7588" Text="&lt;audio-recording&gt;&lt;voice-over&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57367" PostHistoryTypeId="2" PostId="30157" RevisionGUID="3e1e49f0-1988-4dc6-9cfa-296c30e6a939" CreationDate="2014-09-07T08:53:46.533" UserId="9872" Text="The send is (probably) the Tip and return (probably) the Ring on on TRS splitter cable, something like this: http://www.swamp.net.au/swamp-insert-cable-y-cable-trs-to-2x-ts-1m.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="57368" PostHistoryTypeId="2" PostId="30158" RevisionGUID="955b2e83-c138-45a6-8fc0-95bf6ca98ffe" CreationDate="2014-09-07T08:58:05.967" UserId="1216" Text="I think your client wants the original wav-file, instead of the mp3 you sent, for the final product." ContentLicense="CC BY-SA 3.0" />
  <row Id="57369" PostHistoryTypeId="5" PostId="30158" RevisionGUID="fec6335c-81fe-4905-b917-82fba32ef02e" CreationDate="2014-09-07T10:52:32.340" UserId="1216" Comment="added 159 characters in body" Text="I think your client wants the original wav-file, instead of the mp3 you sent, for the final product. I only sent mo3s when doing demo's. If the client is happy, I sent the wav files, because you don't want the final product to have another conversion to mp3.&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57370" PostHistoryTypeId="5" PostId="30156" RevisionGUID="f525f439-1ffc-474d-b9c1-383cc23e3f2a" CreationDate="2014-09-07T13:31:14.500" UserId="7588" Comment="Edited to narrow the field a bit" Text="This question may need some editing ... potentially off-topic, yet IMHO, this is probably the best stack on the network to ask the question&#xD;&#xA;&#xD;&#xA;**Background:** &lt;br/&gt;&#xD;&#xA;I'm trying to get a toe in the door through to the arena of voice-acting. The equipment at home (at present, are strictly entry-level). &#xD;&#xA;&#xD;&#xA; - Yeti Microphone&#xD;&#xA; - Waveshop&#xD;&#xA; - ffmpeg&#xD;&#xA; - Audacity&#xD;&#xA;&#xD;&#xA;The process I follow to narrate any sample script is as follows&#xD;&#xA; &#xD;&#xA; - Record as WAV&#xD;&#xA; - Strip noise using Audacity&#xD;&#xA; - Convert to mp3@320k&#xD;&#xA;&#xD;&#xA;The mp3 then accompanies the bid as a demo to the client who has asked for a high-quality recording. The system has an upper limit of a few MB for the bid-process.&#xD;&#xA;&#xD;&#xA;**Question** &lt;br/&gt;&#xD;&#xA;What constitutes 'high-quality' audio? Codec? Bit-rate? Noise-floor? &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57371" PostHistoryTypeId="2" PostId="30159" RevisionGUID="012129d2-2fb5-4eff-9545-4427c14b0623" CreationDate="2014-09-07T14:02:45.280" UserId="7200" Text="Two things that can easily ruin quality, which you should avoid.&#xD;&#xA;&#xD;&#xA;First is room acoustics. Even the best microphone won't get you a good sound if it's placed in a room with strong echo resonances. If you can't record in a professionally treated studio, you should do it in a room with as neutral sound as possible – avoid exposed parallel walls. Record the voice close to the mic, to reduce room influence; a [pop-killer](http://en.wikipedia.org/wiki/Pop_filter) avoids low-frequency artifacts when speaker plosives close to the mic.&#xD;&#xA;&lt;br&gt;(There are various tools that claim to remove reverb, but most work very badly, and the better ones are difficult to use well.)&#xD;&#xA;&#xD;&#xA;Then there's the &quot;strip noise&quot; part. Badly calibrated noise gates leave very nasty artifacts. Like with reverb, it's always better to avoid noise in the first place rather than removing it in post-processing. The key factors here are microphone and preamp quality. If your microphone is a USB model you have little influence over this, but what you should at any rate do is set the levels properly: again, record close to the mic, and set the gain so the loudest peaks just barely don't(!) clip.&#xD;&#xA;&#xD;&#xA;(In a well-sounding room with good mics &amp; preamps I often choose to leave rather more space between speaker and mics, and leave plenty of headroom so even unexpected freak transients can't clip digitally, but under substandard conditions you shouldn't do that.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="57372" PostHistoryTypeId="2" PostId="30160" RevisionGUID="341df46f-d759-4371-ac3c-832a9742efb6" CreationDate="2014-09-07T15:52:22.513" UserId="7174" Text="No, a Y cable is not the same as an insert cable.  An L/R split cable however may be depending on the pinout used for the insert.  A y splitter cable generally sends a tip and sleeve signal to the tip and sleeve of two different jacks.  An insert cable will have a tip/ring/sleeve connector that goes in to the board and then will have two tip/sleeve jacks that are wired up according to which parts are ground and which parts are the send and return on the insert." ContentLicense="CC BY-SA 3.0" />
  <row Id="57373" PostHistoryTypeId="5" PostId="30158" RevisionGUID="fa20cf42-9b0b-4879-b625-cdd2600fabff" CreationDate="2014-09-07T15:55:25.847" UserId="1216" Comment="added 3 characters in body" Text="I think your client wants the original wav-file, instead of the mp3 you sent, for the final product. I only sent mp3's when sharing demo's. If the client is happy, I sent the wav files, because you don't want the final product to have another conversion to mp3.&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57374" PostHistoryTypeId="2" PostId="30161" RevisionGUID="0389101e-80d5-4472-81a6-7cf722569b85" CreationDate="2014-09-07T16:51:46.240" UserId="9873" Text="So, I know nothing about music and would like to accelerate my learning. Are there any online courses/resources to help you go from zero to Electronic Music guru?&#xD;&#xA;&#xD;&#xA;Paid or free." ContentLicense="CC BY-SA 3.0" />
  <row Id="57375" PostHistoryTypeId="1" PostId="30161" RevisionGUID="0389101e-80d5-4472-81a6-7cf722569b85" CreationDate="2014-09-07T16:51:46.240" UserId="9873" Text="Are there any online courses/resources to help you start making Electronic Music with a PC/Mac?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57376" PostHistoryTypeId="3" PostId="30161" RevisionGUID="0389101e-80d5-4472-81a6-7cf722569b85" CreationDate="2014-09-07T16:51:46.240" UserId="9873" Text="&lt;learning&gt;&lt;electronic-music&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57377" PostHistoryTypeId="2" PostId="30162" RevisionGUID="228c1202-2476-429a-bbb1-84e966724083" CreationDate="2014-09-07T17:07:49.890" UserId="9873" Text="With more and more stories of people making music with their tablets (e.g. [Gorillaz's &quot;The Fall&quot; album][1] -&gt; The entire album was recorded on group co-founder Damon Albarn's iPad), I'm wondering, can I safely make an electronic jazz album with vocals, with an iPad? Or should I still buy a PC/ Mac?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/The_Fall_(Gorillaz_album)" ContentLicense="CC BY-SA 3.0" />
  <row Id="57378" PostHistoryTypeId="1" PostId="30162" RevisionGUID="228c1202-2476-429a-bbb1-84e966724083" CreationDate="2014-09-07T17:07:49.890" UserId="9873" Text="Is it recommended to record a whole album with an iPad only?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57379" PostHistoryTypeId="3" PostId="30162" RevisionGUID="228c1202-2476-429a-bbb1-84e966724083" CreationDate="2014-09-07T17:07:49.890" UserId="9873" Text="&lt;ipad&gt;&lt;learning&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57380" PostHistoryTypeId="2" PostId="30163" RevisionGUID="8acde9f4-2e12-4614-a1f2-cbfe4b55da76" CreationDate="2014-09-07T17:34:32.207" UserId="7417" Text="There's not big difference between a PC and a tablet. As long as an external sound card / sound recorder can be connected to it, it should be fine. Most tablets are fast enough as well for that since sound is much easier to pre-process than e.g. videos (for which I would recommend getting a PC with a good video card).&#xD;&#xA;&#xD;&#xA;Just be sure that you get a USB sound card which is compatible with the device (there's plenty of them there)." ContentLicense="CC BY-SA 3.0" />
  <row Id="57385" PostHistoryTypeId="2" PostId="30165" RevisionGUID="02d847fe-b323-4af2-8db3-dc12811109ce" CreationDate="2014-09-07T18:54:52.697" UserId="9875" Text="So this is a question that has been around since the dawn of post production. &#xD;&#xA;&#xD;&#xA;How to get the best possible match to surrounding dialogue with ADR. Does anyone have any top secret tips?&#xD;&#xA;&#xD;&#xA;Obviously you can buy plugins which analyse the frequencies in the original dialogue and then apply it to your ADR but those cost money!&#xD;&#xA;&#xD;&#xA;.....&#xD;&#xA;&#xD;&#xA;Do you just play around with channel strip eq until you get something similar? &#xD;&#xA;&#xD;&#xA;EQ can only do so much as the performance needs to match; but I can't ever seem to match remotely tricky ones. The standard ADR I can match with slight eq but if I get a tricky section like the actors being in a tiny room, or somewhere not completely standard; then I struggle to know where to begin!" ContentLicense="CC BY-SA 3.0" />
  <row Id="57386" PostHistoryTypeId="1" PostId="30165" RevisionGUID="02d847fe-b323-4af2-8db3-dc12811109ce" CreationDate="2014-09-07T18:54:52.697" UserId="9875" Text="EQ'ing ADR to match Dialogue" ContentLicense="CC BY-SA 3.0" />
  <row Id="57387" PostHistoryTypeId="3" PostId="30165" RevisionGUID="02d847fe-b323-4af2-8db3-dc12811109ce" CreationDate="2014-09-07T18:54:52.697" UserId="9875" Text="&lt;adr&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57388" PostHistoryTypeId="2" PostId="30166" RevisionGUID="6bf3b902-7f6a-4ff0-aa27-bd8ce423031c" CreationDate="2014-09-07T18:57:05.437" UserId="6631" Text="It would recommend it only if you care about portability, and only for recording (not for mixing, mastering, or editing). Damon Albarn did it that way because he was recording while on tour, and he needed something portable.&#xD;&#xA;&#xD;&#xA;If you need to record while moving constantly, if you need portability, using any tablet (and interface) capable of running a DAW (you want to have all tracks time ordered) and recording at 24 bits and 44.1 kHz (at the very least) is a good option.&#xD;&#xA;&#xD;&#xA;But that's only for recording. Mixing is another monster. Gorillaz's album was recorded on an iPad, but it was mixed in a studio using a more robust system. The processing power of iPads and tablets in general is still very limited, so there are big restrictions on how many tracks and effects you can run at the same time.&#xD;&#xA;&#xD;&#xA;&gt; I'm wondering, can I safely make an electronic jazz album with vocals, with an iPad? Or should I still buy a PC/ Mac?&#xD;&#xA;&#xD;&#xA;It's not safe at all to base all your production setup on a tablet. Unless your production is very simple (few tracks, few effects, few synths, few everything) you'll run out of resources very fast, and you will not be able to produce bigger stuff later if you feel like it. Even if you do your recording on the tablet, you still want to do everything else on a personal computer system. &#xD;&#xA;&#xD;&#xA;I strongly recommend you to buy a PC/Mac. You can do some basic stuff in a tablet, but nothing close to what a PC/Mac is capable of. You can use the tablet as a complement to your PC/Mac production setup (maybe as a control surface, or to record stuff while you are not in your studio) but not as a replacement. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57389" PostHistoryTypeId="2" PostId="30167" RevisionGUID="02e96cf4-b291-46c1-a01b-d0308e352b4a" CreationDate="2014-09-07T19:07:50.853" UserId="7417" Text="If you have _no ideas on sound equipment_, get a linear PCM recorder. I made two recordings with TASCAM DR-05 (which is at about $100 I think, maybe a bit more expensive).&#xD;&#xA;&#xD;&#xA;- [Keyboard](http://tohe.wz.cz/www/temp/TOHE05_0185.wav) -- the recorder was on the table, microphones pointing towards the SPACE bar.&#xD;&#xA;&#xD;&#xA;- [Zipper](http://tohe.wz.cz/www/temp/TOHE05_0186.wav) -- metal trousers zipper, the microphone was laying on the trousers aside the zipper.&#xD;&#xA;&#xD;&#xA;IMHO, you won't get much better price-quality ratio than with some of these recorders. Their AD conversion seems to be pretty resonable and the microphone quality is worth the money.&#xD;&#xA;&#xD;&#xA;Another option is a USB microphone, but the usage of it is limited by having another device with you which proved me to be a burden. It's much easier to operate with a battery-powered gadget than with something on a wire connected to a computer." ContentLicense="CC BY-SA 3.0" />
  <row Id="57390" PostHistoryTypeId="5" PostId="30167" RevisionGUID="a9eeb478-9508-4fda-b9dd-597763579edd" CreationDate="2014-09-07T19:13:33.290" UserId="7417" Comment="added 85 characters in body" Text="If you have _no ideas on sound equipment_, get a linear PCM recorder. I made two recordings with TASCAM DR-05 (which is at about $100 I think, maybe a bit more expensive). I won't judge the quality of the sound, I only show what you get for the price paid.&#xD;&#xA;&#xD;&#xA;- [Keyboard](http://tohe.wz.cz/www/temp/TOHE05_0185.wav) -- the recorder was on the table, microphones pointing towards the SPACE bar.&#xD;&#xA;&#xD;&#xA;- [Zipper](http://tohe.wz.cz/www/temp/TOHE05_0186.wav) -- metal trousers zipper, the microphone was laying on the trousers aside the zipper.&#xD;&#xA;&#xD;&#xA;IMHO, you won't get much better price-quality ratio than with some of these recorders. Their AD conversion seems to be pretty resonable and the microphone quality is worth the money.&#xD;&#xA;&#xD;&#xA;Another option is a USB microphone, but the usage of it is limited by having another device with you which proved me to be a burden. It's much easier to operate with a battery-powered gadget than with something on a wire connected to a computer." ContentLicense="CC BY-SA 3.0" />
  <row Id="57394" PostHistoryTypeId="2" PostId="30169" RevisionGUID="0cc0a1a0-800d-4d38-8735-ef5709ec7714" CreationDate="2014-09-07T19:39:39.470" UserId="9601" Text="&quot;Getting your toe in the door&quot; for voice acting doesn't require equipment, it requires talent &amp; tenacity. [It also isn't on-genre for this forum]&#xD;&#xA;&#xD;&#xA;If you want to become a voice-over or voice character actor, the biggest hurdle initially is not the quality of your recordings, it is the inherent quality of your voice; purely as suited to the ear of the casting director [&amp; now I have gone way outside the tenets of this forum myself]&#xD;&#xA;&#xD;&#xA;If you want better quality recordings, ask a better-honed question here.  &#xD;&#xA;&#xD;&#xA;If you want better quality acting, you need another forum - there are many." ContentLicense="CC BY-SA 3.0" />
  <row Id="57395" PostHistoryTypeId="2" PostId="30170" RevisionGUID="2e8ff7ce-b8a2-4325-8010-3f412b042c1d" CreationDate="2014-09-07T19:41:19.247" UserId="9878" Text="I was wondering what's the best setting for typical music playback.&#xD;&#xA;&#xD;&#xA;Songs are encoded with 16 bit &amp; 44kHz, but my windows 7 sound playback is set to 24 bit / 48kHz (that was the default). Does that lower the playback quality because of downsampling?&#xD;&#xA;&#xD;&#xA;http://i.stack.imgur.com/zaSu5.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57396" PostHistoryTypeId="1" PostId="30170" RevisionGUID="2e8ff7ce-b8a2-4325-8010-3f412b042c1d" CreationDate="2014-09-07T19:41:19.247" UserId="9878" Text="44kHz vs 48kHz for music playback" ContentLicense="CC BY-SA 3.0" />
  <row Id="57397" PostHistoryTypeId="3" PostId="30170" RevisionGUID="2e8ff7ce-b8a2-4325-8010-3f412b042c1d" CreationDate="2014-09-07T19:41:19.247" UserId="9878" Text="&lt;sound&gt;&lt;windows&gt;&lt;playback&gt;&lt;frequency&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57400" PostHistoryTypeId="2" PostId="30173" RevisionGUID="05bc58a0-fae3-4c1f-a524-51a2805c71f3" CreationDate="2014-09-07T19:50:58.720" UserId="9877" Text="Guessing severely because you gave too little information in your question, I think you are hearing the letter E.&#xD;&#xA;&#xD;&#xA;As shown in http://en.wikipedia.org/wiki/Letter_frequency, E is the most common letter in common English by a wide margin:&#xD;&#xA;&#xD;&#xA;![Relative frequencies ordered by frequency][1]&#xD;&#xA;&#xD;&#xA;If you look at this chart as if it were amplitudes of tone generators at various frequencies, it is clear that &quot;E&quot; dominates the spectrum. If this were MPEG (or other psycho-acoustic compression) encoded in the chain, it would likely toss away harmonics below some threshold; for example, D–Z might not be carried through compression. Higher amplitude harmonics might be generating the noise.&#xD;&#xA;&#xD;&#xA;Apart from the fundamental, there is a spike at 1Hz which is probably an abrupt transition to zero, I'd guess that that may be the point of repetition of your data.&#xD;&#xA;&#xD;&#xA;I'd have to guess much less if you'd made the SoundCloud track downloadable, and as others have noted above, could eliminate the guessing if you gave the generating code.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/fpP7Y.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57401" PostHistoryTypeId="5" PostId="30170" RevisionGUID="47b975bc-cf63-44a1-ba82-ccb99ce15f1c" CreationDate="2014-09-07T20:08:23.290" UserId="9601" Comment="fixed inline picture formatting" Text="I was wondering what's the best setting for typical music playback.&#xD;&#xA;&#xD;&#xA;Songs are encoded with 16 bit &amp; 44kHz, but my windows 7 sound playback is set to 24 bit / 48kHz (that was the default). Does that lower the playback quality because of downsampling?&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/zaSu5.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57402" PostHistoryTypeId="24" PostId="30170" RevisionGUID="47b975bc-cf63-44a1-ba82-ccb99ce15f1c" CreationDate="2014-09-07T20:08:23.290" Comment="Proposed by 9601 approved by 9878 edit id of 160" ContentLicense="CC BY-SA 3.0" />
  <row Id="57405" PostHistoryTypeId="10" PostId="30170" RevisionGUID="7fa3f324-dd5e-4c65-bea3-94afe72f3a0d" CreationDate="2014-09-07T20:18:25.617" UserId="1216" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:1216,&quot;DisplayName&quot;:&quot;Arnoud Traa&quot;}]}" />
  <row Id="57407" PostHistoryTypeId="5" PostId="30167" RevisionGUID="b34c1c59-f85e-4c61-97d9-cc94a26890e5" CreationDate="2014-09-07T21:26:34.127" UserId="7417" Comment="added 51 characters in body" Text="If you have _no ideas on sound equipment_, get a linear PCM recorder. I made two recordings with TASCAM DR-05 (which is at about $100 I think, maybe a bit more expensive). I won't judge the quality of the sound, I only show what you get for the price paid.&#xD;&#xA;&#xD;&#xA;- [Keyboard](http://tohe.wz.cz/www/temp/TOHE05_0185.wav) -- the recorder was on the table, microphones pointing towards the SPACE bar.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/tohecz/keyboard-test-0185&#xD;&#xA;&#xD;&#xA;- [Zipper](http://tohe.wz.cz/www/temp/TOHE05_0186.wav) -- metal trousers zipper, the microphone was laying on the trousers aside the zipper.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/tohecz/zipper-test-0186 &#xD;&#xA;&#xD;&#xA;IMHO, you won't get much better price-quality ratio than with some of these recorders. Their AD conversion seems to be pretty resonable and the microphone quality is worth the money.&#xD;&#xA;&#xD;&#xA;Another option is a USB microphone, but the usage of it is limited by having another device with you which proved me to be a burden. It's much easier to operate with a battery-powered gadget than with something on a wire connected to a computer." ContentLicense="CC BY-SA 3.0" />
  <row Id="57408" PostHistoryTypeId="5" PostId="30167" RevisionGUID="aa27a09d-d984-4fca-843c-825bb166d619" CreationDate="2014-09-07T21:38:03.813" UserId="7417" Comment="added 117 characters in body" Text="If you have _no ideas on sound equipment_, get a linear PCM recorder. I made two recordings with TASCAM DR-05 (which is at about $100 I think, maybe a bit more expensive). I won't judge the quality of the sound, I only show what you get for the price paid.&#xD;&#xA;&#xD;&#xA;- **Keyboard** -- the recorder was on the table, microphones pointing towards the SPACE bar.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/tohecz/keyboard-test-0185&#xD;&#xA;&#xD;&#xA;- **Zipper** -- metal trousers zipper, the microphone was laying on the trousers aside the zipper.&#xD;&#xA;&#xD;&#xA;http://soundcloud.com/tohecz/zipper-test-0186 &#xD;&#xA;&#xD;&#xA;(Disclaimer: I didn't fiddle much with the setup, neither the position nor the level, you can probably do better, and you can post-process the file at least with some basic noise reduction filter.)&#xD;&#xA;&#xD;&#xA;IMHO, you won't get much better price-quality ratio than with some of these recorders. Their AD conversion seems to be pretty resonable and the microphone quality is worth the money.&#xD;&#xA;&#xD;&#xA;Another option is a USB microphone, but the usage of it is limited by having another device with you which proved me to be a burden. It's much easier to operate with a battery-powered gadget than with something on a wire connected to a computer." ContentLicense="CC BY-SA 3.0" />
  <row Id="57409" PostHistoryTypeId="10" PostId="30149" RevisionGUID="aefeb01b-c50e-46bf-ba7e-55389f0b4b62" CreationDate="2014-09-07T21:49:35.603" UserId="7174" Comment="103" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="57410" PostHistoryTypeId="2" PostId="30174" RevisionGUID="e1ff1fd2-aba7-4bff-8085-ba2b581819aa" CreationDate="2014-09-07T22:06:00.200" UserDisplayName="user9881" Text="The big difference will be the OS capabilities. If you use the garage band app on an iPad for tracking then you should be able to export the session files to a mac for mixing.&#xD;&#xA;&#xD;&#xA;As others have said, you will need at least an interface accessory like iRig." ContentLicense="CC BY-SA 3.0" />
  <row Id="57411" PostHistoryTypeId="5" PostId="30166" RevisionGUID="246ccbed-172b-4508-b000-2369da911ce6" CreationDate="2014-09-07T22:12:59.697" UserId="6631" Comment="deleted 1 character in body" Text="I would recommend it only if you care about portability, and only for recording (not for mixing, mastering, or editing). Damon Albarn did it that way because he was recording while on tour, and he needed something portable.&#xD;&#xA;&#xD;&#xA;If you need to record while moving constantly, if you need portability, using any tablet (and interface) capable of running a DAW (you want to have all tracks time ordered) and recording at 24 bits and 44.1 kHz (at the very least) is a good option.&#xD;&#xA;&#xD;&#xA;But that's only for recording. Mixing is another monster. Gorillaz's album was recorded on an iPad, but it was mixed in a studio using a more robust system. The processing power of iPads and tablets in general is still very limited, so there are big restrictions on how many tracks and effects you can run at the same time.&#xD;&#xA;&#xD;&#xA;&gt; I'm wondering, can I safely make an electronic jazz album with vocals, with an iPad? Or should I still buy a PC/ Mac?&#xD;&#xA;&#xD;&#xA;It's not safe at all to base all your production setup on a tablet. Unless your production is very simple (few tracks, few effects, few synths, few everything) you'll run out of resources very fast, and you will not be able to produce bigger stuff later if you feel like it. Even if you do your recording on the tablet, you still want to do everything else on a personal computer system. &#xD;&#xA;&#xD;&#xA;I strongly recommend you to buy a PC/Mac. You can do some basic stuff in a tablet, but nothing close to what a PC/Mac is capable of. You can use the tablet as a complement to your PC/Mac production setup (maybe as a control surface, or to record stuff while you are not in your studio) but not as a replacement. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57412" PostHistoryTypeId="2" PostId="30175" RevisionGUID="341a1127-accd-4dca-b544-cb02eeaf4704" CreationDate="2014-09-07T22:17:21.887" UserDisplayName="user9881" Text="To answer your question simply:  high quality means recording losslessly (make sure all of your tracks are wav or aiff, that should be the default anyway) and only over export to a lossy format (mp3 etc.) as the final step before sending them a copy.&#xD;&#xA;&#xD;&#xA;A good rule is to never export from a lossy format to another lossy format.&#xD;&#xA;&#xD;&#xA;Aside from that, you have to use your ears to make sure your general recording process isn't hurting your sound (or have someone whose ears you trust give it a listen). One tip there is to make sure you don't have too much noise vs signal." ContentLicense="CC BY-SA 3.0" />
  <row Id="57413" PostHistoryTypeId="2" PostId="30176" RevisionGUID="4474a091-72ef-4db8-aeda-c7aea207fa50" CreationDate="2014-09-07T23:31:32.410" UserId="9882" Text="I think if the client requests a high quality recording he is trying to judge how much work he will have with the material you deliver. Essentially if your voice talent is good enough your customer will want to save as much as possible on recording and &quot;post production&quot;. If you want to please this customer you should make this as easy as possible for him. &#xD;&#xA;I have no personal experience with the microphone you use but it seems to be better than a lot of cheap mics out there. I would usually quote a good mic under the minimum requirements for a good recording since there is nothing that can bring back the nuances in sound that were not picked up by your microphone. Assuming you will not want to spend anything big, I would offer the following advice to create the best &quot;quality recording&quot; you can with the equipment available.&#xD;&#xA;&#xD;&#xA; - Record at a reasonable bitrate and resolution: I would suggest at least 48kHz and 24 bit&#xD;&#xA; - Only record at a bitrate/resolution combination that is natively supported by your hardware, resampling will not improve quality&#xD;&#xA; - deliver a clean uncompressed/lossless-compressed mono track with your voice&#xD;&#xA; - Noise that does not make it on the recording does not need to be purged! Even if you do not have a professional speaker booth, everyone can improvise one with heavy curtains, thick blankets and pillows. The key is to eliminate as much outside noise and reflection as possible. Get close to the Mic, but not too close 8inches / 20cm should be fine, if you a can use a pop screen or improvise one (99c tights will do just fine), without a pop screen a bit more would be better. If you are dealing with a lot of outside noise try to do your recordings at night or in a basement with all windows and doors shut.&#xD;&#xA; - Do not underestimate noise generated by your PC if you use it for recording. Electric noise can enter through the Power connection as well as through any other connected cables! Sometimes it helps to use a laptop for recording running on battery with wifi off. Laptops sometimes allow you to run in a energy conservation mode which will also prevent the fans from turning on, if this offers enough performance to record, this might be the way to go.&#xD;&#xA; - Your Mic uses a USB connection from what I have seen which sound fine for me, these are usually better than a lot of the onboard sound chips.&#xD;&#xA; - If your customer uses a professional for sound editing you should not try to mingle with the raw recordings, since this might make it more difficult for a second editor to get it right. Always deliver raw recordings as well, if you try help them by improving the sound yourself, give them the option to choose, to use your edit or the raw files!&#xD;&#xA;&#xD;&#xA;Good luck for your project!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57414" PostHistoryTypeId="2" PostId="30177" RevisionGUID="e9735297-dfaa-44c2-95e1-038861cf7e54" CreationDate="2014-09-07T23:58:48.500" UserDisplayName="user9881" Text="Lynda.com has a lot of information from a design and production perspective, but honestly, a great way to get started is to find a YouTube channel. I don't have a specific one to recommend, but I would check out a few a see is they're making the kind of sound you like.&#xD;&#xA;&#xD;&#xA;There are a lot of great tutorials on using Ableton live for example." ContentLicense="CC BY-SA 3.0" />
  <row Id="57415" PostHistoryTypeId="2" PostId="30178" RevisionGUID="12344b08-f85a-4cc6-ae19-85bc5250c120" CreationDate="2014-09-08T00:01:13.247" UserId="6399" Text="ADR matching is really about the performance. Its incredibly hard to make it match if the performance isnt right. There are analyzers you can find for free or come with your Daw to help you understand what your hearing. Eq is important obviously but so is having some room tone fill and consistent reverb. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57416" PostHistoryTypeId="2" PostId="30179" RevisionGUID="7aaccac2-9424-4a9f-969b-8af3db2c3095" CreationDate="2014-09-08T00:06:53.930" UserDisplayName="user9881" Text="Honestly, I recommend any Apple iOS over Android for any audio consideration simply because they have much better audio drivers that allow you to record with low latency. &#xD;&#xA;&#xD;&#xA;Audio input just doesn't seem to be a priority for android yet." ContentLicense="CC BY-SA 3.0" />
  <row Id="57417" PostHistoryTypeId="2" PostId="30180" RevisionGUID="7752d8ab-4ecd-49aa-9c24-1db53cba6762" CreationDate="2014-09-08T00:21:35.463" UserDisplayName="user9881" Text="I've had the best luck with M-Audio USB interfaces. To get to your track count I would get an interface that supports ADAT lightpipe and use that to connect to a set of external preamps.&#xD;&#xA;&#xD;&#xA;I haven't done any work in Linux for a couple of years, so I can't recommend a certain device." ContentLicense="CC BY-SA 3.0" />
  <row Id="57418" PostHistoryTypeId="5" PostId="30178" RevisionGUID="ff6c0909-3f9f-435e-9eff-c49505169083" CreationDate="2014-09-08T04:19:30.807" UserId="6399" Comment="added 94 characters in body" Text="ADR matching is really about the performance. Its incredibly hard to make it match if the performance isn't right. There are analyzers you can find for free or come with your Daw to help you understand what your hearing frequency wise but EQ is really only part of the equation. From a technical standpoint Eq is important obviously but so is having some proper room tone fill and consistent reverb. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57419" PostHistoryTypeId="2" PostId="30181" RevisionGUID="17b5cd7e-c12c-408d-840c-1da23d85304d" CreationDate="2014-09-08T10:54:57.423" UserId="9886" Text="How to switch an Olympus Audio Recorder on (and maybe off) with a cable remote control?&#xD;&#xA;&#xD;&#xA;I am using the Olympus LS-3/LS-7 audiorecorder. Its remote control port is a 2.5-mm-jack-plug, like most Olympus audiorecorders.&#xD;&#xA;&#xD;&#xA;Olympus sells an infrared-remote-control, called &quot;[RS30W](http://farm2.staticflickr.com/1320/5125715610_ef2c615644_o.jpg)&quot;, that is large, expensive and requires line-of-sight. You can see in the image, that the jack-plug has 4 contacts.&#xD;&#xA;&#xD;&#xA;I would like to have a cable remote control, that needs no line of sight. A perfect solution would have a switch with two positions: recording and not-recording. So that I can see and feel if the device is recording.&#xD;&#xA;&#xD;&#xA;I have not found a documentation of the pinout of the cable. Canon uses a similar cable-remote-control for their cameras, with a 2.5-mm-jack-plug, but with only three contacts. Depending on the position of the switch, different contacts are shortcut. I feel that a similar solution should be possible for Olympus if the &quot;protocol&quot; is simple enough." ContentLicense="CC BY-SA 3.0" />
  <row Id="57420" PostHistoryTypeId="1" PostId="30181" RevisionGUID="17b5cd7e-c12c-408d-840c-1da23d85304d" CreationDate="2014-09-08T10:54:57.423" UserId="9886" Text="Cable remote control for Olympus Audio Recorders possible?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57421" PostHistoryTypeId="3" PostId="30181" RevisionGUID="17b5cd7e-c12c-408d-840c-1da23d85304d" CreationDate="2014-09-08T10:54:57.423" UserId="9886" Text="&lt;recorder&gt;&lt;remote&gt;&lt;control&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57422" PostHistoryTypeId="6" PostId="26478" RevisionGUID="63d7aecc-1af5-4110-b6c7-4ac6c8248a6a" CreationDate="2014-09-08T11:11:43.783" UserId="7016" Comment="edited tags" Text="&lt;acoustics&gt;&lt;room&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57423" PostHistoryTypeId="2" PostId="30182" RevisionGUID="bca9da6d-2647-4238-bf99-83a58b3c65a2" CreationDate="2014-09-08T12:20:03.633" UserId="9865" Text="I thought that if importing raw data in audacity it had to be in hexi pairs. But it was pointed out to me elsewhere that actually audacity can import any text.&#xD;&#xA;&#xD;&#xA;So what is audacity doing to the text file to make it playable?&#xD;&#xA;&#xD;&#xA;And for bonus points: is that process in some way the &quot;perfect&quot; transformation of text to sound; i.e. are there other equally valid ways of playing text :) ?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57424" PostHistoryTypeId="1" PostId="30182" RevisionGUID="bca9da6d-2647-4238-bf99-83a58b3c65a2" CreationDate="2014-09-08T12:20:03.633" UserId="9865" Text="How does audacity play text" ContentLicense="CC BY-SA 3.0" />
  <row Id="57425" PostHistoryTypeId="3" PostId="30182" RevisionGUID="bca9da6d-2647-4238-bf99-83a58b3c65a2" CreationDate="2014-09-08T12:20:03.633" UserId="9865" Text="&lt;audacity&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57426" PostHistoryTypeId="2" PostId="30183" RevisionGUID="b74f99d5-25ca-49a8-a034-a2fb463f7aad" CreationDate="2014-09-08T12:26:01.870" UserId="9887" Text="I have a friend who always tells me to listen to his sound videos in HD, because, he claims, the sound quality will go up if you watch the video in HD.&#xD;&#xA;&#xD;&#xA;I've listened to the same video's in both HD and non-HD, and can't tell any difference in sound quality. His videos are posted on Facebook specifically, but I'm interested if this is true in any video." ContentLicense="CC BY-SA 3.0" />
  <row Id="57427" PostHistoryTypeId="1" PostId="30183" RevisionGUID="b74f99d5-25ca-49a8-a034-a2fb463f7aad" CreationDate="2014-09-08T12:26:01.870" UserId="9887" Text="Does sound quality increase if you play a video in High Definition?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57428" PostHistoryTypeId="3" PostId="30183" RevisionGUID="b74f99d5-25ca-49a8-a034-a2fb463f7aad" CreationDate="2014-09-08T12:26:01.870" UserId="9887" Text="&lt;sound&gt;&lt;video&gt;&lt;sound-quality&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57429" PostHistoryTypeId="33" PostId="30179" RevisionGUID="b4981fa6-6835-483a-a841-3c6797ea9068" CreationDate="2014-09-08T12:46:54.187" UserId="6957" Comment="21" />
  <row Id="57430" PostHistoryTypeId="2" PostId="30184" RevisionGUID="7ac54594-925e-4629-acdf-9c306e8eacb7" CreationDate="2014-09-08T13:06:02.983" UserId="9886" Text="In general, the creator of a video can choose any combination of video-quality and audio-quality.&#xD;&#xA;&#xD;&#xA;In practice, persons who know what they are doing, and also the automatic engines of YouTube (facebook should be similar) that create different quality versions of the same video, have profiles, where the quality of video and audio is linked.&#xD;&#xA;&#xD;&#xA;So yes, higher quality video comes with higher quality audio on YouTube:&#xD;&#xA;360p Videos have 96 kbps Audiotracks, while 720p Videos habve 192 kbps Audiotracks.&#xD;&#xA;&#xD;&#xA;192 kbps is way better than 96 kbps. I don't have a 1080p-video here to check, but I remember that audio-quality reaches its maximum at 192 kbps. So 1080p-videos will not sound better than 720p-videos. For me, the sweet spot is 720p." ContentLicense="CC BY-SA 3.0" />
  <row Id="57431" PostHistoryTypeId="5" PostId="30184" RevisionGUID="2afe1e4d-5bf8-4185-af71-754646f1ef1e" CreationDate="2014-09-08T13:11:58.783" UserId="9886" Comment="edited body" Text="In general, the creator of a video can choose any combination of video-quality and audio-quality.&#xD;&#xA;&#xD;&#xA;In practice, persons who know what they are doing, and also the automatic engines of YouTube (facebook should be similar) that create different quality versions of the same video, have profiles, where the quality of video and audio is linked.&#xD;&#xA;&#xD;&#xA;So yes, higher quality video comes with higher quality audio on YouTube:&#xD;&#xA;360p videos have 96 kbps audiotracks, while 720p videos habve 192 kbps audiotracks.&#xD;&#xA;&#xD;&#xA;192 kbps is way better than 96 kbps. I don't have a 1080p-video here to check, but I remember that audio-quality reaches its maximum at 192 kbps. So 1080p-videos will not sound better than 720p-videos. For me, the sweet spot is 720p." ContentLicense="CC BY-SA 3.0" />
  <row Id="57432" PostHistoryTypeId="10" PostId="30183" RevisionGUID="d0132bdf-4fab-42ec-839b-258dc059bcb3" CreationDate="2014-09-08T13:13:32.943" UserId="1216" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:1216,&quot;DisplayName&quot;:&quot;Arnoud Traa&quot;}]}" />
  <row Id="57433" PostHistoryTypeId="2" PostId="30185" RevisionGUID="a64f2be5-7a1c-489e-b6b8-9476af6635e6" CreationDate="2014-09-08T13:34:04.393" UserId="1216" Text="&#xD;&#xA;For a white-board animation [example][1], i'm building a new sound palette for the dry eraser markers and some other sfx (coins) with sharp attacks.&#xD;&#xA;I usually take an MKH50 and record a session in my booth with good results for most sfx. But with harsh transients and close miking i sometimes get a sound that is not very useful. The proximity effect and the capsule's transient response is the cause i think, but these are soft sounds and I need to get close to it.&#xD;&#xA;&#xD;&#xA;So what are your experiences? What type of microphones do you use (dynamic)? And do you have any tips on getting great coin sounds (that sound&#xD;&#xA;like actual money and not a dull metal plink). I've used nails and screws in the past to mimic the sound, of bags of coins, but i need only singular coin sfx now.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://www.youtube.com/watch?v=u72NHshOQ2Y#t=32%20" ContentLicense="CC BY-SA 3.0" />
  <row Id="57434" PostHistoryTypeId="1" PostId="30185" RevisionGUID="a64f2be5-7a1c-489e-b6b8-9476af6635e6" CreationDate="2014-09-08T13:34:04.393" UserId="1216" Text="Any tips for close miking SFX and getting good transient responses?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57435" PostHistoryTypeId="3" PostId="30185" RevisionGUID="a64f2be5-7a1c-489e-b6b8-9476af6635e6" CreationDate="2014-09-08T13:34:04.393" UserId="1216" Text="&lt;transients&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57436" PostHistoryTypeId="2" PostId="30186" RevisionGUID="16598009-0965-4fa0-9a41-561a1e4722dc" CreationDate="2014-09-08T13:54:45.870" UserId="7174" Text="Try using two mics at different distances and using different frequency bands from each.  Often, the sounds that you hear are in different bands, so you can largely filter out the overly loud part when getting the soft details and then blend it with a more distant mic getting the harsher sounds.  &#xD;&#xA;&#xD;&#xA;It won't work on every sound, and the blending can take some work, but if it is tricky to get a sound with one mic and signal, the answer is normally to use more than one mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="57437" PostHistoryTypeId="2" PostId="30187" RevisionGUID="483a13b4-ba11-4fed-8e3b-94fddfb34125" CreationDate="2014-09-08T14:00:17.327" UserId="7174" Text="No, it is not ideal.  It isn't doing anything to the text file other than reading it incorrectly.  RAW data is expecting binary data, not text.  But text is an encoded as binary data, so the file actually is a binary file.  The encoding of the text file impacts how the binary data is formed, but reading it as a RAW audio file is really completely inaccurate and will only use a small subset of values since the main alphabet is a small portion of most text encoding systems, so most binary values will be unused." ContentLicense="CC BY-SA 3.0" />
  <row Id="57438" PostHistoryTypeId="2" PostId="30188" RevisionGUID="cd1894d3-07d2-47e2-b831-ccce5f12ab63" CreationDate="2014-09-08T14:48:13.667" UserId="842" Text="This is a very simple thing to do, but dynamic mics are rarely if ever a good choice for these kind of things. Myself, I use cheap mics like Line Audio CM3, and not so cheap mics like Sennheiser MKH40.&#xD;&#xA;&#xD;&#xA;What you need here is three things: Compressor, shelving-filter, and reverb. First of all, make sure you record the sound as optimal as possible. I can't stress enough how important that is. Then, remove the proxi-effect with a shelving-filter set with a pretty shallow slope around 250-300Hz (depending on mic as well as the filter), and then compress all transients into obedience. How that's best done can't really be stated without knowing exatly how the sound sounds, but a good start is with a quick attack, a little slower release, threshold set not too low, but still below the transient/sustain border, and heavy ratio. Then seal the deal with reverb mimicking the surrounding.&#xD;&#xA;&#xD;&#xA;Microphones like SM57 and such will do the work, but they will not sound natural. They are made to sound musical, and in film that is for the most part not a good thing. At least when it comes to dialogue, foley and sound effects." ContentLicense="CC BY-SA 3.0" />
  <row Id="57439" PostHistoryTypeId="5" PostId="30188" RevisionGUID="8f3c1bca-9149-484f-b5a1-96d875218aa8" CreationDate="2014-09-08T14:54:17.457" UserId="842" Comment="added 358 characters in body" Text="This is a very simple thing to do, but dynamic mics are rarely if ever a good choice for these kind of things. Myself, I use cheap mics like Line Audio CM3, and not so cheap mics like Sennheiser MKH40.&#xD;&#xA;&#xD;&#xA;What you need here is three things: Compressor, shelving-filter, and reverb. First of all, make sure you record the sound as optimal as possible. I can't stress enough how important that is. Then, remove the proxi-effect with a shelving-filter set with a pretty shallow slope around 250-300Hz (depending on mic as well as the filter), and then compress all transients into obedience. How that's best done can't really be stated without knowing exatly how the sound sounds, but a good start is with a quick attack, a little slower release, threshold set not too low, but still below the transient/sustain border, and heavy ratio. Then seal the deal with reverb mimicking the surrounding.&#xD;&#xA;&#xD;&#xA;Microphones like SM57 and such will do the work, but they will not sound natural. They are made to sound musical, and in film that is for the most part not a good thing. At least when it comes to dialogue, foley and sound effects.&#xD;&#xA;&#xD;&#xA;For good coin-sounds I have a collection of different coins and metal thingys from several parts of the world, and among the ones sounding best are Danish, Czech and Swedish 5 SEK from before the 70's, as well as some kinds of washers made of brass, copper, and silver. The best natural sounds are always those that are the least complicated to record.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57440" PostHistoryTypeId="5" PostId="30179" RevisionGUID="f6beb2ce-d787-4697-875e-8fc33bf89a47" CreationDate="2014-09-08T16:48:05.050" UserDisplayName="user9881" Comment="Adding a source and some further clarification." Text="Honestly, I recommend any Apple iOS over Android for any audio consideration simply because they have much better audio drivers that allow you to record with low latency. &#xD;&#xA;&#xD;&#xA;Audio input just doesn't seem to be a priority for android yet.&#xD;&#xA;&#xD;&#xA;Research:&#xD;&#xA;&#xD;&#xA;http://gigaom.com/2014/06/26/with-androids-next-l-version-users-finally-get-to-be-t-pain/&#xD;&#xA;It seems that with the upcoming update to Android &quot;L&quot;, Google is touting latencies as low as 20ms, but that is still not suitable for multi-track over-dub style recording.&#xD;&#xA;&#xD;&#xA;If you just need to record one mono track with no over-dubbing then android will be fine, but I don't see any reason not to go with the better experience and larger support base of Apple for audio. &#xD;&#xA;&#xD;&#xA;P.S. For what it's worth; I am a full-time android phone and tablet user. I have tried an iPad 2 in the past and it was just a better experience for my recording &amp; production needs." ContentLicense="CC BY-SA 3.0" />
  <row Id="57441" PostHistoryTypeId="34" PostId="30179" RevisionGUID="ad2635d3-86e7-4a3b-a7e7-1e1179280552" CreationDate="2014-09-08T17:04:18.567" UserId="6957" Comment="21" />
  <row Id="57442" PostHistoryTypeId="2" PostId="30189" RevisionGUID="2b694dd2-8574-4071-a2c7-597d0b5f6504" CreationDate="2014-09-08T17:11:41.550" UserId="7174" Text="Worst case scenario, you can use an external USB Audio Interface with the tablet in order to produce the best quality sound possible.  Android has a very open architecture and has pretty wide USB support.  Apps like USB Audio Recorder Pro allow for you to hook up most ASIO compatible USB interfaces and get great quality recorded audio.  More information about the entire procedure is documented pretty well (even for the Nexus 7 specifically) [here][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.androidaudiorecording.com/record-from-a-usb-microphone-or-audio-interface-with-your-android-phone-or-tablet/" ContentLicense="CC BY-SA 3.0" />
  <row Id="57443" PostHistoryTypeId="2" PostId="30190" RevisionGUID="6e598a9f-1765-45b4-82de-da592c2367b8" CreationDate="2014-09-08T18:02:45.833" UserId="9729" Text="Groove3.com has a wealth of tutorials on production, software, recording, mixing and so forth.  You can purchase tutorials as a package ala carte or pay for a monthly subscription and have unlimited access to all of their content.  I've used their resources in the past and while the ala carte price is a bit high the quality of their videos is some of the best.  I would recommend the monthly subscription as if you've got the time it is the best bang for your buck.&#xD;&#xA;&#xD;&#xA;YouTube has a tremendous number of people with channels devoted to learning.  I really hate to give suggestions for specific channels and overlook other talented people but one of the more popular channels as of late is put together by a guy who goes by Sadowick.  Some other great resources would be Tom Cosm or Mr. Bill. For clarification, I am not Mr. Bill despite my user name. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57444" PostHistoryTypeId="2" PostId="30191" RevisionGUID="c25c7794-9934-47ed-adf8-e1c49889f708" CreationDate="2014-09-08T21:32:53.827" UserId="8288" Text="Here are some interfaces that I had no problems getting up and running under Linux (Debian):&#xD;&#xA;&#xD;&#xA; * E-MU 0404 PCI&#xD;&#xA; * MOTU 896 Mk3&#xD;&#xA; * Presonus Firebox" ContentLicense="CC BY-SA 3.0" />
  <row Id="57445" PostHistoryTypeId="2" PostId="30192" RevisionGUID="604cee68-7164-43ef-ab63-218bbd3dc860" CreationDate="2014-09-08T21:45:09.527" UserId="9593" Text="I agree with coaxmw on this - and would add that good mic placement is better than post-EQ or reverb in getting ADR and dialog to match.  &#xD;&#xA;&#xD;&#xA;In my mind, the #1 priority is performance, followed by mic placement, and from there hopefully you won't need to do too much post-processing.  Getting the first two right will simplify the ADR and production mix considerably." ContentLicense="CC BY-SA 3.0" />
  <row Id="57446" PostHistoryTypeId="2" PostId="30193" RevisionGUID="fbb4fd58-a1ad-47d8-8d2e-208866a140b6" CreationDate="2014-09-08T21:45:19.163" UserId="8288" Text="As far as I know there is no &quot;direct&quot; way to export a sample built from reason synths/samplers. What you can do is:&#xD;&#xA;&#xD;&#xA; * Set your reason project to only play the single note you want to export (clear the sequencer and only leave a single note) and use the &quot;Export as WAV feature&quot;. Reproduce for each note.&#xD;&#xA; * The other way around is to use signal routing on your workstation to feed the sample to a DAW or audio editor. Eg. you can use Rewire to feed Reason's audio to a track in Ableton Live, press record in Live, and play the desired note in reason. Use an editor to trim silences. Or use ASIO routing if your card supports it to feed the audio to an editor (Soundforge, Audacity...)" ContentLicense="CC BY-SA 3.0" />
  <row Id="57451" PostHistoryTypeId="2" PostId="30195" RevisionGUID="9c7a449f-afaf-4dd6-9260-085602c1ee9e" CreationDate="2014-09-09T09:34:42.463" UserId="6885" Text="I myself went for a Focusrite Scarlett and I'm quite happy with it.&#xD;&#xA;&#xD;&#xA;At the beginning you have to connect it to a Windows machine or Mac once to switch off the internal mixer (which you can easily emulate on Linux with JACK), but afterwards, it's great." ContentLicense="CC BY-SA 3.0" />
  <row Id="57452" PostHistoryTypeId="16" PostId="30195" RevisionGUID="42f42b64-7d5e-43e3-92c4-beb40e3bce06" CreationDate="2014-09-09T09:34:42.463" UserId="6885" />
  <row Id="57453" PostHistoryTypeId="10" PostId="30161" RevisionGUID="61323f93-621a-4f86-9c06-1709b4c7ee16" CreationDate="2014-09-09T12:41:43.460" UserId="6957" Comment="104" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:842,&quot;DisplayName&quot;:&quot;Christian van Caine&quot;},{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="57454" PostHistoryTypeId="5" PostId="30191" RevisionGUID="575a370a-1805-44af-9620-ef301bf3b5db" CreationDate="2014-09-09T12:45:28.900" UserId="6957" Comment="Added links" Text="Here are some interfaces that I had no problems getting up and running under Linux (Debian):&#xD;&#xA;&#xD;&#xA; * [E-MU 0404 PCI][1] (EOL)&#xD;&#xA; * [MOTU 896 Mk3][2]&#xD;&#xA; * [Presonus Firebox][3]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://support.creative.com/Products/ProductDetails.aspx?catID=237&amp;prodID=15760&amp;prodName=E-MU%200404%20PCI&amp;CatName=E-MU%20%2F%20Creative%20Professional&#xD;&#xA;  [2]: http://www.motu.com/products/motuaudio/896mk3&#xD;&#xA;  [3]: http://www.presonus.com/products/firebo" ContentLicense="CC BY-SA 3.0" />
  <row Id="57456" PostHistoryTypeId="2" PostId="30196" RevisionGUID="f725b0a6-27dc-4a22-b0e4-7b146322178b" CreationDate="2014-09-09T13:38:54.590" UserDisplayName="user7731" Text="I posted a similar thread on here a while back and it was mentioned that working slightly off axis when recording can help transients on close mic situations. Also, I personally have found that using mics that have slower slew rates sound better on close mic transient objects. Compression and limiting as well will help. Sometimes I record thru a compressor to adjust as I cut, getting a pleasing sound on the way in.&#xD;&#xA;&#xD;&#xA;b&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57457" PostHistoryTypeId="2" PostId="30197" RevisionGUID="cfceb9f1-ac20-4135-a39c-b9d825e0e020" CreationDate="2014-09-09T17:21:17.787" UserDisplayName="user9881" Text="I would look into &quot;Multiband Compression&quot;.&#xD;&#xA;&#xD;&#xA;Also, you should mix-down and master on a variety of speakers from pro- to consumer-grade and adjust the EQ etcetera so that it sounds good across all of them (not just the studio speakers, those are for finding minute flaws)." ContentLicense="CC BY-SA 3.0" />
  <row Id="57461" PostHistoryTypeId="5" PostId="30099" RevisionGUID="7fc40cbc-7e96-40e1-8eb7-8f3c73b61a24" CreationDate="2014-09-09T18:29:59.150" UserId="9824" Comment="added 111 characters in body" Text="*Edit: Clarified this question to point out the differences between this and the one marked as a duplicate* &#xD;&#xA;&#xD;&#xA;I have a Blue Snowball USB microphone plugged into an HP PC running Windows 7. Whenever I record, the mic pics up what sounds like an electrical noise. The pattern sounds almost like morse code. As I lower the recording levels, the noise goes down as well. Here's a link to a sample:&#xD;&#xA;&#xD;&#xA;https://www.dropbox.com/s/ug4bv76ylmho29n/noise.wma?dl=0&#xD;&#xA;&#xD;&#xA;After some research I found some other examples of the same noise and it seems to be emanating from the PC's power supply.&#xD;&#xA;&#xD;&#xA;Here's what I've tried so far to eliminate the noise:&#xD;&#xA;&#xD;&#xA;-Turning off every piece of equipment (including battery-operated devices) except the PC and monitor&#xD;&#xA;&#xD;&#xA;-Moving the microphone away from the PC&#xD;&#xA;&#xD;&#xA;-Removing ground on everything plugged into the PC and leaving the PC grounded&#xD;&#xA;&#xD;&#xA;-Removing ground on everything including the PC&#xD;&#xA;&#xD;&#xA;-Using a powered USB hub between the PC and the mic&#xD;&#xA;&#xD;&#xA;One of the answers to this [question][1] suggests using a professional sound card. In my case, I'm using a USB mic, not a mixing board, but the answer got me thinking about installing a USB card with some sort of isolation from the interference. But I don't even know if these exist.&#xD;&#xA;&#xD;&#xA;What other steps can I try, short of using a different PC or power supply, to get rid of the whine?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: https://sound.stackexchange.com/questions/23541/noise-connecting-mixer-to-pc&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;**Answer:&#xD;&#xA;The microphone turned out to be defective. A new microphone resolved the mysterious sound.** I am not able to answer this normally or accept and answer because the question is still incorrectly marked as a duplicate." ContentLicense="CC BY-SA 3.0" />
  <row Id="57462" PostHistoryTypeId="2" PostId="30198" RevisionGUID="a703fa07-a91c-4a29-9654-bca41bd4066d" CreationDate="2014-09-09T19:56:03.700" UserId="7417" Text="I'm not sure how's it called. I use an EQ for my microphone. I have two options how to plug it:&#xD;&#xA;&#xD;&#xA;    Microphone -&gt; MIC IN -&gt; Insert OUT -&gt; EQ unit -&gt; Insert IN -&gt;&#xD;&#xA;    Microphone -&gt; EQ unit -&gt; MIC IN -&gt; Skip Insert&#xD;&#xA;&#xD;&#xA;(of course, `Insert OUT&amp;IN` is one plug only). I don't know which is a better option. Should I observe any quality difference? Are there any precautions to be considered? Is any of the options significantly more convenient for some reason?&#xD;&#xA;&#xD;&#xA;My setup:&#xD;&#xA;&#xD;&#xA;- Mixer YAMAHA MG102C&#xD;&#xA;- Microphone SHURE PG58 (will be upgraded to something better soon)&#xD;&#xA;- Equalizer DOD SR430 Qx" ContentLicense="CC BY-SA 3.0" />
  <row Id="57463" PostHistoryTypeId="1" PostId="30198" RevisionGUID="a703fa07-a91c-4a29-9654-bca41bd4066d" CreationDate="2014-09-09T19:56:03.700" UserId="7417" Text="Effects: On &quot;insert&quot; or &quot;on-line&quot;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57464" PostHistoryTypeId="3" PostId="30198" RevisionGUID="a703fa07-a91c-4a29-9654-bca41bd4066d" CreationDate="2014-09-09T19:56:03.700" UserId="7417" Text="&lt;microphone&gt;&lt;mixer&gt;&lt;eq&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57466" PostHistoryTypeId="2" PostId="30199" RevisionGUID="52ac626e-601f-4c1e-8a42-11ee8199ecaa" CreationDate="2014-09-09T22:05:28.897" UserId="9729" Text="You would probably want to use the insert so the signal passes through the preamp on your mixer before hitting the equalizer." ContentLicense="CC BY-SA 3.0" />
  <row Id="57467" PostHistoryTypeId="2" PostId="30200" RevisionGUID="43d0a27c-e3da-4465-8c84-c7b898835e93" CreationDate="2014-09-09T23:15:46.133" UserId="8071" Text="I'll soon have a number of projects coming in sequence for which I'd like to prepare some blank &quot;stems&quot; so I don't have to prepare them ahead of each project. &#xD;&#xA;&#xD;&#xA;The only problem is that Pro Tools is applying (as it should) the unique ID.&#xD;&#xA;&#xD;&#xA;Is there a way I can remove that ID so I can use these clips without having ID collisions?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57468" PostHistoryTypeId="1" PostId="30200" RevisionGUID="43d0a27c-e3da-4465-8c84-c7b898835e93" CreationDate="2014-09-09T23:15:46.133" UserId="8071" Text="Is it possible to remove the Pro Tools Unique ID from an audio file?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57469" PostHistoryTypeId="3" PostId="30200" RevisionGUID="43d0a27c-e3da-4465-8c84-c7b898835e93" CreationDate="2014-09-09T23:15:46.133" UserId="8071" Text="&lt;pro-tools&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57470" PostHistoryTypeId="2" PostId="30201" RevisionGUID="78995aa1-938e-4c38-b358-043d0859dca0" CreationDate="2014-09-10T09:45:17.670" UserId="9899" Text="In the below picture is the mic input missing a nut.&#xD;&#xA;&#xD;&#xA;Does anyone know the size and name of such a nut?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;![this][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/rmUwF.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="57471" PostHistoryTypeId="1" PostId="30201" RevisionGUID="78995aa1-938e-4c38-b358-043d0859dca0" CreationDate="2014-09-10T09:45:17.670" UserId="9899" Text="What is the size and name of mic input nut?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57472" PostHistoryTypeId="3" PostId="30201" RevisionGUID="78995aa1-938e-4c38-b358-043d0859dca0" CreationDate="2014-09-10T09:45:17.670" UserId="9899" Text="&lt;microphone&gt;&lt;speakers&gt;&lt;hardware&gt;&lt;equipment&gt;&lt;connector&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57473" PostHistoryTypeId="2" PostId="30202" RevisionGUID="12f754fd-e2cf-4006-8fa1-e5340daa79b2" CreationDate="2014-09-10T13:35:29.637" UserId="9900" Text="If you are referring to the hardware that retains the jack, in the US it is a 3/8-32 jam nut. Most likely.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57476" PostHistoryTypeId="2" PostId="30204" RevisionGUID="aa6df031-7f17-4a54-9313-b32316b68270" CreationDate="2014-09-10T22:44:04.313" UserId="842" Text="Good question! There are already some good answers here, and the one I thought of first and foremost was bats and whales, crickets, grasshoppers and cicadas, but for some really interesting sounds I'd give it a go at the city during rush-hour! As central as possible, and everything from crowds, to footsteps, to kids, to - and this is something of a favorite to me - escalators! And beyond.&#xD;&#xA;&#xD;&#xA;When it comes to surreal and weird noises, reverbant spaces can be an endless source of joy, as can old motors and machines! New gas-driven engines though are almost exclusively pretty boring.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57478" PostHistoryTypeId="5" PostId="30200" RevisionGUID="8245ec9c-7287-448b-9718-8730d822f45e" CreationDate="2014-09-11T20:42:10.917" UserId="8071" Comment="added 389 characters in body" Text="I'll soon have a number of projects coming in sequence for which I'd like to prepare some blank &quot;stems&quot; so I don't have to prepare them ahead of each project. &#xD;&#xA;&#xD;&#xA;The only problem is that Pro Tools is applying (as it should) the unique ID.&#xD;&#xA;&#xD;&#xA;Is there a way I can remove that ID so I can use these clips without having ID collisions?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;Edit:&#xD;&#xA;&#xD;&#xA;Sorry for the confusion. I will have multiple projects taking place in short order soon.  &#xD;&#xA;&#xD;&#xA;As part of the process we render blank stems files.  I would like to pre-render blank stem files to then import into these upcoming projects.  Since the projects are unrelated I need to make sure that the blank stems don't have unique Ids when they're imported to the new project." ContentLicense="CC BY-SA 3.0" />
  <row Id="57479" PostHistoryTypeId="2" PostId="30205" RevisionGUID="e3a42e9e-8442-4c36-bf3a-bfcf8664d4e8" CreationDate="2014-09-12T00:21:09.467" UserId="7213" Text="WAV files are RIFF files, with a separate section for metadata like the unique ID. There's at least one file editor that will allow you to view and modify the BWF data, [BWF MetaEdit][1]. It should be just what you need. There may be others -- you can search for WAV Metadata Editor or BWF editor to see. &#xD;&#xA;&#xD;&#xA;It would be quite easy for a decent programmer to write something to blank out the ID field, or to create a new unique ID each time it will be used.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://bwfmetaedit.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="57480" PostHistoryTypeId="2" PostId="30206" RevisionGUID="19117819-590d-413f-8738-3ce8e7f8465b" CreationDate="2014-09-12T02:09:34.593" UserId="8353" Text="Hi can you recommend movies where the main characters get overwhelmed and they start to &quot;tune out&quot; from the real world and their surroundings? (The effect being that everything is slowly brought down in terms of level, or sometimes replaced by just a ringing in the ear. Usually accompanied by slow motion picture, etc.) &#xD;&#xA;&#xD;&#xA;I know this happens a lot in war movies but I forget which titles. Also, if there are non-war movies that use this style. &#xD;&#xA;&#xD;&#xA;Thanks so much!" ContentLicense="CC BY-SA 3.0" />
  <row Id="57481" PostHistoryTypeId="1" PostId="30206" RevisionGUID="19117819-590d-413f-8738-3ce8e7f8465b" CreationDate="2014-09-12T02:09:34.593" UserId="8353" Text="Tuning out from world sound design" ContentLicense="CC BY-SA 3.0" />
  <row Id="57482" PostHistoryTypeId="3" PostId="30206" RevisionGUID="19117819-590d-413f-8738-3ce8e7f8465b" CreationDate="2014-09-12T02:09:34.593" UserId="8353" Text="&lt;design&gt;&lt;film&gt;&lt;sound&gt;&lt;movies&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57484" PostHistoryTypeId="2" PostId="30207" RevisionGUID="f2f4d8c3-4df9-47cc-892d-4f727053fa77" CreationDate="2014-09-12T02:19:12.887" UserId="9908" Text="I am producing sounds for an old time vampire game. I have recorded human vocals in Latin that I would like to combine with a bat scream. It's (obviously) for a section in the game where the vampire turns into the bat. &#xD;&#xA;&#xD;&#xA;It would be incredible if I could find a technique or a plug-in that could help manipulate the two audio regions together to make a desired &quot;morphing&quot; effect. I've tried a few techniques, but they have not produced the sound I was hoping for. &#xD;&#xA;&#xD;&#xA;Please feel free to add any type of technique or idea. Would love to learn more about this type of design." ContentLicense="CC BY-SA 3.0" />
  <row Id="57485" PostHistoryTypeId="1" PostId="30207" RevisionGUID="f2f4d8c3-4df9-47cc-892d-4f727053fa77" CreationDate="2014-09-12T02:19:12.887" UserId="9908" Text="How would one &quot;morph&quot; human vocals with a bat scream?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57486" PostHistoryTypeId="3" PostId="30207" RevisionGUID="f2f4d8c3-4df9-47cc-892d-4f727053fa77" CreationDate="2014-09-12T02:19:12.887" UserId="9908" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;techniques&gt;&lt;gameaudio&gt;&lt;plug-ins&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57487" PostHistoryTypeId="2" PostId="30208" RevisionGUID="a2cf8caa-0652-4863-a2c5-85eaacc32e1e" CreationDate="2014-09-12T02:44:42.927" UserId="8353" Text="Maybe it's the phrasing or the cadence of speech? Sometimes that's what makes the transition sound wrong. Both &quot;voices&quot; should be performed similarly to seamlessly morph into the other. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57490" PostHistoryTypeId="2" PostId="30210" RevisionGUID="4eb66980-354a-4eb4-be75-fcc55a5d9b39" CreationDate="2014-09-12T07:02:17.090" UserId="9601" Text="Two guesses at methods - I've never actually tried either of these myself...&#xD;&#xA;&#xD;&#xA; 1. Using an envelope follower to raise the volume of the scream dynamically with the speech.&#xD;&#xA; 2. Using VocAlign to try matching the scream to the speech, ADR-style.&#xD;&#xA;&#xD;&#xA;For both, then perhaps just cross-fading one into the other, if that's the desired final effect." ContentLicense="CC BY-SA 3.0" />
  <row Id="57494" PostHistoryTypeId="2" PostId="30212" RevisionGUID="1d128498-e3b9-416e-9d99-36606f3bde22" CreationDate="2014-09-12T15:00:10.827" UserId="9911" Text="Many films and television shows from the 80s and 90s (for example, *Blade Runner*, the BBC television adaptation of *The Hitchhiker's Guide to the Galaxy*, etc.) that depict computers use a distinctive type of sound effect when a computer is shown printing out text letter-by-letter or incrementally performing some other process, like zooming in on a wireframe rendering of a 3D model (always a popular choice). Of course, computers in real life very rarely makes noises while printing text (and are even less likely to print text letter-by-letter), but it's an entertaining sound effect.&#xD;&#xA;&#xD;&#xA;Here are some (not-so-great) [examples][1] from a sound library. Here's [another example][2] from *The Hunt for Red October* (obtained from a thread entitled &quot;Help me identify the clichéd sound effect used to label locations in certain films and tv shows&quot;; I don't have enough reputation yet to post a link to it).&#xD;&#xA;&#xD;&#xA;This type of sound effect seems to be essentially just a rapid sequence of beeps of various pitches. However, simply stringing together lots of sawtooth beeps in the 150-400 Hz range does not produce a particularly engaging result.&#xD;&#xA;&#xD;&#xA;What might the high-level procedure be for producing this sort of &quot;computer readout&quot; sound? Any suggestions or comments are appreciated.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiosparx.com/sa/display/sounds.cfm/sound_group_iid.5540&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=AWPBr4L1eyE&amp;t=0m27s" ContentLicense="CC BY-SA 3.0" />
  <row Id="57495" PostHistoryTypeId="1" PostId="30212" RevisionGUID="1d128498-e3b9-416e-9d99-36606f3bde22" CreationDate="2014-09-12T15:00:10.827" UserId="9911" Text="Replicating &quot;computer readout&quot; sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="57496" PostHistoryTypeId="3" PostId="30212" RevisionGUID="1d128498-e3b9-416e-9d99-36606f3bde22" CreationDate="2014-09-12T15:00:10.827" UserId="9911" Text="&lt;sound-effects&gt;&lt;film-sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57497" PostHistoryTypeId="5" PostId="30212" RevisionGUID="3cb2f2b9-40ac-4278-832c-a01f856b0120" CreationDate="2014-09-12T15:55:47.333" UserId="6957" Comment="inline video" Text="Many films and television shows from the 80s and 90s (for example, *Blade Runner*, the BBC television adaptation of *The Hitchhiker's Guide to the Galaxy*, etc.) that depict computers use a distinctive type of sound effect when a computer is shown printing out text letter-by-letter or incrementally performing some other process, like zooming in on a wireframe rendering of a 3D model (always a popular choice). Of course, computers in real life very rarely makes noises while printing text (and are even less likely to print text letter-by-letter), but it's an entertaining sound effect.&#xD;&#xA;&#xD;&#xA;Here are some (not-so-great) [examples][1] from a sound library. Here's another example from *The Hunt for Red October* (obtained from a thread entitled &quot;Help me identify the clichéd sound effect used to label locations in certain films and tv shows&quot;&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=AWPBr4L1eyE&amp;t=0m27s&#xD;&#xA;&#xD;&#xA;This type of sound effect seems to be essentially just a rapid sequence of beeps of various pitches. However, simply stringing together lots of sawtooth beeps in the 150-400 Hz range does not produce a particularly engaging result.&#xD;&#xA;&#xD;&#xA;What might the high-level procedure be for producing this sort of &quot;computer readout&quot; sound? Any suggestions or comments are appreciated.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiosparx.com/sa/display/sounds.cfm/sound_group_iid.5540&#xD;&#xA;  [2]: http://www.youtube.com/watch?v=AWPBr4L1eyE&amp;t=0m27s" ContentLicense="CC BY-SA 3.0" />
  <row Id="57498" PostHistoryTypeId="2" PostId="30213" RevisionGUID="a7d48db4-8ed0-4dd6-a662-61ff29b314e2" CreationDate="2014-09-12T16:43:59.617" UserId="8017" Text="Rebal Instinct, I wonder if Dehumaniser would be of use to you? It's an app specifically designed to morph human into monster sounds and back again: http://dehumaniser.com/&#xD;&#xA;&#xD;&#xA;That being said, I'd love to see more modern and accessible morph plugins. Aside from Prosonic/Zynaptiq Morph (which is ancient and hasn't had a major update in years) and Symbolc Sound Kyma (too costly for most and not trivial to integrate into a DAW workflow), it seems the market is really missing some cool tools to address these frequent needs — so many video games and films use creatures..." ContentLicense="CC BY-SA 3.0" />
  <row Id="57499" PostHistoryTypeId="2" PostId="30214" RevisionGUID="8bd83ab1-6308-4448-ba6c-407b973d153a" CreationDate="2014-09-12T16:47:07.720" UserId="8017" Text="Highly relevant, you will enjoy digesting the many examples in here: http://tvtropes.org/pmwiki/pmwiki.php/Main/ShellShockSilence&#xD;&#xA;&#xD;&#xA;Mass Effect games also have this effect when you're &quot;low health&quot;, a low-pass filter blurs the music until you recover: http://youtu.be/oAG7NitWGIQ?t=40s" ContentLicense="CC BY-SA 3.0" />
  <row Id="57500" PostHistoryTypeId="2" PostId="30215" RevisionGUID="14a37079-fd4a-4407-8c90-627ceae77a81" CreationDate="2014-09-12T17:21:15.553" UserId="6399" Text="I think editing and maybe some pitch/formant shifting could get you pretty far.  Sometimes convolution can work to get the tone changing to more of a Bat from human.  Izotope IRIS would seem like a good tool to try also, I've never used it but it seems like this is exactly what it's supposed to help you with.  I would err on the side of natural since you said it was an old time game." ContentLicense="CC BY-SA 3.0" />
  <row Id="57501" PostHistoryTypeId="2" PostId="30216" RevisionGUID="d86e6a59-2b97-4057-b3cc-36d28660e53a" CreationDate="2014-09-12T17:58:03.757" UserId="9857" Text="Here's the pitch pipe sound I want to emulate:&#xD;&#xA;http://www.harmonize.com/metropolis/images/Sounds/CNatural.mp3&#xD;&#xA;&#xD;&#xA;I read through the synthesis techniques for PD here http://pd-tutorial.com/english/ch03.html&#xD;&#xA;&#xD;&#xA;I analyzed the sound file in Audacity&#xD;&#xA;to try and get an understanding of what combination of sound waves and synthesis techniques could create the sound.&#xD;&#xA;&#xD;&#xA;I used saw and sine waves with a high-pass filter. In result, I still get a primitive sound.&#xD;&#xA;&#xD;&#xA;I'm new to the sound waves and filtering. Hopefully the pitch pipe example helps you&#xD;&#xA;to explain what waves and filters would get that sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="57502" PostHistoryTypeId="1" PostId="30216" RevisionGUID="d86e6a59-2b97-4057-b3cc-36d28660e53a" CreationDate="2014-09-12T17:58:03.757" UserId="9857" Text="How to make a good Pitch Pipe Sound in Pure Data" ContentLicense="CC BY-SA 3.0" />
  <row Id="57503" PostHistoryTypeId="3" PostId="30216" RevisionGUID="d86e6a59-2b97-4057-b3cc-36d28660e53a" CreationDate="2014-09-12T17:58:03.757" UserId="9857" Text="&lt;sound-design&gt;&lt;music&gt;&lt;synthesizer&gt;&lt;electronic-music&gt;&lt;puredata&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57504" PostHistoryTypeId="2" PostId="30217" RevisionGUID="dcc22565-4ac4-46e8-80a8-93b157b991ea" CreationDate="2014-09-12T18:15:14.777" UserId="842" Text="Combination? It's nothing more than a pulse-wave, if anything plain through a high-pass filter. From the thin characteristics and fluxing pitch/overtones (which is NOT a good thing in a pitch-pipe) I guess this comes from an old, yet pretty cheap and not yet warmed up analogue synth. And with basic fades in the beginning and end, though the change in characteristics during the course of the sound tells it's probably directly ADSR from the synth even if it can easily be made in an audio editor. Absolutely any synth can do it, just chose the right waveform and turn everything except the oscillator and the final amp off - keeping it as simple as possible and rather subtracting things than adding is the key here." ContentLicense="CC BY-SA 3.0" />
  <row Id="57505" PostHistoryTypeId="2" PostId="30218" RevisionGUID="c3c105b2-f6c8-4440-8a3a-1b8400991b21" CreationDate="2014-09-12T18:26:36.017" UserId="842" Text="Each individual grain in that loop is a complex piece with varying pitch through its course, repeated fast, but with space between each grain. There are numerous ways to do this, but myself I often use first and foremost my Commodore 64, and make good use of the &quot;revolving waveform&quot;-function it's so well known for, in combination with quick and heavy pitch-modulation, and sometimes one of my Palm Pilots. Then I record the entire session on the PC in full resolution, which as the Commodore 8 bit-line was analogue and had a wicked range, means fully 192 KHz 24 bits, and choose grains from there.&#xD;&#xA;&#xD;&#xA;I also use a synthesizer called Evolution EVS-1, but it's a little trickier to get to obey, and far from as intuitive, additive as it is. Which reminds me - additive based synths in general, be it FM or real additive synthesis alike, are often very nice for blips and stuff in general, though they can be tricky to learn how to operate." ContentLicense="CC BY-SA 3.0" />
  <row Id="57506" PostHistoryTypeId="5" PostId="30218" RevisionGUID="292db071-409b-4e0d-a81e-aa5d0a112ef7" CreationDate="2014-09-12T18:32:07.023" UserId="842" Comment="added 18 characters in body" Text="Each individual grain in that loop is a complex piece with varying pitch through its course, repeated fast, but with space between each grain. There are numerous ways to do this, but myself I often use first and foremost my Commodore 64, and make good use of the &quot;revolving waveform&quot;-function it's so well known for, in combination with quick and heavy pitch-modulation, and sometimes one of my Palm Pilots. Then I record the entire session on the PC in full resolution, which as the soundchip for the Commodore 8 bit-line was analogue and had a wicked range, means fully 192 KHz 24 bits, and choose grains from there.&#xD;&#xA;&#xD;&#xA;I also use a synthesizer called Evolution EVS-1, but it's a little trickier to get to obey, and far from as intuitive, additive as it is. Which reminds me - additive based synths in general, be it FM or real additive synthesis alike, are often very nice for blips and stuff in general, though they can be tricky to learn how to operate." ContentLicense="CC BY-SA 3.0" />
  <row Id="57507" PostHistoryTypeId="2" PostId="30219" RevisionGUID="9e2d4784-8255-4da1-a4b4-fa3ae70171ea" CreationDate="2014-09-12T20:47:47.180" UserId="9913" Text="The shortest length of time your eardrum can respond to a given sound depends on its frequency.&#xD;&#xA;&#xD;&#xA;The higher the frequency, the shorter the response time and the shorter time required for the ear to register a perceptible noise.&#xD;&#xA;&#xD;&#xA;Thus, for one who's highest audible frequency is, say 16kHz, the shortest length of time the sound would have to last is 0.0000625.&#xD;&#xA;&#xD;&#xA;The shortest sound at the lower end of the range, say 15Hz = 0.0666secs.  I would not perceive a sound at this frequency which lasted less than this time.&#xD;&#xA;&#xD;&#xA;For any given frequency 1/'x' will give you the answer.  Remember to convert kHz/MHz to Hz first." ContentLicense="CC BY-SA 3.0" />
  <row Id="57510" PostHistoryTypeId="5" PostId="30205" RevisionGUID="13cc2319-7cc3-4ee8-ad2f-20d349249b3f" CreationDate="2014-09-13T01:31:16.727" UserId="7213" Comment="added 260 characters in body" Text="WAV files are RIFF files, with a separate section for metadata like the unique ID. There's at least one file editor that will allow you to view and modify the BWF data, [BWF MetaEdit][1]. It should be just what you need. There may be others -- you can search for WAV Metadata Editor or BWF editor to see. &#xD;&#xA;&#xD;&#xA;It would be quite easy for a decent programmer to write something to blank out the ID field, or to create a new unique ID each time it will be used.&#xD;&#xA;&#xD;&#xA;EDIT: I wrote a small (Windows) utility to update the ID field in a WAV file. I don't know the protocol for this, but if you'd like to try it you can contact me off list. If it's something you find useful I'll be happy to give it to anyone else who wants it.&#xD;&#xA;&#xD;&#xA;  [1]: http://bwfmetaedit.sourceforge.net/" ContentLicense="CC BY-SA 3.0" />
  <row Id="57511" PostHistoryTypeId="2" PostId="30220" RevisionGUID="f2c3ce5d-f8df-40d5-989c-4e7869c07abb" CreationDate="2014-09-13T10:42:25.123" UserId="9915" Text="First of all, I'm not sure if this is the right place to ask this, if you can tell me where I should ask this, please say so.&#xD;&#xA;&#xD;&#xA;Alright, I'll get to it.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;I'm a student and I have trouble taking notes and listening at the same time, therefore i wish to get myself a voice recording device so I can listen to the teacher's talk [I dont know the word...] again.&#xD;&#xA;&#xD;&#xA;I'm looking for a voice recorder that can deal with some background noise (people quietly talking to eachother, etc.)&#xD;&#xA;&#xD;&#xA;I found some on Tweakers.net and a few on coolblue.com whose reviews seemed like what I might be looking for.&#xD;&#xA;&#xD;&#xA; - [Olympus VN-711PC][1]&#xD;&#xA; - [Olympus VN-7600] [2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.voicerecordershop.nl/product-reviews/170133/olympus-vn-711pc.html&#xD;&#xA;  [2]: http://tweakers.net/pricewatch/303192/olympus-vn-7600.html&#xD;&#xA;&#xD;&#xA;Any and all help or advice is welcome and appreciated,&#xD;&#xA;&#xD;&#xA;If you need clarification, please tell me and I'll try my best to clear it up.&#xD;&#xA;&#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="57512" PostHistoryTypeId="1" PostId="30220" RevisionGUID="f2c3ce5d-f8df-40d5-989c-4e7869c07abb" CreationDate="2014-09-13T10:42:25.123" UserId="9915" Text="School class recording" ContentLicense="CC BY-SA 3.0" />
  <row Id="57513" PostHistoryTypeId="3" PostId="30220" RevisionGUID="f2c3ce5d-f8df-40d5-989c-4e7869c07abb" CreationDate="2014-09-13T10:42:25.123" UserId="9915" Text="&lt;purchase-advice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57514" PostHistoryTypeId="2" PostId="30221" RevisionGUID="b945d693-4b2c-4dcb-8163-81866b1422d7" CreationDate="2014-09-14T00:14:45.017" UserId="7821" Text="I have a stereo mix file at about 0 dbfs. When I put a high pass filter and cut below 30Hz it boost the signal +3db up. **Is this normal**? I tested it with different filters (plug ins only) and I had the same result. DAW was ableton but I remember I had the same issue with Pro Tools in the past." ContentLicense="CC BY-SA 3.0" />
  <row Id="57515" PostHistoryTypeId="1" PostId="30221" RevisionGUID="b945d693-4b2c-4dcb-8163-81866b1422d7" CreationDate="2014-09-14T00:14:45.017" UserId="7821" Text="Why signal is overloaded when I use a low cut filter?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57516" PostHistoryTypeId="3" PostId="30221" RevisionGUID="b945d693-4b2c-4dcb-8163-81866b1422d7" CreationDate="2014-09-14T00:14:45.017" UserId="7821" Text="&lt;audio&gt;&lt;mastering&gt;&lt;filtering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57518" PostHistoryTypeId="2" PostId="30222" RevisionGUID="1d2b68e8-24c7-4ca6-9f08-96920f9973fd" CreationDate="2014-09-14T10:55:56.240" UserId="9919" Text="&#xD;&#xA;I have ripped an audio CD using iTunes and saved it in Apple Lossless format. I used Spek to draw a specrtogram and here is the result:&#xD;&#xA;&#xD;&#xA;![Lossless Audio Specrtogram][1]&#xD;&#xA;&#xD;&#xA;My first question is, why doesn't it go all the way up to 22 kHz? Does this mean that they sell audio CDs recorded from lossy formats?&#xD;&#xA;&#xD;&#xA;Another thing I want to ask is about converting this file to a lossy format. I used iTunes to convert this file to AAC (iTunes Plus) format. The specrtogram now reaches 22kHz at some points. So how is this possible?&#xD;&#xA;Here is the image (I converted the aac file to wav for compatibilty with other programs, but this should not have any effect):&#xD;&#xA;![Lossy Audio Specrtogram][2]&#xD;&#xA;&#xD;&#xA;I'm new to analyzing specrtograms, so I hope you can help me understand them.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/cpPtA.jpg&#xD;&#xA;  [2]: http://i.stack.imgur.com/cEu5s.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="57519" PostHistoryTypeId="1" PostId="30222" RevisionGUID="1d2b68e8-24c7-4ca6-9f08-96920f9973fd" CreationDate="2014-09-14T10:55:56.240" UserId="9919" Text="How lossless is my lossless music?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57520" PostHistoryTypeId="3" PostId="30222" RevisionGUID="1d2b68e8-24c7-4ca6-9f08-96920f9973fd" CreationDate="2014-09-14T10:55:56.240" UserId="9919" Text="&lt;conversion&gt;&lt;quality&gt;&lt;spectrum&gt;&lt;spectral&gt;&lt;flac&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57521" PostHistoryTypeId="5" PostId="30220" RevisionGUID="aa22058e-e103-4885-91fe-847c0d78f104" CreationDate="2014-09-14T13:46:12.203" UserId="6957" Comment="deleted 175 characters in body" Text="I'm a student and I have trouble taking notes and listening at the same time, therefore I wish to get myself a voice recording device so I can listen to the teacher's lecture again later.&#xD;&#xA;&#xD;&#xA;I'm looking for a voice recorder that can deal with some background noise (people quietly talking to each other, etc.)&#xD;&#xA;&#xD;&#xA;I found some on Tweakers.net and a few on coolblue.com whose reviews seemed like what I might be looking for.&#xD;&#xA;&#xD;&#xA; - [Olympus VN-711PC][1]&#xD;&#xA; - [Olympus VN-7600] [2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.voicerecordershop.nl/product-reviews/170133/olympus-vn-711pc.html&#xD;&#xA;  [2]: http://tweakers.net/pricewatch/303192/olympus-vn-7600.html&#xD;&#xA;&#xD;&#xA;Any and all help or advice is welcome and appreciated,&#xD;&#xA;&#xD;&#xA;If you need clarification, please tell me and I'll try my best to clear it up.&#xD;&#xA;&#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="57522" PostHistoryTypeId="2" PostId="30223" RevisionGUID="b17f1fa0-4df6-4cda-9137-dc5eca9b935d" CreationDate="2014-09-14T16:22:14.440" UserId="182" Text="Audio sampled at 44.1 kHz (like normal audio CDs) can in theory contain content up to the Nyquist limit of 22.05kHz. However, you need a filter to remove all content above that limit, otherwise it folds back into the hearable range: you hear this as aliasing. &#xD;&#xA;&#xD;&#xA;A perfect, theoretical filter would remove all content above 22.05kHz and leave everything else unaffected. This would be an infinitely steep low-pass filter. &#xD;&#xA;&#xD;&#xA;In practice, such a filter doesn't exist, so a very steep low-pass filter is set at about 20 kHz, so that the attenuation is sufficient at 22.05kHz to make the aliasing inaudible.&#xD;&#xA;&#xD;&#xA;Besides, a perfect human being hears frequency content up to 20kHz. Most, if not all are not perfect, so depending on age and other factors they don't hear anything above 16/17/18 kHz. This means this practical filtering is not a problem for everyday listening.&#xD;&#xA;&#xD;&#xA;---&#xD;&#xA;&#xD;&#xA;A lossy format, like mp3 or aac, analyses the audio and manipulates it in such a way that it can be saved using less data, while minimising the audible effects this has. This could also mean that certain peaks are saved unfiltered, because the algorithm knows the super-high-frequency content which is that quiet will be masked by the rest of the audio, or even be completely inaudible to the human ear.&#xD;&#xA;The peaks in your spectrogram could also result from the decoding algorithm performing insufficient filtering for the peaks to show up in the analysis. This doesn't automatically mean that the filtering is bad: do you hear these spikes? Probably not.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57523" PostHistoryTypeId="5" PostId="28409" RevisionGUID="5a554ba3-5f6a-4ab3-b82a-867ffefac495" CreationDate="2014-09-14T17:23:29.527" UserId="7797" Comment="deleted 4 characters in body" Text="I'm trying to recreate a synthesizer sound in Ableton. I have access to VSTs like Sylenth and Massive, but I'd prefer to do it with only Ableton's Operator synthesizer.&#xD;&#xA;&#xD;&#xA;But for starters, it'd be great if some of you pros could tell me, how the sound was assembled.&#xD;&#xA;&#xD;&#xA;[Here is a sound sample.][1] The melody is D2, D3, D#2, D#3, F#3. D#3.&#xD;&#xA;&#xD;&#xA;The waveform looks like this for a D2. Second one is enlarged, so the individual sample points are visible.&#xD;&#xA;&#xD;&#xA;![Waveform for D2][2]&#xD;&#xA;![Waveform for D2][3]&#xD;&#xA;&#xD;&#xA;The spectrum for a D2.&#xD;&#xA;&#xD;&#xA;![Spectrum for D2][4]&#xD;&#xA;&#xD;&#xA;So, what do I have so far? In the beginning I thougt this is a saw wave, because using a saw wave, I was able to get a similiar spectrum. But something was off. The even spikes were always too high.&#xD;&#xA;&#xD;&#xA;As you can see here, every second spike is significantly smaller, than the other spikes. They also line up very well.&#xD;&#xA;&#xD;&#xA;![Spectrum for D2][5]&#xD;&#xA;&#xD;&#xA;This led me two using a combination of a square wave and a saw wave, with the saw wave piched up one octave and a bit quieter. I think it sounds more &quot;squarey&quot; than &quot;sawy&quot; anyways.&#xD;&#xA;&#xD;&#xA;What we have now looks like this. As you can see, the spikes somewhat line up.&#xD;&#xA;&#xD;&#xA;![enter image description here][6]&#xD;&#xA;&#xD;&#xA;But that doesn't quite make the cut. As [you can hear][7] the two synths still sound very different. They also look different. (Original vs clone)&#xD;&#xA;&#xD;&#xA;![enter image description here][8]&#xD;&#xA;![enter image description here][9]&#xD;&#xA;&#xD;&#xA;It looks like my version needs some kind of &quot;smoothing&quot;. But I have know idea, how to achieve that.&#xD;&#xA;&#xD;&#xA;First off, the original is distorted in some way. The high end basically sounds like white noise. Then there's a cut off filter, reverb and something that brings in some stereo, as well as some bass wibble wobble.&#xD;&#xA;&#xD;&#xA;Can you share some tips or do you have any ideas how to proceed? Am I on the right track or should I take a completely different approach.&#xD;&#xA;&#xD;&#xA;A different way of copying the sound be to use Simpler, but I don't want to sample the original synthesizer.&#xD;&#xA;&#xD;&#xA;  [1]: https://soundcloud.com/silvinci/synth/s-w6Hvj&#xD;&#xA;  [2]: http://i.stack.imgur.com/wM93R.png&#xD;&#xA;  [3]: http://i.stack.imgur.com/fVPYs.png&#xD;&#xA;  [4]: http://i.stack.imgur.com/TztBr.png&#xD;&#xA;  [5]: http://i.stack.imgur.com/e3BfT.png&#xD;&#xA;  [6]: http://i.stack.imgur.com/ISfho.png&#xD;&#xA;  [7]: https://soundcloud.com/phvcky/synth/s-w6Hvj&#xD;&#xA;  [8]: http://i.stack.imgur.com/LIMk0.png&#xD;&#xA;  [9]: http://i.stack.imgur.com/6aEWG.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57528" PostHistoryTypeId="2" PostId="30225" RevisionGUID="6c9090f7-ae01-439f-bad6-946c27232d1c" CreationDate="2014-09-14T23:21:44.053" UserId="9926" Text="i am using nuendo five on a PC, i have several tracks in my project and I want to export them as one stereo mp3. when I click  file export - then audio mix down the export audio misdown box opens but it doesn't appear to have a box for me to check for a stereo mix down, can anyone help because I am currently exporting in mono and it's driving me nuts!&#xD;&#xA;&#xD;&#xA;cheers all" ContentLicense="CC BY-SA 3.0" />
  <row Id="57529" PostHistoryTypeId="1" PostId="30225" RevisionGUID="6c9090f7-ae01-439f-bad6-946c27232d1c" CreationDate="2014-09-14T23:21:44.053" UserId="9926" Text="Exporting audio in Nuendo five" ContentLicense="CC BY-SA 3.0" />
  <row Id="57530" PostHistoryTypeId="3" PostId="30225" RevisionGUID="6c9090f7-ae01-439f-bad6-946c27232d1c" CreationDate="2014-09-14T23:21:44.053" UserId="9926" Text="&lt;nuendo&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57531" PostHistoryTypeId="2" PostId="30226" RevisionGUID="77bb19da-7699-49fc-a12e-c3627fda72b9" CreationDate="2014-09-15T03:09:47.970" UserDisplayName="user9927" Text="The beach scene in Saving Private Ryan. Check it out at 4:35.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=82RTzi5Vt7w" ContentLicense="CC BY-SA 3.0" />
  <row Id="57532" PostHistoryTypeId="2" PostId="30227" RevisionGUID="7eb76da6-23a2-4a04-8cd1-ce75df75d352" CreationDate="2014-09-15T04:26:32.043" UserId="9928" Text="I've got a scene which a huge rock is rolling down a mountain.how can I make this sound?  Is there a material I can use to make the sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57533" PostHistoryTypeId="1" PostId="30227" RevisionGUID="7eb76da6-23a2-4a04-8cd1-ce75df75d352" CreationDate="2014-09-15T04:26:32.043" UserId="9928" Text="Foley: a rolling rock" ContentLicense="CC BY-SA 3.0" />
  <row Id="57534" PostHistoryTypeId="3" PostId="30227" RevisionGUID="7eb76da6-23a2-4a04-8cd1-ce75df75d352" CreationDate="2014-09-15T04:26:32.043" UserId="9928" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57535" PostHistoryTypeId="2" PostId="30228" RevisionGUID="1dc50a78-8f51-4d76-a284-936b43847608" CreationDate="2014-09-15T06:38:53.680" UserId="9601" Text="This pic is from Cubase 7.5, but the export window hasn't changed much over the years... Do you not have the mono down mix option?&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/AnOga.jpg" ContentLicense="CC BY-SA 3.0" />
  <row Id="57539" PostHistoryTypeId="19" PostId="22871" RevisionGUID="a23bce71-3797-474c-b995-772ccb6de51f" CreationDate="2014-09-15T07:21:31.320" UserId="-1" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:-1,&quot;DisplayName&quot;:&quot;Community&quot;}]}" />
  <row Id="57540" PostHistoryTypeId="2" PostId="30230" RevisionGUID="dd97e39c-a683-4ffa-8d73-587195392625" CreationDate="2014-09-15T08:47:51.870" UserId="3418" Text="I have wandered about it a while back while using a low cut eq in logic, using a Linear Phase EQ instead of a regular eq solved this mystery.&#xD;&#xA;&#xD;&#xA;Unfortunately, I don't know the theoretical explanation behind it but I suspect that a regular eq can create unwanted phase artifacts and hence those picks in your signal.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57541" PostHistoryTypeId="2" PostId="30231" RevisionGUID="180e94b6-6dae-48a5-8fc2-a92f62b38757" CreationDate="2014-09-15T11:01:44.253" UserId="7652" Text="Could it be the filter resonance?&#xD;&#xA;&#xD;&#xA;http://beausievers.com/synth/synthbasics/#propertiesoffilters" ContentLicense="CC BY-SA 3.0" />
  <row Id="57542" PostHistoryTypeId="2" PostId="30232" RevisionGUID="f301fa51-6dc9-48e3-a4c6-05f01dad13d1" CreationDate="2014-09-15T12:06:42.147" UserId="7200" Text="It is not inevitable, but nor is it surprising &amp;ndash; yes, it would call it normal.&#xD;&#xA;&#xD;&#xA;&quot;Low cut&quot; doesn't specify what the filter does exactly. Better models will either give a whole bunch of possible settings, or specify clearly the characteristic. If nothing is specified, the filter will generally be either&#xD;&#xA;&#xD;&#xA;- A **[first-order IIR](http://en.wikipedia.org/wiki/High-pass_filter#First-order_continuous-time_implementation) (aka LP6)**. The advantage of this simple design is that it never boosts the total peak level: the filter simply follows the signal as-is, disregarding high-frequency peaks. So evidently this is not the design you're dealing with &amp;ndash; indeed it wouldn't be much use either, since these filters have a very shallow cutoff (6 dB/8ve): set at 30 dB you'd scarcely notice any difference, and set to higher frequencies you'd affect also the desired bass range.&#xD;&#xA;&#xD;&#xA;- A **resonance-free second-order IIR** would be simply two of the above in series. That increases the cutoff steepness at low frequencies, but it still leaves a vast range where the signal is attenuated feebly.&#xD;&#xA;&#xD;&#xA;- A **[second-order Butterworth filter](http://en.wikipedia.org/wiki/Butterworth_filter) (aka LP12)** mitigates this problem: it adds a slight resonance peak at the &quot;knee&quot; of the filter, not so strong that the signal is actually boosted anywhere, but a resonance it is nevertheless. This is most likely the cause of your issue.&#xD;&#xA;&lt;br&gt;To understand why the peak level increases even though the filter does not boost any frequencies, you need to consider the _phase relations_: different frequencies are shifted by different &quot;angle&quot;. Perhaps easier to understand: like the first-order IIR (actually, that can also be called _first-order Butterworth_), it follows the signal shape, but to avoid the &quot;cutoff knee&quot;, the Butterworth2 &quot;echoes&quot; oscillations in that range. Therefore, short bursts can come out with higher amplitude (though never higher [RMS](http://en.wikipedia.org/wiki/Root_mean_square)).&#xD;&#xA;&#xD;&#xA;- **Butterworth** filters of **higher order** have basically the same issue, only worse; same goes for **Chebyshev-**, **Cauer-** etc. filters. I don't think those are used in any widespread filter plugins.&#xD;&#xA;&#xD;&#xA;- **[Bessel filters](http://en.wikipedia.org/wiki/Bessel_filter)** are specifically designed to minimise overshoot/phase distortion. But even they don't completely remove it. Indeed this isn't possible with analogue filters other than LP6-cascades!&#xD;&#xA;&#xD;&#xA;- What is needed for zero-overshoot without a big filter knee: add some resonance, but with &quot;symmetric&quot; character. This is only possible if the filter can look &quot;forward in time&quot;. Which isn't possible in live sound, but certainly in digital recording. Note that this will also cause &quot;inverse reverb&quot; artifacts, i.e. you might be able to hear sounds in the recording before they actually occur – mostly an issue for **phase-linear brickwall FIRs**. Those can literally cut away all frequencies below 30 Hz, but this will severely mutilate the time-domain of pulses, with tens of milliseconds of &quot;pre-smearing&quot;. (Brickwall FIRs are an essential part of proper resampling though).&#xD;&#xA;&#xD;&#xA;- Something of a ideal compromise is offered by **[Gaussian filters](http://en.wikipedia.org/wiki/Gaussian_filter)**. These are phase linear with no overshoot, have pretty steep cutoff, and yet largely preserve the shape in time-domain. This is the filter type preferred by well-designed phase-linear EQs, and would propably the best fit for your problem." ContentLicense="CC BY-SA 3.0" />
  <row Id="57543" PostHistoryTypeId="5" PostId="30232" RevisionGUID="5c9051fe-67f0-4a6b-8e75-8c0e8086f390" CreationDate="2014-09-15T12:22:00.473" UserId="7200" Comment="added 1075 characters in body" Text="It is not inevitable, but nor is it surprising &amp;ndash; yes, it would call it normal.&#xD;&#xA;&#xD;&#xA;&quot;Low cut&quot; doesn't specify what the filter does exactly. Better models will either give a whole bunch of possible settings, or specify clearly the characteristic. If nothing is specified, the filter will generally be either&#xD;&#xA;&#xD;&#xA;- A **[first-order IIR](http://en.wikipedia.org/wiki/High-pass_filter#First-order_continuous-time_implementation) (aka HP6)**. The advantage of this simple design is that it never boosts the total peak level: the filter simply follows the signal as-is, disregarding high-frequency peaks. So evidently this is not the design you're dealing with &amp;ndash; indeed it wouldn't be much use either, since these filters have a very shallow cutoff (6 dB/8ve): set at 30 dB you'd scarcely notice any difference, and set to higher frequencies you'd affect also the desired bass range.&#xD;&#xA;&#xD;&#xA;- A **resonance-free second-order IIR** would be simply two of the above in series. That increases the cutoff steepness at low frequencies, but it still leaves a vast range where the signal is attenuated feebly.&#xD;&#xA;&#xD;&#xA;- A **[second-order Butterworth filter](http://en.wikipedia.org/wiki/Butterworth_filter) (aka HP12)** mitigates this problem: it adds a slight resonance peak at the &quot;knee&quot; of the filter, not so strong that the signal is actually boosted anywhere, but a resonance it is nevertheless. This is most likely the cause of your issue.&#xD;&#xA;&lt;br&gt;To understand why the peak level increases even though the filter does not boost any frequencies, you need to consider the _phase relations_: different frequencies are shifted by different &quot;angle&quot;. Perhaps easier to understand: like the first-order IIR (actually, that can also be called _first-order Butterworth_), it follows the signal shape, but to avoid the &quot;cutoff knee&quot;, the Butterworth2 &quot;echoes&quot; oscillations in that range. Therefore, short bursts can come out with higher amplitude (though never higher [RMS](http://en.wikipedia.org/wiki/Root_mean_square)).&#xD;&#xA;&#xD;&#xA;- **Butterworth** filters of **higher order** have basically the same issue, only worse; same goes for **Chebyshev-**, **Cauer-** etc. filters. I don't think those are used in any widespread filter plugins.&#xD;&#xA;&#xD;&#xA;- **[Bessel filters](http://en.wikipedia.org/wiki/Bessel_filter)** are specifically designed to minimise overshoot/phase distortion. But even they don't completely remove it. Indeed this isn't possible with analogue filters other than LP6-cascades!&#xD;&#xA;&#xD;&#xA;- What is needed for zero-overshoot without a big filter knee: add some resonance, but with &quot;symmetric&quot; character. This is only possible if the filter can look &quot;forward in time&quot;. Which isn't possible in live sound, but certainly in digital recording. Note that this will also cause &quot;inverse reverb&quot; artifacts, i.e. you might be able to hear sounds in the recording before they actually occur – mostly an issue for **phase-linear brickwall FIRs**. Those can literally cut away all frequencies below 30 Hz, but this will severely mutilate the time-domain of pulses, with tens of milliseconds of &quot;pre-smearing&quot;. (Brickwall FIRs are an essential part of proper resampling though).&#xD;&#xA;&#xD;&#xA;- Something of a ideal compromise is offered by **[Gaussian filters](http://en.wikipedia.org/wiki/Gaussian_filter)**. These are phase linear with no overshoot, have pretty steep cutoff, and yet largely preserve the shape in time-domain. This is the filter type preferred by well-designed phase-linear EQs, and would propably the best fit for your problem.&#xD;&#xA;&#xD;&#xA;Note that all that phase buzz is only relevant for the _peak level_. Loudness is in fact far more accurately described by RMS, which doesn't consider phase. The only reason peak level is relevant is that today's standards (still?) alas have a cap on peak, not on RMS or actuall loudness. It is this fact that's largely responsible for the [loudness war](http://en.wikipedia.org/wiki/Loudness_war). I recommend you look more at RMS levels than peak, except in the final mastering stage.&lt;br&gt;&#xD;&#xA;Indeed I generally prefer IIR filters despite their phase distortion, because they tend to have better or at least more predictable transient response. A second-order Butterworth high pass is just fine, simply apply it _before_ the final compression/limiting stages. That will probably sound better anyway, because the compressors won't need to care about subsonic artifacts (which can cause unpleasant pumping / fluttering).&#xD;&#xA;&#xD;&#xA;(Phases are also relevant when EQing different mics that have bleed signals of the same source, but I don't think that's an issue in your application.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="57544" PostHistoryTypeId="2" PostId="30233" RevisionGUID="9ed2f0b8-6d83-4578-aa1c-e7feaf284d85" CreationDate="2014-09-15T12:30:37.930" UserId="7719" Text="In Raiders of the Lost Ark, it sounds like a bunch of twigs and sticks snapping and then like crumbling paper with the high end taken out, with a little bit of cinder blocks being dragged on some concrete added in. It [actually][1] is the sound of a car rolling down a gravel driveway in neutral.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Raiders_of_the_Lost_Ark" ContentLicense="CC BY-SA 3.0" />
  <row Id="57545" PostHistoryTypeId="2" PostId="30234" RevisionGUID="f87d8b85-42af-4ff4-a83a-dbb9c02cc6c4" CreationDate="2014-09-15T17:26:55.873" UserId="8205" Text="Car rolling downhill on gravel without engine running – record the wheel friction.&#xD;&#xA;Ben Burtt´s Style " ContentLicense="CC BY-SA 3.0" />
  <row Id="57546" PostHistoryTypeId="2" PostId="30235" RevisionGUID="013c04f6-e075-46e0-af2d-eca06063ceff" CreationDate="2014-09-15T20:07:23.977" UserId="7850" Text="Both of the ones you have selected are good units, you will always encounter problems in this situation. Zoom as Tascam also make some nice units but much of what I have read about them is in relation to recording things like live concerts. &#xD;&#xA;&#xD;&#xA;When you watch those great videos of lectures chances are the speaker is wearing a mic (or at least standing in front of one) connected to the camera. Your best results will come from sitting in the front of the class and getting as close to the source as you can. If you can only sit in the back (or are far away from the source even in the front row) a small shot gun mic pointed at the source will help keep background noise out. You will always be subject to people banging on the table etc. (unless you can prop it up on a stand or something). &#xD;&#xA;&#xD;&#xA;The internal mics in these devices tend to be for personal dictation and thus work best when the person is 2-4 feet from them. In that case you may find your self cranking the gain on them which will end in distortion. My advice is to try and find a place that has these units placed out for test. Any audio store (like Guitar Center) or your local shop is generally willing to allow you to run tests on the devices. Try a recording at a solid 30 ft. and see how it comes out. &#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57551" PostHistoryTypeId="2" PostId="30238" RevisionGUID="1adba0bb-440b-4872-9fc7-2f3322ce1df6" CreationDate="2014-09-16T00:35:14.817" UserId="9926" Text="I recorded the very same sound effect, pretty much the way your doing it, but I set the bike up on a static trainer, so the back wheel was on two rollers and it sounded just like it was on a smooth path, the pedel movement sounded more laboured than it does when just turning the pedal by hand and it sounds just a little more realistic..you do need a friction trainer how ever, $50 on ebay?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57560" PostHistoryTypeId="2" PostId="30242" RevisionGUID="8c023992-6680-4a44-aa19-25ff627176c3" CreationDate="2014-09-16T09:49:53.060" UserId="61" Text="Sorry to say there is no magic plugin that will achieve this effect for you. The majority of great creature vocals are painstakingly crafted by sound designers for days or even weeks. &#xD;&#xA;&#xD;&#xA;One insight I can offer is that layering sounds is your friend. From human to bat (or vice versa) you need to weave textures from each character in and out over time, paying close attention to how these sound change and interact with each other. Sometimes a human scream can morph through some otherworldly shriek on its way to becoming a bat whistle. Or the sound of a bat chittering can shudder through some gutteral layer on its way to becoming a human laugh. It's all in the experimentation and application." ContentLicense="CC BY-SA 3.0" />
  <row Id="57561" PostHistoryTypeId="2" PostId="30243" RevisionGUID="13b45911-a404-4f72-8f41-4300b3a782e8" CreationDate="2014-09-16T12:32:33.797" UserId="9544" Text="I recently came across some independent sound library publishers offering &quot;multichannel WAV files&quot; for different mic perspectives of the same sound.&#xD;&#xA;&#xD;&#xA;Those are not traditional multichannel files (as in stereo or surround) but rather an option to give the editors using the sounds a few options to select from per soundeffect.&#xD;&#xA;&#xD;&#xA;I am curious how those files are created (on osx) and how people are using them in their daily sound editing jobs.&#xD;&#xA;&#xD;&#xA;They will be split into seperate track when imported in the DAW i suppose? &#xD;&#xA;And then people mute the layers they dont want?&#xD;&#xA;Or how would one use those multichannel sounds?&#xD;&#xA;&#xD;&#xA;Thanks for any hints on this subject!&#xD;&#xA;&#xD;&#xA;D. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57562" PostHistoryTypeId="1" PostId="30243" RevisionGUID="13b45911-a404-4f72-8f41-4300b3a782e8" CreationDate="2014-09-16T12:32:33.797" UserId="9544" Text="Multichannel soundeffects / different perspectives" ContentLicense="CC BY-SA 3.0" />
  <row Id="57563" PostHistoryTypeId="3" PostId="30243" RevisionGUID="13b45911-a404-4f72-8f41-4300b3a782e8" CreationDate="2014-09-16T12:32:33.797" UserId="9544" Text="&lt;sound-effects&gt;&lt;sound&gt;&lt;library-sound-effects&gt;&lt;sound-library&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57565" PostHistoryTypeId="2" PostId="30245" RevisionGUID="14e8b144-e275-4d5f-9935-119c3dc549a2" CreationDate="2014-09-16T12:49:53.023" UserId="9544" Text="I am curious how much need there is for 5.1 ambience libraries of different locations. Are sound designers / editors looking for 5.1 recordings, or is it more practical to build 5.1 atmospheres from different stereo recordings, and &quot;faking it&quot;. &#xD;&#xA;&#xD;&#xA;In which scenarios are those actual 5.1 recordings really needed?&#xD;&#xA;Game audio? Documentaries? TV? &#xD;&#xA;&#xD;&#xA;Just curious since i see some libraries offering 5.1 stuff and was wondering who actually needs this...&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57566" PostHistoryTypeId="1" PostId="30245" RevisionGUID="14e8b144-e275-4d5f-9935-119c3dc549a2" CreationDate="2014-09-16T12:49:53.023" UserId="9544" Text="The relevance of 5.1 ambiences" ContentLicense="CC BY-SA 3.0" />
  <row Id="57567" PostHistoryTypeId="3" PostId="30245" RevisionGUID="14e8b144-e275-4d5f-9935-119c3dc549a2" CreationDate="2014-09-16T12:49:53.023" UserId="9544" Text="&lt;sound-libraries&gt;&lt;surround-sound&gt;&lt;5.1&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57568" PostHistoryTypeId="5" PostId="30212" RevisionGUID="a11b84c1-082d-46b4-a4e4-95c755c20b6b" CreationDate="2014-09-16T13:41:32.160" UserId="9911" Comment="Inserted link to thread, re-inserted closing parenthesis that previous edit removed" Text="Many films and television shows from the 80s and 90s (for example, *Blade Runner*, the BBC television adaptation of *The Hitchhiker's Guide to the Galaxy*, etc.) that depict computers use a distinctive type of sound effect when a computer is shown printing out text letter-by-letter or incrementally performing some other process, like zooming in on a wireframe rendering of a 3D model (always a popular choice). Of course, computers in real life very rarely makes noises while printing text (and are even less likely to print text letter-by-letter), but it's an entertaining sound effect.&#xD;&#xA;&#xD;&#xA;Here are some (not-so-great) [examples][1] from a sound library. Here's another example from *The Hunt for Red October* (obtained from [this thread][2]):&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=AWPBr4L1eyE&amp;t=0m27s&#xD;&#xA;&#xD;&#xA;This type of sound effect seems to be essentially just a rapid sequence of beeps of various pitches. However, simply stringing together lots of sawtooth beeps in the 150-400 Hz range does not produce a particularly engaging result.&#xD;&#xA;&#xD;&#xA;What might the high-level procedure be for producing this sort of &quot;computer readout&quot; sound? Any suggestions or comments are appreciated.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.audiosparx.com/sa/display/sounds.cfm/sound_group_iid.5540&#xD;&#xA;  [2]: http://ask.metafilter.com/205964/Help-me-identify-the-clichd-sound-effect-used-to-label-locations-in-certain-films-and-tv-shows" ContentLicense="CC BY-SA 3.0" />
  <row Id="57571" PostHistoryTypeId="2" PostId="30248" RevisionGUID="d39b7c9e-2c27-4e8b-891a-2126cb46aaa5" CreationDate="2014-09-16T22:01:02.197" UserId="7017" Text="Also roll a heavy ball, say a bowling ball along a hard floor. use that bass sound that subtle low tone to add body to the rock. For impacts drop a bag of dirt or ball into a pillow to get the low freq's. If it hits a tree record the leaf sound of you hitting a branch with your hand. Try clicking a few fist sized rocks together for impacts and clicks." ContentLicense="CC BY-SA 3.0" />
  <row Id="57572" PostHistoryTypeId="2" PostId="30249" RevisionGUID="4bd97b58-2670-4314-b3fa-ab242fda2743" CreationDate="2014-09-16T22:57:51.637" UserId="9941" Text="I found this out today. Look at the knobs under the sampling window (root, tune start...etc)&#xD;&#xA;Turn the &quot;Play mode&quot; to FW-LOOP. Calibrate the &quot;loop start/end&quot; to your liking. i how that gave some insight.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57573" PostHistoryTypeId="2" PostId="30250" RevisionGUID="9c5dbdad-7e26-4884-99b3-7cfb5a938f5a" CreationDate="2014-09-16T23:08:01.600" UserId="9942" Text="all!&#xD;&#xA;This may be an extremely basic question but - is it possible to make SoundMiner remove the duplicate files from my library automatically?  &#xD;&#xA;I've scanned and found all of my duplicate files, but there are a LOT of them. Is it possible to tell SoundMiner to just go ahead and remove duplicate records or do I literally need to click on each file and hit &quot;remove from database&quot;?&#xD;&#xA;&#xD;&#xA;Thank you!" ContentLicense="CC BY-SA 3.0" />
  <row Id="57574" PostHistoryTypeId="1" PostId="30250" RevisionGUID="9c5dbdad-7e26-4884-99b3-7cfb5a938f5a" CreationDate="2014-09-16T23:08:01.600" UserId="9942" Text="Automatically Removing Duplicate Files in SoundMiner" ContentLicense="CC BY-SA 3.0" />
  <row Id="57575" PostHistoryTypeId="3" PostId="30250" RevisionGUID="9c5dbdad-7e26-4884-99b3-7cfb5a938f5a" CreationDate="2014-09-16T23:08:01.600" UserId="9942" Text="&lt;database&gt;&lt;soundminer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57576" PostHistoryTypeId="2" PostId="30251" RevisionGUID="acf6aa6e-59f7-46f4-ab0e-b99d152c3bb5" CreationDate="2014-09-16T23:32:25.363" UserId="9943" Text="Sonic Visualiser : http://www.sonicvisualiser.org/&#xD;&#xA;Would be a great place to start.  It will require some work to understand the program but should be worth the effort.  Also, SoundHack: http://www.soundhack.com/freeware/ may be perfect for what you need.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="57577" PostHistoryTypeId="2" PostId="30252" RevisionGUID="e5b52ccf-6b27-4f84-acf7-01d619735650" CreationDate="2014-09-17T00:06:24.020" UserId="6631" Text="I need an operation to be performed whenever a change in a control is performed. Operations are only performed when the left input is changed or it receives a bang.&#xD;&#xA;&#xD;&#xA;Right now I'm achieving this by using a `[t b f]` object, like this:&#xD;&#xA;&#xD;&#xA;![trigger two inputs][1]&#xD;&#xA;&#xD;&#xA;This works for two inputs (I still wonder if there is a different, better, less ugly approach though) but things get uglier and uglier as more inputs are needed. &#xD;&#xA;&#xD;&#xA;For three inputs, for example, I thought about something like this:&#xD;&#xA;&#xD;&#xA;![trigger 3 inputs][2]&#xD;&#xA;&#xD;&#xA;But I don't know, I feel that there are better alternatives (maybe there's a bug with this?)&#xD;&#xA;&#xD;&#xA;Which is the common way to implement multiple controls triggering an operation? Which are my options here?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/8GQTC.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/kRKCd.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57578" PostHistoryTypeId="1" PostId="30252" RevisionGUID="e5b52ccf-6b27-4f84-acf7-01d619735650" CreationDate="2014-09-17T00:06:24.020" UserId="6631" Text="How can more than one input trigger an operation in Pure Data?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57579" PostHistoryTypeId="3" PostId="30252" RevisionGUID="e5b52ccf-6b27-4f84-acf7-01d619735650" CreationDate="2014-09-17T00:06:24.020" UserId="6631" Text="&lt;puredata&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57580" PostHistoryTypeId="5" PostId="30252" RevisionGUID="fbadd436-6007-4311-ac02-d6f2c31f9a47" CreationDate="2014-09-17T00:12:21.600" UserId="6631" Comment="deleted 1 character in body" Text="I need an operation to be performed whenever a change in a control is performed. Operations are only performed when the left input is changed or it receives a bang.&#xD;&#xA;&#xD;&#xA;Right now I'm achieving this by using a `[t b f]` object, like this:&#xD;&#xA;&#xD;&#xA;![trigger two inputs][1]&#xD;&#xA;&#xD;&#xA;This works for two inputs (I still wonder if there is a different, better, less ugly approach though) but things get uglier and uglier as more inputs are needed. &#xD;&#xA;&#xD;&#xA;For three inputs, for example, I thought about something like this:&#xD;&#xA;&#xD;&#xA;![trigger 3 inputs][2]&#xD;&#xA;&#xD;&#xA;But I don't know, I feel that there are better alternatives (maybe there's a bug with this?)&#xD;&#xA;&#xD;&#xA;What is the common way to implement multiple controls triggering an operation? Which are my options here?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/8GQTC.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/kRKCd.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57589" PostHistoryTypeId="2" PostId="30254" RevisionGUID="8993dfe4-7c5c-4cc2-b57b-7b170bff08bd" CreationDate="2014-09-17T11:29:53.900" UserId="9947" Text="I would like record the sound a motor car, by fix a mic on the motor directly, the problem that I get is that  the sound overload the mic, and I'm how that some here could tell me what kid of mics can record a sound greater tahn 160 SPL  ? thanks in advance for any hint " ContentLicense="CC BY-SA 3.0" />
  <row Id="57590" PostHistoryTypeId="1" PostId="30254" RevisionGUID="8993dfe4-7c5c-4cc2-b57b-7b170bff08bd" CreationDate="2014-09-17T11:29:53.900" UserId="9947" Text="Electronic Mic for very loud sounds" ContentLicense="CC BY-SA 3.0" />
  <row Id="57591" PostHistoryTypeId="3" PostId="30254" RevisionGUID="8993dfe4-7c5c-4cc2-b57b-7b170bff08bd" CreationDate="2014-09-17T11:29:53.900" UserId="9947" Text="&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57592" PostHistoryTypeId="2" PostId="30255" RevisionGUID="9bf2058d-3f7f-4975-96be-8de405db6f59" CreationDate="2014-09-17T12:49:49.190" UserId="6818" Text="any advice, tutorial, video or even book you recommend for designing household sounds using a synth?? &#xD;&#xA;&#xD;&#xA;I work mainly in Live9 and in our next game I'm planning to design sound the majority of sounds purely using synths (no recorded real life samples)&#xD;&#xA;&#xD;&#xA;so yups, household sounds like glasses clangs, open drawers, fire, tap water and all sorts of sounds you can imagine :)&#xD;&#xA;&#xD;&#xA;so far I've only found some really nice tutorials using PD .. but I need to work it out in Live or using some external AU/VST ..&#xD;&#xA;other than that not much..&#xD;&#xA;&#xD;&#xA;any input is super appreciated :)&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57593" PostHistoryTypeId="1" PostId="30255" RevisionGUID="9bf2058d-3f7f-4975-96be-8de405db6f59" CreationDate="2014-09-17T12:49:49.190" UserId="6818" Text="Designing household sounds using a synth" ContentLicense="CC BY-SA 3.0" />
  <row Id="57594" PostHistoryTypeId="3" PostId="30255" RevisionGUID="9bf2058d-3f7f-4975-96be-8de405db6f59" CreationDate="2014-09-17T12:49:49.190" UserId="6818" Text="&lt;sound-design&gt;&lt;ableton-live&gt;&lt;synthesis&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57598" PostHistoryTypeId="2" PostId="30257" RevisionGUID="e9e4a338-860b-4959-b41d-43edb3a71ee9" CreationDate="2014-09-17T14:58:16.900" UserId="7200" Text="A bass-drum microphone would work well, e.g. [the Beta52A has a maximum SPL of 172 dB specified](http://cdn.shure.com/specification_sheet/upload/127/us_pro_beta52a_specsheet.pdf.pdf). Indeed, even a cheap dynamic mic will probably be fine: unlike condenser mics those don't really &quot;overload&quot;, but rather go into soft clipping." ContentLicense="CC BY-SA 3.0" />
  <row Id="57599" PostHistoryTypeId="2" PostId="30258" RevisionGUID="9a029261-94eb-4743-a1d6-f220f8984f2d" CreationDate="2014-09-17T16:29:19.580" UserId="842" Text="Are you absolutely positive that it is the mic that clips, and not the pre-amp? 160dB sounds insanely high for a muffled motor, even a gunshot hardly reach that high. Myself, I've been using several microphones for this, but DPA has always been a good choice. Though I normally really really don't like lavs, the DPA 4060 has proven itself more than enough when needed to be placed in things like a tight motor, though you'll have to be careful not to fry it. If you can fit it, though, their small membrane ones, like the 4011C compact cardioid and the 4006 omni are awesomesauce." ContentLicense="CC BY-SA 3.0" />
  <row Id="57600" PostHistoryTypeId="2" PostId="30259" RevisionGUID="b44ac086-7e23-4859-b7d3-732fe20a2f62" CreationDate="2014-09-17T17:17:16.783" UserId="6432" Text="VST synths are not designed for this sort of thing, hence why Andy Farnell (I presume those are the tutorials you encountered) used PD. &#xD;&#xA;&#xD;&#xA;[Designing Sound][1] is THE book for this, but I'm really questioning why you are planning to take this route when designing the sounds for a whole game; it's very interesting to discuss/consider procedural audio tech and its potential uses, but rendering synthesised samples to audio files for this type of sounds seems odd. Traditional recording will sound better and take a fraction of the time. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://mitpress.mit.edu/books/designing-sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="57602" PostHistoryTypeId="2" PostId="30261" RevisionGUID="24659faa-8e30-4c1b-bb13-3a1374ff01cf" CreationDate="2014-09-17T18:00:25.863" UserId="7850" Text="There is no way your motor is making over 160 dB for one this would be an illegal road vehicle in the US (assuming you are in the US but most countries have a similar regulation). Here in the US we are only permitted to run cars that are up at 108 dB anything louder is not legal. That being said if this is a track car or some non road vehicle you may go over 108. Even still 160 is quite a bit louder, a jet engine at 100' is still only 140 dB. Taking all this into consideration it sounds like you are clipping your preamp and not the mic its self in which case you should just turn down your gain. &#xD;&#xA;&#xD;&#xA;Furthermore you say you want to clip the mic &quot;to fix the mic to the motor directly&quot; are you recording the sound of the engine block or are you trying to capture the tailpipe noise (what most people go after). Why do you need to connect the mic directly to the engine? Can you simply back the mic up a few feet or record the noise after the fact and drop it back in in post production? &#xD;&#xA;&#xD;&#xA;Shure claims the SM58 is good up to 150, so that would be my choice, and I would place it appropriately. &#xD;&#xA;&#xD;&#xA;There are also heat concerns here. If you are placing the mic in the engine bay of a car and driving it with the hood closed the heat from the engine will effect what is happening. Engine bays can get over 200F and most mics are tested at room temperatures so the numbers you see for maximums are only for room temp (or what ever it was tested at). Considering the thin nature of a mics element the engine heat could have a serious effect on it. I wont speculate as to what that effect may be as I do not know. Not to mention the heat will increase the resistance in all the electronic components      " ContentLicense="CC BY-SA 3.0" />
  <row Id="57606" PostHistoryTypeId="2" PostId="30263" RevisionGUID="6b70ff43-c678-4737-a3d1-200a0fdff5e6" CreationDate="2014-09-17T22:19:01.347" UserId="6631" Text="From the answers in the mailing list, it seems that using a `[t b f]` object is how this is handled. When more than one input is involved, each input needs its own `[t b f]`object:&#xD;&#xA;&#xD;&#xA;![multiple t b f][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/thbSV.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57612" PostHistoryTypeId="2" PostId="30265" RevisionGUID="d2c1ea5f-ca2b-4753-8d85-909c42b50f5f" CreationDate="2014-09-18T05:54:20.633" UserId="9951" Text="My signal flow varies, but i follow this flow for most large mixes, it not only makes it digestible to combine 100's of sounds into a few minutes, but it saves cpu power.&#xD;&#xA;&#xD;&#xA;audio track &gt;&#xD;&#xA;it's stem (aux) &gt;&#xD;&#xA;stem master fader &gt;&#xD;&#xA;stem track &gt;  (print this, and disable all above tracks, you can go back to the later if need be)&#xD;&#xA;printed stems stem track* &gt;&#xD;&#xA;Master Fader/s** &gt;&#xD;&#xA;Final Mix&#xD;&#xA;&#xD;&#xA;Example: Kick Drum &gt; Drum Aux &gt; Drum Master &gt; Drums Track &gt; Instruments Track (Dry) &gt; Master Fader &gt; Final Mixed Track&#xD;&#xA;&#xD;&#xA;*I often use multiple out puts from the printed stem track (select track, shift+fn+control click out put, creates more than 1 output for the channel.  Shown with a + sign adjacent to previously selected output.)  This allows the track to get to all the other space is need it to be - outboard gear, fx stems, etc.  I do the same with the master faders, as i often create mult mixes with my outboard gear, combining the clearity of digital realm, and the warmth of tube or juice of a solid state enhancer." ContentLicense="CC BY-SA 3.0" />
  <row Id="57613" PostHistoryTypeId="2" PostId="30266" RevisionGUID="c4f21667-a5c9-46b7-b146-385cab204503" CreationDate="2014-09-18T06:29:11.487" UserId="9648" Text="I don't often record with microphones (mostly with synthesizers patched directly to an audio interface, or in-computer with virtual synths). However when I do, I've never been very happy with the result. (I record some vocals and flutes.)&#xD;&#xA;&#xD;&#xA;I recently picked up a condenser microphone and love the sound quality compared to the (cheap) dynamic microphones I've used before. (I have phantom power enabled for it of course.)&#xD;&#xA;&#xD;&#xA;I'm using a Presonus Audiobox USB for my interface and microphone input. While the sound quality is good, I always have to turn up the gain rather high and still have to amplify the sound more in my DAW. I understand that more gain can add more noise, but I'd like to avoid having to normalize tracks every time I record them.&#xD;&#xA;&#xD;&#xA;Is a microphone preamp the right solution? My thought is that the gain provided by a USB audio interface is not as good as that which a dedicated preamp would provide.&#xD;&#xA;&#xD;&#xA;If so, should I hold out for a preamp that has extra features like EQ and compression? I am not a professional by any means, so if I have to EQ in the DAW that's fine. Getting a clean, lis my priority." ContentLicense="CC BY-SA 3.0" />
  <row Id="57614" PostHistoryTypeId="1" PostId="30266" RevisionGUID="c4f21667-a5c9-46b7-b146-385cab204503" CreationDate="2014-09-18T06:29:11.487" UserId="9648" Text="How do I know if I need a microphone preamp?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57615" PostHistoryTypeId="3" PostId="30266" RevisionGUID="c4f21667-a5c9-46b7-b146-385cab204503" CreationDate="2014-09-18T06:29:11.487" UserId="9648" Text="&lt;preamp&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57616" PostHistoryTypeId="5" PostId="30266" RevisionGUID="dc872db9-9abc-4cb3-a80a-948b6014c0f7" CreationDate="2014-09-18T06:56:35.993" UserId="9648" Comment="added 10 characters in body" Text="I don't often record with microphones (mostly with synthesizers patched directly to an audio interface, or in-computer with virtual synths). However when I do, I've never been very happy with the result. (I record some vocals and flutes.)&#xD;&#xA;&#xD;&#xA;I recently picked up a condenser microphone and love the sound quality compared to the (cheap) dynamic microphones I've used before. (I have phantom power enabled for it of course.)&#xD;&#xA;&#xD;&#xA;I'm using a Presonus Audiobox USB for my interface and microphone input. While the sound quality is good, I always have to turn up the gain rather high and still have to amplify the sound more in my DAW. I understand that more gain can add more noise, but I'd like to avoid having to normalize tracks every time I record them.&#xD;&#xA;&#xD;&#xA;Is a microphone preamp the right solution? My thought is that the gain provided by a USB audio interface is not as good as that which a dedicated preamp would provide.&#xD;&#xA;&#xD;&#xA;If so, should I hold out for a preamp that has extra features like EQ and compression? I am not a professional by any means, so if I have to EQ in the DAW that's fine. Getting a clean, louder signal is my priority." ContentLicense="CC BY-SA 3.0" />
  <row Id="57627" PostHistoryTypeId="2" PostId="30270" RevisionGUID="313014d3-bf57-4557-941d-e9bb37607be2" CreationDate="2014-09-18T16:52:40.093" UserId="7174" Text="If you are using a mic, you need a pre-amp.  Microphones produce weak signals (mic level) which must be boosted up to line level.  This is what a pre-amp does.  It may be integrated in to the microphone or the mixer or the audio interface or a stand alone unit, but there is one somewhere with any microphone you use." ContentLicense="CC BY-SA 3.0" />
  <row Id="57629" PostHistoryTypeId="2" PostId="30271" RevisionGUID="a45a4886-593b-4e31-83ac-069dd9e3518b" CreationDate="2014-09-18T23:48:01.863" UserId="7850" Text="Yes you need a preamp, but you already have one (its just not that good) &#xD;&#xA;&#xD;&#xA;A good preamp is one of the most important tools in a studio and perhaps one of the most important in the recording input chain. With out a decent preamp you will never get a decent recording since you will start out with a bad signal. Here is the issue in a nut shell: &#xD;&#xA;&#xD;&#xA;A microphone turns mechanical waves (sound) into electric signals it does this by means of an element (there are a few different types so we wont go into specifics here) by comparison these signals are weak. Back in the days of magnetic tape it took a signal of some strength to get a track written onto the tape. These signals were of a far greater power than a microphone element could generate. Thus a preamp is needed to fill the gap. The preamp adds power (gain) to the signal so that it can be recorded properly. Over time standards were developed and Preamps became devices that brought signals up to line level (being the standard level for audio signals). When the world moved to digital technology the line level standard carried over and so did pre amps. &#xD;&#xA;&#xD;&#xA;Side Note: in theory with sensitive enough tape and good enough cable you dont need a pre amp... &#xD;&#xA;&#xD;&#xA;Any way, over time preamps have taken on a life of their own and all have their own characteristics now, some more desirable than others. When home recording/computer interfaces became popular in an effort to have a one stop shop companies integrated 1 or more mic preamps into the interfaces. This allows the basic user access to usually 2 preamps and the ability to use 2 mics at a time. They also have regular line level input for things like drum machines, synths etc. You can also run the output of a mic pre into these line level inputs as well. To save on space and cost most built in preamps are OK at best. They have little color and are often just enough to work. Some of the higher end interfaces have better ones but they are still not great. &#xD;&#xA;&#xD;&#xA;Consider a channel strip: &#xD;&#xA;You can buy a lone preamp that is very very good but since you mentioned wanting EQ and Compression as well you may want to look at a channel strip. This will incorporate both the great pre and often the companies EQ and sometimes Compression units in a nice 2U rack space. The prices on these are all over the board but so is all audio equipment. &#xD;&#xA;&#xD;&#xA;Bottom Line: &#xD;&#xA;If you are going to splurge, get a nice channel strip, it will last you a life time. If you dont want to spend quite that much get your self a standalone pre, it will do what you are looking for and you will always be able to add a compressor later on. &#xD;&#xA;&#xD;&#xA;Suggestions: &#xD;&#xA;I have a focusrite ISA One that is really nice. It provides a lot of connection options and a dedicated headphone output onboard. It is good for both mic work and guitar/bass DI. The onboard analog VU meter is a nice touch as well. It has a clean crisp true sound. This is my go to vocal pre and is always wired into my symetrix compressor which leads to a great vocal track.  &#xD;&#xA;&#xD;&#xA;I also run a UA Solo610. This is a different beast, it has a great tube warmth and a smooth sound. It lacks a VU meter but has a peek indicator to help out. I use this mainly for recording mic inputs from, guitar amps, bass drums, snares, or any other high pressure input. I have limited time on some horn tracks with it that came out nice as well. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57631" PostHistoryTypeId="2" PostId="30272" RevisionGUID="679f135c-60be-4644-af1c-ea00b6092c6b" CreationDate="2014-09-19T13:26:35.170" UserId="9956" Text="I'm not a regular pro-tools user, but a universal way I'd approach this in any DAW is to:&#xD;&#xA;&#xD;&#xA;1. Open a new project with the sample in question.&#xD;&#xA;2. Create an automation for the volume of the sample.&#xD;&#xA;3. Add control points to the automation as required.&#xD;&#xA;4. Render the stem to another sample. This could be achieved by simply rendering the project.&#xD;&#xA;&#xD;&#xA;Optionally you can skip the new project and rendering steps and just keep the automation on the original audio clip in the original project. &#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57632" PostHistoryTypeId="2" PostId="30273" RevisionGUID="8b5e430c-f831-4c65-ab66-8675fcec674d" CreationDate="2014-09-19T15:14:57.350" UserId="9923" Text="I want to make the sound of spring I want it to be a little comic? IS there a material which I can make the sound?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57633" PostHistoryTypeId="1" PostId="30273" RevisionGUID="8b5e430c-f831-4c65-ab66-8675fcec674d" CreationDate="2014-09-19T15:14:57.350" UserId="9923" Text="how to make the sound of a metallic spring" ContentLicense="CC BY-SA 3.0" />
  <row Id="57634" PostHistoryTypeId="3" PostId="30273" RevisionGUID="8b5e430c-f831-4c65-ab66-8675fcec674d" CreationDate="2014-09-19T15:14:57.350" UserId="9923" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57635" PostHistoryTypeId="2" PostId="30274" RevisionGUID="881ee7a6-0f2c-4982-a9a0-7a2113b3c81b" CreationDate="2014-09-19T15:24:08.243" UserId="9923" Text="I wonder how can I make the sound of a mosquito or a fly or any kind of insects ? I prefer a comic sound ." ContentLicense="CC BY-SA 3.0" />
  <row Id="57636" PostHistoryTypeId="1" PostId="30274" RevisionGUID="881ee7a6-0f2c-4982-a9a0-7a2113b3c81b" CreationDate="2014-09-19T15:24:08.243" UserId="9923" Text="How can Imake the sound of fly or mosquito" ContentLicense="CC BY-SA 3.0" />
  <row Id="57637" PostHistoryTypeId="3" PostId="30274" RevisionGUID="881ee7a6-0f2c-4982-a9a0-7a2113b3c81b" CreationDate="2014-09-19T15:24:08.243" UserId="9923" Text="&lt;foley&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57638" PostHistoryTypeId="2" PostId="30275" RevisionGUID="360316a7-d1ac-4c0f-9e51-f451fceb12bf" CreationDate="2014-09-19T19:13:15.723" UserId="9544" Text="&lt;br&gt;&#xD;&#xA;For a project i plan to use my good Neumann TLM 103 mics with a sound devices usbpre2 + laptop for 24 hours non-stop. Those 24-hour &quot;sessions&quot; will happen probably 5-6 times. (Not in a row)   &lt;br&gt; &lt;br&gt; Could using the mics that way be problematic and cause any issues/damage, (overheating or something similar) or will they be fine if i use them for extended periods like that?&#xD;&#xA;&#xD;&#xA;Thanks for any insight!&#xD;&#xA;&#xD;&#xA;Best, &lt;br&gt;&#xD;&#xA;D." ContentLicense="CC BY-SA 3.0" />
  <row Id="57639" PostHistoryTypeId="1" PostId="30275" RevisionGUID="360316a7-d1ac-4c0f-9e51-f451fceb12bf" CreationDate="2014-09-19T19:13:15.723" UserId="9544" Text="Leaving mic &amp; preamp on for extended periods of time - problematic?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57640" PostHistoryTypeId="3" PostId="30275" RevisionGUID="360316a7-d1ac-4c0f-9e51-f451fceb12bf" CreationDate="2014-09-19T19:13:15.723" UserId="9544" Text="&lt;microphone&gt;&lt;audio-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57644" PostHistoryTypeId="2" PostId="30276" RevisionGUID="44929dd0-c5bf-4af3-87fa-b141c263dd3d" CreationDate="2014-09-19T19:57:23.877" UserId="7769" Text="I've been reading about digital audio. I now have a basic understanding of frequency and amplitude. To my understanding, frequency is the 'width' of a wave, and amplitude is the 'height' of a particular sample in time.&#xD;&#xA;&#xD;&#xA;Frequency translates to pitch, and amplitude translates to gain/volume/not sure about the technical term.&#xD;&#xA;&#xD;&#xA;But what I don't understand, is where does the 'texture' come from?&#xD;&#xA;&#xD;&#xA;E.g. a guitar and a violin might each be recorded playing the same note in the exact same volume. But the audio recordings will sound completely different.&#xD;&#xA;&#xD;&#xA;Please describe what exactly will be different in the digital data of the two recordings. What element in digital sound dictates 'texture'?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57645" PostHistoryTypeId="1" PostId="30276" RevisionGUID="44929dd0-c5bf-4af3-87fa-b141c263dd3d" CreationDate="2014-09-19T19:57:23.877" UserId="7769" Text="How does digital audio data capture 'texture'? (And not only pitch and volume)" ContentLicense="CC BY-SA 3.0" />
  <row Id="57646" PostHistoryTypeId="3" PostId="30276" RevisionGUID="44929dd0-c5bf-4af3-87fa-b141c263dd3d" CreationDate="2014-09-19T19:57:23.877" UserId="7769" Text="&lt;audio&gt;&lt;digital&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57647" PostHistoryTypeId="2" PostId="30277" RevisionGUID="3419f802-60e1-44ea-a098-c337c6e2a24e" CreationDate="2014-09-19T20:06:50.310" UserId="9601" Text="Simply... the 'texture' or complexity of the wave.&#xD;&#xA;&#xD;&#xA;The addition &amp; subtraction of a myriad simple sine waves of different frequencies &amp; phases, overlaying each other.&#xD;&#xA;&#xD;&#xA;Without going into any detail, I'll leave that to the guy who gets the 'tick' for his answer ;-)  &#xD;&#xA;... a drawing of an apple &amp; a photograph of an apple are both recognisably an apple, yet may differ in a thousand ways.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="57648" PostHistoryTypeId="5" PostId="30276" RevisionGUID="f9447729-2778-4495-a635-b1d710b01c06" CreationDate="2014-09-19T20:13:33.880" UserId="7769" Comment="added 94 characters in body" Text="I've been reading about digital audio. I now have a basic understanding of frequency and amplitude. To my understanding, frequency is the 'width' of a wave, and amplitude is the 'height' of a particular sample in time.&#xD;&#xA;&#xD;&#xA;Frequency translates to pitch, and amplitude translates to gain/volume/not sure about the technical term.&#xD;&#xA;&#xD;&#xA;But what I don't understand, is where does the 'texture' come from?&#xD;&#xA;&#xD;&#xA;E.g. a guitar and a violin might each be recorded playing the same note in the exact same volume. But the audio recordings will sound completely different.&#xD;&#xA;&#xD;&#xA;Please describe what exactly will be different in the digital data of the two recordings. What element in digital sound dictates 'texture'?&#xD;&#xA;&#xD;&#xA;(Please try to explain in terms a person not from this field would be able to understand)." ContentLicense="CC BY-SA 3.0" />
  <row Id="57649" PostHistoryTypeId="5" PostId="30276" RevisionGUID="a4a9d7ef-c567-4bb6-ab36-828c2252e185" CreationDate="2014-09-19T20:21:35.410" UserId="7769" Comment="added 48 characters in body" Text="I've been reading about digital audio. I now have a basic understanding of frequency and amplitude. To my understanding, frequency is the 'width' of a wave, and amplitude is the 'height' of a particular sample in time.&#xD;&#xA;&#xD;&#xA;Frequency translates to pitch, and amplitude translates to gain/volume/not sure about the technical term.&#xD;&#xA;&#xD;&#xA;But what I don't understand, is where does the 'texture' come from?&#xD;&#xA;&#xD;&#xA;E.g. a guitar and a violin might each be recorded playing the same note in the exact same volume. But the audio recordings will sound completely different.&#xD;&#xA;&#xD;&#xA;Please describe what exactly will be different in the digital data of the two recordings. What element in digital sound dictates 'texture'?&#xD;&#xA;&#xD;&#xA;(Please try to explain in terms a person not from this field would be able to understand. I need a general, not a detailed understanding)." ContentLicense="CC BY-SA 3.0" />
  <row Id="57650" PostHistoryTypeId="2" PostId="30278" RevisionGUID="1ef2228c-6b2a-453f-bf97-303881da517c" CreationDate="2014-09-19T21:01:24.663" UserDisplayName="user9958" Text="Let's say I have Garageband for the iPad (or other Synths and Apps) and want to play them through my Digital Stage Piano which has a USB Host Adapter. (meaning it behaves like a SoundCard and connected to a MacBook it works out of the box).&#xD;&#xA;&#xD;&#xA;What Kind of Cable/Adapter do I need?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57651" PostHistoryTypeId="1" PostId="30278" RevisionGUID="1ef2228c-6b2a-453f-bf97-303881da517c" CreationDate="2014-09-19T21:01:24.663" UserDisplayName="user9958" Text="How to connect my iPad Air and my Yamaha CP4 Stage Piano?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57652" PostHistoryTypeId="3" PostId="30278" RevisionGUID="1ef2228c-6b2a-453f-bf97-303881da517c" CreationDate="2014-09-19T21:01:24.663" UserDisplayName="user9958" Text="&lt;usb&gt;&lt;piano&gt;&lt;ipad&gt;&lt;garageband&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57653" PostHistoryTypeId="2" PostId="30279" RevisionGUID="4d3606d5-6ced-4bd3-85f1-0c10fb51063b" CreationDate="2014-09-19T21:09:01.207" UserId="9959" Text="Texture, AKA Timbre, comes from overtones, AKA harmonics.&#xD;&#xA;&#xD;&#xA;When you play a note on any instrument (including your voice), the note has more than one frequency. The lowest frequency is called the fundamental frequency. It is the one we hear most and the one that determines what note it actually is. &#xD;&#xA;&#xD;&#xA;The higher frequencies are what we call the overtone series. They are always the same intervals from the fundamental frequency. It is the amplitude of these overtone frequencies that gives each instrument a different texture.&#xD;&#xA;&#xD;&#xA;I hope this helps and wasn't to complicated! You should read about harmonics, overtone series, additive synthesis and subtractive synthesis to help get a clearer picture!" ContentLicense="CC BY-SA 3.0" />
  <row Id="57654" PostHistoryTypeId="2" PostId="30280" RevisionGUID="7f919643-3a8e-4c71-82fe-dba706b64364" CreationDate="2014-09-19T22:25:57.933" UserId="9544" Text="Is there a way to mount two TLM 103 microphones into a blimp?&#xD;&#xA;I'd like to have a compact stereo setup with those two mics, are there any options except two individual stands. I couldnt find something appropriate on the Rycote site, but maybe someone has other suggestions how to get them into a portable windscreen rig? &#xD;&#xA;&#xD;&#xA;thanks a lot for any suggestions!" ContentLicense="CC BY-SA 3.0" />
  <row Id="57655" PostHistoryTypeId="1" PostId="30280" RevisionGUID="7f919643-3a8e-4c71-82fe-dba706b64364" CreationDate="2014-09-19T22:25:57.933" UserId="9544" Text="Outdoor recording with TLM 103 microphones" ContentLicense="CC BY-SA 3.0" />
  <row Id="57656" PostHistoryTypeId="3" PostId="30280" RevisionGUID="7f919643-3a8e-4c71-82fe-dba706b64364" CreationDate="2014-09-19T22:25:57.933" UserId="9544" Text="&lt;field-recording&gt;&lt;blimp&gt;&lt;neumann&gt;&lt;windscreens&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57658" PostHistoryTypeId="5" PostId="30277" RevisionGUID="f87755cc-9998-449d-82d2-160eac674dfd" CreationDate="2014-09-20T06:36:19.397" UserId="9601" Comment="added 429 characters in body" Text="Simply... the 'texture' or complexity of the wave.&#xD;&#xA;&#xD;&#xA;The addition &amp; subtraction of a myriad simple sine waves of different frequencies &amp; phases, overlaying each other.&#xD;&#xA;&#xD;&#xA;Without going into any detail, I'll leave that to the guy who gets the 'tick' for his answer ;-)  &#xD;&#xA;... a drawing of an apple &amp; a photograph of an apple are both recognisably an apple, yet may differ in a thousand ways.  &#xD;&#xA;&#xD;&#xA;If you take time as a constant - the sampling frequency of the data, then each data point is the addition/subtraction of all these waves at that exact point, expressed as pure 'volume' i.e., how far in or out a speaker coil will be pushed at that precise moment.  &#xD;&#xA;Running each of these tiny snapshots one after the other gives the eventual fluidity of motion which drives the air pressure changes we then perceive as sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="57659" PostHistoryTypeId="2" PostId="30281" RevisionGUID="8c46a508-907a-4810-b436-ead7e3a5b28d" CreationDate="2014-09-20T08:42:34.910" UserId="9961" Text="Okay, so I've got this piece of code, that is supposed to generate and play a sine wave (audio). It doesn't work (the sound is really weird), even though the values generated resemble a sine function, and thus I've been looking it through for errors. Then I noticed that when I change the sample rate, the sound changes too, and now I'm speculating, that this might be where the error is.&#xD;&#xA;&#xD;&#xA;Code: http://pastebin.com/XXbiHKTC&#xD;&#xA;&#xD;&#xA;Help very much appreciated!" ContentLicense="CC BY-SA 3.0" />
  <row Id="57660" PostHistoryTypeId="1" PostId="30281" RevisionGUID="8c46a508-907a-4810-b436-ead7e3a5b28d" CreationDate="2014-09-20T08:42:34.910" UserId="9961" Text="Why does changing the sampling rate, cange the sound of the tone? (Not pitch)" ContentLicense="CC BY-SA 3.0" />
  <row Id="57661" PostHistoryTypeId="3" PostId="30281" RevisionGUID="8c46a508-907a-4810-b436-ead7e3a5b28d" CreationDate="2014-09-20T08:42:34.910" UserId="9961" Text="&lt;audio&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57662" PostHistoryTypeId="2" PostId="30282" RevisionGUID="a5a7d01c-a411-463d-8408-248eb2af6e8c" CreationDate="2014-09-20T09:48:52.770" UserId="4390" Text="Your gear should be perfectly fine, provided proper ventilation (especially for the laptop), and controlled/limited exposure to moisture (esp. the mics and laptop). Don't let it get wet, don't cover stuff up so the heat builds up - and you should be fine.&#xD;&#xA;&#xD;&#xA;Especially large consoles are supposedly left on. This is mostly because of what power on/off spikes might do to the thousands of capacitors in them (and maintenance is expensive on those big consoles). Leaving them on reduces power spikes, thus (hopefully) reducing blown caps in old consoles." ContentLicense="CC BY-SA 3.0" />
  <row Id="57663" PostHistoryTypeId="2" PostId="30283" RevisionGUID="3a4c913a-6818-4dcf-9c4a-cd001ad3af6f" CreationDate="2014-09-20T15:06:30.897" UserId="9962" Text="I am lookin for an app (iOS or Android) that turns any smartphone into a wireless microphone for any kind of event. For example I can talk in my phone and sound is broadcasted in real time to the speakers. I don’t want to buy dozens of mics.&#xD;&#xA;&#xD;&#xA;Thank you in advance for your help&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57664" PostHistoryTypeId="1" PostId="30283" RevisionGUID="3a4c913a-6818-4dcf-9c4a-cd001ad3af6f" CreationDate="2014-09-20T15:06:30.897" UserId="9962" Text="Mobile application to turn smartphone into wireless microphone" ContentLicense="CC BY-SA 3.0" />
  <row Id="57665" PostHistoryTypeId="3" PostId="30283" RevisionGUID="3a4c913a-6818-4dcf-9c4a-cd001ad3af6f" CreationDate="2014-09-20T15:06:30.897" UserId="9962" Text="&lt;microphone&gt;&lt;iphone&gt;&lt;broadcast&gt;&lt;realtime&gt;&lt;android&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57666" PostHistoryTypeId="2" PostId="30284" RevisionGUID="26fe9957-c2e7-4fc9-8c10-4353ccf91350" CreationDate="2014-09-20T15:49:02.600" UserId="842" Text="A bread and butter way is using a comb with thin paper, put the paper on top of the comb, covering the upside completely, with the teeth pointing at you, and blow between them. Might take a little practice, but does indeed work well!" ContentLicense="CC BY-SA 3.0" />
  <row Id="57667" PostHistoryTypeId="2" PostId="30285" RevisionGUID="7f99d4b1-64d6-4c2f-9a7b-4a30ecfa16a4" CreationDate="2014-09-20T15:54:22.957" UserId="842" Text="If you're talking about the traditional &quot;boing&quot;-sound, it's a box with a string and pretty tricky to make yourself, though far from impossible. Another way is a normal Jew's Harp. &#xD;&#xA;&#xD;&#xA;Jew's harp:&#xD;&#xA;http://en.wikipedia.org/wiki/Jew%27s_harp&#xD;&#xA;&#xD;&#xA;Boing Box:&#xD;&#xA;http://bizarrelabs.com/boing2.htm" ContentLicense="CC BY-SA 3.0" />
  <row Id="57668" PostHistoryTypeId="2" PostId="30286" RevisionGUID="6973566c-58e4-460b-88db-9bed67cad747" CreationDate="2014-09-20T16:08:48.887" UserId="842" Text="It's stereo alright, but not much more. I love the Oktava 012 for many things (which I assume you are using as you mentioned the Figure Of 8-adapter), it's one of my go-to mics for several types of ambiances for one, especially when building perspective against maybe a MKH40 or a DPA 4012. But that adapter isn't very good, regretfully. For a microphone to really work with M/S, the positive and negative parts ***&gt;must&lt;*** be perfectly placed with little to absolutely no space in between, preferably as a single membrane. The 012 adapter, fully mounted, have nearly 2cm as I recall. It will not work, and the effect is what you got there - only one dominant channel and that's it." ContentLicense="CC BY-SA 3.0" />
  <row Id="57669" PostHistoryTypeId="2" PostId="30287" RevisionGUID="35fd569a-f56e-4b0d-a4a8-76593128e7f2" CreationDate="2014-09-20T18:02:36.800" UserId="9963" Text="anyone interested in exchanging kontakt instruments they've made?&#xD;&#xA;I'm starting to build more and more foley stuff as i see fit. &#xD;&#xA;It saves a lot of time using a controller VS pro tools chops " ContentLicense="CC BY-SA 3.0" />
  <row Id="57670" PostHistoryTypeId="1" PostId="30287" RevisionGUID="35fd569a-f56e-4b0d-a4a8-76593128e7f2" CreationDate="2014-09-20T18:02:36.800" UserId="9963" Text="kontakt exchange for post audio" ContentLicense="CC BY-SA 3.0" />
  <row Id="57671" PostHistoryTypeId="3" PostId="30287" RevisionGUID="35fd569a-f56e-4b0d-a4a8-76593128e7f2" CreationDate="2014-09-20T18:02:36.800" UserId="9963" Text="&lt;sound-design&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57673" PostHistoryTypeId="2" PostId="30289" RevisionGUID="a1deed4f-a377-4379-888d-86ca5ee9547d" CreationDate="2014-09-20T19:51:35.203" UserId="9964" Text="I'm a court reporter working in old courtrooms with bad acoustics and A/C noise that overpowers the voices on recordings.  I just have the little table where I sit so I can't stretch mic cords all over the place.  And to make the quest even more impossible, I don't want to spend more than $350.  I'm thinking of getting an H4N Zoom with a mic plugged into it to boost the volume. I don't know anything about phantom or condenser or db's or any of that.  I just know either I can't hear diddly-squat on the recording or I hear nothing but the A/C fan or the people sound like they're in a tunnel.  There must be something out there that will work.  I have travel to different courthouses with my laptop so I need something compact.  I'm using an Olympus 4000 and DS-3400 with Martel's hi-gain lapel mic on a stand.  It's only so-so.  I've tried a conference mic with them also.  I would appreciate any recommendations and suggestions." ContentLicense="CC BY-SA 3.0" />
  <row Id="57674" PostHistoryTypeId="1" PostId="30289" RevisionGUID="a1deed4f-a377-4379-888d-86ca5ee9547d" CreationDate="2014-09-20T19:51:35.203" UserId="9964" Text="Need hand-held recorder and mic for use in old courtrooms" ContentLicense="CC BY-SA 3.0" />
  <row Id="57675" PostHistoryTypeId="3" PostId="30289" RevisionGUID="a1deed4f-a377-4379-888d-86ca5ee9547d" CreationDate="2014-09-20T19:51:35.203" UserId="9964" Text="&lt;microphone&gt;&lt;audio-recording&gt;&lt;field-recording&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57676" PostHistoryTypeId="2" PostId="30290" RevisionGUID="37ea3a5e-7953-4ffb-9e04-647a2fea472f" CreationDate="2014-09-20T21:50:59.820" UserId="7174" Text="Most likely aliasing is to blame.  What you get from discreet samples doesn't always make an ideal representation of the audio you are trying to create due to the stepping nature of the samples.  You could try applying an anti-aliasing filter to the samples to make it better reproduce a sine wave.&#xD;&#xA;&#xD;&#xA;There may also be problems in the code itself, but debugging programming code is probably off-topic here." ContentLicense="CC BY-SA 3.0" />
  <row Id="57677" PostHistoryTypeId="5" PostId="30281" RevisionGUID="6e0e0ccb-f5b0-4453-b72a-14c5fcccc650" CreationDate="2014-09-20T21:51:29.913" UserId="7174" Comment="debugging code is probably off topic, discussion about why sample rate might impact sound is ok, but doesn't need code for that." Text="Okay, so I'm trying to make a sine wave in an audio file, however it doesn't work (the sound is really weird), even though the values generated resemble a sine function. I've been trying to figure out the problem and noticed that when I change the sample rate, the sound changes too.  Why does the sample rate impact how my generated audio file sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57678" PostHistoryTypeId="2" PostId="30291" RevisionGUID="69eba770-ec82-410e-927f-ba65dab02972" CreationDate="2014-09-20T21:55:22.700" UserId="7174" Text="Don't, just don't. Using smartphones as microphones for live sound is really highly ill-advised.  You will have all kinds of network latency issues, feedback issues (as they are generally designed to be omni-directional), quality issues, etc.  You can do it in a pinch for a recording maybe, but if you are using it for reinforcement, you are majorly asking for trouble.&#xD;&#xA;&#xD;&#xA;If you really, really want to continue down that path, any voice chat client will do what you are looking for.  Just setup one device on the call to be plugged in to the sound board and it will play the audio through the PA, but don't be surprised when you have major issues.&#xD;&#xA;&#xD;&#xA;If I absolutely had to do something like this, I'd probably use something like TeamSpeak 3 which is designed for multi-person voice communications.  It has a mobile client and allows for a lot of control over volumes of individual speakers and can even enable certain speakers to automatically make other speakers more quiet.  It is free for non-profit use (up to 512 users) or can be licensed for more than that.  Alternately, Mumble could be used for free, but the platform itself isn't quite as flushed out as TeamSpeak.  Again though, I can't emphasis enough how much I would advise against this." ContentLicense="CC BY-SA 3.0" />
  <row Id="57679" PostHistoryTypeId="10" PostId="30287" RevisionGUID="38411a9b-c4b5-4008-8517-0ac1e639bb66" CreationDate="2014-09-20T22:01:25.623" UserId="7174" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="57680" PostHistoryTypeId="11" PostId="30287" RevisionGUID="80be6aff-8749-4657-b9e2-cd44612b046f" CreationDate="2014-09-20T22:02:25.453" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="57681" PostHistoryTypeId="10" PostId="30287" RevisionGUID="a0c44d15-a4af-4007-b3be-d75cc053e4a4" CreationDate="2014-09-20T22:02:29.433" UserId="7174" Comment="104" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="57682" PostHistoryTypeId="2" PostId="30292" RevisionGUID="e5e7ed75-ee10-459b-b3fb-a384de7b8e73" CreationDate="2014-09-21T01:08:31.510" UserId="7769" Text="I'm studying the topic of sound waves in digital audio.&#xD;&#xA;&#xD;&#xA;I have a basic understanding of the concepts of frequency, amplitude, samples, and how it all comes together to create a sound with a distinct pitch and 'tone' (timbre).&#xD;&#xA;&#xD;&#xA;My question is this:&#xD;&#xA;&#xD;&#xA;Can a sound wave take any shape? E.g. I know that there are sine waves (in the shape of a sine function), square waves, 'triangle' waves, etc. Can a wave take any shape and be heard in a distinct timbre?&#xD;&#xA;&#xD;&#xA;Also, as a separate question: can two one sine waves in the same frequency sound different? Does 'sine wave' mean a very specific shape? Or can a 'sine wave' take many kinds of shapes?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57683" PostHistoryTypeId="1" PostId="30292" RevisionGUID="e5e7ed75-ee10-459b-b3fb-a384de7b8e73" CreationDate="2014-09-21T01:08:31.510" UserId="7769" Text="Can a digital sound wave take any shape?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57684" PostHistoryTypeId="3" PostId="30292" RevisionGUID="e5e7ed75-ee10-459b-b3fb-a384de7b8e73" CreationDate="2014-09-21T01:08:31.510" UserId="7769" Text="&lt;audio&gt;&lt;digital&gt;&lt;waves&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57685" PostHistoryTypeId="2" PostId="30293" RevisionGUID="b613309e-e36e-4260-a2ad-c8be1b8ed9d9" CreationDate="2014-09-21T02:39:34.140" UserId="7213" Text="According to [theory][1], all complex sound waves can be decomposed into a set of sine waves, which are the most basic of wave shapes. Two sine waves of the same frequency will be identical except possibly for amplitude. That is, one may be louder than the other, but they're otherwise the same and can't be distinguished.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Fourier_analysis" ContentLicense="CC BY-SA 3.0" />
  <row Id="57688" PostHistoryTypeId="2" PostId="30296" RevisionGUID="41f33b0a-cbce-4a15-b28a-15ed443e94b7" CreationDate="2014-09-21T08:29:01.033" UserId="6432" Text="A perfect sine wave can only be one shape as it is derived from geometry:&#xD;&#xA;&#xD;&#xA;![enter image description here][1]&#xD;&#xA;&#xD;&#xA;So it always sounds the same.&#xD;&#xA;&#xD;&#xA;But yes, a wave can take any shape and this affects the timbre. An interesting point however, is that these movements all need to be reproduced by the speaker, which is possibly the weakest link in the chain. Consider how a speaker reproduces a perfect square wave?  &#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/PBB5M.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="57689" PostHistoryTypeId="2" PostId="30297" RevisionGUID="0e28651b-6742-4170-af79-1f7507e84e87" CreationDate="2014-09-21T12:13:40.397" UserId="182" Text="Are you able to point the microphone to the person that speaks? If so, you could look into directional microphones to plug into a Zoom H4N (which is a decent device for the money). Rode Mics spring to mind.&#xD;&#xA;&#xD;&#xA;As always, learning a bit about the problems and possibilities of sound recording will enable you to find a better solution. &#xD;&#xA;&#xD;&#xA;With regards to budget: you get what you pay for. The H4N is a good starting point, but the microphones have a wide price range, each step up meaning a bit less noise and cleaner sound (that's a very simplified explanation)." ContentLicense="CC BY-SA 3.0" />
  <row Id="57690" PostHistoryTypeId="2" PostId="30298" RevisionGUID="41c0eadd-310a-4b8b-b490-a385b0b8bf99" CreationDate="2014-09-21T13:15:39.713" UserId="6432" Text="How about getting a [Rode Videomic][1] to go with the recorder you already own? It will give you directional pickup (ie less background noise) for not too much cash, but it really needs to be pointed to the source. &#xD;&#xA;&#xD;&#xA;The solution really depends on how many sources of sound there are in the room usually, and whether or not they are already amplified. Can you give us a bit more info on that please? &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.rodemic.com/microphones/videomic" ContentLicense="CC BY-SA 3.0" />
  <row Id="57691" PostHistoryTypeId="2" PostId="30299" RevisionGUID="e9290763-3d53-4200-908a-56b95deb2072" CreationDate="2014-09-21T14:00:58.257" UserId="6425" Text="The valves of your preamp will run out after some time. So if you use expensive valves, be sure to turn the equipment of if not needed." ContentLicense="CC BY-SA 3.0" />
  <row Id="57697" PostHistoryTypeId="12" PostId="30283" RevisionGUID="eb6e648a-db9c-4bfc-9150-64729b73b1af" CreationDate="2014-09-21T18:16:20.733" UserId="7174" Comment="via Vote" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="57698" PostHistoryTypeId="13" PostId="30283" RevisionGUID="5ccdd0f9-2652-4c6a-9952-216a23b741e1" CreationDate="2014-09-21T18:17:11.963" UserId="7174" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="57700" PostHistoryTypeId="5" PostId="30283" RevisionGUID="978c3c75-f757-4086-b212-62c331b3caff" CreationDate="2014-09-21T18:21:29.110" UserId="7174" Comment="deleted 38 characters in body" Text="I am lookin for an app (iOS or Android) that turns any smartphone into a wireless microphone for any kind of event. For example I can talk in my phone and sound is broadcasted in real time to the speakers. I don’t want to buy dozens of mics.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57701" PostHistoryTypeId="2" PostId="30300" RevisionGUID="24b56129-7fd1-463d-8eac-82c678b46fb0" CreationDate="2014-09-22T10:35:21.850" UserId="9971" Text="I record sounds with the simple same equipment which consist of my laptop and a microphone, both in my home and my office. The sounds are very clear which I record in my office. But, in my home, there is a terrible noise that I normally cannot hear.&#xD;&#xA;&#xD;&#xA;When I make Listen -&gt; &quot;Listen to this device&quot; checked in microphone properties in Windows operating system, I can hear the same noise in real time.&#xD;&#xA;&#xD;&#xA;I cannot find any other difference between my home and my office except a cell phone base station. There is a base station next to our home. Can it produce this effect? if it cannot, I am open to any idea and suggestion.&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="57702" PostHistoryTypeId="1" PostId="30300" RevisionGUID="24b56129-7fd1-463d-8eac-82c678b46fb0" CreationDate="2014-09-22T10:35:21.850" UserId="9971" Text="Sound Recording Noise in Different Places" ContentLicense="CC BY-SA 3.0" />
  <row Id="57703" PostHistoryTypeId="3" PostId="30300" RevisionGUID="24b56129-7fd1-463d-8eac-82c678b46fb0" CreationDate="2014-09-22T10:35:21.850" UserId="9971" Text="&lt;audio-recording&gt;&lt;noise&gt;&lt;noise-cancelling&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57704" PostHistoryTypeId="2" PostId="30301" RevisionGUID="ca9a3a46-2d78-499f-a451-477c605a8f15" CreationDate="2014-09-22T13:20:52.443" UserId="9972" Text="&lt;br&gt;&#xD;&#xA;i would like to mix one of mine composition with a **sixties** mood.&lt;br&gt;&#xD;&#xA;To better understand what i'm trying to explain, i would accomplish a sound like &#xD;&#xA;Gene Rains' &lt;i&gt;Hana Maui&lt;/i&gt;. I know that it could be pretentious, but it can be an opportunity to learn something about mixing.&lt;br&gt;&#xD;&#xA;In particular i love the drums on the right side and the other instruments(piano etc.) on the left. Until here it seems easy, but if i listen Hana Maui only left channel i still listen drums:so it isn't &quot;all drums on the right&quot; and &quot;all the other instruments on the left&quot;!&lt;br&gt;&#xD;&#xA;I've tried to pan a little less (drums and instruments) in my song but the result are absolutely not the same.&lt;br&gt;&#xD;&#xA;i've also tried to add some reverb (on drums and instrs) but still it isn't the same effect.&lt;br&gt;&#xD;&#xA;Could someone explain or link some stuff where i can find information?&lt;br&gt;&#xD;&#xA;Thanks in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="57705" PostHistoryTypeId="1" PostId="30301" RevisionGUID="ca9a3a46-2d78-499f-a451-477c605a8f15" CreationDate="2014-09-22T13:20:52.443" UserId="9972" Text="sixties' sound mixing" ContentLicense="CC BY-SA 3.0" />
  <row Id="57706" PostHistoryTypeId="3" PostId="30301" RevisionGUID="ca9a3a46-2d78-499f-a451-477c605a8f15" CreationDate="2014-09-22T13:20:52.443" UserId="9972" Text="&lt;mixing&gt;&lt;production-mixing&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57707" PostHistoryTypeId="2" PostId="30302" RevisionGUID="c1a59d5f-9bf9-4d14-8f0f-633ed3a93f1f" CreationDate="2014-09-22T16:40:05.730" UserId="7174" Text="Most likely this is the result of poor isolation of the ADC(analog to digital converter) in your laptop's audio hardware.  Typically, without power conditioning, there are large amounts of variation in the power level that actually comes out of an outlet.  &#xD;&#xA;&#xD;&#xA;If audio hardware is not properly isolated and conditioned, these variations in power level (which can also be further caused by power consumption within a computer itself) will result in a very noticeable variable buzzing on the audio capture.  &#xD;&#xA;&#xD;&#xA;It's impossible to say for sure that this is what is happening given that you haven't posted audio samples, but it is my best guess given the situation.  If you can post audio samples then I can confirm this.  Your best bet to deal with them if that is the problem is to try a) running from battery power and making sure that your computer isn't working on anything else at the time or b) get an external recorder or capture card with proper isolation on the analog to digital converter." ContentLicense="CC BY-SA 3.0" />
  <row Id="57711" PostHistoryTypeId="2" PostId="30304" RevisionGUID="14c8fd67-4c1b-48b6-9819-5a1d6c2d3c77" CreationDate="2014-09-23T08:52:08.563" UserId="9976" Text="This might sound like an odd / obvious thing to ask, but are you using it near a computer / any other electrical appliance? &#xD;&#xA;&#xD;&#xA;I use a z00m H4n and I find the mics on it to be so sensitive that it picks up the sound of my (relativley) silent Imac running in the background - Which to a condenser mic sounds like a jet engine. &#xD;&#xA;&#xD;&#xA;If you are using near any other appliance like a desktop, a laptop... anything really, turn them all off and see if that fixes it.&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57712" PostHistoryTypeId="5" PostId="30301" RevisionGUID="a10f14a2-369b-444a-a30f-608cc7bcf8d2" CreationDate="2014-09-23T12:22:30.957" UserId="9648" Comment="Punctuation/spelling/grammar" Text="I would like to mix one of my compositions with a **sixties** mood.&#xD;&#xA;&#xD;&#xA;To better understand what I'm trying to explain, I would accomplish a sound like &#xD;&#xA;Gene Rains' *Hana Maui*. I know that it could be pretentious, but it can be an opportunity to learn something about mixing.&#xD;&#xA;&#xD;&#xA;In particular, I love the drums on the right side and the other instruments (piano etc.) on the left. Until here it seems easy, but if I listen to *Hana Maui* only left channel I still hear drums: so it isn't &quot;all drums on the right&quot; and &quot;all the other instruments on the left!&quot;&#xD;&#xA;&#xD;&#xA;I've tried to pan a little less (drums and instruments) in my song but the result are absolutely not the same.&#xD;&#xA;&#xD;&#xA;I've also tried to add some reverb (on drums and instruments) but still it isn't the same effect.&#xD;&#xA;&#xD;&#xA;Could someone explain or link some stuff where I can find information?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57713" PostHistoryTypeId="4" PostId="30301" RevisionGUID="a10f14a2-369b-444a-a30f-608cc7bcf8d2" CreationDate="2014-09-23T12:22:30.957" UserId="9648" Comment="Punctuation/spelling/grammar" Text="Sixties' sound mixing" ContentLicense="CC BY-SA 3.0" />
  <row Id="57714" PostHistoryTypeId="24" PostId="30301" RevisionGUID="a10f14a2-369b-444a-a30f-608cc7bcf8d2" CreationDate="2014-09-23T12:22:30.957" Comment="Proposed by 9648 approved by 1185, 6957 edit id of 164" ContentLicense="CC BY-SA 3.0" />
  <row Id="57715" PostHistoryTypeId="2" PostId="30305" RevisionGUID="e54174e8-d329-4476-a417-9767b420f353" CreationDate="2014-09-23T13:49:52.380" UserId="6440" Text="As an experiment, use skype or hangout because everybody has it installed already, and you can hook it into the PA with some real soundcard. If you want to go further, use some sound server as Jack on iOs with seperate recording app and streaming app. That would be the only way around the noise reduction and echo cancellation algorithms mandatory in telephony applications.&#xD;&#xA;The sound of the mic will alwys be horrific compared to a &gt;50$ PA mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="57716" PostHistoryTypeId="2" PostId="30306" RevisionGUID="fcf276b7-aa15-4486-8b29-aca057ee175d" CreationDate="2014-09-23T14:03:49.667" UserId="6440" Text="Consider using an anechoic chamber from others. Every microphone and speaker **manufacturer** will have one, most **Universities** have huge EMI measurement chambers (working perfectly). They might let you use it for an hour at a time, or you can rent it for a day for some more money.&#xD;&#xA;&#xD;&#xA;If you need to build one by your self, start with a ***noise floor measurement*** box.  Use some heavy metal or concrete box with lid(getting the cable out), at least 20-50 litres of volume, and stuff almost completly with damping material like cotton wool. Use in an very quiet enviroment - cellar. This will be very accurate. Mic must not touch anything inside, of corse.&#xD;&#xA;&#xD;&#xA;If you need to measure ***frequency response***, you need a perfect speaker. Or something close to it, and a close-to-perfect **measurement mic** with known freq response. Sweep and record both mics, calculate diffs.&#xD;&#xA;That is not possible in less then a real room - or outside, with no ambient noise like cars or animals, and absolutely no wind. Measuring &gt;50 times will average out some disturbances, though." ContentLicense="CC BY-SA 3.0" />
  <row Id="57717" PostHistoryTypeId="2" PostId="30307" RevisionGUID="f7f08dc4-0b5b-4f5e-8f29-a45675cbb175" CreationDate="2014-09-23T14:25:33.933" UserId="6440" Text="You could run Jack all the time and route pulse output through it. Only minimal cpu and latency cost, but then no second convonluter, maintenance,etc needed.&#xD;&#xA;&#xD;&#xA;    $ sudo aptitde install pulseaudio-module-jack&#xD;&#xA;&#xD;&#xA;and call &#xD;&#xA;&#xD;&#xA;    $ pactl load-module module-jack-sink &#xD;&#xA;&#xD;&#xA;now pulse shall play everything to jack, and jack to the convolve pljugin, ant that to speaker. Use qjackctl and jack-meterbringe to debug any problems." ContentLicense="CC BY-SA 3.0" />
  <row Id="57718" PostHistoryTypeId="2" PostId="30308" RevisionGUID="646d3ead-517c-4027-9e79-4ee888d12e3b" CreationDate="2014-09-23T14:31:05.940" UserId="6440" Text="Cpuscaling does not have an effect for professional audio production, because the cpufreq is increase so much faster than any sudden performance needs can arise.&#xD;&#xA;The only negative impact would be dropouts, and you will hear them and read them in audioserver logfiles. But the do not occure from temporary lower cpufreq but from bad configured system, using the wrong scheduler or jamming the system." ContentLicense="CC BY-SA 3.0" />
  <row Id="57720" PostHistoryTypeId="2" PostId="30309" RevisionGUID="9ae51bcf-434e-4162-875d-710fabc2a3bf" CreationDate="2014-09-23T19:32:52.087" UserId="9648" Text="You can &quot;position&quot; sounds in the stereo field. When you listen to music and a particular instrument seems to be left, it may be the result of microphone positioning, or pan adjustment on the mixing console (whether real or virtual).&#xD;&#xA;&#xD;&#xA;Setting an instrument fully left or right creates an awkward feeling, because in real life even when you listen to an instrument played to your left or right, acoustics in the room cause your other ear to hear a delayed (and reflected) version of the sound. Your brain processes the sound and &quot;knows&quot; its position. The *absence* of sound from that instrument on the opposite ear is unnatural, unless the sound was so quiet that you can barely hear it in the first place.&#xD;&#xA;&#xD;&#xA;When setting the pan for an instrument, try to think of it as a position in an arc around the listener (rather than simply &quot;left&quot; or &quot;right&quot;). All instruments set to center will feel as though they are overlapping, but instruments set too far right or left will start to invoke the unnatural lack of sound on the opposite side.&#xD;&#xA;&#xD;&#xA;If your mix is dry, that can also explain why slight panning doesn't sound quite as you'd like. Adding reverb to the final mix will make the separate tracks or instruments &quot;blend&quot; better, and sound as though they're in the same room. An instrument panned left will have acoustic reflections added to the right channel by reverb, and improve the perception that the instrument really is positioned where it's intended to be." ContentLicense="CC BY-SA 3.0" />
  <row Id="57721" PostHistoryTypeId="2" PostId="30310" RevisionGUID="fca06ef3-5c4f-4066-8298-b97a17b93eee" CreationDate="2014-09-23T21:44:19.463" UserId="7089" Text="Jimmy Macdonald was Disney's first sound effects designer and he is responsible for so many of the quintessential cartoon sounds that we associate with. He does a pretty good job of the talking fly/mosquito sound using rubber tubing attached to a kind of drum skin. You can see a demonstration of the sound in this documentary (highly recommended viewing for some general inspiration). &#xD;&#xA;&#xD;&#xA;Disney Family Album #4 - Jimmy MacDonald&#xD;&#xA;http://youtu.be/SejPFUnyKtc?t=14m38s" ContentLicense="CC BY-SA 3.0" />
  <row Id="57722" PostHistoryTypeId="2" PostId="30311" RevisionGUID="8aa7f13f-723e-443b-9b75-f4c7c19a5526" CreationDate="2014-09-23T21:57:34.140" UserId="7089" Text="This seems like an awful lot of work, and I think you would get better results from recording foley. However, I understand that want to try exploring another avenue within synthesis. &#xD;&#xA;&#xD;&#xA;As has already been mentioned, Andy Farnell's Designing Sound is the best resource for this kind of sound design, and all of that is done within PD. If you want to get away from PD and work within Live then I would recommend look into physical modelling synthesizers. If you have Live Suite then Tension and Collision are the way to go. You might also get some good results by experimenting with Corpus as well. I haven't checked this out yet but I just found a video from Robert Henke talking about physical modelling sythesis, there may be some nuggets of gold in there: https://www.ableton.com/en/blog/robert-henke-max-live-physical-modeling-and-composition/&#xD;&#xA;&#xD;&#xA;Come to think of it...if you have got Max for Live then you should be able to translate almost any PD tutorial to an M4L device. It will take some R&amp;D and probably a bit of debugging. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57723" PostHistoryTypeId="2" PostId="30312" RevisionGUID="f71b8926-8c95-43f3-888a-ce080ac8524a" CreationDate="2014-09-24T04:57:25.117" UserId="9977" Text="I want to use multiple applications such as teamspeak and Skype that allow me to select separate audio inputs/outputs from the system out. Note that I am on a mac. &#xD;&#xA;&#xD;&#xA;I would like to take said audio inputs/outputs and send them to an external mixer, where I could then use the audio normally. preferably not converting to analog and back in the process.&#xD;&#xA;&#xD;&#xA;My question is not a product recommendation, but rather a question about how audio interfaces appear to a computer.&#xD;&#xA;&#xD;&#xA;I would like to be able to select pairs of channels on a multichannel interface and use them for each application. for example: pair 1/2 would be used for the inputs and outputs to Skype and pair 3/4 would be used for the inputs and outputs to teamspeak.&#xD;&#xA;&#xD;&#xA;a final hope would be that I could use Dante connections for this, but it is a hope at best.&#xD;&#xA;&#xD;&#xA;Note: I would be using this on gaming livestreams so i can separate my game audio from my friends on teamspeak and my own mic.&#xD;&#xA;&#xD;&#xA;Thank you&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57724" PostHistoryTypeId="1" PostId="30312" RevisionGUID="f71b8926-8c95-43f3-888a-ce080ac8524a" CreationDate="2014-09-24T04:57:25.117" UserId="9977" Text="audio interface to add additional outputs to computer for Skype and teamspeak" ContentLicense="CC BY-SA 3.0" />
  <row Id="57725" PostHistoryTypeId="3" PostId="30312" RevisionGUID="f71b8926-8c95-43f3-888a-ce080ac8524a" CreationDate="2014-09-24T04:57:25.117" UserId="9977" Text="&lt;computer&gt;&lt;audio-interfaces&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57726" PostHistoryTypeId="2" PostId="30313" RevisionGUID="61bc9f6a-c985-4fb6-8941-32f58af45e8a" CreationDate="2014-09-24T12:31:29.960" UserId="1225" Text="Rub your knuckles or finger nails fast enough. Record about 20-30 seconds, use a high-pass filter on the recording to get rid of the unnecessary low end, then pitch it up until you get a buzzing sound. It would resemble little wings. :)&#xD;&#xA;&#xD;&#xA;You can use various objects to get different timbres with this technique." ContentLicense="CC BY-SA 3.0" />
  <row Id="57727" PostHistoryTypeId="5" PostId="22142" RevisionGUID="fcb87da5-f6f7-481f-9675-872e7a038ffb" CreationDate="2014-09-24T12:36:00.687" UserId="1225" Comment="deleted 91 characters in body" Text="**UPD**: thanks to everyone, the question is closed. The library is published on my website, you'll find the full info here: [Urban Russia sound library][1]&#xD;&#xA;&#xD;&#xA;I'm from Russia. I've been recording various ambiences and sounds of Saint-Petersburg and Moscow for 2 years. Recently I looked through my collection and decided that it has enough audio material to be shared. I'd like to sell it for a small price, but I'm not sure about it yet.&#xD;&#xA;&#xD;&#xA;May I ask you, a fellow sound editor or recordist, would you be interested in my collection? If true, what price would be reasonable for you?&#xD;&#xA;&#xD;&#xA;The collection includes recordings of:&#xD;&#xA;&#xD;&#xA; 1. elevators&#xD;&#xA; 2. hotel lobbies&#xD;&#xA; 3. international conference (crowds)&#xD;&#xA; 4. streets and parks (including historical places like the Red Square or Nevskiy Avenue).&#xD;&#xA; 5. moscow monorail&#xD;&#xA; 6. subways&#xD;&#xA; 7. trains and train stations&#xD;&#xA; 8. shores (surf waves)&#xD;&#xA; 9. fireworks (New Year Celebration)&#xD;&#xA; 10. airport, bank office, food court, game center ambiences&#xD;&#xA; 11. museums (Hermitage, Kazan's Cathedral)&#xD;&#xA; 12. suburban electric train.&#xD;&#xA; 13. washrooms.&#xD;&#xA;&#xD;&#xA;Total: 6h 40m, 7953mb.&#xD;&#xA;Recorded with Zoom H4n, 44/96 kHz, 24 bit, stereo.&#xD;&#xA;&#xD;&#xA;I created a brief mix and uploaded it on SoundCloud for your evaluation of the sound quality. [http://soundcloud.com/vibe-crc/ambiences-and-sounds-of-russia][2]&#xD;&#xA;&#xD;&#xA;  [1]: http://lesser-vibes.com/sound.html&#xD;&#xA;  [2]: http://soundcloud.com/vibe-crc/ambiences-and-sounds-of-russia" ContentLicense="CC BY-SA 3.0" />
  <row Id="57728" PostHistoryTypeId="5" PostId="22142" RevisionGUID="66f31d91-4308-4a7b-820a-5d28abdb12e1" CreationDate="2014-09-24T14:19:24.917" UserId="1225" Comment="added 66 characters in body" Text="**UPD**: thanks to everyone, the question is closed. The library is published on my website, you'll find the full info here: [Urban Russia sound library][1]&#xD;&#xA;&#xD;&#xA;**UPD 2**: updated the library with new material (24/09/2014).&#xD;&#xA;&#xD;&#xA;I'm from Russia. I've been recording various ambiences and sounds of Saint-Petersburg and Moscow for 2 years. Recently I looked through my collection and decided that it has enough audio material to be shared. I'd like to sell it for a small price, but I'm not sure about it yet.&#xD;&#xA;&#xD;&#xA;May I ask you, a fellow sound editor or recordist, would you be interested in my collection? If true, what price would be reasonable for you?&#xD;&#xA;&#xD;&#xA;The collection includes recordings of:&#xD;&#xA;&#xD;&#xA; 1. elevators&#xD;&#xA; 2. hotel lobbies&#xD;&#xA; 3. international conference (crowds)&#xD;&#xA; 4. streets and parks (including historical places like the Red Square or Nevskiy Avenue).&#xD;&#xA; 5. moscow monorail&#xD;&#xA; 6. subways&#xD;&#xA; 7. trains and train stations&#xD;&#xA; 8. shores (surf waves)&#xD;&#xA; 9. fireworks (New Year Celebration)&#xD;&#xA; 10. airport, bank office, food court, game center ambiences&#xD;&#xA; 11. museums (Hermitage, Kazan's Cathedral)&#xD;&#xA; 12. suburban electric train.&#xD;&#xA; 13. washrooms.&#xD;&#xA;&#xD;&#xA;Total: 6h 40m, 7953mb.&#xD;&#xA;Recorded with Zoom H4n, 44/96 kHz, 24 bit, stereo.&#xD;&#xA;&#xD;&#xA;I created a brief mix and uploaded it on SoundCloud for your evaluation of the sound quality. [http://soundcloud.com/vibe-crc/ambiences-and-sounds-of-russia][2]&#xD;&#xA;&#xD;&#xA;  [1]: http://lesser-vibes.com/sound.html&#xD;&#xA;  [2]: http://soundcloud.com/vibe-crc/ambiences-and-sounds-of-russia" ContentLicense="CC BY-SA 3.0" />
  <row Id="57729" PostHistoryTypeId="2" PostId="30314" RevisionGUID="11a89f3b-9234-434b-8d23-33e3ee6b6497" CreationDate="2014-09-24T17:24:35.723" UserId="9729" Text="Is an audio interface a requirement?  It seems to me you could internally route these signals with a software solution.  I am not a mac user, but on the windows platform there is a piece of software called `Virtual Audio Cable` that allows you to create additional audio channels and patch them how you see fit.  I suspect a similar solution exists for Macs.&#xD;&#xA;&#xD;&#xA;I've utilized it in the past for streaming purposes when I needed to mix two sources into my microphone input and remove my microphone output from my own monitoring/playback.  It is quite robust and allows you to pipe multiple audio sources to a channel that can then be utilized by your broadcast as a single audio stream.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="57730" PostHistoryTypeId="2" PostId="30315" RevisionGUID="319125f5-6733-4fc8-a024-1cc6c2185ad7" CreationDate="2014-09-24T22:43:29.170" UserId="7200" Text="Pan pots were _not_ generally implemented on 60s' consoles – panning a signal would require sacrificing a precious entire extra channel, which explains rather well why you seldom find anything but center / hard-left / hard-right on such old recordings.&#xD;&#xA;&#xD;&#xA;However, very often you still hear something on the other channel even if some instrument is panned hard to one side. This is due to a combination of effects:&#xD;&#xA;&#xD;&#xA;- They certainly didn't start with drums-on-clicktrack back in the day... at least the rythm section was traditionally done in one take, and in one room, and everything was recorded with microphones; so some bleed is inevitable. The result is that you can hear a distant/delayed version of a left-signal on mics on the right, which actually sounds very natural to th ear, because this always happens for actual sound you hear coming hard from one side.&lt;br&gt;&#xD;&#xA;To simulate this sensation, just **route a hard-left-panned effect to an ordinary reverb by an aux send patch**.&#xD;&#xA;&#xD;&#xA;- Old analogue recording technique can at some points have difficulty keeping the L and R signals separate. Capacitive bleed, magnetic coupling, imperfectly stabilised ground feeds, and perhaps most importantly finite-width tape tracks mean at least some frequency components of one channel will normally find their way into the other, no matter how hard the signal was panned and the mics placed. You can simulate this by **adding a channel-swapped copy to your master, with some weird EQing on it (and perhaps a bit of lo-fi gating nonlinearities or something like that)**.&#xD;&#xA;&#xD;&#xA;- Last but IMO not neglectable: the &quot;correct&quot; way to listen to such records is from vinyl. Recall that vinyl does not really store to seperate channels for L and R, rather it uses the horizontal track of the groove for the &quot;main&quot; / &quot;center&quot; signal, i.e. L+R, while the differential side info is in the vertical movement. (You might equivalently say that both L and R are at a 45&amp;deg; angle to the surface; but since the physical character of up- and side directions is different the M/S stereo view describes the response better.) In neither of these directions can the signal be perfectly reproduced, there's always some nonlinearity, pretty asymmetric. Now, for a hard-panned signal, the M and S channels are the same (except on one pan-side they will be in opposite phase), but if you slightly distort them in different ways they won't quite cancel on the opposite channel if you take the difference to go back to L/R stereo. Yet another kind of bleed, and quite different from the other sources (a lot of transients, sometimes pretty strange intermodulation artifacts). To get such an effect, I'd emulate the actual physics as close as feasible: use **a pair of L/R⇌M/S matrices, and on at least one of the channels in between put something like a tube-saturation plugin (but not the same on both channels)**." ContentLicense="CC BY-SA 3.0" />
  <row Id="57731" PostHistoryTypeId="5" PostId="30315" RevisionGUID="d2ff0915-9e6c-4ecd-bd3a-71960edb47d8" CreationDate="2014-09-24T22:48:55.220" UserId="7200" Comment="added 93 characters in body" Text="Pan pots were _not_ generally implemented on 60s' consoles – panning a signal would require sacrificing a precious entire extra channel, which explains rather well why you seldom find anything but center / hard-left / hard-right on such old recordings: if there is an actual &quot;continuous&quot; stereo image, it'll usually be a proper stereo-mic setup.&#xD;&#xA;&#xD;&#xA;However, very often you still hear something on the other channel even if some instrument is panned hard to one side. This is due to a combination of effects:&#xD;&#xA;&#xD;&#xA;- They certainly didn't start with drums-on-clicktrack back in the day... at least the rythm section was traditionally done in one take, and in one room, and everything was recorded with microphones; so some bleed is inevitable. The result is that you can hear a distant/delayed version of a left-signal on mics on the right, which actually sounds very natural to th ear, because this always happens for actual sound you hear coming hard from one side. You might say, they didn't pan instruments, they just used an ultra-wide stereo mic pattern!&lt;br&gt;&#xD;&#xA;To simulate this sensation, just **route a hard-left-panned effect to an ordinary reverb by an aux send patch**.&#xD;&#xA;&#xD;&#xA;- Old analogue recording technique can at some points have difficulty keeping the L and R signals separate. Capacitive bleed, magnetic coupling, imperfectly stabilised ground feeds, and perhaps most importantly finite-width tape tracks mean at least some frequency components of one channel will normally find their way into the other, no matter how hard the signal was panned and the mics placed.&lt;br&gt;&#xD;&#xA;You can simulate this by **adding a little bit of a channel-swapped copy to your master, with some weird EQing on it (and perhaps a bit of lo-fi gating nonlinearities or something like that)**.&#xD;&#xA;&#xD;&#xA;- Last but IMO not neglectable: the &quot;correct&quot; way to listen to such records is from vinyl. Recall that vinyl does not really store to seperate channels for L and R, rather it uses the horizontal track of the groove for the &quot;main&quot; / &quot;center&quot; signal, i.e. L+R, while the differential side info is in the vertical movement. (You might equivalently say that both L and R are at a 45&amp;deg; angle to the surface; but since the physical character of up- and side directions is different the M/S stereo view describes the response better.) In neither of these directions can the signal be perfectly reproduced, there's always some nonlinearity, pretty asymmetric. Now, for a hard-panned signal, the M and S channels are the same (except on one pan-side they will be in opposite phase), but if you slightly distort them in different ways they won't quite cancel on the opposite channel if you take the difference to go back to L/R stereo. Yet another kind of bleed, and quite different from the other sources (a lot of transients, sometimes pretty strange intermodulation artifacts).&#xD;&#xA;&lt;br&gt;To get such an effect, I'd emulate the actual physics as close as feasible: use **a pair of L/R⇌M/S matrices, and on at least one of the channels in between put something like a tube-saturation plugin (but not the same on both channels)**." ContentLicense="CC BY-SA 3.0" />
  <row Id="57732" PostHistoryTypeId="2" PostId="30316" RevisionGUID="740ef6f2-e90a-4f7f-8cd1-df64e189b59c" CreationDate="2014-09-25T07:45:34.450" UserId="9983" Text="I wrote up a post that explains how to create seamless looping files and convert them for in game use! It shows how to use ProTools to make the loops, but other DAWs would have similar workflows. &#xD;&#xA;&#xD;&#xA;http://www.playdotsound.com/portfolio-item/tutorial-how-to-create-seamless-looping-music-and-sfx-files-for-video-games/" ContentLicense="CC BY-SA 3.0" />
  <row Id="57733" PostHistoryTypeId="33" PostId="30316" RevisionGUID="53df6bb8-2ab0-4519-a0fe-9f38971f7551" CreationDate="2014-09-25T16:40:58.163" UserId="7174" Comment="23" />
  <row Id="57734" PostHistoryTypeId="5" PostId="30309" RevisionGUID="c72778eb-bd6b-4349-bf71-6a042c6fbb16" CreationDate="2014-09-25T17:26:24.080" UserId="9648" Comment="Added response to comments" Text="You can &quot;position&quot; sounds in the stereo field. When you listen to music and a particular instrument seems to be left, it may be the result of microphone positioning, or pan adjustment on the mixing console (whether real or virtual).&#xD;&#xA;&#xD;&#xA;Setting an instrument fully left or right creates an awkward feeling, because in real life even when you listen to an instrument played to your left or right, acoustics in the room cause your other ear to hear a delayed (and reflected) version of the sound. Your brain processes the sound and &quot;knows&quot; its position. The *absence* of sound from that instrument on the opposite ear is unnatural, unless the sound was so quiet that you can barely hear it in the first place.&#xD;&#xA;&#xD;&#xA;When setting the pan for an instrument, try to think of it as a position in an arc around the listener (rather than simply &quot;left&quot; or &quot;right&quot;). All instruments set to center will feel as though they are overlapping, but instruments set too far right or left will start to invoke the unnatural lack of sound on the opposite side.&#xD;&#xA;&#xD;&#xA;If your mix is dry, that can also explain why slight panning doesn't sound quite as you'd like. Adding reverb to the final mix will make the separate tracks or instruments &quot;blend&quot; better, and sound as though they're in the same room. An instrument panned left will have acoustic reflections added to the right channel by reverb, and improve the perception that the instrument really is positioned where it's intended to be.&#xD;&#xA;&#xD;&#xA;**Edit:**&#xD;&#xA;&#xD;&#xA;Per comments and the other answer(s) I attempted to provide enough information that the OP could arrive at a similar result to the track in question. I am not familiar with the equipment or techniques used in the '60s, so I was working from the position of what I would do in a modern DAW based on what I heard.&#xD;&#xA;&#xD;&#xA;That said, I'll leave my answer here because I believe it is still accurate in the respect that the portion of audio heard on the &quot;opposite&quot; channel from the intended position of the instrument comes from acoustic reflections and other artifacts, rather than &quot;hard panning&quot; alone." ContentLicense="CC BY-SA 3.0" />
  <row Id="57735" PostHistoryTypeId="2" PostId="30317" RevisionGUID="98d235c1-348e-4d97-8a66-d159b2f1cad3" CreationDate="2014-09-25T19:34:07.057" UserId="9857" Text="I'm trying to make a sustaining cello sound in Pure Data.&#xD;&#xA;&#xD;&#xA;How do I make this sound? `http://88.198.78.90/ct/files/mp3/cello/594.mp3`&#xD;&#xA;&#xD;&#xA;From what I understand, I'm working with a sine wave. With the sound being created from a string instrument, I was told to look into applying a mixture of saw waves." ContentLicense="CC BY-SA 3.0" />
  <row Id="57736" PostHistoryTypeId="1" PostId="30317" RevisionGUID="98d235c1-348e-4d97-8a66-d159b2f1cad3" CreationDate="2014-09-25T19:34:07.057" UserId="9857" Text="How to Synthesize a Cello Sound in Pure Data" ContentLicense="CC BY-SA 3.0" />
  <row Id="57737" PostHistoryTypeId="3" PostId="30317" RevisionGUID="98d235c1-348e-4d97-8a66-d159b2f1cad3" CreationDate="2014-09-25T19:34:07.057" UserId="9857" Text="&lt;sound-design&gt;&lt;music&gt;&lt;synthesizer&gt;&lt;synthesis&gt;&lt;puredata&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57739" PostHistoryTypeId="2" PostId="30318" RevisionGUID="00ce397c-c42f-4f02-88d0-245b9283c720" CreationDate="2014-09-26T00:43:04.243" UserId="9988" Text="I've got a project which has some background music clips which I'd like to crossfade, I usually make it by taking each clip and dragging it into the previous one a little, but I have to be very careful to keep the same amount of time or percentage of the total. I'd like to do it automatically, in one click and standarized... do you know how to do it??&#xD;&#xA;&#xD;&#xA;Thank you very much!!!&#xD;&#xA;&#xD;&#xA;To clarify, that's my scenario:&#xD;&#xA;![enter image description here][1]&#xD;&#xA;And I want to reach that other in a click and in an homogeneic way&#xD;&#xA;![enter image description here][2]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/0378z.png&#xD;&#xA;  [2]: http://i.stack.imgur.com/SJ2C1.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57740" PostHistoryTypeId="1" PostId="30318" RevisionGUID="00ce397c-c42f-4f02-88d0-245b9283c720" CreationDate="2014-09-26T00:43:04.243" UserId="9988" Text="There's a way to crossfade multiple clips of one track in a click with Adobe Audition?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57741" PostHistoryTypeId="3" PostId="30318" RevisionGUID="00ce397c-c42f-4f02-88d0-245b9283c720" CreationDate="2014-09-26T00:43:04.243" UserId="9988" Text="&lt;automation&gt;&lt;volume&gt;&lt;adobe&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57742" PostHistoryTypeId="5" PostId="30280" RevisionGUID="bb3f7743-f322-41cc-8541-769f60ef5a26" CreationDate="2014-09-26T02:42:20.973" UserId="9648" Comment="Removed unnecessary thanks; apostrophe" Text="Is there a way to mount two TLM 103 microphones into a blimp?&#xD;&#xA;&#xD;&#xA;I'd like to have a compact stereo setup with those two mics, are there any options except two individual stands. I couldn't find something appropriate on the Rycote site, but maybe someone has other suggestions how to get them into a portable windscreen rig?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57743" PostHistoryTypeId="24" PostId="30280" RevisionGUID="bb3f7743-f322-41cc-8541-769f60ef5a26" CreationDate="2014-09-26T02:42:20.973" Comment="Proposed by 9648 approved by 6425, 842 edit id of 165" ContentLicense="CC BY-SA 3.0" />
  <row Id="57754" PostHistoryTypeId="4" PostId="30318" RevisionGUID="28bc876e-f2f7-45b6-9ba4-ddf47162b4dd" CreationDate="2014-09-26T05:53:08.817" UserId="182" Comment="edited title" Text="Is there a way to crossfade multiple clips of one track in one click with Adobe Audition?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57755" PostHistoryTypeId="12" PostId="30314" RevisionGUID="c57b72cd-19f6-486c-b249-fcdc8aad9219" CreationDate="2014-09-26T16:38:38.980" UserId="9729" Comment="via Vote" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:9729,&quot;DisplayName&quot;:&quot;Bill&quot;}]}" />
  <row Id="57756" PostHistoryTypeId="13" PostId="30314" RevisionGUID="ff596820-541d-43db-bea8-f3800e1dd395" CreationDate="2014-09-26T16:38:50.733" UserId="9729" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:9729,&quot;DisplayName&quot;:&quot;Bill&quot;}]}" />
  <row Id="57757" PostHistoryTypeId="2" PostId="30319" RevisionGUID="d0c9d0b0-0424-47e8-9f5e-ad73e1cc444b" CreationDate="2014-09-26T21:10:27.527" UserId="8225" Text="Can a digital sound wave take any shape? Now, there's no such thing as a digital sound wave.  But most digital (16 bit wav 44.1kS/s, 24 bit wav 48kS/s, and higher quality) will get you VERY CLOSE to any reasonable shape.  There will be some limitations, For example, very low amplitude sine waves will have noticeable [quantization][1] distortion. Also, frequencies past the [Nyquist][2] can't be represented, which may result in [aliasing][3], depending on how the high frequency content got there.&#xD;&#xA;&#xD;&#xA;A whole nother question is whether a real sound wav can have certain arbtrary shapes.  For example, look at real world measurements of speakers attempting to produce square waves, for example these [headphone measurements][4].  I can confidently say that you will never see find a truly square sound wave in the real world.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Quantization_(signal_processing)&#xD;&#xA;  [2]: http://en.wikipedia.org/wiki/Nyquist_frequency&#xD;&#xA;  [3]: http://en.wikipedia.org/wiki/Aliasing&#xD;&#xA;  [4]: http://www.innerfidelity.com/content/headphone-measurements-explained-square-wave-response-page-2" ContentLicense="CC BY-SA 3.0" />
  <row Id="57758" PostHistoryTypeId="2" PostId="30320" RevisionGUID="8ff7645c-1077-4869-8edb-ccb3ef3043b6" CreationDate="2014-09-26T21:50:22.717" UserId="9993" Text="For normal home audio systems, the speakers usually have sensitivities around 85~90 dB. So according to the [sound pressure chart][1], it's pretty loud already at 1 Watt of power. Then why do audio amplifier often have several hundreds watts of output power? I understand you need some extra range for the dynamic range of your music, but that still seems very excessive to me. &#xD;&#xA;&#xD;&#xA;Let's say you play your music with average sound pressure somewhere between *TV level* (60dB) and *hearing damage* (85dB), say 75 dB, then you'll have a good 20 dB dynamic range with just about 10 watt power. Then why do I need amps with 200W power? Or did I completely misunderstand the whole thing? &#xD;&#xA;&#xD;&#xA;  [1]: https://en.wikipedia.org/wiki/Sound_pressure#Examples_of_sound_pressure_and_sound_pressure_levels" ContentLicense="CC BY-SA 3.0" />
  <row Id="57759" PostHistoryTypeId="1" PostId="30320" RevisionGUID="8ff7645c-1077-4869-8edb-ccb3ef3043b6" CreationDate="2014-09-26T21:50:22.717" UserId="9993" Text="Why do we need power amplifier with hundred watts of power?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57760" PostHistoryTypeId="3" PostId="30320" RevisionGUID="8ff7645c-1077-4869-8edb-ccb3ef3043b6" CreationDate="2014-09-26T21:50:22.717" UserId="9993" Text="&lt;amplifier&gt;&lt;loudness&gt;&lt;power&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57761" PostHistoryTypeId="2" PostId="30321" RevisionGUID="92186f9a-b630-460d-9719-c1238ca58f92" CreationDate="2014-09-26T22:29:16.433" UserId="7174" Text="Some of that chart isn't very good in my opinion.  85dB isn't that loud. A typical concert will be at 106dB to 110dB or sometimes louder and the power requirement doubles every 6dB or so because it is an exponential scale.  Additionally, sound falls off exponentially as well.  &#xD;&#xA;&#xD;&#xA;You might be able to produce an 85dB sound with one watt of power at the cone of the speaker itself, but think about a pair of headphones.  When you turn them up so they are uncomfortably loud and then you take them off your head, what happens?  You can barely hear them at all at arms length even though they were deafening on your head.&#xD;&#xA;&#xD;&#xA;Sound falls off quickly and is hard to get loud, so amplifiers need a fair bit of power to overcome these limitations of sound, plus each speaker needs power." ContentLicense="CC BY-SA 3.0" />
  <row Id="57762" PostHistoryTypeId="5" PostId="30321" RevisionGUID="b47edf4f-50fc-4e24-bc1c-72df045d0615" CreationDate="2014-09-26T23:03:54.800" UserId="7174" Comment="added 69 characters in body" Text="Some of that chart isn't very good in my opinion.  85dB isn't that loud. A typical concert will be at 106dB to 110dB or sometimes louder and the power requirement doubles every 6dB or so because it is an exponential scale.  Additionally, sound falls off exponentially as well.  &#xD;&#xA;&#xD;&#xA;You might be able to produce an 85dB sound with one watt of power at the cone of the speaker itself, but think about a pair of headphones.  When you turn them up so they are uncomfortably loud and then you take them off your head, what happens?  You can barely hear them at all at arms length even though they were deafening on your head.&#xD;&#xA;&#xD;&#xA;Sound falls off quickly and is hard to get loud, so amplifiers need a fair bit of power to overcome these limitations of sound, plus each speaker needs power.&#xD;&#xA;&#xD;&#xA;For more details, I suggest reading up on the [inverse square law][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Inverse-square_law" ContentLicense="CC BY-SA 3.0" />
  <row Id="57764" PostHistoryTypeId="2" PostId="30322" RevisionGUID="76e09631-c1a4-4fc7-ada2-56c3bb4bbda6" CreationDate="2014-09-27T00:26:27.623" UserId="7200" Text="Indeed it's easy to generate very loud noises with a speaker system whose power is only a fraction of what's actually used in PA or HiFi systems. What's not so easy is to get _any sound you want_ to that level, without severely distorting it.&#xD;&#xA;&#xD;&#xA;Perhaps most relevantly for music: bass frequencies need way more power to be perceived as loud as a 1 kHz signal. And short transients can have enourmous peak power without sounding particularly loud. A bass drum has short transients in the bass range, and indeed the bass drum hits will by far dominate the power histogram in a typical live situation.&#xD;&#xA;&#xD;&#xA;For studio records, mastering has as one of its goals to minimise the peak-power need (what they do is, maximise the loudness for a given sample peak cap); most important tool is various compressors, which roughly speaking shift some of the transients' energy into the gaps (at the cost of reduced dynamic range). But to really get the most efficiency, you'd need to do what speech application have done pretty much forever: reduce the signal for the most audible frequency range, i.e. cut both bass and treble. Then put in some nonlinearities (compressors/limiters or distortion, in doubt in the low-quality speakers) to also reduce the peaks, and voil&amp;agrave;: you can build a fire siren with a 5-watt supply, or speak to an entire stadion with only a couple hundred of watts. It'll sound horrible though, definitely not useful for music." ContentLicense="CC BY-SA 3.0" />
  <row Id="57765" PostHistoryTypeId="5" PostId="30321" RevisionGUID="d0d1f9d3-5966-4cc2-9096-f020777e04d9" CreationDate="2014-09-27T00:36:17.920" UserId="7174" Comment="deleted 1 character in body" Text="Some of that chart isn't very good in my opinion.  85dB isn't that loud. A typical concert will be at 106dB to 110dB or sometimes louder and the power requirement doubles every 6dB or so because it is an exponential scale.  Additionally, sound falls off very rapidly as well.  &#xD;&#xA;&#xD;&#xA;You might be able to produce an 85dB sound with one watt of power at the cone of the speaker itself, but think about a pair of headphones.  When you turn them up so they are uncomfortably loud and then you take them off your head, what happens?  You can barely hear them at all at arms length even though they were deafening on your head.&#xD;&#xA;&#xD;&#xA;Sound falls off quickly and is hard to get loud, so amplifiers need a fair bit of power to overcome these limitations of sound, plus each speaker needs power.&#xD;&#xA;&#xD;&#xA;For more details, I suggest reading up on the [inverse square law][1].&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Inverse-square_law" ContentLicense="CC BY-SA 3.0" />
  <row Id="57766" PostHistoryTypeId="2" PostId="30323" RevisionGUID="0ca44559-baee-4f59-b56d-afe556197fa1" CreationDate="2014-09-27T01:48:51.693" UserId="9995" Text="This has been asked before as general films http://sound.stackexchange.com/questions/2032/films-to-study-for-excellence-in-sound-design, but most of the answers as well as the films recognized in awards are epic action blockbuster films: Star Wars, Inception, Bourne Identity, to 'experimental' ones like Pi, Fight Club, No Country for Old Men, The Sacrifice (tarkovsky), Red Trilogy.&#xD;&#xA;&#xD;&#xA;What are drama/slice of life movies or tv shows with inventive and humanistic sound design?&#xD;&#xA;In that previous thread, there were mentions of:&#xD;&#xA;Tetro&#xD;&#xA;Paris, Texas&#xD;&#xA;Annie Hall, Husbands and Wives&#xD;&#xA;&#xD;&#xA;I'm looking for sound design styles of movies or tv shows that don't have that bombastic or avant-garde delivery.&#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="57767" PostHistoryTypeId="1" PostId="30323" RevisionGUID="0ca44559-baee-4f59-b56d-afe556197fa1" CreationDate="2014-09-27T01:48:51.693" UserId="9995" Text="Good Drama Films/TV for Sound Design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57768" PostHistoryTypeId="3" PostId="30323" RevisionGUID="0ca44559-baee-4f59-b56d-afe556197fa1" CreationDate="2014-09-27T01:48:51.693" UserId="9995" Text="&lt;sound-design&gt;&lt;film&gt;&lt;examples&gt;&lt;drama&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57770" PostHistoryTypeId="5" PostId="30316" RevisionGUID="95bef881-f77c-431e-82a8-562a69068f82" CreationDate="2014-09-27T05:37:07.563" UserId="9983" Comment="Edited for more details as requested." Text="I wrote up a post that explains how to create seamless looping files and convert them for in game use! It shows how to use ProTools to make the loops, but other DAWs would have similar workflows. &#xD;&#xA;&#xD;&#xA;http://www.playdotsound.com/portfolio-item/tutorial-how-to-create-seamless-looping-music-and-sfx-files-for-video-games/&#xD;&#xA;&#xD;&#xA;The basic workflow is to pick an edit point somewhere in the file, take the tail end of that edit and move it to the front, then crossfade using an equal power crossfade. This can be done in any audio editor, but it's easiest in multitrack editors.&#xD;&#xA;&#xD;&#xA;The post above includes a video that goes into MUCH greater detail :)" ContentLicense="CC BY-SA 3.0" />
  <row Id="57771" PostHistoryTypeId="2" PostId="30324" RevisionGUID="8c3d1989-0ca2-4abd-99aa-f09c78288ced" CreationDate="2014-09-27T05:49:23.080" UserId="9989" Text="I think I may know the answer to this.  I have MainStage 3 (not 2, so maybe different).&#xD;&#xA;&#xD;&#xA;However, in in the Instrument Panel, you can insert &quot;MIDI FX&quot; before the actual sound generator.  That is from top to bottom you have the following options:&#xD;&#xA;&#xD;&#xA; - Setting&#xD;&#xA; - Gain&#xD;&#xA; - EQ&#xD;&#xA; - MIDI FX&#xD;&#xA; - Input (This is where the main sound generation is placed)&#xD;&#xA; - Audo FX&#xD;&#xA; - etc.&#xD;&#xA;&#xD;&#xA;OK, now in item number 4 (Midi FX), you can add a &quot;Chord Trigger&quot; .  This can be programmed to trigger multiple and different notes to be played when any single note is played.  &#xD;&#xA;There is a &quot;Learning&quot; mode, so that you can even train it what you want it to do.&#xD;&#xA;&#xD;&#xA;I believe this will fulfill your needs?&#xD;&#xA;&#xD;&#xA;Good luck.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57772" PostHistoryTypeId="34" PostId="30316" RevisionGUID="7257b14f-cff1-462c-a8b6-ef87cc85e925" CreationDate="2014-09-27T07:57:01.067" UserId="7174" Comment="23" />
  <row Id="57773" PostHistoryTypeId="2" PostId="30325" RevisionGUID="b6e2e30f-6ba2-4406-990e-3c18bb0c5901" CreationDate="2014-09-27T10:26:59.953" UserId="6432" Text="There are many, so maybe I'll add more here later. I do actually think this is a good list to have on the site, so hopefully people will chip in.&#xD;&#xA;&#xD;&#xA;Immediatelly though, I think of the films of Michael Heneke such as [Hidden][1], [Code Unknown][2] and [The White Ribbon][3]. All very subtle and very controlled in their use of sound. Often what is left out is more important than what is put in.&#xD;&#xA;&#xD;&#xA;Similarly, [Elephant][4] and [Last Days][5], both directed by Gus Van Sant have an interesting approach; very reflective throughout of the characters, but using just diegetic layers of sound. &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.imdb.com/title/tt0387898/?ref_=fn_al_tt_6&#xD;&#xA;  [2]: http://www.imdb.com/title/tt0216625/?ref_=fn_al_tt_1&#xD;&#xA;  [3]: http://www.imdb.com/title/tt1149362/?ref_=fn_al_tt_1&#xD;&#xA;  [4]: http://www.imdb.com/title/tt0363589/?ref_=nv_sr_3&#xD;&#xA;  [5]: http://www.imdb.com/title/tt0403217/?ref_=fn_al_tt_1" ContentLicense="CC BY-SA 3.0" />
  <row Id="57774" PostHistoryTypeId="2" PostId="30326" RevisionGUID="4b547932-7aaf-4df7-b178-3624f6239d64" CreationDate="2014-09-27T13:16:55.480" UserId="9792" Text="For learning purposes i want to play around with a sound meter. Are the smartphone sound meter apps (have a droid 2) that accurate? Is a $30 hand held sound meter usually going to be more accurate?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57775" PostHistoryTypeId="1" PostId="30326" RevisionGUID="4b547932-7aaf-4df7-b178-3624f6239d64" CreationDate="2014-09-27T13:16:55.480" UserId="9792" Text="cheap hand held sound meter vs smartphone app" ContentLicense="CC BY-SA 3.0" />
  <row Id="57776" PostHistoryTypeId="3" PostId="30326" RevisionGUID="4b547932-7aaf-4df7-b178-3624f6239d64" CreationDate="2014-09-27T13:16:55.480" UserId="9792" Text="&lt;field-recording&gt;&lt;portable-recorder&gt;&lt;home-studio&gt;&lt;measurements&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57777" PostHistoryTypeId="2" PostId="30327" RevisionGUID="a264ff5b-b562-494c-bfc5-814da5c4d591" CreationDate="2014-09-27T18:35:02.933" UserId="182" Text="The key difference is calibration: a hand held sound meter, even a cheap one, has been calibrated in the factory. Your app and phone (microphone, internal preamp, dac) aren't. If you find a way to calibrate your app - most apps have a calibration setting - using a reference sound source or a calibrated SPL meter, you can improve the usefulness of those apps.&#xD;&#xA;&#xD;&#xA;Both a cheap meter and a calibrated app will not be 100% accurate, so take the readings with an uncertainty of at least ± 1 dB, and increase that uncertainty for very high or very low frequencies." ContentLicense="CC BY-SA 3.0" />
  <row Id="57778" PostHistoryTypeId="2" PostId="30328" RevisionGUID="5cc86008-93d5-459a-9991-f96bb5123573" CreationDate="2014-09-27T19:45:28.480" UserId="842" Text="I haven't used the NT1a in a very long time, but the issue I remember having with it was being pretty cold and not having a firm core to the sound. The NTG-2, on the other hand, sounds awful. I've never actually used my own even though I got it for free from a friend (I did give it the benefit of a doubt when I first got it in the studio alright to see if it could be used for anything, but gave up completely on it and put it away never to be actually used for something), but I did work on it a lot (others gear) before I could afford the good stuff. The sound is very muddy, and it sounds phased and lacking any real top whatsoever with a very unclean mid. If I had to choose between them two, I'd go for the NT1, but better yet, the extremely cheap but very good sounding mic Line Audio CM3 gives a tremendous bang for the buck! I gave about 100 Euros for mine, but this was in the late 90's/early 2000's somewhere when it was just release. Should be about the same now though.&#xD;&#xA;&#xD;&#xA;I don't know that Alesis interface per se, but if it's noisy, than Studio Projects VTB-1 is a good choice to replace the internal microphone amplifiers. The extreme top is so-so, but the sound below that sounds really good for a mic-preamp this cheap. I use two of them myself for several things, I kinda like the sound of them, though the valve-option isn't very impressive. Would probably be much better with my Telefunken-valves, but I don't know how to calibrate it afterwards...but as the solid state mode sounds as well as it does it really doesn't matter, though the blue glow from the grille does look nice in the studio!&#xD;&#xA;&#xD;&#xA;But a microphone that could really make a difference is the Sennheiser MKH416. It's still the favorite for many of  us, me included, but because it's so incredibly old (for a piece of gear), it's nowadays pretty cheap compared to what you get. Still not a budget mic as such, but not unreachably expensive either." ContentLicense="CC BY-SA 3.0" />
  <row Id="57779" PostHistoryTypeId="2" PostId="30329" RevisionGUID="748f02e7-f0b2-4e69-8dc4-f47b8c2801c0" CreationDate="2014-09-27T21:32:38.517" UserId="9998" Text="I was just researching about Virus TI products and I came with this patch&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=P_VhiDDyJcg&#xD;&#xA;&#xD;&#xA;At 0:21 there is a rolling lfo modulation. I was wondering if I want to create such effect in Logic with any synth, how can this be re-created ? I mean the rolling effect of the tail. Im currently working with u-he zebra synth but I cant reproduce that that.&#xD;&#xA;&#xD;&#xA;Thank you!&#xD;&#xA;G." ContentLicense="CC BY-SA 3.0" />
  <row Id="57780" PostHistoryTypeId="1" PostId="30329" RevisionGUID="748f02e7-f0b2-4e69-8dc4-f47b8c2801c0" CreationDate="2014-09-27T21:32:38.517" UserId="9998" Text="How to create rolling lfo effect" ContentLicense="CC BY-SA 3.0" />
  <row Id="57781" PostHistoryTypeId="3" PostId="30329" RevisionGUID="748f02e7-f0b2-4e69-8dc4-f47b8c2801c0" CreationDate="2014-09-27T21:32:38.517" UserId="9998" Text="&lt;sound-design&gt;&lt;sound-effects&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57782" PostHistoryTypeId="2" PostId="30330" RevisionGUID="22983b1d-20c7-4aa4-907a-bf604b2d73d1" CreationDate="2014-09-28T00:58:00.837" UserId="9999" Text="I've been editing videos for a few years now and have always done my sound editing in Final Cut Pro (7).. But with this new big documentary project I'm working on, I'm hoping to make Soundtrack Pro my new application of choice for making the audio the best I can make it with the resources that I have available. I've got a few (newbie) questions though that I would love to hear some insight on if you have the time and are able to help! I'm not expecting long answers so you can absolutely keep things short and simple if you decide to chime in.. My questions are&#xD;&#xA;		&#xD;&#xA;1) Are there are any effects that I should make sure to apply to every audio clip? Bringing the audio into Soundtrack feels like a step in the right direction but I've never used the effect of &quot;Compressor&quot; before on the audio.. and since this is a feature film I'm really wanting to step up my game as far as applying what I need to apply.. Expanders will be used on some tracks, and some Limiters.. But should Compressor be applied to each track as well? Or would applying a Compressor to the Submix be an alright way to go?&#xD;&#xA;&#xD;&#xA;2) Since this is a documentary and not a story with sound effects and the like, I'm hoping to edit the film in stereo. But at the same time there are certain markets (like iTunes) who will only accept films for release in their store that have 5.1 audio. This makes me think that I should edit the film in 5.1 and just keep things stereo for the most part. Could I edit in 5.1 and not even utilize the Left Surround, Right Surround and LFE and have it still be exported as a 5.1 mix even when there is nothing in those channels? Or would one basic sound in each of those channels at a certain point in the movie suffice to make the audio export correctly at 5.1?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57783" PostHistoryTypeId="1" PostId="30330" RevisionGUID="22983b1d-20c7-4aa4-907a-bf604b2d73d1" CreationDate="2014-09-28T00:58:00.837" UserId="9999" Text="Compressor Questions and Making a 5.1 Mix with 95% Stereo Sounds?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57784" PostHistoryTypeId="3" PostId="30330" RevisionGUID="22983b1d-20c7-4aa4-907a-bf604b2d73d1" CreationDate="2014-09-28T00:58:00.837" UserId="9999" Text="&lt;effects&gt;&lt;stereo&gt;&lt;mix&gt;&lt;5.1&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57785" PostHistoryTypeId="4" PostId="30330" RevisionGUID="c0af5c25-dac3-4d30-a961-fb12c312d2a7" CreationDate="2014-09-28T01:03:36.057" UserId="9999" Comment="edited title" Text="Compressor Questions and Making a 5.1 Mix with 95% in Stereo?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57786" PostHistoryTypeId="10" PostId="30330" RevisionGUID="cb345acb-1dcd-4b08-aa2a-a43d562e9d05" CreationDate="2014-09-28T02:52:16.103" UserId="7174" Comment="104" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="57787" PostHistoryTypeId="2" PostId="30331" RevisionGUID="01559fdf-5b4a-4e1d-851b-f238cc810d28" CreationDate="2014-09-28T04:00:01.380" UserId="3994" Text="I think Robert Altman's multi-mic work is gives a really natural but unique/fresh perspective. Check out MASH and Nashville. &#xD;&#xA;&#xD;&#xA;Anything from Studio Ghibli is incredibly elegant. The Wind Rises is especially interesting for sound effects with lots of human vocalizations in them. The mix of The Wind Rises is also amazing for storytelling with mixing because of how beautiful, moving, and dynamic it is in a monophonic format." ContentLicense="CC BY-SA 3.0" />
  <row Id="57788" PostHistoryTypeId="2" PostId="30332" RevisionGUID="b4c3de80-6cd7-4c4e-9253-d4c65aca7d16" CreationDate="2014-09-28T09:01:30.007" UserId="9977" Text="I think you need to look into the basics of audio synthesis a little bit more before trying this. Any instrument except a pure sine oscillator will not produce a pure sine wave. Instead it will produce a unique wave that will look sort of like a sine wave, but with constantly varying amplitude and pitch. This is what creates the &quot;tone&quot; of an instrument and what makes, for example: a brass instrument and a cello not sound the same, even though they are playing the same note. Or a viola and a cello playing C; they will not sound the same at all even though it is the same pitch. Even different instruments of the same type can sound amazingly different even though they look identical.&#xD;&#xA;&#xD;&#xA;This unique wave can be broken down via a Fourier transform into multiple sine waves that are additively and subtractvly interfering with each other to form the unique wave signature of the instrument. You are going to have to build this wave signature up using an equivalent of a Fourier transform. If you want to make it easier on yourself, I would run a FFT(Fast Fourier Transform) on your file first and then create all the sine waves that you get out of the analysis in Pure Data. I do not have any experience with said program, but you might even be able to do a FFT inside it.&#xD;&#xA;&#xD;&#xA;I think that the person who told you to mix square waves actually meant sine waves. A square wave, just like that wave signature of your cello, can also be broken down into sine waves. If I remember correctly, you can produce a square wave by adding the original sine wave and the 1st, 3rd, 5th etc, harmonics until you get close.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57799" PostHistoryTypeId="5" PostId="18410" RevisionGUID="f82adb93-70c2-47f4-9efe-6627b88b7ecf" CreationDate="2014-09-29T12:31:42.617" UserId="6957" Comment="Inline video" Text="It's completed as i promised :) .I hope i can help you with my video.&#xD;&#xA;&#xD;&#xA;http://www.youtube.com/watch?v=GZDob8xZyyQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="57800" PostHistoryTypeId="2" PostId="30336" RevisionGUID="8fbf9a1c-cfb6-4aec-811f-080316fdfa5c" CreationDate="2014-09-29T19:33:56.490" UserId="10009" Text="I will be soon starting to collaborate on a regular basis with a post studio based in another country. The job is clear: I will be mostly working on Foley, Dialogue and Backgrounds on 10  episodes for an upcoming animated TV series. On top of that there might be additional sound design work I will be asked to do for trailers and promos. All from my London home-studio.&#xD;&#xA;&#xD;&#xA;At the moment, they want to hire me as a freelancer rather then any other type or full employment contract. My role will even involve flying there a bunch of times to work on location with their team who I have already worked with in the last 3 weeks.&#xD;&#xA;&#xD;&#xA;This is my real first full payed job in the field (all my experience has been done with volunteer work) so I am quite lost with rates and so forth. &#xD;&#xA;To make things even more complicated I must take into account that it won't quite be a &quot;typical&quot; one shot freelance gig sort of thing. It's a full on collaboration over a period of several months.&#xD;&#xA;&#xD;&#xA;What kind of contract should I look for; what kind of rates and how much do you think it's most suited for a role like this? Should I rate per day, week or month?&#xD;&#xA;&#xD;&#xA;In my inexperience, I feel asking for a standard freelance rate ( of?!) it's not suited as it would end up being a lot more of what an in-house sound designer takes in a studio.&#xD;&#xA;&#xD;&#xA;I am talking about **UK rates**.&#xD;&#xA;&#xD;&#xA;Thank you very much everyone!&#xD;&#xA;&#xD;&#xA;Giacomo" ContentLicense="CC BY-SA 3.0" />
  <row Id="57801" PostHistoryTypeId="1" PostId="30336" RevisionGUID="8fbf9a1c-cfb6-4aec-811f-080316fdfa5c" CreationDate="2014-09-29T19:33:56.490" UserId="10009" Text="Regular collaboration with a post studio: how much should I charge and how? UK rates" ContentLicense="CC BY-SA 3.0" />
  <row Id="57802" PostHistoryTypeId="3" PostId="30336" RevisionGUID="8fbf9a1c-cfb6-4aec-811f-080316fdfa5c" CreationDate="2014-09-29T19:33:56.490" UserId="10009" Text="&lt;contracts&gt;&lt;uk&gt;&lt;freelance&gt;&lt;rates&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57803" PostHistoryTypeId="2" PostId="30337" RevisionGUID="187895ee-07b4-4dc5-b16b-c93e8e0a2395" CreationDate="2014-09-29T20:51:19.273" UserId="6399" Text="I personally have no idea what UK rates are.  &#xD;&#xA;Having said that - Sometimes studios have rates that they will generally pay freelancers or a series of rates based on budget, experience and what your tasks are. &#xD;&#xA;Flying there - Are they paying for room and board or are you flying in on your own because you need the project?&#xD;&#xA;Do you know what a standard staff sound editor or union (if there is one) rate is?&#xD;&#xA;At least in the US, a company hiring a freelancer has many less employment and health care fees than for an employee.&#xD;&#xA;If your new to being a freelancer the main thing you have to remember is that your essentially a 1 man business so you have to factor in things like gear, transportation, health care, studio space - any costs - as well as the business climate- to figure out a rate that works for you and your clients.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57813" PostHistoryTypeId="2" PostId="30341" RevisionGUID="47b9c09e-4576-432f-836c-191e158d4954" CreationDate="2014-09-30T03:56:35.527" UserId="90" Text="So I've been experimenting with generating music by computer program, and got a thing working with Python and fluidsynth, with a nice-sounding piano soundfont.  I want to switch to distorted electric guitar sound, though.  The problem is that a chord on a distorted guitar is made like this:&#xD;&#xA;&#xD;&#xA;    string vibration → multiple strings mixed by pickups → distortion&#xD;&#xA;&#xD;&#xA;whereas anything based on soundfonts would be more like this:&#xD;&#xA;&#xD;&#xA;    string vibration → distortion → multiple samples mixed by synth&#xD;&#xA;&#xD;&#xA;Distortion needs to happen [after the strings are mixed together][1] in order to sound correct. &#xD;&#xA;&#xD;&#xA;What are my options?  I could get a soundfont of undistorted guitar and then take the output of the synth and run it through a separate distortion program?  In Linux this could be done with JACK, but I've been using Windows and is there an equivalent functionality there?  Or maybe there's MIDI synths that support distortion?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://en.wikipedia.org/wiki/Power_chord#Analysis" ContentLicense="CC BY-SA 3.0" />
  <row Id="57814" PostHistoryTypeId="1" PostId="30341" RevisionGUID="47b9c09e-4576-432f-836c-191e158d4954" CreationDate="2014-09-30T03:56:35.527" UserId="90" Text="Synthesizing distorted guitar from MIDI" ContentLicense="CC BY-SA 3.0" />
  <row Id="57815" PostHistoryTypeId="3" PostId="30341" RevisionGUID="47b9c09e-4576-432f-836c-191e158d4954" CreationDate="2014-09-30T03:56:35.527" UserId="90" Text="&lt;midi&gt;&lt;synthesis&gt;&lt;distortion&gt;&lt;guitar&gt;&lt;guitar-rig&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57819" PostHistoryTypeId="2" PostId="30342" RevisionGUID="af671481-6af8-467d-8a84-92aeee43b163" CreationDate="2014-09-30T14:39:10.413" UserId="10014" Text="I'm a NYC based director. &#xD;&#xA;&#xD;&#xA;I'm trying to find the answer to a sound designer question. I was hoping you had a forum or could point me in the right direction. &#xD;&#xA;&#xD;&#xA;What is the best way to avoid feedback from wireless mics in a Theater in the Round layout or in an environmental immersive staging? &#xD;&#xA;&#xD;&#xA;Any information or help in finding the answer to this question would be helpful. &#xD;&#xA;&#xD;&#xA;Thanks!" ContentLicense="CC BY-SA 3.0" />
  <row Id="57820" PostHistoryTypeId="1" PostId="30342" RevisionGUID="af671481-6af8-467d-8a84-92aeee43b163" CreationDate="2014-09-30T14:39:10.413" UserId="10014" Text="wireless mics + Theater in the Round = No Feedback?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57821" PostHistoryTypeId="3" PostId="30342" RevisionGUID="af671481-6af8-467d-8a84-92aeee43b163" CreationDate="2014-09-30T14:39:10.413" UserId="10014" Text="&lt;wireless&gt;&lt;feedback&gt;&lt;theater&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57822" PostHistoryTypeId="5" PostId="30342" RevisionGUID="33da5e28-9873-4518-ad16-55b34b903fa7" CreationDate="2014-09-30T16:33:17.803" UserId="7174" Comment="removed fluff" Text="I'm a NYC based director. &#xD;&#xA;&#xD;&#xA;What is the best way to avoid feedback from wireless mics in a Theater in the Round layout or in an environmental immersive staging?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57823" PostHistoryTypeId="4" PostId="30342" RevisionGUID="33da5e28-9873-4518-ad16-55b34b903fa7" CreationDate="2014-09-30T16:33:17.803" UserId="7174" Comment="removed fluff" Text="How can I prevent feedback when using wireless mics in a Theater in the Round?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57824" PostHistoryTypeId="2" PostId="30343" RevisionGUID="dd44659b-0fdf-4666-a648-203607118118" CreationDate="2014-09-30T16:43:50.103" UserId="7174" Text="The biggest thing is going to be careful EQing and using microphones as close to the actor's mouthes and as directional as possible.  Feedback occurs when the amount of amplification applied to the microphone signal becomes enough that the background noise that the microphone picks up from the speaker is louder than the signal it is amplifying, thus forming a loop that makes it keep growing louder.&#xD;&#xA;&#xD;&#xA;You prevent the loop by either increasing the source signal, thus reducing the amount of amplification needed or by reducing the amount of the signal picked up in the background from the speaker.  The first is accomplished by micing closer to the source.  Sound falls off rapidly with distance, so the closer you can get to the speaker's mouth, generally the stronger it will be (though angle also matters as people project sound outward).  &#xD;&#xA;&#xD;&#xA;For the second part, directional mics and careful EQing help.  Directional mics will pick up more focused in one direction than another.  If you can aim them carefully, it can prevent picking up background noise coming from other directions and thus give a cleaner signal more resistant to feedback.&#xD;&#xA;&#xD;&#xA;EQing works similarly, though you are limited by the actual sound of your source.  Certain frequencies will travel through the room better than others due to various acoustic effects, this is why feedback is generally a single frequency (whichever frequency hits the threshold first).  You can alter the EQ to reduce those particular frequencies if it doesn't harm the sound of the speaker's voice too much, thus preventing the loop while still boosting the intended signal.&#xD;&#xA;&#xD;&#xA;There are actually feedback suppression devices that you can use that will automatically look for rapidly growing feedback loops and make notch adjustments to EQ to prevent them, however such units will often have a slight negative impact on sound quality if they have to act as they generally don't consider what is needed by the source when eliminating feedback, so they are more of a safety mechanism than an ideal solution.&#xD;&#xA;&#xD;&#xA;It may also be helpful to have your system leveled if it has not been.  As previously mentioned, rooms have natural frequencies that they amplify more than others.  Leveling a system in a room involves playing pink noise through the system at the intended volume level and then measuring how the room alters the sound.  Those adjustments are then placed in to a 31 band equalizer that adjusts for the sound of the room in the future.  This won't directly prevent feedback, but it will help counteract issues with natural reverberating frequencies in the room." ContentLicense="CC BY-SA 3.0" />
  <row Id="57831" PostHistoryTypeId="2" PostId="30344" RevisionGUID="4816f5ba-73d7-492b-b3ad-d118e9dc37e2" CreationDate="2014-09-30T20:21:22.973" UserId="7850" Text="Unfortunately it is tough to generate a good sounding distorted guitar using only digital means. Although as sampling gets better this is slowly getting better as well. &#xD;&#xA;&#xD;&#xA;Your idea of sampling a clean guitar sound and then routing it though a distortion unit and back into your DAW would be the route I would take assuming you cant get your hands on a real guitar and guitar player. &#xD;&#xA;&#xD;&#xA;The basic issue you have is more or less as follows, &#xD;&#xA;&#xD;&#xA;Distortion is in a nutshell a sound that occurs when your signal is out side of the range your amplifier or pre-amp can handle. This causes a &quot;distorted&quot; sound. Most of the time you are trying to avoid this in audio as you generally want a clean signal. However guitar happens to sound really nice when distorted and such distortion as an effect, and not a negative byproduct of using equipment incorrectly was born. Now the issue with the digital world is that when you have the same problem (a signal top great for the input) you end up with clipping. This is just in the form of unpleasant noise generally. Thus it is hard to recreate distortion by simply overdriving inputs (the way it was done in the analog world). This is why most distortion emulators dont sound as good as the real thing. No matter your sample source any artificially distorted sample will always sound like one. My advice is to find a local guitarist (they are all over the place) and record him playing the riff you desire.      " ContentLicense="CC BY-SA 3.0" />
  <row Id="57832" PostHistoryTypeId="2" PostId="30345" RevisionGUID="2cfa772f-0c12-4f3c-8e1f-c029a6950f81" CreationDate="2014-09-30T20:34:45.867" UserId="7850" Text="The only shape a digital sound wave can not take is a perfect square wave (or impulse but its the same issue). This is a mathematical limitation caused by the electronics them selves. They simply need time to respond. Basically if you consider the sides of the square wave as perfectly vertical and the top as perfectly flat you will come to the realization that electronics simply can not change state that fast. Thus you actually end up with an almost instantaneous (yet measurable) ramp up, a top that looks like a diminishing sine wave, and an almost instantaneous ramp down. If you are curious about this read up on impulse responses or check this animation out http://upload.wikimedia.org/wikipedia/commons/f/f8/SquareWave.gif&#xD;&#xA;&#xD;&#xA; ![Square Waves][1]&#xD;&#xA;&#xD;&#xA;As mentioned above any wave can be broken down to a series of sine waves thus, yes sound can take on any &quot;shape&quot; &#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/GQAp4.gif" ContentLicense="CC BY-SA 3.0" />
  <row Id="57833" PostHistoryTypeId="2" PostId="30346" RevisionGUID="6cabc322-bea4-4544-b943-8acc888efb9f" CreationDate="2014-09-30T20:52:55.007" UserId="7200" Text="There's of course plenty of ways to do that. The easiest way on Windows would certainly be to load both a SoundFont synth and an amp-simulator plugin into a DAW, but I suppose that's not the solution you want.&#xD;&#xA;&#xD;&#xA;If you'd like to keep it down to a single executable and, [as I suspect](https://gist.github.com/endolith/b740060d61cf2a37c734), you're more interested seeing in how intonation influences distortion-intermodulation than achieving an actual guitar sound, I'd suggest hacking a distortion patch into fluidsynth. If you're not fussy about aliasing (well [I know _you_ are...](http://dsp.stackexchange.com/questions/2608/is-there-such-a-thing-as-band-limited-non-linear-distortion)) then a basic distortion is laughably simple to implement, just do something like&#xD;&#xA;&#xD;&#xA;_U_ &amp;mapsto; tanh(_U_ + &lt;sup&gt;_U_&lt;sup&gt;2&lt;/sup&gt;&lt;/sup&gt;/&lt;sub&gt;2&lt;/sub&gt; + &lt;sup&gt;_U_&lt;sup&gt;3&lt;/sup&gt;&lt;/sup&gt;/&lt;sub&gt;3&lt;/sub&gt;)&#xD;&#xA;&#xD;&#xA;on the samples, to get both tube-bias like even overtones and smooth saturation. This will of course _not_ sound like a proper overdriven guitar amp, but it's actually not that bad either – if you convolute the result with an impulse-response from a guitar cabinet (or, as an approximation thereof, apply a primitive third-order IIR lowpass at 7000 Hz and some random band boosts) then such a simple nonlinearity can sound surprisingly convincing." ContentLicense="CC BY-SA 3.0" />
  <row Id="57834" PostHistoryTypeId="2" PostId="30347" RevisionGUID="b1b25e34-b21d-4e38-bbb6-08484128a27b" CreationDate="2014-09-30T21:39:21.840" UserId="7089" Text="If you want to do complex routing with a Mac it is quite simple. Open Audio MIDI settings and create an aggregate device, this will allow you to connect multiple audio interfaces and route audio between applications. &#xD;&#xA;&#xD;&#xA;http://lifehacker.com/5933282/how-to-aggregate-and-use-multiple-audio-inputs-and-outputs-in-os-x&#xD;&#xA;&#xD;&#xA;I would recommend installing Soundflower as well: http://rogueamoeba.com/freebies/soundflower/ " ContentLicense="CC BY-SA 3.0" />
  <row Id="57843" PostHistoryTypeId="2" PostId="30350" RevisionGUID="ab17da0d-898a-4435-80be-38498eddae73" CreationDate="2014-10-01T04:08:20.770" UserId="10017" Text="I have a Focusrite Saffire 6 USB. It looks like this:&#xD;&#xA;&#xD;&#xA;![Saffire 6 USB](http://futuremusic.com/news/images/focusrite_saffire_6usb.jpg)&#xD;&#xA;&#xD;&#xA;If I plug a mic into one of the preamps and set the &quot;gain&quot; knob to where I know it will not clip, and I turn the &quot;monitor&quot; knob all the way to &quot;input&quot;, and I turn the &quot;phones&quot; knob all the way up, **it is still too quiet in the headphones**. &#xD;&#xA;&#xD;&#xA;Is this a common problem? How can I fix it? Note that I'm not using &quot;pro&quot; headphones if that makes a difference.&#xD;&#xA;&#xD;&#xA;This is an old interface which has some other quirks, and I might be willing to buy a new one if there is a better option out there..." ContentLicense="CC BY-SA 3.0" />
  <row Id="57844" PostHistoryTypeId="1" PostId="30350" RevisionGUID="ab17da0d-898a-4435-80be-38498eddae73" CreationDate="2014-10-01T04:08:20.770" UserId="10017" Text="How can I get my direct input monitoring louder?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57845" PostHistoryTypeId="3" PostId="30350" RevisionGUID="ab17da0d-898a-4435-80be-38498eddae73" CreationDate="2014-10-01T04:08:20.770" UserId="10017" Text="&lt;monitoring&gt;&lt;volume&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57853" PostHistoryTypeId="10" PostId="30312" RevisionGUID="706a3a37-109b-47fc-ab94-a2908a1740ad" CreationDate="2014-10-01T08:31:22.837" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:842,&quot;DisplayName&quot;:&quot;Christian van Caine&quot;},{&quot;Id&quot;:182,&quot;DisplayName&quot;:&quot;EMV&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="57854" PostHistoryTypeId="2" PostId="30352" RevisionGUID="fb298a43-d09d-4ecc-a3b8-54d434e657f8" CreationDate="2014-10-01T12:19:24.607" UserId="7200" Text="I doubt this is really an error &amp;ndash; as this interface is USB-powered, the designers probably spec'd the headphone output with rather low maximum voltage, so as to avoid supply problems; I know at least the old Tascam US-x2y series suffered from that problem. For consumer headphones, which are targeted at low-voltage battery-supplied devices and hence have very low impedance, this should still give you a sufficiently loud signal, but with studio headphones it's often a bit dissapointing.&#xD;&#xA;&#xD;&#xA;Input-monitoring is in particular a problem if the input comes straight from a mic without any compression, saturation, EQ whatsoever: this way, it'll sound quieter than anything on a recording, but still have a lot of peak level.&#xD;&#xA;&#xD;&#xA;One thing you should ensure is that the high peaks don't just come from artifacts you'd have to filter away later anyway: low frequency plops, and high-frequency hisses. In doubt, use suitable spiders, pop-killers and improve the mic placement to maximise &quot;useful level&quot;, that will give you both better monitoring level and probably better sound on the recording.&#xD;&#xA;&#xD;&#xA;In particular for vocals, it can also be a good idea to put a tube preamp before the interface. That warm, smooth overdrive is pretty much standard for studio vocals, and makes the signal considerably &quot;hotter&quot; without increasing the required peak headroom. You might also put in a gentle compressor for yet louder RMS without any distortion, I used to do that a lot – but now I rather prefer to do all that later in software, where you have much finer-grained control.&#xD;&#xA;&#xD;&#xA;The most straightforward solution to your problem at hand however would tackle the other end: put an externally-powered headphone amplifier on the line out, and don't use the built-in one at all! Dedicated headphone amps should always give plenty enough volume, so you can just make the outputso loud you have good monitoring and then adjust the DAW playback level to get the mix right." ContentLicense="CC BY-SA 3.0" />
  <row Id="57856" PostHistoryTypeId="2" PostId="30353" RevisionGUID="abe4b68d-2f7f-46f8-94a6-e0ac44b42571" CreationDate="2014-10-02T01:34:54.563" UserId="7228" Text="I'm in a position where I need to install monitor speakers in an extremely awkward spot, above a sealing (out of sight for the public) behind - and very close to - the microphones on stage.&#xD;&#xA;&#xD;&#xA;The microphones are pointing about 30-40 degrees away from where the monitors are allowed to be placed. Since I don't want to loose too much headroom before feedback kicks in, I'm looking for monitors with a narrow coverage angle in one direction, so I can tilt them slightly away from the mics.&#xD;&#xA;&#xD;&#xA;The only type of speaker with such a directional characteristic to my knowledge is a line-array segment, and the smallest of these I could find is the [OmniLine from Martin-Audio][1]. However, I'm looking for a single (active) unit for the price of an Omniline wall mounting bracket ($300,-).&#xD;&#xA;&#xD;&#xA;I also found some [SoundLazer][2] and [Acouspade ultrasonic][3] things which are interesting, but not available in any shop near where I live, and I'd like to hear them before giving it a shot (sounds a bit too tinny in the video demo's).&#xD;&#xA;&#xD;&#xA;I'll be shelving off most bass to prevent resonance in the sealing, so bass response is of little concern. The sealing is quite low, so they don't need much power.&#xD;&#xA;&#xD;&#xA;Does anyone know of affordable active (monitor) speakers with such narrow coverage characteristics?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.martin-audio.com/products/datasheets/OmniLinedatasheet.pdf&#xD;&#xA;  [2]: http://www.soundlazer.com/about-this-project/&#xD;&#xA;  [3]: http://www.ultrasonic-audio.com/products/acouspade.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="57857" PostHistoryTypeId="1" PostId="30353" RevisionGUID="abe4b68d-2f7f-46f8-94a6-e0ac44b42571" CreationDate="2014-10-02T01:34:54.563" UserId="7228" Text="Monitors with a narrow directional coverage angle, do they exist?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57858" PostHistoryTypeId="3" PostId="30353" RevisionGUID="abe4b68d-2f7f-46f8-94a6-e0ac44b42571" CreationDate="2014-10-02T01:34:54.563" UserId="7228" Text="&lt;monitors&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57870" PostHistoryTypeId="2" PostId="30357" RevisionGUID="6eadf061-ebfe-406f-acfa-974c3e80e2df" CreationDate="2014-10-02T22:42:21.827" UserId="10032" Text="My Late 2012 iMac (iMac13,2) says in Apple System Information (under Audio, but not under &quot;Devices&quot;) that it has an &quot;Intel High Definition Audio&quot;, which contains External Microphone / iPhone Headset with &quot;Connection: Combination Output&quot;. &#xD;&#xA;&#xD;&#xA;The adapter that speakr references (with a 4-pin TRRS headphone jack) should work to transform other audio plugs into the line-in format Apple expects.&#xD;&#xA;&#xD;&#xA;![Screen shot from Apple System Information][1]&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://i.stack.imgur.com/uR14V.png" ContentLicense="CC BY-SA 3.0" />
  <row Id="57871" PostHistoryTypeId="2" PostId="30358" RevisionGUID="b29abee4-1c3a-4068-bec5-b8882e57686e" CreationDate="2014-10-02T23:33:16.550" UserId="9613" Text="A portable line array kit with a mounting kit may be your only answer.  Something like the a pair of [HK AUDIO E435][1] with the [install kit][2].  I personally have a [set in this configuration][3], and I've used it as house speakers/monitors combo where they were **behind** the performers and facing the house.  There was little to no feedback from them except at the lower frequencies because the subwoofers are point sources, but I always roll off the low end on the mics.  Now, my setup was farther away from the mics than what you may have.&#xD;&#xA;&#xD;&#xA;Like I said before, line arrays will normally give you more headroom before feedback because of the nature of line arrays - many low SPL point sources with lower chances of getting in phase with the mics ***vs.*** one high SPL point source in phase.  Here's a [demo of what I mean][4], but with much more expensive speakers.&#xD;&#xA;&#xD;&#xA;For you the HK Audio's may work (they are based in Germany) for you because of you budget.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hkaudio.us/products.php?id=223&#xD;&#xA;  [2]: http://hkaudio.us/products.php?id=379&#xD;&#xA;  [3]: http://hkaudio.us/products.php?id=407&#xD;&#xA;  [4]: http://youtu.be/dT7zTeFRhkY" ContentLicense="CC BY-SA 3.0" />
  <row Id="57872" PostHistoryTypeId="5" PostId="691" RevisionGUID="1532bc86-8e3b-438b-8468-01c31b88eb9e" CreationDate="2014-10-03T03:24:08.083" UserId="90" Comment="added 444 characters in body" Text="It's not a matter of gain, it's a matter of impedance.  Piezos have a very high output impedance (actually a capacitive impedance), so they need to see an even higher impedance at the input of your preamp, or they'll be prone to picking up interference and having low frequencies rolled-off.&#xD;&#xA;&#xD;&#xA;(A 500 pF pickup, for instance, has a [6 MΩ output impedance at 50 Hz][1], so even if you plug it into a &quot;high-Z&quot; 1 MΩ guitar input jack, it will be attenuated by [-17 dB][2] at 50 Hz.  At [1 kHz, however, its impedance is 300 kΩ][3], which is only a [-2 dB][4] attenuation.  That's why the low frequencies disappear and they sound tinny if you don't use a very high input impedance.)&#xD;&#xA;&#xD;&#xA;Just an FET-input buffer will do (input impedance ≈ 1,000,000 MΩ).  It shouldn't need much gain.  Piezos can produce very high voltages on their own.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.wolframalpha.com/input/?i=500%20pF%2C%2050%20Hz%20impedance&#xD;&#xA;  [2]: http://www.wolframalpha.com/input/?i=20*log10%281%2F%281%2B6%29%29&#xD;&#xA;  [3]: http://www.wolframalpha.com/input/?i=500%20pF%2C%201%20kHz%20impedance&#xD;&#xA;  [4]: http://www.wolframalpha.com/input/?i=20*log10%281%2F%281%2B.3%29%29" ContentLicense="CC BY-SA 3.0" />
  <row Id="57873" PostHistoryTypeId="2" PostId="30359" RevisionGUID="22185861-3290-4662-98e7-73d108015342" CreationDate="2014-10-03T16:45:17.303" UserId="9613" Text="AJ is correct on all accounts. &#xD;&#xA;&#xD;&#xA;There are a couple more things I'd like to add: speaker placement, aim, and signal route.&#xD;&#xA;&#xD;&#xA;Since you have an arena theater setup, think about where to put your speakers, where to aim them, and what signals you want to route to them.&#xD;&#xA;&#xD;&#xA;As best as you can, route voices only to speakers facing away from the arena stage.  Route track and environmental sounds to all speakers, keeping in mind their proximity to the performers mics.  Rule of thumb is to keep the sound going to your audience as much as possible, and keep as little sound as possible going to your stage.  The omni-directional wireless mics on your performers will thank you, and not complain with feedback.&#xD;&#xA;&#xD;&#xA;If your performers need monitoring, IEM's are a good solution.  I use IEM's for our touring theater group.  They're lighter equipment to pack and I have no floor wedges to feedback on me.  IEM's are a bit more expensive and complicated to setup, but are worth it.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57874" PostHistoryTypeId="5" PostId="30358" RevisionGUID="9a5f6c7c-4cb8-48a8-82c8-da936a510bfa" CreationDate="2014-10-03T16:50:21.800" UserId="9613" Comment="The demo video link was the wrong.  I've corrected it." Text="A portable line array kit with a mounting kit may be your only answer.  Something like the a pair of [HK AUDIO E435][1] with the [install kit][2].  I personally have a [set in this configuration][3], and I've used it as house speakers/monitors combo where they were **behind** the performers and facing the house.  There was little to no feedback from them except at the lower frequencies because the subwoofers are point sources, but I always roll off the low end on the mics.  Now, my setup was farther away from the mics than what you may have.&#xD;&#xA;&#xD;&#xA;Like I said before, line arrays will normally give you more headroom before feedback because of the nature of line arrays - many low SPL point sources with lower chances of getting in phase with the mics ***vs.*** one high SPL point source in phase.  Here's a [demo of what I mean][4], but with much more expensive speakers.&#xD;&#xA;&#xD;&#xA;For you the HK Audio's may work (they are based in Germany) for you because of you budget.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://hkaudio.us/products.php?id=223&#xD;&#xA;  [2]: http://hkaudio.us/products.php?id=379&#xD;&#xA;  [3]: http://hkaudio.us/products.php?id=407&#xD;&#xA;  [4]: http://youtu.be/HnKHOz54CuQ" ContentLicense="CC BY-SA 3.0" />
  <row Id="57879" PostHistoryTypeId="2" PostId="30362" RevisionGUID="5ebc6052-96b8-4bd2-a45b-9c9c7739371e" CreationDate="2014-10-03T19:06:22.577" UserId="7850" Text="As mentioned USB power has its limits and your high impedance headphones are not helping the situation. If you are willing to dump this interface and get a better one I say do it. I have had issues with buss powered interfaces in the past, mainly that they have dropped out when trying to use all the features at once over bus power. I would take a look at the MOTU ultralight, same size-ish but way more I/O. I would also get an external pre amp. Generally these on board pre amps are not that great, although companies will boast about their performance they are generally a minimum viable product for both size and cost reasons. You will notice a big difference with an external pre. Also as mentioned a headphone amp will help out the issue of driving high impedance headphones. Like everything there are lots of options out there in this world. However a good interface should have a relatively decent output. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57880" PostHistoryTypeId="2" PostId="30363" RevisionGUID="33b7678b-6942-4ee9-bcc0-84eb1d73b639" CreationDate="2014-10-03T19:19:21.117" UserId="10036" Text="I have been really interested in sound design, based on how it is a very creative type job and how much impact it has in games and movies. I have always wanted to work in the creative, artistic field ever since i was a kid, went to school at csuf for music, as a singer, got my bachelors in 2011, got a church choir job, auditioned and sung with various local opera companies, but have been feeling very constricted creatively and have been struggling in finding any stable work. &#xD;&#xA;&#xD;&#xA;I looked at sound design as potentially something that could really help me land a stable job somewhere, hopefully in the game industry. I don't know if I am being realistic, how possible it is to land that type of job, but I would like it to be true. I feel that I always gravitate towards careers that are not known for stability, unless you are teaching, which a lot of my friends are teachers but that's never been for me, I have always been the performer, creator, not the educator. &#xD;&#xA;&#xD;&#xA;So, i have been researching about school, programs that would give me the knowledge to get into the sound design field and help to find me work in the industry. I am not in the position to afford expensive programs at places like full sail, but i found a program from the audio institute of america, which seemed to be a successful program, for 299 dollars, to give me the tools to be an audio engineer and producer, i just wonder if it would be worth taking. I know that people don't necessarily take the school route and kind of learn on their own, but for me, I need structure, one on one time, to be in a place that has the resources to help get me in the working world. What do you guys think I should do? This is all new to me, as someone who has just been performing, singing opera, i don't have any experience yet in this field but I really want it and want to pursue and make it happen and am tired of feeling stuck where I am. This really interests me, I am just not sure what the best plan of attack should be to be successful at it. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57881" PostHistoryTypeId="1" PostId="30363" RevisionGUID="33b7678b-6942-4ee9-bcc0-84eb1d73b639" CreationDate="2014-10-03T19:19:21.117" UserId="10036" Text="How do I get into sound design?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57882" PostHistoryTypeId="3" PostId="30363" RevisionGUID="33b7678b-6942-4ee9-bcc0-84eb1d73b639" CreationDate="2014-10-03T19:19:21.117" UserId="10036" Text="&lt;sound-design&gt;&lt;audio&gt;&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57883" PostHistoryTypeId="5" PostId="1573" RevisionGUID="efedd58a-d738-45e2-9f10-0ed82aff9266" CreationDate="2014-10-03T20:52:55.193" UserId="6957" Comment="appended answer 1597 as supplemental" Text="I'm relatively new to sound design and audio for film but am extremely interested. Lately I've been downloading commercials, video game trailers  and movie trailers and just trying to recreate the audio and fill in with my own creations I think are appropriate. I was wondering if anyone had any suggestions or techniques/skills you could share with me to help me get started. How can I practice to get better? Or what did you do to get to where you are now?&#xA;&#xA;---&#xA;&#xA;Wow guys. Thanks alot for the answers. I got many more responses than I imagined I would get. This website has been VERY helpful. I definitely plan on reading all of those books and following everyone's advice really... &#xD;&#xA;&#xD;&#xA;Thanks again. Great bunch of folks here.&#xD;&#xA;&#xD;&#xA;JM" ContentLicense="CC BY-SA 3.0" />
  <row Id="57885" PostHistoryTypeId="2" PostId="30364" RevisionGUID="b27ebbc8-c723-4833-85cb-dbbce400f026" CreationDate="2014-10-03T22:26:45.133" UserId="10017" Text="thanks for your answers. This is what I ended up doing.&#xD;&#xA;&#xD;&#xA;I found out you can buy a splitter for a mic (called an &quot;isolation transformer&quot;, $40) which allows you to use two preamps. I split the mic signal, and then I ran one signal to a tiny $100 mixer with digital FX and the other to my Saffire 6 USB.&#xD;&#xA;&#xD;&#xA;The crappy preamps on the little mixer don't affect the awesome Focusrite preamps, and if I am recording a singer they can control their own mix on their own personal mixer. If I make any changes to the gain, etc. on my interface, it does not affect the little mixer, and vice versa. And I figure that the mixer and splitter will outlast many USB interfaces to come. &#xD;&#xA;&#xD;&#xA;Aaaand the mixer gets headphones SUPER loud." ContentLicense="CC BY-SA 3.0" />
  <row Id="57890" PostHistoryTypeId="2" PostId="30367" RevisionGUID="c8500f8a-95f9-4109-87dc-ec95c3a89731" CreationDate="2014-10-04T10:27:30.520" UserId="10040" Text="This string sound&#xD;&#xA;&#xD;&#xA;I have tried so many variations and I still can't nail, many forums later no one else can seem to either&#xD;&#xA;&#xD;&#xA;you can hear the string on it's own @1.23&#xD;&#xA;&#xD;&#xA;State Of Grace - Not Over Yet (Trance Mix) 1993 - YouTube&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=IotuEVfHJac&#xD;&#xA;&#xD;&#xA;can you help?&#xD;&#xA;&#xD;&#xA;is it a sample or is it synth layered? or both?&#xD;&#xA;&#xD;&#xA;I've never heard a string like it&#xD;&#xA;&#xD;&#xA;scott" ContentLicense="CC BY-SA 3.0" />
  <row Id="57891" PostHistoryTypeId="1" PostId="30367" RevisionGUID="c8500f8a-95f9-4109-87dc-ec95c3a89731" CreationDate="2014-10-04T10:27:30.520" UserId="10040" Text="help with a string like no other" ContentLicense="CC BY-SA 3.0" />
  <row Id="57892" PostHistoryTypeId="3" PostId="30367" RevisionGUID="c8500f8a-95f9-4109-87dc-ec95c3a89731" CreationDate="2014-10-04T10:27:30.520" UserId="10040" Text="&lt;design&gt;&lt;sound&gt;&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57904" PostHistoryTypeId="2" PostId="30369" RevisionGUID="9b44575c-6697-422e-97f6-514cf463299a" CreationDate="2014-10-05T10:40:04.587" UserId="10043" Text="I just bought a CAD USB microphone .Now using ASIO for all i managed to get it connected in CUBASE 5 and I can see the bars moving when i tap the microphone . But as soon as i open a new project the microphone becomes inactive .Can anyone help me with this problem?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57905" PostHistoryTypeId="1" PostId="30369" RevisionGUID="9b44575c-6697-422e-97f6-514cf463299a" CreationDate="2014-10-05T10:40:04.587" UserId="10043" Text="Microphone becomes inactive when I open a new project in cubase" ContentLicense="CC BY-SA 3.0" />
  <row Id="57906" PostHistoryTypeId="3" PostId="30369" RevisionGUID="9b44575c-6697-422e-97f6-514cf463299a" CreationDate="2014-10-05T10:40:04.587" UserId="10043" Text="&lt;microphone&gt;&lt;audio-recording&gt;&lt;cubase&gt;&lt;windows&gt;&lt;asio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57910" PostHistoryTypeId="2" PostId="30371" RevisionGUID="b7d9b138-af41-4801-a232-ac59daffc40a" CreationDate="2014-10-05T16:26:49.823" UserId="10044" Text="I want to assign unsymmetrical pitch change to my controller, let's say when I move the pitch controller to raise the pitch , it raise the pitch up to +2 semitones but when I move it to lower the pitch it lower the pitch down to -12 semitone&#xD;&#xA;&#xD;&#xA;I want to do this in logic pro x, please give me a clue&#xD;&#xA;&#xD;&#xA;thanks you all in advance" ContentLicense="CC BY-SA 3.0" />
  <row Id="57911" PostHistoryTypeId="1" PostId="30371" RevisionGUID="b7d9b138-af41-4801-a232-ac59daffc40a" CreationDate="2014-10-05T16:26:49.823" UserId="10044" Text="unsymmetrical pitch change" ContentLicense="CC BY-SA 3.0" />
  <row Id="57912" PostHistoryTypeId="3" PostId="30371" RevisionGUID="b7d9b138-af41-4801-a232-ac59daffc40a" CreationDate="2014-10-05T16:26:49.823" UserId="10044" Text="&lt;pitch&gt;&lt;controller&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57919" PostHistoryTypeId="6" PostId="30367" RevisionGUID="2f5e5268-244b-471a-973d-94bdfd155504" CreationDate="2014-10-06T15:15:06.580" UserId="7174" Comment="edited tags" Text="&lt;design&gt;&lt;sound&gt;&lt;synthesizer&gt;&lt;replication&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57920" PostHistoryTypeId="2" PostId="30373" RevisionGUID="f1c0d35b-c7b1-4818-b62e-a0f9d53e3d79" CreationDate="2014-10-06T15:16:19.733" UserId="7174" Text="These questions deal with replicating the sound used in another song or film.  They are looking for how the sound in question can be reproduced." ContentLicense="CC BY-SA 3.0" />
  <row Id="57921" PostHistoryTypeId="2" PostId="30374" RevisionGUID="d3d24425-19ba-485a-9ac3-b05292cd3f08" CreationDate="2014-10-06T15:16:19.733" UserId="7174" Text="Replication involves the recreating the sound used in another song or film." ContentLicense="CC BY-SA 3.0" />
  <row Id="57922" PostHistoryTypeId="6" PostId="27615" RevisionGUID="ef94801d-87e5-47c4-bf28-5d7908fbf184" CreationDate="2014-10-06T15:18:00.400" UserId="7174" Comment="edited tags" Text="&lt;synthesizer&gt;&lt;replication&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57923" PostHistoryTypeId="6" PostId="30212" RevisionGUID="25832e52-67e1-4b83-b425-3ab595367c19" CreationDate="2014-10-06T15:20:08.793" UserId="7174" Comment="edited tags" Text="&lt;sound-effects&gt;&lt;film-sound-design&gt;&lt;replication&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57924" PostHistoryTypeId="6" PostId="28409" RevisionGUID="a93fc0c2-8305-4dd2-984e-7245cf44cb74" CreationDate="2014-10-06T15:20:45.663" UserId="7174" Comment="edited tags" Text="&lt;synthesizer&gt;&lt;ableton-live&gt;&lt;ableton&gt;&lt;replication&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57930" PostHistoryTypeId="2" PostId="30377" RevisionGUID="8aa843ba-2136-4bab-94c9-e31480445ed2" CreationDate="2014-10-06T20:12:57.737" UserId="7174" Text="DAWs are not intrinsically harder to use than NLEs.  The thing is that most people really don't know their NLE either.  Most consumers and beginners don't use many advanced features of their NLE.  Since video is visual, people are inherently better at separating out and visualizing what is happening with multiple layers and accomplish what they want without really touching the power of their NLE.  Sound has layers as well, but as a passive listener we process sound as a whole, not layers.&#xD;&#xA;&#xD;&#xA;When we see video of a man standing in front of a sofa and behind a TV, we clearly see where each object is and how they are oriented to each other.  With sound, we may hear a guitar, a drum kit and a vocalist playing, but we don't really filter out which parts are which and who is lounder than who, we just hear the overall sound.&#xD;&#xA;&#xD;&#xA;Audio mixing is an inherently different style of thought to it as you have to think about sound in layers similar to how you think of layers for video.  You have to think about how the sounds interact across volumes and frequencies and alter them in such a way as to make them fit together.  Humans are much more skilled at placing round peg in round hole (such as seeing a blank area of background to put a title over) than figuring out that there is a gap in the sound between 200hz and 400hz that can be filled by EQing the guitar just so and adjusting the level so that it blends.&#xD;&#xA;&#xD;&#xA;There are many more advanced features in NLEs that are hard to conceptualize and those are more challenging, but most people don't have to deal with those.  If you get in to high level animation keyframing in something like After Effects (ok, that's not actually an NLE), you quickly give any automation stuff in a DAW a run for its money.&#xD;&#xA;&#xD;&#xA;The only thing that really could be said to make a DAW more complex than an NLE is that it includes both the editing and acquisition components.  True NLEs do support a batch capture module for old deck control purposes, but it is a distinct module that makes clips.  DAWs on the other hand support live and direct acquisition of audio directly in to the timeline on multiple channels, so this adds some complexity.&#xD;&#xA;&#xD;&#xA;Conversely though, NLEs not only have many of the basic audio features of a DAW, but also have to support features for manipulation of video as well, thus adding complexity that a DAW doesn't have when working on the high end.&#xD;&#xA;&#xD;&#xA;Both NLEs and DAWs have third party plugins, though it is often more common for an average DAW user to use third party plugins for particular sounds than it is for an NLE user to need one, so there do tend to be far more audio plugins for different types of processing.  This isn't really a major distinction though since both have fairly large libraries of built in plugins and you can get by at a basic to fairly advanced level without extra plugins, it just takes a bit more work.&#xD;&#xA;&#xD;&#xA;So, in summary, the apparent difference in difficulty is not due to the software, but rather the user's experience.  A DAW and NLE are roughly similar in terms of difficulty, however they both require a skillset in the medium to use and understand well.  The skillset for video is more naturally acquired in day to day life, so it seems easier.  The skillset for audio isn't as natural and is harder to tell what is happening when you try something without knowing the terminology, so it seems harder, but if you had a background in mixing audio (but had never touched a DAW), it would be pretty trivial to sit down to a new DAW and start working." ContentLicense="CC BY-SA 3.0" />
  <row Id="57931" PostHistoryTypeId="2" PostId="30378" RevisionGUID="ed93b8ea-8756-4b24-9cb2-75412069049a" CreationDate="2014-10-06T20:29:22.623" UserId="7753" Text="I've been using Windows Sound Recorder to record myself playing music. On the new laptop I just got, the recordings are very, very bass heavy and distorted. What is a good cheap microphone that I could plug into my computer and use for this purpose? Or am I best off using some headphones as a microphone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57932" PostHistoryTypeId="1" PostId="30378" RevisionGUID="ed93b8ea-8756-4b24-9cb2-75412069049a" CreationDate="2014-10-06T20:29:22.623" UserId="7753" Text="Best cheap mic for personal use into computer" ContentLicense="CC BY-SA 3.0" />
  <row Id="57933" PostHistoryTypeId="3" PostId="30378" RevisionGUID="ed93b8ea-8756-4b24-9cb2-75412069049a" CreationDate="2014-10-06T20:29:22.623" UserId="7753" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57934" PostHistoryTypeId="5" PostId="30353" RevisionGUID="1be7053c-519c-4463-af01-4378ec9d9c64" CreationDate="2014-10-06T20:35:48.680" UserId="7228" Comment="Added some keywords and a reference to Huygen's principle for anyone interested" Text="I'm in a position where I need to install monitor speakers in an extremely awkward spot, above a sealing (out of sight for the public) behind - and very close to - the microphones on stage.&#xD;&#xA;&#xD;&#xA;The microphones are pointing about 30-40 degrees away from where the monitors are allowed to be placed. Since I don't want to loose too much headroom before feedback kicks in, I'm looking for monitors with a narrow coverage angle in one direction, so I can tilt them slightly away from the mics.&#xD;&#xA;&#xD;&#xA;The only type of speaker with such a directional characteristic to my knowledge is a line-array segment, and the smallest of these I could find is the [OmniLine from Martin-Audio][1]. However, I'm looking for a single (active) unit for the price of an Omniline wall mounting bracket ($300,-).&#xD;&#xA;&#xD;&#xA;I also found some [SoundLazer][2] and [Acouspade ultrasonic][3] things which are interesting, but not available in any shop near where I live, and I'd like to hear them before giving it a shot (sounds a bit too tinny in the video demo's).&#xD;&#xA;&#xD;&#xA;I'll be shelving off most bass to prevent resonance in the sealing, so bass response is of little concern. The sealing is quite low, so they don't need much power.&#xD;&#xA;&#xD;&#xA;Does anyone know of affordable active (monitor) speakers with such narrow coverage characteristics?&#xD;&#xA;&#xD;&#xA;----&#xD;&#xA;EDIT:&#xD;&#xA;&#xD;&#xA;After getting the answer I learned allot more about the type of speakers I was looking for. Some keywords can help anyone else looking for something similar. The type of speaker is usually called &quot;[column array][4]&quot; or &quot;[vertical array][5]&quot; speakers.&#xD;&#xA;&#xD;&#xA;The extremely expensive models come with [software][6] that allow to aim or focus the beam of sound to specific angles. This is done by adding delay to individual speakers using Digital Signal Processing. It works according to the &quot;[Huygen's principle][7]&quot;. Delaying the middle speakers will create a strongly focused wavefront, beaming to the center, while delaying the outer speakers forms a wider angle wavefront spreading in a more spherical manner.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.martin-audio.com/products/datasheets/OmniLinedatasheet.pdf&#xD;&#xA;  [2]: http://www.soundlazer.com/about-this-project/&#xD;&#xA;  [3]: http://www.ultrasonic-audio.com/products/acouspade.html&#xD;&#xA;  [4]: https://www.google.nl/search?q=column%20array&#xD;&#xA;  [5]: https://www.google.nl/search?q=vertical%20array&#xD;&#xA;  [6]: https://www.meyersound.com/software/compass?section=compass_for_cal&#xD;&#xA;  [7]: http://en.wikipedia.org/wiki/Huygens%E2%80%93Fresnel_principle" ContentLicense="CC BY-SA 3.0" />
  <row Id="57938" PostHistoryTypeId="2" PostId="30380" RevisionGUID="3fb5777f-154f-4ee6-90b2-ccdf1bd5334b" CreationDate="2014-10-06T22:34:24.773" UserId="10054" Text="I want to build a cabinet form a Rockwood NY6510 subwoofer. &#xD;&#xA;In order to get an idea of the cabinet design  I use two online software: &#xD;&#xA;&#xD;&#xA;The one from [ajdesing](http://www.ajdesigner.com/fl_subwoofer/subwoofer.php) and the one from [diyaudioandvideo](http://www.diyaudioandvideo.com/Calculator/Box) .&#xD;&#xA;with the same input parameters, I get from the speaker [datasheet](http://boxenbastler.de/Rockwoodny6510)&#xD;&#xA;&#xD;&#xA;    Fs = 55.7 Hz&#xD;&#xA;    Qms = 3.5&#xD;&#xA;    Qes = 1.2&#xD;&#xA;    Vas = 17.0 lt&#xD;&#xA;    Qts = 0.9&#xD;&#xA;&#xD;&#xA;I choose&#xD;&#xA; &#xD;&#xA;Qtc = 1.0&#xD;&#xA;Port diameter = 10cm&#xD;&#xA;Ported Box desing&#xD;&#xA;&#xD;&#xA;I'm confused since I get two completly different results using the same input parameters .&#xD;&#xA;&#xD;&#xA;From  [diyaudioandvideo](http://www.diyaudioandvideo.com/Calculator/Box) I get&#xD;&#xA;&#xD;&#xA;    Vb = 8.48 ft3  =  240.15 lts&#xD;&#xA;    = L x W x H&#xD;&#xA;    f3 = 17.37 Hz&#xD;&#xA;    fb = 24.51 Hz&#xD;&#xA;    Dv = 1 in  =  2.5 cm&#xD;&#xA;    Lv = -0.39 in  =  -0.98 cm&#xD;&#xA;&#xD;&#xA; But from [ajdesing](http://www.ajdesigner.com/fl_subwoofer/subwoofer.php) &#xD;&#xA;I get a negative f3 = -29 and the fb = Fs = 55.7. &#xD;&#xA;&#xD;&#xA;Did I made some mistake? Which online sfw should I trust? &#xD;&#xA;&#xD;&#xA;The results for the closed box design are the same for both the appliations:&#xD;&#xA;&#xD;&#xA;    Vb = 2.56 ft3  =  72.47 lts&#xD;&#xA;    = L x W x H&#xD;&#xA;    f3 = 48.65 Hz&#xD;&#xA;    fb = 61.89 Hz&#xD;&#xA;&#xD;&#xA;Thanks" ContentLicense="CC BY-SA 3.0" />
  <row Id="57939" PostHistoryTypeId="1" PostId="30380" RevisionGUID="3fb5777f-154f-4ee6-90b2-ccdf1bd5334b" CreationDate="2014-10-06T22:34:24.773" UserId="10054" Text="Rockwood NY6510 cabinet design and online calculator" ContentLicense="CC BY-SA 3.0" />
  <row Id="57940" PostHistoryTypeId="3" PostId="30380" RevisionGUID="3fb5777f-154f-4ee6-90b2-ccdf1bd5334b" CreationDate="2014-10-06T22:34:24.773" UserId="10054" Text="&lt;speakers&gt;&lt;sub-bass&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57941" PostHistoryTypeId="2" PostId="30381" RevisionGUID="ecb7ccb2-37a2-4f52-9fad-fbc55eb8d551" CreationDate="2014-10-06T23:21:22.350" UserId="9989" Text="I believe a sound like this can also be accomplished by having two LFO generators, and changing the frequency of one, or the other.  That is, change the frequency relative to each LFO, hence causing the sound waves to drift in and out of sync with each other.  &#xD;&#xA;&#xD;&#xA;That is my very humble opinion based on my limited understanding of what you want.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="57942" PostHistoryTypeId="6" PostId="30329" RevisionGUID="fdc1a949-d27c-436e-ab9a-25f26eea2d1f" CreationDate="2014-10-07T04:30:27.553" UserId="7174" Comment="edited tags" Text="&lt;sound-design&gt;&lt;sound-effects&gt;&lt;replication&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57943" PostHistoryTypeId="2" PostId="30382" RevisionGUID="66f85ece-7f45-48bc-ad31-58fbd7df70fa" CreationDate="2014-10-07T04:45:28.677" UserId="6583" Text="Don't have zebra, but it sounds to me like a square-shaped LFO with the rate being modulated up to a very high rate and back, producing that effect where the two values that the LFO is oscillating between are changing so fast that they blend into one tone.  " ContentLicense="CC BY-SA 3.0" />
  <row Id="57945" PostHistoryTypeId="2" PostId="30384" RevisionGUID="d4a81d7d-e45b-40bf-8915-56ab3b1495a4" CreationDate="2014-10-07T11:29:55.777" UserId="10058" Text="That depends very much on your needs for said microphone.&lt;br&gt; &#xD;&#xA;If you are looking for a decent quality of recordings of yourself sitting in the room playing at home, I think a possible solution could be a microphone with a USB interface and a stand to mount the microphone on.&#xD;&#xA;These are available in many price and quality ranges in most of the online music-/recording-equipment stores, such as sweetwater, zzsounds, musiciansfriend and amazon.&#xD;&#xA;&#xD;&#xA;Alternatively your laptop probably has a 1/8&quot; mono jack input (AKA mini-jack) for a microphone, which can be used to connect a microphone (if need be with a converter-cable from 1/8&quot; jack to an XLR plug). However you will not be able to use microphones of the condenser type this way, since these require a power source, which is usually provided by a mixer or preamplifier, but is not present on a standard laptop mic input. Condensers have some advantages over dynamic microphones (although some are a matter of taste), and might suit your need better than a dynamic mic." ContentLicense="CC BY-SA 3.0" />
  <row Id="57948" PostHistoryTypeId="2" PostId="30385" RevisionGUID="01b490b9-fc34-46ec-9349-fe2b5dfb04fb" CreationDate="2014-10-07T14:01:19.620" UserId="7174" Text="The microphone may or may not even be the weakest link.  Consumer mic jacks are not designed for quality, they are designed to be cheap.  Often, the analog to digital conversion is an after thought to the design and primarily designed for being able to talk in to the computer which requires far less fidelity than trying to feed an instrument or singing.  Many consumer mics designed to work with such a jack are also fairly low fidelity.&#xD;&#xA;&#xD;&#xA;You can get some mics that offer reasonable quality that will work well if you have a good quality audio jack, such as those designed for use with the 1/8 inch jacks on many DSLRs, however unless your audio jack is decent quality, it won't matter a whole lot.&#xD;&#xA;&#xD;&#xA;Your best bet is really to get a cheap audio interface that is designed with sound quality in mind and get an actual professional mic, but then you are looking at spending $100-$150 minimum for prosumer gear or more like $300 to really get good gear, so that might still be out of your price range.  That said, even a basic decent quality mic at the consumer level is probably going to run you a decent amount.  (I'd guess $50 to $100, though I don't follow that part of the market closely.)" ContentLicense="CC BY-SA 3.0" />
  <row Id="57949" PostHistoryTypeId="2" PostId="30386" RevisionGUID="eec15a82-5a93-429b-9741-fb1764725b0c" CreationDate="2014-10-07T20:32:22.937" UserId="10060" Text="I've been using ProTools with an M-Box for about 8 years, recording and editing spoken-word narration for a series of art guides. My guides run anywhere from 2 to 3 hours, usually anywhere from 20 to 30 tracks.&#xD;&#xA;&#xD;&#xA;I used to have a sound engineer work on them before publishing but have done the last two titles entirely myself. They sound pretty good, but the editing took FOREVER, and I'm sure there are tools I could have used to enhance the quality of the sound. &#xD;&#xA;&#xD;&#xA;I'd like to learn how to edit more efficiently, and to use the tools more effectively.  &#xD;&#xA;&#xD;&#xA;The one or two guides I've looked at are totally music-oriented. My question: Can anyone recommend a guide (for a non-technical beginner) that is more oriented toward editing spoken-word audio?  Would the ProTools For Dummies book give me what I need? (my library doesn't have a copy for me to look at)&#xD;&#xA;&#xD;&#xA;Thanks much.  &#xD;&#xA;&#xD;&#xA;Jane &#xD;&#xA;Jane's Smart Art Guides™&#xD;&#xA;&#xD;&#xA;     " ContentLicense="CC BY-SA 3.0" />
  <row Id="57950" PostHistoryTypeId="1" PostId="30386" RevisionGUID="eec15a82-5a93-429b-9741-fb1764725b0c" CreationDate="2014-10-07T20:32:22.937" UserId="10060" Text="Using Pro Tools for spoken word" ContentLicense="CC BY-SA 3.0" />
  <row Id="57951" PostHistoryTypeId="3" PostId="30386" RevisionGUID="eec15a82-5a93-429b-9741-fb1764725b0c" CreationDate="2014-10-07T20:32:22.937" UserId="10060" Text="&lt;pro-tools&gt;&lt;narration&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57952" PostHistoryTypeId="2" PostId="30387" RevisionGUID="79db8da5-23d3-441d-b711-3281e4f1b638" CreationDate="2014-10-07T23:08:56.353" UserId="7398" Text="Much of John Purcell's [Dialogue Editing for Motion Pictures](http://www.amazon.com/Dialogue-Editing-Motion-Pictures-Invisible/dp/0240809181) can be applied to spoken word editing in general.  I read it when I was editing an audio drama in Pro Tools." ContentLicense="CC BY-SA 3.0" />
  <row Id="57954" PostHistoryTypeId="2" PostId="30389" RevisionGUID="20011fcc-67d7-4db1-bf93-194e1ee2d362" CreationDate="2014-10-08T16:31:05.137" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="57955" PostHistoryTypeId="2" PostId="30390" RevisionGUID="e900a112-0eea-48d9-91dd-25b17cacf2f4" CreationDate="2014-10-08T16:31:05.137" UserId="-1" Text="" ContentLicense="CC BY-SA 3.0" />
  <row Id="57958" PostHistoryTypeId="2" PostId="30391" RevisionGUID="352b1ffd-5401-48d1-b55d-0836257dce7f" CreationDate="2014-10-09T01:22:12.940" UserId="10064" Text="Obviously make sure the mics are not in front of the speakers. I have been using Shure Super 55's for a year now and have found the best way to sing with them is to have the gain turned down low and for the performer to sing within an inch from the mic. They will need good microphone technique. Supercardioid pickup pattern afterall. When you use these mics the right way they are great. They take getting used to though, not as accessible as something like an SM58." ContentLicense="CC BY-SA 3.0" />
  <row Id="57959" PostHistoryTypeId="2" PostId="30392" RevisionGUID="e5cdaa1b-baaa-42cc-bba5-58553ddff893" CreationDate="2014-10-09T07:44:01.777" UserId="3346" Text="Anyone knows about the lack of preamps to provide extreme gain setups. Even my sound devices 702 get´s very noisy at the end of the gain range. Today i stumpled across this little device. It´s a pre-preamp by Triton Audio. It provides the signal to the recorder preamp with a very low noise and hotter signal. Did anyone of you tested this device ? &#xD;&#xA;Here´s the link: http://bit.ly/1sev521" ContentLicense="CC BY-SA 3.0" />
  <row Id="57960" PostHistoryTypeId="1" PostId="30392" RevisionGUID="e5cdaa1b-baaa-42cc-bba5-58553ddff893" CreationDate="2014-10-09T07:44:01.777" UserId="3346" Text="obviate extreme gain noise" ContentLicense="CC BY-SA 3.0" />
  <row Id="57961" PostHistoryTypeId="3" PostId="30392" RevisionGUID="e5cdaa1b-baaa-42cc-bba5-58553ddff893" CreationDate="2014-10-09T07:44:01.777" UserId="3346" Text="&lt;noise&gt;&lt;preamp&gt;&lt;gain&gt;&lt;quiet&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57962" PostHistoryTypeId="2" PostId="30393" RevisionGUID="2c7078e0-7976-4796-8611-c4321c2ba06c" CreationDate="2014-10-09T08:16:00.787" UserId="1216" Text="I've no experience with this type of gear, but functionality depends on the use-case.  &#xD;&#xA;This device (and there are several others available with similar function) only works on   ribbon and dynamic mics. In most cases as a sound designer or sound engineer these types of mic's are used on loud objects (drums, guns, explosions, cars).  &#xD;&#xA;&#xD;&#xA;If you want to capture really quiet sound sources (i guess you want to crank more dB's out of your mic's) a phantom powered condenser mic (large or small capsule) with a very low self noise (sennheiser mkh series, rode nt1a, neumann TLM103) are what you need.  &#xD;&#xA;&#xD;&#xA;I've recorded very soft sounds with my mkh50/60 paired with a sonosax recorder.  &#xD;&#xA;Hiss will not be an issue until you step into an anechoic chamber.&#xD;&#xA;&#xD;&#xA;Perhaps you can elaborate on what you want to record and which mic's you use?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57963" PostHistoryTypeId="2" PostId="30394" RevisionGUID="39c77c64-1cdd-4619-8156-608e0b15b48a" CreationDate="2014-10-09T08:43:23.533" UserId="10065" Text="You need to find a audio post production house / sound studio and phone them regarding running vacancies. Its basically making tea, but it pays and gives you one on one training with mixers / sound designers.&#xD;&#xA;&#xD;&#xA;I did this after my degree and now work in a award winning audio post team. Best decision I ever made. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57964" PostHistoryTypeId="5" PostId="30393" RevisionGUID="75c75862-3694-488c-9530-97552ab9a241" CreationDate="2014-10-09T09:12:41.880" UserId="182" Comment="corrected spelling." Text="I've no experience with this type of gear, but functionality depends on the use-case.  &#xD;&#xA;This device (and there are several others available with similar function) only works on   ribbon and dynamic mics. In most cases as a sound designer or sound engineer these types of mics are used on loud objects (drums, guns, explosions, cars).  &#xD;&#xA;&#xD;&#xA;If you want to capture really quiet sound sources (i guess you want to crank more dBs out of your mics) a phantom powered condenser mic (large or small capsule) with a very low self noise (Sennheiser mkh series, rode nt1a, Neumann TLM103) are what you need.  &#xD;&#xA;&#xD;&#xA;I've recorded very soft sounds with my mkh50/60 paired with a Sonosax recorder.  &#xD;&#xA;Hiss will not be an issue until you step into an anechoic chamber.&#xD;&#xA;&#xD;&#xA;Perhaps you can elaborate on what you want to record and which mics you use?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57965" PostHistoryTypeId="5" PostId="30392" RevisionGUID="427dab05-4739-49d9-9d2e-5a2607eef181" CreationDate="2014-10-09T09:12:54.323" UserId="182" Comment="corrected spelling." Text="Anyone knows about the lack of preamps to provide extreme gain setups? Even my sound devices 702 gets very noisy at the end of the gain range. Today i stumbled across this little device. It's a pre-preamp by Triton Audio. It provides the signal to the recorder preamp with very low noise and a hotter signal. Did anyone of you test this device? &#xD;&#xA;Here's the link: http://bit.ly/1sev521" ContentLicense="CC BY-SA 3.0" />
  <row Id="57966" PostHistoryTypeId="2" PostId="30395" RevisionGUID="54e07613-907c-4121-a831-00c680aebe62" CreationDate="2014-10-09T11:36:15.577" UserId="10066" Text="I would say Gross Beat falls under the time manipulation category, it just creates stutters by jumbling the audio around a bit, and changes the speed or volume level on certain tracks. I imagine that most of the sound effects created by gross beat could be achieved quite simply by cutting up and automating property's of audio clips. &#xD;&#xA;Hope this helps" ContentLicense="CC BY-SA 3.0" />
  <row Id="57967" PostHistoryTypeId="5" PostId="30390" RevisionGUID="e4198a7a-f812-479d-a4c0-34760927fa4a" CreationDate="2014-10-09T12:27:48.383" UserId="7280" Comment="added 94 characters in body" Text="Ableton Live is a software music sequencer and digital audio workstation for OS X and Windows." ContentLicense="CC BY-SA 3.0" />
  <row Id="57968" PostHistoryTypeId="24" PostId="30390" RevisionGUID="e4198a7a-f812-479d-a4c0-34760927fa4a" CreationDate="2014-10-09T12:27:48.383" Comment="Proposed by 7280 approved by 6957 edit id of 168" ContentLicense="CC BY-SA 3.0" />
  <row Id="57969" PostHistoryTypeId="5" PostId="30389" RevisionGUID="ca85331d-eed8-4b11-b952-6f5a4b55fd17" CreationDate="2014-10-09T12:28:10.387" UserId="7280" Comment="added 604 characters in body" Text="Ableton Live is a software music sequencer and digital audio workstation for OS X and Windows. The latest major release of Live, Version 9, was released on March 5, 2013. In contrast to many other software sequencers, Live is designed to be an instrument for live performances as well as a tool for composing, recording, arranging, mixing and mastering. It is also used by DJs, as it offers a suite of controls for beatmatching, crossfading, and other effects used by turntablists, and was one of the first music applications to automatically beatmatch songs.&#xD;&#xA;&#xD;&#xA;Official Website: http://www.ableton.com/" ContentLicense="CC BY-SA 3.0" />
  <row Id="57970" PostHistoryTypeId="24" PostId="30389" RevisionGUID="ca85331d-eed8-4b11-b952-6f5a4b55fd17" CreationDate="2014-10-09T12:28:10.387" Comment="Proposed by 7280 approved by 842, 6957 edit id of 167" ContentLicense="CC BY-SA 3.0" />
  <row Id="57971" PostHistoryTypeId="2" PostId="30396" RevisionGUID="25df6886-ff9a-4d57-84f7-37fda8e3cfb8" CreationDate="2014-10-09T13:39:14.730" UserId="10066" Text="To be honest, I don't think you're idea of sound design in video games is completely unrealistic at all. There are tonnes of indie teams out there that need someone to do sound design, and using these small teams is a good way to start building up a port-folio and get 'your foot in the door'. And as for learning sound design, I think there is more than enough on-line in the way of tutorial and such to get you in to it, for any DAW you could imagine.   " ContentLicense="CC BY-SA 3.0" />
  <row Id="57972" PostHistoryTypeId="2" PostId="30397" RevisionGUID="441d687d-f5bf-481f-af79-56835a9c651e" CreationDate="2014-10-09T17:27:40.810" UserId="6399" Text="The best way to learn is to watch someone who already does what you want to do.  Of course you can read also and should - but getting an internship or assistant type position will get your foot in the door, show you how the pros go about their work, handle clients, work hours, creativity etc. and maybe let you get your hands on a project or at least do a little foley.  Most of that you can't learn from a book.  There are many things more important in learning sound design than learning the DAW." ContentLicense="CC BY-SA 3.0" />
  <row Id="57973" PostHistoryTypeId="2" PostId="30398" RevisionGUID="b14aa307-3938-4582-bc62-355489625b1b" CreationDate="2014-10-09T17:51:20.193" UserId="10051" Text="There is a great article on http://chromonaut.ch/2013/boost-zoom-h4n-recordings/&#xD;&#xA;I have the same problem but haven't tested yet. The speak about problems with the Rode NTG-2, portable recorders and the Fethead phantom, anyone experience with that? Is there a problem with all condenser mic's?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57974" PostHistoryTypeId="5" PostId="30398" RevisionGUID="50de1f30-17a2-4335-af1a-b74c150c18f2" CreationDate="2014-10-09T18:18:23.713" UserId="10051" Comment="added 1 character in body" Text="There is a great article on http://chromonaut.ch/2013/boost-zoom-h4n-recordings/&#xD;&#xA;I have the same problem but haven't tested yet. They speak about problems with the Rode NTG-2, portable recorders and the Fethead phantom, anyone experience with that? Is there a problem with all condenser mic's?" ContentLicense="CC BY-SA 3.0" />
  <row Id="57976" PostHistoryTypeId="5" PostId="30393" RevisionGUID="7c5d804e-7446-4d93-8df0-d188aae46978" CreationDate="2014-10-09T21:16:04.333" UserId="1216" Comment="Rephrased answer" Text="I've no experience with this type of gear, but functionality depends on the use-case.  &#xD;&#xA;This device (and there are several others available with similar function) is mostly useful on ribbon and dynamic mics. But in most cases, as a sound designer or sound engineer, those types of mics are used on loud objects (drums, guns, explosions, cars).  &#xD;&#xA;&#xD;&#xA;If you want to capture really quiet sound sources (i guess you want to crank more dBs out of your mics) a phantom powered condenser mic (large or small capsule) with a very low self noise (Sennheiser mkh series, rode nt1a, Neumann TLM103) are what you need.  &#xD;&#xA;&#xD;&#xA;I've recorded very soft sounds with my mkh50/60 paired with a Sonosax recorder.  &#xD;&#xA;Hiss will not be an issue until you step into an anechoic chamber.&#xD;&#xA;&#xD;&#xA;Perhaps you can elaborate on what you want to record and which mics you use?&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57977" PostHistoryTypeId="2" PostId="30400" RevisionGUID="b9477791-298e-4e5f-83a6-06084a92b0f6" CreationDate="2014-10-10T01:09:31.670" UserId="10011" Text="I am using http://www.patchwork-synth.com &#xD;&#xA;Is there any way to save the output in a file? I haven't found anything yet. Any help would be much appreciated." ContentLicense="CC BY-SA 3.0" />
  <row Id="57978" PostHistoryTypeId="1" PostId="30400" RevisionGUID="b9477791-298e-4e5f-83a6-06084a92b0f6" CreationDate="2014-10-10T01:09:31.670" UserId="10011" Text="Save resulting audio in Patchwork Synth" ContentLicense="CC BY-SA 3.0" />
  <row Id="57979" PostHistoryTypeId="3" PostId="30400" RevisionGUID="b9477791-298e-4e5f-83a6-06084a92b0f6" CreationDate="2014-10-10T01:09:31.670" UserId="10011" Text="&lt;synthesizer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="57980" PostHistoryTypeId="2" PostId="30401" RevisionGUID="10b9c749-ab32-4ecd-83c7-f8e3b0b1f707" CreationDate="2014-10-10T02:04:56.120" UserId="7209" Text="First off, your question isn't really about FLAC, but about MP3 vs. any lossless audio.  FLAC, ALAC, etc. all end up as raw PCM in the end, and the same PCM that went into the encoder, bit for bit accurate.  To answer your question:&#xD;&#xA;&#xD;&#xA;&gt; When does playing 320 Kbps MP3 instead of FLAC matter?&#xD;&#xA;&#xD;&#xA; - **When you care about having good quality sound** for those who hear the difference.  &lt;br/&gt;(Everyone else covered the differences... read those replies for details.)&#xD;&#xA; - **When you want to re-encode** the audio with another lossy codec.&lt;br/&gt;I do a lot with internet radio, which is often a lower bitrate MP3 (~128kbit).  There are some very good sounding (comparatively) stations at even this bitrate.  They sound better than other stations at that bitrate because their source material is lossless to begin with.  If you start out with lossy material and re-encode it again, you will lose even more fidelity.  Even worse, the algorithms may decide that the artifact sound is something to highlight, and will take up more bandwidth to reproduce the artifacts.  (This isn't a real serious problem until the third or fourth encoding, but that's not uncommon when a station plays MP3s through an MP3 encoder sent off to a server to be transcoded to different bitrates and codecs.)&#xD;&#xA;&#xD;&#xA;&gt; type of music, etc.&#xD;&#xA;&#xD;&#xA;Some sounds compress better than others.  Sine waves are great.  Accordions are often used in reference material as they get pretty bad with MP3.  For me, the worst of the compression artifacts comes from smearing in the cymbals and other percussion.  Timing gets off a bit because the frame size is so large.  I also find brass in MP3 particularly bad.&#xD;&#xA;&#xD;&#xA;&gt; Are there any scientific studies&#xD;&#xA;&#xD;&#xA;Yes, many.  Check out the references section on the Wikipedia page... there are lot of good cited sources.  http://en.wikipedia.org/wiki/MP3#References" ContentLicense="CC BY-SA 3.0" />
  <row Id="57981" PostHistoryTypeId="2" PostId="30402" RevisionGUID="35575f65-89a8-4239-9532-2decf95e2c2d" CreationDate="2014-10-10T07:18:23.597" UserId="10066" Text="Just having a little play around on that it seems like you can't, but there are ways around this... if you had your patchwork playing on a laptop, and had a pc laying around, you could connect the sound output of your Laptop in to the sound input of your Desktop and record it through a DAW, or you could just use a screen recorder that captures sound too, and play the track whilst recording, and use some video editing software to cut the video out and just leave and export it as audio. " ContentLicense="CC BY-SA 3.0" />
  <row Id="57986" PostHistoryTypeId="10" PostId="30380" RevisionGUID="4953a363-e8f6-4dc7-b6f1-1fe8b4d309bd" CreationDate="2014-10-10T10:40:22.473" UserId="7016" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:842,&quot;DisplayName&quot;:&quot;Christian van Caine&quot;},{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="57990" PostHistoryTypeId="2" PostId="30404" RevisionGUID="9ac68f3b-2c89-4a43-a606-93896c20d846" CreationDate="2014-10-10T11:56:56.027" UserId="10070" Text="I also searched for this, but up-to-day found only these possiblities:&#xD;&#xA;&#xD;&#xA;export via:&#xD;&#xA;&#xD;&#xA;- **to-buy Dolet Sibelius Plugin**: http://www.musicxml.com/dolet-plugin/&#xD;&#xA;- **free sibexport Sibelius Plugin**: https://code.google.com/p/sibexport/&#xD;&#xA;- there is also a 30-day trial *Sibelius First* version that may be able to export it&#xD;&#xA;  - I'll test it and report back&#xD;&#xA;  - you just have to provide an email address to download it immediately" ContentLicense="CC BY-SA 3.0" />
  <row Id="57991" PostHistoryTypeId="5" PostId="30404" RevisionGUID="9917039c-3675-4967-bd96-d98e145c615c" CreationDate="2014-10-10T12:02:58.620" UserId="10070" Comment="added 96 characters in body" Text="I also searched for this, but up-to-day found only these possiblities:&#xD;&#xA;&#xD;&#xA;export via:&#xD;&#xA;&#xD;&#xA;- **to-buy [Dolet Sibelius Plugin][1]**&#xD;&#xA;- **free [sibexport Sibelius Plugin][2]**&#xD;&#xA;- there is also a 30-day trial *[Sibelius First][3]* version that may be able to export it&#xD;&#xA;  - I'll test it and report back&#xD;&#xA;  - you just have to provide an email address to download it immediately&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.musicxml.com/dolet-plugin/&#xD;&#xA;  [2]: https://code.google.com/p/sibexport/&#xD;&#xA;  [3]: www.sibelius.com/products/sibelius_first/features.html" ContentLicense="CC BY-SA 3.0" />
  <row Id="57992" PostHistoryTypeId="10" PostId="30378" RevisionGUID="c9d60d29-ce3e-411d-a834-cca0c929a545" CreationDate="2014-10-10T12:49:35.937" UserId="6957" Comment="105" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:842,&quot;DisplayName&quot;:&quot;Christian van Caine&quot;},{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="57993" PostHistoryTypeId="10" PostId="30220" RevisionGUID="ce13a2c8-fe58-4561-a22c-f90801e71640" CreationDate="2014-10-10T12:50:06.303" UserId="6957" Comment="102" Text="{&quot;Voters&quot;:[{&quot;Id&quot;:842,&quot;DisplayName&quot;:&quot;Christian van Caine&quot;},{&quot;Id&quot;:6957,&quot;DisplayName&quot;:&quot;JoshP&quot;}]}" />
  <row Id="57994" PostHistoryTypeId="5" PostId="30401" RevisionGUID="2015edd4-fb2c-4a1e-b1ab-301726d34f4b" CreationDate="2014-10-10T12:53:24.490" UserId="7209" Comment="added 221 characters in body" Text="First off, your question isn't really about FLAC, but about MP3 vs. any lossless audio.  FLAC, ALAC, etc. all end up as raw PCM in the end, and the same PCM that went into the encoder, bit for bit accurate.  To answer your question:&#xD;&#xA;&#xD;&#xA;&gt; When does playing 320 Kbps MP3 instead of FLAC matter?&#xD;&#xA;&#xD;&#xA; - **When you care about having good quality sound** for those who hear the difference.  &lt;br/&gt;(Everyone else covered the differences... read those replies for details.)&#xD;&#xA; - **When you plan to time-stretch** the audio or otherwise manipulate it.&lt;br/&gt;Starting out with an original source will leave you with the best quality.  You don't want to be DJ-ing with MP3s, stretching out artifacts.&#xD;&#xA; - **When you want to re-encode** the audio with another lossy codec.&lt;br/&gt;I do a lot with internet radio, which is often a lower bitrate MP3 (~128kbit).  There are some very good sounding (comparatively) stations at even this bitrate.  They sound better than other stations at that bitrate because their source material is lossless to begin with.  If you start out with lossy material and re-encode it again, you will lose even more fidelity.  Even worse, the algorithms may decide that the artifact sound is something to highlight, and will take up more bandwidth to reproduce the artifacts.  (This isn't a real serious problem until the third or fourth encoding, but that's not uncommon when a station plays MP3s through an MP3 encoder sent off to a server to be transcoded to different bitrates and codecs.)&#xD;&#xA;&#xD;&#xA;&gt; type of music, etc.&#xD;&#xA;&#xD;&#xA;Some sounds compress better than others.  Sine waves are great.  Accordions are often used in reference material as they get pretty bad with MP3.  For me, the worst of the compression artifacts comes from smearing in the cymbals and other percussion.  Timing gets off a bit because the frame size is so large.  I also find brass in MP3 particularly bad.&#xD;&#xA;&#xD;&#xA;&gt; Are there any scientific studies&#xD;&#xA;&#xD;&#xA;Yes, many.  Check out the references section on the Wikipedia page... there are lot of good cited sources.  http://en.wikipedia.org/wiki/MP3#References" ContentLicense="CC BY-SA 3.0" />
  <row Id="57995" PostHistoryTypeId="5" PostId="29992" RevisionGUID="37fbd7c9-7c4a-4594-bd5a-093208bdef49" CreationDate="2014-10-10T12:54:37.107" UserId="6957" Comment="Pull edit out to comment" Text="When I have my laptop at my desk, I plug in my computer speakers to it. When I move it to my bed, I have another headphone cord that runs there, which is also plugged into the speakers. The problem is that when that first cord is sitting unplugged, but with the other end plugged into the speakers, it of course generates a considerable hum. &#xD;&#xA;&#xD;&#xA;I notice the hum goes away when you plug it into any jack, which makes me wonder: is there some kind of jack-shaped &quot;cover&quot; one can put on it to stop the hum when you're not using it?&#xD;&#xA;&#xD;&#xA;The alternative would be to unplug that wire from the speakers each time, which is inconvenient." ContentLicense="CC BY-SA 3.0" />
  <row Id="57996" PostHistoryTypeId="2" PostId="30405" RevisionGUID="76fefc72-580c-4b57-94e3-3091d72bc1b1" CreationDate="2014-10-10T13:18:32.373" UserId="6432" Text="You don't say which platform you are on, but in OSX you could use Soundflower to route to an audio recording program. Jack may work for Windows too." ContentLicense="CC BY-SA 3.0" />
  <row Id="58002" PostHistoryTypeId="2" PostId="30408" RevisionGUID="c7008d4e-ba85-4157-a817-65be86f4a5a3" CreationDate="2014-10-10T18:38:09.697" UserId="7850" Text="Get a set of NS-10's... But more to the point (to elaborate on the post above), &#xD;&#xA;&#xD;&#xA;One of the more deceiving issues in a recording studio is that they tend to have some of the best speakers in the world installed in some of the best listening spaces ever made. This is all great until you consider the fact that (especially today with the iPod etc) most music is consumed in a less than optimal setting. A mix may sound great on your ADAM monitors but by the time it hits ear buds it is not quite right. I would advise actually mixing on some less than optimal devices. If you can get a final pre-production mix to sound good on iPod headphones in the studio, it will sound good on your really nice speakers too (or at least it should). I mention the NS-10's as they are one of the more famous studio monitors. They are actually not very good speakers for all intensive purposes but legend has it that &quot;If it sounds good on the NS-10's it will sound good anywhere&quot; Thus engineers liked to mix on them which in turn forced a good end result. Basically you account for the loss in fidelity by creating that loss from the get go. " ContentLicense="CC BY-SA 3.0" />
  <row Id="58003" PostHistoryTypeId="2" PostId="30409" RevisionGUID="1c88b57e-0af8-4147-abe6-ccdbba1657d9" CreationDate="2014-10-10T18:47:32.030" UserId="7850" Text="As mentioned the best way to get your foot in the door is to go work as a runner in a studio, to that I will also add stage crew at your local theater (thats how I got into it). Often times local theaters are looking for crew to help out in shows, you may just be strapping mic's to actors at first or changing batteries but it will get you good face time with the sound designer. On top of that many actors are also musicians and many sound designers also work in studios, basically people know people who know people etc. who you will get a chance to meet and talk to about new opportunities. &#xD;&#xA;&#xD;&#xA;I also would not concern your self with learning DAW's at first. For what its worth they are all some what similar (since they are all doing the same thing in the end of the day). Once you learn the fundamentals of what everything in a signal chain will do, why its there, and what the various effects sound like and the results you can get by using them. You will be a better designer than anyone who knows all the shortcut keys in protools.  &#xD;&#xA;&#xD;&#xA;  " ContentLicense="CC BY-SA 3.0" />
  <row Id="58004" PostHistoryTypeId="2" PostId="30410" RevisionGUID="5ee8b2ce-3e6a-4762-b048-d80fdea894fd" CreationDate="2014-10-10T18:55:17.883" UserId="7850" Text="The clip at 1:23 sounds to me like an 80's synth set to an Organ setting or a horn's setting. Check out some of these clips &#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=LBvIxvtELHg&amp;index=11&amp;list=RDi1oHyGHVUB0&#xD;&#xA;&#xD;&#xA;The OBX and OBX-a synts were big in the 80's its what EVH used on Jump " ContentLicense="CC BY-SA 3.0" />
  <row Id="58005" PostHistoryTypeId="2" PostId="30411" RevisionGUID="368987c5-0497-4c94-9c48-5fdcaba6f603" CreationDate="2014-10-10T19:02:30.823" UserId="7850" Text="I dont use Cubase but if its like other DAW's the problem is most likely this, &#xD;&#xA;&#xD;&#xA;Generally when a new track (or project with new tracks) is added to a DAW (at least in digital performer) its muted and set to the default input. You have to select the input for the track (in your case the CAD) and un-mute it to hear it. Most DAW's allow you to set up a default track template that when the track is created it will adhere to that template. If you set it to always use your CAD as the input and un-mute the tracks you should see it.&#xD;&#xA;&#xD;&#xA;You may also have to select the CAD as your input when you create a new project, again most DAW's allow you to set your default input so setting the CAD as default should do the trick. &#xD;&#xA;&#xD;&#xA;This is all a best guess others confirm please." ContentLicense="CC BY-SA 3.0" />
  <row Id="58010" PostHistoryTypeId="2" PostId="30413" RevisionGUID="b31c8ab5-c192-4e79-ac42-540f120dc43b" CreationDate="2014-10-11T18:10:17.717" UserId="10075" Text="I am a female Hard Bluesy Rock singer covering everything Led Zeppelin to Alice In Chains, Godsmack and then softer rock such as Fleetwood Mac and Journey, have always been told I have a lot of power and tone and range..However, recently while rehearsing and auditioning for a new band (building my own vs joining existing, weighing these options out), I have not sounded anything like I do when singing w/o sound reinforcement (singing either alone running a CD and Microphone thru PA or just singing w/o a microphone along with instrumental tracks practicing on my own!. I was advised to get my own PA and just invested in a new Harbinger V2115 600 watt PA and have been using a used AKG Acoustics D3800 corded microphone, the PA only has 2 input channels with lines for a Mic and guitar, etc but no vocal effects other than 2 Equalizers, input gains and master volume, can run a CD player thru it, etc. When I tested with my microphone and singing along to CD tracks in the large music store where I bought it, everyone said I sounded really good (covered from FMac, Godsmack, Journey, etc all very different) However, I have had all kinds of issues in 3 live band rehearsals in a very small spaces with different players, the first 2 with my PA and microphone and the last with just my mic lined into their PA. On the first 2 sessions with PA and Mic, I was getting all kinds of mic feedback even though standing as far away as possible from speakers, the initial session was just with a me singing thru PA with my AKG microphone instrumental wth a bass player jamming along with me, this wasn't so bad...the studio told me to invest in some vocal effects to boost and refine the sound. The second session was with a rhythm guitarist and drummer at his outdoor shed/studio, the feedback between the mic and PA was so bad I had to stand as far as possible from the PA and then they had trouble hearing me unless really boosted the gain and volume of PA which distorted my voice on the lower range, upper not as bad. Despite all these issues all of the players still want to work with me because they could still some idea of how my voice sounds. Last night, I went to a meeting which turned into a rehearsal with a Hard Rock band, not knowing we were going to rehearse I only brought my microphone. They had tremendous power packed into a very small room, thousands of watts between lead guitar, drummer and key board player, I plugged my microphone into their PA and had trouble being heard over them plus my speaker was at the front of the room and I literally had to stand in the hallway outside of the room to avoid mic feedback and from sounding too echoing, I literally had to scream/belt as hard as I could to be heard when they were going full blast, which is not good for my voice. When I was only singing along with guitar player with little or no drum, outside in the hallway to a soft rock FMac to a cover of Bad Company Five Finger Death Punch (for this I came back in the room and stood in the middle of room in front of lead guitar and in front of drums and keys), and they could finally hear some of my power vocals! Supposedly they had reverb andn other effects on their high end equipment, but I left there extremely frustrated (not to mention fact that they told me they knew most of the songs on my song list, but when I got there they wanted me to sing songs I have never performed before and had never heard or had only heard thru radio some!) In spite of all this, they still expressed an interest in me afterwards. I need a solutions to fix these issues ASAP, I am going back to where I bought the PA from and I don't know if my solutions should be to add the vocal effects mixer and replace my microphone, which I suspect is not designed for Hard Rock sound, maybe the mic cable as well or what to do. I don't have much $$ to budget because of just buying the PA (which I exchanged up to from a 60 watt system to 600 watt), good news is I do have a bunch of Amazon gift cards to use to spend towards whatever I need. But I also think part of the issue is the players have not been able to figure out how to set me up properly and I am kind of hardware dumb! Help me please!! Thank you so very much for reading this!" ContentLicense="CC BY-SA 3.0" />
  <row Id="58011" PostHistoryTypeId="1" PostId="30413" RevisionGUID="b31c8ab5-c192-4e79-ac42-540f120dc43b" CreationDate="2014-10-11T18:10:17.717" UserId="10075" Text="Singer having issues with too much feedback and or being not heard well over very loud band in small rehearsal spaces" ContentLicense="CC BY-SA 3.0" />
  <row Id="58012" PostHistoryTypeId="3" PostId="30413" RevisionGUID="b31c8ab5-c192-4e79-ac42-540f120dc43b" CreationDate="2014-10-11T18:10:17.717" UserId="10075" Text="&lt;microphone&gt;&lt;sound-effects&gt;&lt;vocals&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59010" PostHistoryTypeId="2" PostId="31413" RevisionGUID="9341bda5-544d-4131-91ad-02e18fe4a97b" CreationDate="2014-10-12T00:15:34.940" UserId="6583" Text="Looked up your mic! Good news is that the pickup pattern is very narrow so you should get a lot out of just making sure it doesn't point towards the speakers - then again, in tiny spaces like this, the sound reflects so much that that's clearly not enough.  &#xD;&#xA;&#xD;&#xA;The frequency response for your mic is also available online - it appears to have a rather large peak at 4K which is to make the vocal sound bright and clear, however it could also be causing your feedback! If you search for &quot;Graphic Equalizer&quot; you can find hardware models under 100$ (probably significantly cheaper ones are around used at your local music stores..) which you can use to target the specific frequencies that are ringing.&#xD;&#xA;&#xD;&#xA;Other random ideas: try putting your speakers on the ground to rehearse, the reflections might be reduced.  Make sure that they aren't pointed right at you, especially not behind you - then they are directly in the path of your microphone's pick-up.  See if you can get a local sound engineer to come in and consult! And last but not least, reverb sounds great but for this purpose, it will make feedback worse not better!&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59012" PostHistoryTypeId="5" PostId="30413" RevisionGUID="2ce38b65-f67a-4748-9ff5-834767f68dfb" CreationDate="2014-10-12T03:44:40.393" UserId="7174" Comment="added 27 characters in body" Text="I am a female Hard Bluesy Rock singer covering everything Led Zeppelin to Alice In Chains, Godsmack and then softer rock such as Fleetwood Mac and Journey, have always been told I have a lot of power and tone and range..&#xD;&#xA;&#xD;&#xA;However, recently while rehearsing and auditioning for a new band (building my own vs joining existing, weighing these options out), I have not sounded anything like I do when singing w/o sound reinforcement (singing either alone running a CD and Microphone thru PA or just singing w/o a microphone along with instrumental tracks practicing on my own!. I was advised to get my own PA and just invested in a new Harbinger V2115 600 watt PA and have been using a used AKG Acoustics D3800 corded microphone, the PA only has 2 input channels with lines for a Mic and guitar, etc but no vocal effects other than 2 Equalizers, input gains and master volume, can run a CD player thru it, etc. &#xD;&#xA;&#xD;&#xA;When I tested with my microphone and singing along to CD tracks in the large music store where I bought it, everyone said I sounded really good (covered from FMac, Godsmack, Journey, etc all very different) However, I have had all kinds of issues in 3 live band rehearsals in a very small spaces with different players, the first 2 with my PA and microphone and the last with just my mic lined into their PA. &#xD;&#xA;&#xD;&#xA;On the first 2 sessions with PA and Mic, I was getting all kinds of mic feedback even though standing as far away as possible from speakers, the initial session was just with a me singing thru PA with my AKG microphone instrumental wth a bass player jamming along with me, this wasn't so bad...the studio told me to invest in some vocal effects to boost and refine the sound. &#xD;&#xA;&#xD;&#xA;The second session was with a rhythm guitarist and drummer at his outdoor shed/studio, the feedback between the mic and PA was so bad I had to stand as far as possible from the PA and then they had trouble hearing me unless really boosted the gain and volume of PA which distorted my voice on the lower range, upper not as bad. Despite all these issues all of the players still want to work with me because they could still some idea of how my voice sounds. &#xD;&#xA;&#xD;&#xA;Last night, I went to a meeting which turned into a rehearsal with a Hard Rock band, not knowing we were going to rehearse I only brought my microphone. They had tremendous power packed into a very small room, thousands of watts between lead guitar, drummer and key board player, I plugged my microphone into their PA and had trouble being heard over them plus my speaker was at the front of the room and I literally had to stand in the hallway outside of the room to avoid mic feedback and from sounding too echoing, I literally had to scream/belt as hard as I could to be heard when they were going full blast, which is not good for my voice. When I was only singing along with guitar player with little or no drum, outside in the hallway to a soft rock FMac to a cover of Bad Company Five Finger Death Punch (for this I came back in the room and stood in the middle of room in front of lead guitar and in front of drums and keys), and they could finally hear some of my power vocals! &#xD;&#xA;&#xD;&#xA;Supposedly they had reverb and other effects on their high end equipment, but I left there extremely frustrated (not to mention fact that they told me they knew most of the songs on my song list, but when I got there they wanted me to sing songs I have never performed before and had never heard or had only heard thru radio some!) In spite of all this, they still expressed an interest in me afterwards. &#xD;&#xA;&#xD;&#xA;I need a solutions to fix these issues ASAP, I am going back to where I bought the PA from and I don't know if my solutions should be to add the vocal effects mixer and replace my microphone, which I suspect is not designed for Hard Rock sound, maybe the mic cable as well or what to do. I don't have much $$ to budget because of just buying the PA (which I exchanged up to from a 60 watt system to 600 watt), good news is I do have a bunch of Amazon gift cards to use to spend towards whatever I need. But I also think part of the issue is the players have not been able to figure out how to set me up properly and I am kind of hardware dumb! Help me please!! Thank you so very much for reading this!" ContentLicense="CC BY-SA 3.0" />
  <row Id="59013" PostHistoryTypeId="2" PostId="31414" RevisionGUID="e191eed7-66b0-4cba-a8a4-f82a0fbc8f1e" CreationDate="2014-10-12T03:51:07.387" UserId="7174" Text="How are you holding the microphone?  Microphone technique is highly critical to getting good sound out of it.  My &quot;rule of thumb&quot; is that you should be able to wrap your hand around the  handle of the mic, just below the ball, stick out your thumb and touch your chin.  It should be pointed towards your mouth and you should be standing behind the main speakers.  Monitors should be in front of you and facing towards you so that sound comes at the microphone from directly behind, which is where it will pick up the least.&#xD;&#xA;&#xD;&#xA;The combination of a cardioid mic (which you have) with good mic placement (to give strong signal) and pointed away from speakers (to minimize sound from the speakers) should be a pretty effective way to reduce and prevent feedback.&#xD;&#xA;&#xD;&#xA;If you are still getting feedback, it is probably from sound reflecting around the space.  You should try using a parametric or semi-parametric EQ to sweep for the frequency of the feedback and apply a cut to whatever tone is feeding back.  In really small spaces playing at really loud levels, this may take some work to get right and may require more than one cut.&#xD;&#xA;&#xD;&#xA;Don't add more vocal processing yet.  Reverb and such are only likely to cause more issues.  Fix your feedback and EQing issues first, then worry about refining your sound once you have a clean and stable signal without noise and feedback.&#xD;&#xA;&#xD;&#xA;If you have the ability to record a sample of the problem and post it on Soundcloud and link it here, that would also be helpful for further diagnostics." ContentLicense="CC BY-SA 3.0" />
  <row Id="59020" PostHistoryTypeId="2" PostId="31417" RevisionGUID="5deca66b-c750-4bdb-8b2c-20c92cd279c8" CreationDate="2014-10-12T14:16:30.110" UserId="11076" Text="I'm trying to build a really simple passive summing circuit for combining two line-level stereo audio sources (iPod + laptop or iPod + iPod), and I really want to be able to fade between the sources.&#xD;&#xA;&#xD;&#xA;Basically, this would be between the audio source and the &quot;tape input&quot; on a PA.&#xD;&#xA;&#xD;&#xA;I'm considering a [dual gang slide potentiometer][1] -- would that be enough, as long as I converted the stereo signals to mono first?&#xD;&#xA;&#xD;&#xA;What about using a [replacement crossfader from a DJ mixer][2]?  I imagine a lot of them are proprietary to a specific mixer, but are there any that I could just drop into a passive circuit?&#xD;&#xA;&#xD;&#xA;  [1]: http://www.mouser.com/Search/ProductDetail.aspx?qs=U%2FacTlguYxawWcnlXpg7xA%3D%3D&#xD;&#xA;  [2]: http://www.planetdj.com/i--RS-50T" ContentLicense="CC BY-SA 3.0" />
  <row Id="59021" PostHistoryTypeId="1" PostId="31417" RevisionGUID="5deca66b-c750-4bdb-8b2c-20c92cd279c8" CreationDate="2014-10-12T14:16:30.110" UserId="11076" Text="Using a crossfader in a passive circuit" ContentLicense="CC BY-SA 3.0" />
  <row Id="59022" PostHistoryTypeId="3" PostId="31417" RevisionGUID="5deca66b-c750-4bdb-8b2c-20c92cd279c8" CreationDate="2014-10-12T14:16:30.110" UserId="11076" Text="&lt;mixer&gt;&lt;diy&gt;&lt;engineering&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59032" PostHistoryTypeId="2" PostId="31420" RevisionGUID="4b72d595-912a-440c-bf39-37835b0cc350" CreationDate="2014-10-13T01:50:40.920" UserId="10075" Text="Thank you so much to everyone who viewed or answered my question. I went down to Guitar Center last night and told my audio pro all the issues I have been having between the microphone feedback, PA and overall the poor sound quality I have been getting with these small room studios/outdoor shed/2000 plus watt power packed small room, etc.&#xD;&#xA;He set me up with the identical PA I have, but put it up on a stand and then hooked me up with the TC Helicon Mic Mechanic, which has lots of vocal effects and then hooked me up with a really powerful dynamic microphone I had read excellent reviews of, Sennheiser e935, new cables and connectors and the results were magical! I was set up in their audio area and sang about 10 songs along to instrumental tracks played thru the PA and customers and staff kept coming over to hear me sing everything from 3 Led Zeppelin songs (Whole Lotta Love, Dancing Days, Stairway to Heaven), Godsmack (Voodoo, would have done I stand alone, but no backing track yet) to lighter stuff such as Journey (Lights), House of the Rising Sun, Fleetwood Mac (Dreams, Gold Dust Woman) , Desperado and Let it Be...then closed with a vocal only (no backing track as I just learned at a jam the night before) of Five Finger Death Punch version of Bad Company..So at least at Guitar Center things apparently are sounding really good!! And some of the guys there want to come out and hear me at a gig somewhere! Hopefully this will carry through when I am in a much smaller space/studio which hasa lot of power! More on this to follow, when I next practice in a small space I guess!&#xD;&#xA;But any and all feedback is certainly appreciated, thanks so much!&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59033" PostHistoryTypeId="2" PostId="31421" RevisionGUID="bd5dc5e6-dc6c-45f6-a433-00b21d15c82e" CreationDate="2014-10-13T07:00:30.960" UserId="11080" Text="&#xD;&#xA;I realize this comes a bit late, but what the heck....&#xD;&#xA;&#xD;&#xA;I've run into this same phenomenon. What's happening is a natural result of using the Denoiser audio plug-in in Adobe Premiere. Unfortunately, it takes about 4 seconds for Premiere to &quot;learn&quot; the noise print of a clip. That is why you're hearing about 4 seconds of static and unwanted background noise before it suddenly sounds a lot cleaner when the effect finally applies itself. &#xD;&#xA;&#xD;&#xA;As for the second half of your question, the reason that you're not hearing that unwanted background noise at the beginning of the clip while editing in Adobe Premiere is the result of caching. Adobe Premiere often caches audio and video effects in either the RAM or graphics card (depending on the effect). As such, when you play your timeline in Premiere, you won't hear the Denoiser plugin &quot;learning&quot; the noise print for the first four seconds of your clips since the noise print has already been cached inside of Premiere. Why this isn't the case when you export the final timeline is beyond me. All I know is that for now, Adobe feels fit to have its exporter in Premiere and Adobe Media Encoder treat each clip individually during export. This means that the Denoiser effect needs to &quot;relearn&quot; the noise print for each instance in each clip, resulting in background noise for the first four seconds of every clip. &#xD;&#xA;&#xD;&#xA;I for one hope that Adobe fixes it and that this answer somehow helps.  - Dan" ContentLicense="CC BY-SA 3.0" />
  <row Id="59034" PostHistoryTypeId="2" PostId="31422" RevisionGUID="e715e01f-31a5-4be5-b210-b6e2c9f86f10" CreationDate="2014-10-13T11:01:30.857" UserId="11082" Text="Recently I started to record some friends singing to instrumental tracks in Adobe Audition. While the quality of both the recordings (made with Auna MIC-900S + Popkiller) and the instrumental tracks is great, it doesn't sound like they're actually a unit.&#xD;&#xA;&#xD;&#xA;The recordings don't &quot;blend in&quot; with the instrumental track. It sounds like someone is singing next to me while the instrumental is playing.&#xD;&#xA;&#xD;&#xA;What can I do in Audition to change that?" ContentLicense="CC BY-SA 3.0" />
  <row Id="59035" PostHistoryTypeId="1" PostId="31422" RevisionGUID="e715e01f-31a5-4be5-b210-b6e2c9f86f10" CreationDate="2014-10-13T11:01:30.857" UserId="11082" Text="How can I blend a voice recording more in with an instrumental track in Adobe Audition?" ContentLicense="CC BY-SA 3.0" />
  <row Id="59036" PostHistoryTypeId="3" PostId="31422" RevisionGUID="e715e01f-31a5-4be5-b210-b6e2c9f86f10" CreationDate="2014-10-13T11:01:30.857" UserId="11082" Text="&lt;audio-recording&gt;&lt;mastering&gt;&lt;voice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59037" PostHistoryTypeId="2" PostId="31423" RevisionGUID="d535f6f3-278f-4e11-9d2c-1c6f2413ff69" CreationDate="2014-10-13T12:39:47.227" UserId="11084" Text="If so, which ones, and with which software?&#xD;&#xA;&#xD;&#xA;Drivers for Yosemite have so far not been released by M-Audio, but I assume some controllers will work in any case. (I am considering buying the Axiom 61.)&#xD;&#xA;&#xD;&#xA;(Note: I am aware that discussion of Yosemite is pedantically blacklisted on the Apple StackExchange; I'm sure people here are more open-minded, particularly since the question will continue to be relevant after a public release.) " ContentLicense="CC BY-SA 3.0" />
  <row Id="59038" PostHistoryTypeId="1" PostId="31423" RevisionGUID="d535f6f3-278f-4e11-9d2c-1c6f2413ff69" CreationDate="2014-10-13T12:39:47.227" UserId="11084" Text="Do M-Audio MIDI controllers (Axiom, Oxygen, etc.) work with OS X Yosemite?" ContentLicense="CC BY-SA 3.0" />
  <row Id="59039" PostHistoryTypeId="3" PostId="31423" RevisionGUID="d535f6f3-278f-4e11-9d2c-1c6f2413ff69" CreationDate="2014-10-13T12:39:47.227" UserId="11084" Text="&lt;midi&gt;&lt;osx&gt;&lt;controller&gt;&lt;m-audio&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59040" PostHistoryTypeId="2" PostId="31424" RevisionGUID="f37a58de-cac8-4e45-aa8b-33fda7a0dd76" CreationDate="2014-10-13T14:06:59.350" UserId="8033" Text="USB MIDI devices work with any OS if they are &quot;class compliant&quot;.&#xD;&#xA;&#xD;&#xA;This [is true for the Axiom 61](http://www.m-audio.com/products/view/axiom-61), as well for almost all other USB MIDI devices." ContentLicense="CC BY-SA 3.0" />
  <row Id="59041" PostHistoryTypeId="2" PostId="31425" RevisionGUID="372ddd18-7665-41c2-95f8-d0ac19c96f77" CreationDate="2014-10-13T14:51:25.520" UserId="7174" Text="This is basically the entire point of mixing, but the quick version is adjust the volumes so that they are closer to the level of the music, EQ their voice so that it fits better with the instruments and possibly add some light reverb to make it blend in a little better with the track.&#xD;&#xA;&#xD;&#xA;A large part of the job of an audio engineer is to make it sound like a band rather than a bunch of individual tracks though, so this is really a very broad question and the suggestions I gave are just the tip of the iceberg in terms of what can be done." ContentLicense="CC BY-SA 3.0" />
  <row Id="59043" PostHistoryTypeId="2" PostId="31427" RevisionGUID="68b6d56e-1a0f-4bcc-b45f-181b227488c8" CreationDate="2014-10-14T00:14:58.213" UserId="11088" Text="I'm planning to involve myself in music recording, and I'm starting with the voice. Hopefully once I get more experience I'll also record instruments.&#xD;&#xA;&#xD;&#xA;For a starter, what recording setup would you recommend, including the types of mics and what accessories are necessary? (pop filters?)&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59044" PostHistoryTypeId="1" PostId="31427" RevisionGUID="68b6d56e-1a0f-4bcc-b45f-181b227488c8" CreationDate="2014-10-14T00:14:58.213" UserId="11088" Text="What is an optimal setup for voice recording? What mic and what accessories are necessary?" ContentLicense="CC BY-SA 3.0" />
  <row Id="59045" PostHistoryTypeId="3" PostId="31427" RevisionGUID="68b6d56e-1a0f-4bcc-b45f-181b227488c8" CreationDate="2014-10-14T00:14:58.213" UserId="11088" Text="&lt;audio-recording&gt;&lt;recommendations&gt;&lt;voice&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59046" PostHistoryTypeId="2" PostId="31428" RevisionGUID="956dc7df-beee-40e8-82fe-25e74893f5ae" CreationDate="2014-10-14T01:20:43.857" UserId="11089" Text="We're often doing audio calls where each end has a group of 5-10 people.&#xD;&#xA;&#xD;&#xA;At the moment both ends are sitting around a lounge, and are using [Blue Snowball][1] USB mic's. For the people close the the mic the audio quality is fine, but if we have someone standing behind the lounge, so possibly 1.5m away from the mic the volume of their audio drops off quickly, and even asking them to speak loudly only helps so much. The rooms the calls are done in are fairly open.&#xD;&#xA;&#xD;&#xA;We're using Skype or Google+ Hangouts typically. The audio on both ends are using the snowball mic linked above on windows PC's. &#xD;&#xA;&#xD;&#xA;Everything I've found on using multiple USB mic's comes across as fairly ghetto. Is getting a mixer with multiple mic's the best option here? If so what can people recommend for a setup like ours?&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bluemic.com/snowball/" ContentLicense="CC BY-SA 3.0" />
  <row Id="59047" PostHistoryTypeId="1" PostId="31428" RevisionGUID="956dc7df-beee-40e8-82fe-25e74893f5ae" CreationDate="2014-10-14T01:20:43.857" UserId="11089" Text="Group conference call, struggling with audio. Better mic suggestions? Multiple mics?" ContentLicense="CC BY-SA 3.0" />
  <row Id="59048" PostHistoryTypeId="3" PostId="31428" RevisionGUID="956dc7df-beee-40e8-82fe-25e74893f5ae" CreationDate="2014-10-14T01:20:43.857" UserId="11089" Text="&lt;microphone&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59050" PostHistoryTypeId="2" PostId="31429" RevisionGUID="2aef3129-79a2-4b50-ab42-e924dcd0c150" CreationDate="2014-10-14T09:28:52.123" UserId="7016" Text="Because sound pressure drops off as the square of distance, the single most important factor in recording volume is distance from your mic. Sure, some microphones have a better response, but really, you want to have all your speakers the same distance from the mic.&#xD;&#xA;&#xD;&#xA;As this is rarely feasible for a large group, you need to look at multiple microphones, and yes, for the setup you describe, a mixer might be simplest.&#xD;&#xA;&#xD;&#xA;You should look at a mixer which allows your PC to see all the mic feeds as separate inputs if possible, then you can also adjust the gain of an individual mic feed if necessary." ContentLicense="CC BY-SA 3.0" />
  <row Id="59058" PostHistoryTypeId="5" PostId="31427" RevisionGUID="04efd8a6-167c-4ab2-9199-b9872859f0ed" CreationDate="2014-10-14T15:39:33.953" UserId="7174" Comment="cleaned up to focus on the answerable parts without going in to broad product recommendation that will change" Text="I'm planning to involve myself in music recording, and I'm starting with the voice. Hopefully once I get more experience I'll also record instruments.&#xD;&#xA;&#xD;&#xA;For a starter, what gear is needed?&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59059" PostHistoryTypeId="4" PostId="31427" RevisionGUID="04efd8a6-167c-4ab2-9199-b9872859f0ed" CreationDate="2014-10-14T15:39:33.953" UserId="7174" Comment="cleaned up to focus on the answerable parts without going in to broad product recommendation that will change" Text="What gear is necessary to start vocal recording?" ContentLicense="CC BY-SA 3.0" />
  <row Id="59060" PostHistoryTypeId="2" PostId="31432" RevisionGUID="b77a7f1c-2302-4a98-8c31-caf70fab0088" CreationDate="2014-10-14T15:48:37.807" UserId="7174" Text="At the most basic, all you need is a mic, a cable, a recorder and a quiet space.  There isn't really a &quot;most optimal&quot;, just a range of costs and qualities.&#xD;&#xA;&#xD;&#xA;The most common set of gear for studio vocal recording would be to get a decent [large diaphragm studio condenser mic][1], an XLR cable to hook it up, an [ASIO audio interface][2] (making sure it has phantom power for your condenser mic), a computer to run the system, a DAW software package (there are several free ones available to get you started) and a decent set of headphones or studio monitors to listen to your work on while working with it.&#xD;&#xA;&#xD;&#xA;When you set it all up, make sure you setup the computer in a different room from the recording or use a computer that can cool itself without using fans that will be picked up on the recording.  You also may very well want headphones to listen to what you have recorded while laying down additional tracks, but a set of studio monitors in the control room (where the PC is) so that you can listen to how it sounds played in a room when editing.&#xD;&#xA;&#xD;&#xA;It may additionally be useful to get a small digital mixer as an alternative to the ASIO interface as that allows for some amount of mixing to be done from a control surface rather than relying entirely on software controls in the DAW, but this raises the cost quite a bit (possibly doubles it if you are on the cheaper end of gear).&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.bhphotovideo.com/c/buy/Large-Diaphragm-Condensers/ci/14702/N/3992462119&#xD;&#xA;  [2]: http://www.bhphotovideo.com/c/buy/Audio-Interfaces-Systems/ci/14834/N/4294550051" ContentLicense="CC BY-SA 3.0" />
  <row Id="59062" PostHistoryTypeId="2" PostId="31433" RevisionGUID="0ec0462e-9d70-4de6-bac9-40f51c05a35b" CreationDate="2014-10-14T21:37:43.613" UserId="9613" Text="Unless you use a secondary omnidirectional mic and a mixer (as Rory proposed) for the people farther away, a beam forming microphone array like [this][1] should work for you.  Just be ready to spend more than $3k.  Here's a [demo video][2] of this sort of thing in action.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://www.clearone.com/products_beamforming_mic_array&#xD;&#xA;  [2]: https://www.youtube.com/watch?v=Bepqav87D40" ContentLicense="CC BY-SA 3.0" />
  <row Id="59063" PostHistoryTypeId="2" PostId="31434" RevisionGUID="5e8f72e8-f30e-4a2f-8792-9cac9cdb2266" CreationDate="2014-10-14T22:02:00.237" UserId="11097" Text="Ok here's the issue So I plugged my new Blue Yeti into my bro's computer and it had absolutely no background noise at all and it sounded absolutely amazing! (he has a 800 watt power supply) and when I tried plugging it into my pc which has a (450 watt power supply) it made a annoying humming sound and im asbolutely sure it's not from my room since I have nothing running in the background no fans no air conditioning.... nothing some help would really be aprreciated! thanks :) P.S I don't to edit my voice at all when I record and I would like it to stay that way since im thinking of possibly becoming a YouTube Let's Player of some sort." ContentLicense="CC BY-SA 3.0" />
  <row Id="59064" PostHistoryTypeId="1" PostId="31434" RevisionGUID="5e8f72e8-f30e-4a2f-8792-9cac9cdb2266" CreationDate="2014-10-14T22:02:00.237" UserId="11097" Text="Blue Yeti Humming sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="59065" PostHistoryTypeId="3" PostId="31434" RevisionGUID="5e8f72e8-f30e-4a2f-8792-9cac9cdb2266" CreationDate="2014-10-14T22:02:00.237" UserId="11097" Text="&lt;usb&gt;&lt;backgroundambience&gt;&lt;hum&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59066" PostHistoryTypeId="2" PostId="31435" RevisionGUID="f7064ccb-6fc4-4b81-8c0f-1784bd2f342d" CreationDate="2014-10-14T22:35:19.197" UserId="7089" Text="John Purcell is the man when it comes to dialogue editing. He has some great videos which are free to watch on youtube, and fortunately for you I just happen to have them all in a playlist... &#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=3d5XIzKlWFk&#xD;&#xA;Playlist: youtube.com/watch?v=3d5XIzKlWFk&amp;index=56&amp;list=PLVYK-Fn-ICcXHDXNw5UWBPCZKNaNY04JS&#xD;&#xA;&#xD;&#xA;https://www.youtube.com/watch?v=zDwQCO7v1ME&#xD;&#xA;Playlist: youtube.com/watch?v=zDwQCO7v1ME&amp;index=56&amp;list=PLVYK-Fn-ICcXHDXNw5UWBPCZKNaNY04JS&#xD;&#xA;&#xD;&#xA;Personally I think the best thing you can do to improve workflow is to learn keyboard shortcuts, and in Pro Tools the best way to use keyboard shortcuts is to use the Command Focus. Here's a useful Sound on Sound article to get you started:&#xD;&#xA;http://www.soundonsound.com/sos/jun05/articles/protoolsworkshop.htm&#xD;&#xA;&#xD;&#xA;I hope those help you. " ContentLicense="CC BY-SA 3.0" />
  <row Id="59072" PostHistoryTypeId="10" PostId="31434" RevisionGUID="695fb7ce-cb73-4224-82ee-fb98bbbb02cf" CreationDate="2014-10-15T04:59:33.210" UserId="7174" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[29826],&quot;Voters&quot;:[{&quot;Id&quot;:7174,&quot;DisplayName&quot;:&quot;AJ Henderson&quot;}]}" />
  <row Id="59073" PostHistoryTypeId="5" PostId="29828" RevisionGUID="fca47cd8-1fdf-4ef0-835a-ae1e85efd063" CreationDate="2014-10-15T05:00:25.990" UserId="7174" Comment="added 94 characters in body" Text="That is the result of bad isolation of either the DAC or the ADC.  If the internal circuitry of the interface and the actual capture or playback circuitry share a common power supply, the operation of the electronics itself cause a distortion to the power being supplied to the capture or playback circuits.&#xD;&#xA;&#xD;&#xA;Capture and output both rely on a fixed reference level and if this level is not constant, it introduces variations in the actual signal produced.  These variations are what you are hearing with that noise.  You get the same thing on a lot of computer sound cards and you can notice that it changes frequency when things take power in the computer such as intense processing or hard drive operation.&#xD;&#xA;&#xD;&#xA;The best way to avoid this is to use interfaces that have isolated DACs and ADCs (should be listed as a feature) that are given a solid, constant reference level to work from independent of the power variations occurring within the rest of the hardware.  Alternately, an if you can provide isolated power from the power supply, that may also help." ContentLicense="CC BY-SA 3.0" />
  <row Id="59074" PostHistoryTypeId="2" PostId="31437" RevisionGUID="5f76463c-7e5c-4772-a502-bbca35cebf33" CreationDate="2014-10-15T08:36:06.593" UserId="11103" Text="I would definitely recommend you to save some more money and go for KRK VXT8 at your position. They are way clearer than anything else for this price range (so best buy). I write this based on nearly 2 months of forum and opinion gathering + finally buying them and using." ContentLicense="CC BY-SA 3.0" />
  <row Id="59078" PostHistoryTypeId="2" PostId="31439" RevisionGUID="a6f775a2-084a-41ed-ac00-a83d94036399" CreationDate="2014-10-15T17:30:07.100" UserId="11104" Text="I teach audio in a film school, and when I was talking about proper production dialogue recording technique, a student said he had heard that the shotgun mic should be pointed toward the actor's chest rather than his face.&#xD;&#xA;&#xD;&#xA;This seemed screwy to me -- I would think the crispest, most intelligible parts of speech would come from the mouth rather than the chest. But I thought I'd run it by this august group to see if anyone had run across this before. Anyone?" ContentLicense="CC BY-SA 3.0" />
  <row Id="59079" PostHistoryTypeId="1" PostId="31439" RevisionGUID="a6f775a2-084a-41ed-ac00-a83d94036399" CreationDate="2014-10-15T17:30:07.100" UserId="11104" Text="Production Dialogue -- point at face or chest?" ContentLicense="CC BY-SA 3.0" />
  <row Id="59080" PostHistoryTypeId="3" PostId="31439" RevisionGUID="a6f775a2-084a-41ed-ac00-a83d94036399" CreationDate="2014-10-15T17:30:07.100" UserId="11104" Text="&lt;dialogue-recording&gt;&lt;film-school&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59081" PostHistoryTypeId="2" PostId="31440" RevisionGUID="227fdf42-bdbe-49b0-a7da-2ab6a42b8e5e" CreationDate="2014-10-15T18:24:55.663" UserId="9601" Text="Unless proximity/breathing/pops are any concern, then point the mic at the sound source - i.e., the face.   &#xD;&#xA;&#xD;&#xA;The only reason I could think that anyone would say different is to preclude extraneous ambient noise." ContentLicense="CC BY-SA 3.0" />
  <row Id="59082" PostHistoryTypeId="2" PostId="31441" RevisionGUID="c7982117-8053-4a2f-9d25-20b783d2df7c" CreationDate="2014-10-15T20:16:37.587" UserId="1216" Text="In my experience it depends on the microphone, voice of the actor and booming experience. The low end of a voice is created by the chest not the mouth. For intelligibillity the mouth is important, S an T's are pronounced at the lips.&#xD;&#xA;If you're a great boom artist, you can point at the chest (from above) in line with mouth. This way you get the best of both worlds. But there's always the matter of taste..&#xD;&#xA;&#xD;&#xA;Experiment and use your ears, not the tips you read online ;)" ContentLicense="CC BY-SA 3.0" />
  <row Id="59089" PostHistoryTypeId="2" PostId="31444" RevisionGUID="e258b1e6-ca81-45d9-bca2-1864ef549e6e" CreationDate="2014-10-15T20:47:12.023" UserId="7174" Text="I'm not aware of any reasoning in this regard.  If it was the case that pointing at the chest is better, then we'd be far more likely to clip lapel mics to people's belts and we wouldn't make headset mics at all.&#xD;&#xA;&#xD;&#xA;The only reasoning I can think of is if they also were trying to get the sounds the actor makes outside of just dialog, such as footsteps and such.  If you are trying to record without foley or without having a room mic, then pointing at the actors chest would ensure the center focus of the pickup pattern covers the actor.&#xD;&#xA;&#xD;&#xA;Realistically, it isn't going to make a whole lot of difference from far enough away to be off camera as pointing at either the head or the chest is going to be well within the pickup pattern of all but the most extremely hyper-cardioid mics.  The question would just be if you want to hear things like foot steps or if you prefer to exclude those sounds at the cost of picking up more sounds from beyond the actor." ContentLicense="CC BY-SA 3.0" />
  <row Id="59094" PostHistoryTypeId="2" PostId="31446" RevisionGUID="695547d4-e5bf-4b72-9fb0-96ac6197937c" CreationDate="2014-10-16T08:40:36.640" UserId="842" Text="The best sound is not from neither the mouth nor the chest, it's from the golden spot in between. See, the mouth gets you all the treble you need, and then some, whereas the chest is all chore. By forgetting your eyes altogether, and giving all your focus on the sound using the eyes for nothing but coarse guidance, you can find a softer, fuller, more natural, and in less need of a polishing sound. Too much mouth, and the sound will get thorny, thin and sibilant - too much chest, and the sound will get muddy and distant. The more the editor will have to do afterwards, the more of a failure the recordings has been.&#xD;&#xA;When using song-microphones we don't have this problem, these microphones are mainly modeled to avoid excessive sibilance, especially large diaphragm ones, and the proximity effect takes care of the thinness. In movies, we never ever get that close, and if we do, we better not use it.&#xD;&#xA;&#xD;&#xA;The downside though is that you must keep that very spot no matter what - The same distance, the same angle, the very same position to the sweetspot. Even small deviations lead to great changes in sound characteristics, meaning you have to know what your doing of it will end up unusable. If you can't get a clear line of sight, and can move freely, then your in serious trouble. Same goes for if you use a too long a boom and can't direct it with enough precision. This is an artform in itself.&#xD;&#xA;&#xD;&#xA;It's not an easy thing to pull off, you have to mind both the camera, lighting, acoustics, and a lot more variables than I care to line up right now, but there's a reason this is a real job and it's the dumbest idea possible to not be using a dedicated and trained boom-operator for booming sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="59095" PostHistoryTypeId="2" PostId="31447" RevisionGUID="fb74ee51-77bb-4089-aac5-458042cc7184" CreationDate="2014-10-16T09:14:52.337" UserId="842" Text="I love the Oktava MK012! It has a wee bit muddy top, but all in all it sounds good for it's price. Myself, I nowadays use mostly Sennheiser MKH-microphones, but my old Oktavas is still in use, though now for different forms of sound design-chores and for perspective sounds.&#xD;&#xA;Handling-noises IS a problem on this one, you can't just grab it and hope for the best, but you can learn to work with it. Of course you'll need a good suspension, but once you get a hang of it, it's well worth it. The suspensions from Line Audio intended for their CM3 are fairy good ones, but Oktava's own suspensions blows on an epic scale I'm afraid.&#xD;&#xA;&#xD;&#xA;As Andreas already noted though, the Line Audio CM3 is a very very good microphone for its price.  The &gt;only&lt; reason mine isn't in much use anymore is because my MKH40's does the very same thing better....but in it's defense, when I got the 40's they where about 24.000 SEK a piece, whereas the CM3 was 1.000 SEK... One dollar being about 7 SEK/1 Euro - 10 SEK/1 Pound - 12 SEK. Still use it for vocoders  though! And still the MKH40's was the only microphones that could replace it!&#xD;&#xA;&#xD;&#xA;The characteristics the two microphones apart though are very different, so it's not as easy as one could have hoped to say which ones the better one. CM3 has a softer sound less sensitive to acoustics, but demand more work in post, whereas the 012 have a more intelligible sound for speech, and can change capsules, but leaves much less options in post. If I were you I'd go for both if possible - different locations demand different microphones. And once, I did :-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="59096" PostHistoryTypeId="2" PostId="31448" RevisionGUID="7b337937-6b60-4b19-b9a6-a293aa086646" CreationDate="2014-10-16T09:33:35.583" UserId="842" Text="In an acoustically sterile environment tisks and such is a problem, but I usually give the actors apples and such to eat, if not eliminating it then at least lowering the problem.&#xD;&#xA;&#xD;&#xA;When i comes to cleaning up, I have no trust in plugins whatsoever in these cases. Too much artefacts, and no actual control of what to eliminate/keep - a lot of pops and dissonant sounds are needed for a natural sound and something you'll want to keep. I use the pen-tool, zoom in on the individual clicks, and draw them out. Takes a wee bit of time if it's much, and sometimes thry're hard to find, but this carefully used this doesn't damage the sound. And as I simply redraw heavy ones as sine-waves, and just smooths out the ones on slopes of other waveforms, it is completely inaudible even during mixing. It takes a little time, but you will not need to worry about artifacts that may appear during mixing, easing up everything after the actual edit a lot." ContentLicense="CC BY-SA 3.0" />
  <row Id="59097" PostHistoryTypeId="2" PostId="31449" RevisionGUID="f35575e6-0285-49a9-8b0c-e9c5a5c91021" CreationDate="2014-10-16T10:01:12.133" UserId="6738" Text="I am replacing a hard disk and started to look for a proper new drive.&#xD;&#xA;&#xD;&#xA;I have seen these &quot;special purpose&quot; hard disks which were designed for Network Attached System, using in datacenters, even &quot;Built for always-on surveillance storage applications&quot; etc.&#xD;&#xA;&#xD;&#xA;There's heavy load on the hard disk when a song is mixed. My goals here are speed, reliability and durability (f*ck, I don't want to reinstall all my bloody VSTs every 1-2 years!).&#xD;&#xA;&#xD;&#xA;Is there a special-purpose hard disk type which is the closest for the need for anyone mixing songs, or should I go for the &quot;plain&quot; hard drives?&#xD;&#xA;&#xD;&#xA;(Note, I am aware of this question: http://sound.stackexchange.com/questions/694/more-reliable-hard-drives - put this one asks if any of these special purpose disks are good for mixing)&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59098" PostHistoryTypeId="1" PostId="31449" RevisionGUID="f35575e6-0285-49a9-8b0c-e9c5a5c91021" CreationDate="2014-10-16T10:01:12.133" UserId="6738" Text="Type of hard disk for mixing?" ContentLicense="CC BY-SA 3.0" />
  <row Id="59099" PostHistoryTypeId="3" PostId="31449" RevisionGUID="f35575e6-0285-49a9-8b0c-e9c5a5c91021" CreationDate="2014-10-16T10:01:12.133" UserId="6738" Text="&lt;mixing&gt;&lt;hard-drive&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59100" PostHistoryTypeId="2" PostId="31450" RevisionGUID="e2b537bb-0733-4ae9-961c-d3f12ec595cc" CreationDate="2014-10-16T10:42:13.680" UserId="9601" Text="All drives fail eventually, so a complete restorable backup is more important than how long any particular drive **may** last. &#xD;&#xA;&#xD;&#xA;All figures are bell-curves, one drive lasts 10 years, its twin fails on the first day; most last for around the mean time to failure figure the manufacturer may quote.&#xD;&#xA;&#xD;&#xA;That said, Backblaze use only consumer-level drives, as they have found the fail rates are not much different for enterprise drives, vs. cost. This was their most recent failure rate report... https://www.backblaze.com/blog/hard-drive-reliability-update-september-2014/" ContentLicense="CC BY-SA 3.0" />
  <row Id="59101" PostHistoryTypeId="5" PostId="31450" RevisionGUID="62aaaba1-fd23-40ba-9139-6665426f80d5" CreationDate="2014-10-16T12:16:34.510" UserId="9601" Comment="added extra info" Text="All drives fail eventually, so a complete restorable backup is more important than how long any particular drive **may** last. &#xD;&#xA;&#xD;&#xA;All figures are bell-curves, one drive lasts 10 years, its twin fails on the first day; most last for around the mean time to failure figure the manufacturer may quote.&#xD;&#xA;&#xD;&#xA;That said, Backblaze use only consumer-level drives, as they have found the fail rates are not much different for enterprise drives, vs. cost. This was their most recent failure rate report... https://www.backblaze.com/blog/hard-drive-reliability-update-september-2014/&#xD;&#xA;&#xD;&#xA;an SSD would be fastest; RAID array most reliable, as you can rebuild the array if one drive fails [Type 5]. From the Backblaze results it would appear that Enterprise drives are not necessarily more reliable than consumer.&#xD;&#xA;&#xD;&#xA;A belt &amp; braces approach may be to use a RAID 5 for longer-term storage &amp; an SSD for 'just this project'. Copy over to SSD, work, save, copy back after the project is finished.  &#xD;&#xA;I actually keep my most-used sample sets on SSD, which really seems to help. The Master copies are on 2 other HDs &amp; backed up off-site.&#xD;&#xA;&#xD;&#xA;That wouldn't preclude the use of regular backup strategy in addition, of course." ContentLicense="CC BY-SA 3.0" />
  <row Id="59102" PostHistoryTypeId="2" PostId="31451" RevisionGUID="5d2a3185-b285-48a0-9d20-a55bd6f8d362" CreationDate="2014-10-16T12:35:31.863" UserId="11108" Text="Are there any good sound design websites/forums for posting demo videos for critique that I should know about?&#xD;&#xA;&#xD;&#xA;Thanks,&#xD;&#xA;&#xD;&#xA;Ian." ContentLicense="CC BY-SA 3.0" />
  <row Id="59103" PostHistoryTypeId="1" PostId="31451" RevisionGUID="5d2a3185-b285-48a0-9d20-a55bd6f8d362" CreationDate="2014-10-16T12:35:31.863" UserId="11108" Text="What websites/forums should I go to for critique?" ContentLicense="CC BY-SA 3.0" />
  <row Id="59104" PostHistoryTypeId="3" PostId="31451" RevisionGUID="5d2a3185-b285-48a0-9d20-a55bd6f8d362" CreationDate="2014-10-16T12:35:31.863" UserId="11108" Text="&lt;websites&gt;&lt;critique&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59105" PostHistoryTypeId="2" PostId="31452" RevisionGUID="56cb95f5-9a79-4780-ba9d-28a130665774" CreationDate="2014-10-16T13:21:47.400" UserId="842" Text="Yes and no. The order is: L - R - C - LFE - LR - RR alright, but the LT and RT is for format mastering purposes only (not to be confused with the pre-mastering normally just called mastering in music), and not used in the actual 5.1-track at all. It is, however, used for the stereo-track and other similar applications." ContentLicense="CC BY-SA 3.0" />
  <row Id="59106" PostHistoryTypeId="5" PostId="31452" RevisionGUID="9286fca1-50ed-4e73-92e9-9c159b4a1bed" CreationDate="2014-10-16T13:32:41.283" UserId="842" Comment="added 792 characters in body" Text="Yes and no. The order is: L - R - C - LFE - LR - RR alright, but the LT and RT is for format mastering purposes only (not to be confused with the pre-mastering normally just called mastering in music), and not used in the actual 5.1-track at all. It is, however, used for the stereo-track and other similar applications.&#xD;&#xA;&#xD;&#xA;The AC3/DTS/etc. coding comes after this, and the tracks are encoded separately in the same way as for example DD, DTS, PCM and so on can't be combined under one file. Myself, I never use the total-track when watch DVD's in stereo though. I normally think the players mixdown-function does a better job for some reason. Not really sure why, but t might be that the stereo-track might be more heavily encoded as the producers expect people who minds the difference to prefer surround anyway. Yet again, this last part is just me speculating, I never encode my mixes myself, it's not my work to do and would be too risky in respect to the movie in terms of sync and such in whole. Though we must know how things are treated, this step is always up to the DVD-mastering-dudes and dudettes.&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59107" PostHistoryTypeId="5" PostId="31444" RevisionGUID="3ade85fc-a10c-4580-ad11-2f86bb9f5ae2" CreationDate="2014-10-16T15:11:29.273" UserId="7174" Comment="added 305 characters in body" Text="I'm not aware of any reasoning in this regard.  If it was the case that pointing at the chest is better, then we'd be far more likely to clip lapel mics to people's belts and we wouldn't make headset mics at all.&#xD;&#xA;&#xD;&#xA;The only reasoning I can think of is if they also were trying to get the sounds the actor makes outside of just dialog, such as footsteps and such.  If you are trying to record without foley or without having a room mic, then pointing at the actors chest would ensure the center focus of the pickup pattern covers the actor.&#xD;&#xA;&#xD;&#xA;Realistically, it isn't going to make a whole lot of difference from far enough away to be off camera as pointing at either the head or the chest is going to be well within the pickup pattern of all but the most extremely hyper-cardioid mics.  The question would just be if you want to hear things like foot steps or if you prefer to exclude those sounds at the cost of picking up more sounds from beyond the actor.&#xD;&#xA;&#xD;&#xA;Update: [This article](http://www.hdvideopro.com/cinesoundpro/the-best-approach-to-shotgun-mics.html#.VD_fdRZ0Yss) makes the argument that the reason for pointing at the chest is to put the mouth off center so that poor technique or unrehearsed movement doesn't result in hard falloffs in sound level." ContentLicense="CC BY-SA 3.0" />
  <row Id="59108" PostHistoryTypeId="2" PostId="31453" RevisionGUID="c96876ba-f7e1-4df0-a842-e4490076cf0d" CreationDate="2014-10-16T15:46:16.780" UserId="7174" Text="Sound should not be demanding on your hard drive at all.  Even with numerous tracks, each individual feed in full 24 bit PCM should be only around 8 to 16MB per minute.  It would take around 600 tracks to hit the data rate of a cheap modern hard drive.  Seek time can be an issue, but that's better handled by investing in memory so that tracks can be cached and easily randomly accessed.&#xD;&#xA;&#xD;&#xA;If you need random access to a large library of sounds, an SSD might be worth it, but I would recommend making it a secondary drive that can be replaced more frequently as SSDs often have a far more limited set of rewrites before failure than a HDD, but they don't have the seek time issue." ContentLicense="CC BY-SA 3.0" />
  <row Id="59109" PostHistoryTypeId="2" PostId="31454" RevisionGUID="cd497fbe-9236-45a0-a3b6-17e86080a82e" CreationDate="2014-10-16T15:48:19.287" UserId="7174" Text="You can try the [chat room](https://chat.stackexchange.com/rooms/13350/the-echo-chamber) here.  We can't handle them on the main site if you don't have a specific problem you are trying to fix, but chat is an ideal environment for critiques and general feedback on work." ContentLicense="CC BY-SA 3.0" />
  <row Id="59110" PostHistoryTypeId="2" PostId="31455" RevisionGUID="7a29c4fb-c5ad-472c-9b5b-d38efac84bf1" CreationDate="2014-10-16T15:48:37.730" UserId="7213" Text="How do you generate audio time code (LTC) tracks, if your platform doesn't offer them natively? Some DAWs can generate auxiliary LTC tracks, but many don't. &#xD;&#xA;&#xD;&#xA;Audible time code may not be useful right in the session, but it's needed in playout situations such as live venues to drive lighting cues, effects devices, event triggers, sound sync etc." ContentLicense="CC BY-SA 3.0" />
  <row Id="59111" PostHistoryTypeId="1" PostId="31455" RevisionGUID="7a29c4fb-c5ad-472c-9b5b-d38efac84bf1" CreationDate="2014-10-16T15:48:37.730" UserId="7213" Text="Time code audio tracks in DAW?" ContentLicense="CC BY-SA 3.0" />
  <row Id="59112" PostHistoryTypeId="3" PostId="31455" RevisionGUID="7a29c4fb-c5ad-472c-9b5b-d38efac84bf1" CreationDate="2014-10-16T15:48:37.730" UserId="7213" Text="&lt;daw&gt;&lt;timecode&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59113" PostHistoryTypeId="2" PostId="31456" RevisionGUID="9096ea25-4788-4cf0-858b-cb92415809bb" CreationDate="2014-10-16T15:48:37.730" UserId="7213" Text="Various places I've worked have found different solutions. Some record the LTC from a broadcast video tape to an unused track. Some will reuse a track from an earlier project. The first is slow (1:1), and both are inflexible. Hardware TC generators are flexible, but it's still real-time creation.&#xD;&#xA;&#xD;&#xA;I offer a free 32-bit Windows utility that can generate an hour or more of SMPTE/EBU code as an audio track (WAV file) in a couple of seconds, at any common frame rate. No catch, it's free for any use, personal or pro. I only ask that you pass along [This Link][1], and not copy/share the program directly. Enjoy, and please send comments or suggestions.&#xD;&#xA;&#xD;&#xA;&#xD;&#xA;  [1]: http://bit.ly/Esc_TcGen" ContentLicense="CC BY-SA 3.0" />
  <row Id="59114" PostHistoryTypeId="5" PostId="31446" RevisionGUID="d011f934-3a3c-4a2d-867d-25b05ee3a1e3" CreationDate="2014-10-16T17:21:50.083" UserId="842" Comment="added 14 characters in body" Text="The best sound is not from neither the mouth nor the chest, it's from the golden spot in between. See, the mouth gets you all the treble you need, and then some, whereas the chest is all core and bass. By forgetting your eyes altogether, and giving all your focus on the sound using the eyes for nothing but coarse guidance, you can find a softer, fuller, more natural, and in less need of a polishing sound. Too much mouth, and the sound will get thorny, thin and sibilant - too much chest, and the sound will get muddy and distant. The more the editor will have to do afterwards, the more of a failure the recordings has been.&#xD;&#xA;When using song-microphones we don't have this problem, these microphones are mainly modeled to avoid excessive sibilance, especially large diaphragm ones, and the proximity effect takes care of the thinness. In movies, we never ever get that close, and if we do, we better not use it.&#xD;&#xA;&#xD;&#xA;The downside though is that you must keep that very spot no matter what - The same distance, the same angle, the very same position to the sweetspot. Even small deviations lead to great changes in sound characteristics, meaning you have to know what your doing of it will end up unusable. If you can't get a clear line of sight, and can't move freely, then you're in serious trouble. Same goes for if you use a too long a boom and can't direct it with enough precision. This is an artform in itself.&#xD;&#xA;&#xD;&#xA;It's not an easy thing to pull off, you have to mind both the camera, lighting, acoustics, and a lot more variables than I care to line up right now, but there's a reason this is a real job and it's the dumbest idea imaginable to not be using a dedicated and trained boom-operator for booming sound." ContentLicense="CC BY-SA 3.0" />
  <row Id="59118" PostHistoryTypeId="2" PostId="31458" RevisionGUID="17749080-bfe3-421f-baec-08f34ff44f43" CreationDate="2014-10-16T19:22:19.440" UserId="11111" Text="I have recently purchased a Behringer Xenyx 802 mixer. It is a analog mixer that uses RCA to 3.5mm connections to my iMac's line in port. I am using logic to record single tracks at a time, but i would like to use multiple at once. For instance, Guitar and Bass. When I make two audio tracks and select input one, and input for for each of the tracks, both instruments play on both tracks at the same time. i am wondering if it is possible to assign each instrument to its own corresponding track.&#xD;&#xA;&#xD;&#xA;Thanks for taking interest! " ContentLicense="CC BY-SA 3.0" />
  <row Id="59119" PostHistoryTypeId="1" PostId="31458" RevisionGUID="17749080-bfe3-421f-baec-08f34ff44f43" CreationDate="2014-10-16T19:22:19.440" UserId="11111" Text="Recording multiple tracks with a analog mixer" ContentLicense="CC BY-SA 3.0" />
  <row Id="59120" PostHistoryTypeId="3" PostId="31458" RevisionGUID="17749080-bfe3-421f-baec-08f34ff44f43" CreationDate="2014-10-16T19:22:19.440" UserId="11111" Text="&lt;logic&gt;&lt;behringer&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59121" PostHistoryTypeId="2" PostId="31459" RevisionGUID="22e2310e-ef92-4473-8fc2-c27d81886044" CreationDate="2014-10-16T20:26:45.207" UserId="7174" Text="You need a line per channel.  You have 2 lines, so you can only record two channels at a time through the mixer.  You would need to assign them to the left and right channels of your output respectively by using the pan knobs." ContentLicense="CC BY-SA 3.0" />
  <row Id="59123" PostHistoryTypeId="2" PostId="31460" RevisionGUID="a9173b84-9bae-4a67-8a41-63a2c4d00dfe" CreationDate="2014-10-17T10:36:33.003" UserId="6469" Text="I'm the Happy owner of the Guntales library from the Recordist and I had some experiment using these multi-miked recordings as impulse responses for multiple reverbs in parallel. This library focus on the very long Gunshot tails echoing in the silent mountains of Idaho.&#xD;&#xA; To sum up the process, i fed multiple convolution reverbs (TL space in my case), with these multitrack recordings (close, med, far) and tweaking the aux returns i can &quot;simulate&quot; echoes in the mountain to any sound.It's interesting, so I was wondering about good sounding Gun libraries, multi-miked in interesting spaces, to explore the potential of this.&#xD;&#xA;&#xD;&#xA;I put a quick test with  train horns and animals on soundcloud (and a  more detailed explanation of the process) :&#xD;&#xA;&#xD;&#xA;https://soundcloud.com/yohannbernard/guntales-sound-library-as-impulse-responses" ContentLicense="CC BY-SA 3.0" />
  <row Id="59124" PostHistoryTypeId="1" PostId="31460" RevisionGUID="a9173b84-9bae-4a67-8a41-63a2c4d00dfe" CreationDate="2014-10-17T10:36:33.003" UserId="6469" Text="Good Outdoor GunTails libraries for Convolution use" ContentLicense="CC BY-SA 3.0" />
  <row Id="59125" PostHistoryTypeId="3" PostId="31460" RevisionGUID="a9173b84-9bae-4a67-8a41-63a2c4d00dfe" CreationDate="2014-10-17T10:36:33.003" UserId="6469" Text="&lt;sound-design&gt;&lt;sound-libraries&gt;&lt;convolution&gt;&lt;impulse-response&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59126" PostHistoryTypeId="2" PostId="31461" RevisionGUID="9bf3effc-b1c7-441c-afb6-734a6ba6086e" CreationDate="2014-10-17T11:20:42.010" UserId="7762" Text="It dépends of the recording : if it´s a nice mountain air , a subtle forest environment, large crowds or an interesting roomtone, i say yes : LCR, 5.0 are really convincing formats (for features, videogames...). But if mono or stereo recordings sounds better or more appropriate i will use and layer them to recreate a spatial environment, according to the storytelling first !" ContentLicense="CC BY-SA 3.0" />
  <row Id="59127" PostHistoryTypeId="2" PostId="31462" RevisionGUID="66b3316e-54b1-42a6-bc51-42b4e738020f" CreationDate="2014-10-17T11:32:11.003" UserId="7762" Text="It´s flexible : if you need a gunshot from 1m away, you got it, and 200 m away you got it too ... Very useful for battle scenes for exemple : i quickly edit all the mics In parallel, and then mute and balance them to Sound close or distant. So yes it comes up With a very large session In your DAW ;-)" ContentLicense="CC BY-SA 3.0" />
  <row Id="59128" PostHistoryTypeId="2" PostId="31463" RevisionGUID="458a25ce-863f-48f6-a516-976723a8503a" CreationDate="2014-10-17T11:39:33.667" UserId="7762" Text="This tool gave me good results for this kind of computer sounds and is fun to experiment: &#xD;&#xA;http://soundmorph.com/?page=soundpacks&amp;spack=ga&#xD;&#xA;&#xD;&#xA;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59129" PostHistoryTypeId="36" PostId="31464" RevisionGUID="e090e7de-6ddf-4d0b-ac3b-540c2f97947b" CreationDate="2014-10-17T11:46:49.280" UserId="-1" Comment="from http://music.stackexchange.com/questions/24358/minimal-length-required-for-a-human-to-register-a-sound" />
  <row Id="59130" PostHistoryTypeId="36" PostId="31465" RevisionGUID="db832bb7-7fc4-4042-b2d2-0fa7157a448c" CreationDate="2014-10-17T11:46:49.280" UserId="-1" Comment="from http://music.stackexchange.com/questions/24358/minimal-length-required-for-a-human-to-register-a-sound/24359#24359" />
  <row Id="59131" PostHistoryTypeId="36" PostId="31466" RevisionGUID="0bdf0c02-cd13-4e40-868d-970c75e8b9a6" CreationDate="2014-10-17T11:46:49.280" UserId="-1" Comment="from http://music.stackexchange.com/questions/24358/minimal-length-required-for-a-human-to-register-a-sound/24366#24366" />
  <row Id="59132" PostHistoryTypeId="2" PostId="31465" RevisionGUID="0d65fdef-86d3-4f6c-83fc-9d122862a0b8" CreationDate="2014-10-16T18:07:01.520" UserDisplayName="Caleb Hines" Text="It's not clear in which context you would have heard this, but taken at face value it is demonstrably false. Time yourself saying a single-syllable word, such as &quot;cat&quot;. Did it take less than 2 seconds? (yes) Would another English-speaking human understand the meaning? (yes) Therefore this is obviously not true.&#xD;&#xA;&#xD;&#xA;From a musical perspective, in just about any music you listen to, there's a good chance you will hear a large number of notes (probably the majority of them) that are less than 2 seconds. At a common tempo of 120 bpm, 2 seconds is the length it takes to play four quarter notes, and you can have lots of musical meaning in a shorter time than that." ContentLicense="CC BY-SA 3.0" />
  <row Id="59133" PostHistoryTypeId="2" PostId="31466" RevisionGUID="cc3b98f6-b53e-45f5-b06f-f915f82b6d1c" CreationDate="2014-10-17T09:39:50.497" UserDisplayName="user14897" Text="There are a lot of sounds like lightning striking nearby that are &lt;em&gt;way&lt;/em&gt; shorter than two seconds.  Speech consists of sounds changing at a much more rapid rate than that.&#xD;&#xA;&#xD;&#xA;And hopefully you need less than two seconds for both recognizing a car horn &lt;em&gt;and&lt;/em&gt; initiating reaction to it.&#xD;&#xA;&#xD;&#xA;I think you need to figure out some missing context for the statement you are thinking of." ContentLicense="CC BY-SA 3.0" />
  <row Id="59134" PostHistoryTypeId="2" PostId="31464" RevisionGUID="7365db9b-c2da-4455-973b-771d834022b2" CreationDate="2014-10-16T17:52:46.560" UserId="11115" UserDisplayName="jessica" Text="I once read that: to understand the meaning of an incoming sound event, a human needs to listen for approximately 2 seconds.&#xD;&#xA;&#xD;&#xA;Does anyone know if this is true, and can back it up with a reference?" ContentLicense="CC BY-SA 3.0" />
  <row Id="59135" PostHistoryTypeId="1" PostId="31464" RevisionGUID="7365db9b-c2da-4455-973b-771d834022b2" CreationDate="2014-10-16T17:52:46.560" UserId="11115" UserDisplayName="jessica" Text="Minimal length required for a human to register a sound" ContentLicense="CC BY-SA 3.0" />
  <row Id="59136" PostHistoryTypeId="3" PostId="31464" RevisionGUID="7365db9b-c2da-4455-973b-771d834022b2" CreationDate="2014-10-16T17:52:46.560" UserId="11115" UserDisplayName="jessica" Text="&lt;sound&gt;" ContentLicense="CC BY-SA 3.0" />
  <row Id="59137" PostHistoryTypeId="10" PostId="31464" RevisionGUID="5c8983a8-09eb-4bb9-b715-a741b996b36c" CreationDate="2014-10-17T11:47:07.387" UserId="7016" Comment="101" Text="{&quot;OriginalQuestionIds&quot;:[27784],&quot;Voters&quot;:[{&quot;Id&quot;:7016,&quot;DisplayName&quot;:&quot;Rory Alsop&quot;}]}" />
  <row Id="59138" PostHistoryTypeId="5" PostId="31464" RevisionGUID="763239d2-0e42-4559-9ef6-359c5e774f3d" CreationDate="2014-10-17T18:22:00.110" UserId="11115" Comment="added 767 characters in body" Text="I work with automatic environmental sound recognition. As a limitation of my work, I use only audio without other contextual information to do the recognition.&#xD;&#xA;&#xD;&#xA;In nature, many sounds are very alike, for example a bouncing ball or knocking in the door [1]. This similarity between sounds, often confuse us, thankfully context can help us to disambiguate.&#xD;&#xA;&#xD;&#xA;More people have work with automatic sound recognition, Once I read that in a given experiment, when they ask to people to identify sounds, the subjects stated that by listening only 3 seconds of the sound, sometimes was not enough. &#xD;&#xA;&#xD;&#xA;In another paper I read, they were stating that in this cases, humans need to listen for approximately 2 seconds to give meaning to the incoming sound. Sadly, I don't recall the reference.&#xD;&#xA;&#xD;&#xA;Does anyone know if this is true, and can back it up with a reference?&#xD;&#xA;&#xD;&#xA;[1] Disambiguating sound through context, MA. Niessen.&#xD;&#xA;[2] Acoustic Environmental recognition. L. Ma " ContentLicense="CC BY-SA 3.0" />
  <row Id="59139" PostHistoryTypeId="5" PostId="31464" RevisionGUID="8ebe8d28-e77d-454a-a1c8-55d0b86f7652" CreationDate="2014-10-17T18:33:59.070" UserId="11115" Comment="added 2 characters in body" Text="I work with automatic environmental sound recognition. As a limitation of my work, I use only audio without other contextual information to do the recognition.&#xD;&#xA;&#xD;&#xA;In nature, many sounds are very alike, for example a bouncing ball or knocking in the door [1]. This similarity between sounds, often confuse us, thankfully context can help us to disambiguate.&#xD;&#xA;&#xD;&#xA;More people have work with automatic sound recognition, Once I read that in a given experiment, when they ask to people to identify sounds, the subjects stated that by listening only 3 seconds of the sound, sometimes was not enough. &#xD;&#xA;&#xD;&#xA;In another paper I read, they were stating that in this cases, humans need to listen for approximately 2 seconds to give meaning to the incoming sound. Sadly, I don't recall the reference.&#xD;&#xA;&#xD;&#xA;Does anyone know if this is true, and can back it up with a reference?&#xD;&#xA;&#xD;&#xA;[1] Disambiguating sound through context, MA. Niessen.&#xD;&#xA;&#xD;&#xA;[2] Acoustic Environmental recognition. L. Ma " ContentLicense="CC BY-SA 3.0" />
  <row Id="59140" PostHistoryTypeId="2" PostId="31467" RevisionGUID="597d4349-6594-4a63-8201-ee3871532497" CreationDate="2014-10-17T19:01:09.857" UserId="8353" Text="have some projects lined up and doing research. Can you guys recommend good sounding movies of the following?&#xD;&#xA;&#xD;&#xA; 1. Boxing&#xD;&#xA; 2. War (civil war or early periodic war, so not as busy, think pre-machine guns)&#xD;&#xA; 3. Monster movie (specifically the type of monster that transforms from a human into something beast-y)&#xD;&#xA;&#xD;&#xA;Thanks so much!" ContentLicense="CC BY-SA 3.0" />
  <row Id="59141" PostHistoryTypeId="1" PostId="31467" RevisionGUID="597d4349-6594-4a63-